《 ér zǐ yǔ qíng rén》 shì xìng 'ài xiǎo shuō zhī fù láo lún sī de dì yī bù cháng piān xiǎo shuō。 xiǎo shuō fēngmǐ shì jiè wén tán 90 nián， mèi lì zhì jīn bù jiǎn。 1961 nián měi guó 'é kè lā hé mǎ fā qǐ liǎo jìn shū yùn dòng， zài zū yòng de yī liàng bèi chēng zhī wéi “ yín huì shū jí bàoguāng chē ” suǒ zhǎn shì de bù yí yuè dú de shū jí zhōng，《 ér zǐ yǔ qíng rén》 bèi liè zài shǒu dāng qí chōng de wèi zhì。
　　
　　《 ér zǐ yǔ qíng rén》 shì jiǎo dú tè， duì rén xìng zhōng yǐn mì de“ liàn mǔ qíng jié” yòu shēn kè、 xíng xiàng de wā jué。 yī bān rèn wéi， xiǎo shuō zhōng de 'ér zǐ bǎo luó jiù shì láo lún sī de huà shēn， ér mò léi 'ěr tài tài jiù shì láo lún sī de mǔ qīn lì dì yà， bǎo luó de nǚ yǒu mǐ lì 'ān jiù shì láo lún sī de chū liàn qíng rén jié qiàn。
　　
　　《 ér zǐ yǔ qíng rén》 de zhù xiàn zhī yī shì yǐ láo lún sī hé jié qiàn de sī qíng wéi lán běn， ér láo lún sī mǔ qīn nà qiáng liè biàn tài de mǔ 'ài zú yǐ 'ě shā láo lún sī rèn hé zhèng cháng de 'ài qíng。 láo lún sī céng duì zì jǐ de qíng rén shuō：“ nǐ zhī dào wǒ yī zhí 'ài wǒ de mǔ qīn。 wǒ xiàng qíng rén yī yàng 'ài tā， suǒ yǐ wǒ zǒng yě wú fǎ 'ài nǐ。” zhè xiē zhé mó rén de rì zǐ zài《 ér zǐ yǔ qíng rén》 zhōng yòu hěn xiáng jìn de miáo shù。
　　《 ér zǐ yǔ qíng rén》 - xiǎo shuō bèi jǐng
　　
　　 xiǎo shuō bèi jǐng shì láo lún sī de chū shēng dì héng héng nuò dīng hàn jùn kuàng qū。 fù qīn mò ruì 'ěr shì kuàng gōng， yóu yú cháng nián chén zhòng de láo dòng hé méi jǐng shì gù shǐ tā biàn dé pí qì bào zào， mǔ qīn chū shēn
　　
　　 yú zhōng chǎn jiā tíng， yòu yī dìng jiào yǎng。 jié hūn hòu， fū fù bù hé， mǔ qīn kāi shǐ yàn qì zhàng fū， bǎ quán bù gǎn qíng hé xī wàng qīng zhù zài hái zǐ shēn shàng， yóu cǐ chǎn shēng jī xíng de mǔ 'ài。 zhǎngzǐ wēi lián wéi lún dūn lǜ shī dāng wén shū， dàn wèile zhèng qián láolèi zhì sǐ。 mǔ qīn cóng cǐ duì xiǎo 'ér zǐ bǎo luó jì yú hòu wàng。 xiǎo shuō qián bàn bù zhuózhòng xiě liǎo bǎo luó hé qí mǔ qīn zhī jiān 'ào dí fǔ sī shì de gǎn qíng。 hòu bàn bù zé zhuózhòng xiě liǎo bǎo luó hé liǎng wèi qíng rén kè lā lā hé mǐ lǐ 'ài mǔ zhī jiān liǎng zhǒng bù tóng de 'ài。 qián zhě qíng yù 'ài， hòu zhě shì bólātú shì de jīng shén zhī liàn。 bǎo luó zài mǔ qīn yīn yǐng zhī xià， wú fǎ xuǎn zé zì jǐ de shēng huó dào lù。 zhí dào mǔ qīn bìng gù hòu， tā cái bǎi tuō liǎo shù fù， lí bié gù tǔ hé qíng rén， zhēn zhèng chéng rén。
　　
　　
　　 láo lún sī tōng guò xiàn shí zhù yì hé xīn lǐ fēn xī de xiě zuò fāng fǎ， miáo xiě liǎo shí jiǔ shì jì mò yè yīng guó gōng yè shè huì zhōng xià céng rén mín de shēng huó hé tè dìng huán jìng xià mǔ zǐ jiān hé liǎng xìng jiān de fù zá、 biàn tài de xīn lǐ。 tā qiáng diào rén de yuán shǐ běn néng， bǎ lǐ zhì zuò wéi yā yì tiān xìng de yīn sù jiā yǐ bìng qì， zhù zhāng chōng fēn fā huī rén de běn néng。 xiǎo shuō zhōng， láo lún sī hái duì yīng guó shēng huó zhōng gōng yè huà wù zhì wén míng hé shāng yè jīng shén jìn xíng liǎo pī pàn。
　　
　　《 ér zǐ yǔ qíng rén》 - nèi róng jiè shào
　　
　　《 ér zǐ yǔ qíng rén》 xiǎo shuō zhù rén gōng bǎo luó de fù mǔ mò ruì 'ěr fū fù。 tā men liǎng rén shì zài yī cì wǔ huì shàng jié shí de， kě yǐ shuō shì yī jiàn zhōng qíng， hūn hòu yě guò liǎo yī duàn tián mì、 xìng fú de rì zǐ。 dàn shì， liǎng rén yóu yú chū shēn bù tóng， xìng gé bù hé， jīng shén zhuī qiú jiǒng yì， zài duǎn zàn de jī qíng guò hòu， zhī jiān biàn chǎn shēng liǎo wú xiū zhǐ de chún qiāng shé jiàn， zhàng fū shèn zhì dòng qǐ shǒu lái， hái bǎ huái yòu shēn yùn de qī zǐ guān zài mén wài。
　　
　　 xiǎo shuō zhōng de fū fù zhī jiān zhǐ yòu ròu tǐ de jié hé， ér méi yòu jīng shén de gōu tōng、 líng hún de gòng míng。 fù qīn shì yī wèi hún hún 'è 'è de méi kuàng gōng rén， tān bēi， cū sú， cháng cháng bǎ jiā lǐ de shì hé hái zǐ men de qián chéng zhì zhī dù wài。 mǔ qīn chū shēn yú zhōng chǎn jiē jí， shòu guò jiào yù， duì jià gěi yī gè píng fán de kuàng gōng gěng gěng yú huái， zhí dào duì zhàng fū wán quán jué wàng。 yú shì， tā bǎ shí jiān、 jīng lì hé quán bù jīng shén xī jì zhuǎn yí、 qīng zhù dào yóu yú ròu tǐ jié hé 'ér jiàng shēng yú rén shì jiān de dà 'ér zǐ wēi lián hé 'èr 'ér zǐ bǎo luó shēn shàng。
　　
　　 tā jié lì zǔ zhǐ 'ér zǐ bù fù qīn de hòu chén， xià jǐng wā méi； tā qiān fāng bǎi jì dūn cù tā men tiào chū xià céng rén de juàn zǐ， chū rén tóu dì， shí xiàn tā zài zhàng fū shēn shàng wèi néng shí xiàn de jīng shén zhuī qiú。 tā de yī yán yīháng、 yī jǔ yī dòng bù dàn lā dà liǎo tā hé zhàng fū zhī jiān de jù lí， bìng zuì zhōng shǐ zhī chéng wéi bù kě yú yuè de hóng gōu， ér qiě yǐng xiǎng liǎo zǐ nǚ， shǐ tā men yǔ mǔ qīn jié chéng láo gù de tǒng yī zhàn xiàn， qù gòng tóng duì fù nà suī rán ròu tǐ yǐ jiù guāng huá、 jiàn zhuàng， ér jīng shén rì jiàn shuāi bài、 kū jié de fù qīn。
　　
　　 mǔ qīn hé hái zǐ men de tǒng yī zhàn xiàn gěi gū lì wú yuán de fù qīn dài lái liǎo tòng kǔ hé zāinàn， yě méi yòu gěi mò ruì 'ěr jiā lǐ de rèn hé qí tā yī gè rén dài lái hǎo chù。 fā shēng zài fù mǔ shēn shàng nà wú xiū zhǐ de chōng tū， tè bié shì wú fǎ hé jiě de líng yǔ ròu de zhuàng jī chóngyǎn zài mǔ qīn hé 'ér zǐ de shēn shàng。 xiāng bǐ zhī xià， fū qī zhī jiān de bù hé duì mò ruì 'ěr tài tài lái shuō bìng méi yòu dài lái tài dà de jīng shén shàng de zhé mó， yīn wéi tā duì zhàng fū shī qù liǎo xìn xīn， ér qiě běn lái jiù méi yòu bào duō dà de xī wàng。
　　
　　 méi yòu ràng mǔ qīn yáng méi tù qì de dà 'ér zǐ sǐ hòu， èr 'ér zǐ bǎo luó jiù zhú jiàn chéng liǎo mǔ qīn wéi yī de jīng shén gǎng wān， yě chéng liǎo mǔ qīn fā xiè wú míng zhī huǒ hé nèi xīn tòng kǔ de yī gè qú dào。 tā 'ài 'ér zǐ， hèn tiě bù chéng gāng， yī gè jìn 'ér dì gǔ lì、 dū cù bǎo luó chéng míng chéng jiā， jī shēn yú shàng liú shè huì， wéi mǔ qīn zhēng guāng zhēng qì； tā yě xiǎng fāng shè fǎ cóng jīng shén shàng kòng zhì 'ér zǐ， shǐ tā bù yí qíng tā rén， tè bié shì bié de nǚ rén， yǐ biàn mǎn zú zì jǐ hūn yīn de quē hàn。 zhè zhǒng qiáng liè de dài zhàn yòu xìng zhì de 'ài shǐ 'ér zǐ gǎn dào zhì xī， pò shǐ tā yī yòu jī huì jiù shè fǎ táo tuō。 ér zài duǎn zàn de táo lí zhōng， tā yòu cháng cháng bèi mǔ qīn nà wú xíng de jīng shén jiā suǒ qiān yǐn zhe， tòng kǔ dé bù néng zì yǐ。
　　
　　 hé nǚ yǒu mǐ lì 'ān de jiāo wǎng guò chéng yě shì nián qīng de bǎo luó jīng lì jīng shén tòng kǔ de guò chéng。 tā men yóu yú xīng qù xiāng tóu， jiē chù rì jiàn pín fán， chǎn shēng liǎo gǎn qíng， chéng liǎo yī duì yīnggāi shuō shì shí fēn xiāng pèi de liàn rén。 rán 'ér kě bēi de shì， mǐ lì 'ān yě guòfèn zhuī qiú jīng shén mǎn zú， fēi dàn quē fá jī qíng， ér qiě xiàng bǎo luó de mǔ qīn yī yàng， qǐ tú cóng jīng shén shàng zhàn yòu bǎo luó， cóng líng hún shàng tūn shì bǎo luó。 zhè shǐ tā yǔ bǎo luó de mǔ qīn chéng liǎo zhēn fēng xiāng duì de“ qíng dí”， mìng lǐ zhù dìng yào bài zài nà zhàn yòu yù gèng qiáng， yòu kě yǐ lài xuè yuán guān xì qīng yì zhàn shàng fēng de lǎo tài tài shǒu xià。
　　
　　 bǎo luó shēn biān de lìng yī gè míng jiào kè lā lā de nǚ rén tóng yàng shì yī gè líng yǔ ròu xiāng fēn lí de jī xíng rén。 tā shēng huó zài shè huì xià céng， yǔ zhàng fū fēn jū， yī duàn shí jiān nèi yǔ bǎo luó dǎ dé huǒ rè。 bǎo luó cóng zhè wèi“ dàng fù” shēn shàng dé dào ròu tǐ shàng de mǎn zú。 rán 'ér zhè zhǒng“ kuáng huān shì” de róng hé， shì yī zhǒng méi yòu shēng mìng lì de、 yī shùn jí shì de jié hé。 yóu yú cóng mǐ lì 'ān shēn shàng zhǎo bù dào 'ān wèi， bǎo luó xū yào cóng xīn lǐ shàng xún qiú zì wǒ píng héng， xū yào cóng xìng shàng zhèng míng zì jǐ de nán xìng néng lì。 yóu yú cóng zhàng fū shēn shàng dé bù dào mǎn zú， kè lā lā yě xū yào zhǎn shì zì jǐ de mèi lì， cóng ròu tǐ shàng xún qiú zì wǒ píng héng。
　　
　　 zuò wéi mǔ qīn， yǔ 'ér zǐ yóu qí shì yǔ 'èr 'ér zǐ bǎo luó zhī jiān de qíng jié， nà zhǒng sī gān liè fèi de líng hún shàng de zhēng dǒu zé gěi kě lián de mǔ qīn dài lái liǎo wú fǎ yù hé de chuāngshāng， zhí dào tā yù yù guǎ huān， wú kě nài hé， lí kāi rén shì。
　　《 ér zǐ yǔ qíng rén》 - rén wù fēn xī
　　
　　《 ér zǐ yǔ qíng rén》 zhōng， bǎo luó mǔ qīn duì zhàng fū de shī wàng、 bù mǎn hé yuàn hèn shǐ mò ruì 'ěr tài tài bǎ zì jǐ de gǎn qíng、 ài lián hé jīng shén jì tuō zhuànxiàng liǎo 'ér zǐ， huò zhě shuō， mò ruì 'ěr tài tài bǎ zì jǐ jīng lì guò de jīng shén mó nán hé yī xīn yào jiě jué de wèn tí“ zhé shè” dào liǎo 'ér zǐ de shēn shàng， yú shì yīcháng líng yǔ ròu de chōng zhuàng yòu zài mǔ zǐ zhī jiān zhǎn kāi。
　　
　　 mǔ qīn de zhè zhǒng xìng biàn tài shǐ 'ér zǐ xīn suān， chóu chàng， wú suǒ shì cóng。 yòu liǎo mǔ qīn， bǎo luó jiù wú fǎ qù 'ài bié de nǚ rén。 zài mǔ qīn jīhū shì shēng sī lì jié dì 'āi tàn“ wǒ cóng lái méi yòu guò yī gè zhàng fū”、 yī gè“ zhēn zhèng” de zhàng fū shí， bǎo luó jìn bù zhù shēn qíng dì fǔ mō qǐ mǔ qīn de tóu fā， rè wěn qǐ mǔ qīn de hóu jǐng。 zhè zhǒng“ liàn mǔ qíng jié” zài hěn dà chéng dù shàng biàn chéng liǎo yī zhǒng“ gù liàn”， shǐ tā shī qù liǎo gǎn qíng hé lǐ zhì de hé xié， shī qù liǎo“ běn wǒ” hé“ chāo zì wǒ” zhī jiān de píng héng。 yīn cǐ， bǎo luó de qíng gǎn wú fǎ fā zhǎn、 shēng huá， tā de xìng xīn lǐ xìng gé wú fǎ wán shàn、 chéng shú， cóng 'ér dǎo zhì liǎo tā yī shēng de tòng kǔ hé bēi jù。
　　
　　 yòu nián shí qī de“ liàn mǔ” qíng jié， shǐ bǎo luó chéng liǎo gǎn qíng shàng hé jīng shén shàng de“ chī dāi 'ér”。 tā suī rán 'ài liàn zhe mǐ lì 'ān， dàn què bù néng xiàng yī wèi zhèng cháng de xuè ròu zhī qū， lǐ zhí qì zhuàng dì qù 'ài tā。 zhè bù dàn shǐ zì jǐ xiàn rù liǎo kùn jìng， yě gěi mǐ lì 'ān zào chéng liǎo jù dà de jīng shén tòng kǔ。 bǎo luó jiàn bù dào mǐ lì 'ān de shí hòu huì gǎn dào mèn dé huāng， kě shì yī dàn gēn tā zài yī qǐ què yào zhēng zhēng chǎo chǎo， yīn wéi mǐ lì 'ān zǒng shì xiǎn dé“ chāo fán tuō sú” huò fēi cháng dì“ jīng shén huà”， shǐ bǎo luó jué dé xiàng gēn mǔ qīn zài yī qǐ nà yàng bù zì zài。
　　
　　 bǎo luó zhǐ yào gēn bié de nǚ rén zài yī qǐ， líng hún jiù huì bèi mǔ qīn nà wú xíng de jīng shén jiā suǒ kòng zhì zhe， gǎn dào zuǒ yòu wéi nán， wú fǎ huò dé zì yóu。 zài tā hé mǐ lì 'ān yǎn rán xiàng yī duì fū fù zài qīn qī jiā shēng huó de rì zǐ lǐ， bǎo luó dé dào liǎo mǐ lì 'ān de ròu tǐ， ér zài jīng shén shàng， bǎo luó réng rán shǔ yú zì jǐ de mǔ qīn。 mǐ lì 'ān zhǐ shì dài zhe nóng hòu de zōng jiào chéngfèn， wèile xīn 'ài de rén zuò chū liǎo“ xī shēng”。 suǒ yǐ， zài nà duàn rì zǐ lǐ， tā men yě bìng méi yòu néng gòu xiǎng shòu qīng nián nán nǚ zhī jiān běn gāi xiǎng shòu dào de yú yuè。 shí jì shàng， ròu tǐ jiān de gǒu hé， zhǐ shì jiā sù liǎo tā men zhī jiān 'ài qíng bēi jù de jìn chéng。
　　
　　 zài zhè yī cì cì líng yǔ ròu de chōng zhuàng hòu， xiǎo shuō zhōng de zhù yào rén wù yī gè gè shāng hén lěi lěi， ròu tǐ hé jīng shén jūn zāo shòu liǎo jù dà de cuī cán。 bǎo luó de fù qīn zài jiā lǐ、 zài qīn rén miàn qián yǒng yuǎn chéng wéi gé gé bù rù de“ biān yuán rén”。 bǎo luó de mǔ qīn zài jīng shén shàng cóng lái méi yòu guò yī gè“ zhēn zhèng de zhàng fū”， zhǐ néng cóng 'ér zǐ shēn shàng xún zhǎo qíng gǎn de wèi jiè， ér zhè zhǒng nǔ lì yòu cháng cháng bèi qí tā nǚ rén suǒ cuò bài， hòu lái xīn lǐ、 shēng lǐ shuāi jié， dé liǎo bù zhì zhī zhèng， zǎo zǎo sǎ shǒu rén huán。 mǐ lì 'ān suī rán kǔ kǔ zhēngzhá， rěn rǔ fù zhòng， dàn bìng méi yòu dé dào bǎo luó de xīn， bǎo luó zhí dào bǎi tuō mǔ qīn de jīng shén jī bàn， kě yǐ yǔ tā zhòng guī yú hǎo， yǒng jié liáng yuán shí， zuì zhōng hái shì hěn xià xīn lái， jù jué liǎo tā de hūn qiú， jié rán yī rén， jì xù zuò jīng shén shàng de zhēngzhá。
　　
　　 zhǐ chén mí yú ròu tǐ yù wàng de kè lā lā yě hěn kuài jié shù liǎo yǔ bǎo luó de fēng liú， huí dào xìng gé cū sú、 bào liè、 wú suǒ zuò wéi de zhàng fū shēn biān。 kě yǐ shuō， zài zhè xiē líng yǔ ròu de chōng zhuàng zhōng， wǒ men kàn dào de shì yī gè gè jù sàng、 kě bēi de shī bài zhě， zhǎo bù dào yī gè zuì zhōng de yíng jiā。 qí shí， zài rén men lài yǐ fán yǎn shēng xī de dà zì rán bèi pò huài， zài rén xìng bèi niǔ qū， zài rén lèi de hé xié guān xì bù duàn bèi wēi xié de shè huì zhōng， líng yǔ ròu de zhēng dǒu běn lái jiù shì cán kù wú qíng de， dào tóu lái shuí yě chéng bù liǎo yíng jiā， chéng bù liǎo yī gè wán zhěng de、 yòu xuè yòu ròu de rén。
　　《 ér zǐ yǔ qíng rén》 - zuò pǐn yǐng xiǎng
　　
　　《 ér zǐ yǔ qíng rén》 shì láo lún sī zài yī cì shì jiè dà zhàn zhī qián zuì yōu xiù de zuò pǐn zhī yī。 dài wéi hè bó tè láo lún sī shì yī wèi tiān cái de zuò jiā， tā de zuò pǐn dòng chá rén lèi shēng mìng zhōng zuì shēn céng de lǐng dì héng rén de xīn lǐ， shēng dòng miáo shù rén lèi zhū rú zhēngzhá、 tòng kǔ、 wēi jī、 huān yú děng zhǒng zhǒng qíng gǎn hé gǎn shòu。 tā zhì lì yú kāi qǐ rén lèi xīn shēn chù de“ hēi xiá zǐ”， chuān tòu yì shí de biǎo miàn， chù jí yǐn cáng de xuè de guān lián“， cóng 'ér jiē shì yuán xíng de zì wǒ。
　　
　　 zài zhè bù xiǎo shuō lǐ， tā duì nǚ xìng de xīn lǐ jìn xíng liǎo dà dǎn、 tòu chè de tàn suǒ， qí xiǎo shuō zhōng de nǚ xìng yě yīn cǐ tǐ xiàn chū gèng wéi qiáng liè de shěn měi qíng qù hé yì shù biǎo xiàn lì， xì nì zhǔn què dì fǎn yìng chū láo lún sī de xiě zuò zhù tí。
　　
　　 dài wéi hè bó tè láo lún sī yòng jīng shén fēn xī de fāng fǎ duì《 ér zǐ yǔ qíng rén》 zhōng de sān zhǒng nǚ xìng 'ài qíng xīn lǐ mó shì jìn xíng miáo shù， zhè sān zhǒng mó shì jiāng chéng wéi cǐ lùn wén de sān bù fēn。 dì yī bù fēn héng jīng shén mó shì ,， cǐ mó shì duì běn néng de yù wàng jìn xíng dǐ zhì hé qīng shì。《 ér zǐ yǔ qíng rén》 zhōng de mǐ lì yà mǔ jiù shì zhè gè mó shì de diǎn xíng dài biǎo。 dì 'èr bù fēn héng héng ròu yù mó shì， zhè zhǒng xīn lǐ huì fàng zòng tā men zì jǐ gè rén de běn néng de yù wàng 'ér yòu hū shì liǎo líng hún de jiāo liú。 zhè bù xiǎo shuō zhōng de kè lā lā jiù shì yī gè diǎn xíng de lì zǐ。 dì sān bù fēn héng héng qíng jié mó shì， zhè zhǒng mó shì duì mǒu gè dōng xī huò mǒu yī zhǒng gǎn qíng xiǎn shì chū yī zhǒng jí duān de tài dù。 mò ruì 'ěr tài tài jiù zhè yàng de yī gè duì jiā tíng hé 'ér zǐ men yòu jí duān de zhàn yòu yù de nǚ rén。
　　
　　 dài wéi hè bó tè láo lún sī tōng guò duì《 ér zǐ yǔ qíng rén》 zhōng de sān zhǒng nǚ xìng 'ài qíng xīn lǐ mó shì de fēn xī， chǎn shù qí jú xiàn xìng， jiē shì jiàn kāng zì rán de nǚ xìng 'ài qíng xīn lǐ， duì yú chéng jiù wán zhěng de shēng mìng jí zhuī qiú zhōng nǚ xìng de chéng gōng yòu zhòng yào zuò yòng。

　　Sons and Lovers is a 1913 novel by the English writer D. H. Lawrence.
　　
　　Plot introduction and history
　　
　　The third published novel of D. H. Lawrence, taken by many to be his earliest masterpiece, tells the story of Paul Morel, a young man and budding artist. Richard Aldington explains the semi-autobiographical nature of this masterpiece:
　　
　　 When you have experienced Sons and Lovers you have lived through the agonies of the young Lawrence striving to win free from his old life. Generally, it is not only considered as an evocative portrayal of working-class life in a mining community, but also an intense study of family, class and early sexual relationships.[citation needed]
　　
　　The original 1913 edition was heavily edited by Edward Garnett who removed 80 passages, roughly a tenth of the text. The novel is dedicated to Garnett. Garnett, as the literary advisor to the publishing firm Duckworth, was an important figure in leading Lawrence further into the London literary world during the years 1911 and 1912. It was not until the 1992 Cambridge University Press edition was released that the missing text was restored.
　　
　　Lawrence began working on the novel in the period of his mother's illness, and often expresses this sense of his mother's wasted life through his female protagonist Gertrude Morel. Letters written around the time of its development clearly demonstrate the admiration he felt for his mother - viewing her as a 'clever, ironical, delicately moulded woman' - and her apparently unfortunate marriage to his coal mining father, a man of 'sanguine temperament' and instability. He believed that his mother had married below her class status. Rather interestingly, Lydia Lawrence wasn't born into the middle-class. This personal family conflict experienced by Lawrence provided him with the impetus for the first half of his novel - in which both William, the older brother, and Paul Morel become increasingly contemptuous of their father - and the subsequent exploration of Paul Morel's antagonizing relationships with both his lovers, which are both invariably affected by his allegiance to his mother.
　　
　　The first draft of Lawrence's novel is now lost and was never completed, which seems to be directly due to his mother's illness. He did not return to the novel for three months, at which point it was titled 'Paul Morel'. The penultimate draft of the novel coincided with a remarkable change in Lawrence's life, as his health was thrown into tumult and he resigned his teaching job in order to spend time in Germany. This plan was never followed, however, as he met and married the German minor aristocrat, Frieda Weekley. According to Frieda's account of their first meeting, she and Lawrence talked about Oedipus and the effects of early childhood on later life within twenty minutes of meeting.
　　
　　The third draft of 'Paul Morel' was sent to the publishing house Heinemann, which was repulsively responded to by William Heinemann himself. His reaction captures the shock and newness of Lawrence's novel, 'the degradation of the mother [as explored in this novel], supposed to be of gentler birth, is almost inconceivable', and encouraged Lawrence to redraft the novel one more time. In addition to altering the title to a more thematic 'Sons and Lovers', Heinemann's response had reinvigorated Lawrence into vehemently defending his novel and its themes as a coherent work of art. In order to justify its form Lawrence explains, in letters to Garnett, that it is a 'great tragedy' and a 'great book', one that mirrors the 'tragedy of thousands of young men in England'.
　　Explanation of the novel's title
　　
　　Lawrence rewrote the work four times until he was happy with it. Although before publication the work was usually called Paul Morel, Lawrence finally settled on Sons and Lovers. Just as the new title makes the work less focused on a central character, many of the later additions broadened the scope of the work, thereby making the work less autobiographical. While some of the edits by Garnett were on the grounds of propriety or style, others would once more narrow the emphasis back upon Paul.
　　Plot summary
　　
　　Part I:
　　
　　The refined daughter of a "good old burgher family," Gertrude Coppard meets a rough-hewn miner at a Christmas dance and falls into a whirlwind romance. But soon after her marriage to Walter Morel, she realizes the difficulties of living off his meagre salary in a rented house. The couple fight and drift apart and Walter retreats to the pub after work each day. Gradually, Mrs. Morel's affections shift to her sons beginning with the oldest, William.
　　
　　As a boy, William is so attached to his mother that he doesn't enjoy the fair without her. As he grows older, he defends her against his father's occasional violence. Eventually, he leaves their Nottinghamshire home for a job in London, where he begins to rise up into the middle class. He is engaged, but he detests the girl's superficiality. He dies and Mrs. Morel is heartbroken, but when Paul catches pneumonia she rediscovers her love for her second son.
　　
　　Part II:
　　
　　Both repulsed by and drawn to his mother, Paul is afraid to leave her but wants to go out on his own, and needs to experience love. Gradually, he falls into a relationship with Miriam, a farm girl who attends his church. The two take long walks and have intellectual conversations about books but Paul resists, in part because his mother looks down on her. At work, Paul meets Clara Dawes who has separated from her husband, Baxter.
　　
　　Paul leaves Miriam behind as he grows more intimate with Clara, but even she cannot hold him and he returns to his mother. When his mother dies soon after, he is alone.
　　
　　Lawrence summarized the plot in a letter to Edward Garnett on 12 November 1912:
　　
　　 It follows this idea: a woman of character and refinement goes into the lower class, and has no satisfaction in her own life. She has had a passion for her husband, so her children are born of passion, and have heaps of vitality. But as her sons grow up she selects them as lovers — first the eldest, then the second. These sons are urged into life by their reciprocal love of their mother — urged on and on. But when they come to manhood, they can't love, because their mother is the strongest power in their lives, and holds them. It's rather like Goethe and his mother and Frau von Stein and Christiana — As soon as the young men come into contact with women, there's a split. William gives his sex to a fribble, and his mother holds his soul. But the split kills him, because he doesn't know where he is. The next son gets a woman who fights for his soul — fights his mother. The son loves his mother — all the sons hate and are jealous of the father. The battle goes on between the mother and the girl, with the son as object. The mother gradually proves stronger, because of the ties of blood. The son decides to leave his soul in his mother's hands, and, like his elder brother go for passion. He gets passion. Then the split begins to tell again. But, almost unconsciously, the mother realizes what is the matter, and begins to die. The son casts off his mistress, attends to his mother dying. He is left in the end naked of everything, with the drift towards death.
　　
　　Literary significance & criticism
　　
　　In 1999, the Modern Library ranked Sons and Lovers ninth on a list of the 100 best novels in English of the 20th century.
　　
　　It contains a frequently quoted use of the English dialect word "nesh". The speech of several protagonists is represented in Lawrence's written interpretation of the Nottinghamshire dialect, which also features in several of his poems .
　　Film, TV or theatrical adaptations
　　Main article: Sons and Lovers (film)
　　
　　Sons and Lovers has been adapted for the screen several times, including the Academy Award winning 1960 film, a 1981 BBC TV serial and another on ITV1 in 2003. The 2003 serial has been issued on DVD by Acorn Media UK.
　　Standard editions
　　
　　 * Sons and Lovers (1913), edited by Helen Baron and Carl Baron, Cambridge University Press, 1992, ISBN 0-521-24276-2
　　
　　 * Paul Morel (1911–12), edited by Helen Baron, Cambridge University Press, 2003, ISBN 0-521-56009-8, an early manuscript version of Sons and Lovers

　　《 liàn 'ài zhōng de nǚ rén》 shì D ． H. láo lún sī zuì wěi dà、 zuì yòu dài biǎo xìng、 zuì liǎn zhì rén kǒu de liǎng bù cháng piān xiǎo shuō zhī yī（ lìng yī bù shì《 hóng》）， tā běn rén yě rèn wéi tā shì tā de“ zuì jiā zuò pǐn”； tā yǐ yīng guó xiǎo shuō zhōng méi yòu xiān lì de rè qíng yǔ shēn dù tàn suǒ liǎo yòu guān liàn 'ài de xīn lǐ wèn tí， dài biǎo liǎo láo lún sī zuò pǐn de zuì gāo chéng jiù， yīn cǐ tā tóng《 hóng》 chéng wéi liǎo xiàn dài xiǎo shuō de xiān qū。
　　D． H． láo lún sī shì yīng guó xiǎo shuō jiā、 shī rén、 sǎnwén jiā， 20 shì jì yīng guó zuì zhòng yào hé zuì yòu zhēng yì de xiǎo shuō jiā zhī yī， 20 shì jì shì jiè wén tán shàng zuì yòu tiān fēn yǔ yǐng xiǎng lì de rén wù zhī yī。 tā yǔ fú sī tè、 qiáo yī sī、 lǐ chá sēn、 wǔ 'ěr fú tóng shì 20 shì jì yīng guó xiǎo shuō de chuàng shǐ rén， shì zhōng guó dú zhě zuì shú xī yǔ xǐ 'ài de xī fāng zuò jiā zhī yī。

　　Women in Love is a novel by British author D. H. Lawrence published in 1920. It is a sequel to his earlier novel The Rainbow (1915), and follows the continuing loves and lives of the Brangwen sisters, Gudrun and Ursula. Gudrun Brangwen, an artist, pursues a destructive relationship with Gerald Crich, an industrialist. Lawrence contrasts this pair with the love that develops between Ursula and Rupert Birkin, an alienated intellectual who articulates many opinions associated with the author. The emotional relationships thus established are given further depth and tension by a homoerotic attraction between Gerald and Rupert. The novel ranges over the whole of British society at the time of the First World War and eventually ends high up in the snows of the Swiss Alps.
　　
　　As with most of Lawrence's works, Women in Love caused controversy over its sexual subject matter. One early reviewer said of it, "I do not claim to be a literary critic, but I know dirt when I smell it, and here is dirt in heaps — festering, putrid heaps which smell to high Heaven."
　　
　　Plot summary
　　
　　Ursula and Gudrun Brangwen are two sisters living in the Midlands of England in the 1910s. Ursula is a teacher, Gudrun an artist. They meet two men who live nearby, school inspector Rupert Birkin and coal-mine heir Gerald Crich. The four become friends. Ursula and Birkin become involved, and Gudrun eventually begins a love affair with Gerald.
　　
　　All four are deeply concerned with questions of society, politics, and the relationship between men and women. At a party at Gerald's estate, Gerald's sister Diana drowns. Gudrun becomes the teacher and mentor of his youngest sister. Soon Gerald's coal-mine-owning father dies as well, after a long illness. After the funeral, Gerald goes to Gudrun's house and spends the night with her, while her parents sleep in another room.
　　
　　Birkin asks Ursula to marry him, and she agrees. Gerald and Gudrun's relationship, however, becomes stormy. The four vacation in the Alps. Gudrun begins an intense friendship with Loerke, a physically puny but emotionally commanding artist from Dresden. Gerald, enraged by Loerke, by Gudrun's verbal abuse, and by his own destructive nature, tries to murder Gudrun. After failing, he retreats back over the mountains and falls to his death in the snow.
　　Publication
　　
　　Women in Love was originally published in New York City as a limited edition (1250 books), available only to subscribers; this was due to the controversy caused by his previous work, The Rainbow. Originally, the two books were written as parts of a single novel. The publisher had decided to publish them separately and in rapid succession. The first book's treatment of sexuality, while tame by 21st Century standards, was rather too frank for the Edwardian era. There was an obscenity trial and The Rainbow was banned in the U.K. for 11 years, although it was available in the U.S. The publisher then backed out of publishing the second book in the U.K., so it first appeared in the U.S.
　　Film adaptation
　　
　　Screenwriter and producer Larry Kramer and director Ken Russell adapted the novel in the Academy Award-winning 1969 film, Women in Love, (for which Glenda Jackson won for Best Actress). It was one of the first theatrical movies to show male genitals, when Gerald Crich (Oliver Reed) and Rupert Birkin (Alan Bates) wrestle in the nude in front of a roaring fireplace, in addition to several early skinny dipping shots and an explicit sequence of Birkin running naked in the forest after being hit on the head by his spurned former mistress, Hermione Roddice (Eleanor Bron).
　　Editions
　　
　　 * Women in Love (New York: Privately Printed by Thomas Seltzer, 1920).
　　 * Women in Love (London: Martin Seeker, 1921).
　　 * Women in Love, ed. Charles L. Ross (Harmondsworth, Middlesex: Penguin, 1982).
　　 * Women in Love, ed. David Farmer, Lindeth Vasey, and John Worthen (Cambridge: Cambridge University Press, 1987). This edition is a volume in The Cambridge Edition of the Letters and Works of D. H. Lawrence
　　 * Women in Love, ed. David Farmer, Lindeth Vasey, and John Worthen [with an Introduction and Notes by Mark Kinkead-Weekes] (Harmondsworth: Penguin, 1995).
　　 * Women in Love, ed.David Bradshaw (Oxford: Oxford University Press, 1998)
　　 * The First Women in Love (1916-17) edited by John Worthen and Lindeth Vasey,Cambridge University Press, 1998, ISBN 0-521-37326-3. This edition is a volume in The Cambridge Edition of the Letters and Works of D. H. Lawrence and displays significant differences to the final published version
　　 * The 'Prologue' to Women in Love is a discarded section of an early version of the novel and is set four years after Gerald and Birkin have returned from a skiing holiday in Tyrol. It is published as an appendix to the Cambridge edition, pp489-506
　　 * The First Women in Love Oneworld Classics, 2007, ISBN 978-1-84749-005-6
　　
　　Literary criticism
　　
　　 * Richard Beynon, (ed.), D. H. Lawrence: The Rainbow and Women in Love (Cambridge: Icon Books, 1997).
　　 * Michael Black (2001) Lawrence's England: The Major Fiction, 1913 - 1920 (Palgrave-MacMillan)
　　 * Paul Delaney (1979) D. H. Lawrence's Nightmare: The Writer and his Circle in the Years of the Great War (Hassocks: Harvester Press)
　　 * F. R. Leavis (1955) D. H. Lawrence: Novelist (London, Chatto and Windus)
　　 * F. R. Leavis (1976) Thought, Words and Creativity: Art and Thought in D. H. Lawrence (London, Chatto and Windus)
　　 * Joyce Carol Oates (1978) "Lawrence's Götterdämmerung: The Apocalyptic Vision of Women in Love"
　　 * Charles L. Ross (1991) Women in Love: A Novel of Mythic Realism (Boston, Mass.: Twayne)
　　 * John Worthen, The Restoration of Women in Love, in Peter Preston and Peter Hoare (eds.)(1989), D. H. Lawrence in the Modern World (London and Basingstoke: Macmillan), pp 7-26

　　《 chá tài lāi fū rén de qíng rén》 yuán yú yī gè zhēn shí de gù shì， zhǐ yīn shū zhōng yòu háo bù bì huì de xìng 'ài miáo xiě， ér céng yī dù liè wéi jìn shū。 cóng xiàn jīn de wén xué zuò pǐn lái kàn， dà dǎn 'ér lù gǔ de sè qíng miáo xiě， bǐ bǐ jiē shì， shèn zhì bìng fēi chū yú qíng jié xū yào， zhǐ shì wèile mǎn zú dà zhòng kuī sī de yù wàng， ér bù xī bǐ mò dà sì xuàn rǎn。 dàn shì qíng sè yǔ sè qíng zhōng jiū shì yòu chā bié de， qíng sè gěi rén dài lái de shì měi gǎn， shì yú yuè， shì duì rén xìng de sī kǎo， néng jī fā rén duì měi hǎo de xiàng wǎng； sè qíng dài lái de què shì wū huì， shì yī shí biàn tài de fēng kuáng， ér hòu liú xià de zhǐ yòu kōng xū。
　　《 chá tài lāi fū rén de qíng rén》 - zuò pǐn yǐng xiǎng
　　
　　 duì yú láo lún sī， xìng jiāo shì yī zhǒng hán xù zhù yì de yì shù。 zài tā huà fǔ xiǔ wéi shén qí de wén bǐ zhī xià， xìng 'ài shì yī céng shēn sì yī céng， yī cì xì guò yī cì de fēi yì zhe de xuán wō， shì 'ài mèi 'ér jī qíng、 xì nì 'ér shī yì、 shēn kè 'ér yòu kōng xū de zhōng jí gāo cháo。 xìng zài céng céng shén mì hé mǐn gǎn de yā lì xià， réng rán shì nán nǚ zhī jiān zuì zhí jiē shí jì yǔ zuì zì rán de jiāo liú。
　　
　　 láo lún sī hé zhè běn shū， yī zhí yǐ láidōu shì jìn jì de dài míng cí， rán 'ér，“ yī dàn néng gòu dé dào shìdàng de chǔlǐ， zhè bù xiǎo shuō de zhòng dà yì yì biàn xiǎn shì chū lái”。 láo lún sī rèn wéi yī gè rén， bù bì dìng yào qiú xìng fú， bù bì dìng yào qiú wěi dà， dàn qiú zhī dào“ shēng huó”， ér zuò gè zhēn zhèng de rén。 yào zuò zhēn zhèng de rén， yào guò zhēn zhèng de shēng huó ‘ biàn yào shǐ shēng mìng péng pài bān de jī dòng。 zhè zhǒng jī dòng shì cóng jiē chù (Contact) zhōng， cóng hé yī (togetherness) yī qǐ zhōng chǎn shēng chū lái de， ér shì jiè， zhèng shì tōng guò zhè zhǒng rén lèi yuán shǐ qíng yù de miàn mào， lái jiē jìn wǒ men。
　　
　　 zài yī jiǔ 'èr bā héng héng 'èr jiǔ nián liǎng nián jiān， ōu měi wén tán shàng zuì lìng rén zhèn jīng、 zuì yǐn qǐ zhēng zhí de shū， dà gài mò guò yú láo lún sī (D． H． Lawrence) de zhè běn《 chá tài lāi fū rén de qíng rén》 liǎo。 gēn zhe， yī jiǔ sān líng nián láo lún sī shì shì。 gài guān lùn dìng， shì jiè wén tán yòu wéi zhè běn shū rè nào liǎo yī fān。 zài xiàn shì jì de xiǎo shuō jiā zhōng， jué méi yòu yī gè xiàng láo lún sī yī yàng， shòu guò shì rén zhè yàng cán kù dì rǔ mà de； ér tóng shí， zài yīng guó xiàn dài zuò jiā zhōng， yào zhǎo dào yī gè xiàng láo lún sī yī yàng de， shòu zhe jīng yīng de qīng nián zhī shí jiē jí suǒ jí duān chóng bài de rén， què shì hǎn jiàn de， láo lún sī de zhè běn shū， bǎ xū wěi de wèi dào zhě men nòng diān liǎo， tā bǎ fǔ bài de jìn dài wén míng de zhēng níng miàn kǒng， tài bù róng qíng dì bào lù liǎo。 dàn shì， láo lún sī què zài zhè xiē“ gǒu rén qióng xiàng” de wèi dào zhě men de diān kuáng fǎn gōng zhī xià， zài zhè zhǒng jìn dài wén míng de xiōng xiǎn de pái jī zhī xià， chéng wéi wú gū de xī shēng zhě： tā de tiān cái de shòu mìng， gěi pái shān dǎo hǎi de cháo fěng hé fěi bàng suǒ jié shù liǎo。 xiàn zài， zhèng rú láo lún láo dòng bǎo hù fū rén shuō，《 chá tài lāi fū rén de qíng rén》 de zuò zhě， shì xiàng yī zhǐ xiǎo niǎo shìde， bèi mái zàng zài zhōng hǎi de càn làn de yáng guāng zhī xià de yī gè jì mò de fén mù lǐ liǎo。 dàn shì， zhè běn wén yì jié gòu， què zài dí rén de chóu hèn de dàn shì wú kě nài hé de chén mò tài dù zhī xià， jì xù tù lù guāng máng， tā bù dàn zài jìn dài wén yì jiè fàng liǎo yī xiàn róng rén de guāng cǎi， ér qiě zài jìn hū hēi 'àn de shēng huó xià， rán qǐ liǎo yī zhǎn guāng liàng de míng dēng。
　　《 chá tài lāi fū rén de qíng rén》 - yǐngpiān jiǎn jiè
　　
　　 gù shì fā shēng zài yī zhàn hòu de yīng gé lán。 cóng zhàn chǎng shàng guī lái de kè lì fú tè。 chá tài lāi jué shì yóu yú zài zhàn zhēng zhōng shòu shāng 'ér dǎo zhì xià bàn shēn tān huàn， zhōng nián zhǐ néng zuò zài lún yǐ shàng。 chá tài lāi hé tā de xīn hūn qī zǐ kāng nī huí dào lǎo jiā de zhuāng yuán， zhǔn bèi guò yī zhǒng yǔ shì wú zhēng de tián yuán shēng huó。 nián qīng mào měi de kāng nī shì yī gè xīn dì shàn liáng de nǚ zǐ， tā míng zhī děng dài zhe zì jǐ de jiāng shì màn cháng gū jì de rì zǐ， què réng rán jiē shòu liǎo mìng yùn de 'ān pái， gān yuàn liú zài zhàng fū shēn biān。
　　
　　 zhè tiān， kāng nī yòu shì qù zhǎo zhuāng yuán de kàn lín rén mǐ 'ěr sī， mǐ 'ěr sī zhèng zài yuàn zǐ kōng dì shàng lín yù。 kāng nī wú yì jiān piē jiàn liǎo tā luǒ lù 'ér jiàn zhuàng de shēn tǐ， bù yóu zài xīn lǐ dàng qǐ yī zhèn lián yī。 mǐ 'ěr sī xiǎn rán yě bèi diǎn yǎ wēn wǎn de kāng nī xī yǐn zhù liǎo。 wèile shǐ jiā zú néng gòu chuán chéng xià qù， kè lì fú tè xiàng kāng nī tí chū， xī wàng tā néng gěi zhè gè jiā shēng gè hái zǐ， dàn què zāo dào kāng nī de duàn rán jù jué。 dāng wǎn de shèng dàn wǔ huì shàng， kè rén mendōu zài jìn qíng kuáng huān， wéi kāng nī dú zuò yī bàng， xīn qíng yù mèn。 bà bà hé mèi mèi dū wéi tā dān xīn， fēn fēn quàn tā yào zhēn xī zì jǐ de qīng chūn， yào shè fǎ kāipì zì jǐ de shēng huó。
　　
　　 zài mèi mèi xī 'ěr dá de bāng zhù xià， kè lì fú tè pìn qǐng liǎo yī wèi guǎ fù bó 'ěr dùn tài tài suí shēn cìhou。 kāng nī yóu cǐ dé yǐ cóng bìng rén shēn bàng tuō shēn， dé dào yī xiē zì yóu shí jiān。 kāng nī jīng cháng dú zì dào lín jiān sàn bù， hé mǐ 'ěr sī yòu liǎo yī xiē jiē chù。 tiān cháng rì jiǔ， liǎng rén zhú jiàn chǎn shēng liǎo gǎn qíng。 kāng nī kāi shǐ yuè lái yuè bù néng rěn shòu chá tài lāi dà zhái zhōng huá lì dàn què kè bǎn cāng bái de shēng huó liǎo， tā jué dé zì jǐ yǐ bèi yā pò dé yǎn yǎn yī xī， tā xiàng wǎng wài miàn de dà zì rán， xiàng wǎng mǐ 'ěr sī shēn shàng huàn fā chū lái de huó lì。 zhōng yú， kāng nī tóu rù liǎo mǐ 'ěr sī de huái bào。 tā men rú chī rú zuì dì zuò 'ài， zhè shì liǎng gè jiàn kāng ròu tǐ zhī jiān de wán mǎn de xìng 'ài、 quán shēn xīn tóu rù de xìng 'ài、 xiāng hù zūn zhòng lǐ jiě shàn yì huí yìng de xìng 'ài， zhè zhǒng xìng 'ài yóu zuì chū chún cuì de ròu tǐ xī yǐn màn màn zhuǎn huà chéng liǎo yī zhǒng líng hún de xiāng hù pèng zhuàng， mǐ 'ěr sī yòng 'ài fǔ yǔ rè qíng shǐ kāng nī biàn chéng liǎo yī gè zhēn zhèng de nǚ rén， kāng nī jīng qí dì fā xiàn zì jǐ shēn shēn 'ài shàng liǎo zhè gè cū lǔ méi yòu wén huà dàn què shēn chén rè qíng de nán zǐ。 kāng nī hé mǐ 'ěr sī chéng liǎo líng yù hé yī de qíng rén， dāng kāng nī wǎn shàng qiāoqiāo dì cóng chá tài lāi dà zhái lǐ páo xiàng zài yī bàng shǒu hòu tā de mǐ 'ěr sī de shí hòu， tā yǐ jīng wán quán chén zuì yú zhè duàn gǎn qíng liǎo。
　　
　　 yī gè yǔ tiān， kāng nī yǔ mǐ 'ěr sī zài lín zhōng xiǎo wū yōu huì。 jī qíng péng pài de kāng nī chōng xiàng wū wài， tuō qù shēn shàng de cháng páo， luǒ zhe shēn tǐ zài yǔ zhōng bēn páo， mǐ 'ěr sī yě huān jiào zhe zhuī liǎo chū qù。 kāng nī wán měi wú xiá de dòng tǐ zài cōng lǜ de sēn lín zhōng xiǎn dé nà me zì rán hé xié， liǎng rén xiàng kuài lè de jīng líng yī yàng zài yǔ zhōng xī xì。 zhī hòu， tā men yòng xiān huā zhuāng diǎn bǐ cǐ， yóu rú huí guī yī diàn yuán de yà dāng yǔ xià wá。 zhè shí， héng gèn zài tā men zhī jiān de děng jí zhàng 'ài zǎo yǐ dàng rán wú cún。
　　
　　 zhōng yú， kāng nī huái shàng liǎo mǐ 'ěr sī de hái zǐ。 zài wài chū lǚ yóu qī jiān， tā bǎ zì jǐ de gù shì tǎn chéng dì gào sù liǎo xī 'ěr dá， xī 'ěr dá duì kāng nī de zuò fǎ bù yǐ wéi rán， hái jī jí dì yào wéi hái zǐ wù sè yī gè guì zú fù qīn， què bèi kāng nī jù jué。 kāng nī nán yǐ gē shè duì mǐ 'ěr sī de sī niàn， tí qián huí dào zhuāng yuán， què fā xiàn mǐ 'ěr sī pò yú yā lì yǐ jīng cí zhí， bìng zāo dào dú dǎ， bèi qiǎn sòng dào kuàng shàng shāo méi。 xī rì de xiǎo mù wū yě yǐ bù zài shì tā men de lè yuán， liǎng rén sì hū yǐ jīng zǒu tóu wú lù。
　　
　　 mǐ 'ěr sī jué xīn lí kāi yīng guó， qù jiā ná dà móu shēng， kāng nī miàn lín jué zé。 zhōng yú， kāng nī xiàng kè lì fú tè tí chū lí hūn， bìng gào sù tā， tā suǒ 'ài de rén shì kàn lín rén mǐ 'ěr sī。 kè lì fú tè dé zhī hòu， yóu rú duò rù xiàn jǐng de kùn shòu， kuáng nù dào：“ tiān nǎ！ nǐ jìng hé wǒ de pú rén fā shēng guān xì！” zuì hòu， kāng nī yǔ mǐ 'ěr sī zhè yī duì duō nán de qíng rén zhōng yú xiāng yù zài qián wǎng jiā ná dà de chuán shàng。 liǎng gè rén de míng tiān shì guāng míng 'ér chōng mǎn xī wàng de， kāng nī fàng qì liǎo yōng róng shē huá dàn què sǐ qì chén chén de guì fù shēng huó， bēn xiàng liǎo zì yóu yǔ 'ài qíng， liǎng gè lái zì bù tóng jiē céng de rén zhōng yú chōng pò shì sú de zhàng 'ài， huò dé xīn shēng。
　　《 chá tài lāi fū rén de qíng rén》 - zuò pǐn bèi jǐng
　　
　　 yuán zhù zài yīng guó bèi jìn 30 nián， chū bǎn gāi shū de qǐ 'é chū bǎn shè bèi kòng chū bǎn yín huì zuò pǐn， zhí zhì 1960 nián cái bèi xuān gào wú zuì， xiǎo shuō yì tóng shí jiě jìn。 yóu yú xiǎo shuō de mǐn gǎn， gēn jù xiǎo shuō gǎi biān de diàn yǐng tóng yàng yǐn qǐ rén men de pǔ biàn guān zhù。
　　
　　 yǐngpiān《 chá tài lāi fū rén de qíng rén》 gēn jù yīng guó 20 shì jì xiǎo shuō jiā dài wèi . hè bó tè . láo lún sī chuàng zuò yú 1928 nián de tóng míng xiǎo shuō gǎi biān。 láo lún sī de zhè bù jīng diǎn míng zhù zì wèn shì qǐ jiù bèi shòu zhēng yì， zài yīng guó bèi jìn 30 nián， dàn què bù fáng 'ài shì rén duì tā de xǐ 'ài hé chuán yuè。 xiǎo shuō céng duō cì bèi bān shàng yín mù， 1992 nián yīng guó dà dǎo yǎn kěn。 lā sài 'ěr shòu BBC diàn shì tái zhī yāo， jiāng qí zài dù bān shàng yín mù， pāi chéng liǎo yī bù cháng dá 4 gè duō xiǎo shí、 zǒng gòng 4 jí de diàn shì jù， bìng jiǎn ji chū yī gè cháng yuē 2 xiǎo shí、 gōng yǐng yuàn fàng yìng de diàn yǐng“ suō jiǎn běn”。
　　　　
　　 běn piàn dǎo yǎn kěn。 lā sài 'ěr yǐ pāi shè yīnyuè jiā zhuànjì piàn 'ér wén míng。 cǐ qián， tā yě céng liǎng dù gǎi biān láo lún sī de xiǎo shuō《 hóng》 hé《 liàn 'ài zhōng de nǚ rén》。
　　《 chá tài lāi fū rén de qíng rén》 - zhù tí sī xiǎng
　　
　　 cóng fú lóu bài de《 bāo fǎ lì fū rén》、 tuō 'ěr sī tài de《 ān nà。 kǎ liè lín nà》 dào láo lún sī de《 chá tài lāi fū rén de qíng rén》， xī fāng xiàn dài xiǎo shuō yī zhí fǎn fù tàn tǎo zhe yī gè zhù tí， jí zài jí jù biàn huà de shè huì zhōng， yǐ hūn nǚ xìng duì shì sú de shè huì jià zhí suǒ zuò de fǎn pàn jí qí hòu guǒ。 běn piàn zài cì yǐ diàn yǐng de xíng shì duì zhè yī zhù tí zuò chū hū yìng。 dǎo yǎn kěn。 lā sài 'ěr lì qiú zhōng shí yú láo lún sī de yuán zhù， bǎo liú liǎo yuán zhù de dà bù fēn qíng jié hé duì bái， zài jié gòu shàng yě méi yòu dà de tiáozhěng， bǐ jiào zhǔn què dì chuán dá chū yuán zhù zhōng suǒ yùn hán de shēn kè zhù tí， yǐ wéi měi de shì jué yǔ yán jiē shì liǎo nǚ xìng dú lì xìng yì shí de zì wǒ méng fā hé zì wǒ jiù shú。 yǐngpiān zài jiē shì nán nǚ qíng 'ài de tóng shí， jiāng xìng 'ài miáo xiě shàng shēng dào zhé xué hé měi xué de gāo dù， bàn suí zhe chì liè de xìng 'ài tǐ yàn de， zé shì duì lì shǐ、 zhèng zhì、 zōng jiào、 jīng jì děng shè huì wèn tí de yán sù sī kǎo。 chá tài lāi fū fù de jié hé shì yī zhǒng bù hé xié de jī xíng hūn yīn。 bàn shēn tān huàn、 shī qù nán xìng néng lì de zhàng fū hé zhèng zhí fāng nián de qī zǐ， zhè shì yī gè cán kù de zǔ hé， hé kuàng kè lì fú tè shì gè xū wěi zì sī de rén， zài tā de xīn mù zhōng， kāng nī zhǐ bù guò shì yī jiàn měi lì de fù yōng hé chuán zōng jiē dài de gōng jù。 kè lì fú tè bù néng mǎn zú kāng nī de zhèng cháng qíng yù， mǐ 'ěr sī zé bāng zhù kāng nī shí xiàn liǎo zì wǒ， huàn xǐng liǎo tā shēn shàng de nǚ xìng běn néng。 zuì zhōng， liǎng rén de qì hé yóu ròu yù zhī 'ài shēng huá dào xīn líng de jiāo róng， kāng nī fǎn pàn liǎo tā suǒ cóng shǔ de nà gè jiē jí， zài nà gè fēng jiàn bǎo shǒu de shí dài， tā de yǒng gǎn xuǎn zé， wú yí jù yòu nǚ xìng gè tǐ de jī jí yì yì。
　　
　　 láo lún sī bì shēng zhì lì yú nán nǚ xìng 'ài tí cái xiǎo shuō de chuàng zuò， tā rèn wéi， xiǎo shuō《 chá tài lāi fū rén de qíng rén》“ zuì hǎo ná gěi suǒ yòu 17 suì de shàonǚ men kàn kàn”。 zài tā kàn lái， rén lèi de xìng 'ài jù yòu zhì gāo wú shàng de jià zhí。 zhè gè shì jiè shàng， kǒng pà zài méi yòu nǎ yī gè zuò jiā néng xiàng láo lún sī nà yàng， yǐ zōng jiào bān de rè chén zàn měi rén jiān xìng 'ài、 yǐ xì nì wēi miào de bǐ chù miáo huì liǎng xìng guān xì zhōng nà zhǒng yù xiān yù sǐ de zhì gāo jìng jiè。 láo lún sī de xiǎo shuō yī xiàng yǐ dà dǎn 'ér xiáng jìn de xìng miáo xiě zhù chēng， dǎo yǎn kěn . lā sài 'ěr yì bù kuì wéi yòng shì jué yǔ yán jiǎng shù gù shì、 biān zhì qíng yù de gāo shǒu， yǐngpiān zhōng xìng 'ài chǎng miàn de zhǎn xiàn bù jǐn hán xù yōu měi， ér qiě fù yòu shī yì， dǎo yǎn méi yòu zài qíng sè chǎng miàn shàng zuò guò duō de xuàn rǎn hé pū chén， zhǐ shì diǎn dào wéi zhǐ， dàn què jiāng rén tǐ yǔ qíng yù shī yì huà， jiāng shī yì shì jué huà， bǎ yǐngpiān zhù rén gōng qíng gǎn gù shì pāi dé huǎng ruò tóng huà xiān jìng。
　　
　　 běn piàn de fú zhuāng hé bù jǐng zhì zuò yě shí fēn kǎo jiū， shēng dòng dì zài xiàn liǎo 20 shì jì chū yè yīng guó shàng liú shè huì de fēng qíng， tōng guò nǚ zhùjué kāng nī nà yī kuǎn kuǎn yōu yǎ jīng zhì de fú shì、 huá lì 'ér kōng dòng de shì nèi bù jǐng， yǐ jí kǎo jiū de yòng jù、 fán suǒ de shēng huó xì jié， fǎn chèn chū shàng liú shè huì rén men jīng shén shàng de kōng xū yǔ cāng bái。
　　《 chá tài lāi fū rén de qíng rén》 - láo lún sī sī yìn、 zì shòu zuò pǐn
　　
　　《 chá tài lāi fū rén de qíng rén》 láo lún sī
　　 suī rán zài xiě chū《 chá tài lāi fū rén de qíng rén》 zhī qián， láo lún sī yǐ yǐ《 cǎi hóng》、《 liàn 'ài zhōng de fù nǚ》、《 ér zǐ yǔ qíng rén》 děng zuò pǐn xiǎng yòu liǎo xiāng dāng míng shēng， kě shì， yǎn xià de zhè bù shū， réng rán jiào chū bǎn shāng、 péng yǒu shèn zhì láo lún sī zì jǐ gǎn dào wéi nán。 zuì hòu， láo lún sī zhǐ hǎo zì jǐ zài yì guó qù sī zì chū bǎn， chū bǎn hòu yòu zì jǐ fā shòu。 dāng rán， zhèng yīn wéi zhè zhǒng xíng shì， yě zuì zǎo dì、 wú xū guān fāng rèn kě dì jiāng zhè bù zhù dìng yào yǐn qǐ xuān rán dà bō de zuò pǐn tuī xiàng liǎo shè huì。
　　　　
　　1926 nián， láo lún sī biàn kāi shǐ liǎo《 chá tài lāi fū rén de qíng rén》 de xiě zuò， bìng zài bù suàn cháng de shí jiān， wán chéng liǎo dì yī gǎo。 dāng shí， tā yǐ jīng zài shì tú lián xì chū bǎn liǎo， kě hěn kuài， tā biàn dǎ xiāo liǎo zhè yàng de xiǎng fǎ。 tā dāng shí de xīn qíng shì máo dùn de。 zài zhì mǒu wèi chū bǎn jiè rén shì de xìn zhōng， tā kāi shǐ liǎo yù xiān de biàn jiě：
　　　　
　　“ guān yú wǒ de xiǎo shuō《 chá tài lāi fū rén de qíng rén》， xiàn zài wǒ zhēn shì zuǒ yòu wéi nán， shì rén jiāng huì rèn wéi zhè bù xiǎo shuō shì bù zhèng pài de。 kě nǐ zhī dào tā bìng fēi bù zhèng pài。 wǒ shǐ zhōng kǔ xīn gū yì dì zài zuò tóng yī jiàn shì qíng， jiù shì shǐ rén men zài tí dào xìng guān xì shí， yìng gǎn dào shì zhèng dāng hé zhēn guì de， ér bù shì xiū kuì。 zhè bù xiǎo shuō shì wǒ zài zhè yī fāng miàn suǒ zuò de jìn yī bù nǔ lì。 zài wǒ kàn lái， xìng shì měi hǎo de、 wēn róu de， dàn yòu rú chì luǒ zhe de rén nà yàng cuì ruò。”
　　　　
　　 láo lún sī réng zài bù tíng dì tiáozhěng zhe zhè bù zuò pǐn， dì 'èr gǎo、 dì sān gǎo …… kě jí shǐ zhè yàng， zài xiàn shí shè huì zhōng， tā réng rán yóu yú zhè bù zuò pǐn 'ér zhāo zhì má fán， tā shèn zhì zhǎo bù dào wèitā fú wù de dǎ zì yuán。 láo lún sī dāng shí zhù zài yì dà lì de fó luó lún sà， zuì xiān tā zhǎo dào dāng dì yī wèi yuàn yì tì tā dǎ zì de nǚ zǐ， kě zài dǎ dào dì wǔ zhāng shí， zhè wèi nǚ zǐ bùgànliǎo， jiāng gǎo zǐ tuì liǎo huí lái， shuō tā bù néng zài dǎ xià qù， yīn wéi zuò pǐn nèi róng tài wū huì、 āng zàng……
　　　　
　　 miàn duì zhè yàng de fǎn yìnghè zì jǐ de xīn lǐ yù qī， láo lún sī yī dù bù xiǎng chū bǎn zhè bù zuò pǐn， kě shì， yī fāng miàn yóu yú jīng jì yā lì， yī fāng miàn jī yú tā juéjiàng de xìng gé， zài 1927 nián 11 yuè shí， láo lún sī kāi shǐ shì tú sī xià yìn zhì《 chá tài lāi fū rén de qíng rén》 liǎo。 yóu yú zì jǐ de xīn lǐ yù gǎn， tā zàn shí bù zhǐ wàng zài yīng yǔ shì jiè de yīng guó huò měi guó móu qiú chū bǎn， ér dǎ suàn zài yì dà lì jiāng tā yìn chū lái。 yuán yīn chú qù fó luó lún sà de yìn shuà hěn piányí， hái yòu shēn chù yì dì， qǐ mǎ bù zhì yú zài yìn shuà shí biàn yǐn qǐ bù bì yào de má fán。
　　　　
　　 àn láo lún sī dāng shí de dǎ suàn， zì jǐ sī xià yìn zhì， dì yī cì yìn shuà shàng 700 bù， měi cè dìng jià liǎng gè jī ní（ dāng shí měi jī ní xiāng dāng 21 xiān lìng）， zhè yàng xià lái， jiù huì zuàn dào 600 dào 700 yīng bàng。 zhè zài dāng shí shì yī bǐ bù xiǎo de shōu rù liǎo。 bù jiǔ， duì cǐ shū xiāo shòu de gū jì hé zì jǐ jīng jì jié jù de yā pò， láo lún sī yòu xiǎng tí gāo yìn shù héng héng 1000 bù。 àn zhào xiān qián dìng jià， tā jiù kě yǐ zuàn dào 1000 yīng bàng。 wèile néng gòu wéi dú zhě jiē shòu， tā shèn zhì yī dù dǎ suàn jiāng zhè bù zuò pǐn míng zì gǎi wéi《 róu qíng mì yì》 huò《 yuē hàn tuō mǎ sī hé jiǎn fū rén》， yīn wéi zhè yàng kàn qǐ lái méi yòu《 chá tài lāi fū rén de qíng rén》 nà yàng cì yǎn。
　　　　
　　 zài《 chá tài lāi fū rén de qíng rén》 jiāo fù chū bǎn shāng zhī qián， láo lún sī ràng jǐ wèi yǒu rén dú liǎo zhè bù shū gǎo。 fǎn yìng bù yī， yòu qiáng liè fǎn chā。 yī xiē péng yǒu rèn wéi zhè bù shū bù cuò， shuō tā men“ fēi cháng xǐ huān zhè běn shū”； yī wèi nǚ shì zài dú dào zhè bù xiǎo shuō hòu què“ dà fā léi tíng” héng héng dào dé shàng de fèn nù。 zhè fǎn yìng shǐ láo lún sī gǎn dào yòu qù qǐ lái。 tā gěi lìng yī wèi hái wèi dú dào cǐ shū de yǒu rén shuō：“ wǒ xī wàng nǐ bù huì tǎo yàn zhè bù xiǎo shuō héng héng jìn guǎn nǐ hěn kě néng bù xǐ huān tā。 zhè bù xiǎo shuō běn shēn jiù shì yīcháng gé mìng héng héng yī kē xiǎo xiǎo de zhà dàn。”
　　　　
　　 láo lún sī zhōng yú yào jiāng zhè zhà dàn yǐn bào liǎo。 jiāo chū shū gǎo jǐ tiān zhī hòu， láo lún sī biàn zhì hán měi guó shī rén wēi tè bīn nà。 tā men liǎng rén céng jīng yī qǐ qù mò xī gē lǚ xíng guò。 zài xìn zhōng， láo lún sī xī wàng tā néng gòu wèicǐ shū zuò yī xiē xiāo shòu gōng zuò。 zài gěi lìng yī wèi zhù zài niǔ yuē de hàn mì 'ěr dùn āi mǔ sī fū rén de xìn lǐ， láo lún sī yě xī wàng tā néng bāng zhù xiāo shòu zhè bù zuò pǐn：“ zhè shì yī bù wēn róu de， shēng zhí qì de xiǎo shuō。 xiàn zài nǐ jié hūn liǎo， zì rán huì lǐ jiě tā de。 yóu yú shì sú de gōng zhòng róng bù dé duì shēng zhí qì de miáo xiě， wǒ zhǐ dé zài zhè lǐ chū bǎn zhè bù xiǎo shuō。 rú guǒ nǐ bù xián má fán， qǐng bǎ nà xiē dìng dān sàn fā gěi nà xiē yuàn yì gòu mǎi zhè bù xiǎo shuō de rén men。 wǒ rèn wéi zhè bù xiǎo shuō shì zhí dé yī mǎi de。” zài gěi tā zài měi guó de wén xué dài lǐ rén kē dì sī bù lǎng de xìn zhōng， láo lún sī xiě de zhí jié dé duō：“ wǒ zhēn xī wàng zhè bù xiǎo shuō néng mài chū yī qiān cè， huò zhě mài chū qù dà bù fēn， fǒu zé wǒ jiù huì pò chǎn。 wǒ xiǎng zhí jiē bǎ shū gěi gòu mǎi zhě jì qù。 wǒ zhǔn bèi gěi nǐ jì shàng yī xiē dìng dān， nǐ néng fǒu wèiwǒ zhǎo yī xiē dìng gòu zhě？ zhǐ yào tā men jì lái liǎng yīng bàng， wǒ jiù huì bǎ shū jì gěi tā men。” dāng rán， gèng duō de dìng dān jì wǎng liǎo yīng guó， zhè bì jìng shì láo lún sī de zǔ guó。 jìn guǎn tā zhī dào zhè kē“ zhà dàn” de wēi lì， kě zhè lǐ yě kě néng yòu gèng duō de zhī yīn。
　　　　
　　 láo lún sī suǒ xún zhǎo de fó luó lún sà zhè jiā yìn shuà chǎng， qià hǎo yìn shuà shāng hé yìn shuà chǎng dōuméi yòu rén dǒng dé yīng wén。 zài láo lún sī kàn lái， zhè dǎo chéng liǎo zì jǐ de“ fú qì”。 zhè jiā yìn shuà chǎng quán bù shǒu gōng cāo zuò， pái zì hěn zǎi xì， yòng de yě shì yī zhǒng jīng zhì de shǒu gōng zhì zuò de yì dà lì zhǐ zhāng， suǒ yǐ， yìn chū de shū xiào guǒ shí fēn xī yǐn rén。 láo lún sī zì jǐ wéi zhè bù xiǎo shuō shè jì fēng miàn： xià bù shì huǒ yàn fēi yáng de hóng sè dǐ zǐ， zhōng jiān yī zhǐ hēi sè de fèng huáng tú 'àn， pō yòu“ fèng huáng niè pán” de wèi dào。 zhè gè tú 'àn， hòu lái zhèng shì chū bǎn de qǐ 'é bǎn fēng miàn yě yán yòng liǎo xià lái。
　　　　
　　 hěn kuài， láo lún sī de nǔ lì dé dào huí bào。 xiān shì tā de zǔ guó héng héng yīng guó héng héng jì lái liǎo duō fèn xiǎo shuō dìng dān， rán hòu shì měi guó， dìng dān yě zài zhú jiàn jì huí。 zhè biān， láo lún sī zài jǐn zhāng dì jiàoduì qīng yàng。 4 yuè、 5 yuè、 6 yuè…… dào liǎo 28 rì zhè yī tiān， zhè bù zhù dìng yào yǐn fā dà zhèn dòng de shū héng héng《 chá tài lāi fū rén de qíng rén》， àn zhào láo lún sī zì jǐ jiān chí de shū míng chū bǎn liǎo。
　　　　
　　 zài láo lún sī zǔ guó de yīng guó， dāng shí rén men guān niàn hái xiāng dāng bǎo shǒu， suǒ yǐ， bāng zhù tā tuī xiāo gāi shū de péng yǒu， shì mào zhe bèi pàn gāo 'é fá kuǎn de wēi xiǎn lái gōng zuò de。 yī wèi yīng guó de péng yǒu hòu lái huí yì shuō， láo lún sī dāng shí gěi tā men de xuān chuán cí wéi： zhè shì yī bù wěi dà de zhù zuò， shì“ èr shí shì jì guāng róng de xiàng zhēng。” zhè yě xǔ shì jī fā tā men gān mào fēng xiǎn de yuán yóu zhī yī。 hěn kuài， yīng guó de dú zhě chǎn shēng liǎo fǎn yìng。 jiē dào yǒu rén gào zhī xiāo xī de diàn bào， láo lún sī jì jǐn zhāng yòu xīng fèn： zhè bù xiǎo shuō xiàng yī kē zhà dàn， zài wǒ dà duō shù yīng guó péng yǒu zhōng jiān bào zhà kāi lái， tā men xiàn zài réng rěn shòu zhe dàn zhèn zhèng de tòng kǔ。“ wǒ gǎn dào wǒ yǐ rēng chū qù yī kē zhà dàn， lái hōng zhà tā men xū wěi de xìng gǎn hé xū wěi xìng……”
　　　　
　　 bù guò， yī bù fēn jì wǎng měi guó de yóu jiàn bèi kòu zhù liǎo。 kě yī qiē yǐ jīng wú fǎ zǔ lán。 shū shí fēn hǎo xiāo， láo lún sī jiā yìn 200 cè lái yìng fù， qí yú de， jiù zhǐ néng kàn zhe dào yìn běn héng xíng shì chǎng， jiè cǐ dà zuàn qí qián liǎo。 dì yī pī shū jì dào měi guó bù dào yī gè yuè， tōu yìn běn biàn chū lái liǎo。 yóu yú tōu yìn běn fǎng zhì shuǐ píng hěn gāo， lián shū diàn lǎo bǎn dū biàn rèn bù chū， bìng qiě shòu jià gāo yú yuán bǎn： shí wǔ yuán， ér yuán bǎn jià jǐn shí yuán。 hěn kuài， dì 'èr zhǒng、 dì sān zhǒng…… dào yìn běn zài niǔ yuē chū xiàn liǎo。 hěn kuài， lún dūn hé bā lí，《 chá tài lāi fū rén de qíng rén》 de dào yìn běn chū lóng liǎo， shòu jià gāo dá měi běn sān yīng bàng huò liǎng yīng bàng。
　　　　
　　 bā lí yī jiā shū diàn， yī kǒu qì zì yìn liǎo 1500 cè， chōng chì shì chǎng。 láo lún sī zhǎo lái yī běn kàn kàn， zhǐ néng kǔ xiào， yīn wéi dào yìn běn hái hěn rèn zhēn dì jiāng yuán bǎn zhōng de yī xiē cuò wù gěi gǎi zhèng liǎo。 kě zhè běn yìn zhì hěn bù cuò de shū méi yòu gěi láo lún sī dài lái rèn hé xiào yì。 tā pī fā gěi shū diàn shì měi běn 100 fǎ láng， mài gěi dú zhě chéng liǎo 300、 400 shèn zhì 500 fǎ láng。 zhè xiē 'ōu zhōu de dào yìn zhě shèn zhì xiàng láo lún sī tí chū jiàn yì， xī wàng néng gòu gěi tā men shòu quán， chéng rèn tā men de yìn běn。 zhè yàng， láo lún sī jiù kě yǐ zài dào yìn běn zhōng， chōu qǔ yī xiē bǎn shuì。 běn lái， láo lún sī jīhū dū tóng yì liǎo zhè xiàng jiàn yì， kě zì zūn xīn zuì hòu zǔ zhǐ liǎo tā。 tā zhǐ néng jué yì zài fǎ guó chū yī zhǒng zì jǐ rèn kě de bǎn běn。 zì jǐ zǔ guó héng héng yīng guó de fā hángjiā， quàn láo lún sī jiāng gāi shū jiā yǐ shān gǎi， chū yī gè“ jié běn”， bìng dāyìng gěi tā fēng hòu de bào chóu， kě láo lún sī wú fǎ jiē shòu， tā rèn wéi， nà yàng“ jiù děng yú yòng jiǎn dāo cái jiǎn wǒ zì jǐ de bí zǐ。 shū liúxiě liǎo。”
　　　　
　　 kě bù guǎn zěn me shuō， láo lún sī yǐ sī yìn、 zì shòu de fāng shì tuī chū《 chá tài lāi fū rén de qíng rén》， xiàn zài kàn lái réng rán shì chǔlǐ dé dāng de yī jiàn shì。 rú rén men suǒ zhī， gāi shū hòu lái bèi chá jìn duō nián， chū bǎn shè zhèng shì chū bǎn quán běn（ qí jiān yòu shān jié běn yìn chū）， yǐ shì jǐ shí nián zhī hòu de shì qíng。 dāng chū cháng ruò láo lún sī bù cǎi qǔ sī yìn， zì shòu fāng shì， nà me， tā zài yòu shēng zhī nián（ shū chū bǎn liǎng nián zhī hòu de 1930 nián 2 yuè， zhè wèi jí jù cái huá de zuò jiā bìng shì）， jué rán jiàn bù dào zhè bù zuò pǐn wèn shì。 zhī hòu， yī qiē shì qíng jué nán yù liào。 yě xǔ， tā de shǒu gǎo huì suí shí yān miè； nà me， yī bù zhù dìng yào yǐn qǐ gōng zhòng xīng qù， fǎ tíng biàn lùn， wén xué jiè cháng qī tǎo lùn de zhù shù， jiù kě néng yǒng jiǔ zài hēi 'àn zhōng chénmò。 zuì qǐ mǎ， huì tuī chí shù shí nián wèn shì。 zhè zhǒng jiēguǒ， huò xǔ zuò zhě běn rén yǐ yòu yù gǎn， suǒ yǐ， cǎi qǔ fēi zhèng cháng shǒu duàn jí shí tuī chū tā， shì shí fēn bì yào de。
　　　　
　　 qí cì，《 chá tài lāi fū rén de qíng rén》 de chū bǎn， jǐn jǐn cóng jīng jì jiǎo dù kǎo lǜ， tā yě dá dào liǎo shǐ láo lún sī bǎi tuō kùn jiǒng de mùdì。 jìn guǎn hòu lái dào yìn běn cóng zhōng shǔn xī liǎo zuò zhě dà liàng de xīn xuè， kě yī qiān duō bù yìn běn réng rán wèitā zuàn liǎo yī qiān duō yīng bàng。 zhè gè shù mù， zài dāng shí shì xiāng dāng dà de。 zhè shǐ hěn cháng yī duàn shí jiān nèi， láo lún sī kě yǐ zì zú dì duì péng yǒu shuō：“ suǒ yǐ wǒ xiàn zài bù chóu méi qián yòng liǎo。”
　　
　　 zài jīn tiān kàn lái， láo lún sī chǎn shēng zuì dà yǐng xiǎng de zuò pǐn， yǐ rán shì zhè cè《 chá tài lāi fū rén de qíng rén》。 zhè bù zuò pǐn， zài duō gè guó jiā， zài xiāng dāng cháng shí jiān， bèi jìn zhǐ chū bǎn。 zài zuò zhě jiā xiāng běn tǔ de yīng guó， zhè bù shū shèn zhì bèi tuī shàng fǎ tíng。 yǐ gāi shū chū bǎn bā shí nián hòu de jīn tiān yǎn guāng kàn，《 chá tài lāi fū rén de qíng rén》 hái shì rú zuò zhě zì jǐ rèn shí de：“ shì zhèng dāng hé zhēn guì de”， jí shǐ zài xìng de miáo xiě shàng， tā yě shì“ wēn róu、 mǐn gǎn”， shèn zhì shì chéng zhì de。 cóng zhè xiē fāng miàn qù rèn shí， dāng nián láo lún sī yǐ sī yìn、 zì shòu de fāng shì fā xíng cǐ shū， kě yǐ shuō yì yì fēi cháng。

　　Lady Chatterley's Lover is a novel by D. H. Lawrence, first published in 1928. The first edition was printed in Florence, Italy; it could not be published openly in the United Kingdom until 1960. (A private edition was issued by Inky Stephensen's Mandrake Press in 1929). The book soon became notorious for its story of the physical relationship between a working-class man and an aristocratic woman, its explicit descriptions of sex, and its use of (at the time) unprintable words.
　　
　　The story is said to have originated from events in Lawrence's own unhappy domestic life, and he took inspiration for the settings of the book from Eastwood in Nottinghamshire where he grew up. According to some critics, the fling of Lady Ottoline Morrell with "Tiger", a young stonemason who came to carve plinths for her garden statues, also influenced the story. Lawrence at one time considered calling the novel Tenderness and made significant alterations to the text and story in the process of its composition. It has been published in three different versions.
　　
　　Plot introduction
　　
　　The story concerns a young married woman, Constance (Lady Chatterley), whose upper-class husband, Clifford Chatterley, has been paralyzed and rendered impotent. Her sexual frustration leads her into an affair with the gamekeeper, Oliver Mellors. This novel is about Constance's realization that she cannot live with the mind alone; she must also be alive physically.
　　Main characters
　　
　　 * Lady Chatterley is the protagonist of the novel. Before her marriage, she is simply Constance Reid, an intellectual and social progressive from a Scottish bourgeois family, the daughter of Sir Malcolm and the sister of Hilda. When she marries Clifford Chatterley, a minor nobleman, Constance (or, as she is known throughout the novel, Connie) assumes his title, becoming Lady Chatterley. Lady Chatterley's Lover chronicles Connie's maturation as a woman and as a sensual being. She comes to despise her weak, ineffectual husband, and to love Oliver Mellors, the gamekeeper on her husband's estate. In the process of leaving her husband and conceiving a child with Mellors, Lady Chatterley moves from the heartless, bloodless world of the intelligentsia and aristocracy into a vital and profound connection rooted in sensuality and sexual fulfillment.
　　 * Oliver Mellors is the lover in the novel's title. Mellors is the gamekeeper on Clifford Chatterley's estate, Wragby Hall. He is aloof, sarcastic, intelligent and noble. He was born near Wragby, and worked as a blacksmith until he ran off to the army to escape an unhappy marriage. In the army, he rose to become a commissioned lieutenant — an unusual position for a member of the working classes — but was forced to leave the army because of a case of pneumonia, which left him in poor health. Surprisingly, we learn from different characters' accounts that Mellors was in fact finely educated in his childhood, has good table manners, is an extensive reader, and can speak English 'like a gentleman', but chooses to behave like a commoner and speak broad Derbyshire dialect, probably in an attempt to fit into his own community. Disappointed by a string of unfulfilling love affairs, Mellors lives in quiet isolation, from which he is redeemed by his relationship with Connie: the passion unleashed by their lovemaking forges a profound bond between them. At the end of the novel, Mellors is fired from his job as gamekeeper and works as a laborer on a farm, waiting for a divorce from his old wife so he can marry Connie. Mellors is a man with an innate nobility but who remains impervious to the pettiness and emptiness of conventional society, with access to a primal flame of passion and sensuality.
　　 * Clifford Chatterley is Connie's husband. Clifford Chatterley is a young, handsome baronet who becomes paralyzed from the waist down during World War I. As a result of his injury, Clifford is impotent. He retires to his familial estate, Wragby Hall, where he becomes first a successful writer, and then a powerful businessman. But the gap between Connie and him grows ever wider; obsessed with financial success and fame, he is not truly interested in love, and she feels that he has become passionless and empty. He turns for solace to his nurse and companion, Mrs. Bolton, who worships him as a nobleman even as she despises him for his casual arrogance. Clifford is portrayed as a weak, vain man, but declares his right to rule the lower classes, and he soullessly pursues money and fame through industry and the meaningless manipulation of words. His impotence is symbolic of his failings as a strong, sensual man, and could also represent the increasing loss of importance and influence of the ruling classes in a modern world.
　　 * Mrs. Bolton, also known as Ivy Bolton, is Clifford's nurse and caretaker. She is a competent, still-attractive middle-aged woman. Years before the action in this novel, her husband died in an accident in the mines owned by Clifford's family. Even as Mrs. Bolton resents Clifford as the owner of the mines — and, in a sense, the murderer of her husband — she still maintains a worshipful attitude towards him as the representative of the upper class. Her relationship with Clifford - she simultaneously adores and despises him, while he depends and looks down on her - is probably one of the most complex relationships in the novel.
　　 * Michaelis is a successful Irish playwright with whom Connie has an affair early in the novel. Michaelis asks Connie to marry him, but she decides not to, realizing that he is like all other intellectuals: a slave to success, a purveyor of vain ideas and empty words, passionless.
　　 * Hilda Reid is Connie's older sister by two years, the daughter of Sir Malcolm. Hilda shared Connie's cultured upbringing and intellectual education. She remains unliberated by the raw sensuality that changed Connie's life. She disdains Connie's lover, Mellors, as a member of the lower classes, but in the end she helps Connie to leave Clifford.
　　 * Sir Malcolm Reid is the father of Connie and Hilda. He is an acclaimed painter, an aesthete and a bohemian who despises Clifford for his weakness and impotence, and who immediately warms to Mellors.
　　 * Tommy Dukes, one of Clifford's contemporaries, is a brigadier general in the British Army and a clever and progressive intellectual. Lawrence intimates, however, that Dukes is a representative of all intellectuals: all talk and no action. Dukes speaks of the importance of sensuality, but he himself is incapable of sensuality and uninterested in sex. Of Clifford's circle of friends, he is the one who Connie becomes closest to.
　　 * Duncan Forbes is an artist friend of Connie and Hilda. Forbes paints abstract canvases, a form of art Mellors seems to despise. He once loved Connie, and Connie originally claims to be pregnant with his child.
　　 * Bertha Coutts, although never actually appearing in the novel, has her presence felt. She is Mellors' wife, separated from him but not divorced. Their marriage faltered because of their sexual incompatibility: she was too rapacious, not tender enough. She returns at the end of the novel to spread rumors about Mellors' infidelity to her, and helps get him fired from his position as gamekeeper. As the novel concludes, Mellors is in the process of divorcing her.
　　
　　Themes
　　
　　In Lady Chatterley's Lover, Lawrence comes full circle to argue once again for individual regeneration, which can be found only through the relationship between man and woman (and, he asserts sometimes, man and man). Love and personal relationships are the threads that bind this novel together. Lawrence explores a wide range of different types of relationships. The reader sees the brutal, bullying relationship between Mellors and his wife Bertha, who punishes him by preventing his pleasure. There is Tommy Dukes, who has no relationship because he cannot find a woman whom he respects intellectually and, at the same time, finds desirable. There is also the perverse, maternal relationship that ultimately develops between Clifford and Mrs. Bolton, his caring nurse, after Connie has left.
　　Mind and body
　　
　　Richard Hoggart argues that the main subject of Lady Chatterley's Lover is not the sexual passages that were the subject of such debate but the search for integrity and wholeness. Key to this integrity is cohesion between the mind and the body for "body without mind is brutish; mind without body...is a running away from our double being." Lady Chatterley's Lover focuses on the incoherence of living a life that is "all mind", which Lawrence saw as particularly true among the young members of the aristocratic classes, as in his description of Constance's and her sister Hilda's "tentative love-affairs" in their youth:
　　
　　 So they had given the gift of themselves, each to the youth with whom she had the most subtle and intimate arguments. The arguments, the discussions were the great thing: the love-making and connexion were only sort of primitive reversion and a bit of an anti-climax.
　　
　　The contrast between mind and body can be seen in the dissatisfaction each has with their previous relationships: Constance's lack of intimacy with her husband who is "all mind" and Mellors's choice to live apart from his wife because of her "brutish" sexual nature. These dissatisfactions lead them into a relationship that builds very slowly and is based upon tenderness, physical passion, and mutual respect. As the relationship between Lady Chatterley and Mellors develops, they learn more about the interrelation of the mind and the body; she learns that sex is more than a shameful and disappointing act, and he learns about the spiritual challenges that come from physical love.
　　
　　Neuro-psychoanalyst Mark Blechner identifies the "Lady Chatterley phenomenon" in which the same sexual act can affect people in different ways at different times, depending on their subjectivity. He bases it on the passage in which Lady Chatterley feels disengaged from Mellors and thinks disparagingly about the sex act: "And this time the sharp ecstasy of her own passion did not overcome her; she lay with hands inert on his striving body, and do what she might, her spirit seemed to look on from the top of her head, and the butting of his haunches seemed ridiculous to her, and the sort of anxiety of his penis to come to its little evacuating crisis seemed farcical. Yes, this was love, this ridiculous bouncing of the buttocks, and the wilting of the poor insignificant, moist little penis." Shortly thereafter, they make love again, and this time, she experiences enormous physical and emotional involvement: "And it seemed she was like the sea, nothing but dark waves rising and heaving, heaving with a great swell, so that slowly her whole darkness was in motion, and she was ocean rolling its dark, dumb mass."
　　Class system and social conflict
　　
　　Besides the evident sexual content of the book, Lady Chatterley’s Lover also presents some views on the British social context of the early 20th century. For example, Constance’s social insecurity, arising from being brought up in an upper middle class background, in contrast with Sir Clifford’s social self-assurance, becomes more evident in passages such as:
　　
　　 Clifford Chatterley was more upper-class than Connie. Connie was well-to-do intelligentsia, but he was aristocracy. Not the big sort, but still it. His father was a baronet, and his mother had been a viscount’s daughter.
　　
　　There are also signs of dissatisfaction and resentment of the Tevershall coal pit’s workers, the colliers, against Clifford, who owned the mines. By the time Clifford and Connie had moved to Wragby Hall, Clifford's father's estate in Nottinghamshire, the coal industry in England seemed to be in decline, although the coal pit still was a big part in the life of the neighbouring town of Tevershall. References to the concepts of anarchism, socialism, communism, and capitalism permeate the book. Union strikes were also a constant preoccupation in Wragby Hall. An argument between Clifford and Connie goes:
　　
　　 ‘’Oh good!, said Connie. “If only there aren’t more strikes!”
　　
　　 “What would be the use of their striking again! Merely ruin the industry, what’s left of it; and surely the owls are beginning to see it!”
　　
　　 “Perhaps they don’t mind ruining the industry,” said Connie.
　　
　　 “Ah, don’t talk like a woman! The industry fills their bellies, even if it can’t keep their pockets quite so flush,” he said, using turns of speech that oddly had a twang of Mrs. Bolton.
　　
　　The most obvious social contrast in the plot, however, is that of the affair of an aristocratic woman (Connie) with a working class man (Mellors). Mark Schorer, an American writer and literary critic, considers a familiar construction in D.H. Lawrence's works the forbidden love of a woman of relatively superior social situation who is drawn to an "outsider" (a man of lower social rank or a foreigner), in which the woman either resists her impulse or yields to it. Schorer believes the two possibilities were embodied, respectively, in the situation into which Lawrence was born, and that into which Lawrence married, therefore becoming a favorite topic in his work.
　　Controversy
　　
　　An authorized abridgment of Lady Chatterley's Lover that was heavily censored was published in America by Alfred E. Knopf in 1928. This edition was subsequently reissued in paperback in America both by Signet Books and by Penguin Books in 1946.
　　British obscenity trial
　　
　　When the full unexpurgated edition was published by Penguin Books in Britain in 1960, the trial of Penguin under the Obscene Publications Act of 1959 was a major public event and a test of the new obscenity law. The 1959 act (introduced by Roy Jenkins) had made it possible for publishers to escape conviction if they could show that a work was of literary merit. One of the objections was to the frequent use of the word "fuck" and its derivatives. Another objection involves the use of the word "cunt".
　　
　　Various academic critics and experts of diverse kinds, including E. M. Forster, Helen Gardner, Richard Hoggart, Raymond Williams and Norman St John-Stevas, were called as witnesses, and the verdict, delivered on 2 November 1960, was "not guilty". This resulted in a far greater degree of freedom for publishing explicit material in the United Kingdom. The prosecution was ridiculed for being out of touch with changing social norms when the chief prosecutor, Mervyn Griffith-Jones, asked if it were the kind of book "you would wish your wife or servants to read".
　　
　　The Penguin second edition, published in 1961, contains a publisher's dedication, which reads: "For having published this book, Penguin Books were prosecuted under the Obscene Publications Act, 1959 at the Old Bailey in London from 20 October to 2 November 1960. This edition is therefore dedicated to the twelve jurors, three women and nine men, who returned a verdict of 'Not Guilty' and thus made D. H. Lawrence's last novel available for the first time to the public in the United Kingdom."
　　
　　In 2006, the trial was dramatised by BBC Wales as The Chatterley Affair.
　　Australia
　　Main article: Censorship in Australia
　　
　　Not only was the book banned in Australia, but a book describing the British trial, The Trial of Lady Chatterley, was also banned. A copy was smuggled into the country and then published widely. The fallout from this event eventually led to the easing of censorship of books in the country, although the country still retains the Office of Film and Literature Classification. In early October 2009, the federal institution of Australia Post banned the sale of this book in their stores and outlets claiming that books of this nature don't fit in with the 'theme of their stores'.
　　Canada
　　
　　In 1945, McGill University Professor of Law and Canadian modernist poet F. R. Scott appeared before the Supreme Court of Canada to defend Lady Chatterley's Lover from censorship. However, despite Scott's efforts, the book was banned in Canada for 30 years due to concerns about its use of "obscene language" and explicit depiction of sexual intercourse. On November 15, 1960 an Ontario panel of experts, appointed by Attorney General Kelso Roberts, found that novel was not obscene according to the Canadian Criminal Code.
　　United States
　　
　　In 1930, Senator Bronson Cutting proposed an amendment to the Smoot-Hawley Tariff Act, which was then being debated, ending the practice of having U.S. Customs censor allegedly obscene books imported to U.S. shores. Senator Reed Smoot vigorously opposed such an amendment, threatening to publicly read indecent passages of imported books in front of the Senate. Although he never followed through, he included Lady Chatterley's Lover as an example of an obscene book that must not reach domestic audiences, declaring "I've not taken ten minutes on Lady Chatterley's Lover, outside of looking at its opening pages. It is most damnable! It is written by a man with a diseased mind and a soul so black that he would obscure even the darkness of hell!"
　　
　　Lady Chatterley's Lover was one of a trio of books (the others being Tropic of Cancer and Fanny Hill), the ban on which was fought and overturned in court with assistance by lawyer Charles Rembar in 1959.
　　
　　A French film (1955) based on the novel and released by Kingsley Pictures was in the United States the subject of attempted censorship in New York on the grounds that it promoted adultery. The Supreme Court held that the law prohibiting its showing was a violation of the First Amendment's protection of Free Speech.
　　
　　The book was famously distributed in the U.S. by Frances Steloff at the Gotham Book Mart, in defiance of the book ban.
　　Japan
　　
　　The publication of a full translation of Lady Chatterley's Lover by Ito Sei in 1950 led to a famous obscenity trial in Japan, extending from May 8, 1951 to January 18, 1952, with appeals lasting to March 13, 1957. Several notable literary figures testified for the defense, but the trial ultimately ended in a guilty verdict with a ¥100,000 for Ito and a ¥250,000 fine for his publisher.
　　India
　　
　　In 1964, bookseller Ranjit Udeshi in Bombay was prosecuted under Sec. 292 of the Indian Penal Code (sale of obscene books) for selling an unexpurgated copy of Lady Chatterley's Lover.
　　
　　Ranjit D. Udeshi v. State of Maharashtra (AIR 1968 SC 881) was eventually laid before a three-judge bench of the Supreme Court of India, where Chief Justice Hidayatullah declared the law on the subject of when a book can be regarded as obscene and established important tests of obscenity such as the Hicklin test.
　　
　　The judgement upheld the conviction, stating that:
　　
　　 When everything said in its favour we find that in treating with sex the impugned portions viewed separately and also in the setting of the whole book pass the permissible limits judged of from our community standards and as there is no social gain to us which can be said to preponderate, we must hold the book to satisfy the test we have indicated above.
　　
　　Cultural influence
　　
　　In the United States, the free publication of Lady Chatterley's Lover was a significant event in the "sexual revolution". At the time, the book was a topic of widespread discussion and a byword of sorts. In 1965, Tom Lehrer recorded a satirical song entitled "Smut", in which the speaker in the song lyrics cheerfully acknowledges his enjoyment of such material; "Who needs a hobby like tennis or philately?/I've got a hobby: rereading Lady Chatterley."
　　
　　British poet Philip Larkin's poem "Annus Mirabilis" begins with a reference to the trial:
　　
　　Sexual intercourse began
　　In nineteen sixty-three
　　(which was rather late for me) -
　　Between the end of the "Chatterley" ban
　　And The Beatles' first LP.
　　
　　By the 1970s, the story had become sufficiently safe in Britain to be parodied by Morecambe and Wise; a "play wot Ernie wrote" was obviously based on it, with Michele Dotrice as the Lady Chatterley figure. Introducing it, Ernie explained that his play was "about a man who has an accident with a combine harvester, which unfortunately makes him impudent".
　　Standard editions
　　
　　 * Lady Chatterley's Lover (1928), edited by Michael Squires, Cambridge University Press, 1993, ISBN 0-521-22266-4.
　　 * The First and Second Lady Chatterley Novels, edited by Dieter Mehl and Christa Jansohn, Cambridge University Press, 1999, ISBN 0-521-47116-8. These two books, The First Lady Chatterley and John Thomas and Lady Jane were earlier drafts of Lawrence's last novel.
　　 * The Second Lady Chatterley's Lover, Oneworld Classics 2007, ISBN 978-1-84749-019-3
　　
　　In 1946 an English hardcover edition, copyright Jan Förlag, was published by Victor Pettersons Bokindustriaktiebolag Stockholm, Sweden. It is marked "Unexpurgated authorized edition". A paperback edition followed in 1950.
　　Adaptations
　　Radio
　　
　　Lady Chatterley's Lover has been adapted for BBC Radio 4 by acclaimed writer Michelene Wandor and was first broadcast in September 2006.
　　Film and television
　　
　　Lady Chatterley's Lover has been adapted for film several times:
　　
　　 * In 1955, starring Danielle Darrieux; was banned in the United States.
　　 * In 1961, actor Michael Gough, playing a seemingly sinister but ultimately heroic butler named Fisk, is seen reading Lady Chatterley's Lover in the British horror comedy film What a Carve Up! (aka No Place Like Homicide! in the USA).
　　 * 1981 film version by Just Jaeckin starring Sylvia Kristel and Nicholas Clay.
　　 * In 1993 a lengthy television mini-series entitled Lady Chatterley directed by Ken Russell starring Joely Richardson and Sean Bean for BBC Television. This film incorporates some material from the longer second version John Thomas and Lady Jane.
　　 * In 1998, Viktor Polesný filmed a Czech-Language television version with Zdena Studenková (Constance), Marek Vašut (Clifford) and Boris Rösner (Mellors).
　　 * In 2006, the French director Pascale Ferran filmed a French-Language version with Marina Hands as Constance and Jean-Louis Coulloc'h as the game keeper, which won the Cesar Award for Best Film in 2007. Marina Hands was awarded best actress at the 2007 Tribeca Film Festival. The film was based on John Thomas and Lady Jane, Lawrence's second version of the story. It was broadcast on the French television channel Arte on 22 June 2007 as Lady Chatterley et l'homme des bois (Lady Chatterley and the Man of the Woods).
　　
　　Theatre
　　
　　Lawrence's novel was successfully dramatised for the stage in a three-act play by a young British playwright named John Harte. Although produced at The Arts Theatre in London in 1961 (and elsewhere later on), his play was written in 1953. It was the only D. H. Lawrence novel ever to be staged and his dramatisation was the only one to be read and approved by Lawrence's widow, Frieda. Despite her attempts to obtain the copyright for Harte to have his play staged in the 1950s, Baron Philippe de Rothschild did not relinquish the dramatic rights until his film was released in France.
　　
　　Only the Old Bailey trial against Penguin Books for alleged obscenity in publishing the unexpurgated paperback edition of the novel prevented the play's transfer to the much bigger Wyndham's Theatre, for which it had already been licensed by the Lord Chamberlain's Office on 12 August 1960 with passages censored. It was fully booked out for its limited run at The Arts Theatre and well reviewed by Harold Hobson, the prevailing West End theatre critic of the time.