chū liàn shì shénme？ wén xué zuò pǐn zhōng tōng cháng huì zhè yàng miáo xiě： chū liàn shì rú lù zhū bān de chún zhēn qíng gǎn， chū liàn shì shǎn diàn yī bān de rè qíng yáng yì， chū liàn shì yīn qíng bù dìng de xià rì tiān kōng。 zhè yī qiē， zài tú gé niè fū de《 chū liàn》 zhōng kě wèi yīngyǒu jìn yòu。 zài gǔ jīn zhōng wài de wén xué shǐ shàng， chǎn shēng guò xǔ duō miáo xiě chū liàn de zuò pǐn， tú gé niè fū zài 1860 nián fā biǎo de zhōng piān xiǎo shuō《 chū liàn》， jiù shì qí zhōng de yī shǒu dòng rén de qīng chūn sòng gē。 fǎ guó zhù míng zuò jiā 'ān dé liè · mò luò yà zài《 < tú gé niè fū chuán》 zhōng chēng zàn zhè bù zuò pǐn： “ tā jí shǐ bù shì tā zuì wěi dà de yī bù zuò pǐn， kě néng yě chēng dé shàng shì yī bù jué miào de jiā zuò。 ”
rú tóng tú gé niè fū bù shǎo zhōng piān xiǎo shuō yī yàng ,《 chū liàn》 de gù shì qíng jié yě shì tōng guò yī wèi gù shì zhōng jiè rén lái jiǎng shù de , cǎi yòng de yě shì dì yī rén chēng de jiǎo dù。《 chū liàn》 de gù shì dài yòu nóng zhòng de zìzhuàn sè cǎi , zài mǒu zhǒng chéng dù shàng shuō , tā jiǎng shù de shì zuò zhě zì jǐ de gù shì。 tú gé niè fū céng tán dào：“《 chū liàn》 yě xǔ shì wǒ zuì 'ài de zuò pǐn， qí tā zuò pǐn huò duō huò shǎo yòu biān zào de bù fēn，《 chū liàn》 què gēn jù zhēn shì xiě chéng。 bù jiā yī diǎn xiū shì， měi dāng wǒ fǎn fù yuè dú shí， rén wù de xíng xiàng jiù zài wǒ yǎn qián xiān míng dì chéng xiàn chū lái。” ① zhè bù dài yòu zìzhuàn xìng de xiǎo shuō yǐ chéng zhì、 shū qíng、 yōu měi de bǐ diào shū xiě zhuì rù qíng wǎng de shàonián duì 'ài qíng de chōng jǐng、 zhuī qiú、 kě wàng， tóng shí kè huà liǎo shàonǚ qí nà yī dá duì 'ài qíng biān dǎ bù sàn de zhí zhe， ōu gē liǎo měi lì de qīng chūn， ōu gē liǎo chún jié de chū liàn。
zhè shì yī gè qíng dòu chū kāi de huā jì shàonián。“ nà shí hòu， wǒ de xuè yè zài fèi téng , wǒ de xīn zài fā tòng , yòu yī zhǒng jí shū fú、 ér yòu mò míng qí miào de gǎn jué。 nà gè shí hòu , zài wǒ de tóu nǎo lǐ， nǚ rén de xíng xiàng ,、 nǚ xìng de 'ài qíng huàn yǐng jīhū yī xiàng shì mó hú de。 rán 'ér wǒ suǒ xiǎng dào de , wǒ suǒ gǎn jué dào de yī qiē ,， wú bù yǐn hán zhe yī zhǒng méng méng lóng lóng de xiū qiè de yù gǎn， yī zhǒng xīn xiān de wú bǐ tián mì de、 yǔ nǚ xìng yòu guān de dōng xī …… zhè zhǒng yù gǎn、 zhè zhǒng qī dài， zhàn jù liǎo wǒ zhěng gè shēn xīn： tā suí zhe wǒ de hū xī róng rù wǒ de xuè yè， yán zhe wǒ de xuè guǎn liú biàn wǒ de quán shēn……”（《 chū liàn》， dì 96 yè）
mìng yùn guǒ rán gěi qīng chūn de shàonián fú lā jī mǐ 'ěr sòng lái yī wèi tiān shǐ , zài tā chōng mǎn zhe 'ài de yù gǎn de shí hòu , tā men jiā bàng bān lái liǎo de yī hù xīn lín jū héng héng yī wèi qióng guì zú gōng jué fū rén hé tā de nǚ 'ér , zhèng shì zhè wèi měi lì fēi fán de gōng jué xiǎo jiě qí nà yī dá héng héng xiǎo shuō de nǚ zhù rén gōng， yǐ qí bù kě kàng jù de mèi lì lìng wú shù nán zǐ shēn shēn qīng dǎo， shàonián fú lā jī mǐ 'ěr yǔ qí fù yě bù lì wài。
hěn zì rán de， zuò pǐn dì sān xiǎo jié jiù kāi shǐ xiě dào shàonián fú lā jī mǐ 'ěr yǔ qí nà yī dá xiāng yù liǎo。 dāng shàonián jiàn dào qí nà yī dá shí，“ wǒ wàng jì liǎo yī qiē， tān lán de níng wàng zhe tā de nà yǎo tiǎo de shēn duàn、 jié bái de bógěng， tā nà xiān xiān yù shǒu、 jié bái de tóu jīn xià péng sōng de jīn fā， tā nà shuāng bàn zhēng bàn bì de chōng mǎn zhì huì de yǎn jīng， tā nà líng xiù de jié máo xià miàn jiāo róu de sāi……”（《 chū liàn》， 96 yè） fú lā jī mǐ 'ěr bèi qí nà yī dá de měi shēn shēn dì xī yǐn liǎo， shì jué shàng de xiǎng shòu lìng tā táo zuì。 yú shì， tā biàn zhāosī mù xiǎng yǔ tā jié shí。 dāng tā dì yī cì zuò zài qí nà yī dá shēn biān shí， tā xīng fèn yì cháng rú yú dé shuǐ bān kuài huó jí liǎo。“ wǒ xīn xiǎng， ‘ néng gòu tóng tā rèn shí…… duō me xìng fú 'ā， gǎn xiè shàng dì！ ’ wǒ gāo xīng dé tiào liǎo qǐ lái， dàn wǒ kè zhì zhù liǎo， zhǐ shì xiǎng dé dào měi shí de hái zǐ nà yàng， zuò zài yǐ zǐ shàng qīng qīng dì yáo dòng yī xià shuāng tuǐ。”（《 chū liàn》， 105 yè） zhè tiān wǎn shàng，“ wǒ de gǎn shòu shì nà yàng de xīn xiān、 tián mì…… wǒ zuò zài nà lǐ， shí 'ér cháo sì zhōu gù pàn， shēn zǐ què méi yòu dòng dàn， huǎn huǎn de hū xī zhe， zhǐ shì yòu shí xiǎng qǐ shénme shì， biàn mò mò dì xiào， yòu shí xiǎng dào wǒ zài liàn 'ài， xiǎng dào wǒ 'ài tā， ài qíng zhōng yú lái lín……”（《 chū liàn》， dì 123 yè） duì yú shàonián 'ér yán , dāng shí de gǎn jué shì zhè yàng shēn kè , yǐ zhì zài jiē xià lái de rì zǐ lǐ , tā zǒng shì zài zhuī xún zhe zhè zhǒng gǎn jué。
“ chū liàn” gěi shàonián zhù rén gōng dài lái liǎo xīn xiān gǎn dàn tóng shí yě dài lái liǎo tòng kǔ。“ wǒ shuō guò , wǒ de rè qíng shì cóng nà yī tiān kāi shǐ de , wǒ hái kě yǐ jiā yī jù， wǒ de tòng kǔ yě shì cóng nà yī tiān kāi shǐ de。”
xīn yí de rén mèi lì sì shè， xī yǐn de mù guāng yě huì hěn duō， suǒ yǐ， shàonián de qíng dí jiù xiāng dāng duō。 lìng wài， xīn yí zhī rén bìng wèi piān xiàng zì jǐ， què tóng shí yóu lí zài nà xiē qíng dí zhōng。 yú shì，“ chū liàn” de shàonián shèn zhì yě xué huì liǎo jí dù， ér zhè zhèng shì shàonián zhēn zhèng duò rén qíng wǎng de zuì yòu lì de míng zhèng。
zhí dé yī tí de shì， zhè chǎng liàn qíng qí shí zhǐ shì shàonián de“ dān liàn”。 yīn wéi， zuò pǐn zhōng duō cì jiànjiē tí dào， qí nà yī dá de suì shù bǐ shàonián de dà hěn duō。 tā shì yī gè yòu dú lì sī xiǎng hé dú tè gè xìng de rén， shì gè chéng shú de shèn zhì lǎo liàn de nǚ zǐ。 tā qíng guī hé chù ní？ zuò pǐn zhōng yòu zhè yàng yī gè qíng jié：
yòu yī tiān , wǒ dú zì zuò zài qiáng tóu shàng , tiào wàng yuǎn fāng， yōu yōu de zhōng shēng bù jué yú 'ěr…… wǒ cháo xià yī kàn。 xià miàn lù shàng héng qí nà yī dá shēn chuān yī jiàn qiǎn huī sè yī fú , jiān shàng chēng yī bǎ fěn hóng sè yáng sǎn , cōng cōng máng máng dì zǒu guò lái。 tā kàn jiàn wǒ , jiù zhàn zhù liǎo , bǎ cǎo mào biān wǎng shàng yī tuī , tái qǐ tā nà shuāng wēn róu de yǎn jīng wàng zhe wǒ。
“ nín zài zuò shénme yā， pá nà me gāo ?” tā wèn wǒ， liǎn shàng dài zhe yī zhǒng gǔ guài de xiào róng。“ duì liǎo，” tā jiē zhe shuō xià qù ,“ nín zǒng shì shuō nín 'ài wǒ , héng cháng shǐ nín zhēn 'ài wǒ de huà , nà me jiù tiào dào lù shàng wǒ zhè 'ér lái。”
qí nà yī dá de huà hái bù céng shuō wán , wǒ zòng shēn líng kōng dì tiào liǎo xià qù , jiù xiàng yòu rén zài bèi hòu měng dì tuī liǎo wǒ yī xià shìde。 zhè qiáng dà yuē yòu liǎng shā shéng gāo。 wǒ tiào xià lái de shí hòu , jiǎo xiān luò dì , bù guò zhèn dòng dé tài lì hài liǎo , wǒ jìng rán zhàn bù zhù wǒ dǎo zài dì shàng , yī xià zǐ jiù shī qù liǎo zhī jué。 wǒ xǐng guò lái , hái méi yòu zhāng kāi yǎn jīng , jiù gǎn jué dào qí nà yī dá zài wǒ de shēn biān。
“ wǒ qīn 'ài de hái zǐ ,” tā xiàng wǒ wān xià shēn zǐ héng tā de shēng yīn lǐ tòu lù chū yī zhǒng jīng huáng bù 'ān de wēn róu“ nǐ zěn me kě yǐ zhè yàng zuò ní , nǐ zěn me kě yǐ tīng wǒ de huà ní…… nǐ zhī dào wǒ 'ài nǐ…… qǐ lái bā”
tā de xiōng bù jiù zài wǒ de xiōng bàng yī qǐ yī fú , tā de shǒu fǔ mō wǒ de tóu , tū rán héng wǒ zěn me lái shuō míng wǒ nà shí de gǎn jué ní héng tā nà róu ruǎn de、 qīng liáng de zuǐ chún wěn liǎo wǒ de zhěng gè liǎn…… tā de zuǐ chún wěn dào wǒ de zuǐ chún liǎo…… wǒ de tuǐ zài méi yòu jìn zhàn qǐ lái liǎo。 héng héng kě shì zhè yī cì wǒ suǒ jīng yàn de zhì shàng de xìng fú gǎn , zài wǒ de shēng mìng lǐ jué bù huì zài yòu dì 'èr cì liǎo。 tā chéng wéi yī zhǒng tián mì de tòng kǔ shèn tòu wǒ de quán shēn , zuì hòu tā bào fā wéi dà huān dà lè de kuáng xǐ hé kuáng tiào。 díquè , wǒ hái shì yī gè hái zǐ。（《 chū liàn》， dì 148 yè）
zhè yī qíng jié zhōng， xīn yí zhī rén lián xī、“ téng 'ài” hé nà yī wěn shǐ chún qíng shàonián de xīn zhōng yǐn fā de shì yī zhǒng duō me jù dà de lì liàng , zhè shì yī zhǒng qián néng， tā shǐ shàonián gèng wú kě jiù yào dì chén mí yú zì jǐ duì qí nà yī dá de 'ài liàn zhī zhōng。
duì yú shàonián zhù rén gōng lái shuō , chū liàn de gǎn jué shì nà yàng chún jié hé shén shèng , shì nà yàng lìng rén gǎn dòng rán 'ér , zhèng rú yī wèi zhé rén suǒ shuō , dà fán chū liàn hái suàn bù shàng liàn 'ài , chū liàn qí shí shì yī zhǒng duì 'ài de xiàng wǎng。 xiǎo shuō hòu lái de qíng jié fā zhǎn biàn zhèng shí liǎo zhè yī diǎn。 duì qí nà yī dá 'ér yán , yǔ shàonián de 'ài qíng yuán běn zhǐ shì yīcháng yóu xì , tā gēn běn méi yòu liào dào shàonián duì tā 'ài dào rú cǐ chī mí de dì bù , shàonián de zhēn chéng hé yǒng gǎn shèn zhì yě gǎn dòng liǎo tā , bù guò zài tā de xīn zhōng suǒ huàn qǐ de bù shì 'ài qíng , ér zhǐ shì yī zhǒng lián 'ài。 yīn wéi tā zǎo yǐ yǔ shàonián de fù qīn xiàn rén lìng yī tiáo 'ài hé。
qí nà yī dá wú yí yě shì yī gè yòu mèi lì de shàonǚ xíng xiàng， tā shì měi de huà shēn , ài de huàn yǐng , shì tú gé niè fū bǎ 'ài qíng shì wéi yī zhǒng zì rán lì liàng de 'ài qíng guān de tǐ xiàn。 jiào zhī yú“ zì rán de nǚ 'ér” ā xiá , zhè gè xíng xiàng gèng shǎo yī xiē shè huì de nèi róng , gèng duō yī xiē zì rán lì de xiàng zhēng。 rú guǒ nǚ zhù rén gōng shēn shàng dài yòu xiān míng de nóng zhòng de shè huì de lào yìn rú tú gé niè fū cháng piān xiǎo shuō zhōng de nǚ zhù rén gōng yè lín nà hé mǎ lì 'ān nà , nà yǔ《 chū liàn》 de qíng diào xiǎn rán shì bù xié diào de。 ② zhèng shì zhè zhǒng chāo shè huì chāo shí dài de pǔ biàn yì yì , fù yú《 chū liàn》 yǐ zhé xué de guāng cǎi。“ ā， qīng chūn yā qīng chūn！ nǐ duì shénme dōuwú suǒ wèi , nǐ fǎng fó yōng yòu yǔ zhòu jiān yī qiē de cái fù , shèn zhì yōu chóu fǎn dào shǐ nǐ kāi xīn , bēi 'āi huì shǐ nǐ gǎn dào qiè yì， nǐ chōng mǎn zhe zì xìn， dǎn dà wàng wéi， nǐ zǒng shì shuō： nǐ men qiáo bā， zhǐ yòu wǒ qīng chūn cháng zài…… nǐ de mèi lì de quán bù 'ào miào， yě xǔ bù zài yú nǐ zuò chéng rèn hé shì qíng， ér zài yú nǐ néng gòu xiǎng dào zhè yī diǎn， rèn wéi zì jǐ néng zuò chéng rèn hé shì qíng。” zhè zhǒng huà lóng diǎn jīng shì de zhé xué shū qíng shì duì zuò pǐn de sī xiǎng de zuì jīng liàn de gài kuò。
qīng chūn， jiù xiàng shì dì yī kǒu chá。 zhǐ yòu zhè yī kǒu， wǒ men cái néng zài qí jiān tǐ huì dào zuì chū de měi miào hé kǔ sè。 zuò pǐn《 chū liàn》 jiù shì yī qū qīng chūn de sòng gē , yòu shì yī zhī“ chū liàn” de wǎn qū。 tā 'ōu gē liǎo měi lì de qīng chūn， ōu gē liǎo chún jié de chū liàn， quán shì liǎo shàonián duì shēng huó mǎn huái rè wàng， duì 'ài qíng de měi hǎo chōng jǐng。 wǒ men zàn sòng qīng chūn， bù shì wéi liǎo ràng qīng chūn bèi hòu rén suǒ jǐng yǎng， ér shì wèile dù guò qīng chūn zhè běn shū de rén， zài hé shàng hòu， kě yǐ gǎn tàn zhī hòu， xī shī bù yǐ…… qīng chūn， zǒng shì nà me fù yòu jī qíng hé jiān qiáng。 qīng chūn zǒng shì néng ràng rén gǎn dào jí shǐ lù tú zài zěn me hēi 'àn， yě huì yòu yī shù jiào zuò“ ài” de huǒ bǎ， huì zhào liàng wǒ men qián jìn de dào lù。 jìn guǎn， qīng chūn zǒng shì huì ràng rén liú xià yī diǎn yí hàn。
Plot summary
Vladimir Petrovich, a 16-year-old, is staying in the country with his family and meets Zinaida Alexandrovna Zasyekina, a beautiful 21-year-old woman, staying with her mother, Princess Zasyekina, in a wing of the manor. This family, as with many of the Russian minor nobility with royal ties of that time, were only afforded a degree of respectability because of their titles; the Zasyekins, in the case of this story, are a very poor family. The young Vladimir falls irretrievably in love with Zinaida, who has a set of several other (socially more eligible) suitors whom he joins in their difficult and often fruitless search for the young lady's favour. Zinaida, as we find throughout the story, is a thoroughly capricious and somewhat playful mistress to a set of rather love-struck suitors. She fails to reciprocate Vladimir's love in a sensible and honest manner, often misleading him, mocking his comparative youth in contrast to her early adulthood. But eventually the true object of her affections and a rather tragic conclusion to the story are revealed.
Conclusion and outcome
Vladimir discovers that the true object of Zinaida's affection is his own father, Pyotr Vasilyevich. In the tragic and devastatingly succinct closing two chapters, Vladimir secretly observes a final meeting between Pyotr and Zinaida at the window of her house in which his father strikes her arm with a riding crop. Zinaida kisses the welt on her arm and Pyotr bounds into the house. Eight months later, Vladimir's father receives a distressing letter from Moscow and tearfully begs his wife for a favor. Pyotr dies of a stroke several days later, after which his wife sends a considerable sum of money to Moscow. Three or four years later, Vladimir learns of Zinaida's marriage to a Monsieur Dolsky and subsequent death during childbirth.
Central characters
Vladimir Petrovich
The storyteller, at the time of narration a 16-year old boy; the protagonist of the story.
Zinaida Alexandrovna Zasyekina
The object of Vladimir's affections. Capricious, mocking and difficult, she is inconsistent in her affections towards her suitors, of which Vladimir is the one to whom she shows (outwardly) the most affection. However, it is the affection of sister to brother rather than between lovers.
Pyotr Vasilyevich
Vladimir's father, a stoic symbol of 19th century masculinity; very 'British' in outlook and apparently unreceptive to emotion.
Structure
The book has one introductory chapter followed by 22 chapters over a length of between 60 and 102 pages depending upon translation and publication.
Context
Vladimir, having persuaded his friends that he cannot deliver the story orally, has presented a written version to them two weeks after they urged him to do so at a party (which itself takes place many years after the events surrounding Zinaida).
Other relevant works of Turgenev
The three stories, Torrents of Spring, Asya, and First Love work well when read in combination; they are often found published together and deal with similar topics and take place in similar contexts.
The importance of First Love
The story First Love is a true Russian 'classic' (for want of a better phrase). It remains an important book for young Russians. The ending itself is of some interest - clearly designed as a surprise of sorts but, crucially, it encourages the reader to reassess what he thought of the characters and causes the reader to muse a little over the content. The text is regularly used in the teaching of Russian at schools and colleges.
rú tóng tú gé niè fū bù shǎo zhōng piān xiǎo shuō yī yàng ,《 chū liàn》 de gù shì qíng jié yě shì tōng guò yī wèi gù shì zhōng jiè rén lái jiǎng shù de , cǎi yòng de yě shì dì yī rén chēng de jiǎo dù。《 chū liàn》 de gù shì dài yòu nóng zhòng de zìzhuàn sè cǎi , zài mǒu zhǒng chéng dù shàng shuō , tā jiǎng shù de shì zuò zhě zì jǐ de gù shì。 tú gé niè fū céng tán dào：“《 chū liàn》 yě xǔ shì wǒ zuì 'ài de zuò pǐn， qí tā zuò pǐn huò duō huò shǎo yòu biān zào de bù fēn，《 chū liàn》 què gēn jù zhēn shì xiě chéng。 bù jiā yī diǎn xiū shì， měi dāng wǒ fǎn fù yuè dú shí， rén wù de xíng xiàng jiù zài wǒ yǎn qián xiān míng dì chéng xiàn chū lái。” ① zhè bù dài yòu zìzhuàn xìng de xiǎo shuō yǐ chéng zhì、 shū qíng、 yōu měi de bǐ diào shū xiě zhuì rù qíng wǎng de shàonián duì 'ài qíng de chōng jǐng、 zhuī qiú、 kě wàng， tóng shí kè huà liǎo shàonǚ qí nà yī dá duì 'ài qíng biān dǎ bù sàn de zhí zhe， ōu gē liǎo měi lì de qīng chūn， ōu gē liǎo chún jié de chū liàn。
zhè shì yī gè qíng dòu chū kāi de huā jì shàonián。“ nà shí hòu， wǒ de xuè yè zài fèi téng , wǒ de xīn zài fā tòng , yòu yī zhǒng jí shū fú、 ér yòu mò míng qí miào de gǎn jué。 nà gè shí hòu , zài wǒ de tóu nǎo lǐ， nǚ rén de xíng xiàng ,、 nǚ xìng de 'ài qíng huàn yǐng jīhū yī xiàng shì mó hú de。 rán 'ér wǒ suǒ xiǎng dào de , wǒ suǒ gǎn jué dào de yī qiē ,， wú bù yǐn hán zhe yī zhǒng méng méng lóng lóng de xiū qiè de yù gǎn， yī zhǒng xīn xiān de wú bǐ tián mì de、 yǔ nǚ xìng yòu guān de dōng xī …… zhè zhǒng yù gǎn、 zhè zhǒng qī dài， zhàn jù liǎo wǒ zhěng gè shēn xīn： tā suí zhe wǒ de hū xī róng rù wǒ de xuè yè， yán zhe wǒ de xuè guǎn liú biàn wǒ de quán shēn……”（《 chū liàn》， dì 96 yè）
mìng yùn guǒ rán gěi qīng chūn de shàonián fú lā jī mǐ 'ěr sòng lái yī wèi tiān shǐ , zài tā chōng mǎn zhe 'ài de yù gǎn de shí hòu , tā men jiā bàng bān lái liǎo de yī hù xīn lín jū héng héng yī wèi qióng guì zú gōng jué fū rén hé tā de nǚ 'ér , zhèng shì zhè wèi měi lì fēi fán de gōng jué xiǎo jiě qí nà yī dá héng héng xiǎo shuō de nǚ zhù rén gōng， yǐ qí bù kě kàng jù de mèi lì lìng wú shù nán zǐ shēn shēn qīng dǎo， shàonián fú lā jī mǐ 'ěr yǔ qí fù yě bù lì wài。
hěn zì rán de， zuò pǐn dì sān xiǎo jié jiù kāi shǐ xiě dào shàonián fú lā jī mǐ 'ěr yǔ qí nà yī dá xiāng yù liǎo。 dāng shàonián jiàn dào qí nà yī dá shí，“ wǒ wàng jì liǎo yī qiē， tān lán de níng wàng zhe tā de nà yǎo tiǎo de shēn duàn、 jié bái de bógěng， tā nà xiān xiān yù shǒu、 jié bái de tóu jīn xià péng sōng de jīn fā， tā nà shuāng bàn zhēng bàn bì de chōng mǎn zhì huì de yǎn jīng， tā nà líng xiù de jié máo xià miàn jiāo róu de sāi……”（《 chū liàn》， 96 yè） fú lā jī mǐ 'ěr bèi qí nà yī dá de měi shēn shēn dì xī yǐn liǎo， shì jué shàng de xiǎng shòu lìng tā táo zuì。 yú shì， tā biàn zhāosī mù xiǎng yǔ tā jié shí。 dāng tā dì yī cì zuò zài qí nà yī dá shēn biān shí， tā xīng fèn yì cháng rú yú dé shuǐ bān kuài huó jí liǎo。“ wǒ xīn xiǎng， ‘ néng gòu tóng tā rèn shí…… duō me xìng fú 'ā， gǎn xiè shàng dì！ ’ wǒ gāo xīng dé tiào liǎo qǐ lái， dàn wǒ kè zhì zhù liǎo， zhǐ shì xiǎng dé dào měi shí de hái zǐ nà yàng， zuò zài yǐ zǐ shàng qīng qīng dì yáo dòng yī xià shuāng tuǐ。”（《 chū liàn》， 105 yè） zhè tiān wǎn shàng，“ wǒ de gǎn shòu shì nà yàng de xīn xiān、 tián mì…… wǒ zuò zài nà lǐ， shí 'ér cháo sì zhōu gù pàn， shēn zǐ què méi yòu dòng dàn， huǎn huǎn de hū xī zhe， zhǐ shì yòu shí xiǎng qǐ shénme shì， biàn mò mò dì xiào， yòu shí xiǎng dào wǒ zài liàn 'ài， xiǎng dào wǒ 'ài tā， ài qíng zhōng yú lái lín……”（《 chū liàn》， dì 123 yè） duì yú shàonián 'ér yán , dāng shí de gǎn jué shì zhè yàng shēn kè , yǐ zhì zài jiē xià lái de rì zǐ lǐ , tā zǒng shì zài zhuī xún zhe zhè zhǒng gǎn jué。
“ chū liàn” gěi shàonián zhù rén gōng dài lái liǎo xīn xiān gǎn dàn tóng shí yě dài lái liǎo tòng kǔ。“ wǒ shuō guò , wǒ de rè qíng shì cóng nà yī tiān kāi shǐ de , wǒ hái kě yǐ jiā yī jù， wǒ de tòng kǔ yě shì cóng nà yī tiān kāi shǐ de。”
xīn yí de rén mèi lì sì shè， xī yǐn de mù guāng yě huì hěn duō， suǒ yǐ， shàonián de qíng dí jiù xiāng dāng duō。 lìng wài， xīn yí zhī rén bìng wèi piān xiàng zì jǐ， què tóng shí yóu lí zài nà xiē qíng dí zhōng。 yú shì，“ chū liàn” de shàonián shèn zhì yě xué huì liǎo jí dù， ér zhè zhèng shì shàonián zhēn zhèng duò rén qíng wǎng de zuì yòu lì de míng zhèng。
zhí dé yī tí de shì， zhè chǎng liàn qíng qí shí zhǐ shì shàonián de“ dān liàn”。 yīn wéi， zuò pǐn zhōng duō cì jiànjiē tí dào， qí nà yī dá de suì shù bǐ shàonián de dà hěn duō。 tā shì yī gè yòu dú lì sī xiǎng hé dú tè gè xìng de rén， shì gè chéng shú de shèn zhì lǎo liàn de nǚ zǐ。 tā qíng guī hé chù ní？ zuò pǐn zhōng yòu zhè yàng yī gè qíng jié：
yòu yī tiān , wǒ dú zì zuò zài qiáng tóu shàng , tiào wàng yuǎn fāng， yōu yōu de zhōng shēng bù jué yú 'ěr…… wǒ cháo xià yī kàn。 xià miàn lù shàng héng qí nà yī dá shēn chuān yī jiàn qiǎn huī sè yī fú , jiān shàng chēng yī bǎ fěn hóng sè yáng sǎn , cōng cōng máng máng dì zǒu guò lái。 tā kàn jiàn wǒ , jiù zhàn zhù liǎo , bǎ cǎo mào biān wǎng shàng yī tuī , tái qǐ tā nà shuāng wēn róu de yǎn jīng wàng zhe wǒ。
“ nín zài zuò shénme yā， pá nà me gāo ?” tā wèn wǒ， liǎn shàng dài zhe yī zhǒng gǔ guài de xiào róng。“ duì liǎo，” tā jiē zhe shuō xià qù ,“ nín zǒng shì shuō nín 'ài wǒ , héng cháng shǐ nín zhēn 'ài wǒ de huà , nà me jiù tiào dào lù shàng wǒ zhè 'ér lái。”
qí nà yī dá de huà hái bù céng shuō wán , wǒ zòng shēn líng kōng dì tiào liǎo xià qù , jiù xiàng yòu rén zài bèi hòu měng dì tuī liǎo wǒ yī xià shìde。 zhè qiáng dà yuē yòu liǎng shā shéng gāo。 wǒ tiào xià lái de shí hòu , jiǎo xiān luò dì , bù guò zhèn dòng dé tài lì hài liǎo , wǒ jìng rán zhàn bù zhù wǒ dǎo zài dì shàng , yī xià zǐ jiù shī qù liǎo zhī jué。 wǒ xǐng guò lái , hái méi yòu zhāng kāi yǎn jīng , jiù gǎn jué dào qí nà yī dá zài wǒ de shēn biān。
“ wǒ qīn 'ài de hái zǐ ,” tā xiàng wǒ wān xià shēn zǐ héng tā de shēng yīn lǐ tòu lù chū yī zhǒng jīng huáng bù 'ān de wēn róu“ nǐ zěn me kě yǐ zhè yàng zuò ní , nǐ zěn me kě yǐ tīng wǒ de huà ní…… nǐ zhī dào wǒ 'ài nǐ…… qǐ lái bā”
tā de xiōng bù jiù zài wǒ de xiōng bàng yī qǐ yī fú , tā de shǒu fǔ mō wǒ de tóu , tū rán héng wǒ zěn me lái shuō míng wǒ nà shí de gǎn jué ní héng tā nà róu ruǎn de、 qīng liáng de zuǐ chún wěn liǎo wǒ de zhěng gè liǎn…… tā de zuǐ chún wěn dào wǒ de zuǐ chún liǎo…… wǒ de tuǐ zài méi yòu jìn zhàn qǐ lái liǎo。 héng héng kě shì zhè yī cì wǒ suǒ jīng yàn de zhì shàng de xìng fú gǎn , zài wǒ de shēng mìng lǐ jué bù huì zài yòu dì 'èr cì liǎo。 tā chéng wéi yī zhǒng tián mì de tòng kǔ shèn tòu wǒ de quán shēn , zuì hòu tā bào fā wéi dà huān dà lè de kuáng xǐ hé kuáng tiào。 díquè , wǒ hái shì yī gè hái zǐ。（《 chū liàn》， dì 148 yè）
zhè yī qíng jié zhōng， xīn yí zhī rén lián xī、“ téng 'ài” hé nà yī wěn shǐ chún qíng shàonián de xīn zhōng yǐn fā de shì yī zhǒng duō me jù dà de lì liàng , zhè shì yī zhǒng qián néng， tā shǐ shàonián gèng wú kě jiù yào dì chén mí yú zì jǐ duì qí nà yī dá de 'ài liàn zhī zhōng。
duì yú shàonián zhù rén gōng lái shuō , chū liàn de gǎn jué shì nà yàng chún jié hé shén shèng , shì nà yàng lìng rén gǎn dòng rán 'ér , zhèng rú yī wèi zhé rén suǒ shuō , dà fán chū liàn hái suàn bù shàng liàn 'ài , chū liàn qí shí shì yī zhǒng duì 'ài de xiàng wǎng。 xiǎo shuō hòu lái de qíng jié fā zhǎn biàn zhèng shí liǎo zhè yī diǎn。 duì qí nà yī dá 'ér yán , yǔ shàonián de 'ài qíng yuán běn zhǐ shì yīcháng yóu xì , tā gēn běn méi yòu liào dào shàonián duì tā 'ài dào rú cǐ chī mí de dì bù , shàonián de zhēn chéng hé yǒng gǎn shèn zhì yě gǎn dòng liǎo tā , bù guò zài tā de xīn zhōng suǒ huàn qǐ de bù shì 'ài qíng , ér zhǐ shì yī zhǒng lián 'ài。 yīn wéi tā zǎo yǐ yǔ shàonián de fù qīn xiàn rén lìng yī tiáo 'ài hé。
qí nà yī dá wú yí yě shì yī gè yòu mèi lì de shàonǚ xíng xiàng， tā shì měi de huà shēn , ài de huàn yǐng , shì tú gé niè fū bǎ 'ài qíng shì wéi yī zhǒng zì rán lì liàng de 'ài qíng guān de tǐ xiàn。 jiào zhī yú“ zì rán de nǚ 'ér” ā xiá , zhè gè xíng xiàng gèng shǎo yī xiē shè huì de nèi róng , gèng duō yī xiē zì rán lì de xiàng zhēng。 rú guǒ nǚ zhù rén gōng shēn shàng dài yòu xiān míng de nóng zhòng de shè huì de lào yìn rú tú gé niè fū cháng piān xiǎo shuō zhōng de nǚ zhù rén gōng yè lín nà hé mǎ lì 'ān nà , nà yǔ《 chū liàn》 de qíng diào xiǎn rán shì bù xié diào de。 ② zhèng shì zhè zhǒng chāo shè huì chāo shí dài de pǔ biàn yì yì , fù yú《 chū liàn》 yǐ zhé xué de guāng cǎi。“ ā， qīng chūn yā qīng chūn！ nǐ duì shénme dōuwú suǒ wèi , nǐ fǎng fó yōng yòu yǔ zhòu jiān yī qiē de cái fù , shèn zhì yōu chóu fǎn dào shǐ nǐ kāi xīn , bēi 'āi huì shǐ nǐ gǎn dào qiè yì， nǐ chōng mǎn zhe zì xìn， dǎn dà wàng wéi， nǐ zǒng shì shuō： nǐ men qiáo bā， zhǐ yòu wǒ qīng chūn cháng zài…… nǐ de mèi lì de quán bù 'ào miào， yě xǔ bù zài yú nǐ zuò chéng rèn hé shì qíng， ér zài yú nǐ néng gòu xiǎng dào zhè yī diǎn， rèn wéi zì jǐ néng zuò chéng rèn hé shì qíng。” zhè zhǒng huà lóng diǎn jīng shì de zhé xué shū qíng shì duì zuò pǐn de sī xiǎng de zuì jīng liàn de gài kuò。
qīng chūn， jiù xiàng shì dì yī kǒu chá。 zhǐ yòu zhè yī kǒu， wǒ men cái néng zài qí jiān tǐ huì dào zuì chū de měi miào hé kǔ sè。 zuò pǐn《 chū liàn》 jiù shì yī qū qīng chūn de sòng gē , yòu shì yī zhī“ chū liàn” de wǎn qū。 tā 'ōu gē liǎo měi lì de qīng chūn， ōu gē liǎo chún jié de chū liàn， quán shì liǎo shàonián duì shēng huó mǎn huái rè wàng， duì 'ài qíng de měi hǎo chōng jǐng。 wǒ men zàn sòng qīng chūn， bù shì wéi liǎo ràng qīng chūn bèi hòu rén suǒ jǐng yǎng， ér shì wèile dù guò qīng chūn zhè běn shū de rén， zài hé shàng hòu， kě yǐ gǎn tàn zhī hòu， xī shī bù yǐ…… qīng chūn， zǒng shì nà me fù yòu jī qíng hé jiān qiáng。 qīng chūn zǒng shì néng ràng rén gǎn dào jí shǐ lù tú zài zěn me hēi 'àn， yě huì yòu yī shù jiào zuò“ ài” de huǒ bǎ， huì zhào liàng wǒ men qián jìn de dào lù。 jìn guǎn， qīng chūn zǒng shì huì ràng rén liú xià yī diǎn yí hàn。
Plot summary
Vladimir Petrovich, a 16-year-old, is staying in the country with his family and meets Zinaida Alexandrovna Zasyekina, a beautiful 21-year-old woman, staying with her mother, Princess Zasyekina, in a wing of the manor. This family, as with many of the Russian minor nobility with royal ties of that time, were only afforded a degree of respectability because of their titles; the Zasyekins, in the case of this story, are a very poor family. The young Vladimir falls irretrievably in love with Zinaida, who has a set of several other (socially more eligible) suitors whom he joins in their difficult and often fruitless search for the young lady's favour. Zinaida, as we find throughout the story, is a thoroughly capricious and somewhat playful mistress to a set of rather love-struck suitors. She fails to reciprocate Vladimir's love in a sensible and honest manner, often misleading him, mocking his comparative youth in contrast to her early adulthood. But eventually the true object of her affections and a rather tragic conclusion to the story are revealed.
Conclusion and outcome
Vladimir discovers that the true object of Zinaida's affection is his own father, Pyotr Vasilyevich. In the tragic and devastatingly succinct closing two chapters, Vladimir secretly observes a final meeting between Pyotr and Zinaida at the window of her house in which his father strikes her arm with a riding crop. Zinaida kisses the welt on her arm and Pyotr bounds into the house. Eight months later, Vladimir's father receives a distressing letter from Moscow and tearfully begs his wife for a favor. Pyotr dies of a stroke several days later, after which his wife sends a considerable sum of money to Moscow. Three or four years later, Vladimir learns of Zinaida's marriage to a Monsieur Dolsky and subsequent death during childbirth.
Central characters
Vladimir Petrovich
The storyteller, at the time of narration a 16-year old boy; the protagonist of the story.
Zinaida Alexandrovna Zasyekina
The object of Vladimir's affections. Capricious, mocking and difficult, she is inconsistent in her affections towards her suitors, of which Vladimir is the one to whom she shows (outwardly) the most affection. However, it is the affection of sister to brother rather than between lovers.
Pyotr Vasilyevich
Vladimir's father, a stoic symbol of 19th century masculinity; very 'British' in outlook and apparently unreceptive to emotion.
Structure
The book has one introductory chapter followed by 22 chapters over a length of between 60 and 102 pages depending upon translation and publication.
Context
Vladimir, having persuaded his friends that he cannot deliver the story orally, has presented a written version to them two weeks after they urged him to do so at a party (which itself takes place many years after the events surrounding Zinaida).
Other relevant works of Turgenev
The three stories, Torrents of Spring, Asya, and First Love work well when read in combination; they are often found published together and deal with similar topics and take place in similar contexts.
The importance of First Love
The story First Love is a true Russian 'classic' (for want of a better phrase). It remains an important book for young Russians. The ending itself is of some interest - clearly designed as a surprise of sorts but, crucially, it encourages the reader to reassess what he thought of the characters and causes the reader to muse a little over the content. The text is regularly used in the teaching of Russian at schools and colleges.
1840 nián 5 yuè tú gé niè fū zài yóu lì liǎo yì dà lì hé ruì shì huí bólín tú zhōng lái dào dé guó chéng shì fǎ lán kè fú。 zài nà lǐ tā 'ǒu rán tà jìn yī jiā táng guǒ diàn xiǎng hē bēi níng méng zhī， shì yù diàn zhù de nǚ 'ér xiàng tā hū jiù， qǐng tā bāng zhù qiǎng jiù tū rán hūn jué de dì dì。 nǚ láng de měi mào hé qì zhì shǐ tā chǎn shēng 'ài mù zhī xīn， zhǐ shì yóu yú cōng cōng lí qù， ài qíng zhǒng zǐ wèi jí méng yá biàn yāo zhé liǎo。
This literary work, as an unhappy love story, is often understood by readers as a description of Turgenev's own failure in finding romantic love. The story is partly autobiographical with the main character Sanin representing Turgenev himself during his younger days when the author did indeed visit Frankfurt and other European cities outside his native Russia.
While it is not an extended literary masterpiece like Turgenev's most famous novel Fathers and Sons, Torrents of Spring is significant in its revealing of the author's thoughts and intimate emotions.
A 101 minute movie based on this novel was released in 1989 and stars Timothy Hutton, Nastassja Kinski and Valeria Golino.
This literary work, as an unhappy love story, is often understood by readers as a description of Turgenev's own failure in finding romantic love. The story is partly autobiographical with the main character Sanin representing Turgenev himself during his younger days when the author did indeed visit Frankfurt and other European cities outside his native Russia.
While it is not an extended literary masterpiece like Turgenev's most famous novel Fathers and Sons, Torrents of Spring is significant in its revealing of the author's thoughts and intimate emotions.
A 101 minute movie based on this novel was released in 1989 and stars Timothy Hutton, Nastassja Kinski and Valeria Golino.
《 fù yǔ zǐ》 shì 'é guó zhù míng zuò jiā tú gé niè fū de dài biǎo zuò。《 fù yǔ zǐ》 wán chéng yú 1860 nián 8 yuè zhì 1861 nián 8 yuè， jīng duō cì xiū gǎi hòu， yú 1862 nián zài《 é luó sī dǎo bào》 shàng。
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
《 fù yǔ zǐ》 shì 'é guó zhù míng zuò jiā tú gé niè fū de dài biǎo zuò。《 fù yǔ zǐ》 wán chéng yú 1860 nián 8 yuè zhì 1861 nián 8 yuè， jīng duō cì xiū gǎi hòu， yú 1862 nián zài《 é luó sī dǎo bào》 shàng。
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
《 fù yǔ zǐ》 - rén wù tè diǎn
《 fù yǔ zǐ》 de zhōng xīn rén wù shì píng mín zhī shí fènzǐ bā zhā luò fū。 bā zhā luò fū shì píng mín zhī shí fènzǐ de diǎn xíng， shì“ xīn rén” de xíng xiàng， tā xìng gé de tū chū tè zhēng shì jù yòu xiān míng de gé mìng sè cǎi， zhè biǎo xiàn zài：
1、 tā jī liè dì fǒu dìng xiàn cún zhì dù。 bā zhā luò fū de fǒu dìng yòu qí lì shǐ de hé lǐ xìng。 zhè lǐ shǒu xiān shì lì shǐ jìn bù de xū yào， qí cì cái shì gé mìng zhě de bǎn miàn rèn shí hé guò jī qíng xù。 zuò jiā duì bā zhā luò fū de zhè zhǒng jīng shén tè zhì suī bù xīn shǎng， dàn què zuò liǎo zhēn shí de miáo shù。
2、 miè shì guì zú jiē jí。 zhè shì píng mín jué xǐng de yī gè zhòng yào tè zhēng。 bā zhā luò fū què xìn zhēn lǐ zài zì jǐ shǒu zhōng， què xìn zì jǐ shì shí dài yīng xióng， yòu quán miè shì guì zú jiē jí。 tā duì yú bā wēi 'ěr de fèn nù tiǎo zhàn shǐ zhōng cóng róng duì dài， ér qiě cháng cháng bǎi chū yī fù bù xiè yī gù de tài dù。 zài lùn biàn zhōng， zài jué dǒu lǐ， tā lǎo shī chóng gāo de shèng lì zhě。 zuì hòu bā wēi 'ěr yě bù dé bù chéng rèn zì jǐ de guāng róng yǐ chéng wǎng shì。
3、 yǐ píng mín shēn fèn zì háo， gēn rén mín bǎo chí zhe mìqiè de guān xì。 bā zhā luò fū yǐ jīng bù tóng yú bā xī sī tuō fū， tā bù zài shì yōu xiù guì zú fènzǐ de zhuī suí zhě， tā yǐ jīng yì shí dào， píng mín yōu yú guì zú。 zhè shì píng mín shì lì xīng qǐ de yòu yī gè zhòng yào biāo zhì。 tóng shí， tú gé niè fū yě biǎo xiàn liǎo bā zhā luò fū de zhī shí fènzǐ de shēng huó fāng shì shǐ tā hé rén mín gé mó qǐ lái de qíng xíng。 yī gè nóng mín píng lùn bā zhā luò fū shuō：“ dāng rán lā， tā shì yī wèi shàoye， tā néng dǒng dé shénme ní？” zhè yàng de miáo shù yě shì hěn shēn kè de， tā jiē shì liǎo bā zhā luò fū gāo yú pǔ tōng nóng mín hé tuō lí rén mín de yī miàn， zài dāng shí de píng mín zhī shí fènzǐ zhōng， zhè yě shì yī zhǒng diǎn xíng de xiàn xiàng。 zhè zhèng shì hòu lái de mín cuì zhù yì yùn dòng shī bài de zhòng yào yuán yīn zhī yī。
bā zhā luó fū shì jīng shén shàng de qiáng zhě。 tā chōng mǎn zì xìn， shēng qì bó bó， jù yòu ruì lì de pī pàn yǎn guāng。 tā hé 'ā 'ěr kǎ dí jiā de pú rén men hé mù xiāng chù， bìng bù fáng 'ài tā pī pàn lǎo bǎi xìng de luò hòu mí xìn。 tā de jīng shén lì liàng hé pī pàn fēng máng jí zhōng biǎo xiàn zài tā yǔ bā wēi 'ěr de lùn zhàn shàng。 liǎng rén chū cì xiāng jiàn， jiù zài gǎn jué shàng hù bù xiāng róng， jìn 'ér zhǎn lù chū sī xiǎng guān diǎn shàng de zhēn fēng xiāng duì。 bā zhā luó fū yǐ tā tè yòu de jiǎn jié、 cū lǔ de huà yǔ duì bā wēi 'ěr yǐ qiáng yòu lì de fǎn jī。 pō yòu duō duō bī rén zhī shì。 tā jué bù qū cóng quán wēi， jù yòu zì zhù de rén gé hé píng pàn biāo zhǔn， tǐ xiàn liǎo nián qīng yī dài dú lì sī kǎo de chǔshì tài dù hé chū shēng niú dú bù pà hǔ de dǒu zhēng jīng shén， dāng rán， yě dài yòu nián qīng rén cóng bù chéng shú zǒu xiàng chéng shú de guò chéng zhōng de kě néng chǎn shēng de piān pō hé jí duān。 dàn tā hái shì yǐ wú yōng zhì yí de jīng shén yōu shì yā dǎo liǎo duì shǒu。 bā zhā luó fū wěn fèi niè qí kǎ， zài bā wēi 'ěr kàn lái， shì yán zhòng dì qīn fàn liǎo guì zú de quán lì， yě shì tā men zhī jiān duì lì guān diǎn de jì xù fā zhǎn。 jué dǒu bào lù liǎo bā wēi 'ěr de piān xiá、 xū ruò hé zuò zuò， xiǎn shì liǎo bā zhā luó fū de huò dá、 zhèn dìng hé zì xìn， shuāng fāng jīng shén lì liàng de qiáng ruò zài cǐ dé dào jìn yī bù de jiē shì。
bā zhā luó fū shì xíng dòng de jù rén， tā pēng jī guì zú de fàn fàn kōng tán， zì jǐ shǒu xiān cóng xiǎo shì zuò qǐ。 tā jù yòu shí jiàn néng lì， zhù zhòng zì rán kē xué yán jiū。 tā de xíng dòng yòu jià zhí qǔshě biāo zhǔn：“ fán shì wǒ men rèn wéi yòu yòng de shì qíng， wǒ men jiù yǐ jù tā xíng dòng。” tā de xíng dòng mù biāo hěn míng què héng héng wéi wèi lái dǎ sǎo dì pán。 tā gǎn yú xíng dòng de yǒng qì zài yī dìng chéng dù shàng yě biǎo xiàn zài duì dài 'ài qíng de tài dù shàng。 tā céng nǎo nù zì jǐ yě chǎn shēng nà yàng làng màn de qíng gǎn， dàn zài 'ài qíng zhī huǒ rán shāo qǐ lái de shí hòu tā què jué bù huí bì duǒ shǎn。
tú gé niè fū xiě chū liǎo zài fǒu dìng 'ài qíng de bā zhā luó fū nèi xīn， ài qíng shì rú hé méng yá、 fā zhǎn de， xiěde zhēn shí kě xìn。 dàn shì zuò jiā ràng bā zhā luó fū zài 'ài qíng shòu cuò hòu yī jué bù zhèn， chóngdǎo liǎo bā wēi 'ěr zài liàn 'ài shàng de fù zhé， nà jù duì bā wēi 'ěr de jiān kè píng jià“ xióng xìng shēng wù” yóu rú yī jì 'ěr guāng fǎn dǎ zài bā zhā luó fū zì jǐ de liǎn shàng。 zhè bìng bù shì shuō， bù néng xiě tā de shī liàn tòng kǔ， yīng xióng yě yòu 'ér nǚ qíng cháng de yī miàn。 dàn tú gé niè fū què ràng tā de zhù rén gōng yī wèi xiāo chén xià qù， bù néng zì bá， zhí zhì sǐ wáng。 zhè bù néng bù shì duì bā zhā luó fū de qū jiě。 nà gè zài guì zú zhuāng yuán suǒ xiàng pīmǐ de yǒng shì jìng wú lì shǐ zì jǐ zuì zhōng bǎi tuō xiāo jí bēi guān de qíng xù， rén wù xìng gé de zhěng tǐ xìng yīn cǐ shòu dào sǔn hài。 zuò jiā bǎ bā zhā luó fū lín zhōng qián qī dài 'ā jīn zuǒ wá de yī wěn zhè mù xiěde jí wéi dòng rén， rán 'ér tā de ruì qì， tā de fèn hèn， tā de jīng shén wēi lì， tā de jiān qiáng yì zhì yě zài zhè nǚ rén fū yǎn shì de yī wěn zhōng xiāo róng dài jìn。
zhè zhǒng wéi fǎn rén wù xìng gé fā zhǎn luó ji de máo dùn biàn huà， yǔ zuò jiā de sī xiǎng qīng xiàng bù wú lián xì。 tú gé niè fū duì bā zhā luó fū suǒ dài biǎo de píng mín zhī shí fènzǐ yòu yī zhǒng qíng bù zì jìn de xiàng wǎng， tā qīn pèi tā men de gè rén pǐn zhì hé xī shēng jīng shén， dàn bìng bù zàn chéng tā men de shè huì zhèng zhì zhù zhāng。 zhè wèi wēn hé de zì yóu zhù yì guì zú zuò jiā hài pà bào lì gé mìng， bù xī wàng tā men de shì yè qǔ dé chéng gōng。 tā rèn wéi tā men de guān diǎn bì rán dǎo zhì tā men chéng wéi bēi jù rén wù， yīn cǐ tā 'ān pái liǎo bā zhā luó fū de shī liàn、 bēi guān nǎi zhì zuì hòu sǐ wáng。 bā zhā luó fū xìng gé shàng de bù yī zhì zhèng hǎo zhé shè chū zuò jiā duì mín zhù zhù yì zhě de máo dùn tài dù。
ā 'ěr kǎ dí zhè gè rén wù zài xiǎo shuō zhōng yòu tè shū de yì yì。 jiù nián líng lái shuō， tā shǔ yú zǐ bèi， yě céng zhuī suí guò bā zhā luó fū； dàn jiù sī xiǎng yì shí lái shuō， tā shì fù bèi de zǐ dì， yīn cǐ bā zhā luó fū chēng tā wéi“ wēn róu de zì yóu zhù yì shàoye”。 zài gāng gāng dào lái de xīn guān niàn hé chí chí bù kěn tuì qù de jiù guān niàn xiāng hù zhēng dǒu de shí hòu， qīng nián rén píng jiè tā men de mǐn gǎn、 yǒng qì hé zhāoqì děng shēng lǐ、 xīn lǐ yīn sù yòu kě néng gèng qīng xīn yú xīn guān niàn， rán 'ér zǐ bèi bìng bù shì xiān jìn sī xiǎng de dāng rán dài biǎo zhě， jìn huà lùn de guān niàn zài shè huì sī xiǎng dǒu zhēng zhōng bìng bù jù yòu jué duì pǔ biàn xìng， gèng hé kuàng qí zhōng yě bù fá yòu liè qí qiú xīn de biǎo miàn zhuī qiú。 yīn cǐ， tú gé niè fū suǒ biǎo xiàn de bù quán shì shēng lǐ、 xīn lǐ yì yì shàng liǎng dài rén de dài gōu， gèng shèn tòu zhe bù tóng shè huì zhèn yíng zhī jiān zhèng zhì sī xiǎng de fēn qí， cóng 'ér jiē shì chū dāng shí 'é guó mín zhù zhù yì duì guì zú zì yóu zhù yì de shèng lì。
《 fù yǔ zǐ》 - zhōng xīn sī xiǎng
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
《 fù yǔ zǐ》 - zuò zhě jiǎn jiè
yī fán · xiè 'ěr gài yé wéi qí · tú gé niè fū（ é yǔ： ИванСергеевичТургенев； yīng yǔ： IvanSergeevichTurgenev， gōng lì 1818 nián 11 yuè 9 rì － 1883 nián 9 yuè 3 rì， hé rú lüè lì 1818 nián 10 yuè 28 rì－ 1883 nián 8 yuè 22 rì） é guó xiàn shí zhù yì xiǎo shuō jiā、 shī rén hé jù zuò jiā。
é guó 19 shì jì pī pàn xiàn shí zhù yì zuò jiā、 shī rén hé jù zuò jiā， chū shēng yú shì xí guì zú zhī jiā， shēng yú 'é guó 'ào liào 'ěr shěng 'ào liào 'ěr yī gè jiù shì fù yù jiā tíng， fù qīn shì yī gè qí bīng tuán tuán cháng， shí liù suì de shí hòu fù qīn qù shì。 tú gé niè fū de mā mā pí qì hěn bù hǎo， jīng cháng dǎ mà zì jǐ de hái zǐ。 1833 nián jìn mò sī kē dà xué wén xué xì， yī nián hòu zhuǎn rù bǐ dé bǎo dà xué zhé xué xì yǔ wén zhuān yè， bì yè hòu dào dé guó bólín dà xué gōng dú zhé xué、 lì shǐ hé xī là yǔ lā dīng wén。 tú gé niè fū jìn rù mò sī kē dà xué xué xí yī nián， suí hòu zhuǎn rù shèng bǐ dé bǎo dà xué xué xí jīng diǎn zhù zuò， é guó wén xué hé zhé xué。 1838 nián qián wǎng bólín dà xué xué xí hēi gé 'ěr zhé xué。 zài 'ōu zhōu tú gé niè fū jiàn dào liǎo gèng jiā xiàn dài huà de shè huì zhì dù， bèi shì wéi“ ōu huà” de zhī shí fènzǐ， zhù zhāng 'é guó xué xí xī fāng， fèi chú bāo kuò nóng nú zhì zài nèi de fēng jiàn zhì dù。
tú gé niè fū shì 19 shì jì 'é guó yòu shì jiè shēng yù de xiàn shí zhù yì yì shù dà shī。 tā de xiǎo shuō bù jǐn xùn sù jí shí dì fǎn yìng liǎo dāng shí de 'é guó shè huì xiàn shí， ér qiě shàn yú tōng guò shēng dòng de qíng jié hé qiàdàng de yán yǔ、 xíng dòng， tōng guò duì dà zì rán qíng jìng jiāo róng de miáo shù， sù zào chū xǔ duō xǔ xǔ rú shēng de rén wù xíng xiàng。 tā de yǔ yán jiǎn jié、 pǔ zhì、 jīng què、 yōu měi， wéi 'é luó sī yǔ yán de guī fàn huà zuò chū liǎo zhòng yào gòng xiàn。 zhōng guó zǎo zài 1917 nián jiù kāi shǐ fān yì jiè shào tú gé niè fū de xiǎo shuō， xiàn zài jīhū tā suǒ yòu de zhù yào zuò pǐn dōuyòu liǎo zhōng yì běn， yī xiē míng zuò hái yòu duō zhǒng yì běn。 zǎo qī xiě shī（《 pà lā suō》《 dì zhù》 děng）。 1847 ～ 1852 nián fā biǎo《 liè rén bǐ jì》， jiē lù nóng nú zhù de cán bào， nóng nú de bēi cǎn shēng huó， yīn cǐ bèi fàng zhú。 zài jiān jìn zhōng xiě chéng zhōng piān xiǎo shuō《 mù mù》， duì nóng nú zhì biǎo shì kàng yì。 yǐ hòu yòu fā biǎo cháng piān xiǎo shuō《 luó tíng》（ 1856 nián）、《 guì zú zhī jiā》（ 1859 nián）， zhōng piān xiǎo shuō《 ā xiá》《 duō yú rén de rì jì》 děng， miáo xiě guì zú dì zhù chū shēn de zhī shí fènzǐ hǎo fā yì lùn 'ér quē shǎo dǒu zhēng jīng shén de xìng gé。 zài cháng piān xiǎo shuō《 qián yè》（ 1860 nián） zhōng， sù zào chū bǎo jiā lì yà gé mìng zhě yīng shā luó fū de xíng xiàng。 hòu lái fā biǎo cháng piān xiǎo shuō《 fù yǔ zǐ》， kè huà guì zú zì yóu zhù yì zhě tóng píng mín zhī shí fènzǐ zhī jiān de sī xiǎng chōng tū。 hòu qī cháng piān xiǎo shuō《 yān》（ 1867 nián） hé《 chǔnǚ dì》（ 1877 nián）， fǒu dìng guì zú fǎn dòng pài hé guì zú zì yóu zhù yì zhě， pī píng bù chè dǐ de mín cuì pài， dàn liú lù bēi guān qíng xù。 cǐ wài， hái xiě yòu jù běn《 cūn jū yī yuè》 hé sǎnwén shī děng。
tú gé niè fū shì yī wèi yòu dú tè yì shù fēng gé de zuò jiā， tā jì shàn cháng xì nì de xīn lǐ miáo xiě， yòu cháng yú shū qíng。 xiǎo shuō jié gòu yán zhěng， qíng jié jǐn còu， rén wù xíng xiàng shēng dòng， yóu qí shàn yú xì zhì diāo zhuó nǚ xìng yì shù xíng xiàng， ér tā duì yǐ nǐ de dà zì rán de miáo xiě yě chōng mǎn shī qíng huà yì。
《 fù yǔ zǐ》 - zuò pǐn shǎng xī
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
bā zhā luó fū shì jīng shén shàng de qiáng zhě。 tā chōng mǎn zì xìn， shēng qì bó bó， jù yòu ruì lì de pī pàn yǎn guāng。 tā hé 'ā 'ěr kǎ dí jiā de pú rén men hé mù xiāng chù， bìng bù fáng 'ài tā pī pàn lǎo bǎi xìng de luò hòu mí xìn。 tā de jīng shén lì liàng hé pī pàn fēng máng jí zhōng biǎo xiàn zài tā yǔ bā wēi 'ěr de lùn zhàn shàng。 liǎng rén chū cì xiāng jiàn， jiù zài gǎn jué shàng hù bù xiāng róng， jìn 'ér zhǎn lù chū sī xiǎng guān diǎn shàng de zhēn fēng xiāng duì。 bā zhā luó fū yǐ tā tè yòu de jiǎn jié、 cū lǔ de huà yǔ duì bā wēi 'ěr yǐ qiáng yòu lì de fǎn jī。 pō yòu duō duō bī rén zhī shì。 tā jué bù qū cóng quán wēi， jù yòu zì zhù de rén gé hé píng pàn biāo zhǔn， tǐ xiàn liǎo nián qīng yī dài dú lì sī kǎo de chǔshì tài dù hé chū shēng niú dú bù pà hǔ de dǒu zhēng jīng shén， dāng rán， yě dài yòu nián qīng rén cóng bù chéng shú zǒu xiàng chéng shú de guò chéng zhōng de kě néng chǎn shēng de piān pō hé jí duān。 dàn tā hái shì yǐ wú yōng zhì yí de jīng shén yōu shì yā dǎo liǎo duì shǒu。 bā zhā luó fū wěn fèi niè qí kǎ， zài bā wēi 'ěr kàn lái， shì yán zhòng dì qīn fàn liǎo guì zú de quán lì， yě shì tā men zhī jiān duì lì guān diǎn de jì xù fā zhǎn。 jué dǒu bào lù liǎo bā wēi 'ěr de piān xiá、 xū ruò hé zuò zuò， xiǎn shì liǎo bā zhā luó fū de huò dá、 zhèn dìng hé zì xìn， shuāng fāng jīng shén lì liàng de qiáng ruò zài cǐ dé dào jìn yī bù de jiē shì。
bā zhā luó fū shì xíng dòng de jù rén， tā pēng jī guì zú de fàn fàn kōng tán， zì jǐ shǒu xiān cóng xiǎo shì zuò qǐ。 tā jù yòu shí jiàn néng lì， zhù zhòng zì rán kē xué yán jiū。 tā de xíng dòng yòu jià zhí qǔshě biāo zhǔn：“ fán shì wǒ men rèn wéi yòu yòng de shì qíng， wǒ men jiù yǐ jù tā xíng dòng。” tā de xíng dòng mù biāo hěn míng què héng héng wéi wèi lái dǎ sǎo dì pán。 tā gǎn yú xíng dòng de yǒng qì zài yī dìng chéng dù shàng yě biǎo xiàn zài duì dài 'ài qíng de tài dù shàng。 tā céng nǎo nù zì jǐ yě chǎn shēng nà yàng làng màn de qíng gǎn， dàn zài 'ài qíng zhī huǒ rán shāo qǐ lái de shí hòu tā què jué bù huí bì duǒ shǎn。
tú gé niè fū xiě chū liǎo zài fǒu dìng 'ài qíng de bā zhā luó fū nèi xīn， ài qíng shì rú hé méng yá、 fā zhǎn de， xiěde zhēn shí kě xìn。 dàn shì zuò jiā ràng bā zhā luó fū zài 'ài qíng shòu cuò hòu yī jué bù zhèn， chóngdǎo liǎo bā wēi 'ěr zài liàn 'ài shàng de fù zhé， nà jù duì bā wēi 'ěr de jiān kè píng jià“ xióng xìng shēng wù” yóu rú yī jì 'ěr guāng fǎn dǎ zài bā zhā luó fū zì jǐ de liǎn shàng。 zhè bìng bù shì shuō， bù néng xiě tā de shī liàn tòng kǔ， yīng xióng yě yòu 'ér nǚ qíng cháng de yī miàn。 dàn tú gé niè fū què ràng tā de zhù rén gōng yī wèi xiāo chén xià qù， bù néng zì bá， zhí zhì sǐ wáng。 zhè bù néng bù shì duì bā zhā luó fū de qū jiě。 nà gè zài guì zú zhuāng yuán suǒ xiàng pīmǐ de yǒng shì jìng wú lì shǐ zì jǐ zuì zhōng bǎi tuō xiāo jí bēi guān de qíng xù， rén wù xìng gé de zhěng tǐ xìng yīn cǐ shòu dào sǔn hài。 zuò jiā bǎ bā zhā luó fū lín zhōng qián qī dài 'ā jīn zuǒ wá de yī wěn zhè mù xiěde jí wéi dòng rén， rán 'ér tā de ruì qì， tā de fèn hèn， tā de jīng shén wēi lì， tā de jiān qiáng yì zhì yě zài zhè nǚ rén fū yǎn shì de yī wěn zhōng xiāo róng dài jìn。
《 fù yǔ zǐ》《 fù yǔ zǐ》
zhè zhǒng wéi fǎn rén wù xìng gé fā zhǎn luó ji de máo dùn biàn huà， yǔ zuò jiā de sī xiǎng qīng xiàng bù wú lián xì。 tú gé niè fū duì bā zhā luó fū suǒ dài biǎo de píng mín zhī shí fènzǐ yòu yī zhǒng qíng bù zì jìn de xiàng wǎng， tā qīn pèi tā men de gè rén pǐn zhì hé xī shēng jīng shén， dàn bìng bù zàn chéng tā men de shè huì zhèng zhì zhù zhāng。 zhè wèi wēn hé de zì yóu zhù yì guì zú zuò jiā hài pà bào lì gé mìng， bù xī wàng tā men de shì yè qǔ dé chéng gōng。 tā rèn wéi tā men de guān diǎn bì rán dǎo zhì tā men chéng wéi bēi jù rén wù， yīn cǐ tā 'ān pái liǎo bā zhā luó fū de shī liàn、 bēi guān nǎi zhì zuì hòu sǐ wáng。 bā zhā luó fū xìng gé shàng de bù yī zhì zhèng hǎo zhé shè chū zuò jiā duì mín zhù zhù yì zhě de máo dùn tài dù。
ā 'ěr kǎ dí zhè gè rén wù zài xiǎo shuō zhōng yòu tè shū de yì yì。 jiù nián líng lái shuō， tā shǔ yú zǐ bèi， yě céng zhuī suí guò bā zhā luó fū； dàn jiù sī xiǎng yì shí lái shuō， tā shì fù bèi de zǐ dì， yīn cǐ bā zhā luó fū chēng tā wéi“ wēn róu de zì yóu zhù yì shàoye”。 zài gāng gāng dào lái de xīn guān niàn hé chí chí bù kěn tuì qù de jiù guān niàn xiāng hù zhēng dǒu de shí hòu， qīng nián rén píng jiè tā men de mǐn gǎn、 yǒng qì hé zhāoqì děng shēng lǐ、 xīn lǐ yīn sù yòu kě néng gèng qīng xīn yú xīn guān niàn， rán 'ér zǐ bèi bìng bù shì xiān jìn sī xiǎng de dāng rán dài biǎo zhě， jìn huà lùn de guān niàn zài shè huì sī xiǎng dǒu zhēng zhōng bìng bù jù yòu jué duì pǔ biàn xìng， gèng hé kuàng qí zhōng yě bù fá yòu liè qí qiú xīn de biǎo miàn zhuī qiú。 yīn cǐ， tú gé niè fū suǒ biǎo xiàn de bù quán shì shēng lǐ、 xīn lǐ yì yì shàng liǎng dài rén de dài gōu， gèng shèn tòu zhe bù tóng shè huì zhèn yíng zhī jiān zhèng zhì sī xiǎng de fēn qí， cóng 'ér jiē shì chū dāng shí 'é guó mín zhù zhù yì duì guì zú zì yóu zhù yì de shèng lì。
《 fù yǔ zǐ》 shì tú gé niè fū de dài biǎo zuò。 bā zhā luó fū shēn shàng jìn guǎn yòu xiá cī， dàn tā réng yǐ bù tóng fán xiǎng de yì shù gè xìng gěi rén yǐ xiān míng de yìn xiàng， zài 'é guó wén xué shǐ shàng tā shì dì yī gè 'é guó“ xīn rén” xíng xiàng， shuài xiān chuán dá chū píng mín zhī shí fènzǐ yǐ chéng wéi shēng huó zhùjué de shí dài xìn xī。
《 fù yǔ zǐ》 - chuàng zuò bèi jǐng
tú gé niè fū cóng《 bā lā suō》（ yī bā sì sān），《 dì zhù》（ yī bā sì liù） děng shī piān kāi shǐ wén xué shēng yá。 tā de《 liè rén bǐ jì》（ yī bā sì qī héng héng wǔ 'èr） de fā biǎo céng dāng zuò 'é guó wén xué shēng huó zhōng de yī jiàn dà shì。 zhè yī piān piān tè xiě， yǐ 'é guó zhōng bù dì qū de zì rán jǐng sè wéi chèn tuō， guǎng fàn dì miáo huì liǎo zhuāng yuán dì zhù hé nóng mín de shēng huó， shēn kè jiē lù liǎo dì zhù biǎo miàn shàng wén míng rén cí、 shí jì shàng chǒu 'è cán bào de běn xìng， quán shū chōng mǎn duì hán gòu shòu rǔ、 bèi shòu qī líng de láo dòng rén mín de tóng qíng。 dāng shí de jìn bù sī xiǎng jiè chēng tā shì duì nóng nú zhì de“ yī zhèn měng liè pào huǒ”， shì yī bù“ diǎn rán huǒ zhǒng de shū”。 yī bā wǔ 'èr nián tú gé niè fū yīn zhuàn wén dào niàn guǒ gē lǐ shì shì， shí zhì shàng zé yīn qí《 liè rén bǐ jì》 de shè huì sī xiǎng qīng xiàng 'ér bèi bǔ， sòng wǎng sī bā sī kē yé héng héng lǔ tuō wéi nuò fū cūn ruǎn jìn。 ruǎn jìn qī jiān tā xiě liǎo zhōng piān《 mù mù》， yǐ mǎn qiāng chóu hèn duì nóng nú zhì jìn xíng kòng sù。 wǔ shí zhì liù shí nián dài shì tā chuàng zuò zuì wàng shèng de shí qī， shì féng 'é guó shè huì yùn dòng zhú bù gāo zhǎng， tā jí shí dì fǎn yìng liǎo shè huì shēng huó de fāng fāng miàn miàn。 cháng piān《 luó tíng》（ yī bā wǔ liù），《 guì zú zhī jiā》（ yī bā wǔ jiǔ）， zhōng piān《 ā xiá》（ yī bā wǔ bā），《 duō yú rén de rì jì》（ yī bā wǔ ） zhǎn shì liǎo guì zú zhī shí fènzǐ yán yǔ tuō lí xíng dòng， lǐ lùn tuō lí shí jiàn de yī xiē diǎn xíng tè zhēng。 cháng piān《 qián yè》（ yī bā liù ） zé fǎn yìng 'é guó nóng nú zhì kuǎ tái qián xī zài 'é guó chū xiàn de jìn bù shè huì sī cháo。 zài tú gé niè fū chuàng zuò zhōng zhàn yòu zhōng xīn dì wèi de cháng piān《 fù yǔ zǐ》（ yī bā liù 'èr） kè huà liǎo liǎng zhǒng shè huì shì lì héng héng mín zhù zhù yì zhě hé zì yóu pài guì zú jiān de sī xiǎng chōng tū。
tú gé niè fū wén bǐ wǎn lì， jié gòu qiǎo miào， yǔ yán qīng xīn jiǎn jié， shēn dé dú zhě xǐ 'ài。 qí zuò pǐn hěn zǎo jiù yòu rén yì jiè， yì jiè zhě yòu lǎo yī dài zhī míng zuò jiā， yě yòu wǒ de tóng shí dài rén。 tú gé niè fū chuàng zuò《 fù yǔ zǐ》 de nà xiē nián yuè， nóng nú zhù yǐ bù zài kě néng。
《 fù yǔ zǐ》《 fù yǔ zǐ》
dàn tú gé niè fū shì gè shēn chén de xiàn shí zhù yì zuò jiā， tā bì rán bǎ lì shǐ de zhòng dà kè guān shì jiàn zhì yú shì jiè zhī nèi， bǎ zài xiàn shēng huó zuò wéi wú kě tuī xiè de zé zhí， qù sù zào fú hé shí dài de diǎn xíng。《 fù yǔ zǐ》 zhōng de bā zhā luó fū kě shuō shì shí jiǔ shì jì liù shí nián dài 'é guó mín。
bā zhā luó fū bù qū cóng rèn hé quán wēi， bù bǎ rèn hé zhǔn zé dāng zuò xìn yǎng， jí shǐ zhè zhǔn zé shì duō me shòu dào zūn zhòng。 hè 'ěr cén bǎ bā zhā luó fū de zhè zhǒng xū wú zhù yì guī jié wéi“ wán quán、 chè dǐ bǎi tuō liǎo yī qiē xiàn chéng gài niàn hé chén guī jiù sú”。 dù bó luó liú bō fū jìn yī bù rèn tóng：“ xīn rén héng héng tā shì wéi xīn zhù yì zhé xué de fǎn duì zhě， yīn wéi wéi xīn zhù yì zhé xué bǎ zhǔn zé kàn chéng gāo yú pǔ sù de shēng huó zhēn lǐ。” bā zhā luó fū duì jiè chōu xiàng fǎ dé chū de kē xué gài niàn què wú hǎo gǎn：“ zhǐ de shì shénme kē xué？ fàn fàn de kē xué má？ kē xué yī rú shǒu yì， yòu jù tǐ de mén lèi， ér fàn fàn de kē xué shì bù cún zài de。” zài cǐ tā zhǐ chéng rèn jù tǐ de kē xué， ér bǎ“ fàn fàn de kē xué” jí zhé xué chè dǐ fǒu dìng liǎo。 tā bǎ zhé xué kàn chéng shì“ làng màn zhù yì” zhé xué， fǔ xiǔ， hú shuō bā dào， yǔ làng màn zhù yì shì děng tóng gài niàn。 màn 'ēn yóu cǐ rèn wéi bā zhā luó fū de sī biàn“ cóng hēi gé 'ěr de Allgemeinneit zǒng tǐ zhōng dé dào liǎo jiě fàng”。 bā zhā luó fū rèn wéi rén de xíng wéi bù yóu chōu xiàng de、 bì xū zūn xún de zhǔn zé， ér shì yóu xiàn shí shēng huó jué dìng de：“ zǒng de shuō lái， zhǔn zé shì méi yòu de，…… zhǐ yòu gǎn jué。 yī qiēdōu qǔ jué yú gǎn jué。” bā zhā luó fū duì jī 'ěr sà nuò fū suǒ fèng zhǔn zé de kàng yì yě jiù shì mín zhù zhù yì zhě duì wéi xīn guān de kàng yì。 nà shí píng mín zhōng de mín zhù zhù yì zhě 'àn dù bó liú bō fū shuō fǎ“ bù dàn dǒng dé， ér qiě qīn shēn gǎn shòu dào， shì shàng jué duì de dōng xī shì méi yòu de， yī qiē shì wù zhǐ yòu tā de xiāng duì yì yì”， yīn cǐ tā men duàn rán“ bǎi tuō kāi jué duì lǐ niàn 'ér qù jiē jìn xiàn shí shēng huó， yòng tā men de xiàn shí guān tì dài yī qiē chōu xiàng gài niàn”。 bǎ xiǎo shuō《 fù yǔ zǐ》 zhōng fā shēng de shì jiàn xiàn dìng zài yī bā wǔ jiǔ nián zì yòu qí。
cǐ shū huò quán guó yōu xiù chàng xiāo shū jiǎng， bù xiǔ de jié zuò， yǒng yuǎn de chàng xiāo shū！
lián huán màn huà《 fù yǔ zǐ》 shì dé guó yōu mò dà shī 'āi · ào · bǔ láo 'ēn de bù xiǔ jié zuò。 zuò pǐn zhōng yī gè gè shēng dòng yōu mò de xiǎo gù shìdōu shì lái zì yú màn huà jiā zài shēng huó zhōng de zhēn shí gǎn shòu， fù yǔ zǐ shí jì shàng jiù shì kǎ láo 'ēn yǔ 'ér zǐ kè lǐ sī dì 'ān de zhēn shí xiě zhào。 yī fú fú xiǎo qiǎo jīng zhàn de huà miàn shǎn shuò zhe zhì huì zhī guāng， wú yán dì liú xiè chū chún zhēn de chì zǐ zhī qíng yǔ róng róng tiān lún zhī lè， yǒng yuǎn dì zhèn hàn zhe rén men de xīn líng。 zǎo zài 20 shì jì 30 nián dài《 fù yǔ zǐ》 biàn chuán rù wǒ guó， dàn zài zhè běn《 fù yǔ zǐ》 quán jí zhī qián guó nèi zuì duō zhǐ chū xiàn guò 150 gè《 fù yǔ zǐ》 de xiǎo gù shì， 1988 nián wǒ guó zài dé yì zhì lián bāng rén hé guó zhù huá dà shǐ jí lǐng shì de bāng zhù xià chéng gōng dì biān chéng liǎo zhè běn《 fù yǔ zǐ》 quán jí hòu， shí jǐ nián zhōng zhè běn huà cè chóngyìn liǎo shù shí wàn， shēn shòu dú zhě xǐ 'ài， 1994 nián hái bèi píng wéi quán guó yōu xiù chàng xiāo shū。
fēi cháng nán dé de shì guó nèi de xǔ duō chū bǎn shè duì wǒ men zhè gè《 fù yǔ zǐ》 quán jí de bǎn běn shí fēn gǎn cháng qù， jīng cháng yú kuài dì jiè yòng zhè gè bǎn běn。 lì rú， shān dōng de huáng hé chū bǎn shè jìng quán pán fān yìn liǎo wǒ men de《 fù yǔ zǐ》 quán jí， ér chéng dū de tiān dì chū bǎn shè jiè yòng de zhè gè bǎn běn（ cǐ wài hái jiè liǎo wǒ biān de xǔ duō qí tā de huà cè） bù dào liǎng nián jìng xiāo liǎo 10 wàn cè。 shuō zhēn de， wǒ zhēn wèicǐ gǎn dào gāo xīng， yīn wéi mó fǎng shì zuì zhēn chéng de gōng wéi， zhè xiē nián qīng de biān ji bì jìng shì zhēn xīn shí yì de zhuī suí zhě！ bù guò wǒ men de《 fù yǔ zǐ》 quán jí dào dǐ shì yuán bǎn， xì kàn bì jìng bù tóng， bù shì má？
【 biān ji diǎn píng】
dé guó zhù míng màn huà jiā 'āi · ào · bǔ láo 'ēn de lián huán màn huà《 fù yǔ zǐ》 yù mǎn tiān xià、 fēngmǐ shì jiè。《 fù yǔ zǐ》 suǒ sù zào de shàn liáng、 zhèng zhí、 kuān róng de yì shù xíng xiàng， chōng mǎn zhe zhì huì zhī guāng， liú lù chū chún zhēn de fù zǐ zhī qíng， shēn shēn dì dǎ dòng liǎo qiān bǎi wàn dú zhě de xīn， cóng 'ér shǐ bǔ láo 'ēn chéng wéi hǎi 'ēn lǐ xī · huò fū màn hé wēi lián · bù shī zhī hòu de yòu yī jù jiàng，《 fù yǔ zǐ》 bèi rén men yù wéi dé guó yōu mò de xiàng zhēng， shòu dào rén men yī zhì gāo dù de zàn yáng， shēng yù yuǎn yuǎn dì yuè chū liǎo guó jiè。
《 fù yǔ zǐ》 - yǐng shì xìn xī
jù qíng jiǎn jiè
é guó míng dǎo sū gǔ nuò fū（ AleksandrSokurov） zhí dǎo。 zhè bù diàn yǐng shì miáo shù yī duì fù zǐ zhī jiān， jì nóng liè tè shū yòu pū shuò mí lí de qíng gǎn， jí jù zhēng yì xìng hé zhèn hàn lì。
fù qīn yǔ 'ér zǐ cháng nián shēng huó zài tóng yī wū yán xià， fǎng fó yǔ shì gé jué bān chén jìn zài tā men zì jǐ de shì jiè zhōng， bèi huí yì hé rì cháng yí shì suǒ tián mǎn。 yòu shí tā men kàn qǐ lái jiù xiàng xiōng dì， yòu shí shèn zhì xiàng yī duì liàn rén。
《 fù yǔ zǐ》《 fù yǔ zǐ》
ér zǐ yà lì kè sī zǒu shàng liǎo yī tiáo hé fù qīn yī yàng de dào lù， jìn rù liǎo jūn xiào。 tā xǐ huān tǐ yù yùn dòng， hái yòu liǎo nǚ péng yǒu。 dàn shì qíng rén zhī jiān què zǒng yòu diǎn gé hé， nǚ yǒu sì hū zài 'àn 'àn jí dù yà lì kè sī yǔ fù qīn de qīn mì guān xì。
jìn guǎn yà lì kè sī xīn lǐ míng bái suǒ yòu de 'ér zǐ zǒng yòu yī tiān zhōng jiāng lí kāi fù qīn， kāi shǐ zì jǐ de shēng huó， tā de nèi xīn réng rán chōng mǎn máo dùn。
yà lì kè sī de fù qīn yě qīng chǔ tā huò xǔ yīnggāi qù lìng yī zuò chéng shì zhǎo yī fèn gèng hǎo de gōng zuò， huò zhě qǔ yī wèi xīn tài tài。 dàn shì， shuí yòu néng jiǎn qīng yà lì kè sī mèng yǎn zhōng de tòng kǔ ní？
cóng lái méi yòu nǎ duì fù yǔ zǐ zhī jiān de 'ài rú tā men zhè bān shēn hòu。
sū gǔ nuò fū qīn qíng sān bù qū xì liè diàn yǐng de dì 'èr bù， bèi shòu hǎo píng de《 mǔ yǔ zǐ》 zhī zǐ mèi piān。
běn piàn de pāi shè dì diǎn， shì 2003 nián zhèng hǎo jiàn chéng sān bǎi zhōu nián de 'é luó sī míng chéng， rú shī rú huà de shèng bǐ dé bǎo suǒ pāi shè， jí jù shī yì qiě wéi měi。
Historical context and notes
The fathers and children of the novel refers to the growing divide between the two generations of Russians, and the character Yevgeny Bazarov has been referred to as the "first Bolshevik", for his nihilism and rejection of the old order.
Turgenev wrote Fathers and Sons as a response to the growing cultural schism that he saw between liberals of the 1830s/1840s and the growing nihilist movement. Both the nihilists (the "sons") and the 1830s liberals sought Western-based social change in Russia. Additionally, these two modes of thought were contrasted with the conservative Slavophiles, who believed that Russia's path lay in its traditional spirituality.
Fathers and Sons might be regarded as the first wholly modern novel in Russian Literature (Gogol's Dead Souls, another main contender, is sometimes referred to as a poem or epic in prose as in the style of Dante's Divine Comedy). The novel introduces a dual character study, as seen with the gradual breakdown of Bazarov's and Arkady's nihilistic opposition to emotional display, especially in the case of Bazarov's love for Madame Odintsova and Fenichka. This prominent theme of character duality and deep psychological insight would exert an influence on most of the great Russian novels to come, most obviously echoed in the novels of Tolstoy and Dostoevsky.
The novel is also the first Russian work to gain prominence in the Western world, eventually gaining the approval of well established novelists Gustave Flaubert, Guy de Maupassant, and Henry James.
Major characters
* Yevgeny Vasil'evich Bazarov - A nihilist, a student of science, and is training to be a doctor. As a nihilist he is a mentor to Arkady, and a challenger to the liberal ideas of the Kirsanov brothers and the traditional Russian Orthodox feelings of his own parents.
* Arkady Nikolaevich Kirsanov - A recent graduate of St. Petersburg University and friend of Bazarov. He is also a nihilist, although his belief seems to stem from his admiration of Bazarov rather than his own conviction.
* Nikolai Petrovich Kirsanov - A landlord, a liberal democrat, Arkady’s father.
* Pavel Petrovich Kirsanov - Nikolai’s brother and a bourgeois with aristocratic pretensions, who prides himself on his refinement but like his brother is reform minded. Although he is reluctantly tolerant of the nihilism, he cannot help hating Bazarov.
* Vasily Ivanovich Bazarov - Bazarov’s father, a retired army surgeon, and a small countryside land/serf holder. Educated and enlightened, he nonetheless feels, like many of the characters, that rural isolation has left him out of touch with modern ideas. He thus retains a loyalty to traditionalist ways, manifested particularly in devotion to God and to his son Yevgeny.
* Arina Vlas'evna Bazarova - Bazarov’s mother. A very traditional woman of the 15th c. Moscovy style aristocracy: a pious follower of Orthodox Christianity, woven with folk tales and falsehoods. She loves her son deeply, but is also terrified of him and his rejection of all beliefs.
* Anna Sergeevna Odintsova - A wealthy widow who entertains the nihilist friends at her estate. Bazarov declares his love for her, but she is unable to reciprocate, both out of fear for the emotional chaos it could bring and an inability to recognize her own sentiments as love itself. Bazarov's love is a challenge to his nihilist ideal of rejection of all established order.
* Katerina (Katya) Sergeevna Lokteva - A character similar to Arkady and the younger sister of Anna. She lives comfortably with her sister but lacks confidence, finding it hard to escape Anna Sergeevna's shadow. This shyness makes her and Arkady’s love slow to realize itself.
* Fedosya (Fenichka) Nikolayevna - The daughter of Nikolai’s housekeeper, with whom he has fallen in love and fathered a child out of wedlock. The implied obstacles to their marriage are difference in class, and perhaps Nikolai's previous marriage - the burden of 'traditionalist' values.
* Viktor Sitnikov - A pompous and somewhat stupid friend of Bazarov who joins populist ideals and groups.
* Avdotya Nikitishna or Evdoksya Kukshina - An emancipated woman who lives in the town of X. Kukshina is independent but rather eccentric and incapable as a proto-feminist despite her potential.
Themes
Transgression and redemption
Bazarov (the prototypical nihilist) argues with Pavel Kirsanov (the prototypical liberal of the 1840s generation) about the nature of nihilism and usefulness to Russia in an episode which personifies the struggle between the fathers (i.e., the liberals of the 1840s) and their nihilist "sons". "Aristocratism, liberalism, progress, principles," Bazarov says. "Just think, how many foreign…and useless words!"
Bazarov tells Pavel that he will abandon nihilism when Pavel can show him "…a single institution of contemporary life, either in the family or in the social sphere, that doesn’t deserve absolute and merciless rejection." But despite this utter scorn for all things associated with traditional Russia, Bazarov still believes that there is a purpose and a value in applied science.
Human emotion and love as redemption
Bazarov's nihilism falls apart in the face of human emotions, specifically his love for Anna Odintsova. His nihilism does not account for the pain that his unrequited love causes him, and this introduces a despair that he is not capable of contending with.
Bazarov returns to his family after Odintsova rejects him. Bazarov complains to Arkady that "…they, that is, my parents, are occupied, and don't worry in the least about their own insignificance; they don't give a damn about it… While I…I feel only boredom and anger." His theory's inability to account for his emotions frustrates him and he sinks deep into boredom and ennui.
And then there is the enigmatic Anna Odintsova, a beautiful young woman of lowly origin. By virtue of having married well and been widowed young, she has inherited an exceedingly comfortable and insular life on a palatial country estate. In a letter written the same year the novel was published, Turgenev revealed that he conceived of Anna as “the representative of our idle, dreaming, curious and cold epicurean young ladies, our female nobility.” And yet, as with Bazarov, Turgenev’s fictional creation takes on a life of its own, superseding the author’s intellectual scheme to become a complex and perplexing figure.
Apparently content at the outset with her unattached life, Anna finds herself increasingly attracted to the blunt, unorthodox, highly intelligent Bazarov. She proceeds almost unwittingly to emotionally seduce the self-declared womanizer, luring him step by step in a pair of riveting, back-to-back passages to reveal his love. In the intimacy of her study, Anna confesses that she is very “unhappy,” that she has no desire to “go on,” that she longs for a “strong attachment” that is “all or nothing. A life for a life. You take mine, you give up yours, without regrets, without turning back.”
And yet, a moment after Bazarov capitulates and confesses his love, Odintsova rejects him brutally. Afterward, she is tortured, alternately blaming and excusing herself while fearing she may have thrown away a chance for genuine love. Finally she decides, “No. God knows where it might have led; one mustn’t fool around with this kind of thing.”
Conversely, Turgenev shows us Arkady and Nikolai's traditional happiness in marriage and estate management as the solution to Bazarov's cosmic despair and Anna's life of loveless comfort. (Arkady marries Anna Odintsova's sister Katya, though he was also originally in love with Anna). The height of the conflict between Bazarov and the older generation comes when Bazarov wounds Pavel in a duel. Finally, Turgenev also refutes Bazarov's "insignificance principle", i.e., the nihilist idea that life is utterly insignificant and that nothing remains after death: after leaving and then returning again to his parents, Bazarov dies of typhus. The final passage of the book portrays Bazarov's parents visiting his grave.
They walk with a heavy step, supporting each other; when they approach the railing, they fall on their knees and remain there for a long time, weeping bitterly, gazing attentively at the headstone under which their son lies buried: they exchange a few words, brush the dust off the stone, move a branch of the pine tree, and pray once again; they can’t forsake this place where they seem to feel closer to their son, to their memories of him… Can it really be that their prayers and tears are futile? Can it really be that love, sacred, devoted love is not all powerful? Oh, no!
Their love causes them to remember Bazarov: he has transcended death, but only through the love of other people. Fyodor Dostoevsky, who read Fathers and Sons and apparently appreciated Bazarov as a character, explores a similar theme with Raskolnikov's religious redemption (via the love of Christ) in Crime and Punishment.
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
《 fù yǔ zǐ》 shì 'é guó zhù míng zuò jiā tú gé niè fū de dài biǎo zuò。《 fù yǔ zǐ》 wán chéng yú 1860 nián 8 yuè zhì 1861 nián 8 yuè， jīng duō cì xiū gǎi hòu， yú 1862 nián zài《 é luó sī dǎo bào》 shàng。
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
《 fù yǔ zǐ》 - rén wù tè diǎn
《 fù yǔ zǐ》 de zhōng xīn rén wù shì píng mín zhī shí fènzǐ bā zhā luò fū。 bā zhā luò fū shì píng mín zhī shí fènzǐ de diǎn xíng， shì“ xīn rén” de xíng xiàng， tā xìng gé de tū chū tè zhēng shì jù yòu xiān míng de gé mìng sè cǎi， zhè biǎo xiàn zài：
1、 tā jī liè dì fǒu dìng xiàn cún zhì dù。 bā zhā luò fū de fǒu dìng yòu qí lì shǐ de hé lǐ xìng。 zhè lǐ shǒu xiān shì lì shǐ jìn bù de xū yào， qí cì cái shì gé mìng zhě de bǎn miàn rèn shí hé guò jī qíng xù。 zuò jiā duì bā zhā luò fū de zhè zhǒng jīng shén tè zhì suī bù xīn shǎng， dàn què zuò liǎo zhēn shí de miáo shù。
2、 miè shì guì zú jiē jí。 zhè shì píng mín jué xǐng de yī gè zhòng yào tè zhēng。 bā zhā luò fū què xìn zhēn lǐ zài zì jǐ shǒu zhōng， què xìn zì jǐ shì shí dài yīng xióng， yòu quán miè shì guì zú jiē jí。 tā duì yú bā wēi 'ěr de fèn nù tiǎo zhàn shǐ zhōng cóng róng duì dài， ér qiě cháng cháng bǎi chū yī fù bù xiè yī gù de tài dù。 zài lùn biàn zhōng， zài jué dǒu lǐ， tā lǎo shī chóng gāo de shèng lì zhě。 zuì hòu bā wēi 'ěr yě bù dé bù chéng rèn zì jǐ de guāng róng yǐ chéng wǎng shì。
3、 yǐ píng mín shēn fèn zì háo， gēn rén mín bǎo chí zhe mìqiè de guān xì。 bā zhā luò fū yǐ jīng bù tóng yú bā xī sī tuō fū， tā bù zài shì yōu xiù guì zú fènzǐ de zhuī suí zhě， tā yǐ jīng yì shí dào， píng mín yōu yú guì zú。 zhè shì píng mín shì lì xīng qǐ de yòu yī gè zhòng yào biāo zhì。 tóng shí， tú gé niè fū yě biǎo xiàn liǎo bā zhā luò fū de zhī shí fènzǐ de shēng huó fāng shì shǐ tā hé rén mín gé mó qǐ lái de qíng xíng。 yī gè nóng mín píng lùn bā zhā luò fū shuō：“ dāng rán lā， tā shì yī wèi shàoye， tā néng dǒng dé shénme ní？” zhè yàng de miáo shù yě shì hěn shēn kè de， tā jiē shì liǎo bā zhā luò fū gāo yú pǔ tōng nóng mín hé tuō lí rén mín de yī miàn， zài dāng shí de píng mín zhī shí fènzǐ zhōng， zhè yě shì yī zhǒng diǎn xíng de xiàn xiàng。 zhè zhèng shì hòu lái de mín cuì zhù yì yùn dòng shī bài de zhòng yào yuán yīn zhī yī。
bā zhā luó fū shì jīng shén shàng de qiáng zhě。 tā chōng mǎn zì xìn， shēng qì bó bó， jù yòu ruì lì de pī pàn yǎn guāng。 tā hé 'ā 'ěr kǎ dí jiā de pú rén men hé mù xiāng chù， bìng bù fáng 'ài tā pī pàn lǎo bǎi xìng de luò hòu mí xìn。 tā de jīng shén lì liàng hé pī pàn fēng máng jí zhōng biǎo xiàn zài tā yǔ bā wēi 'ěr de lùn zhàn shàng。 liǎng rén chū cì xiāng jiàn， jiù zài gǎn jué shàng hù bù xiāng róng， jìn 'ér zhǎn lù chū sī xiǎng guān diǎn shàng de zhēn fēng xiāng duì。 bā zhā luó fū yǐ tā tè yòu de jiǎn jié、 cū lǔ de huà yǔ duì bā wēi 'ěr yǐ qiáng yòu lì de fǎn jī。 pō yòu duō duō bī rén zhī shì。 tā jué bù qū cóng quán wēi， jù yòu zì zhù de rén gé hé píng pàn biāo zhǔn， tǐ xiàn liǎo nián qīng yī dài dú lì sī kǎo de chǔshì tài dù hé chū shēng niú dú bù pà hǔ de dǒu zhēng jīng shén， dāng rán， yě dài yòu nián qīng rén cóng bù chéng shú zǒu xiàng chéng shú de guò chéng zhōng de kě néng chǎn shēng de piān pō hé jí duān。 dàn tā hái shì yǐ wú yōng zhì yí de jīng shén yōu shì yā dǎo liǎo duì shǒu。 bā zhā luó fū wěn fèi niè qí kǎ， zài bā wēi 'ěr kàn lái， shì yán zhòng dì qīn fàn liǎo guì zú de quán lì， yě shì tā men zhī jiān duì lì guān diǎn de jì xù fā zhǎn。 jué dǒu bào lù liǎo bā wēi 'ěr de piān xiá、 xū ruò hé zuò zuò， xiǎn shì liǎo bā zhā luó fū de huò dá、 zhèn dìng hé zì xìn， shuāng fāng jīng shén lì liàng de qiáng ruò zài cǐ dé dào jìn yī bù de jiē shì。
bā zhā luó fū shì xíng dòng de jù rén， tā pēng jī guì zú de fàn fàn kōng tán， zì jǐ shǒu xiān cóng xiǎo shì zuò qǐ。 tā jù yòu shí jiàn néng lì， zhù zhòng zì rán kē xué yán jiū。 tā de xíng dòng yòu jià zhí qǔshě biāo zhǔn：“ fán shì wǒ men rèn wéi yòu yòng de shì qíng， wǒ men jiù yǐ jù tā xíng dòng。” tā de xíng dòng mù biāo hěn míng què héng héng wéi wèi lái dǎ sǎo dì pán。 tā gǎn yú xíng dòng de yǒng qì zài yī dìng chéng dù shàng yě biǎo xiàn zài duì dài 'ài qíng de tài dù shàng。 tā céng nǎo nù zì jǐ yě chǎn shēng nà yàng làng màn de qíng gǎn， dàn zài 'ài qíng zhī huǒ rán shāo qǐ lái de shí hòu tā què jué bù huí bì duǒ shǎn。
tú gé niè fū xiě chū liǎo zài fǒu dìng 'ài qíng de bā zhā luó fū nèi xīn， ài qíng shì rú hé méng yá、 fā zhǎn de， xiěde zhēn shí kě xìn。 dàn shì zuò jiā ràng bā zhā luó fū zài 'ài qíng shòu cuò hòu yī jué bù zhèn， chóngdǎo liǎo bā wēi 'ěr zài liàn 'ài shàng de fù zhé， nà jù duì bā wēi 'ěr de jiān kè píng jià“ xióng xìng shēng wù” yóu rú yī jì 'ěr guāng fǎn dǎ zài bā zhā luó fū zì jǐ de liǎn shàng。 zhè bìng bù shì shuō， bù néng xiě tā de shī liàn tòng kǔ， yīng xióng yě yòu 'ér nǚ qíng cháng de yī miàn。 dàn tú gé niè fū què ràng tā de zhù rén gōng yī wèi xiāo chén xià qù， bù néng zì bá， zhí zhì sǐ wáng。 zhè bù néng bù shì duì bā zhā luó fū de qū jiě。 nà gè zài guì zú zhuāng yuán suǒ xiàng pīmǐ de yǒng shì jìng wú lì shǐ zì jǐ zuì zhōng bǎi tuō xiāo jí bēi guān de qíng xù， rén wù xìng gé de zhěng tǐ xìng yīn cǐ shòu dào sǔn hài。 zuò jiā bǎ bā zhā luó fū lín zhōng qián qī dài 'ā jīn zuǒ wá de yī wěn zhè mù xiěde jí wéi dòng rén， rán 'ér tā de ruì qì， tā de fèn hèn， tā de jīng shén wēi lì， tā de jiān qiáng yì zhì yě zài zhè nǚ rén fū yǎn shì de yī wěn zhōng xiāo róng dài jìn。
zhè zhǒng wéi fǎn rén wù xìng gé fā zhǎn luó ji de máo dùn biàn huà， yǔ zuò jiā de sī xiǎng qīng xiàng bù wú lián xì。 tú gé niè fū duì bā zhā luó fū suǒ dài biǎo de píng mín zhī shí fènzǐ yòu yī zhǒng qíng bù zì jìn de xiàng wǎng， tā qīn pèi tā men de gè rén pǐn zhì hé xī shēng jīng shén， dàn bìng bù zàn chéng tā men de shè huì zhèng zhì zhù zhāng。 zhè wèi wēn hé de zì yóu zhù yì guì zú zuò jiā hài pà bào lì gé mìng， bù xī wàng tā men de shì yè qǔ dé chéng gōng。 tā rèn wéi tā men de guān diǎn bì rán dǎo zhì tā men chéng wéi bēi jù rén wù， yīn cǐ tā 'ān pái liǎo bā zhā luó fū de shī liàn、 bēi guān nǎi zhì zuì hòu sǐ wáng。 bā zhā luó fū xìng gé shàng de bù yī zhì zhèng hǎo zhé shè chū zuò jiā duì mín zhù zhù yì zhě de máo dùn tài dù。
ā 'ěr kǎ dí zhè gè rén wù zài xiǎo shuō zhōng yòu tè shū de yì yì。 jiù nián líng lái shuō， tā shǔ yú zǐ bèi， yě céng zhuī suí guò bā zhā luó fū； dàn jiù sī xiǎng yì shí lái shuō， tā shì fù bèi de zǐ dì， yīn cǐ bā zhā luó fū chēng tā wéi“ wēn róu de zì yóu zhù yì shàoye”。 zài gāng gāng dào lái de xīn guān niàn hé chí chí bù kěn tuì qù de jiù guān niàn xiāng hù zhēng dǒu de shí hòu， qīng nián rén píng jiè tā men de mǐn gǎn、 yǒng qì hé zhāoqì děng shēng lǐ、 xīn lǐ yīn sù yòu kě néng gèng qīng xīn yú xīn guān niàn， rán 'ér zǐ bèi bìng bù shì xiān jìn sī xiǎng de dāng rán dài biǎo zhě， jìn huà lùn de guān niàn zài shè huì sī xiǎng dǒu zhēng zhōng bìng bù jù yòu jué duì pǔ biàn xìng， gèng hé kuàng qí zhōng yě bù fá yòu liè qí qiú xīn de biǎo miàn zhuī qiú。 yīn cǐ， tú gé niè fū suǒ biǎo xiàn de bù quán shì shēng lǐ、 xīn lǐ yì yì shàng liǎng dài rén de dài gōu， gèng shèn tòu zhe bù tóng shè huì zhèn yíng zhī jiān zhèng zhì sī xiǎng de fēn qí， cóng 'ér jiē shì chū dāng shí 'é guó mín zhù zhù yì duì guì zú zì yóu zhù yì de shèng lì。
《 fù yǔ zǐ》 - zhōng xīn sī xiǎng
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
《 fù yǔ zǐ》 - zuò zhě jiǎn jiè
yī fán · xiè 'ěr gài yé wéi qí · tú gé niè fū（ é yǔ： ИванСергеевичТургенев； yīng yǔ： IvanSergeevichTurgenev， gōng lì 1818 nián 11 yuè 9 rì － 1883 nián 9 yuè 3 rì， hé rú lüè lì 1818 nián 10 yuè 28 rì－ 1883 nián 8 yuè 22 rì） é guó xiàn shí zhù yì xiǎo shuō jiā、 shī rén hé jù zuò jiā。
é guó 19 shì jì pī pàn xiàn shí zhù yì zuò jiā、 shī rén hé jù zuò jiā， chū shēng yú shì xí guì zú zhī jiā， shēng yú 'é guó 'ào liào 'ěr shěng 'ào liào 'ěr yī gè jiù shì fù yù jiā tíng， fù qīn shì yī gè qí bīng tuán tuán cháng， shí liù suì de shí hòu fù qīn qù shì。 tú gé niè fū de mā mā pí qì hěn bù hǎo， jīng cháng dǎ mà zì jǐ de hái zǐ。 1833 nián jìn mò sī kē dà xué wén xué xì， yī nián hòu zhuǎn rù bǐ dé bǎo dà xué zhé xué xì yǔ wén zhuān yè， bì yè hòu dào dé guó bólín dà xué gōng dú zhé xué、 lì shǐ hé xī là yǔ lā dīng wén。 tú gé niè fū jìn rù mò sī kē dà xué xué xí yī nián， suí hòu zhuǎn rù shèng bǐ dé bǎo dà xué xué xí jīng diǎn zhù zuò， é guó wén xué hé zhé xué。 1838 nián qián wǎng bólín dà xué xué xí hēi gé 'ěr zhé xué。 zài 'ōu zhōu tú gé niè fū jiàn dào liǎo gèng jiā xiàn dài huà de shè huì zhì dù， bèi shì wéi“ ōu huà” de zhī shí fènzǐ， zhù zhāng 'é guó xué xí xī fāng， fèi chú bāo kuò nóng nú zhì zài nèi de fēng jiàn zhì dù。
tú gé niè fū shì 19 shì jì 'é guó yòu shì jiè shēng yù de xiàn shí zhù yì yì shù dà shī。 tā de xiǎo shuō bù jǐn xùn sù jí shí dì fǎn yìng liǎo dāng shí de 'é guó shè huì xiàn shí， ér qiě shàn yú tōng guò shēng dòng de qíng jié hé qiàdàng de yán yǔ、 xíng dòng， tōng guò duì dà zì rán qíng jìng jiāo róng de miáo shù， sù zào chū xǔ duō xǔ xǔ rú shēng de rén wù xíng xiàng。 tā de yǔ yán jiǎn jié、 pǔ zhì、 jīng què、 yōu měi， wéi 'é luó sī yǔ yán de guī fàn huà zuò chū liǎo zhòng yào gòng xiàn。 zhōng guó zǎo zài 1917 nián jiù kāi shǐ fān yì jiè shào tú gé niè fū de xiǎo shuō， xiàn zài jīhū tā suǒ yòu de zhù yào zuò pǐn dōuyòu liǎo zhōng yì běn， yī xiē míng zuò hái yòu duō zhǒng yì běn。 zǎo qī xiě shī（《 pà lā suō》《 dì zhù》 děng）。 1847 ～ 1852 nián fā biǎo《 liè rén bǐ jì》， jiē lù nóng nú zhù de cán bào， nóng nú de bēi cǎn shēng huó， yīn cǐ bèi fàng zhú。 zài jiān jìn zhōng xiě chéng zhōng piān xiǎo shuō《 mù mù》， duì nóng nú zhì biǎo shì kàng yì。 yǐ hòu yòu fā biǎo cháng piān xiǎo shuō《 luó tíng》（ 1856 nián）、《 guì zú zhī jiā》（ 1859 nián）， zhōng piān xiǎo shuō《 ā xiá》《 duō yú rén de rì jì》 děng， miáo xiě guì zú dì zhù chū shēn de zhī shí fènzǐ hǎo fā yì lùn 'ér quē shǎo dǒu zhēng jīng shén de xìng gé。 zài cháng piān xiǎo shuō《 qián yè》（ 1860 nián） zhōng， sù zào chū bǎo jiā lì yà gé mìng zhě yīng shā luó fū de xíng xiàng。 hòu lái fā biǎo cháng piān xiǎo shuō《 fù yǔ zǐ》， kè huà guì zú zì yóu zhù yì zhě tóng píng mín zhī shí fènzǐ zhī jiān de sī xiǎng chōng tū。 hòu qī cháng piān xiǎo shuō《 yān》（ 1867 nián） hé《 chǔnǚ dì》（ 1877 nián）， fǒu dìng guì zú fǎn dòng pài hé guì zú zì yóu zhù yì zhě， pī píng bù chè dǐ de mín cuì pài， dàn liú lù bēi guān qíng xù。 cǐ wài， hái xiě yòu jù běn《 cūn jū yī yuè》 hé sǎnwén shī děng。
tú gé niè fū shì yī wèi yòu dú tè yì shù fēng gé de zuò jiā， tā jì shàn cháng xì nì de xīn lǐ miáo xiě， yòu cháng yú shū qíng。 xiǎo shuō jié gòu yán zhěng， qíng jié jǐn còu， rén wù xíng xiàng shēng dòng， yóu qí shàn yú xì zhì diāo zhuó nǚ xìng yì shù xíng xiàng， ér tā duì yǐ nǐ de dà zì rán de miáo xiě yě chōng mǎn shī qíng huà yì。
《 fù yǔ zǐ》 - zuò pǐn shǎng xī
《 fù yǔ zǐ》 miáo xiě de shì fù bèi yǔ zǐ bèi chōng tū de zhù tí。 zhè yī chōng tū zài tú gé niè fū bǐ xià zhe shàng liǎo shí dài de sè cǎi。 bā zhā luó fū dài biǎo liǎo 19 shì jì 60 nián dài de nián qīng yī dài héng héng jī jìn de píng mín zhī shí fènzǐ。 ér bā wēi 'ěr hé ní gǔ lā zé dài biǎo liǎo bǎo shǒu de zì yóu zhù yì guì zú de lǎo yī dài rén。 dāng rán， zài duì dài nián qīng rén de tài dù shàng， fù bèi zhōng de rén men tài dù gè yòu bù tóng， ní gǔ lā bǐ jiào wēn hé， xī wàng lǐ jiě zǐ bèi， xiǎng gēn shàng shí dài， zhǐ shì bù tài chéng gōng。 bā wēi 'ěr zé gù zhí yǐ jiàn， xìn fèng guì zú zì yóu zhù yì， duì nián qīng rén de fǎn pàn gěng gěng yú huái。 fù yǔ zǐ de chōng tū zài guǎng yì shàng biǎo xiàn wéi bā wēi 'ěr hé bā zhā luó fū zhī jiān de duì lì， yóu cǐ， zài bā zhā luó fū shēn shàng sù zào liǎo shí dài“ xīn rén” de xíng xiàng。
bā zhā luó fū shì jīng shén shàng de qiáng zhě。 tā chōng mǎn zì xìn， shēng qì bó bó， jù yòu ruì lì de pī pàn yǎn guāng。 tā hé 'ā 'ěr kǎ dí jiā de pú rén men hé mù xiāng chù， bìng bù fáng 'ài tā pī pàn lǎo bǎi xìng de luò hòu mí xìn。 tā de jīng shén lì liàng hé pī pàn fēng máng jí zhōng biǎo xiàn zài tā yǔ bā wēi 'ěr de lùn zhàn shàng。 liǎng rén chū cì xiāng jiàn， jiù zài gǎn jué shàng hù bù xiāng róng， jìn 'ér zhǎn lù chū sī xiǎng guān diǎn shàng de zhēn fēng xiāng duì。 bā zhā luó fū yǐ tā tè yòu de jiǎn jié、 cū lǔ de huà yǔ duì bā wēi 'ěr yǐ qiáng yòu lì de fǎn jī。 pō yòu duō duō bī rén zhī shì。 tā jué bù qū cóng quán wēi， jù yòu zì zhù de rén gé hé píng pàn biāo zhǔn， tǐ xiàn liǎo nián qīng yī dài dú lì sī kǎo de chǔshì tài dù hé chū shēng niú dú bù pà hǔ de dǒu zhēng jīng shén， dāng rán， yě dài yòu nián qīng rén cóng bù chéng shú zǒu xiàng chéng shú de guò chéng zhōng de kě néng chǎn shēng de piān pō hé jí duān。 dàn tā hái shì yǐ wú yōng zhì yí de jīng shén yōu shì yā dǎo liǎo duì shǒu。 bā zhā luó fū wěn fèi niè qí kǎ， zài bā wēi 'ěr kàn lái， shì yán zhòng dì qīn fàn liǎo guì zú de quán lì， yě shì tā men zhī jiān duì lì guān diǎn de jì xù fā zhǎn。 jué dǒu bào lù liǎo bā wēi 'ěr de piān xiá、 xū ruò hé zuò zuò， xiǎn shì liǎo bā zhā luó fū de huò dá、 zhèn dìng hé zì xìn， shuāng fāng jīng shén lì liàng de qiáng ruò zài cǐ dé dào jìn yī bù de jiē shì。
bā zhā luó fū shì xíng dòng de jù rén， tā pēng jī guì zú de fàn fàn kōng tán， zì jǐ shǒu xiān cóng xiǎo shì zuò qǐ。 tā jù yòu shí jiàn néng lì， zhù zhòng zì rán kē xué yán jiū。 tā de xíng dòng yòu jià zhí qǔshě biāo zhǔn：“ fán shì wǒ men rèn wéi yòu yòng de shì qíng， wǒ men jiù yǐ jù tā xíng dòng。” tā de xíng dòng mù biāo hěn míng què héng héng wéi wèi lái dǎ sǎo dì pán。 tā gǎn yú xíng dòng de yǒng qì zài yī dìng chéng dù shàng yě biǎo xiàn zài duì dài 'ài qíng de tài dù shàng。 tā céng nǎo nù zì jǐ yě chǎn shēng nà yàng làng màn de qíng gǎn， dàn zài 'ài qíng zhī huǒ rán shāo qǐ lái de shí hòu tā què jué bù huí bì duǒ shǎn。
tú gé niè fū xiě chū liǎo zài fǒu dìng 'ài qíng de bā zhā luó fū nèi xīn， ài qíng shì rú hé méng yá、 fā zhǎn de， xiěde zhēn shí kě xìn。 dàn shì zuò jiā ràng bā zhā luó fū zài 'ài qíng shòu cuò hòu yī jué bù zhèn， chóngdǎo liǎo bā wēi 'ěr zài liàn 'ài shàng de fù zhé， nà jù duì bā wēi 'ěr de jiān kè píng jià“ xióng xìng shēng wù” yóu rú yī jì 'ěr guāng fǎn dǎ zài bā zhā luó fū zì jǐ de liǎn shàng。 zhè bìng bù shì shuō， bù néng xiě tā de shī liàn tòng kǔ， yīng xióng yě yòu 'ér nǚ qíng cháng de yī miàn。 dàn tú gé niè fū què ràng tā de zhù rén gōng yī wèi xiāo chén xià qù， bù néng zì bá， zhí zhì sǐ wáng。 zhè bù néng bù shì duì bā zhā luó fū de qū jiě。 nà gè zài guì zú zhuāng yuán suǒ xiàng pīmǐ de yǒng shì jìng wú lì shǐ zì jǐ zuì zhōng bǎi tuō xiāo jí bēi guān de qíng xù， rén wù xìng gé de zhěng tǐ xìng yīn cǐ shòu dào sǔn hài。 zuò jiā bǎ bā zhā luó fū lín zhōng qián qī dài 'ā jīn zuǒ wá de yī wěn zhè mù xiěde jí wéi dòng rén， rán 'ér tā de ruì qì， tā de fèn hèn， tā de jīng shén wēi lì， tā de jiān qiáng yì zhì yě zài zhè nǚ rén fū yǎn shì de yī wěn zhōng xiāo róng dài jìn。
《 fù yǔ zǐ》《 fù yǔ zǐ》
zhè zhǒng wéi fǎn rén wù xìng gé fā zhǎn luó ji de máo dùn biàn huà， yǔ zuò jiā de sī xiǎng qīng xiàng bù wú lián xì。 tú gé niè fū duì bā zhā luó fū suǒ dài biǎo de píng mín zhī shí fènzǐ yòu yī zhǒng qíng bù zì jìn de xiàng wǎng， tā qīn pèi tā men de gè rén pǐn zhì hé xī shēng jīng shén， dàn bìng bù zàn chéng tā men de shè huì zhèng zhì zhù zhāng。 zhè wèi wēn hé de zì yóu zhù yì guì zú zuò jiā hài pà bào lì gé mìng， bù xī wàng tā men de shì yè qǔ dé chéng gōng。 tā rèn wéi tā men de guān diǎn bì rán dǎo zhì tā men chéng wéi bēi jù rén wù， yīn cǐ tā 'ān pái liǎo bā zhā luó fū de shī liàn、 bēi guān nǎi zhì zuì hòu sǐ wáng。 bā zhā luó fū xìng gé shàng de bù yī zhì zhèng hǎo zhé shè chū zuò jiā duì mín zhù zhù yì zhě de máo dùn tài dù。
ā 'ěr kǎ dí zhè gè rén wù zài xiǎo shuō zhōng yòu tè shū de yì yì。 jiù nián líng lái shuō， tā shǔ yú zǐ bèi， yě céng zhuī suí guò bā zhā luó fū； dàn jiù sī xiǎng yì shí lái shuō， tā shì fù bèi de zǐ dì， yīn cǐ bā zhā luó fū chēng tā wéi“ wēn róu de zì yóu zhù yì shàoye”。 zài gāng gāng dào lái de xīn guān niàn hé chí chí bù kěn tuì qù de jiù guān niàn xiāng hù zhēng dǒu de shí hòu， qīng nián rén píng jiè tā men de mǐn gǎn、 yǒng qì hé zhāoqì děng shēng lǐ、 xīn lǐ yīn sù yòu kě néng gèng qīng xīn yú xīn guān niàn， rán 'ér zǐ bèi bìng bù shì xiān jìn sī xiǎng de dāng rán dài biǎo zhě， jìn huà lùn de guān niàn zài shè huì sī xiǎng dǒu zhēng zhōng bìng bù jù yòu jué duì pǔ biàn xìng， gèng hé kuàng qí zhōng yě bù fá yòu liè qí qiú xīn de biǎo miàn zhuī qiú。 yīn cǐ， tú gé niè fū suǒ biǎo xiàn de bù quán shì shēng lǐ、 xīn lǐ yì yì shàng liǎng dài rén de dài gōu， gèng shèn tòu zhe bù tóng shè huì zhèn yíng zhī jiān zhèng zhì sī xiǎng de fēn qí， cóng 'ér jiē shì chū dāng shí 'é guó mín zhù zhù yì duì guì zú zì yóu zhù yì de shèng lì。
《 fù yǔ zǐ》 shì tú gé niè fū de dài biǎo zuò。 bā zhā luó fū shēn shàng jìn guǎn yòu xiá cī， dàn tā réng yǐ bù tóng fán xiǎng de yì shù gè xìng gěi rén yǐ xiān míng de yìn xiàng， zài 'é guó wén xué shǐ shàng tā shì dì yī gè 'é guó“ xīn rén” xíng xiàng， shuài xiān chuán dá chū píng mín zhī shí fènzǐ yǐ chéng wéi shēng huó zhùjué de shí dài xìn xī。
《 fù yǔ zǐ》 - chuàng zuò bèi jǐng
tú gé niè fū cóng《 bā lā suō》（ yī bā sì sān），《 dì zhù》（ yī bā sì liù） děng shī piān kāi shǐ wén xué shēng yá。 tā de《 liè rén bǐ jì》（ yī bā sì qī héng héng wǔ 'èr） de fā biǎo céng dāng zuò 'é guó wén xué shēng huó zhōng de yī jiàn dà shì。 zhè yī piān piān tè xiě， yǐ 'é guó zhōng bù dì qū de zì rán jǐng sè wéi chèn tuō， guǎng fàn dì miáo huì liǎo zhuāng yuán dì zhù hé nóng mín de shēng huó， shēn kè jiē lù liǎo dì zhù biǎo miàn shàng wén míng rén cí、 shí jì shàng chǒu 'è cán bào de běn xìng， quán shū chōng mǎn duì hán gòu shòu rǔ、 bèi shòu qī líng de láo dòng rén mín de tóng qíng。 dāng shí de jìn bù sī xiǎng jiè chēng tā shì duì nóng nú zhì de“ yī zhèn měng liè pào huǒ”， shì yī bù“ diǎn rán huǒ zhǒng de shū”。 yī bā wǔ 'èr nián tú gé niè fū yīn zhuàn wén dào niàn guǒ gē lǐ shì shì， shí zhì shàng zé yīn qí《 liè rén bǐ jì》 de shè huì sī xiǎng qīng xiàng 'ér bèi bǔ， sòng wǎng sī bā sī kē yé héng héng lǔ tuō wéi nuò fū cūn ruǎn jìn。 ruǎn jìn qī jiān tā xiě liǎo zhōng piān《 mù mù》， yǐ mǎn qiāng chóu hèn duì nóng nú zhì jìn xíng kòng sù。 wǔ shí zhì liù shí nián dài shì tā chuàng zuò zuì wàng shèng de shí qī， shì féng 'é guó shè huì yùn dòng zhú bù gāo zhǎng， tā jí shí dì fǎn yìng liǎo shè huì shēng huó de fāng fāng miàn miàn。 cháng piān《 luó tíng》（ yī bā wǔ liù），《 guì zú zhī jiā》（ yī bā wǔ jiǔ）， zhōng piān《 ā xiá》（ yī bā wǔ bā），《 duō yú rén de rì jì》（ yī bā wǔ ） zhǎn shì liǎo guì zú zhī shí fènzǐ yán yǔ tuō lí xíng dòng， lǐ lùn tuō lí shí jiàn de yī xiē diǎn xíng tè zhēng。 cháng piān《 qián yè》（ yī bā liù ） zé fǎn yìng 'é guó nóng nú zhì kuǎ tái qián xī zài 'é guó chū xiàn de jìn bù shè huì sī cháo。 zài tú gé niè fū chuàng zuò zhōng zhàn yòu zhōng xīn dì wèi de cháng piān《 fù yǔ zǐ》（ yī bā liù 'èr） kè huà liǎo liǎng zhǒng shè huì shì lì héng héng mín zhù zhù yì zhě hé zì yóu pài guì zú jiān de sī xiǎng chōng tū。
tú gé niè fū wén bǐ wǎn lì， jié gòu qiǎo miào， yǔ yán qīng xīn jiǎn jié， shēn dé dú zhě xǐ 'ài。 qí zuò pǐn hěn zǎo jiù yòu rén yì jiè， yì jiè zhě yòu lǎo yī dài zhī míng zuò jiā， yě yòu wǒ de tóng shí dài rén。 tú gé niè fū chuàng zuò《 fù yǔ zǐ》 de nà xiē nián yuè， nóng nú zhù yǐ bù zài kě néng。
《 fù yǔ zǐ》《 fù yǔ zǐ》
dàn tú gé niè fū shì gè shēn chén de xiàn shí zhù yì zuò jiā， tā bì rán bǎ lì shǐ de zhòng dà kè guān shì jiàn zhì yú shì jiè zhī nèi， bǎ zài xiàn shēng huó zuò wéi wú kě tuī xiè de zé zhí， qù sù zào fú hé shí dài de diǎn xíng。《 fù yǔ zǐ》 zhōng de bā zhā luó fū kě shuō shì shí jiǔ shì jì liù shí nián dài 'é guó mín。
bā zhā luó fū bù qū cóng rèn hé quán wēi， bù bǎ rèn hé zhǔn zé dāng zuò xìn yǎng， jí shǐ zhè zhǔn zé shì duō me shòu dào zūn zhòng。 hè 'ěr cén bǎ bā zhā luó fū de zhè zhǒng xū wú zhù yì guī jié wéi“ wán quán、 chè dǐ bǎi tuō liǎo yī qiē xiàn chéng gài niàn hé chén guī jiù sú”。 dù bó luó liú bō fū jìn yī bù rèn tóng：“ xīn rén héng héng tā shì wéi xīn zhù yì zhé xué de fǎn duì zhě， yīn wéi wéi xīn zhù yì zhé xué bǎ zhǔn zé kàn chéng gāo yú pǔ sù de shēng huó zhēn lǐ。” bā zhā luó fū duì jiè chōu xiàng fǎ dé chū de kē xué gài niàn què wú hǎo gǎn：“ zhǐ de shì shénme kē xué？ fàn fàn de kē xué má？ kē xué yī rú shǒu yì， yòu jù tǐ de mén lèi， ér fàn fàn de kē xué shì bù cún zài de。” zài cǐ tā zhǐ chéng rèn jù tǐ de kē xué， ér bǎ“ fàn fàn de kē xué” jí zhé xué chè dǐ fǒu dìng liǎo。 tā bǎ zhé xué kàn chéng shì“ làng màn zhù yì” zhé xué， fǔ xiǔ， hú shuō bā dào， yǔ làng màn zhù yì shì děng tóng gài niàn。 màn 'ēn yóu cǐ rèn wéi bā zhā luó fū de sī biàn“ cóng hēi gé 'ěr de Allgemeinneit zǒng tǐ zhōng dé dào liǎo jiě fàng”。 bā zhā luó fū rèn wéi rén de xíng wéi bù yóu chōu xiàng de、 bì xū zūn xún de zhǔn zé， ér shì yóu xiàn shí shēng huó jué dìng de：“ zǒng de shuō lái， zhǔn zé shì méi yòu de，…… zhǐ yòu gǎn jué。 yī qiēdōu qǔ jué yú gǎn jué。” bā zhā luó fū duì jī 'ěr sà nuò fū suǒ fèng zhǔn zé de kàng yì yě jiù shì mín zhù zhù yì zhě duì wéi xīn guān de kàng yì。 nà shí píng mín zhōng de mín zhù zhù yì zhě 'àn dù bó liú bō fū shuō fǎ“ bù dàn dǒng dé， ér qiě qīn shēn gǎn shòu dào， shì shàng jué duì de dōng xī shì méi yòu de， yī qiē shì wù zhǐ yòu tā de xiāng duì yì yì”， yīn cǐ tā men duàn rán“ bǎi tuō kāi jué duì lǐ niàn 'ér qù jiē jìn xiàn shí shēng huó， yòng tā men de xiàn shí guān tì dài yī qiē chōu xiàng gài niàn”。 bǎ xiǎo shuō《 fù yǔ zǐ》 zhōng fā shēng de shì jiàn xiàn dìng zài yī bā wǔ jiǔ nián zì yòu qí。
cǐ shū huò quán guó yōu xiù chàng xiāo shū jiǎng， bù xiǔ de jié zuò， yǒng yuǎn de chàng xiāo shū！
lián huán màn huà《 fù yǔ zǐ》 shì dé guó yōu mò dà shī 'āi · ào · bǔ láo 'ēn de bù xiǔ jié zuò。 zuò pǐn zhōng yī gè gè shēng dòng yōu mò de xiǎo gù shìdōu shì lái zì yú màn huà jiā zài shēng huó zhōng de zhēn shí gǎn shòu， fù yǔ zǐ shí jì shàng jiù shì kǎ láo 'ēn yǔ 'ér zǐ kè lǐ sī dì 'ān de zhēn shí xiě zhào。 yī fú fú xiǎo qiǎo jīng zhàn de huà miàn shǎn shuò zhe zhì huì zhī guāng， wú yán dì liú xiè chū chún zhēn de chì zǐ zhī qíng yǔ róng róng tiān lún zhī lè， yǒng yuǎn dì zhèn hàn zhe rén men de xīn líng。 zǎo zài 20 shì jì 30 nián dài《 fù yǔ zǐ》 biàn chuán rù wǒ guó， dàn zài zhè běn《 fù yǔ zǐ》 quán jí zhī qián guó nèi zuì duō zhǐ chū xiàn guò 150 gè《 fù yǔ zǐ》 de xiǎo gù shì， 1988 nián wǒ guó zài dé yì zhì lián bāng rén hé guó zhù huá dà shǐ jí lǐng shì de bāng zhù xià chéng gōng dì biān chéng liǎo zhè běn《 fù yǔ zǐ》 quán jí hòu， shí jǐ nián zhōng zhè běn huà cè chóngyìn liǎo shù shí wàn， shēn shòu dú zhě xǐ 'ài， 1994 nián hái bèi píng wéi quán guó yōu xiù chàng xiāo shū。
fēi cháng nán dé de shì guó nèi de xǔ duō chū bǎn shè duì wǒ men zhè gè《 fù yǔ zǐ》 quán jí de bǎn běn shí fēn gǎn cháng qù， jīng cháng yú kuài dì jiè yòng zhè gè bǎn běn。 lì rú， shān dōng de huáng hé chū bǎn shè jìng quán pán fān yìn liǎo wǒ men de《 fù yǔ zǐ》 quán jí， ér chéng dū de tiān dì chū bǎn shè jiè yòng de zhè gè bǎn běn（ cǐ wài hái jiè liǎo wǒ biān de xǔ duō qí tā de huà cè） bù dào liǎng nián jìng xiāo liǎo 10 wàn cè。 shuō zhēn de， wǒ zhēn wèicǐ gǎn dào gāo xīng， yīn wéi mó fǎng shì zuì zhēn chéng de gōng wéi， zhè xiē nián qīng de biān ji bì jìng shì zhēn xīn shí yì de zhuī suí zhě！ bù guò wǒ men de《 fù yǔ zǐ》 quán jí dào dǐ shì yuán bǎn， xì kàn bì jìng bù tóng， bù shì má？
【 biān ji diǎn píng】
dé guó zhù míng màn huà jiā 'āi · ào · bǔ láo 'ēn de lián huán màn huà《 fù yǔ zǐ》 yù mǎn tiān xià、 fēngmǐ shì jiè。《 fù yǔ zǐ》 suǒ sù zào de shàn liáng、 zhèng zhí、 kuān róng de yì shù xíng xiàng， chōng mǎn zhe zhì huì zhī guāng， liú lù chū chún zhēn de fù zǐ zhī qíng， shēn shēn dì dǎ dòng liǎo qiān bǎi wàn dú zhě de xīn， cóng 'ér shǐ bǔ láo 'ēn chéng wéi hǎi 'ēn lǐ xī · huò fū màn hé wēi lián · bù shī zhī hòu de yòu yī jù jiàng，《 fù yǔ zǐ》 bèi rén men yù wéi dé guó yōu mò de xiàng zhēng， shòu dào rén men yī zhì gāo dù de zàn yáng， shēng yù yuǎn yuǎn dì yuè chū liǎo guó jiè。
《 fù yǔ zǐ》 - yǐng shì xìn xī
jù qíng jiǎn jiè
é guó míng dǎo sū gǔ nuò fū（ AleksandrSokurov） zhí dǎo。 zhè bù diàn yǐng shì miáo shù yī duì fù zǐ zhī jiān， jì nóng liè tè shū yòu pū shuò mí lí de qíng gǎn， jí jù zhēng yì xìng hé zhèn hàn lì。
fù qīn yǔ 'ér zǐ cháng nián shēng huó zài tóng yī wū yán xià， fǎng fó yǔ shì gé jué bān chén jìn zài tā men zì jǐ de shì jiè zhōng， bèi huí yì hé rì cháng yí shì suǒ tián mǎn。 yòu shí tā men kàn qǐ lái jiù xiàng xiōng dì， yòu shí shèn zhì xiàng yī duì liàn rén。
《 fù yǔ zǐ》《 fù yǔ zǐ》
ér zǐ yà lì kè sī zǒu shàng liǎo yī tiáo hé fù qīn yī yàng de dào lù， jìn rù liǎo jūn xiào。 tā xǐ huān tǐ yù yùn dòng， hái yòu liǎo nǚ péng yǒu。 dàn shì qíng rén zhī jiān què zǒng yòu diǎn gé hé， nǚ yǒu sì hū zài 'àn 'àn jí dù yà lì kè sī yǔ fù qīn de qīn mì guān xì。
jìn guǎn yà lì kè sī xīn lǐ míng bái suǒ yòu de 'ér zǐ zǒng yòu yī tiān zhōng jiāng lí kāi fù qīn， kāi shǐ zì jǐ de shēng huó， tā de nèi xīn réng rán chōng mǎn máo dùn。
yà lì kè sī de fù qīn yě qīng chǔ tā huò xǔ yīnggāi qù lìng yī zuò chéng shì zhǎo yī fèn gèng hǎo de gōng zuò， huò zhě qǔ yī wèi xīn tài tài。 dàn shì， shuí yòu néng jiǎn qīng yà lì kè sī mèng yǎn zhōng de tòng kǔ ní？
cóng lái méi yòu nǎ duì fù yǔ zǐ zhī jiān de 'ài rú tā men zhè bān shēn hòu。
sū gǔ nuò fū qīn qíng sān bù qū xì liè diàn yǐng de dì 'èr bù， bèi shòu hǎo píng de《 mǔ yǔ zǐ》 zhī zǐ mèi piān。
běn piàn de pāi shè dì diǎn， shì 2003 nián zhèng hǎo jiàn chéng sān bǎi zhōu nián de 'é luó sī míng chéng， rú shī rú huà de shèng bǐ dé bǎo suǒ pāi shè， jí jù shī yì qiě wéi měi。
Historical context and notes
The fathers and children of the novel refers to the growing divide between the two generations of Russians, and the character Yevgeny Bazarov has been referred to as the "first Bolshevik", for his nihilism and rejection of the old order.
Turgenev wrote Fathers and Sons as a response to the growing cultural schism that he saw between liberals of the 1830s/1840s and the growing nihilist movement. Both the nihilists (the "sons") and the 1830s liberals sought Western-based social change in Russia. Additionally, these two modes of thought were contrasted with the conservative Slavophiles, who believed that Russia's path lay in its traditional spirituality.
Fathers and Sons might be regarded as the first wholly modern novel in Russian Literature (Gogol's Dead Souls, another main contender, is sometimes referred to as a poem or epic in prose as in the style of Dante's Divine Comedy). The novel introduces a dual character study, as seen with the gradual breakdown of Bazarov's and Arkady's nihilistic opposition to emotional display, especially in the case of Bazarov's love for Madame Odintsova and Fenichka. This prominent theme of character duality and deep psychological insight would exert an influence on most of the great Russian novels to come, most obviously echoed in the novels of Tolstoy and Dostoevsky.
The novel is also the first Russian work to gain prominence in the Western world, eventually gaining the approval of well established novelists Gustave Flaubert, Guy de Maupassant, and Henry James.
Major characters
* Yevgeny Vasil'evich Bazarov - A nihilist, a student of science, and is training to be a doctor. As a nihilist he is a mentor to Arkady, and a challenger to the liberal ideas of the Kirsanov brothers and the traditional Russian Orthodox feelings of his own parents.
* Arkady Nikolaevich Kirsanov - A recent graduate of St. Petersburg University and friend of Bazarov. He is also a nihilist, although his belief seems to stem from his admiration of Bazarov rather than his own conviction.
* Nikolai Petrovich Kirsanov - A landlord, a liberal democrat, Arkady’s father.
* Pavel Petrovich Kirsanov - Nikolai’s brother and a bourgeois with aristocratic pretensions, who prides himself on his refinement but like his brother is reform minded. Although he is reluctantly tolerant of the nihilism, he cannot help hating Bazarov.
* Vasily Ivanovich Bazarov - Bazarov’s father, a retired army surgeon, and a small countryside land/serf holder. Educated and enlightened, he nonetheless feels, like many of the characters, that rural isolation has left him out of touch with modern ideas. He thus retains a loyalty to traditionalist ways, manifested particularly in devotion to God and to his son Yevgeny.
* Arina Vlas'evna Bazarova - Bazarov’s mother. A very traditional woman of the 15th c. Moscovy style aristocracy: a pious follower of Orthodox Christianity, woven with folk tales and falsehoods. She loves her son deeply, but is also terrified of him and his rejection of all beliefs.
* Anna Sergeevna Odintsova - A wealthy widow who entertains the nihilist friends at her estate. Bazarov declares his love for her, but she is unable to reciprocate, both out of fear for the emotional chaos it could bring and an inability to recognize her own sentiments as love itself. Bazarov's love is a challenge to his nihilist ideal of rejection of all established order.
* Katerina (Katya) Sergeevna Lokteva - A character similar to Arkady and the younger sister of Anna. She lives comfortably with her sister but lacks confidence, finding it hard to escape Anna Sergeevna's shadow. This shyness makes her and Arkady’s love slow to realize itself.
* Fedosya (Fenichka) Nikolayevna - The daughter of Nikolai’s housekeeper, with whom he has fallen in love and fathered a child out of wedlock. The implied obstacles to their marriage are difference in class, and perhaps Nikolai's previous marriage - the burden of 'traditionalist' values.
* Viktor Sitnikov - A pompous and somewhat stupid friend of Bazarov who joins populist ideals and groups.
* Avdotya Nikitishna or Evdoksya Kukshina - An emancipated woman who lives in the town of X. Kukshina is independent but rather eccentric and incapable as a proto-feminist despite her potential.
Themes
Transgression and redemption
Bazarov (the prototypical nihilist) argues with Pavel Kirsanov (the prototypical liberal of the 1840s generation) about the nature of nihilism and usefulness to Russia in an episode which personifies the struggle between the fathers (i.e., the liberals of the 1840s) and their nihilist "sons". "Aristocratism, liberalism, progress, principles," Bazarov says. "Just think, how many foreign…and useless words!"
Bazarov tells Pavel that he will abandon nihilism when Pavel can show him "…a single institution of contemporary life, either in the family or in the social sphere, that doesn’t deserve absolute and merciless rejection." But despite this utter scorn for all things associated with traditional Russia, Bazarov still believes that there is a purpose and a value in applied science.
Human emotion and love as redemption
Bazarov's nihilism falls apart in the face of human emotions, specifically his love for Anna Odintsova. His nihilism does not account for the pain that his unrequited love causes him, and this introduces a despair that he is not capable of contending with.
Bazarov returns to his family after Odintsova rejects him. Bazarov complains to Arkady that "…they, that is, my parents, are occupied, and don't worry in the least about their own insignificance; they don't give a damn about it… While I…I feel only boredom and anger." His theory's inability to account for his emotions frustrates him and he sinks deep into boredom and ennui.
And then there is the enigmatic Anna Odintsova, a beautiful young woman of lowly origin. By virtue of having married well and been widowed young, she has inherited an exceedingly comfortable and insular life on a palatial country estate. In a letter written the same year the novel was published, Turgenev revealed that he conceived of Anna as “the representative of our idle, dreaming, curious and cold epicurean young ladies, our female nobility.” And yet, as with Bazarov, Turgenev’s fictional creation takes on a life of its own, superseding the author’s intellectual scheme to become a complex and perplexing figure.
Apparently content at the outset with her unattached life, Anna finds herself increasingly attracted to the blunt, unorthodox, highly intelligent Bazarov. She proceeds almost unwittingly to emotionally seduce the self-declared womanizer, luring him step by step in a pair of riveting, back-to-back passages to reveal his love. In the intimacy of her study, Anna confesses that she is very “unhappy,” that she has no desire to “go on,” that she longs for a “strong attachment” that is “all or nothing. A life for a life. You take mine, you give up yours, without regrets, without turning back.”
And yet, a moment after Bazarov capitulates and confesses his love, Odintsova rejects him brutally. Afterward, she is tortured, alternately blaming and excusing herself while fearing she may have thrown away a chance for genuine love. Finally she decides, “No. God knows where it might have led; one mustn’t fool around with this kind of thing.”
Conversely, Turgenev shows us Arkady and Nikolai's traditional happiness in marriage and estate management as the solution to Bazarov's cosmic despair and Anna's life of loveless comfort. (Arkady marries Anna Odintsova's sister Katya, though he was also originally in love with Anna). The height of the conflict between Bazarov and the older generation comes when Bazarov wounds Pavel in a duel. Finally, Turgenev also refutes Bazarov's "insignificance principle", i.e., the nihilist idea that life is utterly insignificant and that nothing remains after death: after leaving and then returning again to his parents, Bazarov dies of typhus. The final passage of the book portrays Bazarov's parents visiting his grave.
They walk with a heavy step, supporting each other; when they approach the railing, they fall on their knees and remain there for a long time, weeping bitterly, gazing attentively at the headstone under which their son lies buried: they exchange a few words, brush the dust off the stone, move a branch of the pine tree, and pray once again; they can’t forsake this place where they seem to feel closer to their son, to their memories of him… Can it really be that their prayers and tears are futile? Can it really be that love, sacred, devoted love is not all powerful? Oh, no!
Their love causes them to remember Bazarov: he has transcended death, but only through the love of other people. Fyodor Dostoevsky, who read Fathers and Sons and apparently appreciated Bazarov as a character, explores a similar theme with Raskolnikov's religious redemption (via the love of Christ) in Crime and Punishment.
é guó jié chū de pī pàn xiàn shí zhù yì zuò jiā tú gé niè fū de dài biǎo zuò《 luó tíng》 chuàng zuò yú 1856 nián。 luó tíng 19 shì jì 40 nián dài， hēi gé 'ěr de xué shuō zài 'é guó liú xíng， qīng nián men chóng shàng kōng tán， bù shàn shí jì， zuò pǐn miáo xiě de zhù rén gōng luó tíng jiù shì zhè yàng yī gè diǎn xíng rén wù。 tā chū shēn yú pò luò guì zú jiā tíng， niàn guò dà xué， yòu céng dào guó wài yóu lì， rè 'ài zì yóu， néng yán shàn biàn， xiàng wǎng lǐ xiǎng de shēng huó、 shì yè、 ài qíng。 dàn tā shì“ yǔ yán de jù rén， xíng dòng de 'ǎi zǐ”， suī zhū duō zhuī qiú， què yī shì wú chéng。 tā yíng dé liǎo měi lì yǒng gǎn de nà tǎ lì yà de fāng xīn， què wéi zūn cóng nà tǎ lì yà mǔ qīn de yì zhì 'ér fàng qì xìng fú。 hòu lái tā céng chuàng bàn nóng yè、 shuǐ lì、 jiào yù děng 20 duō zhǒng shì yè， dū yǐ shī bài gào zhōng。 zhī hòu， tā yī zhí guò zhe tòng kǔ de piào bó shēng huó， xiǎo shuō jié wěi xiě dào：“ yuàn shàng dì bāng zhù suǒ yòu wú jiā kě guī de liú làng zhě！” 1860 nián zuò zhě yòu gěi《 luó tíng》 zuò liǎo bǔ chōng： hòu lái tā zài 1848 nián de bā lí xiàng zhàn zhōng zhèn wáng， lín sǐ shí shǒu lǐ hái wò zhe yī miàn hóng qí。 zuò pǐn yǐ luó tíng yǔ nà tǎ lì yà de 'ài qíng wéi xiàn suǒ， qíng jié dān chún， yǐ gè zhǒng rén wù de duì huà、 guān diǎn、 píng jià wéi yǐ jù， shēn kè zhǎn shì zhù rén gōng de rén wù tè xìng。
tú gé niè fū（ 1818-1883） shēng yú shì xí guì zú jiā tíng， shì 'é guó jié chū de pī pàn xiàn shí zhù yì zuò jiā。 céng zài mò sī kē dà xué yǔ wén xì jiù dú， bìng kāi shǐ shī de chuàng zuò。 hòu dào dé guó xué xí， cháng qī qiáo jū guó wài。 1847-1852 nián fā biǎo liǎo《 liè rén bǐ jì》， jiē lù nóng nú zhù de cán bào hé nóng nú de bēi cǎn shēng huó， yīn cǐ bèi fàng zhú。 zài jiān jìn zhōng xiě chéng de zhōng piān xiǎo shuō《 mù mù》 biǎo xiàn liǎo duì nóng nú zhì de kàng yì。 zǎo qī shī zuò yòu《 pà lā suō》、《 dì zhù》， qí tā zhòng yào zuò pǐn yòu cháng piān xiǎo shuō《 luó tíng》、《 guì zú zhī jiā》、《 fù yǔ zǐ》、《 yān》、《 chǔnǚ dì》， zhōng piān xiǎo shuō《 ā xiá》、《 duō yú rén de rì jì》 děng， hái yòu jù běn《 cūn zhōng yī yuè》 hé sǎnwén shī děng。 tā shàn yú xiě jǐng， shàn cháng sù zào shàonǚ xíng xiàng， fēng gé qīng xīn， fù yú shū qíng， bèi liè níng yù wéi 'é guó de yǔ yán dà shī。
luó tíng - yín píng zài xiàn
yǐngpiān《 luó tíng》 gēn jù 'é guó zhù míng zuò jiā tú gé niè fū de tóng míng xiǎo shuō gǎi biān。
luó tíng tiān zī cōng yíng， bó xué duō cái， néng yán shàn biàn， jiǎng qǐ huà lái tāo tāo bù jué， kǒu ruò xuán hé， tā rè qíng yáng yì dì xuān chuán zhēn lǐ hé lǐ xiǎng， zhēng fú liǎo xǔ duō rén de xīn， yě yīn cǐ yíng dé liǎo nà tǎ lì yà de 'ài mù， liǎng rén zhēn xīn xiāng 'ài liǎo。 rán 'ér luó tíng jì wú qián cái yòu wú dì wèi， dá lǐ yà · mǐ hā yī luò fú nà bù xǔ nǚ 'ér yǔ tā lái wǎng。 zhè shí， nà tǎ lì yà gào sù luó tíng， tā nìngkě pāo qì qīn rén hé jiā tíng yě yào gēn tā yuǎn zǒu gāo fēi。 rán 'ér yì zhì ruǎn ruò de luó tíng jìng rán xuǎn zé tuì chū。 liǎng nián zhī hòu， nà tǎ lì yà jià gěi liǎo yī zhí 'ài tā de wò lún cǎi fū。 luó tíng zuì zhōng gū shēn yī rén。
Rudin was the first of Turgenev’s novels, but already in this work the topic of the superfluous man and his inability to act (which became a major theme of Turgenev's literary work) was explored. Similarly to other Turgenev’s novels, the main conflict in Rudin was centred on a love story of the main character and a young, but intellectual and self-conscious woman who is contrasted with the main hero (this type of female character became known in literary criticism as «тургеневская девушка», “Turgenev maid”).
Context
Rudin was written by Turgenev in the immediate aftermath of the Crimean War, when it became obvious to many educated Russians that reform was needed. The main debate of Turgenev's own generation was that of Slavophiles versus Westernizers. Rudin depicts a typical man of this generation (known as 'the men of forties'), intellectual but ineffective. This interpretation of the superfluous man as someone who possesses great intellectual ability and potential, but is unable to realize them stems from Turgenev’s own view of human nature, expressed in his 1860 speech ‘Hamlet and Don Quixote’, where he contrasts egotistical Hamlet, too deep in reflection to act, and enthusiastic and un-thinking, but active Don Quixote. The main character of the novel, Rudin, is easily identified with Hamlet. Many critics also suggest that the image of Rudin was at least partly autobiographical.
Rudin is often compared to Pushkin’s Eugene Onegin and Lermontov’s Pechorin. The latter two are considered to be representations of their generations (‘men of twenties’ and ‘men of thirties’ respectively) as Rudin is considered to be a representation of his generation; the three literary works featuring these characters share many similarities in structure and all three characters are routinely referred to as ‘superfluous men’ (whether the term is applicable to all three has been a subject of scholarly debate).
For a long time, Turgenev was unsure of the genre of Rudin, publishing it with a subtitle of ‘novella’. In 1860, it was published together with two other novels, but in the three editions of Turgenev’s Works that followed it was grouped with short stories. In the final, 1880, edition it was again placed at the head of the novels. The theme of the superfluous man in love was further explored in Turgenev’s subsequent novels, culminating in Fathers and Sons.
Main characters
Dmitrii Nikolaevich Rudin
Rudin's first appearance at Lasunskaya's, by Dmitry Kardovsky
The main protagonist of the novel. Rudin is a well-educated, intellectual and extremely eloquent nobleman. His finances are in a poor state and he is dependent on others for his living. His father was a poor member of the gentry and died when Rudin was still very young. He was brought up by his mother who spent all the money she had on him, and was educated at Moscow University and abroad in Germany, at Heidelberg and Berlin (Turgenev himself studied in Berlin). When he first appears in the novel, he is described as follows: “A man of about thirty-five […] of a tall, somewhat stooping figure, with crisp curly hair and swarthy complexion, an irregular but expressive and intelligent face.[…] His clothes were not new, and were somewhat small, as though he had outgrown them.” In the course of the novel he lives at Dar’ya Mikhailovna’s estate and falls in love with her daughter, Natalya. This love is the main conflict of the novel. His eloquence earns him the respect of the estate's inhabitants, but several other characters display a strong dislike of him, and during the course of the novel it becomes apparent that he is “almost a Titan in word and a pigmy in deed” — that is, despite his eloquence he cannot accomplish what he talks of.
Natal’ya Aleskeevna Lasunskaya
Also referred to as Natasha. Natasha is a seventeen-year old daughter of Dar’ya Mikhailovna. She is observant, well-read and intelligent, but also quite secretive. While her mother thinks of her as a good-natured and well-mannered girl, she is not of a high opinion about her intelligence, and quite wrongly. She also thinks Natasha is ‘cold’, emotionless, but in the beginning of Chapter Five we are told by the narrator that “Her feelings were strong and deep, but reserved; even as a child she seldom cried, and now she seldom even sighed and only grew slightly pale when anything distressed her.” She engages in intellectual conversations with Rudin (which are not discouraged by her mother because she thinks that these conversations “improve her mind”); Natasha thinks highly of Rudin, who confides to her his ideas and “privately gives her books”, and soon falls in love with him. She also often compels him to apply his talents and act. Natasha is often thought of as the first of 'Turgenev maids' to feature in Turgenev's fiction.
Dar’ya Mikhailovna Lasunskaya
A female landowner at whose estate most of the events of the novel happen. She is the widow of a privy councillor, “a wealthy and distinguished lady”. While she is not very influential in St Petersburg, let alone Europe, she is notorious in Moscow society as “a rather eccentric woman, not wholly good-natured, but excessively clever.” She is also described as a beauty in her youth, but “not a trace of her former charms remained.” She shuns the society of local female landowners, but receives many men. Rudin at first gains her favour, but she is very displeased when she finds out about Rudin’s and Natasha’s love. That said, her opinion of Natasha is far from being correct.
Mihailo Mihailych Lezhnev
A rich local landowner, generally thought to be a “queer creature” and described in Chapter One as having the appearance of “a huge sack of flour”. Lezhnev is about thirty years old, and seldom visits Dar’ya Mikhailovna (more often than before as the novel progresses), but is often found at Aleksandra’s Pavlovna Lipina’s house; he is friends both with her and her brother, Sergei. He was orphaned at the age of seventeen, lived at his aunt’s and studied together with Rudin at Moscow University, where they were members of the same group of intellectual young men and was good friends with him; he also knew him abroad, but began to dislike him there as “Rudin struck [Lezhnev] in his true light.” Lezhnev is in fact in love with Aleksandra and in the end marries her. His character is often contrasted to Rudin’s as he is seen as everything a superfluous man is not – he is intelligent, but in a more practical way, and while he does not do anything exceptional, he doesn’t want to either. Seeley writes, that “he concentrates on doing the jobs that lie to hand – running his estate, raising a family – and these he does very competently. Beyond them he does not look.” Lezhnev also acts as Rudin’s biographer – he is the one who tells the reader about Rudin’s life prior to his appearance at Dar’ya Mikhailovna’s. He first describes Rudin in extremely unfavourable terms, but in the end he is also the one who admits Rudin's “genius” in certain areas of life.
Aleksandra Pavlovna Lipina
Also a local landowner, she is the first of major characters to be presented in the novel. She is described as “a widow, childless, and fairly well off”; we first see her visiting an ill peasant woman, and also find out that she maintains a hospital. She lives with her brother Sergei, who manages her estate, and visits Dar’ya Mikhailovna sometimes (less often as the novel progresses). Dar’ya Mikhailovna describes her as “a sweet creature […] a perfect child […] an absolute baby”, although the question remains of how well Dar’ya Mikhailovna can judge people. At first, she thinks very highly of Rudin and defends him against Lezhnev, but as the novel progresses she seems to side with his view of Rudin. In the end, she marries Lezhnev and seems to be an ideal partner for him.
Sergei Pavlovich Volyntsev
Aleksandra’s brother. He is a retired cavalry officer and manages his sister’s estate. At the beginning of the novel he is a frequent guest at Dar’ya Mikhailovna’s, because he is in love with Natasha. He takes a great dislike to Rudnev, whom he sees as far too intelligent and, quite rightly, a dangerous rival. He is also slighted by Rudin when the latter comes to inform him of his mutual love with Natasha (with the best intentions). He is generally shown as a pleasant, if not very intellectual person, and is good friends with Lezhnev.
Minor characters
Konstantin Diomidych Pandalevskii
Dar’ya Mikhailovna’s secretary, a young man of affected manners. He is a flatterer and appears to be a generally dishonest and unpleasant person. He doesn’t appear to play an important role in the novel apart from being a satirical image.
Afrikan Semenych Pigasov
Described as “a strange person full of acerbity against everything and every one”, Pigasov frequently visits Dar’ya Mikhailovna prior to Rudin’s appearance and amuses her with his bitter remarks, mostly aimed at women. Coming from a poor family, he educated himself, but never rose above the level of mediocrity. He failed his examination in public disputation, in government service he made a mistake which forced him to retire. His wife later left him and sold her estate, on which he just finished building a house, to a speculator. Since then he lived in the province. He is the first victim of Rudin’s eloquence, as at Rudin’s first appearance he challenged him to a debate and was defeated easily. He ends up living with Lezhnev and Aleksandra Pavlovna.
Basistov
Tutor to Dar’ya Mikhailovna’s younger sons. He is completely captivated by Rudin and seems to be inspired by him. Basistov is interesting in that he is the first example of an intellectual from the raznochinets background (Bazarov and Raskol’nikov are among later, more prominent fictional heroes from this background). He also serves as an example of how Rudin is not completely useless since he can inspire people such as Basistov, who can then act in a way impossible for Rudin.
Synopsis
Rudin’s arrival
The novel begins with the introduction of three of the characters – Aleksandra, Lezhnev, and Pandalevskii. Pandalevskii relates to Aleksandra Dar’ya Mikhailovna’s invitation to come and meet a Baron Muffel’. Instead of the Baron, Rudin arrives and captivates everyone immediately with his intelligent and witty speeches during the argument with Pigasov. Interestingly, Rudin’s arrival is delayed until Chapter Three. After his success at Dar’ya Mikhailovna’s, he stays the night and the next morning meets Lezhnev who arrives to discuss some business affairs with Dar’ya Mikhailovna. This is the first time the reader finds out that Rudin and Lezhnev are acquainted, and studied together at university. During the day that follows Rudin has his first conversation with Natasha; as she speaks of him highly and says he “ought to work”, he replies with a lengthy speech. What follows is a description quite typical of Turgenev, where the character of Rudin is shown not through his own words, but through the text which underlines Rudin’s contradictory statements:
“Yes, I must act. I must not bury my talent, if I have any; I must not squander my powers on talk alone — empty, profitless talk — on mere words,’ and his words flowed in a stream. He spoke nobly, ardently, convincingly, of the sin of cowardice and indolence, of the necessity of action.”
On the same day, Sergei leaves Dar’ya Mikhailovna’s early and arrives to see that Lezhnev is visiting. Lezhnev then gives his first description of Rudin.
Rudin and Natasha
Natasha leaves Rudin after their decisive encounter, by Dmitry Kardovsky
In two months, we are told, Rudin is still staying at Dar’ya Mikhailovna’s, living off borrowed money. He spends a lot of time with Natasha; in a conversation with her he speaks of how an old love can only be replaced by a new one. At the same time, Lezhnev gives the account of his youth and his friendship with Rudin, making for the first time the point that Rudin is “too cold” and inactive. On the next day, Natasha quizzes Rudin over his words about old and new love. Neither she, nor he confess their love for each other but in the evening, Rudin and Natasha meet again, and this time Rudin confesses his love for her; Natasha replies that she, too, loves him. Unfortunately, their conversation is overheard by Pandalevskii, who reports it to Dar’ya Mikhailovna, and she strongly disapproves of this romance, making her feelings known to Natasha. The next time Natasha and Rudin meet, she tells him that Dar’ya Mikhailovna knows of their love and disapproves of it. Natasha wants to know what plan of action is Rudin going to propose, but he does not fulfil her expectations when he says that one must “submit to destiny”. She leaves him, disappointed and sad:
“I am sad because I have been deceived in you… What! I come to you for counsel, and at such a moment! — and your first word is, submit! submit! So this is how you translate your talk of independence, of sacrifice, which …”
Rudin then leaves Dar’ya Mikhailovna’s estate. Before his departure he writes two letters: one to Natasha and one to Sergei. The letter to Natasha is particularly notable in its confession of the vices of inactivity, inability to act and to take responsibility for one’s actions – all the traits of a Hamlet which Turgenev later detailed in his 1860 speech. Lezhnev, meanwhile, asks Aleksandra to marry him and is accepted in a particularly fine scene.
The Aftermath
Rudin at the barricades, by Dmitry Kardovsky
Chapter Twelve and the Epilogue detail events of over two years past Rudin’s arrival at Dar’ya Mikhailovna’s estate. Lezhnev is happily married to Aleksandra. He arrives to give her news of Sergei’s engagement to Natasha, who is said to “seem contented”. Pigasov lives with Lezhnevs, and amuses Aleksandra as he used to amuse Dar’ya Mikhailovna. A conversation which follows happens to touch on Rudin, and as Pigasov begins to make fun of him, Lezhnev stops him. He then defends Rudin’s “genius” while saying that his problem is that he had no “character” in him. This, again, refers to the superfluous man’s inability to act. He then toasts Rudin. The chapter ends with the description of Rudin travelling aimlessly around Russia. In the Epilogue, Lezhnev happens by chance to meet Rudin at a hotel in a provincial town. Lezhnev invites Rudin to dine with him, and over the dinner Rudin relates to Lezhnev his attempts to “act” – to improve an estate belonging to his friend, to make a river navigable, to become a teacher. In all three of this attempts Rudin demonstrated inability to adapt to the circumstances of Nicholas I’s Russia, and subsequently failed, and was in the end banished to his estate. Lezhnev then appears to change his opinion of Rudin as inherently inactive, and says that Rudin failed exactly because he could never stop striving for truth. The Epilogue ends with Rudin’s death at the barricades during the French Revolution of 1848; even at death he is mistaken by two fleeing revolutionaries for a Pole.
Adaptations
Rudin was adapted for screen in 1976. The 95 minutes-long Soviet-made movie was directed by Konstantin Voynov. The cast included Oleg Yefremov, Armen Dzhigarkhanyan, and Rolan Bykov.
tú gé niè fū（ 1818-1883） shēng yú shì xí guì zú jiā tíng， shì 'é guó jié chū de pī pàn xiàn shí zhù yì zuò jiā。 céng zài mò sī kē dà xué yǔ wén xì jiù dú， bìng kāi shǐ shī de chuàng zuò。 hòu dào dé guó xué xí， cháng qī qiáo jū guó wài。 1847-1852 nián fā biǎo liǎo《 liè rén bǐ jì》， jiē lù nóng nú zhù de cán bào hé nóng nú de bēi cǎn shēng huó， yīn cǐ bèi fàng zhú。 zài jiān jìn zhōng xiě chéng de zhōng piān xiǎo shuō《 mù mù》 biǎo xiàn liǎo duì nóng nú zhì de kàng yì。 zǎo qī shī zuò yòu《 pà lā suō》、《 dì zhù》， qí tā zhòng yào zuò pǐn yòu cháng piān xiǎo shuō《 luó tíng》、《 guì zú zhī jiā》、《 fù yǔ zǐ》、《 yān》、《 chǔnǚ dì》， zhōng piān xiǎo shuō《 ā xiá》、《 duō yú rén de rì jì》 děng， hái yòu jù běn《 cūn zhōng yī yuè》 hé sǎnwén shī děng。 tā shàn yú xiě jǐng， shàn cháng sù zào shàonǚ xíng xiàng， fēng gé qīng xīn， fù yú shū qíng， bèi liè níng yù wéi 'é guó de yǔ yán dà shī。
luó tíng - yín píng zài xiàn
yǐngpiān《 luó tíng》 gēn jù 'é guó zhù míng zuò jiā tú gé niè fū de tóng míng xiǎo shuō gǎi biān。
luó tíng tiān zī cōng yíng， bó xué duō cái， néng yán shàn biàn， jiǎng qǐ huà lái tāo tāo bù jué， kǒu ruò xuán hé， tā rè qíng yáng yì dì xuān chuán zhēn lǐ hé lǐ xiǎng， zhēng fú liǎo xǔ duō rén de xīn， yě yīn cǐ yíng dé liǎo nà tǎ lì yà de 'ài mù， liǎng rén zhēn xīn xiāng 'ài liǎo。 rán 'ér luó tíng jì wú qián cái yòu wú dì wèi， dá lǐ yà · mǐ hā yī luò fú nà bù xǔ nǚ 'ér yǔ tā lái wǎng。 zhè shí， nà tǎ lì yà gào sù luó tíng， tā nìngkě pāo qì qīn rén hé jiā tíng yě yào gēn tā yuǎn zǒu gāo fēi。 rán 'ér yì zhì ruǎn ruò de luó tíng jìng rán xuǎn zé tuì chū。 liǎng nián zhī hòu， nà tǎ lì yà jià gěi liǎo yī zhí 'ài tā de wò lún cǎi fū。 luó tíng zuì zhōng gū shēn yī rén。
Rudin was the first of Turgenev’s novels, but already in this work the topic of the superfluous man and his inability to act (which became a major theme of Turgenev's literary work) was explored. Similarly to other Turgenev’s novels, the main conflict in Rudin was centred on a love story of the main character and a young, but intellectual and self-conscious woman who is contrasted with the main hero (this type of female character became known in literary criticism as «тургеневская девушка», “Turgenev maid”).
Context
Rudin was written by Turgenev in the immediate aftermath of the Crimean War, when it became obvious to many educated Russians that reform was needed. The main debate of Turgenev's own generation was that of Slavophiles versus Westernizers. Rudin depicts a typical man of this generation (known as 'the men of forties'), intellectual but ineffective. This interpretation of the superfluous man as someone who possesses great intellectual ability and potential, but is unable to realize them stems from Turgenev’s own view of human nature, expressed in his 1860 speech ‘Hamlet and Don Quixote’, where he contrasts egotistical Hamlet, too deep in reflection to act, and enthusiastic and un-thinking, but active Don Quixote. The main character of the novel, Rudin, is easily identified with Hamlet. Many critics also suggest that the image of Rudin was at least partly autobiographical.
Rudin is often compared to Pushkin’s Eugene Onegin and Lermontov’s Pechorin. The latter two are considered to be representations of their generations (‘men of twenties’ and ‘men of thirties’ respectively) as Rudin is considered to be a representation of his generation; the three literary works featuring these characters share many similarities in structure and all three characters are routinely referred to as ‘superfluous men’ (whether the term is applicable to all three has been a subject of scholarly debate).
For a long time, Turgenev was unsure of the genre of Rudin, publishing it with a subtitle of ‘novella’. In 1860, it was published together with two other novels, but in the three editions of Turgenev’s Works that followed it was grouped with short stories. In the final, 1880, edition it was again placed at the head of the novels. The theme of the superfluous man in love was further explored in Turgenev’s subsequent novels, culminating in Fathers and Sons.
Main characters
Dmitrii Nikolaevich Rudin
Rudin's first appearance at Lasunskaya's, by Dmitry Kardovsky
The main protagonist of the novel. Rudin is a well-educated, intellectual and extremely eloquent nobleman. His finances are in a poor state and he is dependent on others for his living. His father was a poor member of the gentry and died when Rudin was still very young. He was brought up by his mother who spent all the money she had on him, and was educated at Moscow University and abroad in Germany, at Heidelberg and Berlin (Turgenev himself studied in Berlin). When he first appears in the novel, he is described as follows: “A man of about thirty-five […] of a tall, somewhat stooping figure, with crisp curly hair and swarthy complexion, an irregular but expressive and intelligent face.[…] His clothes were not new, and were somewhat small, as though he had outgrown them.” In the course of the novel he lives at Dar’ya Mikhailovna’s estate and falls in love with her daughter, Natalya. This love is the main conflict of the novel. His eloquence earns him the respect of the estate's inhabitants, but several other characters display a strong dislike of him, and during the course of the novel it becomes apparent that he is “almost a Titan in word and a pigmy in deed” — that is, despite his eloquence he cannot accomplish what he talks of.
Natal’ya Aleskeevna Lasunskaya
Also referred to as Natasha. Natasha is a seventeen-year old daughter of Dar’ya Mikhailovna. She is observant, well-read and intelligent, but also quite secretive. While her mother thinks of her as a good-natured and well-mannered girl, she is not of a high opinion about her intelligence, and quite wrongly. She also thinks Natasha is ‘cold’, emotionless, but in the beginning of Chapter Five we are told by the narrator that “Her feelings were strong and deep, but reserved; even as a child she seldom cried, and now she seldom even sighed and only grew slightly pale when anything distressed her.” She engages in intellectual conversations with Rudin (which are not discouraged by her mother because she thinks that these conversations “improve her mind”); Natasha thinks highly of Rudin, who confides to her his ideas and “privately gives her books”, and soon falls in love with him. She also often compels him to apply his talents and act. Natasha is often thought of as the first of 'Turgenev maids' to feature in Turgenev's fiction.
Dar’ya Mikhailovna Lasunskaya
A female landowner at whose estate most of the events of the novel happen. She is the widow of a privy councillor, “a wealthy and distinguished lady”. While she is not very influential in St Petersburg, let alone Europe, she is notorious in Moscow society as “a rather eccentric woman, not wholly good-natured, but excessively clever.” She is also described as a beauty in her youth, but “not a trace of her former charms remained.” She shuns the society of local female landowners, but receives many men. Rudin at first gains her favour, but she is very displeased when she finds out about Rudin’s and Natasha’s love. That said, her opinion of Natasha is far from being correct.
Mihailo Mihailych Lezhnev
A rich local landowner, generally thought to be a “queer creature” and described in Chapter One as having the appearance of “a huge sack of flour”. Lezhnev is about thirty years old, and seldom visits Dar’ya Mikhailovna (more often than before as the novel progresses), but is often found at Aleksandra’s Pavlovna Lipina’s house; he is friends both with her and her brother, Sergei. He was orphaned at the age of seventeen, lived at his aunt’s and studied together with Rudin at Moscow University, where they were members of the same group of intellectual young men and was good friends with him; he also knew him abroad, but began to dislike him there as “Rudin struck [Lezhnev] in his true light.” Lezhnev is in fact in love with Aleksandra and in the end marries her. His character is often contrasted to Rudin’s as he is seen as everything a superfluous man is not – he is intelligent, but in a more practical way, and while he does not do anything exceptional, he doesn’t want to either. Seeley writes, that “he concentrates on doing the jobs that lie to hand – running his estate, raising a family – and these he does very competently. Beyond them he does not look.” Lezhnev also acts as Rudin’s biographer – he is the one who tells the reader about Rudin’s life prior to his appearance at Dar’ya Mikhailovna’s. He first describes Rudin in extremely unfavourable terms, but in the end he is also the one who admits Rudin's “genius” in certain areas of life.
Aleksandra Pavlovna Lipina
Also a local landowner, she is the first of major characters to be presented in the novel. She is described as “a widow, childless, and fairly well off”; we first see her visiting an ill peasant woman, and also find out that she maintains a hospital. She lives with her brother Sergei, who manages her estate, and visits Dar’ya Mikhailovna sometimes (less often as the novel progresses). Dar’ya Mikhailovna describes her as “a sweet creature […] a perfect child […] an absolute baby”, although the question remains of how well Dar’ya Mikhailovna can judge people. At first, she thinks very highly of Rudin and defends him against Lezhnev, but as the novel progresses she seems to side with his view of Rudin. In the end, she marries Lezhnev and seems to be an ideal partner for him.
Sergei Pavlovich Volyntsev
Aleksandra’s brother. He is a retired cavalry officer and manages his sister’s estate. At the beginning of the novel he is a frequent guest at Dar’ya Mikhailovna’s, because he is in love with Natasha. He takes a great dislike to Rudnev, whom he sees as far too intelligent and, quite rightly, a dangerous rival. He is also slighted by Rudin when the latter comes to inform him of his mutual love with Natasha (with the best intentions). He is generally shown as a pleasant, if not very intellectual person, and is good friends with Lezhnev.
Minor characters
Konstantin Diomidych Pandalevskii
Dar’ya Mikhailovna’s secretary, a young man of affected manners. He is a flatterer and appears to be a generally dishonest and unpleasant person. He doesn’t appear to play an important role in the novel apart from being a satirical image.
Afrikan Semenych Pigasov
Described as “a strange person full of acerbity against everything and every one”, Pigasov frequently visits Dar’ya Mikhailovna prior to Rudin’s appearance and amuses her with his bitter remarks, mostly aimed at women. Coming from a poor family, he educated himself, but never rose above the level of mediocrity. He failed his examination in public disputation, in government service he made a mistake which forced him to retire. His wife later left him and sold her estate, on which he just finished building a house, to a speculator. Since then he lived in the province. He is the first victim of Rudin’s eloquence, as at Rudin’s first appearance he challenged him to a debate and was defeated easily. He ends up living with Lezhnev and Aleksandra Pavlovna.
Basistov
Tutor to Dar’ya Mikhailovna’s younger sons. He is completely captivated by Rudin and seems to be inspired by him. Basistov is interesting in that he is the first example of an intellectual from the raznochinets background (Bazarov and Raskol’nikov are among later, more prominent fictional heroes from this background). He also serves as an example of how Rudin is not completely useless since he can inspire people such as Basistov, who can then act in a way impossible for Rudin.
Synopsis
Rudin’s arrival
The novel begins with the introduction of three of the characters – Aleksandra, Lezhnev, and Pandalevskii. Pandalevskii relates to Aleksandra Dar’ya Mikhailovna’s invitation to come and meet a Baron Muffel’. Instead of the Baron, Rudin arrives and captivates everyone immediately with his intelligent and witty speeches during the argument with Pigasov. Interestingly, Rudin’s arrival is delayed until Chapter Three. After his success at Dar’ya Mikhailovna’s, he stays the night and the next morning meets Lezhnev who arrives to discuss some business affairs with Dar’ya Mikhailovna. This is the first time the reader finds out that Rudin and Lezhnev are acquainted, and studied together at university. During the day that follows Rudin has his first conversation with Natasha; as she speaks of him highly and says he “ought to work”, he replies with a lengthy speech. What follows is a description quite typical of Turgenev, where the character of Rudin is shown not through his own words, but through the text which underlines Rudin’s contradictory statements:
“Yes, I must act. I must not bury my talent, if I have any; I must not squander my powers on talk alone — empty, profitless talk — on mere words,’ and his words flowed in a stream. He spoke nobly, ardently, convincingly, of the sin of cowardice and indolence, of the necessity of action.”
On the same day, Sergei leaves Dar’ya Mikhailovna’s early and arrives to see that Lezhnev is visiting. Lezhnev then gives his first description of Rudin.
Rudin and Natasha
Natasha leaves Rudin after their decisive encounter, by Dmitry Kardovsky
In two months, we are told, Rudin is still staying at Dar’ya Mikhailovna’s, living off borrowed money. He spends a lot of time with Natasha; in a conversation with her he speaks of how an old love can only be replaced by a new one. At the same time, Lezhnev gives the account of his youth and his friendship with Rudin, making for the first time the point that Rudin is “too cold” and inactive. On the next day, Natasha quizzes Rudin over his words about old and new love. Neither she, nor he confess their love for each other but in the evening, Rudin and Natasha meet again, and this time Rudin confesses his love for her; Natasha replies that she, too, loves him. Unfortunately, their conversation is overheard by Pandalevskii, who reports it to Dar’ya Mikhailovna, and she strongly disapproves of this romance, making her feelings known to Natasha. The next time Natasha and Rudin meet, she tells him that Dar’ya Mikhailovna knows of their love and disapproves of it. Natasha wants to know what plan of action is Rudin going to propose, but he does not fulfil her expectations when he says that one must “submit to destiny”. She leaves him, disappointed and sad:
“I am sad because I have been deceived in you… What! I come to you for counsel, and at such a moment! — and your first word is, submit! submit! So this is how you translate your talk of independence, of sacrifice, which …”
Rudin then leaves Dar’ya Mikhailovna’s estate. Before his departure he writes two letters: one to Natasha and one to Sergei. The letter to Natasha is particularly notable in its confession of the vices of inactivity, inability to act and to take responsibility for one’s actions – all the traits of a Hamlet which Turgenev later detailed in his 1860 speech. Lezhnev, meanwhile, asks Aleksandra to marry him and is accepted in a particularly fine scene.
The Aftermath
Rudin at the barricades, by Dmitry Kardovsky
Chapter Twelve and the Epilogue detail events of over two years past Rudin’s arrival at Dar’ya Mikhailovna’s estate. Lezhnev is happily married to Aleksandra. He arrives to give her news of Sergei’s engagement to Natasha, who is said to “seem contented”. Pigasov lives with Lezhnevs, and amuses Aleksandra as he used to amuse Dar’ya Mikhailovna. A conversation which follows happens to touch on Rudin, and as Pigasov begins to make fun of him, Lezhnev stops him. He then defends Rudin’s “genius” while saying that his problem is that he had no “character” in him. This, again, refers to the superfluous man’s inability to act. He then toasts Rudin. The chapter ends with the description of Rudin travelling aimlessly around Russia. In the Epilogue, Lezhnev happens by chance to meet Rudin at a hotel in a provincial town. Lezhnev invites Rudin to dine with him, and over the dinner Rudin relates to Lezhnev his attempts to “act” – to improve an estate belonging to his friend, to make a river navigable, to become a teacher. In all three of this attempts Rudin demonstrated inability to adapt to the circumstances of Nicholas I’s Russia, and subsequently failed, and was in the end banished to his estate. Lezhnev then appears to change his opinion of Rudin as inherently inactive, and says that Rudin failed exactly because he could never stop striving for truth. The Epilogue ends with Rudin’s death at the barricades during the French Revolution of 1848; even at death he is mistaken by two fleeing revolutionaries for a Pole.
Adaptations
Rudin was adapted for screen in 1976. The 95 minutes-long Soviet-made movie was directed by Konstantin Voynov. The cast included Oleg Yefremov, Armen Dzhigarkhanyan, and Rolan Bykov.
zài 'é luó sī wén xué shǐ shàng， yī wàn · xiè 'ěr gài yé wéi qí · tú gé niè fū（ yī bā yī bā héng héng yī bā bā sān） zhàn yòu yī xí guāng róng de wèi zhì。 ér zài tā de quán bù wén xué zuò pǐn zhōng， cháng piān xiǎo shuō yòu jù yòu tè shū zhòng yào yì yì。 tú gé niè fū shì 'é luó sī hé shì jiè wén xué xiàn shí zhù yì cháng piān xiǎo shuō de diàn jī zhě zhī yī， tā de cháng piān xiǎo shuō gěi tā dài lái liǎo shì jiè shēng yù。 tā de liù bù cháng piān xiǎo shuō yòu yī gè gòng tóng de zhōng xīn zhù tí： yǔ zuò jiā tóng shí dài de 'é luó sī jìn bù zhī shí fènzǐ de lì shǐ mìng yùn。 tú gé niè fū jì shì zhè xiē zhī shí fènzǐ de biān nián shǐ zuò zhě， yòu shì tā men de gē shǒu hé cái pàn zhě。 kě yǐ háo bù kuā zhāng dì shuō， rú guǒ bù rèn zhēn yán jiū tú gé niè fū de cháng piān xiǎo shuō， jiù bù néng shēn kè lǐ jiě shí jiǔ shì jì 'é luó sī shè huì hé 'é luó sī jiě fàng yùn dòng fā zhǎn de lì shǐ。
shí jiǔ shì jì wǔ shí nián dài zhōng qī， é luó sī guì zú jiē jí qū xiàng mòluò， nóng nú zhì de bēng kuì yǐ bù kě wǎn huí。 yī bā wǔ sān héng héng yī bā wǔ liù nián de kè lǐ mǐ yà zhàn zhēng bào lù liǎo shā huáng zhì de fǔ bài， jìn bù zhī shí fènzǐ zài sī kǎo rén mín de mìng yùn、 zǔ guó de qián tú。 tú gé niè fū de cháng piān xiǎo shuō zhèng shì zài zhè gè shí qī yùn niàng gòu sī hé chéng xiàn gěi dú zhě de。
yī bā wǔ liù nián，《 xiàn dài rén》 zá zhì shàng fā biǎo liǎo tú gé niè fū de dì yī bù cháng piān xiǎo shuō《 luó tíng》。
《 guì zú zhī jiā》 shì tú gé niè fū de dì 'èr bù cháng piān xiǎo shuō， yú yī bā wǔ bā nián shí yuè 'èr shí qī rì tuō gǎo， zuì chū fā biǎo zài yī bā wǔ jiǔ nián yī yuè hào《 xiàn dài rén》 zá zhì shàng， tóng nián zài mò sī kē chū bǎn liǎo dān xíng běn。 yī bā bā nián， zài zuò zhě shēng qián shōu rù zuò pǐn zuì quán de zuì hòu yī bǎn wén jí lǐ， tú gé niè fū běn rén céng zài qián yán zhōng shuō：“《 guì zú zhī jiā》 huò dé liǎo wǒ céng jīng huò dé de zuì dà de yī cì chéng gōng。” suī rán píng lùn jiè duì zhè bù xiǎo shuō de píng jià bìng bù wán quán yī zhì， dàn tā què shí shì 'é luó sī jīng diǎn cháng piān xiǎo shuō de diǎn fàn zhī yī。
guì zú zhī jiā - xiāng guān zī liào
《 guì zú zhī jiā》 de gù shì fā shēng zài yī bā sì 'èr nián jí bā nián yǐ hòu； zhù rén gōng lā fū liè cí jī shì yǐ jīng sàng shī liǎo nóng nú zhù“ rè qíng” de guì zú de zuì hòu dài biǎo。 zài mǒu zhǒng yì yì shàng， kě yǐ shuō lā fū liè cí jī réng rán shì 'é luó sī wén xué zhōng yǐ bù zhǐ yī cì chū xiàn guò de“ duō yú de rén”。 dàn tā yǐ jīng bù tóng yú pǔ xī jīn de cháng shī《 yè fū gēn ní · ào niè jīn》 zhōng de 'ào niè jīn hé lāi méng tuō fū de《 dāng dài yīng xióng》 zhōng de bì qiǎo lín。《 guì zú zhī jiā》 fā zhǎn liǎo“ duō yú de rén” zhè yī lèi xíng。 ào niè jīn hé bì qiǎo lín shì lì jǐ zhù yì zhě， tā men zhǐ kǎo lǜ gè rén xiǎng shòu， tā men huó zhe zhǐ shì wèile mǎn zú gè rén de yù wàng； tú gé niè fū bǐ xià de“ duō yú de rén” què chōng mǎn rè qíng， yuàn yì wèile dà zhòng de lì yì 'ér xiàn shēn。 rán 'ér tā men zhǐ shì mó mó hú hú yì shí dào， yīnggāi zuò diǎn 'ér shénme， què bù zhī dào jiū jìng gāi zuò shénme。 mǐ hā liè wéi qí zé bèi lā fū liè cí jī wú suǒ zuò wéi， shuō tā shì“ lǎn hàn”。 lā fū liè cí jī huí dá：“…… nǐ zuì hǎo shuō shuō， gāi zuò shénme”。 mǐ hā liè wéi qí què shuō：“ zhè wǒ kě bù gào sù nǐ， lǎo xiōng， zhè yī diǎn měi gè rén yīnggāi zì jǐ zhī dào。” qí shí， jiù lián mǐ hā liè wéi qí nà yàng de lǐ xiǎng zhù yì zhě， zì jǐ yě bù zhī dào jiū jìng gāi zuò shénme， fǒu zé， tā jiù bù huì piào bó bàn shēng， yī shì wú chéng， zuì hòu wéi huò dé yī gè“ xué jiān” de wèi zhì 'ér gǎn dào xīn mǎn yì zú liǎo。 zhè bìng bù qí guài， yīn wéi jiù lián xiǎo shuō de zuò zhě， kǒng pà yě wú fǎ huí dá lā fū liè cí jī tí chū de wèn tí。
yú shì， lā fū liè cí jī suǒ zhuī qiú de zhǐ néng réng rán shì gè rén de xìng fú liǎo。《 guì zú zhī jiā》 de“ zhòng dà、 xiàn shí sī xiǎng shì xìng fú wèn tí， shì rén zhuī qiú xìng fú de guī lǜ， shì gè rén xìng fú de sī xiǎng yǔ yòu yì de láo dòng sī xiǎng、 jìn bù sī xiǎng de hé xié róng hé”。 rán 'ér lā fū liè cí jī méi néng huò dé gè rén xìng fú。 gè rén xìng fú pèng dào liǎo“ yì wù” shè zhì de zhàng 'ài， tā de“ xìng fú”“ hái méi kāi shǐ” jiù jié shù liǎo。
duì yú lì suō lái shuō， ài qíng bù jǐn shì xìng fú， ér qiě shì yì wù， xìn rèn， yì shí dào zì jǐ dào yì shàng de zé rèn。“ shàng dì jié hé qǐ lái de， zěn me néng chāi sàn ní？” lì suō wèn。 yīn cǐ， tā hé lā fū liè cí jī de“ xìng fú” cóng yī kāi shǐ jiù shì xū huàn de， jiàn zhù zài yī gè jí bù kě kào de jī chǔ shàng： wǎ 'ěr wǎ lā · pà fū luò fú nà gù yì sàn bù de guān yú tā yǐ jīng sǐ liǎo de yáo yán。 tú gé niè fū zài xiǎo shuō zhōng fǎn yìng liǎo shí jiǔ shì jì sān shí héng sì shí nián dài zài“ guì zú zhī jiā” de wēn shì lǐ péi yù chū lái de guì zú zhī shí fènzǐ de jīng shén bēi jù， zhè yī bēi jù de shí zhì yǐ jīng“ bù zài yú bì xū yǔ zì jǐ de ruǎn ruò wú néng dǒu zhēng， ér shì yīn wéi”“ yǔ yī xiē gài niàn hé dào dé guī fàn fā shēng liǎo chōng tū。 yǔ zhè xiē gài niàn hé guī fàn xiāng kàng héng， què shí lián nà xiē jiān jué guǒ duàn、 yǒng gǎn dà dǎn de rén dū huì gǎn dào kě pà。”（ dù bó luó liú bō fū）《 guì zú zhī jiā》 yì cháng shēn kè dì tí chū liǎo guì zú jiào yù de wèn tí。 guì zú de jiào yù zhì dù niǔ qū liǎo rén de yōu xiù pǐn zhì， shǐ zhī jī xíng huà liǎo。 lì suō de dǔ xìn zōng jiào、 rěn ràng、 shùn cóng， lā fū liè cí jī de xiāo jí wú wéi， jiù dōushì zhè zhǒng jiào yù de jiēguǒ。 dù bó luó liú bō fū zhèng què dì zhǐ chū：“ tú gé niè fū xuǎn zé de、 wéi 'é guó shēng huó rú cǐ shú xī de chōng tū” yīnggāi“ chéng wéi qiáng yòu lì de xuān chuán gǔ dòng， cù shǐ měi yī wèi dú zhě sī suǒ： nà xiē zhù zǎi wǒ men shēng huó de zhěng zhěng yī dà pī gài niàn jiū jìng yòu shénme yì yì”。
bù guò lì suō de“ yì wù” bìng bù jǐn jǐn shì lái zì duì wǎ 'ěr wǎ lā · pà fū luò fú nà de fù zuì gǎn。 tā xiǎng yào zài xiū dào yuàn zhōng xún qiú de bìng bù shì wèi jiè， tā suǒ qī dài de yě bù shì wàng què； tā rèn wéi， tā de“ yì wù” shì“ shú zuì”！ tā duì mǎ 'ěr fǎ · jì mò fěi yé fú nà shuō：“ wǒ shénme dōuzhī dào， wú lùn shì zì jǐ de zuì niè， hái shì bié rén de zuì niè， hái yòu bà bà shì zěn yàng jù liǎn zì jǐ de cái fù， wǒ quándōu zhī dào。 zhè yī qiēdōu xū yào qí dǎo， yǐ qī dé dào shè miǎn……” yú shì gè rén de bēi jù jiù jù yòu liǎo shè huì yì yì： zài nóng nú zhì shè huì lǐ， bù jǐn yòu liáng zhī de guì zú zhī shí fènzǐ bù kě néng huò dé zhēn zhèng de gè rén xìng fú， ér qiě jīhū rén réndōu yǔ zhēn zhèng de xìng fú wú yuán。“ nǐ kàn kàn sì zhōu， zài nǐ zhōu wéi yòu shuí zài xiǎng fú， yòu shuí gǎn dào xīn mǎn yì zú？” gè rén xìng fú huàn miè zhī hòu， lā fū liè cí jī zhè yàng xiǎng： zhèng qù gē cǎo de nóng rén xiǎn rán bìng bù xìng fú， tā nà gè duì shēng huó bìng méi yòu duō shǎo yào qiú de mǔ qīn， gèng méi yòu huò dé guò zhēn zhèng de xìng fú…… jiù lián mǎ 'ěr fǎ · jì mò fěi yé fú nà yě duì tā shuō：“ nǐ hěn nán guò， zhè wǒ zhī dào， kě yào zhī dào， dà jiā yě bìng bù qīng sōng”…… zǒng zhī， zài nóng nú zhì de shè huì huán jìng lǐ， gè rén xìng fú shì xū huàn de， bù wán mǎn de， gēn běn bù kě néng de。 tú gé niè fū céng zài《 wén xué huí yì lù》 zhōng xiě xià liǎo zhè yàng yī duàn huà：“ wǒ yǔ wǒ chóu hèn de shì wù bù gòng dài tiān…… zài wǒ xīn mù zhōng， zhè gè dí rén yòu gù dìng de xíng xiàng， yòu rén suǒ gòng zhī de míng chēng： zhè gè dí rén jiù shì nóng nú zhì dù。”《 guì zú zhī jiā》 qiǎn zé liǎo dāng shí de shè huì zhì dù， yīn wéi tā bì hù pān shēn hé wǎ 'ěr wǎ lā · pà fū luò fú nà zhī liú， shǐ tā men zī shēng fán yǎn， ér 'ě shā tiān cái de xìng gé（ liè mǔ， lā fū liè cí jī）， dú hài rén mín， shǐ tā men hún hún 'è 'è， qū fú shùn cóng（ mǎ lán ní yà， ā jiā fěi yà， ān dōng děng）。
zài《 guì zú zhī jiā》 zhōng， tú gé niè fū yòng“ chūn qiū bǐ fǎ” zhǎn shì liǎo guì zú jiē jí rì qū mòluò de guò chéng： lā fū liè cí jī de zēngzǔ fù“ xiǎng zuò shénme jiù néng zuò shénme”，“ shuí yě guǎn bù liǎo tā”。 dào liǎo tā de zǔ fù， yǐ jīng shì“ bù guǎn gànshénme， quándōu bái dā” liǎo。 tā de fù qīn xiān shì shòu liǎo fǎ guó shì de jiào yù， nǎo zǐ lǐ zhuāng mǎn liǎo fú 'ěr tài、 dí dé luó hé lú suō， rán 'ér nà xiē“ shēn 'ào de dào lǐ”“ méi yòu hé tā de xuè yè róng wéi yī tǐ， méi yòu shēn rù tā de xīn líng， méi yòu xíng chéng jiān dìng bù yí de xìn niàn”； zài guó wài dài liǎo jǐ nián yǐ hòu， tā yòu chéng liǎo chóng bài yīng guó de rén，“ qiáo bù qǐ zì jǐ de tóng bāo”， yào yòng yīng guó de zhì dù hé fāng fǎ lái gǎi zào 'é guó； kě shì shí 'èr yuè dǎng rén zāo dào zhèn yā hòu， tā lì kè shāo huǐ liǎo cóng guó wài dài huí de yī qiē jìhuà hé lái wǎng xìn jiàn， duǒ dào zì jǐ de zhuāng yuán lǐ， bì mén bù chū，“ zài shěng cháng dà rén miàn qián xià dé zhàn zhàn jīng jīng”…… zuì hòu“ biàn chéng liǎo yī gè shí zú de fèi wù”。
guì zú zhī jiā de mòluò yǐ wú kě wǎn huí， nóng nú zhì de bēng kuì yě bù kě bì miǎn； rán 'ér yóu shuí lái gěi 'é luó sī shè huì zhù rù xīn de huó lì， é luó sī yòu gāi wǎng hé chù qù ní？ wú lùn shì lā fū liè cí jī， hái shì zuò zhě běn rén， dōuwú fǎ zuò chū míng què huí dá。 lā fū liè cí jī zhǐ shì mó mó hú hú gǎn jué dào， yīnggāi zuò diǎn 'ér shénme yòu yì de shì qíng， wèi lái yīnggāi shì guāng míng de。 ér zuò wéi nóng nú zhì guì zú jiē jí de zuì hòu dài biǎo， huí shǒu wǎng shì， lā fū liè cí jī què gǎn dào xū dù liǎo yī shēng。“ xī miè liǎo bā， wú yì de yī shēng！” zài shū qíng shī yī bān de“ wěi shēng” zhōng， lā fū liè cí jī wú kě nài hé dì zhè yàng bēi tàn。 gù shì de jié wěi wú yí dài yòu nóng yù de shāng gǎn sè cǎi， bù guò tú gé niè fū bǎ xī wàng jì tuō yú qīng nián yī dài。 lā fū liè cí jī shì zài qīng nián yī dài de huān shēng xiào yǔ zhōng qiǎo rán lí qù de。 lì shǐ wǔ tái shàng yǐ jīng huàn liǎo xīn de juésè， jiāng yào shàng yǎn de yě gāi shì bù tóng de jù mù liǎo bā？！
píng lùn jiā pí shā liè fū① duì《 guì zú zhī jiā》 zuò liǎo rú xià de píng jià， rèn wéi tā shì tú gé niè fū“ jié gòu zuì yán jǐn、 zuì wán měi de zuò pǐn zhī yī”。 tā méi yòu jìn xíng shuō jiào， rán 'ér shì yī bù yòu jiào yù yì yì de xiǎo shuō。 zài zhè bù xiǎo shuō zhōng， tú gé niè fū“ miáo xiě liǎo xiàn dài shēng huó， tū chū tā gè gè hǎo de hé huài de fāng miàn， chǎn míng liǎo tā suǒ miáo xiě de xiàn xiàng de gēn yuán， cù shǐ dú zhě jìn xíng yán sù rèn zhēn de shēn sī。”
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① pí shā liè fū（ yī bā sì héng yī bā liù bā）， é luó sī zhù míng píng lùn jiā， zhé xué jiā， gé mìng mín zhù zhù yì zhě。
tú gé niè fū de zuò pǐn， tè bié shì tā de cháng piān xiǎo shuō， kān chēng jīhū jìn bàn gè shì jì 'é luó sī shēng huó de yì shù biān nián shǐ。 dàn jiù piān fú 'ér yán， tā de cháng piān què duǎn xiǎo jīng zhì， chú《 chǔnǚ dì》 wài， kě yǐ shuō shì fǎn yìng dāng shí shè huì de zhōng piān xiǎo shuō。
shēng huó chǎng miàn hé zì rán fēng jǐng de miáo xiě zài tā de xiǎo shuō zhōng suí chù kě jiàn， dàn zhè xiē miáo xiě cóng bù xuān bīn duó zhù， zhē yǎn qíng jié。 tā de xiǎo shuō shì dān yī jié gòu de， zài zhè yī diǎn shàng bù tóng yú tuō 'ěr sī tài de cháng piān xiǎo shuō。
《 guì zú zhī jiā》 de jié gòu yóu qí yán jǐn， duì rén wù dōuyòu jiǎn míng de jiāo dài。 zuò zhě zì jǐ céng shuō： tā duì zhè bù xiǎo shuō de qíng jié kǎo lǜ liǎo hěn jiǔ， xī wàng bì miǎn xiàng《 luó tíng》 zhōng nà yàng lìng rén gǎn dào yì wài de jié jú。 díquè，《 guì zú zhī jiā》 qíng jié shí fēn jǐn còu， gù shì xùn sù zhǎn kāi， jiǎn liàn níng suō， bù màn bù zhī； zhōng jiān jǐ chù chā xù zhù rén gōng de wǎng shì， dōushì dú zhě jìn yī bù liǎo jiě tā men suǒ bì xū de。 zài zhè fāng miàn， kě yǐ shuō tú gé niè fū shì pǔ xī jīn、 lāi méng tuō fū de zhí jiē jì chéng zhě。
tú gé niè fū duì rén wù de xīn lǐ miáo xiě hěn yòu tè sè。 tā bù shì duì zhù rén gōng de gǎn qíng zuò xiáng jìn de xīn lǐ fēn xī， ér shì bǎ dú zhě de zhù yì lì jí zhōng dào rén wù nèi xīn huó dòng de jiēguǒ shàng。 wǒ men zhī dào lì suō duì lā fū liè cí jī de gǎn qíng shì zěn yàng chǎn shēng、 zěn yàng fā zhǎn de， kě shì wǒ men bù zhī dào lì suō xīn lǐ jiū jìng zài xiǎng xiē shénme。 tú gé niè fū shèn zhì xuān chēng， tā de nèi xīn huó dòng bù kě néng yòng yǔ yán biǎo dá chū lái。“ rán 'ér yǔ yán bù néng biǎo dá yī gè gū niàn chún jié de xīn líng zhōng zhèng zài fā shēng de shì qíng： duì yú tā běn rén lái shuō， nà yě shì mì mì； jiù ràng tā duì yú dà jiā yě shǐ zhōng shì yī gè mì mì bā。” tā hái jiè mǎ 'ěr fǎ · jì mò fěi yé fú nà zhī kǒu shuō：“ bié rén de xīn，…… jiù xiàng bù tòu guāng de shù lín， nǚ hái zǐ de xīn jiù gèng bù yòng shuō liǎo。” zhèng shì yīn cǐ， tā yě jù jué xiě chū lā fū liè cí jī hé lì suō zài xiū dào yuàn lǐ zuì hòu yī cì jiàn miàn shí de gǎn shòu。
tú gé niè fū bìng bù shēn rù miáo xiě zhù rén gōng de nèi xīn huó dòng， què shí fēn qiǎo miào dì ràng dú zhě néng chōng fēn lǐ jiě tā men de nèi xīn shēng huó。 tā jīng cháng lì yòng qián tái cí， duì zhù rén gōng de wēi miào gǎn qíng zhǐ shì diǎn dào wéi zhǐ。 lì suō hé lā fū liè cí jī de 'ài qíng jīhū shì mò mò wú yán de。 tā men zài kǎ lì jīng jiā de kè tīng lǐ、 huā yuán lǐ hé lā fū liè cí jī jiā chí táng biān dān dú dài zài yī qǐ de shí hòu， wǎng wǎng hěn shǎo tán huà， ér shì mò mò dì gǎn shòu duì fāng xīn zhōng zhèng zài fā shēng de yī qiē。
zài tú gé niè fū de xiǎo shuō zhōng， zì rán jǐng sè duì yú rén wù de jīng shén shì jiè wǎng wǎng qǐ yī zhǒng hōng yún tuō yuè de zuò yòng。 suí zhe rén wù mìng yùn de gǎi biàn， zì rán jǐng wù de sè cǎi yě zài fā shēng biàn huà。 zài《 guì zú zhī jiā》 zhōng， zì shǐ zhì zhōng dū ràng rén gǎn dào yòu yī zhǒng shuāi bài mòluò de qíng diào：“ xī yáng wú xiàn hǎo， zhǐ shì jìn huáng hūn”。 xiǎo shuō zhōng miáo xiě de dà bù fēn dōushì bàng wǎn、 huáng hūn hé yè wǎn de jǐng sè， huò míng yuè dāng kōng， huò xīng guāng shǎn shuò。 lā fū liè cí jī huí xiāng cūn qù yī lù shàng kàn dào de jǐng sè， yǔ tā yōu yù de huí yì hé duì xìng fú de chōng jǐng shì xié diào yī zhì de。 jù yòu xiàng zhēng xìng de xiǎo shuō jié wěi shì dà dì huí chūn， wàn wù fù sū， yī pài xīn xīn xiàng róng de jǐng xiàng： lā fū liè cí jī yǐ jí tā nà yī dài rén suī rán yī shēng cuō tuó， àn rán tuì chū lì shǐ wǔ tái， dàn qīng nián yī dài yǐ jīng jiē guò liǎo tā men shǒu zhōng de jiē lì bàng， zhèng zài jīng lì chōng pèi dì zǒu xiàng wèi lái。
chú liǎo zì rán jǐng sè， xiǎo shuō zhōng de yīnyuè yě yǔ rén wù de xīn qíng xiāng hù jiāo róng。 jiè yòng chái kē fū sī jī píng lùn pǔ xī jīn de huà， kě yǐ shuō： zài《 guì zú zhī jiā》 zhōng， tú gé niè fū de tiān cái cháng cháng chōng pò“ sǎnwén” de xiá zhǎi tiān dì， jìn rù yīnyuè de wú xiàn de lǐng yù。 lā fū liè cí jī zài huā yuán zhōng yǔ lì suō xiāng huì， zhī dào tā 'ài tā yǐ hòu， tīng dào liǎo liè mǔ de qí miào de yīnyuè， ér dāng tā de qī zǐ tū rán huí lái， shǐ tā guān yú xìng fú de mèng pò miè yǐ hòu， tóng yī gè liè mǔ， yě wán quán biàn liǎo yàng， zài tā shēn shàng zài yě kàn bù dào 'èr shí sì xiǎo shí qián nà wèi chōng mǎn líng gǎn de yīnyuè jiā de yǐng zǐ liǎo。
tú gé niè fū cóng bù yòng gè rén de zhù shì lái dài tì qíng jié de fā zhǎn， cóng bù wāi qū tā bù xǐ huān de xiàn xiàng； tā xù shù gù shì de shí hòu shì wán quán kè guān de， jué bù duì qíng jié fā zhǎn jìn xíng rèn hé gān yù。 zuò zhě de tài dù、 zuò zhě de gǎn qíng， shì tōng guò tā dú tè de shū qíng fēng gé biǎo xiàn chū lái de， zhè yě zhèng shì tā de yì shù fēng gé de tè diǎn zhī yī。 tè bié shì zài《 guì zú zhī jiā》 zhōng， shū qíng sè cǎi gèng xiàng kōng qì hé yáng guāng yī yàng bàn suí zhe lā fū liè cí jī hé lì suō， wèitā men pǔ xiě chū yī shǒu shǒu tóng qíng、 tàn xī、 āi wǎn de shū qíng gēqǔ。 yī fāng miàn zài xù shù zhōng lì qiú zuò dào kè guān， lìng yī fāng miàn yòu yào yǐ zuò zhě de gǎn qíng gǎn rǎn dú zhě， zài tú gé niè fū de xiǎo shuō zhōng， kě yǐ shuō zhè 'èr zhě yǐ jīng wán měi dì jié hé zài yī qǐ liǎo。
tú gé niè fū de yǔ yán tè diǎn shì： fǎn duì jiáo róu zào zuò hé huá 'ér bù shí。 tā de cí huì fēng fù duō cǎi， xíng xiàng shēng dòng， xǔ xǔ rú shēng de bǐ yù bǐ bǐ jiē shì， ér qiě shàn yú qiǎo miào dì yùn yòng yǐn yù。 tā de jù zǐ tōng cháng dū jiǎn duǎn jīng hàn， jié gòu qīng xī， jié zòu hé xié（ kě cān kàn tā jiè shào liè mǔ de nà duàn wén zì）。 xǔ duō rén dū céng zhǐ chū tú gé niè fū yǔ yán de tè shū mèi lì， duì tā yùn yòng yǔ yán de cái néng jǐyǔ jí gāo de píng jià。 tuó sī tuǒ yé fū sī jī chēng tú gé niè fū wéi“ é luó sī yǔ yán de jù jiàng”。 gāo 'ěr jī shuō：“ wèi lái de wén xué shǐ zhuān jiā tán dào 'é luó sī yǔ yán de fā zhǎn shí， yī dìng huì shuō： zhè zhǒng yǔ yán shì pǔ xī jīn、 tú gé niè fū hé qì hē fū chuàng zào de”。
fān yì zhè yàng yī wèi yǔ yán dà shī de zuò pǐn， qí nán dù kě xiǎng 'ér zhī； rú guǒ yì wén néng duō shǎo chuán dá yuán zuò de shén yùn， duì yì zhě lái shuō， yě jiù shì zuì dà de xìng fú liǎo。
Plot summary
The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.
Lavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. The two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.
Upon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to Varvara Pavlovna's coquettishness and social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.
Unfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.
Upon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.
Major themes
Ultimately, Turgenev concludes that the truth is best left unstated. He concludes the novel by stating that he could not possibly explain what Lavretsky and Liza felt, and that it is better to point out these individual tragedies and pass them by.
Turgenev wrote the novel shortly after his 40th birthday, and it expresses some of his feelings about middle age, as its protagonist is forced to confront the mistakes of his past and determine what options are left for his dwindling future.
shí jiǔ shì jì wǔ shí nián dài zhōng qī， é luó sī guì zú jiē jí qū xiàng mòluò， nóng nú zhì de bēng kuì yǐ bù kě wǎn huí。 yī bā wǔ sān héng héng yī bā wǔ liù nián de kè lǐ mǐ yà zhàn zhēng bào lù liǎo shā huáng zhì de fǔ bài， jìn bù zhī shí fènzǐ zài sī kǎo rén mín de mìng yùn、 zǔ guó de qián tú。 tú gé niè fū de cháng piān xiǎo shuō zhèng shì zài zhè gè shí qī yùn niàng gòu sī hé chéng xiàn gěi dú zhě de。
yī bā wǔ liù nián，《 xiàn dài rén》 zá zhì shàng fā biǎo liǎo tú gé niè fū de dì yī bù cháng piān xiǎo shuō《 luó tíng》。
《 guì zú zhī jiā》 shì tú gé niè fū de dì 'èr bù cháng piān xiǎo shuō， yú yī bā wǔ bā nián shí yuè 'èr shí qī rì tuō gǎo， zuì chū fā biǎo zài yī bā wǔ jiǔ nián yī yuè hào《 xiàn dài rén》 zá zhì shàng， tóng nián zài mò sī kē chū bǎn liǎo dān xíng běn。 yī bā bā nián， zài zuò zhě shēng qián shōu rù zuò pǐn zuì quán de zuì hòu yī bǎn wén jí lǐ， tú gé niè fū běn rén céng zài qián yán zhōng shuō：“《 guì zú zhī jiā》 huò dé liǎo wǒ céng jīng huò dé de zuì dà de yī cì chéng gōng。” suī rán píng lùn jiè duì zhè bù xiǎo shuō de píng jià bìng bù wán quán yī zhì， dàn tā què shí shì 'é luó sī jīng diǎn cháng piān xiǎo shuō de diǎn fàn zhī yī。
guì zú zhī jiā - xiāng guān zī liào
《 guì zú zhī jiā》 de gù shì fā shēng zài yī bā sì 'èr nián jí bā nián yǐ hòu； zhù rén gōng lā fū liè cí jī shì yǐ jīng sàng shī liǎo nóng nú zhù“ rè qíng” de guì zú de zuì hòu dài biǎo。 zài mǒu zhǒng yì yì shàng， kě yǐ shuō lā fū liè cí jī réng rán shì 'é luó sī wén xué zhōng yǐ bù zhǐ yī cì chū xiàn guò de“ duō yú de rén”。 dàn tā yǐ jīng bù tóng yú pǔ xī jīn de cháng shī《 yè fū gēn ní · ào niè jīn》 zhōng de 'ào niè jīn hé lāi méng tuō fū de《 dāng dài yīng xióng》 zhōng de bì qiǎo lín。《 guì zú zhī jiā》 fā zhǎn liǎo“ duō yú de rén” zhè yī lèi xíng。 ào niè jīn hé bì qiǎo lín shì lì jǐ zhù yì zhě， tā men zhǐ kǎo lǜ gè rén xiǎng shòu， tā men huó zhe zhǐ shì wèile mǎn zú gè rén de yù wàng； tú gé niè fū bǐ xià de“ duō yú de rén” què chōng mǎn rè qíng， yuàn yì wèile dà zhòng de lì yì 'ér xiàn shēn。 rán 'ér tā men zhǐ shì mó mó hú hú yì shí dào， yīnggāi zuò diǎn 'ér shénme， què bù zhī dào jiū jìng gāi zuò shénme。 mǐ hā liè wéi qí zé bèi lā fū liè cí jī wú suǒ zuò wéi， shuō tā shì“ lǎn hàn”。 lā fū liè cí jī huí dá：“…… nǐ zuì hǎo shuō shuō， gāi zuò shénme”。 mǐ hā liè wéi qí què shuō：“ zhè wǒ kě bù gào sù nǐ， lǎo xiōng， zhè yī diǎn měi gè rén yīnggāi zì jǐ zhī dào。” qí shí， jiù lián mǐ hā liè wéi qí nà yàng de lǐ xiǎng zhù yì zhě， zì jǐ yě bù zhī dào jiū jìng gāi zuò shénme， fǒu zé， tā jiù bù huì piào bó bàn shēng， yī shì wú chéng， zuì hòu wéi huò dé yī gè“ xué jiān” de wèi zhì 'ér gǎn dào xīn mǎn yì zú liǎo。 zhè bìng bù qí guài， yīn wéi jiù lián xiǎo shuō de zuò zhě， kǒng pà yě wú fǎ huí dá lā fū liè cí jī tí chū de wèn tí。
yú shì， lā fū liè cí jī suǒ zhuī qiú de zhǐ néng réng rán shì gè rén de xìng fú liǎo。《 guì zú zhī jiā》 de“ zhòng dà、 xiàn shí sī xiǎng shì xìng fú wèn tí， shì rén zhuī qiú xìng fú de guī lǜ， shì gè rén xìng fú de sī xiǎng yǔ yòu yì de láo dòng sī xiǎng、 jìn bù sī xiǎng de hé xié róng hé”。 rán 'ér lā fū liè cí jī méi néng huò dé gè rén xìng fú。 gè rén xìng fú pèng dào liǎo“ yì wù” shè zhì de zhàng 'ài， tā de“ xìng fú”“ hái méi kāi shǐ” jiù jié shù liǎo。
duì yú lì suō lái shuō， ài qíng bù jǐn shì xìng fú， ér qiě shì yì wù， xìn rèn， yì shí dào zì jǐ dào yì shàng de zé rèn。“ shàng dì jié hé qǐ lái de， zěn me néng chāi sàn ní？” lì suō wèn。 yīn cǐ， tā hé lā fū liè cí jī de“ xìng fú” cóng yī kāi shǐ jiù shì xū huàn de， jiàn zhù zài yī gè jí bù kě kào de jī chǔ shàng： wǎ 'ěr wǎ lā · pà fū luò fú nà gù yì sàn bù de guān yú tā yǐ jīng sǐ liǎo de yáo yán。 tú gé niè fū zài xiǎo shuō zhōng fǎn yìng liǎo shí jiǔ shì jì sān shí héng sì shí nián dài zài“ guì zú zhī jiā” de wēn shì lǐ péi yù chū lái de guì zú zhī shí fènzǐ de jīng shén bēi jù， zhè yī bēi jù de shí zhì yǐ jīng“ bù zài yú bì xū yǔ zì jǐ de ruǎn ruò wú néng dǒu zhēng， ér shì yīn wéi”“ yǔ yī xiē gài niàn hé dào dé guī fàn fā shēng liǎo chōng tū。 yǔ zhè xiē gài niàn hé guī fàn xiāng kàng héng， què shí lián nà xiē jiān jué guǒ duàn、 yǒng gǎn dà dǎn de rén dū huì gǎn dào kě pà。”（ dù bó luó liú bō fū）《 guì zú zhī jiā》 yì cháng shēn kè dì tí chū liǎo guì zú jiào yù de wèn tí。 guì zú de jiào yù zhì dù niǔ qū liǎo rén de yōu xiù pǐn zhì， shǐ zhī jī xíng huà liǎo。 lì suō de dǔ xìn zōng jiào、 rěn ràng、 shùn cóng， lā fū liè cí jī de xiāo jí wú wéi， jiù dōushì zhè zhǒng jiào yù de jiēguǒ。 dù bó luó liú bō fū zhèng què dì zhǐ chū：“ tú gé niè fū xuǎn zé de、 wéi 'é guó shēng huó rú cǐ shú xī de chōng tū” yīnggāi“ chéng wéi qiáng yòu lì de xuān chuán gǔ dòng， cù shǐ měi yī wèi dú zhě sī suǒ： nà xiē zhù zǎi wǒ men shēng huó de zhěng zhěng yī dà pī gài niàn jiū jìng yòu shénme yì yì”。
bù guò lì suō de“ yì wù” bìng bù jǐn jǐn shì lái zì duì wǎ 'ěr wǎ lā · pà fū luò fú nà de fù zuì gǎn。 tā xiǎng yào zài xiū dào yuàn zhōng xún qiú de bìng bù shì wèi jiè， tā suǒ qī dài de yě bù shì wàng què； tā rèn wéi， tā de“ yì wù” shì“ shú zuì”！ tā duì mǎ 'ěr fǎ · jì mò fěi yé fú nà shuō：“ wǒ shénme dōuzhī dào， wú lùn shì zì jǐ de zuì niè， hái shì bié rén de zuì niè， hái yòu bà bà shì zěn yàng jù liǎn zì jǐ de cái fù， wǒ quándōu zhī dào。 zhè yī qiēdōu xū yào qí dǎo， yǐ qī dé dào shè miǎn……” yú shì gè rén de bēi jù jiù jù yòu liǎo shè huì yì yì： zài nóng nú zhì shè huì lǐ， bù jǐn yòu liáng zhī de guì zú zhī shí fènzǐ bù kě néng huò dé zhēn zhèng de gè rén xìng fú， ér qiě jīhū rén réndōu yǔ zhēn zhèng de xìng fú wú yuán。“ nǐ kàn kàn sì zhōu， zài nǐ zhōu wéi yòu shuí zài xiǎng fú， yòu shuí gǎn dào xīn mǎn yì zú？” gè rén xìng fú huàn miè zhī hòu， lā fū liè cí jī zhè yàng xiǎng： zhèng qù gē cǎo de nóng rén xiǎn rán bìng bù xìng fú， tā nà gè duì shēng huó bìng méi yòu duō shǎo yào qiú de mǔ qīn， gèng méi yòu huò dé guò zhēn zhèng de xìng fú…… jiù lián mǎ 'ěr fǎ · jì mò fěi yé fú nà yě duì tā shuō：“ nǐ hěn nán guò， zhè wǒ zhī dào， kě yào zhī dào， dà jiā yě bìng bù qīng sōng”…… zǒng zhī， zài nóng nú zhì de shè huì huán jìng lǐ， gè rén xìng fú shì xū huàn de， bù wán mǎn de， gēn běn bù kě néng de。 tú gé niè fū céng zài《 wén xué huí yì lù》 zhōng xiě xià liǎo zhè yàng yī duàn huà：“ wǒ yǔ wǒ chóu hèn de shì wù bù gòng dài tiān…… zài wǒ xīn mù zhōng， zhè gè dí rén yòu gù dìng de xíng xiàng， yòu rén suǒ gòng zhī de míng chēng： zhè gè dí rén jiù shì nóng nú zhì dù。”《 guì zú zhī jiā》 qiǎn zé liǎo dāng shí de shè huì zhì dù， yīn wéi tā bì hù pān shēn hé wǎ 'ěr wǎ lā · pà fū luò fú nà zhī liú， shǐ tā men zī shēng fán yǎn， ér 'ě shā tiān cái de xìng gé（ liè mǔ， lā fū liè cí jī）， dú hài rén mín， shǐ tā men hún hún 'è 'è， qū fú shùn cóng（ mǎ lán ní yà， ā jiā fěi yà， ān dōng děng）。
zài《 guì zú zhī jiā》 zhōng， tú gé niè fū yòng“ chūn qiū bǐ fǎ” zhǎn shì liǎo guì zú jiē jí rì qū mòluò de guò chéng： lā fū liè cí jī de zēngzǔ fù“ xiǎng zuò shénme jiù néng zuò shénme”，“ shuí yě guǎn bù liǎo tā”。 dào liǎo tā de zǔ fù， yǐ jīng shì“ bù guǎn gànshénme， quándōu bái dā” liǎo。 tā de fù qīn xiān shì shòu liǎo fǎ guó shì de jiào yù， nǎo zǐ lǐ zhuāng mǎn liǎo fú 'ěr tài、 dí dé luó hé lú suō， rán 'ér nà xiē“ shēn 'ào de dào lǐ”“ méi yòu hé tā de xuè yè róng wéi yī tǐ， méi yòu shēn rù tā de xīn líng， méi yòu xíng chéng jiān dìng bù yí de xìn niàn”； zài guó wài dài liǎo jǐ nián yǐ hòu， tā yòu chéng liǎo chóng bài yīng guó de rén，“ qiáo bù qǐ zì jǐ de tóng bāo”， yào yòng yīng guó de zhì dù hé fāng fǎ lái gǎi zào 'é guó； kě shì shí 'èr yuè dǎng rén zāo dào zhèn yā hòu， tā lì kè shāo huǐ liǎo cóng guó wài dài huí de yī qiē jìhuà hé lái wǎng xìn jiàn， duǒ dào zì jǐ de zhuāng yuán lǐ， bì mén bù chū，“ zài shěng cháng dà rén miàn qián xià dé zhàn zhàn jīng jīng”…… zuì hòu“ biàn chéng liǎo yī gè shí zú de fèi wù”。
guì zú zhī jiā de mòluò yǐ wú kě wǎn huí， nóng nú zhì de bēng kuì yě bù kě bì miǎn； rán 'ér yóu shuí lái gěi 'é luó sī shè huì zhù rù xīn de huó lì， é luó sī yòu gāi wǎng hé chù qù ní？ wú lùn shì lā fū liè cí jī， hái shì zuò zhě běn rén， dōuwú fǎ zuò chū míng què huí dá。 lā fū liè cí jī zhǐ shì mó mó hú hú gǎn jué dào， yīnggāi zuò diǎn 'ér shénme yòu yì de shì qíng， wèi lái yīnggāi shì guāng míng de。 ér zuò wéi nóng nú zhì guì zú jiē jí de zuì hòu dài biǎo， huí shǒu wǎng shì， lā fū liè cí jī què gǎn dào xū dù liǎo yī shēng。“ xī miè liǎo bā， wú yì de yī shēng！” zài shū qíng shī yī bān de“ wěi shēng” zhōng， lā fū liè cí jī wú kě nài hé dì zhè yàng bēi tàn。 gù shì de jié wěi wú yí dài yòu nóng yù de shāng gǎn sè cǎi， bù guò tú gé niè fū bǎ xī wàng jì tuō yú qīng nián yī dài。 lā fū liè cí jī shì zài qīng nián yī dài de huān shēng xiào yǔ zhōng qiǎo rán lí qù de。 lì shǐ wǔ tái shàng yǐ jīng huàn liǎo xīn de juésè， jiāng yào shàng yǎn de yě gāi shì bù tóng de jù mù liǎo bā？！
píng lùn jiā pí shā liè fū① duì《 guì zú zhī jiā》 zuò liǎo rú xià de píng jià， rèn wéi tā shì tú gé niè fū“ jié gòu zuì yán jǐn、 zuì wán měi de zuò pǐn zhī yī”。 tā méi yòu jìn xíng shuō jiào， rán 'ér shì yī bù yòu jiào yù yì yì de xiǎo shuō。 zài zhè bù xiǎo shuō zhōng， tú gé niè fū“ miáo xiě liǎo xiàn dài shēng huó， tū chū tā gè gè hǎo de hé huài de fāng miàn， chǎn míng liǎo tā suǒ miáo xiě de xiàn xiàng de gēn yuán， cù shǐ dú zhě jìn xíng yán sù rèn zhēn de shēn sī。”
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① pí shā liè fū（ yī bā sì héng yī bā liù bā）， é luó sī zhù míng píng lùn jiā， zhé xué jiā， gé mìng mín zhù zhù yì zhě。
tú gé niè fū de zuò pǐn， tè bié shì tā de cháng piān xiǎo shuō， kān chēng jīhū jìn bàn gè shì jì 'é luó sī shēng huó de yì shù biān nián shǐ。 dàn jiù piān fú 'ér yán， tā de cháng piān què duǎn xiǎo jīng zhì， chú《 chǔnǚ dì》 wài， kě yǐ shuō shì fǎn yìng dāng shí shè huì de zhōng piān xiǎo shuō。
shēng huó chǎng miàn hé zì rán fēng jǐng de miáo xiě zài tā de xiǎo shuō zhōng suí chù kě jiàn， dàn zhè xiē miáo xiě cóng bù xuān bīn duó zhù， zhē yǎn qíng jié。 tā de xiǎo shuō shì dān yī jié gòu de， zài zhè yī diǎn shàng bù tóng yú tuō 'ěr sī tài de cháng piān xiǎo shuō。
《 guì zú zhī jiā》 de jié gòu yóu qí yán jǐn， duì rén wù dōuyòu jiǎn míng de jiāo dài。 zuò zhě zì jǐ céng shuō： tā duì zhè bù xiǎo shuō de qíng jié kǎo lǜ liǎo hěn jiǔ， xī wàng bì miǎn xiàng《 luó tíng》 zhōng nà yàng lìng rén gǎn dào yì wài de jié jú。 díquè，《 guì zú zhī jiā》 qíng jié shí fēn jǐn còu， gù shì xùn sù zhǎn kāi， jiǎn liàn níng suō， bù màn bù zhī； zhōng jiān jǐ chù chā xù zhù rén gōng de wǎng shì， dōushì dú zhě jìn yī bù liǎo jiě tā men suǒ bì xū de。 zài zhè fāng miàn， kě yǐ shuō tú gé niè fū shì pǔ xī jīn、 lāi méng tuō fū de zhí jiē jì chéng zhě。
tú gé niè fū duì rén wù de xīn lǐ miáo xiě hěn yòu tè sè。 tā bù shì duì zhù rén gōng de gǎn qíng zuò xiáng jìn de xīn lǐ fēn xī， ér shì bǎ dú zhě de zhù yì lì jí zhōng dào rén wù nèi xīn huó dòng de jiēguǒ shàng。 wǒ men zhī dào lì suō duì lā fū liè cí jī de gǎn qíng shì zěn yàng chǎn shēng、 zěn yàng fā zhǎn de， kě shì wǒ men bù zhī dào lì suō xīn lǐ jiū jìng zài xiǎng xiē shénme。 tú gé niè fū shèn zhì xuān chēng， tā de nèi xīn huó dòng bù kě néng yòng yǔ yán biǎo dá chū lái。“ rán 'ér yǔ yán bù néng biǎo dá yī gè gū niàn chún jié de xīn líng zhōng zhèng zài fā shēng de shì qíng： duì yú tā běn rén lái shuō， nà yě shì mì mì； jiù ràng tā duì yú dà jiā yě shǐ zhōng shì yī gè mì mì bā。” tā hái jiè mǎ 'ěr fǎ · jì mò fěi yé fú nà zhī kǒu shuō：“ bié rén de xīn，…… jiù xiàng bù tòu guāng de shù lín， nǚ hái zǐ de xīn jiù gèng bù yòng shuō liǎo。” zhèng shì yīn cǐ， tā yě jù jué xiě chū lā fū liè cí jī hé lì suō zài xiū dào yuàn lǐ zuì hòu yī cì jiàn miàn shí de gǎn shòu。
tú gé niè fū bìng bù shēn rù miáo xiě zhù rén gōng de nèi xīn huó dòng， què shí fēn qiǎo miào dì ràng dú zhě néng chōng fēn lǐ jiě tā men de nèi xīn shēng huó。 tā jīng cháng lì yòng qián tái cí， duì zhù rén gōng de wēi miào gǎn qíng zhǐ shì diǎn dào wéi zhǐ。 lì suō hé lā fū liè cí jī de 'ài qíng jīhū shì mò mò wú yán de。 tā men zài kǎ lì jīng jiā de kè tīng lǐ、 huā yuán lǐ hé lā fū liè cí jī jiā chí táng biān dān dú dài zài yī qǐ de shí hòu， wǎng wǎng hěn shǎo tán huà， ér shì mò mò dì gǎn shòu duì fāng xīn zhōng zhèng zài fā shēng de yī qiē。
zài tú gé niè fū de xiǎo shuō zhōng， zì rán jǐng sè duì yú rén wù de jīng shén shì jiè wǎng wǎng qǐ yī zhǒng hōng yún tuō yuè de zuò yòng。 suí zhe rén wù mìng yùn de gǎi biàn， zì rán jǐng wù de sè cǎi yě zài fā shēng biàn huà。 zài《 guì zú zhī jiā》 zhōng， zì shǐ zhì zhōng dū ràng rén gǎn dào yòu yī zhǒng shuāi bài mòluò de qíng diào：“ xī yáng wú xiàn hǎo， zhǐ shì jìn huáng hūn”。 xiǎo shuō zhōng miáo xiě de dà bù fēn dōushì bàng wǎn、 huáng hūn hé yè wǎn de jǐng sè， huò míng yuè dāng kōng， huò xīng guāng shǎn shuò。 lā fū liè cí jī huí xiāng cūn qù yī lù shàng kàn dào de jǐng sè， yǔ tā yōu yù de huí yì hé duì xìng fú de chōng jǐng shì xié diào yī zhì de。 jù yòu xiàng zhēng xìng de xiǎo shuō jié wěi shì dà dì huí chūn， wàn wù fù sū， yī pài xīn xīn xiàng róng de jǐng xiàng： lā fū liè cí jī yǐ jí tā nà yī dài rén suī rán yī shēng cuō tuó， àn rán tuì chū lì shǐ wǔ tái， dàn qīng nián yī dài yǐ jīng jiē guò liǎo tā men shǒu zhōng de jiē lì bàng， zhèng zài jīng lì chōng pèi dì zǒu xiàng wèi lái。
chú liǎo zì rán jǐng sè， xiǎo shuō zhōng de yīnyuè yě yǔ rén wù de xīn qíng xiāng hù jiāo róng。 jiè yòng chái kē fū sī jī píng lùn pǔ xī jīn de huà， kě yǐ shuō： zài《 guì zú zhī jiā》 zhōng， tú gé niè fū de tiān cái cháng cháng chōng pò“ sǎnwén” de xiá zhǎi tiān dì， jìn rù yīnyuè de wú xiàn de lǐng yù。 lā fū liè cí jī zài huā yuán zhōng yǔ lì suō xiāng huì， zhī dào tā 'ài tā yǐ hòu， tīng dào liǎo liè mǔ de qí miào de yīnyuè， ér dāng tā de qī zǐ tū rán huí lái， shǐ tā guān yú xìng fú de mèng pò miè yǐ hòu， tóng yī gè liè mǔ， yě wán quán biàn liǎo yàng， zài tā shēn shàng zài yě kàn bù dào 'èr shí sì xiǎo shí qián nà wèi chōng mǎn líng gǎn de yīnyuè jiā de yǐng zǐ liǎo。
tú gé niè fū cóng bù yòng gè rén de zhù shì lái dài tì qíng jié de fā zhǎn， cóng bù wāi qū tā bù xǐ huān de xiàn xiàng； tā xù shù gù shì de shí hòu shì wán quán kè guān de， jué bù duì qíng jié fā zhǎn jìn xíng rèn hé gān yù。 zuò zhě de tài dù、 zuò zhě de gǎn qíng， shì tōng guò tā dú tè de shū qíng fēng gé biǎo xiàn chū lái de， zhè yě zhèng shì tā de yì shù fēng gé de tè diǎn zhī yī。 tè bié shì zài《 guì zú zhī jiā》 zhōng， shū qíng sè cǎi gèng xiàng kōng qì hé yáng guāng yī yàng bàn suí zhe lā fū liè cí jī hé lì suō， wèitā men pǔ xiě chū yī shǒu shǒu tóng qíng、 tàn xī、 āi wǎn de shū qíng gēqǔ。 yī fāng miàn zài xù shù zhōng lì qiú zuò dào kè guān， lìng yī fāng miàn yòu yào yǐ zuò zhě de gǎn qíng gǎn rǎn dú zhě， zài tú gé niè fū de xiǎo shuō zhōng， kě yǐ shuō zhè 'èr zhě yǐ jīng wán měi dì jié hé zài yī qǐ liǎo。
tú gé niè fū de yǔ yán tè diǎn shì： fǎn duì jiáo róu zào zuò hé huá 'ér bù shí。 tā de cí huì fēng fù duō cǎi， xíng xiàng shēng dòng， xǔ xǔ rú shēng de bǐ yù bǐ bǐ jiē shì， ér qiě shàn yú qiǎo miào dì yùn yòng yǐn yù。 tā de jù zǐ tōng cháng dū jiǎn duǎn jīng hàn， jié gòu qīng xī， jié zòu hé xié（ kě cān kàn tā jiè shào liè mǔ de nà duàn wén zì）。 xǔ duō rén dū céng zhǐ chū tú gé niè fū yǔ yán de tè shū mèi lì， duì tā yùn yòng yǔ yán de cái néng jǐyǔ jí gāo de píng jià。 tuó sī tuǒ yé fū sī jī chēng tú gé niè fū wéi“ é luó sī yǔ yán de jù jiàng”。 gāo 'ěr jī shuō：“ wèi lái de wén xué shǐ zhuān jiā tán dào 'é luó sī yǔ yán de fā zhǎn shí， yī dìng huì shuō： zhè zhǒng yǔ yán shì pǔ xī jīn、 tú gé niè fū hé qì hē fū chuàng zào de”。
fān yì zhè yàng yī wèi yǔ yán dà shī de zuò pǐn， qí nán dù kě xiǎng 'ér zhī； rú guǒ yì wén néng duō shǎo chuán dá yuán zuò de shén yùn， duì yì zhě lái shuō， yě jiù shì zuì dà de xìng fú liǎo。
Plot summary
The novel's protagonist is Fyodor Ivanych Lavretsky, a nobleman who shares many traits with Turgenev. The child of a distant, Anglophile father and a serf mother who dies when he is very young, Lavretsky is brought up at his family's country estate home by a severe maiden aunt, often thought to be based on Turgenev's own mother who was known for her cruelty.
Lavretsky pursues an education in Moscow, and while he is studying there, he spies a beautiful young woman at the opera. Her name is Varvara Pavlovna, and he falls in love with her and asks for her hand in marriage. The two move to Paris, where Varvara Pavlovna becomes a very popular salon hostess and begins an affair with one of her frequent visitors. Lavretsky learns of the affair only when he discovers a note written to her by her lover. Shocked by her betrayal, he severs all contact with her and returns to his family estate.
Upon returning to Russia, Lavretsky visits his cousin, Marya Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky is immediately drawn to Liza, whose serious nature and religious devotion stand in contrast to Varvara Pavlovna's coquettishness and social consciousness. Lavretsky realizes that he is falling in love with Liza, and when he reads in a foreign journal that Varvara Pavlovna has died, he confesses his love to her and learns that she loves him in return.
Unfortunately, a cruel twist of fate prevents Lavretsky and Liza from being together. After they confess their love to one another, Lavretsky returns home to find his supposedly dead wife waiting for him in his foyer. It turns out that the reports of her death were false, and that she has fallen out of favor with her friends and needs more money from Lavretsky.
Upon learning of Varvara Pavlovna's sudden appearance, Liza decides to join a remote convent and lives out the rest of her days as a nun. Lavretsky visits her at the convent one time and catches a glimpse of her as she is walking from choir to choir. The novel ends with an epilogue which takes place eight years later, in which Lavretsky returns to Liza's house and finds that, although many things have changed, there are elements such as the piano and the garden that are the same. Lavretsky finds comfort in his memories and is able to see the meaning and even the beauty in his personal pain.
Major themes
Ultimately, Turgenev concludes that the truth is best left unstated. He concludes the novel by stating that he could not possibly explain what Lavretsky and Liza felt, and that it is better to point out these individual tragedies and pass them by.
Turgenev wrote the novel shortly after his 40th birthday, and it expresses some of his feelings about middle age, as its protagonist is forced to confront the mistakes of his past and determine what options are left for his dwindling future.
yì zhě： huáng wěi jīng
shū rù： xiǎo jīng líng
－－ ài zhī lù
luònàn
“ zhè xiē shēng yīn shēng yì wèi zhe shénme ní？”“ yì wèi zhe wǒ gǎn dào tòng kǔ， qiáng liè dì gǎn dào tòng kǔ。”
“ dāng xiǎo xī de liú shuǐ pèng dào shí tóu de shí hòu， nǐ tīng jiàn guò tā de chán chán shēng má？”
“ tīng jiàn guò…… dàn zhè shuō míng liǎo shuō míng ní？”
“ shuō míng zhè chán chán shēng hé nǐ de shēn yín shēng dū yī yàng shì shēng yīn， ér bù shì bié de shénme dōng xī。 suǒ bù tóng de shì： xiǎo xī de chán chán shēng shǐ rén yuè 'ěr， ér nǐ de shēn yín shēng， què yǐn bù qǐ rèn hé rén de lián mǐn。 nǐ bù bì rěn zhù shēn yín， kě shì nǐ jì zhù bā： zhè fǎn zhèng shì shēng yīn， shēng yīn， xiàng shù mù bèi zhé liè de gā zī shēng yī yàng de shēng yīn…… shēng yīn－－ ér bù shì shénme bié de dōng xī。
tú gé niè fū zhè piān sǎnwén shī xiě yú tā qù shì qián yī nián， nà shí tā shēn huàn zhòng bìng ( jǐ chuí 'ái ) jīng cháng chǔyú tòng kǔ shēn yín hé gū dú gǎn zhī zhōng。
qǐ gài
wǒ zài jiē shàng zǒu zhe…… yī gè qǐ gài－－ yī gè shuāi ruò de lǎo rén dàng zhù liǎo wǒ。 hóng zhǒng de、 liú zhe lèi shuǐ de yǎn jīng， fā qīng de zuǐ chún， cū cāo、 lán lǚ de yī fú， wò chuò de shāng kǒu…… hē， pín qióng bǎ zhè gè bù xìng de rén zhé mó chéng liǎo shénme yàng zǐ 'ā！ tā xiàng wǒ shēn chū yī zhǐ hóng zhǒng、 āng zàng de shǒu……。 tā shēn yín zhe， tā nán nán dì qǐ qiú bāng zhù。 wǒ shēn shǒu sōu suǒ zì jǐ shēn shàng suǒ yòu kǒu dài……。 jì méi yòu qián bāo， yě méi yòuhuái biǎo， shèn zhì lián yī kuài shǒu pà yě méi yòu……。 wǒ suí shēn shénme dōng xī yě méi yòu dài。 dàn qǐ gài zài děng dài zhe…… tā shēn chū lái de shǒu， wēi wēi dì bǎi dòng zhe hé chàn dòng zhe。 wǒ wǎng rán wú cuò， huáng huò bù 'ān， jǐn jǐn dì wò liǎo wò zhè zhǐ 'āng zàng de、 fā dǒu de shǒu……。“ qǐng bié jiàn guài， xiōng dì； wǒ shénme yě méi yòu dài， xiōng dì。” qǐ gài nà duì hóng zhǒng de yǎn jīng níng shì zhe wǒ； tā fā qīng de zuǐ chún wēi xiào liǎo yī xià－－ jiē zhe， tā yě zhào yàng jǐn wò liǎo wǒ de biàn dé lěng qǐ lái de shǒu zhǐ。“ nà 'ér de huà， xiōng dì，” tā chī lì dì shuō dào，“ zhè yě yīngdāng xiè xiè lā。 zhè yě shì yī zhǒng shīshě 'ā， xiōng dì。” qǐ gài nà duì hóng zhǒng de yǎn jīng níng shì zhe wǒ； tā fā qīng de zuǐ chún wēi xiào liǎo yī xià－－ jiē zhe， tā yě zhào yàng jǐn wò liǎo wǒ de biàn dé lěng qǐ lái de shǒu zhǐ。“ nà 'ér de huà， xiōng dì，” tā chī lì dì shuō dào，“ zhè yě yīngdāng xiè xiè lā。 zhè yě shì yī zhǒng shīshě 'ā， xiōng dì。” wǒ míng bái， wǒ yě cóng wǒ de xiōng dì nà 'ér dé dào liǎo shīshě。
míng tiān， míng tiān
dù guò de měi yī tiān， jīhū dōushì nà me kōng xū， nà me lǎnsǎn， nà me háo wú jià zhí！ tā gěi zì jǐ liú xià de hén jì shì duō me shǎo！ zhè xiē yī diǎn zhōng yòu yī diǎn zhōng xiāo shì liǎo de shí jiān， yòu shì duō me méi yòu yì yì， duō me hú lǐ hú tú 'ā！
rán 'ér， rén què yào shēng cún xià qù； tā zhēn xī shēng mìng， tā bǎ xī wàng jì tuō zài shēng mìng， jì tuō zài zì jǐ， jì tuō zài wèi lái shàng miàn…… ō， tā qī dài zhe jiāng lái shénme yàng de xìng fú yā！
kě shì， tā wèishénme shè xiǎng， qí tā hòu lái de rì zǐ， jiāng bù huì tóng gāng gāng guò qù de zhè yī tiān xiāng sì ní？
tā jiù shì méi yòu liào xiǎng dào zhè yī diǎn。 tā xiàng lái bù 'ài sī suǒ－－ tā zhè zuòde hěn hǎo。
“ ā， míng tiān， míng tiān！” tā 'ān wèi zhe zì jǐ， yī zhí dào zhè gè“ míng tiān” bǎ tā sòng rù fén mù。
hǎo lā－－ yī dàn zài fén mù lǐ－－ nǐ jiù bù dé bù tíng zhǐ sī suǒ liǎo。
ài zhī lù
yī qiē gǎn qíng dōukě yǐ dǎo zhì 'ài qíng， dǎo zhì rè liè 'ài mù， yī qiē de gǎn qíng： zēng hèn， lián mǐn， lěng mò， chóng jìng， yǒu yì， wèi jù，－－ shèn zhì miè shì。 shì de， yī qiē de gǎn qíng…… zhǐ shì chú liǎo gǎn xiè yǐ wài。
gǎn xiè－－ zhè shì zhài wù； rèn hé réndōu kě yǐ bǎi chū zì jǐ de yī xiē zhài wù…… dàn 'ài qíng－－ bù shì jīn qián。
kōng huà
wǒ hài pà， wǒ bì miǎn kōng huà； dàn duì kōng huà de wèi jù－－ yě shì yī zhǒng zì fù。
yú shì， zài zhè liǎng gè wài lái cí zhī jiān， zài zì fù yǔ kōng huà zhī jiān， wǒ men fù zá de shēng huó zài liú shì zhe hé biàn dòng zhe。
chún pǔ
chún pǔ！ chún pǔ！ rén men bǎ nǐ jiào zuò shén shèng de。 kě shì， shén shèng－－ zhè bù shì rén lèi de shì。
qiān xùn－－ zhè cái shì。 tā yì zhì zhe， tā zhàn shèng zhe jiāo 'ào。 dàn bù yào wàng jì： shèng lì gǎn běn shēn jiù yùn chǎng zhe zì jǐ de jiāo 'ào。
nǐ kū……
nǐ kū de shì wǒ de bēi tòng； ér wǒ kū， shì yóu yú tóng qíng nǐ duì wǒ de lián mǐn。
rán 'ér， yào zhī dào， nǐ kū de yě shì zì jǐ de bēi tòng， yīn wéi zhǐ yòu nǐ zài wǒ shēn shàng kàn dào liǎo zì jǐ de bēi tòng。
ài qíng
dà jiādōu shuō： ài qíng－－ zhè shì zuì gāo shàng de， zuì tè shū de gǎn qíng。 bié yī gè de“ wǒ”， shēn rù dào nǐ de“ wǒ” lǐ： nǐ bèi kuò dà liǎo－－ nǐ yě bèi tū pò liǎo； xiàn zài cóng ròu tǐ shàng shuō nǐ shì hěn chāo rán liǎo， ér qiě nǐ de“ wǒ” bèi xiāo chú liǎo。 kě shì shèn zhì lián zhè yàng de xiāo wáng， yě shǐ yī gè yòu xuè yòu ròu de rén fèn mèn。 zhǐ yòu bù xiǔ zhī shén cái néng fù huó 'ā。
ā， wǒ de qīng chūn！ ā， wǒ de huó lì！
ā， wǒ de qīng chūn！ ā， wǒ de huó lì！－－ guǒ gē lǐ
“ ā， wǒ de qīng chūn！ ā， wǒ de huó lì！” wǒ yòu gè shí hòu yě céng jīng zhè yàng gǎn tàn guò。 bù guò， dāng wǒ fā chū zhè gè gǎn tàn de shí hòu， wǒ zì jǐ hái nián qīng hé chōng mǎn huó lì。
nà shí， wǒ bù guò shì xiǎng yǐ yōu yù de qíng xù lái tóu zì jǐ suǒ hǎo， biǎo miàn shàng shì zài lián mǐn zì jǐ， àn dì lǐ shì zài gāo xīng。
xiàn zài， wǒ jiān kǒu bù yǔ， bù zài wéi nà xiē shī qù de dōng xī 'āi shēng tàn qì， nán guò shāng xīn……。 nà xiē shī qù de dōng xī， běn lái jiù yǐ bù néng míng shuō de fán nǎo jīng cháng zhé mó zhe wǒ。
“ hēi！ zuì hǎo bié qù xiǎng bā！” nán zǐ hàn men jiān jué dì shuō。
wǒ lián mǐn……
wǒ lián mǐn wǒ zì jǐ， bié rén， suǒ yòu de rén， yě shòu， niǎo lèi…… yī qiē yòu shēng mìng zhī wù。
wǒ lián mǐn hái zǐ men hé lǎo nián rén， bù xìng zhě hé xìng yùn zhě…… lián mǐn xìng yùn zhě shèn yú bù xìng zhě。
wǒ lián mǐn cháng shèng de、 kǎi xuán de shǒu lǐng men， lián mǐn wěi dà de yì shù jiā， sī xiǎng jiā shī rén men。
wǒ lián mǐn shā rén fàn hé tā de shòu hài zhě， lián mǐn chǒu yǔ měi， lián mǐn bèi yā pò zhě hé yā pò zhě。
wǒ zěn yàng cóng zhè lián mǐn zhōng jiě tuō chū lái ní？ tā bù ràng wǒ 'ān wěn dì shēng huó……。 tā， hái yòu zhè fán nǎo。
ò， fán nǎo， fán nǎo， chōng mǎn liǎo lián mǐn de fán nǎo 'ā！ rén qiān wàn bù néng xiàn rù fán nǎo zhī zhōng。
zhēn de， wǒ zuì hǎo hái shì xiàn mù bā！ wǒ jiù xiàn mù－－ yán shí。
chǔshì fǎ zé
nǐ xiǎng chéng wéi xīn qíng 'ān níng de rén má？ nà me， qù tóng rén men jiāo wǎng bā， bù guò yào yī gè rén shēng huó， duì rèn hé shì qíng dōubù yào zhuóshǒu qù zuò， duì rèn hé shì qíng dōubù wǎn xī bā。
nǐ xiǎng chéng wéi xìng fú de rén má？ nà nǐ shǒu xiān yào xué huì chī kǔ。
shuí zhī zuì
tā xiàng wǒ shēn chū liǎo zì jǐ de wēn nuǎn de shǒu、 cāng bái de shǒu…… wǒ què cū lǔ wú qíng dì tuī kāi liǎo tā。 nián qīng、 kě 'ài de liǎn páng shàng， biǎo xiàn chū yí huò bù jiě de shén qíng； nián qīng、 shàn liáng de yǎn jīng， dài zhe zé bèi de mù guāng zhù shì zhe wǒ； nián qīng、 chún jié de xīn， bìng bù lǐ jiě wǒ。
“ wǒ de zuì guò shì shénme？” tā de zuǐ chún nán nán zhe shuō。
“ nǐ de zuì guò？ zài zuì guāng huī càn làn de cāng qióng shēn chù， zuì kuài huó de 'ān qí 'ér， kě néng bǐ nǐ gèng róng yì fàn xià zuì guò ní。
“ kě shì， zài wǒ miàn qián， nǐ de zuì guò yǐ rán shì hěn dà de。
“ nǐ xiǎng zhī dào tā， zhī dào zhè gè nǐ bù kě néng liǎo jiě， wǒ wú fǎ gěi nǐ jiě shì míng bái de zuì guò má？
“ zhè gè zuì guò jiù zài yú： nǐ－－ zhèng dāng qīng chūn nián huá； wǒ－－ yǐ shì lǎo nián。”
shū rù： xiǎo jīng líng
－－ ài zhī lù
luònàn
“ zhè xiē shēng yīn shēng yì wèi zhe shénme ní？”“ yì wèi zhe wǒ gǎn dào tòng kǔ， qiáng liè dì gǎn dào tòng kǔ。”
“ dāng xiǎo xī de liú shuǐ pèng dào shí tóu de shí hòu， nǐ tīng jiàn guò tā de chán chán shēng má？”
“ tīng jiàn guò…… dàn zhè shuō míng liǎo shuō míng ní？”
“ shuō míng zhè chán chán shēng hé nǐ de shēn yín shēng dū yī yàng shì shēng yīn， ér bù shì bié de shénme dōng xī。 suǒ bù tóng de shì： xiǎo xī de chán chán shēng shǐ rén yuè 'ěr， ér nǐ de shēn yín shēng， què yǐn bù qǐ rèn hé rén de lián mǐn。 nǐ bù bì rěn zhù shēn yín， kě shì nǐ jì zhù bā： zhè fǎn zhèng shì shēng yīn， shēng yīn， xiàng shù mù bèi zhé liè de gā zī shēng yī yàng de shēng yīn…… shēng yīn－－ ér bù shì shénme bié de dōng xī。
tú gé niè fū zhè piān sǎnwén shī xiě yú tā qù shì qián yī nián， nà shí tā shēn huàn zhòng bìng ( jǐ chuí 'ái ) jīng cháng chǔyú tòng kǔ shēn yín hé gū dú gǎn zhī zhōng。
qǐ gài
wǒ zài jiē shàng zǒu zhe…… yī gè qǐ gài－－ yī gè shuāi ruò de lǎo rén dàng zhù liǎo wǒ。 hóng zhǒng de、 liú zhe lèi shuǐ de yǎn jīng， fā qīng de zuǐ chún， cū cāo、 lán lǚ de yī fú， wò chuò de shāng kǒu…… hē， pín qióng bǎ zhè gè bù xìng de rén zhé mó chéng liǎo shénme yàng zǐ 'ā！ tā xiàng wǒ shēn chū yī zhǐ hóng zhǒng、 āng zàng de shǒu……。 tā shēn yín zhe， tā nán nán dì qǐ qiú bāng zhù。 wǒ shēn shǒu sōu suǒ zì jǐ shēn shàng suǒ yòu kǒu dài……。 jì méi yòu qián bāo， yě méi yòuhuái biǎo， shèn zhì lián yī kuài shǒu pà yě méi yòu……。 wǒ suí shēn shénme dōng xī yě méi yòu dài。 dàn qǐ gài zài děng dài zhe…… tā shēn chū lái de shǒu， wēi wēi dì bǎi dòng zhe hé chàn dòng zhe。 wǒ wǎng rán wú cuò， huáng huò bù 'ān， jǐn jǐn dì wò liǎo wò zhè zhǐ 'āng zàng de、 fā dǒu de shǒu……。“ qǐng bié jiàn guài， xiōng dì； wǒ shénme yě méi yòu dài， xiōng dì。” qǐ gài nà duì hóng zhǒng de yǎn jīng níng shì zhe wǒ； tā fā qīng de zuǐ chún wēi xiào liǎo yī xià－－ jiē zhe， tā yě zhào yàng jǐn wò liǎo wǒ de biàn dé lěng qǐ lái de shǒu zhǐ。“ nà 'ér de huà， xiōng dì，” tā chī lì dì shuō dào，“ zhè yě yīngdāng xiè xiè lā。 zhè yě shì yī zhǒng shīshě 'ā， xiōng dì。” qǐ gài nà duì hóng zhǒng de yǎn jīng níng shì zhe wǒ； tā fā qīng de zuǐ chún wēi xiào liǎo yī xià－－ jiē zhe， tā yě zhào yàng jǐn wò liǎo wǒ de biàn dé lěng qǐ lái de shǒu zhǐ。“ nà 'ér de huà， xiōng dì，” tā chī lì dì shuō dào，“ zhè yě yīngdāng xiè xiè lā。 zhè yě shì yī zhǒng shīshě 'ā， xiōng dì。” wǒ míng bái， wǒ yě cóng wǒ de xiōng dì nà 'ér dé dào liǎo shīshě。
míng tiān， míng tiān
dù guò de měi yī tiān， jīhū dōushì nà me kōng xū， nà me lǎnsǎn， nà me háo wú jià zhí！ tā gěi zì jǐ liú xià de hén jì shì duō me shǎo！ zhè xiē yī diǎn zhōng yòu yī diǎn zhōng xiāo shì liǎo de shí jiān， yòu shì duō me méi yòu yì yì， duō me hú lǐ hú tú 'ā！
rán 'ér， rén què yào shēng cún xià qù； tā zhēn xī shēng mìng， tā bǎ xī wàng jì tuō zài shēng mìng， jì tuō zài zì jǐ， jì tuō zài wèi lái shàng miàn…… ō， tā qī dài zhe jiāng lái shénme yàng de xìng fú yā！
kě shì， tā wèishénme shè xiǎng， qí tā hòu lái de rì zǐ， jiāng bù huì tóng gāng gāng guò qù de zhè yī tiān xiāng sì ní？
tā jiù shì méi yòu liào xiǎng dào zhè yī diǎn。 tā xiàng lái bù 'ài sī suǒ－－ tā zhè zuòde hěn hǎo。
“ ā， míng tiān， míng tiān！” tā 'ān wèi zhe zì jǐ， yī zhí dào zhè gè“ míng tiān” bǎ tā sòng rù fén mù。
hǎo lā－－ yī dàn zài fén mù lǐ－－ nǐ jiù bù dé bù tíng zhǐ sī suǒ liǎo。
ài zhī lù
yī qiē gǎn qíng dōukě yǐ dǎo zhì 'ài qíng， dǎo zhì rè liè 'ài mù， yī qiē de gǎn qíng： zēng hèn， lián mǐn， lěng mò， chóng jìng， yǒu yì， wèi jù，－－ shèn zhì miè shì。 shì de， yī qiē de gǎn qíng…… zhǐ shì chú liǎo gǎn xiè yǐ wài。
gǎn xiè－－ zhè shì zhài wù； rèn hé réndōu kě yǐ bǎi chū zì jǐ de yī xiē zhài wù…… dàn 'ài qíng－－ bù shì jīn qián。
kōng huà
wǒ hài pà， wǒ bì miǎn kōng huà； dàn duì kōng huà de wèi jù－－ yě shì yī zhǒng zì fù。
yú shì， zài zhè liǎng gè wài lái cí zhī jiān， zài zì fù yǔ kōng huà zhī jiān， wǒ men fù zá de shēng huó zài liú shì zhe hé biàn dòng zhe。
chún pǔ
chún pǔ！ chún pǔ！ rén men bǎ nǐ jiào zuò shén shèng de。 kě shì， shén shèng－－ zhè bù shì rén lèi de shì。
qiān xùn－－ zhè cái shì。 tā yì zhì zhe， tā zhàn shèng zhe jiāo 'ào。 dàn bù yào wàng jì： shèng lì gǎn běn shēn jiù yùn chǎng zhe zì jǐ de jiāo 'ào。
nǐ kū……
nǐ kū de shì wǒ de bēi tòng； ér wǒ kū， shì yóu yú tóng qíng nǐ duì wǒ de lián mǐn。
rán 'ér， yào zhī dào， nǐ kū de yě shì zì jǐ de bēi tòng， yīn wéi zhǐ yòu nǐ zài wǒ shēn shàng kàn dào liǎo zì jǐ de bēi tòng。
ài qíng
dà jiādōu shuō： ài qíng－－ zhè shì zuì gāo shàng de， zuì tè shū de gǎn qíng。 bié yī gè de“ wǒ”， shēn rù dào nǐ de“ wǒ” lǐ： nǐ bèi kuò dà liǎo－－ nǐ yě bèi tū pò liǎo； xiàn zài cóng ròu tǐ shàng shuō nǐ shì hěn chāo rán liǎo， ér qiě nǐ de“ wǒ” bèi xiāo chú liǎo。 kě shì shèn zhì lián zhè yàng de xiāo wáng， yě shǐ yī gè yòu xuè yòu ròu de rén fèn mèn。 zhǐ yòu bù xiǔ zhī shén cái néng fù huó 'ā。
ā， wǒ de qīng chūn！ ā， wǒ de huó lì！
ā， wǒ de qīng chūn！ ā， wǒ de huó lì！－－ guǒ gē lǐ
“ ā， wǒ de qīng chūn！ ā， wǒ de huó lì！” wǒ yòu gè shí hòu yě céng jīng zhè yàng gǎn tàn guò。 bù guò， dāng wǒ fā chū zhè gè gǎn tàn de shí hòu， wǒ zì jǐ hái nián qīng hé chōng mǎn huó lì。
nà shí， wǒ bù guò shì xiǎng yǐ yōu yù de qíng xù lái tóu zì jǐ suǒ hǎo， biǎo miàn shàng shì zài lián mǐn zì jǐ， àn dì lǐ shì zài gāo xīng。
xiàn zài， wǒ jiān kǒu bù yǔ， bù zài wéi nà xiē shī qù de dōng xī 'āi shēng tàn qì， nán guò shāng xīn……。 nà xiē shī qù de dōng xī， běn lái jiù yǐ bù néng míng shuō de fán nǎo jīng cháng zhé mó zhe wǒ。
“ hēi！ zuì hǎo bié qù xiǎng bā！” nán zǐ hàn men jiān jué dì shuō。
wǒ lián mǐn……
wǒ lián mǐn wǒ zì jǐ， bié rén， suǒ yòu de rén， yě shòu， niǎo lèi…… yī qiē yòu shēng mìng zhī wù。
wǒ lián mǐn hái zǐ men hé lǎo nián rén， bù xìng zhě hé xìng yùn zhě…… lián mǐn xìng yùn zhě shèn yú bù xìng zhě。
wǒ lián mǐn cháng shèng de、 kǎi xuán de shǒu lǐng men， lián mǐn wěi dà de yì shù jiā， sī xiǎng jiā shī rén men。
wǒ lián mǐn shā rén fàn hé tā de shòu hài zhě， lián mǐn chǒu yǔ měi， lián mǐn bèi yā pò zhě hé yā pò zhě。
wǒ zěn yàng cóng zhè lián mǐn zhōng jiě tuō chū lái ní？ tā bù ràng wǒ 'ān wěn dì shēng huó……。 tā， hái yòu zhè fán nǎo。
ò， fán nǎo， fán nǎo， chōng mǎn liǎo lián mǐn de fán nǎo 'ā！ rén qiān wàn bù néng xiàn rù fán nǎo zhī zhōng。
zhēn de， wǒ zuì hǎo hái shì xiàn mù bā！ wǒ jiù xiàn mù－－ yán shí。
chǔshì fǎ zé
nǐ xiǎng chéng wéi xīn qíng 'ān níng de rén má？ nà me， qù tóng rén men jiāo wǎng bā， bù guò yào yī gè rén shēng huó， duì rèn hé shì qíng dōubù yào zhuóshǒu qù zuò， duì rèn hé shì qíng dōubù wǎn xī bā。
nǐ xiǎng chéng wéi xìng fú de rén má？ nà nǐ shǒu xiān yào xué huì chī kǔ。
shuí zhī zuì
tā xiàng wǒ shēn chū liǎo zì jǐ de wēn nuǎn de shǒu、 cāng bái de shǒu…… wǒ què cū lǔ wú qíng dì tuī kāi liǎo tā。 nián qīng、 kě 'ài de liǎn páng shàng， biǎo xiàn chū yí huò bù jiě de shén qíng； nián qīng、 shàn liáng de yǎn jīng， dài zhe zé bèi de mù guāng zhù shì zhe wǒ； nián qīng、 chún jié de xīn， bìng bù lǐ jiě wǒ。
“ wǒ de zuì guò shì shénme？” tā de zuǐ chún nán nán zhe shuō。
“ nǐ de zuì guò？ zài zuì guāng huī càn làn de cāng qióng shēn chù， zuì kuài huó de 'ān qí 'ér， kě néng bǐ nǐ gèng róng yì fàn xià zuì guò ní。
“ kě shì， zài wǒ miàn qián， nǐ de zuì guò yǐ rán shì hěn dà de。
“ nǐ xiǎng zhī dào tā， zhī dào zhè gè nǐ bù kě néng liǎo jiě， wǒ wú fǎ gěi nǐ jiě shì míng bái de zuì guò má？
“ zhè gè zuì guò jiù zài yú： nǐ－－ zhèng dāng qīng chūn nián huá； wǒ－－ yǐ shì lǎo nián。”