gù shì fā shēng yú fǎ guó dà gé tí mìng qī jiān， yīng guó londan lǜ shī xí ní · kǎ dùn， shēn shēn dì 'ài shàng liǎo bā lí nǚ zǐ lù sī · màn nà。 dàn lù sī ． màn nà què jǐn jǐn zhǐ shì bǎ tā dāng zuò pǔ tōng péng yǒu， jià gěi liǎo fǎ guó guì zú qīng nián chá 'ěr sī · dá léi。 dāng fǎ guó zhèng zhì jú shì xiàn rù yī tuán hùn luàn shí， chá 'ěr sī · dá léi zāo dào bào mín qiú jìn， lù sī · màn nà zǒu tóu wú lù， zhǐ hǎo xiàng xí ní · kǎ shì dùn qǐng qiú bāng zhù。 xí ní · kǎ dùn wéi chéng quán suǒ 'ài zhī de xìng fú， jìng rán yǐ xī shēng zì jǐ shēng mìng de fāng shì lái wǎn jiù qíng dí， zài hēi láo tàn jiān zhī jì shī zhǎn cèhuà zhōu mì de diào bāo jì jiāng chá 'ěr sī · dá léi jiù liǎo chū lái， ér tā zé yì wú fǎn gù dì bù shàng duàn tóu tái。 nán zhùjué de gāo shàng qíng cāo zú yǐ lìng tiān xià rén tóng shēng yī kū。
shuāng chéng jì - chuàng zuò tuán duì
dǎo yǎn： jié kè · kāng wēi luó bó tè ·Z· lún nà dé
zhù yǎn： luó nà dé · kǎo 'ěr màn táng nà dé · wǔ cí yī lì suō bái · ài lán
biān jù Writer： chá 'ěr sī · dí gèng sī CharlesDickens sài miù 'ěr ·N· bèi 'ěr màn S.N.BehrmanW.P.LipscombThomas
zhì zuò rén Producedby： dà wèi ·O· sài 'ěr cí ní kè DavidO.Selznick
shuāng chéng jì - yǐng píng
zhè shì yī gè zuì hǎo de shí dài， yě shì yī gè zuì huài de shí dài； zhè shì míng zhì de shí dài， zhè shì yú mèi de shí dài； zhè shì xìn rèn de jì yuán， zhè shì huái yí de jì yuán； zhè shì guāng míng de jì jié， zhè shì hēi 'àn de jì jié； zhè shì xī wàng de chūn rì， zhè shì shī wàng de dōng rì； wǒ men miàn qián yīngyǒu jìn yòu， wǒ men miàn qián yī wú suǒ yòu； wǒ men dū jiāng zhí shàng tiān táng， wǒ men dū jiāng zhí xià dì yù。。。
héng héng dí gèng sī《 shuāng chéng jì》
Itwasthebestoftimes,itwastheworstoftimes;itwastheageofwisdom,itwastheageoffoolishness;itwastheepochofbelief,itwastheepochofincredulity;itwastheseasonofLight,itwastheseasonofDarkness;itwasthespringofhope,itwasthewinterofdespair;wehadeverythingbeforeus,wehadnothingbeforeus;wewereallgoingdirectlytoHeaven,wewereallgoingtheotherway.
héng héng CharlesDichens(ATaleofTwoCities)
wèishénme jiào shuāng chéng jì？ dí gèng sī de zhè bù zuò pǐn， ràng wǒ xiǎng qǐ liǎo kǎ sà bù lán kǎ， wèile suǒ 'ài de rén， fàng qì liǎo suǒ 'ài de rén。 liǎo jiě zhè gè shí dài de bèi jǐng shì hěn zhòng yào de， bù rán qián miàn huì jué de zhuǎn de tài kuài。 zǒng de lái shuō， dà zuò jiā de xiǎo shuō hái shì wú xiè kě jī de。 dāng xià de shè huì yǔ dí gèng sī yǎn zhōng shū zhōng de shí dài shì fǒu xiāng sì？ wǒ men de chū kǒu yòu zài nǎ lǐ？ xīn shǎng dí gèng sī de zhè duàn míng yán。
shuāng chéng jì - mù hòu huā xù
běn piàn gǎi biān zì dí gèng sī de tóng míng bù xiǔ míng zhù《 shuāng chéng jì》， zài dà zhì zuò jiā dà wèi． sài cí ní kè yǔ dǎo yǎn jié kè． kāng wéi de qīng lì shè zhì xià， wán chéng liǎo zhè bù fǎn yìng fǎ guó dà gé mìng shí dài bēi jù de jié zuò， yě shì gēn jù běn shū pāi shè de liù gè diàn yǐng bǎn běn zhōng chéng jì zuì hǎo de yī bù。 dí gèng sī de xiǎo shuō lì yòng gè zhǒng yuán sù miáo shù yī gè dòng rén xīn bó cuī rén lèi xià de 'ài qíng gù shì， zì chū bǎn yǐ lái shòu dào wú shù dú zhě de rè xīn zhuī pěng， yī bǎn zài bǎn。 běn piàn bìng méi yòu wán quán bāo kuò xiǎo shuō zhǎn xiàn chū lái de suǒ yòu yuán sù， dàn què méi yòu yí lòu rèn hé zuì wéi zhòng yào de qíng jié。 dāng rán， méi yòu nǎ yī bù tōng guò yōu xiù de xiǎo shuō gǎi biān de diàn ...
shuāng chéng jì -《 shuāng chéng jì》 yuán zhù jiǎn jiè：
1775 nián 12 yuè de yī gè yuè yè， yù jū bā lí de nián qīng yī shēng méi ní tè sàn bù shí， tū rán bèi 'è fú lǐ méng dì hóu jué xiōng dì qiǎngpò chū zhěn。 zài hóu jué fǔ dì zhōng， tā mù dǔ yī gè fā kuáng de jué sè nóng fù hé yī gè shēn shòu jiàn shāng de shàonián yǐn hèn 'ér sǐ de cǎn zhuàng， bìng huò xī hóu jué xiōng dì wèile piàn kè yín lè shā hài tā men quán jiā de nèi qíng。 tā jù jué hóu jué xiōng dì de zhòng jīn huì lù， xiě xìn xiàng cháo tíng gào fā。 bù liào kòng gào xìn luò dào bèi gào rén shǒu zhōng， yī shēng bèi guān jìn bā shì dǐ yù， cóng cǐ yǔ shì gé jué， yǎo wú yīn xùn。 liǎng nián hòu， qī zǐ xīn suì 'ér sǐ。 yòu xiǎo de gū nǚ lù qiàn bèi hǎo yǒu láo léi jiē dào lún dūn， zài shàn liáng de nǚ pú pǔ luò sī fǔ yǎng xià cháng dà。
18 nián hòu， méi ní tè yī shēng huò shì。 zhè wèi jīng shén shī cháng de báifà lǎo rén bèi bā lí shèng 'ān dōng ní qū de yī míng jiǔ fàn、 tā jiù rì de pú rén dé fá shí shōu liú。 zhè shí， nǚ 'ér lù qiàn yǐ jīng chéngzhǎng， zhuān chéng jiē tā qù yīng guó jū zhù。 lǚ tú shàng， tā men xiè hòu fǎ guó qīng nián chá lǐ · dài 'ěr nà， shòu dào tā de xì xīn zhào liào。
yuán lái dài 'ěr nà jiù shì hóu jué de 'ér zǐ。 tā zēng hèn zì jǐ jiā zú de zuì 'è， yì rán fàng qì cái chǎn de jì chéng quán hé guì zú de xìng shì， yí jū lún dūn， dāng liǎo yī míng fǎ yǔ jiào shī。 zài yǔ méi ní tè fù nǚ de jiāo wǎng zhōng， tā duì lù qiàn chǎn shēng liǎo zhēn chéng de 'ài qíng。 méi ní tè wèile nǚ 'ér de xìng fú， jué dìng mái zàng guò qù， xīn rán tóng yì tā men de hūn shì。
zài fǎ guó， dài 'ěr nà fù mǔ xiāng jì qù shì， shū fù 'è fú lǐ méng dì hóu jué jì xù wéi suǒ yù wéi。 dāng tā nà kuáng zài de mǎ chē ruò wú qí shì dì zhá sǐ yī gè nóng mín de hái zǐ hòu， zhōng yú bèi hái zǐ fù qīn yòng dāo shā sǐ。 yīcháng gé mìng de fēng bào zhèng zài yùn niàng zhī zhōng， dé fá shí de jiǔ diàn jiù shì gé mìng huó dòng de lián luò diǎn， tā de qī zǐ bù tíng dì bǎ guì zú de bào xíng biān zhì chéng bù tóng de huā wén， jì lù zài wéi jīn shàng， kě wàng fù chóu。
1739 nián fǎ guó dà gé mìng de fēng bào zhōng yú xí lái liǎo。 bā lí rén mín gōng zhàn liǎo bā shì dǐ yù， bǎ guì zú yī gè gè sòng shàng duàn tóu tái。 yuǎn zài lún dūn de dài 'ěr nà wèile yíng jiù guǎn jiā gài bái lè， mào xiǎn huí guó， yī dào bā lí jiù bèi bǔ rù yù。 méi ní tè fù nǚ wén xùn hòu xīng yè gǎn dào。 yī shēng de chū tíng zuò zhèng shǐ dài 'ěr nà huí dào qī zǐ de shēn biān。 kě shì， jǐ xiǎo shí hòu， dài 'ěr nà yòu bèi dài bǔ。 zài fǎ tíng shàng， dé fá shí xuān dú liǎo dāng nián yī shēng zài yù zhōng xiě xià de xuè shū： xiàng cāng tiān hé dà dì kòng gào 'è fú lǐ méng dì jiā zú de zuì hòu yī gè rén。 fǎ tíng pàn chù dài 'ěr nà sǐ xíng。
jiù zài zhè shí， yī zhí 'àn 'àn 'ài mù lù qiàn de lǜ shī zhù shǒu kǎ 'ěr dēng lái dào bā lí， mǎi tōng yù zú， hùn rù jiān yù， dǐng tì liǎo hūn mí zhōng de dài 'ěr nà， méi ní tè fù nǚ zǎo yǐ zhǔn bèi jiù xù， dài 'ěr nà yī dào， mǎ shàng chū fā。 yīháng rén shùn lì dì lí kāi fǎ guó。
dé fá shí tài tài zài dài 'ěr nà bèi pàn jué hòu， yòu dào méi ní tè zhù suǒ sōu bǔ lù qiàn jí qí yòu nǚ， zài yǔ pǔ luò sī de zhēng dǒu zhōng， yīn qiāng zhī zǒu huǒ 'ér bì mìng。 ér duàn tóu tái shàng， kǎ 'ěr dēng wèile 'ài qíng， cóng róng xiàn shēn。
shuāng chéng jì - dǎo dú
shuāng chéng jì shuāng chéng jì
shì jiè míng zhù《 shuāng chéng jì》 --- zuò zhě dí gèng sī "ATaleofTwoCities"(1859)byCharlesDickens(1812-1870)
《 shuāng chéng jì》 shì dí gèng sī zuì zhòng yào de dài biǎo zuò zhī yī。 zǎo zài chuàng zuò《 shuāng chéng jì》 zhī qián hěn jiǔ， dí gèng sī jiù duì fǎ guó dà gé mìng jí wéi guān zhù， fǎn fù yán dú yīng guó lì shǐ xué jiā kǎ lāi 'ěr de《 fǎ guó gé mìng shǐ》 hé qí tā xué zhě de yòu guān zhù zuò。 tā duì fǎ guó dà gé mìng de nóng hòu xīng qù fā duān yú duì dāng shí yīng guó qián fú zhe de yán zhòng de shè huì wēi jī de dān yōu。 1854 nián dǐ， tā shuō： “ wǒ xiāng xìn， bù mǎn qíng xù xiàng zhè yàng mào yān bǐ huǒ shāo qǐ lái hái yào huài dé duō， zhè tè bié xiàng fǎ guó zài dì yī cì gé mìng bào fā qián de gōng zhòng xīn lǐ， zhè jiù yòu wēi xiǎn， yóu yú qiān bǎi zhǒng yuán yīn héng héng rú shōu chéng bù hǎo、 guì zú jiē jí de zhuān héng yǔ wú néng bǎ yǐ jīng jǐn zhāng de jú miàn zuì hòu yī cì jiā jǐn、 hǎi wài zhàn zhēng de shī lì、 guó nèi 'ǒu fā shì jiàn děng děng héng héng biàn chéng nà cì cóng wèi jiàn guò de yīcháng kě pà de dà huǒ。 ” kě jiàn，《 shuāng chéng jì》 zhè bù lì shǐ xiǎo shuō de chuàng zuò dòng jī zài yú jiè gǔ fěng jīn， yǐ fǎ guó dà gé mìng de lì shǐ jīng yàn wéi jiè jiàn， gěi yīng guó tǒng zhì jiē jí qiāo xiǎng jǐng zhōng； tóng shí， tōng guò duì gé mìng kǒng bù de jí duān miáo xiě， yě duì xīn huái fèn mèn、 xī tú yǐ bào lì duì kàng bào zhèng de rén mín qún zhòng tí chū jǐng gào， huàn xiǎng wéi shè huì máo dùn rì yì jiā shēn de yīng guó xiàn zhuàng xún zhǎo yī tiáo chū lù。
cóng zhè gè mùdì chū fā， xiǎo shuō shēn kè dì jiē lù liǎo fǎ guó dà gé mìng qián shēn shēn jī huà liǎo de shè huì máo dùn， qiáng liè dì pēng jī guì zú jiē jí de huāng yín cán bào， bìng shēnqiè dì tóng qíng xià céng rén mín de kǔ nán。 zuò pǐn jiān ruì dì zhǐ chū， rén mín qún zhòng de rěn nài shì yòu xiàn dù de， zài guì zú jiē jí de cán bào tǒng zhì xià， rén mín qún zhòng pò yú shēng jì， bì rán fèn qǐ fǎn kàng。 zhè zhǒng fǎn kàng shì zhèng yì de。 xiǎo shuō hái miáo huì liǎo qǐ yì rén mín gōng jī bā shì dǐ yù děng zhuàng guān chǎng jǐng， biǎo xiàn liǎo rén mín qún zhòng de wěi dà lì liàng。 rán 'ér， zuò zhě zhàn zài zī chǎn jiē jí rén dào zhù yì de lì chǎng shàng， jí fǎn duì cán kù yā pò rén mín de bào zhèng， yě fǎn duì gé mìng rén mín fǎn kàng bào zhèng de bào lì。 zài dí gèng sī bǐ xià， zhěng gè gé mìng bèi miáo xiě chéng yīcháng huǐ miè yī qiē de jù dà zāinàn， tā wú qíng dì chéng fá zuì 'è de guì zú jiē jí， yě máng mù dì shā hài wú gū de rén men。
zhè bù xiǎo shuō sù zào liǎo sān lèi rén wù。 yī lèi shì yǐ 'è fú lǐ méng dì hóu jué xiōng dì wéi dài biǎo de fēng jiàn guì zú， tā men“ wéi yī bù kě dòng yáo de zhé xué jiù shì yā pò rén”， shì zuò zhě tòng jiā biān tà de duì xiàng。 lìng yī lèi shì dé fá shí fū fù děng gé mìng qún zhòng。 bì xū zhǐ chū de shì， tā men de xíng xiàng shì bèi niǔ qū de。 lì rú dé fá shí de qī zǐ dí 'ān nà， tā chū shēng yú bèi wǔ rǔ、 bèi pò hài de nóng jiā， duì fēng jiàn guì zú huái zhe shēn chóu dà hèn， zuò zhě shēnqiè dì tóng qíng tā de bēi cǎn zāo yù， gé mìng bào fā qián hòu hěn zàn shǎng tā jiān qiáng de xìng gé、 zhuó yuè de cái zhì hé fēi fán de zǔ zhì lǐng dǎo néng lì； dàn dāng gé mìng jìn yī bù shēn rù shí， jiù bǐ fēng yī zhuǎn， bǎ tā biǎn chì wéi yī gè lěng kù、 xiōng hěn、 xiá 'ài de fù chóu zhě。 yóu qí shì dāng tā dào yī shēng zhù suǒ sōu bǔ lù qiàn hé xiǎo lù qiàn shí， gèng bèi biǎo xiàn wéi shì xuè chéng xìng de kuáng rén。 zuì hòu， zuò zhě ràng tā sǐ zài zì jǐ de qiāng kǒu zhī xià， míng què dì biǎo shì liǎo fǒu dìng de tài dù。 dì sān lèi shì lǐ xiǎng huà rén wù， shì zuò zhě xīn mù zhōng yǐ rén dào zhù yì jiě jué shè huì máo dùn、 yǐ bó 'ài zhàn shèng chóu hèn de bǎng yàng， bāo kuò méi ní tè fù nǚ、 dài 'ěr nà、 láo léi hé kǎ 'ěr dēng děng。 méi ní tè yī shēng bèi hóu jué xiōng dì hài dé jiā pò rén wáng， duì hóu jué xiōng dì huái yòu shēn chóu dà hèn， dàn shì wèile nǚ 'ér de 'ài， kě yǐ bìng qì sù chóu jiù hèn； dài 'ěr nà shì hóu jué xiōng dì de zǐ zhí， tā dà chè dà wù， qiǎn zé zì jǐ jiā zú de zuì 'è， pāo qì jué wèi hé cái chǎn， jué xīn yǐ zì jǐ de xíng dòng lái“ shú zuì”。 zhè duì hù xiāng huī yìng de rén wù， yī gè shì guì zú bào zhèng de shòu hài zhě， kuān róng wéi huái； yī gè shì guì zú hóu jué de jì chéng rén， zhù zhāng rén 'ài。 tā men zhōng jiān， gèng yòu zuò wéi nǚ 'ér hé qī zǐ de lù qiàn。 zài 'ài de niǔ dài de wéi xì xià， tā men zǔ chéng yī gè hù xiāng liàng jiě、 gǎn qíng róng qià de xìng fú jiā tíng。 zhè xiǎn rán shì zuò zhě shè xiǎng de yī tiáo yǔ bào lì gé mìng jié rán xiāng fǎn de jiě jué shè huì máo dùn de chū lù， shì bùqiè shí jì de。
《 shuāng chéng jì》 yòu qí bù tóng yú yī bān lì shǐ xiǎo shuō de dì fāng， tā de rén wù hé zhù yào qíng jié dōushì xū gòu de。 zài fǎ guó dà gé mìng guǎng kuò de zhēn shí bèi jǐng xià， zuò zhě yǐ xū gòu rén wù méi ní tè yī shēng de jīng lì wéi zhù xiàn suǒ， bǎ yuān yù、 ài qíng yǔ fù chóu sān gè hù xiāng dú lì 'ér yòu hù xiāng guān lián de gù shì jiāo zhì zài yī qǐ， qíng jié cuò zōng， tóu xù fēn fán。 zuò zhě cǎi qǔ dàoxù、 chā xù、 fú bǐ、 pū diàn děng shǒu fǎ， shǐ xiǎo shuō jié gòu wán zhěng yán mì， qíng jié qū zhé jǐn zhāng 'ér fù yòu xì jù xìng， biǎo xiàn liǎo zhuó yuè de yì shù jì qiǎo。《 shuāng chéng jì》 fēng gé sù mù、 chén yù， chōng mǎn yōu fèn， dàn quē shǎo zǎo qī zuò pǐn de yōu mò。
It depicts the plight of the French peasantry demoralized by the French aristocracy in the years leading up to the revolution, the corresponding brutality demonstrated by the revolutionaries toward the former aristocrats in the early years of the revolution, and many unflattering social parallels with life in London during the same time period. It follows the lives of several protagonists through these events, most notably Charles Darnay, a French once-aristocrat who falls victim to the indiscriminate wrath of the revolution despite his virtuous nature, and Sydney Carton, a dissipated British barrister who endeavours to redeem his ill-spent life out of love for Darnay's wife, Lucie Manette.
The novel was published in weekly installments (not monthly, as with most of his other novels). The first installment ran in the first issue of Dickens' literary periodical All the Year Round appearing on 30 April 1859; the thirty-first and last ran on 25 November of the same year.
Plot summary
Book the First: Recalled to Life
“ It was the best of times, it was the worst of times... ”
—Opening line of A Tale of Two Cities
It is 1775. Jarvis Lorry, an employee of Tellson's Bank, is travelling from England to France to bring Dr. Alexandre Manette to London. At Dover, before crossing to France, he meets seventeen-year-old Lucie Manette and reveals to her that her father, Dr. Manette, is not dead, as she had been told. He has been a prisoner in the Bastille for the last 18 years.
Lorry and Lucie travel to Saint Antoine, a suburb of Paris, where they meet the Defarges. Monsieur Ernest and Madame Therese Defarge own a wine shop. They also (secretly) lead a band of revolutionaries, who refer to each other by the codename "Jacques" (drawn from the name of an actual French revolutionary group, the Jacquerie).
Monsieur Defarge (who was Dr. Manette's servant before Manette's imprisonment, and now has care of him) takes them to see Dr. Manette. Manette has withdrawn from reality due to the horror of his imprisonment. He sits in a dark room all day making shoes, a trade he had learned whilst imprisoned. At first he does not know his daughter, but eventually recognizes her by her long golden hair which resembles her mother's. Dr. Manette had long kept a strand of his wife's hair which was found on his sleeve when he was imprisoned. Lucie's eyes are blue also just like his. Lorry and Lucie take him back to England.
Book the Second: The Golden Thread
"The Golden Thread" redirects here. For the legal judgement, see Golden thread (law).
It is now 1780. French emigrant Charles Darnay is being tried at the Old Bailey for treason. Two British spies, John Barsad and Roger Cly, are trying to frame the innocent Darnay for their own gain. They claim that Darnay, a Frenchman, gave information about British troops in North America to the French. Darnay is acquitted when a witness who claims he would be able to recognise Darnay anywhere cannot tell Darnay apart from a barrister present in court (not one of those defending Darnay), Sydney Carton, who just happens to look almost identical to him.
In Paris, the Marquis St. Evrémonde (Monseigneur), Darnay's uncle, runs over and kills the son of the peasant Gaspard; he throws a coin to Gaspard to compensate him for his loss. Monsieur Defarge comforts Gaspard. As the Marquis's coach drives off, Defarge throws the coin back into the coach, enraging the Marquis.
Arriving at his château, the Marquis meets with his nephew: Charles Darnay. (Darnay's real surname, therefore, is Evrémonde; out of disgust with his family, Darnay has adopted a version of his mother's maiden name, D'Aulnais.) They argue: Darnay has sympathy for the peasantry, while the Marquis is cruel and heartless:
"Repression is the only lasting philosophy. The dark deference of fear and slavery, my friend," observed the Marquis, "will keep the dogs obedient to the whip, as long as this roof," looking up to it, "shuts out the sky."
That night, Gaspard (who has followed the Marquis to his château, hanging under his coach) murders the Marquis in his sleep. He leaves a note saying, "Drive him fast to his tomb. This, from JACQUES."
In London, Darnay gets Dr. Manette's permission to wed Lucie. But Carton confesses his love to Lucie as well. Knowing she will not love him in return, Carton promises to "embrace any sacrifice for you and for those dear to you".
On the morning of the marriage, Darnay, at Dr. Manette's request, reveals who his family is, a detail which Dr. Manette had asked him to withhold until then. This unhinges Dr. Manette, who reverts to his obsessive shoemaking. His sanity is restored before Lucie returns from her honeymoon; to prevent a further relapse, Lorry destroys the shoemaking bench, which Dr. Manette had brought with him from Paris.
It is 14 July 1789. The Defarges help to lead the storming of the Bastille. Defarge enters Dr. Manette's former cell, "One Hundred and Five, North Tower". The reader does not know what Monsieur Defarge is searching for until Book 3, Chapter 9. (It is a statement in which Dr. Manette explains why he was imprisoned.)
In the summer of 1792, a letter reaches Tellson's bank. Mr. Lorry, who is planning to go to Paris to save the French branch of Tellson's, announces that the letter is addressed to Evrémonde. Nobody knows who Evrémonde is, because Darnay has kept his real name name a secret in England. Darnay acquires the letter by pretending Evrémonde is an acquaintance of his. The letter turns out to be from Gabelle, a servant of the former Marquis. Gabelle has been imprisoned, and begs the new Marquis to come to his aid. Darnay, who feels guilty, leaves for Paris to help Gabelle.
Book the Third: The Track of a Storm
"The Sea Rises", an illustration for Book 2, Chapter 21 by "Phiz"
In France, Darnay is denounced for emigrating from France, and imprisoned in La Force Prison in Paris. Dr. Manette and Lucie—along with Miss Pross, Jerry Cruncher, and "Little Lucie", the daughter of Charles and Lucie Darnay—come to Paris and meet Mr. Lorry to try to free Darnay. A year and three months pass, and Darnay is finally tried.
Dr. Manette, who is seen as a hero for his imprisonment in the hated Bastille, is able to get him released. But that same evening Darnay is again arrested, and is put on trial again the next day, under new charges brought by the Defarges and one "unnamed other". We soon discover that this other is Dr. Manette, through the testimony of his statement (his own account of his imprisonment, written in the Bastille in the "last month of the tenth year of [his] captivity"); Manette does not know that his statement has been found, and is horrified when his words are used to condemn Darnay.
On an errand, Miss Pross is amazed to see her long-lost brother, Solomon Pross, but Pross does not want to be recognised. Sydney Carton suddenly appears (stepping forward from the shadows much as he had done after Darnay's first trial in London) and identifies Solomon Pross as John Barsad, one of the men who tried to frame Darnay for treason at his first trial in London. Carton threatens to reveal Solomon's identity as a Briton and an opportunist who spies for the French or the British as it suits him. If this were revealed, Solomon would surely be executed, so Carton's hand is strong.
Darnay is confronted at the tribunal by Monsieur Defarge, who identifies Darnay as the Marquis St. Evrémonde and reads the letter Dr. Manette had hidden in his cell in the Bastille. Defarge can identify Darnay as Evrémonde because Barsad told him Darnay's identity when Barsad was fishing for information at the Defarges' wine shop in Book 2, Chapter 16. The letter describes how Dr. Manette was locked away in the Bastille by the deceased Marquis Evrémonde (Darnay's father) and his twin brother (who held the title of Marquis when we met him earlier in the book, and is the Marquis who was killed by Gaspard; Darnay's uncle) for trying to report their crimes against a peasant family. The younger brother had become infatuated with a girl. He had kidnapped and raped her and killed her husband, the knowledge of which killed her father, and her brother died in the act of fighting to protect her honor. Prior to his death, the brother of the raped peasant had hidden the last member of the family, his younger sister, "somewhere safe". The paper concludes by condemning the Evrémondes, "them and their descendants, to the last of their race". Dr. Manette is horrified, but his protests are ignored—he is not allowed to take back his condemnation. Darnay is sent to the Conciergerie and sentenced to be guillotined the next day.
Carton wanders into the Defarges' wine shop, where he overhears Madame Defarge talking about her plans to have the rest of Darnay's family (Lucie and "Little Lucie") condemned. Carton discovers that Madame Defarge was the surviving sister of the peasant family savaged by the Evrémondes. The only plot detail that might give one any sympathy for Madame Defarge is the loss of her family and that she has no (family) name. "Defarge" is her married name, and Dr. Manette cannot learn her family name, though he asks her dying sister for it. The next morning, when Dr. Manette returns shattered after having spent the previous night in many failed attempts to save Charles' life, he reverts to his obsessive shoemaking. Carton urges Lorry to flee Paris with Lucie, her father and "Little Lucie".
That same morning Carton visits Darnay in prison. Carton drugs Darnay, and Barsad (whom Carton is blackmailing) has Darnay carried out of the prison. Carton—who looks so similar to Darnay that a witness at Darnay's trial in England could not tell them apart—has decided to pretend to be Darnay, and to be executed in his place. He does this out of love for Lucie, recalling his earlier promise to her. Following Carton's earlier instructions, Darnay's family and Lorry flee Paris and France with an unconscious man in their coach who carries Carton's identification papers, but is actually Darnay.
Meanwhile Madame Defarge, armed with a pistol, goes to the residence of Lucie's family, hoping to catch them mourning for Darnay (since it was illegal to sympathise with or mourn for an enemy of the Republic); however, Lucie, her child, Dr. Manette and Mr. Lorry are already gone. To give them time to escape, Miss Pross confronts Madame Defarge and they struggle. Pross speaks only English and Defarge speaks only French, so neither can understand each other verbally. In the fight, Madame Defarge's pistol goes off, killing her; the noise of the shot and the shock of Madame Defarge's death cause Miss Pross to go permanently deaf.
The novel concludes with the guillotining of Sydney Carton. Carton's unspoken last thoughts are prophetic: Carton foresees that many of the revolutionaries, including Defarge, Barsad and The Vengeance (a lieutenant of Madame Defarge) will be sent to the guillotine themselves, and that Darnay and Lucie will have a son whom they will name after Carton: a son who will fulfill all the promise that Carton wasted. Lucie and Darnay have a first son earlier in the book who is born and dies within a single paragraph. It seems likely that this first son appears in the novel so that their later son, named after Carton, can represent another way in which Carton restores Lucie and Darnay through his sacrifice.
“ It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to, than I have ever known. ”
—Final sentence of A Tale of Two Cities
Analysis
A Tale of Two Cities is one of only two works of historical fiction by Charles Dickens (Barnaby Rudge is the other one). It has fewer characters and sub-plots than a typical Charles Dickens novel. The author's primary historical source was The French Revolution: A History by Thomas Carlyle: Charles Dickens wrote in his Preface to Tale that "no one can hope to add anything to the philosophy of Mr. Carlyle's wonderful book" Carlyle's view that history cycles through destruction and resurrection was an important influence on the novel, illustrated especially well by the life and death of Sydney Carton.
Language
Dickens uses literal translations of French idioms for characters who can't speak English, such as "What the devil do you do in that galley there?!!" and "Where is my husband? ---Here you see me." The Penguin Classics edition of the novel notes that "Not all readers have regarded the experiment as a success."
Humor
Dickens is renowned for his humor, but A Tale of Two Cities is one of his least comical books. Nonetheless, Jerry Cruncher, Miss Pross, and Mr. Stryver provide much comedy. Dickens also uses sarcasm as humour in the book to show different points of view. The book is full of tragic situations, therefore, leaving little room for intended humor provided by Dickens.
Foreshadowing
A Tale of Two Cities contains much foreshadowing:
* Carton's promise to Lucie, the "echoing footsteps" heard by the Manettes in their quiet home, and the wine spilling from the wine cask are only a few of dozens of instances.
* Carton promises Lucie he would die for her because he loves her so much.
* Echoing footsteps can either be the people coming into their lives or the revolutionaries.
* The wine spilling in the streets can be blood running through the streets of France.
* The wine cask breaking is a corrupted government, freedom, or blood from guillotine.
* The negro cupids show danger, and death from the guillotine.
Themes
"Recalled to Life"
In Dickens' England, resurrection always sat firmly in a Christian context. Most broadly, Sydney Carton is resurrected in spirit at the novel's close (even as he, paradoxically, gives up his physical life to save Darnay's—just as, in Christian belief, Christ died for the sins of all people.) More concretely, "Book the First" deals with the rebirth of Dr. Manette from the living death of his incarceration.
Resurrection appears for the first time when Mr. Lorry replies to the message carried by Jerry Cruncher with the words "Recalled to Life". Resurrection also appears during Mr. Lorry's coach ride to Dover, as he constantly ponders a hypothetical conversation with Dr. Manette: ("Buried how long?" "Almost eighteen years." ... "You know that you are recalled to life?" "They tell me so.") He believes he is helping with Dr. Manette's revival, and imagines himself "digging" Dr. Manette up from his grave.
Resurrection is the main theme in the novel. In Jarvis Lorry's thoughts of Dr. Manette, resurrection is first spotted as a theme. It is also the last theme: Carton's sacrifice. Dickens originally wanted to call the entire novel Recalled to Life. (This instead became the title of the first of the novel's three "books".)
Jerry is also part of the recurring theme: he himself is involved in death and resurrection in way that the reader does not yet know. The first piece of foreshadowing comes in his remark to himself: "You'd be in a blazing bad way, if recalling to life was to come into fashion, Jerry!" The black humour of this statement becomes obvious only much later on. Five years later, one cloudy and very dark night (in June 1780), Mr. Lorry reawakens the reader's interest in the mystery by telling Jerry it is "Almost a night ... to bring the dead out of their graves". Jerry responds firmly that he has never seen the night do that.
It turns out that Jerry Cruncher's involvement with the theme of resurrection is that he is what the Victorians called a "Resurrection Man", one who (illegally) digs up dead bodies to sell to medical men (there was no legal way to procure cadavers for study at that time).
The opposite of resurrection is of course death. Death and resurrection appear often in the novel. Dickens is angered that in France and England, courts hand out death sentences for insignificant crimes. In France, peasants are even put to death without any trial, at the whim of a noble. The Marquis tells Darnay with pleasure that "[I]n the next room (my bedroom), one fellow ... was poniarded on the spot for professing some insolent delicacy respecting his daughter—his daughter!"
Interestingly, the demolition of Dr. Manette's shoe-making workbench by Miss Pross and Mr. Lorry is described as "the burning of the body". It seems clear that this is a rare case where death or destruction (the opposite of resurrection) has a positive connotation, since the "burning" helps liberate the doctor from the memory of his long imprisonment. But Dickens' description of this kind and healing act is strikingly odd:
"The Accomplices", an illustration for Book 2, Chapter 19 by "Phiz"
So wicked do destruction and secrecy appear to honest minds, that Mr. Lorry and Miss Pross, while engaged in the commission of their deed and in the removal of its traces, almost felt, and almost looked, like accomplices in a horrible crime.
Sydney Carton's martyrdom atones for all his past wrongdoings. He even finds God during the last few days of his life, repeating Christ's soothing words, "I am the resurrection and the life". Resurrection is the dominant theme of the last part of the novel. Darnay is rescued at the last moment and recalled to life; Carton chooses death and resurrection to a life better than that which he has ever known: "it was the peacefullest man's face ever beheld there ... he looked sublime and prophetic".
In the broadest sense, at the end of the novel Dickens foresees a resurrected social order in France, rising from the ashes of the old one.
Water
Many in the Jungian archetypal tradition might agree with Hans Biedermann, who writes that water "is the fundamental symbol of all the energy of the unconscious—an energy that can be dangerous when it overflows its proper limits (a frequent dream sequence)." This symbolism suits Dickens' novel; in A Tale of Two Cities, the frequent images of water stand for the building anger of the peasant mob, an anger that Dickens sympathises with to a point, but ultimately finds irrational and even animalistic.
Early in the book, Dickens suggests this when he writes, “[T]he sea did what it liked, and what it liked was destruction.” The sea here represents the coming mob of revolutionaries. After Gaspard murders the Marquis, he is “hanged there forty feet high—and is left hanging, poisoning the water.” The poisoning of the well represents the bitter impact of Gaspard's execution on the collective feeling of the peasants.
After Gaspard’s death, the storming of the Bastille is led (from the St. Antoine neighbourhood, at least) by the Defarges; “As a whirlpool of boiling waters has a centre point, so, all this raging circled around Defarge’s wine shop, and every human drop in the cauldron had a tendency to be sucked towards the vortex...” The crowd is envisioned as a sea. “With a roar that sounded as if all the breath in France had been shaped into a detested word [the word Bastille], the living sea rose, wave upon wave, depth upon depth, and overflowed the city...”
Darnay’s jailer is described as “unwholesomely bloated in both face and person, as to look like a man who had been drowned and filled with water.” Later, during the Reign of Terror, the revolution had grown “so much more wicked and distracted ... that the rivers of the South were encumbered with bodies of the violently drowned by night...” Later a crowd is “swelling and overflowing out into the adjacent streets ... the Carmagnole absorbed them every one and whirled them away.”
During the fight with Miss Pross, Madame Defarge clings to her with “more than the hold of a drowning woman”. Commentators on the novel have noted the irony that Madame Defarge is killed by her own gun, and perhaps Dickens means by the above quote to suggest that such vicious vengefulness as Madame Defarge's will eventually destroy even its perpetrators.
So many read the novel in a Freudian light, as exalting the (British) superego over the (French) id. Yet in Carton's last walk, he watches an eddy that "turned and turned purposeless, until the stream absorbed it, and carried it onto the sea"—his fulfilment, while masochistic and superego-driven, is nonetheless an ecstatic union with the subconscious.
Darkness and light
As is common in English literature, good and evil are symbolised with light and darkness. Lucie Manette is often associated with light and Madame Defarge with darkness.
Lucie meets her father for the first time in a room kept by the Defarges:." Lucie's hair symbolises joy as she winds "the golden thread that bound them all together". She is adorned with "diamonds, very bright and sparkling", and symbolic of the happiness of the day of her marriage.
Darkness represents uncertainty, fear and peril. It is dark when Mr. Lorry rides to Dover; it is dark in the prisons; dark shadows follow Madame Defarge; dark, gloomy doldrums disturb Dr. Manette; his capture and captivity are shrouded in darkness; the Marquis’s estate is burned in the dark of night; Jerry Cruncher raids graves in the darkness; Charles's second arrest also occurs at night. Both Lucie and Mr. Lorry feel the dark threat that is Madame Defarge. "That dreadful woman seems to throw a shadow on me," remarks Lucie. Although Mr. Lorry tries to comfort her, "the shadow of the manner of these Defarges was dark upon himself". Madame Defarge is "like a shadow over the white road", the snow symbolising purity and Madame Defarge's darkness corruption. Dickens also compares the dark colour of blood to the pure white snow: the blood takes on the shade of the crimes of its shedders.
Social injustice
Charles Dickens was a champion of the maltreated poor because of his terrible experience when he was forced to work in a factory as a child. His sympathies, however, lie only up to a point with the revolutionaries; he condemns the mob madness which soon sets in. When madmen and -women massacre eleven hundred detainees in one night and hustle back to sharpen their weapons on the grindstone, they display "eyes which any unbrutalised beholder would have given twenty years of life, to petrify with a well-directed gun".
The reader is shown the poor are brutalised in France and England alike. As crime proliferates, the executioner in England is "stringing up long rows of miscellaneous criminals; now hanging housebreaker ... now burning people in the hand" or hanging a broke man for stealing sixpence. In France, a boy is sentenced to have his hands removed and be burned alive, only because he did not kneel down in the rain before a parade of monks passing some fifty yards away. At the lavish residence of Monseigneur, we find "brazen ecclesiastics of the worst world worldly, with sensual eyes, loose tongues, and looser lives ... Military officers destitute of military knowledge ... [and] Doctors who made great fortunes ... for imaginary disorders".
The Marquis recalls with pleasure the days when his family had the right of life and death over their slaves, "when many such dogs were taken out to be hanged". He won't even allow a widow to put up a board bearing her dead husband’s name, to discern his resting place from all the others. He orders Madame Defarge's sick brother-in-law to heave a cart all day and allay frogs at night to exacerbate the young man's illness and hasten his death.
In England, even banks endorse unbalanced sentences: a man may be condemned to death for nicking a horse or opening a letter. Conditions in the prisons are dreadful. "Most kinds of debauchery and villainy were practised, and ... dire diseases were bred", sometimes killing the judge before the accused.
So riled is Dickens at the brutality of English law that he depicts some of its punishments with sarcasm: "the whipping-post, another dear old institution, very humanising and softening to behold in action". He faults the law for not seeking reform: "Whatever is right" is the dictum of the Old Bailey. The gruesome portrayal of quartering highlights its atrocity.
Without entirely forgiving him, Dickens understands that Jerry Cruncher robs graves only to feed his son, and reminds the reader that Mr. Lorry is more likely to rebuke Jerry for his humble social status than anything else. Jerry reminds Mr. Lorry that doctors, men of the cloth, undertakers and watchmen are also conspirators in the selling of bodies.
Dickens wants his readers to be careful that the same revolution that so damaged France will not happen in Britain, which (at least at the beginning of the book) is shown to be nearly as unjust as France. But his warning is addressed not to the British lower classes, but to the aristocracy. He repeatedly uses the metaphor of sowing and reaping; if the aristocracy continues to plant the seeds of a revolution through behaving unjustly, they can be certain of harvesting that revolution in time. The lower classes do not have any agency in this metaphor: they simply react to the behaviour of the aristocracy. In this sense it can be said that while Dickens sympathises with the poor, he identifies with the rich: they are the book's audience, its "us" and not its "them". "Crush humanity out of shape once more, under similar hammers, and it will twist itself into the same tortured forms. Sow the same seed of rapacious licence and oppression over again, and it will surely yield the same fruit according to its kind".
Relation to Dickens' personal life
Some have argued that in A Tale of Two Cities Dickens reflects on his recently begun affair with eighteen-year-old actress Ellen Ternan, which was possibly asexual but certainly romantic. Lucie Manette resembles Ternan physically, and some have seen "a sort of implied emotional incest" in the relationship between Dr. Manette and his daughter.
After starring in a play by Wilkie Collins entitled The Frozen Deep, Dickens was first inspired to write Tale. In the play, Dickens played the part of a man who sacrifices his own life so that his rival may have the woman they both love; the love triangle in the play became the basis for the relationships between Charles Darnay, Lucie Manette, and Sydney Carton in Tale.
Sydney Carton and Charles Darnay may also bear importantly on Dickens' personal life. The plot hinges on the near-perfect resemblance between Sydney Carton and Charles Darnay; the two look so alike that Carton twice saves Darnay through the inability of others to tell them apart. It is implied that Carton and Darnay not only look alike, but they have the same "genetic" endowments (to use a term that Dickens would not have known): Carton is Darnay made bad. Carton suggests as much:
'Do you particularly like the man [Darnay]?' he muttered, at his own image [which he is regarding in a mirror]; 'why should you particularly like a man who resembles you? There is nothing in you to like; you know that. Ah, confound you! What a change you have made in yourself! A good reason for talking to a man, that he shows you what you have fallen away from and what you might have been! Change places with him, and would you have been looked at by those blue eyes [belonging to Lucie Manette] as he was, and commiserated by that agitated face as he was? Come on, and have it out in plain words! You hate the fellow.'
Many have felt that Carton and Darnay are doppelgängers, which Eric Rabkin defines as a pair "of characters that together, represent one psychological persona in the narrative". If so, they would prefigure such works as Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde. Darnay is worthy and respectable but dull (at least to most modern readers), Carton disreputable but magnetic.
One can only suspect whose psychological persona it is that Carton and Darnay together embody (if they do), but it is often thought to be the psyche of Dickens himself. Dickens was quite aware that between them, Carton and Darnay shared his own initials.
Characters
Many of Dickens' characters are "flat", not "round", in the novelist E. M. Forster's famous terms, meaning roughly that they have only one mood. In Tale, for example, the Marquis is unremittingly wicked and relishes being so; Lucie is perfectly loving and supportive. (As a corollary, Dickens often gives these characters verbal tics or visual quirks that he mentions over and over, such as the dints in the nose of the Marquis.) Forster believed that Dickens never truly created rounded characters, but a character such as Carton surely at least comes closer to roundness.
* Sydney Carton – A quick-minded but depressed English barrister alcoholic, and cynic; his Christ-like self-sacrifice redeems his own life and that of Charles Darnay.
* Lucie Manette – An ideal Victorian lady, perfect in every way. She was loved by both Carton and Charles Darnay (whom she marries), and is the daughter of Dr. Manette. She is the "golden thread" after whom Book Two is named, so called because she holds her father's and her family's lives together (and because of her blond hair like her mother's). She also ties nearly every character in the book together.
* Charles Darnay – A young French noble of the Evrémonde family. In disgust at the cruelty of his family to the French peasantry, he has taken on the name "Darnay" (after his mother's maiden name, D'Aulnais) and left France for England.
* Dr. Alexandre Manette – Lucie's father, kept a prisoner in the Bastille for eighteen years.
* Monsieur Ernest Defarge – The owner of a French wine shop and leader of the Jacquerie; husband of Madame Defarge; servant to Dr. Manette as a youth. One of the key revolutionary leaders, he leads the revolution with a noble cause, unlike many of other revolutionaries.
* Madame Therese Defarge – A vengeful female revolutionary, arguably the novel's antagonist
* The Vengeance – A companion of Madame Defarge referred to as her "shadow" and lieutenant, a member of the sisterhood of women revolutionaries in Saint Antoine, and revolutionary zealot. (Many Frenchmen and women did change their names to show their enthusiasm for the Revolution)
* Jarvis Lorry – An elderly manager at Tellson's Bank and a dear friend of Dr. Manette.
* Miss Pross – Lucie Manette's governess since Lucie was ten years old. Fiercely loyal to Lucie and to England.
* The Marquis St. Evrémonde – The cruel uncle of Charles Darnay.
* John Barsad (real name Solomon Pross) – A spy for Britain who later becomes a spy for France (at which point he must hide that he is British). He is the long-lost brother of Miss Pross.
* Roger Cly – Another spy, Barsad's collaborator.
* Jerry Cruncher – Porter and messenger for Tellson's Bank and secret "Resurrection Man" (body-snatcher). His first name is short for Jeremiah.
* Young Jerry Cruncher - Son of Jerry and Mrs. Cruncher. Young Jerry often follows his father around to his father's odd jobs, and at one point in the story, follows his father at night and discovers that his father is a resurrection man. Young Jerry looks up to his father as a role model, and aspires to become a resurrection man himself when he grows up.
* Mrs. Cruncher - Wife of Jerry Cruncher. She is a very religious woman, but her husband, being a bit paranoid, claims she is praying against him, and that is why he doesn't succeed at work often. She is often abused verbally, and almost as often, abused physically, by Jerry, but at the end of the story, he appears to feel a bit guilty about this.
* Mr. Stryver – An arrogant and ambitious barrister, senior to Sydney Carton. There is a frequent mis-perception that Stryver's full name is "C. J. Stryver", but this is very unlikely. The mistake comes from a line in Book 2, Chapter 12: "After trying it, Stryver, C. J., was satisfied that no plainer case could be." The initials C. J. almost certainly refer to a legal title (probably "chief justice"); Stryver is imagining that he is playing every role in a trial in which he browbeats Lucie Manette into marrying him.
* The Seamstress – A young woman caught up in The Terror. She precedes Sydney Carton, who comforts her, to the guillotine.
* Gabelle – Gabelle is "the Postmaster, and some other taxing functionary, united" for the tenants of the Marquis St. Evrémonde. Gabelle is imprisoned by the revolutionaries, and his beseeching letter brings Darnay to France. Gabelle is "named after the hated salt tax".
* Gaspard – Gaspard is the man whose son is run over by the Marquis. He then kills the Marquis and goes into hiding for a year. He eventually is found, arrested, and executed.
Adaptations
Films
There have been at least five feature films based on the book:
* A Tale of Two Cities, a 1911 silent film.
* A Tale of Two Cities, a 1917 silent film.
* A Tale of Two Cities, a 1922 silent film.
* A Tale of Two Cities, a 1935 black-and-white MGM film starring Ronald Colman, Elizabeth Allan, Reginald Owen, Basil Rathbone and Edna Mae Oliver. It was nominated for the Academy Award for Best Picture.
* A Tale of Two Cities, a 1958 version, starring Dirk Bogarde, Dorothy Tutin, Christopher Lee, Leo McKern and Donald Pleasance.
In the 1981 film History of the World, Part I, the French Revolution segment appears to be a pastiche of A Tale of Two Cities.
In the film A Simple Wish, the protagonist's father Oliver (possibly a reference to another of Dickens' famous novels, Oliver Twist) is vying for a spot in his theatre company's production of a musical of A Tale of Two Cities, of which we see the beginning and end, using the two famous quotes, including "It is a far, far better thing that I do", as part of a few solos.
Terry Gilliam also developed a film version in the mid-1990s with Mel Gibson and Liam Neeson. The project was eventually abandoned.
Radio
In 1938, The Mercury Theatre on the Air (aka The Campbell Playhouse) produced a radio adapted version starring Orson Welles.
In 1945, a portion of the novel was adapted to the syndicated program The Weird Circle as "Dr. Manette's Manuscript."
In 1950, a radio adaptation written by Terence Rattigan and John Gielgud was broadcast by the BBC. They had written it in 1935, as a stage play, but it was not produced.
In June 1989, BBC Radio 4 produced a 7-hour drama adapted for radio by Nick McCarty and directed by Ian Cotterell. This adaptation is occasionally repeated by BBC Radio 7. The cast included:
* Charles Dance as Sydney Carton
* Maurice Denham as Dr. Alexandre Manette
* Charlotte Attenborough as Lucie Manette
* Richard Pasco as Jarvis Lorry
* John Duttine as Charles Darnay
* Barbara Leigh-Hunt as Miss Pross
* Margaret Robertson as Madame Defarge
* John Hollis as Jerry Cruncher
* John Bull as Ernest Defarge
* Aubrey Woods as Mr. Stryver
* Eva Stuart as Mrs. Cruncher
* John Moffat as Marquis St. Evremonde
* Geoffrey Whitehead as John Barsad and Jacques #2
* Nicholas Courtney as Jacques #3 and The Woodcutter
Television programs
An 8-part mini-series was produced by the BBC in 1957 starring Peter Wyngarde as "Sydney Carton", Edward de Souza as "Charles Darnay" and Wendy Hutchinson as "Lucie Manette".
Another mini-series, this one in 10 parts, was produced by the BBC in 1965.
A third BBC mini-series (in 8 parts) was produced in 1980 starring Paul Shelley as "Carton/Darnay", Sally Osborne as "Lucie Manette" and Nigel Stock as "Jarvis Lorry".
The novel was adapted into a 1980 television movie starring Chris Sarandon as "Sydney Carton/Charles Darnay". Peter Cushing as "Dr. Alexandre Manette", Alice Krige as "Lucie Manette", Flora Robson as "Miss Pross", Barry Morse as "The Marquis St. Evremonde" and Billie Whitelaw as "Madame Defarge".
In 1989 Granada Television made a mini-series starring James Wilby as "Sydney Carton", Serena Gordon as "Lucie Manette", Xavier Deluc as "Charles Darnay", Anna Massey as "Miss Pross" and John Mills as "Jarvis Lorry", which was shown on American television as part of the PBS television series Masterpiece Theatre.
In the 1970 Monty Python's Flying Circus episode "The Attila the Hun Show", the sketch "The News for Parrots" included a scene of A Tale of Two Cities (As told for parrots).
The children's television series Wishbone adapted the novel for the episode "A Tale of Two Sitters".
This novel was also mentioned in the Nickelodeon show Hey Arnold, where Oscar was learning how to read.
Books
In Nicholas Meyer's novel The Canary Trainer, descended from Charles and Lucie, once more titled the Marquis de St. Evremonde, attends the Paris Opera during the events of The Phantom of the Opera.
American author Susanne Alleyn's novel A Far Better Rest, a reimagining of A Tale of Two Cities from the point of view of Sydney Carton, was published in the USA in 2000.
Diane Mayer self-published her novel Evremonde through iUniverse in 2005; it tells the story of Charles and Lucie Darnay and their children after the French Revolution.
Simplified versions of A Tale of Two Cities for English language learners have been published by Penguin Readers, in several levels of difficulty.
Stage musicals
There have been four musicals based on the novel:
A 1968 stage version, Two Cities, the Spectacular New Musical, with music by Jeff Wayne, lyrics by Jerry Wayne and starring Edward Woodward.
A Tale of Two Cities, Jill Santoriello's musical adaptation of A Tale of Two Cities, was performed at the Asolo Repertory Theatre in Sarasota, Florida, in October and November 2007. James Stacy Barbour ("Sydney Carton") and Jessica Rush ("Lucie Manette") were among the cast. A production of the musical began previews on Broadway on 19 August 2008, opening on 18 September at the Al Hirschfeld Theatre. Warren Carlyle is the director/choreographer; the cast includes James Stacy Barbour as "Sydney Carton", Brandi Burkhardt as "Lucie Manette", Aaron Lazar as "Charles Darnay", Gregg Edelman as "Dr. Manette", Katherine McGrath as "Miss Pross", Michael Hayward-Jones as "Jarvis Lorry" and Natalie Toro as "Madame Defarge".
In 2006, Howard Goodall collaborated with Joanna Read in writing a separate musical adaptation of the novel called Two Cities. The central plot and characters were maintained, though Goodall set the action during the Russian Revolution.
The novel has also been adapted as a musical by Takarazuka Revue, the all-female opera company in Japan. The first production was in 1984, starring Mao Daichi at the Grand Theater, and the second was in 2003, starring Jun Sena at the Bow Hall.
Opera
Arthur Benjamin's operatic version of the novel, subtitled Romantic Melodrama in six scenes, was premiered by the BBC on 17 April 1953, conducted by the composer; it received its stage premiere at Sadler's Wells on 22 July 1957, under the baton of Leon Lovett.
shuāng chéng jì - chuàng zuò tuán duì
dǎo yǎn： jié kè · kāng wēi luó bó tè ·Z· lún nà dé
zhù yǎn： luó nà dé · kǎo 'ěr màn táng nà dé · wǔ cí yī lì suō bái · ài lán
biān jù Writer： chá 'ěr sī · dí gèng sī CharlesDickens sài miù 'ěr ·N· bèi 'ěr màn S.N.BehrmanW.P.LipscombThomas
zhì zuò rén Producedby： dà wèi ·O· sài 'ěr cí ní kè DavidO.Selznick
shuāng chéng jì - yǐng píng
zhè shì yī gè zuì hǎo de shí dài， yě shì yī gè zuì huài de shí dài； zhè shì míng zhì de shí dài， zhè shì yú mèi de shí dài； zhè shì xìn rèn de jì yuán， zhè shì huái yí de jì yuán； zhè shì guāng míng de jì jié， zhè shì hēi 'àn de jì jié； zhè shì xī wàng de chūn rì， zhè shì shī wàng de dōng rì； wǒ men miàn qián yīngyǒu jìn yòu， wǒ men miàn qián yī wú suǒ yòu； wǒ men dū jiāng zhí shàng tiān táng， wǒ men dū jiāng zhí xià dì yù。。。
héng héng dí gèng sī《 shuāng chéng jì》
Itwasthebestoftimes,itwastheworstoftimes;itwastheageofwisdom,itwastheageoffoolishness;itwastheepochofbelief,itwastheepochofincredulity;itwastheseasonofLight,itwastheseasonofDarkness;itwasthespringofhope,itwasthewinterofdespair;wehadeverythingbeforeus,wehadnothingbeforeus;wewereallgoingdirectlytoHeaven,wewereallgoingtheotherway.
héng héng CharlesDichens(ATaleofTwoCities)
wèishénme jiào shuāng chéng jì？ dí gèng sī de zhè bù zuò pǐn， ràng wǒ xiǎng qǐ liǎo kǎ sà bù lán kǎ， wèile suǒ 'ài de rén， fàng qì liǎo suǒ 'ài de rén。 liǎo jiě zhè gè shí dài de bèi jǐng shì hěn zhòng yào de， bù rán qián miàn huì jué de zhuǎn de tài kuài。 zǒng de lái shuō， dà zuò jiā de xiǎo shuō hái shì wú xiè kě jī de。 dāng xià de shè huì yǔ dí gèng sī yǎn zhōng shū zhōng de shí dài shì fǒu xiāng sì？ wǒ men de chū kǒu yòu zài nǎ lǐ？ xīn shǎng dí gèng sī de zhè duàn míng yán。
shuāng chéng jì - mù hòu huā xù
běn piàn gǎi biān zì dí gèng sī de tóng míng bù xiǔ míng zhù《 shuāng chéng jì》， zài dà zhì zuò jiā dà wèi． sài cí ní kè yǔ dǎo yǎn jié kè． kāng wéi de qīng lì shè zhì xià， wán chéng liǎo zhè bù fǎn yìng fǎ guó dà gé mìng shí dài bēi jù de jié zuò， yě shì gēn jù běn shū pāi shè de liù gè diàn yǐng bǎn běn zhōng chéng jì zuì hǎo de yī bù。 dí gèng sī de xiǎo shuō lì yòng gè zhǒng yuán sù miáo shù yī gè dòng rén xīn bó cuī rén lèi xià de 'ài qíng gù shì， zì chū bǎn yǐ lái shòu dào wú shù dú zhě de rè xīn zhuī pěng， yī bǎn zài bǎn。 běn piàn bìng méi yòu wán quán bāo kuò xiǎo shuō zhǎn xiàn chū lái de suǒ yòu yuán sù， dàn què méi yòu yí lòu rèn hé zuì wéi zhòng yào de qíng jié。 dāng rán， méi yòu nǎ yī bù tōng guò yōu xiù de xiǎo shuō gǎi biān de diàn ...
shuāng chéng jì -《 shuāng chéng jì》 yuán zhù jiǎn jiè：
1775 nián 12 yuè de yī gè yuè yè， yù jū bā lí de nián qīng yī shēng méi ní tè sàn bù shí， tū rán bèi 'è fú lǐ méng dì hóu jué xiōng dì qiǎngpò chū zhěn。 zài hóu jué fǔ dì zhōng， tā mù dǔ yī gè fā kuáng de jué sè nóng fù hé yī gè shēn shòu jiàn shāng de shàonián yǐn hèn 'ér sǐ de cǎn zhuàng， bìng huò xī hóu jué xiōng dì wèile piàn kè yín lè shā hài tā men quán jiā de nèi qíng。 tā jù jué hóu jué xiōng dì de zhòng jīn huì lù， xiě xìn xiàng cháo tíng gào fā。 bù liào kòng gào xìn luò dào bèi gào rén shǒu zhōng， yī shēng bèi guān jìn bā shì dǐ yù， cóng cǐ yǔ shì gé jué， yǎo wú yīn xùn。 liǎng nián hòu， qī zǐ xīn suì 'ér sǐ。 yòu xiǎo de gū nǚ lù qiàn bèi hǎo yǒu láo léi jiē dào lún dūn， zài shàn liáng de nǚ pú pǔ luò sī fǔ yǎng xià cháng dà。
18 nián hòu， méi ní tè yī shēng huò shì。 zhè wèi jīng shén shī cháng de báifà lǎo rén bèi bā lí shèng 'ān dōng ní qū de yī míng jiǔ fàn、 tā jiù rì de pú rén dé fá shí shōu liú。 zhè shí， nǚ 'ér lù qiàn yǐ jīng chéngzhǎng， zhuān chéng jiē tā qù yīng guó jū zhù。 lǚ tú shàng， tā men xiè hòu fǎ guó qīng nián chá lǐ · dài 'ěr nà， shòu dào tā de xì xīn zhào liào。
yuán lái dài 'ěr nà jiù shì hóu jué de 'ér zǐ。 tā zēng hèn zì jǐ jiā zú de zuì 'è， yì rán fàng qì cái chǎn de jì chéng quán hé guì zú de xìng shì， yí jū lún dūn， dāng liǎo yī míng fǎ yǔ jiào shī。 zài yǔ méi ní tè fù nǚ de jiāo wǎng zhōng， tā duì lù qiàn chǎn shēng liǎo zhēn chéng de 'ài qíng。 méi ní tè wèile nǚ 'ér de xìng fú， jué dìng mái zàng guò qù， xīn rán tóng yì tā men de hūn shì。
zài fǎ guó， dài 'ěr nà fù mǔ xiāng jì qù shì， shū fù 'è fú lǐ méng dì hóu jué jì xù wéi suǒ yù wéi。 dāng tā nà kuáng zài de mǎ chē ruò wú qí shì dì zhá sǐ yī gè nóng mín de hái zǐ hòu， zhōng yú bèi hái zǐ fù qīn yòng dāo shā sǐ。 yīcháng gé mìng de fēng bào zhèng zài yùn niàng zhī zhōng， dé fá shí de jiǔ diàn jiù shì gé mìng huó dòng de lián luò diǎn， tā de qī zǐ bù tíng dì bǎ guì zú de bào xíng biān zhì chéng bù tóng de huā wén， jì lù zài wéi jīn shàng， kě wàng fù chóu。
1739 nián fǎ guó dà gé mìng de fēng bào zhōng yú xí lái liǎo。 bā lí rén mín gōng zhàn liǎo bā shì dǐ yù， bǎ guì zú yī gè gè sòng shàng duàn tóu tái。 yuǎn zài lún dūn de dài 'ěr nà wèile yíng jiù guǎn jiā gài bái lè， mào xiǎn huí guó， yī dào bā lí jiù bèi bǔ rù yù。 méi ní tè fù nǚ wén xùn hòu xīng yè gǎn dào。 yī shēng de chū tíng zuò zhèng shǐ dài 'ěr nà huí dào qī zǐ de shēn biān。 kě shì， jǐ xiǎo shí hòu， dài 'ěr nà yòu bèi dài bǔ。 zài fǎ tíng shàng， dé fá shí xuān dú liǎo dāng nián yī shēng zài yù zhōng xiě xià de xuè shū： xiàng cāng tiān hé dà dì kòng gào 'è fú lǐ méng dì jiā zú de zuì hòu yī gè rén。 fǎ tíng pàn chù dài 'ěr nà sǐ xíng。
jiù zài zhè shí， yī zhí 'àn 'àn 'ài mù lù qiàn de lǜ shī zhù shǒu kǎ 'ěr dēng lái dào bā lí， mǎi tōng yù zú， hùn rù jiān yù， dǐng tì liǎo hūn mí zhōng de dài 'ěr nà， méi ní tè fù nǚ zǎo yǐ zhǔn bèi jiù xù， dài 'ěr nà yī dào， mǎ shàng chū fā。 yīháng rén shùn lì dì lí kāi fǎ guó。
dé fá shí tài tài zài dài 'ěr nà bèi pàn jué hòu， yòu dào méi ní tè zhù suǒ sōu bǔ lù qiàn jí qí yòu nǚ， zài yǔ pǔ luò sī de zhēng dǒu zhōng， yīn qiāng zhī zǒu huǒ 'ér bì mìng。 ér duàn tóu tái shàng， kǎ 'ěr dēng wèile 'ài qíng， cóng róng xiàn shēn。
shuāng chéng jì - dǎo dú
shuāng chéng jì shuāng chéng jì
shì jiè míng zhù《 shuāng chéng jì》 --- zuò zhě dí gèng sī "ATaleofTwoCities"(1859)byCharlesDickens(1812-1870)
《 shuāng chéng jì》 shì dí gèng sī zuì zhòng yào de dài biǎo zuò zhī yī。 zǎo zài chuàng zuò《 shuāng chéng jì》 zhī qián hěn jiǔ， dí gèng sī jiù duì fǎ guó dà gé mìng jí wéi guān zhù， fǎn fù yán dú yīng guó lì shǐ xué jiā kǎ lāi 'ěr de《 fǎ guó gé mìng shǐ》 hé qí tā xué zhě de yòu guān zhù zuò。 tā duì fǎ guó dà gé mìng de nóng hòu xīng qù fā duān yú duì dāng shí yīng guó qián fú zhe de yán zhòng de shè huì wēi jī de dān yōu。 1854 nián dǐ， tā shuō： “ wǒ xiāng xìn， bù mǎn qíng xù xiàng zhè yàng mào yān bǐ huǒ shāo qǐ lái hái yào huài dé duō， zhè tè bié xiàng fǎ guó zài dì yī cì gé mìng bào fā qián de gōng zhòng xīn lǐ， zhè jiù yòu wēi xiǎn， yóu yú qiān bǎi zhǒng yuán yīn héng héng rú shōu chéng bù hǎo、 guì zú jiē jí de zhuān héng yǔ wú néng bǎ yǐ jīng jǐn zhāng de jú miàn zuì hòu yī cì jiā jǐn、 hǎi wài zhàn zhēng de shī lì、 guó nèi 'ǒu fā shì jiàn děng děng héng héng biàn chéng nà cì cóng wèi jiàn guò de yīcháng kě pà de dà huǒ。 ” kě jiàn，《 shuāng chéng jì》 zhè bù lì shǐ xiǎo shuō de chuàng zuò dòng jī zài yú jiè gǔ fěng jīn， yǐ fǎ guó dà gé mìng de lì shǐ jīng yàn wéi jiè jiàn， gěi yīng guó tǒng zhì jiē jí qiāo xiǎng jǐng zhōng； tóng shí， tōng guò duì gé mìng kǒng bù de jí duān miáo xiě， yě duì xīn huái fèn mèn、 xī tú yǐ bào lì duì kàng bào zhèng de rén mín qún zhòng tí chū jǐng gào， huàn xiǎng wéi shè huì máo dùn rì yì jiā shēn de yīng guó xiàn zhuàng xún zhǎo yī tiáo chū lù。
cóng zhè gè mùdì chū fā， xiǎo shuō shēn kè dì jiē lù liǎo fǎ guó dà gé mìng qián shēn shēn jī huà liǎo de shè huì máo dùn， qiáng liè dì pēng jī guì zú jiē jí de huāng yín cán bào， bìng shēnqiè dì tóng qíng xià céng rén mín de kǔ nán。 zuò pǐn jiān ruì dì zhǐ chū， rén mín qún zhòng de rěn nài shì yòu xiàn dù de， zài guì zú jiē jí de cán bào tǒng zhì xià， rén mín qún zhòng pò yú shēng jì， bì rán fèn qǐ fǎn kàng。 zhè zhǒng fǎn kàng shì zhèng yì de。 xiǎo shuō hái miáo huì liǎo qǐ yì rén mín gōng jī bā shì dǐ yù děng zhuàng guān chǎng jǐng， biǎo xiàn liǎo rén mín qún zhòng de wěi dà lì liàng。 rán 'ér， zuò zhě zhàn zài zī chǎn jiē jí rén dào zhù yì de lì chǎng shàng， jí fǎn duì cán kù yā pò rén mín de bào zhèng， yě fǎn duì gé mìng rén mín fǎn kàng bào zhèng de bào lì。 zài dí gèng sī bǐ xià， zhěng gè gé mìng bèi miáo xiě chéng yīcháng huǐ miè yī qiē de jù dà zāinàn， tā wú qíng dì chéng fá zuì 'è de guì zú jiē jí， yě máng mù dì shā hài wú gū de rén men。
zhè bù xiǎo shuō sù zào liǎo sān lèi rén wù。 yī lèi shì yǐ 'è fú lǐ méng dì hóu jué xiōng dì wéi dài biǎo de fēng jiàn guì zú， tā men“ wéi yī bù kě dòng yáo de zhé xué jiù shì yā pò rén”， shì zuò zhě tòng jiā biān tà de duì xiàng。 lìng yī lèi shì dé fá shí fū fù děng gé mìng qún zhòng。 bì xū zhǐ chū de shì， tā men de xíng xiàng shì bèi niǔ qū de。 lì rú dé fá shí de qī zǐ dí 'ān nà， tā chū shēng yú bèi wǔ rǔ、 bèi pò hài de nóng jiā， duì fēng jiàn guì zú huái zhe shēn chóu dà hèn， zuò zhě shēnqiè dì tóng qíng tā de bēi cǎn zāo yù， gé mìng bào fā qián hòu hěn zàn shǎng tā jiān qiáng de xìng gé、 zhuó yuè de cái zhì hé fēi fán de zǔ zhì lǐng dǎo néng lì； dàn dāng gé mìng jìn yī bù shēn rù shí， jiù bǐ fēng yī zhuǎn， bǎ tā biǎn chì wéi yī gè lěng kù、 xiōng hěn、 xiá 'ài de fù chóu zhě。 yóu qí shì dāng tā dào yī shēng zhù suǒ sōu bǔ lù qiàn hé xiǎo lù qiàn shí， gèng bèi biǎo xiàn wéi shì xuè chéng xìng de kuáng rén。 zuì hòu， zuò zhě ràng tā sǐ zài zì jǐ de qiāng kǒu zhī xià， míng què dì biǎo shì liǎo fǒu dìng de tài dù。 dì sān lèi shì lǐ xiǎng huà rén wù， shì zuò zhě xīn mù zhōng yǐ rén dào zhù yì jiě jué shè huì máo dùn、 yǐ bó 'ài zhàn shèng chóu hèn de bǎng yàng， bāo kuò méi ní tè fù nǚ、 dài 'ěr nà、 láo léi hé kǎ 'ěr dēng děng。 méi ní tè yī shēng bèi hóu jué xiōng dì hài dé jiā pò rén wáng， duì hóu jué xiōng dì huái yòu shēn chóu dà hèn， dàn shì wèile nǚ 'ér de 'ài， kě yǐ bìng qì sù chóu jiù hèn； dài 'ěr nà shì hóu jué xiōng dì de zǐ zhí， tā dà chè dà wù， qiǎn zé zì jǐ jiā zú de zuì 'è， pāo qì jué wèi hé cái chǎn， jué xīn yǐ zì jǐ de xíng dòng lái“ shú zuì”。 zhè duì hù xiāng huī yìng de rén wù， yī gè shì guì zú bào zhèng de shòu hài zhě， kuān róng wéi huái； yī gè shì guì zú hóu jué de jì chéng rén， zhù zhāng rén 'ài。 tā men zhōng jiān， gèng yòu zuò wéi nǚ 'ér hé qī zǐ de lù qiàn。 zài 'ài de niǔ dài de wéi xì xià， tā men zǔ chéng yī gè hù xiāng liàng jiě、 gǎn qíng róng qià de xìng fú jiā tíng。 zhè xiǎn rán shì zuò zhě shè xiǎng de yī tiáo yǔ bào lì gé mìng jié rán xiāng fǎn de jiě jué shè huì máo dùn de chū lù， shì bùqiè shí jì de。
《 shuāng chéng jì》 yòu qí bù tóng yú yī bān lì shǐ xiǎo shuō de dì fāng， tā de rén wù hé zhù yào qíng jié dōushì xū gòu de。 zài fǎ guó dà gé mìng guǎng kuò de zhēn shí bèi jǐng xià， zuò zhě yǐ xū gòu rén wù méi ní tè yī shēng de jīng lì wéi zhù xiàn suǒ， bǎ yuān yù、 ài qíng yǔ fù chóu sān gè hù xiāng dú lì 'ér yòu hù xiāng guān lián de gù shì jiāo zhì zài yī qǐ， qíng jié cuò zōng， tóu xù fēn fán。 zuò zhě cǎi qǔ dàoxù、 chā xù、 fú bǐ、 pū diàn děng shǒu fǎ， shǐ xiǎo shuō jié gòu wán zhěng yán mì， qíng jié qū zhé jǐn zhāng 'ér fù yòu xì jù xìng， biǎo xiàn liǎo zhuó yuè de yì shù jì qiǎo。《 shuāng chéng jì》 fēng gé sù mù、 chén yù， chōng mǎn yōu fèn， dàn quē shǎo zǎo qī zuò pǐn de yōu mò。
It depicts the plight of the French peasantry demoralized by the French aristocracy in the years leading up to the revolution, the corresponding brutality demonstrated by the revolutionaries toward the former aristocrats in the early years of the revolution, and many unflattering social parallels with life in London during the same time period. It follows the lives of several protagonists through these events, most notably Charles Darnay, a French once-aristocrat who falls victim to the indiscriminate wrath of the revolution despite his virtuous nature, and Sydney Carton, a dissipated British barrister who endeavours to redeem his ill-spent life out of love for Darnay's wife, Lucie Manette.
The novel was published in weekly installments (not monthly, as with most of his other novels). The first installment ran in the first issue of Dickens' literary periodical All the Year Round appearing on 30 April 1859; the thirty-first and last ran on 25 November of the same year.
Plot summary
Book the First: Recalled to Life
“ It was the best of times, it was the worst of times... ”
—Opening line of A Tale of Two Cities
It is 1775. Jarvis Lorry, an employee of Tellson's Bank, is travelling from England to France to bring Dr. Alexandre Manette to London. At Dover, before crossing to France, he meets seventeen-year-old Lucie Manette and reveals to her that her father, Dr. Manette, is not dead, as she had been told. He has been a prisoner in the Bastille for the last 18 years.
Lorry and Lucie travel to Saint Antoine, a suburb of Paris, where they meet the Defarges. Monsieur Ernest and Madame Therese Defarge own a wine shop. They also (secretly) lead a band of revolutionaries, who refer to each other by the codename "Jacques" (drawn from the name of an actual French revolutionary group, the Jacquerie).
Monsieur Defarge (who was Dr. Manette's servant before Manette's imprisonment, and now has care of him) takes them to see Dr. Manette. Manette has withdrawn from reality due to the horror of his imprisonment. He sits in a dark room all day making shoes, a trade he had learned whilst imprisoned. At first he does not know his daughter, but eventually recognizes her by her long golden hair which resembles her mother's. Dr. Manette had long kept a strand of his wife's hair which was found on his sleeve when he was imprisoned. Lucie's eyes are blue also just like his. Lorry and Lucie take him back to England.
Book the Second: The Golden Thread
"The Golden Thread" redirects here. For the legal judgement, see Golden thread (law).
It is now 1780. French emigrant Charles Darnay is being tried at the Old Bailey for treason. Two British spies, John Barsad and Roger Cly, are trying to frame the innocent Darnay for their own gain. They claim that Darnay, a Frenchman, gave information about British troops in North America to the French. Darnay is acquitted when a witness who claims he would be able to recognise Darnay anywhere cannot tell Darnay apart from a barrister present in court (not one of those defending Darnay), Sydney Carton, who just happens to look almost identical to him.
In Paris, the Marquis St. Evrémonde (Monseigneur), Darnay's uncle, runs over and kills the son of the peasant Gaspard; he throws a coin to Gaspard to compensate him for his loss. Monsieur Defarge comforts Gaspard. As the Marquis's coach drives off, Defarge throws the coin back into the coach, enraging the Marquis.
Arriving at his château, the Marquis meets with his nephew: Charles Darnay. (Darnay's real surname, therefore, is Evrémonde; out of disgust with his family, Darnay has adopted a version of his mother's maiden name, D'Aulnais.) They argue: Darnay has sympathy for the peasantry, while the Marquis is cruel and heartless:
"Repression is the only lasting philosophy. The dark deference of fear and slavery, my friend," observed the Marquis, "will keep the dogs obedient to the whip, as long as this roof," looking up to it, "shuts out the sky."
That night, Gaspard (who has followed the Marquis to his château, hanging under his coach) murders the Marquis in his sleep. He leaves a note saying, "Drive him fast to his tomb. This, from JACQUES."
In London, Darnay gets Dr. Manette's permission to wed Lucie. But Carton confesses his love to Lucie as well. Knowing she will not love him in return, Carton promises to "embrace any sacrifice for you and for those dear to you".
On the morning of the marriage, Darnay, at Dr. Manette's request, reveals who his family is, a detail which Dr. Manette had asked him to withhold until then. This unhinges Dr. Manette, who reverts to his obsessive shoemaking. His sanity is restored before Lucie returns from her honeymoon; to prevent a further relapse, Lorry destroys the shoemaking bench, which Dr. Manette had brought with him from Paris.
It is 14 July 1789. The Defarges help to lead the storming of the Bastille. Defarge enters Dr. Manette's former cell, "One Hundred and Five, North Tower". The reader does not know what Monsieur Defarge is searching for until Book 3, Chapter 9. (It is a statement in which Dr. Manette explains why he was imprisoned.)
In the summer of 1792, a letter reaches Tellson's bank. Mr. Lorry, who is planning to go to Paris to save the French branch of Tellson's, announces that the letter is addressed to Evrémonde. Nobody knows who Evrémonde is, because Darnay has kept his real name name a secret in England. Darnay acquires the letter by pretending Evrémonde is an acquaintance of his. The letter turns out to be from Gabelle, a servant of the former Marquis. Gabelle has been imprisoned, and begs the new Marquis to come to his aid. Darnay, who feels guilty, leaves for Paris to help Gabelle.
Book the Third: The Track of a Storm
"The Sea Rises", an illustration for Book 2, Chapter 21 by "Phiz"
In France, Darnay is denounced for emigrating from France, and imprisoned in La Force Prison in Paris. Dr. Manette and Lucie—along with Miss Pross, Jerry Cruncher, and "Little Lucie", the daughter of Charles and Lucie Darnay—come to Paris and meet Mr. Lorry to try to free Darnay. A year and three months pass, and Darnay is finally tried.
Dr. Manette, who is seen as a hero for his imprisonment in the hated Bastille, is able to get him released. But that same evening Darnay is again arrested, and is put on trial again the next day, under new charges brought by the Defarges and one "unnamed other". We soon discover that this other is Dr. Manette, through the testimony of his statement (his own account of his imprisonment, written in the Bastille in the "last month of the tenth year of [his] captivity"); Manette does not know that his statement has been found, and is horrified when his words are used to condemn Darnay.
On an errand, Miss Pross is amazed to see her long-lost brother, Solomon Pross, but Pross does not want to be recognised. Sydney Carton suddenly appears (stepping forward from the shadows much as he had done after Darnay's first trial in London) and identifies Solomon Pross as John Barsad, one of the men who tried to frame Darnay for treason at his first trial in London. Carton threatens to reveal Solomon's identity as a Briton and an opportunist who spies for the French or the British as it suits him. If this were revealed, Solomon would surely be executed, so Carton's hand is strong.
Darnay is confronted at the tribunal by Monsieur Defarge, who identifies Darnay as the Marquis St. Evrémonde and reads the letter Dr. Manette had hidden in his cell in the Bastille. Defarge can identify Darnay as Evrémonde because Barsad told him Darnay's identity when Barsad was fishing for information at the Defarges' wine shop in Book 2, Chapter 16. The letter describes how Dr. Manette was locked away in the Bastille by the deceased Marquis Evrémonde (Darnay's father) and his twin brother (who held the title of Marquis when we met him earlier in the book, and is the Marquis who was killed by Gaspard; Darnay's uncle) for trying to report their crimes against a peasant family. The younger brother had become infatuated with a girl. He had kidnapped and raped her and killed her husband, the knowledge of which killed her father, and her brother died in the act of fighting to protect her honor. Prior to his death, the brother of the raped peasant had hidden the last member of the family, his younger sister, "somewhere safe". The paper concludes by condemning the Evrémondes, "them and their descendants, to the last of their race". Dr. Manette is horrified, but his protests are ignored—he is not allowed to take back his condemnation. Darnay is sent to the Conciergerie and sentenced to be guillotined the next day.
Carton wanders into the Defarges' wine shop, where he overhears Madame Defarge talking about her plans to have the rest of Darnay's family (Lucie and "Little Lucie") condemned. Carton discovers that Madame Defarge was the surviving sister of the peasant family savaged by the Evrémondes. The only plot detail that might give one any sympathy for Madame Defarge is the loss of her family and that she has no (family) name. "Defarge" is her married name, and Dr. Manette cannot learn her family name, though he asks her dying sister for it. The next morning, when Dr. Manette returns shattered after having spent the previous night in many failed attempts to save Charles' life, he reverts to his obsessive shoemaking. Carton urges Lorry to flee Paris with Lucie, her father and "Little Lucie".
That same morning Carton visits Darnay in prison. Carton drugs Darnay, and Barsad (whom Carton is blackmailing) has Darnay carried out of the prison. Carton—who looks so similar to Darnay that a witness at Darnay's trial in England could not tell them apart—has decided to pretend to be Darnay, and to be executed in his place. He does this out of love for Lucie, recalling his earlier promise to her. Following Carton's earlier instructions, Darnay's family and Lorry flee Paris and France with an unconscious man in their coach who carries Carton's identification papers, but is actually Darnay.
Meanwhile Madame Defarge, armed with a pistol, goes to the residence of Lucie's family, hoping to catch them mourning for Darnay (since it was illegal to sympathise with or mourn for an enemy of the Republic); however, Lucie, her child, Dr. Manette and Mr. Lorry are already gone. To give them time to escape, Miss Pross confronts Madame Defarge and they struggle. Pross speaks only English and Defarge speaks only French, so neither can understand each other verbally. In the fight, Madame Defarge's pistol goes off, killing her; the noise of the shot and the shock of Madame Defarge's death cause Miss Pross to go permanently deaf.
The novel concludes with the guillotining of Sydney Carton. Carton's unspoken last thoughts are prophetic: Carton foresees that many of the revolutionaries, including Defarge, Barsad and The Vengeance (a lieutenant of Madame Defarge) will be sent to the guillotine themselves, and that Darnay and Lucie will have a son whom they will name after Carton: a son who will fulfill all the promise that Carton wasted. Lucie and Darnay have a first son earlier in the book who is born and dies within a single paragraph. It seems likely that this first son appears in the novel so that their later son, named after Carton, can represent another way in which Carton restores Lucie and Darnay through his sacrifice.
“ It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to, than I have ever known. ”
—Final sentence of A Tale of Two Cities
Analysis
A Tale of Two Cities is one of only two works of historical fiction by Charles Dickens (Barnaby Rudge is the other one). It has fewer characters and sub-plots than a typical Charles Dickens novel. The author's primary historical source was The French Revolution: A History by Thomas Carlyle: Charles Dickens wrote in his Preface to Tale that "no one can hope to add anything to the philosophy of Mr. Carlyle's wonderful book" Carlyle's view that history cycles through destruction and resurrection was an important influence on the novel, illustrated especially well by the life and death of Sydney Carton.
Language
Dickens uses literal translations of French idioms for characters who can't speak English, such as "What the devil do you do in that galley there?!!" and "Where is my husband? ---Here you see me." The Penguin Classics edition of the novel notes that "Not all readers have regarded the experiment as a success."
Humor
Dickens is renowned for his humor, but A Tale of Two Cities is one of his least comical books. Nonetheless, Jerry Cruncher, Miss Pross, and Mr. Stryver provide much comedy. Dickens also uses sarcasm as humour in the book to show different points of view. The book is full of tragic situations, therefore, leaving little room for intended humor provided by Dickens.
Foreshadowing
A Tale of Two Cities contains much foreshadowing:
* Carton's promise to Lucie, the "echoing footsteps" heard by the Manettes in their quiet home, and the wine spilling from the wine cask are only a few of dozens of instances.
* Carton promises Lucie he would die for her because he loves her so much.
* Echoing footsteps can either be the people coming into their lives or the revolutionaries.
* The wine spilling in the streets can be blood running through the streets of France.
* The wine cask breaking is a corrupted government, freedom, or blood from guillotine.
* The negro cupids show danger, and death from the guillotine.
Themes
"Recalled to Life"
In Dickens' England, resurrection always sat firmly in a Christian context. Most broadly, Sydney Carton is resurrected in spirit at the novel's close (even as he, paradoxically, gives up his physical life to save Darnay's—just as, in Christian belief, Christ died for the sins of all people.) More concretely, "Book the First" deals with the rebirth of Dr. Manette from the living death of his incarceration.
Resurrection appears for the first time when Mr. Lorry replies to the message carried by Jerry Cruncher with the words "Recalled to Life". Resurrection also appears during Mr. Lorry's coach ride to Dover, as he constantly ponders a hypothetical conversation with Dr. Manette: ("Buried how long?" "Almost eighteen years." ... "You know that you are recalled to life?" "They tell me so.") He believes he is helping with Dr. Manette's revival, and imagines himself "digging" Dr. Manette up from his grave.
Resurrection is the main theme in the novel. In Jarvis Lorry's thoughts of Dr. Manette, resurrection is first spotted as a theme. It is also the last theme: Carton's sacrifice. Dickens originally wanted to call the entire novel Recalled to Life. (This instead became the title of the first of the novel's three "books".)
Jerry is also part of the recurring theme: he himself is involved in death and resurrection in way that the reader does not yet know. The first piece of foreshadowing comes in his remark to himself: "You'd be in a blazing bad way, if recalling to life was to come into fashion, Jerry!" The black humour of this statement becomes obvious only much later on. Five years later, one cloudy and very dark night (in June 1780), Mr. Lorry reawakens the reader's interest in the mystery by telling Jerry it is "Almost a night ... to bring the dead out of their graves". Jerry responds firmly that he has never seen the night do that.
It turns out that Jerry Cruncher's involvement with the theme of resurrection is that he is what the Victorians called a "Resurrection Man", one who (illegally) digs up dead bodies to sell to medical men (there was no legal way to procure cadavers for study at that time).
The opposite of resurrection is of course death. Death and resurrection appear often in the novel. Dickens is angered that in France and England, courts hand out death sentences for insignificant crimes. In France, peasants are even put to death without any trial, at the whim of a noble. The Marquis tells Darnay with pleasure that "[I]n the next room (my bedroom), one fellow ... was poniarded on the spot for professing some insolent delicacy respecting his daughter—his daughter!"
Interestingly, the demolition of Dr. Manette's shoe-making workbench by Miss Pross and Mr. Lorry is described as "the burning of the body". It seems clear that this is a rare case where death or destruction (the opposite of resurrection) has a positive connotation, since the "burning" helps liberate the doctor from the memory of his long imprisonment. But Dickens' description of this kind and healing act is strikingly odd:
"The Accomplices", an illustration for Book 2, Chapter 19 by "Phiz"
So wicked do destruction and secrecy appear to honest minds, that Mr. Lorry and Miss Pross, while engaged in the commission of their deed and in the removal of its traces, almost felt, and almost looked, like accomplices in a horrible crime.
Sydney Carton's martyrdom atones for all his past wrongdoings. He even finds God during the last few days of his life, repeating Christ's soothing words, "I am the resurrection and the life". Resurrection is the dominant theme of the last part of the novel. Darnay is rescued at the last moment and recalled to life; Carton chooses death and resurrection to a life better than that which he has ever known: "it was the peacefullest man's face ever beheld there ... he looked sublime and prophetic".
In the broadest sense, at the end of the novel Dickens foresees a resurrected social order in France, rising from the ashes of the old one.
Water
Many in the Jungian archetypal tradition might agree with Hans Biedermann, who writes that water "is the fundamental symbol of all the energy of the unconscious—an energy that can be dangerous when it overflows its proper limits (a frequent dream sequence)." This symbolism suits Dickens' novel; in A Tale of Two Cities, the frequent images of water stand for the building anger of the peasant mob, an anger that Dickens sympathises with to a point, but ultimately finds irrational and even animalistic.
Early in the book, Dickens suggests this when he writes, “[T]he sea did what it liked, and what it liked was destruction.” The sea here represents the coming mob of revolutionaries. After Gaspard murders the Marquis, he is “hanged there forty feet high—and is left hanging, poisoning the water.” The poisoning of the well represents the bitter impact of Gaspard's execution on the collective feeling of the peasants.
After Gaspard’s death, the storming of the Bastille is led (from the St. Antoine neighbourhood, at least) by the Defarges; “As a whirlpool of boiling waters has a centre point, so, all this raging circled around Defarge’s wine shop, and every human drop in the cauldron had a tendency to be sucked towards the vortex...” The crowd is envisioned as a sea. “With a roar that sounded as if all the breath in France had been shaped into a detested word [the word Bastille], the living sea rose, wave upon wave, depth upon depth, and overflowed the city...”
Darnay’s jailer is described as “unwholesomely bloated in both face and person, as to look like a man who had been drowned and filled with water.” Later, during the Reign of Terror, the revolution had grown “so much more wicked and distracted ... that the rivers of the South were encumbered with bodies of the violently drowned by night...” Later a crowd is “swelling and overflowing out into the adjacent streets ... the Carmagnole absorbed them every one and whirled them away.”
During the fight with Miss Pross, Madame Defarge clings to her with “more than the hold of a drowning woman”. Commentators on the novel have noted the irony that Madame Defarge is killed by her own gun, and perhaps Dickens means by the above quote to suggest that such vicious vengefulness as Madame Defarge's will eventually destroy even its perpetrators.
So many read the novel in a Freudian light, as exalting the (British) superego over the (French) id. Yet in Carton's last walk, he watches an eddy that "turned and turned purposeless, until the stream absorbed it, and carried it onto the sea"—his fulfilment, while masochistic and superego-driven, is nonetheless an ecstatic union with the subconscious.
Darkness and light
As is common in English literature, good and evil are symbolised with light and darkness. Lucie Manette is often associated with light and Madame Defarge with darkness.
Lucie meets her father for the first time in a room kept by the Defarges:." Lucie's hair symbolises joy as she winds "the golden thread that bound them all together". She is adorned with "diamonds, very bright and sparkling", and symbolic of the happiness of the day of her marriage.
Darkness represents uncertainty, fear and peril. It is dark when Mr. Lorry rides to Dover; it is dark in the prisons; dark shadows follow Madame Defarge; dark, gloomy doldrums disturb Dr. Manette; his capture and captivity are shrouded in darkness; the Marquis’s estate is burned in the dark of night; Jerry Cruncher raids graves in the darkness; Charles's second arrest also occurs at night. Both Lucie and Mr. Lorry feel the dark threat that is Madame Defarge. "That dreadful woman seems to throw a shadow on me," remarks Lucie. Although Mr. Lorry tries to comfort her, "the shadow of the manner of these Defarges was dark upon himself". Madame Defarge is "like a shadow over the white road", the snow symbolising purity and Madame Defarge's darkness corruption. Dickens also compares the dark colour of blood to the pure white snow: the blood takes on the shade of the crimes of its shedders.
Social injustice
Charles Dickens was a champion of the maltreated poor because of his terrible experience when he was forced to work in a factory as a child. His sympathies, however, lie only up to a point with the revolutionaries; he condemns the mob madness which soon sets in. When madmen and -women massacre eleven hundred detainees in one night and hustle back to sharpen their weapons on the grindstone, they display "eyes which any unbrutalised beholder would have given twenty years of life, to petrify with a well-directed gun".
The reader is shown the poor are brutalised in France and England alike. As crime proliferates, the executioner in England is "stringing up long rows of miscellaneous criminals; now hanging housebreaker ... now burning people in the hand" or hanging a broke man for stealing sixpence. In France, a boy is sentenced to have his hands removed and be burned alive, only because he did not kneel down in the rain before a parade of monks passing some fifty yards away. At the lavish residence of Monseigneur, we find "brazen ecclesiastics of the worst world worldly, with sensual eyes, loose tongues, and looser lives ... Military officers destitute of military knowledge ... [and] Doctors who made great fortunes ... for imaginary disorders".
The Marquis recalls with pleasure the days when his family had the right of life and death over their slaves, "when many such dogs were taken out to be hanged". He won't even allow a widow to put up a board bearing her dead husband’s name, to discern his resting place from all the others. He orders Madame Defarge's sick brother-in-law to heave a cart all day and allay frogs at night to exacerbate the young man's illness and hasten his death.
In England, even banks endorse unbalanced sentences: a man may be condemned to death for nicking a horse or opening a letter. Conditions in the prisons are dreadful. "Most kinds of debauchery and villainy were practised, and ... dire diseases were bred", sometimes killing the judge before the accused.
So riled is Dickens at the brutality of English law that he depicts some of its punishments with sarcasm: "the whipping-post, another dear old institution, very humanising and softening to behold in action". He faults the law for not seeking reform: "Whatever is right" is the dictum of the Old Bailey. The gruesome portrayal of quartering highlights its atrocity.
Without entirely forgiving him, Dickens understands that Jerry Cruncher robs graves only to feed his son, and reminds the reader that Mr. Lorry is more likely to rebuke Jerry for his humble social status than anything else. Jerry reminds Mr. Lorry that doctors, men of the cloth, undertakers and watchmen are also conspirators in the selling of bodies.
Dickens wants his readers to be careful that the same revolution that so damaged France will not happen in Britain, which (at least at the beginning of the book) is shown to be nearly as unjust as France. But his warning is addressed not to the British lower classes, but to the aristocracy. He repeatedly uses the metaphor of sowing and reaping; if the aristocracy continues to plant the seeds of a revolution through behaving unjustly, they can be certain of harvesting that revolution in time. The lower classes do not have any agency in this metaphor: they simply react to the behaviour of the aristocracy. In this sense it can be said that while Dickens sympathises with the poor, he identifies with the rich: they are the book's audience, its "us" and not its "them". "Crush humanity out of shape once more, under similar hammers, and it will twist itself into the same tortured forms. Sow the same seed of rapacious licence and oppression over again, and it will surely yield the same fruit according to its kind".
Relation to Dickens' personal life
Some have argued that in A Tale of Two Cities Dickens reflects on his recently begun affair with eighteen-year-old actress Ellen Ternan, which was possibly asexual but certainly romantic. Lucie Manette resembles Ternan physically, and some have seen "a sort of implied emotional incest" in the relationship between Dr. Manette and his daughter.
After starring in a play by Wilkie Collins entitled The Frozen Deep, Dickens was first inspired to write Tale. In the play, Dickens played the part of a man who sacrifices his own life so that his rival may have the woman they both love; the love triangle in the play became the basis for the relationships between Charles Darnay, Lucie Manette, and Sydney Carton in Tale.
Sydney Carton and Charles Darnay may also bear importantly on Dickens' personal life. The plot hinges on the near-perfect resemblance between Sydney Carton and Charles Darnay; the two look so alike that Carton twice saves Darnay through the inability of others to tell them apart. It is implied that Carton and Darnay not only look alike, but they have the same "genetic" endowments (to use a term that Dickens would not have known): Carton is Darnay made bad. Carton suggests as much:
'Do you particularly like the man [Darnay]?' he muttered, at his own image [which he is regarding in a mirror]; 'why should you particularly like a man who resembles you? There is nothing in you to like; you know that. Ah, confound you! What a change you have made in yourself! A good reason for talking to a man, that he shows you what you have fallen away from and what you might have been! Change places with him, and would you have been looked at by those blue eyes [belonging to Lucie Manette] as he was, and commiserated by that agitated face as he was? Come on, and have it out in plain words! You hate the fellow.'
Many have felt that Carton and Darnay are doppelgängers, which Eric Rabkin defines as a pair "of characters that together, represent one psychological persona in the narrative". If so, they would prefigure such works as Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde. Darnay is worthy and respectable but dull (at least to most modern readers), Carton disreputable but magnetic.
One can only suspect whose psychological persona it is that Carton and Darnay together embody (if they do), but it is often thought to be the psyche of Dickens himself. Dickens was quite aware that between them, Carton and Darnay shared his own initials.
Characters
Many of Dickens' characters are "flat", not "round", in the novelist E. M. Forster's famous terms, meaning roughly that they have only one mood. In Tale, for example, the Marquis is unremittingly wicked and relishes being so; Lucie is perfectly loving and supportive. (As a corollary, Dickens often gives these characters verbal tics or visual quirks that he mentions over and over, such as the dints in the nose of the Marquis.) Forster believed that Dickens never truly created rounded characters, but a character such as Carton surely at least comes closer to roundness.
* Sydney Carton – A quick-minded but depressed English barrister alcoholic, and cynic; his Christ-like self-sacrifice redeems his own life and that of Charles Darnay.
* Lucie Manette – An ideal Victorian lady, perfect in every way. She was loved by both Carton and Charles Darnay (whom she marries), and is the daughter of Dr. Manette. She is the "golden thread" after whom Book Two is named, so called because she holds her father's and her family's lives together (and because of her blond hair like her mother's). She also ties nearly every character in the book together.
* Charles Darnay – A young French noble of the Evrémonde family. In disgust at the cruelty of his family to the French peasantry, he has taken on the name "Darnay" (after his mother's maiden name, D'Aulnais) and left France for England.
* Dr. Alexandre Manette – Lucie's father, kept a prisoner in the Bastille for eighteen years.
* Monsieur Ernest Defarge – The owner of a French wine shop and leader of the Jacquerie; husband of Madame Defarge; servant to Dr. Manette as a youth. One of the key revolutionary leaders, he leads the revolution with a noble cause, unlike many of other revolutionaries.
* Madame Therese Defarge – A vengeful female revolutionary, arguably the novel's antagonist
* The Vengeance – A companion of Madame Defarge referred to as her "shadow" and lieutenant, a member of the sisterhood of women revolutionaries in Saint Antoine, and revolutionary zealot. (Many Frenchmen and women did change their names to show their enthusiasm for the Revolution)
* Jarvis Lorry – An elderly manager at Tellson's Bank and a dear friend of Dr. Manette.
* Miss Pross – Lucie Manette's governess since Lucie was ten years old. Fiercely loyal to Lucie and to England.
* The Marquis St. Evrémonde – The cruel uncle of Charles Darnay.
* John Barsad (real name Solomon Pross) – A spy for Britain who later becomes a spy for France (at which point he must hide that he is British). He is the long-lost brother of Miss Pross.
* Roger Cly – Another spy, Barsad's collaborator.
* Jerry Cruncher – Porter and messenger for Tellson's Bank and secret "Resurrection Man" (body-snatcher). His first name is short for Jeremiah.
* Young Jerry Cruncher - Son of Jerry and Mrs. Cruncher. Young Jerry often follows his father around to his father's odd jobs, and at one point in the story, follows his father at night and discovers that his father is a resurrection man. Young Jerry looks up to his father as a role model, and aspires to become a resurrection man himself when he grows up.
* Mrs. Cruncher - Wife of Jerry Cruncher. She is a very religious woman, but her husband, being a bit paranoid, claims she is praying against him, and that is why he doesn't succeed at work often. She is often abused verbally, and almost as often, abused physically, by Jerry, but at the end of the story, he appears to feel a bit guilty about this.
* Mr. Stryver – An arrogant and ambitious barrister, senior to Sydney Carton. There is a frequent mis-perception that Stryver's full name is "C. J. Stryver", but this is very unlikely. The mistake comes from a line in Book 2, Chapter 12: "After trying it, Stryver, C. J., was satisfied that no plainer case could be." The initials C. J. almost certainly refer to a legal title (probably "chief justice"); Stryver is imagining that he is playing every role in a trial in which he browbeats Lucie Manette into marrying him.
* The Seamstress – A young woman caught up in The Terror. She precedes Sydney Carton, who comforts her, to the guillotine.
* Gabelle – Gabelle is "the Postmaster, and some other taxing functionary, united" for the tenants of the Marquis St. Evrémonde. Gabelle is imprisoned by the revolutionaries, and his beseeching letter brings Darnay to France. Gabelle is "named after the hated salt tax".
* Gaspard – Gaspard is the man whose son is run over by the Marquis. He then kills the Marquis and goes into hiding for a year. He eventually is found, arrested, and executed.
Adaptations
Films
There have been at least five feature films based on the book:
* A Tale of Two Cities, a 1911 silent film.
* A Tale of Two Cities, a 1917 silent film.
* A Tale of Two Cities, a 1922 silent film.
* A Tale of Two Cities, a 1935 black-and-white MGM film starring Ronald Colman, Elizabeth Allan, Reginald Owen, Basil Rathbone and Edna Mae Oliver. It was nominated for the Academy Award for Best Picture.
* A Tale of Two Cities, a 1958 version, starring Dirk Bogarde, Dorothy Tutin, Christopher Lee, Leo McKern and Donald Pleasance.
In the 1981 film History of the World, Part I, the French Revolution segment appears to be a pastiche of A Tale of Two Cities.
In the film A Simple Wish, the protagonist's father Oliver (possibly a reference to another of Dickens' famous novels, Oliver Twist) is vying for a spot in his theatre company's production of a musical of A Tale of Two Cities, of which we see the beginning and end, using the two famous quotes, including "It is a far, far better thing that I do", as part of a few solos.
Terry Gilliam also developed a film version in the mid-1990s with Mel Gibson and Liam Neeson. The project was eventually abandoned.
Radio
In 1938, The Mercury Theatre on the Air (aka The Campbell Playhouse) produced a radio adapted version starring Orson Welles.
In 1945, a portion of the novel was adapted to the syndicated program The Weird Circle as "Dr. Manette's Manuscript."
In 1950, a radio adaptation written by Terence Rattigan and John Gielgud was broadcast by the BBC. They had written it in 1935, as a stage play, but it was not produced.
In June 1989, BBC Radio 4 produced a 7-hour drama adapted for radio by Nick McCarty and directed by Ian Cotterell. This adaptation is occasionally repeated by BBC Radio 7. The cast included:
* Charles Dance as Sydney Carton
* Maurice Denham as Dr. Alexandre Manette
* Charlotte Attenborough as Lucie Manette
* Richard Pasco as Jarvis Lorry
* John Duttine as Charles Darnay
* Barbara Leigh-Hunt as Miss Pross
* Margaret Robertson as Madame Defarge
* John Hollis as Jerry Cruncher
* John Bull as Ernest Defarge
* Aubrey Woods as Mr. Stryver
* Eva Stuart as Mrs. Cruncher
* John Moffat as Marquis St. Evremonde
* Geoffrey Whitehead as John Barsad and Jacques #2
* Nicholas Courtney as Jacques #3 and The Woodcutter
Television programs
An 8-part mini-series was produced by the BBC in 1957 starring Peter Wyngarde as "Sydney Carton", Edward de Souza as "Charles Darnay" and Wendy Hutchinson as "Lucie Manette".
Another mini-series, this one in 10 parts, was produced by the BBC in 1965.
A third BBC mini-series (in 8 parts) was produced in 1980 starring Paul Shelley as "Carton/Darnay", Sally Osborne as "Lucie Manette" and Nigel Stock as "Jarvis Lorry".
The novel was adapted into a 1980 television movie starring Chris Sarandon as "Sydney Carton/Charles Darnay". Peter Cushing as "Dr. Alexandre Manette", Alice Krige as "Lucie Manette", Flora Robson as "Miss Pross", Barry Morse as "The Marquis St. Evremonde" and Billie Whitelaw as "Madame Defarge".
In 1989 Granada Television made a mini-series starring James Wilby as "Sydney Carton", Serena Gordon as "Lucie Manette", Xavier Deluc as "Charles Darnay", Anna Massey as "Miss Pross" and John Mills as "Jarvis Lorry", which was shown on American television as part of the PBS television series Masterpiece Theatre.
In the 1970 Monty Python's Flying Circus episode "The Attila the Hun Show", the sketch "The News for Parrots" included a scene of A Tale of Two Cities (As told for parrots).
The children's television series Wishbone adapted the novel for the episode "A Tale of Two Sitters".
This novel was also mentioned in the Nickelodeon show Hey Arnold, where Oscar was learning how to read.
Books
In Nicholas Meyer's novel The Canary Trainer, descended from Charles and Lucie, once more titled the Marquis de St. Evremonde, attends the Paris Opera during the events of The Phantom of the Opera.
American author Susanne Alleyn's novel A Far Better Rest, a reimagining of A Tale of Two Cities from the point of view of Sydney Carton, was published in the USA in 2000.
Diane Mayer self-published her novel Evremonde through iUniverse in 2005; it tells the story of Charles and Lucie Darnay and their children after the French Revolution.
Simplified versions of A Tale of Two Cities for English language learners have been published by Penguin Readers, in several levels of difficulty.
Stage musicals
There have been four musicals based on the novel:
A 1968 stage version, Two Cities, the Spectacular New Musical, with music by Jeff Wayne, lyrics by Jerry Wayne and starring Edward Woodward.
A Tale of Two Cities, Jill Santoriello's musical adaptation of A Tale of Two Cities, was performed at the Asolo Repertory Theatre in Sarasota, Florida, in October and November 2007. James Stacy Barbour ("Sydney Carton") and Jessica Rush ("Lucie Manette") were among the cast. A production of the musical began previews on Broadway on 19 August 2008, opening on 18 September at the Al Hirschfeld Theatre. Warren Carlyle is the director/choreographer; the cast includes James Stacy Barbour as "Sydney Carton", Brandi Burkhardt as "Lucie Manette", Aaron Lazar as "Charles Darnay", Gregg Edelman as "Dr. Manette", Katherine McGrath as "Miss Pross", Michael Hayward-Jones as "Jarvis Lorry" and Natalie Toro as "Madame Defarge".
In 2006, Howard Goodall collaborated with Joanna Read in writing a separate musical adaptation of the novel called Two Cities. The central plot and characters were maintained, though Goodall set the action during the Russian Revolution.
The novel has also been adapted as a musical by Takarazuka Revue, the all-female opera company in Japan. The first production was in 1984, starring Mao Daichi at the Grand Theater, and the second was in 2003, starring Jun Sena at the Bow Hall.
Opera
Arthur Benjamin's operatic version of the novel, subtitled Romantic Melodrama in six scenes, was premiered by the BBC on 17 April 1953, conducted by the composer; it received its stage premiere at Sadler's Wells on 22 July 1957, under the baton of Leon Lovett.
gù shì gǎi biān zì dí gèng sī de zuò pǐn《 shèng dàn sòng gē》， zhù yào jiǎng shù liǎo xìng qíng kè bó、 lěng kù de shǒu cái nú 'ài bǎi nà zé · sī kè lǔ qí， miàn duì wēn nuǎn de shèng dàn jié， què tǎo yàn zhōu zāo de yī qiē qìng zhù huó dòng。 yú shì shàng tiān pài lái 3 gè jīng líng ràng tā kàn kàn zì jǐ guò qù de suǒ zuò suǒ wéi， yǐ jí qīn yǒu sī xià duì tā de tài dù。 zhè yī qiē jiàn jiàn huàn xǐng tā rén xìng de lìng yī miàn héng héng tóng qíng、 rén cí、 ài xīn jí xǐ yuè， shùn jiān， tā nà gù yòu de zì sī jí lěng kù xùn sù bēng tā， xiāo shī dài jìn， cóng cǐ biàn chéng liǎo yī gè lè shàn hǎo shī de rén。
The book was written and published at a time when Britain was experiencing a nostalgic interest in its forgotten Christmas traditions, and at the time when new customs such as the Christmas tree and greeting cards were being introduced. Dickens's sources for the tale appear to be many and varied but are principally the humiliating experiences of his childhood, his sympathy for the poor, and the Christmas stories of Washington Irving.
The tale was pirated immediately, was adapted several times to the stage, and has been credited with restoring the holiday to one of merriment and festivity in Britain and America after a period of sobriety and sombreness. A Christmas Carol remains popular, has never been out of print, and has been adapted to film, opera, and other media.
The book was written and published at a time when Britain was experiencing a nostalgic interest in its forgotten Christmas traditions, and at the time when new customs such as the Christmas tree and greeting cards were being introduced. Dickens's sources for the tale appear to be many and varied but are principally the humiliating experiences of his childhood, his sympathy for the poor, and the Christmas stories of Washington Irving.
The tale was pirated immediately, was adapted several times to the stage, and has been credited with restoring the holiday to one of merriment and festivity in Britain and America after a period of sobriety and sombreness. A Christmas Carol remains popular, has never been out of print, and has been adapted to film, opera, and other media.
《 dà wèi · kē bō fěi 'ěr》 shì yīng guó xiǎo shuō jiā chá 'ěr sī · dí gèng sī de dì bā bù cháng piān xiǎo shuō， bèi chēng wéi tā“ xīn zhōng zuì chǒng 'ài de hái zǐ”， yú yī bā sì jiǔ zhì yī bā wǔ O nián jiān， fēn 'èr shí gè bù fēn zhú yuè fā biǎo quán shū cǎi yòng dì yī rén chēng xù shì yǔ qì， qí zhōng róng jìn liǎo zuò zhě běn rén de xǔ duō shēng huó jīng lì。 dí gèng sī chū shēn shè huì dǐ céng， zǔ fù、 zǔ mǔ dū cháng qī zài kè lǔ xūn jué fǔ dāng yōng rén。 fù qīn yuē hàn shì hǎi jūn jūn xū chù zhí yuán， zài dí gèng sī shí 'èr suì nà nián， yīn fù zhài wú lì cháng hái， dài lěi qī zǐ 'ér nǚ hé tā yī qǐ zhù jìn liǎo mǎ xià 'ěr xī zhài wù rén jiān yù。 dāng shí dí gèng sī zài tài wù shì hé pàn de huá lún hēi xié yóu zuōfáng dāng tóng gōng， bǐ tā dà liǎng suì de jiě jiě fàn nī zài huáng jiā yīnyuè xué yuàn xué xí， quán jiā rén zhōng zhǐ yòu tā liǎ méi yòu zài yù zhōng jū zhù。 fù qīn chū yù hòu， dí gèng sī céng yī dù jìn huì líng dùn xué xiào xué xí， bù jiǔ yòu yīn jiā pín 'ér yǒng jiǔ chuò xué， shí wǔ suì shí jìn lǜ shī shì wù suǒ dāng xué tú。 hòu lái， tā xué huì sù jì， bèi lún dūn mín shì lǜ shī yì huì pìn wéi shěn 'àn jì lù yuán。 yī bā sān yī zhì yī bā sān 'èr nián jiān， dí gèng sī xiān hòu dān rèn《 yì huì jìng bào》 hé《 zhēn yáng bào》 pài zhù yì huì de jì zhě。 zhè xiē jīng lì yòu zhù yú tā rì hòu zǒu shàng xiě zuò de dào lù。 tā yī shēng suǒ shòu xué xiào jiào yù bù zú sì nián， tā de chéng gōng quán kào zì jǐ de tiān cái、 qín fèn yǐ jí jiān kǔ shēng huó de mó liàn。 yī bā sān liù nián， dí gèng sī zhōng yú yǐ cháng piān xiǎo shuō《 pǐ kè wēi kè wàizhuàn》 ér míng mǎn tiān xià， dāng shí tā nián jǐn 'èr shí sì suì。
yī bā sì bā nián， fàn nī yīn huàn fèi jié hé zǎo shì， tā de sǐ shǐ dí gèng sī fēi cháng bēi shāng， yīn wéi zài zhòng duō xiōng dì jiě mèi zhōng， zhǐ yòu tā liǎ zài cái néng、 zhì qù shàng shí fēn jiē jìn。 tā liǎ dōuyòu jié chū de biǎo yǎn cái néng， tóng nián shí céng suí fù qīn dào luó chè sī tè de mǐ tè 'ěr fàn diàn， zhàn zài dà cān zhuō shàng biǎo yǎn gē wǔ， yíng dé zhòng rén de zàn tàn。 fàn nī sǐ hòu， dí gèng sī xiě xià yī piān qī qiān zì de huí yì wén zhāng， jì lù tā liǎ yī qǐ dù guò de chōng mǎn jiān xīn de tóng nián。 dí gèng sī shēn hòu， tā de hǎo yǒu fú sī tè zài《 dí gèng sī chuán》 zhōng shǒu cì xiàng gōng zhòng pī lù liǎo dí gèng sī de zǎo nián， xiǎo shuō， gēn jù de zhèng shì zhè piān huí yì。 dí gèng sī xiě zhè piān huí yì shì wéi chuàng zuò yī bù zìzhuàn tǐ cháng piān xiǎo shuō zuò zhǔn bèi。 tā xiǎo shuō zhù rén gōng qǔ guò xǔ duō míng zì， zuì hòu cái xiǎng dào“ dà wèi · kē bō fěi 'ěr”。 fú sī tè tīng liǎo， lì kè jiào hǎo， yīn wéi zhè gè míng zì de suō xiě D.C. zhèng shì zuò zhě míng zì suō xiě de diān dǎo。 yú shì xiǎo shuō zhù rén gōng de míng zì biàn dìng liǎo xià lái。
dí gèng sī zǎo qī zuò pǐn dà duō shì jié gòu sōng sàn de“ liú làng hàn chuán qí”， zú píng jiè líng gǎn xìn bǐ huī sǎ de jí xīng chuàng zuò， ér běn shū zé shì tā de zhōng qī zuò pǐn， gèng jiā zhù zhòng jié gòu jì qiǎo hé yì shù de fēn cùn gǎn。 dí gèng sī zài běn shū dì shí yī zhāng zhōng， bǎ tā de chuàng zuò fāng fǎ gài kuò wéi“ jīng yàn xiǎng xiàng， róu hé wéi yī”。 tā xiě xiǎo shuō， bìng bù jū ní yú lín mó shí jì fā shēng de shì， ér shì chōng fēn fā huī xiǎng xiàng lì， lì yòng shēng huó sù cái jìn xíng zhǎn xīn de chuàng zào。 jìn guǎn shū zhōng dà wèi yòu nián shí gēn mǔ qīn xué zì mǔ de qíng jǐng shì tā běn rén de qīn shēn jīng lì， dà wèi zài mǔ qīn gǎi jià hòu， zài jí duān gū jì de huán jìng zhōng yuè dú de zhèng shì tā běn rén zài nà gè nián líng suǒ dú de shū， mǔ qīn bèi zhé mó sǐ hòu， dà wèi bèi sòng qù dāng tóng gōng de nián líng yě zhèng shì dí gèng sī dāng tóng gōng shí de nián líng， rán 'ér， xiǎo shuō hé shí shì wán quán bù tóng： dí gèng sī bù shì gū 'ér， ér tā bǐ xià de dà wèi què shì“ yí fù zǐ”。 tóng shí， dí gèng sī yòu bǎ zì jǐ fù mǔ de mǒu xiē xìng gé róu jìn liǎo dà wèi de fáng dōng、 tuī xiāo shāng mǐ kǎo bǎifū fù shēn shàng。
dà wèi zǎo nián shēng huó de piān zhāng yǐ hái zǐ de xīn lǐ shì jiǎo xiàng wǒ men zhǎn shì liǎo yī gè zǎo yǐ bèi chéng nián rén dàn wàng de tóng nián shì jiè， xiěde shí fēn zhēn qiē gǎn rén。 lì rú： dà wèi yǐ 'ér tóng tè shū de mǐn gǎn duì zhuī qiú mǔ qīn de nà gè lěng kù、 cán bào、 tān lán de shāng rén mò dé sī dōng yī kāi shǐ jiù huái yòu dí yì， dāng mò dé sī dōng xū qíng jiǎ yì dì shēn shǒu pāi pāi dà wèi shí， tā fā xiàn nà zhǐ shǒu fàng sì dì pèng dào mǔ qīn de shǒu， biàn shēng qì dì bǎ tā tuī kāi。 dà wèi xiàng mǔ qīn fù shù mò dé sī dōng dài tā chū qù wán shí de qíng jǐng， dāng tā shuō dào mò dé sī dōng de yī gè péng yǒu zài tán huà zhōng lǎo tí qǐ yī wèi“ piào liàng de xiǎo guǎ fù” shí， mǔ qīn yī biān xiào zhe， yī biān yào tā bǎ dāng shí de qíng jǐng jiǎng liǎo yī biàn yòu yī biàn。 xù shì wán quán cóng tiān zhēn wú xié de hái zǐ de shì jiǎo chū fā， yòu 'ér bìng bù zhī dào rén jiā jiǎng de jiù shì zì jǐ de mǔ qīn， ér nián qīng guǎ fù yào qiú zài jiào、 duì xìng fú shēng huó de rè liè chōng jǐng yǐ yuè rán zhǐ shàng。 yòu rú： dà wèi gēn bǎo mǔ pèi gé dì dào tā gē gē jiā qù wán， tā de gē gē bì guǒ tí xiān shēng shì yī wèi yú mín。 dà wèi kàn jiàn tā cóng hǎi shàng zuò yè hòu huí lái xǐ liǎn， jué dé tā yǔ xiā xiè jù yòu mǒu zhǒng xiāng sì zhī chù， yīn wéi nà zhāng hēi liǎn bèi rè shuǐ yī tàng， lì kè jiù fā hóng liǎo。 zhè gè qí tè de lián xiǎng， chōng mǎn tóng qù hé dí gèng sī tè yòu de yōu mò。
Plot summary
The story deals with the life of David Copperfield from childhood to maturity. David is born in England in about 1820. David's father had died six months before he was born, and seven years later, his mother marries Mr Edward Murdstone. David is given good reason to dislike his stepfather and has similar feelings for Mr Murdstone's sister Jane, who moves into the house soon afterwards. Mr Murdstone thrashes David for falling behind with his studies. Following one of these thrashings, David bites him and is sent away to a boarding school, Salem House, with a ruthless headmaster, Mr. Creakle. Here he befriends James Steerforth and Tommy Traddles, both of whom he meets again later on.
David returns home for the holidays to find out that his mother has had a baby boy. Soon after David goes back to Salem House, his mother and her baby die and David has to return home immediately. Mr Murdstone sends him to work in a factory in London, of which Murdstone is a joint owner. The grim reality of hand-to-mouth factory existence echoes Dickens' own travails in a blacking factory. His landlord, Mr Wilkins Micawber, is sent to a debtor's prison (the King's Bench Prison) after going bankrupt, and is there for several months before being released and moving to Plymouth. David now has nobody left to care for him in London, and decides to run away.
He walks all the way from London to Dover, to find his only relative, his aunt Miss Betsey. The eccentric Betsey Trotwood agrees to bring him up, despite Mr Murdstone visiting in a bid to regain custody of David. David's aunt renames him 'Trotwood Copperfield', soon shortened to "Trot", and for the rest of the novel he is called by either name, depending on whether he is communicating with someone he has known for a long time, or someone he has only recently met.
The story follows David as he grows to adulthood, and is enlivened by the many well-known characters who enter, leave and re-enter his life. These include Peggotty, his faithful former housekeeper for his mother, her family, and their orphaned niece Little Em'ly who lives with them and charms the young David. David's romantic but self-serving schoolfriend, Steerforth, seduces and dishonors Little Em'ly, triggering the novel's greatest tragedy; and his landlord's daughter and ideal "angel in the house," Agnes Wickfield, becomes his confidante. The two most familiar characters are David's sometime mentor, the constantly debt-ridden Mr Wilkins Micawber, and the devious and fraudulent clerk, Uriah Heep, whose misdeeds are eventually discovered with Micawber's assistance. Micawber is painted as a sympathetic character, even as the author deplores his financial ineptitude; and Micawber, like Dickens's own father, is briefly imprisoned for insolvency.
In typical Dickens fashion, the major characters get some measure of what they deserve, and few narrative threads are left hanging. Dan Peggotty safely transports Little Em'ly to a new life in Australia; accompanying these two central characters are Mrs. Gummidge and the Micawbers. Everybody involved finally finds security and happiness in their new lives in Australia. David first marries the beautiful but naïve Dora Spenlow, but she dies after failing to recover from a miscarriage early in their marriage. David then does some soul-searching and eventually marries and finds true happiness with the sensible Agnes, who had secretly always loved him. They have several children, including a daughter named in honor of Betsey Trotwood.
Analysis
The story is told almost entirely from the point of view of the first person narrator, David Copperfield himself, and was the first Dickens novel to be written as such a narration.
Critically, it is considered a Bildungsroman, i.e., a novel of self-cultivation, and would be influential in the genre which included Dickens's own Great Expectations (1861), Charlotte Brontë's Jane Eyre, published only two years prior, Thomas Hardy's Jude the Obscure, Samuel Butler's The Way of All Flesh, H. G. Wells's Tono-Bungay, D. H. Lawrence's Sons and Lovers, and James Joyce's A Portrait of the Artist as a Young Man.
Tolstoy regarded Dickens as the best of all English novelists, and considered Copperfield to be his finest work, ranking the "Tempest" chapter (chapter 55, LV – the story of Ham and the storm and the shipwreck) the standard by which the world's great fiction should be judged. Henry James remembered hiding under a small table as a boy to hear instalments read by his mother. Dostoyevsky read it enthralled in a Siberian prison camp. Franz Kafka called his first book Amerika a "sheer imitation". James Joyce paid it reverence through parody in Ulysses. Virginia Woolf, who normally had little regard for Dickens, confessed the durability of this one novel, belonging to "the memories and myths of life". It was Freud's favourite novel.
Characters in David Copperfield
* David Copperfield – An optimistic, diligent, and persevering character, he is the protagonist. He is later called "Trotwood Copperfield" by some ("David Copperfield" is also the name of the hero's father, who dies before David is born). He has many nicknames: James Steerforth nicknames him "Daisy", Dora calls him "Doady", and his aunt refers to him, as a reference to his would-be sister (if he had been born a girl), in and on "Trot" – as in Betsey Trotwood Copperfield.
* Clara Copperfield – David's kind mother, described as being innocently childish, who dies while David is at Salem House. She dies just after the birth of her second child, who dies along with her.
* Peggotty – The faithful servant of the Copperfield family and a lifelong companion to David (referred to at times as Mrs. Barkis after her marriage to Mr. Barkis). Inherits £3,000—a large sum in the mid-19th century—when Mr. Barkis dies. After his death, she becomes Betsey Trotwood's servant.
* Betsey Trotwood – David's eccentric and temperamental yet kindhearted great-aunt; she becomes his guardian after he runs away from Grinby and Murdstone's warehouse in Blackfriars (London). She is present on the night of David's birth but leaves after hearing that Clara Copperfield's child is a boy instead of a girl.
* Mr. Chillip – A shy doctor who assists at David's birth and faces the wrath of Betsey Trotwood after he informs her that Clara's baby is a boy instead of a girl.
* Mr. Barkis – An aloof carter who declares his intention to marry Peggotty. He says to David: "Tell her, 'Barkis is willin'!' Just so." He is a bit of a miser, and hides his surprisingly vast liquid wealth in a plain box labeled "Old Clothes". He bequeaths to his wife the then astronomical sum of £3,000 when he dies about ten years later.
* Edward Murdstone – Young David's cruel stepfather, who canes him for falling behind in his studies. David reacts by biting Mr Murdstone, who then sends him to Salem House, the private school owned by his friend Mr. Creakle. After David's mother dies, Mr Murdstone sends him to work in a factory, where he has to clean wine bottles. He appears at Betsey Trotwood's house after David runs away. Mr Murdstone appears to show signs of repentance when confronted with Copperfield's aunt, but later in the book we hear he has married another young woman and applied his old principles of "firmness."
* Jane Murdstone – Mr. Murdstone's equally cruel sister, who moves into the Copperfield house after Mr. Murdstone marries Clara Copperfield. She is the "Confidential Friend" of David's first wife, Dora Spenlow, and encourages many of the problems that occur between David Copperfield and Dora's father, Mr. Spenlow. Later, she rejoins her brother and his new wife in a relationship very much like the one they had with David's mother.
* Daniel Peggotty – Peggotty's brother; a humble but generous Yarmouth fisherman who takes his nephew Ham and niece Emily into his custody after each of them has been orphaned. After Emily's departure, he travels around the world in search of her. He eventually finds her in London, and after that they emigrate to Australia.
* Emily (Little Em'ly) – A niece of Mr. Peggotty. She is a childhood friend of David Copperfield, who loves her in his childhood days. She leaves her cousin and fiancé, Ham, for Steerforth, but returns after Steerforth deserts her. She emigrates to Australia with Mr. Peggotty after being rescued from a London brothel.
* Ham Peggotty – A good-natured nephew of Mr. Peggotty and the fiancé of Emily before she leaves him for Steerforth. He later loses his life while attempting to rescue a sailor, who happens to be Steerforth, from a shipwreck. His death is hidden from his family due to the fact that David does not want them to worry on the brink of their journey.
* Mrs. Gummidge – The widow of Daniel Peggotty's partner in a boat. She is a self-described "lone, lorn creetur" who spends much of her time pining for "the old 'un" (her late husband). After Emily runs away from home with Steerforth, she changes her attitude to better comfort everyone around her and tries to be very caring and motherly. She too emigrates to Australia with Dan and the rest of the surviving family.
* Martha Endell – A young woman of a bad reputation who helps Daniel Peggotty find his niece after she returns to London. She has worked as a prostitute, and been victim to the idea of suicide.
* Mr. Creakle – The harsh headmaster of young David's boarding school, who is assisted by Tungay. Mr. Creakle is a friend of Mr. Murdstone. He singles out David for extra torment. Later he becomes a Middlesex magistrate, and is considered enlightened for his day.
"I am married". Etching by Phiz.
* James Steerforth – A close friend of David, he is of a romantic and charming disposition and has known David ever since his first days at Salem House. Although well-liked by most, he proves himself to be lacking in character by seducing and later abandoning Little Em'ly. He eventually drowns at Yarmouth with Ham Peggotty, who had been trying to rescue him.
* Tommy Traddles – David's friend from Salem House. They meet again later and become eventual lifelong friends. Traddles works hard but faces great obstacles because of his lack of money and connections. He eventually succeeds in making a name and a career for himself.
* Wilkins Micawber – A gentle man who befriends David as a young boy. He suffers from much financial difficulty and even has to spend time in a debtor's prison. Eventually he emigrates to Australia where he enjoys a successful career as a sheep farmer and becomes a magistrate. He is based on Dickens' father, John Dickens.
* Mr. Dick (Richard Babley) – A slightly deranged, rather childish but amiable man who lives with Betsey Trotwood. His madness is amply described in as much as that he claims to have the "trouble" of King Charles I in his head.
* Dr. Strong – The headmaster of David's Canterbury school, whom he visits on various occasions.
* Anne Strong – The young wife of Dr. Strong. Although she remains loyal to him, she fears that he suspects that she is involved in an affair with Jack Maldon.
* Jack Maldon – A cousin and childhood sweetheart of Anne Strong. He continues to bear affection for her and tries to seduce her into leaving Dr. Strong.
* Mr. Wickfield – The father of Agnes Wickfield and lawyer to Betsey Trotwood. He is prone to alcoholism.
* Agnes Wickfield – Mr. Wickfield's mature and lovely daughter and close friend of David since childhood. She later becomes David's second wife and mother of their children.
* Uriah Heep – A wicked young man who serves as partner to Mr. Wickfield. He is finally discovered to have stolen money and is imprisoned as a punishment. He always talks of being "'umble" (humble) and nurtures a deep hatred of David Copperfield and many others.
* Mrs. Steerforth – The wealthy widowed mother of James Steerforth. She herself is incredibly like her son.
* Miss Dartle – A strange, vitriolic woman who lives with Mrs. Steerforth. She has a secret love for Steerforth and blames others such as Emily and even Steerforth's own mother for corrupting him. She is described as being extremely skinny and displays a visible scar on her lip caused by Steerforth. She is also Steerforth's cousin.
* Mr. Spenlow – An employer of David's during his days as a proctor and the father of Dora Spenlow. He dies suddenly of a heart attack while driving his phaeton home.
* Dora Spenlow – The adorable but foolish daughter of Mr. Spenlow who becomes David's first wife. She is described as being impractical and with many similarities to David's mother. She dies of illness on the same day as her dog, Jip.
* Mr.Sharp – He was the chief teacher of Salem House and had more authority than Mr.Mell.He looked weak,both in health and character;his head seemed to be very heavy for him:he walked on one side.He had a big nose.
* Mr.Mell – A tall, thin young man with hollow cheeks.His hair was dusty and dry too,with rather short sleeves and legs.
yī bā sì bā nián， fàn nī yīn huàn fèi jié hé zǎo shì， tā de sǐ shǐ dí gèng sī fēi cháng bēi shāng， yīn wéi zài zhòng duō xiōng dì jiě mèi zhōng， zhǐ yòu tā liǎ zài cái néng、 zhì qù shàng shí fēn jiē jìn。 tā liǎ dōuyòu jié chū de biǎo yǎn cái néng， tóng nián shí céng suí fù qīn dào luó chè sī tè de mǐ tè 'ěr fàn diàn， zhàn zài dà cān zhuō shàng biǎo yǎn gē wǔ， yíng dé zhòng rén de zàn tàn。 fàn nī sǐ hòu， dí gèng sī xiě xià yī piān qī qiān zì de huí yì wén zhāng， jì lù tā liǎ yī qǐ dù guò de chōng mǎn jiān xīn de tóng nián。 dí gèng sī shēn hòu， tā de hǎo yǒu fú sī tè zài《 dí gèng sī chuán》 zhōng shǒu cì xiàng gōng zhòng pī lù liǎo dí gèng sī de zǎo nián， xiǎo shuō， gēn jù de zhèng shì zhè piān huí yì。 dí gèng sī xiě zhè piān huí yì shì wéi chuàng zuò yī bù zìzhuàn tǐ cháng piān xiǎo shuō zuò zhǔn bèi。 tā xiǎo shuō zhù rén gōng qǔ guò xǔ duō míng zì， zuì hòu cái xiǎng dào“ dà wèi · kē bō fěi 'ěr”。 fú sī tè tīng liǎo， lì kè jiào hǎo， yīn wéi zhè gè míng zì de suō xiě D.C. zhèng shì zuò zhě míng zì suō xiě de diān dǎo。 yú shì xiǎo shuō zhù rén gōng de míng zì biàn dìng liǎo xià lái。
dí gèng sī zǎo qī zuò pǐn dà duō shì jié gòu sōng sàn de“ liú làng hàn chuán qí”， zú píng jiè líng gǎn xìn bǐ huī sǎ de jí xīng chuàng zuò， ér běn shū zé shì tā de zhōng qī zuò pǐn， gèng jiā zhù zhòng jié gòu jì qiǎo hé yì shù de fēn cùn gǎn。 dí gèng sī zài běn shū dì shí yī zhāng zhōng， bǎ tā de chuàng zuò fāng fǎ gài kuò wéi“ jīng yàn xiǎng xiàng， róu hé wéi yī”。 tā xiě xiǎo shuō， bìng bù jū ní yú lín mó shí jì fā shēng de shì， ér shì chōng fēn fā huī xiǎng xiàng lì， lì yòng shēng huó sù cái jìn xíng zhǎn xīn de chuàng zào。 jìn guǎn shū zhōng dà wèi yòu nián shí gēn mǔ qīn xué zì mǔ de qíng jǐng shì tā běn rén de qīn shēn jīng lì， dà wèi zài mǔ qīn gǎi jià hòu， zài jí duān gū jì de huán jìng zhōng yuè dú de zhèng shì tā běn rén zài nà gè nián líng suǒ dú de shū， mǔ qīn bèi zhé mó sǐ hòu， dà wèi bèi sòng qù dāng tóng gōng de nián líng yě zhèng shì dí gèng sī dāng tóng gōng shí de nián líng， rán 'ér， xiǎo shuō hé shí shì wán quán bù tóng： dí gèng sī bù shì gū 'ér， ér tā bǐ xià de dà wèi què shì“ yí fù zǐ”。 tóng shí， dí gèng sī yòu bǎ zì jǐ fù mǔ de mǒu xiē xìng gé róu jìn liǎo dà wèi de fáng dōng、 tuī xiāo shāng mǐ kǎo bǎifū fù shēn shàng。
dà wèi zǎo nián shēng huó de piān zhāng yǐ hái zǐ de xīn lǐ shì jiǎo xiàng wǒ men zhǎn shì liǎo yī gè zǎo yǐ bèi chéng nián rén dàn wàng de tóng nián shì jiè， xiěde shí fēn zhēn qiē gǎn rén。 lì rú： dà wèi yǐ 'ér tóng tè shū de mǐn gǎn duì zhuī qiú mǔ qīn de nà gè lěng kù、 cán bào、 tān lán de shāng rén mò dé sī dōng yī kāi shǐ jiù huái yòu dí yì， dāng mò dé sī dōng xū qíng jiǎ yì dì shēn shǒu pāi pāi dà wèi shí， tā fā xiàn nà zhǐ shǒu fàng sì dì pèng dào mǔ qīn de shǒu， biàn shēng qì dì bǎ tā tuī kāi。 dà wèi xiàng mǔ qīn fù shù mò dé sī dōng dài tā chū qù wán shí de qíng jǐng， dāng tā shuō dào mò dé sī dōng de yī gè péng yǒu zài tán huà zhōng lǎo tí qǐ yī wèi“ piào liàng de xiǎo guǎ fù” shí， mǔ qīn yī biān xiào zhe， yī biān yào tā bǎ dāng shí de qíng jǐng jiǎng liǎo yī biàn yòu yī biàn。 xù shì wán quán cóng tiān zhēn wú xié de hái zǐ de shì jiǎo chū fā， yòu 'ér bìng bù zhī dào rén jiā jiǎng de jiù shì zì jǐ de mǔ qīn， ér nián qīng guǎ fù yào qiú zài jiào、 duì xìng fú shēng huó de rè liè chōng jǐng yǐ yuè rán zhǐ shàng。 yòu rú： dà wèi gēn bǎo mǔ pèi gé dì dào tā gē gē jiā qù wán， tā de gē gē bì guǒ tí xiān shēng shì yī wèi yú mín。 dà wèi kàn jiàn tā cóng hǎi shàng zuò yè hòu huí lái xǐ liǎn， jué dé tā yǔ xiā xiè jù yòu mǒu zhǒng xiāng sì zhī chù， yīn wéi nà zhāng hēi liǎn bèi rè shuǐ yī tàng， lì kè jiù fā hóng liǎo。 zhè gè qí tè de lián xiǎng， chōng mǎn tóng qù hé dí gèng sī tè yòu de yōu mò。
Plot summary
The story deals with the life of David Copperfield from childhood to maturity. David is born in England in about 1820. David's father had died six months before he was born, and seven years later, his mother marries Mr Edward Murdstone. David is given good reason to dislike his stepfather and has similar feelings for Mr Murdstone's sister Jane, who moves into the house soon afterwards. Mr Murdstone thrashes David for falling behind with his studies. Following one of these thrashings, David bites him and is sent away to a boarding school, Salem House, with a ruthless headmaster, Mr. Creakle. Here he befriends James Steerforth and Tommy Traddles, both of whom he meets again later on.
David returns home for the holidays to find out that his mother has had a baby boy. Soon after David goes back to Salem House, his mother and her baby die and David has to return home immediately. Mr Murdstone sends him to work in a factory in London, of which Murdstone is a joint owner. The grim reality of hand-to-mouth factory existence echoes Dickens' own travails in a blacking factory. His landlord, Mr Wilkins Micawber, is sent to a debtor's prison (the King's Bench Prison) after going bankrupt, and is there for several months before being released and moving to Plymouth. David now has nobody left to care for him in London, and decides to run away.
He walks all the way from London to Dover, to find his only relative, his aunt Miss Betsey. The eccentric Betsey Trotwood agrees to bring him up, despite Mr Murdstone visiting in a bid to regain custody of David. David's aunt renames him 'Trotwood Copperfield', soon shortened to "Trot", and for the rest of the novel he is called by either name, depending on whether he is communicating with someone he has known for a long time, or someone he has only recently met.
The story follows David as he grows to adulthood, and is enlivened by the many well-known characters who enter, leave and re-enter his life. These include Peggotty, his faithful former housekeeper for his mother, her family, and their orphaned niece Little Em'ly who lives with them and charms the young David. David's romantic but self-serving schoolfriend, Steerforth, seduces and dishonors Little Em'ly, triggering the novel's greatest tragedy; and his landlord's daughter and ideal "angel in the house," Agnes Wickfield, becomes his confidante. The two most familiar characters are David's sometime mentor, the constantly debt-ridden Mr Wilkins Micawber, and the devious and fraudulent clerk, Uriah Heep, whose misdeeds are eventually discovered with Micawber's assistance. Micawber is painted as a sympathetic character, even as the author deplores his financial ineptitude; and Micawber, like Dickens's own father, is briefly imprisoned for insolvency.
In typical Dickens fashion, the major characters get some measure of what they deserve, and few narrative threads are left hanging. Dan Peggotty safely transports Little Em'ly to a new life in Australia; accompanying these two central characters are Mrs. Gummidge and the Micawbers. Everybody involved finally finds security and happiness in their new lives in Australia. David first marries the beautiful but naïve Dora Spenlow, but she dies after failing to recover from a miscarriage early in their marriage. David then does some soul-searching and eventually marries and finds true happiness with the sensible Agnes, who had secretly always loved him. They have several children, including a daughter named in honor of Betsey Trotwood.
Analysis
The story is told almost entirely from the point of view of the first person narrator, David Copperfield himself, and was the first Dickens novel to be written as such a narration.
Critically, it is considered a Bildungsroman, i.e., a novel of self-cultivation, and would be influential in the genre which included Dickens's own Great Expectations (1861), Charlotte Brontë's Jane Eyre, published only two years prior, Thomas Hardy's Jude the Obscure, Samuel Butler's The Way of All Flesh, H. G. Wells's Tono-Bungay, D. H. Lawrence's Sons and Lovers, and James Joyce's A Portrait of the Artist as a Young Man.
Tolstoy regarded Dickens as the best of all English novelists, and considered Copperfield to be his finest work, ranking the "Tempest" chapter (chapter 55, LV – the story of Ham and the storm and the shipwreck) the standard by which the world's great fiction should be judged. Henry James remembered hiding under a small table as a boy to hear instalments read by his mother. Dostoyevsky read it enthralled in a Siberian prison camp. Franz Kafka called his first book Amerika a "sheer imitation". James Joyce paid it reverence through parody in Ulysses. Virginia Woolf, who normally had little regard for Dickens, confessed the durability of this one novel, belonging to "the memories and myths of life". It was Freud's favourite novel.
Characters in David Copperfield
* David Copperfield – An optimistic, diligent, and persevering character, he is the protagonist. He is later called "Trotwood Copperfield" by some ("David Copperfield" is also the name of the hero's father, who dies before David is born). He has many nicknames: James Steerforth nicknames him "Daisy", Dora calls him "Doady", and his aunt refers to him, as a reference to his would-be sister (if he had been born a girl), in and on "Trot" – as in Betsey Trotwood Copperfield.
* Clara Copperfield – David's kind mother, described as being innocently childish, who dies while David is at Salem House. She dies just after the birth of her second child, who dies along with her.
* Peggotty – The faithful servant of the Copperfield family and a lifelong companion to David (referred to at times as Mrs. Barkis after her marriage to Mr. Barkis). Inherits £3,000—a large sum in the mid-19th century—when Mr. Barkis dies. After his death, she becomes Betsey Trotwood's servant.
* Betsey Trotwood – David's eccentric and temperamental yet kindhearted great-aunt; she becomes his guardian after he runs away from Grinby and Murdstone's warehouse in Blackfriars (London). She is present on the night of David's birth but leaves after hearing that Clara Copperfield's child is a boy instead of a girl.
* Mr. Chillip – A shy doctor who assists at David's birth and faces the wrath of Betsey Trotwood after he informs her that Clara's baby is a boy instead of a girl.
* Mr. Barkis – An aloof carter who declares his intention to marry Peggotty. He says to David: "Tell her, 'Barkis is willin'!' Just so." He is a bit of a miser, and hides his surprisingly vast liquid wealth in a plain box labeled "Old Clothes". He bequeaths to his wife the then astronomical sum of £3,000 when he dies about ten years later.
* Edward Murdstone – Young David's cruel stepfather, who canes him for falling behind in his studies. David reacts by biting Mr Murdstone, who then sends him to Salem House, the private school owned by his friend Mr. Creakle. After David's mother dies, Mr Murdstone sends him to work in a factory, where he has to clean wine bottles. He appears at Betsey Trotwood's house after David runs away. Mr Murdstone appears to show signs of repentance when confronted with Copperfield's aunt, but later in the book we hear he has married another young woman and applied his old principles of "firmness."
* Jane Murdstone – Mr. Murdstone's equally cruel sister, who moves into the Copperfield house after Mr. Murdstone marries Clara Copperfield. She is the "Confidential Friend" of David's first wife, Dora Spenlow, and encourages many of the problems that occur between David Copperfield and Dora's father, Mr. Spenlow. Later, she rejoins her brother and his new wife in a relationship very much like the one they had with David's mother.
* Daniel Peggotty – Peggotty's brother; a humble but generous Yarmouth fisherman who takes his nephew Ham and niece Emily into his custody after each of them has been orphaned. After Emily's departure, he travels around the world in search of her. He eventually finds her in London, and after that they emigrate to Australia.
* Emily (Little Em'ly) – A niece of Mr. Peggotty. She is a childhood friend of David Copperfield, who loves her in his childhood days. She leaves her cousin and fiancé, Ham, for Steerforth, but returns after Steerforth deserts her. She emigrates to Australia with Mr. Peggotty after being rescued from a London brothel.
* Ham Peggotty – A good-natured nephew of Mr. Peggotty and the fiancé of Emily before she leaves him for Steerforth. He later loses his life while attempting to rescue a sailor, who happens to be Steerforth, from a shipwreck. His death is hidden from his family due to the fact that David does not want them to worry on the brink of their journey.
* Mrs. Gummidge – The widow of Daniel Peggotty's partner in a boat. She is a self-described "lone, lorn creetur" who spends much of her time pining for "the old 'un" (her late husband). After Emily runs away from home with Steerforth, she changes her attitude to better comfort everyone around her and tries to be very caring and motherly. She too emigrates to Australia with Dan and the rest of the surviving family.
* Martha Endell – A young woman of a bad reputation who helps Daniel Peggotty find his niece after she returns to London. She has worked as a prostitute, and been victim to the idea of suicide.
* Mr. Creakle – The harsh headmaster of young David's boarding school, who is assisted by Tungay. Mr. Creakle is a friend of Mr. Murdstone. He singles out David for extra torment. Later he becomes a Middlesex magistrate, and is considered enlightened for his day.
"I am married". Etching by Phiz.
* James Steerforth – A close friend of David, he is of a romantic and charming disposition and has known David ever since his first days at Salem House. Although well-liked by most, he proves himself to be lacking in character by seducing and later abandoning Little Em'ly. He eventually drowns at Yarmouth with Ham Peggotty, who had been trying to rescue him.
* Tommy Traddles – David's friend from Salem House. They meet again later and become eventual lifelong friends. Traddles works hard but faces great obstacles because of his lack of money and connections. He eventually succeeds in making a name and a career for himself.
* Wilkins Micawber – A gentle man who befriends David as a young boy. He suffers from much financial difficulty and even has to spend time in a debtor's prison. Eventually he emigrates to Australia where he enjoys a successful career as a sheep farmer and becomes a magistrate. He is based on Dickens' father, John Dickens.
* Mr. Dick (Richard Babley) – A slightly deranged, rather childish but amiable man who lives with Betsey Trotwood. His madness is amply described in as much as that he claims to have the "trouble" of King Charles I in his head.
* Dr. Strong – The headmaster of David's Canterbury school, whom he visits on various occasions.
* Anne Strong – The young wife of Dr. Strong. Although she remains loyal to him, she fears that he suspects that she is involved in an affair with Jack Maldon.
* Jack Maldon – A cousin and childhood sweetheart of Anne Strong. He continues to bear affection for her and tries to seduce her into leaving Dr. Strong.
* Mr. Wickfield – The father of Agnes Wickfield and lawyer to Betsey Trotwood. He is prone to alcoholism.
* Agnes Wickfield – Mr. Wickfield's mature and lovely daughter and close friend of David since childhood. She later becomes David's second wife and mother of their children.
* Uriah Heep – A wicked young man who serves as partner to Mr. Wickfield. He is finally discovered to have stolen money and is imprisoned as a punishment. He always talks of being "'umble" (humble) and nurtures a deep hatred of David Copperfield and many others.
* Mrs. Steerforth – The wealthy widowed mother of James Steerforth. She herself is incredibly like her son.
* Miss Dartle – A strange, vitriolic woman who lives with Mrs. Steerforth. She has a secret love for Steerforth and blames others such as Emily and even Steerforth's own mother for corrupting him. She is described as being extremely skinny and displays a visible scar on her lip caused by Steerforth. She is also Steerforth's cousin.
* Mr. Spenlow – An employer of David's during his days as a proctor and the father of Dora Spenlow. He dies suddenly of a heart attack while driving his phaeton home.
* Dora Spenlow – The adorable but foolish daughter of Mr. Spenlow who becomes David's first wife. She is described as being impractical and with many similarities to David's mother. She dies of illness on the same day as her dog, Jip.
* Mr.Sharp – He was the chief teacher of Salem House and had more authority than Mr.Mell.He looked weak,both in health and character;his head seemed to be very heavy for him:he walked on one side.He had a big nose.
* Mr.Mell – A tall, thin young man with hollow cheeks.His hair was dusty and dry too,with rather short sleeves and legs.
jiān nán shí shì（ HardTimes） shì yīng guó zuò jiā dí gèng sī de cháng piān xiǎo shuō zuò pǐn， fā biǎo yú 1854 nián， gù shì miáo xiě mǒu gōng yè shì zhèn de shēng huó。
fǎng zhì chǎng chǎng zhù、 yínháng jiā páng dé bèi（ JosiahBounderby） hé tuì xiū de wǔ jīn pī fā shāng rén、 guó huì yì yuán jiān jiào yù jiā tānɡ mǎ sī · gé lāi 'ēn（ ThomasGradgrind） shì hǎo péng yǒu， tā men yī qǐ kòng zhì zhù shì zhèn de jīng jì tǐ xì yǔ jiào yù jī gòu。 tā men zhù zhòng shí lì 'ér qiě bù jiǎng qíng yì， zì mìng bù fán， yǐ gōng lì zhù yì zuò wéi shēng huó yuán zé。 fù zé shì hòu páng dé bèi de shì guǎ fù shǐ bā sī tè tài tài。
gé lāi 'ēn duì zǐ nǚ de jiào yù zhù zhāng“ shí shì qiú shì， jiǎo tà shí dì”， tā men zài xué huì zǒu lù shí， jiù bèi gǎn jìn jiào shì， zhōng rì hé shù zì dǎ jiāo dào， tā men bù yǔn xǔ yuè dú shī gē hé gù shì。 gé léi gěng bǎ nián qīng de nǚ 'ér lù yì suō（ Louisa） jià gěi liǎo nián líng bǐ tā dà dé duō de páng dé bèi， guǎ fù shǐ bā sī tè tài tài jí dù tā， shǐ tā shòu jìn tòng kǔ， dǎo zhì nǚ 'ér hūn yīn pò liè。 tā zé bèi fù qīn：“ nǐ de zhé xué hé jiào yù dōubù néng jiù wǒ liǎo。” zài gé lāi 'ēn zì jǐ de jiào yù zhù zhāng xià， tā de 'ér zǐ tānɡ mǔ（ Tom） bèi pò xié zhù páng dé bèi gōng zuò， tā shēng huó fàng dàng qiě fù zhài lěi lěi， tōu liǎo páng dé bèi yínháng de qián táo páo， duǒ dào mǎ xì tuán lǐ， bàn yǎn yī míng xiǎo chǒu de juésè。 jīng guò liǎo yī lián chuàn de cǎn tòng jiào xùn， yòu shòu dào mǎ xì tuán de nǚ hái xī sī · zhū pǔ（ Sissy,CeciliaJupe） de gǎn huà， zhú jiàn de gǎi biàn liǎo shēng huó tài dù， bèi fù qīn sòng dào měi zhōu。 dàn bìng sǐ zài xǐngqīn de tú zhōng。 páng dé bèi xǐ huān chuī shī zì jǐ bái shǒu qǐ jiā， wū miè gōng rén yóu yú wàng xiǎng guò shē chǐ shēng huó cái chǎn shēng bù mǎn qíng xù。 wǔ nián hòu páng dé bèi zhòngfēng cù sǐ zài jiāo méi zhèn de jiē shàng， lù yì suō zài jià liǎo rén。
Background
The novel is unusual in that it did not contain illustrations; nor is it set in or around London (both usual in Dickens' novels). Instead the story is set in the fictitious Victorian industrial Coketown, a generic Northern English mill-town partially based upon 19th-century Preston.
Dickens' reasons for writing Hard Times were mostly monetary. Sales of his weekly periodical, Household Words, were low, and he hoped the inclusion of this novel in instalments would increase sales. Since publication it has received a mixed response from a diverse range of critics, such as F.R. Leavis, George Bernard Shaw, and Thomas Macaulay, mainly focusing on Dickens' treatment of trade unions and his post-Industrial Revolution pessimism regarding the divide between capitalistic mill owners and undervalued workers during the Victorian era.
Prevalence of utilitarianism
The Utilitarians were one of the targets of this novel. Utilitarianism was a prevalent school of thought during this period, its most famous proponents being Jeremy Bentham and John Stuart Mill. Theoretical Utilitarian ethics hold that promotion of general social welfare is the ultimate goal for the individual and society in general: "the greatest amount of happiness for the greatest number of people." Dickens believed that in practical terms, the pursuit of a totally rationalized society could lead to great misery.
Bentham's former secretary, Edwin Karbunkle, helped design the Poor Law of 1834, which deliberately made workhouse life as uncomfortable as possible. In the novel, this is conveyed in Bitzer's response to Gradgrind's appeal for compassion.
Dickens was appalled by what was, in his interpretation, a selfish philosophy, which was combined with materialist laissez-faire capitalism in the education of some children at the time, as well as in industrial practices. In Dickens' interpretation, the prevalence of utilitarian values in educational institutions promoted contempt between mill owners and workers, creating young adults whose imaginations had been neglected, due to an over-emphasis on facts at the expense of more imaginative pursuits.
Dickens wished to satirize radical Utilitarians whom he described in a letter to Charles Knight as "see[ing] figures and averages, and nothing else." He also wished to campaign for reform of working conditions. Dickens had visited factories in Manchester as early as 1839, and was appalled by the environment in which workers toiled. Drawing upon his own childhood experiences, Dickens resolved to "strike the heaviest blow in my power" for those who laboured in horrific conditions.
John Stuart Mill had a similar, rigorous education to that of Louisa Gradgrind, consisting of analytical, logical, mathematical, and statistical exercises. In his twenties, Mill had a nervous breakdown, believing his capacity for emotion had been enervated by his father's stringent emphasis on analysis and mathematics in his education. In the book, Louisa herself follows a parallel course, being unable to express herself and falling into a temporary depression as a result of her dry education.
Publication
The novel was published as a serial in his weekly publication, Household Words. Sales were highly responsive and encouraging for Dickens who remarked that he was "Three parts mad, and the fourth delirious, with perpetual rushing at Hard Times". The novel was serialised, every week, between April 1 and August 12, 1854. It sold well, and a complete volume was published in August, totalling 110,000 words. Another related novel, North and South by Elizabeth Gaskell, was also published in this magazine.
Synopsis
The novel follows a classical tripartite structure, and the titles of each book are related to Galatians 6:7, "For whatsoever a man soweth, that shall he also reap." The interpretation of this quote being, whatever is effected upon or done in the present will have a direct effect on what happens later. Book I is entitled "Sowing", Book II is entitled "Reaping", and the third is "Garnering."
Book I: Sowing
Mr. Gradgrind, whose voice is "dictatorial", opens the novel by stating "Now, what I want is facts" at his school in Coketown. He is a man of "facts and calculations." He interrogates one of his pupils, Sissy, whose father is involved with the circus, the members of which are "Fancy" in comparison to Gradgrind's espousal of "Fact." Since her father rides and tends to horses, Gradgrind offers Sissy the definition of horse. She is rebuffed for not being able to define a horse factually; her classmate Bitzer does, however, provide a more zoological profile description and factual definition. She does not learn easily, and is censured for suggesting that she would carpet a floor with pictures of flowers "So you would carpet your room—or your husband's room, if you were a grown woman, and had a husband—with representations of flowers, would you? Why would you?" She is taught to disregard Fancy altogether. It is Fancy Vs Fact.
Louisa and Thomas, two of Mr. Gradgrind's children, pay a visit after school to the touring circus run by Mr. Sleary, only to find their father, who is disconcerted by their trip since he believes the circus to be the bastion of Fancy and conceit. With their father, Louisa and Tom trudge off in a despondent mood. Mr. Gradgrind has three younger children: Adam Smith, (after the famous theorist of laissez-faire policy), Malthus (after Rev. Thomas Malthus, who wrote An Essay on the Principle of Population, warning of the dangers of future overpopulation) and Jane.
Gradgrind apprehends Louisa and Tom, his two eldest children, at the circus.
Josiah Bounderby, "a man perfectly devoid of sentiment", is revealed as being Gradgrind's boss. Bounderby is a manufacturer and mill owner who is affluent as a result of his enterprise and capital. Bounderby is what one might call a "self-made man" who has risen from the gutter. He is not averse to giving dramatic summaries of his childhood, which terrify Mr. Gradgrind's wife who is often rendered insensate by these horrific stories. He is described in an acerbic manner as being "the Bully of Humility."
Mr. Gradgrind and Bounderby visit the public-house where Sissy resides to inform her that she cannot attend the school anymore due to the risk of her ideas propagating in the class. Sissy meets the two collaborators, informing them her father has abandoned her not out of malice, but out of desire for Sissy to lead a better life without him. This was the reasoning behind him enlisting her at Gradgrind's school and Gradgrind is outraged at this desertion. At this point members of the circus appear, fronted by their manager Mr. Sleary. Mr. Gradgrind gives Sissy a choice: either to return to the circus and forfeit her education, or to continue her education and never to return to the circus. Sleary and Gradgrind both have their say on the matter, and at the behest of Josephine Sleary she decides to leave the circus and bid all the close friends she had formed farewell.
Back at the Gradgrind house, Tom and Louisa sit down and discuss their feelings, however repressed they seem to be. Tom, already at this present stage of education finds himself in a state of dissatisfaction, and Louisa also expresses her discontent at her childhood while staring into the fire. Louisa's ability to wonder, however, has not been entirely extinguished by her rigorous education based in Fact.
We are introduced to the workers at the mills, known as the "Hands." Amongst them is a man named Stephen Blackpool or "Old Stephen" who has led a toilsome life. He is described as a "man of perfect integrity." He has ended his day's work, and his close companion Rachael is about somewhere. He eventually meets up with her, and they walk home discussing their day. On entering his house he finds that his drunken wretch of a wife, who has been in exile from Coketown, has made an unwelcome return to his house. She is unwell, and mumbles inebriated remarks to Stephen, who is greatly perturbed by this event.
The next day, Stephen makes a visit to Bounderby to try and end his woeful, childless marriage through divorce. Mrs. Sparsit, Mr. Bounderby's paid companion, is "dejected by the impiety" of Stephen and Bounderby explains that he could not afford to effect an annulment anyway. Stephen is very bewildered and dejected by this verdict given by Bounderby.
Meanwhile, Mr. Gradgrind prepares to talk to his daughter about a "business proposal", but she is seemingly apathetic in his company, and this seems to frustrate Mr. Gradgrind's efforts. He says that a proposal of marriage has been made to Louisa by Josiah Bounderby, who is some 30 years her senior. Gradgrind uses statistics to prove that an age inequity in marriage does not prove an unhappy or short marriage however. Louisa passively accepts this offer. Bounderby is rendered ecstatic by the news, as is Louisa's mother, who again is so overwhelmed that she is overcome yet again. Sissy is confounded by but piteous of Louisa.
Bounderby and Louisa get married, and they set out to their honeymoon in "Lyon"; so Bounderby can observe the progress of his 'Hands' (labourers who work in his factories there). Tom, her brother, bumps into her before they leave. They hug each other, Tom bidding her farewell and promising to look for her after they come back from their honeymoon.
Book 2: Reaping
Book Two opens with the attention focused on Bounderby's new bank in Coketown, of which Bitzer alongside the austere Mrs. Sparsit keep watch at night for intruders or burglars. A dashing gentleman enters, asking for directions to Bounderby's house, as Gradgrind has sent him from London, along with a letter. It is James Harthouse, a languid fellow, who was unsure what to do with his life, so became an MP as he saw it as a way out. For this, Dickens despises him.
Harthouse is introduced to Bounderby, who again reverts to almost improbable stories of his childhood to entertain Gradgrind. Harthouse is utterly bored by the blusterous millowner, yet is astounded by his wife, Louisa, and notices her melancholy nature. Louisa's brother Tom works for Bounderby, and he has become reckless and wayward in his conduct, despite his meticulous education. Tom decides to take a liking to James Harthouse, on the basis of his clothes, showing his superficiality. Tom is later debased to animal status, as he comes to be referred to as the "whelp", a denunciatory term for a young man. Tom is very forthcoming in his contempt for Bounderby in the presence of Harthouse, who soaks up all these secretive revelations.
Stephen is called to Bounderby's mansion, where he informs him of his abstention from joining the union led by the orator Slackbridge, and Bounderby accuses Stephen of fealty and of pledging an oath of secrecy to the union. Stephen denies this, and states that he avoided the Union because of a promise he'd made earlier to Rachael. Bounderby is bedevilled by this conflict of interest and accuses Stephen of being waspish. He dismisses him on the spot, on the basis that he has betrayed both employer and union. Later on a bank theft takes place at the Bounderby bank, and Stephen Blackpool is inculpated in the crime, due to him loitering around the bank at Tom's promise of better times to come, the night before the robbery.
Sparsit observes that the relationship between James Harthouse and Louisa is moving towards a near tryst. She sees Louisa as moving down her "staircase", metaphorically speaking. She sets off from the bank to spy upon them, and catches them at what seems to be a propitious moment. However, despite Harthouse confessing his love to Louisa, Louisa is restrained, and refuses an affair. Sparsit is infatuated with the idea that the two do not know they are being observed. Harthouse departs as does Louisa, and Mrs. Sparsit tries to stay in pursuit, thinking that Louisa is going to assent to the affair, though Louisa has not. She follows Louisa to the railway station assuming that Louisa has hired a coachman to dispatch her to Coketown. Sparsit however, misses the fact that Louisa has instead boarded a train to her father's house. Sparsit relinquishes defeat and proclaims "I have lost her!" When Louisa arrives at her father's house, she is revealed to be in an extreme state of disconsolate grief. She accuses her father of denying her the opportunity to have an innocent childhood, and that her rigorous education has stifled her ability to express her emotions. Louisa collapses at her father's feet, into an insensible torpor.
Book 3: Garnering
Mrs. Sparsit arrives at Mr. Bounderby's house, and reveals to him the news her surveillance has brought. Mr. Bounderby, who is rendered irate by this news, journeys to Stone Lodge, where Louisa is resting. Mr. Gradgrind tries to disperse calm upon the scene, and reveals that Louisa resisted the temptation of adultery. Bounderby is inconsolable and he is immensely indignant and ill-mannered towards everyone present, including Mrs. Sparsit, for her falsehood. Bounderby finishes by offering the ultimatum to Louisa of returning to him, by 12 o'clock the next morning, else the marriage is forfeited. Suffice it to say, Mr. Bounderby resumes his bachelorhood when the request is not met.
The discomfited Harthouse leaves Coketown, on an admonition from Sissy Jupe, never to return. He submits. Meanwhile, Mr. Gradgrind and Louisa cast suspicions that Tom, the "whelp", may have committed the bank robbery. Stephen Blackpool who has been absent from Coketown, trying to find mill work under a pseudonym, tries to exculpate himself from the robbery. On walking back to Coketown, he falls down the Old Hell Shaft, an old pit, completing his terminal bad luck in life. He is rescued by villagers, but after speaking to Rachael for the last time, he dies.
Louisa suspects that Tom had a word with Stephen, making a false offer to him, and therefore urging him to loiter outside of the bank. Mr. Gradgrind and Sissy concur with this theory and resolve to find Tom, since he is in danger. Sissy makes a plan for rescue and escape, however, and she reveals that she suspected Tom early on during the proceedings. She sends Tom off to the circus that she used to be a part of, namely Mr. Sleary's. Louisa and Sissy travel to the circus; Tom is there, disguised in blackface. Remorselessly, Tom says that he had little money, and that robbery was the only solution to his dilemma. Mr. Sleary is not aware of this and agrees to help him reach Liverpool, and Mr. Gradgrind, prays that his son is able to board a ship that will send him to the faraway Americas. The party is stopped, however, by Bitzer, who is anxious to claim his reward for the misdemeanour. The "excellent young man" is entreated to show compassion and questions whether he has a heart, to which Bitzer, cynically responds, that of course he has a heart, and that the "circulation could not be carried on without one." Sleary is dismayed by this revelation, and agrees to take Bitzer and Tom to the bank without any further delays. However, he sees that Mr. Gradgrind has been kind to Sissy, and agrees to detain and divert Bitzer whilst Tom leaves for Liverpool.
Returning to Coketown, Mrs. Sparsit is relieved of her duty to Bounderby who has no qualms about firing a lady, however "highly connected" she may be. The final chapter of the book details the fates of the characters. Mrs. Sparsit returns to live with her aunt, Lady Scadgers. The two have feelings of acrimony towards each other. Bounderby dies of a fit in a street one day. Tom dies in the Americas, having begged for penitence in a half-written letter to his sister, Louisa. Louisa herself grows old and never remarries. Mr. Gradgrind abandons his Utilitarian stance, which brings contempt from his fellow MPs, who give him a hard time. Rachael continues to labour while still consistently maintaining her work ethic and honesty. Sissy is the moral victor of the story, as her children have also escaped the desiccative education of the Gradgrind school and grown learned in "childish lore."
Major characters
Mr. Gradgrind
Thomas Gradgrind is a utilitarian who is the founder of the educational system in Coketown. "Eminently practical" is Gradgrind's recurring description throughout the novel, and practicality is something he zealously aspires to. He represents the stringency of Fact, statistics and other materialistic pursuits. He is a "square" person and this can be seen not only through Dickens´description of his personality but also through the description of his physical appearance, "square shoulders".
Only after his daughter's breakdown does he come to a realisation that things such as poetry, fiction and other pursuits are not "destructive nonsense." In the third book, not only does he notice the existence of the unknown thought of "fancy" but he ironically asks Bitzer (one of his students in book the first, who gives a perfect description of a horse) if he has a heart (to save Tom) and in this situation, Bitzer again gives a very scientific response.
Mr. Bounderby
Josiah Bounderby is a business associate of Mr. Gradgrind. A thunderous merchant given to lecturing others, and boasting about being a self-made man. He employs many of the other central characters of the novel, and his rise to prosperity is shown to be an example of social mobility. He marries Mr. Gradgrind's daughter Louisa, some 30 years his junior, in what turns out to be a loveless marriage. They then had no children. Bounderby is the main target of Dickens' attack on the supposed moral superiority of the wealthy, and is revealed to be an hypocrite in his sensational comeuppance at the end of the novel. He is the " bully of humility" as he tells everyone that he is a "self made man" and that his mother left him to be looked after by his grandmother but then, due to Mrs. Sparsit's wrong accusation of thinking that Mrs. Pegler was the bank robber, we find that he has been lying.
He uses Mrs. Sparsit in order to give him status as she belonged to the "Powlers" a very important family in the same way as Bounderby takes advantage of Mrs. Sparsit expecting people of a lower status to respect her presence.
Louisa
Louisa (Loo) Gradgrind, later Louisa Bounderby, is the unemotional, distant and eldest child of the Gradgrind family. She has been taught to abnegate her emotions, and finds it hard to express herself clearly, saying as a child she has "unmanageable thoughts." She is married to Josiah Bounderby, in a very logical and businesslike manner, representing the emphasis on factuality and business pathos of her education. Her union is a disaster and she is tempted into adultery by James Harthouse, yet she manages to resist this temptation with help from Sissy.
All her life she has been "gazing into the fire" "wondering" in the first book we find that she wonders not knowing what it is she is wondering about, in book two with Mrs. Gradgrind's death we get the impression that she well will find out as Mrs. Gradgrind (another victim of the system) says: "there is something wrong" she dies without knowing what it is. It is at the end of book two after Harthouse's love declaration when Louisa understands the meaning of love, fancy, everything that until that moment her life had lacked. She realizes how immature the decision of marrying Bounderby was (only because of Tom's insistence). She then goes to complain to her father and all he says is: "I never knew you were unhappy my child". This shows how Louisa has made him recognize the existence of fancy. Fancy is transmitted through a chain, as Harthouse does to Louisa and Louisa to Gradgrind. The chain breaks at the end of the novel when Gradgrind tries to pass it onto Bitzer.
Sissy Jupe
Cecilia (Sissy) Jupe is the embodiment of imagination, hope and faith. Abandoned by her father, a circus performer at Sleary's circus. Gradgrind offers Sissy the chance to study at his school and to come and live at Stone Lodge with the Gradgrind children. Sleary also offers her a place and tells her she will be treated like one of the family, but Sissy follows her father's wishes of her having a good education, goes to live with Gradgrind. She goes through "hard times" when she is with the Gradgrinds at the beginning because she does not understand the difference between a life based upon facts and one based upon fancy, like hers. When she does notice this, she leaves school in order to look after ill Mrs. Gradgrind. She always asks Mr. Gradgrind if a letter from her father arrived.
Due to Sissy's high morals and natural warm-heartedness she has a huge influence on the Gradgrind family. When Mrs Gradgrind dies she largely takes over the role of mothering the younger Gradgrind Children: Jane, Adam Smith and Malthus.
She is the biggest representative of fancy in the novel. She offers the contrast between fact and fancy. She finishes happy and surrounded by children.
Tom
Thomas (Tom) Gradgrind, Junior is the eldest son and second child of the Gradgrinds. Tom develops as a thoroughly contemptible character. Initially sullen and bitterly resentful of his father's Utilitarian Gradgrindian education, Tom has a very strong relationship with his sister Louisa. At length, Tom starts work in Bounderby's bank (which he later robs), and descends into sybaritic gambling and drinking - he is indiscreet over Louisa's marriage to Bounderby with James Harthouse. Nonetheless Louisa never ceases to deeply adore Tom, and she aids Sissy and Mr. Gradgrind in saving her brother from arrest. It is also hinted that Tom has romantic feelings for Sissy that are partly reciprocated. He is, ultimately, an insecure wastrel.
Known as "the whelp" (small puppy) this is the way of Dickens mocking this character. He takes advantage of his loving sister in order to get out of the life that his father is giving him which he doesn't like. We might feel sympathy towards him at some points of the novel (mostly in book one) as he has the same kind of feelings as Louisa.
He tells Blackpool to wait for him outside the bank and if he has something to give him, he will make sure Bitzer gives it to him. He tricks him by doing so as he only does so in order to make him look as if it was him who robbed the bank, maybe as a form of revenge after Bounderby sacking him. He is found out in book three where Blackpool is shown to be innocent. Mr. Gradgrind makes signs to put them up in the whole town clearing Blackpool's name and putting the blame on his own son.
Old Stephen
Stephen Blackpool, or "Old Stephen" as he is referred to by his fellow Hands, is a worker at one of Bounderby's mills. His life is immensely strenuous, and he is married to a constantly inebriated wife who comes and goes throughout the novel. She remains anonymous and unidentified throughout the novel. He forms a close bond with Rachael, a co-worker. After a dispute with Bounderby, he is dismissed from his work at the Coketown mills and is forced to find work elsewhere. Whilst absent from Coketown he is accused of a crime for which he has been framed. Tragically, on his way back to vindicate himself, he falls down a mine-shaft. He is rescued but dies of his injuries.
Stephen is a man "of perfect integrity", a man who will never give up his moral standpoint to follow along with the crowd, a quality which leads to the conflict with Slackbridge and the Trade Union.
Other characters
Bitzer – is a very pale classmate of Sissy's and brought up on facts and is taught to operate according to self-interest. He takes up a job in Bounderby's bank, and later tries to arrest Tom.
Mrs. Sparsit – is a "classical" widow who has fallen upon despairing circumstances. She is employed by Bounderby, yet her officiousness and prying get her fired in a humorous send-off by Bounderby.
James Harthouse – enters the novel in the 2nd book. James is an indolent, languid, upper-class gentleman, who attempts to woo Louisa, and gets sent away by Sissy.
Mrs. Pegler – a "mysterious old woman" who turns out to be Bounderby's mother.
Slackbridge – trade union leader
Various circus folk", including Signor Jupe (Sissy's father, who never actually appears in the novel), his dog Merrylegs, Mr. Sleary (the lisping manager of the circus) and Cupid, used to represent that the world of the circus is not always as pure as is represented by Sissy and Sleary.
Mrs. Gradgrind – the wife of Mr. Gradgrind, who is an invalid and complains constantly. Her marriage to Thomas is a precursor of Louisa's marriage to Bounderby.
Mr. M'Choakumchild – the teacher of the class containing Sissy Jupe and Bitzer, says very little but his name suggests a cold personality that stifles imagination.
Major themes
Relating back to Dickens' aim to "strike the heaviest blow in my power," he wished to educate readers about the working conditions of some of the factories in the industrial towns of Manchester, and Preston. Relating to this also, Dickens wished to expose the assumption that prosperity runs parallel to morality, something which is cruelly shattered in this novel by his portrayal of the moral monsters, Mr. Bounderby, and James Harthouse, the cynical aristocrats. Dickens was also campaigning for the importance of imagination in life, and not for people's life to be reduced to a collection of material facts and statistical analyses. Dickens' favourable portrayal of the Circus, which he describes as caring so "little for Plain Fact", is an example of this.
Fact vs. Fancy
This theme is developed early on, the bastion of Fact being the eminently practical Mr. Gradgrind, and his model school, which teaches nothing but Facts. Any imaginative or aesthetic subjects are eradicated from the curriculum, but analysis, deduction and mathematics are emphasised. Conversely, Fancy is the opposite of Fact, encompassing, fiction, music, poetry, and novelty shows such as Sleary's circus. It is interesting that Mr. Sleary is reckoned to be a fool by the Fact men, but it is Sleary who realises people must be "amuthed" (amused). This is made cognisant by Tom's sybaritic gambling and Louisa, who is virtually soulless as a young child, and as a married woman. Bitzer, who has adhered to Gradgrind's teachings as a child, turns out to be an uncompassionate egotist.
Officiousness and spying
Prying and knowledge is key to several characters, namely Mrs. Sparsit and Mr. Bounderby. Mr. Bounderby spends his whole time fabricating stories about his childhood, covering up the real nature of his upbringing, which is solemnly revealed at the end of the novel. While not a snooper himself, he is undone by Sparsit unwittingly revealing the mysterious old woman to be his own mother, and she unravels Josiah's secrets about his upbringing and fictitious stories. Mr. Bounderby himself superintends through calculating tabular statements and statistics, and is always secretly rebuking the people of Coketown for indulging in conceitful activities. This gives Bounderby a sense of superiority, as it does with Mrs. Sparsit, who prides herself on her salacious knowledge gained from spying on others. All "superintendents" of the novel are undone in one way, or another.
Honesty
This is closely related to Dickens' typical social commentary, which is a theme he uses throughout his entire œuvre. Dickens portrays the wealthy in this novel as being morally corrupt. Bounderby has no moral scruples; he fires Blackpool "for a novelty". He also conducts himself without any shred of decency, frequently losing his temper. He is cynically false about his childhood. Harthouse, a leisured gent, is compared to an "iceberg" who will cause a wreck unwittingly, due to him being "not a moral sort of fellow", as he states himself. Stephen Blackpool, a destitute worker, is equipped with perfect morals, always abiding by his promises, and always thoughtful and considerate of others, as is Sissy Jupe.
Literary significance & criticism
Critics have had a diverse range of opinions on the novel. Renowned critic John Ruskin declared Hard Times to be his favourite Dickens work due to its exploration of important social questions. However, Thomas Macaulay branded it "sullen socialism", on the grounds that Dickens did not fully comprehend the politics of the time. This point was also made by George Bernard Shaw, who decreed Hard Times to be a novel of "passionate revolt against the whole industrial order of the modern world." Shaw criticized the novel for its failure to provide an accurate account of trade unionism of the time, deeming Dickens' character of Slackbridge, the poisonous orator as "a mere figment of middle-class imagination."
F. R. Leavis, in his controversial book, The Great Tradition, described the book as essentially being a moral fable, and awarded it the distinction of being a work of art, decreeing it the only significant novel of Dickens worth scrutinizing.
Walter Allen, in an introduction to an alternative edition, characterised Hard Times as being an unsurpassed "critique of industrial society", which was later superseded by works of D. H. Lawrence. Other writers have described the novel as being, as G. K. Chesterton commented in his work Appreciations and Criticisms, "the harshest of his stories"; whereas George Orwell praised the novel (and Dickens himself) for "generous anger."
fǎng zhì chǎng chǎng zhù、 yínháng jiā páng dé bèi（ JosiahBounderby） hé tuì xiū de wǔ jīn pī fā shāng rén、 guó huì yì yuán jiān jiào yù jiā tānɡ mǎ sī · gé lāi 'ēn（ ThomasGradgrind） shì hǎo péng yǒu， tā men yī qǐ kòng zhì zhù shì zhèn de jīng jì tǐ xì yǔ jiào yù jī gòu。 tā men zhù zhòng shí lì 'ér qiě bù jiǎng qíng yì， zì mìng bù fán， yǐ gōng lì zhù yì zuò wéi shēng huó yuán zé。 fù zé shì hòu páng dé bèi de shì guǎ fù shǐ bā sī tè tài tài。
gé lāi 'ēn duì zǐ nǚ de jiào yù zhù zhāng“ shí shì qiú shì， jiǎo tà shí dì”， tā men zài xué huì zǒu lù shí， jiù bèi gǎn jìn jiào shì， zhōng rì hé shù zì dǎ jiāo dào， tā men bù yǔn xǔ yuè dú shī gē hé gù shì。 gé léi gěng bǎ nián qīng de nǚ 'ér lù yì suō（ Louisa） jià gěi liǎo nián líng bǐ tā dà dé duō de páng dé bèi， guǎ fù shǐ bā sī tè tài tài jí dù tā， shǐ tā shòu jìn tòng kǔ， dǎo zhì nǚ 'ér hūn yīn pò liè。 tā zé bèi fù qīn：“ nǐ de zhé xué hé jiào yù dōubù néng jiù wǒ liǎo。” zài gé lāi 'ēn zì jǐ de jiào yù zhù zhāng xià， tā de 'ér zǐ tānɡ mǔ（ Tom） bèi pò xié zhù páng dé bèi gōng zuò， tā shēng huó fàng dàng qiě fù zhài lěi lěi， tōu liǎo páng dé bèi yínháng de qián táo páo， duǒ dào mǎ xì tuán lǐ， bàn yǎn yī míng xiǎo chǒu de juésè。 jīng guò liǎo yī lián chuàn de cǎn tòng jiào xùn， yòu shòu dào mǎ xì tuán de nǚ hái xī sī · zhū pǔ（ Sissy,CeciliaJupe） de gǎn huà， zhú jiàn de gǎi biàn liǎo shēng huó tài dù， bèi fù qīn sòng dào měi zhōu。 dàn bìng sǐ zài xǐngqīn de tú zhōng。 páng dé bèi xǐ huān chuī shī zì jǐ bái shǒu qǐ jiā， wū miè gōng rén yóu yú wàng xiǎng guò shē chǐ shēng huó cái chǎn shēng bù mǎn qíng xù。 wǔ nián hòu páng dé bèi zhòngfēng cù sǐ zài jiāo méi zhèn de jiē shàng， lù yì suō zài jià liǎo rén。
Background
The novel is unusual in that it did not contain illustrations; nor is it set in or around London (both usual in Dickens' novels). Instead the story is set in the fictitious Victorian industrial Coketown, a generic Northern English mill-town partially based upon 19th-century Preston.
Dickens' reasons for writing Hard Times were mostly monetary. Sales of his weekly periodical, Household Words, were low, and he hoped the inclusion of this novel in instalments would increase sales. Since publication it has received a mixed response from a diverse range of critics, such as F.R. Leavis, George Bernard Shaw, and Thomas Macaulay, mainly focusing on Dickens' treatment of trade unions and his post-Industrial Revolution pessimism regarding the divide between capitalistic mill owners and undervalued workers during the Victorian era.
Prevalence of utilitarianism
The Utilitarians were one of the targets of this novel. Utilitarianism was a prevalent school of thought during this period, its most famous proponents being Jeremy Bentham and John Stuart Mill. Theoretical Utilitarian ethics hold that promotion of general social welfare is the ultimate goal for the individual and society in general: "the greatest amount of happiness for the greatest number of people." Dickens believed that in practical terms, the pursuit of a totally rationalized society could lead to great misery.
Bentham's former secretary, Edwin Karbunkle, helped design the Poor Law of 1834, which deliberately made workhouse life as uncomfortable as possible. In the novel, this is conveyed in Bitzer's response to Gradgrind's appeal for compassion.
Dickens was appalled by what was, in his interpretation, a selfish philosophy, which was combined with materialist laissez-faire capitalism in the education of some children at the time, as well as in industrial practices. In Dickens' interpretation, the prevalence of utilitarian values in educational institutions promoted contempt between mill owners and workers, creating young adults whose imaginations had been neglected, due to an over-emphasis on facts at the expense of more imaginative pursuits.
Dickens wished to satirize radical Utilitarians whom he described in a letter to Charles Knight as "see[ing] figures and averages, and nothing else." He also wished to campaign for reform of working conditions. Dickens had visited factories in Manchester as early as 1839, and was appalled by the environment in which workers toiled. Drawing upon his own childhood experiences, Dickens resolved to "strike the heaviest blow in my power" for those who laboured in horrific conditions.
John Stuart Mill had a similar, rigorous education to that of Louisa Gradgrind, consisting of analytical, logical, mathematical, and statistical exercises. In his twenties, Mill had a nervous breakdown, believing his capacity for emotion had been enervated by his father's stringent emphasis on analysis and mathematics in his education. In the book, Louisa herself follows a parallel course, being unable to express herself and falling into a temporary depression as a result of her dry education.
Publication
The novel was published as a serial in his weekly publication, Household Words. Sales were highly responsive and encouraging for Dickens who remarked that he was "Three parts mad, and the fourth delirious, with perpetual rushing at Hard Times". The novel was serialised, every week, between April 1 and August 12, 1854. It sold well, and a complete volume was published in August, totalling 110,000 words. Another related novel, North and South by Elizabeth Gaskell, was also published in this magazine.
Synopsis
The novel follows a classical tripartite structure, and the titles of each book are related to Galatians 6:7, "For whatsoever a man soweth, that shall he also reap." The interpretation of this quote being, whatever is effected upon or done in the present will have a direct effect on what happens later. Book I is entitled "Sowing", Book II is entitled "Reaping", and the third is "Garnering."
Book I: Sowing
Mr. Gradgrind, whose voice is "dictatorial", opens the novel by stating "Now, what I want is facts" at his school in Coketown. He is a man of "facts and calculations." He interrogates one of his pupils, Sissy, whose father is involved with the circus, the members of which are "Fancy" in comparison to Gradgrind's espousal of "Fact." Since her father rides and tends to horses, Gradgrind offers Sissy the definition of horse. She is rebuffed for not being able to define a horse factually; her classmate Bitzer does, however, provide a more zoological profile description and factual definition. She does not learn easily, and is censured for suggesting that she would carpet a floor with pictures of flowers "So you would carpet your room—or your husband's room, if you were a grown woman, and had a husband—with representations of flowers, would you? Why would you?" She is taught to disregard Fancy altogether. It is Fancy Vs Fact.
Louisa and Thomas, two of Mr. Gradgrind's children, pay a visit after school to the touring circus run by Mr. Sleary, only to find their father, who is disconcerted by their trip since he believes the circus to be the bastion of Fancy and conceit. With their father, Louisa and Tom trudge off in a despondent mood. Mr. Gradgrind has three younger children: Adam Smith, (after the famous theorist of laissez-faire policy), Malthus (after Rev. Thomas Malthus, who wrote An Essay on the Principle of Population, warning of the dangers of future overpopulation) and Jane.
Gradgrind apprehends Louisa and Tom, his two eldest children, at the circus.
Josiah Bounderby, "a man perfectly devoid of sentiment", is revealed as being Gradgrind's boss. Bounderby is a manufacturer and mill owner who is affluent as a result of his enterprise and capital. Bounderby is what one might call a "self-made man" who has risen from the gutter. He is not averse to giving dramatic summaries of his childhood, which terrify Mr. Gradgrind's wife who is often rendered insensate by these horrific stories. He is described in an acerbic manner as being "the Bully of Humility."
Mr. Gradgrind and Bounderby visit the public-house where Sissy resides to inform her that she cannot attend the school anymore due to the risk of her ideas propagating in the class. Sissy meets the two collaborators, informing them her father has abandoned her not out of malice, but out of desire for Sissy to lead a better life without him. This was the reasoning behind him enlisting her at Gradgrind's school and Gradgrind is outraged at this desertion. At this point members of the circus appear, fronted by their manager Mr. Sleary. Mr. Gradgrind gives Sissy a choice: either to return to the circus and forfeit her education, or to continue her education and never to return to the circus. Sleary and Gradgrind both have their say on the matter, and at the behest of Josephine Sleary she decides to leave the circus and bid all the close friends she had formed farewell.
Back at the Gradgrind house, Tom and Louisa sit down and discuss their feelings, however repressed they seem to be. Tom, already at this present stage of education finds himself in a state of dissatisfaction, and Louisa also expresses her discontent at her childhood while staring into the fire. Louisa's ability to wonder, however, has not been entirely extinguished by her rigorous education based in Fact.
We are introduced to the workers at the mills, known as the "Hands." Amongst them is a man named Stephen Blackpool or "Old Stephen" who has led a toilsome life. He is described as a "man of perfect integrity." He has ended his day's work, and his close companion Rachael is about somewhere. He eventually meets up with her, and they walk home discussing their day. On entering his house he finds that his drunken wretch of a wife, who has been in exile from Coketown, has made an unwelcome return to his house. She is unwell, and mumbles inebriated remarks to Stephen, who is greatly perturbed by this event.
The next day, Stephen makes a visit to Bounderby to try and end his woeful, childless marriage through divorce. Mrs. Sparsit, Mr. Bounderby's paid companion, is "dejected by the impiety" of Stephen and Bounderby explains that he could not afford to effect an annulment anyway. Stephen is very bewildered and dejected by this verdict given by Bounderby.
Meanwhile, Mr. Gradgrind prepares to talk to his daughter about a "business proposal", but she is seemingly apathetic in his company, and this seems to frustrate Mr. Gradgrind's efforts. He says that a proposal of marriage has been made to Louisa by Josiah Bounderby, who is some 30 years her senior. Gradgrind uses statistics to prove that an age inequity in marriage does not prove an unhappy or short marriage however. Louisa passively accepts this offer. Bounderby is rendered ecstatic by the news, as is Louisa's mother, who again is so overwhelmed that she is overcome yet again. Sissy is confounded by but piteous of Louisa.
Bounderby and Louisa get married, and they set out to their honeymoon in "Lyon"; so Bounderby can observe the progress of his 'Hands' (labourers who work in his factories there). Tom, her brother, bumps into her before they leave. They hug each other, Tom bidding her farewell and promising to look for her after they come back from their honeymoon.
Book 2: Reaping
Book Two opens with the attention focused on Bounderby's new bank in Coketown, of which Bitzer alongside the austere Mrs. Sparsit keep watch at night for intruders or burglars. A dashing gentleman enters, asking for directions to Bounderby's house, as Gradgrind has sent him from London, along with a letter. It is James Harthouse, a languid fellow, who was unsure what to do with his life, so became an MP as he saw it as a way out. For this, Dickens despises him.
Harthouse is introduced to Bounderby, who again reverts to almost improbable stories of his childhood to entertain Gradgrind. Harthouse is utterly bored by the blusterous millowner, yet is astounded by his wife, Louisa, and notices her melancholy nature. Louisa's brother Tom works for Bounderby, and he has become reckless and wayward in his conduct, despite his meticulous education. Tom decides to take a liking to James Harthouse, on the basis of his clothes, showing his superficiality. Tom is later debased to animal status, as he comes to be referred to as the "whelp", a denunciatory term for a young man. Tom is very forthcoming in his contempt for Bounderby in the presence of Harthouse, who soaks up all these secretive revelations.
Stephen is called to Bounderby's mansion, where he informs him of his abstention from joining the union led by the orator Slackbridge, and Bounderby accuses Stephen of fealty and of pledging an oath of secrecy to the union. Stephen denies this, and states that he avoided the Union because of a promise he'd made earlier to Rachael. Bounderby is bedevilled by this conflict of interest and accuses Stephen of being waspish. He dismisses him on the spot, on the basis that he has betrayed both employer and union. Later on a bank theft takes place at the Bounderby bank, and Stephen Blackpool is inculpated in the crime, due to him loitering around the bank at Tom's promise of better times to come, the night before the robbery.
Sparsit observes that the relationship between James Harthouse and Louisa is moving towards a near tryst. She sees Louisa as moving down her "staircase", metaphorically speaking. She sets off from the bank to spy upon them, and catches them at what seems to be a propitious moment. However, despite Harthouse confessing his love to Louisa, Louisa is restrained, and refuses an affair. Sparsit is infatuated with the idea that the two do not know they are being observed. Harthouse departs as does Louisa, and Mrs. Sparsit tries to stay in pursuit, thinking that Louisa is going to assent to the affair, though Louisa has not. She follows Louisa to the railway station assuming that Louisa has hired a coachman to dispatch her to Coketown. Sparsit however, misses the fact that Louisa has instead boarded a train to her father's house. Sparsit relinquishes defeat and proclaims "I have lost her!" When Louisa arrives at her father's house, she is revealed to be in an extreme state of disconsolate grief. She accuses her father of denying her the opportunity to have an innocent childhood, and that her rigorous education has stifled her ability to express her emotions. Louisa collapses at her father's feet, into an insensible torpor.
Book 3: Garnering
Mrs. Sparsit arrives at Mr. Bounderby's house, and reveals to him the news her surveillance has brought. Mr. Bounderby, who is rendered irate by this news, journeys to Stone Lodge, where Louisa is resting. Mr. Gradgrind tries to disperse calm upon the scene, and reveals that Louisa resisted the temptation of adultery. Bounderby is inconsolable and he is immensely indignant and ill-mannered towards everyone present, including Mrs. Sparsit, for her falsehood. Bounderby finishes by offering the ultimatum to Louisa of returning to him, by 12 o'clock the next morning, else the marriage is forfeited. Suffice it to say, Mr. Bounderby resumes his bachelorhood when the request is not met.
The discomfited Harthouse leaves Coketown, on an admonition from Sissy Jupe, never to return. He submits. Meanwhile, Mr. Gradgrind and Louisa cast suspicions that Tom, the "whelp", may have committed the bank robbery. Stephen Blackpool who has been absent from Coketown, trying to find mill work under a pseudonym, tries to exculpate himself from the robbery. On walking back to Coketown, he falls down the Old Hell Shaft, an old pit, completing his terminal bad luck in life. He is rescued by villagers, but after speaking to Rachael for the last time, he dies.
Louisa suspects that Tom had a word with Stephen, making a false offer to him, and therefore urging him to loiter outside of the bank. Mr. Gradgrind and Sissy concur with this theory and resolve to find Tom, since he is in danger. Sissy makes a plan for rescue and escape, however, and she reveals that she suspected Tom early on during the proceedings. She sends Tom off to the circus that she used to be a part of, namely Mr. Sleary's. Louisa and Sissy travel to the circus; Tom is there, disguised in blackface. Remorselessly, Tom says that he had little money, and that robbery was the only solution to his dilemma. Mr. Sleary is not aware of this and agrees to help him reach Liverpool, and Mr. Gradgrind, prays that his son is able to board a ship that will send him to the faraway Americas. The party is stopped, however, by Bitzer, who is anxious to claim his reward for the misdemeanour. The "excellent young man" is entreated to show compassion and questions whether he has a heart, to which Bitzer, cynically responds, that of course he has a heart, and that the "circulation could not be carried on without one." Sleary is dismayed by this revelation, and agrees to take Bitzer and Tom to the bank without any further delays. However, he sees that Mr. Gradgrind has been kind to Sissy, and agrees to detain and divert Bitzer whilst Tom leaves for Liverpool.
Returning to Coketown, Mrs. Sparsit is relieved of her duty to Bounderby who has no qualms about firing a lady, however "highly connected" she may be. The final chapter of the book details the fates of the characters. Mrs. Sparsit returns to live with her aunt, Lady Scadgers. The two have feelings of acrimony towards each other. Bounderby dies of a fit in a street one day. Tom dies in the Americas, having begged for penitence in a half-written letter to his sister, Louisa. Louisa herself grows old and never remarries. Mr. Gradgrind abandons his Utilitarian stance, which brings contempt from his fellow MPs, who give him a hard time. Rachael continues to labour while still consistently maintaining her work ethic and honesty. Sissy is the moral victor of the story, as her children have also escaped the desiccative education of the Gradgrind school and grown learned in "childish lore."
Major characters
Mr. Gradgrind
Thomas Gradgrind is a utilitarian who is the founder of the educational system in Coketown. "Eminently practical" is Gradgrind's recurring description throughout the novel, and practicality is something he zealously aspires to. He represents the stringency of Fact, statistics and other materialistic pursuits. He is a "square" person and this can be seen not only through Dickens´description of his personality but also through the description of his physical appearance, "square shoulders".
Only after his daughter's breakdown does he come to a realisation that things such as poetry, fiction and other pursuits are not "destructive nonsense." In the third book, not only does he notice the existence of the unknown thought of "fancy" but he ironically asks Bitzer (one of his students in book the first, who gives a perfect description of a horse) if he has a heart (to save Tom) and in this situation, Bitzer again gives a very scientific response.
Mr. Bounderby
Josiah Bounderby is a business associate of Mr. Gradgrind. A thunderous merchant given to lecturing others, and boasting about being a self-made man. He employs many of the other central characters of the novel, and his rise to prosperity is shown to be an example of social mobility. He marries Mr. Gradgrind's daughter Louisa, some 30 years his junior, in what turns out to be a loveless marriage. They then had no children. Bounderby is the main target of Dickens' attack on the supposed moral superiority of the wealthy, and is revealed to be an hypocrite in his sensational comeuppance at the end of the novel. He is the " bully of humility" as he tells everyone that he is a "self made man" and that his mother left him to be looked after by his grandmother but then, due to Mrs. Sparsit's wrong accusation of thinking that Mrs. Pegler was the bank robber, we find that he has been lying.
He uses Mrs. Sparsit in order to give him status as she belonged to the "Powlers" a very important family in the same way as Bounderby takes advantage of Mrs. Sparsit expecting people of a lower status to respect her presence.
Louisa
Louisa (Loo) Gradgrind, later Louisa Bounderby, is the unemotional, distant and eldest child of the Gradgrind family. She has been taught to abnegate her emotions, and finds it hard to express herself clearly, saying as a child she has "unmanageable thoughts." She is married to Josiah Bounderby, in a very logical and businesslike manner, representing the emphasis on factuality and business pathos of her education. Her union is a disaster and she is tempted into adultery by James Harthouse, yet she manages to resist this temptation with help from Sissy.
All her life she has been "gazing into the fire" "wondering" in the first book we find that she wonders not knowing what it is she is wondering about, in book two with Mrs. Gradgrind's death we get the impression that she well will find out as Mrs. Gradgrind (another victim of the system) says: "there is something wrong" she dies without knowing what it is. It is at the end of book two after Harthouse's love declaration when Louisa understands the meaning of love, fancy, everything that until that moment her life had lacked. She realizes how immature the decision of marrying Bounderby was (only because of Tom's insistence). She then goes to complain to her father and all he says is: "I never knew you were unhappy my child". This shows how Louisa has made him recognize the existence of fancy. Fancy is transmitted through a chain, as Harthouse does to Louisa and Louisa to Gradgrind. The chain breaks at the end of the novel when Gradgrind tries to pass it onto Bitzer.
Sissy Jupe
Cecilia (Sissy) Jupe is the embodiment of imagination, hope and faith. Abandoned by her father, a circus performer at Sleary's circus. Gradgrind offers Sissy the chance to study at his school and to come and live at Stone Lodge with the Gradgrind children. Sleary also offers her a place and tells her she will be treated like one of the family, but Sissy follows her father's wishes of her having a good education, goes to live with Gradgrind. She goes through "hard times" when she is with the Gradgrinds at the beginning because she does not understand the difference between a life based upon facts and one based upon fancy, like hers. When she does notice this, she leaves school in order to look after ill Mrs. Gradgrind. She always asks Mr. Gradgrind if a letter from her father arrived.
Due to Sissy's high morals and natural warm-heartedness she has a huge influence on the Gradgrind family. When Mrs Gradgrind dies she largely takes over the role of mothering the younger Gradgrind Children: Jane, Adam Smith and Malthus.
She is the biggest representative of fancy in the novel. She offers the contrast between fact and fancy. She finishes happy and surrounded by children.
Tom
Thomas (Tom) Gradgrind, Junior is the eldest son and second child of the Gradgrinds. Tom develops as a thoroughly contemptible character. Initially sullen and bitterly resentful of his father's Utilitarian Gradgrindian education, Tom has a very strong relationship with his sister Louisa. At length, Tom starts work in Bounderby's bank (which he later robs), and descends into sybaritic gambling and drinking - he is indiscreet over Louisa's marriage to Bounderby with James Harthouse. Nonetheless Louisa never ceases to deeply adore Tom, and she aids Sissy and Mr. Gradgrind in saving her brother from arrest. It is also hinted that Tom has romantic feelings for Sissy that are partly reciprocated. He is, ultimately, an insecure wastrel.
Known as "the whelp" (small puppy) this is the way of Dickens mocking this character. He takes advantage of his loving sister in order to get out of the life that his father is giving him which he doesn't like. We might feel sympathy towards him at some points of the novel (mostly in book one) as he has the same kind of feelings as Louisa.
He tells Blackpool to wait for him outside the bank and if he has something to give him, he will make sure Bitzer gives it to him. He tricks him by doing so as he only does so in order to make him look as if it was him who robbed the bank, maybe as a form of revenge after Bounderby sacking him. He is found out in book three where Blackpool is shown to be innocent. Mr. Gradgrind makes signs to put them up in the whole town clearing Blackpool's name and putting the blame on his own son.
Old Stephen
Stephen Blackpool, or "Old Stephen" as he is referred to by his fellow Hands, is a worker at one of Bounderby's mills. His life is immensely strenuous, and he is married to a constantly inebriated wife who comes and goes throughout the novel. She remains anonymous and unidentified throughout the novel. He forms a close bond with Rachael, a co-worker. After a dispute with Bounderby, he is dismissed from his work at the Coketown mills and is forced to find work elsewhere. Whilst absent from Coketown he is accused of a crime for which he has been framed. Tragically, on his way back to vindicate himself, he falls down a mine-shaft. He is rescued but dies of his injuries.
Stephen is a man "of perfect integrity", a man who will never give up his moral standpoint to follow along with the crowd, a quality which leads to the conflict with Slackbridge and the Trade Union.
Other characters
Bitzer – is a very pale classmate of Sissy's and brought up on facts and is taught to operate according to self-interest. He takes up a job in Bounderby's bank, and later tries to arrest Tom.
Mrs. Sparsit – is a "classical" widow who has fallen upon despairing circumstances. She is employed by Bounderby, yet her officiousness and prying get her fired in a humorous send-off by Bounderby.
James Harthouse – enters the novel in the 2nd book. James is an indolent, languid, upper-class gentleman, who attempts to woo Louisa, and gets sent away by Sissy.
Mrs. Pegler – a "mysterious old woman" who turns out to be Bounderby's mother.
Slackbridge – trade union leader
Various circus folk", including Signor Jupe (Sissy's father, who never actually appears in the novel), his dog Merrylegs, Mr. Sleary (the lisping manager of the circus) and Cupid, used to represent that the world of the circus is not always as pure as is represented by Sissy and Sleary.
Mrs. Gradgrind – the wife of Mr. Gradgrind, who is an invalid and complains constantly. Her marriage to Thomas is a precursor of Louisa's marriage to Bounderby.
Mr. M'Choakumchild – the teacher of the class containing Sissy Jupe and Bitzer, says very little but his name suggests a cold personality that stifles imagination.
Major themes
Relating back to Dickens' aim to "strike the heaviest blow in my power," he wished to educate readers about the working conditions of some of the factories in the industrial towns of Manchester, and Preston. Relating to this also, Dickens wished to expose the assumption that prosperity runs parallel to morality, something which is cruelly shattered in this novel by his portrayal of the moral monsters, Mr. Bounderby, and James Harthouse, the cynical aristocrats. Dickens was also campaigning for the importance of imagination in life, and not for people's life to be reduced to a collection of material facts and statistical analyses. Dickens' favourable portrayal of the Circus, which he describes as caring so "little for Plain Fact", is an example of this.
Fact vs. Fancy
This theme is developed early on, the bastion of Fact being the eminently practical Mr. Gradgrind, and his model school, which teaches nothing but Facts. Any imaginative or aesthetic subjects are eradicated from the curriculum, but analysis, deduction and mathematics are emphasised. Conversely, Fancy is the opposite of Fact, encompassing, fiction, music, poetry, and novelty shows such as Sleary's circus. It is interesting that Mr. Sleary is reckoned to be a fool by the Fact men, but it is Sleary who realises people must be "amuthed" (amused). This is made cognisant by Tom's sybaritic gambling and Louisa, who is virtually soulless as a young child, and as a married woman. Bitzer, who has adhered to Gradgrind's teachings as a child, turns out to be an uncompassionate egotist.
Officiousness and spying
Prying and knowledge is key to several characters, namely Mrs. Sparsit and Mr. Bounderby. Mr. Bounderby spends his whole time fabricating stories about his childhood, covering up the real nature of his upbringing, which is solemnly revealed at the end of the novel. While not a snooper himself, he is undone by Sparsit unwittingly revealing the mysterious old woman to be his own mother, and she unravels Josiah's secrets about his upbringing and fictitious stories. Mr. Bounderby himself superintends through calculating tabular statements and statistics, and is always secretly rebuking the people of Coketown for indulging in conceitful activities. This gives Bounderby a sense of superiority, as it does with Mrs. Sparsit, who prides herself on her salacious knowledge gained from spying on others. All "superintendents" of the novel are undone in one way, or another.
Honesty
This is closely related to Dickens' typical social commentary, which is a theme he uses throughout his entire œuvre. Dickens portrays the wealthy in this novel as being morally corrupt. Bounderby has no moral scruples; he fires Blackpool "for a novelty". He also conducts himself without any shred of decency, frequently losing his temper. He is cynically false about his childhood. Harthouse, a leisured gent, is compared to an "iceberg" who will cause a wreck unwittingly, due to him being "not a moral sort of fellow", as he states himself. Stephen Blackpool, a destitute worker, is equipped with perfect morals, always abiding by his promises, and always thoughtful and considerate of others, as is Sissy Jupe.
Literary significance & criticism
Critics have had a diverse range of opinions on the novel. Renowned critic John Ruskin declared Hard Times to be his favourite Dickens work due to its exploration of important social questions. However, Thomas Macaulay branded it "sullen socialism", on the grounds that Dickens did not fully comprehend the politics of the time. This point was also made by George Bernard Shaw, who decreed Hard Times to be a novel of "passionate revolt against the whole industrial order of the modern world." Shaw criticized the novel for its failure to provide an accurate account of trade unionism of the time, deeming Dickens' character of Slackbridge, the poisonous orator as "a mere figment of middle-class imagination."
F. R. Leavis, in his controversial book, The Great Tradition, described the book as essentially being a moral fable, and awarded it the distinction of being a work of art, decreeing it the only significant novel of Dickens worth scrutinizing.
Walter Allen, in an introduction to an alternative edition, characterised Hard Times as being an unsurpassed "critique of industrial society", which was later superseded by works of D. H. Lawrence. Other writers have described the novel as being, as G. K. Chesterton commented in his work Appreciations and Criticisms, "the harshest of his stories"; whereas George Orwell praised the novel (and Dickens himself) for "generous anger."
《 huāng liáng shān zhuāng》（ BleakHouse）
huò yì wéi《 xiāo zhāi》， fā biǎo yú 1852 nián zhì 1853 nián zhī jiān， shì dí gèng sī zuì cháng de zuò pǐn zhī yī， tā yǐ cuò zōng fù zá de qíng jié jiē lù yīng guó fǎ lǜ zhì dù hé sī fǎ jī gòu de hēi 'àn。
zhè bù xiǎo shuō nèi róng fěng cì yīng guó gǔ lǎo de“ dà fǎ guān tíng”（ Chancery） de zuò fēng， shì sī fǎ tǐ zhì mān hān、 xié 'è、 wú néng de xiàng zhēng。 xiǎo shuō miáo xiě liǎo yī jiàn zhēng duó yí chǎn de sù sòng 'àn， yóu yú sī fǎ rén yuán cóng zhōng yíng sī、 xùn jié， jìng shǐ dé 'àn qíng tuō yán 'èr shí nián。 zài yī gè 'ǒu rán jī huì lǐ， nán jué fū rén de sī shēng nǚ 'ài sè ? sà mò sēn（ EstherSummerson） bèi nà yī qún lǜ shī dé zhī， yú shì zhuī gēn jiū dǐ de lǜ shī jiè cǐ wēi xié nán jué fū rén， shèn zhì zhěng sǐ yī míng liú làng shàonián， nán jué fū rén bèi pò lí jiā chū zǒu， sǐ yú yīcháng bào fēng xuě。 qí zhōng yī míng lǜ shī bèi tā suǒ lì yòng de rén shā hài。 zhè 'èr shí nián qī jiān shēn sù zhě jū zhù zài huāng liáng shān zhuāng， zhù rén yuē hàn ? zhān dí shì（ JohnJarndyce） chéng wéi yī duì biǎo xiōng mèi de jiān hù rén， děng dài fǎ guān zuò zuì hòu de pàn jué， zuì hòu zhěng bǐ yí chǎn zhèng hǎo quán shù zhī fù yòu guān de fǎ lǜ sù sòng fèi yòng， gēn sù sòng 'àn yòu guān de rén sǐ de sǐ， fā fēng de fā fēng。 duō shù píng lùn jiā rú xiāo bó nà、 qiē sī tè dùn、 kāng lā dé、 cuī 'ěr lín děng rén jiē rèn wéi zhè bù xiǎo shuō shì“ chuàng xià xiǎo shuō xiě zuò gāo fēng”， yě shì dì yī běn“ fǎ lǜ xiǎo shuō”。
At the novel's core is long-running litigation in England's Court of Chancery, Jarndyce and Jarndyce, which has far-reaching consequences for all involved. This case revolves around a testator who apparently made several wills, all of them seeking to bequeath money and land surrounding the Manor of Marr in South Yorkshire. The litigation, which already has consumed years and sixty to seventy thousand pounds sterling in court costs, is emblematic of the failure of Chancery. Dickens's assault on the flaws of the British judiciary system is based in part on his own experiences as a law clerk, and in part on his experiences as a Chancery litigant seeking to enforce his copyright on his earlier books. His harsh characterisation of the slow, arcane Chancery law process gave memorable form to pre-existing widespread frustration with the system. Though Chancery lawyers and judges criticized Dickens's portrait of Chancery as exaggerated and unmerited, his novel helped to spur an ongoing movement that culminated in enactment of the legal reform in the 1870s. In fact, Dickens was writing just as Chancery was reforming itself, with the Six Clerks and Masters mentioned in Chapter One abolished in 1842 and 1852 respectively: the need for further reform was being widely debated. These facts raise an issue as to when Bleak House is actually set. Technically it must be before 1842, and at least some of his readers at the time would have been aware of this. However, there is some question as to whether this timeframe is consistent with some of the themes of the novel. The great English legal historian Sir William Holdsworth (see below), set the action in 1827.
huò yì wéi《 xiāo zhāi》， fā biǎo yú 1852 nián zhì 1853 nián zhī jiān， shì dí gèng sī zuì cháng de zuò pǐn zhī yī， tā yǐ cuò zōng fù zá de qíng jié jiē lù yīng guó fǎ lǜ zhì dù hé sī fǎ jī gòu de hēi 'àn。
zhè bù xiǎo shuō nèi róng fěng cì yīng guó gǔ lǎo de“ dà fǎ guān tíng”（ Chancery） de zuò fēng， shì sī fǎ tǐ zhì mān hān、 xié 'è、 wú néng de xiàng zhēng。 xiǎo shuō miáo xiě liǎo yī jiàn zhēng duó yí chǎn de sù sòng 'àn， yóu yú sī fǎ rén yuán cóng zhōng yíng sī、 xùn jié， jìng shǐ dé 'àn qíng tuō yán 'èr shí nián。 zài yī gè 'ǒu rán jī huì lǐ， nán jué fū rén de sī shēng nǚ 'ài sè ? sà mò sēn（ EstherSummerson） bèi nà yī qún lǜ shī dé zhī， yú shì zhuī gēn jiū dǐ de lǜ shī jiè cǐ wēi xié nán jué fū rén， shèn zhì zhěng sǐ yī míng liú làng shàonián， nán jué fū rén bèi pò lí jiā chū zǒu， sǐ yú yīcháng bào fēng xuě。 qí zhōng yī míng lǜ shī bèi tā suǒ lì yòng de rén shā hài。 zhè 'èr shí nián qī jiān shēn sù zhě jū zhù zài huāng liáng shān zhuāng， zhù rén yuē hàn ? zhān dí shì（ JohnJarndyce） chéng wéi yī duì biǎo xiōng mèi de jiān hù rén， děng dài fǎ guān zuò zuì hòu de pàn jué， zuì hòu zhěng bǐ yí chǎn zhèng hǎo quán shù zhī fù yòu guān de fǎ lǜ sù sòng fèi yòng， gēn sù sòng 'àn yòu guān de rén sǐ de sǐ， fā fēng de fā fēng。 duō shù píng lùn jiā rú xiāo bó nà、 qiē sī tè dùn、 kāng lā dé、 cuī 'ěr lín děng rén jiē rèn wéi zhè bù xiǎo shuō shì“ chuàng xià xiǎo shuō xiě zuò gāo fēng”， yě shì dì yī běn“ fǎ lǜ xiǎo shuō”。
At the novel's core is long-running litigation in England's Court of Chancery, Jarndyce and Jarndyce, which has far-reaching consequences for all involved. This case revolves around a testator who apparently made several wills, all of them seeking to bequeath money and land surrounding the Manor of Marr in South Yorkshire. The litigation, which already has consumed years and sixty to seventy thousand pounds sterling in court costs, is emblematic of the failure of Chancery. Dickens's assault on the flaws of the British judiciary system is based in part on his own experiences as a law clerk, and in part on his experiences as a Chancery litigant seeking to enforce his copyright on his earlier books. His harsh characterisation of the slow, arcane Chancery law process gave memorable form to pre-existing widespread frustration with the system. Though Chancery lawyers and judges criticized Dickens's portrait of Chancery as exaggerated and unmerited, his novel helped to spur an ongoing movement that culminated in enactment of the legal reform in the 1870s. In fact, Dickens was writing just as Chancery was reforming itself, with the Six Clerks and Masters mentioned in Chapter One abolished in 1842 and 1852 respectively: the need for further reform was being widely debated. These facts raise an issue as to when Bleak House is actually set. Technically it must be before 1842, and at least some of his readers at the time would have been aware of this. However, there is some question as to whether this timeframe is consistent with some of the themes of the novel. The great English legal historian Sir William Holdsworth (see below), set the action in 1827.
《 dǒng bèi fù zǐ》 wú lùn cóng xíng shì fāng miàn hái shì cóng nèi róng fāng miàn 'ér lùn， dōuzài dí gèng sī de zuò pǐn zhōng zhàn jù tè bié zhòng yào de dì wèi， tā tū pò liǎo zǎo qī zuò pǐn zhōng liú làng hàn tǐ（ thepicaresque） de yǐng xiǎng， jǐn jǐn wéi rào yī gè zhōng xīn rén wù、 yī gè zhù dǎo guān niàn lái zhǎn kāi gù shì， zài dí gèng sī de xiǎo shuō zhōng shì dì yī bù jié gòu yán jǐn de dài biǎo zuò。 zuò zhě zài xù yán、 shū xìn zhōng duō cì tí dào， zài xiě《 dǒng bèi fù zǐ》 shí， tā shí kè zhù yì“ kòu jǐn gāi shū de yī bān mùdì yǔ shè jì， bìng yǐ cǐ yán gé shù fù zì jǐ”。《 dǒng bèi fù zǐ》 xíng shì shàng de xīn tè diǎn shì gēn nèi róng fāng miàn de fā zhǎn xiāng lián xì de。 zài zhè yǐ qián， dí gèng sī zài xiǎo shuō zhōng céng pēng jī liǎo fù zhài rén jiān yù、 xīn de jì pín fǎ、 dì fāng shàng de suǒ wèi cí shàn shì yè yǐ jí dà chéng shì dǐ céng de zuì 'è yǔ hēi 'àn， duō duō shàoshào bǎ tā men dāng zuò gū lì de xiàn xiàng。《 dǒng bèi fù zǐ》 què shì tú zài gèng yán jǐn de xíng shì zhōng yǐ xiàn dài chéng shì wéi bèi jǐng， tōng guò yī gè zī chǎn zhě de diǎn xíng xíng xiàng biǎo dá chū duì zī běn zhù yì shè huì de zǒng tǐ guān， ér bù fù zài gè bié shè huì bì bìng shàng zuò wén zhāng。 dāng rán， zhè bìng bù yī dìng yì wèi zhe zuò zhě de xiǎo shuō yì shù xiàng zhe gèng gāo jí jiē duàn fā zhǎn héng héng jié gòu de yán jǐn zài měi xué shàng bù yī dìng bǐ liú làng hàn tǐ xiǎo shuō de sōng sàn gèng yōu yuè， tā men kě yǐ gè yòu gè zì de měi， dàn wú lùn rú hé，《 dǒng bèi fù zǐ》 dài biǎo liǎo zuò zhě sī xiǎng de shēn huà， biǎo xiàn liǎo tā duì shè huì wèn tí de jìn yī bù sī kǎo。
yīng guó 19 shì jì xiǎo shuō zhuān jiā kǎi sè lín · dì luò xùn zài tā de xué shù míng zhù《 19 shì jì 40 nián dài de xiǎo shuō》 yī shū zhōng bǎ《 dǒng bèi fù zǐ》 liè wéi 40 nián dài de dài biǎo zuò bù shì 'ǒu rán de。《 dǒng bèi fù zǐ》 jù yòu xiān míng de shí dài tè sè： zuò zhě zài zhè lǐ biǎo xiàn yī gè xīn shí dài héng héng 40 nián dài gōng yè fā dá de yīng guó shè huì。 xiǎo shuō zhōng de lún dūn shì yī gè jīn róng hé shāng yè zhōng xīn、 yī gè dà gǎng kǒu， yòu shì shàng liú shè huì shè jiāo zhōng xīn。 dǒng bèi jiù shì chù zài zhè yàng shēng huó xuán wō zhōng de jù shāng。《 dǒng bèi fù zǐ》 yòng bù shǎo piān fú miáo xiě yī gè pò luò de háng hǎi yí qì shāng suǒ luó mén · jí 'ěr sī； tā de xiǎo diàn pū lǐ bǎi zhe xiē guò shí de yí qì， cóng lái méi yòu rén guāng gù， chú fēi shì jìn lái wèn lù huò duì huàn líng qián。 jí 'ěr sī bēi tàn dào：“ jìng zhēng、 bù tíng de jìng zhēng héng héng xīn fā míng、 céng chū bù qióng de xīn fā míng …… shì jiè bǎ wǒ pāo zài hòu biān liǎo”。 shí dài de luò wǔ zhě suǒ luó mén · jí 'ěr sī hé tā de xiǎo diàn pū zài xiǎo shuō zhōng yǔ dǒng bèi xiān shēng hé tā de dà gōng sī xíng chéng duì bǐ， yù jiā tū chū liǎo《 dǒng bèi fù zǐ》 nèi róng tí cái de shí dài tè sè。
dí gèng sī jiù shì zài zhè yàng yī zhǒng bèi jǐng shàng sù zào liǎo yī gè zī chǎn zhě de diǎn xíng xíng xiàng。 guān yú《 dǒng bèi fù zǐ》 de chuàng zuò yì tú， dí gèng sī céng shuō， zài zhè lǐ tā yào chǔlǐ de shì“ ào màn” wèn tí， zhèng rú qián yī bù xiǎo shuō《 mǎ dīng · chái zé 'ěr wéi chí》 lǐ yào zhe zhòng miáo xiě“ zì sī zì lì”。 díquè， zài dǒng bèi xíng xiàng de sù zào shàng， zuò zhě shì cóng 'ào màn rù shǒu de。 xiǎo shuō yī kāi shǐ jiù xiě dào， zài dǒng bèi xiān shēng kàn lái，“ shì jiè shì wèile dǒng bèi fù zǐ jīng shāng 'ér chuàng zào de， tài yáng hé yuè liàng shì wéi liǎo gěi tā men guāng liàng 'ér chuàng zào de。 hé chuān hé hǎi yáng shì wéi liǎo ràng tā men háng chuán 'ér gòu chéng de； hóng ní shǐ tā men yòu féng dào hǎo tiān qì de xī wàng； fēng de shùn nì yǐng xiǎng tā men shí yè de chéng bài； xīng chén zài tā men de guǐ dào nèi yùn xíng， bǎo chí yǐ tā men wéi zhōng xīn de yī zhǒng bù néng qīn fàn de xì tǒng”。 dǒng bèi gōng sī chēng bà sì hǎi， zài dāng shí de zī běn zhù yì jīng jì tǐ xì zhōng jū yú zhōng xīn dì wèi， yú shì dǒng bèi xiān shēng jiù zì rèn shì shì jiè de zhōng xīn， tā de 'ào màn yóu cǐ 'ér lái。 tā de 'ào màn bù shì yóu yú zuò wéi yī gè rén yòu rèn hé yōu yuè yú tā rén de dì fāng， ér shì yóu yú tā de gōng sī de dì wèi、 tā de zī běn lì liàng。 zài dǒng bèi de xíng xiàng zhōng， dí gèng sī bù bǎ wèn tí jú xiàn yú yī bān de zì sī tān lán， shì shí shàng zài sī dé fāng miàn， dǒng bèi jī běn shàng shì 'ēn gé sī shuō de nà zhǒng“ jù yòu gè zhǒng sī dé de kě jìng rén wù”。 zhèng rú xī fāng mǎ kè sī zhù yì zhě A·T· jié kè xùn suǒ zhǐ chū de，“ dǒng bèi de 'ào màn shì tā zuò wéi yī jiā dà gōng sī de tóu mùdì dì wèi dài gěi tā de pǐn zhì”。 yīn cǐ， ào màn zhǐ shì qí biǎo， ér gēn běn wèn tí zài yú dǒng bèi zuò wéi rén， yǔ zī běn tóng yī liǎo。 tā shī qù liǎo rén de běn zhì， zhǐ shì zī běn de huà shēn， yì rú mǒu xiē xī fāng píng lùn suǒ shuō de， shì“ 19 shì jì qǐ yè jīng shén” de xiàng zhēng，“ yī zhǒng zhì dù、 jìng zhēng xīn lǐ hé lěng kù wú qíng” de diǎn fàn。《 dǒng bèi fù zǐ》 yǐ liánzǎi xíng shì wèn shì yǐ hòu， dāng shí biàn yòu píng lùn zhǐ chū：“ miáo huì dǒng bèi zhè lèi de rén wù jiǎn zhí shì dāng wù zhī jí héng héng lún dūn de shì jiè lǐ chōng mǎn liǎo lěng mò de、 zhuāng mó zuò yàng de、 jiāng yìng de、 xuàn yào jīn qián de rén wù， xiǎng fǎ gēn dǒng bèi yī mó yī yàng……” kě jiàn dǒng bèi de xíng xiàng zài dāng shí de yīng guó shè huì shì jù yòu dài biǎo xìng de。
shǒu xiān dí gèng sī qiáng diào liǎo dǒng bèi zuò wéi yī gè zī chǎn zhě de fēi rén xìng。 tā bǎ gǎn qíng wán quán pái chú zài zì jǐ de shì yě zhī wài：“ dǒng bèi fù zǐ yī xiàng gēn pí huò dǎ jiāo dào， ér bù gēn gǎn qíng dǎ jiāo dào”。 shí jì shàng《 dǒng bèi fù zǐ》 hěn shǎo shè jí jù tǐ de shāng yè huó dòng， tā qí shí shì yī bù yǐ jiā tíng shēng huó wéi tí cái de xiǎo shuō， tōng guò jiā tíng guān xì， biǎo xiàn liǎo zuò wéi zhàng fū、 zuò wéi fù qīn de dǒng bèi， wéi qí rú cǐ， gèng jiā hōng tuō liǎo tā de lěng kù wú qíng。
dǒng bèi fù zǐ - jù qíng
《 dǒng bèi fù zǐ》 yòu liǎng chù miáo xiě liǎo dǒng bèi xiān shēng jìng rán liú lù liǎo yī zhǒng tiān rán gǎn qíng。 dì yī cì shì zài tā tài tài shēng liǎo nán hái zhī hòu， tā dào wò shì qù kàn wàng，“ duì dǒng bèi tài tài jū rán yě jiā shàng liǎo yī gè qīn mì de chēng hū（ suī rán bù shì méi yòu yī xiē yóu yù， yīn wéi tā bì jìng shì yī gè bù guàn yú jiào chū nà zhǒng chēng hū de rén）， jiào dào： ‘ dǒng bèi tài tài， wǒ de héng héng wǒ de qīn 'ài de ’。” zài tā men fū qī zhī jiān zhè yī chēng hū shì nà yàng shēng shū， yǐ zhì“ nà wèi shēng bìng de tài tài tái qǐ yǎn jīng cháo tā wàng qù de shí hòu， dùn shí jiān liǎn shàng zhǎng mǎn liǎo wēi gǎn jīng yà de hóng yùn”。 qí shí jí shǐ zhè yī cì nán dé de gǎn qíng liú lù， yě bù shì yǔ gōng sī wú guān de。 dǒng bèi xiān shēng xiǎng dào zì jǐ dé liǎo 'ér zǐ， cóng cǐ yǐ hòu“ zán men de gōng sī， bù dàn míng yì shàng， ér qiě shì shí shàng， yòu gāi jiào zuò‘ dǒng bèi fù zǐ’ lā， dǒng héng héng bèi fù zǐ！” tā shì zài pǐn cháng zhè jǐ gè zì de tián měi zī wèi shí qíng bù zì jìn dì jiào liǎo yī shēng“ wǒ de qīn 'ài de”！ cóng tā de nèi xīn gǎn qíng lái shuō， wǒ men wú cóng pàn duàn zhè“ qīn 'ài de” shì zhǐ tā de tài tài hái shì gèng duō zhǐ tā de gōng sī。 tóng yàng， zài《 dǒng bèi fù zǐ》 yī shū zhōng wǒ men shǐ zhōng wú fǎ pàn duàn zhè“ dǒng bèi fù zǐ” shì zhǐ gōng sī hái shì zhǐ zhè yé 'ér liǎ de guān xì。 zhè zhǒng yòu yì wú yì de hán hùn zì rán shì yì wèi shēn cháng de。
dǒng bèi xiān shēng dì 'èr cì gǎn qíng liú lù shì zài kàn zhe gāng chū shēng de 'ér zǐ shí， tā xiǎng dào“ tā dé chéng jiù yī fān mìng zhōng zhù dìng de shì yè nǎ。 mìng zhōng zhù dìng de shì yè， xiǎo jiā huǒ！” jiē zhe“ bǎ hái zǐ de yī zhǐ shǒu jǔ dào zì jǐ de zuǐ chún shàng wěn liǎo yī xià， rán hòu， hǎo xiàng shēn pà zhè zhǒng jǔ dòng yòu sǔn tā de zūn yán shìde， tā fēi cháng bù zì rán dì zǒu kāi liǎo”。 zǒng zhī， jiù shì zhè liǎng cì bù kě duō dé de gǎn qíng liú lù， dǒng bèi xiān shēng yě gǎn dào“ yóu yù”，“ bù xí guàn”，“ yòu sǔn zūn yán”， zǒng zhī shì“ bù zì rán”， jí bù hé hū tā nà“ zī běn huà” liǎo de běn xìng。
zài duì dǒng bèi de miáo xiě zhōng， zuò zhě bǎ tā bǐ zuò“ diāo xiàng”、“ mù tóu rén”，“ quán shēn zhí tǐng tǐng de bù huì dǎ wān”， huò shì“ guā dé guāng guāng、 jiǎn cái zhěng qí de kuò shēn shì， guāng liù lì suǒ， xiàng gāng yìn chū lái de chāo piào”。 zuò zhě yòng yī xì liè bīng、 shuāng、 xuě zhī lèi de xíng xiàng lái xuàn rǎn dǒng bèi de tè diǎn， tā de zhù zhái yīn lěng， tā de bàn gōng shì qī liáng。 zài bǎo luó shòu xǐ lǐ de nà yī tiān， bù jǐn jiào táng lǐ hán qì bī rén， ér qiě zài dǒng bèi suí hòu jǔ xíng de yàn huì shàng bǎi zhe de shí wù dōushì bīng lěng de， yǔ xí shàng de zhěng gè qì fēn yī zhì， zuò zhě hái shuō， zuò zài shǒu xí shàng de dǒng bèi běn rén yóu rú yī gè“ bīng dòng shēn shì” de biāo běn。 zǒng zhī， zuò zhě tōng guò kuā zhāng de xì jié miáo xiě， bǎ dǒng bèi zhì yú yī céng céng bīng shuāng de bāo guǒ zhī zhōng， bǎ tā miáo xiě chéng yī wèi shí zú de méi yòu rén xìng de lěng xuè dòng wù。
zhèng rú 'ēn gé sī suǒ shuō de， zī chǎn jiē jí“ chú liǎo kuài kuài fā cái yǐ wài， bù zhī dào shì jiè shàng hái yòu bié de kuài lè” yī yàng， jì chéng rén yì wèi zhe zī běn de yán xù， yě jiù shì zī chǎn jiē jí lǐ xiǎng zhōng tōng xiàng“ yǒng héng” yǔ“ bù xiǔ” de wéi yī dào lù， běn zhì shàng hái shì fā cái de kuài lè。《 dǒng bèi fù zǐ》 yī shū de zhù xiàn hé zǒng de shè jì dōushì wéi rào zhe dǒng bèi xiān shēng wéi zì jǐ， yě shì wéi gōng sī， xún zhǎo jì chéng rén de gù shì。 rú guǒ 'àn 19 shì jì xiǎo shuō zhuān jiā shǐ dì fēn · mǎ kē sī de huàfēn， bǎ zuò pǐn huàfēn chéng sì gè bù fēn， nà me kě yǐ kàn chū， dì yī bù fēn yǐ jì chéng rén xiǎo bǎo luó de dàn shēng kāi shǐ， yǐ tā de sǐ wáng gào zhōng； dì 'èr bù fēn miáo xiě liǎo dǒng bèi xiān shēng de bēi tòng yǐ jí tā de dì 'èr cì jié hūn， yì jí zài cì yào dé dào jì chéng rén； dì sān bù fēn biǎo xiàn liǎo dǒng bèi xiān shēng hūn hòu fū qī bù mù， zhōng yú dǎo zhì tā de fū rén sī bēn； dì sì bù fēn miáo xiě liǎo dǒng bèi xiān shēng jīng shén wǎ jiě、 qǐ yè dǎo bì， zuì hòu bèi tā gǎn chū jiā mén de nǚ 'ér fú luò lún sī yòng zì jǐ de 'ài gěi tā yǐ 'ān wèi hé lì liàng， shǐ lǎo nián de dǒng bèi zài shī qù zī běn、 shī qù jì chéng rén zhī hòu huī fù liǎo zì jǐ de rén xìng。 ér jù yòu fěng cì yì wèi de shì，“ suǒ wèi dǒng bèi fù zǐ”， rú shū zhōng yī gè rén wù shuō de“ guī gēn jié dì shì dǒng bèi fù nǚ”！ dàn kāi shǐ shí， dǒng bèi xiān shēng nǎ lǐ néng cāi dào děng dài tā de mìng yùn！ tā bǎ zì jǐ de gǎn qíng quán bù qīng zhù zài gōng sī de jì chéng rén、 gāng gāng dàn shēng de 'ér zǐ shēn shàng， zhì yú nǚ 'ér， jì rán bù shì jì chéng rén， duì dǒng bèi gōng sī méi yòu yì yì， duì tā běn rén yě jiù méi yòu yì yì， xiāng dāng yú“ bù néng tóu zī de yī kuài liè bì”。 qí shí， jiù shì duì yú tā de 'ér zǐ xiǎo bǎo luó， dǒng bèi xiān shēng yě zhǐ néng yǐ zì jǐ de fāng shì qù 'ài。 zhè shì yī zhǒng yì huà liǎo de gǎn qíng。 tā zhǐ bǎ bǎo luó dāng zuò jì chéng rén lái duì dài， dāng zuò“ dǒng bèi fù zǐ gōng sī” zhōng de“ zǐ” ér bù shì zuò wéi yī gè yòu dú lì shēng cún quán lì de rén、 yī gè yòu quán guò kuài yuètóng nián de 'ér tóng。 dǒng bèi bǎ bǎo luó cóng jiàng shēng dào chéng rén de shí qī dū kàn zuò shì nán 'áo de guò dù shí qī，“ tā jí yú jìn rù wèi lái， hèn bù dé kuài diǎn dǎ fā diào zhè zhōng jiān de shí guāng”。 dǒng bèi duì 'ér zǐ de gǎn qíng shì nà yàng de dú zhàn， tā bù xìn rèn nǎi niàn bō lì · tú dé 'ěr， shēng pà 'ér zǐ huì duì tā yòu gǎn qíng， cóng 'ér shòu dào“ xià děng rén” de zhān rǎn， hòu lái dǒng bèi hái shì yīn wéi tā shàn zì bǎ bǎo luó dài huí jiā 'ér bǎ zhè gè hǎo xīn de nǚ rén dǎ fā diào， zhì shǐ yīng 'ér tū rán duàn nǎi， cóng cǐ tǐ ruò duō bìng。 dǒng bèi xiān shēng“ wàng zǐ chéng lóng” xīnqiè， tā bǎ yòu xiǎo de bǎo luó sòng wǎng bù lín bó bó shì xué yuàn。 zhè shì yī zuò yǐ tiánsāi sǐ zhī shí zhù chēng de zhù sù xué xiào。 zài nà lǐ， hái zǐ men bái tiān bèi bī dé bèi sòng tiān shū yī yàng de gǔ dài diǎn jí， wǎn shàng zuò mèng dōushuō xī là wén！“ nà shì yī zuò dà nuǎn fáng， yī jià bù tíng dì yí dòng de bá miáo zhùzhǎng de jī qì， suǒ yòu de hái zǐ dū tí qián‘ kāi huā’， dàn shì bù zú sān gè lǐ bài jiù kū wěi diāo xiè”。 zài nà lǐ， kě lián de xiǎo bǎo luó de tóu nǎo bèi sài mǎn liǎo yī dà duī xī là luó mǎ de gǔ dǒng， tā kū zhe shuō，“ wǒ yào dāng 'ér tóng”， kě nà zài dǒng bèi péi yǎng jì chéng rén de jìhuà lǐ shì bù yǔn xǔ de。 bǎo luó zài zhè xiē cuī huà jì de zuò yòng xià jīng shén bèi shòu cuī cán， bù jiǔ yǐ hòu biàn sǐ qù。 jù yòu fěng cì yì wèi de shì， cóng jiě gù nǎi niàn dào tí qián sòng jìn xué xiào de zhěng gè guò chéng lái kàn， bù shì bié rén， zhèng shì dǒng bèi xiān shēng zì jǐ yī shǒu cù chéng liǎo 'ér zǐ de sǐ wáng。 tā wán quán 'àn zhào zì jǐ xìng gé de luó ji， àn zhào tā de“ yì huà” liǎo de gǎn qíng xíng shì， bù kě néng yòu qí tā zuò fǎ。 zhè bù néng bù shuō shì dǒng bèi de bēi jù。 zhí dé zhù yì de hái yòu， dǒng bèi bù jǐn zài 'ér zǐ huó zhe de shí hòu duì 'ér zǐ de gǎn qíng shì“ yì huà” de， ér qiě zài 'ér zǐ sǐ wáng yǐ hòu， tā de fǎn yìng yě shì“ yì huà” de， nà yǔ qí shuō shì shī qù qīn gǔ ròu de qièfū zhī tòng， dǎo gèng xiàng shì tā de“ zì wǒ” shòu dào dǎ jī、 ào màn shòu dào cuò zhé 'ér yǐn qǐ de tòng kǔ。 dāng lǎo nǎi niàn tú dé 'ěr de zhàng fū xiàng dǒng bèi biǎo shì 'āi dào shí， dǒng bèi bù jǐn bùwèi zhī gǎn dòng， fǎn 'ér yīn wéi bù xiāng gān de rén（ yǔ gōng sī bù xiāng gān） wàng xiǎng fēn dān tā de tòng kǔ 'ér gǎn dào qì fèn， hǎo xiàng zì jǐ shòu liǎo wū rǔ。 zhè bù shì bèi zī běn“ yì huà” liǎo de gǎn qíng yòu shì shénme ní？
duì dǒng bèi lái shuō， gèng kě bēi de shì， yóu yú tā de gǔ bǎn、 lěng mò、 méi yòu rén qíng wèi， tā de 'ér zǐ yǔ tā gǎn qíng shū yuǎn 'ér zhōng xīn xǐ 'ài nà xiē dǒng bèi suǒ yàn 'è、 bǐ shì de rén héng héng jiě jiě fú luò lún sī、 nǎi niàn bō lì · tú dé 'ěr， hái yòu gōng sī lǐ de xiǎo gù yuán wò 'ěr tè · gài yī， zài zì jǐ yòu xiǎo shēng mìng de zuì hòu shí kè duì tā men liàn liàn bùshě 'ér bǎ zì jǐ de fù qīn pái chú zài wài。 zài sī xiǎng shàng fù zǐ 'èr rén gèng shì gé gé bù rù； dǒng bèi shì nà yàng jíqiè pàn wàng 'ér zǐ chéngzhǎng wéi jīng míng de shēng yì rén， ér yòu xiǎo de bǎo luó què wèn“ qián néng gànshénme？”， dāng fù qīn shuō qián kě yǐ bàn dào yī qiē， tā bìng bù xìn fú， shuō“ tā bù néng jiù huó wǒ mā mā”。“ tā bù shì cán kù de má？” dí gèng sī tōng guò 'ér tóng de yǎn guāng pī pàn liǎo dǒng bèi suǒ dài biǎo de jià zhí guān。
bǎo luó suī rán nián jì yòu xiǎo， què zǒng xiàng shì shēng huó zài yī gè bǐ 'àn shì jiè， tā“ kě yǐ zài hú qiáng zhǐ shàng kàn chū wēi xíng de lǎo hǔ hé shī zǐ…… kàn jiàn yī xiē rén yǐng chòngzhe dì bǎn shàng de fāng kuài hé lēng xíng tú 'àn zuò guài liǎn， ér bié rén què shénme yě kàn bù jiàn”。 tā xiàng gè lǎo rén shìde cháng shí jiān zuò zài hǎi biān shàng， miàn duì zhe yī piàn tiān shuǐ máng máng chén sī bù yǔ。 tā nà mèn“ tā méi jié méi wán dì shuō xiē shénme yā？” héng héng“ wǒ zhī dào tā men yī zhí shì zài shuō xiē shénme de。 shuō de zǒng shì tóng yàng de shì qíng。 nà 'ér shì shénme dì fāng yā？” tā rèqiè dì níng wàng nà tiān shuǐ zhī jì， zài dà hǎi de xuān téng zhōng， tīng dào liǎo shí jiān lǎo rén de zhào huàn， gǎn dào liǎo sǐ wáng de yù zhào， zuì hòu zài hǎi tāo shēng zhōng tā 'ān rán yǔ shì cháng cí……。 kě yǐ shuō， xiǎo bǎo luó zài rèn hé yì yì shàng yě bù shì dǒng bèi de jì chéng rén。《 dǒng bèi fù zǐ》 de dì yī bù fēn， yě shì zuì jīng cǎi bù fēn， biàn yǐ dǒng bèi zài péi yù jì chéng rén fāng miàn de chè dǐ shī bài 'ér gào zhōng。《 dǒng bèi fù zǐ》 zuì chū liánzǎi fā biǎo shí， bǎo luó · luó bèi yāo wáng de yī zhāng zài dāng shí dú zhě zhōng yǐn qǐ qiáng liè fǎn xiǎng，“ jǔ guó shàng xià， gòng tóng 'āi dào”， jǐn cì yú“ zì jǐ jiā lǐ bàn sāngshì”。 dāng shí xǔ duō rén， bāo kuò zhèng jiè wén huà jiè zhù míng rén wù dū háo bù yǐn huì zì jǐ wéi xiǎo bǎo luó de sǐ 'ér tòng kū liú tì。 zhè dāng rán yǔ dāng shí shèng xíng de gǎn shāng zhù yì yuè dú qù wèi fēn bù kāi。 xiǎo bǎo luó de sǐ， yǔ《 lǎo gǔ wán diàn》 zhōng xiǎo nài 'ér de sǐ yī yàng， dōushì 19 shì jì xiǎo shuō zhōng gōng rèn de gǎn shāng zhù yì de diǎn fàn。 dàn shì， bù kě fǒu rèn， bǎo luó zhī sǐ de zhù míng piān zhāng chōng mǎn liǎo jīng yíng de shī yì héng héng“ xiǎo chuán zài bō shàng de piāo dàng yǐ jīng yǐn dé tā yào qù 'ān mián liǎo。 hé 'àn duō me cōng cuì， cháng zài hé 'àn shàng de huā cǎo duō me míng yàn， nà lú wěi yòu shì duō me tíng tíng niǎo niǎo！ zhè shí xiǎo chuán yǐ jīng shǐ dào hǎi lǐ， kě shì hái zài píng jìng dì xiàng qián huá qù”。 xiǎo bǎo luó qù liǎo， hǎo xiàng dé dào liǎo tā de tiān rán guī sù。 tā bù shǔ yú gōng sī， gèng yuǎn lí“ huò bì、 tōng huò、 chāo piào、 wài huì shuài” suǒ gòu chéng de nà gè tā mìng zhōng yào chéng jiù de“ shì yè”。 zài nà gè zī zī míng lì de fú huá shì jiè shàng， bǎo luó de sǐ xiǎn chū liǎo chāo chén bá sú de guāng cǎi， zài mò mò wú yán zhī zhōng duì yǐ“ dǒng bèi fù zǐ gōng sī” wéi dài biǎo de jīn qián lì yù zuò chū liǎo zuì yòu lì de pī pàn。
jīng guò dì yī gè dǎ jī， dǒng bèi bìng méi yòu zǒng jié jiào xùn、 dá dào zì wǒ rèn shí。 bù jiǔ yǐ hòu， tā yòu chǔxīn jī lǜ dì wéi dé dào jì chéng rén 'ér shè fǎ。 tā gēn nián qīng měi mào de guǎ fù yī dí sī · gé lán jié jié hūn liǎo。 zhè chún cuì shì yī bǐ jiāo yì， dǒng bèi jiù xiàng zài luó mǎ shì shàng xiàngmǎ sì dì guān chá yī dí sī de cái huá yǔ jiào yǎng， zuì hòu jué dìng mǎi xià。 yī dí sī fèn rán duì tā mǔ qīn shuō“ shí nián yǐ lái， nú lì shì chǎng shàng de nú lì hé jí shì shàng de mǎdōu méi yòu xiàng wǒ zhè yàng bèi zhǎn lǎn chū shòu， xuàn yào gěi kàn kè。” zài zhè dì 'èr cì hūn yīn zhōng， dǒng bèi yòu shī bài liǎo。 zài yī dí sī shēn shàng， tā pèng dào liǎo duì shǒu， gēn tā yī yàng 'ào màn， gēn tā yī yàng qiáng yìng。 liǎng xià lǐ chōng tū de jiēguǒ， yī dí sī wéi bào fù zhàng fū 'ér yǔ gōng sī de jīng lǐ kǎ kè sī bēn， zào chéng liǎo lún dūn shàng liú shè huì de tóu hào chǒu wén。 cǐ wài， dǒng bèi gāng bì zì yòng， zài kǎ kè de zòng yǒng xià tóu zī bù dāng， zài jiā tíng wēi jī de tóng shí， tā de shāng chuán“ zǐ sì” hào zài hǎi shàng yùnàn， tā de gōng sī dǎo bì， tā běn rén xuān gào pò chǎn。 xī rì fù lì táng huáng de zhái dì bèi zhài jǐn rén bō dé yī gān 'èr jìng， lián lǎo shǔ dōubù yuàn dòu liú， zhǐ shèng xià yī gè dǒng bèi xiàng gè yōu líng sì dì zài kōng lóu zhōng yóu dàng。 zài tā jǔ dāo zì shā de nà yī chà nà， nǚ 'ér fú luò lún sī gǎn dào tā gēn qián， yòng zì jǐ de 'ài gǎn huà liǎo tā， shǐ dǒng bèi zhōng yú rèn shí dào， zì jǐ shì yòu zuì de，“ xū yào dé dào kuān shù”。 dǒng bèi nà wéi bèi tiān lǐ rén xìng de 'ào màn bèi fú luò lún sī de 'ài kè fú liǎo。 zài lǎo nián， tā zhōng yú kāi shǐ guò shàng yī zhǒng hé hū rén xìng de shēng huó。 dǒng bèi de mìng yùn， bìng bù qǔ jué yú wài bù shì tài de fā zhǎn； shì dǒng bèi zì jǐ xìng gé de nèi zài luó ji dǎo zhì tā de quán miàn bēng kuì。 tā shì zài zì jǐ chéng fá zì jǐ， bìng zài yīchóng yī zhòng de chéng fá zhōng yī céng yī céng dì bào lù chū zī chǎn jiē jí běn xìng zhōng nà xiē wéi fǎn tiān lǐ rén qíng de yīn sù。
ruò zhǐ kàn gù shì qíng jié， wǒ men yě bù néng fǒu rèn《 dǒng bèi fù zǐ》 de jié jú shì qiǎn bó wú lì de。 fǎ guó zhù míng pī píng jiā tài nà shuō dǒng bèi de“ zhuǎn biàn” huǐ liǎo yī běn chū sè de xiǎo shuō。 yī wèi dāng dài píng lùn jiā yòng bù xiè de kǒu qì wèn dào： nán dào yào bǎ dǒng bèi fù zǐ gōng sī de shì jiè mào yì jiāo gěi yǎn lèi wāng wāng de fú luò lún sī qù jīng yíng má？ zài zhè lǐ， wǒ men yòu huí dào xiǎo shuō de shí dài tè sè wèn tí。 xiàng fú luò lún sī nà lèi de“ ān qí 'ér” shì 'àn zhào dāng shí shèng xíng de gōng shì miáo xiě de， běn lái jiù bù xiàn shí， ér dǒng bèi xiān shēng zài tiě lù sì tōng bā dá guó jì mào yì fā dá de shí dài shì gè zhēn shí de xíng xiàng、 yī gè jiē jí de dài biǎo。 fú luò lún sī zěn me kě néng yòng zì jǐ de yǎn lèi qù gǎn huà dǒng bèi de tiě shí xīn cháng ní？《 dǒng bèi fù zǐ》 yī shū de jià zhí bù zài yú zuò zhě xū gòu chū zěn me yàng de fāng 'àn qù jiě jué máo dùn， ér zài yú tā zài sì shí nián dài zī běn zhù yì jīng jì fā dá de lì shǐ shí qī sù zào liǎo yī gè zī chǎn jiē jí de diǎn xíng xíng xiàng， cóng 'ér shēn kè dì jiē shì liǎo guān yú nà gè jiē jí de zhēn lǐ。
yě shì zài《 dǒng bèi fù zǐ》 yī shū zhōng， dí gèng sī dì yī cì cǎi yòng liǎo yī gè xiàng zhēng lái guàn chuān quán shū， yǐ chuán dá chū yī gè zǒng de shì jiè tú jǐng、 yī zhǒng duì shí dài、 duì shè huì de lǐ jiě。 tā céng yòng guò wù、 zhuó liú、 lā jī děng xíng xiàng zuò wéi zhè zhǒng xiàng zhēng， ér zài zhè lǐ shì tiě lù。 tiě lù héng héng huǒ chē、 tiě guǐ héng héng de xíng xiàng zài shū zhōng chū xiàn duō cì， wǎng wǎng zài guān jiàn shí kè xuàn rǎn qì fēn， hōng tuō zhù tí。 yòng tiě lù de xíng xiàng lái gài kuò sì shí nián dài gōng yè huà de yīng guó， dāng rán shì zuì qiàdàng bù guò de， zài 19 shì jì shàng bàn yè， tiě lù de fā zhǎn sù dù shì jīng rén de。 jù tǒng jì， 1825 nián hái zhǐ yòu 25 yīng lǐ de tiě lù xiàn， dào liǎo 1845 nián jiù fā zhǎn chéng 2200 duō gōng lǐ， jí zài bù dào 'èr shí nián de shí jiān lǐ biàn zēng jiā liǎo yī bǎi bèi。 chù zài huǒ chē、 diàn bào shí dài de dǒng bèi bǐ qǐ chéng yì chē de pǐ kè wēi kè xiān shēng jiǎn zhí shǔ yú liǎng gè wán quán bù tóng de shì jiè。 tiě lù de fā zhǎn gǎi biàn liǎo rén men de shēng huó fāng shì， gǎi biàn liǎo rén men duì kōng jiān hé shí jiān de gài niàn， hái chǎn shēng liǎo yī zhī xīn de láo dòng duì wǔ： tiě lù gōng rén。 tiě lù yì wèi zhuólì liàng、 yùn dòng hé sù dù， yì wèi zhe gèng kuài de shēng huó jié zòu。 zhè shí， tiě lù shì shè huì biàn gé de xiàng zhēng， tā gěi pò làn bù kān de jiù zhǐ dài lái liǎo xīn de shēng mìng。 shū zhōng xiě dào， yóu yú tiě lù de jiàn shè， bō lì · tú dé 'ěr yī jiā yuán lái zhù de pín mín qū“ sī tǎ gé sī huā yuán” yǐ bù fù cún zài héng héng“ tā cóng dì miàn shàng xiāo shī liǎo， yuán lái yī xiē xiǔ làn de liáng tíng cán cún de dì fāng， xiàn zài sǒng lì zhe gāo dà de gōng diàn； dà lǐ shí de yuán zhù liǎng biān kāi dào， tōng xiàng tiě lù de xīn shì jiè”。 shū zhōng hái xiě dào， yuán xiān duī fàng lā jī de kōng dì yǐ bèi tūn méi， dài zhī 'ér qǐ de shì“ yī céng céng kù fáng， lǐ miàn zhuāng mǎn liǎo fēng fù de wù zī hé guì zhòng de shāng pǐn”。 ér yuán shì huāng wú rén yān de dì fāng xiàn zài xiū qǐ liǎo huā yuán、 bié shù、 jiào táng hé lìng rén xīn kuàng shén yí de lín yìn dà dào。 guò qù yǐ jué méi wéi shēng de tú dé 'ěr， xiàn zài yě zài xīn jiàn shè qǐ lái de tiě lù shàngdàng shàng liǎo yī míng sī lú gōng。 cóng zhè gè jiǎo dù kě yǐ shuō， dí gèng sī shì zhàn zài zàn shǎng de lì chǎng qù kàn yǐ tiě lù wéi xiàng zhēng de gōng yè huà duì shè huì wù zhì fā zhǎn de jī jí yì yì。
dàn shì， lìng yī fāng miàn， tiě lù、 huǒ chē zài dí gèng sī bǐ xià yòu chōng mǎn liǎo wēi xié， tā lì dà wú qióng 'ér yòu nán yǐ kòng zhì， tā zài jí chí zhōng sì yòu zì jǐ de mùdì 'ér bǎ rén de yì yuàn zhì yú bù gù。 dāng bǎo luó jiāng yào sǐ qù shí， shū zhōng miáo xiě liǎo huǒ chē de yùn dòng：“ rì rì yè yè， wǎng fǎn bù tíng， fān téng de rè làng yóu rú shēng mìng de xuè liú”。 bǎo luó zài fù qīn de péi yǎng xià zhèng zài qiāoqiāo sǐ qù， ér chē shēng lóng lóng zhèng yǐ léi tíng wàn jūn zhī shì shǐ lái， xiǎn dé nà yàng lěng kù wú qíng。 bǎo luó sǐ hòu， dǒng bèi chéng huǒ chē lǚ xíng， huǒ chē de jī xiè yùn dòng yǔ dǒng bèi de chén zhòng xīn qíng hù xiāng chèn tuō， hòu lái， dǒng bèi qù zhuī gǎn guǎi piàn tā qī zǐ sī bēn díkǎ kè， tā men yī gè zài táo， yī gè jǐn zhuī， zhè shí huǒ chē xiàng gè kě pà de guài shòu，“ hùn shēn mào huǒ de mó guǐ”， fèn nù dì bēn téng páo xiào， huó xiàng gè fù chóu shén， zhōng yú fēi cháng xì jù xìng dì bǎ kǎ kè niǎn sǐ。
zhè lǐ， wèn tí bìng bù zài yú sǐ zài huǒ chē lún xià de kǎ kè shì zuì yòu yìng dé。 zhòng yào de shì， zài zhè lǐ， huǒ chē de xíng xiàng zhēng níng kě pà； tā de lái lín“ bàn suí zhe dà dì de zhèn xiǎng， zài 'ěr biān chàn dǒu de shēng làng， yǐ jí yáo yuǎn de jiān jiào shēng； yī piàn 'àn guāng yóu yuǎn 'ér jìn， chà nà jiān biàn chéng liǎng zhī huǒ hóng de yǎn jīng hé yī tuán liè huǒ， yī lù shàng diào zhe rán shāo de méi kuài； jiē zhe， yī gè páng rán dà wù páo xiào zhe、 kuò zhǎn zhe， yǐ bù kě kàng jù de qì shì yā guò lái”。 zhè gè xíng xiàng yuǎn yuǎn chāo tuō liǎo kǎ kè mìng yùn de qū qū xiǎo shì， ér tí chū liǎo gèng dà de wèn tí： jī xiè de wù zhì yùn dòng suǒ shì fàng chū lái de lì liàng duì yú rén lèi shè huì jiū jìng yì wèi zhe shénme？ zài zhè lǐ， dí gèng sī biǎo xiàn liǎo yī gè zhēn zhèng dà zuò jiā de qì bó。 tā tòu guò xiàn xiàng qù bǔ zhuō běn zhì， tōng guò tiě lù de xiàng zhēng duì zī běn zhù yì wù zhì wén míng de fā zhǎn biǎo shì liǎo shēn shēn de yōu lǜ； zhè bēn téng xiàng qián de lì liàng jiāng bǎ rén lèi shè huì dài wǎng hé chù？ zhè huái yí yǔ yōu lǜ shì gēn zuò zhě tōng guò dǒng bèi de xíng xiàng suǒ tí chū de wèn tí wán quán yī zhì de， tā mendōu huì wéi yī gè zǒng de duì shí dài de yí wèn： zī běn zhù yì de gōng yè héng héng tiě lù héng héng gǎi shàn liǎo rén men de shēng cún tiáo jiàn， dàn tā jiāng yǐn qǐ shénme yàng de shè huì biàn huà？ yī gè dǒng bèi xiān shēng shì bèi nǚ 'ér de lèi shuǐ gǎn huà liǎo， dàn yǐ tiě lù wéi biāo zhì de yīng guó zī běn zhù yì de fā zhǎn bù shì huì chǎn shēng gèng duō de dǒng bèi má？
《 dǒng bèi fù zǐ》 bù shì shè huì xué lùn wén。 dí gèng sī de mó lì jiù zài yú， tā tí chū liǎo dāng shí shè huì zuì běn zhì de wèn tí， tóng shí yòu xiě chū liǎo rén wù zhòng duō、 qíng jié fù zá、 qíng diào duō biàn de yī bù wǔ guāng shí sè de xiǎo shuō jù zhù。 zài zhè lǐ， yǐ dǒng bèi kě wàng zǐ sì de gù shì wéi zhōng xīn， yǎn chū liǎo nà me duō kòu rén xīn xián de bēi xǐ jù。 shè huì dì wèi yòu tiān rǎng zhī bié de rén wù， mìng yùn què nà me qū zhé dì jiāo zhì zài yī qǐ： dì 'èr rèn dǒng bèi fū rén yī dí sī gēn bèi liú fàng de chāng jì 'ài lì sī bù jǐn shì tóng fù yì mǔ de jiě mèi， ér qiě yě shì bèi tóng yī gè nán xìng héng héng kǎ kè jīng lǐ héng héng qī rǔ de nǚ xìng。 zhè zhǒng qíng jié xìng de bèi hòu bù zhèng shì wēi miào dì 'àn shì zhe yī dí sī yǔ dǒng bèi de hūn yīn de shí zhì？《 dǒng bèi fù zǐ》 hái chōng mǎn liǎo yīn móu hé xuán niàn。 kǎ kè jīng lǐ xiàng gè zhī zhū yī yàng zuò zài tā biān zhì de yīn móu gāng luò de zhōng xīn， wéi dǒng bèi xiān shēng、 yī dí sī， wéi fú luò lún sī hé wò 'ěr tè， shèn zhì wéi lǎo shí bā jié díkǎ tè 'ěr chuán cháng dū shè xià liǎo juàn tào， pài liǎo dīng shào。
kě shì dào tóu lái， zhèng shì tā zhè gè xīn fù héng héng bù zhēng qì de shàonián luó bó héng héng chū mài liǎo tā， dǎo zhì tā fěn shēn suì gǔ zài chē lún zhī xià， kě wèi shì jiàn běn shēn de cháo fěng。 zài《 dǒng bèi fù zǐ》 zhōng， yǔ zhèng jù de zhù xiàn píng xíng， zǒng yòu xǐ jù nào jù de fù xiàn， shèn zhì xíng chéng yī huán kòu yī huán de mìng yùn de suǒ liàn。 rú zài dǒng bèi xiān shēng wù sè dì 'èr wèi fū rén de shí hòu， liù xū pāi mǎ dàn yòu kě lián kě xiào de tuō kè sī xiǎo jiě jì yú dǒng bèi fū rén de bǎo zuò， lěng luò liǎo yòu yì yú tā de bái gé sī tuō kè shàoxiào， ér lǎo jiān jù huá de bái gé sī tuō kè wèile cuò bài tuō kè sī xiǎo jiě de yě xīn， bǎ yī dí sī yǐn jiàn gěi dǒng bèi， dǎo zhì liǎo tā de dì 'èr cì zāinàn xìng de hūn yīn。
zài《 dǒng bèi fù zǐ》 yī shū zhōng， dí gèng sī hái miáo xiě liǎo xǔ duō xiǎo rén wù hé tā men de shēng huó。 pò luò xiǎo shāng rén suǒ luó mén · jí 'ěr sī、 bǎo luó de nǎi niàn tú dé 'ěr yī jiā、 fú luò lún sī de tiē shēn nǚ pú sū shān děng zài gè fāng miàn dū yǔ dǒng bèi xíng chéng duì bǐ。 wǒ men zài shū zhōng kàn dào， yī fāng miàn shì dǒng bèi de huá guì fǔ dǐ， lìng yī fāng miàn shì tú dé 'ěr yī jiā zhù de pò làn bù kān de pín mín kū。 jìn guǎn rú cǐ， qián zhě lěng ruò bīng jiào， hòu zhě rè qì téng téng， chōng mǎn yǒu 'ài yǔ huān lè。 zài nà lěng kù de zī běn zhù yì shè huì， zhè xiē xiǎo rén wù shēn shàng tǐ xiàn liǎo rén qíng hé rén xìng zhōng shàn liáng měi hǎo de běn néng。 bō lì · tú dé 'ěr nà xīng wàng de jiā zú héng héng tā nà fēng fù de rǔ zhī hé zhòng duō de hái zǐ dū miáo xiě de shí fēn kuā zhāng、 fù yú xiàng zhēng yì yì， tǐ xiàn liǎo shēng de huān lè hé duì wèi lái de xī wàng。 yòu qù de shì， zài zuò zhě de qiǎo miào 'ān pái zhī xià， zhè xiē dì wèi dī jiàn de xiǎo rén wù yòu bù duàn gēn dǒng bèi“ zāo yù”。 rú suǒ luó mén · jí 'ěr sī de hǎo yǒu、 luò bó de chuán cháng nèi dé · kǎ tè 'ěr jìng páo qù yǔ dǒng bèi xiān shēng chēng xiōng dào dì， hái yǐ zì jǐ de táng xiá zǐ děng kě xiào de“ chuán jiā bǎo” lái dāng dǐ yā， yào dǒng bèi jiè kuǎn gěi tā。 zhè zài dǒng bèi kàn lái jiǎn zhí shì hài rén tīng wén。 tā bǎi chū zuì wēi fēng lǐn lǐn de jià shì， dàn zuì méi yòu xiàn shí gǎn díkǎ tè 'ěr chuán cháng duì cǐ háo wú chá jué， nòng dé dǒng bèi fǎn 'ér shǒu zú wú cuò。 hòu lái， nǚ pú sū shān yòu chéng dǒng bèi wò bìng de dāng 'ér gōng rán xiàng tā tiǎo zhàn， zhǐ zhe tā de bí zǐ shǔluò tā de bù shì， qì dé dǒng bèi xiān shēng mù dèng kǒu dāi。 zhè xiē xǐ jù xìng chǎng miàn hōng tuō chū liǎo láo dòng rén mín shēng dòng huó pō de xíng xiàng； shì tā men chuō pò liǎo dǒng bèi de 'ào màn， shǐ tā lù chū liǎo dǐ lǐ de kōng xū yǔ ruǎn ruò。 zài sì shí nián dài miáo xiě láo dòng rén mín xíng xiàng de zuò pǐn zhōng， zhè zhǒng xǐ jù huà de chǔlǐ shì bié jù yī gé de。
zǒng zhī， chuān chā yú gù shì zhōng de zhòng duō de péi chèn rén wù dū tiān zhēn wú xié， bù shì shǎ dé kě 'ài jiù shì“ jiǎo huá” dé kě xiào。 tā men bù jǐn tuī dòng qíng jié fā zhǎn， ér qiě wéi quán shū dài lái liǎo huān lè qì fēn hé yōu mò qíng qù， shǐ《 dǒng bèi fù zǐ》 chéng wéi dí gèng sī xiǎo shuō zhōng jì yòu shēn dù yòu ráo yòu qù wèi de dài biǎo zuò。 hái zài liánzǎi de shí hòu， bù shí zì de lǎo bǎi xìng zài yī tiān de láolèi zhī hòu jiù yào jù zài yī qǐ tīng rén lǎng dú《 dǒng bèi fù zǐ》， zhí zhì jīn tiān， tā hái shòu dào guǎng dà dú zhě de xǐ 'ài。
Plot summary
The story concerns Paul Dombey, the wealthy owner of the shipping company of the book's title, whose dream is to have a son to continue his business. The book begins when his son is born, and Dombey's wife dies shortly after giving birth. Following the advice of Mrs Louisa Chick, his sister, Dombey employs a wet nurse named Mrs Richards (Toodle). Dombey already has a daughter, Florence, whom he neglects. One day, Mrs Richards, Florence and her maid, Susan Nipper, secretly pay a visit Mrs Richard's house in Stagg's Gardens in order that she can see her children. During this trip, Florence becomes separated and is kidnapped for a short time by Good Mrs Brown before being returned to the streets. She makes her way to Dombey and Son's offices in the City and is guided there by Walter Gay, an employee, who first introduces her to his uncle, the navigation instrument maker Solomon Gill, at his shop the Midshipman.
The child, also named Paul, is weak and often ill, and does not socialize normally with others; adults call him "old fashioned". He is intensely fond of his elder sister, Florence, who is deliberately neglected by her father as irrelevant and a distraction. He is sent away to Brighton, first for his health, where he and Florence lodge with the ancient and acidic Mrs Pipchin, and then for his education to Dr and Mrs Blimber's school, where he and the other boys undergo both an intense and arduous education under the tutelage of Mr Feeder, B.A. and Cornelia Blimber. It is here that Paul is befriended by a fellow pupil, the amiable Mr Toots.
Here, Paul's health declines even further in this 'great hothouse' and he finally dies, still only six years old. Dombey pushes his daughter away from him after the death of his son, while she futilely tries to earn his love. In the meantime, Walter, who works for Dombey and Son, is sent off to work in Barbados through the manipulations of the firm's manager, Mr James Carker, 'with his white teeth', who sees him as a potential rival through his association with Florence. His boat is reported lost and he is presumed drowned. Walter's uncle leaves to go in search of Walter, leaving his great friend Captain Edward Cuttle in charge of the Midshipman. Meanwhile, Florence is now left alone with few friends to keep her company.
Dombey goes to Leamington Spa with a new friend, Major Joseph B. Bagstock. The Major deliberately sets out to befriend Dombey in order to spite his neighbour in Princess's Place, Miss Tox, who has turned cold towards him owing to her hopes - through her close friendship with Mrs Chick - of marrying Mr Dombey. At the spa, Dombey is introduced via the Major to Mrs Skewton and her widowed daughter, Mrs Edith Granger. It is here that he develops an affection for Edith, encouraged by both the Major and the avaricious mother. After they return to London, Dombey remarries, effectively 'buying' the beautiful but haughty Edith as she and her mother are in a poor financial state. The marriage is loveless; his wife despises Dombey for his overbearing pride and herself for being shallow and worthless. Her love for Florence initially prevents her from leaving, but finally she conspires with Mr Carker to ruin Dombey's public image by running away together to Dijon. They do so after her last final argument with Dombey in which he once again attempts to subdue her to his will. When he discovers that she has left him, he blames Florence for siding with her step-mother, striking her on the breast in his anger, and she is forced to run away from home. Highly distraught, she finally makes her way to The Midshipman where she lodges with Captain Cuttle as he attempts to restore her back to health. They are visited frequently by Mr Toots and his boxing companion, the Chicken, since Mr Toots has been desperately in love with Florence since their time together in Brighton.
Dombey sets out to find his wife. He is helped in this by Mrs Brown and her daughter, Alice, who, it turns out, was a former lover of Mr Carker. After being transported as a convict after he involved her in some criminal activities, she is seeking her revenge against him now she is returned to England. Going to Mrs Brown's house, Dombey overhears the conversation between Rob the Grinder - who is in the employment of Mr Carker - and the old woman as to the couple's whereabouts and sets off in pursuit. In the meantime, in Dijon, Mrs Dombey informs Carker that she sees him in no better a light than she sees Dombey, that she will not stay with him and she flees their apartment. Distraught, with both his financial and personal hopes lost, Carker flees from his former employer's pursuit. He seeks refuge back in England but, being greatly overwrought, accidentally falls under a train and is killed.
After Carker's death, it is discovered that he had been running the firm far beyond its means. This information is gleaned by Carker's brother and sister, John and Harriet, from Mr Morfin, the assistant manager at Dombey and Son, who sets out to help John Carker. He often overheard the conversations between the two brothers in which James, the younger, often abused John, the older, who was just a lowly clerk and who is sacked by Dombey because of his filial relationship to the former manager. Meanwhile, back at the Midshipman, Walter reappears, having been saved by a passing ship after floating adrift with two other sailors on some wreckage. After some time, he and Florence are finally reunited - not as 'brother' and 'sister' but as lovers, and they marry prior to sailing for China on Walter's new ship. This is also the time when Sol Gills returns to the Midshipman. As he relates to his friends, he received news whilst in Barbados that a homeward-bound China trader had picked up Walter and so had returned to England immediately. He said he had sent letters whilst in the Caribbean to his friend Ned Cuttle c/o Mrs MacStinger at Cuttle's former lodgings, and the bemused Captain recounts how he fled the place, thus never receiving them.
Florence and Walter depart and Sol Gills is entrusted with a letter, written by Walter to her father, pleading for him to be reconciled towards them both. A year passes and Alice Brown has slowly been dying despite the tender care of Harriet Carker. One night Alice's mother reveals that Alice herself is the [illegitimate]] cousin of Edith Dombey (which accounts for their similarity in appearance when they both meet). In a chapter entitled 'Retribution', Dombey and Son goes bankrupt. Dombey retires to two rooms in his house and all its contents are put up for sale. Mrs Pipchin, for some time the housekeeper, dismisses all the servants and she herself returns to Brighton, to be replaced by Mrs Richards. Dombey spends his days sunk in gloom, seeing no-one and thinking only of his daughter:
“ He thought of her as she had been that night when he and his bride came home. He thought of her as she had been in all the home events of the abandoned house. He thought, now, that of all around him, she alone had never changed. His boy had faded into dust, his proud wife had sunk into a polluted creature, his flatterer and friend had been transformed into the worst of villains, his riches had melted away, the very walls that sheltered him looked on him as a stranger; she alone had turned the same, mild gentle look upon him always. Yes, to the latest and the last. She had never changed to him - nor had he ever changed to her - and she was lost. ”
However, one day Florence returns to the house with her son, Paul, and is lovingly reunited with her father.
Dombey accompanies his daughter to her and Walter's house where he slowly starts to decline, cared for by Florence and also Susan Nipper, now Mrs Toots. They receive a visit from Edth's Cousin Feenix who takes Florence to Edith for one final time - Feenix sought Edith out in France and she returned to England under his protection. Edith gives Florence a letter, asking Dombey to forgive her her crime before her departure to the South of Italy with her elderly relative. As she says to Florence, 'I will try, then to forgive him his share of the blame. Let him try to forgive me mine!'
The final chapter (LXII) sees Dombey now a white-haired old man, 'whose face bears heavy marks of care and suffering; but they are traces of a storm that has passed on for ever, and left a clear evening in its track'.. Sol Gills and Ned Cuttle are now partners at the Midshipman, a source of great pride to the latter, and Mr and Mrs Toots announce the birth of their third daughter. Walter is doing well in business, having been appointed to a position of great confidence and trust, and Dombey is the proud grandfather of both a grandson and grand-daughter of whom he dotes on, and the book ends with the highly moving lines:
“ 'Dear grandpapa, why do you cry when you kiss me?'
He only answers, 'Little Florence! Little Florence!' and smooths away the curls that shade her earnest eyes.
”
Source
Dombey and Son, Charles Dickens, Wordsworth Classics, 1995, ISBN 1 85326 257 9
Critical appreciation
Dombey and Son was conceived first and foremost as a continuous novel. A letter from Dickens to Forster on 26th July, 1846 shows the major details of the plot and theme already substantially worked out. According to the critic George Gissing, 'Dombey was begun at Lausanne, continued at Paris, completed in London, and at English seaside places; whilst the early parts were being written, a Christmas story, The Battle of Life, was also in hand, and Dickens found it troublesome to manage both together. That he overcame the difficulty -- that, soon after, we find him travelling about England as member of an amateur dramatic company -- that he undertook all sorts of public engagements and often devoted himself to private festivity -- Dombey going on the while, from month to month -- is matter enough for astonishment to those who know anything about artistic production. But such marvels become commonplaces in the life of Charles Dickens.'
As with most of Dickens' work, a number of socially significant themes are to be found in this book. In particular the book deals with the then-prevalent common practice of arranged marriages for financial gain. Other themes to be detected within this work include child cruelty (particularly in Dombey's treatment of Florence), familial relationships, and as ever in Dickens, betrayal and deceit and the consequences thereof. Another strong central theme, which the critic George Gissing elaborates on in detail in his 1925 work The Immortal Dickens, is that of pride and arrogance, of which Paul Dombey senior is the extreme exemplification in Dickens' work.
Gissing makes a number of points about certain key inadequacies in the novel, not the least that Dickens's central character is largely unsympathetic and an unsuitable vehicle and also that after the death of the young Paul Dombey the reader is somewhat estranged from the rest of what is to follow. He notes that 'the moral theme of this book was Pride -- pride of wealth, pride of place, personal arrogance. Dickens started with a clear conception of his central character and of the course of the story in so far as it depended upon that personage; he planned the action, the play of motive, with unusual definiteness, and adhered very closely in the working to this well-laid scheme'. However, he goes on to write that,'Dombey and Son is a novel which in its beginning promises more than its progress fulfils' and gives the following reasons why:
“ Impossible to avoid the reflection that the death of Dombey's son and heir marks the end of a complete story, that we feel a gap between Chapter XVI and what comes after (the author speaks of feeling it himself, of his striving to "transfer the interest to Florence") and that the narrative of the later part is ill-constructed, often wearisome, sometimes incredible. We miss Paul, we miss Walter Gay (shadowy young hero though he be); Florence is too colourless for deep interest, and the second Mrs. Dombey is rather forced upon us than accepted as a natural figure in the drama. Dickens's familiar shortcomings are abundantly exemplified. He is wholly incapable of devising a plausible intrigue, and shocks the reader with monstrous improbabilities such as all that portion of the denouement in which old Mrs. Brown and her daughter are concerned. A favourite device with him (often employed with picturesque effect) was to bring into contact persons representing widely severed social ranks; in this book the "effect" depends too often on "incidences of the boldest artificiality," as nearly always we end by neglecting the story as a story, and surrendering ourselves to the charm of certain parts, the fascination of certain characters.' ”
Characters in the novel
Karl Ashley Smith (the University of St Andrews) in his Introduction to Wordsworth Classics' Dombey and Son makes some reflections on the novel's characters. He believes that Dombey’s power to disturb comes from his belief that human relationships can be controlled by money, giving the following examples to support this viewpoint:
“ He tries to prevent Mrs Richards from developing an attachment to Paul by emphasising the wages he pays her. Mrs Pipchin’s small talk satisfies him as ‘the sort of think for which he paid her so much a quarter’ (p.132). Worst of all, he effectively buys his second wife and expects that his wealth and position in society will be enough to keep her in awed obedience to him. Paul’s questions about money are only the first indication of the naivety of his outlook'. ”
However, he also believes that the satire against this man is tempered with compassion.
Smith also draws attention to the fact that certain characters in the novel 'develop a pattern from Dickens's earlier novels, whilst pointing the way to future works'. One such character is Little Paul who is a direct descendant of Little Nell. Another is James Carker, the ever-smiling manager of Dombey and Son. Smith notes there are strong similarities between him and the likes of Jaggers in Great Expectations and, even more so, the evil barrister, Mr Tulkinghorn, in Bleak House:
“ From Fagin (Oliver Twist) onwards, the terrifying figure exerting power over others by an infallible knowledge of their secrets becomes one of the author’s trademarks ... His gentlemanly businesslike respectability marks him out as the ancestor of Tulkinghorn in Bleak House and even of Jaggers in Great Expectations. And his involvements in the secrets of others leads him to as sticky an end as Tulkinghorn’s. The fifty-fifth chapter, where he is forced to flee his outraged employer, magnificently continues the theme of the guilt-hunted man from Bill Sikes in Oliver Twist and Jonas’s restless sense of pursuit in Martin Chuzzlewit. There is always a strong sense in Dickens of the narrative drive of discovery catching up with those who deal in darkness...' ”
Gissing looks at some of the minor characters in the novel and is particularly struck by that of Edward (Ned) Cuttle.
“ Captain Cuttle has a larger humanity than his roaring friend [Captain Bunsby], he is the creation of humour. That the Captain suffered dire things at the hands of Mrs. MacStinger is as credible as it is amusing, but he stood in no danger of Bunsby's fate; at times he can play his part in a situation purely farcical, but the man himself moves on a higher level. He is one of the most familiar to us among Dickens's characters, an instance of the novelist's supreme power, which (I like to repeat) proves itself in the bodying forth of a human personality henceforth accepted by the world. His sentences have become proverbs; the mention of his name brings before the mind's eye an image of flesh and blood -- rude, tending to the grotesque, but altogether lovable. Captain Cuttle belongs to the world of Uncle Toby, with, to be sure, a subordinate position. Analyse him as you will, make the most of those extravagances which pedants of to-day cannot away with, and in the end you will still be face to face with something vital -- explicable only as the product of genius. ”
The growth of the railways
A strong theme is the destruction and degradation (of people and places) caused by industrialisation, illustrated in particular by the building of the new railway through Camden Town (assumed to represent the London and Birmingham Railway constructed between 1833 and 1837). This reflects Dickens's apparent antipathy towards railways[citation needed], later reinforced by his involvement in a train crash in 1865. Soon after this incident he wrote two short stories (Mugby Junction and The Signal-Man) which projected a morbid view of the railways.
Final thoughts
Gissing refers to Dickens's instinctive genius for reflecting the thoughts and morals of the common man in his writing. He observes that the author was in constant communication with Forster,
“ ... as to the feeling of his readers about some proposed incident or episode; not that he feared, in any ignoble sense, to offend his public, but because his view of art involved compliance with ideals of ordinary simple folk. He held that view as a matter of course. Quite recently it has been put forth with prophetic fervour by Tolstoy, who cites Dickens among the few novelists whose work will bear this test. An instinctive sympathy with the moral (and therefore the artistic) prejudices of the everyday man guided Dickens throughout his career, teaching him when, and how far, he might strike at things he thought evil, yet never defeat his prime purpose of sending forth fiction acceptable to the multitude. Himself, in all but his genius, a representative Englishman of the middle-class, he was able to achieve this task with unfailing zeal and with entire sincerity. ”
Karl Smith, in his turn, gives his specific reasons for what makes Dombey and Son - and the works of Dickens as a whole - worth reading again and again. He observes that this is based in part on Dickens's 'recognition that solemn themes require humour and verbal vigour to accompany and complement them' and goes on to conclude:
“ Grim psychological realism, social commentary, comic absurdity and symbolic transcendence are here brought together more than in any previous novel with the possible exception of Oliver Twist. Dombey and Son not only prepares the ground for Dickens’s later masterpieces, but demands to be enjoyed for its own energy and richness. ”
Characters in "Dombey and Son"
The "Wooden Midshipman" of Uncle Sol's nautical instrument shop of the same name. Statue in the Charles Dickens Museum.
* Mr Paul Dombey – the wealthy owner of the shipping company
* Edith Granger – proud widowed daughter of Mrs Skewton, becomes second Mrs Dombey
* Mrs Fanny Dombey – Mr Dombey's first wife, mother of Florence and Paul, dies soon after Paul is born
* Master Paul Dombey (Little Dombey) – the son, is weak and often ill
* Miss Florence (Floy) Dombey – the elder daughter whom Mr Dombey neglects
* Mrs Louisa Chick – Mr Dombey's sister
* Mr Chick – husband of Mrs Chick
* Miss Lucretia Tox – friend of Mrs Chick, great admirer of Mr Dombey, and neighbour of Major Joseph Bagstock
* James Carker (Mr Carker the Manager) – devious manager in Mr Dombey's business
* John Carker (Mr Carker the Junior) – disgraced older brother of James, lower level employee in Dombey's business
* Miss Harriet Carker – sister of James and John
* Mr Morfin – assistant manager in Mr Dombey's business
* Mr Perch – messenger in Mr Dombey's business
* Solomon (Uncle Sol) Gills – ships' instrument maker and owner of the "Wooden Midshipman", a shop
* Walter Gay – nephew of Gills, friend to Florence, employee of Mr Dombey, sent away by Carker the Manager
* Captain Edward (Ned) Cuttle – retired sea captain, friend of Gills
* Major Joseph Bagstock (Josh, Joe, J.B., Old Joe) – conceited retired army major, admirer of Miss Tox, friend of Mr Dombey until his downfall
* Briggs – schoolmate of Paul's
* Tozer – schoolmate of Paul's
* Mr P. Toots – schoolmate of Paul's, later a dandy in love with Florence
* The Game Chicken – rowdy companion of Mr Toots
* Miss Susan Nipper – Florence's loyal nurse, later marries Mr. Toots
* Mrs Cleopatra Skewton – Edith Dombey's infirm mother and former lover of Bagstock
* Mr Toodle – a railway engineer
* Polly Toodle (Mrs Richards) – wife of Mr Toodle, engaged as nurse to Paul under the name Mrs Richards (by Mr Dombey's order)
* Robin Toodle (Rob the Grinder, Biler) – son of Mr Toodle and Polly, sent to Charitable Grinders school, later engaged in service to Captain Cuttle and Mr. Carker the Manager
* Good Mrs. Brown – an elderly rag dealer
* Alice – daughter of Brown, former lover of Carker's, recently returned from transportation
* Jack Bunsby – commander of a ship, and regarded as an oracle by Captain Cuttle. Eventually is wedded to Mrs MaacStinger.
* Mrs MacStinger – Captain Cuttle's landlady and nemesis
* Mrs Pipchin – stern widow who keeps an 'infantine Boarding-House of a very select description' in Brighton, where Paul is sent for his health
* Master Bitherstone – a fellow-boarder at Mrs. Pipchin's, much later a student at Doctor Blimber's
* Miss Pankey – a fellow-boarder at Mrs. Pipchin's
* Sir Barnet Skettles –
* Lady Skettles –
* Master Skettles – Brighton school pupil
* Doctor Blimber – runs a school in Brighton which Paul briefly attends
* Mrs Blimber – Doctor Blimber's wife
* Miss Cornelia Blimber – Doctor Blimber's daughter, teacher at the school
* Mr Feeder, B.A. – Doctor Blimber's assistant, teacher at the school
* Diogenes (Di) – A dog from the school, befriended by Paul and adopted by Florence after Paul's death
Film, TV or theatrical adaptations
The novel has been adapted for the screen at least three times:
* 1917 - a silent starring Norman McKinnel as Paul Dombey and Hayford Hobbs as Walter Gay
* 1969 - a television mini-series starring John Carson as Paul Dombey and Derek Seaton as Walter Gay
* 1983 - a television mini-series starring Julian Glover as Paul Dombey and Max Gold as Walter Gay
There have also been BBC radio adaptations.
In 2007, a two-part French miniseries, Dombais et Fils, was produced by France 3, directed by Laurent Jaoui and starring Christophe Malavoy as "Charles Dombais" (Paul Dombey).
It was announced in September 2009 that Andrew Davies would no longer be writing a proposed television adaptation for the BBC.
Original publication
Dombey and Son was originally published in 19 monthly instalments; each cost one shilling (except for the last, which cost two shillings, being a double issue) and contained 32 pages of text with two illustrations by Phiz:
* I - October 1846 (chapters 1-4);
* II - November 1846 (chapters 5-7);
* III - December 1846 (chapters 8-10);
* IV - January 1847 (chapters 11-13);
* V - February 1847 (chapters 14-16);
* VI - March 1847 (chapters 17-19);
* VII - April 1847 (chapters 20-22);
* VIII - May 1847 (chapters 23-25);
* IX - June 1847 (chapters 26-28);
* X - July 1847 (chapters 29-31);
* XI - August 1847 (chapters 32-34);
* XII - September 1847 (chapters 35-38);
* XIII - October 1847 (chapters 39-41);
* XIV - November 1847 (chapters 42-45);
* XV - December 1847 (chapters 46-48);
* XVI - January 1848 (chapters 49-51);
* XVII - February 1848 (chapters 52-54);
* XVIII - March 1848 (chapters 55-57);
* XIX-XX - April 1848 (chapters 58-62).
Trivia
* The motto of the publication Notes and Queries, "When found, make a note of", comes from the novel.
* In the illustrated plate, "Major Bagstock is delighted to have that opportunity," the lettering "HOTEL" on the central building in the background is written in mirror-writing. Phiz, the illustrator, evidently forgot to reverse the lettering so that it would read correctly when the plate was printed. (However, strangely, he got the other lettering in the same plate correct.)
* Sir Harry Johnston wrote a sequel to Dombey and Son in about 1920, titled The Gay-Dombeys.
* In the novel Velocity by Dean Koontz, the comatose wife of the main protagonist often makes incoherent references to the works of Dickens, the 'most mysterious' coming from Dombey and Son, "I want to know what it says, the sea. What it is that it keeps on saying."
yīng guó 19 shì jì xiǎo shuō zhuān jiā kǎi sè lín · dì luò xùn zài tā de xué shù míng zhù《 19 shì jì 40 nián dài de xiǎo shuō》 yī shū zhōng bǎ《 dǒng bèi fù zǐ》 liè wéi 40 nián dài de dài biǎo zuò bù shì 'ǒu rán de。《 dǒng bèi fù zǐ》 jù yòu xiān míng de shí dài tè sè： zuò zhě zài zhè lǐ biǎo xiàn yī gè xīn shí dài héng héng 40 nián dài gōng yè fā dá de yīng guó shè huì。 xiǎo shuō zhōng de lún dūn shì yī gè jīn róng hé shāng yè zhōng xīn、 yī gè dà gǎng kǒu， yòu shì shàng liú shè huì shè jiāo zhōng xīn。 dǒng bèi jiù shì chù zài zhè yàng shēng huó xuán wō zhōng de jù shāng。《 dǒng bèi fù zǐ》 yòng bù shǎo piān fú miáo xiě yī gè pò luò de háng hǎi yí qì shāng suǒ luó mén · jí 'ěr sī； tā de xiǎo diàn pū lǐ bǎi zhe xiē guò shí de yí qì， cóng lái méi yòu rén guāng gù， chú fēi shì jìn lái wèn lù huò duì huàn líng qián。 jí 'ěr sī bēi tàn dào：“ jìng zhēng、 bù tíng de jìng zhēng héng héng xīn fā míng、 céng chū bù qióng de xīn fā míng …… shì jiè bǎ wǒ pāo zài hòu biān liǎo”。 shí dài de luò wǔ zhě suǒ luó mén · jí 'ěr sī hé tā de xiǎo diàn pū zài xiǎo shuō zhōng yǔ dǒng bèi xiān shēng hé tā de dà gōng sī xíng chéng duì bǐ， yù jiā tū chū liǎo《 dǒng bèi fù zǐ》 nèi róng tí cái de shí dài tè sè。
dí gèng sī jiù shì zài zhè yàng yī zhǒng bèi jǐng shàng sù zào liǎo yī gè zī chǎn zhě de diǎn xíng xíng xiàng。 guān yú《 dǒng bèi fù zǐ》 de chuàng zuò yì tú， dí gèng sī céng shuō， zài zhè lǐ tā yào chǔlǐ de shì“ ào màn” wèn tí， zhèng rú qián yī bù xiǎo shuō《 mǎ dīng · chái zé 'ěr wéi chí》 lǐ yào zhe zhòng miáo xiě“ zì sī zì lì”。 díquè， zài dǒng bèi xíng xiàng de sù zào shàng， zuò zhě shì cóng 'ào màn rù shǒu de。 xiǎo shuō yī kāi shǐ jiù xiě dào， zài dǒng bèi xiān shēng kàn lái，“ shì jiè shì wèile dǒng bèi fù zǐ jīng shāng 'ér chuàng zào de， tài yáng hé yuè liàng shì wéi liǎo gěi tā men guāng liàng 'ér chuàng zào de。 hé chuān hé hǎi yáng shì wéi liǎo ràng tā men háng chuán 'ér gòu chéng de； hóng ní shǐ tā men yòu féng dào hǎo tiān qì de xī wàng； fēng de shùn nì yǐng xiǎng tā men shí yè de chéng bài； xīng chén zài tā men de guǐ dào nèi yùn xíng， bǎo chí yǐ tā men wéi zhōng xīn de yī zhǒng bù néng qīn fàn de xì tǒng”。 dǒng bèi gōng sī chēng bà sì hǎi， zài dāng shí de zī běn zhù yì jīng jì tǐ xì zhōng jū yú zhōng xīn dì wèi， yú shì dǒng bèi xiān shēng jiù zì rèn shì shì jiè de zhōng xīn， tā de 'ào màn yóu cǐ 'ér lái。 tā de 'ào màn bù shì yóu yú zuò wéi yī gè rén yòu rèn hé yōu yuè yú tā rén de dì fāng， ér shì yóu yú tā de gōng sī de dì wèi、 tā de zī běn lì liàng。 zài dǒng bèi de xíng xiàng zhōng， dí gèng sī bù bǎ wèn tí jú xiàn yú yī bān de zì sī tān lán， shì shí shàng zài sī dé fāng miàn， dǒng bèi jī běn shàng shì 'ēn gé sī shuō de nà zhǒng“ jù yòu gè zhǒng sī dé de kě jìng rén wù”。 zhèng rú xī fāng mǎ kè sī zhù yì zhě A·T· jié kè xùn suǒ zhǐ chū de，“ dǒng bèi de 'ào màn shì tā zuò wéi yī jiā dà gōng sī de tóu mùdì dì wèi dài gěi tā de pǐn zhì”。 yīn cǐ， ào màn zhǐ shì qí biǎo， ér gēn běn wèn tí zài yú dǒng bèi zuò wéi rén， yǔ zī běn tóng yī liǎo。 tā shī qù liǎo rén de běn zhì， zhǐ shì zī běn de huà shēn， yì rú mǒu xiē xī fāng píng lùn suǒ shuō de， shì“ 19 shì jì qǐ yè jīng shén” de xiàng zhēng，“ yī zhǒng zhì dù、 jìng zhēng xīn lǐ hé lěng kù wú qíng” de diǎn fàn。《 dǒng bèi fù zǐ》 yǐ liánzǎi xíng shì wèn shì yǐ hòu， dāng shí biàn yòu píng lùn zhǐ chū：“ miáo huì dǒng bèi zhè lèi de rén wù jiǎn zhí shì dāng wù zhī jí héng héng lún dūn de shì jiè lǐ chōng mǎn liǎo lěng mò de、 zhuāng mó zuò yàng de、 jiāng yìng de、 xuàn yào jīn qián de rén wù， xiǎng fǎ gēn dǒng bèi yī mó yī yàng……” kě jiàn dǒng bèi de xíng xiàng zài dāng shí de yīng guó shè huì shì jù yòu dài biǎo xìng de。
shǒu xiān dí gèng sī qiáng diào liǎo dǒng bèi zuò wéi yī gè zī chǎn zhě de fēi rén xìng。 tā bǎ gǎn qíng wán quán pái chú zài zì jǐ de shì yě zhī wài：“ dǒng bèi fù zǐ yī xiàng gēn pí huò dǎ jiāo dào， ér bù gēn gǎn qíng dǎ jiāo dào”。 shí jì shàng《 dǒng bèi fù zǐ》 hěn shǎo shè jí jù tǐ de shāng yè huó dòng， tā qí shí shì yī bù yǐ jiā tíng shēng huó wéi tí cái de xiǎo shuō， tōng guò jiā tíng guān xì， biǎo xiàn liǎo zuò wéi zhàng fū、 zuò wéi fù qīn de dǒng bèi， wéi qí rú cǐ， gèng jiā hōng tuō liǎo tā de lěng kù wú qíng。
dǒng bèi fù zǐ - jù qíng
《 dǒng bèi fù zǐ》 yòu liǎng chù miáo xiě liǎo dǒng bèi xiān shēng jìng rán liú lù liǎo yī zhǒng tiān rán gǎn qíng。 dì yī cì shì zài tā tài tài shēng liǎo nán hái zhī hòu， tā dào wò shì qù kàn wàng，“ duì dǒng bèi tài tài jū rán yě jiā shàng liǎo yī gè qīn mì de chēng hū（ suī rán bù shì méi yòu yī xiē yóu yù， yīn wéi tā bì jìng shì yī gè bù guàn yú jiào chū nà zhǒng chēng hū de rén）， jiào dào： ‘ dǒng bèi tài tài， wǒ de héng héng wǒ de qīn 'ài de ’。” zài tā men fū qī zhī jiān zhè yī chēng hū shì nà yàng shēng shū， yǐ zhì“ nà wèi shēng bìng de tài tài tái qǐ yǎn jīng cháo tā wàng qù de shí hòu， dùn shí jiān liǎn shàng zhǎng mǎn liǎo wēi gǎn jīng yà de hóng yùn”。 qí shí jí shǐ zhè yī cì nán dé de gǎn qíng liú lù， yě bù shì yǔ gōng sī wú guān de。 dǒng bèi xiān shēng xiǎng dào zì jǐ dé liǎo 'ér zǐ， cóng cǐ yǐ hòu“ zán men de gōng sī， bù dàn míng yì shàng， ér qiě shì shí shàng， yòu gāi jiào zuò‘ dǒng bèi fù zǐ’ lā， dǒng héng héng bèi fù zǐ！” tā shì zài pǐn cháng zhè jǐ gè zì de tián měi zī wèi shí qíng bù zì jìn dì jiào liǎo yī shēng“ wǒ de qīn 'ài de”！ cóng tā de nèi xīn gǎn qíng lái shuō， wǒ men wú cóng pàn duàn zhè“ qīn 'ài de” shì zhǐ tā de tài tài hái shì gèng duō zhǐ tā de gōng sī。 tóng yàng， zài《 dǒng bèi fù zǐ》 yī shū zhōng wǒ men shǐ zhōng wú fǎ pàn duàn zhè“ dǒng bèi fù zǐ” shì zhǐ gōng sī hái shì zhǐ zhè yé 'ér liǎ de guān xì。 zhè zhǒng yòu yì wú yì de hán hùn zì rán shì yì wèi shēn cháng de。
dǒng bèi xiān shēng dì 'èr cì gǎn qíng liú lù shì zài kàn zhe gāng chū shēng de 'ér zǐ shí， tā xiǎng dào“ tā dé chéng jiù yī fān mìng zhōng zhù dìng de shì yè nǎ。 mìng zhōng zhù dìng de shì yè， xiǎo jiā huǒ！” jiē zhe“ bǎ hái zǐ de yī zhǐ shǒu jǔ dào zì jǐ de zuǐ chún shàng wěn liǎo yī xià， rán hòu， hǎo xiàng shēn pà zhè zhǒng jǔ dòng yòu sǔn tā de zūn yán shìde， tā fēi cháng bù zì rán dì zǒu kāi liǎo”。 zǒng zhī， jiù shì zhè liǎng cì bù kě duō dé de gǎn qíng liú lù， dǒng bèi xiān shēng yě gǎn dào“ yóu yù”，“ bù xí guàn”，“ yòu sǔn zūn yán”， zǒng zhī shì“ bù zì rán”， jí bù hé hū tā nà“ zī běn huà” liǎo de běn xìng。
zài duì dǒng bèi de miáo xiě zhōng， zuò zhě bǎ tā bǐ zuò“ diāo xiàng”、“ mù tóu rén”，“ quán shēn zhí tǐng tǐng de bù huì dǎ wān”， huò shì“ guā dé guāng guāng、 jiǎn cái zhěng qí de kuò shēn shì， guāng liù lì suǒ， xiàng gāng yìn chū lái de chāo piào”。 zuò zhě yòng yī xì liè bīng、 shuāng、 xuě zhī lèi de xíng xiàng lái xuàn rǎn dǒng bèi de tè diǎn， tā de zhù zhái yīn lěng， tā de bàn gōng shì qī liáng。 zài bǎo luó shòu xǐ lǐ de nà yī tiān， bù jǐn jiào táng lǐ hán qì bī rén， ér qiě zài dǒng bèi suí hòu jǔ xíng de yàn huì shàng bǎi zhe de shí wù dōushì bīng lěng de， yǔ xí shàng de zhěng gè qì fēn yī zhì， zuò zhě hái shuō， zuò zài shǒu xí shàng de dǒng bèi běn rén yóu rú yī gè“ bīng dòng shēn shì” de biāo běn。 zǒng zhī， zuò zhě tōng guò kuā zhāng de xì jié miáo xiě， bǎ dǒng bèi zhì yú yī céng céng bīng shuāng de bāo guǒ zhī zhōng， bǎ tā miáo xiě chéng yī wèi shí zú de méi yòu rén xìng de lěng xuè dòng wù。
zhèng rú 'ēn gé sī suǒ shuō de， zī chǎn jiē jí“ chú liǎo kuài kuài fā cái yǐ wài， bù zhī dào shì jiè shàng hái yòu bié de kuài lè” yī yàng， jì chéng rén yì wèi zhe zī běn de yán xù， yě jiù shì zī chǎn jiē jí lǐ xiǎng zhōng tōng xiàng“ yǒng héng” yǔ“ bù xiǔ” de wéi yī dào lù， běn zhì shàng hái shì fā cái de kuài lè。《 dǒng bèi fù zǐ》 yī shū de zhù xiàn hé zǒng de shè jì dōushì wéi rào zhe dǒng bèi xiān shēng wéi zì jǐ， yě shì wéi gōng sī， xún zhǎo jì chéng rén de gù shì。 rú guǒ 'àn 19 shì jì xiǎo shuō zhuān jiā shǐ dì fēn · mǎ kē sī de huàfēn， bǎ zuò pǐn huàfēn chéng sì gè bù fēn， nà me kě yǐ kàn chū， dì yī bù fēn yǐ jì chéng rén xiǎo bǎo luó de dàn shēng kāi shǐ， yǐ tā de sǐ wáng gào zhōng； dì 'èr bù fēn miáo xiě liǎo dǒng bèi xiān shēng de bēi tòng yǐ jí tā de dì 'èr cì jié hūn， yì jí zài cì yào dé dào jì chéng rén； dì sān bù fēn biǎo xiàn liǎo dǒng bèi xiān shēng hūn hòu fū qī bù mù， zhōng yú dǎo zhì tā de fū rén sī bēn； dì sì bù fēn miáo xiě liǎo dǒng bèi xiān shēng jīng shén wǎ jiě、 qǐ yè dǎo bì， zuì hòu bèi tā gǎn chū jiā mén de nǚ 'ér fú luò lún sī yòng zì jǐ de 'ài gěi tā yǐ 'ān wèi hé lì liàng， shǐ lǎo nián de dǒng bèi zài shī qù zī běn、 shī qù jì chéng rén zhī hòu huī fù liǎo zì jǐ de rén xìng。 ér jù yòu fěng cì yì wèi de shì，“ suǒ wèi dǒng bèi fù zǐ”， rú shū zhōng yī gè rén wù shuō de“ guī gēn jié dì shì dǒng bèi fù nǚ”！ dàn kāi shǐ shí， dǒng bèi xiān shēng nǎ lǐ néng cāi dào děng dài tā de mìng yùn！ tā bǎ zì jǐ de gǎn qíng quán bù qīng zhù zài gōng sī de jì chéng rén、 gāng gāng dàn shēng de 'ér zǐ shēn shàng， zhì yú nǚ 'ér， jì rán bù shì jì chéng rén， duì dǒng bèi gōng sī méi yòu yì yì， duì tā běn rén yě jiù méi yòu yì yì， xiāng dāng yú“ bù néng tóu zī de yī kuài liè bì”。 qí shí， jiù shì duì yú tā de 'ér zǐ xiǎo bǎo luó， dǒng bèi xiān shēng yě zhǐ néng yǐ zì jǐ de fāng shì qù 'ài。 zhè shì yī zhǒng yì huà liǎo de gǎn qíng。 tā zhǐ bǎ bǎo luó dāng zuò jì chéng rén lái duì dài， dāng zuò“ dǒng bèi fù zǐ gōng sī” zhōng de“ zǐ” ér bù shì zuò wéi yī gè yòu dú lì shēng cún quán lì de rén、 yī gè yòu quán guò kuài yuètóng nián de 'ér tóng。 dǒng bèi bǎ bǎo luó cóng jiàng shēng dào chéng rén de shí qī dū kàn zuò shì nán 'áo de guò dù shí qī，“ tā jí yú jìn rù wèi lái， hèn bù dé kuài diǎn dǎ fā diào zhè zhōng jiān de shí guāng”。 dǒng bèi duì 'ér zǐ de gǎn qíng shì nà yàng de dú zhàn， tā bù xìn rèn nǎi niàn bō lì · tú dé 'ěr， shēng pà 'ér zǐ huì duì tā yòu gǎn qíng， cóng 'ér shòu dào“ xià děng rén” de zhān rǎn， hòu lái dǒng bèi hái shì yīn wéi tā shàn zì bǎ bǎo luó dài huí jiā 'ér bǎ zhè gè hǎo xīn de nǚ rén dǎ fā diào， zhì shǐ yīng 'ér tū rán duàn nǎi， cóng cǐ tǐ ruò duō bìng。 dǒng bèi xiān shēng“ wàng zǐ chéng lóng” xīnqiè， tā bǎ yòu xiǎo de bǎo luó sòng wǎng bù lín bó bó shì xué yuàn。 zhè shì yī zuò yǐ tiánsāi sǐ zhī shí zhù chēng de zhù sù xué xiào。 zài nà lǐ， hái zǐ men bái tiān bèi bī dé bèi sòng tiān shū yī yàng de gǔ dài diǎn jí， wǎn shàng zuò mèng dōushuō xī là wén！“ nà shì yī zuò dà nuǎn fáng， yī jià bù tíng dì yí dòng de bá miáo zhùzhǎng de jī qì， suǒ yòu de hái zǐ dū tí qián‘ kāi huā’， dàn shì bù zú sān gè lǐ bài jiù kū wěi diāo xiè”。 zài nà lǐ， kě lián de xiǎo bǎo luó de tóu nǎo bèi sài mǎn liǎo yī dà duī xī là luó mǎ de gǔ dǒng， tā kū zhe shuō，“ wǒ yào dāng 'ér tóng”， kě nà zài dǒng bèi péi yǎng jì chéng rén de jìhuà lǐ shì bù yǔn xǔ de。 bǎo luó zài zhè xiē cuī huà jì de zuò yòng xià jīng shén bèi shòu cuī cán， bù jiǔ yǐ hòu biàn sǐ qù。 jù yòu fěng cì yì wèi de shì， cóng jiě gù nǎi niàn dào tí qián sòng jìn xué xiào de zhěng gè guò chéng lái kàn， bù shì bié rén， zhèng shì dǒng bèi xiān shēng zì jǐ yī shǒu cù chéng liǎo 'ér zǐ de sǐ wáng。 tā wán quán 'àn zhào zì jǐ xìng gé de luó ji， àn zhào tā de“ yì huà” liǎo de gǎn qíng xíng shì， bù kě néng yòu qí tā zuò fǎ。 zhè bù néng bù shuō shì dǒng bèi de bēi jù。 zhí dé zhù yì de hái yòu， dǒng bèi bù jǐn zài 'ér zǐ huó zhe de shí hòu duì 'ér zǐ de gǎn qíng shì“ yì huà” de， ér qiě zài 'ér zǐ sǐ wáng yǐ hòu， tā de fǎn yìng yě shì“ yì huà” de， nà yǔ qí shuō shì shī qù qīn gǔ ròu de qièfū zhī tòng， dǎo gèng xiàng shì tā de“ zì wǒ” shòu dào dǎ jī、 ào màn shòu dào cuò zhé 'ér yǐn qǐ de tòng kǔ。 dāng lǎo nǎi niàn tú dé 'ěr de zhàng fū xiàng dǒng bèi biǎo shì 'āi dào shí， dǒng bèi bù jǐn bùwèi zhī gǎn dòng， fǎn 'ér yīn wéi bù xiāng gān de rén（ yǔ gōng sī bù xiāng gān） wàng xiǎng fēn dān tā de tòng kǔ 'ér gǎn dào qì fèn， hǎo xiàng zì jǐ shòu liǎo wū rǔ。 zhè bù shì bèi zī běn“ yì huà” liǎo de gǎn qíng yòu shì shénme ní？
duì dǒng bèi lái shuō， gèng kě bēi de shì， yóu yú tā de gǔ bǎn、 lěng mò、 méi yòu rén qíng wèi， tā de 'ér zǐ yǔ tā gǎn qíng shū yuǎn 'ér zhōng xīn xǐ 'ài nà xiē dǒng bèi suǒ yàn 'è、 bǐ shì de rén héng héng jiě jiě fú luò lún sī、 nǎi niàn bō lì · tú dé 'ěr， hái yòu gōng sī lǐ de xiǎo gù yuán wò 'ěr tè · gài yī， zài zì jǐ yòu xiǎo shēng mìng de zuì hòu shí kè duì tā men liàn liàn bùshě 'ér bǎ zì jǐ de fù qīn pái chú zài wài。 zài sī xiǎng shàng fù zǐ 'èr rén gèng shì gé gé bù rù； dǒng bèi shì nà yàng jíqiè pàn wàng 'ér zǐ chéngzhǎng wéi jīng míng de shēng yì rén， ér yòu xiǎo de bǎo luó què wèn“ qián néng gànshénme？”， dāng fù qīn shuō qián kě yǐ bàn dào yī qiē， tā bìng bù xìn fú， shuō“ tā bù néng jiù huó wǒ mā mā”。“ tā bù shì cán kù de má？” dí gèng sī tōng guò 'ér tóng de yǎn guāng pī pàn liǎo dǒng bèi suǒ dài biǎo de jià zhí guān。
bǎo luó suī rán nián jì yòu xiǎo， què zǒng xiàng shì shēng huó zài yī gè bǐ 'àn shì jiè， tā“ kě yǐ zài hú qiáng zhǐ shàng kàn chū wēi xíng de lǎo hǔ hé shī zǐ…… kàn jiàn yī xiē rén yǐng chòngzhe dì bǎn shàng de fāng kuài hé lēng xíng tú 'àn zuò guài liǎn， ér bié rén què shénme yě kàn bù jiàn”。 tā xiàng gè lǎo rén shìde cháng shí jiān zuò zài hǎi biān shàng， miàn duì zhe yī piàn tiān shuǐ máng máng chén sī bù yǔ。 tā nà mèn“ tā méi jié méi wán dì shuō xiē shénme yā？” héng héng“ wǒ zhī dào tā men yī zhí shì zài shuō xiē shénme de。 shuō de zǒng shì tóng yàng de shì qíng。 nà 'ér shì shénme dì fāng yā？” tā rèqiè dì níng wàng nà tiān shuǐ zhī jì， zài dà hǎi de xuān téng zhōng， tīng dào liǎo shí jiān lǎo rén de zhào huàn， gǎn dào liǎo sǐ wáng de yù zhào， zuì hòu zài hǎi tāo shēng zhōng tā 'ān rán yǔ shì cháng cí……。 kě yǐ shuō， xiǎo bǎo luó zài rèn hé yì yì shàng yě bù shì dǒng bèi de jì chéng rén。《 dǒng bèi fù zǐ》 de dì yī bù fēn， yě shì zuì jīng cǎi bù fēn， biàn yǐ dǒng bèi zài péi yù jì chéng rén fāng miàn de chè dǐ shī bài 'ér gào zhōng。《 dǒng bèi fù zǐ》 zuì chū liánzǎi fā biǎo shí， bǎo luó · luó bèi yāo wáng de yī zhāng zài dāng shí dú zhě zhōng yǐn qǐ qiáng liè fǎn xiǎng，“ jǔ guó shàng xià， gòng tóng 'āi dào”， jǐn cì yú“ zì jǐ jiā lǐ bàn sāngshì”。 dāng shí xǔ duō rén， bāo kuò zhèng jiè wén huà jiè zhù míng rén wù dū háo bù yǐn huì zì jǐ wéi xiǎo bǎo luó de sǐ 'ér tòng kū liú tì。 zhè dāng rán yǔ dāng shí shèng xíng de gǎn shāng zhù yì yuè dú qù wèi fēn bù kāi。 xiǎo bǎo luó de sǐ， yǔ《 lǎo gǔ wán diàn》 zhōng xiǎo nài 'ér de sǐ yī yàng， dōushì 19 shì jì xiǎo shuō zhōng gōng rèn de gǎn shāng zhù yì de diǎn fàn。 dàn shì， bù kě fǒu rèn， bǎo luó zhī sǐ de zhù míng piān zhāng chōng mǎn liǎo jīng yíng de shī yì héng héng“ xiǎo chuán zài bō shàng de piāo dàng yǐ jīng yǐn dé tā yào qù 'ān mián liǎo。 hé 'àn duō me cōng cuì， cháng zài hé 'àn shàng de huā cǎo duō me míng yàn， nà lú wěi yòu shì duō me tíng tíng niǎo niǎo！ zhè shí xiǎo chuán yǐ jīng shǐ dào hǎi lǐ， kě shì hái zài píng jìng dì xiàng qián huá qù”。 xiǎo bǎo luó qù liǎo， hǎo xiàng dé dào liǎo tā de tiān rán guī sù。 tā bù shǔ yú gōng sī， gèng yuǎn lí“ huò bì、 tōng huò、 chāo piào、 wài huì shuài” suǒ gòu chéng de nà gè tā mìng zhōng yào chéng jiù de“ shì yè”。 zài nà gè zī zī míng lì de fú huá shì jiè shàng， bǎo luó de sǐ xiǎn chū liǎo chāo chén bá sú de guāng cǎi， zài mò mò wú yán zhī zhōng duì yǐ“ dǒng bèi fù zǐ gōng sī” wéi dài biǎo de jīn qián lì yù zuò chū liǎo zuì yòu lì de pī pàn。
jīng guò dì yī gè dǎ jī， dǒng bèi bìng méi yòu zǒng jié jiào xùn、 dá dào zì wǒ rèn shí。 bù jiǔ yǐ hòu， tā yòu chǔxīn jī lǜ dì wéi dé dào jì chéng rén 'ér shè fǎ。 tā gēn nián qīng měi mào de guǎ fù yī dí sī · gé lán jié jié hūn liǎo。 zhè chún cuì shì yī bǐ jiāo yì， dǒng bèi jiù xiàng zài luó mǎ shì shàng xiàngmǎ sì dì guān chá yī dí sī de cái huá yǔ jiào yǎng， zuì hòu jué dìng mǎi xià。 yī dí sī fèn rán duì tā mǔ qīn shuō“ shí nián yǐ lái， nú lì shì chǎng shàng de nú lì hé jí shì shàng de mǎdōu méi yòu xiàng wǒ zhè yàng bèi zhǎn lǎn chū shòu， xuàn yào gěi kàn kè。” zài zhè dì 'èr cì hūn yīn zhōng， dǒng bèi yòu shī bài liǎo。 zài yī dí sī shēn shàng， tā pèng dào liǎo duì shǒu， gēn tā yī yàng 'ào màn， gēn tā yī yàng qiáng yìng。 liǎng xià lǐ chōng tū de jiēguǒ， yī dí sī wéi bào fù zhàng fū 'ér yǔ gōng sī de jīng lǐ kǎ kè sī bēn， zào chéng liǎo lún dūn shàng liú shè huì de tóu hào chǒu wén。 cǐ wài， dǒng bèi gāng bì zì yòng， zài kǎ kè de zòng yǒng xià tóu zī bù dāng， zài jiā tíng wēi jī de tóng shí， tā de shāng chuán“ zǐ sì” hào zài hǎi shàng yùnàn， tā de gōng sī dǎo bì， tā běn rén xuān gào pò chǎn。 xī rì fù lì táng huáng de zhái dì bèi zhài jǐn rén bō dé yī gān 'èr jìng， lián lǎo shǔ dōubù yuàn dòu liú， zhǐ shèng xià yī gè dǒng bèi xiàng gè yōu líng sì dì zài kōng lóu zhōng yóu dàng。 zài tā jǔ dāo zì shā de nà yī chà nà， nǚ 'ér fú luò lún sī gǎn dào tā gēn qián， yòng zì jǐ de 'ài gǎn huà liǎo tā， shǐ dǒng bèi zhōng yú rèn shí dào， zì jǐ shì yòu zuì de，“ xū yào dé dào kuān shù”。 dǒng bèi nà wéi bèi tiān lǐ rén xìng de 'ào màn bèi fú luò lún sī de 'ài kè fú liǎo。 zài lǎo nián， tā zhōng yú kāi shǐ guò shàng yī zhǒng hé hū rén xìng de shēng huó。 dǒng bèi de mìng yùn， bìng bù qǔ jué yú wài bù shì tài de fā zhǎn； shì dǒng bèi zì jǐ xìng gé de nèi zài luó ji dǎo zhì tā de quán miàn bēng kuì。 tā shì zài zì jǐ chéng fá zì jǐ， bìng zài yīchóng yī zhòng de chéng fá zhōng yī céng yī céng dì bào lù chū zī chǎn jiē jí běn xìng zhōng nà xiē wéi fǎn tiān lǐ rén qíng de yīn sù。
ruò zhǐ kàn gù shì qíng jié， wǒ men yě bù néng fǒu rèn《 dǒng bèi fù zǐ》 de jié jú shì qiǎn bó wú lì de。 fǎ guó zhù míng pī píng jiā tài nà shuō dǒng bèi de“ zhuǎn biàn” huǐ liǎo yī běn chū sè de xiǎo shuō。 yī wèi dāng dài píng lùn jiā yòng bù xiè de kǒu qì wèn dào： nán dào yào bǎ dǒng bèi fù zǐ gōng sī de shì jiè mào yì jiāo gěi yǎn lèi wāng wāng de fú luò lún sī qù jīng yíng má？ zài zhè lǐ， wǒ men yòu huí dào xiǎo shuō de shí dài tè sè wèn tí。 xiàng fú luò lún sī nà lèi de“ ān qí 'ér” shì 'àn zhào dāng shí shèng xíng de gōng shì miáo xiě de， běn lái jiù bù xiàn shí， ér dǒng bèi xiān shēng zài tiě lù sì tōng bā dá guó jì mào yì fā dá de shí dài shì gè zhēn shí de xíng xiàng、 yī gè jiē jí de dài biǎo。 fú luò lún sī zěn me kě néng yòng zì jǐ de yǎn lèi qù gǎn huà dǒng bèi de tiě shí xīn cháng ní？《 dǒng bèi fù zǐ》 yī shū de jià zhí bù zài yú zuò zhě xū gòu chū zěn me yàng de fāng 'àn qù jiě jué máo dùn， ér zài yú tā zài sì shí nián dài zī běn zhù yì jīng jì fā dá de lì shǐ shí qī sù zào liǎo yī gè zī chǎn jiē jí de diǎn xíng xíng xiàng， cóng 'ér shēn kè dì jiē shì liǎo guān yú nà gè jiē jí de zhēn lǐ。
yě shì zài《 dǒng bèi fù zǐ》 yī shū zhōng， dí gèng sī dì yī cì cǎi yòng liǎo yī gè xiàng zhēng lái guàn chuān quán shū， yǐ chuán dá chū yī gè zǒng de shì jiè tú jǐng、 yī zhǒng duì shí dài、 duì shè huì de lǐ jiě。 tā céng yòng guò wù、 zhuó liú、 lā jī děng xíng xiàng zuò wéi zhè zhǒng xiàng zhēng， ér zài zhè lǐ shì tiě lù。 tiě lù héng héng huǒ chē、 tiě guǐ héng héng de xíng xiàng zài shū zhōng chū xiàn duō cì， wǎng wǎng zài guān jiàn shí kè xuàn rǎn qì fēn， hōng tuō zhù tí。 yòng tiě lù de xíng xiàng lái gài kuò sì shí nián dài gōng yè huà de yīng guó， dāng rán shì zuì qiàdàng bù guò de， zài 19 shì jì shàng bàn yè， tiě lù de fā zhǎn sù dù shì jīng rén de。 jù tǒng jì， 1825 nián hái zhǐ yòu 25 yīng lǐ de tiě lù xiàn， dào liǎo 1845 nián jiù fā zhǎn chéng 2200 duō gōng lǐ， jí zài bù dào 'èr shí nián de shí jiān lǐ biàn zēng jiā liǎo yī bǎi bèi。 chù zài huǒ chē、 diàn bào shí dài de dǒng bèi bǐ qǐ chéng yì chē de pǐ kè wēi kè xiān shēng jiǎn zhí shǔ yú liǎng gè wán quán bù tóng de shì jiè。 tiě lù de fā zhǎn gǎi biàn liǎo rén men de shēng huó fāng shì， gǎi biàn liǎo rén men duì kōng jiān hé shí jiān de gài niàn， hái chǎn shēng liǎo yī zhī xīn de láo dòng duì wǔ： tiě lù gōng rén。 tiě lù yì wèi zhuólì liàng、 yùn dòng hé sù dù， yì wèi zhe gèng kuài de shēng huó jié zòu。 zhè shí， tiě lù shì shè huì biàn gé de xiàng zhēng， tā gěi pò làn bù kān de jiù zhǐ dài lái liǎo xīn de shēng mìng。 shū zhōng xiě dào， yóu yú tiě lù de jiàn shè， bō lì · tú dé 'ěr yī jiā yuán lái zhù de pín mín qū“ sī tǎ gé sī huā yuán” yǐ bù fù cún zài héng héng“ tā cóng dì miàn shàng xiāo shī liǎo， yuán lái yī xiē xiǔ làn de liáng tíng cán cún de dì fāng， xiàn zài sǒng lì zhe gāo dà de gōng diàn； dà lǐ shí de yuán zhù liǎng biān kāi dào， tōng xiàng tiě lù de xīn shì jiè”。 shū zhōng hái xiě dào， yuán xiān duī fàng lā jī de kōng dì yǐ bèi tūn méi， dài zhī 'ér qǐ de shì“ yī céng céng kù fáng， lǐ miàn zhuāng mǎn liǎo fēng fù de wù zī hé guì zhòng de shāng pǐn”。 ér yuán shì huāng wú rén yān de dì fāng xiàn zài xiū qǐ liǎo huā yuán、 bié shù、 jiào táng hé lìng rén xīn kuàng shén yí de lín yìn dà dào。 guò qù yǐ jué méi wéi shēng de tú dé 'ěr， xiàn zài yě zài xīn jiàn shè qǐ lái de tiě lù shàngdàng shàng liǎo yī míng sī lú gōng。 cóng zhè gè jiǎo dù kě yǐ shuō， dí gèng sī shì zhàn zài zàn shǎng de lì chǎng qù kàn yǐ tiě lù wéi xiàng zhēng de gōng yè huà duì shè huì wù zhì fā zhǎn de jī jí yì yì。
dàn shì， lìng yī fāng miàn， tiě lù、 huǒ chē zài dí gèng sī bǐ xià yòu chōng mǎn liǎo wēi xié， tā lì dà wú qióng 'ér yòu nán yǐ kòng zhì， tā zài jí chí zhōng sì yòu zì jǐ de mùdì 'ér bǎ rén de yì yuàn zhì yú bù gù。 dāng bǎo luó jiāng yào sǐ qù shí， shū zhōng miáo xiě liǎo huǒ chē de yùn dòng：“ rì rì yè yè， wǎng fǎn bù tíng， fān téng de rè làng yóu rú shēng mìng de xuè liú”。 bǎo luó zài fù qīn de péi yǎng xià zhèng zài qiāoqiāo sǐ qù， ér chē shēng lóng lóng zhèng yǐ léi tíng wàn jūn zhī shì shǐ lái， xiǎn dé nà yàng lěng kù wú qíng。 bǎo luó sǐ hòu， dǒng bèi chéng huǒ chē lǚ xíng， huǒ chē de jī xiè yùn dòng yǔ dǒng bèi de chén zhòng xīn qíng hù xiāng chèn tuō， hòu lái， dǒng bèi qù zhuī gǎn guǎi piàn tā qī zǐ sī bēn díkǎ kè， tā men yī gè zài táo， yī gè jǐn zhuī， zhè shí huǒ chē xiàng gè kě pà de guài shòu，“ hùn shēn mào huǒ de mó guǐ”， fèn nù dì bēn téng páo xiào， huó xiàng gè fù chóu shén， zhōng yú fēi cháng xì jù xìng dì bǎ kǎ kè niǎn sǐ。
zhè lǐ， wèn tí bìng bù zài yú sǐ zài huǒ chē lún xià de kǎ kè shì zuì yòu yìng dé。 zhòng yào de shì， zài zhè lǐ， huǒ chē de xíng xiàng zhēng níng kě pà； tā de lái lín“ bàn suí zhe dà dì de zhèn xiǎng， zài 'ěr biān chàn dǒu de shēng làng， yǐ jí yáo yuǎn de jiān jiào shēng； yī piàn 'àn guāng yóu yuǎn 'ér jìn， chà nà jiān biàn chéng liǎng zhī huǒ hóng de yǎn jīng hé yī tuán liè huǒ， yī lù shàng diào zhe rán shāo de méi kuài； jiē zhe， yī gè páng rán dà wù páo xiào zhe、 kuò zhǎn zhe， yǐ bù kě kàng jù de qì shì yā guò lái”。 zhè gè xíng xiàng yuǎn yuǎn chāo tuō liǎo kǎ kè mìng yùn de qū qū xiǎo shì， ér tí chū liǎo gèng dà de wèn tí： jī xiè de wù zhì yùn dòng suǒ shì fàng chū lái de lì liàng duì yú rén lèi shè huì jiū jìng yì wèi zhe shénme？ zài zhè lǐ， dí gèng sī biǎo xiàn liǎo yī gè zhēn zhèng dà zuò jiā de qì bó。 tā tòu guò xiàn xiàng qù bǔ zhuō běn zhì， tōng guò tiě lù de xiàng zhēng duì zī běn zhù yì wù zhì wén míng de fā zhǎn biǎo shì liǎo shēn shēn de yōu lǜ； zhè bēn téng xiàng qián de lì liàng jiāng bǎ rén lèi shè huì dài wǎng hé chù？ zhè huái yí yǔ yōu lǜ shì gēn zuò zhě tōng guò dǒng bèi de xíng xiàng suǒ tí chū de wèn tí wán quán yī zhì de， tā mendōu huì wéi yī gè zǒng de duì shí dài de yí wèn： zī běn zhù yì de gōng yè héng héng tiě lù héng héng gǎi shàn liǎo rén men de shēng cún tiáo jiàn， dàn tā jiāng yǐn qǐ shénme yàng de shè huì biàn huà？ yī gè dǒng bèi xiān shēng shì bèi nǚ 'ér de lèi shuǐ gǎn huà liǎo， dàn yǐ tiě lù wéi biāo zhì de yīng guó zī běn zhù yì de fā zhǎn bù shì huì chǎn shēng gèng duō de dǒng bèi má？
《 dǒng bèi fù zǐ》 bù shì shè huì xué lùn wén。 dí gèng sī de mó lì jiù zài yú， tā tí chū liǎo dāng shí shè huì zuì běn zhì de wèn tí， tóng shí yòu xiě chū liǎo rén wù zhòng duō、 qíng jié fù zá、 qíng diào duō biàn de yī bù wǔ guāng shí sè de xiǎo shuō jù zhù。 zài zhè lǐ， yǐ dǒng bèi kě wàng zǐ sì de gù shì wéi zhōng xīn， yǎn chū liǎo nà me duō kòu rén xīn xián de bēi xǐ jù。 shè huì dì wèi yòu tiān rǎng zhī bié de rén wù， mìng yùn què nà me qū zhé dì jiāo zhì zài yī qǐ： dì 'èr rèn dǒng bèi fū rén yī dí sī gēn bèi liú fàng de chāng jì 'ài lì sī bù jǐn shì tóng fù yì mǔ de jiě mèi， ér qiě yě shì bèi tóng yī gè nán xìng héng héng kǎ kè jīng lǐ héng héng qī rǔ de nǚ xìng。 zhè zhǒng qíng jié xìng de bèi hòu bù zhèng shì wēi miào dì 'àn shì zhe yī dí sī yǔ dǒng bèi de hūn yīn de shí zhì？《 dǒng bèi fù zǐ》 hái chōng mǎn liǎo yīn móu hé xuán niàn。 kǎ kè jīng lǐ xiàng gè zhī zhū yī yàng zuò zài tā biān zhì de yīn móu gāng luò de zhōng xīn， wéi dǒng bèi xiān shēng、 yī dí sī， wéi fú luò lún sī hé wò 'ěr tè， shèn zhì wéi lǎo shí bā jié díkǎ tè 'ěr chuán cháng dū shè xià liǎo juàn tào， pài liǎo dīng shào。
kě shì dào tóu lái， zhèng shì tā zhè gè xīn fù héng héng bù zhēng qì de shàonián luó bó héng héng chū mài liǎo tā， dǎo zhì tā fěn shēn suì gǔ zài chē lún zhī xià， kě wèi shì jiàn běn shēn de cháo fěng。 zài《 dǒng bèi fù zǐ》 zhōng， yǔ zhèng jù de zhù xiàn píng xíng， zǒng yòu xǐ jù nào jù de fù xiàn， shèn zhì xíng chéng yī huán kòu yī huán de mìng yùn de suǒ liàn。 rú zài dǒng bèi xiān shēng wù sè dì 'èr wèi fū rén de shí hòu， liù xū pāi mǎ dàn yòu kě lián kě xiào de tuō kè sī xiǎo jiě jì yú dǒng bèi fū rén de bǎo zuò， lěng luò liǎo yòu yì yú tā de bái gé sī tuō kè shàoxiào， ér lǎo jiān jù huá de bái gé sī tuō kè wèile cuò bài tuō kè sī xiǎo jiě de yě xīn， bǎ yī dí sī yǐn jiàn gěi dǒng bèi， dǎo zhì liǎo tā de dì 'èr cì zāinàn xìng de hūn yīn。
zài《 dǒng bèi fù zǐ》 yī shū zhōng， dí gèng sī hái miáo xiě liǎo xǔ duō xiǎo rén wù hé tā men de shēng huó。 pò luò xiǎo shāng rén suǒ luó mén · jí 'ěr sī、 bǎo luó de nǎi niàn tú dé 'ěr yī jiā、 fú luò lún sī de tiē shēn nǚ pú sū shān děng zài gè fāng miàn dū yǔ dǒng bèi xíng chéng duì bǐ。 wǒ men zài shū zhōng kàn dào， yī fāng miàn shì dǒng bèi de huá guì fǔ dǐ， lìng yī fāng miàn shì tú dé 'ěr yī jiā zhù de pò làn bù kān de pín mín kū。 jìn guǎn rú cǐ， qián zhě lěng ruò bīng jiào， hòu zhě rè qì téng téng， chōng mǎn yǒu 'ài yǔ huān lè。 zài nà lěng kù de zī běn zhù yì shè huì， zhè xiē xiǎo rén wù shēn shàng tǐ xiàn liǎo rén qíng hé rén xìng zhōng shàn liáng měi hǎo de běn néng。 bō lì · tú dé 'ěr nà xīng wàng de jiā zú héng héng tā nà fēng fù de rǔ zhī hé zhòng duō de hái zǐ dū miáo xiě de shí fēn kuā zhāng、 fù yú xiàng zhēng yì yì， tǐ xiàn liǎo shēng de huān lè hé duì wèi lái de xī wàng。 yòu qù de shì， zài zuò zhě de qiǎo miào 'ān pái zhī xià， zhè xiē dì wèi dī jiàn de xiǎo rén wù yòu bù duàn gēn dǒng bèi“ zāo yù”。 rú suǒ luó mén · jí 'ěr sī de hǎo yǒu、 luò bó de chuán cháng nèi dé · kǎ tè 'ěr jìng páo qù yǔ dǒng bèi xiān shēng chēng xiōng dào dì， hái yǐ zì jǐ de táng xiá zǐ děng kě xiào de“ chuán jiā bǎo” lái dāng dǐ yā， yào dǒng bèi jiè kuǎn gěi tā。 zhè zài dǒng bèi kàn lái jiǎn zhí shì hài rén tīng wén。 tā bǎi chū zuì wēi fēng lǐn lǐn de jià shì， dàn zuì méi yòu xiàn shí gǎn díkǎ tè 'ěr chuán cháng duì cǐ háo wú chá jué， nòng dé dǒng bèi fǎn 'ér shǒu zú wú cuò。 hòu lái， nǚ pú sū shān yòu chéng dǒng bèi wò bìng de dāng 'ér gōng rán xiàng tā tiǎo zhàn， zhǐ zhe tā de bí zǐ shǔluò tā de bù shì， qì dé dǒng bèi xiān shēng mù dèng kǒu dāi。 zhè xiē xǐ jù xìng chǎng miàn hōng tuō chū liǎo láo dòng rén mín shēng dòng huó pō de xíng xiàng； shì tā men chuō pò liǎo dǒng bèi de 'ào màn， shǐ tā lù chū liǎo dǐ lǐ de kōng xū yǔ ruǎn ruò。 zài sì shí nián dài miáo xiě láo dòng rén mín xíng xiàng de zuò pǐn zhōng， zhè zhǒng xǐ jù huà de chǔlǐ shì bié jù yī gé de。
zǒng zhī， chuān chā yú gù shì zhōng de zhòng duō de péi chèn rén wù dū tiān zhēn wú xié， bù shì shǎ dé kě 'ài jiù shì“ jiǎo huá” dé kě xiào。 tā men bù jǐn tuī dòng qíng jié fā zhǎn， ér qiě wéi quán shū dài lái liǎo huān lè qì fēn hé yōu mò qíng qù， shǐ《 dǒng bèi fù zǐ》 chéng wéi dí gèng sī xiǎo shuō zhōng jì yòu shēn dù yòu ráo yòu qù wèi de dài biǎo zuò。 hái zài liánzǎi de shí hòu， bù shí zì de lǎo bǎi xìng zài yī tiān de láolèi zhī hòu jiù yào jù zài yī qǐ tīng rén lǎng dú《 dǒng bèi fù zǐ》， zhí zhì jīn tiān， tā hái shòu dào guǎng dà dú zhě de xǐ 'ài。
Plot summary
The story concerns Paul Dombey, the wealthy owner of the shipping company of the book's title, whose dream is to have a son to continue his business. The book begins when his son is born, and Dombey's wife dies shortly after giving birth. Following the advice of Mrs Louisa Chick, his sister, Dombey employs a wet nurse named Mrs Richards (Toodle). Dombey already has a daughter, Florence, whom he neglects. One day, Mrs Richards, Florence and her maid, Susan Nipper, secretly pay a visit Mrs Richard's house in Stagg's Gardens in order that she can see her children. During this trip, Florence becomes separated and is kidnapped for a short time by Good Mrs Brown before being returned to the streets. She makes her way to Dombey and Son's offices in the City and is guided there by Walter Gay, an employee, who first introduces her to his uncle, the navigation instrument maker Solomon Gill, at his shop the Midshipman.
The child, also named Paul, is weak and often ill, and does not socialize normally with others; adults call him "old fashioned". He is intensely fond of his elder sister, Florence, who is deliberately neglected by her father as irrelevant and a distraction. He is sent away to Brighton, first for his health, where he and Florence lodge with the ancient and acidic Mrs Pipchin, and then for his education to Dr and Mrs Blimber's school, where he and the other boys undergo both an intense and arduous education under the tutelage of Mr Feeder, B.A. and Cornelia Blimber. It is here that Paul is befriended by a fellow pupil, the amiable Mr Toots.
Here, Paul's health declines even further in this 'great hothouse' and he finally dies, still only six years old. Dombey pushes his daughter away from him after the death of his son, while she futilely tries to earn his love. In the meantime, Walter, who works for Dombey and Son, is sent off to work in Barbados through the manipulations of the firm's manager, Mr James Carker, 'with his white teeth', who sees him as a potential rival through his association with Florence. His boat is reported lost and he is presumed drowned. Walter's uncle leaves to go in search of Walter, leaving his great friend Captain Edward Cuttle in charge of the Midshipman. Meanwhile, Florence is now left alone with few friends to keep her company.
Dombey goes to Leamington Spa with a new friend, Major Joseph B. Bagstock. The Major deliberately sets out to befriend Dombey in order to spite his neighbour in Princess's Place, Miss Tox, who has turned cold towards him owing to her hopes - through her close friendship with Mrs Chick - of marrying Mr Dombey. At the spa, Dombey is introduced via the Major to Mrs Skewton and her widowed daughter, Mrs Edith Granger. It is here that he develops an affection for Edith, encouraged by both the Major and the avaricious mother. After they return to London, Dombey remarries, effectively 'buying' the beautiful but haughty Edith as she and her mother are in a poor financial state. The marriage is loveless; his wife despises Dombey for his overbearing pride and herself for being shallow and worthless. Her love for Florence initially prevents her from leaving, but finally she conspires with Mr Carker to ruin Dombey's public image by running away together to Dijon. They do so after her last final argument with Dombey in which he once again attempts to subdue her to his will. When he discovers that she has left him, he blames Florence for siding with her step-mother, striking her on the breast in his anger, and she is forced to run away from home. Highly distraught, she finally makes her way to The Midshipman where she lodges with Captain Cuttle as he attempts to restore her back to health. They are visited frequently by Mr Toots and his boxing companion, the Chicken, since Mr Toots has been desperately in love with Florence since their time together in Brighton.
Dombey sets out to find his wife. He is helped in this by Mrs Brown and her daughter, Alice, who, it turns out, was a former lover of Mr Carker. After being transported as a convict after he involved her in some criminal activities, she is seeking her revenge against him now she is returned to England. Going to Mrs Brown's house, Dombey overhears the conversation between Rob the Grinder - who is in the employment of Mr Carker - and the old woman as to the couple's whereabouts and sets off in pursuit. In the meantime, in Dijon, Mrs Dombey informs Carker that she sees him in no better a light than she sees Dombey, that she will not stay with him and she flees their apartment. Distraught, with both his financial and personal hopes lost, Carker flees from his former employer's pursuit. He seeks refuge back in England but, being greatly overwrought, accidentally falls under a train and is killed.
After Carker's death, it is discovered that he had been running the firm far beyond its means. This information is gleaned by Carker's brother and sister, John and Harriet, from Mr Morfin, the assistant manager at Dombey and Son, who sets out to help John Carker. He often overheard the conversations between the two brothers in which James, the younger, often abused John, the older, who was just a lowly clerk and who is sacked by Dombey because of his filial relationship to the former manager. Meanwhile, back at the Midshipman, Walter reappears, having been saved by a passing ship after floating adrift with two other sailors on some wreckage. After some time, he and Florence are finally reunited - not as 'brother' and 'sister' but as lovers, and they marry prior to sailing for China on Walter's new ship. This is also the time when Sol Gills returns to the Midshipman. As he relates to his friends, he received news whilst in Barbados that a homeward-bound China trader had picked up Walter and so had returned to England immediately. He said he had sent letters whilst in the Caribbean to his friend Ned Cuttle c/o Mrs MacStinger at Cuttle's former lodgings, and the bemused Captain recounts how he fled the place, thus never receiving them.
Florence and Walter depart and Sol Gills is entrusted with a letter, written by Walter to her father, pleading for him to be reconciled towards them both. A year passes and Alice Brown has slowly been dying despite the tender care of Harriet Carker. One night Alice's mother reveals that Alice herself is the [illegitimate]] cousin of Edith Dombey (which accounts for their similarity in appearance when they both meet). In a chapter entitled 'Retribution', Dombey and Son goes bankrupt. Dombey retires to two rooms in his house and all its contents are put up for sale. Mrs Pipchin, for some time the housekeeper, dismisses all the servants and she herself returns to Brighton, to be replaced by Mrs Richards. Dombey spends his days sunk in gloom, seeing no-one and thinking only of his daughter:
“ He thought of her as she had been that night when he and his bride came home. He thought of her as she had been in all the home events of the abandoned house. He thought, now, that of all around him, she alone had never changed. His boy had faded into dust, his proud wife had sunk into a polluted creature, his flatterer and friend had been transformed into the worst of villains, his riches had melted away, the very walls that sheltered him looked on him as a stranger; she alone had turned the same, mild gentle look upon him always. Yes, to the latest and the last. She had never changed to him - nor had he ever changed to her - and she was lost. ”
However, one day Florence returns to the house with her son, Paul, and is lovingly reunited with her father.
Dombey accompanies his daughter to her and Walter's house where he slowly starts to decline, cared for by Florence and also Susan Nipper, now Mrs Toots. They receive a visit from Edth's Cousin Feenix who takes Florence to Edith for one final time - Feenix sought Edith out in France and she returned to England under his protection. Edith gives Florence a letter, asking Dombey to forgive her her crime before her departure to the South of Italy with her elderly relative. As she says to Florence, 'I will try, then to forgive him his share of the blame. Let him try to forgive me mine!'
The final chapter (LXII) sees Dombey now a white-haired old man, 'whose face bears heavy marks of care and suffering; but they are traces of a storm that has passed on for ever, and left a clear evening in its track'.. Sol Gills and Ned Cuttle are now partners at the Midshipman, a source of great pride to the latter, and Mr and Mrs Toots announce the birth of their third daughter. Walter is doing well in business, having been appointed to a position of great confidence and trust, and Dombey is the proud grandfather of both a grandson and grand-daughter of whom he dotes on, and the book ends with the highly moving lines:
“ 'Dear grandpapa, why do you cry when you kiss me?'
He only answers, 'Little Florence! Little Florence!' and smooths away the curls that shade her earnest eyes.
”
Source
Dombey and Son, Charles Dickens, Wordsworth Classics, 1995, ISBN 1 85326 257 9
Critical appreciation
Dombey and Son was conceived first and foremost as a continuous novel. A letter from Dickens to Forster on 26th July, 1846 shows the major details of the plot and theme already substantially worked out. According to the critic George Gissing, 'Dombey was begun at Lausanne, continued at Paris, completed in London, and at English seaside places; whilst the early parts were being written, a Christmas story, The Battle of Life, was also in hand, and Dickens found it troublesome to manage both together. That he overcame the difficulty -- that, soon after, we find him travelling about England as member of an amateur dramatic company -- that he undertook all sorts of public engagements and often devoted himself to private festivity -- Dombey going on the while, from month to month -- is matter enough for astonishment to those who know anything about artistic production. But such marvels become commonplaces in the life of Charles Dickens.'
As with most of Dickens' work, a number of socially significant themes are to be found in this book. In particular the book deals with the then-prevalent common practice of arranged marriages for financial gain. Other themes to be detected within this work include child cruelty (particularly in Dombey's treatment of Florence), familial relationships, and as ever in Dickens, betrayal and deceit and the consequences thereof. Another strong central theme, which the critic George Gissing elaborates on in detail in his 1925 work The Immortal Dickens, is that of pride and arrogance, of which Paul Dombey senior is the extreme exemplification in Dickens' work.
Gissing makes a number of points about certain key inadequacies in the novel, not the least that Dickens's central character is largely unsympathetic and an unsuitable vehicle and also that after the death of the young Paul Dombey the reader is somewhat estranged from the rest of what is to follow. He notes that 'the moral theme of this book was Pride -- pride of wealth, pride of place, personal arrogance. Dickens started with a clear conception of his central character and of the course of the story in so far as it depended upon that personage; he planned the action, the play of motive, with unusual definiteness, and adhered very closely in the working to this well-laid scheme'. However, he goes on to write that,'Dombey and Son is a novel which in its beginning promises more than its progress fulfils' and gives the following reasons why:
“ Impossible to avoid the reflection that the death of Dombey's son and heir marks the end of a complete story, that we feel a gap between Chapter XVI and what comes after (the author speaks of feeling it himself, of his striving to "transfer the interest to Florence") and that the narrative of the later part is ill-constructed, often wearisome, sometimes incredible. We miss Paul, we miss Walter Gay (shadowy young hero though he be); Florence is too colourless for deep interest, and the second Mrs. Dombey is rather forced upon us than accepted as a natural figure in the drama. Dickens's familiar shortcomings are abundantly exemplified. He is wholly incapable of devising a plausible intrigue, and shocks the reader with monstrous improbabilities such as all that portion of the denouement in which old Mrs. Brown and her daughter are concerned. A favourite device with him (often employed with picturesque effect) was to bring into contact persons representing widely severed social ranks; in this book the "effect" depends too often on "incidences of the boldest artificiality," as nearly always we end by neglecting the story as a story, and surrendering ourselves to the charm of certain parts, the fascination of certain characters.' ”
Characters in the novel
Karl Ashley Smith (the University of St Andrews) in his Introduction to Wordsworth Classics' Dombey and Son makes some reflections on the novel's characters. He believes that Dombey’s power to disturb comes from his belief that human relationships can be controlled by money, giving the following examples to support this viewpoint:
“ He tries to prevent Mrs Richards from developing an attachment to Paul by emphasising the wages he pays her. Mrs Pipchin’s small talk satisfies him as ‘the sort of think for which he paid her so much a quarter’ (p.132). Worst of all, he effectively buys his second wife and expects that his wealth and position in society will be enough to keep her in awed obedience to him. Paul’s questions about money are only the first indication of the naivety of his outlook'. ”
However, he also believes that the satire against this man is tempered with compassion.
Smith also draws attention to the fact that certain characters in the novel 'develop a pattern from Dickens's earlier novels, whilst pointing the way to future works'. One such character is Little Paul who is a direct descendant of Little Nell. Another is James Carker, the ever-smiling manager of Dombey and Son. Smith notes there are strong similarities between him and the likes of Jaggers in Great Expectations and, even more so, the evil barrister, Mr Tulkinghorn, in Bleak House:
“ From Fagin (Oliver Twist) onwards, the terrifying figure exerting power over others by an infallible knowledge of their secrets becomes one of the author’s trademarks ... His gentlemanly businesslike respectability marks him out as the ancestor of Tulkinghorn in Bleak House and even of Jaggers in Great Expectations. And his involvements in the secrets of others leads him to as sticky an end as Tulkinghorn’s. The fifty-fifth chapter, where he is forced to flee his outraged employer, magnificently continues the theme of the guilt-hunted man from Bill Sikes in Oliver Twist and Jonas’s restless sense of pursuit in Martin Chuzzlewit. There is always a strong sense in Dickens of the narrative drive of discovery catching up with those who deal in darkness...' ”
Gissing looks at some of the minor characters in the novel and is particularly struck by that of Edward (Ned) Cuttle.
“ Captain Cuttle has a larger humanity than his roaring friend [Captain Bunsby], he is the creation of humour. That the Captain suffered dire things at the hands of Mrs. MacStinger is as credible as it is amusing, but he stood in no danger of Bunsby's fate; at times he can play his part in a situation purely farcical, but the man himself moves on a higher level. He is one of the most familiar to us among Dickens's characters, an instance of the novelist's supreme power, which (I like to repeat) proves itself in the bodying forth of a human personality henceforth accepted by the world. His sentences have become proverbs; the mention of his name brings before the mind's eye an image of flesh and blood -- rude, tending to the grotesque, but altogether lovable. Captain Cuttle belongs to the world of Uncle Toby, with, to be sure, a subordinate position. Analyse him as you will, make the most of those extravagances which pedants of to-day cannot away with, and in the end you will still be face to face with something vital -- explicable only as the product of genius. ”
The growth of the railways
A strong theme is the destruction and degradation (of people and places) caused by industrialisation, illustrated in particular by the building of the new railway through Camden Town (assumed to represent the London and Birmingham Railway constructed between 1833 and 1837). This reflects Dickens's apparent antipathy towards railways[citation needed], later reinforced by his involvement in a train crash in 1865. Soon after this incident he wrote two short stories (Mugby Junction and The Signal-Man) which projected a morbid view of the railways.
Final thoughts
Gissing refers to Dickens's instinctive genius for reflecting the thoughts and morals of the common man in his writing. He observes that the author was in constant communication with Forster,
“ ... as to the feeling of his readers about some proposed incident or episode; not that he feared, in any ignoble sense, to offend his public, but because his view of art involved compliance with ideals of ordinary simple folk. He held that view as a matter of course. Quite recently it has been put forth with prophetic fervour by Tolstoy, who cites Dickens among the few novelists whose work will bear this test. An instinctive sympathy with the moral (and therefore the artistic) prejudices of the everyday man guided Dickens throughout his career, teaching him when, and how far, he might strike at things he thought evil, yet never defeat his prime purpose of sending forth fiction acceptable to the multitude. Himself, in all but his genius, a representative Englishman of the middle-class, he was able to achieve this task with unfailing zeal and with entire sincerity. ”
Karl Smith, in his turn, gives his specific reasons for what makes Dombey and Son - and the works of Dickens as a whole - worth reading again and again. He observes that this is based in part on Dickens's 'recognition that solemn themes require humour and verbal vigour to accompany and complement them' and goes on to conclude:
“ Grim psychological realism, social commentary, comic absurdity and symbolic transcendence are here brought together more than in any previous novel with the possible exception of Oliver Twist. Dombey and Son not only prepares the ground for Dickens’s later masterpieces, but demands to be enjoyed for its own energy and richness. ”
Characters in "Dombey and Son"
The "Wooden Midshipman" of Uncle Sol's nautical instrument shop of the same name. Statue in the Charles Dickens Museum.
* Mr Paul Dombey – the wealthy owner of the shipping company
* Edith Granger – proud widowed daughter of Mrs Skewton, becomes second Mrs Dombey
* Mrs Fanny Dombey – Mr Dombey's first wife, mother of Florence and Paul, dies soon after Paul is born
* Master Paul Dombey (Little Dombey) – the son, is weak and often ill
* Miss Florence (Floy) Dombey – the elder daughter whom Mr Dombey neglects
* Mrs Louisa Chick – Mr Dombey's sister
* Mr Chick – husband of Mrs Chick
* Miss Lucretia Tox – friend of Mrs Chick, great admirer of Mr Dombey, and neighbour of Major Joseph Bagstock
* James Carker (Mr Carker the Manager) – devious manager in Mr Dombey's business
* John Carker (Mr Carker the Junior) – disgraced older brother of James, lower level employee in Dombey's business
* Miss Harriet Carker – sister of James and John
* Mr Morfin – assistant manager in Mr Dombey's business
* Mr Perch – messenger in Mr Dombey's business
* Solomon (Uncle Sol) Gills – ships' instrument maker and owner of the "Wooden Midshipman", a shop
* Walter Gay – nephew of Gills, friend to Florence, employee of Mr Dombey, sent away by Carker the Manager
* Captain Edward (Ned) Cuttle – retired sea captain, friend of Gills
* Major Joseph Bagstock (Josh, Joe, J.B., Old Joe) – conceited retired army major, admirer of Miss Tox, friend of Mr Dombey until his downfall
* Briggs – schoolmate of Paul's
* Tozer – schoolmate of Paul's
* Mr P. Toots – schoolmate of Paul's, later a dandy in love with Florence
* The Game Chicken – rowdy companion of Mr Toots
* Miss Susan Nipper – Florence's loyal nurse, later marries Mr. Toots
* Mrs Cleopatra Skewton – Edith Dombey's infirm mother and former lover of Bagstock
* Mr Toodle – a railway engineer
* Polly Toodle (Mrs Richards) – wife of Mr Toodle, engaged as nurse to Paul under the name Mrs Richards (by Mr Dombey's order)
* Robin Toodle (Rob the Grinder, Biler) – son of Mr Toodle and Polly, sent to Charitable Grinders school, later engaged in service to Captain Cuttle and Mr. Carker the Manager
* Good Mrs. Brown – an elderly rag dealer
* Alice – daughter of Brown, former lover of Carker's, recently returned from transportation
* Jack Bunsby – commander of a ship, and regarded as an oracle by Captain Cuttle. Eventually is wedded to Mrs MaacStinger.
* Mrs MacStinger – Captain Cuttle's landlady and nemesis
* Mrs Pipchin – stern widow who keeps an 'infantine Boarding-House of a very select description' in Brighton, where Paul is sent for his health
* Master Bitherstone – a fellow-boarder at Mrs. Pipchin's, much later a student at Doctor Blimber's
* Miss Pankey – a fellow-boarder at Mrs. Pipchin's
* Sir Barnet Skettles –
* Lady Skettles –
* Master Skettles – Brighton school pupil
* Doctor Blimber – runs a school in Brighton which Paul briefly attends
* Mrs Blimber – Doctor Blimber's wife
* Miss Cornelia Blimber – Doctor Blimber's daughter, teacher at the school
* Mr Feeder, B.A. – Doctor Blimber's assistant, teacher at the school
* Diogenes (Di) – A dog from the school, befriended by Paul and adopted by Florence after Paul's death
Film, TV or theatrical adaptations
The novel has been adapted for the screen at least three times:
* 1917 - a silent starring Norman McKinnel as Paul Dombey and Hayford Hobbs as Walter Gay
* 1969 - a television mini-series starring John Carson as Paul Dombey and Derek Seaton as Walter Gay
* 1983 - a television mini-series starring Julian Glover as Paul Dombey and Max Gold as Walter Gay
There have also been BBC radio adaptations.
In 2007, a two-part French miniseries, Dombais et Fils, was produced by France 3, directed by Laurent Jaoui and starring Christophe Malavoy as "Charles Dombais" (Paul Dombey).
It was announced in September 2009 that Andrew Davies would no longer be writing a proposed television adaptation for the BBC.
Original publication
Dombey and Son was originally published in 19 monthly instalments; each cost one shilling (except for the last, which cost two shillings, being a double issue) and contained 32 pages of text with two illustrations by Phiz:
* I - October 1846 (chapters 1-4);
* II - November 1846 (chapters 5-7);
* III - December 1846 (chapters 8-10);
* IV - January 1847 (chapters 11-13);
* V - February 1847 (chapters 14-16);
* VI - March 1847 (chapters 17-19);
* VII - April 1847 (chapters 20-22);
* VIII - May 1847 (chapters 23-25);
* IX - June 1847 (chapters 26-28);
* X - July 1847 (chapters 29-31);
* XI - August 1847 (chapters 32-34);
* XII - September 1847 (chapters 35-38);
* XIII - October 1847 (chapters 39-41);
* XIV - November 1847 (chapters 42-45);
* XV - December 1847 (chapters 46-48);
* XVI - January 1848 (chapters 49-51);
* XVII - February 1848 (chapters 52-54);
* XVIII - March 1848 (chapters 55-57);
* XIX-XX - April 1848 (chapters 58-62).
Trivia
* The motto of the publication Notes and Queries, "When found, make a note of", comes from the novel.
* In the illustrated plate, "Major Bagstock is delighted to have that opportunity," the lettering "HOTEL" on the central building in the background is written in mirror-writing. Phiz, the illustrator, evidently forgot to reverse the lettering so that it would read correctly when the plate was printed. (However, strangely, he got the other lettering in the same plate correct.)
* Sir Harry Johnston wrote a sequel to Dombey and Son in about 1920, titled The Gay-Dombeys.
* In the novel Velocity by Dean Koontz, the comatose wife of the main protagonist often makes incoherent references to the works of Dickens, the 'most mysterious' coming from Dombey and Son, "I want to know what it says, the sea. What it is that it keeps on saying."
《 gū xīng xuè lèi》（ yòu míng《 yuǎn dà qián chéng》） shì dí gèng sī zuì chéng shú de dài biǎo zuò pǐn zhī yī。 xiǎo shuō xù shù liǎo yī gè qīng nián huàn xiǎng pò miè de gù shì。 jīn qián shǐ pí pǔ cóng yī gè qióng xué tú biàn chéng kuòshào yé， yě shǐ tā rǎn shàng liǎo shàng liú shè huì de 'è xí， ér bèi lí liǎo tā yuán yòu de láo dòng rén mín de chún pǔ tiān xìng。 méi yòu liǎo jīn qián， pí pǔ liǎng shǒu kōng kōng dì huí dào jiā xiāng， zé huī fù liǎo zì jǐ de rén xìng。 dí gèng sī yǐ tā dú tè de fāng shì， chǔlǐ 19 shì jì wén xué zhōng jù yòu pǔ biàn yì yì de qīng nián rén de shēng huó dào lù de zhù tí， tū chū liǎo duì jīn qián fǔ shí zuò yòng de jiē lù。
yīng guó zhù míng zuò jiā chá lǐ · dí gèng sī de cháng piān xiǎo shuō《 gū xīng xuè lèi》 céng xiān hòu jǐ shí cì bèi bān shàng yín mù， dàn yóu dà wèi · lǐ 'ēn dǎo yǎn， yuē hàn · mǐ 'ěr sī、 zhēn · xī méng sī、 ā lì kè · jīn nà sī děng yōu xiù yǎn yuán zhù yǎn de zhè bù yǐngpiān , yī zhí bèi rèn wéi shì zuì chéng gōng de yī bù。 yǐngpiān xù shù 19 shì jì chū， nián qīng de yīng guó xiāng cūn tiě jiàng pí pǔ ( yuē hàn · mǐ 'ěr sī shì )， yóu yú nián yòu shí wú yì zhōng bāng zhù guò yī wèi hán yuān bèi xiàn rù yù de táo fàn， ér dé dào yī gè bù zhī xìng míng de 'ēn rén kāng kǎi dà fāng de bāng zhù。 hòu lái， tā zhōng yú jī shēn yú lún dūn shàng liú shè huì， bìng yǔ měi lì de shàonǚ 'āi sī tái nà ( zhēn · xī méng sī shì ) jié xià liǎo shēn hòu de qíng yì。 dà wèi · lǐ 'ēn dǎo yǎn de zhè bù yǐngpiān， bù jǐn zhēn shí dì zài xiàn liǎo 19 shì jì yīng guó shè huì de fēng mào， ér qiě chéng gōng dì yùn yòng liǎo yī xì liè diàn yǐng jì qiǎo， zài diàn yǐng huà fāng miàn qǔ dé liǎo jié chū de chéng jiù。 tè bié shì yǐngpiān kāi tóu， xiǎo nán hái pí pǔ yǔ táo fàn zài huāng jiāo yě wài xiāng yù de chǎng miàn， zài diàn yǐng shǐ shàng yī zhí bèi fèng wéi jīng diǎn。
《 gū xīng xuè lèi》 - mù hòu yīng xióng
zài 'ào sī kǎ jiǎng de lì shǐ shàng， zhè bù yǐngpiān shì xiāng dāng zhòng yào de， shì yǔ《 hēi shuǐ xiān huā》 zuì zǎo huò dé 'ào sī kǎ shè yǐng jiǎng hé měi gōng jiǎng de liǎng bù yīng guó yǐngpiān。 yīng guó shè yǐng shī gài yī · gé lín zài shè zhì liǎo《 gū xīng xuè lèi》、《 wù dū gū 'ér》 děng yǐngpiān zhī hòu， gǎi xíng cóng shì dǎo yǎn gōng zuò， xiān hòu dǎo yǎn liǎo《 biāo zhì》、《 fèn nù de chén mò》、《 yī cì bù gòu》 děng 'èr shí bā bù yǐngpiān。 yuē hàn · bù léi 'ēn (1911 － 1969) bù jǐn shì yīng guó yī wèi chū sè de měi gōng shī， yě shì yī wèi zhì piàn rén hé dǎo yǎn。 chú běn piàn wài， tā hái dān rèn guò《 xī bān yá yuán dīng》、《 mǎ zuǐ》 děng yǐngpiān de měi gōng。
《 gū xīng xuè lèi》 - nèi róng jiǎn jiè
gù shì jiǎng shù yī gè xiǎo gū 'ér pí pǔ， cóng xiǎo yǐ kào jiě jiě yǔ jiě fū guò huó， què zài wú yì zhōng bāng zhù liǎo yī wèi hán yuān bèi xiàn de táo fàn， hòu lái shòu dào yī wèi bù yuàn tòu lù shēn fèn de rén shì zī zhù， shǐ tā néng zài shàng liú shè huì qiú xué shēng huó， chéng wéi yī míng shēn shì。 yuē sè fū · hā dí zhí dǎo de cǐ piàn shì dí gèng sī míng zhù《 gū xīng xuè lèi》 de chóngpāi diàn shì bǎn。 yuán běn dǎ suàn pāi chéng gē wǔ piàn， hòu lái yīnyuè chè xiāo， yīn cǐ běn piàn pāi lái jiào wéi píng dàn。 mài kè 'ěr · yuē kè、 zhān mǔ sī · méi sēn děng zài cǐ piàn de biǎo xiàn yī bān， dàn gù shì běn shēn nèi róng fēng fù， réng jù yòu yī dìng de xī yǐn lì。
Great Expectations is written in the style of bildungsroman, which follows the story of a man or woman in their quest for maturity, usually starting from childhood and ending in the main character's eventual adulthood. Great Expectations is the story of the orphan Pip, writing about his life and attempting to become a gentleman along the way. The novel can also be considered semi-autobiographical of Dickens, like much of his work, drawing on his experiences of life and people.
The main plot of Great Expectations takes place between Christmas Eve 1812, when the protagonist is about seven years old (and which happens to be the year of Dickens' birth), and the winter of 1840.
yīng guó zhù míng zuò jiā chá lǐ · dí gèng sī de cháng piān xiǎo shuō《 gū xīng xuè lèi》 céng xiān hòu jǐ shí cì bèi bān shàng yín mù， dàn yóu dà wèi · lǐ 'ēn dǎo yǎn， yuē hàn · mǐ 'ěr sī、 zhēn · xī méng sī、 ā lì kè · jīn nà sī děng yōu xiù yǎn yuán zhù yǎn de zhè bù yǐngpiān , yī zhí bèi rèn wéi shì zuì chéng gōng de yī bù。 yǐngpiān xù shù 19 shì jì chū， nián qīng de yīng guó xiāng cūn tiě jiàng pí pǔ ( yuē hàn · mǐ 'ěr sī shì )， yóu yú nián yòu shí wú yì zhōng bāng zhù guò yī wèi hán yuān bèi xiàn rù yù de táo fàn， ér dé dào yī gè bù zhī xìng míng de 'ēn rén kāng kǎi dà fāng de bāng zhù。 hòu lái， tā zhōng yú jī shēn yú lún dūn shàng liú shè huì， bìng yǔ měi lì de shàonǚ 'āi sī tái nà ( zhēn · xī méng sī shì ) jié xià liǎo shēn hòu de qíng yì。 dà wèi · lǐ 'ēn dǎo yǎn de zhè bù yǐngpiān， bù jǐn zhēn shí dì zài xiàn liǎo 19 shì jì yīng guó shè huì de fēng mào， ér qiě chéng gōng dì yùn yòng liǎo yī xì liè diàn yǐng jì qiǎo， zài diàn yǐng huà fāng miàn qǔ dé liǎo jié chū de chéng jiù。 tè bié shì yǐngpiān kāi tóu， xiǎo nán hái pí pǔ yǔ táo fàn zài huāng jiāo yě wài xiāng yù de chǎng miàn， zài diàn yǐng shǐ shàng yī zhí bèi fèng wéi jīng diǎn。
《 gū xīng xuè lèi》 - mù hòu yīng xióng
zài 'ào sī kǎ jiǎng de lì shǐ shàng， zhè bù yǐngpiān shì xiāng dāng zhòng yào de， shì yǔ《 hēi shuǐ xiān huā》 zuì zǎo huò dé 'ào sī kǎ shè yǐng jiǎng hé měi gōng jiǎng de liǎng bù yīng guó yǐngpiān。 yīng guó shè yǐng shī gài yī · gé lín zài shè zhì liǎo《 gū xīng xuè lèi》、《 wù dū gū 'ér》 děng yǐngpiān zhī hòu， gǎi xíng cóng shì dǎo yǎn gōng zuò， xiān hòu dǎo yǎn liǎo《 biāo zhì》、《 fèn nù de chén mò》、《 yī cì bù gòu》 děng 'èr shí bā bù yǐngpiān。 yuē hàn · bù léi 'ēn (1911 － 1969) bù jǐn shì yīng guó yī wèi chū sè de měi gōng shī， yě shì yī wèi zhì piàn rén hé dǎo yǎn。 chú běn piàn wài， tā hái dān rèn guò《 xī bān yá yuán dīng》、《 mǎ zuǐ》 děng yǐngpiān de měi gōng。
《 gū xīng xuè lèi》 - nèi róng jiǎn jiè
gù shì jiǎng shù yī gè xiǎo gū 'ér pí pǔ， cóng xiǎo yǐ kào jiě jiě yǔ jiě fū guò huó， què zài wú yì zhōng bāng zhù liǎo yī wèi hán yuān bèi xiàn de táo fàn， hòu lái shòu dào yī wèi bù yuàn tòu lù shēn fèn de rén shì zī zhù， shǐ tā néng zài shàng liú shè huì qiú xué shēng huó， chéng wéi yī míng shēn shì。 yuē sè fū · hā dí zhí dǎo de cǐ piàn shì dí gèng sī míng zhù《 gū xīng xuè lèi》 de chóngpāi diàn shì bǎn。 yuán běn dǎ suàn pāi chéng gē wǔ piàn， hòu lái yīnyuè chè xiāo， yīn cǐ běn piàn pāi lái jiào wéi píng dàn。 mài kè 'ěr · yuē kè、 zhān mǔ sī · méi sēn děng zài cǐ piàn de biǎo xiàn yī bān， dàn gù shì běn shēn nèi róng fēng fù， réng jù yòu yī dìng de xī yǐn lì。
Great Expectations is written in the style of bildungsroman, which follows the story of a man or woman in their quest for maturity, usually starting from childhood and ending in the main character's eventual adulthood. Great Expectations is the story of the orphan Pip, writing about his life and attempting to become a gentleman along the way. The novel can also be considered semi-autobiographical of Dickens, like much of his work, drawing on his experiences of life and people.
The main plot of Great Expectations takes place between Christmas Eve 1812, when the protagonist is about seven years old (and which happens to be the year of Dickens' birth), and the winter of 1840.
gù shì fā shēng zài shí jiǔ shì jì de yīng guó。 zài yī gè hán lěng de shēn yè， yīng guó lún dūn de píng mín qū lǐ， yī gè yīng 'ér gāng gāng chū shì， tā mǔ qīn biàn lí kāi liǎo rén shì。 shuí yě bù zhī dào nà chǎn fù shì shuí， tā yí xià de 'ér zǐ biàn chéng liǎo wú míng de gū 'ér。 gū 'ér bèi běn dì jiào huì shōu liú， yóu nǚ guǎn shì fǔ yǎng， gěi tā qǐ liǎo yī gè míng zì jiào 'ào lì fú。
ào lì fú jiǔ suì de shí hòu， bù néng xiàng yòu qián rén jiā hái zǐ nà yàng jìn xué xiào niàn shū， nǚ guǎn shì hái bǎ tā sòng jìn gōng chǎng， hé qí tā tóng gōng yī qǐ， rì yè gànlì bù shèng rèn de kǔ huó， bìng qiě bù ràng tā chī bǎo。 xìng gé juéjiàng de 'ào lì fú bèi dà jiā tuī wéi dài biǎo， tí chū zēng jiā liáng shí de yào qiú。 gōng chǎng de zhí yuán dà jīng shī sè， biàn bù yuàn jì xù shōu liú 'ào lì fú， pà tā yǐng xiǎng qí tā tóng gōng。
dāng shí， bìn yí guǎn de lǎo bàn sēn yà bǐ lì zhèng xū yào xué tú， biàn huā liǎo wǔ gè jīn bàng bǎ tā lǐng liǎo chū qù。 ào lì fú huàn liǎo gè xīn huán jìng， shēng huó guò dé shāo hǎo liǎo yī xiē。 tā cān jiā chū bìn hángliè， xíng dòng guīju， hé hū lǐ yí。 lǎo bàn hěn mǎn yì， dàn zāo dào niánzhǎng xué tú de jì dù， gù yì jī xiào、 wǔ rǔ tā rén gé。 ào lì fú rěn wú kě rěn， bá quán bó dǒu。 lǎo bǎn fū fù jiāng tā dú dǎ， tā bēi fèn tián xiōng， xīng yè chū zǒu。 yī lián bù xíng liǎo qī tiān， cái dào dá lún dūn。
jǔ mù wú qīn， jī hán jiāo pò， zài jué wàng zhōng tā yù dào liǎo shàonián yà dí。 yà dí dài tā dào yī dòng pò bài de wū zǐ lǐ， zhè lǐ yuán lái shì wō cáng fěi dào de kū。 zéi shǒu fú gēn jiàn 'ào lì fú cōng míng líng lì， hěn shì xǐ huān， biàn yào tā hé yà dí yī qǐ shàng jiē qù tōu qiè。 bù liào yà dí shī shǒu bèi fā xiàn， ào lì fú xīn xū， bá tuǐ táo páo， jiēguǒ bèi rén zhuā jìn liǎo jǐng jú。 zéi shǒu fú gēn tīng shuō 'ào lì fú bèi zhuā， tòng zé yà dí wú yòng， yòu dān xīn 'ào lì fú zài jǐng jú zhāo rèn， biàn hé lìng yī zéi shǒu pí lì shāng yì， jué dìng yóu pí lì de qī zǐ nán shān chū miàn， mào chōng 'ào lì fú jiě jiě， jù bǎo jiāng tā lǐng huí。
dàn shì， jǐng jú shěn pī shí， shū diàn lǎo bǎn zhèng míng， tā kàn dào dāng shí páqiè de xiǎo zéi bìng fēi 'ào lì fú。 bèi qiè de zhù rén shì lún dūn fù wēng luó bó tè， yīn zì jǐ yuān wǎng 'ào lì fú hěn gǎn qiàn jiù， yòu jiàn tā kě 'ài yòu kě lián， biàn jiāng tā lǐng huí jiā qù。 ào lì fú dào luó bó tè jiā hòu， shòu dào lǎo rén de chǒng 'ài， jì bù chóu chī chuān， hái néng shàng xué dú shū。 bù liào， luó bó tè yòu gè míng jiào mèng sī de qīn qī， zhuī jiū 'ào lì fú de shēn shì， fā xiàn yuán lái tā shì luó bó tè de wài sūn， nà luó bó tè de quán bù jiā chǎn biàn yào yóu tā chéng shòu。 mèng sī qǐ tú mǒu duó móu duó zhè bǐ cái chǎn， biàn jiāng cǐ shì yán shǒu mì mì， hái hé zéi shǒu pí lì gòu jié， qǐ tú móu hài 'ào lì fú。
mǒu rì， pí lì hé tā qī zǐ nán shān zài jiē shàng xún fǎng， yù jiàn 'ào lì fú， lì jí bǎ tā bǎng huí zéi kū。 fú gēn jiāng tā dú dǎ， jīhū sàng mìng。 nán shān cóng mèng sī chù tàn tīng dào 'ào lì fú de shēn shì hòu， shí fēn tóng qíng， wèile jiù tā chū xiǎn， ràng tā zǔ sūn tuán yuán， biàn 'àn 'àn qù bǎ xiāo xī gào sù liǎo luó bó tè， dāyìng xià cì dài 'ào lì fú tóng lái。 bù liào shì qíng bèi pí lì fā xiàn， hé fú gēn yī qǐ， jiāng nán shān huó huó dǎ sǐ。 luó bó tè zài jiā děng hòu nán shān， dào liǎo yuē dìng zhī qī， bù jiàn nán shān dào lái。 hū rán tīng dào jiē shàng chuán shuō nán shān cǎn sǐ， biàn bào gào jǐng jú， suí tóng jǐng chá zhí dǎo zéi kū。 shì mín men yě fēn fēn cān jiā zhuō zéi， shēng shì hào dà。 fú gēn hé pí lì zuì zhōng nán táo fǎ wǎng。 ào lì fú sǐ lǐ táo shēng， bèi luó bó tè lǐng huí， zǔ sūn tuán jù。
Background
Oliver Twist is notable for Dickens' unromantic portrayal of criminals and their sordid lives. The book also exposed the cruel treatment of many a waif-child in London, which increased international concern in what is sometimes known as "The Great London Waif Crisis". This was the astounding number of orphans in London in the Dickens era. The book's subtitle, The Parish Boy's Progress alludes to Bunyan's The Pilgrim's Progress and also to a pair of popular 18th-century caricature series by William Hogarth, "A Rake's Progress" and "A Harlot's Progress".
An early example of the social novel, the book calls the public's attention to various contemporary evils, including the Poor Law, child labour and the recruitment of children as criminals. Dickens mocks the hypocrisies of his time by surrounding the novel's serious themes with sarcasm and dark humour. The novel may have been inspired by the story of Robert Blincoe, an orphan whose account of hardships as a child labourer in a cotton mill was widely read in the 1830s. It is likely that Dickens's own early youth as a child labourer contributed to the story's development.
Oliver Twist has been the subject of numerous film and television adaptations, and is the basis for a highly successful musical play and the multiple Academy Award winning motion picture Oliver!.
Publications
Cover, first edition of serial, entitled "The Adventures of Oliver Twist" January 1846
Design by George Cruikshank
The book was originally published in Bentley's Miscellany as a serial, in monthly instalments that began appearing in the month of February 1837 and continued through April 1839. It was originally intended to form part of Dickens's serial The Mudfog Papers. It did not appear as its own monthly serial until 1846. George Cruikshank provided one steel etching per month to illustrate each installment. The first novelization appeared six months before the serialization was completed. It was published in three volumes by Richard Bentley, the owner of Bentley's Miscellany, under the author's pseudonym, "Boz" and included 24 steel-engraved plates by Cruikshank.
Plot summary
Workhouse and first jobs
Oliver Twist is born into a life of poverty and misfortune in a workhouse in an unnamed town (although when originally published in Bentley's Miscellany in 1837 the town was called Mudfog and said to be within 75 miles north of London). Orphaned almost from his first breath by his mother’s death in childbirth and his father’s unexplained absence, Oliver is meagerly provided for under the terms of the Poor Law, and spends the first eight years of his life at a baby farm in the 'care' of a woman named Mrs. Mann. Along with other juvenile offenders against the poor laws, Oliver is brought up with little food and few comforts. Around the time of the orphan’s ninth birthday, Mr. Bumble, a parish beadle, removes Oliver from the baby farm and puts him to work picking oakum at the main workhouse (the same one where his mother worked before she died). Oliver, who toils with very little food, remains in the workhouse for six months, until the desperately hungry boys decide to draw lots; the loser must ask for another portion of gruel. The task falls to Oliver, who at the next meal tremblingly comes forward, bowl in hand, and makes his famous request: "Please, sir, I want some more."
Oliver; "Please, sir, I want some more."
A great uproar ensues. The board of well-fed gentlemen who administer the workhouse, while eating a meal fit for a mighty king, offer five pounds to any person wishing to take on the boy as an apprentice. A brutal chimney sweep almost claims Oliver, but, when he begs despairingly not to be sent away with "that dreadful man" a kindly old magistrate refuses to sign the indentures. Later, Mr. Sowerberry, an undertaker employed by the parish, takes Oliver into his service. He treats Oliver better, and, because of the boy's sorrowful countenance, uses him as a mourner, at children's funerals. However, Mr. Sowerberry is in an unhappy marriage, and his wife takes an immediate dislike to Oliver—primarily because her husband seems to like him—and loses few opportunities to underfeed and mistreat him. He also suffers torment at the hands of Noah Claypole, an oafish but bullying fellow apprentice who is jealous of Oliver's promotion to mute, and Charlotte, the Sowerberry's maidservant, who is in love with Noah.
One day, in an attempt to bait Oliver, Noah insults the orphan’s late mother, calling her "a regular right-down bad 'un". Oliver flies into an unexpected passion, attacking and even beating the much bigger boy. Mrs. Sowerberry takes Noah's side, helps him subdue Oliver, punches and beats Oliver, and later compels her husband and Mr. Bumble, who has been sent for in the aftermath of the fight, into beating Oliver again. Once Oliver is sent to his room for the night, he does something that he hadn't done since babyhood—breaks down and weeps. Alone that night, Oliver finally decides to run away. He wanders aimlessly for a time, until a well-placed milestone sets his wandering feet towards London.
The Artful Dodger and Fagin
George Cruikshank original engraving of the Artful Dodger (centre), here introducing Oliver (right) to Fagin (left)
During his journey to London, Oliver encounters Jack Dawkins, more commonly known by the nickname the "Artful Dodger", although Oliver's innocent nature prevents him from recognising this hint that the boy may be dishonest. Dodger provides Oliver with a free meal and tells him of a gentleman in London who will "give him lodgings for nothing, and never ask for change". Grateful for the unexpected assistance, Oliver follows Dodger to the "old gentleman"'s residence. In this way, Oliver unwittingly falls in with an infamous Jewish criminal known as Fagin, the so-called gentleman of whom the Artful Dodger spoke. Ensnared, Oliver lives with Fagin and his gang of juvenile pickpockets in their lair at Saffron Hill for some time, naively unaware of their criminal occupations. He believes they make wallets and handkerchiefs.
Later, Oliver innocently goes out to "make handkerchiefs" because of no income coming in, with two of Fagin’s underlings: The Artful Dodger and a boy of a humorous nature named Charley Bates. Oliver realises too late that their real mission is to pick pockets. Dodger and Charley steal the handkerchief of an old gentleman named Mr. Brownlow, and promptly flee. When he finds his handkerchief missing, Mr. Brownlow turns round, sees Oliver, and pursues him. Others join the chase and Oliver is caught and taken before the magistrate. Curiously, Mr. Brownlow has second thoughts about the boy—he seems reluctant to believe he is a pickpocket. To the judge's evident disappointment, a bookstall holder who saw Dodger commit the crime clears Oliver, who, by now actually ill, faints in the courtroom. Mr. Brownlow takes Oliver home and, along with his housekeeper Mrs. Bedwin, cares for him.
Bill Sikes
Oliver stays with Mr. Brownlow, recovers rapidly, and blossoms from the unaccustomed kindness. His bliss, however, is interrupted when Fagin, fearing Oliver might "peach" on his criminal gang, decides that Oliver must be brought back to his hideout. When Mr. Brownlow sends Oliver out to pay for some books, one of the gang, a young girl named Nancy, whom Oliver had previously met at Fagin's, accosts him with help from her abusive lover, a brutal robber named Bill Sikes, and Oliver is quickly bundled back to Fagin's lair. The thieves take the five pound note Mr. Brownlow had entrusted to him, and strip him of his fine new clothes. Oliver, dismayed, flees and attempts to call for police assistance, but is ruthlessly dragged back by the Dodger, Charley and Fagin. Nancy, however, is sympathetic towards Oliver and saves him from beatings by Fagin and Sikes.
In a renewed attempt to draw Oliver into a life of crime, Fagin forces him to participate in a burglary. Nancy reluctantly assists in recruiting him, all the while assuring the boy that she will help him if she can. Sikes, after threatening to kill him if he does not cooperate, sends Oliver through a small window and orders him to unlock the front door. The robbery goes wrong, however, and Oliver is shot. After being abandoned by Sikes, the wounded Oliver ends up under the care of the people he was supposed to rob: Rose Maylie, her guardian Mrs. Maylie (unrelated to Rose and raising her as her own niece), and Harry Maylie (Mrs. Maylie's son who loves Rose). Convinced of Oliver’s innocence, Rose takes the boy in and nurses him back to health.
Mystery
Meanwhile, a mysterious man named Monks has found Fagin and is plotting with him to destroy Oliver's reputation. Monks denounces Fagin's failure to turn Oliver into a criminal and the two of them agree on a plan to make sure he does not find out about his past. Monks is apparently related to Oliver in some manner, although it's not mentioned until later.
Back In Oliver's hometown, Mr Bumble has married Ms Corney, the wealthy matron of the workhouse, only to find himself constantly arguing with his unhappy wife. After one such argument, Mr Bumble walks over to a pub, where he meets Monks, who informs him about a boy named Oliver Twist. Later the two of them arrange to take a locket and ring which had once belonged to Oliver's mother and toss it into a nearby river. Monks relates this to Fagin as part of the plot to destroy Oliver, unaware that Nancy has eavesdropped on their conversation and gone ahead to inform Oliver's benefactors.
Nancy, by this time ashamed of her role in Oliver's kidnapping, and fearful for the boy's safety, goes to Rose Maylie and Mr. Brownlow to warn them. She knows that Monks and Fagin are plotting to get their hands on the boy again and holds some secret meetings on the subject with Oliver's benefactors. One night Nancy tries to leave for one of the meetings but Sikes refuses permission when she doesn't state exactly where she's going. Fagin realizes that Nancy is up to something and resolves to find out what her secret is.
Meanwhile Noah Claypole has fallen out with the undertaker Mr. Sowerberry, stolen money from him and moved to London. Charlotte has accompanied him—they are now in a relationship. Using the name "Morris Bolter", he joins Fagin's gang for protection. During Noah's stay with Fagin, the Artful Dodger is caught with a stolen silver snuff box, convicted (in a very humorous courtroom scene) and transported to Australia. Later, Noah is sent by Fagin to "dodge" (spy on) Nancy, and discovers her secret: she has been meeting secretly with Rose and Mr. Brownlow to discuss how to save Oliver from Fagin and Monks. Fagin angrily passes the information on to Sikes, twisting the story just enough to make it sound as if Nancy had informed on him (in reality, she had shielded Sikes, whom she loves despite his brutal character). Believing her to be a traitor, Sikes beats Nancy to death in a fit of rage, and is himself killed when he accidentally hangs himself while fleeing across a rooftop from an angry mob.
Resolution
Fagin in his cell.
Monks is forced by Mr. Brownlow (an old friend of Oliver's father) to divulge his secrets: his real name is Edward Leeford, and he is Oliver's paternal half-brother and, although he is legitimate, he was born of a loveless marriage. Oliver's mother, Agnes, was their father's true love. Mr. Brownlow has a picture of her, and began making inquiries when he noticed a marked resemblance between her face, and the face of Oliver. Monks has spent many years searching for his father's child—not to befriend him, but to destroy him (see Henry Fielding's Tom Jones for similar circumstances). Brownlow asks Oliver to give half his inheritance (which proves to be meagre) to Monks because he wants to give him a second chance; and Oliver, being prone to giving second chances, is more than happy to comply. Monks then moves to America, where he squanders his money, reverts to crime, and ultimately dies in prison. Fagin is arrested and condemned to the gallows; in an emotional scene, Oliver goes to Newgate Gaol to visit the old reprobate on the eve of his hanging, (where Fagin's terror at being hanged has caused him to come down with fever).
On a happier note, Rose Maylie turns out to be the long-lost sister of Oliver's mother Agnes; she is therefore Oliver's aunt. She marries her long-time sweetheart Harry, and Oliver lives happily with his saviour, Mr. Brownlow. Noah becomes a paid, semi-professional informer to the police (a "stoolie", or "stoolpigeon" in American terminology). The Bumbles lose their jobs (under circumstances that cause him to utter the well-known line "The law is a ass") and are reduced to great poverty, eventually ending up in the same workhouse where they once lorded it over Oliver and the other boys; and Charley Bates, horrified by Sikes's murder of Nancy, becomes an honest citizen, moves to the country, and works his way up to prosperity.
Major themes and symbols
Introduction
In Oliver Twist, Dickens mixes grim realism, and merciless satire as a way to describe the effects of industrialism on 19th-century England and to criticise the harsh new Poor Laws. Oliver, an innocent child, is trapped in a world where his only options seem to be the workhouse, Fagin's thieves, a prison or an early grave. From this unpromising industrial/institutional setting, however, a fairy tale also emerges: In the midst of corruption and degradation, the essentially passive Oliver remains pure-hearted; he steers away from evil when those around him give in to it; and, in proper fairy-tale fashion, he eventually receives his reward—leaving for a peaceful life in the country, surrounded by kind friends. On the way to this happy ending, Dickens explores the kind of life an orphan, outcast boy could expect to lead in 1830s London.
Poverty and social class
Poverty is a prominent concern in Oliver Twist. Throughout the novel, Dickens enlarges on this theme, describing slums so decrepit that whole rows of houses are on the point of ruin. In an early chapter, Oliver attends a pauper's funeral with Mr. Sowerberry and sees a whole family crowded together in one miserable room.
This ubiquitous misery makes Oliver's few encounters with charity and love more poignant. Oliver owes his life several times over to kindness both large and small. The apparent plague of poverty that Dickens describes also conveyed to his middle-class readers how much of the London population was stricken with poverty and disease. Nonetheless, in Oliver Twist he delivers a somewhat mixed message about social caste and social injustice. Oliver's illegitimate workhouse origins place him at the nadir of society; as an orphan without friends, he is routinely despised. His "sturdy spirit" keeps him alive despite the torment he must endure. Most of his associates, however, deserve their place among society's dregs and seem very much at home in the depths. Noah Claypole, a charity boy like Oliver, is idle, stupid, and cowardly; Sikes is a thug; Fagin lives by corrupting children; and the Artful Dodger seems born for a life of crime. Many of the middle-class people Oliver encounters—Mrs. Sowerberry, Mr. Bumble, and the savagely hypocritical "gentlemen" of the workhouse board, for example; are, if anything, worse.
Oliver, on the other hand, who has an air of refinement remarkable for a workhouse boy, proves to be of gentle birth. Although he has been abused and neglected all his life, he recoils, aghast, at the idea of victimizing anyone else. This apparently hereditary gentlemanliness makes Oliver Twist something of a changeling tale, not just an indictment of social injustice. Oliver, born for better things, struggles to survive in the savage world of the underclass before finally being rescued by his family and returned to his proper place—a commodious country house.
In a recent film adaptation of the novel, Roman Polanski dispenses with the problem of Oliver's genteel origins by making him an anonymous orphan, like the rest of Fagin's gang.
Oliver is wounded in a burglary.
Symbolism
Dickens makes considerable use of symbolism. The many symbols Oliver faces are primarily good versus evil, with evil continually trying to corrupt and exploit good, but good winning out in the end. The "merry old gentleman" Fagin, for example, has satanic characteristics: he is a veteran corrupter of young boys who presides over his own corner of the criminal world; he makes his first appearance standing over a fire holding a toasting-fork; and he refuses to pray on the night before his execution. The London slums, too, have a suffocating, infernal aspect; the dark deeds and dark passions are concretely characterised by dim rooms, and pitch-black nights, while the governing mood of terror and brutality may be identified with uncommonly cold weather. In contrast, the countryside where the Maylies take Oliver is a pastoral heaven.
Food is another important symbol; Oliver's odyssey begins with a simple request for more gruel, and Mr. Bumble's shocked exclamation, represents he may be after more than just gruel. Chapter 8—which contains the last mention of food in the form of Fagin's dinner—marks the first time Oliver eats his share and represents the transformation in his life that occurs after he joins Fagin's gang.
The novel is also shot through with a related motif, obesity, which calls attention to the stark injustice of Oliver's world. When the half-starved child dares to ask for more, the men who punish him are fat. It is interesting to observe the large number of characters who are overweight.
Toward the end of the novel, the gaze of knowing eyes becomes a potent symbol. For years, Fagin avoids daylight, crowds, and open spaces, concealing himself in a dark lair most of the time: when his luck runs out at last, he squirms in the "living light" of too many eyes as he stands in the dock, awaiting sentence. After Sikes kills Nancy, he flees into the countryside but is unable to escape the memory of her dead eyes. Charley Bates turns his back on crime when he sees the murderous cruelty of the man who has been held up to him as a model.
Nancy’s decision to meet Brownlow and Rose on London Bridge reveals the symbolic aspect of this bridge in Oliver Twist. Bridges exist to link two places that would otherwise be separated by an uncrossable void. The meeting on London Bridge represents the collision of two worlds unlikely ever to come into contact—the idyllic world of Brownlow and Rose, and the atmosphere of degradation in which Nancy lives. On the bridge, Nancy is given the chance to cross over to the better way of life that the others represent, but she rejects that opportunity, and by the time the three have all left the bridge, that possibility has vanished forever.
When Rose gives Nancy her handkerchief, and when Nancy holds it up as she dies, Nancy has gone over to the "good" side against the thieves. Her position on the ground is as if she is in prayer, this showing her godly or good position.
Characters
The Last Chance.
In the tradition of Restoration Comedy and Henry Fielding, Dickens fits his characters with appropriate names. Oliver himself, though "badged and ticketed" as a lowly orphan and named according to an alphabetical system, is, in fact, "all of a twist." Mr. Grimwig is so called because his seemingly "grim", pessimistic outlook is actually a protective cover for his kind, sentimental soul. Other character names mark their bearers as semi-monstrous caricatures. Mrs. Mann, who has charge of the infant Oliver, is not the most motherly of women; Mr. Bumble, despite his impressive sense of his own dignity, continually mangles the king's English he tries to use; and the Sowerberries are, of course, "sour berries", a reference to Mrs. Sowerberry's perpetual scowl, to Mr. Sowerberry's profession as an undertaker, and to the poor provender Oliver receives from them. Rose Maylie’s name echoes her association with flowers and springtime, youth and beauty, while Toby Crackit’s is a reference to his chosen profession–housebreaking.
Bill Sikes’s dog, Bull’s-eye, has “faults of temper in common with his owner” and is an emblem of his owner’s character. The dog’s viciousness represents Sikes’s animal-like brutality, while Sikes's self-destructiveness is evident in the dog's many scars. The dog, with its willingness to harm anyone on Sikes's whim, shows the mindless brutality of the master. Sikes himself senses that the dog is a reflection of himself and that is why he tries to drown the dog. He is really trying to run away from who he is.[citation needed] This is also illustrated when Sikes dies and the dog does immediately also. After Sikes murders Nancy, Bull’s-eye also comes to represent Sikes’s guilt. The dog leaves bloody footprints on the floor of the room where the murder is committed. Not long after, Sikes becomes desperate to get rid of the dog, convinced that the dog’s presence will give him away. Yet, just as Sikes cannot shake off his guilt, he cannot shake off Bull’s-eye, who arrives at the house of Sikes’s demise before Sikes himself does. Bull’s-eye’s name also conjures up the image of Nancy’s eyes, which haunts Sikes until the bitter end and eventually causes him to hang himself accidentally.
Dickens employs polarised sets of characters to explore various dual themes throughout the novel;[citation needed] Mr. Brownlow and Fagin, for example, personify 'Good vs. Evil'. Dickens also juxtaposes honest, law-abiding characters such as Oliver himself with those who, like the Artful Dodger, seem more comfortable on the wrong side of the law. 'Crime and Punishment' is another important pair of themes, as is 'Sin and Redemption': Dickens describes criminal acts ranging from picking pockets to murder (suggesting that this sort of thing went on continually in 1830's London) only to hand out punishments with a liberal hand at the end. Most obviously, he shows Bill Sikes hounded to death by a mob for his brutal acts, and sends Fagin to cower in the condemned cell, sentenced to death by due process. Neither character achieves redemption; Sikes dies trying to run away from his guilt, and on his last night alive, the terrified Fagin refuses to see a rabbi or to pray, instead asking Oliver to help him escape. Nancy, by contrast, redeems herself at the cost of her own life, and dies in a prayerful pose.
Nancy is also one of the few characters in Oliver Twist to display much ambivalence. Although she is a full-fledged criminal, indoctrinated and trained by Fagin since childhood, she retains enough empathy to repent her role in Oliver's kidnapping, and to take steps to try to atone. As one of Fagin's victims, corrupted but not yet morally dead, she gives eloquent voice to the horrors of the old man's little criminal empire. She wants to save Oliver from a similar fate; at the same time, she recoils from the idea of turning traitor, especially to Bill Sikes, whom she loves. When he was later criticised for giving a "thieving, whoring slut of the streets" such an unaccountable reversal of character, Dickens ascribed her change of heart to "the last fair drop of water at the bottom of a dried-up, weed-choked well".
ào lì fú jiǔ suì de shí hòu， bù néng xiàng yòu qián rén jiā hái zǐ nà yàng jìn xué xiào niàn shū， nǚ guǎn shì hái bǎ tā sòng jìn gōng chǎng， hé qí tā tóng gōng yī qǐ， rì yè gànlì bù shèng rèn de kǔ huó， bìng qiě bù ràng tā chī bǎo。 xìng gé juéjiàng de 'ào lì fú bèi dà jiā tuī wéi dài biǎo， tí chū zēng jiā liáng shí de yào qiú。 gōng chǎng de zhí yuán dà jīng shī sè， biàn bù yuàn jì xù shōu liú 'ào lì fú， pà tā yǐng xiǎng qí tā tóng gōng。
dāng shí， bìn yí guǎn de lǎo bàn sēn yà bǐ lì zhèng xū yào xué tú， biàn huā liǎo wǔ gè jīn bàng bǎ tā lǐng liǎo chū qù。 ào lì fú huàn liǎo gè xīn huán jìng， shēng huó guò dé shāo hǎo liǎo yī xiē。 tā cān jiā chū bìn hángliè， xíng dòng guīju， hé hū lǐ yí。 lǎo bàn hěn mǎn yì， dàn zāo dào niánzhǎng xué tú de jì dù， gù yì jī xiào、 wǔ rǔ tā rén gé。 ào lì fú rěn wú kě rěn， bá quán bó dǒu。 lǎo bǎn fū fù jiāng tā dú dǎ， tā bēi fèn tián xiōng， xīng yè chū zǒu。 yī lián bù xíng liǎo qī tiān， cái dào dá lún dūn。
jǔ mù wú qīn， jī hán jiāo pò， zài jué wàng zhōng tā yù dào liǎo shàonián yà dí。 yà dí dài tā dào yī dòng pò bài de wū zǐ lǐ， zhè lǐ yuán lái shì wō cáng fěi dào de kū。 zéi shǒu fú gēn jiàn 'ào lì fú cōng míng líng lì， hěn shì xǐ huān， biàn yào tā hé yà dí yī qǐ shàng jiē qù tōu qiè。 bù liào yà dí shī shǒu bèi fā xiàn， ào lì fú xīn xū， bá tuǐ táo páo， jiēguǒ bèi rén zhuā jìn liǎo jǐng jú。 zéi shǒu fú gēn tīng shuō 'ào lì fú bèi zhuā， tòng zé yà dí wú yòng， yòu dān xīn 'ào lì fú zài jǐng jú zhāo rèn， biàn hé lìng yī zéi shǒu pí lì shāng yì， jué dìng yóu pí lì de qī zǐ nán shān chū miàn， mào chōng 'ào lì fú jiě jiě， jù bǎo jiāng tā lǐng huí。
dàn shì， jǐng jú shěn pī shí， shū diàn lǎo bǎn zhèng míng， tā kàn dào dāng shí páqiè de xiǎo zéi bìng fēi 'ào lì fú。 bèi qiè de zhù rén shì lún dūn fù wēng luó bó tè， yīn zì jǐ yuān wǎng 'ào lì fú hěn gǎn qiàn jiù， yòu jiàn tā kě 'ài yòu kě lián， biàn jiāng tā lǐng huí jiā qù。 ào lì fú dào luó bó tè jiā hòu， shòu dào lǎo rén de chǒng 'ài， jì bù chóu chī chuān， hái néng shàng xué dú shū。 bù liào， luó bó tè yòu gè míng jiào mèng sī de qīn qī， zhuī jiū 'ào lì fú de shēn shì， fā xiàn yuán lái tā shì luó bó tè de wài sūn， nà luó bó tè de quán bù jiā chǎn biàn yào yóu tā chéng shòu。 mèng sī qǐ tú mǒu duó móu duó zhè bǐ cái chǎn， biàn jiāng cǐ shì yán shǒu mì mì， hái hé zéi shǒu pí lì gòu jié， qǐ tú móu hài 'ào lì fú。
mǒu rì， pí lì hé tā qī zǐ nán shān zài jiē shàng xún fǎng， yù jiàn 'ào lì fú， lì jí bǎ tā bǎng huí zéi kū。 fú gēn jiāng tā dú dǎ， jīhū sàng mìng。 nán shān cóng mèng sī chù tàn tīng dào 'ào lì fú de shēn shì hòu， shí fēn tóng qíng， wèile jiù tā chū xiǎn， ràng tā zǔ sūn tuán yuán， biàn 'àn 'àn qù bǎ xiāo xī gào sù liǎo luó bó tè， dāyìng xià cì dài 'ào lì fú tóng lái。 bù liào shì qíng bèi pí lì fā xiàn， hé fú gēn yī qǐ， jiāng nán shān huó huó dǎ sǐ。 luó bó tè zài jiā děng hòu nán shān， dào liǎo yuē dìng zhī qī， bù jiàn nán shān dào lái。 hū rán tīng dào jiē shàng chuán shuō nán shān cǎn sǐ， biàn bào gào jǐng jú， suí tóng jǐng chá zhí dǎo zéi kū。 shì mín men yě fēn fēn cān jiā zhuō zéi， shēng shì hào dà。 fú gēn hé pí lì zuì zhōng nán táo fǎ wǎng。 ào lì fú sǐ lǐ táo shēng， bèi luó bó tè lǐng huí， zǔ sūn tuán jù。
Background
Oliver Twist is notable for Dickens' unromantic portrayal of criminals and their sordid lives. The book also exposed the cruel treatment of many a waif-child in London, which increased international concern in what is sometimes known as "The Great London Waif Crisis". This was the astounding number of orphans in London in the Dickens era. The book's subtitle, The Parish Boy's Progress alludes to Bunyan's The Pilgrim's Progress and also to a pair of popular 18th-century caricature series by William Hogarth, "A Rake's Progress" and "A Harlot's Progress".
An early example of the social novel, the book calls the public's attention to various contemporary evils, including the Poor Law, child labour and the recruitment of children as criminals. Dickens mocks the hypocrisies of his time by surrounding the novel's serious themes with sarcasm and dark humour. The novel may have been inspired by the story of Robert Blincoe, an orphan whose account of hardships as a child labourer in a cotton mill was widely read in the 1830s. It is likely that Dickens's own early youth as a child labourer contributed to the story's development.
Oliver Twist has been the subject of numerous film and television adaptations, and is the basis for a highly successful musical play and the multiple Academy Award winning motion picture Oliver!.
Publications
Cover, first edition of serial, entitled "The Adventures of Oliver Twist" January 1846
Design by George Cruikshank
The book was originally published in Bentley's Miscellany as a serial, in monthly instalments that began appearing in the month of February 1837 and continued through April 1839. It was originally intended to form part of Dickens's serial The Mudfog Papers. It did not appear as its own monthly serial until 1846. George Cruikshank provided one steel etching per month to illustrate each installment. The first novelization appeared six months before the serialization was completed. It was published in three volumes by Richard Bentley, the owner of Bentley's Miscellany, under the author's pseudonym, "Boz" and included 24 steel-engraved plates by Cruikshank.
Plot summary
Workhouse and first jobs
Oliver Twist is born into a life of poverty and misfortune in a workhouse in an unnamed town (although when originally published in Bentley's Miscellany in 1837 the town was called Mudfog and said to be within 75 miles north of London). Orphaned almost from his first breath by his mother’s death in childbirth and his father’s unexplained absence, Oliver is meagerly provided for under the terms of the Poor Law, and spends the first eight years of his life at a baby farm in the 'care' of a woman named Mrs. Mann. Along with other juvenile offenders against the poor laws, Oliver is brought up with little food and few comforts. Around the time of the orphan’s ninth birthday, Mr. Bumble, a parish beadle, removes Oliver from the baby farm and puts him to work picking oakum at the main workhouse (the same one where his mother worked before she died). Oliver, who toils with very little food, remains in the workhouse for six months, until the desperately hungry boys decide to draw lots; the loser must ask for another portion of gruel. The task falls to Oliver, who at the next meal tremblingly comes forward, bowl in hand, and makes his famous request: "Please, sir, I want some more."
Oliver; "Please, sir, I want some more."
A great uproar ensues. The board of well-fed gentlemen who administer the workhouse, while eating a meal fit for a mighty king, offer five pounds to any person wishing to take on the boy as an apprentice. A brutal chimney sweep almost claims Oliver, but, when he begs despairingly not to be sent away with "that dreadful man" a kindly old magistrate refuses to sign the indentures. Later, Mr. Sowerberry, an undertaker employed by the parish, takes Oliver into his service. He treats Oliver better, and, because of the boy's sorrowful countenance, uses him as a mourner, at children's funerals. However, Mr. Sowerberry is in an unhappy marriage, and his wife takes an immediate dislike to Oliver—primarily because her husband seems to like him—and loses few opportunities to underfeed and mistreat him. He also suffers torment at the hands of Noah Claypole, an oafish but bullying fellow apprentice who is jealous of Oliver's promotion to mute, and Charlotte, the Sowerberry's maidservant, who is in love with Noah.
One day, in an attempt to bait Oliver, Noah insults the orphan’s late mother, calling her "a regular right-down bad 'un". Oliver flies into an unexpected passion, attacking and even beating the much bigger boy. Mrs. Sowerberry takes Noah's side, helps him subdue Oliver, punches and beats Oliver, and later compels her husband and Mr. Bumble, who has been sent for in the aftermath of the fight, into beating Oliver again. Once Oliver is sent to his room for the night, he does something that he hadn't done since babyhood—breaks down and weeps. Alone that night, Oliver finally decides to run away. He wanders aimlessly for a time, until a well-placed milestone sets his wandering feet towards London.
The Artful Dodger and Fagin
George Cruikshank original engraving of the Artful Dodger (centre), here introducing Oliver (right) to Fagin (left)
During his journey to London, Oliver encounters Jack Dawkins, more commonly known by the nickname the "Artful Dodger", although Oliver's innocent nature prevents him from recognising this hint that the boy may be dishonest. Dodger provides Oliver with a free meal and tells him of a gentleman in London who will "give him lodgings for nothing, and never ask for change". Grateful for the unexpected assistance, Oliver follows Dodger to the "old gentleman"'s residence. In this way, Oliver unwittingly falls in with an infamous Jewish criminal known as Fagin, the so-called gentleman of whom the Artful Dodger spoke. Ensnared, Oliver lives with Fagin and his gang of juvenile pickpockets in their lair at Saffron Hill for some time, naively unaware of their criminal occupations. He believes they make wallets and handkerchiefs.
Later, Oliver innocently goes out to "make handkerchiefs" because of no income coming in, with two of Fagin’s underlings: The Artful Dodger and a boy of a humorous nature named Charley Bates. Oliver realises too late that their real mission is to pick pockets. Dodger and Charley steal the handkerchief of an old gentleman named Mr. Brownlow, and promptly flee. When he finds his handkerchief missing, Mr. Brownlow turns round, sees Oliver, and pursues him. Others join the chase and Oliver is caught and taken before the magistrate. Curiously, Mr. Brownlow has second thoughts about the boy—he seems reluctant to believe he is a pickpocket. To the judge's evident disappointment, a bookstall holder who saw Dodger commit the crime clears Oliver, who, by now actually ill, faints in the courtroom. Mr. Brownlow takes Oliver home and, along with his housekeeper Mrs. Bedwin, cares for him.
Bill Sikes
Oliver stays with Mr. Brownlow, recovers rapidly, and blossoms from the unaccustomed kindness. His bliss, however, is interrupted when Fagin, fearing Oliver might "peach" on his criminal gang, decides that Oliver must be brought back to his hideout. When Mr. Brownlow sends Oliver out to pay for some books, one of the gang, a young girl named Nancy, whom Oliver had previously met at Fagin's, accosts him with help from her abusive lover, a brutal robber named Bill Sikes, and Oliver is quickly bundled back to Fagin's lair. The thieves take the five pound note Mr. Brownlow had entrusted to him, and strip him of his fine new clothes. Oliver, dismayed, flees and attempts to call for police assistance, but is ruthlessly dragged back by the Dodger, Charley and Fagin. Nancy, however, is sympathetic towards Oliver and saves him from beatings by Fagin and Sikes.
In a renewed attempt to draw Oliver into a life of crime, Fagin forces him to participate in a burglary. Nancy reluctantly assists in recruiting him, all the while assuring the boy that she will help him if she can. Sikes, after threatening to kill him if he does not cooperate, sends Oliver through a small window and orders him to unlock the front door. The robbery goes wrong, however, and Oliver is shot. After being abandoned by Sikes, the wounded Oliver ends up under the care of the people he was supposed to rob: Rose Maylie, her guardian Mrs. Maylie (unrelated to Rose and raising her as her own niece), and Harry Maylie (Mrs. Maylie's son who loves Rose). Convinced of Oliver’s innocence, Rose takes the boy in and nurses him back to health.
Mystery
Meanwhile, a mysterious man named Monks has found Fagin and is plotting with him to destroy Oliver's reputation. Monks denounces Fagin's failure to turn Oliver into a criminal and the two of them agree on a plan to make sure he does not find out about his past. Monks is apparently related to Oliver in some manner, although it's not mentioned until later.
Back In Oliver's hometown, Mr Bumble has married Ms Corney, the wealthy matron of the workhouse, only to find himself constantly arguing with his unhappy wife. After one such argument, Mr Bumble walks over to a pub, where he meets Monks, who informs him about a boy named Oliver Twist. Later the two of them arrange to take a locket and ring which had once belonged to Oliver's mother and toss it into a nearby river. Monks relates this to Fagin as part of the plot to destroy Oliver, unaware that Nancy has eavesdropped on their conversation and gone ahead to inform Oliver's benefactors.
Nancy, by this time ashamed of her role in Oliver's kidnapping, and fearful for the boy's safety, goes to Rose Maylie and Mr. Brownlow to warn them. She knows that Monks and Fagin are plotting to get their hands on the boy again and holds some secret meetings on the subject with Oliver's benefactors. One night Nancy tries to leave for one of the meetings but Sikes refuses permission when she doesn't state exactly where she's going. Fagin realizes that Nancy is up to something and resolves to find out what her secret is.
Meanwhile Noah Claypole has fallen out with the undertaker Mr. Sowerberry, stolen money from him and moved to London. Charlotte has accompanied him—they are now in a relationship. Using the name "Morris Bolter", he joins Fagin's gang for protection. During Noah's stay with Fagin, the Artful Dodger is caught with a stolen silver snuff box, convicted (in a very humorous courtroom scene) and transported to Australia. Later, Noah is sent by Fagin to "dodge" (spy on) Nancy, and discovers her secret: she has been meeting secretly with Rose and Mr. Brownlow to discuss how to save Oliver from Fagin and Monks. Fagin angrily passes the information on to Sikes, twisting the story just enough to make it sound as if Nancy had informed on him (in reality, she had shielded Sikes, whom she loves despite his brutal character). Believing her to be a traitor, Sikes beats Nancy to death in a fit of rage, and is himself killed when he accidentally hangs himself while fleeing across a rooftop from an angry mob.
Resolution
Fagin in his cell.
Monks is forced by Mr. Brownlow (an old friend of Oliver's father) to divulge his secrets: his real name is Edward Leeford, and he is Oliver's paternal half-brother and, although he is legitimate, he was born of a loveless marriage. Oliver's mother, Agnes, was their father's true love. Mr. Brownlow has a picture of her, and began making inquiries when he noticed a marked resemblance between her face, and the face of Oliver. Monks has spent many years searching for his father's child—not to befriend him, but to destroy him (see Henry Fielding's Tom Jones for similar circumstances). Brownlow asks Oliver to give half his inheritance (which proves to be meagre) to Monks because he wants to give him a second chance; and Oliver, being prone to giving second chances, is more than happy to comply. Monks then moves to America, where he squanders his money, reverts to crime, and ultimately dies in prison. Fagin is arrested and condemned to the gallows; in an emotional scene, Oliver goes to Newgate Gaol to visit the old reprobate on the eve of his hanging, (where Fagin's terror at being hanged has caused him to come down with fever).
On a happier note, Rose Maylie turns out to be the long-lost sister of Oliver's mother Agnes; she is therefore Oliver's aunt. She marries her long-time sweetheart Harry, and Oliver lives happily with his saviour, Mr. Brownlow. Noah becomes a paid, semi-professional informer to the police (a "stoolie", or "stoolpigeon" in American terminology). The Bumbles lose their jobs (under circumstances that cause him to utter the well-known line "The law is a ass") and are reduced to great poverty, eventually ending up in the same workhouse where they once lorded it over Oliver and the other boys; and Charley Bates, horrified by Sikes's murder of Nancy, becomes an honest citizen, moves to the country, and works his way up to prosperity.
Major themes and symbols
Introduction
In Oliver Twist, Dickens mixes grim realism, and merciless satire as a way to describe the effects of industrialism on 19th-century England and to criticise the harsh new Poor Laws. Oliver, an innocent child, is trapped in a world where his only options seem to be the workhouse, Fagin's thieves, a prison or an early grave. From this unpromising industrial/institutional setting, however, a fairy tale also emerges: In the midst of corruption and degradation, the essentially passive Oliver remains pure-hearted; he steers away from evil when those around him give in to it; and, in proper fairy-tale fashion, he eventually receives his reward—leaving for a peaceful life in the country, surrounded by kind friends. On the way to this happy ending, Dickens explores the kind of life an orphan, outcast boy could expect to lead in 1830s London.
Poverty and social class
Poverty is a prominent concern in Oliver Twist. Throughout the novel, Dickens enlarges on this theme, describing slums so decrepit that whole rows of houses are on the point of ruin. In an early chapter, Oliver attends a pauper's funeral with Mr. Sowerberry and sees a whole family crowded together in one miserable room.
This ubiquitous misery makes Oliver's few encounters with charity and love more poignant. Oliver owes his life several times over to kindness both large and small. The apparent plague of poverty that Dickens describes also conveyed to his middle-class readers how much of the London population was stricken with poverty and disease. Nonetheless, in Oliver Twist he delivers a somewhat mixed message about social caste and social injustice. Oliver's illegitimate workhouse origins place him at the nadir of society; as an orphan without friends, he is routinely despised. His "sturdy spirit" keeps him alive despite the torment he must endure. Most of his associates, however, deserve their place among society's dregs and seem very much at home in the depths. Noah Claypole, a charity boy like Oliver, is idle, stupid, and cowardly; Sikes is a thug; Fagin lives by corrupting children; and the Artful Dodger seems born for a life of crime. Many of the middle-class people Oliver encounters—Mrs. Sowerberry, Mr. Bumble, and the savagely hypocritical "gentlemen" of the workhouse board, for example; are, if anything, worse.
Oliver, on the other hand, who has an air of refinement remarkable for a workhouse boy, proves to be of gentle birth. Although he has been abused and neglected all his life, he recoils, aghast, at the idea of victimizing anyone else. This apparently hereditary gentlemanliness makes Oliver Twist something of a changeling tale, not just an indictment of social injustice. Oliver, born for better things, struggles to survive in the savage world of the underclass before finally being rescued by his family and returned to his proper place—a commodious country house.
In a recent film adaptation of the novel, Roman Polanski dispenses with the problem of Oliver's genteel origins by making him an anonymous orphan, like the rest of Fagin's gang.
Oliver is wounded in a burglary.
Symbolism
Dickens makes considerable use of symbolism. The many symbols Oliver faces are primarily good versus evil, with evil continually trying to corrupt and exploit good, but good winning out in the end. The "merry old gentleman" Fagin, for example, has satanic characteristics: he is a veteran corrupter of young boys who presides over his own corner of the criminal world; he makes his first appearance standing over a fire holding a toasting-fork; and he refuses to pray on the night before his execution. The London slums, too, have a suffocating, infernal aspect; the dark deeds and dark passions are concretely characterised by dim rooms, and pitch-black nights, while the governing mood of terror and brutality may be identified with uncommonly cold weather. In contrast, the countryside where the Maylies take Oliver is a pastoral heaven.
Food is another important symbol; Oliver's odyssey begins with a simple request for more gruel, and Mr. Bumble's shocked exclamation, represents he may be after more than just gruel. Chapter 8—which contains the last mention of food in the form of Fagin's dinner—marks the first time Oliver eats his share and represents the transformation in his life that occurs after he joins Fagin's gang.
The novel is also shot through with a related motif, obesity, which calls attention to the stark injustice of Oliver's world. When the half-starved child dares to ask for more, the men who punish him are fat. It is interesting to observe the large number of characters who are overweight.
Toward the end of the novel, the gaze of knowing eyes becomes a potent symbol. For years, Fagin avoids daylight, crowds, and open spaces, concealing himself in a dark lair most of the time: when his luck runs out at last, he squirms in the "living light" of too many eyes as he stands in the dock, awaiting sentence. After Sikes kills Nancy, he flees into the countryside but is unable to escape the memory of her dead eyes. Charley Bates turns his back on crime when he sees the murderous cruelty of the man who has been held up to him as a model.
Nancy’s decision to meet Brownlow and Rose on London Bridge reveals the symbolic aspect of this bridge in Oliver Twist. Bridges exist to link two places that would otherwise be separated by an uncrossable void. The meeting on London Bridge represents the collision of two worlds unlikely ever to come into contact—the idyllic world of Brownlow and Rose, and the atmosphere of degradation in which Nancy lives. On the bridge, Nancy is given the chance to cross over to the better way of life that the others represent, but she rejects that opportunity, and by the time the three have all left the bridge, that possibility has vanished forever.
When Rose gives Nancy her handkerchief, and when Nancy holds it up as she dies, Nancy has gone over to the "good" side against the thieves. Her position on the ground is as if she is in prayer, this showing her godly or good position.
Characters
The Last Chance.
In the tradition of Restoration Comedy and Henry Fielding, Dickens fits his characters with appropriate names. Oliver himself, though "badged and ticketed" as a lowly orphan and named according to an alphabetical system, is, in fact, "all of a twist." Mr. Grimwig is so called because his seemingly "grim", pessimistic outlook is actually a protective cover for his kind, sentimental soul. Other character names mark their bearers as semi-monstrous caricatures. Mrs. Mann, who has charge of the infant Oliver, is not the most motherly of women; Mr. Bumble, despite his impressive sense of his own dignity, continually mangles the king's English he tries to use; and the Sowerberries are, of course, "sour berries", a reference to Mrs. Sowerberry's perpetual scowl, to Mr. Sowerberry's profession as an undertaker, and to the poor provender Oliver receives from them. Rose Maylie’s name echoes her association with flowers and springtime, youth and beauty, while Toby Crackit’s is a reference to his chosen profession–housebreaking.
Bill Sikes’s dog, Bull’s-eye, has “faults of temper in common with his owner” and is an emblem of his owner’s character. The dog’s viciousness represents Sikes’s animal-like brutality, while Sikes's self-destructiveness is evident in the dog's many scars. The dog, with its willingness to harm anyone on Sikes's whim, shows the mindless brutality of the master. Sikes himself senses that the dog is a reflection of himself and that is why he tries to drown the dog. He is really trying to run away from who he is.[citation needed] This is also illustrated when Sikes dies and the dog does immediately also. After Sikes murders Nancy, Bull’s-eye also comes to represent Sikes’s guilt. The dog leaves bloody footprints on the floor of the room where the murder is committed. Not long after, Sikes becomes desperate to get rid of the dog, convinced that the dog’s presence will give him away. Yet, just as Sikes cannot shake off his guilt, he cannot shake off Bull’s-eye, who arrives at the house of Sikes’s demise before Sikes himself does. Bull’s-eye’s name also conjures up the image of Nancy’s eyes, which haunts Sikes until the bitter end and eventually causes him to hang himself accidentally.
Dickens employs polarised sets of characters to explore various dual themes throughout the novel;[citation needed] Mr. Brownlow and Fagin, for example, personify 'Good vs. Evil'. Dickens also juxtaposes honest, law-abiding characters such as Oliver himself with those who, like the Artful Dodger, seem more comfortable on the wrong side of the law. 'Crime and Punishment' is another important pair of themes, as is 'Sin and Redemption': Dickens describes criminal acts ranging from picking pockets to murder (suggesting that this sort of thing went on continually in 1830's London) only to hand out punishments with a liberal hand at the end. Most obviously, he shows Bill Sikes hounded to death by a mob for his brutal acts, and sends Fagin to cower in the condemned cell, sentenced to death by due process. Neither character achieves redemption; Sikes dies trying to run away from his guilt, and on his last night alive, the terrified Fagin refuses to see a rabbi or to pray, instead asking Oliver to help him escape. Nancy, by contrast, redeems herself at the cost of her own life, and dies in a prayerful pose.
Nancy is also one of the few characters in Oliver Twist to display much ambivalence. Although she is a full-fledged criminal, indoctrinated and trained by Fagin since childhood, she retains enough empathy to repent her role in Oliver's kidnapping, and to take steps to try to atone. As one of Fagin's victims, corrupted but not yet morally dead, she gives eloquent voice to the horrors of the old man's little criminal empire. She wants to save Oliver from a similar fate; at the same time, she recoils from the idea of turning traitor, especially to Bill Sikes, whom she loves. When he was later criticised for giving a "thieving, whoring slut of the streets" such an unaccountable reversal of character, Dickens ascribed her change of heart to "the last fair drop of water at the bottom of a dried-up, weed-choked well".
1677 hé 1678 liǎng nián， wǒ zài huáng jiā jūn duì rèn zhōng wèi， cān jiā liǎo jǐ chǎng hǎi wài zhàn yì； hòu lái wǒ jiù tuì
yì huí guó liǎo， zhù zài lún dūn dōng jiāo jǐ gōng lǐ wài de yī zuò xiǎo zhuāng yuán lǐ， nà dì fāng shì wǒ yǐ zhàng qī zǐ de míng yì
nòng dào de。
jīn tiān shì wǒ huó mìng de zuì hòu yī gè yè wǎn， wǒ yào bǎ zhēn shí qíng kuàng háo bù yǐn mán dì hé pán tuō chū。 wǒ yā
gēn 'ér jiù bù shì gè yǒng gǎn de nán zǐ hàn， zì yòu shēng xìng guāi pì duō yí。 wǒ yǎn xià zài tán lùn zì jǐ， fǎng fó yǐ jīng
lí kāi rén shì shìde， yīn wéi wǒ zài xiě zhè xiē de shí hòu， bié rén zhèng zài gěi wǒ wā fén kēng， wǒ de míng zì jiāng huì yí
chòu wàn nián。
wǒ huí dào yīng guó bù jiǔ， wǒ nà wéi yī de qīn xiōng cháng jiù huàn liǎo bù zhì zhī zhèng。 zhè shì dǎo méi gěi wǒ dài lái duō
shǎo bēi shāng， yīn wéi wǒ men liǎ zhǎngdà hòu jiù hěn shǎo lái wǎng。 tā xīn dì shàn liáng， kāng kǎi dà dù， xiàngmào cháng dé bǐ wǒ
hǎo， yě bǐ wǒ gèng yòu cái huá， shēn shòu rén men de 'ài dài。 wǒ zài guó nèi wài jié jiāo de péng yǒu， yī dàn gēn tā xiāng shí
jiù shū yuǎn wǒ liǎo。 yī jīng chū cì jiāo tán， tā men jiù dū huì jīng yà dì fā xiàn wǒ men xiōng dì liǎ zài róng mào hé jǔ zhǐ fāng
miàn jìng huì nà me bù tóng。 wǒ guàn yú yǐn dǎo tā men zuò chū zhè yàng gōng kāi de chéng rèn， yīn wéi wǒ zǎo jiù míng bái tā men bì
dìng huì duì wǒ men xiōng dì liǎ zuò chū shénme yàng de píng bǐ； wǒ xīn lǐ hěn jí dù， xiǎng fāng shè fǎ wéi zì jǐ zuò xiē biàn jiě。
wǒ men gē 'ér liǎ qǔ liǎo yī duì jiě mèi。 zhè zhǒng guān xì duì bié rén lái shuō kěn dìng huì shǐ liǎng jiā gèng jiā qīn mì， tā
què shǐ wǒ men xiōng dì liǎ yuè fā shū yuǎn liǎo。 wǒ de sǎo zǐ duì wǒ de chǔshì wéi rén shí fēn liǎo jiě。 dāng zhe tā de miàn，
wǒ cóng bù gǎn lù chū zì jǐ 'àn zhōng de jí dù huò bù mǎn qíng xù。 zài nà zhǒng shí kè， tā zǒng shì dèng qǐ liǎng yǎn dīng zhe wǒ，
shǐ wǒ cóng bù gǎn zhèng shì tā yī yǎn。 wǒ bìng méi dī tóu qiáo zhe dì huò zhě diào guò tóu qù， kě wǒ jué dé tā zǒng shì zài jiān
shì wǒ。 hòu lái wǒ men liǎng jiā nào fān liǎo， cóng cǐ duàn jué liǎo lái wǎng， zhè dǎo shǐ wǒ sōng liǎo kǒu qì。 wǒ zài guó wài yòu
tīng shuō tā qù shì de xiāo xī， xīn qíng gèng jiā shū chàng liǎo。 kě shì xiàn zài wǒ réng rán jué dé dāng chū liǎng jiā bù hé de yīn yǐng
hǎo xiàng hái zài gǔ guài 'ér kě pà dì lǒngzhào zhe wǒ men。 wǒ pà tā； tā jiù xiàng guǐ hún nà yàng kùn rǎo zhe wǒ， tā nà dīng
shì de mù guāng yǎn xià yòu chū xiàn liǎo； wǒ yī huí xiǎng qǐ tā， jiù xiàng zuò 'è mèng yī yàng， hún shēn de xuè dū níng jié qǐ lái。
tā shēng xià yī gè xiǎo nán hái zhī hòu bù jiǔ jiù sǐ liǎo。 wǒ gē gē hòu lái yě huàn liǎo zhòng bìng， zì zhī bù jiǔ yú rén
shì， biàn bǎ wǒ qī zǐ jiào dào chuáng biān， bǎ nà sì suì de hái zǐ tuō fù gěi tā zhào yìng。 tā bǎ cái chǎn quándōu yí liú gěi
hái zǐ， bìng lì xià yī fèn yí zhǔ， shēng míng wàn yī hái zǐ xiān qù shì， nà fèn yí chǎn jiù zhuǎn guī wǒ qī zǐ suǒ yòu， yǐ
cǐ zuò wéi duì tā fǔ yǎng zhí 'ér nà fèn qíng yì de bào dá。 tā duì wǒ yě shuō liǎo jǐ jù biǎo shì shǒu zú qíng yì de huà， rán
hòu jiù shuì zhe liǎo， zài yě méi xǐng guò lái。
wǒ men fū qī liǎ xī xià wú 'ér wú nǚ。 wǒ qī zǐ yóu yú jiě mèi qíng yì shēn dǔ， jīhū bǎ yī gè zuò mǔ qīn de
ài xīn dū gěi liǎo nà gè hái zǐ。 hái zǐ yě 'ài tā， jiù xiàng shì tā de qīn 'ér zǐ shìde， gēn tā yòu shēn zhì de gǎn qíng，
kě tā cháng dé kù sì tā de mǔ qīn， yě zǒng bù xìn rèn wǒ。
nào bù qīng cóng shénme shí hòu qǐ， nà hái zǐ yī chū xiàn zài wǒ miàn qián jiù jiào wǒ gǎn dào bù zì zài。 wǒ fā xiàn tā
zhù shì zhe wǒ， yǎn shén bù jǐn dài zhe zhì qì de kùn huò， hái yùn hán zhe tā mǔ qīn dāng nián duì wǒ de nà zhǒng cāi yí。 zhè
bìng fēi shì yóu yú miàn mào biǎo qíng de xiāng sì 'ér shǐ wǒ chǎn shēng de huàn jué。 tā pà wǒ， fǎng fó chū zì mǒu zhǒng zhí jué shìde。
wǒ men liǎ dān dú zài yī qǐ shí， wǒ yī wàng zhe tā， tā jiù huì dàotuì dào mén kǒu qù， yǔ cǐ tóng shí yòu yòng tā nà shuāng
liàng jīng jīng de yǎn jīng jǐn dīng zhe wǒ。
zuì chū wǒ yě xǔ zì qī dì yǐn mán liǎo zhēn shí de xiǎng fǎ， kě wǒ bìng méi xiǎng yào shāng hài tā。 xīng xǔ xiǎng dào tā jì
chéng de nà fèn yí chǎn yào shì shǔ yú wǒ men， nà gāi duō hǎo wā； xīng xǔ bā wàng tā yào shì sǐ diào， nà gāi duō hǎo wā。
dàn shì wǒ zì xìn jué méi xiǎng dào yào bǎ tā zhì yú sǐ dì。 zhè zhǒng xié niàn bìng fēi yī xià zǐ jiù lái dào de， ér shì màn màn
xíng chéng de， suí hòu wǒ jiù duì gànhuàishì de wèi jù dàn huà liǎo。 wǒ měi tiān dōuzài zhuó mó nà gè niàn tóu， zuì zhōng jiù zhǐ
xiǎng zěn yàng gàncái zuì wéi bǎo xiǎn， bù zài huí bì nà zhǒng 'è xíng liǎo。
zhè dàng zǐ shì zǒng zài wǒ nǎo zǐ lǐ pán xuán。 hái zǐ fā xiàn wǒ lǎo shì dīng láo tā 'ér lù chū de nà zhǒng nà mèn shén qíng
zhēn jiào wǒ shòu bù liǎo， kě wǒ yòu shì zhe liǎo mí dì bǎ nà shì dāng zuò yī jiàn zhèng jīng shì lái kǎo lǜ。 wǒ xīn xiǎng bǎ tā zhè
me yī gè cuì ruò de xiǎo bù diǎn 'ér gàndiào gāi huì shì jiàn duō me qīng 'ér yì jǔ de shì。 wǒ yòu shí huì shàng lóu tōu kàn tā de
shuì xiāng， píng shí cháng duǒ zài huā yuán lǐ kào jìn chuāng hù de yī kē shù hòu miàn guān wàng tā zuò zài wǒ qī zǐ shēn bàng de 'ǎi dèng shàng
mái tóu xué xí zhī shí。 wǒ jiù xiàng gè xīn huái guǐ tāi de zéi nà yàng yī lián jǐ xiǎo shí dì tōu qù， yī piàn shù yè de sè sè
shēng dū huì jiào wǒ xīn jīng ròu tiào， kě wǒ hái shì rěn bù zhù yào zài nà 'ér zhāng wàng。
lí wǒ men nà zuò xiǎo wū bù yuǎn de dì fāng yòu gè bù dà wéi rén suǒ zhī de xiǎo chí táng， bù guā fēng de shí hòu， shuí
yě tīng bù dào nà biān de shuǐ shēng。 wǒ huā fèi hǎo jǐ tiān gōng fū yòng xiǎo dāo kè liǎo yī zhǐ xiǎo mù chuán， bǎ tā fàng zài hái zǐ
kě yǐ jiàn dào de dì fāng。 suí hòu wǒ biàn duǒ cáng zài yī chù děng dài； hái zǐ yào shì xiǎng dú zì qù chí táng piào fú nà gè wán
yì 'ér， bì dìng huì dǎ nà lǐ jīng guò。 kě shì nà yī tiān yě hǎo， cì rì yě hǎo， tādōu méi qù， wǒ què cóng qīng chén
yī zhí děng dài dào rì luò。 wǒ jiān xìn tā zǎo wǎn huì luò rù wǒ de luó wǎng， yīn wéi wǒ tīng jiàn tā zài wán shuǎ nà gè wán yì
ér， yě kàn dào tā huān yú dì bǎ tā fàng zài zhěn biān。 wǒ jì bù yàn fán， yě bù pí lěi， zhǐ shì nài xīn děng dài。 dì
sān tiān， tā guǒ rán xīng gāo cǎi liè dì cóng wǒ miàn qián páo guò qù， nà tóu jīn sī huáng fā piāo dàng zhe， zuǐ lǐ hēng zhe héng héng
shàng dì ráo shù wǒ！ héng héng yī shǒu huān kuài de mín gē， ér tā jīhū hái yǎo bù zhǔn zì yǎn nà！
wǒ 'àn zì gēn suí zài tā shēn hòu， zài nà xiē 'ǎi shù cóng hòu miàn pú fú 'ér xíng， yī gè kuí wú de dà hàn huái zhe tiān
xiǎo dé shénme yàng xié 'è de xīn qíng gēn zōng nà gè xiǎo bù diǎn 'ér， yī zhí lái dào nà gè chí táng biān shàng。 wǒ kào jìn tā，
wān xià shēn zǐ， zhèng yào shēn qǐ liǎng bì bǎ tā tuī xià shuǐ， tā cóng shuǐ miàn shàng jiàn dào liǎo wǒ de shēn yǐng， lián máng zhuǎn guò tóu
lái。 tā nà mù guāng xiǎn lù chū tā qù shì de mǔ qīn nà zhǒng cāi yí de shén qíng。 yáng guāng mò dì cóng yún céng hòu miàn mào chū lái，
zhào liàng tiān kōng， zhào liàng dà dì， zhào liàng nà yī tán qīng shuǐ hé shù yè shàng de lù zhū。 chù chù dōuyòu yǎn jīng， zhěng gè yǔ
zhòu dōuzài mù dǔ zhè yī móu shā de quán guò chéng。 wǒ nào bù qīng hái zǐ qǐ xiān shuō liǎo shénme； tā shì gè jù yòu nán zǐ hàn
xuè tǒng de hòu yì， tā suī shì gè xiǎo hái， què méi yòu wèi suō huò qǐ qiú。 tā zhǐ hǎn jiào zhe shuō tā huì jìn liàng xiǎng fǎ 'ài
wǒ héng héng kě tā guò qù bìng méi zuò dào zhè yī diǎn héng héng jiē zhe wǒ jiù kàn jiàn tā wǎng jiā lǐ páo。 suí hòu， wǒ dāi shì zhe
zì jǐ shǒu zhōng nà bǎ jiàn， ér tā yǐ jīng dǎo zài wǒ de jiǎo qián。 chú liǎo shēn shàng yòu bān bān xuè jì wài， tā jīhū gēn wǒ
yǐ qián kàn dào tā shuì shú liǎo de shí hòu yī yàng héng héng lián zī shì dū xiāng tóng， nǎo dài zhěn zài tā nà xiǎo gēbei shàng。
wǒ yòng shuāng shǒu bǎ tā bào qǐ lái héng héng tā yǐ jīng yànqì liǎo héng héng qīng qīng bǎ tā de shī tǐ cáng zài cǎo cóng lǐ。 wǒ
qī zǐ nà tiān bù zài jiā， yào zài cì rì cái fǎn huí。 wǒ men wò shì de nà shàn chuāng hù lí dì miàn jǐn jǐ yīng chǐ gāo， ér
qiě fáng shè zhè yī miàn zhǐ yòu nà shàn chuāng hù。 wǒ jué dìng shēn yè cóng chuāng hù pá chū lái， bǎ hái zǐ mái zài huā yuán lǐ。 wǒ
méi xiǎng dào wǒ de jì móu huì shī bài， xīn xiǎng yī qiēdōu bù huì bèi rén fā xiàn。 zàn qiě bù qù dòng nà bǐ qián， yīn wéi wǒ
yào jìn liàng ràng rén xiāng xìn hái zǐ yào me shì zǒu diū liǎo， yào me shì ràng rén guǎi zǒu liǎo。 wǒ zhěng gè 'ér xiǎng fǎ dū jí zhōng zài
zěn yàng tuǒ shàn dì yǐn mán zì jǐ de zuì xíng zhè yī diǎn shàng。
pú rén lái gào sù wǒ hái zǐ bù jiàn liǎo， wǒ jiù fēn fù tā men sì xià lǐ qù xún zhǎo； yī yòu rén 'āi jìn wǒ， wǒ
jiù hún shēn fā dǒu， chuǎn bù guò qì lái， nà zhǒng xīn jīng dǎn zhàn de zī wèi 'ér zhēn jiào rén méi fǎ 'ér xíng róng。 nà tiān yè lǐ，
wǒ qù mái zàng hái zǐ； wǒ bō kāi shù zhī， cháo cǎo cóng wàng qù， zhǐ jiàn nà gè hái zǐ de shī tǐ shàng yòu gè shǎn liàng de rú
chóng， jiù xiàng gè xiǎo jīng líng fú zài nà gè bèi móu shā liǎo de hái zǐ shēn shàng shǎn shǎn fā guāng。 wǒ bǎ tā fàng jìn kēng lǐ shí，
hái jiàn dào nà gè chóng zǐ zài tā xiōng qián shǎn liàng； nà shì yī zhǐ yǎng wàng cāng tiān de yǎn jīng， zài qí qiú xīng dǒu zhù yì wǒ suǒ
gān de huài shì。
wǒ dé miàn duì wǒ de qī zǐ， gēn tā shuō hái zǐ shī zōng liǎo， ràng tā bào yòu hěn kuài jiù huì zhǎo dào hái zǐ de xī wàng。
wǒ zhuāng chū yī fù shí fēn chéng kěn de yàng zǐ zhè yàng zuò liǎo， yīn wéi méi rén huái yí wǒ。 cǐ hòu， wǒ jiù zhěng tiān zuò zài wò
shì chuāng hù qián， dāi wàng zhe nà gè kě pà de mì mì dì diǎn。
nà shì yī kuài xīn jìn fān guò、 zhòng pū cǎo pí de tǔ dì， wǒ tiǎo xuǎn nà lǐ mái zàng shī tǐ， shì yīn wéi zhè yàng jiù
shǐ wǒ de tiě chǎn liú xià de hén jì bù dà kě néng bèi rén fā xiàn。 nà xiē pū cǎo pí de gōng rén xiǎng bì rèn wéi wǒ fēng liǎo，
wǒ yī zhí bù duàn cuī cù tā men jiā kuài gànhuó 'ér， hái páo chū lái gēn tā men yī kuài 'ér gān， yòng jiǎo cǎi shí nà kuài dì。
bàng wǎn qián， tā men pū wán liǎo nà piàn cǎo dì， wǒ cái jué dé zì jǐ bǐ jiào 'ān quán liǎo。
wǒ tǎng xià shuì jué， kě shuì xǐng hòu bìng bù xiàng yī bān rén nà yàng jīng shén zhèn zuò， xīn qíng yú kuài； bù guò wǒ yě shuì
liǎo， zǒng shì zài zuò 'è mèng， mèng jiàn nà kuài mù dì dāng zhōng yī huì 'ér mào chū yī zhǐ shǒu， yī huì 'ér mào chū yī zhǐ jiǎo，
yī huì 'ér yòu mào chū yī gè nǎo dài。 wǒ bèi jīng xǐng， cóng chuáng shàng pá qǐ lái， tōu tōu zǒu dào chuāng qián wàng yī wàng， nòng qīng
bìng wú cǐ shì cái fàng xīn。 rán hòu wǒ yòu tǎng xià， jiù zhè yàng tōng xiāo hū shuì hū xǐng， qǐ lái tǎng xià zú yòu 20 duō cì，
méi wán méi liǎo dì zuò nà gè tóng yàng de mèng。 zhè zhēn bǐ zhēng zhe liǎng yǎn tǎng zài chuáng shàng hái yào zāo gāo， yīn wéi 'è mèng bǎ wǒ
zhé mó dé chè yè bù néng yǎn。 yòu yī cì wǒ jìng yǐ wéi nà gè hái zǐ yòu huó liǎo， wǒ yā gēn 'ér jiù méi xiǎng shā hài tā。
cóng nà gè mèng jìng xǐng guò lái， zhēn jiào rén tòng kǔ bù kān， nán yǐ rěn shòu。
cì rì， wǒ zuò zài chuāng qián， mù guāng cóng bù lí kāi nà gè dì diǎn， jìn guǎn shàng miàn yǐ jīng fù gài liǎo cǎo pí， kě
duì wǒ lái shuō， nà gè kēng de dà xiǎo shēn dù hǎo xiàng hái chǎng zhe， bào lù zài guāng tiān huà rì zhī xià shìde。 yòu shí yī gè
yōng rén cóng nà lǐ zǒu guò， wǒ zhēn dān xīn tā huì xiàn jìn nà gè kēng lǐ。 děng tā zǒu guò qù zhī hòu， wǒ jiù huì kàn kàn tā
yòu méi yòu bǎ nà gè kēng de biān yuán cǎi huài。 yī zhǐ xiǎo niǎo luò zài nà shàng miàn qī xī， yě xià dé wǒ dǎn zhàn xīn jīng， wéi
kǒng tā huì zhuó lái zhuó qù， bǎ xià miàn de mì mì bào lù chū lái。 yī zhèn wēi fēng cóng nà biān chuī lái， wǒ 'ěr zhōng biàn sì hū
tīng jiàn fēng shēng nán nán dào chū“ móu shā” zhè gè zì yǎn。 yī diǎn 'ér shēng xiǎng dū jiào wǒ jīng kǒng bù 'ān。 wǒ jiù zhè yàng kàn
shǒu， kǔ kǔ 'áo guò liǎo 3 tiān。
dì sì tiān， yī gè dāng nián gēn wǒ yī qǐ zài hǎi wài fú yì de péng yǒu lái kàn wàng wǒ， hái dài lái yī wèi wǒ cóng wèi
jiàn guò miàn de jūn guān。 kě wǒ de mù guāng yī zhí méi fǎ lí kāi nà gè dì diǎn。 nà shì yī gè chū xià de bàng wǎn， wǒ jiù
jiào yōng rén zài huā yuán lǐ bǎi zhāng zhuō zǐ， ná píng jiǔ lái kuǎn dài tā liǎ。 wǒ bǎ zì jǐ nà bǎ yǐ zǐ 'ān zhì zài nà gè mù
kēng shàng miàn， rán hòu zuò xià lái， xīn lǐ cái jué dé tà shí duō liǎo， què xìn bù huì yòu rén jiǎo rǎo nà lǐ。 wǒ men yī biān
xián liáo， yī biān hē jiǔ。
tā men wèn hòu wǒ tài tài， xī wàng zhè yàng mào mèi lái fǎng méi yòu jīng rǎo tā， méi yòu bǎ tā xià páo。 wǒ zhǐ hǎo zhī
zhī wú wú dì bǎ hái zǐ diū shī de shì gēn tā liǎ jiǎng liǎo。 nà wèi wǒ cóng wèi móu miàn de jūn guān shì gè xǐ 'ài liǎng yǎn dīng shì
dì miàn de jiā huǒ， tā de mù guāng yī zhí méi tái qǐ lái。 zhè yī shén tài zhēn bǎ wǒ xià huài liǎo。 wǒ méi fǎ rèn wéi tā méi
kàn chū shénme pò zhàn， méi qǐ shénme yí xīn。 wǒ lián máng wèn tā shì fǒu rèn wéi héng héng kě yòu zhù kǒu liǎo。 tā wēn hé dì
wàng zhe wǒ shuō：“ nín de yì sī shì shuō nà gè hái zǐ gěi hài sǐ liǎo má？ ò， bù huì de！ yī gè rén shā sǐ yī gè
kě lián de xiǎo hái 'ér， yòu huì dé dào shénme hǎo chù ní？” wǒ qí shí kě yǐ gào sù tā nà rén néng huò dé zài hǎo bù guò
de hǎo chù li， kě wǒ méi kēng shēng， xià dé hún shēn zhí dǎ duō suo。
tā liǎ wù jiě liǎo wǒ nà zhèn jī dòng， ān wèi wǒ nà gè hái zǐ chí zǎo huì gěi zhǎo dào de。 kě zhè shì shénme fǔ wèi
ā！ zhè dāng 'ér， wǒ men hū rán tīng dào yī zhèn quǎn fèi shēng， liǎng tiáo dà liè gǒu chuǎng jìn liǎo huā yuán， yī shēng jiē yī shēng dì
kuáng fèi bù zhǐ。
“ dà liè gǒu！” liǎng wèi lái kè yì kǒu tóng shēng jīng hū dào。
zhè wú xū hū gào sù wǒ！ wǒ jìn guǎn yī bèi zǐ méi jiàn guò rú cǐ xiōng měng de liè gǒu， xīn lǐ què yī xià zǐ jiù míng
bái tā men shì gànshénme lái de。 wǒ jǐn jǐn 'àn zhe yǐ zǐ fú shǒu， jì shuō bù chū huà lái。 yě dòng dàn bù liǎo lā。
“ shì chún zhǒng liè gǒu lie，” wǒ yuán lái nà wèi tóng shì yòu tiān shuō dào，“ dà gài shì gěi dài chū lái xùn liàn de，
zhèng tuō liǎo zhù rén！”
tā liǎ zhuǎn shēn wàng zhe nà liǎng tiáo gǒu， tā men cháo dì miàn xiù lái xiù qù， fán zào bù 'ān， cuàn qián cuàn hòu， fēng kuáng
dì dǎzhuàn zhuǎn， sī háo bù lǐ huì wǒ men， kě yī cì yòu yī cì dì fèi jiào， rán hòu yòu cháo dì miàn xiù gè bù tíng， yī
xīn zài xún zhǎo shénme。 zhǐ jiàn tā men bǐ gāng cái gèng zǎi xì dì xiù wén qǐ lái， jìn guǎn hái hěn fán zào， què bù zài luàn cuàn
luàn zhuǎn liǎo， ér shì yuè lái yuè jìn jí zhōng zài wǒ zuò de nà kuài dì fāng wén lái wén qù。 zuì hòu nà liǎng tiáo liè gǒu zhōng yú wén
dào wǒ zuò zhe de nà bǎ yǐ zǐ de dì diǎn， tái qǐ tóu lái háo jiào。 lì tú chě suì nà bǎ dǎng zhù tā men xiù wén xià miàn dì
miàn de yǐ zǐ。 wǒ cóng liǎng wèi lái kè de shén tài zhōng jué chū zì jǐ bào lù liǎo jīng huāng shī cuò de biǎo qíng。
“ tā men xiù dào liǎo yào zhǎo de liè wù。” liǎng rén tóng shí shuō。
“ tā men shénme yě méi xiù dào！” wǒ hǎn dào。
“ kàn zài shàng dì fèn shàng， kuài ràng kāi！” wǒ nà wèi péng yǒu tǐng rèn zhēn dì shuō，“ fǒu zé nǐ jiù huì ràng tā men
sī chě chéng suì piàn lā！”
“ nà jiù ràng tā men bǎ wǒ chě liè bā。 wǒ jué bù lí kāi zhè kuài dì fāng！” wǒ hǎn dào，“ nán dào ràng gǒu bǎ
rén hōng gǎn dào diū liǎn de sǐ wáng nà tiáo lù shàng qù má？ hōng kāi tā men， dǎ sǐ tā men！”
“ zhè xià miàn bì dìng yǐn cáng zhe shénme bù kě gào rén de mì mì！” nà wèi mò shēng de jūn guān yī biān shuō， yī biān
chōu chū bǎo jiàn。“ yǐ chá lǐ wáng de míng yì， bāng wǒ bǎ zhè rén ná xià！”
jìn guǎn wǒ xiàng gè fēng zǐ nà yàng zhēngzhá， yòu kěn yòu yǎo， tā men liǎ hái shì hěn kuài jiù bǎ wǒ zhì fú liǎo。 jiē zhe，
wǒ de lǎo tiān！ wǒ kàn dào nà liǎng tiáo liè quǎn xiàng táo shuǐ nà yàng bǎ nà kuài tǔ dì páokāi。
wǒ hái néng zài shuō shénme ní？ wǒ guì dǎo zài dì， hún shēn fā chàn， chàn huǐ dì jiāo dài liǎo wǒ de quán bù zuì xíng，
qǐ qiú ráo shù。 wǒ céng jīng shì tú dǐ lài， xiàn zài zhōng yú dī tóu rèn zuì。 wǒ wéi cǐ shòu dào shěn pàn， bìng bèi chù yǐ jí
xíng。 wǒ shī hún luò bó， méi yòu yǒng qì xiàng gè nán zǐ hàn nà yàng miàn duì wǒ de mò rì， miàn duì wǒ de miè wáng。 wǒ dé
bù dào rèn hé rén de lián xī 'ān wèi， wǒ jì wú shè miǎn de xī wàng， yě wú péng yǒu。 wǒ qī zǐ xìng kuī zàn shí shī qù liǎo
zhī jué， bìng bù zhī xiǎo wǒ de bēi cǎn jié jú。 wǒ xiàn zài dú zì yī rén lián dài wǒ de zuì 'è， gěi guān zài zhè gè dì láo
lǐ， míng tiān jiù yào wū hū 'āi zāi xià dì yù lā。
yì huí guó liǎo， zhù zài lún dūn dōng jiāo jǐ gōng lǐ wài de yī zuò xiǎo zhuāng yuán lǐ， nà dì fāng shì wǒ yǐ zhàng qī zǐ de míng yì
nòng dào de。
jīn tiān shì wǒ huó mìng de zuì hòu yī gè yè wǎn， wǒ yào bǎ zhēn shí qíng kuàng háo bù yǐn mán dì hé pán tuō chū。 wǒ yā
gēn 'ér jiù bù shì gè yǒng gǎn de nán zǐ hàn， zì yòu shēng xìng guāi pì duō yí。 wǒ yǎn xià zài tán lùn zì jǐ， fǎng fó yǐ jīng
lí kāi rén shì shìde， yīn wéi wǒ zài xiě zhè xiē de shí hòu， bié rén zhèng zài gěi wǒ wā fén kēng， wǒ de míng zì jiāng huì yí
chòu wàn nián。
wǒ huí dào yīng guó bù jiǔ， wǒ nà wéi yī de qīn xiōng cháng jiù huàn liǎo bù zhì zhī zhèng。 zhè shì dǎo méi gěi wǒ dài lái duō
shǎo bēi shāng， yīn wéi wǒ men liǎ zhǎngdà hòu jiù hěn shǎo lái wǎng。 tā xīn dì shàn liáng， kāng kǎi dà dù， xiàngmào cháng dé bǐ wǒ
hǎo， yě bǐ wǒ gèng yòu cái huá， shēn shòu rén men de 'ài dài。 wǒ zài guó nèi wài jié jiāo de péng yǒu， yī dàn gēn tā xiāng shí
jiù shū yuǎn wǒ liǎo。 yī jīng chū cì jiāo tán， tā men jiù dū huì jīng yà dì fā xiàn wǒ men xiōng dì liǎ zài róng mào hé jǔ zhǐ fāng
miàn jìng huì nà me bù tóng。 wǒ guàn yú yǐn dǎo tā men zuò chū zhè yàng gōng kāi de chéng rèn， yīn wéi wǒ zǎo jiù míng bái tā men bì
dìng huì duì wǒ men xiōng dì liǎ zuò chū shénme yàng de píng bǐ； wǒ xīn lǐ hěn jí dù， xiǎng fāng shè fǎ wéi zì jǐ zuò xiē biàn jiě。
wǒ men gē 'ér liǎ qǔ liǎo yī duì jiě mèi。 zhè zhǒng guān xì duì bié rén lái shuō kěn dìng huì shǐ liǎng jiā gèng jiā qīn mì， tā
què shǐ wǒ men xiōng dì liǎ yuè fā shū yuǎn liǎo。 wǒ de sǎo zǐ duì wǒ de chǔshì wéi rén shí fēn liǎo jiě。 dāng zhe tā de miàn，
wǒ cóng bù gǎn lù chū zì jǐ 'àn zhōng de jí dù huò bù mǎn qíng xù。 zài nà zhǒng shí kè， tā zǒng shì dèng qǐ liǎng yǎn dīng zhe wǒ，
shǐ wǒ cóng bù gǎn zhèng shì tā yī yǎn。 wǒ bìng méi dī tóu qiáo zhe dì huò zhě diào guò tóu qù， kě wǒ jué dé tā zǒng shì zài jiān
shì wǒ。 hòu lái wǒ men liǎng jiā nào fān liǎo， cóng cǐ duàn jué liǎo lái wǎng， zhè dǎo shǐ wǒ sōng liǎo kǒu qì。 wǒ zài guó wài yòu
tīng shuō tā qù shì de xiāo xī， xīn qíng gèng jiā shū chàng liǎo。 kě shì xiàn zài wǒ réng rán jué dé dāng chū liǎng jiā bù hé de yīn yǐng
hǎo xiàng hái zài gǔ guài 'ér kě pà dì lǒngzhào zhe wǒ men。 wǒ pà tā； tā jiù xiàng guǐ hún nà yàng kùn rǎo zhe wǒ， tā nà dīng
shì de mù guāng yǎn xià yòu chū xiàn liǎo； wǒ yī huí xiǎng qǐ tā， jiù xiàng zuò 'è mèng yī yàng， hún shēn de xuè dū níng jié qǐ lái。
tā shēng xià yī gè xiǎo nán hái zhī hòu bù jiǔ jiù sǐ liǎo。 wǒ gē gē hòu lái yě huàn liǎo zhòng bìng， zì zhī bù jiǔ yú rén
shì， biàn bǎ wǒ qī zǐ jiào dào chuáng biān， bǎ nà sì suì de hái zǐ tuō fù gěi tā zhào yìng。 tā bǎ cái chǎn quándōu yí liú gěi
hái zǐ， bìng lì xià yī fèn yí zhǔ， shēng míng wàn yī hái zǐ xiān qù shì， nà fèn yí chǎn jiù zhuǎn guī wǒ qī zǐ suǒ yòu， yǐ
cǐ zuò wéi duì tā fǔ yǎng zhí 'ér nà fèn qíng yì de bào dá。 tā duì wǒ yě shuō liǎo jǐ jù biǎo shì shǒu zú qíng yì de huà， rán
hòu jiù shuì zhe liǎo， zài yě méi xǐng guò lái。
wǒ men fū qī liǎ xī xià wú 'ér wú nǚ。 wǒ qī zǐ yóu yú jiě mèi qíng yì shēn dǔ， jīhū bǎ yī gè zuò mǔ qīn de
ài xīn dū gěi liǎo nà gè hái zǐ。 hái zǐ yě 'ài tā， jiù xiàng shì tā de qīn 'ér zǐ shìde， gēn tā yòu shēn zhì de gǎn qíng，
kě tā cháng dé kù sì tā de mǔ qīn， yě zǒng bù xìn rèn wǒ。
nào bù qīng cóng shénme shí hòu qǐ， nà hái zǐ yī chū xiàn zài wǒ miàn qián jiù jiào wǒ gǎn dào bù zì zài。 wǒ fā xiàn tā
zhù shì zhe wǒ， yǎn shén bù jǐn dài zhe zhì qì de kùn huò， hái yùn hán zhe tā mǔ qīn dāng nián duì wǒ de nà zhǒng cāi yí。 zhè
bìng fēi shì yóu yú miàn mào biǎo qíng de xiāng sì 'ér shǐ wǒ chǎn shēng de huàn jué。 tā pà wǒ， fǎng fó chū zì mǒu zhǒng zhí jué shìde。
wǒ men liǎ dān dú zài yī qǐ shí， wǒ yī wàng zhe tā， tā jiù huì dàotuì dào mén kǒu qù， yǔ cǐ tóng shí yòu yòng tā nà shuāng
liàng jīng jīng de yǎn jīng jǐn dīng zhe wǒ。
zuì chū wǒ yě xǔ zì qī dì yǐn mán liǎo zhēn shí de xiǎng fǎ， kě wǒ bìng méi xiǎng yào shāng hài tā。 xīng xǔ xiǎng dào tā jì
chéng de nà fèn yí chǎn yào shì shǔ yú wǒ men， nà gāi duō hǎo wā； xīng xǔ bā wàng tā yào shì sǐ diào， nà gāi duō hǎo wā。
dàn shì wǒ zì xìn jué méi xiǎng dào yào bǎ tā zhì yú sǐ dì。 zhè zhǒng xié niàn bìng fēi yī xià zǐ jiù lái dào de， ér shì màn màn
xíng chéng de， suí hòu wǒ jiù duì gànhuàishì de wèi jù dàn huà liǎo。 wǒ měi tiān dōuzài zhuó mó nà gè niàn tóu， zuì zhōng jiù zhǐ
xiǎng zěn yàng gàncái zuì wéi bǎo xiǎn， bù zài huí bì nà zhǒng 'è xíng liǎo。
zhè dàng zǐ shì zǒng zài wǒ nǎo zǐ lǐ pán xuán。 hái zǐ fā xiàn wǒ lǎo shì dīng láo tā 'ér lù chū de nà zhǒng nà mèn shén qíng
zhēn jiào wǒ shòu bù liǎo， kě wǒ yòu shì zhe liǎo mí dì bǎ nà shì dāng zuò yī jiàn zhèng jīng shì lái kǎo lǜ。 wǒ xīn xiǎng bǎ tā zhè
me yī gè cuì ruò de xiǎo bù diǎn 'ér gàndiào gāi huì shì jiàn duō me qīng 'ér yì jǔ de shì。 wǒ yòu shí huì shàng lóu tōu kàn tā de
shuì xiāng， píng shí cháng duǒ zài huā yuán lǐ kào jìn chuāng hù de yī kē shù hòu miàn guān wàng tā zuò zài wǒ qī zǐ shēn bàng de 'ǎi dèng shàng
mái tóu xué xí zhī shí。 wǒ jiù xiàng gè xīn huái guǐ tāi de zéi nà yàng yī lián jǐ xiǎo shí dì tōu qù， yī piàn shù yè de sè sè
shēng dū huì jiào wǒ xīn jīng ròu tiào， kě wǒ hái shì rěn bù zhù yào zài nà 'ér zhāng wàng。
lí wǒ men nà zuò xiǎo wū bù yuǎn de dì fāng yòu gè bù dà wéi rén suǒ zhī de xiǎo chí táng， bù guā fēng de shí hòu， shuí
yě tīng bù dào nà biān de shuǐ shēng。 wǒ huā fèi hǎo jǐ tiān gōng fū yòng xiǎo dāo kè liǎo yī zhǐ xiǎo mù chuán， bǎ tā fàng zài hái zǐ
kě yǐ jiàn dào de dì fāng。 suí hòu wǒ biàn duǒ cáng zài yī chù děng dài； hái zǐ yào shì xiǎng dú zì qù chí táng piào fú nà gè wán
yì 'ér， bì dìng huì dǎ nà lǐ jīng guò。 kě shì nà yī tiān yě hǎo， cì rì yě hǎo， tādōu méi qù， wǒ què cóng qīng chén
yī zhí děng dài dào rì luò。 wǒ jiān xìn tā zǎo wǎn huì luò rù wǒ de luó wǎng， yīn wéi wǒ tīng jiàn tā zài wán shuǎ nà gè wán yì
ér， yě kàn dào tā huān yú dì bǎ tā fàng zài zhěn biān。 wǒ jì bù yàn fán， yě bù pí lěi， zhǐ shì nài xīn děng dài。 dì
sān tiān， tā guǒ rán xīng gāo cǎi liè dì cóng wǒ miàn qián páo guò qù， nà tóu jīn sī huáng fā piāo dàng zhe， zuǐ lǐ hēng zhe héng héng
shàng dì ráo shù wǒ！ héng héng yī shǒu huān kuài de mín gē， ér tā jīhū hái yǎo bù zhǔn zì yǎn nà！
wǒ 'àn zì gēn suí zài tā shēn hòu， zài nà xiē 'ǎi shù cóng hòu miàn pú fú 'ér xíng， yī gè kuí wú de dà hàn huái zhe tiān
xiǎo dé shénme yàng xié 'è de xīn qíng gēn zōng nà gè xiǎo bù diǎn 'ér， yī zhí lái dào nà gè chí táng biān shàng。 wǒ kào jìn tā，
wān xià shēn zǐ， zhèng yào shēn qǐ liǎng bì bǎ tā tuī xià shuǐ， tā cóng shuǐ miàn shàng jiàn dào liǎo wǒ de shēn yǐng， lián máng zhuǎn guò tóu
lái。 tā nà mù guāng xiǎn lù chū tā qù shì de mǔ qīn nà zhǒng cāi yí de shén qíng。 yáng guāng mò dì cóng yún céng hòu miàn mào chū lái，
zhào liàng tiān kōng， zhào liàng dà dì， zhào liàng nà yī tán qīng shuǐ hé shù yè shàng de lù zhū。 chù chù dōuyòu yǎn jīng， zhěng gè yǔ
zhòu dōuzài mù dǔ zhè yī móu shā de quán guò chéng。 wǒ nào bù qīng hái zǐ qǐ xiān shuō liǎo shénme； tā shì gè jù yòu nán zǐ hàn
xuè tǒng de hòu yì， tā suī shì gè xiǎo hái， què méi yòu wèi suō huò qǐ qiú。 tā zhǐ hǎn jiào zhe shuō tā huì jìn liàng xiǎng fǎ 'ài
wǒ héng héng kě tā guò qù bìng méi zuò dào zhè yī diǎn héng héng jiē zhe wǒ jiù kàn jiàn tā wǎng jiā lǐ páo。 suí hòu， wǒ dāi shì zhe
zì jǐ shǒu zhōng nà bǎ jiàn， ér tā yǐ jīng dǎo zài wǒ de jiǎo qián。 chú liǎo shēn shàng yòu bān bān xuè jì wài， tā jīhū gēn wǒ
yǐ qián kàn dào tā shuì shú liǎo de shí hòu yī yàng héng héng lián zī shì dū xiāng tóng， nǎo dài zhěn zài tā nà xiǎo gēbei shàng。
wǒ yòng shuāng shǒu bǎ tā bào qǐ lái héng héng tā yǐ jīng yànqì liǎo héng héng qīng qīng bǎ tā de shī tǐ cáng zài cǎo cóng lǐ。 wǒ
qī zǐ nà tiān bù zài jiā， yào zài cì rì cái fǎn huí。 wǒ men wò shì de nà shàn chuāng hù lí dì miàn jǐn jǐ yīng chǐ gāo， ér
qiě fáng shè zhè yī miàn zhǐ yòu nà shàn chuāng hù。 wǒ jué dìng shēn yè cóng chuāng hù pá chū lái， bǎ hái zǐ mái zài huā yuán lǐ。 wǒ
méi xiǎng dào wǒ de jì móu huì shī bài， xīn xiǎng yī qiēdōu bù huì bèi rén fā xiàn。 zàn qiě bù qù dòng nà bǐ qián， yīn wéi wǒ
yào jìn liàng ràng rén xiāng xìn hái zǐ yào me shì zǒu diū liǎo， yào me shì ràng rén guǎi zǒu liǎo。 wǒ zhěng gè 'ér xiǎng fǎ dū jí zhōng zài
zěn yàng tuǒ shàn dì yǐn mán zì jǐ de zuì xíng zhè yī diǎn shàng。
pú rén lái gào sù wǒ hái zǐ bù jiàn liǎo， wǒ jiù fēn fù tā men sì xià lǐ qù xún zhǎo； yī yòu rén 'āi jìn wǒ， wǒ
jiù hún shēn fā dǒu， chuǎn bù guò qì lái， nà zhǒng xīn jīng dǎn zhàn de zī wèi 'ér zhēn jiào rén méi fǎ 'ér xíng róng。 nà tiān yè lǐ，
wǒ qù mái zàng hái zǐ； wǒ bō kāi shù zhī， cháo cǎo cóng wàng qù， zhǐ jiàn nà gè hái zǐ de shī tǐ shàng yòu gè shǎn liàng de rú
chóng， jiù xiàng gè xiǎo jīng líng fú zài nà gè bèi móu shā liǎo de hái zǐ shēn shàng shǎn shǎn fā guāng。 wǒ bǎ tā fàng jìn kēng lǐ shí，
hái jiàn dào nà gè chóng zǐ zài tā xiōng qián shǎn liàng； nà shì yī zhǐ yǎng wàng cāng tiān de yǎn jīng， zài qí qiú xīng dǒu zhù yì wǒ suǒ
gān de huài shì。
wǒ dé miàn duì wǒ de qī zǐ， gēn tā shuō hái zǐ shī zōng liǎo， ràng tā bào yòu hěn kuài jiù huì zhǎo dào hái zǐ de xī wàng。
wǒ zhuāng chū yī fù shí fēn chéng kěn de yàng zǐ zhè yàng zuò liǎo， yīn wéi méi rén huái yí wǒ。 cǐ hòu， wǒ jiù zhěng tiān zuò zài wò
shì chuāng hù qián， dāi wàng zhe nà gè kě pà de mì mì dì diǎn。
nà shì yī kuài xīn jìn fān guò、 zhòng pū cǎo pí de tǔ dì， wǒ tiǎo xuǎn nà lǐ mái zàng shī tǐ， shì yīn wéi zhè yàng jiù
shǐ wǒ de tiě chǎn liú xià de hén jì bù dà kě néng bèi rén fā xiàn。 nà xiē pū cǎo pí de gōng rén xiǎng bì rèn wéi wǒ fēng liǎo，
wǒ yī zhí bù duàn cuī cù tā men jiā kuài gànhuó 'ér， hái páo chū lái gēn tā men yī kuài 'ér gān， yòng jiǎo cǎi shí nà kuài dì。
bàng wǎn qián， tā men pū wán liǎo nà piàn cǎo dì， wǒ cái jué dé zì jǐ bǐ jiào 'ān quán liǎo。
wǒ tǎng xià shuì jué， kě shuì xǐng hòu bìng bù xiàng yī bān rén nà yàng jīng shén zhèn zuò， xīn qíng yú kuài； bù guò wǒ yě shuì
liǎo， zǒng shì zài zuò 'è mèng， mèng jiàn nà kuài mù dì dāng zhōng yī huì 'ér mào chū yī zhǐ shǒu， yī huì 'ér mào chū yī zhǐ jiǎo，
yī huì 'ér yòu mào chū yī gè nǎo dài。 wǒ bèi jīng xǐng， cóng chuáng shàng pá qǐ lái， tōu tōu zǒu dào chuāng qián wàng yī wàng， nòng qīng
bìng wú cǐ shì cái fàng xīn。 rán hòu wǒ yòu tǎng xià， jiù zhè yàng tōng xiāo hū shuì hū xǐng， qǐ lái tǎng xià zú yòu 20 duō cì，
méi wán méi liǎo dì zuò nà gè tóng yàng de mèng。 zhè zhēn bǐ zhēng zhe liǎng yǎn tǎng zài chuáng shàng hái yào zāo gāo， yīn wéi 'è mèng bǎ wǒ
zhé mó dé chè yè bù néng yǎn。 yòu yī cì wǒ jìng yǐ wéi nà gè hái zǐ yòu huó liǎo， wǒ yā gēn 'ér jiù méi xiǎng shā hài tā。
cóng nà gè mèng jìng xǐng guò lái， zhēn jiào rén tòng kǔ bù kān， nán yǐ rěn shòu。
cì rì， wǒ zuò zài chuāng qián， mù guāng cóng bù lí kāi nà gè dì diǎn， jìn guǎn shàng miàn yǐ jīng fù gài liǎo cǎo pí， kě
duì wǒ lái shuō， nà gè kēng de dà xiǎo shēn dù hǎo xiàng hái chǎng zhe， bào lù zài guāng tiān huà rì zhī xià shìde。 yòu shí yī gè
yōng rén cóng nà lǐ zǒu guò， wǒ zhēn dān xīn tā huì xiàn jìn nà gè kēng lǐ。 děng tā zǒu guò qù zhī hòu， wǒ jiù huì kàn kàn tā
yòu méi yòu bǎ nà gè kēng de biān yuán cǎi huài。 yī zhǐ xiǎo niǎo luò zài nà shàng miàn qī xī， yě xià dé wǒ dǎn zhàn xīn jīng， wéi
kǒng tā huì zhuó lái zhuó qù， bǎ xià miàn de mì mì bào lù chū lái。 yī zhèn wēi fēng cóng nà biān chuī lái， wǒ 'ěr zhōng biàn sì hū
tīng jiàn fēng shēng nán nán dào chū“ móu shā” zhè gè zì yǎn。 yī diǎn 'ér shēng xiǎng dū jiào wǒ jīng kǒng bù 'ān。 wǒ jiù zhè yàng kàn
shǒu， kǔ kǔ 'áo guò liǎo 3 tiān。
dì sì tiān， yī gè dāng nián gēn wǒ yī qǐ zài hǎi wài fú yì de péng yǒu lái kàn wàng wǒ， hái dài lái yī wèi wǒ cóng wèi
jiàn guò miàn de jūn guān。 kě wǒ de mù guāng yī zhí méi fǎ lí kāi nà gè dì diǎn。 nà shì yī gè chū xià de bàng wǎn， wǒ jiù
jiào yōng rén zài huā yuán lǐ bǎi zhāng zhuō zǐ， ná píng jiǔ lái kuǎn dài tā liǎ。 wǒ bǎ zì jǐ nà bǎ yǐ zǐ 'ān zhì zài nà gè mù
kēng shàng miàn， rán hòu zuò xià lái， xīn lǐ cái jué dé tà shí duō liǎo， què xìn bù huì yòu rén jiǎo rǎo nà lǐ。 wǒ men yī biān
xián liáo， yī biān hē jiǔ。
tā men wèn hòu wǒ tài tài， xī wàng zhè yàng mào mèi lái fǎng méi yòu jīng rǎo tā， méi yòu bǎ tā xià páo。 wǒ zhǐ hǎo zhī
zhī wú wú dì bǎ hái zǐ diū shī de shì gēn tā liǎ jiǎng liǎo。 nà wèi wǒ cóng wèi móu miàn de jūn guān shì gè xǐ 'ài liǎng yǎn dīng shì
dì miàn de jiā huǒ， tā de mù guāng yī zhí méi tái qǐ lái。 zhè yī shén tài zhēn bǎ wǒ xià huài liǎo。 wǒ méi fǎ rèn wéi tā méi
kàn chū shénme pò zhàn， méi qǐ shénme yí xīn。 wǒ lián máng wèn tā shì fǒu rèn wéi héng héng kě yòu zhù kǒu liǎo。 tā wēn hé dì
wàng zhe wǒ shuō：“ nín de yì sī shì shuō nà gè hái zǐ gěi hài sǐ liǎo má？ ò， bù huì de！ yī gè rén shā sǐ yī gè
kě lián de xiǎo hái 'ér， yòu huì dé dào shénme hǎo chù ní？” wǒ qí shí kě yǐ gào sù tā nà rén néng huò dé zài hǎo bù guò
de hǎo chù li， kě wǒ méi kēng shēng， xià dé hún shēn zhí dǎ duō suo。
tā liǎ wù jiě liǎo wǒ nà zhèn jī dòng， ān wèi wǒ nà gè hái zǐ chí zǎo huì gěi zhǎo dào de。 kě zhè shì shénme fǔ wèi
ā！ zhè dāng 'ér， wǒ men hū rán tīng dào yī zhèn quǎn fèi shēng， liǎng tiáo dà liè gǒu chuǎng jìn liǎo huā yuán， yī shēng jiē yī shēng dì
kuáng fèi bù zhǐ。
“ dà liè gǒu！” liǎng wèi lái kè yì kǒu tóng shēng jīng hū dào。
zhè wú xū hū gào sù wǒ！ wǒ jìn guǎn yī bèi zǐ méi jiàn guò rú cǐ xiōng měng de liè gǒu， xīn lǐ què yī xià zǐ jiù míng
bái tā men shì gànshénme lái de。 wǒ jǐn jǐn 'àn zhe yǐ zǐ fú shǒu， jì shuō bù chū huà lái。 yě dòng dàn bù liǎo lā。
“ shì chún zhǒng liè gǒu lie，” wǒ yuán lái nà wèi tóng shì yòu tiān shuō dào，“ dà gài shì gěi dài chū lái xùn liàn de，
zhèng tuō liǎo zhù rén！”
tā liǎ zhuǎn shēn wàng zhe nà liǎng tiáo gǒu， tā men cháo dì miàn xiù lái xiù qù， fán zào bù 'ān， cuàn qián cuàn hòu， fēng kuáng
dì dǎzhuàn zhuǎn， sī háo bù lǐ huì wǒ men， kě yī cì yòu yī cì dì fèi jiào， rán hòu yòu cháo dì miàn xiù gè bù tíng， yī
xīn zài xún zhǎo shénme。 zhǐ jiàn tā men bǐ gāng cái gèng zǎi xì dì xiù wén qǐ lái， jìn guǎn hái hěn fán zào， què bù zài luàn cuàn
luàn zhuǎn liǎo， ér shì yuè lái yuè jìn jí zhōng zài wǒ zuò de nà kuài dì fāng wén lái wén qù。 zuì hòu nà liǎng tiáo liè gǒu zhōng yú wén
dào wǒ zuò zhe de nà bǎ yǐ zǐ de dì diǎn， tái qǐ tóu lái háo jiào。 lì tú chě suì nà bǎ dǎng zhù tā men xiù wén xià miàn dì
miàn de yǐ zǐ。 wǒ cóng liǎng wèi lái kè de shén tài zhōng jué chū zì jǐ bào lù liǎo jīng huāng shī cuò de biǎo qíng。
“ tā men xiù dào liǎo yào zhǎo de liè wù。” liǎng rén tóng shí shuō。
“ tā men shénme yě méi xiù dào！” wǒ hǎn dào。
“ kàn zài shàng dì fèn shàng， kuài ràng kāi！” wǒ nà wèi péng yǒu tǐng rèn zhēn dì shuō，“ fǒu zé nǐ jiù huì ràng tā men
sī chě chéng suì piàn lā！”
“ nà jiù ràng tā men bǎ wǒ chě liè bā。 wǒ jué bù lí kāi zhè kuài dì fāng！” wǒ hǎn dào，“ nán dào ràng gǒu bǎ
rén hōng gǎn dào diū liǎn de sǐ wáng nà tiáo lù shàng qù má？ hōng kāi tā men， dǎ sǐ tā men！”
“ zhè xià miàn bì dìng yǐn cáng zhe shénme bù kě gào rén de mì mì！” nà wèi mò shēng de jūn guān yī biān shuō， yī biān
chōu chū bǎo jiàn。“ yǐ chá lǐ wáng de míng yì， bāng wǒ bǎ zhè rén ná xià！”
jìn guǎn wǒ xiàng gè fēng zǐ nà yàng zhēngzhá， yòu kěn yòu yǎo， tā men liǎ hái shì hěn kuài jiù bǎ wǒ zhì fú liǎo。 jiē zhe，
wǒ de lǎo tiān！ wǒ kàn dào nà liǎng tiáo liè quǎn xiàng táo shuǐ nà yàng bǎ nà kuài tǔ dì páokāi。
wǒ hái néng zài shuō shénme ní？ wǒ guì dǎo zài dì， hún shēn fā chàn， chàn huǐ dì jiāo dài liǎo wǒ de quán bù zuì xíng，
qǐ qiú ráo shù。 wǒ céng jīng shì tú dǐ lài， xiàn zài zhōng yú dī tóu rèn zuì。 wǒ wéi cǐ shòu dào shěn pàn， bìng bèi chù yǐ jí
xíng。 wǒ shī hún luò bó， méi yòu yǒng qì xiàng gè nán zǐ hàn nà yàng miàn duì wǒ de mò rì， miàn duì wǒ de miè wáng。 wǒ dé
bù dào rèn hé rén de lián xī 'ān wèi， wǒ jì wú shè miǎn de xī wàng， yě wú péng yǒu。 wǒ qī zǐ xìng kuī zàn shí shī qù liǎo
zhī jué， bìng bù zhī xiǎo wǒ de bēi cǎn jié jú。 wǒ xiàn zài dú zì yī rén lián dài wǒ de zuì 'è， gěi guān zài zhè gè dì láo
lǐ， míng tiān jiù yào wū hū 'āi zāi xià dì yù lā。