一个二十世纪初期滇西驿妓的故事，少女乌珍被表哥卖入妓院。少女乌珍在各地马帮商人云集的驿镇，开始了她充满异数的人生

　　1980年的一个世界，年仅18岁的我窥视到的一个他人的世界：一个男人最终总是坐在通往阁楼的楼梯上，等候我的邻居回家。由于某种奇特的原因，我和一个妇女共住在一座近百年的阁楼上。那时候，我总是以她作为我的伙伴，才战胜了来自小阁楼的恐惧

　　我讲述的这个故事发生在中国的南方，在一个黑夜里我在古老的腾越城中散步，伟大的地理学家徐霞客把这座城称为“极边第一城”，我就是在这座古城感受到了时间的流逝，这个典型的南方故事献给在梦想的巨大悲剧中沉沦的读者心灵。——海男

　　沉重不堪的私生活已经捆绑我们太久，米兰·昆德拉说：“最沉重的负担压得我们崩塌了，沉没了，将我们钉在地上。可是在每一个时代的爱情诗篇里，##总渴望压在男人的身躯之下。也许最沉重的负担同时也是一种生活最为充实的象征，负担越沉，我们的生活也就越贴近大地，越趋近真切和实在。”所以，面对私生活，尤为重要的是为了松梆我们的私生活；让我们由沉重走向轻盈或者走向遥远的地平线。

　　故事无拘束地自由道来，表明对自由生活的追求，这正是它经在世界文学史上占有重要地位的原因所在。
　　1934 年可怕的黑死病从地中涨沿岸漫延到中欧，为躲避瘟疫，有三男七女从佛罗伦萨逃离，移居一座别墅。为消磨时光每人每天讲一个故事，10 天里共讲了100 个故事，这就是《十日谈》。故事深刻地揭露了教会、僧侣欺骗的虚伪，抨击了禁欲主义，讴歌高尚的爱情。

　　The Decameron (subtitle: Prencipe Galeotto) is a collection of 100 novellas by Italian author Giovanni Boccaccio, probably begun in 1350 and finished in 1353. It is a medieval allegorical work best known for its bawdy tales of love, appearing in all its possibilities from the erotic to the tragic. Some believe many parts of the tales are indebted to the influence of The Book of Good Love. Many notable writers such as Chaucer are said to have drawn inspiration from The Decameron (See Literary sources and influence of the Decameron below).
　　
　　The title is a portmanteau of two Greek words meaning "ten" (δέκα déka) and "day" (ἡμέρα hēméra).

　　《儿子与情人》是性爱小说之父劳伦斯的第一部长篇小说。小说风靡世界文坛90年，魅力至今不减。1961年美国俄克拉荷马发起了禁书运动，在租用的一辆被称之为“淫秽书籍曝光车”所展示的不宜阅读的书籍中，《儿子与情人》被列在首当其冲的位置。
　　
　　《儿子与情人》视角独特，对人性中隐秘的“恋母情结”有深刻、形象的挖掘。一般认为，小说中的儿子保罗就是劳伦斯的化身，而莫雷尔太太就是劳伦斯的母亲莉蒂娅，保罗的女友米丽安就是劳伦斯的初恋情人杰茜。
　　
　　《儿子与情人》的主线之一是以劳伦斯和杰茜的私情为蓝本，而劳伦斯母亲那强烈变态的母爱足以扼杀劳伦斯任何正常的爱情。劳伦斯曾对自己的情人说：“你知道我一直爱我的母亲。我像情人一样爱她，所以我总也无法爱你。”这些折磨人的日子在《儿子与情人》中有很详尽的描述。
　　《儿子与情人》-小说背景
　　
　　小说背景是劳伦斯的出生地——诺丁汉郡矿区。父亲莫瑞尔是矿工，由于长年沉重的劳动和煤井事故使他变得脾气暴躁，母亲出身
　　
　　于中产家庭，有一定教养。结婚后，夫妇不和，母亲开始厌弃丈夫，把全部感情和希望倾注在孩子身上，由此产生畸形的母爱。长子威廉为伦敦律师当文书，但为了挣钱劳累致死。母亲从此对小儿子保罗寄予厚望。小说前半部着重写了保罗和其母亲之间奥狄甫斯式的感情。后半部则着重写了保罗和两位情人克拉拉和米里艾姆之间两种不同的爱。前者情欲爱，后者是柏拉图式的精神之恋。保罗在母亲阴影之下，无法选择自己的生活道路。直到母亲病故后，他才摆脱了束缚，离别故土和情人，真正成人。
　　
　　
　　劳伦斯通过现实主义和心理分析的写作方法，描写了十九世纪末叶英国工业社会中下层人民的生活和特定环境下母子间和两性间的复杂、变态的心理。他强调人的原始本能，把理智作为压抑天性的因素加以摒弃，主张充分发挥人的本能。小说中，劳伦斯还对英国生活中工业化物质文明和商业精神进行了批判。
　　
　　《儿子与情人》-内容介绍
　　
　　《儿子与情人》小说主人公保罗的父母莫瑞尔夫妇。他们两人是在一次舞会上结识的，可以说是一见钟情，婚后也过了一段甜蜜、幸福的日子。但是，两人由于出身不同，性格不合，精神追求迥异，在短暂的激情过后，之间便产生了无休止的唇枪舌剑，丈夫甚至动起手来，还把怀有身孕的妻子关在门外。
　　
　　小说中的夫妇之间只有肉体的结合，而没有精神的沟通、灵魂的共鸣。父亲是一位浑浑噩噩的煤矿工人，贪杯，粗俗，常常把家里的事和孩子们的前程置之度外。母亲出身于中产阶级，受过教育，对嫁给一个平凡的矿工耿耿于怀，直到对丈夫完全绝望。于是，她把时间、精力和全部精神希冀转移、倾注到由于肉体结合而降生于人世间的大儿子威廉和二儿子保罗身上。
　　
　　她竭力阻止儿子步父亲的后尘，下井挖煤；她千方百计敦促他们跳出下层人的圈子，出人头地，实现她在丈夫身上未能实现的精神追求。她的一言一行、一举一动不但拉大了她和丈夫之间的距离，并最终使之成为不可逾越的鸿沟，而且影响了子女，使他们与母亲结成牢固的统一战线，去共同对付那虽然肉体依旧光滑、健壮，而精神日渐衰败、枯竭的父亲。
　　
　　母亲和孩子们的统一战线给孤立无援的父亲带来了痛苦和灾难，也没有给莫瑞尔家里的任何其他一个人带来好处。发生在父母身上那无休止的冲突，特别是无法和解的灵与肉的撞击重演在母亲和儿子的身上。相比之下，夫妻之间的不和对莫瑞尔太太来说并没有带来太大的精神上的折磨，因为她对丈夫失去了信心，而且本来就没有抱多大的希望。
　　
　　没有让母亲扬眉吐气的大儿子死后，二儿子保罗就逐渐成了母亲惟一的精神港湾，也成了母亲发泄无名之火和内心痛苦的一个渠道。她爱儿子，恨铁不成钢，一个劲儿地鼓励、督促保罗成名成家，跻身于上流社会，为母亲争光争气；她也想方设法从精神上控制儿子，使他不移情他人，特别是别的女人，以便满足自己婚姻的缺憾。这种强烈的带占有性质的爱使儿子感到窒息，迫使他一有机会就设法逃脱。而在短暂的逃离中，他又常常被母亲那无形的精神枷锁牵引着，痛苦得不能自已。
　　
　　和女友米莉安的交往过程也是年轻的保罗经历精神痛苦的过程。他们由于兴趣相投，接触日渐频繁，产生了感情，成了一对应该说是十分相配的恋人。然而可悲的是，米莉安也过分追求精神满足，非但缺乏激情，而且像保罗的母亲一样，企图从精神上占有保罗，从灵魂上吞噬保罗。这使她与保罗的母亲成了针锋相对的“情敌”，命里注定要败在那占有欲更强，又可依赖血缘关系轻易占上风的老太太手下。
　　
　　保罗身边的另一个名叫克拉拉的女人同样是一个灵与肉相分离的畸形人。她生活在社会下层，与丈夫分居，一段时间内与保罗打得火热。保罗从这位“荡妇”身上得到肉体上的满足。然而这种“狂欢式”的融合，是一种没有生命力的、一瞬即逝的结合。由于从米莉安身上找不到安慰，保罗需要从心理上寻求自我平衡，需要从性上证明自己的男性能力。由于从丈夫身上得不到满足，克拉拉也需要展示自己的魅力，从肉体上寻求自我平衡。
　　
　　做为母亲，与儿子尤其是与二儿子保罗之间的情结，那种撕肝裂肺的灵魂上的争斗则给可怜的母亲带来了无法愈合的创伤，直到她郁郁寡欢，无可奈何，离开人世。
　　《儿子与情人》-人物分析
　　
　　《儿子与情人》中，保罗母亲对丈夫的失望、不满和怨恨使莫瑞尔太太把自己的感情、爱怜和精神寄托转向了儿子，或者说，莫瑞尔太太把自己经历过的精神磨难和一心要解决的问题“折射”到了儿子的身上，于是一场灵与肉的冲撞又在母子之间展开。
　　
　　母亲的这种性变态使儿子心酸，惆怅，无所适从。有了母亲，保罗就无法去爱别的女人。在母亲几乎是声嘶力竭地哀叹“我从来没有过一个丈夫”、一个“真正”的丈夫时，保罗禁不住深情地抚摸起母亲的头发，热吻起母亲的喉颈。这种“恋母情结”在很大程度上变成了一种“固恋”，使他失去了感情和理智的和谐，失去了“本我”和 “超自我”之间的平衡。因此，保罗的情感无法发展、升华，他的性心理性格无法完善、成熟，从而导致了他一生的痛苦和悲剧。
　　
　　幼年时期的“恋母”情结，使保罗成了感情上和精神上的“痴呆儿”。他虽然爱恋着米莉安，但却不能像一位正常的血肉之躯，理直气壮地去爱她。这不但使自己陷入了困境，也给米莉安造成了巨大的精神痛苦。保罗见不到米莉安的时候会感到闷得慌，可是一旦跟她在一起却要争争吵吵，因为米莉安总是显得“超凡脱俗”或非常地“精神化”，使保罗觉得像跟母亲在一起那样不自在。
　　
　　保罗只要跟别的女人在一起，灵魂就会被母亲那无形的精神枷锁控制着，感到左右为难，无法获得自由。在他和米莉安俨然像一对夫妇在亲戚家生活的日子里，保罗得到了米莉安的肉体，而在精神上，保罗仍然属于自己的母亲。米莉安只是带着浓厚的宗教成分，为了心爱的人做出了 “牺牲”。所以，在那段日子里，他们也并没有能够享受青年男女之间本该享受到的愉悦。实际上，肉体间的苟合，只是加速了他们之间爱情悲剧的进程。
　　
　　在这一次次灵与肉的冲撞后，小说中的主要人物一个个伤痕累累，肉体和精神均遭受了巨大的摧残。保罗的父亲在家里、在亲人面前永远成为格格不入的“边缘人”。保罗的母亲在精神上从来没有过一个“真正的丈夫”，只能从儿子身上寻找情感的慰藉，而这种努力又常常被其他女人所挫败，后来心理、生理衰竭，得了不治之症，早早撒手人寰。米莉安虽然苦苦挣扎，忍辱负重，但并没有得到保罗的心，保罗直到摆脱母亲的精神羁绊，可以与她重归于好，永结良缘时，最终还是狠下心来，拒绝了她的婚求，孑然一人，继续做精神上的挣扎。
　　
　　只沉迷于肉体欲望的克拉拉也很快结束了与保罗的风流，回到性格粗俗、暴烈、无所作为的丈夫身边。可以说，在这些灵与肉的冲撞中，我们看到的是一个个沮丧、可悲的失败者，找不到一个最终的赢家。其实，在人们赖以繁衍生息的大自然被破坏，在人性被扭曲，在人类的和谐关系不断被威胁的社会中，灵与肉的争斗本来就是残酷无情的，到头来谁也成不了赢家，成不了一个完整的、有血有肉的人。
　　《儿子与情人》-作品影响
　　
　　《儿子与情人》是劳伦斯在一次世界大战之前最优秀的作品之一。戴维•赫伯特•劳伦斯是一位天才的作家，他的作品洞察人类生命中最深层的领地—人的心理，生动描述人类诸如挣扎、痛苦、危机、欢娱等种种情感和感受。他致力于开启人类心深处的“黑匣子”，穿透意识的表面，触及隐藏的血的关联“，从而揭示原型的自我。
　　
　　在这部小说里，他对女性的心理进行了大胆、透彻的探索，其小说中的女性也因此体现出更为强烈的审美情趣和艺术表现力，细腻准确地反映出劳伦斯的写作主题。
　　
　　戴维•赫伯特•劳伦斯用精神分析的方法对《儿子与情人》中的三种女性爱情心理模式进行描述，这三种模式将成为此论文的三部分。第一部分—精神模式,，此模式对本能的欲望进行抵制和轻视。《儿子与情人》中的米莉亚姆就是这个模式的典型代表。第二部分 ——肉欲模式，这种心理会放纵她们自己个人的本能的欲望而又忽视了灵魂的交流。这部小说中的克拉拉就是一个典型的例子。第三部分——情节模式，这种模式对某个东西或某一种感情显示出一种极端的态度。莫瑞尔太太就这样的一个对家庭和儿子们有极端的占有欲的女人。
　　
　　戴维•赫伯特•劳伦斯通过对《儿子与情人》中的三种女性爱情心理模式的分析，阐述其局限性，揭示健康自然的女性爱情心理，对于成就完整的生命及追求中女性的成功有重要作用。

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

　　《恋爱中的女人》是D．H .劳伦斯最伟大、最有代表性、最脸炙人口的两部长篇小说之一（另一部是《虹》），他本人也认为它是他的“最佳作品”；它以英国小说中没有先例的热情与深度探索了有关恋爱的心理问题，代表了劳伦斯作品的最高成就，因此它同《虹》成为了现代小说的先驱。
　　D．H．劳伦斯是英国小说家、诗人、散文家，20世纪英国最重要和最有争议的小说家之一，20世纪世界文坛上最有天分与影响力的人物之一。他与福斯特、乔伊斯、理查森、伍尔芙同是20世纪英国小说的创始人，是中国读者最熟悉与喜爱的西方作家之一。

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

　　《查太莱夫人的情人》源于一个真实的故事，只因书中有毫不避讳的性爱描写，而曾一度列为禁书。从现今的文学作品来看，大胆而露骨的色情描写，比比皆是，甚至并非出于情节需要，只是为了满足大众窥私的欲望，而不惜笔墨大肆渲染。但是情色与色情终究是有差别的，情色给人带来的是美感，是愉悦，是对人性的思考，能激发人对美好的向往；色情带来的却是污秽，是一时变态的疯狂，而后留下的只有空虚。
　　《查太莱夫人的情人》-作品影响
　　
　　对于劳伦斯，性交是一种含蓄主义的艺术。在他化腐朽为神奇的文笔之下，性爱是一层深似一层，一次细过一次的飞逸着的旋涡，是暧昧而激情、细腻而诗意、深刻而又空虚的终级高潮。性在层层神秘和敏感的压力下，仍然是男女之间最直接实际与最自然的交流。
　　
　　劳伦斯和这本书，一直以来都是禁忌的代名词，然而，“一旦能够得到适当的处理，这部小说的重大意义便显示出来”。劳伦斯认为一个人，不必定要求幸福，不必定要求伟大，但求知道“生活”，而做个真正的人。要做真正的人，要过真正的生活‘便要使生命澎湃般的激动。这种激动是从接触 (Contact)中，从合一(togetherness)一起中产生出来的，而世界，正是通过这种人类原始情欲的面貌，来接近我们。
　　
　　在一九二八——二九年两年间，欧美文坛上最令人震惊、最引起争执的书，大概莫过于劳伦斯(D．H．Lawrence)的这本《查太莱夫人的情人》了。跟着，一九三零年劳伦斯逝世。盖冠论定，世界文坛又为这本书热闹了一番。在现世纪的小说家中，决没有一个象劳伦斯一样，受过世人这样残酷地辱骂的；而同时，在英国现代作家中，要找到一个象劳伦斯一样的，受着精英的青年知识阶级所极端崇拜的人，却是罕见的，劳伦斯的这本书，把虚伪的卫道者们弄癫了，他把腐败的近代文明的狰狞面孔，太不容情地暴露了。但是，劳伦斯却在这些“狗人穷巷”的卫道者们的癫狂反攻之下，在这种近代文明的凶险的排击之下，成为无辜的牺牲者：他的天才的寿命，给排山倒海的嘲讽和诽谤所结束了。现在，正如劳伦劳动保护夫人说，《查太莱夫人的情人》的作者，是象一只小鸟似的，被埋葬在中海的灿烂的阳光之下的一个寂寞的坟墓里了。但是，这本文艺杰构，却在敌人的仇恨的但是无可奈何的沉默态度之下，继续吐露光芒，它不但在近代文艺界放了一线熔人的光彩，而且在近乎黑暗的生活下，燃起了一盏光亮的明灯。
　　《查太莱夫人的情人》-影片简介
　　
　　故事发生在一战后的英格兰。从战场上归来的克利福特。查太莱爵士由于在战争中受伤而导致下半身瘫痪，终年只能坐在轮椅上。查太莱和他的新婚妻子康妮回到老家的庄园，准备过一种与世无争的田园生活。年轻貌美的康妮是一个心地善良的女子，她明知等待着自己的将是漫长孤寂的日子，却仍然接受了命运的安排，甘愿留在丈夫身边。
　　
　　这天，康妮有事去找庄园的看林人米尔斯，米尔斯正在院子空地上淋浴。康妮无意间瞥见了他裸露而健壮的身体，不由在心里荡起一阵涟漪。米尔斯显然也被典雅温婉的康妮吸引住了。为了使家族能够传承下去，克利福特向康妮提出，希望她能给这个家生个孩子，但却遭到康妮的断然拒绝。当晚的圣诞舞会上，客人们都在尽情狂欢，惟康妮独坐一旁，心情郁闷。爸爸和妹妹都为她担心，纷纷劝她要珍惜自己的青春，要设法开辟自己的生活。
　　
　　在妹妹希尔达的帮助下，克利福特聘请了一位寡妇伯尔顿太太随身伺候。康妮由此得以从病人身旁脱身，得到一些自由时间。康妮经常独自到林间散步，和米尔斯有了一些接触。天长日久，两人逐渐产生了感情。康妮开始越来越不能忍受查太莱大宅中华丽但却刻板苍白的生活了，她觉得自己已被压迫得奄奄一息，她向往外面的大自然，向往米尔斯身上焕发出来的活力。终于，康妮投入了米尔斯的怀抱。他们如痴如醉地做爱，这是两个健康肉体之间的完满的性爱、全身心投入的性爱、相互尊重理解善意回应的性爱，这种性爱由最初纯粹的肉体吸引慢慢转化成了一种灵魂的相互碰撞，米尔斯用爱抚与热情使康妮变成了一个真正的女人，康妮惊奇地发现自己深深爱上了这个粗鲁没有文化但却深沉热情的男子。康妮和米尔斯成了灵欲合一的情人，当康妮晚上悄悄地从查太莱大宅里跑向在一旁守候她的米尔斯的时候，她已经完全沉醉于这段感情了。
　　
　　一个雨天，康妮与米尔斯在林中小屋幽会。激情澎湃的康妮冲向屋外，脱去身上的长袍，裸着身体在雨中奔跑，米尔斯也欢叫着追了出去。康妮完美无瑕的胴体在葱绿的森林中显得那么自然和谐，两人像快乐的精灵一样在雨中嬉戏。之后，他们用鲜花装点彼此，犹如回归伊甸园的亚当与夏娃。这时，横亘在他们之间的等级障碍早已荡然无存。
　　
　　终于，康妮怀上了米尔斯的孩子。在外出旅游期间，她把自己的故事坦诚地告诉了希尔达，希尔达对康妮的做法不以为然，还积极地要为孩子物色一个贵族父亲，却被康妮拒绝。康妮难以割舍对米尔斯的思念，提前回到庄园，却发现米尔斯迫于压力已经辞职，并遭到毒打，被遣送到矿上烧煤。昔日的小木屋也已不再是他们的乐园，两人似乎已经走投无路。
　　
　　米尔斯决心离开英国，去加拿大谋生，康妮面临抉择。终于，康妮向克利福特提出离婚，并告诉他，她所爱的人是看林人米尔斯。克利福特得知后，犹如堕入陷阱的困兽，狂怒道：“天哪！你竟和我的仆人发生关系！”最后，康妮与米尔斯这一对多难的情人终于相遇在前往加拿大的船上。两个人的明天是光明而充满希望的，康妮放弃了雍容奢华但却死气沉沉的贵妇生活，奔向了自由与爱情，两个来自不同阶层的人终于冲破世俗的障碍，获得新生。
　　《查太莱夫人的情人》-作品背景
　　
　　原著在英国被禁30年，出版该书的企鹅出版社被控出版淫秽作品，直至1960年才被宣告无罪，小说亦同时解禁。由于小说的敏感，根据小说改编的电影同样引起人们的普遍关注。
　　
　　影片《查太莱夫人的情人》根据英国20世纪小说家戴卫.赫伯特.劳伦斯创作于 1928年的同名小说改编。劳伦斯的这部经典名著自问世起就备受争议，在英国被禁30年，但却不妨碍世人对它的喜爱和传阅。小说曾多次被搬上银幕，1992年英国大导演肯。拉赛尔受BBC电视台之邀，将其再度搬上银幕，拍成了一部长达4个多小时、总共4集的电视剧，并剪辑出一个长约2小时、供影院放映的电影“缩减本”。
　　　　
　　本片导演肯。拉赛尔以拍摄音乐家传记片而闻名。此前，他也曾两度改编劳伦斯的小说《虹》和《恋爱中的女人》。
　　《查太莱夫人的情人》-主题思想
　　
　　从福楼拜的《包法利夫人》、托尔斯泰的《安娜。卡列琳娜》到劳伦斯的《查太莱夫人的情人》，西方现代小说一直反复探讨着一个主题，即在急遽变化的社会中，已婚女性对世俗的社会价值所做的反叛及其后果。本片再次以电影的形式对这一主题做出呼应。导演肯。拉塞尔力求忠实于劳伦斯的原著，保留了原著的大部分情节和对白，在结构上也没有大的调整，比较准确地传达出原著中所蕴涵的深刻主题，以唯美的视觉语言揭示了女性独立性意识的自我萌发和自我救赎。影片在揭示男女情爱的同时，将性爱描写上升到哲学和美学的高度，伴随着炽烈的性爱体验的，则是对历史、政治、宗教、经济等社会问题的严肃思考。查太莱夫妇的结合是一种不和谐的畸形婚姻。半身瘫痪、失去男性能力的丈夫和正值芳年的妻子，这是一个残酷的组合，何况克利福特是个虚伪自私的人，在他的心目中，康妮只不过是一件美丽的附庸和传宗接代的工具。克利福特不能满足康妮的正常情欲，米尔斯则帮助康妮实现了自我，唤醒了她身上的女性本能。最终，两人的契合由肉欲之爱升华到心灵的交融，康妮反叛了她所从属的那个阶级，在那个封建保守的时代，她的勇敢选择，无疑具有女性个体的积极意义。
　　
　　劳伦斯毕生致力于男女性爱题材小说的创作，他认为，小说《查泰莱夫人的情人》“最好拿给所有17岁的少女们看看”。在他看来，人类的性爱具有至高无上的价值。这个世界上，恐怕再没有哪一个作家能像劳伦斯那样，以宗教般的热忱赞美人间性爱、以细腻微妙的笔触描绘两性关系中那种欲仙欲死的至高境界。劳伦斯的小说一向以大胆而详尽的性描写著称，导演肯.拉塞尔亦不愧为用视觉语言讲述故事、编织情欲的高手，影片中性爱场面的展现不仅含蓄优美，而且富有诗意，导演没有在情色场面上做过多的渲染和铺陈，只是点到为止，但却将人体与情欲诗意化，将诗意视觉化，把影片主人公情感故事拍得恍若童话仙境。
　　
　　本片的服装和布景制作也十分考究，生动地再现了20世纪初叶英国上流社会的风情，通过女主角康妮那一款款优雅精致的服饰、华丽而空洞的室内布景，以及考究的用具、繁琐的生活细节，反衬出上流社会人们精神上的空虚与苍白。
　　《查太莱夫人的情人》-劳伦斯私印、自售作品
　　
　　《查太莱夫人的情人》劳伦斯
　　虽然在写出《查太莱夫人的情人》之前，劳伦斯已以《彩虹》、《恋爱中的妇女》、《儿子与情人》等作品享有了相当名声，可是，眼下的这部书，仍然叫出版商、朋友甚至劳伦斯自己感到为难。最后，劳伦斯只好自己在异国去私自出版，出版后又自己发售。当然，正因为这种形式，也最早地、毋需官方认可地将这部注定要引起轩然大波的作品推向了社会。
　　　　
　　1926年，劳伦斯便开始了《查太莱夫人的情人》的写作，并在不算长的时间，完成了第一稿。当时，他已经在试图联系出版了，可很快，他便打消了这样的想法。他当时的心情是矛盾的。在致某位出版界人士的信中，他开始了预先的辩解：
　　　　
　　“关于我的小说《查太莱夫人的情人》，现在我真是左右为难，世人将会认为这部小说是不正派的。可你知道它并非不正派。我始终苦心孤诣地在做同一件事情，就是使人们在提到性关系时，应感到是正当和珍贵的，而不是羞愧。这部小说是我在这一方面所做的进一步努力。在我看来，性是美好的、温柔的，但又如赤裸着的人那样脆弱。”
　　　　
　　劳伦斯仍在不停地调整着这部作品，第二稿、第三稿……可即使这样，在现实社会中，他仍然由于这部作品而招致麻烦，他甚至找不到为他服务的打字员。劳伦斯当时住在意大利的佛罗伦萨，最先他找到当地一位愿意替他打字的女子，可在打到第五章时，这位女子不干了，将稿子退了回来，说她不能再打下去，因为作品内容太污秽、肮脏……
　　　　
　　面对这样的反应和自己的心理预期，劳伦斯一度不想出版这部作品，可是，一方面由于经济压力，一方面基于他倔强的性格，在1927年11月时，劳伦斯开始试图私下印制《查太莱夫人的情人》了。由于自己的心理预感，他暂时不指望在英语世界的英国或美国谋求出版，而打算在意大利将它印出来。原因除去佛罗伦萨的印刷很便宜，还有身处异地，起码不至于在印刷时便引起不必要的麻烦。
　　　　
　　按劳伦斯当时的打算，自己私下印制，第一次印刷上700部，每册定价两个畿尼（当时每畿尼相当21先令），这样下来，就会赚到600到700英镑。这在当时是一笔不小的收入了。不久，对此书销售的估计和自己经济拮据的压迫，劳伦斯又想提高印数——1000部。按照先前定价，他就可以赚到1000英镑。为了能够为读者接受，他甚至一度打算将这部作品名字改为《柔情蜜意》或《约翰•托马斯和简夫人》，因为这样看起来没有《查太莱夫人的情人》那样刺眼。
　　　　
　　在《查太莱夫人的情人》交付出版商之前，劳伦斯让几位友人读了这部书稿。反应不一，有强烈反差。一些朋友认为这部书不错，说他们“非常喜欢这本书”；一位女士在读到这部小说后却“大发雷霆”——道德上的愤怒。这反应使劳伦斯感到有趣起来。他给另一位还未读到此书的友人说：“我希望你不会讨厌这部小说—— 尽管你很可能不喜欢它。这部小说本身就是一场革命——一颗小小的炸弹。”
　　　　
　　劳伦斯终于要将这炸弹引爆了。交出书稿几天之后，劳伦斯便致函美国诗人威特•宾纳。他们两人曾经一起去墨西哥旅行过。在信中，劳伦斯希望他能够为此书做一些销售工作。在给另一位住在纽约的汉密尔顿•埃姆斯夫人的信里，劳伦斯也希望她能帮助销售这部作品：“这是一部温柔的，生殖器的小说。现在你结婚了，自然会理解它的。由于世俗的公众容不得对生殖器的描写，我只得在这里出版这部小说。如果你不嫌麻烦，请把那些订单散发给那些愿意购买这部小说的人们。我认为这部小说是值得一买的。”在给他在美国的文学代理人柯蒂斯•布朗的信中，劳伦斯写的直捷得多：“我真希望这部小说能卖出一千册，或者卖出去大部分，否则我就会破产。我想直接把书给购买者寄去。我准备给你寄上一些订单，你能否为我找一些订购者？只要他们寄来两英镑，我就会把书寄给他们。”当然，更多的订单寄往了英国，这毕竟是劳伦斯的祖国。尽管他知道这颗“炸弹”的威力，可这里也可能有更多的知音。
　　　　
　　劳伦斯所寻找的佛罗伦萨这家印刷厂，恰好印刷商和印刷厂都没有人懂得英文。在劳伦斯看来，这倒成了自己的“福气”。这家印刷厂全部手工操作，排字很仔细，用的也是一种精致的手工制作的意大利纸张，所以，印出的书效果十分吸引人。劳伦斯自己为这部小说设计封面：下部是火焰飞扬的红色底子，中间一只黑色的凤凰图案，颇有“凤凰涅槃”的味道。这个图案，后来正式出版的企鹅版封面也沿用了下来。
　　　　
　　很快，劳伦斯的努力得到回报。先是他的祖国——英国——寄来了多份小说订单，然后是美国，订单也在逐渐寄回。这边，劳伦斯在紧张地校对清样。4月、5月、6月……到了28日这一天，这部注定要引发大震动的书——《查太莱夫人的情人》，按照劳伦斯自己坚持的书名出版了。
　　　　
　　在劳伦斯祖国的英国，当时人们观念还相当保守，所以，帮助他推销该书的朋友，是冒着被判高额罚款的危险来工作的。一位英国的朋友后来回忆说，劳伦斯当时给他们的宣传词为：这是一部伟大的著作，是“二十世纪光荣的象征。”这也许是激发他们甘冒风险的缘由之一。很快，英国的读者产生了反应。接到友人告知消息的电报，劳伦斯既紧张又兴奋：这部小说像一颗炸弹，在我大多数英国朋友中间爆炸开来，他们现在仍忍受着弹震症的痛苦。“我感到我已扔出去一颗炸弹，来轰炸他们虚伪的性感和虚伪性……”
　　　　
　　不过，一部分寄往美国的邮件被扣住了。可一切已经无法阻拦。书十分好销，劳伦斯加印200册来应付，其余的，就只能看着盗印本横行市场，借此大赚其钱了。第一批书寄到美国不到一个月，偷印本便出来了。由于偷印本仿制水平很高，连书店老板都辨认不出，并且售价高于原版：十五元，而原版价仅十元。很快，第二种、第三种……盗印本在纽约出现了。很快，伦敦和巴黎，《查太莱夫人的情人》的盗印本出笼了，售价高达每本三英镑或两英镑。
　　　　
　　巴黎一家书店，一口气自印了1500册，充斥市场。劳伦斯找来一本看看，只能苦笑，因为盗印本还很认真地将原版中的一些错误给改正了。可这本印制很不错的书没有给劳伦斯带来任何效益。它批发给书店是每本100法郎，卖给读者成了300、400甚至500法郎。这些欧洲的盗印者甚至向劳伦斯提出建议，希望能够给他们授权，承认他们的印本。这样，劳伦斯就可以在盗印本中，抽取一些版税。本来，劳伦斯几乎都同意了这项建议，可自尊心最后阻止了他。他只能决意在法国出一种自己认可的版本。自己祖国——英国的发行家，劝劳伦斯将该书加以删改，出一个“洁本”，并答应给他丰厚的报酬，可劳伦斯无法接受，他认为，那样“就等于用剪刀裁剪我自己的鼻子。书流血了。”
　　　　
　　可不管怎么说，劳伦斯以私印、自售的方式推出《查太莱夫人的情人》，现在看来仍然是处理得当的一件事。如人们所知，该书后来被查禁多年，出版社正式出版全本（其间有删节本印出），已是几十年之后的事情。当初倘若劳伦斯不采取私印，自售方式，那么，他在有生之年（书出版两年之后的1930年2月，这位极具才华的作家病逝），决然见不到这部作品问世。之后，一切事情决难预料。也许，他的手稿会随时湮灭；那么，一部注定要引起公众兴趣，法庭辩论，文学界长期讨论的著述，就可能永久在黑暗中沉没。最起码，会推迟数十年问世。这种结果，或许作者本人已有预感，所以，采取非正常手段及时推出它，是十分必要的。
　　　　
　　其次，《查太莱夫人的情人》的出版，仅仅从经济角度考虑，它也达到了使劳伦斯摆脱困窘的目的。尽管后来盗印本从中吮吸了作者大量的心血，可一千多部印本仍然为他赚了一千多英镑。这个数目，在当时是相当大的。这使很长一段时间内，劳伦斯可以自足地对朋友说：“所以我现在不愁没钱用了。”
　　
　　在今天看来，劳伦斯产生最大影响的作品，依然是这册《查太莱夫人的情人》。这部作品，在多个国家，在相当长时间，被禁止出版。在作者家乡本土的英国，这部书甚至被推上法庭。以该书出版八十年后的今天眼光看，《查太莱夫人的情人》还是如作者自己认识的：“是正当和珍贵的”，即使在性的描写上，它也是“温柔、敏感”，甚至是诚挚的。从这些方面去认识，当年劳伦斯以私印、自售的方式发行此书，可以说意义非常。

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

　　男女主人公各自有自己的家庭，因偶遇而相识，从而开始了炽热、执着的不伦之恋。他们并不是因为缺少关爱而去寻找外遇，也不会因为情感老化而走向离婚，他们既厌倦家庭又留恋家庭，他们作出的所有姿势，都是不知如何自卫的自卫，是生命最后的激越阶段的背水一战。
　　　　端庄贤慧的医学教授之妻凛子与某出版社主编久木在一次社交场合邂逅相识。工作狂的丈夫对凛子的冷漠，因工作变动而失意的久本与妻子不冷不热的麻木关系。无爱的家庭婚姻与难于抵御的情感诱惑，使凛子与久木陷人“婚外情”的漩涡。精神共鸣和感官的欢悦体验使他们开始重新审视自己的人生意义。放纵的迷醉之后接踵而来的是凛子的丈夫以“不离婚”进行报复，久木被匿名信困扰面临降职而不得不辞职。亲人的疏离与世人的白眼使他们秘密同居──偷食“禁果”的人被逐出乐园。为了返回乐园，永久地生活在乐园里，他们踏上了不归之旅，却道：“活着太好了！” 这是一部梦幻与现实、灵与肉、欢悦与痛楚相互交织的震撼心灵的杰作。奇妙的心理活动与错综复杂的感情纠葛，溶入到异域特有的四季更迭的绮丽环境里，令人回肠荡气。这部小说在报刊连载时就引起空前强烈地反响，单行本出版后日本读者争相传阅，改编成同名电影和电视剧上演之后家喻户晓，形成所谓“失乐园现象”。

　　对于性，少男们由于难以抑制自己而感到不安；与此同时，他们又抱有尝试性爱的愿望。因此，他们的实情是：置身于这两种互相矛盾的情感的夹缝中苦苦思索，闷闷不乐。
　　
　　无论男性还是女性，成长为响当当的人是极其不易的。
　　
　　在此，我们所说的“响当当的人”指的是无论在肉体还是在精神方面都健康且成熟的男人和女人。
　　
　　在成人之前，人，无一例外要逾越形形色色的障碍、壁垒。比如说女性吧，她们先要经历初潮体验，在战胜由此引起的冲击之后，始与男性初次发生性关系，不久她便妊娠、生产……，走完上述历程后，她才算成熟了。

　　从三个月前的六月初开始，每当月经来的前后，木之内冬子就感到异常。
　　
　　冬子一米五五高的个头，体重也不过四十公斤左右，瘦瘦的．所以对自己的身体并不很自信，但话说回来，这几年也没有得过什么病。换季的时候偶尔会伤风感冒，但忍上两、三天，也就自然好了。低血压只有一百左右，多少有些贫血，有时会头晕，但这也从来都没有什么大不了的。冬子自我感觉人是瘦小了些，但身体并不算太差。
　　
　　但是，这几个月月经周期拉长了。

　　《男人的一半是女人》讲述了从劳改队相识的“我”与“她”在文革时期的爱情故事，书中涉及许多“禁区”与敏感问题。 《男人的一半是女人》是系列中篇《唯物论者启示录》中的一部分，作者企图通过九部中篇来完整地“描写一个出身于资产阶级家庭，甚至有过朦胧的资产阶级人道主义和民主主义思想的青年，经过‘苦难的历程’，最终变成了一个马克思主义的信仰者”的全过程。 章永璘，一位文化大革命下的牺牲者，年轻岁月，几乎是在劳改营中度过，总逃不离饥饿、苦难与挣扎。三十九岁那年，他遇到了生命中的第一个女人黄香久，对女人的渴望、期待、好奇，在顿时忽然化成了真实，爱情一蹴可及。悲哀的是：时代的悲剧加给他的压抑，导致新婚之夜，章永璘在多情豪迈的妻子面前，失去了自己的独立，失去了他男人的尊严，他退缩、无助，奋力却徒劳无功。
　　
　　面对妻子的出轨，羞辱、不甘、自卑……种种情绪在章永璘的心中不断纠结，不断扩大，愤怒的情感渐渐酝积成一股大洪流，突然爆发，他终于成为了一个真正的男人，不再是在男女性事上无能的废物。但从此之后，他再也无法体谅香久曾经背叛……
　　张贤亮用浪漫与写实与写实手法交织，将刻骨铭心的伤痛转化成为普遍的人性体会。精湛独特的叙事手法，领人进入高潮迭起、震聋发瞶的小说新境界！
　　《男人的一半是女人》-作者简介
　　
　　张贤亮张贤亮
　　
　　张贤亮，男，江苏盱眙县人，1936 年12 月生于南京。1955年中学毕业后至宁夏银川干部文化学校任教。 1957 年因在《延河》文学月刊上发表长诗《大风歌》而被列为右派，遂遭受劳教、管制、监禁达十几年，其间曾外逃流浪，讨饭度日。1979 年9 月获平反，1980 年调至宁夏《朔方》 文学杂志社任编辑，同年加入中国作家协会，1981 年开始专业文学创作。曾任宁夏回族自治区文联副主席、主席，中国作家协会宁夏分会主席等职，并任六届政协全国委员会委员，中国作协主席团委员。受家庭影响，从小深受中国古典文学熏陶，中学时代开始广泛接触俄罗斯文学和法国文学作品，并尝试文学创作，曾写作发表了60 余首诗歌。1979 年重新执笔创作后，先后发表了短篇小说《邢老汉和狗的故事》、《灵与肉》、《肖尔布拉克》、《初吻》等；中篇小说《土牢情话》、《龙种》、《河的子孙》、《绿化树》、《浪漫的黑炮》、《男人的一半是女人》；长篇小说《男人的风格》、《习惯死亡》。先后结集出版的选集有中短篇集《灵与肉》、《感情的历程》（唯物论者的启示录第一部，包括《初吻》、《绿化树》、《男人的一半是女人》（三篇）及中篇选集《张贤亮集》。其中《灵与肉》、《肖尔布拉克》分别获1980 年及1983 年全国优秀短篇小说奖，《绿化树》获第三届全国优秀中篇小说奖。
　　《男人的一半是女人》-创作背景
　　
　　痛诉“文革”悲惨命运的“伤痕文学”流行一时，张贤亮1985年出版的《男人的一半是女人》是其中最著名的一部。它第一次谈到了性压抑的问题。一个因右派而入狱，另一个因作风问题被劳改。两个人在劳动的麦田里避开看守做了半个小时的夫妻，再见面时已是8年以后。
　　
　　文章的后半部分很像王朔的《过把瘾就死》，都是将两个人从相爱到分手的无奈和彼此伤害。不同的是，《男人的一半是女人》里有大量描写偷窥、做爱和通奸的情节小说。张贤亮把性当做一种文化的、生命的思考对象，书中的性描写无论怎样惊世骇俗，都具有理性和美学情致，紧扣人物的个性和命运。在当时，这部小说引起的反响不逊于《洛丽塔》对西方世界的冲击。
　　20多年的时间，先后出现了观念、经验、心态等非常不同的几代作家，也出现了关怀、叙事、文体等非常不同的浩如烟海的作品。这里编选的《中国小说50强》（1978-2000）选入的作家作品，从一个方面证实了这一看法并非虚妄。中国作家受制于历史传统和现实环境，小说创作和观念的发展变化同样不能离开这一传统和现实。大概从1978年代开始，小说开始显示出一体化时代不尽相同的追求和风貌。 作为一种想象和虚构的文体形式，逐渐剥离了单纯的政治目标翔和强调的教化功能。对人的心内痛苦、情感要求、思想矛盾等与人性相关的问题，开始在小说中得以反映和表现。
　　《男人的一半是女人》-评价
　　
　　《男人的一半是女人》的名声大噪，很大程度上和它表现并探索性地表现了性有关。在中国新文学的范畴内把性意识性活动写进小说的行径，张贤亮并不是唯一的作家，但尝试以哲学的态度、欲以唯物主义的认识论为基础把两性间的生活确立为审美表现的对象，在一个非常本质的层次上把性的交流作为一块砖码纳入生命本体自我平衡中的努力，则无疑带有些创世纪的色彩。这种尝试和努力使他的这篇小说在字里行间弥漫着一种形而上学的味道，并也因此使他主动地和半个世纪前的现代经典作家郁达夫们相别开来，亦和同时代的作家诸如王安忆等形成了差异。
　　
　　现在看来，这篇小说出现在充溢着思想的热忱和探索精神的80 年代中期，这一事实本身便又沉潜了一种意味深长的寓意，作者无形中已经以他美妙圣洁的笔触为生命及文学的权利作了一次理直气壮的抗争与辩解，这种客观性的意义实际上已远远超出了文本的表面意志因而更具战略性更富有存在的价值。这样说是因为张贤亮并无居心去充当文学世界的冒险骑士，他走出这一步是因为他“非如此不可”，是因为他已无可回避这生命世界的最后一道屏障。
　　
　　张贤亮顽强的欲以艺术之笔穿透世界的努力使他必然性地选取了这一看起来最具征服感的思想支点：性。于是，女人，性，便在他的这一作品中自然而然地成为了一种过程，一种背景，一种话语的手段，他想藉此去超越生命的常规形态去寻求灵魂的宁静和精神的永恒，在自我的生命及几代人的生命中留下历劫难毁的精神路碑。但事实证明这并不容易。
　　《男人的一半是女人》-思想及风格
　　
　　因为在纯粹的生活领域，在经验代替着思想的地方，并不能产生哲学，在性与性的弥补、拯救、堕落、排斥、宽容中，思想实际上变成了瞎子，哲学亦将无能为力；而以文学的方式来试图证明、解释思想或信念的存在的行为本身是否成为可能，也是一件颇为值得怀疑的事情。张贤亮就是这样总是在最简单的地方迷失了方向，所以，他的动机与效果总是难以走到一条线上，他愈是想告诉我们一些清晰和明朗的东西结果就愈使我们陷入茫然。
　　
　　一般认为，《男人的一半是女人》是《绿化树》 的续篇，从“唯物论者的启示录”及一些人物所经历的时间上看，这一点好像明白无误。但这已经不重要，重要的是，在思想的连续性和风格的连续性之外，我们并未发现任何新的进展与深度。
　　
　　《绿化树》里那个一元化的、积极、质朴、向上的世界，那个充满诗意的浪漫的母体和福祉，现在变成了一个单调的世俗的氛围，变成了一个看不出任何内在逻辑性和诗意的“婚变” 的故事。张贤亮的思想在走出了《绿化树》之后，显然在这里走上了极端，一个由近乎单一的生命现象所筑起的感情堤坝，挡住了欲流向世界和心灵深处的水流，思想的力量开始迂回盘旋在语言的支架结构间，始终无法浮上故事的表面。
　　
　　与此同时，作者对站在我们面前的叙事人的暧昧态度和对政治要求的刻意奉迎也使阅读活动越来越成为背负十字架的沉重行为。人们不明白，章永璘的政治及灵魂的表现何以会是如此出色，他的形象实际上并没有什么“半个人”或是完人、全人的区别，他似乎早就洞悉了人世间的兴衰际遇和悲欢离合，除了男人的自尊和本能外，他似乎早已不为生活所宥，灾辱不惊，好像心中随时都已装进了一个永恒，随时都应合着时代的心声。
　　
　　相反，作为章水璘命运及生命之一部分的女人黄香久，其形象色调则要冷淡得多，她除了饲鸭养鹅之外，唯一的心情便是觉着章永璘好，便是永远充盈着一种快乐的幸福的愿望，作为故事的成分，这一形象在实际的艺术操作过程中远远没有派上应有的用场，她似乎只是一个摆设，一个衬托，一个于整个的生命与历史过程中稍纵即逝的影子，虽然叙述者在故事开始便把对她的忏悔与留恋指示出来，但这一信号毕竟还是太微弱了，所以，在这场生命的应合分异之中，阅读的想象和认识也仅仅停留于“男人的一半是女人”这样的语义层面，无法再向纵深迈出一步。
　　
　　值得说明的是，《男人的一半是女人》作为一篇探索性的作品，聚合着创作实践中太多的经验与矛盾，它的复杂程度令人难以想象。由于对作者创作背景及自身生活经验知识的阙如以及批评方法的局限性，或者说也由于时代本身的局限性，使我们至今无法对这一作品的各个方面作出满意的解释，但有一点是肯定的：作为探索的尝试，《男人的一半是女人》也许并不成功，可这并不妨碍她成为一篇非常优异作品的可能，她本身的种种矛盾实际上都在证实并说明着张贤亮作为一名秉赋非凡的作家的出色与独特之处。
　　《男人的一半是女人》-特色
　　
　　故事的内涵
　　
　　看过《男人的一半是女人》之后，有种欲罢不能的感受，太紧张了，太贴近皮与肉了。那种痛楚，仿佛是我自己在亲历那场长久的纠缠，自我与自我，人与人，男人与女人，丈夫和妻子。章永磷与黄香久，都是凄惨的。当卑微的生命为了获得一点温暖走在一起，同时又在追求幸福的过程中互相折磨对方，出于真心的爱与出于真心的恨正如男人与女人纠缠在一起，撑涨了你的脑袋。最让人揪心的在于黄香久饱寒真情的怨言，那刻毒中激情澎湃的爱，让人不能不荡气回肠啊。
　　
　　其实，如果换一个角度也可以把整个故事结构掉。那永远都可以说是一个关于性的问题，从最初章永磷无意中偷看到黄香久精致的裸体，到章永磷丧失性功能被黄香久鄙视和恢复性功能后在性方面无情地报复与精神摧残，直至最后硬生生把一份刻骨铭心的爱割裂，那都是性方面的正常与异常，丧失与恢复导致的一种生活波澜。正如主人公不断重复的说道，丧失了性功能，自己是个废人，抬不起头，任妻子偷汉子，当自己突然间恢复，自己重新成为一个完整的人，这在一个物质条件极端匮乏的社会条件下，是一个多么真实的道理。最起码从我这样一个男性的眼光上来看，这是一个任历史如何演变都更改不了的事实，并且，正因为有这种性方面的变化，有了这种起伏，人才实实在在成为人，而非作者一直强调的是回到了原始社会，只剩下肉体的欲望。
　　
　　故事的叙述
　　
　　在故事的叙述方面，有一种阅读的快感。这种快感的造就源于两点，第一是黄香久这样一个从23岁到31岁的女子，从一出场到结局，都是一个美丽性感的女子，并且几乎是集中在身体方面的美。光滑，紧凑的皮肤，圆润的身体，正常的性欲，无论何时何地，作者总是在维持这这样一个女性形象。我们按照常人的逻辑，十分关心这样一位女子的遭遇。并且我们还得感谢作者，在混乱，丑陋的年代，为我们开辟了一个正常的审美角度。第二，就要说到男主人公章永磷，是一个时代的思想者，也是一个劳动的强人，并且还出现了偶尔的壮举，赢得了人们的普遍尊敬。以上两点是遵照一种英雄悲剧模式来塑造人物的，自古以来总是最有效的调动快感的叙事模式。更重要的快感（其实不如说是痛楚）还主要来自这两个人物的善良和恶毒。为了自己的欲望，可以不顾彼此的人生感受，但双方都是爱得真诚的。只可惜男主人公做了一回思想家才有的愚昧，自视其高，心胸狭窄，并且不去呵护女性的温柔，而女主人公真的是带着铁燎舞蹈，在一次性需求的探险中输掉了整个自己钟情至极的男人。这就是生活，现在回头看，它是一环扣着一环发生的，我们不能去追究什么，而生活只能如此，它是最正常的了。

　　《疯癫老人日记》的主人公年龄为七十七岁，这部作品完成的时候，谷崎润一郎也刚好七十七岁。先探讨这部作品的具体数据是不是事实，内容肯定是根据作者当时的心理状态写成的。然而，日本人的特点是随着年龄的增长愈发关心风花雪月之事，可文中老人到了如此年龄还保持着对性的好奇与执着，这不能说是正常的。
　　
　　 写到这里，我读了读唐纳德·基恩写的有关这部作品的文章，意外地发现里面有这么一处——“《疯癫老人日记》写的是老年人的性的问题，这在世界文学范围内，就我所知，也属唯一。”我想了很多，但脑海里终究没有浮现出一部与它相似的外国文学作品。前几年，我翻译了亨利·米勒的图文集《失眠症或者乱跳的恶魔》，这部作品也谈得是“老年人的性”，但略有不同。它写的是，年届八十的米勒爱上了年轻的日本姑娘后就失眠了的事。十二幅水彩画上也到处画着“OMANKO”、“HARIKATA”、“MITOKORO-ZEME”等日语拼音文字和类似图案。但是，文章却完全没有此类叙述，甚至充满精神、抽象和哲理性，丝毫没有具体谈及性的问题。
　　
　　 若说外国文学中完全没有类似的作品，这我不大清楚，所以着实对这一说法吃惊。考虑到外国人的生理特征，这个说法更让人意外。我觉得，对日本人来说，类似谷崎润一郎似的作家也实属例外。但是，仔细想来，这种看法也不大对。日本人天生对“阴翳”敏感，这也是支撑这部作品成立的基础。当然，还有其他原因。所谓其他原因，指的是理解谷崎文学的关键所在——受虐主义（这部作品主要反映的是心理层面的受虐倾向）。如果除去这一因素，出色地反映了“老年人的性”问题的，还有作家和田芳惠。所以，反倒会得出这么一个不可思议的结论：世界文学所欠缺的“谈及老年人的性问题的文学作品”中，竟与日本人的特质有温和之处。
　　
　　 但是，为了不让大家产生误解，我要特别补充：阴翳确实是这部作品成立的一大要素，但不能忽视的是，对“性”这一问题本身，这部作品也做了极致的探索。不只是性，任何事情都被逼到极致的时候，就会生出一股奇怪的幽默。尝试从这一角度入手，并能写下去的话，就算内容再怎么具体，也会是一大飞跃，从具体的故事范围跳出来，成为文学的一个顶峰。这种作品，与色情作品有着莫大的差异。但是，只要想在描写老年人的性问题时冒出奇特的幽默，看来就必须让心理层面的受虐倾向加入进来。
　　
　　 我之所以这么写，是因为我回想起《钥匙》完成的时候，出现了好几篇指责它的色情之处的批评文章，当时的众议院法务委员会甚至还讨论过它“究竟是猥亵还是文学”。然而，时代轮转。现在，色情理所当然地被接受，这也不好。《疯癫老人日记》可以说是处于《钥匙》的延长线上的作品，也许谈谈《钥匙》发表时所受到的批评，也不算无用。

　　罪恶谷底有樱花
　　作者：钱定平
　　
　　———浅尝谷崎润一郎
　　
　　
　　　　日本作家井上靖说过，川端康成美的方程式非常复杂，“用一根绳子拴不住”。应用这个井上方程式，我们似乎也可以来套其他某些日本作家。比如，永井荷风和他的私淑弟子谷崎润一郎。阅读这些作家时我都不禁会发问：美，到底是什么？美，又到底在哪里？
　　　　文学批评家就喜欢这样玄乎的问题，但是不会同意下面的答案：
　　　　美，就在罪愆的深处，就在罪恶的谷底。
　　　　世界文学界有一个非常有趣的现象，唯美主义的易转化性。唯美主义好像总是像她的那群倡导者一样，命活不长，总不断地向恶魔主义或其他方向转化。
　　　　永井荷风是唯美主义信徒，想通过抒发思古之幽情，来表达对于现实的不满；要用描写风俗和艳情，来抵制残酷的世风日下。但是，他的唯美主义一开始就混进了自然主义色调。小说《地狱之花》从书名到内容都浸透了左拉。他后来写的《断肠亭日记》，还有下面的《美国故事》，文笔优美，可飨读者：
　　　　树林里重重叠叠长着树和枫树。这个国家的枫树，那由于夜里的露水而发黄的叶子已经开始飘零，羊肠小道上到处都铺满了大片的落叶。可是，树却正霜叶红于二月花哩。夕阳光线穿透了深厚的林子，把树叶简直是一片一片地照亮了，真像在下着一阵金色的雨。（笔者译）
　　　　永井荷风、谷崎润一郎和佐藤春夫是日本唯美主义（日文是“耽美主义”，也颇得要领）三代表。荷风一直把润一郎看做是自己的文学后继。可是，润一郎没有继承荷风那种文明批判精神，而是始终一贯地固执于女性美至高无上，坚持着对于女性美的病态追求，沉溺在男性对于女性美之性无能的执拗。于是，从唯美出发，却走近了恶魔。
　　　　从处女作《文身》和《麒麟》，经过《痴人之爱》、《春琴抄》等，到晚年发表的《钥匙》（日文《键（かぎ）》）和《疯癫老人日记》，润一郎一步一步走向罪恶渊薮。这里一线贯穿的，是男性在女性美面前的爱慕、膜拜、倾倒和……无能。这里的男性，对于妖魔化了的极端女性美，是既殚精竭虑、拼命追求，又自惭形秽、畏葸不前。
　　　　我们可以看看《钥匙》，小说1956年在《中央公论》杂志一月号上开始披露，负面呼声大哗，以至作者不得不停笔三个月，到五月号才连载下去。这部小说却立即在欧美获得了欣赏。我多年前在德国买了一本原东德出的书：《爱之欲———四千年来的艳情诗歌和散文》（Die Lust zu liebenk Erotische Dichtung und Prosa aus vierJahrtausenden）。号称“四千年”，可谓洋洋大观，其中远东作品只选《金瓶梅》和《钥匙》，作为代表。近来翻译界把“波希米亚”
　　　　生存的亨利·米勒（HenryMiller）都“全译”了，不知为什么，富有思想和人文内涵的润一郎和《钥匙》却似乎无人问津？
　　　　这篇小说围绕着一对尴尬年龄夫妻的性生活展开。五十六岁的大学教授是男主人公，妻子郁子四十五岁。面对体态丰满，性欲旺盛而风情成熟的妻子，体力衰弱的教授心有余而力不足。教授于是夜里起来点灯、观看裸体睡熟的妻子。他就像一个年老衰败、君临乏力的国王，在巡视已经无法统御的丰沃国土一样。他看到一片风光无限，盘盘焉，焉，蜂房水涡，矗不知乎几千万落。心思春光融融，而体力却风雨凄凄，只能够徒唤奈何！这时，一个邪恶而致命的想法便乘虚而入。他想起了经常到家里来的学生、年轻力强的木村。有一次郁子晕倒在浴室时，他就让木村去把裸体的妻子抱进卧室。以后，又多次让木村对裸体熟睡的郁子拍照。他想激起年轻的木村对于妻子郁子的爱欲，而自己则一旁窥测方向。希望等到一天，用木村对郁子的情欲做催化剂，也能够把他对妻子的力量重新激发起来。结果，他正中了西谚所说，“请鬼容易送鬼难”（It is easier to raise the De-vil than to lay him.）……不料郁子在年轻的木村身上，第一次体验到了新鲜、强烈而变化多姿的性，结婚二十几年蕴藏在肉体深处没有觉醒的性给一下子唤醒，一发不可遏止……《钥匙》在结构上的特点，是全篇小说由教授和郁子两人的日记组成。教授的日记用片假名，郁子的日记用平假名，交互出现。两部日记有鲜明而扭曲的心理特点，记日记本是一份隐私，可这里日记作者起初就希望对方能够读到，所以，时不时流露出是在为了对方而写日记的心态。微妙的地方，在于既想对方看到，又不希望对方猜出日记是为之写作的蛛丝马迹；既想对方能够揣测自己的隐蔽欲望，又不希望对方明确猜出这种欲求并予以明火执仗的反应……其中，特别以郁子的日记写得委婉动人又大胆表露。有一段，颇符合李义山诗意：
　　　　“红露花房白蜜脾，黄蜂紫蝶两参差。春窗一觉风流梦，却是同衾不得知”：
　　　　……当我踏进卧室时，丈夫已经上床了。他一看见我，就把床头灯打开。近来，除了某一时刻，丈夫不喜欢卧室亮堂堂的……丈夫看我沐浴在灯光亮堂之中，突然露出惊讶的眼光。我很明白其中奥秘。我每次从浴室出来，总是戴上耳环上床，而且马上故意把背脊向着丈夫，只留给他一片戴着耳环的耳朵垂儿。这一动作不可言传，丈夫以前还没有见到过，于是，这立刻就使得他兴奋起来。我还没有准备好，只觉得他已经在床上就绪，一把从后面抱住我，就疯狂地吻我的耳朵垂儿。我听他厮磨，眼睛闭着。……我倒并不觉得，给一个还叫做“丈夫”的人，这样亲吻耳朵垂儿有什么不快。只是，一时我怎么也不能说我爱的还是他。同木村相比，这号亲吻显得实在笨拙无趣！
　　　　一边我这样想着，一边他的舌头痒丝丝地在厮磨着我的耳朵垂儿。……今夜，我把白天同木村一起进行过的嬉戏，重新同他也一一演习了一遍。而且，一边还蛮有兴趣地体验着，他们两个人到底在哪里不同，又试图把他们两个人在感觉和风格上区分开来……（笔者译）这样的情景，当然是不稳定平衡。丈夫不久就中风而死，留下了寡母孤儿，和一个地位尴尬的木村……润一郎在性行为的委婉描写上，在性心理的深刻刻画上，都堪称高手。书里的情节和细节都足以让中国的正人君子蹙眉瞪眼，但是，全书又几乎全是抽象描写。动作远非“具象”的动作，人物也不是“具象”的人物……
　　　　对于这一小说应该作何理解？笔者不是日本文学专家，无意从学究的角度拉场子抱拳说话，只是觉得日本人怪。我在西方文学没有读到同类母题的作品，只有 Sadism（性虐待狂）、Masochism（性受虐狂）等等沸反盈天。日本作家水上勉也激赏润一郎，他在《越前竹偶》里，也写到了窝囊男匍匐在美艳女面前的性的奴性，但是比较含蓄伤感。
　　　　这种对男人的性丑化，并非从润一郎始。芥川龙之介有一篇《女体》，就是一幅风情漫画。一个男人一天觉得自己的灵魂附到了一只虱的身上。他在硕大无朋的床上漫步，终于到了一座高山面前。他出神入化欣赏着这座山的美景，直到突然悟出，原来，这座高山就是他的妻子的一只乳房……芥川无聊地把主角写成中国人杨某，他真是太不懂中国和中国人；中国男性从来没有在女性面前这样畏葸示弱。日本文化才一开始就是女性文化，其开创者平安时期的紫式部、清少纳言、和泉式部等，全都是大内女官。可以说，对于丑恶现实反感引发唯美，唯美触发寻根和复古，复古就返回到源头的女性崇拜，一崇拜就伊于胡底！
　　　　《钥匙》是一部性悲剧，在性恐惧面前，教授一手造成了自己的毁灭。润一郎文学在形形色色性错乱的本相后面，揭示的是面对性无能的人类难题。可以说，自从人类一诞生，就有这个问题。在德国看过一部电影《一百万年前》，说的是人类的一族在百万年前的一段故事。那里面的人还不会说话，但是，已经有了肆无忌惮的色情狂，也有男人见了女性不感兴趣。这个问题似乎不会有最终答案。教授强求人间性爱而怨死，而那性爱对于他已经力所不能及。教授就像小孩子“硬要”天边的月亮一样，于是这个悲剧又变成了一场喜剧了。这里没有罪恶，唯一的罪恶是性，以及生来就给装上了性的人类自己。人类生来就患了性的欲求，却又是如此五花八门，形态各异，不能划一。
　　　　如果硬要，就是悲剧，或者喜剧。人生的悲喜原来只差一步！但是不论悲喜，对于主角都是解脱。
　　　　一休和尚说过一句禅：“入佛界易，入魔界难！”这话大可同日本文化和人性一齐吟味。人们喜欢把“美”同日本文学联系起来。例如，川端是凄艳的美，三岛是男性的阳刚美，而谷崎润一郎则是典雅艳丽，等等。实际上，日本文学里美和丑是非常紧密地融合在一起的。
　　　　渡边淳一小说的主人公说，樱花树下埋着尸体！《钥匙》这边则是赤裸裸的丑陋、荒谬和罪恶，而手法和描写又是美的：艳丽缠绵。罪恶就是人本身，所以，罪恶的谷底，也就是人的深层构造，到达了美丽的艺术境界，深层处竟然又开放着樱花般的美。罪恶谷底有樱花！

　　《北回归线》是米勒的第一部自传体小说，也是他出版的第一本书。此书以回忆录的形式写就，米勒在书中追忆他同几位作家、艺术家朋友在巴黎度过的一段日子，旨在通过诸如工作、交谈、宴饮、嫖妓等超现实主义和自然主义的夸张、变形生活细节描写揭示人性，探究青年人如何在特定环境中将自己造就成艺术家这一传统西方文学主题。

　　Tropic of Cancer is a novel by Henry Miller, first published in 1934 by the Obelisk Press in Paris, France. Its publication in 1961 in the United States by Grove Press led to an obscenity trial that was one of several that tested American laws on pornography in the 1960s. While famous for its frank and often graphic depiction of sex, the book is also widely regarded as an important masterpiece of 20th century literature. Time magazine included the novel in its TIME 100 Best English-language Novels from 1923 to 2005.
　　
　　The novel included a preface credited to Anaïs Nin (although allegedly penned by Miller himself).
　　
　　The book was distributed by Frances Steloff at her Gotham Book Mart, in defiance of censorship pressures.
　　
　　Plot introduction
　　
　　Set in France (primarily Paris) during the 1930s, it is the tale of Miller's life as a struggling writer. Combining fiction and autobiography, some chapters follow a strict narrative and refer to Miller's actual friends, colleagues, and workplaces; others are written as stream-of-consciousness reflections. It is written in the first person, as are many of Miller's other novels, and often fluctuates between past and present tense. There are many passages explicitly describing the narrator's sexual encounters, but the book does not solely focus on this subject.
　　Legal issues
　　
　　In 1964, the U.S. Supreme Court, in Grove Press, Inc. v. Gerstein, cited Jacobellis v. Ohio (which was decided the same day) and overruled state court findings of obscenity.
　　
　　A copyright infringing "Medusa" edition of the novel was published in New York City in 1940 by Jacob Brussel; its title page claimed its place of publication to be Mexico. Brussel was eventually sent to jail for three years for the edition, a copy of which is in the Library of Congress.
　　Critical reception
　　
　　George Orwell called this novel
　　
　　 "the most important book of the mid-1930s [and Miller is] the only imaginative prose-writer of the slightest value who has appeared among the English-speaking races for some years past."
　　
　　Samuel Beckett hailed it as "a momentous event in the history of modern writing". Norman Mailer, in his book on Miller, Genius and Lust, called it "one of the ten or twenty greatest novels of the century". The Modern Library named it the 50th greatest book of the 20th century. Edmund Wilson said of the novel:
　　
　　 The tone of the book is undoubtedly low; The Tropic of Cancer, in fact, from the point of view both of its happening and of the language in which they are conveyed, is the lowest book of any real literary merit that I have ever remember to have read... there is a strange amenity of temper and style which bathes the whole composition even when it is disgusting or tiresome.
　　
　　In his dissent from the majority holding that the book was not obscene, Pennsylvania Supreme Court Justice Michael Musmanno wrote Cancer is "not a book. It is a cesspool, an open sewer, a pit of putrefaction, a slimy gathering of all that is rotten in the debris of human depravity."

　　《南回归线》作为亨利·米勒自传式罗曼史的重要作品，主要叙述和描写了亨利·米勒早年在纽约的生活经历，以及与此有关的种种感想、联想、遐想和幻想。米勒在这部主要描写自己的内在精神世界的作品中，运用音乐、性以及一种达达主义式的感觉错乱来不断追求自我表现的狂喜。本书除了最初的一大部分和一些以空行形式出现的不规则的段落划分以外，只有两个正式的部分：插曲和尾声，都是借用了音乐的术语，似乎整部作品是一首表现自我音乐情绪的完整乐曲。亨利·米勒在本书中描写的一次次性冲动构成了一部性狂想曲，而他的性狂想曲又是他批判西方文化、重建自我的非道德化倾向的一部分。
　　 亨利·米勒在本书中首引了法国中世纪道德哲学家彼得·阿伯拉尔的话来说明他写此书的目的：“我这样做为的是让你通过比较你我的痛苦而发现，你的痛苦算不得一回事，至多不过是小事一桩，从而使你更容易承受你痛苦的压力。”

　　Tropic of Capricorn is a semi-autobiographical novel by Henry Miller, first published in Paris in 1938. The novel was subsequently banned in the United States until a 1961 Justice Department ruling declared that its contents were not obscene. It is a sequel to Miller's 1934 work, the Tropic of Cancer. Both Tropic of Capricorn and Tropic of Cancer are published in the United States by Grove Press an imprint of Grove/Atlantic, Inc..
　　
　　The novel is set in 1920s New York, where the narrator 'Henry V. Miller' works in the personnel division of the 'Cosmodemonic' telegraph company. Although the narrator's experiences closely parallel Miller's own time in New York working for the Western Union Telegraph Company, and he shares the author's name, the novel is considered a work of fiction.
　　
　　The book is a story of spiritual awakening. Miller grinds down the reader with tales of poverty, suffering, and depravity, then attempts to create an experience of satiety. Much of the story surrounds his New York years of struggle with wife June Miller, and the process of finding his voice as a writer.

　　最早听到的洛丽塔，是一本小说的名字和一位13岁少女的名字。如果仅从对小说的理解，可以将其单纯地理解为早熟的性感少女以及她和恋童癖的联系，而且有接触西方文化的人会发现，西方人说的“洛丽塔”女孩是那些穿着超短裙，化着成熟妆容但又留着少女刘海的女生，简单来说就是“少女强穿女郎装”的情况。 但是当“洛丽塔”流传到了日本，日本人就将其当成天真可爱少女的代名词，统一将14岁以下的女孩称为“洛丽塔代”，而且态度变成“女郎强穿少女装”，即成熟女人对青涩女孩的向往。 而几乎所有东方型的“洛丽塔”，都以电影《下妻物语》里的宫廷娃娃时装作为标准来打扮自己。港版“洛丽塔”由此而来，而惯于向香港取经的粤版洛丽塔也一样。但不同的是，粤版洛丽塔玩家年龄集中在13－25岁，而且大部分人不超过20岁，十七八岁的这类玩家，她们并不存在要拼命装嫩的需要，更多时候她们追求的是一种崭新的衣着态度，和寻求有别一般的生活方式。
　　
　　在西方“洛丽塔”是个极有象征意义的名字，意指性感少女、恋童等意，取自一部名为《洛丽塔》的小说，后拍为同名电影，国内亦翻译为《一支梨花压海棠》。套用最近流行的李安导演的那句名言，我们可以说，“每个女孩心里都有一个洛丽塔”，从西方到东方，从日本到香港，再到中国内地，虽然时间漫长了些，但14岁少女洛丽塔那样精灵可爱的女孩形象竟能在全世界引起“轩然大波”，估计是半世纪以前她的创作者根本无法预料到的，她们甚至特别选择人流最密集的商业中心作为自己的秀场，不论你是否接受，她们总是那么骄傲、那么忘我，谁敢说，洛丽塔不是真正高贵的小公主。
　　洛丽塔-基本资料
　　
　　由一开始的LOLI是LOLITA的简称，指代可爱、吸引人的幼女（多指7～14岁），源于小说《洛丽塔》到后来文化的延伸，lolita＝形容词，代表萝莉状、可爱的幼女，loli = 幼女，多用在电影以及日本GALGAME文化中。 　　
　　
　　最近，因为日本和英美的电影文化的影响，使萝莉风格的服装大行其道，LOLITA演变成代表了一种服饰风格，尤其是在日本，LOLITA成为了代表性强的服装品牌，并被越来越多少女推崇，从而渐渐取代了LOLITA指形容词，代表萝莉状、可爱的幼女的地位。
　　
　　特征
　　
　　一个女生究竟是不是萝莉，每人的定义都有不同：有以年龄（严格生理年龄）来分的，有以气质（心理年龄、外表年龄）来分的，更严格的是两项标准都要达到的，最后还有自己认为是就当作是的。不过普遍来说有一个重点就是要“尚未发育”或者“发育不全”。
　　
　　心理
　　
　　Lolita不单是一种服饰潮流，更是年轻人表达情感需要的方式，或是弥补自信不足的自我保护武装。一如发展心理学家艾力逊指出，年青人正处于“自我认识与迷乱”的阶段，他们往往拥有童真与梦想，有摆脱现实规限的渴求，需要寻找自我，因此以不羁和野性挑战传统，期望得到别人关注、了解、认同和真正接纳。 　　
　　
　　萝莉有三好：身娇、腰柔、易推倒
　　
　　类型
　　
　　小公主型、家中小妹型、女王型、小恶魔型、胆怯娇羞型、小迷糊型、类成熟型
　　洛丽塔-三大族群
　　
　　
　　一、SweetLolita———以粉红、粉蓝、白色等粉色系列为主，衣料选用大量蕾丝，务求缔造出洋娃娃般的可爱和烂漫，在广州是最多人选择的造型，走在大街上也不算太张扬。 　　
　　
　　Sweet Lolita 　　
　　
　　现今在Lolita界的地位：主流 　　
　　
　　Sweet Lolita正如其名，属于所有Lolita分类中服饰设计最为甜美的一个派别。Sweet系洋装的布料大多以粉红、粉蓝或白色等粉嫩可爱的单色为主。除此之外，为了能制造出一种仿若洋娃娃般可爱甜美、烂漫纯真的气息，Sweet系洋装通常会在衣物上使用比别的派系 更多的蕾丝和本布褶皱。 　　
　　
　　近几年来，大约是因为版型与设计经常被山寨的缘故，各家Sweet系洋装品牌纷纷摈弃单色布料，转而使用起各种印有糖果、蛋糕、小动物或描述某个童话场景的印花布料（因为图案特殊且难以仿制，这种布料往往是单此一家别无分店，所以相当能防D版于未然）。
　　
　　一般来说，Sweet系Lolita洋装往往比其他系别的洋装更能获得初次踏进Lolita世界的女孩们的青睐。 　
　　
　　Sweet系Lolita洋装代表品牌：BABY,THE STARS SHINE BRIGH、Angelic Pretty、METAMORPHOSE 　　
　　
　　二、ClassicalLolita———以简约色调为主，着重剪裁以表达清雅的心思，颜色不出挑，如茶色和白色。蕾丝花边会相应减少，而荷叶褶是最大特色，整体风格比较平实，适合新手。 　　
　　
　　☆Classical Lolita☆ 　　
　　
　　现今在Lolita界的地位：主流 　　
　　
　　恰如其名，Classical系Lolita洋装正是所有系别的Lolita洋装中服装款式最为优雅的派别。其洋装设计就好象19世纪英国的贵族少女一般，既古典优雅，又不失纯真可爱。 　　
　　
　　Classical系Lolita洋装所选用的布料虽然也喜欢以纯色为主，但它所使用的纯色料子一定都有着素雅得体又不刺眼的色调。除开白、黑、粉、蓝这四个基本色之外，各式各样美丽的碎花布也是Classical系洋装布料的爱用之选。 　　
　　
　　与Sweet系Lolita洋装不同，除了古典系蕾丝之外，Classical系 Lolita洋装极少会在衣物上使用到大量造型平平、质地一般的蕾丝。在衣服上每个需要用到花边的地方，Classical系Lolita洋装基本上都会以与衣服相同质地的本布褶皱来代替蕾丝。而Classical系洋装所选用的布料颜色亦非常素雅，除了白、黑、粉、蓝这四个基本色之外，各式各样美丽的碎花布也是Classical系洋装布料的常用者。 　　
　　
　　总而言之，Classical系Lolita洋装的特色就是“简约而不简单”。由于款式简单大方、优雅不凡，Classical系Lolita洋装比其他系别的Lolita洋装更适合日常穿着，也更容易被家长及大众所接受。当少女们厌倦了造型过于夸张的Sweet系Lolita洋装和非常不日常的 Gothic系Lolita洋装后，Classical系Lolita洋装就顺理成章地成为了她们的必然选择与最终选择。 　　有意思的是，最能穿出Classical系Lolita洋装韵味的人居然并不是青春活泼的高初中女生，而是那些年纪在20以上的、因为工作和阅历的缘故而拥有了沉静气质的年轻女子。看来在现实中，“气质”能与“年轻”完美并存的实例果然屈指可数呢。 　　
　　
　　代表品牌：Mary Magdalene、Victorian maiden、JULIETTE & JUSTINE 　　Lolita不是Cosplay：前者代表生活态度，后者更加强调角色模仿 　　gothiclolita
　　
　　三、GothicLolita———主色是黑和白，特征是想表达神秘恐怖和死亡的感觉。通常配以十字架银器等装饰，以及化较为浓烈的深色妆容，如黑色指甲、眼影、唇色，强调神秘色彩。 　　
　　
　　☆Gothic Lolita☆ 　　
　　
　　现今在Lolita界的地位：主流 　　
　　
　　首先需要注意的是，Gothic Lolita与纯正的Gothic是完全不同的，大家千万不要把它们混为一谈——因为以正常人的眼光来看，纯粹的Gothic根本就是“妖魔鬼怪般的人物”。而Gothic Lolita虽然在服饰设计上也弥漫着相当浓厚的Gothic味，但它至少还能给人以小恶魔般另类的可爱天真之感。 　　
　　
　　其次，那些认为凡是用黑白色面料制作的Lolita洋装就一定属于Gothic系Lolita洋装的想法也是错误的。事实上，即使采用完全相同的面料进行衣物制作，那些出自不同派系之手的Lolita洋装也依旧会在观感上存在着极易分辨的明显差异—— 　　
　　
　　就算图里的模特都穿着黑色的洋装，但人们还是能从款式和造型上轻易认出谁才是甜嫩可爱的Sweet系Lolita洋装、谁又是如同死神般冷淡孤高的 Gothic系Lolita洋装的。 　　
　　
　　几乎97％以上的Gothic系Lolita洋装都只采用了黑色和白色的单色布料，像粉红、嫩黄之类的可爱颜色可是与这个系别完全绝缘的。此外，Gothic系Lolita洋装也是所有类别的Lolita洋装中最常使用皮质材料的派别。难怪在国内的某些地方，是否穿着使用上等小羊皮制作的束腰会成为了外行人判断此人是否Gothic系Lolita少女的唯一标准了。 　　
　　
　　除了单调的布料用色之外，Gothic系Lolita少女们最爱使用的配饰，也是最能表现出Gothic那股混合了“恐怖”、“纯真”、“神秘”、 “绝望”、“忧郁”、“死亡”与“禁忌”这七大主题的独有气息的各类小物（如黑色指甲油、十字架和骷髅银饰等）。 　　
　　
　　Elegant Gothic Lolita　此外，Gothic系Lolita洋装中还存在着两个比较特别的分支——EGL Lolita及EGA Lolita。EGL Lolita的全称是“Elegant Gothic Lolita”（即“雅致歌特Lolita”）。它的款式设计一般偏向传统古典，虽与Gothic Lolita非常接近，却又多带了点吸血鬼的感觉。而EGA Lolita的全称则是“Elegant Gothic Aristocrat”（即“雅致歌特贵族”），其服装款式一般为男装、长裙、裤子和领尖定有纽扣的衬衣及外套。 　　
　　
　　与其他系别的Lolita洋装比起来，集优雅华丽与黑暗诡异于一身的Gothic Lolita可谓是最受欧美人热爱和着迷的Lolita风格。也许这是因为Gothic系Lolita洋装的设计中充满了神秘及诱惑的禁欲色彩，所以更能引起深受基督教影响之人的共鸣罢。 　　
　　
　　代表品牌：Moi-meme-Moitie、Mille Fleur
　　洛丽塔-相关评论
　　
　　事实上“女性化”本来就是个没有什么具体概念的词，而“洛丽塔”的女性化无非是拥有少女式的性感和犹如小狐狸精般的狡黠。
　　
　　其实没有“洛丽塔”情结的女人就像是过于成熟的水果，失去了青涩带来的回味。于是，那些缀满白色的黑色的花边裙子，胸前的绑带把我们带回到逝去的懵懂岁月，那不仅仅是单纯意义上的装嫩，而是对于自己的最好奖励，允许自己生活在非现实的世界中，鼓励自己犯那些小小的错误，甚至有那么一点残忍和邪恶。
　　
　　这种时尚可能是从一部日剧开始大肆蔓延并在明星的率领下成为时尚的，在日剧《下妻物语》中，深田恭子的“洛丽塔”扮相将这一风尚推向顶点。令日本街头的穿着也形成了三股不同的风尚，“甜美可爱洛丽塔”多为甜美可人的风格，以粉色为主，运用大量蕾丝褶皱裙，表现出洋娃娃般的可人形象；“哥特式洛丽塔”在欧美尤其流行，以黑色为主，弥漫着死亡气息的恐怖与优雅，可以配上黑色的指甲油和唇膏，缔造颓废的气质；“经典洛丽塔”则是最简单的入门款，裙身多为荷叶边，透过碎花和粉色表现出清纯的感觉。
　　
　　这种流行风从日本通过香港迅速蔓延到中国内地，让那些身着“公主装”的女人们以时尚的借口开始肆意装嫩，而这种装嫩的境界也不再停留于原有的“师出无名”了。
　　
　　时尚界自然也不会错过任何一个可以大做文章的由头，在这个洛丽塔般“小妖精” 横行的年代，时尚精英们纷纷向懵懂和叛逆致敬，他们和普通大众一起进入一场拒绝长大的游戏中。年轻且性感的装扮，并不难做到，因此近年来，蕾丝花边和蝴蝶结曾风靡一时，且风头不减。连Dior在今年的秀场上也用华丽和不同季节服装的混搭，制造出早熟的摩登小女郎风格，硕大的太阳眼镜，女人味十足的皮草搭配芥末黄的百褶裙和吊带上衣，性感清纯一个都不能少。

　　Lolita is a novel by Vladimir Nabokov, first written in English and published in 1955 in Paris, later translated by the author into Russian and published in 1958 in New York. The book is internationally famous for its innovative style and infamous for its controversial subject: the protagonist and unreliable narrator, middle-aged Humbert Humbert, who becomes obsessed and sexually involved with a 12-year-old girl named Dolores Haze.
　　
　　After its publication, Nabokov's Lolita attained a classic status, becoming one of the best-known and most controversial examples of 20th century literature. The name "Lolita" has entered pop culture to describe a sexually precocious girl. The novel was adapted to film by Stanley Kubrick in 1962, and again in 1997 by Adrian Lyne.
　　
　　Lolita is included on TIME's 100 Best English-language Novels from 1923 to 2005. It is fourth on the Modern Library's 1998 list of the 100 Best Novels of the 20th century.
　　
　　Plot summary
　　
　　Lolita is divided into two parts and 36 short chapters. It is narrated by Humbert Humbert, a literary scholar born in 1910 to a Swiss father and an English mother in Paris, who is obsessed with what he refers to as "nymphets". Humbert suggests that this obsession results from the death of a childhood sweetheart, Annabel Leigh. In 1947, Humbert moves to Ramsdale, a small New England town, to write. He rents a room in the house of Charlotte Haze, a widow. While Charlotte tours him around the house, he meets her 12-year-old daughter, Dolores (also known as Dolly, Lolita, Lola, Lo, and L), with whom he falls in love at first sight. Humbert stays at the house only to remain with her. While he is infatuated with Lolita, a highly intelligent and articulate, albeit tempestuous teenage girl, he disdains of her preoccupation with contemporary American popular culture, such as teen movies and comic books.
　　
　　While Lolita is away at summer camp, Charlotte, who has fallen in love with Humbert, tells him that he must either marry her or move out. Humbert reluctantly agrees in order to continue living near Lolita. Charlotte is oblivious of Humbert's distaste and pity for her, and his lust for Lolita, until she reads his diary. Upon learning of Humbert's true feelings and intentions, Charlotte is appalled. She makes plans to flee with Lolita, and threatens to expose Humbert's perversions. But as she runs across the street in a state of shock, she is struck and killed by a passing car.
　　
　　Humbert picks Lolita up from camp, pretending that Charlotte is ill in a hospital. He does not return to Charlotte's home out of fear that the neighbors will be suspicious. Instead, he takes Lolita to a hotel, where he meets a strange man (later revealed to be Clare Quilty), who seems to know who he is. Humbert attempts to use sleeping pills on Lolita so that he may molest her without her knowledge, but they have little effect on her. Instead, she initiates sex. He discovers that he is not her first lover, as she had sex with a boy at summer camp. Humbert reveals to Lolita that Charlotte is actually dead; Lolita has no choice but to accept her stepfather into her life on his terms.
　　
　　Lolita and Humbert drive around the country, moving from state to state and motel to motel. Humbert initially keeps the girl under control by threatening her with reform school; later he bribes her for sexual favors, though he knows that she does not reciprocate his love and shares none of his interests. The novel's first part ends after he rapes her. After a year touring North America, the two settle down in another New England town, where Lolita is enrolled in school. Humbert is very possessive and strict, forbidding Lolita to take part in after-school activities or to associate with boys; the townspeople, however, see this as the action of a loving and concerned, while old fashioned, parent.
　　
　　Lolita begs to be allowed to take part in the school play; Humbert reluctantly grants his permission in exchange for more sexual favors. The play is written by Clare Quilty. He is said to have attended a rehearsal and been impressed by Lolita's acting. Just before opening night, Lolita and Humbert have a ferocious argument, which culminates in Lolita saying she wants to leave town and resume their travels.
　　
　　As Lolita and Humbert drive westward again, Humbert gets the feeling that their car is being tailed and he becomes increasingly paranoid, suspecting that Lolita is conspiring with others in order to escape. She falls ill and must convalesce in a hospital; Humbert stays in a nearby motel, without Lolita for the first time in years. One night, Lolita disappears from the hospital; the staff tell Humbert that Lolita's "uncle" checked her out. Humbert embarks upon a frantic search to find Lolita and her abductor, but eventually he gives up.
　　
　　One day in 1952, Humbert receives a letter from Lolita, now 17, who tells him that she is married, pregnant, and in desperate need of money. Humbert goes to see Lolita, giving her money in exchange for the name of the man who abducted her. She reveals the truth: Clare Quilty, an acquaintance of Charlotte's and the writer of the school play, checked her out of the hospital and attempted to make her star in one of his pornographic films; when she refused, he threw her out. She worked odd jobs before meeting and marrying her husband, who knows nothing about her past.
　　
　　Humbert asks Lolita to leave her husband and return to him, but she refuses, and he breaks down in tears. He leaves Lolita, and kills Quilty at his mansion, shooting him to death in an act of revenge. He then is arrested for driving on the wrong side of the road and swerving. The narrative closes with Humbert's final words to Lolita in which he wishes her well, and reveals the novel in its metafiction to be the memoirs of his life, only to be published after he and Lolita have both died.
　　
　　According to the novel's fictional "Foreword", Humbert dies of coronary thrombosis upon finishing his manuscript. Lolita dies giving birth to a stillborn girl on Christmas Day, 1952.
　　Style and interpretation
　　
　　The novel is a tragicomedy narrated by Humbert, who riddles the narrative with word play and his wry observations of American culture. His humor provides an effective counterpoint to the pathos of the tragic plot. The novel's flamboyant style is characterized by word play, double entendres, multilingual puns, anagrams, and coinages such as nymphet, a word that has since had a life of its own and can be found in most dictionaries, and the lesser used "faunlet." One of the novel's characters, "Vivian Darkbloom," is an anagram for author Vladimir Nabokov.
　　
　　Several times, Humbert begs the reader to understand that he is not proud of his union with Lolita, but is filled with remorse. At one point, he is listening to the sounds of children playing outdoors, and is stricken with guilt at the realization that he robbed Lolita of her childhood.
　　
　　Some critics have accepted Humbert's version of events at face value. In 1959, novelist Robertson Davies excused the narrator entirely, writing that the theme of Lolita is "not the corruption of an innocent child by a cunning adult, but the exploitation of a weak adult by a corrupt child. This is no pretty theme, but it is one with which social workers, magistrates and psychiatrists are familiar."
　　
　　Most writers, however, have given less credit to Humbert and more to Nabokov's powers as an ironist. For Richard Rorty, in his famous interpretation of Lolita in Contingency, Irony, and Solidarity, Humbert is a "monster of incuriosity." Nabokov himself described Humbert as "a vain and cruel wretch" and "a hateful person" (quoted in Levine, 1967).
　　
　　Martin Amis, in his essay on Stalinism, Koba the Dread, proposes that Lolita is an elaborate metaphor for the totalitarianism that destroyed the Russia of Nabokov's childhood (though Nabokov states in his Afterword that he "[detests] symbols and allegories"). Amis interprets it as a story of tyranny told from the point of view of the tyrant. "Nabokov, in all his fiction, writes with incomparable penetration about delusion and coercion, about cruelty and lies", he says. "Even Lolita, especially Lolita, is a study in tyranny."
　　
　　In 2003, Iranian expatriate Azar Nafisi published the memoir Reading Lolita in Tehran about a covert women's reading group. For Nafisi, the essence of the novel is Humbert's solipsism and his erasure of Lolita's independent identity. She writes: "Lolita was given to us as Humbert's creature [...] To reinvent her, Humbert must take from Lolita her own real history and replace it with his own [...] Yet she does have a past. Despite Humbert's attempts to orphan Lolita by robbing her of her history, that past is still given to us in glimpses."
　　
　　One of the novel's early champions, Lionel Trilling, warned in 1958 of the moral difficulty in interpreting a book with so eloquent and so self-deceived a narrator: "we find ourselves the more shocked when we realize that, in the course of reading the novel, we have come virtually to condone the violation it presents [...] we have been seduced into conniving in the violation, because we have permitted our fantasies to accept what we know to be revolting."[citation needed]
　　Publication and reception
　　
　　Due to its subject matter, Nabokov was unable to find an American publisher for Lolita after finishing it in 1953. After four refusals, he finally resorted to Olympia Press in Paris, September 1955. Although the first printing of 5,000 copies sold out, there were no substantial reviews. Eventually, at the end of 1955, Graham Greene, in an interview with the (London) Times, called it one of the best novels of 1955. This statement provoked a response from the (London) Sunday Express, whose editor called it "the filthiest book I have ever read" and "sheer unrestrained pornography." British Customs officers were then instructed by a panicked Home Office to seize all copies entering the United Kingdom. In December 1956, the French followed suit and the Minister of the Interior banned Lolita (the ban lasted for two years). Its eventual British publication by Weidenfeld & Nicolson caused a scandal that contributed to the end of the political career of one of the publishers, Nigel Nicolson.
　　
　　By complete contrast, American officials were initially nervous, but the first American edition was issued without problems by G.P. Putnam's Sons in 1958, and was a bestseller, the first book since Gone with the Wind to sell 100,000 copies in the first three weeks of publication. The first official translation of the book was the Danish edition, which was published in 1957.
　　
　　Today, it is considered by many to be one of the finest novels written in the 20th century. In 1998, it was named the fourth greatest English language novel of the 20th century by the Modern Library. Nabokov rated the book highly himself. In an interview for BBC Television in 1962 he said,
　　
　　 Lolita is a special favourite of mine. It was my most difficult book—the book that treated of a theme which was so distant, so remote, from my own emotional life that it gave me a special pleasure to use my combinational talent to make it real.
　　
　　Two years later, in 1964's interview for Playboy, he said,
　　
　　 I shall never regret Lolita. She was like the composition of a beautiful puzzle—its composition and its solution at the same time, since one is a mirror view of the other, depending on the way you look. Of course she completely eclipsed my other works—at least those I wrote in English: The Real Life of Sebastian Knight, Bend Sinister, my short stories, my book of recollections; but I cannot grudge her this. There is a queer, tender charm about that mythical nymphet.
　　
　　At the same year, in the interview for Life, Nabokov was asked, "Which of your writings has pleased you most?" He answered,
　　
　　 I would say that of all my books Lolita has left me with the most pleasurable afterglow—perhaps because it is the purest of all, the most abstract and carefully contrived. I am probably responsible for the odd fact that people don't seem to name their daughters Lolita any more. I have heard of young female poodles being given that name since 1956, but of no human beings.
　　
　　Sources and links
　　Links in Nabokov's work
　　
　　In 1939, Nabokov wrote a novella Volshebnik (Волшебник) that was published only posthumously in 1986 in English translation as The Enchanter. It can be seen as an early version of Lolita but with significant differences: it takes place in Central Europe, and the protagonist is unable to consummate his passion with his stepdaughter, leading to his suicide. The theme of ephebophilia was already touched on by Nabokov in his short story A Nursery Tale, written in 1926. Also, in the 1932 Laughter in the Dark, Margot Peters is sixteen and already had an affair when middle-aged Albinus is attracted to her.
　　
　　In chapter three of the novel The Gift (written in Russian in 1935–1937) the similar gist of Lolita's first chapter is outlined to the protagonist Fyodor Cherdyntsev by his obnoxious landlord Shchyogolev as an idea of a novel he would write "if I only had the time": a man marries a widow only to gain access to her young daughter, who however resists all his passes. Shchyogolev says it happened "in reality" to a friend of his; it is made clear to the reader that it concerns himself and his stepdaughter Zina (fifteen at the time of marriage) who becomes the love of Fyodor's life and his child bride.
　　
　　In April 1947 Nabokov wrote to Edmund Wilson: "I am writing ... a short novel about a man who liked little girls–and it's going to be called The Kingdom by the Sea...." The work expanded into Lolita during the next eight years. Nabokov used the title A Kingdom by the Sea in his 1974 pseudo-autobiographic novel Look at the Harlequins! for a Lolita-like book written by the narrator who, in addition, travels with his teenage daughter Bel from motel to motel after the death of her mother; later, his fourth wife is Bel's look-alike and shares her birthday.
　　
　　In the unfinished novel The Original of Laura, published posthumously, a character Hubert H. Hubert appears, an older man preying upon then-child protagonist, Flora. Unlike in Lolita, his advances are unsuccessful.
　　Allusions/references to other works
　　
　　 * In the Foreword, there is a reference to "the monumental decision rendered December 6, 1933 by Hon. John M. Woolsey in regard to another, considerably more outspoken book"—that is, the decision in the case United States v. One Book Called Ulysses, in which Woolsey ruled that James Joyce's novel was not obscene and could be sold in the United States.
　　
　　 * Humbert Humbert's first love, Annabel Leigh, is named after the "maiden" in the poem "Annabel Lee" by Edgar Allan Poe, and their young love is described in phrases borrowed from Poe's poem. Nabokov originally intended Lolita to be called The Kingdom by the Sea, drawing on the rhyme with Annabel Lee that was used in the first verse of Poe's work. A passage at the end of Chapter 1 — "Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns" — is also a reference to the poem. ("With a love that the winged seraphs in heaven / Coveted her and me.")
　　
　　 * Humbert Humbert's double name recalls Poe's "William Wilson", a tale in which the main character is haunted by his doppelgänger, paralleling to the presence of Humbert's own doppelgänger, Clare Quilty. Humbert is not, however, his real name, but a chosen pseudonym.
　　
　　 * Humbert Humbert's field of expertise is French literature (one of his jobs is writing a series of educational works that compare French writers to English writers), and as such there are several references to French literature, including the authors Gustave Flaubert, Marcel Proust, François Rabelais, Charles Baudelaire, Prosper Mérimée, Remy Belleau, Honoré de Balzac, and Pierre de Ronsard.
　　
　　 * In chapter 17 of Part I, Humbert quotes "to hold thee lightly on a gentle knee and print on thy soft cheek a parent's kiss" from Lord Byron's Childe Harold's Pilgrimage.
　　
　　 * In chapter 35 of Part II, Humbert's "death sentence" on Quilty parodies the rhythm and use of anaphora in T. S. Eliot's poem Ash Wednesday.
　　
　　 * The line "I cannot get out, said the starling" from Humbert's poem is taken from a passage in Laurence Sterne's A Sentimental Journey Through France and Italy, "The Passport, the Hotel De Paris."
　　
　　Possible real-life prototypes
　　
　　According to Alexander Dolinin, the prototype of Lolita was 11-year-old Florence Horner, kidnapped in 1948 by a 50-year-old mechanic Frank La Salle, who had caught her stealing a five-cent notebook. La Salle traveled with her over various states for 21 months and is believed to have raped her. He claimed that he was an FBI agent and threatened to “turn her in” for the theft and to send her to "a place for girls like you." The Horner case was not widely reported, but Dolinin adduces various similarities in events and descriptions.
　　
　　The problem with this suggestion is that Nabokov had already used the same basic idea — that of a child molester and his victim booking into an hotel as man and daughter — in his then-unpublished 1939 work Volshebnik (Волшебник). This is not to say, however, that Nabokov could not have drawn on some details of the case in writing Lolita, and the La Salle case is mentioned explicitly in Chapter 33 of Part II:
　　
　　 Had I done to Dolly, perhaps, what Frank Lasalle, a fifty-year-old mechanic, had done to eleven-year-old Sally Horner in 1948?
　　
　　Heinz von Lichberg's "Lolita"
　　
　　German academic Michael Maar's book The Two Lolitas describes his recent discovery of a 1916 German short story titled "Lolita" about a middle-aged man travelling abroad who takes a room as a lodger and instantly becomes obsessed with the preteen girl (also named Lolita) who lives in the same house. Maar has speculated that Nabokov may have had cryptomnesia (a "hidden memory" of the story that Nabokov was unaware of) while he was composing Lolita during the 1950s. Maar says that until 1937 Nabokov lived in the same section of Berlin as the author, Heinz von Eschwege (pen name: Heinz von Lichberg), and was most likely familiar with his work, which was widely available in Germany during Nabokov's time there. The Philadelphia Inquirer, in the article "Lolita at 50: Did Nabokov take literary liberties?" says that, according to Maar, accusations of plagiarism should not apply and quotes him as saying: "Literature has always been a huge crucible in which familiar themes are continually recast... Nothing of what we admire in Lolita is already to be found in the tale; the former is in no way deducible from the latter." See also Jonathan Lethem in Harper's Magazine on this story.
　　Nabokov's afterword
　　
　　In 1956, Nabokov penned an afterword to Lolita ("On a Book Entitled Lolita") that was included in every subsequent edition of the book.
　　
　　One of the first things Nabokov makes a point of saying is, despite John Ray Jr.'s claim in the Foreword, there is no moral to the story.
　　
　　In the afterword, Nabokov wrote that "the initial shiver of inspiration" for Lolita "was somehow prompted by a newspaper story about an ape in the Jardin des Plantes who, after months of coaxing by a scientist, produced the first drawing ever charcoaled by an animal: this sketch showed the bars of the poor creature's cage". Neither the article nor the drawing has been recovered.
　　
　　In response to an American critic who characterized Lolita as the record of Nabokov's "love affair with the romantic novel", Nabokov wrote that "the substitution of 'English language' for 'romantic novel' would make this elegant formula more correct".
　　
　　Nabokov concluded the afterword with a reference to his beloved first language, which he abandoned as a writer once he moved to the United States in 1940: "My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian language for a second-rate brand of English".
　　Russian translation
　　
　　Nabokov translated Lolita into Russian; the translation was published by Phaedra in New York in 1967.
　　
　　The translation includes a "Postscriptum" in which Nabokov reconsiders his relationship with his native language. Referring to the afterword to the English edition, Nabokov states that only "the scientific scrupulousness led me to preserve the last paragraph of the American afterword in the Russian text..." He further explains that the "story of this translation is the story of a disappointment. Alas, that 'wonderful Russian language' which, I imagined, still awaits me somewhere, which blooms like a faithful spring behind the locked gate to which I, after so many years, still possess the key, turned out to be non-existent, and there is nothing beyond that gate, except for some burned out stumps and hopeless autumnal emptiness, and the key in my hand looks rather like a lock pick."
　　Film, TV or theatrical adaptations
　　The 1962 adaptation's movie poster art.
　　The 1997 movie poster art.
　　
　　 * Lolita has been filmed twice: the first adaptation was made in 1962 by Stanley Kubrick, and starred James Mason, Shelley Winters, Peter Sellers and Sue Lyon as Lolita; and a second adaptation in 1997 by Adrian Lyne, starring Jeremy Irons, Dominique Swain, and Melanie Griffith. Nabokov was nominated for an Academy Award for his work on the earlier film's adapted screenplay, although little of this work reached the screen. The more recent version was given mixed reviews by critics. It was delayed for over a year because of its controversial subject matter, and was not released in Australia until 1999.
　　
　　 * Nabokov's own version of the screenplay (dated Summer 1960 and revised December 1973) for Kubrick's film was published by McGraw-Hill in 1974.
　　
　　 * The book was adapted into a musical in 1971 by librettist/lyricist Alan Jay Lerner and composer John Barry under the title Lolita, My Love. Critics were surprised at how sensitively the story was translated to the stage, but the show nonetheless closed on the road before it opened in New York.
　　
　　 * In 1982, Edward Albee adapted the book into a non-musical play. It was savaged by critics, Frank Rich notably attributing the temporary death of Albee's career to it.
　　
　　 * In 2003, Russian director Victor Sobchak wrote a second non-musical stage adaptation, which played in England at the Lion and Unicorn Fringe Theater in London. It drops the character of Quilty and updates the story to modern England.
　　
　　 * Rodion Shchedrin adapted Lolita into a Russian language opera, which premiered in Moscow in 2006 and was published that same year. It had a much earlier performance in Sweden in 1992. It was nominated for Russia's Golden Mask award.
　　
　　 * The Boston-based composer John Harbison began an opera of Lolita, which he abandoned in the wake of the clergy child-abuse scandal that rocked Boston. Fragments of what he had done were woven into seven-minute piece "Darkbloom: Overture for an Imagined Opera". Vivian Darkbloom, an anagram of Vladimir Nabokov, is a character in Lolita.
　　
　　References in other media
　　
　　 * The novel Lo's Diary by Pia Pera retells the story from Lolita's point of view, making major plot changes on the premise that Humbert's version is incorrect on many points. Lolita is characterized as being quite sadistic and manipulative.
　　
　　 * The collection Poems for Men who Dream of Lolita by Kim Morrissey takes the form of a series of poems written by Lolita herself reflecting on the events in the story, a sort of diary in poetry form. In strong contrast to Pera's novel, Morrissey portrays Lolita as an innocent, wounded soul. Morrissey had earlier done a stage adaptation of Sigmund Freud's famous Dora case.
　　
　　 * Steve Martin wrote the short story "Lolita at Fifty" (included in his collection Pure Drivel), which is a gently humorous look at how Dolores Haze's life might have turned out.
　　
　　 * In The Police song "Don't Stand So Close to Me" about a schoolgirl's crush on her teacher, the teacher "starts to shake and cough just like the old man in that book by Nabokov." The singer mispronounces Nabokov's name.
　　
　　 * The lyrics of the song "Posters", a song by the rock band Dada about a girl who leads the (male) narrator to her room, includes the line "She asked me if I ever read Lolita."
　　
　　 * In the 1999 film American Beauty, the lead character's name, Lester Burnham, is an anagram of "Humbert learns".
　　
　　 * The 2001 Album Gourmandises by the French singer-songwriter Alizee featured her most successful single Moi... Lolita which reached number one in several countries in Europe and East Asia
　　
　　 * The 2007 Marilyn Manson song and music video for "Heart-Shaped Glasses (When the Heart Guides the Hand)" draws strong influence from Lolita, largely inspired by the comparable age difference between Manson and girlfriend Evan Rachel Wood.
　　
　　 * In Katy Perry's song 'One of the Boys', she mentions Lolita. "I studied Lolita religiously"
　　
　　 * The 2010 song "Lolita" by Mexican singer Belinda was inspired by the story.
　　
　　 * On their 2010 album, the band Glass Wave dedicates a song to Lolita. The lyrics are sung in her own voice.
　　
　　 * In the Red Dwarf episode Marooned, David Lister is forced to burn books to keep warm after crashing on an Ice Planet. When asking if he can burn Lolita, Arnold Rimmer advises him to "save page sixty eight". Lister reads it, calls it "disgusting" then slips it into his jacket and burns the rest.
　　
　　 * In the novel Pretty Little Liars, Hanna makes a silent reference when she catches a 40 year old man staring at her and Mona. She looks at him and thinks "A regular Humbert Humbert", but doesn't speak aloud because Mona wouldn't understand the literary reference and she had only read it in the first place because "Lolita looked deliciously dirty."
　　
　　Further reading
　　
　　 * Appel, Alfred Jr. (1991). The Annotated Lolita (revised ed.). New York: Vintage Books. ISBN 0-679-72729-9. One of the best guides to the complexities of Lolita. First published by McGraw-Hill in 1970. (Nabokov was able to comment on Appel's earliest annotations, creating a situation that Appel described as being like John Shade revising Charles Kinbote's comments on Shade's poem Pale Fire. Oddly enough, this is exactly the situation Nabokov scholar Brian Boyd proposed to resolve the literary complexities of Nabokov's Pale Fire.)
　　 * Levine, Peter (1967). "Lolita and Aristotle's Ethics" in Philosophy and Literature Volume 19, Number 1, April 1995, pp. 32–47.
　　 * Nabokov, Vladimir (1955). Lolita. New York: Vintage International. ISBN 0-679-72316-1. The original novel.

　　本书讲述了一个名叫鞠斯汀娜的少女遇到的十次经历、十段故事。由于父母的破产，她和姐姐不得走上流浪的道路。姐姐毫不犹豫地投身妓院。但鞠斯汀娜坚信上帝的万能，为自己的命运苦苦挣扎。然而她却屡遭劫难，她所遭遇到的是：吝啬、抢劫、同性恋、无人道、奸淫、奴役、忘思负义、偷窃、诬告、栽赃陷害。她本想通过虔诚的忏悔，求助宗教的力量以得到拯救，但却跌入了更为苦难的深渊。她落入了一群承险邪恶习的伪君子之手，被他们肆意欺辱。她极为维护自己的清纯，珍爱自己的人格，但一个弱女子终究还是难逃厄运。……

　　Justine (or The Misfortunes of Virtue, or several other titles: see below) is a classic erotic novel by Donatien Alphonse François de Sade, better known as the Marquis de Sade. There is no standard edition of this text in hardcover, having passed into the public domain. The text itself is often incorporated into various collections of De Sade's work.
　　
　　Justine is set just before the French Revolution in France and tells the story of a young woman who goes under the name of Therese. Her story is recounted to Madame de Lorsagne while defending herself for her crimes, en route to punishment and death. She explains the series of misfortunes which have led her to be in her present situation.
　　
　　History of the work
　　
　　Justine (original French title Les infortunes de la vertu) was an early work by the Marquis de Sade, written in two weeks in 1787 while imprisoned in the Bastille. It is a novella (187 pages) with relatively little of the obscenity which characterized his later writing as it was written in the classical style (which was fashionable at the time), with much verbose and metaphorical description.
　　
　　A much extended and more graphic version, entitled Justine ou Les Malheurs de la vertu (1791) (English title: Justine, or The Misfortunes of the virtue or simply Justine) was the first of Sade's books to be published.
　　
　　A further extended version La Nouvelle Justine ou Les Malheurs de la vertu was published in 1797. It was accompanied by a continuation, Juliette about Justine's sister. The two together formed 10 volumes of nearly 4000 pages in total; publication was completed in 1801. This final version, La Nouvelle Justine, departed from the first-person narrative of the previous two versions, and included around 100 engravings.
　　
　　Napoleon Bonaparte ordered the arrest of the anonymous author of Justine and Juliette, and as a result Sade was incarcerated for the last 13 years of his life. Napoleon called Justine "the most abominable book ever engendered by the most depraved imagination".
　　
　　The book's destruction was ordered by the Cour royale de Paris on May 19, 1815. A censored English translation was issued in the USA by the Risus Press in the early 1930s. The first unexpurgated English translation (by 'Pieralessandro Casavini', a pseudonym for Austryn Wainhouse) was published by the Olympia Press in 1953. Wainhouse later revised this translation for publication in the United States by Grove Press. Other versions currently in print, notably the Wordsworth edition, are abridged and heavily censored.
　　Plot summary
　　
　　The plot concerns Justine, a 12-year-old maiden ("As for Justine, aged as we have remarked, twelve"...) who sets off, impecunious, to make her way in France. It follows her until age 26, in her quest for virtue. She is presented with abuse, hidden under a virtuous mask. The unfortunate situations include: the time when she seeks refuge and confession in a monastery, but is forced to become a sex-slave to the monks, who subject her to countless orgies, rapes and other abuses. When helping a gentleman who is robbed in a field, he takes her back to his chateau with promises of a post caring for his wife, but she is then confined in a cave and subject to much the same punishment. These punishments are mostly the same throughout, even when she goes to a judge to beg for mercy in her case as an arsonist, and then finds herself openly humiliated in court, unable to defend herself.
　　
　　Justine (Therese) and Juliette were the daughters of Monsieur de Bertole. Bertole was a widower banker who fell in love with another man's woman. The man, Monsieur de Noirseuil, in the interest of revenge, pretended to be his friend, and made sure he became bankrupt and eventually poisoned him, leaving the girls orphans. Juliette and Justine lived in a nunnery, where the Abbess of the nunnery corrupted Juliette (and attempted to corrupt Justine too). However, Justine was sweet and virtuous. When the Abbess found out about Bertole's death she booted both girls out. Juliette's story is told in another book, and Justine continues on in pursuit of virtue, beginning from becoming a maid in the house of the Usurer Harpin, which is where her troubles begin anew.
　　
　　In her search for work and shelter Justine constantly fell into the hands of perverts and rogues who would rape and torture her and the people she makes friends with. Justine was falsely accused of theft by Harpin and sent to jail expecting execution. She had to ally herself with a Miss Dubois, a criminal who helped her to escape along with her band. In order to escape they had to start a fire in the prison, in which 21 people died. After escaping the band of Dubois, Justine wanders off and accidentally trespasses upon the lands of The Count of Bressac.
　　
　　These are, of course, described in true Sadean form. However, unlike some of his other works, the novel is not just a catalogue of sadism.
　　
　　The story is told by "Therese" in an inn, to Madame de Lorsagne. It is finally revealed that Madame de Lorsagne is her long lost sister. The irony is that her sister submitted to a brief period of vice and found herself a comfortable existence where she could exercise good, while Justine refused to make concessions for the greater good and was plunged further into vice than those who would go willingly.
　　
　　The story ends with Madame de Lorsagne relieving her from a life of vice and clearing her name. Soon afterward, Justine becomes introverted and morose, and is finally struck by a bolt of lightning and killed instantly. Madame de Lorsagne joins a religious order after Justine's death.
　　Major themes
　　
　　De Sade was strongly involved in both the development of his own philosophies (which later became many of the principles of sadism) and an investigation into the changing nature of his country. As, later in life, he became very involved in politics and became a member of the National Convention, we can see many of his ideas introduced in this, one of his earlier works.
　　
　　Key philosophical ideas as follows:
　　
　　 * going against accepted tradition
　　 * the subjectivity of virtue and vice
　　 * the pursuit of desire and the consequences of it
　　 * the evils of absolutism for either the purposes of good or evil
　　 * Nature, as being the only true ruler of man
　　 * The notion of Reason as dominating disinterested system
　　
　　The more political ideas focus on:
　　
　　 * the hierarchy and inequalities within a class system
　　 * the corruption of the church, the justice system and most major institutions
　　 * the respective roles of the sexes
　　 * the necessity of reliance upon others (appropriate as De Sade advocated a form of utopian socialism, at least later in life)
　　
　　Additional Key Philosophical Ideas:
　　
　　1. The pursuit of virtue, as well as that of vice, are both for the sake of pleasure, as pleasure is the ultimate goal of mankind and of life.
　　
　　2. Pain is good, too, insofar as its removal results in pleasure; and even heightened pleasure.
　　
　　3. Evil and crime are directly pleasurable in themselves, avoiding the sublimation and delayed gratification involved in acts of virtue. Of course, it is pleasure that the virtuous expect in the afterlife, after their life-long denial of the instinctual self-gratifications withheld them, either by their own will, or through the imposition of custom or law.
　　
　　4. There is even a type of pleasure involved for the "just" in the punishments inflicted by law and society on those judged "guilty" of following nature's instincts, and this one is equally perverse.
　　
　　5. The will to power is the will to pleasure, and all use of reason is ordered toward the attainment, in whatever be the immediately manifest form, of that end. Hence, virtue is always a mask of sorts.
　　Contemporary reference
　　
　　Justine was written around 30 years after Samuel Richardson's Pamela, or Virtue Rewarded, and the thematic influence is clear. The story is quite related in terms of the endless trials which face each heroine, but with the opposite results. While Pamela's unwavering dedication to virtue does force her to suffer the threat of some vices, and confinement similar to that which befalls Justine, she is eventually successful in reforming Mr B. and becoming his wife. She then leads a life of prosperity and happiness.
　　
　　In 1793, the rival writer Rétif de la Bretonne published his Anti Justine.
　　Film, TV or theatrical adaptations
　　
　　The story has been adapted for film several times, most notably in a 1969 international co-production directed by Jesus Franco and starring Jack Palance, Romina Power, and Klaus Kinski as the Marquis, titled Marquis de Sade: Justine. There has also been a graphic novel version by Guido Crepax. In 1973 the Japanese director Tatsumi Kumashiro filmed an adaptation of Justine as part of Nikkatsu's Roman Porno series. The film was titled Woman Hell: Woods are Wet (女地獄　森は濡れた, Onna Jigoku: Mori wa Nureta?).
　　
　　Justine was also featured in the 2000 film Quills based on the life of the Marquis de Sade.

　　王耀曾经是一个无情的皮条客和敲诈犯，直到有一天他遇到了女招待丽川。王耀原本以为，丽川就像其他女孩一样，可以任由他的摆布，但是丽川的倔强远过错超乎他的想象。在互相折磨中，两人人渐渐迷失了自我。他失去了自由，而她失去了生命。服刑八年后，王耀走出监狱的大门。他持枪闯入丽川母亲的住所，想要了结自己的心愿……

　　“杜梅就像一件兵器，一柄关羽关老爷手中的那种极为华丽锋利无比的大刀”——王朔《过把瘾就死》
　　
　　 王朔的作品绝非白话文里的丰碑，王朔本人值得尊敬但是无需膜拜。在长时间的被你方唱罢我登场的文坛艺坛歌坛舞坛纷繁的信息轰炸之后，我更愿意把一切归结为一种“现象”，一种脱离了人和事在特定环境下特定时代里必然发生的现象。它不以人的意志为转移，并且不会因此将与之相关的人和事衬托得伟大。因为只有现象本身是伟大的，就好比少了哥白尼和伽利略，地球人也早晚都会知道地球是圆的，没有牛顿总会有羊顿，没有爱因斯坦还会有二因斯坦一样。伟大的现象独一无二，而所谓伟人则一定有为数众多的替补。
　　
　　 仔细研究也会发现王朔的作品不仅不伟大，而且也一样会落入各种窠臼和俗套，“男人不坏女人不爱”就是最明显的一个，不论是改编为电视剧《过把瘾》所取材的《过把瘾就死》、《无人喝彩》和《永失我爱》，还是《一半海水一半火焰》、《空中小姐》以及《浮出海面》，男主人公清一色的游手好闲不务正业玩世不恭嘴高手低，放在一起活脱儿就是一流氓团伙，而女人必然纯情的一塌糊涂不是空姐就是护士不是吹长笛就是跳芭蕾，最次也是大学里的学生会干部，没头没脑视死如归的爱上一个宿命中安排好的坏男人，明知男人坏偏投坏人怀，最后爱到伤痕累累非死即伤即使劫后余生顶多苟延残喘。不过，俗套也是讲究个套法的，王朔就是那个常常把我们装在套子里的人。因为他赶上了他那个时代文学话语权中最可爱的“现象”，在他之前，爱情是高大全的是干干净净的组织安排的，在他之后，爱情是廉价而泛滥的，不管插几只足偷几夜情都是见怪不怪的。唯独他，第一次把男人和女人之间的嬉笑怒骂当成主要内容来写，第一次把青春的残酷和爱情的偏执放在一起写，第一次完完整整的叙述鲜花是如何插在牛粪上并最后和牛粪同归于尽的。这根本与伟大无关，真实而已。那些锅碗瓢盆油嘴滑舌的男男女女，那些深爱着对方却一定要拧吧着争吵着表达自己的爱意的男男女女，那些不励志光扯淡只谈请不说爱貌似没心没肺实则刻骨铭心的男男女女，不就是我们自己么？本该反映真实的文艺作品和文艺工作者偶尔尽职尽责了一次，读者便捧着作者一起飞上天了～
　　
　　 《过把瘾就死》、《无人喝彩》和《永失我爱》三部作品都是以男女主人公的爱情为主线，中间的情节展开也无非就是两人之间的吵吵闹闹与分分合合，但是王朔毕竟是个搞文学的，懂得文章的开头结尾不能凑合，于是三部作品在结尾的处理上风格迥异各显神通：《过把瘾就死》选择了疯狂，对杜梅这个人物的偏爱挚爱以及热爱让我觉得这个结尾差强人意，也不够公平，整篇小说都在暗示着的弥足珍贵和难以割舍在最后却被掩人耳目的逃避了，书中最后杜梅在黑暗的公路上骑车狂奔的画面让我直到现在都无法平静的不问一个为什么的接受下来——这样一个简单纯粹的女人，再怎么样也我也不忍心抛下她不管；而《无人喝彩》的结尾就好象它的题目一样，落寞而安静，似乎最接近人们真实的生活。刚才也说过，王老师不傻，他知道开头结尾马虎不得，之所以敢这样悄无声息的草草收口，是因为《无人喝彩》的在立意和情节展开上已经赚足了彩头：一对离了婚的夫妇如何藕断丝连的生活在一个屋檐下并且还若无其事的结交新欢透过别的眼睛观察自己内心真实的爱情，这种不怎么严肃不怎么靠谱的玩笑般的感情关系，恰恰符合了人们对甜蜜爱情与身心自由的渴望和对婚姻枷锁双方责任的恐惧同时并存，鱼和熊掌通通想要的心理状态；《永失我爱》的结尾是最戏剧化的，爱到深处还不行，还要在爱到深处失去爱，失去爱情还不行，还要失去生命，悲壮到不管你是否认为这是一个合理必要或者应该的结局，你都得承认这是一个一步到位的、比任何结局更像结局的结局，人都死了你还想怎么样，谁也不会傻了吧唧的追究男主人公患上的肌无力症到底有没有科学依据，都忙着热泪盈眶的看着一个男人一边坦然面对即将到来的死亡，一边忍辱负重的用抛弃和成全来拯救自己的爱人。虽然通篇都在为这一次悲壮的“死了都要爱”铺垫，但其实也经不起推敲，尤其是为了避免死亡给爱人带来的大伤害便要通过预支一个小伤害来保全对方的做法，实在弱智，当一切真相大白的时候，死亡依旧不可逆转，伤害白白又多一次。
　　
　　 这样看来，《过把瘾就死》说死其实没死，但故事一开始的纠缠争吵和死去活来却异彩纷呈高潮迭起，《永失我爱》通篇弘扬着爱的伟大，结尾歌颂着死的光荣，是名副其实的“过把瘾就死”（准确地说是还没过瘾就死了），这下子凤头和豹尾都有了，就差找一个合适的“弗洛伊德”过度，一张天衣无缝空前绝后的文学拼图就能诞生了，偏巧这时《无人喝彩》带着它那嬉笑着暧昧着离婚并同居着的精美桥段翩翩走来——猪肚，就是它了——一部三合一的王朔牌电视剧《过把瘾》就这样奢侈的问世了。
　　
　　 优化重组后的情节概括起来棱角分明异常过瘾：相识、恋爱、结婚、争吵、离婚、再恋爱、再结婚、死去。其实，不管是原著也好，电视剧也好，他们的成功都离不开最后那个“死”字。死亡是一个重重的砝码，因为死亡就意味着永远的失去，让一切不美好的连同美好的瞬间化为乌有。我一直替杜梅鸣不平，我甚至觉得如果非要死一个人才OK的话，应该选择杜梅。原著和电视剧中都提到杜梅的父亲亲手杀死了自己的母亲，以此为背景和缘由来解释杜梅在爱情里的偏执和顽固。在王朔的作品里，给女主角一个名正言顺的吵闹的理由的情况少之又少，或许王朔也觉得杜梅的过分和偏激需要一点点支撑，但我觉得，其实大可不必，即使没有那些生命里的阴影，女人在爱情憧憬得不到满足的时候所爆发出的能量也会远远超过各种国仇家恨的总和。只不过杜梅在爱上方言爱上爱情之外，更多了在爱情里疗伤和寻求庇护的奢望。杜梅很傻，她不懂爱是鲜花美酒也是穿肠毒药，爱可能让心智完整的人陷入艰难繁琐，但一定不会让心有戚戚的人豁然开朗；她忘了爱情本身和她自己一样，是一把锋利无比的双刃兵器，不伤及自身已经万幸，还指望它疗伤救命。简直饮鸩止渴。
　　
　　 不管看了多少遍这部电视剧的大结局，看到狂吻之后全身无力的瘫倒在杜梅怀里的方言，我依然可以不费吹灰之力的嚎啕大哭，不为死去的方言，只为活着的杜梅。死的是方言，可生不如死的是杜梅，杜梅这次的失去才是彻彻底底完完全全，不仅奢望再也没有可能满足，甚至连一个活口儿也没落下。请允许我失态的说一句：这实在太他妈的残忍了！
　　
　　 我大胆的假设，现实生活中如果真的存在方和杜的话，即使他们复婚，争吵依然还会继续，杜梅依旧得不到她想要的爱情，一方面由于杜梅的苛求与时俱进根本没人能够满足，另一方面因为方言骨子里是一个不愿放弃自我的人，而杜梅又是那样天真的需索无度。与其这样，还不如让杜梅在和自己最爱的人接了两次婚，过了两把瘾之后轰轰烈烈的死去。
　　
　　 对她来说，那才是幸福。

　　七年前，王韵娜因情伤出国。回国后偶遇时装设计师文思，两人坠入爱河。
　　
　　可过去的阴影仍在，那个曾经伤害自己的滕海祁居然是文思的姐夫，而且，他坚持让韵娜离开文思。王韵娜被迫答应，文思痛苦不已。
　　
　　韵娜发现真相，原来滕海祁和文思居然是一对同性恋人！多年前的情伤也改变了滕海祁，他不再爱女人。
　　
　　滕海祁威胁文思，不久，滕被杀。凶手是谁？王韵娜？文思？还是文思的姐姐？

　　振保的生命里就有两个女人，他说一个是他的白玫瑰，一个是他的红玫瑰。一个是圣洁的妻，一个是热烈的情妇…… 留洋回来的振保(赵文瑄饰)在一家外商公司谋了个高职。为了交通方便，他租了老同学王士洪的屋子。振保留学期间，有一个叫玫瑰的初恋情人。他曾因拒绝过玫瑰的求欢而获取了“柳下惠”的好名声。王士洪有一位风情万种的太太，她总令振保想入非非。有一次，士洪去新加坡做生意了，经过几番灵与肉的斗争，在一个乍暖还寒的雨日，振保被这位叫娇蕊(陈冲饰)的太太“囚住”了。令振保所料不及的是娇蕊这次是付出了真爱的。当她提出把真相告诉了王士洪时，振保病倒了。在病房，振保把真实的一面告诉了娇蕊——他不想为此情而承受太多责难。娇蕊收拾她纷乱的泪珠，出奇的冷静起来，从此走出了他的生命。
　　　　
　　在母亲撮合下，振保带着点悲凉的牺牲感，娶了身材单薄、静如止水的孟烟鹂 (叶玉卿饰)。新娘给人的感觉只是笼统的白净，她无法唤起振保的性欲。振保开始在外边嫖妓。可是有一天，他竟发现了他的阴影里没有任何光泽的白玫瑰烟鹂，居然和一个形象猬狎的裁缝关系暧昧。从此，振保在外边公开玩女人，一味地放浪形骸起来。有一天，他在公共汽车上巧遇了他生命中的“红玫瑰”娇蕊，她已是一种中年人的俗艳了。岁月无情，花开花落，在泪光中，振保的红玫瑰与白玫瑰已是一种现实中的幻影。旧日的善良一点一点地逼近振保。回到家，在一番歇斯底里的发作后，振保又重新变成了一个好人。
　　《红玫瑰与白玫瑰》-评价
　　
　　本片是改编自张爱玲同名小说的电影《红玫瑰与白玫瑰》，关锦鹏以一种冷峻旁观的态度描述了一种无奈情感。在起落的电梯里红玫瑰那张娇艳明媚的脸映见她心底婉转曲折的心思，洁净明亮的洗手间里白玫瑰苍白无色的生命。精致美丽，堕落颓唐，却在一不经意间将心底的一丝纯真柔情轻轻流露，一个男子可以将女性情感刻画到如此的细腻、丰富，令人叹为观止。而因一部《小花》（获百花奖最佳女演员奖）而在大陆为人熟悉的陈冲凭借在本片中出色的演绎了红玫瑰而获当年的金马奖最佳女主角奖。一向以大胆出位闻名的她在本片中可谓是抢尽了风头，令曾经被誉为“港产三级皇后”的波霸叶玉卿黯然失色，同样是风情万种，但相对而言陈冲还是更懂得演戏，而不只是show身材。
　　
　　在《红玫瑰与白玫瑰》一片中，关锦鹏虽然表面上呈现的是张爱玲的小说，背地里却操纵种种电影手法，玩弄语言的游戏与叙述的游戏，以挑战的姿态与张爱玲对话，改写了张爱玲的小说，使得这个故事变成一个不一样的故事，一个女性得以成长的故事。虽然张爱玲的小说主角几乎都是女性，她对于女性角色的描述也特别细腻深刻，但是，她笔下的女性却都是深深陷在中国传统封建意识型态之中卑微可怜而平凡庸俗的小角色，张爱玲从来不赋予她小说中的女性任何自觉或成长。
　　
　　在关锦鹏的处理之下，女性角色被赋予了沉默，也同时被赋予了自由。关锦鹏选择的作法便是使叙述者不进入女性角色的意识世界，并使女性角色保留暧昧而不透明的形象。观众因为无法偷听到女性角色的内在声音，便无法完全掌握这些角色。十分诡异的是，女性角色因而更具有某种诠释空间弹性出入的自由。
　　
　　有一场景中，烟鹂手忙脚乱地用报纸替振保包银器，让笃保送礼。振保看烟鹂包得不成模样，夺了过来自己包，口中还叹了口气说：「人笨凡事难！」小说中叙述者描写烟鹂的反应是：烟鹂脸上掠过她的婢妾的怨愤，随即又微笑，自己笑着，又看看笃保可笑了没有，怕他没听懂她丈夫说的笑话。关锦鹏的镜头却只停留在烟鹂似笑非笑、模棱两可的表情。这种意义暧昧不清的笑容反而是自己可以掌握局势，不须对外人解释的笑容。片尾振保在卧室中乱摔东西，还朝着烟鹂掷东西，书中描述烟鹂「疾忙翻身向外逃」，而振保「觉得她完全被打败了」。可是，关锦鹏的电影镜头却照着烟鹂脸上无法捉摸的表情，以及她下楼后缓缓弹起娇蕊的主题曲，代表情欲流动的「玫瑰香」音乐。
　　《红玫瑰与白玫瑰》-对白解析
　　
　　“也许每一个男子全都有过这样的两个女人，至少两个。娶了红玫瑰，久而久之，红的变了墙上的一抹蚊子血，白的还是“床前明月光”；娶了白玫瑰，白的便是衣服上的一粒饭粘子，红的却是心口上的一颗朱砂痣”。
　　
　　“振保的生命里有两个女人，他说一个是他的‘白玫瑰’，一个是他的‘红玫瑰’。一个是圣洁的妻，一个是热烈的情妇”，“娶了‘白玫瑰’，白的便是衣服上沾的一粒饭粘子，红的却是心口上的一颗朱砂痣。”是娶“红玫瑰”还是娶“白玫瑰”？这是个问题，所谓婚姻，就是让观众目睹一朵花由绚烂走向凋谢的结局。
　　
　　《红玫瑰与白玫瑰》这部电影拍得非常精致的电影，影片把三四十年代旧上海的气氛营造得非常成功，印象最深刻的是那部老式电梯，把三十年代上海的风情表露得无遗。张爱玲是一位极为特别的女作家，她的极具才情的佳作、她的清末贵族后裔的身世、她的充满曲折的一生，构成了她这位旷世才女的传奇色彩。张爱玲的小说对人物心理的刻划细腻之极，《红玫瑰与白玫瑰》中营造出新兴商业城市浮华背后的空洞苍白和百无聊赖和表面温馨和谐家庭底层却琐碎沉重的厌倦，透过栩栩如生的人物形象，透过虽年代相隔久远但看似熟悉亲切的故事情节，你能体味到一种人生的苍凉，那种无奈与悲哀那种凄艳的美，这是本片给人留下的深刻印象和慨叹。
　　
　　故事是再平常不过的故事，而导演关锦鹏把人物的内心世界的描写刻划丝丝入扣，呈现给观众的是男主人公那扭曲的心态下扭曲的个性，以及相应而来的扭曲的婚姻，扭曲的人生。三十年代如风过隙，三十年代脆弱、幽静、美艳的女人是寂寞的女人，她们的微笑落花似地纷纷飘过来。三十年代的月亮像“朵云轩”信笺落下的一滴泪珠，陈旧而模糊……三十年代的月亮早已沉了下去，三十年代的人也已经成为过去，三十年代的故事还没完，完不了……
　　《红玫瑰与白玫瑰》-关于影片
　　
　　在张爱玲的小说中，叙述者对烟鹂得了便秘症，把自己每天关在浴室里病态式幻想作了十分具体描述：「她低头看着自己雪白的肚子，白皑皑的一片，时而鼓起来些，时而瘪进去，肚脐的式样也改变，有时候是甜净无表情的希腊石像的眼睛，有时候是突出的怒目，有时候是邪教神佛的眼睛，眼里有一种险恶的微笑，然而很可爱，眼角弯弯地，撇出鱼尾纹」。但是，在电影中，烟鹂独自在浴室内以手掌抚弄肚皮，却并没有叙述者为她解释她的行为，再加上这一景与振保在公共澡堂与众男子裸身洗澡这一段平行交叉发展，背景是「偷吻」的音乐，因此烟鹂在浴室中的行为因含意暧昧而甚至有情欲自觉萌发的暗示。振保洗澡之后以做爱发泄情欲，而烟鹂发泄欲望的方式则是一反往常沉默，滔滔不绝地和振保的同事谈话，并且殷殷挽留，邀请再访。
　　
　　随着电影中的故事发展，影片中的男性叙述者渐渐无法掌握全部的事实。虽然他仍然叙述着张爱玲的故事，但是，影像却背叛他。电影中的叙述者说烟鹂依旧「向人解释，微笑着，忠心地为他掩饰」，但是，镜头跳接的场景却是烟鹂对笃保批评振保在外面胡来，她甚至说：「这样倒不如离了婚的好，离婚又会怎么样呢？……真不知道我要替他辩护到多久！」在张爱玲的小说中，烟鹂并没有这种自觉与胆量。
　　
　　关锦鹏更利用两种不同的浴室空间凸显了红玫瑰与白玫瑰的差异，以及白玫瑰的成长。红玫瑰娇蕊的空间是灯光昏暗、雾气弥漫，墙面的瓷砖多棱角而不规则，哗哗的水声不绝于耳；而白玫瑰烟鹂的空间则是干爽亮洁，墙面的瓷砖方整白净，代表烟鹂冷感洁癖的手绢平整地贴在墙面。娇蕊浴室中的蒸腾水汽呼应浮动于全片之中、不断重复出现、代表情欲流动的水的意象：上海的雨水、街道上的水、踩在脚下反映出人脸的水、冲马桶的水声、男性公共澡堂的水、映在墙上晃动的水影、音轨上哗哗一夜的雨声。烟鹂如白玫瑰般无个性的苍白，与干爽的浴室，隐射她欠缺情欲的自觉。但是，裁缝师两度强调，衣服颜色不对没有关系，可以再染一染色。烟鹂的个性渐渐的增加了一些色彩，正如她身上的衣服渐渐多了一些红色的色调，而她也和女儿一起学会了「玫瑰香」的音乐。
　　
　　烟鹂在女儿被送到学校住读之后，把自己关在浴室内的一景，像是死而复生的蜕变。这一景结尾时，镜头焦距由烟鹂脸上移向背景的瓷砖墙面，观众惊讶地发现，原本光亮平滑的瓷砖，现在表面上裂着与娇蕊的浴室瓷砖一样的不规则棱角。在烟鹂冷静地说「离了婚又怎么样」的时候，镜头从她的侧影移向桌上的一束红玫瑰。我们发现，从约会与婚礼中的沉默，转而发展到提议离婚、或是在社交场合的太太圈中发挥议论，烟鹂学会了欲望，也学会了语言。烟鹂不再是如白色一样单纯而无个性的女性，却发展出了她多棱角的个性与情欲。红玫瑰与白玫瑰不再是以联系词「与」来串连的两个分别个体，而是以斜线「／」拉合的一体两面。
　　
　　除了利用镜头替女性角色说话之外，关锦鹏更利用强调近距离的电影语言，来凸显女性的特质。例如娇蕊将自己裹在振保的雨衣里，点起他抽过的烟蒂，以触觉与嗅觉来接近振保。关锦鹏甚至以极近的距离拍摄医院中的床戏特写，使画面充满肌肤的滑腻肌理，镜头无法框住人体，并失去周遭事物的环绕与方位大小的参考依据，也使得观众无法保持偷窥的距离，而必须和娇蕊与振保一样颠倒在接触的感觉之中。关锦鹏甚至强调女性所擅长的非语言的声音，以别于男性的象征语言文法，例如娇蕊自在喧哗的笑声、音轨上反复如心中辘轳般的电梯升降声，与代表情欲流动的「玫瑰香」的琴音。
　　
　　关锦鹏利用《红玫与白玫瑰》所展露的肌理与多重声音大胆地挑战与颠覆了张爱玲的文字，并以具有女性特质的书写方式改写香港主流电影的电影语言模式，建立了自己的语言，一种女性声音的语言。

　　麻将桌上白天也开着强光灯，洗牌的时候一只只钻戒光芒四射。白桌布四角缚在桌腿 上，绷紧了越发一片雪白，白得耀眼。酷烈的光与影更托出佳芝的胸前丘壑，一张脸也经得 起无情的当头照射。稍嫌尖窄的额，发脚也参差不齐，不知道怎么倒给那秀丽的六角脸更添 了几分秀气。脸上淡妆，只有两片精工雕琢的薄嘴唇涂得亮汪汪的，娇红欲滴，云鬓蓬松往 上扫，后发齐肩，光着手臂，电蓝水渍纹缎齐膝旗袍，小圆角衣领只半寸高，像洋服一样。 领口一只别针，与碎钻镶蓝宝石的“纽扣”耳环成套。
　　
　　左右首两个太太穿着黑呢斗篷，翻领下露出一根沉重的金链条，双行横牵过去扣住领 口。战时上海因为与外界隔绝，兴出一些本地的时装。沦陷区金子畸形的贵，这么粗的金锁 链价值不赀，用来代替大衣纽扣，不村不俗，又可以穿在外面招摇过市，因此成为汪政府官 太太的。也许还是受重庆的影响，觉得黑大氅最庄严大方。
　　
　　易太太是在自己家里，没穿她那件一口钟，也仍旧“坐如钟”，发福了，她跟佳芝是两 年前在香港认识的。那时候夫妇俩跟着汪精卫从重庆出来，在香港耽搁了些时。跟汪精卫的 人，曾仲鸣已经在河内被暗杀了，所以在香港都深居简出。
　　
　　易太太不免要添些东西。抗战后方与沦陷区都缺货，到了这购物的天堂，总不能入宝山 空手回。经人介绍了这位麦太太陪她买东西，本地人内行，香港连大公司都要讨价还价的， 不会讲广东话也吃亏。他们麦先生是进出口商，生意人喜欢结交官场，把易太太招待得无微 不至。易太太十分感激。珍珠港事变后香港陷落，麦先生的生意停顿了，佳芝也跑起单帮 来，贴补家用，带了些手表西药香水丝袜到上海来卖。易太太一定要留她住在他们家。
　　
　　“昨天我们到蜀腴去——麦太太没去过。”易太太告诉黑斗篷之一。
　　
　　“哦。”
　　
　　“马太太这有好几天没来了吧？”另一个黑斗篷说。
　　
　　牌声劈啪中，马太太只咕哝了一声“有个亲戚家有点事”。
　　
　　易太太笑道：“答应请客，赖不掉的。躲起来了。”
　　
　　佳芝疑心马太太是吃醋，因为自从她来了，一切以她为中心。
　　
　　“昨天是廖太太请客，这两天她一个人独赢，”易太太又告诉马太太。“碰见小李跟他 太太，叫他们坐过来，小李说他们请的客还没到。我说廖太太请客难得的，你们好意思不赏 光？刚巧碰上小李大请客，来了一大桌子人。坐不下添椅子，还是挤不下，廖太太坐在我背 后。我说还是我叫的条子漂亮！
　　
　　她说老都老了，还吃我的豆腐。我说麻婆豆腐是要老豆腐嘛！
　　
　　嗳哟，都笑死了！笑得麻婆白麻子都红了。”
　　
　　大家都笑。
　　
　　“是哪个说的？那回易先生过生日，不是就说麻姑献寿哩！”马太太说。
　　
　　易太太还在向马太太报道这两天的新闻，易先生进来了，跟三个女客点头招呼。
　　
　　“你们今天上场子早。”
　　
　　他站在他太太背后看牌。房间那头整个一面墙上都挂着土黄厚呢窗帘，上面印有特大的 砖红凤尾草图案，一根根横斜着也有一人高。周佛海家里有，所以他们也有。西方最近兴出 来的假落地大窗的窗帘，在战时上海因为舶来品窗帘料子缺货，这样整大匹用上去，又还要 对花，确是豪举。人像映在那大人国的凤尾草上，更显得他矮小。穿着灰色西装，生得苍白 清秀，前面头发微秃，褪出一只奇长的花尖；鼻子长长的，有点“鼠相”，据说也是主贵 的。
　　
　　“马太太你这只几克拉——三克拉？前天那品芬又来过了，有只五克拉的，光头还不及 你这只。”易太太说。
　　
　　马太太道：“都说品芬的东西比外头店家好嘛！”
　　
　　易太太道：“掮客送上门来，不过好在方便，又可以留着多看两天。品芬的东西有时候 倒是外头没有的。上次那只火油钻，不肯买给我。”说着白了易先生一眼。“现在该要多少 钱了？火油钻没毛病的，涨到十几两、几十两金子一克拉，品芬还说火油钻粉红钻都是有价 无市。”
　　
　　易先生笑道：“你那只火油钻十几克拉，又不是鸽子蛋，‘钻石’*獱，也是石头，戴* 谑稚吓贫即虿欢恕！*
　　
　　牌桌上的确是戒指展览会，佳芝想。只有她没有钻戒，戴来戴去这只翡翠的，早知不戴 了，叫人见笑——正眼都看不得她。
　　
　　易太太道：“不买还要听你这些话！”说着打出一张五筒，马太太对面的黑斗篷啪啦摊 下牌来，顿时一片笑叹怨尤声，方剪断话锋。
　　
　　大家算胡子，易先生乘乱里向佳芝把下颏朝门口略偏了偏。
　　
　　她立即瞥了两个黑斗篷一眼，还好，不像有人注意到。她赔出筹码，拿起茶杯来喝了一 口，忽道：“该死我这记性！约了三点钟谈生意，会忘得干干净净。怎么办，易先生先替我 打两圈，马上回来。”
　　
　　易太太叫将起来道：“不行！哪有这样的？早又不说，不作兴的。”
　　
　　“我还正想着手风转了。”刚胡了一牌的黑斗篷着说。
　　
　　“除非找廖太太来。去打个电话给廖太太。”易太太又向佳芝道：“等来了再走。”
　　
　　“易先生替我打着。”佳芝看了看手表。“已经晚了，约了个掮客吃咖啡。”
　　
　　“我今天有点事，过天陪你们打通宵。”易先生说。
　　
　　“这王佳芝最坏了！”易太太喜欢连名带姓叫她王佳芝，像同学的称呼。“这回非要罚 你。请客请客！”
　　
　　“哪有行客请坐客的？”马太太说。“麦太太到上海来是客。”
　　
　　“易太太都说了。要你护着！”另一个黑斗篷说。
　　
　　她们取笑凑趣也要留神，虽然易太太的年纪做她母亲绰绰有余，她们从来不说认干女儿 的话。在易太太这年纪，正有点摇摆不定，又要像老太太们喜欢有年青漂亮的女性簇拥的， 众星捧月一般，又要吃醋。
　　
　　“好好，今天晚上请客，”佳芝说。“易先生替我打着，不然晚上请客没有你。”
　　
　　“易先生帮帮忙，帮帮忙！三缺一伤阴骘的。先打着，马太太这就去打电话找搭子。”
　　
　　“我是真有点事，”说起正事，他马上声音一低，只咕哝了一声。“待会还有人来。”
　　
　　“我就知道易先生不会有工夫，”马太太说。
　　
　　是马太太话里有话，还是她神经过敏？佳芝心里想。看他笑嘻嘻的神气，也甚至于马太 太这话还带点讨好的意味，知道他想人知道，恨不得要人家取笑他两句。也难说，再深沉的 人，有时候也会得意忘形起来。
　　
　　这太危险了。今天再不成功，再拖下去要给易太太知道了。
　　
　　她还在跟易太太讨价还价，他已经走开了。她费尽唇舌才得脱身，回到自己卧室里，也 没换衣服，匆匆收拾了一下，女佣已经来回说车在门口等着。她乘易家的汽车出去，吩咐司 机开到一家咖啡馆，下了车便打发他回去。
　　
　　时间还早，咖啡馆没什么人，点着一对对杏子红百折绸罩壁灯，地方很大，都是小圆桌 子，暗花细白麻布桌布，保守性的餐厅模样。她到柜台上去打电话，铃声响了四次就挂断了 再打，怕柜台上的人觉得奇怪，喃喃说了声：“可会拨错了号码？”
　　
　　是约定的暗号。这次有人接听。
　　
　　“喂？”
　　
　　还好，是邝裕民的声音。就连这时候她也还有点怕是梁闰生，尽管他很识相，总让别人 上前。
　　
　　“喂，二哥，”她用广东话说。“这两天家里都好？”
　　
　　“好，都好。你呢。”
　　
　　“我今天去买东西，不过时间没一定。”
　　
　　“好，没关系。反正我们等你。你现在在哪里？”
　　
　　“在霞飞路。”
　　
　　“好，那么就是这样了。”
　　
　　片刻的沉默。
　　
　　“那没什么了？”她的手冰冷，对乡音感到一丝温暖与依恋。
　　
　　“没什么了。”
　　
　　“马上就去也说不定。”
　　
　　“来得及，没问题。好，待会见。”
　　
　　她挂断了，出来叫三轮车。
　　
　　今天要是不成功，可真不能再在易家住下去了，这些太太们在旁边虎视眈眈的。也许应 当一搭上他就找个什么借口搬出来，他可以拨个公寓给她住，上两次就是在公寓见面，两次 地方不同，都是英美人的房子，主人进了集中营。但是那反而更难下手了——知道他什么时 候来？要来也是忽然从天而降，不然预先约定也会临时有事，来不成。打电话给他又难，他 太太看得紧，几个办公处大概都安插得有耳目。便没有，只要有人知道就会坏事，打小报告 讨好他太太的人太多。
　　
　　不去找他，他甚至于可以一次都不来，据说这样的事也有过，公寓就算是临别赠品。他 是实在太多，顾不过来，一个眼不见，就会丢在脑后。还非得钉着他，简直需要提溜着 两只在他跟前晃。
　　
　　“两年前也还没有这样哩，”他拥着吻着她的时候轻声说。
　　
　　他头偎在她胸前，没看见她脸上一红。
　　
　　就连现在想起来，也还像给针扎了一下，马上看见那些人可憎的眼光打量着她，带着点 会心的微笑，连邝裕民在内。
　　
　　只有梁闰生佯佯不睬，装作没注意她这两年胸部越来越高。演过不止一回的一小场戏， 一出现在眼前立刻被她赶走了。
　　
　　到公共租界很有一截子路。三轮车踏到静安寺路西摩路口，她叫在路角一家小咖啡馆前 停下。万一他的车先到，看看路边，只有再过去点停着个木炭汽车。
　　
　　这家大概主要靠门市外卖，只装着寥寥几个卡位，虽然阴暗，情调毫无。靠里有个冷气 玻璃柜台装着各色西点，后面一个狭小的甬道灯点得雪亮，照出里面的墙壁下半截漆成咖啡 色，亮晶晶的凸凹不平；一只小冰箱旁边挂着白号衣，上面近房顶成排挂着西崽脱换下来的 线呢长夹袍，估衣铺一般。
　　
　　她听他说，这是天津起士林的一号西崽出来开的。想必他拣中这一家就是为了不会碰见 熟人，又门临交通要道，真是碰见人也没关系，不比偏僻的地段使人疑心，像是有瞒人的 事。
　　
　　面前一杯咖啡已经冰凉了，车子还没来。上次接了她去，又还在公寓里等了快一个钟头 他才到。说中国人不守时刻，到了官场才登峰造极了。再照这样等下去，去买东西店都要打 烊了。
　　
　　是他自己说的：“我们今天值得纪念。这要买个戒指，你自己拣。今天晚了，不然我陪 你去。”那是第一次在外面见面。
　　
　　第二次时间更逼促，就没提起。当然不会就此算了，但是如果今天没想起来，倒要她去 绕着弯子提醒他，岂不太失身份，煞风景？换了另一个男人，当然是这情形。他这样的老奸 巨滑，决不会认为她这么个少奶奶会看上一个四五十岁的矮子。
　　
　　不是为钱反而可疑。而且首饰向来是女太太们的一个弱点。她不是出来跑单帮吗，顺便 捞点外快也在情理之中。他自己是搞特工的，不起疑也都狡兔三窟，务必叫人捉摸不定。她 需要取信于他，因为迄今是在他指定的地点会面，现在要他同去她指定的地方。
　　
　　上次车子来接她，倒是准时到的。今天等这么久，想必是他自己来接。倒也好，不然在 公寓里见面，一到了那里，再出来就又难了。除非本来预备在那里吃晚饭，闹到半夜才走— —但是就连第一次也没在那里吃饭。自然要多耽搁一会，出去了就不回来了。怕店打烊，要 急死人了，又不能催他快着点，像妓女一样。
　　
　　她取出粉镜子来照了照，补了点粉。迟到也不一定是他自己来。还不是新鲜劲一过，不 拿她当桩事了。今天不成功，以后也许不会再有机会了。
　　
　　她又看了看表。一种失败的预感，像丝袜上一道裂痕、阴凉地在腿肚子上悄悄往上爬。
　　
　　斜对面卡位上有个中装男子很注意她。也是一个人，在那里看报。比她来得早，不会是 跟踪她。估量不出她是什么路道？戴的首饰是不是真的？不大像舞女，要是演电影话剧的， 又不面熟。
　　
　　她倒是演过戏，现在也还是在台上卖命，不过没人知道，出不了名。
　　
　　在学校里演的也都是慷慨激昂的爱国历史剧。广州沦陷前，岭大搬到香港，也还公演过 一次，上座居然还不坏。下了台她兴奋得松弛不下来，大家吃了宵夜才散，她还不肯回去， 与两个女同学乘双层电车游车河。楼上乘客稀少，车身摇摇晃晃在宽阔的街心走，窗外黑暗 中霓虹灯的广告，像酒后的凉风一样醉人。
　　
　　借港大的教室上课，上课下课挤得黑压压的挨挨蹭蹭，半天才通过，十分不便，不免有 寄人篱下之感。香港一般人对国事漠不关心的态度也使人愤慨。虽然同学多数家在省城，非 常近便，也有学生的心情。有这么几个最谈得来的就形成了一个小集团。汪精卫一行人 到了香港，汪夫妇俩与陈公博等都是广东人，有个副官与邝裕民是小同乡。邝裕民去找他， 一拉交情，打听到不少消息。回来大家七嘴八舌，定下一条美人计，由一个女生去接近易太 太——不能说是学生，大都是学生最激烈，他们有戒心。生意人家的少奶奶还差不多，尤其 在香港，没有国家思想。这角色当然由学校剧团的当家花旦担任。
　　
　　几个人里面只有黄磊家里有钱，所以是他奔走筹款，租房子，借车子，借行头。只有他 会开车，因此由他充当司机。
　　
　　欧阳灵文做麦先生。邝裕民算是表弟，陪着表嫂，第一次由那副官带他们去接易太太出 来买东西。邝裕民就没下车，车子先送他与副官各自回家——副官坐在前座——再开她们俩 到中环。
　　
　　易先生她见过几次，都不过点头招呼。这天第一次坐下来一桌打牌，她知道他不是不注 意她，不过不敢冒昧。她自从十二三岁就有人追求，她有数。虽然他这时期十分小心谨慎， 也实在别狠了，蛰居无聊，心事重，又无法排遣，连酒都不敢喝，防汪公馆随时要找他有 事。共事的两对夫妇合赁了一幢旧楼，至多关起门来打打小麻将。
　　
　　牌桌上提起易太太替他买的好几套西装料子，预备先做两套。佳芝介绍一家服装店，是 他们的熟裁缝。“不过现在是旺季，忙着做游客生意，能够一拖几个月，这样好了，易先生 几时有空，易太太打个电话给我，我去带他来。老主顾了，他不好意思不赶一赶。”临走丢 下她的电话号码，易先生乘他太太送她出去，一定会抄了去，过两天找个借口打电话来探探 口气，在办公时间内，麦先生不在家的时候。
　　
　　那天晚上微雨，黄磊开车接她回来，一同上楼，大家都在等信。一次空前成功的演出， 下了台还没下装，自己都觉得顾盼间光艳照人。她舍不得他们走，恨不得再到那里去。已经 下半夜了，邝裕民他们又不跳舞，找那种通宵营业的小馆子去吃及第粥也好，在毛毛雨里老 远一路走回来，疯到天亮。
　　
　　但是大家计议过一阵之后，都沉默下来了，偶尔有一两个人悄声叽咕两句，有时候噗嗤 一笑。
　　
　　那嗤笑声有点耳熟。这不是一天的事了，她知道他们早就背后讨论过。
　　
　　“听他们说，这些人里好像只有梁闰生一个人有性经验，”
　　
　　赖秀金告诉她。除她之外只有赖秀金一个女生。
　　
　　偏偏是梁闰生！
　　
　　当然是他。只有他嫖过。
　　
　　既然有牺牲的决心，就不能说不甘心便宜了他。
　　
　　今天晚上，浴在舞台照明的余辉里，连梁闰生都不十分讨厌了。大家仿佛看出来，一个 个都溜了，就剩下梁闰生。于是戏继续演下去。
　　
　　也不止这一夜。但是接连几天易先生都没打电话来。她打电话给易太太，易太太没精打 彩的，说这两天忙，不去买东西，过天再打电话来找她。
　　
　　是疑心了？发现老易有她的电话号码？还是得到了坏消息，日本方面的？折磨了她两星 期之后，易太太欢天喜地打电话来辞行，十分抱歉走得匆忙，来不及见面了，兼邀她夫妇俩 到上海来玩，多住些时畅叙一下，还要带他们到南京去游览。想必总是回南京组织政府的计 划一度搁浅，所以前一向销声匿迹起来。
　　
　　黄磊拖了一屁股的债。家里听见说他在香港跟一个舞女赁屋同居了，又断绝了他的接 济，狼狈万分。
　　
　　她与梁闰生之间早就已经很僵。大家都知道她是懊悔了，也都躲着她，在一起商量的时 候都不正眼看她。
　　
　　“我傻。反正就是我傻，”她对自己说。
　　
　　也甚至于这次大家起哄捧她出马的时候，就已经有人别具用心了。
　　
　　她不但对梁闰生要避嫌疑，跟他们这一伙人都疏远了，总觉得他们用好奇的异样的眼光 看她。珍珠港事变后，海路一通，都转学到上海去了。同是沦陷区，上海还有书可念。她没 跟他们一块走，在上海也没有来往。
　　
　　有很久她都不确定有没有染上什么脏病。
　　
　　在上海，倒给他们跟一个地下工作者搭上了线。一个姓吴的——想必也不是真姓吴—— 一听他们有这样宝贵的一条路子，当然极力鼓励他们进行。他们只好又来找她，她也义不容 辞。
　　
　　事实是，每次跟老易在一起都像洗了个热水澡，把积郁都冲掉了，因为一切都有了个目 的。
　　
　　这咖啡馆门口想必有人望风，看见他在汽车里，就会去通知一切提前。刚才来的时候倒 没看见有人在附近逗留。横街对面的平安戏院最理想了，廊柱下的阴影中有掩蔽，戏院门口 等人又名正言顺，不过门前的场地太空旷，距离太远，看不清楚汽车里的人。
　　
　　有个送货的单车，停在隔壁外国人开的皮货店门口，仿佛车坏了，在检视修理。剃小平 头，约有三十来岁，低着头，看不清楚，但显然不是熟人。她觉得不会是接应的车子。有些 话他们不告诉她她也不问，但是听上去还是他们原班人马。——有那个吴帮忙，也说不定搞 得到汽车。那辆出差汽车要是还停在那里，也许就是接应的，司机那就是黄磊了。她刚才来 的时候车子背对着她，看不见司机。
　　
　　吴大概还是不大信任他们，怕他们太嫩，会出乱子带累人。他不见得一个人单枪匹马在 上海，但是始终就是他一个人跟邝裕络。
　　
　　许了吸收他们进组织。大概这次算是个考验。
　　
　　“他们都是差不多枪口贴在人身上开枪的，哪像电影里隔得老远瞄准。”邝裕民有一次 笑着告诉她。
　　
　　大概也是叫她安心的话，不会乱枪之下殃及池鱼，不打死也成了残废，还不如死了。
　　
　　这时候到临头，又是一种滋味。
　　
　　上场慌，一上去就好了。
　　
　　等最难熬。男人还可以抽烟。虚飘飘空捞捞的，简直不知道身在何所。她打开手提袋， 取出一瓶香水，玻璃瓶塞连着一根小玻璃棍子，蘸了香水在耳垂背后一抹。微凉有棱，一片 空茫中只有这点接触。再抹那边耳朵底下，半晌才闻见短短一缕栀子花香。
　　
　　脱下大衣，肘弯里面也搽了香水，还没来得及再穿上，隔着橱窗里的白色三层结婚蛋糕 木制模型，已见一辆汽车开过来，一望而知是他的车，背后没驮着那不雅观的烧木炭的板 箱。
　　
　　她捡起大衣手提袋，挽在臂上走出去。司机已经下车代开车门。易先生坐在靠里那边。
　　
　　“来晚了，来晚了！”他哈着腰喃喃说着，作为道歉。
　　
　　她只看了他一眼。上了车，司机回到前座，他告诉他“福开森路”。那是他们上次去的 公寓。
　　
　　“先到这儿有爿店，”她低声向他说，“我耳环上掉了颗小钻，要拿去修。就在这儿， 不然刚才走走过去就是了，又怕你来了找不到人，坐那儿傻等，等这半天。”
　　
　　他笑道：“对不起对不起，今天真来晚了——已经出来了，又来了两个人，又不能不 见。”说着便探身向司机道：“先回到刚才那儿。”早开过了一条街。
　　
　　她噘着嘴喃喃说道：“见一面这么麻烦，住你们那儿又一句话都不能说——我回香港去 了，托你买张好点的船票总行？”
　　
　　“要回去了？想小麦了？”
　　
　　“什么小麦大麦，还要提这个人——气都气死了！”
　　
　　她说过她是报复丈夫玩舞女。
　　
　　一坐定下来，他就抱着胳膊，一只肘弯正抵在她最肥满的南半球外缘。这是他的惯 技，表面上端坐，暗中却在蚀骨销魂，一阵阵麻上来。
　　
　　她一扭身伏在车窗上往外看，免得又开过了。车到下一个十字路口方才大转弯折回。又 一个Ｕ形大转弯，从义利饼干行过街到平安戏院，全市唯一的一个清洁的二轮电影院，灰红 暗黄二色砖砌的门面，有一种针织粗呢的温暖感，整个建筑圆圆的朝里凹，成为一钩新月切 过路角，门前十分宽敞。对面就是刚才那家凯司令咖啡馆，然后西伯利亚皮货店，绿屋夫人 时装店，并排两家四个大橱窗，华贵的木制模特儿在霓虹灯后摆出各种姿态。隔壁一家小店 一比更不起眼，橱窗里空无一物，招牌上虽有英文“珠宝商”字样，也看不出是珠宝店。
　　
　　他转告司机停下，下了车跟在她后面进去。她穿着高跟鞋比他高半个头。不然也就不穿 这么高的跟了，他显然并不介意。她发现大个子往往喜欢娇小玲珑的女人，倒是矮小的男人 喜欢女人高些，也许是一种补偿的心理。知道他在看，更软洋洋地凹着腰。腰细，婉若游龙 游进玻璃门。
　　
　　一个穿西装的印度店员上前招呼。店堂虽小，倒也高爽敞亮，只是雪洞似的光塌塌一无 所有，靠里设着唯一的短短一只玻璃柜台，陈列着一些“诞辰石”——按照生日月份，戴了 运气好的，黄石英之类的“半宝石”，红蓝宝石都是宝石粉制的。
　　
　　她在手提袋里取出一只梨形红宝石耳坠子，上面碎钻拼成的叶子丢了一粒钻。
　　
　　“可以配，”那印度人看了说。
　　
　　她问了多少钱，几时有，易先生便道：“问他有没有好点的戒指。”他是留日的，英文 不肯说，总是端着官架子等人翻译。
　　
　　她顿了顿方道：“干什么？”
　　
　　他笑道：“我们不是要买个戒指做纪念吗？就是钻戒好不好？要好点的。”
　　
　　她又顿了顿，拿他无可奈何似地笑了。“有没有钻戒？”
　　
　　她轻声问。
　　
　　那印度人一扬脸，朝上发声喊，叽哩哇啦想是印度话，倒吓了他们一跳，随即引路上 楼。
　　
　　隔断店堂后身的板壁漆奶油色，靠边有个门，门口就是黑洞洞的小楼梯。办公室在两层 楼之间的一个阁楼上，是个浅浅的阳台，俯瞰店堂，便于监督。一进门左首墙上挂着长短不 齐两只镜子，镜面画着五彩花鸟，金字题款：“鹏程万里巴达先生开业志喜陈茂坤敬贺”， 都是人送的。还有一只
　　
　　横额式大镜，上画彩凤牡丹。阁楼屋顶坡斜，板壁上没处挂，倚在墙根。
　　
　　前面沿着乌木栏杆放着张书桌，桌上有电话，点着台灯。
　　
　　旁边有只茶几搁打字机，罩着旧漆布套子。一个矮胖的印度人从圈椅上站起来招呼，代 挪椅子；一张苍黑的大脸，狮子鼻。
　　
　　“你们要看钻戒。坐下，坐下。”他慢吞吞腆着肚子走向屋隅，俯身去开一只古旧的绿 毯面小矮保险箱。
　　
　　这哪像个珠宝店的气派？易先生面不改色，佳芝倒真有点不好意思。听说现在有些店不 过是个幌子，就靠囤积或是做黑市金钞。吴选中这爿店总是为了地段，离凯司令又近。刚才 上楼的时候她倒是想着，下去的时候真是瓮中捉鳖——他又绅士派，在楼梯上走在她前面， 一踏进店堂，旁边就是柜台。柜台前的两个顾客正好拦住去路。不过两个男人选购廉价宝石 袖扣领针，与送女朋友的小礼物，不能斟酌过久，不像女人蘑菇。要扣准时间，不能进来得 太早，也不能在外面徘徊——他的司机坐在车子里，会起疑。要一进来就进来，顶多在皮货 店看看橱窗，在车子背后好两丈处，隔了一家门面。
　　
　　她坐在书桌边，忍不住回过头去望了望楼下，只看得见橱窗，玻璃~*架都空着，窗明几 净，连霓虹光管都没装，窗外人行道边停着汽车，看得见车身下缘。
　　
　　两个男人一块来买东西，也许有点触目，不但可能引起司机的注意，甚至于他在阁楼上 看见了也犯疑心，俄延着不下来。略一僵持就不对了。想必他们不会进来，还是在门口拦 截。那就更难扣准时间了，又不能跑过来，跑步声马上会唤起司机的注意。——只带一个司 机，可能兼任保镖。
　　
　　也许两个人分布两边，一个带着赖秀金在贴隔壁绿屋夫人门前看橱窗。女孩子看中了买 不起的时装，那是随便站多久都行。男朋友等得不耐烦，尽可以背对着橱窗东张西望。
　　
　　这些她也都模糊地想到过，明知不关她事，不要她管。这时候因为不知道下一步怎样， 在这小楼上难免觉得是高坐在火药桶上，马上就要给炸飞了，两条腿都有点虚软。
　　
　　那店员已经下去了。
　　
　　东家伙计一黑一白，不像父子。白脸的一脸兜腮青胡子楂，厚眼睑睡沉沉半合着，个子 也不高，却十分壮硕，看来是个两用的店伙兼警卫。柜台位置这么后，橱窗又空空如也，想 必是白天也怕抢——晚上有铁条拉门。那也还有点值钱的东西？就怕不过是黄金美钞银洋。
　　
　　却见那店主取出一只尺来长的黑丝绒板，一端略小些，上面一个个缝眼嵌满钻戒。她伏 在桌上看，易先生在她旁边也凑近了些来看。
　　
　　那店主见他二人毫无反应，也没摘下一只来看看，便又送回保险箱道：“我还有这 只。”这只装在深蓝丝绒小盒子里，是粉红钻石，有豌豆大。
　　
　　不是说粉红钻也是有价无市？她怔了怔，不禁如释重负。
　　
　　看不出这爿店，总算替她争回了面子，不然把他带到这么个破地方来——敲竹杠又不在 行，小广东到上海，成了“大乡里”。其实马上枪声一响，眼前这一切都粉碎了，还有什么 面子不面子？明知如此，心里不信，因为全神在抗拒着，第一是不敢朝这上面去想，深恐神 色有异，被他看出来。
　　
　　她拿起那只戒指，他只就她手中看了看，轻声笑道：“嗳，这只好像好点。”
　　
　　她脑后有点寒飕飕的，楼下两边橱窗，中嵌玻璃门，一片晶澈，在她背后展开，就像有 两层楼高的落地大窗，随时都可以爆破。一方面这小店睡沉沉的，只隐隐听见市声——战时 街上不大有汽车，难得揿声喇叭。那沉酣的空气温暖的重压，像棉被捣在脸上。有半个她在 熟睡，身在梦中，知道马上就要出事了，又恍惚知道不过是个梦。
　　
　　她把戒指就着台灯的光翻来复去细看。在这幽暗的阳台上，背后明亮的橱窗与玻璃门是 银幕，在放映一张黑白动作片，她不忍看一个流血场面，或是间谍受刑讯，更触目惊心，她 小时候也就怕看，会在楼座前排掉过身来背对着楼下。
　　
　　“六克拉。戴上试试。”那店主说。
　　
　　他这安逸的小鹰巢值得留恋。墙根斜倚着的大镜子照着她的脚，踏在牡丹花丛中。是天 方夜谭里的市场，才会无意中发现奇珍异宝。她把那粉红钻戒戴在手上侧过来侧过去地看， 与她玫瑰红的指甲油一比，其实不过微红，也不太大，但是光头极足，亮闪闪的，异星一 样，红得有种神秘感。可惜不过是舞台上的小道具，而且只用这么一会工夫，使人感到惆 怅。
　　
　　“这只怎么样？”易先生又说。
　　
　　“你看呢？”
　　
　　“我外行。你喜欢就是了。”
　　
　　“六克拉。不知道有没有毛病，我是看不出来。”
　　
　　他们只管自己细声谈笑。她是内地学校出身，虽然广州开商埠最早，并不像香港的书院 注重英文。她不得不说英语的时候总是声音极低。这印度老板见言语不大通，把生意经都免 了。三言两语讲妥价钱，十一根大条子，明天送来，份量不足照补，多了找还。
　　
　　只有一千零一夜里才有这样的事。用金子，也是天方夜谭里的事。
　　
　　太快了她又有点担心。他们大概想不到出来得这么快。她从舞台经验上知道，就是台词 占的时间最多。
　　
　　“要他开个单子吧？”她说。想必明天总是预备派人来，送条子领货。
　　
　　店主已经在开单据。戒指也脱下来还了他。
　　
　　不免感到成交后的轻松，两人并坐着，都往后靠了靠。这一刹那间仿佛只有他们俩在一 起。
　　
　　她轻声笑道：“现在都是条子。连定钱都不要。”
　　
　　“还好不要，我出来从来不带钱。”
　　
　　她跟他们混了这些时，也知道总是副官付帐，特权阶级从来不自己口袋里掏钱的。今天 出来当然没带副官，为了保密。
　　
　　英文有这话：“权势是一种春药。”对不对她不知道。她是最完全被动的。
　　
　　又有这句谚语：“到男人心里去的路通过胃。”是说男人好吃，碰上会做菜款待他们的 女人，容易上钩。于是就有人说：“到女人心里的路通过。”据说是初年精通英文 的那位名学者说的，名字她叫不出，就晓得他替中国人多妻辩护的那句名言：“只有一只茶 壶几只茶杯，哪有一只茶壶一只茶杯的？”
　　
　　至于什么女人的心，她就不信名学者说得出那样下作的话。她也不相信那话。除非是说 老了倒贴的风尘女人，或是风流寡妇。像她自己，不是本来讨厌梁闰生，只有更讨厌他？
　　
　　当然那也许不同。梁闰生一直讨人嫌惯了，没自信心，而且一向见了她自惭形秽，有点 怕她。
　　
　　那，难道她有点爱上了老易？她不信，但是也无法斩钉截铁地说不是，因为没恋爱过， 不知道怎么样就算是爱上了。
　　
　　从十五六岁起她就只顾忙着抵挡各方面来的攻势，这样的女孩子不大容易坠入爱河，抵 抗力太强了。有一阵子她以为她可能会喜欢邝裕民，结果后来恨他，恨他跟那些别人一样。
　　
　　跟老易在一起那两次总是那么提心吊胆，要处处留神，哪还去问自己觉得怎样。回到他 家里，又是风声鹤唳，一夕数惊。他们睡得晚，好容易回到自己房间里，就只够忙着吃颗安 眠药，好好地睡一觉了。邝裕民给了她一小瓶，叫她最好不要吃，万一上午有什么事发生， 需要脑子清醒点。但是不吃就睡不着，她是从来不闹失眠症的人。
　　
　　只有现在，紧张得拉长到永恒的这一刹那间，这室内小阳台上一灯荧然，映衬着楼下门 窗上一片白色的天光。有这印度人在旁边，只有更觉得是他们俩在灯下单独相对，又密切又 拘束，还从来没有过。但是就连此刻她也再也不会想到她爱不爱他，而是——
　　
　　他不在看她，脸上的微笑有点悲哀。本来以为想不到中年以后还有这样的奇遇。当然也 是权势的魔力。那倒还犹可，他的权力与他本人多少是分不开的。对女人，礼也是非送不可 的，不过送早了就像是看不起她。明知是这么回事，不让他自我陶醉一下，不免怃然。
　　
　　陪欢场女子买东西，他是老手了，只一旁随侍，总使人不注意他。此刻的微笑也丝毫不 带讽刺性，不过有点悲哀。他的侧影迎着台灯，目光下视，睫毛像米色的蛾翅，歇落在瘦瘦 的面颊上，在她看来是一种温柔怜惜的神气。
　　
　　这个人是真爱我的，她突然想，心下轰然一声，若有所失。
　　
　　太晚了。
　　
　　店主把单据递给他，他往身上一揣。
　　
　　“快走，”她低声说。
　　
　　他脸上一呆，但是立刻明白了，跳起来夺门而出，门口虽然没人，需要一把抓住门框， 因为一踏出去马上要抓住楼梯扶手，楼梯既窄又黑赳赳的。她听见他连蹭带跑，三脚两步下 去，梯级上不规则的咕咚嘁嚓声。
　　
　　太晚了。她知道太晚了。
　　
　　店主怔住了。他也知道他们形迹可疑，只好坐着不动，只别过身去看楼下。漆布砖上哒 哒哒一阵皮鞋声，他已经冲入视线内，一推门，炮弹似地直射出去。店员紧跟在后面出现， 她正担心这保镖身坯的印度人会拉拉扯扯，问是怎么回事，耽搁几秒钟也会误事，但是大概 看在那官方汽车份上，并没拦阻，只站在门口观望，剪影虎背熊腰堵住了门。只听见汽车吱 的一声尖叫，仿佛直耸起来，砰！关上车门——还是枪击？——横冲直撞开走了。
　　
　　放枪似乎不会只放一枪。
　　
　　她定了定神。没听见枪声。
　　
　　一松了口气，她浑身疲软像生了场大病一样，支撑着拿起大衣手提袋站起来，点点头笑 道：“明天。”又低声喃喃说道：“他忘了有点事，赶时间，先走了。”
　　
　　店主倒已经扣上独目显微镜，旋准了度数，看过这只戒指没掉包，方才微笑起身相送。
　　
　　也不怪他疑心。刚才讲价钱的时候太爽快了也是一个原因。她匆匆下楼，那店员见她也 下来了，顿了顿没说什么。她在门口却听见里面楼上楼下喊话。
　　
　　门口刚巧没有三轮车。她向西摩路那头走去。执行的人与接应的一定都跑了，见他这样 一个人仓皇跑出来上车逃走，当然知道事情败露了。她仍旧惴惴，万一有后门把风的不接 头，还在这附近。其实撞见了又怎样？疑心她就不会走上前来质问她。就是疑心，也不会不 问青红皂白就把她执行了。
　　
　　她有点诧异天还没黑，仿佛在里面不知待了多少时候。人行道上熙来攘往，马路上一辆 辆三轮驰过，就是没有空车。车如流水，与路上行人都跟她隔着层玻璃，就像橱窗里展览皮 大衣与蝙蝠袖烂银衣裙的木美人一样可望而不可及，也跟他们一样闲适自如，只有她一个人 心慌意乱关在外面。
　　
　　小心不要背后来辆木炭汽车，一刹车开了车门，伸出手来把她拖上车去。
　　
　　平安戏院前面的场地空荡荡的，不是散场时间，也没有三轮车聚集。她正踌躇间，脚步 慢了下来，一回头却见对街冉冉来了一辆，老远的就看见把手上拴着一只纸扎红绿白三色小 风车。车夫是个高个子年青人，在这当日简直是个白马骑士，见她挥手叫，踏快了大转弯过 街，一加速，那小风车便团团飞转起来。
　　
　　“愚园路，”她上了车说。
　　
　　幸亏这次在上海跟他们这伙人见面次数少，没跟他们提起有个亲戚住在愚园路。可以去 住几天，看看风色再说。
　　
　　三轮车还没到静安寺，她听见吹哨子。
　　
　　“封锁了。”车夫说。
　　
　　一个穿短打的中年人一手牵着根长绳子过街，嘴里还衔着哨子。对街一个穿短打的握着 绳子另一头，拉直来拦断了街。有人在没精打采的摇铃。马路阔，薄薄的洋铁皮似的铃声在 半空中载沉载浮，不传过来，听上去很远。
　　
　　三轮车夫不服气，直踏到封锁线上才停止了，焦躁地把小风车拧了一下，拧得它又转动 起来，回过头来向她笑笑。
　　
　　牌桌上现在有三个黑斗篷对坐。新来的一个廖太太鼻梁上有几点俏白麻子。
　　
　　马太太笑道：“易先生回来了。”
　　
　　“看这王佳芝，拆滥污，还说请客，这时候还不回来！”
　　
　　易太太说：“等她请客好了！——等到这时候没吃饭，肚子都要饿穿了！”
　　
　　廖太太笑道：“易先生你太太手气好，说好了明天请客。”
　　
　　马太太笑道：“易先生你太太不像你说话不算话，上次赢了不是答应请客，到现在还是 空头支票，好意思的？想吃你一顿真不容易。”
　　
　　“易先生是该请请我们了，我们请你是请不到的。”另一个黑斗篷说。
　　
　　他只是微笑。女佣倒了茶来，他在茶杯碟子里磕了磕烟灰，看了墙上的厚呢窗帘一眼。 把整个墙都盖住了，可以躲多少刺客？他还有点心惊肉跳的。
　　
　　明天记着叫他们把帘子拆了。不过他太太一定不肯，这么贵的东西，怎么肯白搁着不 用？
　　
　　都是她不好——这次的事不都怪她交友不慎？想想实在不能不感到惊异，这美人局两年 前在香港已经发动了，布置得这样周密，却被美人临时变计放走了他。她还是真爱他的，是 他生平第一个红粉知己。想不到中年以后还有这番遇合。
　　
　　不然他可以把她留在身边。“特务不分家”，不是有这句话？况且她不过是个学生。他 们那伙人里只有一个重庆特务，给他逃走了，是此役唯一的缺憾。大概是在平安戏院看了一 半戏出来，行刺失风后再回戏院，封锁的时候查起来有票根，混过了关。跟他一块等着下手 的一个小子看见他掏香烟掏出票根来，仍旧收好。预先讲好了，接应的车子不要管他，想必 总是一个人溜回电影院了。那些浑小子经不起讯问，吃了点苦头全都说了。
　　
　　易先生站在他太太背后看牌，揿灭了香烟，抿了口茶，还太烫。早点睡——太累了一时 松弛不下来，睡意毫无。今天真是累着了，一直坐在电话旁边等信，连晚饭都没好好地吃。
　　
　　他一脱险马上一个电话打去，把那一带都封锁起来，一网打尽，不到晚上十点钟统统枪 毙了。
　　
　　她临终一定恨他。不过“无毒不丈夫”。不是这样的男子汉，她也不会爱他。
　　
　　当然他也是不得已。日军宪兵队还在其次，周佛海自己也搞特工，视内政部为骈枝机 关，正对他十分注目。一旦发现易公馆的上宾竟是刺客的眼线，成什么话，情报工作的首 脑，这么糊涂还行？
　　
　　现在不怕周找碴子了。如果说他杀之灭口，他也理直气壮：不过是些学生，不像特务还 可以留着慢慢地逼供，榨取情报。拖下去，外间知道的人多了，讲起来又是爱国的大学生暗 杀汉奸，影响不好。
　　
　　他对战局并不乐观。知道他将来怎样？得一知己，死而无憾。他觉得她的影子会永远依 傍他，安慰他。虽然她恨他，她最后对他的感情强烈到是什么感情都不相干了，只是有感 情。他们是原始的猎人与猎物的关系，虎与伥的关系，最终极的占有。她这才生是他的人， 死是他的鬼。
　　
　　“易先生请客请客！”三个黑斗篷越闹越凶，嚷成一片。
　　
　　“那回明明答应的！”
　　
　　易太太笑道：“马太太不也答应请客，几天没来就不提了。”
　　
　　马太太笑道：“太太来救驾了！易先生，太太心疼你。”
　　
　　“易先生到底请是不请？”
　　
　　马太太望着他一笑。“易先生是该请客了。”她知道他晓得她是指纳宠请酒。今天两人 双双失踪，女的三更半夜还没回来。他回来了又有点精神恍惚的样子，脸上又憋不住的喜气 洋洋，带三分春色。看来还是第一次上手。
　　
　　他提醒自己，要记得告诉他太太说话小心点：她那个“麦太太”是家里有急事，赶回香 港去了。都是她引狼入室，住进来不久他就有情报，认为可疑，派人跟踪，发现一个重庆间 谍网，正在调查，又得到消息说宪兵队也风闻，因此不得不提前行动，不然不但被别人冒了 功去，查出是走他太太的路子，也于他有碍。好好地吓唬吓唬她，免得以后听见马太太搬 嘴，又要跟他闹。
　　
　　“易先生请客请客！太太代表不算。”
　　
　　“太太归太太的，说好了明天请。”
　　
　　“晓得易先生是忙人，你说哪天有空吧，过了明天哪天都好。”
　　
　　“请客请各！请吃来喜饭店。”
　　
　　“来喜饭店就是吃个拼盆。”
　　
　　“嗳，德国菜有什么好吃的？就是个冷盆。还是湖南菜，换换口味。”
　　
　　“还是蜀腴——昨天马太太没去。”
　　
　　“我说还是九如，好久没去了。”
　　
　　“那天杨太太请客不是九如？”
　　
　　“那天没有廖太太，廖太太是湖南人，我们不会点菜。”
　　
　　“吃来吃去四川菜湖南菜，都辣死了！”
　　
　　“告诉他不吃辣的好了。”
　　
　　“不吃辣的怎么胡得出辣子？”
　　
　　喧笑声中，他悄然走了出去。
　　
　　（一九五○年）

　　法国作家左拉（Emile Zola）的代表作《娜娜》是他的鸿篇巨著《卢贡－马卡尔家族》中一部颇有文学价值和艺术价值的长篇小说。《娜娜》发表后在法国引起了轰动，小说初版的第一天，其销售量达五万五千多册，开创了法国出版界从未有的盛况。小说曾被改编为电视、电影在法国多次播映。1981年4月5日，法国《世界报》曾发表评论，认为左拉在《娜娜》中“非常真实地描写的19世纪那个巨变的时代，到今天还没有过时，他描绘的那些人物所遇到的一些问题，也正是我们今天所遇到的。”
　　
　　内容简介：
　　
　　娜娜小时候十分调皮，专门作弄教师和同学，喜欢窥探大人的所作所为，十五岁被一个富老商看中，后来跟他私奔了。娜娜18岁后，成了歌剧院的女演员，她上演下流的喜剧，诱惑了无数王孙公子，其中有王子、侯爵、伯爵、银行家、贵族子弟、军官、新闻记者等，他们中每一个人都要和娜娜相好，就不可避免地遭到厄运，有的破产，有的自杀，有的入狱，还有人为了娜娜的缘故，容忍自己的妻子与人通奸，把自己的独生女嫁给娜娜的情夫，自己也落到倾家荡产的地步。娜娜是腐蚀剂，她腐蚀了巴黎的整个上层社会，她的所坐所为是贱民对上层社会的报复。最后，娜娜死于天花，这就是说，这个社会已经百分之百的腐烂，连腐蚀这个社会的工具本身也腐烂了。
　　
　　小说评论：
　　
　　娜娜有相当复杂的性格。作为妓女，她用肉体迷惑男人，使他们倾其所有供她挥霍，她习惯于过奢侈淫逸的生活，似乎称得上是一个道德败坏的女子。然而，娜娜对卖笑生涯十分厌恶，她住在华丽的公馆里，但内心空虚寂寞；她羡慕从良的妓女伊尔玛，梦想将来自己也会有这样一个归宿；她还没有失去一个少女对爱情的天真幻想，憧憬着一夫一妻的小康生活，一直忍受方堂的毒打，结果幻想还是破灭了。她经常叹息：“男人缠着我好苦！”这正是普天下妓女共同的叹息，也是一个被侮辱被损害的妇女对卖淫制度的控诉。她虽然处在腐化的环境中，心中仍有不灭的诗情，她到了乡下，望见了广阔的天空，翠绿的田野，闻着树丛的香味，走进丰收的菜园，不由得陶醉了，竟冒着大雨去摘草莓。这幕动人的情景，充分表现了娜娜的精神世界。娜娜还是一个慈祥的母亲，真诚地爱着小路易，最后竟为照看儿子而死与天花。应该说，娜娜在本质上是善良的。她之所以具有矛盾而复杂的性格，是有其社会根源的。
　　
　　“家贫万事哀”，娜娜不堪忍受父亲的拷打而离家出走，一进入社会，立即在那个金钱统治的社会的逼迫和毒害下堕入悲剧的深渊。她当上了歌剧演员，一举成名，成了名妓。恩格斯说过，卖淫制度“使妇女中间不幸成为受害者的人堕落”，就是说，妓女不仅因卖淫而受害，而且被卖淫生活腐蚀灵魂。娜娜的灵魂被腐蚀，纵使她厌恶自己所处的万恶社会，却又无法打破套在她头上的枷锁。她腐蚀男人是不自觉的，就象她啃一个苹果一样。
　　
　　左拉在小说的第十章，曾描写娜娜和萨丹在吃饭时故意拿她们的卑贱出身来侮辱同桌的达官贵人；她还曾要米法伯爵穿着朝服来见她，她在后面用脚踢他，心里想着是踢在皇帝陛下身上，后来她又把庄严的朝服任意践踏，“这是她的报复！” 左拉所描写的，其实不是一个妓女短暂一生的历史，而是第二帝国达官贵人们的一连串道德败坏史，这是法国上流社会当时的真实写照。