《 gāo lǎo tóu》 fā biǎo yú 1834 nián， shì bā 'ěr zhā kè zuì yōu xiù de zuò pǐn zhī yī。 zhè bù zuò pǐn zài zhǎn shì shè huì shēng huó de guǎng dù hé shēn dù fāng miàn， zài fǎn yìng zuò jiā shì jiè guān de jìn bù xìng hé jú xiàn xìng fāng miàn， zài biǎo xiàn《 rén jiān xǐ jù》 de yì shù chéng jiù hé bù zú zhī chù fāng miàn， dū jù yòu dài biǎo yì yì。 qí yì shù fēng gé zuì néng dài biǎo bā 'ěr zhā kè de tè diǎn。 zài zhè piān xiǎo shuō zhōng， zuò zhě dì yī cì shǐ yòng tā chuàng zào de “ rén wù zài xiàn fǎ ” héng ràng yī gè rén wù bù jǐn zài yī bù zuò pǐn zhōng chū xiàn， ér qiě zài yǐ hòu de zuò pǐn zhōng lián xù bù duàn dì chū xiàn， tā bù jǐn shǐ wǒ men kàn dào rén wù xìng gé xíng chéng de bù tóng jiē duàn， ér qiě shǐ yī xì liè zuò pǐn gòu chéng yī gè zhěng tǐ， chéng wéi《 rén jiān xǐ jù》 de yòu jī bù fēn。 zài cǐ， yī xiē zhù yào rén wù rú lā sī dì niè、 bào sài 'áng zǐ jué fū rén、 fú tè lěng fēn fēn dēng chǎng liàng xiāng，《 rén jiān xǐ jù》 lā kāi liǎo xù mù。
■ zhù míng yì běn
fù léi xiān shēng zài 1963 nián shǒu yì de《 gāo lǎo tóu》 bǎn běn， rén mín wén xué chū bǎn shè zài 1978 nián yòu chóngxīn chū bǎn， zhì jīn wú rén qǐ jí。
■ yòu guān yú《 rén jiān xǐ jù》
bā 'ěr zhā kè yòng zǒng biāo tí wéi《 rén jiān xǐ jù》 de yī xì liè xiǎo shuō， fǎn yìng liǎo jí jù biàn gé shí qī de fǎ guó shēng huó。《 rén jiān xǐ jù》 fēn wéi sān dà bù fēn： fēng sú yán jiū、 zhé lǐ yán jiū hé fēn xī yán jiū； qí zhōng fēng sú yán jiū nèi róng zuì wéi fēng fù， yòu fēn wéi liù gè“ chǎng jǐng”。 qí jī běn nèi róng biǎo xiàn wéi： shǒu xiān， fǎn yìng liǎo shàng shēng de zī chǎn jiē jí qǔ dài guì zú jiē jí de zuì 'è fā jiā shǐ； tóng shí yě xiě chū liǎo guì zú jiē jí de mòluò shuāi wáng shǐ， zhì wéi zhòng yào de nèi róng shì duì jīn qián shì lì de pī pàn， bā 'ěr zhā kè miáo xiě liǎo yī mù mù wéi rào zhe jīn qián 'ér zhǎn kāi de rén jiān cǎn jù， cóng 'ér shǐ wǒ men duì zī běn zhù yì shè huì de zuì 'è yǔ 'āng zàng yòu yī gè xíng xiàng de rèn shí。
gāo lǎo tóu -【 zuò zhě jiǎn jiè】
bā 'ěr zhā kè shì 19 shì jì fǎ guó wěi dà de pī pàn xiàn shí zhù yì zuò jiā， ōu zhōu pī pàn xiàn shí zhù yì wén xué de diàn jī rén hé jié chū dài biǎo， shì yī wèi jù yòu nóng hòu làng màn qíng diào de wěi dà zuò jiā， yī biān yīn shē huá de shēng huó 'ér fù zhài lěi lěi， yī biān yǐ chóng gāo shēn kè de sī xiǎng chuàng zuò chū bó dà jīng shēn de wén xué jù zhù。 tā
de shēng huó qù shì céng chū bù qióng， ér zuò pǐn gèng bèi yù wéi“ fǎ guó shè huì de yī miàn jìng zǐ”。 zài tā shì shì shí， wén xué dà shī yǔ guǒ céng zhàn zài fǎ guó bā lí de méng méng xì yǔ zhōng， miàn duì chéng qiān shàng wàn 'āi dào zhě kāng kǎi jī 'áng dì píng jià dào：“ zài zuì wěi dà de rén wù zhōng jiān， bā 'ěr zhā kè shì míng liè qián máo zhě； zài zuì yōu xiù de rén wù zhōng jiān， bā 'ěr zhā kè shì jiǎo jiǎo zhě。”
yī shēng chuàng zuò 96 bù cháng、 zhōng、 duǎn piān xiǎo shuō hé suí bǐ， zǒng míng wéi《 rén jiān xǐ jù》。 qí zhōng dài biǎo zuò wéi《 ōu yě nī gé lǎng tái》、《 gāo lǎo tóu》。 100 duō nián lái， tā de zuò pǐn chuán biàn liǎo quán shì jiè， duì shì jiè wén xué de fā zhǎn hé rén lèi jìn bù chǎn shēng liǎo jù dà de yǐng xiǎng。 mǎ kè sī、 ēn gé sī chēng zàn tā“ shì chāo qún de xiǎo shuō jiā”、“ xiàn shí zhù yì dà shī”。 bā 'ěr zhā kè chū shēng yú yī gè fǎ guó dà gé mìng hòu zhì fù de zī chǎn jiē jí jiā tíng， fǎ kē xué xiào bì yè hòu， jù jué jiā tíng wèitā xuǎn zé de shòu rén zūn jìng de fǎ lǜ zhí yè， ér lì zhì dāng wén xué jiā。 wèile huò dé dú lì shēng huó hècóng shì chuàng zuò de wù zhì bǎo zhàng， tā céng shì bǐ bìng chā zú shāng yè， cóng shì chū bǎn yìn shuà yè， dàn dū yǐ pò chǎn gào zhōng。 zhè yī qiēdōu wèitā rèn shí shè huì、 miáo xiě shè huì tí gōng liǎo jí wéi zhēn guì de dì yī shǒu cái liào。 tā bù duàn zhuī qiú hé tàn suǒ， duì zhé xué、 jīng jì xué、 lì shǐ、 zì rán kē xué、 shén xué děng lǐng yù jìn xíng liǎo shēn rù yán jiū， jī lěi liǎo jí wéi guǎng bó de zhī shí。 1829 nián， bā 'ěr zhā kè wán chéng cháng piān xiǎo shuō《 zhū 'ān dǎng rén》， zhè bù qǔ cái yú xiàn shí shēng huó de zuò pǐn wèitā dài lái jù dà shēng yù， yě wéi fǎ guó pī pàn xiàn shí zhù yì wén xué fàng xià dì yī kuài jī shí， bā 'ěr zhā kè jiāng《 zhū 'ān dǎng rén》 hé jìhuà yào xiě de 136 bù xiǎo shuō zǒng mìng míng wéi《 rén jiān xǐ jù》， bìng wéi zhī xiě liǎo《 qián yán》， chǎn shù liǎo tā de xiàn shí zhù yì chuàng zuò fāng fǎ hé jī běn yuán zé， cóng lǐ lùn shàng wéi fǎ guó pī pàn xiàn shí zhù yì wén xué diàn dìng liǎo jiān gù de jī chǔ。 bā 'ěr zhā kè zài yì shù shàng qǔ dé jù dà chéng jiù， tā zài xiǎo shuō jié gòu fāng miàn jiàng xīn dú yùn， xiǎo shuō jié gòu duō zhǒng duō yàng， bù jū yī gé、 bìng shàn yú jiāng jí zhōng gài kuò yǔ jīng què miáo mó xiāng jié hé， yǐ wài xíng fǎn yìng nèi xīn běn zhì děng shǒu fǎ lái sù zào rén wù， tā hái shàn yú yǐ jīng xì rén wēi、 shēng dòng bī zhēn de huán jìng miáo xiě zài xiàn shí dài fēng mào。 ēn gé sī chēng zàn bā 'ěr zhā kè de《 rén jiān xǐ jù》 xiě chū liǎo guì zú jiē jí de mòluò shuāi bài hé zī chǎn jiē jí de shàng shēng fā zhǎn， tí gōng liǎo shè huì gè gè lǐng yù wú bǐ fēng fù de shēng dòng xì jié hé xíng xiàng huà de lì shǐ cái liào，“ shèn zhì zài jīng jì de xì jié fāng miàn（ rú gé mìng yǐ hòu dòng chǎn hé bù dòng chǎn de chóngxīn fēn pèi）， wǒ xué dào de dōng xī yě yào bǐ cóng dāng shí suǒ yòu zhí yè lì shǐ xué jiā、 jīng jì xué yuàn hé tǒng jì xué jiā nà lǐ xué dào de quán bù dōng xī hái yào duō”。（ ēn gé sī：《 ēn gé sī zhì mǎ hā kè nài sī》） bā 'ěr zhā kè yǐ zì jǐ de chuàng zuò zài shì jiè wén xué shǐ shàng shù lì qǐ bù xiǔ de fēng bēi。
gāo lǎo tóu -【 zuò pǐn mù lù】
gòng yòu liù zhāng， fēn bié shì：
dì yī zhāng fú gài gōng yù
dì 'èr zhāng liǎng chù fǎng wèn
dì sān zhāng chū jiàn shì miàn
dì sì zhāng guǐ shàngdàng
dì wǔ zhāng liǎng gè nǚ 'ér
dì liù zhāng fù qīn de sǐ
gāo lǎo tóu -【 nèi róng gěng gài】
1891 nián dōng， zài bā lí lā dīng qū yòu yī gè jiào fú gài gōng yù bāo fàn kè fáng， shì yī gè jiào fú gài de měi guó lǎo fù rén kāi de。 zhè lǐ zhù zhe gè zhǒng gè yàng de rén： yòu qióng dà xué shēng lā sī dì niè； xiē yè de miàn fěn shāng rén gāo lǐ 'ào； wài hào jiào“ guǐ shàngdàng” de fú tuō lěng； bèi dà yínháng jiā gǎn chū jiā mén de tài yī fān xiǎo jiě； gǔ shòu rú cái de lǎo chǔnǚ mǐ xù nuò děng。 měi féng kāi fàn de shí hòu， kè diàn de fàn tīng jiù tè bié rè nào， yīn wéi dà jiā kě yǐ zài yī qǐ qǔ xiào gāo lǎo tóu。
69 suì de gāo lǎo tóu， 6 nián qián jié shù liǎo tā de mǎi mài hòu， zhù dào liǎo fú gài gōng yù。 dāng shí， fēn zhù zài 'èr lóu yī jiān zuì hǎo de fáng jiān， měi nián jiāo yī qiān 'èr bǎi fǎ lǎng de shàn sù fèi， tā yī zhe jiǎng jiū， měi tiān hái qǐng lǐfà shī lái gěi tā shū tóu fā， lián bí yān xiá dōushì jīn de， tā suàn dé shàng zhè suǒ gōng yù lǐ zuì tǐ miàn de fáng kè， rén mendōu jiào tā gāo lǐ 'ào xiān shēng。 guǎ fù lǎo bǎn niàn hái xiàng tā sāo shǒu nòng zī， xiǎng gǎi jià yú tā dāng yī míng běn dì qū de kuò tài tài。
gāo lǎo tóu bǎ tā quán bù de 'ài dū fàng zài liǎng gè chū jià de nǚ 'ér shēn shàng， bù shòu fú gài tài tài de yòu huò。 dì 'èr nián nián mò， gāo lǎo tóu jiù yào qiú huàn cì děng fáng jiān， bìng qiě zhěng gè dōng tiān wū zǐ lǐ méi yòu shēng huǒ qǔ nuǎn， shàn sù fèi yě jiǎn wéi jiǔ bǎi fǎ láng。 dà jiā bǎ tā dāng zuò“ è pǐ、 wú chǐ、 dī néng suǒ chǎn shēng de zuì shén mì de rén wù”。 cháng yòu liǎng gè guì fū qī lái zhǎo tā， yǐ wéi tā yòu yàn yù， gāo lǎo tóu gào sù dà jiā， nà shì tā de nǚ 'ér： léi sī duō bó jué fū rén hé yínháng jiā niǔ qìn gēn tài tài。 dì sān nián， gāo lǎo tóu yòu yào qiú huàn dào zuì dī děng de fáng jiān měi yuè fáng qián jiàng wéi sì shí wǔ fǎ láng， tā jiè liǎo bí yān， pī fā liǎo lǐfà jiàng， jīn gāng zuàn、 jīn yān xiá、 jīn liàn tiáo děng shì wù yě bù jiàn liǎo， rén yě yuè lái yuè shòu， kàn shàng qù huó xiàng yī gè kě lián chóng。 fú gài tài tài yě rèn wéi： yào shì gāo lǎo tóu zhēn yòu nà me yòu qián de nǚ 'ér， tā jué bù huì zhù zài sì lóu zuì dī děng de fáng jiān。
kě shì， gāo lǎo tóu zhè gè mí zhōng yú bèi lā sī dì niè jiē kāi liǎo。 lā sī dì niè shì cóng wài dì lái bā lí dú dà xué de qīng nián， chū shēn pò luò guì zú jiā tíng， bái pí fū、 hēi tóu fā、 lán yǎn jīng， rè qíng 'ér yòu cái qì， xiǎng zuò yī gè qīng lián zhèng zhí de fǎ guān。 dàn bā lí de háo huá shēng huó de cì jī jiā qiáng liǎo tā“ duì quán wèi de yù wàng yǔ chū rén tóu dì de zhì yuàn”。 tā rèn wéi kào zì jǐ de qín fèn xué xí qiú shàng jìn de lù tài jiān kǔ， yě tài yáo yuǎn， hái bù yī dìng xíng dé tōng， ér xiàn shí shè huì yǐ kào jǐ gè yòu qián de nǚ rén zuò jìn shēn de jiē tī zé róng yì dé duō， yú shì tā xiǎng“ qù zhēng fú jǐ gè kě yǐ zuò tā de hòu tái de fù nǚ”。 yóu yú gū mǔ de yǐn jiàn， tā jié shí liǎo yuǎn fáng biǎo jiě， bā lí shè jiāo jiè dì wèi xiǎn hè de bào sài 'áng zǐ jué fū rén。 lā sī dì niè hěn dé yì dì xiàng fú gài gōng yù de fáng kè men jiǎng liǎo zài wǔ huì rèn shí liǎo bó jué fū rén de shì。 gāo lǎo tóu xīng fèn dì wèn：“ zuó wǎn léi sī duō tài tài hěn piào liàng má？” gōng yù lǎo bǎn niàn biàn rèn dìng gāo lǎo tóu dìng shì gěi nà xiē pó niàn nòng qióng de。 lā sī dì niè xiǎng nòng qīng gāo lǎo tóu hé bó jué fū rén de guān xì， jué dìng qù léi sī duō bó jué fū rén jiā。 zài bó jué fū rén jiā tā de hán suān xiāng yǐn qǐ pú rén qīng miè； jiē zhe tā mǎng zhuàng dì chōng jìn liǎo yī jiān yù shì， dà chū yáng xiāng； hòu yòu dào tí dào hé gāo lǎo tóu zhù zài yī qǐ， què yǐn qǐ bó jué fū fù de bù kuài， bǎ tā gǎn liǎo chū lái。 lā sī dì niè shí fēn 'ào nǎo， zhǐ hǎo gǎn qù xiàng biǎo jiě qiú jiào。 bào sài 'áng fū rén gào sù tā， léi sī duō tài tài biàn shì gāo lǐ 'ào de nǚ 'ér。
gāo lǎo tóu shì fǎ guó dà gé mìng shí qī qǐ jiā de miàn fěn shāng rén， zhōng nián sàng qī， tā bǎ zì jǐ suǒ yòu de 'ài dū qīng zhù zài liǎng gè nǚ 'ér shēn shàng。 wèile ràng tā men jǐ jìn shàng liú shè huì， cóng xiǎo gěi tā men liáng hǎo de jiào yù， chū jià shí， gěi liǎo tā men měi rén 80 wàn fǎ láng de péi jià， ràng dà nǚ 'ér jià gěi liǎo léi sī duō bó jué， zuò liǎo guì fù rén； xiǎo nǚ 'ér jià gěi yínháng jiā niǔ qìn gēn， dāng liǎo jīn róng zī chǎn jiē jí kuò tài tài。 tā yǐ wéi nǚ 'ér jià liǎo tǐ miàn rén jiā， zì jǐ biàn kě yǐ shòu dào zūn zhòng、 fèng chéng。 nà zhī bù dào liǎng nián， nǚ xù jìng bǎ tā dāng zuò yàobùde de xià liú dōng xī， bǎ tā gǎn chū jiā mén。 gāo lǎo tóu wèile huò dé tā men de hǎo gǎn， rěn tòng chū mài liǎo diàn pū， jiāng qián yī fēn wéi 'èr gěi liǎo liǎng gè nǚ 'ér， zì jǐ biàn bān jìn liǎo fú gài gōng yù。 liǎng gè nǚ 'ér zhǐ yào bà bà de qián， kě xiàn zài gāo lǎo tóu yǐ méi qián liǎo。
bào sài 'áng fū rén jiào dǎo lā sī dì niè shè huì yòu bēi bǐ yòu cán rěn， yào tā yǐ yá hái yá qù duì fù zhè gè shè huì。 tā shuō：“ nǐ yuè méi yòu xīn gān， jiù yuè gāo shēng dé kuài。 nǐ háo bù liú qíng de dǎ jī rén jiā， rén jiā jiù pà nǐ。”“ méi yòu yī gè nǚ rén guān qiē， tā zài zhè 'ér biàn yī wén bù zhí， zhè nǚ rén hái dé nián qīng、 yòu qián、 piào liàng。” àn zhào biǎo jiě de zhǐ diǎn， lā sī dì niè jué xīn qù gòu yǐn gāo lǎo tóu de 'èr nǚ 'ér niū qìn gēn tài tài。
fú tuō lěng shì gè mù guāng mǐn ruì de rén， kàn chū lā sī dì niè xiǎng wǎng shàng pá de xīn sī。 tā duì lā sī dì niè shuō：“ zài zhè gè hù xiāng tūn shì de shè huì lǐ， qīng bái lǎo shí yī wú yòng chù， rú guǒ bù xiàng pào dàn yī yàng hōng jìn qù， jiù dé xiàng wēn yì yī bān zuàn jìn qù， qīng bái chéng shí shì yī wú yòng chù de。” tā zhǐ diǎn lā sī dì niè qù zhuī qiú wéi duō lì xiǎo jiě， tā kě yǐ jiào rén shā sǐ tài yī fān xiǎo jiě de gē gē， ràng tā dāng shàng jì chéng rén， zhè yàng yínháng jiā de yí chǎn jiù huì luò dào lā sī dì niè shǒu zhōng， zhǐ yào gěi tā 'èr shí wàn fǎ láng zuò bào chóu。 lā sī dì niè suī rán bèi fú tuō lěng de chì luǒ luǒ de yán cí suǒ dǎ dòng， dàn yòu méi gǎn dāyìng xià lái。
lā sī dì niè tōng guò bào sài 'áng fū rén jié shí liǎo niǔ qìn gēn tài tài， ér niǔ qìn gēn tài tài bìng bù shì tā xiǎng yào zhuī qiú de duì xiàng。 tā de zhàng fū zài jīng jì shàng duì tā kòng zhì hěn yán， shèn zhì yào qiú lā sī dì niè ná zì jǐ jǐn yòu de 100 fǎ láng qù dǔ chǎng tì tā yíng 6000 fǎ láng huí lái。 yú shì lā sī dì niè biàn zhuànxiàng
duì tài yī fān xiǎo jiě de jìn gōng。
zhè shí fú tuō lěng yǐ ràng tóng dǎng xún xìn gēn tài yī fān xiǎo jiě de gē gē jué tóu， bìng shā sǐ liǎo tā。 lā sī dì niè máo dùn chóngchóng， shì 'ài wéi duō lì xiǎo jiě ní， hái shì 'ài niǔ qìn gēn tài tài ní？ zuì hòu， tā xuǎn zé liǎo hòu zhě， tā xiǎng“ zhè yàng de jié hé jì méi yòu zuì guò， yě méi yòu shénme néng jiào zuì yán gé de dào xué jiā zhòu yī zhòu méi tóu de dì fāng。”
fáng kè mǐ xù nuò lǎo xiǎo jiě， tā jiē shòu liǎo jǐng chá jú 'àn tàn xiǎn de chāishi， cì tàn fú tuō lěng de shēn fèn。 tā zài fú tuō lěng de yǐn liào zhōng xià má yào， fú tuō lěng bèi zuì dǎo bùxǐng rén shì。 mǐ xù nuò tuō xià fú tuō lěng de wài yī， zài jiān shàng dǎ liǎo yī bā zhǎng， xiān hóng de pí fū shàng lì kè xiàn chū“ kǔ yì fàn” de zì yàng。 dāng fú tuō lěng xǐng lái shí， jǐng chá yǐ jīng bāo wéi liǎo fú gài gōng yù。 tè wù cháng dǎ luò liǎo tā de jiǎ fā， fú tuō lěng quán shēn de xuè lì kè yǒng shàng liǎo liǎn， yǎn jīng xiàng yě māo yī yàng fā liàng， tā shǐ chū yī gǔ mán jìn， dà hǒu yī shēng， bǎ suǒ yòu de fáng kè xià dé dà jiào qǐ lái。 àn tàn men yī qí tāo chū shǒu qiāng， fú tuō lěng yī jiàn liàng jīng jīng de huǒ mén， tū rán biàn liǎo miàn kǒng， zhèn jìng xià lái， zhù dòng bǎ liǎng zhǐ shǒu shēn shàng qù。 tā chéng rèn zì jǐ jiào yǎ kè · kē lěng， hǔn míng“ guǐ shàngdàng”， bèi pàn guò 20 nián kǔ yì， tā bèi dài bǔ liǎo。
gāo lǎo tóu dé zhī lā sī dì niè 'ài zì jǐ de 'èr nǚ 'ér， xiǎng wéi lā sī dì niè yǔ nǚ 'ér qiān xiàn dā qiáo， gòu mǎi liǎo yīzhuàng xiǎo lóu， gōng tā men yōu huì。 yī tiān， niǔ qìn gēn tài tài jí máng lái zhǎo gāo lǎo tóu， shuō míng tā zhàng fū tóng yì ràng tā hé lā sī dì niè lái wǎng， dàn tā bù néng xiàng tā yào huí péi jià qián， gāo lǎo tóu yào nǚ 'ér bù yào jiē shòu zhè tiáo jiàn，“ qián shì xìng mìng， yòu liǎo qián jiù yòu liǎo yī qiē。” zhè shí， léi sī duō fū rén yě lái liǎo。 tā kū zhe gào sù fù qīn： tā de zhàng fū yòng tā mài diào liǎo xiàng liàn de qián qù wéi qíng rén hái zhài， xiàn zài tā de cái chǎn yǐ chàbù duō quán bù bèi duó zǒu， tā yào fù qīn gěi tā yī wàn 'èr qiān fǎ láng qù jiù tā de qíng fū。 liǎng gè nǚ 'ér chǎo qǐ zuǐ lái， gāo lǎo tóu 'ài mò néng zhù， tā jí dé yùn guò qù， huàn liǎo chū qī nǎo yì xuè zhèng。
zài tā huàn bìng qī jiān， liǎng jiě mèi dōuméi lái kàn tā yī cì， dà nǚ 'ér guān xīn de shì jí jiāng cān jiā pàn wàng yǐ jiǔ de bào sài 'áng fū rén de wǔ huì； èr nǚ 'ér lái guò yī cì， dàn bù shì lái kàn fù qīn de bìng de， ér shì yào fù qīn gěi tā zhī fù qiàn cái féng yī qiān fǎ láng de dìng qián。 gāo lǎo tóu bèi bī dé fù chū liǎo zuì hòu 1 wén qián， zhì shǐ zhòngfēng zhèng měng fā zuò。
bào sài 'áng fū rén jǔ xíng shèng dà de wǔ huì， chǎng miàn fēi cháng zhuàng guān， gōng zhù、 jué yé、 míng mén guī xiù dū qián lái cān jiā。 500 duō liàng chē shàng de dēng zhú zhào dé wū nèi chù chù tōng míng tòu liàng。 zǐ jué fū rén zhuāng shù sù yǎ， liǎn shàng méi yòu biǎo qíng， fǎng fó hái bǎo chí zhe guì fù rén de miàn mù， ér zài tā xīn mù zhōng， zhè zuò càn làn de gōng diàn yǐ jīng biàn chéng yī piàn shā mò， yī huí dào nèi shì， biàn jìn bù zhù lèi shuǐ cháng liú， zhōu shēn fā dǒu。 wǔ huì jié shù hòu， lā sī dì niè mù sòng biǎo jiě bào sài 'áng fū rén zuò shàng jiào chē， tóng tā zuò liǎo zuì hòu yī cì gào bié。 tā gǎn dào“ tā de jiào yù yǐ jīng shòu wán liǎo” tā rèn wéi zì jǐ“ rù liǎo dì yù， ér qiě hái dé dāi xià qù”。
kě lián de gāo lǎo tóu kuài duàn qì liǎo， tā hái pàn wàng zhe liǎng gè nǚ 'ér néng lái jiàn tā yī miàn。 lā sī dì niè chāirén qù qǐng tā de liǎng gè nǚ 'ér， liǎng gè nǚ 'ér dū tuī sān zǔ sì bù lái。 lǎo rén měi zhǐ yǎn zhōng mào chū yī kē yǎn lèi， gǔn zài xiān hóng de yǎn pí biān shàng， tā cháng tàn yī shēng， shuō：“ āi， ài liǎo yī bèi zǐ de nǚ 'ér， dào tóu lái fǎn gěi nǚ 'ér yí qì！”
zhǐ yòu lā sī dì niè zhāng luó zhe gāo lǎo tóu de sāngshì， liǎng gè nǚ 'ér nǚ xù zhǐ pài liǎo liǎng jià kōng chē gēn zài líng jiù hòu miàn。 guān mù shì yóu yī gè dà xué shēng xiàng yī yuàn lián jià mǎi lái de， sòng zàng fèi yóu lā sī dì niè mài diào jīn biǎo zhī fù de。 tā mù dǔ zhè yī mù mù bēi jù， suí zhe gāo lǎo tóu de mái zàng yě mái zàng liǎo zì jǐ zuì hòu yī dī tóng qíng de yǎn lèi， tā jué xīn xiàng shè huì tiǎo zhàn，“ xiàn zài zán men liǎ lái pīn yī pīn bā！”
gāo lǎo tóu -【 sī xiǎng gǎn qíng】
《 gāo lǎo tóu》 zhuózhòng jiē lù pī pàn de shì zī běn zhù yì shì jiè zhōng rén yǔ rén zhī jiān chì luǒ luǒ de jīn qián guān xì。 xiǎo shuō yǐ 1819 nián dǐ dào 1820 nián chū de bā lí wéi bèi jǐng， zhù yào xiě liǎng gè píng xíng 'ér yòu jiāo chā de gù shì： tuì xiū miàn tiáo shāng gāo lǐ 'ào lǎo tóu bèi liǎng gè nǚ 'ér lěng luò， bēi cǎn dì sǐ zài fú gài gōng yù de gé lóu shàng； qīng nián lā sī dì niè zài bā lí shè huì de fǔ shí xià zǒu shàng duò luò zhī lù。 tóng shí hái chuān chā liǎo bào sài 'áng fū rén hé fú tuō lěng de gù shì。 tōng guò hán suān de
gōng yù hé háo huá de guì zú shā lóng zhè liǎng gè bù duàn jiāo tì de zhù yào wǔ tái， zuò jiā miáo huì liǎo yī fú fú bā lí shè huì rén yù héng liú、 jí duān chǒu 'è de tú huà， bào lù liǎo zài jīn qián shì lì zhī pèi xià zī chǎn jiē jí de dào dé lún sàng hé rén yǔ rén zhī jiān de lěng kù wú qíng， jiē shì liǎo zài zī chǎn jiē jí de jìn gōng xià guì zú jiē jí de bì rán miè wáng， zhēn shí dì fǎn yìng liǎo bō bàng wáng cháo fù bì shí qī de tè zhēng。
gāo lǎo tóu -【 xiě zuò bèi jǐng】
19 shì jì shàng bàn yè shì fǎ guó zī běn zhù yì jiàn lì de chū qī， ná pò lún zài 1815 nián de huá tiě lú zhàn yì zhōng chè dǐ bài běi， yóu cǐ bō bàng wáng cháo fù bì， tǒng zhì yī zhí yán xù dào 1830 nián。 yóu yú chá lǐ shí shì de fǎn dòng zhèng cè jī nù liǎo rén mín， qī yuè gé mìng jǐn jǐn sān tiān biàn tuī dǎo liǎo fù bì wáng cháo， kāi shǐ liǎo cháng dá 18 nián de qī yuè wáng cháo de tǒng zhì， yóu jīn róng zī chǎn jiē jí zhǎng wò liǎo zhèng quán。《 ōu yě nī · gé lǎng tái》 fā biǎo yú 1833 nián， yě jí qī yuè wáng cháo chū qī。 gāng guò qù de fù bì wáng cháo zài rén men de tóu nǎo zhōng hái jì yì yóu xīn。 fù bì shí qī， guì zú suī rán cóng guó wài fǎn huí liǎo fǎ guó， yào wǔ yáng wēi， bù kě yī shì， kě shì tā men de shí jì dì wèi yǔ fǎ guó dà gé mìng yǐ qián bù kě tóng rì 'ér yǔ， yīn wéi zī chǎn jiē jí yǐ jīng qiáng dà qǐ lái。 gāng shàng tái de lù yì shí bā bù dé bù bān bù xīn xiàn fǎ， shí xíng jūn zhù lì xiàn， xiàng zī chǎn jiē jí zuò chū ràng bù， yǐ wéi hù yáo yáo yù zhuì de zhèng quán。 zī chǎn jiē jí suī rán shī qù liǎo zhèng zhì quán lì， què píng jiè jīng jì shàng de shí lì yǔ guì zú xiāng kàng héng。 dào liǎo fù bì wáng cháo hòu qī， zī chǎn jiē jí bù jǐn zài chéng shì， ér qiě zài guì zú bǎo chí guǎng fàn yǐng xiǎng de nóng cūn， dū bǎ guì zú dǎ dé luò huā liú shuǐ。 fù bì wáng cháo shí jì shàng dà shì yǐ qù。 bā 'ěr zhā kè bǐ tóng shí dài zuò jiā gèng mǐn ruì， dú jù huì yǎn dì guān chá dào zhè gè zhòng dà shè huì xiàn xiàng。
gāo lǎo tóu -【 xiāng guān píng lùn】
“《 gāo lǎo tóu》 hái chéng gōng dì sù zào liǎo qīng nián yě xīn jiā lā sī dì niè hé mòluò guì fū rén bào sài 'áng de xíng xiàng。 qián zhě yuán wéi yī gè wài shěng guì zú qīng nián， xiǎng lái bā lí jìn dà xué zhòng zhèn jiā yè， dàn mù dǔ shàng liú shè huì de huī jīn rú tǔ、 dēng hóng jiǔ lǜ， tā wǎng shàng pá de yù wàng bèi zēng，
tā zài bào sài 'áng zǐ jué fū rén hé táo fàn fú tè lěng de suō shǐ xià， rì yì sàng shī zhèng zhí de liáng xīn， kāi shǐ wéi jīn qián 'ér chū mài zhèng zhí， tè bié jiàn zhèng liǎo gāo lǎo tóu de liǎng gè nǚ 'ér duì dài fù qīn xiàng zhà gān de níng méng yī bān yǐ hòu， gèng jiān dìng liǎo xiàng zī chǎn jiē jí de dào lù zǒu qù de jué xīn。《 gāo lǎo tóu》 zhōng zhù yào miáo xiě liǎo tā yě xīn jiā xìng gé xíng chéng de guò chéng， zài yǐ hòu de yī xì liè zuò pǐn zhōng tā gèng yī fā bù kě shōu shí， kào chū mài dào dé hé liáng xīn jìng dāng shàng liǎo fù guó wù mì shū hé guì zú yuàn yì yuán， ér yī qiē de qǔ dé dū yǐ lài yú jí duān lì jǐ zhù yì yuán zé。 bào sài 'áng zǐ jué fū rén shì bā 'ěr zhā kè wéi guì zú jiē jí chàng de yī qū wú jìn de wǎn gē， tā chū shēn míng mén guì zú， shì bā lí shè jiāo jiè de huáng hòu， zhǐ yīn quē fá jīn qián 'ér bèi qíng rén pāo qì， bèi pò tuì chū bā lí shàng liú shè huì， gāo guì de mén dì zài yě dí bù guò jīn qián de shì lì， tā zài hòu lái de xiǎo shuō zhōng yīn wéi tóng yàng de yuán yīn yòu yī cì bèi jīn qián chū mài。 tā de zāo yù gào sù rén men， guì zú jiē jí chú liǎo shī bài zhī wài bù kě néng yòu gèng hǎo de mìng yùn， jīn qián cái shì zhè gè shì jiè de zhù zǎi。
《 gāo lǎo tóu》 zài yì shù shàng hěn yán jǐn， zuò zhě shè zhì liǎo diǎn xíng huán jìng， ràng diǎn xíng rén wù huó dòng yú qí zhōng， shǐ rén yǔ rén de jīn qián guān xì yǔ huán jìng xiāng qì hé， shū zhōng 'ān pái liǎo sì tiáo qíng jié xiàn suǒ， yǐ lā sī dì niè de duò luò wéi zhù xiàn， qí tā jǐ tiáo qǐ fǔ zhù zuò yòng， zòng héng jiāo cuò yòu mài luò fēn míng； diǎn xíng rén wù de kè huá shì bā 'ěr zhā kè de zuì dà tè sè， bù lùn shì wài mào miáo xiě hái shì xīn lǐ kè huá， shèn zhì yī gè xì jié， rú gāo lǎo tóu měi chī yī kuài miàn bāo dōuyào fàng zài bí xià xiù yī xiù， dū shǐ rén wù gèng xiān míng shēng dòng； rén wù yǔ yán de gè xìng huà yě shì zuò zhě yī dà gōng lì， guì zú shā lóng zhōng de yǔ yán yǔ táo fàn de yǔ yán jué bù yī yàng。”
gāo lǎo tóu -【 jīng cǎi piàn duàn】
gāo lǎo tóu lín sǐ qián xiǎng jiàn nǚ 'ér yī miàn , ràng rén qù jiào tā de nǚ 'ér , kě liǎng gè nǚ 'ér shuí yě méi lái。
gāo lǐ 'ào bù chū shēng liǎo， fǎng fó jí zhōng quán shēn de jīng lì 'áo zhe tòng kǔ。“ tā men zài zhè 'ér， wǒ bù huì jiào kǔ liǎo， gān me hái yào jiào kǔ ní？” tā mí mí hú hú hūn chén liǎo hǎo jiǔ。 kè lì sī duǒ fū huí lái， lā sī dì niè yǐ wéi gāo lǎo tóu shuì shú liǎo， ràng yōng rén gāo shēng huí bào tā chūchāi de qíng xíng。
“ xiān shēng， wǒ xiān shàng bó jué fū rén jiā， kě méi fǎ gēn tā shuō huà， tā hé zhàng fū yòu yào jǐn shì 'ér。 wǒ zài sān yāng qiú， léi sī duō xiān shēng qīn zì chū lái duì wǒ shuō： gāo lǐ 'ào xiān shēng kuài sǐ liǎo shì bù shì？ āi， zài hǎo méi yòu。 wǒ yòu shì， yào tài tài dài zài jiā lǐ。 shì qíng wán liǎo， tā huì qù de。 héng héng
tā sì hū hěn shēng qì， zhè wèi xiān shēng。 wǒ zhèng yào chū lái， tài tài cóng yī shàn wǒ kàn bù jiàn de mén lǐ zǒu dào chuān táng， gào sù wǒ， nǐ duì wǒ fù qīn shuō， wǒ tóng zhàng fū zhèng zài shāng liàng shì qíng， bù néng lái。 nà shì yòu guān wǒ hái zǐ men shēng sǐ de wèn tí。 dàn děng shì qíng yī wán， wǒ jiù qù kàn tā。 héng héng shuō dào nán jué fū rén bā， yòu shì lìng wài yī zhuāng shì 'ér！ wǒ méi yòu jiàn dào tā， bù néng gēn tā shuō huà。 lǎo mā zǐ shuō tā jīn 'ér zǎo shàng wǔ diǎn yī kè cái cóng wǔ huì huí lái， zhōng wǔ yǐ qián jiào xǐng tā， yī dìng yào 'áimà de。 děng huì tā dǎ líng míng wǒ， wǒ huì gào sù tā， shuō tā fù qīn de bìng gèng zhòng liǎo。 bào gào yī jiàn huài xiāo xī， bù huì xián tài wǎn de。 wǒ zài sān yāng qiú yě méi yòng。 āi， shì yā， wǒ yě yào qiú jiàn nán jué， tā bù zài jiā。”
“ yī gè yě bù lái” lā sī dì niē rǎng dào，“ ràng wǒ xiě xìn gěi tā men。”“ yī gè yě bù lái，” lǎo rén zuò qǐ lái jiē zhe shuō，“ tā men yòu shì， tā men zài shuì jué， tā men bù huì lái de。 wǒ zǎo zhī dào liǎo。 zhí yào lín sǐ cái zhī dào nǚ 'ér shì shénme dōng xī！ péng yǒu， nǐ bié jié hūn， bié shēng hái zǐ！ nǐ gěi tā men shēng mìng， tā men gěi nǐ sǐ。 nǐ dài tā men dào shì jiè shàng lái， tā men bǎ nǐ cóng shì jiè shàng gǎn chū qù。 tā men bù huì lái de！ wǒ yǐ jīng zhī dào liǎo shí nián。 yòu shí wǒ xīn lǐ zhè me xiǎng， zhǐ shì bù gǎn xiāng xìn。”
gāo lǎo tóu sǐ liǎo， liǎng gè nǚ 'ér shuí yě méi yòu lái， tā de qián dū gěi nǚ 'ér huā guāng liǎo， dào sǐ lián rù liàn de yī fú dōuméi yòu， shì lā sī dì niè mài liǎo zì jǐ de biǎo cái gěi tā rù liàn de。
lā sī dì niè bēn xià lóu tī， dào léi sī duō tài tài jiā qù liǎo。 gāng cái nà mù kě pà de jǐng xiàng shǐ tā dòng liǎo gǎn qíng， yī lù yì fèn tián xiōng。 tā zǒu jìn chuān táng qiú jiàn léi sī duō tài tài， rén jiā huí bào shuō tā bù néng jiàn róng。
tā duì dāngchāi shuō：“ wǒ shì wèile tā mǎ shàng yào sǐ de fù qīn lái de。”“ xiān shēng， bó jué zài sān fēn fù wǒ men ……”“ jì rán bó jué zài jiā， nà me gào sù tā， shuō tā yuè fù kuài sǐ liǎo， wǒ yào lì kè hé tā shuō huà。” ōu yě nà děng liǎo hǎo jiǔ。“ shuō bù dìng tā jiù zài zhè gè shí hòu sǐ liǎo，” tā xīn lǐ xiǎng。
dāngchāi dài tā zǒu jìn dì yī jiào shì， léi sī duō xiān shēng zhàn zài bì lú qián miàn， jiàn liǎo kè rén yě bù qǐng zuò。“ bó jué，” lā sī dì niè shuō，“ lìng yuè zài pò làn de gé lóu shàng jiù yào duàn qì liǎo， lián mǎi mù chái de qián yě méi yòu； tā mǎ shàng yào sǐ liǎo， dàn děng jiàn yī miàn nǚ 'ér……”“ xiān shēng，” bó jué lěng lěng de huí dá，“ nǐ dà gài kě yǐ kàn chū， wǒ duì gāo lǐ 'ào xiān shēng méi yòu shénme hǎo gǎn。 tā jiào huài liǎo wǒ tài tài， zào chéng wǒ jiā tíng de bù xìng。 wǒ bǎ tā dàngzuò rǎo luàn wǒ 'ān níng de dí rén。 tā sǐ yě hǎo， huó yě hǎo， wǒ quán bù zài yì。 nǐ qiáo， zhè shì wǒ duì tā de qíngfèn。 shè huì jìn kě yǐ zé bèi wǒ， wǒ cái bù zài hū ní。 wǒ xiàn zài yào chù lǐ de shì， bǐ gù lǜ nà xiē shǎ guā de kuò yán xián yǔ jǐn yào dé duō。 zhì yú wǒ tài tài， tā xiàn zài nà gè múyàng méi fǎ chū mén， wǒ yě bù ràng tā chū mén。 qǐng nǐ gào sù tā fù qīn， zhǐ xiāo tā duì wǒ， duì wǒ de hái zǐ， jìn wán liǎo tā de zé rèn， tā huì qù kàn tā de。 yào shì tā 'ài tā de fù qīn， jǐ fēn zhōng nèi tā jiù kě yǐ zì yóu……”
“ bó jué， wǒ méi yòu quán lì pī píng nǐ de xíng wéi， nǐ shì nǐ tài tài de zhù rén。 zhì shǎo wǒ néng xiāng xìn nǐ shì jiǎng xìn yì de bā？ qǐng
nǐ dāyìng wǒ yī jiàn shì， jiù shì gào sù tā， shuō tā fù qīn méi yòu yī tiān hǎo huó liǎo， yīn wéi tā bù qù sòng zhōng， yǐ jīng zài zhòu tā liǎo！” léi sī duō zhù yì dào 'ōu yě nà fèn fèn bù píng de yǔ qì， huí dá dào：“ nǐ zì jǐ qù shuō bā。”
lā sī dì niè gēn zhe bó jué zǒu jìn bó jué fū rén píng shí qǐ zuò de kè tīng。 tā lèi rén 'ér shìde mái zài shā fā lǐ， nà fù tòng bù yù shēng de múyàng jiào tā kàn liǎo kě lián。 tā bù gǎn wàng lā sī dì niè， xiān qiè shēng shēng de qiáo liǎo qiáo zhàng fū， yǎn jīng de shén qì biǎo shì tā jīng shén ròu tǐ dōubèi zhuān héng de zhàng fū yā dǎo liǎo。 bó jué cè liǎo cè nǎo dài， tā cái gǎn kāi kǒu：“ xiān shēng， wǒdōu tīng dào liǎo。 gào sù wǒ fù qīn， tā yào zhī dào wǒ xiàn zài de chǔjìng， yī dìng huì yuán liàng wǒ。 xiǎng bù dào yào shòu zhè zhǒng xíng fá jiǎn zhí shòu bù liǎo。 kě shì wǒ yào fǎn kàng dào dǐ，” tā duì dì de zhàng fū shuō。“ wǒ yě yòu 'ér nǚ。 qǐng nǐ duì fù qīn shuō， bù guǎn biǎo miàn shàng zěn me yàng， zài fù qīn miàn qián wǒ bìng méi yòu cuò，” tā wú kě nài hé de duì 'ōu yě nà shuō。
nà nǚ de jīng lì de kǔ nán， ōu yě nà bù nán xiǎng xiàng， biàn dāi dāi de zǒu liǎo chū lái。 tīng dào tè · léi sī duō xiān shēng de kǒu wěn， tā zhī dào zì jǐ bái páo liǎo yī tàng， ā nà sī dà qí yǐ jīng shī qù zì yóu。
jiē zhe tā gǎn dào tè · niǔ qìn gēn tài tài jiā， fā jué tā hái zài chuáng shàng。“ wǒ bù shū fú yā， péng yǒu，” tā shuō。“ cóng tiào wǔ huì chū lái shòu liǎo liáng， wǒ pà yào hài fèi yán ní， wǒ děng yī shēng lái……” ōu yě nà dǎ duàn liǎo tā de huà， shuō dào：“ nǎ pà sǐ shén yǐ jīng dào liǎo nǐ shēn biān， pá yě dé pá dào nǐ fù qīn gēn qián qù。 tā zài jiào nǐ！ nǐ yào tīng dào tā yī shēng， mǎ shàng bù jué dé nǐ zì jǐ hài bìng liǎo。”
“ ōu yě nà， fù qīn de bìng yě xǔ bù xiàng nǐ shuō de nà me yán zhòng； kě shì wǒ yào zài nǐ yǎn lǐ yòu shénme bù shì， wǒ cái nán guò sǐ ní； suǒ yǐ wǒ yī dìng tīng nǐ de fēn fù。 wǒ zhī dào， cháng ruò wǒ zhè yī huí chū qù nào chū yīcháng dà bìng lái， fù qīn yào shāng xīn sǐ de。 wǒ děng yī shēng lái guò liǎo jiù zǒu。” tā yī yǎn kàn bù jiàn 'ōu yě nà shēn shàng de biǎo liàn， biàn jiào dào：“ yō！ zěn me nǐ de biǎo méi yòu lā？” ōu yě nà liǎn shàng hóng liǎo yī kuài。“ ōu yě nà！ ōu yě nà！ cháng shǐ nǐ yǐ jīng bǎ tā mài liǎo， diū liǎo，…… ò！ nà tài qǐ yòu cǐ lǐ liǎo。”
dà xué shēng fú zài dàn fěi nà chuáng shàng， còu zhe tā 'ěr duǒ shuō：“ nǐ yào zhī dào me？ hēng！ hǎo， gào sù nǐ bā！ nǐ fù qīn yī gè qián méi yòu liǎo， jīn wǎn shàng yào bǎ tā rù jiǎn de shī yī dōuméi fǎ mǎi。 nǐ sòng wǒ de biǎo zài dàngpù lǐ， wǒ qián dū guāng liǎo。”
dàn fěi nà měng de cóng chuáng shàng tiào xià， bēn xiàng shū guì， zhuā qǐ qián dài dì gěi lā sī dì niē， dǎzháo líng rǎng dào：“ wǒ qù wǒ qù， ōu yě nà。 ràng wǒ chuān yī fú， wǒ jiǎn zhí shì qín shòu liǎo！ qù bā， wǒ huì gǎn zài nǐ qián miàn！” tā huí tóu jiào lǎo mā zǐ：“ dān lán shì， qǐng lǎo yé lì kè shàng lái gēn wǒ shuō huà。”
gāo lǎo tóu -【 yì shù chéng jiù】
《 gāo lǎo tóu》 jí zhōng biǎo xiàn liǎo bā 'ěr zhā kè xiàn shí zhù yì chuàng zuò yì shù de zhù yào tè sè。
■ jīng xì 'ér fù yòu tè zhēng de diǎn xíng huán jìng
bā 'ěr zhā kè fēi cháng zhòng shì xiáng xì 'ér bī zhēn de huán jìng miáo huì， yī fāng miàn shì wéi liǎo zài xiàn shēng huó， gèng zhòng yào de shì wèile kè huà rén wù xìng gé。 zuò pǐn wéi rào lā sī dì niè de huó dòng， miáo xiě liǎo bā lí bù tóng děng jí、 bù tóng jiē céng de rén men de shēng huó huán jìng； lā dīng qū de fú gài gōng yù， xíng sì láo yù de huáng sè wū
zǐ， dào chù sàn fā zhe“ bìsè de、 méi làn de、 suān fǔ de qì wèi”， sài mǎn liǎo 'āng zàng yóu nì、 cán pò chǒu lòu de qì mǐn hé jiā jù， zhè shì xià céng rén wù de jì jū zhī dì。 táng dǎ qū nèi gāo lǎo tóu de liǎng gè nǚ 'ér jiā lǐ， suī yòu jīn bì huī huáng de fáng zǐ、 guì zhòng de qì wù， dàn“ háo wú qì pài de huí láng”， guà mǎn yì dà lì yóu huà de kè tīng què“ zhuāng shì dé xiàng kā fēi guǎn”， zhè xiǎn shì liǎo zuò wéi xīn guì de zī chǎn jiē jí bào fā hù men sú bù kě nài de pái chǎng。 shèng rì 'ěr màn qū gǔ lǎo de bào sài 'áng fǔ zé xiǎn shì chū wán quán bù tóng de qì pài， yuàn zhōng tào zhe jīng zhuàng mǎ pǐ de huá lì mǎ chē， chuānzhuó jīn xiāng biān dà hóng zhì fú de mén dīng， liǎng biān gōng mǎn xiān huā de dà lóu tī yǐ jí zhǐ yòu huī hé fěn hóng sè de xiǎo qiǎo líng lóng de kè shì， zhè xiē jīng yǎ jué lún de chén shè、 bié chū xīn cái de bù zhì dū chèn tuō chū shàng liú shè huì guì zú“ lǐng xiù” de fēng yǎ chāo qún。 zhè xiē jīng xì 'ér fù yòu tè zhēng de huán jìng miáo xiě， yòu lì yú zhǎn shì qí duì rén jiān xìng gé xíng chéng de yǐng xiǎng。 dāng lā sī dì niè cóng léi sī duō fū rén hé bào sài 'áng fū rén liǎng chù fǎng wèn hòu huí dào qī shēn de fú gài gōng yù shí， zuò pǐn xiě dào：“ zǒu rù qì wèi nán wén de fàn tīng， shí bā gè shí kè hǎo sì mǎ cáo qián de shēng kǒu yī bān zhèng zài chī fàn。 tā jué dé zhè fù qióng suān xiāng gēn fàn tīng de jǐng xiàng chǒu 'è yǐ jí。 huán jìng zhuǎn biàn tài tū wù liǎo， duì bǐ tài qiáng liè liǎo， gé wài cì jī tā de yě xīn……” yǐ jīng xiǎng shòu guò shàng liú shè huì shēng huó de lā sī dì niè zài yě bù kěn zì gān pín jiàn， zuì hòu， tā jué xīn nòng zàng shuāng shǒu， mǒ hēi liáng xīn， bù gù yī qiē dì xiàng shàng pū。 lā sī dì niè de duò luò shì zhè zhǒng tè dìng de diǎn xíng huán jìng suǒ jué dìng de。
■ rén wù xìng gé de diǎn xíng huà
bā 'ěr zhā kè bù jǐn sù zào liǎo gāo lǐ 'ào、 lā sī dì niè、 bào sài 'áng fū rén、 fú tuō lěng děng diǎn xíng xíng xiàng， ér qiě zài qí tā rén wù xíng xiàng de sù zào zhōng yě zuò dào liǎo gòng xìng yǔ gè xìng de tǒng yī。 léi sī duō bó jué fū fù hé niǔ qìn gēn nán jué fū fù suī rán yòu guì zú de tóu xián， shí jì shàng dōushì zī chǎn zhě。 tā men jì yòu zhuī qiú gè rén sī lì de gòng tóng tè xìng， yòu dōushì dú jù gè xìng de diǎn xíng。 yínháng jiā niǔ qìn gēn xīn mù zhōng zhǐ yòu jīn qián， tā duì dài qī zǐ xún qiú wài yù de tài dù hěn míng lǎng：“ wǒ yǔn xǔ nǐ hú jiǎo， nǐ yě dé ràng wǒ fàn zuì， jiào nà xiē kě lián chóng qīng jiā dàng chǎn。” léi sī duō bó jué duì qī zǐ de měi zhe liǎo mí， suī tīng píng tā hé mǎ kè gòu dā， què yòu yī dìng xiàn dù， zhè hé tā de guì zú mén dì guān niàn yòu guān。 tā zhī dào qī zǐ tōu mài zǔ chuán zuàn shí hòu， xiǎng fāng shè fǎ shú huí， ràng tā dài zhe cān jiā wǔ huì， yǐ wéi hù mén dì de zūn yán。
ā nà sī tǎ qí hé dàn fěi nà dōushì gāo lǎo tóu de nǚ 'ér， dàn liǎng zǐ mèi gè yòu zì jǐ de gè xìng。 qián zhě shēn cái gāo dà、 jiēshí、 hēi fā， yǎn jīng jiǒng jiǒng yòu shén， jìn gōng yè jiàn guò huáng shàng， bù bǎ mèi mèi fàng zài yǎn lǐ。 hòu zhě jiāo xiǎo、 jīn fā， jí yòu fēng yùn， zì zhī shè huì dì wèi bù gāo， péi jià bèi zhàng fū qīn zhàn， yòu zāo qíng fū yí qì， xìng gé yōu yù shàn gǎn， jīng cháng huái niàn tóng nián shí dài de xìng fú shēng huó。 dàn tā men liǎ dōushì xū róng xīn jí qiáng de lì jǐ zhù yì zhě， wèile mǎn zú yù wàng， bù xī zhà gān fù qīn de jī xù。 ā nà sī tǎ qí xiàng fù qīn yào qián， wǎng wǎng yòng lè suǒ de fāng fǎ， dàn fěi nà zé yòng sǎ jiāo hǒngpiàn de bàn fǎ。
■ jīng zhì de jié gòu
xiǎo shuō yǐ gāo lǎo tóu hé lā sī dì niè de gù shì wéi liǎng tiáo zhù yào xiàn suǒ， yòu chuān chā liǎo fú tuō lěng、 bào sài 'áng fū rén de gù shì。 jǐ tiáo xiàn suǒ cuò zōng jiāo zhì， tóu xù kàn sì fēn fán 'ér shí jì zhù cì fēn míng、 mài luò qīng chǔ、 yòu tiáo bù wěn。 zuò pǐn yǐ xù shù gāo lǎo tóu bèi nǚ 'ér zhà gān
qián cái zāo pāo qì wéi zhōng xīn qíng jié， yǐ lā sī dì niè wéi zhōng xīn rén wù， tōng guò tā de huó dòng chuān zhēn yǐn xiàn， jiāng shàng céng shè huì yǔ xià céng shè huì lián xì qǐ lái， jiāng guì zú shā lóng yǔ zī chǎn zhě kè tīng lián jié qǐ lái。 suí zhe gāo lǎo tóu zhī mí zài lā sī dì niè yǎn qián zhǎn xiàn、 jiě kāi， qíng jié bù bù tuī xiàng gāo cháo。 fú tuō lěng bèi bǔ、 bào sài 'áng fū rén bèi qì、 gāo lǎo tóu cǎn sǐ， lā sī dì niè dōushì mù dǔ zhě、 jiàn zhèng rén。 shè huì de chǒu 'è zhèng shí liǎo tā jiē shòu de fǎn miàn jiào yù， gāo lǎo tóu mái zàng zhī rì， yě shì lā sī dì niè de qīng nián shí dài jié shù zhī shí。 jǐ tiáo xiàn suǒ jǐn mì jiāo zhì、 huán huán xiāng kòu、 bù bù shēn rù， qǐ zhe hù xiāng shēn huà、 hù wéi bǔ chōng de zuò yòng， cóng 'ér shēn kè dì biǎo xiàn liǎo zuò pǐn de zhù tí。
■ duì bǐ shǒu fǎ de guǎng fàn yùn yòng
yì shù shàng de duì bǐ shǒu fǎ zài《 gāo lǎo tóu》 zhōng yùn yòng dé shí fēn guǎng fàn。 fú gài gōng yù yǔ bào sài 'áng fǔ de qiáng liè duì bǐ， bù jǐn cù shǐ lā sī dì niè gè rén yě xīn de měng liè péng zhàng， ér qiě biǎo míng bù guǎn shì hè hè shēng wēi de háo mén dà hù hái shì qióng suān 'àn dàn de lòu shì kè zhàn， yī yàng chōng chì zhe bài jīn zhù yì， yī yàng cún zài zhe bēi liè wú chǐ。 gāo guì zhuāng zhòng de bào sài 'áng fū rén yǔ cū sú qiáng hàn de fú tuō lěng xíng chéng xiān míng duì bǐ， yī gè wén zhì bīn bīn， yī gè zhí yán bù huì， dàn bù tóng de yǔ yán què yòu jiē shì liǎo tóng yàng de dào lǐ， ér tā men liǎng rén kàn tòu shè huì de lǐ lùn yòu yǔ zì jǐ shēng huó zhōng de cǎn bài chéng wéi fǎn chèn， gèng jiā shēn liǎo bēi jù de yì wèi。 cǐ wài， hái yòu gāo lǎo tóu nǚ 'ér de qióng shē jí yù yǔ gāo lǎo tóu de pín kǔ jiǒng kùn de duì bǐ， bào sài 'áng fū rén tuì yǐn shí rè nào de chǎng miàn yǔ qī liáng xīn qíng de duì bǐ děng děng。 zhè zhǒng xiān míng duì bǐ de shǒu fǎ， shǐ zuò pǐn de zhù tí gèng jiā xiān míng tū chū。
gāo lǎo tóu - bā 'ěr zhā kè héng wén xué shàng de ná pò lún
bā 'ěr zhā kè（ HonoredeBalzac1799 ～ 1850） 19 shì jì fǎ guó wěi dà de pī pàn xiàn shí zhù yì zuò jiā， ōu zhōu pī pàn xiàn shí zhù yì wén xué de diàn jī rén hé jié chū dài biǎo。 yī shēng chuàng zuò 96 bù cháng、 zhōng、 duǎn piān xiǎo shuō hé suí bǐ， zǒng míng wéi《 rén jiān xǐ jù》。 qí zhōng dài biǎo zuò wéi《 ōu yě nī · gé lǎng tái》、《 gāo lǎo tóu》。 100 duō nián lái， tā de zuò pǐn chuán biàn liǎo quán shì jiè， duì shì jiè wén xué de fā zhǎn hé rén lèi jìn bù chǎn shēng liǎo jù dà de yǐng xiǎng。 mǎ kè sī、 ēn gé sī chēng zàn tā“ shì chāo qún de xiǎo shuō jiā”、“ xiàn shí zhù yì dà shī”。
bā 'ěr zhā kè 1799 nián 5 yuè 20 rì chū shēng yú yī gè fǎ guó dà gé mìng hòu zhì fù de zī chǎn jiē jí jiā tíng， fǎ kē xué xiào bì yè hòu， jù jué jiā tíng wèitā xuǎn zé de shòu rén zūn jìng de fǎ lǜ zhí yè， ér lì zhì dāng wén xué jiā。 wèile huò dé dú lì shēng huó hècóng shì chuàng zuò de wù zhì bǎo zhàng， tā céng shì bǐ bìng chā zú shāng yè， cóng shì chū bǎn yìn shuà yè， dàn dū yǐ pò chǎn gào zhōng。 zhè yī qiēdōu wèitā rèn shí shè huì、 miáo xiě shè huì tí gōng liǎo jí wéi zhēn guì de dì yī shǒu cái liào。 tā bù duàn zhuī qiú hé tàn suǒ， duì zhé xué、 jīng jì xué、 lì shǐ、 zì rán kē xué、 shén xué děng lǐng yù jìn xíng liǎo shēn rù yán jiū， jī lěi liǎo jí wéi guǎng bó de zhī shí。
1829 nián， bā 'ěr zhā kè wán chéng cháng piān xiǎo shuō《 shū 'áng dǎng rén》， zhè bù qǔ cái yú xiàn shí shēng huó de zuò pǐn wèitā dài lái jù dà shēng yù， yě wéi fǎ guó pī pàn xiàn shí zhù yì wén xué fàng xià dì yī kuài jī shí， bā 'ěr zhā kè jiāng《 shū 'áng dǎng rén》 hé jìhuà yào xiě de yī bǎi sì wǔ shí bù xiǎo shuō zǒng mìng míng wéi《 rén jiān xǐ jù》， bìng wéi zhī xiě liǎo《 qián yán》， chǎn shù liǎo tā de xiàn shí zhù yì chuàng zuò fāng fǎ hé jī běn yuán zé， cóng lǐ lùn shàng wéi fǎ guó pī pàn xiàn shí zhù yì wén xué diàn dìng liǎo jī chǔ。
cháng qī de xīn láo yán zhòng sǔn hài liǎo bā 'ěr zhā kè de jiàn kāng， gāng guò 50 suì， tā jiù zhòng bìng chán shēn liǎo。 zài bā 'ěr zhā kè shēng mìng chuí wēi shí kè， tā réng rán chén jìn zài zì jǐ zhì zào de shì jiè lǐ， tā kěn qiú yī shēng yán cháng tā de shēng mìng， tā jiù néng zài xiě chū yī bù zuò pǐn。 1850 nián 8 yuè 18 rì wǎn shàng 11 diǎn bàn， bā 'ěr zhā kè yǒng yuǎn bì shàng liǎo tā de nà shuāng dòng chá yī qiē de yǎn jīng， jié shù liǎo tā xīn qín láolèi de yī shēng。
bā 'ěr zhā kè zài yì shù shàng qǔ dé jù dà chéng jiù， tā zài xiǎo shuō jié gòu fāng miàn jiàng xīn dú yùn， xiǎo shuō jié gòu duō zhǒng duō yàng， bù jū yī gé、 bìng shàn yú jiāng jí zhōng gài kuò yǔ jīng què miáo mó xiāng jié hé， yǐ wài xíng fǎn yìng nèi xīn běn zhì děng shǒu fǎ lái sù zào rén wù， tā hái shàn yú yǐ jīng xì rén wēi、 shēng dòng bī zhēn de huán jìng miáo xiě zài xiàn shí dài fēng mào。 ēn gé sī chēng zàn bā 'ěr zhā kè de《 rén jiān xǐ jù》 xiě chū liǎo guì zú jiē jí de mòluò shuāi bài hé zī chǎn jiē jí de shàng shēng fā zhǎn， tí gōng liǎo shè huì gè gè lǐng yù wú bǐ fēng fù de shēng dòng xì jié hé xíng xiàng huà de lì shǐ cái liào，“ shèn zhì zài jīng jì de xì jié fāng miàn（ rú gé mìng yǐ hòu dòng chǎn hé bù dòng chǎn de chóngxīn fēn pèi）， wǒ xué dào de dōng xī yě yào bǐ cóng dāng shí suǒ yòu zhí yè lì shǐ xué jiā、 jīng jì xué yuàn hé tǒng jì xué jiā nà lǐ xué dào de quán bù dōng xī hái yào duō”。（ ēn gé sī：《 ēn gé sī zhì mǎ · hā kè nài sī》）
bā 'ěr zhā kè yǐ zì jǐ de chuàng zuò zài shì jiè wén xué shǐ shàng shù lì qǐ bù xiǔ de fēng bēi。 tā yǐ duì wén xué de rè 'ài chéng jiù liǎo yī dào měi lì de wén xué fēng jǐng！
Originally published in serial form during the winter of 1834–35, Le Père Goriot is widely considered Balzac's most important novel.[1] It marks the first serious use by the author of characters who had appeared in other books, a technique that distinguishes Balzac's fiction. The novel is also noted as an example of his realist style, using minute details to create character and subtext.
The novel takes place during the Bourbon Restoration, which brought about profound changes in French society; the struggle of individuals to secure upper-class status is ubiquitous in the book. The city of Paris also impresses itself on the characters – especially young Rastignac, who grew up in the provinces of southern France. Balzac analyzes, through Goriot and others, the nature of family and marriage, providing a pessimistic view of these institutions.
The novel was released to mixed reviews. Some critics praised the author for his complex characters and attention to detail; others condemned him for his many depictions of corruption and greed. A favorite of Balzac's, the book quickly won widespread popularity and has often been adapted for film and the stage. It gave rise to the French expression "Rastignac", a social climber willing to use any means to better his situation.
■ zhù míng yì běn
fù léi xiān shēng zài 1963 nián shǒu yì de《 gāo lǎo tóu》 bǎn běn， rén mín wén xué chū bǎn shè zài 1978 nián yòu chóngxīn chū bǎn， zhì jīn wú rén qǐ jí。
■ yòu guān yú《 rén jiān xǐ jù》
bā 'ěr zhā kè yòng zǒng biāo tí wéi《 rén jiān xǐ jù》 de yī xì liè xiǎo shuō， fǎn yìng liǎo jí jù biàn gé shí qī de fǎ guó shēng huó。《 rén jiān xǐ jù》 fēn wéi sān dà bù fēn： fēng sú yán jiū、 zhé lǐ yán jiū hé fēn xī yán jiū； qí zhōng fēng sú yán jiū nèi róng zuì wéi fēng fù， yòu fēn wéi liù gè“ chǎng jǐng”。 qí jī běn nèi róng biǎo xiàn wéi： shǒu xiān， fǎn yìng liǎo shàng shēng de zī chǎn jiē jí qǔ dài guì zú jiē jí de zuì 'è fā jiā shǐ； tóng shí yě xiě chū liǎo guì zú jiē jí de mòluò shuāi wáng shǐ， zhì wéi zhòng yào de nèi róng shì duì jīn qián shì lì de pī pàn， bā 'ěr zhā kè miáo xiě liǎo yī mù mù wéi rào zhe jīn qián 'ér zhǎn kāi de rén jiān cǎn jù， cóng 'ér shǐ wǒ men duì zī běn zhù yì shè huì de zuì 'è yǔ 'āng zàng yòu yī gè xíng xiàng de rèn shí。
gāo lǎo tóu -【 zuò zhě jiǎn jiè】
bā 'ěr zhā kè shì 19 shì jì fǎ guó wěi dà de pī pàn xiàn shí zhù yì zuò jiā， ōu zhōu pī pàn xiàn shí zhù yì wén xué de diàn jī rén hé jié chū dài biǎo， shì yī wèi jù yòu nóng hòu làng màn qíng diào de wěi dà zuò jiā， yī biān yīn shē huá de shēng huó 'ér fù zhài lěi lěi， yī biān yǐ chóng gāo shēn kè de sī xiǎng chuàng zuò chū bó dà jīng shēn de wén xué jù zhù。 tā
de shēng huó qù shì céng chū bù qióng， ér zuò pǐn gèng bèi yù wéi“ fǎ guó shè huì de yī miàn jìng zǐ”。 zài tā shì shì shí， wén xué dà shī yǔ guǒ céng zhàn zài fǎ guó bā lí de méng méng xì yǔ zhōng， miàn duì chéng qiān shàng wàn 'āi dào zhě kāng kǎi jī 'áng dì píng jià dào：“ zài zuì wěi dà de rén wù zhōng jiān， bā 'ěr zhā kè shì míng liè qián máo zhě； zài zuì yōu xiù de rén wù zhōng jiān， bā 'ěr zhā kè shì jiǎo jiǎo zhě。”
yī shēng chuàng zuò 96 bù cháng、 zhōng、 duǎn piān xiǎo shuō hé suí bǐ， zǒng míng wéi《 rén jiān xǐ jù》。 qí zhōng dài biǎo zuò wéi《 ōu yě nī gé lǎng tái》、《 gāo lǎo tóu》。 100 duō nián lái， tā de zuò pǐn chuán biàn liǎo quán shì jiè， duì shì jiè wén xué de fā zhǎn hé rén lèi jìn bù chǎn shēng liǎo jù dà de yǐng xiǎng。 mǎ kè sī、 ēn gé sī chēng zàn tā“ shì chāo qún de xiǎo shuō jiā”、“ xiàn shí zhù yì dà shī”。 bā 'ěr zhā kè chū shēng yú yī gè fǎ guó dà gé mìng hòu zhì fù de zī chǎn jiē jí jiā tíng， fǎ kē xué xiào bì yè hòu， jù jué jiā tíng wèitā xuǎn zé de shòu rén zūn jìng de fǎ lǜ zhí yè， ér lì zhì dāng wén xué jiā。 wèile huò dé dú lì shēng huó hècóng shì chuàng zuò de wù zhì bǎo zhàng， tā céng shì bǐ bìng chā zú shāng yè， cóng shì chū bǎn yìn shuà yè， dàn dū yǐ pò chǎn gào zhōng。 zhè yī qiēdōu wèitā rèn shí shè huì、 miáo xiě shè huì tí gōng liǎo jí wéi zhēn guì de dì yī shǒu cái liào。 tā bù duàn zhuī qiú hé tàn suǒ， duì zhé xué、 jīng jì xué、 lì shǐ、 zì rán kē xué、 shén xué děng lǐng yù jìn xíng liǎo shēn rù yán jiū， jī lěi liǎo jí wéi guǎng bó de zhī shí。 1829 nián， bā 'ěr zhā kè wán chéng cháng piān xiǎo shuō《 zhū 'ān dǎng rén》， zhè bù qǔ cái yú xiàn shí shēng huó de zuò pǐn wèitā dài lái jù dà shēng yù， yě wéi fǎ guó pī pàn xiàn shí zhù yì wén xué fàng xià dì yī kuài jī shí， bā 'ěr zhā kè jiāng《 zhū 'ān dǎng rén》 hé jìhuà yào xiě de 136 bù xiǎo shuō zǒng mìng míng wéi《 rén jiān xǐ jù》， bìng wéi zhī xiě liǎo《 qián yán》， chǎn shù liǎo tā de xiàn shí zhù yì chuàng zuò fāng fǎ hé jī běn yuán zé， cóng lǐ lùn shàng wéi fǎ guó pī pàn xiàn shí zhù yì wén xué diàn dìng liǎo jiān gù de jī chǔ。 bā 'ěr zhā kè zài yì shù shàng qǔ dé jù dà chéng jiù， tā zài xiǎo shuō jié gòu fāng miàn jiàng xīn dú yùn， xiǎo shuō jié gòu duō zhǒng duō yàng， bù jū yī gé、 bìng shàn yú jiāng jí zhōng gài kuò yǔ jīng què miáo mó xiāng jié hé， yǐ wài xíng fǎn yìng nèi xīn běn zhì děng shǒu fǎ lái sù zào rén wù， tā hái shàn yú yǐ jīng xì rén wēi、 shēng dòng bī zhēn de huán jìng miáo xiě zài xiàn shí dài fēng mào。 ēn gé sī chēng zàn bā 'ěr zhā kè de《 rén jiān xǐ jù》 xiě chū liǎo guì zú jiē jí de mòluò shuāi bài hé zī chǎn jiē jí de shàng shēng fā zhǎn， tí gōng liǎo shè huì gè gè lǐng yù wú bǐ fēng fù de shēng dòng xì jié hé xíng xiàng huà de lì shǐ cái liào，“ shèn zhì zài jīng jì de xì jié fāng miàn（ rú gé mìng yǐ hòu dòng chǎn hé bù dòng chǎn de chóngxīn fēn pèi）， wǒ xué dào de dōng xī yě yào bǐ cóng dāng shí suǒ yòu zhí yè lì shǐ xué jiā、 jīng jì xué yuàn hé tǒng jì xué jiā nà lǐ xué dào de quán bù dōng xī hái yào duō”。（ ēn gé sī：《 ēn gé sī zhì mǎ hā kè nài sī》） bā 'ěr zhā kè yǐ zì jǐ de chuàng zuò zài shì jiè wén xué shǐ shàng shù lì qǐ bù xiǔ de fēng bēi。
gāo lǎo tóu -【 zuò pǐn mù lù】
gòng yòu liù zhāng， fēn bié shì：
dì yī zhāng fú gài gōng yù
dì 'èr zhāng liǎng chù fǎng wèn
dì sān zhāng chū jiàn shì miàn
dì sì zhāng guǐ shàngdàng
dì wǔ zhāng liǎng gè nǚ 'ér
dì liù zhāng fù qīn de sǐ
gāo lǎo tóu -【 nèi róng gěng gài】
1891 nián dōng， zài bā lí lā dīng qū yòu yī gè jiào fú gài gōng yù bāo fàn kè fáng， shì yī gè jiào fú gài de měi guó lǎo fù rén kāi de。 zhè lǐ zhù zhe gè zhǒng gè yàng de rén： yòu qióng dà xué shēng lā sī dì niè； xiē yè de miàn fěn shāng rén gāo lǐ 'ào； wài hào jiào“ guǐ shàngdàng” de fú tuō lěng； bèi dà yínháng jiā gǎn chū jiā mén de tài yī fān xiǎo jiě； gǔ shòu rú cái de lǎo chǔnǚ mǐ xù nuò děng。 měi féng kāi fàn de shí hòu， kè diàn de fàn tīng jiù tè bié rè nào， yīn wéi dà jiā kě yǐ zài yī qǐ qǔ xiào gāo lǎo tóu。
69 suì de gāo lǎo tóu， 6 nián qián jié shù liǎo tā de mǎi mài hòu， zhù dào liǎo fú gài gōng yù。 dāng shí， fēn zhù zài 'èr lóu yī jiān zuì hǎo de fáng jiān， měi nián jiāo yī qiān 'èr bǎi fǎ lǎng de shàn sù fèi， tā yī zhe jiǎng jiū， měi tiān hái qǐng lǐfà shī lái gěi tā shū tóu fā， lián bí yān xiá dōushì jīn de， tā suàn dé shàng zhè suǒ gōng yù lǐ zuì tǐ miàn de fáng kè， rén mendōu jiào tā gāo lǐ 'ào xiān shēng。 guǎ fù lǎo bǎn niàn hái xiàng tā sāo shǒu nòng zī， xiǎng gǎi jià yú tā dāng yī míng běn dì qū de kuò tài tài。
gāo lǎo tóu bǎ tā quán bù de 'ài dū fàng zài liǎng gè chū jià de nǚ 'ér shēn shàng， bù shòu fú gài tài tài de yòu huò。 dì 'èr nián nián mò， gāo lǎo tóu jiù yào qiú huàn cì děng fáng jiān， bìng qiě zhěng gè dōng tiān wū zǐ lǐ méi yòu shēng huǒ qǔ nuǎn， shàn sù fèi yě jiǎn wéi jiǔ bǎi fǎ láng。 dà jiā bǎ tā dāng zuò“ è pǐ、 wú chǐ、 dī néng suǒ chǎn shēng de zuì shén mì de rén wù”。 cháng yòu liǎng gè guì fū qī lái zhǎo tā， yǐ wéi tā yòu yàn yù， gāo lǎo tóu gào sù dà jiā， nà shì tā de nǚ 'ér： léi sī duō bó jué fū rén hé yínháng jiā niǔ qìn gēn tài tài。 dì sān nián， gāo lǎo tóu yòu yào qiú huàn dào zuì dī děng de fáng jiān měi yuè fáng qián jiàng wéi sì shí wǔ fǎ láng， tā jiè liǎo bí yān， pī fā liǎo lǐfà jiàng， jīn gāng zuàn、 jīn yān xiá、 jīn liàn tiáo děng shì wù yě bù jiàn liǎo， rén yě yuè lái yuè shòu， kàn shàng qù huó xiàng yī gè kě lián chóng。 fú gài tài tài yě rèn wéi： yào shì gāo lǎo tóu zhēn yòu nà me yòu qián de nǚ 'ér， tā jué bù huì zhù zài sì lóu zuì dī děng de fáng jiān。
kě shì， gāo lǎo tóu zhè gè mí zhōng yú bèi lā sī dì niè jiē kāi liǎo。 lā sī dì niè shì cóng wài dì lái bā lí dú dà xué de qīng nián， chū shēn pò luò guì zú jiā tíng， bái pí fū、 hēi tóu fā、 lán yǎn jīng， rè qíng 'ér yòu cái qì， xiǎng zuò yī gè qīng lián zhèng zhí de fǎ guān。 dàn bā lí de háo huá shēng huó de cì jī jiā qiáng liǎo tā“ duì quán wèi de yù wàng yǔ chū rén tóu dì de zhì yuàn”。 tā rèn wéi kào zì jǐ de qín fèn xué xí qiú shàng jìn de lù tài jiān kǔ， yě tài yáo yuǎn， hái bù yī dìng xíng dé tōng， ér xiàn shí shè huì yǐ kào jǐ gè yòu qián de nǚ rén zuò jìn shēn de jiē tī zé róng yì dé duō， yú shì tā xiǎng“ qù zhēng fú jǐ gè kě yǐ zuò tā de hòu tái de fù nǚ”。 yóu yú gū mǔ de yǐn jiàn， tā jié shí liǎo yuǎn fáng biǎo jiě， bā lí shè jiāo jiè dì wèi xiǎn hè de bào sài 'áng zǐ jué fū rén。 lā sī dì niè hěn dé yì dì xiàng fú gài gōng yù de fáng kè men jiǎng liǎo zài wǔ huì rèn shí liǎo bó jué fū rén de shì。 gāo lǎo tóu xīng fèn dì wèn：“ zuó wǎn léi sī duō tài tài hěn piào liàng má？” gōng yù lǎo bǎn niàn biàn rèn dìng gāo lǎo tóu dìng shì gěi nà xiē pó niàn nòng qióng de。 lā sī dì niè xiǎng nòng qīng gāo lǎo tóu hé bó jué fū rén de guān xì， jué dìng qù léi sī duō bó jué fū rén jiā。 zài bó jué fū rén jiā tā de hán suān xiāng yǐn qǐ pú rén qīng miè； jiē zhe tā mǎng zhuàng dì chōng jìn liǎo yī jiān yù shì， dà chū yáng xiāng； hòu yòu dào tí dào hé gāo lǎo tóu zhù zài yī qǐ， què yǐn qǐ bó jué fū fù de bù kuài， bǎ tā gǎn liǎo chū lái。 lā sī dì niè shí fēn 'ào nǎo， zhǐ hǎo gǎn qù xiàng biǎo jiě qiú jiào。 bào sài 'áng fū rén gào sù tā， léi sī duō tài tài biàn shì gāo lǐ 'ào de nǚ 'ér。
gāo lǎo tóu shì fǎ guó dà gé mìng shí qī qǐ jiā de miàn fěn shāng rén， zhōng nián sàng qī， tā bǎ zì jǐ suǒ yòu de 'ài dū qīng zhù zài liǎng gè nǚ 'ér shēn shàng。 wèile ràng tā men jǐ jìn shàng liú shè huì， cóng xiǎo gěi tā men liáng hǎo de jiào yù， chū jià shí， gěi liǎo tā men měi rén 80 wàn fǎ láng de péi jià， ràng dà nǚ 'ér jià gěi liǎo léi sī duō bó jué， zuò liǎo guì fù rén； xiǎo nǚ 'ér jià gěi yínháng jiā niǔ qìn gēn， dāng liǎo jīn róng zī chǎn jiē jí kuò tài tài。 tā yǐ wéi nǚ 'ér jià liǎo tǐ miàn rén jiā， zì jǐ biàn kě yǐ shòu dào zūn zhòng、 fèng chéng。 nà zhī bù dào liǎng nián， nǚ xù jìng bǎ tā dāng zuò yàobùde de xià liú dōng xī， bǎ tā gǎn chū jiā mén。 gāo lǎo tóu wèile huò dé tā men de hǎo gǎn， rěn tòng chū mài liǎo diàn pū， jiāng qián yī fēn wéi 'èr gěi liǎo liǎng gè nǚ 'ér， zì jǐ biàn bān jìn liǎo fú gài gōng yù。 liǎng gè nǚ 'ér zhǐ yào bà bà de qián， kě xiàn zài gāo lǎo tóu yǐ méi qián liǎo。
bào sài 'áng fū rén jiào dǎo lā sī dì niè shè huì yòu bēi bǐ yòu cán rěn， yào tā yǐ yá hái yá qù duì fù zhè gè shè huì。 tā shuō：“ nǐ yuè méi yòu xīn gān， jiù yuè gāo shēng dé kuài。 nǐ háo bù liú qíng de dǎ jī rén jiā， rén jiā jiù pà nǐ。”“ méi yòu yī gè nǚ rén guān qiē， tā zài zhè 'ér biàn yī wén bù zhí， zhè nǚ rén hái dé nián qīng、 yòu qián、 piào liàng。” àn zhào biǎo jiě de zhǐ diǎn， lā sī dì niè jué xīn qù gòu yǐn gāo lǎo tóu de 'èr nǚ 'ér niū qìn gēn tài tài。
fú tuō lěng shì gè mù guāng mǐn ruì de rén， kàn chū lā sī dì niè xiǎng wǎng shàng pá de xīn sī。 tā duì lā sī dì niè shuō：“ zài zhè gè hù xiāng tūn shì de shè huì lǐ， qīng bái lǎo shí yī wú yòng chù， rú guǒ bù xiàng pào dàn yī yàng hōng jìn qù， jiù dé xiàng wēn yì yī bān zuàn jìn qù， qīng bái chéng shí shì yī wú yòng chù de。” tā zhǐ diǎn lā sī dì niè qù zhuī qiú wéi duō lì xiǎo jiě， tā kě yǐ jiào rén shā sǐ tài yī fān xiǎo jiě de gē gē， ràng tā dāng shàng jì chéng rén， zhè yàng yínháng jiā de yí chǎn jiù huì luò dào lā sī dì niè shǒu zhōng， zhǐ yào gěi tā 'èr shí wàn fǎ láng zuò bào chóu。 lā sī dì niè suī rán bèi fú tuō lěng de chì luǒ luǒ de yán cí suǒ dǎ dòng， dàn yòu méi gǎn dāyìng xià lái。
lā sī dì niè tōng guò bào sài 'áng fū rén jié shí liǎo niǔ qìn gēn tài tài， ér niǔ qìn gēn tài tài bìng bù shì tā xiǎng yào zhuī qiú de duì xiàng。 tā de zhàng fū zài jīng jì shàng duì tā kòng zhì hěn yán， shèn zhì yào qiú lā sī dì niè ná zì jǐ jǐn yòu de 100 fǎ láng qù dǔ chǎng tì tā yíng 6000 fǎ láng huí lái。 yú shì lā sī dì niè biàn zhuànxiàng
duì tài yī fān xiǎo jiě de jìn gōng。
zhè shí fú tuō lěng yǐ ràng tóng dǎng xún xìn gēn tài yī fān xiǎo jiě de gē gē jué tóu， bìng shā sǐ liǎo tā。 lā sī dì niè máo dùn chóngchóng， shì 'ài wéi duō lì xiǎo jiě ní， hái shì 'ài niǔ qìn gēn tài tài ní？ zuì hòu， tā xuǎn zé liǎo hòu zhě， tā xiǎng“ zhè yàng de jié hé jì méi yòu zuì guò， yě méi yòu shénme néng jiào zuì yán gé de dào xué jiā zhòu yī zhòu méi tóu de dì fāng。”
fáng kè mǐ xù nuò lǎo xiǎo jiě， tā jiē shòu liǎo jǐng chá jú 'àn tàn xiǎn de chāishi， cì tàn fú tuō lěng de shēn fèn。 tā zài fú tuō lěng de yǐn liào zhōng xià má yào， fú tuō lěng bèi zuì dǎo bùxǐng rén shì。 mǐ xù nuò tuō xià fú tuō lěng de wài yī， zài jiān shàng dǎ liǎo yī bā zhǎng， xiān hóng de pí fū shàng lì kè xiàn chū“ kǔ yì fàn” de zì yàng。 dāng fú tuō lěng xǐng lái shí， jǐng chá yǐ jīng bāo wéi liǎo fú gài gōng yù。 tè wù cháng dǎ luò liǎo tā de jiǎ fā， fú tuō lěng quán shēn de xuè lì kè yǒng shàng liǎo liǎn， yǎn jīng xiàng yě māo yī yàng fā liàng， tā shǐ chū yī gǔ mán jìn， dà hǒu yī shēng， bǎ suǒ yòu de fáng kè xià dé dà jiào qǐ lái。 àn tàn men yī qí tāo chū shǒu qiāng， fú tuō lěng yī jiàn liàng jīng jīng de huǒ mén， tū rán biàn liǎo miàn kǒng， zhèn jìng xià lái， zhù dòng bǎ liǎng zhǐ shǒu shēn shàng qù。 tā chéng rèn zì jǐ jiào yǎ kè · kē lěng， hǔn míng“ guǐ shàngdàng”， bèi pàn guò 20 nián kǔ yì， tā bèi dài bǔ liǎo。
gāo lǎo tóu dé zhī lā sī dì niè 'ài zì jǐ de 'èr nǚ 'ér， xiǎng wéi lā sī dì niè yǔ nǚ 'ér qiān xiàn dā qiáo， gòu mǎi liǎo yīzhuàng xiǎo lóu， gōng tā men yōu huì。 yī tiān， niǔ qìn gēn tài tài jí máng lái zhǎo gāo lǎo tóu， shuō míng tā zhàng fū tóng yì ràng tā hé lā sī dì niè lái wǎng， dàn tā bù néng xiàng tā yào huí péi jià qián， gāo lǎo tóu yào nǚ 'ér bù yào jiē shòu zhè tiáo jiàn，“ qián shì xìng mìng， yòu liǎo qián jiù yòu liǎo yī qiē。” zhè shí， léi sī duō fū rén yě lái liǎo。 tā kū zhe gào sù fù qīn： tā de zhàng fū yòng tā mài diào liǎo xiàng liàn de qián qù wéi qíng rén hái zhài， xiàn zài tā de cái chǎn yǐ chàbù duō quán bù bèi duó zǒu， tā yào fù qīn gěi tā yī wàn 'èr qiān fǎ láng qù jiù tā de qíng fū。 liǎng gè nǚ 'ér chǎo qǐ zuǐ lái， gāo lǎo tóu 'ài mò néng zhù， tā jí dé yùn guò qù， huàn liǎo chū qī nǎo yì xuè zhèng。
zài tā huàn bìng qī jiān， liǎng jiě mèi dōuméi lái kàn tā yī cì， dà nǚ 'ér guān xīn de shì jí jiāng cān jiā pàn wàng yǐ jiǔ de bào sài 'áng fū rén de wǔ huì； èr nǚ 'ér lái guò yī cì， dàn bù shì lái kàn fù qīn de bìng de， ér shì yào fù qīn gěi tā zhī fù qiàn cái féng yī qiān fǎ láng de dìng qián。 gāo lǎo tóu bèi bī dé fù chū liǎo zuì hòu 1 wén qián， zhì shǐ zhòngfēng zhèng měng fā zuò。
bào sài 'áng fū rén jǔ xíng shèng dà de wǔ huì， chǎng miàn fēi cháng zhuàng guān， gōng zhù、 jué yé、 míng mén guī xiù dū qián lái cān jiā。 500 duō liàng chē shàng de dēng zhú zhào dé wū nèi chù chù tōng míng tòu liàng。 zǐ jué fū rén zhuāng shù sù yǎ， liǎn shàng méi yòu biǎo qíng， fǎng fó hái bǎo chí zhe guì fù rén de miàn mù， ér zài tā xīn mù zhōng， zhè zuò càn làn de gōng diàn yǐ jīng biàn chéng yī piàn shā mò， yī huí dào nèi shì， biàn jìn bù zhù lèi shuǐ cháng liú， zhōu shēn fā dǒu。 wǔ huì jié shù hòu， lā sī dì niè mù sòng biǎo jiě bào sài 'áng fū rén zuò shàng jiào chē， tóng tā zuò liǎo zuì hòu yī cì gào bié。 tā gǎn dào“ tā de jiào yù yǐ jīng shòu wán liǎo” tā rèn wéi zì jǐ“ rù liǎo dì yù， ér qiě hái dé dāi xià qù”。
kě lián de gāo lǎo tóu kuài duàn qì liǎo， tā hái pàn wàng zhe liǎng gè nǚ 'ér néng lái jiàn tā yī miàn。 lā sī dì niè chāirén qù qǐng tā de liǎng gè nǚ 'ér， liǎng gè nǚ 'ér dū tuī sān zǔ sì bù lái。 lǎo rén měi zhǐ yǎn zhōng mào chū yī kē yǎn lèi， gǔn zài xiān hóng de yǎn pí biān shàng， tā cháng tàn yī shēng， shuō：“ āi， ài liǎo yī bèi zǐ de nǚ 'ér， dào tóu lái fǎn gěi nǚ 'ér yí qì！”
zhǐ yòu lā sī dì niè zhāng luó zhe gāo lǎo tóu de sāngshì， liǎng gè nǚ 'ér nǚ xù zhǐ pài liǎo liǎng jià kōng chē gēn zài líng jiù hòu miàn。 guān mù shì yóu yī gè dà xué shēng xiàng yī yuàn lián jià mǎi lái de， sòng zàng fèi yóu lā sī dì niè mài diào jīn biǎo zhī fù de。 tā mù dǔ zhè yī mù mù bēi jù， suí zhe gāo lǎo tóu de mái zàng yě mái zàng liǎo zì jǐ zuì hòu yī dī tóng qíng de yǎn lèi， tā jué xīn xiàng shè huì tiǎo zhàn，“ xiàn zài zán men liǎ lái pīn yī pīn bā！”
gāo lǎo tóu -【 sī xiǎng gǎn qíng】
《 gāo lǎo tóu》 zhuózhòng jiē lù pī pàn de shì zī běn zhù yì shì jiè zhōng rén yǔ rén zhī jiān chì luǒ luǒ de jīn qián guān xì。 xiǎo shuō yǐ 1819 nián dǐ dào 1820 nián chū de bā lí wéi bèi jǐng， zhù yào xiě liǎng gè píng xíng 'ér yòu jiāo chā de gù shì： tuì xiū miàn tiáo shāng gāo lǐ 'ào lǎo tóu bèi liǎng gè nǚ 'ér lěng luò， bēi cǎn dì sǐ zài fú gài gōng yù de gé lóu shàng； qīng nián lā sī dì niè zài bā lí shè huì de fǔ shí xià zǒu shàng duò luò zhī lù。 tóng shí hái chuān chā liǎo bào sài 'áng fū rén hé fú tuō lěng de gù shì。 tōng guò hán suān de
gōng yù hé háo huá de guì zú shā lóng zhè liǎng gè bù duàn jiāo tì de zhù yào wǔ tái， zuò jiā miáo huì liǎo yī fú fú bā lí shè huì rén yù héng liú、 jí duān chǒu 'è de tú huà， bào lù liǎo zài jīn qián shì lì zhī pèi xià zī chǎn jiē jí de dào dé lún sàng hé rén yǔ rén zhī jiān de lěng kù wú qíng， jiē shì liǎo zài zī chǎn jiē jí de jìn gōng xià guì zú jiē jí de bì rán miè wáng， zhēn shí dì fǎn yìng liǎo bō bàng wáng cháo fù bì shí qī de tè zhēng。
gāo lǎo tóu -【 xiě zuò bèi jǐng】
19 shì jì shàng bàn yè shì fǎ guó zī běn zhù yì jiàn lì de chū qī， ná pò lún zài 1815 nián de huá tiě lú zhàn yì zhōng chè dǐ bài běi， yóu cǐ bō bàng wáng cháo fù bì， tǒng zhì yī zhí yán xù dào 1830 nián。 yóu yú chá lǐ shí shì de fǎn dòng zhèng cè jī nù liǎo rén mín， qī yuè gé mìng jǐn jǐn sān tiān biàn tuī dǎo liǎo fù bì wáng cháo， kāi shǐ liǎo cháng dá 18 nián de qī yuè wáng cháo de tǒng zhì， yóu jīn róng zī chǎn jiē jí zhǎng wò liǎo zhèng quán。《 ōu yě nī · gé lǎng tái》 fā biǎo yú 1833 nián， yě jí qī yuè wáng cháo chū qī。 gāng guò qù de fù bì wáng cháo zài rén men de tóu nǎo zhōng hái jì yì yóu xīn。 fù bì shí qī， guì zú suī rán cóng guó wài fǎn huí liǎo fǎ guó， yào wǔ yáng wēi， bù kě yī shì， kě shì tā men de shí jì dì wèi yǔ fǎ guó dà gé mìng yǐ qián bù kě tóng rì 'ér yǔ， yīn wéi zī chǎn jiē jí yǐ jīng qiáng dà qǐ lái。 gāng shàng tái de lù yì shí bā bù dé bù bān bù xīn xiàn fǎ， shí xíng jūn zhù lì xiàn， xiàng zī chǎn jiē jí zuò chū ràng bù， yǐ wéi hù yáo yáo yù zhuì de zhèng quán。 zī chǎn jiē jí suī rán shī qù liǎo zhèng zhì quán lì， què píng jiè jīng jì shàng de shí lì yǔ guì zú xiāng kàng héng。 dào liǎo fù bì wáng cháo hòu qī， zī chǎn jiē jí bù jǐn zài chéng shì， ér qiě zài guì zú bǎo chí guǎng fàn yǐng xiǎng de nóng cūn， dū bǎ guì zú dǎ dé luò huā liú shuǐ。 fù bì wáng cháo shí jì shàng dà shì yǐ qù。 bā 'ěr zhā kè bǐ tóng shí dài zuò jiā gèng mǐn ruì， dú jù huì yǎn dì guān chá dào zhè gè zhòng dà shè huì xiàn xiàng。
gāo lǎo tóu -【 xiāng guān píng lùn】
“《 gāo lǎo tóu》 hái chéng gōng dì sù zào liǎo qīng nián yě xīn jiā lā sī dì niè hé mòluò guì fū rén bào sài 'áng de xíng xiàng。 qián zhě yuán wéi yī gè wài shěng guì zú qīng nián， xiǎng lái bā lí jìn dà xué zhòng zhèn jiā yè， dàn mù dǔ shàng liú shè huì de huī jīn rú tǔ、 dēng hóng jiǔ lǜ， tā wǎng shàng pá de yù wàng bèi zēng，
tā zài bào sài 'áng zǐ jué fū rén hé táo fàn fú tè lěng de suō shǐ xià， rì yì sàng shī zhèng zhí de liáng xīn， kāi shǐ wéi jīn qián 'ér chū mài zhèng zhí， tè bié jiàn zhèng liǎo gāo lǎo tóu de liǎng gè nǚ 'ér duì dài fù qīn xiàng zhà gān de níng méng yī bān yǐ hòu， gèng jiān dìng liǎo xiàng zī chǎn jiē jí de dào lù zǒu qù de jué xīn。《 gāo lǎo tóu》 zhōng zhù yào miáo xiě liǎo tā yě xīn jiā xìng gé xíng chéng de guò chéng， zài yǐ hòu de yī xì liè zuò pǐn zhōng tā gèng yī fā bù kě shōu shí， kào chū mài dào dé hé liáng xīn jìng dāng shàng liǎo fù guó wù mì shū hé guì zú yuàn yì yuán， ér yī qiē de qǔ dé dū yǐ lài yú jí duān lì jǐ zhù yì yuán zé。 bào sài 'áng zǐ jué fū rén shì bā 'ěr zhā kè wéi guì zú jiē jí chàng de yī qū wú jìn de wǎn gē， tā chū shēn míng mén guì zú， shì bā lí shè jiāo jiè de huáng hòu， zhǐ yīn quē fá jīn qián 'ér bèi qíng rén pāo qì， bèi pò tuì chū bā lí shàng liú shè huì， gāo guì de mén dì zài yě dí bù guò jīn qián de shì lì， tā zài hòu lái de xiǎo shuō zhōng yīn wéi tóng yàng de yuán yīn yòu yī cì bèi jīn qián chū mài。 tā de zāo yù gào sù rén men， guì zú jiē jí chú liǎo shī bài zhī wài bù kě néng yòu gèng hǎo de mìng yùn， jīn qián cái shì zhè gè shì jiè de zhù zǎi。
《 gāo lǎo tóu》 zài yì shù shàng hěn yán jǐn， zuò zhě shè zhì liǎo diǎn xíng huán jìng， ràng diǎn xíng rén wù huó dòng yú qí zhōng， shǐ rén yǔ rén de jīn qián guān xì yǔ huán jìng xiāng qì hé， shū zhōng 'ān pái liǎo sì tiáo qíng jié xiàn suǒ， yǐ lā sī dì niè de duò luò wéi zhù xiàn， qí tā jǐ tiáo qǐ fǔ zhù zuò yòng， zòng héng jiāo cuò yòu mài luò fēn míng； diǎn xíng rén wù de kè huá shì bā 'ěr zhā kè de zuì dà tè sè， bù lùn shì wài mào miáo xiě hái shì xīn lǐ kè huá， shèn zhì yī gè xì jié， rú gāo lǎo tóu měi chī yī kuài miàn bāo dōuyào fàng zài bí xià xiù yī xiù， dū shǐ rén wù gèng xiān míng shēng dòng； rén wù yǔ yán de gè xìng huà yě shì zuò zhě yī dà gōng lì， guì zú shā lóng zhōng de yǔ yán yǔ táo fàn de yǔ yán jué bù yī yàng。”
gāo lǎo tóu -【 jīng cǎi piàn duàn】
gāo lǎo tóu lín sǐ qián xiǎng jiàn nǚ 'ér yī miàn , ràng rén qù jiào tā de nǚ 'ér , kě liǎng gè nǚ 'ér shuí yě méi lái。
gāo lǐ 'ào bù chū shēng liǎo， fǎng fó jí zhōng quán shēn de jīng lì 'áo zhe tòng kǔ。“ tā men zài zhè 'ér， wǒ bù huì jiào kǔ liǎo， gān me hái yào jiào kǔ ní？” tā mí mí hú hú hūn chén liǎo hǎo jiǔ。 kè lì sī duǒ fū huí lái， lā sī dì niè yǐ wéi gāo lǎo tóu shuì shú liǎo， ràng yōng rén gāo shēng huí bào tā chūchāi de qíng xíng。
“ xiān shēng， wǒ xiān shàng bó jué fū rén jiā， kě méi fǎ gēn tā shuō huà， tā hé zhàng fū yòu yào jǐn shì 'ér。 wǒ zài sān yāng qiú， léi sī duō xiān shēng qīn zì chū lái duì wǒ shuō： gāo lǐ 'ào xiān shēng kuài sǐ liǎo shì bù shì？ āi， zài hǎo méi yòu。 wǒ yòu shì， yào tài tài dài zài jiā lǐ。 shì qíng wán liǎo， tā huì qù de。 héng héng
tā sì hū hěn shēng qì， zhè wèi xiān shēng。 wǒ zhèng yào chū lái， tài tài cóng yī shàn wǒ kàn bù jiàn de mén lǐ zǒu dào chuān táng， gào sù wǒ， nǐ duì wǒ fù qīn shuō， wǒ tóng zhàng fū zhèng zài shāng liàng shì qíng， bù néng lái。 nà shì yòu guān wǒ hái zǐ men shēng sǐ de wèn tí。 dàn děng shì qíng yī wán， wǒ jiù qù kàn tā。 héng héng shuō dào nán jué fū rén bā， yòu shì lìng wài yī zhuāng shì 'ér！ wǒ méi yòu jiàn dào tā， bù néng gēn tā shuō huà。 lǎo mā zǐ shuō tā jīn 'ér zǎo shàng wǔ diǎn yī kè cái cóng wǔ huì huí lái， zhōng wǔ yǐ qián jiào xǐng tā， yī dìng yào 'áimà de。 děng huì tā dǎ líng míng wǒ， wǒ huì gào sù tā， shuō tā fù qīn de bìng gèng zhòng liǎo。 bào gào yī jiàn huài xiāo xī， bù huì xián tài wǎn de。 wǒ zài sān yāng qiú yě méi yòng。 āi， shì yā， wǒ yě yào qiú jiàn nán jué， tā bù zài jiā。”
“ yī gè yě bù lái” lā sī dì niē rǎng dào，“ ràng wǒ xiě xìn gěi tā men。”“ yī gè yě bù lái，” lǎo rén zuò qǐ lái jiē zhe shuō，“ tā men yòu shì， tā men zài shuì jué， tā men bù huì lái de。 wǒ zǎo zhī dào liǎo。 zhí yào lín sǐ cái zhī dào nǚ 'ér shì shénme dōng xī！ péng yǒu， nǐ bié jié hūn， bié shēng hái zǐ！ nǐ gěi tā men shēng mìng， tā men gěi nǐ sǐ。 nǐ dài tā men dào shì jiè shàng lái， tā men bǎ nǐ cóng shì jiè shàng gǎn chū qù。 tā men bù huì lái de！ wǒ yǐ jīng zhī dào liǎo shí nián。 yòu shí wǒ xīn lǐ zhè me xiǎng， zhǐ shì bù gǎn xiāng xìn。”
gāo lǎo tóu sǐ liǎo， liǎng gè nǚ 'ér shuí yě méi yòu lái， tā de qián dū gěi nǚ 'ér huā guāng liǎo， dào sǐ lián rù liàn de yī fú dōuméi yòu， shì lā sī dì niè mài liǎo zì jǐ de biǎo cái gěi tā rù liàn de。
lā sī dì niè bēn xià lóu tī， dào léi sī duō tài tài jiā qù liǎo。 gāng cái nà mù kě pà de jǐng xiàng shǐ tā dòng liǎo gǎn qíng， yī lù yì fèn tián xiōng。 tā zǒu jìn chuān táng qiú jiàn léi sī duō tài tài， rén jiā huí bào shuō tā bù néng jiàn róng。
tā duì dāngchāi shuō：“ wǒ shì wèile tā mǎ shàng yào sǐ de fù qīn lái de。”“ xiān shēng， bó jué zài sān fēn fù wǒ men ……”“ jì rán bó jué zài jiā， nà me gào sù tā， shuō tā yuè fù kuài sǐ liǎo， wǒ yào lì kè hé tā shuō huà。” ōu yě nà děng liǎo hǎo jiǔ。“ shuō bù dìng tā jiù zài zhè gè shí hòu sǐ liǎo，” tā xīn lǐ xiǎng。
dāngchāi dài tā zǒu jìn dì yī jiào shì， léi sī duō xiān shēng zhàn zài bì lú qián miàn， jiàn liǎo kè rén yě bù qǐng zuò。“ bó jué，” lā sī dì niè shuō，“ lìng yuè zài pò làn de gé lóu shàng jiù yào duàn qì liǎo， lián mǎi mù chái de qián yě méi yòu； tā mǎ shàng yào sǐ liǎo， dàn děng jiàn yī miàn nǚ 'ér……”“ xiān shēng，” bó jué lěng lěng de huí dá，“ nǐ dà gài kě yǐ kàn chū， wǒ duì gāo lǐ 'ào xiān shēng méi yòu shénme hǎo gǎn。 tā jiào huài liǎo wǒ tài tài， zào chéng wǒ jiā tíng de bù xìng。 wǒ bǎ tā dàngzuò rǎo luàn wǒ 'ān níng de dí rén。 tā sǐ yě hǎo， huó yě hǎo， wǒ quán bù zài yì。 nǐ qiáo， zhè shì wǒ duì tā de qíngfèn。 shè huì jìn kě yǐ zé bèi wǒ， wǒ cái bù zài hū ní。 wǒ xiàn zài yào chù lǐ de shì， bǐ gù lǜ nà xiē shǎ guā de kuò yán xián yǔ jǐn yào dé duō。 zhì yú wǒ tài tài， tā xiàn zài nà gè múyàng méi fǎ chū mén， wǒ yě bù ràng tā chū mén。 qǐng nǐ gào sù tā fù qīn， zhǐ xiāo tā duì wǒ， duì wǒ de hái zǐ， jìn wán liǎo tā de zé rèn， tā huì qù kàn tā de。 yào shì tā 'ài tā de fù qīn， jǐ fēn zhōng nèi tā jiù kě yǐ zì yóu……”
“ bó jué， wǒ méi yòu quán lì pī píng nǐ de xíng wéi， nǐ shì nǐ tài tài de zhù rén。 zhì shǎo wǒ néng xiāng xìn nǐ shì jiǎng xìn yì de bā？ qǐng
nǐ dāyìng wǒ yī jiàn shì， jiù shì gào sù tā， shuō tā fù qīn méi yòu yī tiān hǎo huó liǎo， yīn wéi tā bù qù sòng zhōng， yǐ jīng zài zhòu tā liǎo！” léi sī duō zhù yì dào 'ōu yě nà fèn fèn bù píng de yǔ qì， huí dá dào：“ nǐ zì jǐ qù shuō bā。”
lā sī dì niè gēn zhe bó jué zǒu jìn bó jué fū rén píng shí qǐ zuò de kè tīng。 tā lèi rén 'ér shìde mái zài shā fā lǐ， nà fù tòng bù yù shēng de múyàng jiào tā kàn liǎo kě lián。 tā bù gǎn wàng lā sī dì niè， xiān qiè shēng shēng de qiáo liǎo qiáo zhàng fū， yǎn jīng de shén qì biǎo shì tā jīng shén ròu tǐ dōubèi zhuān héng de zhàng fū yā dǎo liǎo。 bó jué cè liǎo cè nǎo dài， tā cái gǎn kāi kǒu：“ xiān shēng， wǒdōu tīng dào liǎo。 gào sù wǒ fù qīn， tā yào zhī dào wǒ xiàn zài de chǔjìng， yī dìng huì yuán liàng wǒ。 xiǎng bù dào yào shòu zhè zhǒng xíng fá jiǎn zhí shòu bù liǎo。 kě shì wǒ yào fǎn kàng dào dǐ，” tā duì dì de zhàng fū shuō。“ wǒ yě yòu 'ér nǚ。 qǐng nǐ duì fù qīn shuō， bù guǎn biǎo miàn shàng zěn me yàng， zài fù qīn miàn qián wǒ bìng méi yòu cuò，” tā wú kě nài hé de duì 'ōu yě nà shuō。
nà nǚ de jīng lì de kǔ nán， ōu yě nà bù nán xiǎng xiàng， biàn dāi dāi de zǒu liǎo chū lái。 tīng dào tè · léi sī duō xiān shēng de kǒu wěn， tā zhī dào zì jǐ bái páo liǎo yī tàng， ā nà sī dà qí yǐ jīng shī qù zì yóu。
jiē zhe tā gǎn dào tè · niǔ qìn gēn tài tài jiā， fā jué tā hái zài chuáng shàng。“ wǒ bù shū fú yā， péng yǒu，” tā shuō。“ cóng tiào wǔ huì chū lái shòu liǎo liáng， wǒ pà yào hài fèi yán ní， wǒ děng yī shēng lái……” ōu yě nà dǎ duàn liǎo tā de huà， shuō dào：“ nǎ pà sǐ shén yǐ jīng dào liǎo nǐ shēn biān， pá yě dé pá dào nǐ fù qīn gēn qián qù。 tā zài jiào nǐ！ nǐ yào tīng dào tā yī shēng， mǎ shàng bù jué dé nǐ zì jǐ hài bìng liǎo。”
“ ōu yě nà， fù qīn de bìng yě xǔ bù xiàng nǐ shuō de nà me yán zhòng； kě shì wǒ yào zài nǐ yǎn lǐ yòu shénme bù shì， wǒ cái nán guò sǐ ní； suǒ yǐ wǒ yī dìng tīng nǐ de fēn fù。 wǒ zhī dào， cháng ruò wǒ zhè yī huí chū qù nào chū yīcháng dà bìng lái， fù qīn yào shāng xīn sǐ de。 wǒ děng yī shēng lái guò liǎo jiù zǒu。” tā yī yǎn kàn bù jiàn 'ōu yě nà shēn shàng de biǎo liàn， biàn jiào dào：“ yō！ zěn me nǐ de biǎo méi yòu lā？” ōu yě nà liǎn shàng hóng liǎo yī kuài。“ ōu yě nà！ ōu yě nà！ cháng shǐ nǐ yǐ jīng bǎ tā mài liǎo， diū liǎo，…… ò！ nà tài qǐ yòu cǐ lǐ liǎo。”
dà xué shēng fú zài dàn fěi nà chuáng shàng， còu zhe tā 'ěr duǒ shuō：“ nǐ yào zhī dào me？ hēng！ hǎo， gào sù nǐ bā！ nǐ fù qīn yī gè qián méi yòu liǎo， jīn wǎn shàng yào bǎ tā rù jiǎn de shī yī dōuméi fǎ mǎi。 nǐ sòng wǒ de biǎo zài dàngpù lǐ， wǒ qián dū guāng liǎo。”
dàn fěi nà měng de cóng chuáng shàng tiào xià， bēn xiàng shū guì， zhuā qǐ qián dài dì gěi lā sī dì niē， dǎzháo líng rǎng dào：“ wǒ qù wǒ qù， ōu yě nà。 ràng wǒ chuān yī fú， wǒ jiǎn zhí shì qín shòu liǎo！ qù bā， wǒ huì gǎn zài nǐ qián miàn！” tā huí tóu jiào lǎo mā zǐ：“ dān lán shì， qǐng lǎo yé lì kè shàng lái gēn wǒ shuō huà。”
gāo lǎo tóu -【 yì shù chéng jiù】
《 gāo lǎo tóu》 jí zhōng biǎo xiàn liǎo bā 'ěr zhā kè xiàn shí zhù yì chuàng zuò yì shù de zhù yào tè sè。
■ jīng xì 'ér fù yòu tè zhēng de diǎn xíng huán jìng
bā 'ěr zhā kè fēi cháng zhòng shì xiáng xì 'ér bī zhēn de huán jìng miáo huì， yī fāng miàn shì wéi liǎo zài xiàn shēng huó， gèng zhòng yào de shì wèile kè huà rén wù xìng gé。 zuò pǐn wéi rào lā sī dì niè de huó dòng， miáo xiě liǎo bā lí bù tóng děng jí、 bù tóng jiē céng de rén men de shēng huó huán jìng； lā dīng qū de fú gài gōng yù， xíng sì láo yù de huáng sè wū
zǐ， dào chù sàn fā zhe“ bìsè de、 méi làn de、 suān fǔ de qì wèi”， sài mǎn liǎo 'āng zàng yóu nì、 cán pò chǒu lòu de qì mǐn hé jiā jù， zhè shì xià céng rén wù de jì jū zhī dì。 táng dǎ qū nèi gāo lǎo tóu de liǎng gè nǚ 'ér jiā lǐ， suī yòu jīn bì huī huáng de fáng zǐ、 guì zhòng de qì wù， dàn“ háo wú qì pài de huí láng”， guà mǎn yì dà lì yóu huà de kè tīng què“ zhuāng shì dé xiàng kā fēi guǎn”， zhè xiǎn shì liǎo zuò wéi xīn guì de zī chǎn jiē jí bào fā hù men sú bù kě nài de pái chǎng。 shèng rì 'ěr màn qū gǔ lǎo de bào sài 'áng fǔ zé xiǎn shì chū wán quán bù tóng de qì pài， yuàn zhōng tào zhe jīng zhuàng mǎ pǐ de huá lì mǎ chē， chuānzhuó jīn xiāng biān dà hóng zhì fú de mén dīng， liǎng biān gōng mǎn xiān huā de dà lóu tī yǐ jí zhǐ yòu huī hé fěn hóng sè de xiǎo qiǎo líng lóng de kè shì， zhè xiē jīng yǎ jué lún de chén shè、 bié chū xīn cái de bù zhì dū chèn tuō chū shàng liú shè huì guì zú“ lǐng xiù” de fēng yǎ chāo qún。 zhè xiē jīng xì 'ér fù yòu tè zhēng de huán jìng miáo xiě， yòu lì yú zhǎn shì qí duì rén jiān xìng gé xíng chéng de yǐng xiǎng。 dāng lā sī dì niè cóng léi sī duō fū rén hé bào sài 'áng fū rén liǎng chù fǎng wèn hòu huí dào qī shēn de fú gài gōng yù shí， zuò pǐn xiě dào：“ zǒu rù qì wèi nán wén de fàn tīng， shí bā gè shí kè hǎo sì mǎ cáo qián de shēng kǒu yī bān zhèng zài chī fàn。 tā jué dé zhè fù qióng suān xiāng gēn fàn tīng de jǐng xiàng chǒu 'è yǐ jí。 huán jìng zhuǎn biàn tài tū wù liǎo， duì bǐ tài qiáng liè liǎo， gé wài cì jī tā de yě xīn……” yǐ jīng xiǎng shòu guò shàng liú shè huì shēng huó de lā sī dì niè zài yě bù kěn zì gān pín jiàn， zuì hòu， tā jué xīn nòng zàng shuāng shǒu， mǒ hēi liáng xīn， bù gù yī qiē dì xiàng shàng pū。 lā sī dì niè de duò luò shì zhè zhǒng tè dìng de diǎn xíng huán jìng suǒ jué dìng de。
■ rén wù xìng gé de diǎn xíng huà
bā 'ěr zhā kè bù jǐn sù zào liǎo gāo lǐ 'ào、 lā sī dì niè、 bào sài 'áng fū rén、 fú tuō lěng děng diǎn xíng xíng xiàng， ér qiě zài qí tā rén wù xíng xiàng de sù zào zhōng yě zuò dào liǎo gòng xìng yǔ gè xìng de tǒng yī。 léi sī duō bó jué fū fù hé niǔ qìn gēn nán jué fū fù suī rán yòu guì zú de tóu xián， shí jì shàng dōushì zī chǎn zhě。 tā men jì yòu zhuī qiú gè rén sī lì de gòng tóng tè xìng， yòu dōushì dú jù gè xìng de diǎn xíng。 yínháng jiā niǔ qìn gēn xīn mù zhōng zhǐ yòu jīn qián， tā duì dài qī zǐ xún qiú wài yù de tài dù hěn míng lǎng：“ wǒ yǔn xǔ nǐ hú jiǎo， nǐ yě dé ràng wǒ fàn zuì， jiào nà xiē kě lián chóng qīng jiā dàng chǎn。” léi sī duō bó jué duì qī zǐ de měi zhe liǎo mí， suī tīng píng tā hé mǎ kè gòu dā， què yòu yī dìng xiàn dù， zhè hé tā de guì zú mén dì guān niàn yòu guān。 tā zhī dào qī zǐ tōu mài zǔ chuán zuàn shí hòu， xiǎng fāng shè fǎ shú huí， ràng tā dài zhe cān jiā wǔ huì， yǐ wéi hù mén dì de zūn yán。
ā nà sī tǎ qí hé dàn fěi nà dōushì gāo lǎo tóu de nǚ 'ér， dàn liǎng zǐ mèi gè yòu zì jǐ de gè xìng。 qián zhě shēn cái gāo dà、 jiēshí、 hēi fā， yǎn jīng jiǒng jiǒng yòu shén， jìn gōng yè jiàn guò huáng shàng， bù bǎ mèi mèi fàng zài yǎn lǐ。 hòu zhě jiāo xiǎo、 jīn fā， jí yòu fēng yùn， zì zhī shè huì dì wèi bù gāo， péi jià bèi zhàng fū qīn zhàn， yòu zāo qíng fū yí qì， xìng gé yōu yù shàn gǎn， jīng cháng huái niàn tóng nián shí dài de xìng fú shēng huó。 dàn tā men liǎ dōushì xū róng xīn jí qiáng de lì jǐ zhù yì zhě， wèile mǎn zú yù wàng， bù xī zhà gān fù qīn de jī xù。 ā nà sī tǎ qí xiàng fù qīn yào qián， wǎng wǎng yòng lè suǒ de fāng fǎ， dàn fěi nà zé yòng sǎ jiāo hǒngpiàn de bàn fǎ。
■ jīng zhì de jié gòu
xiǎo shuō yǐ gāo lǎo tóu hé lā sī dì niè de gù shì wéi liǎng tiáo zhù yào xiàn suǒ， yòu chuān chā liǎo fú tuō lěng、 bào sài 'áng fū rén de gù shì。 jǐ tiáo xiàn suǒ cuò zōng jiāo zhì， tóu xù kàn sì fēn fán 'ér shí jì zhù cì fēn míng、 mài luò qīng chǔ、 yòu tiáo bù wěn。 zuò pǐn yǐ xù shù gāo lǎo tóu bèi nǚ 'ér zhà gān
qián cái zāo pāo qì wéi zhōng xīn qíng jié， yǐ lā sī dì niè wéi zhōng xīn rén wù， tōng guò tā de huó dòng chuān zhēn yǐn xiàn， jiāng shàng céng shè huì yǔ xià céng shè huì lián xì qǐ lái， jiāng guì zú shā lóng yǔ zī chǎn zhě kè tīng lián jié qǐ lái。 suí zhe gāo lǎo tóu zhī mí zài lā sī dì niè yǎn qián zhǎn xiàn、 jiě kāi， qíng jié bù bù tuī xiàng gāo cháo。 fú tuō lěng bèi bǔ、 bào sài 'áng fū rén bèi qì、 gāo lǎo tóu cǎn sǐ， lā sī dì niè dōushì mù dǔ zhě、 jiàn zhèng rén。 shè huì de chǒu 'è zhèng shí liǎo tā jiē shòu de fǎn miàn jiào yù， gāo lǎo tóu mái zàng zhī rì， yě shì lā sī dì niè de qīng nián shí dài jié shù zhī shí。 jǐ tiáo xiàn suǒ jǐn mì jiāo zhì、 huán huán xiāng kòu、 bù bù shēn rù， qǐ zhe hù xiāng shēn huà、 hù wéi bǔ chōng de zuò yòng， cóng 'ér shēn kè dì biǎo xiàn liǎo zuò pǐn de zhù tí。
■ duì bǐ shǒu fǎ de guǎng fàn yùn yòng
yì shù shàng de duì bǐ shǒu fǎ zài《 gāo lǎo tóu》 zhōng yùn yòng dé shí fēn guǎng fàn。 fú gài gōng yù yǔ bào sài 'áng fǔ de qiáng liè duì bǐ， bù jǐn cù shǐ lā sī dì niè gè rén yě xīn de měng liè péng zhàng， ér qiě biǎo míng bù guǎn shì hè hè shēng wēi de háo mén dà hù hái shì qióng suān 'àn dàn de lòu shì kè zhàn， yī yàng chōng chì zhe bài jīn zhù yì， yī yàng cún zài zhe bēi liè wú chǐ。 gāo guì zhuāng zhòng de bào sài 'áng fū rén yǔ cū sú qiáng hàn de fú tuō lěng xíng chéng xiān míng duì bǐ， yī gè wén zhì bīn bīn， yī gè zhí yán bù huì， dàn bù tóng de yǔ yán què yòu jiē shì liǎo tóng yàng de dào lǐ， ér tā men liǎng rén kàn tòu shè huì de lǐ lùn yòu yǔ zì jǐ shēng huó zhōng de cǎn bài chéng wéi fǎn chèn， gèng jiā shēn liǎo bēi jù de yì wèi。 cǐ wài， hái yòu gāo lǎo tóu nǚ 'ér de qióng shē jí yù yǔ gāo lǎo tóu de pín kǔ jiǒng kùn de duì bǐ， bào sài 'áng fū rén tuì yǐn shí rè nào de chǎng miàn yǔ qī liáng xīn qíng de duì bǐ děng děng。 zhè zhǒng xiān míng duì bǐ de shǒu fǎ， shǐ zuò pǐn de zhù tí gèng jiā xiān míng tū chū。
gāo lǎo tóu - bā 'ěr zhā kè héng wén xué shàng de ná pò lún
bā 'ěr zhā kè（ HonoredeBalzac1799 ～ 1850） 19 shì jì fǎ guó wěi dà de pī pàn xiàn shí zhù yì zuò jiā， ōu zhōu pī pàn xiàn shí zhù yì wén xué de diàn jī rén hé jié chū dài biǎo。 yī shēng chuàng zuò 96 bù cháng、 zhōng、 duǎn piān xiǎo shuō hé suí bǐ， zǒng míng wéi《 rén jiān xǐ jù》。 qí zhōng dài biǎo zuò wéi《 ōu yě nī · gé lǎng tái》、《 gāo lǎo tóu》。 100 duō nián lái， tā de zuò pǐn chuán biàn liǎo quán shì jiè， duì shì jiè wén xué de fā zhǎn hé rén lèi jìn bù chǎn shēng liǎo jù dà de yǐng xiǎng。 mǎ kè sī、 ēn gé sī chēng zàn tā“ shì chāo qún de xiǎo shuō jiā”、“ xiàn shí zhù yì dà shī”。
bā 'ěr zhā kè 1799 nián 5 yuè 20 rì chū shēng yú yī gè fǎ guó dà gé mìng hòu zhì fù de zī chǎn jiē jí jiā tíng， fǎ kē xué xiào bì yè hòu， jù jué jiā tíng wèitā xuǎn zé de shòu rén zūn jìng de fǎ lǜ zhí yè， ér lì zhì dāng wén xué jiā。 wèile huò dé dú lì shēng huó hècóng shì chuàng zuò de wù zhì bǎo zhàng， tā céng shì bǐ bìng chā zú shāng yè， cóng shì chū bǎn yìn shuà yè， dàn dū yǐ pò chǎn gào zhōng。 zhè yī qiēdōu wèitā rèn shí shè huì、 miáo xiě shè huì tí gōng liǎo jí wéi zhēn guì de dì yī shǒu cái liào。 tā bù duàn zhuī qiú hé tàn suǒ， duì zhé xué、 jīng jì xué、 lì shǐ、 zì rán kē xué、 shén xué děng lǐng yù jìn xíng liǎo shēn rù yán jiū， jī lěi liǎo jí wéi guǎng bó de zhī shí。
1829 nián， bā 'ěr zhā kè wán chéng cháng piān xiǎo shuō《 shū 'áng dǎng rén》， zhè bù qǔ cái yú xiàn shí shēng huó de zuò pǐn wèitā dài lái jù dà shēng yù， yě wéi fǎ guó pī pàn xiàn shí zhù yì wén xué fàng xià dì yī kuài jī shí， bā 'ěr zhā kè jiāng《 shū 'áng dǎng rén》 hé jìhuà yào xiě de yī bǎi sì wǔ shí bù xiǎo shuō zǒng mìng míng wéi《 rén jiān xǐ jù》， bìng wéi zhī xiě liǎo《 qián yán》， chǎn shù liǎo tā de xiàn shí zhù yì chuàng zuò fāng fǎ hé jī běn yuán zé， cóng lǐ lùn shàng wéi fǎ guó pī pàn xiàn shí zhù yì wén xué diàn dìng liǎo jī chǔ。
cháng qī de xīn láo yán zhòng sǔn hài liǎo bā 'ěr zhā kè de jiàn kāng， gāng guò 50 suì， tā jiù zhòng bìng chán shēn liǎo。 zài bā 'ěr zhā kè shēng mìng chuí wēi shí kè， tā réng rán chén jìn zài zì jǐ zhì zào de shì jiè lǐ， tā kěn qiú yī shēng yán cháng tā de shēng mìng， tā jiù néng zài xiě chū yī bù zuò pǐn。 1850 nián 8 yuè 18 rì wǎn shàng 11 diǎn bàn， bā 'ěr zhā kè yǒng yuǎn bì shàng liǎo tā de nà shuāng dòng chá yī qiē de yǎn jīng， jié shù liǎo tā xīn qín láolèi de yī shēng。
bā 'ěr zhā kè zài yì shù shàng qǔ dé jù dà chéng jiù， tā zài xiǎo shuō jié gòu fāng miàn jiàng xīn dú yùn， xiǎo shuō jié gòu duō zhǒng duō yàng， bù jū yī gé、 bìng shàn yú jiāng jí zhōng gài kuò yǔ jīng què miáo mó xiāng jié hé， yǐ wài xíng fǎn yìng nèi xīn běn zhì děng shǒu fǎ lái sù zào rén wù， tā hái shàn yú yǐ jīng xì rén wēi、 shēng dòng bī zhēn de huán jìng miáo xiě zài xiàn shí dài fēng mào。 ēn gé sī chēng zàn bā 'ěr zhā kè de《 rén jiān xǐ jù》 xiě chū liǎo guì zú jiē jí de mòluò shuāi bài hé zī chǎn jiē jí de shàng shēng fā zhǎn， tí gōng liǎo shè huì gè gè lǐng yù wú bǐ fēng fù de shēng dòng xì jié hé xíng xiàng huà de lì shǐ cái liào，“ shèn zhì zài jīng jì de xì jié fāng miàn（ rú gé mìng yǐ hòu dòng chǎn hé bù dòng chǎn de chóngxīn fēn pèi）， wǒ xué dào de dōng xī yě yào bǐ cóng dāng shí suǒ yòu zhí yè lì shǐ xué jiā、 jīng jì xué yuàn hé tǒng jì xué jiā nà lǐ xué dào de quán bù dōng xī hái yào duō”。（ ēn gé sī：《 ēn gé sī zhì mǎ · hā kè nài sī》）
bā 'ěr zhā kè yǐ zì jǐ de chuàng zuò zài shì jiè wén xué shǐ shàng shù lì qǐ bù xiǔ de fēng bēi。 tā yǐ duì wén xué de rè 'ài chéng jiù liǎo yī dào měi lì de wén xué fēng jǐng！
Originally published in serial form during the winter of 1834–35, Le Père Goriot is widely considered Balzac's most important novel.[1] It marks the first serious use by the author of characters who had appeared in other books, a technique that distinguishes Balzac's fiction. The novel is also noted as an example of his realist style, using minute details to create character and subtext.
The novel takes place during the Bourbon Restoration, which brought about profound changes in French society; the struggle of individuals to secure upper-class status is ubiquitous in the book. The city of Paris also impresses itself on the characters – especially young Rastignac, who grew up in the provinces of southern France. Balzac analyzes, through Goriot and others, the nature of family and marriage, providing a pessimistic view of these institutions.
The novel was released to mixed reviews. Some critics praised the author for his complex characters and attention to detail; others condemned him for his many depictions of corruption and greed. A favorite of Balzac's, the book quickly won widespread popularity and has often been adapted for film and the stage. It gave rise to the French expression "Rastignac", a social climber willing to use any means to better his situation.
《 táng · jí hē dé》 shì 16 shì jì xī bān yá wěi dà zuò jiā sài wàn tí sī de dài biǎo zuò， shì wén yì fù xīng shí qī 'ōu zhōu dì yī bù xiàn shí zhù yì xiǎo shuō。 xiǎo shuō xiě de shì táng · jí hē dé yīn kàn qí shì xiǎo shuō rù mí， zì xǔ wéi yóu xiá qí shì， yào biàn yóu shì jiè qù chú qiáng fú ruò， wéi hù zhèng yì。 dài zhe huàn xiǎng zhōng de qí shì kuáng rè， bǎ fēng chē dàngchéng jù rén， bǎ qióng kè diàn dàngchéng háo huá de chéng bǎo， bǎ lǐfà shí de tóng pén dàngzuò mó fǎ shī de tóu kuī， bǎ yáng qún dàngzuò jūn duì…… tā chū yú shàn liáng de dòng jī， wǎng wǎng dé dào xiāng fǎn de jiēguǒ。 zuì zhōng shòu jìn cuò zhé， yī shì wú chéng， huí xiāng yù yù 'ér sǐ。
zuò zhě yǐ fěng cì kuā zhāng de yì shù shǒu fǎ， tōng guò táng · jí hē dé huāng dàn lí qí de yóu xiá xíng jìng， qiǎo miào dì bǎ kǔ nán zhōng de 16 shì jì mò、 17 shì jì chū de xī bān yá shè huì zhǎn xiàn zài dú zhě miàn qián， yǐ shǐ shī bān de guī mó miáo huì liǎo zhè gè shí dài de guǎng kuò huà miàn， yòu lì dì pēng jī liǎo xī bān yá shè huì de hēi 'àn。
táng · jí hē dé [ xiǎo shuō ]- kě xiào de fēng zǐ， kě bēi de yīng xióng
táng · jí hē dé shì gè fēng zǐ， dàn shì gè gāo guì de fēng zǐ， tā de bēi jù zhèng shì suǒ yòu rén wén zhù yì zhě de bēi jù， xiǎng yào píng yī jǐ zhī lì liàng qù gǎi zào shè huì。 tā duì shēng huó zhōng de yī qiē xié 'è zhǐ yòu yī gè jué duàn héng héng zhàn dǒu。 tā de hān zhí zhèng xiàng tā nà yòng lái shù lì rén jiān zhèng yì de cháng máo yī yàng， wú sī wú wèi， rén men xiào tā shǎ xiào tā chī， suī lǚ zhàn lǚ bài， què réng yǒng wǎng zhí qián。 dāng tán dào qí shì xiǎo shuō shí， tā de xíng wéi gù rán huá jī kě xiào， dàn zhǐ yào bù shè jí qí shì dào， wǒ men bù dé bù jìng zhòng tā de guāng míng lěi luò、 zhèng zhí yǒng gǎn， bù dé bù qīn pèi tā de xué shí， duì tā de suǒ shòu cuò zhé yě bù yóu dé sǎ yī jū tóng qíng zhī lèi。
《 táng · jí hē dé》 de chuàng zuò guò chéng jí yì yì
16、 17 shì jì zhī jiāo， xī bān yá qí shì xiǎo shuō fàn làn， tā yòng xū gòu de qíng jié、 huàn xiǎng de gù shì， zhāo lǎn dú zhě， dú hài xī bān yá rén mín de jīng shén。 sài wàn tí sī jiù shì yào“ bǎ qí shì xiǎo shuō de nà yī tào sǎo chú gān jìng”。 1602 nián tā kāi shǐ dòng bǐ chuàng zuò《 táng · jí hē dé》， xiǎo shuō chū bǎn hòu fēngmǐ yī shí。《 táng · jí hē dé》 yǐ shǐ shī bān de guī mó， zhēn shí dì fǎn yìng liǎo 16、 17 shì jì zhī jiāo de xī bān yá shè huì xiàn shí， jiē lù liǎo zhèng zǒu xiàng shuāi luò de xī bān yá wáng guó de zhǒng zhǒng máo dùn。 dàn xiǎo shuō de fǎn fēng jiàn、 fǎn jiào huì de qīng xiàng xìng hé duì qí shì wén xué de cháo fěng， yǐn qǐ liǎo bǎo shǒu fènzǐ de chóu hèn。 1614 nián yòu rén huà míng 'ā lóng suǒ · fèi 'ěr nán dé sī · ā wéi lì yà nà dá chū bǎn《 táng · jí hē dé xù jí》， duì yuán zuò de zhù tí hé xíng xiàng dà jiā wāi qū。 sài wàn tí sī fēi cháng qì fèn， jiā jǐn gǎn xiě， yú 1615 nián chū bǎn liǎo zhēn zhèng de《 táng · jí hē dé》 dì 'èr juàn。
táng · jí hē dé shì yī gè kuā zhāng shì de lǐ xiǎng huà rén wù， sài wàn tí sī zài sù zào táng · jí hē dé diǎn xíng xíng xiàng shí， qīng zhù liǎo zì jǐ de lǐ xiǎng hé gǎn qíng。 tā shuō：“ táng · jí hē dé zhuān wèiwǒ 'ér shēng， wǒ cǐ shēng yě zhǐ shì wèile tā。”
Published in two volumes a decade apart (in 1605 and 1615), Don Quixote is the most influential work of literature to emerge from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of modern Western literature, it regularly appears high on lists of the greatest works of fiction ever published.
The novel's structure is in episodic form. It is written in the picaresco style of the late sixteenth century. The full title is indicative of the tale's object, as ingenioso (Spanish) means "to be quick with inventiveness".[2] Although the novel is farcical on the surface, the second half is more serious and philosophical about the theme of deception. Quixote has served as an important thematic source not only in literature but in much of art and music, inspiring works by Pablo Picasso and Richard Strauss. The contrasts between the tall, thin, fancy-struck, and idealistic Quixote and the fat, squat, world-weary Panza is a motif echoed ever since the book’s publication, and Don Quixote's imaginings are the butt of outrageous and cruel practical jokes in the novel. Even faithful and simple Sancho is unintentionally forced to deceive him at certain points. The novel is considered a satire of orthodoxy, veracity, and even nationalism. In going beyond mere storytelling to exploring the individualism of his characters, Cervantes helped move beyond the narrow literary conventions of the chivalric romance literature that he spoofed, which consists of straightforward retelling of a series of acts that redound to the knightly virtues of the hero.
Farce makes use of punning and similar verbal playfulness. Character-naming in Don Quixote makes ample figural use of contradiction, inversion, and irony, such as the names Rocinante[3] (a reversal) and Dulcinea (an allusion to illusion), and the word quixote itself, possibly a pun on quijada (jaw) but certainly cuixot (Catalan: thighs), a reference to a horse's rump.[4] As a military term, the word quijote refers to cuisses, part of a full suit of plate armour protecting the thighs. The Spanish suffix -ote denotes the superlative—for example, grande means large, but grandote means extra large. Following this example, Quixote would suggest 'The Great Quijano', a play on words that makes much sense in light of the character's delusions of grandeur.
The world of ordinary people, from shepherds to tavern-owners and inn-keepers, which figures in Don Quixote, was groundbreaking. The character of Don Quixote became so well-known in its time that the word quixotic was quickly adopted by many languages. Characters such as Sancho Panza and Don Quixote’s steed, Rocinante, are emblems of Western literary culture. The phrase "tilting at windmills" to describe an act of attacking imaginary enemies derives from an iconic scene in the book.
Because of its widespread influence, Don Quixote also helped cement the modern Spanish language. The opening sentence of the book created a classic Spanish cliché with the phrase de cuyo nombre no quiero acordarme, "whose name I do not care to recall."
En un lugar de la Mancha, de cuyo nombre no quiero acordarme, no hace mucho tiempo que vivía un hidalgo de los de lanza en astillero, adarga antigua, rocín flaco y galgo corredor.
[Translation] In a place of La Mancha, whose name I would not like to remember, there lived, not very long ago, one of those gentlemen who keep a lance in the lance-rack, an ancient shield, a skinny old horse, and a fast greyhound.
Plot summary
Alonso Quixano, a retired country gentleman in his fifties, lives in an unnamed section of La Mancha with his niece and a housekeeper. He has become obsessed with books of chivalry, and believes their every word to be true, despite the fact that many of the events in them are clearly impossible. Quixano eventually appears to other people to have lost his mind from little sleep and food and because of so much reading.
First quest
Gustave Doré: Don Quixote de La Mancha and Sancho Panza, 1863
He decides to go out as a knight-errant in search of adventure. He dons an old suit of armor, renames himself "Don Quixote de la Mancha," and names his skinny horse "Rocinante." He designates a neighboring farm girl, Aldonza Lorenzo, as his lady love, renaming her Dulcinea del Toboso, while she knows nothing about this.
He sets out in the early morning and ends up at an inn, which he believes to be a castle. He asks the innkeeper, who he thinks to be the lord of the castle, to dub him a knight. He spends the night holding vigil over his armor, where he becomes involved in a fight with muleteers who try to remove his armor from the horse trough so that they can water their mules. The innkeeper then "dubs" him a knight, and sends him on his way. He frees a young boy who is tied to a tree by his master, because the boy had the audacity to ask his master for the wages the boy had earned but had not yet been paid (who is promptly beaten as soon as Quixote leaves). Don Quixote has a run-in with traders from Toledo, who "insult" the imaginary Dulcinea, one of which severely beats Don Quixote and leaves him on the side of the road. Don Quixote is found and returned to his home by a neighboring peasant, Pedro Crespo.[5]
Second quest
Don Quixote plots an escape. Meanwhile, his niece, the housekeeper, the parish curate, and the local barber secretly burn most of the books of chivalry, and seal up his library pretending that a magician has carried it off. Don Quixote approaches another neighbor, Sancho Panza, and asks him to be his squire, promising him governorship of an island. The dull-witted Sancho agrees, and the pair sneak off in the early dawn. It is here that their series of famous adventures begin, starting with Don Quixote's attack on windmills that he believes to be ferocious giants.
In the course of their travels, the protagonists meet innkeepers, prostitutes, goatherds, soldiers, priests, escaped convicts, and scorned lovers. These encounters are magnified by Don Quixote’s imagination into chivalrous quests. The Don’s tendency to intervene violently in matters which don’t concern him, and his habit of not paying his debts, result in many privations, injuries, and humiliations (with Sancho often getting the worst of it). Finally, Don Quixote is persuaded to return to his home village. The author hints that there was a third quest, but says that records of it have been lost.
Part Two
Although the two parts are now normally published as a single work, Don Quixote, Part Two was actually a sequel published ten years after the original novel. Don Quixote and Sancho are now assumed to be famous throughout the land because of the adventures recounted in Part One. While Part One was mostly farcical, the second half is more serious and philosophical about the theme of deception. Don Quixote's imaginings are made the butt of outrageously cruel practical jokes carried out by wealthy patrons. Even Sancho is unintentionally forced to deceive him at one point. Trapped into finding Dulcinea, Sancho brings back three dirty and ragged peasant girls, and tells Quixote that they are Dulcinea and her ladies-in-waiting. When Don Quixote only sees the peasant girls, Sancho pretends that Quixote suffers from a cruel spell which does not permit him to see the truth. Sancho eventually gets his imaginary island governorship and unexpectedly proves to be wise and practical; though this, too, ends in disaster.
Conclusion
Don Quixote, his horse Rocinante and his squire Sancho Panza after an unsuccessful attack on a windmill. By Gustave Doré
The cruel practical jokes eventually lead Don Quixote to a great melancholy. The novel ends with Don Quixote regaining his full sanity, and renouncing all chivalry. But, the melancholy remains, and grows worse. Sancho tries to restore his faith, but his attempt to resurrect Alonso's quixotic alter-ego fails, and Alonso Quixano dies, sane and broken.
Other stories
Both parts of Don Quixote contain a number of stories which do not directly involve the two main characters, but which are narrated by some of the picaresque figures encountered by the Don and Sancho during their travels. One of the most famous, known as "The Curious Impertinent," is found in Part One, Book Three. This story, read to a group of travelers at an inn, tells of a Florentine nobleman, Anselmo, who becomes obsessed with testing his wife's fidelity, and talks his close friend Lothario into attempting to seduce her, with disastrous results for all.
Several abridged editions have been published which delete some or all of the extra tales in order to concentrate on the central narrative.
zuò zhě yǐ fěng cì kuā zhāng de yì shù shǒu fǎ， tōng guò táng · jí hē dé huāng dàn lí qí de yóu xiá xíng jìng， qiǎo miào dì bǎ kǔ nán zhōng de 16 shì jì mò、 17 shì jì chū de xī bān yá shè huì zhǎn xiàn zài dú zhě miàn qián， yǐ shǐ shī bān de guī mó miáo huì liǎo zhè gè shí dài de guǎng kuò huà miàn， yòu lì dì pēng jī liǎo xī bān yá shè huì de hēi 'àn。
táng · jí hē dé [ xiǎo shuō ]- kě xiào de fēng zǐ， kě bēi de yīng xióng
táng · jí hē dé shì gè fēng zǐ， dàn shì gè gāo guì de fēng zǐ， tā de bēi jù zhèng shì suǒ yòu rén wén zhù yì zhě de bēi jù， xiǎng yào píng yī jǐ zhī lì liàng qù gǎi zào shè huì。 tā duì shēng huó zhōng de yī qiē xié 'è zhǐ yòu yī gè jué duàn héng héng zhàn dǒu。 tā de hān zhí zhèng xiàng tā nà yòng lái shù lì rén jiān zhèng yì de cháng máo yī yàng， wú sī wú wèi， rén men xiào tā shǎ xiào tā chī， suī lǚ zhàn lǚ bài， què réng yǒng wǎng zhí qián。 dāng tán dào qí shì xiǎo shuō shí， tā de xíng wéi gù rán huá jī kě xiào， dàn zhǐ yào bù shè jí qí shì dào， wǒ men bù dé bù jìng zhòng tā de guāng míng lěi luò、 zhèng zhí yǒng gǎn， bù dé bù qīn pèi tā de xué shí， duì tā de suǒ shòu cuò zhé yě bù yóu dé sǎ yī jū tóng qíng zhī lèi。
《 táng · jí hē dé》 de chuàng zuò guò chéng jí yì yì
16、 17 shì jì zhī jiāo， xī bān yá qí shì xiǎo shuō fàn làn， tā yòng xū gòu de qíng jié、 huàn xiǎng de gù shì， zhāo lǎn dú zhě， dú hài xī bān yá rén mín de jīng shén。 sài wàn tí sī jiù shì yào“ bǎ qí shì xiǎo shuō de nà yī tào sǎo chú gān jìng”。 1602 nián tā kāi shǐ dòng bǐ chuàng zuò《 táng · jí hē dé》， xiǎo shuō chū bǎn hòu fēngmǐ yī shí。《 táng · jí hē dé》 yǐ shǐ shī bān de guī mó， zhēn shí dì fǎn yìng liǎo 16、 17 shì jì zhī jiāo de xī bān yá shè huì xiàn shí， jiē lù liǎo zhèng zǒu xiàng shuāi luò de xī bān yá wáng guó de zhǒng zhǒng máo dùn。 dàn xiǎo shuō de fǎn fēng jiàn、 fǎn jiào huì de qīng xiàng xìng hé duì qí shì wén xué de cháo fěng， yǐn qǐ liǎo bǎo shǒu fènzǐ de chóu hèn。 1614 nián yòu rén huà míng 'ā lóng suǒ · fèi 'ěr nán dé sī · ā wéi lì yà nà dá chū bǎn《 táng · jí hē dé xù jí》， duì yuán zuò de zhù tí hé xíng xiàng dà jiā wāi qū。 sài wàn tí sī fēi cháng qì fèn， jiā jǐn gǎn xiě， yú 1615 nián chū bǎn liǎo zhēn zhèng de《 táng · jí hē dé》 dì 'èr juàn。
táng · jí hē dé shì yī gè kuā zhāng shì de lǐ xiǎng huà rén wù， sài wàn tí sī zài sù zào táng · jí hē dé diǎn xíng xíng xiàng shí， qīng zhù liǎo zì jǐ de lǐ xiǎng hé gǎn qíng。 tā shuō：“ táng · jí hē dé zhuān wèiwǒ 'ér shēng， wǒ cǐ shēng yě zhǐ shì wèile tā。”
Published in two volumes a decade apart (in 1605 and 1615), Don Quixote is the most influential work of literature to emerge from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of modern Western literature, it regularly appears high on lists of the greatest works of fiction ever published.
The novel's structure is in episodic form. It is written in the picaresco style of the late sixteenth century. The full title is indicative of the tale's object, as ingenioso (Spanish) means "to be quick with inventiveness".[2] Although the novel is farcical on the surface, the second half is more serious and philosophical about the theme of deception. Quixote has served as an important thematic source not only in literature but in much of art and music, inspiring works by Pablo Picasso and Richard Strauss. The contrasts between the tall, thin, fancy-struck, and idealistic Quixote and the fat, squat, world-weary Panza is a motif echoed ever since the book’s publication, and Don Quixote's imaginings are the butt of outrageous and cruel practical jokes in the novel. Even faithful and simple Sancho is unintentionally forced to deceive him at certain points. The novel is considered a satire of orthodoxy, veracity, and even nationalism. In going beyond mere storytelling to exploring the individualism of his characters, Cervantes helped move beyond the narrow literary conventions of the chivalric romance literature that he spoofed, which consists of straightforward retelling of a series of acts that redound to the knightly virtues of the hero.
Farce makes use of punning and similar verbal playfulness. Character-naming in Don Quixote makes ample figural use of contradiction, inversion, and irony, such as the names Rocinante[3] (a reversal) and Dulcinea (an allusion to illusion), and the word quixote itself, possibly a pun on quijada (jaw) but certainly cuixot (Catalan: thighs), a reference to a horse's rump.[4] As a military term, the word quijote refers to cuisses, part of a full suit of plate armour protecting the thighs. The Spanish suffix -ote denotes the superlative—for example, grande means large, but grandote means extra large. Following this example, Quixote would suggest 'The Great Quijano', a play on words that makes much sense in light of the character's delusions of grandeur.
The world of ordinary people, from shepherds to tavern-owners and inn-keepers, which figures in Don Quixote, was groundbreaking. The character of Don Quixote became so well-known in its time that the word quixotic was quickly adopted by many languages. Characters such as Sancho Panza and Don Quixote’s steed, Rocinante, are emblems of Western literary culture. The phrase "tilting at windmills" to describe an act of attacking imaginary enemies derives from an iconic scene in the book.
Because of its widespread influence, Don Quixote also helped cement the modern Spanish language. The opening sentence of the book created a classic Spanish cliché with the phrase de cuyo nombre no quiero acordarme, "whose name I do not care to recall."
En un lugar de la Mancha, de cuyo nombre no quiero acordarme, no hace mucho tiempo que vivía un hidalgo de los de lanza en astillero, adarga antigua, rocín flaco y galgo corredor.
[Translation] In a place of La Mancha, whose name I would not like to remember, there lived, not very long ago, one of those gentlemen who keep a lance in the lance-rack, an ancient shield, a skinny old horse, and a fast greyhound.
Plot summary
Alonso Quixano, a retired country gentleman in his fifties, lives in an unnamed section of La Mancha with his niece and a housekeeper. He has become obsessed with books of chivalry, and believes their every word to be true, despite the fact that many of the events in them are clearly impossible. Quixano eventually appears to other people to have lost his mind from little sleep and food and because of so much reading.
First quest
Gustave Doré: Don Quixote de La Mancha and Sancho Panza, 1863
He decides to go out as a knight-errant in search of adventure. He dons an old suit of armor, renames himself "Don Quixote de la Mancha," and names his skinny horse "Rocinante." He designates a neighboring farm girl, Aldonza Lorenzo, as his lady love, renaming her Dulcinea del Toboso, while she knows nothing about this.
He sets out in the early morning and ends up at an inn, which he believes to be a castle. He asks the innkeeper, who he thinks to be the lord of the castle, to dub him a knight. He spends the night holding vigil over his armor, where he becomes involved in a fight with muleteers who try to remove his armor from the horse trough so that they can water their mules. The innkeeper then "dubs" him a knight, and sends him on his way. He frees a young boy who is tied to a tree by his master, because the boy had the audacity to ask his master for the wages the boy had earned but had not yet been paid (who is promptly beaten as soon as Quixote leaves). Don Quixote has a run-in with traders from Toledo, who "insult" the imaginary Dulcinea, one of which severely beats Don Quixote and leaves him on the side of the road. Don Quixote is found and returned to his home by a neighboring peasant, Pedro Crespo.[5]
Second quest
Don Quixote plots an escape. Meanwhile, his niece, the housekeeper, the parish curate, and the local barber secretly burn most of the books of chivalry, and seal up his library pretending that a magician has carried it off. Don Quixote approaches another neighbor, Sancho Panza, and asks him to be his squire, promising him governorship of an island. The dull-witted Sancho agrees, and the pair sneak off in the early dawn. It is here that their series of famous adventures begin, starting with Don Quixote's attack on windmills that he believes to be ferocious giants.
In the course of their travels, the protagonists meet innkeepers, prostitutes, goatherds, soldiers, priests, escaped convicts, and scorned lovers. These encounters are magnified by Don Quixote’s imagination into chivalrous quests. The Don’s tendency to intervene violently in matters which don’t concern him, and his habit of not paying his debts, result in many privations, injuries, and humiliations (with Sancho often getting the worst of it). Finally, Don Quixote is persuaded to return to his home village. The author hints that there was a third quest, but says that records of it have been lost.
Part Two
Although the two parts are now normally published as a single work, Don Quixote, Part Two was actually a sequel published ten years after the original novel. Don Quixote and Sancho are now assumed to be famous throughout the land because of the adventures recounted in Part One. While Part One was mostly farcical, the second half is more serious and philosophical about the theme of deception. Don Quixote's imaginings are made the butt of outrageously cruel practical jokes carried out by wealthy patrons. Even Sancho is unintentionally forced to deceive him at one point. Trapped into finding Dulcinea, Sancho brings back three dirty and ragged peasant girls, and tells Quixote that they are Dulcinea and her ladies-in-waiting. When Don Quixote only sees the peasant girls, Sancho pretends that Quixote suffers from a cruel spell which does not permit him to see the truth. Sancho eventually gets his imaginary island governorship and unexpectedly proves to be wise and practical; though this, too, ends in disaster.
Conclusion
Don Quixote, his horse Rocinante and his squire Sancho Panza after an unsuccessful attack on a windmill. By Gustave Doré
The cruel practical jokes eventually lead Don Quixote to a great melancholy. The novel ends with Don Quixote regaining his full sanity, and renouncing all chivalry. But, the melancholy remains, and grows worse. Sancho tries to restore his faith, but his attempt to resurrect Alonso's quixotic alter-ego fails, and Alonso Quixano dies, sane and broken.
Other stories
Both parts of Don Quixote contain a number of stories which do not directly involve the two main characters, but which are narrated by some of the picaresque figures encountered by the Don and Sancho during their travels. One of the most famous, known as "The Curious Impertinent," is found in Part One, Book Three. This story, read to a group of travelers at an inn, tells of a Florentine nobleman, Anselmo, who becomes obsessed with testing his wife's fidelity, and talks his close friend Lothario into attempting to seduce her, with disastrous results for all.
Several abridged editions have been published which delete some or all of the extra tales in order to concentrate on the central narrative.
《 jiǎn · ài》 shì yīng guó shí jiǔ shì jì zhù míng de nǚ zuò jiā xià luò dì · bó lǎng tè de dài biǎo zuò， rén men pǔ biàn rèn wéi《 jiǎn · ài》 shì xià luò dì · bó lǎng tè“ shī yì de shēng píng” de xiě zhào， shì yī bù jù yòu zìzhuàn sè cǎi de zuò pǐn。 xià luò dì · bó lǎng tè、 ài mǐ lì · bó lǎng tè、 ān nī · bó lǎng tè hé bó lǎng níng fū rén gòu chéng nà gè shí dài yīng guó fù nǚ zuì gāo róng yù de wán měi de sān wèi yī tǐ。
《 jiǎn · ài》 shì yī bù dài yòu zìzhuàn sè cǎi de cháng piān xiǎo shuō， tā chǎn shì liǎo zhè yàng yī gè zhù tí： rén de jià zhí ＝ zūn yán ＋ ài。《 jiǎn · ài》 gāng chū bǎn shí , zuò zhě xià luò dì bó lǎng tè yòng de bǐ míng shì kē lè bèi 'ěr。 yǐ zhì yú zhī hòu tā de jiě mèi men chū de shū dū bèi wù rèn wèishì tā xiě de。 hǎo zài tā zhī hòu qīn zì zài《 jiǎn · ài》 zài bǎn shí chéng qīng shì shí。
《 jiǎn · ài》 de zuò zhě xià luò dì · bó lǎng tè hé《 hū xiào shān zhuāng》 de zuò zhě 'ài mǐ lì shì jiě mèi。 suī rán liǎng rén shēng huó zài tóng yī shè huì， jiā tíng huán jìng zhōng， xìng gé què dà bù xiāng tóng， xià luò dì . bó lǎng tè xiǎn dé gèng jiā de wēn róu， gèng jiā de qīng chún， gèng jiā de xǐ huān zhuī qiú yī xiē měi hǎo de dōng xī， jìn guǎn tā jiā jìng pín qióng， cóng xiǎo shī qù liǎo mǔ 'ài， fù 'ài yě hěn shǎo， zài jiā shàng tā shēn cái 'ǎi xiǎo， róng mào bù měi， dàn yě xǔ jiù shì zhè yàng yī zhǒng líng hún shēn chù de hěn shēn de zì bēi， fǎn yìng zài tā de xìng gé shàng jiù shì yī zhǒng fēi cháng mǐn gǎn de zì zūn， yǐ zì zūn zuò wéi tā nèi xīn shēn chù de zì bēi de bǔ cháng。 tā miáo xiě de jiǎn。 ài yě shì yī gè bù měi de， ǎi xiǎo de nǚ rén， dàn shì tā yòu zhe jí qí qiáng liè de zì zūn xīn。 tā jiān dìng bù yí dì qù zhuī qiú yī zhǒng guāng míng de， shèng jié de， měi hǎo de shēng huó。
《 jiǎn · ài》 - gù shì gěng gài
jiǎn · ài de fù qīn shì gè qióng mù shī， dāng tā hái zài yòu nián shí， fù mǔ jiù rǎn bìng shuāng shuāng qù shì。 jiǎn · ài bèi sòng dào gài cí hǎi dé zhuāng yuán de jiù mǔ lǐ dé tài tài jiā fǔ yǎng， lǐ dé xiān shēng lín sǐ qián céng zhǔ fù qī zǐ hǎohǎo zhào gù jiǎn · ài。 jiǎn · ài zài lǐ dé tài tài jiā de dì wèi， lián shǐ nǚ dōubù rú， shòu jìn liǎo biǎo xiōng biǎo zǐ mèi de qī wǔ。 yī tiān biǎo xiōng yòu dǎ tā liǎo， tā huí shǒu fǎn kàng， què bèi jiù mǔ guān jìn hóng fáng zǐ lǐ， tā de jiù jiù lǐ dé xiān shēng jiù sǐ zài zhè jiān wū zǐ lǐ。 tā bèi huàn xiǎng zhōng de guǐ hún xià hūn liǎo guò qù。 zhòng bìng yīcháng， guò liǎo hěn jiǔ cái màn màn huī fù jiàn kāng。
tā zài yě bù xiǎng dāi zài lǐ dé tài tài jiā liǎo， lǐ dé tài tài jiù bǎ tā sòng jìn dá luó wò dé gū 'ér yuàn。 gū 'ér yuàn yuàn cháng shì gè lěng kù de wěi jūn zǐ， tā yòng zhǒng zhǒng bàn fǎ cóng jīng shén hé ròu tǐ shàng cuī cán gū 'ér。 jiǎn yǔ gū 'ér hǎi lún jié chéng hǎo yǒu， jiào shī tán bó 'ěr xiǎo jiě hěn guān xīn tā。 zài gū 'ér yuàn lǐ yīcháng chuán rǎn xìng de shāng hán， duó zǒu liǎo xǔ duō jiàng 'ér de shēng mìng， hǎi lún jiù zài zhè chǎng shāng hán zhōng sǐ qù， zhè duì jiǎn · ài dǎ jī hěn dà。
jiǎn bì yè hòu liú xiào dāng liǎo liǎng nián jiào shī， tā shòu bù liǎo nà lǐ de gū jì、 lěng mò， dēng guǎng gào zhǎo dào liǎo yī gè jiā tíng jiào shī de gōng zuò， yú shì tā lái dào liǎo sāng fèi 'ěr dé zhuāng yuán。 zài sāng fèi 'ěr dé zhuāng yuán zhǐ yòu zhuāng yuán zhù luó chè sī tè hé tā de sī shēng nǚ 'ā dài 'ěr · wǎ lún sī， ér luó chè sī tè jīng cháng dào guó wài lǚ xíng， suǒ yǐ jiǎn dào sāng fèi 'ěr dé hǎo jǐ tiān， yě méi jiàn dào luó chè sī tè。
yī tiān huáng hūn， jiǎn wài chū sàn bù， jīng liǎo gāng gāng cóng wài miàn huí lái de luó chè sī tè de mǎ， luó chè sī tè cóng mǎ shàng shuāi liǎo xià lái， jiǎn jí máng shàng qián qù fú tā， huí dào jiā hòu jiǎn cái zhī dào tā biàn shì zhuāng yuán zhù luó chè sī tè。 luó chè sī tè shì gè xìng gé yīn yù 'ér yòu xǐ nù wú cháng de rén， tā hé jiǎn jīng cháng wéi mǒu zhǒng sī xiǎng xīn biàn lùn bù xiū。
zài sāng fèi 'ěr dé zhuāng yuán bù duàn fā shēng qí guài de shì qíng。 yòu yī tiān yè lǐ， jiǎn bèi yī zhèn qí guài de xiào shēng jīng xǐng， fā xiàn luó chè sī tè de fáng mén kāi zhe， chuáng shàng zhe liǎo huǒ， tā jiào xǐng luó chè sī tè bìng pū miè huǒ。 luó chè sī tè gào sù jiǎn sān lóu zhù zhe yī gè nǚ zāi féng gé léi sī · pǔ 'ěr， tā shén jīng cuò luàn， shí cháng fā chū lìng rén máo gǔ sǒng rán de kuáng xiào shēng， bìng yào tā duì cǐ shì yán shǒu mì mì。
luó chè sī tè jīng cháng cān jiā wǔ huì， yī tiān tā bǎ kè rén qǐng dào jiā lǐ lái wán， rén mendōu yǐ wéi zài zhè chǎng wǔ huì shàng luó chè sī tè huì xiàng bù lán qí xiǎo jiě qiú hūn。 zài yàn huì shàng luó chè sī tè jiān chí yào jiǎn yě dào kè tīng lǐ qù， kè rén men duì jiǎn de tài dù shí fēn qīng màn， luó chè què yāo qǐng jiǎn tiào wǔ， jiǎn gǎn jué dào zì jǐ duì luó chè sī tè fā shēng gǎn qíng。
yī tiān， luó chè sī tè wài chū， jiā lǐ lái liǎo yī gè méng zhe gài tóu de jí bǔ sài rén。 dāng lún dào gěi jiǎn suàn mìng shí， jiǎn fā xiàn zhè gè shén mì de jí bǔ sài rén jiù shì luó chè sī tè， tā xiǎng jiè cǐ shì tàn jiǎn duì tā de gǎn qíng。 zhè shí zhuāng yuán lǐ yòu lái liǎo gè míng méi sēn de mò shēng rén， dāng wǎn tā bèi sān lóu de shén mì nǚ rén yǎo shāng liǎo， jiǎn bāng luó chè sī tè bǎ tā mì mì sòng zǒu。
bù jiǔ， lǐ dé tài tài pài rén lái zhǎo jiǎn， shuō tā bìng wēi yào jiàn jiǎn yī miàn。 huí dào jiù mǔ jiā zhōng， lǐ dé tài tài gěi tā yī fēng xìn， zhè fēng xìn shì sān nián qián jiǎn de shū fù jì lái de， xiàng tā dǎ tīng zhí nǚ de xiāo xī， bìng bǎ zì jǐ de yí chǎn jiāo gěi jiǎn。 lǐ dé tài tài huǎng chēng jiǎn zài gū 'ér yuàn bìng sǐ liǎo， zhí dào lín zhōng qián cái liáng xīn fā xiàn bǎ zhēn xiāng gào sù jiǎn。
jiǎn yòu huí dào sāng fèi 'ěr dé zhuāng yuán gǎn jué xiàng huí dào jiā yī yàng。 huí lái hòu， luó chè sī tè xiàng tā wèi hūn， jiǎn dāyìng liǎo， bìng gāo xīng dì zhǔn bèi hūn lǐ。 hūn lǐ qián yè， jiǎn cóng mèng zhōng jīng xǐng， kàn dào yī gè shēn cái gāo dà、 miàn mù kě zēng de nǚ rén zhèng zài dài tā de hūn shā， rán hòu bǎ hūn shā sī chéng suì piàn。 luó chè sī tè gào sù tā nà bù guò shì yī gè mèng， dì 'èr tiān dāng jiǎn xǐng lái shí fā xiàn hūn shā zhēn de chéng liǎo suì piàn。
hūn lǐ rú qī jǔ xíng， yī wèi bù sù zhī kè chuǎng jìn liǎo jiào táng， shēng chēng hūn lǐ bù néng jìn xíng， tā shuō luó chè sī tè 15 nián qián qǔ méi sēn xiān shēng de mèi mèi bó suō · méi sēn wéi qī。 luó chè sī tè chéng rèn liǎo zhè yī shì shí， bìng lǐng rén men kàn bèi guān zài sān lóu de fēng nǚ rén， nà jiù shì tā de hé fǎ qī zǐ。 tā yòu yí chuán xìng jīng shén bìng shǐ， jiù shì tā zài luó chè sī tè de fáng jiān fàng huǒ， yě shì tā sī suì jiǎn de hūn shā。
jiǎn bēi tòng yù jué dì lí kāi liǎo sāng fèi 'ěr dé zhuāng yuán。 tā de jǐn yòu de jī xù huā guāng liǎo， yán tú qǐ tǎo， zuì hòu yūndǎo zài mù shī shèng yuē hàn jiā mén qián， bèi shèng yuē hàn hé tā de liǎng gè mèi mèi jiù liǎo。 jiǎn zhù liǎo xià lái， shèng yuē hàn wéi tā móu liǎo yī gè xiāng cūn jiào shī de zhí wèi。
bù jiǔ， shèng yuē hàn jiē dào jiā tíng lǜ shī de tōng zhī， shuō tā de jiù jiù yuē hàn jiǎn qù shì liǎo， liú gěi jiǎn 'èr wàn yīng bàng， yào shèng yuē hàn bāng zhù xún zhǎo jiǎn。 shèng yuē hàn fā xiàn jiǎn shì tā de biǎo mèi， jiǎn zhí yì yào yǔ tā men fēn xiǎng yí chǎn。 shèng yuē hàn zhǔn bèi qù yìn dù chuán jiào， lín xíng qián xiàng jiǎn qiú hūn， dàn tā tǎn shuài dì gào sù tā， tā yào qǔ tā bìng bù shì yīn wéi 'ài tā， ér shì tā xū yào yī gè hěn yòu jiào yǎng de zhù shǒu。 jiǎn jué dé yīnggāi bào dá tā de 'ēn qíng， dàn chí chí bù kěn dāyìng tā。 dāng yè， shèng yuē hàn zài huāng yuán shàng děng dài jiǎn de dá fù， jiù zài jiǎn yào zuò chū jué dìng de shí hòu， tā fǎng fó tīng dào luó chè sī tè zài yáo yuǎn de dì fāng hū hǎn tā de míng zì“ jiǎn， huí lái bā！ jiǎn， huí lái bā！” tā jué dìng huí dào luó chè sī tè shēn biān。
dāng jiǎn huí dào sāng fèi 'ěr dé zhuāng yuán shí， zhěng gè zhuāng yuán biàn chéng yī piàn fèi xū。 yuán lái jǐ gè yuè qián， zài yī gè fēng yǔ jiāo jiā de yè wǎn， fēng nǚ rén bó suō fàng huǒ shāo huǐ liǎo zhěng gè zhuāng yuán， luó chè sī tè wèile jiù tā， bèi shāo xiā liǎo shuāng yǎn， gū dú dì shēng huó zài jǐ yīng lǐ wài de yī gè nóng chǎng lǐ。 jiǎn gǎn dào jiā chǎng， xiàng tā tù lù zì jǐ de 'ài qíng， tā men zhōng yú jié hūn liǎo。 liǎng nián zhī hòu， zhì hǎo liǎo luó chè sī tè de yī zhǐ yǎn jīng， tā kàn dào liǎo jiǎn wèitā shēng de dì yī gè hái zǐ。
《 jiǎn · ài》 - xiǎo shuō píng jià
《 jiǎn · ài》 shì yī běn jù yòu duō nián lì shǐ de wén xué zhù zuò。 zhì jīn yǐ 152 nián de lì shǐ liǎo， tā chéng gōng dì sù zào liǎo yīng guó wén xué shǐ zhōng dì yī gè duì 'ài qíng、 shēng huó、 shè huì yǐ jí zōng jiào dū cǎi qǔ liǎo dú lì zì zhù de jī jí jìn qǔ tài dù hé gǎn yú dǒu zhēng、 gǎn yú zhēng qǔ zì yóu píng děng dì wèi de nǚ xìng xíng xiàng。
《 jiǎn · ài》 shì yī bù dài yòu zì zhuǎn sè cǎi de cháng piān xiǎo shuō， shì yīng guó shí jiǔ shì jì zhù míng sān jiě mèi zuò jiā zhī yī de xià luò dì · bó lǎng tè suǒ zhù。 zhè shì yī běn yòng zì jǐ de xīn yǔ qiáng liè de jīng shén zhuī qiú zhù liàn chéng de yī běn shū， hán zhe zuò zhě wú xiàn de qíng gǎn hé gè xìng mèi lì， wéi nǚ xìng yíng dé liǎo yī piàn càn làn de tiān kōng。
jiǎn . ài shēng cún zài yī gè fù mǔ shuāng wáng， jì rén lí xià de huán jìng， cóng xiǎo jiù chéng shòu zhe yǔ tóng líng rén bù yī yàng de dài yù， yí mā de xián qì， biǎo jiě de miè shì， biǎo gē de wǔ rǔ hé dú dǎ。 zhè shì duì yī gè hái zǐ de zūn yán de wú qíng jiàn tà， rán 'ér xìng yùn de shì zài jí qí kè bó de jì sù xué xiào de shēng huó zhōng， jiǎn · ài yù dào liǎo yī gè kě 'ài de péng yǒu： hǎi lún · péng sī , hǎi lún wēn shùn、 cōng yíng hé wú bǐ kuān róng de xìng gé yī zhí yǐng xiǎng zhe jiǎn . ài， shǐ zhī yǐ hòu miàn duì zhǒng zhǒng kùn nán dōubù zài qū fú bào yuàn， dǒng dé liǎo 'ài hé zhōng chéng。
zài luó qiē sī tè de miàn qián , tā cóng bù yīn wéi zì jǐ shì yī gè dì wèi dī jiàn de jiā tíng jiào shī 'ér gǎn dào zì bēi， fǎn 'ér rèn wéi tā men shì píng děng de。 bù yìng gāi yīn wéi tā shì pú rén， ér bù néng shòu dào bié rén de zūn zhòng。 yě zhèng yīn wéi tā de zhèng zhí， gāo shàng， chún jié， xīn líng méi yòu shòu dào shì sú shè huì de wū rǎn， shǐ dé luó qiē sī tè wéi zhī zhèn hàn， bìng bǎ tā kàn zuò liǎo yī gè kě yǐ hé zì jǐ zài jīng shén shàng píng děng jiāo tán de rén， bìng qiě màn màn dì shēn shēn 'ài shàng liǎo tā。 zhè shì jiǎn · ài gào sù luó qiē sī tè tā bì xū lí kāi de lǐ yóu， dàn shì cóng nèi xīn jiǎng， gēngshēn yī céng de dōng xī shì jiǎn · ài yì shí dào zì jǐ shòu dào liǎo qī piàn， tā de zì zūn xīn shòu dào liǎo xì nòng， yīn wéi tā shēn 'ài zhe luó qiē sī tè , shì wèn nǎ gè nǚ rén néng gòu chéng shòu dé zhù bèi zì jǐ zuì xìn rèn， zuì qīn mì de rén suǒ qī piàn ní ? zhè yàng yī zhǒng fēi cháng qiáng dà de 'ài qíng lì liàng bāo wéi zhī xià， zài měi hǎo， fù yù de shēng huó yòu huò zhī xià， tā yǐ rán yào jiān chí zì jǐ zuò wéi gè rén de zūn yán， zhè shì jiǎn · ài zuì jù yòu jīng shén mèi lì de dì fāng。
xiǎo shuō shè jì liǎo yī gè hěn guāng míng de jié wěi －－ suī rán luó qiē sī tè de zhuāng yuán huǐ liǎo， tā zì jǐ yě chéng liǎo yī gè cán fèi， dàn wǒ men kàn dào， zhèng shì zhè yàng yī gè tiáo jiàn， shǐ jiǎn · ài bù zài zài zūn yán yǔ 'ài zhī jiān máo dùn， ér tóng shí huò dé mǎn zú－－ tā zài hé luó qiē sī tè jié hūn de shí hòu shì yòu zūn yán de， tóng shí yě shì yòu 'ài de。 rèn hé wén xué zuò pǐn dōushì zuò zhě tǐ yàn shēng huó de jié jīng， cóng shū zhōng duō shǎo kě kàn chū zuò zhě de yǐng zǐ。《 jiǎn · ài》 yě shì rú cǐ， dà liàng de xì jié kě yǐ zài zuò zhě de shēng huó zhōng dé dào yìn zhèng。 dāng rán《 jiǎn · ài》 bìng bù shì yī běn zìzhuàn， zuò zhě zhǐ shì bǎ zì jǐ fēng fù de shēng huó jīng lì róng jìn liǎo yī bù chōng mǎn xiǎng xiàng lì de wén zhāng lǐ。 rén men zhī dào《 jiǎn · ài》 shì zuò zhě shēng huó zhōng de xiě zhào， dàn yòu yòu duō shǎo rén zhī dào zuò zhě shì zài zěn yàng de qíng kuàng xià xiě xià《 jiǎn · ài》 de ní。
xiǎo shuō gào sù wǒ men， rén de zuì měi hǎo de shēng huó shì rén de zūn yán jiā 'ài， xiǎo shuō de jié jú gěi nǚ zhù rén gōng 'ān pái de jiù shì zhè yàng yī zhǒng shēng huó。 suī rán wǒ jué dé zhè yàng de jié jú guò yú wán měi， shèn zhì zhè zhǒng yuán mǎn běn shēn biāo zhì zhe fú qiǎn， dàn shì wǒ yǐ rán zūn zhòng zuò zhě duì zhè zhǒng měi hǎo shēng huó de lǐ xiǎng－－ jiù shì zūn yán jiā 'ài， bì jìng zài dāng jīn shè huì， yào jiāng rén de jià zhí＝ zūn yán＋ ài zhè dào gōng shì fù zhī shí xiàn cháng cháng lí bù kāi jīn qián de bāng zhù。 rén mendōu fēng kuáng dì sì hū wèile jīn qián hé dì wèi 'ér yānmò 'ài qíng。 zài qióng yǔ fù zhī jiān xuǎn zé fù， zài 'ài yǔ bù 'ài zhī jiān xuǎn zé bù 'ài。 hěn shǎo yòu rén huì xiàng jiǎn zhè yàng wéi 'ài qíng wéi rén gé pāo qì suǒ yòu， ér qiě yì wú fǎn gù。《 jiǎn · ài》 suǒ zhǎn xiàn gěi wǒ men de zhèng shì yī zhǒng huà fán wéi jiǎn， shì yī zhǒng fǎn pǔ guī zhēn， shì yī zhǒng zhuī qiú quán xīn fù chū de gǎn jué， shì yī zhǒng bù jì dé shī de jiǎn huà de gǎn qíng， tā yóu rú yī bēi bīng shuǐ， jìng huà měi yī gè dú zhě de xīn líng， tóng shí yǐn qǐ dú zhě， tè bié shì nǚ xìng dú zhě de gòng míng。
Plot introduction
Jane Eyre is a first-person narrative of the title character. The novel goes through five distinct stages: Jane's childhood at Gateshead, where she is emotionally and physically abused by her aunt and cousins; her education at Lowood School, where she acquires friends and role models but also suffers privations; her time as the governess of Thornfield Hall, where she falls in love with her Byronic employer, Edward Rochester; her time with the Rivers family at Marsh's End (or Moor House) and Morton, where her cold clergyman-cousin St John Rivers proposes to her; and her reunion with and marriage to her beloved Rochester. Partly autobiographical, the novel abounds with social criticism. It is a novel considered ahead of its time. In spite of the dark, brooding elements, it has a strong sense of right and wrong, of morality at its core.
Jane Eyre is divided into 38 chapters and most editions are at least 400 pages long (although the preface and introduction on certain copies are liable to take up another 100). The original was published in three volumes, comprising chapters 1 to 15, 16 to 26, and 27 to 38.
Brontë dedicated the novel's second edition to William Makepeace Thackeray.
Plot summary
Chapters 1-4: Jane's childhood at Gateshead
Young Jane argues with her guardian Mrs. Reed of Gateshead. Illustration by F. H. Townsend.
A ten-year-old orphan named Jane Eyre lives with her uncle's family, the Reeds. Jane's aunt, Sarah Reed, dislikes her intensely. When her uncle dies, her aunt and the three Reed children become abusive. When bullied by her cousin John, Jane retaliates but is punished for the ensuing fight and is locked in the room where Mr. Reed died. As night falls, Jane's panicked screams rouse the house, but Mrs. Reed won't let her out. Jane faints and Mr. Lloyd, an apothecary, is summoned. He talks with Jane and sympathetically suggests that she should go away to school.
Chapters 5-10: Jane's education at Lowood School
Mrs. Reed sends Jane to Lowood Institution, a charity school, and warns them that Jane is deceitful. During an inspection, Jane accidentally breaks her slate, and Mr. Brocklehurst, the self-righteous clergyman who runs the school, brands her as a liar and shames her before the entire assembly.
Jane is comforted by her friend, Helen Burns. Miss Temple, a caring teacher, facilitates Jane's self-defense and writes to Mr. Lloyd whose reply agrees with Jane's. Ultimately, Jane is publicly cleared of Mr. Brocklehurst's accusations.
Jane tries to catch Mr. Rochester's horse.
While the Brocklehurst family lives in luxury, the eighty pupils are subjected to cold rooms, poor meals, and thin clothing. Many students fall ill when a typhus epidemic strikes. Jane's friend Helen dies of consumption in Jane's arms.
When Mr. Brocklehurst's neglect and dishonesty are laid bare, several benefactors erect a new building and conditions at the school improve dramatically.
Chapters 11-26: Jane's time as governess at Thornfield Hall
Eight years later, Jane is a teacher employed by Alice Fairfax (the housekeeper of Thornfield Hall) as governess for Adèle Varens, a young French girl. Out walking one day, Jane encounters and helps a horseman who has sprained his ankle. On her return to Thornfield, she discovers that the horseman is Edward Rochester, Master of Thornfield Hall. Rochester is a moody, self-willed man nearly twenty years older than Jane. Adèle is his ward, belonging to a French "opera dancer" with whom he had a romantic relationship in the past. Adèle, however, is not his daughter, but is brought up by him after her mother abandons her.
Jane saves Mr. Rochester from a fire.
Miss Blanche Ingram looking in a book.
Mr. Rochester disguised as a Gypsy woman.
Bertha Mason rips Jane's wedding veil.
Mr. Rochester seems quite taken with Jane, and she enjoys his company. However, odd things begin to happen: a strange laugh is heard in the halls, a near-fatal fire mysteriously breaks out, and a guest named Mason is attacked.
Jane receives word that Mrs. Reed has suffered a stroke and is asking for her. Returning to Gateshead, she remains for over a month while her aunt lies dying. Mrs. Reed rejects Jane's efforts at reconciliation, but does give her a letter previously withheld out of spite. The letter is from John Eyre, Jane's uncle, notifying her that he wanted her to live with him in Madeira.
After returning to Thornfield, Jane broods over Rochester's impending marriage to Blanche Ingram. But on a midsummer evening, he proclaims his love for Jane and proposes. As she prepares for her wedding, Jane's forebodings arise when a strange, savage-looking woman sneaks into her room one night and rips her wedding veil in two. As with previous mysterious events, Mr Rochester attributes the incident to drunkenness on the part of Grace Poole, one of his servants.
During the wedding ceremony, Mr. Mason and a lawyer declare that Mr. Rochester cannot marry because he is already married to Mr. Mason's sister. Mr. Rochester bitterly admits the truth, explaining that his wife is a violent madwoman whom he keeps locked in the attic, in the care of Grace Poole. When Grace occasionally drinks too much, it gives his wife a chance to escape, and she is the true cause of Thornfield's strange events.
Mr. Rochester asks Jane to go with him to the south of France, and live as husband and wife, even though they cannot be married. Refusing to go against her principles, and despite her love for him, Jane leaves Thornfield in the middle of the night.
Chapters 27-35: Jane's time with the Rivers family
Jane leaves Thornfield and sleeps outside.
Jane begs for food.
St. John Rivers admits Jane to Moor House.
Jane travels to the north of England. After mislaying her funds, she sleeps on the moor and begs for food, but is turned away as a beggar, a thief, or worse. Exhausted, she is saved by St. John Rivers, a young clergyman, who brings her to the home of his sisters, Diana and Mary. As she regains her health, St. John finds her a teaching position at a nearby charity school. Jane becomes warm friends with Mary and Diana, but St. John is too reserved for her to relate to, despite his efforts on her behalf. Jane sees that the brother and sisters have money-related worries, but does not enquire further.
Rosamond Oliver shows an interest in St. John.
St. John tells Jane she has inherited £20,000.
Jane considering St. John's proposal.
When the sisters leave for governess jobs in London, St. John becomes more comfortable around Jane, evidencing his own conflicts of the heart, which involve the beautiful and wealthy Rosamond Oliver. When Jane confronts him about his feelings for Miss Oliver, he confesses that he has turned away from them, because he feels called to be a missionary, and he knows that Miss Oliver would not accept such a life.
St. John discovers Jane's true identity, and astounds her by showing her a letter stating that her uncle John has died and left her his entire fortune of £20,000, equivalent to £1,560,000 in today's pounds. When Jane questions him further, St. John reveals that John is also his and his sisters' uncle. They had once hoped for a share of the inheritance, but have since resigned themselves to nothing. Jane, overjoyed by finding her family, insists on sharing the money equally with her cousins.
St. John asks Jane to accompany him to India as his wife. He asks solely because he wishes a good missionary's wife, a role in which he believes Jane will excel. She agrees to go, but refuses marriage, believing his reserve and reason incompatible with her warmth and passion. But, his powers of persuasion eventually begin to convince her to change her mind.
However, at that very moment, she suddenly seems to hear Mr. Rochester calling her name. The next morning, she leaves for Thornfield to ascertain Mr. Rochester's well-being before departing forever for India.
Chapters 36-38: Jane's reunion with Mr. Rochester
Thornfield burned to the ground by Bertha.
Jane and Mr. Rochester reunited.
Mr. Rochester's sight improving.
Jane arrives at Thornfield to find only blackened ruins. She learns that Rochester's wife set the house on fire and committed suicide by jumping from the roof. In his rescue attempts, Mr. Rochester lost a hand and his eyesight. Jane reunites with him, but he fears that she will be repulsed by his condition. When Jane assures him of her love and tells him that she will never leave him, Mr. Rochester again proposes. He eventually recovers enough sight to see their first-born son.
Characters
* Jane Eyre: The protagonist of the novel and the title character. Orphaned as a baby, she struggles through her nearly loveless childhood and becomes governess at Thornfield Hall. Although she falls in love with her wealthy employer, Edward Rochester, her strong sense of conscience does not permit her to become his mistress, and she does not return to him until his insane wife is dead and she herself has come into an inheritance.
* Mr. Reed: Jane's maternal uncle, who adopts Jane when her parents die. Before his own death, he makes his wife promise to care for Jane.
* Mrs. Sarah Reed: Jane's aunt by marriage, who adopts Jane but neglects and abuses her. Her dislike of Jane continues to her death.
* John Reed: Jane's cousin, who bullies Jane constantly, sometimes in his mother's presence. He ruins himself as an adult and is believed to die by suicide.
* Eliza Reed: Jane's cousin. Bitter because she is not as attractive as her sister, she devotes herself self-righteously to religion.
* Georgiana Reed: Jane's cousin. Though spiteful and insolent, she is also beautiful and indulged. Her sister Eliza foils her marriage to a wealthy Lord.
* Bessie Lee: The plain-spoken nursemaid at Gateshead. She sometimes treats Jane kindly, telling her stories and singing her songs. Later she marries Robert Leaven.
* Robert Leaven: The coachman at Gateshead, who brings Jane the news of John Reed's death, which brought on Mrs. Reed's stroke.
* Mr. Lloyd: A compassionate apothecary who recommends that Jane be sent to school. Later, he writes a letter to Miss Temple confirming Jane's account of her childhood and thereby clearing Jane of Mrs. Reed's charge of lying.
* Mr. Brocklehurst: The clergyman headmaster and treasurer of Lowood School, whose mistreatment of the students is eventually exposed.
* Miss Maria Temple: The kind superintendent of Lowood School, who treats Jane and Helen (and others) with respect and compassion. She helps clear Jane of Mr. Brocklehurst's false accusation of deceit.
* Miss Scatcherd: A sour and vicious teacher at Lowood.
* Helen Burns: A fellow-student and best friend of Jane's at Lowood School. She refuses to hate those who abuse her, trusting in God and turning the other cheek. She dies of consumption in Jane's arms. Some speculate that the book's author based Helen Burns on her elder sister Maria Brontë , who showed signs of dyspraxia.
* Edward Fairfax Rochester: The master of Thornfield Manor. A Byronic hero, he makes an unfortunate first marriage before he meets Jane.
* Bertha Antoinetta Mason: The violently insane first wife of Edward Rochester.
* Adèle Varens: An excitable French child to whom Jane is governess at Thornfield. She is Mr Rochester's ward and possibly his daughter. However Mr. Rochester denies this because her mother had been seeing another man behind his back.
* Mrs. Alice Fairfax: An elderly widow and housekeeper of Thornfield Manor. She treats Jane kindly and respectfully, but disapproves of her engagement to Mr Rochester.
* Blanche Ingram: A socialite whom Mr. Rochester appears to court in order to make Jane jealous. She is described as having great beauty, but displays callous behaviour and avaricious intent.
* Richard Mason: An Englishman from the West Indies, whose sister is Mr. Rochester's first wife. His appearance at Thornfield heralds the eventual revelation of Bertha Mason.
* Grace Poole: Bertha Mason's keeper. Jane is told that it is Grace Poole who causes the mysterious things to happen at Thornfield Hall.
* St. John Eyre Rivers: A clergyman who befriends Jane and turns out to be her cousin. He is Jane Eyre's cousin on her father's side. He is a devout Christian of Calvinistic leanings. By nature he is very reserved and single-minded.
* Diana and Mary Rivers: St. John's sisters and (as it turns out) Jane's cousins.
* Rosamond Oliver: A wealthy young woman who patronizes the village school where Jane teaches, and who is attracted to the Rev. St. John.
* John Eyre: Jane's paternal uncle, who leaves her his vast fortune. He never appears as a character.
Themes
Morality
Jane refuses to become Mr Rochester's paramour because of her "impassioned self-respect and moral conviction." She rejects St. John Rivers' Puritanism as much as the libertine aspects of Mr Rochester's character. Instead, she works out a morality expressed in love, independence, and forgiveness.
Religion
Throughout the novel, Jane endeavours to attain an equilibrium between moral duty and earthly happiness. She despises the hypocritical puritanism of Mr. Brocklehurst, and rejects St. John Rivers' cold devotion to his Christian duty, but neither can she bring herself to emulate Helen Burns' turning the other cheek, although she admires Helen for it. Ultimately, she rejects these three extremes and finds a middle ground in which religion serves to curb her immoderate passions but does not repress her true self.
Social class
Jane's ambiguous social position—a penniless yet moderately educated orphan from a good family—leads her to criticise discrimination based on class. Although she is educated, well-mannered, and relatively sophisticated, she is still a governess, a paid servant of low social standing, and therefore powerless. Nevertheless, Brontë possesses certain class prejudices herself, as is made clear when Jane has to remind herself that her unsophisticated village pupils at Morton "are of flesh and blood as good as the scions of gentlest genealogy."
Gender relations
A particularly important theme in the novel is the depiction of a patriarchal society. Jane attempts to assert her own identity within male-dominated society. Three of the main male characters, Brocklehurst, Mr Rochester and St. John, try to keep Jane in a subordinate position and prevent her from expressing her own thoughts and feelings. Jane escapes Brocklehurst and rejects St. John, and she only marries Mr Rochester once she is sure that their marriage is one between equals. Through Jane, Brontë opposes Victorian stereotypes about women, articulating her own feminist philosophy:
Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex. (Chapter XII)
Love and Passion
One of the secrets to the success of Jane Eyre lies in the way that it touches on a number of important themes while telling a compelling story. Indeed, so lively and dramatic is the story that the reader might not be fully conscious of all the thematic strands that weave through this work. Critics have argued about what comprises the main theme of Jane Eyre. There can be little doubt, however, that love and passion together form a major thematic element of the novel.
On its most simple and obvious level, Jane Eyre is a love story. The love between the orphaned and initially impoverished Jane and the wealthy but tormented Rochester is at its heart. The obstacles to the fulfillment of this love provide the main dramatic conflict in the work. However, the novel explores other types of love as well. Helen Burns, for example, exemplifies the selfless love of a friend. We also see some of the consequences of the absence of love, as in the relationship between Jane and Mrs. Reed, in the selfish relations among the Reed children, and in the mocking marriage of Rochester and Bertha. Jane realizes that the absence of love between herself and St. John Rivers would make their marriage a living death, too.
Throughout the work, Brontë suggests that a life that is not lived passionately is not lived fully. Jane undoubtedly is the central passionate character; her nature is shot through with passion. Early on, she refuses to live by Mrs. Reed's rules, which would restrict all passion. Her defiance of Mrs. Reed is her first, but by no means her last, passionate act. Her passion for Rochester is all consuming. Significantly, however, it is not the only force that governs her life. She leaves Rochester because her moral reason tells her that it would be wrong to live with him as his mistress: "Laws and principles are not for the time when there is no temptation," she tells Rochester; "they are for such moments as this, when body and soul rise against their rigor."
Blanche Ingram feels no passion for Rochester; she is only attracted to the landowner because of his wealth and social position. St. John Rivers is a more intelligent character than Blanche, but like her he also lacks the necessary passion that would allow him to live fully. His marriage proposal to Jane has no passion behind it; rather, he regards marriage as a business arrangement, with Jane as his potential junior partner in his missionary work. His lack of passion contrasts sharply with Rochester, who positively seethes with passion. His injury in the fire at Thornfield may be seen as a chastisement for his past passionate indiscretions and as a symbolic taming of his passionate excesses.
Independence
Jane Eyre is not only a love story; it is also a plea for the recognition of the individual's worth. Throughout the book, Jane demands to be treated as an independent human being, a person with her own needs and talents. Early on, she is unjustly punished, precisely for being herself — first by Mrs. Reed and John Reed, and subsequently by Mr. Brocklehurst. Her defiance of Mrs. Reed is her first active declaration of independence in the novel, but not her last. Helen Burns and Miss Temple are the first characters to acknowledge her as an individual; they love her for herself, in spite of her obscurity. Rochester too loves her for herself; the fact that she is a governess and therefore his servant does not negatively affect his perception of her. Rochester confesses that his ideal woman is intellectual, faithful, and loving — qualities that Jane embodies. Rochester's acceptance of Jane as an independent person is contrasted by Blanche and Lady Ingram's attitude toward her: they see her merely as a servant. Lady Ingram speaks disparagingly of Jane in front of her face as though Jane isn't there. To her, Jane is an inferior barely worthy of notice, and certainly not worthy of respect. And even though she is his cousin, St. John Rivers does not regard Jane as a full, independent person. Rather, he sees her as an instrument, an accessory that would help him to further his own plans. Jane acknowledges that his cause (missionary work) may be worthy, but she knows that to marry simply for the sake of expedience would be a fatal mistake. Her marriage to Mr. Rochester, by contrast, is the marriage of two independent beings. It is because of their independence, Brontë suggests, that they acknowledge their dependence on each other and are able to live happily ever after.
God and Religion
In her preface to the second edition of Jane Eyre, Brontë made clear her belief that "conventionality is not morality" and "self-righteousness is not religion." She declared that "narrow human doctrines, that only tend to elate and magnify a few, should not be substituted for the world-redeeming creed of Christ." Throughout the novel, Brontë presents contrasts between characters who believe in and practice what she considers a true Christianity and those who pervert religion to further their own ends. Mr. Brocklehurst, who oversees Lowood Institution, is a hypocritical Christian. He professes charity but uses religion as a justification for punishment. For example, he cites the biblical passage "man shall not live by bread alone" to rebuke Miss Temple for having fed the girls an extra meal to compensate for their inedible breakfast of burnt porridge. He tells Miss Temple that she "may indeed feed their vile bodies, but you little think how you starve their immortal souls!" Helen Burns is a complete contrast to Brocklehurst; she follows the Christian creed of turning the other cheek and loving those who hate her. On her deathbed, Helen tells Jane that she is "going home to God, who loves her."
Jane herself cannot quite profess Helen's absolute, selfless faith. Jane does not seem to follow a particular doctrine, but she is sincerely religious in a nondoctrinaire way. (It is Jane, after all, who places the stone with the word "Resurgam" on Helen's grave, some fifteen years after her friend's death.) Jane frequently prays and calls on God to assist her, particularly in her trouble with Rochester. She prays too that Rochester is safe. When the Rivers's housekeeper, Hannah, tries to turn the begging Jane away, Jane tells her that "if you are a Christian, you ought not consider poverty a crime." The young evangelical clergyman St. John Rivers is a more conventionally religious figure. However, Brontë portrays his religious aspect ambiguously. Jane calls him "a very good man," yet she finds him cold and forbidding. In his determination to do good deeds (in the form of missionary work in India), Rivers courts martyrdom. Moreover, he is unable to see Jane as a whole person, but views her as a helpmate in his proposed missionary work. Rochester is far less a perfect Christian. He is, indeed, a sinner: He attempts to enter into a bigamous marriage with Jane and, when that fails, tries to persuade her to become his mistress. He also confesses that he has had three previous mistresses. In the end, however, he repents his sinfulness, thanks God for returning Jane to him, and begs God to give him the strength to lead a purer life.
Atonement and Forgiveness
Much of the religious concern in Jane Eyre has to do with atonement and forgiveness. Rochester is tormented by his awareness of his past sins and misdeeds. He frequently confesses that he has led a life of vice, and many of his actions in the course of the novel are less than commendable. Readers may accuse him of behaving sadistically in deceiving Jane about the nature of his relationship (or rather, non-relationship) with Blanche Ingram in order to provoke Jane's jealousy. His confinement of Bertha may bespeak mixed motives. He is certainly aware that in the eyes of both religious and civil authorities, his marriage to Jane before Bertha's death would be bigamous. Yet, at the same time, he makes genuine efforts to atone for his behavior. For example, although he does not believe that he is Adèle's natural father, he adopts her as his ward and sees that she is well cared for. This adoption may well be an act of atonement for the sins he has committed. He expresses his self-disgust at having tried to console himself by having three different mistresses during his travels in Europe and begs Jane to forgive him for these past transgressions. However, Rochester can only atone completely — and be forgiven completely — after Jane has refused to be his mistress and left him. The destruction of Thornfield by fire finally removes the stain of his past sins; the loss of his right hand and of his eyesight is the price he must pay to atone completely for his sins. Only after this purgation can he be redeemed by Jane's love.
Search for Home and Family
Without any living family that she is aware of (until well into the story), throughout the course of the novel Jane searches for a place that she can call home. Significantly, houses play a prominent part in the story. (In keeping with a long English tradition, all the houses in the book have names.) The novel's opening finds Jane living at Gateshead Hall, but this is hardly a home. Mrs. Reed and her children refuse to acknowledge her as a relation, treating her instead as an unwanted intruder and an inferior.
Shunted off to Lowood Institution, a boarding school for orphans and destitute children, Jane finds a home of sorts, although her place here is ambiguous and temporary. The school's manager, Mr. Brocklehurst, treats it more as a business than as school in loco parentis (in place of the parent). His emphasis on discipline and on spartan conditions at the expense of the girls' health make it the antithesis of the ideal home.
Jane subsequently believes she has found a home at Thornfield Hall. Anticipating the worst when she arrives, she is relieved when she is made to feel welcome by Mrs. Fairfax. She feels genuine affection for Adèle (who in a way is also an orphan) and is happy to serve as her governess. As her love for Rochester grows, she believes that she has found her ideal husband in spite of his eccentric manner and that they will make a home together at Thornfield. The revelation — as they are literally on the verge of marriage — that he is already legally married — brings her dream of home crashing down. Fleeing Thornfield, she literally becomes homeless and is reduced to begging for food and shelter. The opportunity of having a home presents itself when she enters Moor House, where the Rivers sisters and their brother, the Reverend St. John Rivers, are mourning the death of their father. (When the housekeeper at first shuts the door in her face, Jane has a dreadful feeling that "that anchor of home was gone.") She soon speaks of Diana and Mary Rivers as her own sisters, and is overjoyed when she learns that they are indeed her cousins. She tells St. John Rivers that learning that she has living relations is far more important than inheriting twenty thousand pounds. (She mourns the uncle she never knew. Earlier she was disheartened on learning that Mrs. Reed told her uncle that Jane had died and sent him away.) However, St. John Rivers' offer of marriage cannot sever her emotional attachment to Rochester. In an almost visionary episode, she hears Rochester's voice calling her to return to him. The last chapter begins with the famous simple declarative sentence, "Reader, I married him," and after a long series of travails Jane's search for home and family ends in a union with her ideal mate.
Context
The early sequences, in which Jane is sent to Lowood, a harsh boarding school, are derived from the author's own experiences. Helen Burns's death from tuberculosis (referred to as consumption) recalls the deaths of Charlotte Brontë's sisters Elizabeth and Maria, who died of the disease in childhood as a result of the conditions at their school, the Clergy Daughters School at Cowan Bridge, near Tunstall, Lancashire. Mr. Brocklehurst is based on Rev. William Carus Wilson (1791–1859), the Evangelical minister who ran the school, and Helen Burns is likely modelled on Charlotte's sister Maria. Additionally, John Reed's decline into alcoholism and dissolution recalls the life of Charlotte's brother Branwell, who became an opium and alcohol addict in the years preceding his death. Finally, like Jane, Charlotte becomes a governess. These facts were revealed to the public in The Life of Charlotte Brontë (1857) by Charlotte's friend and fellow novelist Elizabeth Gaskell.
The Gothic manor of Thornfield was probably inspired by North Lees Hall, near Hathersage in the Peak District. This was visited by Charlotte Brontë and her friend Ellen Nussey in the summer of 1845 and is described by the latter in a letter dated 22 July 1845. It was the residence of the Eyre family, and its first owner, Agnes Ashurst, was reputedly confined as a lunatic in a padded second floor room.
Literary motifs and allusions
Jane Eyre uses many motifs from Gothic fiction, such as the Gothic manor (Thornfield), the Byronic hero (Mr Rochester and Jane herself) and The Madwoman in the Attic (Bertha), whom Jane perceives as resembling "the foul German spectre—the Vampyre" (Chapter XXV) and who attacks her own brother in a distinctly vampiric way: "She sucked the blood: she said she'd drain my heart" (Chapter XX). Also, besides gothicism, Jane Eyre displays romanticism to create a unique Victorian novel.
Literary allusions from the Bible, fairy tales, The Pilgrim's Progress, Paradise Lost, and the novels and poetry of Sir Walter Scott are also much in evidence. The novel deliberately avoids some conventions of Victorian fiction, not contriving a deathbed reconciliation between Aunt Reed and Jane Eyre and avoiding the portrayal of a "fallen woman".
Adaptations
Mr. Reed torments young Jane Eyre in Suffolk Youth Theatre's 2008 production of Jane Eyre.
Jane Eyre has engendered numerous adaptations and related works inspired by the novel. The best known are the 1944 version starring Orson Welles as Rochester and Joan Fontaine as Jane, the BBC television adaptation with Timothy Dalton as Rochester and Zelah Clarke as Jane, and the 1996 version directed by Franco Zeffirelli with William Hurt as Rochester and Charlotte Gainsbourg as Jane.
Radio show versions
* 1943: Extremely loose adaptation (primarily chapters 11–26) on The Weird Circle, premiering on 11 November.
Silent film versions
* Several silent film adaptations entitled Jane Eyre were released; one in 1910, two in 1914, plus:
* 1915: Jane Eyre starring Louise Vale.
* 1915: A version was released called The Castle of Thornfield.
* 1918: A version was released called Woman and Wife, directed by Edward José, adapted by Paul West, starring Alice Brady as Jane.
* 1921: Jane Eyre starring Mabel Ballin and directed by Hugo Ballin.
* 1926: A version was made in Germany called Orphan of Lowood.
Motion picture versions
* 1934: Jane Eyre, starring Colin Clive and Virginia Bruce.
* 1940: Rebecca, directed by Alfred Hitchcock and based upon the novel of the same name which was influenced by Jane Eyre. Joan Fontaine, who starred in this film, would also be cast in the 1944 version of Jane Eyre to reinforce the connection.
* 1943: I Walked with a Zombie is a horror movie loosely based upon Jane Eyre.
* 1944: Jane Eyre, with a screenplay by John Houseman and Aldous Huxley. It features Orson Welles as Mr Rochester, Joan Fontaine as Jane, Agnes Moorehead as Mrs. Reed, Margaret O'Brien as Adele and Elizabeth Taylor as Helen Burns.
* 1956: A version was made in Hong Kong called The Orphan Girl.
* 1963: A version was released in Mexico called El Secreto (English: "The Secret").
* 1970: Jane Eyre, starring George C. Scott as Mr Rochester and Susannah York as Jane.
* 1972: An Indian adaptation in Telugu, Shanti Nilayam, directed by C. Vaikuntarama Sastry, starring Anjali Devi.
* 1978: A version was released in Mexico called Ardiente Secreto (English: "Ardent Secret").
* 1996: Jane Eyre, directed by Franco Zeffirelli and starring William Hurt as Mr Rochester, Charlotte Gainsbourg as Jane, Elle Macpherson as Blanche Ingram, Joan Plowright as Mrs. Fairfax, Anna Paquin as the young Jane, Fiona Shaw as Mrs. Reed and Geraldine Chaplin as Miss Scatcherd.
* 2006: Jane Eyre, Directed by Susanna White, starring Toby Stephens as Mr Rochester and Ruth Wilson as Jane Eyre.
* 2011: Jane Eyre, directed by Cary Fukunaga, starring Mia Wasikowska as Jane Eyre and Michael Fassbender as Rochester.
Musical versions
* A two-act ballet of Jane Eyre was created for the first time by the London Children's Ballet in 1994, with an original score by composer Julia Gomelskaya and choreography by Polyanna Buckingham. The run was a sell-out success.
* A musical version with a book by John Caird and music and lyrics by Paul Gordon, with Marla Schaffel as Jane and James Stacy Barbour as Mr Rochester, opened at the Brooks Atkinson Theatre on 10 December 2000. It closed on 10 June 2001.
* Jane Eyre, opera in three acts, Op. 134 was composed by John Joubert in 1987–1997 to a libretto by Kenneth Birkin after the novel.
* An opera based on the novel was written in 2000 by English composer Michael Berkeley, with a libretto by David Malouf. It was given its premiere by Music Theatre Wales at the Cheltenham Festival.
* Jane Eyre was played for the first time in Europe in Beveren, Belgium. It was given its premiere at the cultural centre.
* The ballet "Jane," based on the book was created in 2007, a Bullard/Tye production with music by Max Reger. Its world premiere was scheduled at the Civic Auditorium, Kalamazoo, Michigan, June 29 and 30, performed by the Kalamazoo Ballet Company, Therese Bullard, Director.
* A musical production directed by Debby Race, book by Jana Smith and Wayne R. Scott, with a musical score by Jana Smith and Brad Roseborough, premiered in 2008 at the Lifehouse Theatre in Redlands, California
* A symphony (7th) by Michel Bosc premiered in Bandol (France), 11 October 2009.
Television versions
* 1952: This was a live television production presented by "Westinghouse Studio One (Summer Theatre)".
* Adaptations appeared on British and American television in 1956 and 1961.
* 1963:Jane Eyre. It was produced by the BBC and starred Richard Leech as Mr Rochester and Ann Bell as Jane.
* 1973: Jane Eyre. It was produced by the BBC and starred Sorcha Cusack as Jane, Michael Jayston as Mr Rochester, Juliet Waley as the child Jane, and Tina Heath as Helen Burns.
* 1978: Telenovela El Ardiente Secreto (English The impassioned secret) was an adaptation of this novel.
* 1982: BBC Classics Presents: Jane Eyrehead. A parody movie by SCTV starred Andrea Martin as Jane Eyrehead, Joe Flaherty as Mr Rochester, also starting John Candy, Eugene Levy, and Martin Short in supporting roles.
* 1983: Jane Eyre. It was produced by the BBC and starred Zelah Clarke as Jane, Timothy Dalton as Mr Rochester, Sian Pattenden as the child Jane, and Colette Barker as Helen Burns.
* 1997: Jane Eyre. It was produced by the A&E Network and starred Ciaran Hinds as Mr Rochester and Samantha Morton as Jane.
* 2006: Jane Eyre. It was produced by the BBC and starred Toby Stephens as Mr Rochester, Ruth Wilson as Jane, and Georgie Henley as Young Jane.
Literature
* 1938: Rebecca by Daphne du Maurier was partially inspired by Jane Eyre.
* 1961: The Ivy Tree by Mary Stewart adapts many of the motifs of Jane Eyre to 1950s northern England. The main character, Annabel, falls in love with her older neighbor who is married to a mentally ill woman. Like Jane, Annabel runs away to try to get over her love. The novel begins when she returns from her eight-year exile.
* 1966: Wide Sargasso Sea by Jean Rhys. The character Bertha Mason serves as the main protagonist for this novel which acts as a "prequel" to Jane Eyre. It describes the meeting and marriage of Antoinette (later renamed Bertha by Mr Rochester) and Mr Rochester. In its reshaping of events related to Jane Eyre, the novel suggests that Bertha's madness is the result of Mr Rochester's rejection of her and her Creole heritage. It was also adapted into film twice.
* 1997: Mrs Rochester: A Sequel to Jane Eyre by Hilary Bailey
* 2000: Adele: Jane Eyre's Hidden Story by Emma Tennant
* 2000: Jane Rochester by Kimberly A. Bennett, content explores the first years of the Rochesters' marriage with gothic and explicit content. A fan favorite.
* 2001 novel The Eyre Affair by Jasper Fforde revolves around the plot of Jane Eyre. It portrays the book as originally largely free of literary contrivance: Jane and Mr Rochester's first meeting is a simple conversation without the dramatic horse accident, and Jane does not hear his voice calling for her and ends up starting a new life in India. The protagonist's efforts mostly accidentally change it to the real version.
* 2002: Jenna Starborn by Sharon Shinn, a science fiction novel based upon Jane Eyre
* 2006: The French Dancer's Bastard: The Story of Adele From Jane Eyre by Emma Tennant. This is a slightly modified version of Tennant's 2000 novel.
* 2007: Thornfield Hall: Jane Eyre's Hidden Story by Emma Tennant. This is another version of Jane Eyre.
* 2010: Rochester: A Novel Inspired by Jane Eyre by J.L. Niemann. Jane Eyre told from the first person-perspective of Edward Rochester.
* The novelist Angela Carter was working on a sequel to Jane Eyre at the time of her death in 1992. This was to have been the story of Jane's stepdaughter Adèle Varens and her mother Céline. Only a synopsis survives.
《 jiǎn · ài》 shì yī bù dài yòu zìzhuàn sè cǎi de cháng piān xiǎo shuō， tā chǎn shì liǎo zhè yàng yī gè zhù tí： rén de jià zhí ＝ zūn yán ＋ ài。《 jiǎn · ài》 gāng chū bǎn shí , zuò zhě xià luò dì bó lǎng tè yòng de bǐ míng shì kē lè bèi 'ěr。 yǐ zhì yú zhī hòu tā de jiě mèi men chū de shū dū bèi wù rèn wèishì tā xiě de。 hǎo zài tā zhī hòu qīn zì zài《 jiǎn · ài》 zài bǎn shí chéng qīng shì shí。
《 jiǎn · ài》 de zuò zhě xià luò dì · bó lǎng tè hé《 hū xiào shān zhuāng》 de zuò zhě 'ài mǐ lì shì jiě mèi。 suī rán liǎng rén shēng huó zài tóng yī shè huì， jiā tíng huán jìng zhōng， xìng gé què dà bù xiāng tóng， xià luò dì . bó lǎng tè xiǎn dé gèng jiā de wēn róu， gèng jiā de qīng chún， gèng jiā de xǐ huān zhuī qiú yī xiē měi hǎo de dōng xī， jìn guǎn tā jiā jìng pín qióng， cóng xiǎo shī qù liǎo mǔ 'ài， fù 'ài yě hěn shǎo， zài jiā shàng tā shēn cái 'ǎi xiǎo， róng mào bù měi， dàn yě xǔ jiù shì zhè yàng yī zhǒng líng hún shēn chù de hěn shēn de zì bēi， fǎn yìng zài tā de xìng gé shàng jiù shì yī zhǒng fēi cháng mǐn gǎn de zì zūn， yǐ zì zūn zuò wéi tā nèi xīn shēn chù de zì bēi de bǔ cháng。 tā miáo xiě de jiǎn。 ài yě shì yī gè bù měi de， ǎi xiǎo de nǚ rén， dàn shì tā yòu zhe jí qí qiáng liè de zì zūn xīn。 tā jiān dìng bù yí dì qù zhuī qiú yī zhǒng guāng míng de， shèng jié de， měi hǎo de shēng huó。
《 jiǎn · ài》 - gù shì gěng gài
jiǎn · ài de fù qīn shì gè qióng mù shī， dāng tā hái zài yòu nián shí， fù mǔ jiù rǎn bìng shuāng shuāng qù shì。 jiǎn · ài bèi sòng dào gài cí hǎi dé zhuāng yuán de jiù mǔ lǐ dé tài tài jiā fǔ yǎng， lǐ dé xiān shēng lín sǐ qián céng zhǔ fù qī zǐ hǎohǎo zhào gù jiǎn · ài。 jiǎn · ài zài lǐ dé tài tài jiā de dì wèi， lián shǐ nǚ dōubù rú， shòu jìn liǎo biǎo xiōng biǎo zǐ mèi de qī wǔ。 yī tiān biǎo xiōng yòu dǎ tā liǎo， tā huí shǒu fǎn kàng， què bèi jiù mǔ guān jìn hóng fáng zǐ lǐ， tā de jiù jiù lǐ dé xiān shēng jiù sǐ zài zhè jiān wū zǐ lǐ。 tā bèi huàn xiǎng zhōng de guǐ hún xià hūn liǎo guò qù。 zhòng bìng yīcháng， guò liǎo hěn jiǔ cái màn màn huī fù jiàn kāng。
tā zài yě bù xiǎng dāi zài lǐ dé tài tài jiā liǎo， lǐ dé tài tài jiù bǎ tā sòng jìn dá luó wò dé gū 'ér yuàn。 gū 'ér yuàn yuàn cháng shì gè lěng kù de wěi jūn zǐ， tā yòng zhǒng zhǒng bàn fǎ cóng jīng shén hé ròu tǐ shàng cuī cán gū 'ér。 jiǎn yǔ gū 'ér hǎi lún jié chéng hǎo yǒu， jiào shī tán bó 'ěr xiǎo jiě hěn guān xīn tā。 zài gū 'ér yuàn lǐ yīcháng chuán rǎn xìng de shāng hán， duó zǒu liǎo xǔ duō jiàng 'ér de shēng mìng， hǎi lún jiù zài zhè chǎng shāng hán zhōng sǐ qù， zhè duì jiǎn · ài dǎ jī hěn dà。
jiǎn bì yè hòu liú xiào dāng liǎo liǎng nián jiào shī， tā shòu bù liǎo nà lǐ de gū jì、 lěng mò， dēng guǎng gào zhǎo dào liǎo yī gè jiā tíng jiào shī de gōng zuò， yú shì tā lái dào liǎo sāng fèi 'ěr dé zhuāng yuán。 zài sāng fèi 'ěr dé zhuāng yuán zhǐ yòu zhuāng yuán zhù luó chè sī tè hé tā de sī shēng nǚ 'ā dài 'ěr · wǎ lún sī， ér luó chè sī tè jīng cháng dào guó wài lǚ xíng， suǒ yǐ jiǎn dào sāng fèi 'ěr dé hǎo jǐ tiān， yě méi jiàn dào luó chè sī tè。
yī tiān huáng hūn， jiǎn wài chū sàn bù， jīng liǎo gāng gāng cóng wài miàn huí lái de luó chè sī tè de mǎ， luó chè sī tè cóng mǎ shàng shuāi liǎo xià lái， jiǎn jí máng shàng qián qù fú tā， huí dào jiā hòu jiǎn cái zhī dào tā biàn shì zhuāng yuán zhù luó chè sī tè。 luó chè sī tè shì gè xìng gé yīn yù 'ér yòu xǐ nù wú cháng de rén， tā hé jiǎn jīng cháng wéi mǒu zhǒng sī xiǎng xīn biàn lùn bù xiū。
zài sāng fèi 'ěr dé zhuāng yuán bù duàn fā shēng qí guài de shì qíng。 yòu yī tiān yè lǐ， jiǎn bèi yī zhèn qí guài de xiào shēng jīng xǐng， fā xiàn luó chè sī tè de fáng mén kāi zhe， chuáng shàng zhe liǎo huǒ， tā jiào xǐng luó chè sī tè bìng pū miè huǒ。 luó chè sī tè gào sù jiǎn sān lóu zhù zhe yī gè nǚ zāi féng gé léi sī · pǔ 'ěr， tā shén jīng cuò luàn， shí cháng fā chū lìng rén máo gǔ sǒng rán de kuáng xiào shēng， bìng yào tā duì cǐ shì yán shǒu mì mì。
luó chè sī tè jīng cháng cān jiā wǔ huì， yī tiān tā bǎ kè rén qǐng dào jiā lǐ lái wán， rén mendōu yǐ wéi zài zhè chǎng wǔ huì shàng luó chè sī tè huì xiàng bù lán qí xiǎo jiě qiú hūn。 zài yàn huì shàng luó chè sī tè jiān chí yào jiǎn yě dào kè tīng lǐ qù， kè rén men duì jiǎn de tài dù shí fēn qīng màn， luó chè què yāo qǐng jiǎn tiào wǔ， jiǎn gǎn jué dào zì jǐ duì luó chè sī tè fā shēng gǎn qíng。
yī tiān， luó chè sī tè wài chū， jiā lǐ lái liǎo yī gè méng zhe gài tóu de jí bǔ sài rén。 dāng lún dào gěi jiǎn suàn mìng shí， jiǎn fā xiàn zhè gè shén mì de jí bǔ sài rén jiù shì luó chè sī tè， tā xiǎng jiè cǐ shì tàn jiǎn duì tā de gǎn qíng。 zhè shí zhuāng yuán lǐ yòu lái liǎo gè míng méi sēn de mò shēng rén， dāng wǎn tā bèi sān lóu de shén mì nǚ rén yǎo shāng liǎo， jiǎn bāng luó chè sī tè bǎ tā mì mì sòng zǒu。
bù jiǔ， lǐ dé tài tài pài rén lái zhǎo jiǎn， shuō tā bìng wēi yào jiàn jiǎn yī miàn。 huí dào jiù mǔ jiā zhōng， lǐ dé tài tài gěi tā yī fēng xìn， zhè fēng xìn shì sān nián qián jiǎn de shū fù jì lái de， xiàng tā dǎ tīng zhí nǚ de xiāo xī， bìng bǎ zì jǐ de yí chǎn jiāo gěi jiǎn。 lǐ dé tài tài huǎng chēng jiǎn zài gū 'ér yuàn bìng sǐ liǎo， zhí dào lín zhōng qián cái liáng xīn fā xiàn bǎ zhēn xiāng gào sù jiǎn。
jiǎn yòu huí dào sāng fèi 'ěr dé zhuāng yuán gǎn jué xiàng huí dào jiā yī yàng。 huí lái hòu， luó chè sī tè xiàng tā wèi hūn， jiǎn dāyìng liǎo， bìng gāo xīng dì zhǔn bèi hūn lǐ。 hūn lǐ qián yè， jiǎn cóng mèng zhōng jīng xǐng， kàn dào yī gè shēn cái gāo dà、 miàn mù kě zēng de nǚ rén zhèng zài dài tā de hūn shā， rán hòu bǎ hūn shā sī chéng suì piàn。 luó chè sī tè gào sù tā nà bù guò shì yī gè mèng， dì 'èr tiān dāng jiǎn xǐng lái shí fā xiàn hūn shā zhēn de chéng liǎo suì piàn。
hūn lǐ rú qī jǔ xíng， yī wèi bù sù zhī kè chuǎng jìn liǎo jiào táng， shēng chēng hūn lǐ bù néng jìn xíng， tā shuō luó chè sī tè 15 nián qián qǔ méi sēn xiān shēng de mèi mèi bó suō · méi sēn wéi qī。 luó chè sī tè chéng rèn liǎo zhè yī shì shí， bìng lǐng rén men kàn bèi guān zài sān lóu de fēng nǚ rén， nà jiù shì tā de hé fǎ qī zǐ。 tā yòu yí chuán xìng jīng shén bìng shǐ， jiù shì tā zài luó chè sī tè de fáng jiān fàng huǒ， yě shì tā sī suì jiǎn de hūn shā。
jiǎn bēi tòng yù jué dì lí kāi liǎo sāng fèi 'ěr dé zhuāng yuán。 tā de jǐn yòu de jī xù huā guāng liǎo， yán tú qǐ tǎo， zuì hòu yūndǎo zài mù shī shèng yuē hàn jiā mén qián， bèi shèng yuē hàn hé tā de liǎng gè mèi mèi jiù liǎo。 jiǎn zhù liǎo xià lái， shèng yuē hàn wéi tā móu liǎo yī gè xiāng cūn jiào shī de zhí wèi。
bù jiǔ， shèng yuē hàn jiē dào jiā tíng lǜ shī de tōng zhī， shuō tā de jiù jiù yuē hàn jiǎn qù shì liǎo， liú gěi jiǎn 'èr wàn yīng bàng， yào shèng yuē hàn bāng zhù xún zhǎo jiǎn。 shèng yuē hàn fā xiàn jiǎn shì tā de biǎo mèi， jiǎn zhí yì yào yǔ tā men fēn xiǎng yí chǎn。 shèng yuē hàn zhǔn bèi qù yìn dù chuán jiào， lín xíng qián xiàng jiǎn qiú hūn， dàn tā tǎn shuài dì gào sù tā， tā yào qǔ tā bìng bù shì yīn wéi 'ài tā， ér shì tā xū yào yī gè hěn yòu jiào yǎng de zhù shǒu。 jiǎn jué dé yīnggāi bào dá tā de 'ēn qíng， dàn chí chí bù kěn dāyìng tā。 dāng yè， shèng yuē hàn zài huāng yuán shàng děng dài jiǎn de dá fù， jiù zài jiǎn yào zuò chū jué dìng de shí hòu， tā fǎng fó tīng dào luó chè sī tè zài yáo yuǎn de dì fāng hū hǎn tā de míng zì“ jiǎn， huí lái bā！ jiǎn， huí lái bā！” tā jué dìng huí dào luó chè sī tè shēn biān。
dāng jiǎn huí dào sāng fèi 'ěr dé zhuāng yuán shí， zhěng gè zhuāng yuán biàn chéng yī piàn fèi xū。 yuán lái jǐ gè yuè qián， zài yī gè fēng yǔ jiāo jiā de yè wǎn， fēng nǚ rén bó suō fàng huǒ shāo huǐ liǎo zhěng gè zhuāng yuán， luó chè sī tè wèile jiù tā， bèi shāo xiā liǎo shuāng yǎn， gū dú dì shēng huó zài jǐ yīng lǐ wài de yī gè nóng chǎng lǐ。 jiǎn gǎn dào jiā chǎng， xiàng tā tù lù zì jǐ de 'ài qíng， tā men zhōng yú jié hūn liǎo。 liǎng nián zhī hòu， zhì hǎo liǎo luó chè sī tè de yī zhǐ yǎn jīng， tā kàn dào liǎo jiǎn wèitā shēng de dì yī gè hái zǐ。
《 jiǎn · ài》 - xiǎo shuō píng jià
《 jiǎn · ài》 shì yī běn jù yòu duō nián lì shǐ de wén xué zhù zuò。 zhì jīn yǐ 152 nián de lì shǐ liǎo， tā chéng gōng dì sù zào liǎo yīng guó wén xué shǐ zhōng dì yī gè duì 'ài qíng、 shēng huó、 shè huì yǐ jí zōng jiào dū cǎi qǔ liǎo dú lì zì zhù de jī jí jìn qǔ tài dù hé gǎn yú dǒu zhēng、 gǎn yú zhēng qǔ zì yóu píng děng dì wèi de nǚ xìng xíng xiàng。
《 jiǎn · ài》 shì yī bù dài yòu zì zhuǎn sè cǎi de cháng piān xiǎo shuō， shì yīng guó shí jiǔ shì jì zhù míng sān jiě mèi zuò jiā zhī yī de xià luò dì · bó lǎng tè suǒ zhù。 zhè shì yī běn yòng zì jǐ de xīn yǔ qiáng liè de jīng shén zhuī qiú zhù liàn chéng de yī běn shū， hán zhe zuò zhě wú xiàn de qíng gǎn hé gè xìng mèi lì， wéi nǚ xìng yíng dé liǎo yī piàn càn làn de tiān kōng。
jiǎn . ài shēng cún zài yī gè fù mǔ shuāng wáng， jì rén lí xià de huán jìng， cóng xiǎo jiù chéng shòu zhe yǔ tóng líng rén bù yī yàng de dài yù， yí mā de xián qì， biǎo jiě de miè shì， biǎo gē de wǔ rǔ hé dú dǎ。 zhè shì duì yī gè hái zǐ de zūn yán de wú qíng jiàn tà， rán 'ér xìng yùn de shì zài jí qí kè bó de jì sù xué xiào de shēng huó zhōng， jiǎn · ài yù dào liǎo yī gè kě 'ài de péng yǒu： hǎi lún · péng sī , hǎi lún wēn shùn、 cōng yíng hé wú bǐ kuān róng de xìng gé yī zhí yǐng xiǎng zhe jiǎn . ài， shǐ zhī yǐ hòu miàn duì zhǒng zhǒng kùn nán dōubù zài qū fú bào yuàn， dǒng dé liǎo 'ài hé zhōng chéng。
zài luó qiē sī tè de miàn qián , tā cóng bù yīn wéi zì jǐ shì yī gè dì wèi dī jiàn de jiā tíng jiào shī 'ér gǎn dào zì bēi， fǎn 'ér rèn wéi tā men shì píng děng de。 bù yìng gāi yīn wéi tā shì pú rén， ér bù néng shòu dào bié rén de zūn zhòng。 yě zhèng yīn wéi tā de zhèng zhí， gāo shàng， chún jié， xīn líng méi yòu shòu dào shì sú shè huì de wū rǎn， shǐ dé luó qiē sī tè wéi zhī zhèn hàn， bìng bǎ tā kàn zuò liǎo yī gè kě yǐ hé zì jǐ zài jīng shén shàng píng děng jiāo tán de rén， bìng qiě màn màn dì shēn shēn 'ài shàng liǎo tā。 zhè shì jiǎn · ài gào sù luó qiē sī tè tā bì xū lí kāi de lǐ yóu， dàn shì cóng nèi xīn jiǎng， gēngshēn yī céng de dōng xī shì jiǎn · ài yì shí dào zì jǐ shòu dào liǎo qī piàn， tā de zì zūn xīn shòu dào liǎo xì nòng， yīn wéi tā shēn 'ài zhe luó qiē sī tè , shì wèn nǎ gè nǚ rén néng gòu chéng shòu dé zhù bèi zì jǐ zuì xìn rèn， zuì qīn mì de rén suǒ qī piàn ní ? zhè yàng yī zhǒng fēi cháng qiáng dà de 'ài qíng lì liàng bāo wéi zhī xià， zài měi hǎo， fù yù de shēng huó yòu huò zhī xià， tā yǐ rán yào jiān chí zì jǐ zuò wéi gè rén de zūn yán， zhè shì jiǎn · ài zuì jù yòu jīng shén mèi lì de dì fāng。
xiǎo shuō shè jì liǎo yī gè hěn guāng míng de jié wěi －－ suī rán luó qiē sī tè de zhuāng yuán huǐ liǎo， tā zì jǐ yě chéng liǎo yī gè cán fèi， dàn wǒ men kàn dào， zhèng shì zhè yàng yī gè tiáo jiàn， shǐ jiǎn · ài bù zài zài zūn yán yǔ 'ài zhī jiān máo dùn， ér tóng shí huò dé mǎn zú－－ tā zài hé luó qiē sī tè jié hūn de shí hòu shì yòu zūn yán de， tóng shí yě shì yòu 'ài de。 rèn hé wén xué zuò pǐn dōushì zuò zhě tǐ yàn shēng huó de jié jīng， cóng shū zhōng duō shǎo kě kàn chū zuò zhě de yǐng zǐ。《 jiǎn · ài》 yě shì rú cǐ， dà liàng de xì jié kě yǐ zài zuò zhě de shēng huó zhōng dé dào yìn zhèng。 dāng rán《 jiǎn · ài》 bìng bù shì yī běn zìzhuàn， zuò zhě zhǐ shì bǎ zì jǐ fēng fù de shēng huó jīng lì róng jìn liǎo yī bù chōng mǎn xiǎng xiàng lì de wén zhāng lǐ。 rén men zhī dào《 jiǎn · ài》 shì zuò zhě shēng huó zhōng de xiě zhào， dàn yòu yòu duō shǎo rén zhī dào zuò zhě shì zài zěn yàng de qíng kuàng xià xiě xià《 jiǎn · ài》 de ní。
xiǎo shuō gào sù wǒ men， rén de zuì měi hǎo de shēng huó shì rén de zūn yán jiā 'ài， xiǎo shuō de jié jú gěi nǚ zhù rén gōng 'ān pái de jiù shì zhè yàng yī zhǒng shēng huó。 suī rán wǒ jué dé zhè yàng de jié jú guò yú wán měi， shèn zhì zhè zhǒng yuán mǎn běn shēn biāo zhì zhe fú qiǎn， dàn shì wǒ yǐ rán zūn zhòng zuò zhě duì zhè zhǒng měi hǎo shēng huó de lǐ xiǎng－－ jiù shì zūn yán jiā 'ài， bì jìng zài dāng jīn shè huì， yào jiāng rén de jià zhí＝ zūn yán＋ ài zhè dào gōng shì fù zhī shí xiàn cháng cháng lí bù kāi jīn qián de bāng zhù。 rén mendōu fēng kuáng dì sì hū wèile jīn qián hé dì wèi 'ér yānmò 'ài qíng。 zài qióng yǔ fù zhī jiān xuǎn zé fù， zài 'ài yǔ bù 'ài zhī jiān xuǎn zé bù 'ài。 hěn shǎo yòu rén huì xiàng jiǎn zhè yàng wéi 'ài qíng wéi rén gé pāo qì suǒ yòu， ér qiě yì wú fǎn gù。《 jiǎn · ài》 suǒ zhǎn xiàn gěi wǒ men de zhèng shì yī zhǒng huà fán wéi jiǎn， shì yī zhǒng fǎn pǔ guī zhēn， shì yī zhǒng zhuī qiú quán xīn fù chū de gǎn jué， shì yī zhǒng bù jì dé shī de jiǎn huà de gǎn qíng， tā yóu rú yī bēi bīng shuǐ， jìng huà měi yī gè dú zhě de xīn líng， tóng shí yǐn qǐ dú zhě， tè bié shì nǚ xìng dú zhě de gòng míng。
Plot introduction
Jane Eyre is a first-person narrative of the title character. The novel goes through five distinct stages: Jane's childhood at Gateshead, where she is emotionally and physically abused by her aunt and cousins; her education at Lowood School, where she acquires friends and role models but also suffers privations; her time as the governess of Thornfield Hall, where she falls in love with her Byronic employer, Edward Rochester; her time with the Rivers family at Marsh's End (or Moor House) and Morton, where her cold clergyman-cousin St John Rivers proposes to her; and her reunion with and marriage to her beloved Rochester. Partly autobiographical, the novel abounds with social criticism. It is a novel considered ahead of its time. In spite of the dark, brooding elements, it has a strong sense of right and wrong, of morality at its core.
Jane Eyre is divided into 38 chapters and most editions are at least 400 pages long (although the preface and introduction on certain copies are liable to take up another 100). The original was published in three volumes, comprising chapters 1 to 15, 16 to 26, and 27 to 38.
Brontë dedicated the novel's second edition to William Makepeace Thackeray.
Plot summary
Chapters 1-4: Jane's childhood at Gateshead
Young Jane argues with her guardian Mrs. Reed of Gateshead. Illustration by F. H. Townsend.
A ten-year-old orphan named Jane Eyre lives with her uncle's family, the Reeds. Jane's aunt, Sarah Reed, dislikes her intensely. When her uncle dies, her aunt and the three Reed children become abusive. When bullied by her cousin John, Jane retaliates but is punished for the ensuing fight and is locked in the room where Mr. Reed died. As night falls, Jane's panicked screams rouse the house, but Mrs. Reed won't let her out. Jane faints and Mr. Lloyd, an apothecary, is summoned. He talks with Jane and sympathetically suggests that she should go away to school.
Chapters 5-10: Jane's education at Lowood School
Mrs. Reed sends Jane to Lowood Institution, a charity school, and warns them that Jane is deceitful. During an inspection, Jane accidentally breaks her slate, and Mr. Brocklehurst, the self-righteous clergyman who runs the school, brands her as a liar and shames her before the entire assembly.
Jane is comforted by her friend, Helen Burns. Miss Temple, a caring teacher, facilitates Jane's self-defense and writes to Mr. Lloyd whose reply agrees with Jane's. Ultimately, Jane is publicly cleared of Mr. Brocklehurst's accusations.
Jane tries to catch Mr. Rochester's horse.
While the Brocklehurst family lives in luxury, the eighty pupils are subjected to cold rooms, poor meals, and thin clothing. Many students fall ill when a typhus epidemic strikes. Jane's friend Helen dies of consumption in Jane's arms.
When Mr. Brocklehurst's neglect and dishonesty are laid bare, several benefactors erect a new building and conditions at the school improve dramatically.
Chapters 11-26: Jane's time as governess at Thornfield Hall
Eight years later, Jane is a teacher employed by Alice Fairfax (the housekeeper of Thornfield Hall) as governess for Adèle Varens, a young French girl. Out walking one day, Jane encounters and helps a horseman who has sprained his ankle. On her return to Thornfield, she discovers that the horseman is Edward Rochester, Master of Thornfield Hall. Rochester is a moody, self-willed man nearly twenty years older than Jane. Adèle is his ward, belonging to a French "opera dancer" with whom he had a romantic relationship in the past. Adèle, however, is not his daughter, but is brought up by him after her mother abandons her.
Jane saves Mr. Rochester from a fire.
Miss Blanche Ingram looking in a book.
Mr. Rochester disguised as a Gypsy woman.
Bertha Mason rips Jane's wedding veil.
Mr. Rochester seems quite taken with Jane, and she enjoys his company. However, odd things begin to happen: a strange laugh is heard in the halls, a near-fatal fire mysteriously breaks out, and a guest named Mason is attacked.
Jane receives word that Mrs. Reed has suffered a stroke and is asking for her. Returning to Gateshead, she remains for over a month while her aunt lies dying. Mrs. Reed rejects Jane's efforts at reconciliation, but does give her a letter previously withheld out of spite. The letter is from John Eyre, Jane's uncle, notifying her that he wanted her to live with him in Madeira.
After returning to Thornfield, Jane broods over Rochester's impending marriage to Blanche Ingram. But on a midsummer evening, he proclaims his love for Jane and proposes. As she prepares for her wedding, Jane's forebodings arise when a strange, savage-looking woman sneaks into her room one night and rips her wedding veil in two. As with previous mysterious events, Mr Rochester attributes the incident to drunkenness on the part of Grace Poole, one of his servants.
During the wedding ceremony, Mr. Mason and a lawyer declare that Mr. Rochester cannot marry because he is already married to Mr. Mason's sister. Mr. Rochester bitterly admits the truth, explaining that his wife is a violent madwoman whom he keeps locked in the attic, in the care of Grace Poole. When Grace occasionally drinks too much, it gives his wife a chance to escape, and she is the true cause of Thornfield's strange events.
Mr. Rochester asks Jane to go with him to the south of France, and live as husband and wife, even though they cannot be married. Refusing to go against her principles, and despite her love for him, Jane leaves Thornfield in the middle of the night.
Chapters 27-35: Jane's time with the Rivers family
Jane leaves Thornfield and sleeps outside.
Jane begs for food.
St. John Rivers admits Jane to Moor House.
Jane travels to the north of England. After mislaying her funds, she sleeps on the moor and begs for food, but is turned away as a beggar, a thief, or worse. Exhausted, she is saved by St. John Rivers, a young clergyman, who brings her to the home of his sisters, Diana and Mary. As she regains her health, St. John finds her a teaching position at a nearby charity school. Jane becomes warm friends with Mary and Diana, but St. John is too reserved for her to relate to, despite his efforts on her behalf. Jane sees that the brother and sisters have money-related worries, but does not enquire further.
Rosamond Oliver shows an interest in St. John.
St. John tells Jane she has inherited £20,000.
Jane considering St. John's proposal.
When the sisters leave for governess jobs in London, St. John becomes more comfortable around Jane, evidencing his own conflicts of the heart, which involve the beautiful and wealthy Rosamond Oliver. When Jane confronts him about his feelings for Miss Oliver, he confesses that he has turned away from them, because he feels called to be a missionary, and he knows that Miss Oliver would not accept such a life.
St. John discovers Jane's true identity, and astounds her by showing her a letter stating that her uncle John has died and left her his entire fortune of £20,000, equivalent to £1,560,000 in today's pounds. When Jane questions him further, St. John reveals that John is also his and his sisters' uncle. They had once hoped for a share of the inheritance, but have since resigned themselves to nothing. Jane, overjoyed by finding her family, insists on sharing the money equally with her cousins.
St. John asks Jane to accompany him to India as his wife. He asks solely because he wishes a good missionary's wife, a role in which he believes Jane will excel. She agrees to go, but refuses marriage, believing his reserve and reason incompatible with her warmth and passion. But, his powers of persuasion eventually begin to convince her to change her mind.
However, at that very moment, she suddenly seems to hear Mr. Rochester calling her name. The next morning, she leaves for Thornfield to ascertain Mr. Rochester's well-being before departing forever for India.
Chapters 36-38: Jane's reunion with Mr. Rochester
Thornfield burned to the ground by Bertha.
Jane and Mr. Rochester reunited.
Mr. Rochester's sight improving.
Jane arrives at Thornfield to find only blackened ruins. She learns that Rochester's wife set the house on fire and committed suicide by jumping from the roof. In his rescue attempts, Mr. Rochester lost a hand and his eyesight. Jane reunites with him, but he fears that she will be repulsed by his condition. When Jane assures him of her love and tells him that she will never leave him, Mr. Rochester again proposes. He eventually recovers enough sight to see their first-born son.
Characters
* Jane Eyre: The protagonist of the novel and the title character. Orphaned as a baby, she struggles through her nearly loveless childhood and becomes governess at Thornfield Hall. Although she falls in love with her wealthy employer, Edward Rochester, her strong sense of conscience does not permit her to become his mistress, and she does not return to him until his insane wife is dead and she herself has come into an inheritance.
* Mr. Reed: Jane's maternal uncle, who adopts Jane when her parents die. Before his own death, he makes his wife promise to care for Jane.
* Mrs. Sarah Reed: Jane's aunt by marriage, who adopts Jane but neglects and abuses her. Her dislike of Jane continues to her death.
* John Reed: Jane's cousin, who bullies Jane constantly, sometimes in his mother's presence. He ruins himself as an adult and is believed to die by suicide.
* Eliza Reed: Jane's cousin. Bitter because she is not as attractive as her sister, she devotes herself self-righteously to religion.
* Georgiana Reed: Jane's cousin. Though spiteful and insolent, she is also beautiful and indulged. Her sister Eliza foils her marriage to a wealthy Lord.
* Bessie Lee: The plain-spoken nursemaid at Gateshead. She sometimes treats Jane kindly, telling her stories and singing her songs. Later she marries Robert Leaven.
* Robert Leaven: The coachman at Gateshead, who brings Jane the news of John Reed's death, which brought on Mrs. Reed's stroke.
* Mr. Lloyd: A compassionate apothecary who recommends that Jane be sent to school. Later, he writes a letter to Miss Temple confirming Jane's account of her childhood and thereby clearing Jane of Mrs. Reed's charge of lying.
* Mr. Brocklehurst: The clergyman headmaster and treasurer of Lowood School, whose mistreatment of the students is eventually exposed.
* Miss Maria Temple: The kind superintendent of Lowood School, who treats Jane and Helen (and others) with respect and compassion. She helps clear Jane of Mr. Brocklehurst's false accusation of deceit.
* Miss Scatcherd: A sour and vicious teacher at Lowood.
* Helen Burns: A fellow-student and best friend of Jane's at Lowood School. She refuses to hate those who abuse her, trusting in God and turning the other cheek. She dies of consumption in Jane's arms. Some speculate that the book's author based Helen Burns on her elder sister Maria Brontë , who showed signs of dyspraxia.
* Edward Fairfax Rochester: The master of Thornfield Manor. A Byronic hero, he makes an unfortunate first marriage before he meets Jane.
* Bertha Antoinetta Mason: The violently insane first wife of Edward Rochester.
* Adèle Varens: An excitable French child to whom Jane is governess at Thornfield. She is Mr Rochester's ward and possibly his daughter. However Mr. Rochester denies this because her mother had been seeing another man behind his back.
* Mrs. Alice Fairfax: An elderly widow and housekeeper of Thornfield Manor. She treats Jane kindly and respectfully, but disapproves of her engagement to Mr Rochester.
* Blanche Ingram: A socialite whom Mr. Rochester appears to court in order to make Jane jealous. She is described as having great beauty, but displays callous behaviour and avaricious intent.
* Richard Mason: An Englishman from the West Indies, whose sister is Mr. Rochester's first wife. His appearance at Thornfield heralds the eventual revelation of Bertha Mason.
* Grace Poole: Bertha Mason's keeper. Jane is told that it is Grace Poole who causes the mysterious things to happen at Thornfield Hall.
* St. John Eyre Rivers: A clergyman who befriends Jane and turns out to be her cousin. He is Jane Eyre's cousin on her father's side. He is a devout Christian of Calvinistic leanings. By nature he is very reserved and single-minded.
* Diana and Mary Rivers: St. John's sisters and (as it turns out) Jane's cousins.
* Rosamond Oliver: A wealthy young woman who patronizes the village school where Jane teaches, and who is attracted to the Rev. St. John.
* John Eyre: Jane's paternal uncle, who leaves her his vast fortune. He never appears as a character.
Themes
Morality
Jane refuses to become Mr Rochester's paramour because of her "impassioned self-respect and moral conviction." She rejects St. John Rivers' Puritanism as much as the libertine aspects of Mr Rochester's character. Instead, she works out a morality expressed in love, independence, and forgiveness.
Religion
Throughout the novel, Jane endeavours to attain an equilibrium between moral duty and earthly happiness. She despises the hypocritical puritanism of Mr. Brocklehurst, and rejects St. John Rivers' cold devotion to his Christian duty, but neither can she bring herself to emulate Helen Burns' turning the other cheek, although she admires Helen for it. Ultimately, she rejects these three extremes and finds a middle ground in which religion serves to curb her immoderate passions but does not repress her true self.
Social class
Jane's ambiguous social position—a penniless yet moderately educated orphan from a good family—leads her to criticise discrimination based on class. Although she is educated, well-mannered, and relatively sophisticated, she is still a governess, a paid servant of low social standing, and therefore powerless. Nevertheless, Brontë possesses certain class prejudices herself, as is made clear when Jane has to remind herself that her unsophisticated village pupils at Morton "are of flesh and blood as good as the scions of gentlest genealogy."
Gender relations
A particularly important theme in the novel is the depiction of a patriarchal society. Jane attempts to assert her own identity within male-dominated society. Three of the main male characters, Brocklehurst, Mr Rochester and St. John, try to keep Jane in a subordinate position and prevent her from expressing her own thoughts and feelings. Jane escapes Brocklehurst and rejects St. John, and she only marries Mr Rochester once she is sure that their marriage is one between equals. Through Jane, Brontë opposes Victorian stereotypes about women, articulating her own feminist philosophy:
Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex. (Chapter XII)
Love and Passion
One of the secrets to the success of Jane Eyre lies in the way that it touches on a number of important themes while telling a compelling story. Indeed, so lively and dramatic is the story that the reader might not be fully conscious of all the thematic strands that weave through this work. Critics have argued about what comprises the main theme of Jane Eyre. There can be little doubt, however, that love and passion together form a major thematic element of the novel.
On its most simple and obvious level, Jane Eyre is a love story. The love between the orphaned and initially impoverished Jane and the wealthy but tormented Rochester is at its heart. The obstacles to the fulfillment of this love provide the main dramatic conflict in the work. However, the novel explores other types of love as well. Helen Burns, for example, exemplifies the selfless love of a friend. We also see some of the consequences of the absence of love, as in the relationship between Jane and Mrs. Reed, in the selfish relations among the Reed children, and in the mocking marriage of Rochester and Bertha. Jane realizes that the absence of love between herself and St. John Rivers would make their marriage a living death, too.
Throughout the work, Brontë suggests that a life that is not lived passionately is not lived fully. Jane undoubtedly is the central passionate character; her nature is shot through with passion. Early on, she refuses to live by Mrs. Reed's rules, which would restrict all passion. Her defiance of Mrs. Reed is her first, but by no means her last, passionate act. Her passion for Rochester is all consuming. Significantly, however, it is not the only force that governs her life. She leaves Rochester because her moral reason tells her that it would be wrong to live with him as his mistress: "Laws and principles are not for the time when there is no temptation," she tells Rochester; "they are for such moments as this, when body and soul rise against their rigor."
Blanche Ingram feels no passion for Rochester; she is only attracted to the landowner because of his wealth and social position. St. John Rivers is a more intelligent character than Blanche, but like her he also lacks the necessary passion that would allow him to live fully. His marriage proposal to Jane has no passion behind it; rather, he regards marriage as a business arrangement, with Jane as his potential junior partner in his missionary work. His lack of passion contrasts sharply with Rochester, who positively seethes with passion. His injury in the fire at Thornfield may be seen as a chastisement for his past passionate indiscretions and as a symbolic taming of his passionate excesses.
Independence
Jane Eyre is not only a love story; it is also a plea for the recognition of the individual's worth. Throughout the book, Jane demands to be treated as an independent human being, a person with her own needs and talents. Early on, she is unjustly punished, precisely for being herself — first by Mrs. Reed and John Reed, and subsequently by Mr. Brocklehurst. Her defiance of Mrs. Reed is her first active declaration of independence in the novel, but not her last. Helen Burns and Miss Temple are the first characters to acknowledge her as an individual; they love her for herself, in spite of her obscurity. Rochester too loves her for herself; the fact that she is a governess and therefore his servant does not negatively affect his perception of her. Rochester confesses that his ideal woman is intellectual, faithful, and loving — qualities that Jane embodies. Rochester's acceptance of Jane as an independent person is contrasted by Blanche and Lady Ingram's attitude toward her: they see her merely as a servant. Lady Ingram speaks disparagingly of Jane in front of her face as though Jane isn't there. To her, Jane is an inferior barely worthy of notice, and certainly not worthy of respect. And even though she is his cousin, St. John Rivers does not regard Jane as a full, independent person. Rather, he sees her as an instrument, an accessory that would help him to further his own plans. Jane acknowledges that his cause (missionary work) may be worthy, but she knows that to marry simply for the sake of expedience would be a fatal mistake. Her marriage to Mr. Rochester, by contrast, is the marriage of two independent beings. It is because of their independence, Brontë suggests, that they acknowledge their dependence on each other and are able to live happily ever after.
God and Religion
In her preface to the second edition of Jane Eyre, Brontë made clear her belief that "conventionality is not morality" and "self-righteousness is not religion." She declared that "narrow human doctrines, that only tend to elate and magnify a few, should not be substituted for the world-redeeming creed of Christ." Throughout the novel, Brontë presents contrasts between characters who believe in and practice what she considers a true Christianity and those who pervert religion to further their own ends. Mr. Brocklehurst, who oversees Lowood Institution, is a hypocritical Christian. He professes charity but uses religion as a justification for punishment. For example, he cites the biblical passage "man shall not live by bread alone" to rebuke Miss Temple for having fed the girls an extra meal to compensate for their inedible breakfast of burnt porridge. He tells Miss Temple that she "may indeed feed their vile bodies, but you little think how you starve their immortal souls!" Helen Burns is a complete contrast to Brocklehurst; she follows the Christian creed of turning the other cheek and loving those who hate her. On her deathbed, Helen tells Jane that she is "going home to God, who loves her."
Jane herself cannot quite profess Helen's absolute, selfless faith. Jane does not seem to follow a particular doctrine, but she is sincerely religious in a nondoctrinaire way. (It is Jane, after all, who places the stone with the word "Resurgam" on Helen's grave, some fifteen years after her friend's death.) Jane frequently prays and calls on God to assist her, particularly in her trouble with Rochester. She prays too that Rochester is safe. When the Rivers's housekeeper, Hannah, tries to turn the begging Jane away, Jane tells her that "if you are a Christian, you ought not consider poverty a crime." The young evangelical clergyman St. John Rivers is a more conventionally religious figure. However, Brontë portrays his religious aspect ambiguously. Jane calls him "a very good man," yet she finds him cold and forbidding. In his determination to do good deeds (in the form of missionary work in India), Rivers courts martyrdom. Moreover, he is unable to see Jane as a whole person, but views her as a helpmate in his proposed missionary work. Rochester is far less a perfect Christian. He is, indeed, a sinner: He attempts to enter into a bigamous marriage with Jane and, when that fails, tries to persuade her to become his mistress. He also confesses that he has had three previous mistresses. In the end, however, he repents his sinfulness, thanks God for returning Jane to him, and begs God to give him the strength to lead a purer life.
Atonement and Forgiveness
Much of the religious concern in Jane Eyre has to do with atonement and forgiveness. Rochester is tormented by his awareness of his past sins and misdeeds. He frequently confesses that he has led a life of vice, and many of his actions in the course of the novel are less than commendable. Readers may accuse him of behaving sadistically in deceiving Jane about the nature of his relationship (or rather, non-relationship) with Blanche Ingram in order to provoke Jane's jealousy. His confinement of Bertha may bespeak mixed motives. He is certainly aware that in the eyes of both religious and civil authorities, his marriage to Jane before Bertha's death would be bigamous. Yet, at the same time, he makes genuine efforts to atone for his behavior. For example, although he does not believe that he is Adèle's natural father, he adopts her as his ward and sees that she is well cared for. This adoption may well be an act of atonement for the sins he has committed. He expresses his self-disgust at having tried to console himself by having three different mistresses during his travels in Europe and begs Jane to forgive him for these past transgressions. However, Rochester can only atone completely — and be forgiven completely — after Jane has refused to be his mistress and left him. The destruction of Thornfield by fire finally removes the stain of his past sins; the loss of his right hand and of his eyesight is the price he must pay to atone completely for his sins. Only after this purgation can he be redeemed by Jane's love.
Search for Home and Family
Without any living family that she is aware of (until well into the story), throughout the course of the novel Jane searches for a place that she can call home. Significantly, houses play a prominent part in the story. (In keeping with a long English tradition, all the houses in the book have names.) The novel's opening finds Jane living at Gateshead Hall, but this is hardly a home. Mrs. Reed and her children refuse to acknowledge her as a relation, treating her instead as an unwanted intruder and an inferior.
Shunted off to Lowood Institution, a boarding school for orphans and destitute children, Jane finds a home of sorts, although her place here is ambiguous and temporary. The school's manager, Mr. Brocklehurst, treats it more as a business than as school in loco parentis (in place of the parent). His emphasis on discipline and on spartan conditions at the expense of the girls' health make it the antithesis of the ideal home.
Jane subsequently believes she has found a home at Thornfield Hall. Anticipating the worst when she arrives, she is relieved when she is made to feel welcome by Mrs. Fairfax. She feels genuine affection for Adèle (who in a way is also an orphan) and is happy to serve as her governess. As her love for Rochester grows, she believes that she has found her ideal husband in spite of his eccentric manner and that they will make a home together at Thornfield. The revelation — as they are literally on the verge of marriage — that he is already legally married — brings her dream of home crashing down. Fleeing Thornfield, she literally becomes homeless and is reduced to begging for food and shelter. The opportunity of having a home presents itself when she enters Moor House, where the Rivers sisters and their brother, the Reverend St. John Rivers, are mourning the death of their father. (When the housekeeper at first shuts the door in her face, Jane has a dreadful feeling that "that anchor of home was gone.") She soon speaks of Diana and Mary Rivers as her own sisters, and is overjoyed when she learns that they are indeed her cousins. She tells St. John Rivers that learning that she has living relations is far more important than inheriting twenty thousand pounds. (She mourns the uncle she never knew. Earlier she was disheartened on learning that Mrs. Reed told her uncle that Jane had died and sent him away.) However, St. John Rivers' offer of marriage cannot sever her emotional attachment to Rochester. In an almost visionary episode, she hears Rochester's voice calling her to return to him. The last chapter begins with the famous simple declarative sentence, "Reader, I married him," and after a long series of travails Jane's search for home and family ends in a union with her ideal mate.
Context
The early sequences, in which Jane is sent to Lowood, a harsh boarding school, are derived from the author's own experiences. Helen Burns's death from tuberculosis (referred to as consumption) recalls the deaths of Charlotte Brontë's sisters Elizabeth and Maria, who died of the disease in childhood as a result of the conditions at their school, the Clergy Daughters School at Cowan Bridge, near Tunstall, Lancashire. Mr. Brocklehurst is based on Rev. William Carus Wilson (1791–1859), the Evangelical minister who ran the school, and Helen Burns is likely modelled on Charlotte's sister Maria. Additionally, John Reed's decline into alcoholism and dissolution recalls the life of Charlotte's brother Branwell, who became an opium and alcohol addict in the years preceding his death. Finally, like Jane, Charlotte becomes a governess. These facts were revealed to the public in The Life of Charlotte Brontë (1857) by Charlotte's friend and fellow novelist Elizabeth Gaskell.
The Gothic manor of Thornfield was probably inspired by North Lees Hall, near Hathersage in the Peak District. This was visited by Charlotte Brontë and her friend Ellen Nussey in the summer of 1845 and is described by the latter in a letter dated 22 July 1845. It was the residence of the Eyre family, and its first owner, Agnes Ashurst, was reputedly confined as a lunatic in a padded second floor room.
Literary motifs and allusions
Jane Eyre uses many motifs from Gothic fiction, such as the Gothic manor (Thornfield), the Byronic hero (Mr Rochester and Jane herself) and The Madwoman in the Attic (Bertha), whom Jane perceives as resembling "the foul German spectre—the Vampyre" (Chapter XXV) and who attacks her own brother in a distinctly vampiric way: "She sucked the blood: she said she'd drain my heart" (Chapter XX). Also, besides gothicism, Jane Eyre displays romanticism to create a unique Victorian novel.
Literary allusions from the Bible, fairy tales, The Pilgrim's Progress, Paradise Lost, and the novels and poetry of Sir Walter Scott are also much in evidence. The novel deliberately avoids some conventions of Victorian fiction, not contriving a deathbed reconciliation between Aunt Reed and Jane Eyre and avoiding the portrayal of a "fallen woman".
Adaptations
Mr. Reed torments young Jane Eyre in Suffolk Youth Theatre's 2008 production of Jane Eyre.
Jane Eyre has engendered numerous adaptations and related works inspired by the novel. The best known are the 1944 version starring Orson Welles as Rochester and Joan Fontaine as Jane, the BBC television adaptation with Timothy Dalton as Rochester and Zelah Clarke as Jane, and the 1996 version directed by Franco Zeffirelli with William Hurt as Rochester and Charlotte Gainsbourg as Jane.
Radio show versions
* 1943: Extremely loose adaptation (primarily chapters 11–26) on The Weird Circle, premiering on 11 November.
Silent film versions
* Several silent film adaptations entitled Jane Eyre were released; one in 1910, two in 1914, plus:
* 1915: Jane Eyre starring Louise Vale.
* 1915: A version was released called The Castle of Thornfield.
* 1918: A version was released called Woman and Wife, directed by Edward José, adapted by Paul West, starring Alice Brady as Jane.
* 1921: Jane Eyre starring Mabel Ballin and directed by Hugo Ballin.
* 1926: A version was made in Germany called Orphan of Lowood.
Motion picture versions
* 1934: Jane Eyre, starring Colin Clive and Virginia Bruce.
* 1940: Rebecca, directed by Alfred Hitchcock and based upon the novel of the same name which was influenced by Jane Eyre. Joan Fontaine, who starred in this film, would also be cast in the 1944 version of Jane Eyre to reinforce the connection.
* 1943: I Walked with a Zombie is a horror movie loosely based upon Jane Eyre.
* 1944: Jane Eyre, with a screenplay by John Houseman and Aldous Huxley. It features Orson Welles as Mr Rochester, Joan Fontaine as Jane, Agnes Moorehead as Mrs. Reed, Margaret O'Brien as Adele and Elizabeth Taylor as Helen Burns.
* 1956: A version was made in Hong Kong called The Orphan Girl.
* 1963: A version was released in Mexico called El Secreto (English: "The Secret").
* 1970: Jane Eyre, starring George C. Scott as Mr Rochester and Susannah York as Jane.
* 1972: An Indian adaptation in Telugu, Shanti Nilayam, directed by C. Vaikuntarama Sastry, starring Anjali Devi.
* 1978: A version was released in Mexico called Ardiente Secreto (English: "Ardent Secret").
* 1996: Jane Eyre, directed by Franco Zeffirelli and starring William Hurt as Mr Rochester, Charlotte Gainsbourg as Jane, Elle Macpherson as Blanche Ingram, Joan Plowright as Mrs. Fairfax, Anna Paquin as the young Jane, Fiona Shaw as Mrs. Reed and Geraldine Chaplin as Miss Scatcherd.
* 2006: Jane Eyre, Directed by Susanna White, starring Toby Stephens as Mr Rochester and Ruth Wilson as Jane Eyre.
* 2011: Jane Eyre, directed by Cary Fukunaga, starring Mia Wasikowska as Jane Eyre and Michael Fassbender as Rochester.
Musical versions
* A two-act ballet of Jane Eyre was created for the first time by the London Children's Ballet in 1994, with an original score by composer Julia Gomelskaya and choreography by Polyanna Buckingham. The run was a sell-out success.
* A musical version with a book by John Caird and music and lyrics by Paul Gordon, with Marla Schaffel as Jane and James Stacy Barbour as Mr Rochester, opened at the Brooks Atkinson Theatre on 10 December 2000. It closed on 10 June 2001.
* Jane Eyre, opera in three acts, Op. 134 was composed by John Joubert in 1987–1997 to a libretto by Kenneth Birkin after the novel.
* An opera based on the novel was written in 2000 by English composer Michael Berkeley, with a libretto by David Malouf. It was given its premiere by Music Theatre Wales at the Cheltenham Festival.
* Jane Eyre was played for the first time in Europe in Beveren, Belgium. It was given its premiere at the cultural centre.
* The ballet "Jane," based on the book was created in 2007, a Bullard/Tye production with music by Max Reger. Its world premiere was scheduled at the Civic Auditorium, Kalamazoo, Michigan, June 29 and 30, performed by the Kalamazoo Ballet Company, Therese Bullard, Director.
* A musical production directed by Debby Race, book by Jana Smith and Wayne R. Scott, with a musical score by Jana Smith and Brad Roseborough, premiered in 2008 at the Lifehouse Theatre in Redlands, California
* A symphony (7th) by Michel Bosc premiered in Bandol (France), 11 October 2009.
Television versions
* 1952: This was a live television production presented by "Westinghouse Studio One (Summer Theatre)".
* Adaptations appeared on British and American television in 1956 and 1961.
* 1963:Jane Eyre. It was produced by the BBC and starred Richard Leech as Mr Rochester and Ann Bell as Jane.
* 1973: Jane Eyre. It was produced by the BBC and starred Sorcha Cusack as Jane, Michael Jayston as Mr Rochester, Juliet Waley as the child Jane, and Tina Heath as Helen Burns.
* 1978: Telenovela El Ardiente Secreto (English The impassioned secret) was an adaptation of this novel.
* 1982: BBC Classics Presents: Jane Eyrehead. A parody movie by SCTV starred Andrea Martin as Jane Eyrehead, Joe Flaherty as Mr Rochester, also starting John Candy, Eugene Levy, and Martin Short in supporting roles.
* 1983: Jane Eyre. It was produced by the BBC and starred Zelah Clarke as Jane, Timothy Dalton as Mr Rochester, Sian Pattenden as the child Jane, and Colette Barker as Helen Burns.
* 1997: Jane Eyre. It was produced by the A&E Network and starred Ciaran Hinds as Mr Rochester and Samantha Morton as Jane.
* 2006: Jane Eyre. It was produced by the BBC and starred Toby Stephens as Mr Rochester, Ruth Wilson as Jane, and Georgie Henley as Young Jane.
Literature
* 1938: Rebecca by Daphne du Maurier was partially inspired by Jane Eyre.
* 1961: The Ivy Tree by Mary Stewart adapts many of the motifs of Jane Eyre to 1950s northern England. The main character, Annabel, falls in love with her older neighbor who is married to a mentally ill woman. Like Jane, Annabel runs away to try to get over her love. The novel begins when she returns from her eight-year exile.
* 1966: Wide Sargasso Sea by Jean Rhys. The character Bertha Mason serves as the main protagonist for this novel which acts as a "prequel" to Jane Eyre. It describes the meeting and marriage of Antoinette (later renamed Bertha by Mr Rochester) and Mr Rochester. In its reshaping of events related to Jane Eyre, the novel suggests that Bertha's madness is the result of Mr Rochester's rejection of her and her Creole heritage. It was also adapted into film twice.
* 1997: Mrs Rochester: A Sequel to Jane Eyre by Hilary Bailey
* 2000: Adele: Jane Eyre's Hidden Story by Emma Tennant
* 2000: Jane Rochester by Kimberly A. Bennett, content explores the first years of the Rochesters' marriage with gothic and explicit content. A fan favorite.
* 2001 novel The Eyre Affair by Jasper Fforde revolves around the plot of Jane Eyre. It portrays the book as originally largely free of literary contrivance: Jane and Mr Rochester's first meeting is a simple conversation without the dramatic horse accident, and Jane does not hear his voice calling for her and ends up starting a new life in India. The protagonist's efforts mostly accidentally change it to the real version.
* 2002: Jenna Starborn by Sharon Shinn, a science fiction novel based upon Jane Eyre
* 2006: The French Dancer's Bastard: The Story of Adele From Jane Eyre by Emma Tennant. This is a slightly modified version of Tennant's 2000 novel.
* 2007: Thornfield Hall: Jane Eyre's Hidden Story by Emma Tennant. This is another version of Jane Eyre.
* 2010: Rochester: A Novel Inspired by Jane Eyre by J.L. Niemann. Jane Eyre told from the first person-perspective of Edward Rochester.
* The novelist Angela Carter was working on a sequel to Jane Eyre at the time of her death in 1992. This was to have been the story of Jane's stepdaughter Adèle Varens and her mother Céline. Only a synopsis survives.
mǎ gé lì tè yuán lái shì gè pín kǔ de xiāng xià gū niàn， lái dào bā lí hòu， kāi shǐ liǎo mài xiào shēng yá。 yóu yú shēng dé huā róng yuè mào， bā lí de guì zú gōng zǐ zhēng xiāng zhuī zhú， chéng liǎo hóng jí yī shí de“ shè jiāo míng xīng”。 tā suí shēn de zhuāng bàn zǒng shì shǎo bù liǎo yī shù chá huā， rén chēng“ chá huā nǚ”。
chá huā nǚ dé liǎo fèi bìng， zài jiē shòu kuàng quán zhì liáo shí， liáo yǎng yuàn lǐ yòu wèi guì zú xiǎo jiě， shēn cái、 cháng xiānghè mǎ gé lì tè chàbù duō， zhǐ shì fèi bìng yǐ dào liǎo dì sān qī， bù jiǔ biàn sǐ liǎo。 xiǎo jiě de fù qīn mó lǐ 'ā lóng gōng jué zài 'ǒu rán fā xiàn mǎ gé lì tè hěn xiàng tā nǚ 'ér， biàn shōu tā zuò liǎo gān nǚ 'ér。 mǎ gé lì tè shuō chū liǎo zì jǐ de shēn shì， gōng jué dāyìng zhǐ yào tā néng gǎi biàn zì jǐ guò qù de shēng huó， biàn fù dān tā de quán bù rì cháng fèi yòng。 dàn mǎ gé lì tè bù néng wán quán zuò dào， gōng jué biàn jiāng qián jiǎn shǎo liǎo yī bàn， mǎ gé lì tè rù bù fū chū， dào xiàn zài yǐ qiàn xià jǐ wàn fǎ láng de zhài wù。
In the English-speaking world, The Lady of the Camellias became known as Camille and 16 versions have been performed at Broadway theatres alone. The titular lady is Marguerite Gautier, who is based on Marie Duplessis, the real-life lover of author Dumas, fils.
Stage performances
Since its debut as a play, numerous editions have been performed at theatres around the world. The role of the tragic "Marguerite Gautier" became one of the most coveted amongst actresses and included performances by Lillian Gish, Eleonora Duse, Margaret Anglin, Gabrielle Réjane, Tallulah Bankhead, Eva Le Gallienne, Isabelle Adjani, Cacilda Becker, and especially Sarah Bernhardt, who starred in Paris, London, and several Broadway revivals, plus a 1912 film. Dancer/Impressario Ida Rubinstein successfully recreated Bernhardt's interpretation of the role onstage in the mid-1920s, coached by the great actress herself before she died.
It is also the inspiration for the 2008 musical Marguerite, which places the story in 1944 German-occupied France.
Adaptations
Film
In addition to inspiring La Traviata, The Lady of the Camellias has been adapted for approximately twenty different motion pictures in numerous countries and in a wide variety of languages. The role of "Marguerite Gautier" has been played on screen by Sarah Bernhardt, Clara Kimball Young, Theda Bara, Yvonne Printemps, Alla Nazimova, Greta Garbo, Micheline Presle, Francesca Bertini, Isabelle Huppert, and others.
films entitled Camille
There have been at least eight adaptations of The Lady of the Camellias entitled Camille.
other films based on La Dame aux Camélias
In addition to the Camille films, the story has been the adapted into numerous other screen versions: Elena Lunda
* Kameliadamen, the first movie based on the work. Kameliadamen was a 1907 Danish silent film directed by Viggo Larsen and starring Oda Alstrup, Larsen, Gustave Lund and Robert Storm Petersen.
* La Dame aux Camélias, a 1911 French language silent film, directed by André Calmettes and Henri Pouctal. It stars Sarah Bernhardt.
* La Signora delle Camelie, a 1915 Italian language film. It was directed by Baldassarre Negroni and Gustavo Serena. It stars Hesperia, Alberto Collo and Ida Carloni Talli.
* A 1921 English language silent film that stars Nazimova and Rudolph Valentino. It was directed by Ray C. Smallwood.
* Damen med kameliorna, a 1925 Swedish film adapted and directed by Olof Molander. It stars Uno Henning and Tora Teje.
* La Dame aux Camélias, the first sound adaptation. La Dame aux Camélias was a 1934 French film adapted by Abel Gance and directed by Gance and Fernand Rivers. It stars Yvonne Printemps and Pierre Fresnay.
* Greta Garbo had the starring role in Camille (1936), directed by George Cukor
* A 1944 Spanish language version was produced in Mexico. It was adapted by Roberto Tasker and directed by Gabriel Soria, and stars Lina Montes and Emilio Tuero.
* La Dame aux Camélias, a 1953 French film adapted by Bernard Natanson and directed by Raymond Bernard. It stars Gino Cervi, Micheline Presle and Roland Alexandre.
* Camelia, a 1954 Mexican film adapted by José Arenas, Edmundo Báez, Roberto Gavaldón and Gregorio Walerstein. It was directed by Gavaldón, and stars María Félix.
* La Mujer de las camelias, a 1954 Argentine film adapted by Alexis de Arancibia (as Wassen Eisen) and Ernesto Arancibia, and directed by Ernesto Arancibia. It stars Zully Moreno.
* La Dame aux Camélias, a 1981 French language film adapted by Jean Aurenche, Enrico Medioli and Vladimir Pozner, and directed by Mauro Bolognini. It stars Isabelle Huppert.
Ballet
* John Neumeier made a The Lady of the Camellias ballet on his Hamburg Ballet company.
* Marguerite and Armand is an adaptation created in 1963 by renowned choreographer Sir Frederick Ashton specifically for Rudolf Nureyev and prima ballerina assoluta Dame Margot Fonteyn.
chá huā nǚ dé liǎo fèi bìng， zài jiē shòu kuàng quán zhì liáo shí， liáo yǎng yuàn lǐ yòu wèi guì zú xiǎo jiě， shēn cái、 cháng xiānghè mǎ gé lì tè chàbù duō， zhǐ shì fèi bìng yǐ dào liǎo dì sān qī， bù jiǔ biàn sǐ liǎo。 xiǎo jiě de fù qīn mó lǐ 'ā lóng gōng jué zài 'ǒu rán fā xiàn mǎ gé lì tè hěn xiàng tā nǚ 'ér， biàn shōu tā zuò liǎo gān nǚ 'ér。 mǎ gé lì tè shuō chū liǎo zì jǐ de shēn shì， gōng jué dāyìng zhǐ yào tā néng gǎi biàn zì jǐ guò qù de shēng huó， biàn fù dān tā de quán bù rì cháng fèi yòng。 dàn mǎ gé lì tè bù néng wán quán zuò dào， gōng jué biàn jiāng qián jiǎn shǎo liǎo yī bàn， mǎ gé lì tè rù bù fū chū， dào xiàn zài yǐ qiàn xià jǐ wàn fǎ láng de zhài wù。
In the English-speaking world, The Lady of the Camellias became known as Camille and 16 versions have been performed at Broadway theatres alone. The titular lady is Marguerite Gautier, who is based on Marie Duplessis, the real-life lover of author Dumas, fils.
Stage performances
Since its debut as a play, numerous editions have been performed at theatres around the world. The role of the tragic "Marguerite Gautier" became one of the most coveted amongst actresses and included performances by Lillian Gish, Eleonora Duse, Margaret Anglin, Gabrielle Réjane, Tallulah Bankhead, Eva Le Gallienne, Isabelle Adjani, Cacilda Becker, and especially Sarah Bernhardt, who starred in Paris, London, and several Broadway revivals, plus a 1912 film. Dancer/Impressario Ida Rubinstein successfully recreated Bernhardt's interpretation of the role onstage in the mid-1920s, coached by the great actress herself before she died.
It is also the inspiration for the 2008 musical Marguerite, which places the story in 1944 German-occupied France.
Adaptations
Film
In addition to inspiring La Traviata, The Lady of the Camellias has been adapted for approximately twenty different motion pictures in numerous countries and in a wide variety of languages. The role of "Marguerite Gautier" has been played on screen by Sarah Bernhardt, Clara Kimball Young, Theda Bara, Yvonne Printemps, Alla Nazimova, Greta Garbo, Micheline Presle, Francesca Bertini, Isabelle Huppert, and others.
films entitled Camille
There have been at least eight adaptations of The Lady of the Camellias entitled Camille.
other films based on La Dame aux Camélias
In addition to the Camille films, the story has been the adapted into numerous other screen versions: Elena Lunda
* Kameliadamen, the first movie based on the work. Kameliadamen was a 1907 Danish silent film directed by Viggo Larsen and starring Oda Alstrup, Larsen, Gustave Lund and Robert Storm Petersen.
* La Dame aux Camélias, a 1911 French language silent film, directed by André Calmettes and Henri Pouctal. It stars Sarah Bernhardt.
* La Signora delle Camelie, a 1915 Italian language film. It was directed by Baldassarre Negroni and Gustavo Serena. It stars Hesperia, Alberto Collo and Ida Carloni Talli.
* A 1921 English language silent film that stars Nazimova and Rudolph Valentino. It was directed by Ray C. Smallwood.
* Damen med kameliorna, a 1925 Swedish film adapted and directed by Olof Molander. It stars Uno Henning and Tora Teje.
* La Dame aux Camélias, the first sound adaptation. La Dame aux Camélias was a 1934 French film adapted by Abel Gance and directed by Gance and Fernand Rivers. It stars Yvonne Printemps and Pierre Fresnay.
* Greta Garbo had the starring role in Camille (1936), directed by George Cukor
* A 1944 Spanish language version was produced in Mexico. It was adapted by Roberto Tasker and directed by Gabriel Soria, and stars Lina Montes and Emilio Tuero.
* La Dame aux Camélias, a 1953 French film adapted by Bernard Natanson and directed by Raymond Bernard. It stars Gino Cervi, Micheline Presle and Roland Alexandre.
* Camelia, a 1954 Mexican film adapted by José Arenas, Edmundo Báez, Roberto Gavaldón and Gregorio Walerstein. It was directed by Gavaldón, and stars María Félix.
* La Mujer de las camelias, a 1954 Argentine film adapted by Alexis de Arancibia (as Wassen Eisen) and Ernesto Arancibia, and directed by Ernesto Arancibia. It stars Zully Moreno.
* La Dame aux Camélias, a 1981 French language film adapted by Jean Aurenche, Enrico Medioli and Vladimir Pozner, and directed by Mauro Bolognini. It stars Isabelle Huppert.
Ballet
* John Neumeier made a The Lady of the Camellias ballet on his Hamburg Ballet company.
* Marguerite and Armand is an adaptation created in 1963 by renowned choreographer Sir Frederick Ashton specifically for Rudolf Nureyev and prima ballerina assoluta Dame Margot Fonteyn.
《 sān jiàn kè》 shì yǐ 17 shì jì chū qī fǎ guó guó wáng lù yì shí sān hé shǒu wò zhòng bīng、 quán qīng cháo yě de shǒuxiàng lí sài liú hóng yī zhù jiào de máo dùn wéi bèi jǐng， chuān chā qún chén pài xì de míng zhēng 'àn dǒu， wéi rào gōng tíng lǐ de mì shǐ yì wén， zhǎn kāi liǎo jí ráo qù wèi de gù shì。 shū zhōng de zhù rén gōng shàonián yǒng shì dá dá ní 'áng， huái chuài qí fù liú gěi tā de shí wǔ gè 'āi jū， qí yī pǐ cháng máo shòu mǎ， gào bié jí qīn， yuǎn fù bā lí， xī wàng zài tóng xiāng fù zhí de tè léi wéi 'ěr wéi duì cháng de guó wáng huǒ qiāng duì lǐ dāng yī míng huǒ qiāng shǒu。 zài duì cháng fǔ shàng， tā yù shàng 'ā tuō sī， bō tuō sī hé 'ā lā mǐ sī sān gè huǒ qiāng shǒu， tōng guò 'ōu zhōu qí shì fēng xíng de jué dǒu， sì rén jié chéng shēng sǐ yǔ gòng de zhī jǐ。
qí shí， guó wáng lù yì shí sān， wáng hòu 'ān nà · ào dì lì， yǐ jí shǒuxiàng lí sài liú sān fēn guó quán， bǐ cǐ yòu xì。 guó wáng duì dá dá ní 'áng jǐ cì dǎ bài shǒuxiàng bù xià 'àn zì bāo jiǎng， ér shǒuxiàng què huái hèn zài xīn。 qià féng 'ān nà · ào dì lì wáng hòu de jiù shí qíng rén yīng guó bái jīn hàn gōng jué duì tā qíng sī wèi duàn， wáng hòu biàn yǐ jīn gāng zuàn zhuì xiāng zèng yǐ biǎo huái niàn。 zhù jiào suì lì yòng qì jī gòu xiàn， xiàng guó wáng lǚ jìn chán yán， yào guó wáng pài rén zǔ zhì gōng tíng wǔ huì， ràng wáng hòu pèi dài guó wáng sòng gěi tā de nà tiáo jīn gāng zuàn zhuì yǐ zhèng xū shí。 wáng hòu yǎn jiàn wǔ huì rì qī bī jìn， huáng rán wú jì， xìng dé xīn fù shì nǚ bō nà sè xiàn jì shè fǎ， qǐng dá dá ní 'áng bāng máng xiāng zhù。 dá dá ní 'áng duì bō nà sè yī jiàn zhōng qíng， pō xiāng jiàn hèn wǎn， biàn bù gù gè rén 'ān wēi， mǎn kǒu dāyìng， zài sān gè péng yǒu de quán lì zhī chí xià， sì rén fēn tóu fù yīng。 jīng guò yī lù qū zhé lí qí de mó nán， wéi yòu dá dá ní 'áng rú qī dǐ dá， xiàng bái jīn hàn shuō míng yuán wěi， jí shí suǒ huí jīn gāng zuàn zhuì， jiě jiù liǎo wáng hòu de rán méi zhī jí， fěn suì liǎo hóng yī zhù jiào de yīn móu guǐ jì。
hóng yī zhù jiào lí sài liú duì 'ān nà · ào dì lì yě zǎo yǐ yòu yì， dàn yī zhí wèi huò wáng hòu chuí qīng。 yú shì tā dù huǒ zhōng shāo， yí hèn yú qíng dí bái jīn hàn gōng jué， lì yòng xīn jiù jiào tú de máo dùn yǐn fā de fǎ yīng zhàn zhēng， wàng tú chú diào bái jīn hàn yǐ jiě xīn tóu zhī hèn。 wéi dá cǐ mùdì， tā wǎng luó yī pī xīn fù dǎng yǔ， qí zhōng zuì dé lì de qīn xìn biàn shì jiā lì mǐ lā dí。 cǐ nǚ tiān shēng lì zhì， yàn ruò táo lǐ， dàn què liǎng miàn sān dāo， kǒu mì fù jiàn， xīn hěn shǒu là， dú rú shé xiē。 dá dá ní 'áng wéi qí měi mào suǒ dòng， qiǎo gòu jì móu， qián rù nèi shì， yòu tā shī shēn。 jiù zài yún yǔ jiāo huān zhī zhōng， dá dá ní 'áng 'ǒu rán fā xiàn mǐ lā dí jiān lào yī duǒ bǎi hé huā， nà shì dāng shí 'ōu zhōu nǚ zǐ fàn zuì de chǐ rǔ xíng jì。 yǐn cáng shù nián de zhè gè jī mì de bào lù， shǐ tā duì dá dá ní 'áng hèn zhī rù gǔ， bù gòng dài tiān， jǐ cì shè xiàn jǐng 'àn hài， dàn jūn wèi chéng gōng。
zài yǐ wéi kùn lā luó shè 'ěr chéng wéi zhàn shì jiāo diǎn de fǎ yīng duì lěi zhōng， lí sài liú hé bái jīn hàn gè wéi liǎng guó pī guà shàng zhèn de zhù shuài。 lí sài liú 'àn pài mǐ lā dí fù yīng wò dǐ， chéng jī xíng cì bái jīn hàn； mǐ lā dí tí chū yǐ shā sǐ dá dá ní 'áng wéi jiāo huàn tiáo jiàn。 tā yī tà shàng yīng guó de tǔ dì， jí bèi yù xiān dé dào dá dá ní 'áng tōng zhī de wēn tè xūn jué zhuā huò， suì zāo qí ruǎn jìn。 qiú jìn zhōng， tā jí jìn mài nòng fēng sāo hé huā yán qiǎo yǔ zhī néng shì， yòu huò liǎo wēn tè xūn jué de xīn fù kānshǒu fèi 'ěr dùn， hòu zhě zì gào fèn yǒng jiù mǐ lā dí chū huò， bìng jiǎo xìng cì sǐ liǎo bái jīn hàn。 mǐ lā dí zài guī fǎ tú zhōng， qiǎo jìn xiū dào yuàn， zhǎo dào liǎo shòu wáng hòu pài rén bì hù de dá dá ní 'áng de qíng fù bō nà sè， jiāng tā dú sǐ。 dá dá ní 'áng、 ā tuō sī、 bō tuō sī、 ā lā mǐ sī sì wèi péng yǒu zhòu yè jiān chéng， kǔ kǔ zhuī zōng， huì tóng wēn tè xūn jué hé yī míng guì zǐ shǒu， zhōng yú zài lì sī hé pàn zhuā dào qǐ tú qián táo bǐ lì shí de mǐ lā dí。 liù wèi chóu rén qí tǎo gòng zhū， jiē kāi liǎo mǐ lā dí de lǎo dǐ： yuán lái tā zǎo yǐ dùn rù kōng mén， dàn tā bù gān qīng chūn jì mò， yòu huò liǎo yī gè xiǎo jiào shì yǔ qí tóng jū。 yīn bài huài jiào mén qīng guī， jiào shì shēn xiàn líng yǔ， tā yě bèi guì zǐ shǒu héng héng xiǎo jiào shì de bāo xiōng lào xià liǎo yī duǒ bǎi hé huā。 jiào shì yuè yù táo páo， xié dài mǐ lā dí sī bēn tā xiāng， guì zǐ shǒu yīn shòu zhū lián rù yù， tì dì dǐng zuì。 zài yì xiāng， mǐ lā dí xián pín 'ài fù， yòu pāo qì liǎo xiǎo jiào shì， hé dāng dì yī wèi shàonián lā fèi 'ěr bó jué jié hūn， nòng dé hòu zhě qīng jiā dàng chǎn yòu qì tā 'ér qù。 lā fèi 'ěr bó jué hèn zhī qièqiè， biàn huà míng 'ā tuō sī tóu jūn， jìn liǎo guó wáng huǒ qiāng duì， yǐ wèi shī liàn shòu piàn zhī kǔ。 mǐ lā dí táo dào yīng guó， piàn qǔ wēn tè xūn jué bó xiōng zhī 'ài chéng hūn， bìng shēng yòu yī zǐ。 dàn wèile dú zhàn zhàng fū jí xiōng dì zhī yí chǎn， tā yòu móu hài liǎo dì 'èr gè zhàng fū。 tā zuì 'è lěi lěi， tiān nù rén yuàn， dāng jí zài lì sī hé pàn bèi shā zhèng fǎ。 zhì cǐ， dá dá ní 'áng、 ā tuō sī、 bō tuō sī、 ā lā mǐ sī、 wēn tè xūn jué hé guì zǐ shǒu gè zì dū bào chóu xuě hèn， liǎo què sù yuàn。
lí sài liú dé zhī xīn fù mǐ lā dí yù hài yī shì zhōng， dá dá ní 'áng shì zhù móu， biàn mìng qīn xìn luó shí fú 'ěr jiāng tā zhuō ná。 dá dá ní 'áng bù bēi bù kàng， tǎn yán xiāng chén， míng shì yuán wěi。 lí sài liú jiàn tā shì sǐ rú guī， yì yǒng wú shuāng， shàonián yòu wéi， shēn wéi gǎn dòng， fēi dàn bù jiā zuì xíng zhū， fǎn 'ér zhuó shēng qí huǒ qiāng duì fù guān。 ā tuō sī、 bō tuō sī、 ā lā mǐ sī sān rén huò guī xiāng lǐ， huò qǔ shuāng fù， huò guī jiào mén， píng piāo xù fēi， quán shū jiù cǐ jié jú。
《 sān jiàn kè》 shì yī bù lì shǐ xiǎo shuō， dàn zuò zhě dà zhòng mǎ bù jū ní yú lì shǐ， zài cǐ jī chǔ shàng tiān jiā zì jǐ fēng fù de xiǎng xiàng lì， shǐ tā chéng wéi yī bù yǐn rén rù shèng de xiá shì xiǎo shuō， zhì jīn réng wéi rén men suǒ xǐ 'ài。
The story of d'Artagnan is continued in Twenty Years After and The Vicomte of Bragelonne: Ten Years Later. Those three novels by Dumas are together known as the d'Artagnan Romances.
The Three Musketeers was first published in serial form in the magazine Le Siècle between March and July 1844.
Origin
In the very first sentences of his preface Alexandre Dumas indicated as his source Mémoires de Monsieur d'Artagnan, printed by Pierre Rouge in Amsterdam. It was in this book, he said, that d'Artagnan relates his first visit to M. de Tréville, captain of the Musketeers, where in the antechamber he met three young men with the names Athos, Porthos and Aramis. This information struck the imagination of Dumas so much—he tells us—that he continued his investigation and finally encountered once more the names of the three musketeers in a manuscript with the title Mémoire de M. le comte de la Fère, etc.. Elated—so continues his yarn—he asked permission to reprint the manuscript. Permission granted:
"Well, it is the first part of this precious manuscript that we offer today to our readers, while giving it back its more convenient title and under the engagement to publish immediately the second part should this first part be successful. In the meantime, as the godfather is as good as a second father, we invite the reader to address himself to us, and not to the Comte de La Fère, about his pleasure or boredom. This being said, let's get on with our story."
The book he referred to was Mémoires de M .d'Artagnan, capitaine lieutenant de la première compagnie des Mousquetaires du Roi (Memoirs of Mister d'Artagnan, Lieutenant Captain of the first company of the King's Musketeers) by Gatien de Courtilz de Sandras (Cologne, 1700). The book was borrowed from the Marseille public library, and the card-index remains to this day; Dumas kept the book when he went back to Paris.
Attention to the extent of Dumas' preface is called for when compared with the recent analysis (2008) of the book's origin by Roger MacDonald in his The Man in the Iron Mask:The True Story of the Most Famous Prisoner in History and the Four Musketeers where the identity of the man in the iron mask is presented as real history.
Following Dumas's lead in his preface, Eugène d'Auriac (de la Bibliothèque Royale) in 1847 was able to write the biography of d'Artagnan: d'Artagnan, Capitaine-Lieutenant des Mousquetaires – Sa vie aventureuse – Ses duels – etc. based on Courtilz de Sandras. This work and especially its introduction with reference to the preface is uncited by MacDonald.
Plot summary
Plot brief
The poor d'Artagnan travels to Paris to join the Musketeers. He suffers misadventure and is challenged to a duel by each of three musketeers (Athos, Aramis and Porthos). Attacked by the Cardinal's guards, the four unite and escape.
D'Artagnan and his new love interest, Constance, help the French queen give a particular piece of jewellery to her paramour, the Duke of Buckingham. The Cardinal learns of this and coaxes the French king to hold a ball where the queen must wear the jewellery; its absence will reveal her infidelity. The four companions retrieve the jewellery from England.
The Cardinal kidnaps Constance who is later rescued by the queen. D'Artagnan meets Milady de Winter and discovers she is a felon, the ex-wife of Athos and the widow of Count de Winter. The Cardinal recruits Milady to kill Buckingham, also granting her a hand-written pardon for the future killing of d'Artagnan. Athos learns of this, takes the pardon but is unable to warn Buckingham. He sends word to Lord de Winter that Milady is arriving; Lord de Winter arrests her on suspicion of killing Count de Winter, his brother.
She seduces her guard and escapes to the monastery in France where the queen secreted Constance. Milady kills Constance. The four companions arrive and Athos identifies her as a multiple murderess. She is tried and beheaded.
On the road, d'Artagnan is arrested. Taken before the Cardinal, d'Artagnan relates recent events and reveals the Cardinal’s pardon. Impressed, the Cardinal offers him a blank musketeer officer's commission. D’Artagnan’s friends refuse the commission, each retiring to a new life, telling him to take it himself.
Detailed plot summary
The main character, d'Artagnan, born into an impoverished noble family of Gascony, leaves home for Paris to fulfill his greatest dream: becoming a Musketeer of the Guard. Fortunately his father knows Monsieur De Treville, Captain of the Company of Musketeers (and fellow Gascon) and has written a letter of introduction. On the road to Paris, the young Gascon soon gets in a quarrel with a mysterious gentleman and is set upon by the servants of the nearby inn. When d'Artagnan regains consciousness he realizes that the gentleman has stolen his letter of introduction. The innkeeper manages to get his hands on much of d'Artagnan's limited money as he recuperates.
In Paris d'Artagnan goes straight to M. De Treville's hôtel, but lacking his father's letter is received somewhat coolly. In a series of incidents at the hôtel, d'Artagnan is challenged to duels by three musketeers: Athos, Porthos, and Aramis. The four men meet and d'Artagnan begins to fight Athos (the first challenger). They are interrupted by Cardinal Richelieu's guards who threaten to arrest them because duels are forbidden by royal decree. The three musketeers and d'Artagnan unite to defeat the cardinal's guards. In this manner the young Gascon earns the respect and friendship of Athos, Porthos and Aramis and soon becomes a soldier in a regiment of the Royal Guard.
After obtaining lodging and hiring a servant (Planchet), he meets his aging landlord's pretty young wife, Constance Bonacieux, with whom he falls instantly in love. Constance and d'Artagnan help the Queen Consort of France, Anne of Austria, and the Duke of Buckingham have a rendezvous and the Queen presents her lover with a wooden box containing a set of diamond jewels originally given to her by her husband Louis XIII. Cardinal Richelieu, informed by his spies of the gift, persuades the King to invite the Queen to a ball where she would be expected to wear the diamonds; in hopes of uncovering her love affair.
Constance attempts to get her husband to go to London and retrieve the diamonds, but he has been recruited as an agent by the cardinal and refuses. D'Artagnan and his friends are convinced to take on the mission instead. After a series of adventures, they retrieve the jewels and return them to Queen Anne, just in time to save her façade of honour. Athos, Porthos and Aramis are all badly wounded by the cardinal's agents in this endeavor.
The cardinal's revenge comes swiftly: the next evening, Constance is kidnapped. D'Artagnan brings his friends back to Paris and tries to find her, but fails. Meanwhile, he befriends the Lord de Winter, an English nobleman who introduces him to his sister-in-law, Milady de Winter. D'Artagnan quickly develops a crush on the pretty noblewoman, but soon learns that she has no love for him, being an agent for the cardinal. He manages to sleep with her and learns that Milady has a fleur-de-lis burned into her shoulder, marking her as a felon. She had apparently been married to both Athos and the Count de Winter at different times in her wicked life and was livid that the young musketeer knew her secret. D'Artagnan is able to escape her home but is relieved when all the King's guards are ordered to La Rochelle where a siege of the Protestant-held town is taking place.
Milady makes several attempts to kill d'Artagnan in and around La Rochelle, but fails. At the same time, d'Artagnan finds out that the Queen has managed to save Constance from the prison where the cardinal and Milady had thrown her and that his beloved is now hidden somewhere safe.
The Musketeers stake out the inn and overhear a conversation between the cardinal and Milady, during which the cardinal asks her to assassinate the Duke of Buckingham (a supporter of the Protestant Rochellais rebels). The churchman then writes out a blanket pardon to Milady, effectively giving her permission to kill d'Artagnan. Athos quickly confronts his former wife and forces her to relinquish the cardinal's pardon. Because of the war between France and England, any attempt by the musketeers to warn the Duke of Buckingham about Milady would be considered treason, but they are able to send Planchet with a letter to Milady's brother-in-law (Lord de Winter) who suspects Milady killed his brother.
Milady is imprisoned on arrival in England, but soon seduces her hard-hearted Puritan jailer Felton and convinces him not only to help her escape, but also to assassinate the Duke of Buckingham. While the naive Felton shanks the prime minister, Milady sails to France. Milady sends a message to the cardinal and hides in the same North French monastery where Constance had been sent by the Queen. The trusting Constance bares her soul to Milady and the evil woman realizes that her enemy d'Artagnan is expected to arrive at the monastery at any moment. She escapes just before his arrival, but not before taking her revenge: she poisons Constance who dies minutes later in the arms of her beloved d'Artagnan.
They arrange to track down the whereabouts of Milady to exact punishment, joined by the Lord de Winter. The noblemen find her and try the countess on numerous charges: the poisoning of Madame Bonacieux; the assassination attempts on d'Artagnan; accomplice to the assassination of the Duke of Buckingham; the corruption of the Lord de Winter's servant, Felton; and the assassination of her late husband, Count de Winter. The most damning charge comes when Athos states that Milady, his wife, is a marked criminal with a brand on her shoulder. When the countess demands that Athos present the one who branded her, a man in a red cloak steps forward. She immediately recognizes him as the executioner of Lille and he recounts Milady's early misdeeds that led to the brand.
After Milady is beheaded the musketeers return to La Rochelle. On their way they encounter the Count of Rochefort, who was traveling to Milady to pay her. Rochefort also has an order to arrest d'Artagnan. He decides to postpone his trip to Milady in order to take d'Artagnan directly to the cardinal. When the young Gascon is presented before him the entire story about Milady's assassination attempts, her poisoning of Madame Bonacieux, etc. is told. The cardinal states that if Milady is indeed guilty, the courts will deal harshly with her. D'Artagnan frankly admits that he and his friends have already dealt with this evil woman. He then presents Richelieu with the blanket pardon written in the cardinal's own hand. The cardinal, impressed by d'Artagnan's resourcefulness and having already gotten what he wanted from Milady, offers the young man a lieutenant's commission with the musketeers — with the name left blank. The cardinal then presents Rochefort and asks both men to be on good terms.
The book ends with d'Artagnan offering the officer's commission to each of his friends, but he is told that he should insert his own name. Athos intends to retire to his estates, Porthos has decided to marry the widow of a rich lawyer and Aramis will soon fulfill his dream of entering the priesthood. Their lives will cross again, in Twenty Years After.
Important characters
Musketeers
* Athos
* Porthos
* Aramis
D'Artagnan was not one of the titular "three musketeers." The novel recounts his becoming a musketeer.
Musketeers' servants
* Planchet (d'Artagnan) – A clever fellow whom Porthos found to serve d'Artagnan.
* Grimaud (Athos) – A Breton, trained to speak only in emergencies and mostly communicates through sign language.
* Mousqueton (Porthos) – A would-be dandy, just as vain as his master, whose only pay is his master's old clothes
* Bazin (Aramis) – Waits for the day his master will join the church, as Bazin has always dreamed to serve a priest.
Others
* Milady de Winter
* Cardinal Richelieu
* Comte de Rochefort
* Louis XIII of France
* M. de Tréville
* Constance Bonacieux
* Monsieur Bonacieux
* Queen Anne of Austria
* George Villiers, 1st Duke of Buckingham
Editions
Les Trois Mousquetaires was translated into three English versions by 1846. One of these, by William Barrow, is still in print and fairly faithful to the original, available in the Oxford World's Classics 1999 edition. However, all of the explicit and many of the implicit references to sexuality had been removed to conform to 19th-century English standards, thereby making the scenes between d'Artagnan and Milady, for example, confusing and strange. The most recent and now standard English translation is by Richard Pevear (2006), who in his introduction notes that most of the modern translations available today are "textbook examples of bad translation practices" which "give their readers an extremely distorted notion of Dumas' writing."
Adaptations
Musical theatre
The Three Musketeers is a musical with a book by William Anthony McGuire, lyrics by Clifford Grey and P. G. Wodehouse, and music by Rudolf Friml. The original 1928 production ran on Broadway for 318 performances. A 1984 revival ran for 15 previews and 9 performances. In 2003 a Dutch musical 3 Musketiers premiered, which went on to open in Germany (both the Dutch and German production starring Pia Douwes as Milady De Winter) and Hungary. Composer George Stiles, lyricist Paul Leigh and playwright Peter Raby have produced another version (under the title The 3 Musketeers, One Musical For All), which opened at the American Musical Theatre of San José on 10 March 2001.
Films
See The Three Musketeers (film) for a list of film adaptations.
Games
1995 saw the release by publisher U.S. Gold of Touché: The Adventures of the Fifth Musketeer by video game developers Clipper Software, a classic point-and-click adventure game using the SCUMM engine.
In 2005, Swedish developer Legendo Entertainment published the side-scrolling platform game The Three Musketeers for Windows XP and Windows Vista. In July 2009, a version of the game was released for WiiWare in North America and Europe under the title The Three Musketeers: One for All!.
In 2009, Canadian developer Dingo Games self-published The Three Musketeers: The Game for Windows and Mac OS X. It is the first game to be truly based on the novel (in that it closely follows the novel's story).
2009 also saw the publication of the asymmetric team board game The Three Musketeers "The Queen's Pendants" (Настольная игра «Три мушкетера») from French designer Pascal Bernard by the Russian publisher Zvezda.
Television
* Dogtanian and the Three Muskehounds is an anthropomorphic animated series adaptation
* Albert the Fifth Musketeer, animated series which is a sequel to the novel
* Young Blades, television series which is a sequel to the novels, centered on the son of d'Artagnan
* Three Musketeers is an anime series adaption
* The Three Musketeers, an animated adaption that aired as part of Hanna-Barbera's "The Banana Splits Comedy-Adventure Hour" & "The Banana Splits & Friends" show.
Influence on later works
In 1939, American author Tiffany Thayer published a book entitled Three Musketeers (Thayer, 1939). This is a re-telling of the story in Thayer's words, true to the original plot but told in a different order and with different points of view and emphasis from the original. For example, the book opens with the scene of Milady's youth and how she came to be branded, and more development of her early character, making her later scheming more believable and understandable. Thayer's treatment of sex and sexual politics is more explicit than typical English translations of the original, occasionally leading to consternation when this book found its way to library children's sections and school libraries.
qí shí， guó wáng lù yì shí sān， wáng hòu 'ān nà · ào dì lì， yǐ jí shǒuxiàng lí sài liú sān fēn guó quán， bǐ cǐ yòu xì。 guó wáng duì dá dá ní 'áng jǐ cì dǎ bài shǒuxiàng bù xià 'àn zì bāo jiǎng， ér shǒuxiàng què huái hèn zài xīn。 qià féng 'ān nà · ào dì lì wáng hòu de jiù shí qíng rén yīng guó bái jīn hàn gōng jué duì tā qíng sī wèi duàn， wáng hòu biàn yǐ jīn gāng zuàn zhuì xiāng zèng yǐ biǎo huái niàn。 zhù jiào suì lì yòng qì jī gòu xiàn， xiàng guó wáng lǚ jìn chán yán， yào guó wáng pài rén zǔ zhì gōng tíng wǔ huì， ràng wáng hòu pèi dài guó wáng sòng gěi tā de nà tiáo jīn gāng zuàn zhuì yǐ zhèng xū shí。 wáng hòu yǎn jiàn wǔ huì rì qī bī jìn， huáng rán wú jì， xìng dé xīn fù shì nǚ bō nà sè xiàn jì shè fǎ， qǐng dá dá ní 'áng bāng máng xiāng zhù。 dá dá ní 'áng duì bō nà sè yī jiàn zhōng qíng， pō xiāng jiàn hèn wǎn， biàn bù gù gè rén 'ān wēi， mǎn kǒu dāyìng， zài sān gè péng yǒu de quán lì zhī chí xià， sì rén fēn tóu fù yīng。 jīng guò yī lù qū zhé lí qí de mó nán， wéi yòu dá dá ní 'áng rú qī dǐ dá， xiàng bái jīn hàn shuō míng yuán wěi， jí shí suǒ huí jīn gāng zuàn zhuì， jiě jiù liǎo wáng hòu de rán méi zhī jí， fěn suì liǎo hóng yī zhù jiào de yīn móu guǐ jì。
hóng yī zhù jiào lí sài liú duì 'ān nà · ào dì lì yě zǎo yǐ yòu yì， dàn yī zhí wèi huò wáng hòu chuí qīng。 yú shì tā dù huǒ zhōng shāo， yí hèn yú qíng dí bái jīn hàn gōng jué， lì yòng xīn jiù jiào tú de máo dùn yǐn fā de fǎ yīng zhàn zhēng， wàng tú chú diào bái jīn hàn yǐ jiě xīn tóu zhī hèn。 wéi dá cǐ mùdì， tā wǎng luó yī pī xīn fù dǎng yǔ， qí zhōng zuì dé lì de qīn xìn biàn shì jiā lì mǐ lā dí。 cǐ nǚ tiān shēng lì zhì， yàn ruò táo lǐ， dàn què liǎng miàn sān dāo， kǒu mì fù jiàn， xīn hěn shǒu là， dú rú shé xiē。 dá dá ní 'áng wéi qí měi mào suǒ dòng， qiǎo gòu jì móu， qián rù nèi shì， yòu tā shī shēn。 jiù zài yún yǔ jiāo huān zhī zhōng， dá dá ní 'áng 'ǒu rán fā xiàn mǐ lā dí jiān lào yī duǒ bǎi hé huā， nà shì dāng shí 'ōu zhōu nǚ zǐ fàn zuì de chǐ rǔ xíng jì。 yǐn cáng shù nián de zhè gè jī mì de bào lù， shǐ tā duì dá dá ní 'áng hèn zhī rù gǔ， bù gòng dài tiān， jǐ cì shè xiàn jǐng 'àn hài， dàn jūn wèi chéng gōng。
zài yǐ wéi kùn lā luó shè 'ěr chéng wéi zhàn shì jiāo diǎn de fǎ yīng duì lěi zhōng， lí sài liú hé bái jīn hàn gè wéi liǎng guó pī guà shàng zhèn de zhù shuài。 lí sài liú 'àn pài mǐ lā dí fù yīng wò dǐ， chéng jī xíng cì bái jīn hàn； mǐ lā dí tí chū yǐ shā sǐ dá dá ní 'áng wéi jiāo huàn tiáo jiàn。 tā yī tà shàng yīng guó de tǔ dì， jí bèi yù xiān dé dào dá dá ní 'áng tōng zhī de wēn tè xūn jué zhuā huò， suì zāo qí ruǎn jìn。 qiú jìn zhōng， tā jí jìn mài nòng fēng sāo hé huā yán qiǎo yǔ zhī néng shì， yòu huò liǎo wēn tè xūn jué de xīn fù kānshǒu fèi 'ěr dùn， hòu zhě zì gào fèn yǒng jiù mǐ lā dí chū huò， bìng jiǎo xìng cì sǐ liǎo bái jīn hàn。 mǐ lā dí zài guī fǎ tú zhōng， qiǎo jìn xiū dào yuàn， zhǎo dào liǎo shòu wáng hòu pài rén bì hù de dá dá ní 'áng de qíng fù bō nà sè， jiāng tā dú sǐ。 dá dá ní 'áng、 ā tuō sī、 bō tuō sī、 ā lā mǐ sī sì wèi péng yǒu zhòu yè jiān chéng， kǔ kǔ zhuī zōng， huì tóng wēn tè xūn jué hé yī míng guì zǐ shǒu， zhōng yú zài lì sī hé pàn zhuā dào qǐ tú qián táo bǐ lì shí de mǐ lā dí。 liù wèi chóu rén qí tǎo gòng zhū， jiē kāi liǎo mǐ lā dí de lǎo dǐ： yuán lái tā zǎo yǐ dùn rù kōng mén， dàn tā bù gān qīng chūn jì mò， yòu huò liǎo yī gè xiǎo jiào shì yǔ qí tóng jū。 yīn bài huài jiào mén qīng guī， jiào shì shēn xiàn líng yǔ， tā yě bèi guì zǐ shǒu héng héng xiǎo jiào shì de bāo xiōng lào xià liǎo yī duǒ bǎi hé huā。 jiào shì yuè yù táo páo， xié dài mǐ lā dí sī bēn tā xiāng， guì zǐ shǒu yīn shòu zhū lián rù yù， tì dì dǐng zuì。 zài yì xiāng， mǐ lā dí xián pín 'ài fù， yòu pāo qì liǎo xiǎo jiào shì， hé dāng dì yī wèi shàonián lā fèi 'ěr bó jué jié hūn， nòng dé hòu zhě qīng jiā dàng chǎn yòu qì tā 'ér qù。 lā fèi 'ěr bó jué hèn zhī qièqiè， biàn huà míng 'ā tuō sī tóu jūn， jìn liǎo guó wáng huǒ qiāng duì， yǐ wèi shī liàn shòu piàn zhī kǔ。 mǐ lā dí táo dào yīng guó， piàn qǔ wēn tè xūn jué bó xiōng zhī 'ài chéng hūn， bìng shēng yòu yī zǐ。 dàn wèile dú zhàn zhàng fū jí xiōng dì zhī yí chǎn， tā yòu móu hài liǎo dì 'èr gè zhàng fū。 tā zuì 'è lěi lěi， tiān nù rén yuàn， dāng jí zài lì sī hé pàn bèi shā zhèng fǎ。 zhì cǐ， dá dá ní 'áng、 ā tuō sī、 bō tuō sī、 ā lā mǐ sī、 wēn tè xūn jué hé guì zǐ shǒu gè zì dū bào chóu xuě hèn， liǎo què sù yuàn。
lí sài liú dé zhī xīn fù mǐ lā dí yù hài yī shì zhōng， dá dá ní 'áng shì zhù móu， biàn mìng qīn xìn luó shí fú 'ěr jiāng tā zhuō ná。 dá dá ní 'áng bù bēi bù kàng， tǎn yán xiāng chén， míng shì yuán wěi。 lí sài liú jiàn tā shì sǐ rú guī， yì yǒng wú shuāng， shàonián yòu wéi， shēn wéi gǎn dòng， fēi dàn bù jiā zuì xíng zhū， fǎn 'ér zhuó shēng qí huǒ qiāng duì fù guān。 ā tuō sī、 bō tuō sī、 ā lā mǐ sī sān rén huò guī xiāng lǐ， huò qǔ shuāng fù， huò guī jiào mén， píng piāo xù fēi， quán shū jiù cǐ jié jú。
《 sān jiàn kè》 shì yī bù lì shǐ xiǎo shuō， dàn zuò zhě dà zhòng mǎ bù jū ní yú lì shǐ， zài cǐ jī chǔ shàng tiān jiā zì jǐ fēng fù de xiǎng xiàng lì， shǐ tā chéng wéi yī bù yǐn rén rù shèng de xiá shì xiǎo shuō， zhì jīn réng wéi rén men suǒ xǐ 'ài。
The story of d'Artagnan is continued in Twenty Years After and The Vicomte of Bragelonne: Ten Years Later. Those three novels by Dumas are together known as the d'Artagnan Romances.
The Three Musketeers was first published in serial form in the magazine Le Siècle between March and July 1844.
Origin
In the very first sentences of his preface Alexandre Dumas indicated as his source Mémoires de Monsieur d'Artagnan, printed by Pierre Rouge in Amsterdam. It was in this book, he said, that d'Artagnan relates his first visit to M. de Tréville, captain of the Musketeers, where in the antechamber he met three young men with the names Athos, Porthos and Aramis. This information struck the imagination of Dumas so much—he tells us—that he continued his investigation and finally encountered once more the names of the three musketeers in a manuscript with the title Mémoire de M. le comte de la Fère, etc.. Elated—so continues his yarn—he asked permission to reprint the manuscript. Permission granted:
"Well, it is the first part of this precious manuscript that we offer today to our readers, while giving it back its more convenient title and under the engagement to publish immediately the second part should this first part be successful. In the meantime, as the godfather is as good as a second father, we invite the reader to address himself to us, and not to the Comte de La Fère, about his pleasure or boredom. This being said, let's get on with our story."
The book he referred to was Mémoires de M .d'Artagnan, capitaine lieutenant de la première compagnie des Mousquetaires du Roi (Memoirs of Mister d'Artagnan, Lieutenant Captain of the first company of the King's Musketeers) by Gatien de Courtilz de Sandras (Cologne, 1700). The book was borrowed from the Marseille public library, and the card-index remains to this day; Dumas kept the book when he went back to Paris.
Attention to the extent of Dumas' preface is called for when compared with the recent analysis (2008) of the book's origin by Roger MacDonald in his The Man in the Iron Mask:The True Story of the Most Famous Prisoner in History and the Four Musketeers where the identity of the man in the iron mask is presented as real history.
Following Dumas's lead in his preface, Eugène d'Auriac (de la Bibliothèque Royale) in 1847 was able to write the biography of d'Artagnan: d'Artagnan, Capitaine-Lieutenant des Mousquetaires – Sa vie aventureuse – Ses duels – etc. based on Courtilz de Sandras. This work and especially its introduction with reference to the preface is uncited by MacDonald.
Plot summary
Plot brief
The poor d'Artagnan travels to Paris to join the Musketeers. He suffers misadventure and is challenged to a duel by each of three musketeers (Athos, Aramis and Porthos). Attacked by the Cardinal's guards, the four unite and escape.
D'Artagnan and his new love interest, Constance, help the French queen give a particular piece of jewellery to her paramour, the Duke of Buckingham. The Cardinal learns of this and coaxes the French king to hold a ball where the queen must wear the jewellery; its absence will reveal her infidelity. The four companions retrieve the jewellery from England.
The Cardinal kidnaps Constance who is later rescued by the queen. D'Artagnan meets Milady de Winter and discovers she is a felon, the ex-wife of Athos and the widow of Count de Winter. The Cardinal recruits Milady to kill Buckingham, also granting her a hand-written pardon for the future killing of d'Artagnan. Athos learns of this, takes the pardon but is unable to warn Buckingham. He sends word to Lord de Winter that Milady is arriving; Lord de Winter arrests her on suspicion of killing Count de Winter, his brother.
She seduces her guard and escapes to the monastery in France where the queen secreted Constance. Milady kills Constance. The four companions arrive and Athos identifies her as a multiple murderess. She is tried and beheaded.
On the road, d'Artagnan is arrested. Taken before the Cardinal, d'Artagnan relates recent events and reveals the Cardinal’s pardon. Impressed, the Cardinal offers him a blank musketeer officer's commission. D’Artagnan’s friends refuse the commission, each retiring to a new life, telling him to take it himself.
Detailed plot summary
The main character, d'Artagnan, born into an impoverished noble family of Gascony, leaves home for Paris to fulfill his greatest dream: becoming a Musketeer of the Guard. Fortunately his father knows Monsieur De Treville, Captain of the Company of Musketeers (and fellow Gascon) and has written a letter of introduction. On the road to Paris, the young Gascon soon gets in a quarrel with a mysterious gentleman and is set upon by the servants of the nearby inn. When d'Artagnan regains consciousness he realizes that the gentleman has stolen his letter of introduction. The innkeeper manages to get his hands on much of d'Artagnan's limited money as he recuperates.
In Paris d'Artagnan goes straight to M. De Treville's hôtel, but lacking his father's letter is received somewhat coolly. In a series of incidents at the hôtel, d'Artagnan is challenged to duels by three musketeers: Athos, Porthos, and Aramis. The four men meet and d'Artagnan begins to fight Athos (the first challenger). They are interrupted by Cardinal Richelieu's guards who threaten to arrest them because duels are forbidden by royal decree. The three musketeers and d'Artagnan unite to defeat the cardinal's guards. In this manner the young Gascon earns the respect and friendship of Athos, Porthos and Aramis and soon becomes a soldier in a regiment of the Royal Guard.
After obtaining lodging and hiring a servant (Planchet), he meets his aging landlord's pretty young wife, Constance Bonacieux, with whom he falls instantly in love. Constance and d'Artagnan help the Queen Consort of France, Anne of Austria, and the Duke of Buckingham have a rendezvous and the Queen presents her lover with a wooden box containing a set of diamond jewels originally given to her by her husband Louis XIII. Cardinal Richelieu, informed by his spies of the gift, persuades the King to invite the Queen to a ball where she would be expected to wear the diamonds; in hopes of uncovering her love affair.
Constance attempts to get her husband to go to London and retrieve the diamonds, but he has been recruited as an agent by the cardinal and refuses. D'Artagnan and his friends are convinced to take on the mission instead. After a series of adventures, they retrieve the jewels and return them to Queen Anne, just in time to save her façade of honour. Athos, Porthos and Aramis are all badly wounded by the cardinal's agents in this endeavor.
The cardinal's revenge comes swiftly: the next evening, Constance is kidnapped. D'Artagnan brings his friends back to Paris and tries to find her, but fails. Meanwhile, he befriends the Lord de Winter, an English nobleman who introduces him to his sister-in-law, Milady de Winter. D'Artagnan quickly develops a crush on the pretty noblewoman, but soon learns that she has no love for him, being an agent for the cardinal. He manages to sleep with her and learns that Milady has a fleur-de-lis burned into her shoulder, marking her as a felon. She had apparently been married to both Athos and the Count de Winter at different times in her wicked life and was livid that the young musketeer knew her secret. D'Artagnan is able to escape her home but is relieved when all the King's guards are ordered to La Rochelle where a siege of the Protestant-held town is taking place.
Milady makes several attempts to kill d'Artagnan in and around La Rochelle, but fails. At the same time, d'Artagnan finds out that the Queen has managed to save Constance from the prison where the cardinal and Milady had thrown her and that his beloved is now hidden somewhere safe.
The Musketeers stake out the inn and overhear a conversation between the cardinal and Milady, during which the cardinal asks her to assassinate the Duke of Buckingham (a supporter of the Protestant Rochellais rebels). The churchman then writes out a blanket pardon to Milady, effectively giving her permission to kill d'Artagnan. Athos quickly confronts his former wife and forces her to relinquish the cardinal's pardon. Because of the war between France and England, any attempt by the musketeers to warn the Duke of Buckingham about Milady would be considered treason, but they are able to send Planchet with a letter to Milady's brother-in-law (Lord de Winter) who suspects Milady killed his brother.
Milady is imprisoned on arrival in England, but soon seduces her hard-hearted Puritan jailer Felton and convinces him not only to help her escape, but also to assassinate the Duke of Buckingham. While the naive Felton shanks the prime minister, Milady sails to France. Milady sends a message to the cardinal and hides in the same North French monastery where Constance had been sent by the Queen. The trusting Constance bares her soul to Milady and the evil woman realizes that her enemy d'Artagnan is expected to arrive at the monastery at any moment. She escapes just before his arrival, but not before taking her revenge: she poisons Constance who dies minutes later in the arms of her beloved d'Artagnan.
They arrange to track down the whereabouts of Milady to exact punishment, joined by the Lord de Winter. The noblemen find her and try the countess on numerous charges: the poisoning of Madame Bonacieux; the assassination attempts on d'Artagnan; accomplice to the assassination of the Duke of Buckingham; the corruption of the Lord de Winter's servant, Felton; and the assassination of her late husband, Count de Winter. The most damning charge comes when Athos states that Milady, his wife, is a marked criminal with a brand on her shoulder. When the countess demands that Athos present the one who branded her, a man in a red cloak steps forward. She immediately recognizes him as the executioner of Lille and he recounts Milady's early misdeeds that led to the brand.
After Milady is beheaded the musketeers return to La Rochelle. On their way they encounter the Count of Rochefort, who was traveling to Milady to pay her. Rochefort also has an order to arrest d'Artagnan. He decides to postpone his trip to Milady in order to take d'Artagnan directly to the cardinal. When the young Gascon is presented before him the entire story about Milady's assassination attempts, her poisoning of Madame Bonacieux, etc. is told. The cardinal states that if Milady is indeed guilty, the courts will deal harshly with her. D'Artagnan frankly admits that he and his friends have already dealt with this evil woman. He then presents Richelieu with the blanket pardon written in the cardinal's own hand. The cardinal, impressed by d'Artagnan's resourcefulness and having already gotten what he wanted from Milady, offers the young man a lieutenant's commission with the musketeers — with the name left blank. The cardinal then presents Rochefort and asks both men to be on good terms.
The book ends with d'Artagnan offering the officer's commission to each of his friends, but he is told that he should insert his own name. Athos intends to retire to his estates, Porthos has decided to marry the widow of a rich lawyer and Aramis will soon fulfill his dream of entering the priesthood. Their lives will cross again, in Twenty Years After.
Important characters
Musketeers
* Athos
* Porthos
* Aramis
D'Artagnan was not one of the titular "three musketeers." The novel recounts his becoming a musketeer.
Musketeers' servants
* Planchet (d'Artagnan) – A clever fellow whom Porthos found to serve d'Artagnan.
* Grimaud (Athos) – A Breton, trained to speak only in emergencies and mostly communicates through sign language.
* Mousqueton (Porthos) – A would-be dandy, just as vain as his master, whose only pay is his master's old clothes
* Bazin (Aramis) – Waits for the day his master will join the church, as Bazin has always dreamed to serve a priest.
Others
* Milady de Winter
* Cardinal Richelieu
* Comte de Rochefort
* Louis XIII of France
* M. de Tréville
* Constance Bonacieux
* Monsieur Bonacieux
* Queen Anne of Austria
* George Villiers, 1st Duke of Buckingham
Editions
Les Trois Mousquetaires was translated into three English versions by 1846. One of these, by William Barrow, is still in print and fairly faithful to the original, available in the Oxford World's Classics 1999 edition. However, all of the explicit and many of the implicit references to sexuality had been removed to conform to 19th-century English standards, thereby making the scenes between d'Artagnan and Milady, for example, confusing and strange. The most recent and now standard English translation is by Richard Pevear (2006), who in his introduction notes that most of the modern translations available today are "textbook examples of bad translation practices" which "give their readers an extremely distorted notion of Dumas' writing."
Adaptations
Musical theatre
The Three Musketeers is a musical with a book by William Anthony McGuire, lyrics by Clifford Grey and P. G. Wodehouse, and music by Rudolf Friml. The original 1928 production ran on Broadway for 318 performances. A 1984 revival ran for 15 previews and 9 performances. In 2003 a Dutch musical 3 Musketiers premiered, which went on to open in Germany (both the Dutch and German production starring Pia Douwes as Milady De Winter) and Hungary. Composer George Stiles, lyricist Paul Leigh and playwright Peter Raby have produced another version (under the title The 3 Musketeers, One Musical For All), which opened at the American Musical Theatre of San José on 10 March 2001.
Films
See The Three Musketeers (film) for a list of film adaptations.
Games
1995 saw the release by publisher U.S. Gold of Touché: The Adventures of the Fifth Musketeer by video game developers Clipper Software, a classic point-and-click adventure game using the SCUMM engine.
In 2005, Swedish developer Legendo Entertainment published the side-scrolling platform game The Three Musketeers for Windows XP and Windows Vista. In July 2009, a version of the game was released for WiiWare in North America and Europe under the title The Three Musketeers: One for All!.
In 2009, Canadian developer Dingo Games self-published The Three Musketeers: The Game for Windows and Mac OS X. It is the first game to be truly based on the novel (in that it closely follows the novel's story).
2009 also saw the publication of the asymmetric team board game The Three Musketeers "The Queen's Pendants" (Настольная игра «Три мушкетера») from French designer Pascal Bernard by the Russian publisher Zvezda.
Television
* Dogtanian and the Three Muskehounds is an anthropomorphic animated series adaptation
* Albert the Fifth Musketeer, animated series which is a sequel to the novel
* Young Blades, television series which is a sequel to the novels, centered on the son of d'Artagnan
* Three Musketeers is an anime series adaption
* The Three Musketeers, an animated adaption that aired as part of Hanna-Barbera's "The Banana Splits Comedy-Adventure Hour" & "The Banana Splits & Friends" show.
Influence on later works
In 1939, American author Tiffany Thayer published a book entitled Three Musketeers (Thayer, 1939). This is a re-telling of the story in Thayer's words, true to the original plot but told in a different order and with different points of view and emphasis from the original. For example, the book opens with the scene of Milady's youth and how she came to be branded, and more development of her early character, making her later scheming more believable and understandable. Thayer's treatment of sex and sexual politics is more explicit than typical English translations of the original, occasionally leading to consternation when this book found its way to library children's sections and school libraries.
1801 nián， luò kè wū xiān shēng lái dào shān zhuāng bài fǎng xī cì kè lì fū xiān shēng， yào zū xià tā de huà méi shān zhuāng， xī cì kè lì fū xiān shēng duì tā hěn cū bào， hái yòu yī qún 'è gǒu xiàng tā fā qǐ jìn gōng。 dàn tā hái shì yòu yī cì zào fǎng xī cì kè lì fū xiān shēng， tā yù dào liǎo xíng wéi cū sú， bù xiū biān fú de yīng jùn shàonián hā lǐ dùn 'ēn xiāo， hé mào měi de xī cì kè lì fū xiān shēng zhī zǐ de yí shuāng。 yóu yú tiān hēi yòu xià xuě xī cì kè lì fū xiān shēng bù dé bù liú tā zhù liǎo xià lái， yè lǐ tā zuò liǎo yī gè qí guài de mèng， mèng jiàn shù zhī dǎ zài chuāng chǐ dǎ suì bō lí， xiǎng zhé duàn wài tóu de shù zhī， kě shǒu zhǐ què chù dào yī shuāng bīng liáng de xiǎo shǒu， yī gè yōu líng shìde chuò qì shēng qǐ qiú tā fàng tā jìn lái。 tā shuō tā jiào kǎi sè lín · lín dūn， yǐ jīng zài zhè yóu dàng liǎo 20 nián liǎo， tā xiǎng chuǎng jìn lái， xià dé luò kè wū shī shēng dà jiào。 xī cì kè lì fū xiān shēng wén shēng gǎn lái， ràng xī kè lì chū qù， tā zì jǐ pū dǎo zài chuáng shàng， kū zhe jiào qǐ lái：“ kǎi dì， lái bā！ ā， lái yā， zài lái yī cì！ ā， wǒ xīn zhōng zuì qīn 'ài de！ kǎi sè lín， zuì hòu yī cì！” kě chuāng wài háo wú shēng xī， yī zhèn lěng fēng chuī miè liǎo là zhú。
dì 'èr tiān， luò kè wū xiān shēng lái dào huà méi shān zhuāng， xiàng nǚ guǎn jiā 'ài lún dí 'ēn wèn qǐ cǐ shì， nǚ guǎn jiā biàn jiǎng liǎo fā shēng zài hū xiào shān zhuāng de shì qíng。
hū xiào shān zhuāng yǐ yòu 300 nián de lì shǐ， yǐ qián de zhù rén 'ēn xiāo fū fù cóng jiē tóu jiǎn lái yī gè jí pǔ sài rén de qì 'ér， shōu tā zuò yǎng zǐ， zhè jiù shì xī cì kè lì fū。 xī cì kè lì fū yī dào zhè jiā jiù shòu dào cái xiān shēng de 'ér zǐ xīn dé léi de qī fù hé nüè dài， kě xiǎng dé lāi de mèi mèi kǎi sè lín què fēng kuáng dì 'ài shàng liǎo xī cì kè lì fū。
《 hū xiào shān zhuāng》 lǎo zhù rén sǐ liǎo zhī hòu， yǐ hūn de xīn dé léi chéng liǎo hū xiào shān zhuāng de zhù rén。 tā kāi shǐ zǔ zhǐ xī cì kè lì fū hé kǎi sè lín de jiāo wǎng， bìng bǎ xī cì kè lì fū gǎn dào tián lǐ qù gànhuó， bù duàn dì chā rǔ tā， zhé mó tā， tā biàn dé bù jìn rén qíng， jìn hū chī dāi， kǎi sè lín yě biàn dé yě xìng shí zú。
yī cì， tā men dào huà méi shān zhuāng qù wán， kǎi sè lín bèi gǒu yǎo shāng， zhù rén lín dūn fū fù zhī dào tā shì 'ēn xiāo jiā de hái zǐ， jiù rè qíng dì liú tā yǎng shāng， ér bǎ xī cì kè lì fū dàngchéng huài xiǎo zǐ gǎn páo liǎo。 kǎ kǎi sè lín hé lín dūn de 'ér zǐ 'āi dé jiā、 nǚ 'ér yī suō bèi lā chéng liǎo hǎo péng yǒu。 kǎi sè lín zhù liǎo wǔ gè cháng xīng qī huí lái hòu， biàn chéng wēn wén 'ěr yǎ， yí tài wàn fāng de fù jiā xiǎo jiě。 dāng tā zài cì jiàn dào xī cì kè lì fū shí， shēng pà tā nòng zàng liǎo zì jǐ de yī fú。 xī cì kè lì fū de zì zūn xīn shòu dào liǎo shāng hài， tā shuō：“ wǒ yuàn yì zěn me zàng， jiù zěn me zàng。” tā fā shì yào duì xīn dé léi jìn xíng bào fù， tā xīn zhōng de yě xìng hé fèn hèn quán bù duì zhǔn xīn dé léi。
1778 nián 6 yuè， xīn dé léi de qī zǐ shēng xià hā lǐ dùn 'ēn xiāo hòu yīn fèi bìng sǐ qù， xīn dé léi shòu liǎo hěn dà de dǎ jī，
cóng cǐ biàn dé gèng jiā cán rěn， gèng jiā lěng kù wú qíng。 kǎi sè lín pái huái yú xī cì kè lì fū hé 'āi dé jiā de 'ài qíng zhī jiān， tā zhēn xīn 'ài xī kè lì， dàn yòu jué dé yǔ yī gè pú rén jié hūn， yòu shī shēn fèn。 dāng 'āi dé jiā xiàng tā qiú hūn shí， xiǎng dào tā de piào liàng hé fù yòu， biàn dāyìng liǎo。 dàn zài tā líng hún shēn chù， fēi cháng míng bái zì jǐ cuò liǎo， biàn xiàng nǚ pú 'ài lún dí 'ēn tù lù zhēn qíng：“ wǒ duì 'āi dé jiā de 'ài xiàng shù lín zhōng de yè zǐ， dāng dōng jì gǎi biàn shù mù de shí hòu， suí zhī jiù huì gǎi biàn yè zǐ。 wǒ duì xī kè lì de 'ài què xiàng dì xià shuǐ jiǔ bù biàn de yán shí…… wǒ jiù shì xī kè lì！ tā wú shí wú kè bù zài wǒ xīn zhōng， bìng bù shì zuò wéi yī zhǒng lè qù， jī shì zuò wéi wǒ de yī bù fēn。”
xī kè lì tīng dào tā men de duì huà， tòng kǔ wàn fēn， dāng yè lí kāi liǎo hū xiào shān zhuāng， kǎ sè lín yīn xī kè lì de lí qù 'ér dà bìng yīcháng。 hòu lái lín dūn fū fù xiāng jì dé rè bìng 'ér sǐ， zài tā men sǐ hòu sān nián， kǎ sè lín tóng 'āi dé jiā jié hūn liǎo。
shù nián hòu， xī cì kè lì fū tū rán chū xiàn zài huà méi shān zhuāng， zhè shí tā yǐ jīng zhǎngchéng liǎo yī gè xiāo sǎ yīng jùn 'ér yòu hěn yòu qián de qīng nián。 kǎi sè lín jiàn dào tā shí xīn xǐ ruò kuáng， tā yì wèi shēn cháng dì shuō：“ wǒ zhǐ shì wèile nǐ cái fèn dǒu de”。 tā jīng cháng chū rù yú huà méi shān zhuāng， zhè shǐ yī suō bèi lā fā bìng shìde 'ài shàng liǎo tā。 tā wéi de bào fù zhěng yè zhěng yè dì hé xīn dé léi dǎ pái、 hē jiǔ， màn màn dì shǐ tā pò liǎo chǎn， zuì hòu bǎ zhěng gè zhuāng yuán dǐ yā gěi xī kè lì。 jìn guǎn kǎ sè lín xiǎng jìn bàn fǎ xiǎng wǎn huí xī kè lì de gǎn qíng， dàn tā hái shì hé yī suō bèi lā jié hūn liǎo， hūn hòu yǐ nüè dài yī suō bèi lā lái fā xiè zì jǐ de chóu hèn。
cǐ shí kǎ sè lín zhèng zhí lín chǎn， xī cì kè lì fū chèn 'āi dé jiā bù zài， jìn rù liǎo huà méi shān zhuāng， tā sǐ mìng dì bào zhù kǎi sè lín， bēi qiē dì jiào dào：“ ā， kǎi dì， ā， wǒ de mìng！ wǒ zěn néng shòu dé liǎo wā！……” kǎi sè lín zhe shuō：“ rú guǒ wǒ zuò cuò liǎo， wǒ huì yīn cǐ 'ér sǐ， nǐ yě lí kāi guò wǒ， dàn wǒ kuān shù liǎo nǐ， nǐ yě kuān shù wǒ bā！” xī cì kè fū lì dá dào：“ zhè shì nán yǐ bàn dào de， dàn wǒ ráo shù nǐ duì wǒ zuò de shì。 wǒ kě yǐ 'ài hài liǎo wǒ de rén， kě shì hài liǎo nǐ de rén， wǒ yòu zěn me néng gòu ráo shù tā ní？” tā men jiù zhè yàng fēng kuáng dì yōng bào zhe， hù xiāng yuàn hèn。
zhí dào 'āi dé jiā huí lái hòu， tā men cái fēn kāi， kǎi sè lín zài yě méi yòu xǐng lái。 dāng tiān yè lǐ， tā hūn mí zhōng shēng xià yī gè nǚ hái biàn sǐ qù liǎo。 xī cì kè lì fū zhěng yè shǒu zài zhuāng yuán lǐ， dāng dé zhī kǎi sè lín sǐ liǎo， tā yòng lì dì bǎ tóu zhuàng zài shùgàn shàng，“ tiān 'ā！ méi yòu wǒ de mìng gēn zǐ， wǒ bù néng huó xià qù yā！” jǐ gè yuè hòu xiǎng dé lāi sǐ liǎo， xī kè lì chéng liǎo hū xiào shān zhuāng de zhù rén。 bǎ xīn dé léi de 'ér zǐ hā lǐ dùn péi yǎng chéng yī gè cū yě wú lǐ， méi yòu jiào yǎng de yě xiǎo zǐ。 yī suō bèi lā rěn shòu bù liǎo zhàng fū de nüè dài， táo dào lún dūn fù jìn， zài nà 'ér shēng liǎo yī gè 'ér zǐ qǔ míng lín dūn。
12 nián hòu lín dūn yǐ zhǎngchéng yī gè shàonián， kǎi sè lín de xiǎo nǚ 'ér yě yǐ zhǎngchéng yī gè měi lì de shàonǚ， tā suī bù xǐ huān lín dūn， tā hái shì chèn xiǎo kǎ kǎi sè lín de fù qīn bìng wēi zhī jì， bǎ xiǎo kǎi sè lín jiē dào hū xiào shān zhuāng， bī pò tā hé lín dūn jié hūn， yīn wéi tā yào“ shèng lì dì kàn jiàn wǒ de hòu dài táng huáng dì zuò wéi tā men chǎn yè de zhù rén， wǒ de hái zǐ yòng gōng qián gù tā men de hái zǐ zhǒng tā men de tǔ dì”。
jǐ gè yuè hòu， āi dé jiā yě sǐ liǎo， xī cì kè lì fū zuò wéi xiǎo kǎi sè lín de fù qīn bān jìn liǎo huà méi shān zhuāng。 bù jiǔ lín dūn yě sǐ liǎo， xiǎo kǎi sè lín chéng liǎo nián qīng de guǎ fù。
xiǎo kǎi sè lín hé hā lǐ dùn jiù xiàng dāng nián de xī kè lì hé kǎ sè lín yī yàng， xī kè lì fēng kuáng dì zǔ zhǐ tā men de lái wǎng， dāng tā zhuā zhù xiǎo kǎi sè lín xiǎng dǎ tā shí， tā cóng tā de yǎn jīng lǐ kàn dào liǎo kǎi sè lín de yǐng zǐ， ér cǐ shí de hā lǐ dùn bù zhèng shì dāng nián de zì jǐ má！ tā biàn dé gèng gū dú liǎo， tā kě wàng zhe hé kǎi sè lín de gū hún zài yī qǐ。 lián xù jǐ tiān tā bù chī bù hē， zài zhǎo dì lǐ yóu dàng， huí lái hòu bǎ zì jǐ guān zài kǎi sè lín zhù guò de fáng jiān lǐ， dì 'èr tiān， rén men fā xiàn tā sǐ liǎo。
tā sǐ hòu bèi mái zài kǎi sè lín de mù bàng， xiǎo kǎi sè lín zhōng yú hé hā lǐ dùn jié hūn liǎo。
《 hū xiào shān zhuāng》 - xiě zuò bèi jǐng
ài mǐ lì bó lǎng tè suǒ shēng huó de sān shí nián jiān zhèng shì yīng guó shè huì dòng dàng de shí dài。 zī běn zhù yì zhèng zài fā zhǎn bìng yuè lái yuè bào lù tā nèi zài de quē xiàn； láo zī zhī
jiān máo dùn jiān ruì huà； shī yè gōng rén de pín kùn； dà liàng de tóng gōng bèi cán kù dì zhé mó zhì sǐ（ zhè cóng tóng shí qī de yīng guó zhù míng nǚ shī rén yī lì suō bái bā léi tè bó lǎng níng ① de cháng shī《 hái zǐ men de kū shēng》， kě yǐ kàn dào yī xiē gài mào）。 zài jiā shàng yīng guó zhèng fǔ duì mín zhù gǎi gé dǒu zhēng hé gōng rén yùn dòng cǎi qǔ gāo yā shǒu duàn： rú yī bā yī jiǔ nián de bǐ dé lù dà tú shā jiù shì yī gè lì zǐ。 yīn cǐ zhè yī shí qī de wén xué zuò pǐn yě yòu suǒ fǎn yìng。 wǒ men de nǚ zuò jiā 'ài mǐ lì bó lǎng tè jiù shì dàn shēng zài zhè yàng dǒu zhēng de nián dài！ tā shēng zài yī gè mù shī jiā tíng lǐ， fù qīn míng jiào pèi tè lǐ kè bó lǎng tè（ 1777 héng 1861）， yuán shì gè 'ài 'ěr lán jiào shì， yī bā yī 'èr nián qǔ yīng guó xī nán bù kāng wǎ 'ěr jùn（ Cornwall） rén mǎ lì yà bó lán wēi 'ěr wéi qī， xī xià liù gè 'ér nǚ。 dà nǚ 'ér mǎ lì yà（ 1814）， èr nǚ 'ér yī lì suō bái（ 1815）， sān nǚ 'ér xià luò dì（ 1816）， dú zǐ bó lán wēi 'ěr（ 1817）， xià biān jiù shì 'ài mǐ lì（ 1818） hé 'ān 'ēn（ 1820）。 hòu miàn sì gèdōu shēng zài wèi yú yuē kè jùn kuàng yě de sāng dùn cūn ②， bó lǎng tè xiān shēng biàn zài zhè yī jiào qū rèn mù shī zhí。 yī bā 'èr nián quán jiā bān dào háo wò sī dì qū， zài kuàng yě de yī chù piān pì de jiǎo luò 'ān liǎo jiā。 tā men sān zǐ mèi jiù zài zhè gè dì fāng dù guò liǎo yī shēng。
yī bā 'èr qī nián tā men de mǔ qīn shì shì， yí mǔ cóng kāng wǎ 'ěr qún lái zhào gù jiā tíng。 sān nián hòu， yǐ mǎ lì yà wéi shǒu de sì zǐ mèi jìn jì sù xué xiào dú shū。 yóu yú shēng huó tiáo jiàn tàichà， mǎ lì yà yǔ yī lì suō bái huàn fèi jié hé yāo zhé， xià luò dì yǔ 'ài mǐ lì xìng cún， zì cǐ zài jiā yǔ xiōng dì bó lán wēi 'ěr yī qǐ zì xué。 zhè gè jiā tíng yī xiàng lí qún suǒ jū， sì gè xiōng dì zǐ mèi biàn cháng yǐ dú shū、 xiě zuò shī gē， jí dù zhuàn chuán qí gù shì lái dǎ fā jì mò de shí guāng。 xià luò dì hé bó lán wēi 'ěr yǐ xiǎng xiàng de 'ān gé lǐ 'ā wáng cháo wéi zhōng xīn lái xiě xiǎo shuō， ér 'ài mǐ lì hé xiǎo mèi 'ān zé chuàng zào liǎo yī gè tā men chēng wéi gāng duō 'ěr de tài píng yáng dǎo yǔ lái dù zhuàn gù shì。
tā men de jiā suī rán lín jìn háo wò sī gōng yè qū， rán 'ér zhè suǒ zhù zhái qià hǎo wèi yú chéng zhèn yǔ huāng yě zhī jiān。 ài mǐ lì jīng cháng hé tā de zǐ mèi men dào xī biān de kuàng yě dì lǐ sàn bù。 yīn cǐ yī fāng miàn bó lǎng tè zǐ mèi kàn dào liǎo chéng zhèn zhōng zhèng zài fā zhǎn de zī běn zhù yì shè huì， lìng yī fāng miàn yě shòu dào liǎo kuàng yě qì fēn de gǎn rǎn。 tè bié shì 'ài mǐ lì， tā biǎo miàn chén mò guǎ yán， nèi xīn què rè qíng bēn fàng， suī bù dǒng zhèng zhì， què shí fēn guān xīn zhèng zhì。 sān zǐ mèi cháng cháng kàn zì yóu dǎng huò bǎo shǒu dǎng de qī kān， xǐ huān yì lùn zhèng zhì， zhè dāng rán shì shòu liǎo tā men fù qīn de yǐng xiǎng。 pèi tè lǐ kè bó lǎng tè shì gè bǐ jiào jī jìn de bǎo shǒu dǎng rén， zǎo nián fǎn duì guò lù dé yùn dòng ③， hòu lái yě bāng zhù háo wò sī gōng rén， zhī chí tā men de bà gōng。 ài mǐ lì hé tā de zǐ mèi jì chéng liǎo tā de zhèng yì gǎn， tóng qíng shǒu gōng yè gōng rén de fǎn kàng hé dǒu zhēng。 zhè jiù wéi《 hū xiào shān zhuāng》 de dàn shēng chuàng zào liǎo tiáo jiàn。
zhè gè jiā tíng shōu rù hěn shǎo， jīng jì xiāng dāng jié jù。 sān zǐ mèi bù dé bù jīng cháng chū wài móu shēng， yǐ jiāoshū huò zuò jiā tíng jiào shī lái tiē bǔ jiā yòng， jǐ nián lái lì shòu jiān xīn cuò zhé。 xià luò dì céng dǎ suàn tā men zì jǐ kāi shè yī suǒ xué xiào， tā hé 'ài mǐ lì yīn cǐ dào bù lǔ sài 'ěr xué xí liǎo yī nián， suí hòu yīn xià luò dì shī liàn 'ér lí kāi。 yī bā sì liù nián tā men zì jǐ chóu kuǎn yǐ jiǎ míng chū bǎn liǎo yī běn shī jí ④， què zhǐ mài diào liǎng běn。 yī bā sì qī nián， tā men sān zǐ mèi de sān běn xiǎo shuō ⑤ zhōng yú chū bǎn， rán 'ér zhǐ yòu《 jiǎn 'ài》 huò dé chéng gōng， dé dào liǎo zhòng shì。《 hū xiào shān zhuāng》 de chū bǎn bìng bùwèi dāng shí dú zhě suǒ lǐ jiě， shèn zhì tā zì jǐ de jiě jiě xià luò dì yě wú fǎ lǐ jiě 'ài mǐ lì de sī xiǎng。
yī bā sì bā nián， tā men wéi yī de xiōng dì bó lán wēi 'ěr yóu yú cháng qī xù jiǔ、 xī dú， yě chuán rǎn liǎo fèi bìng， yú jiǔ yuè sǐ qù， suī rán zhè wèi jiā tíng zhōng de bào jūn zhī sǐ duì yú zhè sān zǐ mèi yě shì yī zhǒng jiě tuō， rán 'ér， zhèng rú zài xià luò dì zǐ mèi de shū jiǎn jí zhōng suǒ shuō de：“ guò shī yǔ zuì 'è dōuyǐ yí wàng， shèng xià lái de shì lián mǐn hé bēi shāng pán jù liǎo xīn tóu yǔ jì yì……” duì bó lán wēi 'ěr de dào niàn suō duǎn liǎo 'ài mǐ lì zǒu xiàng fén mù de lù tú， tóng nián shí 'èr yuè 'ài mǐ lì zhōng yú qì shì。 tā men de xiǎo mèi mèi 'ān yě yú dì 'èr nián wǔ yuè xiāng jì sǐ qù， zhè shí zhè gè jiā tíng zuì hòu de chéng yuán zhǐ yòu xià luò dì hé tā de lǎo fù liǎo。
zhè yī wèi hòu lái cái chí míng shì jiè wén tán de jí yòu cái huá de nián qīng nǚ zuò jiā， dāng shí jiù zhè yàng bào hàn dì lí kāi liǎo zhǐ néng shǐ tā cháng dào lěng mò wú qíng de rén shì jiān， mò mò dì hé tā jiā zhōng jǐn yú de sān wèi qīn rén gào bié liǎo！ tā céng zài shàonǚ shí qī de yī shǒu shī zhōng zhè yàng xiě dào：
“ wǒ shì wéi yī de rén， mìng zhōng zhù dìng wú rén guò wèn， yě wú rén liú lèi 'āi dào； zì cóng wǒ shēng xià lái， cóng wèi yǐn qǐ guò yī xiàn yōu lǜ， yī gè kuài lè de wēi xiào。 zài mì mì de huān lè， mì mì de yǎn lèi zhōng， zhè gè biàn huà duō duān de shēng huó jiù zhè yàng huá guò， shí bā nián hòu réng rán wú yǐ wú kào， yī rú zài wǒ dàn shēng nà tiān tóng yàng de jì mò。……”
tā zài tóng yī shǒu shī zhōng zuì hòu kǎi tàn dào：
“ qǐ chū qīng chūn de xī wàng bèi róng huà， rán hòu huàn xiǎng de hóng cǎi xùn sù tuì kāi； yú shì jīng yàn gào sù wǒ， shuō zhēn lǐ jué bù huì zài rén lèi de xīn xiōng zhōng chéngzhǎng qǐ lái。……”
dàn shì tā hěn xiǎng zhèn zuò qǐ lái， yòu suǒ zuò wéi， què yǐ zhēngzhá bù qǐ， zhè zhǒng tòng kǔ de sī xiǎng dǒu zhēng hé bīn yú jué wàng de qíng xù， zài tā tóng yī shí qī de shī jù zhōng yě kě yǐ zhǎo dào：“ rán 'ér rú jīn dāng wǒ xī wàng guò gē chàng， wǒ de shǒu zhǐ què bō dòng liǎo yī gēn wú yīn de xián； ér gē cí de dié jù réng jiù shì ‘ bù yào zài fèn dǒu liǎo， ’ yī qiē quán shì wǎng rán。”
《 hū xiào shān zhuāng》 - zuò pǐn shǎng xī
《 hū xiào shān zhuāng》 tōng guò yī gè 'ài qíng bēi jù， xiàng rén men zhǎn shì liǎo yī fù jī xíng shè huì de shēng huó huà miàn， gòu lè liǎo bèi zhè gè jī xíng shè huì niǔ qū de rén xìng jí qí zào chéng de zhǒng zhǒng kě bù de shì jiàn， zhěng gè gù shì qíng jié shì tōng guò sì gè jiē duàn zhú bù pū kāi de：
dì yī jiē duàn xù shù liǎo xī sī kè lì fū yǔ kǎi sè lín zhāoxī xiāng chù de tóng nián shēng huó； yī gè qì 'ér hé yī gè xiǎo jiě zài zhè zhǒng tè shū huán jìng zhōng suǒ xíng chéng de tè shū gǎn qíng， yǐ jí tā men duì xīn dé léi zhuān héng bào nüè de fǎn kàng。
dì 'èr jiē duàn zhuózhòng miáo xiě kǎi sè lín yīn wéi xū róng、 wú zhī hé yú mèi， bèi qì liǎo xī sī kè lì fū， chéng liǎo huà méi tián zhuāng de nǚ zhù rén。
dì sān jiē duàn yǐ dà liàng bǐ mò miáo huì xī sī kè lì fū rú hé zài jué wàng zhōng bǎ mǎn qiāng chóu hèn huà wéi bào chóu xuě chǐ de jì móu hé xíng dòng。
zuì hòu jiē duàn jìn guǎn zhǐ jiāo dài liǎo xī sī kè lì fū de sǐ wáng， què tū chū dì jiē shì liǎo dāng tā liǎo jiě hā lǐ dùn hé kǎi dì xiāng 'ài hòu， sī xiǎng shàng jīng lì de yī zhǒng zhǎn xīn de biàn huà héng héng rén xìng de fù sū， cóng 'ér shǐ zhè chū jù yòu kǒng bù sè cǎi de 'ài qíng bēi jù tòu lù chū yī shù lìng rén kuài wèi de xī wàng zhī guāng。
yīn cǐ， xī sī kè lì fū de 'ài yī hèn yī fù chóu yī rén xìng de fù sū， jì shì xiǎo shuō de jīng suǐ， yòu shì guàn chuān shǐ zhōng de yī tiáo hóng xiàn。 zuò zhě yǐ cǐ mài luò， móu piān bù jú， bǎ chǎng jǐng 'ān pái dé biàn huàn mò cè， yòu shí zài yīn yún mì bù、 guǐ kū láng háo de kuàng yě， yòu shí yòu shì fēng kuáng yǔ zhòu、 yīn sēn cǎn 'àn de tíng yuàn， gù shì shǐ zhōng lǒngzhào zài yī zhǒng shén mì hé kǒng bù de qì fēn zhī zhōng。
zài xiǎo shuō zhōng， zuò zhě de quán bù xīn xuè níng jù zài xī sī kè lì fū xíng xiàng de kè huà shàng， tā zài zhè lǐ jì tuō liǎo zì jǐ de quán bù fèn kǎi、 tóng qíng hé lǐ xiǎng。 zhè gè bèi bō duó liǎo rén jiān wēn nuǎn de qì 'ér zài shí jì shēng huó zhōng péi yǎng liǎo qiáng liè de 'ài yǔ zēng， xīn dé léi de pí biān shǐ tā cháng dào liǎo rén shēng de cán kù， yě jiào huì tā dǒng dé rěn qì tūn shēng de qū fú wú fǎ gǎi biàn zì jǐ shòu rǔ de mìng yùn。 tā xuǎn zé liǎo fǎn kàng。 kǎi sè lín céng jīng shì tā zhōng shí de huǒ bàn， tā liǎ zài gòng tóng de fǎn kàng zhōng méng fā liǎo zhēn zhì de 'ài qíng。 rán 'ér， kǎi sè lín zuì hòu què bèi pàn liǎo xī sī kè lì fū， jià gěi liǎo tā bù liǎo jiě、 yě gēn běn bù 'ài de 'āi dé jiā · lín dùn。 zào chéng zhè gè 'ài qíng bēi jù de zhí jiē yuán yīn shì tā de xū róng、 wú zhī hé yú chǔn， jiēguǒ què zàng sòng liǎo zì jǐ de qīng chūn、 ài qíng hé shēng mìng， yě huǐ liǎo duì tā shǐ zhōng yī wǎng qíng shēn de xī sī kè lì fū， hái chā yī diǎn kēng hài liǎo xià yī dài。 ài mǐ lì · bó lǎng tè kè huà zhè gè rén wù shí， yòu tóng qíng， yě yòu fèn kǎi； yòu wǎn xī， yě yòu biān chī； jì 'āi qí bù xìng， yòu nù qí bù zhēng， xīn qíng shì jí qí fù zá de。
kǎi sè lín de bèi pàn jí qí hūn hòu bēi kǔ de mìng yùn， shì quán shū zuì zhòng dà de zhuǎn zhé diǎn。 tā shǐ xī sī kè lì fū mǎn qiāng de 'ài huà wéi wú bǐ de hèn； kǎi sè lín yī sǐ， zhè qiāng chóu hèn huǒ shān bān bèng fā chū lái， chéng liǎo fēng kuáng de fù chóu dòng lì。 xī sī kè lì fū de mùdì dá dào liǎo， tā bù jǐn ràng xīn dé léi hé 'āi dé jiā qī kǔ sǐ qù， dú bà liǎo liǎng jiā zhuāng yuán de chǎn yè， hái ràng tā men píng bái wú gū de xià yī dài yě bǎo cháng liǎo kǔ guǒ。 zhè zhǒng fēng kuáng de bào chóu xiè hèn， mào sì bèi yú cháng lǐ， dàn què lín lí jìn zhì dì biǎo dá liǎo tā fēi tóng yī bān de pàn nì jīng shén， zhè shì yī zhǒng tè shū huán jìng、 tè shū xìng gé suǒ jué dìng de tè shū fǎn kàng。 xī sī kè lì fū de 'ài qíng bēi jù shì shè huì de bēi jù， yě shì shí dài de bēi jù。
《 hū xiào shān zhuāng》 de gù shì shì yǐ xī sī kè lì fū dá dào fù chóu mùdì 'ér zì shā gào zhōng de。 tā de sǐ shì yī zhǒng xùn qíng， biǎo dá liǎo tā duì kǎi sè lín shēng sǐ bù yú de 'ài， yī zhǒng shēng bù néng tóng qīn、 sǐ yě qiú tóng xué de 'ài de zhuī qiú。 ér tā lín sǐ qián fàng qì liǎo zài xià yī dài shēn shàng bào fù de niàn tóu， biǎo míng tā de tiān xìng běn lái shì shàn liáng de， zhǐ shì yóu yú cán kù de xiàn shí niǔ qū liǎo tā de tiān xìng， pò shǐ tā biàn dé bào nüè wú qíng。 zhè zhǒng rén xìng de fù sū shì yī zhǒng jīng shén shàng de shēng huá， shǎn yào zhe zuò zhě rén dào zhù yì de lǐ xiǎng。
《 hū xiào shān zhuāng》 chū bǎn hòu yī zhí bèi rén rèn wéi shì yīng guó wén xué shǐ shàng yī bù“ zuì qí tè de xiǎo shuō”， shì yī bù“ ào mì mò cè” de“ guài shū”。 yuán yīn zài yú tā yī fǎn tóng shí dài zuò pǐn pǔ biàn cún zài de shāng gǎn zhù yì qíng diào， ér yǐ qiáng liè de 'ài、 kuáng bào de hèn jí yóu zhī 'ér qǐ de wú qíng de bào fù， qǔ dài liǎo dī chén de shāng gǎn hé yōu yù。 tā wǎn rú yī shǒu qí tè de shū qíng shī， zì lǐ xíng jiān chōng mǎn zhe fēng fù de xiǎng xiàng hé kuáng biāo bān měng liè de qíng gǎn， jù yòu zhèn hàn rén xīn de yì shù lì liàng。
rén wù biǎo
ēn xiāo xiān shēng héng héng héng héng hū xiào shān zhuāng zhù rén
xīn dé léi · ēn xiāo héng héng qí zǐ
kǎi sè lín · ēn xiāo héng héng qí nǚ， xiǎo míng kǎi dì
xī sī kè lì fū héng héng héng ēn xiāo fǔ yǎng de gū 'ér
fú lán xī sī héng héng héng héng xīn dé léi zhī qī
hā lǐ dùn · ēn xiāo héng héng xīn dé léi zhī zǐ
dīng nài lì héng héng héng héng héng nǚ guǎn jiā， yòu míng 'ài lún
yuē sè fū héng héng héng héng héng hū xiào shān zhuāng de lǎo pú rén
lín dūn xiān shēng héng héng héng héng huà méi tián zhuāng zhù rén
āi dé jiā · lín dūn héng héng qí zǐ， hòu qǔ kǎi sè lín · ēn xiāo
yī suō bèi lā · lín dūn héng qí nǚ， hòu jià xī cì kè lì fū
kǎi sè lín · lín dūn héng héng āi dé jiā yǔ kǎi sè lín zhī nǚ， yì míng kǎi dì lín dūn · xī cì kè lì fū
yī suō bèi lā yǔ xī cì kè lì fū zhī zǐ
luò kè wū dé xiān shēng héng héng fáng kè
kěn ní cí yī shēng héng héng héng dāng dì yī shēng
qí lā héng héng héng héng héng hū xiào shān zhuāng de nǚ pú
《 hū xiào shān zhuāng》 - gù shì qíng jié nián biǎo
１ ７ ５７ xīn dé léi · ēn xiāo dàn shēng。 dīng nài lì zhī mǔ xié qí yīng 'ér nài lì wǎng hū xiào shān zhuāng dāng bǎo mǔ。
１７ ６ ２ āi dé jiā · lín dūn dàn shēng。
１７６５ kǎi sè lín · ēn xiāo dàn shēng。
１７６６ yī suō bèi lā · lín dūn dàn shēng。
１７７１ xià tiān， ēn xiāo xiān shēng cóng lì wù pǔ dài huí xī cì kè lì fū。
１７７ ３ chūn tiān， ēn xiāo fū rén shì shì。
１７７ ４ xīn dé léi shàng dà xué。
１７７７ shí yuè， ēn xiāo xiān shēng shì shì。 xīn dé léi xié qí qī fú lán xī sī fǎn jiā。
shí yī yuè dǐ， kǎi sè lín zài huà méi tián zhuāng chuǎng huò。
shèng dàn jié， kǎi sè lín fǎn jiā。
１７７ ８ liù yuè， hā lǐ dùn · ēn xiāo dàn shēng。 fú lán xī sī shì shì。 dīng nài lì zhào gù hā lǐ dùn。
１７８ ０ xià tiān， kǎi sè lín jiē shòu liǎo 'āi dé jiā · lín dūn de qiú hūn。 xī cì kè lì fū shī zōng。 kǎi sè lín huàn zhòng bìng。 lǎo lín dūn xiān shēng yǔ fū rén shì shì。
１７８３ sān yuè， āi dé jiā qǔ kǎi sè lín。 dīng nài lì péi tóng wǎng huà méi tián zhuāng。
jiǔ yuè， xī cì kè lì fū guī。
１７８４ yī yuè， āi dé jiā · kǎi sè lín hé xī cì kè lì fū zhī jiān fā shēng zhēng chǎo。 xī cì kè lì fū dài yī suō bèi lā sī bēn。 kǎi sè lín dì 'èr cì zhòng bìng。
sān yuè， xī cì kè lì fū yǔ yī suō bèi lā huí hū xiào shān zhuāng。 xī cì kè lì fū qù kàn kǎi sè lín。
sān yuè niàn rì， kǎi sè lín shì shì， liú xià cái dàn shēng de nǚ 'ér kǎi sè lín。
sān yuè niàn wǔ rì， kǎi sè lín xià zàng。 xī cì kè lì fū dāng wǎn dào mù yuán qù。
sān yuè niàn liù rì， yī suō bèi lā táo páo。
jiǔ yuè， xīn dé léi shì shì。 xī cì kè lì fū zhàn yòu hū xiào shān zhuāng。
shí yuè， lín dūn · xī cì kè lì fū dàn shēng yú wài dì。
１７ ９７ yī suō bèi lā shì shì。
xiǎo kǎi dì shǒu cì dào hū xiào shān zhuāng。
āi dé jiā jiē wài shēng lín dūn huí huà méi tián zhuāng。 xī cì kè lì fū yào zǒu tā de 'ér zǐ。
１８００ sān yuè niàn rì， xiǎo kǎi dì dì 'èr cì dào hū xiào shān zhuāng。
qiū tiān， āi dé jiā gǎn mào bìng dǎo。
shí yuè， kǎi dì dì sān cì dào hū xiào shān zhuāng。
zhè yǐ hòu sān gè xīng qī， kǎi dì mì mì wǎng hū xiào shān zhuāng。
１８０１ bā yuè， kǎi dì yǔ biǎo dì lín dūn zài yě wài jiàn miàn， bèi xī cì kè lì fū suǒ pò yòu jìn hū xiào shān zhuāng yǔ lín dūn jié hūn。
jiǔ yuè， āi dé jiā · lín dūn shì shì。 hòu xī cì kè lì fū wǎng kǎi sè lín mù dì jué mù。
lín dūn · xī cì kè lì fū jì chéng liǎo huà méi tián zhuāng。
shí yuè， lín dūn sǐ qù。 xī cì kè lì fū zhàn yòu liǎo qí zǐ chǎn yè。
shí yī yuè， xī cì kè lì fū jiāng huà méi tián zhuāng chū zū gěi luò kè wū dé xiān shēng。
luò kè wū dé xiān shēng bài fǎng hū xiào shān zhuāng。
１８０２ yī yuè， luò kè wū dé xiān shēng lí kāi huà méi tián zhuāng wǎng lún dūn。
èr yuè， dīng nài lì huí hū xiào shān zhuāng。
sì yuè， xī cì kè lì fū shì shì。
jiǔ yuè， luò kè wū dé xiān shēng lù jīng huà méi tián zhuāng yǔ hū xiào shān zhuāng， zài cì bài fǎng。
１８０３ yuán dàn， hā lǐ dùn · ēn xiāo yǔ kǎi dì jié hūn。
The name of the novel comes from the Yorkshire manor on the moors on which the story centres (as an adjective; wuthering is a Yorkshire word referring to turbulent weather). The narrative tells the tale of the all-encompassing and passionate, yet thwarted, love between Heathcliff and Catherine Earnshaw, and how this unresolved passion eventually destroys them and many around them.
Now considered a classic of English literature, Wuthering Heights met with mixed reviews by critics when it first appeared, mainly because of the narrative's stark depiction of mental and physical cruelty. Though Charlotte Brontë's Jane Eyre was initially considered the best of the Brontë sisters' works, many subsequent critics of Wuthering Heights argued that its originality and achievement made it superior. Wuthering Heights has also given rise to many adaptations and inspired works, including films, radio, television dramatisations, a musical by Bernard J. Taylor, ballet, opera, and song.
Plot
Writing in his diary, Mr. Lockwood describes arriving in the winter of 1801, at the manor house of Thrushcross Grange, on the Yorkshire moors in northern England. He soon meets his landlord, Heathcliff, a wealthy man and the master of nearby Wuthering Heights. Despite not being welcome at Wuthering Heights, Lockwood returns for a second visit and is forced to stay overnight, due to a snow storm. Unable to sleep, he finds the diary of a girl named Catherine Earnshaw and reads an entry. Lockwood learns that she was a close childhood friend of Heathcliff. Later, he has a nightmare in which the ghost of a young girl appears at his window and begs to be let in. While Lockwood struggles to keep the ghost out of his room, Heathcliff is awakened by his cries of terror and rushes into the room. Upon hearing of Catherine's ghost, he asks Lockwood to leave the room. Standing outside the door, Lockwood hears Heathcliff sobbing, opening the window, and calling for Catherine to enter.
Upon returning to Thrushcross Grange, Lockwood asks his housekeeper, Nelly Dean, to tell him the story of Heathcliff and the others at Wuthering Heights. Nelly begins her story thirty years earlier, when Mr. Earnshaw brings Heathcliff, an orphan boy, home to raise with his own children, Hindley and Catherine. Eventually, Mr. Earnshaw comes to favour Heathcliff over his own children. Both Earnshaw children initially resent Heathcliff, but soon he and Catherine become inseparable. Hindley continues to hate and physically abuse him
Mr. Earnshaw dies three years later and Hindley, now married to Frances after returning from boarding school, inherits Wuthering Heights. He brutalises Heathcliff, forcing him to work as a hired hand. Catherine becomes friends with the neighboring Linton family who live at Thrushcross Grange, and Mrs. Linton starts teaching her to be a proper lady. She is attracted to young Edgar Linton, whom Heathcliff immediately dislikes.
A year later, Frances dies from consumption shortly after giving birth to a son, Hareton. Hindley takes to drinking and becomes even more abusive to Heathcliff. Some two years later, Catherine informs Nelly that she wishes to marry Edgar Linton, as it will give her status and riches; despite her love for Heathcliff. Heathcliff, upon hearing this, leaves Wuthering Heights, only to return three years later, soon after Catherine and Edgar are wed.
Heathcliff has apparently become a wealthy, respectable gentleman and now seeks revenge against all those he believes have wronged him. Heathcliff makes loans to Hindley that he knows cannot be repaid. Intent on ruining Edgar, Heathcliff elopes with Edgar's sister, Isabella Linton, setting himself up to inherit Thrushcross Grange. After their marriage, Heathcliff becomes very cruel and abusive towards Isabella.
Catherine becomes very ill and dies shortly after giving birth to a daughter, Cathy. A few hours before her death, however, she and Heathcliff reaffirm their feelings for one another. After Catherine’s death, Heathcliff becomes more bitter and vengeful towards those around him. Isabella flees to London a month later and gives birth to a boy, Linton Heathcliff.
About this time, Hindley dies. Heathcliff takes ownership of Wuthering Heights and raises Hindley's son, Hareton, with as much neglect as he had suffered at Hindley's hands.
Thirteen years later, Isabella dies and Linton comes to live at Wuthering Heights with his father, Heathcliff. He treats his son even more cruelly than he treated his wife. Three years pass and Heathcliff invites Cathy to Wuthering Heights. He then introduces her to his son, Linton, wishing them to marry which would strengthen his claim on Thrushcross Grange.
Cathy receives news that Linton has fallen ill. She hurries to Wuthering Heights to see if she can be of help. Linton's health declines swiftly and Heathcliff puts Cathy under house arrest, forcing her to marry his son. Soon after the marriage, Edgar dies, followed shortly by Linton. Heathcliff has now gained complete control of both Wuthering Heights and Thrushcross Grange. He forces Cathy to stay at Wuthering Heights and treats her as a common servant. It is at this point in the narrative that Lockwood rents Thrushcross Grange from Heathcliff, and Nelly’s story reaches the present day. Lockwood is appalled and leaves for London.
Lockwood returns six months later to visit Nelly. She tells him that in his absence, Cathy gradually softened toward her rough, uneducated cousin Hareton, just as Catherine was tender towards Heathcliff. Having originally mocked Hareton for his illiteracy, she now teaches him to read. He allows her to open up again after becoming so bitter from Heathcliff's brutal treatment.
When Heathcliff is confronted by Cathy and Hareton's love, he seems to suffer a mental breakdown and begins to see Catherine's ghost. He seemingly abandons his life-long vendetta and dies, having "swallowed nothing for four days". Nelly describes finding Heathcliff lying on the bed, stiff with rigor mortis. Only Hareton mourns Heathcliff's death. He is buried next to Catherine in the graveyard. Cathy and Hareton inherit Wuthering Heights and Thrushcross Grange and plan their wedding for New Year’s Day. Upon hearing the end of the story, Lockwood leaves Nelly and on his walk home he visits the graves of Catherine and Heathcliff.
Characters
* Heathcliff: Found, and presumably orphaned, on the streets of Liverpool, he is taken to Wuthering Heights by Mr. Earnshaw and reluctantly cared for by the rest of the family. He and Catherine later grow close, and their love becomes the central theme of the first volume; his revenge and its consequences are the main theme of the second volume. Heathcliff is typically considered a Byronic hero, but critics have found his character, with a capacity for self-invention, to be profoundly difficult to assess. His position in society, without status (Heathcliff serves as both his given name and surname), is often the subject of Marxist criticism.
* Catherine Earnshaw: First introduced in Lockwood's discovery of her diary and etchings, Catherine's life is almost entirely detailed in the first volume. She seemingly suffers from a crisis of identity, unable to choose between nature and culture (and, by extension, Heathcliff and Edgar). Her decision to marry Edgar Linton over Heathcliff has been seen as a surrender to culture, and has implications for all the characters of Wuthering Heights. The character of Catherine has been analysed by many forms of literary criticism, including: psychoanalytic and feminist.
* Edgar Linton: Introduced as a child of the Linton family, who reside at Thrushcross Grange, Edgar's life and mannerisms are immediately contrasted with those of Heathcliff and Catherine, and indeed the former dislikes him. Yet, owing much to his status, Catherine marries him and not Heathcliff. This decision, and the differences between Edgar and Heathcliff, have been read into by feminist criticisms.
* Nelly Dean: The second and primary narrator of the novel, Nelly has been a servant of each generation of both the Earnshaw and Linton families. She is presented as a character who straddles the idea of a 'culture versus nature' divide in the novel: she is a local of the area and a servant, and has experienced life at Wuthering Heights. However, she is also an educated woman and has lived at Thrushcross Grange. This idea is represented in her having two names, Ellen—her given name and used to show respect, and Nelly—used by her familiars. Whether Nelly is an unbiased narrator and how far her actions, as an apparent bystander, affect the other characters are two points of her character discussed by critics.
* Isabella Linton: Introduced as part of the Linton family, Isabella is only ever shown in relation to other characters. She views Heathcliff as a romantic hero, despite Catherine warning her against such an opinion, and becomes an unwitting participant in his plot for revenge. After being married to Heathcliff and abused at Wuthering Heights, she escapes to London and gives birth to Linton. Such abusive treatment has led many, especially feminist critics, to consider Isabella the true/conventional 'tragic romantic' figure of Wuthering Heights.
* Hindley Earnshaw
* Hareton Earnshaw
* Catherine Linton
* Linton Heathcliff
* Joseph
* Lockwood
Timeline
1500: The stone above the front door of Wuthering Heights, bearing the name of Mr Earnshaw, is inscribed, possibly to mark the completion of the house.
1757: Hindley Earnshaw born (summer); Nelly Dean born
1762: Edgar Linton born
1765: Catherine Earnshaw born (summer); Isabella Linton born (late 1765)
1771: Heathcliff brought to Wuthering Heights by Mr Earnshaw (late summer)
1773: Mrs Earnshaw dies (spring)
1774: Hindley sent off to college
1777: Hindley marries Frances; Mr Earnshaw dies and Hindley comes back (October); Heathcliff and Cathy visit Thrushcross Grange for the first time; Cathy remains behind (November), and then returns to Wuthering Heights (Christmas Eve)
1778: Hareton born (June); Frances dies
1780: Heathcliff runs away from Wuthering Heights; Mr and Mrs Linton both die
1783: Catherine has married Edgar (March); Heathcliff comes back (September)
1784: Heathcliff marries Isabella (February); Catherine dies and Cathy born (20 March); Hindley dies; Linton born (September)
1797: Isabella dies; Cathy visits Wuthering Heights and meets Hareton; Linton brought to Thrushcross Grange and then taken to Wuthering Heights
1800: Cathy meets Heathcliff and sees Linton again (20 March)
1801: Cathy and Linton are married (August); Edgar dies (August); Linton dies (September); Mr Lockwood goes to Thrushcross Grange and visits Wuthering Heights, beginning his narrative
1802: Mr Lockwood goes back to London (January); Heathcliff dies (April); Mr Lockwood comes back to Thrushcross Grange (September)
1803: Cathy plans to marry Hareton (1 January)
Development history
There are several theories as to which building was the inspiration for Wuthering Heights. One is Top Withens, a ruined farmhouse, that is located in a isolated area near the Haworth Parsonage. Yet, its structure does not match that of the farmhouse described in the novel, and is therefore considered less likely to be the model. Top Withens was first suggested as the model for the fictitious farmhouse by Ellen Nussey, a friend of Charlotte Brontë's, to Edward Morison Wimperis, a commissioned artist for the Brontë sisters' novels in 1872.
The second option is the now demolished High Sunderland Hall, near Halifax, West Yorkshire. This Gothic edifice is located near Law Hill, and was where Emily worked briefly as a governess in 1838. While very grand for the farmhouse of Wuthering Heights, the hall had grotesque embellishments of griffins and misshapen nude men similar to those described by Lockwood of Wuthering Heights in chapter one of the novel:
"Before passing the threshold, I paused to admire a quantity of grotesque carving lavished over the front, and especially about the principal door, above which, among a wilderness of crumbling griffins and shameless little boys, I detected the date '1500'".
The inspiration for Thrushcross Grange has been traditionally connected to Ponden Hall, near Haworth, although very small. More likely is Shibden Hall, near Halifax.
Critical response
Early reviews
Early reviews of Wuthering Heights were mixed in their assessment. Whilst most critics recognised the power and imagination of the novel, many found the story unlikeable and ambiguous.[note 1] Released in 1847, at a time when the background of the author was deemed to have an important impact on the story itself, many critics were also intrigued by the authorship of the novels.[note 2] H. F. Chorley of the Athenaeum said that it was a "disagreeable story" and that the 'Bells' (Brontës) "seem to affect painful and exceptional subjects". The Atlas review called it a "strange, inartistic story", but commented that every chapter seems to contain a "sort of rugged power". It supported the second point made in the Athenaeum, suggesting that the general effect of the novel was "inexpressibly painful", but adding that all of its subjects were either "utterly hateful or thoroughly contemptible".
The Douglas Jerrold's Weekly Newspaper critique was more positive, emphasizing the "great power" of the novel and its provocative qualities; it said that it was a "strange sort of book—baffling all regular criticism" and that "[it is] impossible to lay it aside afterwards and say nothing about it". Although the Examiner agreed on the strangeness, it saw the book as "wild, confused; disjointed and improbable". The Britannia review mirrored those comments made on the unpleasant characters, arguing that it would have been a "far better romance" if the characters were not "nearly as violent and destructive as [Heathcliff]". The unidentified review was less critical, considering it a "work of great ability" and that "it is not every day that so good a novel makes its appearance".
Adaptations
The earliest known film adaptation of Wuthering Heights was filmed in England and directed by A. V. Bramble. It is unknown if any prints still exist. The most famous was 1939's Wuthering Heights, starring Laurence Olivier and Merle Oberon and directed by William Wyler. This adaptation, like many others, eliminated the second generation's story (young Cathy, Linton and Hareton). It won the 1939 New York Film Critics Circle Award for Best Film and was nominated for the 1939 Academy Award for Best Picture.
The 1970 film with Timothy Dalton as Heathcliff is notable for emphasizing that Heathcliff may be Cathy's illegitimate half-brother. This is the first colour version of the novel, and gained acceptance over the years though it was initially poorly received. The character of Hindley is portrayed much more sympathetically, and his story-arc is altered.
The 1992 film Emily Brontë's Wuthering Heights starring Ralph Fiennes and Juliette Binoche is notable for including the oft-omitted second generation story of the children of Cathy, Hindley , and Heathcliff.
Adaptations which reset the story in a new setting include the 1954 adaptation by Spanish filmmaker Luis Buñuel set in Catholic Mexico, with Heathcliff and Cathy renamed Alejandro and Catalina, and Yoshishige Yoshida's 1988 adaptation which set the story in Tokugawa period Japan. In 2003, MTV produced a poorly reviewed version set in a modern California with the characters as high school students.
The novel has been popular in opera and theatre, including operas written by Bernard Herrmann and Carlisle Floyd (both of which like many films cover only the first half of the book) and a musical by Bernard J. Taylor, as well as a song by Kate Bush.
In autumn of 2008, Mark Ryan launched a dramatic musical adaptation of the novel, narrated by Beowulf and Sexy Beast star Ray Winstone. He composed, sang and produced the tracks with Robb Vallier who also worked on Spamalot. He also directed the video for the song "Women" filmed especially for the website and featuring Jennifer Korbee, Jessica Keenan Wynn and Katie Boeck.
In August 2009 ITV aired a two part drama series starring Tom Hardy, Charlotte Riley, Sarah Lancashire, and Andrew Lincoln.
Announced in April 2008, Natalie Portman was originally set to star as Cathy in a new film adaptation of the novel, but she left the project in May. In May 2008, director John Maybury cast Michael Fassbender as Heathcliff and Abbie Cornish as Cathy. They later left the project and in May 2009, Peter Webber was announced as the director, with Ed Westwick and Gemma Arterton attached to play Heathcliff and Cathy respectively. However, the project did not get off the ground and Andrea Arnold signed on to direct in January 2010. Kaya Scodelario was then cast as Cathy, with the filmmakers searching for an unknown young Yorkshire actor to play Heathcliff.
dì 'èr tiān， luò kè wū xiān shēng lái dào huà méi shān zhuāng， xiàng nǚ guǎn jiā 'ài lún dí 'ēn wèn qǐ cǐ shì， nǚ guǎn jiā biàn jiǎng liǎo fā shēng zài hū xiào shān zhuāng de shì qíng。
hū xiào shān zhuāng yǐ yòu 300 nián de lì shǐ， yǐ qián de zhù rén 'ēn xiāo fū fù cóng jiē tóu jiǎn lái yī gè jí pǔ sài rén de qì 'ér， shōu tā zuò yǎng zǐ， zhè jiù shì xī cì kè lì fū。 xī cì kè lì fū yī dào zhè jiā jiù shòu dào cái xiān shēng de 'ér zǐ xīn dé léi de qī fù hé nüè dài， kě xiǎng dé lāi de mèi mèi kǎi sè lín què fēng kuáng dì 'ài shàng liǎo xī cì kè lì fū。
《 hū xiào shān zhuāng》 lǎo zhù rén sǐ liǎo zhī hòu， yǐ hūn de xīn dé léi chéng liǎo hū xiào shān zhuāng de zhù rén。 tā kāi shǐ zǔ zhǐ xī cì kè lì fū hé kǎi sè lín de jiāo wǎng， bìng bǎ xī cì kè lì fū gǎn dào tián lǐ qù gànhuó， bù duàn dì chā rǔ tā， zhé mó tā， tā biàn dé bù jìn rén qíng， jìn hū chī dāi， kǎi sè lín yě biàn dé yě xìng shí zú。
yī cì， tā men dào huà méi shān zhuāng qù wán， kǎi sè lín bèi gǒu yǎo shāng， zhù rén lín dūn fū fù zhī dào tā shì 'ēn xiāo jiā de hái zǐ， jiù rè qíng dì liú tā yǎng shāng， ér bǎ xī cì kè lì fū dàngchéng huài xiǎo zǐ gǎn páo liǎo。 kǎ kǎi sè lín hé lín dūn de 'ér zǐ 'āi dé jiā、 nǚ 'ér yī suō bèi lā chéng liǎo hǎo péng yǒu。 kǎi sè lín zhù liǎo wǔ gè cháng xīng qī huí lái hòu， biàn chéng wēn wén 'ěr yǎ， yí tài wàn fāng de fù jiā xiǎo jiě。 dāng tā zài cì jiàn dào xī cì kè lì fū shí， shēng pà tā nòng zàng liǎo zì jǐ de yī fú。 xī cì kè lì fū de zì zūn xīn shòu dào liǎo shāng hài， tā shuō：“ wǒ yuàn yì zěn me zàng， jiù zěn me zàng。” tā fā shì yào duì xīn dé léi jìn xíng bào fù， tā xīn zhōng de yě xìng hé fèn hèn quán bù duì zhǔn xīn dé léi。
1778 nián 6 yuè， xīn dé léi de qī zǐ shēng xià hā lǐ dùn 'ēn xiāo hòu yīn fèi bìng sǐ qù， xīn dé léi shòu liǎo hěn dà de dǎ jī，
cóng cǐ biàn dé gèng jiā cán rěn， gèng jiā lěng kù wú qíng。 kǎi sè lín pái huái yú xī cì kè lì fū hé 'āi dé jiā de 'ài qíng zhī jiān， tā zhēn xīn 'ài xī kè lì， dàn yòu jué dé yǔ yī gè pú rén jié hūn， yòu shī shēn fèn。 dāng 'āi dé jiā xiàng tā qiú hūn shí， xiǎng dào tā de piào liàng hé fù yòu， biàn dāyìng liǎo。 dàn zài tā líng hún shēn chù， fēi cháng míng bái zì jǐ cuò liǎo， biàn xiàng nǚ pú 'ài lún dí 'ēn tù lù zhēn qíng：“ wǒ duì 'āi dé jiā de 'ài xiàng shù lín zhōng de yè zǐ， dāng dōng jì gǎi biàn shù mù de shí hòu， suí zhī jiù huì gǎi biàn yè zǐ。 wǒ duì xī kè lì de 'ài què xiàng dì xià shuǐ jiǔ bù biàn de yán shí…… wǒ jiù shì xī kè lì！ tā wú shí wú kè bù zài wǒ xīn zhōng， bìng bù shì zuò wéi yī zhǒng lè qù， jī shì zuò wéi wǒ de yī bù fēn。”
xī kè lì tīng dào tā men de duì huà， tòng kǔ wàn fēn， dāng yè lí kāi liǎo hū xiào shān zhuāng， kǎ sè lín yīn xī kè lì de lí qù 'ér dà bìng yīcháng。 hòu lái lín dūn fū fù xiāng jì dé rè bìng 'ér sǐ， zài tā men sǐ hòu sān nián， kǎ sè lín tóng 'āi dé jiā jié hūn liǎo。
shù nián hòu， xī cì kè lì fū tū rán chū xiàn zài huà méi shān zhuāng， zhè shí tā yǐ jīng zhǎngchéng liǎo yī gè xiāo sǎ yīng jùn 'ér yòu hěn yòu qián de qīng nián。 kǎi sè lín jiàn dào tā shí xīn xǐ ruò kuáng， tā yì wèi shēn cháng dì shuō：“ wǒ zhǐ shì wèile nǐ cái fèn dǒu de”。 tā jīng cháng chū rù yú huà méi shān zhuāng， zhè shǐ yī suō bèi lā fā bìng shìde 'ài shàng liǎo tā。 tā wéi de bào fù zhěng yè zhěng yè dì hé xīn dé léi dǎ pái、 hē jiǔ， màn màn dì shǐ tā pò liǎo chǎn， zuì hòu bǎ zhěng gè zhuāng yuán dǐ yā gěi xī kè lì。 jìn guǎn kǎ sè lín xiǎng jìn bàn fǎ xiǎng wǎn huí xī kè lì de gǎn qíng， dàn tā hái shì hé yī suō bèi lā jié hūn liǎo， hūn hòu yǐ nüè dài yī suō bèi lā lái fā xiè zì jǐ de chóu hèn。
cǐ shí kǎ sè lín zhèng zhí lín chǎn， xī cì kè lì fū chèn 'āi dé jiā bù zài， jìn rù liǎo huà méi shān zhuāng， tā sǐ mìng dì bào zhù kǎi sè lín， bēi qiē dì jiào dào：“ ā， kǎi dì， ā， wǒ de mìng！ wǒ zěn néng shòu dé liǎo wā！……” kǎi sè lín zhe shuō：“ rú guǒ wǒ zuò cuò liǎo， wǒ huì yīn cǐ 'ér sǐ， nǐ yě lí kāi guò wǒ， dàn wǒ kuān shù liǎo nǐ， nǐ yě kuān shù wǒ bā！” xī cì kè fū lì dá dào：“ zhè shì nán yǐ bàn dào de， dàn wǒ ráo shù nǐ duì wǒ zuò de shì。 wǒ kě yǐ 'ài hài liǎo wǒ de rén， kě shì hài liǎo nǐ de rén， wǒ yòu zěn me néng gòu ráo shù tā ní？” tā men jiù zhè yàng fēng kuáng dì yōng bào zhe， hù xiāng yuàn hèn。
zhí dào 'āi dé jiā huí lái hòu， tā men cái fēn kāi， kǎi sè lín zài yě méi yòu xǐng lái。 dāng tiān yè lǐ， tā hūn mí zhōng shēng xià yī gè nǚ hái biàn sǐ qù liǎo。 xī cì kè lì fū zhěng yè shǒu zài zhuāng yuán lǐ， dāng dé zhī kǎi sè lín sǐ liǎo， tā yòng lì dì bǎ tóu zhuàng zài shùgàn shàng，“ tiān 'ā！ méi yòu wǒ de mìng gēn zǐ， wǒ bù néng huó xià qù yā！” jǐ gè yuè hòu xiǎng dé lāi sǐ liǎo， xī kè lì chéng liǎo hū xiào shān zhuāng de zhù rén。 bǎ xīn dé léi de 'ér zǐ hā lǐ dùn péi yǎng chéng yī gè cū yě wú lǐ， méi yòu jiào yǎng de yě xiǎo zǐ。 yī suō bèi lā rěn shòu bù liǎo zhàng fū de nüè dài， táo dào lún dūn fù jìn， zài nà 'ér shēng liǎo yī gè 'ér zǐ qǔ míng lín dūn。
12 nián hòu lín dūn yǐ zhǎngchéng yī gè shàonián， kǎi sè lín de xiǎo nǚ 'ér yě yǐ zhǎngchéng yī gè měi lì de shàonǚ， tā suī bù xǐ huān lín dūn， tā hái shì chèn xiǎo kǎ kǎi sè lín de fù qīn bìng wēi zhī jì， bǎ xiǎo kǎi sè lín jiē dào hū xiào shān zhuāng， bī pò tā hé lín dūn jié hūn， yīn wéi tā yào“ shèng lì dì kàn jiàn wǒ de hòu dài táng huáng dì zuò wéi tā men chǎn yè de zhù rén， wǒ de hái zǐ yòng gōng qián gù tā men de hái zǐ zhǒng tā men de tǔ dì”。
jǐ gè yuè hòu， āi dé jiā yě sǐ liǎo， xī cì kè lì fū zuò wéi xiǎo kǎi sè lín de fù qīn bān jìn liǎo huà méi shān zhuāng。 bù jiǔ lín dūn yě sǐ liǎo， xiǎo kǎi sè lín chéng liǎo nián qīng de guǎ fù。
xiǎo kǎi sè lín hé hā lǐ dùn jiù xiàng dāng nián de xī kè lì hé kǎ sè lín yī yàng， xī kè lì fēng kuáng dì zǔ zhǐ tā men de lái wǎng， dāng tā zhuā zhù xiǎo kǎi sè lín xiǎng dǎ tā shí， tā cóng tā de yǎn jīng lǐ kàn dào liǎo kǎi sè lín de yǐng zǐ， ér cǐ shí de hā lǐ dùn bù zhèng shì dāng nián de zì jǐ má！ tā biàn dé gèng gū dú liǎo， tā kě wàng zhe hé kǎi sè lín de gū hún zài yī qǐ。 lián xù jǐ tiān tā bù chī bù hē， zài zhǎo dì lǐ yóu dàng， huí lái hòu bǎ zì jǐ guān zài kǎi sè lín zhù guò de fáng jiān lǐ， dì 'èr tiān， rén men fā xiàn tā sǐ liǎo。
tā sǐ hòu bèi mái zài kǎi sè lín de mù bàng， xiǎo kǎi sè lín zhōng yú hé hā lǐ dùn jié hūn liǎo。
《 hū xiào shān zhuāng》 - xiě zuò bèi jǐng
ài mǐ lì bó lǎng tè suǒ shēng huó de sān shí nián jiān zhèng shì yīng guó shè huì dòng dàng de shí dài。 zī běn zhù yì zhèng zài fā zhǎn bìng yuè lái yuè bào lù tā nèi zài de quē xiàn； láo zī zhī
jiān máo dùn jiān ruì huà； shī yè gōng rén de pín kùn； dà liàng de tóng gōng bèi cán kù dì zhé mó zhì sǐ（ zhè cóng tóng shí qī de yīng guó zhù míng nǚ shī rén yī lì suō bái bā léi tè bó lǎng níng ① de cháng shī《 hái zǐ men de kū shēng》， kě yǐ kàn dào yī xiē gài mào）。 zài jiā shàng yīng guó zhèng fǔ duì mín zhù gǎi gé dǒu zhēng hé gōng rén yùn dòng cǎi qǔ gāo yā shǒu duàn： rú yī bā yī jiǔ nián de bǐ dé lù dà tú shā jiù shì yī gè lì zǐ。 yīn cǐ zhè yī shí qī de wén xué zuò pǐn yě yòu suǒ fǎn yìng。 wǒ men de nǚ zuò jiā 'ài mǐ lì bó lǎng tè jiù shì dàn shēng zài zhè yàng dǒu zhēng de nián dài！ tā shēng zài yī gè mù shī jiā tíng lǐ， fù qīn míng jiào pèi tè lǐ kè bó lǎng tè（ 1777 héng 1861）， yuán shì gè 'ài 'ěr lán jiào shì， yī bā yī 'èr nián qǔ yīng guó xī nán bù kāng wǎ 'ěr jùn（ Cornwall） rén mǎ lì yà bó lán wēi 'ěr wéi qī， xī xià liù gè 'ér nǚ。 dà nǚ 'ér mǎ lì yà（ 1814）， èr nǚ 'ér yī lì suō bái（ 1815）， sān nǚ 'ér xià luò dì（ 1816）， dú zǐ bó lán wēi 'ěr（ 1817）， xià biān jiù shì 'ài mǐ lì（ 1818） hé 'ān 'ēn（ 1820）。 hòu miàn sì gèdōu shēng zài wèi yú yuē kè jùn kuàng yě de sāng dùn cūn ②， bó lǎng tè xiān shēng biàn zài zhè yī jiào qū rèn mù shī zhí。 yī bā 'èr nián quán jiā bān dào háo wò sī dì qū， zài kuàng yě de yī chù piān pì de jiǎo luò 'ān liǎo jiā。 tā men sān zǐ mèi jiù zài zhè gè dì fāng dù guò liǎo yī shēng。
yī bā 'èr qī nián tā men de mǔ qīn shì shì， yí mǔ cóng kāng wǎ 'ěr qún lái zhào gù jiā tíng。 sān nián hòu， yǐ mǎ lì yà wéi shǒu de sì zǐ mèi jìn jì sù xué xiào dú shū。 yóu yú shēng huó tiáo jiàn tàichà， mǎ lì yà yǔ yī lì suō bái huàn fèi jié hé yāo zhé， xià luò dì yǔ 'ài mǐ lì xìng cún， zì cǐ zài jiā yǔ xiōng dì bó lán wēi 'ěr yī qǐ zì xué。 zhè gè jiā tíng yī xiàng lí qún suǒ jū， sì gè xiōng dì zǐ mèi biàn cháng yǐ dú shū、 xiě zuò shī gē， jí dù zhuàn chuán qí gù shì lái dǎ fā jì mò de shí guāng。 xià luò dì hé bó lán wēi 'ěr yǐ xiǎng xiàng de 'ān gé lǐ 'ā wáng cháo wéi zhōng xīn lái xiě xiǎo shuō， ér 'ài mǐ lì hé xiǎo mèi 'ān zé chuàng zào liǎo yī gè tā men chēng wéi gāng duō 'ěr de tài píng yáng dǎo yǔ lái dù zhuàn gù shì。
tā men de jiā suī rán lín jìn háo wò sī gōng yè qū， rán 'ér zhè suǒ zhù zhái qià hǎo wèi yú chéng zhèn yǔ huāng yě zhī jiān。 ài mǐ lì jīng cháng hé tā de zǐ mèi men dào xī biān de kuàng yě dì lǐ sàn bù。 yīn cǐ yī fāng miàn bó lǎng tè zǐ mèi kàn dào liǎo chéng zhèn zhōng zhèng zài fā zhǎn de zī běn zhù yì shè huì， lìng yī fāng miàn yě shòu dào liǎo kuàng yě qì fēn de gǎn rǎn。 tè bié shì 'ài mǐ lì， tā biǎo miàn chén mò guǎ yán， nèi xīn què rè qíng bēn fàng， suī bù dǒng zhèng zhì， què shí fēn guān xīn zhèng zhì。 sān zǐ mèi cháng cháng kàn zì yóu dǎng huò bǎo shǒu dǎng de qī kān， xǐ huān yì lùn zhèng zhì， zhè dāng rán shì shòu liǎo tā men fù qīn de yǐng xiǎng。 pèi tè lǐ kè bó lǎng tè shì gè bǐ jiào jī jìn de bǎo shǒu dǎng rén， zǎo nián fǎn duì guò lù dé yùn dòng ③， hòu lái yě bāng zhù háo wò sī gōng rén， zhī chí tā men de bà gōng。 ài mǐ lì hé tā de zǐ mèi jì chéng liǎo tā de zhèng yì gǎn， tóng qíng shǒu gōng yè gōng rén de fǎn kàng hé dǒu zhēng。 zhè jiù wéi《 hū xiào shān zhuāng》 de dàn shēng chuàng zào liǎo tiáo jiàn。
zhè gè jiā tíng shōu rù hěn shǎo， jīng jì xiāng dāng jié jù。 sān zǐ mèi bù dé bù jīng cháng chū wài móu shēng， yǐ jiāoshū huò zuò jiā tíng jiào shī lái tiē bǔ jiā yòng， jǐ nián lái lì shòu jiān xīn cuò zhé。 xià luò dì céng dǎ suàn tā men zì jǐ kāi shè yī suǒ xué xiào， tā hé 'ài mǐ lì yīn cǐ dào bù lǔ sài 'ěr xué xí liǎo yī nián， suí hòu yīn xià luò dì shī liàn 'ér lí kāi。 yī bā sì liù nián tā men zì jǐ chóu kuǎn yǐ jiǎ míng chū bǎn liǎo yī běn shī jí ④， què zhǐ mài diào liǎng běn。 yī bā sì qī nián， tā men sān zǐ mèi de sān běn xiǎo shuō ⑤ zhōng yú chū bǎn， rán 'ér zhǐ yòu《 jiǎn 'ài》 huò dé chéng gōng， dé dào liǎo zhòng shì。《 hū xiào shān zhuāng》 de chū bǎn bìng bùwèi dāng shí dú zhě suǒ lǐ jiě， shèn zhì tā zì jǐ de jiě jiě xià luò dì yě wú fǎ lǐ jiě 'ài mǐ lì de sī xiǎng。
yī bā sì bā nián， tā men wéi yī de xiōng dì bó lán wēi 'ěr yóu yú cháng qī xù jiǔ、 xī dú， yě chuán rǎn liǎo fèi bìng， yú jiǔ yuè sǐ qù， suī rán zhè wèi jiā tíng zhōng de bào jūn zhī sǐ duì yú zhè sān zǐ mèi yě shì yī zhǒng jiě tuō， rán 'ér， zhèng rú zài xià luò dì zǐ mèi de shū jiǎn jí zhōng suǒ shuō de：“ guò shī yǔ zuì 'è dōuyǐ yí wàng， shèng xià lái de shì lián mǐn hé bēi shāng pán jù liǎo xīn tóu yǔ jì yì……” duì bó lán wēi 'ěr de dào niàn suō duǎn liǎo 'ài mǐ lì zǒu xiàng fén mù de lù tú， tóng nián shí 'èr yuè 'ài mǐ lì zhōng yú qì shì。 tā men de xiǎo mèi mèi 'ān yě yú dì 'èr nián wǔ yuè xiāng jì sǐ qù， zhè shí zhè gè jiā tíng zuì hòu de chéng yuán zhǐ yòu xià luò dì hé tā de lǎo fù liǎo。
zhè yī wèi hòu lái cái chí míng shì jiè wén tán de jí yòu cái huá de nián qīng nǚ zuò jiā， dāng shí jiù zhè yàng bào hàn dì lí kāi liǎo zhǐ néng shǐ tā cháng dào lěng mò wú qíng de rén shì jiān， mò mò dì hé tā jiā zhōng jǐn yú de sān wèi qīn rén gào bié liǎo！ tā céng zài shàonǚ shí qī de yī shǒu shī zhōng zhè yàng xiě dào：
“ wǒ shì wéi yī de rén， mìng zhōng zhù dìng wú rén guò wèn， yě wú rén liú lèi 'āi dào； zì cóng wǒ shēng xià lái， cóng wèi yǐn qǐ guò yī xiàn yōu lǜ， yī gè kuài lè de wēi xiào。 zài mì mì de huān lè， mì mì de yǎn lèi zhōng， zhè gè biàn huà duō duān de shēng huó jiù zhè yàng huá guò， shí bā nián hòu réng rán wú yǐ wú kào， yī rú zài wǒ dàn shēng nà tiān tóng yàng de jì mò。……”
tā zài tóng yī shǒu shī zhōng zuì hòu kǎi tàn dào：
“ qǐ chū qīng chūn de xī wàng bèi róng huà， rán hòu huàn xiǎng de hóng cǎi xùn sù tuì kāi； yú shì jīng yàn gào sù wǒ， shuō zhēn lǐ jué bù huì zài rén lèi de xīn xiōng zhōng chéngzhǎng qǐ lái。……”
dàn shì tā hěn xiǎng zhèn zuò qǐ lái， yòu suǒ zuò wéi， què yǐ zhēngzhá bù qǐ， zhè zhǒng tòng kǔ de sī xiǎng dǒu zhēng hé bīn yú jué wàng de qíng xù， zài tā tóng yī shí qī de shī jù zhōng yě kě yǐ zhǎo dào：“ rán 'ér rú jīn dāng wǒ xī wàng guò gē chàng， wǒ de shǒu zhǐ què bō dòng liǎo yī gēn wú yīn de xián； ér gē cí de dié jù réng jiù shì ‘ bù yào zài fèn dǒu liǎo， ’ yī qiē quán shì wǎng rán。”
《 hū xiào shān zhuāng》 - zuò pǐn shǎng xī
《 hū xiào shān zhuāng》 tōng guò yī gè 'ài qíng bēi jù， xiàng rén men zhǎn shì liǎo yī fù jī xíng shè huì de shēng huó huà miàn， gòu lè liǎo bèi zhè gè jī xíng shè huì niǔ qū de rén xìng jí qí zào chéng de zhǒng zhǒng kě bù de shì jiàn， zhěng gè gù shì qíng jié shì tōng guò sì gè jiē duàn zhú bù pū kāi de：
dì yī jiē duàn xù shù liǎo xī sī kè lì fū yǔ kǎi sè lín zhāoxī xiāng chù de tóng nián shēng huó； yī gè qì 'ér hé yī gè xiǎo jiě zài zhè zhǒng tè shū huán jìng zhōng suǒ xíng chéng de tè shū gǎn qíng， yǐ jí tā men duì xīn dé léi zhuān héng bào nüè de fǎn kàng。
dì 'èr jiē duàn zhuózhòng miáo xiě kǎi sè lín yīn wéi xū róng、 wú zhī hé yú mèi， bèi qì liǎo xī sī kè lì fū， chéng liǎo huà méi tián zhuāng de nǚ zhù rén。
dì sān jiē duàn yǐ dà liàng bǐ mò miáo huì xī sī kè lì fū rú hé zài jué wàng zhōng bǎ mǎn qiāng chóu hèn huà wéi bào chóu xuě chǐ de jì móu hé xíng dòng。
zuì hòu jiē duàn jìn guǎn zhǐ jiāo dài liǎo xī sī kè lì fū de sǐ wáng， què tū chū dì jiē shì liǎo dāng tā liǎo jiě hā lǐ dùn hé kǎi dì xiāng 'ài hòu， sī xiǎng shàng jīng lì de yī zhǒng zhǎn xīn de biàn huà héng héng rén xìng de fù sū， cóng 'ér shǐ zhè chū jù yòu kǒng bù sè cǎi de 'ài qíng bēi jù tòu lù chū yī shù lìng rén kuài wèi de xī wàng zhī guāng。
yīn cǐ， xī sī kè lì fū de 'ài yī hèn yī fù chóu yī rén xìng de fù sū， jì shì xiǎo shuō de jīng suǐ， yòu shì guàn chuān shǐ zhōng de yī tiáo hóng xiàn。 zuò zhě yǐ cǐ mài luò， móu piān bù jú， bǎ chǎng jǐng 'ān pái dé biàn huàn mò cè， yòu shí zài yīn yún mì bù、 guǐ kū láng háo de kuàng yě， yòu shí yòu shì fēng kuáng yǔ zhòu、 yīn sēn cǎn 'àn de tíng yuàn， gù shì shǐ zhōng lǒngzhào zài yī zhǒng shén mì hé kǒng bù de qì fēn zhī zhōng。
zài xiǎo shuō zhōng， zuò zhě de quán bù xīn xuè níng jù zài xī sī kè lì fū xíng xiàng de kè huà shàng， tā zài zhè lǐ jì tuō liǎo zì jǐ de quán bù fèn kǎi、 tóng qíng hé lǐ xiǎng。 zhè gè bèi bō duó liǎo rén jiān wēn nuǎn de qì 'ér zài shí jì shēng huó zhōng péi yǎng liǎo qiáng liè de 'ài yǔ zēng， xīn dé léi de pí biān shǐ tā cháng dào liǎo rén shēng de cán kù， yě jiào huì tā dǒng dé rěn qì tūn shēng de qū fú wú fǎ gǎi biàn zì jǐ shòu rǔ de mìng yùn。 tā xuǎn zé liǎo fǎn kàng。 kǎi sè lín céng jīng shì tā zhōng shí de huǒ bàn， tā liǎ zài gòng tóng de fǎn kàng zhōng méng fā liǎo zhēn zhì de 'ài qíng。 rán 'ér， kǎi sè lín zuì hòu què bèi pàn liǎo xī sī kè lì fū， jià gěi liǎo tā bù liǎo jiě、 yě gēn běn bù 'ài de 'āi dé jiā · lín dùn。 zào chéng zhè gè 'ài qíng bēi jù de zhí jiē yuán yīn shì tā de xū róng、 wú zhī hé yú chǔn， jiēguǒ què zàng sòng liǎo zì jǐ de qīng chūn、 ài qíng hé shēng mìng， yě huǐ liǎo duì tā shǐ zhōng yī wǎng qíng shēn de xī sī kè lì fū， hái chā yī diǎn kēng hài liǎo xià yī dài。 ài mǐ lì · bó lǎng tè kè huà zhè gè rén wù shí， yòu tóng qíng， yě yòu fèn kǎi； yòu wǎn xī， yě yòu biān chī； jì 'āi qí bù xìng， yòu nù qí bù zhēng， xīn qíng shì jí qí fù zá de。
kǎi sè lín de bèi pàn jí qí hūn hòu bēi kǔ de mìng yùn， shì quán shū zuì zhòng dà de zhuǎn zhé diǎn。 tā shǐ xī sī kè lì fū mǎn qiāng de 'ài huà wéi wú bǐ de hèn； kǎi sè lín yī sǐ， zhè qiāng chóu hèn huǒ shān bān bèng fā chū lái， chéng liǎo fēng kuáng de fù chóu dòng lì。 xī sī kè lì fū de mùdì dá dào liǎo， tā bù jǐn ràng xīn dé léi hé 'āi dé jiā qī kǔ sǐ qù， dú bà liǎo liǎng jiā zhuāng yuán de chǎn yè， hái ràng tā men píng bái wú gū de xià yī dài yě bǎo cháng liǎo kǔ guǒ。 zhè zhǒng fēng kuáng de bào chóu xiè hèn， mào sì bèi yú cháng lǐ， dàn què lín lí jìn zhì dì biǎo dá liǎo tā fēi tóng yī bān de pàn nì jīng shén， zhè shì yī zhǒng tè shū huán jìng、 tè shū xìng gé suǒ jué dìng de tè shū fǎn kàng。 xī sī kè lì fū de 'ài qíng bēi jù shì shè huì de bēi jù， yě shì shí dài de bēi jù。
《 hū xiào shān zhuāng》 de gù shì shì yǐ xī sī kè lì fū dá dào fù chóu mùdì 'ér zì shā gào zhōng de。 tā de sǐ shì yī zhǒng xùn qíng， biǎo dá liǎo tā duì kǎi sè lín shēng sǐ bù yú de 'ài， yī zhǒng shēng bù néng tóng qīn、 sǐ yě qiú tóng xué de 'ài de zhuī qiú。 ér tā lín sǐ qián fàng qì liǎo zài xià yī dài shēn shàng bào fù de niàn tóu， biǎo míng tā de tiān xìng běn lái shì shàn liáng de， zhǐ shì yóu yú cán kù de xiàn shí niǔ qū liǎo tā de tiān xìng， pò shǐ tā biàn dé bào nüè wú qíng。 zhè zhǒng rén xìng de fù sū shì yī zhǒng jīng shén shàng de shēng huá， shǎn yào zhe zuò zhě rén dào zhù yì de lǐ xiǎng。
《 hū xiào shān zhuāng》 chū bǎn hòu yī zhí bèi rén rèn wéi shì yīng guó wén xué shǐ shàng yī bù“ zuì qí tè de xiǎo shuō”， shì yī bù“ ào mì mò cè” de“ guài shū”。 yuán yīn zài yú tā yī fǎn tóng shí dài zuò pǐn pǔ biàn cún zài de shāng gǎn zhù yì qíng diào， ér yǐ qiáng liè de 'ài、 kuáng bào de hèn jí yóu zhī 'ér qǐ de wú qíng de bào fù， qǔ dài liǎo dī chén de shāng gǎn hé yōu yù。 tā wǎn rú yī shǒu qí tè de shū qíng shī， zì lǐ xíng jiān chōng mǎn zhe fēng fù de xiǎng xiàng hé kuáng biāo bān měng liè de qíng gǎn， jù yòu zhèn hàn rén xīn de yì shù lì liàng。
rén wù biǎo
ēn xiāo xiān shēng héng héng héng héng hū xiào shān zhuāng zhù rén
xīn dé léi · ēn xiāo héng héng qí zǐ
kǎi sè lín · ēn xiāo héng héng qí nǚ， xiǎo míng kǎi dì
xī sī kè lì fū héng héng héng ēn xiāo fǔ yǎng de gū 'ér
fú lán xī sī héng héng héng héng xīn dé léi zhī qī
hā lǐ dùn · ēn xiāo héng héng xīn dé léi zhī zǐ
dīng nài lì héng héng héng héng héng nǚ guǎn jiā， yòu míng 'ài lún
yuē sè fū héng héng héng héng héng hū xiào shān zhuāng de lǎo pú rén
lín dūn xiān shēng héng héng héng héng huà méi tián zhuāng zhù rén
āi dé jiā · lín dūn héng héng qí zǐ， hòu qǔ kǎi sè lín · ēn xiāo
yī suō bèi lā · lín dūn héng qí nǚ， hòu jià xī cì kè lì fū
kǎi sè lín · lín dūn héng héng āi dé jiā yǔ kǎi sè lín zhī nǚ， yì míng kǎi dì lín dūn · xī cì kè lì fū
yī suō bèi lā yǔ xī cì kè lì fū zhī zǐ
luò kè wū dé xiān shēng héng héng fáng kè
kěn ní cí yī shēng héng héng héng dāng dì yī shēng
qí lā héng héng héng héng héng hū xiào shān zhuāng de nǚ pú
《 hū xiào shān zhuāng》 - gù shì qíng jié nián biǎo
１ ７ ５７ xīn dé léi · ēn xiāo dàn shēng。 dīng nài lì zhī mǔ xié qí yīng 'ér nài lì wǎng hū xiào shān zhuāng dāng bǎo mǔ。
１７ ６ ２ āi dé jiā · lín dūn dàn shēng。
１７６５ kǎi sè lín · ēn xiāo dàn shēng。
１７６６ yī suō bèi lā · lín dūn dàn shēng。
１７７１ xià tiān， ēn xiāo xiān shēng cóng lì wù pǔ dài huí xī cì kè lì fū。
１７７ ３ chūn tiān， ēn xiāo fū rén shì shì。
１７７ ４ xīn dé léi shàng dà xué。
１７７７ shí yuè， ēn xiāo xiān shēng shì shì。 xīn dé léi xié qí qī fú lán xī sī fǎn jiā。
shí yī yuè dǐ， kǎi sè lín zài huà méi tián zhuāng chuǎng huò。
shèng dàn jié， kǎi sè lín fǎn jiā。
１７７ ８ liù yuè， hā lǐ dùn · ēn xiāo dàn shēng。 fú lán xī sī shì shì。 dīng nài lì zhào gù hā lǐ dùn。
１７８ ０ xià tiān， kǎi sè lín jiē shòu liǎo 'āi dé jiā · lín dūn de qiú hūn。 xī cì kè lì fū shī zōng。 kǎi sè lín huàn zhòng bìng。 lǎo lín dūn xiān shēng yǔ fū rén shì shì。
１７８３ sān yuè， āi dé jiā qǔ kǎi sè lín。 dīng nài lì péi tóng wǎng huà méi tián zhuāng。
jiǔ yuè， xī cì kè lì fū guī。
１７８４ yī yuè， āi dé jiā · kǎi sè lín hé xī cì kè lì fū zhī jiān fā shēng zhēng chǎo。 xī cì kè lì fū dài yī suō bèi lā sī bēn。 kǎi sè lín dì 'èr cì zhòng bìng。
sān yuè， xī cì kè lì fū yǔ yī suō bèi lā huí hū xiào shān zhuāng。 xī cì kè lì fū qù kàn kǎi sè lín。
sān yuè niàn rì， kǎi sè lín shì shì， liú xià cái dàn shēng de nǚ 'ér kǎi sè lín。
sān yuè niàn wǔ rì， kǎi sè lín xià zàng。 xī cì kè lì fū dāng wǎn dào mù yuán qù。
sān yuè niàn liù rì， yī suō bèi lā táo páo。
jiǔ yuè， xīn dé léi shì shì。 xī cì kè lì fū zhàn yòu hū xiào shān zhuāng。
shí yuè， lín dūn · xī cì kè lì fū dàn shēng yú wài dì。
１７ ９７ yī suō bèi lā shì shì。
xiǎo kǎi dì shǒu cì dào hū xiào shān zhuāng。
āi dé jiā jiē wài shēng lín dūn huí huà méi tián zhuāng。 xī cì kè lì fū yào zǒu tā de 'ér zǐ。
１８００ sān yuè niàn rì， xiǎo kǎi dì dì 'èr cì dào hū xiào shān zhuāng。
qiū tiān， āi dé jiā gǎn mào bìng dǎo。
shí yuè， kǎi dì dì sān cì dào hū xiào shān zhuāng。
zhè yǐ hòu sān gè xīng qī， kǎi dì mì mì wǎng hū xiào shān zhuāng。
１８０１ bā yuè， kǎi dì yǔ biǎo dì lín dūn zài yě wài jiàn miàn， bèi xī cì kè lì fū suǒ pò yòu jìn hū xiào shān zhuāng yǔ lín dūn jié hūn。
jiǔ yuè， āi dé jiā · lín dūn shì shì。 hòu xī cì kè lì fū wǎng kǎi sè lín mù dì jué mù。
lín dūn · xī cì kè lì fū jì chéng liǎo huà méi tián zhuāng。
shí yuè， lín dūn sǐ qù。 xī cì kè lì fū zhàn yòu liǎo qí zǐ chǎn yè。
shí yī yuè， xī cì kè lì fū jiāng huà méi tián zhuāng chū zū gěi luò kè wū dé xiān shēng。
luò kè wū dé xiān shēng bài fǎng hū xiào shān zhuāng。
１８０２ yī yuè， luò kè wū dé xiān shēng lí kāi huà méi tián zhuāng wǎng lún dūn。
èr yuè， dīng nài lì huí hū xiào shān zhuāng。
sì yuè， xī cì kè lì fū shì shì。
jiǔ yuè， luò kè wū dé xiān shēng lù jīng huà méi tián zhuāng yǔ hū xiào shān zhuāng， zài cì bài fǎng。
１８０３ yuán dàn， hā lǐ dùn · ēn xiāo yǔ kǎi dì jié hūn。
The name of the novel comes from the Yorkshire manor on the moors on which the story centres (as an adjective; wuthering is a Yorkshire word referring to turbulent weather). The narrative tells the tale of the all-encompassing and passionate, yet thwarted, love between Heathcliff and Catherine Earnshaw, and how this unresolved passion eventually destroys them and many around them.
Now considered a classic of English literature, Wuthering Heights met with mixed reviews by critics when it first appeared, mainly because of the narrative's stark depiction of mental and physical cruelty. Though Charlotte Brontë's Jane Eyre was initially considered the best of the Brontë sisters' works, many subsequent critics of Wuthering Heights argued that its originality and achievement made it superior. Wuthering Heights has also given rise to many adaptations and inspired works, including films, radio, television dramatisations, a musical by Bernard J. Taylor, ballet, opera, and song.
Plot
Writing in his diary, Mr. Lockwood describes arriving in the winter of 1801, at the manor house of Thrushcross Grange, on the Yorkshire moors in northern England. He soon meets his landlord, Heathcliff, a wealthy man and the master of nearby Wuthering Heights. Despite not being welcome at Wuthering Heights, Lockwood returns for a second visit and is forced to stay overnight, due to a snow storm. Unable to sleep, he finds the diary of a girl named Catherine Earnshaw and reads an entry. Lockwood learns that she was a close childhood friend of Heathcliff. Later, he has a nightmare in which the ghost of a young girl appears at his window and begs to be let in. While Lockwood struggles to keep the ghost out of his room, Heathcliff is awakened by his cries of terror and rushes into the room. Upon hearing of Catherine's ghost, he asks Lockwood to leave the room. Standing outside the door, Lockwood hears Heathcliff sobbing, opening the window, and calling for Catherine to enter.
Upon returning to Thrushcross Grange, Lockwood asks his housekeeper, Nelly Dean, to tell him the story of Heathcliff and the others at Wuthering Heights. Nelly begins her story thirty years earlier, when Mr. Earnshaw brings Heathcliff, an orphan boy, home to raise with his own children, Hindley and Catherine. Eventually, Mr. Earnshaw comes to favour Heathcliff over his own children. Both Earnshaw children initially resent Heathcliff, but soon he and Catherine become inseparable. Hindley continues to hate and physically abuse him
Mr. Earnshaw dies three years later and Hindley, now married to Frances after returning from boarding school, inherits Wuthering Heights. He brutalises Heathcliff, forcing him to work as a hired hand. Catherine becomes friends with the neighboring Linton family who live at Thrushcross Grange, and Mrs. Linton starts teaching her to be a proper lady. She is attracted to young Edgar Linton, whom Heathcliff immediately dislikes.
A year later, Frances dies from consumption shortly after giving birth to a son, Hareton. Hindley takes to drinking and becomes even more abusive to Heathcliff. Some two years later, Catherine informs Nelly that she wishes to marry Edgar Linton, as it will give her status and riches; despite her love for Heathcliff. Heathcliff, upon hearing this, leaves Wuthering Heights, only to return three years later, soon after Catherine and Edgar are wed.
Heathcliff has apparently become a wealthy, respectable gentleman and now seeks revenge against all those he believes have wronged him. Heathcliff makes loans to Hindley that he knows cannot be repaid. Intent on ruining Edgar, Heathcliff elopes with Edgar's sister, Isabella Linton, setting himself up to inherit Thrushcross Grange. After their marriage, Heathcliff becomes very cruel and abusive towards Isabella.
Catherine becomes very ill and dies shortly after giving birth to a daughter, Cathy. A few hours before her death, however, she and Heathcliff reaffirm their feelings for one another. After Catherine’s death, Heathcliff becomes more bitter and vengeful towards those around him. Isabella flees to London a month later and gives birth to a boy, Linton Heathcliff.
About this time, Hindley dies. Heathcliff takes ownership of Wuthering Heights and raises Hindley's son, Hareton, with as much neglect as he had suffered at Hindley's hands.
Thirteen years later, Isabella dies and Linton comes to live at Wuthering Heights with his father, Heathcliff. He treats his son even more cruelly than he treated his wife. Three years pass and Heathcliff invites Cathy to Wuthering Heights. He then introduces her to his son, Linton, wishing them to marry which would strengthen his claim on Thrushcross Grange.
Cathy receives news that Linton has fallen ill. She hurries to Wuthering Heights to see if she can be of help. Linton's health declines swiftly and Heathcliff puts Cathy under house arrest, forcing her to marry his son. Soon after the marriage, Edgar dies, followed shortly by Linton. Heathcliff has now gained complete control of both Wuthering Heights and Thrushcross Grange. He forces Cathy to stay at Wuthering Heights and treats her as a common servant. It is at this point in the narrative that Lockwood rents Thrushcross Grange from Heathcliff, and Nelly’s story reaches the present day. Lockwood is appalled and leaves for London.
Lockwood returns six months later to visit Nelly. She tells him that in his absence, Cathy gradually softened toward her rough, uneducated cousin Hareton, just as Catherine was tender towards Heathcliff. Having originally mocked Hareton for his illiteracy, she now teaches him to read. He allows her to open up again after becoming so bitter from Heathcliff's brutal treatment.
When Heathcliff is confronted by Cathy and Hareton's love, he seems to suffer a mental breakdown and begins to see Catherine's ghost. He seemingly abandons his life-long vendetta and dies, having "swallowed nothing for four days". Nelly describes finding Heathcliff lying on the bed, stiff with rigor mortis. Only Hareton mourns Heathcliff's death. He is buried next to Catherine in the graveyard. Cathy and Hareton inherit Wuthering Heights and Thrushcross Grange and plan their wedding for New Year’s Day. Upon hearing the end of the story, Lockwood leaves Nelly and on his walk home he visits the graves of Catherine and Heathcliff.
Characters
* Heathcliff: Found, and presumably orphaned, on the streets of Liverpool, he is taken to Wuthering Heights by Mr. Earnshaw and reluctantly cared for by the rest of the family. He and Catherine later grow close, and their love becomes the central theme of the first volume; his revenge and its consequences are the main theme of the second volume. Heathcliff is typically considered a Byronic hero, but critics have found his character, with a capacity for self-invention, to be profoundly difficult to assess. His position in society, without status (Heathcliff serves as both his given name and surname), is often the subject of Marxist criticism.
* Catherine Earnshaw: First introduced in Lockwood's discovery of her diary and etchings, Catherine's life is almost entirely detailed in the first volume. She seemingly suffers from a crisis of identity, unable to choose between nature and culture (and, by extension, Heathcliff and Edgar). Her decision to marry Edgar Linton over Heathcliff has been seen as a surrender to culture, and has implications for all the characters of Wuthering Heights. The character of Catherine has been analysed by many forms of literary criticism, including: psychoanalytic and feminist.
* Edgar Linton: Introduced as a child of the Linton family, who reside at Thrushcross Grange, Edgar's life and mannerisms are immediately contrasted with those of Heathcliff and Catherine, and indeed the former dislikes him. Yet, owing much to his status, Catherine marries him and not Heathcliff. This decision, and the differences between Edgar and Heathcliff, have been read into by feminist criticisms.
* Nelly Dean: The second and primary narrator of the novel, Nelly has been a servant of each generation of both the Earnshaw and Linton families. She is presented as a character who straddles the idea of a 'culture versus nature' divide in the novel: she is a local of the area and a servant, and has experienced life at Wuthering Heights. However, she is also an educated woman and has lived at Thrushcross Grange. This idea is represented in her having two names, Ellen—her given name and used to show respect, and Nelly—used by her familiars. Whether Nelly is an unbiased narrator and how far her actions, as an apparent bystander, affect the other characters are two points of her character discussed by critics.
* Isabella Linton: Introduced as part of the Linton family, Isabella is only ever shown in relation to other characters. She views Heathcliff as a romantic hero, despite Catherine warning her against such an opinion, and becomes an unwitting participant in his plot for revenge. After being married to Heathcliff and abused at Wuthering Heights, she escapes to London and gives birth to Linton. Such abusive treatment has led many, especially feminist critics, to consider Isabella the true/conventional 'tragic romantic' figure of Wuthering Heights.
* Hindley Earnshaw
* Hareton Earnshaw
* Catherine Linton
* Linton Heathcliff
* Joseph
* Lockwood
Timeline
1500: The stone above the front door of Wuthering Heights, bearing the name of Mr Earnshaw, is inscribed, possibly to mark the completion of the house.
1757: Hindley Earnshaw born (summer); Nelly Dean born
1762: Edgar Linton born
1765: Catherine Earnshaw born (summer); Isabella Linton born (late 1765)
1771: Heathcliff brought to Wuthering Heights by Mr Earnshaw (late summer)
1773: Mrs Earnshaw dies (spring)
1774: Hindley sent off to college
1777: Hindley marries Frances; Mr Earnshaw dies and Hindley comes back (October); Heathcliff and Cathy visit Thrushcross Grange for the first time; Cathy remains behind (November), and then returns to Wuthering Heights (Christmas Eve)
1778: Hareton born (June); Frances dies
1780: Heathcliff runs away from Wuthering Heights; Mr and Mrs Linton both die
1783: Catherine has married Edgar (March); Heathcliff comes back (September)
1784: Heathcliff marries Isabella (February); Catherine dies and Cathy born (20 March); Hindley dies; Linton born (September)
1797: Isabella dies; Cathy visits Wuthering Heights and meets Hareton; Linton brought to Thrushcross Grange and then taken to Wuthering Heights
1800: Cathy meets Heathcliff and sees Linton again (20 March)
1801: Cathy and Linton are married (August); Edgar dies (August); Linton dies (September); Mr Lockwood goes to Thrushcross Grange and visits Wuthering Heights, beginning his narrative
1802: Mr Lockwood goes back to London (January); Heathcliff dies (April); Mr Lockwood comes back to Thrushcross Grange (September)
1803: Cathy plans to marry Hareton (1 January)
Development history
There are several theories as to which building was the inspiration for Wuthering Heights. One is Top Withens, a ruined farmhouse, that is located in a isolated area near the Haworth Parsonage. Yet, its structure does not match that of the farmhouse described in the novel, and is therefore considered less likely to be the model. Top Withens was first suggested as the model for the fictitious farmhouse by Ellen Nussey, a friend of Charlotte Brontë's, to Edward Morison Wimperis, a commissioned artist for the Brontë sisters' novels in 1872.
The second option is the now demolished High Sunderland Hall, near Halifax, West Yorkshire. This Gothic edifice is located near Law Hill, and was where Emily worked briefly as a governess in 1838. While very grand for the farmhouse of Wuthering Heights, the hall had grotesque embellishments of griffins and misshapen nude men similar to those described by Lockwood of Wuthering Heights in chapter one of the novel:
"Before passing the threshold, I paused to admire a quantity of grotesque carving lavished over the front, and especially about the principal door, above which, among a wilderness of crumbling griffins and shameless little boys, I detected the date '1500'".
The inspiration for Thrushcross Grange has been traditionally connected to Ponden Hall, near Haworth, although very small. More likely is Shibden Hall, near Halifax.
Critical response
Early reviews
Early reviews of Wuthering Heights were mixed in their assessment. Whilst most critics recognised the power and imagination of the novel, many found the story unlikeable and ambiguous.[note 1] Released in 1847, at a time when the background of the author was deemed to have an important impact on the story itself, many critics were also intrigued by the authorship of the novels.[note 2] H. F. Chorley of the Athenaeum said that it was a "disagreeable story" and that the 'Bells' (Brontës) "seem to affect painful and exceptional subjects". The Atlas review called it a "strange, inartistic story", but commented that every chapter seems to contain a "sort of rugged power". It supported the second point made in the Athenaeum, suggesting that the general effect of the novel was "inexpressibly painful", but adding that all of its subjects were either "utterly hateful or thoroughly contemptible".
The Douglas Jerrold's Weekly Newspaper critique was more positive, emphasizing the "great power" of the novel and its provocative qualities; it said that it was a "strange sort of book—baffling all regular criticism" and that "[it is] impossible to lay it aside afterwards and say nothing about it". Although the Examiner agreed on the strangeness, it saw the book as "wild, confused; disjointed and improbable". The Britannia review mirrored those comments made on the unpleasant characters, arguing that it would have been a "far better romance" if the characters were not "nearly as violent and destructive as [Heathcliff]". The unidentified review was less critical, considering it a "work of great ability" and that "it is not every day that so good a novel makes its appearance".
Adaptations
The earliest known film adaptation of Wuthering Heights was filmed in England and directed by A. V. Bramble. It is unknown if any prints still exist. The most famous was 1939's Wuthering Heights, starring Laurence Olivier and Merle Oberon and directed by William Wyler. This adaptation, like many others, eliminated the second generation's story (young Cathy, Linton and Hareton). It won the 1939 New York Film Critics Circle Award for Best Film and was nominated for the 1939 Academy Award for Best Picture.
The 1970 film with Timothy Dalton as Heathcliff is notable for emphasizing that Heathcliff may be Cathy's illegitimate half-brother. This is the first colour version of the novel, and gained acceptance over the years though it was initially poorly received. The character of Hindley is portrayed much more sympathetically, and his story-arc is altered.
The 1992 film Emily Brontë's Wuthering Heights starring Ralph Fiennes and Juliette Binoche is notable for including the oft-omitted second generation story of the children of Cathy, Hindley , and Heathcliff.
Adaptations which reset the story in a new setting include the 1954 adaptation by Spanish filmmaker Luis Buñuel set in Catholic Mexico, with Heathcliff and Cathy renamed Alejandro and Catalina, and Yoshishige Yoshida's 1988 adaptation which set the story in Tokugawa period Japan. In 2003, MTV produced a poorly reviewed version set in a modern California with the characters as high school students.
The novel has been popular in opera and theatre, including operas written by Bernard Herrmann and Carlisle Floyd (both of which like many films cover only the first half of the book) and a musical by Bernard J. Taylor, as well as a song by Kate Bush.
In autumn of 2008, Mark Ryan launched a dramatic musical adaptation of the novel, narrated by Beowulf and Sexy Beast star Ray Winstone. He composed, sang and produced the tracks with Robb Vallier who also worked on Spamalot. He also directed the video for the song "Women" filmed especially for the website and featuring Jennifer Korbee, Jessica Keenan Wynn and Katie Boeck.
In August 2009 ITV aired a two part drama series starring Tom Hardy, Charlotte Riley, Sarah Lancashire, and Andrew Lincoln.
Announced in April 2008, Natalie Portman was originally set to star as Cathy in a new film adaptation of the novel, but she left the project in May. In May 2008, director John Maybury cast Michael Fassbender as Heathcliff and Abbie Cornish as Cathy. They later left the project and in May 2009, Peter Webber was announced as the director, with Ed Westwick and Gemma Arterton attached to play Heathcliff and Cathy respectively. However, the project did not get off the ground and Andrea Arnold signed on to direct in January 2010. Kaya Scodelario was then cast as Cathy, with the filmmakers searching for an unknown young Yorkshire actor to play Heathcliff.
chá lǐ · bāo fǎ lì shì gè jūn yī de 'ér zǐ。 tā tiān zī bù gāo， dàn hěn qín miǎn、 lǎo shí， wéi rén nuò ruò wú néng。 fù qīn duì jiào yù bù zhòng shì。 tā zài shí 'èr suì shì yóu mǔ qīn wèitā zhēng dé liǎo shàng xué de quán lì， hòu lái dāng liǎo yī shēng。 zhè shí tā de fù mǔ yòu wéi tā zhǎo liǎo gè měi nián yòu yī qiān 'èr bǎi fǎ láng shōu rù de guǎ fù héng héng dù bǐ kè fū rén zuò qī zǐ， tā yǐ sì shí wǔ suì liǎo， yòu lǎo yòu chǒu，“ chái yī yàng gān， xiàng chūn jì fā yá yī yàng yī liǎn gē dá”。 dàn tā yīn wéi yòu qián， bìng bù quē shǎo yìng xuǎn de fū xù。 tā hé chá lǐ jié hūn hòu， biàn chéng liǎo guǎn shù tā de zhù rén： chá lǐ bì xū shùn cóng tā de xīn sī chuān yī fú， zhào tā de fēn fù bī pò qiàn kuǎn de bìng rén； tā chāi yuè tā de xìn jiàn， gé zhe bǎn bì tōu tīng tā gěi fù nǚ kàn bìng。
yī tiān， chá lǐ yī shēng jiē dào yī fēng jǐn jí de xìn jiàn， yào tā dào bài 'ěr dǒu gěi yī gè fù yù nóng mín lú 'ōu xiān shēng zhì bìng， tā de yī tiáo tuǐ shuāi duàn liǎo。 lú 'ōu shì gè wǔ shí suì zuǒ yòu de 'ǎi pàng zǐ， tā de tài tài 'èr nián qián yǐ qù shì liǎo。 jiā lǐ yóu tā de dú shēng nǚ 'ài mǎ liào lǐ。 zhè shì gè jù yòu làng màn qì zhì de nǚ hái zǐ， miàn jiá shì méi guī sè de， tóu fā hēi yóu yóu de， zài nǎo hòu wǎn chéng yī gè dà jì， yǎn jīng hěn měi lì， yóu yú jié máo de yuán gù， zōng yán sè fǎng fó shì hēi yán sè， tā“ cháo nǐ wàng lái， háo wú gù lǜ， yòu yī zhǒng tiān zhēn wú xié dǎn dà de shén qíng”。 tā gěi chá lǐ liú xià liǎo shēn kè de yìn xiàng。 chá lǐ gěi lú 'ōu zhěn zhì guò hòu， dāyìng tā sān tiān hòu zài qù bài fǎng， dàn dào dì 'èr tiān tā jiù qù liǎo。 cǐ hòu， tā yī xīng qī qù liǎng cì。 xiān hòu huā liǎo sì shí liù tiān de shí jiān， zhì hǎo liǎo lú 'ōu de tuǐ。
chá lǐ qī zǐ tóng zhàng fū cháng shàng bài 'ěr dǒu qù。 miǎn bù liǎo yào dǎ tīng bìng rén de dǐ xì。 dāng tā zhī dào lú 'ōu xiǎo jiě céng shòu guò jiào yù， dǒng dé tiào wǔ、 dì lǐ、 sù miáo、 cì xiù hé dàn qín shí， cù jìn dà fā。 tā yào zhàng fū bǎ shǒu fàng zài mí sǎ shū shàng， xiàng tā fā shì， jīn hòu zài yě bù qù bài 'ěr dǒu liǎo。 chá lǐ wéi mìng shì tīng， zhào yàng zuò liǎo。 dàn bù jiǔ fā shēng liǎo yī jiàn yì wài de shì， tā qī zǐ de cái chǎn bǎo guǎn rén dài zhe tā de xiàn jīn táo páo liǎo。 chá lǐ de fù mǔ fā xiàn xí fù yī nián bìng méi yòu yī qiān 'èr bǎi fǎ láng de shōu rù（ tā zài dìng hūn de shí hòu sǎ liǎo huǎng）， yú shì páo lái hé tā chǎo nào。 tā zài yī qì zhī xià， tù xuè sǐ liǎo。
lú 'ōu lǎo diē gěi chá lǐ sòng zhěn fèi lái， dāng tā zhī dào chá lǐ de bù xìng hòu， biàn jìn lì 'ān wèi tā， shuō zì jǐ yě céng jīng lì guò sàng 'ǒu de tòng kǔ。 tā yāo qǐng chá lǐ dào bài 'ěr dǒu qù sǎnsǎn xīn。 chá lǐ qù liǎo， bìng qiě 'ài shàng liǎo 'ài mǎ。 tā xiàng lú 'ōu lǎo diē tí qīn。 lú 'ōu gǎn dào chá lǐ bù shì lǐ xiǎng de nǚ xù， bù guò rén jiā shuō tā pǐn xíng duān zhèng， shěng chī jiǎn yòng， zì rán yě bù huì tài jì jiào péi jià， biàn dāyìng liǎo。 kāi chūn hòu， chá lǐ hé 'ài mǎ 'àn dāng dì de fēng sú jǔ xíng liǎo hūn lǐ。
ài mǎ shí sān suì jìn liǎo xiū dào yuàn fù shè de jì sù nǚ xiào niàn shū。 tā zài nà lǐ shòu zhe guì zú shì de jiào yù。 tā 'ài jiào táng de huā huì、 zōng jiào de yīnyuè， bìng zài làng màn zhù yì xiǎo shuō de xūn táo xià chéngzhǎng。 bǐ yé de xiǎo shuō《 bǎo 'ěr yǔ wéi 'ěr jí nī》 shì tā zuì xǐ 'ài de tú shū zhī yī。 tā mèng xiǎng guò xiǎo zhú fáng zǐ de shēng huó， yóu qí shì yòu wèi hǎo xīn de xiǎo gē gē， qíng yì chán mián， pá shàng bǐ zhōng lóu hái yào gāo de dà shù qù zhāi hóng guǒ zǐ， huò zhě chì zhe jiǎo zài shā tān shàng páo， gěi nǐ bào lái yī gè niǎo cháo； tā yòu“ zhōng xīn zūn jìng nà xiē chū míng huò zhě bù xìng de fù nǚ”， chén jìn zài luó màn dì kè de miǎn xiǎng zhōng。 yī wèi zài dà gé mìng qián chū shēn yú guì zú shì jiā de lǎo gū niàn， měi yuè dào xiū dào yuàn zuò yī xīng qī nǚ gōng， tā xiàng nǚ shēng men jiǎng làng màn gù shì， ér qiě yī dài lǐ zǒng yòu yī běn chuán qí xiǎo shuō。 hòu lái， ài mǎ de mǔ qīn sǐ liǎo， fù qīn bǎ tā jiē huí jiā qù。
ài mǎ jié hūn liǎo， tā zhōng yú dé dào liǎo nà zhǒng bù kě sī yì de 'ài qíng。 zài zhè yǐ qián， ài qíng fǎng fó shì yī zhǐ méi guī sè yǔ máo de jù niǎo， kě wàng 'ér bù kě jí， zài shī de càn làn de tiān táng lǐ 'áo xiáng。 hūn hòu， tā què fā jué chá lǐ shì gè píng fán 'ér yòu yōng sú de rén。 tā“ tán tù xiàng rén hángdào yī yàng píng bǎn， jiàn jiě yōng sú， rú tóng lái wǎng xíng rén yī bān yī zhù xún cháng， jī bù qǐ qíng xù， yě jī bù qǐ xiào huò zhě mèng xiǎng”。 chá lǐ bù huì yóu yǒng、 bù huì bǐ jiàn， bù huì fàng qiāng。 yòu yī cì 'ài mǎ yòng chuán qí xiǎo shuō zhōng yī gè qí mǎ de shù yǔ wèn tā， tā jìng chēng mù bù zhī suǒ duì。 tā huǐ hèn zì jǐ wèishénme yào jié hūn！ yòu shí， tā wèile mí bǔ gǎn qíng shàng de kōng xū， tā xiàng chá lǐ yín sòng tā jì dé qǐ lái de qíng shī， yī miàn yín， yī miàn tàn xī。 kě shì yín guò zhī hòu， tā fā xiàn zì jǐ rú tóng yín chàng qián yī yàng píng jìng， ér chá lǐ yě méi yòu yīn cǐ 'ér gǎn dòng， zhèng rú huǒ dāo qiāo shí zǐ， tā zhè yàng qiāo guò zhī hòu， bù jiàn mào chū yī kē huǒ xīng lái。
bù jiǔ， chá lǐ yī hǎo liǎo yī wèi shēng míng xiǎn hè de hóu jué de kǒu chuāng。 hóu jué wéi dá xiè chá lǐ， tā yāo qǐng chá lǐ fū fù dào tā de tián zhuāng wò bì sà 'ěr qù zuò kè。 chá lǐ fū fù zuò zhe mǎ chē qù liǎo。 nà shì gè yòu zhe yì dà lì fēng gé de zhuāng yuán， fáng zǐ hěn dà， hái yòu měi lì de huā yuán。 ài mǎ duì hóu jué jiā háo huá de qì pài， gāo yǎ de kè rén， zhū guāng bǎo qì de wǔ huì chǎng miàn， yī yī gǎn dào rù mí。 yī wèi fēng liú xiāo sǎ de zǐ jué lái yāo tā tiào wǔ， gěi tā liú xià liǎo jí shēn de yìn xiàng。 zài huí jiā de lù shàng， tā shí dé liǎo zǐ jué de yī gè xuějiā xiá， yòu gòu qǐ liǎo tā duì wǔ bàn de huái niàn。 huí dào jiā， tā xiàng nǚ pú rén fā pí qì。 tā bǎ xuějiā xiá cáng qǐ lái， měi dāng chá lǐ bù zài jiā shí， tā bǎ tā qǔ chū lái， kāi liǎo yòu kāi， kàn liǎo yòu kàn， shèn zhì hái wén liǎo chèn lǐ de wèi dào： yī zhǒng zá yòu měi nǚ yīng hé yān cǎo de wèi dào。 tā“ xī wàng sǐ， yòu xī wàng zhù dào bā lí”。
wò bì sà 'ěr zhī xíng， zài 'ài mǎ de shēng huó shàng， záo liǎo yī gè dòng yǎn， rú tóng shān shàng nà xiē dà lièfèng， yī zhèn kuáng fēng bào yǔ， yī yè gōng fū， jiù chéng liǎo zhè bān múyàng。 tā wú kě nài hé， zhǐ dé xiǎng kāi xiē。 bù guò tā cān jiā wǔ huì de piào liàng yī zhù、 duàn xié， tā dū qián chéng dì fàng rù wǔ dǒu guì。“ tā de xīn yě xiàng tā men yī yàng， hé cái fù yòu guò jiē chù zhī hòu， tiān liǎo yī xiē mó cèng bù diào de dōng xī”。 ài mǎ cí tuì liǎo nǚ yōng rén， bù yuàn yì zài dào tè zhù xià qù liǎo。 tā duì zhàng fū lǎo shì kàn bù shùn yǎn。 tā biàn dé lǎnsǎn，“ guāi lì hé rèn xìng”。
chá lǐ pà yǐn qǐ 'ài mǎ shēng bìng。 tā men cóng dào tè bān dào yǒng zhèn jū zhù。 zhè shì gè tōng dà lù de cūn zhèn， yòu yī gè gǔ lǎo de jiào táng hé yī tiáo zǐ tánshè chéng nà yàng cháng de jiē。 jiē shàng yòu jīn shī kè diàn hé yǐn rén zhù mùdì hǎo mài xiān shēng de yào fáng。 hǎo mài shì gè yào jì shī， dài yī dǐng jīn zhuì xiǎo róng mào， chuān yī shuāng lǜ pí tuō xié， tā nà yáng yáng zì dé de liǎn shàng yòu jǐ kē xì má zǐ， shén qì jiù xiàng guà zài tā tóu shàng de liǔ tiáo lóng lǐ de jīn chì què nà yàng。 tā jīng cháng 'ài zì wǒ chuī shī， biāo bǎng zì jǐ shì gè wú shén lùn zhě， tā méi yòu yī shēng zhí zhào， dàn sī zìjǐ nóng mín kàn bìng。 ài mǎ dào yǒng zhèn nà tiān， yóu hǎo mài hé yī gè zài lǜ shī nà lǐ zuò liàn xí shēng de lài 'áng péi zhe chī wǎn fàn。
lài 'áng · dū pǔ yì shì gè yòu zhe jīn huáng tóu fā de qīng nián， jīn shī fàn diàn bāo fàn chī de fáng kè。 ài mǎ hé tā chū cì jiàn miàn biàn hěn tán dé lái。 tā men yòu xiāng tóng de zhì qù， ér qiě dū 'àihào lǚ xíng hé yīnyuè。 cǐ hòu， tā men biàn jīng cháng zài yī dào tán tiān， yì lùn làng màn zhù yì de xiǎo shuō hé shí xíng de xì jù， bìng qiě“ bù duàn dì jiāo huàn shū jí hègē qū”。 bāo fǎ lì xiān shēng nán dé dù jì， bìng bù yǐn yǐ wéi guài。
ài mǎ shēng liǎo yī gè nǚ hái， qǐ míng wéi bái 'ěr tè。 jiāo gěi mù jiàng de nǚ rén wèi yǎng。 lài 'áng yòu shí péi tā yī dào qù kàn nǚ 'ér。 tā men rì yì jiē jìn qǐ lái， ài mǎ shēng rì shí， lài 'áng sòng liǎo yī fèn hòu lǐ， ài mǎ yě sòng gěi tā yī zhāng tǎn zǐ。
shí zhuāng shāng rén lè lè， shì gè jiǎo xiá de zuò shēng yì de néng shǒu， xū pàng de liǎn shàng bù liú hú xū， fǎng fó mǒ liǎo yī dào xī bó de gān cǎo zhī； yī shuāng zéi liàng de xiǎo hēi yǎn jīng， chèn shàng bái tóu fā， yuè fā xiǎn dé líng huó。 tā féng rén xié jiān chǎn xiào， yāo yī zhí hā zhe， zī shì yòu xiàng jū gōng， yòu xiàng yāo qǐng。 tā kàn chū 'ài mǎ shì gè 'ài zhuāng shì de“ fēng yǎ de fù nǚ”， biàn zì dòng shàng mén dōu lǎn shēng yì， bìng shē zhàng gěi tā， mǎn zú tā gè zhǒng xū róng de 'àihào。
ài mǎ 'ài shàng liǎo lài 'áng。 tā wèile bǎi tuō zhè yī xīn sī， zhuǎn 'ér guān xīn jiā wù， bǎ xiǎo bái 'ěr tè yě jiē huí jiā lái， bìng 'àn shí shàng jiào táng。 tā shòu liǎo， miàn sè cāng bái， xiàng dà lǐ shí yī yàng bīng liáng。 yòu yī cì， tā shèn zhì xiǎng bǎ xīn zhōng de mì mì zài chàn huǐ shí xiàng jiào shì tù lù， dàn tā kàn dào jiào shì bù 'ěr ní xián sú bù kě nài， cái méi yòu zhè yàng zuò。 tā yóu yú xīn qíng fán zào， bǎ nǚ 'ér tuī diē liǎo， pèng pò liǎo tā de liǎn。 lài 'áng yě xiàn rù 'ài qíng de luó wǎng。 tā wèile bǎi tuō zhè yī kǔ mèn， biàn shàng bā lí niàn wán fǎ kē de kè chéng。 lín bié shí， tā hé 'ài mǎ yǐ yǐ xī bié。 tā mendōu gǎn dào wú xiàn de chóu chàng。
ài mǎ yīn fán nǎo shēng qǐ bìng lái。 duì lài 'áng de huí yì chéng liǎo tā chóu mèn de zhōng xīn。 jí shǐ lǚ kè zài 'é guó dà cǎo yuán xuě dì shàng rán qǐ de huǒ duī， yě bǐ bù shàng lài 'áng zài tā huí yì zhōng nà me míng liàng。 yī cì， xú shè tè de dì zhù luó dào 'ěr fú · bù lǎng jiē lái zhǎo bāo fǎ lì yī shēng tì qí mǎ fū fàng xuè。 zhè shì gè fēng yuè chǎng zhōng de lǎo shǒu。 yuē mò sān shí sì suì guāng jǐng， xìng qíng cū yě， sī wù míng mǐn。 tā yòu liǎng chù zhuāng tián， xīn jìn yòu mǎi xià yī gè zhuāng yuán， měi nián yòu yī wàn wǔ qiān fǎ láng yǐ shàng de shōu rù。 tā jiàn 'ài mǎ shēng dé biāo zhì， chū jiàn miàn biàn dǎ xià gòu yǐn tā de huài zhù yì。
luó dào 'ěr fú lì yòng zài yǒng zhèn jǔ bàn zhōu nóng yè zhǎn lǎn huì de jī huì jiē jìn 'ài mǎ， wéi tā dāng xiàng dǎo， xiàng tā qīng tù zhōng qū， tā bǎ zì jǐ zhuāng bàn chéng yī gè méi yòu péng yǒu、 méi rén guān xīn， yù mèn dào jí diǎn de kě lián chóng。 tā shuō zhǐ yào néng dé dào yī gè zhēn xīn xiāng dài tā de rén， tā jiāng kè fú yī qiē kùn nán， qù dá dào mùdì。 tā men yī tóng tán dào nèi dì de yōng sú， shēng huó de zhì mèn， lǐ xiǎng de huǐ miè……
zhǎn lǎn huì jiē mù diǎn lǐ kāi shǐ liǎo， zhōu xíng zhèng wěi yuán liào wàn zuò zhe sì lún dà mǎ chē shān shān lái chí。 zhè shì gè tū 'é tóu， hòu yǎn pí， liǎn sè huī bái de rén。 tā xiàng qún zhòng fā bù yǎn shuō， duì“ měi lì zǔ guó de xiàn zhuàng” jìn xíng liǎo yī fān gē gōng sòng dé。 tā shuō mù qián fǎ guó“ chù chù shāng yè fán shèng， yì shù fā dá， chù chù xīng xiū xīn de dào lù， jí tǐ guó jiā tiān liǎo xǔ duō xīn de dòng mài， gòu chéng xīn de lián xì； wǒ men wěi dà de gōng yè zhōng xīn yòu huó yuè qǐ lái； zōng jiào jiā qiáng gǒng gù， fǎ guāng pǔ zhào， wǒ men de mǎ tóu duī mǎn huò wù……” ??， qún zhòng hái xiàng tā tù shé tóu。 huì hòu， jǔ xíng liǎo fā jiǎng yí shì。 zhèng fǔ bǎ yī méi zhí 'èr shí wǔ fǎ láng de yín zhì jiǎng zhāng bān fā gěi yī gè“ zài yī jiā tián zhuāng fú wù liǎo wǔ shí sì nián” de lǎo fù。 nà lǎo fù yī liǎn zhòu wén， gān shòu pí bèi bù kān。 dāng tā lǐng dào jiǎng zhāng hòu shuō：“ wǒ ná zhè sòng gěi wǒ men de jiào táng táng cháng， gěi wǒ zuò mí sǎ。” zuì hòu， yòu jǔ xíng liǎo fàng yàn huǒ。 ài mǎ hé luó dào 'ěr fú dōubù guān xīn zhǎn lǎn huì yī mù mù huá jī jù de jìn xíng。 tā men zhǐ shì jiè cǐ jī huì shuō huà 'ér， tán tiān， zhí dào chū zhěn de chá lǐ huí lái wéi zhǐ。
zhǎn lǎn huì hòu， ài mǎ yǐ wàng bù liǎo luó dào 'ěr fú liǎo。 ér luó dào 'ěr fú què yòu yì guò liǎo liù xīng qī cái qù kàn tā。 tā yǐ guān xīn 'ài mǎ de jiàn kāng wéi yóu， bǎ zì jǐ de mǎ jiè gěi tā qí。 tā men yī tóng dào yě wài sàn xīn。 ài mǎ jīng bù qǐ luó dào 'ěr fú de yòu huò， zuò liǎo tā de qíng fù。 tā men mán zhe bāo fǎ lì yī shēng cháng zài yī qǐ yōu huì。 zhè shí， ài mǎ gǎn qíng fā zhǎn dào kuáng rè de chéng dù， tā yào qiú luó dào 'ěr fú bǎ tā dài zǒu， hé tā yī tóng chū bēn。 tā hé chá lǐ de mǔ qīn yě chǎo fān liǎo。
rán 'ér， luó dào 'ěr fú wán quán shì gè kǒu shì xīn fēi de wěi jūn zǐ。 tā bào zhe wán nòng nǚ xìng、 féng chǎng zuò xì de chǒu 'è sī xiǎng， qī piàn liǎo 'ài mǎ de gǎn qíng。 tā dāyìng hé tā yī tóng chū táo， kě shì chū táo nà tiān， tā tuō rén sòng gěi 'ài mǎ yī fēng xìn。 xìn zhōng shuō， táo zǒu duì tā men liǎng réndōu bù hé shì， ài mǎ zhōng yòu yī tiān huì hòu huǐ de。 tā bù yuàn chéng wéi tā hòu huǐ de yuán yīn； zài shuō rén shì lěng kù， táo dào nà 'ér dōubù miǎn shòu dào wǔ rǔ。 yīn cǐ， tā yào hé tā de 'ài qíng yǒng bié liǎo。 ài mǎ qì dé fā hūn， tā de xīn tiào dé xiàng dà gàng zǐ zhuàng chéng mén yī yàng。 bàng wǎn， tā kàn dào luó dào 'ěr fú zuò zhe mǎ chē jí shǐ guò yǒng zhèn， qù lú 'áng zhǎo tā de qíng fù -- yī gè nǚ xì zǐ qù liǎo。 ài mǎ dāng jí yūndǎo。 cǐ hòu， tā shēng liǎo yīcháng dà bìng。 bìng hǎo hòu， tā xiǎng tòng gǎi qián fēi， chóngxīn shēng huó。 kě shì， zhè shí yòu fā shēng liǎo lìng yī chǎng shì。
yào jì shī hǎo mài yāo qǐng bāo fǎ lì fū fù dào lú 'áng qù kàn xì。 zài jù chǎng lǐ， ài mǎ yù jiàn liǎo guò qù céng wéi zhī dòng qíng de liàn xí shēng lài 'áng。 xiàn zài， tā zài lú 'áng de yī jiā shì wù suǒ shí xí。 yú shì， tā men mái cáng zài xīn dǐ duō nián de 'ài qíng zhǒng zǐ yòu méng yá liǎo。 tā men wèi kàn wán xì， biàn páo dào mǎ tóu tán tiān。 zhè shí， lài 'áng yǐ bù shì chū chū máo lú de hòu shēng， ér shì yī gè yòu zhe chōng fēn shè huì jīng yàn de rén liǎo。 tā yī jiàn miàn biàn xiǎng zhàn yòu 'ài mǎ， bìng xiàng tā sù shuō lí bié hòu de tòng kǔ。 dāng 'ài mǎ tán dào zì jǐ hài liǎo yīcháng dà bìng， chàdiǎn sǐ diào shí， lài 'áng zhuāng chū shí fēn bēi shāng de yàng zǐ。 tā shuō， tā yě“ xiàn mù fén mù de níng jìng”， shí cháng xiǎng dào sǐ， shèn zhì yòu yī tiān， tā hái lì liǎo gè yí zhǔ， fēn fù bié rén zài tā sǐ hòu， yào yòng 'ài mǎ sòng gěi tā de nà tiáo piào liàng de tǎn zǐ guǒ zhe mái tā。 tā jí lì sǒng yǒng 'ài mǎ zài liú yī tiān， qù kàn wán zhè chǎng xì。 bāo fǎ lì yī shēng yīn yī liáo shì wù xiān gǎn huí yǒng zhèn qù liǎo。 ài mǎ liú xià lái。 yú shì tā hé lài 'áng biàn yī tóng qù cān guān lú 'áng dà jiào táng， zuò zhe mǎ chē zài shì nèi dōu fēng。 zhè yàng， ài mǎ hé lài 'áng pīn dā shàng liǎo。
ài mǎ huí dào yǒng zhèn hòu， jiè kǒu dào lú 'áng qù xué gāng qín， shí jì shàng， tā shì qù hé lài 'áng yōu huì。 ài mǎ zài yī cì bǎ zì jǐ de quán bù rè qíng qīng zhù zài lài 'áng shēn shàng， chén nì zài zì qíng de xiǎng lè zhī zhōng。 wèile bù huā xiāo， tā bēizhe zhàng fū xiàng shāng rén lè lè jiè zhài。
rán 'ér， lài 'áng hé luó dào 'ěr fú yī yàng qī piàn liǎo 'ài mǎ de gǎn qíng。 tā jiàn jiàn dì duì 'ài mǎ gǎn dào yàn nì liǎo。 yóu qí shì dāng tā shōu dào mǔ qīn de lái xìn hé dū bāo kǎ jí lǜ shī de jiě quàn shí， jué dìng hé 'ài mǎ duàn jué lái wǎng。 yīn wéi zhè zhǒng 'ài mèi de guān xì， jiāng yào yǐng xiǎng tā de qián chéng。 bù jiǔ， tā jiù yào shēng wéi dì yī liàn xí shēng liǎo。 yú shì， tā kāi shǐ huí bì tā。
zhèng zài zhè shí， ài mǎ jiē dào fǎ yuàn de yī zhāng chuán piào。 shāng rén lè lè yào bī tā hái zhài， fǎ yuàn xiàn dìng 'ài mǎ zài 'èr shí sì xiǎo shí nèi， bǎ quán bù bā qiān fǎ láng de jiè kuǎn hái qīng， fǒu zé yǐ jiā chǎn dǐ yā。 ài mǎ wú nài qù xiàng lè lè qiú qíng， yào tā zài kuān xiàn jǐ tiān， dàn tā fān liǎn bù rèn rén， bù kěn biàn tōng。 ài mǎ qù xiàng lài 'áng qiú yuán， lài 'áng piàn tā jiè bù dào qián， duǒ kāi liǎo。 tā qù xiàng lǜ shī jū yóu màn jiè qián， kě shì zhè lǎo guǐ què chéng tā méi jí zhī jì xiǎng zhàn yòu tā。 tā qì fèn dì zǒu liǎo。 zuì hòu， tā xiǎng dào xú shè tè qù zhǎo luó dào 'ěr fú bāng zhù。 luó dào 'ěr fú jìng gōng rán shuō tā méi yòu qián。 ài mǎ shòu jìn líng rǔ， xīn qíng wàn fēn chén zhòng。 dāng tā cóng luó dào 'ěr fú jiā chū lái shí， gǎn dào qiáng zài yáo huàng， tiān huā bǎn wǎng xià yā tā。 tā zǒu jìn yī tiáo yōu cháng de lín yìn dào shàng， bàn zài suí fēng sàn kāi de kū yè duī shàng…… huí dào jiā， ài mǎ tūn chī liǎo pī shuāng。 tā xiǎng zhè yàng yī lái“ yī qiē qī zhà， bēi bǐ hé zhé mó tā de wú shù yù wàng， dū hé tā bù xiāng gān liǎo”。 bāo fǎ lì yī shēng guì zài tā de chuáng biān， tā bǎ shǒu fàng zài tā de tóu fā lǐ miàn， zhè zhǒng tián mì de gǎn jué， yuè fā shǐ yī shēng gǎn dào nán guò。 ài mǎ yě gǎn dào duì bù qǐ zì jǐ de zhàng fū。 tā duì tā shuō：“ nǐ shì hǎo rén。” zuì hòu， tā kàn liǎo hái zǐ yī yǎn， tòng kǔ dì lí kāi liǎo zhè gè shì jiè。
wèile cháng qīng zhài wù， bāo fǎ lì yī shēng bǎ quán bù jiā chǎn dū dāng guāng mài jìn liǎo。 tā zài fān chōu tì shí， fā xiàn liǎo qī zǐ hé lài 'áng de lái wǎng qíng shū yǐ jí luó dào 'ěr fú de huà xiàng。 tā shāng xīn jí liǎo， hǎo cháng shí jiān dū bì mén bù chū。 yī cì， tā zài shì chǎng shàng yù jiàn liǎo luó dào 'ěr fú， dàn tā yuán liàng liǎo zì jǐ de qíng dí， rèn wéi“ cuò de shì mìng”。 tā zài chéng shòu liǎo zhǒng zhǒng dǎ jī zhī hòu， yě sǐ liǎo。 ài mǎ yí xià de nǚ 'ér jì yǎng zài yí mǔ jiā lǐ， hòu lái jìn liǎo shā chǎng。
bāo fǎ lì yī shēng sǐ hòu， xiān hòu yòu sān gè yī shēng dào yǒng zhèn kāi yè， dàn dū jīng bù qǐ hǎo mài pīn mìng de pái jǐ， méi yòu yī gè zhàn dé zhù jiǎo。 yú shì zhè wèi fēi fǎ kāi yè de yào jì shī dà zǒu hóng yùn， bìng huò dé liǎo zhèng fǔ bān fā gěi tā de shí zì xūn zhāng。
The novel was attacked for obscenity by public prosecutors when it was first serialized in La Revue de Paris between October 1, 1856 and December 15, 1856, resulting in a trial in January 1857 that made the story notorious. After the acquittal on February 7, 1857, it became a bestseller when it was published as a book in April 1857, and now stands virtually unchallenged not only as a seminal work of Realism, but as one of the most influential novels ever written.
A 2007 poll of contemporary authors, published in a book entitled The Top Ten, cited Madame Bovary as one of the two greatest novels ever written, second only to Leo Tolstoy's Anna Karenina.
Plot summary
Madame Bovary takes place in provincial northern France, near the town of Rouen in Normandy. The story begins and ends with Charles Bovary, a stolid, kindhearted man without much ability or ambition. As the novel opens, Charles is a shy, oddly-dressed teenager arriving at a new school amidst the ridicule of his new classmates. Later, Charles struggles his way to a second-rate medical degree and becomes an officier de santé in the Public Health Service. His mother chooses a wife for him, an unpleasant but supposedly rich widow, and Charles sets out to build a practice in the village of Tostes (now Tôtes).
One day, Charles visits a local farm to set the owner's broken leg, and meets his client's daughter, Emma Rouault. Emma is a beautiful, daintily-dressed young woman who has received a "good education" in a convent and who has a latent but powerful yearning for luxury and romance imbibed from the popular novels she has read. Charles is immediately attracted to her, and begins checking on his patient far more often than necessary until his wife's jealousy puts a stop to the visits. When his wife dies, Charles waits a decent interval, then begins courting Emma in earnest. Her father gives his consent, and Emma and Charles are married.
At this point, the novel begins to focus on Emma. Charles means well, but is boring and clumsy, and after he and Emma attend a ball given by the Marquis d'Andervilliers, Emma grows disillusioned with married life and becomes dull and listless. Charles consequently decides that his wife needs a change of scenery, and moves from the village of Tostes into a larger, but equally stultifying market town, Yonville (traditionally based on the town of Ry). Here, Emma gives birth to a daughter, Berthe; however, motherhood, too, proves to be a disappointment to Emma. She then becomes infatuated with one of the first intelligent young men she meets in Yonville, a young law student, Léon Dupuis, who seems to share her appreciation for "the finer things in life", and who returns her admiration. Out of fear and shame, however, Emma hides her love for Léon and her contempt for Charles, and plays the role of the devoted wife and mother, all the while consoling herself with thoughts and self-congratulations of her own virtue. Finally, in despair of ever gaining Emma's affection, Léon departs to study in Paris.
One day, a rich and rakish landowner, Rodolphe Boulanger, brings a servant to the doctor's office to be bled. He casts his eye over Emma and decides she is ripe for seduction. To this end, he invites Emma to go riding with him for the sake of her health; solicitous only for Emma's health, Charles embraces the plan, suspecting nothing. A three-year affair follows. Swept away by romantic fantasy, Emma risks compromising herself with indiscreet letters and visits to her lover, and finally insists on making a plan to run away with him. Rodolphe, however, has no intention of carrying Emma off, and ends the relationship on the eve of the great elopement with an apologetic, self-excusing letter delivered at the bottom of a basket of apricots. The shock is so great that Emma falls deathly ill, and briefly turns to religion.
When Emma is nearly fully recovered, she and Charles attend the opera, on Charles' insistence, in nearby Rouen. The opera reawakens Emma's passions, and she re-encounters Léon who, now educated and working in Rouen, is also attending the opera. They begin an affair. While Charles believes that she is taking piano lessons, Emma travels to the city each week to meet Léon, always in the same room of the same hotel, which the two come to view as their "home." The love affair is, at first, ecstatic; then, by degrees, Léon grows bored with Emma's emotional excesses, and Emma grows ambivalent about Léon, who becoming himself more like the mistress in the relationship, compares poorly, at least implicitly, to the rakish and domineering Rodolphe. Meanwhile, Emma, given over to vanity, purchases increasing amounts of luxury items on credit from the crafty merchant, Lheureux, who arranges for her to obtain power of attorney over Charles’ estate, and crushing levels of debts mount quickly.
When Lheureux calls in Bovary's debt, Emma pleads for money from several people, including Léon and Rodolphe, only to be turned down. In despair, she swallows arsenic and dies an agonizing death; even the romance of suicide fails her. Charles, heartbroken, abandons himself to grief, preserves Emma's room as if it is a shrine, and in an attempt to keep her memory alive, adopts several of her attitudes and tastes. In his last months, he stops working and lives off the sale of his possessions. When he accidentally comes across Rodolphe's love letters one day, he still tries to understand and forgive. Soon after, he becomes reclusive; what has not already been sold of his possessions is seized to pay off Lheureux, and he dies, leaving his young daughter Berthe to live with distant relatives and eventually sent to work at a cotton mill.
Chapter-by-chapter
Part One
1. Charles Bovary's childhood, student days
2. First marriage, Charles meets Rouault and his daughter Emma; Charles's first wife dies
3. Charles proposes to Emma
4. The wedding
5. The new household at Tostes
6. An account of Emma's childhood and secret fantasy world
7. Emma becomes bored; invitation to a ball by the Marquis d'Andervilliers
8. The ball at the château La Vaubyessard
9. Emma follows fashions; her boredom concerns Charles, and they decide to move; they find out she is pregnant
Part Two
1. Description of Yonville-l'Abbaye: Homais, Lestiboudois, Binet, Bournisien, Lheureux
2. Emma meets Léon Dupuis, the lawyer's clerk
3. Emma gives birth to Berthe, visits her at the nurse's house with Léon
4. A card game; Emma's friendship with Léon grows
5. Trip to see flax mill; Lheureux's pitch; Emma is resigned to her life
6. Emma visits the priest Bournisien; Berthe is injured; Léon leaves for Paris
7. Charles's mother bans novels; the blood-letting of Rodolphe's farmhand; Rodolphe meets Emma
8. The comice agricole (agricultural show); Rodolphe woos Emma
9. Six weeks later Rodolphe returns and they go out riding; he seduces her and the affair begins
10. Emma crosses paths with Binet; Rodolphe gets nervous; a letter from her father makes Emma repent
11. Operation on Hippolyte's clubfoot; M. Canivet has to amputate; Emma returns to Rodolphe
12. Emma's extravagant presents; quarrel with mother-in-law; plans to elope
13. Rodolphe runs away; Emma falls gravely ill
14. Charles is beset by bills; Emma turns to religion; Homais and Bournisien argue
15. Emma meets Léon at performance of Lucie de Lammermoor
Part Three
1. Emma and Léon converse; tour of Rouen Cathedral; cab-ride synecdoche
2. Emma goes to Homais; the arsenic; Bovary senior's death; Lheureux's bill
3. She visits Léon in Rouen
4. She resumes "piano lessons" on Thursdays
5. Visits to Léon; the singing tramp; Emma starts to fiddle the accounts
6. Emma becomes noticeably anxious; debts spiral out of control
7. Emma begs for money from several people
8. Rodolphe cannot help; she swallows arsenic; her death
9. Emma lies in state
10. The funeral
11. Charles finds letter; his death
Characters
Emma Bovary
Emma is the novel's protagonist and is the main source of the novel's title (although Charles's mother and his former wife are also referred to as Madame Bovary). She has a highly romanticized view of the world and craves beauty, wealth, passion and high society. It is the disparity between these romantic ideals and the realities of her country life that drive most of the novel, most notably leading her into two extramarital love affairs as well as causing her to accrue an insurmountable amount of debt that eventually leads to her suicide.
Emma is quite intelligent, but she never has a chance to develop her mind. As an adult, Emma's capacity for imagination is far greater than her capacity for analysis. She is observant about surface details, such as how people are dressed, but she never looks below the surface. As a result, she is easily taken in by people who are pretending to be something more than they really are (which most people in the book do for one reason or another). Emma not only believes in the false fronts other people present to her, but she despises the very few people (Charles's mother, Madame Homais, and Monsieur Binet) who are exactly as they appear to be.
Convinced that the grass is always greener on the other side of the fence, Emma does not realize that extreme joy, even for the wealthy and powerful, comes rarely. Not only country or bourgeois life is dull. For instance, Emma is surprised to see that aristocrats do not serve fancy food and drink at their everyday breakfasts: she'd prefer to believe that for the nobility, life is really an excitement-filled drama. Later, she fails to see that Rodolphe's wealth hasn't made him happy, despite obvious evidence of this fact.
Since Emma lives chiefly in her own fantasy world, other people's opinions or perceptions of her aren't important except to the extent that they serve some aspect of whatever drama she's trying to act out. At the ball, she's convinced that her aristocratic hosts have fully accepted her as one of their own, so much so that she expects an invitation the following year. In reality, the hosts condescended to invite Charles and Emma to the ball as reward for a favor, intending for it to be a once-in-a-lifetime treat. Indeed, Emma makes several missteps that would be embarrassing to anyone steeped in upper-class culture of the period. She waltzes so badly that she tangles her dress up with her dance partner, and she uses the gaffe as an excuse to rest her head on his chest. She is one of the few people left at the party when the hosts finally go to bed. She does not attempt to establish new social contacts at the party, nor does she write a thank-you note afterwards. She does not attempt to return the cigar-case she and Charles find later, which might have been a reasonable pretext to resume correspondence with their host. So she is far from a gracious guest, and she fails to do the things that could, under the right circumstances, lead to real social connections in high places.
Emma seldom makes an effort to cultivate friendships with other people, unless doing so serves the image she has of herself. She wants desperately to be an aristocrat, particularly after the d'Andervilliers ball, but although she's very good at aping the superficial behaviors (such as clothing and figures of speech), she lacks the manners and savoir-faire to actually operate in their culture. No matter what social group she decides she belongs to (aristocrats, the people of Yonville, people with "noble souls", adulteresses, religious martyrs, dramatic heroines, etc.), every time her role requires interaction with someone who actually is in that group Emma messes up. She doesn't go out of her way to ingratiate herself with new people, because she genuinely doesn't care what they think of her. The same indifference causes her to be rejected by most people in Tostes and Yonville, and to be very careless of her reputation once she starts having extramarital affairs. Binet, Homais, Charles's mother, and Lheureux all catch her in compromising situations, and she truly doesn't care. At some level, she wants not only the excitement of taking the risk, but possibly the drama that would result from being caught.
Emma seeks out the extremes in life, both positive and negative. That she seeks out positive experiences is obvious, because unless she's experiencing the peak of ecstasy, she's convinced she's miserable. She also re-writes her own history and memory, telling herself that she has "never" been happy every time it appears to her that, by indulging some whim, she can achieve the emotional experiences to which she feels entitled. Her appetite for stimulation grows to the point where she becomes jaded enough not to appreciate the small pleasures in life, simply because they are small pleasures. The more she experiences, the less she is satisfied with more normal activities. Consider, for example, her taste in literature. She starts out with romances and bourgeois women's magazines targeted to her real social and economic position. From there she graduates to high-fashion women's magazines that advocate conspicuous consumption. The next step is overwrought romantic poetry, followed by tragic opera, and culminating in the violent pornography which she reads between assignations with Léon. As Vladimir Nabokov observes, Emma "reads books emotionally, in a shallow juvenile manner, putting herself in this or that female character's place."
Emma feels entitled to seek out increasing pleasure and stimulation for herself. Her sense of entitlement grows over time, as does her belief that she has been somehow wronged by destiny or by the people around her. As a young girl, Emma was influenced by her improvident but pretentious father. She was also indulged as a teen and as a young adult, and nobody ever realized her expectations and attitudes about life were unreasonable or attempted to correct them. Emma's mother died too early, and her father let her be raised at a convent and educated like a young woman of independent means. Emma eventually comes to believe that all her wishes will come true, if she believes in them strongly enough and throws a big enough tantrum when she doesn't get her way. Although her father is aware of the problem, he never tries to address it and chooses to leave it to Charles instead.
Over the course of the book, Emma finds different ways to rationalize her feeling of entitlement at different times of her life. Before her marriage, she craves excitement because she is bored. In Tostes, particularly after the ball, she believes she was unjustly born into the wrong socioeconomic class and that everything would be better if only she were rich. Later, after being introduced to poetry, she believes she suffers because she has a noble soul. Ultimately she casts herself as a tragic heroine.
Emma's attraction to the negative extremes of the human experience is less obvious, but the signs are there. As a teenager, she's rewarded for an overblown, somewhat fake display of grief after her mother's death. Her father caters to her whims, as does Charles, who responds to Emma's ennui and psychosomatic illnesses by ignoring his patients and concentrating solely on his wife. Emma's fleeting but intense fascination with religion is much the same: people reward her pious conduct with extra attention and treat her as though she's superior, which reinforces her feelings of entitlement.
It is Emma's sense of superiority and entitlement that make her vulnerable to people who seek to use and manipulate her. Anyone who plays along with Emma's pretentiousness is assured of her good graces. Lheureux, the predatory money-lender who fleeces Emma and Charles, is obsequious to Emma in order to get her to spend more money on unnecessary purchases. He takes advantage of her sense of entitlement by treating her like a grand lady and by indicating that she deserves all the impractical luxuries he persuades her to buy. By giving Emma credit for business sense and experience she doesn't actually possess, Lheureux takes advantage of Emma's financial inexperience. He skims ridiculous sums off the top of every promissory note he has Emma sign, and bluffs her into believing that large commissions are somehow customary in business. Unwilling to admit her ignorance, Emma lets herself be conned instead.
Throughout her life, Emma selects dramatic, exaggerated depictions of human existence and adopts them as a romantic or personal ideal; moreover, she convinces herself that her ideal is somehow the norm, and that the reality she experiences is the exception to the rule. As a teenager, she seeks to emulate the romantic novels she read while at the convent. After the ball, she seeks to emulate the nobility and the wealthy and creates a new romantic ideal based on a man she met at the ball. After being introduced to poetry, she adopts a romantic martyr-like facade. After being exposed to the melodramatic opera "Lucia de Lammermoor", Emma adopts the insane fictional character Lucy Ashton as her role model and becomes convinced that the correct way to respond to adversity is to lose her mind and commit suicide, which she eventually does.
Each individual decision of Emma's seems plausible and reasonable in isolation, but her actions and decisions on the whole make her a very difficult character to like. She is too self-absorbed to consider the consequences of her actions as they affect other people. Her recklessness with money leads to financial ruin not just for herself but for her husband and child.
Charles Bovary
Emma's husband, Charles Bovary, is a very simple and common man. He is a country doctor by profession, but is, as in everything else, not very good at it. He is in fact not qualified enough to be termed a doctor, but is instead an officier de santé, or "health officer". When he is persuaded by Homais, the local pharmacist, to attempt a difficult operation on a patient's clubfoot, the effort is an enormous failure, and his patient's leg must be amputated by a better doctor.
Charles adores his wife and finds her faultless, despite obvious evidence to the contrary. He never suspects her affairs and gives her complete control over his finances, thereby securing his own ruin. Despite Charles's complete devotion to Emma, she despises him as he is the epitome of all that is dull and common. When Charles discovers Emma's deceptions after her death he is devastated and dies soon after, but not before frittering away the very last of the assets remaining after his bankruptcy by living the way he believed Emma would have wanted him to live.
Charles is presented from the start as a likeable and well-meaning fool who happens to have a good memory and a way with people. Although it annoys Emma that Charles doesn't deduce her attitude toward him based on her very subtle hints and cues, she would need a far more blunt approach to get her message across. Charles's lack of insight regarding Emma is not unique. He fails to realize that Homais is not his friend but his enemy and lets the pharmacist isolate him from the other people in town. He fails to realize that Rodolphe has designs on Emma. He trusts Léon implicitly even though he's aware Emma is emotionally attached to the young clerk. He fails to realize that Emma's expenditures have put the household in debt, and he doesn't realize that Lheureux is a financial predator. He also ignores potential allies in the town who might have pointed out what everybody else thought was obvious.
Charles is no genius, but at the time he meets Emma he's doing well financially. He's married, he's got a thriving practice that has grown in response to his popularity with his patients, and he's got a good reputation in the community. After he moves to a new town, he never regains his former position, and Emma is part of the reason why. He knows he is in financial trouble, but continues to enable Emma's spendthrift ways. He takes on more than his share of his responsibility for the success of the marriage, and he tries to cover for Emma's lapses. Meanwhile, he gives up control over the financial aspects of his practice, which allows Emma to start embezzling. In fact, he borrows from a moneylender and does not tell Emma.
During Emma's first mysterious collapse, which is in response to her realization that she's not getting a second ball invitation, Charles abandons his patients and acts as her full-time nurse even though her life is not obviously in danger. The more he hovers, the worse Emma's "health problem" becomes. He gives up a thriving practice and moves to an area where he knows nobody. He nurses her through two more collapses, and allows her to talk him into attempting an operation he is not qualified to perform.
Monsieur Homais
Monsieur Homais is the town pharmacist. In one incident, he convinces Charles to perform corrective surgery on a young stable boy, afflicted with a club foot. During this era, correcting or eliminating a disability was a daring option and he may have considered this an opportunity to garner personal attention and praise. The operation is a disaster, and the stable boy is left with his leg amputated at the thigh.
Despite having been convicted of practicing medicine without a license, he continues to give "consultations" in his pharmacy. This means that the presence of a licensed health officer in town is a threat to him. Not only are he and Charles in competition for patients, but if Charles were to report Homais for practicing medicine without a license, the courts would deal strictly with Homais given that it would be a second conviction. So, to keep the clueless Charles from turning him in to the authorities should Charles ever find out about the "consultations", Homais becomes Charles's best friend, at least on the surface. Meanwhile he undermines Charles at every opportunity. Convincing him to attempt the risky club foot operation may have been part of an ongoing strategy to discredit Charles so as to run him out of town. At the end of the book, after Charles's death, Homais uses similar strategies to get rid of subsequent doctors and is left in sole control of the medical profession in Yonville.
He is also vehemently anti-clerical and an atheist. He is the one who insists that Emma should go riding with Rodolphe, that Charles take her to see the opera in Rouen, and that she be allowed to take expensive music lessons in Rouen. No idiot, and with his ear to the ground for gossip, Homais appears to be completely unaware of Emma's adultery but subtly goes out of his way to make it easier for her. He also directly enables her ultimate act of self-destruction by detailing in her presence the means by which his supply of arsenic might be accessed.
Madame Homais
The wife of Monsieur Homais, Madame Homais is a simple woman whose life revolves around her husband and children, of which she has four. Caring for four children is no trivial task, especially without electricity, hot running water, or any form of public schooling beyond occasional classes offered by the parish priest. Furthermore, in addition to her own four children Madame Homais cares for Justin, a teenage relative who lives with the Homais family and who helps Monsieur Homais out in the pharmacy. She also takes care of a boarder: a young male student by the name of Léon Dupuis. With that many people in the household, Madame Homais can be excused for having a live-in maid to help with at least some of the cooking, cleaning, and mending. Even with the maid's help, Madame Homais works very hard. Since the pharmacy is quite successful, she could perhaps get away with having her own horse or dressing in the latest fashions, but she does not. Instead, she takes in a boarder to earn extra money.
Madame Homais serves chiefly as a foil for Emma. Whereas Madame Homais, or even Charles's infirm first wife, has a legitimate reason for wanting a maid, Emma is able-bodied aside from her drama-induced fainting fits and collapses. She simply chooses to do no housework, and to refrain from any of the activities bourgeois women generally did in order to earn money on the side. She does not sub-let an upstairs bedroom to a tenant the way Madame Homais rents to Léon, she leaves all the housekeeping to the maid, and does no work herself unless it suits whatever religious or social fantasy she has about herself at the time. Madame Homais does not dress fashionably or even well, whereas Emma is always dressed in the latest expensive fashions that are more lavish than what anyone else in Yonville seems able to afford. Madame Homais dotes on her children, while Emma ignores and despises her daughter unless she's acting out a maternal fantasy.
Emma despises Madame Homais for her simplicity, unless she's in the mood to pretend to idealize good mothers. Madame Homais, however, seems unaware that Emma dislikes her. Even when other people gossip about Emma, Madame Homais defends her. That naive loyalty is rewarded with nothing but contempt most of the time.
Léon Dupuis
First befriending Emma when she moves to Yonville, Léon seems a perfect match for her. He shares her romantic ideals as well as her disdain for common life. He worships Emma from afar before leaving to study law in Paris. A chance encounter brings the two together several years later and this time they begin an affair. Though the relationship is passionate at first, after a time the mystique wears off.
Financially, Léon cannot afford to carry on the affair, so Emma pays more and more of the bills. Eventually she assumes the whole financial burden. She also takes the lead in planning meetings and setting up communication, which is a reversal of the role she had with Rodolphe. Léon does not seem to find Emma's financial aggression disturbing or inappropriate, although when Emma asks him to pawn some spoons she'd received as a wedding gift from her father, Léon does become uncomfortable. He objects to the heavy spending, but does not press too hard when Emma overrules him. He's content to be the recipient of Emma's largesse, and to not think too much about where the money is coming from. He also does not feel particularly obligated to reciprocate later, when Emma asks him for help in her hour of financial need.
Over time, Léon becomes disenchanted with Emma, particularly after her attentions start to affect his work. The first time she arrives at his office, he's charmed and leaves work quickly. After a while, the interruptions have an effect on his work and his attitude to the other clerks. Eventually someone sends word to Léon's mother that her son is "ruining himself with a married woman", and Léon's mother and employer insist that he break off the affair. Léon does, briefly, but cannot stay away from Emma. His reluctance is tempered with relief because Emma's pursuit of him has become increasingly disturbing. When Emma's debts finally come due, she attempts to seduce Léon into stealing the money to cover her debts from his employer. At this point, he becomes genuinely afraid. He fobs her off with an excuse and disappears from her life.
Rodolphe Boulanger
Rodolphe is a wealthy local man who seduces Emma as one more addition to a long string of mistresses. Though occasionally charmed by Emma, Rodolphe feels little true emotion towards her. As Emma becomes more and more desperate, Rodolphe loses interest and worries about her lack of caution. He eventually ends their relationship, but not before going through a collection of letters and tokens from previous mistresses, all of whom ended up wanting either love or money.
Rodolphe's deteriorating feelings for Emma do not keep him from accepting the valuable gifts she showers on him throughout their relationship, even though he realizes at some level that she can't afford to be so generous. The gifts she gives him are of the same value and quality as she imagines an aristocrat such as the Vicount might receive from a similarly aristocratic mistress. Rodolphe's gifts to Emma are nowhere near as valuable even though he is by far the wealthier of the two. He does not feel particularly obligated by having accepted the gifts, even though they create a large part of Emma's debt to Lheureux.
When Emma asks Rodolphe for help at the peak of her financial crisis, after refusing the sex-for-money exchange offered by the wealthy Monsieur Guillaumin, she essentially attempts to initiate a sex-for-money exchange with Rodolphe. She pretends at first to have returned out of love, then when the timing feels right she asks him for money, using an obvious lie about why she needs a loan. She therefore comes across as among the most mercenary of Rodolphe's past mistresses. Rodolphe therefore sees no need to help her, though he could perhaps not afford to lend her enough money to keep her creditors at bay even if he desired to.
Monsieur L'heureux
A manipulative and sly merchant who continually convinces Emma to buy goods on credit and borrow money from him. L'heureux plays Emma masterfully and eventually leads her so far into debt as to cause her financial ruin and subsequent suicide.
L'heureux's reputation as an aggressive money lender is well known in Yonville. Had Emma or Charles had the wit to make inquiries about him or even to listen to the gossip, they would have realized that L'heureux had ruined at least one other person in town through his stratagems. Yet the only "friend" they trust, Homais, is fully aware of L'heureux's treachery but disinclined to warn Emma or Charles. So both Emma and Charles end up borrowing money from L'heureux without each other's knowledge.
Setting
The setting of Madame Bovary is crucial to the novel for several reasons. First, it is important as it applies to Flaubert's realist style and social commentary. Secondly, the setting is important in how it relates to the protagonist Emma.
It has been calculated that the novel begins in October 1827 and ends in August 1846 (Francis Steegmuller). This is around the era known as the “July Monarchy”, or the rule of King Louis-Philippe. This was a period in which there was a great up-surge in the power of the bourgeois middle class. Flaubert detested the bourgeoisie. Much of the time and effort, therefore, that he spends detailing the customs of the rural French people can be interpreted as social criticism.
Flaubert put much effort into making sure his depictions of common life were accurate. This was aided by the fact that he chose a subject that was very familiar to him. He chose to set the story in and around the city of Rouen in Normandy, the setting of his own birth and childhood. This care and detail that Flaubert gives to his setting is important in looking at the style of the novel. It is this faithfulness to the mundane elements of country life that has garnered the book its reputation as the beginning of the literary movement known as “literary realism”.
Flaubert also deliberately used his setting to contrast with his protagonist. Emma's romantic fantasies are strikingly foiled by the practicalities of the common life around her. Flaubert uses this juxtaposition to reflect on both subjects. Emma becomes more capricious and ludicrous in the harsh light of everyday reality. By the same token, however, the self-important banality of the local people is magnified in comparison to Emma, who, though impractical, still reflects an appreciation of beauty and greatness that seems entirely absent in the bourgeois class.
Style
The book, loosely based on the life story of a schoolfriend who had become a doctor, was written at the urging of friends, who were trying (unsuccessfully) to "cure" Flaubert of his deep-dyed Romanticism by assigning him the dreariest subject they could think of, and challenging him to make it interesting without allowing anything out-of-the-way to occur. Although Flaubert had little liking for the styles of Balzac or Zola, the novel is now seen as a prime example of Realism, a fact which contributed to the trial for obscenity (which was a politically-motivated attack by the government on the liberal newspaper in which it was being serialized, La Revue de Paris). Flaubert, as the author of the story, does not comment directly on the moral character of Emma Bovary and abstains from explicitly condemning her adultery. This decision caused some to accuse Flaubert of glorifying adultery and creating a scandal.
The Realist movement used verisimilitude through a focus on character development. Realism was a reaction against Romanticism. Emma may be said to be the embodiment of a romantic; in her mental and emotional process, she has no relation to the realities of her world. She inevitably becomes dissatisfied since her larger-than-life fantasies are impossible to realize. Flaubert declared that much of what is in the novel is in his own life by saying, "Madame Bovary, c'est moi" ("Madame Bovary is me").
Madame Bovary, on the whole, is a commentary on the entire self-satisfied, deluded, bourgeois culture of Flaubert's time period. His contempt for the bourgeoisie is expressed through his characters: Emma and Charles Bovary lost in romantic delusions; absurd and harmful scientific characters, a self-serving money lender, lovers seeking excitement finding only the banality of marriage in their adulterous affairs. All are seeking escape in empty church rituals, unrealistic romantic novels, or delusions of one sort or another.
Literary significance and reception
Long established as one of the greatest novels ever written, the book has often been described as a "perfect" work of fiction. Henry James writes: "Madame Bovary has a perfection that not only stamps it, but that makes it stand almost alone; it holds itself with such a supreme unapproachable assurance as both excites and defies judgment."
Adaptations
Madame Bovary has been made into several films, beginning with Jean Renoir's 1932 version. It has also been the subject of multiple television miniseries and made-for-TV movies. The most notable of these adaptations was the 1949 film produced by MGM. Directed by Vincente Minnelli, it starred Jennifer Jones in the title role, co-starring James Mason, Van Heflin, Louis Jourdan, and Gene Lockhart. It was adapted by Giles Cooper for the BBC in 1964, with the same script being used for a new production in 1975. A new BBC version adapted by Heidi Thomas was made in 2000, starring Frances O'Connor and Hugh Bonneville.
Claude Chabrol made his version starring Isabelle Huppert.
Madame Bovary has been adapted into a piece of musical theatre, entitled The Bovary Tale. Composer: Anne Freier. Librettist: Laura Steel. The first performance was at the Gatehouse Theatre in Highgate Village in September 2009.
David Lean's film Ryan's Daughter (1970) was a loose adaptation of the story, relocating it to Ireland during the time of the Easter Rebellion. The script had begun life as a straight adaptation of Bovary, but Lean convinced writer Robert Bolt to re-work it into another setting.
Indian director Ketan Mehta adapted the novel into a 1992 Hindi film Maya Memsaab.
Madame Blueberry is an 1998 film in the Veggietales animated series. It is a loose parody of Madame Bovary, in which Madame Blueberry, an anthropomorphic blueberry, gathers material possessions in a vain attempt to find happiness.
Academy Award nominated film Little Children features the novel as part of a book club discussion, and shares a few elements of the main idea.
Naomi Ragen loosely based her 2007 novel The Saturday Wife on Madame Bovary.
Posy Simmonds graphic novel Gemma Bovery reworked the story into a satirical tale of English expatriates in France.
Vale Abraão (1993) (Abraham's Vale) by Manoel de Oliveira is a close interpretation set in Portugal, even referencing and discussing Flaubert's novel several times.
"Madame Ovary" is the name of a character in DC Comics' The Adventures of the Outsiders #33-35. Madame Ovary's name was really Dr. Ovarin, and she was created by Mike W. Barr and Alan Davis.
yī tiān， chá lǐ yī shēng jiē dào yī fēng jǐn jí de xìn jiàn， yào tā dào bài 'ěr dǒu gěi yī gè fù yù nóng mín lú 'ōu xiān shēng zhì bìng， tā de yī tiáo tuǐ shuāi duàn liǎo。 lú 'ōu shì gè wǔ shí suì zuǒ yòu de 'ǎi pàng zǐ， tā de tài tài 'èr nián qián yǐ qù shì liǎo。 jiā lǐ yóu tā de dú shēng nǚ 'ài mǎ liào lǐ。 zhè shì gè jù yòu làng màn qì zhì de nǚ hái zǐ， miàn jiá shì méi guī sè de， tóu fā hēi yóu yóu de， zài nǎo hòu wǎn chéng yī gè dà jì， yǎn jīng hěn měi lì， yóu yú jié máo de yuán gù， zōng yán sè fǎng fó shì hēi yán sè， tā“ cháo nǐ wàng lái， háo wú gù lǜ， yòu yī zhǒng tiān zhēn wú xié dǎn dà de shén qíng”。 tā gěi chá lǐ liú xià liǎo shēn kè de yìn xiàng。 chá lǐ gěi lú 'ōu zhěn zhì guò hòu， dāyìng tā sān tiān hòu zài qù bài fǎng， dàn dào dì 'èr tiān tā jiù qù liǎo。 cǐ hòu， tā yī xīng qī qù liǎng cì。 xiān hòu huā liǎo sì shí liù tiān de shí jiān， zhì hǎo liǎo lú 'ōu de tuǐ。
chá lǐ qī zǐ tóng zhàng fū cháng shàng bài 'ěr dǒu qù。 miǎn bù liǎo yào dǎ tīng bìng rén de dǐ xì。 dāng tā zhī dào lú 'ōu xiǎo jiě céng shòu guò jiào yù， dǒng dé tiào wǔ、 dì lǐ、 sù miáo、 cì xiù hé dàn qín shí， cù jìn dà fā。 tā yào zhàng fū bǎ shǒu fàng zài mí sǎ shū shàng， xiàng tā fā shì， jīn hòu zài yě bù qù bài 'ěr dǒu liǎo。 chá lǐ wéi mìng shì tīng， zhào yàng zuò liǎo。 dàn bù jiǔ fā shēng liǎo yī jiàn yì wài de shì， tā qī zǐ de cái chǎn bǎo guǎn rén dài zhe tā de xiàn jīn táo páo liǎo。 chá lǐ de fù mǔ fā xiàn xí fù yī nián bìng méi yòu yī qiān 'èr bǎi fǎ láng de shōu rù（ tā zài dìng hūn de shí hòu sǎ liǎo huǎng）， yú shì páo lái hé tā chǎo nào。 tā zài yī qì zhī xià， tù xuè sǐ liǎo。
lú 'ōu lǎo diē gěi chá lǐ sòng zhěn fèi lái， dāng tā zhī dào chá lǐ de bù xìng hòu， biàn jìn lì 'ān wèi tā， shuō zì jǐ yě céng jīng lì guò sàng 'ǒu de tòng kǔ。 tā yāo qǐng chá lǐ dào bài 'ěr dǒu qù sǎnsǎn xīn。 chá lǐ qù liǎo， bìng qiě 'ài shàng liǎo 'ài mǎ。 tā xiàng lú 'ōu lǎo diē tí qīn。 lú 'ōu gǎn dào chá lǐ bù shì lǐ xiǎng de nǚ xù， bù guò rén jiā shuō tā pǐn xíng duān zhèng， shěng chī jiǎn yòng， zì rán yě bù huì tài jì jiào péi jià， biàn dāyìng liǎo。 kāi chūn hòu， chá lǐ hé 'ài mǎ 'àn dāng dì de fēng sú jǔ xíng liǎo hūn lǐ。
ài mǎ shí sān suì jìn liǎo xiū dào yuàn fù shè de jì sù nǚ xiào niàn shū。 tā zài nà lǐ shòu zhe guì zú shì de jiào yù。 tā 'ài jiào táng de huā huì、 zōng jiào de yīnyuè， bìng zài làng màn zhù yì xiǎo shuō de xūn táo xià chéngzhǎng。 bǐ yé de xiǎo shuō《 bǎo 'ěr yǔ wéi 'ěr jí nī》 shì tā zuì xǐ 'ài de tú shū zhī yī。 tā mèng xiǎng guò xiǎo zhú fáng zǐ de shēng huó， yóu qí shì yòu wèi hǎo xīn de xiǎo gē gē， qíng yì chán mián， pá shàng bǐ zhōng lóu hái yào gāo de dà shù qù zhāi hóng guǒ zǐ， huò zhě chì zhe jiǎo zài shā tān shàng páo， gěi nǐ bào lái yī gè niǎo cháo； tā yòu“ zhōng xīn zūn jìng nà xiē chū míng huò zhě bù xìng de fù nǚ”， chén jìn zài luó màn dì kè de miǎn xiǎng zhōng。 yī wèi zài dà gé mìng qián chū shēn yú guì zú shì jiā de lǎo gū niàn， měi yuè dào xiū dào yuàn zuò yī xīng qī nǚ gōng， tā xiàng nǚ shēng men jiǎng làng màn gù shì， ér qiě yī dài lǐ zǒng yòu yī běn chuán qí xiǎo shuō。 hòu lái， ài mǎ de mǔ qīn sǐ liǎo， fù qīn bǎ tā jiē huí jiā qù。
ài mǎ jié hūn liǎo， tā zhōng yú dé dào liǎo nà zhǒng bù kě sī yì de 'ài qíng。 zài zhè yǐ qián， ài qíng fǎng fó shì yī zhǐ méi guī sè yǔ máo de jù niǎo， kě wàng 'ér bù kě jí， zài shī de càn làn de tiān táng lǐ 'áo xiáng。 hūn hòu， tā què fā jué chá lǐ shì gè píng fán 'ér yòu yōng sú de rén。 tā“ tán tù xiàng rén hángdào yī yàng píng bǎn， jiàn jiě yōng sú， rú tóng lái wǎng xíng rén yī bān yī zhù xún cháng， jī bù qǐ qíng xù， yě jī bù qǐ xiào huò zhě mèng xiǎng”。 chá lǐ bù huì yóu yǒng、 bù huì bǐ jiàn， bù huì fàng qiāng。 yòu yī cì 'ài mǎ yòng chuán qí xiǎo shuō zhōng yī gè qí mǎ de shù yǔ wèn tā， tā jìng chēng mù bù zhī suǒ duì。 tā huǐ hèn zì jǐ wèishénme yào jié hūn！ yòu shí， tā wèile mí bǔ gǎn qíng shàng de kōng xū， tā xiàng chá lǐ yín sòng tā jì dé qǐ lái de qíng shī， yī miàn yín， yī miàn tàn xī。 kě shì yín guò zhī hòu， tā fā xiàn zì jǐ rú tóng yín chàng qián yī yàng píng jìng， ér chá lǐ yě méi yòu yīn cǐ 'ér gǎn dòng， zhèng rú huǒ dāo qiāo shí zǐ， tā zhè yàng qiāo guò zhī hòu， bù jiàn mào chū yī kē huǒ xīng lái。
bù jiǔ， chá lǐ yī hǎo liǎo yī wèi shēng míng xiǎn hè de hóu jué de kǒu chuāng。 hóu jué wéi dá xiè chá lǐ， tā yāo qǐng chá lǐ fū fù dào tā de tián zhuāng wò bì sà 'ěr qù zuò kè。 chá lǐ fū fù zuò zhe mǎ chē qù liǎo。 nà shì gè yòu zhe yì dà lì fēng gé de zhuāng yuán， fáng zǐ hěn dà， hái yòu měi lì de huā yuán。 ài mǎ duì hóu jué jiā háo huá de qì pài， gāo yǎ de kè rén， zhū guāng bǎo qì de wǔ huì chǎng miàn， yī yī gǎn dào rù mí。 yī wèi fēng liú xiāo sǎ de zǐ jué lái yāo tā tiào wǔ， gěi tā liú xià liǎo jí shēn de yìn xiàng。 zài huí jiā de lù shàng， tā shí dé liǎo zǐ jué de yī gè xuějiā xiá， yòu gòu qǐ liǎo tā duì wǔ bàn de huái niàn。 huí dào jiā， tā xiàng nǚ pú rén fā pí qì。 tā bǎ xuějiā xiá cáng qǐ lái， měi dāng chá lǐ bù zài jiā shí， tā bǎ tā qǔ chū lái， kāi liǎo yòu kāi， kàn liǎo yòu kàn， shèn zhì hái wén liǎo chèn lǐ de wèi dào： yī zhǒng zá yòu měi nǚ yīng hé yān cǎo de wèi dào。 tā“ xī wàng sǐ， yòu xī wàng zhù dào bā lí”。
wò bì sà 'ěr zhī xíng， zài 'ài mǎ de shēng huó shàng， záo liǎo yī gè dòng yǎn， rú tóng shān shàng nà xiē dà lièfèng， yī zhèn kuáng fēng bào yǔ， yī yè gōng fū， jiù chéng liǎo zhè bān múyàng。 tā wú kě nài hé， zhǐ dé xiǎng kāi xiē。 bù guò tā cān jiā wǔ huì de piào liàng yī zhù、 duàn xié， tā dū qián chéng dì fàng rù wǔ dǒu guì。“ tā de xīn yě xiàng tā men yī yàng， hé cái fù yòu guò jiē chù zhī hòu， tiān liǎo yī xiē mó cèng bù diào de dōng xī”。 ài mǎ cí tuì liǎo nǚ yōng rén， bù yuàn yì zài dào tè zhù xià qù liǎo。 tā duì zhàng fū lǎo shì kàn bù shùn yǎn。 tā biàn dé lǎnsǎn，“ guāi lì hé rèn xìng”。
chá lǐ pà yǐn qǐ 'ài mǎ shēng bìng。 tā men cóng dào tè bān dào yǒng zhèn jū zhù。 zhè shì gè tōng dà lù de cūn zhèn， yòu yī gè gǔ lǎo de jiào táng hé yī tiáo zǐ tánshè chéng nà yàng cháng de jiē。 jiē shàng yòu jīn shī kè diàn hé yǐn rén zhù mùdì hǎo mài xiān shēng de yào fáng。 hǎo mài shì gè yào jì shī， dài yī dǐng jīn zhuì xiǎo róng mào， chuān yī shuāng lǜ pí tuō xié， tā nà yáng yáng zì dé de liǎn shàng yòu jǐ kē xì má zǐ， shén qì jiù xiàng guà zài tā tóu shàng de liǔ tiáo lóng lǐ de jīn chì què nà yàng。 tā jīng cháng 'ài zì wǒ chuī shī， biāo bǎng zì jǐ shì gè wú shén lùn zhě， tā méi yòu yī shēng zhí zhào， dàn sī zìjǐ nóng mín kàn bìng。 ài mǎ dào yǒng zhèn nà tiān， yóu hǎo mài hé yī gè zài lǜ shī nà lǐ zuò liàn xí shēng de lài 'áng péi zhe chī wǎn fàn。
lài 'áng · dū pǔ yì shì gè yòu zhe jīn huáng tóu fā de qīng nián， jīn shī fàn diàn bāo fàn chī de fáng kè。 ài mǎ hé tā chū cì jiàn miàn biàn hěn tán dé lái。 tā men yòu xiāng tóng de zhì qù， ér qiě dū 'àihào lǚ xíng hé yīnyuè。 cǐ hòu， tā men biàn jīng cháng zài yī dào tán tiān， yì lùn làng màn zhù yì de xiǎo shuō hé shí xíng de xì jù， bìng qiě“ bù duàn dì jiāo huàn shū jí hègē qū”。 bāo fǎ lì xiān shēng nán dé dù jì， bìng bù yǐn yǐ wéi guài。
ài mǎ shēng liǎo yī gè nǚ hái， qǐ míng wéi bái 'ěr tè。 jiāo gěi mù jiàng de nǚ rén wèi yǎng。 lài 'áng yòu shí péi tā yī dào qù kàn nǚ 'ér。 tā men rì yì jiē jìn qǐ lái， ài mǎ shēng rì shí， lài 'áng sòng liǎo yī fèn hòu lǐ， ài mǎ yě sòng gěi tā yī zhāng tǎn zǐ。
shí zhuāng shāng rén lè lè， shì gè jiǎo xiá de zuò shēng yì de néng shǒu， xū pàng de liǎn shàng bù liú hú xū， fǎng fó mǒ liǎo yī dào xī bó de gān cǎo zhī； yī shuāng zéi liàng de xiǎo hēi yǎn jīng， chèn shàng bái tóu fā， yuè fā xiǎn dé líng huó。 tā féng rén xié jiān chǎn xiào， yāo yī zhí hā zhe， zī shì yòu xiàng jū gōng， yòu xiàng yāo qǐng。 tā kàn chū 'ài mǎ shì gè 'ài zhuāng shì de“ fēng yǎ de fù nǚ”， biàn zì dòng shàng mén dōu lǎn shēng yì， bìng shē zhàng gěi tā， mǎn zú tā gè zhǒng xū róng de 'àihào。
ài mǎ 'ài shàng liǎo lài 'áng。 tā wèile bǎi tuō zhè yī xīn sī， zhuǎn 'ér guān xīn jiā wù， bǎ xiǎo bái 'ěr tè yě jiē huí jiā lái， bìng 'àn shí shàng jiào táng。 tā shòu liǎo， miàn sè cāng bái， xiàng dà lǐ shí yī yàng bīng liáng。 yòu yī cì， tā shèn zhì xiǎng bǎ xīn zhōng de mì mì zài chàn huǐ shí xiàng jiào shì tù lù， dàn tā kàn dào jiào shì bù 'ěr ní xián sú bù kě nài， cái méi yòu zhè yàng zuò。 tā yóu yú xīn qíng fán zào， bǎ nǚ 'ér tuī diē liǎo， pèng pò liǎo tā de liǎn。 lài 'áng yě xiàn rù 'ài qíng de luó wǎng。 tā wèile bǎi tuō zhè yī kǔ mèn， biàn shàng bā lí niàn wán fǎ kē de kè chéng。 lín bié shí， tā hé 'ài mǎ yǐ yǐ xī bié。 tā mendōu gǎn dào wú xiàn de chóu chàng。
ài mǎ yīn fán nǎo shēng qǐ bìng lái。 duì lài 'áng de huí yì chéng liǎo tā chóu mèn de zhōng xīn。 jí shǐ lǚ kè zài 'é guó dà cǎo yuán xuě dì shàng rán qǐ de huǒ duī， yě bǐ bù shàng lài 'áng zài tā huí yì zhōng nà me míng liàng。 yī cì， xú shè tè de dì zhù luó dào 'ěr fú · bù lǎng jiē lái zhǎo bāo fǎ lì yī shēng tì qí mǎ fū fàng xuè。 zhè shì gè fēng yuè chǎng zhōng de lǎo shǒu。 yuē mò sān shí sì suì guāng jǐng， xìng qíng cū yě， sī wù míng mǐn。 tā yòu liǎng chù zhuāng tián， xīn jìn yòu mǎi xià yī gè zhuāng yuán， měi nián yòu yī wàn wǔ qiān fǎ láng yǐ shàng de shōu rù。 tā jiàn 'ài mǎ shēng dé biāo zhì， chū jiàn miàn biàn dǎ xià gòu yǐn tā de huài zhù yì。
luó dào 'ěr fú lì yòng zài yǒng zhèn jǔ bàn zhōu nóng yè zhǎn lǎn huì de jī huì jiē jìn 'ài mǎ， wéi tā dāng xiàng dǎo， xiàng tā qīng tù zhōng qū， tā bǎ zì jǐ zhuāng bàn chéng yī gè méi yòu péng yǒu、 méi rén guān xīn， yù mèn dào jí diǎn de kě lián chóng。 tā shuō zhǐ yào néng dé dào yī gè zhēn xīn xiāng dài tā de rén， tā jiāng kè fú yī qiē kùn nán， qù dá dào mùdì。 tā men yī tóng tán dào nèi dì de yōng sú， shēng huó de zhì mèn， lǐ xiǎng de huǐ miè……
zhǎn lǎn huì jiē mù diǎn lǐ kāi shǐ liǎo， zhōu xíng zhèng wěi yuán liào wàn zuò zhe sì lún dà mǎ chē shān shān lái chí。 zhè shì gè tū 'é tóu， hòu yǎn pí， liǎn sè huī bái de rén。 tā xiàng qún zhòng fā bù yǎn shuō， duì“ měi lì zǔ guó de xiàn zhuàng” jìn xíng liǎo yī fān gē gōng sòng dé。 tā shuō mù qián fǎ guó“ chù chù shāng yè fán shèng， yì shù fā dá， chù chù xīng xiū xīn de dào lù， jí tǐ guó jiā tiān liǎo xǔ duō xīn de dòng mài， gòu chéng xīn de lián xì； wǒ men wěi dà de gōng yè zhōng xīn yòu huó yuè qǐ lái； zōng jiào jiā qiáng gǒng gù， fǎ guāng pǔ zhào， wǒ men de mǎ tóu duī mǎn huò wù……” ??， qún zhòng hái xiàng tā tù shé tóu。 huì hòu， jǔ xíng liǎo fā jiǎng yí shì。 zhèng fǔ bǎ yī méi zhí 'èr shí wǔ fǎ láng de yín zhì jiǎng zhāng bān fā gěi yī gè“ zài yī jiā tián zhuāng fú wù liǎo wǔ shí sì nián” de lǎo fù。 nà lǎo fù yī liǎn zhòu wén， gān shòu pí bèi bù kān。 dāng tā lǐng dào jiǎng zhāng hòu shuō：“ wǒ ná zhè sòng gěi wǒ men de jiào táng táng cháng， gěi wǒ zuò mí sǎ。” zuì hòu， yòu jǔ xíng liǎo fàng yàn huǒ。 ài mǎ hé luó dào 'ěr fú dōubù guān xīn zhǎn lǎn huì yī mù mù huá jī jù de jìn xíng。 tā men zhǐ shì jiè cǐ jī huì shuō huà 'ér， tán tiān， zhí dào chū zhěn de chá lǐ huí lái wéi zhǐ。
zhǎn lǎn huì hòu， ài mǎ yǐ wàng bù liǎo luó dào 'ěr fú liǎo。 ér luó dào 'ěr fú què yòu yì guò liǎo liù xīng qī cái qù kàn tā。 tā yǐ guān xīn 'ài mǎ de jiàn kāng wéi yóu， bǎ zì jǐ de mǎ jiè gěi tā qí。 tā men yī tóng dào yě wài sàn xīn。 ài mǎ jīng bù qǐ luó dào 'ěr fú de yòu huò， zuò liǎo tā de qíng fù。 tā men mán zhe bāo fǎ lì yī shēng cháng zài yī qǐ yōu huì。 zhè shí， ài mǎ gǎn qíng fā zhǎn dào kuáng rè de chéng dù， tā yào qiú luó dào 'ěr fú bǎ tā dài zǒu， hé tā yī tóng chū bēn。 tā hé chá lǐ de mǔ qīn yě chǎo fān liǎo。
rán 'ér， luó dào 'ěr fú wán quán shì gè kǒu shì xīn fēi de wěi jūn zǐ。 tā bào zhe wán nòng nǚ xìng、 féng chǎng zuò xì de chǒu 'è sī xiǎng， qī piàn liǎo 'ài mǎ de gǎn qíng。 tā dāyìng hé tā yī tóng chū táo， kě shì chū táo nà tiān， tā tuō rén sòng gěi 'ài mǎ yī fēng xìn。 xìn zhōng shuō， táo zǒu duì tā men liǎng réndōu bù hé shì， ài mǎ zhōng yòu yī tiān huì hòu huǐ de。 tā bù yuàn chéng wéi tā hòu huǐ de yuán yīn； zài shuō rén shì lěng kù， táo dào nà 'ér dōubù miǎn shòu dào wǔ rǔ。 yīn cǐ， tā yào hé tā de 'ài qíng yǒng bié liǎo。 ài mǎ qì dé fā hūn， tā de xīn tiào dé xiàng dà gàng zǐ zhuàng chéng mén yī yàng。 bàng wǎn， tā kàn dào luó dào 'ěr fú zuò zhe mǎ chē jí shǐ guò yǒng zhèn， qù lú 'áng zhǎo tā de qíng fù -- yī gè nǚ xì zǐ qù liǎo。 ài mǎ dāng jí yūndǎo。 cǐ hòu， tā shēng liǎo yīcháng dà bìng。 bìng hǎo hòu， tā xiǎng tòng gǎi qián fēi， chóngxīn shēng huó。 kě shì， zhè shí yòu fā shēng liǎo lìng yī chǎng shì。
yào jì shī hǎo mài yāo qǐng bāo fǎ lì fū fù dào lú 'áng qù kàn xì。 zài jù chǎng lǐ， ài mǎ yù jiàn liǎo guò qù céng wéi zhī dòng qíng de liàn xí shēng lài 'áng。 xiàn zài， tā zài lú 'áng de yī jiā shì wù suǒ shí xí。 yú shì， tā men mái cáng zài xīn dǐ duō nián de 'ài qíng zhǒng zǐ yòu méng yá liǎo。 tā men wèi kàn wán xì， biàn páo dào mǎ tóu tán tiān。 zhè shí， lài 'áng yǐ bù shì chū chū máo lú de hòu shēng， ér shì yī gè yòu zhe chōng fēn shè huì jīng yàn de rén liǎo。 tā yī jiàn miàn biàn xiǎng zhàn yòu 'ài mǎ， bìng xiàng tā sù shuō lí bié hòu de tòng kǔ。 dāng 'ài mǎ tán dào zì jǐ hài liǎo yīcháng dà bìng， chàdiǎn sǐ diào shí， lài 'áng zhuāng chū shí fēn bēi shāng de yàng zǐ。 tā shuō， tā yě“ xiàn mù fén mù de níng jìng”， shí cháng xiǎng dào sǐ， shèn zhì yòu yī tiān， tā hái lì liǎo gè yí zhǔ， fēn fù bié rén zài tā sǐ hòu， yào yòng 'ài mǎ sòng gěi tā de nà tiáo piào liàng de tǎn zǐ guǒ zhe mái tā。 tā jí lì sǒng yǒng 'ài mǎ zài liú yī tiān， qù kàn wán zhè chǎng xì。 bāo fǎ lì yī shēng yīn yī liáo shì wù xiān gǎn huí yǒng zhèn qù liǎo。 ài mǎ liú xià lái。 yú shì tā hé lài 'áng biàn yī tóng qù cān guān lú 'áng dà jiào táng， zuò zhe mǎ chē zài shì nèi dōu fēng。 zhè yàng， ài mǎ hé lài 'áng pīn dā shàng liǎo。
ài mǎ huí dào yǒng zhèn hòu， jiè kǒu dào lú 'áng qù xué gāng qín， shí jì shàng， tā shì qù hé lài 'áng yōu huì。 ài mǎ zài yī cì bǎ zì jǐ de quán bù rè qíng qīng zhù zài lài 'áng shēn shàng， chén nì zài zì qíng de xiǎng lè zhī zhōng。 wèile bù huā xiāo， tā bēizhe zhàng fū xiàng shāng rén lè lè jiè zhài。
rán 'ér， lài 'áng hé luó dào 'ěr fú yī yàng qī piàn liǎo 'ài mǎ de gǎn qíng。 tā jiàn jiàn dì duì 'ài mǎ gǎn dào yàn nì liǎo。 yóu qí shì dāng tā shōu dào mǔ qīn de lái xìn hé dū bāo kǎ jí lǜ shī de jiě quàn shí， jué dìng hé 'ài mǎ duàn jué lái wǎng。 yīn wéi zhè zhǒng 'ài mèi de guān xì， jiāng yào yǐng xiǎng tā de qián chéng。 bù jiǔ， tā jiù yào shēng wéi dì yī liàn xí shēng liǎo。 yú shì， tā kāi shǐ huí bì tā。
zhèng zài zhè shí， ài mǎ jiē dào fǎ yuàn de yī zhāng chuán piào。 shāng rén lè lè yào bī tā hái zhài， fǎ yuàn xiàn dìng 'ài mǎ zài 'èr shí sì xiǎo shí nèi， bǎ quán bù bā qiān fǎ láng de jiè kuǎn hái qīng， fǒu zé yǐ jiā chǎn dǐ yā。 ài mǎ wú nài qù xiàng lè lè qiú qíng， yào tā zài kuān xiàn jǐ tiān， dàn tā fān liǎn bù rèn rén， bù kěn biàn tōng。 ài mǎ qù xiàng lài 'áng qiú yuán， lài 'áng piàn tā jiè bù dào qián， duǒ kāi liǎo。 tā qù xiàng lǜ shī jū yóu màn jiè qián， kě shì zhè lǎo guǐ què chéng tā méi jí zhī jì xiǎng zhàn yòu tā。 tā qì fèn dì zǒu liǎo。 zuì hòu， tā xiǎng dào xú shè tè qù zhǎo luó dào 'ěr fú bāng zhù。 luó dào 'ěr fú jìng gōng rán shuō tā méi yòu qián。 ài mǎ shòu jìn líng rǔ， xīn qíng wàn fēn chén zhòng。 dāng tā cóng luó dào 'ěr fú jiā chū lái shí， gǎn dào qiáng zài yáo huàng， tiān huā bǎn wǎng xià yā tā。 tā zǒu jìn yī tiáo yōu cháng de lín yìn dào shàng， bàn zài suí fēng sàn kāi de kū yè duī shàng…… huí dào jiā， ài mǎ tūn chī liǎo pī shuāng。 tā xiǎng zhè yàng yī lái“ yī qiē qī zhà， bēi bǐ hé zhé mó tā de wú shù yù wàng， dū hé tā bù xiāng gān liǎo”。 bāo fǎ lì yī shēng guì zài tā de chuáng biān， tā bǎ shǒu fàng zài tā de tóu fā lǐ miàn， zhè zhǒng tián mì de gǎn jué， yuè fā shǐ yī shēng gǎn dào nán guò。 ài mǎ yě gǎn dào duì bù qǐ zì jǐ de zhàng fū。 tā duì tā shuō：“ nǐ shì hǎo rén。” zuì hòu， tā kàn liǎo hái zǐ yī yǎn， tòng kǔ dì lí kāi liǎo zhè gè shì jiè。
wèile cháng qīng zhài wù， bāo fǎ lì yī shēng bǎ quán bù jiā chǎn dū dāng guāng mài jìn liǎo。 tā zài fān chōu tì shí， fā xiàn liǎo qī zǐ hé lài 'áng de lái wǎng qíng shū yǐ jí luó dào 'ěr fú de huà xiàng。 tā shāng xīn jí liǎo， hǎo cháng shí jiān dū bì mén bù chū。 yī cì， tā zài shì chǎng shàng yù jiàn liǎo luó dào 'ěr fú， dàn tā yuán liàng liǎo zì jǐ de qíng dí， rèn wéi“ cuò de shì mìng”。 tā zài chéng shòu liǎo zhǒng zhǒng dǎ jī zhī hòu， yě sǐ liǎo。 ài mǎ yí xià de nǚ 'ér jì yǎng zài yí mǔ jiā lǐ， hòu lái jìn liǎo shā chǎng。
bāo fǎ lì yī shēng sǐ hòu， xiān hòu yòu sān gè yī shēng dào yǒng zhèn kāi yè， dàn dū jīng bù qǐ hǎo mài pīn mìng de pái jǐ， méi yòu yī gè zhàn dé zhù jiǎo。 yú shì zhè wèi fēi fǎ kāi yè de yào jì shī dà zǒu hóng yùn， bìng huò dé liǎo zhèng fǔ bān fā gěi tā de shí zì xūn zhāng。
The novel was attacked for obscenity by public prosecutors when it was first serialized in La Revue de Paris between October 1, 1856 and December 15, 1856, resulting in a trial in January 1857 that made the story notorious. After the acquittal on February 7, 1857, it became a bestseller when it was published as a book in April 1857, and now stands virtually unchallenged not only as a seminal work of Realism, but as one of the most influential novels ever written.
A 2007 poll of contemporary authors, published in a book entitled The Top Ten, cited Madame Bovary as one of the two greatest novels ever written, second only to Leo Tolstoy's Anna Karenina.
Plot summary
Madame Bovary takes place in provincial northern France, near the town of Rouen in Normandy. The story begins and ends with Charles Bovary, a stolid, kindhearted man without much ability or ambition. As the novel opens, Charles is a shy, oddly-dressed teenager arriving at a new school amidst the ridicule of his new classmates. Later, Charles struggles his way to a second-rate medical degree and becomes an officier de santé in the Public Health Service. His mother chooses a wife for him, an unpleasant but supposedly rich widow, and Charles sets out to build a practice in the village of Tostes (now Tôtes).
One day, Charles visits a local farm to set the owner's broken leg, and meets his client's daughter, Emma Rouault. Emma is a beautiful, daintily-dressed young woman who has received a "good education" in a convent and who has a latent but powerful yearning for luxury and romance imbibed from the popular novels she has read. Charles is immediately attracted to her, and begins checking on his patient far more often than necessary until his wife's jealousy puts a stop to the visits. When his wife dies, Charles waits a decent interval, then begins courting Emma in earnest. Her father gives his consent, and Emma and Charles are married.
At this point, the novel begins to focus on Emma. Charles means well, but is boring and clumsy, and after he and Emma attend a ball given by the Marquis d'Andervilliers, Emma grows disillusioned with married life and becomes dull and listless. Charles consequently decides that his wife needs a change of scenery, and moves from the village of Tostes into a larger, but equally stultifying market town, Yonville (traditionally based on the town of Ry). Here, Emma gives birth to a daughter, Berthe; however, motherhood, too, proves to be a disappointment to Emma. She then becomes infatuated with one of the first intelligent young men she meets in Yonville, a young law student, Léon Dupuis, who seems to share her appreciation for "the finer things in life", and who returns her admiration. Out of fear and shame, however, Emma hides her love for Léon and her contempt for Charles, and plays the role of the devoted wife and mother, all the while consoling herself with thoughts and self-congratulations of her own virtue. Finally, in despair of ever gaining Emma's affection, Léon departs to study in Paris.
One day, a rich and rakish landowner, Rodolphe Boulanger, brings a servant to the doctor's office to be bled. He casts his eye over Emma and decides she is ripe for seduction. To this end, he invites Emma to go riding with him for the sake of her health; solicitous only for Emma's health, Charles embraces the plan, suspecting nothing. A three-year affair follows. Swept away by romantic fantasy, Emma risks compromising herself with indiscreet letters and visits to her lover, and finally insists on making a plan to run away with him. Rodolphe, however, has no intention of carrying Emma off, and ends the relationship on the eve of the great elopement with an apologetic, self-excusing letter delivered at the bottom of a basket of apricots. The shock is so great that Emma falls deathly ill, and briefly turns to religion.
When Emma is nearly fully recovered, she and Charles attend the opera, on Charles' insistence, in nearby Rouen. The opera reawakens Emma's passions, and she re-encounters Léon who, now educated and working in Rouen, is also attending the opera. They begin an affair. While Charles believes that she is taking piano lessons, Emma travels to the city each week to meet Léon, always in the same room of the same hotel, which the two come to view as their "home." The love affair is, at first, ecstatic; then, by degrees, Léon grows bored with Emma's emotional excesses, and Emma grows ambivalent about Léon, who becoming himself more like the mistress in the relationship, compares poorly, at least implicitly, to the rakish and domineering Rodolphe. Meanwhile, Emma, given over to vanity, purchases increasing amounts of luxury items on credit from the crafty merchant, Lheureux, who arranges for her to obtain power of attorney over Charles’ estate, and crushing levels of debts mount quickly.
When Lheureux calls in Bovary's debt, Emma pleads for money from several people, including Léon and Rodolphe, only to be turned down. In despair, she swallows arsenic and dies an agonizing death; even the romance of suicide fails her. Charles, heartbroken, abandons himself to grief, preserves Emma's room as if it is a shrine, and in an attempt to keep her memory alive, adopts several of her attitudes and tastes. In his last months, he stops working and lives off the sale of his possessions. When he accidentally comes across Rodolphe's love letters one day, he still tries to understand and forgive. Soon after, he becomes reclusive; what has not already been sold of his possessions is seized to pay off Lheureux, and he dies, leaving his young daughter Berthe to live with distant relatives and eventually sent to work at a cotton mill.
Chapter-by-chapter
Part One
1. Charles Bovary's childhood, student days
2. First marriage, Charles meets Rouault and his daughter Emma; Charles's first wife dies
3. Charles proposes to Emma
4. The wedding
5. The new household at Tostes
6. An account of Emma's childhood and secret fantasy world
7. Emma becomes bored; invitation to a ball by the Marquis d'Andervilliers
8. The ball at the château La Vaubyessard
9. Emma follows fashions; her boredom concerns Charles, and they decide to move; they find out she is pregnant
Part Two
1. Description of Yonville-l'Abbaye: Homais, Lestiboudois, Binet, Bournisien, Lheureux
2. Emma meets Léon Dupuis, the lawyer's clerk
3. Emma gives birth to Berthe, visits her at the nurse's house with Léon
4. A card game; Emma's friendship with Léon grows
5. Trip to see flax mill; Lheureux's pitch; Emma is resigned to her life
6. Emma visits the priest Bournisien; Berthe is injured; Léon leaves for Paris
7. Charles's mother bans novels; the blood-letting of Rodolphe's farmhand; Rodolphe meets Emma
8. The comice agricole (agricultural show); Rodolphe woos Emma
9. Six weeks later Rodolphe returns and they go out riding; he seduces her and the affair begins
10. Emma crosses paths with Binet; Rodolphe gets nervous; a letter from her father makes Emma repent
11. Operation on Hippolyte's clubfoot; M. Canivet has to amputate; Emma returns to Rodolphe
12. Emma's extravagant presents; quarrel with mother-in-law; plans to elope
13. Rodolphe runs away; Emma falls gravely ill
14. Charles is beset by bills; Emma turns to religion; Homais and Bournisien argue
15. Emma meets Léon at performance of Lucie de Lammermoor
Part Three
1. Emma and Léon converse; tour of Rouen Cathedral; cab-ride synecdoche
2. Emma goes to Homais; the arsenic; Bovary senior's death; Lheureux's bill
3. She visits Léon in Rouen
4. She resumes "piano lessons" on Thursdays
5. Visits to Léon; the singing tramp; Emma starts to fiddle the accounts
6. Emma becomes noticeably anxious; debts spiral out of control
7. Emma begs for money from several people
8. Rodolphe cannot help; she swallows arsenic; her death
9. Emma lies in state
10. The funeral
11. Charles finds letter; his death
Characters
Emma Bovary
Emma is the novel's protagonist and is the main source of the novel's title (although Charles's mother and his former wife are also referred to as Madame Bovary). She has a highly romanticized view of the world and craves beauty, wealth, passion and high society. It is the disparity between these romantic ideals and the realities of her country life that drive most of the novel, most notably leading her into two extramarital love affairs as well as causing her to accrue an insurmountable amount of debt that eventually leads to her suicide.
Emma is quite intelligent, but she never has a chance to develop her mind. As an adult, Emma's capacity for imagination is far greater than her capacity for analysis. She is observant about surface details, such as how people are dressed, but she never looks below the surface. As a result, she is easily taken in by people who are pretending to be something more than they really are (which most people in the book do for one reason or another). Emma not only believes in the false fronts other people present to her, but she despises the very few people (Charles's mother, Madame Homais, and Monsieur Binet) who are exactly as they appear to be.
Convinced that the grass is always greener on the other side of the fence, Emma does not realize that extreme joy, even for the wealthy and powerful, comes rarely. Not only country or bourgeois life is dull. For instance, Emma is surprised to see that aristocrats do not serve fancy food and drink at their everyday breakfasts: she'd prefer to believe that for the nobility, life is really an excitement-filled drama. Later, she fails to see that Rodolphe's wealth hasn't made him happy, despite obvious evidence of this fact.
Since Emma lives chiefly in her own fantasy world, other people's opinions or perceptions of her aren't important except to the extent that they serve some aspect of whatever drama she's trying to act out. At the ball, she's convinced that her aristocratic hosts have fully accepted her as one of their own, so much so that she expects an invitation the following year. In reality, the hosts condescended to invite Charles and Emma to the ball as reward for a favor, intending for it to be a once-in-a-lifetime treat. Indeed, Emma makes several missteps that would be embarrassing to anyone steeped in upper-class culture of the period. She waltzes so badly that she tangles her dress up with her dance partner, and she uses the gaffe as an excuse to rest her head on his chest. She is one of the few people left at the party when the hosts finally go to bed. She does not attempt to establish new social contacts at the party, nor does she write a thank-you note afterwards. She does not attempt to return the cigar-case she and Charles find later, which might have been a reasonable pretext to resume correspondence with their host. So she is far from a gracious guest, and she fails to do the things that could, under the right circumstances, lead to real social connections in high places.
Emma seldom makes an effort to cultivate friendships with other people, unless doing so serves the image she has of herself. She wants desperately to be an aristocrat, particularly after the d'Andervilliers ball, but although she's very good at aping the superficial behaviors (such as clothing and figures of speech), she lacks the manners and savoir-faire to actually operate in their culture. No matter what social group she decides she belongs to (aristocrats, the people of Yonville, people with "noble souls", adulteresses, religious martyrs, dramatic heroines, etc.), every time her role requires interaction with someone who actually is in that group Emma messes up. She doesn't go out of her way to ingratiate herself with new people, because she genuinely doesn't care what they think of her. The same indifference causes her to be rejected by most people in Tostes and Yonville, and to be very careless of her reputation once she starts having extramarital affairs. Binet, Homais, Charles's mother, and Lheureux all catch her in compromising situations, and she truly doesn't care. At some level, she wants not only the excitement of taking the risk, but possibly the drama that would result from being caught.
Emma seeks out the extremes in life, both positive and negative. That she seeks out positive experiences is obvious, because unless she's experiencing the peak of ecstasy, she's convinced she's miserable. She also re-writes her own history and memory, telling herself that she has "never" been happy every time it appears to her that, by indulging some whim, she can achieve the emotional experiences to which she feels entitled. Her appetite for stimulation grows to the point where she becomes jaded enough not to appreciate the small pleasures in life, simply because they are small pleasures. The more she experiences, the less she is satisfied with more normal activities. Consider, for example, her taste in literature. She starts out with romances and bourgeois women's magazines targeted to her real social and economic position. From there she graduates to high-fashion women's magazines that advocate conspicuous consumption. The next step is overwrought romantic poetry, followed by tragic opera, and culminating in the violent pornography which she reads between assignations with Léon. As Vladimir Nabokov observes, Emma "reads books emotionally, in a shallow juvenile manner, putting herself in this or that female character's place."
Emma feels entitled to seek out increasing pleasure and stimulation for herself. Her sense of entitlement grows over time, as does her belief that she has been somehow wronged by destiny or by the people around her. As a young girl, Emma was influenced by her improvident but pretentious father. She was also indulged as a teen and as a young adult, and nobody ever realized her expectations and attitudes about life were unreasonable or attempted to correct them. Emma's mother died too early, and her father let her be raised at a convent and educated like a young woman of independent means. Emma eventually comes to believe that all her wishes will come true, if she believes in them strongly enough and throws a big enough tantrum when she doesn't get her way. Although her father is aware of the problem, he never tries to address it and chooses to leave it to Charles instead.
Over the course of the book, Emma finds different ways to rationalize her feeling of entitlement at different times of her life. Before her marriage, she craves excitement because she is bored. In Tostes, particularly after the ball, she believes she was unjustly born into the wrong socioeconomic class and that everything would be better if only she were rich. Later, after being introduced to poetry, she believes she suffers because she has a noble soul. Ultimately she casts herself as a tragic heroine.
Emma's attraction to the negative extremes of the human experience is less obvious, but the signs are there. As a teenager, she's rewarded for an overblown, somewhat fake display of grief after her mother's death. Her father caters to her whims, as does Charles, who responds to Emma's ennui and psychosomatic illnesses by ignoring his patients and concentrating solely on his wife. Emma's fleeting but intense fascination with religion is much the same: people reward her pious conduct with extra attention and treat her as though she's superior, which reinforces her feelings of entitlement.
It is Emma's sense of superiority and entitlement that make her vulnerable to people who seek to use and manipulate her. Anyone who plays along with Emma's pretentiousness is assured of her good graces. Lheureux, the predatory money-lender who fleeces Emma and Charles, is obsequious to Emma in order to get her to spend more money on unnecessary purchases. He takes advantage of her sense of entitlement by treating her like a grand lady and by indicating that she deserves all the impractical luxuries he persuades her to buy. By giving Emma credit for business sense and experience she doesn't actually possess, Lheureux takes advantage of Emma's financial inexperience. He skims ridiculous sums off the top of every promissory note he has Emma sign, and bluffs her into believing that large commissions are somehow customary in business. Unwilling to admit her ignorance, Emma lets herself be conned instead.
Throughout her life, Emma selects dramatic, exaggerated depictions of human existence and adopts them as a romantic or personal ideal; moreover, she convinces herself that her ideal is somehow the norm, and that the reality she experiences is the exception to the rule. As a teenager, she seeks to emulate the romantic novels she read while at the convent. After the ball, she seeks to emulate the nobility and the wealthy and creates a new romantic ideal based on a man she met at the ball. After being introduced to poetry, she adopts a romantic martyr-like facade. After being exposed to the melodramatic opera "Lucia de Lammermoor", Emma adopts the insane fictional character Lucy Ashton as her role model and becomes convinced that the correct way to respond to adversity is to lose her mind and commit suicide, which she eventually does.
Each individual decision of Emma's seems plausible and reasonable in isolation, but her actions and decisions on the whole make her a very difficult character to like. She is too self-absorbed to consider the consequences of her actions as they affect other people. Her recklessness with money leads to financial ruin not just for herself but for her husband and child.
Charles Bovary
Emma's husband, Charles Bovary, is a very simple and common man. He is a country doctor by profession, but is, as in everything else, not very good at it. He is in fact not qualified enough to be termed a doctor, but is instead an officier de santé, or "health officer". When he is persuaded by Homais, the local pharmacist, to attempt a difficult operation on a patient's clubfoot, the effort is an enormous failure, and his patient's leg must be amputated by a better doctor.
Charles adores his wife and finds her faultless, despite obvious evidence to the contrary. He never suspects her affairs and gives her complete control over his finances, thereby securing his own ruin. Despite Charles's complete devotion to Emma, she despises him as he is the epitome of all that is dull and common. When Charles discovers Emma's deceptions after her death he is devastated and dies soon after, but not before frittering away the very last of the assets remaining after his bankruptcy by living the way he believed Emma would have wanted him to live.
Charles is presented from the start as a likeable and well-meaning fool who happens to have a good memory and a way with people. Although it annoys Emma that Charles doesn't deduce her attitude toward him based on her very subtle hints and cues, she would need a far more blunt approach to get her message across. Charles's lack of insight regarding Emma is not unique. He fails to realize that Homais is not his friend but his enemy and lets the pharmacist isolate him from the other people in town. He fails to realize that Rodolphe has designs on Emma. He trusts Léon implicitly even though he's aware Emma is emotionally attached to the young clerk. He fails to realize that Emma's expenditures have put the household in debt, and he doesn't realize that Lheureux is a financial predator. He also ignores potential allies in the town who might have pointed out what everybody else thought was obvious.
Charles is no genius, but at the time he meets Emma he's doing well financially. He's married, he's got a thriving practice that has grown in response to his popularity with his patients, and he's got a good reputation in the community. After he moves to a new town, he never regains his former position, and Emma is part of the reason why. He knows he is in financial trouble, but continues to enable Emma's spendthrift ways. He takes on more than his share of his responsibility for the success of the marriage, and he tries to cover for Emma's lapses. Meanwhile, he gives up control over the financial aspects of his practice, which allows Emma to start embezzling. In fact, he borrows from a moneylender and does not tell Emma.
During Emma's first mysterious collapse, which is in response to her realization that she's not getting a second ball invitation, Charles abandons his patients and acts as her full-time nurse even though her life is not obviously in danger. The more he hovers, the worse Emma's "health problem" becomes. He gives up a thriving practice and moves to an area where he knows nobody. He nurses her through two more collapses, and allows her to talk him into attempting an operation he is not qualified to perform.
Monsieur Homais
Monsieur Homais is the town pharmacist. In one incident, he convinces Charles to perform corrective surgery on a young stable boy, afflicted with a club foot. During this era, correcting or eliminating a disability was a daring option and he may have considered this an opportunity to garner personal attention and praise. The operation is a disaster, and the stable boy is left with his leg amputated at the thigh.
Despite having been convicted of practicing medicine without a license, he continues to give "consultations" in his pharmacy. This means that the presence of a licensed health officer in town is a threat to him. Not only are he and Charles in competition for patients, but if Charles were to report Homais for practicing medicine without a license, the courts would deal strictly with Homais given that it would be a second conviction. So, to keep the clueless Charles from turning him in to the authorities should Charles ever find out about the "consultations", Homais becomes Charles's best friend, at least on the surface. Meanwhile he undermines Charles at every opportunity. Convincing him to attempt the risky club foot operation may have been part of an ongoing strategy to discredit Charles so as to run him out of town. At the end of the book, after Charles's death, Homais uses similar strategies to get rid of subsequent doctors and is left in sole control of the medical profession in Yonville.
He is also vehemently anti-clerical and an atheist. He is the one who insists that Emma should go riding with Rodolphe, that Charles take her to see the opera in Rouen, and that she be allowed to take expensive music lessons in Rouen. No idiot, and with his ear to the ground for gossip, Homais appears to be completely unaware of Emma's adultery but subtly goes out of his way to make it easier for her. He also directly enables her ultimate act of self-destruction by detailing in her presence the means by which his supply of arsenic might be accessed.
Madame Homais
The wife of Monsieur Homais, Madame Homais is a simple woman whose life revolves around her husband and children, of which she has four. Caring for four children is no trivial task, especially without electricity, hot running water, or any form of public schooling beyond occasional classes offered by the parish priest. Furthermore, in addition to her own four children Madame Homais cares for Justin, a teenage relative who lives with the Homais family and who helps Monsieur Homais out in the pharmacy. She also takes care of a boarder: a young male student by the name of Léon Dupuis. With that many people in the household, Madame Homais can be excused for having a live-in maid to help with at least some of the cooking, cleaning, and mending. Even with the maid's help, Madame Homais works very hard. Since the pharmacy is quite successful, she could perhaps get away with having her own horse or dressing in the latest fashions, but she does not. Instead, she takes in a boarder to earn extra money.
Madame Homais serves chiefly as a foil for Emma. Whereas Madame Homais, or even Charles's infirm first wife, has a legitimate reason for wanting a maid, Emma is able-bodied aside from her drama-induced fainting fits and collapses. She simply chooses to do no housework, and to refrain from any of the activities bourgeois women generally did in order to earn money on the side. She does not sub-let an upstairs bedroom to a tenant the way Madame Homais rents to Léon, she leaves all the housekeeping to the maid, and does no work herself unless it suits whatever religious or social fantasy she has about herself at the time. Madame Homais does not dress fashionably or even well, whereas Emma is always dressed in the latest expensive fashions that are more lavish than what anyone else in Yonville seems able to afford. Madame Homais dotes on her children, while Emma ignores and despises her daughter unless she's acting out a maternal fantasy.
Emma despises Madame Homais for her simplicity, unless she's in the mood to pretend to idealize good mothers. Madame Homais, however, seems unaware that Emma dislikes her. Even when other people gossip about Emma, Madame Homais defends her. That naive loyalty is rewarded with nothing but contempt most of the time.
Léon Dupuis
First befriending Emma when she moves to Yonville, Léon seems a perfect match for her. He shares her romantic ideals as well as her disdain for common life. He worships Emma from afar before leaving to study law in Paris. A chance encounter brings the two together several years later and this time they begin an affair. Though the relationship is passionate at first, after a time the mystique wears off.
Financially, Léon cannot afford to carry on the affair, so Emma pays more and more of the bills. Eventually she assumes the whole financial burden. She also takes the lead in planning meetings and setting up communication, which is a reversal of the role she had with Rodolphe. Léon does not seem to find Emma's financial aggression disturbing or inappropriate, although when Emma asks him to pawn some spoons she'd received as a wedding gift from her father, Léon does become uncomfortable. He objects to the heavy spending, but does not press too hard when Emma overrules him. He's content to be the recipient of Emma's largesse, and to not think too much about where the money is coming from. He also does not feel particularly obligated to reciprocate later, when Emma asks him for help in her hour of financial need.
Over time, Léon becomes disenchanted with Emma, particularly after her attentions start to affect his work. The first time she arrives at his office, he's charmed and leaves work quickly. After a while, the interruptions have an effect on his work and his attitude to the other clerks. Eventually someone sends word to Léon's mother that her son is "ruining himself with a married woman", and Léon's mother and employer insist that he break off the affair. Léon does, briefly, but cannot stay away from Emma. His reluctance is tempered with relief because Emma's pursuit of him has become increasingly disturbing. When Emma's debts finally come due, she attempts to seduce Léon into stealing the money to cover her debts from his employer. At this point, he becomes genuinely afraid. He fobs her off with an excuse and disappears from her life.
Rodolphe Boulanger
Rodolphe is a wealthy local man who seduces Emma as one more addition to a long string of mistresses. Though occasionally charmed by Emma, Rodolphe feels little true emotion towards her. As Emma becomes more and more desperate, Rodolphe loses interest and worries about her lack of caution. He eventually ends their relationship, but not before going through a collection of letters and tokens from previous mistresses, all of whom ended up wanting either love or money.
Rodolphe's deteriorating feelings for Emma do not keep him from accepting the valuable gifts she showers on him throughout their relationship, even though he realizes at some level that she can't afford to be so generous. The gifts she gives him are of the same value and quality as she imagines an aristocrat such as the Vicount might receive from a similarly aristocratic mistress. Rodolphe's gifts to Emma are nowhere near as valuable even though he is by far the wealthier of the two. He does not feel particularly obligated by having accepted the gifts, even though they create a large part of Emma's debt to Lheureux.
When Emma asks Rodolphe for help at the peak of her financial crisis, after refusing the sex-for-money exchange offered by the wealthy Monsieur Guillaumin, she essentially attempts to initiate a sex-for-money exchange with Rodolphe. She pretends at first to have returned out of love, then when the timing feels right she asks him for money, using an obvious lie about why she needs a loan. She therefore comes across as among the most mercenary of Rodolphe's past mistresses. Rodolphe therefore sees no need to help her, though he could perhaps not afford to lend her enough money to keep her creditors at bay even if he desired to.
Monsieur L'heureux
A manipulative and sly merchant who continually convinces Emma to buy goods on credit and borrow money from him. L'heureux plays Emma masterfully and eventually leads her so far into debt as to cause her financial ruin and subsequent suicide.
L'heureux's reputation as an aggressive money lender is well known in Yonville. Had Emma or Charles had the wit to make inquiries about him or even to listen to the gossip, they would have realized that L'heureux had ruined at least one other person in town through his stratagems. Yet the only "friend" they trust, Homais, is fully aware of L'heureux's treachery but disinclined to warn Emma or Charles. So both Emma and Charles end up borrowing money from L'heureux without each other's knowledge.
Setting
The setting of Madame Bovary is crucial to the novel for several reasons. First, it is important as it applies to Flaubert's realist style and social commentary. Secondly, the setting is important in how it relates to the protagonist Emma.
It has been calculated that the novel begins in October 1827 and ends in August 1846 (Francis Steegmuller). This is around the era known as the “July Monarchy”, or the rule of King Louis-Philippe. This was a period in which there was a great up-surge in the power of the bourgeois middle class. Flaubert detested the bourgeoisie. Much of the time and effort, therefore, that he spends detailing the customs of the rural French people can be interpreted as social criticism.
Flaubert put much effort into making sure his depictions of common life were accurate. This was aided by the fact that he chose a subject that was very familiar to him. He chose to set the story in and around the city of Rouen in Normandy, the setting of his own birth and childhood. This care and detail that Flaubert gives to his setting is important in looking at the style of the novel. It is this faithfulness to the mundane elements of country life that has garnered the book its reputation as the beginning of the literary movement known as “literary realism”.
Flaubert also deliberately used his setting to contrast with his protagonist. Emma's romantic fantasies are strikingly foiled by the practicalities of the common life around her. Flaubert uses this juxtaposition to reflect on both subjects. Emma becomes more capricious and ludicrous in the harsh light of everyday reality. By the same token, however, the self-important banality of the local people is magnified in comparison to Emma, who, though impractical, still reflects an appreciation of beauty and greatness that seems entirely absent in the bourgeois class.
Style
The book, loosely based on the life story of a schoolfriend who had become a doctor, was written at the urging of friends, who were trying (unsuccessfully) to "cure" Flaubert of his deep-dyed Romanticism by assigning him the dreariest subject they could think of, and challenging him to make it interesting without allowing anything out-of-the-way to occur. Although Flaubert had little liking for the styles of Balzac or Zola, the novel is now seen as a prime example of Realism, a fact which contributed to the trial for obscenity (which was a politically-motivated attack by the government on the liberal newspaper in which it was being serialized, La Revue de Paris). Flaubert, as the author of the story, does not comment directly on the moral character of Emma Bovary and abstains from explicitly condemning her adultery. This decision caused some to accuse Flaubert of glorifying adultery and creating a scandal.
The Realist movement used verisimilitude through a focus on character development. Realism was a reaction against Romanticism. Emma may be said to be the embodiment of a romantic; in her mental and emotional process, she has no relation to the realities of her world. She inevitably becomes dissatisfied since her larger-than-life fantasies are impossible to realize. Flaubert declared that much of what is in the novel is in his own life by saying, "Madame Bovary, c'est moi" ("Madame Bovary is me").
Madame Bovary, on the whole, is a commentary on the entire self-satisfied, deluded, bourgeois culture of Flaubert's time period. His contempt for the bourgeoisie is expressed through his characters: Emma and Charles Bovary lost in romantic delusions; absurd and harmful scientific characters, a self-serving money lender, lovers seeking excitement finding only the banality of marriage in their adulterous affairs. All are seeking escape in empty church rituals, unrealistic romantic novels, or delusions of one sort or another.
Literary significance and reception
Long established as one of the greatest novels ever written, the book has often been described as a "perfect" work of fiction. Henry James writes: "Madame Bovary has a perfection that not only stamps it, but that makes it stand almost alone; it holds itself with such a supreme unapproachable assurance as both excites and defies judgment."
Adaptations
Madame Bovary has been made into several films, beginning with Jean Renoir's 1932 version. It has also been the subject of multiple television miniseries and made-for-TV movies. The most notable of these adaptations was the 1949 film produced by MGM. Directed by Vincente Minnelli, it starred Jennifer Jones in the title role, co-starring James Mason, Van Heflin, Louis Jourdan, and Gene Lockhart. It was adapted by Giles Cooper for the BBC in 1964, with the same script being used for a new production in 1975. A new BBC version adapted by Heidi Thomas was made in 2000, starring Frances O'Connor and Hugh Bonneville.
Claude Chabrol made his version starring Isabelle Huppert.
Madame Bovary has been adapted into a piece of musical theatre, entitled The Bovary Tale. Composer: Anne Freier. Librettist: Laura Steel. The first performance was at the Gatehouse Theatre in Highgate Village in September 2009.
David Lean's film Ryan's Daughter (1970) was a loose adaptation of the story, relocating it to Ireland during the time of the Easter Rebellion. The script had begun life as a straight adaptation of Bovary, but Lean convinced writer Robert Bolt to re-work it into another setting.
Indian director Ketan Mehta adapted the novel into a 1992 Hindi film Maya Memsaab.
Madame Blueberry is an 1998 film in the Veggietales animated series. It is a loose parody of Madame Bovary, in which Madame Blueberry, an anthropomorphic blueberry, gathers material possessions in a vain attempt to find happiness.
Academy Award nominated film Little Children features the novel as part of a book club discussion, and shares a few elements of the main idea.
Naomi Ragen loosely based her 2007 novel The Saturday Wife on Madame Bovary.
Posy Simmonds graphic novel Gemma Bovery reworked the story into a satirical tale of English expatriates in France.
Vale Abraão (1993) (Abraham's Vale) by Manoel de Oliveira is a close interpretation set in Portugal, even referencing and discussing Flaubert's novel several times.
"Madame Ovary" is the name of a character in DC Comics' The Adventures of the Outsiders #33-35. Madame Ovary's name was really Dr. Ovarin, and she was created by Mike W. Barr and Alan Davis.
百年孤独bèi yù wéi“ zài xiàn lā dīng měi zhōu lì shǐ shè huì tú jǐng de hóng piān jù zhù” de《 bǎi nián gū dú》， shì jiā xī yà · mǎ 'ěr kè sī de dài biǎo zuò， yě shì lā dīng měi zhōu mó huàn xiàn shí zhù yì wén xué zuò pǐn zhōng de dài biǎo zuò。 zhè bù xiǎo shuō shì zuò zhě gēn jù lā dīng měi zhōu xiělínlín de lì shǐ shì shí , píng jiè zì jǐ fēng fù de xiǎng xiàng , miáo huì 'ér chéng de。《 bǎi nián gū dú》 shì gē lún bǐ yà zhù míng zuò jiā、 nuò bèi 'ěr wén xué jiǎng huò dé zhě mǎ 'ěr kè sī lì shí 18 gè yuè chuàng zuò de yī bù xiǎo shuō， chéng shū yú 1966 nián。 bèi fù 'ēn tè sī yù wéi“ měi zhōu《 shèng jīng》”， duō nián lái nián lái hǎo píng rú cháo， yǐng xiǎng bō jí liǎo zhěng gè shì jiè。
zuì chū lìng shì jiè zhèn jīng de shì tā dú tè de xù shù fāng shì：“ duō nián yǐ hòu， ào léi liáng nuò · bù 'ēn dì yà shàng xiào miàn duì xíng xíng duì， zhǔn huì xiǎng qǐ fù qīn dài tā qù jiàn shí bīng kuài de nà gè yáo yuǎn de xià wǔ……” zhè jù wéi quán shū diàn dìng“ yuán zhōu mó shì” huò yuán xíng xù shì jié gòu de kāi piān yǔ， fǎng fó yī gè yǒng héng 'ér gū jì de yuán xīn， què néng bǎ guò qù hé jiāng lái láo láo dì xī fù zài mǒu gè rén men kě yǐ xiǎng jiàn， shèn zhì gǎn tóng shēn shòu de xiàn zài。 jǐn suí qí hòu de shì zuò zhě lìng rén mù dèng kǒu dāi de mó huàn sè cǎi， hòu xiàn dài zhù yì zhě men duì zhī jìn xíng liǎo xuán zhī yòu xuán de jiě dú。
rán 'ér， zài mǎ 'ěr kè sī kàn lái，《 bǎi nián gū dú》 zhǐ bù guò shì jiè yòng liǎo“ wài zǔ mǔ de kǒu wěn”，“ tā lǎo rén jiā jiǎng gù shì jiù shì zhè zhǒng fāng shì， hǎo xiàng rén wù jiù zài yǎn qián， shì qíng zhèng zài fā shēng…… ér qiě cháng cháng rén guǐ bù fēn、 gǔ jīn lún huí。” rú jīn kàn lái，《 bǎi nián gū dú》 de zuì dà tè diǎn yě xǔ zài yú： yòng wài zǔ mǔ de biǎo shù fāng shì， zhǎn xiàn liǎo měi zhōu rén de lì shǐ jí qí pū shuò mí lí de jí tǐ wú yì shí； tōng guò duì《 shèng jīng》 de xì fǎng hé tuò zhǎn， bìng jiè bù 'ēn dì yà yī jiā jǐ dài， miáo huì liǎo rén lèi de fā zhǎn guǐ jì héng héng cóng chuàng shǐ dào yuán shǐ shè huì、 nú lì shè huì、 fēng jiàn shè huì， zài dào zī běn zhù yì shè huì， nǎi zhì kuà guó zī běn zhù yì shí dài。
《 bǎi nián gū dú》 - zuò zhě jiǎn jiè
mǎ 'ěr kè sī mǎ 'ěr kè sī
mǎ 'ěr kè sī（ GabrielGarclaMarquez， 1928-） gē lún bǐ yà zuò jiā， quán míng： jiā fū liè 'ěr · jiā xī yà · mǎ 'ěr kè sī。 shēng yú mǎ gé dá lāi nà de 'ā lā kǎ tǎ kǎ zhèn de yī gè yī shēng jiā tíng。 8 suì qián， yī zhí shēng huó zài wài zǔ fù jiā。 wài zǔ fù shì wèi shòu rén zūn jìng de shàng xiào， cān jiā guò liǎng cì nèi zhàn。 wài zǔ mǔ shì wèi qín láo de zhù fù， hěn huì jiǎng shén huà gù shì。 zhè duàn chōng mǎn huàn xiǎng hé shén qí sè cǎi de tóng nián shēng huó， wèitā hòu lái de wén xué chuàng zuò tí gōng liǎo fēng fù de sù cái。
zài zhōng xiǎo xué xué xí qī jiān， tā yuè dú liǎo dà liàng de jīng diǎn zuò pǐn。 18 suì rù dà xué gōng dú fǎ lǜ， yīn zhèng jú dòng dàng 'ér zhōng tú chuò xué， jìn rù bào jiè， bìng kāi shǐ wén xué chuàng zuò。 1955 nián， dì yī bù cháng piān xiǎo shuō《 kū zhī bài yè》 wèn shì， yǐn qǐ lā měi wén xué jiè zhòng shì， pō shòu hǎo píng。 1962 nián tā fā biǎo liǎo《 è shí chén》， xiǎo shuō huò dé měi guó 'āi suǒ shí yóu gōng sī zài bō gē dà jǔ bàn de 'āi suǒ jiǎng。 1967 nián， tā de《 bǎi nián gū dú》 hōng dòng liǎo xī bān yá yǔ wén xué jiè bìng diàn dìng liǎo tā zài shì jiè wén tán shàng de dì wèi。 yóu yú zhè bù xiǎo shuō de chéng gōng， tā xiān hòu róng huò gē lún bǐ yà wén xué jiǎng、 fǎ guó zuì jiā wài guó zuò pǐn jiǎng hé lā měi zuì gāo wén xué jiǎng héng yī wěi nèi ruì lā“ luó mù luò · jiā liè gē sī” guó jì wén xué jiǎng。 bìng yú 1982 nián huò nuò bèi 'ěr wén xué jiǎng hé gē lún bǐ yà yǔ yán kē xué yuàn míng yù yuàn shì chēng hào。
zhù yào zuò pǐn yòu：《 kū zhī bài yè》、《 è shí chén》、《 bǎi nián gū dú》、《 huò luàn shí qī de 'ài qíng》、《 mí gōng lǐ de jiāng jūn》、《 wǒ de shàng xiào wài zǔ fù de gù shì》、《 yì guó gù shì shí 'èr piān》、《 mǐ gé 'ěr · lì liǎo huí guó lì xiǎn jì》 děng。
《 bǎi nián gū dú》 - zhù shū bèi jǐng
cóng 1830 nián zhì shàng shì jì mò de 70 nián jiān， gē lún bǐ yà bào fā guò jǐ shí cì nèi zhàn， shǐ shù shí wàn rén sàng shēng。 běn shū yǐ hěn dà de piān fú miáo shù liǎo zhè fāng miàn de shǐ shí， bìng qiě tōng guò shū zhōng zhù rén gōng dài yòu chuán qí sè cǎi de shēng yá jí zhōng biǎo xiàn chū lái。 zhèng kè men de xū wěi， tǒng zhì zhě men de cán rěn， mín zhòng de máng cóng hé yú mèi děng děngdōu xiěde lín lí jìn zhì。
zuò jiā yǐ shēng dòng de bǐ chù， kè huà liǎo xìng gé xiān míng de zhòng duō rén wù， miáo huì liǎo zhè gè jiā zú de gū dú jīng shén。 zài zhè gè jiā zú zhōng， fū qī zhī jiān、 fù zǐ zhī jiān、 mǔ nǚ zhī jiān、 xiōng dì jiě mèi zhī jiān， méi yòu gǎn qíng gōu tōng， quē fá xìn rèn hé liǎo jiě。 jìn guǎn hěn duō rén wéi dǎ pò gū dú jìn xíng guò zhǒng zhǒng jiān kǔ de tàn suǒ， dàn yóu yú wú fǎ zhǎo dào yī zhǒng yòu xiào de bàn fǎ bǎ fēn sàn de lì liàng tǒng yī qǐ lái， zuì hòu jūn yǐ shī bài gào zhōng。 zhè zhǒng gū dú bù jǐn mí màn zài bù 'ēn dì yà jiā zú hé mǎ gòng duō zhèn， ér qiě shèn rù liǎo xiá 'ài sī xiǎng， chéng wéi zǔ 'ài mín zú xiàng shàng、 guó jiā jìn bù de yī dà bāo fú。 zuò jiā xiě chū zhè yī diǎn， shì xī wàng lā měi mín zhòng tuán jié qǐ lái， gòng tóng nǔ lì bǎi tuō gū dú。 suǒ yǐ，《 bǎi nián gū dú》 zhōng jìn yín zhe de gū dú gǎn， qí zhù yào nèi hán yīnggāi shì duì zhěng gè kǔ nán de lā dīng měi zhōu bèi pái chì xiàn dài wén míng shì jiè de jìn chéng zhī wài de fèn mèn hé kàng yì， shì zuò jiā zài duì lā dīng měi zhōu jìn bǎi nián de lì shǐ、 yǐ jí zhè kuài dà lù shàng rén mín dú tè de shēng mìng lì、 shēng cún zhuàng tài、 xiǎng xiàng lì jìn xíng dú tè de yán jiū zhī hòu xíng chéng de juéjiàng de zì xìn。
《 bǎi nián gū dú》 - nèi róng gěng gài
《 bǎi nián gū dú》 miáo xiě bù 'ēn dì yà jiā zú 7 dài rén de mìng yùn， miáo huì liǎo gē lún bǐ yà nóng cūn xiǎo zhèn mǎ kǒng duō cóng huāng wú de zhǎo zé zhōng xīng qǐ dào zuì hòu bèi yī zhèn xuán fēng juàn zǒu 'ér wán quán huǐ miè de 100 duō nián de tú jǐng。 mǎ kǒng duō shì gē lún bǐ yà nóng cūn de suō yǐng， yě shì zhěng gè lā dīng měi zhōu de suō yǐng。
hé sài · ā kǎ dí 'ào · bù 'ēn dí yà shì xī bān yá rén de hòu yì， tā yǔ wū sū lā xīn hūn shí， yóu yú hài pà xiàng yí mǔ yǔ shū fù jié hūn nà yàng shēng chū cháng wěi bā de hái zǐ lái， yú shì wū sū lā měi yè dū huì chuān shàng tè zhì de jǐn shēn yī， jù jué yǔ zhàng fū tóng fáng。 hòu lái zhàng fū yīn cǐ 'ér zāo lín jū 'ā jí lā 'ěr de chǐ xiào， shā sǐ liǎo 'ā jí lā 'ěr。 cóng cǐ， sǐ zhě de guǐ hún jīng cháng chū xiàn zài tā yǎn qián， guǐ hún nà tòng kǔ 'ér qī liáng de yǎn shén， shǐ tā rì yè bù dé 'ān níng。 yú shì tā men zhǐ hǎo lí kāi cūn zǐ， wài chū móu 'ān shēn zhī suǒ。 tā men bá shè liǎo liǎng nián duō， yóu cǐ shòu dào mèng de qǐ shì， tā men lái dào yī piàn tān dì shàng， dìng jū xià lái。 hòu lái yòu yòu xǔ duō rén qiān yí zhì cǐ， zhè dì fāng bèi mìng míng wéi mǎ kǒng duō。 bù 'ēn dí yà jiā zú zài mǎ kǒng duō de bǎi nián xīng fèi shǐ yóu cǐ kāi shǐ。
hé sài · ā kǎ dí 'ào · bù 'ēn dí yà shì gè fù yú chuàng zào jīng shén de rén， tā cóng jí bǔ sài rén nà lǐ kàn dào cí tiě， biàn xiǎng yòng tā lái kāi cǎi jīn zǐ。 kàn dào fàng dà jìng kě yǐ jù jiāo tài yáng guāng biàn shì tú yīn cǐ yán zhì yī zhǒng wēi lì wú bǐ de wǔ qì。 tā tōng guò bǔ jí sài rén sòng gěi tā de háng hǎi yòng de guān xiàng yí hé liù fēn yí， biàn tōng guò shí yàn rèn shí dào” dì qiú shì yuán de， xiàng chéng zǐ”。 tā bù mǎn yú zì jǐ suǒ zài de pín qióng 'ér luò hòu de cūn luò shēng huó， yīn wéi mǎ kǒng duō yǐnmò zài kuān guǎng de zhǎo zé dì zhōng， yǔ shì gé jué。 tā jué xīn yào kāipì yī tiáo dào lù， bǎ mǎ kǒng duō yǔ wài jiè de wěi dà fā míng lián jiē qǐ lái。 kě tā dài yī bāng rén pī jīng zhǎn jí gān liǎo liǎng gè duō xīng qī， què yǐ shī bài gào zhōng。 hòu lái tā yòu yán jiū liàn jīn shù， zhěng rì chén mí bù xiū。 yóu yú tā de jīng shén shì jiè yǔ mǎ kǒng duō xiá 'ài de xiàn shí gé gé bù rù， tā xiàn rù gū dú de tiān jǐng zhōng， yǐ zhì yú jīng shén shī cháng， bèi jiā rén bǎng zài yī kē dà shù shàng， jǐ shí nián hòu cái zài nà kē shù shàng sǐ qù。 wū sū lā chéng wèijiā lǐ de dǐng liáng zhù， tā huó liǎo 115 zhì 120 suì。
bù 'ēn dí yà jiā zú de dì 'èr dài yòu liǎng nán yī nǚ。 lǎo dà hé sài · ā kǎ dí 'ào shì zài lái mǎ kǒng duō de lù shàng chū shēng de。 tā zài nà lǐ zhǎngdà， hé yī gè jiào pí lā · tái liè nà de nǚ rén sī tōng， yòu liǎo hái zǐ。 tā shí fēn hài pà， hòu lái yǔ jiā lǐ de yǎng nǚ lěi bèi kǎ jié hūn。 dàn tā yī zhí duì rén men huái zhe jiè xīn， kě wàng làng jì tiān yá。 hòu lái， tā guǒ rán suí jí bǔ sài rén chū zǒu， huí lái hòu biàn dé fàng dàng bù jī， zuì hòu qí guài dì bèi rén 'àn shā liǎo。 lǎo 'èr 'ào léi liáng nuò shēng yú mǎ kǒng duō， zài niàn dù lǐ jiù huì kū， zhēng zhe yǎn jīng chū shì， cóng xiǎo jiù fù yòu yù jiàn shì wù de běn lǐng， zhǎngdà hòu 'ài shàng zhèn cháng qiān jīn léi méi tái sī。 zài cǐ zhī qián； tā yǔ gē gē de qíng rén shēng yòu yī zǐ míng jiào 'ào léi liáng nuò · hé sài。 qī zǐ bào bìng 'ér wáng hòu， tā cān jiā liǎo nèi zhàn， dāng shàng shàng xiào。 tā yī shēng zāo yù guò shí sì cì 'àn shā， qī shí sān cì mái fú hé yī cì qiāng jué， jūn xìng miǎn yú nán。 yǔ 17 gè wài dì nǚ zǐ pīn jū， shēng xià 17 gè nán hái。 zhè xiē nán hái yǐ hòu bù yuē 'ér tóng huí mǎ kǒng duō xún gēn， què zài yī xīng qī nèi quán bèi dǎ sǐ。 ào léi liáng nuò nián lǎo guī jiā， hé fù qīn yī yàng duì liàn jīn shù chī mí bù yǐ， měi rì liàn jīn zǐ zuò xiǎo jīn yú， yī zhí dào sǐ。 tā men de mèi mèi 'ā mǎ lán tǎ 'ài shàng liǎo yì dà lì jì shī， hòu yòu yǔ zhí zǐ luàn lún， ài qíng de bù rú yì shǐ tā zhōng rì bǎ zì jǐ guān zài fáng zhōng féng zhì liàn yī， gū dú wàn zhuàng。
dì sān dài rén zhǐ yòu liǎng gè táng xiōng dì， ā kǎ dí 'ào hé 'ào léi liáng nuò · hé sài。 qián zhě bù zhī shēng mǔ wéi shuí， jìng kuáng rè dì 'ài shàng shēng mǔ， jīhū niàng chéng dà cuò。 hòu zhě chéng wéi mǎ kǒng duō de jūn duì zhǎngguān， tān zāng wǎng fǎ， zuì hòu bèi bǎo shǒu pài jūn duì qiāng bì。 shēng qián tā yǔ yī nǚ rén wèi hūn biàn shēng yī nǚ liǎng nán。 qí táng dì rè liàn gū mā 'ā mǎ lán tǎ， dàn wú fǎ yǔ tā chéng hūn， gù 'ér cān jiā jūn duì， qù zhǎo jì nǚ xún qiú 'ān wèi， zuì zhōng yě sǐ yú luàn jūn zhī zhōng。
dì sì dài jí shì 'ā kǎ dí 'ào yǔ rén sī tōng shēng xià de yī nǚ liǎng nán。 nǚ 'ér qiào gū niàn léi méi kǔ sī chǔ chǔ dòng rén， tā shēn shàng sàn fā zhe yǐn rén bù 'ān de qì wèi， céng yīn cǐ zhì jǐ gè nán rén yú sǐ dì。 tā zǒng yuàn yì luǒ tǐ， bǎ shí jiān hào fèi zài fǎn fù xǐ zǎo shàng miàn， ér tā yī yàng zài gū dú de shā mò shàng pái huái， hòu lái zài liàng chuáng dān shí， bèi yī zhèn fēng guā shàng tiān bù jiàn liǎo， yǒng yuǎn xiāo shī zài kōng zhōng。 tā de luán shēng zǐ dì dì héng héng 'ā kǎ dí 'ào dì 'èr， zài měi guó rén bàn de xiāng jiāo gōng sī lǐ dāng jiān gōng， gǔ dòng gōng rén bà gōng。 hòu lái， 3000 duō gōng rén quán bèi zhèn yā zāonàn， zhǐ tā yī rén xìng miǎn。 tā mù jī zhèng fǔ yòng huǒ chē bǎ gōng rén men de shī tǐ yùn wǎng hǎi biān diū qì， sì chù sù shuō zhè chǎng dà tú shā， fǎn bèi rèn wéi shén zhì bù qīng。 tā wú bǐ kǒng jù shī wàng， zuì hòu bǎ zì jǐ guān zài fáng zǐ lǐ qián xīn yán jiū jí bǔ sài rén liú xià de yáng pí shǒu gǎo。 lìng yī gè 'ào léi liáng nuò dì 'èr zhōng rì zòng qíng jiǔ sè， qì qī zǐ yú bù gù， zài qíng fù jiā zhōng sī hùn。 qí guài de shì， zhè shǐ tā jiā zhōng de shēng chù xùn sù dì fán zhí， gěi tā dài lái liǎo cái fù。 tā yǔ qī zǐ shēng yòu 'èr nǚ yī nán， hòu zài bìng tòng zhōng sǐ qù。 yīn cǐ， rén men yī zhí méi rèn qīng tā men xiōng dì liǎ 'ér shuí shì shuí。
bù 'ēn dí yà jiā zú de dì wǔ dài shì 'ào léi liáng nuò dì 'èr de yī nán 'èr nǚ， zhǎngzǐ hé sài · ā kǎ dí 'ào xiǎo shí biàn bèi sòng wǎng luó mǎ shén xué yuàn qù xué xí。 mǔ qīn xī wàng tā rì hòu néng dāng zhù jiào， dàn tā duì cǐ háo wú xīng qù， zhǐ shì wèile nà jiǎ xiǎng zhōng de yí chǎn， cái qī piàn mǔ qīn。 mǔ qīn sǐ hòu， tā huí jiā kào biàn mài jiā yè wéi shēng。 hòu wéi bǎo zhù wū sū lā cáng zài dì jiào lǐ de 7000 duō gè jīn bì， bèi dǎi tú shā sǐ。 nǚ 'ér méi · xiāng méi tái sī yǔ xiāng jiāo gōng sī xué tú xiāng hǎo， mǔ qīn jìn zhǐ tā men jiàn miàn， tā men zhǐ hǎo 'àn zhōng zài yù shì xiāng huì， mǔ qīn fā xiàn hòu yǐ tōu jī zéi wéi míng dǎ sǐ liǎo tā。 méi wàn niàn jù huī， huái zhe shēn yùn bèi sòng wǎng xiū dào yuàn。 xiǎo nǚ 'ér 'ā mǎ lán tǎ · wū sū nà zǎo nián zài bù lǔ sài 'ěr shàng xué， zài nà lǐ chéng hūn hòu guī lái， jiàn dào mǎ kǒng duō yī piàn diāo bì， jué xīn zhòng zhěng jiā yuán。 tā zhāoqì péng bó， chōng mǎn huó lì， tā de dào lái， shǐ mǎ kǒng duō chū xiàn liǎo yī gè zuì tè bié de rén。 tā de qíng xù bǐ zhè jiā zú de réndōu hǎo， yě jiù shì shuō， tā xiǎng bǎ yī qiē chén guī lòu xí dǎ rù shí bā céng dì yù。 yīn cǐ， tā dìng chū cháng yuǎn jìhuà， zhǔn bèi dìng jū xià lái， zhěng jiù zhè gè zāinàn shēn zhòng de cūn zhèn。
bù 'ēn dí yà jiā zú de dì liù dài shì méi sòng huí de sī shēng zǐ 'ào léi liáng nuò · bù 'ēn dí yà。 tā chū shēng hòu yī zhí zài gū dú zhōng cháng dà。 tā wéi yī de shì hǎo shì duǒ zài jí bǔ sài rén méi 'ěr jiā dé sī de fáng jiān lǐ yán jiū gè zhǒng shén mì de shū jí hé shǒu gǎo。 tā shèn zhì néng yǔ sǐ qù duō nián de lǎo jí bǔ sài rén duì huà， bìng shòu dào zhǐ shì xué xí fàn wén。 tā yī zhí duì zhōu wéi de shì jiè jì bù guān xīn yě bù guò wèn， dàn duì zhōng shì jì de xué wèn què liǎo rú zhǐ zhǎng。 zì cóng yí mǔ 'ā mǎ lán tǎ · wū sū nà huí xiāng zhī hòu， tā bù zhī bù jué dì duì tā chǎn shēng liǎo nán yǐ kè zhì de liàn qíng， liǎng rén fā shēng liǎo luàn lún guān xì， dàn tā men rèn wéi， jìn guǎn tā men shòu dào gū dú yǔ 'ài qíng de zhé mó， dàn tā men bì jìng shì rén shì jiān wéi yī zuì xìng fú de rén。 hòu lái 'ā mǎ lán tǎ · wū sū nà shēng xià liǎo yī gè jiàn zhuàng de nán hái，“ tā shì bǎi nián lǐ dàn shēng de bù 'ēn dí yà dāng zhōng wéi yī yóu yú 'ài qíng 'ér shòu tāi de yīng 'ér。” rán 'ér， tā shēn shàng jìng cháng zhe yī tiáo zhū wěi bā。 ā mǎ lán tǎ · wū sū nà chǎn hòu dà chū xuè 'ér wáng。
nà gè cháng zhū wěi bā de nán hái jiù shì zhè yán xù bǎi nián de jiā zú de dì qī dài jì chéng rén。 tā bèi yī qún mǎ yǐ wéi gōng bìng bèi chī diào。 jiù zài zhè shí， ào léi liáng nuò · bù 'ēn dí yà zhōng yú pò yì chū liǎo méi 'ěr jiā dé sī de shǒu gǎo。 shǒu gǎo juàn shǒu de tí cí shì：“ jiā zú zhōng de dì yī gè rén jiāng bèi bǎng zài shù shàng， jiā zú zhōng de zuì hòu yī gè rén jiāng bèi mǎ yǐ chī diào。” yuán lái， zhè shǒu gǎo jìzǎi de zhèng shì bù 'ēn dí yà jiā zú de lì shǐ。 zài tā yì wán zuì hòu yī zhāng de shùn jiān， yīcháng tū rú qí lái de jù fēng bǎ zhěng gè 'ér mǎ kǒng duō zhèn cóng dì qiú shàng guā zǒu， cóng cǐ zhè gè zhèn bù fù cún zài liǎo。
《 bǎi nián gū dú》 - píng lùn
jiā xī yà mǎ 'ěr kè sī zūn xún“ biàn xiàn shí wéi huàn xiǎng 'ér yòu bù shī qí zhēn” de mó huàn xiàn shí zhù yì chuàng zuò yuán zé， jīng guò qiǎo miào de gòu sī hé xiǎng xiàng， bǎ chù mù jīng xīn de xiàn shí hé yuán yú shén huà、 chuán shuō de huàn xiǎng jié hé qǐ lái， xíng chéng sè cǎi bān lán、 fēng gé dú tè de tú huà， shǐ dú zhě zài“ sì shì 'ér fēi， sì fēi 'ér shì” de xíng xiàng zhōng， huò dé yī zhǒng sì céng xiāng shí yòu jué mò shēng de gǎn shòu， cóng 'ér jī qǐ xún gēn sù yuán qù zhuī suǒ zuò jiā chuàng zuò zhēn dì de yuàn wàng。 mó huàn xiàn shí zhù yì bì xū yǐ xiàn shí lì jī chǔ， dàn zhè bìng bù fáng 'ài tā cǎi qǔ jí duān kuā zhāng de shǒu fǎ。 rú běn shū xiě wài bù wén míng duì mǎ gòng duō de qīn rù， shì xiàn shí de， dàn yòu mó huàn huà liǎo： jí bǔ sài rén tuō zhe liǎng kuài cí tiě“…… āi jiā chuàn hù dì zǒu zhe…… tiě guō、 tiě pén、 tiě qián、 xiǎo tiě lú fēn fēn cóng yuán dì làxià， mù bǎn yīn tiě dīng hé luó dīng méi mìng dì zhèng tuō chū lái 'ér gā gā zuò xiǎng…… gēn zài nà liǎng kuài mó tiě de hòu miàn luàn gǔn”； yòu rú xiě yè de jì jìng， rén men jū rán néng tīng dào“ mǎ yǐ zài yuè guāng xià de hōng nào shēng、 zhù chóng kěn shí shí de jù xiǎng yǐ jí yě cǎo shēngzhǎng shí chí xù 'ér qīng xī de jiān jiào shēng”； zài rú xiě zhèng fǔ bǎ dà pī bà gōng zhě shā hài hòu， jiāng shī tǐ zhuāng shàng huǒ chē yùn dào hǎi lǐ rēng diào， nà liàng huǒ chē jìng yòu 200 jié chē xiāng， qián、 zhōng、 hòu gòng yòu 3 gè chē tóu qiān yǐn！ zuò jiā sì hū zài bù duàn dì biàn huàn zhe hā hā jìng、 wàng yuǎn jìng、 fàng dà jìng shèn zhì xiǎn wēi jìng， dú dú zhě kàn dào yī fú fú zhēn zhēn jiǎ jiǎ、 xū shí jiāo cuò de huà miàn， cóng 'ér fēng fù liǎo xiǎng xiàng lì， shōu dào qiáng liè de yì shù xiào guǒ。
yìn dì 'ān chuán shuō、 dōng fāng shén huà yǐ jí《 shèng jīng》 diǎn gù de yùn yòng， jìn yī bù jiā qiáng liǎo běn shū de shén mì qì fēn。 rú xiě pǔ luó dēng xiào de guǐ hún rì yè jiū chán bù 'ēn dì yà yī jiā， biàn qǔ cái yú yìn dì 'ān chuán shuō zhōng yuān guǐ zì jǐ bù dé 'ān níng yě bù ràng chóu rén 'ān níng de shuō fǎ； yòu guān fēi tǎn yǐ jí qiào gū niàn léi méi tái sī zhuā zhù chuáng dān shēng tiān de miáo xiě shì 'ā lā bó shén huà《 tiān fāng yè tán》 de yǐn shēn； ér mǎ gòng duō yī lián xià liǎo sì nián shí yī gè yuè líng liǎng tiān de dà yǔ zé shì《 shèng jīng chuàng shì jì》 zhōng yòu guān hóng shuǐ hào jié jí nuó yà fāng zhōu děng gù shì de yí zhí。 lā dīng měi zhōu de mín jiān chuán shuō wǎng wǎng dài yòu mí xìn sè cǎi， zuò jiā zài cǎi yòng zhè xiē mín jiān chuán shuō shí， yòu shí bǎ tā men zuò wéi xiàn shí lái miáo xiě； rú hǎo hàn fú lǎng xī sī kē“ céng hé mó guǐ duì gē， jī bài liǎo duì shǒu”； ā mǎ lán tǎ zài cháng láng lǐ xiù huā shí yǔ sǐ shén jiāo tán děng děng。 yòu shí zé fǎn qí yì 'ér yòng zhī， rú xiě ní kǎ nuò 'ěr shén fù hē liǎo yī bēi qiǎo kè lì hòu jū rán néng lí dì 12 lí mǐ， yǐ zhèng míng“ shàng dì yòu wú xiàn shén lì” děng děng， xiǎn rán shì duì zōng jiào mí xìn de fěng cì hé cháo xiào。
běn shū zhōng xiàng zhēng zhù yì shǒu fǎ yùn yòng dé bǐ jiào chéng gōng qiě yòu yì yì de， yìng shǒu tuī guān yú bù mián zhèng de miáo xiě。 mǎ gòng duō quán tǐ jū mín zài jiàn cūn hòu bù jiǔ dū chuán rǎn shàng yī zhǒng bù mián zhèng。 yán zhòng de shì， dé liǎo zhè zhǒng bìng， rén huì shī qù jì yì。 wèile shēng huó， tā men bù dé bù zài wù pǐn shàng tiē shàng biāo qiān。 lì rú tā men zài niú shēn shàng tiē biāo qiān dào：“ zhè shì niú， měi tiān yào jǐ tā de nǎi； yào bǎ nǎi zhǔ kāi jiā shàng kā fēi cái néng zuò chéng niú nǎi kā fēi。” zhè lèi lì zǐ shū zhōng bǐ bǐ jiē shì， zuò jiā yì zài tí xǐng gōng zhòng láo jì róng yì bèi rén yí wàng de lì shǐ。
lìng wài， zuò jiā hái dú chuàng liǎo cóng wèi lái de jiǎo dù huí yì guò qù de xīn yíng dàoxù shǒu fǎ。 lì rú xiǎo shuō yī kāi tóu， zuò jiā jiù zhè yàng xiě dào：“ xǔ duō nián zhī hòu， miàn duì xíng xíng duì， ào léi liáng nuò bù 'ēn dì yà shàng xiào jiāng huì huí xiǎng qǐ， tā fù qīn dài tā qù jiàn shí bīng kuài de nà gè yáo yuǎn de xià wǔ。” duǎn duǎn de yī jù huà， shí jì shàng róng nà liǎo wèi lái、 guò qù hé xiàn zài sān gè shí jiān céng miàn， ér zuò jiā xiǎn rán yǐn nì zài“ xiàn zài” de xù shì jiǎo dù。 jǐn jiē zhe， zuò jiā bǐ fēng yī zhuǎn， bǎ dú zhě yǐn huí dào mǎ gòng duō de chū chuàng shí qī。 zhè yàng de shí jiān jié gòu， zài xiǎo shuō zhōng yī zài chóngfù chū xiàn， yī huán jiē yī huán， huán huán xiāng kòu， bù duàn dì gěi dú zhě zào chéng xīn de xuán niàn。
zuì hòu， zhí dé zhù yì de shì， běn shū níng zhòng de lì shǐ nèi hán、 xī lì de pī pàn yǎn guāng、 shēn kè de mín zú wén huà fǎnxǐng、 páng dà de shén huà yǐn yù tǐ xì shì yóu yī zhǒng ràng rén 'ěr mù yī xīn de shén mì yǔ yán guàn chuàn shǐ zhōng de。 yòu de píng jiā rèn wéi zhè bù xiǎo shuō chū zì 8 suì 'ér tóng zhī kǒu， jiā xī yà mǎ 'ěr kè sī duì cǐ shuō pō gǎn xīn wèi。 zhè shì hěn shēn kè de píng pàn mù guāng。 yīn wéi zhè zhǒng zhí guān de、 jiǎn yuē de yǔ yán què shí yòu xiào dì fǎn yìng liǎo yī zhǒng xīn de shì jiǎo， yī zhǒng luò hòu mín zú（ rén lèi 'ér tóng） de zì wǒ yì shí。 dāng shì rén de kǔ xiào qǔ dài liǎo bàng guān zhě de yǎn lèi，“ yú zhě” zì wǒ biǎo dá de qièfū zhī tòng qǔ dài liǎo“ zhì zhě” mào sì gōng yǔn de pī pàn hé fēn xī， gèng néng shōu dào huàn qǐ bèi yú nòng zhě qún tǐ shēn kè fǎnxǐng de kè guān xiào guǒ。
《 bǎi nián gū dú》 shì yī bù jí qí fēng fù de、 duō céng cì de xiǎo shuō， tā kě yǐ yòu duō zhòng jiě shì。 tā shì yī bù guān yú huò sài · ā kǎ dí 'ào · bù 'ēn dí yà jǐ dài zǐ sūn de jiā tíng biān nián shǐ； tā miáo xiě liǎo yī gè xiàng zhēng zhe mǎ 'ěr kè sī gù xiāng 'ā lā kǎ tǎ kǎ de xiǎo zhèn mǎ kǒng duō de shí dài biàn qiān； tóng shí yě shì gē lún bǐ yà、 lā dīng měi zhōu hé xiàn dài shì jiè yī gè shì jì yǐ lái fēng yún biàn huàn de shén huà bān de lì shǐ。 cóng gēngshēn yuǎn de yì yì shàng shuō， tā shì xī fāng wén míng de yī gè zǒng jié， cóng tā de yuán tóu gǔ xī là shén huà、 hé mǎ shǐ shī、《 chuàng shì jì》 zhōng de chuàng shì shén huà kāi shǐ， dài zhe duì méng mèi zhuàng tài de yī diàn yuán hé jìng tǔ shì jiè nà zhǒng zhì pǔ hé chún jié de shēn shēn de huái niàn。 dú zhě cóng zuò pǐn zhōng dú dào， zhè bù biān nián shǐ shì yī gè jí bǔ sài zhì zhě yòng fàn wén xiě de shǒu gǎo zhǐ yòu bù 'ēn dí yà jiā zú de zuì hòu de yī gè nán rén cái néng yì jiě， bìng qiě zhǐ yòu zài měi yī gè dú zhě dān dú dú tā shí， cái néng lǐ jiě tā de hán yì。 zhè shì yī gè chōng mǎn shén qí yǔ kuáng huān de gù shì， shì zhè gè shì jiè hé tā de kùn jìng、 mí xìn de yī miàn jìng zǐ。 dàn tā yě shì yī gè chōng mǎn xū gòu de shì jiè， xī yǐn měi yī gè dú zhě bù rù lìng rén fú xiǎng lián piān de huàn jìng。
《 bǎi nián gū dú》 - yì shù chéng jiù
《 bǎi nián gū dú》 zài yì shù shàng yě qǔ dé liǎo jǔ shì gōng rèn de jù dà chéng jiù。
shǒu xiān shì yì shù gòu sī shàng de mó huàn xìng。《 bǎi nián gū dú》 zài xiǎo shuō jié gòu shàng shǐ zhōng guàn chuānzhuó yī tiáo míng xiǎn de xiàn suǒ， zhè jiù shì bù 'ēn dí yà jiā zú hài pà jìn qīn jié hūn huì shēng chū cháng“ zhū wěi bā” de hái zǐ。 zhè zhǒng shēn shēn de kǒng jù zuò wéi xiǎo shuō de nèi zài jīng shén mí màn quán shū， bìng qiě dài dài xiāng chuán， yǐng xiǎng zhe tā men de xíng wéi。
qí cì， gù shì qíng jié de mó huàn xìng。 xiǎo shuō zuì yǐn rén rù shèng de jiù shì gù shì qíng jié de mó huàn xìng。 xǔ duō gù shì qíng jié shén qí guài dàn、 qí miào wú bǐ， kàn dé rén yǎn huā liáo luàn， bǐ rú xiǎo shuō de zhòng yào qíng jié， guān yú jí bǔ sài rén méi 'ěr jiā dé sī de shén qí gù shì。 méi 'ěr jiā dé sī yǔ bù 'ēn dí yà jiā tíng yòu zhe mìqiè de guān xì， méi 'ěr jiā dé sī gěi bù 'ēn dí yà jiā dài lái liǎo qǐ méng zhī shí， hòu lái tā sǐ yú rè bìng， shī tǐ bèi pāo rù dà hǎi。 dàn tā bù kān jì mò， yòu zhòng huí rén jiān， lái dào mǎ kǒng duō， zhì hǎo liǎo quán zhèn rén de jiàn wàng zhèng。 bù jiǔ tā yòu yī cì sǐ liǎo， zhè huí shì yān sǐ zài hé lǐ。 bù 'ēn dí yà jiā mái zàng liǎo tā， dàn tā de yōu líng réng rán yī zhí zài bù 'ēn dí yà jiā gè jiān fáng zǐ lǐ yóu dàng， gěi zhè gè jiā tíng liú xià liǎo nà běn shén mì de yáng pí shū shǒu gǎo。 zhè xiē chōng mǎn“ mó huàn” de gù shì qíng jié， xiān míng dì dài yòu lā dīng měi zhōu běn tǔ chuán tǒng wén huà hé guān niàn yì shí de tè diǎn。
zài cì，“ mó huàn” shì de xiàng zhēng hé kuā zhāng shǒu fǎ。《 bǎi nián gū dú》 zhōng guǎng fàn dì yùn yòng liǎo xiàng zhēng hé kuā zhāng de yì shù shǒu fǎ。 dàn hé qí tā wén xué liú pài bù tóng de shì， zhè zhǒng xiàng zhēng hé kuā zhāng de shǒu fǎ gèng duō dì dài yòu“ mó huàn” de sè cǎi。 bǐ rú， zuò pǐn zhōng huáng sè shì bù xìng hé sǐ wáng de xiàng zhēng， dāng 'ā · bù 'ēn dí yà sǐ wáng shí，“ chuāng wài xià qǐ liǎo xì wēi de huáng huā yǔ。 zhěng zhěng yī yè， huáng sè de huā duǒ xiàng wú shēng de bào yǔ， zài shì zhèn shàng kōng fēn fēn piāo luò…… yì rì zǎo chén， zhěng gè mǎ kǒng duō fǎng fó pū shàng liǎo yī céng mì shí de dì tǎn， suǒ yǐ bù dé bù yòng chǎn zǐ hé pá zǐ wéi sòng zàng duì wǔ qīng lǐ dào lù。”
zuì hòu， zuò zhě wèile biǎo xiàn lā dīng měi zhōu de bǎi nián gū dú de xiàn shí， hái tè yì chuàng zào liǎo xīn de shí jiān guān niàn hé biǎo xiàn fāng fǎ。 tā rèn wéi shí jiān zài lā dīng měi zhōu shì tíng zhì de， shì zài yī gè fēng bì de shí jiān juàn lǐ xún huán de。
《 bǎi nián gū dú》 zhōng de dì yī jù huà shì“ duō nián yǐ hòu， miàn duì zhe xíng xíng duì， ào léi lián nuò shàng xiào jiāng huì xiǎng qǐ nà jiǔ yuǎn de yī tiān xià wǔ， tā fù qīn dài tā qù rèn shí liǎo bīng kuài。” zhè jiù gěi quán shū dìng xià liǎo yī gè jī diào， jí xù shù de kǒu wěn shì zhàn zài mǒu yī gè shí jiān bù míng què de“ xiàn zài” qù jiǎng shù“ duō nián yǐ hòu” de yī gè“ jiāng lái”， rán hòu yòu cóng zhè gè“ jiāng lái” huí gù dào“ nà jiǔ yuǎn de yī tiān” de“ guò qù”。 yī jù huà lǐ bāo hán liǎo xiàn zài、 guò qù、 jiāng lái， xíng chéng liǎo yī gè shí jiān xìng de yuán juàn。 hái yòu， zuò pǐn zhōng xiāng shìde huó dòng、 xiāng sì de mìng yùn， dū sù shuō zhe shí jiān de fēng bì xìng hé tíng zhì xìng。 zhè zhèng shì lā dīng měi zhōu bǎi nián gū dú、 tíng zhì de shè huì lì shǐ de yì shù fǎn yìng。
zǒng 'ér yán zhī，《 bǎi nián gū dú》 de jù dà chéng gōng， shuō míng mǎ 'ěr kè sī zhàn zài xīn de shì jiè pǔ biàn xìng de gāo dù shàng qù rèn shí lā měi zhè kuài tǔ dì、 zhè gè mín zú， cóng bù tóng jiǎo dù bù tóng céng miàn fǎn yìng liǎo mín zú xìng yǔ shì jiè xìng、 chuán tǒng yǔ chuàng xīn de guān xì。 zhèng yīn wéi rú cǐ， mǎ 'ěr kè sī cái néng gòu bǎ tā de yuǎn jiàn zhuó shí hé fēi fán de yì shù cái huá yǔ lā dīng měi zhōu de shè huì xiàn shí wán měi dì jié hé qǐ lái， bǎ mó huàn xiàn shí zhù yì tuī shàng liǎo shì jiè wén xué de gāo fēng。
《 bǎi nián gū dú》 - jià zhí
《 bǎi nián gū dú》 de nèi róng yì cháng fēng fù、 fù zá 'ér shēn guǎng， jù yòu hěn gāo de sī xiǎng rèn shí jià zhí。 zhù yào biǎo xiàn zài liǎng fāng miàn： shǒu xiān，《 bǎi nián gū dú》 zhōng de xiǎo zhèn mǎ kǒng duō suǒ jīng lì de xīng jiàn、 fā zhǎn、 dǐng shèng dào xiāo wáng de bǎi nián cāng sāng， yǐng shè hé nóng suō liǎo gē lún bǐ yà zì 19 shì jì chū dào 20 shì jì shàng bàn yè de lì shǐ。 xiǎo shuō kāi shǐ shí shì 19 shì jì chū， dàn mǎ kǒng duō què xiàng shì shǐ qián shè huì， zhì pǔ 'ér níng jìng， zhè shì gè zhǐ yòu 20 lái hù rén jiā de xiǎo cūn zhuāng， rén men wǎng zài hé biān yòng ní hé lú wěi gài de fáng zǐ lǐ， qǔ shuǐ fēi cháng fāng biàn。 hé shuǐ qīng chè、 míng liàng、 jí sù dì liú guò， kě yǐ kàn jiàn hé chuáng shàng guāng jié de 'é luǎn shí，“ shì jiè， yī qiēdōu shì gāng kāi shǐ， hěn duō dōng xī hái méi yòu míng zì， bì xū yòng shǒu zhǐ zhǐ zhe shuō”。 zhè lǐ， mǎ 'ěr kè sī tè yì yǐn yòng《 shèng jīng》 zhōng de huà“ bì xū yòng shǒu zhǐ zhǐ zhe shuō。”， biǎo shì mǎ kǒng duō zuì chū jiù shì zhè yàng yī gè yǔ shì gé jué de shì wài táo yuán。 zhè shì 16 shì jì yǐ qián gē lún bǐ yà tǔ zhù shēng huó de xiě zhào。 suí hòu xī bān yá zhí mín zhě chuǎng rù， yòng jiàn yǔ huǒ hé shí zì jià zhēng fú liǎo lā dīng měi zhōu， jì 'ér dà pī yí mín yǒng rù zhè kuài dà lù， gē lún bǐ yà cóng shè huì jié gòu、 sī xiǎng xìn yǎng dào xí sú fēng shàng dū fā shēng liǎo shēn kè biàn huà， xíng chéng liǎo gē lún bǐ yà lì shǐ shàng dì yī cì zhòng dà zhuǎn zhé。 xiǎo shuō zhōng yòu guān jí bǔ sài rén dài lái xī tiě shí、 wàng yuǎn jìng děng dōng xī xiàng mó shù hé zá jì yī yàng xī yǐn quán cūn rén qù wéi guān、 wū sū lā fā xiàn yǔ wài jiè de tōng dào yǐ jí yǐn lái dì yī pī yí mín de miáo xiě， jiù shì zhè duàn shǐ shí de zài xiàn。
19 shì jì chū gē lún bǐ yà dú lì hòu， guó jiā zhèng quán bèi tǔ shēng bái rén de dà dì zhù、 dà shāng rén suǒ bǎ chí。 tā men zhōng de zì yóu dǎng、 bǎo shǒu dǎng dǒu zhēng bù duàn， jìn xíng cháng qī nèi zhàn。 zhèng kè men làn yòng zhí quán， yíng sī wǔ bì， cāo zòng xuǎn jǔ， jiàn tà xiàn fǎ， dǎo zhì guó jiā zhèng biàn bù duàn、 nèi zhàn pín réng。 cóng 1830 nián dào 1899 nián， quán guó bào fā liǎo 27 cì nèi zhàn， gěi rén mín dài lái liǎo wú qióng wú jìn de tòng kǔ。 xiǎo shuō yǐ hěn dà de piān fú miáo xiě mǎ kǒng duō yě bèi juàn jìn liǎo zhè chǎng dǒu zhēng。 tōng guò 'ào léi lián nuò · bù 'ēn dí yà shàng xiào de chuán qí shēng yá biǎo xiàn liǎo zhè fāng miàn de shǐ shí。 shàng xiào wéi fǎn duì fǔ bài de bǎo shǒu dǎng zhèng fǔ， yī shēng fā dòng guò 32 cì wǔ zhuāng qǐ yì， dǎ liǎo 20 nián nèi zhàn。 zhè xiē miáo xiě shēng dòng dì gài kuò liǎo gē lún bǐ yà lì shǐ shàng dì 'èr cì zhòng dà zhuǎn zhé shí qī de shè huì shēng huó。
20 shì jì chū qī， gē lún bǐ yà nèi zhàn tíng zhǐ， jīng jì huī fù， dàn jìn zài zhǐ chǐ de měi guó xīn zhí mín zhù yì shì lì yòu yǒng jìn liǎo gē lún bǐ yà。 huǒ chē、 diàn dēng、 diàn huà、 diàn yǐng、 liú shēng jī děng chū xiàn zài mǎ kǒng duō。 xiǎo shuō miáo xiě mǎ kǒng duō rén zhè yàng yíng jiē xīn shì wù：“ mǎ kǒng duō rén duì diàn yǐng shàng huó dòng de rén wù fēi cháng shēng qì， yīn wéi tā men wéi diàn yǐng shàng yī gè sǐ liǎo bèi mái liǎo de rén liú xià tòng kǔ de yǎn lèi， ér tā què zài xià yī gè diàn yǐng zhōng biàn chéng liǎo 'ā lā bó rén chū xiàn liǎo， mǎ kǒng duō rén shòu bù liǎo zhè yàng duì tā men gǎn qíng de cháo nòng， bǎ diàn yǐng yuàn de zuò yǐ dū gěi zá liǎo。 zuì hòu zhèn cháng jiě shì diàn yǐng shì huàn jué de jī qì， bù xū yào guān zhòng zhè yàng dòng gǎn qíng， mǎ kǒng duō rén zhōng yú míng bái liǎo tā men shàng liǎo jí bǔ sài rén xīn wán yì 'ér de dāng liǎo， jué dìng zài yě bù kàn diàn yǐng。” tā men jiù zhè yàng bèi zhè xiē xīn wán yì jīng dé mù dèng kǒu dāi， kàn dé yǎn huā liáo luàn。 jǐn zhe， měi guó rén yòu jiàn lì liǎo hěn duō xiāng jiāo yuán， gè zhǒng rén xiàng cháo shuǐ yī yàng yǒng jìn mǎ kǒng duō， tā men xuān bīn duó zhù， kòng zhì liǎo mǎ kǒng duō lì shǐ shàng zuì zhòng dà de biàn gé。 zhè zhǒng biàn gé cóng biǎo miàn shàng kàn， hǎo xiàng gěi mǎ kǒng duō dài lái liǎo fán róng， dàn shí zhì shàng què shì wài guó zī běn jiā gèng jiā cán kù bō xuē hé lüè duó de kāi shǐ， ér qiě wèile wéi hù jì dé lì yì， dì guó zhù yì zhě yòng yě mán bào lì zhèn yā rén mín de fǎn kàng。 zài xiāng jiāo gōng rén bà gōng yùn dòng zhōng， zhèng fǔ hé dì guó zhù yì“ shòu mìng jūn duì bù xī yòng zǐ dàn dǎ sǐ tā men”，“ jī qiāng cóng liǎng gè fāng miàn sǎo shè rén qún。 hé sài · ā kǎ dí 'ào dì 'èr dǎo zài dì shàng， mǎn liǎn shì xuè。 tā sū xǐng shí cái fā xiàn zì jǐ tǎng zài sài mǎn shī tǐ de huǒ chē chē xiāng shàng。 tā cóng yī gè chē xiāng pá dào lìng yī gè chē xiāng， tòu guò xiē wēi ruò de liàng guāng， biàn kàn chū liǎo sǐ liǎo de nán rén、 nǚ rén hé hái zǐ： tā men xiàng bào fèi de xiāng jiāo gěi rēng dào dà hǎi lǐ…… zhè shì tā jiàn guò de zuì cháng de liè chē héng jīhū yòu 200 jié yùn huò chē xiāng。” xiǎo shuō jiù zhè yàng fèn nù dì jiē lù liǎo dì guó zhù yì、 xīn zhí mín zhù yì de rù qīn gěi gē lún bǐ yà zào chéng de jù dà zāinàn。 zhè yě zhèng shì zào chéng lā dīng měi zhōu pín qióng luò hòu de zhòng yào yuán yīn zhī yī。
qí cì， xiǎo shuō zài duì bù 'ēn dí yà jiā zú zhòng duō rén wù de kè huà zhōng， zhuólì biǎo xiàn liǎo zhè gè jiā tíng chéng yuán gòng tóng de xìng gé tè zhēng， zhè jiù shì mǎ kǒng duō rén de gū dú gǎn， cóng dì yī dài hé sài · ā kǎ dí 'ào · bù 'ēn dí yà dào dì liù dài 'ào léi lián nuò · bù 'ēn dí yà， měi gè réndōu shēng huó zài zì jǐ yíng zào de gū dú zhī zhōng， ér qiě jí lì bǎo chí zhe zhè zhǒng gū dú。 dì yī dài bù 'ēn dí yà hé biǎo mèi jié hūn yǐ hòu jiù zāo shòu dào gū dú de zhé mó， tā yóu yú hài pà shēng xià cháng zhū wěi bā de hái zǐ 'ér bù gǎn hé qī zǐ tóng fáng， shā sǐ cháo xiào zhě hòu yòu shòu dào guǐ hún kùn rǎo， bù dé bù yuǎn zǒu tā xiāng。 wǎn nián， tā jīng shén huǎng hū、 fēng fēng diān diān， zuì hòu bèi bǎng zài lì zǐ shù shàng gū dú dì sǐ qù。 dì 'èr dài 'ào léi lián nuò shàng xiào nián qīng shí shēn jīng bǎi zhàn， què bù zhī wéi shuí mài mìng。 tuì xiū hòu tā bǎ zì jǐ fǎn suǒ zài wū zǐ lǐ zhì zuò xiǎo jīn yú， zuò hǎo huà diào， huà diào zài zuò，“ lián nèi xīn yě shàng liǎo mén shuān”。 dì 'èr dài zhōng de 'ā mǎ lán tǎ yīn xiǎn dì pò huài bié rén de xìng fú， yòu lěng kù dì jù jué zì jǐ de qiú hūn zhě。 tā zhěng tiān wéi zì jǐ zhì zhe shī yī， gū dú dì děng dài zhe sǐ shén zhào huàn。 dì sì dài zhōng qiào gū niàn léi méi tái sī gēn běn jiù“ bù shì zhè gè shì jiè de rén”， tā měi tiān dōuzài yù shì shì chōng xǐ shēn zǐ， jǐ xiǎo shí jǐ xiǎo shí dì dǎ fā shí jiān， zuì hòu tā zhuā zhù yī tiáo chuáng dān fēi shàng liǎo tiān…… zhè zhǒng gū dú de 'è xí zài zhè gè jiā tíng dài dài xiāng chuán， zhōu 'ér fù shǐ， è xìng xún huán， zài xīn rén zhī jiān zhù qǐ yī dào wú xíng de qiáng， shǐ rén yǔ shì gé jué、 bù sī jìn qǔ、 zì wǒ fēng bì、 lí qún suǒ jū。 tā zhì zào liǎo yú wèi luò hòu、 bǎo shǒu jiāng huà de shè huì xiàn zhuàng。 zuò zhě rèn wéi“ gū dú” yǐ jīng shèn rù liǎo lā dīng měi zhōu de mín zú jīng shén， chéng wéi zǔ 'ài mín zú shàng jìn、 guó jiā fā zhǎn de xīn lǐ fù dān。 zhè zhǒng gū dú de běn zhì shì rén mín yīn wéi bù néng zhǎng wò zì jǐ de mìng yùn 'ér chǎn shēng de jué wàng、 lěng mò hé shū lí gǎn。 tā shì jiā zú shuāi bài、 mín zú luò hòu、 guó jiā miè wáng de gēn yuán。 xiǎo shuō zuì hòu miáo xiě bù 'ēn dí yà jiā tíng lián tóng mǎ kǒng duō xiǎo zhèn bèi jù fēng guā zǒu， shēn kè jiē shì liǎo yóu gū dú suǒ chǎn shēng de shè huì bēi jù de bì rán xìng。
《 bǎi nián gū dú》 quán miàn shēn kè dì tí shì liǎo lā dīng měi zhōu jìn bǎi nián lái“ gū dú” de shè huì xiàn shí hé zào chéng zhè zhǒng xiàn zhuàng de shēn kè de lì shǐ、 zhèng zhì、 jīng jì、 wén huà děng zhū duō fāng miàn de yuán yīn， shì yī bù dāng dài lā dīng měi zhōu de bǎi kē quán shū。
《 bǎi nián gū dú》 - shū píng
bèi yù wéi“ zài xiàn lā dīng měi zhōu lì shǐ shè huì tú jǐng de hóng piān jù zhù” de《 bǎi nián gū dú》， shì jiā xī yà mǎ 'ěr kè sī de dài biǎo zuò， yě shì lā dīng měi zhōu mó huàn xiàn shí zhù yì wén xué zuò pǐn de dài biǎo zuò。 quán shū jìn 30 wàn zì， nèi róng páng zá， rén wù zhòng duō， qíng jié qū zhé lí qí， zài jiā shàng shén huà gù shì、 zōng jiào diǎn gù、 mín jiān chuán shuō yǐ jí zuò jiā dú chuàng de cóng wèi lái de jiǎo dù lái huí yì guò qù de xīn yíng dàoxù shǒu fǎ děng děng， lìng rén yǎn huā liáo luàn。 dàn yuè bì quán shū， dú zhě kě yǐ lǐng wù， zuò jiā shì yào tōng guò bù 'ēn dì yà jiā zú 7 dài rén chōng mǎn shén mì sè cǎi de kǎn kě jīng lì lái fǎn yìng gē lún bǐ yà nǎi zhì lā dīng měi zhōu de lì shǐ yǎn biàn hé shè huì xiàn shí， yào qiú dú zhě sī kǎo zào chéng mǎ gòng duō bǎi nián gū dú de yuán yīn， cóng 'ér qù xún zhǎo bǎi tuō mìng yùn kuò nòng de zhèng què tú jìng。
cóng 1830 nián zhì shàng shì jì mò de 70 nián jiān， gē lún bǐ yà bào fā guò jǐ shí cì nèi zhàn， shǐ shù shí wàn rén sàng shēng。 běn shū yǐ hěn dà de piān fú miáo shù liǎo zhè fāng miàn de shǐ shí， bìng qiě tōng guò shū zhōng zhù rén gōng dài yòu chuán qí sè cǎi de shēng yá jí zhōng biǎo xiàn chū lái。 zhèng kè men de xū wěi， tǒng zhì zhě men de cán rěn， mín zhòng de máng cóng hé yú mèi děng děngdōu xiěde lín lí jìn zhì。 zuò jiā yǐ shēng dòng de bǐ chù， kè huà liǎo xìng gé xiān míng de zhòng duō rén wù， miáo huì liǎo zhè gè jiā zú de gū dú jīng shén。 zài zhè gè jiā zú zhōng， fū qī zhī jiān、 fù zǐ zhī jiān、 mǔ nǚ zhī jiān、 xiōng dì jiě mèi zhī jiān， méi yòu gǎn qíng gōu tōng， quē fá xìn rèn hé liǎo jiě。 jìn guǎn hěn duō rén wéi dǎ pò gū dú jìn xíng guò zhǒng zhǒng jiān kǔ de tàn suǒ， dàn yóu yú wú fǎ zhǎo dào yī zhǒng yòu xiào de bàn fǎ bǎ fēn sàn de lì liàng tǒng yī qǐ lái， zuì hòu jūn yǐ shī bài gào zhōng。 zhè zhǒng gū dú bù jǐn mí màn zài bù 'ēn dì yà jiā zú hé mǎ gòng duō zhèn， ér qiě shèn rù liǎo xiá 'ài sī xiǎng， chéng wéi zǔ 'ài mín zú xiàng shàng、 guó jiā jìn bù de yī dà bāo fú。 zuò jiā xiě chū zhè yī diǎn， shì xī wàng lā měi mín zhòng tuán jié qǐ lái， gòng tóng nǔ lì bǎi tuō gū dú。 suǒ yǐ，《 bǎi nián gū dú》 zhōng jìn yín zhe de gū dú gǎn， qí zhù yào nèi hán yīnggāi shì duì zhěng gè kǔ nán de lā dīng měi zhōu bèi pái chì xiàn dài wén míng shì jiè de jìn chéng zhī wài de fèn mèn hé kàng yì， shì zuò jiā zài duì lā dīng měi zhōu jìn bǎi nián de lì shǐ、 yǐ jí zhè kuài dà lù shàng rén mín dú tè de shēng mìng lì、 shēng cún zhuàng tài、 xiǎng xiàng lì jìn xíng dú tè de yán jiū zhī hòu xíng chéng de juéjiàng de zì xìn。
jiā xī yà mǎ 'ěr kè sī zūn xún“ biàn xiàn shí wéi huàn xiǎng 'ér yòu bù shī qí zhēn” de mó huàn xiàn shí zhù yì chuàng zuò yuán zé， jīng guò qiǎo miào de gòu sī hé xiǎng xiàng， bǎ chù mù jīng xīn de xiàn shí hé yuán yú shén huà、 chuán shuō de huàn xiǎng jié hé qǐ lái， xíng chéng sè cǎi bān lán、 fēng gé dú tè de tú huà， shǐ dú zhě zài“ sì shì 'ér fēi， sì fēi 'ér shì” de xíng xiàng zhōng， huò dé yī zhǒng sì céng xiāng shí yòu jué mò shēng de gǎn shòu， cóng 'ér jī qǐ xún gēn sù yuán qù zhuī suǒ zuò jiā chuàng zuò zhēn dì de yuàn wàng。 mó huàn xiàn shí zhù yì bì xū yǐ xiàn shí lì jī chǔ， dàn zhè bìng bù fáng 'ài tā cǎi qǔ jí duān kuā zhāng de shǒu fǎ。 rú běn shū xiě wài bù wén míng duì mǎ gòng duō de qīn rù， shì xiàn shí de， dàn yòu mó huàn huà liǎo： jí bǔ sài rén tuō zhe liǎng kuài cí tiě“…… āi jiā chuàn hù dì zǒu zhe…… tiě guō、 tiě pén、 tiě qián、 xiǎo tiě lú fēn fēn cóng yuán dì làxià， mù bǎn yīn tiě dīng hé luó dīng méi mìng dì zhèng tuō chū lái 'ér gā gā zuò xiǎng…… gēn zài nà liǎng kuài mó tiě de hòu miàn luàn gǔn”； yòu rú xiě yè de jì jìng， rén men jū rán néng tīng dào“ mǎ yǐ zài yuè guāng xià de hōng nào shēng、 zhù chóng kěn shí shí de jù xiǎng yǐ jí yě cǎo shēngzhǎng shí chí xù 'ér qīng xī de jiān jiào shēng”； zài rú xiě zhèng fǔ bǎ dà pī bà gōng zhě shā hài hòu， jiāng shī tǐ zhuāng shàng huǒ chē yùn dào hǎi lǐ rēng diào， nà liàng huǒ chē jìng yòu 200 jié chē xiāng， qián、 zhōng、 hòu gòng yòu 3 gè chē tóu qiān yǐn！ zuò jiā sì hū zài bù duàn dì biàn huàn zhe hā hā jìng、 wàng yuǎn jìng、 fàng dà jìng shèn zhì xiǎn wēi jìng， dú dú zhě kàn dào yī fú fú zhēn zhēn jiǎ jiǎ、 xū shí jiāo cuò de huà miàn， cóng 'ér fēng fù liǎo xiǎng xiàng lì， shōu dào qiáng liè de yì shù xiào guǒ。
yìn dì 'ān chuán shuō、 dōng fāng shén huà yǐ jí《 shèng jīng》 diǎn gù de yùn yòng， jìn yī bù jiā qiáng liǎo běn shū de shén mì qì fēn。 rú xiě pǔ luó dēng xiào de guǐ hún rì yè jiū chán bù 'ēn dì yà yī jiā， biàn qǔ cái yú yìn dì 'ān chuán shuō zhōng yuān guǐ zì jǐ bù dé 'ān níng yě bù ràng chóu rén 'ān níng de shuō fǎ； yòu guān fēi tǎn yǐ jí qiào gū niàn léi méi tái sī zhuā zhù chuáng dān shēng tiān de miáo xiě shì 'ā lā bó shén huà《 tiān fāng yè tán》 de yǐn shēn； ér mǎ gòng duō yī lián xià liǎo sì nián shí yī gè yuè líng liǎng tiān de dà yǔ zé shì《 shèng jīng chuàng shì jì》 zhōng yòu guān hóng shuǐ hào jié jí nuó yà fāng zhōu děng gù shì de yí zhí。 lā dīng měi zhōu de mín jiān chuán shuō wǎng wǎng dài yòu mí xìn sè cǎi， zuò jiā zài cǎi yòng zhè xiē mín jiān chuán shuō shí， yòu shí bǎ tā men zuò wéi xiàn shí lái miáo xiě； rú hǎo hàn fú lǎng xī sī kē“ céng hé mó guǐ duì gē， jī bài liǎo duì shǒu”； ā mǎ lán tǎ zài cháng láng lǐ xiù huā shí yǔ sǐ shén jiāo tán děng děng。 yòu shí zé fǎn qí yì 'ér yòng zhī， rú xiě ní kǎ nuò 'ěr shén fù hē liǎo yī bēi qiǎo kè lì hòu jū rán néng lí dì 12 lí mǐ， yǐ zhèng míng“ shàng dì yòu wú xiàn shén lì” děng děng， xiǎn rán shì duì zōng jiào mí xìn de fěng cì hé cháo xiào。
běn shū zhōng xiàng zhēng zhù yì shǒu fǎ yùn yòng dé bǐ jiào chéng gōng qiě yòu yì yì de， yìng shǒu tuī guān yú bù mián zhèng de miáo xiě。 mǎ gòng duō quán tǐ jū mín zài jiàn cūn hòu bù jiǔ dū chuán rǎn shàng yī zhǒng bù mián zhèng。 yán zhòng de shì， dé liǎo zhè zhǒng bìng， rén huì shī qù jì yì。 wèile shēng huó， tā men bù dé bù zài wù pǐn shàng tiē shàng biāo qiān。 lì rú tā men zài niú shēn shàng tiē biāo qiān dào：“ zhè shì niú， měi tiān yào jǐ tā de nǎi； yào bǎ nǎi zhǔ kāi jiā shàng kā fēi cái néng zuò chéng niú nǎi kā fēi。” zhè lèi lì zǐ shū zhōng bǐ bǐ jiē shì， zuò jiā yì zài tí xǐng gōng zhòng láo jì róng yì bèi rén yí wàng de lì shǐ。
lìng wài， zuò jiā hái dú chuàng liǎo cóng wèi lái de jiǎo dù huí yì guò qù de xīn yíng dàoxù shǒu fǎ。 lì rú xiǎo shuō yī kāi tóu， zuò jiā jiù zhè yàng xiě dào：“ xǔ duō nián zhī hòu， miàn duì xíng xíng duì， ào léi liáng nuò bù 'ēn dì yà shàng xiào jiāng huì huí xiǎng qǐ， tā fù qīn dài tā qù jiàn shí bīng kuài de nà gè yáo yuǎn de xià wǔ。” duǎn duǎn de yī jù huà， shí jì shàng róng nà liǎo wèi lái、 guò qù hé xiàn zài sān gè shí jiān céng miàn， ér zuò jiā xiǎn rán yǐn nì zài“ xiàn zài” de xù shì jiǎo dù。 jǐn jiē zhe， zuò jiā bǐ fēng yī zhuǎn， bǎ dú zhě yǐn huí dào mǎ gòng duō de chū chuàng shí qī。 zhè yàng de shí jiān jié gòu， zài xiǎo shuō zhōng yī zài chóngfù chū xiàn， yī huán jiē yī huán， huán huán xiāng kòu， bù duàn dì gěi dú zhě zào chéng xīn de xuán niàn。
zuì hòu， zhí dé zhù yì de shì， běn shū níng zhòng de lì shǐ nèi hán、 xī lì de pī pàn yǎn guāng、 shēn kè de mín zú wén huà fǎnxǐng、 páng dà de shén huà yǐn yù tǐ xì shì yóu yī zhǒng ràng rén 'ěr mù yī xīn de shén mì yǔ yán guàn chuàn shǐ zhōng de。 yòu de píng jiā rèn wéi zhè bù xiǎo shuō chū zì 8 suì 'ér tóng zhī kǒu， jiā xī yà mǎ 'ěr kè sī duì cǐ shuō pō gǎn xīn wèi。 zhè shì hěn shēn kè de píng pàn mù guāng。 yīn wéi zhè zhǒng zhí guān de、 jiǎn yuē de yǔ yán què shí yòu xiào dì fǎn yìng liǎo yī zhǒng xīn de shì jiǎo， yī zhǒng luò hòu mín zú（ rén lèi 'ér tóng） de zì wǒ yì shí。 dāng shì rén de kǔ xiào qǔ dài liǎo bàng guān zhě de yǎn lèi，“ yú zhě” zì wǒ biǎo dá de qièfū zhī tòng qǔ dài liǎo“ zhì zhě” mào sì gōng yǔn de pī pàn hé fēn xī， gèng néng shōu dào huàn qǐ bèi yú nòng zhě qún tǐ shēn kè fǎnxǐng de kè guān xiào guǒ。
《 bǎi nián gū dú》 - jiā zú rén wù biǎo
huò · ā · bù 'ēn dì yà dì yī dài
wū sū nà huò · ā · bù 'ēn dì yà zhī qī dì yī dài
huò · ā kǎ dì 'ào huò · ā · bù 'ēn dì yà zhī cháng zǐ dì 'èr dài
léi bèi kǎ huò · ā kǎ dì 'ào zhī qī dì 'èr dài
ào léi lián nuò shàng xiào huò · ā · bù 'ēn dì yà zhī cì zǐ dì 'èr dài
léi mài dài sī · mó sī kē tè 'ào léi lián nuò shàng xiào zhī qī dì 'èr dài
ā mǎ lán tǎ huò · ā · bù 'ēn dì yà zhī xiǎo nǚ 'ér dì 'èr dài
pí lā · tái liè nà huò · ā kǎ dì 'ào zhī qíng fù dì 'èr dài
ā kǎ dì 'ào huò · ā kǎ dì 'ào zhī zǐ dì sān dài
shèng suǒ fěi yà · dé lā pèi dé 'ā kǎ dì 'ào zhī qī dì sān dài
ào léi lián nuò · huò sài 'ào léi lián nuò shàng xiào zhī zǐ dì sān dài
shí qī gè 'ào léi lián nuò 'ào léi lián nuò shàng xiào zhī zǐ dì sān dài
qiào gū niàn léi mài dài sī 'ā kǎ dì 'ào zhī cháng nǚ dì sì dài
huò · ā kǎ dì 'ào dì 'èr 'ā kǎ dì 'ào zhī cì zǐ dì sì dài
ào léi lián nuò dì 'èr 'ā kǎ dì 'ào zhī xiǎo 'ér zǐ dì sì dài
fěi lán dá · dé kǎ pí 'ào 'ào léi lián nuò dì 'èr zhī qī dì sì dài
pèi tè nà · kē tè 'ào léi lián nuò dì 'èr zhī qíng fù dì sì dài
huò · ā kǎ dì 'ào（ shén xué yuàn xué shēng） ào léi lián nuò dì 'èr zhī cháng zǐ dì wǔ dài
méi méi（ léi nà tǎ） ào léi lián nuò dì 'èr zhī cì nǚ dì wǔ dài
bā bǐ luò ní yà méi méi zhī fū dì wǔ dài
ā mǎ lán tǎ · wū sū nà 'ào léi lián nuò dì 'èr zhī xiǎo nǚ 'ér dì wǔ dài
jiā sī dōng 'ā mǎ lán tǎ · wū sū nà zhī fū dì wǔ dài
ào léi lián nuò · bù 'ēn dì yà（ pò yì shǒu gǎo zhě） méi méi zhī zǐ dì liù dài
yòu wěi bā de yīng 'ér 'ào léi lián nuò · bù 'ēn dì yà zhī hòu dài dì qī dài
《 bǎi nián gū dú》 - xiě zuò tè diǎn
wǒ jiā xī yà · mǎ 'ěr kè sī zūn xún“ biàn xiàn shí wéi huàn xiǎng 'ér yòu bù shī qí zhēn” de mó huàn xiàn shí zhù yì chuàng zuò yuán zé， jīng guò qiǎo miào de gòu sī hé xiǎng xiàng， bǎ chù mù jīng xīn de xiàn shí hé yuán yú shén huà、 chuán shuō de huàn xiǎng jié hé qǐ lái， xíng chéng sè cǎi bān lán、 fēng gé dú tè de tú huà， shǐ dú zhě zài“ sì shì 'ér fēi， sì fēi 'ér shì” de xíng xiàng zhōng， huò dé yī zhǒng sì céng xiāng shí yòu jué mò shēng de gǎn shòu， cóng 'ér jī qǐ xún gēn sù yuán qù zhuī suǒ zuò jiā chuàng zuò zhēn dì de yuàn wàng。 mó huàn xiàn shí zhù yì bì xū yǐ xiàn shí lì jī chǔ， dàn zhè bìng bù fáng 'ài tā cǎi qǔ jí duān kuā zhāng de shǒu fǎ。 rú běn shū xiě wài bù wén míng duì mǎ gòng duō de qīn rù， shì xiàn shí de， dàn yòu mó huàn huà liǎo： jí bǔ sài rén tuō zhe liǎng kuài cí tiě“…… āi jiā chuàn hù dì zǒu zhe…… tiě guō、 tiě pén、 tiě qián、 xiǎo tiě lú fēn fēn cóng yuán dì làxià， mù bǎn yīn tiě dīng hé luó dīng méi mìng dì zhèng tuō chū lái 'ér gā gā zuò xiǎng…… gēn zài nà liǎng kuài mó tiě de hòu miàn luàn gǔn”； yòu rú xiě yè de jì jìng， rén men jū rán néng tīng dào“ mǎ yǐ zài yuè guāng xià de hōng nào shēng、 zhù chóng kěn shí shí de jù xiǎng yǐ jí yě cǎo shēngzhǎng shí chí xù 'ér qīng xī de jiān jiào shēng”； zài rú xiě zhèng fǔ bǎ dà pī bà gōng zhě shā hài hòu， jiāng shī tǐ zhuāng shàng huǒ chē yùn dào hǎi lǐ rēng diào， nà liàng huǒ chē jìng yòu 200 jié chē xiāng， qián、 zhōng、 hòu gòng yòu 3 gè chē tóu qiān yǐn！ zuò jiā sì hū zài bù duàn dì biàn huàn zhe hā hā jìng、 wàng yuǎn jìng、 fàng dà jìng shèn zhì xiǎn wēi jìng， ràng dú zhě kàn dào yī fú fú zhēn zhēn jiǎ jiǎ、 xū shí jiāo cuò de huà miàn， cóng 'ér fēng fù liǎo xiǎng xiàng lì， shōu dào qiáng liè de yì shù xiào guǒ。
yìn dì 'ān chuán shuō、 dōng fāng shén huà yǐ jí《 shèng jīng》 diǎn gù de yùn yòng， jìn yī bù jiā qiáng liǎo běn shū de shén mì qì fēn。 rú xiě pǔ luó dēng xiào de guǐ hún rì yè jiū chán bù 'ēn dì yà yī jiā， biàn qǔ cái yú yìn dì 'ān chuán shuō zhōng yuān guǐ zì jǐ bù dé 'ān níng yě bù ràng chóu rén 'ān níng de shuō fǎ； yòu guān fēi tǎn yǐ jí qiào gū niàn léi méi tái sī zhuā zhù chuáng dān shēng tiān de miáo xiě shì 'ā lā bó shén huà《 tiān fāng yè tán》 de yǐn shēn； ér mǎ gòng duō yī lián xià liǎo sì nián shí yī gè yuè líng liǎng tiān de dà yǔ zé shì《 shèng jīng · chuàng shì jì》 zhōng yòu guān hóng shuǐ hào jié jí nuó yà fāng zhōu děng gù shì de yí zhí。 lā dīng měi zhōu de mín jiān chuán shuō wǎng wǎng dài yòu mí xìn sè cǎi， zuò jiā zài cǎi yòng zhè xiē mín jiān chuán shuō shí， yòu shí bǎ tā men zuò wéi xiàn shí lái miáo xiě； rú hǎo hàn fú lǎng xī sī kē“ céng hé mó guǐ duì gē， jī bài liǎo duì shǒu”； ā mǎ lán tǎ zài cháng láng lǐ xiù huā shí yǔ sǐ shén jiāo tán děng děng。 yòu shí zé fǎn qí yì 'ér yòng zhī， rú xiě ní kǎ nuò 'ěr shén fù hē liǎo yī bēi qiǎo kè lì hòu jū rán néng lí dì 12 lí mǐ， yǐ zhèng míng“ shàng dì yòu wú xiàn shén lì” děng děng， xiǎn rán shì duì zōng jiào mí xìn de fěng cì hé cháo xiào。
běn shū zhōng xiàng zhēng zhù yì shǒu fǎ yùn yòng dé bǐ jiào chéng gōng qiě yòu yì yì de， yìng shǒu tuī guān yú bù mián zhèng de miáo xiě。 mǎ gòng duō quán tǐ jū mín zài jiàn cūn hòu bù jiǔ dū chuán rǎn shàng yī zhǒng bù mián zhèng。 yán zhòng de shì， dé liǎo zhè zhǒng bìng， rén huì shī qù jì yì。 wèile shēng huó， tā men bù dé bù zài wù pǐn shàng tiē shàng biāo qiān。 lì rú tā men zài niú shēn shàng tiē biāo qiān dào：“ zhè shì niú， měi tiān yào jǐ tā de nǎi； yào bǎ nǎi zhǔ kāi jiā shàng kā fēi cái néng zuò chéng niú nǎi kā fēi。” zhè lèi lì zǐ shū zhōng bǐ bǐ jiē shì， zuò jiā yì zài tí xǐng gōng zhòng láo jì róng yì bèi rén yí wàng de lì shǐ。
lìng wài， zuò jiā hái dú chuàng liǎo cóng wèi lái de jiǎo dù huí yì guò qù de xīn yíng dàoxù shǒu fǎ。 lì rú xiǎo shuō yī kāi tóu， zuò jiā jiù zhè yàng xiě dào：“ xǔ duō nián zhī hòu， miàn duì xíng xíng duì， ào léi liáng nuò · bù 'ēn dì yà shàng xiào jiāng huì huí xiǎng qǐ， tā fù qīn dài tā qù jiàn shí bīng kuài de nà gè yáo yuǎn de xià wǔ。” duǎn duǎn de yī jù huà， shí jì shàng róng nà liǎo wèi lái、 guò qù hé xiàn zài sān gè shí jiān céng miàn， ér zuò jiā xiǎn rán yǐn nì zài“ xiàn zài” de xù shì jiǎo dù。 jǐn jiē zhe， zuò jiā bǐ fēng yī zhuǎn， bǎ dú zhě yǐn huí dào mǎ gòng duō de chū chuàng shí qī。 zhè yàng de shí jiān jié gòu， zài xiǎo shuō zhōng yī zài chóngfù chū xiàn， yī huán jiē yī huán， huán huán xiāng kòu， bù duàn dì gěi dú zhě zào chéng xīn de xuán niàn。
zuì hòu， zhí dé zhù yì de shì， běn shū níng zhòng de lì shǐ nèi hán、 xī lì de pī pàn yǎn guāng、 shēn kè de mín zú wén huà fǎnxǐng、 páng dà de shén huà yǐn yù tǐ xì shì yóu yī zhǒng ràng rén 'ěr mù yī xīn de shén mì yǔ yán guàn chuàn shǐ zhōng de。 yòu de píng jiā rèn wéi zhè bù xiǎo shuō chū zì 8 suì 'ér tóng zhī kǒu， jiā xī yà · mǎ 'ěr kè sī duì cǐ shuō pō gǎn xīn wèi。 zhè shì hěn shēn kè de píng pàn mù guāng。 yīn wéi zhè zhǒng zhí guān de、 jiǎn yuē de yǔ yán què shí yòu xiào dì fǎn yìng liǎo yī zhǒng xīn de shì jiǎo， yī zhǒng luò hòu mín zú（ rén lèi 'ér tóng） de zì wǒ yì shí。 dāng shì rén de kǔ xiào qǔ dài liǎo bàng guān zhě de yǎn lèi，“ yú zhě” zì wǒ biǎo dá de qièfū zhī tòng qǔ dài liǎo“ zhì zhě” mào sì gōng yǔn de pī pàn hé fēn xī， gèng néng shōu dào huàn qǐ bèi yú nòng zhě qún tǐ shēn kè fǎnxǐng de kè guān xiào guǒ。
《 bǎi nián gū dú》 bèi rèn wéi shì lā dīng měi zhōu“ wén xué bào zhà” shí dài de dài biǎo zuò pǐn。 zài shì jiè wén xué shǐ shàng zhàn yòu zhòng yào de dì wèi。 zài lā měi shì jiè zhǐ yòu bó 'ěr hè sī děng shǎo shù zuò jiā kě yǐ pì měi。 ér qiě zài shì jiè gè dì xiān qǐ liǎo lā měi wén xué fēng。 mó huàn xiàn shí zhù yì yě bèi rèn wéi shì zhǐ jù yòu chuàng yì de xiě zuò shǒu fǎ zhī yī。
The novel chronicles the history of the Buendía family in the town founded by their patriarch, José Arcadio Buendía. It is built on multiple time frames, playing on ideas presented earlier by Jorge Luis Borges in stories such as The Garden of Forking Paths.
Biographical background and publication
Gabriel Garcia Marquez was born on March 6, 1927. García Márquez is a Colombian-born author and journalist, winner of the 1982 Nobel Prize for Literature and a pioneer of the Latin American “Boom.” Affectionately known as “Gabo” to millions of readers, he first won international fame with his masterpiece, One Hundred Years of Solitude, a defining classic of twentieth century literature . His Colombian roots influenced large parts of the novel, as evidenced by the different myths throughout the novel . These myths, along with events in the novel, recount a large portion of Colombian history. For instance, “the arguments over reform in the nineteenth century, the arrival of the railway, the War of the Thousand Days, the American fruit company, the cinema, the automobile, and the massacre of striking plantation workers” are all incorporated in the novel at one point or another".
Plot summary
The novel chronicles the seven generations of the Buendía family in the town of Macondo. The family patriarch and founder of Macondo, José Arcadio Buendía, and his wife (and first cousin), Úrsula, leave their home in Riohacha, Colombia in hopes of finding a new home. One night on their journey while camping on the banks of a river, José Arcadio Buendía dreams of a city of mirrors named Macondo. Upon awakening, José Arcadio Buendía decides to found this city on the site of their campground. After wandering aimlessly in the jungle for many days, the founding of Macondo can be seen as the founding of UtopiaJosé Arcadio Buendía believes it to be surrounded by water, and from this 'island' he invents the world according to him, naming things at will. After its establishment, Macondo soon becomes a town frequented by unusual and extraordinary events. All the events revolve around the many generations of the Buendía family, who are either unable or unwilling to escape periodic, mostly self-inflicted misfortunes. Ultimately, Macondo is destroyed by a terrible hurricane, which symbolizes the cyclical turmoil inherent in Macondo. At the end of the book one of the Buendía male decendants finally cracks a cipher that the males in his family had been trying to solve for generation. The cipher stated all the events that the Buendía family had gone through. Note that this information was available at the beginning of time, and in possession of the Buendia family, before Macondo was even thought of, just indecipherable.
Historical Context
Although One Hundred Years of Solitude is considered a work of fiction, Gabriel García Márquez, a Colombian native, drew upon his country’s history to create a world which parallels many of the major events in Colombia’s history, thus establishing the novel as a piece of critical interpretation.
Prior to European conquest, the region now called Colombia had no cultural developments akin to those of the Incas, the Mayas or the Aztecs The region consisted mainly of large families grouped into larger units that served to define local monarchies . The most well defined tribal groups of the area were the Tairona, the Cenu, the Chibcha . The first Spanish settlement was established in 1509 under the direction of Vasco Nunez de Balboa, as a precursor to the conquest of the territory . Marquez uses the founding of the town of Macondo by the Buendia family as a metaphor for the colonization of the region of Colombia.
After Gonzalo Jimenez de Quesada’s conquest of the Chibchas in 1538, Bogotá became the center of Spanish rule . After the collapse of Spanish control in 1810, provincial juntas sprang up almost everywhere to challenge Bogotá’s authority. Eventually though, royalist armies led by Pablo Morillo restored Spanish rule in 1816. Three years later when Simon Bolivar began a second war for independence, he declared the creation of a supranational state-Gran Colombia. With its capital at Bogotá, Gran Colombia survived long enough to witness Spain's final defeat in 1825.
The achievement of Independence in 1819 revealed the further obstacles. Colombia’s geography was a formidable obstacle to modernization. High transportation costs made self-sufficient and disconnected enclaves viable much like the description of the town of Macondo). Colombia had been wrestling with modernity since the eighteenth century. The dynamism of the capitalist revolution gave Colombia’s ruling classes a stark choice: integration with the modern industrial world or perishing in a backwater of barbarism. To incorporate the country with the world, Colombia would have to look to the institutional, political, and economic models of Europe and the United States.
“As nineteenth century Colombians explored, described, and colonized their interior, they mapped racial hierarchy onto an emerging national geography composed of distinct localities and regions. This created a racialized discourse of regional differentiation that assigned greater morality and progress to certain regions that they marked as “white”. Meanwhile, those places defined as “black” and “Indian” were associated with disorder, backwardness, and danger” technology and modernization became associated with race.
In Macondo, with the introduction of technology, a rising population, and modernization came the insomnia plague, which was characterized by forgetfulness. The people of Macondo forgot the words for objects (such as tables and chairs) and eventually forgot the significance or usages of these objects. Not only does this serve as a criticism by Marquez of the modernization of Colombia, but also of the plagues characteristic of the Spanish conquest, which killed many indigenous people throughout the South American continent and the Caribbean. It is estimated that smallpox killed up to 95% of the indigenous population of the Americas during the conquest. The insomnia of the story represents the nostalgia for the better days of the past, which are now lost upon the residents of Macondo (as a metaphor for Colombia): days before the modernization of the town and before the spread of deadly disease.
The history of Colombia is one that has been marked by years of violence, from wars for independence to the modern-day rebel group commonly known as the FARC. The first major violence in Colombia was a product of the Bolivar Liberation from 1810 to 1821. The leader of the revolution, Simon Bolivar, led many battles against the Spanish in an attempt to free the country from Spanish rule. After independence, well-defined socioeconomic regions, divided in a roughly north-south direction by parallel spurs of the Andes mountains, came into being. During the nineteenth century, the existence of several powerful regional centers undoubtedly contributed to civil disorder . Politically, the relative dispersion of the population and its economic resources caused difficulties for the government’s modernizing programs.
In 1934 a reformist wave brought Dr. Alfonso Lopez Pumarejo to the presidency by unanimous Liberal choice. Lopez imposed La Revolución en Marcha, a revolution characterized by labor reform and social legislation, which angered many Conservatives. In August 1946, Mariano Ospina Pérez took office as the first Conservative president of Colombia. This marked the start of a political breakdown that drew the people under increasingly undemocratic rule . On April 9, 1948, influential and celebrated Liberal candidate, Jorge Eliécer Gaitán, was assassinated, sparking the period of Colombia’s history known as “la Violencia”.
By the mid-1960’s, Colombia had witnessed in excess of two hundred thousand politically motivated deaths. La Violencia, from 1946–66, can be broken into five stages: the revival of political violence before and after the presidential election of 1946, the popular urban upheavals generated by Gaitan’s assassination, open guerrilla warfare, first against Conservative government of Ospina Perez, incomplete attempts at pacification and negotiation resulting from the Rojas Pinilla (who had ousted Laureano Gómez), and, finally, disjointed fighting under the Liberal/Conservative coalition of the “National Front,” from 1958 to 1975.
The politically charged violence characteristic of Colombia’s history is paralleled in One Hundred Years of Solitude by the character of Colonel Aureliano Buendia, who wages war against the Conservatives who are facilitating the rise to power of foreign imperialists. The wealthy banana plantation owners (perhaps based on the United Fruit Co.) set up their own dictatorial police force, which brutally attacks citizens for even the slightest offenses.
The use of real events and Colombian history by Garcia Marquez makes One Hundred Years of Solitude an excellent example of magical realism. Not only are the events of the story an interweaving of reality and fiction, but the novel as a whole tells the history of Colombia from a critical perspective using magical realism. In this way, the novel compresses several centuries of Latin American history into a manageable text.
Furthermore, the novel points out that the current state of Latin America is the result of the inability to obtain the confidence required to construct a meaningful sense of direction and progress. The tragedy of Latin America is that it lacks a meaningful and solid identity, causing a lack of self-preservation. This can be attributed to a past highlighted by five hundred years of colonization. Subsequently, there is a seemingly perpetual repetition of violence, repression, and exploitation resulting in a loss of authenticity. The reality of Latin America is presented as a reoccurring fantastical world in One Hundred Years of Solitude. It is a vacuum in which the characters have no chance of survival. The desire for change and forward movement exists in Macondo, just as it does in the countries of Latin America. However, the cyclical nature of time in the novel symbolizes the tendency toward repeating history in reality. Subsequently, meaningful progress is never achieved in Macondo or in Latin America. In this manner, Marquez provides insight into the feeling of solitude in present-day Latin America.
Symbolism and metaphors
A dominant theme in One Hundred Years of Solitude is the inevitable and inescapable repetition of history in Macondo. The protagonists are controlled by their pasts and the complexity of time. Throughout the novel the characters are visited by ghosts. "The ghosts are symbols of the past and the haunting nature it has over Macondo. The ghosts and the displaced repetition that they evoke are, in fact, firmly grounded in the particular development of Latin American history". "Ideological transfiguration ensured that Macondo and the Buendías always were ghosts to some extent, alienated and estranged from their own history, not only victims of the harsh reality of dependence and underdevelopment but also of the ideological illusions that haunt and reinforce such social conditions.
The fate of Macondo is both doomed and predetermined from its very existence. "Fatalism is a metaphor for the particular part that ideology has played in maintaining historical dependence, by locking the interpretation of Latin American history into certain patterns that deny alternative possibilities.The narrative seemingly confirms fatalism in order to illustrate the feeling of entrapment that ideology can performatively create.
The Ghosts that haunt the people of Macondo are symbols of an inescapable past."Ideological transfiguration ensured that Macondo and the Buendías always were ghosts to some extent, alienated and estranged from their own history, not only victims of the harsh reality of dependence and underdevelopment but also of the ideological illusions that haunt and reinforce such social conditions".
Márquez uses colours as symbols. Yellow and gold are the most frequently used colours and they are symbols of imperialism and the Spanish Siglo de Oro. Gold signifies a search for economic wealth, whereas yellow represents death, change, and destruction.
The glass city is an image that comes to José Arcadio Buendía in a dream. It is the reason for the location of the founding of Macondo, but it is also a symbol of the ill fate of Macondo. Higgins writes that, "By the final page, however, the city of mirrors has become a city of mirages. Macondo thus represents the dream of a brave new world that America seemed to promise and that was cruelly proved illusory by the subsequent course of history". Images such as the glass city and the ice factory represent how Latin America already has its history outlined and is, therefore, fated for destruction.
Overall, there is an underlying pattern of Latin American history in One Hundred Years of Solitude. It could be said that the novel is one of a number of texts that "Latin American culture has created to understand itself" . In this sense, the novel can be conceived as a linear archive. This archive narrates the story of a Latin America discovered by European explorers, which had its historical entity developed by the printing press. The Archive is a symbol of the literature that is the foundation of Latin American history and also a decoding instrument. Melquiades, the keeper of the historical archive in the novel, represents both the whimsical and the literary. Finally, “the world of One Hundred Years of Solitude is a place where beliefs and metaphors become forms of fact, and where more ordinary facts become uncertain”
Characters
Buendía Family Tree
First generation
José Arcadio Buendía
Jose Arcadio Buendía is the patriarch of the Buendía family and the founder of Macondo. Buendía leaves Riohacha, Colombia with his wife, Úrsula Iguarán, after murdering Prudencio Aguilar in a duel. One night camping at the side of a river, Buendía dreams of a city of mirrors named Macondo and decides to establish the town in this location. Jose Arcadio is an introspective, inquisitive man of massive strength and energy who spends more time on his scientific pursuits than with his family. He flirts with alchemy and astronomy and becomes increasingly withdrawn from his family and community. Marquez uses carefully chosen diction, imagery and biblical references to portray this wonderfully unique character to the reader .
Úrsula Iguarán
Úrsula Iguarán is one of the two matriarchs of the Buendía family and is wife to José Arcadio Buendía.
Second generation
José Arcadio
José Arcadio Buendía's firstborn son, José Arcadio seems to have inherited his father's headstrong, impulsive mannerisms. He eventually leaves the family to chase a Gypsy girl and unexpectedly returns many years later as an enormous man covered in tattoos, claiming that he's sailed the seas of the world. He marries his adopted sister Rebeca, causing his banishment from the mansion, and he dies from a mysterious gunshot wound, days after saving his brother from execution.
Colonel Aureliano Buendía
José Arcadio Buendía's second son and the first person to be born in Macondo. He was thought to have premonitions because everything he said came true.He represents not only a warrior figure but also an artist due to his ability to write poetry and create finely crafted golden fish. During the wars he fathered 17 children by unknown women.
Remedios Moscote
Remedios was the youngest daughter of the town's Conservative administrator, Don Apolinar Moscote. Her most striking physical features are her beautiful skin and her emerald-green eyes. The future Colonel Aureliano falls in love with her, despite her extreme youth. She dies shortly after the marriage from a blood poisoning illness during her pregnancy.
Amaranta
The third child of José Arcadio Buendía, Amaranta grows up as a companion of her adopted sister Rebeca. However, her feelings toward Rebeca turn sour over Pietro Crespi, whom both sisters intensely desire in their teenage years. Amaranta dies a lonely and virginal spinster, but comfortable in her existence after having finally accepted what she had become.
Rebeca
Rebeca is the orphaned daughter of Ursula Iguaran's second cousins. At first she is extremely timid, refuses to speak, and has the habits of eating earth and whitewash from the walls of the house, a condition known as pica. She arrives carrying a canvas bag containing her parents' bones and seems not to understand or speak Spanish. However, she responds to questions asked by Visitacion and Cataure in the Guajiro or Wayuu language. She falls in love with and marries her adoptive brother José Arcadio after his return from traveling the world. After his mysterious and untimely death, she lives in seclusion for the rest of her life.
Third generation
Arcadio
Arcadio is José Arcadio's illegitimate son by Pilar Ternera. He is a schoolteacher who assumes leadership of Macondo after Colonel Aureliano Buendía leaves. He becomes a tyrannical dictator and uses his schoolchildren as his personal army. Macondo soon becomes subject to his whims. When the Liberal forces in Macondo fall, Arcadio is shot by a Conservative firing squad.
Aureliano José
Aureliano José is the illegitimate son of Colonel Aureliano Buendía and Pilar Ternera. He joins his father in several wars before deserting to return to Macondo. He deserted because he is obsessed with his aunt, Amaranta, who raised him since his birth. He is eventually shot to death by a Conservative captain midway through the wars.
Santa Sofía de la Piedad
Santa Sofía is a beautiful virgin girl and the daughter of a shopkeeper. She is hired by Pilar Ternera to have sex with her son Arcadio, her eventual husband. She is taken in along with her children by the Buendías after Arcadio's execution. After Úrsula's death she leaves unexpectedly, not knowing her destination.
17 Aurelianos
During his 32 civil war campaigns, Colonel Aureliano Buendía has 17 sons by 17 different women, each named after their father.. Four of these Aurelianos (A. Triste, A. Serrador, A. Arcaya and A. Centeno) stay in Macondo and become a permanent part of the family. Eventually, as revenge against the Colonel, all are assassinated by the government, which identified them by the mysteriously permanent Ash Wednesday cross on their foreheads. The only survivor of the massacre is A. Amador, who escapes into the jungle only to be assassinated at the doorstep of his father's house many years later.
Fourth generation
Remedios the Beauty
Remedios the Beauty is Arcadio and Santa Sofía's first child. It is said she is the most beautiful woman ever seen in Macondo, and unintentionally causes the deaths of several men who love or lust over her. She appears to most of the town as naively innocent, and some come to think that she is mentally retarded. However, Colonel Aureliano Buendía believes she has inherited great lucidity: "It is as if she's come back from twenty years of war," he said. She rejects clothing and beauty. Too beautiful and, arguably, too wise for the world, Remedios ascends into the sky one morning, while folding laundry.
José Arcadio Segundo
José Arcadio Segundo is the twin brother of Aureliano Segundo, the children of Arcadio and Santa Sofía. Úrsula believes that the two were switched in their childhood, as José Arcadio begins to show the characteristics of the family's Aurelianos, growing up to be pensive and quiet. He plays a major role in the banana worker strike, and is the only survivor when the company massacres the striking workers. Afterward, he spends the rest of his days studying the parchments of Melquiades, and tutoring the young Aureliano. He dies at the exact instant that his twin does.
Aureliano Segundo
Of the two brothers, Aureliano Segundo is the more boisterous and impulsive, much like the José Arcadios of the family. He takes his first girlfriend Petra Cotes as his mistress during his marriage to the beautiful and bitter Fernanda del Carpio. When living with Petra, his livestock propagate wildly, and he indulges in unrestrained revelry. After the long rains, his fortune dries up, and the Buendías are left almost penniless. He turns to search for a buried treasure, which nearly drives him to insanity. He dies of throat cancer at the same moment as his twin. During the confusion at the funeral, the bodies are switched, and each is buried in the other's grave (highlighting Ursula's earlier comment that they had been switched at birth). Aureliano Segundo represents Colombia's economy: gaining and losing weight according to the situation at the time.
Fernanda del Carpio
Fernanda del Carpio is the only major character (except for Rebeca and the First generation) not from Macondo. She comes from a ruined, aristocratic family that kept her isolated from the world. She was chosen as the most beautiful of 5000 girls. Fernanda is brought to Macondo to compete with Remedios for the title of Queen of the carnival after her father promises her she will be the Queen of Madagascar. After the fiasco, she marries Aureliano Segundo and soon takes the leadership of the family away from the now-frail Úrsula. She manages the Buendía affairs with an iron fist. She has three children by Aureliano Segundo, José Arcadio, Renata Remedios, a.k.a. Meme, and Amaranta Úrsula. She remains in the house after he dies, taking care of the household until her death.
Fernanda is never accepted by anyone in the Buendía household who regard her as an outsider. Although, none of the Buendías rebel against her inflexible conservatism. Her mental and emotional instability is revealed through her paranoia, her correspondence with the 'invisible doctors', and her irrational behavior towards Aureliano, whom she tries to isolate from the whole world.
Fifth generation
Renata Remedios (a.k.a. Meme)
Renata Remedios, or Meme is the second child and first daughter of Fernanda and Aureliano Segundo. While she doesn't inherit Fernanda's beauty, she does have Aureliano Segundo's love of life and natural charisma. After her mother declares that she is to do nothing but play the clavichord, she is sent to school where she receives her performance degree as well as academic recognition. While she pursues the clavichord with 'an inflexible discipline', to placate Fernanda, she also enjoys partying and exhibits the same tendency towards excess as her father.
Meme meets and falls in love with Mauricio Babilonia, but when Fernanda discovers their affair, she arranges for Mauricio to be shot, claiming that he was a chicken thief. She then takes Meme to a convent. Meme remains mute for the rest of her life, partially because of the trauma, but also as a sign of rebellion. Several months later she gives birth to a son, Aureliano, at the convent. He is sent to live with the Buendías. She dies of old age in a hospital in Krakow.
José Arcadio (II)
José Arcadio II, named after his ancestors in the Buendía tradition, follows the trend of previous Arcadios. He is raised by Úrsula, who intends for him to become Pope. He returns from Rome without having become a priest. Eventually, he discovers buried treasure, which he wastes on lavish parties and escapades with adolescent boys. Later, he begins a tentative friendship with Aureliano Babilonia, his nephew. José Arcadio plans to set Aureliano up in a business and return to Rome, but is murdered in his bath by four of the adolescent boys who ransack his house and steal his gold.
Amaranta Úrsula
Amaranta Úrsula is the third child of Fernanda and Aureliano. She displays the same characteristics as her namesake who dies when she is only a child. She never knows that the child sent to the Buendía home is her nephew, the illegitimate son of Meme. He becomes her best friend in childhood. She returns home from Europe with an elder husband, Gastón, who leaves her when she informs him of her passionate affair with her nephew, Aureliano. She dies of hemorragia, after she has given birth to the last of the Buendía line.
Sixth generation
Aureliano Babilonia (Aureliano II)
Aureliano Babilonia, or Aureliano II, is the illegitimate child of Meme. He is hidden from everyone by his grandmother, Fernanda. He is strikingly similar to his namesake, the Colonel, and has the same character patterns as well. He is taciturn, silent, and emotionally charged. He barely knows Úrsula, who dies during his childhood. He is a friend of José Arcadio Segundo, who explains to him the true story of the banana worker massacre.
While other members of the family leave and return, Aureliano stays in the Buendía home. He only ventures into the empty town after the death of Fernanda. He works to decipher the parchments of Melquíades but stops to have an affair with his childhood partner and the love of his life, Amaranta Úrsula, not knowing that she is his aunt. When both her and her child die, he is able to decipher the parchments. "...Melquíades' final keys were revealed to him and he saw the epigraph of the parchments perfectly placed in the order of man's time and space: 'The first in line is tied to a tree and the last is being eaten by ants'." It is assumed he dies in the great wind that destroys Macondo the moment he finishes reading Mequiades' parchments.
Seventh generation
Aureliano (III)
Aureliano III is the child of Aureliano and his aunt, Amaranta Úrsula. He is born with a pig's tail, as the eldest and long dead Úrsula had always feared would happen (the parents of the child had never heard of the omen). His mother dies after giving birth to him, and, due to his grief-stricken father's negligence, he is devoured by ants.
Others
Melquíades
Melquíades is one of a band of gypsies who visit Macondo every year in March, displaying amazing items from around the world. Melquíades sells José Arcadio Buendía several new inventions including a pair of magnets and an alchemist's lab. Later, the gypsies report that Melquíades died in Singapore, but he, nonetheless, returns to live with the Buendía family, stating he could not bear the solitude of death. He stays with the Buendías and begins to write the mysterious parchments that Aureliano Babilonia eventually translates, before dying a second time. This time he drowns in the river near Macondo. He is buried in a grand ceremony organized by the Buendías.
Pilar Ternera
Pilar is a local woman who sleeps with the brothers Aureliano and José Arcadio. She becomes mother of their sons, Aureliano and José Arcadio. Pilar reads the future with cards, and every so often makes an accurate, though vague, prediction. She has close ties with the Buendias throughout the whole novel, helping them with her card predictions. She dies some time after she turns 145 years old (she had eventually stopped counting), surviving until the very last days of Macondo.
The word "Ternera" in Spanish signifies veal or calf, which is fitting considering the way she is treated by Aureliano, Jose Arcadio, and Arcadio. Also, it could be a play on the word "Ternura", which in Spanish means "Tenderness". Pilar is always presented as a very loving figure, and the author often uses names in a similar fashion.
Pietro Crespi
Pietro is a very handsome and polite Italian musician who runs a music school. He installs the pianola in the Buendía house. He becomes engaged to Rebeca, but Amaranta, who also loves him, manages to delay the wedding for years. When José Arcadio and Rebeca agree to be married, Pietro begins to woo Amaranta, who is so embittered that she cruelly rejects him. Despondent over the loss of both sisters, he kills himself.
Petra Cotes
Petra is a dark-skinned woman with gold-brown eyes similar to those of a panther. She is Aureliano Segundo's mistress and the love of his life. She arrives in Macondo as a teenager with her first husband. She briefly dates both of them before her husband dies. After José Arcadio decides to leave her, Aureliano Segundo gets her forgiveness and remains by her side. He continues to see her, even after his marriage. He eventually lives with her, which greatly embitters his wife, Fernanda del Carpio. When Aureliano and Petra make love, their animals reproduce at an amazing rate, but their livestock is wiped out during the four years of rain. Petra makes money by keeping the lottery alive and provides food baskets for Fernanda and her family after the death of Aureliano Segundo.
Mr. Herbert and Mr. Brown
Mr. Herbert is a gringo who showed up at the Buendía house for lunch one day. After tasting the local bananas for the first time, he arranges for a banana company to set up a plantation in Macondo. The plantation is run by the dictatorial Mr. Brown. When José Arcadio Segundo helps arrange a workers' strike on the plantation, the company traps the more than three thousand strikers and machine guns them down in the town square. The banana company and the government completely cover up the event. José Arcadio is the only one who remembers the slaughter. The company arranges for the army to kill off any resistance, then leaves Macondo for good. That event is likely based on the Banana massacre, that took place in Santa Marta, Colombia in 1928.
Mauricio Babilonia
Mauricio is a brutally honest, generous and handsome mechanic for the banana company. He is said to be a descendant of the gypsies who visit Macondo in the early days. He has the unusual characteristic of being constantly swarmed by yellow butterflies, which follow even his lover for a time. Mauricio begins a romantic affair with Meme until Fernanda discovers them and tries to end it. When Mauricio continues to sneak into the house to see her, Fernanda has him shot, claiming he is a chicken thief. Paralyzed and bedridden, he spends the rest of his long life in solitude.
Gastón
Gastón is Amaranta Úrsula's wealthy, Belgian husband. She marries him in Europe and returns to Macondo leading him on a silk leash. Gastón is about fifteen years older than his wife. He is an aviator and an adventurer. When he moves with Amaranta Ursula to Macondo he thinks it is only a matter of time before she realizes that her European ways out of place, causing her to want to move back to Europe. However, when he realizes his wife intends to stay in Macondo, he arranges for his airplane to be shipped over so he can start an airmail service. The plane is shipped to Africa by mistake. When he travels there to claim it, Amaranta writes him of her love for Aureliano Babilonia Buendía. Gastón takes the news in stride, only asking that they ship him his velocipede.
Gabriel García Márquez
Gabriel García Márquez is only a minor character in the novel but he has the distinction of bearing the same name as the author. He is the great-great-grandson of Colonel Gerineldo Márquez. He and Aureliano Babilonia are close friends because they know the history of the town, which no one else believes. He leaves for Paris after winning a contest and decides to stay there, selling old newspapers and empty bottles. He is one of the few who is able to leave Macondo before the town is wiped out entirely.
Major themes
The subjectivity of reality and Magical Realism
Critics often cite certain works by García Márquez, such as A Very Old Man with Enormous Wings and One Hundred Years of Solitude, as exemplary of magical realism, a style of writing in which the supernatural is presented as mundane, and the mundane as supernatural or extraordinary. The term was coined by German art critic Franz Roh in 1925.
The novel presents a fictional story in a fictional setting. The extraordinary events and characteres are fabricated. However the message that Marquez intends to deliver explains a true history. Marquez utilizes his fantastic story as an expression of reality. "In One Hundred Years of Solitude myth and history overlap. The myth acts as a vehicle to transmit history to the reader. Marquez’s novel can furthermore be referred to as anthropology, where truth is found in language and myth. What is real and what is fiction are indistinguishable. There are three main mythical elements of the novel: classical stories alluding to foundations and origins, characters resembling mythical heroes, and supernatural elements" Magical realism is inherent in the novel-achieved by the constant intertwining of the ordinary with the extraordinary. This magical realism strikes at one's traditional sense of naturalistic fiction. There is something clearly magical about the world of Macondo. It is a state of mind as much as, or more than, a geographical place. For example, one learns very little about its actual physical layout. Furthermore, once in it, the reader must be prepared to meet whatever the imagination of the author presents to him or her.
García Márquez achieves a perfect blend of the real with the magical through the masterful use of tone and narration. By maintaining the same tone throughout the novel, Márquez makes the extraordinary blend with the ordinary. His condensation of and lackadaisical manner in describing events causes the extraordinary to seem less remarkable than it actually is, thereby perfectly blending the real with the magical. Reinforcing this effect is the unastonished tone in which the book is written. This tone restricts the ability of the reader to question the events of the novel, however, it also causes the reader to call into question the limits of reality. Furthermore, maintaining the same narrator throughout the novel familiarizes the reader with his voice and causes he or she to become accustomed to the extraordinary events in the novel .
The fluidity of time
One Hundred Years of Solitude contains several ideas concerning time. Although the story can be read as a linear progression of events, both when considering individual lives and Macondo's history, García Márquez allows room for several other interpretations of time:
* He reiterates the metaphor of history as a circular phenomenon through the repetition of names and characteristics belonging to the Buendía family. Over six generations, all the José Arcadios possess inquisitive and rational dispositions as well as enormous physical strength. The Aurelianos, meanwhile, lean towards insularity and quietude. This repetition of traits reproduces the history of the individual characters and, ultimately, a history of the town as a succession of the same mistakes ad infinitum due to some endogenous hubris in our nature.
* The novel explores the issue of timelessness or eternity even within the framework of mortal existence. A major trope with which it accomplishes this task is the alchemist's laboratory in the Buendía family home. The laboratory was first designed by Melquíades near the start of the story and remains essentially unchanged throughout its course. It is a place where the male Buendía characters can indulge their will to solitude, whether through attempts to deconstruct the world with reason as in the case of José Arcadio Buendía, or by the endless creation and destruction of golden fish as in the case of his son Colonel Aureliano Buendía. Furthermore, a sense of inevitability prevails throughout the text. This is a feeling that regardless of what way one looks at time, its encompassing nature is the one truthful admission.
* On the other hand, it is important to keep in mind that One Hundred Years of Solitude, while basically chronological and "linear" enough in its broad outlines, also shows abundant zigzags in time, both flashbacks of matters past and long leaps towards future events. One example of this is the youthful amour between Meme and Mauricio Babilonia, which is already in full swing before we are informed about the origins of the affair .
Incest
A recurring theme in One Hundred Years of Solitude is the Buendía family's propensity toward incest. The patriarch of the family, Jose Arcadio Buendía, is the first of numerous Buendías to intermarry when he marries his first cousin, Úrsula. It is worth noting that this initial, incestuous act can be viewed as an "original sin", however it will not be the last one. Furthermore, the fact that "throughout the novel the family is haunted by the fear of punishment in the form of the birth of a monstrous child with a pig's tail" can be attributed to this initial, and the recurring acts of incest among the Buendías.
Solitude
Perhaps the most dominant theme in the book is that of solitude. Macondo was founded in the remote jungles of the Colombian rainforest. The solitude of the town is representative of the colonial period in Latin American history, where outposts and colonies were, for all intents and purposes, not interconnected. Isolated from the rest of the world, the Buendías grow to be increasingly solitary and selfish. With every member of the family living only for him or her self, the Buendías become representative of the aristocratic, land-owning elite who came to dominate Latin America in keeping with the sense of Latin American history symbolized in the novel. This egocentricity is embodied, especially, in the characters of Aureliano, who lives in a private world of his own, and Remedios, who destroys the lives of four men enamored by her beauty. Throughout the novel it seems as if no character can find true love or escape the destructiveness of their own egocentricity.
The selfishness of the Buendía family is eventually broken by the once superficial Aureliano Segundo and Petra Cotes, who discover a sense of mutual solidarity and the joy of helping others in need during Macondo's economic crisis. This pair even finds love, and their pattern is repeated by Aureliano Babilonia and Amaranta Úrsula. Eventually, Aureliano and Amaranta decide to have a child, and the latter is convinced that it will represent a fresh start for the once-conceited Buendía family. However, the child turns out to be the perpetually-feared monster with the pig's tail.
Nonetheless, the appearance of love represents a shift in Macondo, albeit one that leads to its destruction. "The emergence of love in the novel to displace the traditional egoism of the Buendías reflects the emergence of socialist values as a political force in Latin America, a force that will sweep away the Buendías and the order they represent". A well-known socialist, the ending to One Hundred Years of Solitude could be a wishful prediction by García Márquez regarding the future of Latin America.
Literary significance, reception and recognition
One Hundred Years of Solitude has received universal recognition. The novel has been awarded Italy’s Chianciano Award, France’s Prix de Meilleur Livre Etranger, Venezuela’s Romulo Gallegos Prize, and the Books Abroad/ Neustadt International Prize for Literature. García Márquez also received an honorary LL.D. from Columbia University in New York City. These awards set the stage for García Márquez’s 1982 Nobel Prize for Literature.
García Márquez is said to have a gift for blending the everyday with the miraculous, the historical with the fabulous, and psychological realism with surreal flights of fancy. It is a revolutionary novel that provides a looking glass into the thoughts and beliefs of its author, who chose to give a literary voice to Latin America: "A Latin America which neither wants, nor has any reason, to be a pawn without a will of its own; nor is it merely wishful thinking that its quest for independence and originality should become a Western aspiration." Gabriel García Márquez
In his Nobel Prize acceptance speech Márquez addressed the significance of his writing and proposed its role to be more than just literary expression: "I dare to think that it is this outsized reality, and not just its literary expression, that has deserved the attention of the Swedish Academy of Letters. A reality not of paper, but one that lives within us and determines each instant of our countless daily deaths, and that nourishes a source of insatiable creativity, full of sorrow and beauty, of which this roving and nostalgic Colombian is but one cipher more, singled out by fortune. Poets and beggars, musicians and prophets, warriors and scoundrels, all creatures of that unbridled reality, we have had to ask but little of imagination, for our crucial problem has been a lack of conventional means to render our lives believable. This, my friends, is the crux of our solitude"
* In 1970, reviewing the book in the National Observer, William Kennedy hailed One Hundred Years of Solitude as "the first piece of literature since the Book of Genesis that should be required reading for the entire human race."
* The novel topped the list of books that have most shaped world literature over the last 25 years, according to a survey of international writers commissioned by the global literary journal Wasafiri as a part of its 25th anniversary.
According to Antonio Sacoto, professor at The City College of the City University of New York, One Hundred Years of Solitude is considered as one of the five key novels in Hispanic American literature. (Together with El señor Presidente, Pedro Páramo, La muerte de Artemio Cruz, y La ciudad los perros). These novels, representative of the boom allowed Hispanic American literature to reach the quality of North American and European literature in terms of technical quality, rich themes, and linguistic innovations, among other attributes.
Although we are faced with a very convoluted narrative, Garcia Marquez is able to define clear themes while maintaining individual character identities, and using different narrative techniques such as third person narrators, specific point of view narrators, and streams of consciousness. Cinematographic techniques are also employed in the novel, with the idea of the montage and the close-up, which effectively combine the comic and grotesque with the dramatic and tragic. Furthermore, political and historical realities are combined with the mythical and magical Latin American world. Lastly, through human comedy the problems of a family, a town, and a country are unveiled. This is all presented through Garcia Marquez’s unique form of narration, which causes the novel to never cease being at its most interesting point.
The characters in the novel are never defined; they are not created from a mold. Instead, they are developed and formed throughout the novel. All characters are individualized, with many characteristics that differentiate them from others.. Ultimately, the novel has a rich imagination achieved by its rhythmic tone, narrative technique, and fascinating character creation, making it a thematic quarry, where the trivial and anecdotal and the historic and political are combined. (260)
Criticisms
Style
Although One Hundred Years of Solitude has come to be considered one of, if not the, most influential Latin American texts of all time, the novel and Gabriel Garcia Marquez have both received many critical criticisms and reviews. Harold Bloom says “My primary impression, in the act of rereading One Hundred Years of Solitude, is a kind of aesthetic battle fatigue, since every page is rammed full of life beyond the capacity of any single reader to absorb . . . There are no wasted sentences, no mere transitions, in this novel, and you must notice everything at the moment you read it.”
Inspirations
Garcia Marquez has been accused of using many texts as his inspirations for One Hundred Years of Solitude. Of these, the most well-known is Faulkner’s Yoknapatawpha David T. Haberly alleges that “strong cases have been made for Faulkner, Virginia Woolf’s Orlando: A Biography, and Defoe’s A Journal of the Plague Year, and one which has not been mentioned is Chateaubriand’s Atala.” Hopkins backs his statement with evidence that Atala was available for Spanish-speaking audiences before the publication of One Hundred Years of Solitude and makes comparisons between the plot of the two stories and some of the characters.
Reinforcing Gender Stereotypes
Critics have also speculated the potential of Marquez harboring ideals of marianismo, adhering to sexist stereotypes, and reinforcing these stereotypes and sexist attitudes in Cien Anos de Soledad through his portrayal of female characters as domestic housewives. This potentially sexist view also can be viewed as Marquez’s profound reflection on the social and cultural realities that exist in Latin America in terms of how women were viewed, and in particular, in Colombia. “What sort of values does Ursula symbolize? They are these: middle class stinginess, stupidity, superstition, insanity, reactionary activism, etc.” “There are numerous episodes and statements in the book which reinforce the patriarchical values of the story” . “One Hundred Years of Solitude reflects the traditional Latin American role of women as adjuncts to men and implies neither qualitative awareness nor literary criticism of the restrictive political and economic systems and notions (ie marianismo) that perpetuate such notions. As a whole, the women of Macondo are pictured as male-defined, biological reproducers or sexually pleasing objects who are treated thematically as accessories to the men who actually shape and control the world.”
McOndo Movement
The portrayal of Latin American culture and society in One Hundred Years of Solitude has been a point of criticism as well. It has been said that Gabriel Garcia Marquez has created a work in which Western audiences portray popular Latin American culture as a primitive society, lacking in technology, and as a region on the world which has been excluded from the effects of globalization. One group movement that speaks out against this portrayal of Latin America as a primitive society is the McOndo movement. McOndo is a Latin American literary movement that breaks away from the long-dominant magical realist literary tradition by strongly associating itself with mass media culture . McOndo attempts to contextualize being Latin American in a world dominated by American pop culture . The movement challenges the natural or rural, magical world typically depicted by the Magical Realism genre .
The work McOndo, by editors Alberto Fuguet and Sergio Gomez, critiques the re-emphasis of the primitive stereotypes of Latin America in One Hundred Years of Solitude. They say “Nuestro McOndo es tan latinoamericano y magico (exotico) como el Macondo real (que, a todo esto no es real sin virtual). Nuestro pais McOndo es mas grande, sobrepoblado y lleno de contaminacion, con autopistas, metro, TV-cable y barriadas. En McOndo hay McDonald’s, computadores Mac y condominios, amen de hotels cinco estrellas construidos con dinero lavando y malls gigantescos” , roughly translated to say “Our McOndo is just as Latin American as the magic (exotic) as the real Macondo (which isn’t real so much as virtual). Our country McOndo is bigger, densely populated and full on contamination, with highways, public transit, cable TV and neighborhoods. In McOndo there are McDonald’s, Mac computers and condominiums, as well as five-star hotels built with clean money and gigantic malls” . He aims to denounce the primitive nature of Garcia Marquez’s Macondo and contrast it with the new McOndo, the metaphorical Latin America we now know after the effects of globalization and corporatization. “Now, thanks to Fuguet and his peers, there is a new voice south of the Rio Grande. It is savvy, street-smart, sometimes wiseass and un-ashamedly over the top. Fuguet calls this the voice of McOndo--a blend of McDonald's, Macintosh computers and condos. The label is a spoof, of course, not only on Garcia Marquez's fictitious village but also on all the poseurs who have turned these latitudes into a pastel tequila ad. ¡Hola! Fuguet is saying. Latin America is no paradise” .
Internal references
In the novel's final chapter, Márquez references the novel Hopscotch (Spanish: Rayuela) by Julio Cortázar in the following line: "...in the room that smelled of boiled cauliflower where Rocamadour was to die" (p. 412). Rocamadour is a fictional character in Hopscotch who indeed dies in the room described. He also references two other major works by Latin American writers in the novel: The Death of Artemio Cruz (Spanish: La Muerte de Artemio Cruz) by Carlos Fuentes and Explosion in a Cathedral (Spanish: El siglo de las luces) by Alejo Carpentier.
Adaptations
* Shuji Terayama's play One Hundred Years of Solitude (百年の孤独, originally performed by the Tenjo Sajiki theater troupe), as well as his film Farewell to the Ark (さらば箱舟) are loose (and not officially authorized) adaptations of the novel by García Marquez transplanted into the realm of Japanese culture and history.
Although One Hundred Years of Solitude has had such a big impact on the literature world, and although this novel is the author's best selling and most translated around the world, there have been no movies produced about it. Gabriel Garcia Marquez has never agreed to sell the rights for producing such film, even though his novel has inspired many to write and has more than enough themes to work on in the film industry.
《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī dīng de dài biǎo zuò， shì yī bù jīng diǎn de xiǎo shuō。 zhè bù zuò pǐn yǐ rì cháng shēng huó wéi sù cái， yī fǎn dāng shí shè huì shàng liú xíng de gǎn shāng xiǎo shuō de nèi róng hé jiáo róu zào zuò de xiě zuò fāng fǎ， shēng dòng dì fǎn yìng liǎo 18 shì jì mò dào 19 shì jì chū chǔyú bǎo shǒu hé bìsè zhuàng tài xià de yīng guó xiāng zhèn shēng huó hé shì tài rén qíng。 zhè bù shè huì fēng qíng huà shì de xiǎo shuō bù jǐn zài dāng shí xī yǐn zhe guǎng dà de dú zhě， shí zhì jīn rì， réng gěi dú zhě yǐ dú tè de yì shù xiǎng shòu。《 ào màn yǔ piān jiàn》 yǐ hūn yīn jià qǔ hé jiā tíng fēng bō wéi tí cái， miáo xiě zì jǐ shú rěn de xiāng jiān suǒ wèi tǐ miàn rén jiā de shēng huó yǔ jiāo wǎng， xiàng zài“ èr cùn xiàng yá” shàng“ xì xì dì miáo huà”， kàn sì píng fán 'ér suǒ suì， xiǎo tiān dì què kě yìng chū dà shì jiè， yīn cǐ shǐ zhōng néng yǐn qǐ cháng shèng bù shuāi、 yǎ sú gòng shǎng de xīng qù， yīng guó shī rén hé lì shǐ xiǎo shuō jiā sī gè tè céng shuō，“ zài miáo xiě rén men rì cháng shēng huó zhōng gè zhǒng cuò zōng fù zá de suǒ shì， nèi xīn qíng gǎn hé rén wù xìng gé fāng miàn， zhè wèi gū niàn hěn yòu cái néng。 zhè zhǒng cái néng shì wǒ suǒ yù dào de zuì lìng rén shǎng xīn yuè mùdì。” zhèng shì jiǎn . ào sī dīng lú huǒ chún qīng de yǔ yán miáo xiě gōng lì， shǐ bǐ xià de rén wù xǔ xǔ rú shēng， nài rén xún wèi。
ào màn yǔ piān jiàn [ xiǎo shuō ]- zuò zhě jiǎn jiè
jiǎn · ào sī tīng jiǎn · ào sī tīng
jiǎn · ào sī tīng chū shēng yú 1775 nián 12 yuè 16 rì， shì qiáo zhì · ào sī tīng jiā de dì qī gè hái zǐ。 jiǎn · ào sī tīng yī zhí guò zhe 'ān jìng píng hé de yǐn jū shēng huó， tā yī shēng wèi hūn。 yīng guó wén xué shǐ shàng chū xiàn guò jǐ cì qù wèi gé mìng， wén xué kǒu wèi de fān xīn jīhū yǐng xiǎng liǎo suǒ yòu zuò jiā de shēng yù， wéi dú suō shì bǐ yà hé 'ào sī tīng jīng jiǔ bù shuāi。 ér zhè wèi wěi dà de nǚ xìng yī shēng zhǐ zǒu guò liǎo 42 gè chūn xià qiū dōng。 1817 nián 7 yuè 8 rì， tā sǐ yú wēn chè sī tè， zàng yú dāng dì dà jiào táng。
tā de fù qīn shì sī dì wén dùn de jiào qū cháng， yě shì yī wèi cáng shū pō fēng de bó xué zhī tǔ。 tā de mǔ qīn míng jiào kǎ sāng dé lā · lǐ · ào sī tīng， chū shēn yú guì zú jiā tíng。 jiǎn zhǐ yòu yī gè jiě jiě， jiào kǎ sāng dé lā， bìng yī shēng dū yǔ tā bǎo chí zhe mìqiè de lián xì。 jiǎn de tóng bāo xiōng dì cóng shì zhe bù tóng de zhí yè： yòu jǐ gè dān rèn shèng zhí， yī gè shì yínháng jiā， qí tā de zé zài jūn duì fú yì。 jìn guǎn tā de jiā tíng bù shì míng mén wàng zú， yě méi yòu fù jiá yī fāng， dàn qiáo zhì · ào sī tīng hěn zhòng shì jiào yù， shèn zhì duì nǚ 'ér yě bù lì wài。 jiǎn hé kǎ sāng dé lā shàng liǎo jǐ nián xué， zhī hòu jiù zài jiā lǐ xué xí， zhù yào shì guǎng fàn yuè dú gè zhǒng shū jí hé zī liào， bìng cóng fù xiōng men yǔ fǔ dǎo de xué shēng zhī jiān yòu qù de tǎo lùn zhōng huò yì。 tōng guò zì jǐ de nǔ lì， jiǎn shú zhī 18 shì jì de yīng guó wén xué。
jiǎn · ào sī tīng shēng qián nì míng chū bǎn liǎo sì bù xiǎo shuō：《 lǐ zhì yǔ qíng gǎn》 (1811)、《 ào màn yǔ piān jiàn }》 (1813)、《 màn sī fěi 'ěr dé zhuāng yuán》 (1814) hé《 ài mǎ》 (1815)。 lìng wài liǎng bù，《 nuò sāng gé xiū dào yuàn》 hé《 quàn dǎo》 shì tā qù shì hòu yú 1817 nián chū bǎn de。 tā de zhè xiē xiǎo shuō yǐ qí duì yīng guó shè huì hé fēng sú de fěng cì xìng miáo shù 'ér wén míng yú shì。
ào sī tīng suǒ chù de yīng guó shè huì shì yī gè jiē jí děng jí fēn míng de shè huì。 ér jiē jí de qū fēn zhù yào yuán yú jiā zú yǔ cái fù。 ào sī tīng zài tā de zuò pǐn zhōng jīng cháng pī píng yīng guó shàng céng jiē jí de zì fù hé piān jiàn。 jiǎn zhù yì qū fēn rén de nèi zài jià zhí ( gè rén pǐn dé ) hé wài zài jià zhí ( dì wèi hé cái chǎn )。 jiǎn suī rán jīng cháng fěng cì shì lì xiǎo rén， dàn yě cháo xiào chū shēn dī wēi de rén quē fá jiào yǎng hé jǔ zhǐ bù dāng。 zǒng de lái shuō， ào sī tīng shì yī gè xiàn shí zhù yì zuò jiā， tā suǒ miáo huì de yīng guó shì yī gè quē shǎo biàn huà dàn jiē jí yì shí qiáng liè de shè huì。
cóng 18 shì jì mò dào 19 shì jì chū，“ gǎn shāng xiǎo shuō” hé“ gē tè xiǎo shuō” chōng chì yīng guó wén tán， ér 'ào sī tīng de xiǎo shuō pò jiù lì xīn， yī fǎn cháng guī dì zhǎn xiàn liǎo dāng shí shàng wèi shòu dào zī běn zhù yì gōng yè gé mìng chōng jī de yīng guó xiāng cūn zhōng chǎn jiē jí de rì cháng shēng huó hé tián yuán fēng guāng。 tā de zuò pǐn wǎng wǎng tōng guò xǐ jù xìng de chǎng miàn cháo fěng rén men de yú chǔn、 zì sī、 shì lì hé máng mù zì xìn děng kě bǐ kě xiào de ruò diǎn。 ào sī dīng de xiǎo shuō chū xiàn zài 19 shì jì chū yè， yī sǎo fēng xíng yī shí de jiǎ làng màn zhù yì cháo liú， jì chéng hé fā zhǎn liǎo yīng guó 18 shì jì yōu xiù de xiàn shí zhù yì chuán tǒng， wéi 19 shì jì xiàn shí zhù yì xiǎo shuō de gāo cháo zuò liǎo zhǔn bèi。 suī rán qí zuò pǐn fǎn yìng de guǎng dù hé shēn dù yòu xiàn， dàn tā de zuò pǐn rú“ liǎng cùn yá diāo”， cóng yī gè xiǎo chuāng kǒu zhōng kuī shì dào zhěng gè shè huì xíng tài hé rén qíng shì gù， duì gǎi biàn dāng shí xiǎo shuō chuàng zuò zhōng de fēng qì qǐ liǎo hǎo de zuò yòng， zài yīng guó xiǎo shuō de fā zhǎn shǐ shàng yòu chéng shàng qǐ xià de yì yì， bèi yù wéi dì wèi“ kě yǔ suō shì bǐ yà píng qǐ píng zuò” de zuò jiā。 tā zuì xǐ 'ài de zuò jiā shì 18 shì jì gǔ diǎn zhù yì hé lǐ zhì de diǎn fàn sài miù 'ěr · yuē hàn xùn。 ào sī tīng de xiǎo shuō biǎo xiàn chū yī zhǒng qíng gǎn shàng de mó lēng liǎng kě， yǐ jí duì cōng míng cái zhì yǔ zì rán měi de zàn shǎng， zhè xiē tè diǎn shǐ qí zuò pǐn hé làng màn zhù yì zǒu dào yī qǐ。 yí hàn de shì， jiǎn · ào sī tīng de xiǎo shuō zài tā shēng qián bìng wèi shòu dào hǎo píng。 dàn shì hòu lái， yóu qí shì zài 20 shì jì， tā de xiǎo shuō yuè lái yuè shòu huān yíng。 rú jīn， jiǎn · ào sī tīng yǐ jīng jī shēn yú yīng guó zhēn zhèng wěi dà de zuò jiā zhī liè。 jiǎn · ào sī tīng shì shì jiè shàng wéi shù jí shǎo de zhù míng nǚ xìng zuò jiā zhī yī， jiè yú xīn gǔ diǎn zhù yì hé làng màn yùn dòng de shū qíng zhù yì zhī jiān de“ xiǎo fú huà jiā” hé“ jiā tíng xiǎo shuō” jiā， wén xué píng lùn jiā yǎn lǐ kān yǔ suō shì bǐ yà zài bù xiǔ xìng fāng miànxiàng tí bìng lùn de yīng guó zuò jiā。
ào màn yǔ piān jiàn [ xiǎo shuō ]- chuàng zuò bèi jǐng
《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī tīng zuì zǎo wán chéng de zuò pǐn， tā zài 1796 nián kāi shǐ dòng bǐ， qǔ míng wéi《 zuì chū de yìn xiàng》， 1797 nián 8 yuè wán chéng。 tā fù qīn kàn hòu hěn gǎn dòng， tè yì ná gěi tānɡ mǎ · kǎ shì dé 'ěr， qǐng tā chū bǎn， dàn duì fāng yī kǒu huí jué， shǐ dé tā men shí fēn shī wàng。 hòu lái， tā zhòng xiě liǎo《 zuì chū de yìn xiàng》， bìng gǎi míng wéi“ ào màn yǔ piān jiàn” yú 1813 nián 1 yuè chū bǎn。
ào màn yǔ piān jiàn [ xiǎo shuō ]- nèi róng jiǎn jiè
nǚ zhùjué：： yī lì suō bái
nán zhùjué： dá xī
zhòng yào pèijué： jiǎn（ yī lì suō bái de jiě jiě）、 bīn lì（ dá xī de hǎo péng yǒu）
nèi róng tí yào
《 ào màn yǔ piān jiàn》 shì miáo xiě yī lì suō bái bèi nèi tè hé wēi lián dá xī zhè duì qīng nián nán nǚ zhī jiān de 'ài qíng gù shì， qǐ chū tā men liǎ rén zǒng shì huà bù tóu jī。 gù shì fā shēng zài 18 shì jì hòu qī， jù lí yīng guó lún dūn， xiào wài yuē 50 yīng lǐ de hè tè fú dé jùn（ wèi yú yīng guó yīng gé lán dōng nán bù）， shū zhōng shēng dòng dì miáo huì liǎo dāng shí fù nǚ shēng huó de jiān nán， tā men jīhū dōubù néng bǎ wò zì jǐ de mìng yùn。 yóu yú 18 shì jì de yīng guó shè huì shí fēn kàn zhòng shè huì dì wèi hé gè rén jǔ zhǐ fēng dù yǔ cái yì， nǚ rén mendōu jié jìn suǒ néng qù xún mì fù yòu de zhàng fū。
xiáng xì nèi róng
xiǎo xiāng shēn bān nà tè yòu wǔ gè dài zì guī zhōng de qiān jīn， bān nà tè tài tài zhěng tiān cāo xīn zhe wéi nǚ 'ér wù sè chènxīn rú yì de zhàng fū。 xīn lái de lín jū bīn gé lāi (Charles) shì gè yòu qián de dān shēn hàn， tā lì jí chéng liǎo bān nà tè tài tài zhuī liè de mù biāo。 zài yī cì wǔ huì shàng， bīn gé lāi duì bān nà tè jiā de dà nǚ 'ér jiǎn (Jane) yī jiàn zhōng qíng， bān nà tè tài tài wèicǐ xīn xǐ ruò kuáng。 cān jiā wǔ huì de hái yòu bīn gé lāi de hǎo yǒu dá xī (Darcy)。 tā yí biǎo táng táng， fēi cháng fù yòu， xǔ duō gū niàn fēn fēn xiàng tā tóu qù xiàn mù de mù guāng； dàn tā fēi cháng jiāo 'ào， rèn wéi tā mendōu bù pèi zuò tā de wǔ bàn， qí zhōng bāo kuò jiǎn de mèi mèi yī lì suō bái (Elizabeth)。 yī lì suō bái zì zūn xīn hěn qiáng， jué dìng bù qù lǐ cǎi zhè gè 'ào màn de jiā huǒ。 kě shì bù jiǔ， dá xī duì tā huó pō kě 'ài de jǔ zhǐ chǎn shēng liǎo hǎo gǎn， zài lìng yī cì wǔ huì shàng zhù dòng qǐng tā tóng wǔ， què zāo dào yī lì suō bái de jù jué， dá xī láng bèi bù kān。
bīn gé lāi de mèi mèi kǎ luó lín (Caroline) yī xīn zhuī qiú dá xī， tā fā xiàn dá xī yòu yì yú yī lì suō bái， dù huǒ zhōng shāo， jué yì cóng zhōng zǔ náo。 ér zāo dào yī lì suō bái lěng yù de dá xī yě bǐ shì bān nà tè tài tài jí qí xiǎo nǚ 'ér lì dí yà (Lydia) de cū sú。 zài mèi mèi hé hǎo yǒu dá xī de quàn shuō xià， bīn gé lāi bù cí 'ér bié， qù liǎo lún dūn， dàn jiǎn duì tā hái shì yī piàn shēn qíng。
bān nà tè méi yòu 'ér zǐ， tā de jiā chǎn jiāng yóu yuǎn qīn kē lín sī (Collins) jì chéng。 kē lín sī cū bǐ wú zhī， què shàn yú qū yán fù shì， jū rán dāng shàng mù shī。 tā xiàng yī lì suō bái qiú hūn， zāo jù jué hòu， mǎ shàng yǔ tā de nǚ yǒu xià luò tè (Charlotte) jié hūn。
fù jìn xiǎo zhèn de mín tuán lián duì lǐ yòu gè yīng jùn xiāo sǎ de qīng nián jūn guān wēi kěn (Wickham)， rén réndōu kuā tā， yī lì suō bái yě duì tā chǎn shēng liǎo hǎo gǎn。 yī tiān， tā duì yī lì suō bái shuō， tā fù qīn shì dá xī jiā de zǒng guǎn， dá xī de fù qīn céng gěi tā yī dà bǐ yí zèng， què bèi dá xī tūn méi liǎo。 yī lì suō bái tīng hòu， duì dá xī gèng jiā fǎn gǎn。
kē lín sī fū fù qǐng yī lì suō bái qù tā men jiā zuò kè， yī lì suō bái zài nà lǐ yù dào dá xī de yí mā kǎi sè lín (Catherine)， bù jiǔ， yòu jiàn dào liǎo dá xī。 tóng shí yě rèn shí liǎo wēi lián shàoxiào， cóng tā kǒu zhōng dé zhī dá xī cáng qǐ tā jiě jiě de xìn， shǐ yī lì suō bái duì dá xī de tǎo yàn dá dào dǐng fēng。 suǒ yǐ zài dá xī wú fǎ yì zhì zì jǐ duì yī lì suō bái de 'ài mù zhī qíng， xiàng tā qiú hūn de shí hòu， dàn tài dù hái shì nà me 'ào màn。 yī lì suō bái jiān jué dì xiè jué liǎo。 zhè yī dǎ jī shǐ dá xī dì yī cì rèn shí dào jiāo 'ào zì fù suǒ dài lái de 'è guǒ， tā tòng kǔ dì lí kāi liǎo tā， lín zǒu qián liú xià yī fēng cháng xìn zuò liǎo jǐ diǎn jiě shì： tā chéng rèn bīn gé lāi bù cí 'ér bié shì tā cù shǐ de， yuán yīn shì tā bù mǎn bān nà tè tài tài de qīng fú hé bǐ sú， bìng qiě rèn wéi jiǎn bìng méi yòu zhōng qíng yú bīn gé lāi； wēi kěn shuō de què quán shì huǎng yán， shì shí shì wēi kěn zì jǐ bǎ nà bǐ yí chǎn huī huò dài jìn， hái qǐ tú gòu yǐn dá xī de mèi mèi sī bēn。 yī lì suō bái dú xìn hòu shí fēn hòu huǐ， jì duì cuò guài dá xī gǎn dào nèi jiù， yòu wéi mǔ qīn de xíng wéi xiū kuì， hái duì zì jǐ de piān jiàn shēn shēn 'ào huǐ。 tā zhú jiàn gǎi biàn liǎo duì dá xī de kàn fǎ。
dì 'èr nián xià tiān， yī lì suō bái suí jiù fù mǔ lái dào dá xī de zhuāng yuán， yǔ tā zài cì xiāng yù。 tā fā xiàn dá xī biàn liǎo， bù jǐn duì rén bīn bīn yòu lǐ， zài dāng dì hěn shòu rén men zūn jìng， ér qiě duì tā mèi mèi fēi cháng 'ài hù。 tā duì tā de piān jiàn xiāo chú liǎo。 zhèng dāng qí shí， yī lì suō bái jiē dào jiā xìn， shuō xiǎo mèi lì dí yà suí shēn fù lěi lěi dǔ zhài de wēi kěn sī bēn liǎo。 zhè zhǒng jiā chǒu shǐ yī lì suō bái fēi cháng nán kān， yǐ wéi dá xī huì gèng qiáo bù qǐ zì jǐ。 dàn shì shí chū hū tā de yì liào， dá xī dé zhī shàng shù xiāo xī yǐ hòu， zài jiù fù mǔ de bāng zhù xià， bù jǐn tì wēi kěn hái qīng dǔ zhài， hái gěi liǎo tā yī bǐ jù kuǎn， ràng tā yǔ lì dí yà wán hūn。 zì cǐ yǐ hòu， yī lì suō bái wǎng rì duì dá xī de zhǒng zhǒng piān jiàn tǒng tǒng huà wéi zhēn chéng zhī 'ài。
bīn gé lāi hé jiǎn jīng guò yī fān zhōu zhé， yán guī yú hǎo， yī duì qíng rén chén jìn zài huān lè zhī zhōng。 ér yī xīn xiǎng ràng zì jǐ de nǚ 'ér 'ān nī (Anne) jià gěi dá xī de kǎi sè lín fū rén cōng cōng gǎn lái， mánhèng dì yào yī lì suō bái bǎo zhèng bù yǔ dá xī jié hūn。 yī lì suō bái duì zhè yī wú lǐ yào qiú duàn rán jù jué。 cǐ shì chuán dào dá xī 'ěr zhōng。 tā zhī dào yī lì suō bái yǐ jīng gǎi biàn liǎo duì zì jǐ de kàn fǎ， chéng kěn dì zài cì xiàng tā qiú hūn。 dào cǐ， yī duì céng yīn 'ào màn hé piān jiàn 'ér yán gē hūn shì de yòu qíng rén zhōng chéng juàn shǔ。
ào màn yǔ piān jiàn [ xiǎo shuō ]- yǔ yán tè sè
《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī dīng (JaneAusten) de dài biǎo zuò pǐn， xiě yú shí bā shì jì jiǔ shí nián dài， qí yǐng xiǎng jīng lì liǎng shì jì 'ér bù shuāi， bìng duì hòu dài zuò jiā chǎn shēng yǐng xiǎng， qí zhòng yào de yuán yīn zhī yī jiù shì xiǎo shuō de yǔ yán mèi lì。 zài yǔ yán zhōng duì huà shì wén xué zuò pǐn sù zào rén wù xíng xiàng zuì jī běn de shǒu duàn zhī yī， jiǎn . ào sī dīng bǐ xià de rén wù duì huà xiān míng shēng dòng， pō jù gè xìng， hán yì fēng fù， nài rén xún wèi。 běn wén yòng huì huà hé zuò yuán zé fēn xī《 ào màn yǔ piān jiàn》 shū zhōng de rén wù duì huà fēng gé， jiě kāi jiǎn · ào sī dīng zuò pǐn zhōng rén wù duì huà yǔ yán fēng gé jī zhì yōu mò miào qù héng shēng zhī mí。 ào sī dīng de yǔ yán shì jīng guò chuí liàn de， tā zài duì huà yì shù shàng jiǎng jiū yōu mò、 huī xié fēng qù、 fěng cì， zhè zhǒng yì shù chuàng xīn shǐ tā de zuò pǐn jù yòu zì jǐ de tè sè， ér zhè zhǒng fù yòu tè sè de yǔ yán zài《 ào màn yǔ piān jiàn》 zhōng fā huī dé yóu wéi lín lí jìn zhì。
bǐ rú zài xiě bān nà tè tài tài shí， zuò zhě jiù zhè yàng xiě dào：“ zhǐ yào pèng dào bù chēng xīn de shì， tā jiù zì yǐ wéi shén jīng shuāi ruò。” yòu zài bān nà tè tài tài yǔ qí zhàng fū de duì huà zhōng xiě dào：“ wǒ de hǎo lǎo yé， nǐ zěn me shè dé zhè yàng zāo tà zì jǐ de qīn shēng nǚ 'ér？ nǐ shì zài gù yì jiào wǒ qì nǎo， hǎo ràng nǐ zì jǐ dé yì bā。 nǐ bàn diǎn yě bù tǐ liàng wǒ de shén jīng shuāi ruò。”“ nǐ zhēn cuò guài liǎo wǒ， wǒ de hǎo tài tài。 wǒ fēi cháng zūn zhòng nǐ de shén jīng。 tā men shì wǒ de lǎo péng yǒu。 zhì shǎo zài zuì jìn 'èr shí nián yǐ lái， wǒ yī zhí tīng dào nǐ zhèng zhòng qí shì dì tí dào tā men。” huó líng huó xiàn de yǔ yán， jué miào de cháo fěng yǔ huī xié， lì kè shǐ liǎng gè bù tóng de rén wù xíng xiàng zài dú zhě nǎo hǎi zhōng biàn dé lì tǐ 'ér qīng xī。
zài rú lìng yī gè piàn duàn de miáo xiě： kā tái lín fū rén de mǎ chē lù guò mén kǒu， kē lín sī mù shī quán jiā shǒu máng jiǎo luàn chū qù yíng jiē， yī lì suō bái què shuō：“ jiù shì zhè me huí shì má？ wǒ hái yǐ wèishì zhū luó chuǎng jìn liǎo huā yuán ní。” zhí shuài de wā kǔ， chuō chuān liǎo kā tái lín fū rén zì jǐ chuī qǐ lái de hǔ rén jià shì， yě shǐ yī lì suō bái zhè gè miè shì quán guì de xíng xiàng zài rén men nǎo hǎi zhōng liú xià liǎo gēngshēn de yìn xiàng， yuè fā jué dé tā de kě 'ài。 ào sī tīng hái shàn yú tōng guò zuì pǔ tōng de yǔ yán ràng rén wù zì jǐ bào lù zì jǐ。 lì rú xiǎo shuō kāi tóu shí， bān nà tè tài tài céng shuō láng gé tài tài“ shì gè zì sī zì lì、 jiǎ rén jiǎ yì de nǚ rén， wǒ qiáo bù qǐ tā。” ér dào gù shì de jié wěi， dāng qí dà nǚ 'ér yǔ bīn gé lāi de hūn shì yǐ chéng dìng jú shí， tā yòu shuō“ wǒ jué dé láng gé tài tài zhè gè rén zhēn shì tài hǎo liǎo。” zhè liǎng duàn jié rán xiāng fǎn de huà， ràng dú zhě bù jìn yǎ rán shī xiào de tóng shí， yòu duō me shēng dòng dì biǎo xiàn chū bān nà tè tài tài de fǎn fù wú cháng、 zì wǒ zhōng xīn。 zhè yàng de lì zǐ zài shū zhōng hái yòu hěn duō。 yī gè céng chōng mǎn piān jiàn de yī lì suō bái、 yī gè céng hún shēn 'ào màn de dá xī、 yī duì yòu qù de bān nà tè fū fù、 yī gè kě xiào de kē lín sī、 zhòng duō chū chángrén wù、 zài jiā shàng xǐ jù xiào guǒ hé tè shū xiě zuò jì qiǎo， zhè jiù shì《 ào màn yǔ piān jiàn》， què bù shì tā de quán bù。 ào sī tīng de yōu mò shì xū yào fǎn fù jǔjué de。
ào màn yǔ piān jiàn [ xiǎo shuō ]- píng jià
1、 ào sī dīng zài zhè bù xiǎo shuō zhōng tōng guò bān nà tè wǔ gè nǚ 'ér duì dài zhōng shēn dà shì de bù tóng chǔlǐ， biǎo xiàn chū xiāng zhèn zhōng chǎn jiē jí jiā tíng chū shēn de shàonǚ duì hūn yīn 'ài qíng wèn tí de bù tóng tài dù， cóng 'ér fǎn yìng liǎo zuò zhě běn rén de hūn yīn guān： wèile cái chǎn、 jīn qián hé dì wèi 'ér jié hūn shì cuò wù de； ér jié hūn bù kǎo lǜ shàng shù yīn sù yě shì yú chǔn de。 yīn cǐ， tā jì fǎn duì wéi jīn qián 'ér jié hūn， yě fǎn duì bǎ hūn yīn dāng 'ér xì。 tā qiáng diào lǐ xiǎng hūn yīn de zhòng yào xìng， bìng bǎ nán nǚ shuāng fāng gǎn qíng zuò wéi dì jié lǐ xiǎng hūn yīn de jī shí。 shū zhōng de nǚ zhù rén gōng yī lì suō bái chū shēn yú xiǎo dì zhù jiā tíng， wéi fù háo zǐ dì dá xī suǒ rè 'ài。 dá xī bù gù mén dì hé cái fù de chā jù， xiàng tā qiú hūn， què zāo dào jù jué。 yī lì suō bái duì tā de wù huì hé piān jiàn shì yī gè yuán yīn， dàn zhù yào de shì tā tǎo yàn tā de 'ào màn。 yīn wéi dá xī de zhè zhǒng 'ào màn shí jì shàng shì dì wèi chā yì de fǎn yìng， zhǐ yào cún zài zhè zhǒng 'ào màn， tā yǔ yī lì suō bái zhī jiān jiù bù kě néng yòu gòng tóng de sī xiǎng gǎn qíng， yě bù kě néng yòu lǐ xiǎng de hūn yīn。 yǐ hòu yī lì suō bái qīn yǎn guān chá liǎo dá xī de wéi rén chǔshì hé yī xì liè suǒ zuò suǒ wéi， tè bié shì kàn dào tā gǎi biàn liǎo guò qù nà zhǒng jiāo 'ào zì fù de shén tài， xiāo chú liǎo duì tā de wù huì hé piān jiàn， cóng 'ér yǔ tā dì jié liǎo měi mǎn yīn yuán。 yī lì suō bái duì dá xī xiān hòu jǐ cì qiú hūn de bù tóng tài dù， shí jì shàng fǎn yìng liǎo nǚ xìng duì rén gé dú lì hé píng děng quán lì de zhuī qiú。 zhè shì yī lì suō bái zhè yī rén wù xíng xiàng de jìn bù yì yì。 zài《 ào màn yǔ piān jiàn》 zhōng， ào sī dīng hái xiě liǎo yī lì suō bái de jǐ gè jiě mèi hé nǚ yǒu de hūn shì， zhè xiē dōushì péi chèn， yòng lái yǔ nǚ zhù rén gōng lǐ xiǎng de hūn yīn xiāng duì zhào。 rú xià luò tè hé kē lín sī jìn guǎn hūn hòu guò zhe shū shì de wù zhì shēng huó， dàn tā men zhī jiān méi yòu 'ài qíng， zhè zhǒng hūn yīn shí jì shàng shì yǎn gài zài huá lì wài yī xià de shè huì bēi jù。 hái yòu tā de jiě jiě yě shì wán měi jié jú de。 bù guò tā men suǒ jīng lì de yuǎn yuǎn méi yòu yī lì suō bái hé dá xī zhè yàng cóng tǎo yàn wù huì dào xiāng 'ài de， yī kāi shǐ jiù xiāng 'ài， yòu diǎn xiàng yī jiàn zhōng qíng de wèi dào。 cóng 'ér kàn chū， jīng lì bō zhé de 'ài qíng cái shì wán měi shēn kè de。
ào sī dīng de xiǎo shuō jìn guǎn tí cái bǐ jiào xiá zhǎi， gù shì xiāng dāng píng dàn， dàn shì tā shàn yú zài rì cháng píng fán shì wù zhōng sù zào xiān míng de rén wù xíng xiàng， bù lùn shì yī lì suō bái、 dá xī nà zhǒng zuò zhě rèn wéi zhí dé kěn dìng de rén wù， hái shì wēi kěn、 kē lín sī zhè lèi zāo dào fěng cì wā kǔ de duì xiàng， dū xiěde zhēn shí dòng rén。 tóng shí， ào sī dīng de yǔ yán shì jīng guò chuí liàn de， tā zài duì huà yì shù shàng jiǎng jiū yōu mò、 fěng cì， cháng yǐ fēng qù huī xié de yǔ yán lái hōng tuō rén wù de xìng gé tè zhēng。 zhè zhǒng yì shù chuàng xīn shǐ tā de zuò pǐn jù yòu zì jǐ de tè sè。
2、 ài qíng shì xiǎo shuō yǒng héng de zhù tí，《 ào màn yǔ piān jiàn》 yǐ 'ài qíng hé hūn yīn wéi zhù yào nèi róng， zì rán shì xī yǐn dú zhě de。 dàn miáo xiě 'ài qíng de xiǎo shuō bù jì qí shù（ yán qíng xiǎo shuō sì hū jiù hěn duō chǎn）， yào xiàng《 ào màn yǔ piān jiàn》 zhè yàng zài shì jiè wén xué zhōng zhàn yòu yī xí zhī dì， yě bìng bù shì yī jiàn róng yì de shì。《 ào màn yǔ piān jiàn》 zhī suǒ yǐ chēng dé shàng shì jiè wén xué míng zhù 'ér bù liú sú yú yī bān 'ài qíng xiǎo shuō， zì yòu tā de mèi lì suǒ zài。 nà me dào dǐ shì shénme shǐ tā tuō yíng 'ér chū ní？ yī bù hǎo de xiǎo shuō， nèi róng、 qíng jié shì fēi cháng zhòng yào de。《 ào màn yǔ piān jiàn》 de nèi róng bìng bù fù zá， qíng jié què yǐn rén rù shèng。 dú guò běn shū de dú zhě yīnggāi duì xiǎo shuō kāi piān de yī jù huà jì yì yóu xīn：“ fán shì yòu cái chǎn de dān shēn hàn， bì dìng xū yào qǔ wèi tài tài， zhè yǐ jīng chéng liǎo yī tiáo jǔ shì gōng rèn de zhēn lǐ。 (Itisatrueuniversallyacknowledged,thatasinglemaninpossessionofagoodfortunemustbeinwantofawife.)” zài yīng wén zhōng inwantof shì zhǐ kè guān xū yào， ér bù shì zhù guān xiǎng yào； zhè jiǎn jiǎn dān dān de yī jù huà què shēn shēn fǎn yìng chū zī chǎn jiē jí hūn yīn de shí zhì wú fēi shì jīn qián jiāo yì yǔ lì yì de jié hé， kě jiàn zuò zhě de mù guāng zhī tòu chè xī lì， yě zhèng yìng zhèng liǎo qián miàn suǒ shuō de xì wēi zhī chù què néng fǎn yìng dà wèn tí。 xiǎo shuō kāi piān jiù zhè yàng láo láo zhuā zhù liǎo dú zhě， jiē zhe tōng guò bān nà tè fū fù fēng qù de duì huà， bǎ dú zhě dài jìn yī gè nǚ 'ér duō dé fā chóu de zhōng chǎn jiē jí jiā tíng zhōng。 zhè gè jiā tíng jiā dào yǐ jīng zhōng luò， què hái yòu 5 gè dài jià de nǚ 'ér， ér qiě bù xìng bān nà tè xiān shēng yòu méi yòu 'ér zǐ， qí cái chǎn jiāng yóu biǎo qīn kē lín sī jì chéng。 zài zī chǎn jiē jí shè huì， rú guǒ nǚ hái méi yòu fēng hòu de jià zhuāng， jiù shì zài yòu cái mào， yě nán zhǎo dào tǐ miàn de zhàng fū， jiù xiàng shū zhōng dá xī suǒ shuō：“ tā men cháng shǐ xiǎng jià gěi yòu dì wèi de nán rén， jī huì kě jiù dà dà jiǎn shǎo liǎo。” suǒ yǐ chù zài hūn yīn yào quán héng shuāng fāng jiē jí dì wèi hé jīn qián lì hài de qíng kuàng xià， zhè wǔ wèi gū niàn de chū jià qián jǐng què shí bù tài měi miào。 xiǎo shuō cǎi yòng gǔ diǎn de xiàn shí zhù yì bǐ fǎ， miáo xiě liǎo sì duì qīng nián nán nǚ de jié hé， tōng guò bān nà tè wǔ gè nǚ 'ér duì dài zhōng shēn dà shì de bù tóng chǔlǐ， biǎo xiàn chū xiāng zhèn zhōng chǎn jiē jí jiā tíng chū shēn de shàonǚ duì hūn yīn 'ài qíng wèn tí de bù tóng tài dù， yě jiè cǐ biǎo dá liǎo zuò zhě běn rén de hūn yīn guān， jí wéi cái chǎn dǎ suàn de hūn yīn shì méi yòu xìng fú de， jié hūn bù kǎo lǜ cái chǎn shì yú chǔn de， jiǎng jiū mén dì de bāo bàn hūn yīn bù kān rěn shòu， bǎ hūn yīn dāng 'ér xì háo bù zú qǔ， lǐ xiǎng de hūn yīn yào yǐ gǎn qíng wéi jī chǔ。 shū zhōng de nǚ zhù rén gōng yī lì suō bái yǔ dá xī bù gù mén dì hé cái fù de chā jù， zhēn xīn xiāng 'ài， měi mǎn jié hé， shì zuò zhě suǒ sòng yáng de xìng fú hūn yīn。 cóng yī lì suō bái de shēn shàng， wǒ men kě yǐ kàn dào nǚ xìng duì rén gé dú lì hé píng děng quán lì de zhuī qiú； zuò zhě suī rán méi yòu fǎn yìng chū tā nà gè shí dài de jiē jí máo dùn hé jiē jí dǒu zhēng， rán 'ér tā de qiáng liè de jiē jí yì shí què biǎo xiàn liǎo chū lái， duì jīng jì、 cái chǎn jué dìng hūn yīn guān xì nǎi zhì shēng huó mìng yùn de jiē lù yě kě wèi rù mù sān fēn。 xī fāng yòu wèi mǎ kè sī zhù yì pī píng jiā dà wèi dài kè sī céng bàn kāi wán xiào de shuō， zài“ jiē lù rén lèi xíng wéi de jīng jì yuán yīn” fāng miàn， ào sī tīng“ cóng mǒu zhǒng yì yì shàng kě yǐ shuō zài mǎ kè sī yǐ qián jiù shì mǎ kè sī zhù yì zhě liǎo。”
The story follows the main character Elizabeth Bennet as she deals with issues of manners, upbringing, moral rightness, education and marriage in her aristocratic society of early 19th century England. Elizabeth is the second eldest of five daughters of a country gentleman landed in the fictional town of Meryton in Hertfordshire, not far from London.
Though the story's setting is uniquely turn of the 19th century, it retains a fascination for modern readers, continuing near the top of lists of 'most loved books' such as the Big Read. It still receives considerable attention from literary critics. This modern interest has resulted in a number of dramatic adaptations and an abundance of novels and stories imitating Austen's memorable characters or themes.
To date, the book has sold some 20 million copies worldwide.
Plot summary
The novel revolves around the Bennet family. The five marriageable daughters and mother will be without a home and income once Mr. Bennet dies: The terms on which Mr. Bennet inherited Longbourn ("fee tail male," now abolished by statute in England) prohibit women from inheriting it, with the effect that instead one of Mr. Bennet's collateral relatives will inherit the estate. The mother worries about this predicament, and wishes to find husbands for them quickly. The father doesn't seem to be worried at all, and Elizabeth, the heroine, has decided to only marry for love, even though she has no real ideas about how she will survive financially. She is of the opinion that her sister Jane, being kind and beautiful, will find a wealthy husband, and that she can then live with her. As the novel opens, Mr Bingley, a wealthy young gentleman, rents a country estate near the Bennets called Netherfield. He arrives in town accompanied by his fashionable sisters and his good friend, Mr Darcy. While Bingley is well-received in the community, Darcy begins his acquaintance with smug condescension and proud distaste for all the 'country' people. Bingley and Elizabeth Bennet's older sister Jane begin to grow close. Elizabeth's best friend Charlotte advises that Jane should be more affectionate to Bingley, as they are both shy, and he may not know that she is indeed interested in him. Elizabeth disregards her friend's opinion, saying that Jane is shy and modest, and that if Bingley can't see how she feels, he is a fool. With that, she never even tells Jane what Charlotte advised. Elizabeth is stung by Darcy's haughty rejection of her at a local dance and decides to match his coldness with her own wit.
At the same time Elizabeth begins a friendship with Mr Wickham, a militia officer who relates a prior acquaintance with Darcy. Wickham tells her that he has been seriously mistreated by Darcy. Elizabeth immediately seizes upon this information as another reason to hate Darcy. Ironically, but unbeknownst to her, Darcy finds himself gradually drawn to Elizabeth.
Just as Bingley appears to be on the point of proposing marriage to Jane Bennet, he quits Netherfield, leaving Jane confused and upset. Elizabeth is convinced that Bingley's sister has conspired with Darcy to separate Jane and Bingley.
Before Bingley leaves, Mr Collins, the male relative who is to inherit Longbourn, makes a sudden appearance and stays with the Bennets. He is a recently ordained clergyman employed by the wealthy and patronizing Lady Catherine de Bourgh. Though he was partially entreated to visit by his patroness, Collins has another reason for visiting: he wishes to find a wife from among the Bennet sisters. Mr Bennet and Elizabeth are amused by his self-important and pedantic behaviour. He immediately enters pursuit of Jane; however, when Mrs Bennet mentions her preoccupation with Mr Bingley, he turns to Elizabeth. He soon proposes marriage to Elizabeth, who refuses him, much to her mother's distress. Collins quickly recovers and proposes to Elizabeth's close friend, Charlotte Lucas, who immediately accepts him. Once the marriage is arranged, Charlotte asks Elizabeth to come for an extended visit.
In the spring, Elizabeth joins Charlotte and her cousin at his parish in Kent. The parish is adjacent to Rosings Park, the grand manor of Mr Darcy's aunt, Lady Catherine de Bourgh, where Elizabeth is frequently invited. While calling on Lady Catherine, Mr Darcy encounters Elizabeth. She discovers from a cousin of Darcy that it was he who separated Bingley and Jane. Soon after, Darcy admits his love of Elizabeth and proposes to her. Insulted by his high-handed and insulting manner of proposing, Elizabeth refuses him. When he asks why she should refuse him, she confronts him with his sabotage of Bingley's relationship with Jane and Wickham's account of their dealings.
Deeply shaken by Elizabeth's vehemence and accusations, Darcy writes her a letter justifying his actions. The letter reveals that Wickham soon dissipated his legacy-settlement (from Darcy's father's estate), then came back to Darcy requesting permanent patronage; and that he became angry when rejected, accusing Darcy of cheating him. To exact revenge and to make off with part of the Darcy family fortune, he attempted to seduce Darcy's young sister Georgiana—to gain her hand and fortune, almost persuading her to elope with him—before he was found out and stopped. Towards Bingley and Jane, Darcy justifies his actions from having observed that Jane did not show any reciprocal interest in his friend; thus his aim in separating them was mainly to protect Bingley from heartache.
Darcy admits he was concerned about the disadvantageous connection with Elizabeth's family, especially her embarrassing mother and wild younger sisters. After reading the letter, Elizabeth begins to question both her family's behaviour and Wickham's credibility. She concludes that Wickham is not as trustworthy as his easy manners would indicate, that he had lied to her previously, and that her early impressions of Darcy might have been inaccurate. Soon after receiving the letter, Elizabeth returns home.
Elizabeth tells her father that Darcy was responsible for uniting Lydia and Wickham. This is one of the two earliest illustrations of Pride and Prejudice. The clothing styles reflect the time the illustration was engraved (the 1830s), not the time the novel was written or set.
Some months later, during a tour of Derbyshire with her aunt and uncle, Elizabeth visits Pemberley, Darcy's estate. Darcy's housekeeper, an older woman who has known Darcy since childhood, presents Elizabeth and her relatives with a flattering and benevolent impression of his character. Unexpectedly, Darcy arrives at Pemberley as they tour its grounds. He makes an effort to be gracious and welcoming to them, thus strengthening Elizabeth's newly favourable impression of him. Darcy then introduces Elizabeth to his sister Georgiana. He treats her uncle and aunt very well, and finds them of a more sound character than her other relatives, whom he previously dismissed as socially inferior.
Elizabeth and Darcy's renewed acquaintance is cut short when news arrives that Elizabeth's younger sister Lydia has run away with Wickham. Initially, the Bennets believe that Wickham and Lydia have eloped, but soon it is surmised that Wickham has no plans to marry Lydia. Lydia's antics threaten the family's reputation and the Bennet sisters with social ruin. Elizabeth and her aunt and uncle hurriedly leave Derbyshire, and Elizabeth is convinced that Darcy will avoid her from now on.
Soon, thanks to the intervention of Elizabeth's uncle, Lydia and Wickham are found and married. After the marriage, Wickham and Lydia make a visit to Longbourn. While bragging to Elizabeth, Lydia comments that Darcy was present at the wedding. Surprised, Elizabeth sends an inquiry to her aunt, from whom she discovers that Darcy was responsible for both finding the couple and arranging their marriage at great expense to himself.
Soon after, Bingley and Darcy return to the area. Bingley proposes marriage to Jane, and this news starts rumors that Darcy will propose to Elizabeth. Lady Catherine travels to Longbourn with the sole aim of confronting Elizabeth and demanding that she never accept such a proposal. Elizabeth refuses to bow to Lady Catherine's demands. When news of this obstinance reaches Darcy, it convinces him that her opinion of him has changed. When he visits, he once again proposes marriage. Elizabeth accepts, and the two become engaged.
The final chapters of the book establish the future of the characters. Elizabeth and Darcy settle at Pemberley where Mr Bennet visits often. Mrs Bennet remains frivolous and silly; she often visits the new Mrs Bingley and talks of the new Mrs Darcy. Later, Jane and Bingley move from Netherfield to avoid Jane's mother and Meryton relations and to locate near the Darcys in Derbyshire. Elizabeth and Jane manage to teach Kitty greater social grace, and Mary learns to accept the difference between herself and her sisters' beauty and mixes more with the outside world. Lydia and Wickham continue to move often, leaving their debts for Jane and Elizabeth to pay off. At Pemberley, Elizabeth and Georgiana grow close, though Georgiana is surprised by Elizabeth's playful treatment of Darcy. Lady Catherine stays very angry with her nephew's marriage but over time the relationship between the two is repaired and she eventually decides to visit them. Elizabeth and Darcy also remain close with her uncle and aunt.
Main characters
[show]Character genealogy
Mr Hurst
Mrs Hurst
Mr Philips
Caroline Bingley
Mrs Philips
Mr Charles Bingley
Mrs Gardiner
Jane Bennet
Mr Gardiner
Elizabeth Bennet
Mrs Bennet
Mary Bennet
Mr Bennet
Catherine "Kitty" Bennet
Mr William Collins
Lydia Bennet
Charlotte Lucas
Mr George Wickham
(Old) Mr Darcy
Mr Fitzwilliam Darcy
Lady Anne Darcy
Georgiana Darcy
Lady Catherine De Bourgh
Anne De Bourgh
Lord ——
Colonel Fitzwilliam
* Elizabeth Bennet is the main character and protagonist. The reader sees the unfolding plot and the other characters mostly from her viewpoint. The second of the Bennet daughters at twenty years old, she is intelligent, lively, attractive, and witty, but with a tendency to judge on first impressions and perhaps to be a little selective of the evidence upon which she bases her judgments. As the plot begins, her closest relationships are with her father, her sister Jane, her aunt Mrs Gardiner, and her best friend Charlotte Lucas.
* Mr Fitzwilliam Darcy is the main male character. Twenty-eight years old and unmarried, Darcy is the wealthy owner of the famous family estate of Pemberley in Derbyshire. Handsome, tall, and intelligent, but not convivial, his aloof decorum and moral rectitude are seen by many as an excessive pride and concern for social status. He makes a poor impression on strangers, such as the gentry of Meryton, but is valued by those who know him well.
* Mr Bennet has a wife and five daughters, and seems to have inurred himself to his fate. A bookish and intelligent gentleman somewhat withdrawn from society, he dislikes the indecorous behaviours of his wife and three younger daughters; but he offers little beyond mockery by way of correcting them. Rather than guiding these daughters to more sensible understanding, he is instead content to laugh at them. He relates very well with his two elder daughters, Jane and Elizabeth, showing them much more love and respect than his wife and younger daughters.
* Mrs Bennet is the wife of her social superior Mr Bennet, and mother of Elizabeth and her sisters. She is frivolous, excitable, and narrow-minded. She is susceptible to attacks of tremors and palpitations; her public manners and social climbing are embarrassing to Jane and Elizabeth. Her favourite daughter is the youngest, Lydia.
Lady Catherine confronts Elizabeth about Darcy, on the title page of the first illustrated edition. This is the other of the first two illustrations of the novel.
* Jane Bennet is the eldest Bennet sister. Twenty-two years old when the novel begins, she is considered the most beautiful young lady in the neighbourhood. Her character is contrasted with Elizabeth's as sweeter, shyer, and equally sensible, but not as clever; her most notable trait is a desire to see only the good in others. Jane is closest to Elizabeth, and her character is often contrasted with that of Elizabeth.
* Mary Bennet is the only plain Bennet sister, and rather than join in some of the family activities, she reads, although is often impatient for display. She works hard for knowledge and accomplishment, but has neither genius nor taste. At the ball at Netherfield, she embarrasses her family by singing badly.
* Catherine "Kitty" Bennet is the fourth Bennet sister, aged seventeen. She is portrayed as a less headstrong but equally silly shadow of Lydia.
* Lydia Bennet is the youngest Bennet sister, aged fifteen. She is repeatedly described as frivolous and headstrong. Her main activity in life is socialising, especially flirting with the military officers stationed in the nearby town of Meryton. She dominates her older sister Kitty and is supported in the family by her mother. After she elopes with Wickham and he is paid to marry her, she shows no remorse for the embarrassment that her actions caused for her family, but acts as if she has made a wonderful match of which her sisters should be jealous.
* Charles Bingley is a young gentleman without an estate. His wealth was recent, and he is seeking a permanent home. He rents the Netherfield estate near Longbourn when the novel opens. Twenty-two years old at the start of the novel, handsome, good-natured, and wealthy, he is contrasted with his friend Darcy as being less intelligent but kinder and more charming, and hence more popular in Meryton. He lacks resolve and is easily influenced by others.
* Caroline Bingley is the snobbish sister of Charles Bingley. Clearly harbouring romantic intentions on Darcy herself, she views his growing attachment to Elizabeth Bennet with some jealousy, resulting in disdain and frequent verbal attempts to undermine Elizabeth and her society.
* George Wickham is an old acquaintance of Darcy from childhood, and an officer in the militia unit stationed near Meryton. Superficially charming, he rapidly forms a friendship with Elizabeth Bennet, prompting remarks upon his suitability as a potential husband. He spreads numerous tales about the wrongs Darcy has done to him, colouring the popular perception of the other man in local society. It is eventually revealed that these tales are distortions, and that Darcy was the wronged man in their acquaintance.
* William Collins, aged twenty-five, is Mr Bennet's clergyman cousin and, as Mr Bennet has no son, heir to his estate. Austen described him as "not a sensible man, and the deficiency of nature had been but little assisted by education or society." Collins boasts of his acquaintance with — and advantageous patronage from — Lady Catherine de Bourgh. Mr Bennet, Jane, and Elizabeth consider him pompous and lacking in common sense. Elizabeth's rejection of Collins' marriage proposal is welcomed by her father, regardless of the financial benefit to the family of such a match. Elizabeth is later somewhat distressed — although understanding — when her closest friend, Charlotte Lucas, consents to marry Collins out of her need for a settled position and to avoid the low status and lack of autonomy of an old maid.
* Lady Catherine de Bourgh, who has wealth and social standing, is haughty, domineering and condescending. Mr Collins, among others, enables these characteristics by deferring to her opinions and desires. Elizabeth, however, is duly respectful but not intimidated. Darcy, whilst respectful of their shared family connection, is offended by her lack of manners, especially towards Elizabeth, and later — when pressed by her demand that he not marry Elizabeth — is quick to assert his intentions to marry whom he wishes.
* Mr Gardiner is Mrs Bennet's brother, and a businessman. He is quite sensible and gentleman-like. He tries to help Lydia when she elopes with Wickham. His wife has close relationships with Elizabeth and Jane. Jane stays with the Gardiners in London for a while, and Elizabeth travels with them to Derbyshire, where she again meets Darcy.
* Georgiana Darcy is Mr Darcy's quiet and amiable younger sister, aged sixteen when the story begins. In a letter from Mr Darcy to Elizabeth, he describes that Wickham tried to persuade her to elope with him and inherit her 30,000 pounds. Later on, Elizabeth meets her at their home at Pemberly, where she is amiable and sweet. She is very happy with her brother's choosing of Elizabeth and maintains an extremely close relationship to both of them.
Interrelationships
A comprehensive web showing the relationships between the main characters in Pride and Prejudice
Major themes
Many critics take the novel's title as a starting point when analysing the major themes of Pride and Prejudice; however, Robert Fox cautions against reading too much into the title since commercial factors may have played a role in its selection. "After the success of Sense and Sensibility, nothing would have seemed more natural than to bring out another novel of the same author using again the formula of antithesis and alliteration for the title. It should be pointed out that the qualities of the title are not exclusively assigned to one or the other of the protagonists; both Elizabeth and Darcy display pride and prejudice."
A major theme in much of Austen's work is the importance of environment and upbringing on the development of young people's character and morality. Social standing and wealth are not necessarily advantages in her world, and a further theme common to Jane Austen's work is ineffectual parents. In Pride and Prejudice, the failure of Mr and Mrs Bennet (particularly the latter) as parents is blamed for Lydia's lack of moral judgment; Darcy, on the other hand, has been taught to be principled and scrupulously honourable, but is also proud and overbearing. Kitty, rescued from Lydia's bad influence and spending more time with her older sisters after they marry, is said to improve greatly in their superior society.
Style
Pride and Prejudice, like most of Jane Austen's works, employs the narrative technique of free indirect speech. This has been defined as "the free representation of a character's speech, by which one means, not words actually spoken by a character, but the words that typify the character's thoughts, or the way the character would think or speak, if she thought or spoke". By using narrative which adopts the tone and vocabulary of a particular character (in this case, that of Elizabeth), Austen invites the reader to follow events from Elizabeth's viewpoint, sharing her prejudices and misapprehensions. "The learning curve, while undergone by both protagonists, is disclosed to us solely through Elizabeth's point of view and her free indirect speech is essential ... for it is through it that we remain caught, if not stuck, within Elizabeth's misprisions."
Publication history
Modern paperback editions of Pride and Prejudice
The novel was originally titled First Impressions by Jane Austen, and was written between October 1796 and August 1797. On 1 November 1797 Austen's father gave the draft to London bookseller Thomas Cadell in hopes of it being published, but it was rejected. The unpublished manuscript was returned to Austen and it stayed with her.
Austen made significant revisions to the manuscript for First Impressions between 1811 and 1812. She later renamed the story Pride and Prejudice. In renaming the novel, Austen probably had in mind the "sufferings and oppositions" summarized in the final chapter of Fanny Burney's Cecilia, called "Pride and Prejudice", where the phrase appears three times in block capitals. It is possible that the novel's original title was altered to avoid confusion with other works. In the years between the completion of First Impressions and its revision into Pride and Prejudice, two other works had been published under that name: a novel by Margaret Holford and a comedy by Horace Smith.
Austen sold the copyright for the novel to Thomas Egerton of Whitehall in exchange for £110 (Austen had asked for £150). This proved a costly decision. Austen had published Sense and Sensibility on a commission basis, whereby she indemnified the publisher against any losses and received any profits, less costs and the publisher's commission. Unaware that Sense and Sensibility would sell out its edition, making her £140, she passed the copyright to Egerton for a one-off payment, meaning that all the risk (and all the profits) would be his. Jan Fergus has calculated that Egerton subsequently made around £450 from just the first two editions of the book.
Egerton published the first edition of Pride and Prejudice in three hardcover volumes in January 1813, priced at 18s. Favourable reviews saw this edition sold out, with a second edition published in November that year. A third edition was published in 1817.
Foreign language translations first appeared in 1813 in French; subsequent translations were published in German, Danish and Swedish. Pride and Prejudice was first published in the United States in August 1832 as Elizabeth Bennet or, Pride and Prejudice. The novel was also included in Richard Bentley's Standard Novel series in 1833. R. W. Chapman's scholarly edition of Pride and Prejudice, first published in 1923, has become the standard edition from which many modern publications of the novel are based.
Reception
The novel was well received, with three favourable reviews in the first months following publication. Jan Fergus calls it "her most popular novel, both with the public and with her family and friends", and quotes David Gilson's A Bibliography of Jane Austen (Clarendon, 1982), where it is stated that Pride and Prejudice was referred to as "the fashionable novel" by Anne Isabella Milbanke, later to be the wife of Lord Byron. However, others did not agree. Charlotte Brontë wrote to noted critic and reviewer George Henry Lewes after reading a review of his published in Fraser's Magazine in 1847. He had praised Jane Austen's work and declared that he, "... would rather have written Pride and Prejudice, or Tom Jones, than any of the Waverley Novels". Miss Brontë, though, found Pride and Prejudice a disappointment, "... a carefully fenced, highly cultivated garden, with neat borders and delicate flowers; but ... no open country, no fresh air, no blue hill, no bonny beck."
Modern popularity
* In 2003 the BBC conducted the largest ever poll for the "UK's Best-Loved Book" in which Pride and Prejudice came second, behind The Lord of the Rings.
* In a 2008 survey of more than 15,000 Australian readers, Pride and Prejudice came first in a list of the 101 best books ever written.
Adaptations
Film, television, and theatre
Pride and Prejudice has engendered numerous adaptations. Some of the notable film versions include that of 1940 starring Greer Garson and Laurence Olivier, that of 2003 starring Kam Heskin and Orlando Seale (which placed the characters of Pride and Prejudice in a Mormon university, and was directed by Andrew Black and that of 2005 starring Keira Knightley (in an Oscar-nominated performance) and Matthew Macfadyen. Notable television versions include two by the BBC: the 1995 version starring Jennifer Ehle and Colin Firth, and a 1980 version starring Elizabeth Garvie and David Rintoul. A 1936 stage version was created by Helen Jerome played at the St. James's Theatre in London, starring Celia Johnson and Hugh Williams. First Impressions was a 1959 Broadway musical version starring Polly Bergen, Farley Granger, and Hermione Gingold. In 1995, a musical concept album was written by Bernard J. Taylor, with Peter Karrie in the role of Mr Darcy and Claire Moore in the role of Elizabeth Bennet. A new stage production, Jane Austen's Pride and Prejudice, The New Musical, was presented in concert on 21 October 2008 in Rochester, New York with Colin Donnell as Darcy. The popular film Bridget Jones's Diary is a contemporary retelling, starring Renee Zellweger as a modern day Elizabeth, and Colin Firth, once again, as Mr Darcy.
Bride and Prejudice, starring Aishwarya Rai, is a Bollywood adaptation of the novel, while Pride & Prejudice: A Latter-Day Comedy (2003) places the novel in contemporary times. The off-Broadway musical I Love You Because reverses the gender of the main roles, set in modern day New York City. The Japanese comic Hana Yori Dango by Yoko Kamio, in which the wealthy, arrogant and proud protagonist, Doumyouji Tsukasa, falls in love with a poor, lower-class girl named Makino Tsukushi, is loosely based on Pride and Prejudice. A 2008 Israeli television six-part miniseries set the story in the Galilee with Mr Darcy a well-paid worker in the high-tech industry.
Pride and Prejudice has also crossed into the science fiction and horror genres. In the 1997 episode of science fiction comedy Red Dwarf entitled "Beyond a Joke", the crew of the space ship relax in a virtual reality rendition of "Pride and Prejudice Land" in "Jane Austen World". The central premise of the television miniseries Lost in Austen is a modern woman suddenly swapping lives with that of Elizabeth Bennet. In February 2009, it was announced that Elton John's Rocket Pictures production company was making a film, Pride and Predator, based on the story, but with the added twist of an alien landing in Longbourne.
Literature
The novel has inspired a number of other works that are not direct adaptations. Books inspired by Pride and Prejudice include: Mr. Darcy's Daughters and The Exploits and Adventures of Miss Alethea Darcy by Elizabeth Aston; Pemberley: Or Pride and Prejudice Continued and An Unequal Marriage: Or Pride and Prejudice Twenty Years Later by Emma Tennant; The Book of Ruth (ASIN B00262ZRBM) by Helen Baker; Jane Austen Ruined My Life and Mr. Darcy Broke My Heart by Beth Pattillo; Precipitation - A Continuation of Miss Jane Austen's Pride and Prejudice by Helen Baker; Searching for Pemberley by Mary Simonsen and Mr. Darcy Takes a Wife and its sequel Darcy & Elizabeth: Nights and Days at Pemberly by Linda Berdoll. In Gwyn Cready's comedic romance novel, Seducing Mr. Darcy, the heroine lands in Pride and Prejudice by way of magic massage, has a fling with Darcy and unknowingly changes the rest of the story. Bridget Jones's Diary by Helen Fielding, which started as a newspaper column before becoming a novel and a film, was inspired by the then-current BBC adaptation; both works share a Mr. Darcy of serious disposition (both played by Colin Firth), a foolish match-making mother, and a detached affectionate father, as well as the protagonist overhearing Mr. Darcy speaking about her disparagingly, followed by the caddish character gaining the protagonist's affections by telling lies about Mr. Darcy. The self-referential in-jokes continue with the sequel, Bridget Jones: The Edge of Reason.
In March 2009, Quirk Books released Pride and Prejudice and Zombies, which takes Austen's actual, original work, and laces it with zombie hordes, cannibalism, ninjas, and ultra-violent mayhem. Scheduled for publication in March 2010, Quirk Books has announced that it will produce a prequel which deals with Elizabeth Bennett's early days as a zombie hunter, entitled Pride and Prejudice and Zombies: Dawn of the Dreadfuls.
Yet another angle was introduced by Monica Fairview, who wrote about Miss Caroline Bingley in The Other Mr Darcy, published in October 2009. Pride and Prejudice has also inspired many scholarly articles and books including: So Odd a Mixture: Along the Autism Spectrum in 'Pride and Prejudice' by Phyllis Ferguson Bottomer, Forewords by Eileen Sutherland and Tony Attwood.
Marvel has also published their take on this classic, releasing a short comic series of five issues that stays true to the original storyline. The first issue was published on 1 April 2009 and was written by Nancy Hajeski.
Author Amanda Grange wrote Mr. Darcy's Diary in 2007 that tells the original story of Pride and Prejudice from the view of Mr Darcy. In 2009, she wrote Mr. Darcy, Vampyre which reimagines Darcy as a vampire after he has married Elizabeth. Following the same premise is Regina Jeffers' "Vampire Darcy's Desire", which retells Pride and Prejudice on the basis that Darcy is a dhampir (part-human, part-vampire) joined by his lover Elizabeth to fight the evil vampire George Wickham.
ào màn yǔ piān jiàn [ xiǎo shuō ]- zuò zhě jiǎn jiè
jiǎn · ào sī tīng jiǎn · ào sī tīng
jiǎn · ào sī tīng chū shēng yú 1775 nián 12 yuè 16 rì， shì qiáo zhì · ào sī tīng jiā de dì qī gè hái zǐ。 jiǎn · ào sī tīng yī zhí guò zhe 'ān jìng píng hé de yǐn jū shēng huó， tā yī shēng wèi hūn。 yīng guó wén xué shǐ shàng chū xiàn guò jǐ cì qù wèi gé mìng， wén xué kǒu wèi de fān xīn jīhū yǐng xiǎng liǎo suǒ yòu zuò jiā de shēng yù， wéi dú suō shì bǐ yà hé 'ào sī tīng jīng jiǔ bù shuāi。 ér zhè wèi wěi dà de nǚ xìng yī shēng zhǐ zǒu guò liǎo 42 gè chūn xià qiū dōng。 1817 nián 7 yuè 8 rì， tā sǐ yú wēn chè sī tè， zàng yú dāng dì dà jiào táng。
tā de fù qīn shì sī dì wén dùn de jiào qū cháng， yě shì yī wèi cáng shū pō fēng de bó xué zhī tǔ。 tā de mǔ qīn míng jiào kǎ sāng dé lā · lǐ · ào sī tīng， chū shēn yú guì zú jiā tíng。 jiǎn zhǐ yòu yī gè jiě jiě， jiào kǎ sāng dé lā， bìng yī shēng dū yǔ tā bǎo chí zhe mìqiè de lián xì。 jiǎn de tóng bāo xiōng dì cóng shì zhe bù tóng de zhí yè： yòu jǐ gè dān rèn shèng zhí， yī gè shì yínháng jiā， qí tā de zé zài jūn duì fú yì。 jìn guǎn tā de jiā tíng bù shì míng mén wàng zú， yě méi yòu fù jiá yī fāng， dàn qiáo zhì · ào sī tīng hěn zhòng shì jiào yù， shèn zhì duì nǚ 'ér yě bù lì wài。 jiǎn hé kǎ sāng dé lā shàng liǎo jǐ nián xué， zhī hòu jiù zài jiā lǐ xué xí， zhù yào shì guǎng fàn yuè dú gè zhǒng shū jí hé zī liào， bìng cóng fù xiōng men yǔ fǔ dǎo de xué shēng zhī jiān yòu qù de tǎo lùn zhōng huò yì。 tōng guò zì jǐ de nǔ lì， jiǎn shú zhī 18 shì jì de yīng guó wén xué。
jiǎn · ào sī tīng shēng qián nì míng chū bǎn liǎo sì bù xiǎo shuō：《 lǐ zhì yǔ qíng gǎn》 (1811)、《 ào màn yǔ piān jiàn }》 (1813)、《 màn sī fěi 'ěr dé zhuāng yuán》 (1814) hé《 ài mǎ》 (1815)。 lìng wài liǎng bù，《 nuò sāng gé xiū dào yuàn》 hé《 quàn dǎo》 shì tā qù shì hòu yú 1817 nián chū bǎn de。 tā de zhè xiē xiǎo shuō yǐ qí duì yīng guó shè huì hé fēng sú de fěng cì xìng miáo shù 'ér wén míng yú shì。
ào sī tīng suǒ chù de yīng guó shè huì shì yī gè jiē jí děng jí fēn míng de shè huì。 ér jiē jí de qū fēn zhù yào yuán yú jiā zú yǔ cái fù。 ào sī tīng zài tā de zuò pǐn zhōng jīng cháng pī píng yīng guó shàng céng jiē jí de zì fù hé piān jiàn。 jiǎn zhù yì qū fēn rén de nèi zài jià zhí ( gè rén pǐn dé ) hé wài zài jià zhí ( dì wèi hé cái chǎn )。 jiǎn suī rán jīng cháng fěng cì shì lì xiǎo rén， dàn yě cháo xiào chū shēn dī wēi de rén quē fá jiào yǎng hé jǔ zhǐ bù dāng。 zǒng de lái shuō， ào sī tīng shì yī gè xiàn shí zhù yì zuò jiā， tā suǒ miáo huì de yīng guó shì yī gè quē shǎo biàn huà dàn jiē jí yì shí qiáng liè de shè huì。
cóng 18 shì jì mò dào 19 shì jì chū，“ gǎn shāng xiǎo shuō” hé“ gē tè xiǎo shuō” chōng chì yīng guó wén tán， ér 'ào sī tīng de xiǎo shuō pò jiù lì xīn， yī fǎn cháng guī dì zhǎn xiàn liǎo dāng shí shàng wèi shòu dào zī běn zhù yì gōng yè gé mìng chōng jī de yīng guó xiāng cūn zhōng chǎn jiē jí de rì cháng shēng huó hé tián yuán fēng guāng。 tā de zuò pǐn wǎng wǎng tōng guò xǐ jù xìng de chǎng miàn cháo fěng rén men de yú chǔn、 zì sī、 shì lì hé máng mù zì xìn děng kě bǐ kě xiào de ruò diǎn。 ào sī dīng de xiǎo shuō chū xiàn zài 19 shì jì chū yè， yī sǎo fēng xíng yī shí de jiǎ làng màn zhù yì cháo liú， jì chéng hé fā zhǎn liǎo yīng guó 18 shì jì yōu xiù de xiàn shí zhù yì chuán tǒng， wéi 19 shì jì xiàn shí zhù yì xiǎo shuō de gāo cháo zuò liǎo zhǔn bèi。 suī rán qí zuò pǐn fǎn yìng de guǎng dù hé shēn dù yòu xiàn， dàn tā de zuò pǐn rú“ liǎng cùn yá diāo”， cóng yī gè xiǎo chuāng kǒu zhōng kuī shì dào zhěng gè shè huì xíng tài hé rén qíng shì gù， duì gǎi biàn dāng shí xiǎo shuō chuàng zuò zhōng de fēng qì qǐ liǎo hǎo de zuò yòng， zài yīng guó xiǎo shuō de fā zhǎn shǐ shàng yòu chéng shàng qǐ xià de yì yì， bèi yù wéi dì wèi“ kě yǔ suō shì bǐ yà píng qǐ píng zuò” de zuò jiā。 tā zuì xǐ 'ài de zuò jiā shì 18 shì jì gǔ diǎn zhù yì hé lǐ zhì de diǎn fàn sài miù 'ěr · yuē hàn xùn。 ào sī tīng de xiǎo shuō biǎo xiàn chū yī zhǒng qíng gǎn shàng de mó lēng liǎng kě， yǐ jí duì cōng míng cái zhì yǔ zì rán měi de zàn shǎng， zhè xiē tè diǎn shǐ qí zuò pǐn hé làng màn zhù yì zǒu dào yī qǐ。 yí hàn de shì， jiǎn · ào sī tīng de xiǎo shuō zài tā shēng qián bìng wèi shòu dào hǎo píng。 dàn shì hòu lái， yóu qí shì zài 20 shì jì， tā de xiǎo shuō yuè lái yuè shòu huān yíng。 rú jīn， jiǎn · ào sī tīng yǐ jīng jī shēn yú yīng guó zhēn zhèng wěi dà de zuò jiā zhī liè。 jiǎn · ào sī tīng shì shì jiè shàng wéi shù jí shǎo de zhù míng nǚ xìng zuò jiā zhī yī， jiè yú xīn gǔ diǎn zhù yì hé làng màn yùn dòng de shū qíng zhù yì zhī jiān de“ xiǎo fú huà jiā” hé“ jiā tíng xiǎo shuō” jiā， wén xué píng lùn jiā yǎn lǐ kān yǔ suō shì bǐ yà zài bù xiǔ xìng fāng miànxiàng tí bìng lùn de yīng guó zuò jiā。
ào màn yǔ piān jiàn [ xiǎo shuō ]- chuàng zuò bèi jǐng
《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī tīng zuì zǎo wán chéng de zuò pǐn， tā zài 1796 nián kāi shǐ dòng bǐ， qǔ míng wéi《 zuì chū de yìn xiàng》， 1797 nián 8 yuè wán chéng。 tā fù qīn kàn hòu hěn gǎn dòng， tè yì ná gěi tānɡ mǎ · kǎ shì dé 'ěr， qǐng tā chū bǎn， dàn duì fāng yī kǒu huí jué， shǐ dé tā men shí fēn shī wàng。 hòu lái， tā zhòng xiě liǎo《 zuì chū de yìn xiàng》， bìng gǎi míng wéi“ ào màn yǔ piān jiàn” yú 1813 nián 1 yuè chū bǎn。
ào màn yǔ piān jiàn [ xiǎo shuō ]- nèi róng jiǎn jiè
nǚ zhùjué：： yī lì suō bái
nán zhùjué： dá xī
zhòng yào pèijué： jiǎn（ yī lì suō bái de jiě jiě）、 bīn lì（ dá xī de hǎo péng yǒu）
nèi róng tí yào
《 ào màn yǔ piān jiàn》 shì miáo xiě yī lì suō bái bèi nèi tè hé wēi lián dá xī zhè duì qīng nián nán nǚ zhī jiān de 'ài qíng gù shì， qǐ chū tā men liǎ rén zǒng shì huà bù tóu jī。 gù shì fā shēng zài 18 shì jì hòu qī， jù lí yīng guó lún dūn， xiào wài yuē 50 yīng lǐ de hè tè fú dé jùn（ wèi yú yīng guó yīng gé lán dōng nán bù）， shū zhōng shēng dòng dì miáo huì liǎo dāng shí fù nǚ shēng huó de jiān nán， tā men jīhū dōubù néng bǎ wò zì jǐ de mìng yùn。 yóu yú 18 shì jì de yīng guó shè huì shí fēn kàn zhòng shè huì dì wèi hé gè rén jǔ zhǐ fēng dù yǔ cái yì， nǚ rén mendōu jié jìn suǒ néng qù xún mì fù yòu de zhàng fū。
xiáng xì nèi róng
xiǎo xiāng shēn bān nà tè yòu wǔ gè dài zì guī zhōng de qiān jīn， bān nà tè tài tài zhěng tiān cāo xīn zhe wéi nǚ 'ér wù sè chènxīn rú yì de zhàng fū。 xīn lái de lín jū bīn gé lāi (Charles) shì gè yòu qián de dān shēn hàn， tā lì jí chéng liǎo bān nà tè tài tài zhuī liè de mù biāo。 zài yī cì wǔ huì shàng， bīn gé lāi duì bān nà tè jiā de dà nǚ 'ér jiǎn (Jane) yī jiàn zhōng qíng， bān nà tè tài tài wèicǐ xīn xǐ ruò kuáng。 cān jiā wǔ huì de hái yòu bīn gé lāi de hǎo yǒu dá xī (Darcy)。 tā yí biǎo táng táng， fēi cháng fù yòu， xǔ duō gū niàn fēn fēn xiàng tā tóu qù xiàn mù de mù guāng； dàn tā fēi cháng jiāo 'ào， rèn wéi tā mendōu bù pèi zuò tā de wǔ bàn， qí zhōng bāo kuò jiǎn de mèi mèi yī lì suō bái (Elizabeth)。 yī lì suō bái zì zūn xīn hěn qiáng， jué dìng bù qù lǐ cǎi zhè gè 'ào màn de jiā huǒ。 kě shì bù jiǔ， dá xī duì tā huó pō kě 'ài de jǔ zhǐ chǎn shēng liǎo hǎo gǎn， zài lìng yī cì wǔ huì shàng zhù dòng qǐng tā tóng wǔ， què zāo dào yī lì suō bái de jù jué， dá xī láng bèi bù kān。
bīn gé lāi de mèi mèi kǎ luó lín (Caroline) yī xīn zhuī qiú dá xī， tā fā xiàn dá xī yòu yì yú yī lì suō bái， dù huǒ zhōng shāo， jué yì cóng zhōng zǔ náo。 ér zāo dào yī lì suō bái lěng yù de dá xī yě bǐ shì bān nà tè tài tài jí qí xiǎo nǚ 'ér lì dí yà (Lydia) de cū sú。 zài mèi mèi hé hǎo yǒu dá xī de quàn shuō xià， bīn gé lāi bù cí 'ér bié， qù liǎo lún dūn， dàn jiǎn duì tā hái shì yī piàn shēn qíng。
bān nà tè méi yòu 'ér zǐ， tā de jiā chǎn jiāng yóu yuǎn qīn kē lín sī (Collins) jì chéng。 kē lín sī cū bǐ wú zhī， què shàn yú qū yán fù shì， jū rán dāng shàng mù shī。 tā xiàng yī lì suō bái qiú hūn， zāo jù jué hòu， mǎ shàng yǔ tā de nǚ yǒu xià luò tè (Charlotte) jié hūn。
fù jìn xiǎo zhèn de mín tuán lián duì lǐ yòu gè yīng jùn xiāo sǎ de qīng nián jūn guān wēi kěn (Wickham)， rén réndōu kuā tā， yī lì suō bái yě duì tā chǎn shēng liǎo hǎo gǎn。 yī tiān， tā duì yī lì suō bái shuō， tā fù qīn shì dá xī jiā de zǒng guǎn， dá xī de fù qīn céng gěi tā yī dà bǐ yí zèng， què bèi dá xī tūn méi liǎo。 yī lì suō bái tīng hòu， duì dá xī gèng jiā fǎn gǎn。
kē lín sī fū fù qǐng yī lì suō bái qù tā men jiā zuò kè， yī lì suō bái zài nà lǐ yù dào dá xī de yí mā kǎi sè lín (Catherine)， bù jiǔ， yòu jiàn dào liǎo dá xī。 tóng shí yě rèn shí liǎo wēi lián shàoxiào， cóng tā kǒu zhōng dé zhī dá xī cáng qǐ tā jiě jiě de xìn， shǐ yī lì suō bái duì dá xī de tǎo yàn dá dào dǐng fēng。 suǒ yǐ zài dá xī wú fǎ yì zhì zì jǐ duì yī lì suō bái de 'ài mù zhī qíng， xiàng tā qiú hūn de shí hòu， dàn tài dù hái shì nà me 'ào màn。 yī lì suō bái jiān jué dì xiè jué liǎo。 zhè yī dǎ jī shǐ dá xī dì yī cì rèn shí dào jiāo 'ào zì fù suǒ dài lái de 'è guǒ， tā tòng kǔ dì lí kāi liǎo tā， lín zǒu qián liú xià yī fēng cháng xìn zuò liǎo jǐ diǎn jiě shì： tā chéng rèn bīn gé lāi bù cí 'ér bié shì tā cù shǐ de， yuán yīn shì tā bù mǎn bān nà tè tài tài de qīng fú hé bǐ sú， bìng qiě rèn wéi jiǎn bìng méi yòu zhōng qíng yú bīn gé lāi； wēi kěn shuō de què quán shì huǎng yán， shì shí shì wēi kěn zì jǐ bǎ nà bǐ yí chǎn huī huò dài jìn， hái qǐ tú gòu yǐn dá xī de mèi mèi sī bēn。 yī lì suō bái dú xìn hòu shí fēn hòu huǐ， jì duì cuò guài dá xī gǎn dào nèi jiù， yòu wéi mǔ qīn de xíng wéi xiū kuì， hái duì zì jǐ de piān jiàn shēn shēn 'ào huǐ。 tā zhú jiàn gǎi biàn liǎo duì dá xī de kàn fǎ。
dì 'èr nián xià tiān， yī lì suō bái suí jiù fù mǔ lái dào dá xī de zhuāng yuán， yǔ tā zài cì xiāng yù。 tā fā xiàn dá xī biàn liǎo， bù jǐn duì rén bīn bīn yòu lǐ， zài dāng dì hěn shòu rén men zūn jìng， ér qiě duì tā mèi mèi fēi cháng 'ài hù。 tā duì tā de piān jiàn xiāo chú liǎo。 zhèng dāng qí shí， yī lì suō bái jiē dào jiā xìn， shuō xiǎo mèi lì dí yà suí shēn fù lěi lěi dǔ zhài de wēi kěn sī bēn liǎo。 zhè zhǒng jiā chǒu shǐ yī lì suō bái fēi cháng nán kān， yǐ wéi dá xī huì gèng qiáo bù qǐ zì jǐ。 dàn shì shí chū hū tā de yì liào， dá xī dé zhī shàng shù xiāo xī yǐ hòu， zài jiù fù mǔ de bāng zhù xià， bù jǐn tì wēi kěn hái qīng dǔ zhài， hái gěi liǎo tā yī bǐ jù kuǎn， ràng tā yǔ lì dí yà wán hūn。 zì cǐ yǐ hòu， yī lì suō bái wǎng rì duì dá xī de zhǒng zhǒng piān jiàn tǒng tǒng huà wéi zhēn chéng zhī 'ài。
bīn gé lāi hé jiǎn jīng guò yī fān zhōu zhé， yán guī yú hǎo， yī duì qíng rén chén jìn zài huān lè zhī zhōng。 ér yī xīn xiǎng ràng zì jǐ de nǚ 'ér 'ān nī (Anne) jià gěi dá xī de kǎi sè lín fū rén cōng cōng gǎn lái， mánhèng dì yào yī lì suō bái bǎo zhèng bù yǔ dá xī jié hūn。 yī lì suō bái duì zhè yī wú lǐ yào qiú duàn rán jù jué。 cǐ shì chuán dào dá xī 'ěr zhōng。 tā zhī dào yī lì suō bái yǐ jīng gǎi biàn liǎo duì zì jǐ de kàn fǎ， chéng kěn dì zài cì xiàng tā qiú hūn。 dào cǐ， yī duì céng yīn 'ào màn hé piān jiàn 'ér yán gē hūn shì de yòu qíng rén zhōng chéng juàn shǔ。
ào màn yǔ piān jiàn [ xiǎo shuō ]- yǔ yán tè sè
《 ào màn yǔ piān jiàn》 shì jiǎn · ào sī dīng (JaneAusten) de dài biǎo zuò pǐn， xiě yú shí bā shì jì jiǔ shí nián dài， qí yǐng xiǎng jīng lì liǎng shì jì 'ér bù shuāi， bìng duì hòu dài zuò jiā chǎn shēng yǐng xiǎng， qí zhòng yào de yuán yīn zhī yī jiù shì xiǎo shuō de yǔ yán mèi lì。 zài yǔ yán zhōng duì huà shì wén xué zuò pǐn sù zào rén wù xíng xiàng zuì jī běn de shǒu duàn zhī yī， jiǎn . ào sī dīng bǐ xià de rén wù duì huà xiān míng shēng dòng， pō jù gè xìng， hán yì fēng fù， nài rén xún wèi。 běn wén yòng huì huà hé zuò yuán zé fēn xī《 ào màn yǔ piān jiàn》 shū zhōng de rén wù duì huà fēng gé， jiě kāi jiǎn · ào sī dīng zuò pǐn zhōng rén wù duì huà yǔ yán fēng gé jī zhì yōu mò miào qù héng shēng zhī mí。 ào sī dīng de yǔ yán shì jīng guò chuí liàn de， tā zài duì huà yì shù shàng jiǎng jiū yōu mò、 huī xié fēng qù、 fěng cì， zhè zhǒng yì shù chuàng xīn shǐ tā de zuò pǐn jù yòu zì jǐ de tè sè， ér zhè zhǒng fù yòu tè sè de yǔ yán zài《 ào màn yǔ piān jiàn》 zhōng fā huī dé yóu wéi lín lí jìn zhì。
bǐ rú zài xiě bān nà tè tài tài shí， zuò zhě jiù zhè yàng xiě dào：“ zhǐ yào pèng dào bù chēng xīn de shì， tā jiù zì yǐ wéi shén jīng shuāi ruò。” yòu zài bān nà tè tài tài yǔ qí zhàng fū de duì huà zhōng xiě dào：“ wǒ de hǎo lǎo yé， nǐ zěn me shè dé zhè yàng zāo tà zì jǐ de qīn shēng nǚ 'ér？ nǐ shì zài gù yì jiào wǒ qì nǎo， hǎo ràng nǐ zì jǐ dé yì bā。 nǐ bàn diǎn yě bù tǐ liàng wǒ de shén jīng shuāi ruò。”“ nǐ zhēn cuò guài liǎo wǒ， wǒ de hǎo tài tài。 wǒ fēi cháng zūn zhòng nǐ de shén jīng。 tā men shì wǒ de lǎo péng yǒu。 zhì shǎo zài zuì jìn 'èr shí nián yǐ lái， wǒ yī zhí tīng dào nǐ zhèng zhòng qí shì dì tí dào tā men。” huó líng huó xiàn de yǔ yán， jué miào de cháo fěng yǔ huī xié， lì kè shǐ liǎng gè bù tóng de rén wù xíng xiàng zài dú zhě nǎo hǎi zhōng biàn dé lì tǐ 'ér qīng xī。
zài rú lìng yī gè piàn duàn de miáo xiě： kā tái lín fū rén de mǎ chē lù guò mén kǒu， kē lín sī mù shī quán jiā shǒu máng jiǎo luàn chū qù yíng jiē， yī lì suō bái què shuō：“ jiù shì zhè me huí shì má？ wǒ hái yǐ wèishì zhū luó chuǎng jìn liǎo huā yuán ní。” zhí shuài de wā kǔ， chuō chuān liǎo kā tái lín fū rén zì jǐ chuī qǐ lái de hǔ rén jià shì， yě shǐ yī lì suō bái zhè gè miè shì quán guì de xíng xiàng zài rén men nǎo hǎi zhōng liú xià liǎo gēngshēn de yìn xiàng， yuè fā jué dé tā de kě 'ài。 ào sī tīng hái shàn yú tōng guò zuì pǔ tōng de yǔ yán ràng rén wù zì jǐ bào lù zì jǐ。 lì rú xiǎo shuō kāi tóu shí， bān nà tè tài tài céng shuō láng gé tài tài“ shì gè zì sī zì lì、 jiǎ rén jiǎ yì de nǚ rén， wǒ qiáo bù qǐ tā。” ér dào gù shì de jié wěi， dāng qí dà nǚ 'ér yǔ bīn gé lāi de hūn shì yǐ chéng dìng jú shí， tā yòu shuō“ wǒ jué dé láng gé tài tài zhè gè rén zhēn shì tài hǎo liǎo。” zhè liǎng duàn jié rán xiāng fǎn de huà， ràng dú zhě bù jìn yǎ rán shī xiào de tóng shí， yòu duō me shēng dòng dì biǎo xiàn chū bān nà tè tài tài de fǎn fù wú cháng、 zì wǒ zhōng xīn。 zhè yàng de lì zǐ zài shū zhōng hái yòu hěn duō。 yī gè céng chōng mǎn piān jiàn de yī lì suō bái、 yī gè céng hún shēn 'ào màn de dá xī、 yī duì yòu qù de bān nà tè fū fù、 yī gè kě xiào de kē lín sī、 zhòng duō chū chángrén wù、 zài jiā shàng xǐ jù xiào guǒ hé tè shū xiě zuò jì qiǎo， zhè jiù shì《 ào màn yǔ piān jiàn》， què bù shì tā de quán bù。 ào sī tīng de yōu mò shì xū yào fǎn fù jǔjué de。
ào màn yǔ piān jiàn [ xiǎo shuō ]- píng jià
1、 ào sī dīng zài zhè bù xiǎo shuō zhōng tōng guò bān nà tè wǔ gè nǚ 'ér duì dài zhōng shēn dà shì de bù tóng chǔlǐ， biǎo xiàn chū xiāng zhèn zhōng chǎn jiē jí jiā tíng chū shēn de shàonǚ duì hūn yīn 'ài qíng wèn tí de bù tóng tài dù， cóng 'ér fǎn yìng liǎo zuò zhě běn rén de hūn yīn guān： wèile cái chǎn、 jīn qián hé dì wèi 'ér jié hūn shì cuò wù de； ér jié hūn bù kǎo lǜ shàng shù yīn sù yě shì yú chǔn de。 yīn cǐ， tā jì fǎn duì wéi jīn qián 'ér jié hūn， yě fǎn duì bǎ hūn yīn dāng 'ér xì。 tā qiáng diào lǐ xiǎng hūn yīn de zhòng yào xìng， bìng bǎ nán nǚ shuāng fāng gǎn qíng zuò wéi dì jié lǐ xiǎng hūn yīn de jī shí。 shū zhōng de nǚ zhù rén gōng yī lì suō bái chū shēn yú xiǎo dì zhù jiā tíng， wéi fù háo zǐ dì dá xī suǒ rè 'ài。 dá xī bù gù mén dì hé cái fù de chā jù， xiàng tā qiú hūn， què zāo dào jù jué。 yī lì suō bái duì tā de wù huì hé piān jiàn shì yī gè yuán yīn， dàn zhù yào de shì tā tǎo yàn tā de 'ào màn。 yīn wéi dá xī de zhè zhǒng 'ào màn shí jì shàng shì dì wèi chā yì de fǎn yìng， zhǐ yào cún zài zhè zhǒng 'ào màn， tā yǔ yī lì suō bái zhī jiān jiù bù kě néng yòu gòng tóng de sī xiǎng gǎn qíng， yě bù kě néng yòu lǐ xiǎng de hūn yīn。 yǐ hòu yī lì suō bái qīn yǎn guān chá liǎo dá xī de wéi rén chǔshì hé yī xì liè suǒ zuò suǒ wéi， tè bié shì kàn dào tā gǎi biàn liǎo guò qù nà zhǒng jiāo 'ào zì fù de shén tài， xiāo chú liǎo duì tā de wù huì hé piān jiàn， cóng 'ér yǔ tā dì jié liǎo měi mǎn yīn yuán。 yī lì suō bái duì dá xī xiān hòu jǐ cì qiú hūn de bù tóng tài dù， shí jì shàng fǎn yìng liǎo nǚ xìng duì rén gé dú lì hé píng děng quán lì de zhuī qiú。 zhè shì yī lì suō bái zhè yī rén wù xíng xiàng de jìn bù yì yì。 zài《 ào màn yǔ piān jiàn》 zhōng， ào sī dīng hái xiě liǎo yī lì suō bái de jǐ gè jiě mèi hé nǚ yǒu de hūn shì， zhè xiē dōushì péi chèn， yòng lái yǔ nǚ zhù rén gōng lǐ xiǎng de hūn yīn xiāng duì zhào。 rú xià luò tè hé kē lín sī jìn guǎn hūn hòu guò zhe shū shì de wù zhì shēng huó， dàn tā men zhī jiān méi yòu 'ài qíng， zhè zhǒng hūn yīn shí jì shàng shì yǎn gài zài huá lì wài yī xià de shè huì bēi jù。 hái yòu tā de jiě jiě yě shì wán měi jié jú de。 bù guò tā men suǒ jīng lì de yuǎn yuǎn méi yòu yī lì suō bái hé dá xī zhè yàng cóng tǎo yàn wù huì dào xiāng 'ài de， yī kāi shǐ jiù xiāng 'ài， yòu diǎn xiàng yī jiàn zhōng qíng de wèi dào。 cóng 'ér kàn chū， jīng lì bō zhé de 'ài qíng cái shì wán měi shēn kè de。
ào sī dīng de xiǎo shuō jìn guǎn tí cái bǐ jiào xiá zhǎi， gù shì xiāng dāng píng dàn， dàn shì tā shàn yú zài rì cháng píng fán shì wù zhōng sù zào xiān míng de rén wù xíng xiàng， bù lùn shì yī lì suō bái、 dá xī nà zhǒng zuò zhě rèn wéi zhí dé kěn dìng de rén wù， hái shì wēi kěn、 kē lín sī zhè lèi zāo dào fěng cì wā kǔ de duì xiàng， dū xiěde zhēn shí dòng rén。 tóng shí， ào sī dīng de yǔ yán shì jīng guò chuí liàn de， tā zài duì huà yì shù shàng jiǎng jiū yōu mò、 fěng cì， cháng yǐ fēng qù huī xié de yǔ yán lái hōng tuō rén wù de xìng gé tè zhēng。 zhè zhǒng yì shù chuàng xīn shǐ tā de zuò pǐn jù yòu zì jǐ de tè sè。
2、 ài qíng shì xiǎo shuō yǒng héng de zhù tí，《 ào màn yǔ piān jiàn》 yǐ 'ài qíng hé hūn yīn wéi zhù yào nèi róng， zì rán shì xī yǐn dú zhě de。 dàn miáo xiě 'ài qíng de xiǎo shuō bù jì qí shù（ yán qíng xiǎo shuō sì hū jiù hěn duō chǎn）， yào xiàng《 ào màn yǔ piān jiàn》 zhè yàng zài shì jiè wén xué zhōng zhàn yòu yī xí zhī dì， yě bìng bù shì yī jiàn róng yì de shì。《 ào màn yǔ piān jiàn》 zhī suǒ yǐ chēng dé shàng shì jiè wén xué míng zhù 'ér bù liú sú yú yī bān 'ài qíng xiǎo shuō， zì yòu tā de mèi lì suǒ zài。 nà me dào dǐ shì shénme shǐ tā tuō yíng 'ér chū ní？ yī bù hǎo de xiǎo shuō， nèi róng、 qíng jié shì fēi cháng zhòng yào de。《 ào màn yǔ piān jiàn》 de nèi róng bìng bù fù zá， qíng jié què yǐn rén rù shèng。 dú guò běn shū de dú zhě yīnggāi duì xiǎo shuō kāi piān de yī jù huà jì yì yóu xīn：“ fán shì yòu cái chǎn de dān shēn hàn， bì dìng xū yào qǔ wèi tài tài， zhè yǐ jīng chéng liǎo yī tiáo jǔ shì gōng rèn de zhēn lǐ。 (Itisatrueuniversallyacknowledged,thatasinglemaninpossessionofagoodfortunemustbeinwantofawife.)” zài yīng wén zhōng inwantof shì zhǐ kè guān xū yào， ér bù shì zhù guān xiǎng yào； zhè jiǎn jiǎn dān dān de yī jù huà què shēn shēn fǎn yìng chū zī chǎn jiē jí hūn yīn de shí zhì wú fēi shì jīn qián jiāo yì yǔ lì yì de jié hé， kě jiàn zuò zhě de mù guāng zhī tòu chè xī lì， yě zhèng yìng zhèng liǎo qián miàn suǒ shuō de xì wēi zhī chù què néng fǎn yìng dà wèn tí。 xiǎo shuō kāi piān jiù zhè yàng láo láo zhuā zhù liǎo dú zhě， jiē zhe tōng guò bān nà tè fū fù fēng qù de duì huà， bǎ dú zhě dài jìn yī gè nǚ 'ér duō dé fā chóu de zhōng chǎn jiē jí jiā tíng zhōng。 zhè gè jiā tíng jiā dào yǐ jīng zhōng luò， què hái yòu 5 gè dài jià de nǚ 'ér， ér qiě bù xìng bān nà tè xiān shēng yòu méi yòu 'ér zǐ， qí cái chǎn jiāng yóu biǎo qīn kē lín sī jì chéng。 zài zī chǎn jiē jí shè huì， rú guǒ nǚ hái méi yòu fēng hòu de jià zhuāng， jiù shì zài yòu cái mào， yě nán zhǎo dào tǐ miàn de zhàng fū， jiù xiàng shū zhōng dá xī suǒ shuō：“ tā men cháng shǐ xiǎng jià gěi yòu dì wèi de nán rén， jī huì kě jiù dà dà jiǎn shǎo liǎo。” suǒ yǐ chù zài hūn yīn yào quán héng shuāng fāng jiē jí dì wèi hé jīn qián lì hài de qíng kuàng xià， zhè wǔ wèi gū niàn de chū jià qián jǐng què shí bù tài měi miào。 xiǎo shuō cǎi yòng gǔ diǎn de xiàn shí zhù yì bǐ fǎ， miáo xiě liǎo sì duì qīng nián nán nǚ de jié hé， tōng guò bān nà tè wǔ gè nǚ 'ér duì dài zhōng shēn dà shì de bù tóng chǔlǐ， biǎo xiàn chū xiāng zhèn zhōng chǎn jiē jí jiā tíng chū shēn de shàonǚ duì hūn yīn 'ài qíng wèn tí de bù tóng tài dù， yě jiè cǐ biǎo dá liǎo zuò zhě běn rén de hūn yīn guān， jí wéi cái chǎn dǎ suàn de hūn yīn shì méi yòu xìng fú de， jié hūn bù kǎo lǜ cái chǎn shì yú chǔn de， jiǎng jiū mén dì de bāo bàn hūn yīn bù kān rěn shòu， bǎ hūn yīn dāng 'ér xì háo bù zú qǔ， lǐ xiǎng de hūn yīn yào yǐ gǎn qíng wéi jī chǔ。 shū zhōng de nǚ zhù rén gōng yī lì suō bái yǔ dá xī bù gù mén dì hé cái fù de chā jù， zhēn xīn xiāng 'ài， měi mǎn jié hé， shì zuò zhě suǒ sòng yáng de xìng fú hūn yīn。 cóng yī lì suō bái de shēn shàng， wǒ men kě yǐ kàn dào nǚ xìng duì rén gé dú lì hé píng děng quán lì de zhuī qiú； zuò zhě suī rán méi yòu fǎn yìng chū tā nà gè shí dài de jiē jí máo dùn hé jiē jí dǒu zhēng， rán 'ér tā de qiáng liè de jiē jí yì shí què biǎo xiàn liǎo chū lái， duì jīng jì、 cái chǎn jué dìng hūn yīn guān xì nǎi zhì shēng huó mìng yùn de jiē lù yě kě wèi rù mù sān fēn。 xī fāng yòu wèi mǎ kè sī zhù yì pī píng jiā dà wèi dài kè sī céng bàn kāi wán xiào de shuō， zài“ jiē lù rén lèi xíng wéi de jīng jì yuán yīn” fāng miàn， ào sī tīng“ cóng mǒu zhǒng yì yì shàng kě yǐ shuō zài mǎ kè sī yǐ qián jiù shì mǎ kè sī zhù yì zhě liǎo。”
The story follows the main character Elizabeth Bennet as she deals with issues of manners, upbringing, moral rightness, education and marriage in her aristocratic society of early 19th century England. Elizabeth is the second eldest of five daughters of a country gentleman landed in the fictional town of Meryton in Hertfordshire, not far from London.
Though the story's setting is uniquely turn of the 19th century, it retains a fascination for modern readers, continuing near the top of lists of 'most loved books' such as the Big Read. It still receives considerable attention from literary critics. This modern interest has resulted in a number of dramatic adaptations and an abundance of novels and stories imitating Austen's memorable characters or themes.
To date, the book has sold some 20 million copies worldwide.
Plot summary
The novel revolves around the Bennet family. The five marriageable daughters and mother will be without a home and income once Mr. Bennet dies: The terms on which Mr. Bennet inherited Longbourn ("fee tail male," now abolished by statute in England) prohibit women from inheriting it, with the effect that instead one of Mr. Bennet's collateral relatives will inherit the estate. The mother worries about this predicament, and wishes to find husbands for them quickly. The father doesn't seem to be worried at all, and Elizabeth, the heroine, has decided to only marry for love, even though she has no real ideas about how she will survive financially. She is of the opinion that her sister Jane, being kind and beautiful, will find a wealthy husband, and that she can then live with her. As the novel opens, Mr Bingley, a wealthy young gentleman, rents a country estate near the Bennets called Netherfield. He arrives in town accompanied by his fashionable sisters and his good friend, Mr Darcy. While Bingley is well-received in the community, Darcy begins his acquaintance with smug condescension and proud distaste for all the 'country' people. Bingley and Elizabeth Bennet's older sister Jane begin to grow close. Elizabeth's best friend Charlotte advises that Jane should be more affectionate to Bingley, as they are both shy, and he may not know that she is indeed interested in him. Elizabeth disregards her friend's opinion, saying that Jane is shy and modest, and that if Bingley can't see how she feels, he is a fool. With that, she never even tells Jane what Charlotte advised. Elizabeth is stung by Darcy's haughty rejection of her at a local dance and decides to match his coldness with her own wit.
At the same time Elizabeth begins a friendship with Mr Wickham, a militia officer who relates a prior acquaintance with Darcy. Wickham tells her that he has been seriously mistreated by Darcy. Elizabeth immediately seizes upon this information as another reason to hate Darcy. Ironically, but unbeknownst to her, Darcy finds himself gradually drawn to Elizabeth.
Just as Bingley appears to be on the point of proposing marriage to Jane Bennet, he quits Netherfield, leaving Jane confused and upset. Elizabeth is convinced that Bingley's sister has conspired with Darcy to separate Jane and Bingley.
Before Bingley leaves, Mr Collins, the male relative who is to inherit Longbourn, makes a sudden appearance and stays with the Bennets. He is a recently ordained clergyman employed by the wealthy and patronizing Lady Catherine de Bourgh. Though he was partially entreated to visit by his patroness, Collins has another reason for visiting: he wishes to find a wife from among the Bennet sisters. Mr Bennet and Elizabeth are amused by his self-important and pedantic behaviour. He immediately enters pursuit of Jane; however, when Mrs Bennet mentions her preoccupation with Mr Bingley, he turns to Elizabeth. He soon proposes marriage to Elizabeth, who refuses him, much to her mother's distress. Collins quickly recovers and proposes to Elizabeth's close friend, Charlotte Lucas, who immediately accepts him. Once the marriage is arranged, Charlotte asks Elizabeth to come for an extended visit.
In the spring, Elizabeth joins Charlotte and her cousin at his parish in Kent. The parish is adjacent to Rosings Park, the grand manor of Mr Darcy's aunt, Lady Catherine de Bourgh, where Elizabeth is frequently invited. While calling on Lady Catherine, Mr Darcy encounters Elizabeth. She discovers from a cousin of Darcy that it was he who separated Bingley and Jane. Soon after, Darcy admits his love of Elizabeth and proposes to her. Insulted by his high-handed and insulting manner of proposing, Elizabeth refuses him. When he asks why she should refuse him, she confronts him with his sabotage of Bingley's relationship with Jane and Wickham's account of their dealings.
Deeply shaken by Elizabeth's vehemence and accusations, Darcy writes her a letter justifying his actions. The letter reveals that Wickham soon dissipated his legacy-settlement (from Darcy's father's estate), then came back to Darcy requesting permanent patronage; and that he became angry when rejected, accusing Darcy of cheating him. To exact revenge and to make off with part of the Darcy family fortune, he attempted to seduce Darcy's young sister Georgiana—to gain her hand and fortune, almost persuading her to elope with him—before he was found out and stopped. Towards Bingley and Jane, Darcy justifies his actions from having observed that Jane did not show any reciprocal interest in his friend; thus his aim in separating them was mainly to protect Bingley from heartache.
Darcy admits he was concerned about the disadvantageous connection with Elizabeth's family, especially her embarrassing mother and wild younger sisters. After reading the letter, Elizabeth begins to question both her family's behaviour and Wickham's credibility. She concludes that Wickham is not as trustworthy as his easy manners would indicate, that he had lied to her previously, and that her early impressions of Darcy might have been inaccurate. Soon after receiving the letter, Elizabeth returns home.
Elizabeth tells her father that Darcy was responsible for uniting Lydia and Wickham. This is one of the two earliest illustrations of Pride and Prejudice. The clothing styles reflect the time the illustration was engraved (the 1830s), not the time the novel was written or set.
Some months later, during a tour of Derbyshire with her aunt and uncle, Elizabeth visits Pemberley, Darcy's estate. Darcy's housekeeper, an older woman who has known Darcy since childhood, presents Elizabeth and her relatives with a flattering and benevolent impression of his character. Unexpectedly, Darcy arrives at Pemberley as they tour its grounds. He makes an effort to be gracious and welcoming to them, thus strengthening Elizabeth's newly favourable impression of him. Darcy then introduces Elizabeth to his sister Georgiana. He treats her uncle and aunt very well, and finds them of a more sound character than her other relatives, whom he previously dismissed as socially inferior.
Elizabeth and Darcy's renewed acquaintance is cut short when news arrives that Elizabeth's younger sister Lydia has run away with Wickham. Initially, the Bennets believe that Wickham and Lydia have eloped, but soon it is surmised that Wickham has no plans to marry Lydia. Lydia's antics threaten the family's reputation and the Bennet sisters with social ruin. Elizabeth and her aunt and uncle hurriedly leave Derbyshire, and Elizabeth is convinced that Darcy will avoid her from now on.
Soon, thanks to the intervention of Elizabeth's uncle, Lydia and Wickham are found and married. After the marriage, Wickham and Lydia make a visit to Longbourn. While bragging to Elizabeth, Lydia comments that Darcy was present at the wedding. Surprised, Elizabeth sends an inquiry to her aunt, from whom she discovers that Darcy was responsible for both finding the couple and arranging their marriage at great expense to himself.
Soon after, Bingley and Darcy return to the area. Bingley proposes marriage to Jane, and this news starts rumors that Darcy will propose to Elizabeth. Lady Catherine travels to Longbourn with the sole aim of confronting Elizabeth and demanding that she never accept such a proposal. Elizabeth refuses to bow to Lady Catherine's demands. When news of this obstinance reaches Darcy, it convinces him that her opinion of him has changed. When he visits, he once again proposes marriage. Elizabeth accepts, and the two become engaged.
The final chapters of the book establish the future of the characters. Elizabeth and Darcy settle at Pemberley where Mr Bennet visits often. Mrs Bennet remains frivolous and silly; she often visits the new Mrs Bingley and talks of the new Mrs Darcy. Later, Jane and Bingley move from Netherfield to avoid Jane's mother and Meryton relations and to locate near the Darcys in Derbyshire. Elizabeth and Jane manage to teach Kitty greater social grace, and Mary learns to accept the difference between herself and her sisters' beauty and mixes more with the outside world. Lydia and Wickham continue to move often, leaving their debts for Jane and Elizabeth to pay off. At Pemberley, Elizabeth and Georgiana grow close, though Georgiana is surprised by Elizabeth's playful treatment of Darcy. Lady Catherine stays very angry with her nephew's marriage but over time the relationship between the two is repaired and she eventually decides to visit them. Elizabeth and Darcy also remain close with her uncle and aunt.
Main characters
[show]Character genealogy
Mr Hurst
Mrs Hurst
Mr Philips
Caroline Bingley
Mrs Philips
Mr Charles Bingley
Mrs Gardiner
Jane Bennet
Mr Gardiner
Elizabeth Bennet
Mrs Bennet
Mary Bennet
Mr Bennet
Catherine "Kitty" Bennet
Mr William Collins
Lydia Bennet
Charlotte Lucas
Mr George Wickham
(Old) Mr Darcy
Mr Fitzwilliam Darcy
Lady Anne Darcy
Georgiana Darcy
Lady Catherine De Bourgh
Anne De Bourgh
Lord ——
Colonel Fitzwilliam
* Elizabeth Bennet is the main character and protagonist. The reader sees the unfolding plot and the other characters mostly from her viewpoint. The second of the Bennet daughters at twenty years old, she is intelligent, lively, attractive, and witty, but with a tendency to judge on first impressions and perhaps to be a little selective of the evidence upon which she bases her judgments. As the plot begins, her closest relationships are with her father, her sister Jane, her aunt Mrs Gardiner, and her best friend Charlotte Lucas.
* Mr Fitzwilliam Darcy is the main male character. Twenty-eight years old and unmarried, Darcy is the wealthy owner of the famous family estate of Pemberley in Derbyshire. Handsome, tall, and intelligent, but not convivial, his aloof decorum and moral rectitude are seen by many as an excessive pride and concern for social status. He makes a poor impression on strangers, such as the gentry of Meryton, but is valued by those who know him well.
* Mr Bennet has a wife and five daughters, and seems to have inurred himself to his fate. A bookish and intelligent gentleman somewhat withdrawn from society, he dislikes the indecorous behaviours of his wife and three younger daughters; but he offers little beyond mockery by way of correcting them. Rather than guiding these daughters to more sensible understanding, he is instead content to laugh at them. He relates very well with his two elder daughters, Jane and Elizabeth, showing them much more love and respect than his wife and younger daughters.
* Mrs Bennet is the wife of her social superior Mr Bennet, and mother of Elizabeth and her sisters. She is frivolous, excitable, and narrow-minded. She is susceptible to attacks of tremors and palpitations; her public manners and social climbing are embarrassing to Jane and Elizabeth. Her favourite daughter is the youngest, Lydia.
Lady Catherine confronts Elizabeth about Darcy, on the title page of the first illustrated edition. This is the other of the first two illustrations of the novel.
* Jane Bennet is the eldest Bennet sister. Twenty-two years old when the novel begins, she is considered the most beautiful young lady in the neighbourhood. Her character is contrasted with Elizabeth's as sweeter, shyer, and equally sensible, but not as clever; her most notable trait is a desire to see only the good in others. Jane is closest to Elizabeth, and her character is often contrasted with that of Elizabeth.
* Mary Bennet is the only plain Bennet sister, and rather than join in some of the family activities, she reads, although is often impatient for display. She works hard for knowledge and accomplishment, but has neither genius nor taste. At the ball at Netherfield, she embarrasses her family by singing badly.
* Catherine "Kitty" Bennet is the fourth Bennet sister, aged seventeen. She is portrayed as a less headstrong but equally silly shadow of Lydia.
* Lydia Bennet is the youngest Bennet sister, aged fifteen. She is repeatedly described as frivolous and headstrong. Her main activity in life is socialising, especially flirting with the military officers stationed in the nearby town of Meryton. She dominates her older sister Kitty and is supported in the family by her mother. After she elopes with Wickham and he is paid to marry her, she shows no remorse for the embarrassment that her actions caused for her family, but acts as if she has made a wonderful match of which her sisters should be jealous.
* Charles Bingley is a young gentleman without an estate. His wealth was recent, and he is seeking a permanent home. He rents the Netherfield estate near Longbourn when the novel opens. Twenty-two years old at the start of the novel, handsome, good-natured, and wealthy, he is contrasted with his friend Darcy as being less intelligent but kinder and more charming, and hence more popular in Meryton. He lacks resolve and is easily influenced by others.
* Caroline Bingley is the snobbish sister of Charles Bingley. Clearly harbouring romantic intentions on Darcy herself, she views his growing attachment to Elizabeth Bennet with some jealousy, resulting in disdain and frequent verbal attempts to undermine Elizabeth and her society.
* George Wickham is an old acquaintance of Darcy from childhood, and an officer in the militia unit stationed near Meryton. Superficially charming, he rapidly forms a friendship with Elizabeth Bennet, prompting remarks upon his suitability as a potential husband. He spreads numerous tales about the wrongs Darcy has done to him, colouring the popular perception of the other man in local society. It is eventually revealed that these tales are distortions, and that Darcy was the wronged man in their acquaintance.
* William Collins, aged twenty-five, is Mr Bennet's clergyman cousin and, as Mr Bennet has no son, heir to his estate. Austen described him as "not a sensible man, and the deficiency of nature had been but little assisted by education or society." Collins boasts of his acquaintance with — and advantageous patronage from — Lady Catherine de Bourgh. Mr Bennet, Jane, and Elizabeth consider him pompous and lacking in common sense. Elizabeth's rejection of Collins' marriage proposal is welcomed by her father, regardless of the financial benefit to the family of such a match. Elizabeth is later somewhat distressed — although understanding — when her closest friend, Charlotte Lucas, consents to marry Collins out of her need for a settled position and to avoid the low status and lack of autonomy of an old maid.
* Lady Catherine de Bourgh, who has wealth and social standing, is haughty, domineering and condescending. Mr Collins, among others, enables these characteristics by deferring to her opinions and desires. Elizabeth, however, is duly respectful but not intimidated. Darcy, whilst respectful of their shared family connection, is offended by her lack of manners, especially towards Elizabeth, and later — when pressed by her demand that he not marry Elizabeth — is quick to assert his intentions to marry whom he wishes.
* Mr Gardiner is Mrs Bennet's brother, and a businessman. He is quite sensible and gentleman-like. He tries to help Lydia when she elopes with Wickham. His wife has close relationships with Elizabeth and Jane. Jane stays with the Gardiners in London for a while, and Elizabeth travels with them to Derbyshire, where she again meets Darcy.
* Georgiana Darcy is Mr Darcy's quiet and amiable younger sister, aged sixteen when the story begins. In a letter from Mr Darcy to Elizabeth, he describes that Wickham tried to persuade her to elope with him and inherit her 30,000 pounds. Later on, Elizabeth meets her at their home at Pemberly, where she is amiable and sweet. She is very happy with her brother's choosing of Elizabeth and maintains an extremely close relationship to both of them.
Interrelationships
A comprehensive web showing the relationships between the main characters in Pride and Prejudice
Major themes
Many critics take the novel's title as a starting point when analysing the major themes of Pride and Prejudice; however, Robert Fox cautions against reading too much into the title since commercial factors may have played a role in its selection. "After the success of Sense and Sensibility, nothing would have seemed more natural than to bring out another novel of the same author using again the formula of antithesis and alliteration for the title. It should be pointed out that the qualities of the title are not exclusively assigned to one or the other of the protagonists; both Elizabeth and Darcy display pride and prejudice."
A major theme in much of Austen's work is the importance of environment and upbringing on the development of young people's character and morality. Social standing and wealth are not necessarily advantages in her world, and a further theme common to Jane Austen's work is ineffectual parents. In Pride and Prejudice, the failure of Mr and Mrs Bennet (particularly the latter) as parents is blamed for Lydia's lack of moral judgment; Darcy, on the other hand, has been taught to be principled and scrupulously honourable, but is also proud and overbearing. Kitty, rescued from Lydia's bad influence and spending more time with her older sisters after they marry, is said to improve greatly in their superior society.
Style
Pride and Prejudice, like most of Jane Austen's works, employs the narrative technique of free indirect speech. This has been defined as "the free representation of a character's speech, by which one means, not words actually spoken by a character, but the words that typify the character's thoughts, or the way the character would think or speak, if she thought or spoke". By using narrative which adopts the tone and vocabulary of a particular character (in this case, that of Elizabeth), Austen invites the reader to follow events from Elizabeth's viewpoint, sharing her prejudices and misapprehensions. "The learning curve, while undergone by both protagonists, is disclosed to us solely through Elizabeth's point of view and her free indirect speech is essential ... for it is through it that we remain caught, if not stuck, within Elizabeth's misprisions."
Publication history
Modern paperback editions of Pride and Prejudice
The novel was originally titled First Impressions by Jane Austen, and was written between October 1796 and August 1797. On 1 November 1797 Austen's father gave the draft to London bookseller Thomas Cadell in hopes of it being published, but it was rejected. The unpublished manuscript was returned to Austen and it stayed with her.
Austen made significant revisions to the manuscript for First Impressions between 1811 and 1812. She later renamed the story Pride and Prejudice. In renaming the novel, Austen probably had in mind the "sufferings and oppositions" summarized in the final chapter of Fanny Burney's Cecilia, called "Pride and Prejudice", where the phrase appears three times in block capitals. It is possible that the novel's original title was altered to avoid confusion with other works. In the years between the completion of First Impressions and its revision into Pride and Prejudice, two other works had been published under that name: a novel by Margaret Holford and a comedy by Horace Smith.
Austen sold the copyright for the novel to Thomas Egerton of Whitehall in exchange for £110 (Austen had asked for £150). This proved a costly decision. Austen had published Sense and Sensibility on a commission basis, whereby she indemnified the publisher against any losses and received any profits, less costs and the publisher's commission. Unaware that Sense and Sensibility would sell out its edition, making her £140, she passed the copyright to Egerton for a one-off payment, meaning that all the risk (and all the profits) would be his. Jan Fergus has calculated that Egerton subsequently made around £450 from just the first two editions of the book.
Egerton published the first edition of Pride and Prejudice in three hardcover volumes in January 1813, priced at 18s. Favourable reviews saw this edition sold out, with a second edition published in November that year. A third edition was published in 1817.
Foreign language translations first appeared in 1813 in French; subsequent translations were published in German, Danish and Swedish. Pride and Prejudice was first published in the United States in August 1832 as Elizabeth Bennet or, Pride and Prejudice. The novel was also included in Richard Bentley's Standard Novel series in 1833. R. W. Chapman's scholarly edition of Pride and Prejudice, first published in 1923, has become the standard edition from which many modern publications of the novel are based.
Reception
The novel was well received, with three favourable reviews in the first months following publication. Jan Fergus calls it "her most popular novel, both with the public and with her family and friends", and quotes David Gilson's A Bibliography of Jane Austen (Clarendon, 1982), where it is stated that Pride and Prejudice was referred to as "the fashionable novel" by Anne Isabella Milbanke, later to be the wife of Lord Byron. However, others did not agree. Charlotte Brontë wrote to noted critic and reviewer George Henry Lewes after reading a review of his published in Fraser's Magazine in 1847. He had praised Jane Austen's work and declared that he, "... would rather have written Pride and Prejudice, or Tom Jones, than any of the Waverley Novels". Miss Brontë, though, found Pride and Prejudice a disappointment, "... a carefully fenced, highly cultivated garden, with neat borders and delicate flowers; but ... no open country, no fresh air, no blue hill, no bonny beck."
Modern popularity
* In 2003 the BBC conducted the largest ever poll for the "UK's Best-Loved Book" in which Pride and Prejudice came second, behind The Lord of the Rings.
* In a 2008 survey of more than 15,000 Australian readers, Pride and Prejudice came first in a list of the 101 best books ever written.
Adaptations
Film, television, and theatre
Pride and Prejudice has engendered numerous adaptations. Some of the notable film versions include that of 1940 starring Greer Garson and Laurence Olivier, that of 2003 starring Kam Heskin and Orlando Seale (which placed the characters of Pride and Prejudice in a Mormon university, and was directed by Andrew Black and that of 2005 starring Keira Knightley (in an Oscar-nominated performance) and Matthew Macfadyen. Notable television versions include two by the BBC: the 1995 version starring Jennifer Ehle and Colin Firth, and a 1980 version starring Elizabeth Garvie and David Rintoul. A 1936 stage version was created by Helen Jerome played at the St. James's Theatre in London, starring Celia Johnson and Hugh Williams. First Impressions was a 1959 Broadway musical version starring Polly Bergen, Farley Granger, and Hermione Gingold. In 1995, a musical concept album was written by Bernard J. Taylor, with Peter Karrie in the role of Mr Darcy and Claire Moore in the role of Elizabeth Bennet. A new stage production, Jane Austen's Pride and Prejudice, The New Musical, was presented in concert on 21 October 2008 in Rochester, New York with Colin Donnell as Darcy. The popular film Bridget Jones's Diary is a contemporary retelling, starring Renee Zellweger as a modern day Elizabeth, and Colin Firth, once again, as Mr Darcy.
Bride and Prejudice, starring Aishwarya Rai, is a Bollywood adaptation of the novel, while Pride & Prejudice: A Latter-Day Comedy (2003) places the novel in contemporary times. The off-Broadway musical I Love You Because reverses the gender of the main roles, set in modern day New York City. The Japanese comic Hana Yori Dango by Yoko Kamio, in which the wealthy, arrogant and proud protagonist, Doumyouji Tsukasa, falls in love with a poor, lower-class girl named Makino Tsukushi, is loosely based on Pride and Prejudice. A 2008 Israeli television six-part miniseries set the story in the Galilee with Mr Darcy a well-paid worker in the high-tech industry.
Pride and Prejudice has also crossed into the science fiction and horror genres. In the 1997 episode of science fiction comedy Red Dwarf entitled "Beyond a Joke", the crew of the space ship relax in a virtual reality rendition of "Pride and Prejudice Land" in "Jane Austen World". The central premise of the television miniseries Lost in Austen is a modern woman suddenly swapping lives with that of Elizabeth Bennet. In February 2009, it was announced that Elton John's Rocket Pictures production company was making a film, Pride and Predator, based on the story, but with the added twist of an alien landing in Longbourne.
Literature
The novel has inspired a number of other works that are not direct adaptations. Books inspired by Pride and Prejudice include: Mr. Darcy's Daughters and The Exploits and Adventures of Miss Alethea Darcy by Elizabeth Aston; Pemberley: Or Pride and Prejudice Continued and An Unequal Marriage: Or Pride and Prejudice Twenty Years Later by Emma Tennant; The Book of Ruth (ASIN B00262ZRBM) by Helen Baker; Jane Austen Ruined My Life and Mr. Darcy Broke My Heart by Beth Pattillo; Precipitation - A Continuation of Miss Jane Austen's Pride and Prejudice by Helen Baker; Searching for Pemberley by Mary Simonsen and Mr. Darcy Takes a Wife and its sequel Darcy & Elizabeth: Nights and Days at Pemberly by Linda Berdoll. In Gwyn Cready's comedic romance novel, Seducing Mr. Darcy, the heroine lands in Pride and Prejudice by way of magic massage, has a fling with Darcy and unknowingly changes the rest of the story. Bridget Jones's Diary by Helen Fielding, which started as a newspaper column before becoming a novel and a film, was inspired by the then-current BBC adaptation; both works share a Mr. Darcy of serious disposition (both played by Colin Firth), a foolish match-making mother, and a detached affectionate father, as well as the protagonist overhearing Mr. Darcy speaking about her disparagingly, followed by the caddish character gaining the protagonist's affections by telling lies about Mr. Darcy. The self-referential in-jokes continue with the sequel, Bridget Jones: The Edge of Reason.
In March 2009, Quirk Books released Pride and Prejudice and Zombies, which takes Austen's actual, original work, and laces it with zombie hordes, cannibalism, ninjas, and ultra-violent mayhem. Scheduled for publication in March 2010, Quirk Books has announced that it will produce a prequel which deals with Elizabeth Bennett's early days as a zombie hunter, entitled Pride and Prejudice and Zombies: Dawn of the Dreadfuls.
Yet another angle was introduced by Monica Fairview, who wrote about Miss Caroline Bingley in The Other Mr Darcy, published in October 2009. Pride and Prejudice has also inspired many scholarly articles and books including: So Odd a Mixture: Along the Autism Spectrum in 'Pride and Prejudice' by Phyllis Ferguson Bottomer, Forewords by Eileen Sutherland and Tony Attwood.
Marvel has also published their take on this classic, releasing a short comic series of five issues that stays true to the original storyline. The first issue was published on 1 April 2009 and was written by Nancy Hajeski.
Author Amanda Grange wrote Mr. Darcy's Diary in 2007 that tells the original story of Pride and Prejudice from the view of Mr Darcy. In 2009, she wrote Mr. Darcy, Vampyre which reimagines Darcy as a vampire after he has married Elizabeth. Following the same premise is Regina Jeffers' "Vampire Darcy's Desire", which retells Pride and Prejudice on the basis that Darcy is a dhampir (part-human, part-vampire) joined by his lover Elizabeth to fight the evil vampire George Wickham.
《 bā shí tiān huán yóu dì qiú》 shì fán 'ěr nà yī bù yǐn rù rù shèng de xiǎo shuō， bǐ diào shēng dòng huó pō， fù yòu yōu mò gǎn。 xiǎo shuō xù shù liǎo yīng guó rén fú gé xiān shēng yīn hé péng yǒu dǎ dǔ， ér zài bā shí tiān kè fú chóngchóng kùn nán wán chéng huán yóu dì qiú yī zhōu de zhuàng jǔ。 shū zhōng bù jǐn xiáng xì miáo xiě liǎo fú gé xiān shēng yīháng zài tú zhōng de zhǒng zhǒng lí qí jīng lì hé tā men suǒ yù dào de qiān nán wàn xiǎn， ér qiě hái zài qíng jié de zhǎn kāi zhōng shǐ rén wù de xìng gé zhú jiàn lì tǐ huà。 chén mò guǎ yán、 jī zhì、 yǒng gǎn、 chōng mǎn rén dào jīng shén de fú gé， huó pō hàodòng yì chōng dòng de pú rén děng děng。 zuò pǐn fā biǎo hòu， yǐn qǐ liǎo hōng dòng， duō cì zài bǎn。
《 bā shí tiān huán yóu dì qiú》 - zuò pǐn nèi róng
zài hái méi yòu fēi jī de 19 shì jì 70 nián dài， dāng rén men hái yǐ mǎ chē、 xuě qiāo、 lún chuán、 huǒ chē…… zuò wéi dài bù gōng jù de shí hòu， yào xiǎng zài duǎn duǎn de bā shí tiān zhī nèi huán qiú yī zhōu， zěn néng bù ràng rén jīng tàn hé pèi fú。 wán chéng cǐ jǔ de zhè gè rén， jiù shì fèi léi yà sī fú gé。
zhè jiàn shì jiù fā shēng zài 1872 nián de lún dūn。 yóu yú yīng guó guó jiā yínháng de yī cì shī qiè， fú gé hé gǎi liáng jù lè bù de huì yǒu yǐ liǎng wàn yīng bàng zuò wéi dǔ zhù， dǎ dǔ kě yǐ zài bā shí tiān lǐ huán yóu dì qiú yī zhōu。 wèile zhèng shí zhè yī tuī suàn de zhǔn què xìng， fú gé dài zhe gāng gāng gù yòng de， chuò hào jiào wàn shì tōng de pú rén lì kè qǐ chéng cóng lún dūn chū fā， kāi shǐ liǎo zhè cì bù kě sī yì de huán qiú lǚ xíng。 fú gé shè xiǎng de lǚ xíng lù xiàn shì zhè yàng de： chéng huǒ chē xiān dào sū yī shì yùn hé， zài zhè lǐ chéng chuán dào yìn dù， rán hòu zuò huǒ chē héng chuān yìn dù， lái dào zhōng guó de xiāng gǎng， zài chéng chuán dào rì běn， jiē zhe dào měi guó， zuò huǒ chē chuān guò měi guó hòu， zuì hòu zài huí dào lún dūn。 zài cǐ qī jiān， tā bì xū fēn miǎo bùchà dì cóng yī gè dì fāng gǎn dào lìng yī gè dì fāng， zhǐ yòu shǐ zhōng zhǔn què wú wù cái néng bǎo zhèng 'àn shí huí lái。
zhè wèi xìng gé lěng pì、 jīng què zhǔn shí de shēn shì zài lǚ tú zhōng yù dào de shì qíng： zāo rén gēn zōng、 zhì shēn huāng cūn wú lù kě zǒu、 shè shēn jiù rén、 yǔ 'è sēng duì bù gōng táng、 zāo 'àn suàn wù liǎo lún chuán、 yù fēng làng hǎi shàng bó jī、 yǔ pú rén shī sàn、 yǒng dǒu jié fěi、 jiù pú rén shēn fù xiǎn jìng、 rán liào gào jí hǎi shàng jīng shòu kǎo yàn、 yí wéi qiè zéi hǎi guān bèi qiú…… jīhū suǒ yòu de yì wài hé kùn nán dōubèi fú gé bù xìng yù dào liǎo， jiù suàn tā lín wēi bù jù， lěng jìng shǒu shí， tā yě wú fǎ yù liào lǚ tú shàng suǒ fā shēng de suǒ yòu de shì qíng。 gèng hé kuàng， hái yòu yī wèi míng jiào fěi kè sī de zhēn tàn shǐ zhōng gēn zài tā shēn biān bù tíng dì shè zhì zhàng 'ài， hǔ shì dān dān yī xīn xiǎng bǎ tā zhuō ná guī 'àn， qí yuán yīn shì tā yǔ jǐng fāng miáo shù de yí fàn de wài mào tè zhēng jīng rén dì xiāng sì。 rán 'ér， suǒ yòu de kùn nán dōuméi yòu nán dǎo fú gé， tā zǒng néng zài wēinàn guān tóu zhǎo dào wèn tí de jiě jué bàn fǎ， yī cì cì shén qí dì huà xiǎn wéi yí、 bǎi tuō kùn jìng： mǎi dà xiàng chuān yuè mì lín gǎn huǒ chē、 yīng xióng jiù měi yíng dé měi rén xīn、 huā zhòng jīn qǔ bǎo hòu shěn bǎi tuō guān sī、 gāo jià gù háng chuán dù hǎi fù rì běn。 jī yuán qiǎo hé yǔ pú rén chóngjù、 yīng yǒng yù dí zhàn jié fěi、 zuò xuě qiāo chuān yuè bīng yuán、 shāo lún chuán jiě rán méi zhī jí、 xiāo chú wù huì zhòng huò zì yóu…… zhè shì yī wèi zěn yàng de shēn shì yā！ tā de zhèn dìng zì ruò、 kāng kǎi dà fāng、 yǒng gǎn jī zhì hé shàn liáng xì xīn gěi měi yī gè réndōu liú xià liǎo shēn kè de yìn xiàng； zhèng shì tā shēn shàng de zhè xiē yì hū xún cháng de yōu xiù pǐn zhì shǐ tā měi cì jūn néng féng xiōng huà jí、 zhuǎn wēi wéi 'ān， zuì hòu shèng lì wán chéng lǚ xíng； nà gè zhēn tàn zé shì yī gè yì wài juǎnrù zhè cì lǚ xíng zhōng de tè shū rén wù， tā gù zhí duō yí、 jí gōng jìn lì、 jīng yú suàn jì， dàn què zhōng yú zhí shǒu， chū yú zhí zé hé tān xīn， tā yī lù gēn zōng fú gé， bèi pò yě jìn xíng liǎo yī cì huán qiú lǚ xíng。 tā xiǎng fāng shè fǎ chù chù gěi fú gé zhì zào má fán， zǔ zhǐ tā shùn lì wán chéng jìhuà， dàn tā de jì móu què yī cì cì luò kōng； ér nà gè jiào wàn shì tōng de fǎ guó xiǎo huǒ zǐ zé wéi zhè cì lǚ xíng zēng tiān liǎo bù shǎo xiào liào； tā chéng shí yǒng gǎn、 shēn huái jué jì、 zhèng zhí shàn liáng， dàn què róng yì shàngdàng shòu piàn， tā jì wéi zhù rén huà jiě liǎo bù shǎo wēi jī yě wéi zhù rén zhì zào liǎo bù shǎo má fán， tā de jiā rù shǐ zhè cì lǚ xíng biàn dé qù wèi héng shēng； hái yòu yī wèi rén wù suī rán huà yǔ bù duō， dàn què yòu zhe jǔ zú qīng zhòng de dì wèi， tā jiù shì fú gé shè shēn dā jiù de 'ā wǔ dá fū rén， yě shì hòu lái de fú gé fū rén。 tā guāng cǎi zhào rén、 wēn róu gāo yǎ、 shàn jiě rén yì， yī zhí zài fú gé shēn biān cóng jīng shén shàng zhī chí tā、 gǔ lì tā jiān chí dào shèng lì。 yòu liǎo tā de péi bàn， zhè cì huán qiú zhī lǚ yě biàn dé làng màn duō qíng hé wēn qíng mòmò liǎo。 gù shì de jié jú dāng rán shì rú rén suǒ yuàn： fú gé yíng dé liǎo zhè cì dǎ dǔ， bìng qiě zhǎo dào liǎo tā yī shēng de bàn lǚ。
《 bā shí tiān huán yóu dì qiú》 - zuò zhě jiǎn jiè
《 bā shí tiān huán yóu dì qiú》 rú lè fán 'ěr nà
rú lè fán 'ěr nà（ Verne Jules1828-1905）， fǎ guó zuì zhù míng de kē huàn xiǎo shuō zuò jiā。 chū shēng yú hǎi gǎng chéng shì， zì yòu mí shàng háng hǎi， céng lí jiā chū zǒu dāng shuǐ shǒu， yòu bèi fù qīn zhǎo huí， sòng dào bā lí xué xí fǎ lǜ。 tā bì yè hòu bù yuàn zuò fǎ guān， què qù jù yuàn zuò liǎo mì shū， kāi shǐ zhuàn xiě jù běn。 fán 'ěr nà rè zhōng yú gè zhǒng kē xué xīn fā xiàn， yě chuàng zuò kē huàn xiǎo shuō dǎ xià zhā shí jī chǔ。 1863 nián， chū bǎn《 qì qiú shàng de wǔ gè xīng qī》， huò dé chéng gōng。 cǐ hòu 40 yú nián jiān bǐ gēng bù zhuì， jīhū měi nián dōuyòu yī liǎng bù xīn zuò wèn shì， tí cái guǎng fàn。 tā de kē xué huàn xiǎng xiǎo shuō de zǒng míng shì《 zài yǐ zhī hé wèi zhī de shì jiè zhōng qí yì de màn yóu》， jiǎn chēng《 qí yì de màn yóu》。
zhù yào zuò pǐn：《 bā shí tiān huán yóu dì qiú》、《 dǐ liǎng wàn lǐ》、《 gé lán tè chuán cháng de 'ér nǚ》、《 huán rào yuè qiú》、《 shén mì dǎo》、《 shì jiè zhù zǎi zhě》、《 mǐ xiē 'ěr sī tè luó gē fū》、《 qì qiú shàng de wǔ xīng qī》、《 kōng zhōng lì xiǎn jì》、《 mò xī gē de“ yōu líng”》、《 zuǒ qí ruì dà shī》、《 niú bó shì》、《 yī gè zài bīng xuě zhōng dù guò de dōng tiān》、《 zhēng fú zhě luó bǐ 'ěr》、《 liǎng nián jiàqī》、《 cóng dì qiú dào yuè qiú》、《 bā shí tiān huán rào dì qiú》、《 ào lán qíng yóu》、《 shēng D xiān shēng hé jiàng E xiǎo jiě》、《 yǐn shēn xīn niàn》、《 áng tī fěi 'ěr qí yù jì》、《 dà hǎi rù qīn》、《 fēng huǒ dǎo》、《 tài yáng xì lì xiǎn jì》、《 bā 'ěr sà kè kǎo chá duì de jīng xiǎn zāo yù》、《 hā tè lā sī chuán cháng lì xiǎn jì》、《 dà mù fá》、《 kā 'ěr bā qiān gǔ bǎo》、《 jīn huǒ shān》、《 lǔ bīn xùn shū shū》、《 duō nǎo hé lǐng háng yuán》、《 lǔ bīn xùn xué xiào》、《 mǎ dīng pà cí》《 lǚ xíng jī jīn》、《 piào shì de bàn dǎo》、《 sāng dào fū bó jué》、《 hēi yìn dù》、《 nán fēi zhōu lì xiǎn jì》、《 tū pò fēng suǒ》、《 shā huáng de yóu jiàn》、《 yìn dù guì fù de wǔ yì fǎ láng》、《 xiǎo bǎ xì》。
《 bā shí tiān huán yóu dì qiú》 - zuò pǐn zhù tí
《 bā shí tiān huán yóu dì qiú》 de xù shì jì qiǎo bìng bù fù zá， fú gé de zhè cì lǚ xíng qí shí shì hé zhēn tàn fěi kè sī de bèi dòng lǚ xíng tóng shí píng xíng zhǎn kāi de liǎng tiáo xù shì xiàn， zhè liǎng tiáo xiàn jì píng xíng fā zhǎn yòu jiāo cuò jiāo huì， jiāo chā diǎn jiù shì gù shì de chōng tū diǎn， yě shì gù shì de chū cǎi zhī chù。 ér wàn shì tōng hé 'ā wǔ dá dū shì fú gé lǚ xíng zhè tiáo xiàn shàng de liǎng gè xiǎo fēn zhī， tā men de gù shì wéi quán wén zēng sè bù shǎo。 měi yī cì chōng tū dū wéi gù shì xiān qǐ liǎo yī gè xiǎo gāo cháo， fú gé de měi cì yù xiǎn yědōu ràng rén jǐn zhāng wàn fēn， yóu qí shì xiǎo shuō de zuì hòu yī bù fēn： jiù zài fú gé yǎn kàn shèng lì zài wàng de shí hòu， tā piān piān bèi guān zài hǎi guān， dāng tā bèi fàng chū lái zhī hòu， dān wù de shí jiān yǐ jīng tài duō， méi yòu kě néng zhǔn shí gǎn huí lún dūn liǎo。 dú zhě dū yǐ wéi fú gé yǐ jīng shū diào zhè cì dǎ dǔ liǎo， kě shuídōu méi yòu liào dào， wàn shì tōng fā xiàn tā de zhù rén jū rán suàn cuò liǎo rì qī， yú shì fú gé yòu chū rén yì liào dì yíng dé liǎo dǎ dǔ。 quán wén jiù shì zhè yàng zài yī cì yòu yī cì de yì wài zhōng ràng dú zhě tǐ huì dào liǎo jīng xiǎn hé cì jī de。
《 bā shí tiān huán yóu dì qiú》 - nèi róng fēn xī
《 bā shí tiān huán yóu dì qiú》 shì rú lè . fán 'ěr nà yī bù yǐn rén rù shèng de xiǎo shuō。 lǐ biān jiǎng liǎo yī gè yīng guó rén fú kè xiān shēng yīn hé péng yǒu dǎ dǔ， zài bā shí tiān nèi kè fùzhòng zhòng kùn nán wán chéng huán yóu dì qiú yī zhōu de zhuàng jǔ。 shū zhōng bù jǐn jiǎng liǎo tā men suǒ yù dào de qiān nán wàn xiǎn， ér qiě zài qíng jié zhōng tǐ xiàn chū měi gè rén de gè xìng。 chén zhe、 jī zhì、 yǒng gǎn、 lěng jìng de fú kè hé tā huó pō、 hàodòng、 yì chōng dòng de pú rén děng děngdōu gěi rén liú xià liǎo shēn kè de yìn xiàng。
fú kè xiān shēng dào nǎ dōushì chén mò bù yǔ de lěng jìng tài dù， jí shǐ shì cuò guò liǎo dā wǎng měi guó de yóu chuán làng fèi liǎo tā yī tiān duō de shí jiān， hái shì zài huǒ chē de tiě guǐ shàng yù jiàn liǎo qiān bǎi wàn pǐ niú qún cóng guǐ dào shàng chuān guò 'ér dān wù liǎo 3 gè duō xiǎo shí， tā zǒng shì miàn wú biǎo qíng， jiù xiàng tā yǐ jīng zhī dào tā zì jǐ yī dìng huì yíng de yī yàng。 bù guò rú guǒ shū liǎo zhè gè dǎ dǔ jiù dé péi diào liǎng qiān wàn yīng bàng héng héng tā suǒ yòu de cái chǎn。 yī kāi shǐ jiù jiǎng fú kè xiān shēng shì fēi cháng yòu shēng huó guī lǜ de rén， jiù xiàng shì gè jī qì rén， dìng liǎo shí jiān shìde， zǒng shì yī fēn bù duō yī miǎo bùchà de zuò wán tā jìhuà zhī nèi de shì。 dāng rán zhè bā shí tiān huán yóu dì qiú yě shì tā guī dìng hǎo de， qián jǐ tiān， tā de xíng chéng díquè gēn běn zǐ shàng de jìhuà yī mó yī yàng， dào dá yī gè dì diǎn， tā jiù ná chū xiǎo běn zǐ， zài shàng miàn xiě zhe， mǒu yuè mǒu rì， dào dǐ nǎ lǐ。
kě shì shì shàng méi yòu bù qǐ làng de hǎi， zài yī lù shàng de tiān qì biàn huà， dǎo méi chōng dòng dàn yòu jué duì zhōng shí de pú rén lù lù tōng suǒ zào de má fán hé mǒu xiē rén wéi de chéng xīn pò huài， shǐ tā men de lù chéng zǒng shì méi yòu tā men suǒ yù jì de wán měi。 kě bù guǎn duō me zāo gāo de qíng kuàng xià， fú kè xiān shēng zǒng shì néng chōng chū chóngwéi， zǒng néng yòu jiě jué de bàn fǎ。 dāng rán tādōu shì kào tā huī sǎ liú xià de dà bǎ dà bǎ de yīng bàng。 yòu tā nà me yòng jù dà zī jīn lián yǎn pí dōubù zhǎ yī xià de rén， xiàn shí shēng huó zhōng yīnggāi shì bù huì yòu de。
zuì jiào wǒ jīng xīn dòng bó de hái shì mǎ shàng yào huí dào niǔ yuē wán chéng tā bā shí tiān de huán qiú rèn wù qù lǐng dà bǎ dà bǎ chāo piào de shí hòu， yǎn kàn jiù yào dào dá niǔ yuē liǎo， jū rán bèi yī zhí gēn zài tā men shēn biān de tàn jǐng fèi kè sī dāng zuò yínháng qiǎng jié fàn zhuā liǎo qǐ lái。 shí jiān yī fēn yī miǎo de liú shì， yǎn kàn shèng lì jiù zài yǎn qián， què yī xià zǐ chéng liǎo pào yǐng， fú kè xiān shēng liǎn shàng réng shì méi yòu yī diǎn biǎo qíng。 tā xīn lǐ zhēn de yī diǎn bù jí má？ shuí yě bù zhī dào。
dāng fèi kè sī nòng qīng liǎo zhēn xiāng， lián bèng dài tiào de páo jìn jiān yù fàng liǎo fú kè shí， fú kè zhǐ shì liǎng shǒu yī huī dāng zuò shēn lǎn yāo dǎ liǎo fèi kè sī liǎng quán， jiù jí máng gǎn qù niǔ yuē。 kě shì， dāng tā men dào dá lóu zhōng xià de shí hòu， shí zhēn què zhǐ zhe 8 diǎn 50 fēn， tā men zhǐ wǎn liǎo 5 fēn zhōng !
fú kè zhī dào zì jǐ yǐ jīng yī wú suǒ yòu liǎo， dàn hái yòu yī jiàn zhí dé qìng xìng de shì jiù shì zài tā men lǚ tú shàng jiù liǎo yī wèi 'ài 'é dá fū rén， xiàn zài tā jiù yào chéng wéi tā de qī zǐ liǎo。 dāng lù lù tōng dào jiào táng tōng zhī shén fǔ de shí hòu， què fā xiàn liǎo yī gè jīng rén de xiāo xī， jīn tiān bù shì 2 yuè 21 hào， shì 2 yuè 20 hào！ tā men zhěng zhěng zǎo dào liǎo yī tiān！ kě shì fú kè dào dá lún dūn de shí hòu shì 2 yuè 20 hào， zěn me huì jì cuò ní？
yuán lái shì tā men zài zhè cì lǚ tú zhōng bù zhī bù jué zhàn liǎo 'èr shí sì xiǎo shí de piányí。 yóu yú tā zhè cì lǚ xíng wǎng dōng zǒu， měi dāng tā men zǒu guò yī tiáo jīng xiàn tā men jiù huì tí qián 4 fēn zhōng kàn dào rì chū， zhěng gè dì qiú yī gòng fēn zuò sān bǎi liù shí dù， yòng sì fēn zhōng chéng sān bǎi liù shí， jiēguǒ zhèng hǎo shì 'èr shí sì xiǎo shí。 cǐ shí cǐ kè， hái bù dào 5 fēn zhōng， gēn tā dǎ dǔ de huì yǒu zhèng zài jù lè bù děng tā。
jù lè bù lǐ de chéng yuán， bāo kuò suǒ yòu dào lái de rén men hé jì zhě shè yǐng shī dōulái dào liǎo xiàn chǎng。 dàoshǔ yī fēn zhōng lǐ， dì sì shí miǎo píng 'ān de guò qù liǎo， dào liǎo dì wǔ shí miǎo shì píng 'ān wú shì！ dào liǎo dì wǔ shí wǔ miǎo de shí hòu， tīng dào wài miàn rén shēng léi dòng， zhǎng shēng， huān hū shēng， hái jiā zá zhe zhòu mà shēng， wǔ wèi shēn shì dū zhàn liǎo qǐ lái！ dào liǎo dì wǔ shí qī miǎo， zhè qiān jūn yī fā de shí hòu， dà tīng de mén bèi dǎ kāi liǎo， zhōng bǎi hái méi yòu lái dé jí xiǎng dì liù shí xià， yī qún kuáng rè de qún zhòng cù yōng zhe fú kè chōng jìn liǎo dà mén。 zhǐ jiàn tā chén jìng dì shuō：“ xiān shēng men， wǒ huí lái liǎo。
《 bā shí tiān huán yóu dì qiú》 - zuò pǐn píng jià
fán 'ěr nà de《 bā shí tiān huán yóu dì qiú》 gù shì shēng dòng yōu mò， miào yǔ héng shēng， yòu néng jī fā rén men yóu qí shì qīng shàonián rè 'ài kē xué、 xiàng wǎng tàn xiǎn de rè qíng， suǒ yǐ yī bǎi duō nián lái， yī zhí shòu dào shì jiè gè dì dú zhě de huān yíng。 jù lián hé guó jiào kē wén zǔ zhì de zī liào biǎo míng， fán 'ěr nà shì shì jiè shàng bèi fān yì de zuò pǐn zuì duō de shí dà míng jiā zhī yī。
fán 'ěr nà shì yī gè fēi cháng yōu xiù de tōng sú xiǎo shuō zuò jiā， yòu yī zhǒng néng gòu bǎ zì jǐ de huàn jué biàn dé néng gòu chù mō de běn lǐng， qí gǎn jué shì quán fāng wèi de， cóng píng dàn de wén xué zhōng chuán dá chū mǒu zhǒng rén lèi de rè qíng。 dàn fán 'ěr nà de《 bā shí tiān huán yóu dì qiú》 zhōng rén wù chú liǎo shǎo shù jǐ gè wài dōushì yī mó yī yàng de， tā sì hū sù zào bù chū gèng zhòng yào de rén wù， rén wù dōushì liǎn pǔ huà de jiǎn dān de hǎo rén huài rén， méi yòu shénme xīn lǐ huó dòng； cóng qí zuò pǐn rén wù xìng bié dān yī huà shàng hái kě kàn chū tā duì nǚ rén de piān jiàn， yǐn yǐn liú lù chū shēn shòu qí kǔ de xīn tài。 cǐ wài fán 'ěr nà de zuò pǐn zhōng chōng mǎn liǎo míng xiǎn de shè huì qīng xiàng， shì yī gè 'ài guó zhě（ fǎ guó rén zuì hǎo）、 mín zú jiě fàng zhù yì zhě（ zhī chí bèi yā pò mín zú dǒu zhēng）， zài mǒu zhǒng chéng dù shàng shì yī gè wú zhèng fǔ zhù yì zhě（ cóng mǒu xiē zuò pǐn zhōng biǎo xiàn chū wú zhì xù zhě）， zuì hòu hái shì yī gè yín hé dì guó zhù yì zhě（ yòu dì zào yǔ zhòu dì guó de yù wàng）。
《 bā shí tiān huán yóu dì qiú》 lǐ chōng mǎn liǎo zhī shí， dàn tā běn rén què shì yī míng yǔ zhòu shén mì zhù yì zhě， duì shì jiè yòu yī zhǒng shén mì de chóng bài。 zài tā de xiǎo shuō zhōng， yòu shí hòu sī kǎo wèn tí bù gòu shēn kè， zhù tí yě cháng cháng chóngfù。
dàn zǒng de lái shuō， fán 'ěr nà de cháng shì réng rán shì wěi dà de。 zhèng rú 1884 nián jiào huáng zài jiē jiàn fán 'ěr nà shí céng shuō：“ wǒ bìng bù shì bù zhī dào nín de zuò pǐn de kē xué jià zhí， dàn wǒ zuì zhēn zhòng de què shì tā men de chún jié、 dào dé jià zhí hé jīng shén lì liàng。”
jié wěi yòu diǎn zǒu dào jìn tóu kǔ jìn gān lái de gǎn jué， fú gé xiān shēng huā liǎo bì shēng de qián dǎ liǎo yī gè dǔ， zhè gè dǔ lìng tā zhǎo dào liǎo tā shēng mìng de lìng yī bàn， ér yóu yú yī gè hú tú tàn cháng de hú tú xíng dòng shǐ tā shī qù liǎo nà xiē qián， zài zhè yàng de qíng kuàng xià tā hái néng lè guān dì miàn duì shēng huó， jié jú chū hū yì liào tā yǐ shí chā yíng dé liǎo nà xiē jiǎng jīn。 zhè gè jié wěi jiù zú jiàn fán 'ěr nà de xiě zuò gōng lì。
《 bā shí tiān huán yóu dì qiú》 -BBC bǎn běn
《 BBC bā shí tiān huán yóu dì qiú》
hǎi bào hǎi bào
【 yì míng】 BBCAroundTheWorldIn80Days
【 jí shù】 7CD
【 nián dài】 2005 nián
【 guó jiā】 yīng guó
【 piàn cháng】 7 xiǎo shí
【 lèi bié】 jì lù piàn
【 yǔ yán】 yīng yǔ
【 gé shì】 XVID5AC3
【 zì mù】（ qǐng diǎn） yīng wén zì mù（ qǐng diǎn） zhōng wén zì mù
【 jiǎn jiè】： BBC wáng pái zhù chí rén， yīng guó míng xǐ jù yǎn yuán MichealPalin dài nín zhǎn kāi liǎo lìng yī cì xuàn lì de 80 tiān lǚ tú， yī qǐ zhōu yóu shì jiè。 yǔ shì jiè míng zhù“ huán yóu shì jiè bā shí tiān” xiāng tóng lǚ chéng！ huán yóu shì jiè lǚ xíng zhě bì bèi de jīng diǎn cān kǎo zhǐ nán！ nǐ céng mèng xiǎng huán yóu shì jiè má？ bā shí tiān nèi rào wán dì qiú yī zhōu， huì shì zěn me yàng de qí huàn cì jī mào xiǎn？ mài kè 'ěr · pà lín zì gào fèn yǒng yào wán chéng zhè yī bù jì lù piàn（ zhè bèi zǐ zài zhè zhī qián zhǐ yòu yī cì jīng yàn）， gēn shí jiān sài páo， zài quán wú jù běn de qíng kuàng xià， tà shàng zhè duàn lù chéng， suǒ yòu de biàn huà， háo wú yù jǐng。 zhè shì qián suǒ wèi yòu de cháng shì 』 --- mài kě pà lín wēi ní sī de lā jī chuán、 zài 'āi jí bèi zhuàng huài de jì chéng chē、 héng dù bō sī wān de jiǎn lòu xiǎo chuán、 zhōng guó de zhēng qì chuán、 yuè guò huàn rì xiàn de huò guì chuán…… mài kè 'ěr · pà lín huán rào shì jiè yī zhōu de zhuàng jǔ， chú liǎo zuò bù wán de chuán、 shàng tù xià xiè， jī bù zé shí de yīng wǔ zhī wài， gèng yòu zhù mù bù xiá gěi de jīng xǐ !!
fēn jí mù lù
dì 1 jí jiān jù tiǎo zhàn
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gǔ jiā lā tè shuǐ shǒu dài lǐng háng xíng dào yìn dù mèng mǎi， dàn yǐn qíng què tū rán gù zhàng ..
dì 4 jí jīng xiǎn guā hú
zài yìn dù dì yī dà chéng mèng mǎi dāng jiē guā hú hòu， zhuǎn niǎn qián wǎng mǎ dé lā sī…
dì 5 jí dōng fāng kuài chē
cóng xīn jiā pō gǎng chū fā dào xiāng gǎng zhī qián zài nán zhōng guó hǎi yù dào sān gè tái fēng…
dì 6 jí shēn rù yuǎn dōng
háng xíng dào shàng hǎi、 héng bīn， zài dōng jīng shāo wéi xiū xī hòu miàn duì guǎng dà de tài píng yáng ..
dì 7 jí cóng huàn rì xiàn dào zuì hòu qī xiàn
shí jiān jiàn bī dàn tā men dé tōng guò měi guó hé tài xī yáng huí dào qǐ diǎn…
Plot summary
The story starts in London on October 2, 1872. Phileas Fogg is a wealthy English gentleman who lives unmarried in solitude at Number 7 Savile Row, Burlington Gardens. Despite his wealth, which is £40,000, Mr. Fogg, whose countenance is described as "repose in action", lives a modest life with habits carried out with mathematical precision. As is noted in the first chapter, very little can be said about Mr. Fogg's social life other than that he is a member of the Reform Club. Having dismissed his former valet, James Foster, for bringing him shaving water at 84° Fahrenheit instead of 86°, Mr. Fogg hires the Frenchman Passepartout, who is about 30 years old, as a replacement.
Later, on that day, in the Reform Club, Fogg gets involved in an argument over an article in The Daily Telegraph, stating that with the opening of a new railway section in India, it is now possible to travel around the world in 80 days. He accepts a wager for £20,000 from his fellow club members, which he will receive if he makes it around the world in 80 days. Accompanied by Passepartout, he leaves London by train at 8:45 P.M. on October 2, 1872, and thus is due back at the Reform Club at the same time 80 days later, on December 21.
Map of the trip
The proposed schedule London to Suez rail and steamer 7 days
Suez to Bombay steamer 13 days
Bombay to Calcutta rail 3 days
Calcutta to Hong Kong steamer 13 days
Hong Kong to Yokohama steamer 6 days
Yokohama to San Francisco steamer 22 days
San Francisco to New York City rail 7 days
New York to London steamer and rail 9 days
Total 80 days
Fogg and Passepartout reach Suez in time. While disembarking in Egypt, they are watched by a Scotland Yard detective named Fix, who has been dispatched from London in search of a bank robber. Because Fogg matches the description of the bank robber, Fix mistakes Fogg for the criminal. Since he cannot secure a warrant in time, Fix goes on board the steamer conveying the travellers to Bombay. During the voyage, Fix becomes acquainted with Passepartout, without revealing his purpose. On the voyage, Fogg promises the engineer a large reward if he gets them to Bombay early. They dock two days ahead of schedule.
After reaching India they take a train from Bombay to Calcutta. About halfway there Fogg learns that the Daily Telegraph newspaper article was wrong – the railroad ends at Kholby and starts 50 miles further on at Allahabad. Fogg promptly buys an elephant, hires a guide and starts toward Allahabad.
During the ride, they come across a suttee procession, in which a young Parsi woman, Aouda, is led to a sanctuary to be sacrificed by the process of sati the next day by Brahmins. Since the young woman is drugged with the smoke of opium and hemp and obviously not going voluntarily, the travellers decide to rescue her. They follow the procession to the site, where Passepartout secretly takes the place of Aouda's deceased husband on the funeral pyre, on which she is to be burned the next morning. During the ceremony, he then rises from the pyre, scaring off the priests, and carries the young woman away. Due to this incident, the two days gained earlier are lost but Fogg shows no sign of regret.
The travellers then hasten on to catch the train at the next railway station, taking Aouda with them. At Calcutta, they can finally board a steamer going to Hong Kong. Fix, who has secretly been following them, has Fogg and Passepartout arrested in Calcutta. However, they jump bail and Fix is forced to follow them to Hong Kong. On board, he shows himself to Passepartout, who is delighted to meet again his travelling companion from the earlier voyage.
In Hong Kong, it turns out that Aouda's distant relative, in whose care they had been planning to leave her, has moved, probably to Holland, so they decide to take her with them to Europe. Meanwhile, still without a warrant, Fix sees Hong Kong as his last chance to arrest Fogg on British soil. He therefore confides in Passepartout, who does not believe a word and remains convinced that his master is not a bank robber. To prevent Passepartout from informing his master about the premature departure of their next vessel, Fix gets Passepartout drunk and drugs him in an opium den. In his dizziness, Passepartout still manages to catch the steamer to Yokohama, but neglects to inform Fogg.
Fogg, on the next day, discovers that he has missed his connection. He goes in search of a vessel that will take him to Yokohama. He finds a pilot boat that takes him and Aouda to Shanghai, where they catch a steamer to Yokohama. In Yokohama, they go on a search for Passepartout, believing that he may have arrived there on the original boat. They find him in a circus, trying to earn the fare for his homeward journey. Reunited, the four board a steamer taking them across the Pacific to San Francisco. Fix promises Passepartout that now, having left British soil, he will no longer try to delay Fogg's journey, but rather support him in getting back to Britain as fast as possible (to have him arrested there).
In San Francisco they get on a trans-American train to New York, encountering a number of obstacles along the way: a massive herd of bison crossing the tracks, a failing suspension bridge, and most disastrously, the train is attacked and overcome by Sioux Indians. After heroically uncoupling the locomotive from the carriages, Passepartout is kidnapped by the Indians, but Fogg rescues him after some soldiers volunteer to help. They continue by a wind-powered sledge over the snowy prairie to Omaha, where they get a train to New York.
Once in New York, and having missed departure of their ship (the China) by 35 minutes, Fogg starts looking for an alternative for the crossing of the Atlantic Ocean. He finds a small steamboat, destined for Bordeaux. However, the captain of the boat refuses to take the company to Liverpool, whereupon Fogg consents to be taken to Bordeaux for the price of $2000 per passenger. On the voyage, he bribes the crew to mutiny and take course for Liverpool. Against hurricane winds and going on full steam all the time, the boat runs out of fuel after a few days. Fogg buys the boat at a very high price from the captain, soothing him thereby, and has the crew burn all the wooden parts to keep up the steam.
The companions arrive at Queenstown, Ireland, in time to reach London via Dublin and Liverpool before the deadline. However, once on British soil again, Fix produces a warrant and arrests Fogg. A short time later, the misunderstanding is cleared up—the actual bank robber had been caught three days earlier in Edinburgh. In response to this, Fogg, in a rare moment of impulse, punches Fix, who immediately falls to the ground. However, Fogg has missed the train and returns to London five minutes late, assured that he has lost the wager.
In his London house the next day, he apologises to Aouda for bringing her with him, since he now has to live in poverty and cannot financially support her. Aouda suddenly confesses that she loves him and asks him to marry her, which he gladly accepts. He calls for Passepartout to notify the reverend. At the reverend's, Passepartout learns that he is mistaken in the date, which he takes to be Sunday but which actually is Saturday due to the fact that the party travelled east, thereby gaining a full day on their journey around the globe, by crossing the International Date Line. He did not notice this after landing in North America because the only phase of the trip that depended on vehicles departing less often than daily was the Atlantic crossing, and he had hired his own ship for that.
Passepartout hurries back to Fogg, who immediately sets off for the Reform Club, where he arrives just in time to win the wager. Fogg marries Aouda and the journey around the world is complete.
Passepartout and Fogg's Baggage
Passepartout and Fogg carry only a carpet bag with only two shirts and three pairs of stockings each, a mackintosh, a travelling cloak, and a spare pair of shoes. The only book carried is Bradshaw's Continental Railway Steam Transit and General Guide. This contains timetables of trains and steamers. He also carried a huge roll of English banknotes-about twenty thousand pounds. He also left with twenty guineas won at whist, which he soon disposed of.
Background and analysis
Around the World in Eighty Days was written during difficult times, both for France and for Verne. It was during the Franco-Prussian War (1870–1871) in which Verne was conscripted as a coastguard, he was having money difficulties (his previous works were not paid royalties), his father had died recently, and he had witnessed a public execution which had disturbed him. However despite all this, Verne was excited about his work on the new book, the idea of which came to him one afternoon in a Paris café while reading a newspaper (see "Origins" below).
The technological innovations of the 19th century had opened the possibility of rapid circumnavigation and the prospect fascinated Verne and his readership. In particular three technological breakthroughs occurred in 1869-70 that made a tourist-like around-the-world journey possible for the first time: the completion of the First Transcontinental Railroad in America (1869), the linking of the Indian railways across the sub-continent (1870), and the opening of the Suez Canal (1869). It was another notable mark in the end of an age of exploration and the start of an age of fully global tourism that could be enjoyed in relative comfort and safety. It sparked the imagination that anyone could sit down, draw up a schedule, buy tickets and travel around the world, a feat previously reserved for only the most heroic and hardy of adventurers.
Verne is often characterised as a futurist or science fiction author but there is not a glimmer of science-fiction in this, his most popular work (at least in English speaking countries). Rather than any futurism, it remains a memorable portrait of the British Empire "on which the sun never sets" shortly before its very peak, drawn by an outsider. It is also interesting to note that, as of 2006, there has never been a critical edition of Around the World in Eighty Days. This is in part due to the poor translations available of his works, the stereotype of "science fiction" or "boys' literature". However, Verne's works were being looked at more seriously in the late 20th and early 21st centuries, with new translations and scholarship appearing. It is also rather interesting to note that the book is a source of common notable English and extended British attitudes in quotes such as, "Phileas Fogg and Sir Francis Cromarty ... endured the discomfort with true British phlegm, talking little, and scarcely able to catch a glimpse of each other" as seen in Chapter Twelve when the group is being jostled around on the elephant ride across the jungle. Also seen in chapter Twenty-Five, when Phileas Fogg is insulted in San Francisco, and Detective Fix acknowledges that "It was clear that Mr. Fogg was one of those Englishmen who, while they do not tolerate dueling at home, fight abroad when their honor is attacked."
It is interesting to note that The China's departure from New York on the day of Fogg's arrival there constitutes a minor flaw in Verne's logic, because Fogg had already crossed the Pacific without accounting for the International Date Line so his entire journey across North America was apparently conducted with an erroneous belief about the date and day of the week. Had The China sailed in agreement with the published steamer schedule used by Fogg, it would have departed a day later than Fogg expected, and he would have been able to catch it in spite of arriving what he thought was a few minutes late.
The closing date of the novel, 22 December 1872, was also the same date as the serial publication. As it was being published serially for the first time, some readers believed that the journey was actually taking place — bets were placed, and some railway companies and ship liner companies actually lobbied Verne to appear in the book. It is unknown if Verne actually submitted to their requests, but the descriptions of some rail and shipping lines leave some suspicion he was influenced.
Although a journey by hot air balloon has become one of the images most strongly associated with the story, this iconic symbol was never deployed in the book by Verne himself – the idea is briefly brought up in chapter 32, but dismissed, it "would have been highly risky and, in any case, impossible." However the popular 1956 movie adaptation Around the World in Eighty Days floated the balloon idea, and it has now become a part of the mythology of the story, even appearing on book covers. This plot element is reminiscent of Verne's earlier Five Weeks in a Balloon which first made him a well-known author.
Following Towle and d'Anver's 1873 English translation, many people have tried to follow in the footsteps of Fogg's fictional circumnavigation, often within self-imposed constraints:
* 1889 – Nellie Bly undertook to travel around the world in 80 days for her newspaper, the New York World. She managed to do the journey within 72 days. Her book about the trip, Around the World in Seventy-Two Days, became a best seller.
* 1903 – James Willis Sayre, a Seattle theatre critic and arts promoter, set the world record for circling the earth using public transportation exclusively, completing his trip in 54 days, 9 hours, and 42 minutes.
* 1908 – Harry Bensley, on a wager, set out to circumnavigate the world on foot wearing an iron mask.
* 1984 - Nicholas Coleridge emulated Fogg's trip and wrote a book entitled Around the World in 78 Days about his experience.
* 1988 – Monty Python alumnus Michael Palin took a similar challenge without using aircraft as a part of a television travelogue, called Michael Palin: Around the World in 80 Days. He completed the journey in 79 days and 7 hours.
* 1993–present – The Jules Verne Trophy is held by the boat that sails around the world without stopping, and with no outside assistance in the shortest time.
* 2009 - in Around the World in 80 Days twelve celebrities performed a relay version of the journey for the BBC Children In Need charity appeal. This featured a carpet bag.
Origins
The idea of a trip around the world within a set period had clear external origins and was popular before Verne published his book in 1872. Even the title Around the World in Eighty Days is not original to Verne. About six sources have been suggested as the origins of the story:
Greek traveller Pausanias (c. 100 AD) wrote a work that was translated into French in 1797 as Voyage autour du monde ("Around the World"). Verne's friend, Jacques Arago, had written a very popular Voyage autour du monde in 1853. However in 1869/70 the idea of travelling around the world reached critical popular attention when three geographical breakthroughs occurred: the completion of the First Transcontinental Railroad in America (1869), the linking of the Indian railways across the sub-continent (1870), and the opening of the Suez Canal (1869). In 1871 appeared Around the World by Steam, via Pacific Railway, published by the Union Pacific Railroad Company, and an Around the World in A Hundred and Twenty Days by Edmond Planchut. Between 1869 and 1871, an American William Perry Fogg went around the world describing his tour in a series of letters to the Cleveland Leader, titled Round the World: Letters from Japan, China, India, and Egypt (1872). Additionally, in early 1870, the Erie Railway Company published a statement of routes, times, and distances detailing a trip around the globe of 23,739 miles in seventy-seven days and twenty-one hours.
In 1872 Thomas Cook organised the first around the world tourist trip, leaving on 20 September 1872 and returning seven months later. The journey was described in a series of letters that were later published in 1873 as Letter from the Sea and from Foreign Lands, Descriptive of a tour Round the World. Scholars have pointed out similarities between Verne's account and Cook's letters, although some argue that Cook's trip happened too late to influence Verne. Verne, according to a second-hand 1898 account, refers to a Thomas Cook advertisement as a source for the idea of his book. In interviews in 1894 and 1904, Verne says the source was "through reading one day in a Paris cafe" and "due merely to a tourist advertisement seen by chance in the columns of a newspaper.” Around the World itself says the origins were a newspaper article. All of these point to Cook's advert as being a probable spark for the idea of the book.
Further, the periodical Le Tour du monde (3 October 1869) contained a short piece entitled "Around the World in Eighty Days", which refers to "140 miles" of railway not yet completed between Allahabad and Bombay, a central point in Verne's work. But even the Le Tour de monde article was not entirely original; it cites in its bibliography the Nouvelles Annales des Voyages, de la Géographie, de l'Histoire et de l'Archéologie (August, 1869), which also contains the title Around the World in Eighty Days in its contents page. The Nouvelles Annales were written by Conrad Malte-Brun (1775—1826) and his son Victor Adolphe Malte-Brun (1816—1889). Scholars believe Verne was aware of either the Le Tour de monde article, or the Nouvelles Annales (or both), and consulted it — the 'Le Tour du monde even included a trip schedule very similar to Verne's final version.
A possible inspiration was the traveller George Francis Train, who made four trips around the world, including one in 80 days in 1870. Similarities include the hiring of a private train and his being imprisoned. Train later claimed "Verne stole my thunder. I'm Phileas Fogg."
Regarding the idea of gaining a day, Verne said of its origin: "I have a great number of scientific odds and ends in my head. It was thus that, when, one day in a Paris café, I read in the Siècle that a man could travel around the world in eighty days, it immediately struck me that I could profit by a difference of meridian and make my traveller gain or lose a day in his journey. There was a dénouement ready found. The story was not written until long after. I carry ideas about in my head for years – ten, or fifteen years, sometimes – before giving them form." In his lecture of April 1873 "The Meridians and the Calendar", Verne responded to a question about where the change of day actually occurred, since the international date line had only become current in 1880 and the Greenwich prime meridian was not adopted internationally until 1884. Verne cited an 1872 article in Nature, and Edgar Allan Poe's short story "Three Sundays in a Week" (1841), which was also based on going around the world and the difference in a day linked to a marriage at the end. Verne even analysed Poe's story in his Edgar Poe and His Works (1864).
In summary either the periodical 'Le Tour du monde or the Nouvelles Annales, W. P. Fogg, probably Thomas Cook's advert (and maybe his letters) would be the main likely source for the book. In addition, Poe's short story "Three Sundays in a Week" was clearly the inspiration for the lost day plot device.
Literary significance and criticism
Select quotes:
1. "We will only remind readers en passant of Around the World in Eighty Days, that tour de force of Mr Verne's—and not the first he has produced. Here, however, he has summarised and concentrated himself, so to speak ... No praise of his collected works is strong enough .. they are truly useful, entertaining, poignant, and moral; and Europe and America have merely produced rivals that are remarkably similar to them, but in any case inferior." (Henry Trianon, Le Constitutionnel, December 20, 1873).
2. "His first books, the shortest, Around the World or From the Earth to the Moon, are still the best in my view. However, the works should be judged as a whole rather than in detail, and on their results rather than their intrinsic quality. Over the last forty years, they have had an influence unequalled by any other books on the children of this and every country in Europe. And the influence has been good, in so far as can be judged today." (Léon Blum, L'Humanité, April 3, 1905).
3. "Jules Verne's masterpiece .. stimulated our childhood and taught us more than all the atlases: the taste of adventure and the love of travel. 'Thirty thousand banknotes for you, Captain, if we reach Liverpool within the hour.' This cry of Phileas Fogg's remains for me the call of the sea." (Jean Cocteau, Mon premier voyage (Tour du monde en 80 jours), Gallimard, 1936).
4. "Leo Tolstoy loved his works. 'Jules Verne's novels are matchless', he would say. 'I read them as an adult, and yet I remember they excited me. Jules Verne is an astonishing past master at the art of constructing a story that fascinates and impassions the reader. (Cyril Andreyev, "Preface to the Complete Works", trans. François Hirsch, Europe, 33: 112-113, 22-48).
5. "Jules Verne's work is nothing but a long meditation, a reverie on the straight line—which represents the predication of nature on industry and industry on nature, and which is recounted as a tale of exploration. Title: the adventures of a straight line ... The train.. cleaves through nature, jumps obstacles .. and continues both the actual journey—whose form is a furrow—and the perfect embodiment of human industry. The machine has the additional advantage here of not being isolated in a purpose-built, artificial place, like the factory or all similar structures, but of remaining in permanent and direct contact with the variety of nature." Pierre Macherey (1966).
Adaptations and influences
The book has been adapted many times in different forms.
Theatre
* A 1874 play written by Jules Verne and Adolphe d'Ennery at the Théâtre de la Porte Saint-Martin in Paris, where it was shown 415 times.
* In 1946 Orson Welles produced and starred in Around the World, a musical stage version, with music and lyrics by Cole Porter, that was only loosely faithful to Verne's original.
* A musical version, 80 Days, with songs by Ray Davies of The Kinks and a book by playwright Snoo Wilson, directed by Des McAnuff, ran at the Mandell Weiss Theatre in San Diego from August 23 to October 9, 1988. The musical received mixed responses from the critics. Ray Davies's multi-faceted music, McAnuff's directing, and the acting, however, were well received, with the show winning the "Best Musical" award from the San Diego Theatre Critics Circle.
* In 2001, the story was adapted for the stage by American playwright Mark Brown. In what has been described as "a wildly wacky, unbelievably creative, 90-miles-an-hour, hilarious journey" this award winning stage adaptation is written for five actors who portray thirty-nine characters.
* A stage musical adaptation premiered at the Fulton Opera House, Lancaster, PA in March 2007 with music by Ron Barnett, book and lyrics by Julianne Homokay, and direction by Robin McKercher.
Films
* A 1919 silent black and white parody by director Richard Oswald didn't disguise its use of locations in Germany as placeholders for the international voyage; part of the movie's joke is that Fogg's trip is obviously going to places in and around Berlin. There are no remaining copies of the film available today.
* The best known version was released in 1956, with David Niven and Cantinflas heading a huge cast. Many famous performers play bit parts, and part of the pleasure in this movie is playing "spot the star". The movie earned five Oscars, out of eight nominations. This film was also responsible for the popular misconception that Fogg and company travel by balloon for part of the trip in the novel, which has prompted later adaptations to include similar sequences. See Around the World in Eighty Days (1956 film) for details.
* 1963 saw the release of The Three Stooges Go Around the World in a Daze. In this parody, the Three Stooges (Moe Howard, Larry Fine, and Joe DeRita) are cast as the menservants of Phileas Fogg III (Jay Sheffield), great-grandson of the original around-the-world voyager. When Phileas Fogg III is tricked into replicating his ancestor's feat of circumnavigation, Larry, Moe, and Curly-Joe dutifully accompany their master. Along the way, the boys get into and out of trouble in typical Stooge fashion.
* In 1983 the basic idea was expanded to a galactic scope in Japan's Ginga Shippu Sasuraiger, where a team of adventurers travel through the galaxy in a train-like ship that can transform into a giant robot. The characters are travelling to different planets in order to return within a certain period and win a bet.
* The story was again adapted for the screen in the 2004 film Around the World in 80 Days, starring Jackie Chan as Passepartout and Steve Coogan as Fogg. This version makes Passepartout the hero and the thief of the treasure of the Bank; Fogg's character is an eccentric inventor who bets a rival scientist that he can travel the world with (then) modern means of transportation.
TV
* An episode of the American television series, Have Gun – Will Travel, entitled "Fogg Bound", had the series' hero, Palladin (Richard Boone), escorting Phileas Fogg (Patric Knowles) through part of his journey. This episode was broadcasted by CBS on December 3, 1960.
* A 1989 three-part TV mini-series starred Pierce Brosnan as Fogg, Eric Idle as Passepartout, Peter Ustinov as Fix and several TV stars in cameo roles. The heroes travel a slightly different route than in the book and the script makes several contemporary celebrities part of the story who were not mentioned in the book. See Around the World in 80 Days (TV miniseries) for details.
* The BBC along with Michael Palin (of Monty Python fame) created a 1989 television travel series following the book's path. It was one of many travelogues Michael Palin has done with the BBC and was a commercially successful transition from his comedic career. The latest series in a similar format was Michael Palin's New Europe in 2007.
* Around the World in 80 Days, a six part 2009 BBC One show in which twelve celebrities attempt to travel the world in aid of the Children in Need appeal. This featured a carpet bag similar to one carried by Fogg and Passeportout.
Animation
* An Indian Fantasy Story is an unfinished French/English co-production from 1938, featuring the wager at the Reform Club and the rescue of the Indian Princess. It was never completed as a full feature film.
* Around the World in 79 Days, a serial segment on the Hanna-Barbera show The Cattanooga Cats from 1969 to 1971.
* Around the World in 80 Days from 1972 by American studio Rankin/Bass with Japanese Mushi productions as part of the Festival of Family Classics series.
* A one-season cartoon series Around the World in 80 Days from 1972 by Australian Air Programs International. NBC aired the series in the US during the 1972-73 season on Saturday mornings.
* Puss 'N Boots Travels Around the World, a 1976 anime from Toei Animation
* A Walt Disney adaptation was produced in 1986. It featured Mickey Mouse, Donald Duck and Goofy as the main characters.
* Around the World with Willy Fog by Spanish studio BRB Internacional from 1981 with a second season produced in 1993. This series depicts the characters as talking animals, and, despite adding some new characters and making some superficial modifications to the original story, it remains one of the most accurate adaptations of the book made for film or television. The show has gained a cult following in Finland, Britain, Germany and Spain. The first season is "Around the World in 80 Days", and the second season is "Journey to the Centre of the Earth" and "Twenty Thousand Leagues Under the Sea"; all three books are by Jules Verne.
* Tweety's High-Flying Adventure is a direct-to-video cartoon by Warner Brothers from 2000 starring the Looney Tunes characters. It takes a great many liberties with the original story, but the central idea is still there - indeed, one of the songs in this film is entitled Around the World in Eighty Days. Tweety not only had to travel the world, he had to also collect 80 cat pawprints, all while evading the constant pursuits of Slyvester. This movie frequently appears on various US-based cable TV networks.
* "Around the World in 80 Narfs" is a Pinky and the Brain episode where the Brain claims to be able to make the travel in less than 80 days and the Pompous Explorers club agrees to make him their new president. With this, the Brain expects to be UK's new Prime Minister, what he considers back at that time, the fastest way to take over the world.
* A Mickey Mouse episode shows the effort of Mickey to get around the world in 80 days with the help of Goofy. The cartoon made reference to the ending of the novel. They realise they have a day extra by hearing church bells on what they believe to be a Monday. This referenced the ending with the vicar in the church.
Exhibitions
* "Around the World in 80 Days", group show curated by Jens Hoffman at the ICA London 2006
Cultural references
* "Around the Universe in 80 Days" is a song by the Canadian band Klaatu, and makes reference to a spaceship travelling around the galaxy, coming home to find the Earth second from the Sun. It was originally included on the 1977 album "Hope", but also appears on at least two compilations.
* There are at least four board games by this name.
* Worlds of Fun, an amusement park in Kansas City, Missouri, was conceived using the novel as its theme. It uses the hot air balloon in its logo, and the park's layout is based on world geography.
Argentinian avant-garde writer Julio Cortazar wrote in 1967 his book titled Around the Day in Eighty Worlds.
《 bā shí tiān huán yóu dì qiú》 - zuò pǐn nèi róng
zài hái méi yòu fēi jī de 19 shì jì 70 nián dài， dāng rén men hái yǐ mǎ chē、 xuě qiāo、 lún chuán、 huǒ chē…… zuò wéi dài bù gōng jù de shí hòu， yào xiǎng zài duǎn duǎn de bā shí tiān zhī nèi huán qiú yī zhōu， zěn néng bù ràng rén jīng tàn hé pèi fú。 wán chéng cǐ jǔ de zhè gè rén， jiù shì fèi léi yà sī fú gé。
zhè jiàn shì jiù fā shēng zài 1872 nián de lún dūn。 yóu yú yīng guó guó jiā yínháng de yī cì shī qiè， fú gé hé gǎi liáng jù lè bù de huì yǒu yǐ liǎng wàn yīng bàng zuò wéi dǔ zhù， dǎ dǔ kě yǐ zài bā shí tiān lǐ huán yóu dì qiú yī zhōu。 wèile zhèng shí zhè yī tuī suàn de zhǔn què xìng， fú gé dài zhe gāng gāng gù yòng de， chuò hào jiào wàn shì tōng de pú rén lì kè qǐ chéng cóng lún dūn chū fā， kāi shǐ liǎo zhè cì bù kě sī yì de huán qiú lǚ xíng。 fú gé shè xiǎng de lǚ xíng lù xiàn shì zhè yàng de： chéng huǒ chē xiān dào sū yī shì yùn hé， zài zhè lǐ chéng chuán dào yìn dù， rán hòu zuò huǒ chē héng chuān yìn dù， lái dào zhōng guó de xiāng gǎng， zài chéng chuán dào rì běn， jiē zhe dào měi guó， zuò huǒ chē chuān guò měi guó hòu， zuì hòu zài huí dào lún dūn。 zài cǐ qī jiān， tā bì xū fēn miǎo bùchà dì cóng yī gè dì fāng gǎn dào lìng yī gè dì fāng， zhǐ yòu shǐ zhōng zhǔn què wú wù cái néng bǎo zhèng 'àn shí huí lái。
zhè wèi xìng gé lěng pì、 jīng què zhǔn shí de shēn shì zài lǚ tú zhōng yù dào de shì qíng： zāo rén gēn zōng、 zhì shēn huāng cūn wú lù kě zǒu、 shè shēn jiù rén、 yǔ 'è sēng duì bù gōng táng、 zāo 'àn suàn wù liǎo lún chuán、 yù fēng làng hǎi shàng bó jī、 yǔ pú rén shī sàn、 yǒng dǒu jié fěi、 jiù pú rén shēn fù xiǎn jìng、 rán liào gào jí hǎi shàng jīng shòu kǎo yàn、 yí wéi qiè zéi hǎi guān bèi qiú…… jīhū suǒ yòu de yì wài hé kùn nán dōubèi fú gé bù xìng yù dào liǎo， jiù suàn tā lín wēi bù jù， lěng jìng shǒu shí， tā yě wú fǎ yù liào lǚ tú shàng suǒ fā shēng de suǒ yòu de shì qíng。 gèng hé kuàng， hái yòu yī wèi míng jiào fěi kè sī de zhēn tàn shǐ zhōng gēn zài tā shēn biān bù tíng dì shè zhì zhàng 'ài， hǔ shì dān dān yī xīn xiǎng bǎ tā zhuō ná guī 'àn， qí yuán yīn shì tā yǔ jǐng fāng miáo shù de yí fàn de wài mào tè zhēng jīng rén dì xiāng sì。 rán 'ér， suǒ yòu de kùn nán dōuméi yòu nán dǎo fú gé， tā zǒng néng zài wēinàn guān tóu zhǎo dào wèn tí de jiě jué bàn fǎ， yī cì cì shén qí dì huà xiǎn wéi yí、 bǎi tuō kùn jìng： mǎi dà xiàng chuān yuè mì lín gǎn huǒ chē、 yīng xióng jiù měi yíng dé měi rén xīn、 huā zhòng jīn qǔ bǎo hòu shěn bǎi tuō guān sī、 gāo jià gù háng chuán dù hǎi fù rì běn。 jī yuán qiǎo hé yǔ pú rén chóngjù、 yīng yǒng yù dí zhàn jié fěi、 zuò xuě qiāo chuān yuè bīng yuán、 shāo lún chuán jiě rán méi zhī jí、 xiāo chú wù huì zhòng huò zì yóu…… zhè shì yī wèi zěn yàng de shēn shì yā！ tā de zhèn dìng zì ruò、 kāng kǎi dà fāng、 yǒng gǎn jī zhì hé shàn liáng xì xīn gěi měi yī gè réndōu liú xià liǎo shēn kè de yìn xiàng； zhèng shì tā shēn shàng de zhè xiē yì hū xún cháng de yōu xiù pǐn zhì shǐ tā měi cì jūn néng féng xiōng huà jí、 zhuǎn wēi wéi 'ān， zuì hòu shèng lì wán chéng lǚ xíng； nà gè zhēn tàn zé shì yī gè yì wài juǎnrù zhè cì lǚ xíng zhōng de tè shū rén wù， tā gù zhí duō yí、 jí gōng jìn lì、 jīng yú suàn jì， dàn què zhōng yú zhí shǒu， chū yú zhí zé hé tān xīn， tā yī lù gēn zōng fú gé， bèi pò yě jìn xíng liǎo yī cì huán qiú lǚ xíng。 tā xiǎng fāng shè fǎ chù chù gěi fú gé zhì zào má fán， zǔ zhǐ tā shùn lì wán chéng jìhuà， dàn tā de jì móu què yī cì cì luò kōng； ér nà gè jiào wàn shì tōng de fǎ guó xiǎo huǒ zǐ zé wéi zhè cì lǚ xíng zēng tiān liǎo bù shǎo xiào liào； tā chéng shí yǒng gǎn、 shēn huái jué jì、 zhèng zhí shàn liáng， dàn què róng yì shàngdàng shòu piàn， tā jì wéi zhù rén huà jiě liǎo bù shǎo wēi jī yě wéi zhù rén zhì zào liǎo bù shǎo má fán， tā de jiā rù shǐ zhè cì lǚ xíng biàn dé qù wèi héng shēng； hái yòu yī wèi rén wù suī rán huà yǔ bù duō， dàn què yòu zhe jǔ zú qīng zhòng de dì wèi， tā jiù shì fú gé shè shēn dā jiù de 'ā wǔ dá fū rén， yě shì hòu lái de fú gé fū rén。 tā guāng cǎi zhào rén、 wēn róu gāo yǎ、 shàn jiě rén yì， yī zhí zài fú gé shēn biān cóng jīng shén shàng zhī chí tā、 gǔ lì tā jiān chí dào shèng lì。 yòu liǎo tā de péi bàn， zhè cì huán qiú zhī lǚ yě biàn dé làng màn duō qíng hé wēn qíng mòmò liǎo。 gù shì de jié jú dāng rán shì rú rén suǒ yuàn： fú gé yíng dé liǎo zhè cì dǎ dǔ， bìng qiě zhǎo dào liǎo tā yī shēng de bàn lǚ。
《 bā shí tiān huán yóu dì qiú》 - zuò zhě jiǎn jiè
《 bā shí tiān huán yóu dì qiú》 rú lè fán 'ěr nà
rú lè fán 'ěr nà（ Verne Jules1828-1905）， fǎ guó zuì zhù míng de kē huàn xiǎo shuō zuò jiā。 chū shēng yú hǎi gǎng chéng shì， zì yòu mí shàng háng hǎi， céng lí jiā chū zǒu dāng shuǐ shǒu， yòu bèi fù qīn zhǎo huí， sòng dào bā lí xué xí fǎ lǜ。 tā bì yè hòu bù yuàn zuò fǎ guān， què qù jù yuàn zuò liǎo mì shū， kāi shǐ zhuàn xiě jù běn。 fán 'ěr nà rè zhōng yú gè zhǒng kē xué xīn fā xiàn， yě chuàng zuò kē huàn xiǎo shuō dǎ xià zhā shí jī chǔ。 1863 nián， chū bǎn《 qì qiú shàng de wǔ gè xīng qī》， huò dé chéng gōng。 cǐ hòu 40 yú nián jiān bǐ gēng bù zhuì， jīhū měi nián dōuyòu yī liǎng bù xīn zuò wèn shì， tí cái guǎng fàn。 tā de kē xué huàn xiǎng xiǎo shuō de zǒng míng shì《 zài yǐ zhī hé wèi zhī de shì jiè zhōng qí yì de màn yóu》， jiǎn chēng《 qí yì de màn yóu》。
zhù yào zuò pǐn：《 bā shí tiān huán yóu dì qiú》、《 dǐ liǎng wàn lǐ》、《 gé lán tè chuán cháng de 'ér nǚ》、《 huán rào yuè qiú》、《 shén mì dǎo》、《 shì jiè zhù zǎi zhě》、《 mǐ xiē 'ěr sī tè luó gē fū》、《 qì qiú shàng de wǔ xīng qī》、《 kōng zhōng lì xiǎn jì》、《 mò xī gē de“ yōu líng”》、《 zuǒ qí ruì dà shī》、《 niú bó shì》、《 yī gè zài bīng xuě zhōng dù guò de dōng tiān》、《 zhēng fú zhě luó bǐ 'ěr》、《 liǎng nián jiàqī》、《 cóng dì qiú dào yuè qiú》、《 bā shí tiān huán rào dì qiú》、《 ào lán qíng yóu》、《 shēng D xiān shēng hé jiàng E xiǎo jiě》、《 yǐn shēn xīn niàn》、《 áng tī fěi 'ěr qí yù jì》、《 dà hǎi rù qīn》、《 fēng huǒ dǎo》、《 tài yáng xì lì xiǎn jì》、《 bā 'ěr sà kè kǎo chá duì de jīng xiǎn zāo yù》、《 hā tè lā sī chuán cháng lì xiǎn jì》、《 dà mù fá》、《 kā 'ěr bā qiān gǔ bǎo》、《 jīn huǒ shān》、《 lǔ bīn xùn shū shū》、《 duō nǎo hé lǐng háng yuán》、《 lǔ bīn xùn xué xiào》、《 mǎ dīng pà cí》《 lǚ xíng jī jīn》、《 piào shì de bàn dǎo》、《 sāng dào fū bó jué》、《 hēi yìn dù》、《 nán fēi zhōu lì xiǎn jì》、《 tū pò fēng suǒ》、《 shā huáng de yóu jiàn》、《 yìn dù guì fù de wǔ yì fǎ láng》、《 xiǎo bǎ xì》。
《 bā shí tiān huán yóu dì qiú》 - zuò pǐn zhù tí
《 bā shí tiān huán yóu dì qiú》 de xù shì jì qiǎo bìng bù fù zá， fú gé de zhè cì lǚ xíng qí shí shì hé zhēn tàn fěi kè sī de bèi dòng lǚ xíng tóng shí píng xíng zhǎn kāi de liǎng tiáo xù shì xiàn， zhè liǎng tiáo xiàn jì píng xíng fā zhǎn yòu jiāo cuò jiāo huì， jiāo chā diǎn jiù shì gù shì de chōng tū diǎn， yě shì gù shì de chū cǎi zhī chù。 ér wàn shì tōng hé 'ā wǔ dá dū shì fú gé lǚ xíng zhè tiáo xiàn shàng de liǎng gè xiǎo fēn zhī， tā men de gù shì wéi quán wén zēng sè bù shǎo。 měi yī cì chōng tū dū wéi gù shì xiān qǐ liǎo yī gè xiǎo gāo cháo， fú gé de měi cì yù xiǎn yědōu ràng rén jǐn zhāng wàn fēn， yóu qí shì xiǎo shuō de zuì hòu yī bù fēn： jiù zài fú gé yǎn kàn shèng lì zài wàng de shí hòu， tā piān piān bèi guān zài hǎi guān， dāng tā bèi fàng chū lái zhī hòu， dān wù de shí jiān yǐ jīng tài duō， méi yòu kě néng zhǔn shí gǎn huí lún dūn liǎo。 dú zhě dū yǐ wéi fú gé yǐ jīng shū diào zhè cì dǎ dǔ liǎo， kě shuídōu méi yòu liào dào， wàn shì tōng fā xiàn tā de zhù rén jū rán suàn cuò liǎo rì qī， yú shì fú gé yòu chū rén yì liào dì yíng dé liǎo dǎ dǔ。 quán wén jiù shì zhè yàng zài yī cì yòu yī cì de yì wài zhōng ràng dú zhě tǐ huì dào liǎo jīng xiǎn hé cì jī de。
《 bā shí tiān huán yóu dì qiú》 - nèi róng fēn xī
《 bā shí tiān huán yóu dì qiú》 shì rú lè . fán 'ěr nà yī bù yǐn rén rù shèng de xiǎo shuō。 lǐ biān jiǎng liǎo yī gè yīng guó rén fú kè xiān shēng yīn hé péng yǒu dǎ dǔ， zài bā shí tiān nèi kè fùzhòng zhòng kùn nán wán chéng huán yóu dì qiú yī zhōu de zhuàng jǔ。 shū zhōng bù jǐn jiǎng liǎo tā men suǒ yù dào de qiān nán wàn xiǎn， ér qiě zài qíng jié zhōng tǐ xiàn chū měi gè rén de gè xìng。 chén zhe、 jī zhì、 yǒng gǎn、 lěng jìng de fú kè hé tā huó pō、 hàodòng、 yì chōng dòng de pú rén děng děngdōu gěi rén liú xià liǎo shēn kè de yìn xiàng。
fú kè xiān shēng dào nǎ dōushì chén mò bù yǔ de lěng jìng tài dù， jí shǐ shì cuò guò liǎo dā wǎng měi guó de yóu chuán làng fèi liǎo tā yī tiān duō de shí jiān， hái shì zài huǒ chē de tiě guǐ shàng yù jiàn liǎo qiān bǎi wàn pǐ niú qún cóng guǐ dào shàng chuān guò 'ér dān wù liǎo 3 gè duō xiǎo shí， tā zǒng shì miàn wú biǎo qíng， jiù xiàng tā yǐ jīng zhī dào tā zì jǐ yī dìng huì yíng de yī yàng。 bù guò rú guǒ shū liǎo zhè gè dǎ dǔ jiù dé péi diào liǎng qiān wàn yīng bàng héng héng tā suǒ yòu de cái chǎn。 yī kāi shǐ jiù jiǎng fú kè xiān shēng shì fēi cháng yòu shēng huó guī lǜ de rén， jiù xiàng shì gè jī qì rén， dìng liǎo shí jiān shìde， zǒng shì yī fēn bù duō yī miǎo bùchà de zuò wán tā jìhuà zhī nèi de shì。 dāng rán zhè bā shí tiān huán yóu dì qiú yě shì tā guī dìng hǎo de， qián jǐ tiān， tā de xíng chéng díquè gēn běn zǐ shàng de jìhuà yī mó yī yàng， dào dá yī gè dì diǎn， tā jiù ná chū xiǎo běn zǐ， zài shàng miàn xiě zhe， mǒu yuè mǒu rì， dào dǐ nǎ lǐ。
kě shì shì shàng méi yòu bù qǐ làng de hǎi， zài yī lù shàng de tiān qì biàn huà， dǎo méi chōng dòng dàn yòu jué duì zhōng shí de pú rén lù lù tōng suǒ zào de má fán hé mǒu xiē rén wéi de chéng xīn pò huài， shǐ tā men de lù chéng zǒng shì méi yòu tā men suǒ yù jì de wán měi。 kě bù guǎn duō me zāo gāo de qíng kuàng xià， fú kè xiān shēng zǒng shì néng chōng chū chóngwéi， zǒng néng yòu jiě jué de bàn fǎ。 dāng rán tādōu shì kào tā huī sǎ liú xià de dà bǎ dà bǎ de yīng bàng。 yòu tā nà me yòng jù dà zī jīn lián yǎn pí dōubù zhǎ yī xià de rén， xiàn shí shēng huó zhōng yīnggāi shì bù huì yòu de。
zuì jiào wǒ jīng xīn dòng bó de hái shì mǎ shàng yào huí dào niǔ yuē wán chéng tā bā shí tiān de huán qiú rèn wù qù lǐng dà bǎ dà bǎ chāo piào de shí hòu， yǎn kàn jiù yào dào dá niǔ yuē liǎo， jū rán bèi yī zhí gēn zài tā men shēn biān de tàn jǐng fèi kè sī dāng zuò yínháng qiǎng jié fàn zhuā liǎo qǐ lái。 shí jiān yī fēn yī miǎo de liú shì， yǎn kàn shèng lì jiù zài yǎn qián， què yī xià zǐ chéng liǎo pào yǐng， fú kè xiān shēng liǎn shàng réng shì méi yòu yī diǎn biǎo qíng。 tā xīn lǐ zhēn de yī diǎn bù jí má？ shuí yě bù zhī dào。
dāng fèi kè sī nòng qīng liǎo zhēn xiāng， lián bèng dài tiào de páo jìn jiān yù fàng liǎo fú kè shí， fú kè zhǐ shì liǎng shǒu yī huī dāng zuò shēn lǎn yāo dǎ liǎo fèi kè sī liǎng quán， jiù jí máng gǎn qù niǔ yuē。 kě shì， dāng tā men dào dá lóu zhōng xià de shí hòu， shí zhēn què zhǐ zhe 8 diǎn 50 fēn， tā men zhǐ wǎn liǎo 5 fēn zhōng !
fú kè zhī dào zì jǐ yǐ jīng yī wú suǒ yòu liǎo， dàn hái yòu yī jiàn zhí dé qìng xìng de shì jiù shì zài tā men lǚ tú shàng jiù liǎo yī wèi 'ài 'é dá fū rén， xiàn zài tā jiù yào chéng wéi tā de qī zǐ liǎo。 dāng lù lù tōng dào jiào táng tōng zhī shén fǔ de shí hòu， què fā xiàn liǎo yī gè jīng rén de xiāo xī， jīn tiān bù shì 2 yuè 21 hào， shì 2 yuè 20 hào！ tā men zhěng zhěng zǎo dào liǎo yī tiān！ kě shì fú kè dào dá lún dūn de shí hòu shì 2 yuè 20 hào， zěn me huì jì cuò ní？
yuán lái shì tā men zài zhè cì lǚ tú zhōng bù zhī bù jué zhàn liǎo 'èr shí sì xiǎo shí de piányí。 yóu yú tā zhè cì lǚ xíng wǎng dōng zǒu， měi dāng tā men zǒu guò yī tiáo jīng xiàn tā men jiù huì tí qián 4 fēn zhōng kàn dào rì chū， zhěng gè dì qiú yī gòng fēn zuò sān bǎi liù shí dù， yòng sì fēn zhōng chéng sān bǎi liù shí， jiēguǒ zhèng hǎo shì 'èr shí sì xiǎo shí。 cǐ shí cǐ kè， hái bù dào 5 fēn zhōng， gēn tā dǎ dǔ de huì yǒu zhèng zài jù lè bù děng tā。
jù lè bù lǐ de chéng yuán， bāo kuò suǒ yòu dào lái de rén men hé jì zhě shè yǐng shī dōulái dào liǎo xiàn chǎng。 dàoshǔ yī fēn zhōng lǐ， dì sì shí miǎo píng 'ān de guò qù liǎo， dào liǎo dì wǔ shí miǎo shì píng 'ān wú shì！ dào liǎo dì wǔ shí wǔ miǎo de shí hòu， tīng dào wài miàn rén shēng léi dòng， zhǎng shēng， huān hū shēng， hái jiā zá zhe zhòu mà shēng， wǔ wèi shēn shì dū zhàn liǎo qǐ lái！ dào liǎo dì wǔ shí qī miǎo， zhè qiān jūn yī fā de shí hòu， dà tīng de mén bèi dǎ kāi liǎo， zhōng bǎi hái méi yòu lái dé jí xiǎng dì liù shí xià， yī qún kuáng rè de qún zhòng cù yōng zhe fú kè chōng jìn liǎo dà mén。 zhǐ jiàn tā chén jìng dì shuō：“ xiān shēng men， wǒ huí lái liǎo。
《 bā shí tiān huán yóu dì qiú》 - zuò pǐn píng jià
fán 'ěr nà de《 bā shí tiān huán yóu dì qiú》 gù shì shēng dòng yōu mò， miào yǔ héng shēng， yòu néng jī fā rén men yóu qí shì qīng shàonián rè 'ài kē xué、 xiàng wǎng tàn xiǎn de rè qíng， suǒ yǐ yī bǎi duō nián lái， yī zhí shòu dào shì jiè gè dì dú zhě de huān yíng。 jù lián hé guó jiào kē wén zǔ zhì de zī liào biǎo míng， fán 'ěr nà shì shì jiè shàng bèi fān yì de zuò pǐn zuì duō de shí dà míng jiā zhī yī。
fán 'ěr nà shì yī gè fēi cháng yōu xiù de tōng sú xiǎo shuō zuò jiā， yòu yī zhǒng néng gòu bǎ zì jǐ de huàn jué biàn dé néng gòu chù mō de běn lǐng， qí gǎn jué shì quán fāng wèi de， cóng píng dàn de wén xué zhōng chuán dá chū mǒu zhǒng rén lèi de rè qíng。 dàn fán 'ěr nà de《 bā shí tiān huán yóu dì qiú》 zhōng rén wù chú liǎo shǎo shù jǐ gè wài dōushì yī mó yī yàng de， tā sì hū sù zào bù chū gèng zhòng yào de rén wù， rén wù dōushì liǎn pǔ huà de jiǎn dān de hǎo rén huài rén， méi yòu shénme xīn lǐ huó dòng； cóng qí zuò pǐn rén wù xìng bié dān yī huà shàng hái kě kàn chū tā duì nǚ rén de piān jiàn， yǐn yǐn liú lù chū shēn shòu qí kǔ de xīn tài。 cǐ wài fán 'ěr nà de zuò pǐn zhōng chōng mǎn liǎo míng xiǎn de shè huì qīng xiàng， shì yī gè 'ài guó zhě（ fǎ guó rén zuì hǎo）、 mín zú jiě fàng zhù yì zhě（ zhī chí bèi yā pò mín zú dǒu zhēng）， zài mǒu zhǒng chéng dù shàng shì yī gè wú zhèng fǔ zhù yì zhě（ cóng mǒu xiē zuò pǐn zhōng biǎo xiàn chū wú zhì xù zhě）， zuì hòu hái shì yī gè yín hé dì guó zhù yì zhě（ yòu dì zào yǔ zhòu dì guó de yù wàng）。
《 bā shí tiān huán yóu dì qiú》 lǐ chōng mǎn liǎo zhī shí， dàn tā běn rén què shì yī míng yǔ zhòu shén mì zhù yì zhě， duì shì jiè yòu yī zhǒng shén mì de chóng bài。 zài tā de xiǎo shuō zhōng， yòu shí hòu sī kǎo wèn tí bù gòu shēn kè， zhù tí yě cháng cháng chóngfù。
dàn zǒng de lái shuō， fán 'ěr nà de cháng shì réng rán shì wěi dà de。 zhèng rú 1884 nián jiào huáng zài jiē jiàn fán 'ěr nà shí céng shuō：“ wǒ bìng bù shì bù zhī dào nín de zuò pǐn de kē xué jià zhí， dàn wǒ zuì zhēn zhòng de què shì tā men de chún jié、 dào dé jià zhí hé jīng shén lì liàng。”
jié wěi yòu diǎn zǒu dào jìn tóu kǔ jìn gān lái de gǎn jué， fú gé xiān shēng huā liǎo bì shēng de qián dǎ liǎo yī gè dǔ， zhè gè dǔ lìng tā zhǎo dào liǎo tā shēng mìng de lìng yī bàn， ér yóu yú yī gè hú tú tàn cháng de hú tú xíng dòng shǐ tā shī qù liǎo nà xiē qián， zài zhè yàng de qíng kuàng xià tā hái néng lè guān dì miàn duì shēng huó， jié jú chū hū yì liào tā yǐ shí chā yíng dé liǎo nà xiē jiǎng jīn。 zhè gè jié wěi jiù zú jiàn fán 'ěr nà de xiě zuò gōng lì。
《 bā shí tiān huán yóu dì qiú》 -BBC bǎn běn
《 BBC bā shí tiān huán yóu dì qiú》
hǎi bào hǎi bào
【 yì míng】 BBCAroundTheWorldIn80Days
【 jí shù】 7CD
【 nián dài】 2005 nián
【 guó jiā】 yīng guó
【 piàn cháng】 7 xiǎo shí
【 lèi bié】 jì lù piàn
【 yǔ yán】 yīng yǔ
【 gé shì】 XVID5AC3
【 zì mù】（ qǐng diǎn） yīng wén zì mù（ qǐng diǎn） zhōng wén zì mù
【 jiǎn jiè】： BBC wáng pái zhù chí rén， yīng guó míng xǐ jù yǎn yuán MichealPalin dài nín zhǎn kāi liǎo lìng yī cì xuàn lì de 80 tiān lǚ tú， yī qǐ zhōu yóu shì jiè。 yǔ shì jiè míng zhù“ huán yóu shì jiè bā shí tiān” xiāng tóng lǚ chéng！ huán yóu shì jiè lǚ xíng zhě bì bèi de jīng diǎn cān kǎo zhǐ nán！ nǐ céng mèng xiǎng huán yóu shì jiè má？ bā shí tiān nèi rào wán dì qiú yī zhōu， huì shì zěn me yàng de qí huàn cì jī mào xiǎn？ mài kè 'ěr · pà lín zì gào fèn yǒng yào wán chéng zhè yī bù jì lù piàn（ zhè bèi zǐ zài zhè zhī qián zhǐ yòu yī cì jīng yàn）， gēn shí jiān sài páo， zài quán wú jù běn de qíng kuàng xià， tà shàng zhè duàn lù chéng， suǒ yòu de biàn huà， háo wú yù jǐng。 zhè shì qián suǒ wèi yòu de cháng shì 』 --- mài kě pà lín wēi ní sī de lā jī chuán、 zài 'āi jí bèi zhuàng huài de jì chéng chē、 héng dù bō sī wān de jiǎn lòu xiǎo chuán、 zhōng guó de zhēng qì chuán、 yuè guò huàn rì xiàn de huò guì chuán…… mài kè 'ěr · pà lín huán rào shì jiè yī zhōu de zhuàng jǔ， chú liǎo zuò bù wán de chuán、 shàng tù xià xiè， jī bù zé shí de yīng wǔ zhī wài， gèng yòu zhù mù bù xiá gěi de jīng xǐ !!
fēn jí mù lù
dì 1 jí jiān jù tiǎo zhàn
àn zhào zuò zhù zhū lè fán 'ěr nà de lù jìng， cóng lún dūn yóu hǎi lù jí lù lù zhǎn kāi…
dì 2 jí 'ā lā bó kǒng huāng
cóng sū yī shì gǎng dào shā wū dì gǎng， zhè yī qiē dū dé kàn 'ā lā de zhǐ yì liǎo…
dì 3 jí gǔ dài shuǐ shǒu
gǔ jiā lā tè shuǐ shǒu dài lǐng háng xíng dào yìn dù mèng mǎi， dàn yǐn qíng què tū rán gù zhàng ..
dì 4 jí jīng xiǎn guā hú
zài yìn dù dì yī dà chéng mèng mǎi dāng jiē guā hú hòu， zhuǎn niǎn qián wǎng mǎ dé lā sī…
dì 5 jí dōng fāng kuài chē
cóng xīn jiā pō gǎng chū fā dào xiāng gǎng zhī qián zài nán zhōng guó hǎi yù dào sān gè tái fēng…
dì 6 jí shēn rù yuǎn dōng
háng xíng dào shàng hǎi、 héng bīn， zài dōng jīng shāo wéi xiū xī hòu miàn duì guǎng dà de tài píng yáng ..
dì 7 jí cóng huàn rì xiàn dào zuì hòu qī xiàn
shí jiān jiàn bī dàn tā men dé tōng guò měi guó hé tài xī yáng huí dào qǐ diǎn…
Plot summary
The story starts in London on October 2, 1872. Phileas Fogg is a wealthy English gentleman who lives unmarried in solitude at Number 7 Savile Row, Burlington Gardens. Despite his wealth, which is £40,000, Mr. Fogg, whose countenance is described as "repose in action", lives a modest life with habits carried out with mathematical precision. As is noted in the first chapter, very little can be said about Mr. Fogg's social life other than that he is a member of the Reform Club. Having dismissed his former valet, James Foster, for bringing him shaving water at 84° Fahrenheit instead of 86°, Mr. Fogg hires the Frenchman Passepartout, who is about 30 years old, as a replacement.
Later, on that day, in the Reform Club, Fogg gets involved in an argument over an article in The Daily Telegraph, stating that with the opening of a new railway section in India, it is now possible to travel around the world in 80 days. He accepts a wager for £20,000 from his fellow club members, which he will receive if he makes it around the world in 80 days. Accompanied by Passepartout, he leaves London by train at 8:45 P.M. on October 2, 1872, and thus is due back at the Reform Club at the same time 80 days later, on December 21.
Map of the trip
The proposed schedule London to Suez rail and steamer 7 days
Suez to Bombay steamer 13 days
Bombay to Calcutta rail 3 days
Calcutta to Hong Kong steamer 13 days
Hong Kong to Yokohama steamer 6 days
Yokohama to San Francisco steamer 22 days
San Francisco to New York City rail 7 days
New York to London steamer and rail 9 days
Total 80 days
Fogg and Passepartout reach Suez in time. While disembarking in Egypt, they are watched by a Scotland Yard detective named Fix, who has been dispatched from London in search of a bank robber. Because Fogg matches the description of the bank robber, Fix mistakes Fogg for the criminal. Since he cannot secure a warrant in time, Fix goes on board the steamer conveying the travellers to Bombay. During the voyage, Fix becomes acquainted with Passepartout, without revealing his purpose. On the voyage, Fogg promises the engineer a large reward if he gets them to Bombay early. They dock two days ahead of schedule.
After reaching India they take a train from Bombay to Calcutta. About halfway there Fogg learns that the Daily Telegraph newspaper article was wrong – the railroad ends at Kholby and starts 50 miles further on at Allahabad. Fogg promptly buys an elephant, hires a guide and starts toward Allahabad.
During the ride, they come across a suttee procession, in which a young Parsi woman, Aouda, is led to a sanctuary to be sacrificed by the process of sati the next day by Brahmins. Since the young woman is drugged with the smoke of opium and hemp and obviously not going voluntarily, the travellers decide to rescue her. They follow the procession to the site, where Passepartout secretly takes the place of Aouda's deceased husband on the funeral pyre, on which she is to be burned the next morning. During the ceremony, he then rises from the pyre, scaring off the priests, and carries the young woman away. Due to this incident, the two days gained earlier are lost but Fogg shows no sign of regret.
The travellers then hasten on to catch the train at the next railway station, taking Aouda with them. At Calcutta, they can finally board a steamer going to Hong Kong. Fix, who has secretly been following them, has Fogg and Passepartout arrested in Calcutta. However, they jump bail and Fix is forced to follow them to Hong Kong. On board, he shows himself to Passepartout, who is delighted to meet again his travelling companion from the earlier voyage.
In Hong Kong, it turns out that Aouda's distant relative, in whose care they had been planning to leave her, has moved, probably to Holland, so they decide to take her with them to Europe. Meanwhile, still without a warrant, Fix sees Hong Kong as his last chance to arrest Fogg on British soil. He therefore confides in Passepartout, who does not believe a word and remains convinced that his master is not a bank robber. To prevent Passepartout from informing his master about the premature departure of their next vessel, Fix gets Passepartout drunk and drugs him in an opium den. In his dizziness, Passepartout still manages to catch the steamer to Yokohama, but neglects to inform Fogg.
Fogg, on the next day, discovers that he has missed his connection. He goes in search of a vessel that will take him to Yokohama. He finds a pilot boat that takes him and Aouda to Shanghai, where they catch a steamer to Yokohama. In Yokohama, they go on a search for Passepartout, believing that he may have arrived there on the original boat. They find him in a circus, trying to earn the fare for his homeward journey. Reunited, the four board a steamer taking them across the Pacific to San Francisco. Fix promises Passepartout that now, having left British soil, he will no longer try to delay Fogg's journey, but rather support him in getting back to Britain as fast as possible (to have him arrested there).
In San Francisco they get on a trans-American train to New York, encountering a number of obstacles along the way: a massive herd of bison crossing the tracks, a failing suspension bridge, and most disastrously, the train is attacked and overcome by Sioux Indians. After heroically uncoupling the locomotive from the carriages, Passepartout is kidnapped by the Indians, but Fogg rescues him after some soldiers volunteer to help. They continue by a wind-powered sledge over the snowy prairie to Omaha, where they get a train to New York.
Once in New York, and having missed departure of their ship (the China) by 35 minutes, Fogg starts looking for an alternative for the crossing of the Atlantic Ocean. He finds a small steamboat, destined for Bordeaux. However, the captain of the boat refuses to take the company to Liverpool, whereupon Fogg consents to be taken to Bordeaux for the price of $2000 per passenger. On the voyage, he bribes the crew to mutiny and take course for Liverpool. Against hurricane winds and going on full steam all the time, the boat runs out of fuel after a few days. Fogg buys the boat at a very high price from the captain, soothing him thereby, and has the crew burn all the wooden parts to keep up the steam.
The companions arrive at Queenstown, Ireland, in time to reach London via Dublin and Liverpool before the deadline. However, once on British soil again, Fix produces a warrant and arrests Fogg. A short time later, the misunderstanding is cleared up—the actual bank robber had been caught three days earlier in Edinburgh. In response to this, Fogg, in a rare moment of impulse, punches Fix, who immediately falls to the ground. However, Fogg has missed the train and returns to London five minutes late, assured that he has lost the wager.
In his London house the next day, he apologises to Aouda for bringing her with him, since he now has to live in poverty and cannot financially support her. Aouda suddenly confesses that she loves him and asks him to marry her, which he gladly accepts. He calls for Passepartout to notify the reverend. At the reverend's, Passepartout learns that he is mistaken in the date, which he takes to be Sunday but which actually is Saturday due to the fact that the party travelled east, thereby gaining a full day on their journey around the globe, by crossing the International Date Line. He did not notice this after landing in North America because the only phase of the trip that depended on vehicles departing less often than daily was the Atlantic crossing, and he had hired his own ship for that.
Passepartout hurries back to Fogg, who immediately sets off for the Reform Club, where he arrives just in time to win the wager. Fogg marries Aouda and the journey around the world is complete.
Passepartout and Fogg's Baggage
Passepartout and Fogg carry only a carpet bag with only two shirts and three pairs of stockings each, a mackintosh, a travelling cloak, and a spare pair of shoes. The only book carried is Bradshaw's Continental Railway Steam Transit and General Guide. This contains timetables of trains and steamers. He also carried a huge roll of English banknotes-about twenty thousand pounds. He also left with twenty guineas won at whist, which he soon disposed of.
Background and analysis
Around the World in Eighty Days was written during difficult times, both for France and for Verne. It was during the Franco-Prussian War (1870–1871) in which Verne was conscripted as a coastguard, he was having money difficulties (his previous works were not paid royalties), his father had died recently, and he had witnessed a public execution which had disturbed him. However despite all this, Verne was excited about his work on the new book, the idea of which came to him one afternoon in a Paris café while reading a newspaper (see "Origins" below).
The technological innovations of the 19th century had opened the possibility of rapid circumnavigation and the prospect fascinated Verne and his readership. In particular three technological breakthroughs occurred in 1869-70 that made a tourist-like around-the-world journey possible for the first time: the completion of the First Transcontinental Railroad in America (1869), the linking of the Indian railways across the sub-continent (1870), and the opening of the Suez Canal (1869). It was another notable mark in the end of an age of exploration and the start of an age of fully global tourism that could be enjoyed in relative comfort and safety. It sparked the imagination that anyone could sit down, draw up a schedule, buy tickets and travel around the world, a feat previously reserved for only the most heroic and hardy of adventurers.
Verne is often characterised as a futurist or science fiction author but there is not a glimmer of science-fiction in this, his most popular work (at least in English speaking countries). Rather than any futurism, it remains a memorable portrait of the British Empire "on which the sun never sets" shortly before its very peak, drawn by an outsider. It is also interesting to note that, as of 2006, there has never been a critical edition of Around the World in Eighty Days. This is in part due to the poor translations available of his works, the stereotype of "science fiction" or "boys' literature". However, Verne's works were being looked at more seriously in the late 20th and early 21st centuries, with new translations and scholarship appearing. It is also rather interesting to note that the book is a source of common notable English and extended British attitudes in quotes such as, "Phileas Fogg and Sir Francis Cromarty ... endured the discomfort with true British phlegm, talking little, and scarcely able to catch a glimpse of each other" as seen in Chapter Twelve when the group is being jostled around on the elephant ride across the jungle. Also seen in chapter Twenty-Five, when Phileas Fogg is insulted in San Francisco, and Detective Fix acknowledges that "It was clear that Mr. Fogg was one of those Englishmen who, while they do not tolerate dueling at home, fight abroad when their honor is attacked."
It is interesting to note that The China's departure from New York on the day of Fogg's arrival there constitutes a minor flaw in Verne's logic, because Fogg had already crossed the Pacific without accounting for the International Date Line so his entire journey across North America was apparently conducted with an erroneous belief about the date and day of the week. Had The China sailed in agreement with the published steamer schedule used by Fogg, it would have departed a day later than Fogg expected, and he would have been able to catch it in spite of arriving what he thought was a few minutes late.
The closing date of the novel, 22 December 1872, was also the same date as the serial publication. As it was being published serially for the first time, some readers believed that the journey was actually taking place — bets were placed, and some railway companies and ship liner companies actually lobbied Verne to appear in the book. It is unknown if Verne actually submitted to their requests, but the descriptions of some rail and shipping lines leave some suspicion he was influenced.
Although a journey by hot air balloon has become one of the images most strongly associated with the story, this iconic symbol was never deployed in the book by Verne himself – the idea is briefly brought up in chapter 32, but dismissed, it "would have been highly risky and, in any case, impossible." However the popular 1956 movie adaptation Around the World in Eighty Days floated the balloon idea, and it has now become a part of the mythology of the story, even appearing on book covers. This plot element is reminiscent of Verne's earlier Five Weeks in a Balloon which first made him a well-known author.
Following Towle and d'Anver's 1873 English translation, many people have tried to follow in the footsteps of Fogg's fictional circumnavigation, often within self-imposed constraints:
* 1889 – Nellie Bly undertook to travel around the world in 80 days for her newspaper, the New York World. She managed to do the journey within 72 days. Her book about the trip, Around the World in Seventy-Two Days, became a best seller.
* 1903 – James Willis Sayre, a Seattle theatre critic and arts promoter, set the world record for circling the earth using public transportation exclusively, completing his trip in 54 days, 9 hours, and 42 minutes.
* 1908 – Harry Bensley, on a wager, set out to circumnavigate the world on foot wearing an iron mask.
* 1984 - Nicholas Coleridge emulated Fogg's trip and wrote a book entitled Around the World in 78 Days about his experience.
* 1988 – Monty Python alumnus Michael Palin took a similar challenge without using aircraft as a part of a television travelogue, called Michael Palin: Around the World in 80 Days. He completed the journey in 79 days and 7 hours.
* 1993–present – The Jules Verne Trophy is held by the boat that sails around the world without stopping, and with no outside assistance in the shortest time.
* 2009 - in Around the World in 80 Days twelve celebrities performed a relay version of the journey for the BBC Children In Need charity appeal. This featured a carpet bag.
Origins
The idea of a trip around the world within a set period had clear external origins and was popular before Verne published his book in 1872. Even the title Around the World in Eighty Days is not original to Verne. About six sources have been suggested as the origins of the story:
Greek traveller Pausanias (c. 100 AD) wrote a work that was translated into French in 1797 as Voyage autour du monde ("Around the World"). Verne's friend, Jacques Arago, had written a very popular Voyage autour du monde in 1853. However in 1869/70 the idea of travelling around the world reached critical popular attention when three geographical breakthroughs occurred: the completion of the First Transcontinental Railroad in America (1869), the linking of the Indian railways across the sub-continent (1870), and the opening of the Suez Canal (1869). In 1871 appeared Around the World by Steam, via Pacific Railway, published by the Union Pacific Railroad Company, and an Around the World in A Hundred and Twenty Days by Edmond Planchut. Between 1869 and 1871, an American William Perry Fogg went around the world describing his tour in a series of letters to the Cleveland Leader, titled Round the World: Letters from Japan, China, India, and Egypt (1872). Additionally, in early 1870, the Erie Railway Company published a statement of routes, times, and distances detailing a trip around the globe of 23,739 miles in seventy-seven days and twenty-one hours.
In 1872 Thomas Cook organised the first around the world tourist trip, leaving on 20 September 1872 and returning seven months later. The journey was described in a series of letters that were later published in 1873 as Letter from the Sea and from Foreign Lands, Descriptive of a tour Round the World. Scholars have pointed out similarities between Verne's account and Cook's letters, although some argue that Cook's trip happened too late to influence Verne. Verne, according to a second-hand 1898 account, refers to a Thomas Cook advertisement as a source for the idea of his book. In interviews in 1894 and 1904, Verne says the source was "through reading one day in a Paris cafe" and "due merely to a tourist advertisement seen by chance in the columns of a newspaper.” Around the World itself says the origins were a newspaper article. All of these point to Cook's advert as being a probable spark for the idea of the book.
Further, the periodical Le Tour du monde (3 October 1869) contained a short piece entitled "Around the World in Eighty Days", which refers to "140 miles" of railway not yet completed between Allahabad and Bombay, a central point in Verne's work. But even the Le Tour de monde article was not entirely original; it cites in its bibliography the Nouvelles Annales des Voyages, de la Géographie, de l'Histoire et de l'Archéologie (August, 1869), which also contains the title Around the World in Eighty Days in its contents page. The Nouvelles Annales were written by Conrad Malte-Brun (1775—1826) and his son Victor Adolphe Malte-Brun (1816—1889). Scholars believe Verne was aware of either the Le Tour de monde article, or the Nouvelles Annales (or both), and consulted it — the 'Le Tour du monde even included a trip schedule very similar to Verne's final version.
A possible inspiration was the traveller George Francis Train, who made four trips around the world, including one in 80 days in 1870. Similarities include the hiring of a private train and his being imprisoned. Train later claimed "Verne stole my thunder. I'm Phileas Fogg."
Regarding the idea of gaining a day, Verne said of its origin: "I have a great number of scientific odds and ends in my head. It was thus that, when, one day in a Paris café, I read in the Siècle that a man could travel around the world in eighty days, it immediately struck me that I could profit by a difference of meridian and make my traveller gain or lose a day in his journey. There was a dénouement ready found. The story was not written until long after. I carry ideas about in my head for years – ten, or fifteen years, sometimes – before giving them form." In his lecture of April 1873 "The Meridians and the Calendar", Verne responded to a question about where the change of day actually occurred, since the international date line had only become current in 1880 and the Greenwich prime meridian was not adopted internationally until 1884. Verne cited an 1872 article in Nature, and Edgar Allan Poe's short story "Three Sundays in a Week" (1841), which was also based on going around the world and the difference in a day linked to a marriage at the end. Verne even analysed Poe's story in his Edgar Poe and His Works (1864).
In summary either the periodical 'Le Tour du monde or the Nouvelles Annales, W. P. Fogg, probably Thomas Cook's advert (and maybe his letters) would be the main likely source for the book. In addition, Poe's short story "Three Sundays in a Week" was clearly the inspiration for the lost day plot device.
Literary significance and criticism
Select quotes:
1. "We will only remind readers en passant of Around the World in Eighty Days, that tour de force of Mr Verne's—and not the first he has produced. Here, however, he has summarised and concentrated himself, so to speak ... No praise of his collected works is strong enough .. they are truly useful, entertaining, poignant, and moral; and Europe and America have merely produced rivals that are remarkably similar to them, but in any case inferior." (Henry Trianon, Le Constitutionnel, December 20, 1873).
2. "His first books, the shortest, Around the World or From the Earth to the Moon, are still the best in my view. However, the works should be judged as a whole rather than in detail, and on their results rather than their intrinsic quality. Over the last forty years, they have had an influence unequalled by any other books on the children of this and every country in Europe. And the influence has been good, in so far as can be judged today." (Léon Blum, L'Humanité, April 3, 1905).
3. "Jules Verne's masterpiece .. stimulated our childhood and taught us more than all the atlases: the taste of adventure and the love of travel. 'Thirty thousand banknotes for you, Captain, if we reach Liverpool within the hour.' This cry of Phileas Fogg's remains for me the call of the sea." (Jean Cocteau, Mon premier voyage (Tour du monde en 80 jours), Gallimard, 1936).
4. "Leo Tolstoy loved his works. 'Jules Verne's novels are matchless', he would say. 'I read them as an adult, and yet I remember they excited me. Jules Verne is an astonishing past master at the art of constructing a story that fascinates and impassions the reader. (Cyril Andreyev, "Preface to the Complete Works", trans. François Hirsch, Europe, 33: 112-113, 22-48).
5. "Jules Verne's work is nothing but a long meditation, a reverie on the straight line—which represents the predication of nature on industry and industry on nature, and which is recounted as a tale of exploration. Title: the adventures of a straight line ... The train.. cleaves through nature, jumps obstacles .. and continues both the actual journey—whose form is a furrow—and the perfect embodiment of human industry. The machine has the additional advantage here of not being isolated in a purpose-built, artificial place, like the factory or all similar structures, but of remaining in permanent and direct contact with the variety of nature." Pierre Macherey (1966).
Adaptations and influences
The book has been adapted many times in different forms.
Theatre
* A 1874 play written by Jules Verne and Adolphe d'Ennery at the Théâtre de la Porte Saint-Martin in Paris, where it was shown 415 times.
* In 1946 Orson Welles produced and starred in Around the World, a musical stage version, with music and lyrics by Cole Porter, that was only loosely faithful to Verne's original.
* A musical version, 80 Days, with songs by Ray Davies of The Kinks and a book by playwright Snoo Wilson, directed by Des McAnuff, ran at the Mandell Weiss Theatre in San Diego from August 23 to October 9, 1988. The musical received mixed responses from the critics. Ray Davies's multi-faceted music, McAnuff's directing, and the acting, however, were well received, with the show winning the "Best Musical" award from the San Diego Theatre Critics Circle.
* In 2001, the story was adapted for the stage by American playwright Mark Brown. In what has been described as "a wildly wacky, unbelievably creative, 90-miles-an-hour, hilarious journey" this award winning stage adaptation is written for five actors who portray thirty-nine characters.
* A stage musical adaptation premiered at the Fulton Opera House, Lancaster, PA in March 2007 with music by Ron Barnett, book and lyrics by Julianne Homokay, and direction by Robin McKercher.
Films
* A 1919 silent black and white parody by director Richard Oswald didn't disguise its use of locations in Germany as placeholders for the international voyage; part of the movie's joke is that Fogg's trip is obviously going to places in and around Berlin. There are no remaining copies of the film available today.
* The best known version was released in 1956, with David Niven and Cantinflas heading a huge cast. Many famous performers play bit parts, and part of the pleasure in this movie is playing "spot the star". The movie earned five Oscars, out of eight nominations. This film was also responsible for the popular misconception that Fogg and company travel by balloon for part of the trip in the novel, which has prompted later adaptations to include similar sequences. See Around the World in Eighty Days (1956 film) for details.
* 1963 saw the release of The Three Stooges Go Around the World in a Daze. In this parody, the Three Stooges (Moe Howard, Larry Fine, and Joe DeRita) are cast as the menservants of Phileas Fogg III (Jay Sheffield), great-grandson of the original around-the-world voyager. When Phileas Fogg III is tricked into replicating his ancestor's feat of circumnavigation, Larry, Moe, and Curly-Joe dutifully accompany their master. Along the way, the boys get into and out of trouble in typical Stooge fashion.
* In 1983 the basic idea was expanded to a galactic scope in Japan's Ginga Shippu Sasuraiger, where a team of adventurers travel through the galaxy in a train-like ship that can transform into a giant robot. The characters are travelling to different planets in order to return within a certain period and win a bet.
* The story was again adapted for the screen in the 2004 film Around the World in 80 Days, starring Jackie Chan as Passepartout and Steve Coogan as Fogg. This version makes Passepartout the hero and the thief of the treasure of the Bank; Fogg's character is an eccentric inventor who bets a rival scientist that he can travel the world with (then) modern means of transportation.
TV
* An episode of the American television series, Have Gun – Will Travel, entitled "Fogg Bound", had the series' hero, Palladin (Richard Boone), escorting Phileas Fogg (Patric Knowles) through part of his journey. This episode was broadcasted by CBS on December 3, 1960.
* A 1989 three-part TV mini-series starred Pierce Brosnan as Fogg, Eric Idle as Passepartout, Peter Ustinov as Fix and several TV stars in cameo roles. The heroes travel a slightly different route than in the book and the script makes several contemporary celebrities part of the story who were not mentioned in the book. See Around the World in 80 Days (TV miniseries) for details.
* The BBC along with Michael Palin (of Monty Python fame) created a 1989 television travel series following the book's path. It was one of many travelogues Michael Palin has done with the BBC and was a commercially successful transition from his comedic career. The latest series in a similar format was Michael Palin's New Europe in 2007.
* Around the World in 80 Days, a six part 2009 BBC One show in which twelve celebrities attempt to travel the world in aid of the Children in Need appeal. This featured a carpet bag similar to one carried by Fogg and Passeportout.
Animation
* An Indian Fantasy Story is an unfinished French/English co-production from 1938, featuring the wager at the Reform Club and the rescue of the Indian Princess. It was never completed as a full feature film.
* Around the World in 79 Days, a serial segment on the Hanna-Barbera show The Cattanooga Cats from 1969 to 1971.
* Around the World in 80 Days from 1972 by American studio Rankin/Bass with Japanese Mushi productions as part of the Festival of Family Classics series.
* A one-season cartoon series Around the World in 80 Days from 1972 by Australian Air Programs International. NBC aired the series in the US during the 1972-73 season on Saturday mornings.
* Puss 'N Boots Travels Around the World, a 1976 anime from Toei Animation
* A Walt Disney adaptation was produced in 1986. It featured Mickey Mouse, Donald Duck and Goofy as the main characters.
* Around the World with Willy Fog by Spanish studio BRB Internacional from 1981 with a second season produced in 1993. This series depicts the characters as talking animals, and, despite adding some new characters and making some superficial modifications to the original story, it remains one of the most accurate adaptations of the book made for film or television. The show has gained a cult following in Finland, Britain, Germany and Spain. The first season is "Around the World in 80 Days", and the second season is "Journey to the Centre of the Earth" and "Twenty Thousand Leagues Under the Sea"; all three books are by Jules Verne.
* Tweety's High-Flying Adventure is a direct-to-video cartoon by Warner Brothers from 2000 starring the Looney Tunes characters. It takes a great many liberties with the original story, but the central idea is still there - indeed, one of the songs in this film is entitled Around the World in Eighty Days. Tweety not only had to travel the world, he had to also collect 80 cat pawprints, all while evading the constant pursuits of Slyvester. This movie frequently appears on various US-based cable TV networks.
* "Around the World in 80 Narfs" is a Pinky and the Brain episode where the Brain claims to be able to make the travel in less than 80 days and the Pompous Explorers club agrees to make him their new president. With this, the Brain expects to be UK's new Prime Minister, what he considers back at that time, the fastest way to take over the world.
* A Mickey Mouse episode shows the effort of Mickey to get around the world in 80 days with the help of Goofy. The cartoon made reference to the ending of the novel. They realise they have a day extra by hearing church bells on what they believe to be a Monday. This referenced the ending with the vicar in the church.
Exhibitions
* "Around the World in 80 Days", group show curated by Jens Hoffman at the ICA London 2006
Cultural references
* "Around the Universe in 80 Days" is a song by the Canadian band Klaatu, and makes reference to a spaceship travelling around the galaxy, coming home to find the Earth second from the Sun. It was originally included on the 1977 album "Hope", but also appears on at least two compilations.
* There are at least four board games by this name.
* Worlds of Fun, an amusement park in Kansas City, Missouri, was conceived using the novel as its theme. It uses the hot air balloon in its logo, and the park's layout is based on world geography.
Argentinian avant-garde writer Julio Cortazar wrote in 1967 his book titled Around the Day in Eighty Worlds.
《 ān nà · kǎ liè ní nà》（ é yǔ： АннаКаренина） shì 'é guó zuò jiā liè fū · tuō 'ěr sī tài yú 1875 nián -1877 nián jiān chuàng zuò de xiǎo shuō， bèi guǎng fàn rèn wéi shì xiě shí zhù yì xiǎo shuō de jīng diǎn dài biǎo。《 ān nà · kǎ liè ní nà》 wán gǎo yú 1877 nián， 1875 nián 1 yuè kāi shǐ liánzǎi yú 〈 é luó sī gōng bào 〉 shàng。 xiǎo shuō fǔ fā biǎo jiù yǐn fā liǎo rè liè de tǎo lùn。 tuō 'ěr sī tài de táng gū mǔ yà lì shān dé lā · ān dé liè yè fū nà · tuō 'ěr sī tài yà céng xiě dào：“《 ān nà · kǎ liè ní nà》 de měi gè piān zhāng dū hōng dòng liǎo zhěng gè shè huì， yǐn qǐ liǎo rè liè de zhēng lùn， huǐ yù cān bàn， bāo biǎn bù yī。 sì hū yì lùn de shì tā men de qièshēn wèn tí yī yàng。” zuò pǐn gòng fēn bā zhāng， kāi chǎng bái“ xìng fú de jiā tíng dōushì xiāng sì de， bù xìng de jiā tíng gè yòu gè de bù xìng”（ Happyfamiliesareallalike;everyunhappyfamilyisunhappyinitsownway）， shì tuō shì duì hūn yīn hé jiā tíng de wù yán。
《 ān nà · kǎ liè ní nà》 - jiǎn jiè
zài tuō 'ěr sī tài quán bù zuò pǐn zhōng，《 zhàn zhēng yǔ hé píng》、《 ān nà · kǎ liè ní nà》、《 fù huó》 shì sān gè lǐ chéng bēi， yě shì tā de sān bù dài biǎo zuò pǐn。《 ān nà · kǎ liè ní nà》 zài zhè sān bù dài biǎo zuò zhōng yòu qí tè shū de zhòng yào xìng， tā shì sān bù jù zhù zhī zhōng yì shù shàng zuì wéi wán zhěng de yī bù， bìng qiě tǐ xiàn liǎo tuō shì sī xiǎng hé yì shù fā zhǎn dào lù de guò dù yǔ zhuǎn biàn， kě yǐ chēng zhī wéi dài biǎo zuò zhōng de dài biǎo zuò。 tā tōng guò nǚ zhù rén gōng 'ān nà zhuī qiú 'ài qíng 'ér shī bài de bēi jù， hé liè wén zài nóng cūn miàn lín wēi jī 'ér jìn xíng de gǎi gé yǔ tàn suǒ zhè liǎng tiáo xiàn suǒ， miáo huì liǎo 'é guó cóng mò sī kē dào wài shěng xiāng cūn guǎng kuò 'ér fēng fù duō cǎi de tú jǐng， xiān hòu miáo xiě liǎo 150 duō gè rén wù， shì yī bù shè huì bǎi kē quán shū shì de zuò pǐn。
《 ān nà · kǎ liè ní nà》 - zuò jiā jiǎn jiè
liè fū · ní gǔ lā yé wéi qí · tuō 'ěr sī tài（ 1828-1910） shì 'é guó pī pàn xiàn shí zhù yì wén xué zuì wěi dà de dài biǎo， shì jiè wén xué shǐ shàng zuì wěi dà de zuò jiā zhī yī。 zài shì jiè wén tán zhōng kān yǔ suō shì bǐ yà、 gē dé、 bā 'ěr zhā kè bìng jiān 'ér lì de zuò jiā dāng shǒu tuī liè fū tuō 'ěr sī tài。 tā nà sān bù hóng piān jù zhù wú yí dài biǎo liǎo 19 shì jì shì jiè xiàn shí zhù yì wén xué de zuì gāo shuǐ píng。 liè fū · tuō 'ěr sī tài shì 'é guó wén xué shǐ shàng zuì wěi dà de wén háo zhī yī， tā zài wén xué fāng miàn de chéng jiù shòu dào jǔ shì zhǔ mùdì rèn tóng。
《 ān nà · kǎ liè ní nà》 - nèi róng gěng gài
《 ān nà · kǎ liè ní nà》 tōng guò nǚ zhù rén gōng 'ān nà zhuī qiú 'ài qíng 'ér shī bài de bēi jù， hé liè wén zài nóng cūn miàn lín wēi jī 'ér jìn xíng de gǎi gé yǔ tàn suǒ zhè liǎng tiáo xiàn suǒ， miáo huì liǎo 'é guó cóng mò sī kē dào wài shěng xiāng cūn guǎng kuò 'ér fēng fù duō cǎi de tú jǐng， xiān hòu miáo xiě liǎo 150 duō gè rén wù， shì yī bù shè huì bǎi kē quán shū shì de zuò pǐn。
gù shì yǐ shuāng xiàn jìn xíng， yī wéi 'ān nà， yī wéi liè wén。 tuō shì yǐ 'èr rén wéi zhóu， miáo xiě chū bù tóng de hūn yīn hé jiā tíng shēng huó， gèng jìn yī bù zé xiě chū dāng shí 'é guó zhèng zhì， zōng jiào， nóng shì jǐng xiàng。
zài wén zhōng， liè wén wéi tuō shì zhī huà shēn， dài biǎo zhe 1860,70 nián dài de shè huì zhuǎn xíng cuī shēng zhě。 liè wén zhòng shì nóng shì， duì guì zú shēng huó bù shèn tóu rù， zhù zài xiāng cūn hé zhǐ dǎo nóng mín gōng zuò。 liè wén rè 'ài jí dì， qǐ chū qiú hūn bèi jù， dàn jǐ jīng bō zhé， zhōng bào dé měi rén guī， bìng yī tóng zhù zài xiāng xià。
nǚ zhù rén wēng 'ān nà， nián qīng shí hé zhàng fū yà lì shān dà ． kǎ liè níng（ AlexeiAlexandrovichKarenin） jié hé， běn hūn yīn měi mǎn， yù yòu yī zǐ。 kǎ liè níng zài shì tú shàng chéng gōng， ān nà yì yú jiāo jì chǎng shàng guāng máng sì shè。 gù shì shǐ yú 'ào bù lǎng sī jī gōng jué hé yīng guó jiā tíng nǚ jiào shī liàn 'ài， yǔ qī zǐ dào lì nào fān， qiú zhù yú qí mò 'ān nà。 ān nà cóng shèng． bǐ dé bǎo dào mò sī kē tì 'èr rén tiáojiě， zài chē zhàn rèn shí liǎo nián qīng jūn guān fó lún sī jī（ AlexeiKirillovichVronsky）。 bìng zài mò sī kē yī cì wǔ huì zhōng hé fó lún sī jī fā shēng zhì mìng de liàn qíng， zì cǐ bù néng zì bá， zuì hòu shēn bài míng liè bìng zì shā shēn wáng。 fó lún sī jī wéi qiú dé měi rén， zhuī suí 'ān nà zhì shèng bǐ dé bǎo， zuì hòu liǎng rén xiàn rù rè liàn。 tā liǎ pín pín yōu huì， zuì hòu 'ān nà huái yùn， bìng xiàng zhàng fū chéng rèn liǎo sī qíng。 kǎ liè níng yī dù xiǎng yǔ qī zǐ fēn jū， dàn wéi cún miàn zǐ， jù jué lí hūn bìng yào qiú qī zǐ zhōng zhǐ liàn qíng。 rán 'ér 'ān nà fēn miǎn shí jǐ hū nán chǎn 'ér bīn lín sǐ wáng， zài sǐ wáng miàn qián， kǎ liè níng yuán liàng liǎo tā。 ān nà bìng hòu wú fǎ yā yì zì jǐ duì fó lún sī jī de 'ài， zhōng yú lí jiā chū zǒu。 fó lún sī jī dài zhe 'ān nà qián wǎng yì dà lì lǚ xíng， zhè shí 'ān nà gǎn dào wú bǐ de xìng fú。 qí hòu huí dào 'é luó sī， yú 'ér zǐ shēng rì shí， àn nà bù zhù tōu tōu huì jiàn zì jǐ de 'ér zǐ。 què wú fǎ jiàn róng yú 'é guó shè huì， shàng liú shè huì bǎ 'ān nà kàn zuò duò luò de nǚ rén， duàn jué hé tā de wǎng lái。 ān nà zhǐ dé yí jū xiāng xià， kào xiě zuò dǎ fā shí jiān。 èr rén gòng chù rì jiǔ， fó lún sī jī hé 'ān nà zài shēng huó shàng de bù xìn rèn rì zēng。 ān nà gǎn dào hěn nán guò， rèn wéi qíng rén wéi qián tú míng yù lí tā 'ér qù， jù sàng shī wàng zhī xià， ān nà wéi chǔfá fó lún sī jī， zài huǒ chē shǐ jìn shí tiào xià huǒ chē yuè tái zì shā。 zàng lǐ zhī hòu， yà lì shān dà · kǎ liè níng dài zǒu tā de nǚ 'ér， fó lún sī jī shòu dào liáng xīn de qiǎn zé， dà bìng yīcháng， hòu lái zhì yuàn cóng jūn， qián wǎng bā 'ěr gān cān zhàn， dàn qiú yī sǐ。
《 ān nà · kǎ liè ní nà》 - chuàng zuò bèi jǐng zī liào
zài shì jiè wén xué de wēi wēi qún shān zhōng， kān yǔ suō shì bǐ yà、 gē dé、 bā 'ěr zhā kè zhè jǐ zuò gāo fēng bǐ jiān 'ér lì de 'é guó zuò jiā dāng shǒu tuī liè fū · tuō 'ěr sī tài。 tuō 'ěr sī tài shì yī wèi yòu sī xiǎng de yì shù jiā， yě shì yī wèi bó xué de yì shù dà shī。 tā de zuò pǐn zhǎn xiàn de shè huì huà miàn zhī guǎng kuò， yùn hán de sī xiǎng zhī fēng ráo， róng huì de yì shù、 yǔ yán、 zhé xué、 lì shǐ、 mín sú nǎi zhì zì rán kē xué děng gè zhǒng zhī shí zhī guǎng bó， cháng cháng lìng rén wàng yáng xīng tàn。《 ān nà · kǎ liè ní nà》 shì tā de yī bù jì měi bù shèng shōu 'ér yòu bó dà jīng shēn de jù zhì。
jù dà de sī xiǎng hé yì shù jià zhí， shǐ dé zhè bù jù zhù yī fā biǎo biàn yǐn qǐ jù dà shè huì fǎn xiǎng。 tuō 'ěr sī tài bìng méi yòu jiǎn dān dì xiě yī gè nán nǚ sī tōng de gù shì， ér shì tōng guò zhè gè gù shì jiē shì liǎo 'é guó shè huì zhōng fù nǚ de dì wèi， bìng yóu cǐ lái biān tà tā de bù hé lǐ xìng。 zuò pǐn miáo xiě liǎo gè rén gǎn qíng xū yào yǔ shè huì dào dé zhī jiān de chōng tū。 1877 nián， xiǎo shuō shǒu bǎn fā xíng。 jù tóng dài rén chēng， tā bù chì shì yǐn qǐ liǎo“ yīcháng zhēn zhèng de shè huì dà bào zhà”， tā de gè gè zhāng jié dū yǐn qǐ liǎo zhěng gè shè huì de“ qiāo zú” zhù shì， jí wú xiū wú zhǐ de“ yì lùn、 tuī chóng、 fēinàn hé zhēng chǎo， fǎng fó shì qíng guān shè dào měi gè rén zuì qièshēn de wèn tí”。
dàn bù jiǔ， shè huì jiù gōng rèn tā shì yī bù liǎo bù qǐ de jù zhù， tā suǒ dá dào de gāo dù shì 'é guó wén xué cóng wèi dá dào guò de。 wěi dà zuò jiā tuó sī tuǒ yé fū sī jī xīng fèn dì píng lùn dào：“ zhè shì yī bù jìn shàn jìn měi de yì shù jié zuò， xiàn dài 'ōu zhōu wén xué zhōng méi yòu yī bù tóng lèi de dōng xī kě yǐ hé tā xiāng bǐ！” tā shèn zhì chēng tuō 'ěr sī tài wéi“ yì shù zhī shén”。 ér shū zhōng de nǚ zhù rén gōng 'ān nà · kǎ liè ní nà zé chéng wéi shì jiè wén xué shǐ shàng zuì yōu měi fēng mǎn de nǚ xìng xíng xiàng zhī yī。 zhè gè zī chǎn jiē jí fù nǚ jiě fàng de xiān fēng， yǐ zì jǐ de fāng shì zhuī qiú gè xìng de jiě fàng hé zhēn chéng de 'ài qíng， suī rán yóu yú zhì dù de zhì gù， tā de bēi jù zhǐ néng yǐ shī bài 'ér gào zhōng。 dàn tā yǐ nèi xīn tǐ yàn de shēn kè yǔ gǎn qíng de qiáng liè zhēn zhì， yǐ péng bó de shēng mìng lì hé bēi jù xìng mìng yùn 'ér kòu rén xīn xián。
《 ān nà · kǎ liè ní nà》 de gòu sī shǐ yú 1870 nián， ér dào 1873 nián tuō 'ěr sī tài cái kāi shǐ dòng bǐ。 zhè shì tā yī shēng zhōng jīng shén kùn dùn de shí qī。 zuì chū， tuō 'ěr sī tài shì xiǎng xiě yī gè shàng liú shè huì yǐ hūn fù nǚ shī zú de gù shì， dàn suí zhe xiě zuò de shēn rù， yuán lái de gòu sī bù duàn bèi xiū gǎi。 xiǎo shuō de chū bù chuàng zuò bù guò jǐn yòng liǎo duǎn duǎn de 50 tiān shí jiān biàn dé yǐ wán chéng， rán 'ér tuō 'ěr sī tài hěn bù mǎn yì， tā yòu huā fèi liǎo shù shí bèi de shí jiān lái bù duàn xiū zhèng， qián hòu jīng guò 12 cì dà de gǎi dòng， chí zhì 4 nián zhī hòu cái zhèng shì chū bǎn。 zhè shí， xiǎo shuō fèi qì de shǒu gǎo gāo dá 1 mǐ duō！“ quán bù dū yīngdāng gǎi xiě， zài gǎi xiě”， zhè shì tuō 'ěr sī tài jīng cháng guà zài zuǐ biān de yī jù huà。 xiǎn rán， yī bù《 ān nà · kǎ liè ní nà》 yǔ qí shuō shì xiě chū lái de， bù rú shuō shì gǎi chū lái de。
zhèng shì zài zuò zhě jìn hū kē kè de zhuī qiú zhōng， xiǎo shuō de zhòng xīn yòu liǎo jù dà de zhuǎn yí， ān nà yóu zuì chū gòu sī zhōng de“ shī liǎo zú de nǚ rén”（ tā qù wèi 'è liè、 mài nòng fēng qíng， pǐn xíng bù duān）， biàn chéng liǎo yī gè pǐn gé gāo yǎ、 gǎn yú zhuī qiú zhēn zhèng de 'ài qíng yǔ xìng fú de“ pàn nǚ” xíng xiàng， cóng 'ér chéng wéi shì jiè wén xué zhōng zuì jù fǎn kàng jīng shén de nǚ xìng zhī yī。
《 ān nà · kǎ liè ní nà》 tōng guò 'ān nà zhuī qiú 'ài qíng 'ér shī bài de bēi jù， liè wén zài nóng cūn miàn lín wēi jī 'ér jìn xíng de gǎi gé yǔ tàn suǒ zhè liǎng tiáo xiàn suǒ， miáo huì liǎo 'é guó cóng mò sī kē dào wài shěng xiāng cūn guǎng kuò 'ér fēng fù duō cǎi de tú jǐng， xiān hòu miáo xiě liǎo 150 duō gè rén wù， shì yī bù shè huì bǎi kē quán shū shì de zuò pǐn。 xiǎo shuō yì shù shàng zuì tū chū de tè diǎn shì shǒu cì chéng gōng dì cǎi yòng liǎo liǎng tiáo píng xíng xiàn suǒ hù xiāng duì zhào、 xiāng fǔ xiāng chéng de“ gǒng mén shì” jié gòu， bìng zài xīn lǐ miáo xiě shàng xì zhì rù wēi、 jīng miào jué lún。 xiǎo shuō zhōng nà dà duàn de rén wù nèi xīn dú bái， wú yí dōushì xiàn shí zhù yì miáo xiě de diǎn fàn。
《 ān nà · kǎ liè ní nà》 - rén wù xíng xiàng
ān nà
《 ān nà · kǎ liè ní nà》 shì yóu liǎng tiáo zhù yào de píng xíng xiàn suǒ hé yī tiáo lián jié xìng cì yào xiàn suǒ jié gòu 'ér chéng de， zhěng tǐ shàng fǎn yìng liǎo nóng nú zhì gǎi gé hòu“ yī qiēdōu fān liǎo yī gè shēn， yī qiēdōu gāng gāng 'ān pái xià lái” de nà gè shí dài zài zhèng zhì、 jīng jì、 dào dé、 xīn lǐ děng fāng miàn de máo dùn。 xiǎo shuō tōng guò 'ān nà héng héng kǎ liè níng héng héng wò lún sī jī xiàn suǒ zhǎn shì liǎo fēng jiàn zhù yì jiā tíng guān xì de wǎ jiě hé dào dé de lún sàng； tōng guò liè wén héng héng jí tí xiàn suǒ miáo huì chū zī běn zhù yì shì lì qīn rù nóng cūn hòu， dì zhù jīng jì miàn lín wēi jī de qíng jǐng， jiē shì chū zuò zhě zhí zhe dì tàn qiú chū lù de tòng kǔ xīn qíng。 ér dào lì héng héng 'ào bó lǎng sī jī zhè yī cì yào xiàn suǒ qiǎo miào dì lián jié liǎng tiáo zhù xiàn， zài jiā tíng sī xiǎng shàng sān tiáo xiàn suǒ xiāng hù duì yìng、 cān zhào， gòu lè chū sān zhǒng bù tóng lèi xíng de jiā tíng mó shì hé shēng huó fāng shì。 zuò zhě yǐ zhè zhǒng jiàn zhù xué 'ér zì háo， yuán gǒng jiāng liǎng zuò dà shà lián jié dé tiān yī wúfèng，“ shǐ rén jué chá bù chū shénme dì fāng shì gǒng dǐng”。
zhù rén gōng 'ān nà · kǎ liè ní nà shì shì jiè wén xué shǐ shàng zuì yōu měi fēng mǎn de nǚ xìng xíng xiàng zhī yī。 tā yǐ nèi xīn tǐ yàn de shēn kè yǔ gǎn qíng de qiáng liè zhēn zhì， yǐ péng bó de shēng mìng lì hé bēi jù xìng mìng yùn 'ér kòu rén xīn xián。
ān nà dì yī cì chū xiàn shí de yīn róng xiào mào lìng rén nán yǐ wàng huái： tā zī tài duān lì、 wēn yǎ， yī shuāng nóng mì de jié máo yǎn yìng xià de yǎn jīng zhōng“ yòu yī gǔ bèi yā yì de shēng qì zài tā de liǎn shàng liú lù…… fǎng fó yòu yī zhǒng guò shèng de shēng mìng lì yáng yì zài tā de quán shēn xīn， wéi fǎn tā de yì zhì”， zài yǎn shén hé wēi xiào zhōng xiǎn xiàn chū lái。 zài zhè fú chū sè de xiào xiàng zhōng zhǎn xiàn liǎo 'ān nà de jīng shén měi， yě tí shì wǒ men qù tàn jiū tā de shēng huó zhī mí。 ān nà fù mǔ zǎo shì， zài gū mǔ bāo bàn xià jià gěi liǎo bǐ tā dà 'èr shí suì de dà guān liáo kǎ liè níng。 hūn hòu zài zōng fǎ sī xiǎng zhī pèi xià tā céng 'ān yú tiān mìng， zhǐ shì bǎ quán bù gǎn qíng jì tuō zài 'ér zǐ shēn shàng。 wò lún sī jī huàn xǐng liǎo tā wǎn shú de 'ài qíng。 tā kě wàng zì yóu 'ér dà dǎn dì 'ài， bù yuàn xiàng bié tè xī gōng jué fū rén nà yàng zài jiā yàn shàng gōng kāi jiē dài qíng rén； yě bù yuàn jiē shòu zhàng fū de jiàn yì réng rán bǎo chí biǎo miàn de fū qī guān xì， tōu tōu yǔ qíng rén wǎng lái； zhōng yú chōng chū jiā tíng yǔ wò lún sī jī jié hé， gōng rán yǔ zhěng gè shàng liú shè huì duì kàng。 cóng cǐ 'ān nà shī qù liǎo yī gè guì zú fù nǚ zài shè jiāo jiè de yī qiē dì wèi hé quán lì， chú liǎo wò lún sī jī de 'ài， tā yī wú suǒ yòu， yīn cǐ， tā rè liè 'ér zhí zhe dì xiàn shēn yú zhè zhǒng 'ài。 què shí， zài guó wài， zài wò lún sī jī de zhuāng yuán lǐ， ān nà céng tǐ yàn guò duǎn zàn de“ bù kě yuán liàng de xìng fú”。 tā diū qì mǔ qīn de tiān zhí， dàn nèi xīn wú fǎ píng xī yīn shī qù 'ài zǐ 'ér chǎn shēng de bēi shāng； tā xiǎng 'áng qǐ jiāo 'ào de tóu， xuān chēng tā shì xìng fú de nǚ rén， dàn què bǎi tuō bù diào yòu zuì de qī zǐ de yì shí。 tā de líng hún yī zhí shòu dào zhé mó。 ér gū zhù yī zhì de、 yòu yú zì wǒ de duì wò lún sī jī de 'ài yòu bù kě néng dé dào xiāng yìng de gǎn qíng fǎn xiǎng， ān nà jué wàng liǎo， tā zài lín zhōng qián mǎn hán yuàn fèn dì hǎn chū：“ yī qiē quán shì xū wěi、 quán shì huǎng yán、 quán shì qī piàn、 quán shì zuì 'è。”
ān nà de xíng xiàng zài zuò jiā chuàng zuò guò chéng zhōng yòu guò jí dà biàn huà： cóng yī gè dī jí qù wèi de shī zú nǚ rén gǎi xiě chéng zhēn chéng、 yán sù、 nìngwéi yù suì、 bùwèi wǎ quán de nǚ xìng。 tuō 'ěr sī tài tōng guò 'ān nà de 'ài qíng、 jiā tíng bēi jù jì yù liǎo tā duì dāng shí dòng dàng de 'é guó shè huì zhōng rén de mìng yùn hé lún lǐ dào dé zhǔn zé de sī kǎo。 zuò jiā gē sòng rén de shēng mìng lì， zàn yáng rén xìng de hé lǐ yào qiú； tóng shí， tā yòu jiān jué fǒu dìng yī qiē zhèng zhì、 shè huì huó dòng（ bāo kuò fù nǚ jiě fàng yùn dòng） duì gǎi shàn rén men mìng yùn de zuò yòng， qiáng diào mǔ qīn héng héng fù nǚ tiān zhí de zhòng yào xìng。 zuò jiā shì jiè guān de máo dùn gòu chéng 'ān nà xíng xiàng de fù zá xìng。 yī bǎi duō nián lái gè guó zuò jiā 'àn zì jǐ de lǐ jiě bǎ 'ān nà bān shàng wǔ tái、 yín mù、 yíng guāng píng。 ān nà xíng xiàng yī zhí jī dòng zhe bù tóng shí dài、 bù tóng mín zú de dú zhě， zhè zhèng shuō míng 'ān nà xíng xiàng de yì shù shēng mìng lì shì bù xiǔ de。
liè wén
liè wén zé shì tuō 'ěr sī tài shì zhù rén gōng zhōng zì chuán xìng tè bié qiáng de yī gè rén wù， tā zài tuō 'ěr sī tài de chuàng zuò zhōng qǐ zhe chéng qián qǐ hòu de zuò yòng， zài tā shēn shàng yì shù dì zài xiàn liǎo zuò jiā shì jiè guān jī biàn qián xī de sī xiǎng gǎn qíng hé shēng huó gǎn shòu， cóng jié gòu 'ān pái lái kàn， liè wén de xìng fú jiā tíng yǔ 'ān nà de bù xìng jiā tíng hù wéi duì zhào， dàn cóng sī xiǎng tàn suǒ lái kàn， liè wén hūn hòu què chǎn shēng liǎo jīng shén wēi jī， tā wéi guì zú jiē jí zì gān bài luò 'ér yōu xīn chōng chōng。 tā yán jiū láo dòng lì zài nóng yè shēng chǎn zhōng de zuò yòng， zhì dìng“ bù liúxiě de gé mìng” fāng 'àn， tàn tǎo rén shēng de mùdì， dàn què háo wú chū lù。 luó màn · luó lán zhǐ chū， liè wén bù jǐn tǐ xiàn liǎo tuō 'ěr sī tài kàn dài shì wù de jì bǎo shǒu yòu mín zhù de guān diǎn， ér qiě“ liè wén hé jí tí de liàn 'ài， tā liǎ hūn hòu de tóu jǐ nián shēng huó， jiù shì zuò jiā zì jǐ jiā tíng shēng huó huí yì de bān yǎn。 tóng yàng， liè wén gē gē zhī sǐ yě shì tuō 'ěr sī tài de gē gē dé mǐ tè lǐ zhī sǐ de tòng kǔ zhuī yì”。 ér zuò pǐn de wěi shēng“ zé shì zuò zhě běn rén qū xiàng jīng shén gé mìng de guò dù”。
《 ān nà · kǎ liè ní nà》 - zhù tí sī xiǎng
guān yú liè fū · tuō 'ěr sī tài， mǎ yuán yòu yī gè shuō fǎ， tā rèn wéi tuō 'ěr sī tài shì xiǎo shuō shǐ shàng zhēng yì zuì shǎo de zuò jiā。 zhè lǐ suǒ shuō de zhēng yì zuì shǎo， zhǐ de shì tā zài wén xué shǐ shàng de dì wèi。 yě jiù shì shuō， nǐ kě yǐ xǐ huān huò bù xǐ huān tuō 'ěr sī tài de zuò pǐn， dàn sì hū wú rén néng gòu fǒu rèn tā zuò wéi yī wèi jié chū sī xiǎng jiā hé dì yī liú xiǎo shuō jiā de dì wèi。
《 ān nà · kǎ liè ní nà》 zài liè fū · tuō 'ěr sī tài de suǒ yòu zuò pǐn zhōng， shì xiěde zuì hǎo de。《 zhàn zhēng yǔ hé píng》 yě xǔ gèng bō lán zhuàng kuò、 gèng xióng wěi、 gèng yòu qì shì， dàn tā bù rú《 ān nà · kǎ liè ní nà》 nà me chún cuì、 nà me wán měi。 shùn biàn shuō yī jù， liè fū · tuō 'ěr sī tài bìng bù shì yī gè chū sè de wén tǐ jiā， dàn tā de wén tǐ de jīng měi yǔ hé xié wú yǔ lún bǐ， zhè bìng fēi lái zì zuò zhě duì xiǎo shuō xiū cí、 jì qiǎo、 xù shù fāng shì de kè yì zhuī qiú， ér jǐn jǐn yuán yú yì shù shàng de zhí jué。
zài《 ān nà · kǎ liè ní nà》 zhè bù xiǎo shuō zhōng， liè fū · tuō 'ěr sī tài sù zào liǎo xǔ duō zài wén xué shǐ shàng guāng máng sì shè de rén wù： ān nà、 wò lún sī jī、 jí tí、 liè wén、 kǎ liè níng、 ào bù làng sī jī gōng jué…… zài zhè xiē rén wù zhōng， wéi yī yī gè zài shēng huó zhōng zuǒ yòu féng yuán， dài yòu diǎn xǐ jù sè cǎi de jiù shì 'ào bù làng sī jī gōng jué， qí tā de rén wù wú bù yǔ sǐ wáng zhù tí yòu guān。 rú guǒ wǒ men jiǎn dān dì guī nà yī xià， zhè bù zuò pǐn zhù yào xiě liǎo liǎng gè gù shì： qí yī， shì 'ān nà yǔ wò lún sī jī cóng xiāng shí、 rè liàn dào huǐ miè de guò chéng， yǐ jí wéi rào zhè yī jìn chéng de suǒ yòu shè huì guān xì de jiū gé， qí 'èr shì liè wén de gù shì yǐ jí tā zài zōng jiào yì yì shàng de zhǎn kāi gè rén sī kǎo。
zhèng rú nà jù zhù míng de kāi chǎng bái suǒ xiǎn shì de yī yàng， zuò zhě duì xiàn shí de sī kǎo shì yǐ jiā tíng hūn yīn wéi jī běn dān wèi 'ér zhǎn kāi de， zhì shǎo shè jí dào liǎo sì zhǒng hūn yīn huò 'ài qíng dá 'àn： kǎ liè níng fū fù， ān nà hé wò lún sī jī， ào bù làng sī jī fū fù， liè wén yǔ jí tí。 měi yī gè dá 'àn dū yì wèi zhe zuì 'è hé zāinàn。 ān nà shì wéi yī jīng lì liǎo liǎng zhǒng bù tóng hūn yīn ( ài qíng ) xíng shì de rén wù。 zài zuò zhě suǒ fù yú de 'ān nà de xìng gé zhōng， wǒ yǐ wéi jī qíng hé huó lì shì qí jī běn de nèi hán， zhèng shì zhè zhǒng yā yì bù zhù de huó lì shǐ měi mào chún jié de jí tí xiāng xíng jiàn chù； zhèng shì zhè zhǒng bèi huàn xǐng de jī qíng shǐ tā yǔ kǎ liè níng de hūn yīn、 shèn zhì bǐ dé bǎo xí yǐ wéi cháng de shè jiāo shēng huó、 shèn zhì bāo kuò hái zǐ xiè liáo shā dū 'àn rán shī sè。
yǔ zhè zhǒng jī qíng yǔ huó lì xiāng bàn 'ér lái de shì bù gù yī qiē de yǒng qì。 dāng xiǎo shuō zhōng xiě dào wò lún sī jī zài sài mǎ huì shàng shuāi xià mǎ lái， ān nà yīn shī shēng dà jiào 'ér bào lù liǎo " jiān qíng " zhī shí， duì zhàng fū shuō chū xià miàn zhè duàn huà shì xū yào yī diǎn yǒng qì de，“ wǒ 'ài tā， wǒ shì tā de qíng fù…… suí nǐ gāo xīng zěn me yàng bǎ wǒ chǔzhì bā。” tuō 'ěr sī tài duì zhè zhǒng jī qíng zhēn shì tài shú xī liǎo， wǒ men bù fáng xiǎng yī xiǎng《 zhàn zhēng yǔ hé píng》 zhōng de nà tǎ suō，《 fù huó》 zhōng de kǎ qiū suō， hái yòu zhé fú yú zuò zhě xīn zhōng de nà tóu qiáng zhuàng de xióng -- tā de páo xiào shēng yī zhí kùn rǎo zhe liè fū · tuō 'ěr sī tài。
mǎ dīng · dù gā 'ěr céng rèn wéi， tuō 'ěr sī tài shì zuì jù dòng chá lì de zuò jiā， tā de mù guāng shí fēn ruì lì， néng gòu chuān tòu shēng huó de bì lěi 'ér fā xiàn yǐn hán qí zhōng de " zhēn shí "。 dàn wǒ què qīng xiàng yú rèn wéi， cóng gēn běn shàng lái shuō， tuō 'ěr sī tài shì yī gè tú jiě zì wǒ guān niàn de zuò jiā， bù guǎn shì zǎo qī hái shì wǎn qī zuò pǐn， zhù tí shàng de lián xì shí fēn qīng xī， yóu qí shì《 zhàn zhēng yǔ hé píng》、《 ān nà · kǎ liè ní nà》 liǎng bù jù zhù， qí zhōng de rén wù、 qíng jié、 zhù tí duō yòu léi tóng zhī chù， tā de guān niàn de jiāng yù bìng bù kuān guǎng， tā de sù cái yě bù fēng fù， dàn zhè bìng bù fáng 'ài tuō 'ěr sī tài de wěi dà， zhèng rú sài wàn tí sī de xiá 'ài zhù tí bìng bù fáng 'ài《 táng jí hē dé》 de wěi dà yī yàng。 xiǎo shuō de zhēn shí lái zì tā de zhì huì， mǐn gǎn 'ér hào hàn de xīn líng， ér gèng wéi zhòng yào de shì tā de chéng shí。 wéi tè gēn sī tǎn zài dú wán《 hā zé · mù lā tè》 yǐ hòu céng gǎn kǎi dì shuō：“ tā ( tuō 'ěr sī tài ) shì yī gè zhēn zhèng de rén， tā yòu quán xiě zuò。”
tuō 'ěr sī tài yǔ《 ān nà · kǎ liè ní nà》
guān yú liè fū · tuō 'ěr sī tài， mǎ yuán yòu yī gè shuō fǎ， tā rèn wéi tuō 'ěr sī tài shì xiǎo shuō shǐ shàng zhēng yì zuì shǎo de zuò jiā。 wǒ lǐ jiě tā de yì sī， zhè lǐ suǒ shuō de zhēng yì zuì shǎo， zhǐ de shì tā zài wén xué shǐ shàng de dì wèi。 yě jiù shì shuō， nǐ kě yǐ xǐ huān huò bù xǐ huān tuō 'ěr sī tài de zuò pǐn， dàn sì hū wú rén néng gòu fǒu rèn tā zuò wéi yī wèi jié chū sī xiǎng jiā hé dì yī liú xiǎo shuō jiā de dì wèi。
zài wǒ de xué shēng zhōng jiān， duì tuō 'ěr sī tài bù xiè yī gù de dà yòu rén zài。 yòu yī cì pèng dào yī wèi xué shēng， yǐ wǒ kàn tā de dǎo shī shì yī míng pō yòu xué wèn de 'é guó wén xué zhuān jiā， bù zhī hé gù， gāi shēng què duì 'ēn shī pō wéi bù mǎn， tí chū shì fǒu kě yǐ zhuǎn dào wǒ de míng xià， ràng wǒ gěi tā zhǐ dǎo。 wǒ wèn tā wèihé yào gēnghuàn dǎo shī， tā biàn liè jǔ liǎo yuán dǎo shī de jǐ gè zuì zhuàng， qí zhōng yī tiáo shì： tā jìng rán ràng wǒ qù dú shénme《 ān nà · kǎ liè ní nà》。 kě jiàn， zài zhè xiē yán bì chēng měi guó de xué shēng men de tóu nǎo zhōng， lǎo tuō 'ěr sī tài xiǎn rán yǐ jīng shì yī gè bù zhōng yòng de gǔ dǒng liǎo。 wǒ duì tā shuō， dǎo shī jiù bù bì huàn liǎo。 yīn wéi rú guǒ wǒ dāng nǐ de dǎo shī， dì yī běn tuī jiàn de shū kǒng pà hái shì《 ān nà · kǎ liè ní nà》。
《 ān nà · kǎ liè ní nà》 bù jǐn shì wǒ zuì xǐ huān de cháng piān xiǎo shuō， ér qiě wǒ yě rèn wéi， zài liè fū · tuō 'ěr sī tài de suǒ yòu zuò pǐn zhōng， tā yě shì xiěde zuì hǎo de。《 zhàn zhēng yǔ hé píng》 yě xǔ gèng bō lán zhuàng kuò、 gèng xióng wěi、 gèng yòu qì shì， dàn tā bù rú《 ān nà · kǎ liè ní nà》 nà me chún cuì、 nà me wán měi。 shùn biàn shuō yī jù， liè fū · tuō 'ěr sī tài bìng bù shì yī gè chū sè de wén tǐ jiā， dàn tā de wén tǐ de jīng měi yǔ hé xié wú yǔ lún bǐ， zhè bìng fēi lái zì zuò zhě duì xiǎo shuō xiū cí、 jì qiǎo、 xù shù fāng shì de kè yì zhuī qiú， ér jǐn jǐn yuán yú yì shù shàng de zhí jué。
zài《 ān nà · kǎ liè ní nà》 zhè bù xiǎo shuō zhōng， liè fū · tuō 'ěr sī tài sù zào liǎo xǔ duō zài wén xué shǐ shàng guāng máng sì shè de rén wù： ān nà、 wò lún sī jī、 jí tí、 liè wén、 kǎ liè níng、 ào bù làng sī jī gōng jué…… zài zhè xiē rén wù zhōng， wéi yī yī gè zài shēng huó zhōng zuǒ yòu féng yuán， dài yòu diǎn xǐ jù sè cǎi de jiù shì 'ào bù làng sī jī gōng jué， qí tā de rén wù wú bù yǔ sǐ wáng zhù tí yòu guān。 rú guǒ wǒ men jiǎn dān dì guī nà yī xià， zhè bù zuò pǐn zhù yào xiě liǎo liǎng gè gù shì： qí yī， shì 'ān nà yǔ wò lún sī jī cóng xiāng shí、 rè liàn dào huǐ miè de guò chéng， yǐ jí wéi rào zhè yī jìn chéng de suǒ yòu shè huì guān xì de jiū gé， qí 'èr shì liè wén de gù shì yǐ jí tā zài zōng jiào yì yì shàng de zhǎn kāi gè rén sī kǎo。
zhèng rú nà jù zhù míng de kāi chǎng bái suǒ xiǎn shì de yī yàng， zuò zhě duì xiàn shí de sī kǎo shì yǐ jiā tíng hūn yīn wéi jī běn dān wèi 'ér zhǎn kāi de， zhì shǎo shè jí dào liǎo sì zhǒng hūn yīn huò 'ài qíng dá 'àn： kǎ liè níng fū fù， ān nà hé wò lún sī jī， ào bù làng sī jī fū fù， liè wén yǔ jí tí。 měi yī gè dá 'àn dū yì wèi zhe zuì 'è hé zāinàn。 ān nà shì wéi yī jīng lì liǎo liǎng zhǒng bù tóng hūn yīn ( ài qíng ) xíng shì de rén wù。 zài zuò zhě suǒ fù yú de 'ān nà de xìng gé zhōng， wǒ yǐ wéi jī qíng hé huó lì shì qí jī běn de nèi hán， zhèng shì zhè zhǒng yā yì bù zhù de huó lì shǐ měi mào chún jié de jí tí xiāng xíng jiàn chù； zhèng shì zhè zhǒng bèi huàn xǐng de jī qíng shǐ tā yǔ kǎ liè níng de hūn yīn、 shèn zhì bǐ dé bǎo xí yǐ wéi cháng de shè jiāo shēng huó、 shèn zhì bāo kuò hái zǐ xiè liáo shā dū 'àn rán shī sè。
yǔ zhè zhǒng jī qíng yǔ huó lì xiāng bàn 'ér lái de shì bù gù yī qiē de yǒng qì。 dāng xiǎo shuō zhōng xiě dào wò lún sī jī zài sài mǎ huì shàng shuāi xià mǎ lái， ān nà yīn shī shēng dà jiào 'ér bào lù liǎo“ jiān qíng” zhī shí， duì zhàng fū shuō chū xià miàn zhè duàn huà shì xū yào yī diǎn yǒng qì de，“ wǒ 'ài tā， wǒ shì tā de qíng fù…… suí nǐ gāo xīng zěn me yàng bǎ wǒ chǔzhì bā。” tuō 'ěr sī tài duì zhè zhǒng jī qíng zhēn shì tài shú xī liǎo， wǒ men bù fáng xiǎng yī xiǎng《 zhàn zhēng yǔ hé píng》 zhōng de nà tǎ suō，《 fù huó》 zhōng de kǎ qiū suō， hái yòu zhé fú yú zuò zhě xīn zhōng de nà tóu qiáng zhuàng de xióng héng héng tā de páo xiào shēng yī zhí kùn rǎo zhe liè fū · tuō 'ěr sī tài。
mǎ dīng · dù gā 'ěr céng rèn wéi， tuō 'ěr sī tài shì zuì jù dòng chá lì de zuò jiā， tā de mù guāng shí fēn ruì lì， néng gòu chuān tòu shēng huó de bì lěi 'ér fā xiàn yǐn hán qí zhōng de " zhēn shí "。 dàn wǒ què qīng xiàng yú rèn wéi， cóng gēn běn shàng lái shuō， tuō 'ěr sī tài shì yī gè tú jiě zì wǒ guān niàn de zuò jiā， bù guǎn shì zǎo qī hái shì wǎn qī zuò pǐn， zhù tí shàng de lián xì shí fēn qīng xī， yóu qí shì《 zhàn zhēng yǔ hé píng》、《 ān nà · kǎ liè ní nà》 liǎng bù jù zhù， qí zhōng de rén wù、 qíng jié、 zhù tí duō yòu léi tóng zhī chù， tā de guān niàn de jiāng yù bìng bù kuān guǎng， tā de sù cái yě bù fēng fù， dàn zhè bìng bù fáng 'ài tuō 'ěr sī tài de wěi dà， zhèng rú sài wàn tí sī de xiá 'ài zhù tí bìng bù fáng 'ài《 táng jí hē dé》 de wěi dà yī yàng。 xiǎo shuō de zhēn shí lái zì tā de zhì huì， mǐn gǎn 'ér hào hàn de xīn líng， ér gèng wéi zhòng yào de shì tā de chéng shí。 wéi tè gēn sī tǎn zài dú wán《 hā zé · mù lā tè》 yǐ hòu céng gǎn kǎi dì shuō：“ tā ( tuō 'ěr sī tài ) shì yī gè zhēn zhèng de rén， tā yòu quán xiě zuò。”
Widely regarded as a pinnacle in realist fiction, Tolstoy considered Anna Karenina his first true novel, when he came to consider War and Peace to be more than a novel. The character of Anna was likely inspired, in part, by Maria Hartung (Russian spelling Maria Gartung, 1832–1919), the elder daughter of the Russian poet Alexander Pushkin.[citation needed] Soon after meeting her at dinner, Tolstoy began reading Pushkin's prose and once had a fleeting daydream of "a bare exquisite aristocratic elbow", which proved to be the first intimation of Anna's character.
Although Russian critics dismissed the novel on its publication as a "trifling romance of high life", Fyodor Dostoevsky declared it to be "flawless as a work of art". His opinion was shared by Vladimir Nabokov, who especially admired "the flawless magic of Tolstoy's style", and by William Faulkner, who described the novel as "the best ever written".[citation needed] The novel is currently enjoying popularity as demonstrated by a recent poll of 125 contemporary authors by J. Peder Zane, published in 2007 in The Top Ten, which declared that Anna Karenina is the "greatest novel ever written".
The title: Anna Karenin vs Anna Karenina
The title has been translated as both Anna Karenin and Anna Karenina. The first instance naturalizes the Russian name into English, whereas the second is a direct transliteration of the actual Russian name. As Vladimir Nabokov explains: "In Russian, a surname ending in a consonant acquires a final 'a' (except for the cases of such names that cannot be declined) when designating a woman".
Nabokov favours the first convention - removing the Russian 'a' to naturalize the name into English - but subsequent translators mostly allow Anna's actual Russian name to stand. Larissa Volokhonsky, herself a Russian, prefers the second option, while other translators like Constance Garnett and Rosemary Edmonds prefer the first solution.
Main characters
* Anna Arkadyevna Karenina – Stepan Oblonsky's sister, Karenin's wife and Vronsky's lover. She is also a minor character in War and Peace. [citation needed]
* Count Alexei Kirillovich Vronsky – Lover of Anna
* Prince Stepan Arkadyevitch Oblonsky ("Stiva") – a civil servant and Anna's brother.
* Princess Darya Alexandrovna Oblonskaya ("Dolly") – Stepan's wife
* Alexei Alexandrovich Karenin – a senior statesman and Anna's husband, twenty years her senior.
* Konstantin Dmitrievitch Levin ("Kostya") – Kitty's suitor and then husband.
* Nikolai Levin – Konstantin's brother
* Sergius Ivanich Koznyshev – Konstantin's half-brother
* Princess Ekaterina Alexandrovna Shcherbatskaya ("Kitty") – Dolly's younger sister and later Levin's wife
* Princess Elizaveta ("Betsy") – Anna's wealthy, morally loose society friend and Vronsky's cousin
* Countess Lidia Ivanovna – Leader of a high society circle that includes Karenin, and shuns Princess Betsy and her circle. She maintains an interest in the mystical and spiritual
* Countess Vronskaya – Vronsky's mother
* Sergei Alexeyitch Karenin ("Seryozha") – Anna and Karenin's son
* Anna ("Annie") – Anna and Vronsky's daughter
* Varenka – a young orphaned girl, semi-adopted by an ailing Russian noblewoman, whom Kitty befriends while abroad
Plot summary
The novel is divided into eight parts. The novel begins with one of its most quoted lines:
“ Happy families are all alike; each unhappy family is unhappy in its own way. ”
Part 1
The novel opens with a scene introducing Prince Stepan Arkadyevitch Oblonsky, "Stiva", a Moscow aristocrat and civil servant who has been unfaithful to his wife Darya Alexandrovna, nicknamed "Dolly". Dolly has discovered his affair - with the family's governess - and the house and family are in turmoil. Stiva's affair and his reaction to his wife's distress shows an amorous personality that he cannot seem to suppress.
In the midst of the turmoil, Stiva reminds the household that his married sister, Anna Arkadyevna Karenina is coming to visit from Saint Petersburg.
Meanwhile, Stiva's childhood friend Konstantin Dmitrievich Levin ("Kostya") arrives in Moscow with the aim of proposing to Dolly's youngest sister Princess Katerina Alexandrovna Shcherbatskaya, "Kitty". Levin is a passionate, restless but shy aristocratic landowner who, unlike his Moscow friends, chooses to live in the country on his large estate. He discovers that Kitty is also being pursued by Count Alexei Kirillovich Vronsky, an army officer.
At the railway station to meet Anna, Stiva bumps into Vronsky. Vronsky is there to meet his mother. Anna and the Countess Vronskaya have travelled together in the same carriage and talked together. As the family members are reunited, and Vronsky sees Anna for the first time, a railway worker accidentally falls in front of a train and is killed. Anna interprets this as an "evil omen." Vronsky is infatuated with Anna. Anna, who is uneasy about leaving her young son, Seryozha, alone for the first time, talks openly and emotionally to Dolly about Stiva's affair and convinces Dolly that her husband still loves her, despite his infidelity. Dolly is moved by Anna's speeches and decides to forgive Stiva.
Dolly's youngest sister, Kitty, comes to visit her sister and Anna. Kitty, just 18, is in her first season as a debutante and is expected to make an excellent match with a man of her social standing. Vronsky has been paying her considerable attention, and she expects to dance with him at a ball that evening. Kitty is very struck by Anna's beauty and personality and is infatuated with her. When Levin proposes to Kitty at her home, she clumsily turns him down, because she believes she is in love with Vronsky and that he will propose to her.
At the ball, Vronsky pays Anna considerable attention, and dances with her, choosing her as a partner instead of Kitty, who is shocked and heartbroken. Kitty realises that Vronsky has fallen in love with Anna, and that despite his overt flirtations with her he has no intention of marrying her and in fact views his attentions to her as mere amusement, believing that she does the same.
Anna, shaken by her emotional and physical response to Vronsky, returns at once to Saint Petersburg. Vronsky travels on the same train. During the overnight journey, the two meet and Vronsky confesses his love. Anna refuses him, although she is deeply affected by his attentions to her.
Levin, crushed by Kitty's refusal, returns to his estate farm, abandoning any hope of marriage, and Anna returns to her husband Alexei Alexandrovich Karenin, a senior government official, and their son Sergei ("Seryozha") in Petersburg.
Tatiana Samoilova as Anna in the 1967 Soviet screen version of Tolstoy's novel.
On seeing her husband for the first time since her encounter with Vronsky, Anna realises that she finds him repulsive, noting the odd way that his ears press against his hat.
Part 2
The Shcherbatskys consult doctors over Kitty's health which has been failing since she realizes that Vronsky did not love her and that he did not intend to propose marriage to her, and that she refused and hurt Levin, whom she cares for, in vain. A specialist doctor advises that Kitty should go abroad to a health spa to recover. Dolly speaks to Kitty and understands that she is suffering because of Vronsky and Levin. Kitty, humiliated by Vronsky and tormented by her rejection of Levin, upsets her sister by referring to Stiva's infidelity and says she could never love a man who betrayed her.
Stiva stays with Levin on his country estate when he makes a sale of a plot of land, to provide funds for his expensive city lifestyle. Levin is upset at the poor deal he makes with the buyer and his lack of understanding of the rural lifestyle.
In St. Petersburg, Anna begins to spend more time with the fashionable socialite and gossip Princess Betsy and her circle, in order to meet Vronsky, Betsy's cousin. Vronsky continues to pursue Anna. Although Anna initially tries to reject him, she eventually succumbs to his attentions.
Karenin warns Anna of the impropriety of paying too much attention to Vronsky in public, which is becoming a subject of society gossip. He is concerned about his and his wife's public image, although he believes that Anna is above suspicion.
Vronsky, a keen horseman, takes part in a steeplechase event, during which he rides his mare Frou-Frou too hard and she falls and breaks her back. Vronsky escapes with minimal injuries but is devastated that his mare must be shot. Anna tells him that she is pregnant with his child, and is unable to hide her distress when Vronsky falls from the racehorse. Karenin is also present at the races and remarks to her that her behaviour is improper. Anna, in a state of extreme distress and emotion, confesses her affair to her husband. Karenin asks her to break off the affair to avoid society gossip and believes that their relationship can then continue as previously.
Kitty goes with her mother to a resort at a German spa to recover from her ill health. There they meet the Pietist Madame Stahl and the saintly Varenka, her adopted daughter. Influenced by Varenka, Kitty becomes extremely pious, but is disillusioned by her father`s criticism. She then returns to Moscow.
Part 3
Levin continues his work on his large country estate, a setting closely tied to his spiritual thoughts and struggles. Levin wrestles with the idea of falseness, wondering how he should go about ridding himself of it, and criticising what he feels is falseness in others. He develops ideas relating to agriculture and the unique relationship between the agricultural labourer and his native land and culture. He believes that the agricultural reforms of Europe will not work in Russia because of the unique culture and personality of the Russian peasant.
Levin pays Dolly a visit, and she attempts to understand what happened between him and Kitty and to explain Kitty's behaviour to him. Levin is very agitated by Dolly's talk about Kitty, and he begins to feel distant from her as he perceives her behaviour towards her children as false. Levin resolves to forget Kitty and contemplates the possibility of marriage to a peasant woman. However, a chance sighting of Kitty in her carriage as she travels to Dolly's house makes Levin realise he still loves her.
In St. Petersburg, Karenin crushes Anna by refusing to separate from her. He insists that their relationship remain as it was and threatens to take away their son Seryozha if she continues to pursue her affair with Vronsky.
Part 4
Anna continues to pursue her affair with Vronsky. Karenin begins to find the situation intolerable. He talks with a lawyer about obtaining a divorce. In Russia at that time, divorce could only be requested by the innocent party in an affair, and required either that the guilty party confessed (which would ruin Anna's position in society) or that the guilty party was discovered in the act. Karenin forces Anna to give him some letters written to her by Vronsky as proof of the affair. However, Anna's brother Stiva argues against it and persuades Karenin to speak with Dolly first.
Dolly broaches the subject with Karenin and asks him to reconsider his plans to divorce Anna. She seems to be unsuccessful, but Karenin changes his plans after hearing that Anna is dying after a difficult childbirth. At her bedside, Karenin forgives Vronsky. Vronsky, embarrassed by Karenin's magnanimity, attempts suicide by shooting himself. He fails in his attempt but wounds himself badly.
Anna recovers, having given birth to a daughter, Anna ("Annie"). Although her husband has forgiven her, and has become attached to the new baby, Anna cannot bear living with him. She hears that Vronsky is about to leave for a military posting in Tashkent and becomes desperate. Stiva finds himself pleading to Karenin on her behalf to free her by giving her a divorce. Vronsky is intent on leaving for Tashkent, but changes his mind after seeing Anna.
The couple leave for Europe - leaving behind Anna's son Seryozha - without obtaining a divorce.
Much more straightforward is Stiva's matchmaking with Levin: he arranges a meeting between Levin and Kitty which results in their reconciliation and betrothal.
Part 5
Levin and Kitty marry and immediately go to start their new life together on Levin's country estate. The couple are happy but do not have a very smooth start to their married life and take some time to get used to each other. Levin feels some dissatisfaction at the amount of time Kitty wants to spend with him and is slightly scornful of her preoccupation with domestic matters, which he feels are too prosaic and not compatible with his romantic ideas of love.
A few months later, Levin learns that his brother Nikolai is dying of consumption. Levin wants to go to him, and is initially angry and put out that Kitty wishes to accompany him. Levin feels that Kitty, whom he has placed on a pedestal, should not come down to earth and should not mix with people from a lower class. Levin assumes her insistence on coming must relate to a fear of boredom from being left alone, despite her true desire to support her husband in a difficult time. Kitty persuades him to take her with him after much discussion, where she proves a great help nursing Nikolai for weeks over his slow death. She also discovers she is pregnant.
In Europe, Vronsky and Anna struggle to find friends who will accept their situation. Whilst Anna is happy to be finally alone with Vronsky, he feels suffocated. They cannot socialize with Russians of their own social set and find it difficult to amuse themselves. Vronsky, who believed that being with Anna in freedom was the key to his happiness, finds himself increasingly bored and unsatisfied. He takes up painting, and makes an attempt to patronize an émigré Russian artist of genius. Vronsky cannot see that his own art lacks talent and passion, and that his clever conversation about art is an empty shell. Bored and restless, Anna and Vronsky decide to return to Russia.
In Petersburg, Anna and Vronsky stay in one of the best hotels but take separate suites. It becomes clear that whilst Vronsky is able to move in Society, Anna is barred from it. Even her old friend, Princess Betsy - who has had affairs herself - evades her company. Anna starts to become very jealous and anxious that Vronsky no longer loves her.
Karenin is comforted – and influenced – by the strong-willed Countess Lidia Ivanovna, an enthusiast of religious and mystic ideas fashionable with the upper classes. She counsels him to keep Seryozha away from Anna and to make him believe that his mother is dead. However, Seryozha refuses to believe that this is true. Anna manages to visit Seryozha unannounced and uninvited on his ninth birthday, but is discovered by Karenin.
Anna, desperate to resume at least in part her former position in Society, attends a show at the theatre at which all of Petersburg's high society are present. Vronsky begs her not to go, but is unable to bring himself to explain to her why she cannot go. At the theatre, Anna is openly snubbed by her former friends, one of whom makes a deliberate scene and leaves the theatre. Anna is devastated.
Unable to find a place for themselves in Petersburg, Anna and Vronsky leave for Vronsky's country estate.
Part 6
Dolly, her mother the Princess Scherbatskaya, and Dolly's children spend the summer with Levin and Kitty on the Levins' country estate. The Levins' life is simple and unaffected, although Levin is uneasy at the "invasion" of so many Scherbatskys. He is able to cope until he is consumed with an intense jealousy when one of the visitors, Veslovsky, flirts openly with the pregnant Kitty. Levin tries to overcome his jealousy but eventually succumbs to it and in an embarrassing scene evicts Veslovsky from his house. Veslovsky immediately goes to stay with Anna and Vronsky, whose estate is close by.
Dolly also pays a short visit to Anna at Vronsky's estate. The difference between the Levins' aristocratic but simple home life and Vronsky's overtly luxurious and lavish country home strikes Dolly, who is unable to keep pace with Anna's fashionable dresses or Vronsky's extravagant spending on the hospital he is building. However, all is not quite well with Anna and Vronsky. Dolly is also struck by Anna's anxious behaviour and new habit of half closing her eyes when she alludes to her difficult position. When Veslovsky flirts openly with Anna, she plays along with him even though she clearly feels uncomfortable. Vronsky makes an emotional request to Dolly, asking her to convince Anna to divorce her husband so that the two might marry and live normally. Dolly broaches the subject with Anna, who appears not to be convinced. However, Anna is becoming intensely jealous of Vronsky, and cannot bear it when he leaves her for short excursions. The two have started to quarrel about this and when Vronsky leaves for several days of provincial elections, a combination of boredom and suspicion convinces Anna she must marry him in order to prevent him from leaving her. She writes to Karenin, and she and Vronsky leave the countryside for Moscow.
Part 7
The Levins are in Moscow for Kitty's confinement. Despite initial reservations, Levin quickly gets used to the fast-paced, expensive and frivolous Moscow society life. He starts to accompany Stiva to his Moscow gentleman's club, where drinking and gambling are popular pastimes. At the club, Levin meets Vronsky and Stiva introduces them. Levin and Stiva pay a visit to Anna, who is occupying her empty days by being a patroness to an orphaned English girl. Levin is uneasy about the visit and not sure it is the proper thing to do, and Anna easily puts Levin under her spell. When he confesses to Kitty where he has been, she accuses him falsely of falling in love with Anna. The couple are reconciled, realising that Moscow life has had a negative, corrupting effect on Levin.
Anna, who has made a habit of inducing the young men who visit her to fall in love with her, cannot understand why she can attract a man like Levin, who has a young and beautiful new wife, but cannot attract Vronsky in the way she wants to. Anna's relationship with Vronsky is under increasing strain, as whilst he can move freely in Society - and continues to spend considerable time doing so to stress to Anna his independence as a man - she is excluded from all her previous social connections. She is estranged from baby Annie, her child with Vronsky and her increasing bitterness, boredom, jealousy and emotional strain cause the couple to argue. Anna uses morphine to help her sleep, a habit we learned she had begun during her time living with Vronsky at his country estate. Now she has become dependent on it.
After a long and difficult labour, Kitty gives birth to a son, Dmitri, nicknamed Mitya. Levin is both extremely moved and horrified by the sight of the tiny, helpless baby.
Stiva visits Karenin to encourage his commendation for a new post he is seeking. During the visit he asks him to grant Anna a divorce, but Karenin's decisions are now governed by a French "clairvoyant" – recommended by Lidia Ivanovna – who apparently has a vision in his sleep during Stiva's visit, and gives Karenin a cryptic message that is interpreted as meaning that he must decline the request for divorce.
Anna becomes increasingly jealous and irrational towards Vronsky, whom she suspects of having love affairs with other women, and of giving in to his mother's plans to marry him off to a rich Society woman. There is a bitter row, and Anna believes that the relationship is over. She starts to think of suicide as an escape from her torments. In her mental and emotional confusion, she sends a telegram to Vronsky asking him to come home to her, and pays a visit to Dolly and Kitty. Anna's confusion overcomes her, and in a parallel to the railway worker's accidental death in part 1, she commits suicide by throwing herself in the path of a train.
Part 8
Stiva gets the job he desired so much, and Karenin takes custody of baby Annie. A group of Russian volunteers, including Vronsky, who does not plan to return alive, depart from Russia to fight in the Orthodox Serbian revolt that has broken out against the Turks. Meanwhile, a lightning storm occurs at Levin's estate while his wife and newborn son are outside, causing him to fear for the safety of both of them, and to realize that he does indeed love his son similarly to how he loves Kitty. Also, Kitty's family concerns, namely, that a man as altruistic as her husband does not consider himself to be a Christian, are also addressed when Levin decides after talking to a peasant that devotion to living righteously as decreed by the Christian God is the only justifiable reason for living. After coming to this decision, but without telling anyone about it, he is initially displeased that this change of thought does not bring with it a complete transformation of his behavior to be more righteous. However, at the end of the book he comes to the conclusion that this fact, and the fact that there are other religions with similar views on goodness that are not Christian, are acceptable and that neither of these things diminish the fact that now his life can be meaningfully oriented toward goodness.
Style
Tolstoy's style in Anna Karenina is considered by many critics to be transitional, forming a bridge between the realist and modernist novel. The novel is narrated from a third-person-omniscient perspective, shifting between the perspectives of several major characters, though most frequently focusing on the opposing lifestyles and attitudes of its central protagonists of Anna and Levin. As such, each of the novel's eight sections contains internal variations in tone: it assumes a relaxed voice when following Stepan Oblonsky's thoughts and actions and a much more tense voice when describing Levin's social encounters. Much of the novel's seventh section depicts Anna's thoughts fluidly, following each one of her ruminations and free associations with its immediate successor. This groundbreaking use of stream-of-consciousness would be utilised by such later authors as James Joyce, Virginia Woolf, and William Faulkner.
Also of significance is Tolstoy's use of real events in his narrative, to lend greater verisimilitude to the fictional events of his narrative. Characters debate significant sociopolitical issues affecting Russia in the latter half of the nineteenth century, such as the place and role of the Russian peasant in society, education reform, and women's rights. Tolstoy's depiction of the characters in these debates, and of their arguments, allows him to communicate his own political beliefs. Characters often attend similar social functions to those which Tolstoy attended, and he includes in these passages his own observations of the ideologies, behaviors, and ideas running through contemporary Russia through the thoughts of Levin. The broad array of situations and ideas depicted in Anna Karenina allows Tolstoy to present a treatise on his era's Russia, and, by virtue of its very breadth and depth, all of human society. This stylistic technique, as well as the novel's use of perspective, greatly contributes to the thematic structure of Anna Karenina.[citation needed]
Major themes
Anna Karenina is commonly thought to explore the themes of hypocrisy, jealousy, faith, fidelity, family, marriage, society, progress, carnal desire and passion, and the agrarian connection to land in contrast to the lifestyles of the city. Translator Rosemary Edmonds wrote that Tolstoy doesn't explicitly moralise in the book, he allows his themes to emerge naturally from the "vast panorama of Russian life." She also writes that a key message is that "no one may build their happiness on another's pain," which is why things don't work out for Anna.
Levin is often considered as a semi-autobiographical portrayal of Tolstoy's own beliefs, struggles and life events. Tolstoy's first name is "Lev", and the Russian surname "Levin" means "of Lev". According to footnotes in the Pevear/Volokhonsky translation, the viewpoints Levin supports throughout the novel in his arguments match Tolstoy's outspoken views on the same issues. Moreover, according to W. Gareth Jones, Levin proposed to Kitty in the same way as Tolstoy to Sophie Behrs. Additionally, Levin's request that his fiancée read his diary as a way of disclosing his faults and previous sexual encounters, parallels Tolstoy's own requests to his fiancée Sophie Behrs.
Anna Karenina and Tolstoy's A Confession
Alla Tarasova as Anna Karenina in 1937
Many of the novel's themes can also be found in Tolstoy's A Confession, his first-person rumination about the nature of life and faith, written just two years after the publication of Anna Karenina.
In this book, Tolstoy describes his dissatisfaction with the hypocrisy of his social class:
“ Every time I tried to display my innermost desires – a wish to be morally good – I met with contempt and scorn, and as soon as I gave in to base desires I was praised and encouraged. ”
Tolstoy also details the acceptability of adulterous "liaisons" in aristocratic Russian society:
“ A dear old aunt of mine, the purest of creatures, with whom I lived, was always saying that she wished for nothing as much as that I would have a relationship with a married woman. "Rien ne forme un jeune homme comme une liaison avec une femme comme il faut." ("Nothing educates a young man better than an affair with a woman established in society.") ”
Another theme in Anna Karenina is that of the aristocratic habit of speaking French instead of Russian, which Tolstoy suggests is another form of society's falseness. When Dolly insists on speaking French to her young daughter, Tanya, she begins to seem false and tedious to Levin, who finds himself unable to feel at ease in her house.
In a passage that could be interpreted as a sign of Anna's eventual redemption in Tolstoy's eyes, the narrator explains:
“ For in the end what are we, who are convinced that suicide is obligatory and yet cannot resolve to commit it, other than the weakest, the most inconsistent and, speaking frankly, the most stupid of people, making such a song and dance with our banalities? ”
A Confession contains many other autobiographical insights into the themes of Anna Karenina. A public domain version of it is here.
Film, television, and theatrical adaptations
For more details on this topic, see Adaptations of Anna Karenina.
* Operas based on Anna Karenina have been written by Sassano (Naples, 1905), Leoš Janáček (unfinished, 1907), Granelli (1912), E. Malherbe (unperformed, 1914), Jeno Hubay (Budapest, 1915), Robbiani (Rome, 1924), Goldbach (1930), Iain Hamilton (London, 1981) and David Carlson (Miami, 2007).
* Love, a 1927 silent film based loosely on the novel. The film starred Greta Garbo and John Gilbert.
* Anna Karenina, a critically acclaimed 1935 film, directed by Clarence Brown. The film stars Greta Garbo, Fredric March, and Maureen O'Sullivan.
* Anna Karenina, a 1948 film directed by Julien Duvivier with Vivien Leigh, Ralph Richardson and Kieron Moore.
* "MGM Theater Of The Air - Anna Karenina (Radio Broadcast)" (Broadcast 12/09/1949; on American radio, starring Marlene Dietrich
* "Nahr al-Hob" (or River of Love; 1960; an Egyptian movie starring Omar Sharif and Faten Hamama
* Anna Karenina, a 1967 Russian film directed by Aleksandr Zarkhi and starring Tatyana Samojlova, Nikolai Gritsenko and Vasili Lanovoy.
* Anna Karenina (1968) a ballet composed by Rodion Shchedrin
* Anna Karenina, a 1977 TV version in ten episodes. Made by the BBC it was directed by Basil Coleman and starred Nicola Pagett, Eric Porter and Stuart Wilson.
* Anna Karenina, a 1985 TV film directed by Simon Langton and starring Jacqueline Bisset, Paul Scofield and Christopher Reeve.
* Anna Karenina, a 1992 Broadway musical starring Ann Crumb and John Cunningham
* Anna Karenina, a 1997 British-American production filmed in St. Peterburg, Russia, by director Bernard Rose with Sophie Marceau as Anna Karenina.
* Anna Karenina, a 2000 TV version in four episodes. It was directed by David Blair and starred Helen McCrory, Stephen Dillane and Kevin McKidd.
* Anna Karenina a 2005 ballet with choreography by Boris Eifman and music drawn from the works of Pyotr Ilyich Tchaikovsky.
Anna Karenina in literature
* Quirk Classics transformed Anna Karenina into the book 'Android Karenina' (other past transformations have included 'Pride and Prejudice and Zombies' and 'Sense and Sensibility and Sea Monsters')
* The novel is referenced in Vladimir Nabokov's Ada or Ardor: A Family Chronicle.
* Repeated reference is made explicitly to Leo Tolstoy and Anna Karenin in Muriel Barbery's Elegance of the Hedgehog
* Anna Karenina is also mentioned in R. L. Stine's Goosebumps series Don't Go To Sleep.
* Mikhail Bulgakov makes reference to the Oblonsky household and Tolstoy in The Master and Margarita.
* In Jasper Fforde's novel Lost in a Good Book, a recurring joke is two unnamed "crowd-scene" characters from Anna Karenina discussing its plot.
* In the short-story "Sleep" by Haruki Murakami, the main character, an insomniac housewife, spends much time reading through and considering "Anna Karenina". Furthermore, in the short story "Super-Frog Saves Tokyo", by the same author, the character of Frog references "Anna Karenina" when discussing how to beat Worm.
* Martin Amis's character Lev, in the novel House of Meetings, compares the protagonist with Anna Karenina's Vronsky.
* In the novel The Unbearable Lightness of Being Anna Karenina is compared with the novel like beauty of life, and Tereza arrives at Tomas's apartment with a copy of the book under her arm. In addition, Tereza and Tomas have a pet dog named Karenin, after Anna's husband.
* In the novel What Happened to Anna K. Irina Reyn loosely transfers the Anna Karenina story to a setting in modern-day New York City.
* Anna Karenina plays a central role in Nilo Cruz's Pulitzer Prize-winning play Anna in the Tropics (2002), set in 1929, as a new lector, Juan Julian, reads the text as background for cigar rollers in the Ybor City section of Tampa, FL. As he reads the story of adultery, the workers' passions are inflamed, and end in tragedy like Anna's.
* In "The Slippery Slope", the 10th book in A Series of Unfortunate Events by Lemony Snicket, the Baudelaire orphans Violet, Klaus and the third Quagmire triplet Quigley need to use the central theme of "Anna Karenina" as the final password to open the Vernacularly Fastened Door leading to the V.F.D. Headquarters. Klaus remembered how his mother had read it to him one summer when he was young as a summer reading book. Klaus summarized the theme with these words: "The central theme of Anna Karenina is that a rural life of moral simplicity, despite its monotony, is the preferable personal narrative to a daring life of impulsive passion, which only leads to tragedy." Esme Squalor later said she once was supposed to read the book over the summer, but she decided it would never help her in her life and threw it in the fireplace.
* Guns, Germs, and Steel (by Jared Diamond) has a chapter (#9) on the domestication of large mammals, titled "Zebras, Unhappy Marriages, and the Anna Karenina Principle." This chapter begins with a variation on the quote, above.
* in Nicholas Sparks's book The Last Song, the main character, Ronnie, reads Anna Karenina and other Tolstoy books throughout the story.
Further reading
Translations
* Anna Karenina, Translated by Constance Garnett. Still widely reprinted.
* Anna Karenina, Translated by Richard Pevear and Larissa Volokhonsky (Allen Lane/Penguin, London, 2000)
* Anna Karénina, Translated by Margaret Wettlin (Progress Publishers, 1978)
* Anna Karenina, Translated by Joel Carmichael (Bantam Books, New York, 1960)
* Anna Karenina, Translated by David Magarshack (A Signet Classic, New American Library, New York and Scarborough, Ontario, 1961)
* Anna Karenina, Translated by Louise and Aylmer Maude (Oxford University Press, Oxford, 1918)
* Anna Karenin, Translated by Rosemary Edmonds (Penguin Classics, Harmondsworth, Middlesex, 1954)
* Anna Karénina, Translated by Nathan Haskell Dole (Thomas Y. Crowell & Co., New York, 1886)
* Anna Karenina, Translated by Kyril Zinovieff (Oneworld Classics 2008) ISBN 978-1-84749-059-9
Biographical and literary criticism
* Bakhtin, Mikhail, The Dialogic Imagination, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (University of Texas Press, Austin, 1981)
* Bayley, John, Tolstoy and the Novel (Chatto and Windus, London, 1966)
* Berlin, Isaiah, The Hedgehog and the Fox: An Essay on Tolstoy's View of History (Simon and Schuster, New York, 1966; Weidenfeld and Nicolson, London, 1967)
* Eikhenbaum, Boris, Tolstoi in the Seventies, trans. Albert Kaspin (Ardis, Ann Arbor, 1982)
* Evans, Mary, Anna Karenina (Routledge, London and New York, 1989)
* Gifford, Henry, Tolstoy (Oxford University Press, Oxford, 1982)
* Gifford, Henry (ed) Leo Tolstoy (Penguin Critical Anthologies, Harmondsworth, 1971)
* Leavis, F. R., Anna Karenina and Other Essays (Chatto and Windus, London, 1967)
* Mandelker, Amy, Framing 'Anna Karenina': Tolstoy, the Woman Question, and the Victorian Novel (Ohio State University Press, Columbus, 1993)
* Morson,Gary Saul, Anna Karenina in our time: seeing more wisely (Yale University Press 2007) read parts at Google-Books
* Nabokov, Vladimir, Lectures on Russian Literature (Weidenfeld and Nicolson, London and Harcourt Brace Jovanovich, New York, 1981)
* Orwin, Donna Tussing, Tolstoy's Art and Thought, 1847-1880 (Princeton University Press, Princeton, 1993)
* Speirs, Logan, Tolstoy and Chekhov (Cambridge University Press, Cambridge, 1971)
* Strakhov, Nikolai, N., "Levin and Social Chaos", in Gibian, ed., (W.W. Norton & Company New York, 2005).
* Steiner, George, Tolstoy or Dostoevsky: An Essay in Contrast (Faber and Faber, London, 1959)
* Thorlby, Anthony, Anna Karenina (Cambridge University Press, Cambridge and New York, 1987)
* Tolstoy, Leo, Correspondence, 2. vols., selected, ed. and trans. by R. F. Christian (Athlone Press, London and Scribner, New York, 1978)
* Tolstoy, Leo, Diaries, ed. and trans. by R. F. Christian (Athlone Press, London and Scribner, New York, 1985)
* Tolstoy, Sophia A., The Diaries of Sophia Tolstoy, ed. O. A. Golinenko, trans. Cathy Porter (Random House, New York, 1985)
* Turner, C. J. G., A Karenina Companion (Wilfrid Laurier University Press, Waterloo, 1993)
* Wasiolek, Edward, Critical Essays on Tolstoy (G. K. Hall, Boston, 1986)
* Wasiolek, Edward, Tolstoy's Major Fiction (University of Chicago Press, Chicago, 1978)
《 ān nà · kǎ liè ní nà》 - jiǎn jiè
zài tuō 'ěr sī tài quán bù zuò pǐn zhōng，《 zhàn zhēng yǔ hé píng》、《 ān nà · kǎ liè ní nà》、《 fù huó》 shì sān gè lǐ chéng bēi， yě shì tā de sān bù dài biǎo zuò pǐn。《 ān nà · kǎ liè ní nà》 zài zhè sān bù dài biǎo zuò zhōng yòu qí tè shū de zhòng yào xìng， tā shì sān bù jù zhù zhī zhōng yì shù shàng zuì wéi wán zhěng de yī bù， bìng qiě tǐ xiàn liǎo tuō shì sī xiǎng hé yì shù fā zhǎn dào lù de guò dù yǔ zhuǎn biàn， kě yǐ chēng zhī wéi dài biǎo zuò zhōng de dài biǎo zuò。 tā tōng guò nǚ zhù rén gōng 'ān nà zhuī qiú 'ài qíng 'ér shī bài de bēi jù， hé liè wén zài nóng cūn miàn lín wēi jī 'ér jìn xíng de gǎi gé yǔ tàn suǒ zhè liǎng tiáo xiàn suǒ， miáo huì liǎo 'é guó cóng mò sī kē dào wài shěng xiāng cūn guǎng kuò 'ér fēng fù duō cǎi de tú jǐng， xiān hòu miáo xiě liǎo 150 duō gè rén wù， shì yī bù shè huì bǎi kē quán shū shì de zuò pǐn。
《 ān nà · kǎ liè ní nà》 - zuò jiā jiǎn jiè
liè fū · ní gǔ lā yé wéi qí · tuō 'ěr sī tài（ 1828-1910） shì 'é guó pī pàn xiàn shí zhù yì wén xué zuì wěi dà de dài biǎo， shì jiè wén xué shǐ shàng zuì wěi dà de zuò jiā zhī yī。 zài shì jiè wén tán zhōng kān yǔ suō shì bǐ yà、 gē dé、 bā 'ěr zhā kè bìng jiān 'ér lì de zuò jiā dāng shǒu tuī liè fū tuō 'ěr sī tài。 tā nà sān bù hóng piān jù zhù wú yí dài biǎo liǎo 19 shì jì shì jiè xiàn shí zhù yì wén xué de zuì gāo shuǐ píng。 liè fū · tuō 'ěr sī tài shì 'é guó wén xué shǐ shàng zuì wěi dà de wén háo zhī yī， tā zài wén xué fāng miàn de chéng jiù shòu dào jǔ shì zhǔ mùdì rèn tóng。
《 ān nà · kǎ liè ní nà》 - nèi róng gěng gài
《 ān nà · kǎ liè ní nà》 tōng guò nǚ zhù rén gōng 'ān nà zhuī qiú 'ài qíng 'ér shī bài de bēi jù， hé liè wén zài nóng cūn miàn lín wēi jī 'ér jìn xíng de gǎi gé yǔ tàn suǒ zhè liǎng tiáo xiàn suǒ， miáo huì liǎo 'é guó cóng mò sī kē dào wài shěng xiāng cūn guǎng kuò 'ér fēng fù duō cǎi de tú jǐng， xiān hòu miáo xiě liǎo 150 duō gè rén wù， shì yī bù shè huì bǎi kē quán shū shì de zuò pǐn。
gù shì yǐ shuāng xiàn jìn xíng， yī wéi 'ān nà， yī wéi liè wén。 tuō shì yǐ 'èr rén wéi zhóu， miáo xiě chū bù tóng de hūn yīn hé jiā tíng shēng huó， gèng jìn yī bù zé xiě chū dāng shí 'é guó zhèng zhì， zōng jiào， nóng shì jǐng xiàng。
zài wén zhōng， liè wén wéi tuō shì zhī huà shēn， dài biǎo zhe 1860,70 nián dài de shè huì zhuǎn xíng cuī shēng zhě。 liè wén zhòng shì nóng shì， duì guì zú shēng huó bù shèn tóu rù， zhù zài xiāng cūn hé zhǐ dǎo nóng mín gōng zuò。 liè wén rè 'ài jí dì， qǐ chū qiú hūn bèi jù， dàn jǐ jīng bō zhé， zhōng bào dé měi rén guī， bìng yī tóng zhù zài xiāng xià。
nǚ zhù rén wēng 'ān nà， nián qīng shí hé zhàng fū yà lì shān dà ． kǎ liè níng（ AlexeiAlexandrovichKarenin） jié hé， běn hūn yīn měi mǎn， yù yòu yī zǐ。 kǎ liè níng zài shì tú shàng chéng gōng， ān nà yì yú jiāo jì chǎng shàng guāng máng sì shè。 gù shì shǐ yú 'ào bù lǎng sī jī gōng jué hé yīng guó jiā tíng nǚ jiào shī liàn 'ài， yǔ qī zǐ dào lì nào fān， qiú zhù yú qí mò 'ān nà。 ān nà cóng shèng． bǐ dé bǎo dào mò sī kē tì 'èr rén tiáojiě， zài chē zhàn rèn shí liǎo nián qīng jūn guān fó lún sī jī（ AlexeiKirillovichVronsky）。 bìng zài mò sī kē yī cì wǔ huì zhōng hé fó lún sī jī fā shēng zhì mìng de liàn qíng， zì cǐ bù néng zì bá， zuì hòu shēn bài míng liè bìng zì shā shēn wáng。 fó lún sī jī wéi qiú dé měi rén， zhuī suí 'ān nà zhì shèng bǐ dé bǎo， zuì hòu liǎng rén xiàn rù rè liàn。 tā liǎ pín pín yōu huì， zuì hòu 'ān nà huái yùn， bìng xiàng zhàng fū chéng rèn liǎo sī qíng。 kǎ liè níng yī dù xiǎng yǔ qī zǐ fēn jū， dàn wéi cún miàn zǐ， jù jué lí hūn bìng yào qiú qī zǐ zhōng zhǐ liàn qíng。 rán 'ér 'ān nà fēn miǎn shí jǐ hū nán chǎn 'ér bīn lín sǐ wáng， zài sǐ wáng miàn qián， kǎ liè níng yuán liàng liǎo tā。 ān nà bìng hòu wú fǎ yā yì zì jǐ duì fó lún sī jī de 'ài， zhōng yú lí jiā chū zǒu。 fó lún sī jī dài zhe 'ān nà qián wǎng yì dà lì lǚ xíng， zhè shí 'ān nà gǎn dào wú bǐ de xìng fú。 qí hòu huí dào 'é luó sī， yú 'ér zǐ shēng rì shí， àn nà bù zhù tōu tōu huì jiàn zì jǐ de 'ér zǐ。 què wú fǎ jiàn róng yú 'é guó shè huì， shàng liú shè huì bǎ 'ān nà kàn zuò duò luò de nǚ rén， duàn jué hé tā de wǎng lái。 ān nà zhǐ dé yí jū xiāng xià， kào xiě zuò dǎ fā shí jiān。 èr rén gòng chù rì jiǔ， fó lún sī jī hé 'ān nà zài shēng huó shàng de bù xìn rèn rì zēng。 ān nà gǎn dào hěn nán guò， rèn wéi qíng rén wéi qián tú míng yù lí tā 'ér qù， jù sàng shī wàng zhī xià， ān nà wéi chǔfá fó lún sī jī， zài huǒ chē shǐ jìn shí tiào xià huǒ chē yuè tái zì shā。 zàng lǐ zhī hòu， yà lì shān dà · kǎ liè níng dài zǒu tā de nǚ 'ér， fó lún sī jī shòu dào liáng xīn de qiǎn zé， dà bìng yīcháng， hòu lái zhì yuàn cóng jūn， qián wǎng bā 'ěr gān cān zhàn， dàn qiú yī sǐ。
《 ān nà · kǎ liè ní nà》 - chuàng zuò bèi jǐng zī liào
zài shì jiè wén xué de wēi wēi qún shān zhōng， kān yǔ suō shì bǐ yà、 gē dé、 bā 'ěr zhā kè zhè jǐ zuò gāo fēng bǐ jiān 'ér lì de 'é guó zuò jiā dāng shǒu tuī liè fū · tuō 'ěr sī tài。 tuō 'ěr sī tài shì yī wèi yòu sī xiǎng de yì shù jiā， yě shì yī wèi bó xué de yì shù dà shī。 tā de zuò pǐn zhǎn xiàn de shè huì huà miàn zhī guǎng kuò， yùn hán de sī xiǎng zhī fēng ráo， róng huì de yì shù、 yǔ yán、 zhé xué、 lì shǐ、 mín sú nǎi zhì zì rán kē xué děng gè zhǒng zhī shí zhī guǎng bó， cháng cháng lìng rén wàng yáng xīng tàn。《 ān nà · kǎ liè ní nà》 shì tā de yī bù jì měi bù shèng shōu 'ér yòu bó dà jīng shēn de jù zhì。
jù dà de sī xiǎng hé yì shù jià zhí， shǐ dé zhè bù jù zhù yī fā biǎo biàn yǐn qǐ jù dà shè huì fǎn xiǎng。 tuō 'ěr sī tài bìng méi yòu jiǎn dān dì xiě yī gè nán nǚ sī tōng de gù shì， ér shì tōng guò zhè gè gù shì jiē shì liǎo 'é guó shè huì zhōng fù nǚ de dì wèi， bìng yóu cǐ lái biān tà tā de bù hé lǐ xìng。 zuò pǐn miáo xiě liǎo gè rén gǎn qíng xū yào yǔ shè huì dào dé zhī jiān de chōng tū。 1877 nián， xiǎo shuō shǒu bǎn fā xíng。 jù tóng dài rén chēng， tā bù chì shì yǐn qǐ liǎo“ yīcháng zhēn zhèng de shè huì dà bào zhà”， tā de gè gè zhāng jié dū yǐn qǐ liǎo zhěng gè shè huì de“ qiāo zú” zhù shì， jí wú xiū wú zhǐ de“ yì lùn、 tuī chóng、 fēinàn hé zhēng chǎo， fǎng fó shì qíng guān shè dào měi gè rén zuì qièshēn de wèn tí”。
dàn bù jiǔ， shè huì jiù gōng rèn tā shì yī bù liǎo bù qǐ de jù zhù， tā suǒ dá dào de gāo dù shì 'é guó wén xué cóng wèi dá dào guò de。 wěi dà zuò jiā tuó sī tuǒ yé fū sī jī xīng fèn dì píng lùn dào：“ zhè shì yī bù jìn shàn jìn měi de yì shù jié zuò， xiàn dài 'ōu zhōu wén xué zhōng méi yòu yī bù tóng lèi de dōng xī kě yǐ hé tā xiāng bǐ！” tā shèn zhì chēng tuō 'ěr sī tài wéi“ yì shù zhī shén”。 ér shū zhōng de nǚ zhù rén gōng 'ān nà · kǎ liè ní nà zé chéng wéi shì jiè wén xué shǐ shàng zuì yōu měi fēng mǎn de nǚ xìng xíng xiàng zhī yī。 zhè gè zī chǎn jiē jí fù nǚ jiě fàng de xiān fēng， yǐ zì jǐ de fāng shì zhuī qiú gè xìng de jiě fàng hé zhēn chéng de 'ài qíng， suī rán yóu yú zhì dù de zhì gù， tā de bēi jù zhǐ néng yǐ shī bài 'ér gào zhōng。 dàn tā yǐ nèi xīn tǐ yàn de shēn kè yǔ gǎn qíng de qiáng liè zhēn zhì， yǐ péng bó de shēng mìng lì hé bēi jù xìng mìng yùn 'ér kòu rén xīn xián。
《 ān nà · kǎ liè ní nà》 de gòu sī shǐ yú 1870 nián， ér dào 1873 nián tuō 'ěr sī tài cái kāi shǐ dòng bǐ。 zhè shì tā yī shēng zhōng jīng shén kùn dùn de shí qī。 zuì chū， tuō 'ěr sī tài shì xiǎng xiě yī gè shàng liú shè huì yǐ hūn fù nǚ shī zú de gù shì， dàn suí zhe xiě zuò de shēn rù， yuán lái de gòu sī bù duàn bèi xiū gǎi。 xiǎo shuō de chū bù chuàng zuò bù guò jǐn yòng liǎo duǎn duǎn de 50 tiān shí jiān biàn dé yǐ wán chéng， rán 'ér tuō 'ěr sī tài hěn bù mǎn yì， tā yòu huā fèi liǎo shù shí bèi de shí jiān lái bù duàn xiū zhèng， qián hòu jīng guò 12 cì dà de gǎi dòng， chí zhì 4 nián zhī hòu cái zhèng shì chū bǎn。 zhè shí， xiǎo shuō fèi qì de shǒu gǎo gāo dá 1 mǐ duō！“ quán bù dū yīngdāng gǎi xiě， zài gǎi xiě”， zhè shì tuō 'ěr sī tài jīng cháng guà zài zuǐ biān de yī jù huà。 xiǎn rán， yī bù《 ān nà · kǎ liè ní nà》 yǔ qí shuō shì xiě chū lái de， bù rú shuō shì gǎi chū lái de。
zhèng shì zài zuò zhě jìn hū kē kè de zhuī qiú zhōng， xiǎo shuō de zhòng xīn yòu liǎo jù dà de zhuǎn yí， ān nà yóu zuì chū gòu sī zhōng de“ shī liǎo zú de nǚ rén”（ tā qù wèi 'è liè、 mài nòng fēng qíng， pǐn xíng bù duān）， biàn chéng liǎo yī gè pǐn gé gāo yǎ、 gǎn yú zhuī qiú zhēn zhèng de 'ài qíng yǔ xìng fú de“ pàn nǚ” xíng xiàng， cóng 'ér chéng wéi shì jiè wén xué zhōng zuì jù fǎn kàng jīng shén de nǚ xìng zhī yī。
《 ān nà · kǎ liè ní nà》 tōng guò 'ān nà zhuī qiú 'ài qíng 'ér shī bài de bēi jù， liè wén zài nóng cūn miàn lín wēi jī 'ér jìn xíng de gǎi gé yǔ tàn suǒ zhè liǎng tiáo xiàn suǒ， miáo huì liǎo 'é guó cóng mò sī kē dào wài shěng xiāng cūn guǎng kuò 'ér fēng fù duō cǎi de tú jǐng， xiān hòu miáo xiě liǎo 150 duō gè rén wù， shì yī bù shè huì bǎi kē quán shū shì de zuò pǐn。 xiǎo shuō yì shù shàng zuì tū chū de tè diǎn shì shǒu cì chéng gōng dì cǎi yòng liǎo liǎng tiáo píng xíng xiàn suǒ hù xiāng duì zhào、 xiāng fǔ xiāng chéng de“ gǒng mén shì” jié gòu， bìng zài xīn lǐ miáo xiě shàng xì zhì rù wēi、 jīng miào jué lún。 xiǎo shuō zhōng nà dà duàn de rén wù nèi xīn dú bái， wú yí dōushì xiàn shí zhù yì miáo xiě de diǎn fàn。
《 ān nà · kǎ liè ní nà》 - rén wù xíng xiàng
ān nà
《 ān nà · kǎ liè ní nà》 shì yóu liǎng tiáo zhù yào de píng xíng xiàn suǒ hé yī tiáo lián jié xìng cì yào xiàn suǒ jié gòu 'ér chéng de， zhěng tǐ shàng fǎn yìng liǎo nóng nú zhì gǎi gé hòu“ yī qiēdōu fān liǎo yī gè shēn， yī qiēdōu gāng gāng 'ān pái xià lái” de nà gè shí dài zài zhèng zhì、 jīng jì、 dào dé、 xīn lǐ děng fāng miàn de máo dùn。 xiǎo shuō tōng guò 'ān nà héng héng kǎ liè níng héng héng wò lún sī jī xiàn suǒ zhǎn shì liǎo fēng jiàn zhù yì jiā tíng guān xì de wǎ jiě hé dào dé de lún sàng； tōng guò liè wén héng héng jí tí xiàn suǒ miáo huì chū zī běn zhù yì shì lì qīn rù nóng cūn hòu， dì zhù jīng jì miàn lín wēi jī de qíng jǐng， jiē shì chū zuò zhě zhí zhe dì tàn qiú chū lù de tòng kǔ xīn qíng。 ér dào lì héng héng 'ào bó lǎng sī jī zhè yī cì yào xiàn suǒ qiǎo miào dì lián jié liǎng tiáo zhù xiàn， zài jiā tíng sī xiǎng shàng sān tiáo xiàn suǒ xiāng hù duì yìng、 cān zhào， gòu lè chū sān zhǒng bù tóng lèi xíng de jiā tíng mó shì hé shēng huó fāng shì。 zuò zhě yǐ zhè zhǒng jiàn zhù xué 'ér zì háo， yuán gǒng jiāng liǎng zuò dà shà lián jié dé tiān yī wúfèng，“ shǐ rén jué chá bù chū shénme dì fāng shì gǒng dǐng”。
zhù rén gōng 'ān nà · kǎ liè ní nà shì shì jiè wén xué shǐ shàng zuì yōu měi fēng mǎn de nǚ xìng xíng xiàng zhī yī。 tā yǐ nèi xīn tǐ yàn de shēn kè yǔ gǎn qíng de qiáng liè zhēn zhì， yǐ péng bó de shēng mìng lì hé bēi jù xìng mìng yùn 'ér kòu rén xīn xián。
ān nà dì yī cì chū xiàn shí de yīn róng xiào mào lìng rén nán yǐ wàng huái： tā zī tài duān lì、 wēn yǎ， yī shuāng nóng mì de jié máo yǎn yìng xià de yǎn jīng zhōng“ yòu yī gǔ bèi yā yì de shēng qì zài tā de liǎn shàng liú lù…… fǎng fó yòu yī zhǒng guò shèng de shēng mìng lì yáng yì zài tā de quán shēn xīn， wéi fǎn tā de yì zhì”， zài yǎn shén hé wēi xiào zhōng xiǎn xiàn chū lái。 zài zhè fú chū sè de xiào xiàng zhōng zhǎn xiàn liǎo 'ān nà de jīng shén měi， yě tí shì wǒ men qù tàn jiū tā de shēng huó zhī mí。 ān nà fù mǔ zǎo shì， zài gū mǔ bāo bàn xià jià gěi liǎo bǐ tā dà 'èr shí suì de dà guān liáo kǎ liè níng。 hūn hòu zài zōng fǎ sī xiǎng zhī pèi xià tā céng 'ān yú tiān mìng， zhǐ shì bǎ quán bù gǎn qíng jì tuō zài 'ér zǐ shēn shàng。 wò lún sī jī huàn xǐng liǎo tā wǎn shú de 'ài qíng。 tā kě wàng zì yóu 'ér dà dǎn dì 'ài， bù yuàn xiàng bié tè xī gōng jué fū rén nà yàng zài jiā yàn shàng gōng kāi jiē dài qíng rén； yě bù yuàn jiē shòu zhàng fū de jiàn yì réng rán bǎo chí biǎo miàn de fū qī guān xì， tōu tōu yǔ qíng rén wǎng lái； zhōng yú chōng chū jiā tíng yǔ wò lún sī jī jié hé， gōng rán yǔ zhěng gè shàng liú shè huì duì kàng。 cóng cǐ 'ān nà shī qù liǎo yī gè guì zú fù nǚ zài shè jiāo jiè de yī qiē dì wèi hé quán lì， chú liǎo wò lún sī jī de 'ài， tā yī wú suǒ yòu， yīn cǐ， tā rè liè 'ér zhí zhe dì xiàn shēn yú zhè zhǒng 'ài。 què shí， zài guó wài， zài wò lún sī jī de zhuāng yuán lǐ， ān nà céng tǐ yàn guò duǎn zàn de“ bù kě yuán liàng de xìng fú”。 tā diū qì mǔ qīn de tiān zhí， dàn nèi xīn wú fǎ píng xī yīn shī qù 'ài zǐ 'ér chǎn shēng de bēi shāng； tā xiǎng 'áng qǐ jiāo 'ào de tóu， xuān chēng tā shì xìng fú de nǚ rén， dàn què bǎi tuō bù diào yòu zuì de qī zǐ de yì shí。 tā de líng hún yī zhí shòu dào zhé mó。 ér gū zhù yī zhì de、 yòu yú zì wǒ de duì wò lún sī jī de 'ài yòu bù kě néng dé dào xiāng yìng de gǎn qíng fǎn xiǎng， ān nà jué wàng liǎo， tā zài lín zhōng qián mǎn hán yuàn fèn dì hǎn chū：“ yī qiē quán shì xū wěi、 quán shì huǎng yán、 quán shì qī piàn、 quán shì zuì 'è。”
ān nà de xíng xiàng zài zuò jiā chuàng zuò guò chéng zhōng yòu guò jí dà biàn huà： cóng yī gè dī jí qù wèi de shī zú nǚ rén gǎi xiě chéng zhēn chéng、 yán sù、 nìngwéi yù suì、 bùwèi wǎ quán de nǚ xìng。 tuō 'ěr sī tài tōng guò 'ān nà de 'ài qíng、 jiā tíng bēi jù jì yù liǎo tā duì dāng shí dòng dàng de 'é guó shè huì zhōng rén de mìng yùn hé lún lǐ dào dé zhǔn zé de sī kǎo。 zuò jiā gē sòng rén de shēng mìng lì， zàn yáng rén xìng de hé lǐ yào qiú； tóng shí， tā yòu jiān jué fǒu dìng yī qiē zhèng zhì、 shè huì huó dòng（ bāo kuò fù nǚ jiě fàng yùn dòng） duì gǎi shàn rén men mìng yùn de zuò yòng， qiáng diào mǔ qīn héng héng fù nǚ tiān zhí de zhòng yào xìng。 zuò jiā shì jiè guān de máo dùn gòu chéng 'ān nà xíng xiàng de fù zá xìng。 yī bǎi duō nián lái gè guó zuò jiā 'àn zì jǐ de lǐ jiě bǎ 'ān nà bān shàng wǔ tái、 yín mù、 yíng guāng píng。 ān nà xíng xiàng yī zhí jī dòng zhe bù tóng shí dài、 bù tóng mín zú de dú zhě， zhè zhèng shuō míng 'ān nà xíng xiàng de yì shù shēng mìng lì shì bù xiǔ de。
liè wén
liè wén zé shì tuō 'ěr sī tài shì zhù rén gōng zhōng zì chuán xìng tè bié qiáng de yī gè rén wù， tā zài tuō 'ěr sī tài de chuàng zuò zhōng qǐ zhe chéng qián qǐ hòu de zuò yòng， zài tā shēn shàng yì shù dì zài xiàn liǎo zuò jiā shì jiè guān jī biàn qián xī de sī xiǎng gǎn qíng hé shēng huó gǎn shòu， cóng jié gòu 'ān pái lái kàn， liè wén de xìng fú jiā tíng yǔ 'ān nà de bù xìng jiā tíng hù wéi duì zhào， dàn cóng sī xiǎng tàn suǒ lái kàn， liè wén hūn hòu què chǎn shēng liǎo jīng shén wēi jī， tā wéi guì zú jiē jí zì gān bài luò 'ér yōu xīn chōng chōng。 tā yán jiū láo dòng lì zài nóng yè shēng chǎn zhōng de zuò yòng， zhì dìng“ bù liúxiě de gé mìng” fāng 'àn， tàn tǎo rén shēng de mùdì， dàn què háo wú chū lù。 luó màn · luó lán zhǐ chū， liè wén bù jǐn tǐ xiàn liǎo tuō 'ěr sī tài kàn dài shì wù de jì bǎo shǒu yòu mín zhù de guān diǎn， ér qiě“ liè wén hé jí tí de liàn 'ài， tā liǎ hūn hòu de tóu jǐ nián shēng huó， jiù shì zuò jiā zì jǐ jiā tíng shēng huó huí yì de bān yǎn。 tóng yàng， liè wén gē gē zhī sǐ yě shì tuō 'ěr sī tài de gē gē dé mǐ tè lǐ zhī sǐ de tòng kǔ zhuī yì”。 ér zuò pǐn de wěi shēng“ zé shì zuò zhě běn rén qū xiàng jīng shén gé mìng de guò dù”。
《 ān nà · kǎ liè ní nà》 - zhù tí sī xiǎng
guān yú liè fū · tuō 'ěr sī tài， mǎ yuán yòu yī gè shuō fǎ， tā rèn wéi tuō 'ěr sī tài shì xiǎo shuō shǐ shàng zhēng yì zuì shǎo de zuò jiā。 zhè lǐ suǒ shuō de zhēng yì zuì shǎo， zhǐ de shì tā zài wén xué shǐ shàng de dì wèi。 yě jiù shì shuō， nǐ kě yǐ xǐ huān huò bù xǐ huān tuō 'ěr sī tài de zuò pǐn， dàn sì hū wú rén néng gòu fǒu rèn tā zuò wéi yī wèi jié chū sī xiǎng jiā hé dì yī liú xiǎo shuō jiā de dì wèi。
《 ān nà · kǎ liè ní nà》 zài liè fū · tuō 'ěr sī tài de suǒ yòu zuò pǐn zhōng， shì xiěde zuì hǎo de。《 zhàn zhēng yǔ hé píng》 yě xǔ gèng bō lán zhuàng kuò、 gèng xióng wěi、 gèng yòu qì shì， dàn tā bù rú《 ān nà · kǎ liè ní nà》 nà me chún cuì、 nà me wán měi。 shùn biàn shuō yī jù， liè fū · tuō 'ěr sī tài bìng bù shì yī gè chū sè de wén tǐ jiā， dàn tā de wén tǐ de jīng měi yǔ hé xié wú yǔ lún bǐ， zhè bìng fēi lái zì zuò zhě duì xiǎo shuō xiū cí、 jì qiǎo、 xù shù fāng shì de kè yì zhuī qiú， ér jǐn jǐn yuán yú yì shù shàng de zhí jué。
zài《 ān nà · kǎ liè ní nà》 zhè bù xiǎo shuō zhōng， liè fū · tuō 'ěr sī tài sù zào liǎo xǔ duō zài wén xué shǐ shàng guāng máng sì shè de rén wù： ān nà、 wò lún sī jī、 jí tí、 liè wén、 kǎ liè níng、 ào bù làng sī jī gōng jué…… zài zhè xiē rén wù zhōng， wéi yī yī gè zài shēng huó zhōng zuǒ yòu féng yuán， dài yòu diǎn xǐ jù sè cǎi de jiù shì 'ào bù làng sī jī gōng jué， qí tā de rén wù wú bù yǔ sǐ wáng zhù tí yòu guān。 rú guǒ wǒ men jiǎn dān dì guī nà yī xià， zhè bù zuò pǐn zhù yào xiě liǎo liǎng gè gù shì： qí yī， shì 'ān nà yǔ wò lún sī jī cóng xiāng shí、 rè liàn dào huǐ miè de guò chéng， yǐ jí wéi rào zhè yī jìn chéng de suǒ yòu shè huì guān xì de jiū gé， qí 'èr shì liè wén de gù shì yǐ jí tā zài zōng jiào yì yì shàng de zhǎn kāi gè rén sī kǎo。
zhèng rú nà jù zhù míng de kāi chǎng bái suǒ xiǎn shì de yī yàng， zuò zhě duì xiàn shí de sī kǎo shì yǐ jiā tíng hūn yīn wéi jī běn dān wèi 'ér zhǎn kāi de， zhì shǎo shè jí dào liǎo sì zhǒng hūn yīn huò 'ài qíng dá 'àn： kǎ liè níng fū fù， ān nà hé wò lún sī jī， ào bù làng sī jī fū fù， liè wén yǔ jí tí。 měi yī gè dá 'àn dū yì wèi zhe zuì 'è hé zāinàn。 ān nà shì wéi yī jīng lì liǎo liǎng zhǒng bù tóng hūn yīn ( ài qíng ) xíng shì de rén wù。 zài zuò zhě suǒ fù yú de 'ān nà de xìng gé zhōng， wǒ yǐ wéi jī qíng hé huó lì shì qí jī běn de nèi hán， zhèng shì zhè zhǒng yā yì bù zhù de huó lì shǐ měi mào chún jié de jí tí xiāng xíng jiàn chù； zhèng shì zhè zhǒng bèi huàn xǐng de jī qíng shǐ tā yǔ kǎ liè níng de hūn yīn、 shèn zhì bǐ dé bǎo xí yǐ wéi cháng de shè jiāo shēng huó、 shèn zhì bāo kuò hái zǐ xiè liáo shā dū 'àn rán shī sè。
yǔ zhè zhǒng jī qíng yǔ huó lì xiāng bàn 'ér lái de shì bù gù yī qiē de yǒng qì。 dāng xiǎo shuō zhōng xiě dào wò lún sī jī zài sài mǎ huì shàng shuāi xià mǎ lái， ān nà yīn shī shēng dà jiào 'ér bào lù liǎo " jiān qíng " zhī shí， duì zhàng fū shuō chū xià miàn zhè duàn huà shì xū yào yī diǎn yǒng qì de，“ wǒ 'ài tā， wǒ shì tā de qíng fù…… suí nǐ gāo xīng zěn me yàng bǎ wǒ chǔzhì bā。” tuō 'ěr sī tài duì zhè zhǒng jī qíng zhēn shì tài shú xī liǎo， wǒ men bù fáng xiǎng yī xiǎng《 zhàn zhēng yǔ hé píng》 zhōng de nà tǎ suō，《 fù huó》 zhōng de kǎ qiū suō， hái yòu zhé fú yú zuò zhě xīn zhōng de nà tóu qiáng zhuàng de xióng -- tā de páo xiào shēng yī zhí kùn rǎo zhe liè fū · tuō 'ěr sī tài。
mǎ dīng · dù gā 'ěr céng rèn wéi， tuō 'ěr sī tài shì zuì jù dòng chá lì de zuò jiā， tā de mù guāng shí fēn ruì lì， néng gòu chuān tòu shēng huó de bì lěi 'ér fā xiàn yǐn hán qí zhōng de " zhēn shí "。 dàn wǒ què qīng xiàng yú rèn wéi， cóng gēn běn shàng lái shuō， tuō 'ěr sī tài shì yī gè tú jiě zì wǒ guān niàn de zuò jiā， bù guǎn shì zǎo qī hái shì wǎn qī zuò pǐn， zhù tí shàng de lián xì shí fēn qīng xī， yóu qí shì《 zhàn zhēng yǔ hé píng》、《 ān nà · kǎ liè ní nà》 liǎng bù jù zhù， qí zhōng de rén wù、 qíng jié、 zhù tí duō yòu léi tóng zhī chù， tā de guān niàn de jiāng yù bìng bù kuān guǎng， tā de sù cái yě bù fēng fù， dàn zhè bìng bù fáng 'ài tuō 'ěr sī tài de wěi dà， zhèng rú sài wàn tí sī de xiá 'ài zhù tí bìng bù fáng 'ài《 táng jí hē dé》 de wěi dà yī yàng。 xiǎo shuō de zhēn shí lái zì tā de zhì huì， mǐn gǎn 'ér hào hàn de xīn líng， ér gèng wéi zhòng yào de shì tā de chéng shí。 wéi tè gēn sī tǎn zài dú wán《 hā zé · mù lā tè》 yǐ hòu céng gǎn kǎi dì shuō：“ tā ( tuō 'ěr sī tài ) shì yī gè zhēn zhèng de rén， tā yòu quán xiě zuò。”
tuō 'ěr sī tài yǔ《 ān nà · kǎ liè ní nà》
guān yú liè fū · tuō 'ěr sī tài， mǎ yuán yòu yī gè shuō fǎ， tā rèn wéi tuō 'ěr sī tài shì xiǎo shuō shǐ shàng zhēng yì zuì shǎo de zuò jiā。 wǒ lǐ jiě tā de yì sī， zhè lǐ suǒ shuō de zhēng yì zuì shǎo， zhǐ de shì tā zài wén xué shǐ shàng de dì wèi。 yě jiù shì shuō， nǐ kě yǐ xǐ huān huò bù xǐ huān tuō 'ěr sī tài de zuò pǐn， dàn sì hū wú rén néng gòu fǒu rèn tā zuò wéi yī wèi jié chū sī xiǎng jiā hé dì yī liú xiǎo shuō jiā de dì wèi。
zài wǒ de xué shēng zhōng jiān， duì tuō 'ěr sī tài bù xiè yī gù de dà yòu rén zài。 yòu yī cì pèng dào yī wèi xué shēng， yǐ wǒ kàn tā de dǎo shī shì yī míng pō yòu xué wèn de 'é guó wén xué zhuān jiā， bù zhī hé gù， gāi shēng què duì 'ēn shī pō wéi bù mǎn， tí chū shì fǒu kě yǐ zhuǎn dào wǒ de míng xià， ràng wǒ gěi tā zhǐ dǎo。 wǒ wèn tā wèihé yào gēnghuàn dǎo shī， tā biàn liè jǔ liǎo yuán dǎo shī de jǐ gè zuì zhuàng， qí zhōng yī tiáo shì： tā jìng rán ràng wǒ qù dú shénme《 ān nà · kǎ liè ní nà》。 kě jiàn， zài zhè xiē yán bì chēng měi guó de xué shēng men de tóu nǎo zhōng， lǎo tuō 'ěr sī tài xiǎn rán yǐ jīng shì yī gè bù zhōng yòng de gǔ dǒng liǎo。 wǒ duì tā shuō， dǎo shī jiù bù bì huàn liǎo。 yīn wéi rú guǒ wǒ dāng nǐ de dǎo shī， dì yī běn tuī jiàn de shū kǒng pà hái shì《 ān nà · kǎ liè ní nà》。
《 ān nà · kǎ liè ní nà》 bù jǐn shì wǒ zuì xǐ huān de cháng piān xiǎo shuō， ér qiě wǒ yě rèn wéi， zài liè fū · tuō 'ěr sī tài de suǒ yòu zuò pǐn zhōng， tā yě shì xiěde zuì hǎo de。《 zhàn zhēng yǔ hé píng》 yě xǔ gèng bō lán zhuàng kuò、 gèng xióng wěi、 gèng yòu qì shì， dàn tā bù rú《 ān nà · kǎ liè ní nà》 nà me chún cuì、 nà me wán měi。 shùn biàn shuō yī jù， liè fū · tuō 'ěr sī tài bìng bù shì yī gè chū sè de wén tǐ jiā， dàn tā de wén tǐ de jīng měi yǔ hé xié wú yǔ lún bǐ， zhè bìng fēi lái zì zuò zhě duì xiǎo shuō xiū cí、 jì qiǎo、 xù shù fāng shì de kè yì zhuī qiú， ér jǐn jǐn yuán yú yì shù shàng de zhí jué。
zài《 ān nà · kǎ liè ní nà》 zhè bù xiǎo shuō zhōng， liè fū · tuō 'ěr sī tài sù zào liǎo xǔ duō zài wén xué shǐ shàng guāng máng sì shè de rén wù： ān nà、 wò lún sī jī、 jí tí、 liè wén、 kǎ liè níng、 ào bù làng sī jī gōng jué…… zài zhè xiē rén wù zhōng， wéi yī yī gè zài shēng huó zhōng zuǒ yòu féng yuán， dài yòu diǎn xǐ jù sè cǎi de jiù shì 'ào bù làng sī jī gōng jué， qí tā de rén wù wú bù yǔ sǐ wáng zhù tí yòu guān。 rú guǒ wǒ men jiǎn dān dì guī nà yī xià， zhè bù zuò pǐn zhù yào xiě liǎo liǎng gè gù shì： qí yī， shì 'ān nà yǔ wò lún sī jī cóng xiāng shí、 rè liàn dào huǐ miè de guò chéng， yǐ jí wéi rào zhè yī jìn chéng de suǒ yòu shè huì guān xì de jiū gé， qí 'èr shì liè wén de gù shì yǐ jí tā zài zōng jiào yì yì shàng de zhǎn kāi gè rén sī kǎo。
zhèng rú nà jù zhù míng de kāi chǎng bái suǒ xiǎn shì de yī yàng， zuò zhě duì xiàn shí de sī kǎo shì yǐ jiā tíng hūn yīn wéi jī běn dān wèi 'ér zhǎn kāi de， zhì shǎo shè jí dào liǎo sì zhǒng hūn yīn huò 'ài qíng dá 'àn： kǎ liè níng fū fù， ān nà hé wò lún sī jī， ào bù làng sī jī fū fù， liè wén yǔ jí tí。 měi yī gè dá 'àn dū yì wèi zhe zuì 'è hé zāinàn。 ān nà shì wéi yī jīng lì liǎo liǎng zhǒng bù tóng hūn yīn ( ài qíng ) xíng shì de rén wù。 zài zuò zhě suǒ fù yú de 'ān nà de xìng gé zhōng， wǒ yǐ wéi jī qíng hé huó lì shì qí jī běn de nèi hán， zhèng shì zhè zhǒng yā yì bù zhù de huó lì shǐ měi mào chún jié de jí tí xiāng xíng jiàn chù； zhèng shì zhè zhǒng bèi huàn xǐng de jī qíng shǐ tā yǔ kǎ liè níng de hūn yīn、 shèn zhì bǐ dé bǎo xí yǐ wéi cháng de shè jiāo shēng huó、 shèn zhì bāo kuò hái zǐ xiè liáo shā dū 'àn rán shī sè。
yǔ zhè zhǒng jī qíng yǔ huó lì xiāng bàn 'ér lái de shì bù gù yī qiē de yǒng qì。 dāng xiǎo shuō zhōng xiě dào wò lún sī jī zài sài mǎ huì shàng shuāi xià mǎ lái， ān nà yīn shī shēng dà jiào 'ér bào lù liǎo“ jiān qíng” zhī shí， duì zhàng fū shuō chū xià miàn zhè duàn huà shì xū yào yī diǎn yǒng qì de，“ wǒ 'ài tā， wǒ shì tā de qíng fù…… suí nǐ gāo xīng zěn me yàng bǎ wǒ chǔzhì bā。” tuō 'ěr sī tài duì zhè zhǒng jī qíng zhēn shì tài shú xī liǎo， wǒ men bù fáng xiǎng yī xiǎng《 zhàn zhēng yǔ hé píng》 zhōng de nà tǎ suō，《 fù huó》 zhōng de kǎ qiū suō， hái yòu zhé fú yú zuò zhě xīn zhōng de nà tóu qiáng zhuàng de xióng héng héng tā de páo xiào shēng yī zhí kùn rǎo zhe liè fū · tuō 'ěr sī tài。
mǎ dīng · dù gā 'ěr céng rèn wéi， tuō 'ěr sī tài shì zuì jù dòng chá lì de zuò jiā， tā de mù guāng shí fēn ruì lì， néng gòu chuān tòu shēng huó de bì lěi 'ér fā xiàn yǐn hán qí zhōng de " zhēn shí "。 dàn wǒ què qīng xiàng yú rèn wéi， cóng gēn běn shàng lái shuō， tuō 'ěr sī tài shì yī gè tú jiě zì wǒ guān niàn de zuò jiā， bù guǎn shì zǎo qī hái shì wǎn qī zuò pǐn， zhù tí shàng de lián xì shí fēn qīng xī， yóu qí shì《 zhàn zhēng yǔ hé píng》、《 ān nà · kǎ liè ní nà》 liǎng bù jù zhù， qí zhōng de rén wù、 qíng jié、 zhù tí duō yòu léi tóng zhī chù， tā de guān niàn de jiāng yù bìng bù kuān guǎng， tā de sù cái yě bù fēng fù， dàn zhè bìng bù fáng 'ài tuō 'ěr sī tài de wěi dà， zhèng rú sài wàn tí sī de xiá 'ài zhù tí bìng bù fáng 'ài《 táng jí hē dé》 de wěi dà yī yàng。 xiǎo shuō de zhēn shí lái zì tā de zhì huì， mǐn gǎn 'ér hào hàn de xīn líng， ér gèng wéi zhòng yào de shì tā de chéng shí。 wéi tè gēn sī tǎn zài dú wán《 hā zé · mù lā tè》 yǐ hòu céng gǎn kǎi dì shuō：“ tā ( tuō 'ěr sī tài ) shì yī gè zhēn zhèng de rén， tā yòu quán xiě zuò。”
Widely regarded as a pinnacle in realist fiction, Tolstoy considered Anna Karenina his first true novel, when he came to consider War and Peace to be more than a novel. The character of Anna was likely inspired, in part, by Maria Hartung (Russian spelling Maria Gartung, 1832–1919), the elder daughter of the Russian poet Alexander Pushkin.[citation needed] Soon after meeting her at dinner, Tolstoy began reading Pushkin's prose and once had a fleeting daydream of "a bare exquisite aristocratic elbow", which proved to be the first intimation of Anna's character.
Although Russian critics dismissed the novel on its publication as a "trifling romance of high life", Fyodor Dostoevsky declared it to be "flawless as a work of art". His opinion was shared by Vladimir Nabokov, who especially admired "the flawless magic of Tolstoy's style", and by William Faulkner, who described the novel as "the best ever written".[citation needed] The novel is currently enjoying popularity as demonstrated by a recent poll of 125 contemporary authors by J. Peder Zane, published in 2007 in The Top Ten, which declared that Anna Karenina is the "greatest novel ever written".
The title: Anna Karenin vs Anna Karenina
The title has been translated as both Anna Karenin and Anna Karenina. The first instance naturalizes the Russian name into English, whereas the second is a direct transliteration of the actual Russian name. As Vladimir Nabokov explains: "In Russian, a surname ending in a consonant acquires a final 'a' (except for the cases of such names that cannot be declined) when designating a woman".
Nabokov favours the first convention - removing the Russian 'a' to naturalize the name into English - but subsequent translators mostly allow Anna's actual Russian name to stand. Larissa Volokhonsky, herself a Russian, prefers the second option, while other translators like Constance Garnett and Rosemary Edmonds prefer the first solution.
Main characters
* Anna Arkadyevna Karenina – Stepan Oblonsky's sister, Karenin's wife and Vronsky's lover. She is also a minor character in War and Peace. [citation needed]
* Count Alexei Kirillovich Vronsky – Lover of Anna
* Prince Stepan Arkadyevitch Oblonsky ("Stiva") – a civil servant and Anna's brother.
* Princess Darya Alexandrovna Oblonskaya ("Dolly") – Stepan's wife
* Alexei Alexandrovich Karenin – a senior statesman and Anna's husband, twenty years her senior.
* Konstantin Dmitrievitch Levin ("Kostya") – Kitty's suitor and then husband.
* Nikolai Levin – Konstantin's brother
* Sergius Ivanich Koznyshev – Konstantin's half-brother
* Princess Ekaterina Alexandrovna Shcherbatskaya ("Kitty") – Dolly's younger sister and later Levin's wife
* Princess Elizaveta ("Betsy") – Anna's wealthy, morally loose society friend and Vronsky's cousin
* Countess Lidia Ivanovna – Leader of a high society circle that includes Karenin, and shuns Princess Betsy and her circle. She maintains an interest in the mystical and spiritual
* Countess Vronskaya – Vronsky's mother
* Sergei Alexeyitch Karenin ("Seryozha") – Anna and Karenin's son
* Anna ("Annie") – Anna and Vronsky's daughter
* Varenka – a young orphaned girl, semi-adopted by an ailing Russian noblewoman, whom Kitty befriends while abroad
Plot summary
The novel is divided into eight parts. The novel begins with one of its most quoted lines:
“ Happy families are all alike; each unhappy family is unhappy in its own way. ”
Part 1
The novel opens with a scene introducing Prince Stepan Arkadyevitch Oblonsky, "Stiva", a Moscow aristocrat and civil servant who has been unfaithful to his wife Darya Alexandrovna, nicknamed "Dolly". Dolly has discovered his affair - with the family's governess - and the house and family are in turmoil. Stiva's affair and his reaction to his wife's distress shows an amorous personality that he cannot seem to suppress.
In the midst of the turmoil, Stiva reminds the household that his married sister, Anna Arkadyevna Karenina is coming to visit from Saint Petersburg.
Meanwhile, Stiva's childhood friend Konstantin Dmitrievich Levin ("Kostya") arrives in Moscow with the aim of proposing to Dolly's youngest sister Princess Katerina Alexandrovna Shcherbatskaya, "Kitty". Levin is a passionate, restless but shy aristocratic landowner who, unlike his Moscow friends, chooses to live in the country on his large estate. He discovers that Kitty is also being pursued by Count Alexei Kirillovich Vronsky, an army officer.
At the railway station to meet Anna, Stiva bumps into Vronsky. Vronsky is there to meet his mother. Anna and the Countess Vronskaya have travelled together in the same carriage and talked together. As the family members are reunited, and Vronsky sees Anna for the first time, a railway worker accidentally falls in front of a train and is killed. Anna interprets this as an "evil omen." Vronsky is infatuated with Anna. Anna, who is uneasy about leaving her young son, Seryozha, alone for the first time, talks openly and emotionally to Dolly about Stiva's affair and convinces Dolly that her husband still loves her, despite his infidelity. Dolly is moved by Anna's speeches and decides to forgive Stiva.
Dolly's youngest sister, Kitty, comes to visit her sister and Anna. Kitty, just 18, is in her first season as a debutante and is expected to make an excellent match with a man of her social standing. Vronsky has been paying her considerable attention, and she expects to dance with him at a ball that evening. Kitty is very struck by Anna's beauty and personality and is infatuated with her. When Levin proposes to Kitty at her home, she clumsily turns him down, because she believes she is in love with Vronsky and that he will propose to her.
At the ball, Vronsky pays Anna considerable attention, and dances with her, choosing her as a partner instead of Kitty, who is shocked and heartbroken. Kitty realises that Vronsky has fallen in love with Anna, and that despite his overt flirtations with her he has no intention of marrying her and in fact views his attentions to her as mere amusement, believing that she does the same.
Anna, shaken by her emotional and physical response to Vronsky, returns at once to Saint Petersburg. Vronsky travels on the same train. During the overnight journey, the two meet and Vronsky confesses his love. Anna refuses him, although she is deeply affected by his attentions to her.
Levin, crushed by Kitty's refusal, returns to his estate farm, abandoning any hope of marriage, and Anna returns to her husband Alexei Alexandrovich Karenin, a senior government official, and their son Sergei ("Seryozha") in Petersburg.
Tatiana Samoilova as Anna in the 1967 Soviet screen version of Tolstoy's novel.
On seeing her husband for the first time since her encounter with Vronsky, Anna realises that she finds him repulsive, noting the odd way that his ears press against his hat.
Part 2
The Shcherbatskys consult doctors over Kitty's health which has been failing since she realizes that Vronsky did not love her and that he did not intend to propose marriage to her, and that she refused and hurt Levin, whom she cares for, in vain. A specialist doctor advises that Kitty should go abroad to a health spa to recover. Dolly speaks to Kitty and understands that she is suffering because of Vronsky and Levin. Kitty, humiliated by Vronsky and tormented by her rejection of Levin, upsets her sister by referring to Stiva's infidelity and says she could never love a man who betrayed her.
Stiva stays with Levin on his country estate when he makes a sale of a plot of land, to provide funds for his expensive city lifestyle. Levin is upset at the poor deal he makes with the buyer and his lack of understanding of the rural lifestyle.
In St. Petersburg, Anna begins to spend more time with the fashionable socialite and gossip Princess Betsy and her circle, in order to meet Vronsky, Betsy's cousin. Vronsky continues to pursue Anna. Although Anna initially tries to reject him, she eventually succumbs to his attentions.
Karenin warns Anna of the impropriety of paying too much attention to Vronsky in public, which is becoming a subject of society gossip. He is concerned about his and his wife's public image, although he believes that Anna is above suspicion.
Vronsky, a keen horseman, takes part in a steeplechase event, during which he rides his mare Frou-Frou too hard and she falls and breaks her back. Vronsky escapes with minimal injuries but is devastated that his mare must be shot. Anna tells him that she is pregnant with his child, and is unable to hide her distress when Vronsky falls from the racehorse. Karenin is also present at the races and remarks to her that her behaviour is improper. Anna, in a state of extreme distress and emotion, confesses her affair to her husband. Karenin asks her to break off the affair to avoid society gossip and believes that their relationship can then continue as previously.
Kitty goes with her mother to a resort at a German spa to recover from her ill health. There they meet the Pietist Madame Stahl and the saintly Varenka, her adopted daughter. Influenced by Varenka, Kitty becomes extremely pious, but is disillusioned by her father`s criticism. She then returns to Moscow.
Part 3
Levin continues his work on his large country estate, a setting closely tied to his spiritual thoughts and struggles. Levin wrestles with the idea of falseness, wondering how he should go about ridding himself of it, and criticising what he feels is falseness in others. He develops ideas relating to agriculture and the unique relationship between the agricultural labourer and his native land and culture. He believes that the agricultural reforms of Europe will not work in Russia because of the unique culture and personality of the Russian peasant.
Levin pays Dolly a visit, and she attempts to understand what happened between him and Kitty and to explain Kitty's behaviour to him. Levin is very agitated by Dolly's talk about Kitty, and he begins to feel distant from her as he perceives her behaviour towards her children as false. Levin resolves to forget Kitty and contemplates the possibility of marriage to a peasant woman. However, a chance sighting of Kitty in her carriage as she travels to Dolly's house makes Levin realise he still loves her.
In St. Petersburg, Karenin crushes Anna by refusing to separate from her. He insists that their relationship remain as it was and threatens to take away their son Seryozha if she continues to pursue her affair with Vronsky.
Part 4
Anna continues to pursue her affair with Vronsky. Karenin begins to find the situation intolerable. He talks with a lawyer about obtaining a divorce. In Russia at that time, divorce could only be requested by the innocent party in an affair, and required either that the guilty party confessed (which would ruin Anna's position in society) or that the guilty party was discovered in the act. Karenin forces Anna to give him some letters written to her by Vronsky as proof of the affair. However, Anna's brother Stiva argues against it and persuades Karenin to speak with Dolly first.
Dolly broaches the subject with Karenin and asks him to reconsider his plans to divorce Anna. She seems to be unsuccessful, but Karenin changes his plans after hearing that Anna is dying after a difficult childbirth. At her bedside, Karenin forgives Vronsky. Vronsky, embarrassed by Karenin's magnanimity, attempts suicide by shooting himself. He fails in his attempt but wounds himself badly.
Anna recovers, having given birth to a daughter, Anna ("Annie"). Although her husband has forgiven her, and has become attached to the new baby, Anna cannot bear living with him. She hears that Vronsky is about to leave for a military posting in Tashkent and becomes desperate. Stiva finds himself pleading to Karenin on her behalf to free her by giving her a divorce. Vronsky is intent on leaving for Tashkent, but changes his mind after seeing Anna.
The couple leave for Europe - leaving behind Anna's son Seryozha - without obtaining a divorce.
Much more straightforward is Stiva's matchmaking with Levin: he arranges a meeting between Levin and Kitty which results in their reconciliation and betrothal.
Part 5
Levin and Kitty marry and immediately go to start their new life together on Levin's country estate. The couple are happy but do not have a very smooth start to their married life and take some time to get used to each other. Levin feels some dissatisfaction at the amount of time Kitty wants to spend with him and is slightly scornful of her preoccupation with domestic matters, which he feels are too prosaic and not compatible with his romantic ideas of love.
A few months later, Levin learns that his brother Nikolai is dying of consumption. Levin wants to go to him, and is initially angry and put out that Kitty wishes to accompany him. Levin feels that Kitty, whom he has placed on a pedestal, should not come down to earth and should not mix with people from a lower class. Levin assumes her insistence on coming must relate to a fear of boredom from being left alone, despite her true desire to support her husband in a difficult time. Kitty persuades him to take her with him after much discussion, where she proves a great help nursing Nikolai for weeks over his slow death. She also discovers she is pregnant.
In Europe, Vronsky and Anna struggle to find friends who will accept their situation. Whilst Anna is happy to be finally alone with Vronsky, he feels suffocated. They cannot socialize with Russians of their own social set and find it difficult to amuse themselves. Vronsky, who believed that being with Anna in freedom was the key to his happiness, finds himself increasingly bored and unsatisfied. He takes up painting, and makes an attempt to patronize an émigré Russian artist of genius. Vronsky cannot see that his own art lacks talent and passion, and that his clever conversation about art is an empty shell. Bored and restless, Anna and Vronsky decide to return to Russia.
In Petersburg, Anna and Vronsky stay in one of the best hotels but take separate suites. It becomes clear that whilst Vronsky is able to move in Society, Anna is barred from it. Even her old friend, Princess Betsy - who has had affairs herself - evades her company. Anna starts to become very jealous and anxious that Vronsky no longer loves her.
Karenin is comforted – and influenced – by the strong-willed Countess Lidia Ivanovna, an enthusiast of religious and mystic ideas fashionable with the upper classes. She counsels him to keep Seryozha away from Anna and to make him believe that his mother is dead. However, Seryozha refuses to believe that this is true. Anna manages to visit Seryozha unannounced and uninvited on his ninth birthday, but is discovered by Karenin.
Anna, desperate to resume at least in part her former position in Society, attends a show at the theatre at which all of Petersburg's high society are present. Vronsky begs her not to go, but is unable to bring himself to explain to her why she cannot go. At the theatre, Anna is openly snubbed by her former friends, one of whom makes a deliberate scene and leaves the theatre. Anna is devastated.
Unable to find a place for themselves in Petersburg, Anna and Vronsky leave for Vronsky's country estate.
Part 6
Dolly, her mother the Princess Scherbatskaya, and Dolly's children spend the summer with Levin and Kitty on the Levins' country estate. The Levins' life is simple and unaffected, although Levin is uneasy at the "invasion" of so many Scherbatskys. He is able to cope until he is consumed with an intense jealousy when one of the visitors, Veslovsky, flirts openly with the pregnant Kitty. Levin tries to overcome his jealousy but eventually succumbs to it and in an embarrassing scene evicts Veslovsky from his house. Veslovsky immediately goes to stay with Anna and Vronsky, whose estate is close by.
Dolly also pays a short visit to Anna at Vronsky's estate. The difference between the Levins' aristocratic but simple home life and Vronsky's overtly luxurious and lavish country home strikes Dolly, who is unable to keep pace with Anna's fashionable dresses or Vronsky's extravagant spending on the hospital he is building. However, all is not quite well with Anna and Vronsky. Dolly is also struck by Anna's anxious behaviour and new habit of half closing her eyes when she alludes to her difficult position. When Veslovsky flirts openly with Anna, she plays along with him even though she clearly feels uncomfortable. Vronsky makes an emotional request to Dolly, asking her to convince Anna to divorce her husband so that the two might marry and live normally. Dolly broaches the subject with Anna, who appears not to be convinced. However, Anna is becoming intensely jealous of Vronsky, and cannot bear it when he leaves her for short excursions. The two have started to quarrel about this and when Vronsky leaves for several days of provincial elections, a combination of boredom and suspicion convinces Anna she must marry him in order to prevent him from leaving her. She writes to Karenin, and she and Vronsky leave the countryside for Moscow.
Part 7
The Levins are in Moscow for Kitty's confinement. Despite initial reservations, Levin quickly gets used to the fast-paced, expensive and frivolous Moscow society life. He starts to accompany Stiva to his Moscow gentleman's club, where drinking and gambling are popular pastimes. At the club, Levin meets Vronsky and Stiva introduces them. Levin and Stiva pay a visit to Anna, who is occupying her empty days by being a patroness to an orphaned English girl. Levin is uneasy about the visit and not sure it is the proper thing to do, and Anna easily puts Levin under her spell. When he confesses to Kitty where he has been, she accuses him falsely of falling in love with Anna. The couple are reconciled, realising that Moscow life has had a negative, corrupting effect on Levin.
Anna, who has made a habit of inducing the young men who visit her to fall in love with her, cannot understand why she can attract a man like Levin, who has a young and beautiful new wife, but cannot attract Vronsky in the way she wants to. Anna's relationship with Vronsky is under increasing strain, as whilst he can move freely in Society - and continues to spend considerable time doing so to stress to Anna his independence as a man - she is excluded from all her previous social connections. She is estranged from baby Annie, her child with Vronsky and her increasing bitterness, boredom, jealousy and emotional strain cause the couple to argue. Anna uses morphine to help her sleep, a habit we learned she had begun during her time living with Vronsky at his country estate. Now she has become dependent on it.
After a long and difficult labour, Kitty gives birth to a son, Dmitri, nicknamed Mitya. Levin is both extremely moved and horrified by the sight of the tiny, helpless baby.
Stiva visits Karenin to encourage his commendation for a new post he is seeking. During the visit he asks him to grant Anna a divorce, but Karenin's decisions are now governed by a French "clairvoyant" – recommended by Lidia Ivanovna – who apparently has a vision in his sleep during Stiva's visit, and gives Karenin a cryptic message that is interpreted as meaning that he must decline the request for divorce.
Anna becomes increasingly jealous and irrational towards Vronsky, whom she suspects of having love affairs with other women, and of giving in to his mother's plans to marry him off to a rich Society woman. There is a bitter row, and Anna believes that the relationship is over. She starts to think of suicide as an escape from her torments. In her mental and emotional confusion, she sends a telegram to Vronsky asking him to come home to her, and pays a visit to Dolly and Kitty. Anna's confusion overcomes her, and in a parallel to the railway worker's accidental death in part 1, she commits suicide by throwing herself in the path of a train.
Part 8
Stiva gets the job he desired so much, and Karenin takes custody of baby Annie. A group of Russian volunteers, including Vronsky, who does not plan to return alive, depart from Russia to fight in the Orthodox Serbian revolt that has broken out against the Turks. Meanwhile, a lightning storm occurs at Levin's estate while his wife and newborn son are outside, causing him to fear for the safety of both of them, and to realize that he does indeed love his son similarly to how he loves Kitty. Also, Kitty's family concerns, namely, that a man as altruistic as her husband does not consider himself to be a Christian, are also addressed when Levin decides after talking to a peasant that devotion to living righteously as decreed by the Christian God is the only justifiable reason for living. After coming to this decision, but without telling anyone about it, he is initially displeased that this change of thought does not bring with it a complete transformation of his behavior to be more righteous. However, at the end of the book he comes to the conclusion that this fact, and the fact that there are other religions with similar views on goodness that are not Christian, are acceptable and that neither of these things diminish the fact that now his life can be meaningfully oriented toward goodness.
Style
Tolstoy's style in Anna Karenina is considered by many critics to be transitional, forming a bridge between the realist and modernist novel. The novel is narrated from a third-person-omniscient perspective, shifting between the perspectives of several major characters, though most frequently focusing on the opposing lifestyles and attitudes of its central protagonists of Anna and Levin. As such, each of the novel's eight sections contains internal variations in tone: it assumes a relaxed voice when following Stepan Oblonsky's thoughts and actions and a much more tense voice when describing Levin's social encounters. Much of the novel's seventh section depicts Anna's thoughts fluidly, following each one of her ruminations and free associations with its immediate successor. This groundbreaking use of stream-of-consciousness would be utilised by such later authors as James Joyce, Virginia Woolf, and William Faulkner.
Also of significance is Tolstoy's use of real events in his narrative, to lend greater verisimilitude to the fictional events of his narrative. Characters debate significant sociopolitical issues affecting Russia in the latter half of the nineteenth century, such as the place and role of the Russian peasant in society, education reform, and women's rights. Tolstoy's depiction of the characters in these debates, and of their arguments, allows him to communicate his own political beliefs. Characters often attend similar social functions to those which Tolstoy attended, and he includes in these passages his own observations of the ideologies, behaviors, and ideas running through contemporary Russia through the thoughts of Levin. The broad array of situations and ideas depicted in Anna Karenina allows Tolstoy to present a treatise on his era's Russia, and, by virtue of its very breadth and depth, all of human society. This stylistic technique, as well as the novel's use of perspective, greatly contributes to the thematic structure of Anna Karenina.[citation needed]
Major themes
Anna Karenina is commonly thought to explore the themes of hypocrisy, jealousy, faith, fidelity, family, marriage, society, progress, carnal desire and passion, and the agrarian connection to land in contrast to the lifestyles of the city. Translator Rosemary Edmonds wrote that Tolstoy doesn't explicitly moralise in the book, he allows his themes to emerge naturally from the "vast panorama of Russian life." She also writes that a key message is that "no one may build their happiness on another's pain," which is why things don't work out for Anna.
Levin is often considered as a semi-autobiographical portrayal of Tolstoy's own beliefs, struggles and life events. Tolstoy's first name is "Lev", and the Russian surname "Levin" means "of Lev". According to footnotes in the Pevear/Volokhonsky translation, the viewpoints Levin supports throughout the novel in his arguments match Tolstoy's outspoken views on the same issues. Moreover, according to W. Gareth Jones, Levin proposed to Kitty in the same way as Tolstoy to Sophie Behrs. Additionally, Levin's request that his fiancée read his diary as a way of disclosing his faults and previous sexual encounters, parallels Tolstoy's own requests to his fiancée Sophie Behrs.
Anna Karenina and Tolstoy's A Confession
Alla Tarasova as Anna Karenina in 1937
Many of the novel's themes can also be found in Tolstoy's A Confession, his first-person rumination about the nature of life and faith, written just two years after the publication of Anna Karenina.
In this book, Tolstoy describes his dissatisfaction with the hypocrisy of his social class:
“ Every time I tried to display my innermost desires – a wish to be morally good – I met with contempt and scorn, and as soon as I gave in to base desires I was praised and encouraged. ”
Tolstoy also details the acceptability of adulterous "liaisons" in aristocratic Russian society:
“ A dear old aunt of mine, the purest of creatures, with whom I lived, was always saying that she wished for nothing as much as that I would have a relationship with a married woman. "Rien ne forme un jeune homme comme une liaison avec une femme comme il faut." ("Nothing educates a young man better than an affair with a woman established in society.") ”
Another theme in Anna Karenina is that of the aristocratic habit of speaking French instead of Russian, which Tolstoy suggests is another form of society's falseness. When Dolly insists on speaking French to her young daughter, Tanya, she begins to seem false and tedious to Levin, who finds himself unable to feel at ease in her house.
In a passage that could be interpreted as a sign of Anna's eventual redemption in Tolstoy's eyes, the narrator explains:
“ For in the end what are we, who are convinced that suicide is obligatory and yet cannot resolve to commit it, other than the weakest, the most inconsistent and, speaking frankly, the most stupid of people, making such a song and dance with our banalities? ”
A Confession contains many other autobiographical insights into the themes of Anna Karenina. A public domain version of it is here.
Film, television, and theatrical adaptations
For more details on this topic, see Adaptations of Anna Karenina.
* Operas based on Anna Karenina have been written by Sassano (Naples, 1905), Leoš Janáček (unfinished, 1907), Granelli (1912), E. Malherbe (unperformed, 1914), Jeno Hubay (Budapest, 1915), Robbiani (Rome, 1924), Goldbach (1930), Iain Hamilton (London, 1981) and David Carlson (Miami, 2007).
* Love, a 1927 silent film based loosely on the novel. The film starred Greta Garbo and John Gilbert.
* Anna Karenina, a critically acclaimed 1935 film, directed by Clarence Brown. The film stars Greta Garbo, Fredric March, and Maureen O'Sullivan.
* Anna Karenina, a 1948 film directed by Julien Duvivier with Vivien Leigh, Ralph Richardson and Kieron Moore.
* "MGM Theater Of The Air - Anna Karenina (Radio Broadcast)" (Broadcast 12/09/1949; on American radio, starring Marlene Dietrich
* "Nahr al-Hob" (or River of Love; 1960; an Egyptian movie starring Omar Sharif and Faten Hamama
* Anna Karenina, a 1967 Russian film directed by Aleksandr Zarkhi and starring Tatyana Samojlova, Nikolai Gritsenko and Vasili Lanovoy.
* Anna Karenina (1968) a ballet composed by Rodion Shchedrin
* Anna Karenina, a 1977 TV version in ten episodes. Made by the BBC it was directed by Basil Coleman and starred Nicola Pagett, Eric Porter and Stuart Wilson.
* Anna Karenina, a 1985 TV film directed by Simon Langton and starring Jacqueline Bisset, Paul Scofield and Christopher Reeve.
* Anna Karenina, a 1992 Broadway musical starring Ann Crumb and John Cunningham
* Anna Karenina, a 1997 British-American production filmed in St. Peterburg, Russia, by director Bernard Rose with Sophie Marceau as Anna Karenina.
* Anna Karenina, a 2000 TV version in four episodes. It was directed by David Blair and starred Helen McCrory, Stephen Dillane and Kevin McKidd.
* Anna Karenina a 2005 ballet with choreography by Boris Eifman and music drawn from the works of Pyotr Ilyich Tchaikovsky.
Anna Karenina in literature
* Quirk Classics transformed Anna Karenina into the book 'Android Karenina' (other past transformations have included 'Pride and Prejudice and Zombies' and 'Sense and Sensibility and Sea Monsters')
* The novel is referenced in Vladimir Nabokov's Ada or Ardor: A Family Chronicle.
* Repeated reference is made explicitly to Leo Tolstoy and Anna Karenin in Muriel Barbery's Elegance of the Hedgehog
* Anna Karenina is also mentioned in R. L. Stine's Goosebumps series Don't Go To Sleep.
* Mikhail Bulgakov makes reference to the Oblonsky household and Tolstoy in The Master and Margarita.
* In Jasper Fforde's novel Lost in a Good Book, a recurring joke is two unnamed "crowd-scene" characters from Anna Karenina discussing its plot.
* In the short-story "Sleep" by Haruki Murakami, the main character, an insomniac housewife, spends much time reading through and considering "Anna Karenina". Furthermore, in the short story "Super-Frog Saves Tokyo", by the same author, the character of Frog references "Anna Karenina" when discussing how to beat Worm.
* Martin Amis's character Lev, in the novel House of Meetings, compares the protagonist with Anna Karenina's Vronsky.
* In the novel The Unbearable Lightness of Being Anna Karenina is compared with the novel like beauty of life, and Tereza arrives at Tomas's apartment with a copy of the book under her arm. In addition, Tereza and Tomas have a pet dog named Karenin, after Anna's husband.
* In the novel What Happened to Anna K. Irina Reyn loosely transfers the Anna Karenina story to a setting in modern-day New York City.
* Anna Karenina plays a central role in Nilo Cruz's Pulitzer Prize-winning play Anna in the Tropics (2002), set in 1929, as a new lector, Juan Julian, reads the text as background for cigar rollers in the Ybor City section of Tampa, FL. As he reads the story of adultery, the workers' passions are inflamed, and end in tragedy like Anna's.
* In "The Slippery Slope", the 10th book in A Series of Unfortunate Events by Lemony Snicket, the Baudelaire orphans Violet, Klaus and the third Quagmire triplet Quigley need to use the central theme of "Anna Karenina" as the final password to open the Vernacularly Fastened Door leading to the V.F.D. Headquarters. Klaus remembered how his mother had read it to him one summer when he was young as a summer reading book. Klaus summarized the theme with these words: "The central theme of Anna Karenina is that a rural life of moral simplicity, despite its monotony, is the preferable personal narrative to a daring life of impulsive passion, which only leads to tragedy." Esme Squalor later said she once was supposed to read the book over the summer, but she decided it would never help her in her life and threw it in the fireplace.
* Guns, Germs, and Steel (by Jared Diamond) has a chapter (#9) on the domestication of large mammals, titled "Zebras, Unhappy Marriages, and the Anna Karenina Principle." This chapter begins with a variation on the quote, above.
* in Nicholas Sparks's book The Last Song, the main character, Ronnie, reads Anna Karenina and other Tolstoy books throughout the story.
Further reading
Translations
* Anna Karenina, Translated by Constance Garnett. Still widely reprinted.
* Anna Karenina, Translated by Richard Pevear and Larissa Volokhonsky (Allen Lane/Penguin, London, 2000)
* Anna Karénina, Translated by Margaret Wettlin (Progress Publishers, 1978)
* Anna Karenina, Translated by Joel Carmichael (Bantam Books, New York, 1960)
* Anna Karenina, Translated by David Magarshack (A Signet Classic, New American Library, New York and Scarborough, Ontario, 1961)
* Anna Karenina, Translated by Louise and Aylmer Maude (Oxford University Press, Oxford, 1918)
* Anna Karenin, Translated by Rosemary Edmonds (Penguin Classics, Harmondsworth, Middlesex, 1954)
* Anna Karénina, Translated by Nathan Haskell Dole (Thomas Y. Crowell & Co., New York, 1886)
* Anna Karenina, Translated by Kyril Zinovieff (Oneworld Classics 2008) ISBN 978-1-84749-059-9
Biographical and literary criticism
* Bakhtin, Mikhail, The Dialogic Imagination, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (University of Texas Press, Austin, 1981)
* Bayley, John, Tolstoy and the Novel (Chatto and Windus, London, 1966)
* Berlin, Isaiah, The Hedgehog and the Fox: An Essay on Tolstoy's View of History (Simon and Schuster, New York, 1966; Weidenfeld and Nicolson, London, 1967)
* Eikhenbaum, Boris, Tolstoi in the Seventies, trans. Albert Kaspin (Ardis, Ann Arbor, 1982)
* Evans, Mary, Anna Karenina (Routledge, London and New York, 1989)
* Gifford, Henry, Tolstoy (Oxford University Press, Oxford, 1982)
* Gifford, Henry (ed) Leo Tolstoy (Penguin Critical Anthologies, Harmondsworth, 1971)
* Leavis, F. R., Anna Karenina and Other Essays (Chatto and Windus, London, 1967)
* Mandelker, Amy, Framing 'Anna Karenina': Tolstoy, the Woman Question, and the Victorian Novel (Ohio State University Press, Columbus, 1993)
* Morson,Gary Saul, Anna Karenina in our time: seeing more wisely (Yale University Press 2007) read parts at Google-Books
* Nabokov, Vladimir, Lectures on Russian Literature (Weidenfeld and Nicolson, London and Harcourt Brace Jovanovich, New York, 1981)
* Orwin, Donna Tussing, Tolstoy's Art and Thought, 1847-1880 (Princeton University Press, Princeton, 1993)
* Speirs, Logan, Tolstoy and Chekhov (Cambridge University Press, Cambridge, 1971)
* Strakhov, Nikolai, N., "Levin and Social Chaos", in Gibian, ed., (W.W. Norton & Company New York, 2005).
* Steiner, George, Tolstoy or Dostoevsky: An Essay in Contrast (Faber and Faber, London, 1959)
* Thorlby, Anthony, Anna Karenina (Cambridge University Press, Cambridge and New York, 1987)
* Tolstoy, Leo, Correspondence, 2. vols., selected, ed. and trans. by R. F. Christian (Athlone Press, London and Scribner, New York, 1978)
* Tolstoy, Leo, Diaries, ed. and trans. by R. F. Christian (Athlone Press, London and Scribner, New York, 1985)
* Tolstoy, Sophia A., The Diaries of Sophia Tolstoy, ed. O. A. Golinenko, trans. Cathy Porter (Random House, New York, 1985)
* Turner, C. J. G., A Karenina Companion (Wilfrid Laurier University Press, Waterloo, 1993)
* Wasiolek, Edward, Critical Essays on Tolstoy (G. K. Hall, Boston, 1986)
* Wasiolek, Edward, Tolstoy's Major Fiction (University of Chicago Press, Chicago, 1978)
běn piàn miáo shù liǎo zài ná pò lún zhǐ huī jūn duì jìn gōng 'é guó shí dà dòng dàng nián dài zhōng de yī duàn jīng diǎn 'ài qíng gù shì， shì yī bù shǐ shī bān de qián sū lián zhàn zhēng jù piàn。
ān dé liè bù gù huái yùn de qī zǐ hé nián mài de fù qīn， jiān chí dào jūn duì fú yì。 zhàn yì shī bài， tā tuí sàng huí jiā， qià féng qī zǐ nán chǎn 'ér sǐ， bǐ 'āi 'ěr zé zài fù qīn lín zhōng qián bèi lì wéi cái chǎn jì chéng rén， bìng chéng xí liǎo qí fù de bó jué chēng hào， hé guì zú kù lā jīn de nǚ 'ér 'ài lún jié hūn。 hūn hòu bù jiǔ， yīn liǎng rén xìng gé bù hé 'ér fēn jū。 bǐ 'āi 'ěr yǔ luó sī tuō fū bó jué yī jiā zài qù dǎ liè de lù shàng， bǎ chén jìn zài sàng qī zhī tòng de 'ān dé liè yě lā qù dǎ liè， bó jué de nǚ 'ér nà tǎ suō · luó sī tuō wá duì 'ān dé liè chǎn shēng liǎo hǎo gǎn。 bù jiǔ， nà tǎ suō jiē shòu liǎo 'ān dé liè de qiú hūn， dìng lì liǎo hūn yuē。
guò liǎo yī duàn shí jiān， ān dé liè chóngfǎn jūn duì。 ài lún de dì dì 'ā nà tuō lǐ piàn dé nà tǎ suō de 'ài， suō shǐ qí yǔ tā sī bēn。 é fǎ zhàn zhēng kāi shǐ， dān rèn zǒng sī lìng de kù tú zuǒ fū jiāng jūn jué dìng zàn shí fàng qì mò sī kē。 zài chè tuì tú zhōng， nà tǎ suō yù dào shòu zhòng shāng de 'ān dé liè， ān dé liè liàng jiě liǎo nà tǎ suō， dàn tā què yīn shāng shì guò zhòng 'ér lí kāi liǎo rén shì。
zhàn zhēng shèng lì jié shù hòu， bǐ 'āi 'ěr huí dào liǎo mò sī kē， nà tǎ suō bǎ zì jǐ de mìng yùn yǒng yuǎn de yǔ bǐ 'āi 'ěr jié hé zài liǎo yī qǐ……
《 zhàn zhēng yǔ hé píng》 - yǐngpiān píng jià
zhè shì yī bù zhì zuò jīng zhì、 gòu sī yán jǐn de jù piàn。 chǎng miàn zhuàng kuò， qì shì bàng bó， jì chéng liǎo qián sū lián zài pāi shè lì shǐ tí cái yǐngpiān fāng miàn de chuán tǒng， wán měi dì róng tuō 'ěr sī tài yuán zhù jīng shén yú qí zhōng， zài xiàn liǎo 'é fǎ zhàn zhēng shí qī 'é luó sī dà dì guǎng kuò de lì shǐ huà juàn。 yǐngpiān yǐ 1812 nián 'é guó wèi guó zhàn zhēng wéi zhōng xīn， fǎn yìng liǎo 1805 nián zhì 1820 nián zhòng dà shì jiàn， bāo kuò 'ào sī tè lì cí dà zhàn、 bō luó dǐ nuò huì zhàn、 mò sī kē dà huǒ、 ná pò lún kuì tuì děng。 tōng guò duì sì dà jiā tíng yǐ jí 'ān dé liè、 bǐ 'āi 'ěr、 nà tǎ suō zài zhàn zhēng yǔ hé píng huán jìng zhōng de sī xiǎng hé xíng dòng de miáo xiě， zhǎn shì liǎo dāng shí 'é guó shè huì de fēng mào。 hào shí wǔ nián， jù chēng hào zī yī yì měi yuán ( dāng shí de jià qián ) de hóng wěi jù zhì， shì tú jí qí zhōng shí dì fù zhì tuō 'ěr sī tài de cháng piān jù zhù。 zhàn zhēng xì hé wǔ huì xì fēi cháng chū sè， dàn zhěng tǐ shuǐ zhǔn cēncī bù qí。 yǐngpiān cháng dá liù gè bàn xiǎo shí， zài sū lián diàn yǐng shǐ shàng yòu zhe jǔ zú qīng zhòng de dì wèi， tóng shí huò 'ào sī kǎ zuì jiā wài yǔ piàn jiǎng。 1956 nián de měi guó bǎn suī rán bǐ zhè bù duǎn， dàn yě yòu 208 fēn zhōng， yòu 'ào dài lì · hè běn、 hēng lì · fāng dá děng zhù yǎn， yě shì yǐ zhàn zhēng chǎng miàn qǔ shèng。 1973 nián yīng guó BBC tuī chū 750 fēn zhōng de diàn shì bǎn。
《 zhàn zhēng yǔ hé píng》 - huā xù
yǐngpiān pāi shè hào zī gāo dá 5 yì 6000 wàn měi yuán， kān chēng yǐng shǐ shàng zuì 'áng guì de yǐngpiān。
yǐngpiān pāi shè dé dào liǎo sū lián jūn fāng de dà lì xié zhù， shèn zhì jūn fāng shì tú ràng piàn zhōng bīng lì jìn liàng yǔ shí jì zhàn yì de cān zhàn rén shù jī běn xiāng tóng。 zài shì jiè yǐng shǐ shàng， běn piàn chéng wéi dòng yòng lín shí yǎn yuán zuì duō de yǐngpiān zhī yī， chāo guò běn piàn de zhǐ yòu 1982 nián de《 gān dì chuán》， cān jiā gāi piàn pāi shè de lín shí yǎn yuán duō dá 30 wàn rén。
1981 nián 3 yuè， běn piàn zài mò xī gē diàn shì yī tái hé 'èr tái shǒu cì bō chū， chuàng xià liǎo diàn shì tái bō fàng zuì cháng yǐngpiān de jí ní sī shì jiè jì lù。
1958 nián， hǎo lāi wù zhù míng zhì piàn rén mài kè 'ěr · tuō dé (MichaelTodd) fǎng wèn mò sī kē， tā céng tí yì lián hé pāi shè běn piàn， dàn zāo dào sū lián zhèng fǔ de jù jué。
《 zhàn zhēng yǔ hé píng》 - jīng cǎi duì bái
PrinceAndreiBolkonsky:Natasha...Iloveyoutoomuch.Morethananythingintheworld.
ān dé liè wáng zǐ： nà tǎ suō…… wǒ tài 'ài nǐ liǎo。 chāo guò zhè shì shàng de yī qiē。
NatashaRostova:AndI!Butwhytoomuch?
nà tǎ suō： wǒ yě shì！ dàn wèishénme zhè me qiáng liè？
PrinceAndreiBolkonsky:Whytoomuch?Well,whatdoyouthink?Whatdoyoufeelinyoursoul,deepinyoursoul?ShallIlive?Whatdoyouthink?
ān dé liè wáng zǐ： wèishénme？ nǐ shì zěn me xiǎng de？ zài nǐ xīn líng shēn chù gǎn zhī dào shénme？ wǒ huì huó xià qù má？ nǐ shì zěn me xiǎng de？
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
NatashaRostova:I'msureofit.
nà tǎ suō： dāng rán。
PrinceAndreiBolkonsky:Howgoodthatwouldbe.
ān dé liè wáng zǐ： nà huì duō hǎo。
Narrator:Enough,enough,men.Stop,consider,whatareyoudoing?Intothemindsoftiredandhungrymenonbothsides,aflickerofdoubtbegantocreep.Weretheytogoonslaughteringoneanother?Killwhomyoulike,dowhatyoulike,butI'vehadenough.Yetsomeinexplicable,mysteriouspowercontinuedtocontrolthem,andtheterriblebusinesswenton,carriedoutnotbythewillofindividualmen.
bàng bái： gòu liǎo， gòu liǎo， tíng xià bā， nǐ men xiǎng xiǎng， nǐ men zài zuò shénme？ jiāo zhàn shuāng fāng jī hán jiāo pò jīn pí lì jìn de rén men kāi shǐ sī kǎo， yī sī yí lǜ kāi shǐ màn yán。 tā men hái jiāng hù xiāng shā lù má？ suí biàn nǐ men wéi suǒ yù wéi bā， wǒ yǐ jīng yàn juàn liǎo。 rán 'ér yī xiē wú fǎ jiě shì de、 shén mì de lì liàng zài jì xù kòng zhì zhe tā men， zāinàn rēng zài jì xù， gè rén de yì yuàn wú fǎ gǎi biàn zhè yī qiē。
《 zhàn zhēng yǔ hé píng》 - jù qíng
rì běn qīn huá zhàn zhēng qī jiān， xiǎo chái jiàn yī suǒ zài yùn shū chuán bèi zhà chén hòu， tā bèi zhōng guó yú mín jiù huó， cóng cǐ liú zài zhōng guó jūn duì fú wù。 jiàn yī de sǐ wáng tōng zhī dān bèi sòng dào dōng jīng de qī zǐ dīng zǐ shǒu zhōng， dīng zǐ hé jiàn yī yòu nián shí de péng yǒu wǔ dōng kāng jí jié hé liǎo， dài zhe jiàn yī de 'ér zǐ mào nán xìng fú dì shēng huó zài yī qǐ。 dàn zài kōng xí zhōng， kāng jí jīng shén shàng shòu dào liǎo cì jī biàn dé shī cháng。 rì běn tóu jiàng hòu， jiàn yī huí dào jiā xiāng， tā méi yòu xiǎng dào， qī zǐ dīng zǐ yǐ jīng yǔ kāng jí jié liǎo hūn， tā zài jué wàng zhōng yào qiú bǎ mào nán jiāo gěi zì jǐ fǔ yǎng， dàn shì mào nán yǐ jīng hé kāng jí yòu liǎo gǎn qíng， jiàn yī bù dé bù fàng qì dài zǒu mào nán de niàn tóu。 ...
《 zhàn zhēng yǔ hé píng》 - mù hòu huā xù
cǐ piàn shì 'àn zhào dāng shí zhàn rì měi jūn de yì tú pāi shè de， shì wéi rì běn xīn xiàn fǎ fàng qì zhàn zhēng zuò xuān chuán de yǐngpiān。 dàn duì yú liǎng wèi dǎo yǎn lái shuō， zhè zhèng shì tā men xiǎng yào pāi shè de zhù tí， yīn wéi zài zhàn zhēng qī jiān， tā men mù dǔ liǎo zhàn zhēng dài gěi rén mín de cán kù hé bù xìng shēng huó。 cǐ piàn de zhòng yào yì yì hái zài yú， dǎo yǎn guī jǐng wén fū bǎ dà liàng biǎo xiàn zhōng guó nànmín de jìng tóu zǔ jiē zài yǐngpiān zhōng， shǐ rì běn rén mín kàn dào liǎo zhēn shí de zhàn zhēng cán kù de yī miàn， duì rì běn rén mín de chù dòng hěn dà， yīn cǐ guǎng dà rì běn rén mín duì cǐ piàn de píng jià hěn gāo， yǐngpiān zài rì běn diàn yǐng shǐ shàng yòu bù kě hū shì de dì wèi。
《 zhàn zhēng yǔ hé píng》 - xiǎo shuō yǐn yán
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
tuō 'ěr sī tài juàn zhì hào fán de cháng piān xiǎo shuō。 chǎng miàn hào dà， rén wù fán duō， bèi chēng wéi“ shì jiè shàng zuì wěi dà de xiǎo shuō”， chéng jiù fēi fán。《 zhàn zhēng yǔ hé píng》 wèn shì zhì jīn， yī zhí bèi rén chēng wéi“ shì jiè shàng zuì wěi dà de xiǎo shuō”。 zhè bù juàn zhì hào fán de jù zhù yǐ shǐ shī bān guǎng kuò yǔ xióng hún de qì shì， shēng dòng dì miáo xiě liǎo 1805 zhì 1820 nián 'é guó shè huì de zhòng dà lì shǐ shì jiàn hé gè gè shēng huó lǐng yù：“ jìn qiān gè rén wù， wú shù de chǎng jǐng， guó jiā hé sī rén shēng huó de yī qiē kě néng de lǐng yù， lì shǐ， zhàn zhēng， rén jiān yī qiē cǎn jù， gè zhǒng qíng yù， rén shēng gè gè jiē duàn， cóng yīng 'ér jiàng lín rén jiān de tí shēng dào qì xī yǎn yǎn de lǎo rén de gǎn qíng zuì hòu bèng fā， rén suǒ néng gǎn shòu dào de yī qiē huān lè hé tòng kǔ， gè zhǒng kě néng de nèi xīn sī xù， cóng qiè qǔ zì jǐ tóng bàn de qián bì de xiǎo tōu de gǎn jué， dào yīng xióng zhù yì de zuì chóng gāo de chōng dòng hé lǐng wù tòu chè de chén sī héng héng zài zhè fú huà lǐ dū yīngyǒu jìn yòu。” zuò zhě duì shēng huó de dà miàn jī hán gài hé zhěng tǐ bǎ wò， duì gè bié xiàn xiàng yǔ shì wù zhěng tǐ、 gè rén mìng yùn yǔ zhōu wéi shì jiè de nèi zài lián xì de chōng fēn jiē shì， shǐ zhè bù xiǎo shuō jù yòu jí dà de sī xiǎng hé yì shù róng liàng。 zhè shì tuō 'ěr sī tài chuàng zuò de dì yī bù juàn zhì hào fán de cháng piān xiǎo shuō。 zuò zhě bǎ zhàn zhēng yǔ hé píng， qián xiàn yǔ hòu fāng、 guó nèi yǔ guó wài、 jūn duì yǔ shè huì、 shàng céng yǔ xià céng lián jié qǐ lái， jì quán miàn fǎn yìng liǎo shí dài fēng mào， yòu wéi gè shì gè yàng de diǎn xíng rén wù chuàng zào liǎo jí guǎng kuò de diǎn xíng huán jìng。 zuò zhě duì rén wù de miáo xiě xíng xiàng jì fù zá yòu fēng mǎn， cháng yòng duì bǐ de yì shù fāng fǎ lái biǎo shù， tǐ cái zài 'é guó wén xué shǐ shàng shì yī zhǒng chuàng xīn， yě chāo yuè liǎo 'ōu zhōu cháng piān xiǎo shuō de chuán tǒng guī fàn。
《 zhàn zhēng yǔ hé píng》 - zuò zhě jiǎn jiè
liè fū · tuō 'ěr sī tài（ Л.Н.Толстой,LevNikolayevichTolstoy,LeoTolstoy,1828 héng 1910)， 19 shì jì 'é luó sī wén xué xiě shí zhù yì de dài biǎo zuò jiā， gōng rèn de zuì wěi dà de 'é luó sī wén xué jiā，《 xī fāng zhèng diǎn》 zuò zhě、 měi guó zhù míng wén xué jiào shòu jiān pī píng jiā hā luò · bǔ lún shèn zhì chēng zhī wéi“ cóng wén yì fù xīng yǐ lái， wéi yī néng tiǎo zhàn hé mǎ、 dàn dīng yǔ suō shì bǐ yà de wěi dà zuò jiā”。 duì wén xué yōng yòu“ kuáng liàn shì 'ài qíng” de tuō 'ěr
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
sī tài， shì 'é luó sī wén xué shǐ shàng chuàng zuò shí jiān zuì cháng、 zuò pǐn shù liàng zuì duō、 yǐng xiǎng zuì shēn yuǎn、 dì wèi zuì chóng gāo de zuò jiā， zhòng qíng jié、 zhòng diǎn xíng、 zhòng xiě shí、 zhòng pī pàn de wén xué shí dài， zài tā bǐ xià dá dào diān fēng。 cháng piān jù zhù《 zhàn zhēng yǔ hé píng》、《 ān nà · kǎ liè ní nà》 hé《 fù huó》 shì tuō 'ěr sī tài wén xué yì shù shàng de sān gè lǐ chéng bēi。 bǎi nián lái， tā de zuò pǐn bèi yì wéi gè guó wén zì， xiāo shòu liàng lěi jī chāo guò 5 yì cè， shì dà shī zhōng de dà shī。
《 zhàn zhēng yǔ hé píng》 huī hóng de gòu sī hé zhuó yuè de yì shù miáo xiě zhèn jīng shì jiè wén tán， chéng wéi jǔ shì gōng rèn de shì jiè wén xué míng zhù hé rén lèi bǎo guì de jīng shén cái fù。 yīng guó zuò jiā máo mǔ jí nuò bèi 'ěr wén xué jiǎng dé zhù luó màn · luó lán chēng zàn tā shì“ yòu shǐ yǐ lái zuì wěi dà de xiǎo shuō”，“ shì wǒ men shí dài zuì wěi dà de shǐ shī， shì jìn dài de yī lì yà tè”。
《 zhàn zhēng yǔ hé píng》 shì yī bù hóng wěi jù zhù， tā yǐ zhàn zhēng wèn tí wéi zhōng xīn， yǐ kù lā jīn、 bāo 'ěr kāng sī jī、 láo sī tuō fū、 bié zhú háo fū sì jiā guì zú de shēng huó wéi xiàn suǒ， zhǎn shì liǎo 19 shì jì zuì chū 15 nián de 'é guó lì shǐ， miáo huì liǎo gè gè jiē jí de shēng huó， shì yī bù zài xiàn dāng shí shè huì fēng mào de huī hóng shǐ shī。 zuò pǐn zhōng de gè sè rén wù kè huà jīng zhǔn xì nì， jǐng wù rú lín yǎn qián， suī shì 19 shì jì de xiǎo shuō zuò pǐn， dàn liú chuán zhì jīn， què méi yòu rèn hé gé hé gǎn， qí zhōng liú lù chū lái duì rén xìng de bēi mǐn qíng huái， chuān yuè shí kōng bèi jǐng， réng jiù hàn dòng rén xīn。
《 zhàn zhēng yǔ hé píng》 - nèi róng jiǎn yào
1805 nián 7 yuè， ná pò lún shuài bīng zhēng fú liǎo 'ōu zhōu， fǎ 'é zhī jiān zhèng yùn niàng zhe jī liè de zhàn zhēng。 rán 'ér zài bǐ dé bǎo shàng céng de rén men yǐ jiù guò zhe tián jìng yōu xián de shēng huó， dá guān guì rén mendōu huì jù zài huáng hòu de nǚ guān jiān chǒng chén 'ān nà · bā fǔ luò fū nà jǔ bàn jiā yàn zhāo dài huì shàng。
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
fù yàn de yòu gōng tíng guān gāo wèi zhòng de fá xī lǐ wáng jué hé tā piào liàng què xíng wéi bù duān de nǚ 'ér měi lún， hái yòu gè tóu gāo dà jiàn zhuàng de nián qīng rén bǐ 'ěr， tā dài zhe yǎn jìng， jiǎn duǎn fā， chuān qiǎn sè de liú xíng duǎn kù hé hè sè yàn wěi fú。 bǐ 'ěr shì mò sī kē zhù míng guì zú bié zhú háo fū de sī shēng zǐ， cóng xiǎo chū guó liú xué， jīn nián 20 suì， xué chéng huí guó dào shǒu dū móu zhí。 tā yī jìn yàn huì tīng， duì rén men yì lùn ná pò lún zhēng zhàn 'ōu zhōu pō gǎn xīng qù。 zài zhè lǐ， tā gāo xīng dì jié shí liǎo yīng jùn 'ér gāng yì de qīng nián 'ān dé liè－－ xiān cháo bǎo luó huáng dì de tuì zhí lǎo zǒng sī lìng bāo 'ěr kāng sī jī de zhǎngzǐ， liǎng rén hěn kuài chéng liǎo hǎo péng yǒu。
cǐ shí， ān dé liè zhèng yìng kù tú zuǒ fū jiāng jūn de zhào huàn， qù rèn tā de chuán lìng guān， jiāng chū guó gēn zhēng zhàn 'ōu zhōu de ná pò lún jūn duì zuò zhàn， rèn jí jiāng fēn miǎn de qī zǐ hé mèi mèi mǎ lì zài sān quàn liú， yě gǎi biàn bù liǎo tā de jué xīn， tā qī wàng tōng guò zhè cì zhàn zhēng wéi zì jǐ dài lái huī huáng yǔ róng yào。 zài chū zhēng zhī qián， ān dé liè bǎ qī zǐ cóng shǒu dū sòng dào liǎo zài mò sī kē jiāo wài jū zhù de fù qīn nà lǐ， wěi tuō fù qīn jiā yǐ guān zhào。 yú shì tā jí bēn qián xiàn， zài bō lán zhuī shàng liǎo 'é jūn zǒng sī lìng kù tú zuǒ fū， zǒng sī lìng pài tā dào lián hé zòng duì qù rèn zhí， bìng shòu dào liǎo jiā jiǎng。
bǐ 'ěr huí dào mò sī kē， tā jì chéng liǎo bié zhú háo fū bó jué shēn hòu suǒ yòu de yí chǎn， yáo shēn yī biàn chéng wéi mò sī kē shǔyīshǔ 'èr de zī běn jiā， chéng wéi shè jiāo jiè de chǒng 'ér。 tā de qīn qī fá xī lǐ zǎo jiù kuī shì bié zhú háo fū jiā de cái chǎn， běn xiǎng tōng guò cuàn gǎi yí zhǔ lái móu dé， shī bài hòu， yòu chǔxīn jī lǜ dì yào lā lǒng bǐ 'ěr， yī fāng miàn wèitā zài bǐ dé bǎo móu dé yī gè bù xiǎo de guān zhí， yòu wā kōng xīn sī qiǎo 'ān pái， ràng yǐ shì gōng tíng nǚ guān de nǚ 'ér měi lún jià gěi bǐ 'ěr， yǐ tú qián cái。 jiēguǒ tā de jì móu shùn lì dá chéng， kě zhè zhuāng hūn shì shí zài bù xìng zhī zhì。 bǐ 'ěr fā xiàn liǎo qī zǐ yǔ hǎo yǒu duō bó hè fū zhī jiān de 'ài mèi guān xì， tā yǔ duō bó hè fū jìn xíng bó dǒu， bìng xìng yùn de jī dǎo duì fāng， suí zhī yǔ qī zǐ fēn jū， zì jǐ yě xiàn rù liǎo shàn 'è hé shēng sǐ de kùn rǎo zhī zhōng， zài jiā rù gòng jì huì hòu， shòu dào kuān hóng dà liàng de zhé xué de xūn táo， jiē huí liǎo qī zǐ。
dāng 'ān dé liè zài cì huí dào zǒng sī lìng shēn biān， é 'ào lián jūn duì fǎ de 'ào sī tè lǐ qí zhàn dǒu jiù yào dǎ xiǎng liǎo。 yóu yú zài zhàn qián de jūn shì huì yì shàng， fǒu jué liǎo jǐ wèi lǎo jiāng jūn de yì jiàn， cǎi qǔ liǎo mǎ shàng chū jī de zhàn lüè， jiēguǒ cǎn bài。 ān dé liè shòu shāng bèi fú， tú zhōng hūn mí， bèi dí rén wù yǐ wéi huó bù chéng 'ér diū xià， kù tú zuǒ fū yě yǐ wéi 'ān dé liè zhèn wáng， gěi tā de fù qīn qù xìn bào sàng。 kě shì 'ān dé liè zài lǎo bǎi xìng de jiù zhì xià yòu kāng fù liǎo。 yù hòu de tā zhíbèn lǎo jiā， shì rì yè wǎn， qī zǐ lì shā zhèng hǎo chǎn xià yī míng nán yīng， dàn tā què zài fēn miǎn zhōng sǐ qù liǎo。 ān dé liè zài gū dú yǔ jué wàng zhī zhōng gěi qī zǐ zuì hòu yī gè wěn， tā jué dé rén shēng yǐ zài wú yì yì， jué dìng zhōng lǎo yú lǐng dì。
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
yī bā líng qī nián liù yuè， é yǔ fǎ yán hé， hé píng shēng huó kāi shǐ liǎo。
yī bā líng jiǔ nián chūn tiān， ān dé liè · bǎo 'ěr kāng sī jī yīn guì zú huì zhī shì 'ér qù bài tuō luó sī tuō fū bó jué。 zài bó jué jiā tā bèi chōng mǎn shēng mìng lì de nián qīng xiǎo jiě nà dá suō shēn shēn dì xī yǐn liǎo。 dàn yóu yú tū shān lǎo gōng jué qiáng liè fǎn duì， zhǐ hǎo hù xiāng yuē yǐ yī nián de huǎn chōng qī， ér hòu， ān dé liè · bǎo 'ěr kāng sī jī jí chū guó qù liǎo。 dàn shì， nián qīng de nà dá suō wú fǎ rěn shòu jì mò， qiě jīng bù qǐ bǐ 'ěr zhī qī 'ài lún de gē gē 'ā nà tuō 'ěr de yòu huò， ér shàn zì yuē dìng sī bēn， yīn cǐ， yǔ 'ān dé liè · bǎo 'ěr kāng sī jī de hūn yuē jí gào wú xiào。
yī bā yī 'èr nián， é、 fǎ liǎng guó zài dù jiāo zhàn， ān dé liè · bǎo 'ěr kāng sī jī yú duō bó qí nuò zhàn yì zhōng shēn shòu zhòng shāng， ér 'é jūn jié jié bài tuì， yǎn jiàn mò sī kē jí jiāng xiàn yú dí rén zhī shǒu liǎo。 luó sī tuō fū jiā jiāng yuán běn yòng lái bān yùn jiā chǎn de mǎ chē， gǎi pài qù yùn sòng shāng bīng， nà dá suō fāng néng néng yú shāng bīng zhōng fā xiàn jiāng sǐ de 'ān dé liè · bǎo 'ěr kāng sī jī。 tā xiàng tā xiè zuì bìng rè chéng kānhù tā， dàn yī qiēdōu shì tú láo liǎo， ān dé liè · bǎo 'ěr kāng sī jī réng rán táo bù guò sǐ wáng zhī shén 'ér qù shì liǎo。
bǐ 'ěr huà zhuāng chéng nóng fū， xiǎng sì jī cì shā ná pò lún， dàn què bèi fǎ jūn dài bǔ 'ér chéng wéi fú lǔ。 qí qī 'ài lún yú zhàn huǒ zhōng， réng jì xù qí fàng dàng xíng wéi， zuì hòu， yīn wù fú duò tāi yào 'ér qiě sǐ wáng。
jǐ fān fèn zhàn hòu， é guó zhōng yú yíng dé shèng lì， bǐ 'ěr yú mò sī kē qiǎo yù nà dá suō， liǎng rén biàn jié wéi fū fù， ér 'ān dé liè · bǎo 'ěr kāng sī jī de mèi mèi mǎ lì yà yě yǔ nà dá suō zhī xiōng ní kè lā jié hūn， ér zǔ chéng yī gè xìng fú de jiā tíng。
《 zhàn zhēng yǔ hé píng》 - xiāng guān píng jià
《 zhàn zhēng yǔ hé píng》 wèn shì zhì jīn， yī zhí bèi rén chēng wéi“ shì jiè shàng zuì wěi dà de xiǎo shuō”。 zhè bù juàn zhì hào fán de jù zhù yǐ shǐ shī bān guǎng kuò yǔ xióng hún de qì shì， shēng dòng dì miáo xiě liǎo 1805 zhì 1820 nián 'é guó shè huì de zhòng dà lì shǐ shì jiàn hé gè gè shēng huó lǐng yù：“ jìn qiān gè rén wù， wú shù de chǎng jǐng， guó jiā hé sī rén shēng huó de yī qiē kě néng de lǐng yù， lì shǐ， zhàn zhēng， rén jiān yī qiē cǎn jù， gè zhǒng qíng yù， rén shēng gè gè jiē duàn， cóng yīng 'ér jiàng lín rén jiān de tí shēng dào qì xī yǎn yǎn de lǎo rén de gǎn qíng zuì hòu bèng fā， rén suǒ néng gǎn shòu dào de yī qiē huān lè hé tòng kǔ， gè zhǒng kě néng de nèi xīn sī xù， cóng qiè qǔ zì jǐ tóng bàn de qián bì de xiǎo tōu de gǎn jué， dào yīng xióng zhù yì de zuì chóng gāo de chōng dòng hé lǐng wù tòu chè de chén sī héng héng zài zhè fú huà lǐ dū yīngyǒu jìn yòu。”（ sī tè lā huò fū yǔ） zuò jiā duì shēng huó de dà miàn jī hán gài hé zhěng tǐ bǎ wò， duì gè bié xiàn xiàng yǔ shì wù zhěng tǐ、 gè rén mìng yùn yǔ zhōu wéi shì jiè de nèi zài lián xì de chōng fēn jiē shì， shǐ zhè bù xiǎo shuō jù yòu jí dà de sī xiǎng hé yì shù róng liàng。
zhè shì yī bù rén mín zhàn zhēng de yīng xióng shǐ shī。 tuō 'ěr sī tài céng jīng biǎo shì：“ zài《 zhàn zhēng yǔ hé píng》 lǐ wǒ xǐ huān rén mín de sī xiǎng。” yě jiù shì shuō， zuò zhě lì tú zài zhè bù zuò pǐn lǐ biǎo xiàn 'é guó rén mín zài fǎn qīn lüè zhàn zhēng zhōng de 'ài guó zhù yì jīng shén jí qí lì shǐ zuò yòng。 zài guó jiā wēi jí de yán zhòng guān tóu， xǔ duō lái zì xià céng de 'é jūn pǔ tōng guān bīng tóng chóu dí kài， yù xuè fèn zhàn， suī rán zhàn shì yī dù shī lì， dàn jīng shén shàng què shǐ zhōng zhàn yòu yā dǎo de yōu shì。 lǎo bǎi xìng yě zhù dòng qǐ lái bǎo jiā wèi guó。 zài rén mín qún zhòng zhōng yǒng xiàn chū yī dà pī xiàng wǎng shēng、 jié ní suǒ fū、 xiè 'ěr bā dí nà yàng de yīng xióng rén wù。 é jūn tǒng shuài kù tú zuǒ fū yě yīn wéi tǐ xiàn liǎo rén mín de yì zhì， cái jù yòu guò rén de dǎn lüè hé jué shèng de xìn xīn。 zhěng bù xiǎo shuō yǐ wú kě biàn bó de shì shí zhèng míng liǎo tuō 'ěr sī tài de“ rén mín zhàn zhēng de jù bàng yǐ quán bù wēi yán xióng wěi de lì liàng” gǎn zǒu liǎo qīn lüè zhě de sī xiǎng。
zuò zhě zài xiǎo shuō zhōng yě rèn zhēn tàn suǒ liǎo guì zú jiē jí de lì shǐ mìng yùn wèn tí。 xiǎo shuō de zhù yào qíng jié jiù shì wéi rào zhe bāo 'ěr kāng sī jī、 bié sù huò fū、 luó sī tuō fū、 kù lā jīn sì dà guì zú jiā tíng de shēng huó zhǎn kāi de。 60 nián dài， tuō 'ěr sī tài réng zhàn zài guì zú jiē jí de lì chǎng shàng， dàn shì tā duì jiē jìn gōng tíng de shàng
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
céng guì zú què jǐyǔ shēn kè de jiē lù hé pī pàn。 zài mín zú wēi wáng de guān tóu， kù lā jīn zhī liú mò shì guó jiā mìng yùn， wèi dí rú hǔ， tā men guān xīn de shì xún huān zuò lè， jī jù sī chǎn。 xiǎo shuō zhōng， kù lā jīn shì guān pǐ， ér zǐ 'ā nà tuō 'ěr shì 'èshào， nǚ 'ér 'ài lún zé shì dàng fù。 zhè xiē guì zú de bēi liè xíng jìng yǔ rén mín wèiguó xiàn shēn de chóng gāo jīng shén xíng chéng liǎo qiáng liè de fǎn chā。 tuō 'ěr sī tài rèn wéi， é guó de qián tú zài yú“ yōu xiù” guì zú yǔ rén mín de hé zuò。 tā yòng shī yì de bǐ chù miáo xiě liǎo jīng chéng yǐ wài de zhuāng yuán guì zú luó sī tuō fū yī jiā hé bāo 'ěr kāng sī jī yī jiā， zhǐ chū zài zhè xiē guì zú shēn shàng réng bǎo liú zhe chún hòu de gǔ fēng， tā men yòu 'ài guó xīn， yǔ rén mín de jīng shén xiāng tōng。 zhè lǐ， zuò zhě zài yī dìng chéng dù shàng měi huà liǎo zōng fǎ zhì guì zú。
zhè bù xiǎo shuō de zhù rén gōng shì 'ān dé liè · bāo 'ěr kāng sī jī、 bǐ 'āi 'ěr · bié sù huò fū hé nà tǎ suō · luó sī tuō wá。 zhè sān gè rén wù dōushì zuò zhě xǐ 'ài de zhèng miàn xíng xiàng。 ān dé liè hé bǐ 'āi 'ěr shì tàn suǒ xíng de qīng nián guì zú zhī shí fènzǐ。 xiǎo shuō zhōng， zhè liǎng gè rén wù zài xìng gé hé shēng huó dào lù shàng xíng chéng liǎo xiān míng de duì bǐ。 ān dé liè xìng gé nèi xiàng， yì zhì jiān qiáng， yòu jiào qiáng de shè huì huó dòng néng lì， tā hòu lái tóu shēn jūn duì hé cānyù shè huì huó dòng kù sài、 ā duō nuò、 fú luò mǔ、 hā bèi mǎ sī（ JürgenHabermas， 1929 héng）， zài yán kù de shì shí miàn qián zhú bù rèn shí dào shàng céng tǒng zhì jiē jí de fǔ bài hé rén mín de lì liàng， bǐ 'āi 'ěr xīn zhí kǒu kuài， yì dòng gǎn qíng， quē shǎo shí jì huó dòng néng lì， gèng cè zhòng yú duì dào dé lǐ xiǎng de zhuī qiú， hòu lái zhù yào zài yǔ rén mín de zhí jiē jiē chù zhōng jīng shén shàng dé dào chéngzhǎng。 nǚ zhù rén gōng nà tǎ suō yǔ liǎng wèi zhù rén gōng de guān xì shǐ tā chéng wéi xiǎo shuō zhōng zhòng yào de lián zhuì rén wù， ér zhè yī xíng xiàng běn shēn yòu shì gè xìng xiān míng， shēng qì bó bó de。 xiǎo shuō chōng fēn zhǎn kāi liǎo nà tǎ suō rè liè 'ér fēng fù de qíng gǎn， tā yǔ rén mín hé dà zì rán de jiē jìn， tā de mín zú qì zhì， yǐ jí tā zài jīng shén shàng de chéngzhǎng。 zhè jǐ gè zhù yào rén wù xíng xiàng dū jù yòu jiào gāo de rèn shí jià zhí hé shěn měi jià zhí。
《 zhàn zhēng yǔ hé píng》 yì shù chéng jiù zhuó zhù。 zài zhè bù zuò pǐn zhōng， tuō 'ěr sī tài yòu lì dì tuò kuān liǎo cháng piān xiǎo shuō biǎo xiàn shēng huó de fú dù， bìng zài chuán tǒng de shǐ shī tǐ xiǎo shuō hé xì jù shì xiǎo shuō de jī chǔ shàng chuàng zào liǎo yī zhǒng bǐ jiào chéng shú de xíng tài。 xiǎo shuō chǎng miàn zhuàng kuò， jié gòu qīng xī， rén wù xíng xiàng xiān míng， yòu yī zhǒng dà hǎi bān huī hóng kāi kuò de měi。 tóng shí， xiǎo shuō shí dài gǎn qiáng liè， tā suī shì yī bù lì shǐ tí cái xiǎo shuō， dàn què fǎn yìng liǎo nóng nú zhì gǎi gé hòu 'é guó qián tú hé rén mín zuò yòng de wèn tí。 yīn cǐ，《 zhàn zhēng yǔ hé píng》 dāng zhī wú kuì dì shì yī bù“ liǎo bù qǐ de jù zhù”。（ liè níng yǔ）
《 zhàn zhēng yǔ hé píng》 - yuè dú jià zhí
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
zhàn zhēng shì yīcháng lì shǐ zhēng lùn bù xiū de huà tí。 yòu rén shuō tā shì wèile hé píng， yě yòu rén shuō shì wèile jìn bù， yīn wéi zhàn zhēng què shí yòu de shí hòu jiā kuài liǎo wén míng de bù fá。 bù guǎn zhàn zhēng wèihé， dàn sì hū dū qǐ yuán yú máo dùn yǔ xíng wéi。 bù kě fǒu rèn， rén de xīn lǐ shì cún zài hàodòu de yī miàn， zài píng fán de shēng huó zhōng jiā tíng、 shì yè、 gǎn qíng děng yī xì liè suǒ shì， dū ràng wǒ men huó dé wú bǐ dān yōu， zài dān diào fá wèi de shēng huó lǐ， rén shì hěn nán shì yìng zhè zhǒng bù biàn dòng de shēng huó。
zài tuō 'ěr sī tài de xiǎo shuō lǐ《 zhàn zhēng yǔ hé píng》， rú guǒ ná zhàn zhēng dān dú de lái jiǎng de huà， nà me zhàn zhēng shì zì yóu de。 zhè zhǒng zì yóu wéi rén xìng yǔ shì fàng de zì yóu。 zài yīcháng zhàn zhēng zhōng shùn jiān de shēng sǐ shì kě yǐ xuǎn zé de， huó zhe de mùdì jiù shì wèile shā rén， shā rén de mùdì jiù shì wèile huó zhe。 zài zhè gè jiǎn dān 'ér cán kù de juàn zǐ lǐ zhǐ cún yòu liǎng zhǒng rén， jí péng yǒu hé dí rén， chú cǐ zhī wài yī qiēdōu biàn dé bù zhòng yào liǎo， zhè ràng xǔ duō fù zá shì qíng yě xiǎn xiàn dé wú bǐ xiān míng huà liǎo。 xiǎo shuō zhōng luó sī tuō fū shì xǐ huān zhè zhǒng jiǎn dān de rén。 zài fēng kuáng de zhēng duó yǔ zuì 'è de zhàn zhēng zhōng， luó sī tuō fū zhǎo dào liǎo zì jǐ de jià zhí， zhè zhǒng jià zhí bìng fēi shì zài shàng céng jiāo jì juàn lǐ gù yòu de。 gèng duō de shì luó sī tuō fū zuò wéi yī gè chuán tǒng rén wù， zài xū róng hé róng yào de yǐn dǎo xià gèng duō de dǒng dé xī shēng zì jǐ。 rán 'ér zhàn zhēng shì xū yào zhè lèi rén de， shēng huó yě bù pái chì， dàn zài tuō 'ěr sī tài de xiǎo shuō lǐ què bìng wèi dé dào zàn yáng， zhè ràng rén bù nán xiǎng xiàng qí zhōng bāo hán lǐ miàn de qù wèi yǔ zhēn chéng， zhí dé ràng rén gǎn dòng！
suǒ ní yà shì nà me de 'ài zhe tā， yǔ qí shuō tā shì 'ài zhe tā de líng hún yǔ quán bù， hái bù rú shuō tā shì wéi zì jǐ biān zhì de xìn niàn 'ér 'ài zhe。 zài tuō 'ěr sī tài de xiǎo shuō zhōng hěn róng yì kàn dào， yī mù mùdì 'ài qíng dū cún zài zhe yī dìng de mùdì xìng hé shì sú de tǐng xiàng xìng。 suǒ ní yà wéi yí mā jiā de míng lì fàng qì liǎo luó sī tuō fū， ān dé 'ān wéi shì sú de zhēn cāo fàng qì liǎo nà tǎ shā， yī qiēdōu nà me de biàn huàn mò cè， dàn yòu cún zài dān diào de yī zhì xìng héng héng jí wéi míng、 lì、 xū róng 'ér fàng qì zì jǐ yuán běn de shēng huó。
zài 'ān dé liè jīng lì liǎo jǐ cì de shēng sǐ lí bié zhī hòu， zhàn zhēng jiù xiàng shì yī zhǎn míng dēng shìde hū 'àn hū míng de chū xiàn zài tā yǎn qián， yòu shí xiàng shì zhǐ qīng dào lù yòu shí què xiǎn dé nà me de pū shuò mí lí。 zhǐ yòu zài shēng yǔ sǐ jí jiāng fēn kāi de shí hòu， xiàn shí hé lǐ xiǎng zài tā yǎn zhōng cái kàn dé nà me qīng chǔ。 zuò zhě yī gè nián líng duàn yī gè nián líng duàn de xù shù liǎo 'ān dé liè suǒ jīng lì de gǎn shòu， zhè ràng wǒ mén háo bù fèi jiě de zǒu jìn liǎo tā de nèi xīn shì jiè， xīn yòu líng xī de sī kǎo zhe bǎi zài zì jǐ miàn qián de wèn tí。 xiàn shí héng lǐ xiǎng， dāng sī kǎo de shí hòu bì rán huì chǎn shēng máo dùn， yě bì rán huì yòu suǒ jiēguǒ。 shū zhōng yī bù bù zài máo dùn zhōng bù wán shàn de jiēguǒ lái chǎn shù liǎo 'ān dé liè de sī xiǎng shēng huá， tōng guò duì tā de rén wù sù zào ràng wǒ men bǐ jiào wán zhěng de liǎo jiě liǎo rén xìng de yī miàn。
zài zhàn chǎng shàng， ān dé liè kāi shǐ yě hé luó sī tuō fū yī yàng， xiǎng tōng guò zhàn zhēng lái jiàn lì yī fèn shū róng， zuò wéi yī gè nán rén lái jiǎng zhè shì yìng jù bèi de。 dàn tā bù míng bái yīnggāi jù bèi zhè zhǒng shū róng de mùdì shì wèishénme， yě xǔ shì yī zhǒng wú xíng de lì liàng zài yǐn yòu tā zhè yàng zuò。 zài yà lì shān dà de huáng quán xià， dà duō shù réndōu kě yǐ wéi yǒng qì hé shū róng xiàn shēn， yǔ qí shuō shì wéi jìn bù hé wén míng 'ér zhàn， hái bù rú shuō shì wéi bié rén hé qí tā de dōng xī 'ér zhàn。
bù nán kàn dào， zài zhè chǎng guān jiàn xìng de zhàn yù zhōng， ná pò lún de zhēn zhèng duì shǒu bìng bù shì yà lì shān dà， ér shì yà lì shān dà de shǔ xià kù tú zuǒ fū， yī gè shēn
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
shòu huáng dì pái chì dàn yòu lí bù kāi tā de rén。 què dìng tā wéi yī míng jiāng jūn dǎo hái bù rú shuō tā shì yī wèi rén zhì de lǎo tóu， yī wèi dǒng dé píng píng fán fán shēng huó zhēn dì de rén。 zài ná pò lún de tiān cái zhàn lüè zhōng， bèi rén lèi rèn wéi shì fēng kuáng jiā yì shù de xíng wéi zài zhè lǐ dé dào liǎo xiū xī， jiù xiàng shì yī zhǐ shí fēn wēi měng de fēng zǐ zhuàng jìn liǎo mián huā duī lǐ， yī qiē fēng máng dū bāo róng zài bù tòng bù yǎng de mián sī lǐ。 ér zhǐ néng xiàng shì cāng yíng yī yàng děng dài zhe zhī zhū de jìn shí。 zài zhè lǐ wǒ men zhǐ néng yòng tuō 'ěr sī tài de huà yǔ： kù tú zuǒ fū shì yī wèi dǒng dé zì rán guī lǜ de rén！ héng héng shēng huó yòu hé cháng bù yī yàng xū yào zhè yàng de rén ní。
zài 'ān dé liè lín sǐ de nà yī kè（ yòu jǐ cì zhè yàng de shí kè）， wén zhōng zǒng huì chū xiàn lán tiān、 bái yún、 tóng nián shí de xiǎng xiàng hé yī qiē dāng shí rèn wéi bù yú kuài 'ér xiàn zài xiǎng qǐ lái lìng tā yú kuài de shì， zhè xiē dōng xī zài 'ān dé liè de yǎn zhōng jiù xiàng guò yǔ yún yān， yī qiēdōu xiǎn dé nà me de zhēn shí yǔ měi hǎo， zhè ràng wǒ men bù nán xiǎng xiàng shēng huó qí shí shì měi hǎo de， zhǐ shì wǒ men guò yǔ kē qiú。
zài 'ān dé liè sǐ hòu jǐn jiē zhe shì pí 'āi 'ěr hé nà tǎ shā（ ān dé liè de wèi hūn qī）、 ān dé liè de jiě jiě mǎ lì yà（ qián chéng de jiào tú） hé luó sī tuō fū de xìng fú hūn yīn shēng huó， zhè yě zhèng yù shì liǎo wú lùn shì zài zhàn zhēng de bèi hòu， hái shì zài jīng guò yī qiē xīng fēng xuè yǔ de zhēngzhá zhī hòu， shēng huó de yào qiú qí shí hěn jiǎn dān， yī qiēdōu shì rén lèi zài zuò guài bà liǎo！
《 zhàn zhēng yǔ hé píng》 - xiàn dài zhù shì [ jīng wén ]
[ yīng guó ] āi lǐ kè · huò bù sī bào mǔ yǐn hóng yì fān yì
20 shì jì shì rén lèi yòu jìzǎi de lì shǐ shàng zuì shā rén bù zhǎ yǎn de shì jì。 zhàn zhēng suǒ zào chéng de huò zhě yǔ zhàn zhēng yòu guān de sǐ wáng zǒng rén shù gū jì wéi 1.87 yì， xiāng dāng yú 1913 nián shì jiè rén kǒu de 10% yǐ shàng。 rú guǒ suàn zuò shì cóng 1914 nián kāi shǐ， zhè shì yī gè zhàn zhēng jīhū bù jiànduàn de shì jì， qí zhōng mǒu dì méi yòu fā shēng yòu zǔ zhì de wǔ zhuāng chōng tū de shí qī hěn shǎo yě hěn duǎn zàn。 zhàn jù shì jì zhù dǎo dì wèi de shì shì jiè dà zhàn： jí guó jiā huò guó jiā lián méng zhī jiān de zhàn zhēng。
cóng 1914 nián dào 1945 nián de shí qī kě yǐ bèi kàn zuò yīcháng dān yī de“ 30 nián zhàn zhēng”， jǐn jǐn bèi 20 nián dài de yī duàn jiànxiē suǒ dǎ duàn héng héng zài rì běn rén yú 1922 nián zuì zhōng cóng sū lián běi yà chè tuì hé 1931 nián duì dōng běi yà de jìn gōng zhī jiān de shí qī。 jīhū jǐn suí qí hòu de shì dà yuē 40 nián de lěng zhàn， zhè yī shí qī fú hé huò bù sī de zhàn zhēng dìng yì， jí qí“ bù shì jǐn jǐn bāo kuò zhàn dǒu huò zhě zhàn zhēng xíng wéi， ér qiě bāo kuò yī duàn shí jiān， qí zhōng tōng guò zhàn dǒu lái jìn xíng dǒu zhēng de yì zhì dé dào liǎo chōng fēn de biǎo dá。” yī gè kě yǐ biàn lùn de wèn tí shì， cóng lěng zhàn jié shù yǐ lái， měi jūn zài shì jiè gè dì suǒ cānyù de xíng dòng zài duō dà chéng dù shàng gòu chéng liǎo zhè gè shì jiè dà zhàn shí dài de yán xù。 rán 'ér háo wú yí yì de shì， 20 shì jì 90 nián dài chōng mǎn liǎo 'ōu zhōu、 fēi zhōu hé xī yà jí dōng yà de zhèng shì yǔ fēi zhèng shì de jūn shì chōng tū。 shì jiè zhěng tǐ lái shuō cóng 1914 nián yǐ lái yī zhí méi yòu hé píng， xiàn zài yě shì yī yàng。
jìn guǎn rú cǐ， zhè gè shì jì bù néng bèi lóng tǒng dì lái duì dài， bù lùn shì cóng nián dài shàng hái shì cóng dì lǐ shàng lái shuō。 àn zhào nián dài shùn xù， tā fēn wéi sān gè jiē duàn： yǐ dé guó wéi zhōng xīn de shì jiè dà zhàn shí dài（ 1914 nián dào 1945 nián）、 liǎng gè chāo jí dà guó duì zhì de shí dài（ 1945 nián dào 1989 nián） hé chuán tǒng de guó jì shí lì tǐ xì zhōng jié yǐ lái de shí dài。 wǒ jiāng bǎ zhè xiē shí qī chēng wéi dì yī、 dì 'èr hé dì sān shí qī。 cóng dì lǐ shàng jiǎng， jūn shì xíng dòng de yǐng xiǎng yī zhí shì shí fēn bù yúnchèn de。 chú liǎo yī gè lì wài（ 1932 nián dào 1935 nián de chá kē zhàn zhēng）， xī bàn qiú（ měi zhōu） zài 20 shì jì lǐ méi yòu zhòng dà de guó jiā jiān zhàn zhēng（ yǔ nèi zhàn xiāng qū fēn）。 dí rén de jūn shì xíng dòng hěn shǎo chù jí zhè xiē lǐng tǔ： yīn cǐ， 9 yuè 11 rì shì jiè mào yì zhōng xīn hé wǔ jiǎo dà lóu bèi zhà cái lìng rén zhèn jīng。
cóng 1945 nián yǐ lái， guó jiā jiān de zhàn zhēng yě cóng 'ōu zhōu xiāo shī liǎo， ér zài cǐ zhī qián， ōu zhōu céng jīng shì zhù yào de zhàn chǎng dì qū。 suī rán zài dì sān shí qī lǐ， zhàn zhēng huí dào liǎo dōng nán 'ōu， dàn shì zài gāi dà lù de qí yú dì fāng， tā què kàn lái bù dà kě néng chóngyǎn。 lìng yī fāng miàn， zài dì 'èr shí qī， yǔ quán qiú duì zhì bìng bù yī dìng háo wú lián xì de guó jiā jiān zhàn zhēng réng rán zài zhōng dōng hé nán yà sì nüè， zhí jiē chǎn shēng yú zhè chǎng quán qiú duì zhì de zhù yào zhàn zhēng zài dōng yà hé dōng nán yà（ hán guó hé yìn dù zhī nà） fā shēng。 yǔ cǐ tóng shí， sǎ hā lā shā mò yǐ nán de fēi zhōu děng dì qū zài dì yī shí qī lǐ shòu zhàn zhēng yǐng xiǎng bǐ jiào shǎo（ āi sài 'é bǐ yà chú wài， tā chí chí dì yú 1935 dào 1936 nián zāo shòu yì dà lì de zhí mín zhēng fú）， zài dì 'èr shí qī chéng wéi wǔ zhuāng chōng tū de zhàn chǎng， bìng zài dì sān shí qī mù dǔ liǎo shī héng biàn yě hé shuǐ shēn huǒ rè。
20 shì jì de lìng wài liǎng gè zhàn zhēng tè diǎn hěn tū chū， dì yī gè bù rú dì 'èr gè míng xiǎn。 21 shì jì kāi shǐ zhī jì， wǒ men bù zhī bù jué dì jìn rù zhè yàng yī gè shì jiè： wǔ zhuāng de xíng dòng jī běn shàng bù zài wéi zhèng fǔ huò zhě qí suǒ shòu quán de dài lǐ rén suǒ zhǎng wò， zhēng duān de gè fāng chú liǎo dòng yòng wǔ lì de yuàn wàng wài， háo wú gòng tóng tè zhēng、 shēn fèn huò mù biāo。
guó jiā jiān de zhàn zhēng zài dì yī hé dì 'èr shí qī zhù dǎo liǎo zhàn zhēng de xíng xiàng， yǐ zhì xiàn yòu guó jiā huò dì guó lǐng tǔ fàn wéi nèi de nèi zhàn huò qí tā wǔ zhuāng chōng tū zài yī dìng chéng dù shàng bèi yǎn gài liǎo。 jiù lián shí yuè gé mìng hòu 'é luó sī dì guó lǐng tǔ shàng de nèi zhàn yǐ jí zhōng huá dì guó bēng kuì hòu fā shēng de nèi zhàn， yě néng gòu yǔ guó jì chōng tū de kuàng jià xiāng wěn hé， yīn wéi tā men bǐ cǐ bù kě fēn lí。 lìng yī fāng miàn， lā dīng měi zhōu zài 20 shì jì lǐ kě néng bìng méi yòu jūn duì kuà yuè guó jiè， dàn tā què shì zhòng dà guó nèi chōng tū de chǎng suǒ： lì rú 1911 nián yǐ hòu zài mò xī gē、 1948 nián yǐ lái zài gē lún bǐ yà， yǐ jí dì 'èr shí qī zài xǔ duō zhōng měi zhōu guó jiā， dōushì rú cǐ。 rén men yī bān méi yòu rèn shí dào， cóng 60 nián dài guò bàn yǐ lái， guó jì zhàn zhēng de shù liàng xiāng dāng chí xù dì jiǎn shǎo liǎo。 60 nián dài zhōng qī， nèi bù chōng tū biàn dé bǐ guó jiā zhī jiān de chōng tū gèng jiā cháng jiàn。 guó nèi chōng tū de shù liàng jì xù jī zēng， yī zhí dào 90 nián dài cái qū yú píng huǎn。
rén men gèng jiā shú xī de shì zhàn dǒu yuán yǔ fēi zhàn dǒu yuán zhī jiān qū bié de bèi qīn shí。 shàng bàn gè shì jì de liǎng cì shì jiè dà zhàn shè jí jiāo zhàn gè guó de quán bù rén kǒu； zhàn dǒu yuán hé fēi zhàn dǒu yuán dū zāo shòu liǎo sǔn shī。 rán 'ér， zài zhè gè shì jì jìn chéng zhōng， zhàn zhēng de fù dān yuè lái yuè duō dì cóng wǔ zhuāng lì liàng zhuǎn yí dào píng mín shēn shàng。 píng mín bù jǐn shì qí shòu hài zhě， ér qiě yuè lái yuè duō dì chéng wéi jūn shì huò jūn shì - zhèng zhì xíng dòng de mù biāo。 dì yī cì shì jiè dà zhàn hé dì 'èr cì zhī jiān de duì bǐ shì xiǎn zhù de： zài yī zhàn zhōng zhèn wáng zhě dāng zhōng， zhǐ yòu 5% shì píng mín； èr zhàn zhōng zhè yī shù zì zēng jiā dào 66%。 pǔ biàn de gū jì shì， jīn tiān shòu zhàn zhēng yǐng xiǎng de rén men dāng zhōng yòu 80% dào 90% shì píng mín。 zhè yī bǐ lì cóng lěng zhàn jié shù yǐ lái zēng jiā liǎo， yīn wéi cóng nà shí yǐ lái de dà duō shù jūn shì xíng dòng dōubù shì yóu yì wù bīng jūn duì， ér shì yóu xiǎo gǔ zhèng guī huò fēi zhèng guī bù duì jìn xíng de， zài xǔ duō qíng kuàng xià suǒ shǐ yòng de shì gāo jì shù wǔ qì， tā men hái shòu dào bǎo hù， yǐ miǎn chéng dān shāng wáng de fēng xiǎn。 méi yòu lǐ yóu huái yí， zhàn zhēng de zhù yào shòu hài zhě réng jiāng shì píng mín。
jiǎ rú zhàn zhēng yǔ hé píng xiàng zhè gè shì jì chū nà yàng bǎo chí jīng wèi fēn míng， zé 20 shì jì duì zhè liǎng zhě de zhù shù huì róng yì yī xiē。 shì jì chū， 1899 nián hé 1907 nián de hǎi yá gōng yuē bǎ zhàn zhēng de guī zé biān rù fǎ diǎn。 chōng tū bèi rèn wéi zhù yào fā shēng zài zhù quán guó jiā zhī jiān， huò zhě rú guǒ fā shēng zài yī gè tè dìng guó jiā lǐng tǔ fàn wéi nèi， shì zài zǔ zhì chōng fēn、 yīn 'ér bèi qí tā zhù quán guó jiā gōng rèn jù yòu jiāo zhàn dì wèi de gè fāng zhī jiān zhǎn kāi。 zhàn zhēng dāng shí bèi rèn wéi yǔ hé píng yòu xiǎn zhù qū bié， tōng guò kāi zhàn shí de yī xiàng zhàn zhēng xuān yán hé zhàn zhēng jié shù shí de yī xiàng hé yuē。 jūn shì xíng dòng bèi rèn wéi zài zhàn dǒu yuán zhī jiān yòu míng xiǎn qū bié héng héng qí tè zhēng pì rú tā men suǒ chuān de jūn zhuāng huò zhě xiǎn shì qí shǔ yú yī zhī yòu zǔ zhì de jūn duì de qí tā jì xiàng héng héng yǐ jí fēi zuò zhàn píng mín。 zhàn zhēng bèi rèn wéi shì zhàn dǒu yuán zhī jiān de shì qíng。 fēi zhàn dǒu yuán zhǐ yào kě néng， jiù yīngdāng zài zhàn shí shòu dào bǎo hù。
guò qù yī guàn de liàng jiě shì， zhè xiē gōng yuē bìng bù hán gài suǒ yòu de guó nèi hé guó jì wǔ zhuāng chōng tū， tè bié shì bù bāo kuò xī fāng guó jiā zài guó jì gōng rèn de zhù quán guó jiā guǎn xiá fàn wéi yǐ wài dì qū jìn xíng de dì guó kuò zhāng suǒ zào chéng de chōng tū， jìn guǎn zhè xiē chōng tū dāng zhōng de yī xiē（ dàn jué fēi quán bù） bèi chēng wéi“ zhàn zhēng”。 tā men yě bù bāo kuò fǎn duì dì wèi wěn gù de guó jiā de dà guī mó pàn luàn， pì rú suǒ wèi de“ yìn dù bīng biàn”， huò zhě zài guó jiā huò míng yì shàng tǒng zhì zhe zhè xiē guó jiā de dì guó dāng jú yòu xiào kòng zhì fàn wéi zhī wài dì qū fǎn fù fā shēng de wǔ zhuāng huó dòng， pì rú 'ā fù hàn huò mó luò gē shān qū de jié lüè hé xuè chóu。 jìn guǎn rú cǐ， hǎi yá gōng yuē réng rán shì dì yī cì shì jiè dà zhàn zhōng de zhǐ dǎo fāng zhēn。 20 shì jì， zhè yī xiāng duì de míng què xìng bèi hùn luàn suǒ qǔ dài。
shǒu xiān， guó jì chōng tū yǔ guó nèi chōng tū zhī jiān de jiè xiàn biàn dé mó hú bù qīng， yīn wéi 20 shì jì de tè diǎn bù jǐn shì zhàn zhēng， ér qiě hái yòu gé mìng hé dì guó de jiě tǐ。 yī guó nèi bù de gé mìng huò jiě fàng dǒu zhēng duì guó jì jú shì chǎn shēng yǐng xiǎng， zài lěng zhàn qī jiān yóu qí rú cǐ。 xiāng fǎn dì， é luó sī gé mìng hòu， guó jiā duì zì jǐ suǒ bù zhī chí de bié guó nèi bù shì wù de gān yù biàn dé sī kōng jiàn guàn， qǐ mǎ zài zhè yàng zuò fēng xiǎn bǐ jiào xiǎo de dì fāng shì rú cǐ。 xiàn zài qíng kuàng réng rán shì zhè yàng。
dì 'èr， zhàn zhēng yǔ hé píng zhī jiān de míng què chā bié biàn dé hán hú bù qīng。 chú liǎo gè bié dì fāng wài， dì 'èr cì shì jiè dà zhàn jì bù shì yǐ xuān zhàn kāi shǐ， yě bù shì yǐ hé yuē jié shù。 suí hòu de yī gè shí qī bù lùn shì cóng jiù de yì yì shàng jiǎng guī lèi wéi zhàn zhēng hái shì hé píng dōuhěn kùn nán， yīn cǐ“ lěng zhàn” zhè gè xīn zì yǎn bù dé bù bèi fā míng lái miáo shù tā。 lěng zhàn yǐ lái zhuàng kuàng de mó hú xìng de yī gè míng zhèng jiù shì zhōng dōng de dāng qián jú shì。 bù lùn“ zhàn zhēng” hái shì“ hé píng” dōuméi yòu què qiē miáo shù hǎi wān zhàn zhēng zhèng shì jié shù yǐ lái yī lā kè de xíng shì héng héng gāi guó réng rán jīhū měi tiān dū zāo dào wài guó de hōng zhà héng héng bā lè sī tǎn rén hé yǐ sè liè rén zhī jiān de guān xì yě shì rú cǐ， hái yòu yǐ sè liè yǔ qí lín guó、 lí bā nèn hé xù lì yà zhī jiān de guān xì。 suǒ yòu zhè xiē dōushì yī zhǒng bù xìng de hòu yí zhèng， qí yuán yīn shì 20 shì jì de shì jiè dà zhàn， hái yòu zhàn zhēng de yuè lái yuè qiáng dà de dà zhòng xuān chuán jī qì， yǐ jí bǐ cǐ bù xiāngchèn de hé chōng mǎn jī qíng de yì shí xíng tài zhī jiān duì zhì de yī gè shí qī。 zhè zhǒng duì zhì gěi zhàn zhēng dài lái liǎo xiāng dāng yú zài yǐ wǎng de zōng jiào chōng tū zhōng suǒ jiàn dào de zhèng yì tǎo fá de chéngfèn。
zhè xiē chōng tū yǔ guó jì shí lì tǐ xì de chuán tǒng zhàn zhēng bù tóng， yuè lái yuè duō dì shì wéi liǎo bù kě tán pàn de mùdì， pì rú“ wú tiáo jiàn tóu jiàng” ér jìn xíng。 yóu yú zhàn zhēng hé shèng lì dōubèi kàn zuò yī biān dǎo de， suǒ yǐ duì 18 hé 19 shì jì de zhàn zhēng gōng yuē suǒ kě néng qiáng jiā gěi jiāo zhàn guó néng lì de rèn hé xiàn zhì héng héng shèn zhì zhèng shì de xuān zhàn héng héng dōubèi pāo qì。 duì shèng lì zhě jiān chí zì jǐ yì zhì de wēi lì de rèn hé xiàn zhì yě shì rú cǐ。 jīng yàn biǎo míng， zài hé píng qíng kuàng xià dá chéng de xié yì kě néng hěn róng yì bèi sī huǐ。
jìn nián lái， shǐ qíng kuàng jìn yī bù fù zá huà de shì， zài rén men de gōng kāi yán lùn zhōng，“ zhàn zhēng” yī cí wǎng wǎng bèi yòng lái zhǐ bù shǔ yòu zǔ zhì de lì liàng dǎ jī bèi kàn zuò fǎn shè huì de gè zhǒng guó jiā huò guó jì huó dòng héng héng lì rú“ fǎn hēi shǒu dǎng de zhàn zhēng” huò“ fǎn fàn dú zǔ zhì de zhàn zhēng”。 zài zhè xiē chōng tū zhōng， wǔ zhuāng lì liàng de liǎng gè lèi xíng de xíng dòng bèi hùn xiáo。 yī gè lèi xíng héng héng wǒ men chēng zhī wéi“ shì bīng” héng héng yòng lái duì fù qí tā wǔ zhuāng lì liàng， mù de shì jī bài tā men。 lìng wài yī gè héng héng wǒ men bǎ tā jiào zuò“ jǐng chá” héng héng nǔ lì bǎo chí huò huī fù yī gè xiàn yòu de zhèng zhì shí tǐ， yī bān shì yī gè guó jiā nèi bù bì yào chéng dù de fǎ lǜ hé gōng gòng zhì xù。 bìng bù dài yòu rèn hé bì yào de dào dé yǐn hán yì yì de shèng lì shì yī zhǒng lì liàng de mùdì； jiāng wéi fǎ zhě shéng zhī yǐ fǎ zé dài yòu dào dé de hán yì， nǎi shì lìng wài yī zhǒng lì liàng de mù biāo。 rán 'ér， zhè zhǒng qū fēn zài lǐ lùn shàng bǐ zài shí jiàn zhōng róng yì zuò chū， zhàn dǒu zhōng de yī míng shì bīng shā rén běn shēn bìng bù fàn fǎ。 dàn rú guǒ 'ài 'ěr lán gòng hé jūn de yī míng chéng yuán bǎ zì jǐ kàn zuò jiāo zhàn yī fāng， jìn guǎn zhèng shì de yīng guó fǎ lǜ bǎ tā shì wéi shā rén fàn， zé qíng kuàng rú hé？
běi 'ài 'ěr lán de huó dòng shì xiàng 'ài 'ěr lán gòng hé jūn suǒ rèn wéi de nà yàng shì yīcháng zhàn zhēng ní， hái shì zài wéi fǎ zhě miàn qián wèile wéi chí yīng guó de yī gè shěng yòu zhì xù de zhì lǐ 'ér zuò chū de nǔ lì？ yóu yú bù jǐn yī zhī kě guān de dāng dì jǐng chá bù duì， ér qiě hái yòu yī zhī quán guó xìng de jūn duì bèi dòng yuán qǐ lái duì fù 'ài 'ěr lán gòng hé jūn dá 30 nián zuǒ yòu， suǒ yǐ wǒ men kě yǐ duàn dìng， zhè shì yīcháng zhàn zhēng， dàn què shì yīcháng xiàng jǐng chá xíng dòng yī yàng yòu tiáo bù wěn dì shí shī de zhàn zhēng， qí fāng shì bǎ shāng wáng hé gāi shěng zhōng de shēng huó zhōng duàn jiǎn shǎo dào zuì dī xiàn dù。 xīn shì jì kāi shǐ shí hé píng yǔ zhàn zhēng zhī jiān guān xì de fù zá xìng hé hùn luàn qíng kuàng jiù shì rú cǐ。 tā men dé dào liǎo měi guó jí qí méng guó mù qián zhèng zài jìn xíng de jūn shì yǔ qí tā xíng dòng de chōng fēn quán shì。
xiàn zài xiàng zhěng gè 20 shì jì yī yàng， quán rán méi yòu rèn hé néng gòu kòng zhì huò jiě jué wǔ zhuāng zhēng duān de yòu xiào de quán qiú quán wēi jī gòu。 quán qiú huà yǐ jīng zài jīhū měi gè fāng miàn qǔ dé jìn zhǎn héng héng jīng jì shàng、 jì shù shàng、 wén huà shàng shèn zhì yǔ yán shàng héng héng wéi yī lì wài de shì， zài zhèng zhì yǔ jūn shì shàng， gè guó réng rán shì wéi yī de yòu xiào quán wēi。 suī rán zhèng shì de guó jiā yòu 200 gè zuǒ yòu， dàn shì zài shí jiàn shàng zhǐ yòu shǎo shù jǔ zú qīng zhòng， qí zhōng měi guó xiǎng yòu zhàn yā dǎo yōu shì de wēi lì。 rán 'ér cóng lái méi yòu rèn hé guó jiā huò dì guó zú gòu dì páng dà、 fù yù huò qiáng dà， yǐ wéi chí zài shì jiè zhèng zhì lǐng yù zhōng de bà quán， jiù gèng bù yòng shuō jiàn lì quán qiú fàn wéi de zhèng zhì yǔ jūn shì shàng de zhì gāo wú shàng dì wèi liǎo。 yī gè dān yī de chāo jí dà guó wú fǎ mí bǔ quán qiú quán wēi de kòngbái， yóu qí jiàn yú qí xiào lì zú yǐ shǐ zhī huò dé zhù yào guó jiā de zì yuàn jiē shòu、 bèi dāng zuò jù yòu yuē shù lì de gōng yuē de quē fá héng héng lì rú shè jí guó jì cái jūn huò zhě wǔ qì kòng zhì de děng děng。 yī xiē zhè zhǒng quán wēi jī gòu shì cún zài de， tè bié shì lián hé guó、 gè zhǒng fǎ lǜ yǔ jīn róng jī gòu， pì rú guó jì huò bì jī jīn zǔ zhì、 shì jiè yín xíng hé shì jiè mào yì zǔ zhì， yǐ jí yī xiē guó jì fǎ tíng。 dàn méi yòu rèn hé yī gè yōng yòu chú liǎo guó jiā zhī jiān de xié yì suǒ fù yú tā men de zhī wài de、 yóu yú qiáng dà guó jiā de zhī chí 'ér huò dé de huò zhě gè guó zì yuàn jiē shòu de yòu xiào quán lì。 suī rán zhè yī diǎn lìng rén yí hàn， dàn shì zài kě yǐ yù jiàn de jiāng lái què bù dà kě néng gǎi biàn。
yóu yú zhǐ yòu guó jiā cái xíng shǐ shí jì de quán lì， suǒ yǐ fēng xiǎn zài yú， guó jì jī gòu zài shì tú yìng fù“ zhàn zhēng zuì xíng” děng wéi fǎ xíng wéi de shí hòu huì wú xiào huò zhě quē fá pǔ biàn de hé fǎ dì wèi。 shèn zhì dāng tōng guò pǔ biàn gòng shí 'ér jiàn lì shì jiè fǎ tíng（ lì rú gēn jù lián hé guó 1998 nián 7 yuè 17 rì de luó mǎ xié yì jiàn lì de guó jì xíng shì fǎ tíng）， tā men de pàn duàn yě bù yī dìng huì bèi dāng zuò hé fǎ hé yòu yuē shù lì de 'ér jiē shòu， zhǐ yào qiáng guó yòu tiáo jiàn duì qí jiā yǐ wú shì。 yī gè yóu qiáng guó zǔ chéng de jí tuán kě néng zú gòu qiáng dà， yǐ què bǎo lái zì bǐ jiào ruò xiǎo guó jiā de yī xiē wéi fàn zhě bèi sòng shàng zhè xiē fǎ tíng， cóng 'ér huò xǔ zài mǒu xiē dì qū xiàn zhì wǔ zhuāng chōng tū de cán kù chéng dù。 rán 'ér zhè shì biǎo míng zài yī gè guó jì tǐ xì nèi quán lì yǔ yǐng xiǎng lì de chuán tǒng xíng shǐ、 ér bù shì guó jì fǎ xíng shǐ de shí lì。
rán 'ér zài 21 shì jì yǔ 20 shì jì zhī jiān yòu zhòng dà chā bié： rèn wéi zhàn zhēng shì fā shēng zài yī gè huàfēn wéi chǔyú yòu xiào de zhèng fǔ quán wēi zhī xià de lǐng tǔ dì qū de shì jiè shàng， zhè xiē zhèng fǔ xiǎng yòu duì gōng gòng quán lì hé qiǎngpò shǒu duàn de lǒng duàn， zhè zhǒng xiǎng fǎ yǐ jīng bù zài shì yòng。 tā cóng láidōu bù shì yòng yú jīng lì zhe gé mìng de guó jiā huò zhě sì fēn wǔ liè de dì guó de gè gè fēn liè bù fēn， dàn zhí dào zuì jìn wéi zhǐ， dà duō shù xīn de gé mìng huò hòu zhí mín dì zhèng quán héng héng zhōng guó zài 1911 nián hé 1949 nián zhī jiān shì zhù yào de lì wài héng héng xiāng dāng xùn sù dì zài shēng， chéng wéi jī běn shàng yòu zǔ zhì de hé zhèng cháng yùn zhuǎn de jì chéng zhèng quán hé guó jiā。 rán 'ér zuì jìn 30 nián zuǒ yòu， yóu yú gè zhǒng yuán yīn， guó jiā sàng shī liǎo qí duì wǔ zhuāng lì liàng de yī guàn de lǒng duàn、 hěn dà yī bù fēn cóng qián de wěn dìng xìng yǔ quán lì， ér qiě yuè lái yuè duō dì hái sàng shī liǎo hé fǎ dì wèi huò zhě gōng rèn de yǒng jiǔ xìng de gēn běn gǎn jué， zhè zhǒng dì wèi guò qù shǐ zhèng fǔ dé yǐ bǎ shuì fù yǔ zhēng bīng děng fù dān qiáng jiā gěi xīn gān qíng yuàn de gōng mín。 zhàn zhēng de wù zhì zhuāng bèi xiàn zài duì mín jiān zǔ zhì lái shuō pǔ biàn dì tuò shǒu kě dé， zī zhù fēi guó jiā zhàn zhēng de shǒu duàn yě shì rú cǐ， zhè yàng yī lái， guó jiā yǔ fēi guó jiā zǔ zhì zhī jiān de lì liàng duì bǐ yǐ jīng gǎi biàn。
guó jiā nèi bù de wǔ zhuāng chōng tū yǐ jīng biàn dé gèng jiā yán zhòng， bìng qiě kě néng jì xù jǐ shí nián， ér méi yòu rèn hé shèng lì huò dé dào jiě jué de zhēn shí qián jǐng： kè shí mǐ 'ěr、 ān gē lā、 sī lǐ lán kǎ、 chē chén、 gē lún bǐ yà。 zài jí duān de qíng kuàng xià， pì rú zài fēi zhōu de bù fēn dì qū， guó jiā kě néng yǐ jīng jī běn bù fù cún zài， huò zhě pì rú zài gē lún bǐ yà， kě néng bù zài zài běn guó bù fēn lǐng tǔ shàng xíng shǐ zhèng quán。 shèn zhì zài qiáng dà hé wěn dìng de guó jiā lǐ， yě yī zhí nán yǐ xiāo chú fēi guān fāng de xiǎo xíng wǔ zhuāng jí tuán， pì rú yīng guó de 'ài 'ěr lán gòng hé jūn jí xī bān yá de bā sī kè mín zú hé zì yóu zǔ zhì。 zhè yī jú miàn de xīn qí xìng tōng guò yī jiàn shì shí xiǎn shì chū lái： dì qiú shàng zuì qiáng dà de guó jiā zài zāo shòu liǎo yīcháng kǒng bù zhù yì xí jī hòu gǎn dào yòu yì wù fā dòng yīcháng zhèng shì de xíng dòng， dǎ jī yī gè hěn xiǎo de guó jì yǔ fēi zhèng fǔ zǔ zhì huò wǎng luò， ér hòu zhě jì méi yòu lǐng tǔ， yě méi yòu yī zhī néng gòu biàn rèn de jūn duì。
zhè xiē biàn huà rú hé yǐng xiǎng jīn hòu yī gè shì jì zhàn zhēng yǔ hé píng zhī jiān de píng héng ní？ wǒ nìngyuàn bù jiù hěn yòu kě néng bào fā de zhàn zhēng huò zhě tā men kě néng de jié jú zuò chū yù cè。 rán 'ér bù lùn wǔ zhuāng chōng tū de jié gòu hái shì jiě jué de fāng fǎ dū yóu yú zhù quán guó jiā shì jiè tǐ xì de zhuǎn biàn 'ér fā shēng liǎo shēn kè biàn huà。
sū lián de jiě tǐ yì wèi zhe， céng jīng zhǐ dǎo liǎo guó jì guān xì jiāng jìn liǎng gè shì jì、 chú liǎo míng xiǎn de lì wài hái duì guó jiā zhī jiān de chōng tū xíng shǐ liǎo yī dìng de kòng zhì quán de dà guó tǐ xì bù fù cún zài。 tā de xiāo shī xiāo chú liǎo xiàn zài guó jiā jiān zhàn zhēng hé guó jiā duì bié guó shì wù jìn xíng wǔ zhuāng gān yù de yī dà yīn sù héng héng lěng zhàn qī jiān wài guó lǐng tǔ de biān jiè jī běn shàng wèi céng bèi jūn duì suǒ kuà yuè。 rán 'ér jí shǐ nà shí， yóu yú ruò xiǎo guó jiā de dà liàng cún zài（ jìn guǎn zhè xiē guó jiā cóng guān fāng yì yì shàng jiǎng shì lián hé guó de“ zhù quán” chéng yuán guó）， guó jì tǐ xì jiù yǐ jīng cún zài qián zài de bù wěn dìng xìng。
sū lián hé 'ōu zhōu gòng chǎn dǎng zhèng quán de kuǎ tái míng xiǎn dì shǐ zhè zhǒng bù wěn dìng xìng zēng jiā。 zài qì jīn wéi zhǐ wěn dìng de mín zú guó jiā， pì rú yīng guó、 xī bān yá、 bǐ lì shí hé yì dà lì， jù yòu bù tóng chéng dù shí lì de fēn lí zhù yì qū shì wán quán kě néng jìn yī bù jiā zhòng zhè zhǒng bù wěn dìng。 yǔ cǐ tóng shí， guó jì wǔ tái shàng mín jiān biǎo yǎn zhě de shù liàng yě chéng bèi zēng jiā。 yòu shénme jī zhì kě yǐ yòng lái kòng zhì hé jiě jué zhè zhǒng chōng tū má？ cóng jì lù kàn bìng bù lìng rén lè guān。 90 nián dài de wǔ zhuāng chōng tū méi yòu yī cì yǐ wěn dìng de jiě jué 'ér gào zhōng。 yóu yú lěng zhàn de jī gòu、 jiǎ shè yǔ yán lùn de chí xù cún zài， suǒ yǐ jiù de huái yí wèi céng xiāo wáng， cóng 'ér 'è huà liǎo dōng nán 'ōu gòng chǎn zhù yì yǐ hòu de fēn bēng lí xī， shǐ dé jiě jué yī dù bèi chēng wéi nán sī lā fū de dì qū wèn tí gèng jiā kùn nán。
wǒ men yào xiǎng zhì dìng yī xiē kòng zhì wǔ zhuāng chōng tū de shǒu duàn， jiù bì xū cóng yì shí xíng tài hé quán lì - zhèng zhì liǎng fāng miàn xiāo chú zhè xiē lěng zhàn yí liú xià lái de jiǎ shè。 cǐ wài míng xiǎn de shì， měi guó tōng guò dān fāng de wǔ lì lái qiáng jiā yī zhǒng（ rèn hé yī zhǒng） xīn de shì jiè zhì xù de nǔ lì dōuyǐ jīng shī bài bìng qiě bì rán jì xù shī bài， bù guǎn lì liàng guān xì mù qián rú hé cháo zhe yòu lì yú měi guó de fāng xiàng piān xié， jìn guǎn měi guó dé dào liǎo yī gè（ bì rán duǎn mìng de） lián méng de zhī chí。 guó jì tǐ xì réng jiāng shì duō biān de， qí guǎn zhì jiāng qǔ jué yú jǐ gè dà guó dá chéng yī zhì de néng lì， jìn guǎn qí zhōng yī gè guó jiā xiǎng yòu jūn shì shàng de yā dǎo yōu shì。
měi guó suǒ cǎi qǔ de guó jì jūn shì xíng dòng zài duō dà chéng dù shàng qǔ jué yú bié guó tōng guò tán pàn de xié yì yǐ jīng hěn qīng chǔ。 cǐ wài yě qīng chǔ de shì， zhàn zhēng de zhèng zhì jiě jué， shèn zhì měi guó suǒ cānyù de zhàn zhēng de jiě jué， dū jiāng shì tōng guò tán pàn 'ér bù shì tōng guò dān fāng de qiáng jiā yú rén。 yǐ wú tiáo jiàn tóu jiàng 'ér jié shù de zhàn zhēng de shí dài zài kě yǐ yù jiàn de jiāng lái bù huì chóngyǎn。
duì yú xiàn yòu de guó jì jī gòu， tè bié shì lián hé guó de juésè， yě bì xū chóngxīn kǎo lǜ。 suī rán tā wú shí bù zài 'ér qiě tōng cháng shì qiú zhù de duì xiàng， dàn shì zài jiě jué zhēng duān fāng miàn， què méi yòu míng què de juésè。 tā de zhàn lüè yǔ xíng dòng shǐ zhōng rèn píng bù duàn biàn huàn de quán lì zhèng zhì suǒ zǎi gē。 quē fá yī gè bèi zhēn zhèng kàn zuò zhōng lì de hé néng gòu zài wèi jīng 'ān quán lǐ shì huì shì xiān shòu quán qíng kuàng xià cǎi qǔ xíng dòng de guó jì zhōng jiè， zhè yī zhí shì zhēng duān chǔlǐ tǐ xì zhōng zuì míng xiǎn de kòngbái。
lěng zhàn jié shù yǐ lái， duì hé píng yǔ zhàn zhēng de chǔlǐ yī zhí shì jí xīng de。 zài zuì hǎo qíng kuàng xià， pì rú zài bā 'ěr gān dì qū， wǔ zhuāng chōng tū bèi wài bù wǔ zhuāng gān yù zhì zhǐ， dí duì xíng dòng jié shù shí de xiàn zhuàng yóu dì sān fāng de jūn duì lái wéi chí。 wǔ zhuāng chōng tū wèi lái kòng zhì de yī gè tōng yòng mó xíng néng fǒu cóng zhè zhǒng gān yù zhōng chǎn shēng hái bù qīng chǔ。
21 shì jì zhōng zhàn zhēng yǔ hé píng zhī jiān de píng héng jiāng bù huì qǔ jué yú zhì dìng bǐ jiào yòu xiào de tán pàn hé jiě jué jī zhì， ér shì yào kàn nèi bù wěn dìng hé jūn shì chōng tū de bì miǎn qíng kuàng rú hé。 chú liǎo shǎo shù lì wài， xiàn yòu de guó jiā zhī jiān de、 guò qù dǎo zhì liǎo wǔ zhuāng chōng tū de duì kàng yǔ mó cā jīn tiān zào chéng zhè zhǒng jú miàn de kě néng xìng jiǎn xiǎo liǎo。 lì rú xiàn zài de guó jì biān jiè wèn tí shàng de zhèng fǔ jiān rán méi zhī jí de chōng tū xiāng duì lái shuō hěn shǎo。 lìng yī fāng miàn， nèi bù chōng tū hěn róng yì yǎn biàn chéng bào lì xìng de： zhàn zhēng de zhù yào wēi xiǎn cún zài yú wài guó huò zhě wài bù jūn shì shì lì duì chōng tū de juǎnrù。
yǔ pín kùn、 yán zhòng bù píng děng hé jīng jì bù wěn dìng de guó jiā xiāng bǐ， jīng jì zhēng zhēng rì shàng、 wěn dìng 'ér qiě shāng pǐn zài jū mín dāng zhōng bǐ jiào gōng píng dì fēn pèi de guó jiā， qí shè huì hé zhèng zhì jú shì dòng dàng de kě néng xìng jiào xiǎo。 rán 'ér， bì miǎn huò kòng zhì guó nèi wǔ zhuāng bào lì huó dòng de qíng kuàng gèng jiā zhí jiē dì qǔ jué yú guó jiā zhèng fǔ de shí lì hé zhèng jì， jí qí zài duō shù jū mín yǎn zhōng de hé fǎ dì wèi。 jīn tiān méi yòu rèn hé zhèng fǔ néng gòu duì fēi wǔ zhuāng mín zhòng de cún zài huò zhě 'ōu zhōu hěn duō dì fāng rén men suǒ cháng qī shú xī de gōng gòng zhì xù de chéng dù， rèn wéi lǐ suǒ dāng rán。 jīn tiān méi yòu rèn hé zhèng fǔ yòu tiáo jiàn wú shì huò zhě qīng chú diào guó nèi de wǔ zhuāng shǎo shù mín zú。
jìn guǎn rú cǐ， shì jiè yuè lái yuè fēn liè wéi néng gòu duì zì jǐ lǐng tǔ hé gōng mín jiā yǐ yòu xiào guǎn lǐ de guó jiā yǐ jí wéi shù yuè lái yuè duō de lǐng tǔ， qí biān jiè shì dé dào guān fāng chéng rèn de guó jì jiè xiàn， guó jiā de zhèng fǔ zé cóng xū ruò hé fǔ bài de dào dàng rán wú cún dedōu yòu。 zhè xiē dì qū suǒ yùn niàng de shì liúxiě de nèi bù dǒu zhēng hé guó jì chōng tū， pì rú wǒ men zài fēi zhōu zhōng bù suǒ jiàn dào。 rán 'ér zhè zhǒng dì qū méi yòu chí xù gǎi shàn de jí kè qián jǐng， rú guǒ dòng dàng bù dìng de guó jiā de zhōng yāng zhèng fǔ jìn yī bù bèi xuē ruò huò zhě shì jiè bǎn tú jìn yī bù bā 'ěr gān huà， zé wú yí huì jiā zhòng wǔ zhuāng chōng tū de wēi xiǎn。
yī xiàng cháng shì xìng de yù cè： 21 shì jì de zhàn zhēng bù dà kě néng xiàng 20 shì jì de nà yàng xuè xīng。 dàn zào chéng bù chéng bǐ lì de kǔ nán yǔ sǔn shī de wǔ zhuāng bào lì réng jiāng zài shì jiè hěn duō dì fāng wú chù bù zài hé fàn làn chéng zāi。 yī gè hé píng de shì jì de qián jǐng shì yáo yuǎn de。
Epic in scale, War and Peace delineates in graphic detail events leading up to Napoleon's invasion of Russia, and the impact of the Napoleonic era on Tsarist society, as seen through the eyes of five Russian aristocratic families.
Portions of an earlier version having been serialized in the magazine The Russian Messenger between 1865 and 1867, the novel was first published in its entirety in 1869. Newsweek in 2009 ranked it top of its list of Top 100 Books.
Tolstoy himself, somewhat enigmatically, said of War and Peace that it was "not a novel, even less is it a poem, and still less an historical chronicle."
War and Peace is famously long for a novel (though not the longest by any means). It is subdivided into four books or volumes, each with subparts containing many chapters.
Tolstoy got the title, and some of his themes, from an 1861 work of Proudhon: La Guerre et la Paix. Tolstoy had served in the Crimean War and written a series of short stories and novellas featuring scenes of war. He began writing War and Peace in the year that he finally married and settled down at his country estate. During the writing of the second half of the book, after the first half had already been written under the name "1805", he read widely, acknowledging Schopenhauer as one of his main inspirations, although he developed his own views of history and the role of the individual within it.
The novel can be generally classified as historical fiction. It contains elements present in many types of popular 18th and 19th century literature, especially the romance novel. War and Peace attains its literary status by transcending genres. Tolstoy was instrumental in bringing a new kind of consciousness to the novel. His narrative structure is noted for its "god-like" ability to hover over and within events, but also swiftly and seamlessly to take a particular character's point of view. His use of visual detail is often cinematic in its scope, using the literary equivalents of panning, wide shots and close-ups, to give dramatic interest to battles and ballrooms alike. These devices, while not exclusive to Tolstoy, are part of the new novel that is arising in the mid-19th century and of which Tolstoy proves himself a master.
Realism
Tolstoy incorporated extensive historical research, and he was influenced by many other novels as well. Himself a veteran of the Crimean War, Tolstoy was quite critical of standard history, especially the standards of military history, in War and Peace. Tolstoy read all the standard histories available in Russian and French about the Napoleonic Wars and combined more traditional historical writing with the novel form - he explains at the start of the novel's third volume his views on how history ought to be written. His aim was to blur the line between fiction and history, in order to get closer to the truth, as he states in Volume II.
The novel is set 60 years earlier than the time at which Tolstoy wrote it, "in the days of our grandfathers", as he puts it. He had spoken with people who had lived through the war of 1812 (In Russia), so the book is also, in part, accurate ethnography fictionalized. He read letters, journals, autobiographical and biographical materials pertaining to Napoleon and the dozens of other historical characters in the novel. There are approximately 160 real persons named or referred to in War and Peace.
Reception
The first draft of War and Peace was completed in 1863. In 1865, the periodical Russkiy Vestnik published the first part of this early version under the title 1805 and the following year published more of the same early version. Tolstoy was increasingly dissatisfied with this version, although he allowed several parts of it to be published (with a different ending) in 1867 still under the title "1805" He heavily rewrote the entire novel between 1866 and 1869. Tolstoy's wife Sophia Tolstoy handwrote as many as 8 or 9 separate complete manuscripts before Tolstoy considered it again ready for publication. The version that was published in Russkiy Vestnik had a very different ending than the version eventually published under the title War and Peace in 1869.
The completed novel was then called Voyna i mir (new style orthography; in English War and Peace).
Tolstoy did not destroy the 1805 manuscript (sometimes referred to as "the original War and Peace"), which was re-edited and annotated in Russia in 1983 and since has been translated separately from the "known" version, to English, German, French, Spanish, Dutch, Swedish, Finnish and Korean. The fact that so many extant versions of War and Peace survive make it one of the best revelations into the mental processes of a great novelist.
Russians who had read the serialized version, were anxious to acquire the complete first edition, which included epilogues, and it sold out almost immediately. The novel was translated almost immediately after publication into many other languages.
Isaac Babel said, after reading War and Peace, "If the world could write by itself, it would write like Tolstoy." Tolstoy "gives us a unique combination of the 'naive objectivity' of the oral narrator with the interest in detail characteristic of realism. This is the reason for our trust in his presentation."
Language
Although Tolstoy wrote most of the book, including all the narration, in Russian, significant portions of dialogue (including its opening paragraph) are written in French and characters often switch between the languages. This reflected 19th century reality since Russian aristocracy in the early nineteenth century were conversant in French, which was often considered more refined than Russian—many were much less competent in Russian. An example in the novel is Julie Karagina, Princess Marya's friend, who has to take Russian lessons in order to master her native language.
It has been suggested that it is a deliberate strategy of Tolstoy to use French to portray artifice and insincerity, as the language of the theater and deceit while Russian emerges as a language of sincerity, honesty and seriousness. When Pierre proposes to Helene he speaks to her in French—Je vous aime—and as the marriage emerges as a sham he blames those words.
As the book progresses, and the wars with the French intensify, culminating in the capture and eventual burning of Moscow, the use of French diminishes. The progressive elimination of French from the text is a means of demonstrating that Russia has freed itself from foreign cultural domination. It is also, at the level of plot development, a way of showing that a once-admired and friendly nation, France, has turned into an enemy. By midway through the book, several of the Russian aristocracy, whose command of French is far better than their command of Russian, are anxious to find Russian tutors for themselves.
English translations
War and Peace has been translated into English on several occasions, starting by Clara Bell working from a French translation. The translators Constance Garnett and Louise and Aylmer Maude knew Tolstoy personally. Translations have to deal with Tolstoy’s often peculiar syntax and his fondness of repetitions. About 2% of War and Peace is in French; Tolstoy removed the French in a revised 1873 edition, only to restore it later again. Most translators follow Garnett retaining some French, Briggs uses no French, while Pevear-Volokhonsky retain the French fully. (For a list of translations see below)
Background and historical context
In 1812 by the Russian artist Illarion Pryanishnikov
The novel begins in the year 1805 and leads up to the war of 1812[citation needed]. The era of Catherine the Great is still fresh in the minds of older people. It was Catherine who ordered the Russian court to change to speaking French, a custom that was stronger in Petersburg than in Moscow.[citation needed] Catherine's son and successor, Paul I, is the father of the current Czar, Alexander I. Alexander I came to the throne in 1801 at the age of 24. His mother, Marya Feodorovna, is the most powerful woman in the court.
The novel tells the story of five aristocratic families — the Bezukhovs, the Bolkonskys, the Rostovs, the Kuragins and the Drubetskoys—and the entanglements of their personal lives with the history of 1805–1813, principally Napoleon's invasion of Russia in 1812. The Bezukhovs, while very rich, are a fragmented family as the old Count, Kirill Vladimirovich, has fathered dozens of illegitimate sons. The Bolkonskys are an old established and wealthy family based at Bald Hills. Old Prince Bolkonsky, Nikolai Andreevich, served as a general under Catherine the Great, in earlier wars. The Moscow Rostovs have many estates, but never enough cash. They are a closely knit, loving family who live for the moment regardless of their financial situation. The Kuragin family has three children, who are all of questionable character. The Drubetskoy family is of impoverished nobility, and consists of an elderly mother and her only son, Boris, whom she wishes to push up the career ladder.
Tolstoy spent years researching and rewriting the book. He worked from primary source materials (interviews and other documents), as well as from history books, philosophy texts and other historical novels. Tolstoy also used a great deal of his own experience in the Crimean War to bring vivid detail and first-hand accounts of how the Russian army was structured.
The standard Russian text of 'War and Peace' is divided into four books (fifteen parts) and two epilogues – one mainly narrative, the other thematic. While roughly the first half of the novel is concerned strictly with the fictional characters, the later parts, as well as one of the work's two epilogues, increasingly consist of essays about the nature of war, power, history, and historiography. Tolstoy interspersed these essays into the story in a way that defies previous fictional convention. Certain abridged versions remove these essays entirely, while others, published even during Tolstoy's life, simply moved these essays into an appendix.
Plot summary
War and Peace has a large cast of characters, some historically real (like Napoleon and Alexander I), the majority of whom are introduced in the first book. The scope of the novel is vast, but the focus is primarily on five aristocratic families and their experiences in life. The interactions of these characters are set in the era leading up to, around and following the French invasion of Russia during the Napoleonic wars.
Book/Volume One
The novel begins in Saint Petersburg, at a soirée given in July 1805 by Anna Pavlovna Scherer — the maid of honour and confidante to the queen mother Maria Feodorovna. Many of the main players and aristocratic families of the novel are introduced as they enter Anna Pavlovna's salon. Pierre (Pyotr Kirilovich) Bezukhov is the illegitimate son of a wealthy count, an elderly man who is dying after a series of strokes. He is about to become embroiled in a struggle for his inheritance. Educated abroad after his mother's death and at his father's expense, Pierre is essentially kindhearted, but socially awkward owing in part to his open, benevolent nature, and finds it difficult to integrate into Petersburg society. He is his father's favorite of all the old count’s illegitimate children, and this is known to everyone at Anna Pavlovna's.
Pierre's friend, the intelligent and sardonic Prince Andrei Nikolayevich Bolkonsky, husband of the charming society favourite Lise, also attends the soireé. Finding Petersburg society unctuous and disillusioned with married life after discovering his wife is empty and superficial, Prince Andrei makes the fateful choice to be an aide-de-camp to Prince Mikhail Ilarionovich Kutuzov in the coming war against Napoleon.
The plot moves to Moscow, Russia's ancient city and former capital, contrasting its provincial, more Russian ways to the highly mannered society of Petersburg. The Rostov family are introduced. Count Ilya Andreyevich Rostov has four adolescent children. Thirteen-year-old Natasha (Natalia Ilyinichna) believes herself in love with Boris Drubetskoy, a disciplined young man who is about to join the army as an officer. Twenty-year-old Nikolai Ilyich pledges his teenage love to Sonya (Sofia Alexandrovna), his fifteen-year-old cousin, an orphan who has been brought up by the Rostovs. The eldest child of the Rostov family, Vera Ilyinichna, is cold and somewhat haughty but has a good prospective marriage in a Russian-German officer, Adolf Karlovich Berg. Petya (Pyotr Ilyich) is nine and the youngest of the Rostov family; like his brother, he is impetuous and eager to join the army when of age. The heads of the family, Count Ilya Rostov and Countess Natalya Rostova, are an affectionate couple but forever worried about their disordered finances.
At Bald Hills, the Bolkonskys' country estate, Prince Andrei leaves his terrified, pregnant wife Lise with his eccentric father Prince Nikolai Andreyevich Bolkonsky and his devoutly religious sister Maria Nikolayevna Bolkonskaya, and departs for the war.
The second part opens with descriptions of the impending Russian-French war preparations. At the Schöngrabern engagement, Nikolai Rostov, who is now conscripted as ensign in a squadron of hussars, has his first taste of battle. He meets Prince Andrei, whom he insults in a fit of impetuousness. Even more than most young soldiers, he is deeply attracted by Tsar Alexander's charisma. Nikolai gambles and socializes with his officer, Vasily Dmitrich Denisov, and befriends the ruthless and perhaps psychopathic Fyodor Ivanovich Dolokhov.
Book/Volume Two
Book Two begins with Nikolai Rostov briefly returning home to Moscow on home leave in early 1806. Nikolai finds the Rostov family facing financial ruin due to poor estate management. He spends an eventful winter at home, accompanied by his friend Denisov, his officer from the Pavlograd Regiment in which he serves. Natasha has blossomed into a beautiful young girl. Denisov falls in love with her, proposes marriage but is rejected. Although his mother pleads with Nikolai to find himself a good financial prospect in marriage, Nikolai refuses to accede to his mother's request. He promises to marry his childhood sweetheart, the dowry-less Sonya.
Pierre Bezukhov, upon finally receiving his massive inheritance, is suddenly transformed from a bumbling young man into the richest and most eligible bachelor in the Russian Empire. Despite rationally knowing that it is wrong, he proposes marriage with Prince Kuragin's beautiful and immoral daughter Hélène (Elena Vasilyevna Kuragina), to whom he is sexually attracted. Hélène, who is rumoured to be involved in an incestuous affair with her brother, the equally charming and immoral Anatol, tells Pierre that she will never have children with him. Hélène has an affair with Dolokhov, who mocks Pierre in public. Pierre loses his temper and challenges Dolokhov, a seasoned dueller and a ruthless killer, to a duel. Unexpectedly, Pierre wounds Dolokhov. Hélène denies her affair, but Pierre is convinced of her guilt and, after almost being violent to her, leaves her. In his moral and spiritual confusion, he joins the Freemasons, and becomes embroiled in Masonic internal politics. Much of Book Two concerns his struggles with his passions and his spiritual conflicts to be a better man. Now a rich aristocrat, he abandons his former carefree behavior and enters upon a philosophical quest particular to Tolstoy: how should one live a moral life in an ethically imperfect world? The question continually baffles and confuses Pierre. He attempts to liberate his serfs, but ultimately achieves nothing of note.
Pierre is vividly contrasted with the intelligent and ambitious Prince Andrei Bolkonsky. At the Battle of Austerlitz, Andrei is inspired by a vision of glory to lead a charge of a straggling army. He suffers a near fatal artillery wound. In the face of death, Andrei realizes all his former ambitions are pointless and his former hero Napoleon (who rescues him in a horseback excursion to the battlefield) is apparently as vain as himself.
Prince Andrei recovers from his injuries in a military hospital and returns home, only to find his wife Lise dying in childbirth. He is stricken by his guilty conscience for not treating Lise better when she was alive and is haunted by the pitiful expression on his dead wife's face. His child, Nikolenka, survives.
Burdened with nihilistic disillusionment, Prince Andrei does not return to the army but chooses to remain on his estate, working on a project that would codify military behavior and help solve some of the problems of Russian disorganization that he believes were responsible for the loss of life in battle on the Russian side. Pierre comes to visit him and brings new questions: where is God in this amoral world? Pierre is interested in panentheism and the possibility of an afterlife.
Pierre's estranged wife, Hélène, begs him to take her back, and against his better judgment he does. Despite her vapid shallowness, Hélène establishes herself as an influential hostess in Petersburg society.
Prince Andrei feels impelled to take his newly written military notions to Petersburg, naively expecting to influence either the Emperor himself or those close to him. Young Natasha, also in Petersburg, is caught up in the excitement of dressing for her first grand ball, where she meets Prince Andrei and briefly reinvigorates him with her vivacious charm. Andrei believes he has found purpose in life again and, after paying the Rostovs several visits, proposes marriage to Natasha. However, old Prince Bolkonsky, Andrei's father, dislikes the Rostovs, opposes the marriage, and insists on a year's delay. Prince Andrei leaves to recuperate from his wounds abroad, leaving Natasha initially distraught. She soon recovers her spirits, however, and Count Rostov takes her and Sonya to spend some time with a friend in Moscow.
Natasha visits the Moscow opera, where she meets Hélène and her brother Anatol. Anatol has since married a Polish woman whom he has abandoned in Poland. He is very attracted to Natasha and is determined to seduce her. Hélène and Anatol conspire together to accomplish this plan. Anatol kisses Natasha and writes her passionate letters, eventually establishing plans to elope. Natasha is convinced that she loves Anatol and writes to Princess Maria, Andrei's sister, breaking off her engagement. At the last moment, Sonya discovers her plans to elope and foils them. Pierre is initially shocked and horrified at Natasha's behavior, but comes to realize he has fallen in love with her himself. During the time when the Great Comet of 1811–2 streaks the sky, life appears to begin anew for Pierre.
Prince Andrei accepts coldly Natasha's breaking of the engagement. He tells Pierre that his pride will not allow him to renew his proposal of marriage. Shamed by her near-seduction and at the realisation that Andrei will not forgive her, Natasha makes a suicide attempt and is left seriously ill.
Book/Volume Three
With the help of her family, especially Sonya, and the stirrings of religious faith, Natasha manages to persevere in Moscow through this dark period. Meanwhile, the whole of Russia is affected by the coming showdown between Napoleon's troops and the Russian army. Pierre convinces himself through gematria that Napoleon is the Antichrist of the Book of Revelation. Old prince Bolkonsky dies of a stroke while trying to protect his estate from French marauders. No organized help from any Russian army seems available to the Bolkonskys, but Nikolai Rostov turns up at their estate in time to help put down an incipient peasant revolt. He finds himself attracted to Princess Maria, but remembers his promise to Sonya.
Back in Moscow, the war-obsessed Petya manages to snatch a loose piece of the Tsar's biscuit outside the Cathedral of the Assumption; he finally convinces his parents to allow him to enlist.
Napoleon himself is a main character in this section of the novel and is presented in vivid detail, as both thinker and would-be strategist. His toilette and his customary attitudes and traits of mind are depicted in detail. Also described are the well-organized force of over 400,000 French Army (only 140,000 of them actually French-speaking) which marches quickly through the Russian countryside in the late summer and reaches the outskirts of the city of Smolensk. Pierre decides to leave Moscow and go to watch the Battle of Borodino from a vantage point next to a Russian artillery crew. After watching for a time, he begins to join in carrying ammunition. In the midst of the turmoil he experiences firsthand the death and destruction of war. The battle becomes a hideous slaughter for both armies and ends in a standoff. The Russians, however, have won a moral victory by standing up to Napoleon's reputedly invincible army. For strategic reasons and having suffered grievous losses, the Russian army withdraws the next day, allowing Napoleon to march on to Moscow. Among the casualties are Anatol Kuragin and Prince Andrei. Anatol loses a leg, and Andrei suffers a cannon wound in the abdomen. Both are reported dead, but their families are in such disarray that no one can be notified.
Book/Volume Four
The Rostovs have waited until the last minute to abandon Moscow, even after it is clear that Kutuzov has retreated past Moscow and Muscovites are being given contradictory, often propagandistic, instructions on how to either flee or fight. Count Rostopchin is publishing posters, rousing the citizens to put their faith in religious icons, while at the same time urging them to fight with pitchforks if necessary. Before fleeing himself, he gives orders to burn the city. The Rostovs have a difficult time deciding what to take with them, and in the end load their carts with the wounded and dying from the Battle of Borodino. Unknown to Natasha, Prince Andrei is amongst the wounded.
When Napoleon's Grand Army finally occupies an abandoned and burning Moscow, Pierre takes off on a quixotic mission to assassinate Napoleon. He becomes an anonymous man in all the chaos, shedding his responsibilities by wearing peasant clothes and shunning his duties and lifestyle. The only people he sees while in this garb are Natasha and some of her family, as they depart Moscow. Natasha recognizes and smiles at him, and he in turn realizes the full scope of his love for her.
Pierre saves the life of a French officer who fought at Borodino, yet is taken prisoner by the retreating French during his attempted assassination of Napoleon, after saving a woman from being raped by soldiers in the French Army. He becomes friends with a fellow prisoner, Platon Karataev, a peasant with a saintly demeanor, who is incapable of malice. In Karataev, Pierre finally finds what he has been seeking: an honest person of integrity (unlike the aristocrats of Petersburg society) who is utterly without pretense. Pierre discovers meaning in life simply by living and interacting with him. After witnessing French soldiers sacking Moscow and shooting Russian civilians arbitrarily, Pierre is forced to march with the Grand Army during its disastrous retreat from Moscow in the harsh Russian winter. After months of trial and tribulation—during which the fever-plagued Karataev is shot by the French—Pierre is finally freed by a Russian raiding party, after a small skirmish with the French that sees the young Petya Rostov killed in action.
Meanwhile, Andrei, wounded during Napoleon's invasion, has been taken in as a casualty and cared for by the fleeing Rostovs. He is reunited with Natasha and his sister Maria before the end of the war. Having lost all will to live, he forgives Natasha in a last act before dying.
As the novel draws to a close, Pierre's wife Hélène dies in a botched operation (implied to be an abortion). Pierre is reunited with Natasha, while the victorious Russians rebuild Moscow. Natasha speaks of Prince Andrei's death and Pierre of Karataev's. Both are aware of a growing bond between them in their bereavement. With the help of Princess Maria, Pierre finds love at last and, revealing his love after being released by his former wife's death, marries Natasha.
Epilogues
The first epilogue begins with the wedding of Pierre and Natasha in 1813. It is the last happy event for the Rostov family, which is undergoing a transition. Count Rostov dies soon after, leaving his eldest son Nikolai to take charge of the debt-ridden estate.
Nikolai finds himself with the task of maintaining the family on the verge of bankruptcy. His abhorrence at the idea of marrying for wealth almost gets in his way, but finally in spite of rather than according to his mother's wishes, he marries the now-rich Maria Bolkonskaya and in so doing also saves his family from financial ruin.
Nikolai and Maria then move to Bald Hills with his mother and Sonya, whom he supports for the rest of their life. Buoyed by his wife's fortune, Nikolai pays off all his family's debts. They also raise Prince Andrei's orphaned son, Nikolai Andreyevich (Nikolenka) Bolkonsky.
As in all good marriages, there are misunderstandings, but the couples–Pierre and Natasha, Nikolai and Maria–remain devoted to their spouses. Pierre and Natasha visit Bald Hills in 1820, much to the jubilation of everyone concerned. There is a hint in the closing chapters that the idealistic, boyish Nikolenka and Pierre would both become part of the Decembrist Uprising. The first epilogue concludes with Nikolenka promising he would do something with which even his late father "would be satisfied..." (presumably as a revolutionary in the Decembrist revolt).
The second epilogue contains Tolstoy's critique of all existing forms of mainstream history. He attempts to show that there is a great force behind history, which he first terms divine. He offers the entire book as evidence of this force, and critiques his own work. God, therefore, becomes the word Tolstoy uses to refer to all the forces that produce history, taken together and operating behind the scenes.
Principal characters in War and Peace
Main article: List of characters in War and Peace
War and Peace character tree
* Count Pyotr Kirillovich (Pierre) Bezukhov — The central character and often a voice for Tolstoy's own beliefs or struggles. He is one of several illegitimate children of Count Bezukhov; he is his father's favorite offspring.
* Prince Andrei Nikolayevich Bolkonsky — A strong but cynical, thoughtful and philosophical aide-de-camp in the Napoleonic Wars.
* Princess Maria Nikolayevna Bolkonskaya — A pious woman whose eccentric father attempted to give her a good education. The caring, nurturing nature of her large eyes in her otherwise thin and plain face are frequently mentioned.
* Count Ilya Andreyevich Rostov — The pater-familias of the Rostov family; terrible with finances, generous to a fault.
* Countess Natalya Rostova — Wife of Count Ilya Rostov, mother of the four Rostov children.
* Countess Natalia Ilyinichna (Natasha) Rostova — Introduced as a beautiful and romantic young girl, she evolves through trials and suffering and eventually finds happiness. She is an accomplished singer and dancer.[citation needed]
* Count Nikolai Ilyich Rostov — A hussar, the beloved eldest son of the Rostov family.
* Sofia Alexandrovna (Sonya) Rostova — Orphaned cousin of Vera, Nikolai, Natasha and Petya Rostov.
* Countess Vera Ilyinichna Rostova — Eldest of the Rostov children, she marries the German career soldier, Berg.
* Pyotr Ilyich (Petya) Rostov — Youngest of the Rostov children.
* Prince Vasily Sergeyevich Kuragin — A ruthless man who is determined to marry his children well, despite having doubts about the character of some of them.
* Princess Elena Vasilyevna (Hélène) Kuragina — A beautiful and sexually alluring woman who has many affairs, including (it is rumoured) with her brother Anatole
* Prince Anatol Vasilyevich Kuragin — Hélène's brother and a very handsome, ruthless and amoral pleasure seeker who is secretly married yet tries to elope with Natasha Rostova.
* Prince Ipolit Vasilyevich — The eldest and perhaps most dim-witted of the Kuragin children.
* Prince Boris Drubetskoy — A poor but aristocratic young man who is determined to make his career, even at the expense of his friends and benefactors, marries a rich and ugly woman to help him climb the social ladder.
* Princess Anna Mikhailovna Drubetskoya — The mother of Boris.
* Fyodor Ivanovich Dolokhov — A cold, almost psychopathic officer, he ruins Nikolai Rostov after his proposal to Sonya is refused, he only shows love to his doting mother.
* Adolf Karlovich Berg — A young Russian officer, who desires to be just like everyone else.
* Anna Pavlovna Sherer — Also known as Annette, she is the hostess of the salon that is the site of much of the novel's action in Petersburg.
* Maria Dmitryevna Akhrosimova — An older Moscow society lady, she is an elegant dancer and trend-setter, despite her age and size.
* Amalia Evgenyevna Bourienne — A French woman who lives with the Bolkonskys, primarily as Princess Marya's companion.
* Vasily Dmitrich Denisov — Nikolai Rostov's friend and brother officer, who proposes to Natasha.
* Platon Krataev - The archetypal good Russian peasant, whom Pierre meets in the prisoner of war camp.
* Napoleon I of France — the Great Man, whose fate is detailed in the book.
* General Mikhail Ilarionovich Kutuzov — Russian commander-in-chief throughout the book. His diligence and modesty eventually save Russia from Napoleon.[citation needed]
* Osip Bazdeyev — the Freemason who interests Pierre in his mysterious group, starting a lengthy subplot.[citation needed]
* Tsar Alexander I of Russia — He signed a peace treaty with Napoleon in 1807 and then went to war with him.
Many of Tolstoy's characters in War and Peace were based on real-life people known to Tolstoy himself. His grandparents and their friends were the models for many of the main characters, his great-grandparents would have been of the generation of Prince Vasilly or Count Ilya Rostov. Some of the characters, obviously, are actual historic figures.
Adaptations
Film
The first Russian film adaptation of War and Peace was the 1915 film Война и мир (Voyna i mir), directed by Vladimir Gardin and starring Gardin and the Russian ballerina Vera Karalli. It was followed in 1968 by the critically acclaimed four-part film version War and Peace, by the Soviet director Sergei Bondarchuk, released individually in 1965-1967, and as a re-edited whole in 1968. This starred Lyudmila Savelyeva (as Natasha Rostova) and Vyacheslav Tikhonov (as Andrei Bolkonsky). Bondarchuk himself played the character of Pierre Bezukhov. The film was almost seven hours long; it involved thousands of actors, 120 000 extras, and it took seven years to finish the shooting, as a result of which the actors age changed dramatically from scene to scene. It won an Oscar for Best Foreign Language Film for its authenticity and massive scale.
The novel has been adapted twice for cinema outside of Russia. The first of these was produced by F. Kamei in Japan (1947). The second was the 208-minute long 1956 War and Peace, directed by the American King Vidor. This starred Audrey Hepburn (Natasha), Henry Fonda (Pierre) and Mel Ferrer (Andrei). Audrey Hepburn was nominated for a BAFTA Award for best British actress and for a Golden Globe Award for best actress in a drama production.
Opera
* Initiated by a proposal of the German director Erwin Piscator in 1938, the Russian composer Sergei Prokofiev composed his opera War and Peace (Op. 91, libretto by Mira Mendelson) based on this epic novel during the 1940s. The complete musical work premiered in Leningrad in 1955. It was the first opera to be given a public performance at the Sydney Opera House (1973).
Music
* Composition by Nino Rota
* Referring to album notes, the first track "The Gates of Delirium", from the album Relayer, by the progressive rock group Yes, is said to be based loosely on the novel.
Theatre
The first successful stage adaptations of War and Peace were produced by Alfred Neumann and Erwin Piscator (1942, revised 1955, published by Macgibbon & Kee in London 1963, and staged in 16 countries since) and R. Lucas (1943).
A stage adaptation by Helen Edmundson, first produced in 1996 at the Royal National Theatre, was published that year by Nick Hern Books, London. Edmundson added to and amended the play for a 2008 production as two 3-hour parts by Shared Experience, directed by Nancy Meckler and Polly Teale. This was first put on at the Nottingham Playhouse, then toured in the UK to Liverpool, Darlington, Bath, Warwick, Oxford, Truro, London (the Hampstead Theatre) and Cheltenham.
On the 15th-18th July, The Birmingham Theatre School performed this seven-hour epic play at The Crescent Theatre in Brindleyplace with great success. Birmingham Theatre School is the only drama school in the world to perform the new adaptation of War and Peace. Directed by Chris Rozanski and Assistant to Director was Royal National Theatre performer Anthony Mark Barrow with Vocals arranged by Dr Ria Keen and choreography by Colin Lang.
Radio and television
* In December 1970, Pacifica Radio station WBAI broadcast a reading of the entire novel (the 1968 Dunnigan translation) read by over 140 celebrities and ordinary people.
* War and Peace (1972): The BBC (British Broadcasting Corporation) made a television serial based on the novel, broadcast in 1972-73. Anthony Hopkins played the lead role of Pierre. Other lead characters were played by Rupert Davies, Faith Brook, Morag Hood, Alan Dobie, Angela Down and Sylvester Morand. This version faithfully included many of Tolstoy's minor characters, including Platon Karataev (Harry Locke). ,
* A dramatized full-cast adaptation in ten parts was written by Marcy Kahan and Mike Walker in 1997. The production won the 1998 Talkie award for Best Drama and was around 9.5 hours in length. It was directed by Janet Whitaker and featured Simon Russell Beale, Gerard Murphy, Richard Johnson, and others.
* La Guerre et la paix (TV) (2000) by François Roussillon. Robert Brubaker played the lead role of Pierre.
* War and Peace (2007): produced by the Italian Lux Vide, a TV mini-series in Russian & English co-produced in Russia, France, Germany, Poland and Italy. Directed by Robert Dornhelm, with screenplay written by Lorenzo Favella, Enrico Medioli and Gavin Scott. It features an international cast with Alexander Beyer playing the lead role of Pierre assisted by Malcolm McDowell, Clémence Poésy, Alessio Boni, Pilar Abella, J. Kimo Arbas, Ken Duken, Juozapas Bagdonas and Toni Bertorelli.
Full translations into English
* Clara Bell (from a French version) 1885-86
* Nathan Haskell Dole 1898
* Leo Wiener 1904
* Constance Garnett (1904)
* Louise and Aylmer Maude (1922-3)
* Rosemary Edmonds (1957, revised 1978)
* Ann Dunnigan (1968)
* Anthony Briggs (2005)
* Andrew Bromfield (2007), translation of the first completed draft, approx. 400 pages shorter than other English translations.
* Richard Pevear and Larissa Volokhonsky (2007)
ān dé liè bù gù huái yùn de qī zǐ hé nián mài de fù qīn， jiān chí dào jūn duì fú yì。 zhàn yì shī bài， tā tuí sàng huí jiā， qià féng qī zǐ nán chǎn 'ér sǐ， bǐ 'āi 'ěr zé zài fù qīn lín zhōng qián bèi lì wéi cái chǎn jì chéng rén， bìng chéng xí liǎo qí fù de bó jué chēng hào， hé guì zú kù lā jīn de nǚ 'ér 'ài lún jié hūn。 hūn hòu bù jiǔ， yīn liǎng rén xìng gé bù hé 'ér fēn jū。 bǐ 'āi 'ěr yǔ luó sī tuō fū bó jué yī jiā zài qù dǎ liè de lù shàng， bǎ chén jìn zài sàng qī zhī tòng de 'ān dé liè yě lā qù dǎ liè， bó jué de nǚ 'ér nà tǎ suō · luó sī tuō wá duì 'ān dé liè chǎn shēng liǎo hǎo gǎn。 bù jiǔ， nà tǎ suō jiē shòu liǎo 'ān dé liè de qiú hūn， dìng lì liǎo hūn yuē。
guò liǎo yī duàn shí jiān， ān dé liè chóngfǎn jūn duì。 ài lún de dì dì 'ā nà tuō lǐ piàn dé nà tǎ suō de 'ài， suō shǐ qí yǔ tā sī bēn。 é fǎ zhàn zhēng kāi shǐ， dān rèn zǒng sī lìng de kù tú zuǒ fū jiāng jūn jué dìng zàn shí fàng qì mò sī kē。 zài chè tuì tú zhōng， nà tǎ suō yù dào shòu zhòng shāng de 'ān dé liè， ān dé liè liàng jiě liǎo nà tǎ suō， dàn tā què yīn shāng shì guò zhòng 'ér lí kāi liǎo rén shì。
zhàn zhēng shèng lì jié shù hòu， bǐ 'āi 'ěr huí dào liǎo mò sī kē， nà tǎ suō bǎ zì jǐ de mìng yùn yǒng yuǎn de yǔ bǐ 'āi 'ěr jié hé zài liǎo yī qǐ……
《 zhàn zhēng yǔ hé píng》 - yǐngpiān píng jià
zhè shì yī bù zhì zuò jīng zhì、 gòu sī yán jǐn de jù piàn。 chǎng miàn zhuàng kuò， qì shì bàng bó， jì chéng liǎo qián sū lián zài pāi shè lì shǐ tí cái yǐngpiān fāng miàn de chuán tǒng， wán měi dì róng tuō 'ěr sī tài yuán zhù jīng shén yú qí zhōng， zài xiàn liǎo 'é fǎ zhàn zhēng shí qī 'é luó sī dà dì guǎng kuò de lì shǐ huà juàn。 yǐngpiān yǐ 1812 nián 'é guó wèi guó zhàn zhēng wéi zhōng xīn， fǎn yìng liǎo 1805 nián zhì 1820 nián zhòng dà shì jiàn， bāo kuò 'ào sī tè lì cí dà zhàn、 bō luó dǐ nuò huì zhàn、 mò sī kē dà huǒ、 ná pò lún kuì tuì děng。 tōng guò duì sì dà jiā tíng yǐ jí 'ān dé liè、 bǐ 'āi 'ěr、 nà tǎ suō zài zhàn zhēng yǔ hé píng huán jìng zhōng de sī xiǎng hé xíng dòng de miáo xiě， zhǎn shì liǎo dāng shí 'é guó shè huì de fēng mào。 hào shí wǔ nián， jù chēng hào zī yī yì měi yuán ( dāng shí de jià qián ) de hóng wěi jù zhì， shì tú jí qí zhōng shí dì fù zhì tuō 'ěr sī tài de cháng piān jù zhù。 zhàn zhēng xì hé wǔ huì xì fēi cháng chū sè， dàn zhěng tǐ shuǐ zhǔn cēncī bù qí。 yǐngpiān cháng dá liù gè bàn xiǎo shí， zài sū lián diàn yǐng shǐ shàng yòu zhe jǔ zú qīng zhòng de dì wèi， tóng shí huò 'ào sī kǎ zuì jiā wài yǔ piàn jiǎng。 1956 nián de měi guó bǎn suī rán bǐ zhè bù duǎn， dàn yě yòu 208 fēn zhōng， yòu 'ào dài lì · hè běn、 hēng lì · fāng dá děng zhù yǎn， yě shì yǐ zhàn zhēng chǎng miàn qǔ shèng。 1973 nián yīng guó BBC tuī chū 750 fēn zhōng de diàn shì bǎn。
《 zhàn zhēng yǔ hé píng》 - huā xù
yǐngpiān pāi shè hào zī gāo dá 5 yì 6000 wàn měi yuán， kān chēng yǐng shǐ shàng zuì 'áng guì de yǐngpiān。
yǐngpiān pāi shè dé dào liǎo sū lián jūn fāng de dà lì xié zhù， shèn zhì jūn fāng shì tú ràng piàn zhōng bīng lì jìn liàng yǔ shí jì zhàn yì de cān zhàn rén shù jī běn xiāng tóng。 zài shì jiè yǐng shǐ shàng， běn piàn chéng wéi dòng yòng lín shí yǎn yuán zuì duō de yǐngpiān zhī yī， chāo guò běn piàn de zhǐ yòu 1982 nián de《 gān dì chuán》， cān jiā gāi piàn pāi shè de lín shí yǎn yuán duō dá 30 wàn rén。
1981 nián 3 yuè， běn piàn zài mò xī gē diàn shì yī tái hé 'èr tái shǒu cì bō chū， chuàng xià liǎo diàn shì tái bō fàng zuì cháng yǐngpiān de jí ní sī shì jiè jì lù。
1958 nián， hǎo lāi wù zhù míng zhì piàn rén mài kè 'ěr · tuō dé (MichaelTodd) fǎng wèn mò sī kē， tā céng tí yì lián hé pāi shè běn piàn， dàn zāo dào sū lián zhèng fǔ de jù jué。
《 zhàn zhēng yǔ hé píng》 - jīng cǎi duì bái
PrinceAndreiBolkonsky:Natasha...Iloveyoutoomuch.Morethananythingintheworld.
ān dé liè wáng zǐ： nà tǎ suō…… wǒ tài 'ài nǐ liǎo。 chāo guò zhè shì shàng de yī qiē。
NatashaRostova:AndI!Butwhytoomuch?
nà tǎ suō： wǒ yě shì！ dàn wèishénme zhè me qiáng liè？
PrinceAndreiBolkonsky:Whytoomuch?Well,whatdoyouthink?Whatdoyoufeelinyoursoul,deepinyoursoul?ShallIlive?Whatdoyouthink?
ān dé liè wáng zǐ： wèishénme？ nǐ shì zěn me xiǎng de？ zài nǐ xīn líng shēn chù gǎn zhī dào shénme？ wǒ huì huó xià qù má？ nǐ shì zěn me xiǎng de？
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
NatashaRostova:I'msureofit.
nà tǎ suō： dāng rán。
PrinceAndreiBolkonsky:Howgoodthatwouldbe.
ān dé liè wáng zǐ： nà huì duō hǎo。
Narrator:Enough,enough,men.Stop,consider,whatareyoudoing?Intothemindsoftiredandhungrymenonbothsides,aflickerofdoubtbegantocreep.Weretheytogoonslaughteringoneanother?Killwhomyoulike,dowhatyoulike,butI'vehadenough.Yetsomeinexplicable,mysteriouspowercontinuedtocontrolthem,andtheterriblebusinesswenton,carriedoutnotbythewillofindividualmen.
bàng bái： gòu liǎo， gòu liǎo， tíng xià bā， nǐ men xiǎng xiǎng， nǐ men zài zuò shénme？ jiāo zhàn shuāng fāng jī hán jiāo pò jīn pí lì jìn de rén men kāi shǐ sī kǎo， yī sī yí lǜ kāi shǐ màn yán。 tā men hái jiāng hù xiāng shā lù má？ suí biàn nǐ men wéi suǒ yù wéi bā， wǒ yǐ jīng yàn juàn liǎo。 rán 'ér yī xiē wú fǎ jiě shì de、 shén mì de lì liàng zài jì xù kòng zhì zhe tā men， zāinàn rēng zài jì xù， gè rén de yì yuàn wú fǎ gǎi biàn zhè yī qiē。
《 zhàn zhēng yǔ hé píng》 - jù qíng
rì běn qīn huá zhàn zhēng qī jiān， xiǎo chái jiàn yī suǒ zài yùn shū chuán bèi zhà chén hòu， tā bèi zhōng guó yú mín jiù huó， cóng cǐ liú zài zhōng guó jūn duì fú wù。 jiàn yī de sǐ wáng tōng zhī dān bèi sòng dào dōng jīng de qī zǐ dīng zǐ shǒu zhōng， dīng zǐ hé jiàn yī yòu nián shí de péng yǒu wǔ dōng kāng jí jié hé liǎo， dài zhe jiàn yī de 'ér zǐ mào nán xìng fú dì shēng huó zài yī qǐ。 dàn zài kōng xí zhōng， kāng jí jīng shén shàng shòu dào liǎo cì jī biàn dé shī cháng。 rì běn tóu jiàng hòu， jiàn yī huí dào jiā xiāng， tā méi yòu xiǎng dào， qī zǐ dīng zǐ yǐ jīng yǔ kāng jí jié liǎo hūn， tā zài jué wàng zhōng yào qiú bǎ mào nán jiāo gěi zì jǐ fǔ yǎng， dàn shì mào nán yǐ jīng hé kāng jí yòu liǎo gǎn qíng， jiàn yī bù dé bù fàng qì dài zǒu mào nán de niàn tóu。 ...
《 zhàn zhēng yǔ hé píng》 - mù hòu huā xù
cǐ piàn shì 'àn zhào dāng shí zhàn rì měi jūn de yì tú pāi shè de， shì wéi rì běn xīn xiàn fǎ fàng qì zhàn zhēng zuò xuān chuán de yǐngpiān。 dàn duì yú liǎng wèi dǎo yǎn lái shuō， zhè zhèng shì tā men xiǎng yào pāi shè de zhù tí， yīn wéi zài zhàn zhēng qī jiān， tā men mù dǔ liǎo zhàn zhēng dài gěi rén mín de cán kù hé bù xìng shēng huó。 cǐ piàn de zhòng yào yì yì hái zài yú， dǎo yǎn guī jǐng wén fū bǎ dà liàng biǎo xiàn zhōng guó nànmín de jìng tóu zǔ jiē zài yǐngpiān zhōng， shǐ rì běn rén mín kàn dào liǎo zhēn shí de zhàn zhēng cán kù de yī miàn， duì rì běn rén mín de chù dòng hěn dà， yīn cǐ guǎng dà rì běn rén mín duì cǐ piàn de píng jià hěn gāo， yǐngpiān zài rì běn diàn yǐng shǐ shàng yòu bù kě hū shì de dì wèi。
《 zhàn zhēng yǔ hé píng》 - xiǎo shuō yǐn yán
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
tuō 'ěr sī tài juàn zhì hào fán de cháng piān xiǎo shuō。 chǎng miàn hào dà， rén wù fán duō， bèi chēng wéi“ shì jiè shàng zuì wěi dà de xiǎo shuō”， chéng jiù fēi fán。《 zhàn zhēng yǔ hé píng》 wèn shì zhì jīn， yī zhí bèi rén chēng wéi“ shì jiè shàng zuì wěi dà de xiǎo shuō”。 zhè bù juàn zhì hào fán de jù zhù yǐ shǐ shī bān guǎng kuò yǔ xióng hún de qì shì， shēng dòng dì miáo xiě liǎo 1805 zhì 1820 nián 'é guó shè huì de zhòng dà lì shǐ shì jiàn hé gè gè shēng huó lǐng yù：“ jìn qiān gè rén wù， wú shù de chǎng jǐng， guó jiā hé sī rén shēng huó de yī qiē kě néng de lǐng yù， lì shǐ， zhàn zhēng， rén jiān yī qiē cǎn jù， gè zhǒng qíng yù， rén shēng gè gè jiē duàn， cóng yīng 'ér jiàng lín rén jiān de tí shēng dào qì xī yǎn yǎn de lǎo rén de gǎn qíng zuì hòu bèng fā， rén suǒ néng gǎn shòu dào de yī qiē huān lè hé tòng kǔ， gè zhǒng kě néng de nèi xīn sī xù， cóng qiè qǔ zì jǐ tóng bàn de qián bì de xiǎo tōu de gǎn jué， dào yīng xióng zhù yì de zuì chóng gāo de chōng dòng hé lǐng wù tòu chè de chén sī héng héng zài zhè fú huà lǐ dū yīngyǒu jìn yòu。” zuò zhě duì shēng huó de dà miàn jī hán gài hé zhěng tǐ bǎ wò， duì gè bié xiàn xiàng yǔ shì wù zhěng tǐ、 gè rén mìng yùn yǔ zhōu wéi shì jiè de nèi zài lián xì de chōng fēn jiē shì， shǐ zhè bù xiǎo shuō jù yòu jí dà de sī xiǎng hé yì shù róng liàng。 zhè shì tuō 'ěr sī tài chuàng zuò de dì yī bù juàn zhì hào fán de cháng piān xiǎo shuō。 zuò zhě bǎ zhàn zhēng yǔ hé píng， qián xiàn yǔ hòu fāng、 guó nèi yǔ guó wài、 jūn duì yǔ shè huì、 shàng céng yǔ xià céng lián jié qǐ lái， jì quán miàn fǎn yìng liǎo shí dài fēng mào， yòu wéi gè shì gè yàng de diǎn xíng rén wù chuàng zào liǎo jí guǎng kuò de diǎn xíng huán jìng。 zuò zhě duì rén wù de miáo xiě xíng xiàng jì fù zá yòu fēng mǎn， cháng yòng duì bǐ de yì shù fāng fǎ lái biǎo shù， tǐ cái zài 'é guó wén xué shǐ shàng shì yī zhǒng chuàng xīn， yě chāo yuè liǎo 'ōu zhōu cháng piān xiǎo shuō de chuán tǒng guī fàn。
《 zhàn zhēng yǔ hé píng》 - zuò zhě jiǎn jiè
liè fū · tuō 'ěr sī tài（ Л.Н.Толстой,LevNikolayevichTolstoy,LeoTolstoy,1828 héng 1910)， 19 shì jì 'é luó sī wén xué xiě shí zhù yì de dài biǎo zuò jiā， gōng rèn de zuì wěi dà de 'é luó sī wén xué jiā，《 xī fāng zhèng diǎn》 zuò zhě、 měi guó zhù míng wén xué jiào shòu jiān pī píng jiā hā luò · bǔ lún shèn zhì chēng zhī wéi“ cóng wén yì fù xīng yǐ lái， wéi yī néng tiǎo zhàn hé mǎ、 dàn dīng yǔ suō shì bǐ yà de wěi dà zuò jiā”。 duì wén xué yōng yòu“ kuáng liàn shì 'ài qíng” de tuō 'ěr
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
sī tài， shì 'é luó sī wén xué shǐ shàng chuàng zuò shí jiān zuì cháng、 zuò pǐn shù liàng zuì duō、 yǐng xiǎng zuì shēn yuǎn、 dì wèi zuì chóng gāo de zuò jiā， zhòng qíng jié、 zhòng diǎn xíng、 zhòng xiě shí、 zhòng pī pàn de wén xué shí dài， zài tā bǐ xià dá dào diān fēng。 cháng piān jù zhù《 zhàn zhēng yǔ hé píng》、《 ān nà · kǎ liè ní nà》 hé《 fù huó》 shì tuō 'ěr sī tài wén xué yì shù shàng de sān gè lǐ chéng bēi。 bǎi nián lái， tā de zuò pǐn bèi yì wéi gè guó wén zì， xiāo shòu liàng lěi jī chāo guò 5 yì cè， shì dà shī zhōng de dà shī。
《 zhàn zhēng yǔ hé píng》 huī hóng de gòu sī hé zhuó yuè de yì shù miáo xiě zhèn jīng shì jiè wén tán， chéng wéi jǔ shì gōng rèn de shì jiè wén xué míng zhù hé rén lèi bǎo guì de jīng shén cái fù。 yīng guó zuò jiā máo mǔ jí nuò bèi 'ěr wén xué jiǎng dé zhù luó màn · luó lán chēng zàn tā shì“ yòu shǐ yǐ lái zuì wěi dà de xiǎo shuō”，“ shì wǒ men shí dài zuì wěi dà de shǐ shī， shì jìn dài de yī lì yà tè”。
《 zhàn zhēng yǔ hé píng》 shì yī bù hóng wěi jù zhù， tā yǐ zhàn zhēng wèn tí wéi zhōng xīn， yǐ kù lā jīn、 bāo 'ěr kāng sī jī、 láo sī tuō fū、 bié zhú háo fū sì jiā guì zú de shēng huó wéi xiàn suǒ， zhǎn shì liǎo 19 shì jì zuì chū 15 nián de 'é guó lì shǐ， miáo huì liǎo gè gè jiē jí de shēng huó， shì yī bù zài xiàn dāng shí shè huì fēng mào de huī hóng shǐ shī。 zuò pǐn zhōng de gè sè rén wù kè huà jīng zhǔn xì nì， jǐng wù rú lín yǎn qián， suī shì 19 shì jì de xiǎo shuō zuò pǐn， dàn liú chuán zhì jīn， què méi yòu rèn hé gé hé gǎn， qí zhōng liú lù chū lái duì rén xìng de bēi mǐn qíng huái， chuān yuè shí kōng bèi jǐng， réng jiù hàn dòng rén xīn。
《 zhàn zhēng yǔ hé píng》 - nèi róng jiǎn yào
1805 nián 7 yuè， ná pò lún shuài bīng zhēng fú liǎo 'ōu zhōu， fǎ 'é zhī jiān zhèng yùn niàng zhe jī liè de zhàn zhēng。 rán 'ér zài bǐ dé bǎo shàng céng de rén men yǐ jiù guò zhe tián jìng yōu xián de shēng huó， dá guān guì rén mendōu huì jù zài huáng hòu de nǚ guān jiān chǒng chén 'ān nà · bā fǔ luò fū nà jǔ bàn jiā yàn zhāo dài huì shàng。
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
fù yàn de yòu gōng tíng guān gāo wèi zhòng de fá xī lǐ wáng jué hé tā piào liàng què xíng wéi bù duān de nǚ 'ér měi lún， hái yòu gè tóu gāo dà jiàn zhuàng de nián qīng rén bǐ 'ěr， tā dài zhe yǎn jìng， jiǎn duǎn fā， chuān qiǎn sè de liú xíng duǎn kù hé hè sè yàn wěi fú。 bǐ 'ěr shì mò sī kē zhù míng guì zú bié zhú háo fū de sī shēng zǐ， cóng xiǎo chū guó liú xué， jīn nián 20 suì， xué chéng huí guó dào shǒu dū móu zhí。 tā yī jìn yàn huì tīng， duì rén men yì lùn ná pò lún zhēng zhàn 'ōu zhōu pō gǎn xīng qù。 zài zhè lǐ， tā gāo xīng dì jié shí liǎo yīng jùn 'ér gāng yì de qīng nián 'ān dé liè－－ xiān cháo bǎo luó huáng dì de tuì zhí lǎo zǒng sī lìng bāo 'ěr kāng sī jī de zhǎngzǐ， liǎng rén hěn kuài chéng liǎo hǎo péng yǒu。
cǐ shí， ān dé liè zhèng yìng kù tú zuǒ fū jiāng jūn de zhào huàn， qù rèn tā de chuán lìng guān， jiāng chū guó gēn zhēng zhàn 'ōu zhōu de ná pò lún jūn duì zuò zhàn， rèn jí jiāng fēn miǎn de qī zǐ hé mèi mèi mǎ lì zài sān quàn liú， yě gǎi biàn bù liǎo tā de jué xīn， tā qī wàng tōng guò zhè cì zhàn zhēng wéi zì jǐ dài lái huī huáng yǔ róng yào。 zài chū zhēng zhī qián， ān dé liè bǎ qī zǐ cóng shǒu dū sòng dào liǎo zài mò sī kē jiāo wài jū zhù de fù qīn nà lǐ， wěi tuō fù qīn jiā yǐ guān zhào。 yú shì tā jí bēn qián xiàn， zài bō lán zhuī shàng liǎo 'é jūn zǒng sī lìng kù tú zuǒ fū， zǒng sī lìng pài tā dào lián hé zòng duì qù rèn zhí， bìng shòu dào liǎo jiā jiǎng。
bǐ 'ěr huí dào mò sī kē， tā jì chéng liǎo bié zhú háo fū bó jué shēn hòu suǒ yòu de yí chǎn， yáo shēn yī biàn chéng wéi mò sī kē shǔyīshǔ 'èr de zī běn jiā， chéng wéi shè jiāo jiè de chǒng 'ér。 tā de qīn qī fá xī lǐ zǎo jiù kuī shì bié zhú háo fū jiā de cái chǎn， běn xiǎng tōng guò cuàn gǎi yí zhǔ lái móu dé， shī bài hòu， yòu chǔxīn jī lǜ dì yào lā lǒng bǐ 'ěr， yī fāng miàn wèitā zài bǐ dé bǎo móu dé yī gè bù xiǎo de guān zhí， yòu wā kōng xīn sī qiǎo 'ān pái， ràng yǐ shì gōng tíng nǚ guān de nǚ 'ér měi lún jià gěi bǐ 'ěr， yǐ tú qián cái。 jiēguǒ tā de jì móu shùn lì dá chéng， kě zhè zhuāng hūn shì shí zài bù xìng zhī zhì。 bǐ 'ěr fā xiàn liǎo qī zǐ yǔ hǎo yǒu duō bó hè fū zhī jiān de 'ài mèi guān xì， tā yǔ duō bó hè fū jìn xíng bó dǒu， bìng xìng yùn de jī dǎo duì fāng， suí zhī yǔ qī zǐ fēn jū， zì jǐ yě xiàn rù liǎo shàn 'è hé shēng sǐ de kùn rǎo zhī zhōng， zài jiā rù gòng jì huì hòu， shòu dào kuān hóng dà liàng de zhé xué de xūn táo， jiē huí liǎo qī zǐ。
dāng 'ān dé liè zài cì huí dào zǒng sī lìng shēn biān， é 'ào lián jūn duì fǎ de 'ào sī tè lǐ qí zhàn dǒu jiù yào dǎ xiǎng liǎo。 yóu yú zài zhàn qián de jūn shì huì yì shàng， fǒu jué liǎo jǐ wèi lǎo jiāng jūn de yì jiàn， cǎi qǔ liǎo mǎ shàng chū jī de zhàn lüè， jiēguǒ cǎn bài。 ān dé liè shòu shāng bèi fú， tú zhōng hūn mí， bèi dí rén wù yǐ wéi huó bù chéng 'ér diū xià， kù tú zuǒ fū yě yǐ wéi 'ān dé liè zhèn wáng， gěi tā de fù qīn qù xìn bào sàng。 kě shì 'ān dé liè zài lǎo bǎi xìng de jiù zhì xià yòu kāng fù liǎo。 yù hòu de tā zhíbèn lǎo jiā， shì rì yè wǎn， qī zǐ lì shā zhèng hǎo chǎn xià yī míng nán yīng， dàn tā què zài fēn miǎn zhōng sǐ qù liǎo。 ān dé liè zài gū dú yǔ jué wàng zhī zhōng gěi qī zǐ zuì hòu yī gè wěn， tā jué dé rén shēng yǐ zài wú yì yì， jué dìng zhōng lǎo yú lǐng dì。
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
yī bā líng qī nián liù yuè， é yǔ fǎ yán hé， hé píng shēng huó kāi shǐ liǎo。
yī bā líng jiǔ nián chūn tiān， ān dé liè · bǎo 'ěr kāng sī jī yīn guì zú huì zhī shì 'ér qù bài tuō luó sī tuō fū bó jué。 zài bó jué jiā tā bèi chōng mǎn shēng mìng lì de nián qīng xiǎo jiě nà dá suō shēn shēn dì xī yǐn liǎo。 dàn yóu yú tū shān lǎo gōng jué qiáng liè fǎn duì， zhǐ hǎo hù xiāng yuē yǐ yī nián de huǎn chōng qī， ér hòu， ān dé liè · bǎo 'ěr kāng sī jī jí chū guó qù liǎo。 dàn shì， nián qīng de nà dá suō wú fǎ rěn shòu jì mò， qiě jīng bù qǐ bǐ 'ěr zhī qī 'ài lún de gē gē 'ā nà tuō 'ěr de yòu huò， ér shàn zì yuē dìng sī bēn， yīn cǐ， yǔ 'ān dé liè · bǎo 'ěr kāng sī jī de hūn yuē jí gào wú xiào。
yī bā yī 'èr nián， é、 fǎ liǎng guó zài dù jiāo zhàn， ān dé liè · bǎo 'ěr kāng sī jī yú duō bó qí nuò zhàn yì zhōng shēn shòu zhòng shāng， ér 'é jūn jié jié bài tuì， yǎn jiàn mò sī kē jí jiāng xiàn yú dí rén zhī shǒu liǎo。 luó sī tuō fū jiā jiāng yuán běn yòng lái bān yùn jiā chǎn de mǎ chē， gǎi pài qù yùn sòng shāng bīng， nà dá suō fāng néng néng yú shāng bīng zhōng fā xiàn jiāng sǐ de 'ān dé liè · bǎo 'ěr kāng sī jī。 tā xiàng tā xiè zuì bìng rè chéng kānhù tā， dàn yī qiēdōu shì tú láo liǎo， ān dé liè · bǎo 'ěr kāng sī jī réng rán táo bù guò sǐ wáng zhī shén 'ér qù shì liǎo。
bǐ 'ěr huà zhuāng chéng nóng fū， xiǎng sì jī cì shā ná pò lún， dàn què bèi fǎ jūn dài bǔ 'ér chéng wéi fú lǔ。 qí qī 'ài lún yú zhàn huǒ zhōng， réng jì xù qí fàng dàng xíng wéi， zuì hòu， yīn wù fú duò tāi yào 'ér qiě sǐ wáng。
jǐ fān fèn zhàn hòu， é guó zhōng yú yíng dé shèng lì， bǐ 'ěr yú mò sī kē qiǎo yù nà dá suō， liǎng rén biàn jié wéi fū fù， ér 'ān dé liè · bǎo 'ěr kāng sī jī de mèi mèi mǎ lì yà yě yǔ nà dá suō zhī xiōng ní kè lā jié hūn， ér zǔ chéng yī gè xìng fú de jiā tíng。
《 zhàn zhēng yǔ hé píng》 - xiāng guān píng jià
《 zhàn zhēng yǔ hé píng》 wèn shì zhì jīn， yī zhí bèi rén chēng wéi“ shì jiè shàng zuì wěi dà de xiǎo shuō”。 zhè bù juàn zhì hào fán de jù zhù yǐ shǐ shī bān guǎng kuò yǔ xióng hún de qì shì， shēng dòng dì miáo xiě liǎo 1805 zhì 1820 nián 'é guó shè huì de zhòng dà lì shǐ shì jiàn hé gè gè shēng huó lǐng yù：“ jìn qiān gè rén wù， wú shù de chǎng jǐng， guó jiā hé sī rén shēng huó de yī qiē kě néng de lǐng yù， lì shǐ， zhàn zhēng， rén jiān yī qiē cǎn jù， gè zhǒng qíng yù， rén shēng gè gè jiē duàn， cóng yīng 'ér jiàng lín rén jiān de tí shēng dào qì xī yǎn yǎn de lǎo rén de gǎn qíng zuì hòu bèng fā， rén suǒ néng gǎn shòu dào de yī qiē huān lè hé tòng kǔ， gè zhǒng kě néng de nèi xīn sī xù， cóng qiè qǔ zì jǐ tóng bàn de qián bì de xiǎo tōu de gǎn jué， dào yīng xióng zhù yì de zuì chóng gāo de chōng dòng hé lǐng wù tòu chè de chén sī héng héng zài zhè fú huà lǐ dū yīngyǒu jìn yòu。”（ sī tè lā huò fū yǔ） zuò jiā duì shēng huó de dà miàn jī hán gài hé zhěng tǐ bǎ wò， duì gè bié xiàn xiàng yǔ shì wù zhěng tǐ、 gè rén mìng yùn yǔ zhōu wéi shì jiè de nèi zài lián xì de chōng fēn jiē shì， shǐ zhè bù xiǎo shuō jù yòu jí dà de sī xiǎng hé yì shù róng liàng。
zhè shì yī bù rén mín zhàn zhēng de yīng xióng shǐ shī。 tuō 'ěr sī tài céng jīng biǎo shì：“ zài《 zhàn zhēng yǔ hé píng》 lǐ wǒ xǐ huān rén mín de sī xiǎng。” yě jiù shì shuō， zuò zhě lì tú zài zhè bù zuò pǐn lǐ biǎo xiàn 'é guó rén mín zài fǎn qīn lüè zhàn zhēng zhōng de 'ài guó zhù yì jīng shén jí qí lì shǐ zuò yòng。 zài guó jiā wēi jí de yán zhòng guān tóu， xǔ duō lái zì xià céng de 'é jūn pǔ tōng guān bīng tóng chóu dí kài， yù xuè fèn zhàn， suī rán zhàn shì yī dù shī lì， dàn jīng shén shàng què shǐ zhōng zhàn yòu yā dǎo de yōu shì。 lǎo bǎi xìng yě zhù dòng qǐ lái bǎo jiā wèi guó。 zài rén mín qún zhòng zhōng yǒng xiàn chū yī dà pī xiàng wǎng shēng、 jié ní suǒ fū、 xiè 'ěr bā dí nà yàng de yīng xióng rén wù。 é jūn tǒng shuài kù tú zuǒ fū yě yīn wéi tǐ xiàn liǎo rén mín de yì zhì， cái jù yòu guò rén de dǎn lüè hé jué shèng de xìn xīn。 zhěng bù xiǎo shuō yǐ wú kě biàn bó de shì shí zhèng míng liǎo tuō 'ěr sī tài de“ rén mín zhàn zhēng de jù bàng yǐ quán bù wēi yán xióng wěi de lì liàng” gǎn zǒu liǎo qīn lüè zhě de sī xiǎng。
zuò zhě zài xiǎo shuō zhōng yě rèn zhēn tàn suǒ liǎo guì zú jiē jí de lì shǐ mìng yùn wèn tí。 xiǎo shuō de zhù yào qíng jié jiù shì wéi rào zhe bāo 'ěr kāng sī jī、 bié sù huò fū、 luó sī tuō fū、 kù lā jīn sì dà guì zú jiā tíng de shēng huó zhǎn kāi de。 60 nián dài， tuō 'ěr sī tài réng zhàn zài guì zú jiē jí de lì chǎng shàng， dàn shì tā duì jiē jìn gōng tíng de shàng
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
céng guì zú què jǐyǔ shēn kè de jiē lù hé pī pàn。 zài mín zú wēi wáng de guān tóu， kù lā jīn zhī liú mò shì guó jiā mìng yùn， wèi dí rú hǔ， tā men guān xīn de shì xún huān zuò lè， jī jù sī chǎn。 xiǎo shuō zhōng， kù lā jīn shì guān pǐ， ér zǐ 'ā nà tuō 'ěr shì 'èshào， nǚ 'ér 'ài lún zé shì dàng fù。 zhè xiē guì zú de bēi liè xíng jìng yǔ rén mín wèiguó xiàn shēn de chóng gāo jīng shén xíng chéng liǎo qiáng liè de fǎn chā。 tuō 'ěr sī tài rèn wéi， é guó de qián tú zài yú“ yōu xiù” guì zú yǔ rén mín de hé zuò。 tā yòng shī yì de bǐ chù miáo xiě liǎo jīng chéng yǐ wài de zhuāng yuán guì zú luó sī tuō fū yī jiā hé bāo 'ěr kāng sī jī yī jiā， zhǐ chū zài zhè xiē guì zú shēn shàng réng bǎo liú zhe chún hòu de gǔ fēng， tā men yòu 'ài guó xīn， yǔ rén mín de jīng shén xiāng tōng。 zhè lǐ， zuò zhě zài yī dìng chéng dù shàng měi huà liǎo zōng fǎ zhì guì zú。
zhè bù xiǎo shuō de zhù rén gōng shì 'ān dé liè · bāo 'ěr kāng sī jī、 bǐ 'āi 'ěr · bié sù huò fū hé nà tǎ suō · luó sī tuō wá。 zhè sān gè rén wù dōushì zuò zhě xǐ 'ài de zhèng miàn xíng xiàng。 ān dé liè hé bǐ 'āi 'ěr shì tàn suǒ xíng de qīng nián guì zú zhī shí fènzǐ。 xiǎo shuō zhōng， zhè liǎng gè rén wù zài xìng gé hé shēng huó dào lù shàng xíng chéng liǎo xiān míng de duì bǐ。 ān dé liè xìng gé nèi xiàng， yì zhì jiān qiáng， yòu jiào qiáng de shè huì huó dòng néng lì， tā hòu lái tóu shēn jūn duì hé cānyù shè huì huó dòng kù sài、 ā duō nuò、 fú luò mǔ、 hā bèi mǎ sī（ JürgenHabermas， 1929 héng）， zài yán kù de shì shí miàn qián zhú bù rèn shí dào shàng céng tǒng zhì jiē jí de fǔ bài hé rén mín de lì liàng， bǐ 'āi 'ěr xīn zhí kǒu kuài， yì dòng gǎn qíng， quē shǎo shí jì huó dòng néng lì， gèng cè zhòng yú duì dào dé lǐ xiǎng de zhuī qiú， hòu lái zhù yào zài yǔ rén mín de zhí jiē jiē chù zhōng jīng shén shàng dé dào chéngzhǎng。 nǚ zhù rén gōng nà tǎ suō yǔ liǎng wèi zhù rén gōng de guān xì shǐ tā chéng wéi xiǎo shuō zhōng zhòng yào de lián zhuì rén wù， ér zhè yī xíng xiàng běn shēn yòu shì gè xìng xiān míng， shēng qì bó bó de。 xiǎo shuō chōng fēn zhǎn kāi liǎo nà tǎ suō rè liè 'ér fēng fù de qíng gǎn， tā yǔ rén mín hé dà zì rán de jiē jìn， tā de mín zú qì zhì， yǐ jí tā zài jīng shén shàng de chéngzhǎng。 zhè jǐ gè zhù yào rén wù xíng xiàng dū jù yòu jiào gāo de rèn shí jià zhí hé shěn měi jià zhí。
《 zhàn zhēng yǔ hé píng》 yì shù chéng jiù zhuó zhù。 zài zhè bù zuò pǐn zhōng， tuō 'ěr sī tài yòu lì dì tuò kuān liǎo cháng piān xiǎo shuō biǎo xiàn shēng huó de fú dù， bìng zài chuán tǒng de shǐ shī tǐ xiǎo shuō hé xì jù shì xiǎo shuō de jī chǔ shàng chuàng zào liǎo yī zhǒng bǐ jiào chéng shú de xíng tài。 xiǎo shuō chǎng miàn zhuàng kuò， jié gòu qīng xī， rén wù xíng xiàng xiān míng， yòu yī zhǒng dà hǎi bān huī hóng kāi kuò de měi。 tóng shí， xiǎo shuō shí dài gǎn qiáng liè， tā suī shì yī bù lì shǐ tí cái xiǎo shuō， dàn què fǎn yìng liǎo nóng nú zhì gǎi gé hòu 'é guó qián tú hé rén mín zuò yòng de wèn tí。 yīn cǐ，《 zhàn zhēng yǔ hé píng》 dāng zhī wú kuì dì shì yī bù“ liǎo bù qǐ de jù zhù”。（ liè níng yǔ）
《 zhàn zhēng yǔ hé píng》 - yuè dú jià zhí
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
zhàn zhēng shì yīcháng lì shǐ zhēng lùn bù xiū de huà tí。 yòu rén shuō tā shì wèile hé píng， yě yòu rén shuō shì wèile jìn bù， yīn wéi zhàn zhēng què shí yòu de shí hòu jiā kuài liǎo wén míng de bù fá。 bù guǎn zhàn zhēng wèihé， dàn sì hū dū qǐ yuán yú máo dùn yǔ xíng wéi。 bù kě fǒu rèn， rén de xīn lǐ shì cún zài hàodòu de yī miàn， zài píng fán de shēng huó zhōng jiā tíng、 shì yè、 gǎn qíng děng yī xì liè suǒ shì， dū ràng wǒ men huó dé wú bǐ dān yōu， zài dān diào fá wèi de shēng huó lǐ， rén shì hěn nán shì yìng zhè zhǒng bù biàn dòng de shēng huó。
zài tuō 'ěr sī tài de xiǎo shuō lǐ《 zhàn zhēng yǔ hé píng》， rú guǒ ná zhàn zhēng dān dú de lái jiǎng de huà， nà me zhàn zhēng shì zì yóu de。 zhè zhǒng zì yóu wéi rén xìng yǔ shì fàng de zì yóu。 zài yīcháng zhàn zhēng zhōng shùn jiān de shēng sǐ shì kě yǐ xuǎn zé de， huó zhe de mùdì jiù shì wèile shā rén， shā rén de mùdì jiù shì wèile huó zhe。 zài zhè gè jiǎn dān 'ér cán kù de juàn zǐ lǐ zhǐ cún yòu liǎng zhǒng rén， jí péng yǒu hé dí rén， chú cǐ zhī wài yī qiēdōu biàn dé bù zhòng yào liǎo， zhè ràng xǔ duō fù zá shì qíng yě xiǎn xiàn dé wú bǐ xiān míng huà liǎo。 xiǎo shuō zhōng luó sī tuō fū shì xǐ huān zhè zhǒng jiǎn dān de rén。 zài fēng kuáng de zhēng duó yǔ zuì 'è de zhàn zhēng zhōng， luó sī tuō fū zhǎo dào liǎo zì jǐ de jià zhí， zhè zhǒng jià zhí bìng fēi shì zài shàng céng jiāo jì juàn lǐ gù yòu de。 gèng duō de shì luó sī tuō fū zuò wéi yī gè chuán tǒng rén wù， zài xū róng hé róng yào de yǐn dǎo xià gèng duō de dǒng dé xī shēng zì jǐ。 rán 'ér zhàn zhēng shì xū yào zhè lèi rén de， shēng huó yě bù pái chì， dàn zài tuō 'ěr sī tài de xiǎo shuō lǐ què bìng wèi dé dào zàn yáng， zhè ràng rén bù nán xiǎng xiàng qí zhōng bāo hán lǐ miàn de qù wèi yǔ zhēn chéng， zhí dé ràng rén gǎn dòng！
suǒ ní yà shì nà me de 'ài zhe tā， yǔ qí shuō tā shì 'ài zhe tā de líng hún yǔ quán bù， hái bù rú shuō tā shì wéi zì jǐ biān zhì de xìn niàn 'ér 'ài zhe。 zài tuō 'ěr sī tài de xiǎo shuō zhōng hěn róng yì kàn dào， yī mù mùdì 'ài qíng dū cún zài zhe yī dìng de mùdì xìng hé shì sú de tǐng xiàng xìng。 suǒ ní yà wéi yí mā jiā de míng lì fàng qì liǎo luó sī tuō fū， ān dé 'ān wéi shì sú de zhēn cāo fàng qì liǎo nà tǎ shā， yī qiēdōu nà me de biàn huàn mò cè， dàn yòu cún zài dān diào de yī zhì xìng héng héng jí wéi míng、 lì、 xū róng 'ér fàng qì zì jǐ yuán běn de shēng huó。
zài 'ān dé liè jīng lì liǎo jǐ cì de shēng sǐ lí bié zhī hòu， zhàn zhēng jiù xiàng shì yī zhǎn míng dēng shìde hū 'àn hū míng de chū xiàn zài tā yǎn qián， yòu shí xiàng shì zhǐ qīng dào lù yòu shí què xiǎn dé nà me de pū shuò mí lí。 zhǐ yòu zài shēng yǔ sǐ jí jiāng fēn kāi de shí hòu， xiàn shí hé lǐ xiǎng zài tā yǎn zhōng cái kàn dé nà me qīng chǔ。 zuò zhě yī gè nián líng duàn yī gè nián líng duàn de xù shù liǎo 'ān dé liè suǒ jīng lì de gǎn shòu， zhè ràng wǒ mén háo bù fèi jiě de zǒu jìn liǎo tā de nèi xīn shì jiè， xīn yòu líng xī de sī kǎo zhe bǎi zài zì jǐ miàn qián de wèn tí。 xiàn shí héng lǐ xiǎng， dāng sī kǎo de shí hòu bì rán huì chǎn shēng máo dùn， yě bì rán huì yòu suǒ jiēguǒ。 shū zhōng yī bù bù zài máo dùn zhōng bù wán shàn de jiēguǒ lái chǎn shù liǎo 'ān dé liè de sī xiǎng shēng huá， tōng guò duì tā de rén wù sù zào ràng wǒ men bǐ jiào wán zhěng de liǎo jiě liǎo rén xìng de yī miàn。
zài zhàn chǎng shàng， ān dé liè kāi shǐ yě hé luó sī tuō fū yī yàng， xiǎng tōng guò zhàn zhēng lái jiàn lì yī fèn shū róng， zuò wéi yī gè nán rén lái jiǎng zhè shì yìng jù bèi de。 dàn tā bù míng bái yīnggāi jù bèi zhè zhǒng shū róng de mùdì shì wèishénme， yě xǔ shì yī zhǒng wú xíng de lì liàng zài yǐn yòu tā zhè yàng zuò。 zài yà lì shān dà de huáng quán xià， dà duō shù réndōu kě yǐ wéi yǒng qì hé shū róng xiàn shēn， yǔ qí shuō shì wéi jìn bù hé wén míng 'ér zhàn， hái bù rú shuō shì wéi bié rén hé qí tā de dōng xī 'ér zhàn。
bù nán kàn dào， zài zhè chǎng guān jiàn xìng de zhàn yù zhōng， ná pò lún de zhēn zhèng duì shǒu bìng bù shì yà lì shān dà， ér shì yà lì shān dà de shǔ xià kù tú zuǒ fū， yī gè shēn
《 zhàn zhēng yǔ hé píng》《 zhàn zhēng yǔ hé píng》
shòu huáng dì pái chì dàn yòu lí bù kāi tā de rén。 què dìng tā wéi yī míng jiāng jūn dǎo hái bù rú shuō tā shì yī wèi rén zhì de lǎo tóu， yī wèi dǒng dé píng píng fán fán shēng huó zhēn dì de rén。 zài ná pò lún de tiān cái zhàn lüè zhōng， bèi rén lèi rèn wéi shì fēng kuáng jiā yì shù de xíng wéi zài zhè lǐ dé dào liǎo xiū xī， jiù xiàng shì yī zhǐ shí fēn wēi měng de fēng zǐ zhuàng jìn liǎo mián huā duī lǐ， yī qiē fēng máng dū bāo róng zài bù tòng bù yǎng de mián sī lǐ。 ér zhǐ néng xiàng shì cāng yíng yī yàng děng dài zhe zhī zhū de jìn shí。 zài zhè lǐ wǒ men zhǐ néng yòng tuō 'ěr sī tài de huà yǔ： kù tú zuǒ fū shì yī wèi dǒng dé zì rán guī lǜ de rén！ héng héng shēng huó yòu hé cháng bù yī yàng xū yào zhè yàng de rén ní。
zài 'ān dé liè lín sǐ de nà yī kè（ yòu jǐ cì zhè yàng de shí kè）， wén zhōng zǒng huì chū xiàn lán tiān、 bái yún、 tóng nián shí de xiǎng xiàng hé yī qiē dāng shí rèn wéi bù yú kuài 'ér xiàn zài xiǎng qǐ lái lìng tā yú kuài de shì， zhè xiē dōng xī zài 'ān dé liè de yǎn zhōng jiù xiàng guò yǔ yún yān， yī qiēdōu xiǎn dé nà me de zhēn shí yǔ měi hǎo， zhè ràng wǒ men bù nán xiǎng xiàng shēng huó qí shí shì měi hǎo de， zhǐ shì wǒ men guò yǔ kē qiú。
zài 'ān dé liè sǐ hòu jǐn jiē zhe shì pí 'āi 'ěr hé nà tǎ shā（ ān dé liè de wèi hūn qī）、 ān dé liè de jiě jiě mǎ lì yà（ qián chéng de jiào tú） hé luó sī tuō fū de xìng fú hūn yīn shēng huó， zhè yě zhèng yù shì liǎo wú lùn shì zài zhàn zhēng de bèi hòu， hái shì zài jīng guò yī qiē xīng fēng xuè yǔ de zhēngzhá zhī hòu， shēng huó de yào qiú qí shí hěn jiǎn dān， yī qiēdōu shì rén lèi zài zuò guài bà liǎo！
《 zhàn zhēng yǔ hé píng》 - xiàn dài zhù shì [ jīng wén ]
[ yīng guó ] āi lǐ kè · huò bù sī bào mǔ yǐn hóng yì fān yì
20 shì jì shì rén lèi yòu jìzǎi de lì shǐ shàng zuì shā rén bù zhǎ yǎn de shì jì。 zhàn zhēng suǒ zào chéng de huò zhě yǔ zhàn zhēng yòu guān de sǐ wáng zǒng rén shù gū jì wéi 1.87 yì， xiāng dāng yú 1913 nián shì jiè rén kǒu de 10% yǐ shàng。 rú guǒ suàn zuò shì cóng 1914 nián kāi shǐ， zhè shì yī gè zhàn zhēng jīhū bù jiànduàn de shì jì， qí zhōng mǒu dì méi yòu fā shēng yòu zǔ zhì de wǔ zhuāng chōng tū de shí qī hěn shǎo yě hěn duǎn zàn。 zhàn jù shì jì zhù dǎo dì wèi de shì shì jiè dà zhàn： jí guó jiā huò guó jiā lián méng zhī jiān de zhàn zhēng。
cóng 1914 nián dào 1945 nián de shí qī kě yǐ bèi kàn zuò yīcháng dān yī de“ 30 nián zhàn zhēng”， jǐn jǐn bèi 20 nián dài de yī duàn jiànxiē suǒ dǎ duàn héng héng zài rì běn rén yú 1922 nián zuì zhōng cóng sū lián běi yà chè tuì hé 1931 nián duì dōng běi yà de jìn gōng zhī jiān de shí qī。 jīhū jǐn suí qí hòu de shì dà yuē 40 nián de lěng zhàn， zhè yī shí qī fú hé huò bù sī de zhàn zhēng dìng yì， jí qí“ bù shì jǐn jǐn bāo kuò zhàn dǒu huò zhě zhàn zhēng xíng wéi， ér qiě bāo kuò yī duàn shí jiān， qí zhōng tōng guò zhàn dǒu lái jìn xíng dǒu zhēng de yì zhì dé dào liǎo chōng fēn de biǎo dá。” yī gè kě yǐ biàn lùn de wèn tí shì， cóng lěng zhàn jié shù yǐ lái， měi jūn zài shì jiè gè dì suǒ cānyù de xíng dòng zài duō dà chéng dù shàng gòu chéng liǎo zhè gè shì jiè dà zhàn shí dài de yán xù。 rán 'ér háo wú yí yì de shì， 20 shì jì 90 nián dài chōng mǎn liǎo 'ōu zhōu、 fēi zhōu hé xī yà jí dōng yà de zhèng shì yǔ fēi zhèng shì de jūn shì chōng tū。 shì jiè zhěng tǐ lái shuō cóng 1914 nián yǐ lái yī zhí méi yòu hé píng， xiàn zài yě shì yī yàng。
jìn guǎn rú cǐ， zhè gè shì jì bù néng bèi lóng tǒng dì lái duì dài， bù lùn shì cóng nián dài shàng hái shì cóng dì lǐ shàng lái shuō。 àn zhào nián dài shùn xù， tā fēn wéi sān gè jiē duàn： yǐ dé guó wéi zhōng xīn de shì jiè dà zhàn shí dài（ 1914 nián dào 1945 nián）、 liǎng gè chāo jí dà guó duì zhì de shí dài（ 1945 nián dào 1989 nián） hé chuán tǒng de guó jì shí lì tǐ xì zhōng jié yǐ lái de shí dài。 wǒ jiāng bǎ zhè xiē shí qī chēng wéi dì yī、 dì 'èr hé dì sān shí qī。 cóng dì lǐ shàng jiǎng， jūn shì xíng dòng de yǐng xiǎng yī zhí shì shí fēn bù yúnchèn de。 chú liǎo yī gè lì wài（ 1932 nián dào 1935 nián de chá kē zhàn zhēng）， xī bàn qiú（ měi zhōu） zài 20 shì jì lǐ méi yòu zhòng dà de guó jiā jiān zhàn zhēng（ yǔ nèi zhàn xiāng qū fēn）。 dí rén de jūn shì xíng dòng hěn shǎo chù jí zhè xiē lǐng tǔ： yīn cǐ， 9 yuè 11 rì shì jiè mào yì zhōng xīn hé wǔ jiǎo dà lóu bèi zhà cái lìng rén zhèn jīng。
cóng 1945 nián yǐ lái， guó jiā jiān de zhàn zhēng yě cóng 'ōu zhōu xiāo shī liǎo， ér zài cǐ zhī qián， ōu zhōu céng jīng shì zhù yào de zhàn chǎng dì qū。 suī rán zài dì sān shí qī lǐ， zhàn zhēng huí dào liǎo dōng nán 'ōu， dàn shì zài gāi dà lù de qí yú dì fāng， tā què kàn lái bù dà kě néng chóngyǎn。 lìng yī fāng miàn， zài dì 'èr shí qī， yǔ quán qiú duì zhì bìng bù yī dìng háo wú lián xì de guó jiā jiān zhàn zhēng réng rán zài zhōng dōng hé nán yà sì nüè， zhí jiē chǎn shēng yú zhè chǎng quán qiú duì zhì de zhù yào zhàn zhēng zài dōng yà hé dōng nán yà（ hán guó hé yìn dù zhī nà） fā shēng。 yǔ cǐ tóng shí， sǎ hā lā shā mò yǐ nán de fēi zhōu děng dì qū zài dì yī shí qī lǐ shòu zhàn zhēng yǐng xiǎng bǐ jiào shǎo（ āi sài 'é bǐ yà chú wài， tā chí chí dì yú 1935 dào 1936 nián zāo shòu yì dà lì de zhí mín zhēng fú）， zài dì 'èr shí qī chéng wéi wǔ zhuāng chōng tū de zhàn chǎng， bìng zài dì sān shí qī mù dǔ liǎo shī héng biàn yě hé shuǐ shēn huǒ rè。
20 shì jì de lìng wài liǎng gè zhàn zhēng tè diǎn hěn tū chū， dì yī gè bù rú dì 'èr gè míng xiǎn。 21 shì jì kāi shǐ zhī jì， wǒ men bù zhī bù jué dì jìn rù zhè yàng yī gè shì jiè： wǔ zhuāng de xíng dòng jī běn shàng bù zài wéi zhèng fǔ huò zhě qí suǒ shòu quán de dài lǐ rén suǒ zhǎng wò， zhēng duān de gè fāng chú liǎo dòng yòng wǔ lì de yuàn wàng wài， háo wú gòng tóng tè zhēng、 shēn fèn huò mù biāo。
guó jiā jiān de zhàn zhēng zài dì yī hé dì 'èr shí qī zhù dǎo liǎo zhàn zhēng de xíng xiàng， yǐ zhì xiàn yòu guó jiā huò dì guó lǐng tǔ fàn wéi nèi de nèi zhàn huò qí tā wǔ zhuāng chōng tū zài yī dìng chéng dù shàng bèi yǎn gài liǎo。 jiù lián shí yuè gé mìng hòu 'é luó sī dì guó lǐng tǔ shàng de nèi zhàn yǐ jí zhōng huá dì guó bēng kuì hòu fā shēng de nèi zhàn， yě néng gòu yǔ guó jì chōng tū de kuàng jià xiāng wěn hé， yīn wéi tā men bǐ cǐ bù kě fēn lí。 lìng yī fāng miàn， lā dīng měi zhōu zài 20 shì jì lǐ kě néng bìng méi yòu jūn duì kuà yuè guó jiè， dàn tā què shì zhòng dà guó nèi chōng tū de chǎng suǒ： lì rú 1911 nián yǐ hòu zài mò xī gē、 1948 nián yǐ lái zài gē lún bǐ yà， yǐ jí dì 'èr shí qī zài xǔ duō zhōng měi zhōu guó jiā， dōushì rú cǐ。 rén men yī bān méi yòu rèn shí dào， cóng 60 nián dài guò bàn yǐ lái， guó jì zhàn zhēng de shù liàng xiāng dāng chí xù dì jiǎn shǎo liǎo。 60 nián dài zhōng qī， nèi bù chōng tū biàn dé bǐ guó jiā zhī jiān de chōng tū gèng jiā cháng jiàn。 guó nèi chōng tū de shù liàng jì xù jī zēng， yī zhí dào 90 nián dài cái qū yú píng huǎn。
rén men gèng jiā shú xī de shì zhàn dǒu yuán yǔ fēi zhàn dǒu yuán zhī jiān qū bié de bèi qīn shí。 shàng bàn gè shì jì de liǎng cì shì jiè dà zhàn shè jí jiāo zhàn gè guó de quán bù rén kǒu； zhàn dǒu yuán hé fēi zhàn dǒu yuán dū zāo shòu liǎo sǔn shī。 rán 'ér， zài zhè gè shì jì jìn chéng zhōng， zhàn zhēng de fù dān yuè lái yuè duō dì cóng wǔ zhuāng lì liàng zhuǎn yí dào píng mín shēn shàng。 píng mín bù jǐn shì qí shòu hài zhě， ér qiě yuè lái yuè duō dì chéng wéi jūn shì huò jūn shì - zhèng zhì xíng dòng de mù biāo。 dì yī cì shì jiè dà zhàn hé dì 'èr cì zhī jiān de duì bǐ shì xiǎn zhù de： zài yī zhàn zhōng zhèn wáng zhě dāng zhōng， zhǐ yòu 5% shì píng mín； èr zhàn zhōng zhè yī shù zì zēng jiā dào 66%。 pǔ biàn de gū jì shì， jīn tiān shòu zhàn zhēng yǐng xiǎng de rén men dāng zhōng yòu 80% dào 90% shì píng mín。 zhè yī bǐ lì cóng lěng zhàn jié shù yǐ lái zēng jiā liǎo， yīn wéi cóng nà shí yǐ lái de dà duō shù jūn shì xíng dòng dōubù shì yóu yì wù bīng jūn duì， ér shì yóu xiǎo gǔ zhèng guī huò fēi zhèng guī bù duì jìn xíng de， zài xǔ duō qíng kuàng xià suǒ shǐ yòng de shì gāo jì shù wǔ qì， tā men hái shòu dào bǎo hù， yǐ miǎn chéng dān shāng wáng de fēng xiǎn。 méi yòu lǐ yóu huái yí， zhàn zhēng de zhù yào shòu hài zhě réng jiāng shì píng mín。
jiǎ rú zhàn zhēng yǔ hé píng xiàng zhè gè shì jì chū nà yàng bǎo chí jīng wèi fēn míng， zé 20 shì jì duì zhè liǎng zhě de zhù shù huì róng yì yī xiē。 shì jì chū， 1899 nián hé 1907 nián de hǎi yá gōng yuē bǎ zhàn zhēng de guī zé biān rù fǎ diǎn。 chōng tū bèi rèn wéi zhù yào fā shēng zài zhù quán guó jiā zhī jiān， huò zhě rú guǒ fā shēng zài yī gè tè dìng guó jiā lǐng tǔ fàn wéi nèi， shì zài zǔ zhì chōng fēn、 yīn 'ér bèi qí tā zhù quán guó jiā gōng rèn jù yòu jiāo zhàn dì wèi de gè fāng zhī jiān zhǎn kāi。 zhàn zhēng dāng shí bèi rèn wéi yǔ hé píng yòu xiǎn zhù qū bié， tōng guò kāi zhàn shí de yī xiàng zhàn zhēng xuān yán hé zhàn zhēng jié shù shí de yī xiàng hé yuē。 jūn shì xíng dòng bèi rèn wéi zài zhàn dǒu yuán zhī jiān yòu míng xiǎn qū bié héng héng qí tè zhēng pì rú tā men suǒ chuān de jūn zhuāng huò zhě xiǎn shì qí shǔ yú yī zhī yòu zǔ zhì de jūn duì de qí tā jì xiàng héng héng yǐ jí fēi zuò zhàn píng mín。 zhàn zhēng bèi rèn wéi shì zhàn dǒu yuán zhī jiān de shì qíng。 fēi zhàn dǒu yuán zhǐ yào kě néng， jiù yīngdāng zài zhàn shí shòu dào bǎo hù。
guò qù yī guàn de liàng jiě shì， zhè xiē gōng yuē bìng bù hán gài suǒ yòu de guó nèi hé guó jì wǔ zhuāng chōng tū， tè bié shì bù bāo kuò xī fāng guó jiā zài guó jì gōng rèn de zhù quán guó jiā guǎn xiá fàn wéi yǐ wài dì qū jìn xíng de dì guó kuò zhāng suǒ zào chéng de chōng tū， jìn guǎn zhè xiē chōng tū dāng zhōng de yī xiē（ dàn jué fēi quán bù） bèi chēng wéi“ zhàn zhēng”。 tā men yě bù bāo kuò fǎn duì dì wèi wěn gù de guó jiā de dà guī mó pàn luàn， pì rú suǒ wèi de“ yìn dù bīng biàn”， huò zhě zài guó jiā huò míng yì shàng tǒng zhì zhe zhè xiē guó jiā de dì guó dāng jú yòu xiào kòng zhì fàn wéi zhī wài dì qū fǎn fù fā shēng de wǔ zhuāng huó dòng， pì rú 'ā fù hàn huò mó luò gē shān qū de jié lüè hé xuè chóu。 jìn guǎn rú cǐ， hǎi yá gōng yuē réng rán shì dì yī cì shì jiè dà zhàn zhōng de zhǐ dǎo fāng zhēn。 20 shì jì， zhè yī xiāng duì de míng què xìng bèi hùn luàn suǒ qǔ dài。
shǒu xiān， guó jì chōng tū yǔ guó nèi chōng tū zhī jiān de jiè xiàn biàn dé mó hú bù qīng， yīn wéi 20 shì jì de tè diǎn bù jǐn shì zhàn zhēng， ér qiě hái yòu gé mìng hé dì guó de jiě tǐ。 yī guó nèi bù de gé mìng huò jiě fàng dǒu zhēng duì guó jì jú shì chǎn shēng yǐng xiǎng， zài lěng zhàn qī jiān yóu qí rú cǐ。 xiāng fǎn dì， é luó sī gé mìng hòu， guó jiā duì zì jǐ suǒ bù zhī chí de bié guó nèi bù shì wù de gān yù biàn dé sī kōng jiàn guàn， qǐ mǎ zài zhè yàng zuò fēng xiǎn bǐ jiào xiǎo de dì fāng shì rú cǐ。 xiàn zài qíng kuàng réng rán shì zhè yàng。
dì 'èr， zhàn zhēng yǔ hé píng zhī jiān de míng què chā bié biàn dé hán hú bù qīng。 chú liǎo gè bié dì fāng wài， dì 'èr cì shì jiè dà zhàn jì bù shì yǐ xuān zhàn kāi shǐ， yě bù shì yǐ hé yuē jié shù。 suí hòu de yī gè shí qī bù lùn shì cóng jiù de yì yì shàng jiǎng guī lèi wéi zhàn zhēng hái shì hé píng dōuhěn kùn nán， yīn cǐ“ lěng zhàn” zhè gè xīn zì yǎn bù dé bù bèi fā míng lái miáo shù tā。 lěng zhàn yǐ lái zhuàng kuàng de mó hú xìng de yī gè míng zhèng jiù shì zhōng dōng de dāng qián jú shì。 bù lùn“ zhàn zhēng” hái shì“ hé píng” dōuméi yòu què qiē miáo shù hǎi wān zhàn zhēng zhèng shì jié shù yǐ lái yī lā kè de xíng shì héng héng gāi guó réng rán jīhū měi tiān dū zāo dào wài guó de hōng zhà héng héng bā lè sī tǎn rén hé yǐ sè liè rén zhī jiān de guān xì yě shì rú cǐ， hái yòu yǐ sè liè yǔ qí lín guó、 lí bā nèn hé xù lì yà zhī jiān de guān xì。 suǒ yòu zhè xiē dōushì yī zhǒng bù xìng de hòu yí zhèng， qí yuán yīn shì 20 shì jì de shì jiè dà zhàn， hái yòu zhàn zhēng de yuè lái yuè qiáng dà de dà zhòng xuān chuán jī qì， yǐ jí bǐ cǐ bù xiāngchèn de hé chōng mǎn jī qíng de yì shí xíng tài zhī jiān duì zhì de yī gè shí qī。 zhè zhǒng duì zhì gěi zhàn zhēng dài lái liǎo xiāng dāng yú zài yǐ wǎng de zōng jiào chōng tū zhōng suǒ jiàn dào de zhèng yì tǎo fá de chéngfèn。
zhè xiē chōng tū yǔ guó jì shí lì tǐ xì de chuán tǒng zhàn zhēng bù tóng， yuè lái yuè duō dì shì wéi liǎo bù kě tán pàn de mùdì， pì rú“ wú tiáo jiàn tóu jiàng” ér jìn xíng。 yóu yú zhàn zhēng hé shèng lì dōubèi kàn zuò yī biān dǎo de， suǒ yǐ duì 18 hé 19 shì jì de zhàn zhēng gōng yuē suǒ kě néng qiáng jiā gěi jiāo zhàn guó néng lì de rèn hé xiàn zhì héng héng shèn zhì zhèng shì de xuān zhàn héng héng dōubèi pāo qì。 duì shèng lì zhě jiān chí zì jǐ yì zhì de wēi lì de rèn hé xiàn zhì yě shì rú cǐ。 jīng yàn biǎo míng， zài hé píng qíng kuàng xià dá chéng de xié yì kě néng hěn róng yì bèi sī huǐ。
jìn nián lái， shǐ qíng kuàng jìn yī bù fù zá huà de shì， zài rén men de gōng kāi yán lùn zhōng，“ zhàn zhēng” yī cí wǎng wǎng bèi yòng lái zhǐ bù shǔ yòu zǔ zhì de lì liàng dǎ jī bèi kàn zuò fǎn shè huì de gè zhǒng guó jiā huò guó jì huó dòng héng héng lì rú“ fǎn hēi shǒu dǎng de zhàn zhēng” huò“ fǎn fàn dú zǔ zhì de zhàn zhēng”。 zài zhè xiē chōng tū zhōng， wǔ zhuāng lì liàng de liǎng gè lèi xíng de xíng dòng bèi hùn xiáo。 yī gè lèi xíng héng héng wǒ men chēng zhī wéi“ shì bīng” héng héng yòng lái duì fù qí tā wǔ zhuāng lì liàng， mù de shì jī bài tā men。 lìng wài yī gè héng héng wǒ men bǎ tā jiào zuò“ jǐng chá” héng héng nǔ lì bǎo chí huò huī fù yī gè xiàn yòu de zhèng zhì shí tǐ， yī bān shì yī gè guó jiā nèi bù bì yào chéng dù de fǎ lǜ hé gōng gòng zhì xù。 bìng bù dài yòu rèn hé bì yào de dào dé yǐn hán yì yì de shèng lì shì yī zhǒng lì liàng de mùdì； jiāng wéi fǎ zhě shéng zhī yǐ fǎ zé dài yòu dào dé de hán yì， nǎi shì lìng wài yī zhǒng lì liàng de mù biāo。 rán 'ér， zhè zhǒng qū fēn zài lǐ lùn shàng bǐ zài shí jiàn zhōng róng yì zuò chū， zhàn dǒu zhōng de yī míng shì bīng shā rén běn shēn bìng bù fàn fǎ。 dàn rú guǒ 'ài 'ěr lán gòng hé jūn de yī míng chéng yuán bǎ zì jǐ kàn zuò jiāo zhàn yī fāng， jìn guǎn zhèng shì de yīng guó fǎ lǜ bǎ tā shì wéi shā rén fàn， zé qíng kuàng rú hé？
běi 'ài 'ěr lán de huó dòng shì xiàng 'ài 'ěr lán gòng hé jūn suǒ rèn wéi de nà yàng shì yīcháng zhàn zhēng ní， hái shì zài wéi fǎ zhě miàn qián wèile wéi chí yīng guó de yī gè shěng yòu zhì xù de zhì lǐ 'ér zuò chū de nǔ lì？ yóu yú bù jǐn yī zhī kě guān de dāng dì jǐng chá bù duì， ér qiě hái yòu yī zhī quán guó xìng de jūn duì bèi dòng yuán qǐ lái duì fù 'ài 'ěr lán gòng hé jūn dá 30 nián zuǒ yòu， suǒ yǐ wǒ men kě yǐ duàn dìng， zhè shì yīcháng zhàn zhēng， dàn què shì yīcháng xiàng jǐng chá xíng dòng yī yàng yòu tiáo bù wěn dì shí shī de zhàn zhēng， qí fāng shì bǎ shāng wáng hé gāi shěng zhōng de shēng huó zhōng duàn jiǎn shǎo dào zuì dī xiàn dù。 xīn shì jì kāi shǐ shí hé píng yǔ zhàn zhēng zhī jiān guān xì de fù zá xìng hé hùn luàn qíng kuàng jiù shì rú cǐ。 tā men dé dào liǎo měi guó jí qí méng guó mù qián zhèng zài jìn xíng de jūn shì yǔ qí tā xíng dòng de chōng fēn quán shì。
xiàn zài xiàng zhěng gè 20 shì jì yī yàng， quán rán méi yòu rèn hé néng gòu kòng zhì huò jiě jué wǔ zhuāng zhēng duān de yòu xiào de quán qiú quán wēi jī gòu。 quán qiú huà yǐ jīng zài jīhū měi gè fāng miàn qǔ dé jìn zhǎn héng héng jīng jì shàng、 jì shù shàng、 wén huà shàng shèn zhì yǔ yán shàng héng héng wéi yī lì wài de shì， zài zhèng zhì yǔ jūn shì shàng， gè guó réng rán shì wéi yī de yòu xiào quán wēi。 suī rán zhèng shì de guó jiā yòu 200 gè zuǒ yòu， dàn shì zài shí jiàn shàng zhǐ yòu shǎo shù jǔ zú qīng zhòng， qí zhōng měi guó xiǎng yòu zhàn yā dǎo yōu shì de wēi lì。 rán 'ér cóng lái méi yòu rèn hé guó jiā huò dì guó zú gòu dì páng dà、 fù yù huò qiáng dà， yǐ wéi chí zài shì jiè zhèng zhì lǐng yù zhōng de bà quán， jiù gèng bù yòng shuō jiàn lì quán qiú fàn wéi de zhèng zhì yǔ jūn shì shàng de zhì gāo wú shàng dì wèi liǎo。 yī gè dān yī de chāo jí dà guó wú fǎ mí bǔ quán qiú quán wēi de kòngbái， yóu qí jiàn yú qí xiào lì zú yǐ shǐ zhī huò dé zhù yào guó jiā de zì yuàn jiē shòu、 bèi dāng zuò jù yòu yuē shù lì de gōng yuē de quē fá héng héng lì rú shè jí guó jì cái jūn huò zhě wǔ qì kòng zhì de děng děng。 yī xiē zhè zhǒng quán wēi jī gòu shì cún zài de， tè bié shì lián hé guó、 gè zhǒng fǎ lǜ yǔ jīn róng jī gòu， pì rú guó jì huò bì jī jīn zǔ zhì、 shì jiè yín xíng hé shì jiè mào yì zǔ zhì， yǐ jí yī xiē guó jì fǎ tíng。 dàn méi yòu rèn hé yī gè yōng yòu chú liǎo guó jiā zhī jiān de xié yì suǒ fù yú tā men de zhī wài de、 yóu yú qiáng dà guó jiā de zhī chí 'ér huò dé de huò zhě gè guó zì yuàn jiē shòu de yòu xiào quán lì。 suī rán zhè yī diǎn lìng rén yí hàn， dàn shì zài kě yǐ yù jiàn de jiāng lái què bù dà kě néng gǎi biàn。
yóu yú zhǐ yòu guó jiā cái xíng shǐ shí jì de quán lì， suǒ yǐ fēng xiǎn zài yú， guó jì jī gòu zài shì tú yìng fù“ zhàn zhēng zuì xíng” děng wéi fǎ xíng wéi de shí hòu huì wú xiào huò zhě quē fá pǔ biàn de hé fǎ dì wèi。 shèn zhì dāng tōng guò pǔ biàn gòng shí 'ér jiàn lì shì jiè fǎ tíng（ lì rú gēn jù lián hé guó 1998 nián 7 yuè 17 rì de luó mǎ xié yì jiàn lì de guó jì xíng shì fǎ tíng）， tā men de pàn duàn yě bù yī dìng huì bèi dāng zuò hé fǎ hé yòu yuē shù lì de 'ér jiē shòu， zhǐ yào qiáng guó yòu tiáo jiàn duì qí jiā yǐ wú shì。 yī gè yóu qiáng guó zǔ chéng de jí tuán kě néng zú gòu qiáng dà， yǐ què bǎo lái zì bǐ jiào ruò xiǎo guó jiā de yī xiē wéi fàn zhě bèi sòng shàng zhè xiē fǎ tíng， cóng 'ér huò xǔ zài mǒu xiē dì qū xiàn zhì wǔ zhuāng chōng tū de cán kù chéng dù。 rán 'ér zhè shì biǎo míng zài yī gè guó jì tǐ xì nèi quán lì yǔ yǐng xiǎng lì de chuán tǒng xíng shǐ、 ér bù shì guó jì fǎ xíng shǐ de shí lì。
rán 'ér zài 21 shì jì yǔ 20 shì jì zhī jiān yòu zhòng dà chā bié： rèn wéi zhàn zhēng shì fā shēng zài yī gè huàfēn wéi chǔyú yòu xiào de zhèng fǔ quán wēi zhī xià de lǐng tǔ dì qū de shì jiè shàng， zhè xiē zhèng fǔ xiǎng yòu duì gōng gòng quán lì hé qiǎngpò shǒu duàn de lǒng duàn， zhè zhǒng xiǎng fǎ yǐ jīng bù zài shì yòng。 tā cóng láidōu bù shì yòng yú jīng lì zhe gé mìng de guó jiā huò zhě sì fēn wǔ liè de dì guó de gè gè fēn liè bù fēn， dàn zhí dào zuì jìn wéi zhǐ， dà duō shù xīn de gé mìng huò hòu zhí mín dì zhèng quán héng héng zhōng guó zài 1911 nián hé 1949 nián zhī jiān shì zhù yào de lì wài héng héng xiāng dāng xùn sù dì zài shēng， chéng wéi jī běn shàng yòu zǔ zhì de hé zhèng cháng yùn zhuǎn de jì chéng zhèng quán hé guó jiā。 rán 'ér zuì jìn 30 nián zuǒ yòu， yóu yú gè zhǒng yuán yīn， guó jiā sàng shī liǎo qí duì wǔ zhuāng lì liàng de yī guàn de lǒng duàn、 hěn dà yī bù fēn cóng qián de wěn dìng xìng yǔ quán lì， ér qiě yuè lái yuè duō dì hái sàng shī liǎo hé fǎ dì wèi huò zhě gōng rèn de yǒng jiǔ xìng de gēn běn gǎn jué， zhè zhǒng dì wèi guò qù shǐ zhèng fǔ dé yǐ bǎ shuì fù yǔ zhēng bīng děng fù dān qiáng jiā gěi xīn gān qíng yuàn de gōng mín。 zhàn zhēng de wù zhì zhuāng bèi xiàn zài duì mín jiān zǔ zhì lái shuō pǔ biàn dì tuò shǒu kě dé， zī zhù fēi guó jiā zhàn zhēng de shǒu duàn yě shì rú cǐ， zhè yàng yī lái， guó jiā yǔ fēi guó jiā zǔ zhì zhī jiān de lì liàng duì bǐ yǐ jīng gǎi biàn。
guó jiā nèi bù de wǔ zhuāng chōng tū yǐ jīng biàn dé gèng jiā yán zhòng， bìng qiě kě néng jì xù jǐ shí nián， ér méi yòu rèn hé shèng lì huò dé dào jiě jué de zhēn shí qián jǐng： kè shí mǐ 'ěr、 ān gē lā、 sī lǐ lán kǎ、 chē chén、 gē lún bǐ yà。 zài jí duān de qíng kuàng xià， pì rú zài fēi zhōu de bù fēn dì qū， guó jiā kě néng yǐ jīng jī běn bù fù cún zài， huò zhě pì rú zài gē lún bǐ yà， kě néng bù zài zài běn guó bù fēn lǐng tǔ shàng xíng shǐ zhèng quán。 shèn zhì zài qiáng dà hé wěn dìng de guó jiā lǐ， yě yī zhí nán yǐ xiāo chú fēi guān fāng de xiǎo xíng wǔ zhuāng jí tuán， pì rú yīng guó de 'ài 'ěr lán gòng hé jūn jí xī bān yá de bā sī kè mín zú hé zì yóu zǔ zhì。 zhè yī jú miàn de xīn qí xìng tōng guò yī jiàn shì shí xiǎn shì chū lái： dì qiú shàng zuì qiáng dà de guó jiā zài zāo shòu liǎo yīcháng kǒng bù zhù yì xí jī hòu gǎn dào yòu yì wù fā dòng yīcháng zhèng shì de xíng dòng， dǎ jī yī gè hěn xiǎo de guó jì yǔ fēi zhèng fǔ zǔ zhì huò wǎng luò， ér hòu zhě jì méi yòu lǐng tǔ， yě méi yòu yī zhī néng gòu biàn rèn de jūn duì。
zhè xiē biàn huà rú hé yǐng xiǎng jīn hòu yī gè shì jì zhàn zhēng yǔ hé píng zhī jiān de píng héng ní？ wǒ nìngyuàn bù jiù hěn yòu kě néng bào fā de zhàn zhēng huò zhě tā men kě néng de jié jú zuò chū yù cè。 rán 'ér bù lùn wǔ zhuāng chōng tū de jié gòu hái shì jiě jué de fāng fǎ dū yóu yú zhù quán guó jiā shì jiè tǐ xì de zhuǎn biàn 'ér fā shēng liǎo shēn kè biàn huà。
sū lián de jiě tǐ yì wèi zhe， céng jīng zhǐ dǎo liǎo guó jì guān xì jiāng jìn liǎng gè shì jì、 chú liǎo míng xiǎn de lì wài hái duì guó jiā zhī jiān de chōng tū xíng shǐ liǎo yī dìng de kòng zhì quán de dà guó tǐ xì bù fù cún zài。 tā de xiāo shī xiāo chú liǎo xiàn zài guó jiā jiān zhàn zhēng hé guó jiā duì bié guó shì wù jìn xíng wǔ zhuāng gān yù de yī dà yīn sù héng héng lěng zhàn qī jiān wài guó lǐng tǔ de biān jiè jī běn shàng wèi céng bèi jūn duì suǒ kuà yuè。 rán 'ér jí shǐ nà shí， yóu yú ruò xiǎo guó jiā de dà liàng cún zài（ jìn guǎn zhè xiē guó jiā cóng guān fāng yì yì shàng jiǎng shì lián hé guó de“ zhù quán” chéng yuán guó）， guó jì tǐ xì jiù yǐ jīng cún zài qián zài de bù wěn dìng xìng。
sū lián hé 'ōu zhōu gòng chǎn dǎng zhèng quán de kuǎ tái míng xiǎn dì shǐ zhè zhǒng bù wěn dìng xìng zēng jiā。 zài qì jīn wéi zhǐ wěn dìng de mín zú guó jiā， pì rú yīng guó、 xī bān yá、 bǐ lì shí hé yì dà lì， jù yòu bù tóng chéng dù shí lì de fēn lí zhù yì qū shì wán quán kě néng jìn yī bù jiā zhòng zhè zhǒng bù wěn dìng。 yǔ cǐ tóng shí， guó jì wǔ tái shàng mín jiān biǎo yǎn zhě de shù liàng yě chéng bèi zēng jiā。 yòu shénme jī zhì kě yǐ yòng lái kòng zhì hé jiě jué zhè zhǒng chōng tū má？ cóng jì lù kàn bìng bù lìng rén lè guān。 90 nián dài de wǔ zhuāng chōng tū méi yòu yī cì yǐ wěn dìng de jiě jué 'ér gào zhōng。 yóu yú lěng zhàn de jī gòu、 jiǎ shè yǔ yán lùn de chí xù cún zài， suǒ yǐ jiù de huái yí wèi céng xiāo wáng， cóng 'ér 'è huà liǎo dōng nán 'ōu gòng chǎn zhù yì yǐ hòu de fēn bēng lí xī， shǐ dé jiě jué yī dù bèi chēng wéi nán sī lā fū de dì qū wèn tí gèng jiā kùn nán。
wǒ men yào xiǎng zhì dìng yī xiē kòng zhì wǔ zhuāng chōng tū de shǒu duàn， jiù bì xū cóng yì shí xíng tài hé quán lì - zhèng zhì liǎng fāng miàn xiāo chú zhè xiē lěng zhàn yí liú xià lái de jiǎ shè。 cǐ wài míng xiǎn de shì， měi guó tōng guò dān fāng de wǔ lì lái qiáng jiā yī zhǒng（ rèn hé yī zhǒng） xīn de shì jiè zhì xù de nǔ lì dōuyǐ jīng shī bài bìng qiě bì rán jì xù shī bài， bù guǎn lì liàng guān xì mù qián rú hé cháo zhe yòu lì yú měi guó de fāng xiàng piān xié， jìn guǎn měi guó dé dào liǎo yī gè（ bì rán duǎn mìng de） lián méng de zhī chí。 guó jì tǐ xì réng jiāng shì duō biān de， qí guǎn zhì jiāng qǔ jué yú jǐ gè dà guó dá chéng yī zhì de néng lì， jìn guǎn qí zhōng yī gè guó jiā xiǎng yòu jūn shì shàng de yā dǎo yōu shì。
měi guó suǒ cǎi qǔ de guó jì jūn shì xíng dòng zài duō dà chéng dù shàng qǔ jué yú bié guó tōng guò tán pàn de xié yì yǐ jīng hěn qīng chǔ。 cǐ wài yě qīng chǔ de shì， zhàn zhēng de zhèng zhì jiě jué， shèn zhì měi guó suǒ cānyù de zhàn zhēng de jiě jué， dū jiāng shì tōng guò tán pàn 'ér bù shì tōng guò dān fāng de qiáng jiā yú rén。 yǐ wú tiáo jiàn tóu jiàng 'ér jié shù de zhàn zhēng de shí dài zài kě yǐ yù jiàn de jiāng lái bù huì chóngyǎn。
duì yú xiàn yòu de guó jì jī gòu， tè bié shì lián hé guó de juésè， yě bì xū chóngxīn kǎo lǜ。 suī rán tā wú shí bù zài 'ér qiě tōng cháng shì qiú zhù de duì xiàng， dàn shì zài jiě jué zhēng duān fāng miàn， què méi yòu míng què de juésè。 tā de zhàn lüè yǔ xíng dòng shǐ zhōng rèn píng bù duàn biàn huàn de quán lì zhèng zhì suǒ zǎi gē。 quē fá yī gè bèi zhēn zhèng kàn zuò zhōng lì de hé néng gòu zài wèi jīng 'ān quán lǐ shì huì shì xiān shòu quán qíng kuàng xià cǎi qǔ xíng dòng de guó jì zhōng jiè， zhè yī zhí shì zhēng duān chǔlǐ tǐ xì zhōng zuì míng xiǎn de kòngbái。
lěng zhàn jié shù yǐ lái， duì hé píng yǔ zhàn zhēng de chǔlǐ yī zhí shì jí xīng de。 zài zuì hǎo qíng kuàng xià， pì rú zài bā 'ěr gān dì qū， wǔ zhuāng chōng tū bèi wài bù wǔ zhuāng gān yù zhì zhǐ， dí duì xíng dòng jié shù shí de xiàn zhuàng yóu dì sān fāng de jūn duì lái wéi chí。 wǔ zhuāng chōng tū wèi lái kòng zhì de yī gè tōng yòng mó xíng néng fǒu cóng zhè zhǒng gān yù zhōng chǎn shēng hái bù qīng chǔ。
21 shì jì zhōng zhàn zhēng yǔ hé píng zhī jiān de píng héng jiāng bù huì qǔ jué yú zhì dìng bǐ jiào yòu xiào de tán pàn hé jiě jué jī zhì， ér shì yào kàn nèi bù wěn dìng hé jūn shì chōng tū de bì miǎn qíng kuàng rú hé。 chú liǎo shǎo shù lì wài， xiàn yòu de guó jiā zhī jiān de、 guò qù dǎo zhì liǎo wǔ zhuāng chōng tū de duì kàng yǔ mó cā jīn tiān zào chéng zhè zhǒng jú miàn de kě néng xìng jiǎn xiǎo liǎo。 lì rú xiàn zài de guó jì biān jiè wèn tí shàng de zhèng fǔ jiān rán méi zhī jí de chōng tū xiāng duì lái shuō hěn shǎo。 lìng yī fāng miàn， nèi bù chōng tū hěn róng yì yǎn biàn chéng bào lì xìng de： zhàn zhēng de zhù yào wēi xiǎn cún zài yú wài guó huò zhě wài bù jūn shì shì lì duì chōng tū de juǎnrù。
yǔ pín kùn、 yán zhòng bù píng děng hé jīng jì bù wěn dìng de guó jiā xiāng bǐ， jīng jì zhēng zhēng rì shàng、 wěn dìng 'ér qiě shāng pǐn zài jū mín dāng zhōng bǐ jiào gōng píng dì fēn pèi de guó jiā， qí shè huì hé zhèng zhì jú shì dòng dàng de kě néng xìng jiào xiǎo。 rán 'ér， bì miǎn huò kòng zhì guó nèi wǔ zhuāng bào lì huó dòng de qíng kuàng gèng jiā zhí jiē dì qǔ jué yú guó jiā zhèng fǔ de shí lì hé zhèng jì， jí qí zài duō shù jū mín yǎn zhōng de hé fǎ dì wèi。 jīn tiān méi yòu rèn hé zhèng fǔ néng gòu duì fēi wǔ zhuāng mín zhòng de cún zài huò zhě 'ōu zhōu hěn duō dì fāng rén men suǒ cháng qī shú xī de gōng gòng zhì xù de chéng dù， rèn wéi lǐ suǒ dāng rán。 jīn tiān méi yòu rèn hé zhèng fǔ yòu tiáo jiàn wú shì huò zhě qīng chú diào guó nèi de wǔ zhuāng shǎo shù mín zú。
jìn guǎn rú cǐ， shì jiè yuè lái yuè fēn liè wéi néng gòu duì zì jǐ lǐng tǔ hé gōng mín jiā yǐ yòu xiào guǎn lǐ de guó jiā yǐ jí wéi shù yuè lái yuè duō de lǐng tǔ， qí biān jiè shì dé dào guān fāng chéng rèn de guó jì jiè xiàn， guó jiā de zhèng fǔ zé cóng xū ruò hé fǔ bài de dào dàng rán wú cún dedōu yòu。 zhè xiē dì qū suǒ yùn niàng de shì liúxiě de nèi bù dǒu zhēng hé guó jì chōng tū， pì rú wǒ men zài fēi zhōu zhōng bù suǒ jiàn dào。 rán 'ér zhè zhǒng dì qū méi yòu chí xù gǎi shàn de jí kè qián jǐng， rú guǒ dòng dàng bù dìng de guó jiā de zhōng yāng zhèng fǔ jìn yī bù bèi xuē ruò huò zhě shì jiè bǎn tú jìn yī bù bā 'ěr gān huà， zé wú yí huì jiā zhòng wǔ zhuāng chōng tū de wēi xiǎn。
yī xiàng cháng shì xìng de yù cè： 21 shì jì de zhàn zhēng bù dà kě néng xiàng 20 shì jì de nà yàng xuè xīng。 dàn zào chéng bù chéng bǐ lì de kǔ nán yǔ sǔn shī de wǔ zhuāng bào lì réng jiāng zài shì jiè hěn duō dì fāng wú chù bù zài hé fàn làn chéng zāi。 yī gè hé píng de shì jì de qián jǐng shì yáo yuǎn de。
Epic in scale, War and Peace delineates in graphic detail events leading up to Napoleon's invasion of Russia, and the impact of the Napoleonic era on Tsarist society, as seen through the eyes of five Russian aristocratic families.
Portions of an earlier version having been serialized in the magazine The Russian Messenger between 1865 and 1867, the novel was first published in its entirety in 1869. Newsweek in 2009 ranked it top of its list of Top 100 Books.
Tolstoy himself, somewhat enigmatically, said of War and Peace that it was "not a novel, even less is it a poem, and still less an historical chronicle."
War and Peace is famously long for a novel (though not the longest by any means). It is subdivided into four books or volumes, each with subparts containing many chapters.
Tolstoy got the title, and some of his themes, from an 1861 work of Proudhon: La Guerre et la Paix. Tolstoy had served in the Crimean War and written a series of short stories and novellas featuring scenes of war. He began writing War and Peace in the year that he finally married and settled down at his country estate. During the writing of the second half of the book, after the first half had already been written under the name "1805", he read widely, acknowledging Schopenhauer as one of his main inspirations, although he developed his own views of history and the role of the individual within it.
The novel can be generally classified as historical fiction. It contains elements present in many types of popular 18th and 19th century literature, especially the romance novel. War and Peace attains its literary status by transcending genres. Tolstoy was instrumental in bringing a new kind of consciousness to the novel. His narrative structure is noted for its "god-like" ability to hover over and within events, but also swiftly and seamlessly to take a particular character's point of view. His use of visual detail is often cinematic in its scope, using the literary equivalents of panning, wide shots and close-ups, to give dramatic interest to battles and ballrooms alike. These devices, while not exclusive to Tolstoy, are part of the new novel that is arising in the mid-19th century and of which Tolstoy proves himself a master.
Realism
Tolstoy incorporated extensive historical research, and he was influenced by many other novels as well. Himself a veteran of the Crimean War, Tolstoy was quite critical of standard history, especially the standards of military history, in War and Peace. Tolstoy read all the standard histories available in Russian and French about the Napoleonic Wars and combined more traditional historical writing with the novel form - he explains at the start of the novel's third volume his views on how history ought to be written. His aim was to blur the line between fiction and history, in order to get closer to the truth, as he states in Volume II.
The novel is set 60 years earlier than the time at which Tolstoy wrote it, "in the days of our grandfathers", as he puts it. He had spoken with people who had lived through the war of 1812 (In Russia), so the book is also, in part, accurate ethnography fictionalized. He read letters, journals, autobiographical and biographical materials pertaining to Napoleon and the dozens of other historical characters in the novel. There are approximately 160 real persons named or referred to in War and Peace.
Reception
The first draft of War and Peace was completed in 1863. In 1865, the periodical Russkiy Vestnik published the first part of this early version under the title 1805 and the following year published more of the same early version. Tolstoy was increasingly dissatisfied with this version, although he allowed several parts of it to be published (with a different ending) in 1867 still under the title "1805" He heavily rewrote the entire novel between 1866 and 1869. Tolstoy's wife Sophia Tolstoy handwrote as many as 8 or 9 separate complete manuscripts before Tolstoy considered it again ready for publication. The version that was published in Russkiy Vestnik had a very different ending than the version eventually published under the title War and Peace in 1869.
The completed novel was then called Voyna i mir (new style orthography; in English War and Peace).
Tolstoy did not destroy the 1805 manuscript (sometimes referred to as "the original War and Peace"), which was re-edited and annotated in Russia in 1983 and since has been translated separately from the "known" version, to English, German, French, Spanish, Dutch, Swedish, Finnish and Korean. The fact that so many extant versions of War and Peace survive make it one of the best revelations into the mental processes of a great novelist.
Russians who had read the serialized version, were anxious to acquire the complete first edition, which included epilogues, and it sold out almost immediately. The novel was translated almost immediately after publication into many other languages.
Isaac Babel said, after reading War and Peace, "If the world could write by itself, it would write like Tolstoy." Tolstoy "gives us a unique combination of the 'naive objectivity' of the oral narrator with the interest in detail characteristic of realism. This is the reason for our trust in his presentation."
Language
Although Tolstoy wrote most of the book, including all the narration, in Russian, significant portions of dialogue (including its opening paragraph) are written in French and characters often switch between the languages. This reflected 19th century reality since Russian aristocracy in the early nineteenth century were conversant in French, which was often considered more refined than Russian—many were much less competent in Russian. An example in the novel is Julie Karagina, Princess Marya's friend, who has to take Russian lessons in order to master her native language.
It has been suggested that it is a deliberate strategy of Tolstoy to use French to portray artifice and insincerity, as the language of the theater and deceit while Russian emerges as a language of sincerity, honesty and seriousness. When Pierre proposes to Helene he speaks to her in French—Je vous aime—and as the marriage emerges as a sham he blames those words.
As the book progresses, and the wars with the French intensify, culminating in the capture and eventual burning of Moscow, the use of French diminishes. The progressive elimination of French from the text is a means of demonstrating that Russia has freed itself from foreign cultural domination. It is also, at the level of plot development, a way of showing that a once-admired and friendly nation, France, has turned into an enemy. By midway through the book, several of the Russian aristocracy, whose command of French is far better than their command of Russian, are anxious to find Russian tutors for themselves.
English translations
War and Peace has been translated into English on several occasions, starting by Clara Bell working from a French translation. The translators Constance Garnett and Louise and Aylmer Maude knew Tolstoy personally. Translations have to deal with Tolstoy’s often peculiar syntax and his fondness of repetitions. About 2% of War and Peace is in French; Tolstoy removed the French in a revised 1873 edition, only to restore it later again. Most translators follow Garnett retaining some French, Briggs uses no French, while Pevear-Volokhonsky retain the French fully. (For a list of translations see below)
Background and historical context
In 1812 by the Russian artist Illarion Pryanishnikov
The novel begins in the year 1805 and leads up to the war of 1812[citation needed]. The era of Catherine the Great is still fresh in the minds of older people. It was Catherine who ordered the Russian court to change to speaking French, a custom that was stronger in Petersburg than in Moscow.[citation needed] Catherine's son and successor, Paul I, is the father of the current Czar, Alexander I. Alexander I came to the throne in 1801 at the age of 24. His mother, Marya Feodorovna, is the most powerful woman in the court.
The novel tells the story of five aristocratic families — the Bezukhovs, the Bolkonskys, the Rostovs, the Kuragins and the Drubetskoys—and the entanglements of their personal lives with the history of 1805–1813, principally Napoleon's invasion of Russia in 1812. The Bezukhovs, while very rich, are a fragmented family as the old Count, Kirill Vladimirovich, has fathered dozens of illegitimate sons. The Bolkonskys are an old established and wealthy family based at Bald Hills. Old Prince Bolkonsky, Nikolai Andreevich, served as a general under Catherine the Great, in earlier wars. The Moscow Rostovs have many estates, but never enough cash. They are a closely knit, loving family who live for the moment regardless of their financial situation. The Kuragin family has three children, who are all of questionable character. The Drubetskoy family is of impoverished nobility, and consists of an elderly mother and her only son, Boris, whom she wishes to push up the career ladder.
Tolstoy spent years researching and rewriting the book. He worked from primary source materials (interviews and other documents), as well as from history books, philosophy texts and other historical novels. Tolstoy also used a great deal of his own experience in the Crimean War to bring vivid detail and first-hand accounts of how the Russian army was structured.
The standard Russian text of 'War and Peace' is divided into four books (fifteen parts) and two epilogues – one mainly narrative, the other thematic. While roughly the first half of the novel is concerned strictly with the fictional characters, the later parts, as well as one of the work's two epilogues, increasingly consist of essays about the nature of war, power, history, and historiography. Tolstoy interspersed these essays into the story in a way that defies previous fictional convention. Certain abridged versions remove these essays entirely, while others, published even during Tolstoy's life, simply moved these essays into an appendix.
Plot summary
War and Peace has a large cast of characters, some historically real (like Napoleon and Alexander I), the majority of whom are introduced in the first book. The scope of the novel is vast, but the focus is primarily on five aristocratic families and their experiences in life. The interactions of these characters are set in the era leading up to, around and following the French invasion of Russia during the Napoleonic wars.
Book/Volume One
The novel begins in Saint Petersburg, at a soirée given in July 1805 by Anna Pavlovna Scherer — the maid of honour and confidante to the queen mother Maria Feodorovna. Many of the main players and aristocratic families of the novel are introduced as they enter Anna Pavlovna's salon. Pierre (Pyotr Kirilovich) Bezukhov is the illegitimate son of a wealthy count, an elderly man who is dying after a series of strokes. He is about to become embroiled in a struggle for his inheritance. Educated abroad after his mother's death and at his father's expense, Pierre is essentially kindhearted, but socially awkward owing in part to his open, benevolent nature, and finds it difficult to integrate into Petersburg society. He is his father's favorite of all the old count’s illegitimate children, and this is known to everyone at Anna Pavlovna's.
Pierre's friend, the intelligent and sardonic Prince Andrei Nikolayevich Bolkonsky, husband of the charming society favourite Lise, also attends the soireé. Finding Petersburg society unctuous and disillusioned with married life after discovering his wife is empty and superficial, Prince Andrei makes the fateful choice to be an aide-de-camp to Prince Mikhail Ilarionovich Kutuzov in the coming war against Napoleon.
The plot moves to Moscow, Russia's ancient city and former capital, contrasting its provincial, more Russian ways to the highly mannered society of Petersburg. The Rostov family are introduced. Count Ilya Andreyevich Rostov has four adolescent children. Thirteen-year-old Natasha (Natalia Ilyinichna) believes herself in love with Boris Drubetskoy, a disciplined young man who is about to join the army as an officer. Twenty-year-old Nikolai Ilyich pledges his teenage love to Sonya (Sofia Alexandrovna), his fifteen-year-old cousin, an orphan who has been brought up by the Rostovs. The eldest child of the Rostov family, Vera Ilyinichna, is cold and somewhat haughty but has a good prospective marriage in a Russian-German officer, Adolf Karlovich Berg. Petya (Pyotr Ilyich) is nine and the youngest of the Rostov family; like his brother, he is impetuous and eager to join the army when of age. The heads of the family, Count Ilya Rostov and Countess Natalya Rostova, are an affectionate couple but forever worried about their disordered finances.
At Bald Hills, the Bolkonskys' country estate, Prince Andrei leaves his terrified, pregnant wife Lise with his eccentric father Prince Nikolai Andreyevich Bolkonsky and his devoutly religious sister Maria Nikolayevna Bolkonskaya, and departs for the war.
The second part opens with descriptions of the impending Russian-French war preparations. At the Schöngrabern engagement, Nikolai Rostov, who is now conscripted as ensign in a squadron of hussars, has his first taste of battle. He meets Prince Andrei, whom he insults in a fit of impetuousness. Even more than most young soldiers, he is deeply attracted by Tsar Alexander's charisma. Nikolai gambles and socializes with his officer, Vasily Dmitrich Denisov, and befriends the ruthless and perhaps psychopathic Fyodor Ivanovich Dolokhov.
Book/Volume Two
Book Two begins with Nikolai Rostov briefly returning home to Moscow on home leave in early 1806. Nikolai finds the Rostov family facing financial ruin due to poor estate management. He spends an eventful winter at home, accompanied by his friend Denisov, his officer from the Pavlograd Regiment in which he serves. Natasha has blossomed into a beautiful young girl. Denisov falls in love with her, proposes marriage but is rejected. Although his mother pleads with Nikolai to find himself a good financial prospect in marriage, Nikolai refuses to accede to his mother's request. He promises to marry his childhood sweetheart, the dowry-less Sonya.
Pierre Bezukhov, upon finally receiving his massive inheritance, is suddenly transformed from a bumbling young man into the richest and most eligible bachelor in the Russian Empire. Despite rationally knowing that it is wrong, he proposes marriage with Prince Kuragin's beautiful and immoral daughter Hélène (Elena Vasilyevna Kuragina), to whom he is sexually attracted. Hélène, who is rumoured to be involved in an incestuous affair with her brother, the equally charming and immoral Anatol, tells Pierre that she will never have children with him. Hélène has an affair with Dolokhov, who mocks Pierre in public. Pierre loses his temper and challenges Dolokhov, a seasoned dueller and a ruthless killer, to a duel. Unexpectedly, Pierre wounds Dolokhov. Hélène denies her affair, but Pierre is convinced of her guilt and, after almost being violent to her, leaves her. In his moral and spiritual confusion, he joins the Freemasons, and becomes embroiled in Masonic internal politics. Much of Book Two concerns his struggles with his passions and his spiritual conflicts to be a better man. Now a rich aristocrat, he abandons his former carefree behavior and enters upon a philosophical quest particular to Tolstoy: how should one live a moral life in an ethically imperfect world? The question continually baffles and confuses Pierre. He attempts to liberate his serfs, but ultimately achieves nothing of note.
Pierre is vividly contrasted with the intelligent and ambitious Prince Andrei Bolkonsky. At the Battle of Austerlitz, Andrei is inspired by a vision of glory to lead a charge of a straggling army. He suffers a near fatal artillery wound. In the face of death, Andrei realizes all his former ambitions are pointless and his former hero Napoleon (who rescues him in a horseback excursion to the battlefield) is apparently as vain as himself.
Prince Andrei recovers from his injuries in a military hospital and returns home, only to find his wife Lise dying in childbirth. He is stricken by his guilty conscience for not treating Lise better when she was alive and is haunted by the pitiful expression on his dead wife's face. His child, Nikolenka, survives.
Burdened with nihilistic disillusionment, Prince Andrei does not return to the army but chooses to remain on his estate, working on a project that would codify military behavior and help solve some of the problems of Russian disorganization that he believes were responsible for the loss of life in battle on the Russian side. Pierre comes to visit him and brings new questions: where is God in this amoral world? Pierre is interested in panentheism and the possibility of an afterlife.
Pierre's estranged wife, Hélène, begs him to take her back, and against his better judgment he does. Despite her vapid shallowness, Hélène establishes herself as an influential hostess in Petersburg society.
Prince Andrei feels impelled to take his newly written military notions to Petersburg, naively expecting to influence either the Emperor himself or those close to him. Young Natasha, also in Petersburg, is caught up in the excitement of dressing for her first grand ball, where she meets Prince Andrei and briefly reinvigorates him with her vivacious charm. Andrei believes he has found purpose in life again and, after paying the Rostovs several visits, proposes marriage to Natasha. However, old Prince Bolkonsky, Andrei's father, dislikes the Rostovs, opposes the marriage, and insists on a year's delay. Prince Andrei leaves to recuperate from his wounds abroad, leaving Natasha initially distraught. She soon recovers her spirits, however, and Count Rostov takes her and Sonya to spend some time with a friend in Moscow.
Natasha visits the Moscow opera, where she meets Hélène and her brother Anatol. Anatol has since married a Polish woman whom he has abandoned in Poland. He is very attracted to Natasha and is determined to seduce her. Hélène and Anatol conspire together to accomplish this plan. Anatol kisses Natasha and writes her passionate letters, eventually establishing plans to elope. Natasha is convinced that she loves Anatol and writes to Princess Maria, Andrei's sister, breaking off her engagement. At the last moment, Sonya discovers her plans to elope and foils them. Pierre is initially shocked and horrified at Natasha's behavior, but comes to realize he has fallen in love with her himself. During the time when the Great Comet of 1811–2 streaks the sky, life appears to begin anew for Pierre.
Prince Andrei accepts coldly Natasha's breaking of the engagement. He tells Pierre that his pride will not allow him to renew his proposal of marriage. Shamed by her near-seduction and at the realisation that Andrei will not forgive her, Natasha makes a suicide attempt and is left seriously ill.
Book/Volume Three
With the help of her family, especially Sonya, and the stirrings of religious faith, Natasha manages to persevere in Moscow through this dark period. Meanwhile, the whole of Russia is affected by the coming showdown between Napoleon's troops and the Russian army. Pierre convinces himself through gematria that Napoleon is the Antichrist of the Book of Revelation. Old prince Bolkonsky dies of a stroke while trying to protect his estate from French marauders. No organized help from any Russian army seems available to the Bolkonskys, but Nikolai Rostov turns up at their estate in time to help put down an incipient peasant revolt. He finds himself attracted to Princess Maria, but remembers his promise to Sonya.
Back in Moscow, the war-obsessed Petya manages to snatch a loose piece of the Tsar's biscuit outside the Cathedral of the Assumption; he finally convinces his parents to allow him to enlist.
Napoleon himself is a main character in this section of the novel and is presented in vivid detail, as both thinker and would-be strategist. His toilette and his customary attitudes and traits of mind are depicted in detail. Also described are the well-organized force of over 400,000 French Army (only 140,000 of them actually French-speaking) which marches quickly through the Russian countryside in the late summer and reaches the outskirts of the city of Smolensk. Pierre decides to leave Moscow and go to watch the Battle of Borodino from a vantage point next to a Russian artillery crew. After watching for a time, he begins to join in carrying ammunition. In the midst of the turmoil he experiences firsthand the death and destruction of war. The battle becomes a hideous slaughter for both armies and ends in a standoff. The Russians, however, have won a moral victory by standing up to Napoleon's reputedly invincible army. For strategic reasons and having suffered grievous losses, the Russian army withdraws the next day, allowing Napoleon to march on to Moscow. Among the casualties are Anatol Kuragin and Prince Andrei. Anatol loses a leg, and Andrei suffers a cannon wound in the abdomen. Both are reported dead, but their families are in such disarray that no one can be notified.
Book/Volume Four
The Rostovs have waited until the last minute to abandon Moscow, even after it is clear that Kutuzov has retreated past Moscow and Muscovites are being given contradictory, often propagandistic, instructions on how to either flee or fight. Count Rostopchin is publishing posters, rousing the citizens to put their faith in religious icons, while at the same time urging them to fight with pitchforks if necessary. Before fleeing himself, he gives orders to burn the city. The Rostovs have a difficult time deciding what to take with them, and in the end load their carts with the wounded and dying from the Battle of Borodino. Unknown to Natasha, Prince Andrei is amongst the wounded.
When Napoleon's Grand Army finally occupies an abandoned and burning Moscow, Pierre takes off on a quixotic mission to assassinate Napoleon. He becomes an anonymous man in all the chaos, shedding his responsibilities by wearing peasant clothes and shunning his duties and lifestyle. The only people he sees while in this garb are Natasha and some of her family, as they depart Moscow. Natasha recognizes and smiles at him, and he in turn realizes the full scope of his love for her.
Pierre saves the life of a French officer who fought at Borodino, yet is taken prisoner by the retreating French during his attempted assassination of Napoleon, after saving a woman from being raped by soldiers in the French Army. He becomes friends with a fellow prisoner, Platon Karataev, a peasant with a saintly demeanor, who is incapable of malice. In Karataev, Pierre finally finds what he has been seeking: an honest person of integrity (unlike the aristocrats of Petersburg society) who is utterly without pretense. Pierre discovers meaning in life simply by living and interacting with him. After witnessing French soldiers sacking Moscow and shooting Russian civilians arbitrarily, Pierre is forced to march with the Grand Army during its disastrous retreat from Moscow in the harsh Russian winter. After months of trial and tribulation—during which the fever-plagued Karataev is shot by the French—Pierre is finally freed by a Russian raiding party, after a small skirmish with the French that sees the young Petya Rostov killed in action.
Meanwhile, Andrei, wounded during Napoleon's invasion, has been taken in as a casualty and cared for by the fleeing Rostovs. He is reunited with Natasha and his sister Maria before the end of the war. Having lost all will to live, he forgives Natasha in a last act before dying.
As the novel draws to a close, Pierre's wife Hélène dies in a botched operation (implied to be an abortion). Pierre is reunited with Natasha, while the victorious Russians rebuild Moscow. Natasha speaks of Prince Andrei's death and Pierre of Karataev's. Both are aware of a growing bond between them in their bereavement. With the help of Princess Maria, Pierre finds love at last and, revealing his love after being released by his former wife's death, marries Natasha.
Epilogues
The first epilogue begins with the wedding of Pierre and Natasha in 1813. It is the last happy event for the Rostov family, which is undergoing a transition. Count Rostov dies soon after, leaving his eldest son Nikolai to take charge of the debt-ridden estate.
Nikolai finds himself with the task of maintaining the family on the verge of bankruptcy. His abhorrence at the idea of marrying for wealth almost gets in his way, but finally in spite of rather than according to his mother's wishes, he marries the now-rich Maria Bolkonskaya and in so doing also saves his family from financial ruin.
Nikolai and Maria then move to Bald Hills with his mother and Sonya, whom he supports for the rest of their life. Buoyed by his wife's fortune, Nikolai pays off all his family's debts. They also raise Prince Andrei's orphaned son, Nikolai Andreyevich (Nikolenka) Bolkonsky.
As in all good marriages, there are misunderstandings, but the couples–Pierre and Natasha, Nikolai and Maria–remain devoted to their spouses. Pierre and Natasha visit Bald Hills in 1820, much to the jubilation of everyone concerned. There is a hint in the closing chapters that the idealistic, boyish Nikolenka and Pierre would both become part of the Decembrist Uprising. The first epilogue concludes with Nikolenka promising he would do something with which even his late father "would be satisfied..." (presumably as a revolutionary in the Decembrist revolt).
The second epilogue contains Tolstoy's critique of all existing forms of mainstream history. He attempts to show that there is a great force behind history, which he first terms divine. He offers the entire book as evidence of this force, and critiques his own work. God, therefore, becomes the word Tolstoy uses to refer to all the forces that produce history, taken together and operating behind the scenes.
Principal characters in War and Peace
Main article: List of characters in War and Peace
War and Peace character tree
* Count Pyotr Kirillovich (Pierre) Bezukhov — The central character and often a voice for Tolstoy's own beliefs or struggles. He is one of several illegitimate children of Count Bezukhov; he is his father's favorite offspring.
* Prince Andrei Nikolayevich Bolkonsky — A strong but cynical, thoughtful and philosophical aide-de-camp in the Napoleonic Wars.
* Princess Maria Nikolayevna Bolkonskaya — A pious woman whose eccentric father attempted to give her a good education. The caring, nurturing nature of her large eyes in her otherwise thin and plain face are frequently mentioned.
* Count Ilya Andreyevich Rostov — The pater-familias of the Rostov family; terrible with finances, generous to a fault.
* Countess Natalya Rostova — Wife of Count Ilya Rostov, mother of the four Rostov children.
* Countess Natalia Ilyinichna (Natasha) Rostova — Introduced as a beautiful and romantic young girl, she evolves through trials and suffering and eventually finds happiness. She is an accomplished singer and dancer.[citation needed]
* Count Nikolai Ilyich Rostov — A hussar, the beloved eldest son of the Rostov family.
* Sofia Alexandrovna (Sonya) Rostova — Orphaned cousin of Vera, Nikolai, Natasha and Petya Rostov.
* Countess Vera Ilyinichna Rostova — Eldest of the Rostov children, she marries the German career soldier, Berg.
* Pyotr Ilyich (Petya) Rostov — Youngest of the Rostov children.
* Prince Vasily Sergeyevich Kuragin — A ruthless man who is determined to marry his children well, despite having doubts about the character of some of them.
* Princess Elena Vasilyevna (Hélène) Kuragina — A beautiful and sexually alluring woman who has many affairs, including (it is rumoured) with her brother Anatole
* Prince Anatol Vasilyevich Kuragin — Hélène's brother and a very handsome, ruthless and amoral pleasure seeker who is secretly married yet tries to elope with Natasha Rostova.
* Prince Ipolit Vasilyevich — The eldest and perhaps most dim-witted of the Kuragin children.
* Prince Boris Drubetskoy — A poor but aristocratic young man who is determined to make his career, even at the expense of his friends and benefactors, marries a rich and ugly woman to help him climb the social ladder.
* Princess Anna Mikhailovna Drubetskoya — The mother of Boris.
* Fyodor Ivanovich Dolokhov — A cold, almost psychopathic officer, he ruins Nikolai Rostov after his proposal to Sonya is refused, he only shows love to his doting mother.
* Adolf Karlovich Berg — A young Russian officer, who desires to be just like everyone else.
* Anna Pavlovna Sherer — Also known as Annette, she is the hostess of the salon that is the site of much of the novel's action in Petersburg.
* Maria Dmitryevna Akhrosimova — An older Moscow society lady, she is an elegant dancer and trend-setter, despite her age and size.
* Amalia Evgenyevna Bourienne — A French woman who lives with the Bolkonskys, primarily as Princess Marya's companion.
* Vasily Dmitrich Denisov — Nikolai Rostov's friend and brother officer, who proposes to Natasha.
* Platon Krataev - The archetypal good Russian peasant, whom Pierre meets in the prisoner of war camp.
* Napoleon I of France — the Great Man, whose fate is detailed in the book.
* General Mikhail Ilarionovich Kutuzov — Russian commander-in-chief throughout the book. His diligence and modesty eventually save Russia from Napoleon.[citation needed]
* Osip Bazdeyev — the Freemason who interests Pierre in his mysterious group, starting a lengthy subplot.[citation needed]
* Tsar Alexander I of Russia — He signed a peace treaty with Napoleon in 1807 and then went to war with him.
Many of Tolstoy's characters in War and Peace were based on real-life people known to Tolstoy himself. His grandparents and their friends were the models for many of the main characters, his great-grandparents would have been of the generation of Prince Vasilly or Count Ilya Rostov. Some of the characters, obviously, are actual historic figures.
Adaptations
Film
The first Russian film adaptation of War and Peace was the 1915 film Война и мир (Voyna i mir), directed by Vladimir Gardin and starring Gardin and the Russian ballerina Vera Karalli. It was followed in 1968 by the critically acclaimed four-part film version War and Peace, by the Soviet director Sergei Bondarchuk, released individually in 1965-1967, and as a re-edited whole in 1968. This starred Lyudmila Savelyeva (as Natasha Rostova) and Vyacheslav Tikhonov (as Andrei Bolkonsky). Bondarchuk himself played the character of Pierre Bezukhov. The film was almost seven hours long; it involved thousands of actors, 120 000 extras, and it took seven years to finish the shooting, as a result of which the actors age changed dramatically from scene to scene. It won an Oscar for Best Foreign Language Film for its authenticity and massive scale.
The novel has been adapted twice for cinema outside of Russia. The first of these was produced by F. Kamei in Japan (1947). The second was the 208-minute long 1956 War and Peace, directed by the American King Vidor. This starred Audrey Hepburn (Natasha), Henry Fonda (Pierre) and Mel Ferrer (Andrei). Audrey Hepburn was nominated for a BAFTA Award for best British actress and for a Golden Globe Award for best actress in a drama production.
Opera
* Initiated by a proposal of the German director Erwin Piscator in 1938, the Russian composer Sergei Prokofiev composed his opera War and Peace (Op. 91, libretto by Mira Mendelson) based on this epic novel during the 1940s. The complete musical work premiered in Leningrad in 1955. It was the first opera to be given a public performance at the Sydney Opera House (1973).
Music
* Composition by Nino Rota
* Referring to album notes, the first track "The Gates of Delirium", from the album Relayer, by the progressive rock group Yes, is said to be based loosely on the novel.
Theatre
The first successful stage adaptations of War and Peace were produced by Alfred Neumann and Erwin Piscator (1942, revised 1955, published by Macgibbon & Kee in London 1963, and staged in 16 countries since) and R. Lucas (1943).
A stage adaptation by Helen Edmundson, first produced in 1996 at the Royal National Theatre, was published that year by Nick Hern Books, London. Edmundson added to and amended the play for a 2008 production as two 3-hour parts by Shared Experience, directed by Nancy Meckler and Polly Teale. This was first put on at the Nottingham Playhouse, then toured in the UK to Liverpool, Darlington, Bath, Warwick, Oxford, Truro, London (the Hampstead Theatre) and Cheltenham.
On the 15th-18th July, The Birmingham Theatre School performed this seven-hour epic play at The Crescent Theatre in Brindleyplace with great success. Birmingham Theatre School is the only drama school in the world to perform the new adaptation of War and Peace. Directed by Chris Rozanski and Assistant to Director was Royal National Theatre performer Anthony Mark Barrow with Vocals arranged by Dr Ria Keen and choreography by Colin Lang.
Radio and television
* In December 1970, Pacifica Radio station WBAI broadcast a reading of the entire novel (the 1968 Dunnigan translation) read by over 140 celebrities and ordinary people.
* War and Peace (1972): The BBC (British Broadcasting Corporation) made a television serial based on the novel, broadcast in 1972-73. Anthony Hopkins played the lead role of Pierre. Other lead characters were played by Rupert Davies, Faith Brook, Morag Hood, Alan Dobie, Angela Down and Sylvester Morand. This version faithfully included many of Tolstoy's minor characters, including Platon Karataev (Harry Locke). ,
* A dramatized full-cast adaptation in ten parts was written by Marcy Kahan and Mike Walker in 1997. The production won the 1998 Talkie award for Best Drama and was around 9.5 hours in length. It was directed by Janet Whitaker and featured Simon Russell Beale, Gerard Murphy, Richard Johnson, and others.
* La Guerre et la paix (TV) (2000) by François Roussillon. Robert Brubaker played the lead role of Pierre.
* War and Peace (2007): produced by the Italian Lux Vide, a TV mini-series in Russian & English co-produced in Russia, France, Germany, Poland and Italy. Directed by Robert Dornhelm, with screenplay written by Lorenzo Favella, Enrico Medioli and Gavin Scott. It features an international cast with Alexander Beyer playing the lead role of Pierre assisted by Malcolm McDowell, Clémence Poésy, Alessio Boni, Pilar Abella, J. Kimo Arbas, Ken Duken, Juozapas Bagdonas and Toni Bertorelli.
Full translations into English
* Clara Bell (from a French version) 1885-86
* Nathan Haskell Dole 1898
* Leo Wiener 1904
* Constance Garnett (1904)
* Louise and Aylmer Maude (1922-3)
* Rosemary Edmonds (1957, revised 1978)
* Ann Dunnigan (1968)
* Anthony Briggs (2005)
* Andrew Bromfield (2007), translation of the first completed draft, approx. 400 pages shorter than other English translations.
* Richard Pevear and Larissa Volokhonsky (2007)
《 luàn shì jiā rén》（ GONEWITHTHEWIND） shì hǎo lāi wù yǐng shǐ shàng zuì zhí dé jiāo 'ào de yī bù kuàng shì jīng diǎn wén xué diàn yǐng， yǐngpiān fàng yìng shí jiān cháng dá 4 xiǎo shí， guān zhě rú cháo。 qí mèi lì guàn chuān zhěng gè 20 shì jì， yòu hǎo lāi wù“ dì yī jù piàn” zhī chēng。 yǐngpiān dāng nián hào zī 400 duō wàn měi yuán， lì shí sān nián bàn wán chéng， qí jiān shù cì gēnghuàn dǎo yǎn， yín mù shàng chū xiàn liǎo 60 duō wèi zhù yào yǎn yuán hé 9000 duō míng pèijué yǎn yuán。 zài 1939 nián de dì 12 jiè 'ào sī kǎ jiǎng zhōng yī jǔ duó dé bā xiàng jīn xiàng jiǎng， hōng dòng měi guó yǐng tán。 zhè bù hào zī jù dà， chǎng jǐng háo huá， zhàn zhēng chǎng miàn hóng dà bī zhēn de lì shǐ wén xué tí cái yǐngpiān， yǐ tā lìng rén chēng dào de yì shù chéng jiù chéng wéi měi guó diàn yǐng shǐ shàng yī bù jīng diǎn zuò pǐn， lìng rén bǎi kàn bù yàn。
1861 nián nán běi zhàn zhēng bào fā de qián xī， tǎ lā zhuāng yuán de qiān jīn xiǎo jiě hǎo sī jiā 'ài shàng liǎo lìng yī zhuāng yuán zhù de 'ér zǐ 'ài xī lì， dàn 'ài xī lì què xuǎn zé liǎo hǎo sī jiā de biǎo mèi héng héng wēn róu shàn liáng de hán mèi lán wéi zhōng shēn bàn lǚ。 hǎo sī jiā chū yú dù hèn， qiǎng xiān jià gěi liǎo hán mèi lán de dì dì chá 'ěr sī。 bù jiǔ， měi guó nán běi zhàn zhēng bào fā liǎo。 ài xī lì hé chá 'ěr sī zuò wéi zhēng bīng shàng liǎo qián xiàn。 chá 'ěr sī hěn kuài jiù zài zhàn zhēng zhōng sǐ qù liǎo。 hǎo sī jiā chéng liǎo guǎ fù， tā nèi xīn què yī zhí duì 'ài xī lì niàn niàn bù wàng。
yī tiān， zài yī cì jǔ xíng yì mài de wǔ huì shàng， hǎo sī jiā hé fēng dù piān piān de shāng rén bái ruì dé xiāng shí。 bái ruì dé kāi shǐ zhuī qiú hǎo sī jiā， dàn zāo dào tā de jù jué。 hǎo sī jiā yī xīn zhǐ xiǎng zhe qù zhuī qiú 'ài xī lì， jiēguǒ yě zāo dào jù jué。
zài zhàn zhēng zhōng， měi guó nán fāng jūn zāo dào shī bài， yà tè lán dà chéng lǐ jǐ mǎn liǎo shāng bīng。 hǎo sī jiā hé biǎo mèi hán mèi lán zì yuàn jiā rù hù shì hángliè zhào gù shāng bīng。 mù dǔ liǎo zhàn luàn dài lái de cǎn zhuàng zhī hòu， rèn xìng de hǎo sī jiā chéng shú liǎo bù shǎo。 zhè shí， cóng qián xiàn chuán lái xiāo xī， běi fāng jūn kuài dǎ guò lái liǎo， bù shǎo rén jiā jīng huáng dì táo lí jiā yuán， kāi shǐ liǎo bù 'ān dìng de liú làng shēng huó。 zhèng zài cǐ shí， hán mèi lán bù qiǎo yào shēng hái zǐ liǎo， hǎo sī jiā zhǐ hǎo liú xià lái zhào gù tā。
zài běi fāng jūn dà jūn yā jìng zhī rì， hǎo sī jiā 'āi qiú bái ruì dé bāng máng hù sòng tā hé gāng shēng xià hái zǐ de hán mèi lán huí tǎ lā zhuāng yuán。 bái ruì dé gào sù hǎo sī jiā tā bù néng mù dǔ nán fāng jūn kuì bài 'ér bù qù zhù yī bì zhī lì， tā yào cān jiā nán fāng jūn zuò zhàn， tā liú xià yī bǎ shǒu qiāng bìng hé hǎo sī jiā yōng wěn gào bié。 hǎo sī jiā zhǐ hǎo dú zì jià shǐ mǎ chē huí dào tǎ lā zhuāng yuán， ér zhè shí jiā lǐ yǐ bèi běi fāng jūn shì bīng qiǎng xiān xǐ dòng yī kōng， mǔ qīn zài jīng xià zhōng sǐ qù。 xī rì měi hǎo de jiā yuán biàn chéng liǎo huāng liáng de qī xī dì， hǎo sī jiā miàn duì zhè yī qiē bēi cǎn shí， biǎo xiàn chū liǎo nǚ rénshào yòu de jiān yì， tā jué dìng chóngjiàn jiā yuán。
bù jiǔ， zhàn zhēng jié shù liǎo。 dàn shì shēng huó yǐ rán kùn kǔ。 běi fāng lái de tǒng zhì zhě yào zhuāng yuán zhù jiǎo nà zhòng shuì， hǎo sī jiā zài jué wàng zhōng qù yà tè lán dà chéng zhǎo bái ruì dé jiè qián， què dé zhī tā yǐ bèi guān jìn jiān yù。 guī lái de tú zhōng， hǎo sī jiā yù shàng liǎo běn lái yào yíng qǔ tā mèi mèi de bào fā hù fú lán kè， wèile yào zhòng zhèn pò chǎn de jiā yè， tā piàn qǔ fú lán kè hé zì jǐ jié liǎo hūn。
hǎo sī jiā zài fú lán kè jīng yíng de mù cái chǎng fēi fǎ gù yòng qiú fàn， bìng hé běi fāng lái de shāng rén dà zuò shēng yì。 cǐ shí， bái ruì dé yòng qián huì lù cóng 'ér huī fù liǎo zì yóu。 liǎng rén 'ǒu rán pèng miàn， zài cì zhǎn kāi 'ài hèn jiāo zhì de guān xì。
fú lán kè hé 'ài xī lì yīn jiā rù liǎo fǎn zhèng fǔ de mì mì zǔ zhì， zài yī cì jí huì shí zāo běi fāng jūn bāo wéi， fú lán kè zhòngdàn sǐ wáng， ài xī lì fù shāng táo wáng， zài bái ruì dé bāng zhù xià huí dào hán mèi lán shēn biān。 hǎo sī jiā zài cì chéng wéi guǎ fù。 cǐ shí， bái ruì dé qián lái xiàng tā qiú hūn， tā zhōng yú yǔ yī zhí 'ài tā de gǎo sī yùn jūn huǒ hé liáng shí zhì fù de bái ruì dé jié liǎo hūn。 hūn hòu， fū qī 'èr rén zhù zài yà tè lán dà de háo huá zhái dǐ zhōng。 yī nián hòu， tā men de nǚ 'ér bāng nī chū shēng， bái ruì dé bǎ quán bù gǎn qíng tóu zhù dào bāng nī shēn shàng。 hǎo sī jiā 'ǒu rán fān yuè 'ài xī lì de zhào piàn bèi bái ruì dé fā xiàn， zhōng yú dǎo zhì liǎo 'èr rén gǎn qíng de pò liè。 qí hòu， zài 'ài xī lì de shēng rì huì qián xī， hǎo sī jiā yǔ 'ài xī lì xiāng jiàn shí rè qíng de yōng bào yǐn qǐ bàng rén fēi yì， hán mèi lán suī rán bù xiāng xìn tā men zhī jiān yòu 'ài mèi guān xì， dàn bái ruì dé què xīn shēng huái yí。
dāng hǎo sī jiā gào sù bái ruì dé tā yǐ jīng zài cì huái yùn shí， bái ruì dé huái yí dì wèn nà shì shuí de hái zǐ， hǎo sī jiā zài xiū nù zhī xià yù dǎ bái ruì dé， què bù shèn gǔn xià lóu tī yǐn qǐ liú chǎn。 bái ruì dé gǎn dào nèi jiù， jué xīn tóng hǎo sī jiā yán guī yú hǎo， bù liào jiù zài tā liǎ tán huà shí， xiǎo nǚ 'ér bāng nī zài qí mǎ shí yì wài zhuì dì 'ér sǐ。 yǔ cǐ tóng shí bù xìng de shì yě zài lìng yī gè jiā tíng lǐ fā shēng， hán mèi lán zhōng yīn cāo láo guò dù wò bìng bù qǐ。 lín zhōng qián， tā bǎ zì jǐ de zhàng fū 'ài xī lì hé 'ér zǐ tuō fù gěi hǎo sī jiā， dàn yào qiú tā bǎo shǒu zhè gè mì mì， hǎo sī jiā bù gù yī qiē pū xiàng 'ài xī lì de huái zhōng， jǐn jǐn yōng bào zhù tā， zhàn zài yī bàng de bái ruì dé wú fǎ zài rěn shòu xià qù， zhǐ hǎo zhuǎn shēn lí qù。 miàn duì shāng xīn yù jué háo wú fǎn yìng de 'ài xī lì， hǎo sī jiā zhōng yú míng bái， tā 'ài de 'ài xī lì qí shí shì bù cún zài de， tā zhēn zhèng xū yào de shì bái ruì dé。
dāng hǎo sī jiā gǎn huí jiā lǐ gào sù bái ruì dé， tā shì zhēn zhèng 'ài tā de shí hòu， bái ruì dé yǐ bù zài xiāng xìn tā。 tā jué xīn lí kāi hǎo sī jiā， fǎn huí lǎo jiā qù xún zhǎo měi hǎo de shì wù， bèi yí qì de hǎo sī jiā zhàn zài nóng wù mí màn de yuàn zhōng， xiǎng qǐ liǎo fù qīn céng jīng duì tā shuō guò de yī jù huà：“ shì jiè shàng wéi yòu tǔ dì yǔ míng tiān tóng zài。” tā jué dìng shǒu zài tā de tǔ dì shàng chóngxīn chuàng zào xīn de shēng huó， tā qī pàn zhe měi hǎo de míng tiān de dào lái。
《 piāo》 - zhù yào yǎn yuán jiè shào
kè lā kè · gài bù 'ěr
kè lā kè · gài bù 'ěr kè lā kè · gài bù 'ěr
kè lā kè · gài bù 'ěr， 1901 nián chū shēng yú měi guó 'é hài 'é zhōu de nóng cūn xiǎo zhèn， mǔ qīn zài tā shí gè yuè dà shí biàn qù shì liǎo， fù qīn zài tā sān suì shí lìng qǔ tú shū guǎn zhí yuán zhēn nī wéi jì mǔ。 zhēn nī wú suǒ chū， shì kè lā kè． gài bó rú qīn shēng zǐ。 shí sì suì shí， fù qīn mài diào tián chǎn， dào 'ào kè lā hé mǎ zhōu qù dāng yóu jǐng gōng rén， kè lā kè bù yuàn yì suí fù qīn bān jiā， nǎi lí jiā chū zǒu， dào dāng dì de yī jiā jù yuàn dǎ gōng， cóng cǐ zhǎn kāi liǎo tā rì hòu de yǎn yì shēng yá。 jiù wài xíng 'ér lùn， kè lā kè． gài bó bìng bù suàn shì yīng jùn xiǎo shēng， zhù yào shì yòu yī duì tè dà hào de zhāo fēng 'ěr。 zài tā tóu shēn diàn yǐng jiè cān jiā shì jìng shí， céng xiān hòu bèi mǐ gāo méi gōng sī fù zǒng cái 'ài wén tài 'ěr bó gé qǔ xiào tā yòu yī shuāng biān fú chì bǎng yī yàng de dà 'ěr duǒ， léi háo píng gōng sī lǎo bǎn huò huá xiū sī gèng kè bó dì shuō tā de 'ěr duǒ xiàng yī liàng dǎ kāi liǎo liǎng shàn mén de jì chéng chē。 suī rán zhè xiē yǐng tán dà hēng bìng bù xīn shǎng kè lā kè． gài bó， dàn nǚ tóng bāo què 'ài tā 'ài dé yào sǐ。 shǒu xiān shì nián líng bǐ gài bó dà liǎng suì de nǚ yǎn yuán fǎ lán xī sī dù fú nà。 tā liǎ zài bō tè lán chéng dìng hūn hòu， dù fú nà jiù jī jí dì yùn yòng zì jǐ de guān xì wéi gài bó dǎ tiān xià， ān pái tā zài xīn xì zhōng yǎn chū juésè， yòu jiè shào tā rèn shí xì jù juàn zhōng yòu tóu yòu liǎn de rén wù。 gài bó yīn cǐ jié shí liǎo nián líng bǐ tā dà shí sì suì de zī shēn nǚ yǎn yuán yuē sè fēn dí lún， tā tóng shí yě shì jù tán zhù míng de yǎn jì zhǐ dǎo， mén shēng shèn duō。 gài bó zài dí lún nǚ shì de dà lì yǐn jiàn xià， yǎn chū jī huì zēng jiā liǎo bù shǎo。 tā zài tóu táo bào lǐ zhī xià， pāo qì liǎo wèi hūn qī， yú 1924 nián yǔ yuē sè fēn dí lún jié hūn。
cānyù zuò pǐn：
《 yú lè shì jiè xù jí》 (1976)、《 mǐ gāo méi gōng sī de xǐ jù diàn yǐng huí gù》 (1964)、《 bì gǎng yàn yù》 (1960)、《 tài píng yáng qián tǐng zhàn》 (1958)、《 jiào shī zhī liàn》 (1958)、《 jīn hàn yàn nú》 (1957) děng
fèi wén · lì
fèi wén · lì（ VivienLeigh)(1913 nián 11 yuè 5 rì－ 1967 nián 7 yuè 7 rì )。 yuán míng fèi wén · mǎ lì · hā tè lì（ VivienMaryHartley）， yīng guó diàn yǐng yǎn yuán。 tā chéng gōng dì shì yǎn《 luàn shì jiā rén》 de sī jiā lì · ào hā lā hé《 yù wàng hào jiē chē》 de bù lán qí · dù bō yǐ sī， liǎng dù huò dé 'ào sī kǎ zuì jiā nǚ zhùjué。 1999 nián， tā bèi měi guó diàn yǐng xué huì xuǎn wéi bǎi nián lái zuì wěi dà de nǚ yǎn yuán dì 16 míng。
fèi wén · lì fèi wén · lì
zhù yào zuò pǐn：
1965《 yú rén chuán》 1951《 yù wàng hào jiē chē》（ huò 'ào sī kǎ zuì jiā nǚ zhùjué jiǎng） 1946《 CaesarandCleopatra》 1941《 hàn mǐ dēng fū rén》 1940《 21Days》 1940《 hún duàn lán qiáo》 1939《 luàn shì jiā rén》 《 piāo》（ huò 'ào sī kǎ zuì jiā nǚ zhùjué jiǎng） 1938《 SidewalksofLondon》 1937《 StorminaTeacup》 1937《 DarkJourney》 1937《 FireOverEngland》
《 piāo》 - jīng diǎn piàn duàn
ruì dé lí kāi hǎo sī jiā hòu， ScarlettO’ Hara zuì hòu zuò zài lóu tī de tái jiē shàng shuō héng héng“ Afterall， tomorrowisanotherday。”
sī jiā zài huí dào bèi huǐ de jiā yuán hòu , zài shān tóu shàng shuō ----“ shàng dì wèiwǒ zuò zhèng , shàng dì wèiwǒ zuò zhèng , běi lǎo xiū xiǎng jiāng wǒ zhěng kuǎ . děng 'áo guò liǎo zhè yī guān , wǒ jué bù zài rěn jī 'ái’è , yě jué bù zài ràng wǒ de qīn rén rěn jī 'ái’è liǎo , nǎ pà ràng wǒ qù tōu , qù qiǎng , qù shā rén . qǐng shàng dì wèiwǒ zuò zhèng , wǒ wú lùn rú hé dōubù zài rěn jī 'ái’è liǎo !”
diǎn píng
yòu rén shuō zhè bù diàn yǐng zuì jīng diǎn de chǎng miàn shì ScarlettO’ Hara zài zhàn zhēng hòu huí dào bèi huǐ de jiā yuán， zài yuán zhōng shǒu wò hóng tǔ fā shì， wú lùn qù tōu qù qiǎng dōubù huì ràng jiā rén 'ái’è nà duàn， yīn wéi nà shí tā de yǎn shén hé biǎo qíng zhēn de tè bié zhèn hàn rén。 zhè yàng shuō wǒ yě bù fǎn duì， yīn wéi zhè shí zài shì yī bù tài jīng diǎn de piānzǐ， jīng diǎn de chǎng miàn tài duō， gè rén yòu gè rén de piān 'ài。 wǒ dǎo shì qíng yuàn xuǎn zé zhè gè： yǐ hòu， míng tiān jiù shì xīn de yī tiān liǎo。 shénme shì 'ài？ shénme shì hèn？ ài hé hèn kě yǐ xiàng liǎng tiáo yǒng bù xiāng jiāo de píng xíng xiàn， ài hé hèn yě kě néng zhǐ xū yào yī lǚ yáng guāng jiù kě yǐ xiāo róng。 zhēn xī yōng yòu de rén shì xìng fú de， yīn wéi wǒ men zǒng shì bìng bù què qiē zhī dào wǒ men xū yào de dào dǐ shì shénme。 tài duō de rén zhǐ yòu zài shī qù de shí hòu， cái zhī dào qù zhēn xī。 tài gē 'ěr yòu yī jù shī wǒ tè bié xǐ huān： rú guǒ cuò guò tài yáng shí nǐ liú lèi liǎo， nà me nǐ yě jiāng cuò guò xīng xīng liǎo。 lì jìn cāng sāng， nǐ yào xué huì hū lüè guò qù。 yīn wéi héng héng tomorrowisanotherday。
“ bù yào bù cí 'ér bié， wǒ de 'ài rén。
wǒ kàn wàng liǎo yī yè， xiàn zài wǒ liǎn shàng shuì yì chóngchóng。
zhǐ kǒng wǒ zài shuì zhōng bǎ nǐ diū shī liǎo。
bù yào bù cí 'ér bié， wǒ de 'ài rén。
wǒ jīng qǐ shēn chū shuāng shǒu qù mō chù nǐ， wǒ wèn zì jǐ shuō：
“ zhè shì yī gè mèng me？ "
dàn yuàn wǒ néng yòng wǒ de xīn xì zhù nǐ de shuāng zú， jǐn bào zài xiōng qián！
bù yào bù cí 'ér bié， wǒ de 'ài rén。”
héng héng tài gē 'ěr《 yuán dīng jí》
《 piāo》 - rén wù xìng gé
sī jiā lì
yī gè māo yī yàng de nǚ rén。 yòu zhe māo yī yàng de mù guāng， māo yī yàng de wēi xiào， māo yī yàng de bù fá hé māo yī yàng de mǐn jié。 nà me， zhè gè māo yī yàng de nǚ rén tí gōngjǐ wǒ men shì zěn yàng de yī xiē duì dài shēng huó、 duì dài 'ài qíng、 duì dài kùn nán hé cuò zhé de tài dù hé jīng yàn ní？
luàn shì jiā rén luàn shì jiā rén
dì yī tā zài kùn nán de shí hòu gǎn yú chéng dān zé rèn， suī rán yě yòu dòng yáo， dàn zuì hòu réng rán chéng dān zé rèn , bǐ rú tā jiù liǎo méi lán nī， tā zhòng zhèn tǎ lā zhuāng yuán , hòu lái cháng qī fú zhù 'ā xī lǐ yī jiā děng děng。
dì 'èr tā gǎn yú qù 'ài、 wú yuàn wú huǐ， tā de zhěng gè qīng chūn dōuzài 'ài zhe 'ā xī lǐ， méi yòu huí bào dàn tā réng méi yòu fàng qì nǔ lì， zhí dào néng lì de jí xiàn wéi zhǐ。
dì sān zhī cuò néng gǎi， dāng tā zuì hòu míng bái tā zhī qián suǒ wèishì cuò wù shí， tā mǎ shàng xiàng ruì tè dào qiàn， qǐng qiú yuán liàng。
zǒng de lái shuō， sī jiā lì kān chēng jīn guó bù ràng xū méi de qí nǚ zǐ， rén zhōng lóng fèng， nán guài ruì tè zhè yàng de niú rén yě bài dǎo zài tā de shí liú qún xià。 měi cì kàn《 luàn shì jiā rén》， měi cì dōuyòu bù tóng de shōu huò。 nián qīng shí kàn， tǎo yàn xū róng 'ài chū fēng tóu de sī jiā lì， xǐ huān chún jié shàn liáng de méi lán nī， bù xǐ huān yóu qiāng huá diào de ruì tè bā tè lè， xǐ huān wēn wén 'ěr yǎ de 'ā xī lǐ， xǐ huān nán fāng rú huà de jǐng zhì hé tián yuán mù gē shì de shēng huó， bù xǐ huān běi fāng de fú huá hé fàng dàng。 hòu lái kàn liǎo duō cì zhī hòu， bù yóu dé duì sī jiā lì jìng pèi qǐ lái， yuán běn shì yī gè ruò nǚ zǐ， rèn xìng 'ér nián qīng， dì yī cì jié hūn shì yī shí de chōng dòng bào fù， jià gěi liǎo bù 'ài de nán hái， ràng zì jǐ chéng wéi liǎo nián qīng de guǎ fù。 dì 'èr cì jié hūn shì wéi liǎo yī jiā rén de shēng cún， qiǎng zǒu liǎo mèi mèi de xīn shàng rén， kěn ní dí。 kěn ní dí suī rán shì yī gè bàn lǎo tóu zǐ， què bù shì sī jiā lì de duì shǒu， miàn duì tā de lěng kù hé wú qíng， tā shù shǒu wú cè。 zuì zhōng wèile sī jiā lì chàdiǎn zāo shòu de wǔ rǔ qù bào fù qióng bái rén 'ér bèi rén jī bì， bù xìng wǎng sǐ， què cóng wèi xiǎng shòu guò sī jiā lì de yī diǎn 'ài。 yú shì sī jiā lì zài cì chéng wéi guǎ fù， ér qiě hái shì gè yòu qián de guǎ fù。 zài nà gè zhàn huǒ fēn fēi de nián dài， wèile dāyìng guò 'ā xī lǐ zhào gù méi lán nī de yī jù chéng nuò， zài běi jūn jiù yào gōng zhàn yà tè lán dà de shí hòu， sī jiā lì yòu guǒ duàn dì tì méi lán nī jiē shēng， bìng zhǎo dào ruì tè chōng pò chóngchóng zǔ 'ài hé guānqiǎ， huí dào liǎo xiāng xià lǎo jiā－－ tǎ lā zhuāng yuán。 zài yòu jī yòu 'è zhī shí， tā yòu zāo shòu liǎo mǔ qīn bìng wáng、 fù qīn chī dāi、 jiā lǐ bèi jié， yī qióng 'èr bái de duō zhòng dǎ jī， tā bù qū bù náo， dài tóu zhòngtián gànhuó， hèlìng mèi mèi xià chuáng zhāi mián huā， bìng zhào gù méi lán nī hé xiǎo bō， zhī chēng yī jiā rén de shēng jì， nà shí tā dǐng duō yě bù guò shì gè 'èr shí lái suì de xiǎo gū niàn， běn yìng shì gè zài mǔ qīn huái lǐ sǎ jiāo de xiǎo gū niàn。 kě shì miàn duì rú cǐ jù dà de kùn nán， tā méi yòu xuǎn zé táo bì， ér shì yǒng gǎn tiǎo qǐ jiā lǐ de zhòng dān， yǐ cháng rén nán yǐ qǐ jí de yì lì kàng zhēng mìng yùn， měi měi kàn dào sī jiā lì jǔ zhe luóbo xiàng tiān méng shì， jué bù yuàn ràng jiā rén zài shòu kǔ 'ái’è shí， wǒ zǒng shì jué dé pāi piàn dǎo yǎn duì guāng xiàn hé bèi jǐng de yùn yòng shì nà me qiǎo miào hé yì shù， tā nà me shēng dòng dì kè huá liǎo sī jiā kě wàng 'ān dìng、 kě wàng shēng cún、 kě wàng fù yù de qiáng liè 'ér zhēn shí de nèi xīn qíng gǎn。 wǒ jué dé nà shí de tā， yǐ wán chéng liǎo zuì jiān nán de shàn biàn， yóu yī zhǐ chǒu lòu de máo máo chóng pò jiǎn 'ér chū biàn chéng liǎo měi lì de dié， zì yóu 'ér gāo guì， nà shí de sī jiā jiù xiàng yī gè nǚ shén－－－ kě wàng fù yòu、 bìng wéi cǐ néng bù zé shǒu duàn de yù wàng nǚ shén。
gāng qiáng、 jiān rèn
wú lùn shì miàn duì zhàn zhēng de fèi xū hé xiāo yān、 mǔ qīn hé fù qīn de qù shì、 shēng huó de pín qióng jiān nán hái shì nǚ 'ér de yāo zhé， zài hé tā chéng shòu tóng yàng de tòng kǔ hé jiān nán de rén men dāng zhōng， tā dōushì zuì gāng qiáng、 zuì jiān rèn de yī gè hé zuì xiān cóng tòng kǔ hé jiān nán zhōng zǒu chū lái de yī gè。 dāng sī jiā lì miàn duì zhe yǐ shì mǎn mù shāng hén tài lè zhuāng yuán shí， tā de jiān rèn hé gāng qiáng lìng tā zhè gè jiā zhōng de cháng nǚ dān qǐ jiāzhǎng de zhòng dān。 zài yǐngpiān de mò wěi， tā hái jiān dìng dì gào sù wǒ men： Tomorrowisanotherday。
xū róng
zhè yīnggāi shì yī gè biǎn yì cí liǎo， kě shì， sī jiā lì de xū róng xīn sì hū gé wài de kě 'ài， zài tā de shēn shàng， xū róng sì hū yě biàn chéng liǎo bāo yì cí。 yòu wèi míng mó céng shuō：“ nǚ hái zǐ zǒng shì yào yòu yī diǎn xū róng xīn de， wú lùn zhè xū róng xīn biǎo xiàn zài shénme fāng miàn。” dāng sī jiā lì chě xià mǔ qīn wéi yī de yí wù héng héng chuāng lián， wú lùn rú hé yě yào yòng tā zuò yī jiàn piào liàng de yī fú， hái jiāng tā pī zài shēn shàng chōng jǐng zhe xīn yī fú de yàng zǐ shí， tā de xū róng xīn shǐ tā chéng liǎo yī gè kàn qǐ lái bù xiào de nǚ 'ér， dàn tā de zhè zhǒng zuò fǎ（ yě jiù shì tā de xū róng xīn） shì dāng shí zhěng jiù quán jiā de wéi yī chū lù。 yóu xū róng xīn 'ér shǐ quán jiā réndōu yòu liǎo shēng cún xià qù de xī wàng， zhè yàng de xū róng xīn yě bù yīnggāi suàn shì zhí dé bìng qì de。
tān lán
zhè zǒng yīnggāi shì gè biǎn yì cí liǎo。 dàn shì， sī jiā lì de tān lán bù jǐn shì yòu qíng kě yuán de， zài mǒu zhǒng chéng dù shàng lái jiǎng hái shì nán néng kě guì de。 zhàn hòu de tài lè zhuāng yuán zài běi fāng jūn de kòng zhì zhī xià， mǔ qīn de qù shì hé fù qīn de bēng kuì shǐ sī jiā lì héng héng jiā zhōng de cháng nǚ dān qǐ liǎo“ jiāzhǎng” de zhòng dān。 sī jiā lì yī jiā rén guò zhe jiān xīn de shēng huó。 zhàn zhēng shǐ tā pín qióng， pín qióng jì zhī yǐ jī 'è。 rán 'ér zuì kě pà de shì wú qián jiāo shuì xiǎn xiē shī qù shēng huó lái yuán de tǔ dì， wèile jiè qián jiāo shuì， sī jiā lì gòu yǐn liǎo mèi mèi de qíng rén， jì 'ér dāng qǐ liǎo yī jiā xiǎo diàn de lǎo bǎn niàn。 zài jīng lì zhè yī qiē hòu， tā míng bái liǎo tā suǒ chù de shì yī gè shénme yàng de shè huì yǐ jí zài zhè gè shè huì zhōng qián de zhòng yào xìng。 suǒ yǐ， dāng tā yōng yòu liǎo dāng qián tā suǒ xū yào de qián zhī hòu， tā zì rán huì xiǎng yōng yòu gèng duō de qián。 zài tā zhuī qiú“ gèng duō de qián” de guò chéng zhōng， tā biǎo xiàn chū liǎo yī gè zǎo qī zī běn zhù yì de zī běn jiā suǒ bì xū jù yòu de yōu xiù pǐn zhì héng héng tān lán。
cán rěn yǔ zì sī
zhè liǎng gè cí wú lùn yòng zài shénme rén shēn shàng sì hū dū yìng gāi shì biǎo biǎn yì de cí yǔ， tè bié shì yǐ wēn hé、 shàn liáng wéi měi dé de nǚ xìng。 dàn shì， sī jiā lì de cán rěn yǔ zì sī zài mǒu zhǒng shì dù shàng què shì zhí dé bāo yáng de。 shǒu xiān， zài shè huì zhuǎn xíng de shí qī， rén de guān niàn xū yào cóng chuán tǒng de guān niàn zhuǎn biàn chéng wéi xīn xíng de、 yǔ shè huì fā zhǎn xiāng shì yìng de guān niàn。 bù néng zài dì yī shí jiān nèi zhuǎn biàn guān niàn de rén jiù shī qù liǎo lǐng dǎo shí dài de zhù dòng quán。 sī jiā lì jiù shì yī gè zài dì yī shí jiān nèi zhuǎn biàn guān niàn， jiē shòu liǎo xīn de shè huì hé shè huì zhì dù、 xīn de jià zhí guān niàn、 xīn de shēng huó fāng shì， bìng qiě chéng wéi liǎo yī gè xiǎo zī běn jiā de nǚ rén， zài zhè yī diǎn， tā shì fēi cháng liǎo bù qǐ de。 ér qiě， zài gāng gāng jiàn lì liǎo zī běn zhù yì zhì dù shí， zì sī hé cán rěn duì yú yī gè zī běn jiā lái shuō shì shēng cún hé fā zhǎn de guān jiàn。 zài zī běn zhù yì shè huì， duì shì jiè de bó 'ài yǐ jīng shì zǔ 'ài zī běn de zì shēn shēng cún hé fā zhǎn de yī gè yīn sù， cǐ shí， zì sī yǔ cán rěn jiù chéng liǎo qiáng zhě de yōu diǎn。
měi lì
sī jiā lì wèiwǒ men tí gōng liǎo yī zhǒng duì dài 'ài qíng de tài dù。 tā měi lì， dàn tā zhǐ shì shìdàng dì yùn yòng tā de měi lì lái dé dào tā suǒ xǐ 'ài de dōng xī， cóng lái bù yòng zì jǐ de měi mào lái wán nòng 'ài qíng， wú lùn shì zì jǐ de hái shì tā rén de 'ài qíng。 sī jiā lì shì měi lì de， dàn měi lì bù shì yōng yòu 'ài qíng de bì bèi tiáo jiàn héng héng nǐ kě yǐ méi yòu sī jiā lì nà yàng měi lì dòng rén， dàn nǐ yě yòu quán lì qù zhuī qiú shǔ yú zì jǐ de 'ài qíng。
zōng shàng suǒ shù， wǒ men dé chū liǎo zhè yàng de yī gè jié lùn：
sī jiā lì， māo yī yàng de nǚ rén， gāng qiáng de、 jiān rèn de、 xū róng de、 tān lán de、 cán rěn de、 zì sī de nǚ rén， nǚ rén de diǎn fàn。
sī jiā zhè gè rén， hěn kě bēi， kě bēi dào liǎo yī zhǒng kě xiào de chéng dù。
jiù xiàng tā zì jǐ yì shí dào dídí，“ tā duì tā suǒ 'ài guò de liǎng gè nán rén nǎ yī gèdōu bù lǐ jiě， yīn cǐ dào tóu lái liǎng gèdōu shī diào liǎo。 xiàn zài tā cái huǎng hū rèn shí dào， rú guǒ tā dāng chū liǎo jiě 'ài xī lǐ， tā shì jué bù huì 'ài tā de； ér rú guǒ tā liǎo jiě liǎo ruì dé， tā jiù wú lùn rú hé dōubù huì shī diào tā liǎo。”
tā yī zhí bù míng bái zhàn hòu de rén men wèishénme huì qù zhuī yì zhàn qián， zhí dào bāng nī sǐ hòu， tā cái míng bái liǎo yuán yīn， dàn shì， nǎ xiē kě yǐ yǔ tā zhuī yì guò wǎng de rén， yǐ jīng yóu yú tā zì jǐ de shū yuǎn， pái chì yǐ jīng yuè lái yuè yuǎn， ér tā de nà xiē“ xīn péng yǒu” què yě wú fǎ shǐ sī jiā gāo xīng qǐ lái。
yī zhí hěn xǐ huān ruì dé lí kāi qián de nà yī duàn huà，“ sī jiā， wǒ cóng lái bù shì nà yàng de rén， bù néng nài xīn de shí qǐ yī xiē suì piàn， bǎ tā men zhānhé zài yī qǐ， rán hòu duì zì jǐ shuō zhè gè xiū bǔ hǎo liǎo de dōng xī gēn xīn de wán quán yī yàng。 yī yàng dōng xī pò suì liǎo jiù shì pò suì liǎo héng héng wǒ nìngyuàn jì zhù tā zuì hǎo shí de múyàng， ér bù xiǎng bǎ tā xiū bǔ hǎo， rán hòu zhōng shēng kàn zhe nà xiē pò suì liǎo de dì fāng。 yě xǔ， jiǎ shǐ wǒ hái nián qīng yī diǎn héng héng kě shì wǒ yǐ jīng zhè me dà nián jì liǎo， bù néng xiāng xìn nà zhǒng chún shǔ gǎn qíng de shuō fǎ， shuō shì yī qiēdōu kě yǐ cóng tóu kāi shǐ。 wǒ zhè me dà nián jì liǎo， bù néng zhōng shēng bēizhe huǎng yán de fù dān， zài mào sì tǐ miàn dì huàn miè zhōng guò rì zǐ。 wǒ bù néng gēn nǐ shēng huó zài yī qǐ tóng shí yòu duì nǐ shuō huǎng， ér qiě wǒ jué bù néng qī piàn zì jǐ。 jiù shì xiàn zài， wǒ yě bù néng duì nǐ shuō huǎng huà 'ā！ wǒ shì hěn xiǎng guān xīn nǐ jīn hòu de qíng kuàng de， kě shì wǒ bù néng nà yàng zuò。”
rú guǒ méi yòu ruì dé， sī jiā shì bù wán zhěng de， nǎ me《 piāo》 yě jiù bù néng bèi chēng wéi“ míng zhù” liǎo。 sī jiā， zì sī， xū róng， tān lán， gāng qiáng， jiān rèn。 rú guǒ shuō zhè xiē xíng róng cí yòng zài bié rén shēn shàng， zhǐ pà quán bù dōushì biǎn yì de， dàn shì duì sī jiā 'ér yán， wǒ dǎo jué dé yòu diǎn xiàng shì bāo yì cí。 qí shí， jiù xiàng ruì dé shuō de，“ wǒ mendōu shì liú máng， wǒ mendōu shì wú lài。” tā duì yú zì jǐ yǔ sī jiā de fēn xī shì hěn tòu chè de， yě zhèng yīn wèitā de zhè xiē fēn xī，《 piāo》 cái huì bèi wú shù rén suǒ bài dú， sī jiā yě cái wán zhěng。
guān yú diàn yǐng bǎn《 piāo》 héng héng《 luàn shì jiā rén》， wǒ zhǐ néng shuō， wǒ kàn wán diàn yǐng jiù xǐ huān shàng liǎo fèi wén lì。 yīn wéi tā suǒ yǎn yì de sī jiā zhēn de jiù xiàng huó zhe de yī yàng， ràng wǒ zài yī cì gǎn shòu dào liǎo sī jiā de měi， sī jiā de yī qiē。
ruì dé
wǒ bì xū chéng rèn， duì wǒ lái shuō，《 luàn shì jiā rén》 de xī yǐn lì zhī suǒ yǐ zhè me dà， hé kè lā kè gài bó zhù yǎn de ruì tè bā tè lè jué duì yòu guān xì。
dāng rán， sī jiā lì mī zhe nà shuāng xiàng māo nà yàng de lǜ yǎn， mí rén 'ér yāo mèi， tóng yàng yě ràng rén qīng dǎo。 tā shì gè ràng nǚ réndōu néng wéi zhī shén hún diān dǎo de nǚ rén， tā zì sī、 lěng kù、 wú qíng、 cōng míng、 bù zé shǒu duàn、 jiān qiáng， què bù fá shàn liáng、 měi lì、 cuì ruò； tā shì yī gè gāo bù kě pān de nǚ shén， ràng xǔ duō nǚ réndōu mèng xiǎng zhe néng xiàng tā nà yàng， jí cái fù、 měi mào、 néng gān、 jiān qiáng yú yī shēn， ràng ruì tè nà yàng de nán rén néng gòu wéi tā 'ér qīng dǎo。 zhì shǎo wǒ céng jīng jiù nà yàng xiǎng guò。 dàn wǒ rèn wéi， ruì tè gěi wǒ men zhè xiē nǚ xìng guān zhòng dài lái de què gèng duō shì duì 'ài qíng hé hūn yīn de tián měi huàn xiǎng， tā shì nà me xiāo sǎ tì tǎng， nà me wán shì bù gōng， nà me zì xìn guò rén， fù yòu bìng chōng mǎn liǎo chéng shú nán rén de mèi lì， gāi shì duō shǎo nǚ xìng xīn mù zhōng de 'ǒu xiàng 'ā。
zài zhè lǐ， jiǎn dān huí shǎn sī jiā hé ruì tè xiāng yù、 xiāng shí、 xiāng 'ài de jǐ gè piàn duàn， jiù néng ràng rén duì ruì tè 'ài wǒ suǒ 'ài， jiān chí zì 'ér， fù yòu gè xìng de nán xìng mèi lì yìn xiàng shēn kè：
piàn duàn yī： ruì tè dì yī cì jiàn dào sī jiā lì shì zài shí 'èr xiàng shù yuán de shāo kǎo huì shàng。 sī jiā lì xiàng suǒ yòu de nán shì mài nòng fēng qíng， què fā xiàn ruì tè zhèng zhù yì tā， sī jiā lì xiàng shēn biān de nǚ bàn bào yuàn shuō：“ tā kàn wǒ de yàng zǐ， jiù xiàng wǒ méi chuān yī fú” kě jiàn ruì tè gěi rén de gǎn jué bù shì wēn wén 'ěr yǎ， fù yòu shēn shì fēng dù， duì shì shì de yòu zhǒng bié rén suǒ bù jù bèi de qiáng dà dòng chá lì hé yǐng xiǎng lì， biǎo míng liǎo tā yǔ yī bān de nán fāng nán rén bù tóng diǎn： xiàn shí、 dà dǎn 'ér fù yòu jìn gōng xìng， dāng tā duǒ zài shū fáng lǐ tōu tīng sī jiā lì dà dǎn dì xiàng 'ā xī lǐ biǎo lù 'ài mù， dàn yīn zāo dào wǎn jù， tā qì jí bài huài dì shān liǎo 'ā xī lǐ yī gè 'ěr guāng， bìng zá suì liǎo yī gè xiǎo huā píng shí， tā chuī liǎo yī gè kǒu shào， yú shì tā bèi sī jiā lì zhǐ zé wéi bù shì yī gè shēn shì， ér tā tóng shí yě fǎn chún xiāng jī sī jiā lì bù shì yī gè zhēn zhèng de shū nǚ， ràng sī jiā lì qì jí。 liǎ rén dì yī cì xiāng jiàn jiù shì yī cì 'ài qíng de jiāo fēng。
piàn duàn 'èr： sī jiā lì yīn chá 'ěr sī bìng wáng dào yà tè lán dà sàn xīn， zhèng zài fúsāng de tā， shí fēn kě wàng néng zài dù fēi xuán yú wǔ chí zhōng， biǎo xiàn liǎo tā zài nèi xīn lǐ duì wú jū wú shù、 zì yóu shēng huó de xiàng wǎng hé chōng jǐng。 shì ruì tè kàn chū liǎo tā de xīn sī， bìng chū zhòng jīn tì tā qiào kāi liǎo nà gè yā yì 'ér chén mèn de shè huì dào dé qiú lóng， shǐ tā zǒu shàng liǎo hé bié de nán fāng nǚ rén zuì bù xiāng tóng de mìng yùn zhī lù。 zhè zhèng shì sī jiā lì fǎn pàn jiù de shè huì dào dé biāo zhǔn mài chū de guān jiàn xìng yī bù， ér zhè yī bù， rú guǒ méi yòu ruì tè 'àn zhōng piàn duàn sān： ruì tè wèile bāng zhù sī jiā lì chóngfǎn gù lǐ， pīn sǐ nòng liǎo yī pǐ shēn fù zhòng shāng de lǎo mǎ， bìng bāng zhù tā bǎ méi lán nī bào dào mǎ chē shàng， tóng shí yī lù lì jīng xīn kǔ， bìng zài jí jiāng yào dào dá de shí hòu， ruì tè kàn dào xǔ duō nán fāng bīng qiánpū hòu jì， shì sǐ rú guī， shēn gǎn zhèn hàn， bìng jué dìng shàng zhàn chǎng， wéi bǎo wèi jiā yuán jìn yī fèn lì。 zhè shí kě yǐ kàn chū， wèile xīn 'ài de nǚ rén， tā néng chū shēng rù sǐ； tóng yàng， miàn lín jiā yuán bèi huǐ zhī jìng， tā yě shì yī gè rè xuè zhī rén， dǎo yǎn zài zhè lǐ cái xiàng wǒ men miáo huì liǎo yī gè shēn cáng zài píng rì wán shì bù gōng wài biǎo xià， yě jù yòu yī kē wéi róng yù gān sǎ rè xuè zhī xīn de diǎn xíng nán fāng nán xìng de xíng xiàng。 zài zhè lǐ wǒ men kàn dào， suī rán ruì tè píng rì lǐ fēi cháng jīng míng、 xiàn shí， dàn tā gǔ zǐ lǐ qí shí hái shì yī gè nán fāng rén。
piàn duàn sì： ruì tè zài jīng lì liǎo sàng nǚ zhī tòng hé sī jiā lì zài jīng shén shàng de bèi pàn hòu， miàn duì méi lán nī de zhī sǐ， duì yī qiēdōu huī xīn shī wàng zhì jí， huí jiā shōu shí xíng lǐ， fǎn huí zì jǐ de gù xiāng， chá 'ěr sī dùn。 dāng yú chǔn de sī jiā lì zuì hòu fā xiàn zì jǐ yǐ shēn 'ài ruì tè shí， cái fā xiàn yǐ zuì zhōng shī qù liǎo zì jǐ zuì xīn 'ài de rén。 ruì tè zuì hòu zǒude shí fēn gān cuì， ràng sī jiā lì shēn gǎn 'ào huǐ。 zhí dào zhè lǐ， wǒ men cái tīng dào nà kē céng jīng wéi 'ài 'ér róu ruǎn de xīn pò suì de shēng yīn， tóng shí yě yīn wéi pò suì 'ér duì sī jiā lì biàn dé“ lěng kù wú qíng”， zhè lǐ de ruì tè cái ràng wǒ men gǎn jué dào， zhè gè nán rén gǎn 'ài gǎn hèn， chǔlǐ shì qíng shí fēn gān cuì lì luò， jí fù nán xìng mèi lì。
ruì dé zhè gè rén gǎn 'ài gǎn hèn， jiù rú shàng wén suǒ shuō， tā bù yuàn shí qǐ pò suì de gǎn qíng， suǒ yǐ cái huì zài zuì hòu biàn dé nà me lěng kù wú qíng。 zhè gè rén wù hěn fù yòu nán xìng mèi lì， jiù xiàng sī jiā suǒ yōng yòu de nǚ xìng mèi lì， tóng yàng shǐ rén chén zuì。
tā men liǎng gè de jié hé， què shí jiù xiàng ruì dé suǒ shuō，“ zhū lián bì hé”。 dàn shì， zài ruì dé de xiàn shí yǔ sī jiā de huàn xiǎng zhōng， ruì dé shī bài liǎo， tā de gǎn qíng yě yīn cǐ zhēn zhèng de pò suì liǎo。
ér kè lā kè · gài bó de yǎn yì gèng shì wú kě tiǎo tī， zài nà zhǒng piān piān fēng dù bèi hòu de cháo nòng， zài nà zhǒng chén wěn lěng jìng bèi hòu de kuáng fàng bù jī， dōushì ràng rén pō wéi mí zuì de。
ài xī lǐ yǔ mèi lán
zài shuō shuō 'ā xī lǐ hé méi lán nī， tā men shì xiāng sì de， jù bèi nán fāng de yī qiē měi dé， yòu zhī shí， yòu wén huà， yòu sī xiǎng， yòu xiū yǎng。
méi lán nī jī běn shàng shì wán měi de， tā shàn liáng， rén cí yòu bù fá yǒng qì， sī jiā lì zhāi mián huā shí， tā xiǎng bāng máng， sī jiā lì shā rén shí tā yě bāng máng， chú liǎo ruì tè， tā shì sī jiā lì de lìng yī gè zhī chí zhě。 wǒ zuò guò xiǎo fàn wéi de diào chá， xiān kàn shū de jī běn dū xǐ huān sī jiā lì， ér xiān kàn diàn yǐng de zé xǐ huān méi lán nī。 wǒ jué dé měi lán nī tài hǎo liǎo， hǎo dé bù zhēn shí， ér sī jiā lì shì yòu xuè yòu ròu de， shì zhēn shí de， yòu quē diǎn yě yòu yōu diǎn。
ā xī lǐ shì zhēn shí de， tā shì gè huó zài guò qù de rén， shí shì biàn qiān， tā bù xiǎng miàn duì， tā shì quē fá yǒng qì de。 tā bù 'ài sī jiā lì， yòu bù shuō bù 'ài tā。 sī jiā lì zǒu tóu wú lù zhǎo tā shí tā zhǐ gěi liǎo tā zhuāng yuán de hóng tǔ， hòu lái zhī dào sī jiā lì mài liǎo zì jǐ， tā shuō tā gāi qù qiǎng jié， tā yě zhǐ shì shuō shuō bā， gū jì bù huì qù de， zhè yī diǎn， tā què shí bù rú tuō zhe jūn dāo xiǎng bāng sī jiā lì duì fù táo bīng de měi lán nī。
luàn shì jiā rén lǐ de rén wù dōushì wán měi de， rú guǒ méi yòu měi lán nī de shū nǚ fēng fàn， zěn néng tǐ xiàn chū sī jiā lì de jié 'ào bù xùn。 méi yòu 'ā xī lǐ de nuò ruò， zěn néng tǐ xiàn chū ruì dé de fēng fàn ní？
sī jiā lì de nǎi mā . mǎ gé lì tè
wēn nuǎn， kě kào， ān quán。 xiàng mǔ qīn yī yàng shí kè bǎo hù tā de hái zǐ sī jiā lì。
lǐ zhì， cōng míng， xiàn shí 'ér qiě lěng jìng， dài yī xiē hēi rén de jiǎo huá。 tā dǒng sī sī jiā lì， zhī chí tā， ài tā， suī rán méi yòu duō shuō shénme， dàn shì tā yī zhí shì sī jiā lì de kào shān， jiān qiáng yòu lì。
zhōng chéng， gù zhí， kě 'ài。 duì zì jǐ de bǎo bèi， nà shì bù gù yī qiē de qù bǎo hù； suī rán zhǐ shì yī gè jiā nú， dàn tā yòu zì jǐ suǒ yào wéi hù de chù shì yuán zé。
hēi rén nǎi mā de xíng xiàng kè huà de fēi cháng chéng gōng。 yóu cǐ bàn yǎn hēi mā de yǎn yuán hā dì · mài kè dān ní 'ěr (HattieMcDaniel） zhàn shèng liǎo 'ào lì wéi yà ( méi lán nī ) huò dé liǎo dì shí 'èr jiè 'ào sī kǎ zuì jiā nǚ pèijué jiǎng， jù shuō shì lì shǐ shàng dì yī gè huò dé 'ào sī kǎ jiǎng de hēi rén。 hā dì jiāng qí tè yòu de yōu mò gǎn zhù rù nǎi mā mǎ gé lì tè yī xíng xiàng zhōng， tái cí niàn dé wán měi wú quē， yǔ sī jiā lì de bàn yǎn zhě fèi wén lì pèi hé mò qì， yóu rú lǜ yè fú hóng huā， jiēguǒ liǎng rén shuāng shuāng huò jiǎng。 yóu yú nǎi mā yī jiǎo de chéng gōng， hā dì hòu lái jīhū lǒng duàn liǎo yín mù shàng suǒ yòu de hēi rén bǎo mǔ juésè， zài xǔ duō yǐngpiān lǐ kě yǐ kàn dào tā nà féi pàng、 wēn shùn、 ráo shé de xíng xiàng。
《 piāo》 - mù hòu huā xù
shí dài bèi jǐng： měi guó nèi zhàn；
dì diǎn： měi guó nán fāng；
xì jù gāo cháo： huǒ shāo yà tè lán dà。
zài rú cǐ zhuàng lì de shí dài huà juàn shàng yǎn yì chū yī gè jí bù xún cháng de 'ài qíng gù shì， kāi chuàng liǎo yǐ zhēn shí 'ér liáo kuò de lì shǐ bèi jǐng jiā xū gòu rén wù gù shì de 'ài qíng shǐ shī piàn xiān hé ( gāi chuán tǒng fā zhǎn chū《 rì wǎ gē yī shēng》 hé《 tài tǎn ní kè hào》 děng jiā zuò )。 zhè bù zǎo qī de cǎi sè piàn bǎo chí liǎo mǎ gé lì tè · mǐ qiē 'ěr yuán zhù de yùn wèi hé shēn dù， jì yòu sè cǎi hún hòu de dà chǎng miàn ( rú nǚ zhùjué kuà guò biàn dì shāng yuán de jìng tóu )， yòu yòu duì rén wù mìng yùn de xì zhì kè huà ( qǐng zhù yì hēi rén nǚ pú de xìng gé )。 wú lùn nǐ rèn wéi sù cái xiàng suō wēng míng jù hái shì xiàng yōng sú féi zào jù， yǐngpiān qǔ dé jīng rén de yì shù hé shāng yè chéng jiù。 yīng wén piàn míng《 piāo》 ( jí《 suí fēng 'ér qù》 ) chū zì měi guó shī rén 'ōu nèi sī tè · dào sēn de yī jù shī。 nǚ zhùjué de jīng diǎn yā zhóu tái cí“ míng tiān shì xīn de yī tiān” nǎi yuán zuò chū bǎn qián de zàn dìng míng。 běn piàn róng huò 'ào sī kǎ zuì jiā yǐngpiān、 zuì jiā dǎo yǎn、 zuì jiā nǚ zhùjué、 zuì jiā nǚ pèijué děng qī xiàng dà jiǎng。 1994 nián de xù jí《 hǎo sī jiā》 (Scarlett) shì yī bù cháng dá 360 fēn zhōng de diàn shì jù， háo huá zhì zuò， fú zhuāng bù jǐng děng xià liǎo xuè běn。 gù shì jiǎng hǎo sī jiā gēn bái ruì dé lí hūn hòu yǐ rán 'ǒu duàn sī lián， tā shèn zhì huí dào 'ài 'ěr lán， bèi kòng móu shā děng děng。 yǐngpiān gēn jù léi pǔ lì xiǎo shuō gǎi biān。
yǐngpiān pāi shè hào zī 390 wàn měi yuán， zài dāng shí jǐn qū jū yú《 bīn xū》 hé《 dì yù tiān shǐ》 zhī hòu。 zài xiǎo shuō chū bǎn de yī gè yuè hòu， zhì piàn rén dà wèi · sài 'ěr cí ní kè jiù yòng 5 wàn měi yuán mǎi xià liǎo xiǎo shuō de diàn yǐng pāi shè quán， duì yú xīn rén de chǔnǚ zuò lái jiǎng， zhè gè jià mǎ zài dāng shí kě wèi shì tiān wén shù zì。 zài 1942 nián sài 'ěr cí ní kè de zhì piàn gōng sī jiě sàn shí， tā yòu xiàng xiǎo shuō zuò zhě mǎ gé lì tè · mǐ xiē 'ěr zhī fù liǎo 5 wàn měi yuán de fēn hóng。 mǎ gé lì tè bǐ xià 'ài shí lì hé méi lán ní de rén wù yuán xíng dōushì tā de biǎo xiōng mèi， duō kè hé mǎ dì xiāng 'ài， dàn tā men shì qián chéng de tiān zhù jiào tú， yòu xuè yuán guān xì de qīn shǔ shì yán jìn jié hūn de。 hòu lái， duō kè lí kāi liǎo mǎ dì， dào xī bù chéng liǎo bù fǎ zhī tú， ér mǎ dì zé zuò liǎo xiū nǚ。
piàn zhōng shī huǒ de chǎng jǐng shì zuì xiān pāi shè de， bāo kuò 1933 nián《 jīn gāng》 zhōng shǐ yòng de bù jǐng jūn bèi fù zhī yī jù， zhè duàn jiāo piàn cháng 113 fēn zhōng， gòng hào zī 25000 měi yuán， dāng shí de huǒ qíng shí fēn měng liè， yǐ zhì bù zhī qíng de gōng zhòng yǐ wéi mǐ gāo méi dū huà wéi huī jìn liǎo， bào jǐng diàn huà xiǎng zuò yī tuán。
zài pāi shè sī jiā lì cóng huǒ zhōng táo shēng de huà miàn shí， jù zǔ xū yào yī pǐ shòu gǔ lín xún de lǎo mǎ， jǐ jīng xún zhǎo， zhōng yú wù sè dào yī pǐ， rán 'ér dāng jǐ zhōu hòu mǎ bèi dài dào piàn chǎng， yuán xiān qīng xī kě jiàn de lē gǔ hén jì yīn wéi zēng zhòng yǐ jīng dàng rán wú cún， yóu yú shí jiān jǐn pò， huà zhuāng shī zhǐ hǎo zài mǎ de lē gǔ bù wèi huà chū yīn yǐng。
《 piāo》 - jīng diǎn tái cí
měi guó diàn yǐng xué yuàn měi nián dū huì wéi yī xiē tè bié de diàn yǐng xiàng mù píng chū qián 100 míng。 05 nián qǔ dé jīng diǎn tái cí bǎng dì yī de diàn yǐng《 luàn shì jiā rén》 shì kè lā kè · gài bó zài 1939 nián chū yǎn dídí yī jù tái cí。 nà shì bái ruì dé duì hǎo sī jiā shuō de yī jù huà：“ tǎn bái shuō， qīn 'ài de， wǒ yī diǎn yě bù zài hū。”“ gài bó de zhè jù tái cí bèi rén men zài bù tóng de chǎng hé yǐn yòng，” bào bó shuō。“ wú lùn nán nǚ， dāng tā men xiàn rù yī zhǒng bìng méi yòu wán quán tóu rù de liàn 'ài guān xì shí， xiǎng yào kòng zhì jú miàn， jiù huì yòng dào zhè jù huà。”
《 piāo》 - suǒ huò jiǎng xiàng
běn piàn zài dì shí 'èr jiè 'ào sī kǎ jīn xiàng jiǎng（ 1939） zhōng róng huò bā xiàng dà jiǎng：
zuì jiā nǚ zhùjué jiǎng（ BestActress） ......................... fèi · wén lì（ VivienLeigh）
zuì jiā nǚ pèijué jiǎng（ BestSupportingActress） ...... hā dì · mài kè dān ní 'ěr（ HattieMcDaniel）
zuì jiā yǐngpiān jiǎng（ BestPicture） ...........................《 luàn shì jiā rén》（ GoneWiththeWind）
zuì jiā dǎo yǎn jiǎng（ BestDirector） .......................... wéi kè duō · fú lāi míng（ VictorFleming）
zuì jiā biān jù jiǎng（ BestScreenplay） .................... xī ní · huò huá dé（ SidneyHoward）
zuì jiā yì shù zhǐ dǎo（ BestArtDirection） ...............LyleR.Wheeler
zuì jiā shè yǐng jiǎng（ BestCinematography） ............ErnestHaller&RayRennahan
zuì jiā jiǎn ji jiǎng（ BestFilmEditing） ....................HalC.Kern&JamesE.Newcom
《 piāo》 - diǎn píng
yòu rén shuō zhè bù diàn yǐng zuì jīng diǎn de chǎng miàn shì ScarlettO’ Hara zài zhàn zhēng hòu huí dào bèi huǐ de jiā yuán， zài yuán zhōng shǒu wò hóng tǔ fā shì， wú lùn qù tōu qù qiǎng dōubù huì ràng jiā rén 'ái’è nà duàn， yīn wéi nà shí tā de yǎn shén hé biǎo qíng zhēn de tè bié zhèn hàn rén。 zhè yàng shuō wǒ yě bù fǎn duì， yīn wéi zhè shí zài shì yī bù tài jīng diǎn de piānzǐ， jīng diǎn de chǎng miàn tài duō， gè rén yòu gè rén de piān 'ài。 wǒ dǎo shì qíng yuàn xuǎn zé zhè gè： yǐ hòu， míng tiān jiù shì xīn de yī tiān liǎo。 shénme shì 'ài？ shénme shì hèn？ ài hé hèn kě yǐ xiàng liǎng tiáo yǒng bù xiāng jiāo de píng xíng xiàn， ài hé hèn yě kě néng zhǐ xū yào yī lǚ yáng guāng jiù kě yǐ xiāo róng。 zhēn xī yōng yòu de rén shì xìng fú de， yīn wéi wǒ men zǒng shì bìng bù què qiē zhī dào wǒ men xū yào de dào dǐ shì shénme。 tài duō de rén zhǐ yòu zài shī qù de shí hòu， cái zhī dào qù zhēn xī。
tài gē 'ěr yòu yī jù shī wǒ tè bié xǐ huān： rú guǒ cuò guò tài yáng shí nǐ liú lèi liǎo， nà me nǐ yě jiāng cuò guò xīng xīng liǎo。 lì jìn cāng sāng， nǐ yào xué huì hū lüè guò qù。 yīn wéi héng héng tomorrowisanotherday。
《 piāo》 -《 piāo》 huò xuǎn yīng guó shǐ shàng zuì shòu huān yíng diàn yǐng
gēn jù yīng guó diàn yǐng xué yuàn jìn rì jìn xíng de yī xiàng píng xuǎn， yóu lǎo pái yǐng xīng kè lā kè · gài bó hé fèi wén lì zhù yǎn de miáo xiě měi guó nèi zhàn de yǐngpiān《 piāo》 róng huò yīng guó lì shǐ shàng zuì shòu huān yíng yǐngpiān jiǎng。 gēn jù diàn yǐng piào de xiāo shòu shù liàng tǒng jì， zì cóng 1940 nián zài yīng guó shàng yìng yǐ lái， yǐ yòu 3500 wàn guān zhòng guān kàn liǎo《 piāo》。《 yīnyuè zhī shēng》 míng liè dì 2， zì cóng 1938 nián shàng yìng yǐ lái， yòu 3000 wàn rén guān kàn。 míng liè dì 3 hé dì 4 de fēn bié shì《 bái xuě gōng zhù hé qī gè xiǎo 'ǎi rén》 (2800 wàn rén ) hé《 xīng qiú dà zhàn》 (2070 wàn rén )。 zhè cì rù xuǎn zuì shòu huān yíng de shí bù diàn yǐng páiháng bǎng de diàn yǐng sān fēn zhī yī lái zì yīng guó， qí zhōng míng liè dì 5 de shì《 kū mù féng chūn》。 zhè cì píng xuǎn huó dòng de zhù bàn fāng biǎo shì：“ zhè shì yīng guó lì shǐ shàng dì yī cì píng xuǎn zuì shòu guān zhòng xǐ 'ài de yǐngpiān。” wèi liè 6 dào 10 míng de yǐngpiān fēn bié shì《 huáng jīn shí dài》、《 sēn lín wáng zǐ》、《 tài tǎn ní kè》、《 dì yù shèng nǚ》 yǐ jí《 qī zōng zuì》。
Title
The title is taken from the first line of the third stanza of the poem Non Sum Qualis eram Bonae Sub Regno Cynarae by Ernest Dowson: "I have forgot much, Cynara! gone with the wind". The novel's protagonist, Scarlett O'Hara, also uses the title phrase in a line in the book: when her home area is overtaken by the Yankees, she wonders to herself if her home, a plantation called Tara, is still standing, or if it was "also gone with the wind which had swept through Georgia". More generally, the title has been interpreted as referring to the entire way of life of the antebellum South as having "Gone with the Wind". The prologue of the movie refers to the old way of life in the South as "gone with the wind…."
The title for the novel was a problem for Mitchell. She initially titled the book "Pansy", the original name for the character of Scarlett O'Hara. Although never seriously considered, the title "Pansy" was dropped once MacMillan persuaded Mitchell to rename the main character. Other proposed titles included "Tote the Weary Load" and "Tomorrow is Another Day", the latter taken from the last line in the book; however, the publisher noted that there were several books close to the same title at the time, so Mitchell was asked to find another title, and "Gone with the Wind" was chosen.
Plot
This section's plot summary may be too long or overly detailed. Please help improve it by removing unnecessary details and making it more concise. (April 2009)
Overview
Scarlett O'Hara is the daughter of an Irish immigrant who has risen from humble origins to become materially and socially successful in the deep south of 1861. He owns a plantation named Tara in Georgia. Scarlett is infatuated with Ashley Wilkes, who, although attracted to her, marries his cousin, Melanie Hamilton. Wilkes is genuinely ambiguous about his feelings toward Scarlett. He knows his feelings run deep, and are both emotional and sexual in nature; but he never resolves whether to act upon his feelings, or to renounce them and definitively reject Scarlett’s flirtations, in favor of his wife and his social position. And though he never sins in the flesh, the novel clearly implies that he does so in his heart, leading Scarlett along; limited only by his weakness in making a decision as to what ultimately, he should do.
At the party announcing Ashley's engagement to Melanie, Scarlett meets Rhett Butler, who has a reputation as a rogue. As the Civil War begins, Scarlett accepts a proposal of marriage from Melanie's brother, Charles Hamilton, who soon dies of disease in training. Scarlett's main concern regarding his death is that she must wear black and cannot attend parties. After the war, Scarlett inherits Tara and manages to keep the place going. When Scarlett cannot get money from Rhett to pay the taxes on Tara, she marries her sister's fiancé, Frank Kennedy, takes control of his business, and increases its profitability with business practices that make many Atlantans resent her. Frank is killed when he and other Ku Klux Klan members raid a shanty town where Scarlet was assaulted while driving alone. Remorseful after Frank's death, Scarlett marries Rhett, who is aware of her passion for Ashley but hopes that one day she will come to love him instead. Scarlett eventually comes to realize that she does love Rhett, but only once the couple has been through so much that Rhett has fallen out of love with her.
Part one
Scarlett O'Hara is the belle of the County. Her flirtatiousness and charm won the hearts of many men in Clayton County, Georgia. At sixteen years old, however, she begins the trials that will completely overtake her life for the next twelve years. She does this by having an impromptu marriage with the bashful Charles Hamilton to save face and make her real love—Ashley Wilkes—jealous. However, soon after their wedding, Charles and all the other men in Georgia who are able to bear arms, go to war against the Yankees at the start of the Civil War. After six weeks of being in camp, Charles dies of measles. With Charles's death, Scarlett's main concern is that, in order to conform to society, she must dress in black mourning clothes and attend no parties.
Parts two and three
Scarlett moves to Atlanta to stay with her sister-in-law and Ashley’s wife, Melanie Wilkes and Melanie's Aunt Pittypat. Melanie grows to love Scarlett like a sister; however, Scarlett is very self-centered and resents Melanie. Scarlett meets Rhett Butler again while in Atlanta; he is attentive to her and she uses him (and his money) when it is convenient. Rhett has a bad reputation and is "not received" in polite society. Ashley is able to come home for Christmas from the war and stay with the ladies. At the end of his stay, Scarlett promises him that she will keep Melanie safe. With the help of Rhett and her personal slave, Prissy, Scarlett delivers Melanie's child Beau in the middle of a battle and leads Melanie, the baby and Prissy to safety back at Tara. The Civil War is ending and the northern army is marching through Georgia laying waste to the country. Upon her arrival, Scarlett hears the news of the death of her beloved mother, Ellen, of typhoid. Scarlett stays at Tara Plantation and tries to keep it solvent and care for its inhabitants.
Part four
Scarlett hears that Tara is about to be charged an enormous amount of tax by the new corrupt local government which she cannot pay. She decides to go to Atlanta and charm Rhett into paying the bill. After offering herself to Rhett as his mistress and being refused, however, Scarlett marries Frank Kennedy, who has enough money to pay the tax on Tara. Frank is the fiancé of Scarlett's sister Suellen so she deceives him into thinking that Suellen is engaged to someone else in Clayton County.
With money borrowed from and then repaid to Rhett, Scarlett buys two timber mills and proceeds to make them very profitable. Her actions are considered very inappropriate for a woman by Atlanta society. As she travels home from it one night, she is attacked. Frank, Ashley, and many other men in the newly formed Ku Klux Klan avenge her attack. In the fight, Frank is killed.
A few months later Scarlett marries Rhett, who has become very rich by dubious means during the War.
Part five
Scarlett and Rhett start to enjoy their new life together. They have a child named Eugenia Victoria "Bonnie Blue" Butler, who becomes Rhett’s pride and joy. They live happily until Scarlett’s old infatuation with Ashley takes over. When Bonnie is killed in a riding accident Scarlett in the first flush of grief tells Rhett that she blames him. Rhett is heartbroken over the death of his beloved daughter. He drinks heavily and finally decides, after the death of Melanie Wilkes, to leave Scarlett forever. However, Scarlett realizes that she loves Rhett and never truly loved Ashley, but merely an idea of him. She confesses this to Rhett, but he is adamant. The book ends on an ambiguous note, as she decided to return to the familiarity of her beloved Tara, where she will find a way to win Rhett back: "Tomorrow is another day!".
Characters
Butler family
* Rhett Butler – Scarlett's love interest and third husband, often publicly shunned for scandalous behavior, sometimes accepted for his charm. He is financially a very shrewd man and initially appears to love Scarlett dearly.
* Eugenia Victoria "Bonnie Blue" Butler – Scarlett and Rhett's pretty, beloved daughter.
Wilkes family
* Ashley Wilkes – The gallant Ashley married his unglamourous cousin, Melanie, because she represented all that he loved and wanted in life, that is, the quiet and happy life of a Southern gentleman of the "Twelve Oaks" plantation. Ashley Wilkes marries Melanie Hamilton as an arranged marriage between the Wilkes-Hamilton families; in which the marriage of cousins (which Ashley and Melanie are) is the practice; when necessary to preserve the blood line and social position of the family. As such, Wilkes is not, in the strictest sense, brought to marriage by love, money, or sexual infatuation; but by a sense of duty to preserve the socio-economic status quo of a world which he personally enjoys and agrees with; and believes this marriage will support and sustain.
Wilkes becomes a soldier for the Confederate cause though he personally would have freed the slaves his father owned had the war not erupted, or at least that is what he claimed. Although many of his friends and relations were killed in the Civil War, Ashley survived to see its brutal aftermath. He remains the object of Scarlett's daydream of infatuated devotion, even throughout her three marriages. She is simply obsessed with unobtainable Ashley. Believing that she was in love with him, Scarlett imagined Ashley to be the "perfect man", leaving her unable to love another.
* Melanie Hamilton Wilkes – Ashley's wife and cousin, her character is that of the genuinely humble, serene and gracious Southern woman. As the story unfolds, Melanie becomes progressively physically weaker, first by childbirth, then the effects of war, and ultimately illness. She had her own unique inner spirit of perseverance, as did Scarlett. Melanie loved Ashley, Beau, and Scarlett unwaveringly, and dutifully supported the Confederate cause, revealing the naivete of her character.
* Beau Wilkes – Melanie's and Ashley's lovable son.
* India Wilkes – Ashley's sister. Almost engaged to Stuart Tarleton, she bitterly hates Scarlett for stealing his attention before he is killed at Gettysburg. Lives with Aunt Pittypat after Melanie kicks her out for accusing Scarlett and Ashley of infidelity.
* Honey Wilkes – another sister of India and Ashley. Originally hoped to marry Charles Hamilton until Scarlett marries him; following the war, she marries a man from Mississippi, and moves to his home state with him.
* John Wilkes – Owner of Twelve Oaks Plantation and patriarch of the Wilkes family. Killed during the Civil War.
O'Hara family
* Scarlett O'Hara – The wilful protagonist of the novel, whose travails the novel follows throughout war and reconstruction. She marries Charles Hamilton, Frank Kennedy and Rhett Butler, all the time wishing she was married to Ashley Wilkes instead. She has three children, one from each husband: Wade Hampton Hamilton (son to Charles Hamilton), Ella Lorena Kennedy (daughter to Frank Kennedy) and Eugenia Victoria "Bonnie Blue" Butler (deceased daughter to Rhett Butler).
* Gerald O'Hara – Scarlett's impetuous Irish father.
* Suellen O'Hara – Scarlett's selfish sister.
* Carreen O'Hara – Scarlett's timid, religious sister who, in the end of the story, joins a convent.
* Ellen O'Hara – Scarlett's gracious mother, of French ancestry.
Other characters
* Mammy – Scarlett's nurse from birth; a slave. Cited by Rhett as "the real head of the household." She has a no-nonsense attitude and is outspoken and opinionated. She chastises Scarlett often. She is extremely loyal to the O'Haras, especially Scarlett, whom she cares for like a daughter.
* Prissy – A young slave girl who features in Scarlett's life. She is portrayed as flighty and silly.
* Pork – The O'Hara family's butler, favored by Gerald.
* Dilcey – Pork's wife, a strong, outspoken slave woman of mixed Indian and Black decent, Prissy's mother.
* Charles Hamilton – Melanie's brother, Scarlett's first husband, shy and loving.
* Frank Kennedy – Suellen's former beau, Scarlett's second husband, an older man who only wants peace and quiet. He originally asks for Suellen's hand in marriage, but Scarlett steals him to save Tara. He is portrayed as a pushover who will do anything to appease Scarlett.
* Belle Watling – a brothel madam and prostitute; Rhett is her friend. She is portrayed as a kind-hearted country woman and a loyal confederate. At one point she states she has nursing experience.
* Archie – an ex-convict and former Confederate soldier who is taken in by Melanie. Has a strong disliking for all women, especially Scarlett. The only woman he respects is Melanie.
* Jonas Wilkerson – former overseer of Tara, father of Emmie Slattery's illegitimate baby. After being dismissed because of the aforementioned he eventually becomes employed by the Freedmen's Bureau, where he abuses his position to get back at the O'Haras and becomes rich.
* Emmie Slattery – later wife of Jonas Wilkerson, whom Scarlett blames for her mother's death.
* Will Benteen – Confederate soldier who seeks refuge at Tara and stays on to help with the plantation, in love with Carreen but marries Suellen to stay on Tara, and repair her reputation. He is portrayed as very perceptive and lost half of his leg in the war.
* Aunt Pittypat Hamilton – Charles and Melanie's vaporish aunt who lives in Atlanta.
* Uncle Peter – Aunt Pittypat's houseman and driver, he is extremely loyal to Pittypat.
Setting
* Tara Plantation – The O'Hara home and plantation
* Twelve Oaks – The Wilkes' plantation.
* Peachtree Street – location of Aunt Pittypat's home in Atlanta
The novel opens in April 1861 and ends in the early autumn of 1873.
Politics
The book includes a vivid description of the fall of Atlanta in 1864 and the devastation of war (some of that aspect was missing from the 1939 film). The novel showed considerable historical research. According to her biography, Mitchell herself was ten years old before she learned that the South had lost the war. Mitchell's sweeping narrative of war and loss helped the book win the Pulitzer Prize on May 3, 1937.
An episode in the book dealt with the early Ku Klux Klan. In the immediate aftermath of the War, Scarlett is assaulted by poor Southerners living in shanties, whereupon her former black slave Big Sam saves her life. In response, Scarlett's male friends attempt to make a retaliatory nighttime raid on the encampment. Northern soldiers try to stop the attacks, and Rhett helps Ashley, who is shot, to get help through his prostitute friend Belle. Scarlett's husband Frank is killed. This raid is presented sympathetically as being necessary and justified, while the law-enforcement officers trying to catch the perpetrators are depicted as oppressive Northern occupiers.
Although the Klan is not mentioned in that scene (though Rhett tells Archie to burn the "robes"), the book notes that Scarlett finds the Klan abominable. She believed the men should all just stay at home (she wanted both to be petted for her ordeal and to give the hated Yankees no more reason to tighten martial law, which is bad for her businesses). Rhett is also mentioned to be no great lover of the Klan. At one point, he said that if it were necessary, he would join in an effort to join "society". The novel never explicitly states whether this drastic step was necessary in his view. The local chapter later breaks up under the pressure from Rhett and Ashley.
Scarlett expresses views that were common of the era. Some examples:
* "How stupid negroes were! They never thought of anything unless they were told." — Scarlett thinks to herself, after returning to Tara after the fall of Atlanta.
* "How dared they laugh, the black apes!...She'd like to have them all whipped until the blood ran down...What devils the Yankees were to set them free!" — Scarlett again thinking to herself, seeing free blacks after the war.
* However, she is kind to Pork, her father's trusted manservant. He tells Scarlett that if she were as nice to white people as she is to black, a lot more people would like her.
* She almost loses her temper when the Yankee women say they would never have a black nurse in their house and talk about Uncle Peter, Aunt Pittypat's beloved and loyal servant, as if he were a mule. Scarlett informs them that Uncle Peter is a member of the family, which bewilders the Yankee women and leads them to misinterpret the situation.
* It was mentioned that only one slave was ever whipped at Tara, and that was a stablehand who didn't brush Gerald's horse. The only time Scarlett hit a slave was when Prissy was hysterical.
* Scarlett at one point criticized Harriet Beecher Stowe's Uncle Tom's Cabin, saying no one treated their slaves that badly.
Inspirations
As several elements of Gone with the Wind have parallels with Margaret Mitchell's own life, her experiences may have provided some inspiration for the story in context. Mitchell's understanding of life and hardship during the American Civil War, for example, came from elderly relatives and neighbors passing war stories to her generation.
While Margaret Mitchell used to say that her Gone with the Wind characters were not based on real people, modern researchers have found similarities to some of the people in Mitchell's own life as well as to individuals she knew or she heard of. Mitchell's maternal grandmother, Annie Fitzgerald Stephens, was born in 1845; she was the daughter of an Irish immigrant, who owned a large plantation on Tara Road in Clayton County, south of Atlanta, and who married an American woman named Ellen, and had several children, all daughters.
Many researchers believe that the physical brutality and low regard for women exhibited by Rhett Butler was based on Mitchell's first husband, Red Upshaw. She divorced him after she learned he was a bootlegger amid rumors of abuse and infidelity. Some believe he was patterned on the life of George Trenholm.
After a stay at the plantation called The Woodlands, and later Barnsley Gardens, Mitchell may have gotten the inspiration for the dashing scoundrel from Sir Godfrey Barnsley of Adairsville, Georgia.
Belle Watling was based on Lexington, Kentucky, madam Belle Brezing.
Martha Bulloch Roosevelt, the mother of US president Theodore Roosevelt may have been an inspiration for Scarlett O'Hara. Roosevelt biographer David McCullough discovered that Mitchell, as a reporter for The Atlanta Journal, conducted an interview with one of Martha's closest friends and bridesmaid, Evelyn King Baker, then 87. In that interview, she described Martha's physical appearance, beauty, grace, and intelligence in detail. The similarities between Martha and the Scarlett character are striking.
Reception
The sales of Margaret Mitchell's novel in the summer of 1936, at the virtually unprecedented price of three dollars, reached about one million by the end of December. Favorable critics found in the novel and its success an implicit rejection of what one reviewer dismissed as "all the thousands of technical tricks our novelists have been playing with for the past twenty years," while from the ramparts of the critical establishment almost universally male reviewers lamented the book's literary mediocrity and labeled it mere "entertainment." [citation needed]
Symbolism
Over the past years, the novel Gone with the Wind has also been analyzed for its symbolism and treatment of archetypes. For example, Scarlett has been characterized as a heroic figure struggling and attempting to twist life to suit her own personal wishes in society. The land is considered a source of strength, as in the plantation Tara, whose name is almost certainly drawn from the Hill of Tara in Ireland, a mysterious and poorly-understood archeological site that has traditionally been connected to the temporal and/or spiritual authority of the ancient Irish kings. It also represents the permanence of the land in a rapid changing world. Scarlett’s beautiful, perky hats take part of the symbolism as well. They show her feminine side and how she wants nothing more than to be the most attractive woman and the center of attention.
Sequels
Although Mitchell refused to write a sequel to Gone With The Wind, Mitchell's estate authorised Alexandra Ripley to write the novel Scarlett in 1991.
Author Pat Conroy was approached to write a follow-up, but the project was ultimately abandoned.
In 2000, the copyright holders attempted to suppress publication of Alice Randall’s The Wind Done Gone, a book that retold the story from the point of view of the slaves. A federal appeals court denied the plaintiffs an injunction against publication in Suntrust v. Houghton Mifflin (2001), on the basis that the book was parody protected by the First Amendment. The parties subsequently settled out of court to allow the book to be published. After its release, the book became a New York Times bestseller.
In 2002, the copyright holders blocked distribution of an unauthorised sequel published in the U.S, The Winds of Tara by Katherine Pinotti, alleging copyright infringement. The story follows Scarlett as she returns to Tara where a family issue threatens Tara and the family's reputation. In it Scarlett shows just how far she will go to protect her family and her home. The book was immediately removed from bookstores by publisher Xlibris. The book sold in excess of 2,000 copies within 2 weeks before being removed. More recently, in 2008, Australian publisher Fontaine Press re-published "The Winds of Tara" exclusively for their domestic market, avoiding U.S. copyright restrictions.
A second sequel was released in November 2007. The story covers the same time period as Gone with the Wind and is told from Rhett Butler’s perspective – although it begins years before and ends after. Written by Donald McCaig, this novel is titled Rhett Butler's People (2007).
Adaptations
Gone With The Wind has been adapted several times for stage and screen, most famously in the 1939 film starring Clark Gable and Vivien Leigh.
On stage it has been adapted as a musical Scarlett (premiering in 1972). The musical opened in the West End followed by a pre-Broadway tryout in 1973 (with Lesley Ann Warren as Scarlett). The book was again adapted as a musical called Gone With The Wind which premiered at the New London Theatre in 2008 in a production directed by Trevor Nunn.
The Japanese Takarazuka Revue has also adapted the novel into a musical with the same name. The first performance was in 1977, performed by the Moon Troupe. It has been performed several times since by the group, the most recent being in 2004 (performed by the Cosmos Troupe).
There has also been a French musical Autant en Emporte le Vent, based on the book.
Awards
The novel won the 1937 Pulitzer Prize and was adapted into an Academy Award-winning 1939 film of the same name. The book was also adapted during the 1970s into a stage musical Scarlett; there is also a 2008 new musical stage adaptation in London's West End titled Gone With The Wind. It is the only novel by Mitchell published during her lifetime. It took her seven years to write the book and a further eight months to check the thousands of historical and social references. The novel is one of the most popular books of all time, selling more than 30 million copies. Over the years, the novel has also been analyzed for its symbolism and treatment of archetypes.
Time magazine included the novel in its TIME 100 Best English-language Novels from 1923 to 2005.
1861 nián nán běi zhàn zhēng bào fā de qián xī， tǎ lā zhuāng yuán de qiān jīn xiǎo jiě hǎo sī jiā 'ài shàng liǎo lìng yī zhuāng yuán zhù de 'ér zǐ 'ài xī lì， dàn 'ài xī lì què xuǎn zé liǎo hǎo sī jiā de biǎo mèi héng héng wēn róu shàn liáng de hán mèi lán wéi zhōng shēn bàn lǚ。 hǎo sī jiā chū yú dù hèn， qiǎng xiān jià gěi liǎo hán mèi lán de dì dì chá 'ěr sī。 bù jiǔ， měi guó nán běi zhàn zhēng bào fā liǎo。 ài xī lì hé chá 'ěr sī zuò wéi zhēng bīng shàng liǎo qián xiàn。 chá 'ěr sī hěn kuài jiù zài zhàn zhēng zhōng sǐ qù liǎo。 hǎo sī jiā chéng liǎo guǎ fù， tā nèi xīn què yī zhí duì 'ài xī lì niàn niàn bù wàng。
yī tiān， zài yī cì jǔ xíng yì mài de wǔ huì shàng， hǎo sī jiā hé fēng dù piān piān de shāng rén bái ruì dé xiāng shí。 bái ruì dé kāi shǐ zhuī qiú hǎo sī jiā， dàn zāo dào tā de jù jué。 hǎo sī jiā yī xīn zhǐ xiǎng zhe qù zhuī qiú 'ài xī lì， jiēguǒ yě zāo dào jù jué。
zài zhàn zhēng zhōng， měi guó nán fāng jūn zāo dào shī bài， yà tè lán dà chéng lǐ jǐ mǎn liǎo shāng bīng。 hǎo sī jiā hé biǎo mèi hán mèi lán zì yuàn jiā rù hù shì hángliè zhào gù shāng bīng。 mù dǔ liǎo zhàn luàn dài lái de cǎn zhuàng zhī hòu， rèn xìng de hǎo sī jiā chéng shú liǎo bù shǎo。 zhè shí， cóng qián xiàn chuán lái xiāo xī， běi fāng jūn kuài dǎ guò lái liǎo， bù shǎo rén jiā jīng huáng dì táo lí jiā yuán， kāi shǐ liǎo bù 'ān dìng de liú làng shēng huó。 zhèng zài cǐ shí， hán mèi lán bù qiǎo yào shēng hái zǐ liǎo， hǎo sī jiā zhǐ hǎo liú xià lái zhào gù tā。
zài běi fāng jūn dà jūn yā jìng zhī rì， hǎo sī jiā 'āi qiú bái ruì dé bāng máng hù sòng tā hé gāng shēng xià hái zǐ de hán mèi lán huí tǎ lā zhuāng yuán。 bái ruì dé gào sù hǎo sī jiā tā bù néng mù dǔ nán fāng jūn kuì bài 'ér bù qù zhù yī bì zhī lì， tā yào cān jiā nán fāng jūn zuò zhàn， tā liú xià yī bǎ shǒu qiāng bìng hé hǎo sī jiā yōng wěn gào bié。 hǎo sī jiā zhǐ hǎo dú zì jià shǐ mǎ chē huí dào tǎ lā zhuāng yuán， ér zhè shí jiā lǐ yǐ bèi běi fāng jūn shì bīng qiǎng xiān xǐ dòng yī kōng， mǔ qīn zài jīng xià zhōng sǐ qù。 xī rì měi hǎo de jiā yuán biàn chéng liǎo huāng liáng de qī xī dì， hǎo sī jiā miàn duì zhè yī qiē bēi cǎn shí， biǎo xiàn chū liǎo nǚ rénshào yòu de jiān yì， tā jué dìng chóngjiàn jiā yuán。
bù jiǔ， zhàn zhēng jié shù liǎo。 dàn shì shēng huó yǐ rán kùn kǔ。 běi fāng lái de tǒng zhì zhě yào zhuāng yuán zhù jiǎo nà zhòng shuì， hǎo sī jiā zài jué wàng zhōng qù yà tè lán dà chéng zhǎo bái ruì dé jiè qián， què dé zhī tā yǐ bèi guān jìn jiān yù。 guī lái de tú zhōng， hǎo sī jiā yù shàng liǎo běn lái yào yíng qǔ tā mèi mèi de bào fā hù fú lán kè， wèile yào zhòng zhèn pò chǎn de jiā yè， tā piàn qǔ fú lán kè hé zì jǐ jié liǎo hūn。
hǎo sī jiā zài fú lán kè jīng yíng de mù cái chǎng fēi fǎ gù yòng qiú fàn， bìng hé běi fāng lái de shāng rén dà zuò shēng yì。 cǐ shí， bái ruì dé yòng qián huì lù cóng 'ér huī fù liǎo zì yóu。 liǎng rén 'ǒu rán pèng miàn， zài cì zhǎn kāi 'ài hèn jiāo zhì de guān xì。
fú lán kè hé 'ài xī lì yīn jiā rù liǎo fǎn zhèng fǔ de mì mì zǔ zhì， zài yī cì jí huì shí zāo běi fāng jūn bāo wéi， fú lán kè zhòngdàn sǐ wáng， ài xī lì fù shāng táo wáng， zài bái ruì dé bāng zhù xià huí dào hán mèi lán shēn biān。 hǎo sī jiā zài cì chéng wéi guǎ fù。 cǐ shí， bái ruì dé qián lái xiàng tā qiú hūn， tā zhōng yú yǔ yī zhí 'ài tā de gǎo sī yùn jūn huǒ hé liáng shí zhì fù de bái ruì dé jié liǎo hūn。 hūn hòu， fū qī 'èr rén zhù zài yà tè lán dà de háo huá zhái dǐ zhōng。 yī nián hòu， tā men de nǚ 'ér bāng nī chū shēng， bái ruì dé bǎ quán bù gǎn qíng tóu zhù dào bāng nī shēn shàng。 hǎo sī jiā 'ǒu rán fān yuè 'ài xī lì de zhào piàn bèi bái ruì dé fā xiàn， zhōng yú dǎo zhì liǎo 'èr rén gǎn qíng de pò liè。 qí hòu， zài 'ài xī lì de shēng rì huì qián xī， hǎo sī jiā yǔ 'ài xī lì xiāng jiàn shí rè qíng de yōng bào yǐn qǐ bàng rén fēi yì， hán mèi lán suī rán bù xiāng xìn tā men zhī jiān yòu 'ài mèi guān xì， dàn bái ruì dé què xīn shēng huái yí。
dāng hǎo sī jiā gào sù bái ruì dé tā yǐ jīng zài cì huái yùn shí， bái ruì dé huái yí dì wèn nà shì shuí de hái zǐ， hǎo sī jiā zài xiū nù zhī xià yù dǎ bái ruì dé， què bù shèn gǔn xià lóu tī yǐn qǐ liú chǎn。 bái ruì dé gǎn dào nèi jiù， jué xīn tóng hǎo sī jiā yán guī yú hǎo， bù liào jiù zài tā liǎ tán huà shí， xiǎo nǚ 'ér bāng nī zài qí mǎ shí yì wài zhuì dì 'ér sǐ。 yǔ cǐ tóng shí bù xìng de shì yě zài lìng yī gè jiā tíng lǐ fā shēng， hán mèi lán zhōng yīn cāo láo guò dù wò bìng bù qǐ。 lín zhōng qián， tā bǎ zì jǐ de zhàng fū 'ài xī lì hé 'ér zǐ tuō fù gěi hǎo sī jiā， dàn yào qiú tā bǎo shǒu zhè gè mì mì， hǎo sī jiā bù gù yī qiē pū xiàng 'ài xī lì de huái zhōng， jǐn jǐn yōng bào zhù tā， zhàn zài yī bàng de bái ruì dé wú fǎ zài rěn shòu xià qù， zhǐ hǎo zhuǎn shēn lí qù。 miàn duì shāng xīn yù jué háo wú fǎn yìng de 'ài xī lì， hǎo sī jiā zhōng yú míng bái， tā 'ài de 'ài xī lì qí shí shì bù cún zài de， tā zhēn zhèng xū yào de shì bái ruì dé。
dāng hǎo sī jiā gǎn huí jiā lǐ gào sù bái ruì dé， tā shì zhēn zhèng 'ài tā de shí hòu， bái ruì dé yǐ bù zài xiāng xìn tā。 tā jué xīn lí kāi hǎo sī jiā， fǎn huí lǎo jiā qù xún zhǎo měi hǎo de shì wù， bèi yí qì de hǎo sī jiā zhàn zài nóng wù mí màn de yuàn zhōng， xiǎng qǐ liǎo fù qīn céng jīng duì tā shuō guò de yī jù huà：“ shì jiè shàng wéi yòu tǔ dì yǔ míng tiān tóng zài。” tā jué dìng shǒu zài tā de tǔ dì shàng chóngxīn chuàng zào xīn de shēng huó， tā qī pàn zhe měi hǎo de míng tiān de dào lái。
《 piāo》 - zhù yào yǎn yuán jiè shào
kè lā kè · gài bù 'ěr
kè lā kè · gài bù 'ěr kè lā kè · gài bù 'ěr
kè lā kè · gài bù 'ěr， 1901 nián chū shēng yú měi guó 'é hài 'é zhōu de nóng cūn xiǎo zhèn， mǔ qīn zài tā shí gè yuè dà shí biàn qù shì liǎo， fù qīn zài tā sān suì shí lìng qǔ tú shū guǎn zhí yuán zhēn nī wéi jì mǔ。 zhēn nī wú suǒ chū， shì kè lā kè． gài bó rú qīn shēng zǐ。 shí sì suì shí， fù qīn mài diào tián chǎn， dào 'ào kè lā hé mǎ zhōu qù dāng yóu jǐng gōng rén， kè lā kè bù yuàn yì suí fù qīn bān jiā， nǎi lí jiā chū zǒu， dào dāng dì de yī jiā jù yuàn dǎ gōng， cóng cǐ zhǎn kāi liǎo tā rì hòu de yǎn yì shēng yá。 jiù wài xíng 'ér lùn， kè lā kè． gài bó bìng bù suàn shì yīng jùn xiǎo shēng， zhù yào shì yòu yī duì tè dà hào de zhāo fēng 'ěr。 zài tā tóu shēn diàn yǐng jiè cān jiā shì jìng shí， céng xiān hòu bèi mǐ gāo méi gōng sī fù zǒng cái 'ài wén tài 'ěr bó gé qǔ xiào tā yòu yī shuāng biān fú chì bǎng yī yàng de dà 'ěr duǒ， léi háo píng gōng sī lǎo bǎn huò huá xiū sī gèng kè bó dì shuō tā de 'ěr duǒ xiàng yī liàng dǎ kāi liǎo liǎng shàn mén de jì chéng chē。 suī rán zhè xiē yǐng tán dà hēng bìng bù xīn shǎng kè lā kè． gài bó， dàn nǚ tóng bāo què 'ài tā 'ài dé yào sǐ。 shǒu xiān shì nián líng bǐ gài bó dà liǎng suì de nǚ yǎn yuán fǎ lán xī sī dù fú nà。 tā liǎ zài bō tè lán chéng dìng hūn hòu， dù fú nà jiù jī jí dì yùn yòng zì jǐ de guān xì wéi gài bó dǎ tiān xià， ān pái tā zài xīn xì zhōng yǎn chū juésè， yòu jiè shào tā rèn shí xì jù juàn zhōng yòu tóu yòu liǎn de rén wù。 gài bó yīn cǐ jié shí liǎo nián líng bǐ tā dà shí sì suì de zī shēn nǚ yǎn yuán yuē sè fēn dí lún， tā tóng shí yě shì jù tán zhù míng de yǎn jì zhǐ dǎo， mén shēng shèn duō。 gài bó zài dí lún nǚ shì de dà lì yǐn jiàn xià， yǎn chū jī huì zēng jiā liǎo bù shǎo。 tā zài tóu táo bào lǐ zhī xià， pāo qì liǎo wèi hūn qī， yú 1924 nián yǔ yuē sè fēn dí lún jié hūn。
cānyù zuò pǐn：
《 yú lè shì jiè xù jí》 (1976)、《 mǐ gāo méi gōng sī de xǐ jù diàn yǐng huí gù》 (1964)、《 bì gǎng yàn yù》 (1960)、《 tài píng yáng qián tǐng zhàn》 (1958)、《 jiào shī zhī liàn》 (1958)、《 jīn hàn yàn nú》 (1957) děng
fèi wén · lì
fèi wén · lì（ VivienLeigh)(1913 nián 11 yuè 5 rì－ 1967 nián 7 yuè 7 rì )。 yuán míng fèi wén · mǎ lì · hā tè lì（ VivienMaryHartley）， yīng guó diàn yǐng yǎn yuán。 tā chéng gōng dì shì yǎn《 luàn shì jiā rén》 de sī jiā lì · ào hā lā hé《 yù wàng hào jiē chē》 de bù lán qí · dù bō yǐ sī， liǎng dù huò dé 'ào sī kǎ zuì jiā nǚ zhùjué。 1999 nián， tā bèi měi guó diàn yǐng xué huì xuǎn wéi bǎi nián lái zuì wěi dà de nǚ yǎn yuán dì 16 míng。
fèi wén · lì fèi wén · lì
zhù yào zuò pǐn：
1965《 yú rén chuán》 1951《 yù wàng hào jiē chē》（ huò 'ào sī kǎ zuì jiā nǚ zhùjué jiǎng） 1946《 CaesarandCleopatra》 1941《 hàn mǐ dēng fū rén》 1940《 21Days》 1940《 hún duàn lán qiáo》 1939《 luàn shì jiā rén》 《 piāo》（ huò 'ào sī kǎ zuì jiā nǚ zhùjué jiǎng） 1938《 SidewalksofLondon》 1937《 StorminaTeacup》 1937《 DarkJourney》 1937《 FireOverEngland》
《 piāo》 - jīng diǎn piàn duàn
ruì dé lí kāi hǎo sī jiā hòu， ScarlettO’ Hara zuì hòu zuò zài lóu tī de tái jiē shàng shuō héng héng“ Afterall， tomorrowisanotherday。”
sī jiā zài huí dào bèi huǐ de jiā yuán hòu , zài shān tóu shàng shuō ----“ shàng dì wèiwǒ zuò zhèng , shàng dì wèiwǒ zuò zhèng , běi lǎo xiū xiǎng jiāng wǒ zhěng kuǎ . děng 'áo guò liǎo zhè yī guān , wǒ jué bù zài rěn jī 'ái’è , yě jué bù zài ràng wǒ de qīn rén rěn jī 'ái’è liǎo , nǎ pà ràng wǒ qù tōu , qù qiǎng , qù shā rén . qǐng shàng dì wèiwǒ zuò zhèng , wǒ wú lùn rú hé dōubù zài rěn jī 'ái’è liǎo !”
diǎn píng
yòu rén shuō zhè bù diàn yǐng zuì jīng diǎn de chǎng miàn shì ScarlettO’ Hara zài zhàn zhēng hòu huí dào bèi huǐ de jiā yuán， zài yuán zhōng shǒu wò hóng tǔ fā shì， wú lùn qù tōu qù qiǎng dōubù huì ràng jiā rén 'ái’è nà duàn， yīn wéi nà shí tā de yǎn shén hé biǎo qíng zhēn de tè bié zhèn hàn rén。 zhè yàng shuō wǒ yě bù fǎn duì， yīn wéi zhè shí zài shì yī bù tài jīng diǎn de piānzǐ， jīng diǎn de chǎng miàn tài duō， gè rén yòu gè rén de piān 'ài。 wǒ dǎo shì qíng yuàn xuǎn zé zhè gè： yǐ hòu， míng tiān jiù shì xīn de yī tiān liǎo。 shénme shì 'ài？ shénme shì hèn？ ài hé hèn kě yǐ xiàng liǎng tiáo yǒng bù xiāng jiāo de píng xíng xiàn， ài hé hèn yě kě néng zhǐ xū yào yī lǚ yáng guāng jiù kě yǐ xiāo róng。 zhēn xī yōng yòu de rén shì xìng fú de， yīn wéi wǒ men zǒng shì bìng bù què qiē zhī dào wǒ men xū yào de dào dǐ shì shénme。 tài duō de rén zhǐ yòu zài shī qù de shí hòu， cái zhī dào qù zhēn xī。 tài gē 'ěr yòu yī jù shī wǒ tè bié xǐ huān： rú guǒ cuò guò tài yáng shí nǐ liú lèi liǎo， nà me nǐ yě jiāng cuò guò xīng xīng liǎo。 lì jìn cāng sāng， nǐ yào xué huì hū lüè guò qù。 yīn wéi héng héng tomorrowisanotherday。
“ bù yào bù cí 'ér bié， wǒ de 'ài rén。
wǒ kàn wàng liǎo yī yè， xiàn zài wǒ liǎn shàng shuì yì chóngchóng。
zhǐ kǒng wǒ zài shuì zhōng bǎ nǐ diū shī liǎo。
bù yào bù cí 'ér bié， wǒ de 'ài rén。
wǒ jīng qǐ shēn chū shuāng shǒu qù mō chù nǐ， wǒ wèn zì jǐ shuō：
“ zhè shì yī gè mèng me？ "
dàn yuàn wǒ néng yòng wǒ de xīn xì zhù nǐ de shuāng zú， jǐn bào zài xiōng qián！
bù yào bù cí 'ér bié， wǒ de 'ài rén。”
héng héng tài gē 'ěr《 yuán dīng jí》
《 piāo》 - rén wù xìng gé
sī jiā lì
yī gè māo yī yàng de nǚ rén。 yòu zhe māo yī yàng de mù guāng， māo yī yàng de wēi xiào， māo yī yàng de bù fá hé māo yī yàng de mǐn jié。 nà me， zhè gè māo yī yàng de nǚ rén tí gōngjǐ wǒ men shì zěn yàng de yī xiē duì dài shēng huó、 duì dài 'ài qíng、 duì dài kùn nán hé cuò zhé de tài dù hé jīng yàn ní？
luàn shì jiā rén luàn shì jiā rén
dì yī tā zài kùn nán de shí hòu gǎn yú chéng dān zé rèn， suī rán yě yòu dòng yáo， dàn zuì hòu réng rán chéng dān zé rèn , bǐ rú tā jiù liǎo méi lán nī， tā zhòng zhèn tǎ lā zhuāng yuán , hòu lái cháng qī fú zhù 'ā xī lǐ yī jiā děng děng。
dì 'èr tā gǎn yú qù 'ài、 wú yuàn wú huǐ， tā de zhěng gè qīng chūn dōuzài 'ài zhe 'ā xī lǐ， méi yòu huí bào dàn tā réng méi yòu fàng qì nǔ lì， zhí dào néng lì de jí xiàn wéi zhǐ。
dì sān zhī cuò néng gǎi， dāng tā zuì hòu míng bái tā zhī qián suǒ wèishì cuò wù shí， tā mǎ shàng xiàng ruì tè dào qiàn， qǐng qiú yuán liàng。
zǒng de lái shuō， sī jiā lì kān chēng jīn guó bù ràng xū méi de qí nǚ zǐ， rén zhōng lóng fèng， nán guài ruì tè zhè yàng de niú rén yě bài dǎo zài tā de shí liú qún xià。 měi cì kàn《 luàn shì jiā rén》， měi cì dōuyòu bù tóng de shōu huò。 nián qīng shí kàn， tǎo yàn xū róng 'ài chū fēng tóu de sī jiā lì， xǐ huān chún jié shàn liáng de méi lán nī， bù xǐ huān yóu qiāng huá diào de ruì tè bā tè lè， xǐ huān wēn wén 'ěr yǎ de 'ā xī lǐ， xǐ huān nán fāng rú huà de jǐng zhì hé tián yuán mù gē shì de shēng huó， bù xǐ huān běi fāng de fú huá hé fàng dàng。 hòu lái kàn liǎo duō cì zhī hòu， bù yóu dé duì sī jiā lì jìng pèi qǐ lái， yuán běn shì yī gè ruò nǚ zǐ， rèn xìng 'ér nián qīng， dì yī cì jié hūn shì yī shí de chōng dòng bào fù， jià gěi liǎo bù 'ài de nán hái， ràng zì jǐ chéng wéi liǎo nián qīng de guǎ fù。 dì 'èr cì jié hūn shì wéi liǎo yī jiā rén de shēng cún， qiǎng zǒu liǎo mèi mèi de xīn shàng rén， kěn ní dí。 kěn ní dí suī rán shì yī gè bàn lǎo tóu zǐ， què bù shì sī jiā lì de duì shǒu， miàn duì tā de lěng kù hé wú qíng， tā shù shǒu wú cè。 zuì zhōng wèile sī jiā lì chàdiǎn zāo shòu de wǔ rǔ qù bào fù qióng bái rén 'ér bèi rén jī bì， bù xìng wǎng sǐ， què cóng wèi xiǎng shòu guò sī jiā lì de yī diǎn 'ài。 yú shì sī jiā lì zài cì chéng wéi guǎ fù， ér qiě hái shì gè yòu qián de guǎ fù。 zài nà gè zhàn huǒ fēn fēi de nián dài， wèile dāyìng guò 'ā xī lǐ zhào gù méi lán nī de yī jù chéng nuò， zài běi jūn jiù yào gōng zhàn yà tè lán dà de shí hòu， sī jiā lì yòu guǒ duàn dì tì méi lán nī jiē shēng， bìng zhǎo dào ruì tè chōng pò chóngchóng zǔ 'ài hé guānqiǎ， huí dào liǎo xiāng xià lǎo jiā－－ tǎ lā zhuāng yuán。 zài yòu jī yòu 'è zhī shí， tā yòu zāo shòu liǎo mǔ qīn bìng wáng、 fù qīn chī dāi、 jiā lǐ bèi jié， yī qióng 'èr bái de duō zhòng dǎ jī， tā bù qū bù náo， dài tóu zhòngtián gànhuó， hèlìng mèi mèi xià chuáng zhāi mián huā， bìng zhào gù méi lán nī hé xiǎo bō， zhī chēng yī jiā rén de shēng jì， nà shí tā dǐng duō yě bù guò shì gè 'èr shí lái suì de xiǎo gū niàn， běn yìng shì gè zài mǔ qīn huái lǐ sǎ jiāo de xiǎo gū niàn。 kě shì miàn duì rú cǐ jù dà de kùn nán， tā méi yòu xuǎn zé táo bì， ér shì yǒng gǎn tiǎo qǐ jiā lǐ de zhòng dān， yǐ cháng rén nán yǐ qǐ jí de yì lì kàng zhēng mìng yùn， měi měi kàn dào sī jiā lì jǔ zhe luóbo xiàng tiān méng shì， jué bù yuàn ràng jiā rén zài shòu kǔ 'ái’è shí， wǒ zǒng shì jué dé pāi piàn dǎo yǎn duì guāng xiàn hé bèi jǐng de yùn yòng shì nà me qiǎo miào hé yì shù， tā nà me shēng dòng dì kè huá liǎo sī jiā kě wàng 'ān dìng、 kě wàng shēng cún、 kě wàng fù yù de qiáng liè 'ér zhēn shí de nèi xīn qíng gǎn。 wǒ jué dé nà shí de tā， yǐ wán chéng liǎo zuì jiān nán de shàn biàn， yóu yī zhǐ chǒu lòu de máo máo chóng pò jiǎn 'ér chū biàn chéng liǎo měi lì de dié， zì yóu 'ér gāo guì， nà shí de sī jiā jiù xiàng yī gè nǚ shén－－－ kě wàng fù yòu、 bìng wéi cǐ néng bù zé shǒu duàn de yù wàng nǚ shén。
gāng qiáng、 jiān rèn
wú lùn shì miàn duì zhàn zhēng de fèi xū hé xiāo yān、 mǔ qīn hé fù qīn de qù shì、 shēng huó de pín qióng jiān nán hái shì nǚ 'ér de yāo zhé， zài hé tā chéng shòu tóng yàng de tòng kǔ hé jiān nán de rén men dāng zhōng， tā dōushì zuì gāng qiáng、 zuì jiān rèn de yī gè hé zuì xiān cóng tòng kǔ hé jiān nán zhōng zǒu chū lái de yī gè。 dāng sī jiā lì miàn duì zhe yǐ shì mǎn mù shāng hén tài lè zhuāng yuán shí， tā de jiān rèn hé gāng qiáng lìng tā zhè gè jiā zhōng de cháng nǚ dān qǐ jiāzhǎng de zhòng dān。 zài yǐngpiān de mò wěi， tā hái jiān dìng dì gào sù wǒ men： Tomorrowisanotherday。
xū róng
zhè yīnggāi shì yī gè biǎn yì cí liǎo， kě shì， sī jiā lì de xū róng xīn sì hū gé wài de kě 'ài， zài tā de shēn shàng， xū róng sì hū yě biàn chéng liǎo bāo yì cí。 yòu wèi míng mó céng shuō：“ nǚ hái zǐ zǒng shì yào yòu yī diǎn xū róng xīn de， wú lùn zhè xū róng xīn biǎo xiàn zài shénme fāng miàn。” dāng sī jiā lì chě xià mǔ qīn wéi yī de yí wù héng héng chuāng lián， wú lùn rú hé yě yào yòng tā zuò yī jiàn piào liàng de yī fú， hái jiāng tā pī zài shēn shàng chōng jǐng zhe xīn yī fú de yàng zǐ shí， tā de xū róng xīn shǐ tā chéng liǎo yī gè kàn qǐ lái bù xiào de nǚ 'ér， dàn tā de zhè zhǒng zuò fǎ（ yě jiù shì tā de xū róng xīn） shì dāng shí zhěng jiù quán jiā de wéi yī chū lù。 yóu xū róng xīn 'ér shǐ quán jiā réndōu yòu liǎo shēng cún xià qù de xī wàng， zhè yàng de xū róng xīn yě bù yīnggāi suàn shì zhí dé bìng qì de。
tān lán
zhè zǒng yīnggāi shì gè biǎn yì cí liǎo。 dàn shì， sī jiā lì de tān lán bù jǐn shì yòu qíng kě yuán de， zài mǒu zhǒng chéng dù shàng lái jiǎng hái shì nán néng kě guì de。 zhàn hòu de tài lè zhuāng yuán zài běi fāng jūn de kòng zhì zhī xià， mǔ qīn de qù shì hé fù qīn de bēng kuì shǐ sī jiā lì héng héng jiā zhōng de cháng nǚ dān qǐ liǎo“ jiāzhǎng” de zhòng dān。 sī jiā lì yī jiā rén guò zhe jiān xīn de shēng huó。 zhàn zhēng shǐ tā pín qióng， pín qióng jì zhī yǐ jī 'è。 rán 'ér zuì kě pà de shì wú qián jiāo shuì xiǎn xiē shī qù shēng huó lái yuán de tǔ dì， wèile jiè qián jiāo shuì， sī jiā lì gòu yǐn liǎo mèi mèi de qíng rén， jì 'ér dāng qǐ liǎo yī jiā xiǎo diàn de lǎo bǎn niàn。 zài jīng lì zhè yī qiē hòu， tā míng bái liǎo tā suǒ chù de shì yī gè shénme yàng de shè huì yǐ jí zài zhè gè shè huì zhōng qián de zhòng yào xìng。 suǒ yǐ， dāng tā yōng yòu liǎo dāng qián tā suǒ xū yào de qián zhī hòu， tā zì rán huì xiǎng yōng yòu gèng duō de qián。 zài tā zhuī qiú“ gèng duō de qián” de guò chéng zhōng， tā biǎo xiàn chū liǎo yī gè zǎo qī zī běn zhù yì de zī běn jiā suǒ bì xū jù yòu de yōu xiù pǐn zhì héng héng tān lán。
cán rěn yǔ zì sī
zhè liǎng gè cí wú lùn yòng zài shénme rén shēn shàng sì hū dū yìng gāi shì biǎo biǎn yì de cí yǔ， tè bié shì yǐ wēn hé、 shàn liáng wéi měi dé de nǚ xìng。 dàn shì， sī jiā lì de cán rěn yǔ zì sī zài mǒu zhǒng shì dù shàng què shì zhí dé bāo yáng de。 shǒu xiān， zài shè huì zhuǎn xíng de shí qī， rén de guān niàn xū yào cóng chuán tǒng de guān niàn zhuǎn biàn chéng wéi xīn xíng de、 yǔ shè huì fā zhǎn xiāng shì yìng de guān niàn。 bù néng zài dì yī shí jiān nèi zhuǎn biàn guān niàn de rén jiù shī qù liǎo lǐng dǎo shí dài de zhù dòng quán。 sī jiā lì jiù shì yī gè zài dì yī shí jiān nèi zhuǎn biàn guān niàn， jiē shòu liǎo xīn de shè huì hé shè huì zhì dù、 xīn de jià zhí guān niàn、 xīn de shēng huó fāng shì， bìng qiě chéng wéi liǎo yī gè xiǎo zī běn jiā de nǚ rén， zài zhè yī diǎn， tā shì fēi cháng liǎo bù qǐ de。 ér qiě， zài gāng gāng jiàn lì liǎo zī běn zhù yì zhì dù shí， zì sī hé cán rěn duì yú yī gè zī běn jiā lái shuō shì shēng cún hé fā zhǎn de guān jiàn。 zài zī běn zhù yì shè huì， duì shì jiè de bó 'ài yǐ jīng shì zǔ 'ài zī běn de zì shēn shēng cún hé fā zhǎn de yī gè yīn sù， cǐ shí， zì sī yǔ cán rěn jiù chéng liǎo qiáng zhě de yōu diǎn。
měi lì
sī jiā lì wèiwǒ men tí gōng liǎo yī zhǒng duì dài 'ài qíng de tài dù。 tā měi lì， dàn tā zhǐ shì shìdàng dì yùn yòng tā de měi lì lái dé dào tā suǒ xǐ 'ài de dōng xī， cóng lái bù yòng zì jǐ de měi mào lái wán nòng 'ài qíng， wú lùn shì zì jǐ de hái shì tā rén de 'ài qíng。 sī jiā lì shì měi lì de， dàn měi lì bù shì yōng yòu 'ài qíng de bì bèi tiáo jiàn héng héng nǐ kě yǐ méi yòu sī jiā lì nà yàng měi lì dòng rén， dàn nǐ yě yòu quán lì qù zhuī qiú shǔ yú zì jǐ de 'ài qíng。
zōng shàng suǒ shù， wǒ men dé chū liǎo zhè yàng de yī gè jié lùn：
sī jiā lì， māo yī yàng de nǚ rén， gāng qiáng de、 jiān rèn de、 xū róng de、 tān lán de、 cán rěn de、 zì sī de nǚ rén， nǚ rén de diǎn fàn。
sī jiā zhè gè rén， hěn kě bēi， kě bēi dào liǎo yī zhǒng kě xiào de chéng dù。
jiù xiàng tā zì jǐ yì shí dào dídí，“ tā duì tā suǒ 'ài guò de liǎng gè nán rén nǎ yī gèdōu bù lǐ jiě， yīn cǐ dào tóu lái liǎng gèdōu shī diào liǎo。 xiàn zài tā cái huǎng hū rèn shí dào， rú guǒ tā dāng chū liǎo jiě 'ài xī lǐ， tā shì jué bù huì 'ài tā de； ér rú guǒ tā liǎo jiě liǎo ruì dé， tā jiù wú lùn rú hé dōubù huì shī diào tā liǎo。”
tā yī zhí bù míng bái zhàn hòu de rén men wèishénme huì qù zhuī yì zhàn qián， zhí dào bāng nī sǐ hòu， tā cái míng bái liǎo yuán yīn， dàn shì， nǎ xiē kě yǐ yǔ tā zhuī yì guò wǎng de rén， yǐ jīng yóu yú tā zì jǐ de shū yuǎn， pái chì yǐ jīng yuè lái yuè yuǎn， ér tā de nà xiē“ xīn péng yǒu” què yě wú fǎ shǐ sī jiā gāo xīng qǐ lái。
yī zhí hěn xǐ huān ruì dé lí kāi qián de nà yī duàn huà，“ sī jiā， wǒ cóng lái bù shì nà yàng de rén， bù néng nài xīn de shí qǐ yī xiē suì piàn， bǎ tā men zhānhé zài yī qǐ， rán hòu duì zì jǐ shuō zhè gè xiū bǔ hǎo liǎo de dōng xī gēn xīn de wán quán yī yàng。 yī yàng dōng xī pò suì liǎo jiù shì pò suì liǎo héng héng wǒ nìngyuàn jì zhù tā zuì hǎo shí de múyàng， ér bù xiǎng bǎ tā xiū bǔ hǎo， rán hòu zhōng shēng kàn zhe nà xiē pò suì liǎo de dì fāng。 yě xǔ， jiǎ shǐ wǒ hái nián qīng yī diǎn héng héng kě shì wǒ yǐ jīng zhè me dà nián jì liǎo， bù néng xiāng xìn nà zhǒng chún shǔ gǎn qíng de shuō fǎ， shuō shì yī qiēdōu kě yǐ cóng tóu kāi shǐ。 wǒ zhè me dà nián jì liǎo， bù néng zhōng shēng bēizhe huǎng yán de fù dān， zài mào sì tǐ miàn dì huàn miè zhōng guò rì zǐ。 wǒ bù néng gēn nǐ shēng huó zài yī qǐ tóng shí yòu duì nǐ shuō huǎng， ér qiě wǒ jué bù néng qī piàn zì jǐ。 jiù shì xiàn zài， wǒ yě bù néng duì nǐ shuō huǎng huà 'ā！ wǒ shì hěn xiǎng guān xīn nǐ jīn hòu de qíng kuàng de， kě shì wǒ bù néng nà yàng zuò。”
rú guǒ méi yòu ruì dé， sī jiā shì bù wán zhěng de， nǎ me《 piāo》 yě jiù bù néng bèi chēng wéi“ míng zhù” liǎo。 sī jiā， zì sī， xū róng， tān lán， gāng qiáng， jiān rèn。 rú guǒ shuō zhè xiē xíng róng cí yòng zài bié rén shēn shàng， zhǐ pà quán bù dōushì biǎn yì de， dàn shì duì sī jiā 'ér yán， wǒ dǎo jué dé yòu diǎn xiàng shì bāo yì cí。 qí shí， jiù xiàng ruì dé shuō de，“ wǒ mendōu shì liú máng， wǒ mendōu shì wú lài。” tā duì yú zì jǐ yǔ sī jiā de fēn xī shì hěn tòu chè de， yě zhèng yīn wèitā de zhè xiē fēn xī，《 piāo》 cái huì bèi wú shù rén suǒ bài dú， sī jiā yě cái wán zhěng。
guān yú diàn yǐng bǎn《 piāo》 héng héng《 luàn shì jiā rén》， wǒ zhǐ néng shuō， wǒ kàn wán diàn yǐng jiù xǐ huān shàng liǎo fèi wén lì。 yīn wéi tā suǒ yǎn yì de sī jiā zhēn de jiù xiàng huó zhe de yī yàng， ràng wǒ zài yī cì gǎn shòu dào liǎo sī jiā de měi， sī jiā de yī qiē。
ruì dé
wǒ bì xū chéng rèn， duì wǒ lái shuō，《 luàn shì jiā rén》 de xī yǐn lì zhī suǒ yǐ zhè me dà， hé kè lā kè gài bó zhù yǎn de ruì tè bā tè lè jué duì yòu guān xì。
dāng rán， sī jiā lì mī zhe nà shuāng xiàng māo nà yàng de lǜ yǎn， mí rén 'ér yāo mèi， tóng yàng yě ràng rén qīng dǎo。 tā shì gè ràng nǚ réndōu néng wéi zhī shén hún diān dǎo de nǚ rén， tā zì sī、 lěng kù、 wú qíng、 cōng míng、 bù zé shǒu duàn、 jiān qiáng， què bù fá shàn liáng、 měi lì、 cuì ruò； tā shì yī gè gāo bù kě pān de nǚ shén， ràng xǔ duō nǚ réndōu mèng xiǎng zhe néng xiàng tā nà yàng， jí cái fù、 měi mào、 néng gān、 jiān qiáng yú yī shēn， ràng ruì tè nà yàng de nán rén néng gòu wéi tā 'ér qīng dǎo。 zhì shǎo wǒ céng jīng jiù nà yàng xiǎng guò。 dàn wǒ rèn wéi， ruì tè gěi wǒ men zhè xiē nǚ xìng guān zhòng dài lái de què gèng duō shì duì 'ài qíng hé hūn yīn de tián měi huàn xiǎng， tā shì nà me xiāo sǎ tì tǎng， nà me wán shì bù gōng， nà me zì xìn guò rén， fù yòu bìng chōng mǎn liǎo chéng shú nán rén de mèi lì， gāi shì duō shǎo nǚ xìng xīn mù zhōng de 'ǒu xiàng 'ā。
zài zhè lǐ， jiǎn dān huí shǎn sī jiā hé ruì tè xiāng yù、 xiāng shí、 xiāng 'ài de jǐ gè piàn duàn， jiù néng ràng rén duì ruì tè 'ài wǒ suǒ 'ài， jiān chí zì 'ér， fù yòu gè xìng de nán xìng mèi lì yìn xiàng shēn kè：
piàn duàn yī： ruì tè dì yī cì jiàn dào sī jiā lì shì zài shí 'èr xiàng shù yuán de shāo kǎo huì shàng。 sī jiā lì xiàng suǒ yòu de nán shì mài nòng fēng qíng， què fā xiàn ruì tè zhèng zhù yì tā， sī jiā lì xiàng shēn biān de nǚ bàn bào yuàn shuō：“ tā kàn wǒ de yàng zǐ， jiù xiàng wǒ méi chuān yī fú” kě jiàn ruì tè gěi rén de gǎn jué bù shì wēn wén 'ěr yǎ， fù yòu shēn shì fēng dù， duì shì shì de yòu zhǒng bié rén suǒ bù jù bèi de qiáng dà dòng chá lì hé yǐng xiǎng lì， biǎo míng liǎo tā yǔ yī bān de nán fāng nán rén bù tóng diǎn： xiàn shí、 dà dǎn 'ér fù yòu jìn gōng xìng， dāng tā duǒ zài shū fáng lǐ tōu tīng sī jiā lì dà dǎn dì xiàng 'ā xī lǐ biǎo lù 'ài mù， dàn yīn zāo dào wǎn jù， tā qì jí bài huài dì shān liǎo 'ā xī lǐ yī gè 'ěr guāng， bìng zá suì liǎo yī gè xiǎo huā píng shí， tā chuī liǎo yī gè kǒu shào， yú shì tā bèi sī jiā lì zhǐ zé wéi bù shì yī gè shēn shì， ér tā tóng shí yě fǎn chún xiāng jī sī jiā lì bù shì yī gè zhēn zhèng de shū nǚ， ràng sī jiā lì qì jí。 liǎ rén dì yī cì xiāng jiàn jiù shì yī cì 'ài qíng de jiāo fēng。
piàn duàn 'èr： sī jiā lì yīn chá 'ěr sī bìng wáng dào yà tè lán dà sàn xīn， zhèng zài fúsāng de tā， shí fēn kě wàng néng zài dù fēi xuán yú wǔ chí zhōng， biǎo xiàn liǎo tā zài nèi xīn lǐ duì wú jū wú shù、 zì yóu shēng huó de xiàng wǎng hé chōng jǐng。 shì ruì tè kàn chū liǎo tā de xīn sī， bìng chū zhòng jīn tì tā qiào kāi liǎo nà gè yā yì 'ér chén mèn de shè huì dào dé qiú lóng， shǐ tā zǒu shàng liǎo hé bié de nán fāng nǚ rén zuì bù xiāng tóng de mìng yùn zhī lù。 zhè zhèng shì sī jiā lì fǎn pàn jiù de shè huì dào dé biāo zhǔn mài chū de guān jiàn xìng yī bù， ér zhè yī bù， rú guǒ méi yòu ruì tè 'àn zhōng piàn duàn sān： ruì tè wèile bāng zhù sī jiā lì chóngfǎn gù lǐ， pīn sǐ nòng liǎo yī pǐ shēn fù zhòng shāng de lǎo mǎ， bìng bāng zhù tā bǎ méi lán nī bào dào mǎ chē shàng， tóng shí yī lù lì jīng xīn kǔ， bìng zài jí jiāng yào dào dá de shí hòu， ruì tè kàn dào xǔ duō nán fāng bīng qiánpū hòu jì， shì sǐ rú guī， shēn gǎn zhèn hàn， bìng jué dìng shàng zhàn chǎng， wéi bǎo wèi jiā yuán jìn yī fèn lì。 zhè shí kě yǐ kàn chū， wèile xīn 'ài de nǚ rén， tā néng chū shēng rù sǐ； tóng yàng， miàn lín jiā yuán bèi huǐ zhī jìng， tā yě shì yī gè rè xuè zhī rén， dǎo yǎn zài zhè lǐ cái xiàng wǒ men miáo huì liǎo yī gè shēn cáng zài píng rì wán shì bù gōng wài biǎo xià， yě jù yòu yī kē wéi róng yù gān sǎ rè xuè zhī xīn de diǎn xíng nán fāng nán xìng de xíng xiàng。 zài zhè lǐ wǒ men kàn dào， suī rán ruì tè píng rì lǐ fēi cháng jīng míng、 xiàn shí， dàn tā gǔ zǐ lǐ qí shí hái shì yī gè nán fāng rén。
piàn duàn sì： ruì tè zài jīng lì liǎo sàng nǚ zhī tòng hé sī jiā lì zài jīng shén shàng de bèi pàn hòu， miàn duì méi lán nī de zhī sǐ， duì yī qiēdōu huī xīn shī wàng zhì jí， huí jiā shōu shí xíng lǐ， fǎn huí zì jǐ de gù xiāng， chá 'ěr sī dùn。 dāng yú chǔn de sī jiā lì zuì hòu fā xiàn zì jǐ yǐ shēn 'ài ruì tè shí， cái fā xiàn yǐ zuì zhōng shī qù liǎo zì jǐ zuì xīn 'ài de rén。 ruì tè zuì hòu zǒude shí fēn gān cuì， ràng sī jiā lì shēn gǎn 'ào huǐ。 zhí dào zhè lǐ， wǒ men cái tīng dào nà kē céng jīng wéi 'ài 'ér róu ruǎn de xīn pò suì de shēng yīn， tóng shí yě yīn wéi pò suì 'ér duì sī jiā lì biàn dé“ lěng kù wú qíng”， zhè lǐ de ruì tè cái ràng wǒ men gǎn jué dào， zhè gè nán rén gǎn 'ài gǎn hèn， chǔlǐ shì qíng shí fēn gān cuì lì luò， jí fù nán xìng mèi lì。
ruì dé zhè gè rén gǎn 'ài gǎn hèn， jiù rú shàng wén suǒ shuō， tā bù yuàn shí qǐ pò suì de gǎn qíng， suǒ yǐ cái huì zài zuì hòu biàn dé nà me lěng kù wú qíng。 zhè gè rén wù hěn fù yòu nán xìng mèi lì， jiù xiàng sī jiā suǒ yōng yòu de nǚ xìng mèi lì， tóng yàng shǐ rén chén zuì。
tā men liǎng gè de jié hé， què shí jiù xiàng ruì dé suǒ shuō，“ zhū lián bì hé”。 dàn shì， zài ruì dé de xiàn shí yǔ sī jiā de huàn xiǎng zhōng， ruì dé shī bài liǎo， tā de gǎn qíng yě yīn cǐ zhēn zhèng de pò suì liǎo。
ér kè lā kè · gài bó de yǎn yì gèng shì wú kě tiǎo tī， zài nà zhǒng piān piān fēng dù bèi hòu de cháo nòng， zài nà zhǒng chén wěn lěng jìng bèi hòu de kuáng fàng bù jī， dōushì ràng rén pō wéi mí zuì de。
ài xī lǐ yǔ mèi lán
zài shuō shuō 'ā xī lǐ hé méi lán nī， tā men shì xiāng sì de， jù bèi nán fāng de yī qiē měi dé， yòu zhī shí， yòu wén huà， yòu sī xiǎng， yòu xiū yǎng。
méi lán nī jī běn shàng shì wán měi de， tā shàn liáng， rén cí yòu bù fá yǒng qì， sī jiā lì zhāi mián huā shí， tā xiǎng bāng máng， sī jiā lì shā rén shí tā yě bāng máng， chú liǎo ruì tè， tā shì sī jiā lì de lìng yī gè zhī chí zhě。 wǒ zuò guò xiǎo fàn wéi de diào chá， xiān kàn shū de jī běn dū xǐ huān sī jiā lì， ér xiān kàn diàn yǐng de zé xǐ huān méi lán nī。 wǒ jué dé měi lán nī tài hǎo liǎo， hǎo dé bù zhēn shí， ér sī jiā lì shì yòu xuè yòu ròu de， shì zhēn shí de， yòu quē diǎn yě yòu yōu diǎn。
ā xī lǐ shì zhēn shí de， tā shì gè huó zài guò qù de rén， shí shì biàn qiān， tā bù xiǎng miàn duì， tā shì quē fá yǒng qì de。 tā bù 'ài sī jiā lì， yòu bù shuō bù 'ài tā。 sī jiā lì zǒu tóu wú lù zhǎo tā shí tā zhǐ gěi liǎo tā zhuāng yuán de hóng tǔ， hòu lái zhī dào sī jiā lì mài liǎo zì jǐ， tā shuō tā gāi qù qiǎng jié， tā yě zhǐ shì shuō shuō bā， gū jì bù huì qù de， zhè yī diǎn， tā què shí bù rú tuō zhe jūn dāo xiǎng bāng sī jiā lì duì fù táo bīng de měi lán nī。
luàn shì jiā rén lǐ de rén wù dōushì wán měi de， rú guǒ méi yòu měi lán nī de shū nǚ fēng fàn， zěn néng tǐ xiàn chū sī jiā lì de jié 'ào bù xùn。 méi yòu 'ā xī lǐ de nuò ruò， zěn néng tǐ xiàn chū ruì dé de fēng fàn ní？
sī jiā lì de nǎi mā . mǎ gé lì tè
wēn nuǎn， kě kào， ān quán。 xiàng mǔ qīn yī yàng shí kè bǎo hù tā de hái zǐ sī jiā lì。
lǐ zhì， cōng míng， xiàn shí 'ér qiě lěng jìng， dài yī xiē hēi rén de jiǎo huá。 tā dǒng sī sī jiā lì， zhī chí tā， ài tā， suī rán méi yòu duō shuō shénme， dàn shì tā yī zhí shì sī jiā lì de kào shān， jiān qiáng yòu lì。
zhōng chéng， gù zhí， kě 'ài。 duì zì jǐ de bǎo bèi， nà shì bù gù yī qiē de qù bǎo hù； suī rán zhǐ shì yī gè jiā nú， dàn tā yòu zì jǐ suǒ yào wéi hù de chù shì yuán zé。
hēi rén nǎi mā de xíng xiàng kè huà de fēi cháng chéng gōng。 yóu cǐ bàn yǎn hēi mā de yǎn yuán hā dì · mài kè dān ní 'ěr (HattieMcDaniel） zhàn shèng liǎo 'ào lì wéi yà ( méi lán nī ) huò dé liǎo dì shí 'èr jiè 'ào sī kǎ zuì jiā nǚ pèijué jiǎng， jù shuō shì lì shǐ shàng dì yī gè huò dé 'ào sī kǎ jiǎng de hēi rén。 hā dì jiāng qí tè yòu de yōu mò gǎn zhù rù nǎi mā mǎ gé lì tè yī xíng xiàng zhōng， tái cí niàn dé wán měi wú quē， yǔ sī jiā lì de bàn yǎn zhě fèi wén lì pèi hé mò qì， yóu rú lǜ yè fú hóng huā， jiēguǒ liǎng rén shuāng shuāng huò jiǎng。 yóu yú nǎi mā yī jiǎo de chéng gōng， hā dì hòu lái jīhū lǒng duàn liǎo yín mù shàng suǒ yòu de hēi rén bǎo mǔ juésè， zài xǔ duō yǐngpiān lǐ kě yǐ kàn dào tā nà féi pàng、 wēn shùn、 ráo shé de xíng xiàng。
《 piāo》 - mù hòu huā xù
shí dài bèi jǐng： měi guó nèi zhàn；
dì diǎn： měi guó nán fāng；
xì jù gāo cháo： huǒ shāo yà tè lán dà。
zài rú cǐ zhuàng lì de shí dài huà juàn shàng yǎn yì chū yī gè jí bù xún cháng de 'ài qíng gù shì， kāi chuàng liǎo yǐ zhēn shí 'ér liáo kuò de lì shǐ bèi jǐng jiā xū gòu rén wù gù shì de 'ài qíng shǐ shī piàn xiān hé ( gāi chuán tǒng fā zhǎn chū《 rì wǎ gē yī shēng》 hé《 tài tǎn ní kè hào》 děng jiā zuò )。 zhè bù zǎo qī de cǎi sè piàn bǎo chí liǎo mǎ gé lì tè · mǐ qiē 'ěr yuán zhù de yùn wèi hé shēn dù， jì yòu sè cǎi hún hòu de dà chǎng miàn ( rú nǚ zhùjué kuà guò biàn dì shāng yuán de jìng tóu )， yòu yòu duì rén wù mìng yùn de xì zhì kè huà ( qǐng zhù yì hēi rén nǚ pú de xìng gé )。 wú lùn nǐ rèn wéi sù cái xiàng suō wēng míng jù hái shì xiàng yōng sú féi zào jù， yǐngpiān qǔ dé jīng rén de yì shù hé shāng yè chéng jiù。 yīng wén piàn míng《 piāo》 ( jí《 suí fēng 'ér qù》 ) chū zì měi guó shī rén 'ōu nèi sī tè · dào sēn de yī jù shī。 nǚ zhùjué de jīng diǎn yā zhóu tái cí“ míng tiān shì xīn de yī tiān” nǎi yuán zuò chū bǎn qián de zàn dìng míng。 běn piàn róng huò 'ào sī kǎ zuì jiā yǐngpiān、 zuì jiā dǎo yǎn、 zuì jiā nǚ zhùjué、 zuì jiā nǚ pèijué děng qī xiàng dà jiǎng。 1994 nián de xù jí《 hǎo sī jiā》 (Scarlett) shì yī bù cháng dá 360 fēn zhōng de diàn shì jù， háo huá zhì zuò， fú zhuāng bù jǐng děng xià liǎo xuè běn。 gù shì jiǎng hǎo sī jiā gēn bái ruì dé lí hūn hòu yǐ rán 'ǒu duàn sī lián， tā shèn zhì huí dào 'ài 'ěr lán， bèi kòng móu shā děng děng。 yǐngpiān gēn jù léi pǔ lì xiǎo shuō gǎi biān。
yǐngpiān pāi shè hào zī 390 wàn měi yuán， zài dāng shí jǐn qū jū yú《 bīn xū》 hé《 dì yù tiān shǐ》 zhī hòu。 zài xiǎo shuō chū bǎn de yī gè yuè hòu， zhì piàn rén dà wèi · sài 'ěr cí ní kè jiù yòng 5 wàn měi yuán mǎi xià liǎo xiǎo shuō de diàn yǐng pāi shè quán， duì yú xīn rén de chǔnǚ zuò lái jiǎng， zhè gè jià mǎ zài dāng shí kě wèi shì tiān wén shù zì。 zài 1942 nián sài 'ěr cí ní kè de zhì piàn gōng sī jiě sàn shí， tā yòu xiàng xiǎo shuō zuò zhě mǎ gé lì tè · mǐ xiē 'ěr zhī fù liǎo 5 wàn měi yuán de fēn hóng。 mǎ gé lì tè bǐ xià 'ài shí lì hé méi lán ní de rén wù yuán xíng dōushì tā de biǎo xiōng mèi， duō kè hé mǎ dì xiāng 'ài， dàn tā men shì qián chéng de tiān zhù jiào tú， yòu xuè yuán guān xì de qīn shǔ shì yán jìn jié hūn de。 hòu lái， duō kè lí kāi liǎo mǎ dì， dào xī bù chéng liǎo bù fǎ zhī tú， ér mǎ dì zé zuò liǎo xiū nǚ。
piàn zhōng shī huǒ de chǎng jǐng shì zuì xiān pāi shè de， bāo kuò 1933 nián《 jīn gāng》 zhōng shǐ yòng de bù jǐng jūn bèi fù zhī yī jù， zhè duàn jiāo piàn cháng 113 fēn zhōng， gòng hào zī 25000 měi yuán， dāng shí de huǒ qíng shí fēn měng liè， yǐ zhì bù zhī qíng de gōng zhòng yǐ wéi mǐ gāo méi dū huà wéi huī jìn liǎo， bào jǐng diàn huà xiǎng zuò yī tuán。
zài pāi shè sī jiā lì cóng huǒ zhōng táo shēng de huà miàn shí， jù zǔ xū yào yī pǐ shòu gǔ lín xún de lǎo mǎ， jǐ jīng xún zhǎo， zhōng yú wù sè dào yī pǐ， rán 'ér dāng jǐ zhōu hòu mǎ bèi dài dào piàn chǎng， yuán xiān qīng xī kě jiàn de lē gǔ hén jì yīn wéi zēng zhòng yǐ jīng dàng rán wú cún， yóu yú shí jiān jǐn pò， huà zhuāng shī zhǐ hǎo zài mǎ de lē gǔ bù wèi huà chū yīn yǐng。
《 piāo》 - jīng diǎn tái cí
měi guó diàn yǐng xué yuàn měi nián dū huì wéi yī xiē tè bié de diàn yǐng xiàng mù píng chū qián 100 míng。 05 nián qǔ dé jīng diǎn tái cí bǎng dì yī de diàn yǐng《 luàn shì jiā rén》 shì kè lā kè · gài bó zài 1939 nián chū yǎn dídí yī jù tái cí。 nà shì bái ruì dé duì hǎo sī jiā shuō de yī jù huà：“ tǎn bái shuō， qīn 'ài de， wǒ yī diǎn yě bù zài hū。”“ gài bó de zhè jù tái cí bèi rén men zài bù tóng de chǎng hé yǐn yòng，” bào bó shuō。“ wú lùn nán nǚ， dāng tā men xiàn rù yī zhǒng bìng méi yòu wán quán tóu rù de liàn 'ài guān xì shí， xiǎng yào kòng zhì jú miàn， jiù huì yòng dào zhè jù huà。”
《 piāo》 - suǒ huò jiǎng xiàng
běn piàn zài dì shí 'èr jiè 'ào sī kǎ jīn xiàng jiǎng（ 1939） zhōng róng huò bā xiàng dà jiǎng：
zuì jiā nǚ zhùjué jiǎng（ BestActress） ......................... fèi · wén lì（ VivienLeigh）
zuì jiā nǚ pèijué jiǎng（ BestSupportingActress） ...... hā dì · mài kè dān ní 'ěr（ HattieMcDaniel）
zuì jiā yǐngpiān jiǎng（ BestPicture） ...........................《 luàn shì jiā rén》（ GoneWiththeWind）
zuì jiā dǎo yǎn jiǎng（ BestDirector） .......................... wéi kè duō · fú lāi míng（ VictorFleming）
zuì jiā biān jù jiǎng（ BestScreenplay） .................... xī ní · huò huá dé（ SidneyHoward）
zuì jiā yì shù zhǐ dǎo（ BestArtDirection） ...............LyleR.Wheeler
zuì jiā shè yǐng jiǎng（ BestCinematography） ............ErnestHaller&RayRennahan
zuì jiā jiǎn ji jiǎng（ BestFilmEditing） ....................HalC.Kern&JamesE.Newcom
《 piāo》 - diǎn píng
yòu rén shuō zhè bù diàn yǐng zuì jīng diǎn de chǎng miàn shì ScarlettO’ Hara zài zhàn zhēng hòu huí dào bèi huǐ de jiā yuán， zài yuán zhōng shǒu wò hóng tǔ fā shì， wú lùn qù tōu qù qiǎng dōubù huì ràng jiā rén 'ái’è nà duàn， yīn wéi nà shí tā de yǎn shén hé biǎo qíng zhēn de tè bié zhèn hàn rén。 zhè yàng shuō wǒ yě bù fǎn duì， yīn wéi zhè shí zài shì yī bù tài jīng diǎn de piānzǐ， jīng diǎn de chǎng miàn tài duō， gè rén yòu gè rén de piān 'ài。 wǒ dǎo shì qíng yuàn xuǎn zé zhè gè： yǐ hòu， míng tiān jiù shì xīn de yī tiān liǎo。 shénme shì 'ài？ shénme shì hèn？ ài hé hèn kě yǐ xiàng liǎng tiáo yǒng bù xiāng jiāo de píng xíng xiàn， ài hé hèn yě kě néng zhǐ xū yào yī lǚ yáng guāng jiù kě yǐ xiāo róng。 zhēn xī yōng yòu de rén shì xìng fú de， yīn wéi wǒ men zǒng shì bìng bù què qiē zhī dào wǒ men xū yào de dào dǐ shì shénme。 tài duō de rén zhǐ yòu zài shī qù de shí hòu， cái zhī dào qù zhēn xī。
tài gē 'ěr yòu yī jù shī wǒ tè bié xǐ huān： rú guǒ cuò guò tài yáng shí nǐ liú lèi liǎo， nà me nǐ yě jiāng cuò guò xīng xīng liǎo。 lì jìn cāng sāng， nǐ yào xué huì hū lüè guò qù。 yīn wéi héng héng tomorrowisanotherday。
《 piāo》 -《 piāo》 huò xuǎn yīng guó shǐ shàng zuì shòu huān yíng diàn yǐng
gēn jù yīng guó diàn yǐng xué yuàn jìn rì jìn xíng de yī xiàng píng xuǎn， yóu lǎo pái yǐng xīng kè lā kè · gài bó hé fèi wén lì zhù yǎn de miáo xiě měi guó nèi zhàn de yǐngpiān《 piāo》 róng huò yīng guó lì shǐ shàng zuì shòu huān yíng yǐngpiān jiǎng。 gēn jù diàn yǐng piào de xiāo shòu shù liàng tǒng jì， zì cóng 1940 nián zài yīng guó shàng yìng yǐ lái， yǐ yòu 3500 wàn guān zhòng guān kàn liǎo《 piāo》。《 yīnyuè zhī shēng》 míng liè dì 2， zì cóng 1938 nián shàng yìng yǐ lái， yòu 3000 wàn rén guān kàn。 míng liè dì 3 hé dì 4 de fēn bié shì《 bái xuě gōng zhù hé qī gè xiǎo 'ǎi rén》 (2800 wàn rén ) hé《 xīng qiú dà zhàn》 (2070 wàn rén )。 zhè cì rù xuǎn zuì shòu huān yíng de shí bù diàn yǐng páiháng bǎng de diàn yǐng sān fēn zhī yī lái zì yīng guó， qí zhōng míng liè dì 5 de shì《 kū mù féng chūn》。 zhè cì píng xuǎn huó dòng de zhù bàn fāng biǎo shì：“ zhè shì yīng guó lì shǐ shàng dì yī cì píng xuǎn zuì shòu guān zhòng xǐ 'ài de yǐngpiān。” wèi liè 6 dào 10 míng de yǐngpiān fēn bié shì《 huáng jīn shí dài》、《 sēn lín wáng zǐ》、《 tài tǎn ní kè》、《 dì yù shèng nǚ》 yǐ jí《 qī zōng zuì》。
Title
The title is taken from the first line of the third stanza of the poem Non Sum Qualis eram Bonae Sub Regno Cynarae by Ernest Dowson: "I have forgot much, Cynara! gone with the wind". The novel's protagonist, Scarlett O'Hara, also uses the title phrase in a line in the book: when her home area is overtaken by the Yankees, she wonders to herself if her home, a plantation called Tara, is still standing, or if it was "also gone with the wind which had swept through Georgia". More generally, the title has been interpreted as referring to the entire way of life of the antebellum South as having "Gone with the Wind". The prologue of the movie refers to the old way of life in the South as "gone with the wind…."
The title for the novel was a problem for Mitchell. She initially titled the book "Pansy", the original name for the character of Scarlett O'Hara. Although never seriously considered, the title "Pansy" was dropped once MacMillan persuaded Mitchell to rename the main character. Other proposed titles included "Tote the Weary Load" and "Tomorrow is Another Day", the latter taken from the last line in the book; however, the publisher noted that there were several books close to the same title at the time, so Mitchell was asked to find another title, and "Gone with the Wind" was chosen.
Plot
This section's plot summary may be too long or overly detailed. Please help improve it by removing unnecessary details and making it more concise. (April 2009)
Overview
Scarlett O'Hara is the daughter of an Irish immigrant who has risen from humble origins to become materially and socially successful in the deep south of 1861. He owns a plantation named Tara in Georgia. Scarlett is infatuated with Ashley Wilkes, who, although attracted to her, marries his cousin, Melanie Hamilton. Wilkes is genuinely ambiguous about his feelings toward Scarlett. He knows his feelings run deep, and are both emotional and sexual in nature; but he never resolves whether to act upon his feelings, or to renounce them and definitively reject Scarlett’s flirtations, in favor of his wife and his social position. And though he never sins in the flesh, the novel clearly implies that he does so in his heart, leading Scarlett along; limited only by his weakness in making a decision as to what ultimately, he should do.
At the party announcing Ashley's engagement to Melanie, Scarlett meets Rhett Butler, who has a reputation as a rogue. As the Civil War begins, Scarlett accepts a proposal of marriage from Melanie's brother, Charles Hamilton, who soon dies of disease in training. Scarlett's main concern regarding his death is that she must wear black and cannot attend parties. After the war, Scarlett inherits Tara and manages to keep the place going. When Scarlett cannot get money from Rhett to pay the taxes on Tara, she marries her sister's fiancé, Frank Kennedy, takes control of his business, and increases its profitability with business practices that make many Atlantans resent her. Frank is killed when he and other Ku Klux Klan members raid a shanty town where Scarlet was assaulted while driving alone. Remorseful after Frank's death, Scarlett marries Rhett, who is aware of her passion for Ashley but hopes that one day she will come to love him instead. Scarlett eventually comes to realize that she does love Rhett, but only once the couple has been through so much that Rhett has fallen out of love with her.
Part one
Scarlett O'Hara is the belle of the County. Her flirtatiousness and charm won the hearts of many men in Clayton County, Georgia. At sixteen years old, however, she begins the trials that will completely overtake her life for the next twelve years. She does this by having an impromptu marriage with the bashful Charles Hamilton to save face and make her real love—Ashley Wilkes—jealous. However, soon after their wedding, Charles and all the other men in Georgia who are able to bear arms, go to war against the Yankees at the start of the Civil War. After six weeks of being in camp, Charles dies of measles. With Charles's death, Scarlett's main concern is that, in order to conform to society, she must dress in black mourning clothes and attend no parties.
Parts two and three
Scarlett moves to Atlanta to stay with her sister-in-law and Ashley’s wife, Melanie Wilkes and Melanie's Aunt Pittypat. Melanie grows to love Scarlett like a sister; however, Scarlett is very self-centered and resents Melanie. Scarlett meets Rhett Butler again while in Atlanta; he is attentive to her and she uses him (and his money) when it is convenient. Rhett has a bad reputation and is "not received" in polite society. Ashley is able to come home for Christmas from the war and stay with the ladies. At the end of his stay, Scarlett promises him that she will keep Melanie safe. With the help of Rhett and her personal slave, Prissy, Scarlett delivers Melanie's child Beau in the middle of a battle and leads Melanie, the baby and Prissy to safety back at Tara. The Civil War is ending and the northern army is marching through Georgia laying waste to the country. Upon her arrival, Scarlett hears the news of the death of her beloved mother, Ellen, of typhoid. Scarlett stays at Tara Plantation and tries to keep it solvent and care for its inhabitants.
Part four
Scarlett hears that Tara is about to be charged an enormous amount of tax by the new corrupt local government which she cannot pay. She decides to go to Atlanta and charm Rhett into paying the bill. After offering herself to Rhett as his mistress and being refused, however, Scarlett marries Frank Kennedy, who has enough money to pay the tax on Tara. Frank is the fiancé of Scarlett's sister Suellen so she deceives him into thinking that Suellen is engaged to someone else in Clayton County.
With money borrowed from and then repaid to Rhett, Scarlett buys two timber mills and proceeds to make them very profitable. Her actions are considered very inappropriate for a woman by Atlanta society. As she travels home from it one night, she is attacked. Frank, Ashley, and many other men in the newly formed Ku Klux Klan avenge her attack. In the fight, Frank is killed.
A few months later Scarlett marries Rhett, who has become very rich by dubious means during the War.
Part five
Scarlett and Rhett start to enjoy their new life together. They have a child named Eugenia Victoria "Bonnie Blue" Butler, who becomes Rhett’s pride and joy. They live happily until Scarlett’s old infatuation with Ashley takes over. When Bonnie is killed in a riding accident Scarlett in the first flush of grief tells Rhett that she blames him. Rhett is heartbroken over the death of his beloved daughter. He drinks heavily and finally decides, after the death of Melanie Wilkes, to leave Scarlett forever. However, Scarlett realizes that she loves Rhett and never truly loved Ashley, but merely an idea of him. She confesses this to Rhett, but he is adamant. The book ends on an ambiguous note, as she decided to return to the familiarity of her beloved Tara, where she will find a way to win Rhett back: "Tomorrow is another day!".
Characters
Butler family
* Rhett Butler – Scarlett's love interest and third husband, often publicly shunned for scandalous behavior, sometimes accepted for his charm. He is financially a very shrewd man and initially appears to love Scarlett dearly.
* Eugenia Victoria "Bonnie Blue" Butler – Scarlett and Rhett's pretty, beloved daughter.
Wilkes family
* Ashley Wilkes – The gallant Ashley married his unglamourous cousin, Melanie, because she represented all that he loved and wanted in life, that is, the quiet and happy life of a Southern gentleman of the "Twelve Oaks" plantation. Ashley Wilkes marries Melanie Hamilton as an arranged marriage between the Wilkes-Hamilton families; in which the marriage of cousins (which Ashley and Melanie are) is the practice; when necessary to preserve the blood line and social position of the family. As such, Wilkes is not, in the strictest sense, brought to marriage by love, money, or sexual infatuation; but by a sense of duty to preserve the socio-economic status quo of a world which he personally enjoys and agrees with; and believes this marriage will support and sustain.
Wilkes becomes a soldier for the Confederate cause though he personally would have freed the slaves his father owned had the war not erupted, or at least that is what he claimed. Although many of his friends and relations were killed in the Civil War, Ashley survived to see its brutal aftermath. He remains the object of Scarlett's daydream of infatuated devotion, even throughout her three marriages. She is simply obsessed with unobtainable Ashley. Believing that she was in love with him, Scarlett imagined Ashley to be the "perfect man", leaving her unable to love another.
* Melanie Hamilton Wilkes – Ashley's wife and cousin, her character is that of the genuinely humble, serene and gracious Southern woman. As the story unfolds, Melanie becomes progressively physically weaker, first by childbirth, then the effects of war, and ultimately illness. She had her own unique inner spirit of perseverance, as did Scarlett. Melanie loved Ashley, Beau, and Scarlett unwaveringly, and dutifully supported the Confederate cause, revealing the naivete of her character.
* Beau Wilkes – Melanie's and Ashley's lovable son.
* India Wilkes – Ashley's sister. Almost engaged to Stuart Tarleton, she bitterly hates Scarlett for stealing his attention before he is killed at Gettysburg. Lives with Aunt Pittypat after Melanie kicks her out for accusing Scarlett and Ashley of infidelity.
* Honey Wilkes – another sister of India and Ashley. Originally hoped to marry Charles Hamilton until Scarlett marries him; following the war, she marries a man from Mississippi, and moves to his home state with him.
* John Wilkes – Owner of Twelve Oaks Plantation and patriarch of the Wilkes family. Killed during the Civil War.
O'Hara family
* Scarlett O'Hara – The wilful protagonist of the novel, whose travails the novel follows throughout war and reconstruction. She marries Charles Hamilton, Frank Kennedy and Rhett Butler, all the time wishing she was married to Ashley Wilkes instead. She has three children, one from each husband: Wade Hampton Hamilton (son to Charles Hamilton), Ella Lorena Kennedy (daughter to Frank Kennedy) and Eugenia Victoria "Bonnie Blue" Butler (deceased daughter to Rhett Butler).
* Gerald O'Hara – Scarlett's impetuous Irish father.
* Suellen O'Hara – Scarlett's selfish sister.
* Carreen O'Hara – Scarlett's timid, religious sister who, in the end of the story, joins a convent.
* Ellen O'Hara – Scarlett's gracious mother, of French ancestry.
Other characters
* Mammy – Scarlett's nurse from birth; a slave. Cited by Rhett as "the real head of the household." She has a no-nonsense attitude and is outspoken and opinionated. She chastises Scarlett often. She is extremely loyal to the O'Haras, especially Scarlett, whom she cares for like a daughter.
* Prissy – A young slave girl who features in Scarlett's life. She is portrayed as flighty and silly.
* Pork – The O'Hara family's butler, favored by Gerald.
* Dilcey – Pork's wife, a strong, outspoken slave woman of mixed Indian and Black decent, Prissy's mother.
* Charles Hamilton – Melanie's brother, Scarlett's first husband, shy and loving.
* Frank Kennedy – Suellen's former beau, Scarlett's second husband, an older man who only wants peace and quiet. He originally asks for Suellen's hand in marriage, but Scarlett steals him to save Tara. He is portrayed as a pushover who will do anything to appease Scarlett.
* Belle Watling – a brothel madam and prostitute; Rhett is her friend. She is portrayed as a kind-hearted country woman and a loyal confederate. At one point she states she has nursing experience.
* Archie – an ex-convict and former Confederate soldier who is taken in by Melanie. Has a strong disliking for all women, especially Scarlett. The only woman he respects is Melanie.
* Jonas Wilkerson – former overseer of Tara, father of Emmie Slattery's illegitimate baby. After being dismissed because of the aforementioned he eventually becomes employed by the Freedmen's Bureau, where he abuses his position to get back at the O'Haras and becomes rich.
* Emmie Slattery – later wife of Jonas Wilkerson, whom Scarlett blames for her mother's death.
* Will Benteen – Confederate soldier who seeks refuge at Tara and stays on to help with the plantation, in love with Carreen but marries Suellen to stay on Tara, and repair her reputation. He is portrayed as very perceptive and lost half of his leg in the war.
* Aunt Pittypat Hamilton – Charles and Melanie's vaporish aunt who lives in Atlanta.
* Uncle Peter – Aunt Pittypat's houseman and driver, he is extremely loyal to Pittypat.
Setting
* Tara Plantation – The O'Hara home and plantation
* Twelve Oaks – The Wilkes' plantation.
* Peachtree Street – location of Aunt Pittypat's home in Atlanta
The novel opens in April 1861 and ends in the early autumn of 1873.
Politics
The book includes a vivid description of the fall of Atlanta in 1864 and the devastation of war (some of that aspect was missing from the 1939 film). The novel showed considerable historical research. According to her biography, Mitchell herself was ten years old before she learned that the South had lost the war. Mitchell's sweeping narrative of war and loss helped the book win the Pulitzer Prize on May 3, 1937.
An episode in the book dealt with the early Ku Klux Klan. In the immediate aftermath of the War, Scarlett is assaulted by poor Southerners living in shanties, whereupon her former black slave Big Sam saves her life. In response, Scarlett's male friends attempt to make a retaliatory nighttime raid on the encampment. Northern soldiers try to stop the attacks, and Rhett helps Ashley, who is shot, to get help through his prostitute friend Belle. Scarlett's husband Frank is killed. This raid is presented sympathetically as being necessary and justified, while the law-enforcement officers trying to catch the perpetrators are depicted as oppressive Northern occupiers.
Although the Klan is not mentioned in that scene (though Rhett tells Archie to burn the "robes"), the book notes that Scarlett finds the Klan abominable. She believed the men should all just stay at home (she wanted both to be petted for her ordeal and to give the hated Yankees no more reason to tighten martial law, which is bad for her businesses). Rhett is also mentioned to be no great lover of the Klan. At one point, he said that if it were necessary, he would join in an effort to join "society". The novel never explicitly states whether this drastic step was necessary in his view. The local chapter later breaks up under the pressure from Rhett and Ashley.
Scarlett expresses views that were common of the era. Some examples:
* "How stupid negroes were! They never thought of anything unless they were told." — Scarlett thinks to herself, after returning to Tara after the fall of Atlanta.
* "How dared they laugh, the black apes!...She'd like to have them all whipped until the blood ran down...What devils the Yankees were to set them free!" — Scarlett again thinking to herself, seeing free blacks after the war.
* However, she is kind to Pork, her father's trusted manservant. He tells Scarlett that if she were as nice to white people as she is to black, a lot more people would like her.
* She almost loses her temper when the Yankee women say they would never have a black nurse in their house and talk about Uncle Peter, Aunt Pittypat's beloved and loyal servant, as if he were a mule. Scarlett informs them that Uncle Peter is a member of the family, which bewilders the Yankee women and leads them to misinterpret the situation.
* It was mentioned that only one slave was ever whipped at Tara, and that was a stablehand who didn't brush Gerald's horse. The only time Scarlett hit a slave was when Prissy was hysterical.
* Scarlett at one point criticized Harriet Beecher Stowe's Uncle Tom's Cabin, saying no one treated their slaves that badly.
Inspirations
As several elements of Gone with the Wind have parallels with Margaret Mitchell's own life, her experiences may have provided some inspiration for the story in context. Mitchell's understanding of life and hardship during the American Civil War, for example, came from elderly relatives and neighbors passing war stories to her generation.
While Margaret Mitchell used to say that her Gone with the Wind characters were not based on real people, modern researchers have found similarities to some of the people in Mitchell's own life as well as to individuals she knew or she heard of. Mitchell's maternal grandmother, Annie Fitzgerald Stephens, was born in 1845; she was the daughter of an Irish immigrant, who owned a large plantation on Tara Road in Clayton County, south of Atlanta, and who married an American woman named Ellen, and had several children, all daughters.
Many researchers believe that the physical brutality and low regard for women exhibited by Rhett Butler was based on Mitchell's first husband, Red Upshaw. She divorced him after she learned he was a bootlegger amid rumors of abuse and infidelity. Some believe he was patterned on the life of George Trenholm.
After a stay at the plantation called The Woodlands, and later Barnsley Gardens, Mitchell may have gotten the inspiration for the dashing scoundrel from Sir Godfrey Barnsley of Adairsville, Georgia.
Belle Watling was based on Lexington, Kentucky, madam Belle Brezing.
Martha Bulloch Roosevelt, the mother of US president Theodore Roosevelt may have been an inspiration for Scarlett O'Hara. Roosevelt biographer David McCullough discovered that Mitchell, as a reporter for The Atlanta Journal, conducted an interview with one of Martha's closest friends and bridesmaid, Evelyn King Baker, then 87. In that interview, she described Martha's physical appearance, beauty, grace, and intelligence in detail. The similarities between Martha and the Scarlett character are striking.
Reception
The sales of Margaret Mitchell's novel in the summer of 1936, at the virtually unprecedented price of three dollars, reached about one million by the end of December. Favorable critics found in the novel and its success an implicit rejection of what one reviewer dismissed as "all the thousands of technical tricks our novelists have been playing with for the past twenty years," while from the ramparts of the critical establishment almost universally male reviewers lamented the book's literary mediocrity and labeled it mere "entertainment." [citation needed]
Symbolism
Over the past years, the novel Gone with the Wind has also been analyzed for its symbolism and treatment of archetypes. For example, Scarlett has been characterized as a heroic figure struggling and attempting to twist life to suit her own personal wishes in society. The land is considered a source of strength, as in the plantation Tara, whose name is almost certainly drawn from the Hill of Tara in Ireland, a mysterious and poorly-understood archeological site that has traditionally been connected to the temporal and/or spiritual authority of the ancient Irish kings. It also represents the permanence of the land in a rapid changing world. Scarlett’s beautiful, perky hats take part of the symbolism as well. They show her feminine side and how she wants nothing more than to be the most attractive woman and the center of attention.
Sequels
Although Mitchell refused to write a sequel to Gone With The Wind, Mitchell's estate authorised Alexandra Ripley to write the novel Scarlett in 1991.
Author Pat Conroy was approached to write a follow-up, but the project was ultimately abandoned.
In 2000, the copyright holders attempted to suppress publication of Alice Randall’s The Wind Done Gone, a book that retold the story from the point of view of the slaves. A federal appeals court denied the plaintiffs an injunction against publication in Suntrust v. Houghton Mifflin (2001), on the basis that the book was parody protected by the First Amendment. The parties subsequently settled out of court to allow the book to be published. After its release, the book became a New York Times bestseller.
In 2002, the copyright holders blocked distribution of an unauthorised sequel published in the U.S, The Winds of Tara by Katherine Pinotti, alleging copyright infringement. The story follows Scarlett as she returns to Tara where a family issue threatens Tara and the family's reputation. In it Scarlett shows just how far she will go to protect her family and her home. The book was immediately removed from bookstores by publisher Xlibris. The book sold in excess of 2,000 copies within 2 weeks before being removed. More recently, in 2008, Australian publisher Fontaine Press re-published "The Winds of Tara" exclusively for their domestic market, avoiding U.S. copyright restrictions.
A second sequel was released in November 2007. The story covers the same time period as Gone with the Wind and is told from Rhett Butler’s perspective – although it begins years before and ends after. Written by Donald McCaig, this novel is titled Rhett Butler's People (2007).
Adaptations
Gone With The Wind has been adapted several times for stage and screen, most famously in the 1939 film starring Clark Gable and Vivien Leigh.
On stage it has been adapted as a musical Scarlett (premiering in 1972). The musical opened in the West End followed by a pre-Broadway tryout in 1973 (with Lesley Ann Warren as Scarlett). The book was again adapted as a musical called Gone With The Wind which premiered at the New London Theatre in 2008 in a production directed by Trevor Nunn.
The Japanese Takarazuka Revue has also adapted the novel into a musical with the same name. The first performance was in 1977, performed by the Moon Troupe. It has been performed several times since by the group, the most recent being in 2004 (performed by the Cosmos Troupe).
There has also been a French musical Autant en Emporte le Vent, based on the book.
Awards
The novel won the 1937 Pulitzer Prize and was adapted into an Academy Award-winning 1939 film of the same name. The book was also adapted during the 1970s into a stage musical Scarlett; there is also a 2008 new musical stage adaptation in London's West End titled Gone With The Wind. It is the only novel by Mitchell published during her lifetime. It took her seven years to write the book and a further eight months to check the thousands of historical and social references. The novel is one of the most popular books of all time, selling more than 30 million copies. Over the years, the novel has also been analyzed for its symbolism and treatment of archetypes.
Time magazine included the novel in its TIME 100 Best English-language Novels from 1923 to 2005.
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 shì měi guó zhù míng xiǎo shuō jiā mǎ kè · tù wēn de dài biǎo zuò， fā biǎo yú 1876 nián。 xiǎo shuō zhù rén gōng tānɡ mǔ · suǒ yà tiān zhēn huó pō， fù yú huàn xiǎng hé mào xiǎn， bù kān rěn shòu shù fù gè xìng， kū zào fá wèi de shēng huó， huàn xiǎng gān yī fān yīng xióng shì yè。 xiǎo shuō tōng guò zhù rén gōng de mào xiǎn jīng lì， duì měi guó xū wěi yōng sú de shè huì xí sú、 wěi shàn de zōng jiào yí shì hé kè bǎn chén fǔ de xué xiào jiào yù jìn xíng liǎo fěng cì hé pī pàn， yǐ huān kuài de bǐ diào miáo xiě liǎo shàonián 'ér tóng zì yóu huó pō de xīn líng。《 tānɡ mǔ · suǒ yà lì xiǎn jì》 yǐ qí nóng hòu de shēn jù dì fāng tè sè de yōu mò hé duì rén wù mǐn ruì guān chá， yī yuè chéng wéi zuì wěi dà de 'ér tóng wén xué zuò pǐn， yě shì yī shǒu měi guó“ huáng jīn shí dài” de tián yuán mù gē。 yǔ《 tānɡ mǔ · suǒ yà lì xiǎn jì》 de zǐ mèi piān shì《 hā kè bèi lì · fèi 'ēn lì xiǎn jì》。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 - zuò pǐn gài shù
《 tānɡ mǔ · suǒ yé lì xiǎn jì》 shì《 hā kè bèi lǐ · fèi 'ēn lì xiǎn jì》 de zǐ jiě piān。《 tānɡ mǔ · suǒ yà lì xiǎn jì》 shì 19 shì jì měi guó wén xué zhōng yī bù wěi dà de pī pàn xiàn shí zhù yì zuò pǐn， shēn kè dì pī pàn liǎo zī chǎn jiē jí yōng sú、 bǎo shǒu、 tān lán、 xū wěi de jiē jí běn xìng hé měi guó jiào yù zhì dù de fǔ bài； tā chū sè de sù zào liǎo liǎng gè gǎn yú fǎn kàng shí bì、 zhuī qiú zì yóu de 'ér tóng de yì shù xíng xiàng， wéi xiàn shí zhù yì wén xué de rén wù sù zào zēng tiān liǎo xīn de fāng miàn。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 gòu sī jīng xì， gù shì qíng jié qū zhé yòu qù， yǔ yán jiǎn liàn shēng dòng， rén wù kè huà shēng dòng bī zhēn， yóu qí shì xīn lǐ miáo xiě yòu dú dào zhī chù。 tā bǎ rén wù de xīn lǐ huó dòng shèn rù dào gù shì qíng jié zhōng qù， bàn suí gù shì de fā zhǎn， bìng tōng guò rén wù zì jǐ de yǔ yán、 xíng dòng hé dòng zuò， xì nì shēn rù dì miáo huì chū rén wù de fù zá xīn lǐ jí qí biàn huà guò chéng， cóng 'ér jiē shì chū rén wù nèi xīn shì jiè de mì mì， tū chū rén wù de xìng gé tè zhēng。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 shì yī bù zhēn qiē dì fǎn yìng liǎo 'ér tóng chōng mǎn tóng qù de shēng huó de xiǎo shuō。 mǎ kè · tù wēn xiě zuò shí qǔ cái yú zì jǐ 'ér shí zài gù xiāng hàn ní bá xiǎo zhèn shàng de suǒ jiàn suǒ wén、 qīn shēn jīng lì de rén hé shì。 suǒ yǐ lìng rén gǎn jué shí fēn zhēn shí yòu qù， hái zǐ men huò xǔ néng zài shū zhōng de rén wù shēn shàng zhǎo dào yǔ zì jǐ xiāng sì de dì fāng， ér dà rén men yě néng zài shū zhōng shí dào xiē zì jǐ tóng nián shí de wèi dào。 suǒ yǐ， zhè shì yī běn lǎoshào jiē yí de shū。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 - nèi róng jiè shào
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 gù shì fā shēng zài 19 shì jì shàng bàn yè mì xī xī bǐ hé pàn de yī gè pǔ tōng xiǎo zhèn shàng。 tānɡ mǔ · suǒ yà shì gè tiáopí de hái zǐ， tā hé tóng fù yì mǔ de dì dì xī dé yī qǐ jiē shòu yí mā bō lì de jiān hù。 tā zǒng shì néng xiǎng chū gè zhǒng gè yàng de 'è zuò jù， ràng bō lì yí mā wú kě nài hé， ér tā yě zǒng néng xiǎng jìn bàn fǎ lái duǒ bì chéng fá。 yī tiān， tānɡ mǔ jiàn dào liǎo kě 'ài de gū niàn bèi jī · sǎ qiē 'ěr， tā shì sǎ qiē 'ěr fǎ guān de nǚ 'ér。
tānɡ mǔ yī jiàn dào tā jiù duì tā zhǎn kāi liǎo gōng shì。 ér tā de 'ài sì hū yě dé dào liǎo huí yìng。 zhèn shàng yòu yī gè hái zǐ jiào hā kè bèi lì · fèi 'ēn。 tā de fù qīn zǒng shì xù jiǔ， fù mǔ yī zhí dǎ jià， yīn cǐ tā páo chū lái zì jǐ shēng huó。 tā kàn qǐ lái hé wén míng shè huì gé gé bù rù， dà rén mendōu bù xǐ huān tā， kě tānɡ mǔ hé tā què shì hǎo péng yǒu。 yòu yī tiān tā men yuē hǎo wǎn shàng yī qǐ qù mù dì， què kàn dào liǎo yì xiǎng bù dào de yī mù。 tā men kàn dào lǔ bīn xùn yī shēng、 è gùn yīng qiáo · qióng hé hē dé zuì xūn xūn de mò fū · bō tè。
zài tā men hùn luàn de sī dǎ zhōng， yìn dì 'ān · qiáo bǎ yī shēng shā sǐ liǎo， rán hòu yòu jià huò yú bèi dǎ hūn de bō tè shēn shàng。 tānɡ mǔ hé hā kè bèi xià huài liǎo， lì liǎo xuè shì jué bù xiè mì。 bō tè bèi bǔ yǐ hòu， tānɡ mǔ shí fēn nèi jiù， jīng cháng qù kàn wàng tā。 cǐ shí de tānɡ mǔ shì shì bù shùn， bèi jī shēng liǎo tā de qì， bù zài lǐ cǎi tā， bō lì yí mā yě zǒng shì hē chì tā， tā jué dé méi yòu rén guān xīn tā。 yú shì， tānɡ mǔ、 hā kè hé cūn shàng de lìng yī gè hái zǐ yī qǐ chéng xiǎo chuán qù liǎo yī gè hǎi dǎo。 kě méi guò duō jiǔ， tā men biàn fā xiàn cūn lǐ de rén men yǐ wéi tā men yān sǐ liǎo， zhèng zài sōu xún tā men de shī tǐ。 tānɡ mǔ wǎn shàng qiāoqiāo huí dào liǎo yí mā jiā， fā xiàn bō lì yí mā zhèng zài wèitā de“ sǐ” bēi tòng yù jué。 tānɡ mǔ jué dé shí fēn cán kuì。 zuì zhōng， tā men sān gè rén zài cūn mín men wèitā men jǔ xíng zàng lǐ de shí hòu huí lái liǎo。
xià tiān lái lín shí， tānɡ mǔ biàn gǎn dào gèng jiā bù 'ān， yīn wéi fǎ guānjiàng duì bō tè de zuì xíng zuò chū pàn jué。 tānɡ mǔ zhōng yú zhàn shèng liǎo kǒng jù yǔ zì sī， zhǐ chū liǎo yìn dì 'ān · qiáo jiù shì shā rén xiōng shǒu。 kě xiōng shǒu hái shì táo zǒu liǎo。 hòu lái， tānɡ mǔ yòu xiǎng chū liǎo yī gè zhù yì： xún zhǎo bǎozàng。 tānɡ mǔ hé hā kè 'ǒu rán fā xiàn liǎo yìn dì 'ān · qiáo hé tā de yī dà bǐ bù yì zhī cái。 dàn tā men què bù zhī dào tā bǎ qián cáng zài nǎ lǐ liǎo。 zài bèi jī hé tóng xué men wài chū yě cān shí， hā kè dé zhī yìn dì 'ān · qiáo yào qù jiā hài dào gé lā sī guǎ fù， yīn wéi tā de zhàng fū céng jīng sòng tā jìn guò jiān yù。
xìng kuī hā kè jí shí bào xìn cái bì miǎn liǎo yīcháng bēi jù de fā shēng， kě yìn dì 'ān · qiáo zài yī cì táo zhī yāo yāo。 cǐ shí， tānɡ mǔ hé bèi jī zài yě cān shí zǒu jìn liǎo yī gè shān dòng， yīn wéi dòng tài shēn 'ér zhǎo bù dào huí lái de lù， bèi kùn zài lǐ miàn。 tā men zài shān dòng lǐ zài yī cì yù jiàn liǎo yìn dì 'ān · qiáo。 cūn mín fèi jìn zhōu zhé jiù chū tānɡ mǔ hé bèi jī zhī hòu fēng sǐ liǎo shān dòng。 hòu lái tānɡ mǔ gào zhī cūn mín yìn dì 'ān · qiáo hái zài lǐ miàn。 dāng tā men zhǎo dào tā shí， tā yǐ jīng sǐ zài shān dòng lǐ liǎo。 è rén dé dào liǎo yīngyǒu de bào yìng。
hòu lái， tānɡ mǔ jīng guò fēn xī， pàn dìng bǎozàng yǐ jīng bèi yìn dì 'ān rén qiáo cáng dào yán dòng zhōng liǎo。 yú shì tā hé hā kè tōu tōu dì qián rù dào yán dòng zhōng， bìng gēn jù tā men tōu tīng dào de guān yú“ èr hào shí zì jià” de miáo shù yī gè kè yòu xiǎo xiǎo shí zì jià de dà shí tóu， bìng zhǎo dào liǎo yī gè bǎo xiāng， lǐ miàn yòu yī wàn liǎng qiān yú yuán！ fā xiàn bǎozàng de tā men chéng liǎo dà fù wēng。 cóng cǐ yǐ hòu， tānɡ mǔ hé hā kè biàn chéng liǎo xiǎo zhèn shàng de“ fēng yún rén wù”， bù jǐn zǒu dào nǎ 'ér dū huì shòu dào huān yíng， ér qiě tā men liǎ de xiǎozhuàn hái dēng zài liǎo zhèn bào。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 - xiǎo shuō rén wù
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 zhù rén gōng tānɡ mǔ yòu zhe gǎn yú tàn xiǎn、 zhuī qiú zì yóu、 zuò cuò shì hòu gǎn yú chéng rèn cuò wù、 chéng rèn quē diǎn de yōu xiù xìng gé tè diǎn。 tānɡ mǔ shì gè cōng míng 'ài dòng yòu tiáopí dǎo dàn de hái zǐ， zài tā shēn shàng jí zhōng tǐ xiàn liǎo zhì huì、 jì móu、 zhèng yì、 yǒng gǎn nǎi zhì lǐng dǎo děng zhū duō cái néng。 tā shì yī gè duō zhòng juésè de jí hé， zú zhì duō móu， fù yú tóng qíng xīn， duì xiàn shí huán jìng chí fǎn gǎn tài dù， yī xīn yào chōng chū zhì gù， qù dāng lùlín hǎo hàn， guò xíng xiá zhàng yì de shēng huó。
xiǎo shuō sù zào de tānɡ mǔ · suǒ yà shì gè yòu lǐ xiǎng yòu bào fù tóng shí yě yòu fán nǎo de xíng xiàng， tā yòu xuè yòu ròu， xǔ xǔ rú shēng， gěi dú zhě liú xià liǎo shēn kè de yìn xiàng。 zài yí mā yǎn lǐ， tā shì gè wán tóng， tiáopí dǎo dàn， kě shì tā què yī cì yòu yī cì dì bèi tā de“ zú zhì duō móu” gěi ruǎn huà liǎo。
tānɡ mǔ shì zhù rén gōng， guān yú tā， gěng gài zhōng yòu jiǎn dān de gài kuò ──“ táo qì de jī líng guǐ”“ zhèn shàng hái zǐ de tóu 'ér”“ zài xiǎo huǒ bàn yǎn zhōng wú suǒ bù néng”。 wǒ men kàn kàn tānɡ mǔ zài shān dòng lǐ huí lái hòu de biǎo xiàn： yīn wéi tā shēn tǐ xū ruò， hún shēn méi yòu yī diǎn lì qì， suǒ yǐ“ tǎng zài shā fā shàng”。 jìn guǎn rú cǐ， tā jiǎng dé hái shì nà yàng méi fēi sè wǔ，“ tóng shí hái kuā zhāng dì chuī shī yī fān”， kě jiàn tā de táo qì hé lì xiǎn hòu xīn lǐ huò dé de jí dà mǎn zú── rén men bǎ tā men huí lái kàn zuò qí jì， tā yě jué dé zì jǐ chéng liǎo zhēn zhèng de yīng xióng！ zhè shì kě 'ài jí liǎo。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 - xiǎo shuō píng jià
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 shì měi guó zhù míng xiǎo shuō jiā mǎ kè · tù wēn de dài biǎo zuò， fā biǎo yú 1876 nián。 xiǎo shuō tōng guò zhù rén gōng de mào xiǎn jīng lì， duì měi guó xū wěi yōng sú de shè huì xí sú， wěi shàn de zōng jiào yí shì hé kè bǎn chén fǔ de xué xiào jiào yù jìn xíng liǎo fěng cì hé pī pàn， yǐ huān kuài de bǐ diào miáo xiě liǎo shàonián 'ér tóng zì yóu huó pō de xīn líng。《 tānɡ mǔ · suǒ yà lì xiǎn jì》 yǐ qí nóng hòu de shēn jù dì fāng tè sè de yōu mò hé duì rén wù mǐn ruì guān chá， yī yuè chéng wéi zuì wěi dà de 'ér tóng wén xué zuò pǐn， yě shì yī shǒu měi guó“ huáng jīn shí dài” de tián yuán mù gē。
《 tānɡ mǔ suǒ yà lì xiǎn jì》 yī shū duì zì rán jǐng sè de miáo huì yǔ duì rén wù de kè huà shí fēn xì zhì bī zhēn、 chōng mǎn yōu mò huī xié de miáo shù。 duì zuò zhě zì jǐ jiā xiāng fēng jǐng de miáo xiě yóu qí bāo bǎo shēn qíng， rén wù gèng shì qīng xī shēng dòng、 hū zhī yù chū。 dàn shì， zuò zhě yòu yǐ tiān zhēn chún pǔ de gù shì zhù rén gōng， jiē shì huàn xiǎng hé xiàn zài zhī jiān de máo dùn。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 tǐ xiàn liǎo mǎ kè · tù wēn shàn cháng jiǎng gù shì de jié chū jì qiǎo hé jī zhì yōu mò de yì shù fēng gé。 shū zhōng duì zì rán jǐng sè de miáo huì hé duì rén wù de kè huà shí fēn xì zhì bī zhēn， chōng mǎn yōu mò huī xié de miáo shù， ér zài yōu mò bèi hòu guàn chuānzhuó tā duì měi guó dāng shí shè huì shēng huó de yán sù kàn fǎ hé xiān míng lì chǎng。 duì jiā xiāng fēng guāng de miáo xiě yóu qí bǎo hán shēn qíng， rén wù gèng shì xiěde qīng xī shēng dòng， hū zhī yù chū。 zhěng gè gù shì de xù shù shí fēn zì rán liú chàng， xiǎng nín yī dìng huì xǐ huān zhè gè yǐ jīng jiǎng shù liǎo yī bǎi duō nián de dòng rén gù shì。
zài zhè bù zuò pǐn zhōng， ér tóng de líng dòng huó pō hé zhōu wéi xiàn shí shēng huó de chén fǔ kè bǎn xíng chéng liǎo xiān míng de duì zhào。 gù shì xiàng rén men zhǎn shì liǎo yī xiē shè huì bì bìng hé hēi 'àn xiàn shí， jiē shì liǎo zōng jiào de xū wěi xìng， wú qíng dì cháo fěng liǎo yōng sú de xiǎo shì mín xí qì。 zuò pǐn wèn shì yǐ lái， yī zhí shòu dào dú zhě de xǐ 'ài， chéng wéi yī bù shì jiè míng zhù。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 shì yī bù zhēn qiē dì fǎn yìng liǎo 'ér tóng chōng mǎn tóng qù de shēng huó de xiǎo shuō。 mǎ kè · tù wēn xiě zuò shí qǔ cái yú zì jǐ 'ér shí zài gù xiāng héng héng hàn ní bá xiǎo zhèn shàng de suǒ jiàn suǒ wén、 qīn shēn jīng lì de rén hé shì。 suǒ yǐ lìng rén gǎn jué shí fēn zhēn shí yòu qù， hái zǐ men huò xǔ néng zài shū zhōng de rén wù shēn shàng zhǎo dào yǔ zì jǐ xiāng sì de dì fāng， ér dà rén men yě néng zài shū zhōng shí dào xiē zì jǐ tóng nián shí de wèi dào。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 - zuò zhě jiǎn jiè
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 mǎ kè · tù wēn
mǎ kè · tù wēn (MarkTwain． 1835～ 1910)， měi guó pī pàn xiàn shí zhù yì wén xué de diàn jī rén， měi guó zhù míng xiǎo shuō jiā， mǎ kè · tù wēn shì bǐ míng。 tā yuán míng shì sài miù · lǎng hè'ēn · kè liè mén sī， 1835 nián 11 yuè 30 rì chū shēng yú mì xī xī bǐ hé pàn xiǎo chéng hàn ní bá yī gè pín qióng de lǜ shī jiā tíng。 tā míng zì de hán yì shì： shuǐ shēn shí 'èr yīng chǐ， lún chuán kě yǐ 'ān quán tōng guò。
mǎ kè · tù wēn shì měi guó pī pàn xiàn shí zhù yì wén xué de diàn jī rén， shì jiè gōng rèn de duǎn piān xiǎo shuō dà shī， bèi yù wéi“ měi guó wén xué zhōng de lín kěn”。 fù qīn shì yī míng xiāng cūn lǜ shī， jiā zhōng shēng huó jié jù。 12 suì shí fù qīn qù shì， tā kāi shǐ zì móu shēng jì， nián qīng shí dāng guò bào tóng、 yìn shuà suǒ xué tú、 pái zì gōng、 mì xī xī bǐ hé shuǐ shǒu、 táo jīn gōng rén hé duǒ shǒu， suǒ yǐ tā de chuàng zuò jù yòu jiān shí de shēng huó jī chǔ。 26 suì shí， tā dāng shàng liǎo jì zhě， bìng cǎi yòng mǎ kè · tù wēn zhè gè bǐ míng fā biǎo zuò pǐn。
tā de chuàng zuò dà zhì kě fēn wéi sān gè shí qī： zǎo qī zuò pǐn biǎo xiàn liǎo duì měi guó mín zhù suǒ cún de huàn xiǎng， yǐ duǎn piān wéi zhù， yōu mò yǔ fěng cì jié hé， pī pàn bù zú， zuò pǐn yòu《 jìng xuǎn zhōu cháng》、《 gāo 'ěr sī de péng yǒu zài dù chū yáng》、《 bǎi wàn yīng bàng》 děng； zhōng qī yǐ cháng piān xiǎo shuō wéi zhù， fěng cì xìng jiā qiáng， zhòng yào zuò pǐn yòu《 tānɡ mǔ · suǒ yà lì xiǎn jì》、《 hā kè bèi lì · fèi 'ēn lì xiǎn jì》 děng； hòu qī zuò pǐn zé yóu yōu mò fěng cì zhuǎn dào fèn nù de jiē fā、 qiǎn zé、 shèn zhì yòu bēi guān de qíng xù， zhù yào zuò pǐn yòu《 yóu jì》 děng。 tā shàn cháng shǐ yòng yōu mò hé fěng cì， zhēn biān shí bì， háo bù liú qíng。 tā de zuò pǐn duì hòu lái de měi guó wén xué chǎn shēng liǎo jù dà shēn yuǎn de yǐng xiǎng。 rén men pǔ biàn rèn wéi mǎ kè · tù wēn shì měi guó wén xué shǐ shàng de yī dà lǐ chéng bēi。
Most of the adventures recorded in this book really occurred; one or two were experiences of my own, the rest those of boys who were schoolmates of mine. Huck Finn is drawn from life; Tom Sawyer also, but not from an individual—he is a combination of the characteristics of three boys whom I knew, and therefore belongs to the composite order of architecture.
Plot summary
The imaginative and mischievous twelve-year-old boy named Thomas Sawyer lives with his Aunt Polly, his half-brother, Sid, also known as Sidney, and cousin Mary, in the Mississippi River town of St Petersburg, Missouri. After playing hooky from school on Friday and dirtying his clothes in a fight, Tom is made to whitewash the fence as punishment on Saturday. At first, Tom is disappointed by having to forfeit his day off. However, he soon cleverly persuades his friends to trade him a large marble for the privilege of doing his work. He trades these treasures for tickets given out in Sunday school for memorizing Bible verses and uses the tickets to claim a Bible as a prize. He loses much of his glory, however, when, in response to a question to show off his knowledge, he incorrectly answers that the first two Disciples were David and Goliath
Tom falls in love with Rebecca "Becky" Thatcher, a new girl in town, and persuades her to get “engaged” to him. Their love is ruined when she learns that Tom has been engaged to another girl before: Amy Lawrence. Shortly after Becky shuns him, Tom accompanies Huckleberry Finn, the son of the town drunk, to the graveyard at night to try out a “cure” for warts. At the graveyard, they witness the murder of young Dr Robinson by a part-Native American “half-breed”, Injun Joe. Scared, Tom and Huck run away in the process dropping the previously obtained marble, and swear a blood oath not to tell anyone what they have seen. Injun Joe blames his companion, Muff Potter, a hapless drunk, for the crime. Potter is wrongfully arrested, and Tom's anxiety and guilt begin to grow. Tom, Huck and their friend Joe Harper run away to an island on the Mississippi, in order to "become pirates". While frolicking around and enjoying their new-found freedom, the boys become aware that the community is sounding the river for their bodies. Tom sneaks back home one night to observe the commotion. After a brief moment of remorse at the suffering of his loved ones, Tom is struck by the idea of appearing at his funeral and surprising everyone. He persuades Joe and Huck to do the same. Their return is met with great rejoicing, and they become the envy and admiration of all their friends.
Back in school, Tom gets himself back in Becky's favour after he nobly accepts the blame for a book that she has torn. Soon Muff Potter's trial begins, and Tom, overcome by guilt, testifies against Injun Joe. Potter is acquitted, but Injun Joe flees the courtroom through a window. Tom and Huck witness him finding a box of gold with his partner, a Spaniard, and Huck begins to shadow Injun Joe every night, watching for an opportunity to nab the gold. Meanwhile, Tom goes on a picnic to McDougal's Cave with Becky and their classmates. That same night, Huck sees Injun Joe and his partner making off with a box. He follows and overhears their plans to attack the Widow Douglas, a kind resident of St. Petersburg. By running to fetch help, Huck forestalls the violence and becomes an anonymous hero.
Tom and Becky get lost in the cave, and their absence is not discovered until the following morning. The men of the town begin to search for them, but to no avail. Tom and Becky run out of food and candles and begin to weaken. The horror of the situation increases when Tom, looking for a way out of the cave, happens upon Injun Joe, who is using the cave as a hideout. At the sight of Tom, Injun Joe flees. Eventually, just as the searchers are giving up, Tom finds a way out. The town celebrates, and Becky's father, Judge Thatcher seals up the main entrance with an iron door. After a week Injun Joe, trapped inside, starves causing him to die. Injun Joe's partner accidentally drowns trying to escape.
A week later, Tom takes Huck to the cave via the new entrance Tom has found and they find the box of gold, the proceeds of which are invested for them. The Widow Douglas adopts Huck, and, when Huck attempts to escape civilized life, Tom promises him that if he returns to the widow, he can join Tom's robber band. Reluctantly, Huck agrees.
Publication history
The first publication of The Adventures of Tom Sawyer was by Chatto and Windus, in England in June 1876 (it was listed as "ready" on June 10 and was reviewed on June 24 in the literary publication The Atheneum), and in the U.S. by subscription only in December 1876. Twain and other U.S. authors used initial publication in England fairly often, since otherwise it was impossible to obtain a copyright in the British Commonwealth. In the case of Tom Sawyer, the delay between the London and U.S. editions extended much beyond what Twain envisioned, or desired. This led to widespread piracy of the work - notably a July 1876 pirated edition in Canada obtained by many American readers - and, Twain believed, to a significant loss of his royalties.
When the work did appear in the U.S., it was sold by subscription only. In this distribution method, book agents across the country took orders for the book prior to publication and then delivered the book when available. It was only with subsequent editions that the book became available retail shops.
In dictations for his autobiography, Twain claimed Tom Sawyer "must have been" the first book whose manuscript was typed on a typewriter. However, typewriter historian Darryl Rehr has concluded that Twain's first typed manuscript was Life on the Mississippi.
Adaptations
The story of Tom Sawyer has been filmed or animated multiple times since its initial publication. Some of the film adaptations of Twain's novel include:
* A 1907 silent version released by the Paramount studio
* A 1917 silent version directed by William Desmond Taylor, starring Jack Pickford as Tom
* A 1930 version directed by John Cromwell, starring Jackie Coogan as Tom
* In 1938 The Adventures of Tom Sawyer was filmed in Technicolor by the Selznick Studio. It starred Tommy Kelly as Tom and was directed by Norman Taurog. Most notable was the cave sequence designed by William Cameron Menzies.
* A 1947 Soviet Union version, directed by Lazar Frenkel and Gleb Zatvornitsky
* A 1960 US television serial, also shown on British television
* A 1968 French/German made-for-television miniseries, directed by Wolfgang Liebeneiner, starring Roland Demongeot as Tom and Marc Di Napoli as Huck
* The New Adventures of Huckleberry Finn (1968) was a half-hour live-action/animated series produced by Hanna-Barbera Productions
* A 1973 musical version with songs by Richard and Robert Sherman, starring Johnny Whitaker as Tom and a young Jodie Foster as Becky Thatcher. A TV movie version sponsored by Dr. Pepper was released that same year. It starred Buddy Ebsen as Muff Potter and was filmed in Upper Canada Village.
* Huckleberry Finn and His Friends (1979 TV series)
* The Adventures of Tom Sawyer (anime) (1980), a Japanese anime TV series by Nippon Animation, part of the World Masterpiece Theater; aired in the United States on HBO
* [[Приключения Тома Сойера и Гекльберри Финна (фильм)The Adventures of Tom Sawyer and Huckleberry Finn (1981), another Soviet Union version directed by Stanislav Govorukhin.
* A 1984 Canadian claymation version produced by Hal Roach studios
* Tom and Huck (1995), starring Jonathan Taylor Thomas as Tom and Brad Renfro as Huck Finn
* A 1995 episode for the PBS Wishbone TV series "A Tail in Twain".
* The Modern Adventures of Tom Sawyer
* A 2000 animated adaptation, featuring the characters as anthropomorphic animals with an all-star voice cast, including country singers Rhett Akins (as Tom), Mark Wills (as Huck Finn), Lee Ann Womack, Waylon Jennings and Hank Williams Jr. as well as Betty White as Aunt Polly
* Tom Sawyer appears as a United States Secret Service agent in the 2003 movie based on comic book series The League of Extraordinary Gentlemen
* This book was featured in an episode of The Fairly Odd Parents
Stage musicals: In 1956 'We're From Missouri', a musical adaptation of The Adventures of Tom Sawyer, with book, music and lyrics by Tom Boyd, was presented by the students at the Guildhall School of Music and Drama. In 1960, Boyd's musical version (re-titled Tom Sawyer) was presented professionally at Theatre Royal Stratford East in London, England, and in 1961 toured provincial theatres in England.Tom Boyd's musical of TOM SAWYER was produced again in April and June 2010 in Cirencester, Gloucestershire, England. Another musical adaptation is Mississippi Melody, a musical by Jack Hylton.
Theatrical Adaptation: In April 2010, The Hartford Stage presented a theatrical adaptation entitled Mark Twain's The Adventures of Tom Sawyer as part of a centennial observation of Mark Twain's passing.
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 - zuò pǐn gài shù
《 tānɡ mǔ · suǒ yé lì xiǎn jì》 shì《 hā kè bèi lǐ · fèi 'ēn lì xiǎn jì》 de zǐ jiě piān。《 tānɡ mǔ · suǒ yà lì xiǎn jì》 shì 19 shì jì měi guó wén xué zhōng yī bù wěi dà de pī pàn xiàn shí zhù yì zuò pǐn， shēn kè dì pī pàn liǎo zī chǎn jiē jí yōng sú、 bǎo shǒu、 tān lán、 xū wěi de jiē jí běn xìng hé měi guó jiào yù zhì dù de fǔ bài； tā chū sè de sù zào liǎo liǎng gè gǎn yú fǎn kàng shí bì、 zhuī qiú zì yóu de 'ér tóng de yì shù xíng xiàng， wéi xiàn shí zhù yì wén xué de rén wù sù zào zēng tiān liǎo xīn de fāng miàn。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 gòu sī jīng xì， gù shì qíng jié qū zhé yòu qù， yǔ yán jiǎn liàn shēng dòng， rén wù kè huà shēng dòng bī zhēn， yóu qí shì xīn lǐ miáo xiě yòu dú dào zhī chù。 tā bǎ rén wù de xīn lǐ huó dòng shèn rù dào gù shì qíng jié zhōng qù， bàn suí gù shì de fā zhǎn， bìng tōng guò rén wù zì jǐ de yǔ yán、 xíng dòng hé dòng zuò， xì nì shēn rù dì miáo huì chū rén wù de fù zá xīn lǐ jí qí biàn huà guò chéng， cóng 'ér jiē shì chū rén wù nèi xīn shì jiè de mì mì， tū chū rén wù de xìng gé tè zhēng。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 shì yī bù zhēn qiē dì fǎn yìng liǎo 'ér tóng chōng mǎn tóng qù de shēng huó de xiǎo shuō。 mǎ kè · tù wēn xiě zuò shí qǔ cái yú zì jǐ 'ér shí zài gù xiāng hàn ní bá xiǎo zhèn shàng de suǒ jiàn suǒ wén、 qīn shēn jīng lì de rén hé shì。 suǒ yǐ lìng rén gǎn jué shí fēn zhēn shí yòu qù， hái zǐ men huò xǔ néng zài shū zhōng de rén wù shēn shàng zhǎo dào yǔ zì jǐ xiāng sì de dì fāng， ér dà rén men yě néng zài shū zhōng shí dào xiē zì jǐ tóng nián shí de wèi dào。 suǒ yǐ， zhè shì yī běn lǎoshào jiē yí de shū。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 - nèi róng jiè shào
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 gù shì fā shēng zài 19 shì jì shàng bàn yè mì xī xī bǐ hé pàn de yī gè pǔ tōng xiǎo zhèn shàng。 tānɡ mǔ · suǒ yà shì gè tiáopí de hái zǐ， tā hé tóng fù yì mǔ de dì dì xī dé yī qǐ jiē shòu yí mā bō lì de jiān hù。 tā zǒng shì néng xiǎng chū gè zhǒng gè yàng de 'è zuò jù， ràng bō lì yí mā wú kě nài hé， ér tā yě zǒng néng xiǎng jìn bàn fǎ lái duǒ bì chéng fá。 yī tiān， tānɡ mǔ jiàn dào liǎo kě 'ài de gū niàn bèi jī · sǎ qiē 'ěr， tā shì sǎ qiē 'ěr fǎ guān de nǚ 'ér。
tānɡ mǔ yī jiàn dào tā jiù duì tā zhǎn kāi liǎo gōng shì。 ér tā de 'ài sì hū yě dé dào liǎo huí yìng。 zhèn shàng yòu yī gè hái zǐ jiào hā kè bèi lì · fèi 'ēn。 tā de fù qīn zǒng shì xù jiǔ， fù mǔ yī zhí dǎ jià， yīn cǐ tā páo chū lái zì jǐ shēng huó。 tā kàn qǐ lái hé wén míng shè huì gé gé bù rù， dà rén mendōu bù xǐ huān tā， kě tānɡ mǔ hé tā què shì hǎo péng yǒu。 yòu yī tiān tā men yuē hǎo wǎn shàng yī qǐ qù mù dì， què kàn dào liǎo yì xiǎng bù dào de yī mù。 tā men kàn dào lǔ bīn xùn yī shēng、 è gùn yīng qiáo · qióng hé hē dé zuì xūn xūn de mò fū · bō tè。
zài tā men hùn luàn de sī dǎ zhōng， yìn dì 'ān · qiáo bǎ yī shēng shā sǐ liǎo， rán hòu yòu jià huò yú bèi dǎ hūn de bō tè shēn shàng。 tānɡ mǔ hé hā kè bèi xià huài liǎo， lì liǎo xuè shì jué bù xiè mì。 bō tè bèi bǔ yǐ hòu， tānɡ mǔ shí fēn nèi jiù， jīng cháng qù kàn wàng tā。 cǐ shí de tānɡ mǔ shì shì bù shùn， bèi jī shēng liǎo tā de qì， bù zài lǐ cǎi tā， bō lì yí mā yě zǒng shì hē chì tā， tā jué dé méi yòu rén guān xīn tā。 yú shì， tānɡ mǔ、 hā kè hé cūn shàng de lìng yī gè hái zǐ yī qǐ chéng xiǎo chuán qù liǎo yī gè hǎi dǎo。 kě méi guò duō jiǔ， tā men biàn fā xiàn cūn lǐ de rén men yǐ wéi tā men yān sǐ liǎo， zhèng zài sōu xún tā men de shī tǐ。 tānɡ mǔ wǎn shàng qiāoqiāo huí dào liǎo yí mā jiā， fā xiàn bō lì yí mā zhèng zài wèitā de“ sǐ” bēi tòng yù jué。 tānɡ mǔ jué dé shí fēn cán kuì。 zuì zhōng， tā men sān gè rén zài cūn mín men wèitā men jǔ xíng zàng lǐ de shí hòu huí lái liǎo。
xià tiān lái lín shí， tānɡ mǔ biàn gǎn dào gèng jiā bù 'ān， yīn wéi fǎ guānjiàng duì bō tè de zuì xíng zuò chū pàn jué。 tānɡ mǔ zhōng yú zhàn shèng liǎo kǒng jù yǔ zì sī， zhǐ chū liǎo yìn dì 'ān · qiáo jiù shì shā rén xiōng shǒu。 kě xiōng shǒu hái shì táo zǒu liǎo。 hòu lái， tānɡ mǔ yòu xiǎng chū liǎo yī gè zhù yì： xún zhǎo bǎozàng。 tānɡ mǔ hé hā kè 'ǒu rán fā xiàn liǎo yìn dì 'ān · qiáo hé tā de yī dà bǐ bù yì zhī cái。 dàn tā men què bù zhī dào tā bǎ qián cáng zài nǎ lǐ liǎo。 zài bèi jī hé tóng xué men wài chū yě cān shí， hā kè dé zhī yìn dì 'ān · qiáo yào qù jiā hài dào gé lā sī guǎ fù， yīn wéi tā de zhàng fū céng jīng sòng tā jìn guò jiān yù。
xìng kuī hā kè jí shí bào xìn cái bì miǎn liǎo yīcháng bēi jù de fā shēng， kě yìn dì 'ān · qiáo zài yī cì táo zhī yāo yāo。 cǐ shí， tānɡ mǔ hé bèi jī zài yě cān shí zǒu jìn liǎo yī gè shān dòng， yīn wéi dòng tài shēn 'ér zhǎo bù dào huí lái de lù， bèi kùn zài lǐ miàn。 tā men zài shān dòng lǐ zài yī cì yù jiàn liǎo yìn dì 'ān · qiáo。 cūn mín fèi jìn zhōu zhé jiù chū tānɡ mǔ hé bèi jī zhī hòu fēng sǐ liǎo shān dòng。 hòu lái tānɡ mǔ gào zhī cūn mín yìn dì 'ān · qiáo hái zài lǐ miàn。 dāng tā men zhǎo dào tā shí， tā yǐ jīng sǐ zài shān dòng lǐ liǎo。 è rén dé dào liǎo yīngyǒu de bào yìng。
hòu lái， tānɡ mǔ jīng guò fēn xī， pàn dìng bǎozàng yǐ jīng bèi yìn dì 'ān rén qiáo cáng dào yán dòng zhōng liǎo。 yú shì tā hé hā kè tōu tōu dì qián rù dào yán dòng zhōng， bìng gēn jù tā men tōu tīng dào de guān yú“ èr hào shí zì jià” de miáo shù yī gè kè yòu xiǎo xiǎo shí zì jià de dà shí tóu， bìng zhǎo dào liǎo yī gè bǎo xiāng， lǐ miàn yòu yī wàn liǎng qiān yú yuán！ fā xiàn bǎozàng de tā men chéng liǎo dà fù wēng。 cóng cǐ yǐ hòu， tānɡ mǔ hé hā kè biàn chéng liǎo xiǎo zhèn shàng de“ fēng yún rén wù”， bù jǐn zǒu dào nǎ 'ér dū huì shòu dào huān yíng， ér qiě tā men liǎ de xiǎozhuàn hái dēng zài liǎo zhèn bào。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 - xiǎo shuō rén wù
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 zhù rén gōng tānɡ mǔ yòu zhe gǎn yú tàn xiǎn、 zhuī qiú zì yóu、 zuò cuò shì hòu gǎn yú chéng rèn cuò wù、 chéng rèn quē diǎn de yōu xiù xìng gé tè diǎn。 tānɡ mǔ shì gè cōng míng 'ài dòng yòu tiáopí dǎo dàn de hái zǐ， zài tā shēn shàng jí zhōng tǐ xiàn liǎo zhì huì、 jì móu、 zhèng yì、 yǒng gǎn nǎi zhì lǐng dǎo děng zhū duō cái néng。 tā shì yī gè duō zhòng juésè de jí hé， zú zhì duō móu， fù yú tóng qíng xīn， duì xiàn shí huán jìng chí fǎn gǎn tài dù， yī xīn yào chōng chū zhì gù， qù dāng lùlín hǎo hàn， guò xíng xiá zhàng yì de shēng huó。
xiǎo shuō sù zào de tānɡ mǔ · suǒ yà shì gè yòu lǐ xiǎng yòu bào fù tóng shí yě yòu fán nǎo de xíng xiàng， tā yòu xuè yòu ròu， xǔ xǔ rú shēng， gěi dú zhě liú xià liǎo shēn kè de yìn xiàng。 zài yí mā yǎn lǐ， tā shì gè wán tóng， tiáopí dǎo dàn， kě shì tā què yī cì yòu yī cì dì bèi tā de“ zú zhì duō móu” gěi ruǎn huà liǎo。
tānɡ mǔ shì zhù rén gōng， guān yú tā， gěng gài zhōng yòu jiǎn dān de gài kuò ──“ táo qì de jī líng guǐ”“ zhèn shàng hái zǐ de tóu 'ér”“ zài xiǎo huǒ bàn yǎn zhōng wú suǒ bù néng”。 wǒ men kàn kàn tānɡ mǔ zài shān dòng lǐ huí lái hòu de biǎo xiàn： yīn wéi tā shēn tǐ xū ruò， hún shēn méi yòu yī diǎn lì qì， suǒ yǐ“ tǎng zài shā fā shàng”。 jìn guǎn rú cǐ， tā jiǎng dé hái shì nà yàng méi fēi sè wǔ，“ tóng shí hái kuā zhāng dì chuī shī yī fān”， kě jiàn tā de táo qì hé lì xiǎn hòu xīn lǐ huò dé de jí dà mǎn zú── rén men bǎ tā men huí lái kàn zuò qí jì， tā yě jué dé zì jǐ chéng liǎo zhēn zhèng de yīng xióng！ zhè shì kě 'ài jí liǎo。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 - xiǎo shuō píng jià
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 shì měi guó zhù míng xiǎo shuō jiā mǎ kè · tù wēn de dài biǎo zuò， fā biǎo yú 1876 nián。 xiǎo shuō tōng guò zhù rén gōng de mào xiǎn jīng lì， duì měi guó xū wěi yōng sú de shè huì xí sú， wěi shàn de zōng jiào yí shì hé kè bǎn chén fǔ de xué xiào jiào yù jìn xíng liǎo fěng cì hé pī pàn， yǐ huān kuài de bǐ diào miáo xiě liǎo shàonián 'ér tóng zì yóu huó pō de xīn líng。《 tānɡ mǔ · suǒ yà lì xiǎn jì》 yǐ qí nóng hòu de shēn jù dì fāng tè sè de yōu mò hé duì rén wù mǐn ruì guān chá， yī yuè chéng wéi zuì wěi dà de 'ér tóng wén xué zuò pǐn， yě shì yī shǒu měi guó“ huáng jīn shí dài” de tián yuán mù gē。
《 tānɡ mǔ suǒ yà lì xiǎn jì》 yī shū duì zì rán jǐng sè de miáo huì yǔ duì rén wù de kè huà shí fēn xì zhì bī zhēn、 chōng mǎn yōu mò huī xié de miáo shù。 duì zuò zhě zì jǐ jiā xiāng fēng jǐng de miáo xiě yóu qí bāo bǎo shēn qíng， rén wù gèng shì qīng xī shēng dòng、 hū zhī yù chū。 dàn shì， zuò zhě yòu yǐ tiān zhēn chún pǔ de gù shì zhù rén gōng， jiē shì huàn xiǎng hé xiàn zài zhī jiān de máo dùn。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 tǐ xiàn liǎo mǎ kè · tù wēn shàn cháng jiǎng gù shì de jié chū jì qiǎo hé jī zhì yōu mò de yì shù fēng gé。 shū zhōng duì zì rán jǐng sè de miáo huì hé duì rén wù de kè huà shí fēn xì zhì bī zhēn， chōng mǎn yōu mò huī xié de miáo shù， ér zài yōu mò bèi hòu guàn chuānzhuó tā duì měi guó dāng shí shè huì shēng huó de yán sù kàn fǎ hé xiān míng lì chǎng。 duì jiā xiāng fēng guāng de miáo xiě yóu qí bǎo hán shēn qíng， rén wù gèng shì xiěde qīng xī shēng dòng， hū zhī yù chū。 zhěng gè gù shì de xù shù shí fēn zì rán liú chàng， xiǎng nín yī dìng huì xǐ huān zhè gè yǐ jīng jiǎng shù liǎo yī bǎi duō nián de dòng rén gù shì。
zài zhè bù zuò pǐn zhōng， ér tóng de líng dòng huó pō hé zhōu wéi xiàn shí shēng huó de chén fǔ kè bǎn xíng chéng liǎo xiān míng de duì zhào。 gù shì xiàng rén men zhǎn shì liǎo yī xiē shè huì bì bìng hé hēi 'àn xiàn shí， jiē shì liǎo zōng jiào de xū wěi xìng， wú qíng dì cháo fěng liǎo yōng sú de xiǎo shì mín xí qì。 zuò pǐn wèn shì yǐ lái， yī zhí shòu dào dú zhě de xǐ 'ài， chéng wéi yī bù shì jiè míng zhù。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 shì yī bù zhēn qiē dì fǎn yìng liǎo 'ér tóng chōng mǎn tóng qù de shēng huó de xiǎo shuō。 mǎ kè · tù wēn xiě zuò shí qǔ cái yú zì jǐ 'ér shí zài gù xiāng héng héng hàn ní bá xiǎo zhèn shàng de suǒ jiàn suǒ wén、 qīn shēn jīng lì de rén hé shì。 suǒ yǐ lìng rén gǎn jué shí fēn zhēn shí yòu qù， hái zǐ men huò xǔ néng zài shū zhōng de rén wù shēn shàng zhǎo dào yǔ zì jǐ xiāng sì de dì fāng， ér dà rén men yě néng zài shū zhōng shí dào xiē zì jǐ tóng nián shí de wèi dào。
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 - zuò zhě jiǎn jiè
《 tānɡ mǔ · suǒ yà lì xiǎn jì》 mǎ kè · tù wēn
mǎ kè · tù wēn (MarkTwain． 1835～ 1910)， měi guó pī pàn xiàn shí zhù yì wén xué de diàn jī rén， měi guó zhù míng xiǎo shuō jiā， mǎ kè · tù wēn shì bǐ míng。 tā yuán míng shì sài miù · lǎng hè'ēn · kè liè mén sī， 1835 nián 11 yuè 30 rì chū shēng yú mì xī xī bǐ hé pàn xiǎo chéng hàn ní bá yī gè pín qióng de lǜ shī jiā tíng。 tā míng zì de hán yì shì： shuǐ shēn shí 'èr yīng chǐ， lún chuán kě yǐ 'ān quán tōng guò。
mǎ kè · tù wēn shì měi guó pī pàn xiàn shí zhù yì wén xué de diàn jī rén， shì jiè gōng rèn de duǎn piān xiǎo shuō dà shī， bèi yù wéi“ měi guó wén xué zhōng de lín kěn”。 fù qīn shì yī míng xiāng cūn lǜ shī， jiā zhōng shēng huó jié jù。 12 suì shí fù qīn qù shì， tā kāi shǐ zì móu shēng jì， nián qīng shí dāng guò bào tóng、 yìn shuà suǒ xué tú、 pái zì gōng、 mì xī xī bǐ hé shuǐ shǒu、 táo jīn gōng rén hé duǒ shǒu， suǒ yǐ tā de chuàng zuò jù yòu jiān shí de shēng huó jī chǔ。 26 suì shí， tā dāng shàng liǎo jì zhě， bìng cǎi yòng mǎ kè · tù wēn zhè gè bǐ míng fā biǎo zuò pǐn。
tā de chuàng zuò dà zhì kě fēn wéi sān gè shí qī： zǎo qī zuò pǐn biǎo xiàn liǎo duì měi guó mín zhù suǒ cún de huàn xiǎng， yǐ duǎn piān wéi zhù， yōu mò yǔ fěng cì jié hé， pī pàn bù zú， zuò pǐn yòu《 jìng xuǎn zhōu cháng》、《 gāo 'ěr sī de péng yǒu zài dù chū yáng》、《 bǎi wàn yīng bàng》 děng； zhōng qī yǐ cháng piān xiǎo shuō wéi zhù， fěng cì xìng jiā qiáng， zhòng yào zuò pǐn yòu《 tānɡ mǔ · suǒ yà lì xiǎn jì》、《 hā kè bèi lì · fèi 'ēn lì xiǎn jì》 děng； hòu qī zuò pǐn zé yóu yōu mò fěng cì zhuǎn dào fèn nù de jiē fā、 qiǎn zé、 shèn zhì yòu bēi guān de qíng xù， zhù yào zuò pǐn yòu《 yóu jì》 děng。 tā shàn cháng shǐ yòng yōu mò hé fěng cì， zhēn biān shí bì， háo bù liú qíng。 tā de zuò pǐn duì hòu lái de měi guó wén xué chǎn shēng liǎo jù dà shēn yuǎn de yǐng xiǎng。 rén men pǔ biàn rèn wéi mǎ kè · tù wēn shì měi guó wén xué shǐ shàng de yī dà lǐ chéng bēi。
Most of the adventures recorded in this book really occurred; one or two were experiences of my own, the rest those of boys who were schoolmates of mine. Huck Finn is drawn from life; Tom Sawyer also, but not from an individual—he is a combination of the characteristics of three boys whom I knew, and therefore belongs to the composite order of architecture.
Plot summary
The imaginative and mischievous twelve-year-old boy named Thomas Sawyer lives with his Aunt Polly, his half-brother, Sid, also known as Sidney, and cousin Mary, in the Mississippi River town of St Petersburg, Missouri. After playing hooky from school on Friday and dirtying his clothes in a fight, Tom is made to whitewash the fence as punishment on Saturday. At first, Tom is disappointed by having to forfeit his day off. However, he soon cleverly persuades his friends to trade him a large marble for the privilege of doing his work. He trades these treasures for tickets given out in Sunday school for memorizing Bible verses and uses the tickets to claim a Bible as a prize. He loses much of his glory, however, when, in response to a question to show off his knowledge, he incorrectly answers that the first two Disciples were David and Goliath
Tom falls in love with Rebecca "Becky" Thatcher, a new girl in town, and persuades her to get “engaged” to him. Their love is ruined when she learns that Tom has been engaged to another girl before: Amy Lawrence. Shortly after Becky shuns him, Tom accompanies Huckleberry Finn, the son of the town drunk, to the graveyard at night to try out a “cure” for warts. At the graveyard, they witness the murder of young Dr Robinson by a part-Native American “half-breed”, Injun Joe. Scared, Tom and Huck run away in the process dropping the previously obtained marble, and swear a blood oath not to tell anyone what they have seen. Injun Joe blames his companion, Muff Potter, a hapless drunk, for the crime. Potter is wrongfully arrested, and Tom's anxiety and guilt begin to grow. Tom, Huck and their friend Joe Harper run away to an island on the Mississippi, in order to "become pirates". While frolicking around and enjoying their new-found freedom, the boys become aware that the community is sounding the river for their bodies. Tom sneaks back home one night to observe the commotion. After a brief moment of remorse at the suffering of his loved ones, Tom is struck by the idea of appearing at his funeral and surprising everyone. He persuades Joe and Huck to do the same. Their return is met with great rejoicing, and they become the envy and admiration of all their friends.
Back in school, Tom gets himself back in Becky's favour after he nobly accepts the blame for a book that she has torn. Soon Muff Potter's trial begins, and Tom, overcome by guilt, testifies against Injun Joe. Potter is acquitted, but Injun Joe flees the courtroom through a window. Tom and Huck witness him finding a box of gold with his partner, a Spaniard, and Huck begins to shadow Injun Joe every night, watching for an opportunity to nab the gold. Meanwhile, Tom goes on a picnic to McDougal's Cave with Becky and their classmates. That same night, Huck sees Injun Joe and his partner making off with a box. He follows and overhears their plans to attack the Widow Douglas, a kind resident of St. Petersburg. By running to fetch help, Huck forestalls the violence and becomes an anonymous hero.
Tom and Becky get lost in the cave, and their absence is not discovered until the following morning. The men of the town begin to search for them, but to no avail. Tom and Becky run out of food and candles and begin to weaken. The horror of the situation increases when Tom, looking for a way out of the cave, happens upon Injun Joe, who is using the cave as a hideout. At the sight of Tom, Injun Joe flees. Eventually, just as the searchers are giving up, Tom finds a way out. The town celebrates, and Becky's father, Judge Thatcher seals up the main entrance with an iron door. After a week Injun Joe, trapped inside, starves causing him to die. Injun Joe's partner accidentally drowns trying to escape.
A week later, Tom takes Huck to the cave via the new entrance Tom has found and they find the box of gold, the proceeds of which are invested for them. The Widow Douglas adopts Huck, and, when Huck attempts to escape civilized life, Tom promises him that if he returns to the widow, he can join Tom's robber band. Reluctantly, Huck agrees.
Publication history
The first publication of The Adventures of Tom Sawyer was by Chatto and Windus, in England in June 1876 (it was listed as "ready" on June 10 and was reviewed on June 24 in the literary publication The Atheneum), and in the U.S. by subscription only in December 1876. Twain and other U.S. authors used initial publication in England fairly often, since otherwise it was impossible to obtain a copyright in the British Commonwealth. In the case of Tom Sawyer, the delay between the London and U.S. editions extended much beyond what Twain envisioned, or desired. This led to widespread piracy of the work - notably a July 1876 pirated edition in Canada obtained by many American readers - and, Twain believed, to a significant loss of his royalties.
When the work did appear in the U.S., it was sold by subscription only. In this distribution method, book agents across the country took orders for the book prior to publication and then delivered the book when available. It was only with subsequent editions that the book became available retail shops.
In dictations for his autobiography, Twain claimed Tom Sawyer "must have been" the first book whose manuscript was typed on a typewriter. However, typewriter historian Darryl Rehr has concluded that Twain's first typed manuscript was Life on the Mississippi.
Adaptations
The story of Tom Sawyer has been filmed or animated multiple times since its initial publication. Some of the film adaptations of Twain's novel include:
* A 1907 silent version released by the Paramount studio
* A 1917 silent version directed by William Desmond Taylor, starring Jack Pickford as Tom
* A 1930 version directed by John Cromwell, starring Jackie Coogan as Tom
* In 1938 The Adventures of Tom Sawyer was filmed in Technicolor by the Selznick Studio. It starred Tommy Kelly as Tom and was directed by Norman Taurog. Most notable was the cave sequence designed by William Cameron Menzies.
* A 1947 Soviet Union version, directed by Lazar Frenkel and Gleb Zatvornitsky
* A 1960 US television serial, also shown on British television
* A 1968 French/German made-for-television miniseries, directed by Wolfgang Liebeneiner, starring Roland Demongeot as Tom and Marc Di Napoli as Huck
* The New Adventures of Huckleberry Finn (1968) was a half-hour live-action/animated series produced by Hanna-Barbera Productions
* A 1973 musical version with songs by Richard and Robert Sherman, starring Johnny Whitaker as Tom and a young Jodie Foster as Becky Thatcher. A TV movie version sponsored by Dr. Pepper was released that same year. It starred Buddy Ebsen as Muff Potter and was filmed in Upper Canada Village.
* Huckleberry Finn and His Friends (1979 TV series)
* The Adventures of Tom Sawyer (anime) (1980), a Japanese anime TV series by Nippon Animation, part of the World Masterpiece Theater; aired in the United States on HBO
* [[Приключения Тома Сойера и Гекльберри Финна (фильм)The Adventures of Tom Sawyer and Huckleberry Finn (1981), another Soviet Union version directed by Stanislav Govorukhin.
* A 1984 Canadian claymation version produced by Hal Roach studios
* Tom and Huck (1995), starring Jonathan Taylor Thomas as Tom and Brad Renfro as Huck Finn
* A 1995 episode for the PBS Wishbone TV series "A Tail in Twain".
* The Modern Adventures of Tom Sawyer
* A 2000 animated adaptation, featuring the characters as anthropomorphic animals with an all-star voice cast, including country singers Rhett Akins (as Tom), Mark Wills (as Huck Finn), Lee Ann Womack, Waylon Jennings and Hank Williams Jr. as well as Betty White as Aunt Polly
* Tom Sawyer appears as a United States Secret Service agent in the 2003 movie based on comic book series The League of Extraordinary Gentlemen
* This book was featured in an episode of The Fairly Odd Parents
Stage musicals: In 1956 'We're From Missouri', a musical adaptation of The Adventures of Tom Sawyer, with book, music and lyrics by Tom Boyd, was presented by the students at the Guildhall School of Music and Drama. In 1960, Boyd's musical version (re-titled Tom Sawyer) was presented professionally at Theatre Royal Stratford East in London, England, and in 1961 toured provincial theatres in England.Tom Boyd's musical of TOM SAWYER was produced again in April and June 2010 in Cirencester, Gloucestershire, England. Another musical adaptation is Mississippi Melody, a musical by Jack Hylton.
Theatrical Adaptation: In April 2010, The Hartford Stage presented a theatrical adaptation entitled Mark Twain's The Adventures of Tom Sawyer as part of a centennial observation of Mark Twain's passing.
《 zhuī yì sì shuǐ nián huá》（ yī yì wéi《 zhuī yì shì shuǐ nián huá》） zhè bù bèi yù wéi 'èr shí shì jì zuì zhòng yào de wén xué zuò pǐn zhī yī de cháng piān jù zhe， yǐ qí chū sè de duì xīn líng zhuī suǒ de miáo xiě hé zhuó yuè de yì shí liú jì qiǎo 'ér fēngmǐ shì jiè， bìng diàn dìng liǎo tā zài dāng dài shì jiè wén xué zhōng de dì wèi。
duō juàn jí cháng piān jù zhe《 zhuī yì shì shuǐ nián huá》 shì fǎ guó zuò jiā mǎ sài 'ěr . pǔ lǔ sī tè (1871-1922) de dài biǎo zuò， quán shū gòng qī bù， shí wǔ juàn， cóng 1905 nián kāi shǐ chuàng zuò， zhì zuò zhě shì shì qián quán bù wán chéng。 xiǎo shuō de dì yī bù《 tōng wǎng sī wàn jiā de lù》 yú 1913 nián wèn shì， dàn fǎn yìng lěng dàn， yī xiē yòu míng de chū bǎn shè dōubù yuàn chū bǎn， zuò zhě biàn zì fèi yìn xíng。 hòu lái《 tōng wǎng sī wàn jiā de lù》 zhú jiàn huò dé wén yì jiè de zàn shǎng。 yú shì， gè dà chū bǎn shè jìng xiāng yǔ pǔ lǔ sī tè qiān dìng hé tóng， yǐ qiú qǔ dé chū bǎn zhè bù duō juàn jí de qí yú jǐ bù zuò pǐn de quán lì。 bù jiǔ， dì yī cì shì jiè dà zhàn bào fā， chū bǎn gōng zuò bèi gē zhì xià lái。 zhàn zhēng jié shù hòu， xiǎo shuō de dì 'èr bù《 zài huā zhī zhāo zhǎn de shàonǚ men shēn bàng》 yú 1919 nián chū bǎn， huò gōng gǔ 'ěr wén xué jiǎng， pǔ lǔ sī tè míng shēng dà zhèn。 cǐ hòu， xiǎo shuō de dì sān bù《 gài 'ěr máng jiā》 hé dì sì bù《 suǒ duō mǔ hé guō mù 'ěr》 xiāng jì yú 1921 hé 1922 nián chū bǎn， zuì hòu sān bù《 nǚ qiú fàn》 (1923)，《 táo wáng zhě》 (1925)， hé《 xī rì zài xiàn》 (1927) zé shì pǔ lǔ sī tè shì shì hòu cái chū bǎn de。
mù lù
dì yī bù zài sī wàn jiā nà biān
zhuī yì sì shuǐ nián huá zhuī yì sì shuǐ nián huá
> dì yī juàn gòng bù léi
>> dì yī zhāng
>> dì 'èr zhāng
> dì 'èr juàn sī wàn zhī liàn
> dì sān juǎndì míng： nà gè xìng shì
dì 'èr bù zài shàonǚ men shēn bàng
> dì yī juàn sī wàn fū rén zhōu wéi
> dì 'èr juǎndì míng： dì fāng
dì sān bù gài 'ěr máng tè jiā nà biān
> dì yī juàn
> dì 'èr juàn
>> dì yī zhāng
>> dì 'èr zhāng
dì sì bù
> dì yī juàn
> dì 'èr juàn
>> dì yī zhāng
>> dì 'èr zhāng
>> dì sān zhāng
>> dì sì zhāng
dì wǔ bù nǚ qiú
dì liù bù nǚ táo wáng zhě
dì qī bù chóngxiàn de shí guāng
《 zhuī yì shì shuǐ nián huá》 shì yī bù yǔ chuán tǒng xiǎo shuō bù tóng de cháng piān xiǎo shuō。 quán shū yǐ xù shù zhě“ wǒ” wéi zhù tǐ， jiāng qí suǒ jiàn suǒ wén suǒ sī suǒ gǎn róng hé yī tǐ， jì yòu duì shè huì shēng huó， rén qíng shì tài de zhēn shí miáo xiě， yòu shì yī fèn zuò zhě zì wǒ zhuī qiú， zì wǒ rèn shí de nèi xīn jīng lì de jì lù。 chú xù shì yǐ wài， hái bāo hán yòu dà liàng de gǎn xiǎng hé yì lùn。 zhěng bù zuò pǐn méi yòu zhōng xīn rén wù， méi yòu wán zhěng de gù shì， méi yòu bō lán qǐ fú， guàn chuān shǐ zhōng de qíng jié xiàn suǒ。 tā dà tǐ yǐ xù shù zhě de shēng huó jīng lì hé nèi xīn huó dòng wéi zhóu xīn， chuān chā miáo xiě liǎo dà liàng de rén wù shì jiàn， yóu rú yī kē zhī yā jiāo cuò de dà shù， kě yǐ shuō shì zài yī bù zhù yào xiǎo shuō shàng pài shēng zhe xǔ duō dú lì chéng piān de qí tā xiǎo shuō， yě kě yǐ shuō shì yī bù jiāo zhì zhe hǎo jǐ gè zhù tí qū de jù dà jiāo xiǎng lè。
xiǎo shuō zhōng de xù shù zhě“ wǒ” shì yī gè jiā jìng fù yù 'ér yòu tǐ ruò duō bìng de qīng nián， cóng xiǎo duì shū huà yòu tè shū de 'àihào， céng jīng cháng shì guò wén xué chuàng zuò， méi yòu chéng gōng。 tā jīng cháng chū rù bā lí de shàng céng shè huì， pín fán wǎng lái yú gè chá huì， wǔ huì， zhāo dài huì jí qí tā shí máo de shè jiāo chǎng hé， bìng zhōng qíng yú yóu tài fù shāng de nǚ 'ér jí 'ěr bó tè， dàn bù jiǔ jiù shī liàn liǎo。 cǐ wài， tā hái dào guò jiā xiāng gòng bǎi lāi xiǎo zhù， dào guò hǎi bīn shèng dì bā péi kè liáo yǎng。 tā jié shí liǎo lìng yī wèi shàonǚ 'ā 'ěr bó dì， fā xiàn 'ā 'ěr bó dì huàn tóng xìng liàn， biàn jué xīn qǔ tā wéi qī， yǐ jiū zhèng tā de biàn tài xīn lǐ。 tā bǎ 'ā 'ěr bó dì jìn bì zài zì jǐ jiā zhōng， ā 'ěr bó dì què shè fǎ táo páo， yú shì， tā duō fāng dǎ tīng tā， xún zhǎo tā， hòu lái dé zhī 'ā 'ěr bó dì qí mǎ shuāi sǐ。 zài bēi tòng zhōng tā rèn shí dào zì jǐ de bǐng fù shì xiě zuò， tā suǒ jīng lì de bēi huān kǔ lè zhèng shì wén xué chuàng zuò de cái liào， zhǐ yòu wén xué chuàng zuò cái néng bǎ xī rì shī qù de dōng xī zhǎo huí lái。
zài xiǎo shuō zhōng， xù shù zhě“ wǒ” de shēng huó jīng lì bìng bù zhàn quán shū de zhù yào piān fú。 zuò zhě tōng guò gù shì tào gù shì， gù shì yǔ gù shì jiāo chā zhòng dié de fāng fǎ， miáo xiě liǎo zhòng duō de rén wù shì jiàn， zhǎn shì liǎo yī fú 19 shì jì yǔ 20 shì jì zhī jiāo fǎ guó shàng liú shè huì de shēng huó tú jǐng。 zhè lǐ yòu zī sè mí rén， tán tù gāo yǎ 'ér yòu wú liáo yōng sú de gài 'ěr máng fū rén， yòu dào dé duò luò， xíng wéi chóu 'è de biàn xìng rén chá liú sī nán jué， yòu zòng qíng shēng sè de làng dàng gōng zǐ sī wàn děng děng。 cǐ wài， xiǎo shuō hái miáo xiě liǎo yī xiē yú shàng liú shè huì yòu guān lián de zuò jiā， yì shù jiā， tā men dà dū shēng qián luò bó shī yì， ér zuò pǐn què yǒng shì cháng cún。 xiǎo shuō hái miáo xiě liǎo yī xiē xià céng de láo dòng zhě。《 zhuī yì shì shuǐ nián huá》 zhè bù cháng piān jù zhe tōng guò shàng qiān gè rén wù de huó dòng， lěng jìng， zhēn shí， xì zhì dì zài xiàn liǎo fǎ guó shàng liú shè huì de shēng huó xí sú， rén qíng shì tài。 yīn cǐ yòu xiē xī fāng píng lùn jiā bǎ tā yǔ bā 'ěr zhā kè de《 rén jiān xǐ jù》 xiāng tí bìng lùn， chēng zhī wéi“ fēng liú xǐ jù”。
《 zhuī yì shì shuǐ nián huá》 shì yī bù yòu dú tè fēng gé de cháng piān xiǎo shuō， tā bù jǐn zài xiàn liǎo kè guān shì jiè， tóng shí yě zhǎn xiàn liǎo xù shù zhě de zhù guān shì jiè， jì lù liǎo xù shù zhě duì kè guān shì jiè de nèi xīn gǎn shòu。 zuò zhě gǎn xīng qù de bù shì xù shù gù shì， jiāo dài qíng jié hé kè huà rén wù xíng xiàng， ér shì shū fā zì jǐ duì mǒu yī wèn tí de gǎn xiǎng hé fēn xī。 lì rú， xù shù zhě cān jiā liǎo gài 'ěr máng gōng jué jiā de yī cì wǎn yàn， zhè shǐ tā cháng qī yǐ lái duì guì zú de zhǒng zhǒng huàn xiǎng dùn shí pò miè， tā yì shí dào guò qù duì tā yòu mèi lì de zhǐ shì míng chēng， ér bù shì zhēn shí de shì jiè。 zhěng bù zuò pǐn duì wài bù shì jiè de miáo shù tóng xù shù zhě duì tā de gǎn shòu， sī kǎo， fēn xī hún rán yī tǐ， yòu hù xiāng yǐn fā， hù xiāng chōng shí， cóng 'ér xíng chéng liǎo wù cóng wǒ chū， wù zhōng yòu wǒ， wù wǒ hé yī de yì shù jìng jiè。
《 zhuī yì shì shuǐ nián huá》 zhè bù cháng piān， chú liǎo dì yī bù zhōng guān yú sī wàn de liàn 'ài gù shì cǎi yòng dì sān rén chēng miáo xiě shǒu fǎ wài， qí yú dōushì tōng guò dì yī rén chēng xù shù chū lái de， xù shù zhě“ wǒ” de huí yì shì guàn chuān quán shū de zhòng yào yì shù biǎo xiàn fāng shì。 xiǎo shuō kāi juàn，“ wǒ” cóng chuáng shàng xǐng lái， zài mèng huàn bān de zhuàng tài zhōng qiān sī bǎi xiǎng jí yú xīn tóu。 zhè shí， yóu yú yī bēi chá hé yī kuài diǎn xīn de chù fā， shǐ tā huí yì qǐ xiǎo shí hòu zài gū mā lāi 'ào nī jiā shēng huó de qíng jǐng。 zhè bù jǐn yǐn chū liǎo xù shù zhě de jiā tíng shēn shì hé gè rén jīng lì， hái yǐn chū liǎo gài 'ěr máng hé sī wàn liǎng dà jiā zú， yǐn chū liǎo xíng xíng sè sè de rén wù shì jiàn， zhěng bù xiǎo shuō de nèi róng jiù shì tōng guò xù shù zhě de huí yì xiàng zòng shēn fā jué， zhú bù tuī jìn， zuì hòu wán zhěng dì chéng xiàn chū lái。
《 zhuī yì shì shuǐ nián huá》 gòng 7 bù， 15 juàn， qí zhōng bāo kuò《 zài sī wàng jiā nà biān》（ 1913）、《 zài shàonǚ men shēn bàng》（ 1919）、《 gài 'ěr máng tè jiā nà biān》（ 1921）、《 suǒ duō mǔ yǔ gē mó 'ěr》（ 1922） hé zuò zhě sǐ hòu chū bǎn de《 nǚ qiú》、《 nǚ táo wáng zhě》 hé《 chóngxiàn de shí guāng》。 dì yī bù《 zài sī wàng jiā nà biān》， méi yòu dé dào wén yì jiè de rèn kě， dì 'èr bù《 zài shàonǚ men shēn bàng》（ 1919）， huò gōng gǔ 'ěr wén xué jiǎng， cóng cǐ míng shēng dà zhèn。
《 zhuī yì shì shuǐ nián huá》 shì yī bù bā 'ěr zhā kè《 rén jiān xǐ jù》 nà yàng“ guī mó hóng dà” de zuò pǐn。 xiǎo shuō de xù shù zhě“ wǒ” shì yī gè fù yú cái huá， xǐ 'ài wén xué yì shù 'ér yòu tǐ ruò duō bìng de fù jiā zǐ dì。 zuò pǐn tòu guò zhù rén gōng de zhuī yì， biǎo xiàn liǎo zuò zhě duì jiā tíng、 tóng nián hé chū liàn shí gǎn qíng de huái niàn， duì yōng sú shì wù de yàn 'è， tóng shí yě fǎn yìng liǎo 19 shì jì mò 20 shì jì chū suǒ wèi“ huáng jīn shí dài” de fǎ guó bā lí shàng liú shè huì de zhǒng zhǒng rén qíng shì tài。
xiǎo shuō gù shì tào gù shì， rén wù shì jiàn zhòng duō。 yī fāng miàn shì zūn xún fǎ guó jiù chuán tǒng xí guàn de shèng · rì 'ěr màn guì zú、 gài 'ěr máng tè jiā zú de gōng jué hé gōng jué fū rén、 gài 'ěr máng tè qīn wáng hé wáng fēi、 gōng jué de xiōng dì děng。 lìng yī fāng miàn shì xīn de zī chǎn jiē jí bào fā hù hé huó yuè zài shā lóng lǐ de bāng xián rén wù： sī wàng jí qí qíng fù、 jiāo jì huā 'ào dài tè、 fù yù 'ér yòu wén huà jiào yǎng de fán 'ěr dù lán fū fù、 wài jiāo guān、 yī shēng、 yì shù jiā děng。 liǎng gè duì lì de shè huì， yuán lái bìng bù róng qià， zī chǎn jiē jí hěn nán kuà jìn gǔ lǎo guì zú de mén tīng。 dàn shì suí zhe shí jiān de tuī yí hé fù zá de lián yīn guān xì， hóng gōu zhú jiàn bèi dǎ pò。 sī wàng sǐ hòu， ào dài tè chéng liǎo gài 'ěr máng tè gōng jué de qíng fù。 fán 'ěr dù lán tài tài guò qù bù bèi guì zú jiā suǒ jiē nà， xiàn zài chéng liǎo qīn wáng fū rén。 zuò zhě zài guì zú bìsè hé yōu xián de shì wài táo yuán zhōng kuī shì dào liǎo shuāi bài jǐng xiàng， cóng dà zī chǎn jiē jí yōng sú kuáng wàng zhōng kàn dào liǎo yī zhǒng jī xíng shè huì de huà miàn。 suī rán zuò zhě zài miáo huì zhè zhǒng zhǒng huà miàn shí， bìng méi yòu yòng jiān ruì de qiǎn zé zhī cí， dàn cóng tā bǐ fēng zhuànxiàng xià céng rén mín shí suǒ biǎo xiàn chū de hǎo gǎn zhōng， yòu néng tǐ wèi dào tā de bāo biǎn zhī yì。 nà gè zài shàng céng rén jiā fú wù duō nián de lǎo nǚ pú fú lǎng suǒ wǎ cí， suī rán mǎn kǒu xiāng xià tǔ huà， nǎo zǐ lǐ yòu bù shǎo mí xìn hé jìn jì， dàn tā qín láo、 chún pǔ， yòu zhe xiāng xià rén de cōng míng jī zhì， shì zuò zhě zuì xǐ 'ài de rén wù zhī yī。 xiǎo shuō chú liǎo miáo xiě shàng liú shè huì de shēng huó wài， hái shè jí dào wén xué、 huì huà、 yīnyuè、 jiàn zhù， yǐ jí dì yī cì shì jiè dà zhàn děng zhū duō fāng miàn de nèi róng。
《 zhuī yì shì shuǐ nián huá》 shì yī bù huí yì lù shì de zìzhuàn tǐ xiǎo shuō， dàn méi yòu chuán tǒng huí yì lù nà yàng duì wǎng shì yòu tiáo lǐ de zhěng lǐ hé fēn xī， ér shì tōng guò yī gè“ fēi cháng shén jīng zhì hé guòfèn shòu nì 'ài de hái zǐ” duì zì jǐ“ huǎn màn chéngzhǎng guò chéng” de zhuī yì， jiàn jiàn dì“ yì shí” dào zì jǐ zhōu wéi rén men de“ cún zài”。 zuò zhě zhǐ shì bǔ zhuō zì jǐ xīn tóu liú xià bìng shí shí fú xiàn zài nǎo jì de yìn xiàng， rán hòu jiā yǐ zhǎn xiàn。 duì tā lái shuō， shì qíng fā shēng de xiān hòu méi yòu yì yì， xiàn shí cóng huí yì zhōng xíng chéng， tōng guò huí yì， jì rèn shí dào xiàn shí shì jiè， yě rèn shí dào“ zì wǒ” de cún zài。 ér shí zǎo chén qǐ lái hē rè chá shí yī kuài sú míng jiào“ mǎ dé lāi nà” de tián gāo diǎn pào zài chá lǐ， biān hē biān chī diǎn xīn suǒ gǎn dào de lè chù， zài zuì hòu yī juàn《 chóngxiàn de shí guāng》 chóngtí shí，“ jīn” yǔ“ xī” de huí yì yǐ tóng shí chū xiàn zài zuò zhě nǎo hǎi lǐ。 tōng guò huí yì， tā jiě chú liǎo“ shí jiān” de shù fù， huò dé liǎo guò qù、 xiàn zài de chóngdié hé jiāo chā， xíng chéng liǎo tè shū de huí yì jié gòu。
zuò pǐn de xù shù jiǎo dù míng xiǎn qū bié yú chuán tǒng xiǎo shuō。 zuò zhě shuō：“ zài wǒ men yòu xiǎo shí， wǒ jué dé shèng shū shàng rèn hé rén wù hé mìng yùn dōuméi yòu xiàng nuò yà nà yàng bēi cǎn， tā yīn hóng shuǐ fàn làn， bù dé bù zài fāng zhōu lǐ dù guò sì shí tiān， hòu lái， wǒ shí cháng wò bìng， pò bù dé yǐ chéng nián lěi yuè dì dāi zài fāng zhōu lǐ guò huó。 zhè shí wǒ cái míng bái， jìn guǎn nuò yà fāng zhōu jǐn bì zhe， máng máng hēi yè zhèn zhù dà dì， dàn shì nuò yà cóng fāng zhōu lǐ kàn shì jiè shì zài tòu chè bù guò liǎo。” zuò zhě yě bù shì zhàn zài shì wù de wài bù guān chá shì jiè， ér shì jiāng kè guān shì jiè róng rù nèi xīn， rán hòu zài biǎo xiàn chū lái。 tā tōng guò duì nèi xīn shì jiè de tàn suǒ lái fā xiàn wài bù shì jiè， cóng yì shí hóng liú zhōng rèn shí wài bù shì jiè de jià zhí。 zuò pǐn de rén chēng yě yòu yì yú chuán tǒng xiǎo shuō。 zuò pǐn zhōng de“ wǒ” bìng bù shì chuán tǒng xiǎo shuō zhōng de dì yī rén chēng， tā zhǐ shì yī gè chuān zhēn yǐn xiàn de rén wù， tōng guò“ wǒ” de guān chá、 gǎn shòu yǐn chū qí tā rén wù hé huì chéng xuàn lì duō zī de huà miàn。 pǔ lǔ sī tè suī rán shì xiàn dài pài zuò jiā， dàn tā de yǔ yán fēng gé shēn shòu méng tián、 sài wéi ní fū rén hé shèng · xī méng děng fǎ guó gǔ diǎn zuò jiā de yǐng xiǎng， yòu zhe kuàng dá、 gāo yǎ、 xì nì、 wǎn zhuǎn de tè diǎn。
fǎ guó zhù míng zhuànjì wén xué jiā jiān píng lùn jiā A· mò luó yà（ 1885 héng 1967） zài 1954 nián bā lí gā lǐ mǎ chū bǎn shè chū bǎn de《 qī xīng cóng shū》 běn de《 zhuī yì shì shuǐ nián huá》 xù yán zhōng xiě dào：“ yī jiǔ nián zhì yī jiǔ wǔ nián zhè wǔ shí nián zhōng， chú liǎo《 zhuī yì shì shuǐ nián huá》 zhī wài， méi yòu bié de zhí dé yǒng zhì bù wàng de xiǎo shuō jù zhù。 bù jǐn yóu yú pǔ lǔ sī tè de zuò pǐn hé bā 'ěr zhā kè de zuò pǐn yī yàng piān zhì hào fán， yīn wéi yě yòu rén xiě guò shí wǔ juàn shèn zhì 'èr shí juàn de jù xíng xiǎo shuō， ér qiě yòu shí yě xiěde wén cǎi dòng rén， rán 'ér tā men bìng bù gěi wǒ men fā xiàn‘ xīn dà lù’ huò bāo luó wàn xiàng de gǎn jué。 zhè xiē zuò jiā mǎn zú yú wā jué zǎo yǐ wéi rén suǒ zhī de‘ kuàng mài’， ér mǎ sài 'ěr · pǔ lǔ sī tè zé fā xiàn liǎo xīn de‘ kuàng cáng’。” zhè yě shì qiáng diào《 zhuī yì shì shuǐ nián huá》 de yì shù yōu diǎn jiù zài yú yī gè“ xīn” zì。 rán 'ér yì shù fā zhǎn de kè guān guī lǜ bìng bù zài yú dān chún de chuàng xīn， yě bù zài yú wéi chuàng xīn 'ér chuàng xīn， gèng bù zài yú duì yú chuán tǒng de yōu xiù yì shù chuán tǒng cǎi qǔ xū wú zhù yì de tài dù， cóng líng kāi shǐ de chuàng xīn。 chuàng xīn shì yì shù de líng hún， rán 'ér chuàng xīn jué bù shì qīng 'ér yì jǔ de， jué bù shì máng mùdì huàn xiǎng。《 zhuī yì shì shuǐ nián huá》 de chuàng xīn shì zài chuán tǒng de yōu xiù yì shù jī chǔ shàng de fā zhǎn。
fǎ guó shī rén P· wǎ lāi lǐ（ 1871 héng 1945） hé zhù míng píng lùn jiā、 jiào shòu A· dì bó dài（ 1874 héng 1936） dōuzài tā men de píng lùn zhōng kuā jiǎng《 zhuī yì shì shuǐ nián huá》 de yì shù fēng gé jì chéng liǎo fǎ guó wén xué de yōu xiù chuán tǒng。 jì dé hé dì bó dài dū tí dào pǔ lǔ sī tè hé shí liù shì jì de wěi dà sǎnwén zuò jiā méng tián（ 1533 héng 1592） zài wén fēng de kuàng dá hé gāo yǎ fāng miàn， sì hū yòu yī mài xiāng chéng zhī miào。 hái yòu bié de píng lùn jiā shèn zhì tè yì tí dào pǔ lǔ sī tè shòu fǎ guó zhù míng de huí yì lù zuò jiā shèng · xī méng（ 1675 héng 1755） de yǐng xiǎng。
《 zhuī yì shì shuǐ nián huá》 de zuò zhě zhú jiàn gòu sī zhè bù xiǎo shuō dà zhì zài shàng shì jì mò nián hé běn shì jì chū nián。 yī jiǔ qī nián tā xià dìng jué xīn yào chuàng zuò zhè bù xiǎo shuō， yī jiǔ bā nián tā kāi shǐ dòng bǐ， dào yī jiǔ 'èr 'èr nián tā qù shì qián xī， cōng cōng xiě wán zuì hòu yī juàn《 chóngxiàn de shí guāng》。 pǔ lǔ sī tè chuàng zuò《 zhuī yì shì shuǐ nián huá》 de shí yú nián jiān， wán quán jìn bì zài dǒu shì zhōng， yǔ shì gé jué。 tā quán bù jīng lì yǔ shí jiān jí zhōng zài huí yì yǔ xiě zuò shàng， háo bù guān xīn shì shì， suǒ yǐ dì yī cì shì jiè dà zhàn yǐ jí tā duì fǎ guó rén mín shēng huó de qiáng liè yǐng xiǎng， zài《 zhuī yì shì shuǐ nián huá》 zhōng jīhū háo wú fǎn yìng。 zhè bù xiǎo shuō zhōng fǎn yìng de bā lí shì shí jiǔ shì jì bā、 jiǔ shí nián dài de bā lí。 shí jiǔ shì jì mò yè shì fǎ lán xī zī běn zhù yì zhú jiàn yóu lǒng duàn zī běn jìn rù dì guó zhù yì de guò chéng。 èr shí shì jì chū nián， fǎ guó zī běn zhù yì yǐ jīng dá dào zuì gāo jiē duàn， jí dì guó zhù yì jiē duàn。 zài zhè shí qī， fǎ guó shè huì chū xiàn liǎo wù zhì shēng huó fāng miàn de jí dà fán róng。 1900 nián bā lí jǔ bàn zhèn dòng quán qiú de“ shì jiè bó lǎn huì”， jiù biǎo xiàn chū xuǎn hè yī shí de fán róng jǐng xiàng。 fán cǐ zhǒng zhǒng， dōuméi yòu yǐn qǐ zài dǒu shì zhōng mái tóu xiě zuò de pǔ lǔ sī tè zhù yì。 yóu cǐ kě jiàn， jiù qí suǒ fǎn yìng de shè huì shēng huó 'ér yán，《 zhuī yì shì shuǐ nián huá》 shì shí jiǔ shì jì mò nián de xiǎo shuō， shì fǎn yìng lín jìn jù dà de biàn gé yǔ zhuǎn zhé diǎn shí kè de fǎ guó shè huì de xiǎo shuō， yīn cǐ kě yǐ shuō yě shì yī bù fǎn yìng jiù shí dài de xiǎo shuō。《 sì shuǐ nián huá》 shì fǎ guó chuán tǒng xiǎo shuō yì shù de zuì hòu yī kē shuò guǒ， zuì hòu yī duǒ qí pā， zuì hòu yī zuò wěi dà de lǐ chéng bēi。
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 .
duō juàn jí cháng piān jù zhe《 zhuī yì shì shuǐ nián huá》 shì fǎ guó zuò jiā mǎ sài 'ěr . pǔ lǔ sī tè (1871-1922) de dài biǎo zuò， quán shū gòng qī bù， shí wǔ juàn， cóng 1905 nián kāi shǐ chuàng zuò， zhì zuò zhě shì shì qián quán bù wán chéng。 xiǎo shuō de dì yī bù《 tōng wǎng sī wàn jiā de lù》 yú 1913 nián wèn shì， dàn fǎn yìng lěng dàn， yī xiē yòu míng de chū bǎn shè dōubù yuàn chū bǎn， zuò zhě biàn zì fèi yìn xíng。 hòu lái《 tōng wǎng sī wàn jiā de lù》 zhú jiàn huò dé wén yì jiè de zàn shǎng。 yú shì， gè dà chū bǎn shè jìng xiāng yǔ pǔ lǔ sī tè qiān dìng hé tóng， yǐ qiú qǔ dé chū bǎn zhè bù duō juàn jí de qí yú jǐ bù zuò pǐn de quán lì。 bù jiǔ， dì yī cì shì jiè dà zhàn bào fā， chū bǎn gōng zuò bèi gē zhì xià lái。 zhàn zhēng jié shù hòu， xiǎo shuō de dì 'èr bù《 zài huā zhī zhāo zhǎn de shàonǚ men shēn bàng》 yú 1919 nián chū bǎn， huò gōng gǔ 'ěr wén xué jiǎng， pǔ lǔ sī tè míng shēng dà zhèn。 cǐ hòu， xiǎo shuō de dì sān bù《 gài 'ěr máng jiā》 hé dì sì bù《 suǒ duō mǔ hé guō mù 'ěr》 xiāng jì yú 1921 hé 1922 nián chū bǎn， zuì hòu sān bù《 nǚ qiú fàn》 (1923)，《 táo wáng zhě》 (1925)， hé《 xī rì zài xiàn》 (1927) zé shì pǔ lǔ sī tè shì shì hòu cái chū bǎn de。
mù lù
dì yī bù zài sī wàn jiā nà biān
zhuī yì sì shuǐ nián huá zhuī yì sì shuǐ nián huá
> dì yī juàn gòng bù léi
>> dì yī zhāng
>> dì 'èr zhāng
> dì 'èr juàn sī wàn zhī liàn
> dì sān juǎndì míng： nà gè xìng shì
dì 'èr bù zài shàonǚ men shēn bàng
> dì yī juàn sī wàn fū rén zhōu wéi
> dì 'èr juǎndì míng： dì fāng
dì sān bù gài 'ěr máng tè jiā nà biān
> dì yī juàn
> dì 'èr juàn
>> dì yī zhāng
>> dì 'èr zhāng
dì sì bù
> dì yī juàn
> dì 'èr juàn
>> dì yī zhāng
>> dì 'èr zhāng
>> dì sān zhāng
>> dì sì zhāng
dì wǔ bù nǚ qiú
dì liù bù nǚ táo wáng zhě
dì qī bù chóngxiàn de shí guāng
《 zhuī yì shì shuǐ nián huá》 shì yī bù yǔ chuán tǒng xiǎo shuō bù tóng de cháng piān xiǎo shuō。 quán shū yǐ xù shù zhě“ wǒ” wéi zhù tǐ， jiāng qí suǒ jiàn suǒ wén suǒ sī suǒ gǎn róng hé yī tǐ， jì yòu duì shè huì shēng huó， rén qíng shì tài de zhēn shí miáo xiě， yòu shì yī fèn zuò zhě zì wǒ zhuī qiú， zì wǒ rèn shí de nèi xīn jīng lì de jì lù。 chú xù shì yǐ wài， hái bāo hán yòu dà liàng de gǎn xiǎng hé yì lùn。 zhěng bù zuò pǐn méi yòu zhōng xīn rén wù， méi yòu wán zhěng de gù shì， méi yòu bō lán qǐ fú， guàn chuān shǐ zhōng de qíng jié xiàn suǒ。 tā dà tǐ yǐ xù shù zhě de shēng huó jīng lì hé nèi xīn huó dòng wéi zhóu xīn， chuān chā miáo xiě liǎo dà liàng de rén wù shì jiàn， yóu rú yī kē zhī yā jiāo cuò de dà shù， kě yǐ shuō shì zài yī bù zhù yào xiǎo shuō shàng pài shēng zhe xǔ duō dú lì chéng piān de qí tā xiǎo shuō， yě kě yǐ shuō shì yī bù jiāo zhì zhe hǎo jǐ gè zhù tí qū de jù dà jiāo xiǎng lè。
xiǎo shuō zhōng de xù shù zhě“ wǒ” shì yī gè jiā jìng fù yù 'ér yòu tǐ ruò duō bìng de qīng nián， cóng xiǎo duì shū huà yòu tè shū de 'àihào， céng jīng cháng shì guò wén xué chuàng zuò， méi yòu chéng gōng。 tā jīng cháng chū rù bā lí de shàng céng shè huì， pín fán wǎng lái yú gè chá huì， wǔ huì， zhāo dài huì jí qí tā shí máo de shè jiāo chǎng hé， bìng zhōng qíng yú yóu tài fù shāng de nǚ 'ér jí 'ěr bó tè， dàn bù jiǔ jiù shī liàn liǎo。 cǐ wài， tā hái dào guò jiā xiāng gòng bǎi lāi xiǎo zhù， dào guò hǎi bīn shèng dì bā péi kè liáo yǎng。 tā jié shí liǎo lìng yī wèi shàonǚ 'ā 'ěr bó dì， fā xiàn 'ā 'ěr bó dì huàn tóng xìng liàn， biàn jué xīn qǔ tā wéi qī， yǐ jiū zhèng tā de biàn tài xīn lǐ。 tā bǎ 'ā 'ěr bó dì jìn bì zài zì jǐ jiā zhōng， ā 'ěr bó dì què shè fǎ táo páo， yú shì， tā duō fāng dǎ tīng tā， xún zhǎo tā， hòu lái dé zhī 'ā 'ěr bó dì qí mǎ shuāi sǐ。 zài bēi tòng zhōng tā rèn shí dào zì jǐ de bǐng fù shì xiě zuò， tā suǒ jīng lì de bēi huān kǔ lè zhèng shì wén xué chuàng zuò de cái liào， zhǐ yòu wén xué chuàng zuò cái néng bǎ xī rì shī qù de dōng xī zhǎo huí lái。
zài xiǎo shuō zhōng， xù shù zhě“ wǒ” de shēng huó jīng lì bìng bù zhàn quán shū de zhù yào piān fú。 zuò zhě tōng guò gù shì tào gù shì， gù shì yǔ gù shì jiāo chā zhòng dié de fāng fǎ， miáo xiě liǎo zhòng duō de rén wù shì jiàn， zhǎn shì liǎo yī fú 19 shì jì yǔ 20 shì jì zhī jiāo fǎ guó shàng liú shè huì de shēng huó tú jǐng。 zhè lǐ yòu zī sè mí rén， tán tù gāo yǎ 'ér yòu wú liáo yōng sú de gài 'ěr máng fū rén， yòu dào dé duò luò， xíng wéi chóu 'è de biàn xìng rén chá liú sī nán jué， yòu zòng qíng shēng sè de làng dàng gōng zǐ sī wàn děng děng。 cǐ wài， xiǎo shuō hái miáo xiě liǎo yī xiē yú shàng liú shè huì yòu guān lián de zuò jiā， yì shù jiā， tā men dà dū shēng qián luò bó shī yì， ér zuò pǐn què yǒng shì cháng cún。 xiǎo shuō hái miáo xiě liǎo yī xiē xià céng de láo dòng zhě。《 zhuī yì shì shuǐ nián huá》 zhè bù cháng piān jù zhe tōng guò shàng qiān gè rén wù de huó dòng， lěng jìng， zhēn shí， xì zhì dì zài xiàn liǎo fǎ guó shàng liú shè huì de shēng huó xí sú， rén qíng shì tài。 yīn cǐ yòu xiē xī fāng píng lùn jiā bǎ tā yǔ bā 'ěr zhā kè de《 rén jiān xǐ jù》 xiāng tí bìng lùn， chēng zhī wéi“ fēng liú xǐ jù”。
《 zhuī yì shì shuǐ nián huá》 shì yī bù yòu dú tè fēng gé de cháng piān xiǎo shuō， tā bù jǐn zài xiàn liǎo kè guān shì jiè， tóng shí yě zhǎn xiàn liǎo xù shù zhě de zhù guān shì jiè， jì lù liǎo xù shù zhě duì kè guān shì jiè de nèi xīn gǎn shòu。 zuò zhě gǎn xīng qù de bù shì xù shù gù shì， jiāo dài qíng jié hé kè huà rén wù xíng xiàng， ér shì shū fā zì jǐ duì mǒu yī wèn tí de gǎn xiǎng hé fēn xī。 lì rú， xù shù zhě cān jiā liǎo gài 'ěr máng gōng jué jiā de yī cì wǎn yàn， zhè shǐ tā cháng qī yǐ lái duì guì zú de zhǒng zhǒng huàn xiǎng dùn shí pò miè， tā yì shí dào guò qù duì tā yòu mèi lì de zhǐ shì míng chēng， ér bù shì zhēn shí de shì jiè。 zhěng bù zuò pǐn duì wài bù shì jiè de miáo shù tóng xù shù zhě duì tā de gǎn shòu， sī kǎo， fēn xī hún rán yī tǐ， yòu hù xiāng yǐn fā， hù xiāng chōng shí， cóng 'ér xíng chéng liǎo wù cóng wǒ chū， wù zhōng yòu wǒ， wù wǒ hé yī de yì shù jìng jiè。
《 zhuī yì shì shuǐ nián huá》 zhè bù cháng piān， chú liǎo dì yī bù zhōng guān yú sī wàn de liàn 'ài gù shì cǎi yòng dì sān rén chēng miáo xiě shǒu fǎ wài， qí yú dōushì tōng guò dì yī rén chēng xù shù chū lái de， xù shù zhě“ wǒ” de huí yì shì guàn chuān quán shū de zhòng yào yì shù biǎo xiàn fāng shì。 xiǎo shuō kāi juàn，“ wǒ” cóng chuáng shàng xǐng lái， zài mèng huàn bān de zhuàng tài zhōng qiān sī bǎi xiǎng jí yú xīn tóu。 zhè shí， yóu yú yī bēi chá hé yī kuài diǎn xīn de chù fā， shǐ tā huí yì qǐ xiǎo shí hòu zài gū mā lāi 'ào nī jiā shēng huó de qíng jǐng。 zhè bù jǐn yǐn chū liǎo xù shù zhě de jiā tíng shēn shì hé gè rén jīng lì， hái yǐn chū liǎo gài 'ěr máng hé sī wàn liǎng dà jiā zú， yǐn chū liǎo xíng xíng sè sè de rén wù shì jiàn， zhěng bù xiǎo shuō de nèi róng jiù shì tōng guò xù shù zhě de huí yì xiàng zòng shēn fā jué， zhú bù tuī jìn， zuì hòu wán zhěng dì chéng xiàn chū lái。
《 zhuī yì shì shuǐ nián huá》 gòng 7 bù， 15 juàn， qí zhōng bāo kuò《 zài sī wàng jiā nà biān》（ 1913）、《 zài shàonǚ men shēn bàng》（ 1919）、《 gài 'ěr máng tè jiā nà biān》（ 1921）、《 suǒ duō mǔ yǔ gē mó 'ěr》（ 1922） hé zuò zhě sǐ hòu chū bǎn de《 nǚ qiú》、《 nǚ táo wáng zhě》 hé《 chóngxiàn de shí guāng》。 dì yī bù《 zài sī wàng jiā nà biān》， méi yòu dé dào wén yì jiè de rèn kě， dì 'èr bù《 zài shàonǚ men shēn bàng》（ 1919）， huò gōng gǔ 'ěr wén xué jiǎng， cóng cǐ míng shēng dà zhèn。
《 zhuī yì shì shuǐ nián huá》 shì yī bù bā 'ěr zhā kè《 rén jiān xǐ jù》 nà yàng“ guī mó hóng dà” de zuò pǐn。 xiǎo shuō de xù shù zhě“ wǒ” shì yī gè fù yú cái huá， xǐ 'ài wén xué yì shù 'ér yòu tǐ ruò duō bìng de fù jiā zǐ dì。 zuò pǐn tòu guò zhù rén gōng de zhuī yì， biǎo xiàn liǎo zuò zhě duì jiā tíng、 tóng nián hé chū liàn shí gǎn qíng de huái niàn， duì yōng sú shì wù de yàn 'è， tóng shí yě fǎn yìng liǎo 19 shì jì mò 20 shì jì chū suǒ wèi“ huáng jīn shí dài” de fǎ guó bā lí shàng liú shè huì de zhǒng zhǒng rén qíng shì tài。
xiǎo shuō gù shì tào gù shì， rén wù shì jiàn zhòng duō。 yī fāng miàn shì zūn xún fǎ guó jiù chuán tǒng xí guàn de shèng · rì 'ěr màn guì zú、 gài 'ěr máng tè jiā zú de gōng jué hé gōng jué fū rén、 gài 'ěr máng tè qīn wáng hé wáng fēi、 gōng jué de xiōng dì děng。 lìng yī fāng miàn shì xīn de zī chǎn jiē jí bào fā hù hé huó yuè zài shā lóng lǐ de bāng xián rén wù： sī wàng jí qí qíng fù、 jiāo jì huā 'ào dài tè、 fù yù 'ér yòu wén huà jiào yǎng de fán 'ěr dù lán fū fù、 wài jiāo guān、 yī shēng、 yì shù jiā děng。 liǎng gè duì lì de shè huì， yuán lái bìng bù róng qià， zī chǎn jiē jí hěn nán kuà jìn gǔ lǎo guì zú de mén tīng。 dàn shì suí zhe shí jiān de tuī yí hé fù zá de lián yīn guān xì， hóng gōu zhú jiàn bèi dǎ pò。 sī wàng sǐ hòu， ào dài tè chéng liǎo gài 'ěr máng tè gōng jué de qíng fù。 fán 'ěr dù lán tài tài guò qù bù bèi guì zú jiā suǒ jiē nà， xiàn zài chéng liǎo qīn wáng fū rén。 zuò zhě zài guì zú bìsè hé yōu xián de shì wài táo yuán zhōng kuī shì dào liǎo shuāi bài jǐng xiàng， cóng dà zī chǎn jiē jí yōng sú kuáng wàng zhōng kàn dào liǎo yī zhǒng jī xíng shè huì de huà miàn。 suī rán zuò zhě zài miáo huì zhè zhǒng zhǒng huà miàn shí， bìng méi yòu yòng jiān ruì de qiǎn zé zhī cí， dàn cóng tā bǐ fēng zhuànxiàng xià céng rén mín shí suǒ biǎo xiàn chū de hǎo gǎn zhōng， yòu néng tǐ wèi dào tā de bāo biǎn zhī yì。 nà gè zài shàng céng rén jiā fú wù duō nián de lǎo nǚ pú fú lǎng suǒ wǎ cí， suī rán mǎn kǒu xiāng xià tǔ huà， nǎo zǐ lǐ yòu bù shǎo mí xìn hé jìn jì， dàn tā qín láo、 chún pǔ， yòu zhe xiāng xià rén de cōng míng jī zhì， shì zuò zhě zuì xǐ 'ài de rén wù zhī yī。 xiǎo shuō chú liǎo miáo xiě shàng liú shè huì de shēng huó wài， hái shè jí dào wén xué、 huì huà、 yīnyuè、 jiàn zhù， yǐ jí dì yī cì shì jiè dà zhàn děng zhū duō fāng miàn de nèi róng。
《 zhuī yì shì shuǐ nián huá》 shì yī bù huí yì lù shì de zìzhuàn tǐ xiǎo shuō， dàn méi yòu chuán tǒng huí yì lù nà yàng duì wǎng shì yòu tiáo lǐ de zhěng lǐ hé fēn xī， ér shì tōng guò yī gè“ fēi cháng shén jīng zhì hé guòfèn shòu nì 'ài de hái zǐ” duì zì jǐ“ huǎn màn chéngzhǎng guò chéng” de zhuī yì， jiàn jiàn dì“ yì shí” dào zì jǐ zhōu wéi rén men de“ cún zài”。 zuò zhě zhǐ shì bǔ zhuō zì jǐ xīn tóu liú xià bìng shí shí fú xiàn zài nǎo jì de yìn xiàng， rán hòu jiā yǐ zhǎn xiàn。 duì tā lái shuō， shì qíng fā shēng de xiān hòu méi yòu yì yì， xiàn shí cóng huí yì zhōng xíng chéng， tōng guò huí yì， jì rèn shí dào xiàn shí shì jiè， yě rèn shí dào“ zì wǒ” de cún zài。 ér shí zǎo chén qǐ lái hē rè chá shí yī kuài sú míng jiào“ mǎ dé lāi nà” de tián gāo diǎn pào zài chá lǐ， biān hē biān chī diǎn xīn suǒ gǎn dào de lè chù， zài zuì hòu yī juàn《 chóngxiàn de shí guāng》 chóngtí shí，“ jīn” yǔ“ xī” de huí yì yǐ tóng shí chū xiàn zài zuò zhě nǎo hǎi lǐ。 tōng guò huí yì， tā jiě chú liǎo“ shí jiān” de shù fù， huò dé liǎo guò qù、 xiàn zài de chóngdié hé jiāo chā， xíng chéng liǎo tè shū de huí yì jié gòu。
zuò pǐn de xù shù jiǎo dù míng xiǎn qū bié yú chuán tǒng xiǎo shuō。 zuò zhě shuō：“ zài wǒ men yòu xiǎo shí， wǒ jué dé shèng shū shàng rèn hé rén wù hé mìng yùn dōuméi yòu xiàng nuò yà nà yàng bēi cǎn， tā yīn hóng shuǐ fàn làn， bù dé bù zài fāng zhōu lǐ dù guò sì shí tiān， hòu lái， wǒ shí cháng wò bìng， pò bù dé yǐ chéng nián lěi yuè dì dāi zài fāng zhōu lǐ guò huó。 zhè shí wǒ cái míng bái， jìn guǎn nuò yà fāng zhōu jǐn bì zhe， máng máng hēi yè zhèn zhù dà dì， dàn shì nuò yà cóng fāng zhōu lǐ kàn shì jiè shì zài tòu chè bù guò liǎo。” zuò zhě yě bù shì zhàn zài shì wù de wài bù guān chá shì jiè， ér shì jiāng kè guān shì jiè róng rù nèi xīn， rán hòu zài biǎo xiàn chū lái。 tā tōng guò duì nèi xīn shì jiè de tàn suǒ lái fā xiàn wài bù shì jiè， cóng yì shí hóng liú zhōng rèn shí wài bù shì jiè de jià zhí。 zuò pǐn de rén chēng yě yòu yì yú chuán tǒng xiǎo shuō。 zuò pǐn zhōng de“ wǒ” bìng bù shì chuán tǒng xiǎo shuō zhōng de dì yī rén chēng， tā zhǐ shì yī gè chuān zhēn yǐn xiàn de rén wù， tōng guò“ wǒ” de guān chá、 gǎn shòu yǐn chū qí tā rén wù hé huì chéng xuàn lì duō zī de huà miàn。 pǔ lǔ sī tè suī rán shì xiàn dài pài zuò jiā， dàn tā de yǔ yán fēng gé shēn shòu méng tián、 sài wéi ní fū rén hé shèng · xī méng děng fǎ guó gǔ diǎn zuò jiā de yǐng xiǎng， yòu zhe kuàng dá、 gāo yǎ、 xì nì、 wǎn zhuǎn de tè diǎn。
fǎ guó zhù míng zhuànjì wén xué jiā jiān píng lùn jiā A· mò luó yà（ 1885 héng 1967） zài 1954 nián bā lí gā lǐ mǎ chū bǎn shè chū bǎn de《 qī xīng cóng shū》 běn de《 zhuī yì shì shuǐ nián huá》 xù yán zhōng xiě dào：“ yī jiǔ nián zhì yī jiǔ wǔ nián zhè wǔ shí nián zhōng， chú liǎo《 zhuī yì shì shuǐ nián huá》 zhī wài， méi yòu bié de zhí dé yǒng zhì bù wàng de xiǎo shuō jù zhù。 bù jǐn yóu yú pǔ lǔ sī tè de zuò pǐn hé bā 'ěr zhā kè de zuò pǐn yī yàng piān zhì hào fán， yīn wéi yě yòu rén xiě guò shí wǔ juàn shèn zhì 'èr shí juàn de jù xíng xiǎo shuō， ér qiě yòu shí yě xiěde wén cǎi dòng rén， rán 'ér tā men bìng bù gěi wǒ men fā xiàn‘ xīn dà lù’ huò bāo luó wàn xiàng de gǎn jué。 zhè xiē zuò jiā mǎn zú yú wā jué zǎo yǐ wéi rén suǒ zhī de‘ kuàng mài’， ér mǎ sài 'ěr · pǔ lǔ sī tè zé fā xiàn liǎo xīn de‘ kuàng cáng’。” zhè yě shì qiáng diào《 zhuī yì shì shuǐ nián huá》 de yì shù yōu diǎn jiù zài yú yī gè“ xīn” zì。 rán 'ér yì shù fā zhǎn de kè guān guī lǜ bìng bù zài yú dān chún de chuàng xīn， yě bù zài yú wéi chuàng xīn 'ér chuàng xīn， gèng bù zài yú duì yú chuán tǒng de yōu xiù yì shù chuán tǒng cǎi qǔ xū wú zhù yì de tài dù， cóng líng kāi shǐ de chuàng xīn。 chuàng xīn shì yì shù de líng hún， rán 'ér chuàng xīn jué bù shì qīng 'ér yì jǔ de， jué bù shì máng mùdì huàn xiǎng。《 zhuī yì shì shuǐ nián huá》 de chuàng xīn shì zài chuán tǒng de yōu xiù yì shù jī chǔ shàng de fā zhǎn。
fǎ guó shī rén P· wǎ lāi lǐ（ 1871 héng 1945） hé zhù míng píng lùn jiā、 jiào shòu A· dì bó dài（ 1874 héng 1936） dōuzài tā men de píng lùn zhōng kuā jiǎng《 zhuī yì shì shuǐ nián huá》 de yì shù fēng gé jì chéng liǎo fǎ guó wén xué de yōu xiù chuán tǒng。 jì dé hé dì bó dài dū tí dào pǔ lǔ sī tè hé shí liù shì jì de wěi dà sǎnwén zuò jiā méng tián（ 1533 héng 1592） zài wén fēng de kuàng dá hé gāo yǎ fāng miàn， sì hū yòu yī mài xiāng chéng zhī miào。 hái yòu bié de píng lùn jiā shèn zhì tè yì tí dào pǔ lǔ sī tè shòu fǎ guó zhù míng de huí yì lù zuò jiā shèng · xī méng（ 1675 héng 1755） de yǐng xiǎng。
《 zhuī yì shì shuǐ nián huá》 de zuò zhě zhú jiàn gòu sī zhè bù xiǎo shuō dà zhì zài shàng shì jì mò nián hé běn shì jì chū nián。 yī jiǔ qī nián tā xià dìng jué xīn yào chuàng zuò zhè bù xiǎo shuō， yī jiǔ bā nián tā kāi shǐ dòng bǐ， dào yī jiǔ 'èr 'èr nián tā qù shì qián xī， cōng cōng xiě wán zuì hòu yī juàn《 chóngxiàn de shí guāng》。 pǔ lǔ sī tè chuàng zuò《 zhuī yì shì shuǐ nián huá》 de shí yú nián jiān， wán quán jìn bì zài dǒu shì zhōng， yǔ shì gé jué。 tā quán bù jīng lì yǔ shí jiān jí zhōng zài huí yì yǔ xiě zuò shàng， háo bù guān xīn shì shì， suǒ yǐ dì yī cì shì jiè dà zhàn yǐ jí tā duì fǎ guó rén mín shēng huó de qiáng liè yǐng xiǎng， zài《 zhuī yì shì shuǐ nián huá》 zhōng jīhū háo wú fǎn yìng。 zhè bù xiǎo shuō zhōng fǎn yìng de bā lí shì shí jiǔ shì jì bā、 jiǔ shí nián dài de bā lí。 shí jiǔ shì jì mò yè shì fǎ lán xī zī běn zhù yì zhú jiàn yóu lǒng duàn zī běn jìn rù dì guó zhù yì de guò chéng。 èr shí shì jì chū nián， fǎ guó zī běn zhù yì yǐ jīng dá dào zuì gāo jiē duàn， jí dì guó zhù yì jiē duàn。 zài zhè shí qī， fǎ guó shè huì chū xiàn liǎo wù zhì shēng huó fāng miàn de jí dà fán róng。 1900 nián bā lí jǔ bàn zhèn dòng quán qiú de“ shì jiè bó lǎn huì”， jiù biǎo xiàn chū xuǎn hè yī shí de fán róng jǐng xiàng。 fán cǐ zhǒng zhǒng， dōuméi yòu yǐn qǐ zài dǒu shì zhōng mái tóu xiě zuò de pǔ lǔ sī tè zhù yì。 yóu cǐ kě jiàn， jiù qí suǒ fǎn yìng de shè huì shēng huó 'ér yán，《 zhuī yì shì shuǐ nián huá》 shì shí jiǔ shì jì mò nián de xiǎo shuō， shì fǎn yìng lín jìn jù dà de biàn gé yǔ zhuǎn zhé diǎn shí kè de fǎ guó shè huì de xiǎo shuō， yīn cǐ kě yǐ shuō yě shì yī bù fǎn yìng jiù shí dài de xiǎo shuō。《 sì shuǐ nián huá》 shì fǎ guó chuán tǒng xiǎo shuō yì shù de zuì hòu yī kē shuò guǒ， zuì hòu yī duǒ qí pā， zuì hòu yī zuò wěi dà de lǐ chéng bēi。
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
* 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 .
《 hóng yǔ hēi》 LeRougeetleNoir(TheRedandtheBlack)1830byStendhal(Marie-HenriBeyle,1783 – 1842)
《 hóng yǔ hēi》 shì fǎ guó zuò jiā sī tānɡ dá chuàng zuò de yī bù cháng piān xiǎo shuō， xiàn zài， yǐ jīng bèi shì jiè gōng rèn wéi wén xué shǐ shàng de jīng diǎn。《 hóng yǔ hēi》 shì fǎ guó pī pàn xiàn shí zhù yì de dì yī bù jié chū zuò pǐn。 zuò zhě bèi yù wéi fǎ guó yǐ zhì zhěng gè 'ōu zhōu pī pàn xiàn shí zhù yì wén xué de diàn jī rén zhī yī。
《 hóng yǔ hēi》 shì 19 shì jì 'ōu zhōu pī pàn xiàn shí zhù yì de diàn jī zuò pǐn
《 hóng yǔ hēi》 - zuò pǐn jiǎn jiè
《 hóng yǔ hēi》 shì fǎ guó zuò jiā sī tānɡ dá chuàng zuò de yī bù cháng piān xiǎo shuō， xiàn zài， yǐ jīng bèi shì jiè gōng rèn wéi wén xué shǐ shàng de jīng diǎn。《 hóng yǔ hēi》 shì fǎ guó pī pàn xiàn shí zhù yì de dì yī bù jié chū zuò pǐn。 zuò zhě bèi yù wéi fǎ guó yǐ zhì zhěng gè 'ōu zhōu pī pàn xiàn shí zhù yì wén xué de diàn jī rén zhī yī。
《 hóng yǔ hēi》 shì 19 shì jì 'ōu zhōu pī pàn xiàn shí zhù yì de diàn jī zuò pǐn。 xiǎo shuō wéi rào zhù rén gōng yú lián gè rén fèn dǒu de jīng lì yǔ zuì zhōng shī bài， yóu qí shì tā de liǎng cì 'ài qíng de miáo xiě， guǎng fàn dì zhǎn xiàn liǎo“ 19 shì jì chū 30 nián jiān yā zài fǎ guó rén mín tóu shàng de lì jiè zhèng fǔ suǒ dài lái de shè huì fēng qì”， qiáng liè dì pēng jī liǎo fù bì wáng cháo shí qī guì zú de fǎn dòng， jiào huì de hēi 'àn hé zī chǎn jiē jí xīn guì de bēi bǐ yōng sú， lì yù xūn xīn。 yīn cǐ xiǎo shuō suī yǐ yú lián de 'ài qíng shēng huó zuò wéi zhù xiàn， dàn bì jìng bù shì 'ài qíng xiǎo shuō， ér shì yī bù“ zhèng zhì xiǎo shuō”。
《 hóng yǔ hēi》 - nèi róng jiǎn jiè
xiǎo shuō zhù rén gōng yú lián , shì yī gè mù jiàng de 'ér zǐ , nián qīng yīng jùn , yì zhì jiān qiáng , jīng míng néng gān , cóng xiǎo jiù xī wàng jiè zhù gè rén de nǔ lì yǔ fèn dǒu jī shēn shàng liú shè huì。
《 hóng yǔ hēi》《 hóng yǔ hēi》
zài fǎ guó yǔ ruì shì jiē rǎng de wéi lì yè 'ěr chéng， zuò luò zài shān pō shàng， měi lì de dù bó hé rào chéng 'ér guò， hé 'àn shàng chù lì zhe xǔ duō jù mù chǎng。 shì cháng dé ruì nà shì gè chū shēn guì zú， zài kòu shàng guà mǎn xūn zhāng de rén。
tā wǔ shí suì zuǒ yòu， tā de fáng zǐ yòu quán chéng zuì piào liàng de huā yuán， tā de qī zǐ shì zuì yòu qián 'ér yòu zuì piào liàng de qī zǐ， dàn tā cái zhì bù zú，“ tā zhǐ néng bàn dào yán gé dì shōu tǎo tā rén de qiàn zhài， dāng tā zì jǐ qiàn rén jiā de zhài shí， tā yù chí hái yù hǎo”。 zài zhè zuò chéng shì hái yòu yī gè zhòng yào rén wù， shì pín mín jì yǎng suǒ suǒ cháng héng héng wā liè nuò xiān shēng。 tā huā liǎo yī wàn dào yī wàn liǎng qiān fǎ láng cái nòng dào zhè gè zhí wèi， tā tǐ gé qiáng zhuàng zōng hóng sè de liǎn， hēi 'ér jīng cū de xiǎo hú zǐ， zài bié rén yǎn zhōng tā shì gè měi nán zǐ， lián shì cháng dū jù tā sān fēn。 dàn shì cháng wèile xiǎn shì zì jǐ gāo rén yī děng， jué xīn qǐng yī gè jiā tíng jiào shī。
mù jiàng suǒ hēi 'ěr de 'ér zǐ yú lián， yóu yú jīng tōng lā dīng wén， bèi xuǎn zuò shì cháng jiā de jiā tíng jiào shī。 tā yuē shí bā jiǔ suì， cháng dé wén ruò qīng xiù， liǎng zhǐ yòu dà yòu hēi de yǎn jīng。 zài níng jìng shí， yǎn zhōng shè chū huǒ yī bān de guāng huī， yòu xiàng shì shú sī hé tàn xún de yàng zǐ， dàn yī shùn jiān， yòu liú lù chū kě pà de chóu hèn， yóu yú tā zhěng tiān bào zhe shū běn bù fàng， bù yuàn zuò lì qì huó， yīn 'ér zāo dào quán jiā de xián qì yǔ yuàn hèn， jīng cháng bèi fù qīn hé liǎng gè gē gē dú dǎ。 tā xiǎo shí fēng kuáng dì chóng bài ná pò lún， kě wàng xiàng ná pò lún nà yàng shēn pèi cháng jiàn， zuò shì jiè de zhù rén。 rèn wéi ná pò lún“ yóu yī gè jì bēi wēi yòu qióng kùn de xià jí jūn guān， zhǐ kào tā shēn pèi de cháng jiàn， biàn zuò liǎo shì jiè shàng de zhù rén”。 dàn hòu lái tā yòu xiǎng dāng shén fǔ， yīn wéi“ rú jīn wǒ men yǎn jiàn sì shí suì zuǒ yòu de shén fù néng ná dào shí wàn fǎ láng de xīn fèng。 zhè jiù shì shuō tā men néng ná dào shí wàn fǎ láng， sān bèi yú ná pò lún dāng shí shǒu xià de zhù míng de dàjiàng de shōu rù。” yú shì， tā tóu bài zài shén fǔ xī lǎng de mén xià， zuānyán qǐ shén xué lái。 tā zhàng zhe jīng rén de hǎo jì xìng bǎ yī běn lā dīng wén《 shèng jīng》 quán bèi xià lái， zhè shì hōng dòng liǎo quán chéng。
shì cháng de nián qīng piào liàng de qī zǐ shì zài xiū dào yuàn zhǎngdà de， duì xiàng tā zhàng fū nà yàng yōng sú cū lǔ de nán rén， dǎ xīn dǐ lǐ gǎn dào yàn 'è。 yóu yú méi yòu 'ài qíng， tā bǎ xīn sī quán fàng zài jiào yǎng 3 gè hái zǐ shēn shàng。 tā rèn wéi nán rén“ chú liǎo jīn qián、 quán shì、 xūn zhāng de tān yù yǐ wài， duì yú yī qiēdōu shì má mù bù rén”。 zuì chū， tā bǎ yú lián xiǎng xiàng wéi yī gè mǎn miàn wū gòu de xiāng xià lǎo， shuí zhī jiàn miàn shí què dà chū tā de yì liào： miàn qián zhè gè nián qīng rén jìng shì zhè yàng bái xī， yǎn jīng yòu zhè yàng wēn róu dòng rén。 yǐ wéi tā“ shí jì shàng shì yī gè shàonǚ” gù yì jiǎ bàn nán zhuāng。 tā duì yú lián chǎn shēng hǎo gǎn， shèn zhì jué dé“ zhǐ yòu zài zhè gè shàonián jiào shì de xīn lǐ， cái yòu kāng kǎi、 gāo shàng、 rén 'ài”。 ruì nà fū rén de nǚ pú 'ài lì shā yě 'ài shàng liǎo yú lián， ài lì shā dé dào liǎo yī bǐ yí chǎn， yào xī láng shén fù zhuǎn dá tā duì yú lián de 'ài mù， yú lián jù jué liǎo nǚ pú 'ài lì shā de 'ài qíng。 ruì nà fū rén dé zhī cǐ shì xīn lǐ yì cháng gāo xīng， yī gǔ xìng fú de liú quán xiè luò zài tā de xīn hǎi lǐ， tā fā jué zì jǐ duì tā chǎn shēng liǎo yī zhǒng cóng wèi yòu guò de yī zhǒng gǎn qíng。
xià tiān shì cháng yī jiā bān dào fán ní zhèn xiāng xià huā yuán bié shù jū zhù， wǎn shàng chéng liáng de shí hòu， quán jiā jù zài yī zhū pú tí shù xià， yú lián wú yì jiān chù dào liǎo ruì nà fū rén de shǒu， tā yī xià zǐ suō huí qù liǎo， yú lián yǐ wéi ruì nà fū rén kàn bù qǐ tā， biàn jué xīn bì xū wò zhù zhè zhǐ shǒu。 dì 'èr tiān wǎn shàng tā guǒ rán zuò liǎo， ruì nà fū rén de shǒu bèi yú lián tōu tōu dì jǐn wò zhe， mǎn zú liǎo tā de zì zūn xīn。 ruì nà fū rén bèi 'ài qíng yǔ dào dé zé rèn zhēténg dé yī yè wèi hé yǎn。 tā jué dìng yòng lěng dàn de tài dù qù duì dài yú lián。 kě shì dāng yú lián bù zài jiā shí， tā yòu rěn bù zhù duì tā de sī niàn。 ér yú lián yě biàn dé gèng dà dǎn， tā zài xīn lǐ 'àn xiǎng：“ wǒ yīnggāi zài jìn yī bù， wù bì yào zài zhè gè nǚ rén shēn shàng dá dào mùdì cái hǎo。 rú guǒ wǒ yǐ hòu fā liǎo cái， yòu rén chǐ xiào wǒ dāng jiā tíng jiào shī dī jiàn， wǒ jiù ràng dà jiā liǎo jiě， shì 'ài qíng shǐ wǒ jiē shòu zhè wèi zhì de”。
《 hóng yǔ hēi》《 hóng yǔ hēi》
shēn yè 2 diǎn chuǎng jìn liǎo tā de fáng lǐ。 kāi shǐ， tā duì yú lián de wú lǐ xíng wéi hěn shēng qì， dàn dāng tā kàn dào“ tā liǎng yǎn chōng mǎn yǎn lèi” shí， biàn tóng qíng qǐ tā lái。 tā 'àn xiǎng， rú guǒ zài 10 nián qián néng 'ài shàng yú lián gāi duō hǎo。 bù guò， zài yú lián de xīn lǐ zé wán quán méi yòu zhè zhǒng xiǎng fǎ， tā de 'ài wán quán shì chū yú yī zhǒng yě xīn， yī zhǒng yīn zhàn yòu yù 'ér chǎn shēng de kuáng rè。 tā nà yàng pín qióng， néng gòu dé dào zhè me gāo guì、 zhè me měi lì de fù rén， yǐ jīng shì shàng tiān de 'ēn cì liǎo。
bù jiǔ， huáng dì jià lín wéi lì yè 'ěr， zài ruì nà fū rén de 'ān pái xià， yú lián bèi pìn dāng shàng liǎo yí zhàng duì duì yuán， shǐ tā yòu zài gōng zhòng miàn qián dà chū fēng tóu de jī huì。 yíng jià qī jiān， yú lián zuò wéi péi jì jiào shì cān jiā zhān bài shèng hái diǎn lǐ。 zhī hòu， tā duì mù 'ěr hóu jué de zhí zǐ、 nián qīng de 'ān bèi zhù jiào shí fēn chóng jìng。 xīn xiǎng， ān bèi zhù jiào rú cǐ nián qīng jiù yòu xiǎn hè de dì wèi， ér qiě bèi shòu nǚ rén de qīng lái， àn xià jué xīn“ nìngyuàn shòu zōng jiào de zhì cái， yě yào dá dào lìng měi rén xiàn mù de jìng jiè”。
ruì nà fū rén xīn 'ài de 'ér zǐ bìng wēi， tā rèn wéi zhè shì shàng dì duì zì jǐ bù dào dé xíng wéi de yī zhǒng chéng fá， tā xiàn rù liǎo kě pà de chàn huǐ lǐ。 zhè shí， ài lì shā yòu bǎ fū rén de shì 'àn zhōng gào sù liǎo wā liè nuò xiān shēng， tā zǎo xiān céng tān liàn ruì nà fū rén de měi sè pèng liǎo yī bí zǐ huī， biàn chèn jī gěi shì cháng xiě liǎo yī fēng gào mì xìn。 dàn shì cháng dān xīn rú guǒ bǎ qī zǐ gǎn chū jiā mén， zì jǐ jiāng shī qù yī dà bǐ yí chǎn， ér qiě yě yòu sǔn yú zì jǐ de míng yù， cǎi qǔ“ zhǐ huái yí 'ér bù zhèng shí” de bàn fǎ。 dàn zài zhè zuò chéng shì lǐ， jiē tán xiàng yì duì ruì nà fū rén hé yú lián què yuè lái yuè bù lì。 yī cì 'ài lì shā xiàng xī lǎng shén fù chàn huǐ shí， yòu tán chū yú lián yǔ ruì nà fū rén de mì mì guān xì。 guān xīn yú lián de shén fù yào tā dào shěng chéng bèi shàng sōng shén xué yuàn jìn xiū。 gào bié hòu de dì sān tiān yè lǐ， yú lián yòu mào xiǎn gǎn huí wéi lì yè 'ěr， yǔ ruì nà fū rén jiàn miàn， cǐ shí de ruì nà fū rén yóu yú sī niàn de tòng kǔ， yǐ qiáo cuì dé bù xiàng rén yàng liǎo。
bèi shàng sōng shì fǎ guó yī zuò gǔ chéng， chéng qiáng gāo dà。 chū dào shén xué yuàn， nà mén shàng de tiě shí zì jià， xiū shì de hēi sè dào páo， hé tā men má mù bù rén de miàn kǒng dū shǐ yú lián gǎn dào kǒng bù。 yuàn cháng bǐ lā shén fù shì xī láng shén fù de lǎo xiāng shí， yīn cǐ duì yú lián tè bié guān zhào。 tā duì yú lián shuō：“ xī xiào jiù shì xū wěi de wǔ tái”。
zài 321 gè xué shēng zhōng， jué dà bù fēn shì píng yōng de qīng nián， yóu cǐ yú lián zì xìn huì xùn sù huò dé chéng gōng。 tā qiāoqiāo duì zì jǐ shuō：“ zài ná pò lún tǒng zhì xià， wǒ huì shì gè jūn cáo， zài wèi lái de shén fù dāng zhōng， wǒ jiāng shì gè zhù jiào。” yóu yú xué xí chéng jì míng liè qián máo， yuàn cháng jìng ràng tā dāng xīn jiù yuē quán shū kè chéng de fǔ dǎo jiào shī。
dàn shén xué yuàn shì gè wěi shàn de dì fāng， tā hěn kuài jiù duò rù liǎo yōu yù zhī zhōng。 bǐ lā yuàn cháng shòu dào pái jǐ cí zhí bùgànliǎo， bìng jiè shào yú lián wéi mù 'ěr hóu jué de mì shū。 bǐ lā shén fù zhuān mén gěi tā jiè shào hóu jué yī jiā tā shuō“ nǐ yào shí fēn zhù yì， yī gè xiàng wǒ men zhè zhǒng hángyè de rén， zhǐ yòu kào zhè xiē dà rén xiān shēng men cái yòu qián tú…… zài zhè yàng yī gè shè huì lǐ， rú guǒ nǐ dé bù dào rén jiā de zūn jìng， nǐ de bù xìng shì zhù dìng de liǎo”。
hóu jué shòuxuē 'ér 'ǎi xiǎo， yòu yī duì shí fēn líng huó de yǎn jīng， tóu shàng dài yòu jīn sè jiǎ fā。 tā shì gè jí duān bǎo huáng dǎng rén， fǎ guó dà gé mìng shí， tā táo wáng guó wài， wáng cháo fù bì hòu， tā zài cháo zhōng qǔ dé liǎo xiǎn hè de dì wèi。 yú lián měi tiān de gōng zuò jiù shì wèitā chāo xiě gǎo jiàn hé gōng wén， hóu jué duì yú lián shí fēn mǎn yì， pài tā qù guǎn lǐ zì jǐ liǎng gè shěng de tián zhuāng， hái fù zé zì jǐ yǔ bèi shàng sōng dài lǐ zhù jiào fú lì liè zhī jiān de sù sòng tōng xùn， hòu yòu pài tā dào lún dūn qù gǎo wài jiāo， zèng gěi tā yī méi shí zì xūn zhāng， zhè shǐ yú lián gǎn dào huò dé liǎo jí dà de chéng gōng。
yú lián zài guì zú shè huì de xūn táo xià， hěn kuài xué huì liǎo bā lí shàng liú shè huì de yì shù， chéng liǎo yī gè huā huā gōng zǐ， shèn zhì zài mù 'ěr xiǎo jiě de yǎn lǐ， tā yě yǐ tuō liǎo wài shěng qīng nián de tǔ qì。 mù 'ěr xiǎo jiě míng jiào mǎ tè 'ér， shì yī gè yòu jīn lì sè tóu fā， tǐ tài yúnchèn， fēi cháng xiù lì de gū niàn， dàn“ zhè shuāng yǎn jīng tòu lù chū yī zhǒng nèi xīn kě pà de lěng kù”。 tā dú guò xǔ duō làng màn zhù yì 'ài qíng xiǎo shuō， bìng bèi 3 shì jì qián yī duàn jiā shǐ suǒ jī dòng： tā de zǔ xiān mù 'ěr shì huáng hòu mǎ jiā ruì tè de qíng fū， bèi guó wáng chǔsǐ hòu， huáng hòu xiàng guì zǐ shǒu mǎi xià liǎo tā de tóu， zài shēn yè lǐ qīn zì bǎ tā mái zàng zài méng mǎ tè shān jiǎo xià。 tā shí fēn chóng bài huáng hòu de zhè zhǒng wéi 'ài qíng 'ér gǎn mào dà bù wěi de jīng shén， tā de míng zì mǎ tè 'ér jiù shì huáng hòu de 'ài chēng。
qǐ chū， yú lián bìng bù 'ài mǎ tè 'ér nà qīng gāo 'ào màn de xìng gé， dàn xiǎng dào“ tā què néng gòu bǎ shè huì shàng de hǎo dì wèi dài gěi tā zhàng fū” shí， biàn rè liè dì zhuī qiú qǐ tā lái。 mǎ tè 'ér yě zhī dào yú lián chū shēn dī wēi， dàn tā huái zhe yī zhǒng“ wǒ gǎn yú liàn 'ài yī gè shè huì dì wèi lí wǒ nà yàng yáo yuǎn de rén， yǐ suàn shì wěi dà hé yǒng gǎn liǎo” de làng màn zhù yì gǎn qíng， yīn cǐ， tā zài huā yuán lǐ zhù dòng wǎn zhe yú lián de gēbo， hái zhù dòng gěi tā xiě xìn xuān bù 'ài qíng。 wèile kǎo yàn yú lián de dǎn liàng， tā yào yú lián zài míng liàng de yuè guāng xià yòng tī zǐ pá dào tā de fáng jiān qù。 yú lián zhào yàng zuò liǎo， dāng wǎn tā jiù wěi shēn yú tā liǎo， guò hòu mǎ tè 'ér hěn kuài jiù hòu huǐ liǎo。
yī cì， tā men zài tú shū shì xiāng yù， tā biān kū biān duì yú lián shuō：“ wǒ hèn wǒ wěi shēn yú dì yī gè lái dào de rén” yú lián gǎn dào tòng kǔ， tā zhāi xià guà zài qiáng shàng de yī bǎ gǔ jiàn yào shā sǐ tā， mǎ tè 'ér yī diǎn dōubù hài pà fǎn 'ér jiāo 'ào dì zǒu dào yú lián miàn qián， tā rèn wéi yú lián 'ài tā yǐ jīng 'ài dào yào shā liǎo tā de chéng dù， biàn yòu yǔ tā hǎo qǐ lái。 yè lǐ yú lián zài cì pá jìn tā de fáng jiān， tā qǐng qiú yú lián zuò tā de“ zhù rén”， zì jǐ jiāng yǒng yuǎn zuò tā de nú lì， biǎo shì yào yǒng yuǎn fú cóng tā。 kě shì， zhǐ yào yú lián shāo xǔ biǎo lù chū 'ài mù de yì sī， tā yòu zhuǎn wéi fèn nù， háo bù yǎn shì de wǔ rǔ tā， bìng gōng kāi xuān bù bù zài 'ài tā。
yīn wéi yú lián de jì yì lì hěn hǎo， mù 'ěr hóu jué ràng tā liè xí yī cì bǎo wáng dǎng rén de mì mì huì yì， huì shàng yòu zhèng fǔ shǒuxiàng、 hóng yī zhù jiào、 jiāng jūn。 huì hòu， mù 'ěr hóu jué ràng yú lián bǎ jì zài xīn lǐ de huì yì jì lù mào zhe shēng mìng wēi xiǎn dài dào guó wài qù。 zài yì zhàn huàn mǎ shí， chàdiǎn bèi dí fāng shā hài， xìng hǎo tā jī jǐng dì táo tuō liǎo， yǔ wài guó shǐ jié jiē shàng liǎo tóu， rán hòu liú zài nà děng huí xìn。 zài nà 'ér tā yù dào 'é guó kē hā suō fū wáng zǐ， tā shì gè qíng chǎng lǎo shǒu， yú lián biàn bǎ zì jǐ de 'ài qíng kǔ nǎo jiǎng gěi tā tīng， tā jiàn yì yú lián jiǎ zhuāng qù zhuī qiú lìng yī gè nǚ xìng， yǐ dá dào jiàng fú mǎ tè 'ér de mùdì， bìng bǎ zì jǐ de wǔ shí sān fēng qíng shū jiāo gěi tā，“ bǎ zhè xiē xìn zhuǎn chāo yī fèn jì gěi nǐ suǒ xuǎn dìng de nǚ xìng， zhè gè nǚ xìng bì xū shì qiáo nǐ bù qǐ de duì fāng de shú rén。”
yú lián huí dào bā lí hòu， jiāng zhè xiē qíng shū yī fēng fēng jì gěi yuán shuài fū rén， yuán shuài fū rén shòu liǎo gǎn dòng， gěi yú lián huí xìn， mǎ tè 'ér zài yě rěn nài bù zhù liǎo， guì dǎo zài yú lián de jiǎo xià， qiú tā 'ài tā， yú lián de xū róng xīn dé dào jí dà de mǎn zú，“ kàn yā！ zhè gè jiāo 'ào de nǚ rén， jū rán tǎng zài wǒ de jiǎo xià liǎo！”。 bù jiǔ， mǎ tè 'ér fā xiàn zì jǐ huái yùn liǎo， tā xiě xìn gào sù fù qīn， yào tā yuán liàng yú lián， bìng chéng quán tā men de hūn shì。 hóu jué zài 'ài nǚ jiān chí xià， yī zài ràng bù。 xiān shì gěi liǎo tā men yī fèn tián chǎn， zhǔn bèi ràng tā men jié hūn hòu bān dào tián zhuāng qù zhù。 suí hòu， yòu gěi yú lián jì qù yī zhāng piàoqí bīng zhōng wèi de wěi rèn zhuàng， shòu yú guì zú chēng hào。
yú lián zài piàoqí bīng zhù dì chuān shàng jūn guān zhì fú， táo zuì zài gè rén yě xīn mǎn zú de kuài lè zhōng，“ yóu yú 'ēn chǒng， gāng gāng cái zuò liǎo 'èr tiān de zhōng wèi， tā yǐ jīng zài pán suàn hǎo zhì chí yòu xiàng guò qù de dàjiàng jūn yī yàng， zài sān shí suì shàng， jiù néng zuò dào sī lìng， nà me dào 'èr shí sān suì， jiù yīnggāi zài zhōng wèi yǐ shàng。 tā zhǐ xiǎng dào tā de róng yù hé tā de 'ér zǐ。” zhè shí， tā tū rán shōu dào liǎo mǎ tè 'ér jì lái de jí xìn。 xìn zhōng shuō： yī qiēdōu wán liǎo。 yú lián jí máng huí qù， yuán lái ruì nà fū rén gěi mù 'ěr hóu jué xiě xìn jiē lù liǎo tā men yuán xiān de guān xì。 zhè shí nǎo xiū chéng nù de yú lián lì jí tiào shàng qù wéi lā yè 'ěr de mǎ chē， mǎi liǎo yī zhī shǒu qiāng， suí jí gǎn dào jiào táng， xiàng zhèng zài dǎo gào de ruì nà fū rén lián fā liǎng qiāng， fū rén dāng chǎng zhōng qiāng dǎo dì。 yú lián yīn kāi qiāng shā rén bèi bǔ liǎo。
rù yù hòu， tā tóu nǎo lěng jìng xià lái， duì zì jǐ xíng wéi gǎn dào huǐ hèn hé chǐ rǔ。 tā yì shí dào yě xīn yǐ jīng pò miè， dàn sǐ duì tā bìng bù kě pà。 ruì nà fū rén shòu liǎo qiāng shāng bìng méi yòu sǐ。 shāo yù hòu， tā mǎi tōng yù lì， miǎn dé yú lián shòu nüè dài。 yú lián zhī dào hòu tòng kū liú tì。 mǎ tè 'ér yě cóng bā lí gǎn lái tàn jiān， wéi yíng jiù yú lián sì chù bēn zǒu， yú lián duì cǐ bìng bù gǎn dòng， zhǐ jué dé fèn nù。 gōng shěn de shí hòu， yú lián dāng zhòng xuān chēng tā bù qí qiú rèn hé rén de 'ēn cì， tā shuō：“ wǒ jué bù shì bèi wǒ de tóng jiē jí de rén shěn pàn， wǒ zài péi shěn guān de xí shàng， méi yòu kàn jiàn yī gè fù yòu de nóng mín， ér zhǐ shì xiē lìng rén qì fèn de zī chǎn jiē jí de rén。” jiēguǒ fǎ tíng xuān bù yú lián fàn liǎo xù móu shā rén zuì， pàn chù sǐ xíng。 ruì nà fū rén bù gù yī qiē qián qù tàn jiān。
yú lián zhè cái zhī dào， tā gěi hóu jué de nà fēng xìn， shì yóu tīng tā chàn huǐ de jiào shì qǐ cǎo bìng qiǎngpò tā xiě de。 yú lián hé ruì nà fū rén bǐ cǐ ráo shù liǎo， tā jù jué shàng sù， yě jù jué zuò lín zhōng dǎo gào， yǐ shì duì fēng jiàn guì zú jiē jí zhuān zhì de kàng yì。
zài yī gè qíng hé de rì zǐ lǐ， yú lián zǒu shàng liǎo duàn tóu tái。 mǎ tè 'ér mǎi xià liǎo tā de tóu lú， àn zhào tā jìng yǎng de mǎ jiā ruì tè huáng hòu de fāng shì， qīn zì mái zàng liǎo zì jǐ qíng rén de tóu lú。 zhì yú ruì nà fū rén， zài yú lián sǐ hòu de dì sān tiān， bào wěn zhe tā de 'ér zǐ， yě lí kāi liǎo rén jiān。
《 hóng yǔ hēi》 - zuò pǐn shǎng xī
《 hóng yǔ hēi》 shì 19 shì jì 'ōu zhōu pī pàn xiàn shí zhù yì de diàn jī zuò pǐn。 xiǎo shuō wéi rào zhù rén gōng yú lián gè rén fèn dǒu de jīng lì yǔ zuì zhōng shī bài， yóu qí shì tā de liǎng cì 'ài qíng de miáo xiě， guǎng fàn dì zhǎn xiàn liǎo“ 19 shì jì chū 30 nián jiān yā zài fǎ guó rén mín tóu shàng de lì jiè zhèng fǔ suǒ dài lái de shè huì fēng qì”， qiáng liè dì pēng jī liǎo fù bì wáng cháo shí qī guì zú de fǎn dòng， jiào huì de hēi 'àn hé zī chǎn jiē jí xīn guì de bēi bǐ yōng sú， lì yù xūn xīn。 yīn cǐ xiǎo shuō suī yǐ yú lián de 'ài qíng shēng huó zuò wéi zhù xiàn， dàn bì jìng bù shì 'ài qíng xiǎo shuō， ér shì yī bù“ zhèng zhì xiǎo shuō”。
sī tānɡ dá shì shàn yú cóng 'ài qíng zhōng fǎn yìng zhòng dà shè huì wèn tí de wén xué dà shī。 yú lián de liǎng cì 'ài qíng dū yǔ shí dài fēng yún jǐn mì xiāng lián， zhè shì dāng shí jiē jí juézhú de yī zhǒng biǎo xiàn xíng shì， tā duì dé · léi nà 'ěr fū rén hòu lái díquè yě chǎn shēng liǎo zhēn zhèng de gǎn qíng， dàn kāi shǐ shì chū yú xiǎo shì mín duì quán guì de bào fù xīn lǐ。 yīn cǐ， yú lián dì yī cì zhàn yòu dé · léi nà 'ěr fū rén de shǒu de shí hòu， tā gǎn dào de bìng bù shì 'ài qíng de xìng fú， ér shì ná pò lún shì de yě xīn de shèng lì， shì“ kuáng huān” hé“ xǐ yuè”， shì bào fù xīn lǐ de mǎn zú。
《 hóng yǔ hēi》《 hóng yǔ hēi》
rú guǒ shuō yú lián duì dé · léi nà 'ěr fū rén de zhuī qiú hái yòu mǒu xiē zhēn zhì qíng gǎn de huà， nà me yú lián duì mǎ dì 'ěr dé xiǎo jiě de 'ài qíng zé chún shǔ zhèng zhì shàng de juézhú， mǎ dì 'ěr dé jì yòu guì zú shàonǚ de 'ào màn、 rèn xìng de qì zhì， yòu shòu dào fǎ guó dà gé mìng de shēn kè yǐng xiǎng。 tā rèn wéi， rú guǒ zài yòu yī cì dà gé mìng， zhù zǎi shè huì de bì dìng shì xiàng yú lián zhè yàng fù yú zhāoqì de píng mín qīng nián。 tóng yú lián jié chéng kàng lì， jì fù yú làng màn qì xī， yòu zhǎo dào liǎo yòu lì de kào shān。 ér yú lián zé rèn wéi yǔ mǎ dì 'ěr dé xiǎo jiě jié hūn kě yǐ pá shàng gāo wèi， qīng yún zhí shàng， yīn cǐ bù xī qù piàn qǔ tā de 'ài qíng。
dàn shì， yú lián de liǎng cì 'ài qíng zuì zhōng hái shì shī bài liǎo。 zhè shì yīn wéi zài fù bì shí qī， fēng jiàn shì lì xiàng shì mín jiē céng chāng kuáng fǎn pū。 yú lián bù shì tǒng zhì jiē jí juàn zǐ lǐ de rén， nà gè jiē jí jué bù huì róng rěn yú lián nà yàng de rén shí xiàn qí hóng yuàn。
《 hóng yǔ hēi》 zài diǎn xíng huán jìng diǎn xíng xìng gé de sù zào、 yúnchèn de yì shù jié gòu hé bái miáo shǒu fǎ de yùn yòng shàng dōuyòu tū chū de chéng jiù， ér sī tānɡ dá suǒ yǐ bèi píng lùn jiā chēng wéi“ xiàn dài xiǎo shuō zhī fù” zé shì yīn wéi tā zài《 hóng yǔ hēi》 zhōng biǎo xiàn liǎo zhuó yuè de xīn lǐ miáo xiě tiān cái。 xiàn shí zhù yì zuò jiādōu qiáng diào xì jié de zhēn shí， dàn sī tānɡ dá yǔ bā 'ěr zhā kè bù yī yàng， tā zhuózhòng kè huà de bù shì kè guān huán jìng， ér shì rén wù nèi xīn huó dòng de xì zhì hé bī zhēn， zuò zhě cháng cháng sān yán liǎng yǔ jiù bǎ rén wù xíng dòng、 zhōu wéi huán jìng jiāo dài guò qù， ér duì qí nèi xīn de huó dòng zé yáng yáng sǎ sǎ， bù xī bǐ mò， ài qíng xīn lǐ miáo xiě gèng shì sī sī rù kòu， dòng rén xīn xián。 zuò zhě zài yú lián dé zhī dé · léi nà 'ěr fū rén xiě jiē fā xìn dào qiāng shā tā zhè duàn qíng jié shàng jǐn yòng liǎo sān yè， ér yǔ mǎ dì 'ěr dé de 'ài qíng què huā liǎo shàng bǎi yè de piān fú xì zhì miáo xiě。 dé · léi nà 'ěr fū rén duò rù qíng wǎng shí de nà zhǒng xǐ yuè、 tòng kǔ、 chàn huǐ 'ér yòu bù gān fàng qì xìng fú de fù zá xīn lǐ de zhǎn xiàn， yě lìng rén pāi 'àn jiào jué。
《 hóng yǔ hēi》 - shū píng
hóng yǔ hēi zhè bù xiǎo shuō de gù shì jù xī shì cǎi zì 1828 nián 2 yuè 29 rì《 fǎ yuàn xīn wén》 suǒ dēngzǎi yī gè sǐ xíng 'àn jiàn。 zài ná pò lún dì guó shí dài， hóng yǔ hēi dài biǎo zhe“ jūn duì” yǔ“ jiào huì”， shì yòu yě xīn de fǎ guó qīng nián fā zhǎn de liǎng gè guǎn dào（ yī shuō shì lún pán shàng de hóng sè yǔ hēi sè）。
《 hóng yǔ hēi》 shì 19 shì jì 'ōu zhōu pī pàn xiàn shí zhù yì de diàn jī zuò pǐn。 xiǎo shuō wéi rào zhù rén gōng yú lián gè rén fèn dǒu de jīng lì yǔ zuì zhōng shī bài， yóu qí shì tā de liǎng cì 'ài qíng de miáo xiě， guǎng fàn dì zhǎn xiàn liǎo“ 19 shì jì chū 30 nián jiān yā zài fǎ guó rén mín tóu shàng de lì jiè zhèng fǔ suǒ dài lái de shè huì fēng qì”， qiáng liè dì pēng jī liǎo fù bì wáng cháo shí qī guì zú de fǎn dòng， jiào huì de hēi 'àn hé zī chǎn jiē jí xīn guì de bēi bǐ yōng sú， lì yù xūn xīn。 yīn cǐ xiǎo shuō suī yǐ yú lián de 'ài qíng shēng huó zuò wéi zhù xiàn， dàn bì jìng bù shì 'ài qíng xiǎo shuō， ér shì yī bù“ zhèng zhì xiǎo shuō”。
sī tānɡ dá shì shàn yú cóng 'ài qíng zhōng fǎn yìng zhòng dà shè huì wèn tí de wén xué dà shī。 yú lián de liǎng cì 'ài qíng dū yǔ shí dài fēng yún jǐn mì xiāng lián， zhè shì dāng shí jiē jí juézhú de yī zhǒng biǎo xiàn xíng shì， tā duì dé · léi nà 'ěr fū rén hòu lái díquè yě chǎn shēng liǎo zhēn zhèng de gǎn qíng， dàn kāi shǐ shì chū yú xiǎo shì mín duì quán guì de bào fù xīn lǐ。 yīn cǐ， yú lián dì yī cì zhàn yòu dé · léi nà 'ěr fū rén de shǒu de shí hòu， tā gǎn dào de bìng bù shì 'ài qíng de xìng fú， ér shì ná pò lún shì de yě xīn de shèng lì， shì“ kuáng huān” hé“ xǐ yuè”， shì bào fù xīn lǐ de mǎn zú。
rú guǒ shuō yú lián duì dé · léi nà 'ěr fū rén de zhuī qiú hái yòu mǒu xiē zhēn zhì qíng gǎn de huà， nà me yú lián duì mǎ dì 'ěr dé xiǎo jiě de 'ài qíng zé chún shǔ zhèng zhì shàng de juézhú， mǎ dì 'ěr dé jì yòu guì zú shàonǚ de 'ào màn、 rèn xìng de qì zhì， yòu shòu dào fǎ guó dà gé mìng de shēn kè yǐng xiǎng。 tā rèn wéi， rú guǒ zài yòu yī cì dà gé mìng， zhù zǎi shè huì de bì dìng shì xiàng yú lián zhè yàng fù yú zhāoqì de píng mín qīng nián。 tóng yú lián jié chéng kàng lì， jì fù yú làng màn qì xī， yòu zhǎo dào liǎo yòu lì de kào shān。 ér yú lián zé rèn wéi yǔ mǎ dì 'ěr dé xiǎo jiě jié hūn kě yǐ pá shàng gāo wèi， qīng yún zhí shàng， yīn cǐ bù xī qù piàn qǔ tā de 'ài qíng。
dàn shì， yú lián de liǎng cì 'ài qíng zuì zhōng hái shì shī bài liǎo。 zhè shì yīn wéi zài fù bì shí qī， fēng jiàn shì lì xiàng shì mín jiē céng chāng kuáng fǎn pū。 yú lián bù shì tǒng zhì jiē jí juàn zǐ lǐ de rén， nà gè jiē jí jué bù huì róng rěn yú lián nà yàng de rén shí xiàn qí hóng yuàn。
《 hóng yǔ hēi》 zài diǎn xíng huán jìng diǎn xíng xìng gé de sù zào、 yúnchèn de yì shù jié gòu hé bái miáo shǒu fǎ de yùn yòng shàng dōuyòu tū chū de chéng jiù， ér sī tānɡ dá suǒ yǐ bèi píng lùn jiā chēng wéi“ xiàn dài xiǎo shuō zhī fù” zé shì yīn wéi tā zài《 hóng yǔ hēi》 zhōng biǎo xiàn liǎo zhuó yuè de xīn lǐ miáo xiě tiān cái。
《 hóng yǔ hēi》 - lì shǐ yǐng xiǎng
.《 hóng yǔ hēi》
líng hún de zhé xué shī
yú lián shì１９ shì jì 'ōu zhōu wén xué zhōng yī xì liè fǎn pàn zī běn zhù yì shè huì de yīng xióng rén wù de " shǐ zǔ "
《 hóng yǔ hēi》《 hóng yǔ hēi》
fǎ guó pī pàn xiàn shí zhù yì wén xué de diàn jī zhī zuò _
１９ shì jì zhuó yuè de zhèng zhì xiǎo shuō
xiàn dài xiǎo shuō zhī fù de jīng diǎn zhù zuò
１９ shì jì 'ōu zhōu wén xué shǐ zhōng dì yī bù pī pàn xiàn shí zhù yì jié zuò
měi guó zuò jiā hǎi míng wēi kāi liè de bì dú shū
bèi yīng guó xiǎo shuō jiā máo mǔ rèn wéi shì zhēn zhèng de jié zuò de wén xué shū
１９８６ nián fǎ guó《 dú shū》 zá zhì tuī jiàn de lǐ xiǎng cáng shū ?
《 hóng yǔ hēi》 shì fǎ guó xiàn shí zhù yì zuò jiā sī tānɡ dá de dài biǎo zuò， zì１８３０ nián wèn shì yǐ lái， yíng dé liǎo shì jiè gè guó yī dài yòu yī dài dú zhě de xīn， tè bié wéi nián qīng rén suǒ xǐ 'ài。 zuò pǐn suǒ sù zào de " shàonián yě xīn jiā " yú lián shì yī gè jù yòu gāo dù diǎn xíng yì yì de rén wù xíng xiàng， yǐ chéng wéi gè rén fèn dǒu de yě xīn jiā de dài míng cí。
xiǎo shuō fā biǎo hòu， dāng shí de shè huì liú chuán " bù dú《 hóng yǔ hēi》， jiù wú fǎ zài zhèng jiè hùn " de yàn yǔ， ér běn shū zé bèi xǔ duō guó jiā liè wéi jìn shū。《 hóng yǔ hēi》 zài xīn lǐ shēn dù de wā jué shàng yuǎn yuǎn chāo chū liǎo tóng shí dài zuò jiā suǒ néng jí de céng cì。 tā kāi chuàng liǎo hòu shì " yì shí liú xiǎo shuō "、 " xīn lǐ xiǎo shuō " de xiān hé。 hòu lái zhě jìng xiāng fǎng xiào zhè zhǒng " sī tānɡ dá wén tǐ "， shǐ xiǎo shuō chuàng zuò " xiàng nèi zhuǎn "， fā zhǎn dào zhòng xīn lǐ kè huà、 zhòng qíng xù shū fā de xiàn dài xíng tài。 rén men yīn cǐ chēng sī tānɡ dá wéi " xiàn dài xiǎo shuō zhī fù "。《 hóng yǔ hēi》 zài jīn tiān réng bèi gōng rèn wéi 'ōu zhōu wén xué huáng guān shàng yī méi zuì wéi cuǐ càn jīng zhì de yì shù bǎo shí， shì wén xué shǐ shàng miáo xiě zhèng zhì hēi 'àn zuì jīng diǎn de zhù zuò zhī yī，１００ duō nián lái， bèi yì chéng duō zhǒng wén zì guǎng wéi liú chuán， bìng bèi duō cì gǎi biān wéi xì jù、 diàn yǐng。
sī tānɡ dá de《 hóng yǔ hēi》 yǐ xiǎn shì liǎo２０ shì jì xiǎo shuō de fāng xiàng， jìn rù zhè běn shū zhōng， wǒ men jiù huì gǎn shòu dào zhǐ yòu dì yī liú de xīn lǐ xiǎo shuō jiā cái néng jǐyǔ de zhèn hàn， yīn wéi tā dài gěi wǒ men de shì gèng fù zhēn shí gǎn de jīng shén nèi hán。
-- měi guó jiào shòu fèi dí màn
《 hóng yǔ hēi》 shì wǒ píng shēng zuì shòu yì de shū jí。
-- fǎ guó jié chū xiǎo shuō jiā jì dé
sī tānɡ dá de《 hóng yǔ hēi》 zhōng de yú lián shì１９ shì jì 'ōu zhōu wén xué zhōng yī xì liè fǎn pàn zī běn shè huì zhù yì de yīng xióng rén wù de " shǐ zǔ "。
-- gāo 'ěr jī
《 hóng yǔ hēi》 zài xīn lǐ shēn dù de wā jué shàng yuǎn yuǎn chāo chū liǎo tóng shí dài zuò jiā suǒ néng jí de céng cì。 xiǎo shuō yǐ shēn kè xì nì de bǐ diào chōng fēn zhǎn shì liǎo zhù rén gōng de xīn líng kōng jiān， guǎng fàn yùn yòng liǎo dú bái hé zì yóu lián xiǎng děng duō zhǒng yì shù shǒu fǎ wā jué chū liǎo yú lián shēn céng yì shí de huó dòng， bìng kāi chuàng liǎo hòu shì " yì shí liú xiǎo shuō "、 " xīn lǐ xiǎo shuō " de xiān hé， shì yī shǒu " líng hún de zhé xué shī "。
--《 wài guó wén xué shǐ》
《 hóng yǔ hēi》 zài wén xué shǐ shàng yǐng xiǎng shēn yuǎn， fǎ guó yòu zhuān mén yán jiū sī tānɡ dá hé《 hóng yǔ hēi》 de xué wèn --" sī tānɡ dá xué " hé " hóng xué "， hái yòu zhuān mén yán jiū gāi shū de " sī tānɡ dá jù lè bù "。
--《 fǎ guó wén xué shǐ》
yí lǜ hé máo dùn zhōng de yú lián
wú yí，《 hóng yǔ hēi》 shì yī bù chōng mǎn zhe mèi lì de zuò pǐn。 xī fāng guān yú yán jiū sī tānɡ dá de zuò pǐn shù liàng zú yǐ yǔ zhōng guó yán jiū《 hóng lóu mèng》 de " hóng xué " děng liàng qí guān。 díquè， zuò wéi fǎ guó pī pàn xiàn shí zhù yì wén xué de diàn jī zhī zuò，《 hóng yǔ hēi》 zhōng duì yú１９ shì jì shàng bàn qī fǎ guó fēng qǐ yún yǒng de gè fāng dǒu zhēng hé máo dùn dū zhǎn xiàn dé pō wéi shēn yuǎn， guì zú、 dà xiǎo zī chǎn jiē jí、 jiào huì rén shì yī gè gè de fěn mò dēng chǎng， qián fú zài biǎo xiàng xià de shí lì de jiāo zhàn kè huà liǎo dāng shí zhěng gè shè huì de fǔ xiǔ hé xū wěi。 ér zài wǒ kàn lái，《 hóng yǔ hēi》 zhī suǒ yǐ rú cǐ jīng jiǔ bù shuāi， dū jué bù jǐn jǐn zài yú gāi zuò pǐn suǒ tǐ xiàn chū de zhèng zhì hé shè huì yì yì。 jì dé lán dì zhī lǎo shī céng jīng shuō guò， yī bù xiàn shí zhù yì zuò pǐn dà dà bù tóng yú jì lù shè huì de gāo jí wén jiàn， wén xué de yì yì yě jué bù jǐn zài yú jì lù， wǒ xiǎng， shì《 hóng yǔ hēi》 zhōng zhù rén gōng yú lián chōng mǎn zhe wú xiàn máo dùn yǔ fǎn chā de gè zhǒng sī xiǎng hé xíng wéi， gèng zú yǐ ràng měi wèi dú zhě kàn dé mù dèng kǒu dāi què yòu rú chī rú zuì， zú yǐ ràng měi yī wèi yán jiū zhě fēn xī chéng qiān cì shàng wàn cì。
wǒ men suí biàn cóng zhōng tiǎo yī duàn lái dú， biàn hěn róng yì kàn chū yú lián de jí duān xì nì hé mǐn gǎn。 zài shì cháng jiā zuò jiā tíng jiào shī shí， yú lián yǐ jīng tōng guò chū sè dì bèi sòng lā dīng wén《 shèng yuē》 yíng dé liǎo dé · ruì nà yī jiā shàng xià guā mù xiāng kàn， gèng píng zhe tā qīng xiù de cháng xiāng、 shàonián de zì zūn dǎ dòng liǎo dé · ruì nà fū rén de fāng xīn。 ér yú lián què chū yú yī zhǒng qí guài de zì zūn hé yī dìng yào zhèng míng diǎn shénme de xīn lǐ， wàng zhe tā， fǎng fó tā shì gè chóu dí， tā zhèng yào shàng qián hé tā jué dǒu jiāo fēng……
jiù shì zhè yàng， zhè gè guài yì de yú lián láo láo zhuā zhù liǎo dú zhě men de xīn。 yú lián de mǐn gǎn hé xì nì、 juéjiàng shì tiān shēng de， tā hái yōng yòu zhe chāo qún de jì yì lì， ér tā de gāo 'ào hé zì zūn、 chóng bài quán shì zé shì hòu tiān huán jìng de fù yú。 yú lián què shí shì shí fēn zì wǒ de， zài tā de xīn mù zhōng， zūn yán bèi tí dào liǎo yī gè zhì gāo wú shàng de dì wèi， tā kě yǐ fàng qì qīng 'ér yì jǔ jiù néng dào shǒu de qián cái， yīn wéi tā xū yào de shì bié rén de zūn zhòng。 dàn tā duì yú " zì zūn " de lǐ xiǎng hé zhuī qiú yòu zuì zhōng bǎ tā yǐn xiàng liǎo qí tú。
yú lián suī rán yòu zhe mín zhù de sī xiǎng hé yīng xióng zhù yì de rè qíng， dàn dāng tā dé dào liǎo lā mò 'ěr gōng jué de shǎng shí shí， tā què zhú bù dì xiàng guì zú shì lì tuǒ xié liǎo， zhè shí de yú lián fǎng fó zhǐ zhī dào wéi lā mò 'ěr gōng jué de yīcháng zhèng zhì yīn móu zǒu zú bào xìn。 zài tā de gè rén fèn dǒu lì chéng zhōng， tā jīng lì zhe yī cì cì de fǎn kàng hé tuǒ xié。 tā shì jī zhì cōng míng de， rán 'ér zài hěn duō fāng miàn， wǒ men zhǐ néng shuō tā shì tiān zhēn 'ér wú zhī de， bǐ qǐ zhěng gè shè huì zhōng jīng xīn zuānyíng de rén men lái， tā shì wú lì de， yě shì wú zhù de。
zuǒ lā zài《 lùn sī tānɡ dá》 zhōng shì zhè yàng xiě de： " tā（ sī tānɡ dá） tíng liú zài yī zhǒng chōu xiàng de yì yuàn lǐ， tā yào rén zhè zhǒng shēng wù bù bāo kuò zài zì rán lǐ， ér shì kào zài yī biān zhàn zhe， rán hòu xuān gào zhǐ yòu xīn líng shì gāo guì de "。 zuǒ lā jué dé yú lián shì " wán quán zhuāng pèi hǎo de zhì huì hé qíng gǎn de jī qì "， " chún cuì zài sī biàn zhōng chǎn shēng de chuàng zào wù "， tā " zhuān zài tuī lǐ shàng xià gōng fū "， zhù zhāng zì rán zhù yì de zuǒ lā rèn wéi sī tānɡ dá zài chuàng zuò zhōng dài yòu guān niàn xué zhě hé luó ji xué zhě de shēn fèn， yú lián sì hū zhǐ shì yǒng yuǎn zài xīn lǐ huó dòng， wài jiè de shì wù， nǎ guǎn tā chūn xià yǔ qiū dōng， néng duì yú lián chǎn shēng zhèn dòng de yǒng yuǎn dū zhǐ shì tā de xiǎng xiàng zhōng bié rén duì tā de qīng miè yǔ zūn zhòng。 zhè bù yě zhèng shuō míng liǎo zuò zhě duì yú lián xīn lǐ shàng rù mù sān fēn de kè huà má？
《 hóng yǔ hēi》 zhōng yú lián de xīn lǐ zài yí lǜ hé máo dùn zhōng zhēngzhá， duì yú rén wù de sī suǒ shì yī gè jí dà de bǎo kù， cǎi zhī bù jié， mèi lì wú qióng！
《 hóng yǔ hēi》 - rén wù fēn xī
héng héng héng《 hóng yǔ hēi》 zhōng yú lián rén wù xíng xiàng fēn xī
《 hóng yǔ hēi》《 hóng yǔ hēi》
yú lián shì shì jiè míng zhù《 hóng yǔ hēi》 zhōng de zhù rén gōng。 duì qí xíng xiàng fēn xī , zài wén xué lǐ lùn jiè yòu zhǒng zhǒng píng shuō , kě wèi zhòng shuō fēn yún , mò zhōng yī shì。 yòu rén rèn
wéi , tā xū wěi、 yīn xiǎn , cǎi zhe nǚ rén de jiān bǎng xiàng shàng pá , shì yī gè dì dì dào dào de yīn móu jiā、 yě xīn jiā。 yě yòu rén rèn wéi tā shì dāng shí fǎn duì fēng jiàn quán guì de yǒng shì , zī chǎn jiē jí gè rén fèn dǒu de diǎn xíng dài biǎo。 gèng yòu rén rèn wéi tā shì ná pò lún shí dài de bēi jù yīng xióng。
《 hóng yǔ hēi》 shì fǎ guó 19 shì jì jié chū de pī pàn xiàn shí zhù yì zuò jiā sī tānɡ dá (1783-1842) de dài biǎo zuò。 qí fù tí shì“ yī bā sān nián jì shì”。 zài zhè bù xiǎo shuō zhōng , zuò zhě yǐ fǎ guó bō bàng wáng cháo fù bì shí dài wéi bèi jǐng , yǐ píng mín zhī shí fènzǐ yú lián · suǒ hēi 'ěr yǔ guì zú zī chǎn jiē jí shàng céng shè huì wán qiáng qū zhé de dǒu zhēng wéi zhù xiàn , zhuózhòng miáo xiě liǎo tā cóng 18 suì dào dé · ruì nà shì cháng jiā dāng jiā tíng jiào shī kāi shǐ , dào 23 suì yīn qiāng shāng shì cháng fū rén 'ér bèi sòng shàng duàn tóu tái wéi zhǐ duǎn duǎn 5 nián jiān de shēng huó lì chéng。
yú lián chū shēng zài xiǎo chéng wéi lì yè 'ěr jiāo qū de yī gè jù mù chǎng jiā tíng。 tā yòu shí shēn cái shòu ruò , zài jiā zhōng bèi kàn chéng shì“ bù huì zhèng qián” de“ bù zhōng yòng” de rén , cháng zāo fù xiōng dǎ mà hé xī luò。 bēi jiàn de chū shēn yòu shǐ tā cháng cháng shòu dào shè huì de qí shì。 shàonián shí qī de yú lián cōng míng hàoxué , yì zhì jiān qiáng , jīng lì chōng pèi。 tā jiē shòu liǎo qǐ méng sī xiǎng jiā de zì yóu píng děng guān niàn hé wú shén lùn sī xiǎng , bìng zài yī wèi ná pò lún shí dài lǎo jūn yī de yǐng xiǎng xià , chóng bài ná pò lún , huàn xiǎng zhe tōng guò“ rù jūn jiè、 chuān jūn zhuāng、 zǒu yī tiáo‘ hóng’ de dào lù” lái jiàn gōng lì yè、 fēi huáng téng dá。 rán 'ér , zài tā 14 suì nà nián , bō bàng wáng cháo fù bì liǎo , píng mín kě yǐ píng bù qīng yún de ná pò lún shí dài guò qù liǎo。 yú lián bù dé bù xuǎn zé“ hēi” de dào lù , huàn xiǎng jìn rù xiū dào yuàn , chuān qǐ jiào shì hēi páo , yǐ biàn jiāng lái chéng wéi yī míng“ nián fèng shí wàn fǎ lǎng de dà zhù jiào”。 18 suì shí , yú lián dào wéi lì yè 'ěr shì cháng dé · ruì nà jiā zhōng dān rèn jiā tíng jiào shī , ér shì cháng zhǐ jiāng tā kàn chéng ná gōng qián de nú pú。 zì zūn xīn shòu dào shāng hài de yú lián , biàn yǐ zhuī qiú shì cháng fū rén lái bào fù shì cháng。 tā yǔ shì cháng fū rén de guān xì bào lù hòu , bèi pò jìn rù liǎo bèi shàng sōng shén xué yuàn , tóubèn liǎo yuàn cháng bǐ lā , dāng shàng liǎo shén xué yuàn de jiǎng shī。 hòu yīn jiào huì nèi bù de pài xì dǒu zhēng , bǐ lā yuàn cháng bèi pái jǐ chū shén xué yuàn , yú lián zhǐ dé suí bǐ lā lái bā lí , dāng shàng liǎo jí duān bǎo huáng dǎng lǐng xiù dé · lā · mù 'ěr hóu jué dídí sī rén mì shū。 tā yīn chén jìng、 cōng míng hé shàn yú chǎn mèi , dé dào liǎo mù 'ěr hóu jué de qì zhòng , yǐ yuān bó de xué shí yǔ yōu yǎ de qì zhì , yòu yíng dé liǎo hóu jué nǚ 'ér mǎ tè 'ér xiǎo jiě de 'ài mù。 jìn guǎn bù 'ài mǎ tè 'ér , dàn tā wèile zhuā zhù zhè kuài shí xiàn yě xīn de tiào bǎn , jìng shǐ yòng guǐ jì zhàn yòu liǎo tā。 dé zhī nǚ 'ér yǐ jīng huái yùn hòu , hóu jué bù dé bù tóng yì zhè mén hūn yīn。 yú lián wèicǐ huò dé yī gè qí shì chēng hào、 yī fèn tián chǎn hé yī gè piàoqí bīng zhōng wèi de jūn xián。 cǐ shí de yú lián yòu kāi shǐ zuò qǐ liǎo“ sān shí suì dāng sī lìng” de měi mèng。 tā biàn chéng liǎo yī gè fēng jiàn guì zú jiē
jí de zhōng shí nú pú , zài bǎo huáng dǎng cèhuà de zhèng zhì yīn móu zhōng wéi zhù zǐ xiào lì , mào zhe shēng mìng wēi xiǎn wéi hóu jué chuán dì qíng bào。 zhèng dāng tā chóu chú mǎn zhì shí , guì zú jiē jí yǔ fǎn dòng jiào huì láng bèi wéi jiān , yòu shǐ shì cháng fū rén xiě liǎo jiē fā yú lián de gào mì xìn , zhì shǐ hóu jué qǔ xiāo tā yǔ mǎ tè 'ér de hūn yuē。 yú lián měi mèng pò miè , shèng nù zhī xià qiāng shāng liǎo dé · ruì nà fū rén , bèi pàn chù sǐ xíng。 zài yù zhōng , yú lián zhōng yú míng bái : xiàng tā zhè yàng chū shēn bēi jiàn de rén , zài děng jí sēn yán de fēng jiàn zhì dù zhōng shì bù kě néng tōng guò gè rén fèn dǒu 'ér fēi huáng téng dá de。 tā jù jué shàng sù , tǎn rán zǒu shàng liǎo duàn tóu tái。
yú lián de xìng gé shì fù zá de , bìng suí zhōu wéi huán jìng de biàn huà 'ér bù duàn fā shēng yǎn biàn。 shí dài de biàn qiān , bù kān shòu rǔ de nèi xīn , shòu rén qí shì de shè huì dì wèi yǐ
jí xiàng shàng pá 'ér bù néng rú yuàn de fèn nù , xíng chéng liǎo yú lián zì zūn、 huái yí、 mǐn gǎn hé jī jí fǎn kàng de xìng gé。 tā shí kè láo jì zhe zì jǐ yǔ shàng céng shè huì zhī jiān de dì wèi bù tóng、 jiē jí bù tóng、 guān niàn bù tóng , duì shēng huó chí yǐ huái yí de tài dù , yòng tā nà yì cháng mǐn ruì de mù guāng guān chá zhōu wéi de yī qiē , xún zhǎo qí shì tā、 shāng hài tā de dí rén , sōu suǒ zì jǐ shòu rǔ de zhū sī mǎ jì。 tā bù gān qū fú , bù gān rěn shòu shí dài hé shàng céng shè huì de bō nòng , yòng ná pò lún de yīng xióng zhù yì wǔ zhuāng zì jǐ , wéi wéi hù zì jǐ de gè xìng 'ér fèn qǐ fǎn kàng , shí kè chǔyú lǐn rán bù kě qīn fàn de zhàn dǒu zhuàng tài , yǔ zhěng gè shè huì zuò zhàn。“ zài zhè gè qí yì de nián qīng rén xīn lǐ , chàbù duō shí shí kè kè dōuyòu bào fēng yǔ”。 tā zēng hèn zuò nú pú , yào qiú yǔ shàng liú shè huì de rén píng qǐ píng zuò , yǐ bǎo chí zì jǐ de zūn yán。 dāng fù qīn yào tā qù dé · ruì nà shì cháng jiā dāng jiā tíng jiào shī shí , yī guàn gǎn nù 'ér bù gǎn yán de yú lián què yǐ“ wǒ bù yuàn yì zuò nú pú” biǎo shì jù jué。 lǎo suǒ hēi 'ěr shuō zhè bù shì zuò nú pú , yú lián dāng jí yào jiā yǐ zhèng shí :“ dào tā jiā lǐ , wǒ tóng shuí yī kuài chī fàn ní ?” kě jiàn yú lián bǎ zhè gè wèn tí kàn dé hěn zhòng。 rán 'ér , zhèng shì zhè zhǒng zì zūn xīn lǐ shǐ tā yíng dé liǎo zūn jìng、 yǒu yì hé 'ài qíng。 ér dāng tā zuì chū chū xiàn zài shì cháng dà rén fǔ dǐ de dà mén shí , xiǎn rán hái shì gè zhì pǔ yòu zhì、 tiān liáng wèi mǐn de nián qīng xiāng xià rén。 yě jiù zài zhè lǐ , tā mù dǔ zhǒng zhǒng shè huì pín fù bù jūn xiàn xiàng 'ér shí fēn qì fèn , dàn gèng wéi zì jǐ jì rén lí xià de qū rǔ dì wèi 'ér tòng xī bù yǐ , yú shì jiù duì shì cháng jí qí yī jiā rén chǎn shēng liǎo běn néng de qīng miè hé zēng 'è zhī gǎn。 suī rán tā yuān bó de zhī shí hé jīng rén de jì yì lì yíng dé liǎo shì cháng yī jiā de hǎo gǎn , dàn tā zài zhè lǐ gǎn shòu dào de“ jǐn jǐn shì tā duì yǐ jīng chā shēn jìn lái de shàng liú shè huì de chóu hèn hé kǒng jù”。
yú lián jiāo jīn zì chí , zì shì shèn gāo , zhè zhǒng zì zūn xīn lǐ yī dàn miàn lín 'è yán liè yǔ、 bà dàohéng jìng de xí jī , jiù shǐ qí yǐn cáng zhe de chóu hèn xīn lǐ bào fā chū lái bìng dà
dǎn fǎn jī。 jí shǐ zài 'ài qíng zhè yàng de rén lèi zuì xì wēi de gǎn qíng fāng miàn , yú lián gǎn dào de wǎng wǎng bù shì xìng fú , ér shì zì zūn xīn mǎn zú hòu de xǐ yuè hé jiāo 'ào , bìng bǎ zhè zhǒng shèng lì kàn zuò shì ná pò lún shì de shèng lì。 zài wǒ men kàn lái , zhè sì hū bù kě sī yì , què qià qià tǐ xiàn chū yú lián shì yǐ quán bù jīng lì lái fǎn kàng shàng céng shè huì de。
zài dé · ruì nà shì cháng jiā , yú lián shì wéi liǎo bào fù shì zhǎngdà rén duì zì jǐ de qīng miè , fěn suì tā de jiāo 'ào xīn lǐ , ér dài zhe zhàn dǒu de qíng xù zǒu jìn shì cháng fū rén de
fáng jiān de。 jí shǐ zài yǔ dé · ruì nà fū rén jìn xíng rè liàn shí , yú lián de zhè zhǒng chóu hèn xīn lǐ hé fǎn kàng yě cóng wèi tíng zhǐ guò。 tā shǐ zhōng bǎ 'ài qíng kàn chéng shì tā duì guì zú jiē jí de bào fù hé zhēng qǔ zì yóu píng děng de yuàn wàng。 zhè yī diǎn , yě zài yú lián hé mǎ tè 'ér hóu jué xiǎo jiě de jiāo wǎng zhōng dé dào liǎo chōng fēn tǐ xiàn。 tā gǎn yú qīng shì 'ào màn de mǎ tè 'ér xiǎo jiě , bìng céng zhè yàng xiǎng :“ wǒ zhī dào bǎo chí wǒ de zì zūn xīn , wǒ méi yòu xiàng tā shuō wǒ 'ài tā。” dāng tā shōu dào mǎ tè 'ér xiǎo jiě de 'ài qíng gào bái xìn shí , shǒu xiān xiǎng dào de shì tā zhōng yú zhàn shèng liǎo qíng dí kē xī lè hóu jué , kě yǐ píng děng dì yǔ mù 'ěr hóu jué zuò zài tóng yī tiáo dèng zǐ shàng。 tā lì kè zì háo dì dé chū jié lùn :“ hóu jué hé wǒ de jià zhí , yǐ jīng guò qù liǎo , jiēguǒ shì rǔ lā shān de qióng mù jiàng zhàn jù liǎo zhòng yào de yī miàn。” zhè nǎ lǐ shì shénme tán qíng shuō 'ài , jiǎn zhí jiù shì yīcháng dǒu zhēng , ér dǒu zhēng de mù biāo biàn shì guì zú jiē jí de róng yù hé dì wèi。 zhèng rú yú lián zì jǐ suǒ shuō de nà yàng :“ zài zhè chǎng shàng zài zhǔn bèi de zhàn dǒu lǐ , shēn shì de jiāo 'ào , xiàng yī zuò gāo shān , shì tā hé wǒ dāng zhōng de jūn shì zhèn dì , zhè gāo shān , biàn shì wǒ jìn gōng de mù biāo。” yóu cǐ kàn lái , yú lián bìng bù jǐn jǐn bǎ tā men zuò wéi nǚ rén qù“ zhàn yòu” , ér shì dāng zuò yī gè jiē jí qù“ zhēng fú” de。 tā zhàn yòu tā men bù zài yú ròu gǎn , ér zài yú mǎn zú tā nà píng mín de、 yào qiú zūn yán de líng hún。 zhè zài yī dìng chéng dù shàng fǎn yìng liǎo dāng shí fǎ guó cán kù de jiē jí dǒu zhēng xiàn shí , yě fǎn yìng liǎo yú lián zài 'ài qíng fāng miàn de fǎn kàng jīng shén。
yú lián de xióng xīn zhuàng zhì zhōng bù kě bì miǎn dì hán yòu chū yú gè rén yě xīn de chéngfèn。 zài wéi lì yè 'ěr shì , zhè zhǒng yě xīn wǎng wǎng bèi fǎn kàng、 bào fù hé wéi hù gè rén zūn
yán de sī xiǎng suǒ chōng dàn ; zài bèi shàng sōng shén xué yuàn , tā wéi wěi zhuāng zì jǐ 'ér kè kǔ xué xí , bó dé yuàn cháng hé dà zhù jiào de huān xīn , zì xìn bù jiǔ jiù néng dāng shàng zhù jiào , yě xīn
méng fā , zài wěi shàn de dào lù shàng mài shàng yī dà bù。 ér zài bā lí , zì dān rèn mù 'ěr hóu jué de sī rén mì shū yǐ lái , tā dì wèi zhòu biàn , huán jìng jù biàn , zài dū shì fēng qì yán zhòng fǔ shí xià , xū róng xīn 'è xìng péng zhàng , gè rén de xióng xīn zhuàng zhì kāi shǐ xiàng gè rén yě xīn zhú bù zhuǎn huà。
jìn rù bā lí shí , yú lián de xīn qíng shì máo dùn fù zá de。 yī fāng miàn , tā zēng hèn bā lí de yī qiē , rèn wéi“ bā lí shì yīn móu wěi shàn de zhōng xīn” ; lìng yī fāng miàn , tā yòu
yīn“ zhōng yú yào zài wěi dà de shì yè de wǔ tái shàng xiǎn lù shēn shǒu” ér gāo xīng。 zài tā de nèi xīn shēn chù jīng lì liǎo yīcháng yòu yīcháng zhēn chéng yǔ xū wěi、 zì zūn yǔ xū róng de jī liè bó dǒu zhī hòu , tā bǐ shì shàng céng shè huì de wán kù zǐ dì , què yòu xīn shǎng tā men de“ wén yǎ yòu lǐ” , zhú jiàn táo zuì zài shàng liú shè huì de měi nǚ、 yīn lè hé xiān huā zhī zhōng。 tā shí fēn chóu shì hóu jué qiǎo qǔ háo duó、 dà fā hèngcái de xíng jìng , dàn dāng lǐng wù dào hóu jué yòu yì shí bǎ zì jǐ zāi péi chéng“ yī gè shàng liú shè huì de rén” shí , què yòu gān xīn wéi hóu jué xiào lì。 zài wéi lì yè 'ěr , yú lián cóng wèi céng xiǎng guò“ zěn yàng qù fèng chéng rén , zěn yàng qù tì rén jiā shuō huà” , dào bā lí hòu , tā què zài yě xīn de qū shǐ xià , wèile tì jí duān wú chǐ de“ lǎo chǔn cái” móu qǔ měichāi , jìng lì yòng zhí quán zhī biàn jǐ zǒu liǎo zhèng zhí de gé sī xiān shēng。 shì hòu , tā liáng xīn fù xiàn , duì zì jǐ de 'è xíng jīng tàn bù yǐ。 dàn suí jī yòu wéi zì jǐ biàn jiě dào :“ rú guǒ wǒ xiǎng chéng gōng de huà , wǒ hái yào zuò xǔ duō bù gōng dào de shì qíng。” rán 'ér , jí shǐ zài duò luò de guò chéng zhōng , yú lián yǐ rán zài mǒu zhǒng chéng dù shàng bǎo chí liǎo píng mín de zì zūn , gè rén fǎn kàng wèi jìn mǐn miè。 tā zài hóu jué miàn qián de cóng bù bēi gōng qū xī , yǐ jí zài hóu jué de zé mà shāng hài liǎo tā de zūn yán shí de 'ào rán lí qù , shǐ dé lǎo jiān jù huá de hóu jué shēn gǎn zhè gè píng mín qīng nián de“ xìng gé de gēn běn chù yòu kě pà de dì fāng”。 tā de zhè zhǒng zì zūn shì“ pín mín gǔ qì” de yī zhǒng biǎo xiàn , rèn hé qíng kuàng xià lǐn rán bù kě qīn fàn。 zhèng rú bǐ lā shén fǔ hé mǎ tè 'ér xiǎo jiě suǒ shuō , yú
lián suī chū shēn dī wēi , dàn yì qì gāo 'ào , xīn zhōng rán shāo shén shèng de huǒ yàn。 tā zuì bù néng róng rěn“ bié rén de qīng shì”。 zì zūn , shì tā gè rén fèn dǒu zhōng yòng yǐ zì wèi de wéi yī wǔ qì。
cóng yú lián de zhěng gè fèn dǒu guò chéng lái kàn , tā wéi shí xiàn zì jǐ de huàn xiǎng , kào de shì zì jǐ chū zhòng de cái néng hé wán qiáng fèn dǒu , ér bù shì tā rén de shīshě。 duì tā lái
jiǎng , zuì zhòng yào de shì gè rén de róng yù hé zūn yán。 tā suǒ zhuī qiú de shì kào zì jǐ de lì liàng yíng dé de。 tā céng xiān hòu jù jué shì cháng fū rén、 mù 'ěr hóu jué de qián cái , kào zhe tā de gāo 'ào hé cái néng , zhēng fú liǎo shì cháng fū rén hé hóu jué nǚ 'ér。 zài mǐ liè nuò de háo huá de kè tīng lǐ , tā céng xiǎng rú guǒ bǎ zhè lǐ jié lái de cái chǎn fēn yī bàn gěi tā , tā yě bù huì yào。 yǔ dé · ruì nà fū rén fēn bié shí , zhè wèi fū rén yào jiāng shù qiān fǎ láng sòng gěi tā , tā fèn nù dì jù jué liǎo。 tā duì dé · ruì nà fū rén shuō :“ nǐ shì fǒu yuàn yì shǐ wǒ men de 'ài qíng biàn wéi kě zēng de huí yì ?” tā bù xū lián mǐn , yě bù róng diàn wū 'ài qíng , ér xī wàng xiàng ná pò lún nà yàng kào gè rén de lì liàng hé fèn dǒu lái qǔ dé gōng míng。 tā zhēng de shì gǔ qì 'ér fēi xū róng。 zhèng shì wèile xióng xīn hé gǔ qì , tā cái gěi zì jǐ guī dìng liǎo fǎn kàng shàng céng shè huì de zé rèn。 dàn shì , wǒ men bì xū chéng rèn yú lián de fèn dǒu hé kàng zhēng“ shì chú liǎo gè rén zūn yán hé chū lù 'ér bié wú tā xiǎng de gè rén yīng xióng zhù yì” , suǒ yǐ , wǒ men bù néng shuō tā shì gè yě xīn jiā。 zài zuò zhě bǐ xià , tā de“ yě xīn” , zhǐ bù guò shì yī gè xiǎo rén wù gǎn yú zài fù bì shí dài duì xiàn shí biǎo shì bù mǎn hé fǎn kàng , gǎn yú zài cái zhì、 yǒng qì hé rén gé shàng yā dǎo bāo kuò dà zī chǎn jiē jí zài nèi de shàng céng shè huì ;“ gǎn yú zài dà shì yè wǔ tái shàng xiǎn shēn shǒu”。 wéi zì jǐ yíng dé hé ná pò lún yī yàng de mìng yùn , zuò zhě shēng chēng yú lián shì“ yě xīn jiā” jí biǎo dá liǎo duì fù bì shí dài de bù mǎn , yě yǐn huì dì zàn měi liǎo yú lián de fǎn kàng jīng shén。
rán 'ér , yú lián de fèn dǒu fǎn kàng zhù dìng shì yǐ bēi jù 'ér gào zhōng。 yú lián shì wáng cháo fù bì shí dài shòu yā yì de xiǎo zī chǎn jiē jí qīng nián de diǎn xíng , qí fǎn kàng shì jī yú
shè huì duì tā de yā zhì hé tā gè rén de yě xīn。 tā zhuī niàn dà gé mìng shí dài , yīn wéi xiàng tā zhè yàng yòu cái gān de qīng nián huì yòu shǔbù qīng de jī huì kě yǐ dà xiǎn shēn shǒu。 kě shì , zài zhè gè 'ě shā yī qiē shēng jī de wáng cháo fù bì shí dài , tā zhǐ néng bàn yǎn“ yī gè nì pàn de píng mín de bēi cǎn juésè” , chéng liǎo yǔ“ zhěng gè shè huì zuò zhàn de bù xìng de rén”。 tā zēng 'è jiào huì de xū wěi bēi bǐ , miè shì guì zú de“ hé fǎ de quán wēi” , bǐ yí zī chǎn jiē jí de“ wū huì cái fù”。 yú shì tā duì fù bì shè huì jìn xíng liǎo bào fù xìng de jué wàng de fǎn kàng。 suī zài yī dìng chéng dù shàng fǎn yìng liǎo rén mín duì fù bì shè huì de kàng yì qíng xù , dàn yóu yú qí shì gū jūn fèn zhàn , quē shǎo míng què de zhèng zhì lǐ xiǎng hé mù biāo , suǒ yǐ bì rán zāo dào shī bài。 lìng wài , yú lián de fèn dǒu hé kàng zhēng shāng hài liǎo dà guì zú、 dà zī chǎn jiē jí de lì yì。 tā men gēn běn bù zhǔn xǔ chū shēn dī jiàn de yú lián kuà jìn tā men de yíng lěi。 zuì hòu guì zú hé jiào huì gòu jié , shè xià juàn tào , bī dé · ruì nà fū rén xiě gào mì xìn jiē fā yú lián , duàn sòng liǎo tā fēi huáng téng dá de qián chéng , zhì shǐ yú lián qiāng shāng shì cháng fū rén 'ér bèi tuī shàng duàn tóu tái , luò dé shēn shǒu yì chù de bēi cǎn xià chǎng。 yú lián de bēi jù , shì yī gè chū shēn dī wēi de zhī shí fènzǐ zài yī dìng tiáo jiàn xià , cái néng wú cóng fā huī、 yě xīn bù néng shí xiàn de bēi jù。
yú lián sǐ shí nián jǐn 23 suì。 tā rè 'ài zì yóu hé shēng mìng , dàn wèile bù zài guì zú miàn qián shī qù píng mín de zūn yán , tā jù jué shàng sù。 dāng dé · ruì nà shì cháng tí chū
shàng sù shí , yú lián bèi jī nù liǎo。 tā jiào dào :“ wǒ bù yuàn duì sǐ xíng shàng sù , jí shǐ nǐ yòng dú yào、 dāo zǐ、 shǒu qiāng、 huǒ tàn huò rèn hé lìng wài yī zhǒng fāng fǎ , zhōng jié yī gè wēi hài nǐ de shēng mìng , wǒ yě bù duì sǐ xíng shàng sù。” zhè zhǒng yìng hàn , wèile bǎo chí zūn yán , wèile bù chéng wéi shàng liú shè huì chǐ xiào hé wǔ rǔ de duì xiàng , nìngkě shī qù 'ài qíng、 shēng mìng , zhēn kě wèi bù fá yīng xióng qì gài。
zài nà gè hēi 'àn de fù bì nián dài , yú lián zuò wéi yī gè píng mín zhī shí fènzǐ wèile zhēng dé zì jǐ de shè huì dì wèi , xiàng guì zú zī chǎn jiē jí suǒ zuò de fǎn kàng yǔ dǒu zhēng
jīng shén shì yīnggāi gěi yǐ kěn dìng de。 tā nà nán yǐ zhé fú de gǔ qì , wú yí zài dāng shí jù yòu jìn bù yì yì。 zhè yě zhèng shì wǒ men tóng qíng tā de gēn běn yuán yīn。
zǒng zhī , wú lùn cóng shí dài bèi jǐng、 zhù tí、 yì shù gòu sī , hái shì cóng yú lián xìng gé xíng chéng fā zhǎn de quán guò chéng zhuóyǎn , yú lián dōubù shì yě xīn jiā , ér shì zī chǎn jiē jí gè rén fèn dǒu de diǎn xíng dài biǎo , shì bēi jù yīng xióng。 jìn guǎn tā yòu chū zì yě xīn de gōng lì dǎ suàn , dàn píng mín de zì zūn hé duì tǒng zhì jiē jí de běn néng fǎn kàng shǐ zhōng shì tā de zhù dǎo fāng miàn。 suī rán zhè zhǒng gè rén yīng xióng zhù yì bù kě qǔ , dàn wǒ men bù yìng gāi yòng xiàn dài de chǐ dù qù kē qiú yī gè tè shū shí dài de rén。 zài yī gè bàn shì jì qián fēng jiàn fù bì shí dài de fǎ guó , gè rén yīng xióng zhù yì sī cháo zài yī dìng chéng dù shàng fǎn yìng liǎo guǎng dà rén mín , tè bié shì zhōng xiǎo zī chǎn jiē jí bù mǎn xiàn shí , yào qiú gǎi biàn dì wèi de yuàn wàng kè guān shàng duì fǎn dòng tǒng zhì jiē jí qǐ dào liǎo yī dìng de chōng jī zuò yòng。
The novel’s composite full title, Le Rouge et le Noir, Chronique du XIXe siécle (The Red and the Black: A Chronicle of the 19th Century), indicates its two-fold literary purpose, a psychological portrait of the romantic protagonist, Julien Sorel, and an analytic, sociological satire of the French social order under the Bourbon Restoration (1814–30). In English, Le Rouge et le Noir is variously translated as Red and Black, Scarlet and Black, and The Red and the Black, without the sub-title.
Background
Occurring from September 1826 until July 1831, Le Rouge et le Noir is the Bildungsroman of Julien Sorel, the intelligent, ambitious, protagonist from a poor family, who fails to understand much about the ways of the world he sets to conquer. He harbours many romantic illusions, becoming mostly a pawn in the political machinations of the ruthless influential people about him. The adventures of the flawed hero satirize French nineteenth-century society, especially the hypocrisy and materialism of the aristocracy and members of the Roman Catholic Church in foretelling the coming radical changes that will depose them from French society.
The first volume’s epigraph is attributed to Danton: “La vérité, l’âpre vérité” (“The truth, the harsh truth”), which is fictional, like most of the chapter epigraphs. The first chapter of each volume repeats the title Le Rouge et le Noir and the Chronique de 1830 sub-title. The novel’s title denotes the contrasting uniforms of the Army and the Church. Early in the story, Julien Sorel realistically observes that under the Bourbon restoration it is impossible for a man of his plebian social class to distinguish himself in the army (as he might have done under Napoleon), hence only a Church career offers social advancement and glory.
In some editions, the first book ("Livre premier", ending after Chapter XXX) concludes with the quotation: “To the Happy Few”, a dedication variously interpreted to mean either the few readers who could understand Stendhal’s writing; or a Shakespearean allusion to Henry V (1599); or a sardonic reference to the well-born of society (viz. Canto 11 Don Juan, 1821, by Byron)l or to those living per “Beylisme”: personal happiness being the purpose of existence — accordingly, every action taken to achieve that is permissible — hence Julien’s expediency with people — wherein “La force d’ame” (“Force of the soul”) is the most important virtue, realised as courage, resolution, and moral energy. (It seems most French editions do not have this quote, for unclear reasons; as is well-known, it appears also at the end of "La Chartreuse de Parme").
Plot
In two volumes, The Red and the Black: A Chronicle of the 19th Century tells the story of Julien Sorel’s life in a monarchic society of fixed social class.
Book I presents the ambitious son of a carpenter in the (fictional) Verrières village, in Franche-Comté, France, who would rather read and daydream about the glory days of Napoleon's long-disbanded army, than work his father’s timber business with his brothers, who beat him for his intellectual affectations. In the event, Julien Sorel becomes an acolyte of the abbé Chénal, the local Catholic prelate, who later secures him a post as the tutor for the children of Monsieur de Rênal, the mayor of Verrières. Despite appearing to be a pious, austere cleric, Julien is uninterested in the Bible beyond its literary value, and how he can use memorised passages (learnt in Latin) to impress important people.
He enters a love affair with Monsieur de Rênal’s wife; it ends badly when exposed to the village, by her chambermaid, Elisa, who had romantic designs upon him. The abbé Chénal orders Julien to a seminary in Besançon, which he finds intellectually stifling and pervaded with social cliques. The initially cynical seminary director, the abbé Pirard (of the Jansenist faction more hated that the Jesuit faction in the diocese), likes Julien, and becomes his protector. Disgusted by the Church’s political machinations, the abbé Pirard leaves the seminary, yet first rescues Julien from the persecution he would have suffered as his protégé, by recommending him as private secretary to the diplomat Marquis de la Mole, a Roman Catholic legitimist.
Book II chronicles the time leading to the July Revolution of 1830, and Julien Sorel’s Parisian life, as an employee of the de la Mole family. Despite moving among high society, the family and their friends, condescend to Julien for being an uncouth plebeian — his intellectual talents notwithstanding. In his boundlessly ambitious rise in the world, Julien perceives the materialism and hypocrisy important to the élite of Parisian society, and that the counter-revolutionary temper of the time renders it impossible for well-born men of superior intellect and æsthetic sensibility to progressively participate in the public affairs of the nation with any success.
The Marquis de la Mole takes Julien to a secret meeting, then despatches him on a dangerous mission to communicate a political letter (that he has memorised) to the Duc d'Angouleme, who is exiled in England; however, the callow Julien is mentally distracted, by an unsatisfying love affair, thus he only learns the message by rote, but not its political significance as a legitimist plot. Unwittingly, the plebeian Julien Sorel risks his life in secret service to the right-wing monarchists he most opposes; to himself, Julien rationalises such action as merely helping the Marquis, his employer, whom he respects.
Meanwhile, in the preceding months, the Marquis’s bored daughter, Mathilde de la Mole, had become emotionally torn, between her romantic attraction to Julien, for his admirable personal and intellectual qualities, and her social repugnance at becoming sexually intimate with a lower-class man. At first, he finds her unattractive, but his interest is piqued, by her attentions and the admiration she inspires in others; twice, she seduces and rejects him, leaving him in a miasma of despair, self-doubt, and happiness (he won her over aristocrat suitors). Only during his secret mission does he gain the key to winning her affections: a cynical jeu d’amour proffered to him by Prince Korasoff, a Russian man-of-the-world. At great emotional cost, Julien feigns indifference to Mathilde, provoking her jealousy with a sheaf of love-letters meant to woo Madame de Fervaques, a widow in the social circle of the de la Mole family. Consequently, Mathilde sincerely falls in love with Julien, eventually revealing to him that she carries his child; yet, whilst he was on diplomatic mission in England, she became officially engaged to Monsieur de Croisenois, an amiable, rich young man, heir to a duchy.
Learning of Julien’s romantic liaison with Mathilde, the Marquis de la Mole is angered, but relents before her determination, and his affection for him, and bestows upon Julien an income-producing property attached to an aristocratic title, and a military commission in the army. Although ready to bless their marriage, he changes his mind upon receiving the reply to a character-reference-letter he wrote to the abbé Chénal, Julien’s previous employer in the village of Verrières; however, the reply letter, written by Madame de Rênal — at the urging of her confessor priest — warns the Marquis that Julien Sorel is a social-climbing cad who preys upon emotionally vulnerable women.
On learning the Marquis’s disapproval of the marriage, Julien Sorel travels to his home village of Verrières and shoots Madame de Rênal during Mass in the village church; she survives. Despite the efforts of Mathilde, Madame de Rênal, and the priests devoted to him since his early life, Julien Sorel is determined to die — because the materialist society of Bourbon Restoration France will not accommodate a low-born man of superior intellect and æsthetic sensibility possessing neither money nor social connections.
Meanwhile, the presumptive duke, Monsieur de Croisenois, one of the fortunate few of Bourbon France, is killed in a duel fought over a slur upon the honour of Mathilde de la Mole. Despite her undiminished love for Julien, his imperiously intellectual nature, and its component romantic exhibitionism, render Mathilde’s prison visits to him a duty.
Moreover, when Julien learns he did not kill Madame de Rênal, that resurrects his intemperate love for her — lain dormant throughout his Parisian time and his passion for Mathilde, who visits him during the final days of his life. Afterwards, Mathilde de la Mole re-enacts the cherished, sixteenth-century French tale of Queen Margot visiting her dead lover, Joseph Boniface de La Mole, to kiss the lips of his severed head. In the nineteenth century, Mathilde de la Mole so treated Julien Sorel’s severed head, making a shrine of his tomb, in the Italian fashion.
Structure and themes
Le Rouge et le Noir occurs in the latter years of the Bourbon Restoration (1814–30) and the days of the 1830 July Revolution that established the Kingdom of the French (1830–48). Julien Sorel’s worldly ambitions are motivated by the emotional tensions, between his idealistic Republicanism (especially nostalgic allegiance to Napoleon), and the realistic politics of counter-revolutionary conspiracy, by Jesuit-supported legitimists, notably the Marquis de la Mole, whom Julien serves, for personal gain. Presuming a knowledgeable reader, the novelist Stendhal only alludes to the historical background of Le Rouge et le Noir — yet did sub-title it Chronique de 1830 (“Chronicle of 1830”). Moreover, the reader wishing an exposé of the same historical background might wish to read Lucien Leuwen (1834), Stendhal’s un-finished novel, posthumously published in 1894.
Stendhal repeatedly questions the possibility, and the desirability, of “sincerity”, because most of the characters, especially Julien Sorel, are acutely aware of having to play a role to gain social approval. In that nineteenth-century context, the word “hypocrisy” denoted the affectation of high religious sentiment; in The Red and the Black it connotes the contradiction between thinking and feeling.
In Mensonge romantique et vérité romanesque, 1961, (Deceit, Desire and the Novel) philosopher and critic René Girard identifies in Le Rouge et le Noir the triangular structure he denominates as “mimetic desire”, which reveals how a person’s desire for another is always mediated by a third party, i.e. one desires a person only when he or she is desired by someone else. Girard’s proposition accounts for the perversity of the Mathilde–Julien relationship, especially when he begins courting the widow Mme de Fervaques, to pique Mathilde’s jealousy, but also Julien’s fascination with and membership to the high society he simultaneously desires and despises; to wit, in achieving said literary effect, Stendhal wrote the epigraphs — literary, poetic, historic quotations — that he attributed to others.
Literary and critical significance
The novel marks the beginning of realism.
André Gide said that The Red and the Black was a novel ahead of its time, that it was a novel for readers in the twentieth century. In Stendhal’s time, prose novels included dialogue and omniscient narrator descriptions; his great contribution to literary technique was describing the psychologies (feelings, thoughts, inner monologues) of the characters, resultantly he is considered the creator of the psychological novel.
In Jean-Paul Sartre's play Les Mains Sales (1948), the protagonist Hugo Barine suggests pseudonyms for himself, including “Julien Sorel”, whom he resembles.
Joyce Carol Oates stated in the Afterword to her novel them that she originally titled the manuscript Love and Money as a nod to classic 19th century novels, among them, The Red and The Black "whose class-conscious hero Julien Sorel is less idealistic, greedier, and crueler than Jules Wendell but is cleary his spiritual kinsman".
Translations
Le Rouge et le Noir, Chronique du XIXe siècle (1830) was first translated to English circa 1900; the best-known translation, The Red and the Black (1926), by Charles Kenneth Scott-Moncrief, has been, like his other translations, characterised as one of his “fine, spirited renderings, not entirely accurate on minor points of meaning . . . Scott Moncrieff’s versions have not really been superseded”. The version by Robert M. Adams, for the Norton Critical Editions series, also is highly regarded; it “is more colloquial; his edition includes an informative section on backgrounds and sources, and excerpts from critical studies”. About Burton Raffel’s 2006 translation for the Modern Library, an anonymous Amazon.com reviewer said it is “actually a vulgar, anachronistic retelling of Stendhal’s novel. I recall abandoning it in disgust when the main character refers to his life as a total ‘blast’ ”. MTV was obviously very popular in 1838 [sic] France”. In its stead, that reviewer recommends C. K. Scott-Moncrieff’s translation, revised by scholar Ann Jefferson, (Everyman paperback, ISBN 0460876430).
Film adaptations
* Der geheime Kurier (The Secret Courier) is a silent 1928 German film by Gennaro Righelli, featuring Ivan Mosjoukine, Lil Dagover, and Valeria Blanka.
* Il Corriere del re (The Courier of the King) is a black-and-white 1947 Italian film adaptation of the story also directed by Gennaro Righelli. It features Rossano Brazzi, Valentina Cortese, and Irasema Dilián.
* Another film adaptation of the novel was released in 1954, directed by Claude Autant-Lara. It stars Gerard Philipe, Antonella Lualdi and Danielle Darrieux. It won the French Syndicate of Cinema Critics award for the best film of the year.
* Le Rouge et le Noir is a 1961 French made-for-TV film version directed by Pierre Cardinal, with Robert Etcheverry, Micheline Presle, Marie Laforêt, and Jean-Roger Caussimon.
* A BBC TV mini-series in five episodes The Scarlet and the Black, was made in 1965, starring John Stride, June Tobin, and Karin Fernald.
* Krasnoe i chyornoe (Red and Black) is a 1976 Soviet film version, directed by Sergei Gerasimov, with Nikolai Yeryomenko Ml, Natalya Bondarchuk, and Natalya Belokhvostikova.
* Another BBC TV mini-series called The Scarlet and the Black was first broadcast in 1993, starring Ewan McGregor, Rachel Weisz and Stratford Johns as the Abbe Pirard. A notable addition to the plot was the spirit of Napoleon (Christopher Fulford) who advises Sorel (McGregor) through his rise and fall.
* A made-for-TV film version of the novel called The Red and the Black was first broadcast in 1997 by Koch Lorber Films, starring Kim Rossi Stuart, Carole Bouquet and Judith Godrèche; it was directed by Jean-Daniel Verhaeghe. This version is available on DVD.
《 hóng yǔ hēi》 shì fǎ guó zuò jiā sī tānɡ dá chuàng zuò de yī bù cháng piān xiǎo shuō， xiàn zài， yǐ jīng bèi shì jiè gōng rèn wéi wén xué shǐ shàng de jīng diǎn。《 hóng yǔ hēi》 shì fǎ guó pī pàn xiàn shí zhù yì de dì yī bù jié chū zuò pǐn。 zuò zhě bèi yù wéi fǎ guó yǐ zhì zhěng gè 'ōu zhōu pī pàn xiàn shí zhù yì wén xué de diàn jī rén zhī yī。
《 hóng yǔ hēi》 shì 19 shì jì 'ōu zhōu pī pàn xiàn shí zhù yì de diàn jī zuò pǐn
《 hóng yǔ hēi》 - zuò pǐn jiǎn jiè
《 hóng yǔ hēi》 shì fǎ guó zuò jiā sī tānɡ dá chuàng zuò de yī bù cháng piān xiǎo shuō， xiàn zài， yǐ jīng bèi shì jiè gōng rèn wéi wén xué shǐ shàng de jīng diǎn。《 hóng yǔ hēi》 shì fǎ guó pī pàn xiàn shí zhù yì de dì yī bù jié chū zuò pǐn。 zuò zhě bèi yù wéi fǎ guó yǐ zhì zhěng gè 'ōu zhōu pī pàn xiàn shí zhù yì wén xué de diàn jī rén zhī yī。
《 hóng yǔ hēi》 shì 19 shì jì 'ōu zhōu pī pàn xiàn shí zhù yì de diàn jī zuò pǐn。 xiǎo shuō wéi rào zhù rén gōng yú lián gè rén fèn dǒu de jīng lì yǔ zuì zhōng shī bài， yóu qí shì tā de liǎng cì 'ài qíng de miáo xiě， guǎng fàn dì zhǎn xiàn liǎo“ 19 shì jì chū 30 nián jiān yā zài fǎ guó rén mín tóu shàng de lì jiè zhèng fǔ suǒ dài lái de shè huì fēng qì”， qiáng liè dì pēng jī liǎo fù bì wáng cháo shí qī guì zú de fǎn dòng， jiào huì de hēi 'àn hé zī chǎn jiē jí xīn guì de bēi bǐ yōng sú， lì yù xūn xīn。 yīn cǐ xiǎo shuō suī yǐ yú lián de 'ài qíng shēng huó zuò wéi zhù xiàn， dàn bì jìng bù shì 'ài qíng xiǎo shuō， ér shì yī bù“ zhèng zhì xiǎo shuō”。
《 hóng yǔ hēi》 - nèi róng jiǎn jiè
xiǎo shuō zhù rén gōng yú lián , shì yī gè mù jiàng de 'ér zǐ , nián qīng yīng jùn , yì zhì jiān qiáng , jīng míng néng gān , cóng xiǎo jiù xī wàng jiè zhù gè rén de nǔ lì yǔ fèn dǒu jī shēn shàng liú shè huì。
《 hóng yǔ hēi》《 hóng yǔ hēi》
zài fǎ guó yǔ ruì shì jiē rǎng de wéi lì yè 'ěr chéng， zuò luò zài shān pō shàng， měi lì de dù bó hé rào chéng 'ér guò， hé 'àn shàng chù lì zhe xǔ duō jù mù chǎng。 shì cháng dé ruì nà shì gè chū shēn guì zú， zài kòu shàng guà mǎn xūn zhāng de rén。
tā wǔ shí suì zuǒ yòu， tā de fáng zǐ yòu quán chéng zuì piào liàng de huā yuán， tā de qī zǐ shì zuì yòu qián 'ér yòu zuì piào liàng de qī zǐ， dàn tā cái zhì bù zú，“ tā zhǐ néng bàn dào yán gé dì shōu tǎo tā rén de qiàn zhài， dāng tā zì jǐ qiàn rén jiā de zhài shí， tā yù chí hái yù hǎo”。 zài zhè zuò chéng shì hái yòu yī gè zhòng yào rén wù， shì pín mín jì yǎng suǒ suǒ cháng héng héng wā liè nuò xiān shēng。 tā huā liǎo yī wàn dào yī wàn liǎng qiān fǎ láng cái nòng dào zhè gè zhí wèi， tā tǐ gé qiáng zhuàng zōng hóng sè de liǎn， hēi 'ér jīng cū de xiǎo hú zǐ， zài bié rén yǎn zhōng tā shì gè měi nán zǐ， lián shì cháng dū jù tā sān fēn。 dàn shì cháng wèile xiǎn shì zì jǐ gāo rén yī děng， jué xīn qǐng yī gè jiā tíng jiào shī。
mù jiàng suǒ hēi 'ěr de 'ér zǐ yú lián， yóu yú jīng tōng lā dīng wén， bèi xuǎn zuò shì cháng jiā de jiā tíng jiào shī。 tā yuē shí bā jiǔ suì， cháng dé wén ruò qīng xiù， liǎng zhǐ yòu dà yòu hēi de yǎn jīng。 zài níng jìng shí， yǎn zhōng shè chū huǒ yī bān de guāng huī， yòu xiàng shì shú sī hé tàn xún de yàng zǐ， dàn yī shùn jiān， yòu liú lù chū kě pà de chóu hèn， yóu yú tā zhěng tiān bào zhe shū běn bù fàng， bù yuàn zuò lì qì huó， yīn 'ér zāo dào quán jiā de xián qì yǔ yuàn hèn， jīng cháng bèi fù qīn hé liǎng gè gē gē dú dǎ。 tā xiǎo shí fēng kuáng dì chóng bài ná pò lún， kě wàng xiàng ná pò lún nà yàng shēn pèi cháng jiàn， zuò shì jiè de zhù rén。 rèn wéi ná pò lún“ yóu yī gè jì bēi wēi yòu qióng kùn de xià jí jūn guān， zhǐ kào tā shēn pèi de cháng jiàn， biàn zuò liǎo shì jiè shàng de zhù rén”。 dàn hòu lái tā yòu xiǎng dāng shén fǔ， yīn wéi“ rú jīn wǒ men yǎn jiàn sì shí suì zuǒ yòu de shén fù néng ná dào shí wàn fǎ láng de xīn fèng。 zhè jiù shì shuō tā men néng ná dào shí wàn fǎ láng， sān bèi yú ná pò lún dāng shí shǒu xià de zhù míng de dàjiàng de shōu rù。” yú shì， tā tóu bài zài shén fǔ xī lǎng de mén xià， zuānyán qǐ shén xué lái。 tā zhàng zhe jīng rén de hǎo jì xìng bǎ yī běn lā dīng wén《 shèng jīng》 quán bèi xià lái， zhè shì hōng dòng liǎo quán chéng。
shì cháng de nián qīng piào liàng de qī zǐ shì zài xiū dào yuàn zhǎngdà de， duì xiàng tā zhàng fū nà yàng yōng sú cū lǔ de nán rén， dǎ xīn dǐ lǐ gǎn dào yàn 'è。 yóu yú méi yòu 'ài qíng， tā bǎ xīn sī quán fàng zài jiào yǎng 3 gè hái zǐ shēn shàng。 tā rèn wéi nán rén“ chú liǎo jīn qián、 quán shì、 xūn zhāng de tān yù yǐ wài， duì yú yī qiēdōu shì má mù bù rén”。 zuì chū， tā bǎ yú lián xiǎng xiàng wéi yī gè mǎn miàn wū gòu de xiāng xià lǎo， shuí zhī jiàn miàn shí què dà chū tā de yì liào： miàn qián zhè gè nián qīng rén jìng shì zhè yàng bái xī， yǎn jīng yòu zhè yàng wēn róu dòng rén。 yǐ wéi tā“ shí jì shàng shì yī gè shàonǚ” gù yì jiǎ bàn nán zhuāng。 tā duì yú lián chǎn shēng hǎo gǎn， shèn zhì jué dé“ zhǐ yòu zài zhè gè shàonián jiào shì de xīn lǐ， cái yòu kāng kǎi、 gāo shàng、 rén 'ài”。 ruì nà fū rén de nǚ pú 'ài lì shā yě 'ài shàng liǎo yú lián， ài lì shā dé dào liǎo yī bǐ yí chǎn， yào xī láng shén fù zhuǎn dá tā duì yú lián de 'ài mù， yú lián jù jué liǎo nǚ pú 'ài lì shā de 'ài qíng。 ruì nà fū rén dé zhī cǐ shì xīn lǐ yì cháng gāo xīng， yī gǔ xìng fú de liú quán xiè luò zài tā de xīn hǎi lǐ， tā fā jué zì jǐ duì tā chǎn shēng liǎo yī zhǒng cóng wèi yòu guò de yī zhǒng gǎn qíng。
xià tiān shì cháng yī jiā bān dào fán ní zhèn xiāng xià huā yuán bié shù jū zhù， wǎn shàng chéng liáng de shí hòu， quán jiā jù zài yī zhū pú tí shù xià， yú lián wú yì jiān chù dào liǎo ruì nà fū rén de shǒu， tā yī xià zǐ suō huí qù liǎo， yú lián yǐ wéi ruì nà fū rén kàn bù qǐ tā， biàn jué xīn bì xū wò zhù zhè zhǐ shǒu。 dì 'èr tiān wǎn shàng tā guǒ rán zuò liǎo， ruì nà fū rén de shǒu bèi yú lián tōu tōu dì jǐn wò zhe， mǎn zú liǎo tā de zì zūn xīn。 ruì nà fū rén bèi 'ài qíng yǔ dào dé zé rèn zhēténg dé yī yè wèi hé yǎn。 tā jué dìng yòng lěng dàn de tài dù qù duì dài yú lián。 kě shì dāng yú lián bù zài jiā shí， tā yòu rěn bù zhù duì tā de sī niàn。 ér yú lián yě biàn dé gèng dà dǎn， tā zài xīn lǐ 'àn xiǎng：“ wǒ yīnggāi zài jìn yī bù， wù bì yào zài zhè gè nǚ rén shēn shàng dá dào mùdì cái hǎo。 rú guǒ wǒ yǐ hòu fā liǎo cái， yòu rén chǐ xiào wǒ dāng jiā tíng jiào shī dī jiàn， wǒ jiù ràng dà jiā liǎo jiě， shì 'ài qíng shǐ wǒ jiē shòu zhè wèi zhì de”。
《 hóng yǔ hēi》《 hóng yǔ hēi》
shēn yè 2 diǎn chuǎng jìn liǎo tā de fáng lǐ。 kāi shǐ， tā duì yú lián de wú lǐ xíng wéi hěn shēng qì， dàn dāng tā kàn dào“ tā liǎng yǎn chōng mǎn yǎn lèi” shí， biàn tóng qíng qǐ tā lái。 tā 'àn xiǎng， rú guǒ zài 10 nián qián néng 'ài shàng yú lián gāi duō hǎo。 bù guò， zài yú lián de xīn lǐ zé wán quán méi yòu zhè zhǒng xiǎng fǎ， tā de 'ài wán quán shì chū yú yī zhǒng yě xīn， yī zhǒng yīn zhàn yòu yù 'ér chǎn shēng de kuáng rè。 tā nà yàng pín qióng， néng gòu dé dào zhè me gāo guì、 zhè me měi lì de fù rén， yǐ jīng shì shàng tiān de 'ēn cì liǎo。
bù jiǔ， huáng dì jià lín wéi lì yè 'ěr， zài ruì nà fū rén de 'ān pái xià， yú lián bèi pìn dāng shàng liǎo yí zhàng duì duì yuán， shǐ tā yòu zài gōng zhòng miàn qián dà chū fēng tóu de jī huì。 yíng jià qī jiān， yú lián zuò wéi péi jì jiào shì cān jiā zhān bài shèng hái diǎn lǐ。 zhī hòu， tā duì mù 'ěr hóu jué de zhí zǐ、 nián qīng de 'ān bèi zhù jiào shí fēn chóng jìng。 xīn xiǎng， ān bèi zhù jiào rú cǐ nián qīng jiù yòu xiǎn hè de dì wèi， ér qiě bèi shòu nǚ rén de qīng lái， àn xià jué xīn“ nìngyuàn shòu zōng jiào de zhì cái， yě yào dá dào lìng měi rén xiàn mù de jìng jiè”。
ruì nà fū rén xīn 'ài de 'ér zǐ bìng wēi， tā rèn wéi zhè shì shàng dì duì zì jǐ bù dào dé xíng wéi de yī zhǒng chéng fá， tā xiàn rù liǎo kě pà de chàn huǐ lǐ。 zhè shí， ài lì shā yòu bǎ fū rén de shì 'àn zhōng gào sù liǎo wā liè nuò xiān shēng， tā zǎo xiān céng tān liàn ruì nà fū rén de měi sè pèng liǎo yī bí zǐ huī， biàn chèn jī gěi shì cháng xiě liǎo yī fēng gào mì xìn。 dàn shì cháng dān xīn rú guǒ bǎ qī zǐ gǎn chū jiā mén， zì jǐ jiāng shī qù yī dà bǐ yí chǎn， ér qiě yě yòu sǔn yú zì jǐ de míng yù， cǎi qǔ“ zhǐ huái yí 'ér bù zhèng shí” de bàn fǎ。 dàn zài zhè zuò chéng shì lǐ， jiē tán xiàng yì duì ruì nà fū rén hé yú lián què yuè lái yuè bù lì。 yī cì 'ài lì shā xiàng xī lǎng shén fù chàn huǐ shí， yòu tán chū yú lián yǔ ruì nà fū rén de mì mì guān xì。 guān xīn yú lián de shén fù yào tā dào shěng chéng bèi shàng sōng shén xué yuàn jìn xiū。 gào bié hòu de dì sān tiān yè lǐ， yú lián yòu mào xiǎn gǎn huí wéi lì yè 'ěr， yǔ ruì nà fū rén jiàn miàn， cǐ shí de ruì nà fū rén yóu yú sī niàn de tòng kǔ， yǐ qiáo cuì dé bù xiàng rén yàng liǎo。
bèi shàng sōng shì fǎ guó yī zuò gǔ chéng， chéng qiáng gāo dà。 chū dào shén xué yuàn， nà mén shàng de tiě shí zì jià， xiū shì de hēi sè dào páo， hé tā men má mù bù rén de miàn kǒng dū shǐ yú lián gǎn dào kǒng bù。 yuàn cháng bǐ lā shén fù shì xī láng shén fù de lǎo xiāng shí， yīn cǐ duì yú lián tè bié guān zhào。 tā duì yú lián shuō：“ xī xiào jiù shì xū wěi de wǔ tái”。
zài 321 gè xué shēng zhōng， jué dà bù fēn shì píng yōng de qīng nián， yóu cǐ yú lián zì xìn huì xùn sù huò dé chéng gōng。 tā qiāoqiāo duì zì jǐ shuō：“ zài ná pò lún tǒng zhì xià， wǒ huì shì gè jūn cáo， zài wèi lái de shén fù dāng zhōng， wǒ jiāng shì gè zhù jiào。” yóu yú xué xí chéng jì míng liè qián máo， yuàn cháng jìng ràng tā dāng xīn jiù yuē quán shū kè chéng de fǔ dǎo jiào shī。
dàn shén xué yuàn shì gè wěi shàn de dì fāng， tā hěn kuài jiù duò rù liǎo yōu yù zhī zhōng。 bǐ lā yuàn cháng shòu dào pái jǐ cí zhí bùgànliǎo， bìng jiè shào yú lián wéi mù 'ěr hóu jué de mì shū。 bǐ lā shén fù zhuān mén gěi tā jiè shào hóu jué yī jiā tā shuō“ nǐ yào shí fēn zhù yì， yī gè xiàng wǒ men zhè zhǒng hángyè de rén， zhǐ yòu kào zhè xiē dà rén xiān shēng men cái yòu qián tú…… zài zhè yàng yī gè shè huì lǐ， rú guǒ nǐ dé bù dào rén jiā de zūn jìng， nǐ de bù xìng shì zhù dìng de liǎo”。
hóu jué shòuxuē 'ér 'ǎi xiǎo， yòu yī duì shí fēn líng huó de yǎn jīng， tóu shàng dài yòu jīn sè jiǎ fā。 tā shì gè jí duān bǎo huáng dǎng rén， fǎ guó dà gé mìng shí， tā táo wáng guó wài， wáng cháo fù bì hòu， tā zài cháo zhōng qǔ dé liǎo xiǎn hè de dì wèi。 yú lián měi tiān de gōng zuò jiù shì wèitā chāo xiě gǎo jiàn hé gōng wén， hóu jué duì yú lián shí fēn mǎn yì， pài tā qù guǎn lǐ zì jǐ liǎng gè shěng de tián zhuāng， hái fù zé zì jǐ yǔ bèi shàng sōng dài lǐ zhù jiào fú lì liè zhī jiān de sù sòng tōng xùn， hòu yòu pài tā dào lún dūn qù gǎo wài jiāo， zèng gěi tā yī méi shí zì xūn zhāng， zhè shǐ yú lián gǎn dào huò dé liǎo jí dà de chéng gōng。
yú lián zài guì zú shè huì de xūn táo xià， hěn kuài xué huì liǎo bā lí shàng liú shè huì de yì shù， chéng liǎo yī gè huā huā gōng zǐ， shèn zhì zài mù 'ěr xiǎo jiě de yǎn lǐ， tā yě yǐ tuō liǎo wài shěng qīng nián de tǔ qì。 mù 'ěr xiǎo jiě míng jiào mǎ tè 'ér， shì yī gè yòu jīn lì sè tóu fā， tǐ tài yúnchèn， fēi cháng xiù lì de gū niàn， dàn“ zhè shuāng yǎn jīng tòu lù chū yī zhǒng nèi xīn kě pà de lěng kù”。 tā dú guò xǔ duō làng màn zhù yì 'ài qíng xiǎo shuō， bìng bèi 3 shì jì qián yī duàn jiā shǐ suǒ jī dòng： tā de zǔ xiān mù 'ěr shì huáng hòu mǎ jiā ruì tè de qíng fū， bèi guó wáng chǔsǐ hòu， huáng hòu xiàng guì zǐ shǒu mǎi xià liǎo tā de tóu， zài shēn yè lǐ qīn zì bǎ tā mái zàng zài méng mǎ tè shān jiǎo xià。 tā shí fēn chóng bài huáng hòu de zhè zhǒng wéi 'ài qíng 'ér gǎn mào dà bù wěi de jīng shén， tā de míng zì mǎ tè 'ér jiù shì huáng hòu de 'ài chēng。
qǐ chū， yú lián bìng bù 'ài mǎ tè 'ér nà qīng gāo 'ào màn de xìng gé， dàn xiǎng dào“ tā què néng gòu bǎ shè huì shàng de hǎo dì wèi dài gěi tā zhàng fū” shí， biàn rè liè dì zhuī qiú qǐ tā lái。 mǎ tè 'ér yě zhī dào yú lián chū shēn dī wēi， dàn tā huái zhe yī zhǒng“ wǒ gǎn yú liàn 'ài yī gè shè huì dì wèi lí wǒ nà yàng yáo yuǎn de rén， yǐ suàn shì wěi dà hé yǒng gǎn liǎo” de làng màn zhù yì gǎn qíng， yīn cǐ， tā zài huā yuán lǐ zhù dòng wǎn zhe yú lián de gēbo， hái zhù dòng gěi tā xiě xìn xuān bù 'ài qíng。 wèile kǎo yàn yú lián de dǎn liàng， tā yào yú lián zài míng liàng de yuè guāng xià yòng tī zǐ pá dào tā de fáng jiān qù。 yú lián zhào yàng zuò liǎo， dāng wǎn tā jiù wěi shēn yú tā liǎo， guò hòu mǎ tè 'ér hěn kuài jiù hòu huǐ liǎo。
yī cì， tā men zài tú shū shì xiāng yù， tā biān kū biān duì yú lián shuō：“ wǒ hèn wǒ wěi shēn yú dì yī gè lái dào de rén” yú lián gǎn dào tòng kǔ， tā zhāi xià guà zài qiáng shàng de yī bǎ gǔ jiàn yào shā sǐ tā， mǎ tè 'ér yī diǎn dōubù hài pà fǎn 'ér jiāo 'ào dì zǒu dào yú lián miàn qián， tā rèn wéi yú lián 'ài tā yǐ jīng 'ài dào yào shā liǎo tā de chéng dù， biàn yòu yǔ tā hǎo qǐ lái。 yè lǐ yú lián zài cì pá jìn tā de fáng jiān， tā qǐng qiú yú lián zuò tā de“ zhù rén”， zì jǐ jiāng yǒng yuǎn zuò tā de nú lì， biǎo shì yào yǒng yuǎn fú cóng tā。 kě shì， zhǐ yào yú lián shāo xǔ biǎo lù chū 'ài mù de yì sī， tā yòu zhuǎn wéi fèn nù， háo bù yǎn shì de wǔ rǔ tā， bìng gōng kāi xuān bù bù zài 'ài tā。
yīn wéi yú lián de jì yì lì hěn hǎo， mù 'ěr hóu jué ràng tā liè xí yī cì bǎo wáng dǎng rén de mì mì huì yì， huì shàng yòu zhèng fǔ shǒuxiàng、 hóng yī zhù jiào、 jiāng jūn。 huì hòu， mù 'ěr hóu jué ràng yú lián bǎ jì zài xīn lǐ de huì yì jì lù mào zhe shēng mìng wēi xiǎn dài dào guó wài qù。 zài yì zhàn huàn mǎ shí， chàdiǎn bèi dí fāng shā hài， xìng hǎo tā jī jǐng dì táo tuō liǎo， yǔ wài guó shǐ jié jiē shàng liǎo tóu， rán hòu liú zài nà děng huí xìn。 zài nà 'ér tā yù dào 'é guó kē hā suō fū wáng zǐ， tā shì gè qíng chǎng lǎo shǒu， yú lián biàn bǎ zì jǐ de 'ài qíng kǔ nǎo jiǎng gěi tā tīng， tā jiàn yì yú lián jiǎ zhuāng qù zhuī qiú lìng yī gè nǚ xìng， yǐ dá dào jiàng fú mǎ tè 'ér de mùdì， bìng bǎ zì jǐ de wǔ shí sān fēng qíng shū jiāo gěi tā，“ bǎ zhè xiē xìn zhuǎn chāo yī fèn jì gěi nǐ suǒ xuǎn dìng de nǚ xìng， zhè gè nǚ xìng bì xū shì qiáo nǐ bù qǐ de duì fāng de shú rén。”
yú lián huí dào bā lí hòu， jiāng zhè xiē qíng shū yī fēng fēng jì gěi yuán shuài fū rén， yuán shuài fū rén shòu liǎo gǎn dòng， gěi yú lián huí xìn， mǎ tè 'ér zài yě rěn nài bù zhù liǎo， guì dǎo zài yú lián de jiǎo xià， qiú tā 'ài tā， yú lián de xū róng xīn dé dào jí dà de mǎn zú，“ kàn yā！ zhè gè jiāo 'ào de nǚ rén， jū rán tǎng zài wǒ de jiǎo xià liǎo！”。 bù jiǔ， mǎ tè 'ér fā xiàn zì jǐ huái yùn liǎo， tā xiě xìn gào sù fù qīn， yào tā yuán liàng yú lián， bìng chéng quán tā men de hūn shì。 hóu jué zài 'ài nǚ jiān chí xià， yī zài ràng bù。 xiān shì gěi liǎo tā men yī fèn tián chǎn， zhǔn bèi ràng tā men jié hūn hòu bān dào tián zhuāng qù zhù。 suí hòu， yòu gěi yú lián jì qù yī zhāng piàoqí bīng zhōng wèi de wěi rèn zhuàng， shòu yú guì zú chēng hào。
yú lián zài piàoqí bīng zhù dì chuān shàng jūn guān zhì fú， táo zuì zài gè rén yě xīn mǎn zú de kuài lè zhōng，“ yóu yú 'ēn chǒng， gāng gāng cái zuò liǎo 'èr tiān de zhōng wèi， tā yǐ jīng zài pán suàn hǎo zhì chí yòu xiàng guò qù de dàjiàng jūn yī yàng， zài sān shí suì shàng， jiù néng zuò dào sī lìng， nà me dào 'èr shí sān suì， jiù yīnggāi zài zhōng wèi yǐ shàng。 tā zhǐ xiǎng dào tā de róng yù hé tā de 'ér zǐ。” zhè shí， tā tū rán shōu dào liǎo mǎ tè 'ér jì lái de jí xìn。 xìn zhōng shuō： yī qiēdōu wán liǎo。 yú lián jí máng huí qù， yuán lái ruì nà fū rén gěi mù 'ěr hóu jué xiě xìn jiē lù liǎo tā men yuán xiān de guān xì。 zhè shí nǎo xiū chéng nù de yú lián lì jí tiào shàng qù wéi lā yè 'ěr de mǎ chē， mǎi liǎo yī zhī shǒu qiāng， suí jí gǎn dào jiào táng， xiàng zhèng zài dǎo gào de ruì nà fū rén lián fā liǎng qiāng， fū rén dāng chǎng zhōng qiāng dǎo dì。 yú lián yīn kāi qiāng shā rén bèi bǔ liǎo。
rù yù hòu， tā tóu nǎo lěng jìng xià lái， duì zì jǐ xíng wéi gǎn dào huǐ hèn hé chǐ rǔ。 tā yì shí dào yě xīn yǐ jīng pò miè， dàn sǐ duì tā bìng bù kě pà。 ruì nà fū rén shòu liǎo qiāng shāng bìng méi yòu sǐ。 shāo yù hòu， tā mǎi tōng yù lì， miǎn dé yú lián shòu nüè dài。 yú lián zhī dào hòu tòng kū liú tì。 mǎ tè 'ér yě cóng bā lí gǎn lái tàn jiān， wéi yíng jiù yú lián sì chù bēn zǒu， yú lián duì cǐ bìng bù gǎn dòng， zhǐ jué dé fèn nù。 gōng shěn de shí hòu， yú lián dāng zhòng xuān chēng tā bù qí qiú rèn hé rén de 'ēn cì， tā shuō：“ wǒ jué bù shì bèi wǒ de tóng jiē jí de rén shěn pàn， wǒ zài péi shěn guān de xí shàng， méi yòu kàn jiàn yī gè fù yòu de nóng mín， ér zhǐ shì xiē lìng rén qì fèn de zī chǎn jiē jí de rén。” jiēguǒ fǎ tíng xuān bù yú lián fàn liǎo xù móu shā rén zuì， pàn chù sǐ xíng。 ruì nà fū rén bù gù yī qiē qián qù tàn jiān。
yú lián zhè cái zhī dào， tā gěi hóu jué de nà fēng xìn， shì yóu tīng tā chàn huǐ de jiào shì qǐ cǎo bìng qiǎngpò tā xiě de。 yú lián hé ruì nà fū rén bǐ cǐ ráo shù liǎo， tā jù jué shàng sù， yě jù jué zuò lín zhōng dǎo gào， yǐ shì duì fēng jiàn guì zú jiē jí zhuān zhì de kàng yì。
zài yī gè qíng hé de rì zǐ lǐ， yú lián zǒu shàng liǎo duàn tóu tái。 mǎ tè 'ér mǎi xià liǎo tā de tóu lú， àn zhào tā jìng yǎng de mǎ jiā ruì tè huáng hòu de fāng shì， qīn zì mái zàng liǎo zì jǐ qíng rén de tóu lú。 zhì yú ruì nà fū rén， zài yú lián sǐ hòu de dì sān tiān， bào wěn zhe tā de 'ér zǐ， yě lí kāi liǎo rén jiān。
《 hóng yǔ hēi》 - zuò pǐn shǎng xī
《 hóng yǔ hēi》 shì 19 shì jì 'ōu zhōu pī pàn xiàn shí zhù yì de diàn jī zuò pǐn。 xiǎo shuō wéi rào zhù rén gōng yú lián gè rén fèn dǒu de jīng lì yǔ zuì zhōng shī bài， yóu qí shì tā de liǎng cì 'ài qíng de miáo xiě， guǎng fàn dì zhǎn xiàn liǎo“ 19 shì jì chū 30 nián jiān yā zài fǎ guó rén mín tóu shàng de lì jiè zhèng fǔ suǒ dài lái de shè huì fēng qì”， qiáng liè dì pēng jī liǎo fù bì wáng cháo shí qī guì zú de fǎn dòng， jiào huì de hēi 'àn hé zī chǎn jiē jí xīn guì de bēi bǐ yōng sú， lì yù xūn xīn。 yīn cǐ xiǎo shuō suī yǐ yú lián de 'ài qíng shēng huó zuò wéi zhù xiàn， dàn bì jìng bù shì 'ài qíng xiǎo shuō， ér shì yī bù“ zhèng zhì xiǎo shuō”。
sī tānɡ dá shì shàn yú cóng 'ài qíng zhōng fǎn yìng zhòng dà shè huì wèn tí de wén xué dà shī。 yú lián de liǎng cì 'ài qíng dū yǔ shí dài fēng yún jǐn mì xiāng lián， zhè shì dāng shí jiē jí juézhú de yī zhǒng biǎo xiàn xíng shì， tā duì dé · léi nà 'ěr fū rén hòu lái díquè yě chǎn shēng liǎo zhēn zhèng de gǎn qíng， dàn kāi shǐ shì chū yú xiǎo shì mín duì quán guì de bào fù xīn lǐ。 yīn cǐ， yú lián dì yī cì zhàn yòu dé · léi nà 'ěr fū rén de shǒu de shí hòu， tā gǎn dào de bìng bù shì 'ài qíng de xìng fú， ér shì ná pò lún shì de yě xīn de shèng lì， shì“ kuáng huān” hé“ xǐ yuè”， shì bào fù xīn lǐ de mǎn zú。
《 hóng yǔ hēi》《 hóng yǔ hēi》
rú guǒ shuō yú lián duì dé · léi nà 'ěr fū rén de zhuī qiú hái yòu mǒu xiē zhēn zhì qíng gǎn de huà， nà me yú lián duì mǎ dì 'ěr dé xiǎo jiě de 'ài qíng zé chún shǔ zhèng zhì shàng de juézhú， mǎ dì 'ěr dé jì yòu guì zú shàonǚ de 'ào màn、 rèn xìng de qì zhì， yòu shòu dào fǎ guó dà gé mìng de shēn kè yǐng xiǎng。 tā rèn wéi， rú guǒ zài yòu yī cì dà gé mìng， zhù zǎi shè huì de bì dìng shì xiàng yú lián zhè yàng fù yú zhāoqì de píng mín qīng nián。 tóng yú lián jié chéng kàng lì， jì fù yú làng màn qì xī， yòu zhǎo dào liǎo yòu lì de kào shān。 ér yú lián zé rèn wéi yǔ mǎ dì 'ěr dé xiǎo jiě jié hūn kě yǐ pá shàng gāo wèi， qīng yún zhí shàng， yīn cǐ bù xī qù piàn qǔ tā de 'ài qíng。
dàn shì， yú lián de liǎng cì 'ài qíng zuì zhōng hái shì shī bài liǎo。 zhè shì yīn wéi zài fù bì shí qī， fēng jiàn shì lì xiàng shì mín jiē céng chāng kuáng fǎn pū。 yú lián bù shì tǒng zhì jiē jí juàn zǐ lǐ de rén， nà gè jiē jí jué bù huì róng rěn yú lián nà yàng de rén shí xiàn qí hóng yuàn。
《 hóng yǔ hēi》 zài diǎn xíng huán jìng diǎn xíng xìng gé de sù zào、 yúnchèn de yì shù jié gòu hé bái miáo shǒu fǎ de yùn yòng shàng dōuyòu tū chū de chéng jiù， ér sī tānɡ dá suǒ yǐ bèi píng lùn jiā chēng wéi“ xiàn dài xiǎo shuō zhī fù” zé shì yīn wéi tā zài《 hóng yǔ hēi》 zhōng biǎo xiàn liǎo zhuó yuè de xīn lǐ miáo xiě tiān cái。 xiàn shí zhù yì zuò jiādōu qiáng diào xì jié de zhēn shí， dàn sī tānɡ dá yǔ bā 'ěr zhā kè bù yī yàng， tā zhuózhòng kè huà de bù shì kè guān huán jìng， ér shì rén wù nèi xīn huó dòng de xì zhì hé bī zhēn， zuò zhě cháng cháng sān yán liǎng yǔ jiù bǎ rén wù xíng dòng、 zhōu wéi huán jìng jiāo dài guò qù， ér duì qí nèi xīn de huó dòng zé yáng yáng sǎ sǎ， bù xī bǐ mò， ài qíng xīn lǐ miáo xiě gèng shì sī sī rù kòu， dòng rén xīn xián。 zuò zhě zài yú lián dé zhī dé · léi nà 'ěr fū rén xiě jiē fā xìn dào qiāng shā tā zhè duàn qíng jié shàng jǐn yòng liǎo sān yè， ér yǔ mǎ dì 'ěr dé de 'ài qíng què huā liǎo shàng bǎi yè de piān fú xì zhì miáo xiě。 dé · léi nà 'ěr fū rén duò rù qíng wǎng shí de nà zhǒng xǐ yuè、 tòng kǔ、 chàn huǐ 'ér yòu bù gān fàng qì xìng fú de fù zá xīn lǐ de zhǎn xiàn， yě lìng rén pāi 'àn jiào jué。
《 hóng yǔ hēi》 - shū píng
hóng yǔ hēi zhè bù xiǎo shuō de gù shì jù xī shì cǎi zì 1828 nián 2 yuè 29 rì《 fǎ yuàn xīn wén》 suǒ dēngzǎi yī gè sǐ xíng 'àn jiàn。 zài ná pò lún dì guó shí dài， hóng yǔ hēi dài biǎo zhe“ jūn duì” yǔ“ jiào huì”， shì yòu yě xīn de fǎ guó qīng nián fā zhǎn de liǎng gè guǎn dào（ yī shuō shì lún pán shàng de hóng sè yǔ hēi sè）。
《 hóng yǔ hēi》 shì 19 shì jì 'ōu zhōu pī pàn xiàn shí zhù yì de diàn jī zuò pǐn。 xiǎo shuō wéi rào zhù rén gōng yú lián gè rén fèn dǒu de jīng lì yǔ zuì zhōng shī bài， yóu qí shì tā de liǎng cì 'ài qíng de miáo xiě， guǎng fàn dì zhǎn xiàn liǎo“ 19 shì jì chū 30 nián jiān yā zài fǎ guó rén mín tóu shàng de lì jiè zhèng fǔ suǒ dài lái de shè huì fēng qì”， qiáng liè dì pēng jī liǎo fù bì wáng cháo shí qī guì zú de fǎn dòng， jiào huì de hēi 'àn hé zī chǎn jiē jí xīn guì de bēi bǐ yōng sú， lì yù xūn xīn。 yīn cǐ xiǎo shuō suī yǐ yú lián de 'ài qíng shēng huó zuò wéi zhù xiàn， dàn bì jìng bù shì 'ài qíng xiǎo shuō， ér shì yī bù“ zhèng zhì xiǎo shuō”。
sī tānɡ dá shì shàn yú cóng 'ài qíng zhōng fǎn yìng zhòng dà shè huì wèn tí de wén xué dà shī。 yú lián de liǎng cì 'ài qíng dū yǔ shí dài fēng yún jǐn mì xiāng lián， zhè shì dāng shí jiē jí juézhú de yī zhǒng biǎo xiàn xíng shì， tā duì dé · léi nà 'ěr fū rén hòu lái díquè yě chǎn shēng liǎo zhēn zhèng de gǎn qíng， dàn kāi shǐ shì chū yú xiǎo shì mín duì quán guì de bào fù xīn lǐ。 yīn cǐ， yú lián dì yī cì zhàn yòu dé · léi nà 'ěr fū rén de shǒu de shí hòu， tā gǎn dào de bìng bù shì 'ài qíng de xìng fú， ér shì ná pò lún shì de yě xīn de shèng lì， shì“ kuáng huān” hé“ xǐ yuè”， shì bào fù xīn lǐ de mǎn zú。
rú guǒ shuō yú lián duì dé · léi nà 'ěr fū rén de zhuī qiú hái yòu mǒu xiē zhēn zhì qíng gǎn de huà， nà me yú lián duì mǎ dì 'ěr dé xiǎo jiě de 'ài qíng zé chún shǔ zhèng zhì shàng de juézhú， mǎ dì 'ěr dé jì yòu guì zú shàonǚ de 'ào màn、 rèn xìng de qì zhì， yòu shòu dào fǎ guó dà gé mìng de shēn kè yǐng xiǎng。 tā rèn wéi， rú guǒ zài yòu yī cì dà gé mìng， zhù zǎi shè huì de bì dìng shì xiàng yú lián zhè yàng fù yú zhāoqì de píng mín qīng nián。 tóng yú lián jié chéng kàng lì， jì fù yú làng màn qì xī， yòu zhǎo dào liǎo yòu lì de kào shān。 ér yú lián zé rèn wéi yǔ mǎ dì 'ěr dé xiǎo jiě jié hūn kě yǐ pá shàng gāo wèi， qīng yún zhí shàng， yīn cǐ bù xī qù piàn qǔ tā de 'ài qíng。
dàn shì， yú lián de liǎng cì 'ài qíng zuì zhōng hái shì shī bài liǎo。 zhè shì yīn wéi zài fù bì shí qī， fēng jiàn shì lì xiàng shì mín jiē céng chāng kuáng fǎn pū。 yú lián bù shì tǒng zhì jiē jí juàn zǐ lǐ de rén， nà gè jiē jí jué bù huì róng rěn yú lián nà yàng de rén shí xiàn qí hóng yuàn。
《 hóng yǔ hēi》 zài diǎn xíng huán jìng diǎn xíng xìng gé de sù zào、 yúnchèn de yì shù jié gòu hé bái miáo shǒu fǎ de yùn yòng shàng dōuyòu tū chū de chéng jiù， ér sī tānɡ dá suǒ yǐ bèi píng lùn jiā chēng wéi“ xiàn dài xiǎo shuō zhī fù” zé shì yīn wéi tā zài《 hóng yǔ hēi》 zhōng biǎo xiàn liǎo zhuó yuè de xīn lǐ miáo xiě tiān cái。
《 hóng yǔ hēi》 - lì shǐ yǐng xiǎng
.《 hóng yǔ hēi》
líng hún de zhé xué shī
yú lián shì１９ shì jì 'ōu zhōu wén xué zhōng yī xì liè fǎn pàn zī běn zhù yì shè huì de yīng xióng rén wù de " shǐ zǔ "
《 hóng yǔ hēi》《 hóng yǔ hēi》
fǎ guó pī pàn xiàn shí zhù yì wén xué de diàn jī zhī zuò _
１９ shì jì zhuó yuè de zhèng zhì xiǎo shuō
xiàn dài xiǎo shuō zhī fù de jīng diǎn zhù zuò
１９ shì jì 'ōu zhōu wén xué shǐ zhōng dì yī bù pī pàn xiàn shí zhù yì jié zuò
měi guó zuò jiā hǎi míng wēi kāi liè de bì dú shū
bèi yīng guó xiǎo shuō jiā máo mǔ rèn wéi shì zhēn zhèng de jié zuò de wén xué shū
１９８６ nián fǎ guó《 dú shū》 zá zhì tuī jiàn de lǐ xiǎng cáng shū ?
《 hóng yǔ hēi》 shì fǎ guó xiàn shí zhù yì zuò jiā sī tānɡ dá de dài biǎo zuò， zì１８３０ nián wèn shì yǐ lái， yíng dé liǎo shì jiè gè guó yī dài yòu yī dài dú zhě de xīn， tè bié wéi nián qīng rén suǒ xǐ 'ài。 zuò pǐn suǒ sù zào de " shàonián yě xīn jiā " yú lián shì yī gè jù yòu gāo dù diǎn xíng yì yì de rén wù xíng xiàng， yǐ chéng wéi gè rén fèn dǒu de yě xīn jiā de dài míng cí。
xiǎo shuō fā biǎo hòu， dāng shí de shè huì liú chuán " bù dú《 hóng yǔ hēi》， jiù wú fǎ zài zhèng jiè hùn " de yàn yǔ， ér běn shū zé bèi xǔ duō guó jiā liè wéi jìn shū。《 hóng yǔ hēi》 zài xīn lǐ shēn dù de wā jué shàng yuǎn yuǎn chāo chū liǎo tóng shí dài zuò jiā suǒ néng jí de céng cì。 tā kāi chuàng liǎo hòu shì " yì shí liú xiǎo shuō "、 " xīn lǐ xiǎo shuō " de xiān hé。 hòu lái zhě jìng xiāng fǎng xiào zhè zhǒng " sī tānɡ dá wén tǐ "， shǐ xiǎo shuō chuàng zuò " xiàng nèi zhuǎn "， fā zhǎn dào zhòng xīn lǐ kè huà、 zhòng qíng xù shū fā de xiàn dài xíng tài。 rén men yīn cǐ chēng sī tānɡ dá wéi " xiàn dài xiǎo shuō zhī fù "。《 hóng yǔ hēi》 zài jīn tiān réng bèi gōng rèn wéi 'ōu zhōu wén xué huáng guān shàng yī méi zuì wéi cuǐ càn jīng zhì de yì shù bǎo shí， shì wén xué shǐ shàng miáo xiě zhèng zhì hēi 'àn zuì jīng diǎn de zhù zuò zhī yī，１００ duō nián lái， bèi yì chéng duō zhǒng wén zì guǎng wéi liú chuán， bìng bèi duō cì gǎi biān wéi xì jù、 diàn yǐng。
sī tānɡ dá de《 hóng yǔ hēi》 yǐ xiǎn shì liǎo２０ shì jì xiǎo shuō de fāng xiàng， jìn rù zhè běn shū zhōng， wǒ men jiù huì gǎn shòu dào zhǐ yòu dì yī liú de xīn lǐ xiǎo shuō jiā cái néng jǐyǔ de zhèn hàn， yīn wéi tā dài gěi wǒ men de shì gèng fù zhēn shí gǎn de jīng shén nèi hán。
-- měi guó jiào shòu fèi dí màn
《 hóng yǔ hēi》 shì wǒ píng shēng zuì shòu yì de shū jí。
-- fǎ guó jié chū xiǎo shuō jiā jì dé
sī tānɡ dá de《 hóng yǔ hēi》 zhōng de yú lián shì１９ shì jì 'ōu zhōu wén xué zhōng yī xì liè fǎn pàn zī běn shè huì zhù yì de yīng xióng rén wù de " shǐ zǔ "。
-- gāo 'ěr jī
《 hóng yǔ hēi》 zài xīn lǐ shēn dù de wā jué shàng yuǎn yuǎn chāo chū liǎo tóng shí dài zuò jiā suǒ néng jí de céng cì。 xiǎo shuō yǐ shēn kè xì nì de bǐ diào chōng fēn zhǎn shì liǎo zhù rén gōng de xīn líng kōng jiān， guǎng fàn yùn yòng liǎo dú bái hé zì yóu lián xiǎng děng duō zhǒng yì shù shǒu fǎ wā jué chū liǎo yú lián shēn céng yì shí de huó dòng， bìng kāi chuàng liǎo hòu shì " yì shí liú xiǎo shuō "、 " xīn lǐ xiǎo shuō " de xiān hé， shì yī shǒu " líng hún de zhé xué shī "。
--《 wài guó wén xué shǐ》
《 hóng yǔ hēi》 zài wén xué shǐ shàng yǐng xiǎng shēn yuǎn， fǎ guó yòu zhuān mén yán jiū sī tānɡ dá hé《 hóng yǔ hēi》 de xué wèn --" sī tānɡ dá xué " hé " hóng xué "， hái yòu zhuān mén yán jiū gāi shū de " sī tānɡ dá jù lè bù "。
--《 fǎ guó wén xué shǐ》
yí lǜ hé máo dùn zhōng de yú lián
wú yí，《 hóng yǔ hēi》 shì yī bù chōng mǎn zhe mèi lì de zuò pǐn。 xī fāng guān yú yán jiū sī tānɡ dá de zuò pǐn shù liàng zú yǐ yǔ zhōng guó yán jiū《 hóng lóu mèng》 de " hóng xué " děng liàng qí guān。 díquè， zuò wéi fǎ guó pī pàn xiàn shí zhù yì wén xué de diàn jī zhī zuò，《 hóng yǔ hēi》 zhōng duì yú１９ shì jì shàng bàn qī fǎ guó fēng qǐ yún yǒng de gè fāng dǒu zhēng hé máo dùn dū zhǎn xiàn dé pō wéi shēn yuǎn， guì zú、 dà xiǎo zī chǎn jiē jí、 jiào huì rén shì yī gè gè de fěn mò dēng chǎng， qián fú zài biǎo xiàng xià de shí lì de jiāo zhàn kè huà liǎo dāng shí zhěng gè shè huì de fǔ xiǔ hé xū wěi。 ér zài wǒ kàn lái，《 hóng yǔ hēi》 zhī suǒ yǐ rú cǐ jīng jiǔ bù shuāi， dū jué bù jǐn jǐn zài yú gāi zuò pǐn suǒ tǐ xiàn chū de zhèng zhì hé shè huì yì yì。 jì dé lán dì zhī lǎo shī céng jīng shuō guò， yī bù xiàn shí zhù yì zuò pǐn dà dà bù tóng yú jì lù shè huì de gāo jí wén jiàn， wén xué de yì yì yě jué bù jǐn zài yú jì lù， wǒ xiǎng， shì《 hóng yǔ hēi》 zhōng zhù rén gōng yú lián chōng mǎn zhe wú xiàn máo dùn yǔ fǎn chā de gè zhǒng sī xiǎng hé xíng wéi， gèng zú yǐ ràng měi wèi dú zhě kàn dé mù dèng kǒu dāi què yòu rú chī rú zuì， zú yǐ ràng měi yī wèi yán jiū zhě fēn xī chéng qiān cì shàng wàn cì。
wǒ men suí biàn cóng zhōng tiǎo yī duàn lái dú， biàn hěn róng yì kàn chū yú lián de jí duān xì nì hé mǐn gǎn。 zài shì cháng jiā zuò jiā tíng jiào shī shí， yú lián yǐ jīng tōng guò chū sè dì bèi sòng lā dīng wén《 shèng yuē》 yíng dé liǎo dé · ruì nà yī jiā shàng xià guā mù xiāng kàn， gèng píng zhe tā qīng xiù de cháng xiāng、 shàonián de zì zūn dǎ dòng liǎo dé · ruì nà fū rén de fāng xīn。 ér yú lián què chū yú yī zhǒng qí guài de zì zūn hé yī dìng yào zhèng míng diǎn shénme de xīn lǐ， wàng zhe tā， fǎng fó tā shì gè chóu dí， tā zhèng yào shàng qián hé tā jué dǒu jiāo fēng……
jiù shì zhè yàng， zhè gè guài yì de yú lián láo láo zhuā zhù liǎo dú zhě men de xīn。 yú lián de mǐn gǎn hé xì nì、 juéjiàng shì tiān shēng de， tā hái yōng yòu zhe chāo qún de jì yì lì， ér tā de gāo 'ào hé zì zūn、 chóng bài quán shì zé shì hòu tiān huán jìng de fù yú。 yú lián què shí shì shí fēn zì wǒ de， zài tā de xīn mù zhōng， zūn yán bèi tí dào liǎo yī gè zhì gāo wú shàng de dì wèi， tā kě yǐ fàng qì qīng 'ér yì jǔ jiù néng dào shǒu de qián cái， yīn wéi tā xū yào de shì bié rén de zūn zhòng。 dàn tā duì yú " zì zūn " de lǐ xiǎng hé zhuī qiú yòu zuì zhōng bǎ tā yǐn xiàng liǎo qí tú。
yú lián suī rán yòu zhe mín zhù de sī xiǎng hé yīng xióng zhù yì de rè qíng， dàn dāng tā dé dào liǎo lā mò 'ěr gōng jué de shǎng shí shí， tā què zhú bù dì xiàng guì zú shì lì tuǒ xié liǎo， zhè shí de yú lián fǎng fó zhǐ zhī dào wéi lā mò 'ěr gōng jué de yīcháng zhèng zhì yīn móu zǒu zú bào xìn。 zài tā de gè rén fèn dǒu lì chéng zhōng， tā jīng lì zhe yī cì cì de fǎn kàng hé tuǒ xié。 tā shì jī zhì cōng míng de， rán 'ér zài hěn duō fāng miàn， wǒ men zhǐ néng shuō tā shì tiān zhēn 'ér wú zhī de， bǐ qǐ zhěng gè shè huì zhōng jīng xīn zuānyíng de rén men lái， tā shì wú lì de， yě shì wú zhù de。
zuǒ lā zài《 lùn sī tānɡ dá》 zhōng shì zhè yàng xiě de： " tā（ sī tānɡ dá） tíng liú zài yī zhǒng chōu xiàng de yì yuàn lǐ， tā yào rén zhè zhǒng shēng wù bù bāo kuò zài zì rán lǐ， ér shì kào zài yī biān zhàn zhe， rán hòu xuān gào zhǐ yòu xīn líng shì gāo guì de "。 zuǒ lā jué dé yú lián shì " wán quán zhuāng pèi hǎo de zhì huì hé qíng gǎn de jī qì "， " chún cuì zài sī biàn zhōng chǎn shēng de chuàng zào wù "， tā " zhuān zài tuī lǐ shàng xià gōng fū "， zhù zhāng zì rán zhù yì de zuǒ lā rèn wéi sī tānɡ dá zài chuàng zuò zhōng dài yòu guān niàn xué zhě hé luó ji xué zhě de shēn fèn， yú lián sì hū zhǐ shì yǒng yuǎn zài xīn lǐ huó dòng， wài jiè de shì wù， nǎ guǎn tā chūn xià yǔ qiū dōng， néng duì yú lián chǎn shēng zhèn dòng de yǒng yuǎn dū zhǐ shì tā de xiǎng xiàng zhōng bié rén duì tā de qīng miè yǔ zūn zhòng。 zhè bù yě zhèng shuō míng liǎo zuò zhě duì yú lián xīn lǐ shàng rù mù sān fēn de kè huà má？
《 hóng yǔ hēi》 zhōng yú lián de xīn lǐ zài yí lǜ hé máo dùn zhōng zhēngzhá， duì yú rén wù de sī suǒ shì yī gè jí dà de bǎo kù， cǎi zhī bù jié， mèi lì wú qióng！
《 hóng yǔ hēi》 - rén wù fēn xī
héng héng héng《 hóng yǔ hēi》 zhōng yú lián rén wù xíng xiàng fēn xī
《 hóng yǔ hēi》《 hóng yǔ hēi》
yú lián shì shì jiè míng zhù《 hóng yǔ hēi》 zhōng de zhù rén gōng。 duì qí xíng xiàng fēn xī , zài wén xué lǐ lùn jiè yòu zhǒng zhǒng píng shuō , kě wèi zhòng shuō fēn yún , mò zhōng yī shì。 yòu rén rèn
wéi , tā xū wěi、 yīn xiǎn , cǎi zhe nǚ rén de jiān bǎng xiàng shàng pá , shì yī gè dì dì dào dào de yīn móu jiā、 yě xīn jiā。 yě yòu rén rèn wéi tā shì dāng shí fǎn duì fēng jiàn quán guì de yǒng shì , zī chǎn jiē jí gè rén fèn dǒu de diǎn xíng dài biǎo。 gèng yòu rén rèn wéi tā shì ná pò lún shí dài de bēi jù yīng xióng。
《 hóng yǔ hēi》 shì fǎ guó 19 shì jì jié chū de pī pàn xiàn shí zhù yì zuò jiā sī tānɡ dá (1783-1842) de dài biǎo zuò。 qí fù tí shì“ yī bā sān nián jì shì”。 zài zhè bù xiǎo shuō zhōng , zuò zhě yǐ fǎ guó bō bàng wáng cháo fù bì shí dài wéi bèi jǐng , yǐ píng mín zhī shí fènzǐ yú lián · suǒ hēi 'ěr yǔ guì zú zī chǎn jiē jí shàng céng shè huì wán qiáng qū zhé de dǒu zhēng wéi zhù xiàn , zhuózhòng miáo xiě liǎo tā cóng 18 suì dào dé · ruì nà shì cháng jiā dāng jiā tíng jiào shī kāi shǐ , dào 23 suì yīn qiāng shāng shì cháng fū rén 'ér bèi sòng shàng duàn tóu tái wéi zhǐ duǎn duǎn 5 nián jiān de shēng huó lì chéng。
yú lián chū shēng zài xiǎo chéng wéi lì yè 'ěr jiāo qū de yī gè jù mù chǎng jiā tíng。 tā yòu shí shēn cái shòu ruò , zài jiā zhōng bèi kàn chéng shì“ bù huì zhèng qián” de“ bù zhōng yòng” de rén , cháng zāo fù xiōng dǎ mà hé xī luò。 bēi jiàn de chū shēn yòu shǐ tā cháng cháng shòu dào shè huì de qí shì。 shàonián shí qī de yú lián cōng míng hàoxué , yì zhì jiān qiáng , jīng lì chōng pèi。 tā jiē shòu liǎo qǐ méng sī xiǎng jiā de zì yóu píng děng guān niàn hé wú shén lùn sī xiǎng , bìng zài yī wèi ná pò lún shí dài lǎo jūn yī de yǐng xiǎng xià , chóng bài ná pò lún , huàn xiǎng zhe tōng guò“ rù jūn jiè、 chuān jūn zhuāng、 zǒu yī tiáo‘ hóng’ de dào lù” lái jiàn gōng lì yè、 fēi huáng téng dá。 rán 'ér , zài tā 14 suì nà nián , bō bàng wáng cháo fù bì liǎo , píng mín kě yǐ píng bù qīng yún de ná pò lún shí dài guò qù liǎo。 yú lián bù dé bù xuǎn zé“ hēi” de dào lù , huàn xiǎng jìn rù xiū dào yuàn , chuān qǐ jiào shì hēi páo , yǐ biàn jiāng lái chéng wéi yī míng“ nián fèng shí wàn fǎ lǎng de dà zhù jiào”。 18 suì shí , yú lián dào wéi lì yè 'ěr shì cháng dé · ruì nà jiā zhōng dān rèn jiā tíng jiào shī , ér shì cháng zhǐ jiāng tā kàn chéng ná gōng qián de nú pú。 zì zūn xīn shòu dào shāng hài de yú lián , biàn yǐ zhuī qiú shì cháng fū rén lái bào fù shì cháng。 tā yǔ shì cháng fū rén de guān xì bào lù hòu , bèi pò jìn rù liǎo bèi shàng sōng shén xué yuàn , tóubèn liǎo yuàn cháng bǐ lā , dāng shàng liǎo shén xué yuàn de jiǎng shī。 hòu yīn jiào huì nèi bù de pài xì dǒu zhēng , bǐ lā yuàn cháng bèi pái jǐ chū shén xué yuàn , yú lián zhǐ dé suí bǐ lā lái bā lí , dāng shàng liǎo jí duān bǎo huáng dǎng lǐng xiù dé · lā · mù 'ěr hóu jué dídí sī rén mì shū。 tā yīn chén jìng、 cōng míng hé shàn yú chǎn mèi , dé dào liǎo mù 'ěr hóu jué de qì zhòng , yǐ yuān bó de xué shí yǔ yōu yǎ de qì zhì , yòu yíng dé liǎo hóu jué nǚ 'ér mǎ tè 'ér xiǎo jiě de 'ài mù。 jìn guǎn bù 'ài mǎ tè 'ér , dàn tā wèile zhuā zhù zhè kuài shí xiàn yě xīn de tiào bǎn , jìng shǐ yòng guǐ jì zhàn yòu liǎo tā。 dé zhī nǚ 'ér yǐ jīng huái yùn hòu , hóu jué bù dé bù tóng yì zhè mén hūn yīn。 yú lián wèicǐ huò dé yī gè qí shì chēng hào、 yī fèn tián chǎn hé yī gè piàoqí bīng zhōng wèi de jūn xián。 cǐ shí de yú lián yòu kāi shǐ zuò qǐ liǎo“ sān shí suì dāng sī lìng” de měi mèng。 tā biàn chéng liǎo yī gè fēng jiàn guì zú jiē
jí de zhōng shí nú pú , zài bǎo huáng dǎng cèhuà de zhèng zhì yīn móu zhōng wéi zhù zǐ xiào lì , mào zhe shēng mìng wēi xiǎn wéi hóu jué chuán dì qíng bào。 zhèng dāng tā chóu chú mǎn zhì shí , guì zú jiē jí yǔ fǎn dòng jiào huì láng bèi wéi jiān , yòu shǐ shì cháng fū rén xiě liǎo jiē fā yú lián de gào mì xìn , zhì shǐ hóu jué qǔ xiāo tā yǔ mǎ tè 'ér de hūn yuē。 yú lián měi mèng pò miè , shèng nù zhī xià qiāng shāng liǎo dé · ruì nà fū rén , bèi pàn chù sǐ xíng。 zài yù zhōng , yú lián zhōng yú míng bái : xiàng tā zhè yàng chū shēn bēi jiàn de rén , zài děng jí sēn yán de fēng jiàn zhì dù zhōng shì bù kě néng tōng guò gè rén fèn dǒu 'ér fēi huáng téng dá de。 tā jù jué shàng sù , tǎn rán zǒu shàng liǎo duàn tóu tái。
yú lián de xìng gé shì fù zá de , bìng suí zhōu wéi huán jìng de biàn huà 'ér bù duàn fā shēng yǎn biàn。 shí dài de biàn qiān , bù kān shòu rǔ de nèi xīn , shòu rén qí shì de shè huì dì wèi yǐ
jí xiàng shàng pá 'ér bù néng rú yuàn de fèn nù , xíng chéng liǎo yú lián zì zūn、 huái yí、 mǐn gǎn hé jī jí fǎn kàng de xìng gé。 tā shí kè láo jì zhe zì jǐ yǔ shàng céng shè huì zhī jiān de dì wèi bù tóng、 jiē jí bù tóng、 guān niàn bù tóng , duì shēng huó chí yǐ huái yí de tài dù , yòng tā nà yì cháng mǐn ruì de mù guāng guān chá zhōu wéi de yī qiē , xún zhǎo qí shì tā、 shāng hài tā de dí rén , sōu suǒ zì jǐ shòu rǔ de zhū sī mǎ jì。 tā bù gān qū fú , bù gān rěn shòu shí dài hé shàng céng shè huì de bō nòng , yòng ná pò lún de yīng xióng zhù yì wǔ zhuāng zì jǐ , wéi wéi hù zì jǐ de gè xìng 'ér fèn qǐ fǎn kàng , shí kè chǔyú lǐn rán bù kě qīn fàn de zhàn dǒu zhuàng tài , yǔ zhěng gè shè huì zuò zhàn。“ zài zhè gè qí yì de nián qīng rén xīn lǐ , chàbù duō shí shí kè kè dōuyòu bào fēng yǔ”。 tā zēng hèn zuò nú pú , yào qiú yǔ shàng liú shè huì de rén píng qǐ píng zuò , yǐ bǎo chí zì jǐ de zūn yán。 dāng fù qīn yào tā qù dé · ruì nà shì cháng jiā dāng jiā tíng jiào shī shí , yī guàn gǎn nù 'ér bù gǎn yán de yú lián què yǐ“ wǒ bù yuàn yì zuò nú pú” biǎo shì jù jué。 lǎo suǒ hēi 'ěr shuō zhè bù shì zuò nú pú , yú lián dāng jí yào jiā yǐ zhèng shí :“ dào tā jiā lǐ , wǒ tóng shuí yī kuài chī fàn ní ?” kě jiàn yú lián bǎ zhè gè wèn tí kàn dé hěn zhòng。 rán 'ér , zhèng shì zhè zhǒng zì zūn xīn lǐ shǐ tā yíng dé liǎo zūn jìng、 yǒu yì hé 'ài qíng。 ér dāng tā zuì chū chū xiàn zài shì cháng dà rén fǔ dǐ de dà mén shí , xiǎn rán hái shì gè zhì pǔ yòu zhì、 tiān liáng wèi mǐn de nián qīng xiāng xià rén。 yě jiù zài zhè lǐ , tā mù dǔ zhǒng zhǒng shè huì pín fù bù jūn xiàn xiàng 'ér shí fēn qì fèn , dàn gèng wéi zì jǐ jì rén lí xià de qū rǔ dì wèi 'ér tòng xī bù yǐ , yú shì jiù duì shì cháng jí qí yī jiā rén chǎn shēng liǎo běn néng de qīng miè hé zēng 'è zhī gǎn。 suī rán tā yuān bó de zhī shí hé jīng rén de jì yì lì yíng dé liǎo shì cháng yī jiā de hǎo gǎn , dàn tā zài zhè lǐ gǎn shòu dào de“ jǐn jǐn shì tā duì yǐ jīng chā shēn jìn lái de shàng liú shè huì de chóu hèn hé kǒng jù”。
yú lián jiāo jīn zì chí , zì shì shèn gāo , zhè zhǒng zì zūn xīn lǐ yī dàn miàn lín 'è yán liè yǔ、 bà dàohéng jìng de xí jī , jiù shǐ qí yǐn cáng zhe de chóu hèn xīn lǐ bào fā chū lái bìng dà
dǎn fǎn jī。 jí shǐ zài 'ài qíng zhè yàng de rén lèi zuì xì wēi de gǎn qíng fāng miàn , yú lián gǎn dào de wǎng wǎng bù shì xìng fú , ér shì zì zūn xīn mǎn zú hòu de xǐ yuè hé jiāo 'ào , bìng bǎ zhè zhǒng shèng lì kàn zuò shì ná pò lún shì de shèng lì。 zài wǒ men kàn lái , zhè sì hū bù kě sī yì , què qià qià tǐ xiàn chū yú lián shì yǐ quán bù jīng lì lái fǎn kàng shàng céng shè huì de。
zài dé · ruì nà shì cháng jiā , yú lián shì wéi liǎo bào fù shì zhǎngdà rén duì zì jǐ de qīng miè , fěn suì tā de jiāo 'ào xīn lǐ , ér dài zhe zhàn dǒu de qíng xù zǒu jìn shì cháng fū rén de
fáng jiān de。 jí shǐ zài yǔ dé · ruì nà fū rén jìn xíng rè liàn shí , yú lián de zhè zhǒng chóu hèn xīn lǐ hé fǎn kàng yě cóng wèi tíng zhǐ guò。 tā shǐ zhōng bǎ 'ài qíng kàn chéng shì tā duì guì zú jiē jí de bào fù hé zhēng qǔ zì yóu píng děng de yuàn wàng。 zhè yī diǎn , yě zài yú lián hé mǎ tè 'ér hóu jué xiǎo jiě de jiāo wǎng zhōng dé dào liǎo chōng fēn tǐ xiàn。 tā gǎn yú qīng shì 'ào màn de mǎ tè 'ér xiǎo jiě , bìng céng zhè yàng xiǎng :“ wǒ zhī dào bǎo chí wǒ de zì zūn xīn , wǒ méi yòu xiàng tā shuō wǒ 'ài tā。” dāng tā shōu dào mǎ tè 'ér xiǎo jiě de 'ài qíng gào bái xìn shí , shǒu xiān xiǎng dào de shì tā zhōng yú zhàn shèng liǎo qíng dí kē xī lè hóu jué , kě yǐ píng děng dì yǔ mù 'ěr hóu jué zuò zài tóng yī tiáo dèng zǐ shàng。 tā lì kè zì háo dì dé chū jié lùn :“ hóu jué hé wǒ de jià zhí , yǐ jīng guò qù liǎo , jiēguǒ shì rǔ lā shān de qióng mù jiàng zhàn jù liǎo zhòng yào de yī miàn。” zhè nǎ lǐ shì shénme tán qíng shuō 'ài , jiǎn zhí jiù shì yīcháng dǒu zhēng , ér dǒu zhēng de mù biāo biàn shì guì zú jiē jí de róng yù hé dì wèi。 zhèng rú yú lián zì jǐ suǒ shuō de nà yàng :“ zài zhè chǎng shàng zài zhǔn bèi de zhàn dǒu lǐ , shēn shì de jiāo 'ào , xiàng yī zuò gāo shān , shì tā hé wǒ dāng zhōng de jūn shì zhèn dì , zhè gāo shān , biàn shì wǒ jìn gōng de mù biāo。” yóu cǐ kàn lái , yú lián bìng bù jǐn jǐn bǎ tā men zuò wéi nǚ rén qù“ zhàn yòu” , ér shì dāng zuò yī gè jiē jí qù“ zhēng fú” de。 tā zhàn yòu tā men bù zài yú ròu gǎn , ér zài yú mǎn zú tā nà píng mín de、 yào qiú zūn yán de líng hún。 zhè zài yī dìng chéng dù shàng fǎn yìng liǎo dāng shí fǎ guó cán kù de jiē jí dǒu zhēng xiàn shí , yě fǎn yìng liǎo yú lián zài 'ài qíng fāng miàn de fǎn kàng jīng shén。
yú lián de xióng xīn zhuàng zhì zhōng bù kě bì miǎn dì hán yòu chū yú gè rén yě xīn de chéngfèn。 zài wéi lì yè 'ěr shì , zhè zhǒng yě xīn wǎng wǎng bèi fǎn kàng、 bào fù hé wéi hù gè rén zūn
yán de sī xiǎng suǒ chōng dàn ; zài bèi shàng sōng shén xué yuàn , tā wéi wěi zhuāng zì jǐ 'ér kè kǔ xué xí , bó dé yuàn cháng hé dà zhù jiào de huān xīn , zì xìn bù jiǔ jiù néng dāng shàng zhù jiào , yě xīn
méng fā , zài wěi shàn de dào lù shàng mài shàng yī dà bù。 ér zài bā lí , zì dān rèn mù 'ěr hóu jué de sī rén mì shū yǐ lái , tā dì wèi zhòu biàn , huán jìng jù biàn , zài dū shì fēng qì yán zhòng fǔ shí xià , xū róng xīn 'è xìng péng zhàng , gè rén de xióng xīn zhuàng zhì kāi shǐ xiàng gè rén yě xīn zhú bù zhuǎn huà。
jìn rù bā lí shí , yú lián de xīn qíng shì máo dùn fù zá de。 yī fāng miàn , tā zēng hèn bā lí de yī qiē , rèn wéi“ bā lí shì yīn móu wěi shàn de zhōng xīn” ; lìng yī fāng miàn , tā yòu
yīn“ zhōng yú yào zài wěi dà de shì yè de wǔ tái shàng xiǎn lù shēn shǒu” ér gāo xīng。 zài tā de nèi xīn shēn chù jīng lì liǎo yīcháng yòu yīcháng zhēn chéng yǔ xū wěi、 zì zūn yǔ xū róng de jī liè bó dǒu zhī hòu , tā bǐ shì shàng céng shè huì de wán kù zǐ dì , què yòu xīn shǎng tā men de“ wén yǎ yòu lǐ” , zhú jiàn táo zuì zài shàng liú shè huì de měi nǚ、 yīn lè hé xiān huā zhī zhōng。 tā shí fēn chóu shì hóu jué qiǎo qǔ háo duó、 dà fā hèngcái de xíng jìng , dàn dāng lǐng wù dào hóu jué yòu yì shí bǎ zì jǐ zāi péi chéng“ yī gè shàng liú shè huì de rén” shí , què yòu gān xīn wéi hóu jué xiào lì。 zài wéi lì yè 'ěr , yú lián cóng wèi céng xiǎng guò“ zěn yàng qù fèng chéng rén , zěn yàng qù tì rén jiā shuō huà” , dào bā lí hòu , tā què zài yě xīn de qū shǐ xià , wèile tì jí duān wú chǐ de“ lǎo chǔn cái” móu qǔ měichāi , jìng lì yòng zhí quán zhī biàn jǐ zǒu liǎo zhèng zhí de gé sī xiān shēng。 shì hòu , tā liáng xīn fù xiàn , duì zì jǐ de 'è xíng jīng tàn bù yǐ。 dàn suí jī yòu wéi zì jǐ biàn jiě dào :“ rú guǒ wǒ xiǎng chéng gōng de huà , wǒ hái yào zuò xǔ duō bù gōng dào de shì qíng。” rán 'ér , jí shǐ zài duò luò de guò chéng zhōng , yú lián yǐ rán zài mǒu zhǒng chéng dù shàng bǎo chí liǎo píng mín de zì zūn , gè rén fǎn kàng wèi jìn mǐn miè。 tā zài hóu jué miàn qián de cóng bù bēi gōng qū xī , yǐ jí zài hóu jué de zé mà shāng hài liǎo tā de zūn yán shí de 'ào rán lí qù , shǐ dé lǎo jiān jù huá de hóu jué shēn gǎn zhè gè píng mín qīng nián de“ xìng gé de gēn běn chù yòu kě pà de dì fāng”。 tā de zhè zhǒng zì zūn shì“ pín mín gǔ qì” de yī zhǒng biǎo xiàn , rèn hé qíng kuàng xià lǐn rán bù kě qīn fàn。 zhèng rú bǐ lā shén fǔ hé mǎ tè 'ér xiǎo jiě suǒ shuō , yú
lián suī chū shēn dī wēi , dàn yì qì gāo 'ào , xīn zhōng rán shāo shén shèng de huǒ yàn。 tā zuì bù néng róng rěn“ bié rén de qīng shì”。 zì zūn , shì tā gè rén fèn dǒu zhōng yòng yǐ zì wèi de wéi yī wǔ qì。
cóng yú lián de zhěng gè fèn dǒu guò chéng lái kàn , tā wéi shí xiàn zì jǐ de huàn xiǎng , kào de shì zì jǐ chū zhòng de cái néng hé wán qiáng fèn dǒu , ér bù shì tā rén de shīshě。 duì tā lái
jiǎng , zuì zhòng yào de shì gè rén de róng yù hé zūn yán。 tā suǒ zhuī qiú de shì kào zì jǐ de lì liàng yíng dé de。 tā céng xiān hòu jù jué shì cháng fū rén、 mù 'ěr hóu jué de qián cái , kào zhe tā de gāo 'ào hé cái néng , zhēng fú liǎo shì cháng fū rén hé hóu jué nǚ 'ér。 zài mǐ liè nuò de háo huá de kè tīng lǐ , tā céng xiǎng rú guǒ bǎ zhè lǐ jié lái de cái chǎn fēn yī bàn gěi tā , tā yě bù huì yào。 yǔ dé · ruì nà fū rén fēn bié shí , zhè wèi fū rén yào jiāng shù qiān fǎ láng sòng gěi tā , tā fèn nù dì jù jué liǎo。 tā duì dé · ruì nà fū rén shuō :“ nǐ shì fǒu yuàn yì shǐ wǒ men de 'ài qíng biàn wéi kě zēng de huí yì ?” tā bù xū lián mǐn , yě bù róng diàn wū 'ài qíng , ér xī wàng xiàng ná pò lún nà yàng kào gè rén de lì liàng hé fèn dǒu lái qǔ dé gōng míng。 tā zhēng de shì gǔ qì 'ér fēi xū róng。 zhèng shì wèile xióng xīn hé gǔ qì , tā cái gěi zì jǐ guī dìng liǎo fǎn kàng shàng céng shè huì de zé rèn。 dàn shì , wǒ men bì xū chéng rèn yú lián de fèn dǒu hé kàng zhēng“ shì chú liǎo gè rén zūn yán hé chū lù 'ér bié wú tā xiǎng de gè rén yīng xióng zhù yì” , suǒ yǐ , wǒ men bù néng shuō tā shì gè yě xīn jiā。 zài zuò zhě bǐ xià , tā de“ yě xīn” , zhǐ bù guò shì yī gè xiǎo rén wù gǎn yú zài fù bì shí dài duì xiàn shí biǎo shì bù mǎn hé fǎn kàng , gǎn yú zài cái zhì、 yǒng qì hé rén gé shàng yā dǎo bāo kuò dà zī chǎn jiē jí zài nèi de shàng céng shè huì ;“ gǎn yú zài dà shì yè wǔ tái shàng xiǎn shēn shǒu”。 wéi zì jǐ yíng dé hé ná pò lún yī yàng de mìng yùn , zuò zhě shēng chēng yú lián shì“ yě xīn jiā” jí biǎo dá liǎo duì fù bì shí dài de bù mǎn , yě yǐn huì dì zàn měi liǎo yú lián de fǎn kàng jīng shén。
rán 'ér , yú lián de fèn dǒu fǎn kàng zhù dìng shì yǐ bēi jù 'ér gào zhōng。 yú lián shì wáng cháo fù bì shí dài shòu yā yì de xiǎo zī chǎn jiē jí qīng nián de diǎn xíng , qí fǎn kàng shì jī yú
shè huì duì tā de yā zhì hé tā gè rén de yě xīn。 tā zhuī niàn dà gé mìng shí dài , yīn wéi xiàng tā zhè yàng yòu cái gān de qīng nián huì yòu shǔbù qīng de jī huì kě yǐ dà xiǎn shēn shǒu。 kě shì , zài zhè gè 'ě shā yī qiē shēng jī de wáng cháo fù bì shí dài , tā zhǐ néng bàn yǎn“ yī gè nì pàn de píng mín de bēi cǎn juésè” , chéng liǎo yǔ“ zhěng gè shè huì zuò zhàn de bù xìng de rén”。 tā zēng 'è jiào huì de xū wěi bēi bǐ , miè shì guì zú de“ hé fǎ de quán wēi” , bǐ yí zī chǎn jiē jí de“ wū huì cái fù”。 yú shì tā duì fù bì shè huì jìn xíng liǎo bào fù xìng de jué wàng de fǎn kàng。 suī zài yī dìng chéng dù shàng fǎn yìng liǎo rén mín duì fù bì shè huì de kàng yì qíng xù , dàn yóu yú qí shì gū jūn fèn zhàn , quē shǎo míng què de zhèng zhì lǐ xiǎng hé mù biāo , suǒ yǐ bì rán zāo dào shī bài。 lìng wài , yú lián de fèn dǒu hé kàng zhēng shāng hài liǎo dà guì zú、 dà zī chǎn jiē jí de lì yì。 tā men gēn běn bù zhǔn xǔ chū shēn dī jiàn de yú lián kuà jìn tā men de yíng lěi。 zuì hòu guì zú hé jiào huì gòu jié , shè xià juàn tào , bī dé · ruì nà fū rén xiě gào mì xìn jiē fā yú lián , duàn sòng liǎo tā fēi huáng téng dá de qián chéng , zhì shǐ yú lián qiāng shāng shì cháng fū rén 'ér bèi tuī shàng duàn tóu tái , luò dé shēn shǒu yì chù de bēi cǎn xià chǎng。 yú lián de bēi jù , shì yī gè chū shēn dī wēi de zhī shí fènzǐ zài yī dìng tiáo jiàn xià , cái néng wú cóng fā huī、 yě xīn bù néng shí xiàn de bēi jù。
yú lián sǐ shí nián jǐn 23 suì。 tā rè 'ài zì yóu hé shēng mìng , dàn wèile bù zài guì zú miàn qián shī qù píng mín de zūn yán , tā jù jué shàng sù。 dāng dé · ruì nà shì cháng tí chū
shàng sù shí , yú lián bèi jī nù liǎo。 tā jiào dào :“ wǒ bù yuàn duì sǐ xíng shàng sù , jí shǐ nǐ yòng dú yào、 dāo zǐ、 shǒu qiāng、 huǒ tàn huò rèn hé lìng wài yī zhǒng fāng fǎ , zhōng jié yī gè wēi hài nǐ de shēng mìng , wǒ yě bù duì sǐ xíng shàng sù。” zhè zhǒng yìng hàn , wèile bǎo chí zūn yán , wèile bù chéng wéi shàng liú shè huì chǐ xiào hé wǔ rǔ de duì xiàng , nìngkě shī qù 'ài qíng、 shēng mìng , zhēn kě wèi bù fá yīng xióng qì gài。
zài nà gè hēi 'àn de fù bì nián dài , yú lián zuò wéi yī gè píng mín zhī shí fènzǐ wèile zhēng dé zì jǐ de shè huì dì wèi , xiàng guì zú zī chǎn jiē jí suǒ zuò de fǎn kàng yǔ dǒu zhēng
jīng shén shì yīnggāi gěi yǐ kěn dìng de。 tā nà nán yǐ zhé fú de gǔ qì , wú yí zài dāng shí jù yòu jìn bù yì yì。 zhè yě zhèng shì wǒ men tóng qíng tā de gēn běn yuán yīn。
zǒng zhī , wú lùn cóng shí dài bèi jǐng、 zhù tí、 yì shù gòu sī , hái shì cóng yú lián xìng gé xíng chéng fā zhǎn de quán guò chéng zhuóyǎn , yú lián dōubù shì yě xīn jiā , ér shì zī chǎn jiē jí gè rén fèn dǒu de diǎn xíng dài biǎo , shì bēi jù yīng xióng。 jìn guǎn tā yòu chū zì yě xīn de gōng lì dǎ suàn , dàn píng mín de zì zūn hé duì tǒng zhì jiē jí de běn néng fǎn kàng shǐ zhōng shì tā de zhù dǎo fāng miàn。 suī rán zhè zhǒng gè rén yīng xióng zhù yì bù kě qǔ , dàn wǒ men bù yìng gāi yòng xiàn dài de chǐ dù qù kē qiú yī gè tè shū shí dài de rén。 zài yī gè bàn shì jì qián fēng jiàn fù bì shí dài de fǎ guó , gè rén yīng xióng zhù yì sī cháo zài yī dìng chéng dù shàng fǎn yìng liǎo guǎng dà rén mín , tè bié shì zhōng xiǎo zī chǎn jiē jí bù mǎn xiàn shí , yào qiú gǎi biàn dì wèi de yuàn wàng kè guān shàng duì fǎn dòng tǒng zhì jiē jí qǐ dào liǎo yī dìng de chōng jī zuò yòng。
The novel’s composite full title, Le Rouge et le Noir, Chronique du XIXe siécle (The Red and the Black: A Chronicle of the 19th Century), indicates its two-fold literary purpose, a psychological portrait of the romantic protagonist, Julien Sorel, and an analytic, sociological satire of the French social order under the Bourbon Restoration (1814–30). In English, Le Rouge et le Noir is variously translated as Red and Black, Scarlet and Black, and The Red and the Black, without the sub-title.
Background
Occurring from September 1826 until July 1831, Le Rouge et le Noir is the Bildungsroman of Julien Sorel, the intelligent, ambitious, protagonist from a poor family, who fails to understand much about the ways of the world he sets to conquer. He harbours many romantic illusions, becoming mostly a pawn in the political machinations of the ruthless influential people about him. The adventures of the flawed hero satirize French nineteenth-century society, especially the hypocrisy and materialism of the aristocracy and members of the Roman Catholic Church in foretelling the coming radical changes that will depose them from French society.
The first volume’s epigraph is attributed to Danton: “La vérité, l’âpre vérité” (“The truth, the harsh truth”), which is fictional, like most of the chapter epigraphs. The first chapter of each volume repeats the title Le Rouge et le Noir and the Chronique de 1830 sub-title. The novel’s title denotes the contrasting uniforms of the Army and the Church. Early in the story, Julien Sorel realistically observes that under the Bourbon restoration it is impossible for a man of his plebian social class to distinguish himself in the army (as he might have done under Napoleon), hence only a Church career offers social advancement and glory.
In some editions, the first book ("Livre premier", ending after Chapter XXX) concludes with the quotation: “To the Happy Few”, a dedication variously interpreted to mean either the few readers who could understand Stendhal’s writing; or a Shakespearean allusion to Henry V (1599); or a sardonic reference to the well-born of society (viz. Canto 11 Don Juan, 1821, by Byron)l or to those living per “Beylisme”: personal happiness being the purpose of existence — accordingly, every action taken to achieve that is permissible — hence Julien’s expediency with people — wherein “La force d’ame” (“Force of the soul”) is the most important virtue, realised as courage, resolution, and moral energy. (It seems most French editions do not have this quote, for unclear reasons; as is well-known, it appears also at the end of "La Chartreuse de Parme").
Plot
In two volumes, The Red and the Black: A Chronicle of the 19th Century tells the story of Julien Sorel’s life in a monarchic society of fixed social class.
Book I presents the ambitious son of a carpenter in the (fictional) Verrières village, in Franche-Comté, France, who would rather read and daydream about the glory days of Napoleon's long-disbanded army, than work his father’s timber business with his brothers, who beat him for his intellectual affectations. In the event, Julien Sorel becomes an acolyte of the abbé Chénal, the local Catholic prelate, who later secures him a post as the tutor for the children of Monsieur de Rênal, the mayor of Verrières. Despite appearing to be a pious, austere cleric, Julien is uninterested in the Bible beyond its literary value, and how he can use memorised passages (learnt in Latin) to impress important people.
He enters a love affair with Monsieur de Rênal’s wife; it ends badly when exposed to the village, by her chambermaid, Elisa, who had romantic designs upon him. The abbé Chénal orders Julien to a seminary in Besançon, which he finds intellectually stifling and pervaded with social cliques. The initially cynical seminary director, the abbé Pirard (of the Jansenist faction more hated that the Jesuit faction in the diocese), likes Julien, and becomes his protector. Disgusted by the Church’s political machinations, the abbé Pirard leaves the seminary, yet first rescues Julien from the persecution he would have suffered as his protégé, by recommending him as private secretary to the diplomat Marquis de la Mole, a Roman Catholic legitimist.
Book II chronicles the time leading to the July Revolution of 1830, and Julien Sorel’s Parisian life, as an employee of the de la Mole family. Despite moving among high society, the family and their friends, condescend to Julien for being an uncouth plebeian — his intellectual talents notwithstanding. In his boundlessly ambitious rise in the world, Julien perceives the materialism and hypocrisy important to the élite of Parisian society, and that the counter-revolutionary temper of the time renders it impossible for well-born men of superior intellect and æsthetic sensibility to progressively participate in the public affairs of the nation with any success.
The Marquis de la Mole takes Julien to a secret meeting, then despatches him on a dangerous mission to communicate a political letter (that he has memorised) to the Duc d'Angouleme, who is exiled in England; however, the callow Julien is mentally distracted, by an unsatisfying love affair, thus he only learns the message by rote, but not its political significance as a legitimist plot. Unwittingly, the plebeian Julien Sorel risks his life in secret service to the right-wing monarchists he most opposes; to himself, Julien rationalises such action as merely helping the Marquis, his employer, whom he respects.
Meanwhile, in the preceding months, the Marquis’s bored daughter, Mathilde de la Mole, had become emotionally torn, between her romantic attraction to Julien, for his admirable personal and intellectual qualities, and her social repugnance at becoming sexually intimate with a lower-class man. At first, he finds her unattractive, but his interest is piqued, by her attentions and the admiration she inspires in others; twice, she seduces and rejects him, leaving him in a miasma of despair, self-doubt, and happiness (he won her over aristocrat suitors). Only during his secret mission does he gain the key to winning her affections: a cynical jeu d’amour proffered to him by Prince Korasoff, a Russian man-of-the-world. At great emotional cost, Julien feigns indifference to Mathilde, provoking her jealousy with a sheaf of love-letters meant to woo Madame de Fervaques, a widow in the social circle of the de la Mole family. Consequently, Mathilde sincerely falls in love with Julien, eventually revealing to him that she carries his child; yet, whilst he was on diplomatic mission in England, she became officially engaged to Monsieur de Croisenois, an amiable, rich young man, heir to a duchy.
Learning of Julien’s romantic liaison with Mathilde, the Marquis de la Mole is angered, but relents before her determination, and his affection for him, and bestows upon Julien an income-producing property attached to an aristocratic title, and a military commission in the army. Although ready to bless their marriage, he changes his mind upon receiving the reply to a character-reference-letter he wrote to the abbé Chénal, Julien’s previous employer in the village of Verrières; however, the reply letter, written by Madame de Rênal — at the urging of her confessor priest — warns the Marquis that Julien Sorel is a social-climbing cad who preys upon emotionally vulnerable women.
On learning the Marquis’s disapproval of the marriage, Julien Sorel travels to his home village of Verrières and shoots Madame de Rênal during Mass in the village church; she survives. Despite the efforts of Mathilde, Madame de Rênal, and the priests devoted to him since his early life, Julien Sorel is determined to die — because the materialist society of Bourbon Restoration France will not accommodate a low-born man of superior intellect and æsthetic sensibility possessing neither money nor social connections.
Meanwhile, the presumptive duke, Monsieur de Croisenois, one of the fortunate few of Bourbon France, is killed in a duel fought over a slur upon the honour of Mathilde de la Mole. Despite her undiminished love for Julien, his imperiously intellectual nature, and its component romantic exhibitionism, render Mathilde’s prison visits to him a duty.
Moreover, when Julien learns he did not kill Madame de Rênal, that resurrects his intemperate love for her — lain dormant throughout his Parisian time and his passion for Mathilde, who visits him during the final days of his life. Afterwards, Mathilde de la Mole re-enacts the cherished, sixteenth-century French tale of Queen Margot visiting her dead lover, Joseph Boniface de La Mole, to kiss the lips of his severed head. In the nineteenth century, Mathilde de la Mole so treated Julien Sorel’s severed head, making a shrine of his tomb, in the Italian fashion.
Structure and themes
Le Rouge et le Noir occurs in the latter years of the Bourbon Restoration (1814–30) and the days of the 1830 July Revolution that established the Kingdom of the French (1830–48). Julien Sorel’s worldly ambitions are motivated by the emotional tensions, between his idealistic Republicanism (especially nostalgic allegiance to Napoleon), and the realistic politics of counter-revolutionary conspiracy, by Jesuit-supported legitimists, notably the Marquis de la Mole, whom Julien serves, for personal gain. Presuming a knowledgeable reader, the novelist Stendhal only alludes to the historical background of Le Rouge et le Noir — yet did sub-title it Chronique de 1830 (“Chronicle of 1830”). Moreover, the reader wishing an exposé of the same historical background might wish to read Lucien Leuwen (1834), Stendhal’s un-finished novel, posthumously published in 1894.
Stendhal repeatedly questions the possibility, and the desirability, of “sincerity”, because most of the characters, especially Julien Sorel, are acutely aware of having to play a role to gain social approval. In that nineteenth-century context, the word “hypocrisy” denoted the affectation of high religious sentiment; in The Red and the Black it connotes the contradiction between thinking and feeling.
In Mensonge romantique et vérité romanesque, 1961, (Deceit, Desire and the Novel) philosopher and critic René Girard identifies in Le Rouge et le Noir the triangular structure he denominates as “mimetic desire”, which reveals how a person’s desire for another is always mediated by a third party, i.e. one desires a person only when he or she is desired by someone else. Girard’s proposition accounts for the perversity of the Mathilde–Julien relationship, especially when he begins courting the widow Mme de Fervaques, to pique Mathilde’s jealousy, but also Julien’s fascination with and membership to the high society he simultaneously desires and despises; to wit, in achieving said literary effect, Stendhal wrote the epigraphs — literary, poetic, historic quotations — that he attributed to others.
Literary and critical significance
The novel marks the beginning of realism.
André Gide said that The Red and the Black was a novel ahead of its time, that it was a novel for readers in the twentieth century. In Stendhal’s time, prose novels included dialogue and omniscient narrator descriptions; his great contribution to literary technique was describing the psychologies (feelings, thoughts, inner monologues) of the characters, resultantly he is considered the creator of the psychological novel.
In Jean-Paul Sartre's play Les Mains Sales (1948), the protagonist Hugo Barine suggests pseudonyms for himself, including “Julien Sorel”, whom he resembles.
Joyce Carol Oates stated in the Afterword to her novel them that she originally titled the manuscript Love and Money as a nod to classic 19th century novels, among them, The Red and The Black "whose class-conscious hero Julien Sorel is less idealistic, greedier, and crueler than Jules Wendell but is cleary his spiritual kinsman".
Translations
Le Rouge et le Noir, Chronique du XIXe siècle (1830) was first translated to English circa 1900; the best-known translation, The Red and the Black (1926), by Charles Kenneth Scott-Moncrief, has been, like his other translations, characterised as one of his “fine, spirited renderings, not entirely accurate on minor points of meaning . . . Scott Moncrieff’s versions have not really been superseded”. The version by Robert M. Adams, for the Norton Critical Editions series, also is highly regarded; it “is more colloquial; his edition includes an informative section on backgrounds and sources, and excerpts from critical studies”. About Burton Raffel’s 2006 translation for the Modern Library, an anonymous Amazon.com reviewer said it is “actually a vulgar, anachronistic retelling of Stendhal’s novel. I recall abandoning it in disgust when the main character refers to his life as a total ‘blast’ ”. MTV was obviously very popular in 1838 [sic] France”. In its stead, that reviewer recommends C. K. Scott-Moncrieff’s translation, revised by scholar Ann Jefferson, (Everyman paperback, ISBN 0460876430).
Film adaptations
* Der geheime Kurier (The Secret Courier) is a silent 1928 German film by Gennaro Righelli, featuring Ivan Mosjoukine, Lil Dagover, and Valeria Blanka.
* Il Corriere del re (The Courier of the King) is a black-and-white 1947 Italian film adaptation of the story also directed by Gennaro Righelli. It features Rossano Brazzi, Valentina Cortese, and Irasema Dilián.
* Another film adaptation of the novel was released in 1954, directed by Claude Autant-Lara. It stars Gerard Philipe, Antonella Lualdi and Danielle Darrieux. It won the French Syndicate of Cinema Critics award for the best film of the year.
* Le Rouge et le Noir is a 1961 French made-for-TV film version directed by Pierre Cardinal, with Robert Etcheverry, Micheline Presle, Marie Laforêt, and Jean-Roger Caussimon.
* A BBC TV mini-series in five episodes The Scarlet and the Black, was made in 1965, starring John Stride, June Tobin, and Karin Fernald.
* Krasnoe i chyornoe (Red and Black) is a 1976 Soviet film version, directed by Sergei Gerasimov, with Nikolai Yeryomenko Ml, Natalya Bondarchuk, and Natalya Belokhvostikova.
* Another BBC TV mini-series called The Scarlet and the Black was first broadcast in 1993, starring Ewan McGregor, Rachel Weisz and Stratford Johns as the Abbe Pirard. A notable addition to the plot was the spirit of Napoleon (Christopher Fulford) who advises Sorel (McGregor) through his rise and fall.
* A made-for-TV film version of the novel called The Red and the Black was first broadcast in 1997 by Koch Lorber Films, starring Kim Rossi Stuart, Carole Bouquet and Judith Godrèche; it was directed by Jean-Daniel Verhaeghe. This version is available on DVD.
《 fù yǔ zǐ》 shì 'é guó zhù míng zuò jiā tú gé niè fū de dài biǎo zuò。《 fù yǔ zǐ》 wán chéng yú 1860 nián 8 yuè zhì 1861 nián 8 yuè， jīng duō cì xiū gǎi hòu， yú 1862 nián zài《 é luó sī dǎo bào》 shàng。
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
《 fù yǔ zǐ》 shì 'é guó zhù míng zuò jiā tú gé niè fū de dài biǎo zuò。《 fù yǔ zǐ》 wán chéng yú 1860 nián 8 yuè zhì 1861 nián 8 yuè， jīng duō cì xiū gǎi hòu， yú 1862 nián zài《 é luó sī dǎo bào》 shàng。
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
《 fù yǔ zǐ》 - rén wù tè diǎn
《 fù yǔ zǐ》 de zhōng xīn rén wù shì píng mín zhī shí fènzǐ bā zhā luò fū。 bā zhā luò fū shì píng mín zhī shí fènzǐ de diǎn xíng， shì“ xīn rén” de xíng xiàng， tā xìng gé de tū chū tè zhēng shì jù yòu xiān míng de gé mìng sè cǎi， zhè biǎo xiàn zài：
1、 tā jī liè dì fǒu dìng xiàn cún zhì dù。 bā zhā luò fū de fǒu dìng yòu qí lì shǐ de hé lǐ xìng。 zhè lǐ shǒu xiān shì lì shǐ jìn bù de xū yào， qí cì cái shì gé mìng zhě de bǎn miàn rèn shí hé guò jī qíng xù。 zuò jiā duì bā zhā luò fū de zhè zhǒng jīng shén tè zhì suī bù xīn shǎng， dàn què zuò liǎo zhēn shí de miáo shù。
2、 miè shì guì zú jiē jí。 zhè shì píng mín jué xǐng de yī gè zhòng yào tè zhēng。 bā zhā luò fū què xìn zhēn lǐ zài zì jǐ shǒu zhōng， què xìn zì jǐ shì shí dài yīng xióng， yòu quán miè shì guì zú jiē jí。 tā duì yú bā wēi 'ěr de fèn nù tiǎo zhàn shǐ zhōng cóng róng duì dài， ér qiě cháng cháng bǎi chū yī fù bù xiè yī gù de tài dù。 zài lùn biàn zhōng， zài jué dǒu lǐ， tā lǎo shī chóng gāo de shèng lì zhě。 zuì hòu bā wēi 'ěr yě bù dé bù chéng rèn zì jǐ de guāng róng yǐ chéng wǎng shì。
3、 yǐ píng mín shēn fèn zì háo， gēn rén mín bǎo chí zhe mìqiè de guān xì。 bā zhā luò fū yǐ jīng bù tóng yú bā xī sī tuō fū， tā bù zài shì yōu xiù guì zú fènzǐ de zhuī suí zhě， tā yǐ jīng yì shí dào， píng mín yōu yú guì zú。 zhè shì píng mín shì lì xīng qǐ de yòu yī gè zhòng yào biāo zhì。 tóng shí， tú gé niè fū yě biǎo xiàn liǎo bā zhā luò fū de zhī shí fènzǐ de shēng huó fāng shì shǐ tā hé rén mín gé mó qǐ lái de qíng xíng。 yī gè nóng mín píng lùn bā zhā luò fū shuō：“ dāng rán lā， tā shì yī wèi shàoye， tā néng dǒng dé shénme ní？” zhè yàng de miáo shù yě shì hěn shēn kè de， tā jiē shì liǎo bā zhā luò fū gāo yú pǔ tōng nóng mín hé tuō lí rén mín de yī miàn， zài dāng shí de píng mín zhī shí fènzǐ zhōng， zhè yě shì yī zhǒng diǎn xíng de xiàn xiàng。 zhè zhèng shì hòu lái de mín cuì zhù yì yùn dòng shī bài de zhòng yào yuán yīn zhī yī。
bā zhā luó fū shì jīng shén shàng de qiáng zhě。 tā chōng mǎn zì xìn， shēng qì bó bó， jù yòu ruì lì de pī pàn yǎn guāng。 tā hé 'ā 'ěr kǎ dí jiā de pú rén men hé mù xiāng chù， bìng bù fáng 'ài tā pī pàn lǎo bǎi xìng de luò hòu mí xìn。 tā de jīng shén lì liàng hé pī pàn fēng máng jí zhōng biǎo xiàn zài tā yǔ bā wēi 'ěr de lùn zhàn shàng。 liǎng rén chū cì xiāng jiàn， jiù zài gǎn jué shàng hù bù xiāng róng， jìn 'ér zhǎn lù chū sī xiǎng guān diǎn shàng de zhēn fēng xiāng duì。 bā zhā luó fū yǐ tā tè yòu de jiǎn jié、 cū lǔ de huà yǔ duì bā wēi 'ěr yǐ qiáng yòu lì de fǎn jī。 pō yòu duō duō bī rén zhī shì。 tā jué bù qū cóng quán wēi， jù yòu zì zhù de rén gé hé píng pàn biāo zhǔn， tǐ xiàn liǎo nián qīng yī dài dú lì sī kǎo de chǔshì tài dù hé chū shēng niú dú bù pà hǔ de dǒu zhēng jīng shén， dāng rán， yě dài yòu nián qīng rén cóng bù chéng shú zǒu xiàng chéng shú de guò chéng zhōng de kě néng chǎn shēng de piān pō hé jí duān。 dàn tā hái shì yǐ wú yōng zhì yí de jīng shén yōu shì yā dǎo liǎo duì shǒu。 bā zhā luó fū wěn fèi niè qí kǎ， zài bā wēi 'ěr kàn lái， shì yán zhòng dì qīn fàn liǎo guì zú de quán lì， yě shì tā men zhī jiān duì lì guān diǎn de jì xù fā zhǎn。 jué dǒu bào lù liǎo bā wēi 'ěr de piān xiá、 xū ruò hé zuò zuò， xiǎn shì liǎo bā zhā luó fū de huò dá、 zhèn dìng hé zì xìn， shuāng fāng jīng shén lì liàng de qiáng ruò zài cǐ dé dào jìn yī bù de jiē shì。
bā zhā luó fū shì xíng dòng de jù rén， tā pēng jī guì zú de fàn fàn kōng tán， zì jǐ shǒu xiān cóng xiǎo shì zuò qǐ。 tā jù yòu shí jiàn néng lì， zhù zhòng zì rán kē xué yán jiū。 tā de xíng dòng yòu jià zhí qǔshě biāo zhǔn：“ fán shì wǒ men rèn wéi yòu yòng de shì qíng， wǒ men jiù yǐ jù tā xíng dòng。” tā de xíng dòng mù biāo hěn míng què héng héng wéi wèi lái dǎ sǎo dì pán。 tā gǎn yú xíng dòng de yǒng qì zài yī dìng chéng dù shàng yě biǎo xiàn zài duì dài 'ài qíng de tài dù shàng。 tā céng nǎo nù zì jǐ yě chǎn shēng nà yàng làng màn de qíng gǎn， dàn zài 'ài qíng zhī huǒ rán shāo qǐ lái de shí hòu tā què jué bù huí bì duǒ shǎn。
tú gé niè fū xiě chū liǎo zài fǒu dìng 'ài qíng de bā zhā luó fū nèi xīn， ài qíng shì rú hé méng yá、 fā zhǎn de， xiěde zhēn shí kě xìn。 dàn shì zuò jiā ràng bā zhā luó fū zài 'ài qíng shòu cuò hòu yī jué bù zhèn， chóngdǎo liǎo bā wēi 'ěr zài liàn 'ài shàng de fù zhé， nà jù duì bā wēi 'ěr de jiān kè píng jià“ xióng xìng shēng wù” yóu rú yī jì 'ěr guāng fǎn dǎ zài bā zhā luó fū zì jǐ de liǎn shàng。 zhè bìng bù shì shuō， bù néng xiě tā de shī liàn tòng kǔ， yīng xióng yě yòu 'ér nǚ qíng cháng de yī miàn。 dàn tú gé niè fū què ràng tā de zhù rén gōng yī wèi xiāo chén xià qù， bù néng zì bá， zhí zhì sǐ wáng。 zhè bù néng bù shì duì bā zhā luó fū de qū jiě。 nà gè zài guì zú zhuāng yuán suǒ xiàng pīmǐ de yǒng shì jìng wú lì shǐ zì jǐ zuì zhōng bǎi tuō xiāo jí bēi guān de qíng xù， rén wù xìng gé de zhěng tǐ xìng yīn cǐ shòu dào sǔn hài。 zuò jiā bǎ bā zhā luó fū lín zhōng qián qī dài 'ā jīn zuǒ wá de yī wěn zhè mù xiěde jí wéi dòng rén， rán 'ér tā de ruì qì， tā de fèn hèn， tā de jīng shén wēi lì， tā de jiān qiáng yì zhì yě zài zhè nǚ rén fū yǎn shì de yī wěn zhōng xiāo róng dài jìn。
zhè zhǒng wéi fǎn rén wù xìng gé fā zhǎn luó ji de máo dùn biàn huà， yǔ zuò jiā de sī xiǎng qīng xiàng bù wú lián xì。 tú gé niè fū duì bā zhā luó fū suǒ dài biǎo de píng mín zhī shí fènzǐ yòu yī zhǒng qíng bù zì jìn de xiàng wǎng， tā qīn pèi tā men de gè rén pǐn zhì hé xī shēng jīng shén， dàn bìng bù zàn chéng tā men de shè huì zhèng zhì zhù zhāng。 zhè wèi wēn hé de zì yóu zhù yì guì zú zuò jiā hài pà bào lì gé mìng， bù xī wàng tā men de shì yè qǔ dé chéng gōng。 tā rèn wéi tā men de guān diǎn bì rán dǎo zhì tā men chéng wéi bēi jù rén wù， yīn cǐ tā 'ān pái liǎo bā zhā luó fū de shī liàn、 bēi guān nǎi zhì zuì hòu sǐ wáng。 bā zhā luó fū xìng gé shàng de bù yī zhì zhèng hǎo zhé shè chū zuò jiā duì mín zhù zhù yì zhě de máo dùn tài dù。
ā 'ěr kǎ dí zhè gè rén wù zài xiǎo shuō zhōng yòu tè shū de yì yì。 jiù nián líng lái shuō， tā shǔ yú zǐ bèi， yě céng zhuī suí guò bā zhā luó fū； dàn jiù sī xiǎng yì shí lái shuō， tā shì fù bèi de zǐ dì， yīn cǐ bā zhā luó fū chēng tā wéi“ wēn róu de zì yóu zhù yì shàoye”。 zài gāng gāng dào lái de xīn guān niàn hé chí chí bù kěn tuì qù de jiù guān niàn xiāng hù zhēng dǒu de shí hòu， qīng nián rén píng jiè tā men de mǐn gǎn、 yǒng qì hé zhāoqì děng shēng lǐ、 xīn lǐ yīn sù yòu kě néng gèng qīng xīn yú xīn guān niàn， rán 'ér zǐ bèi bìng bù shì xiān jìn sī xiǎng de dāng rán dài biǎo zhě， jìn huà lùn de guān niàn zài shè huì sī xiǎng dǒu zhēng zhōng bìng bù jù yòu jué duì pǔ biàn xìng， gèng hé kuàng qí zhōng yě bù fá yòu liè qí qiú xīn de biǎo miàn zhuī qiú。 yīn cǐ， tú gé niè fū suǒ biǎo xiàn de bù quán shì shēng lǐ、 xīn lǐ yì yì shàng liǎng dài rén de dài gōu， gèng shèn tòu zhe bù tóng shè huì zhèn yíng zhī jiān zhèng zhì sī xiǎng de fēn qí， cóng 'ér jiē shì chū dāng shí 'é guó mín zhù zhù yì duì guì zú zì yóu zhù yì de shèng lì。
《 fù yǔ zǐ》 - zhōng xīn sī xiǎng
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
《 fù yǔ zǐ》 - zuò zhě jiǎn jiè
yī fán · xiè 'ěr gài yé wéi qí · tú gé niè fū（ é yǔ： ИванСергеевичТургенев； yīng yǔ： IvanSergeevichTurgenev， gōng lì 1818 nián 11 yuè 9 rì－ 1883 nián 9 yuè 3 rì， hé rú lüè lì 1818 nián 10 yuè 28 rì－ 1883 nián 8 yuè 22 rì） é guó xiàn shí zhù yì xiǎo shuō jiā、 shī rén hé jù zuò jiā。
é guó 19 shì jì pī pàn xiàn shí zhù yì zuò jiā、 shī rén hé jù zuò jiā， chū shēng yú shì xí guì zú zhī jiā， shēng yú 'é guó 'ào liào 'ěr shěng 'ào liào 'ěr yī gè jiù shì fù yù jiā tíng， fù qīn shì yī gè qí bīng tuán tuán cháng， shí liù suì de shí hòu fù qīn qù shì。 tú gé niè fū de mā mā pí qì hěn bù hǎo， jīng cháng dǎ mà zì jǐ de hái zǐ。 1833 nián jìn mò sī kē dà xué wén xué xì， yī nián hòu zhuǎn rù bǐ dé bǎo dà xué zhé xué xì yǔ wén zhuān yè， bì yè hòu dào dé guó bólín dà xué gōng dú zhé xué、 lì shǐ hé xī là yǔ lā dīng wén。 tú gé niè fū jìn rù mò sī kē dà xué xué xí yī nián， suí hòu zhuǎn rù shèng bǐ dé bǎo dà xué xué xí jīng diǎn zhù zuò， é guó wén xué hé zhé xué。 1838 nián qián wǎng bólín dà xué xué xí hēi gé 'ěr zhé xué。 zài 'ōu zhōu tú gé niè fū jiàn dào liǎo gèng jiā xiàn dài huà de shè huì zhì dù， bèi shì wéi“ ōu huà” de zhī shí fènzǐ， zhù zhāng 'é guó xué xí xī fāng， fèi chú bāo kuò nóng nú zhì zài nèi de fēng jiàn zhì dù。
tú gé niè fū shì 19 shì jì 'é guó yòu shì jiè shēng yù de xiàn shí zhù yì yì shù dà shī。 tā de xiǎo shuō bù jǐn xùn sù jí shí dì fǎn yìng liǎo dāng shí de 'é guó shè huì xiàn shí， ér qiě shàn yú tōng guò shēng dòng de qíng jié hé qiàdàng de yán yǔ、 xíng dòng， tōng guò duì dà zì rán qíng jìng jiāo róng de miáo shù， sù zào chū xǔ duō xǔ xǔ rú shēng de rén wù xíng xiàng。 tā de yǔ yán jiǎn jié、 pǔ zhì、 jīng què、 yōu měi， wéi 'é luó sī yǔ yán de guī fàn huà zuò chū liǎo zhòng yào gòng xiàn。 zhōng guó zǎo zài 1917 nián jiù kāi shǐ fān yì jiè shào tú gé niè fū de xiǎo shuō， xiàn zài jīhū tā suǒ yòu de zhù yào zuò pǐn dōuyòu liǎo zhōng yì běn， yī xiē míng zuò hái yòu duō zhǒng yì běn。 zǎo qī xiě shī（《 pà lā suō》《 dì zhù》 děng）。 1847～ 1852 nián fā biǎo《 liè rén bǐ jì》， jiē lù nóng nú zhù de cán bào， nóng nú de bēi cǎn shēng huó， yīn cǐ bèi fàng zhú。 zài jiān jìn zhōng xiě chéng zhōng piān xiǎo shuō《 mù mù》， duì nóng nú zhì biǎo shì kàng yì。 yǐ hòu yòu fā biǎo cháng piān xiǎo shuō《 luó tíng》（ 1856 nián）、《 guì zú zhī jiā》（ 1859 nián）， zhōng piān xiǎo shuō《 ā xiá》《 duō yú rén de rì jì》 děng， miáo xiě guì zú dì zhù chū shēn de zhī shí fènzǐ hǎo fā yì lùn 'ér quē shǎo dǒu zhēng jīng shén de xìng gé。 zài cháng piān xiǎo shuō《 qián yè》（ 1860 nián） zhōng， sù zào chū bǎo jiā lì yà gé mìng zhě yīng shā luó fū de xíng xiàng。 hòu lái fā biǎo cháng piān xiǎo shuō《 fù yǔ zǐ》， kè huà guì zú zì yóu zhù yì zhě tóng píng mín zhī shí fènzǐ zhī jiān de sī xiǎng chōng tū。 hòu qī cháng piān xiǎo shuō《 yān》（ 1867 nián） hé《 chǔnǚ dì》（ 1877 nián）， fǒu dìng guì zú fǎn dòng pài hé guì zú zì yóu zhù yì zhě， pī píng bù chè dǐ de mín cuì pài， dàn liú lù bēi guān qíng xù。 cǐ wài， hái xiě yòu jù běn《 cūn jū yī yuè》 hé sǎnwén shī děng。
tú gé niè fū shì yī wèi yòu dú tè yì shù fēng gé de zuò jiā， tā jì shàn cháng xì nì de xīn lǐ miáo xiě， yòu cháng yú shū qíng。 xiǎo shuō jié gòu yán zhěng， qíng jié jǐn còu， rén wù xíng xiàng shēng dòng， yóu qí shàn yú xì zhì diāo zhuó nǚ xìng yì shù xíng xiàng， ér tā duì yǐ nǐ de dà zì rán de miáo xiě yě chōng mǎn shī qíng huà yì。
《 fù yǔ zǐ》 - zuò pǐn shǎng xī
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
bā zhā luó fū shì jīng shén shàng de qiáng zhě。 tā chōng mǎn zì xìn， shēng qì bó bó， jù yòu ruì lì de pī pàn yǎn guāng。 tā hé 'ā 'ěr kǎ dí jiā de pú rén men hé mù xiāng chù， bìng bù fáng 'ài tā pī pàn lǎo bǎi xìng de luò hòu mí xìn。 tā de jīng shén lì liàng hé pī pàn fēng máng jí zhōng biǎo xiàn zài tā yǔ bā wēi 'ěr de lùn zhàn shàng。 liǎng rén chū cì xiāng jiàn， jiù zài gǎn jué shàng hù bù xiāng róng， jìn 'ér zhǎn lù chū sī xiǎng guān diǎn shàng de zhēn fēng xiāng duì。 bā zhā luó fū yǐ tā tè yòu de jiǎn jié、 cū lǔ de huà yǔ duì bā wēi 'ěr yǐ qiáng yòu lì de fǎn jī。 pō yòu duō duō bī rén zhī shì。 tā jué bù qū cóng quán wēi， jù yòu zì zhù de rén gé hé píng pàn biāo zhǔn， tǐ xiàn liǎo nián qīng yī dài dú lì sī kǎo de chǔshì tài dù hé chū shēng niú dú bù pà hǔ de dǒu zhēng jīng shén， dāng rán， yě dài yòu nián qīng rén cóng bù chéng shú zǒu xiàng chéng shú de guò chéng zhōng de kě néng chǎn shēng de piān pō hé jí duān。 dàn tā hái shì yǐ wú yōng zhì yí de jīng shén yōu shì yā dǎo liǎo duì shǒu。 bā zhā luó fū wěn fèi niè qí kǎ， zài bā wēi 'ěr kàn lái， shì yán zhòng dì qīn fàn liǎo guì zú de quán lì， yě shì tā men zhī jiān duì lì guān diǎn de jì xù fā zhǎn。 jué dǒu bào lù liǎo bā wēi 'ěr de piān xiá、 xū ruò hé zuò zuò， xiǎn shì liǎo bā zhā luó fū de huò dá、 zhèn dìng hé zì xìn， shuāng fāng jīng shén lì liàng de qiáng ruò zài cǐ dé dào jìn yī bù de jiē shì。
bā zhā luó fū shì xíng dòng de jù rén， tā pēng jī guì zú de fàn fàn kōng tán， zì jǐ shǒu xiān cóng xiǎo shì zuò qǐ。 tā jù yòu shí jiàn néng lì， zhù zhòng zì rán kē xué yán jiū。 tā de xíng dòng yòu jià zhí qǔshě biāo zhǔn：“ fán shì wǒ men rèn wéi yòu yòng de shì qíng， wǒ men jiù yǐ jù tā xíng dòng。” tā de xíng dòng mù biāo hěn míng què héng héng wéi wèi lái dǎ sǎo dì pán。 tā gǎn yú xíng dòng de yǒng qì zài yī dìng chéng dù shàng yě biǎo xiàn zài duì dài 'ài qíng de tài dù shàng。 tā céng nǎo nù zì jǐ yě chǎn shēng nà yàng làng màn de qíng gǎn， dàn zài 'ài qíng zhī huǒ rán shāo qǐ lái de shí hòu tā què jué bù huí bì duǒ shǎn。
tú gé niè fū xiě chū liǎo zài fǒu dìng 'ài qíng de bā zhā luó fū nèi xīn， ài qíng shì rú hé méng yá、 fā zhǎn de， xiěde zhēn shí kě xìn。 dàn shì zuò jiā ràng bā zhā luó fū zài 'ài qíng shòu cuò hòu yī jué bù zhèn， chóngdǎo liǎo bā wēi 'ěr zài liàn 'ài shàng de fù zhé， nà jù duì bā wēi 'ěr de jiān kè píng jià“ xióng xìng shēng wù” yóu rú yī jì 'ěr guāng fǎn dǎ zài bā zhā luó fū zì jǐ de liǎn shàng。 zhè bìng bù shì shuō， bù néng xiě tā de shī liàn tòng kǔ， yīng xióng yě yòu 'ér nǚ qíng cháng de yī miàn。 dàn tú gé niè fū què ràng tā de zhù rén gōng yī wèi xiāo chén xià qù， bù néng zì bá， zhí zhì sǐ wáng。 zhè bù néng bù shì duì bā zhā luó fū de qū jiě。 nà gè zài guì zú zhuāng yuán suǒ xiàng pīmǐ de yǒng shì jìng wú lì shǐ zì jǐ zuì zhōng bǎi tuō xiāo jí bēi guān de qíng xù， rén wù xìng gé de zhěng tǐ xìng yīn cǐ shòu dào sǔn hài。 zuò jiā bǎ bā zhā luó fū lín zhōng qián qī dài 'ā jīn zuǒ wá de yī wěn zhè mù xiěde jí wéi dòng rén， rán 'ér tā de ruì qì， tā de fèn hèn， tā de jīng shén wēi lì， tā de jiān qiáng yì zhì yě zài zhè nǚ rén fū yǎn shì de yī wěn zhōng xiāo róng dài jìn。
《 fù yǔ zǐ》《 fù yǔ zǐ》
zhè zhǒng wéi fǎn rén wù xìng gé fā zhǎn luó ji de máo dùn biàn huà， yǔ zuò jiā de sī xiǎng qīng xiàng bù wú lián xì。 tú gé niè fū duì bā zhā luó fū suǒ dài biǎo de píng mín zhī shí fènzǐ yòu yī zhǒng qíng bù zì jìn de xiàng wǎng， tā qīn pèi tā men de gè rén pǐn zhì hé xī shēng jīng shén， dàn bìng bù zàn chéng tā men de shè huì zhèng zhì zhù zhāng。 zhè wèi wēn hé de zì yóu zhù yì guì zú zuò jiā hài pà bào lì gé mìng， bù xī wàng tā men de shì yè qǔ dé chéng gōng。 tā rèn wéi tā men de guān diǎn bì rán dǎo zhì tā men chéng wéi bēi jù rén wù， yīn cǐ tā 'ān pái liǎo bā zhā luó fū de shī liàn、 bēi guān nǎi zhì zuì hòu sǐ wáng。 bā zhā luó fū xìng gé shàng de bù yī zhì zhèng hǎo zhé shè chū zuò jiā duì mín zhù zhù yì zhě de máo dùn tài dù。
ā 'ěr kǎ dí zhè gè rén wù zài xiǎo shuō zhōng yòu tè shū de yì yì。 jiù nián líng lái shuō， tā shǔ yú zǐ bèi， yě céng zhuī suí guò bā zhā luó fū； dàn jiù sī xiǎng yì shí lái shuō， tā shì fù bèi de zǐ dì， yīn cǐ bā zhā luó fū chēng tā wéi“ wēn róu de zì yóu zhù yì shàoye”。 zài gāng gāng dào lái de xīn guān niàn hé chí chí bù kěn tuì qù de jiù guān niàn xiāng hù zhēng dǒu de shí hòu， qīng nián rén píng jiè tā men de mǐn gǎn、 yǒng qì hé zhāoqì děng shēng lǐ、 xīn lǐ yīn sù yòu kě néng gèng qīng xīn yú xīn guān niàn， rán 'ér zǐ bèi bìng bù shì xiān jìn sī xiǎng de dāng rán dài biǎo zhě， jìn huà lùn de guān niàn zài shè huì sī xiǎng dǒu zhēng zhōng bìng bù jù yòu jué duì pǔ biàn xìng， gèng hé kuàng qí zhōng yě bù fá yòu liè qí qiú xīn de biǎo miàn zhuī qiú。 yīn cǐ， tú gé niè fū suǒ biǎo xiàn de bù quán shì shēng lǐ、 xīn lǐ yì yì shàng liǎng dài rén de dài gōu， gèng shèn tòu zhe bù tóng shè huì zhèn yíng zhī jiān zhèng zhì sī xiǎng de fēn qí， cóng 'ér jiē shì chū dāng shí 'é guó mín zhù zhù yì duì guì zú zì yóu zhù yì de shèng lì。
《 fù yǔ zǐ》 shì tú gé niè fū de dài biǎo zuò。 bā zhā luó fū shēn shàng jìn guǎn yòu xiá cī， dàn tā réng yǐ bù tóng fán xiǎng de yì shù gè xìng gěi rén yǐ xiān míng de yìn xiàng， zài 'é guó wén xué shǐ shàng tā shì dì yī gè 'é guó“ xīn rén” xíng xiàng， shuài xiān chuán dá chū píng mín zhī shí fènzǐ yǐ chéng wéi shēng huó zhùjué de shí dài xìn xī。
《 fù yǔ zǐ》 - chuàng zuò bèi jǐng
tú gé niè fū cóng《 bā lā suō》（ yī bā sì sān），《 dì zhù》（ yī bā sì liù） děng shī piān kāi shǐ wén xué shēng yá。 tā de《 liè rén bǐ jì》（ yī bā sì qī héng héng wǔ 'èr） de fā biǎo céng dāng zuò 'é guó wén xué shēng huó zhōng de yī jiàn dà shì。 zhè yī piān piān tè xiě， yǐ 'é guó zhōng bù dì qū de zì rán jǐng sè wéi chèn tuō， guǎng fàn dì miáo huì liǎo zhuāng yuán dì zhù hé nóng mín de shēng huó， shēn kè jiē lù liǎo dì zhù biǎo miàn shàng wén míng rén cí、 shí jì shàng chǒu 'è cán bào de běn xìng， quán shū chōng mǎn duì hán gòu shòu rǔ、 bèi shòu qī líng de láo dòng rén mín de tóng qíng。 dāng shí de jìn bù sī xiǎng jiè chēng tā shì duì nóng nú zhì de“ yī zhèn měng liè pào huǒ”， shì yī bù“ diǎn rán huǒ zhǒng de shū”。 yī bā wǔ 'èr nián tú gé niè fū yīn zhuàn wén dào niàn guǒ gē lǐ shì shì， shí zhì shàng zé yīn qí《 liè rén bǐ jì》 de shè huì sī xiǎng qīng xiàng 'ér bèi bǔ， sòng wǎng sī bā sī kē yé héng héng lǔ tuō wéi nuò fū cūn ruǎn jìn。 ruǎn jìn qī jiān tā xiě liǎo zhōng piān《 mù mù》， yǐ mǎn qiāng chóu hèn duì nóng nú zhì jìn xíng kòng sù。 wǔ shí zhì liù shí nián dài shì tā chuàng zuò zuì wàng shèng de shí qī， shì féng 'é guó shè huì yùn dòng zhú bù gāo zhǎng， tā jí shí dì fǎn yìng liǎo shè huì shēng huó de fāng fāng miàn miàn。 cháng piān《 luó tíng》（ yī bā wǔ liù），《 guì zú zhī jiā》（ yī bā wǔ jiǔ）， zhōng piān《 ā xiá》（ yī bā wǔ bā），《 duō yú rén de rì jì》（ yī bā wǔ ） zhǎn shì liǎo guì zú zhī shí fènzǐ yán yǔ tuō lí xíng dòng， lǐ lùn tuō lí shí jiàn de yī xiē diǎn xíng tè zhēng。 cháng piān《 qián yè》（ yī bā liù ） zé fǎn yìng 'é guó nóng nú zhì kuǎ tái qián xī zài 'é guó chū xiàn de jìn bù shè huì sī cháo。 zài tú gé niè fū chuàng zuò zhōng zhàn yòu zhōng xīn dì wèi de cháng piān《 fù yǔ zǐ》（ yī bā liù 'èr） kè huà liǎo liǎng zhǒng shè huì shì lì héng héng mín zhù zhù yì zhě hé zì yóu pài guì zú jiān de sī xiǎng chōng tū。
tú gé niè fū wén bǐ wǎn lì， jié gòu qiǎo miào， yǔ yán qīng xīn jiǎn jié， shēn dé dú zhě xǐ 'ài。 qí zuò pǐn hěn zǎo jiù yòu rén yì jiè， yì jiè zhě yòu lǎo yī dài zhī míng zuò jiā， yě yòu wǒ de tóng shí dài rén。 tú gé niè fū chuàng zuò《 fù yǔ zǐ》 de nà xiē nián yuè， nóng nú zhù yǐ bù zài kě néng。
《 fù yǔ zǐ》《 fù yǔ zǐ》
dàn tú gé niè fū shì gè shēn chén de xiàn shí zhù yì zuò jiā， tā bì rán bǎ lì shǐ de zhòng dà kè guān shì jiàn zhì yú shì jiè zhī nèi， bǎ zài xiàn shēng huó zuò wéi wú kě tuī xiè de zé zhí， qù sù zào fú hé shí dài de diǎn xíng。《 fù yǔ zǐ》 zhōng de bā zhā luó fū kě shuō shì shí jiǔ shì jì liù shí nián dài 'é guó mín。
bā zhā luó fū bù qū cóng rèn hé quán wēi， bù bǎ rèn hé zhǔn zé dāng zuò xìn yǎng， jí shǐ zhè zhǔn zé shì duō me shòu dào zūn zhòng。 hè 'ěr cén bǎ bā zhā luó fū de zhè zhǒng xū wú zhù yì guī jié wéi“ wán quán、 chè dǐ bǎi tuō liǎo yī qiē xiàn chéng gài niàn hé chén guī jiù sú”。 dù bó luó liú bō fū jìn yī bù rèn tóng：“ xīn rén héng héng tā shì wéi xīn zhù yì zhé xué de fǎn duì zhě， yīn wéi wéi xīn zhù yì zhé xué bǎ zhǔn zé kàn chéng gāo yú pǔ sù de shēng huó zhēn lǐ。” bā zhā luó fū duì jiè chōu xiàng fǎ dé chū de kē xué gài niàn què wú hǎo gǎn：“ zhǐ de shì shénme kē xué？ fàn fàn de kē xué má？ kē xué yī rú shǒu yì， yòu jù tǐ de mén lèi， ér fàn fàn de kē xué shì bù cún zài de。” zài cǐ tā zhǐ chéng rèn jù tǐ de kē xué， ér bǎ“ fàn fàn de kē xué” jí zhé xué chè dǐ fǒu dìng liǎo。 tā bǎ zhé xué kàn chéng shì“ làng màn zhù yì” zhé xué， fǔ xiǔ， hú shuō bā dào， yǔ làng màn zhù yì shì děng tóng gài niàn。 màn 'ēn yóu cǐ rèn wéi bā zhā luó fū de sī biàn“ cóng hēi gé 'ěr de Allgemeinneit zǒng tǐ zhōng dé dào liǎo jiě fàng”。 bā zhā luó fū rèn wéi rén de xíng wéi bù yóu chōu xiàng de、 bì xū zūn xún de zhǔn zé， ér shì yóu xiàn shí shēng huó jué dìng de：“ zǒng de shuō lái， zhǔn zé shì méi yòu de，…… zhǐ yòu gǎn jué。 yī qiēdōu qǔ jué yú gǎn jué。” bā zhā luó fū duì jī 'ěr sà nuò fū suǒ fèng zhǔn zé de kàng yì yě jiù shì mín zhù zhù yì zhě duì wéi xīn guān de kàng yì。 nà shí píng mín zhōng de mín zhù zhù yì zhě 'àn dù bó liú bō fū shuō fǎ“ bù dàn dǒng dé， ér qiě qīn shēn gǎn shòu dào， shì shàng jué duì de dōng xī shì méi yòu de， yī qiē shì wù zhǐ yòu tā de xiāng duì yì yì”， yīn cǐ tā men duàn rán“ bǎi tuō kāi jué duì lǐ niàn 'ér qù jiē jìn xiàn shí shēng huó， yòng tā men de xiàn shí guān tì dài yī qiē chōu xiàng gài niàn”。 bǎ xiǎo shuō《 fù yǔ zǐ》 zhōng fā shēng de shì jiàn xiàn dìng zài yī bā wǔ jiǔ nián zì yòu qí。
cǐ shū huò quán guó yōu xiù chàng xiāo shū jiǎng， bù xiǔ de jié zuò， yǒng yuǎn de chàng xiāo shū！
lián huán màn huà《 fù yǔ zǐ》 shì dé guó yōu mò dà shī 'āi · ào · bǔ láo 'ēn de bù xiǔ jié zuò。 zuò pǐn zhōng yī gè gè shēng dòng yōu mò de xiǎo gù shìdōu shì lái zì yú màn huà jiā zài shēng huó zhōng de zhēn shí gǎn shòu， fù yǔ zǐ shí jì shàng jiù shì kǎ láo 'ēn yǔ 'ér zǐ kè lǐ sī dì 'ān de zhēn shí xiě zhào。 yī fú fú xiǎo qiǎo jīng zhàn de huà miàn shǎn shuò zhe zhì huì zhī guāng， wú yán dì liú xiè chū chún zhēn de chì zǐ zhī qíng yǔ róng róng tiān lún zhī lè， yǒng yuǎn dì zhèn hàn zhe rén men de xīn líng。 zǎo zài 20 shì jì 30 nián dài《 fù yǔ zǐ》 biàn chuán rù wǒ guó， dàn zài zhè běn《 fù yǔ zǐ》 quán jí zhī qián guó nèi zuì duō zhǐ chū xiàn guò 150 gè《 fù yǔ zǐ》 de xiǎo gù shì， 1988 nián wǒ guó zài dé yì zhì lián bāng rén hé guó zhù huá dà shǐ jí lǐng shì de bāng zhù xià chéng gōng dì biān chéng liǎo zhè běn《 fù yǔ zǐ》 quán jí hòu， shí jǐ nián zhōng zhè běn huà cè chóngyìn liǎo shù shí wàn， shēn shòu dú zhě xǐ 'ài， 1994 nián hái bèi píng wéi quán guó yōu xiù chàng xiāo shū。
fēi cháng nán dé de shì guó nèi de xǔ duō chū bǎn shè duì wǒ men zhè gè《 fù yǔ zǐ》 quán jí de bǎn běn shí fēn gǎn cháng qù， jīng cháng yú kuài dì jiè yòng zhè gè bǎn běn。 lì rú， shān dōng de huáng hé chū bǎn shè jìng quán pán fān yìn liǎo wǒ men de《 fù yǔ zǐ》 quán jí， ér chéng dū de tiān dì chū bǎn shè jiè yòng de zhè gè bǎn běn（ cǐ wài hái jiè liǎo wǒ biān de xǔ duō qí tā de huà cè） bù dào liǎng nián jìng xiāo liǎo 10 wàn cè。 shuō zhēn de， wǒ zhēn wèicǐ gǎn dào gāo xīng， yīn wéi mó fǎng shì zuì zhēn chéng de gōng wéi， zhè xiē nián qīng de biān ji bì jìng shì zhēn xīn shí yì de zhuī suí zhě！ bù guò wǒ men de《 fù yǔ zǐ》 quán jí dào dǐ shì yuán bǎn， xì kàn bì jìng bù tóng， bù shì má？
【 biān ji diǎn píng】
dé guó zhù míng màn huà jiā 'āi · ào · bǔ láo 'ēn de lián huán màn huà《 fù yǔ zǐ》 yù mǎn tiān xià、 fēngmǐ shì jiè。《 fù yǔ zǐ》 suǒ sù zào de shàn liáng、 zhèng zhí、 kuān róng de yì shù xíng xiàng， chōng mǎn zhe zhì huì zhī guāng， liú lù chū chún zhēn de fù zǐ zhī qíng， shēn shēn dì dǎ dòng liǎo qiān bǎi wàn dú zhě de xīn， cóng 'ér shǐ bǔ láo 'ēn chéng wéi hǎi 'ēn lǐ xī · huò fū màn hé wēi lián · bù shī zhī hòu de yòu yī jù jiàng，《 fù yǔ zǐ》 bèi rén men yù wéi dé guó yōu mò de xiàng zhēng， shòu dào rén men yī zhì gāo dù de zàn yáng， shēng yù yuǎn yuǎn dì yuè chū liǎo guó jiè。
《 fù yǔ zǐ》 - yǐng shì xìn xī
jù qíng jiǎn jiè
é guó míng dǎo sū gǔ nuò fū（ AleksandrSokurov） zhí dǎo。 zhè bù diàn yǐng shì miáo shù yī duì fù zǐ zhī jiān， jì nóng liè tè shū yòu pū shuò mí lí de qíng gǎn， jí jù zhēng yì xìng hé zhèn hàn lì。
fù qīn yǔ 'ér zǐ cháng nián shēng huó zài tóng yī wū yán xià， fǎng fó yǔ shì gé jué bān chén jìn zài tā men zì jǐ de shì jiè zhōng， bèi huí yì hé rì cháng yí shì suǒ tián mǎn。 yòu shí tā men kàn qǐ lái jiù xiàng xiōng dì， yòu shí shèn zhì xiàng yī duì liàn rén。
《 fù yǔ zǐ》《 fù yǔ zǐ》
ér zǐ yà lì kè sī zǒu shàng liǎo yī tiáo hé fù qīn yī yàng de dào lù， jìn rù liǎo jūn xiào。 tā xǐ huān tǐ yù yùn dòng， hái yòu liǎo nǚ péng yǒu。 dàn shì qíng rén zhī jiān què zǒng yòu diǎn gé hé， nǚ yǒu sì hū zài 'àn 'àn jí dù yà lì kè sī yǔ fù qīn de qīn mì guān xì。
jìn guǎn yà lì kè sī xīn lǐ míng bái suǒ yòu de 'ér zǐ zǒng yòu yī tiān zhōng jiāng lí kāi fù qīn， kāi shǐ zì jǐ de shēng huó， tā de nèi xīn réng rán chōng mǎn máo dùn。
yà lì kè sī de fù qīn yě qīng chǔ tā huò xǔ yīnggāi qù lìng yī zuò chéng shì zhǎo yī fèn gèng hǎo de gōng zuò， huò zhě qǔ yī wèi xīn tài tài。 dàn shì， shuí yòu néng jiǎn qīng yà lì kè sī mèng yǎn zhōng de tòng kǔ ní？
cóng lái méi yòu nǎ duì fù yǔ zǐ zhī jiān de 'ài rú tā men zhè bān shēn hòu。
sū gǔ nuò fū qīn qíng sān bù qū xì liè diàn yǐng de dì 'èr bù， bèi shòu hǎo píng de《 mǔ yǔ zǐ》 zhī zǐ mèi piān。
běn piàn de pāi shè dì diǎn， shì 2003 nián zhèng hǎo jiàn chéng sān bǎi zhōu nián de 'é luó sī míng chéng， rú shī rú huà de shèng bǐ dé bǎo suǒ pāi shè， jí jù shī yì qiě wéi měi。
Historical context and notes
The fathers and children of the novel refers to the growing divide between the two generations of Russians, and the character Yevgeny Bazarov has been referred to as the "first Bolshevik", for his nihilism and rejection of the old order.
Turgenev wrote Fathers and Sons as a response to the growing cultural schism that he saw between liberals of the 1830s/1840s and the growing nihilist movement. Both the nihilists (the "sons") and the 1830s liberals sought Western-based social change in Russia. Additionally, these two modes of thought were contrasted with the conservative Slavophiles, who believed that Russia's path lay in its traditional spirituality.
Fathers and Sons might be regarded as the first wholly modern novel in Russian Literature (Gogol's Dead Souls, another main contender, is sometimes referred to as a poem or epic in prose as in the style of Dante's Divine Comedy). The novel introduces a dual character study, as seen with the gradual breakdown of Bazarov's and Arkady's nihilistic opposition to emotional display, especially in the case of Bazarov's love for Madame Odintsova and Fenichka. This prominent theme of character duality and deep psychological insight would exert an influence on most of the great Russian novels to come, most obviously echoed in the novels of Tolstoy and Dostoevsky.
The novel is also the first Russian work to gain prominence in the Western world, eventually gaining the approval of well established novelists Gustave Flaubert, Guy de Maupassant, and Henry James.
Major characters
* Yevgeny Vasil'evich Bazarov - A nihilist, a student of science, and is training to be a doctor. As a nihilist he is a mentor to Arkady, and a challenger to the liberal ideas of the Kirsanov brothers and the traditional Russian Orthodox feelings of his own parents.
* Arkady Nikolaevich Kirsanov - A recent graduate of St. Petersburg University and friend of Bazarov. He is also a nihilist, although his belief seems to stem from his admiration of Bazarov rather than his own conviction.
* Nikolai Petrovich Kirsanov - A landlord, a liberal democrat, Arkady’s father.
* Pavel Petrovich Kirsanov - Nikolai’s brother and a bourgeois with aristocratic pretensions, who prides himself on his refinement but like his brother is reform minded. Although he is reluctantly tolerant of the nihilism, he cannot help hating Bazarov.
* Vasily Ivanovich Bazarov - Bazarov’s father, a retired army surgeon, and a small countryside land/serf holder. Educated and enlightened, he nonetheless feels, like many of the characters, that rural isolation has left him out of touch with modern ideas. He thus retains a loyalty to traditionalist ways, manifested particularly in devotion to God and to his son Yevgeny.
* Arina Vlas'evna Bazarova - Bazarov’s mother. A very traditional woman of the 15th c. Moscovy style aristocracy: a pious follower of Orthodox Christianity, woven with folk tales and falsehoods. She loves her son deeply, but is also terrified of him and his rejection of all beliefs.
* Anna Sergeevna Odintsova - A wealthy widow who entertains the nihilist friends at her estate. Bazarov declares his love for her, but she is unable to reciprocate, both out of fear for the emotional chaos it could bring and an inability to recognize her own sentiments as love itself. Bazarov's love is a challenge to his nihilist ideal of rejection of all established order.
* Katerina (Katya) Sergeevna Lokteva - A character similar to Arkady and the younger sister of Anna. She lives comfortably with her sister but lacks confidence, finding it hard to escape Anna Sergeevna's shadow. This shyness makes her and Arkady’s love slow to realize itself.
* Fedosya (Fenichka) Nikolayevna - The daughter of Nikolai’s housekeeper, with whom he has fallen in love and fathered a child out of wedlock. The implied obstacles to their marriage are difference in class, and perhaps Nikolai's previous marriage - the burden of 'traditionalist' values.
* Viktor Sitnikov - A pompous and somewhat stupid friend of Bazarov who joins populist ideals and groups.
* Avdotya Nikitishna or Evdoksya Kukshina - An emancipated woman who lives in the town of X. Kukshina is independent but rather eccentric and incapable as a proto-feminist despite her potential.
Themes
Transgression and redemption
Bazarov (the prototypical nihilist) argues with Pavel Kirsanov (the prototypical liberal of the 1840s generation) about the nature of nihilism and usefulness to Russia in an episode which personifies the struggle between the fathers (i.e., the liberals of the 1840s) and their nihilist "sons". "Aristocratism, liberalism, progress, principles," Bazarov says. "Just think, how many foreign…and useless words!"
Bazarov tells Pavel that he will abandon nihilism when Pavel can show him "…a single institution of contemporary life, either in the family or in the social sphere, that doesn’t deserve absolute and merciless rejection." But despite this utter scorn for all things associated with traditional Russia, Bazarov still believes that there is a purpose and a value in applied science.
Human emotion and love as redemption
Bazarov's nihilism falls apart in the face of human emotions, specifically his love for Anna Odintsova. His nihilism does not account for the pain that his unrequited love causes him, and this introduces a despair that he is not capable of contending with.
Bazarov returns to his family after Odintsova rejects him. Bazarov complains to Arkady that "…they, that is, my parents, are occupied, and don't worry in the least about their own insignificance; they don't give a damn about it… While I…I feel only boredom and anger." His theory's inability to account for his emotions frustrates him and he sinks deep into boredom and ennui.
And then there is the enigmatic Anna Odintsova, a beautiful young woman of lowly origin. By virtue of having married well and been widowed young, she has inherited an exceedingly comfortable and insular life on a palatial country estate. In a letter written the same year the novel was published, Turgenev revealed that he conceived of Anna as “the representative of our idle, dreaming, curious and cold epicurean young ladies, our female nobility.” And yet, as with Bazarov, Turgenev’s fictional creation takes on a life of its own, superseding the author’s intellectual scheme to become a complex and perplexing figure.
Apparently content at the outset with her unattached life, Anna finds herself increasingly attracted to the blunt, unorthodox, highly intelligent Bazarov. She proceeds almost unwittingly to emotionally seduce the self-declared womanizer, luring him step by step in a pair of riveting, back-to-back passages to reveal his love. In the intimacy of her study, Anna confesses that she is very “unhappy,” that she has no desire to “go on,” that she longs for a “strong attachment” that is “all or nothing. A life for a life. You take mine, you give up yours, without regrets, without turning back.”
And yet, a moment after Bazarov capitulates and confesses his love, Odintsova rejects him brutally. Afterward, she is tortured, alternately blaming and excusing herself while fearing she may have thrown away a chance for genuine love. Finally she decides, “No. God knows where it might have led; one mustn’t fool around with this kind of thing.”
Conversely, Turgenev shows us Arkady and Nikolai's traditional happiness in marriage and estate management as the solution to Bazarov's cosmic despair and Anna's life of loveless comfort. (Arkady marries Anna Odintsova's sister Katya, though he was also originally in love with Anna). The height of the conflict between Bazarov and the older generation comes when Bazarov wounds Pavel in a duel. Finally, Turgenev also refutes Bazarov's "insignificance principle", i.e., the nihilist idea that life is utterly insignificant and that nothing remains after death: after leaving and then returning again to his parents, Bazarov dies of typhus. The final passage of the book portrays Bazarov's parents visiting his grave.
They walk with a heavy step, supporting each other; when they approach the railing, they fall on their knees and remain there for a long time, weeping bitterly, gazing attentively at the headstone under which their son lies buried: they exchange a few words, brush the dust off the stone, move a branch of the pine tree, and pray once again; they can’t forsake this place where they seem to feel closer to their son, to their memories of him… Can it really be that their prayers and tears are futile? Can it really be that love, sacred, devoted love is not all powerful? Oh, no!
Their love causes them to remember Bazarov: he has transcended death, but only through the love of other people. Fyodor Dostoevsky, who read Fathers and Sons and apparently appreciated Bazarov as a character, explores a similar theme with Raskolnikov's religious redemption (via the love of Christ) in Crime and Punishment.
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
《 fù yǔ zǐ》 shì 'é guó zhù míng zuò jiā tú gé niè fū de dài biǎo zuò。《 fù yǔ zǐ》 wán chéng yú 1860 nián 8 yuè zhì 1861 nián 8 yuè， jīng duō cì xiū gǎi hòu， yú 1862 nián zài《 é luó sī dǎo bào》 shàng。
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
《 fù yǔ zǐ》 - rén wù tè diǎn
《 fù yǔ zǐ》 de zhōng xīn rén wù shì píng mín zhī shí fènzǐ bā zhā luò fū。 bā zhā luò fū shì píng mín zhī shí fènzǐ de diǎn xíng， shì“ xīn rén” de xíng xiàng， tā xìng gé de tū chū tè zhēng shì jù yòu xiān míng de gé mìng sè cǎi， zhè biǎo xiàn zài：
1、 tā jī liè dì fǒu dìng xiàn cún zhì dù。 bā zhā luò fū de fǒu dìng yòu qí lì shǐ de hé lǐ xìng。 zhè lǐ shǒu xiān shì lì shǐ jìn bù de xū yào， qí cì cái shì gé mìng zhě de bǎn miàn rèn shí hé guò jī qíng xù。 zuò jiā duì bā zhā luò fū de zhè zhǒng jīng shén tè zhì suī bù xīn shǎng， dàn què zuò liǎo zhēn shí de miáo shù。
2、 miè shì guì zú jiē jí。 zhè shì píng mín jué xǐng de yī gè zhòng yào tè zhēng。 bā zhā luò fū què xìn zhēn lǐ zài zì jǐ shǒu zhōng， què xìn zì jǐ shì shí dài yīng xióng， yòu quán miè shì guì zú jiē jí。 tā duì yú bā wēi 'ěr de fèn nù tiǎo zhàn shǐ zhōng cóng róng duì dài， ér qiě cháng cháng bǎi chū yī fù bù xiè yī gù de tài dù。 zài lùn biàn zhōng， zài jué dǒu lǐ， tā lǎo shī chóng gāo de shèng lì zhě。 zuì hòu bā wēi 'ěr yě bù dé bù chéng rèn zì jǐ de guāng róng yǐ chéng wǎng shì。
3、 yǐ píng mín shēn fèn zì háo， gēn rén mín bǎo chí zhe mìqiè de guān xì。 bā zhā luò fū yǐ jīng bù tóng yú bā xī sī tuō fū， tā bù zài shì yōu xiù guì zú fènzǐ de zhuī suí zhě， tā yǐ jīng yì shí dào， píng mín yōu yú guì zú。 zhè shì píng mín shì lì xīng qǐ de yòu yī gè zhòng yào biāo zhì。 tóng shí， tú gé niè fū yě biǎo xiàn liǎo bā zhā luò fū de zhī shí fènzǐ de shēng huó fāng shì shǐ tā hé rén mín gé mó qǐ lái de qíng xíng。 yī gè nóng mín píng lùn bā zhā luò fū shuō：“ dāng rán lā， tā shì yī wèi shàoye， tā néng dǒng dé shénme ní？” zhè yàng de miáo shù yě shì hěn shēn kè de， tā jiē shì liǎo bā zhā luò fū gāo yú pǔ tōng nóng mín hé tuō lí rén mín de yī miàn， zài dāng shí de píng mín zhī shí fènzǐ zhōng， zhè yě shì yī zhǒng diǎn xíng de xiàn xiàng。 zhè zhèng shì hòu lái de mín cuì zhù yì yùn dòng shī bài de zhòng yào yuán yīn zhī yī。
bā zhā luó fū shì jīng shén shàng de qiáng zhě。 tā chōng mǎn zì xìn， shēng qì bó bó， jù yòu ruì lì de pī pàn yǎn guāng。 tā hé 'ā 'ěr kǎ dí jiā de pú rén men hé mù xiāng chù， bìng bù fáng 'ài tā pī pàn lǎo bǎi xìng de luò hòu mí xìn。 tā de jīng shén lì liàng hé pī pàn fēng máng jí zhōng biǎo xiàn zài tā yǔ bā wēi 'ěr de lùn zhàn shàng。 liǎng rén chū cì xiāng jiàn， jiù zài gǎn jué shàng hù bù xiāng róng， jìn 'ér zhǎn lù chū sī xiǎng guān diǎn shàng de zhēn fēng xiāng duì。 bā zhā luó fū yǐ tā tè yòu de jiǎn jié、 cū lǔ de huà yǔ duì bā wēi 'ěr yǐ qiáng yòu lì de fǎn jī。 pō yòu duō duō bī rén zhī shì。 tā jué bù qū cóng quán wēi， jù yòu zì zhù de rén gé hé píng pàn biāo zhǔn， tǐ xiàn liǎo nián qīng yī dài dú lì sī kǎo de chǔshì tài dù hé chū shēng niú dú bù pà hǔ de dǒu zhēng jīng shén， dāng rán， yě dài yòu nián qīng rén cóng bù chéng shú zǒu xiàng chéng shú de guò chéng zhōng de kě néng chǎn shēng de piān pō hé jí duān。 dàn tā hái shì yǐ wú yōng zhì yí de jīng shén yōu shì yā dǎo liǎo duì shǒu。 bā zhā luó fū wěn fèi niè qí kǎ， zài bā wēi 'ěr kàn lái， shì yán zhòng dì qīn fàn liǎo guì zú de quán lì， yě shì tā men zhī jiān duì lì guān diǎn de jì xù fā zhǎn。 jué dǒu bào lù liǎo bā wēi 'ěr de piān xiá、 xū ruò hé zuò zuò， xiǎn shì liǎo bā zhā luó fū de huò dá、 zhèn dìng hé zì xìn， shuāng fāng jīng shén lì liàng de qiáng ruò zài cǐ dé dào jìn yī bù de jiē shì。
bā zhā luó fū shì xíng dòng de jù rén， tā pēng jī guì zú de fàn fàn kōng tán， zì jǐ shǒu xiān cóng xiǎo shì zuò qǐ。 tā jù yòu shí jiàn néng lì， zhù zhòng zì rán kē xué yán jiū。 tā de xíng dòng yòu jià zhí qǔshě biāo zhǔn：“ fán shì wǒ men rèn wéi yòu yòng de shì qíng， wǒ men jiù yǐ jù tā xíng dòng。” tā de xíng dòng mù biāo hěn míng què héng héng wéi wèi lái dǎ sǎo dì pán。 tā gǎn yú xíng dòng de yǒng qì zài yī dìng chéng dù shàng yě biǎo xiàn zài duì dài 'ài qíng de tài dù shàng。 tā céng nǎo nù zì jǐ yě chǎn shēng nà yàng làng màn de qíng gǎn， dàn zài 'ài qíng zhī huǒ rán shāo qǐ lái de shí hòu tā què jué bù huí bì duǒ shǎn。
tú gé niè fū xiě chū liǎo zài fǒu dìng 'ài qíng de bā zhā luó fū nèi xīn， ài qíng shì rú hé méng yá、 fā zhǎn de， xiěde zhēn shí kě xìn。 dàn shì zuò jiā ràng bā zhā luó fū zài 'ài qíng shòu cuò hòu yī jué bù zhèn， chóngdǎo liǎo bā wēi 'ěr zài liàn 'ài shàng de fù zhé， nà jù duì bā wēi 'ěr de jiān kè píng jià“ xióng xìng shēng wù” yóu rú yī jì 'ěr guāng fǎn dǎ zài bā zhā luó fū zì jǐ de liǎn shàng。 zhè bìng bù shì shuō， bù néng xiě tā de shī liàn tòng kǔ， yīng xióng yě yòu 'ér nǚ qíng cháng de yī miàn。 dàn tú gé niè fū què ràng tā de zhù rén gōng yī wèi xiāo chén xià qù， bù néng zì bá， zhí zhì sǐ wáng。 zhè bù néng bù shì duì bā zhā luó fū de qū jiě。 nà gè zài guì zú zhuāng yuán suǒ xiàng pīmǐ de yǒng shì jìng wú lì shǐ zì jǐ zuì zhōng bǎi tuō xiāo jí bēi guān de qíng xù， rén wù xìng gé de zhěng tǐ xìng yīn cǐ shòu dào sǔn hài。 zuò jiā bǎ bā zhā luó fū lín zhōng qián qī dài 'ā jīn zuǒ wá de yī wěn zhè mù xiěde jí wéi dòng rén， rán 'ér tā de ruì qì， tā de fèn hèn， tā de jīng shén wēi lì， tā de jiān qiáng yì zhì yě zài zhè nǚ rén fū yǎn shì de yī wěn zhōng xiāo róng dài jìn。
zhè zhǒng wéi fǎn rén wù xìng gé fā zhǎn luó ji de máo dùn biàn huà， yǔ zuò jiā de sī xiǎng qīng xiàng bù wú lián xì。 tú gé niè fū duì bā zhā luó fū suǒ dài biǎo de píng mín zhī shí fènzǐ yòu yī zhǒng qíng bù zì jìn de xiàng wǎng， tā qīn pèi tā men de gè rén pǐn zhì hé xī shēng jīng shén， dàn bìng bù zàn chéng tā men de shè huì zhèng zhì zhù zhāng。 zhè wèi wēn hé de zì yóu zhù yì guì zú zuò jiā hài pà bào lì gé mìng， bù xī wàng tā men de shì yè qǔ dé chéng gōng。 tā rèn wéi tā men de guān diǎn bì rán dǎo zhì tā men chéng wéi bēi jù rén wù， yīn cǐ tā 'ān pái liǎo bā zhā luó fū de shī liàn、 bēi guān nǎi zhì zuì hòu sǐ wáng。 bā zhā luó fū xìng gé shàng de bù yī zhì zhèng hǎo zhé shè chū zuò jiā duì mín zhù zhù yì zhě de máo dùn tài dù。
ā 'ěr kǎ dí zhè gè rén wù zài xiǎo shuō zhōng yòu tè shū de yì yì。 jiù nián líng lái shuō， tā shǔ yú zǐ bèi， yě céng zhuī suí guò bā zhā luó fū； dàn jiù sī xiǎng yì shí lái shuō， tā shì fù bèi de zǐ dì， yīn cǐ bā zhā luó fū chēng tā wéi“ wēn róu de zì yóu zhù yì shàoye”。 zài gāng gāng dào lái de xīn guān niàn hé chí chí bù kěn tuì qù de jiù guān niàn xiāng hù zhēng dǒu de shí hòu， qīng nián rén píng jiè tā men de mǐn gǎn、 yǒng qì hé zhāoqì děng shēng lǐ、 xīn lǐ yīn sù yòu kě néng gèng qīng xīn yú xīn guān niàn， rán 'ér zǐ bèi bìng bù shì xiān jìn sī xiǎng de dāng rán dài biǎo zhě， jìn huà lùn de guān niàn zài shè huì sī xiǎng dǒu zhēng zhōng bìng bù jù yòu jué duì pǔ biàn xìng， gèng hé kuàng qí zhōng yě bù fá yòu liè qí qiú xīn de biǎo miàn zhuī qiú。 yīn cǐ， tú gé niè fū suǒ biǎo xiàn de bù quán shì shēng lǐ、 xīn lǐ yì yì shàng liǎng dài rén de dài gōu， gèng shèn tòu zhe bù tóng shè huì zhèn yíng zhī jiān zhèng zhì sī xiǎng de fēn qí， cóng 'ér jiē shì chū dāng shí 'é guó mín zhù zhù yì duì guì zú zì yóu zhù yì de shèng lì。
《 fù yǔ zǐ》 - zhōng xīn sī xiǎng
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
《 fù yǔ zǐ》 - zuò zhě jiǎn jiè
yī fán · xiè 'ěr gài yé wéi qí · tú gé niè fū（ é yǔ： ИванСергеевичТургенев； yīng yǔ： IvanSergeevichTurgenev， gōng lì 1818 nián 11 yuè 9 rì－ 1883 nián 9 yuè 3 rì， hé rú lüè lì 1818 nián 10 yuè 28 rì－ 1883 nián 8 yuè 22 rì） é guó xiàn shí zhù yì xiǎo shuō jiā、 shī rén hé jù zuò jiā。
é guó 19 shì jì pī pàn xiàn shí zhù yì zuò jiā、 shī rén hé jù zuò jiā， chū shēng yú shì xí guì zú zhī jiā， shēng yú 'é guó 'ào liào 'ěr shěng 'ào liào 'ěr yī gè jiù shì fù yù jiā tíng， fù qīn shì yī gè qí bīng tuán tuán cháng， shí liù suì de shí hòu fù qīn qù shì。 tú gé niè fū de mā mā pí qì hěn bù hǎo， jīng cháng dǎ mà zì jǐ de hái zǐ。 1833 nián jìn mò sī kē dà xué wén xué xì， yī nián hòu zhuǎn rù bǐ dé bǎo dà xué zhé xué xì yǔ wén zhuān yè， bì yè hòu dào dé guó bólín dà xué gōng dú zhé xué、 lì shǐ hé xī là yǔ lā dīng wén。 tú gé niè fū jìn rù mò sī kē dà xué xué xí yī nián， suí hòu zhuǎn rù shèng bǐ dé bǎo dà xué xué xí jīng diǎn zhù zuò， é guó wén xué hé zhé xué。 1838 nián qián wǎng bólín dà xué xué xí hēi gé 'ěr zhé xué。 zài 'ōu zhōu tú gé niè fū jiàn dào liǎo gèng jiā xiàn dài huà de shè huì zhì dù， bèi shì wéi“ ōu huà” de zhī shí fènzǐ， zhù zhāng 'é guó xué xí xī fāng， fèi chú bāo kuò nóng nú zhì zài nèi de fēng jiàn zhì dù。
tú gé niè fū shì 19 shì jì 'é guó yòu shì jiè shēng yù de xiàn shí zhù yì yì shù dà shī。 tā de xiǎo shuō bù jǐn xùn sù jí shí dì fǎn yìng liǎo dāng shí de 'é guó shè huì xiàn shí， ér qiě shàn yú tōng guò shēng dòng de qíng jié hé qiàdàng de yán yǔ、 xíng dòng， tōng guò duì dà zì rán qíng jìng jiāo róng de miáo shù， sù zào chū xǔ duō xǔ xǔ rú shēng de rén wù xíng xiàng。 tā de yǔ yán jiǎn jié、 pǔ zhì、 jīng què、 yōu měi， wéi 'é luó sī yǔ yán de guī fàn huà zuò chū liǎo zhòng yào gòng xiàn。 zhōng guó zǎo zài 1917 nián jiù kāi shǐ fān yì jiè shào tú gé niè fū de xiǎo shuō， xiàn zài jīhū tā suǒ yòu de zhù yào zuò pǐn dōuyòu liǎo zhōng yì běn， yī xiē míng zuò hái yòu duō zhǒng yì běn。 zǎo qī xiě shī（《 pà lā suō》《 dì zhù》 děng）。 1847～ 1852 nián fā biǎo《 liè rén bǐ jì》， jiē lù nóng nú zhù de cán bào， nóng nú de bēi cǎn shēng huó， yīn cǐ bèi fàng zhú。 zài jiān jìn zhōng xiě chéng zhōng piān xiǎo shuō《 mù mù》， duì nóng nú zhì biǎo shì kàng yì。 yǐ hòu yòu fā biǎo cháng piān xiǎo shuō《 luó tíng》（ 1856 nián）、《 guì zú zhī jiā》（ 1859 nián）， zhōng piān xiǎo shuō《 ā xiá》《 duō yú rén de rì jì》 děng， miáo xiě guì zú dì zhù chū shēn de zhī shí fènzǐ hǎo fā yì lùn 'ér quē shǎo dǒu zhēng jīng shén de xìng gé。 zài cháng piān xiǎo shuō《 qián yè》（ 1860 nián） zhōng， sù zào chū bǎo jiā lì yà gé mìng zhě yīng shā luó fū de xíng xiàng。 hòu lái fā biǎo cháng piān xiǎo shuō《 fù yǔ zǐ》， kè huà guì zú zì yóu zhù yì zhě tóng píng mín zhī shí fènzǐ zhī jiān de sī xiǎng chōng tū。 hòu qī cháng piān xiǎo shuō《 yān》（ 1867 nián） hé《 chǔnǚ dì》（ 1877 nián）， fǒu dìng guì zú fǎn dòng pài hé guì zú zì yóu zhù yì zhě， pī píng bù chè dǐ de mín cuì pài， dàn liú lù bēi guān qíng xù。 cǐ wài， hái xiě yòu jù běn《 cūn jū yī yuè》 hé sǎnwén shī děng。
tú gé niè fū shì yī wèi yòu dú tè yì shù fēng gé de zuò jiā， tā jì shàn cháng xì nì de xīn lǐ miáo xiě， yòu cháng yú shū qíng。 xiǎo shuō jié gòu yán zhěng， qíng jié jǐn còu， rén wù xíng xiàng shēng dòng， yóu qí shàn yú xì zhì diāo zhuó nǚ xìng yì shù xíng xiàng， ér tā duì yǐ nǐ de dà zì rán de miáo xiě yě chōng mǎn shī qíng huà yì。
《 fù yǔ zǐ》 - zuò pǐn shǎng xī
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
bā zhā luó fū shì jīng shén shàng de qiáng zhě。 tā chōng mǎn zì xìn， shēng qì bó bó， jù yòu ruì lì de pī pàn yǎn guāng。 tā hé 'ā 'ěr kǎ dí jiā de pú rén men hé mù xiāng chù， bìng bù fáng 'ài tā pī pàn lǎo bǎi xìng de luò hòu mí xìn。 tā de jīng shén lì liàng hé pī pàn fēng máng jí zhōng biǎo xiàn zài tā yǔ bā wēi 'ěr de lùn zhàn shàng。 liǎng rén chū cì xiāng jiàn， jiù zài gǎn jué shàng hù bù xiāng róng， jìn 'ér zhǎn lù chū sī xiǎng guān diǎn shàng de zhēn fēng xiāng duì。 bā zhā luó fū yǐ tā tè yòu de jiǎn jié、 cū lǔ de huà yǔ duì bā wēi 'ěr yǐ qiáng yòu lì de fǎn jī。 pō yòu duō duō bī rén zhī shì。 tā jué bù qū cóng quán wēi， jù yòu zì zhù de rén gé hé píng pàn biāo zhǔn， tǐ xiàn liǎo nián qīng yī dài dú lì sī kǎo de chǔshì tài dù hé chū shēng niú dú bù pà hǔ de dǒu zhēng jīng shén， dāng rán， yě dài yòu nián qīng rén cóng bù chéng shú zǒu xiàng chéng shú de guò chéng zhōng de kě néng chǎn shēng de piān pō hé jí duān。 dàn tā hái shì yǐ wú yōng zhì yí de jīng shén yōu shì yā dǎo liǎo duì shǒu。 bā zhā luó fū wěn fèi niè qí kǎ， zài bā wēi 'ěr kàn lái， shì yán zhòng dì qīn fàn liǎo guì zú de quán lì， yě shì tā men zhī jiān duì lì guān diǎn de jì xù fā zhǎn。 jué dǒu bào lù liǎo bā wēi 'ěr de piān xiá、 xū ruò hé zuò zuò， xiǎn shì liǎo bā zhā luó fū de huò dá、 zhèn dìng hé zì xìn， shuāng fāng jīng shén lì liàng de qiáng ruò zài cǐ dé dào jìn yī bù de jiē shì。
bā zhā luó fū shì xíng dòng de jù rén， tā pēng jī guì zú de fàn fàn kōng tán， zì jǐ shǒu xiān cóng xiǎo shì zuò qǐ。 tā jù yòu shí jiàn néng lì， zhù zhòng zì rán kē xué yán jiū。 tā de xíng dòng yòu jià zhí qǔshě biāo zhǔn：“ fán shì wǒ men rèn wéi yòu yòng de shì qíng， wǒ men jiù yǐ jù tā xíng dòng。” tā de xíng dòng mù biāo hěn míng què héng héng wéi wèi lái dǎ sǎo dì pán。 tā gǎn yú xíng dòng de yǒng qì zài yī dìng chéng dù shàng yě biǎo xiàn zài duì dài 'ài qíng de tài dù shàng。 tā céng nǎo nù zì jǐ yě chǎn shēng nà yàng làng màn de qíng gǎn， dàn zài 'ài qíng zhī huǒ rán shāo qǐ lái de shí hòu tā què jué bù huí bì duǒ shǎn。
tú gé niè fū xiě chū liǎo zài fǒu dìng 'ài qíng de bā zhā luó fū nèi xīn， ài qíng shì rú hé méng yá、 fā zhǎn de， xiěde zhēn shí kě xìn。 dàn shì zuò jiā ràng bā zhā luó fū zài 'ài qíng shòu cuò hòu yī jué bù zhèn， chóngdǎo liǎo bā wēi 'ěr zài liàn 'ài shàng de fù zhé， nà jù duì bā wēi 'ěr de jiān kè píng jià“ xióng xìng shēng wù” yóu rú yī jì 'ěr guāng fǎn dǎ zài bā zhā luó fū zì jǐ de liǎn shàng。 zhè bìng bù shì shuō， bù néng xiě tā de shī liàn tòng kǔ， yīng xióng yě yòu 'ér nǚ qíng cháng de yī miàn。 dàn tú gé niè fū què ràng tā de zhù rén gōng yī wèi xiāo chén xià qù， bù néng zì bá， zhí zhì sǐ wáng。 zhè bù néng bù shì duì bā zhā luó fū de qū jiě。 nà gè zài guì zú zhuāng yuán suǒ xiàng pīmǐ de yǒng shì jìng wú lì shǐ zì jǐ zuì zhōng bǎi tuō xiāo jí bēi guān de qíng xù， rén wù xìng gé de zhěng tǐ xìng yīn cǐ shòu dào sǔn hài。 zuò jiā bǎ bā zhā luó fū lín zhōng qián qī dài 'ā jīn zuǒ wá de yī wěn zhè mù xiěde jí wéi dòng rén， rán 'ér tā de ruì qì， tā de fèn hèn， tā de jīng shén wēi lì， tā de jiān qiáng yì zhì yě zài zhè nǚ rén fū yǎn shì de yī wěn zhōng xiāo róng dài jìn。
《 fù yǔ zǐ》《 fù yǔ zǐ》
zhè zhǒng wéi fǎn rén wù xìng gé fā zhǎn luó ji de máo dùn biàn huà， yǔ zuò jiā de sī xiǎng qīng xiàng bù wú lián xì。 tú gé niè fū duì bā zhā luó fū suǒ dài biǎo de píng mín zhī shí fènzǐ yòu yī zhǒng qíng bù zì jìn de xiàng wǎng， tā qīn pèi tā men de gè rén pǐn zhì hé xī shēng jīng shén， dàn bìng bù zàn chéng tā men de shè huì zhèng zhì zhù zhāng。 zhè wèi wēn hé de zì yóu zhù yì guì zú zuò jiā hài pà bào lì gé mìng， bù xī wàng tā men de shì yè qǔ dé chéng gōng。 tā rèn wéi tā men de guān diǎn bì rán dǎo zhì tā men chéng wéi bēi jù rén wù， yīn cǐ tā 'ān pái liǎo bā zhā luó fū de shī liàn、 bēi guān nǎi zhì zuì hòu sǐ wáng。 bā zhā luó fū xìng gé shàng de bù yī zhì zhèng hǎo zhé shè chū zuò jiā duì mín zhù zhù yì zhě de máo dùn tài dù。
ā 'ěr kǎ dí zhè gè rén wù zài xiǎo shuō zhōng yòu tè shū de yì yì。 jiù nián líng lái shuō， tā shǔ yú zǐ bèi， yě céng zhuī suí guò bā zhā luó fū； dàn jiù sī xiǎng yì shí lái shuō， tā shì fù bèi de zǐ dì， yīn cǐ bā zhā luó fū chēng tā wéi“ wēn róu de zì yóu zhù yì shàoye”。 zài gāng gāng dào lái de xīn guān niàn hé chí chí bù kěn tuì qù de jiù guān niàn xiāng hù zhēng dǒu de shí hòu， qīng nián rén píng jiè tā men de mǐn gǎn、 yǒng qì hé zhāoqì děng shēng lǐ、 xīn lǐ yīn sù yòu kě néng gèng qīng xīn yú xīn guān niàn， rán 'ér zǐ bèi bìng bù shì xiān jìn sī xiǎng de dāng rán dài biǎo zhě， jìn huà lùn de guān niàn zài shè huì sī xiǎng dǒu zhēng zhōng bìng bù jù yòu jué duì pǔ biàn xìng， gèng hé kuàng qí zhōng yě bù fá yòu liè qí qiú xīn de biǎo miàn zhuī qiú。 yīn cǐ， tú gé niè fū suǒ biǎo xiàn de bù quán shì shēng lǐ、 xīn lǐ yì yì shàng liǎng dài rén de dài gōu， gèng shèn tòu zhe bù tóng shè huì zhèn yíng zhī jiān zhèng zhì sī xiǎng de fēn qí， cóng 'ér jiē shì chū dāng shí 'é guó mín zhù zhù yì duì guì zú zì yóu zhù yì de shèng lì。
《 fù yǔ zǐ》 shì tú gé niè fū de dài biǎo zuò。 bā zhā luó fū shēn shàng jìn guǎn yòu xiá cī， dàn tā réng yǐ bù tóng fán xiǎng de yì shù gè xìng gěi rén yǐ xiān míng de yìn xiàng， zài 'é guó wén xué shǐ shàng tā shì dì yī gè 'é guó“ xīn rén” xíng xiàng， shuài xiān chuán dá chū píng mín zhī shí fènzǐ yǐ chéng wéi shēng huó zhùjué de shí dài xìn xī。
《 fù yǔ zǐ》 - chuàng zuò bèi jǐng
tú gé niè fū cóng《 bā lā suō》（ yī bā sì sān），《 dì zhù》（ yī bā sì liù） děng shī piān kāi shǐ wén xué shēng yá。 tā de《 liè rén bǐ jì》（ yī bā sì qī héng héng wǔ 'èr） de fā biǎo céng dāng zuò 'é guó wén xué shēng huó zhōng de yī jiàn dà shì。 zhè yī piān piān tè xiě， yǐ 'é guó zhōng bù dì qū de zì rán jǐng sè wéi chèn tuō， guǎng fàn dì miáo huì liǎo zhuāng yuán dì zhù hé nóng mín de shēng huó， shēn kè jiē lù liǎo dì zhù biǎo miàn shàng wén míng rén cí、 shí jì shàng chǒu 'è cán bào de běn xìng， quán shū chōng mǎn duì hán gòu shòu rǔ、 bèi shòu qī líng de láo dòng rén mín de tóng qíng。 dāng shí de jìn bù sī xiǎng jiè chēng tā shì duì nóng nú zhì de“ yī zhèn měng liè pào huǒ”， shì yī bù“ diǎn rán huǒ zhǒng de shū”。 yī bā wǔ 'èr nián tú gé niè fū yīn zhuàn wén dào niàn guǒ gē lǐ shì shì， shí zhì shàng zé yīn qí《 liè rén bǐ jì》 de shè huì sī xiǎng qīng xiàng 'ér bèi bǔ， sòng wǎng sī bā sī kē yé héng héng lǔ tuō wéi nuò fū cūn ruǎn jìn。 ruǎn jìn qī jiān tā xiě liǎo zhōng piān《 mù mù》， yǐ mǎn qiāng chóu hèn duì nóng nú zhì jìn xíng kòng sù。 wǔ shí zhì liù shí nián dài shì tā chuàng zuò zuì wàng shèng de shí qī， shì féng 'é guó shè huì yùn dòng zhú bù gāo zhǎng， tā jí shí dì fǎn yìng liǎo shè huì shēng huó de fāng fāng miàn miàn。 cháng piān《 luó tíng》（ yī bā wǔ liù），《 guì zú zhī jiā》（ yī bā wǔ jiǔ）， zhōng piān《 ā xiá》（ yī bā wǔ bā），《 duō yú rén de rì jì》（ yī bā wǔ ） zhǎn shì liǎo guì zú zhī shí fènzǐ yán yǔ tuō lí xíng dòng， lǐ lùn tuō lí shí jiàn de yī xiē diǎn xíng tè zhēng。 cháng piān《 qián yè》（ yī bā liù ） zé fǎn yìng 'é guó nóng nú zhì kuǎ tái qián xī zài 'é guó chū xiàn de jìn bù shè huì sī cháo。 zài tú gé niè fū chuàng zuò zhōng zhàn yòu zhōng xīn dì wèi de cháng piān《 fù yǔ zǐ》（ yī bā liù 'èr） kè huà liǎo liǎng zhǒng shè huì shì lì héng héng mín zhù zhù yì zhě hé zì yóu pài guì zú jiān de sī xiǎng chōng tū。
tú gé niè fū wén bǐ wǎn lì， jié gòu qiǎo miào， yǔ yán qīng xīn jiǎn jié， shēn dé dú zhě xǐ 'ài。 qí zuò pǐn hěn zǎo jiù yòu rén yì jiè， yì jiè zhě yòu lǎo yī dài zhī míng zuò jiā， yě yòu wǒ de tóng shí dài rén。 tú gé niè fū chuàng zuò《 fù yǔ zǐ》 de nà xiē nián yuè， nóng nú zhù yǐ bù zài kě néng。
《 fù yǔ zǐ》《 fù yǔ zǐ》
dàn tú gé niè fū shì gè shēn chén de xiàn shí zhù yì zuò jiā， tā bì rán bǎ lì shǐ de zhòng dà kè guān shì jiàn zhì yú shì jiè zhī nèi， bǎ zài xiàn shēng huó zuò wéi wú kě tuī xiè de zé zhí， qù sù zào fú hé shí dài de diǎn xíng。《 fù yǔ zǐ》 zhōng de bā zhā luó fū kě shuō shì shí jiǔ shì jì liù shí nián dài 'é guó mín。
bā zhā luó fū bù qū cóng rèn hé quán wēi， bù bǎ rèn hé zhǔn zé dāng zuò xìn yǎng， jí shǐ zhè zhǔn zé shì duō me shòu dào zūn zhòng。 hè 'ěr cén bǎ bā zhā luó fū de zhè zhǒng xū wú zhù yì guī jié wéi“ wán quán、 chè dǐ bǎi tuō liǎo yī qiē xiàn chéng gài niàn hé chén guī jiù sú”。 dù bó luó liú bō fū jìn yī bù rèn tóng：“ xīn rén héng héng tā shì wéi xīn zhù yì zhé xué de fǎn duì zhě， yīn wéi wéi xīn zhù yì zhé xué bǎ zhǔn zé kàn chéng gāo yú pǔ sù de shēng huó zhēn lǐ。” bā zhā luó fū duì jiè chōu xiàng fǎ dé chū de kē xué gài niàn què wú hǎo gǎn：“ zhǐ de shì shénme kē xué？ fàn fàn de kē xué má？ kē xué yī rú shǒu yì， yòu jù tǐ de mén lèi， ér fàn fàn de kē xué shì bù cún zài de。” zài cǐ tā zhǐ chéng rèn jù tǐ de kē xué， ér bǎ“ fàn fàn de kē xué” jí zhé xué chè dǐ fǒu dìng liǎo。 tā bǎ zhé xué kàn chéng shì“ làng màn zhù yì” zhé xué， fǔ xiǔ， hú shuō bā dào， yǔ làng màn zhù yì shì děng tóng gài niàn。 màn 'ēn yóu cǐ rèn wéi bā zhā luó fū de sī biàn“ cóng hēi gé 'ěr de Allgemeinneit zǒng tǐ zhōng dé dào liǎo jiě fàng”。 bā zhā luó fū rèn wéi rén de xíng wéi bù yóu chōu xiàng de、 bì xū zūn xún de zhǔn zé， ér shì yóu xiàn shí shēng huó jué dìng de：“ zǒng de shuō lái， zhǔn zé shì méi yòu de，…… zhǐ yòu gǎn jué。 yī qiēdōu qǔ jué yú gǎn jué。” bā zhā luó fū duì jī 'ěr sà nuò fū suǒ fèng zhǔn zé de kàng yì yě jiù shì mín zhù zhù yì zhě duì wéi xīn guān de kàng yì。 nà shí píng mín zhōng de mín zhù zhù yì zhě 'àn dù bó liú bō fū shuō fǎ“ bù dàn dǒng dé， ér qiě qīn shēn gǎn shòu dào， shì shàng jué duì de dōng xī shì méi yòu de， yī qiē shì wù zhǐ yòu tā de xiāng duì yì yì”， yīn cǐ tā men duàn rán“ bǎi tuō kāi jué duì lǐ niàn 'ér qù jiē jìn xiàn shí shēng huó， yòng tā men de xiàn shí guān tì dài yī qiē chōu xiàng gài niàn”。 bǎ xiǎo shuō《 fù yǔ zǐ》 zhōng fā shēng de shì jiàn xiàn dìng zài yī bā wǔ jiǔ nián zì yòu qí。
cǐ shū huò quán guó yōu xiù chàng xiāo shū jiǎng， bù xiǔ de jié zuò， yǒng yuǎn de chàng xiāo shū！
lián huán màn huà《 fù yǔ zǐ》 shì dé guó yōu mò dà shī 'āi · ào · bǔ láo 'ēn de bù xiǔ jié zuò。 zuò pǐn zhōng yī gè gè shēng dòng yōu mò de xiǎo gù shìdōu shì lái zì yú màn huà jiā zài shēng huó zhōng de zhēn shí gǎn shòu， fù yǔ zǐ shí jì shàng jiù shì kǎ láo 'ēn yǔ 'ér zǐ kè lǐ sī dì 'ān de zhēn shí xiě zhào。 yī fú fú xiǎo qiǎo jīng zhàn de huà miàn shǎn shuò zhe zhì huì zhī guāng， wú yán dì liú xiè chū chún zhēn de chì zǐ zhī qíng yǔ róng róng tiān lún zhī lè， yǒng yuǎn dì zhèn hàn zhe rén men de xīn líng。 zǎo zài 20 shì jì 30 nián dài《 fù yǔ zǐ》 biàn chuán rù wǒ guó， dàn zài zhè běn《 fù yǔ zǐ》 quán jí zhī qián guó nèi zuì duō zhǐ chū xiàn guò 150 gè《 fù yǔ zǐ》 de xiǎo gù shì， 1988 nián wǒ guó zài dé yì zhì lián bāng rén hé guó zhù huá dà shǐ jí lǐng shì de bāng zhù xià chéng gōng dì biān chéng liǎo zhè běn《 fù yǔ zǐ》 quán jí hòu， shí jǐ nián zhōng zhè běn huà cè chóngyìn liǎo shù shí wàn， shēn shòu dú zhě xǐ 'ài， 1994 nián hái bèi píng wéi quán guó yōu xiù chàng xiāo shū。
fēi cháng nán dé de shì guó nèi de xǔ duō chū bǎn shè duì wǒ men zhè gè《 fù yǔ zǐ》 quán jí de bǎn běn shí fēn gǎn cháng qù， jīng cháng yú kuài dì jiè yòng zhè gè bǎn běn。 lì rú， shān dōng de huáng hé chū bǎn shè jìng quán pán fān yìn liǎo wǒ men de《 fù yǔ zǐ》 quán jí， ér chéng dū de tiān dì chū bǎn shè jiè yòng de zhè gè bǎn běn（ cǐ wài hái jiè liǎo wǒ biān de xǔ duō qí tā de huà cè） bù dào liǎng nián jìng xiāo liǎo 10 wàn cè。 shuō zhēn de， wǒ zhēn wèicǐ gǎn dào gāo xīng， yīn wéi mó fǎng shì zuì zhēn chéng de gōng wéi， zhè xiē nián qīng de biān ji bì jìng shì zhēn xīn shí yì de zhuī suí zhě！ bù guò wǒ men de《 fù yǔ zǐ》 quán jí dào dǐ shì yuán bǎn， xì kàn bì jìng bù tóng， bù shì má？
【 biān ji diǎn píng】
dé guó zhù míng màn huà jiā 'āi · ào · bǔ láo 'ēn de lián huán màn huà《 fù yǔ zǐ》 yù mǎn tiān xià、 fēngmǐ shì jiè。《 fù yǔ zǐ》 suǒ sù zào de shàn liáng、 zhèng zhí、 kuān róng de yì shù xíng xiàng， chōng mǎn zhe zhì huì zhī guāng， liú lù chū chún zhēn de fù zǐ zhī qíng， shēn shēn dì dǎ dòng liǎo qiān bǎi wàn dú zhě de xīn， cóng 'ér shǐ bǔ láo 'ēn chéng wéi hǎi 'ēn lǐ xī · huò fū màn hé wēi lián · bù shī zhī hòu de yòu yī jù jiàng，《 fù yǔ zǐ》 bèi rén men yù wéi dé guó yōu mò de xiàng zhēng， shòu dào rén men yī zhì gāo dù de zàn yáng， shēng yù yuǎn yuǎn dì yuè chū liǎo guó jiè。
《 fù yǔ zǐ》 - yǐng shì xìn xī
jù qíng jiǎn jiè
é guó míng dǎo sū gǔ nuò fū（ AleksandrSokurov） zhí dǎo。 zhè bù diàn yǐng shì miáo shù yī duì fù zǐ zhī jiān， jì nóng liè tè shū yòu pū shuò mí lí de qíng gǎn， jí jù zhēng yì xìng hé zhèn hàn lì。
fù qīn yǔ 'ér zǐ cháng nián shēng huó zài tóng yī wū yán xià， fǎng fó yǔ shì gé jué bān chén jìn zài tā men zì jǐ de shì jiè zhōng， bèi huí yì hé rì cháng yí shì suǒ tián mǎn。 yòu shí tā men kàn qǐ lái jiù xiàng xiōng dì， yòu shí shèn zhì xiàng yī duì liàn rén。
《 fù yǔ zǐ》《 fù yǔ zǐ》
ér zǐ yà lì kè sī zǒu shàng liǎo yī tiáo hé fù qīn yī yàng de dào lù， jìn rù liǎo jūn xiào。 tā xǐ huān tǐ yù yùn dòng， hái yòu liǎo nǚ péng yǒu。 dàn shì qíng rén zhī jiān què zǒng yòu diǎn gé hé， nǚ yǒu sì hū zài 'àn 'àn jí dù yà lì kè sī yǔ fù qīn de qīn mì guān xì。
jìn guǎn yà lì kè sī xīn lǐ míng bái suǒ yòu de 'ér zǐ zǒng yòu yī tiān zhōng jiāng lí kāi fù qīn， kāi shǐ zì jǐ de shēng huó， tā de nèi xīn réng rán chōng mǎn máo dùn。
yà lì kè sī de fù qīn yě qīng chǔ tā huò xǔ yīnggāi qù lìng yī zuò chéng shì zhǎo yī fèn gèng hǎo de gōng zuò， huò zhě qǔ yī wèi xīn tài tài。 dàn shì， shuí yòu néng jiǎn qīng yà lì kè sī mèng yǎn zhōng de tòng kǔ ní？
cóng lái méi yòu nǎ duì fù yǔ zǐ zhī jiān de 'ài rú tā men zhè bān shēn hòu。
sū gǔ nuò fū qīn qíng sān bù qū xì liè diàn yǐng de dì 'èr bù， bèi shòu hǎo píng de《 mǔ yǔ zǐ》 zhī zǐ mèi piān。
běn piàn de pāi shè dì diǎn， shì 2003 nián zhèng hǎo jiàn chéng sān bǎi zhōu nián de 'é luó sī míng chéng， rú shī rú huà de shèng bǐ dé bǎo suǒ pāi shè， jí jù shī yì qiě wéi měi。
Historical context and notes
The fathers and children of the novel refers to the growing divide between the two generations of Russians, and the character Yevgeny Bazarov has been referred to as the "first Bolshevik", for his nihilism and rejection of the old order.
Turgenev wrote Fathers and Sons as a response to the growing cultural schism that he saw between liberals of the 1830s/1840s and the growing nihilist movement. Both the nihilists (the "sons") and the 1830s liberals sought Western-based social change in Russia. Additionally, these two modes of thought were contrasted with the conservative Slavophiles, who believed that Russia's path lay in its traditional spirituality.
Fathers and Sons might be regarded as the first wholly modern novel in Russian Literature (Gogol's Dead Souls, another main contender, is sometimes referred to as a poem or epic in prose as in the style of Dante's Divine Comedy). The novel introduces a dual character study, as seen with the gradual breakdown of Bazarov's and Arkady's nihilistic opposition to emotional display, especially in the case of Bazarov's love for Madame Odintsova and Fenichka. This prominent theme of character duality and deep psychological insight would exert an influence on most of the great Russian novels to come, most obviously echoed in the novels of Tolstoy and Dostoevsky.
The novel is also the first Russian work to gain prominence in the Western world, eventually gaining the approval of well established novelists Gustave Flaubert, Guy de Maupassant, and Henry James.
Major characters
* Yevgeny Vasil'evich Bazarov - A nihilist, a student of science, and is training to be a doctor. As a nihilist he is a mentor to Arkady, and a challenger to the liberal ideas of the Kirsanov brothers and the traditional Russian Orthodox feelings of his own parents.
* Arkady Nikolaevich Kirsanov - A recent graduate of St. Petersburg University and friend of Bazarov. He is also a nihilist, although his belief seems to stem from his admiration of Bazarov rather than his own conviction.
* Nikolai Petrovich Kirsanov - A landlord, a liberal democrat, Arkady’s father.
* Pavel Petrovich Kirsanov - Nikolai’s brother and a bourgeois with aristocratic pretensions, who prides himself on his refinement but like his brother is reform minded. Although he is reluctantly tolerant of the nihilism, he cannot help hating Bazarov.
* Vasily Ivanovich Bazarov - Bazarov’s father, a retired army surgeon, and a small countryside land/serf holder. Educated and enlightened, he nonetheless feels, like many of the characters, that rural isolation has left him out of touch with modern ideas. He thus retains a loyalty to traditionalist ways, manifested particularly in devotion to God and to his son Yevgeny.
* Arina Vlas'evna Bazarova - Bazarov’s mother. A very traditional woman of the 15th c. Moscovy style aristocracy: a pious follower of Orthodox Christianity, woven with folk tales and falsehoods. She loves her son deeply, but is also terrified of him and his rejection of all beliefs.
* Anna Sergeevna Odintsova - A wealthy widow who entertains the nihilist friends at her estate. Bazarov declares his love for her, but she is unable to reciprocate, both out of fear for the emotional chaos it could bring and an inability to recognize her own sentiments as love itself. Bazarov's love is a challenge to his nihilist ideal of rejection of all established order.
* Katerina (Katya) Sergeevna Lokteva - A character similar to Arkady and the younger sister of Anna. She lives comfortably with her sister but lacks confidence, finding it hard to escape Anna Sergeevna's shadow. This shyness makes her and Arkady’s love slow to realize itself.
* Fedosya (Fenichka) Nikolayevna - The daughter of Nikolai’s housekeeper, with whom he has fallen in love and fathered a child out of wedlock. The implied obstacles to their marriage are difference in class, and perhaps Nikolai's previous marriage - the burden of 'traditionalist' values.
* Viktor Sitnikov - A pompous and somewhat stupid friend of Bazarov who joins populist ideals and groups.
* Avdotya Nikitishna or Evdoksya Kukshina - An emancipated woman who lives in the town of X. Kukshina is independent but rather eccentric and incapable as a proto-feminist despite her potential.
Themes
Transgression and redemption
Bazarov (the prototypical nihilist) argues with Pavel Kirsanov (the prototypical liberal of the 1840s generation) about the nature of nihilism and usefulness to Russia in an episode which personifies the struggle between the fathers (i.e., the liberals of the 1840s) and their nihilist "sons". "Aristocratism, liberalism, progress, principles," Bazarov says. "Just think, how many foreign…and useless words!"
Bazarov tells Pavel that he will abandon nihilism when Pavel can show him "…a single institution of contemporary life, either in the family or in the social sphere, that doesn’t deserve absolute and merciless rejection." But despite this utter scorn for all things associated with traditional Russia, Bazarov still believes that there is a purpose and a value in applied science.
Human emotion and love as redemption
Bazarov's nihilism falls apart in the face of human emotions, specifically his love for Anna Odintsova. His nihilism does not account for the pain that his unrequited love causes him, and this introduces a despair that he is not capable of contending with.
Bazarov returns to his family after Odintsova rejects him. Bazarov complains to Arkady that "…they, that is, my parents, are occupied, and don't worry in the least about their own insignificance; they don't give a damn about it… While I…I feel only boredom and anger." His theory's inability to account for his emotions frustrates him and he sinks deep into boredom and ennui.
And then there is the enigmatic Anna Odintsova, a beautiful young woman of lowly origin. By virtue of having married well and been widowed young, she has inherited an exceedingly comfortable and insular life on a palatial country estate. In a letter written the same year the novel was published, Turgenev revealed that he conceived of Anna as “the representative of our idle, dreaming, curious and cold epicurean young ladies, our female nobility.” And yet, as with Bazarov, Turgenev’s fictional creation takes on a life of its own, superseding the author’s intellectual scheme to become a complex and perplexing figure.
Apparently content at the outset with her unattached life, Anna finds herself increasingly attracted to the blunt, unorthodox, highly intelligent Bazarov. She proceeds almost unwittingly to emotionally seduce the self-declared womanizer, luring him step by step in a pair of riveting, back-to-back passages to reveal his love. In the intimacy of her study, Anna confesses that she is very “unhappy,” that she has no desire to “go on,” that she longs for a “strong attachment” that is “all or nothing. A life for a life. You take mine, you give up yours, without regrets, without turning back.”
And yet, a moment after Bazarov capitulates and confesses his love, Odintsova rejects him brutally. Afterward, she is tortured, alternately blaming and excusing herself while fearing she may have thrown away a chance for genuine love. Finally she decides, “No. God knows where it might have led; one mustn’t fool around with this kind of thing.”
Conversely, Turgenev shows us Arkady and Nikolai's traditional happiness in marriage and estate management as the solution to Bazarov's cosmic despair and Anna's life of loveless comfort. (Arkady marries Anna Odintsova's sister Katya, though he was also originally in love with Anna). The height of the conflict between Bazarov and the older generation comes when Bazarov wounds Pavel in a duel. Finally, Turgenev also refutes Bazarov's "insignificance principle", i.e., the nihilist idea that life is utterly insignificant and that nothing remains after death: after leaving and then returning again to his parents, Bazarov dies of typhus. The final passage of the book portrays Bazarov's parents visiting his grave.
They walk with a heavy step, supporting each other; when they approach the railing, they fall on their knees and remain there for a long time, weeping bitterly, gazing attentively at the headstone under which their son lies buried: they exchange a few words, brush the dust off the stone, move a branch of the pine tree, and pray once again; they can’t forsake this place where they seem to feel closer to their son, to their memories of him… Can it really be that their prayers and tears are futile? Can it really be that love, sacred, devoted love is not all powerful? Oh, no!
Their love causes them to remember Bazarov: he has transcended death, but only through the love of other people. Fyodor Dostoevsky, who read Fathers and Sons and apparently appreciated Bazarov as a character, explores a similar theme with Raskolnikov's religious redemption (via the love of Christ) in Crime and Punishment.
zuò jiā yīn bù xiǔ de zuò pǐn 'ér bù xiǔ， zuò pǐn yīn yǒng shēng de rén wù 'ér yǒng shēng。 yǔ guǒ hé《 bā lí shèng mǔ yuàn》 jiù shì zhè yàng。
xióng wěi zhuàng lì de bā lí shèng mǔ yuàn , zhè zuò shì jiè shàng zuì zhuāng yán、 zuì wán měi、 zuì fù lì táng huáng de gē tè shì jiàn zhù， suī rán yǐ jīng lì liǎo bā bǎi yú nián de fēng yǔ cāng sāng， dàn qí fēi fán de qì shì hé jīng měi de diāo shì réng jiù fēng yùn yóu cún， lìng rén tàn wéi guān zhǐ。
zhěng gè bā lí shèng mǔ yuàn de jiàn zhù suī rán cuò luò cēncī， dàn què zhuāng yán、 hé xié， jué 'ào yǔ líng xiù qiǎo miào dā pèi， hún rán yī tǐ， zài hóng dà hé wēi 'é de zhù tǐ zào xíng zhōng tòu chū yī zhǒng zhuāng yán de shén shèng gǎn hé shén mì de qí huàn xìng。 zhěng gè jiàn zhù fēn wéi 3 céng， cóng zhèng miàn kàn， zuì xià yī céng shì yī zuò jiān xíng gǒng mén， zhōng jiān yī céng shì 3 shàn shuò dà de chuāng zǐ， dì sān céng shì yī cù pái liè yòu xù de měi lì de lán gān， lán gān shàng miàn shì liǎng zuò jiān dǐng de zhōng lóu， gè gāo dá 69 mǐ。 nán zhōng lóu xuán yī jù zhōng， zhòng dá 13 dūn； běi zhōng lóu zé jiàng xīn dú yùn dì tè shè liǎo yī gè 187 jí de lóu tī。 zài liǎng zuò zhōng lóu de zhōng jiān piān hòu wèi zhì shàng， bàn zhēng róng bàn wèi xǐ dì lù chū yī gè gāo dá 90 mǐ de jiān tǎ。 zhè zhōng lóu hé jiān tǎ yǔ fēn zhì yú dǐ céng gǒng mén bàng de zhū duō shèng jīng rén wù diāo xiàng、 zhōng céng chuāng zǐ bàng de yà dāng、 xià wá de diāo sù xiàng， yǐ jí nà shàn yóu 37 kuài bō lí zǔ chéng de yuán xíng jù chuāng qián miàn suǒ diāo kè de“ shèng chǔnǚ xiàng” pèi hé zài yī qǐ， xiǎn dé gāo shēn mí lí， shén mì mò cè。
bā lí shèng mǔ yuàn bù jǐn jiàn zhù shí jiān zǎo， ér qiě jiàn zhù shí jiān cháng， cóng 1163 nián dòng gōng， dào 1250 nián wán chéng， bìng zài 14 shì jì hé 17 shì jì fēn bié jìn xíng guò liǎng cì zhòng dà xiū fù。 tā de jiàn shè， jīhū qiān dòng liǎo quán bā lí、 quán fǎ guó rén de xīn。 jù shuō， nán tǎ lóu shàng nà 13 dūn zhòng de jù zhōng， zài zhù liào zhōng suǒ jiā rù de dà liàng jīn、 yín chéngfèn， jiù shì yòng dāng shí bā lí de fù nǚ men kāng kǎi 'ér qián chéng dì juān xiàn chū lái de jīn yín shǒu shì róng chéng de。 lìng wài， bā lí shèng mǔ yuàn suǒ zài de wèi zhì wéi bā lí de hé xīn， bā lí de xiān mín gāo lú héng héng héng luó mǎ rén， zuì zǎo jiù shì zài zhè lǐ jiàn lì liǎo bā lí de chéng shì chú xíng， suǒ yǐ zhì jīn jì suàn bā lí dào fǎ guó quán guó gè dì de lǐ chéng dōushì yǐ bā lí shèng mǔ yuàn wéi qǐ diǎn de。
jìn guǎn bā lí shèng mǔ yuàn yǐ qí jiàn zhù hóng wěi、 lì shǐ yōu jiǔ、 diāo sù jīng měi、 dì lǐ wèi zhì zhòng yào 'ér yíng dé liǎo yǒng jiǔ de guāng huī hé bù shuāi de shēng yù， dàn zhēn zhèng wéi zhè zuò jiàn zhù wù zēng sè fū cǎi、 tóu guāng zhù huáng de， hái dāng shǒu tuī wéi kè duō · yǔ guǒ de cháng piān xiǎo shuō《 bā lí shèng mǔ yuàn》。 yóu yú zhè bù cháng piān xiǎo shuō suǒ hán fù de jī jí de sī xiǎng yì yì、 shēn kè de shè huì nèi róng hé duì lǐ xiǎng yǔ zhèng yì de bù xiè zhuī qiú yǔ chōng jǐng， ér shǐ bā lí shèng mǔ yuàn yuǎn yuǎn chāo yuè liǎo tā zuò wéi“ jiàn zhù” hé“ jiào táng” de yì yì， ér fù yòu liǎo quán xīn de shè huì jià zhí hé sī xiǎng nèi hán， chéng wéi rén men xīn mù zhōng gé xīn yǔ bǎo shǒu、 tuò jìn yǔ tuǒ xié、 zhèng yì yǔ xié 'è、 měi huàn yǔ chǒu yǔ jìn xíng kàng zhēng bìng zhàn 'ér shèng zhī de shì jīn shí yǔ fēn shuǐ lǐng， chéng wéi xiàng shàng jīng shén de shèng dì hé xiān jìn sī xiǎng de róng lú， chéng wéi yī zhǒng duì shēng huó hé wèi lái de měi hǎo de xiàng zhēng hé jī jí de xiàng wǎng。
díquè， yǔ guǒ hé tā de《 bā lí shèng mǔ yuàn》 wéi zhè zuò shēng míng yuǎn bō de jiàn zhù píng tiān liǎo wú xiàn de huó lì yǔ mèi lì， jǔ fán lái dào zhè lǐ de rén， wú bù huái zhe duì zuò jiā rén gé xíng xiàng yǔ jīng shén qí zhì de jǐng yǎng yǔ zūn chóng。《 bā lí shèng mǔ yuàn》 zhī suǒ yǐ néng gòu wéi bā lí shèng mǔ yuàn gòu zhù jīn gǔ、 zhù zào líng hún， shǐ qí chéng wéi dào yì yǔ liáng zhī de xiàng zhēng， chéng wéi chún jié yǔ shàn liáng de suǒ zài， chéng wéi xìn yǎng yǔ zhuī qiú de jì tuō， chéng wéi duì“ è” de biān tà hé duì“ měi” de 'ōu gē de xíng xiàng huà de jiàn zhèng， jiù yīn wéi yǔ guǒ shì yī gè fēi fán de zuò jiā。 tā de fēi fán， zhù yào biǎo xiàn zài jī jí、 rè qíng、 wán qiáng、 jiān rèn， duì guó jiā、 mín zú hé rén mín chōng mǎn liǎo zé rèn xīn， yī wǎng wú qián dì tóu rù shè huì biàn gé， yòng wú xiàn de zhēn chéng hé tǎn shuài， míng biàn shì fēi hé zhī chí zhèng yì， bù gù yī qiē dì zhuī qiú zhēn lǐ。 jìn guǎn《 bā lí shèng mǔ yuàn》 shì yǔ guǒ qīng nián shí qī de zuò pǐn， chuàng zuò zhè bù cháng piān xiǎo shuō de shí hòu， yǔ guǒ hái méi yòu jīng guò zài gēn xī dǎo shàng bèi liú fàng 18 nián de“ liàn yù”， tā de sī xiǎng de shēn kè xìng hái yuǎn bù rú xiě zuò《 bēi cǎn shì jiè》、《 jiǔ sān nián》 děng zuò pǐn shí nà yàng lú huǒ chún qīng。 dàn jí shǐ zhè yàng，《 bā lí shèng mǔ yuàn》 réng jiù shì xiàn shí zhù yì wén xué chuàng zuò de yī cì jù dà hé jí fù chuàng xīn yì yì de tū pò。 wài mào chǒu lòu dàn nèi xīn shàn liáng de qiāo zhōng rén kǎ xī mò duō hé měi lì de jí bǔ sài nǚ láng 'ài sī mǐ lā dá yǐ chéng wéi bù xiǔ de wén xué xíng xiàng， ér tā suǒ dài biǎo de shè huì yì yì hé sī xiǎng yì yì， zé shǐ bā lí shèng mǔ yuàn chéng wéi yī bù yǒng yuǎn nài rén xún wèi hé hán yì wú qióng de shū。
Hugo began to write Hunchback in 1829. The agreement with his original publisher, Gosselin, was that the book would be finished that same year. However, Hugo was constantly delayed due to the demands of other projects. By the summer of 1830, Gosselin demanded the book to be completed by February 1831. And so beginning in September 1830, Hugo worked non-stop on the project; he bought a new bottle of ink, a woollen cloak, [citation needed] and cloistered himself in his room refusing to leave his house (except for nightly visits to the cathedral). The book was finished six months later.
Synopsis
The story dates back to January 6, 1482 in Paris, France, the day of the 'Festival of Fools' in Paris. Quasimodo, the deformed bell-ringer of Notre Dame, is introduced by his crowning as Pope of Fools.
Esmeralda, a beautiful Gypsy with a kind and generous heart, captures the hearts of many men but especially those of Quasimodo and his adopted father, Claude Frollo, the Archdeacon of Notre Dame. Frollo is torn between his lust and the rules of the church. He orders Quasimodo to kidnap her and then abandons him when he is caught and whipped and ordered to be tied down in the heat. Esmeralda, seeing his thirst, offers the hunchback water. It saves her, for she captures the heart of Quasimodo.
Esmeralda is later charged with the attempted murder of Phoebus, whom Frollo attempted to kill in jealousy, and is sentenced to death by hanging. Crazy with frustrated lust, Frollo has her condemned to death when she refuses to be his. As she is being led to the gallows, Quasimodo swings down by the bell rope of Notre Dame and carries her off to the cathedral under the law of sanctuary. Clopin rallies the Truands (criminals of Paris) to charge the cathedral and rescue Esmeralda. The King, seeing the chaos, vetoes the law of sanctuary and commands his troops to take Esmeralda out and kill her. When Quasimodo sees the Truands, he assumes they are there to hurt Esmeralda, so he drives them off. Frollo betrays Esmeralda by handing her to the troops and watches while she is hanged. Quasimodo pushes him from the heights of Notre Dame to his death. Quasimodo then goes to a mass grave, lies next to her corpse, crawls off to Esmeralda's tomb with his arms around her body and eventually dies of starvation. Two years later, excavationists find the skeletons of Esmeralda with a broken neck and Quasimodo locked in an embrace.
Characters
Major
* Quasimodo, the titular protagonist of the story. He is a barely verbal hunchback bell-ringer of Notre Dame. Ringing the church bells has made him deaf. When he was a hideous and abandoned baby, he was adopted by Claude Frollo. Quasimodo's life within the confines of the cathedral and his only two outlets—ringing the bells and his love and devotion for Frollo—are described. He ventures outside the Cathedral rarely, since people despise and shun him for his appearance. The notable occasions when he does leave are his taking part in the Festival of Fools—during which he is elected Fools'-Pope due to his perfect hideousness—and his subsequent attempt to kidnap Esmeralda, his rescue of Esmeralda from the gallows, his attempt to bring Phoebus to Esmeralda, and his final abandonment of the cathedral at the end of the novel. It is revealed in the story that the baby Quasimodo was left by the Gypsies in place of Esmeralda, whom they abducted.
* Esmeralda, the protagonist of the story. She is a beautiful young barefoot Gypsy dancer, innocent, close to nature, and naturally compassionate and kind. She is the center of the human drama within the story. A popular focus of the citizens' attentions, she experiences their changeable attitudes, being first adored as an entertainer, then hated as a witch, before being lauded again for her dramatic rescue by Quasimodo; when the King finally decides to put her to death, he does so in the belief that the Parisian mob want her dead. She is loved by both Quasimodo and Claude Frollo, but falls deeply in love with Captain Phoebus, a handsome military man who only has a passing infatuation with her and whom she believes will protect her. She is the only character to show the hunchback a moment of human kindness: as he is being whipped for punishment and jeered by a horrid rabble, she approaches the public stock and gives him a drink of water. Because of this, he falls fiercely in love with her, even though she is too disgusted by his ugliness even to let him kiss her hand.
* Claude Frollo is the Archdeacon of Notre Dame. Despite his celibacy vows as a priest, he finds himself madly in love with Esmeralda. He nearly murders Phoebus in a jealous rage from seeing Phoebus on top of Esmeralda. He is killed when Quasimodo pushes him off the cathedral. His dour attitude and his alchemical experiments scared and alienated him from the Parisians, who believed him a sorcerer, and so he lived without family, save for Quasimodo and his spoiled brother Jehan. He serves as the novel's main antagonist.
* Pierre Gringoire is a struggling poet. He mistakenly finds his way into the "Court of Miracles", the secret lair of the Gypsies. In order to preserve the secrecy, Gringoire must either be killed by hanging, or marry a Gypsy. Although Esmeralda does not love him, and in fact believes him a coward rather than a true man (he, unlike Phoebus, failed in his attempt to rescue her from Quasimodo), she takes pity on his plight and marries him—although, much to his disappointment, she refuses to let him touch her.
* Phoebus de Chateaupers is the Captain of the King's Archers. After he saves Esmeralda from abduction, she becomes infatuated with him, and he is intrigued by her. He is already betrothed, but just wants to lie with her. As he continues talking to and kissing her, Frollo comes from behind and stabs him. Esmeralda faints and upon waking up, finds that she has been framed with killing him. After the events of the novel, he suffers the 'tragedy' of marriage to the beautiful but spiteful Fleur-de-Lys de Gondelaurier.
* Clopin Trouillefou is the King of Truands. He rallies the Court of Miracles to rescue Esmeralda from Notre Dame after the idea is suggested by Gringoire. He is eventually killed during the attack by the King's soldiers.
Minor
* Djali (pronounced like "Jolly") is Esmeralda's pet goat. She performs tricks such as writing the word "Phoebus" in moveable letter-blocks, and tapping the number of beats to indicate the month and hour of the day. These tricks delight the citizens at first, but later horrify them, causing them to believe Esmeralda is a witch.
* Fleur-de-Lys de Gondelaurier is a beautiful and wealthy socialite engaged to Phoebus. Phoebus's attentions to Esmeralda make her insecure and jealous, and she and her friends respond by treating Esmeralda with contempt and spite. Fleur-de-Lys later neglects to inform Phoebus that Esmeralda has not been executed, which serves to deprive the pair of any further contact. Phoebus and Fleur-de-Lys marry at the end of the novel.
* Jehan Frollo is Claude Frollo's over-indulged, scallywag younger brother. He is a troublemaker and a student at the university. He is dependent on his brother for money, which he then proceeds to squander on alcohol. Quasimodo kills him during the attack on the cathedral.
* Sister Gudule, formerly named Paquette la Chantefleurie, is an anchorite, who lives in seclusion in an exposed cell in central Paris. She is tormented by the loss of her daughter Agnes, whom she believes to have been cannibalised by Gypsies as a baby, and devotes her life to mourning her. Her long-lost daughter turns out to be Esmeralda.
* Louis XI is the King of France. Appears briefly when he is brought the news of the rioting at Notre Dame.
* Tristan l'Hermite is a friend of King Louis XI. He leads the band that goes to capture Esmeralda.
* Henriet Cousin is the city executioner.
* Florian Barbedienne is the judge who sentences Quasimodo to be tortured. He is also deaf.
* Jacques Charmolue gets Esmeralda to falsely confess to killing Phoebus. He then has her executed.
Major themes
The original French title, Notre-Dame de Paris (the formal title of the Cathedral) indicates that the Cathedral itself is the most significant aspect of the novel, both the main setting and the focus of the story's themes. Nearly every event in the novel takes place in the cathedral, atop the cathedral or can be witnessed by a character standing within or atop the cathedral. The Cathedral had fallen into disrepair at the time of writing, which Hugo wanted to point out. The book portrays the Gothic era as one of extremes of architecture, passion, and religion. The theme of determinism (fate and destiny) is explored as well as revolution and social strife. The severe distinction of the social classes is shown by the relationships of Quasimodo and Esmeralda with higher-caste people in the book. Hugo is also very concerned with justice, and description of religious fanaticism.
The main theme as said in the Disney's adpatation is "Who is the Monster and who is the Man?????"
Architecture
Architecture is a major concern of Hugo's in Notre-Dame de Paris, not just as embodied in the cathedral itself, but as representing throughout Paris and the rest of Europe an artistic genre which, Hugo argued, was about to disappear with the arrival of the printing press. Claude Frollo's portentous phrase, ‘Ceci tuera cela’ ("This will kill that", as he looks from a printed book to the cathedral building), sums up this thesis, which is expounded on in Book V, chapter 2. Hugo writes that ‘quiconque naissait poète se faisait architecte’ ("whoever is born a poet becomes an architect"), arguing that while the written word was heavily censored and difficult to reproduce, architecture was extremely prominent and enjoyed considerable freedom.
Il existe à cette époque, pour la pensée écrite en pierre, un privilége tout-à-fait comparable à notre liberté actuelle de la presse. C'est la liberté de l'architecture.
There exists in this era, for thoughts written in stone, a privilege absolutely comparable to our current freedom of the press. It is the freedom of architecture.
—Book V, Chapter 2
With the recent introduction of the printing press, it became possible to reproduce one's ideas much more easily on paper, and Hugo considered this period to represent the last flowering of architecture as a great artistic form. As with many of his books, Hugo was interested in a time which seemed to him to be on the cusp between two types of society.
Literary significance and reception
The enormous popularity of the book in France spurred the nascent historical preservation movement in that country and strongly encouraged Gothic revival architecture. Ultimately it led to major renovations at Notre-Dame in the 19th century led by Eugène Viollet-le-Duc. Much of the cathedral's present appearance is a result of this renovation.
Allusions and references
Allusions to actual history, geography and current science
In The Hunchback of Notre Dame, Victor Hugo makes frequent reference to the architecture of the Cathedral of Notre Dame in Paris.
He also mentions the invention of the printing press, when the bookmaker near the beginning of the work speaks of "the German pest."
Victor Hugo lived a few homes away from Victor of Aveyron, the first well-documented feral child, although the inspiration for Quasimodo's character is not directly linked to him.
Allusions in other works
The name Quasimodo has become synonymous with "a courageous heart beneath a grotesque exterior."
Film, TV, or theatrical adaptations
To date, all of the film and TV adaptations have strayed somewhat from the original plot, some going as far as to give it a happy ending. The 1956 film is one of the only ones to end exactly like the novel, although it changes other parts of the story. Unlike most adaptations, the Disney version has the ending that's inspired by an opera created by Hugo himself.
Film
* Esmeralda (1905 film)
* The Hunchback of Notre Dame (1911 film)
* The Darling of Paris (1917 film)
* Esmeralda (1922 film)
* The Hunchback of Notre Dame (1923 film)
* The Hunchback of Notre Dame (1939 film)
* The Hunchback of Notre Dame (1956 film)
* The Hunchback of Notre Dame (1996 film)
* The Hunchback (1997 film)
* Quasimodo d'El Paris (1999 film)
* Saeed Khan Rangeela a Pakistani comedian turned director made a movie named Kubra Aashiq in 1973 inspired from The Hunchback of Notre-Dame, with himself in the lead role of Quasimodo. However it did not fulfill the expectations of the audience and literary circles also did not appreciate it.
Television
* The Hunchback of Notre Dame (1966 film)
* The Hunchback of Notre Dame (1977 film)
* The Hunchback of Notre Dame (1982 film)
* The Hunchback of Notre Dame (1986 film)
Theatre
* In 1977, an adaptation by Ken Hill was commissioned and staged by the National Theatre in London.
Music
* The Hunchback of Notre Dame by Alec R. Costandinos and the Syncophonic Orchestra from 1977, a lush orchestral disco 28 minute epic re-telling the tale of Quasimodo and Esmeralda.
Musical theatre
* Opera "La Esmeralda", by Louise Bertin (1836), libretto by Victor Hugo.
* Opera "Esmeralda", by Arthur Goring Thomas (1883) based on the Victor Hugo novel.
* Opera Esmeralda, by Dargomyzhsky (1847), also based on the same Victor Hugo novel.
* "Notre Dame", romantic Opera in two acts, text after Victor Hugo by Franz Schmidt and Leopold Wilk; composed: 1902-4, 1st perf.: Vienna 1914
* The Hunchback of Notre Dame (1993), an Off Broadway musical with music by Byron Janis, lyrics by Hal Hackady and book by Anthony Scully
* The Hunchback of Notre Dame (1993), a dramatic sung-through musical with book and lyrics by Gary Sullivan and music by John Trent Wallace. After a production at the Mermaid Theatre in London it was published by Samuel French Ltd in 1997 and has received several UK productions as well as productions in New Zealand and Australia. In 2010 it was re-written as a conventional musical, with the new title Notre Dame.
* In 1999, "Notre Dame de Paris (musical)" opened in Paris and became an instant success. It is considered the most successful adaptation of any novel except for "The Phantom of the Opera" and "Les Misérables." It was also adapted for the stage by Nicholas DeBaubien.
* From 1999 to 2002, the Disney film was adapted into a darker, more Gothic musical production called Der Glöckner von Notre Dame (translated in English as The Bellringer of Notre Dame), re-written and directed by James Lapine and produced by the Disney theatrical branch, in Berlin, Germany. A cast recording was also recorded in German. There has been discussion of an American revival of the musical.
* A rock musical version was released in Seattle, Washington in 1998 titled "Hunchback" with music and script by C. Rainey Lewis.
* A musical version, scored by Dennis DeYoung, will open in Chicago at the Bailiwick Reperatory in the summer of 2008
Ballet
* Notre-Dame de Paris A ballet choreographed by Roland Petit. First performed in 1965 at the Paris Opera.
* The Hunchback of Notre Dame (1998) – choreography and direction by Michael Pink and original music score by Philip Feeney. Currently in the repertoire of Milwaukee Ballet, Boston Ballet, Royal New Zealand Ballet, Atlanta Ballet and Colorado Ballet.
* Ringaren i Notre Dame (Swedish for The Bellringer of Notre Dame; 2009) – choreography by Pär Isberg and original music score by Stefan Nilsson. Its first performance was on 3 April 2009, by the Royal Swedish Ballet at the Royal Swedish Opera, Stockholm.
Radio
The book was twice adapted and broadcast by BBC Radio 4 as its Classic Serial:
* in 5 parts from 6 January to 3 February 1989, with Jack Klaff as Quasimodo
* in 2 parts on 30 November and 7 December 2008, with deaf actor David Bower playing Quasimodo.
Translation history
The Hunchback of Notre-Dame has been translated into English many times. Translations are often reprinted by various publisher imprints. Some translations have been revised over time.
* 1833. Translated by Frederic Shoberl as The Hunchback of Notre Dame. Later revisions.
* 1833. Translated by William Hazlitt as Notre Dame: A Tale of the Ancien Regime. Later revisions.
* 1888. Translated by Isabel F. Hapgood as Notre-Dame de Paris.
* 1895. Translated by M.W. Artois et al., part of the 28-vol The Novels of Victor Hugo, re-printed in the 20th century under other titles.
* 1964. Translated by Walter J. Cobb. In multiple editions, see for example Signet Classics ISBN 0451527887, Pub date 10 April 2001, paperback.
* 1978. Translated by John Sturrock. In multiple editions, see for example Penguin Classics ISBN 0140443533, Pub date 26 October 1978, paperback.
* 1993. Translated by Alban J. Krailsheim as Notre-Dame de Paris. See Oxford World's Classics ISBN 978-0199555802
* 2002. Revised translation by Catherine Liu of an anonymous 19th century translation. See Modern Library Classics ISBN 0679642579, Pub date 8 October 2002.
This list is incomplete; you can help by expanding it.
Quotations
* A description of Quasimodo upon his election as the fool's pope: "We shall not attempt to give the reader an idea of that tetrahedron nose- that horse-shoe mouth- that small left eye over-shadowed by a red bushy brow, while the right eye disappeared entirely under an enormous wart- of those straggling teeth with breaches here and there like the battlements of a fortress- of that horny lip, over which one of those teeth projected like the tusk of an elephant- of that forked chin- and, above all, of the expression spread over all this-that expression of mingled malice, amazement and sadness." (p. 62)
* On the connection between architecture and culture: "When a man understands the art of seeing, he can trace the spirit of an age and the features of a king even in the knocker on a door." (p. 184)
* Quasimodo's reaction to Esmeralda's gift of a drink of water while he is being heckled on the pillory: "Then from that eye, hitherto so dry and burning, was seen to roll a big tear, which fell slowly down that deformed visage so long contracted by despair. Perhaps it was the first that the unfortunate creature had ever shed." (p. 322)
* Quasimodo, explaining why he won't enter Esmeralda's cell: "The owl goes not into the nest of the lark." (p. 502)
* After Esmeralda's execution: "Quasimodo then lifted his eye to look upon the Gypsy girl, whose body, suspended from the gibbet, he beheld quivering afar, under its white robes, in the last struggles of death; then again he dropped it upon the archdeacon, stretched a shapeless mass at the foot of the tower, and he said with a sob that heaved his deep breast to the bottom, 'Oh-all that I've ever loved!'"
xióng wěi zhuàng lì de bā lí shèng mǔ yuàn , zhè zuò shì jiè shàng zuì zhuāng yán、 zuì wán měi、 zuì fù lì táng huáng de gē tè shì jiàn zhù， suī rán yǐ jīng lì liǎo bā bǎi yú nián de fēng yǔ cāng sāng， dàn qí fēi fán de qì shì hé jīng měi de diāo shì réng jiù fēng yùn yóu cún， lìng rén tàn wéi guān zhǐ。
zhěng gè bā lí shèng mǔ yuàn de jiàn zhù suī rán cuò luò cēncī， dàn què zhuāng yán、 hé xié， jué 'ào yǔ líng xiù qiǎo miào dā pèi， hún rán yī tǐ， zài hóng dà hé wēi 'é de zhù tǐ zào xíng zhōng tòu chū yī zhǒng zhuāng yán de shén shèng gǎn hé shén mì de qí huàn xìng。 zhěng gè jiàn zhù fēn wéi 3 céng， cóng zhèng miàn kàn， zuì xià yī céng shì yī zuò jiān xíng gǒng mén， zhōng jiān yī céng shì 3 shàn shuò dà de chuāng zǐ， dì sān céng shì yī cù pái liè yòu xù de měi lì de lán gān， lán gān shàng miàn shì liǎng zuò jiān dǐng de zhōng lóu， gè gāo dá 69 mǐ。 nán zhōng lóu xuán yī jù zhōng， zhòng dá 13 dūn； běi zhōng lóu zé jiàng xīn dú yùn dì tè shè liǎo yī gè 187 jí de lóu tī。 zài liǎng zuò zhōng lóu de zhōng jiān piān hòu wèi zhì shàng， bàn zhēng róng bàn wèi xǐ dì lù chū yī gè gāo dá 90 mǐ de jiān tǎ。 zhè zhōng lóu hé jiān tǎ yǔ fēn zhì yú dǐ céng gǒng mén bàng de zhū duō shèng jīng rén wù diāo xiàng、 zhōng céng chuāng zǐ bàng de yà dāng、 xià wá de diāo sù xiàng， yǐ jí nà shàn yóu 37 kuài bō lí zǔ chéng de yuán xíng jù chuāng qián miàn suǒ diāo kè de“ shèng chǔnǚ xiàng” pèi hé zài yī qǐ， xiǎn dé gāo shēn mí lí， shén mì mò cè。
bā lí shèng mǔ yuàn bù jǐn jiàn zhù shí jiān zǎo， ér qiě jiàn zhù shí jiān cháng， cóng 1163 nián dòng gōng， dào 1250 nián wán chéng， bìng zài 14 shì jì hé 17 shì jì fēn bié jìn xíng guò liǎng cì zhòng dà xiū fù。 tā de jiàn shè， jīhū qiān dòng liǎo quán bā lí、 quán fǎ guó rén de xīn。 jù shuō， nán tǎ lóu shàng nà 13 dūn zhòng de jù zhōng， zài zhù liào zhōng suǒ jiā rù de dà liàng jīn、 yín chéngfèn， jiù shì yòng dāng shí bā lí de fù nǚ men kāng kǎi 'ér qián chéng dì juān xiàn chū lái de jīn yín shǒu shì róng chéng de。 lìng wài， bā lí shèng mǔ yuàn suǒ zài de wèi zhì wéi bā lí de hé xīn， bā lí de xiān mín gāo lú héng héng héng luó mǎ rén， zuì zǎo jiù shì zài zhè lǐ jiàn lì liǎo bā lí de chéng shì chú xíng， suǒ yǐ zhì jīn jì suàn bā lí dào fǎ guó quán guó gè dì de lǐ chéng dōushì yǐ bā lí shèng mǔ yuàn wéi qǐ diǎn de。
jìn guǎn bā lí shèng mǔ yuàn yǐ qí jiàn zhù hóng wěi、 lì shǐ yōu jiǔ、 diāo sù jīng měi、 dì lǐ wèi zhì zhòng yào 'ér yíng dé liǎo yǒng jiǔ de guāng huī hé bù shuāi de shēng yù， dàn zhēn zhèng wéi zhè zuò jiàn zhù wù zēng sè fū cǎi、 tóu guāng zhù huáng de， hái dāng shǒu tuī wéi kè duō · yǔ guǒ de cháng piān xiǎo shuō《 bā lí shèng mǔ yuàn》。 yóu yú zhè bù cháng piān xiǎo shuō suǒ hán fù de jī jí de sī xiǎng yì yì、 shēn kè de shè huì nèi róng hé duì lǐ xiǎng yǔ zhèng yì de bù xiè zhuī qiú yǔ chōng jǐng， ér shǐ bā lí shèng mǔ yuàn yuǎn yuǎn chāo yuè liǎo tā zuò wéi“ jiàn zhù” hé“ jiào táng” de yì yì， ér fù yòu liǎo quán xīn de shè huì jià zhí hé sī xiǎng nèi hán， chéng wéi rén men xīn mù zhōng gé xīn yǔ bǎo shǒu、 tuò jìn yǔ tuǒ xié、 zhèng yì yǔ xié 'è、 měi huàn yǔ chǒu yǔ jìn xíng kàng zhēng bìng zhàn 'ér shèng zhī de shì jīn shí yǔ fēn shuǐ lǐng， chéng wéi xiàng shàng jīng shén de shèng dì hé xiān jìn sī xiǎng de róng lú， chéng wéi yī zhǒng duì shēng huó hé wèi lái de měi hǎo de xiàng zhēng hé jī jí de xiàng wǎng。
díquè， yǔ guǒ hé tā de《 bā lí shèng mǔ yuàn》 wéi zhè zuò shēng míng yuǎn bō de jiàn zhù píng tiān liǎo wú xiàn de huó lì yǔ mèi lì， jǔ fán lái dào zhè lǐ de rén， wú bù huái zhe duì zuò jiā rén gé xíng xiàng yǔ jīng shén qí zhì de jǐng yǎng yǔ zūn chóng。《 bā lí shèng mǔ yuàn》 zhī suǒ yǐ néng gòu wéi bā lí shèng mǔ yuàn gòu zhù jīn gǔ、 zhù zào líng hún， shǐ qí chéng wéi dào yì yǔ liáng zhī de xiàng zhēng， chéng wéi chún jié yǔ shàn liáng de suǒ zài， chéng wéi xìn yǎng yǔ zhuī qiú de jì tuō， chéng wéi duì“ è” de biān tà hé duì“ měi” de 'ōu gē de xíng xiàng huà de jiàn zhèng， jiù yīn wéi yǔ guǒ shì yī gè fēi fán de zuò jiā。 tā de fēi fán， zhù yào biǎo xiàn zài jī jí、 rè qíng、 wán qiáng、 jiān rèn， duì guó jiā、 mín zú hé rén mín chōng mǎn liǎo zé rèn xīn， yī wǎng wú qián dì tóu rù shè huì biàn gé， yòng wú xiàn de zhēn chéng hé tǎn shuài， míng biàn shì fēi hé zhī chí zhèng yì， bù gù yī qiē dì zhuī qiú zhēn lǐ。 jìn guǎn《 bā lí shèng mǔ yuàn》 shì yǔ guǒ qīng nián shí qī de zuò pǐn， chuàng zuò zhè bù cháng piān xiǎo shuō de shí hòu， yǔ guǒ hái méi yòu jīng guò zài gēn xī dǎo shàng bèi liú fàng 18 nián de“ liàn yù”， tā de sī xiǎng de shēn kè xìng hái yuǎn bù rú xiě zuò《 bēi cǎn shì jiè》、《 jiǔ sān nián》 děng zuò pǐn shí nà yàng lú huǒ chún qīng。 dàn jí shǐ zhè yàng，《 bā lí shèng mǔ yuàn》 réng jiù shì xiàn shí zhù yì wén xué chuàng zuò de yī cì jù dà hé jí fù chuàng xīn yì yì de tū pò。 wài mào chǒu lòu dàn nèi xīn shàn liáng de qiāo zhōng rén kǎ xī mò duō hé měi lì de jí bǔ sài nǚ láng 'ài sī mǐ lā dá yǐ chéng wéi bù xiǔ de wén xué xíng xiàng， ér tā suǒ dài biǎo de shè huì yì yì hé sī xiǎng yì yì， zé shǐ bā lí shèng mǔ yuàn chéng wéi yī bù yǒng yuǎn nài rén xún wèi hé hán yì wú qióng de shū。
Hugo began to write Hunchback in 1829. The agreement with his original publisher, Gosselin, was that the book would be finished that same year. However, Hugo was constantly delayed due to the demands of other projects. By the summer of 1830, Gosselin demanded the book to be completed by February 1831. And so beginning in September 1830, Hugo worked non-stop on the project; he bought a new bottle of ink, a woollen cloak, [citation needed] and cloistered himself in his room refusing to leave his house (except for nightly visits to the cathedral). The book was finished six months later.
Synopsis
The story dates back to January 6, 1482 in Paris, France, the day of the 'Festival of Fools' in Paris. Quasimodo, the deformed bell-ringer of Notre Dame, is introduced by his crowning as Pope of Fools.
Esmeralda, a beautiful Gypsy with a kind and generous heart, captures the hearts of many men but especially those of Quasimodo and his adopted father, Claude Frollo, the Archdeacon of Notre Dame. Frollo is torn between his lust and the rules of the church. He orders Quasimodo to kidnap her and then abandons him when he is caught and whipped and ordered to be tied down in the heat. Esmeralda, seeing his thirst, offers the hunchback water. It saves her, for she captures the heart of Quasimodo.
Esmeralda is later charged with the attempted murder of Phoebus, whom Frollo attempted to kill in jealousy, and is sentenced to death by hanging. Crazy with frustrated lust, Frollo has her condemned to death when she refuses to be his. As she is being led to the gallows, Quasimodo swings down by the bell rope of Notre Dame and carries her off to the cathedral under the law of sanctuary. Clopin rallies the Truands (criminals of Paris) to charge the cathedral and rescue Esmeralda. The King, seeing the chaos, vetoes the law of sanctuary and commands his troops to take Esmeralda out and kill her. When Quasimodo sees the Truands, he assumes they are there to hurt Esmeralda, so he drives them off. Frollo betrays Esmeralda by handing her to the troops and watches while she is hanged. Quasimodo pushes him from the heights of Notre Dame to his death. Quasimodo then goes to a mass grave, lies next to her corpse, crawls off to Esmeralda's tomb with his arms around her body and eventually dies of starvation. Two years later, excavationists find the skeletons of Esmeralda with a broken neck and Quasimodo locked in an embrace.
Characters
Major
* Quasimodo, the titular protagonist of the story. He is a barely verbal hunchback bell-ringer of Notre Dame. Ringing the church bells has made him deaf. When he was a hideous and abandoned baby, he was adopted by Claude Frollo. Quasimodo's life within the confines of the cathedral and his only two outlets—ringing the bells and his love and devotion for Frollo—are described. He ventures outside the Cathedral rarely, since people despise and shun him for his appearance. The notable occasions when he does leave are his taking part in the Festival of Fools—during which he is elected Fools'-Pope due to his perfect hideousness—and his subsequent attempt to kidnap Esmeralda, his rescue of Esmeralda from the gallows, his attempt to bring Phoebus to Esmeralda, and his final abandonment of the cathedral at the end of the novel. It is revealed in the story that the baby Quasimodo was left by the Gypsies in place of Esmeralda, whom they abducted.
* Esmeralda, the protagonist of the story. She is a beautiful young barefoot Gypsy dancer, innocent, close to nature, and naturally compassionate and kind. She is the center of the human drama within the story. A popular focus of the citizens' attentions, she experiences their changeable attitudes, being first adored as an entertainer, then hated as a witch, before being lauded again for her dramatic rescue by Quasimodo; when the King finally decides to put her to death, he does so in the belief that the Parisian mob want her dead. She is loved by both Quasimodo and Claude Frollo, but falls deeply in love with Captain Phoebus, a handsome military man who only has a passing infatuation with her and whom she believes will protect her. She is the only character to show the hunchback a moment of human kindness: as he is being whipped for punishment and jeered by a horrid rabble, she approaches the public stock and gives him a drink of water. Because of this, he falls fiercely in love with her, even though she is too disgusted by his ugliness even to let him kiss her hand.
* Claude Frollo is the Archdeacon of Notre Dame. Despite his celibacy vows as a priest, he finds himself madly in love with Esmeralda. He nearly murders Phoebus in a jealous rage from seeing Phoebus on top of Esmeralda. He is killed when Quasimodo pushes him off the cathedral. His dour attitude and his alchemical experiments scared and alienated him from the Parisians, who believed him a sorcerer, and so he lived without family, save for Quasimodo and his spoiled brother Jehan. He serves as the novel's main antagonist.
* Pierre Gringoire is a struggling poet. He mistakenly finds his way into the "Court of Miracles", the secret lair of the Gypsies. In order to preserve the secrecy, Gringoire must either be killed by hanging, or marry a Gypsy. Although Esmeralda does not love him, and in fact believes him a coward rather than a true man (he, unlike Phoebus, failed in his attempt to rescue her from Quasimodo), she takes pity on his plight and marries him—although, much to his disappointment, she refuses to let him touch her.
* Phoebus de Chateaupers is the Captain of the King's Archers. After he saves Esmeralda from abduction, she becomes infatuated with him, and he is intrigued by her. He is already betrothed, but just wants to lie with her. As he continues talking to and kissing her, Frollo comes from behind and stabs him. Esmeralda faints and upon waking up, finds that she has been framed with killing him. After the events of the novel, he suffers the 'tragedy' of marriage to the beautiful but spiteful Fleur-de-Lys de Gondelaurier.
* Clopin Trouillefou is the King of Truands. He rallies the Court of Miracles to rescue Esmeralda from Notre Dame after the idea is suggested by Gringoire. He is eventually killed during the attack by the King's soldiers.
Minor
* Djali (pronounced like "Jolly") is Esmeralda's pet goat. She performs tricks such as writing the word "Phoebus" in moveable letter-blocks, and tapping the number of beats to indicate the month and hour of the day. These tricks delight the citizens at first, but later horrify them, causing them to believe Esmeralda is a witch.
* Fleur-de-Lys de Gondelaurier is a beautiful and wealthy socialite engaged to Phoebus. Phoebus's attentions to Esmeralda make her insecure and jealous, and she and her friends respond by treating Esmeralda with contempt and spite. Fleur-de-Lys later neglects to inform Phoebus that Esmeralda has not been executed, which serves to deprive the pair of any further contact. Phoebus and Fleur-de-Lys marry at the end of the novel.
* Jehan Frollo is Claude Frollo's over-indulged, scallywag younger brother. He is a troublemaker and a student at the university. He is dependent on his brother for money, which he then proceeds to squander on alcohol. Quasimodo kills him during the attack on the cathedral.
* Sister Gudule, formerly named Paquette la Chantefleurie, is an anchorite, who lives in seclusion in an exposed cell in central Paris. She is tormented by the loss of her daughter Agnes, whom she believes to have been cannibalised by Gypsies as a baby, and devotes her life to mourning her. Her long-lost daughter turns out to be Esmeralda.
* Louis XI is the King of France. Appears briefly when he is brought the news of the rioting at Notre Dame.
* Tristan l'Hermite is a friend of King Louis XI. He leads the band that goes to capture Esmeralda.
* Henriet Cousin is the city executioner.
* Florian Barbedienne is the judge who sentences Quasimodo to be tortured. He is also deaf.
* Jacques Charmolue gets Esmeralda to falsely confess to killing Phoebus. He then has her executed.
Major themes
The original French title, Notre-Dame de Paris (the formal title of the Cathedral) indicates that the Cathedral itself is the most significant aspect of the novel, both the main setting and the focus of the story's themes. Nearly every event in the novel takes place in the cathedral, atop the cathedral or can be witnessed by a character standing within or atop the cathedral. The Cathedral had fallen into disrepair at the time of writing, which Hugo wanted to point out. The book portrays the Gothic era as one of extremes of architecture, passion, and religion. The theme of determinism (fate and destiny) is explored as well as revolution and social strife. The severe distinction of the social classes is shown by the relationships of Quasimodo and Esmeralda with higher-caste people in the book. Hugo is also very concerned with justice, and description of religious fanaticism.
The main theme as said in the Disney's adpatation is "Who is the Monster and who is the Man?????"
Architecture
Architecture is a major concern of Hugo's in Notre-Dame de Paris, not just as embodied in the cathedral itself, but as representing throughout Paris and the rest of Europe an artistic genre which, Hugo argued, was about to disappear with the arrival of the printing press. Claude Frollo's portentous phrase, ‘Ceci tuera cela’ ("This will kill that", as he looks from a printed book to the cathedral building), sums up this thesis, which is expounded on in Book V, chapter 2. Hugo writes that ‘quiconque naissait poète se faisait architecte’ ("whoever is born a poet becomes an architect"), arguing that while the written word was heavily censored and difficult to reproduce, architecture was extremely prominent and enjoyed considerable freedom.
Il existe à cette époque, pour la pensée écrite en pierre, un privilége tout-à-fait comparable à notre liberté actuelle de la presse. C'est la liberté de l'architecture.
There exists in this era, for thoughts written in stone, a privilege absolutely comparable to our current freedom of the press. It is the freedom of architecture.
—Book V, Chapter 2
With the recent introduction of the printing press, it became possible to reproduce one's ideas much more easily on paper, and Hugo considered this period to represent the last flowering of architecture as a great artistic form. As with many of his books, Hugo was interested in a time which seemed to him to be on the cusp between two types of society.
Literary significance and reception
The enormous popularity of the book in France spurred the nascent historical preservation movement in that country and strongly encouraged Gothic revival architecture. Ultimately it led to major renovations at Notre-Dame in the 19th century led by Eugène Viollet-le-Duc. Much of the cathedral's present appearance is a result of this renovation.
Allusions and references
Allusions to actual history, geography and current science
In The Hunchback of Notre Dame, Victor Hugo makes frequent reference to the architecture of the Cathedral of Notre Dame in Paris.
He also mentions the invention of the printing press, when the bookmaker near the beginning of the work speaks of "the German pest."
Victor Hugo lived a few homes away from Victor of Aveyron, the first well-documented feral child, although the inspiration for Quasimodo's character is not directly linked to him.
Allusions in other works
The name Quasimodo has become synonymous with "a courageous heart beneath a grotesque exterior."
Film, TV, or theatrical adaptations
To date, all of the film and TV adaptations have strayed somewhat from the original plot, some going as far as to give it a happy ending. The 1956 film is one of the only ones to end exactly like the novel, although it changes other parts of the story. Unlike most adaptations, the Disney version has the ending that's inspired by an opera created by Hugo himself.
Film
* Esmeralda (1905 film)
* The Hunchback of Notre Dame (1911 film)
* The Darling of Paris (1917 film)
* Esmeralda (1922 film)
* The Hunchback of Notre Dame (1923 film)
* The Hunchback of Notre Dame (1939 film)
* The Hunchback of Notre Dame (1956 film)
* The Hunchback of Notre Dame (1996 film)
* The Hunchback (1997 film)
* Quasimodo d'El Paris (1999 film)
* Saeed Khan Rangeela a Pakistani comedian turned director made a movie named Kubra Aashiq in 1973 inspired from The Hunchback of Notre-Dame, with himself in the lead role of Quasimodo. However it did not fulfill the expectations of the audience and literary circles also did not appreciate it.
Television
* The Hunchback of Notre Dame (1966 film)
* The Hunchback of Notre Dame (1977 film)
* The Hunchback of Notre Dame (1982 film)
* The Hunchback of Notre Dame (1986 film)
Theatre
* In 1977, an adaptation by Ken Hill was commissioned and staged by the National Theatre in London.
Music
* The Hunchback of Notre Dame by Alec R. Costandinos and the Syncophonic Orchestra from 1977, a lush orchestral disco 28 minute epic re-telling the tale of Quasimodo and Esmeralda.
Musical theatre
* Opera "La Esmeralda", by Louise Bertin (1836), libretto by Victor Hugo.
* Opera "Esmeralda", by Arthur Goring Thomas (1883) based on the Victor Hugo novel.
* Opera Esmeralda, by Dargomyzhsky (1847), also based on the same Victor Hugo novel.
* "Notre Dame", romantic Opera in two acts, text after Victor Hugo by Franz Schmidt and Leopold Wilk; composed: 1902-4, 1st perf.: Vienna 1914
* The Hunchback of Notre Dame (1993), an Off Broadway musical with music by Byron Janis, lyrics by Hal Hackady and book by Anthony Scully
* The Hunchback of Notre Dame (1993), a dramatic sung-through musical with book and lyrics by Gary Sullivan and music by John Trent Wallace. After a production at the Mermaid Theatre in London it was published by Samuel French Ltd in 1997 and has received several UK productions as well as productions in New Zealand and Australia. In 2010 it was re-written as a conventional musical, with the new title Notre Dame.
* In 1999, "Notre Dame de Paris (musical)" opened in Paris and became an instant success. It is considered the most successful adaptation of any novel except for "The Phantom of the Opera" and "Les Misérables." It was also adapted for the stage by Nicholas DeBaubien.
* From 1999 to 2002, the Disney film was adapted into a darker, more Gothic musical production called Der Glöckner von Notre Dame (translated in English as The Bellringer of Notre Dame), re-written and directed by James Lapine and produced by the Disney theatrical branch, in Berlin, Germany. A cast recording was also recorded in German. There has been discussion of an American revival of the musical.
* A rock musical version was released in Seattle, Washington in 1998 titled "Hunchback" with music and script by C. Rainey Lewis.
* A musical version, scored by Dennis DeYoung, will open in Chicago at the Bailiwick Reperatory in the summer of 2008
Ballet
* Notre-Dame de Paris A ballet choreographed by Roland Petit. First performed in 1965 at the Paris Opera.
* The Hunchback of Notre Dame (1998) – choreography and direction by Michael Pink and original music score by Philip Feeney. Currently in the repertoire of Milwaukee Ballet, Boston Ballet, Royal New Zealand Ballet, Atlanta Ballet and Colorado Ballet.
* Ringaren i Notre Dame (Swedish for The Bellringer of Notre Dame; 2009) – choreography by Pär Isberg and original music score by Stefan Nilsson. Its first performance was on 3 April 2009, by the Royal Swedish Ballet at the Royal Swedish Opera, Stockholm.
Radio
The book was twice adapted and broadcast by BBC Radio 4 as its Classic Serial:
* in 5 parts from 6 January to 3 February 1989, with Jack Klaff as Quasimodo
* in 2 parts on 30 November and 7 December 2008, with deaf actor David Bower playing Quasimodo.
Translation history
The Hunchback of Notre-Dame has been translated into English many times. Translations are often reprinted by various publisher imprints. Some translations have been revised over time.
* 1833. Translated by Frederic Shoberl as The Hunchback of Notre Dame. Later revisions.
* 1833. Translated by William Hazlitt as Notre Dame: A Tale of the Ancien Regime. Later revisions.
* 1888. Translated by Isabel F. Hapgood as Notre-Dame de Paris.
* 1895. Translated by M.W. Artois et al., part of the 28-vol The Novels of Victor Hugo, re-printed in the 20th century under other titles.
* 1964. Translated by Walter J. Cobb. In multiple editions, see for example Signet Classics ISBN 0451527887, Pub date 10 April 2001, paperback.
* 1978. Translated by John Sturrock. In multiple editions, see for example Penguin Classics ISBN 0140443533, Pub date 26 October 1978, paperback.
* 1993. Translated by Alban J. Krailsheim as Notre-Dame de Paris. See Oxford World's Classics ISBN 978-0199555802
* 2002. Revised translation by Catherine Liu of an anonymous 19th century translation. See Modern Library Classics ISBN 0679642579, Pub date 8 October 2002.
This list is incomplete; you can help by expanding it.
Quotations
* A description of Quasimodo upon his election as the fool's pope: "We shall not attempt to give the reader an idea of that tetrahedron nose- that horse-shoe mouth- that small left eye over-shadowed by a red bushy brow, while the right eye disappeared entirely under an enormous wart- of those straggling teeth with breaches here and there like the battlements of a fortress- of that horny lip, over which one of those teeth projected like the tusk of an elephant- of that forked chin- and, above all, of the expression spread over all this-that expression of mingled malice, amazement and sadness." (p. 62)
* On the connection between architecture and culture: "When a man understands the art of seeing, he can trace the spirit of an age and the features of a king even in the knocker on a door." (p. 184)
* Quasimodo's reaction to Esmeralda's gift of a drink of water while he is being heckled on the pillory: "Then from that eye, hitherto so dry and burning, was seen to roll a big tear, which fell slowly down that deformed visage so long contracted by despair. Perhaps it was the first that the unfortunate creature had ever shed." (p. 322)
* Quasimodo, explaining why he won't enter Esmeralda's cell: "The owl goes not into the nest of the lark." (p. 502)
* After Esmeralda's execution: "Quasimodo then lifted his eye to look upon the Gypsy girl, whose body, suspended from the gibbet, he beheld quivering afar, under its white robes, in the last struggles of death; then again he dropped it upon the archdeacon, stretched a shapeless mass at the foot of the tower, and he said with a sob that heaved his deep breast to the bottom, 'Oh-all that I've ever loved!'"
《 yuán shì wù yǔ》 kě fēn wéi liǎng dà bù fēn： qián 44 huí xiě yuán shì jí xiǎng róng huá， bàn suí zhe gǎn qíng jiū gé de yī shēng。 zhè shì zuò pǐn de zhōng xīn nèi róng。 hòu 10 huí xiě yuán shì zhī zǐ xūn ( shí wéi sān gōng zhù hé bǎi mù dàjiàng de sī shēng zǐ ) yǔ yǔ zhì shān zhuāng nǚ zǐ zhī jiàncuò zōng de 'ài qíng gù shì。 xiǎo shuō lì jīng 4 dài tiān huáng、 kuà yuè 70 duō gè nián tóu， dēng chǎng rén wù shù yǐ bǎi jì， jǐn zhù yào rén wù jiù yòu jǐ shí rén zhī duō。
gù shì kāi shǐ yú tóng hú dì zài wèi de shí hòu。 chū shēn dī wēi de gēngyī， dú dé tóng hú dì de chǒng 'ài。 hòu cǐ gēngyī shēng xià yī wèi huáng zǐ， qí tā pín fēi， yóu qí shì hóng huī diàn nǚ yù yě yù jiā jì hèn。 gēngyī bù kān líng rǔ zhé mó， shēng zǐ bù dào 3 nián， biàn yì yù 'ér wáng。 xiǎo huáng zǐ méi yòu qiáng dà de wài qī zuò kào shān， hěn nán zài gōng zhōng lì zú。 tóng hú dì bù dé yǐ jiāng qí jiàng wéi chén jí， cì xìng yuán shì。 yuán shì bù jǐn mào měi jīng rén， ér qiě cái huá héng yì。 12 suì xíng guànlǐ hòu， qǔ dāng quán de zuǒ dà chén zhī nǚ kuí jī wéi qī， dàn kuí jī bùsuí yuán shì de yì。 yú shì yuán shì zhuī qiú tóng hú dì xù qǔ de nǚ yù téng hú， jù shuō nǚ yù kù xiào yuán shì shēng mǔ。 bù jiǔ， liǎng rén fā shēng luàn lún guān xì， shēng xià yī zǐ， hòu lái jí wèi chēng lěng quán dì。 yuán shì dào chù tōu xiāng qiè yù， qiáng xíng zhàn yòu liǎo yī yù jiè de hòu qī kōng chán， hái xiàng bǐ tā dà 7 suì de shěn mǔ liù tiáo fēi zǐ qiú huān， bìng tóng shí niǎn zhuǎn zài huā sàn lǐ、 mò zhāi huā děng zhòng nǚ zǐ zhī jiān。 dāng tā jié chí yī wèi bù míng shēn fēn de ruò nǚ zǐ xī yán qù huāng wū yōu huì shí， zhè nǚ zǐ bù xìng bào wáng， yuán shì wèicǐ dà bìng yīcháng， bìng yù jìn xiāng shí yù dào yī gè kù sì zì jǐ rì sī yè xiǎng 'ér bù dé xiāng jiàn de téng hú de nǚ hái， dé zhī tā shì téng hú nǚ yù de zhí nǚ， míng jiào zǐ jī， jiù chèn zǐ jī shú shuì bǎ tā dài huí jiā zhōng， shōu wéi yǎng nǚ， zhāoxī xiāng bàn， yǐ jì tuō duì téng hú de sī mù。 jǐ nián hòu zǐ jī chū luò dé tíng tíng yù lì， gāo guì yōu yǎ， cái yì chāo zhòng， shí fēn kě rén。 yuán shì biàn bǎ tā jù wéi jǐ yòu。 kuí jī yīn liù tiáo fēi zǐ shēng hún fù tǐ guò shì hòu， zǐ jī bèi fú wéi zhèng fū rén。
tóng hú dì tuì wèi yǐ hòu， yòu dà chén hóng huī diàn nǚ yù de 'ér zǐ dēng shàng huáng wèi（ zhū què dì）， yuán shì jí yuè fù zuǒ dà chén yī pài cóng cǐ shī shì。 qià qiǎo yuán shì yǔ yòu dà chén nǚ 'ér lóng yuè yè tōu qíng zhī shì bài lù， yuán shì zì jué 'è yùn lín tóu， biàn yuǎn lí jīng chéng， dào huāng liáng shǎo rén de xū mó、 míng shí yǐn jū。 wéi pái qiǎn jì mò， yǔ míng shí dào rén de nǚ 'ér míng shí jī jié hé， hòu shēng yī nǚ， bèi xuǎn rù gōng zhōng zuò liǎo huáng hòu。
yóu yú tiān jiàng yì zhào， zhū què dì yòu zhòng bìng zài shēn， cháo zhèng bù wěn。 yuán shì fèng zhào huí jīng fǔ zuǒ cháo tíng。 bù jiǔ， zhū què dì ràng wèi gěi lěng quán dì。 yuán shì shēng rèn tài zhèng dà chén， yuán shì jí zuǒ dà chén yī mén huī fù liǎo wǎng rì de fán huá qì pài。 yuán shì jiàn zào liǎo jí sì jì jǐng wù wéi yī tǐ、 wèi wéi zhuàng guān de liù tiáo yuàn yù suǒ， jiāng xī rì liàn rén tǒng tǒng jiē dào yuàn lǐ lái zhù。 yuán shì jìn 40 suì shí， jiāng zhū què dì zhī nǚ sān gōng zhù nà wéi zhèng qī， zǐ jī zhōng yīn xīn lì jiāo cuì， bìng wò zài chuáng。 zǎo yǐ kǎi yú sān gōng zhù měi mào de tóu zhōngjiàng zhī zǐ bǎi mù chèn yuán shì tàn bìng de jī huì， yǔ sān gōng zhù yōu huì， bèi yuán shì fā xiàn。 bǎi mù jù huǐ jiāo jiā， yī bìng bù qǐ， yīng nián yāo zhé。 sān gōng zhù shēng xià róng mào yǔ bǎi mù háo wú 'èr zhì de sī shēng zǐ xūn hòu， luò fā wéi ní。 yuán shì shēn gǎn zì jǐ hé téng hú luàn lún zhī zuì de bào yìng lín tóu， xīn rú sǐ huī。 qià qiǎo zǐ jī bù jiǔ yòu shì， yuán shì shī qù liǎo jīng shén zhī zhù， liǎo duàn chén yuán， yǐn dùn chū jiā。 jǐ nián hòu sǐ qù。
yuán shì zhī zǐ xūn shēng xìng yán jǐn。 20 suì lái dào yǔ zhì shān zhuāng 'ài shàng liǎo zhuāng zhù bā qīn wáng de dà nǚ gōng zǐ， bù liào zāo dào jù jué。 dà nǚ gōng zǐ bìng gù hòu， tā xún huí wài mào kù xiào dà nǚ gōng zǐ de bā qīn wáng de sī shēng nǚ fú zhōu， tián bǔ xīn líng de kòngbái。 kě shì yòu rén shēn yè chuǎng rù fú zhōu wò fáng， jiǎ mào xūn de shēng yīn， zhàn yòu liǎo fú zhōu。 dāng fú zhōu yì shí dào zì jǐ yī shēn shì 'èr zhù hòu， yì rán tiào shuǐ zì jìn， bèi rén jiù qǐ hòu xuē fā chū jiā。 jìn guǎn xūn yī wǎng qíng shēn， duō cì shào xìn， yǐ qiú yī jiàn， dàn zhōng wèi liǎo cǐ xīn yuàn。
《 yuán shì wù yǔ》 - zuò zhě jiǎn jiè
zuò zhě zǐ shì bù， běn xìng téng yuán， yuán míng bù xiáng。 yīn qí cháng xiōng rèn shì bù chéng， gù chēng wéi téng shì bù， zhè shì gōng lǐ nǚ guān zhōng de yī zhǒng shí shàng， tā men wǎng wǎng yǐ fù xiōng de guān xián wéi míng， yǐ shì shēn fèn； hòu lái tā xiě chéng《 yuán shì wù yǔ》， shū zhōng nǚ zhù rén gōng zǐ jī wéi shì rén chuán sòng， suì yòu chēng zuò zǐ shì bù。 zuò zhě shēng zú nián yuè yě wú fǎ xiáng kǎo， dà yuē shì shēng yú jiǔ qī bā nián， mò yú yī yī wǔ nián。 zǐ shì bù chū shēn zhōng céng guì zú， shì shū xiāng mén dì de cái nǚ， zēngzǔ fù、 zǔ fù、 bó fù hé xiōng cháng dōushì yòu míng de gē rén， fù qīn jiān cháng hàn shī、 hègē， duì zhōng guó gǔ diǎn wén xué pō yòu yán jiū。 zuò zhě zì yòu suí fù xué xí hàn shī， shú dú zhōng guó gǔ dài wén xiàn， tè bié shì duì bái jū yì de shī yòu jiào shēn de zào yì。
cǐ wài， tā hái shí fēn shú xī yīnyuè hé fó jīng。 bù xìng jiā dào zhōng luò， tā jià gěi liǎo yī gè bǐ tā niánzhǎng 'èr shí duō suì de dì fāng guān téng yuán xuān xiào， hūn hòu bù jiǔ， zhàng fū qù shì， tā guò zhe gū kǔ de shuāng jū shēng huó。 hòu lái yīngdāng shí tǒng zhì zhě téng yuán dào cháng zhī zhào， rù gōng chōng dāng yī tiáo zhāng zǐ huáng hòu de nǚ guān， gěi zhāng zǐ jiǎng jiě《 rì běn shū jì》 hé bái jū yì de shī zuò， yòu jī huì zhí jiē jiē chù gōng tíng de shēng huó， duì fù nǚ de bù xìng hé gōng tíng de nèi mù yòu liǎo quán miàn de liǎo jiě， duì guì zú jiē jí de mòluò qīng xiàng yě yòu suǒ gǎn shòu。 zhè xiē dū wéi tā de chuàng zuò tí gōng liǎo yì shù gòu sī de guǎng kuò tiān dì hé jiān shí de shēng huó jī chǔ。
《 yuán shì wù yǔ》 - zuò pǐn zhù tí
cháng piān xiě shí xiǎo shuō《 yuán shì wù yǔ》 jìn rùn zhe nóng hòu de fó jiào sè cǎi， tòu guò guāng yuán shì shēn shì、 yòng shì、 wán shì、 chāo shì zhī kǔ， yìng shè chū“ sì dà jiē kōng” de fó xué guān niàn。 dàn tā bìng bù shì yī bù xuān chuán zōng jiào jiào yì de zōng jiào xìng wén xué zuò pǐn， tā sī xiǎng shàng de zhēn zhèng jià zhí zài yú zhǎn shì liǎo píng 'ān wáng cháo de gōng tíng háo huá shē chǐ、 fǔ xiǔ yín luàn de shēng huó， fǎn yìng liǎo guì zú jiē jí rén yǔ rén zhī jiān zhēng quán duó shì、 hù xiāng qīngyà de rén jì guān xì， bào lù liǎo guì zú shè huì mén dì wéi zhòng、 nán zūn nǚ bēi de bù píng děng de shè huì xiàn xiàng。 zhè jiù cóng kè guān shàng yù shì liǎo jiù guì zú jiē jí bì rán bēng kuì、 miè wáng de qū shì。 yīn cǐ， jù yòu yī dìng de rèn shí jià zhí hé sī xiǎng yì yì。
yì shù chéng jiù《 yuán shì wù yǔ》 yì shù shàng zuì dà de chéng gōng zhī chù shì sù zào liǎo yuán shì jí zhòng duō nǚ xìng xíng xiàng， bìng tōng guò zhè xiē xíng xiàng fǎn yìng liǎo wù 'āi、 yōu qíng děng shěn měi yì xiàng。
《 yuán shì wù yǔ》 - xiě zuò bèi jǐng
《 yuán shì wù yǔ》 chǎn shēng de shí dài， shì téng yuán dào cháng zhí zhèng xià píng 'ān wáng cháo guì zú shè huì quán shèng shí qī。 zhè gè shí qī， píng 'ān jīng de shàng céng guì zú zì yì xiǎng lè， biǎo miàn shàng yī pài tài píng shèng shì， shí jì shàng què chōng mǎn zhe jí qí fù zá 'ér jiān ruì de máo dùn。 téng yuán lì yòng lěi dài shì huáng shì wài qī， shí xíng shè guān zhèng zhì①， yóu qí yī zú lǒng duàn liǎo suǒ yòu de gāo guān xiǎn zhí， kuò dà liǎo zì jǐ de zhuāng yuán， ér qiě tóng zú zhī jiān yòu zhǎn kāi quán lì zhī zhēng； huáng shì guì zú zé yǐ kào dà sì yuàn， shè zhì shàng huáng“ yuàn zhèng”， yǐ duì kàng téng yuán shì de shì lì； zhì yú zhōng xià céng guì zú， suī yòu cái néng yě dé bù dào jìn shēn zhī jiē， tā men fēn fēn dào dì fāng qù bié xún chū lù， dì fāng guì zú shì lì xùn sù tái tóu； jiā shàng zhuāng yuán bǎi xìng de fǎn kàng， shǐ zhè xiē máo dùn gèng jiā jī huà， shèn zhì bào fā liǎo duō cì wǔ zhuāng pàn luàn。 zhěng gè guì zú shè huì wēi jī sì qǐ， yǐ jīng dào liǎo shèng jí 'ér shuāi de zhuǎn zhé shí qī。
《 yuán shì wù yǔ》 zhèng shì yǐ zhè duàn lì shǐ wéi bèi jǐng， tōng guò zhù rén gōng yuán shì de shēng huó jīng lì hé 'ài qíng gù shì， miáo xiě liǎo dāng shí guì zú shè huì de fǔ bài zhèng zhì hé yín yì shēng huó， yǐ diǎn xíng de yì shù xíng xiàng， zhēn shí dì fǎn yìng liǎo zhè gè shí dài de miàn mào hé tè zhēng。
shǒu xiān， zuò zhě mǐn ruì dì jué chá dào wáng cháo guì zú shè huì de zhǒng zhǒng máo dùn， tè bié shì guì zú nèi bù zhēng quán duó lì de dǒu zhēng。 zuò pǐn zhōng yǐ hóng huī diàn nǚ yù（ dì wèi zuì gāo de fēi zǐ） jí qí fù yòu dà chén wéi dài biǎo de huáng shì wài qī yī pài zhèng zhì shì lì， tóng yǐ yuán shì jí qí yuè fù zuǒ dà chén wéi dài biǎo de huáng shì yī pài zhèng zhì shì lì zhī jiān de jiào liàng， zhèng shì zhè zhǒng máo dùn hé dǒu zhēng de fǎn yìng， shì zhù rén gōng yuán shì shēng huó de shí dài huán jìng， ér qiě jué dìng zhe tā yī shēng de mìng yùn。 yuán shì shì tóng hú tiān huáng tóng gēngyī（ cì yú nǚ yù de fēi zǐ） suǒ shēng de xiǎo huáng zǐ， mǔ zǐ shēn dé tiān huáng de chǒng 'ài， hóng huī diàn chū yú dù jì， gèng pà tiān huáng cè lì yuán shì wéi huáng tài zǐ， yú shì bī sǐ gēngyī， dǎ jī yuán shì jí qí yī pài， cù shǐ tiān huáng jiāng yuán shì jiàng wéi chén jí。 zài tiān huáng ràng wèi gěi hóng huī diàn suǒ shēng de zhū què tiān huáng zhī hòu， yòu dà chén zhǎng zhèng， yuán shì biàn wán quán shī shì； hóng huī diàn yī pài jìn 'ér zhuā zhù yuán shì yǔ yòu dà chén de nǚ 'ér lóng yuè yè tōu qíng de bǎ bǐng， bī shǐ yuán shì lí kāi gōng tíng， bǎ tā liú fàng dào xū mó、 míng shí。
hòu lái cháo zhèng rì fēi， zhū què tiān huáng shēn lí zhòng bìng， wéi shōu shí cán jú cái bù gù hóng huī diàn de jiān jué fǎn duì， zhào yuán shì huí jīng， huī fù tā de guān jué。 lěng quán tiān huáng jì wèi yǐ hòu， zhī dào yuán shì shì tā de shēng fù， jiù bèi jiā lǐ yù， hòu yuán shì guān zhì tài zhèng dà chén， dú lǎn cháo gāng。 dàn shì， guì zú tǒng zhì jiē jí nèi bù de dǒu zhēng bìng méi yòu tíng xī， yuán shì yǔ zuǒ dà chén zhī zǐ wéi rào wéi lěng quán tiān huáng lì hòu yī shì yòu chǎn shēng liǎo xīn de máo dùn。
zuò zhě zài shū zhōng biǎo bái：“ zuò zhě nǚ liú zhī bèi， bù gǎn chǐ tán tiān xià dà shì。” suǒ yǐ zuò pǐn duì zhèng zhì dǒu zhēng de fǎn yìng， duō cǎi yòng cè xiě de shǒu fǎ， shǎo yòu jù tǐ shēn rù de miáo xiě， rán 'ér， wǒ men réng néng qīng xī dì kàn chū shàng céng guì zú zhī jiān de hù xiāng qīngyà、 quán lì zhī zhēng shì guàn chuān quán shū de yī tiáo zhù xiàn， zhù rén gōng de róng rǔ chén fú dū yǔ zhī mì bù kě fēn。 zǒng zhī，《 yuán shì wù yǔ》 yǐn bì shì dì zhé shè liǎo zhè gè jiē jí zǒu xiàng miè wáng de bì rán qū shì， kě yǐ kān chēng wéi yī fú lì shǐ huà juàn。
《 yuán shì wù yǔ》 - zuò pǐn píng jià
yuán shì shēng wéi huáng zǐ què bù dé bù jiàng wéi chén jí， kōng yòu jì shì zhī cái què wú xīn shì tú， kù 'ài zǐ jī què bù duàn zhān huā niān cǎo， yī shì fēng liú què luò dé tì dù wéi sēng de jié jú。 tā de yī shēng bàn suí zhe xǔ duō de máo dùn hé fán nǎo， qí zhōng zuì zhé mó tā de shì yǔ téng hú luàn lún de zuì niè gǎn hé bèi pàn zǐ jī de shēn shēn zì zé。 tā de líng hún yǔ ròu yù shǐ zhōng zài dǒu zhēng zhōng kǔ kǔ zhēngzhá， jiēguǒ yòu zǒng shì yù wàng yā dǎo lǐ zhì， cóng 'ér xiàn rù gēngshēn de xīn líng chōng tū zhī zhōng。 yuán shì zuì zhōng qì jiā chū zǒu， miàn bì xiàng fó， zhèng shì zhè zhǒng xīn líng chōng tū dǎo zhì de jiēguǒ。 zuò zhě dà xiě tè xiě yuán shì shēng huó zhōng wú fǎ bǎi tuō de máo dùn zào chéng de kǔ mèn jí jīng shén shàng jiē lián bù duàn de pèng zhuàng zào chéng de wú nài， yì zài shuō míng rén shēng de kǔ tòng hé bēi 'āi， xiǎn lù liǎo zuò zhě yǐ 'āi dòng rén、 yǐ bēi gǎn rén de měi xué guān。
“ wù 'āi” de shěn měi yì xiàng chú yǐ yuán shì zhēngzhá de yī shēng fǎn yìng chū lái wài， hái tōng guò zuò pǐn zhōng suǒ yòu yǔ yuán shì mìng yùn lián zài yī qǐ de nǚ xìng de bù xìng dé dào jìn yī bù de qiáng huà。 zài zǐ shì bù bǐ xià， zhè xiē nǚ zǐ gè gè róng mào jiāo hǎo， cōng míng líng lì， xìng qíng kě rén， rán 'ér gè gèdōu shì yòu mìng wú yùn zhī rén。
zǐ jī shì zuò zhě zhuóyì kè huà de lǐ xiǎng shū nǚ xíng xiàng， tā qì zhì yōu yǎ， yì yā qún fāng， xìng gé wǎn yuē， tōng qíng dá lǐ。 shēn dé yuán shì zhōng 'ài， bèi gōng rèn wéi zuì xìng fú de nǚ rén。 kě shì jí biàn shì zhè wèi shí quán shí měi de nǚ rén， yě yòu zhe nán yǐ yán shuō de kǔ chǔ héng héng yīn yuán shì yòng qíng bù zhuān 'ér yǐn qǐ de jí dù， suǒ yǐ zhèng zhí shèng nián， rì jiàn shuāi ruò， xiāng xiāo yù yǔn。
《 yuán shì wù yǔ》 zhōng de nǚ xìng mìng yùn zhǐ yòu 3 zhǒng xuǎn zé， yào me zǒu rù fén mù yī liǎo bǎi liǎo， yào me luò fā wéi ní zhǎn duàn chén yuán， yào me dú shǒu kōng guī suī shēng yóu sǐ。 zhè xiē nǚ xìng de duō zāi duō nán de mìng yùn hé yuán shì yī shēng jīng lì yī yàng， fǎn yìng liǎo zǐ shì bù gǎn wù 'ér 'āi de shěn měi tè zhēng。
wù 'āi de shěn měi yì xiàng， zhù yào lái zì“ rén shēng wú cháng”、“ sì dà jiē kōng” děng fó xué guān， zài tā kàn lái rén shēng bù guò shì yù hǎi héng liú， yù hǎi yě biàn shì kǔ hǎi， bǎi tuō yù hǎi de zuì jiā tú jìng， jiù shì guī yǐ fó mén。 zǐ shì bù zài zhè lǐ wú yì shí dì xuān chuán liǎo wú yù zhī shuō， biǎo xiàn liǎo tā zài fó jiào sī xiǎng yǐng xiǎng xià de rén shēng guān、 shì jiè guān。 zhè zhǒng fó jiào sù mìng sī xiǎng cóng yī dìng yì yì shàng xuē ruò liǎo zuò pǐn zhù tí de shēn kè xìng。
《 yuán shì wù yǔ》 shì shì jiè wén xué shǐ shàng zuì zǎo de yī bù cháng piān xiě shí xiǎo shuō， zuò pǐn liú lù chū míng xiǎn de xiàn shí zhù yì qīng xiàng， bèi rèn wéi dài biǎo liǎo rì běn gǔ diǎn xiàn shí zhù yì wén xué de zuì gāo fēng， gěi hòu shì zuò jiā de chuàng zuò tí gōng liǎo yì shù diǎn fàn。 tā suǒ chuàng lì de wù 'āi děng měi xué chuán tǒng， yī zhí bèi hòu shì zuò jiā jì chéng hé fā zhǎn， chéng wéi rì běn wén xué mín zú huà de yī dà yīn sù。
zài《 yuán shì wù yǔ》 zhōng， zuò zhě suī rán zhù yào miáo xiě yuán shì de 'ài qíng shēng huó， dàn yòu bù shì dān chún dì miáo xiě 'ài qíng， ér shì tōng guò yuán shì de liàn 'ài、 hūn yīn， jiē shì yī fū duō qī zhì xià fù nǚ de bēi cǎn mìng yùn。 zài guì zú shè huì lǐ， nán nǚ hūn jià wǎng wǎng shì tóng zhèng zhì lì yì lián xì zài yī qǐ de， shì zhèng zhì dǒu zhēng de shǒu duàn， fù nǚ chéng liǎo zhèng zhì jiāo yì de gōng jù。 zài zhè fāng miàn， zǐ shì bù zuò liǎo dà dǎn de miáo xiě。 zuǒ dà chén bǎ zì jǐ de nǚ 'ér kuí jī xǔ pèijǐ yuán shì， shì wéi liǎo jiā qiáng zì jǐ de shēng shì， zhū què tiān huáng zài yuán shì sì shí suì dé shì zhī shí， jiāng nián fāng shí liù suì de nǚ 'ér sān gōng zhù jià gěi yuán shì， yě shì chū yú zhèng zhì shàng de kǎo lǜ， jiù lián zhèng dí yòu dà chén fā xiàn yuán shì hé zì jǐ de nǚ 'ér lóng yuè yè tōu qíng， yě nǐ jiāng tā xǔ pèijǐ yuán shì， yǐ tú fēn huà yuán shì yī pài。 dì fāng guì zú míng shí dào rén hé cháng lù jiè， yī gè wèile qiú dé fù guì， qiǎngpò zì jǐ de nǚ 'ér jià gěi yuán shì； yī gè wèile hùn shàng gāo guān， jiāng zì jǐ de nǚ 'ér xǔ gěi liǎo zuǒ jìn shàojiàng， ér zuǒ jìn shàojiàng qǔ tā de nǚ 'ér， zé shì wèile lì yòng cháng lù jiè de cái lì。 zuò zhě bǐ xià de zhòng duō fù nǚ xíng xiàng， yòu shēn fèn gāo guì de， yě yòu shēn shì dī jiàn de， dàn tā men de chǔjìng dōushì yī yàng， bù jǐn chéng liǎo guì zú zhèng zhì dǒu zhēng de gōng jù， yě chéng liǎo guì zú nán rén shǒu zhōng de wán wù， yī fū duō qī zhì de xī shēng pǐn。
xiǎo shuō zhuómò zuì duō de shì yuán shì jí qí shàng xià sān dài rén duì fù nǚ de cuī cán。 yuán shì de fù huáng wán nòng liǎo gēngyī， yóu yú tā chū shēn hán wēi， zài gōng zhōng bèi shòu lěng luò， zuì hòu qū sǐ yú quán lì dǒu zhēng zhī zhōng。 yuán shì yǐ zhàng zì jǐ de quán shì， zāo tà liǎo bù shàofù nǚ： bàn yè chuǎng jìn dì fāng guān fū rén kōng chán de jū shì diàn wū liǎo zhè gè yòu fū zhī fù； jiàn tà liǎo chū shēn dī jiàn de xī yán de 'ài qíng， shǐ tā yì yù 'ér sǐ； kàn jiàn jì mǔ téng hú xiào sì zì jǐ de mǔ qīn， yóu sī mù jìn 'ér yǔ tā tōng jiān； chuǎng rù jiā dào zhōng luò de zhāi mò huā de nèi shì tiáoxì tā， fā xiàn tā cháng xiāng chǒu lòu， yòu jiā yǐ xī luò。 cǐ wài， tā duì zǐ jī、 míng shí jī děng xǔ duō bù tóng shēn fèn de nǚ zǐ， yědōu dà tǐ rú cǐ。 zài hòu shí huí lǐ chū xiàn de yuán shì jì chéng rén dǒng jūn（ tā míng yì shàng shì yuán shì hé sān gōng zhù zhī zǐ， shí jì shàng shì sān gōng zhù tóng yuán shì de qī jiù zhī zǐ bǎi mù sī tōng suǒ shēng） jì chéng liǎo zǔ、 fù liǎng bèi rén huāng yín de chuán tǒng， cuī cán liǎo gū kǔ líng dīng de ruò nǚ fú zhōu， yòu pà shì qíng bài lù， bǎ tā qì zhì zài huāng liáng de yǔ zhì shān zhuāng。
zǐ shì bù de chuàng zuò bù kě bì miǎn dì yòu qí lì shǐ hé jiē jí de jú xiàn xìng。 tā jì bù mǎn dāng shí de shè huì xiàn shí， āi tàn guì zú jiē jí de mòluò， què yòu wú fǎ chè dǐ fǒu dìng zhè gè shè huì hé zhè gè jiē jí； tā jì gǎn dào“ zhè gè 'è zhuó kě tàn de mò shì…… zǒng shì yuè lái yuè huài”， kě yòu wèi néng zì jué rèn shí guì zú jiē jí miè wáng de lì shǐ bì rán xìng， yǐ tā zài chù jí guì zú fǔ bài zhèng zhì de shí hòu， yī fāng miàn qiǎn zé liǎo hóng huī diàn yī pài zhèng zhì yě xīn hé dú duàn zhuān xíng， lìng yī fāng miàn yòu tǎn hù yuán shì yī pài， bìng qǐ tú jiāng yuán shì lǐ xiǎng huà， zuò wéi zì jǐ zhèng zhì shàng de xī wàng hé jì tuō， duì yuán shì zhèng zhì shēng mìng de wán jié bù shèng qí bēi。 shū zhōng dì sì shí yī huí zhǐ yòu tí mù《 yún yǐn》 ér wú zhèng wén， yǐ zhè zhǒng qí tè de biǎo xiàn shǒu fǎ lái 'àn yù yuán shì de jié jú， zhèng tòu lù liǎo zuò zhě de 'āi wǎn xīn qíng。 lìng wài zài xiě dào fù nǚ mìng yùn de shí hòu， tā yī fāng miàn duì tā men jì yú shēnqiè de tóng qíng， lìng yī fāng miàn yòu bǎ yuán shì xiě chéng yī gè yòu shǐ yòu zhōng de fù nǚ de bì hù zhě， jié lì měi huà yuán shì， zài yī dìng chéng dù shàng duì yuán shì biǎo shì tóng qíng yǔ kěn dìng。 cǐ wài， zuò pǐn zhōng hái chōng mǎn liǎo guì zú jiē jí de měi xué qíng qù、 fó jiào de yīn guǒ bào yìng sī xiǎng， yǐ jí xū kōng gǎn shāng de qíng diào。
《 yuán shì wù yǔ》 zài yì shù shàng yě shì yī bù yòu hěn dà chéng jiù de zuò pǐn， tā kāipì liǎo rì běn wù yǔ wén xué de xīn dào lù， shǐ rì běn gǔ diǎn xiàn shí zhù yì wén xué dá dào yī gè xīn de gāo fēng。
《 yuán shì wù yǔ》 wèn shì yǐ lái， yǐ jīng guò qù jìn qiān nián liǎo。 jìn guǎn tā zài jié gòu shàng xiǎn dé yòu xiē páng zá、 rǒng cháng， xiāng tóng chǎng miàn hé xīn lǐ miáo xiě chóngfù guò duō， yòu sǔn yú zuò pǐn de yì shù wán měi xìng， dàn tā bì jìng shì yī bù sī xiǎng xìng hé yì shù xìng dōuhěn gāo de rì běn gǔ diǎn wén xué zuò pǐn， zài jīn tiān réng bǎo chí zhe tā de yì shù shēng mìng lì， duì rì běn wén xué jì xù chǎn shēng zhe yǐng xiǎng。
gù shì kāi shǐ yú tóng hú dì zài wèi de shí hòu。 chū shēn dī wēi de gēngyī， dú dé tóng hú dì de chǒng 'ài。 hòu cǐ gēngyī shēng xià yī wèi huáng zǐ， qí tā pín fēi， yóu qí shì hóng huī diàn nǚ yù yě yù jiā jì hèn。 gēngyī bù kān líng rǔ zhé mó， shēng zǐ bù dào 3 nián， biàn yì yù 'ér wáng。 xiǎo huáng zǐ méi yòu qiáng dà de wài qī zuò kào shān， hěn nán zài gōng zhōng lì zú。 tóng hú dì bù dé yǐ jiāng qí jiàng wéi chén jí， cì xìng yuán shì。 yuán shì bù jǐn mào měi jīng rén， ér qiě cái huá héng yì。 12 suì xíng guànlǐ hòu， qǔ dāng quán de zuǒ dà chén zhī nǚ kuí jī wéi qī， dàn kuí jī bùsuí yuán shì de yì。 yú shì yuán shì zhuī qiú tóng hú dì xù qǔ de nǚ yù téng hú， jù shuō nǚ yù kù xiào yuán shì shēng mǔ。 bù jiǔ， liǎng rén fā shēng luàn lún guān xì， shēng xià yī zǐ， hòu lái jí wèi chēng lěng quán dì。 yuán shì dào chù tōu xiāng qiè yù， qiáng xíng zhàn yòu liǎo yī yù jiè de hòu qī kōng chán， hái xiàng bǐ tā dà 7 suì de shěn mǔ liù tiáo fēi zǐ qiú huān， bìng tóng shí niǎn zhuǎn zài huā sàn lǐ、 mò zhāi huā děng zhòng nǚ zǐ zhī jiān。 dāng tā jié chí yī wèi bù míng shēn fēn de ruò nǚ zǐ xī yán qù huāng wū yōu huì shí， zhè nǚ zǐ bù xìng bào wáng， yuán shì wèicǐ dà bìng yīcháng， bìng yù jìn xiāng shí yù dào yī gè kù sì zì jǐ rì sī yè xiǎng 'ér bù dé xiāng jiàn de téng hú de nǚ hái， dé zhī tā shì téng hú nǚ yù de zhí nǚ， míng jiào zǐ jī， jiù chèn zǐ jī shú shuì bǎ tā dài huí jiā zhōng， shōu wéi yǎng nǚ， zhāoxī xiāng bàn， yǐ jì tuō duì téng hú de sī mù。 jǐ nián hòu zǐ jī chū luò dé tíng tíng yù lì， gāo guì yōu yǎ， cái yì chāo zhòng， shí fēn kě rén。 yuán shì biàn bǎ tā jù wéi jǐ yòu。 kuí jī yīn liù tiáo fēi zǐ shēng hún fù tǐ guò shì hòu， zǐ jī bèi fú wéi zhèng fū rén。
tóng hú dì tuì wèi yǐ hòu， yòu dà chén hóng huī diàn nǚ yù de 'ér zǐ dēng shàng huáng wèi（ zhū què dì）， yuán shì jí yuè fù zuǒ dà chén yī pài cóng cǐ shī shì。 qià qiǎo yuán shì yǔ yòu dà chén nǚ 'ér lóng yuè yè tōu qíng zhī shì bài lù， yuán shì zì jué 'è yùn lín tóu， biàn yuǎn lí jīng chéng， dào huāng liáng shǎo rén de xū mó、 míng shí yǐn jū。 wéi pái qiǎn jì mò， yǔ míng shí dào rén de nǚ 'ér míng shí jī jié hé， hòu shēng yī nǚ， bèi xuǎn rù gōng zhōng zuò liǎo huáng hòu。
yóu yú tiān jiàng yì zhào， zhū què dì yòu zhòng bìng zài shēn， cháo zhèng bù wěn。 yuán shì fèng zhào huí jīng fǔ zuǒ cháo tíng。 bù jiǔ， zhū què dì ràng wèi gěi lěng quán dì。 yuán shì shēng rèn tài zhèng dà chén， yuán shì jí zuǒ dà chén yī mén huī fù liǎo wǎng rì de fán huá qì pài。 yuán shì jiàn zào liǎo jí sì jì jǐng wù wéi yī tǐ、 wèi wéi zhuàng guān de liù tiáo yuàn yù suǒ， jiāng xī rì liàn rén tǒng tǒng jiē dào yuàn lǐ lái zhù。 yuán shì jìn 40 suì shí， jiāng zhū què dì zhī nǚ sān gōng zhù nà wéi zhèng qī， zǐ jī zhōng yīn xīn lì jiāo cuì， bìng wò zài chuáng。 zǎo yǐ kǎi yú sān gōng zhù měi mào de tóu zhōngjiàng zhī zǐ bǎi mù chèn yuán shì tàn bìng de jī huì， yǔ sān gōng zhù yōu huì， bèi yuán shì fā xiàn。 bǎi mù jù huǐ jiāo jiā， yī bìng bù qǐ， yīng nián yāo zhé。 sān gōng zhù shēng xià róng mào yǔ bǎi mù háo wú 'èr zhì de sī shēng zǐ xūn hòu， luò fā wéi ní。 yuán shì shēn gǎn zì jǐ hé téng hú luàn lún zhī zuì de bào yìng lín tóu， xīn rú sǐ huī。 qià qiǎo zǐ jī bù jiǔ yòu shì， yuán shì shī qù liǎo jīng shén zhī zhù， liǎo duàn chén yuán， yǐn dùn chū jiā。 jǐ nián hòu sǐ qù。
yuán shì zhī zǐ xūn shēng xìng yán jǐn。 20 suì lái dào yǔ zhì shān zhuāng 'ài shàng liǎo zhuāng zhù bā qīn wáng de dà nǚ gōng zǐ， bù liào zāo dào jù jué。 dà nǚ gōng zǐ bìng gù hòu， tā xún huí wài mào kù xiào dà nǚ gōng zǐ de bā qīn wáng de sī shēng nǚ fú zhōu， tián bǔ xīn líng de kòngbái。 kě shì yòu rén shēn yè chuǎng rù fú zhōu wò fáng， jiǎ mào xūn de shēng yīn， zhàn yòu liǎo fú zhōu。 dāng fú zhōu yì shí dào zì jǐ yī shēn shì 'èr zhù hòu， yì rán tiào shuǐ zì jìn， bèi rén jiù qǐ hòu xuē fā chū jiā。 jìn guǎn xūn yī wǎng qíng shēn， duō cì shào xìn， yǐ qiú yī jiàn， dàn zhōng wèi liǎo cǐ xīn yuàn。
《 yuán shì wù yǔ》 - zuò zhě jiǎn jiè
zuò zhě zǐ shì bù， běn xìng téng yuán， yuán míng bù xiáng。 yīn qí cháng xiōng rèn shì bù chéng， gù chēng wéi téng shì bù， zhè shì gōng lǐ nǚ guān zhōng de yī zhǒng shí shàng， tā men wǎng wǎng yǐ fù xiōng de guān xián wéi míng， yǐ shì shēn fèn； hòu lái tā xiě chéng《 yuán shì wù yǔ》， shū zhōng nǚ zhù rén gōng zǐ jī wéi shì rén chuán sòng， suì yòu chēng zuò zǐ shì bù。 zuò zhě shēng zú nián yuè yě wú fǎ xiáng kǎo， dà yuē shì shēng yú jiǔ qī bā nián， mò yú yī yī wǔ nián。 zǐ shì bù chū shēn zhōng céng guì zú， shì shū xiāng mén dì de cái nǚ， zēngzǔ fù、 zǔ fù、 bó fù hé xiōng cháng dōushì yòu míng de gē rén， fù qīn jiān cháng hàn shī、 hègē， duì zhōng guó gǔ diǎn wén xué pō yòu yán jiū。 zuò zhě zì yòu suí fù xué xí hàn shī， shú dú zhōng guó gǔ dài wén xiàn， tè bié shì duì bái jū yì de shī yòu jiào shēn de zào yì。
cǐ wài， tā hái shí fēn shú xī yīnyuè hé fó jīng。 bù xìng jiā dào zhōng luò， tā jià gěi liǎo yī gè bǐ tā niánzhǎng 'èr shí duō suì de dì fāng guān téng yuán xuān xiào， hūn hòu bù jiǔ， zhàng fū qù shì， tā guò zhe gū kǔ de shuāng jū shēng huó。 hòu lái yīngdāng shí tǒng zhì zhě téng yuán dào cháng zhī zhào， rù gōng chōng dāng yī tiáo zhāng zǐ huáng hòu de nǚ guān， gěi zhāng zǐ jiǎng jiě《 rì běn shū jì》 hé bái jū yì de shī zuò， yòu jī huì zhí jiē jiē chù gōng tíng de shēng huó， duì fù nǚ de bù xìng hé gōng tíng de nèi mù yòu liǎo quán miàn de liǎo jiě， duì guì zú jiē jí de mòluò qīng xiàng yě yòu suǒ gǎn shòu。 zhè xiē dū wéi tā de chuàng zuò tí gōng liǎo yì shù gòu sī de guǎng kuò tiān dì hé jiān shí de shēng huó jī chǔ。
《 yuán shì wù yǔ》 - zuò pǐn zhù tí
cháng piān xiě shí xiǎo shuō《 yuán shì wù yǔ》 jìn rùn zhe nóng hòu de fó jiào sè cǎi， tòu guò guāng yuán shì shēn shì、 yòng shì、 wán shì、 chāo shì zhī kǔ， yìng shè chū“ sì dà jiē kōng” de fó xué guān niàn。 dàn tā bìng bù shì yī bù xuān chuán zōng jiào jiào yì de zōng jiào xìng wén xué zuò pǐn， tā sī xiǎng shàng de zhēn zhèng jià zhí zài yú zhǎn shì liǎo píng 'ān wáng cháo de gōng tíng háo huá shē chǐ、 fǔ xiǔ yín luàn de shēng huó， fǎn yìng liǎo guì zú jiē jí rén yǔ rén zhī jiān zhēng quán duó shì、 hù xiāng qīngyà de rén jì guān xì， bào lù liǎo guì zú shè huì mén dì wéi zhòng、 nán zūn nǚ bēi de bù píng děng de shè huì xiàn xiàng。 zhè jiù cóng kè guān shàng yù shì liǎo jiù guì zú jiē jí bì rán bēng kuì、 miè wáng de qū shì。 yīn cǐ， jù yòu yī dìng de rèn shí jià zhí hé sī xiǎng yì yì。
yì shù chéng jiù《 yuán shì wù yǔ》 yì shù shàng zuì dà de chéng gōng zhī chù shì sù zào liǎo yuán shì jí zhòng duō nǚ xìng xíng xiàng， bìng tōng guò zhè xiē xíng xiàng fǎn yìng liǎo wù 'āi、 yōu qíng děng shěn měi yì xiàng。
《 yuán shì wù yǔ》 - xiě zuò bèi jǐng
《 yuán shì wù yǔ》 chǎn shēng de shí dài， shì téng yuán dào cháng zhí zhèng xià píng 'ān wáng cháo guì zú shè huì quán shèng shí qī。 zhè gè shí qī， píng 'ān jīng de shàng céng guì zú zì yì xiǎng lè， biǎo miàn shàng yī pài tài píng shèng shì， shí jì shàng què chōng mǎn zhe jí qí fù zá 'ér jiān ruì de máo dùn。 téng yuán lì yòng lěi dài shì huáng shì wài qī， shí xíng shè guān zhèng zhì①， yóu qí yī zú lǒng duàn liǎo suǒ yòu de gāo guān xiǎn zhí， kuò dà liǎo zì jǐ de zhuāng yuán， ér qiě tóng zú zhī jiān yòu zhǎn kāi quán lì zhī zhēng； huáng shì guì zú zé yǐ kào dà sì yuàn， shè zhì shàng huáng“ yuàn zhèng”， yǐ duì kàng téng yuán shì de shì lì； zhì yú zhōng xià céng guì zú， suī yòu cái néng yě dé bù dào jìn shēn zhī jiē， tā men fēn fēn dào dì fāng qù bié xún chū lù， dì fāng guì zú shì lì xùn sù tái tóu； jiā shàng zhuāng yuán bǎi xìng de fǎn kàng， shǐ zhè xiē máo dùn gèng jiā jī huà， shèn zhì bào fā liǎo duō cì wǔ zhuāng pàn luàn。 zhěng gè guì zú shè huì wēi jī sì qǐ， yǐ jīng dào liǎo shèng jí 'ér shuāi de zhuǎn zhé shí qī。
《 yuán shì wù yǔ》 zhèng shì yǐ zhè duàn lì shǐ wéi bèi jǐng， tōng guò zhù rén gōng yuán shì de shēng huó jīng lì hé 'ài qíng gù shì， miáo xiě liǎo dāng shí guì zú shè huì de fǔ bài zhèng zhì hé yín yì shēng huó， yǐ diǎn xíng de yì shù xíng xiàng， zhēn shí dì fǎn yìng liǎo zhè gè shí dài de miàn mào hé tè zhēng。
shǒu xiān， zuò zhě mǐn ruì dì jué chá dào wáng cháo guì zú shè huì de zhǒng zhǒng máo dùn， tè bié shì guì zú nèi bù zhēng quán duó lì de dǒu zhēng。 zuò pǐn zhōng yǐ hóng huī diàn nǚ yù（ dì wèi zuì gāo de fēi zǐ） jí qí fù yòu dà chén wéi dài biǎo de huáng shì wài qī yī pài zhèng zhì shì lì， tóng yǐ yuán shì jí qí yuè fù zuǒ dà chén wéi dài biǎo de huáng shì yī pài zhèng zhì shì lì zhī jiān de jiào liàng， zhèng shì zhè zhǒng máo dùn hé dǒu zhēng de fǎn yìng， shì zhù rén gōng yuán shì shēng huó de shí dài huán jìng， ér qiě jué dìng zhe tā yī shēng de mìng yùn。 yuán shì shì tóng hú tiān huáng tóng gēngyī（ cì yú nǚ yù de fēi zǐ） suǒ shēng de xiǎo huáng zǐ， mǔ zǐ shēn dé tiān huáng de chǒng 'ài， hóng huī diàn chū yú dù jì， gèng pà tiān huáng cè lì yuán shì wéi huáng tài zǐ， yú shì bī sǐ gēngyī， dǎ jī yuán shì jí qí yī pài， cù shǐ tiān huáng jiāng yuán shì jiàng wéi chén jí。 zài tiān huáng ràng wèi gěi hóng huī diàn suǒ shēng de zhū què tiān huáng zhī hòu， yòu dà chén zhǎng zhèng， yuán shì biàn wán quán shī shì； hóng huī diàn yī pài jìn 'ér zhuā zhù yuán shì yǔ yòu dà chén de nǚ 'ér lóng yuè yè tōu qíng de bǎ bǐng， bī shǐ yuán shì lí kāi gōng tíng， bǎ tā liú fàng dào xū mó、 míng shí。
hòu lái cháo zhèng rì fēi， zhū què tiān huáng shēn lí zhòng bìng， wéi shōu shí cán jú cái bù gù hóng huī diàn de jiān jué fǎn duì， zhào yuán shì huí jīng， huī fù tā de guān jué。 lěng quán tiān huáng jì wèi yǐ hòu， zhī dào yuán shì shì tā de shēng fù， jiù bèi jiā lǐ yù， hòu yuán shì guān zhì tài zhèng dà chén， dú lǎn cháo gāng。 dàn shì， guì zú tǒng zhì jiē jí nèi bù de dǒu zhēng bìng méi yòu tíng xī， yuán shì yǔ zuǒ dà chén zhī zǐ wéi rào wéi lěng quán tiān huáng lì hòu yī shì yòu chǎn shēng liǎo xīn de máo dùn。
zuò zhě zài shū zhōng biǎo bái：“ zuò zhě nǚ liú zhī bèi， bù gǎn chǐ tán tiān xià dà shì。” suǒ yǐ zuò pǐn duì zhèng zhì dǒu zhēng de fǎn yìng， duō cǎi yòng cè xiě de shǒu fǎ， shǎo yòu jù tǐ shēn rù de miáo xiě， rán 'ér， wǒ men réng néng qīng xī dì kàn chū shàng céng guì zú zhī jiān de hù xiāng qīngyà、 quán lì zhī zhēng shì guàn chuān quán shū de yī tiáo zhù xiàn， zhù rén gōng de róng rǔ chén fú dū yǔ zhī mì bù kě fēn。 zǒng zhī，《 yuán shì wù yǔ》 yǐn bì shì dì zhé shè liǎo zhè gè jiē jí zǒu xiàng miè wáng de bì rán qū shì， kě yǐ kān chēng wéi yī fú lì shǐ huà juàn。
《 yuán shì wù yǔ》 - zuò pǐn píng jià
yuán shì shēng wéi huáng zǐ què bù dé bù jiàng wéi chén jí， kōng yòu jì shì zhī cái què wú xīn shì tú， kù 'ài zǐ jī què bù duàn zhān huā niān cǎo， yī shì fēng liú què luò dé tì dù wéi sēng de jié jú。 tā de yī shēng bàn suí zhe xǔ duō de máo dùn hé fán nǎo， qí zhōng zuì zhé mó tā de shì yǔ téng hú luàn lún de zuì niè gǎn hé bèi pàn zǐ jī de shēn shēn zì zé。 tā de líng hún yǔ ròu yù shǐ zhōng zài dǒu zhēng zhōng kǔ kǔ zhēngzhá， jiēguǒ yòu zǒng shì yù wàng yā dǎo lǐ zhì， cóng 'ér xiàn rù gēngshēn de xīn líng chōng tū zhī zhōng。 yuán shì zuì zhōng qì jiā chū zǒu， miàn bì xiàng fó， zhèng shì zhè zhǒng xīn líng chōng tū dǎo zhì de jiēguǒ。 zuò zhě dà xiě tè xiě yuán shì shēng huó zhōng wú fǎ bǎi tuō de máo dùn zào chéng de kǔ mèn jí jīng shén shàng jiē lián bù duàn de pèng zhuàng zào chéng de wú nài， yì zài shuō míng rén shēng de kǔ tòng hé bēi 'āi， xiǎn lù liǎo zuò zhě yǐ 'āi dòng rén、 yǐ bēi gǎn rén de měi xué guān。
“ wù 'āi” de shěn měi yì xiàng chú yǐ yuán shì zhēngzhá de yī shēng fǎn yìng chū lái wài， hái tōng guò zuò pǐn zhōng suǒ yòu yǔ yuán shì mìng yùn lián zài yī qǐ de nǚ xìng de bù xìng dé dào jìn yī bù de qiáng huà。 zài zǐ shì bù bǐ xià， zhè xiē nǚ zǐ gè gè róng mào jiāo hǎo， cōng míng líng lì， xìng qíng kě rén， rán 'ér gè gèdōu shì yòu mìng wú yùn zhī rén。
zǐ jī shì zuò zhě zhuóyì kè huà de lǐ xiǎng shū nǚ xíng xiàng， tā qì zhì yōu yǎ， yì yā qún fāng， xìng gé wǎn yuē， tōng qíng dá lǐ。 shēn dé yuán shì zhōng 'ài， bèi gōng rèn wéi zuì xìng fú de nǚ rén。 kě shì jí biàn shì zhè wèi shí quán shí měi de nǚ rén， yě yòu zhe nán yǐ yán shuō de kǔ chǔ héng héng yīn yuán shì yòng qíng bù zhuān 'ér yǐn qǐ de jí dù， suǒ yǐ zhèng zhí shèng nián， rì jiàn shuāi ruò， xiāng xiāo yù yǔn。
《 yuán shì wù yǔ》 zhōng de nǚ xìng mìng yùn zhǐ yòu 3 zhǒng xuǎn zé， yào me zǒu rù fén mù yī liǎo bǎi liǎo， yào me luò fā wéi ní zhǎn duàn chén yuán， yào me dú shǒu kōng guī suī shēng yóu sǐ。 zhè xiē nǚ xìng de duō zāi duō nán de mìng yùn hé yuán shì yī shēng jīng lì yī yàng， fǎn yìng liǎo zǐ shì bù gǎn wù 'ér 'āi de shěn měi tè zhēng。
wù 'āi de shěn měi yì xiàng， zhù yào lái zì“ rén shēng wú cháng”、“ sì dà jiē kōng” děng fó xué guān， zài tā kàn lái rén shēng bù guò shì yù hǎi héng liú， yù hǎi yě biàn shì kǔ hǎi， bǎi tuō yù hǎi de zuì jiā tú jìng， jiù shì guī yǐ fó mén。 zǐ shì bù zài zhè lǐ wú yì shí dì xuān chuán liǎo wú yù zhī shuō， biǎo xiàn liǎo tā zài fó jiào sī xiǎng yǐng xiǎng xià de rén shēng guān、 shì jiè guān。 zhè zhǒng fó jiào sù mìng sī xiǎng cóng yī dìng yì yì shàng xuē ruò liǎo zuò pǐn zhù tí de shēn kè xìng。
《 yuán shì wù yǔ》 shì shì jiè wén xué shǐ shàng zuì zǎo de yī bù cháng piān xiě shí xiǎo shuō， zuò pǐn liú lù chū míng xiǎn de xiàn shí zhù yì qīng xiàng， bèi rèn wéi dài biǎo liǎo rì běn gǔ diǎn xiàn shí zhù yì wén xué de zuì gāo fēng， gěi hòu shì zuò jiā de chuàng zuò tí gōng liǎo yì shù diǎn fàn。 tā suǒ chuàng lì de wù 'āi děng měi xué chuán tǒng， yī zhí bèi hòu shì zuò jiā jì chéng hé fā zhǎn， chéng wéi rì běn wén xué mín zú huà de yī dà yīn sù。
zài《 yuán shì wù yǔ》 zhōng， zuò zhě suī rán zhù yào miáo xiě yuán shì de 'ài qíng shēng huó， dàn yòu bù shì dān chún dì miáo xiě 'ài qíng， ér shì tōng guò yuán shì de liàn 'ài、 hūn yīn， jiē shì yī fū duō qī zhì xià fù nǚ de bēi cǎn mìng yùn。 zài guì zú shè huì lǐ， nán nǚ hūn jià wǎng wǎng shì tóng zhèng zhì lì yì lián xì zài yī qǐ de， shì zhèng zhì dǒu zhēng de shǒu duàn， fù nǚ chéng liǎo zhèng zhì jiāo yì de gōng jù。 zài zhè fāng miàn， zǐ shì bù zuò liǎo dà dǎn de miáo xiě。 zuǒ dà chén bǎ zì jǐ de nǚ 'ér kuí jī xǔ pèijǐ yuán shì， shì wéi liǎo jiā qiáng zì jǐ de shēng shì， zhū què tiān huáng zài yuán shì sì shí suì dé shì zhī shí， jiāng nián fāng shí liù suì de nǚ 'ér sān gōng zhù jià gěi yuán shì， yě shì chū yú zhèng zhì shàng de kǎo lǜ， jiù lián zhèng dí yòu dà chén fā xiàn yuán shì hé zì jǐ de nǚ 'ér lóng yuè yè tōu qíng， yě nǐ jiāng tā xǔ pèijǐ yuán shì， yǐ tú fēn huà yuán shì yī pài。 dì fāng guì zú míng shí dào rén hé cháng lù jiè， yī gè wèile qiú dé fù guì， qiǎngpò zì jǐ de nǚ 'ér jià gěi yuán shì； yī gè wèile hùn shàng gāo guān， jiāng zì jǐ de nǚ 'ér xǔ gěi liǎo zuǒ jìn shàojiàng， ér zuǒ jìn shàojiàng qǔ tā de nǚ 'ér， zé shì wèile lì yòng cháng lù jiè de cái lì。 zuò zhě bǐ xià de zhòng duō fù nǚ xíng xiàng， yòu shēn fèn gāo guì de， yě yòu shēn shì dī jiàn de， dàn tā men de chǔjìng dōushì yī yàng， bù jǐn chéng liǎo guì zú zhèng zhì dǒu zhēng de gōng jù， yě chéng liǎo guì zú nán rén shǒu zhōng de wán wù， yī fū duō qī zhì de xī shēng pǐn。
xiǎo shuō zhuómò zuì duō de shì yuán shì jí qí shàng xià sān dài rén duì fù nǚ de cuī cán。 yuán shì de fù huáng wán nòng liǎo gēngyī， yóu yú tā chū shēn hán wēi， zài gōng zhōng bèi shòu lěng luò， zuì hòu qū sǐ yú quán lì dǒu zhēng zhī zhōng。 yuán shì yǐ zhàng zì jǐ de quán shì， zāo tà liǎo bù shàofù nǚ： bàn yè chuǎng jìn dì fāng guān fū rén kōng chán de jū shì diàn wū liǎo zhè gè yòu fū zhī fù； jiàn tà liǎo chū shēn dī jiàn de xī yán de 'ài qíng， shǐ tā yì yù 'ér sǐ； kàn jiàn jì mǔ téng hú xiào sì zì jǐ de mǔ qīn， yóu sī mù jìn 'ér yǔ tā tōng jiān； chuǎng rù jiā dào zhōng luò de zhāi mò huā de nèi shì tiáoxì tā， fā xiàn tā cháng xiāng chǒu lòu， yòu jiā yǐ xī luò。 cǐ wài， tā duì zǐ jī、 míng shí jī děng xǔ duō bù tóng shēn fèn de nǚ zǐ， yědōu dà tǐ rú cǐ。 zài hòu shí huí lǐ chū xiàn de yuán shì jì chéng rén dǒng jūn（ tā míng yì shàng shì yuán shì hé sān gōng zhù zhī zǐ， shí jì shàng shì sān gōng zhù tóng yuán shì de qī jiù zhī zǐ bǎi mù sī tōng suǒ shēng） jì chéng liǎo zǔ、 fù liǎng bèi rén huāng yín de chuán tǒng， cuī cán liǎo gū kǔ líng dīng de ruò nǚ fú zhōu， yòu pà shì qíng bài lù， bǎ tā qì zhì zài huāng liáng de yǔ zhì shān zhuāng。
zǐ shì bù de chuàng zuò bù kě bì miǎn dì yòu qí lì shǐ hé jiē jí de jú xiàn xìng。 tā jì bù mǎn dāng shí de shè huì xiàn shí， āi tàn guì zú jiē jí de mòluò， què yòu wú fǎ chè dǐ fǒu dìng zhè gè shè huì hé zhè gè jiē jí； tā jì gǎn dào“ zhè gè 'è zhuó kě tàn de mò shì…… zǒng shì yuè lái yuè huài”， kě yòu wèi néng zì jué rèn shí guì zú jiē jí miè wáng de lì shǐ bì rán xìng， yǐ tā zài chù jí guì zú fǔ bài zhèng zhì de shí hòu， yī fāng miàn qiǎn zé liǎo hóng huī diàn yī pài zhèng zhì yě xīn hé dú duàn zhuān xíng， lìng yī fāng miàn yòu tǎn hù yuán shì yī pài， bìng qǐ tú jiāng yuán shì lǐ xiǎng huà， zuò wéi zì jǐ zhèng zhì shàng de xī wàng hé jì tuō， duì yuán shì zhèng zhì shēng mìng de wán jié bù shèng qí bēi。 shū zhōng dì sì shí yī huí zhǐ yòu tí mù《 yún yǐn》 ér wú zhèng wén， yǐ zhè zhǒng qí tè de biǎo xiàn shǒu fǎ lái 'àn yù yuán shì de jié jú， zhèng tòu lù liǎo zuò zhě de 'āi wǎn xīn qíng。 lìng wài zài xiě dào fù nǚ mìng yùn de shí hòu， tā yī fāng miàn duì tā men jì yú shēnqiè de tóng qíng， lìng yī fāng miàn yòu bǎ yuán shì xiě chéng yī gè yòu shǐ yòu zhōng de fù nǚ de bì hù zhě， jié lì měi huà yuán shì， zài yī dìng chéng dù shàng duì yuán shì biǎo shì tóng qíng yǔ kěn dìng。 cǐ wài， zuò pǐn zhōng hái chōng mǎn liǎo guì zú jiē jí de měi xué qíng qù、 fó jiào de yīn guǒ bào yìng sī xiǎng， yǐ jí xū kōng gǎn shāng de qíng diào。
《 yuán shì wù yǔ》 zài yì shù shàng yě shì yī bù yòu hěn dà chéng jiù de zuò pǐn， tā kāipì liǎo rì běn wù yǔ wén xué de xīn dào lù， shǐ rì běn gǔ diǎn xiàn shí zhù yì wén xué dá dào yī gè xīn de gāo fēng。
《 yuán shì wù yǔ》 wèn shì yǐ lái， yǐ jīng guò qù jìn qiān nián liǎo。 jìn guǎn tā zài jié gòu shàng xiǎn dé yòu xiē páng zá、 rǒng cháng， xiāng tóng chǎng miàn hé xīn lǐ miáo xiě chóngfù guò duō， yòu sǔn yú zuò pǐn de yì shù wán měi xìng， dàn tā bì jìng shì yī bù sī xiǎng xìng hé yì shù xìng dōuhěn gāo de rì běn gǔ diǎn wén xué zuò pǐn， zài jīn tiān réng bǎo chí zhe tā de yì shù shēng mìng lì， duì rì běn wén xué jì xù chǎn shēng zhe yǐng xiǎng。
静静的顿河 gē sà kè， gǔ 'é luó sī zú guì zú de nú pú táo páo yǐ hòu， zài bié de dì fāng fán yǎn fā zhǎn qǐ lái de qún tǐ
dùn hé bēi gē
wǒ men guāng róng de tǔ dì bù shì yòng lí lái fān gēng……
wǒ men de tǔ dì yòng mǎ tí lái fān gēng，
guāng róng de tǔ dì shàng zhǒng de shì gē sà kè de tóu lú，
jìng jìng de dùn hé dào chù zhuāng diǎn zhe nián qīng de guǎ fù，
wǒ men de fù qīn， jìng jìng de dùn hé shàng dào chù shì gū 'ér，
jìng jìng de dùn hé de gǔn gǔn de bō tāo shì diē niàn de yǎn lèi。
ō 'ài， jìng jìng de dùn hé， wǒ men de fù qīn！
ō 'ài， jìng jìng de dùn hé， nǐ de liú shuǐ wèishénme zhè yàng hún？
ā yā， wǒ jìng jìng de dùn hé de liú shuǐ zěn me néng bù hún！
hán quán cóng wǒ jìng jìng de dùn hé de hé dǐ xiàng wài bēn liú，
yín bái sè de yú 'ér bǎ wǒ jìng jìng de dùn hé jiǎo hún。
héng héng gē sà kè gǔ gē
《 jìng jìng de dùn hé》 shì sū lián zhù míng zuò jiā xiào luò huò fū de yī bù lì zuò。 cǐ shū gòng fēn wéi sì bù， cóng 1928 nián kāi shǐ zhí zhì 1940 nián， gòng yòng liǎo 12 nián de shí jiān cái chuàng zuò wán chéng。 xiào luò huò fū zhè bù chǔnǚ zuò yī jīng wèn shì， lì kè shòu dào guó nèi wài de zhǔ mù， bèi rén chēng zuò“ lìng rén jīng qí de jiā zuò”，“ sū lián wén xué hái méi yòu yù dào tóng tā xiāng bǐ de xiǎo shuō”。 cǐ shū yú 1941 nián huò sī dà lín jiǎng jīn， 1965 nián xiào luò huò fū yīn cǐ shū huò nuò bèi 'ěr wén xué jiǎng， chéng wéi dì yī wèi huò cǐ shū róng de sū lián zuò jiā。
xiào luò huò fū（ 1905～ 1986） cóng xiǎo rè 'ài dú shū， nián qīng shí cān jiā liǎo gé mìng， chuàng zuò《 jìng jìng de dùn hé》 zhī shí， tā nián jǐn 23 suì。 rú cǐ nián qīng hé bìng wèi shòu guò liáng hǎo jiào yù de xiào luò huò fū shì fǒu yòu néng lì xiě chū zhè yàng yī bù juàn zhì hào fán de hóng piān jù zhù ní？ zhè céng jīng yǐn qǐ xǔ duō rén de zhì yí， bìng yǐn fā liǎo yīcháng wén tán gōng 'àn， yòu rén zhǐ chū xiào luò huò fū chún shǔ chāo xí， bìng tí jí yī wèi wú míng zuò jiā。 miàn duì zhè xiē zé wèn， dāng shí nián jǐn 20 duō suì de xiào luò huò fū yòu kǒu nán biàn， yòu bù zhī shénme yuán yīn jìng ná bù chū shǒu gǎo， zuì hòu hái shì sī dà lín qīn zì chū miàn wéi qí jiě wéi。 1991 nián， xiào luò huò fū 20 nián dài mò xiě cǐ shū de liǎng bù shǒu gǎo bèi fā xiàn， dāng jú zhào jí zhuān jiā jìn xíng bǐ jì jiàn dìng， què xì chū zì xiào luò huò fū de shǒu bǐ， zhè duàn gōng 'àn cái zhōng yú liǎo jié。 jì《 jìng jìng de dùn hé》 zhī hòu， xiào luò huò fū lù xù fā biǎo liǎo《 bèi kāi kěn de chǔnǚ dì》、《 yī gè rén de zāo yù》 děng zuò pǐn， què lì liǎo tā zài shì jiè wén tán shàng de bù xiǔ dì wèi。
《 jìng jìng de dùn hé》 miáo huì liǎo 1912 nián zhì 1922 nián jiān liǎng cì gé mìng（ èr yuè gé mìng、 shí yuè gé mìng） hé liǎng cì zhàn zhēng（ dì yī cì shì jiè dà zhàn， sū lián guó nèi zhàn zhēng） zhōng de zhòng dà lì shǐ shì jiàn hé dùn hé liǎng 'àn gē sà kè rén zài zhè 10 nián zhōng de dòng dàng shēng huó， guǎng fàn dì fǎn yìng liǎo gē sà kè dú tè de fēng tǔ rén qíng， gē sà kè gè gè jiē céng de biàn huà、 guǎng dà gē sà kè zài fù zá de lì shǐ zhuǎn zhé guān tóu suǒ jīng lì de qū zhé dào lù， yǐ jí juǎnrù lì shǐ shì jiàn qiáng dà xuán wō zhōng de zhù rén gōng gé lì gāo lǐ de bēi jù mìng yùn。
zhè bù xiǎo shuō chǎng jǐng hóng wěi， huà miàn shēng dòng； qì shì xióng hún de zhàn zhēng hé gé mìng chǎng miàn yǔ xì nì de rì cháng shēng huó chǎng miàn xiāng hù zhuǎn huàn， fēng jǐng miáo xiě yǔ rén wù xīn lǐ biàn huà bǐ cǐ chèn tuō； zhòng duō rén wù jí qí mìng yùn zài lì shǐ shì jiàn de cuò zōng fù zá zhōng dé dào liǎo shēn kè biǎo xiàn。 zhèng rú xiào luò huò fū xiě gěi gāo 'ěr jī de xìn zhōng suǒ yán， tā zài《 jìng jìng de dùn hé》 zhōng suǒ xiě de“ dōushì yán kù de zhēn shí”， zhè yī diǎn shì qí zuì dà de chéng jiù zhī yī。 běn shū lìng yī chéng jiù shì sù zào liǎo gé lì gāo lǐ de fù zá xíng xiàng。 xiǎo shuō zhěng gè fù zá 'ér qū zhé de gù shì yǐ tā shēng qì bó bó de dēng chǎng kāi shǐ， yǐ tā de tòng kǔ、 gū jì de xià chǎng jié shù。 xiǎo shuō quán bù zhòng dà 'ér duō fāng miàn de nèi róng dōushì tōng guò tā kǎn kě、 jiān nán hé zuì hòu huǐ miè de yī shēng jīng lì 'ér lián jié chéng yī gè yòu jī zhěng tǐ。 tā de xíng xiàng dé dào xiǎo shuō lǐ zuì duō fāng miàn shēn rù xì zhì de miáo xiě， zài tā shēn shàng qīng zhù zhe zuò zhě de quán bù sī xiǎng hé yì shù jī qíng。
xiǎo shuō de yì shù chéng jiù yě shì hěn tū chū de。 jié gòu shì páng dà fù zá de， dàn tā dà 'ér yán jǐn、 zá 'ér bù luàn。 zhěng bù cháng piān xiǎo shuō gòng fēn sì bù bā juàn， yóu yú zuò zhě de jīng xīn 'ān pái， qíng jié de fā zhǎn téng nuó diē dàng， gù shì yǎn biàn qū zhé zì rán， tóu xù fēn fán 'ér xiàn tiáo fēn míng， xíng chéng yī gè yòu jī de zhěng tǐ， xiǎo shuō shí kōng zhuǎn huàn kuò dà， jù yòu yī zhǒng tè bié háo mài de qì bó。 duì yú zhěng gè gù shì qíng jié de miáo huì， zuì míng xiǎn tè diǎn shì zhēn shí shì jiàn yǔ yì shù xū gòu de jié hé。 tóng shí cǎi yòng cū guǎng nóng liè hé shēn wēi xì nì jiāo tì shǐ yòng de shǒu fǎ， zhēn shí zài xiàn 'é guó lì shǐ dà zhuǎn biàn shí qī shí dài de mài bó。《 jìng jìng de dùn hé》 de gù shì xù shù， yǐn yòng liǎo xǔ duō mín gē mín yáo， yǐ hěn dà piān fú miáo huì bù duàn biàn huàn de zì rán fēng guāng， jí jù xiāng tǔ fēng qíng， tóng shí dá dào hōng tuō rén wù de mùdì。 yǔ yán qīng xīn míng kuài， jì qiǎo duō yàng， shí wéi bù kě duō dé de jiā zuò。
zhè bù cháng piān xiǎo shuō cóng 1928 nián fā biǎo yǐ lái， céng jīng dé dào sī dà lín de qīng lái， zhè yě shì xiào luò huò fū zài dà sù fǎn qī jiān bǎo quán xìng mìng de zhù yào yuán yīn， tā hái shòu dào guò gāo 'ěr jī hé luó màn · luó lán、 lǔ xùn、 xiǎo lín duō xǐ 'èr hé hǎi míng wēi děng shì jiè zhī míng zuò jiā de gāo dù zàn yáng。 dāng cǐ shū bèi yì chéng dé wén zài dé guó fā xíng hòu， yìn shù jìng chāo guò liǎo dé yǔ zuò jiā léi mǎ kè de《 xī xiàn wú zhàn shì》。 tā xiān hòu bèi fān yì chéng shì jiè shàng jīhū suǒ yòu de zhù yào yǔ yán， ér qiě yī bǎn zài bǎn， chàng xiāo quán qiú， shì dāng dài shì jiè wén xué zhōng liú chuán zuì guǎng fàn、 dú zhě zuì duō de míng zhù zhī yī。 tā de yǐng xiǎng yǐ shì shì jiè xìng de。
《 jìng jìng de dùn hé》 jiù qí nèi róng hé zhù tí de shēn kè xìng， tā de náng kuò xiàn shí de guǎng dù hé jiē shì shēng huó guò chéng de shēn dù， tā de kè huá gè zhǒng bù tóng rén wù xìng gé de shēng dòng xìng hé fā jué zhù rén gōng nèi xīn shì jiè de shēn kè xìng， yǐ jí duō fāng miàn zōng hé yùn yòng yǔ yán yì shù de jì qiǎo， dōubù kuì shì yī bù jì bàng bó zhuàng guān yòu wěi wǎn xì nì、 kòu rén xīn xián de shǐ shī xìng cháng piān xiǎo shuō。
nèi róng gěng gài
mài liè huò fū yī jiā shēng huó zài dì 'é shí qī dùn hé liú yù de dá dá cūn lǐ， zhè jiā de xiǎo 'ér zǐ gé lì gāo lǐ 'ài shàng liǎo lín jū jiā sī jié pān de qī zǐ 'ā kè xī ní yà。 ā kè xī ní yà cháng qī shòu dào zhàng fū de nüè dài， biàn chéng sī jié pān zài jūn duì fú yì qī jiān， yǔ gé lì gāo lǐ yòu liǎo sī qíng。 gé lì gāo lǐ de fù qīn wèile bì miǎn chǒu shì wài yáng， ān pái liǎo tā yǔ cūn zhōng yī wèi gū niàn nà tǎ lì yà jié liǎo hūn。 dàn gé lì gāo lǐ bìng bù 'ài tā， bù jiǔ gōng kāi yǔ 'ā kè xī ní yà tóng jū， chéng liǎo cūn zhōng yī jiàn chǒu wén。
gé lì gāo lǐ de fù qīn xiū kuì nán dāng， tòng dǎ liǎo 'ér zǐ。 gé lì gāo lǐ yī nù zhī xià lí jiā chū zǒu， tā hé 'ā kè xī ní yà páo dào cūn wài fù hù lǐ sī tè ní cí jī jiā zhōng bāng gōng。 zhè duàn shí jiān， ā kè xī ní yà shēng liǎo gè nǚ 'ér。 bù jiǔ， gé lì gāo lǐ yìng zhēng rù wǔ。
nà tǎ lì yà jiàn zhàng fū duì zì jǐ háo wú gǎn qíng， tòng kǔ dé xiǎng yào zì jìn。 dàn jīng mài liè huò fū jiā bǎi bān quàn wèi， tā zhōng yú píng jìng xià lái。 gé lì gāo lǐ dì yī cì xiūjià huí jiā， fā xiàn 'ā kè xī ní yà hé dì zhù jiā dāng jūn guān de shàoye yóu jīn gòu dā chéng jiān。 bù qiǎo de shì tā men de nǚ 'ér bù xìng sǐ qù。 gé lì gāo lǐ nù huǒ zhōng shāo。 tā zhǎo dào yóu jīn dǎ liǎo yī jià， yòu tòng dǎ liǎo 'ā kè xī ní yà yī dùn。 rán hòu huí dào zì jǐ jiā zhōng， qǐng qiú nà tǎ lì yà de yuán liàng。 liǎng rén yán guī yú hǎo。 xiūjià jié shù shí， nà tǎ lì yà yǐ huái liǎo yùn， bù jiǔ biàn shēng liǎo yī nán yī nǚ shuāng bāo tāi。
gé lì gāo lǐ zài jūn duì zhōng yǒng gǎn shā dí， yīn cǐ bèi shòu yú shí zì xūn zhāng， chéng liǎo cūn zhōng dì yī gè qí shì。 zài bù duì zhōng tā yù jiàn liǎo gē gē bǐ dé luó hé qíng dí sī jié pān。 sī jié pān lǚ cì xiǎng jiā hài gé lì gāo lǐ， dàn wú fǎ xià shǒu。 gé lì gāo lǐ fǎn 'ér zài yī cì zhàn dǒu zhōng jiù liǎo sī jié pān yī mìng。 liǎng rén 'ēn yuàn dǐ xiāo。
zhè shí zhèng jú fā shēng liǎo dòng dàng。 bù 'ěr shí wéi kè zài jūn duì zhōng gǔ chuī gé mìng， zhè hěn kuài xī yǐn liǎo zhòng duō díshì bīng。 yóu yú jiān kǔ、 sī xiāng， zài dì yī cì shì jiè dà zhàn zhōng pí yú bènmìng díshì bīng men yǐ chǔyú wǎ jiě zhuàng tài。 bù jiǔ， kè lún sī jī lín shí zhèng fǔ qǔ dài liǎo shā huáng。 jiē zhe shí yuè gé mìng bào fā， sū wéi 'āi zhèng quán jiàn lì。 hěn kuài， bù gān xīn shī bài de fǎn gé mìng wǔ zhuāng juǎntǔ chónglái。 guó nèi zhàn zhēng bào fā liǎo。 yī xiàng yǐ kù 'ài zì yóu zhù chēng de gē sà kè mín zú qíng xù yì cháng qiáng liè， yào qiú jiàn lì yī gè dùn hé liú yù zì zhì zhèng fǔ， xǔ duō rén jiā rù liǎo fǎn gé mìng wǔ zhuāng。 ér gèng duō de rén zé zǔ zhì qǐ lái yǔ bái jūn zuò zhàn。 xǔ duō gé lì gāo lǐ de péng yǒu wéi gé mìng xiān hòu xiàn chū liǎo shēng mìng。 gé lì gāo lǐ yě chéng wéi hóng jūn zhōng de yī míng jūn guān。 bù jiǔ， bō dé jié 'ěr kē fū rèn dùn hé dì qū lǐng dǎo rén。 tā shuài lǐng jūn mín xiàng bái jūn fā qǐ gōng jī。 gé lì gāo lǐ kàn dào bō dé jié 'ěr kē fū cán hài bèi fú de gē sà kè jūn guān bìng chù sǐ quán bù fú lǔ， tā shēn wéi bù mǎn， yú shì lí kāi duì wǔ huí dào liǎo jiā xiāng。
gé lì gāo lǐ huí dào cūn zhōng hòu， biàn chuán lái hóng jūn yào dǎ lái de xiāo xī。 cūn mín mendōu zhǔn bèi táo lí， gé lì gāo lǐ què bù yuàn yì。 jiē zhe chuán lái de shì hóng jūn shāo shā qiǎng lüè de xiāo xī， zhè yǐn qǐ rén men jí dà kǒng huāng。 cūn mín zǔ zhì liǎo jūn duì yǐ zuò fǎn kàng。 gé lì gāo lǐ jù jué liǎo cūn mín yào tā zuò tóu mùdì yào qiú， bǐ dé luó chéng liǎo tóu mù。 zài bái jūn fǎn pū xià， gé mìng jūn kuì bài。 gé lì gāo lǐ yù shàng liǎo bèi fú de yuán hóng jūn shàng jí， bìng nù chì tā cán shā bái jūn zhàn fú de wǎng shì。
1918 nián shí， dùn hé gē sà kè dì qū chéng liǎo gé mìng yǔ fǎn gé mìng zhēng duó de zhàn chǎng。 dá dá cūn zhōng yòu rén dǎo xiàng bái jūn， yòu rén dǎo xiàng hóng jūn。 gé lì gāo lǐ hé bǐ dé luó dōuyǐ chéng wéi bái jūn tóu mù。 bǐ dé luó xīn hěn shǒu là， shì yī gè chè dǐ de fǎn gé mìng。 gé lì gāo lǐ què zài yōu yù zhōng dù rì。 tā bù yuàn làn shā wú gū， zhǐ xiǎng zài bīng huāng mǎ luàn zhōng bǎo quán zì jǐ de shēng mìng。 tā wú yì cānyù shénme zhù yì zhī zhēng， zhǐ xiǎng zǎo rì hé píng。
pàn luàn réng zài jì xù。 zhè shí， yóu jīn huí dào liǎo jiā xiāng。 tā zài zhàn zhēng zhōng shī qù liǎo yī tiáo gēbo， huí lái hòu biàn yǔ yī gè nǚ rén jié liǎo hūn。 tā yǐ qián de qíng fù 'ā kè xī ní yà réng zài děng zhe tā。 kě shì yóu jīn jié hūn zhī hòu zài yě bù yuàn yì hé tā lái wǎng liǎo。 tā men qīn rè yī zhèn zhī hòu tā biàn gěi liǎo tā yī xiē qián ràng tā zǒu。 ā kè xī ní yà bèi shòu dǎ jī。
gé lì gāo lǐ yàn juàn liǎo zhàn zhēng， tā fǎn huí liǎo dá dá cūn， hóng sè zhèng quán yǐ jiē guǎn liǎo cūn zǐ。 tā xiàn zài duì 'ā kè xī ní yà yǐ méi yòu sī háo liàn qíng liǎo， ér duì nà tǎ lì yà jiàn shēng hǎo gǎn。 hóng jūn gǒng gù tǒng zhì hòu biàn kāi shǐ sù qīng yì jǐ。 gé lì gāo lǐ bèi liè rù shǒu pī míng dān。 tā tīng dào fēng shēng， lián yè táo zǒu liǎo。
suí zhe zhèng zhì jiān jìn hé chǔjué bù duàn zēng jiā， gē sà kè rén bù kān rěn shòu hóng jūn làn shā wú gū 'ér jiē gān 'ér qǐ， pàn luàn zài jiào duǎn shí jiān nèi jiù huò dé liǎo chéng gōng， bǐ dé luó hěn kuài chéng wéi zhǐ huī guān。 tā xià shǒu dú là， duì hóng jūn háo bù liú qíng， zài hòu lái yī cì zhàn dǒu zhōng， tā bèi hóng jūn fú lǔ bìng dǎ sǐ。
gé lì gāo lǐ zài pàn jūn zhōng shēng rèn shī cháng。 bǐ dé luó zhī sǐ shǐ tā biàn dé cán kù wú qíng， shā rén rú má。 dàn tā duì lǎo ruò bìng cán cóng bù làn shā。 yóu yú yī gè tuán de hóng jūn kāi liǎo xiǎo chā， dá dá cūn bèi pàn jūn zhàn lǐng， hóng jūn lǐng dǎo rén jūn bèi chǔsǐ。 dá lǐ yà qīn shǒu wéi bǐ dé luó bào liǎo chóu。
gé lì gāo lǐ huí jiā dù jiǎ， sǎo zǐ dá lǐ yà shì tú yǔ tā tiáoqíng bèi tā jù jué。 gé lì gāo lǐ yǐ duì dǎ zhàng hé zòng yù yàn juàn liǎo， dàn tā réng huái niàn zhe 'ā kè xī ní yà。 nà tǎ lì yà duì tā zhú jiàn lěng dàn。 tā jué dìng fǎn huí bù duì。 zǒu zhī qián， tā zài dùn hé biān yù shàng liǎo 'ā kè xī ní yà。 liǎng rén xiāng shì xǔ jiǔ， yòu rán qǐ liǎo 'ài qíng de huǒ huā。
dào liǎo 1919 nián， sū wéi 'āi zhèng quán yì shí dào zì jǐ miàn lín de jiān jù rèn wù。 dà pī hóng jūn pài liǎo guò lái bìng jī tuì liǎo pàn jūn。 pàn jūn dài zhe dà pī nànmín dù guò liǎo dùn hé bìng dǎng zhù liǎo hóng jūn de jìn gōng。
hóng jūn yòu jiē guǎn liǎo dá dá cūn， suǒ yòu fù hù de fáng zǐ jūn bèi zòng huǒ shāo diào。 nà tǎ lì yà yīn huàn shāng hán liú zài cūn zhōng。 shēn wéi shī cháng de gé lì gāo lǐ suī rán zhàn shì bù duàn， réng chōu chū shí jiān pài rén jiē lái liǎo 'ā kè xī ní yà。 liǎng rén yòu huī fù liǎo wǎng rì de qīn rè。
bái jūn yòu dǎ huí lái liǎo， hóng jūn bèi gǎn zǒu liǎo。 zhè shí pàn luàn fènzǐ bèi biān chéng yī zhī zhèng guī jūn。 gé lì gāo lǐ yīn wéi méi shòu guò shénme jiào yù， jiàng rèn wéi qí shì zhōng duì cháng。 bái jūn hái pài chū tǎo fá duì tú shā nà xiē céng bāng guò hóng jūn de rén， zhè shǐ dá dá cūn yòu xiàn rù kǒng bù zhī zhōng。 zhè shí， dá lǐ yà yǐ rǎn shàng méi dú 'ér tóu hé zì jìn。 nà tǎ lì yà yě zài zuò duò tāi shǒu shù shí dà chū xuè 'ér sǐ。
yóu yú hóng jūn bù duàn jiā qiáng gōng shì yǐ jí gē sà kè bù duì shì bīng kāi xiǎo chā xiàn xiàng rì yì fán duō， bái jūn jié jié bài tuì。 gé lì gāo lǐ hé 'ā kè xī ní yà yě shì tú táo zǒu， dàn yīn 'ā kè xī ní yà huàn bìng 'ér wèi chéngháng。 tā hòu lái zì jǐ fǎn huí liǎo dá dá cūn。 gé lì gāo lǐ zé jiā rù liǎo hóng jūn， zài yǔ bō lán rén zhàn dǒu zhōng biǎo xiàn shí fēn yǒng gǎn。
bù jiǔ， gé lì gāo lǐ huí dào liǎo jiā xiāng。 dāng jú tīng dào xiāo xī， lì kè pài rén lái zhuā tā。 tā yòu táo zǒu liǎo， bìng jiā rù liǎo cóng hóng jūn zhōng pàn biàn chū lái de fú míng de bù duì。 fú míng xiǎng yào zǔ zhì qǐ gē sà kè rén fǎn kàng gòng chǎn dǎng kè shuì zhēng liáng。 dàn pàn luàn hěn kuài bèi zhèn yā。 fǎn kàng zhě dōubèi dǎ sǐ liǎo， zhǐ yòu gé lì gāo lǐ huí dào cūn zhōng。 gé lì gāo lǐ zài cì chū táo shí dài shàng liǎo 'ā kè xī ní yà， kě shì tā què bèi yī zhī zhuī jī 'ér lái de hóng jūn xún luó duì dǎ sǐ。 gé lì gāo lǐ rēng diào liǎo wǔ qì， huí dào liǎo jiā zhōng。 xiàn zài tā suǒ yōng yòu de zhǐ yòu zì jǐ de 'ér zǐ liǎo。 tā bù yuàn zài shī qù zhè shì shàng wéi yī de qīn rén liǎo。
dùn hé bēi gē
wǒ men guāng róng de tǔ dì bù shì yòng lí lái fān gēng……
wǒ men de tǔ dì yòng mǎ tí lái fān gēng，
guāng róng de tǔ dì shàng zhǒng de shì gē sà kè de tóu lú，
jìng jìng de dùn hé dào chù zhuāng diǎn zhe nián qīng de guǎ fù，
wǒ men de fù qīn， jìng jìng de dùn hé shàng dào chù shì gū 'ér，
jìng jìng de dùn hé de gǔn gǔn de bō tāo shì diē niàn de yǎn lèi。
ō 'ài， jìng jìng de dùn hé， wǒ men de fù qīn！
ō 'ài， jìng jìng de dùn hé， nǐ de liú shuǐ wèishénme zhè yàng hún？
ā yā， wǒ jìng jìng de dùn hé de liú shuǐ zěn me néng bù hún！
hán quán cóng wǒ jìng jìng de dùn hé de hé dǐ xiàng wài bēn liú，
yín bái sè de yú 'ér bǎ wǒ jìng jìng de dùn hé jiǎo hún。
héng héng gē sà kè gǔ gē
《 jìng jìng de dùn hé》 shì sū lián zhù míng zuò jiā xiào luò huò fū de yī bù lì zuò。 cǐ shū gòng fēn wéi sì bù， cóng 1928 nián kāi shǐ zhí zhì 1940 nián， gòng yòng liǎo 12 nián de shí jiān cái chuàng zuò wán chéng。 xiào luò huò fū zhè bù chǔnǚ zuò yī jīng wèn shì， lì kè shòu dào guó nèi wài de zhǔ mù， bèi rén chēng zuò“ lìng rén jīng qí de jiā zuò”，“ sū lián wén xué hái méi yòu yù dào tóng tā xiāng bǐ de xiǎo shuō”。 cǐ shū yú 1941 nián huò sī dà lín jiǎng jīn， 1965 nián xiào luò huò fū yīn cǐ shū huò nuò bèi 'ěr wén xué jiǎng， chéng wéi dì yī wèi huò cǐ shū róng de sū lián zuò jiā。
xiào luò huò fū（ 1905～ 1986） cóng xiǎo rè 'ài dú shū， nián qīng shí cān jiā liǎo gé mìng， chuàng zuò《 jìng jìng de dùn hé》 zhī shí， tā nián jǐn 23 suì。 rú cǐ nián qīng hé bìng wèi shòu guò liáng hǎo jiào yù de xiào luò huò fū shì fǒu yòu néng lì xiě chū zhè yàng yī bù juàn zhì hào fán de hóng piān jù zhù ní？ zhè céng jīng yǐn qǐ xǔ duō rén de zhì yí， bìng yǐn fā liǎo yīcháng wén tán gōng 'àn， yòu rén zhǐ chū xiào luò huò fū chún shǔ chāo xí， bìng tí jí yī wèi wú míng zuò jiā。 miàn duì zhè xiē zé wèn， dāng shí nián jǐn 20 duō suì de xiào luò huò fū yòu kǒu nán biàn， yòu bù zhī shénme yuán yīn jìng ná bù chū shǒu gǎo， zuì hòu hái shì sī dà lín qīn zì chū miàn wéi qí jiě wéi。 1991 nián， xiào luò huò fū 20 nián dài mò xiě cǐ shū de liǎng bù shǒu gǎo bèi fā xiàn， dāng jú zhào jí zhuān jiā jìn xíng bǐ jì jiàn dìng， què xì chū zì xiào luò huò fū de shǒu bǐ， zhè duàn gōng 'àn cái zhōng yú liǎo jié。 jì《 jìng jìng de dùn hé》 zhī hòu， xiào luò huò fū lù xù fā biǎo liǎo《 bèi kāi kěn de chǔnǚ dì》、《 yī gè rén de zāo yù》 děng zuò pǐn， què lì liǎo tā zài shì jiè wén tán shàng de bù xiǔ dì wèi。
《 jìng jìng de dùn hé》 miáo huì liǎo 1912 nián zhì 1922 nián jiān liǎng cì gé mìng（ èr yuè gé mìng、 shí yuè gé mìng） hé liǎng cì zhàn zhēng（ dì yī cì shì jiè dà zhàn， sū lián guó nèi zhàn zhēng） zhōng de zhòng dà lì shǐ shì jiàn hé dùn hé liǎng 'àn gē sà kè rén zài zhè 10 nián zhōng de dòng dàng shēng huó， guǎng fàn dì fǎn yìng liǎo gē sà kè dú tè de fēng tǔ rén qíng， gē sà kè gè gè jiē céng de biàn huà、 guǎng dà gē sà kè zài fù zá de lì shǐ zhuǎn zhé guān tóu suǒ jīng lì de qū zhé dào lù， yǐ jí juǎnrù lì shǐ shì jiàn qiáng dà xuán wō zhōng de zhù rén gōng gé lì gāo lǐ de bēi jù mìng yùn。
zhè bù xiǎo shuō chǎng jǐng hóng wěi， huà miàn shēng dòng； qì shì xióng hún de zhàn zhēng hé gé mìng chǎng miàn yǔ xì nì de rì cháng shēng huó chǎng miàn xiāng hù zhuǎn huàn， fēng jǐng miáo xiě yǔ rén wù xīn lǐ biàn huà bǐ cǐ chèn tuō； zhòng duō rén wù jí qí mìng yùn zài lì shǐ shì jiàn de cuò zōng fù zá zhōng dé dào liǎo shēn kè biǎo xiàn。 zhèng rú xiào luò huò fū xiě gěi gāo 'ěr jī de xìn zhōng suǒ yán， tā zài《 jìng jìng de dùn hé》 zhōng suǒ xiě de“ dōushì yán kù de zhēn shí”， zhè yī diǎn shì qí zuì dà de chéng jiù zhī yī。 běn shū lìng yī chéng jiù shì sù zào liǎo gé lì gāo lǐ de fù zá xíng xiàng。 xiǎo shuō zhěng gè fù zá 'ér qū zhé de gù shì yǐ tā shēng qì bó bó de dēng chǎng kāi shǐ， yǐ tā de tòng kǔ、 gū jì de xià chǎng jié shù。 xiǎo shuō quán bù zhòng dà 'ér duō fāng miàn de nèi róng dōushì tōng guò tā kǎn kě、 jiān nán hé zuì hòu huǐ miè de yī shēng jīng lì 'ér lián jié chéng yī gè yòu jī zhěng tǐ。 tā de xíng xiàng dé dào xiǎo shuō lǐ zuì duō fāng miàn shēn rù xì zhì de miáo xiě， zài tā shēn shàng qīng zhù zhe zuò zhě de quán bù sī xiǎng hé yì shù jī qíng。
xiǎo shuō de yì shù chéng jiù yě shì hěn tū chū de。 jié gòu shì páng dà fù zá de， dàn tā dà 'ér yán jǐn、 zá 'ér bù luàn。 zhěng bù cháng piān xiǎo shuō gòng fēn sì bù bā juàn， yóu yú zuò zhě de jīng xīn 'ān pái， qíng jié de fā zhǎn téng nuó diē dàng， gù shì yǎn biàn qū zhé zì rán， tóu xù fēn fán 'ér xiàn tiáo fēn míng， xíng chéng yī gè yòu jī de zhěng tǐ， xiǎo shuō shí kōng zhuǎn huàn kuò dà， jù yòu yī zhǒng tè bié háo mài de qì bó。 duì yú zhěng gè gù shì qíng jié de miáo huì， zuì míng xiǎn tè diǎn shì zhēn shí shì jiàn yǔ yì shù xū gòu de jié hé。 tóng shí cǎi yòng cū guǎng nóng liè hé shēn wēi xì nì jiāo tì shǐ yòng de shǒu fǎ， zhēn shí zài xiàn 'é guó lì shǐ dà zhuǎn biàn shí qī shí dài de mài bó。《 jìng jìng de dùn hé》 de gù shì xù shù， yǐn yòng liǎo xǔ duō mín gē mín yáo， yǐ hěn dà piān fú miáo huì bù duàn biàn huàn de zì rán fēng guāng， jí jù xiāng tǔ fēng qíng， tóng shí dá dào hōng tuō rén wù de mùdì。 yǔ yán qīng xīn míng kuài， jì qiǎo duō yàng， shí wéi bù kě duō dé de jiā zuò。
zhè bù cháng piān xiǎo shuō cóng 1928 nián fā biǎo yǐ lái， céng jīng dé dào sī dà lín de qīng lái， zhè yě shì xiào luò huò fū zài dà sù fǎn qī jiān bǎo quán xìng mìng de zhù yào yuán yīn， tā hái shòu dào guò gāo 'ěr jī hé luó màn · luó lán、 lǔ xùn、 xiǎo lín duō xǐ 'èr hé hǎi míng wēi děng shì jiè zhī míng zuò jiā de gāo dù zàn yáng。 dāng cǐ shū bèi yì chéng dé wén zài dé guó fā xíng hòu， yìn shù jìng chāo guò liǎo dé yǔ zuò jiā léi mǎ kè de《 xī xiàn wú zhàn shì》。 tā xiān hòu bèi fān yì chéng shì jiè shàng jīhū suǒ yòu de zhù yào yǔ yán， ér qiě yī bǎn zài bǎn， chàng xiāo quán qiú， shì dāng dài shì jiè wén xué zhōng liú chuán zuì guǎng fàn、 dú zhě zuì duō de míng zhù zhī yī。 tā de yǐng xiǎng yǐ shì shì jiè xìng de。
《 jìng jìng de dùn hé》 jiù qí nèi róng hé zhù tí de shēn kè xìng， tā de náng kuò xiàn shí de guǎng dù hé jiē shì shēng huó guò chéng de shēn dù， tā de kè huá gè zhǒng bù tóng rén wù xìng gé de shēng dòng xìng hé fā jué zhù rén gōng nèi xīn shì jiè de shēn kè xìng， yǐ jí duō fāng miàn zōng hé yùn yòng yǔ yán yì shù de jì qiǎo， dōubù kuì shì yī bù jì bàng bó zhuàng guān yòu wěi wǎn xì nì、 kòu rén xīn xián de shǐ shī xìng cháng piān xiǎo shuō。
nèi róng gěng gài
mài liè huò fū yī jiā shēng huó zài dì 'é shí qī dùn hé liú yù de dá dá cūn lǐ， zhè jiā de xiǎo 'ér zǐ gé lì gāo lǐ 'ài shàng liǎo lín jū jiā sī jié pān de qī zǐ 'ā kè xī ní yà。 ā kè xī ní yà cháng qī shòu dào zhàng fū de nüè dài， biàn chéng sī jié pān zài jūn duì fú yì qī jiān， yǔ gé lì gāo lǐ yòu liǎo sī qíng。 gé lì gāo lǐ de fù qīn wèile bì miǎn chǒu shì wài yáng， ān pái liǎo tā yǔ cūn zhōng yī wèi gū niàn nà tǎ lì yà jié liǎo hūn。 dàn gé lì gāo lǐ bìng bù 'ài tā， bù jiǔ gōng kāi yǔ 'ā kè xī ní yà tóng jū， chéng liǎo cūn zhōng yī jiàn chǒu wén。
gé lì gāo lǐ de fù qīn xiū kuì nán dāng， tòng dǎ liǎo 'ér zǐ。 gé lì gāo lǐ yī nù zhī xià lí jiā chū zǒu， tā hé 'ā kè xī ní yà páo dào cūn wài fù hù lǐ sī tè ní cí jī jiā zhōng bāng gōng。 zhè duàn shí jiān， ā kè xī ní yà shēng liǎo gè nǚ 'ér。 bù jiǔ， gé lì gāo lǐ yìng zhēng rù wǔ。
nà tǎ lì yà jiàn zhàng fū duì zì jǐ háo wú gǎn qíng， tòng kǔ dé xiǎng yào zì jìn。 dàn jīng mài liè huò fū jiā bǎi bān quàn wèi， tā zhōng yú píng jìng xià lái。 gé lì gāo lǐ dì yī cì xiūjià huí jiā， fā xiàn 'ā kè xī ní yà hé dì zhù jiā dāng jūn guān de shàoye yóu jīn gòu dā chéng jiān。 bù qiǎo de shì tā men de nǚ 'ér bù xìng sǐ qù。 gé lì gāo lǐ nù huǒ zhōng shāo。 tā zhǎo dào yóu jīn dǎ liǎo yī jià， yòu tòng dǎ liǎo 'ā kè xī ní yà yī dùn。 rán hòu huí dào zì jǐ jiā zhōng， qǐng qiú nà tǎ lì yà de yuán liàng。 liǎng rén yán guī yú hǎo。 xiūjià jié shù shí， nà tǎ lì yà yǐ huái liǎo yùn， bù jiǔ biàn shēng liǎo yī nán yī nǚ shuāng bāo tāi。
gé lì gāo lǐ zài jūn duì zhōng yǒng gǎn shā dí， yīn cǐ bèi shòu yú shí zì xūn zhāng， chéng liǎo cūn zhōng dì yī gè qí shì。 zài bù duì zhōng tā yù jiàn liǎo gē gē bǐ dé luó hé qíng dí sī jié pān。 sī jié pān lǚ cì xiǎng jiā hài gé lì gāo lǐ， dàn wú fǎ xià shǒu。 gé lì gāo lǐ fǎn 'ér zài yī cì zhàn dǒu zhōng jiù liǎo sī jié pān yī mìng。 liǎng rén 'ēn yuàn dǐ xiāo。
zhè shí zhèng jú fā shēng liǎo dòng dàng。 bù 'ěr shí wéi kè zài jūn duì zhōng gǔ chuī gé mìng， zhè hěn kuài xī yǐn liǎo zhòng duō díshì bīng。 yóu yú jiān kǔ、 sī xiāng， zài dì yī cì shì jiè dà zhàn zhōng pí yú bènmìng díshì bīng men yǐ chǔyú wǎ jiě zhuàng tài。 bù jiǔ， kè lún sī jī lín shí zhèng fǔ qǔ dài liǎo shā huáng。 jiē zhe shí yuè gé mìng bào fā， sū wéi 'āi zhèng quán jiàn lì。 hěn kuài， bù gān xīn shī bài de fǎn gé mìng wǔ zhuāng juǎntǔ chónglái。 guó nèi zhàn zhēng bào fā liǎo。 yī xiàng yǐ kù 'ài zì yóu zhù chēng de gē sà kè mín zú qíng xù yì cháng qiáng liè， yào qiú jiàn lì yī gè dùn hé liú yù zì zhì zhèng fǔ， xǔ duō rén jiā rù liǎo fǎn gé mìng wǔ zhuāng。 ér gèng duō de rén zé zǔ zhì qǐ lái yǔ bái jūn zuò zhàn。 xǔ duō gé lì gāo lǐ de péng yǒu wéi gé mìng xiān hòu xiàn chū liǎo shēng mìng。 gé lì gāo lǐ yě chéng wéi hóng jūn zhōng de yī míng jūn guān。 bù jiǔ， bō dé jié 'ěr kē fū rèn dùn hé dì qū lǐng dǎo rén。 tā shuài lǐng jūn mín xiàng bái jūn fā qǐ gōng jī。 gé lì gāo lǐ kàn dào bō dé jié 'ěr kē fū cán hài bèi fú de gē sà kè jūn guān bìng chù sǐ quán bù fú lǔ， tā shēn wéi bù mǎn， yú shì lí kāi duì wǔ huí dào liǎo jiā xiāng。
gé lì gāo lǐ huí dào cūn zhōng hòu， biàn chuán lái hóng jūn yào dǎ lái de xiāo xī。 cūn mín mendōu zhǔn bèi táo lí， gé lì gāo lǐ què bù yuàn yì。 jiē zhe chuán lái de shì hóng jūn shāo shā qiǎng lüè de xiāo xī， zhè yǐn qǐ rén men jí dà kǒng huāng。 cūn mín zǔ zhì liǎo jūn duì yǐ zuò fǎn kàng。 gé lì gāo lǐ jù jué liǎo cūn mín yào tā zuò tóu mùdì yào qiú， bǐ dé luó chéng liǎo tóu mù。 zài bái jūn fǎn pū xià， gé mìng jūn kuì bài。 gé lì gāo lǐ yù shàng liǎo bèi fú de yuán hóng jūn shàng jí， bìng nù chì tā cán shā bái jūn zhàn fú de wǎng shì。
1918 nián shí， dùn hé gē sà kè dì qū chéng liǎo gé mìng yǔ fǎn gé mìng zhēng duó de zhàn chǎng。 dá dá cūn zhōng yòu rén dǎo xiàng bái jūn， yòu rén dǎo xiàng hóng jūn。 gé lì gāo lǐ hé bǐ dé luó dōuyǐ chéng wéi bái jūn tóu mù。 bǐ dé luó xīn hěn shǒu là， shì yī gè chè dǐ de fǎn gé mìng。 gé lì gāo lǐ què zài yōu yù zhōng dù rì。 tā bù yuàn làn shā wú gū， zhǐ xiǎng zài bīng huāng mǎ luàn zhōng bǎo quán zì jǐ de shēng mìng。 tā wú yì cānyù shénme zhù yì zhī zhēng， zhǐ xiǎng zǎo rì hé píng。
pàn luàn réng zài jì xù。 zhè shí， yóu jīn huí dào liǎo jiā xiāng。 tā zài zhàn zhēng zhōng shī qù liǎo yī tiáo gēbo， huí lái hòu biàn yǔ yī gè nǚ rén jié liǎo hūn。 tā yǐ qián de qíng fù 'ā kè xī ní yà réng zài děng zhe tā。 kě shì yóu jīn jié hūn zhī hòu zài yě bù yuàn yì hé tā lái wǎng liǎo。 tā men qīn rè yī zhèn zhī hòu tā biàn gěi liǎo tā yī xiē qián ràng tā zǒu。 ā kè xī ní yà bèi shòu dǎ jī。
gé lì gāo lǐ yàn juàn liǎo zhàn zhēng， tā fǎn huí liǎo dá dá cūn， hóng sè zhèng quán yǐ jiē guǎn liǎo cūn zǐ。 tā xiàn zài duì 'ā kè xī ní yà yǐ méi yòu sī háo liàn qíng liǎo， ér duì nà tǎ lì yà jiàn shēng hǎo gǎn。 hóng jūn gǒng gù tǒng zhì hòu biàn kāi shǐ sù qīng yì jǐ。 gé lì gāo lǐ bèi liè rù shǒu pī míng dān。 tā tīng dào fēng shēng， lián yè táo zǒu liǎo。
suí zhe zhèng zhì jiān jìn hé chǔjué bù duàn zēng jiā， gē sà kè rén bù kān rěn shòu hóng jūn làn shā wú gū 'ér jiē gān 'ér qǐ， pàn luàn zài jiào duǎn shí jiān nèi jiù huò dé liǎo chéng gōng， bǐ dé luó hěn kuài chéng wéi zhǐ huī guān。 tā xià shǒu dú là， duì hóng jūn háo bù liú qíng， zài hòu lái yī cì zhàn dǒu zhōng， tā bèi hóng jūn fú lǔ bìng dǎ sǐ。
gé lì gāo lǐ zài pàn jūn zhōng shēng rèn shī cháng。 bǐ dé luó zhī sǐ shǐ tā biàn dé cán kù wú qíng， shā rén rú má。 dàn tā duì lǎo ruò bìng cán cóng bù làn shā。 yóu yú yī gè tuán de hóng jūn kāi liǎo xiǎo chā， dá dá cūn bèi pàn jūn zhàn lǐng， hóng jūn lǐng dǎo rén jūn bèi chǔsǐ。 dá lǐ yà qīn shǒu wéi bǐ dé luó bào liǎo chóu。
gé lì gāo lǐ huí jiā dù jiǎ， sǎo zǐ dá lǐ yà shì tú yǔ tā tiáoqíng bèi tā jù jué。 gé lì gāo lǐ yǐ duì dǎ zhàng hé zòng yù yàn juàn liǎo， dàn tā réng huái niàn zhe 'ā kè xī ní yà。 nà tǎ lì yà duì tā zhú jiàn lěng dàn。 tā jué dìng fǎn huí bù duì。 zǒu zhī qián， tā zài dùn hé biān yù shàng liǎo 'ā kè xī ní yà。 liǎng rén xiāng shì xǔ jiǔ， yòu rán qǐ liǎo 'ài qíng de huǒ huā。
dào liǎo 1919 nián， sū wéi 'āi zhèng quán yì shí dào zì jǐ miàn lín de jiān jù rèn wù。 dà pī hóng jūn pài liǎo guò lái bìng jī tuì liǎo pàn jūn。 pàn jūn dài zhe dà pī nànmín dù guò liǎo dùn hé bìng dǎng zhù liǎo hóng jūn de jìn gōng。
hóng jūn yòu jiē guǎn liǎo dá dá cūn， suǒ yòu fù hù de fáng zǐ jūn bèi zòng huǒ shāo diào。 nà tǎ lì yà yīn huàn shāng hán liú zài cūn zhōng。 shēn wéi shī cháng de gé lì gāo lǐ suī rán zhàn shì bù duàn， réng chōu chū shí jiān pài rén jiē lái liǎo 'ā kè xī ní yà。 liǎng rén yòu huī fù liǎo wǎng rì de qīn rè。
bái jūn yòu dǎ huí lái liǎo， hóng jūn bèi gǎn zǒu liǎo。 zhè shí pàn luàn fènzǐ bèi biān chéng yī zhī zhèng guī jūn。 gé lì gāo lǐ yīn wéi méi shòu guò shénme jiào yù， jiàng rèn wéi qí shì zhōng duì cháng。 bái jūn hái pài chū tǎo fá duì tú shā nà xiē céng bāng guò hóng jūn de rén， zhè shǐ dá dá cūn yòu xiàn rù kǒng bù zhī zhōng。 zhè shí， dá lǐ yà yǐ rǎn shàng méi dú 'ér tóu hé zì jìn。 nà tǎ lì yà yě zài zuò duò tāi shǒu shù shí dà chū xuè 'ér sǐ。
yóu yú hóng jūn bù duàn jiā qiáng gōng shì yǐ jí gē sà kè bù duì shì bīng kāi xiǎo chā xiàn xiàng rì yì fán duō， bái jūn jié jié bài tuì。 gé lì gāo lǐ hé 'ā kè xī ní yà yě shì tú táo zǒu， dàn yīn 'ā kè xī ní yà huàn bìng 'ér wèi chéngháng。 tā hòu lái zì jǐ fǎn huí liǎo dá dá cūn。 gé lì gāo lǐ zé jiā rù liǎo hóng jūn， zài yǔ bō lán rén zhàn dǒu zhōng biǎo xiàn shí fēn yǒng gǎn。
bù jiǔ， gé lì gāo lǐ huí dào liǎo jiā xiāng。 dāng jú tīng dào xiāo xī， lì kè pài rén lái zhuā tā。 tā yòu táo zǒu liǎo， bìng jiā rù liǎo cóng hóng jūn zhōng pàn biàn chū lái de fú míng de bù duì。 fú míng xiǎng yào zǔ zhì qǐ gē sà kè rén fǎn kàng gòng chǎn dǎng kè shuì zhēng liáng。 dàn pàn luàn hěn kuài bèi zhèn yā。 fǎn kàng zhě dōubèi dǎ sǐ liǎo， zhǐ yòu gé lì gāo lǐ huí dào cūn zhōng。 gé lì gāo lǐ zài cì chū táo shí dài shàng liǎo 'ā kè xī ní yà， kě shì tā què bèi yī zhī zhuī jī 'ér lái de hóng jūn xún luó duì dǎ sǐ。 gé lì gāo lǐ rēng diào liǎo wǔ qì， huí dào liǎo jiā zhōng。 xiàn zài tā suǒ yōng yòu de zhǐ yòu zì jǐ de 'ér zǐ liǎo。 tā bù yuàn zài shī qù zhè shì shàng wéi yī de qīn rén liǎo。
shì 'ài 'ěr lán yì shí liú wén xué zuò jiā zhān mǔ sī · qiáo yī sī（ JamesJoyce） yú 1922 nián chū bǎn de cháng piān xiǎo shuō。 xiǎo shuō yǐ shí jiān wéi shùn xù， miáo shù liǎo zhù rén gōng， kǔ mèn fǎng huáng dedōu bǎi lín xiǎo shì mín， guǎng gào tuī xiāo yuán lì 'ào bō dé · bù lú mǔ（ LeopoldBloom） yú 1904 nián 6 yuè 16 rì yī zhòu yè zhī nèi zài dū bǎi lín de zhǒng zhǒng rì cháng jīng lì。 qiáo yī sī xuǎn zé zhè yī tiān lái miáo xiě， shì yīn wéi zhè yī tiān shì tā hé tā de qī zǐ nuò lā · bā nà kè 'ěr（ NoraBarnacle） shǒu cì yuē huì de rì zǐ。 xiǎo shuō de tí mù lái yuán yú xī là shén huà zhōng de yīng xióng 'ào dé xiū sī（ Odysseus， lā dīng míng wéi yóu lì xī sī）， ér《 yóu lì xī sī》 de zhāng jié hé nèi róng yě jīng cháng biǎo xiàn chū hé hé mǎ shǐ shī《 ào dé sài》 nèi róng de píng xíng duì yìng guān xì。 lì 'ào bō dé · bù lú mǔ shì 'ào dé xiū sī xiàn dài de fǎn yīng xióng de fān bǎn， tā de qī zǐ mó lì · bù lú mǔ（ MollyBloom） zé duì yìng liǎo 'ào dé xiū sī de qī zǐ pà niè luó pèi（ Penelope）， qīng nián xué shēng sī dì fēn · dí dá lè sī（ StephenDedalus， yě shì qiáo yī sī zǎo qī zuò pǐn《 yī gè qīng nián yì shù jiā de huà xiàng》 zhù rén gōng， yǐ qiáo yī sī běn rén wéi yuán xíng） duì yìng 'ào dé xiū sī de 'ér zǐ tè lè mǎ kē sī（ Telemachus）。 qiáo yī sī jiāng bù lú mǔ zài dū bǎi lín jiē tóu de yī rì yóu dàng bǐ zuò 'ào dé xiū sī de hǎi wài shí nián piào bó， tóng shí kè huà liǎo tā bù zhōng chéng de qī zǐ mó lì yǐ jí sī dì fēn xún zhǎo jīng shén shàng de fù qīn de xīn lǐ。 xiǎo shuō dà liàng yùn yòng xì jié miáo xiě hé yì shí liú shǒu fǎ gòu jiàn liǎo yī gè jiāo cuò líng luàn de shí kōng， yǔ yán shàng xíng chéng liǎo yī zhǒng dú tè de fēng gé。《 yóu lì xī sī》 shì yì shí liú xiǎo shuō de dài biǎo zuò， bìng bèi yù wéi 20 shì jì yī bǎi bù zuì jiā yīng wén xiǎo shuō zhī shǒu， měi nián de 6 yuè 16 rì yǐ jīng bèi jì niàn wéi“ bù lú mǔ rì”。
chuàng zuò bèi jǐng
qiáo yī sī shǐ yòng liǎo 'ào dé xiū sī de luó mǎ míng“ yóu lì xī sī” jù shuō shì yóu yú tā cóng yīng guó sǎnwén jiā chá 'ěr sī · lán mǔ de 'ér tóng zuò pǐn《 yóu lì xī sī de lì xiǎn》 zuì xiān jiē chù liǎo 'ào dé sài de gù shì。 tā céng píng lùn rèn wéi 'ào dé xiū sī shì wén xué shǐ shàng hán gài yì yì zuì guǎng fàn de rén wù xíng xiàng， bìng shì tú yǐ yóu lì xī sī de lì xiǎn wéi zhù tí xiě yī piān duǎn piān xiǎo shuō fā biǎo zài《 dū bǎi lín rén》 zhōng， bìng zuì zhōng cóng 1914 nián qǐ kāi shǐ chuàng zuò cháng piān xiǎo shuō。
《 yóu lì xī sī》 zhōng de rén wù xíng xiàng yǔ qiáo yī sī de qí tā zuò pǐn yī yàng， dà duō yòu qí shēng huó yuán xíng。 qiáo yī sī běn rén chū shēng yú yī gè jīng jì zhuàng kuàng liáng hǎo de tiān zhù jiào jiā tíng， dàn hòu lái yóu yú 'ài 'ěr lán mín quán yùn dòng lǐng xiù pà nèi 'ěr de dǎo tái yǐ jí fù qīn xù jiǔ děng yuán yīn jiā dào zhōng luò， qiáo yī sī yě xuǎn zé fàng qì tiān zhù jiào xìn yǎng。 1902 nián qiáo yī sī lí jiā qián wǎng bā lí xué xí yī xué， 1903 nián mǔ qīn bìng wēi gǎn huí dū bǎi lín， lín zhōng chuáng qián qiáo yī sī hé dì dì sī tǎn ní luò sī · qiáo yī sī què chū yú duì tiān zhù jiào de pàn nì jiān chí bù kěn xià guì。 hòu lái qiáo yī sī bǎ zhè yī jīng lì xiě rù《 yóu lì xī sī》 dì yī zhāng bìng jiā yǐ xuàn rǎn。 1904 nián qǐ qiáo yī sī zài cì lí jiā， bìng jié shí liǎo yī gè nián qīng de yī kē dà xué shēng、 shī rén 'ào liè fó · shèng yuē hàn · gē jiā dì。 jìn guǎn bìng bù shì hěn xìn rèn tā， qiáo yī sī yǐ rán bèi tā de cái huá suǒ xī yǐn， hòu lái gē jiā dì chéng wéi《 yóu lì xī sī》 zhōng“ zhuàng lù” mǎ lì gēn de yuán xíng。 gē jiā dì zài dū bǎi lín wān zū liǎo yīzhuàng 'ài 'ěr lán dǐ kàng ná pò lún · bō ná bā jìn gōng shí jiàn zào de yuán xíng shí bǎo， xiǎng yào yòng lái zuò wéi gēn jù dì fā qǐ jiāng 'ài 'ěr lán wén yì gǔ xī là huà de wén huà yùn dòng， qiáo yī sī zài yāo qǐng xià yě zhù jìn shí bǎo。 dàn liǎng rén shí cháng fā shēng mó cā， qí hòu gē jiā dì de yī gè yīng guó niú jīn péng yǒu yě bān jìn shí bǎo， tā 'àihào gài 'ěr yǔ， bìng gěi zì jǐ qǐ liǎo yī gè gài 'ěr rén de míng zì， tā chéng wéi qiáo yī sī shū zhōng hǎi yīn sī de yuán xíng。 yī tiān yè lǐ tā zuò 'è mèng mèng jiàn bèi hēi bào zhuī gǎn， bàn mèng bàn xǐng zhī jiān jìng rán zhuā qǐ shǒu qiāng kòu dòng bān jī， xiǎn xiē jī zhōng qiáo yī sī。 jīng xǐng de qiáo yī sī jué dìng lì kè lí kāi shí bǎo bù zài huí lái， jìn guǎn dāng shí shì bàn yè， hòu lái qiáo yī sī jiāng zhè duàn jīng lì yě xiě rù《 yóu lì xī sī》 dì yī zhāng zhōng。 hòu lái qiáo yī sī zài yī jiā jì yuàn hē zuì， yù shàng liǎo mán bù jiǎng lǐ de xiàn bīng（ dì shí wǔ zhāng zhōng de xiàn bīng kǎ 'ěr hé xiàn bīng kāng pǔ dùn） fā shēng zhēng chǎo bìng dòng shǒu， xìng hǎo bèi tā fù qīn de péng yǒu hēng tè xiān shēng yù jiàn jiě jiù。 qiáo yī sī yú shì chǎn shēng líng gǎn， xiǎng yào wéi hēng tè xiān shēng xiě yī piān zài dū bǎi lín de lì xiǎn， yú shì hēng tè xiān shēng chéng wéi bù lú mǔ de yuán xíng。 qí tā zhòng yào de yuán xíng bāo kuò： xī méng · dí dá lè sī（ sī dì fēn de fù qīn， yǐ qiáo yī sī de fù qīn wéi yuán xíng）， mó lì（ yǐ qiáo yī sī de qī zǐ nuò lā wéi yuán xíng）。
chū bǎn shǐ
1897 nián【 15 suì】 qiáo yī sī huò 'ài 'ěr lán zuì jiā zuò wén jiǎng
1914 nián【 32 suì】 xiān hòu bèi 20 duō gè chū bǎn shāng“ fēi wén xué yuán yīn” jù jué de《 dū bǎi lín rén》 chū bǎn zài yè zhī， páng dé bāng zhù xià，《 yī gè qīng nián yì shù jiā huà xiàng》 liánzǎi
1921 nián【 39】《 yóu lì xī sī》 dì yī bǎn 1000 cè yù dìng， gù kè míng dān zhōng yòu yè zhī， páng dé， jì dé， hǎi míng wēi
1927 nián dé yì běn chū bǎn
1929 nián fǎ yì běn chū bǎn
1932 nián rì yì běn chū bǎn
1933 nián měi guó bǎn chū bǎn
1935 nián cóng wèi dú guò cǐ shū de zhōu lì bō quán miàn pī pàn《 yóu lì xī sī》【 zhù rén gōng míng zì cuò】
1964 nián dú guò cǐ shū de yuán kě jiā pī pàn《 yóu lì xī sī》
1984 nián zhōu lì bō pī pàn wén zhāng zài cì fā biǎo
1994 nián xiāo qián fū fù zhōng yì běn chū bǎn
1995 nián měi guó rén jīn dī zhōng yì běn chū bǎn
《 yóu lì xī sī》 xiě yú 1914 nián zhì 1921 nián jiān， 1918 nián qǐ kāi shǐ fēn zhāng jié zài yī jiā míng wéi《 TheLittleReview》 de měi guó zá zhì liánzǎi， zhí dào 1920 nián liánzǎi dào dì shí sān zhāng《 nǎo xī kǎ》 shí yīn bāo hán yòu dà liàng miáo xiě zhùjué xíng shǒu yín de qíng jié bèi měi guó yòu guān bù mén zhǐ kòng wéi yín huì。 1921 nián《 yóu lì xī sī》 zài měi guó hé yīng guó zāo jìn， dàn qí hòu（ 1922 nián） zài 'àihào xiàn dài zhù yì wén xué de xī 'ěr wéi yà · bì qí xiǎo jiě de bāng zhù xià，《 yóu lì xī sī》 dé yǐ zài fǎ lán xī gòng hé guó bā lí de suō shì bǐ yà shū wū shǒu cì wán zhěng chū bǎn。 rán 'ér zhí dào 20 shì jì 30 nián dài chū《 yóu lì xī sī》 zài měi guó、 yīng guó、 ài 'ěr lán děng guó réng rán bèi liè wéi jìn shū。 zài W·B· yè zhī hé T·S· ài lüè tè děng duō wèi 'ōu měi zhī míng zuò jiā de zhī chí xià， 1933 nián 12 yuè 6 rì niǔ yuē nán qū dì fāng fǎ tíng de yuē hàn · wū 'ěr sài fǎ guān xuān pàn《 yóu lì xī sī》 jìn guǎn bāo hán xìng miáo xiě dàn bìng fēi sè qíng zuò pǐn， cóng 'ér bìng bù yín huì。 cì nián 1 yuè《 yóu lì xī sī》 zài měi guó yóu lán dēng shū wū chū bǎn。
xiǎo shuō jié gòu
《 yóu lì xī sī》 quán shū gòng fēn wéi sān bù fēn shí bā zhāng， biǎo miàn shàng měi zhāng nèi róng huì sè líng luàn， shí zé nèi bù jié gòu yǔ hé mǎ de《 ào dé sài》 yòu mìqiè lián xì。 měi yī zhāng jié dōuyòu qí dú tè de xiě zuò jì qiǎo， bìng duì yìng yī gè《 ào dé sài》 de gù shì zhù tí， juésè hé qíng jié yě hé《 ào dé sài》 yòu bù tóng céng cì de duì yìng。《 yóu lì xī sī》 zài TheLittleReview liánzǎi qī jiān， měi zhāng dū jiā shàng liǎo xià biǎo zhōng de biāo tí。 dàn jù shuō chū yú bì miǎn shǐ dú zhě guò yú guān zhù zhè xiē duì yìng guān xì de kǎo lǜ， qiáo yī sī bìng wèi jiāng biāo tí děng tí shì xìng nèi róng zài qí hòu zhèng shì chū bǎn de shū zhōng xiě míng。
qiáo yī sī běn rén yú 1920 nián zài shū xìn zhōng píng lùn cǐ shū wéi：
tā shì yī bù guān yú liǎng gè mín zú（ yǐ sè liè - ài 'ěr lán） de shǐ shī， tóng shí shì yī gè zhōu yóu rén tǐ qì guān de lǚ xíng， yě shì yī gè fā shēng zài yī tiān（ yī shēng） zhī jiān de xiǎo gù shì…… tā yě shì yī zhǒng bǎi kē quán shū。
zuò pǐn qíng jié、 jié jú huò qí tā xiāng guān
tè lè mǎ jī yà
tè lè mǎ jī yà（ TheTelemachia） shì yǐ qīng nián xué shēng sī dì fēn · dí dá lè sī de huó dòng wéi zhù xiàn de bù fēn， duì yìng zhe tè lè mǎ kē sī kāi shǐ duì fù qīn 'ào dé xiū sī de xún zhǎo。 shí jiān kuà dù wéi shàng wǔ bā diǎn dào shàng wǔ shí yī diǎn。
tè lè mǎ kē sī
shí jiān： 8:00
chǎng jǐng： yuán xíng shí bǎo
qì guān： wú
xué kē： shén xué
yán sè： bái sè、 jīn sè
xiàng zhēng wù： jì chéng rén
jì qiǎo： xù shì（ nián qīng de）
duì yìng： tè lè mǎ kē sī， hā mǔ léi tè - sī dì fēn · dí dá lè sī； ān tí nuò 'ào sī - zhuàng lù mǎ lì gēn； mén tuō 'ěr - sòng nǎi nǚ gōng
《 ào dé sài》：《 ào dé sài》 yǐ zhòng shén huì yì zuò wéi kāi piān， zhòu sī jué dìng zhǔn xǔ 'ào dé xiū sī fǎn huí gù xiāng。 ér cǐ shí zài yī sà kǎ， ào dé xiū sī de 'ér zǐ tè lè mǎ kē sī hé qī zǐ pà niè luó pèi wú fǎ rěn shòu yǐ 'ào màn de 'ān tí nuò 'ào sī wéi shǒu de qiú hūn zhě men de sāo rǎo。 zài yǎ diǎn nà de bāng zhù xià， tè lè mǎ kē sī kāi shǐ tà shàng xún fù zhī lǚ。
《 yóu lì xī sī》：《 yóu lì xī sī》 yǐ miáo shù wèi yú 'ài 'ěr lán dǎo dōng 'àn dedōu bǎi lín wān de yī zuò yuán xíng shí bǎo lǐ de sān gè nián qīng rén：“ zhuàng lù” mǎ lì gēn（ yī gè lěng mò、 yán cí jiān kè qiě kuáng zào de yī kē xué shēng）、 sī dì fēn · dí dá lè sī（《 yī gè qīng nián yì shù jiā de huà xiàng》 zhōng de nián qīng zuò jiā） hé hǎi yīn sī（ yī gè xǐ hǎo mài nòng gài 'ěr yǔ de yīng guó niú jīn rén） de qīng chén huó dòng zuò wéi kāi piān。 sī dì fēn zuó yè bèi hǎi yīn sī de 'è mèng hé qí hòu xiē sī dǐ lǐ dì kāi qiāng suǒ jīng xià， jīng shén hěn dī luò； ér mǎ lì gēn yòu kāi shǐ duì sī dì fēn jù jué zài tā mǔ qīn qù shì qián xià guì shuō sān dào sì。 zǎo cān shí yī gè lǎo fù rén lái sòng niú nǎi， hǎi yīn sī xiàng tā mài nòng shìde hé mǎ lì gēn jiǎng qǐ liǎo 'ài 'ěr lán yǔ， hòu lái yòu xiàng sī dì fēn xún wèn tā guān yú hā mǔ léi tè de lǐ lùn， dàn sī dì fēn jù jué liǎo， yú shì tā men liǎng rén tā men tán lùn qǐ yī xiē zhèng zhì hé wén xué de huà tí。 tóng shí běn zhāng jiè mǎ lì gēn zhī kǒu diǎn míng liǎo sī dì fēn xún zhǎo jīng shén shàng de fù qīn zhè yī zhù tí。 sān rén lí kāi shí bǎo qián mǎ lì gēn xiàng sī dì fēn suǒ yào liǎo yàoshì， sī dì fēn gǎn dào zì jǐ zài zhè lǐ de dì wèi zāo dào liǎo cuàn duó， jué dìng cóng cǐ lí kāi shí bǎo。
nài sī tuō
shí jiān： 10:00
chǎng jǐng： sī lì nán xiào
qì guān： wú
xué kē： lì shǐ
yán sè： zōng sè
xiàng zhēng wù： mǎ
jì qiǎo： jiào lǐ wèn dá（ gè rén de）
duì yìng： nài sī tuō - dài xī； nài sī tuō de yòu zǐ - sà jīn tè； hǎi lún - ào xiè fū rén
《 ào dé sài》： tè lè mǎ kē sī yù jiàn liǎo hǎo xīn（ dàn wú liáo de） zhǎnglǎo nài sī tuō， chú liǎo zhī dào 'ào dé xiū sī de fǎn jiā hěn kùn nán zhī wài， tā yī wú suǒ zhī。
《 yóu lì xī sī》： sī dì fēn dào dá xué xiào， gěi yī qún nán hái men jiào shòu lì shǐ hé yīng wén， dàn tā men bìng bù bǎ tā de nǔ lì dāng huí shì， ér tā shì tú gěi tā men cāi gǔ guài de mí yǔ， què shǐ zhōng wú fǎ diào dòng qǐ tā men de qíng xù。 tā zài fàng xué hòu wéi yī gè hái zǐ bǔ xí suàn shù， zhī hòu miàn jiàn liǎo xiào cháng dài xī xiān shēng。 lǐng qǔ gōng zī shí dài xī xiān shēng hé tā tǎo lùn liǎo lì shǐ wèn tí， bìng xiǎng jiè zhù tā yǔ bào shè biān ji de“ fàn fàn zhī jiāo” bǎ xìn dēng zài bào shàng， sī dì fēn bìng bù qíng yuàn dì jiē shòu liǎo wěi tuō。 běn zhāng zài sī dì fēn duì dài xī xiān shēng de pái yóu qīng xiàng de mò mò bù zàn tóng zhōng jié shù。
pǔ luò tòu sī
shí jiān： 11:00
chǎng jǐng： sāng dí máng tè hǎi tān
qì guān： wú
xué kē： yǔ yán xué
yán sè： lǜ sè
xiàng zhēng wù： cháo shuǐ
jì qiǎo： nèi xīn dú bái（ nán xìng de）
duì yìng： pǔ luò tòu sī - wù zhì de zuì chū xíng tài； mò niè lā 'ào sī - kǎi wén · āi gēn
《 ào dé sài》： tè lè mǎ kē sī jiàn dào liǎo sī bā dá wáng mò niè lā 'ào sī， dé zhī kě yǐ cóng biàn huà duō duān de lǎo huá tóu hǎi shén pǔ luò tòu sī nà lǐ huò dé xìn xī。 pǔ luò tòu sī xiàng tè lè mǎ kē sī gào zhī liǎo 'āi 'ā sī hé 'ā gā mén nóng de sǐ， yǐ jí 'ào dé xiū sī bèi nǚ xiān kǎ lǚ pǔ suǒ shù fù zài tā de hǎi dǎo。
《 yóu lì xī sī》： sī dì fēn màn bù zài hǎi biān， chén sī zhe tā suǒ jiàn dào de hé lián xiǎng dào de， xíng chéng mián yán bù duàn de yì shí liú。 tā huí xiǎng qǐ zì jǐ zài bā lí de shí guāng， yǐ jí zì jǐ fēn ní yà huì de hǎo yǒu kǎi wén · āi gēn， hái yòu yī xiē xìng de zhù tí。
ào dé sài
ào dé sài（ TheOdyssey） shì yǐ pǔ tōng dedōu bǎi lín xiǎo shì mín lì 'ào bō dé · bù lú mǔ de huó dòng wéi zhù xiàn de bù fēn， jié shù yú bù lú mǔ yǔ dí dá lè sī de xiāng yù， duì yìng zhe 'ào dé xiū sī zài hǎi wài de piào bó。 shí jiān kuà dù wéi shàng wǔ bā diǎn dào wǔ yè shí 'èr diǎn。
kǎ lǚ pǔ suǒ
shí jiān： 8:00
chǎng jǐng： bù lú mǔ jiā
qì guān： shèn zàng
xué kē： jīng jì xué
yán sè： chéng sè
xiàng zhēng wù： níng fú
jì qiǎo： xù shì（ chéng shú de）
duì yìng： kǎ lǚ pǔ suǒ - níng fú mù yù tú； huí yì - dé lǔ jiā cí ròu pū； yī sà kǎ - xī 'ān
《 ào dé sài》： ào dé xiū sī chū chǎng shí， zài kǎ lǚ pǔ suǒ de hǎi dǎo（ yòu chuán shuō zài zhí bù luó tuó fù jìn） shàng bù qíng yuàn dì zuò zhe tā de qíng rén yǐ jīng qī nián。 yǎ diǎn nà qǐng qiú zhòu sī fàng 'ào dé xiū sī huí jiā， yú shì zhòu sī pài hè 'ěr mò sī xiàng kǎ lǚ pǔ suǒ shuō míng qíng kuàng。 kǎ lǚ pǔ suǒ zuì zhōng tóng yì xié zhù 'ào dé xiū sī fǎn huí jiā yuán。
《 yóu lì xī sī》： bù lú mǔ chū chǎng shí zhèng zài jiā lǐ， wèi yú dū bólín xī běi chéng qū de 'āi 'ěr kè sī dà jiē 7 hào， wèitā hé tā qī zǐ（ yǐ jí tā de māo） zhǔn bèi zǎo cān。 wǒ men tóng shí dé zhī tā xǐ hǎo chī yáng yāo zǐ děng dòng wù de nèi zàng。 bù lú mǔ zǒu dào lóu shàng， kàn dào qī zǐ hái tǎng zài nà zhāng chuáng shàng， xiǎng qǐ nà shì cóng zhí bù luó tuó yùn lái de lǎo gǔ dǒng。 rán hòu tā chū mén dào dé lǔ jiā cí ròu pū mǎi liǎo yī gè zhū yāo zǐ， bìng duì jiē shàng kàn dào de nǚ rén men zhǎn kāi lián xiǎng。 huí dào jiā shí tā fā xiàn yòu liǎng fēng xīn xìn hé yī zhāng míng xìn piàn， qí zhōng xiě gěi mó lì de yī fēng lái zì mó lì de jīng jì rén（ jiān qíng rén）“ yī bǎ huǒ” bào yī lán， tā zhèng chóuhuà zhe yīcháng yāo qǐng mó lì cān jiā de xún huí yǎn chū， lìng yī fēng shì bù lú mǔ zài zhàoxiàng guǎn gōng zuò de shí wǔ suì de nǚ 'ér mǐ lì xiě gěi tā de gǎn xiè xìn。 tā rán hòu gěi mó lì sòng shàng zǎo cān， dīng qǐ guà zài qiáng shàng de níng fú mù yù tú kàn。 běn zhāng zuì hòu zài bù lú mǔ tīng dào qiáo zhì jiào táng de zhōng shēng， bìng xiǎng dào jí jiāng cān jiā hǎo yǒu pà tè lǐ kè · dí gé nán de zàng lǐ 'ér chǎn shēng de gǎn kǎi zhōng jié shù，
shí wàng yōu guǒ de zhǒng zú
shí jiān： 10:00
chǎng jǐng： bù lú mǔ zài dū bǎi lín de yóu dàng
qì guān： shēng zhí qì
xué kē： zhí wù xué、 huà xué
yán sè： wú
xiàng zhēng wù： shèng cān
jì qiǎo： zì liàn qíng jié
duì yìng： shí wàng yōu guǒ de zhǒng zú - lā chē de mǎ、 lǐng shèng cān zhě、 shì bīng、 tàijiàn、 rù yù zhě、 bǎn qiú guān zhòng
yīn jiān
shí jiān： 11:00
chǎng jǐng： líng chē
qì guān： xīn zàng
xué kē： zōng jiào
yán sè： bái sè、 hēi sè
xiàng zhēng wù： kānmén rén
jì qiǎo： mèng yǎn
duì yìng： míng jiè de sì tiáo hé liú - duō dé hé、 ài 'ěr lán dà yùn hé、 huáng jiā yùn hé、 lì fěi hé； xī xī fú sī - mǎ dīng · kǎn níng 'ān； kè 'ěr bó luó sī - kē fěi shén fù； hā dí sī - kānmén rén； hǎi gé lì sī - dān ní 'ěr · ào kāng nài 'ěr； āi 'ěr pān nuò - dí gé nán； ā gā mén nóng - pà nèi 'ěr； āi 'ā sī - mén dùn
āi 'é luó sī
shí jiān： 12:00
chǎng jǐng： bào shè
qì guān： fèi
xué kē： xiū cí xué
yán sè： hóng sè
xiàng zhēng wù： sān duàn lùn
jì qiǎo： biān ji
duì yìng： āi 'é luó sī - kē láo fú dé； luàn lún - xīn wén； fú dǎo - xīn wén jiè
lāi sī tè lǚ gōng rén
shí jiān： 13:00
chǎng jǐng： jiǔ guǎn
qì guān： shí dào
xué kē： jiàn zhù xué
yán sè： wú
xiàng zhēng wù： jǐng guān
jì qiǎo： cháng wèi de rú dòng
duì yìng： ān tí fěi sī - jī 'è； yòu 'ěr - shí wù； lāi sī tè lǚ gōng rén - yá chǐ
sī kù lā hé kǎ lǜ bù dí sī
shí jiān： 14:00
chǎng jǐng： guó lì tú shū guǎn
qì guān： nǎo
xué kē： wén xué
yán sè： wú
xiàng zhēng wù： lún dūn sī tè lā tè fú dé
jì qiǎo： biàn zhèng fǎ
duì yìng： yán shí - yà lǐ shì duō dé、 jiào tiáo、 sī tè lā tè fú dé； xuán wō - bólātú、 shén mì zhù yì、 lún dūn； yóu lì xī sī - sū gé lā dǐ、 yé sū、 suō shì bǐ yà
yóu dòng shān yá
shí jiān： 15:00
chǎng jǐng： dū bǎi lín jiē dào
qì guān： xuè
xué kē： jī xiè xué
yán sè： wú
xiàng zhēng wù： shì mín
jì qiǎo： mí gōng
duì yìng： bó sī pǔ lǔ sī hǎi xiá - lì fěi hé； ōu zhōu hǎi 'àn - zǒng dū； yà zhōu hǎi 'àn - kāng ní shén fù； yóu yán - shì mín
sài rén
shí jiān： 16:00
chǎng jǐng： yīnyuè shā lóng
qì guān： ěr
xué kē： yīnyuè
yán sè： wú
xiàng zhēng wù： nǚ zhāo dài yuán
jì qiǎo： fù gé qū
duì yìng： sài rén - nǚ zhāo dài yuán； hǎi dǎo - jiǔ bā
dú yǎn jù rén
shí jiān： 17:00
chǎng jǐng： xiǎo jiǔ guǎn
qì guān： jī ròu
xué kē： zhèng zhì xué
yán sè： wú
xiàng zhēng wù： fēn ní yà huì
jì qiǎo： jù rén zhèng
duì yìng： wú rén - ǎn； cháng shù zhī - xuějiā； tiǎo zhàn - shén huà
nǎo xī kǎ
shí jiān： 20:00
chǎng jǐng： sāng dí máng tè hǎi tān hé fù jìn de yán shí
qì guān： yǎn jīng、 bí zǐ
xué kē： huì huà
yán sè： huī sè、 lán sè
xiàng zhēng wù： chǔnǚ
jì qiǎo： zhǒng zhàng、 xiāo zhǒng
duì yìng： fèi 'ā kè sī rén - hǎi yáng zhī xīng mǎ lì yà； nǎo xī kǎ - gé dì
《 ào dé sài》： ào dé xiū sī lí kāi kǎ lǚ pǔ suǒ de dǎo hòu， zāo bō sài dōng xí jī bèi chōng dào fèi 'ā kè sī rén jū zhù hǎi tān de hé kǒu fù jìn。 tā zài duǒ cáng zhōng bèi qià qiǎo dào hé biān xǐ yī de fèi 'ā kè sī gōng zhù nǎo xī kǎ hé tā de shì nǚ men chǎo xǐng。 tā zuàn chū lái， bǎ yī gè qiú jiāo hái gěi qí zhōng yī gè wán qiú de shì nǚ， bìng zàn měi liǎo nǎo xī kǎ de měi mào， qǐ qiú tā néng bāng zhù tā， ér nǎo xī kǎ dāyìng liǎo。
《 yóu lì xī sī》： xī qiàn · kǎi fú lǐ， tā de shuāng bāo tāi xiōng dì hé tā de péng yǒu yī dì · bó dé màn， hái yòu zuò dé shāo yuǎn yī diǎn de gé dì · mài kè dào 'ěr， zài sāng dí máng tè hǎi tān shàng chéng liáng。 gé dì duì nà xiē chǎo nào zhǐ huì tiān luàn de nán hái zǐ yǐ jí tā nà xiē yòu diǎn yōng sú de péng yǒu men hěn bù nài fán。 tā zuò zhe hěn xiáng xì de bái rì mèng， bāo kuò tā làng màn de xiǎng wàng hái yòu jīng shén kàng zhēng。 shuāng bāo tāi xiōng dì bǎ qiú tī dào liǎo yě zài hǎi tān shàng de bù lú mǔ jiǎo xià， yú shì gé dì yě bǎ tā biān zhì dào zì jǐ de sī xù lǐ。（ dàn dú zhě hěn nán fēn qīng chǔ nǎ xiē shì gé dì de yì shí liú 'ér nǎ xiē yòu shì bù lú mǔ de yì shí liú。） yān huǒ biǎo yǎn kāi shǐ liǎo， tā de péng yǒu men yán zhe hǎi tān páo zhe， zhǐ yòu gé dì 'ān jìng dì zuò zài bù lú mǔ bù yuǎn chù， xiàng hòu yǎng qù kàn yān huǒ， ér tā zhèng ràng bù lú mǔ kuī shì dào tā de qún zǐ nèi。 bù lú mǔ zài tā lí kāi shí fā xiàn tā shì yī gè qué zǐ， bìng qiě zài tā“ zhǎn shì” shí xíng liǎo shǒu yín。 dān dú yī rén de bù lú mǔ de yì shí zhú jiàn yán zhe nǚ rén、 hūn yīn、 xiù jué liú dòng。 tā xiǎng wéi gé dì xiě yī gè guān yú tā zì jǐ de gù shì， hái xiǎng qǐ liǎo tā de hái zǐ men， hái yòu gé dì。
tài yáng shén niú
shí jiān： 22:00
chǎng jǐng： guó lì fù chǎn yī yuàn
qì guān： zǐ gōng
xué kē： nèi kē xué
yán sè： bái sè
xiàng zhēng wù： mǔ qīn
jì qiǎo： pēi tāi fā yù
duì yìng： tè lǐ nà kè lǐ yà dǎo - yī yuàn； tài yáng shén de nǚ 'ér - hù shì； tài yáng shén - huò 'ēn； niú - duō chǎn； zuì xíng - qī piàn
kā 'ěr kè
shí jiān： 24:00
chǎng jǐng： hóng dēng qū de jì yuàn
qì guān： yùn dòng xì tǒng
xué kē： mó shù
yán sè： wú
xiàng zhēng wù： jì nǚ
jì qiǎo： huàn jué
duì yìng： kā 'ěr kè - bèi lā
huí guī
huí guī（ TheNostos） shì bù lú mǔ hé dí dá lè sī gòng tóng huó dòng de bù fēn， zuì hòu yǐ gè zì huí jiā jié shù， duì yìng zhe 'ào dé xiū sī de huí guī。 shí jiān kuà dù cóng líng chén yī diǎn kāi shǐ， ér jié shù shí jiān bù shí fēn míng què。
ōu mài 'é sī
shí jiān： 1:00
chǎng jǐng： mǎ chē fū péng
qì guān： shén jīng
xué kē： háng hǎi
yán sè： wú
xiàng zhēng wù： shuǐ shǒu
jì qiǎo： xù shì（ lǎo nián de）
duì yìng： ōu mài 'é sī -“ bō shān yáng pí”； yóu lì xī sī - shuǐ shǒu； mò lán tí 'ào sī - kù lǐ
yī sà kǎ
shí jiān： 2:00
chǎng jǐng： bù lú mǔ jiā
qì guān： gǔ gé
xué kē： zì rán kē xué
yán sè： wú
xiàng zhēng wù： huì xīng
jì qiǎo： jiào lǐ wèn dá
duì yìng： ān tí nuò 'ào sī - zhuàng lù mǎ lì gēn； ōu lǜ mǎ kē sī - yī bǎ huǒ bào yī lán； gōng - lǐ xìng； qiú hūn zhě - chóu chú
pà niè luó pèi
shí jiān： bù míng
chǎng jǐng： chuáng shàng
qì guān： ròu tǐ
xué kē： wú
yán sè： wú
xiàng zhēng wù： dà dì
jì qiǎo： nèi xīn dú bái（ nǚ xìng de）
duì yìng： pà niè luó pèi - dà dì； wǎng - yùn dòng
zhù yào rén wù biǎo
lì 'ào bō dé · bù lú mǔ： yǐ tì dū bǎi lín《 zì yóu rén bào》 lā guǎng gào wéi yè。 qí fù lǔ dào 'ěr fū · wéi lā gé shì xiōng yá lì yì yóu tài rén， qiān yí dào 'ài 'ěr lán hòu gǎi xìng bù lú mǔ。 tā huà míng“ hēng lì · fú luó 'ěr”， yǔ mǎ suō · kè lì fú dé mì mì tōng xìn。
mǎ lì 'ēn · bù lú mǔ： lì 'ào bō dé zhī qī。 qí fù tè wēi dí（ yǐ gù） céng zài xī bān yá nán duān de yīng guó yào sài zhí bù luó tuó fú yì。 yīn cǐ， tā shēngzhǎng zài gāi dì。 tā zài dū bǎi lín shì gè xiǎo yòu míng qì de gē shǒu， yì míng jiào“ tè wēi dí fū rén”。
sī dì fēn · dí dá lè sī： qiáo yī sī de zìzhuàn tǐ cháng piān xiǎo shuō《 yì shù jiā nián qīng shí de xiě zhào》 zhōng de zhù rén gōng。 tā bì yè yú kè lǎng gē wǔ sī sēn lín gōng xué hé huáng jiā dà xué， mù qián zài dí xī xiào cháng chuàng bàn de yī jiā sī lì xué xiào rèn jiào。 zài tú shū guǎn fā biǎo guān yú suō shì bǐ yà de yì lùn。
xī méng · dí dá lè sī： sī dì fēn zhī fù。 nián qián sàng qī， jiā jìng kùn nán。
bù lāi zé sī · bó yī lán： mǎ lì 'ēn zhī qíng fū。 zhèng zài chóuhuà yī cì xún huí gē chàng yǎn chū， mǎ lì 'ēn yě zài bèi yāo zhī liè。
bó kè · mù lì gēn： yī kē xué shēng， yǔ hǎi 'ēn sī yī dào zhù jìn liǎo sī dì fēn suǒ zū de yuán tǎ。
hǎi 'ēn sī： yīng guó rén， bì yè yú niú jīn dà xué。 wèile yán jiū kǎi 'ěr tè wén xué 'ér lái dào 'ài 'ěr lán。
mǐ lì： bù lú mǔ yǔ mǎ lì 'ēn zhī dú nǚ， shí wǔ suì。 zài wéi sī tè mǐ sī jùn mù lín jiā 'ěr shì de yī jiā zhàoxiàng guǎn gōng zuò。
pà dí · dí gé nà mù： yǐ gù。 shēng qián céng zài lǜ shī yuē hàn · hēng lì · mén dùn de shì wù suǒ gōng zuò， yīn xù bèi kāi chú， huàn bìng 'ér sǐ。
mǎ dīng · kǎn níng hàn： bù lú mǔ zhī yǒu， zài dū bǎi lín bǎo rèn zhí（ yīng guó zhí mín tǒng zhì jī gòu）。 tā shì gè xīn dì shàn liáng de rén， duō fāng zhào gù dí gé nà mù de yí zú， bāo kuò mù jí juān kuǎn。
bù lín fū rén： yuán míng qiáo xī · bào wēi 'ěr， qí fū dān ní sī · bù lín huàn yòu shén jīng bìng。 hūn qián tā 'ài guò bù lú mǔ， yī zhí bù wàng jiù qíng。
lǐ qí · gǔ 'ěr dīng： sī dì fēn de jiù jiù， bù lú mǔ zhī yǒu。 zài kē lì sī yī wò dé lǜ shī shì wù suǒ rèn kuàijì shī。 tā yǔ nèi dì xī méng · dí dá lè sī yǐ jué jiāo。
yuē hàn · kāng mǐ shén fù： fāng jì gè · shā wù lüè jiào táng de jiào cháng， yé sū huì huì cháng。 sī dì fēn zài kè lǎng gē wǔ sī sēn lín gōng xué jiù dú shí， tā céng rèn gāi xiào xiào cháng。
mài 'ěr sī · kè láo fú dé：《 diàn xùn wǎn bào》 de zhù biān。
jié kè · mài kè xiū： dà xué jiào shòu， xué zhě， jīng cháng wéi《 diàn xùn wǎn bào》 xiě shè lùn。
běn jié míng · duō lā dé： běn dì yī míng gē shǒu。 tā zài tì xiàng lǚ biàn · jié jiè guò gāo lì dài de kǎo lì shén fù bēn zǒu， yǐ biàn kuān xiàn jǐ tiān hái zhài rì qī。
fú lāi míng dà mā： jīng cháng dào bù lú mǔ jiā lái zuò jiā wù de nǚ rén。
lǔ dí： bù lú mǔ yǔ mǎ lì 'ēn de dú zǐ， shēng yú yī bā jiǔ sì nián， zhǐ huó liǎo shí yī tiān biàn yāo zhé。
C·P· mài kē yī： bù lú mǔ de shú rén， zài dū bǎi lín shì de shī tǐ shōu róng suǒ zuò yàn shī guān zhù shǒu。 qí qī shì gè wú míng gē shǒu。
bān tǎ mǔ · lāi 'áng sī： bù lú mǔ de shú rén， rè zhōng yú sài mǎ。 shàng wǔ zài jiē shàng yǔ bù lú mǔ xiāng yù， tīng bù lú mǔ shuō qǐ“ diū diào”， jiù xiǎng bǎ dǔ zhù yā zài tóng míng de mǎ shēn shàng。 hòu yòu jiē shòu lì nèi hàn de quàn gào， biàn liǎo guà。 jiēguǒ， hái shì“ diū diào” huò shèng liǎo。
kē ní · kǎi lāi hè： ào ní 'ěr bìn yí guǎn de jīng lǐ， fù zé wéi dí gé nà mù liào lǐ zàng shì。
jié kè · bào 'ěr： gòngzhí yú dū bólín bǎo nèi de huáng jiā 'ài 'ěr lán jǐng chá zǒng shǔ。
lǚ shǐ · jié： fàng gāo lì dài de。 yòu yī cì tā 'ér zǐ tiào jìn liǎo lì fěi hé， bèi yī wèi chuán fū jiù liǎo qǐ lái。 tā què zhǐ gěi liǎo chuán fū liǎng xiān lìng。
tānɡ mǔ · kè fǔ： bù lú mǔ zhī yǒu， chá yè děng shāng pǐn de tuī xiāo yuán。
nèi dé · lán bó tè： gǔ wù shāng， qí kù fáng yuán shì shèng mǎ lì yà xiū dào yuàn de huì yì tīng。
xiū ·C· luò fū shén fù： tā shì sà lín sī zhèn shèng mài kè 'ěr jiào táng de běn táng shén fù， wèile xiě yī běn guān yú fěi cí jié lā dé jiā zú de shū， dào lán bó tè de kù fáng lái cān guān。 tā zài dū bǎi lín yōng yòu yī suǒ fáng zǐ， chū zū gěi kǎo lì shén fù。
kǎo lì shén fù： běn · duō lā dé hé xī méng · dí dá lè sī zhī yǒu。 yīn hái bù qǐ xiàng lǚ biàn · jié jiè de gāo lì dài， láng bèi bù kān。
qiáo（ yuē sè fū） · mài kǎ xī · hǎi guó sī： bù lú mǔ de tóng shì， yě tì《 zì yóu rén bào》 lā guǎng gào。
hóng mù léi： yuē hàn · mù léi de chuò hào，《 zì yóu rén bào》 de zhí yuán。
yuē sè fū · pà tè lì kè · nán ní dì： zài 'ài 'ěr lán chū shēng de yì dà lì rén，《 zì yóu rén bào》 shè pái zì fáng gōng cháng。 tā yòu shì yīng guó yì huì xià yuàn yì yuán jiān dū bǎi lín shì zhèng wěi yuán。
jié · jié · ào mò luò yī： yuán wéi lǜ shī， hòu lái huàn liǎo fèi bìng， luò bó liáo dǎo。
lì nèi hàn：《 tǐ yù》 bào de sài mǎ lán jì zhě， céng diào xì mó lì。
ào mǎ dēng · bó kè： sī dì fēn zhī yǒu， xīn wén jì zhě。
fú lín： chuò hào jiào“ dà bí zǐ”， bù lú mǔ zhī yǒu。
qiáo zhì · wēi lián · lā sài 'ěr： bǐ míng A·E·， ài 'ěr lán shī rén。 tā shì dāng shí réng jiàn zài de 'ài 'ěr lán wén yì fù xīng yùn dòng de zhǐ dǎo zhě zhī yī， rèn《 ài 'ěr lán jiā yuán bào》 zhù biān。
tuō mǎ sī · wēi lián · lì sī tè： gōng yì huì jiào tú， ài 'ěr lán guó lì tú shū guǎn guǎn cháng。
yuē hàn · āi gé lín dùn： yuán míng wēi lián · ā kè bǎi tè lǐ kè · mǎ jí， ài 'ěr lán wén yì fù xīng yùn dòng zhōng de pī píng jiā， céng zài tú shū guǎn yǔ sī dì fēn biàn lùn。
lǐ chá dé · ōu wén · bèi sī tè： ài 'ěr lán guó lì tú shū guǎn fù guǎn cháng。
yuē hàn · mǐ lín dùn · xīn gé： ài 'ěr lán wén yì fù xīng yùn dòng de lǐng dǎo rén zhī yī， shī jù jiā， shì sī dì fēn de shú rén。
qiáo zhì · mù 'ěr： ài 'ěr lán xiǎo shuō jiā， sī dì fēn de shú rén。
gé léi gē lǐ fū rén： ài 'ěr lán jù zuò jiā。 yuán míng yī sà bèi lā · ào gǔ sī tǎ · pèi 'ěr sī。 tā yú yī bā jiǔ 'èr nián sàng fū hòu， kāi shǐ wén xué shēng yá， yī jiǔ 0 sì nián rèn 'ā bèi jù yuàn jīng lǐ。 tā shì sī dì fēn de shú rén。
ā sè · gé lǐ fěi sī： ài 'ěr lán zhèng zhì jiā， yuán zài dū bǎi lín dāng pái zì gōng rén。 yī bā jiǔ jiǔ nián chuàng bàn yǐ zhēng qǔ 'ài 'ěr lán mín zú dú lì wéi zhù zhǐ de zhōu kān《 ài 'ěr lán rén lián hé bào》。 tā shì bù lú mǔ de shú rén。
chá lǐ · sī tú 'ěr tè · bā niè 'ěr： shí jiǔ shì jì mò 'ài 'ěr lán zì zhì yùn dòng hé mín zú zhù yì lǐng xiù， yǐ gù。 bù lú mǔ hé tā yòu yī miàn zhī yuán。
yuē hàn · huò huá dé · bā niè 'ěr： chá lǐ · bā niè 'ěr zhī dì。 dū bǎi lín shì zhèng diǎn lǐ guān jiān diǎndàng shāng dài lǐ rén。
lā lǐ · ào luó kè： bù lú mǔ jiā fù jìn de yī jiā jiǔ diàn de lǎo bǎn。
kǎi dì · dí dá lè sī }
bù dì · dí dá lè sī } sī dì fēn de yòu mèi shàng zài shàng xué。
mǎ jí · dí dá lè sī： sī dì fēn zhī mèi。 tā cóng xiū nǚ chù tǎo xiē wān dòu， tì mèi mèi men zhǔ tānɡ chī。
dí lì · dí dá lè sī： sī dì fēn zhī mèi， cháng dé zuì xiàng cháng xiōng。 tā zài jiē shàng xiàng fù qīn xī méng yào liǎo diǎn qián， huā yī biàn shì mǎi liǎo yī běn《 fǎ yǔ chū jí dú běn》。
máng qīng nián： bù lú mǔ céng chān zhe tā zǒu guò mǎ lù， shén jīng shī cháng díkǎ shí 'ěr · fǎ léi 'ěr què chàdiǎn 'ér bǎ tā zhuàng dǎo。 tā dào 'ào méng dé jiǔ bā qù， diào liǎo gāng qín de yīn。
tānɡ mǔ · luó chì fú dé： tā yǐ dōu shòu sài mǎ dǔ quàn wéi yè， bìng rè zhōng yú fā míng jī qì。 tā céng dā jiù guò yī míng yīn zhòngdú 'ér hūn mí guò qù de xià shuǐ dào gōng rén。
gāo gè 'ér yuē hàn · fàn níng： dū bǎi lín shì fù xíng zhèng zhǎngguān， chuò hào“ gāo gè 'ér”。
pà tè lǐ kè · ā luò yī xiū sī · dí gé nà mù： pà dí · dí gé nà mù de yí gū zhōng zuì niánzhǎng de yī gè。
yuē hàn · huái sī · nuò lán： bù lú mǔ zhī yǒu， guān xīn dí gé nà mù de yí gū， bìng duì mǎ dīng · kǎn níng hàn shuō， bù lú mǔ wéi yí gū juān liǎo wǔ xiān lìng。
lì dí yà · dù sī： ào méng dé fàn diàn de jīn fā nǚ shì。
mǐ nà · kěn ní dí： ào méng dé fàn diàn de hè fā nǚ shì。
ā 'ěr fū léi dé · bǎi gēn： dū bǎi lín xíng zhèng sī fǎ fù cháng guān zhù lǐ， chuò hào jiào“ xiǎo gè 'ér 'ā 'ěr fū”。
wēi lián · hēng bó 'ěr · dá dé lì bó jué： ài 'ěr lán zǒng dū。
“ shì mín”： yuán míng mài kè 'ěr · qiū sà kè。 tā shì gài 'ěr tǐ yù xié huì chuàng bàn zhě， zì chēng“ shì mín qiū sà kè”， yīn 'ér dé míng。
gé dì · mài kè dào wéi 'ěr： qué tuǐ měi shàonǚ。
xī qiàn · kǎ fú lǐ： gé dì de nǚ yǒu， xìng qíng huó pō。
yī dí · bó dé màn： gé dì de nǚ yǒu， xìng gé jiáo qíng。
tānɡ mǐ · kǎ fú lǐ } xī yīn de shuāng bāo tāi dì dì， shí nián sì suì。
jié jī · kǎ fú lǐ }
léi jí · huái lì： gé dì de nán yǒu， gāo zhōng xué shēng。
ān dé lǔ · huò 'ēn bó shì： huò lì sī jiē guó lì fù chǎn yī yuàn yuàn cháng。
kǎ lún xiǎo jiě： guó lì fù chǎn yī yuàn hù shì。
mǐ nà · bó fú yī tài tài： mǎ lì 'ēn de nǚ yǒu， yè lǐ zài yī yuàn shēng yī nán yīng， xì nán chǎn。
yà lì kè · bān nóng： yī kē xué shēng， mǐ lì de nán yǒu。
dí kè sēn： shí xí dà fū， bù lú mǔ bèi fēng zhé shāng hòu， céng yóu tā bāozā。 sī dì fēn zhī yǒu。
wén sēn tè · lín qí： yī kē xué shēng。 tā yǔ nǚ yǒu zài lí bā hòu miàn yōu huì shí， gěi lù guò de kāng mǐ shén fù（ mǔ xiào de lǎo xiào cháng） zhuàng jiàn liǎo。
fú lán kè · kē sī tè luò： yī kē xué shēng， yīn shì jiǔ rú mìng， chuò hào jiào pān qù（ jiǔ míng）
wēi lián · mǎ dēng： yī kē xué shēng。
J． kè luó sè sī： yī kē xué shēng。
bèi luò · kē 'ēn fū rén： jì yuàn lǎo bǎo。
mǎ lì · dé lǐ sī kē 'ěr： bù lú mǔ fū fù guò qù de nǚ pú。
yé 'ěr fú dùn · bā lǐ fū rén }
bèi lín 'è mǔ fū rén }： dū bǎi lín shàng liú shè huì shū nǚ。
mò wén · tǎ 'ěr bó yī guì fù rén }
zuǒ yī、 jī dì、 fú luò lì： jì nǚ
shì bīng kǎ 'ěr、 shì bīng kāng shè dùn： yīng guó bīng， bǎ sī dì fēn jī dǎo。
kē lì： sī dì fēn zhī yǒu， yīn shēng huó méi yòu zhuóluò， xiàng sī dì fēn jiè qián。
gāng mù lì： xī méng de jiù yǒu， hòu lún wéi shì zhèng fǔ gù yòng de shǒu yè rén。
mǎ 'ěr wéi zhōng wèi： mó lì zài zhí bù luó tuó shí qī de chū liàn duì xiàng。
“ bō shān yáng pí”： mǎ chē fū péng de lǎo bǎn。
gù shì gěng gài
qīng nián shī rén sī dì fēn yīn mǔ qīn bìng wēi， cóng bā lí fǎn huí dū bǎi lín。 mǔ qīn mí liú zhī jì yòng bái cí bō shèng zhuólù sè de dǎn zhī， yǎn jīng jǐn dīng zhe tā， pò shǐ tā xià guì guī yǐ zōng jiào， tā dà shēng rǎng dào：“ mā mā， jiù ràng wǒ zhào zhè yàng huó xià qù bā！”。 sī dì fēn yīn cǐ yī zhí chén jìn zài bēi 'āi yǔ 'ào nǎo zhī zhōng。 sàng mǔ hòu， yòu yīn fù qīn chéng tiān xù jiǔ cóng jiā zhōng páo liǎo chū lái， zū liǎo yī zuò yuán xíng pào tǎ， kào jiāoshū móu shēng。 yī kē xué shēng bó kè · mù lì gēn yǔ yīng guó rén hǎi 'ēn sī yě bān lái tóng zhù。
hǎi 'ēn sī hé sī fēn yī qǐ qù hǎi biān yóu yǒng， tán qǐ xìn yǎng wèn tí， sī dì fēn shuō：“ nǐ huì zài wǒ shēn shàng kàn dào yī gè kě pà de zì yóu sī xiǎng de diǎn xíng。 dàn wǒ yòu shì liǎng gè zhù rén de nú pú： yī gè yīng guó rén（ wéi duō lì yà nǚ wáng） , yī gè yì dà lì rén（ luó mǎ jiào huáng）。”
sī dì fēn lái dào wèi yú dū bólín hǎi bīn de xué xiào qù shàng lì shǐ kè， tā bèi xiào cháng jiào dào bàn gōng shì lǐng xīn shuǐ， xiào cháng kāi dǎo tā yào zhù yì zǎnqián， yào dǒng dé jīn qián de zhòng yào， bìng gěi tā yī piān wén zhāng， ràng tā zhǎo gè bào shè fā biǎo。 sī dì fēn lí kāi shǐ xué xiào hòu， lái dào hǎi tān， wàng zhe xiōng yǒng de dà hǎi tā fú xiǎng lián piān， tā bǎ xiào cháng nà piān yuán gǎo de kòngbái chù sī xià lái， jiāng zì jǐ de wèn tí hú luàn dì jì zài shàng miàn。
bù lú mǔ shì xiōng yá lì yì yóu tài rén， zhèng wéi bào zhǐ chéng lǎn guǎng gào， tā chū qù mǎi liǎo yī fù yāo zǐ。 huí jiā hòu， gěi hái wèi qǐ chuáng de qī zǐ mò lì duān qù zǎo cān。 mò lì shì gè xiǎo yòu míng qì de gē shǒu， dàn shēng huó bù jiǎn diǎn， hǎo zhāo fēng yǐn dié， tā zhèng zhǔn bèi xià wǔ yǔ qíng rén bó yǐ lán yuē huì。 bù lú mǔ zhěng tiān wèicǐ shì fán nǎo， dàn zài zhèng qián bǐ zì jǐ duō de lǎo pó miàn qián yòu tái bù qǐ tóu lái。
shàng wǔ 10 diǎn， bù lú mǔ huà míng fú luò 'ěr， yǔ yī míng jiào mǎ luò de nǚ dǎ zì yuán jiāo huàn qíng shū。 tā shì tōng guò zài bào zhǐ guǎng gào zhāo pìn nǚ zhù shǒu 'ér gēn mǎ luò tōng qǐ xìn lái de。 tā dào yóu jú qǔ liǎo mǎ luò de huí xìn， guǎi jìn wú rén de qiáng biān kàn xìn， kàn wán xìn bù jìn piāo piāo rán qǐ lái。 zǒu dào dà qiáo dǐ xià， tā bǎ xìn sī chéng suì piàn diū liǎo， rán hòu dào jiào táng qù zuò mí sǎ。
11 diǎn， bù lú mǔ chéng mǎ chē qù mù dì cān jiā dí gé nà mù de zàng lǐ。 bù lú mǔ tū rán kàn jiàn bó yī lán xiāo sǎ de shēn yǐng， tā xiǎng chú liǎo mèi lì zhī wài， tā qī zǐ hái néng cóng tā shēn shàng kàn dào shénme ní？“ mèi lì” shì dū bǎi lín zuì huài de jiā huǒ， bó yī lán què píng tā huó dé hěn kuài lè。 líng jiù xià zàng hòu， tā réng zài fén cóng zhōng cháng yáng，“ liǎng cè shì bēi tòng de tiān shǐ， shí zì jià、 duàn liè de yuán zhù、 fén yíng、 yǎng wàng tiān kōng zuò dǎo gào de shí xiàng。” tā huí xiǎng qǐ yāo zhé de 'ér zǐ hé zì shā de fù qīn， tā duì sǐ wáng jìn xíng fǎn sī， tā rèn wéi rén sǐ hòu mái zài dì xià xíng bù tōng， zuì hǎo huǒ zàng huò hǎi zàng。 tā yòu xiǎng dào zì jǐ bù guò shì yī gè guǎng gào jīng jì rén， yī gè piào bó liú làng de yóu tài rén。 bù lú mǔ xīn zhōng wú xiàn qī liáng， shèn zhì xiǎng dào sǐ wáng， dàn mǎ shàng yòu zì wǒ jiě cháo， huí dào xiàn shí zhōng lái。
zhōng wǔ， bù lú mǔ dào《 zì yóu bào》 qù xiàng zhù biān shuō míng zì jǐ lǎn lái de guǎng gào tú 'àn， suí hòu yòu gǎn dào《 diàn xùn wǎn bào》 bào guǎn， pèng qiǎo sī dì fēn yě zài zhè 'ér， tā xiǎng xiàng gāi bào tuī jiàn xiào cháng de wén zhāng。 zhù biān què duì wén gǎo chī zhī yǐ bí， sī dì fēn xìng xìng 'ér chū。 xiǎng dào gāng lǐng liǎo xīn shuǐ， jiù qǐng dà jiā qù hē jiǔ。 bàn lù shàng bù lú mǔ zài yī zuò jì niàn bēi bàng kàn jiàn xī méng de nǚ 'ér（ sī dì fēn de mèi mèi） zài pāi mài xíng wài zhǔn bèi mài jiù jiā jù， dùn shēng gǎn kǎi： xī méng gòng yòu 15 gè hái zǐ， àn zhào jiào yì jìn zhǐ jié zhì shēng yù， xiàn zài zhè xiē hái zǐ lián jiā dài chǎn dū chī gè jīng guāng。
xià wǔ 1 diǎn， bù lú mǔ zǒu jìn yī jiā lián jià de xiǎo fàn guǎn， zhè lǐ jì zàng qiě luàn， rén men zài lángtūnhǔyàn， chǒu tài bǎi chū， chī xiāng shí fēn nán kàn。 yú shì tā huàn liǎo jiā gāo jí yī diǎn de fàn guǎn， zài nà yù dào shú rén fú lín， fú lín wèn tā qī zǐ xún huí yǎn chū de jīng jì rén shì shuí， zhè shǐ tā xiǎng qǐ xià wǔ 4 diǎn qī zǐ yào yǔ bó yǐ lán yuē huì， xīn lǐ dùn gǎn fán zào bù 'ān， yī kǒu qì hē xià yī bēi jiǔ。 cóng fàn diàn chū lái zǒu dào tú shū guǎn qián miàn shí， kàn dào qíng dí bó yǐ lán yíng miàn zǒu lái， biàn gǎn jǐn duǒ jìn tú shū guǎn lǐ。
xià wǔ 2 diǎn， sī dì fēn zài tú shū guǎn lǐ duì píng lùn jiā hé xué zhě fā biǎo guān yú suō shì bǐ yà de yì lùn。 bù lú mǔ wéi duǒ bì bó yǐ lán lái dào zhè， dàn tā bìng méi yòu juàn jìn zhè chǎng tǎo lùn， qiǎo miào dì duǒ guò qù liǎo。 tā chuān xíng zài dà jiē xiǎo xiàng， kàn jiàn xíng xíng sè sè de rén men zhèng zài máng lù zhe， jiào huì huì cháng kāng mǐ shén fù zhèng zài jiē shòu rén men de zhì jìng， yī wèi dú tuǐ de shuǐ bīng qiú tā shīshě， tā zhǐ gěi tā yī gè zhù fú jiù zǒu liǎo， ér tā què fēi cháng gāo xīng dì yǔ yì yuán de qī zǐ gào bié， bìng kěn qǐng tā dài xiàng yì yuán zhì yì。 yī qún lǎo rén zhèng zài wéi gāng qù shì de dí gé nà mù de hái zǐ men mù juān， bù lú mǔ mǎ shàng juān liǎo 5 xiān lìng， ér zǒng dū fù mì shū cháng hé fù xíng zhèng zhǎngguān què yī máo bù bá。 ài 'ěr lán zǒng dū zhèng xié fū rén jí suí cóng hào hào dàng dàng 'ér lái， luò fū shén fù xiǎng cóng zǒng dū shǒu lǐ nòng dào féi quē xiàng tā gōng gōng jìng jìng dì jū liǎo yī gōng， xī méng wèile yǎn gài méi yòu kòu hǎo kù zǐ 'ér jiāng mào zǐ fàng zài xiōng qián， zǒng dū yǐ wéi tā shì jìng lǐ。 sī dì fēn pèng dào yī shān lán lǚ de mèi mèi， xiǎng rú hé bāng tā， kě zì jǐ hái mìng yùn nán bǔ； qióng kùn de kǎo lì shén fù qiàn liǎo gāo lì dài， zhèng sì chù tuō rén qiú zhài zhù zài kuān xiàn liǎng tiān； fā liǎo cái de luò fū shén fù yǐ kòu yā liǎo tā de cái chǎn bī tā jiāo fáng zū。
xià wǔ 5 diǎn， bù lú mǔ yuē yī gè péng yǒu zài jiǔ bā jiàn miàn。 yī gè wú lài dà sì gōng jī yóu tài rén， shēn wéi yóu tài rén de bù lú mǔ shí zài rěn wú kě rěn， tā fǎn bó dào：“ mén dé 'ěr sōng shì yóu tài rén， hái yòu kǎ 'ěr · mǎ kè sī、 sī bīn nuò suō。 jiù shì zhù yé sū yě shì gè yóu tài rén…… nǐ de tiān zhù yě gēn wǒ de yī yàng， yě shì gè yóu tài rén。” wú lài qì dé zhuā qǐ yī zhǐ bǐng gān guàn jiù wǎng bù lú mǔ shēn shàng rēng， dàn wèi néng jī zhōng。 bù lú mǔ hé péng yǒu gǎn máng táo zhī yāo yāo。
wǎn shàng 8 diǎn， xià rì de huáng hūn lǒngzhào zhe shì jiè， zài yáo yuǎn de xī biān， tài yáng chén luò liǎo。 shàonǚ gé dì dào yuán xíng pào tǎ fù jìn de hǎi tān chéng liáng， tā níng shì yuǎn fāng， chén miǎn zài míng xiǎng zhī zhōng。 bù lú mǔ zuò zài bù yuǎn de dì fāng， shēn shēn dì wéi gé dì de měi mào suǒ xī yǐn。 gé dì yì shí dào bù lú mǔ zài zhù shì zhe tā， tā xiǎng： yě xǔ jià gěi zhè me yī gè zhōng nián shēn shì dǎo yě tǐng hǎo。 èr rén de mù guāng bù qī 'ér yù， tā jué dé tā de yǎn shén yóu rú liè huǒ， jiāng zì jǐ cóng tóu shāo dào jiǎo， tā hèn bù dé cháo tā shēn chū shuāng bì ràng tā guò lái， bìng jiāng tā de zuǐ chún chù dào zì jǐ bái xī de qián 'é， miàn duì zhè shuāng nián qīng tiān zhēn de yǎn jīng， bù lú mǔ zǎo yǐ shén bù shǒu shè liǎo。 gé dì lí kāi hǎi tān shí， bù lú mǔ cái fā xiàn tā yuán lái shì gè qué zǐ， bù jìn shī shēng tàn dào：“ kě lián de gū niàn”。
wǎn shàng 10 diǎn， bù lú mǔ dào fù chǎn yī yuàn qù tàn wàng nán chǎn de mài nà fū rén。 sī dì fēn hé yī qún yī xué yuàn de xué shēng zài nà lǐ gāo tán kuò lùn， gè gè hē dé mǐng dǐng dà zuì， bù lú mǔ kāi shǐ wéi sī dì fēn dān xīn。 sī dì fēn shuō hái yào qǐng dà jiā dào jiǔ diàn hē jiǔ， jiù lí kāi liǎo yī yuàn。 bù lú mǔ yě gǎn liǎo qù， yī lù shàng tā de yǎn qián chū xiàn liǎo xǔ duō huàn xiàng。
tā huàn xiǎng zhe zài yī jiā jì yuàn lǐ dá dào gāo cháo， hòu lái tā yòu róng shēng wéi shì cháng， hái dāng liǎo 'ài 'ěr lán guó wáng， suí hòu zāo dào qún zhòng de gōng jī bèi qū zhú chū jìng。 bù lú mǔ bǎi tuō huàn xiǎng hòu， dào jì yuàn qù zhǎo sī dì fēn， sī dì fēn zuì jiǔ lún qǐ shǒu zhàng jī suì liǎo jì yuàn de dēng， lái dào jiē shàng hú shuō yī tōng， liǎng gè yīng guó bīng rèn wéi tā duì guó wáng bù jìng， jiāng tā dǎ dé hūn sǐ guò qù。 bù lú mǔ chǎn shēng cuò jué bǎ sī dì fēn dàngchéng zì jǐ nà yāo zhé de 'ér zǐ， jiù jiāng sī dì fēn chān fú qǐ lái dài huí jiā。 zài dào dé shuāi wēi、 jiā tíng fēn liè、 chuán tǒng guān niàn lún sàng de dà qiān shì jiè lǐ， bù lú mǔ hé sī dì fēn jīng shén shàng zāo shòu cuò zhé、 nèi xīn chōng mǎn dòng dàng， tā men zhōng yú zài bǐ cǐ shēn shàng zhǎo dào liǎo gè zì jīng shén shàng suǒ quē fá de dōng xī。 sī dì fēn zhǎo dào liǎo fù qīn， bù lú mǔ zhǎo dào liǎo 'ér zǐ。
tiān mēngmēngliàng shí， sī dì fēn gào cí 'ér qù。 bù lú mǔ zǒu jìn wò shì hòu， fā xiàn shì nèi de bǎi shè lüè yòu biàn dòng， huàn xiǎng zhe mò lì yǔ bó yǐ lán yōu huì de qíng jǐng， tā tuī cè yǔ qī zǐ fā shēng guān xì de jué bù zhǐ bó yǐ lán yī gè rén， hái yòu yuán shì cháng děng shú rén， tā zhuó mó liǎo bàn xiǎng qī zǐ yǔ zhè xiē qíng rén jiū jìng gān liǎo xiē shénme， zhuǎn niàn yī xiǎng， tā jué dé zhè jiàn shì yě bù néng quán guài mò lì， zì jǐ méi yòu mǎn zú tā duì fū qī shēng huó de yào qiú， tā yuàn yì zài zuò yī cì nǔ lì。
mò lì chǔyú bàn shuì bàn xǐng zhī zhōng， zài mò lì de mèng zhōng chū xiàn yòu zhàng fū bù lú mǔ、 bó yǐ lán、 chū liàn qíng rén hé zhàng fū gāng gāng shuō guò de sī dì fēn， tā yòu kāi shǐ huàn xiǎng hé zhè wèi nián qīng rén tán qíng shuō 'ài liǎo。 tā méng lóng dì gǎn dào yī zhǒng mǔ xìng de mǎn zú hé duì yī gè qīng nián nán zǐ de chōng dòng。 bù guò， tā xiǎng dé zuì duō de hái shì zhàng fū， xiǎng dào 10 nián lái fū qī shēng huó de lěng mò， xiǎng dào tā de xǔ duō kě xiào de shì qíng， tā jué dé tā hái shì gè yòu jiào yǎng， yòu lǐ mào， yòu fēng fù zhī shí， yòu yì shù xiū yǎng de rén， shí zài shì gè nán dé de hǎo zhàng fū， tā jué xīn zài gěi tā yī cì jī huì。
xiāng guān píng lùn
chū yuè《 yóu lì xī sī》， shǐ yú nà jù liú chuán shèn guǎng de 100 gè rén zhōng méi yòu 10 gè rén néng dú wán《 yóu lì xī sī》。
《 yóu lì xī sī》 shì 'ài 'ěr lán zhù míng de xiàn dài pài xiǎo shuō jiā qiáo yī sī de zhù zuò， qiáo yī sī céng rù dū bólín dà xué zhuān gōng xiàn dài yǔ yán xué， hòu fù 'ōu zhōu dà lù。 qiáo yī sī de dì yī bù duǎn piān xiǎo shuō jí shì《 dū bǎi lín rén》， hòu yòu xiě zìzhuàn tǐ zhōng piān xiǎo shuō《 qīng nián yì shù jiā de xiào xiàng》。
wén xué jiè duì yú《 yóu lì xī sī》 de píng jià， wǒ jué dé jiù rú liǎng gè cí jí。 yī xiē píng lùn jiāng《 yóu lì xī sī》 de shēn jià tái dé hěn gāo， jué dé tā“ shì yī bù kuàng shì qí zuò”； lìng yī xiē píng lùn yòu jiāng tā biǎn dé hěn dī， jué dé tā“ cū sú bù kān rù mù”。
ér wǒ shǐ zhōng shì yǐ yī zhǒng mó bài de tài dù kàn dài《 yóu lì xī sī》 de， tā shì yī bù tài néng gòu xiǎn shì wén xué gōng dǐ de zhù zuò。《 yóu lì xī sī》 yáng yáng sǎ sǎ yī bǎi wàn zì， què zhǐ shì miáo shù liǎo shí bā gè xiǎo shí de shì qíng， wǒ wú fǎ xiǎng xiàng zuò zhě xū yào zěn yàng de guān chá hé xiǎng xiàng， cái néng xiě chū zhè yàng yī bù dú tè de zhù zuò。 kuàng， shū zhōng de chū chǎng rén wù bìng bù duō， zhǐ yòu bù lú mǔ， sī dì fēn hé mò lì sān wèi zhù yào rén wù。
《 yóu lì xī sī》 de chéng gōng zhī chù， zài yú duì rén wù nèi xīn de xì zhì kè huà。 qiáo yī sī yǐ tā jīng rén de wén xué gōng dǐ， yòng yī bǎi wàn zì jiǎng shù liǎo sān gè rén wù zài shí bā gè xiǎo shí nèi de huó dòng。《 yóu lì xī sī》 suī piān fú jù dà， dàn háo wú zhuì yán， qiáo yī sī yǐ tā duì rén shēng hé shēng huó de rèn shí hé xì nì de dòng chá lì， miáo xiě liǎo zhù rén gōng de xíng dòng， yǔ yán hé xì wēi xīn lǐ biàn huà。《 yóu lì xī sī》 zhōng duì nèi xīn huó dòng de miáo xiě chū shén rù huà， sān wèi zhù rén gōng de měi gè xì wēi de sī xiǎng biàn huà， dū qīng xī zhēn qiē dì chéng xiàn zài liǎo dú zhě miàn qián。 zhū rú shuō《 yóu lì xī sī》 de dì sān zhāng， qiáo yī sī yòng zhěng zhěng yī zhāng de piān fú kè huà liǎo qiáo yī sī de xīn lǐ huó dòng。
《 yóu lì xī sī》 de dì yī zhù rén gōng bù lú mǔ shì yī wèi xiōng yá lì yì de yóu tài rén， tā zài dū bǎi lín de bào shè zuò guǎng gào tuī xiāo yuán。 bù lú mǔ zhè yī xíng xiàng de jià zhí chāo yuè liǎo gù yòu de shēn fèn， qiáo yī sī yòng zì jǐ shēn kè de shè huì jīng yàn hé zhā shí de wén xué gōng dǐ， bǎ qiān qiān wàn wàn de 'ài 'ěr lán shì mín dū jí zhōng dào liǎo bù lú mǔ shēn shàng。 bù lú mǔ de jīng lì hé xìng qíng， yě qià qià shǔ yú zhū duō 'ài 'ěr lán shì mín。
bù lú mǔ de shēng huó bào jīng cāng sāng， tā yòu zǐ yāo zhé， qī zǐ bù zhēn， zì jǐ cháng zì qī qī rén dì zài míng cún shí wáng de 'ài qíng zhōng zhēngzhá fǎng huáng。 bù lú mǔ rén dào zhōng nián què yī wú suǒ chéng， miàn duì bǐ zì jǐ xīn shuǐ gāo jǐ bèi de mò lì， tā zì bēi bìng qiě bù zì xìn。 dàn bù lú mǔ lìng yī fāng miàn yòu zì shì qīng gāo， shèn zhì bù yuàn yǔ chī xiāng bù yǎ guān de gù kè zài yī gè fàn guǎn yòng cān。 bù lú mǔ rè xīn xuè xìng， xiá yì dì bāng zhù zuì jiǔ de sī dì fēn。 dàn lìng yī fāng miàn， tā yě yòu zhe tān lán wěi suǒ de yù wàng， shèn zhì céng shì tú qī wǔ yī míng hǎi tān biān de cán fèi shàonǚ。
bù lú mǔ kǔ mèn fǎng huáng， chōng mǎn máo dùn。 tā duì xiàn shí mí máng dàn yòu chōng mǎn xī wàng， wú nài dàn yòu qī dài qí jì。 bù lú mǔ shī qù liǎo jīng shén de zhī zhù hé jìn qǔ de mùdì， shēng huó hé shì yè dū zāo shòu liǎo chén zhòng de dǎ jī。 bù lú mǔ de tuí fèi， zhèng fǎn yìng liǎo 'èr shí shì jì chū 'ài 'ěr lán shì mín de gū dú， mí máng hé jué wàng。
qiáo yī sī jiāng tā shí liù nián duì yú shēng huó hé shè huì de lǐ jiě， dū quán bù nóng suō dào liǎo《 yóu lì xī sī》 zhōng， tóng shí tā yòu shì yī bù jià zhí chāo yuè liǎo shè huì xiàn shí de zhù zuò， bìng qiě shàng shēng dào liǎo zhé xué de shēn dù。
《 ào dé xiū jì》 wén míng quán shì， bèi gōng rèn wèishì rén lèi lì shǐ shàng yī bù wěi dà de shǐ shī。 ér qiáo yī sī， tā yǐ guò rén de wù xìng xiě xià liǎo yī bù dāng dài tí cái de《 ào dé xiū jì》。《 yóu lì xī sī》 měi yī zhāng de nèi róng， dū cǎi qǔ liǎo yǔ《 ào dé xiū jì》 píng xíng de jié gòu， qiáo yī sī dú jù jiàng xīn， qiǎo miào gòu sī， shǐ zhěng bù《 yóu lì xī sī》 de jié gòu yǔ yù yì dū hé《 ào dé xiū jì》 xiāng zhào yìng。 qiáo yī sī cóng shǐ shī de shēn dù shēn shí xiàn dài shēng huó， fù yú liǎo《 yóu lì xī sī》 zhé xué de nèi hán。
yī gè zuò jiā de wén xué gōng dǐ dá dào yī dìng chéng dù shí， tā de zhù zuò wǎng wǎng huì shèn tòu jìn zhé xué， zhū rú shuō《 hóng lóu mèng》。《 hóng lóu mèng》 zhōng de jīng diǎn míng yán“ jiǎ zuò zhēn shí zhēn yì jiǎ， wú wéi yòu chù yòu hái wú” yǐ jí“ chì tiáo tiáo lái qù wú qiān guà”， hái yòu“ hǎo yī sì shí niǎo gè tóu lín， luò liǎo piàn bái máng máng dà dì zhēn gān jìng”。 zhè xiē dōushì zuò zhě duì rén shēng， duì shì jiè de zhé xué sī kǎo。
qiáo yī sī hé cáo xuě qín tóng yàng dì jiāng duì shè huì de gǎn xìng rèn shí shàng shēng dào liǎo lǐ xìng sī kǎo，《 yóu lì xī sī》 hé《 hóng lóu mèng》 zhī suǒ yǐ shì liǎng bù xiǎo shuō 'ér yòu bù jǐn jǐn shì xiǎo shuō， yě zhèng zài cǐ。
cáo xuě qín zhù《 hóng lóu mèng》 shì“ zì zì kàn lái jiē shì xuè， shí nián xīn kǔ bù xún cháng”， ér qiáo yī sī zhù《 yóu lì xī sī》， yòng liǎo shí liù nián gòu sī guān chá， qī nián zhuān zhù xiě zuò。 dàn， yuè shì mín zú de wén huà， wǎng wǎng jiù nán yǐ shì shì jiè de wén huà。 cóng cǐ jiǎo dù lái shuō，《 yóu lì xī sī》 hé《 hóng lóu mèng》 yòu zhe xiāng shìde bēi 'āi。
《 hóng lóu mèng》 wú yí shì yī bù dēng fēng zào jí de wěi dà zhù zuò， cáo xuě qín zài《 hóng lóu mèng》 zhōng duì zhōng guó gǔ diǎn wén huà de róng hé， yǐ jīng dá dào liǎo hǎi nà bǎi chuān de chéng dù。《 hóng lóu mèng》 suī bù guò shì bù xiǎo shuō， què bāo hán liǎo jīhū suǒ yòu de zhōng guó gǔ diǎn wén huà jīng cuì： shī cí， qū fù， yuèfǔ， yíng lián， mí yǔ， bā gǔ， qǐng jiǎn， jì wén， zòu zhāng， shū xìn， cài pǔ， zhàng dān， yào fāng， zhàn bǔ， xīngxiàng， `````《 hóng lóu mèng》 bèi shì jiè gōng rèn shì zhōng guó gǔ diǎn zhù zuò de zuì gāo fēng， èr yuè hé qián bèi píng jià《 hóng lóu mèng》 shí shuō，“《 hóng lóu mèng》 de chéng jiù， bù jǐn shì kōng qián de， zài mǒu zhǒng yì yì shàng shuō， tā yě shì jué hòu de。”
kě zhèng yìng liǎo wù jí bì fǎn de yuán lǐ， zhè yàng de yī bù wěi dà jù zhù， suī bèi shì jiè gōng rèn què wèi bèi shì jiè xǐ 'ài。 chéng rán，《 hóng lóu mèng》 zài shì jiè shū bǎng zhōng wèi liè dì bā wèi， yā guò liǎo 'ōu měi dà pī jǔ shì wén míng de zhù zuò， rán 'ér zhèng rú duō shù mín zú wén huà jīng diǎn yī yàng，《 hóng lóu mèng》 wèi chéng wéi shì jiè pǔ biàn de wén huà。
《 hóng lóu mèng》 bèi yì wéi jǐ shí zhǒng yǔ yán zài shì jiè gè guó fā xíng， zài 'ōu měi guó jiā yě jiàn yòu hóng xué yán jiū huì， kě měi guó yī wèi nǚ jì zhě céng zhí yán bù huì dì shuō， tā shēn biān de péng yǒu gèng duō de shì bǎ《 hóng lóu mèng》 zuò wéi yī běn bì dú shū mù， ér bìng fēi shì chū yú xǐ huān。 xī 'ōu de diào chá bào gào yě qīng chǔ dì biǎo míng，《 hóng lóu mèng》 zài mín jiān yuǎn bù rú《 sān guó yǎn yì》，《 fēng shén bǎng》， shèn zhì《 jīn píng méi》 shòu huān yíng。 hóng lóu mèng zài guó wài， gèng duō de shì bèi zhī shí fènzǐ dāng zuò míng zhù lái liú lǎn。
《 yóu lì xī sī》 yú yī jiǔ 'èr 'èr nián 'èr yuè 'èr rì chū bǎn， tā shì qiáo yī sī shí liù nián gòu sī qī nián xiě zuò de chéng guǒ， kě chū bǎn hòu tā cháng qī bèi jìn zhǐ zài yīng měi fā xíng， zhí zhì yī jiǔ sān sān nián cái chóngxīn liú tōng。
《 yóu lì xī sī》 chū bǎn hòu tóng yàng bùwèi shì rén jiē shòu， shàng shì hòu jí zài wén xué jiè yǐn qǐ liǎo jù dà de zhēng yì。 fú jí ní yà wǔ 'ěr fū chì zé cǐ shū“ cū sú bù kān rù mù”， dāng shí yī xiē zuò jiā shèn zhì háo bù kè qì dì bǎ qiáo yī sī de qiān míng zèng yuè běn tuì hái。 zhǐ yòu 'ài lüè tè děng shǎo shù yòu huì yǎn de zuò jiā， yì shí dào liǎo《 yóu lì xī sī》 de jià zhí， jié lì wéi tā biàn jiě。 qīng huá dà xué jué dìng jiāng《 yóu lì xī sī》 liè wéi bì dú shū mù shí， tóng yàng yǐn qǐ liǎo jiào yù jiè hé wén xué jiè de zhū duō fǎn duì。
měi sī jí cǐ， wǒ jiù bù jìn gǎn kǎi。《 yóu lì xī sī》 kě yǐ shì yī bù shì jiè míng zhù， yě kě yǐ shì yī bù kuàng shì qí zuò， dàn tā nán yǐ zài quán shì jiè de dú zhě zhōng dū shòu dào huān yíng。
qiáo yī sī hé cáo xuě qín xiě chū liǎo zhè yàng de liǎng bù zhù zuò héng héng《 yóu lì xī sī》 hé《 hóng lóu mèng》， zhè jiū jìng shì tā men de wěi dà， hái shì tā men de bēi 'āi ``````
běn zuò pǐn wéi 1998 nián quán qiú dú zhě tóu piào píng xuǎn 'èr shí shì jì xiǎo shuō lèi dì yī míng。
yì zhě： xiāo qián wén jié ruò
yì zhě xù
dì yī zhāng dì 'èr zhāng dì sān zhāng
dì sì zhāng dì wǔ zhāng dì liù zhāng
dì qī zhāng dì bā zhāng dì jiǔ zhāng
dì shí zhāng dì shí yī zhāng dì shí 'èr zhāng
dì shí sān zhāng dì shí sì zhāng dì shí wǔ zhāng
dì shí liù zhāng dì shí qī zhāng dì shí bā zhāng
( yóu lì xī sī ) yǔ ( ào dé xiū jì )( duì zhào ) ( yóu lì xī sī · qiáo yī sī dà shì jì ) zhù yào rén wù biǎo
yì hòu jì
Ulysses chronicles the passage of Leopold Bloom through Dublin during an ordinary day, 16 June 1904 (the day of Joyce's first date with his future wife, Nora Barnacle). The title alludes to Odysseus (Latinised into Ulysses), the hero of Homer's Odyssey, and establishes a series of parallels between characters and events in Homer's poem and Joyce's novel (e.g., the correspondence of Leopold Bloom to Odysseus, Molly Bloom to Penelope, and Stephen Dedalus to Telemachus). Joyce fans worldwide now celebrate 16 June as Bloomsday.
Ulysses contains approximately 265,000 words from a lexicon of 30,030 words (including proper names, plurals and various verb tenses), divided into eighteen episodes. Since publication, the book attracted controversy and scrutiny, ranging from early obscenity trials to protracted textual "Joyce Wars." Ulysses' stream-of-consciousness technique, careful structuring, and experimental prose—full of puns, parodies, and allusions, as well as its rich characterisations and broad humour, made the book a highly regarded novel in the Modernist pantheon. In 1999, the Modern Library ranked Ulysses first on its list of the 100 best English-language novels of the 20th century.
chuàng zuò bèi jǐng
qiáo yī sī shǐ yòng liǎo 'ào dé xiū sī de luó mǎ míng“ yóu lì xī sī” jù shuō shì yóu yú tā cóng yīng guó sǎnwén jiā chá 'ěr sī · lán mǔ de 'ér tóng zuò pǐn《 yóu lì xī sī de lì xiǎn》 zuì xiān jiē chù liǎo 'ào dé sài de gù shì。 tā céng píng lùn rèn wéi 'ào dé xiū sī shì wén xué shǐ shàng hán gài yì yì zuì guǎng fàn de rén wù xíng xiàng， bìng shì tú yǐ yóu lì xī sī de lì xiǎn wéi zhù tí xiě yī piān duǎn piān xiǎo shuō fā biǎo zài《 dū bǎi lín rén》 zhōng， bìng zuì zhōng cóng 1914 nián qǐ kāi shǐ chuàng zuò cháng piān xiǎo shuō。
《 yóu lì xī sī》 zhōng de rén wù xíng xiàng yǔ qiáo yī sī de qí tā zuò pǐn yī yàng， dà duō yòu qí shēng huó yuán xíng。 qiáo yī sī běn rén chū shēng yú yī gè jīng jì zhuàng kuàng liáng hǎo de tiān zhù jiào jiā tíng， dàn hòu lái yóu yú 'ài 'ěr lán mín quán yùn dòng lǐng xiù pà nèi 'ěr de dǎo tái yǐ jí fù qīn xù jiǔ děng yuán yīn jiā dào zhōng luò， qiáo yī sī yě xuǎn zé fàng qì tiān zhù jiào xìn yǎng。 1902 nián qiáo yī sī lí jiā qián wǎng bā lí xué xí yī xué， 1903 nián mǔ qīn bìng wēi gǎn huí dū bǎi lín， lín zhōng chuáng qián qiáo yī sī hé dì dì sī tǎn ní luò sī · qiáo yī sī què chū yú duì tiān zhù jiào de pàn nì jiān chí bù kěn xià guì。 hòu lái qiáo yī sī bǎ zhè yī jīng lì xiě rù《 yóu lì xī sī》 dì yī zhāng bìng jiā yǐ xuàn rǎn。 1904 nián qǐ qiáo yī sī zài cì lí jiā， bìng jié shí liǎo yī gè nián qīng de yī kē dà xué shēng、 shī rén 'ào liè fó · shèng yuē hàn · gē jiā dì。 jìn guǎn bìng bù shì hěn xìn rèn tā， qiáo yī sī yǐ rán bèi tā de cái huá suǒ xī yǐn， hòu lái gē jiā dì chéng wéi《 yóu lì xī sī》 zhōng“ zhuàng lù” mǎ lì gēn de yuán xíng。 gē jiā dì zài dū bǎi lín wān zū liǎo yīzhuàng 'ài 'ěr lán dǐ kàng ná pò lún · bō ná bā jìn gōng shí jiàn zào de yuán xíng shí bǎo， xiǎng yào yòng lái zuò wéi gēn jù dì fā qǐ jiāng 'ài 'ěr lán wén yì gǔ xī là huà de wén huà yùn dòng， qiáo yī sī zài yāo qǐng xià yě zhù jìn shí bǎo。 dàn liǎng rén shí cháng fā shēng mó cā， qí hòu gē jiā dì de yī gè yīng guó niú jīn péng yǒu yě bān jìn shí bǎo， tā 'àihào gài 'ěr yǔ， bìng gěi zì jǐ qǐ liǎo yī gè gài 'ěr rén de míng zì， tā chéng wéi qiáo yī sī shū zhōng hǎi yīn sī de yuán xíng。 yī tiān yè lǐ tā zuò 'è mèng mèng jiàn bèi hēi bào zhuī gǎn， bàn mèng bàn xǐng zhī jiān jìng rán zhuā qǐ shǒu qiāng kòu dòng bān jī， xiǎn xiē jī zhōng qiáo yī sī。 jīng xǐng de qiáo yī sī jué dìng lì kè lí kāi shí bǎo bù zài huí lái， jìn guǎn dāng shí shì bàn yè， hòu lái qiáo yī sī jiāng zhè duàn jīng lì yě xiě rù《 yóu lì xī sī》 dì yī zhāng zhōng。 hòu lái qiáo yī sī zài yī jiā jì yuàn hē zuì， yù shàng liǎo mán bù jiǎng lǐ de xiàn bīng（ dì shí wǔ zhāng zhōng de xiàn bīng kǎ 'ěr hé xiàn bīng kāng pǔ dùn） fā shēng zhēng chǎo bìng dòng shǒu， xìng hǎo bèi tā fù qīn de péng yǒu hēng tè xiān shēng yù jiàn jiě jiù。 qiáo yī sī yú shì chǎn shēng líng gǎn， xiǎng yào wéi hēng tè xiān shēng xiě yī piān zài dū bǎi lín de lì xiǎn， yú shì hēng tè xiān shēng chéng wéi bù lú mǔ de yuán xíng。 qí tā zhòng yào de yuán xíng bāo kuò： xī méng · dí dá lè sī（ sī dì fēn de fù qīn， yǐ qiáo yī sī de fù qīn wéi yuán xíng）， mó lì（ yǐ qiáo yī sī de qī zǐ nuò lā wéi yuán xíng）。
chū bǎn shǐ
1897 nián【 15 suì】 qiáo yī sī huò 'ài 'ěr lán zuì jiā zuò wén jiǎng
1914 nián【 32 suì】 xiān hòu bèi 20 duō gè chū bǎn shāng“ fēi wén xué yuán yīn” jù jué de《 dū bǎi lín rén》 chū bǎn zài yè zhī， páng dé bāng zhù xià，《 yī gè qīng nián yì shù jiā huà xiàng》 liánzǎi
1921 nián【 39】《 yóu lì xī sī》 dì yī bǎn 1000 cè yù dìng， gù kè míng dān zhōng yòu yè zhī， páng dé， jì dé， hǎi míng wēi
1927 nián dé yì běn chū bǎn
1929 nián fǎ yì běn chū bǎn
1932 nián rì yì běn chū bǎn
1933 nián měi guó bǎn chū bǎn
1935 nián cóng wèi dú guò cǐ shū de zhōu lì bō quán miàn pī pàn《 yóu lì xī sī》【 zhù rén gōng míng zì cuò】
1964 nián dú guò cǐ shū de yuán kě jiā pī pàn《 yóu lì xī sī》
1984 nián zhōu lì bō pī pàn wén zhāng zài cì fā biǎo
1994 nián xiāo qián fū fù zhōng yì běn chū bǎn
1995 nián měi guó rén jīn dī zhōng yì běn chū bǎn
《 yóu lì xī sī》 xiě yú 1914 nián zhì 1921 nián jiān， 1918 nián qǐ kāi shǐ fēn zhāng jié zài yī jiā míng wéi《 TheLittleReview》 de měi guó zá zhì liánzǎi， zhí dào 1920 nián liánzǎi dào dì shí sān zhāng《 nǎo xī kǎ》 shí yīn bāo hán yòu dà liàng miáo xiě zhùjué xíng shǒu yín de qíng jié bèi měi guó yòu guān bù mén zhǐ kòng wéi yín huì。 1921 nián《 yóu lì xī sī》 zài měi guó hé yīng guó zāo jìn， dàn qí hòu（ 1922 nián） zài 'àihào xiàn dài zhù yì wén xué de xī 'ěr wéi yà · bì qí xiǎo jiě de bāng zhù xià，《 yóu lì xī sī》 dé yǐ zài fǎ lán xī gòng hé guó bā lí de suō shì bǐ yà shū wū shǒu cì wán zhěng chū bǎn。 rán 'ér zhí dào 20 shì jì 30 nián dài chū《 yóu lì xī sī》 zài měi guó、 yīng guó、 ài 'ěr lán děng guó réng rán bèi liè wéi jìn shū。 zài W·B· yè zhī hé T·S· ài lüè tè děng duō wèi 'ōu měi zhī míng zuò jiā de zhī chí xià， 1933 nián 12 yuè 6 rì niǔ yuē nán qū dì fāng fǎ tíng de yuē hàn · wū 'ěr sài fǎ guān xuān pàn《 yóu lì xī sī》 jìn guǎn bāo hán xìng miáo xiě dàn bìng fēi sè qíng zuò pǐn， cóng 'ér bìng bù yín huì。 cì nián 1 yuè《 yóu lì xī sī》 zài měi guó yóu lán dēng shū wū chū bǎn。
xiǎo shuō jié gòu
《 yóu lì xī sī》 quán shū gòng fēn wéi sān bù fēn shí bā zhāng， biǎo miàn shàng měi zhāng nèi róng huì sè líng luàn， shí zé nèi bù jié gòu yǔ hé mǎ de《 ào dé sài》 yòu mìqiè lián xì。 měi yī zhāng jié dōuyòu qí dú tè de xiě zuò jì qiǎo， bìng duì yìng yī gè《 ào dé sài》 de gù shì zhù tí， juésè hé qíng jié yě hé《 ào dé sài》 yòu bù tóng céng cì de duì yìng。《 yóu lì xī sī》 zài TheLittleReview liánzǎi qī jiān， měi zhāng dū jiā shàng liǎo xià biǎo zhōng de biāo tí。 dàn jù shuō chū yú bì miǎn shǐ dú zhě guò yú guān zhù zhè xiē duì yìng guān xì de kǎo lǜ， qiáo yī sī bìng wèi jiāng biāo tí děng tí shì xìng nèi róng zài qí hòu zhèng shì chū bǎn de shū zhōng xiě míng。
qiáo yī sī běn rén yú 1920 nián zài shū xìn zhōng píng lùn cǐ shū wéi：
tā shì yī bù guān yú liǎng gè mín zú（ yǐ sè liè - ài 'ěr lán） de shǐ shī， tóng shí shì yī gè zhōu yóu rén tǐ qì guān de lǚ xíng， yě shì yī gè fā shēng zài yī tiān（ yī shēng） zhī jiān de xiǎo gù shì…… tā yě shì yī zhǒng bǎi kē quán shū。
zuò pǐn qíng jié、 jié jú huò qí tā xiāng guān
tè lè mǎ jī yà
tè lè mǎ jī yà（ TheTelemachia） shì yǐ qīng nián xué shēng sī dì fēn · dí dá lè sī de huó dòng wéi zhù xiàn de bù fēn， duì yìng zhe tè lè mǎ kē sī kāi shǐ duì fù qīn 'ào dé xiū sī de xún zhǎo。 shí jiān kuà dù wéi shàng wǔ bā diǎn dào shàng wǔ shí yī diǎn。
tè lè mǎ kē sī
shí jiān： 8:00
chǎng jǐng： yuán xíng shí bǎo
qì guān： wú
xué kē： shén xué
yán sè： bái sè、 jīn sè
xiàng zhēng wù： jì chéng rén
jì qiǎo： xù shì（ nián qīng de）
duì yìng： tè lè mǎ kē sī， hā mǔ léi tè - sī dì fēn · dí dá lè sī； ān tí nuò 'ào sī - zhuàng lù mǎ lì gēn； mén tuō 'ěr - sòng nǎi nǚ gōng
《 ào dé sài》：《 ào dé sài》 yǐ zhòng shén huì yì zuò wéi kāi piān， zhòu sī jué dìng zhǔn xǔ 'ào dé xiū sī fǎn huí gù xiāng。 ér cǐ shí zài yī sà kǎ， ào dé xiū sī de 'ér zǐ tè lè mǎ kē sī hé qī zǐ pà niè luó pèi wú fǎ rěn shòu yǐ 'ào màn de 'ān tí nuò 'ào sī wéi shǒu de qiú hūn zhě men de sāo rǎo。 zài yǎ diǎn nà de bāng zhù xià， tè lè mǎ kē sī kāi shǐ tà shàng xún fù zhī lǚ。
《 yóu lì xī sī》：《 yóu lì xī sī》 yǐ miáo shù wèi yú 'ài 'ěr lán dǎo dōng 'àn dedōu bǎi lín wān de yī zuò yuán xíng shí bǎo lǐ de sān gè nián qīng rén：“ zhuàng lù” mǎ lì gēn（ yī gè lěng mò、 yán cí jiān kè qiě kuáng zào de yī kē xué shēng）、 sī dì fēn · dí dá lè sī（《 yī gè qīng nián yì shù jiā de huà xiàng》 zhōng de nián qīng zuò jiā） hé hǎi yīn sī（ yī gè xǐ hǎo mài nòng gài 'ěr yǔ de yīng guó niú jīn rén） de qīng chén huó dòng zuò wéi kāi piān。 sī dì fēn zuó yè bèi hǎi yīn sī de 'è mèng hé qí hòu xiē sī dǐ lǐ dì kāi qiāng suǒ jīng xià， jīng shén hěn dī luò； ér mǎ lì gēn yòu kāi shǐ duì sī dì fēn jù jué zài tā mǔ qīn qù shì qián xià guì shuō sān dào sì。 zǎo cān shí yī gè lǎo fù rén lái sòng niú nǎi， hǎi yīn sī xiàng tā mài nòng shìde hé mǎ lì gēn jiǎng qǐ liǎo 'ài 'ěr lán yǔ， hòu lái yòu xiàng sī dì fēn xún wèn tā guān yú hā mǔ léi tè de lǐ lùn， dàn sī dì fēn jù jué liǎo， yú shì tā men liǎng rén tā men tán lùn qǐ yī xiē zhèng zhì hé wén xué de huà tí。 tóng shí běn zhāng jiè mǎ lì gēn zhī kǒu diǎn míng liǎo sī dì fēn xún zhǎo jīng shén shàng de fù qīn zhè yī zhù tí。 sān rén lí kāi shí bǎo qián mǎ lì gēn xiàng sī dì fēn suǒ yào liǎo yàoshì， sī dì fēn gǎn dào zì jǐ zài zhè lǐ de dì wèi zāo dào liǎo cuàn duó， jué dìng cóng cǐ lí kāi shí bǎo。
nài sī tuō
shí jiān： 10:00
chǎng jǐng： sī lì nán xiào
qì guān： wú
xué kē： lì shǐ
yán sè： zōng sè
xiàng zhēng wù： mǎ
jì qiǎo： jiào lǐ wèn dá（ gè rén de）
duì yìng： nài sī tuō - dài xī； nài sī tuō de yòu zǐ - sà jīn tè； hǎi lún - ào xiè fū rén
《 ào dé sài》： tè lè mǎ kē sī yù jiàn liǎo hǎo xīn（ dàn wú liáo de） zhǎnglǎo nài sī tuō， chú liǎo zhī dào 'ào dé xiū sī de fǎn jiā hěn kùn nán zhī wài， tā yī wú suǒ zhī。
《 yóu lì xī sī》： sī dì fēn dào dá xué xiào， gěi yī qún nán hái men jiào shòu lì shǐ hé yīng wén， dàn tā men bìng bù bǎ tā de nǔ lì dāng huí shì， ér tā shì tú gěi tā men cāi gǔ guài de mí yǔ， què shǐ zhōng wú fǎ diào dòng qǐ tā men de qíng xù。 tā zài fàng xué hòu wéi yī gè hái zǐ bǔ xí suàn shù， zhī hòu miàn jiàn liǎo xiào cháng dài xī xiān shēng。 lǐng qǔ gōng zī shí dài xī xiān shēng hé tā tǎo lùn liǎo lì shǐ wèn tí， bìng xiǎng jiè zhù tā yǔ bào shè biān ji de“ fàn fàn zhī jiāo” bǎ xìn dēng zài bào shàng， sī dì fēn bìng bù qíng yuàn dì jiē shòu liǎo wěi tuō。 běn zhāng zài sī dì fēn duì dài xī xiān shēng de pái yóu qīng xiàng de mò mò bù zàn tóng zhōng jié shù。
pǔ luò tòu sī
shí jiān： 11:00
chǎng jǐng： sāng dí máng tè hǎi tān
qì guān： wú
xué kē： yǔ yán xué
yán sè： lǜ sè
xiàng zhēng wù： cháo shuǐ
jì qiǎo： nèi xīn dú bái（ nán xìng de）
duì yìng： pǔ luò tòu sī - wù zhì de zuì chū xíng tài； mò niè lā 'ào sī - kǎi wén · āi gēn
《 ào dé sài》： tè lè mǎ kē sī jiàn dào liǎo sī bā dá wáng mò niè lā 'ào sī， dé zhī kě yǐ cóng biàn huà duō duān de lǎo huá tóu hǎi shén pǔ luò tòu sī nà lǐ huò dé xìn xī。 pǔ luò tòu sī xiàng tè lè mǎ kē sī gào zhī liǎo 'āi 'ā sī hé 'ā gā mén nóng de sǐ， yǐ jí 'ào dé xiū sī bèi nǚ xiān kǎ lǚ pǔ suǒ shù fù zài tā de hǎi dǎo。
《 yóu lì xī sī》： sī dì fēn màn bù zài hǎi biān， chén sī zhe tā suǒ jiàn dào de hé lián xiǎng dào de， xíng chéng mián yán bù duàn de yì shí liú。 tā huí xiǎng qǐ zì jǐ zài bā lí de shí guāng， yǐ jí zì jǐ fēn ní yà huì de hǎo yǒu kǎi wén · āi gēn， hái yòu yī xiē xìng de zhù tí。
ào dé sài
ào dé sài（ TheOdyssey） shì yǐ pǔ tōng dedōu bǎi lín xiǎo shì mín lì 'ào bō dé · bù lú mǔ de huó dòng wéi zhù xiàn de bù fēn， jié shù yú bù lú mǔ yǔ dí dá lè sī de xiāng yù， duì yìng zhe 'ào dé xiū sī zài hǎi wài de piào bó。 shí jiān kuà dù wéi shàng wǔ bā diǎn dào wǔ yè shí 'èr diǎn。
kǎ lǚ pǔ suǒ
shí jiān： 8:00
chǎng jǐng： bù lú mǔ jiā
qì guān： shèn zàng
xué kē： jīng jì xué
yán sè： chéng sè
xiàng zhēng wù： níng fú
jì qiǎo： xù shì（ chéng shú de）
duì yìng： kǎ lǚ pǔ suǒ - níng fú mù yù tú； huí yì - dé lǔ jiā cí ròu pū； yī sà kǎ - xī 'ān
《 ào dé sài》： ào dé xiū sī chū chǎng shí， zài kǎ lǚ pǔ suǒ de hǎi dǎo（ yòu chuán shuō zài zhí bù luó tuó fù jìn） shàng bù qíng yuàn dì zuò zhe tā de qíng rén yǐ jīng qī nián。 yǎ diǎn nà qǐng qiú zhòu sī fàng 'ào dé xiū sī huí jiā， yú shì zhòu sī pài hè 'ěr mò sī xiàng kǎ lǚ pǔ suǒ shuō míng qíng kuàng。 kǎ lǚ pǔ suǒ zuì zhōng tóng yì xié zhù 'ào dé xiū sī fǎn huí jiā yuán。
《 yóu lì xī sī》： bù lú mǔ chū chǎng shí zhèng zài jiā lǐ， wèi yú dū bólín xī běi chéng qū de 'āi 'ěr kè sī dà jiē 7 hào， wèitā hé tā qī zǐ（ yǐ jí tā de māo） zhǔn bèi zǎo cān。 wǒ men tóng shí dé zhī tā xǐ hǎo chī yáng yāo zǐ děng dòng wù de nèi zàng。 bù lú mǔ zǒu dào lóu shàng， kàn dào qī zǐ hái tǎng zài nà zhāng chuáng shàng， xiǎng qǐ nà shì cóng zhí bù luó tuó yùn lái de lǎo gǔ dǒng。 rán hòu tā chū mén dào dé lǔ jiā cí ròu pū mǎi liǎo yī gè zhū yāo zǐ， bìng duì jiē shàng kàn dào de nǚ rén men zhǎn kāi lián xiǎng。 huí dào jiā shí tā fā xiàn yòu liǎng fēng xīn xìn hé yī zhāng míng xìn piàn， qí zhōng xiě gěi mó lì de yī fēng lái zì mó lì de jīng jì rén（ jiān qíng rén）“ yī bǎ huǒ” bào yī lán， tā zhèng chóuhuà zhe yīcháng yāo qǐng mó lì cān jiā de xún huí yǎn chū， lìng yī fēng shì bù lú mǔ zài zhàoxiàng guǎn gōng zuò de shí wǔ suì de nǚ 'ér mǐ lì xiě gěi tā de gǎn xiè xìn。 tā rán hòu gěi mó lì sòng shàng zǎo cān， dīng qǐ guà zài qiáng shàng de níng fú mù yù tú kàn。 běn zhāng zuì hòu zài bù lú mǔ tīng dào qiáo zhì jiào táng de zhōng shēng， bìng xiǎng dào jí jiāng cān jiā hǎo yǒu pà tè lǐ kè · dí gé nán de zàng lǐ 'ér chǎn shēng de gǎn kǎi zhōng jié shù，
shí wàng yōu guǒ de zhǒng zú
shí jiān： 10:00
chǎng jǐng： bù lú mǔ zài dū bǎi lín de yóu dàng
qì guān： shēng zhí qì
xué kē： zhí wù xué、 huà xué
yán sè： wú
xiàng zhēng wù： shèng cān
jì qiǎo： zì liàn qíng jié
duì yìng： shí wàng yōu guǒ de zhǒng zú - lā chē de mǎ、 lǐng shèng cān zhě、 shì bīng、 tàijiàn、 rù yù zhě、 bǎn qiú guān zhòng
yīn jiān
shí jiān： 11:00
chǎng jǐng： líng chē
qì guān： xīn zàng
xué kē： zōng jiào
yán sè： bái sè、 hēi sè
xiàng zhēng wù： kānmén rén
jì qiǎo： mèng yǎn
duì yìng： míng jiè de sì tiáo hé liú - duō dé hé、 ài 'ěr lán dà yùn hé、 huáng jiā yùn hé、 lì fěi hé； xī xī fú sī - mǎ dīng · kǎn níng 'ān； kè 'ěr bó luó sī - kē fěi shén fù； hā dí sī - kānmén rén； hǎi gé lì sī - dān ní 'ěr · ào kāng nài 'ěr； āi 'ěr pān nuò - dí gé nán； ā gā mén nóng - pà nèi 'ěr； āi 'ā sī - mén dùn
āi 'é luó sī
shí jiān： 12:00
chǎng jǐng： bào shè
qì guān： fèi
xué kē： xiū cí xué
yán sè： hóng sè
xiàng zhēng wù： sān duàn lùn
jì qiǎo： biān ji
duì yìng： āi 'é luó sī - kē láo fú dé； luàn lún - xīn wén； fú dǎo - xīn wén jiè
lāi sī tè lǚ gōng rén
shí jiān： 13:00
chǎng jǐng： jiǔ guǎn
qì guān： shí dào
xué kē： jiàn zhù xué
yán sè： wú
xiàng zhēng wù： jǐng guān
jì qiǎo： cháng wèi de rú dòng
duì yìng： ān tí fěi sī - jī 'è； yòu 'ěr - shí wù； lāi sī tè lǚ gōng rén - yá chǐ
sī kù lā hé kǎ lǜ bù dí sī
shí jiān： 14:00
chǎng jǐng： guó lì tú shū guǎn
qì guān： nǎo
xué kē： wén xué
yán sè： wú
xiàng zhēng wù： lún dūn sī tè lā tè fú dé
jì qiǎo： biàn zhèng fǎ
duì yìng： yán shí - yà lǐ shì duō dé、 jiào tiáo、 sī tè lā tè fú dé； xuán wō - bólātú、 shén mì zhù yì、 lún dūn； yóu lì xī sī - sū gé lā dǐ、 yé sū、 suō shì bǐ yà
yóu dòng shān yá
shí jiān： 15:00
chǎng jǐng： dū bǎi lín jiē dào
qì guān： xuè
xué kē： jī xiè xué
yán sè： wú
xiàng zhēng wù： shì mín
jì qiǎo： mí gōng
duì yìng： bó sī pǔ lǔ sī hǎi xiá - lì fěi hé； ōu zhōu hǎi 'àn - zǒng dū； yà zhōu hǎi 'àn - kāng ní shén fù； yóu yán - shì mín
sài rén
shí jiān： 16:00
chǎng jǐng： yīnyuè shā lóng
qì guān： ěr
xué kē： yīnyuè
yán sè： wú
xiàng zhēng wù： nǚ zhāo dài yuán
jì qiǎo： fù gé qū
duì yìng： sài rén - nǚ zhāo dài yuán； hǎi dǎo - jiǔ bā
dú yǎn jù rén
shí jiān： 17:00
chǎng jǐng： xiǎo jiǔ guǎn
qì guān： jī ròu
xué kē： zhèng zhì xué
yán sè： wú
xiàng zhēng wù： fēn ní yà huì
jì qiǎo： jù rén zhèng
duì yìng： wú rén - ǎn； cháng shù zhī - xuějiā； tiǎo zhàn - shén huà
nǎo xī kǎ
shí jiān： 20:00
chǎng jǐng： sāng dí máng tè hǎi tān hé fù jìn de yán shí
qì guān： yǎn jīng、 bí zǐ
xué kē： huì huà
yán sè： huī sè、 lán sè
xiàng zhēng wù： chǔnǚ
jì qiǎo： zhǒng zhàng、 xiāo zhǒng
duì yìng： fèi 'ā kè sī rén - hǎi yáng zhī xīng mǎ lì yà； nǎo xī kǎ - gé dì
《 ào dé sài》： ào dé xiū sī lí kāi kǎ lǚ pǔ suǒ de dǎo hòu， zāo bō sài dōng xí jī bèi chōng dào fèi 'ā kè sī rén jū zhù hǎi tān de hé kǒu fù jìn。 tā zài duǒ cáng zhōng bèi qià qiǎo dào hé biān xǐ yī de fèi 'ā kè sī gōng zhù nǎo xī kǎ hé tā de shì nǚ men chǎo xǐng。 tā zuàn chū lái， bǎ yī gè qiú jiāo hái gěi qí zhōng yī gè wán qiú de shì nǚ， bìng zàn měi liǎo nǎo xī kǎ de měi mào， qǐ qiú tā néng bāng zhù tā， ér nǎo xī kǎ dāyìng liǎo。
《 yóu lì xī sī》： xī qiàn · kǎi fú lǐ， tā de shuāng bāo tāi xiōng dì hé tā de péng yǒu yī dì · bó dé màn， hái yòu zuò dé shāo yuǎn yī diǎn de gé dì · mài kè dào 'ěr， zài sāng dí máng tè hǎi tān shàng chéng liáng。 gé dì duì nà xiē chǎo nào zhǐ huì tiān luàn de nán hái zǐ yǐ jí tā nà xiē yòu diǎn yōng sú de péng yǒu men hěn bù nài fán。 tā zuò zhe hěn xiáng xì de bái rì mèng， bāo kuò tā làng màn de xiǎng wàng hái yòu jīng shén kàng zhēng。 shuāng bāo tāi xiōng dì bǎ qiú tī dào liǎo yě zài hǎi tān shàng de bù lú mǔ jiǎo xià， yú shì gé dì yě bǎ tā biān zhì dào zì jǐ de sī xù lǐ。（ dàn dú zhě hěn nán fēn qīng chǔ nǎ xiē shì gé dì de yì shí liú 'ér nǎ xiē yòu shì bù lú mǔ de yì shí liú。） yān huǒ biǎo yǎn kāi shǐ liǎo， tā de péng yǒu men yán zhe hǎi tān páo zhe， zhǐ yòu gé dì 'ān jìng dì zuò zài bù lú mǔ bù yuǎn chù， xiàng hòu yǎng qù kàn yān huǒ， ér tā zhèng ràng bù lú mǔ kuī shì dào tā de qún zǐ nèi。 bù lú mǔ zài tā lí kāi shí fā xiàn tā shì yī gè qué zǐ， bìng qiě zài tā“ zhǎn shì” shí xíng liǎo shǒu yín。 dān dú yī rén de bù lú mǔ de yì shí zhú jiàn yán zhe nǚ rén、 hūn yīn、 xiù jué liú dòng。 tā xiǎng wéi gé dì xiě yī gè guān yú tā zì jǐ de gù shì， hái xiǎng qǐ liǎo tā de hái zǐ men， hái yòu gé dì。
tài yáng shén niú
shí jiān： 22:00
chǎng jǐng： guó lì fù chǎn yī yuàn
qì guān： zǐ gōng
xué kē： nèi kē xué
yán sè： bái sè
xiàng zhēng wù： mǔ qīn
jì qiǎo： pēi tāi fā yù
duì yìng： tè lǐ nà kè lǐ yà dǎo - yī yuàn； tài yáng shén de nǚ 'ér - hù shì； tài yáng shén - huò 'ēn； niú - duō chǎn； zuì xíng - qī piàn
kā 'ěr kè
shí jiān： 24:00
chǎng jǐng： hóng dēng qū de jì yuàn
qì guān： yùn dòng xì tǒng
xué kē： mó shù
yán sè： wú
xiàng zhēng wù： jì nǚ
jì qiǎo： huàn jué
duì yìng： kā 'ěr kè - bèi lā
huí guī
huí guī（ TheNostos） shì bù lú mǔ hé dí dá lè sī gòng tóng huó dòng de bù fēn， zuì hòu yǐ gè zì huí jiā jié shù， duì yìng zhe 'ào dé xiū sī de huí guī。 shí jiān kuà dù cóng líng chén yī diǎn kāi shǐ， ér jié shù shí jiān bù shí fēn míng què。
ōu mài 'é sī
shí jiān： 1:00
chǎng jǐng： mǎ chē fū péng
qì guān： shén jīng
xué kē： háng hǎi
yán sè： wú
xiàng zhēng wù： shuǐ shǒu
jì qiǎo： xù shì（ lǎo nián de）
duì yìng： ōu mài 'é sī -“ bō shān yáng pí”； yóu lì xī sī - shuǐ shǒu； mò lán tí 'ào sī - kù lǐ
yī sà kǎ
shí jiān： 2:00
chǎng jǐng： bù lú mǔ jiā
qì guān： gǔ gé
xué kē： zì rán kē xué
yán sè： wú
xiàng zhēng wù： huì xīng
jì qiǎo： jiào lǐ wèn dá
duì yìng： ān tí nuò 'ào sī - zhuàng lù mǎ lì gēn； ōu lǜ mǎ kē sī - yī bǎ huǒ bào yī lán； gōng - lǐ xìng； qiú hūn zhě - chóu chú
pà niè luó pèi
shí jiān： bù míng
chǎng jǐng： chuáng shàng
qì guān： ròu tǐ
xué kē： wú
yán sè： wú
xiàng zhēng wù： dà dì
jì qiǎo： nèi xīn dú bái（ nǚ xìng de）
duì yìng： pà niè luó pèi - dà dì； wǎng - yùn dòng
zhù yào rén wù biǎo
lì 'ào bō dé · bù lú mǔ： yǐ tì dū bǎi lín《 zì yóu rén bào》 lā guǎng gào wéi yè。 qí fù lǔ dào 'ěr fū · wéi lā gé shì xiōng yá lì yì yóu tài rén， qiān yí dào 'ài 'ěr lán hòu gǎi xìng bù lú mǔ。 tā huà míng“ hēng lì · fú luó 'ěr”， yǔ mǎ suō · kè lì fú dé mì mì tōng xìn。
mǎ lì 'ēn · bù lú mǔ： lì 'ào bō dé zhī qī。 qí fù tè wēi dí（ yǐ gù） céng zài xī bān yá nán duān de yīng guó yào sài zhí bù luó tuó fú yì。 yīn cǐ， tā shēngzhǎng zài gāi dì。 tā zài dū bǎi lín shì gè xiǎo yòu míng qì de gē shǒu， yì míng jiào“ tè wēi dí fū rén”。
sī dì fēn · dí dá lè sī： qiáo yī sī de zìzhuàn tǐ cháng piān xiǎo shuō《 yì shù jiā nián qīng shí de xiě zhào》 zhōng de zhù rén gōng。 tā bì yè yú kè lǎng gē wǔ sī sēn lín gōng xué hé huáng jiā dà xué， mù qián zài dí xī xiào cháng chuàng bàn de yī jiā sī lì xué xiào rèn jiào。 zài tú shū guǎn fā biǎo guān yú suō shì bǐ yà de yì lùn。
xī méng · dí dá lè sī： sī dì fēn zhī fù。 nián qián sàng qī， jiā jìng kùn nán。
bù lāi zé sī · bó yī lán： mǎ lì 'ēn zhī qíng fū。 zhèng zài chóuhuà yī cì xún huí gē chàng yǎn chū， mǎ lì 'ēn yě zài bèi yāo zhī liè。
bó kè · mù lì gēn： yī kē xué shēng， yǔ hǎi 'ēn sī yī dào zhù jìn liǎo sī dì fēn suǒ zū de yuán tǎ。
hǎi 'ēn sī： yīng guó rén， bì yè yú niú jīn dà xué。 wèile yán jiū kǎi 'ěr tè wén xué 'ér lái dào 'ài 'ěr lán。
mǐ lì： bù lú mǔ yǔ mǎ lì 'ēn zhī dú nǚ， shí wǔ suì。 zài wéi sī tè mǐ sī jùn mù lín jiā 'ěr shì de yī jiā zhàoxiàng guǎn gōng zuò。
pà dí · dí gé nà mù： yǐ gù。 shēng qián céng zài lǜ shī yuē hàn · hēng lì · mén dùn de shì wù suǒ gōng zuò， yīn xù bèi kāi chú， huàn bìng 'ér sǐ。
mǎ dīng · kǎn níng hàn： bù lú mǔ zhī yǒu， zài dū bǎi lín bǎo rèn zhí（ yīng guó zhí mín tǒng zhì jī gòu）。 tā shì gè xīn dì shàn liáng de rén， duō fāng zhào gù dí gé nà mù de yí zú， bāo kuò mù jí juān kuǎn。
bù lín fū rén： yuán míng qiáo xī · bào wēi 'ěr， qí fū dān ní sī · bù lín huàn yòu shén jīng bìng。 hūn qián tā 'ài guò bù lú mǔ， yī zhí bù wàng jiù qíng。
lǐ qí · gǔ 'ěr dīng： sī dì fēn de jiù jiù， bù lú mǔ zhī yǒu。 zài kē lì sī yī wò dé lǜ shī shì wù suǒ rèn kuàijì shī。 tā yǔ nèi dì xī méng · dí dá lè sī yǐ jué jiāo。
yuē hàn · kāng mǐ shén fù： fāng jì gè · shā wù lüè jiào táng de jiào cháng， yé sū huì huì cháng。 sī dì fēn zài kè lǎng gē wǔ sī sēn lín gōng xué jiù dú shí， tā céng rèn gāi xiào xiào cháng。
mài 'ěr sī · kè láo fú dé：《 diàn xùn wǎn bào》 de zhù biān。
jié kè · mài kè xiū： dà xué jiào shòu， xué zhě， jīng cháng wéi《 diàn xùn wǎn bào》 xiě shè lùn。
běn jié míng · duō lā dé： běn dì yī míng gē shǒu。 tā zài tì xiàng lǚ biàn · jié jiè guò gāo lì dài de kǎo lì shén fù bēn zǒu， yǐ biàn kuān xiàn jǐ tiān hái zhài rì qī。
fú lāi míng dà mā： jīng cháng dào bù lú mǔ jiā lái zuò jiā wù de nǚ rén。
lǔ dí： bù lú mǔ yǔ mǎ lì 'ēn de dú zǐ， shēng yú yī bā jiǔ sì nián， zhǐ huó liǎo shí yī tiān biàn yāo zhé。
C·P· mài kē yī： bù lú mǔ de shú rén， zài dū bǎi lín shì de shī tǐ shōu róng suǒ zuò yàn shī guān zhù shǒu。 qí qī shì gè wú míng gē shǒu。
bān tǎ mǔ · lāi 'áng sī： bù lú mǔ de shú rén， rè zhōng yú sài mǎ。 shàng wǔ zài jiē shàng yǔ bù lú mǔ xiāng yù， tīng bù lú mǔ shuō qǐ“ diū diào”， jiù xiǎng bǎ dǔ zhù yā zài tóng míng de mǎ shēn shàng。 hòu yòu jiē shòu lì nèi hàn de quàn gào， biàn liǎo guà。 jiēguǒ， hái shì“ diū diào” huò shèng liǎo。
kē ní · kǎi lāi hè： ào ní 'ěr bìn yí guǎn de jīng lǐ， fù zé wéi dí gé nà mù liào lǐ zàng shì。
jié kè · bào 'ěr： gòngzhí yú dū bólín bǎo nèi de huáng jiā 'ài 'ěr lán jǐng chá zǒng shǔ。
lǚ shǐ · jié： fàng gāo lì dài de。 yòu yī cì tā 'ér zǐ tiào jìn liǎo lì fěi hé， bèi yī wèi chuán fū jiù liǎo qǐ lái。 tā què zhǐ gěi liǎo chuán fū liǎng xiān lìng。
tānɡ mǔ · kè fǔ： bù lú mǔ zhī yǒu， chá yè děng shāng pǐn de tuī xiāo yuán。
nèi dé · lán bó tè： gǔ wù shāng， qí kù fáng yuán shì shèng mǎ lì yà xiū dào yuàn de huì yì tīng。
xiū ·C· luò fū shén fù： tā shì sà lín sī zhèn shèng mài kè 'ěr jiào táng de běn táng shén fù， wèile xiě yī běn guān yú fěi cí jié lā dé jiā zú de shū， dào lán bó tè de kù fáng lái cān guān。 tā zài dū bǎi lín yōng yòu yī suǒ fáng zǐ， chū zū gěi kǎo lì shén fù。
kǎo lì shén fù： běn · duō lā dé hé xī méng · dí dá lè sī zhī yǒu。 yīn hái bù qǐ xiàng lǚ biàn · jié jiè de gāo lì dài， láng bèi bù kān。
qiáo（ yuē sè fū） · mài kǎ xī · hǎi guó sī： bù lú mǔ de tóng shì， yě tì《 zì yóu rén bào》 lā guǎng gào。
hóng mù léi： yuē hàn · mù léi de chuò hào，《 zì yóu rén bào》 de zhí yuán。
yuē sè fū · pà tè lì kè · nán ní dì： zài 'ài 'ěr lán chū shēng de yì dà lì rén，《 zì yóu rén bào》 shè pái zì fáng gōng cháng。 tā yòu shì yīng guó yì huì xià yuàn yì yuán jiān dū bǎi lín shì zhèng wěi yuán。
jié · jié · ào mò luò yī： yuán wéi lǜ shī， hòu lái huàn liǎo fèi bìng， luò bó liáo dǎo。
lì nèi hàn：《 tǐ yù》 bào de sài mǎ lán jì zhě， céng diào xì mó lì。
ào mǎ dēng · bó kè： sī dì fēn zhī yǒu， xīn wén jì zhě。
fú lín： chuò hào jiào“ dà bí zǐ”， bù lú mǔ zhī yǒu。
qiáo zhì · wēi lián · lā sài 'ěr： bǐ míng A·E·， ài 'ěr lán shī rén。 tā shì dāng shí réng jiàn zài de 'ài 'ěr lán wén yì fù xīng yùn dòng de zhǐ dǎo zhě zhī yī， rèn《 ài 'ěr lán jiā yuán bào》 zhù biān。
tuō mǎ sī · wēi lián · lì sī tè： gōng yì huì jiào tú， ài 'ěr lán guó lì tú shū guǎn guǎn cháng。
yuē hàn · āi gé lín dùn： yuán míng wēi lián · ā kè bǎi tè lǐ kè · mǎ jí， ài 'ěr lán wén yì fù xīng yùn dòng zhōng de pī píng jiā， céng zài tú shū guǎn yǔ sī dì fēn biàn lùn。
lǐ chá dé · ōu wén · bèi sī tè： ài 'ěr lán guó lì tú shū guǎn fù guǎn cháng。
yuē hàn · mǐ lín dùn · xīn gé： ài 'ěr lán wén yì fù xīng yùn dòng de lǐng dǎo rén zhī yī， shī jù jiā， shì sī dì fēn de shú rén。
qiáo zhì · mù 'ěr： ài 'ěr lán xiǎo shuō jiā， sī dì fēn de shú rén。
gé léi gē lǐ fū rén： ài 'ěr lán jù zuò jiā。 yuán míng yī sà bèi lā · ào gǔ sī tǎ · pèi 'ěr sī。 tā yú yī bā jiǔ 'èr nián sàng fū hòu， kāi shǐ wén xué shēng yá， yī jiǔ 0 sì nián rèn 'ā bèi jù yuàn jīng lǐ。 tā shì sī dì fēn de shú rén。
ā sè · gé lǐ fěi sī： ài 'ěr lán zhèng zhì jiā， yuán zài dū bǎi lín dāng pái zì gōng rén。 yī bā jiǔ jiǔ nián chuàng bàn yǐ zhēng qǔ 'ài 'ěr lán mín zú dú lì wéi zhù zhǐ de zhōu kān《 ài 'ěr lán rén lián hé bào》。 tā shì bù lú mǔ de shú rén。
chá lǐ · sī tú 'ěr tè · bā niè 'ěr： shí jiǔ shì jì mò 'ài 'ěr lán zì zhì yùn dòng hé mín zú zhù yì lǐng xiù， yǐ gù。 bù lú mǔ hé tā yòu yī miàn zhī yuán。
yuē hàn · huò huá dé · bā niè 'ěr： chá lǐ · bā niè 'ěr zhī dì。 dū bǎi lín shì zhèng diǎn lǐ guān jiān diǎndàng shāng dài lǐ rén。
lā lǐ · ào luó kè： bù lú mǔ jiā fù jìn de yī jiā jiǔ diàn de lǎo bǎn。
kǎi dì · dí dá lè sī }
bù dì · dí dá lè sī } sī dì fēn de yòu mèi shàng zài shàng xué。
mǎ jí · dí dá lè sī： sī dì fēn zhī mèi。 tā cóng xiū nǚ chù tǎo xiē wān dòu， tì mèi mèi men zhǔ tānɡ chī。
dí lì · dí dá lè sī： sī dì fēn zhī mèi， cháng dé zuì xiàng cháng xiōng。 tā zài jiē shàng xiàng fù qīn xī méng yào liǎo diǎn qián， huā yī biàn shì mǎi liǎo yī běn《 fǎ yǔ chū jí dú běn》。
máng qīng nián： bù lú mǔ céng chān zhe tā zǒu guò mǎ lù， shén jīng shī cháng díkǎ shí 'ěr · fǎ léi 'ěr què chàdiǎn 'ér bǎ tā zhuàng dǎo。 tā dào 'ào méng dé jiǔ bā qù， diào liǎo gāng qín de yīn。
tānɡ mǔ · luó chì fú dé： tā yǐ dōu shòu sài mǎ dǔ quàn wéi yè， bìng rè zhōng yú fā míng jī qì。 tā céng dā jiù guò yī míng yīn zhòngdú 'ér hūn mí guò qù de xià shuǐ dào gōng rén。
gāo gè 'ér yuē hàn · fàn níng： dū bǎi lín shì fù xíng zhèng zhǎngguān， chuò hào“ gāo gè 'ér”。
pà tè lǐ kè · ā luò yī xiū sī · dí gé nà mù： pà dí · dí gé nà mù de yí gū zhōng zuì niánzhǎng de yī gè。
yuē hàn · huái sī · nuò lán： bù lú mǔ zhī yǒu， guān xīn dí gé nà mù de yí gū， bìng duì mǎ dīng · kǎn níng hàn shuō， bù lú mǔ wéi yí gū juān liǎo wǔ xiān lìng。
lì dí yà · dù sī： ào méng dé fàn diàn de jīn fā nǚ shì。
mǐ nà · kěn ní dí： ào méng dé fàn diàn de hè fā nǚ shì。
ā 'ěr fū léi dé · bǎi gēn： dū bǎi lín xíng zhèng sī fǎ fù cháng guān zhù lǐ， chuò hào jiào“ xiǎo gè 'ér 'ā 'ěr fū”。
wēi lián · hēng bó 'ěr · dá dé lì bó jué： ài 'ěr lán zǒng dū。
“ shì mín”： yuán míng mài kè 'ěr · qiū sà kè。 tā shì gài 'ěr tǐ yù xié huì chuàng bàn zhě， zì chēng“ shì mín qiū sà kè”， yīn 'ér dé míng。
gé dì · mài kè dào wéi 'ěr： qué tuǐ měi shàonǚ。
xī qiàn · kǎ fú lǐ： gé dì de nǚ yǒu， xìng qíng huó pō。
yī dí · bó dé màn： gé dì de nǚ yǒu， xìng gé jiáo qíng。
tānɡ mǐ · kǎ fú lǐ } xī yīn de shuāng bāo tāi dì dì， shí nián sì suì。
jié jī · kǎ fú lǐ }
léi jí · huái lì： gé dì de nán yǒu， gāo zhōng xué shēng。
ān dé lǔ · huò 'ēn bó shì： huò lì sī jiē guó lì fù chǎn yī yuàn yuàn cháng。
kǎ lún xiǎo jiě： guó lì fù chǎn yī yuàn hù shì。
mǐ nà · bó fú yī tài tài： mǎ lì 'ēn de nǚ yǒu， yè lǐ zài yī yuàn shēng yī nán yīng， xì nán chǎn。
yà lì kè · bān nóng： yī kē xué shēng， mǐ lì de nán yǒu。
dí kè sēn： shí xí dà fū， bù lú mǔ bèi fēng zhé shāng hòu， céng yóu tā bāozā。 sī dì fēn zhī yǒu。
wén sēn tè · lín qí： yī kē xué shēng。 tā yǔ nǚ yǒu zài lí bā hòu miàn yōu huì shí， gěi lù guò de kāng mǐ shén fù（ mǔ xiào de lǎo xiào cháng） zhuàng jiàn liǎo。
fú lán kè · kē sī tè luò： yī kē xué shēng， yīn shì jiǔ rú mìng， chuò hào jiào pān qù（ jiǔ míng）
wēi lián · mǎ dēng： yī kē xué shēng。
J． kè luó sè sī： yī kē xué shēng。
bèi luò · kē 'ēn fū rén： jì yuàn lǎo bǎo。
mǎ lì · dé lǐ sī kē 'ěr： bù lú mǔ fū fù guò qù de nǚ pú。
yé 'ěr fú dùn · bā lǐ fū rén }
bèi lín 'è mǔ fū rén }： dū bǎi lín shàng liú shè huì shū nǚ。
mò wén · tǎ 'ěr bó yī guì fù rén }
zuǒ yī、 jī dì、 fú luò lì： jì nǚ
shì bīng kǎ 'ěr、 shì bīng kāng shè dùn： yīng guó bīng， bǎ sī dì fēn jī dǎo。
kē lì： sī dì fēn zhī yǒu， yīn shēng huó méi yòu zhuóluò， xiàng sī dì fēn jiè qián。
gāng mù lì： xī méng de jiù yǒu， hòu lún wéi shì zhèng fǔ gù yòng de shǒu yè rén。
mǎ 'ěr wéi zhōng wèi： mó lì zài zhí bù luó tuó shí qī de chū liàn duì xiàng。
“ bō shān yáng pí”： mǎ chē fū péng de lǎo bǎn。
gù shì gěng gài
qīng nián shī rén sī dì fēn yīn mǔ qīn bìng wēi， cóng bā lí fǎn huí dū bǎi lín。 mǔ qīn mí liú zhī jì yòng bái cí bō shèng zhuólù sè de dǎn zhī， yǎn jīng jǐn dīng zhe tā， pò shǐ tā xià guì guī yǐ zōng jiào， tā dà shēng rǎng dào：“ mā mā， jiù ràng wǒ zhào zhè yàng huó xià qù bā！”。 sī dì fēn yīn cǐ yī zhí chén jìn zài bēi 'āi yǔ 'ào nǎo zhī zhōng。 sàng mǔ hòu， yòu yīn fù qīn chéng tiān xù jiǔ cóng jiā zhōng páo liǎo chū lái， zū liǎo yī zuò yuán xíng pào tǎ， kào jiāoshū móu shēng。 yī kē xué shēng bó kè · mù lì gēn yǔ yīng guó rén hǎi 'ēn sī yě bān lái tóng zhù。
hǎi 'ēn sī hé sī fēn yī qǐ qù hǎi biān yóu yǒng， tán qǐ xìn yǎng wèn tí， sī dì fēn shuō：“ nǐ huì zài wǒ shēn shàng kàn dào yī gè kě pà de zì yóu sī xiǎng de diǎn xíng。 dàn wǒ yòu shì liǎng gè zhù rén de nú pú： yī gè yīng guó rén（ wéi duō lì yà nǚ wáng） , yī gè yì dà lì rén（ luó mǎ jiào huáng）。”
sī dì fēn lái dào wèi yú dū bólín hǎi bīn de xué xiào qù shàng lì shǐ kè， tā bèi xiào cháng jiào dào bàn gōng shì lǐng xīn shuǐ， xiào cháng kāi dǎo tā yào zhù yì zǎnqián， yào dǒng dé jīn qián de zhòng yào， bìng gěi tā yī piān wén zhāng， ràng tā zhǎo gè bào shè fā biǎo。 sī dì fēn lí kāi shǐ xué xiào hòu， lái dào hǎi tān， wàng zhe xiōng yǒng de dà hǎi tā fú xiǎng lián piān， tā bǎ xiào cháng nà piān yuán gǎo de kòngbái chù sī xià lái， jiāng zì jǐ de wèn tí hú luàn dì jì zài shàng miàn。
bù lú mǔ shì xiōng yá lì yì yóu tài rén， zhèng wéi bào zhǐ chéng lǎn guǎng gào， tā chū qù mǎi liǎo yī fù yāo zǐ。 huí jiā hòu， gěi hái wèi qǐ chuáng de qī zǐ mò lì duān qù zǎo cān。 mò lì shì gè xiǎo yòu míng qì de gē shǒu， dàn shēng huó bù jiǎn diǎn， hǎo zhāo fēng yǐn dié， tā zhèng zhǔn bèi xià wǔ yǔ qíng rén bó yǐ lán yuē huì。 bù lú mǔ zhěng tiān wèicǐ shì fán nǎo， dàn zài zhèng qián bǐ zì jǐ duō de lǎo pó miàn qián yòu tái bù qǐ tóu lái。
shàng wǔ 10 diǎn， bù lú mǔ huà míng fú luò 'ěr， yǔ yī míng jiào mǎ luò de nǚ dǎ zì yuán jiāo huàn qíng shū。 tā shì tōng guò zài bào zhǐ guǎng gào zhāo pìn nǚ zhù shǒu 'ér gēn mǎ luò tōng qǐ xìn lái de。 tā dào yóu jú qǔ liǎo mǎ luò de huí xìn， guǎi jìn wú rén de qiáng biān kàn xìn， kàn wán xìn bù jìn piāo piāo rán qǐ lái。 zǒu dào dà qiáo dǐ xià， tā bǎ xìn sī chéng suì piàn diū liǎo， rán hòu dào jiào táng qù zuò mí sǎ。
11 diǎn， bù lú mǔ chéng mǎ chē qù mù dì cān jiā dí gé nà mù de zàng lǐ。 bù lú mǔ tū rán kàn jiàn bó yī lán xiāo sǎ de shēn yǐng， tā xiǎng chú liǎo mèi lì zhī wài， tā qī zǐ hái néng cóng tā shēn shàng kàn dào shénme ní？“ mèi lì” shì dū bǎi lín zuì huài de jiā huǒ， bó yī lán què píng tā huó dé hěn kuài lè。 líng jiù xià zàng hòu， tā réng zài fén cóng zhōng cháng yáng，“ liǎng cè shì bēi tòng de tiān shǐ， shí zì jià、 duàn liè de yuán zhù、 fén yíng、 yǎng wàng tiān kōng zuò dǎo gào de shí xiàng。” tā huí xiǎng qǐ yāo zhé de 'ér zǐ hé zì shā de fù qīn， tā duì sǐ wáng jìn xíng fǎn sī， tā rèn wéi rén sǐ hòu mái zài dì xià xíng bù tōng， zuì hǎo huǒ zàng huò hǎi zàng。 tā yòu xiǎng dào zì jǐ bù guò shì yī gè guǎng gào jīng jì rén， yī gè piào bó liú làng de yóu tài rén。 bù lú mǔ xīn zhōng wú xiàn qī liáng， shèn zhì xiǎng dào sǐ wáng， dàn mǎ shàng yòu zì wǒ jiě cháo， huí dào xiàn shí zhōng lái。
zhōng wǔ， bù lú mǔ dào《 zì yóu bào》 qù xiàng zhù biān shuō míng zì jǐ lǎn lái de guǎng gào tú 'àn， suí hòu yòu gǎn dào《 diàn xùn wǎn bào》 bào guǎn， pèng qiǎo sī dì fēn yě zài zhè 'ér， tā xiǎng xiàng gāi bào tuī jiàn xiào cháng de wén zhāng。 zhù biān què duì wén gǎo chī zhī yǐ bí， sī dì fēn xìng xìng 'ér chū。 xiǎng dào gāng lǐng liǎo xīn shuǐ， jiù qǐng dà jiā qù hē jiǔ。 bàn lù shàng bù lú mǔ zài yī zuò jì niàn bēi bàng kàn jiàn xī méng de nǚ 'ér（ sī dì fēn de mèi mèi） zài pāi mài xíng wài zhǔn bèi mài jiù jiā jù， dùn shēng gǎn kǎi： xī méng gòng yòu 15 gè hái zǐ， àn zhào jiào yì jìn zhǐ jié zhì shēng yù， xiàn zài zhè xiē hái zǐ lián jiā dài chǎn dū chī gè jīng guāng。
xià wǔ 1 diǎn， bù lú mǔ zǒu jìn yī jiā lián jià de xiǎo fàn guǎn， zhè lǐ jì zàng qiě luàn， rén men zài lángtūnhǔyàn， chǒu tài bǎi chū， chī xiāng shí fēn nán kàn。 yú shì tā huàn liǎo jiā gāo jí yī diǎn de fàn guǎn， zài nà yù dào shú rén fú lín， fú lín wèn tā qī zǐ xún huí yǎn chū de jīng jì rén shì shuí， zhè shǐ tā xiǎng qǐ xià wǔ 4 diǎn qī zǐ yào yǔ bó yǐ lán yuē huì， xīn lǐ dùn gǎn fán zào bù 'ān， yī kǒu qì hē xià yī bēi jiǔ。 cóng fàn diàn chū lái zǒu dào tú shū guǎn qián miàn shí， kàn dào qíng dí bó yǐ lán yíng miàn zǒu lái， biàn gǎn jǐn duǒ jìn tú shū guǎn lǐ。
xià wǔ 2 diǎn， sī dì fēn zài tú shū guǎn lǐ duì píng lùn jiā hé xué zhě fā biǎo guān yú suō shì bǐ yà de yì lùn。 bù lú mǔ wéi duǒ bì bó yǐ lán lái dào zhè， dàn tā bìng méi yòu juàn jìn zhè chǎng tǎo lùn， qiǎo miào dì duǒ guò qù liǎo。 tā chuān xíng zài dà jiē xiǎo xiàng， kàn jiàn xíng xíng sè sè de rén men zhèng zài máng lù zhe， jiào huì huì cháng kāng mǐ shén fù zhèng zài jiē shòu rén men de zhì jìng， yī wèi dú tuǐ de shuǐ bīng qiú tā shīshě， tā zhǐ gěi tā yī gè zhù fú jiù zǒu liǎo， ér tā què fēi cháng gāo xīng dì yǔ yì yuán de qī zǐ gào bié， bìng kěn qǐng tā dài xiàng yì yuán zhì yì。 yī qún lǎo rén zhèng zài wéi gāng qù shì de dí gé nà mù de hái zǐ men mù juān， bù lú mǔ mǎ shàng juān liǎo 5 xiān lìng， ér zǒng dū fù mì shū cháng hé fù xíng zhèng zhǎngguān què yī máo bù bá。 ài 'ěr lán zǒng dū zhèng xié fū rén jí suí cóng hào hào dàng dàng 'ér lái， luò fū shén fù xiǎng cóng zǒng dū shǒu lǐ nòng dào féi quē xiàng tā gōng gōng jìng jìng dì jū liǎo yī gōng， xī méng wèile yǎn gài méi yòu kòu hǎo kù zǐ 'ér jiāng mào zǐ fàng zài xiōng qián， zǒng dū yǐ wéi tā shì jìng lǐ。 sī dì fēn pèng dào yī shān lán lǚ de mèi mèi， xiǎng rú hé bāng tā， kě zì jǐ hái mìng yùn nán bǔ； qióng kùn de kǎo lì shén fù qiàn liǎo gāo lì dài， zhèng sì chù tuō rén qiú zhài zhù zài kuān xiàn liǎng tiān； fā liǎo cái de luò fū shén fù yǐ kòu yā liǎo tā de cái chǎn bī tā jiāo fáng zū。
xià wǔ 5 diǎn， bù lú mǔ yuē yī gè péng yǒu zài jiǔ bā jiàn miàn。 yī gè wú lài dà sì gōng jī yóu tài rén， shēn wéi yóu tài rén de bù lú mǔ shí zài rěn wú kě rěn， tā fǎn bó dào：“ mén dé 'ěr sōng shì yóu tài rén， hái yòu kǎ 'ěr · mǎ kè sī、 sī bīn nuò suō。 jiù shì zhù yé sū yě shì gè yóu tài rén…… nǐ de tiān zhù yě gēn wǒ de yī yàng， yě shì gè yóu tài rén。” wú lài qì dé zhuā qǐ yī zhǐ bǐng gān guàn jiù wǎng bù lú mǔ shēn shàng rēng， dàn wèi néng jī zhōng。 bù lú mǔ hé péng yǒu gǎn máng táo zhī yāo yāo。
wǎn shàng 8 diǎn， xià rì de huáng hūn lǒngzhào zhe shì jiè， zài yáo yuǎn de xī biān， tài yáng chén luò liǎo。 shàonǚ gé dì dào yuán xíng pào tǎ fù jìn de hǎi tān chéng liáng， tā níng shì yuǎn fāng， chén miǎn zài míng xiǎng zhī zhōng。 bù lú mǔ zuò zài bù yuǎn de dì fāng， shēn shēn dì wéi gé dì de měi mào suǒ xī yǐn。 gé dì yì shí dào bù lú mǔ zài zhù shì zhe tā， tā xiǎng： yě xǔ jià gěi zhè me yī gè zhōng nián shēn shì dǎo yě tǐng hǎo。 èr rén de mù guāng bù qī 'ér yù， tā jué dé tā de yǎn shén yóu rú liè huǒ， jiāng zì jǐ cóng tóu shāo dào jiǎo， tā hèn bù dé cháo tā shēn chū shuāng bì ràng tā guò lái， bìng jiāng tā de zuǐ chún chù dào zì jǐ bái xī de qián 'é， miàn duì zhè shuāng nián qīng tiān zhēn de yǎn jīng， bù lú mǔ zǎo yǐ shén bù shǒu shè liǎo。 gé dì lí kāi hǎi tān shí， bù lú mǔ cái fā xiàn tā yuán lái shì gè qué zǐ， bù jìn shī shēng tàn dào：“ kě lián de gū niàn”。
wǎn shàng 10 diǎn， bù lú mǔ dào fù chǎn yī yuàn qù tàn wàng nán chǎn de mài nà fū rén。 sī dì fēn hé yī qún yī xué yuàn de xué shēng zài nà lǐ gāo tán kuò lùn， gè gè hē dé mǐng dǐng dà zuì， bù lú mǔ kāi shǐ wéi sī dì fēn dān xīn。 sī dì fēn shuō hái yào qǐng dà jiā dào jiǔ diàn hē jiǔ， jiù lí kāi liǎo yī yuàn。 bù lú mǔ yě gǎn liǎo qù， yī lù shàng tā de yǎn qián chū xiàn liǎo xǔ duō huàn xiàng。
tā huàn xiǎng zhe zài yī jiā jì yuàn lǐ dá dào gāo cháo， hòu lái tā yòu róng shēng wéi shì cháng， hái dāng liǎo 'ài 'ěr lán guó wáng， suí hòu zāo dào qún zhòng de gōng jī bèi qū zhú chū jìng。 bù lú mǔ bǎi tuō huàn xiǎng hòu， dào jì yuàn qù zhǎo sī dì fēn， sī dì fēn zuì jiǔ lún qǐ shǒu zhàng jī suì liǎo jì yuàn de dēng， lái dào jiē shàng hú shuō yī tōng， liǎng gè yīng guó bīng rèn wéi tā duì guó wáng bù jìng， jiāng tā dǎ dé hūn sǐ guò qù。 bù lú mǔ chǎn shēng cuò jué bǎ sī dì fēn dàngchéng zì jǐ nà yāo zhé de 'ér zǐ， jiù jiāng sī dì fēn chān fú qǐ lái dài huí jiā。 zài dào dé shuāi wēi、 jiā tíng fēn liè、 chuán tǒng guān niàn lún sàng de dà qiān shì jiè lǐ， bù lú mǔ hé sī dì fēn jīng shén shàng zāo shòu cuò zhé、 nèi xīn chōng mǎn dòng dàng， tā men zhōng yú zài bǐ cǐ shēn shàng zhǎo dào liǎo gè zì jīng shén shàng suǒ quē fá de dōng xī。 sī dì fēn zhǎo dào liǎo fù qīn， bù lú mǔ zhǎo dào liǎo 'ér zǐ。
tiān mēngmēngliàng shí， sī dì fēn gào cí 'ér qù。 bù lú mǔ zǒu jìn wò shì hòu， fā xiàn shì nèi de bǎi shè lüè yòu biàn dòng， huàn xiǎng zhe mò lì yǔ bó yǐ lán yōu huì de qíng jǐng， tā tuī cè yǔ qī zǐ fā shēng guān xì de jué bù zhǐ bó yǐ lán yī gè rén， hái yòu yuán shì cháng děng shú rén， tā zhuó mó liǎo bàn xiǎng qī zǐ yǔ zhè xiē qíng rén jiū jìng gān liǎo xiē shénme， zhuǎn niàn yī xiǎng， tā jué dé zhè jiàn shì yě bù néng quán guài mò lì， zì jǐ méi yòu mǎn zú tā duì fū qī shēng huó de yào qiú， tā yuàn yì zài zuò yī cì nǔ lì。
mò lì chǔyú bàn shuì bàn xǐng zhī zhōng， zài mò lì de mèng zhōng chū xiàn yòu zhàng fū bù lú mǔ、 bó yǐ lán、 chū liàn qíng rén hé zhàng fū gāng gāng shuō guò de sī dì fēn， tā yòu kāi shǐ huàn xiǎng hé zhè wèi nián qīng rén tán qíng shuō 'ài liǎo。 tā méng lóng dì gǎn dào yī zhǒng mǔ xìng de mǎn zú hé duì yī gè qīng nián nán zǐ de chōng dòng。 bù guò， tā xiǎng dé zuì duō de hái shì zhàng fū， xiǎng dào 10 nián lái fū qī shēng huó de lěng mò， xiǎng dào tā de xǔ duō kě xiào de shì qíng， tā jué dé tā hái shì gè yòu jiào yǎng， yòu lǐ mào， yòu fēng fù zhī shí， yòu yì shù xiū yǎng de rén， shí zài shì gè nán dé de hǎo zhàng fū， tā jué xīn zài gěi tā yī cì jī huì。
xiāng guān píng lùn
chū yuè《 yóu lì xī sī》， shǐ yú nà jù liú chuán shèn guǎng de 100 gè rén zhōng méi yòu 10 gè rén néng dú wán《 yóu lì xī sī》。
《 yóu lì xī sī》 shì 'ài 'ěr lán zhù míng de xiàn dài pài xiǎo shuō jiā qiáo yī sī de zhù zuò， qiáo yī sī céng rù dū bólín dà xué zhuān gōng xiàn dài yǔ yán xué， hòu fù 'ōu zhōu dà lù。 qiáo yī sī de dì yī bù duǎn piān xiǎo shuō jí shì《 dū bǎi lín rén》， hòu yòu xiě zìzhuàn tǐ zhōng piān xiǎo shuō《 qīng nián yì shù jiā de xiào xiàng》。
wén xué jiè duì yú《 yóu lì xī sī》 de píng jià， wǒ jué dé jiù rú liǎng gè cí jí。 yī xiē píng lùn jiāng《 yóu lì xī sī》 de shēn jià tái dé hěn gāo， jué dé tā“ shì yī bù kuàng shì qí zuò”； lìng yī xiē píng lùn yòu jiāng tā biǎn dé hěn dī， jué dé tā“ cū sú bù kān rù mù”。
ér wǒ shǐ zhōng shì yǐ yī zhǒng mó bài de tài dù kàn dài《 yóu lì xī sī》 de， tā shì yī bù tài néng gòu xiǎn shì wén xué gōng dǐ de zhù zuò。《 yóu lì xī sī》 yáng yáng sǎ sǎ yī bǎi wàn zì， què zhǐ shì miáo shù liǎo shí bā gè xiǎo shí de shì qíng， wǒ wú fǎ xiǎng xiàng zuò zhě xū yào zěn yàng de guān chá hé xiǎng xiàng， cái néng xiě chū zhè yàng yī bù dú tè de zhù zuò。 kuàng， shū zhōng de chū chǎng rén wù bìng bù duō， zhǐ yòu bù lú mǔ， sī dì fēn hé mò lì sān wèi zhù yào rén wù。
《 yóu lì xī sī》 de chéng gōng zhī chù， zài yú duì rén wù nèi xīn de xì zhì kè huà。 qiáo yī sī yǐ tā jīng rén de wén xué gōng dǐ， yòng yī bǎi wàn zì jiǎng shù liǎo sān gè rén wù zài shí bā gè xiǎo shí nèi de huó dòng。《 yóu lì xī sī》 suī piān fú jù dà， dàn háo wú zhuì yán， qiáo yī sī yǐ tā duì rén shēng hé shēng huó de rèn shí hé xì nì de dòng chá lì， miáo xiě liǎo zhù rén gōng de xíng dòng， yǔ yán hé xì wēi xīn lǐ biàn huà。《 yóu lì xī sī》 zhōng duì nèi xīn huó dòng de miáo xiě chū shén rù huà， sān wèi zhù rén gōng de měi gè xì wēi de sī xiǎng biàn huà， dū qīng xī zhēn qiē dì chéng xiàn zài liǎo dú zhě miàn qián。 zhū rú shuō《 yóu lì xī sī》 de dì sān zhāng， qiáo yī sī yòng zhěng zhěng yī zhāng de piān fú kè huà liǎo qiáo yī sī de xīn lǐ huó dòng。
《 yóu lì xī sī》 de dì yī zhù rén gōng bù lú mǔ shì yī wèi xiōng yá lì yì de yóu tài rén， tā zài dū bǎi lín de bào shè zuò guǎng gào tuī xiāo yuán。 bù lú mǔ zhè yī xíng xiàng de jià zhí chāo yuè liǎo gù yòu de shēn fèn， qiáo yī sī yòng zì jǐ shēn kè de shè huì jīng yàn hé zhā shí de wén xué gōng dǐ， bǎ qiān qiān wàn wàn de 'ài 'ěr lán shì mín dū jí zhōng dào liǎo bù lú mǔ shēn shàng。 bù lú mǔ de jīng lì hé xìng qíng， yě qià qià shǔ yú zhū duō 'ài 'ěr lán shì mín。
bù lú mǔ de shēng huó bào jīng cāng sāng， tā yòu zǐ yāo zhé， qī zǐ bù zhēn， zì jǐ cháng zì qī qī rén dì zài míng cún shí wáng de 'ài qíng zhōng zhēngzhá fǎng huáng。 bù lú mǔ rén dào zhōng nián què yī wú suǒ chéng， miàn duì bǐ zì jǐ xīn shuǐ gāo jǐ bèi de mò lì， tā zì bēi bìng qiě bù zì xìn。 dàn bù lú mǔ lìng yī fāng miàn yòu zì shì qīng gāo， shèn zhì bù yuàn yǔ chī xiāng bù yǎ guān de gù kè zài yī gè fàn guǎn yòng cān。 bù lú mǔ rè xīn xuè xìng， xiá yì dì bāng zhù zuì jiǔ de sī dì fēn。 dàn lìng yī fāng miàn， tā yě yòu zhe tān lán wěi suǒ de yù wàng， shèn zhì céng shì tú qī wǔ yī míng hǎi tān biān de cán fèi shàonǚ。
bù lú mǔ kǔ mèn fǎng huáng， chōng mǎn máo dùn。 tā duì xiàn shí mí máng dàn yòu chōng mǎn xī wàng， wú nài dàn yòu qī dài qí jì。 bù lú mǔ shī qù liǎo jīng shén de zhī zhù hé jìn qǔ de mùdì， shēng huó hé shì yè dū zāo shòu liǎo chén zhòng de dǎ jī。 bù lú mǔ de tuí fèi， zhèng fǎn yìng liǎo 'èr shí shì jì chū 'ài 'ěr lán shì mín de gū dú， mí máng hé jué wàng。
qiáo yī sī jiāng tā shí liù nián duì yú shēng huó hé shè huì de lǐ jiě， dū quán bù nóng suō dào liǎo《 yóu lì xī sī》 zhōng， tóng shí tā yòu shì yī bù jià zhí chāo yuè liǎo shè huì xiàn shí de zhù zuò， bìng qiě shàng shēng dào liǎo zhé xué de shēn dù。
《 ào dé xiū jì》 wén míng quán shì， bèi gōng rèn wèishì rén lèi lì shǐ shàng yī bù wěi dà de shǐ shī。 ér qiáo yī sī， tā yǐ guò rén de wù xìng xiě xià liǎo yī bù dāng dài tí cái de《 ào dé xiū jì》。《 yóu lì xī sī》 měi yī zhāng de nèi róng， dū cǎi qǔ liǎo yǔ《 ào dé xiū jì》 píng xíng de jié gòu， qiáo yī sī dú jù jiàng xīn， qiǎo miào gòu sī， shǐ zhěng bù《 yóu lì xī sī》 de jié gòu yǔ yù yì dū hé《 ào dé xiū jì》 xiāng zhào yìng。 qiáo yī sī cóng shǐ shī de shēn dù shēn shí xiàn dài shēng huó， fù yú liǎo《 yóu lì xī sī》 zhé xué de nèi hán。
yī gè zuò jiā de wén xué gōng dǐ dá dào yī dìng chéng dù shí， tā de zhù zuò wǎng wǎng huì shèn tòu jìn zhé xué， zhū rú shuō《 hóng lóu mèng》。《 hóng lóu mèng》 zhōng de jīng diǎn míng yán“ jiǎ zuò zhēn shí zhēn yì jiǎ， wú wéi yòu chù yòu hái wú” yǐ jí“ chì tiáo tiáo lái qù wú qiān guà”， hái yòu“ hǎo yī sì shí niǎo gè tóu lín， luò liǎo piàn bái máng máng dà dì zhēn gān jìng”。 zhè xiē dōushì zuò zhě duì rén shēng， duì shì jiè de zhé xué sī kǎo。
qiáo yī sī hé cáo xuě qín tóng yàng dì jiāng duì shè huì de gǎn xìng rèn shí shàng shēng dào liǎo lǐ xìng sī kǎo，《 yóu lì xī sī》 hé《 hóng lóu mèng》 zhī suǒ yǐ shì liǎng bù xiǎo shuō 'ér yòu bù jǐn jǐn shì xiǎo shuō， yě zhèng zài cǐ。
cáo xuě qín zhù《 hóng lóu mèng》 shì“ zì zì kàn lái jiē shì xuè， shí nián xīn kǔ bù xún cháng”， ér qiáo yī sī zhù《 yóu lì xī sī》， yòng liǎo shí liù nián gòu sī guān chá， qī nián zhuān zhù xiě zuò。 dàn， yuè shì mín zú de wén huà， wǎng wǎng jiù nán yǐ shì shì jiè de wén huà。 cóng cǐ jiǎo dù lái shuō，《 yóu lì xī sī》 hé《 hóng lóu mèng》 yòu zhe xiāng shìde bēi 'āi。
《 hóng lóu mèng》 wú yí shì yī bù dēng fēng zào jí de wěi dà zhù zuò， cáo xuě qín zài《 hóng lóu mèng》 zhōng duì zhōng guó gǔ diǎn wén huà de róng hé， yǐ jīng dá dào liǎo hǎi nà bǎi chuān de chéng dù。《 hóng lóu mèng》 suī bù guò shì bù xiǎo shuō， què bāo hán liǎo jīhū suǒ yòu de zhōng guó gǔ diǎn wén huà jīng cuì： shī cí， qū fù， yuèfǔ， yíng lián， mí yǔ， bā gǔ， qǐng jiǎn， jì wén， zòu zhāng， shū xìn， cài pǔ， zhàng dān， yào fāng， zhàn bǔ， xīngxiàng， `````《 hóng lóu mèng》 bèi shì jiè gōng rèn shì zhōng guó gǔ diǎn zhù zuò de zuì gāo fēng， èr yuè hé qián bèi píng jià《 hóng lóu mèng》 shí shuō，“《 hóng lóu mèng》 de chéng jiù， bù jǐn shì kōng qián de， zài mǒu zhǒng yì yì shàng shuō， tā yě shì jué hòu de。”
kě zhèng yìng liǎo wù jí bì fǎn de yuán lǐ， zhè yàng de yī bù wěi dà jù zhù， suī bèi shì jiè gōng rèn què wèi bèi shì jiè xǐ 'ài。 chéng rán，《 hóng lóu mèng》 zài shì jiè shū bǎng zhōng wèi liè dì bā wèi， yā guò liǎo 'ōu měi dà pī jǔ shì wén míng de zhù zuò， rán 'ér zhèng rú duō shù mín zú wén huà jīng diǎn yī yàng，《 hóng lóu mèng》 wèi chéng wéi shì jiè pǔ biàn de wén huà。
《 hóng lóu mèng》 bèi yì wéi jǐ shí zhǒng yǔ yán zài shì jiè gè guó fā xíng， zài 'ōu měi guó jiā yě jiàn yòu hóng xué yán jiū huì， kě měi guó yī wèi nǚ jì zhě céng zhí yán bù huì dì shuō， tā shēn biān de péng yǒu gèng duō de shì bǎ《 hóng lóu mèng》 zuò wéi yī běn bì dú shū mù， ér bìng fēi shì chū yú xǐ huān。 xī 'ōu de diào chá bào gào yě qīng chǔ dì biǎo míng，《 hóng lóu mèng》 zài mín jiān yuǎn bù rú《 sān guó yǎn yì》，《 fēng shén bǎng》， shèn zhì《 jīn píng méi》 shòu huān yíng。 hóng lóu mèng zài guó wài， gèng duō de shì bèi zhī shí fènzǐ dāng zuò míng zhù lái liú lǎn。
《 yóu lì xī sī》 yú yī jiǔ 'èr 'èr nián 'èr yuè 'èr rì chū bǎn， tā shì qiáo yī sī shí liù nián gòu sī qī nián xiě zuò de chéng guǒ， kě chū bǎn hòu tā cháng qī bèi jìn zhǐ zài yīng měi fā xíng， zhí zhì yī jiǔ sān sān nián cái chóngxīn liú tōng。
《 yóu lì xī sī》 chū bǎn hòu tóng yàng bùwèi shì rén jiē shòu， shàng shì hòu jí zài wén xué jiè yǐn qǐ liǎo jù dà de zhēng yì。 fú jí ní yà wǔ 'ěr fū chì zé cǐ shū“ cū sú bù kān rù mù”， dāng shí yī xiē zuò jiā shèn zhì háo bù kè qì dì bǎ qiáo yī sī de qiān míng zèng yuè běn tuì hái。 zhǐ yòu 'ài lüè tè děng shǎo shù yòu huì yǎn de zuò jiā， yì shí dào liǎo《 yóu lì xī sī》 de jià zhí， jié lì wéi tā biàn jiě。 qīng huá dà xué jué dìng jiāng《 yóu lì xī sī》 liè wéi bì dú shū mù shí， tóng yàng yǐn qǐ liǎo jiào yù jiè hé wén xué jiè de zhū duō fǎn duì。
měi sī jí cǐ， wǒ jiù bù jìn gǎn kǎi。《 yóu lì xī sī》 kě yǐ shì yī bù shì jiè míng zhù， yě kě yǐ shì yī bù kuàng shì qí zuò， dàn tā nán yǐ zài quán shì jiè de dú zhě zhōng dū shòu dào huān yíng。
qiáo yī sī hé cáo xuě qín xiě chū liǎo zhè yàng de liǎng bù zhù zuò héng héng《 yóu lì xī sī》 hé《 hóng lóu mèng》， zhè jiū jìng shì tā men de wěi dà， hái shì tā men de bēi 'āi ``````
běn zuò pǐn wéi 1998 nián quán qiú dú zhě tóu piào píng xuǎn 'èr shí shì jì xiǎo shuō lèi dì yī míng。
yì zhě： xiāo qián wén jié ruò
yì zhě xù
dì yī zhāng dì 'èr zhāng dì sān zhāng
dì sì zhāng dì wǔ zhāng dì liù zhāng
dì qī zhāng dì bā zhāng dì jiǔ zhāng
dì shí zhāng dì shí yī zhāng dì shí 'èr zhāng
dì shí sān zhāng dì shí sì zhāng dì shí wǔ zhāng
dì shí liù zhāng dì shí qī zhāng dì shí bā zhāng
( yóu lì xī sī ) yǔ ( ào dé xiū jì )( duì zhào ) ( yóu lì xī sī · qiáo yī sī dà shì jì ) zhù yào rén wù biǎo
yì hòu jì
Ulysses chronicles the passage of Leopold Bloom through Dublin during an ordinary day, 16 June 1904 (the day of Joyce's first date with his future wife, Nora Barnacle). The title alludes to Odysseus (Latinised into Ulysses), the hero of Homer's Odyssey, and establishes a series of parallels between characters and events in Homer's poem and Joyce's novel (e.g., the correspondence of Leopold Bloom to Odysseus, Molly Bloom to Penelope, and Stephen Dedalus to Telemachus). Joyce fans worldwide now celebrate 16 June as Bloomsday.
Ulysses contains approximately 265,000 words from a lexicon of 30,030 words (including proper names, plurals and various verb tenses), divided into eighteen episodes. Since publication, the book attracted controversy and scrutiny, ranging from early obscenity trials to protracted textual "Joyce Wars." Ulysses' stream-of-consciousness technique, careful structuring, and experimental prose—full of puns, parodies, and allusions, as well as its rich characterisations and broad humour, made the book a highly regarded novel in the Modernist pantheon. In 1999, the Modern Library ranked Ulysses first on its list of the 100 best English-language novels of the 20th century.