yī gè 'èr shí shì jì chū qī diān xī yì jì de gù shì， shàonǚ wū zhēn bèi biǎo gē mài rù jì yuàn。 shàonǚ wū zhēn zài gè dì mǎ bāng shāng rén yún jí de yì zhèn， kāi shǐ liǎo tā chōng mǎn yì shù de rén shēng
1980 nián de yī gè shì jiè， nián jǐn 18 suì de wǒ kuī shì dào de yī gè tā rén de shì jiè： yī gè nán rén zuì zhōng zǒng shì zuò zài tōng wǎng gé lóu de lóu tī shàng， děng hòu wǒ de lín jū huí jiā。 yóu yú mǒu zhǒng qí tè de yuán yīn， wǒ hé yī gè fù nǚ gòng zhù zài yī zuò jìn bǎi nián de gé lóu shàng。 nà shí hòu， wǒ zǒng shì yǐ tā zuò wéi wǒ de huǒ bàn， cái zhàn shèng liǎo lái zì xiǎo gé lóu de kǒng jù
wǒ jiǎng shù de zhè gè gù shì fā shēng zài zhōng guó de nán fāng， zài yī gè hēi yè lǐ wǒ zài gǔ lǎo de téng yuè chéng zhōng sàn bù， wěi dà de dì lǐ xué jiā xú xiá kè bǎ zhè zuò chéng chēng wéi “ jí biān dì yī chéng ”， wǒ jiù shì zài zhè zuò gǔ chéng gǎn shòu dào liǎo shí jiān de liú shì， zhè gè diǎn xíng de nán fāng gù shì xiàn gěi zài mèng xiǎng de jù dà bēi jù zhōng chén lún de dú zhě xīn líng。 héng héng hǎi nán
chén zhòng bù kān de sī shēng huó yǐ jīng kǔn bǎng wǒ men tài jiǔ， mǐ lán · kūn dé lā shuō：“ zuì chén zhòng de fù dān yā dé wǒ men bēng tā liǎo， chén méi liǎo， jiāng wǒ men dīng zài dì shàng。 kě shì zài měi yī gè shí dài de 'ài qíng shī piān lǐ， ## zǒng kě wàng yā zài nán rén de shēn qū zhī xià。 yě xǔ zuì chén zhòng de fù dān tóng shí yě shì yī zhǒng shēng huó zuì wéi chōng shí de xiàng zhēng， fù dān yuè chén， wǒ men de shēng huó yě jiù yuè tiē jìn dà dì， yuè qū jìn zhēn qiē hé shí zài。” suǒ yǐ， miàn duì sī shēng huó， yóu wéi zhòng yào de shì wèile sōng bāng wǒ men de sī shēng huó； ràng wǒ men yóu chén zhòng zǒu xiàng qīng yíng huò zhě zǒu xiàng yáo yuǎn de dì píng xiàn。
gù shì wú jū shù dì zì yóu dào lái， biǎo míng duì zì yóu shēng huó de zhuī qiú， zhè zhèng shì tā jīng zài shì jiè wén xué shǐ shàng zhàn yòu zhòng yào dì wèi de yuán yīn suǒ zài。
1934 nián kě pà de hēi sǐ bìng cóng dì zhōng zhǎng yán 'àn màn yán dào zhōng 'ōu， wéi duǒ bì wēn yì， yòu sān nán qī nǚ cóng fó luó lún sà táo lí， yí jū yī zuò bié shù。 wéi xiāo mó shí guāng měi rén měi tiān jiǎng yī gè gù shì， 10 tiān lǐ gòng jiǎng liǎo 100 gè gù shì， zhè jiù shì《 shí rì tán》。 gù shì shēn kè dì jiē lù liǎo jiào huì、 sēng lǚ qī piàn de xū wěi， pēng jī liǎo jìn yù zhù yì， ōu gē gāo shàng de 'ài qíng。
The title is a portmanteau of two Greek words meaning "ten" (δέκα déka) and "day" (ἡμέρα hēméra).
1934 nián kě pà de hēi sǐ bìng cóng dì zhōng zhǎng yán 'àn màn yán dào zhōng 'ōu， wéi duǒ bì wēn yì， yòu sān nán qī nǚ cóng fó luó lún sà táo lí， yí jū yī zuò bié shù。 wéi xiāo mó shí guāng měi rén měi tiān jiǎng yī gè gù shì， 10 tiān lǐ gòng jiǎng liǎo 100 gè gù shì， zhè jiù shì《 shí rì tán》。 gù shì shēn kè dì jiē lù liǎo jiào huì、 sēng lǚ qī piàn de xū wěi， pēng jī liǎo jìn yù zhù yì， ōu gē gāo shàng de 'ài qíng。
The title is a portmanteau of two Greek words meaning "ten" (δέκα déka) and "day" (ἡμέρα hēméra).
儿子与情人《 ér zǐ yǔ qíng rén》 shì jiǎo dú tè， duì rén xìng zhōng yǐn mì de“ liàn mǔ qíng jié” yòu shēn kè、 xíng xiàng de wā jué。 yī bān rèn wéi， xiǎo shuō zhōng de 'ér zǐ bǎo luó jiù shì láo lún sī de huà shēn， ér mò léi 'ěr tài tài jiù shì láo lún sī de mǔ qīn lì dì yà， bǎo luó de nǚ yǒu mǐ lì 'ān jiù shì láo lún sī de chū liàn qíng rén jié qiàn。
《 ér zǐ yǔ qíng rén》 de zhù xiàn zhī yī shì yǐ láo lún sī hé jié qiàn de sī qíng wéi lán běn， ér láo lún sī mǔ qīn nà qiáng liè biàn tài de mǔ 'ài zú yǐ 'ě shā láo lún sī rèn hé zhèng cháng de 'ài qíng。 láo lún sī céng duì zì jǐ de qíng rén shuō：“ nǐ zhī dào wǒ yī zhí 'ài wǒ de mǔ qīn。 wǒ xiàng qíng rén yī yàng 'ài tā， suǒ yǐ wǒ zǒng yě wú fǎ 'ài nǐ。” zhè xiē zhé mó rén de rì zǐ zài《 ér zǐ yǔ qíng rén》 zhōng yòu hěn xiáng jìn de miáo shù。
《 ér zǐ yǔ qíng rén》 - xiǎo shuō bèi jǐng
xiǎo shuō bèi jǐng shì láo lún sī de chū shēng dì héng héng nuò dīng hàn jùn kuàng qū。 fù qīn mò ruì 'ěr shì kuàng gōng， yóu yú cháng nián chén zhòng de láo dòng hé méi jǐng shì gù shǐ tā biàn dé pí qì bào zào， mǔ qīn chū shēn
yú zhōng chǎn jiā tíng， yòu yī dìng jiào yǎng。 jié hūn hòu， fū fù bù hé， mǔ qīn kāi shǐ yàn qì zhàng fū， bǎ quán bù gǎn qíng hé xī wàng qīng zhù zài hái zǐ shēn shàng， yóu cǐ chǎn shēng jī xíng de mǔ 'ài。 zhǎngzǐ wēi lián wéi lún dūn lǜ shī dāng wén shū， dàn wèile zhèng qián láolèi zhì sǐ。 mǔ qīn cóng cǐ duì xiǎo 'ér zǐ bǎo luó jì yú hòu wàng。 xiǎo shuō qián bàn bù zhuózhòng xiě liǎo bǎo luó hé qí mǔ qīn zhī jiān 'ào dí fǔ sī shì de gǎn qíng。 hòu bàn bù zé zhuózhòng xiě liǎo bǎo luó hé liǎng wèi qíng rén kè lā lā hé mǐ lǐ 'ài mǔ zhī jiān liǎng zhǒng bù tóng de 'ài。 qián zhě qíng yù 'ài， hòu zhě shì bólātú shì de jīng shén zhī liàn。 bǎo luó zài mǔ qīn yīn yǐng zhī xià， wú fǎ xuǎn zé zì jǐ de shēng huó dào lù。 zhí dào mǔ qīn bìng gù hòu， tā cái bǎi tuō liǎo shù fù， lí bié gù tǔ hé qíng rén， zhēn zhèng chéng rén。
láo lún sī tōng guò xiàn shí zhù yì hé xīn lǐ fēn xī de xiě zuò fāng fǎ， miáo xiě liǎo shí jiǔ shì jì mò yè yīng guó gōng yè shè huì zhōng xià céng rén mín de shēng huó hé tè dìng huán jìng xià mǔ zǐ jiān hé liǎng xìng jiān de fù zá、 biàn tài de xīn lǐ。 tā qiáng diào rén de yuán shǐ běn néng， bǎ lǐ zhì zuò wéi yā yì tiān xìng de yīn sù jiā yǐ bìng qì， zhù zhāng chōng fēn fā huī rén de běn néng。 xiǎo shuō zhōng， láo lún sī hái duì yīng guó shēng huó zhōng gōng yè huà wù zhì wén míng hé shāng yè jīng shén jìn xíng liǎo pī pàn。
《 ér zǐ yǔ qíng rén》 - nèi róng jiè shào
《 ér zǐ yǔ qíng rén》 xiǎo shuō zhù rén gōng bǎo luó de fù mǔ mò ruì 'ěr fū fù。 tā men liǎng rén shì zài yī cì wǔ huì shàng jié shí de， kě yǐ shuō shì yī jiàn zhōng qíng， hūn hòu yě guò liǎo yī duàn tián mì、 xìng fú de rì zǐ。 dàn shì， liǎng rén yóu yú chū shēn bù tóng， xìng gé bù hé， jīng shén zhuī qiú jiǒng yì， zài duǎn zàn de jī qíng guò hòu， zhī jiān biàn chǎn shēng liǎo wú xiū zhǐ de chún qiāng shé jiàn， zhàng fū shèn zhì dòng qǐ shǒu lái， hái bǎ huái yòu shēn yùn de qī zǐ guān zài mén wài。
xiǎo shuō zhōng de fū fù zhī jiān zhǐ yòu ròu tǐ de jié hé， ér méi yòu jīng shén de gōu tōng、 líng hún de gòng míng。 fù qīn shì yī wèi hún hún 'è 'è de méi kuàng gōng rén， tān bēi， cū sú， cháng cháng bǎ jiā lǐ de shì hé hái zǐ men de qián chéng zhì zhī dù wài。 mǔ qīn chū shēn yú zhōng chǎn jiē jí， shòu guò jiào yù， duì jià gěi yī gè píng fán de kuàng gōng gěng gěng yú huái， zhí dào duì zhàng fū wán quán jué wàng。 yú shì， tā bǎ shí jiān、 jīng lì hé quán bù jīng shén xī jì zhuǎn yí、 qīng zhù dào yóu yú ròu tǐ jié hé 'ér jiàng shēng yú rén shì jiān de dà 'ér zǐ wēi lián hé 'èr 'ér zǐ bǎo luó shēn shàng。
tā jié lì zǔ zhǐ 'ér zǐ bù fù qīn de hòu chén， xià jǐng wā méi； tā qiān fāng bǎi jì dūn cù tā men tiào chū xià céng rén de juàn zǐ， chū rén tóu dì， shí xiàn tā zài zhàng fū shēn shàng wèi néng shí xiàn de jīng shén zhuī qiú。 tā de yī yán yīháng、 yī jǔ yī dòng bù dàn lā dà liǎo tā hé zhàng fū zhī jiān de jù lí， bìng zuì zhōng shǐ zhī chéng wéi bù kě yú yuè de hóng gōu， ér qiě yǐng xiǎng liǎo zǐ nǚ， shǐ tā men yǔ mǔ qīn jié chéng láo gù de tǒng yī zhàn xiàn， qù gòng tóng duì fù nà suī rán ròu tǐ yǐ jiù guāng huá、 jiàn zhuàng， ér jīng shén rì jiàn shuāi bài、 kū jié de fù qīn。
mǔ qīn hé hái zǐ men de tǒng yī zhàn xiàn gěi gū lì wú yuán de fù qīn dài lái liǎo tòng kǔ hé zāinàn， yě méi yòu gěi mò ruì 'ěr jiā lǐ de rèn hé qí tā yī gè rén dài lái hǎo chù。 fā shēng zài fù mǔ shēn shàng nà wú xiū zhǐ de chōng tū， tè bié shì wú fǎ hé jiě de líng yǔ ròu de zhuàng jī chóngyǎn zài mǔ qīn hé 'ér zǐ de shēn shàng。 xiāng bǐ zhī xià， fū qī zhī jiān de bù hé duì mò ruì 'ěr tài tài lái shuō bìng méi yòu dài lái tài dà de jīng shén shàng de zhé mó， yīn wéi tā duì zhàng fū shī qù liǎo xìn xīn， ér qiě běn lái jiù méi yòu bào duō dà de xī wàng。
méi yòu ràng mǔ qīn yáng méi tù qì de dà 'ér zǐ sǐ hòu， èr 'ér zǐ bǎo luó jiù zhú jiàn chéng liǎo mǔ qīn wéi yī de jīng shén gǎng wān， yě chéng liǎo mǔ qīn fā xiè wú míng zhī huǒ hé nèi xīn tòng kǔ de yī gè qú dào。 tā 'ài 'ér zǐ， hèn tiě bù chéng gāng， yī gè jìn 'ér dì gǔ lì、 dū cù bǎo luó chéng míng chéng jiā， jī shēn yú shàng liú shè huì， wéi mǔ qīn zhēng guāng zhēng qì； tā yě xiǎng fāng shè fǎ cóng jīng shén shàng kòng zhì 'ér zǐ， shǐ tā bù yí qíng tā rén， tè bié shì bié de nǚ rén， yǐ biàn mǎn zú zì jǐ hūn yīn de quē hàn。 zhè zhǒng qiáng liè de dài zhàn yòu xìng zhì de 'ài shǐ 'ér zǐ gǎn dào zhì xī， pò shǐ tā yī yòu jī huì jiù shè fǎ táo tuō。 ér zài duǎn zàn de táo lí zhōng， tā yòu cháng cháng bèi mǔ qīn nà wú xíng de jīng shén jiā suǒ qiān yǐn zhe， tòng kǔ dé bù néng zì yǐ。
hé nǚ yǒu mǐ lì 'ān de jiāo wǎng guò chéng yě shì nián qīng de bǎo luó jīng lì jīng shén tòng kǔ de guò chéng。 tā men yóu yú xīng qù xiāng tóu， jiē chù rì jiàn pín fán， chǎn shēng liǎo gǎn qíng， chéng liǎo yī duì yīnggāi shuō shì shí fēn xiāng pèi de liàn rén。 rán 'ér kě bēi de shì， mǐ lì 'ān yě guòfèn zhuī qiú jīng shén mǎn zú， fēi dàn quē fá jī qíng， ér qiě xiàng bǎo luó de mǔ qīn yī yàng， qǐ tú cóng jīng shén shàng zhàn yòu bǎo luó， cóng líng hún shàng tūn shì bǎo luó。 zhè shǐ tā yǔ bǎo luó de mǔ qīn chéng liǎo zhēn fēng xiāng duì de“ qíng dí”， mìng lǐ zhù dìng yào bài zài nà zhàn yòu yù gèng qiáng， yòu kě yǐ lài xuè yuán guān xì qīng yì zhàn shàng fēng de lǎo tài tài shǒu xià。
bǎo luó shēn biān de lìng yī gè míng jiào kè lā lā de nǚ rén tóng yàng shì yī gè líng yǔ ròu xiāng fēn lí de jī xíng rén。 tā shēng huó zài shè huì xià céng， yǔ zhàng fū fēn jū， yī duàn shí jiān nèi yǔ bǎo luó dǎ dé huǒ rè。 bǎo luó cóng zhè wèi“ dàng fù” shēn shàng dé dào ròu tǐ shàng de mǎn zú。 rán 'ér zhè zhǒng“ kuáng huān shì” de róng hé， shì yī zhǒng méi yòu shēng mìng lì de、 yī shùn jí shì de jié hé。 yóu yú cóng mǐ lì 'ān shēn shàng zhǎo bù dào 'ān wèi， bǎo luó xū yào cóng xīn lǐ shàng xún qiú zì wǒ píng héng， xū yào cóng xìng shàng zhèng míng zì jǐ de nán xìng néng lì。 yóu yú cóng zhàng fū shēn shàng dé bù dào mǎn zú， kè lā lā yě xū yào zhǎn shì zì jǐ de mèi lì， cóng ròu tǐ shàng xún qiú zì wǒ píng héng。
zuò wéi mǔ qīn， yǔ 'ér zǐ yóu qí shì yǔ 'èr 'ér zǐ bǎo luó zhī jiān de qíng jié， nà zhǒng sī gān liè fèi de líng hún shàng de zhēng dǒu zé gěi kě lián de mǔ qīn dài lái liǎo wú fǎ yù hé de chuāngshāng， zhí dào tā yù yù guǎ huān， wú kě nài hé， lí kāi rén shì。
《 ér zǐ yǔ qíng rén》 - rén wù fēn xī
《 ér zǐ yǔ qíng rén》 zhōng， bǎo luó mǔ qīn duì zhàng fū de shī wàng、 bù mǎn hé yuàn hèn shǐ mò ruì 'ěr tài tài bǎ zì jǐ de gǎn qíng、 ài lián hé jīng shén jì tuō zhuànxiàng liǎo 'ér zǐ， huò zhě shuō， mò ruì 'ěr tài tài bǎ zì jǐ jīng lì guò de jīng shén mó nán hé yī xīn yào jiě jué de wèn tí“ zhé shè” dào liǎo 'ér zǐ de shēn shàng， yú shì yīcháng líng yǔ ròu de chōng zhuàng yòu zài mǔ zǐ zhī jiān zhǎn kāi。
mǔ qīn de zhè zhǒng xìng biàn tài shǐ 'ér zǐ xīn suān， chóu chàng， wú suǒ shì cóng。 yòu liǎo mǔ qīn， bǎo luó jiù wú fǎ qù 'ài bié de nǚ rén。 zài mǔ qīn jīhū shì shēng sī lì jié dì 'āi tàn“ wǒ cóng lái méi yòu guò yī gè zhàng fū”、 yī gè“ zhēn zhèng” de zhàng fū shí， bǎo luó jìn bù zhù shēn qíng dì fǔ mō qǐ mǔ qīn de tóu fā， rè wěn qǐ mǔ qīn de hóu jǐng。 zhè zhǒng“ liàn mǔ qíng jié” zài hěn dà chéng dù shàng biàn chéng liǎo yī zhǒng“ gù liàn”， shǐ tā shī qù liǎo gǎn qíng hé lǐ zhì de hé xié， shī qù liǎo“ běn wǒ” hé“ chāo zì wǒ” zhī jiān de píng héng。 yīn cǐ， bǎo luó de qíng gǎn wú fǎ fā zhǎn、 shēng huá， tā de xìng xīn lǐ xìng gé wú fǎ wán shàn、 chéng shú， cóng 'ér dǎo zhì liǎo tā yī shēng de tòng kǔ hé bēi jù。
yòu nián shí qī de“ liàn mǔ” qíng jié， shǐ bǎo luó chéng liǎo gǎn qíng shàng hé jīng shén shàng de“ chī dāi 'ér”。 tā suī rán 'ài liàn zhe mǐ lì 'ān， dàn què bù néng xiàng yī wèi zhèng cháng de xuè ròu zhī qū， lǐ zhí qì zhuàng dì qù 'ài tā。 zhè bù dàn shǐ zì jǐ xiàn rù liǎo kùn jìng， yě gěi mǐ lì 'ān zào chéng liǎo jù dà de jīng shén tòng kǔ。 bǎo luó jiàn bù dào mǐ lì 'ān de shí hòu huì gǎn dào mèn dé huāng， kě shì yī dàn gēn tā zài yī qǐ què yào zhēng zhēng chǎo chǎo， yīn wéi mǐ lì 'ān zǒng shì xiǎn dé“ chāo fán tuō sú” huò fēi cháng dì“ jīng shén huà”， shǐ bǎo luó jué dé xiàng gēn mǔ qīn zài yī qǐ nà yàng bù zì zài。
bǎo luó zhǐ yào gēn bié de nǚ rén zài yī qǐ， líng hún jiù huì bèi mǔ qīn nà wú xíng de jīng shén jiā suǒ kòng zhì zhe， gǎn dào zuǒ yòu wéi nán， wú fǎ huò dé zì yóu。 zài tā hé mǐ lì 'ān yǎn rán xiàng yī duì fū fù zài qīn qī jiā shēng huó de rì zǐ lǐ， bǎo luó dé dào liǎo mǐ lì 'ān de ròu tǐ， ér zài jīng shén shàng， bǎo luó réng rán shǔ yú zì jǐ de mǔ qīn。 mǐ lì 'ān zhǐ shì dài zhe nóng hòu de zōng jiào chéngfèn， wèile xīn 'ài de rén zuò chū liǎo“ xī shēng”。 suǒ yǐ， zài nà duàn rì zǐ lǐ， tā men yě bìng méi yòu néng gòu xiǎng shòu qīng nián nán nǚ zhī jiān běn gāi xiǎng shòu dào de yú yuè。 shí jì shàng， ròu tǐ jiān de gǒu hé， zhǐ shì jiā sù liǎo tā men zhī jiān 'ài qíng bēi jù de jìn chéng。
zài zhè yī cì cì líng yǔ ròu de chōng zhuàng hòu， xiǎo shuō zhōng de zhù yào rén wù yī gè gè shāng hén lěi lěi， ròu tǐ hé jīng shén jūn zāo shòu liǎo jù dà de cuī cán。 bǎo luó de fù qīn zài jiā lǐ、 zài qīn rén miàn qián yǒng yuǎn chéng wéi gé gé bù rù de“ biān yuán rén”。 bǎo luó de mǔ qīn zài jīng shén shàng cóng lái méi yòu guò yī gè“ zhēn zhèng de zhàng fū”， zhǐ néng cóng 'ér zǐ shēn shàng xún zhǎo qíng gǎn de wèi jiè， ér zhè zhǒng nǔ lì yòu cháng cháng bèi qí tā nǚ rén suǒ cuò bài， hòu lái xīn lǐ、 shēng lǐ shuāi jié， dé liǎo bù zhì zhī zhèng， zǎo zǎo sǎ shǒu rén huán。 mǐ lì 'ān suī rán kǔ kǔ zhēngzhá， rěn rǔ fù zhòng， dàn bìng méi yòu dé dào bǎo luó de xīn， bǎo luó zhí dào bǎi tuō mǔ qīn de jīng shén jī bàn， kě yǐ yǔ tā zhòng guī yú hǎo， yǒng jié liáng yuán shí， zuì zhōng hái shì hěn xià xīn lái， jù jué liǎo tā de hūn qiú， jié rán yī rén， jì xù zuò jīng shén shàng de zhēngzhá。
zhǐ chén mí yú ròu tǐ yù wàng de kè lā lā yě hěn kuài jié shù liǎo yǔ bǎo luó de fēng liú， huí dào xìng gé cū sú、 bào liè、 wú suǒ zuò wéi de zhàng fū shēn biān。 kě yǐ shuō， zài zhè xiē líng yǔ ròu de chōng zhuàng zhōng， wǒ men kàn dào de shì yī gè gè jù sàng、 kě bēi de shī bài zhě， zhǎo bù dào yī gè zuì zhōng de yíng jiā。 qí shí， zài rén men lài yǐ fán yǎn shēng xī de dà zì rán bèi pò huài， zài rén xìng bèi niǔ qū， zài rén lèi de hé xié guān xì bù duàn bèi wēi xié de shè huì zhōng， líng yǔ ròu de zhēng dǒu běn lái jiù shì cán kù wú qíng de， dào tóu lái shuí yě chéng bù liǎo yíng jiā， chéng bù liǎo yī gè wán zhěng de、 yòu xuè yòu ròu de rén。
《 ér zǐ yǔ qíng rén》 - zuò pǐn yǐng xiǎng
《 ér zǐ yǔ qíng rén》 shì láo lún sī zài yī cì shì jiè dà zhàn zhī qián zuì yōu xiù de zuò pǐn zhī yī。 dài wéi hè bó tè láo lún sī shì yī wèi tiān cái de zuò jiā， tā de zuò pǐn dòng chá rén lèi shēng mìng zhōng zuì shēn céng de lǐng dì héng rén de xīn lǐ， shēng dòng miáo shù rén lèi zhū rú zhēngzhá、 tòng kǔ、 wēi jī、 huān yú děng zhǒng zhǒng qíng gǎn hé gǎn shòu。 tā zhì lì yú kāi qǐ rén lèi xīn shēn chù de“ hēi xiá zǐ”， chuān tòu yì shí de biǎo miàn， chù jí yǐn cáng de xuè de guān lián“， cóng 'ér jiē shì yuán xíng de zì wǒ。
zài zhè bù xiǎo shuō lǐ， tā duì nǚ xìng de xīn lǐ jìn xíng liǎo dà dǎn、 tòu chè de tàn suǒ， qí xiǎo shuō zhōng de nǚ xìng yě yīn cǐ tǐ xiàn chū gèng wéi qiáng liè de shěn měi qíng qù hé yì shù biǎo xiàn lì， xì nì zhǔn què dì fǎn yìng chū láo lún sī de xiě zuò zhù tí。
dài wéi hè bó tè láo lún sī yòng jīng shén fēn xī de fāng fǎ duì《 ér zǐ yǔ qíng rén》 zhōng de sān zhǒng nǚ xìng 'ài qíng xīn lǐ mó shì jìn xíng miáo shù， zhè sān zhǒng mó shì jiāng chéng wéi cǐ lùn wén de sān bù fēn。 dì yī bù fēn héng jīng shén mó shì ,， cǐ mó shì duì běn néng de yù wàng jìn xíng dǐ zhì hé qīng shì。《 ér zǐ yǔ qíng rén》 zhōng de mǐ lì yà mǔ jiù shì zhè gè mó shì de diǎn xíng dài biǎo。 dì 'èr bù fēn héng héng ròu yù mó shì， zhè zhǒng xīn lǐ huì fàng zòng tā men zì jǐ gè rén de běn néng de yù wàng 'ér yòu hū shì liǎo líng hún de jiāo liú。 zhè bù xiǎo shuō zhōng de kè lā lā jiù shì yī gè diǎn xíng de lì zǐ。 dì sān bù fēn héng héng qíng jié mó shì， zhè zhǒng mó shì duì mǒu gè dōng xī huò mǒu yī zhǒng gǎn qíng xiǎn shì chū yī zhǒng jí duān de tài dù。 mò ruì 'ěr tài tài jiù zhè yàng de yī gè duì jiā tíng hé 'ér zǐ men yòu jí duān de zhàn yòu yù de nǚ rén。
dài wéi hè bó tè láo lún sī tōng guò duì《 ér zǐ yǔ qíng rén》 zhōng de sān zhǒng nǚ xìng 'ài qíng xīn lǐ mó shì de fēn xī， chǎn shù qí jú xiàn xìng， jiē shì jiàn kāng zì rán de nǚ xìng 'ài qíng xīn lǐ， duì yú chéng jiù wán zhěng de shēng mìng jí zhuī qiú zhōng nǚ xìng de chéng gōng yòu zhòng yào zuò yòng。
Plot introduction and history
The third published novel of D. H. Lawrence, taken by many to be his earliest masterpiece, tells the story of Paul Morel, a young man and budding artist. Richard Aldington explains the semi-autobiographical nature of this masterpiece:
When you have experienced Sons and Lovers you have lived through the agonies of the young Lawrence striving to win free from his old life. Generally, it is not only considered as an evocative portrayal of working-class life in a mining community, but also an intense study of family, class and early sexual relationships.[citation needed]
The original 1913 edition was heavily edited by Edward Garnett who removed 80 passages, roughly a tenth of the text. The novel is dedicated to Garnett. Garnett, as the literary advisor to the publishing firm Duckworth, was an important figure in leading Lawrence further into the London literary world during the years 1911 and 1912. It was not until the 1992 Cambridge University Press edition was released that the missing text was restored.
Lawrence began working on the novel in the period of his mother's illness, and often expresses this sense of his mother's wasted life through his female protagonist Gertrude Morel. Letters written around the time of its development clearly demonstrate the admiration he felt for his mother - viewing her as a 'clever, ironical, delicately moulded woman' - and her apparently unfortunate marriage to his coal mining father, a man of 'sanguine temperament' and instability. He believed that his mother had married below her class status. Rather interestingly, Lydia Lawrence wasn't born into the middle-class. This personal family conflict experienced by Lawrence provided him with the impetus for the first half of his novel - in which both William, the older brother, and Paul Morel become increasingly contemptuous of their father - and the subsequent exploration of Paul Morel's antagonizing relationships with both his lovers, which are both invariably affected by his allegiance to his mother.
The first draft of Lawrence's novel is now lost and was never completed, which seems to be directly due to his mother's illness. He did not return to the novel for three months, at which point it was titled 'Paul Morel'. The penultimate draft of the novel coincided with a remarkable change in Lawrence's life, as his health was thrown into tumult and he resigned his teaching job in order to spend time in Germany. This plan was never followed, however, as he met and married the German minor aristocrat, Frieda Weekley. According to Frieda's account of their first meeting, she and Lawrence talked about Oedipus and the effects of early childhood on later life within twenty minutes of meeting.
The third draft of 'Paul Morel' was sent to the publishing house Heinemann, which was repulsively responded to by William Heinemann himself. His reaction captures the shock and newness of Lawrence's novel, 'the degradation of the mother [as explored in this novel], supposed to be of gentler birth, is almost inconceivable', and encouraged Lawrence to redraft the novel one more time. In addition to altering the title to a more thematic 'Sons and Lovers', Heinemann's response had reinvigorated Lawrence into vehemently defending his novel and its themes as a coherent work of art. In order to justify its form Lawrence explains, in letters to Garnett, that it is a 'great tragedy' and a 'great book', one that mirrors the 'tragedy of thousands of young men in England'.
Explanation of the novel's title
Lawrence rewrote the work four times until he was happy with it. Although before publication the work was usually called Paul Morel, Lawrence finally settled on Sons and Lovers. Just as the new title makes the work less focused on a central character, many of the later additions broadened the scope of the work, thereby making the work less autobiographical. While some of the edits by Garnett were on the grounds of propriety or style, others would once more narrow the emphasis back upon Paul.
Plot summary
Part I:
The refined daughter of a "good old burgher family," Gertrude Coppard meets a rough-hewn miner at a Christmas dance and falls into a whirlwind romance. But soon after her marriage to Walter Morel, she realizes the difficulties of living off his meagre salary in a rented house. The couple fight and drift apart and Walter retreats to the pub after work each day. Gradually, Mrs. Morel's affections shift to her sons beginning with the oldest, William.
As a boy, William is so attached to his mother that he doesn't enjoy the fair without her. As he grows older, he defends her against his father's occasional violence. Eventually, he leaves their Nottinghamshire home for a job in London, where he begins to rise up into the middle class. He is engaged, but he detests the girl's superficiality. He dies and Mrs. Morel is heartbroken, but when Paul catches pneumonia she rediscovers her love for her second son.
Part II:
Both repulsed by and drawn to his mother, Paul is afraid to leave her but wants to go out on his own, and needs to experience love. Gradually, he falls into a relationship with Miriam, a farm girl who attends his church. The two take long walks and have intellectual conversations about books but Paul resists, in part because his mother looks down on her. At work, Paul meets Clara Dawes who has separated from her husband, Baxter.
Paul leaves Miriam behind as he grows more intimate with Clara, but even she cannot hold him and he returns to his mother. When his mother dies soon after, he is alone.
Lawrence summarized the plot in a letter to Edward Garnett on 12 November 1912:
It follows this idea: a woman of character and refinement goes into the lower class, and has no satisfaction in her own life. She has had a passion for her husband, so her children are born of passion, and have heaps of vitality. But as her sons grow up she selects them as lovers — first the eldest, then the second. These sons are urged into life by their reciprocal love of their mother — urged on and on. But when they come to manhood, they can't love, because their mother is the strongest power in their lives, and holds them. It's rather like Goethe and his mother and Frau von Stein and Christiana — As soon as the young men come into contact with women, there's a split. William gives his sex to a fribble, and his mother holds his soul. But the split kills him, because he doesn't know where he is. The next son gets a woman who fights for his soul — fights his mother. The son loves his mother — all the sons hate and are jealous of the father. The battle goes on between the mother and the girl, with the son as object. The mother gradually proves stronger, because of the ties of blood. The son decides to leave his soul in his mother's hands, and, like his elder brother go for passion. He gets passion. Then the split begins to tell again. But, almost unconsciously, the mother realizes what is the matter, and begins to die. The son casts off his mistress, attends to his mother dying. He is left in the end naked of everything, with the drift towards death.
Literary significance & criticism
In 1999, the Modern Library ranked Sons and Lovers ninth on a list of the 100 best novels in English of the 20th century.
It contains a frequently quoted use of the English dialect word "nesh". The speech of several protagonists is represented in Lawrence's written interpretation of the Nottinghamshire dialect, which also features in several of his poems .
Film, TV or theatrical adaptations
Main article: Sons and Lovers (film)
Sons and Lovers has been adapted for the screen several times, including the Academy Award winning 1960 film, a 1981 BBC TV serial and another on ITV1 in 2003. The 2003 serial has been issued on DVD by Acorn Media UK.
Standard editions
* Sons and Lovers (1913), edited by Helen Baron and Carl Baron, Cambridge University Press, 1992, ISBN 0-521-24276-2
* Paul Morel (1911–12), edited by Helen Baron, Cambridge University Press, 2003, ISBN 0-521-56009-8, an early manuscript version of Sons and Lovers
《 liàn 'ài zhōng de nǚ rén》 shì D ． H. láo lún sī zuì wěi dà、 zuì yòu dài biǎo xìng、 zuì liǎn zhì rén kǒu de liǎng bù cháng piān xiǎo shuō zhī yī（ lìng yī bù shì《 hóng》）， tā běn rén yě rèn wéi tā shì tā de“ zuì jiā zuò pǐn”； tā yǐ yīng guó xiǎo shuō zhōng méi yòu xiān lì de rè qíng yǔ shēn dù tàn suǒ liǎo yòu guān liàn 'ài de xīn lǐ wèn tí， dài biǎo liǎo láo lún sī zuò pǐn de zuì gāo chéng jiù， yīn cǐ tā tóng《 hóng》 chéng wéi liǎo xiàn dài xiǎo shuō de xiān qū。
D． H． láo lún sī shì yīng guó xiǎo shuō jiā、 shī rén、 sǎnwén jiā， 20 shì jì yīng guó zuì zhòng yào hé zuì yòu zhēng yì de xiǎo shuō jiā zhī yī， 20 shì jì shì jiè wén tán shàng zuì yòu tiān fēn yǔ yǐng xiǎng lì de rén wù zhī yī。 tā yǔ fú sī tè、 qiáo yī sī、 lǐ chá sēn、 wǔ 'ěr fú tóng shì 20 shì jì yīng guó xiǎo shuō de chuàng shǐ rén， shì zhōng guó dú zhě zuì shú xī yǔ xǐ 'ài de xī fāng zuò jiā zhī yī。
As with most of Lawrence's works, Women in Love caused controversy over its sexual subject matter. One early reviewer said of it, "I do not claim to be a literary critic, but I know dirt when I smell it, and here is dirt in heaps — festering, putrid heaps which smell to high Heaven."
Plot summary
Ursula and Gudrun Brangwen are two sisters living in the Midlands of England in the 1910s. Ursula is a teacher, Gudrun an artist. They meet two men who live nearby, school inspector Rupert Birkin and coal-mine heir Gerald Crich. The four become friends. Ursula and Birkin become involved, and Gudrun eventually begins a love affair with Gerald.
All four are deeply concerned with questions of society, politics, and the relationship between men and women. At a party at Gerald's estate, Gerald's sister Diana drowns. Gudrun becomes the teacher and mentor of his youngest sister. Soon Gerald's coal-mine-owning father dies as well, after a long illness. After the funeral, Gerald goes to Gudrun's house and spends the night with her, while her parents sleep in another room.
Birkin asks Ursula to marry him, and she agrees. Gerald and Gudrun's relationship, however, becomes stormy. The four vacation in the Alps. Gudrun begins an intense friendship with Loerke, a physically puny but emotionally commanding artist from Dresden. Gerald, enraged by Loerke, by Gudrun's verbal abuse, and by his own destructive nature, tries to murder Gudrun. After failing, he retreats back over the mountains and falls to his death in the snow.
Publication
Women in Love was originally published in New York City as a limited edition (1250 books), available only to subscribers; this was due to the controversy caused by his previous work, The Rainbow. Originally, the two books were written as parts of a single novel. The publisher had decided to publish them separately and in rapid succession. The first book's treatment of sexuality, while tame by 21st Century standards, was rather too frank for the Edwardian era. There was an obscenity trial and The Rainbow was banned in the U.K. for 11 years, although it was available in the U.S. The publisher then backed out of publishing the second book in the U.K., so it first appeared in the U.S.
Film adaptation
Screenwriter and producer Larry Kramer and director Ken Russell adapted the novel in the Academy Award-winning 1969 film, Women in Love, (for which Glenda Jackson won for Best Actress). It was one of the first theatrical movies to show male genitals, when Gerald Crich (Oliver Reed) and Rupert Birkin (Alan Bates) wrestle in the nude in front of a roaring fireplace, in addition to several early skinny dipping shots and an explicit sequence of Birkin running naked in the forest after being hit on the head by his spurned former mistress, Hermione Roddice (Eleanor Bron).
Editions
* Women in Love (New York: Privately Printed by Thomas Seltzer, 1920).
* Women in Love (London: Martin Seeker, 1921).
* Women in Love, ed. Charles L. Ross (Harmondsworth, Middlesex: Penguin, 1982).
* Women in Love, ed. David Farmer, Lindeth Vasey, and John Worthen (Cambridge: Cambridge University Press, 1987). This edition is a volume in The Cambridge Edition of the Letters and Works of D. H. Lawrence
* Women in Love, ed. David Farmer, Lindeth Vasey, and John Worthen [with an Introduction and Notes by Mark Kinkead-Weekes] (Harmondsworth: Penguin, 1995).
* Women in Love, ed.David Bradshaw (Oxford: Oxford University Press, 1998)
* The First Women in Love (1916-17) edited by John Worthen and Lindeth Vasey,Cambridge University Press, 1998, ISBN 0-521-37326-3. This edition is a volume in The Cambridge Edition of the Letters and Works of D. H. Lawrence and displays significant differences to the final published version
* The 'Prologue' to Women in Love is a discarded section of an early version of the novel and is set four years after Gerald and Birkin have returned from a skiing holiday in Tyrol. It is published as an appendix to the Cambridge edition, pp489-506
* The First Women in Love Oneworld Classics, 2007, ISBN 978-1-84749-005-6
Literary criticism
* Richard Beynon, (ed.), D. H. Lawrence: The Rainbow and Women in Love (Cambridge: Icon Books, 1997).
* Michael Black (2001) Lawrence's England: The Major Fiction, 1913 - 1920 (Palgrave-MacMillan)
* Paul Delaney (1979) D. H. Lawrence's Nightmare: The Writer and his Circle in the Years of the Great War (Hassocks: Harvester Press)
* F. R. Leavis (1955) D. H. Lawrence: Novelist (London, Chatto and Windus)
* F. R. Leavis (1976) Thought, Words and Creativity: Art and Thought in D. H. Lawrence (London, Chatto and Windus)
* Joyce Carol Oates (1978) "Lawrence's Götterdämmerung: The Apocalyptic Vision of Women in Love"
* Charles L. Ross (1991) Women in Love: A Novel of Mythic Realism (Boston, Mass.: Twayne)
* John Worthen, The Restoration of Women in Love, in Peter Preston and Peter Hoare (eds.)(1989), D. H. Lawrence in the Modern World (London and Basingstoke: Macmillan), pp 7-26
D． H． láo lún sī shì yīng guó xiǎo shuō jiā、 shī rén、 sǎnwén jiā， 20 shì jì yīng guó zuì zhòng yào hé zuì yòu zhēng yì de xiǎo shuō jiā zhī yī， 20 shì jì shì jiè wén tán shàng zuì yòu tiān fēn yǔ yǐng xiǎng lì de rén wù zhī yī。 tā yǔ fú sī tè、 qiáo yī sī、 lǐ chá sēn、 wǔ 'ěr fú tóng shì 20 shì jì yīng guó xiǎo shuō de chuàng shǐ rén， shì zhōng guó dú zhě zuì shú xī yǔ xǐ 'ài de xī fāng zuò jiā zhī yī。
As with most of Lawrence's works, Women in Love caused controversy over its sexual subject matter. One early reviewer said of it, "I do not claim to be a literary critic, but I know dirt when I smell it, and here is dirt in heaps — festering, putrid heaps which smell to high Heaven."
Plot summary
Ursula and Gudrun Brangwen are two sisters living in the Midlands of England in the 1910s. Ursula is a teacher, Gudrun an artist. They meet two men who live nearby, school inspector Rupert Birkin and coal-mine heir Gerald Crich. The four become friends. Ursula and Birkin become involved, and Gudrun eventually begins a love affair with Gerald.
All four are deeply concerned with questions of society, politics, and the relationship between men and women. At a party at Gerald's estate, Gerald's sister Diana drowns. Gudrun becomes the teacher and mentor of his youngest sister. Soon Gerald's coal-mine-owning father dies as well, after a long illness. After the funeral, Gerald goes to Gudrun's house and spends the night with her, while her parents sleep in another room.
Birkin asks Ursula to marry him, and she agrees. Gerald and Gudrun's relationship, however, becomes stormy. The four vacation in the Alps. Gudrun begins an intense friendship with Loerke, a physically puny but emotionally commanding artist from Dresden. Gerald, enraged by Loerke, by Gudrun's verbal abuse, and by his own destructive nature, tries to murder Gudrun. After failing, he retreats back over the mountains and falls to his death in the snow.
Publication
Women in Love was originally published in New York City as a limited edition (1250 books), available only to subscribers; this was due to the controversy caused by his previous work, The Rainbow. Originally, the two books were written as parts of a single novel. The publisher had decided to publish them separately and in rapid succession. The first book's treatment of sexuality, while tame by 21st Century standards, was rather too frank for the Edwardian era. There was an obscenity trial and The Rainbow was banned in the U.K. for 11 years, although it was available in the U.S. The publisher then backed out of publishing the second book in the U.K., so it first appeared in the U.S.
Film adaptation
Screenwriter and producer Larry Kramer and director Ken Russell adapted the novel in the Academy Award-winning 1969 film, Women in Love, (for which Glenda Jackson won for Best Actress). It was one of the first theatrical movies to show male genitals, when Gerald Crich (Oliver Reed) and Rupert Birkin (Alan Bates) wrestle in the nude in front of a roaring fireplace, in addition to several early skinny dipping shots and an explicit sequence of Birkin running naked in the forest after being hit on the head by his spurned former mistress, Hermione Roddice (Eleanor Bron).
Editions
* Women in Love (New York: Privately Printed by Thomas Seltzer, 1920).
* Women in Love (London: Martin Seeker, 1921).
* Women in Love, ed. Charles L. Ross (Harmondsworth, Middlesex: Penguin, 1982).
* Women in Love, ed. David Farmer, Lindeth Vasey, and John Worthen (Cambridge: Cambridge University Press, 1987). This edition is a volume in The Cambridge Edition of the Letters and Works of D. H. Lawrence
* Women in Love, ed. David Farmer, Lindeth Vasey, and John Worthen [with an Introduction and Notes by Mark Kinkead-Weekes] (Harmondsworth: Penguin, 1995).
* Women in Love, ed.David Bradshaw (Oxford: Oxford University Press, 1998)
* The First Women in Love (1916-17) edited by John Worthen and Lindeth Vasey,Cambridge University Press, 1998, ISBN 0-521-37326-3. This edition is a volume in The Cambridge Edition of the Letters and Works of D. H. Lawrence and displays significant differences to the final published version
* The 'Prologue' to Women in Love is a discarded section of an early version of the novel and is set four years after Gerald and Birkin have returned from a skiing holiday in Tyrol. It is published as an appendix to the Cambridge edition, pp489-506
* The First Women in Love Oneworld Classics, 2007, ISBN 978-1-84749-005-6
Literary criticism
* Richard Beynon, (ed.), D. H. Lawrence: The Rainbow and Women in Love (Cambridge: Icon Books, 1997).
* Michael Black (2001) Lawrence's England: The Major Fiction, 1913 - 1920 (Palgrave-MacMillan)
* Paul Delaney (1979) D. H. Lawrence's Nightmare: The Writer and his Circle in the Years of the Great War (Hassocks: Harvester Press)
* F. R. Leavis (1955) D. H. Lawrence: Novelist (London, Chatto and Windus)
* F. R. Leavis (1976) Thought, Words and Creativity: Art and Thought in D. H. Lawrence (London, Chatto and Windus)
* Joyce Carol Oates (1978) "Lawrence's Götterdämmerung: The Apocalyptic Vision of Women in Love"
* Charles L. Ross (1991) Women in Love: A Novel of Mythic Realism (Boston, Mass.: Twayne)
* John Worthen, The Restoration of Women in Love, in Peter Preston and Peter Hoare (eds.)(1989), D. H. Lawrence in the Modern World (London and Basingstoke: Macmillan), pp 7-26
《 chá tài lāi fū rén de qíng rén》 yuán yú yī gè zhēn shí de gù shì， zhǐ yīn shū zhōng yòu háo bù bì huì de xìng 'ài miáo xiě， ér céng yī dù liè wéi jìn shū。 cóng xiàn jīn de wén xué zuò pǐn lái kàn， dà dǎn 'ér lù gǔ de sè qíng miáo xiě， bǐ bǐ jiē shì， shèn zhì bìng fēi chū yú qíng jié xū yào， zhǐ shì wèile mǎn zú dà zhòng kuī sī de yù wàng， ér bù xī bǐ mò dà sì xuàn rǎn。 dàn shì qíng sè yǔ sè qíng zhōng jiū shì yòu chā bié de， qíng sè gěi rén dài lái de shì měi gǎn， shì yú yuè， shì duì rén xìng de sī kǎo， néng jī fā rén duì měi hǎo de xiàng wǎng； sè qíng dài lái de què shì wū huì， shì yī shí biàn tài de fēng kuáng， ér hòu liú xià de zhǐ yòu kōng xū。
《 chá tài lāi fū rén de qíng rén》 - zuò pǐn yǐng xiǎng
duì yú láo lún sī， xìng jiāo shì yī zhǒng hán xù zhù yì de yì shù。 zài tā huà fǔ xiǔ wéi shén qí de wén bǐ zhī xià， xìng 'ài shì yī céng shēn sì yī céng， yī cì xì guò yī cì de fēi yì zhe de xuán wō， shì 'ài mèi 'ér jī qíng、 xì nì 'ér shī yì、 shēn kè 'ér yòu kōng xū de zhōng jí gāo cháo。 xìng zài céng céng shén mì hé mǐn gǎn de yā lì xià， réng rán shì nán nǚ zhī jiān zuì zhí jiē shí jì yǔ zuì zì rán de jiāo liú。
láo lún sī hé zhè běn shū， yī zhí yǐ láidōu shì jìn jì de dài míng cí， rán 'ér，“ yī dàn néng gòu dé dào shìdàng de chǔlǐ， zhè bù xiǎo shuō de zhòng dà yì yì biàn xiǎn shì chū lái”。 láo lún sī rèn wéi yī gè rén， bù bì dìng yào qiú xìng fú， bù bì dìng yào qiú wěi dà， dàn qiú zhī dào“ shēng huó”， ér zuò gè zhēn zhèng de rén。 yào zuò zhēn zhèng de rén， yào guò zhēn zhèng de shēng huó ‘ biàn yào shǐ shēng mìng péng pài bān de jī dòng。 zhè zhǒng jī dòng shì cóng jiē chù (Contact) zhōng， cóng hé yī (togetherness) yī qǐ zhōng chǎn shēng chū lái de， ér shì jiè， zhèng shì tōng guò zhè zhǒng rén lèi yuán shǐ qíng yù de miàn mào， lái jiē jìn wǒ men。
zài yī jiǔ 'èr bā héng héng 'èr jiǔ nián liǎng nián jiān， ōu měi wén tán shàng zuì lìng rén zhèn jīng、 zuì yǐn qǐ zhēng zhí de shū， dà gài mò guò yú láo lún sī (D． H． Lawrence) de zhè běn《 chá tài lāi fū rén de qíng rén》 liǎo。 gēn zhe， yī jiǔ sān líng nián láo lún sī shì shì。 gài guān lùn dìng， shì jiè wén tán yòu wéi zhè běn shū rè nào liǎo yī fān。 zài xiàn shì jì de xiǎo shuō jiā zhōng， jué méi yòu yī gè xiàng láo lún sī yī yàng， shòu guò shì rén zhè yàng cán kù dì rǔ mà de； ér tóng shí， zài yīng guó xiàn dài zuò jiā zhōng， yào zhǎo dào yī gè xiàng láo lún sī yī yàng de， shòu zhe jīng yīng de qīng nián zhī shí jiē jí suǒ jí duān chóng bài de rén， què shì hǎn jiàn de， láo lún sī de zhè běn shū， bǎ xū wěi de wèi dào zhě men nòng diān liǎo， tā bǎ fǔ bài de jìn dài wén míng de zhēng níng miàn kǒng， tài bù róng qíng dì bào lù liǎo。 dàn shì， láo lún sī què zài zhè xiē“ gǒu rén qióng xiàng” de wèi dào zhě men de diān kuáng fǎn gōng zhī xià， zài zhè zhǒng jìn dài wén míng de xiōng xiǎn de pái jī zhī xià， chéng wéi wú gū de xī shēng zhě： tā de tiān cái de shòu mìng， gěi pái shān dǎo hǎi de cháo fěng hé fěi bàng suǒ jié shù liǎo。 xiàn zài， zhèng rú láo lún láo dòng bǎo hù fū rén shuō，《 chá tài lāi fū rén de qíng rén》 de zuò zhě， shì xiàng yī zhǐ xiǎo niǎo shìde， bèi mái zàng zài zhōng hǎi de càn làn de yáng guāng zhī xià de yī gè jì mò de fén mù lǐ liǎo。 dàn shì， zhè běn wén yì jié gòu， què zài dí rén de chóu hèn de dàn shì wú kě nài hé de chén mò tài dù zhī xià， jì xù tù lù guāng máng， tā bù dàn zài jìn dài wén yì jiè fàng liǎo yī xiàn róng rén de guāng cǎi， ér qiě zài jìn hū hēi 'àn de shēng huó xià， rán qǐ liǎo yī zhǎn guāng liàng de míng dēng。
《 chá tài lāi fū rén de qíng rén》 - yǐngpiān jiǎn jiè
gù shì fā shēng zài yī zhàn hòu de yīng gé lán。 cóng zhàn chǎng shàng guī lái de kè lì fú tè。 chá tài lāi jué shì yóu yú zài zhàn zhēng zhōng shòu shāng 'ér dǎo zhì xià bàn shēn tān huàn， zhōng nián zhǐ néng zuò zài lún yǐ shàng。 chá tài lāi hé tā de xīn hūn qī zǐ kāng nī huí dào lǎo jiā de zhuāng yuán， zhǔn bèi guò yī zhǒng yǔ shì wú zhēng de tián yuán shēng huó。 nián qīng mào měi de kāng nī shì yī gè xīn dì shàn liáng de nǚ zǐ， tā míng zhī děng dài zhe zì jǐ de jiāng shì màn cháng gū jì de rì zǐ， què réng rán jiē shòu liǎo mìng yùn de 'ān pái， gān yuàn liú zài zhàng fū shēn biān。
zhè tiān， kāng nī yòu shì qù zhǎo zhuāng yuán de kàn lín rén mǐ 'ěr sī， mǐ 'ěr sī zhèng zài yuàn zǐ kōng dì shàng lín yù。 kāng nī wú yì jiān piē jiàn liǎo tā luǒ lù 'ér jiàn zhuàng de shēn tǐ， bù yóu zài xīn lǐ dàng qǐ yī zhèn lián yī。 mǐ 'ěr sī xiǎn rán yě bèi diǎn yǎ wēn wǎn de kāng nī xī yǐn zhù liǎo。 wèile shǐ jiā zú néng gòu chuán chéng xià qù， kè lì fú tè xiàng kāng nī tí chū， xī wàng tā néng gěi zhè gè jiā shēng gè hái zǐ， dàn què zāo dào kāng nī de duàn rán jù jué。 dāng wǎn de shèng dàn wǔ huì shàng， kè rén mendōu zài jìn qíng kuáng huān， wéi kāng nī dú zuò yī bàng， xīn qíng yù mèn。 bà bà hé mèi mèi dū wéi tā dān xīn， fēn fēn quàn tā yào zhēn xī zì jǐ de qīng chūn， yào shè fǎ kāipì zì jǐ de shēng huó。
zài mèi mèi xī 'ěr dá de bāng zhù xià， kè lì fú tè pìn qǐng liǎo yī wèi guǎ fù bó 'ěr dùn tài tài suí shēn cìhou。 kāng nī yóu cǐ dé yǐ cóng bìng rén shēn bàng tuō shēn， dé dào yī xiē zì yóu shí jiān。 kāng nī jīng cháng dú zì dào lín jiān sàn bù， hé mǐ 'ěr sī yòu liǎo yī xiē jiē chù。 tiān cháng rì jiǔ， liǎng rén zhú jiàn chǎn shēng liǎo gǎn qíng。 kāng nī kāi shǐ yuè lái yuè bù néng rěn shòu chá tài lāi dà zhái zhōng huá lì dàn què kè bǎn cāng bái de shēng huó liǎo， tā jué dé zì jǐ yǐ bèi yā pò dé yǎn yǎn yī xī， tā xiàng wǎng wài miàn de dà zì rán， xiàng wǎng mǐ 'ěr sī shēn shàng huàn fā chū lái de huó lì。 zhōng yú， kāng nī tóu rù liǎo mǐ 'ěr sī de huái bào。 tā men rú chī rú zuì dì zuò 'ài， zhè shì liǎng gè jiàn kāng ròu tǐ zhī jiān de wán mǎn de xìng 'ài、 quán shēn xīn tóu rù de xìng 'ài、 xiāng hù zūn zhòng lǐ jiě shàn yì huí yìng de xìng 'ài， zhè zhǒng xìng 'ài yóu zuì chū chún cuì de ròu tǐ xī yǐn màn màn zhuǎn huà chéng liǎo yī zhǒng líng hún de xiāng hù pèng zhuàng， mǐ 'ěr sī yòng 'ài fǔ yǔ rè qíng shǐ kāng nī biàn chéng liǎo yī gè zhēn zhèng de nǚ rén， kāng nī jīng qí dì fā xiàn zì jǐ shēn shēn 'ài shàng liǎo zhè gè cū lǔ méi yòu wén huà dàn què shēn chén rè qíng de nán zǐ。 kāng nī hé mǐ 'ěr sī chéng liǎo líng yù hé yī de qíng rén， dāng kāng nī wǎn shàng qiāoqiāo dì cóng chá tài lāi dà zhái lǐ páo xiàng zài yī bàng shǒu hòu tā de mǐ 'ěr sī de shí hòu， tā yǐ jīng wán quán chén zuì yú zhè duàn gǎn qíng liǎo。
yī gè yǔ tiān， kāng nī yǔ mǐ 'ěr sī zài lín zhōng xiǎo wū yōu huì。 jī qíng péng pài de kāng nī chōng xiàng wū wài， tuō qù shēn shàng de cháng páo， luǒ zhe shēn tǐ zài yǔ zhōng bēn páo， mǐ 'ěr sī yě huān jiào zhe zhuī liǎo chū qù。 kāng nī wán měi wú xiá de dòng tǐ zài cōng lǜ de sēn lín zhōng xiǎn dé nà me zì rán hé xié， liǎng rén xiàng kuài lè de jīng líng yī yàng zài yǔ zhōng xī xì。 zhī hòu， tā men yòng xiān huā zhuāng diǎn bǐ cǐ， yóu rú huí guī yī diàn yuán de yà dāng yǔ xià wá。 zhè shí， héng gèn zài tā men zhī jiān de děng jí zhàng 'ài zǎo yǐ dàng rán wú cún。
zhōng yú， kāng nī huái shàng liǎo mǐ 'ěr sī de hái zǐ。 zài wài chū lǚ yóu qī jiān， tā bǎ zì jǐ de gù shì tǎn chéng dì gào sù liǎo xī 'ěr dá， xī 'ěr dá duì kāng nī de zuò fǎ bù yǐ wéi rán， hái jī jí dì yào wéi hái zǐ wù sè yī gè guì zú fù qīn， què bèi kāng nī jù jué。 kāng nī nán yǐ gē shè duì mǐ 'ěr sī de sī niàn， tí qián huí dào zhuāng yuán， què fā xiàn mǐ 'ěr sī pò yú yā lì yǐ jīng cí zhí， bìng zāo dào dú dǎ， bèi qiǎn sòng dào kuàng shàng shāo méi。 xī rì de xiǎo mù wū yě yǐ bù zài shì tā men de lè yuán， liǎng rén sì hū yǐ jīng zǒu tóu wú lù。
mǐ 'ěr sī jué xīn lí kāi yīng guó， qù jiā ná dà móu shēng， kāng nī miàn lín jué zé。 zhōng yú， kāng nī xiàng kè lì fú tè tí chū lí hūn， bìng gào sù tā， tā suǒ 'ài de rén shì kàn lín rén mǐ 'ěr sī。 kè lì fú tè dé zhī hòu， yóu rú duò rù xiàn jǐng de kùn shòu， kuáng nù dào：“ tiān nǎ！ nǐ jìng hé wǒ de pú rén fā shēng guān xì！” zuì hòu， kāng nī yǔ mǐ 'ěr sī zhè yī duì duō nán de qíng rén zhōng yú xiāng yù zài qián wǎng jiā ná dà de chuán shàng。 liǎng gè rén de míng tiān shì guāng míng 'ér chōng mǎn xī wàng de， kāng nī fàng qì liǎo yōng róng shē huá dàn què sǐ qì chén chén de guì fù shēng huó， bēn xiàng liǎo zì yóu yǔ 'ài qíng， liǎng gè lái zì bù tóng jiē céng de rén zhōng yú chōng pò shì sú de zhàng 'ài， huò dé xīn shēng。
《 chá tài lāi fū rén de qíng rén》 - zuò pǐn bèi jǐng
yuán zhù zài yīng guó bèi jìn 30 nián， chū bǎn gāi shū de qǐ 'é chū bǎn shè bèi kòng chū bǎn yín huì zuò pǐn， zhí zhì 1960 nián cái bèi xuān gào wú zuì， xiǎo shuō yì tóng shí jiě jìn。 yóu yú xiǎo shuō de mǐn gǎn， gēn jù xiǎo shuō gǎi biān de diàn yǐng tóng yàng yǐn qǐ rén men de pǔ biàn guān zhù。
yǐngpiān《 chá tài lāi fū rén de qíng rén》 gēn jù yīng guó 20 shì jì xiǎo shuō jiā dài wèi . hè bó tè . láo lún sī chuàng zuò yú 1928 nián de tóng míng xiǎo shuō gǎi biān。 láo lún sī de zhè bù jīng diǎn míng zhù zì wèn shì qǐ jiù bèi shòu zhēng yì， zài yīng guó bèi jìn 30 nián， dàn què bù fáng 'ài shì rén duì tā de xǐ 'ài hé chuán yuè。 xiǎo shuō céng duō cì bèi bān shàng yín mù， 1992 nián yīng guó dà dǎo yǎn kěn。 lā sài 'ěr shòu BBC diàn shì tái zhī yāo， jiāng qí zài dù bān shàng yín mù， pāi chéng liǎo yī bù cháng dá 4 gè duō xiǎo shí、 zǒng gòng 4 jí de diàn shì jù， bìng jiǎn ji chū yī gè cháng yuē 2 xiǎo shí、 gōng yǐng yuàn fàng yìng de diàn yǐng“ suō jiǎn běn”。
běn piàn dǎo yǎn kěn。 lā sài 'ěr yǐ pāi shè yīnyuè jiā zhuànjì piàn 'ér wén míng。 cǐ qián， tā yě céng liǎng dù gǎi biān láo lún sī de xiǎo shuō《 hóng》 hé《 liàn 'ài zhōng de nǚ rén》。
《 chá tài lāi fū rén de qíng rén》 - zhù tí sī xiǎng
cóng fú lóu bài de《 bāo fǎ lì fū rén》、 tuō 'ěr sī tài de《 ān nà。 kǎ liè lín nà》 dào láo lún sī de《 chá tài lāi fū rén de qíng rén》， xī fāng xiàn dài xiǎo shuō yī zhí fǎn fù tàn tǎo zhe yī gè zhù tí， jí zài jí jù biàn huà de shè huì zhōng， yǐ hūn nǚ xìng duì shì sú de shè huì jià zhí suǒ zuò de fǎn pàn jí qí hòu guǒ。 běn piàn zài cì yǐ diàn yǐng de xíng shì duì zhè yī zhù tí zuò chū hū yìng。 dǎo yǎn kěn。 lā sài 'ěr lì qiú zhōng shí yú láo lún sī de yuán zhù， bǎo liú liǎo yuán zhù de dà bù fēn qíng jié hé duì bái， zài jié gòu shàng yě méi yòu dà de tiáozhěng， bǐ jiào zhǔn què dì chuán dá chū yuán zhù zhōng suǒ yùn hán de shēn kè zhù tí， yǐ wéi měi de shì jué yǔ yán jiē shì liǎo nǚ xìng dú lì xìng yì shí de zì wǒ méng fā hé zì wǒ jiù shú。 yǐngpiān zài jiē shì nán nǚ qíng 'ài de tóng shí， jiāng xìng 'ài miáo xiě shàng shēng dào zhé xué hé měi xué de gāo dù， bàn suí zhe chì liè de xìng 'ài tǐ yàn de， zé shì duì lì shǐ、 zhèng zhì、 zōng jiào、 jīng jì děng shè huì wèn tí de yán sù sī kǎo。 chá tài lāi fū fù de jié hé shì yī zhǒng bù hé xié de jī xíng hūn yīn。 bàn shēn tān huàn、 shī qù nán xìng néng lì de zhàng fū hé zhèng zhí fāng nián de qī zǐ， zhè shì yī gè cán kù de zǔ hé， hé kuàng kè lì fú tè shì gè xū wěi zì sī de rén， zài tā de xīn mù zhōng， kāng nī zhǐ bù guò shì yī jiàn měi lì de fù yōng hé chuán zōng jiē dài de gōng jù。 kè lì fú tè bù néng mǎn zú kāng nī de zhèng cháng qíng yù， mǐ 'ěr sī zé bāng zhù kāng nī shí xiàn liǎo zì wǒ， huàn xǐng liǎo tā shēn shàng de nǚ xìng běn néng。 zuì zhōng， liǎng rén de qì hé yóu ròu yù zhī 'ài shēng huá dào xīn líng de jiāo róng， kāng nī fǎn pàn liǎo tā suǒ cóng shǔ de nà gè jiē jí， zài nà gè fēng jiàn bǎo shǒu de shí dài， tā de yǒng gǎn xuǎn zé， wú yí jù yòu nǚ xìng gè tǐ de jī jí yì yì。
láo lún sī bì shēng zhì lì yú nán nǚ xìng 'ài tí cái xiǎo shuō de chuàng zuò， tā rèn wéi， xiǎo shuō《 chá tài lāi fū rén de qíng rén》“ zuì hǎo ná gěi suǒ yòu 17 suì de shàonǚ men kàn kàn”。 zài tā kàn lái， rén lèi de xìng 'ài jù yòu zhì gāo wú shàng de jià zhí。 zhè gè shì jiè shàng， kǒng pà zài méi yòu nǎ yī gè zuò jiā néng xiàng láo lún sī nà yàng， yǐ zōng jiào bān de rè chén zàn měi rén jiān xìng 'ài、 yǐ xì nì wēi miào de bǐ chù miáo huì liǎng xìng guān xì zhōng nà zhǒng yù xiān yù sǐ de zhì gāo jìng jiè。 láo lún sī de xiǎo shuō yī xiàng yǐ dà dǎn 'ér xiáng jìn de xìng miáo xiě zhù chēng， dǎo yǎn kěn . lā sài 'ěr yì bù kuì wéi yòng shì jué yǔ yán jiǎng shù gù shì、 biān zhì qíng yù de gāo shǒu， yǐngpiān zhōng xìng 'ài chǎng miàn de zhǎn xiàn bù jǐn hán xù yōu měi， ér qiě fù yòu shī yì， dǎo yǎn méi yòu zài qíng sè chǎng miàn shàng zuò guò duō de xuàn rǎn hé pū chén， zhǐ shì diǎn dào wéi zhǐ， dàn què jiāng rén tǐ yǔ qíng yù shī yì huà， jiāng shī yì shì jué huà， bǎ yǐngpiān zhù rén gōng qíng gǎn gù shì pāi dé huǎng ruò tóng huà xiān jìng。
běn piàn de fú zhuāng hé bù jǐng zhì zuò yě shí fēn kǎo jiū， shēng dòng dì zài xiàn liǎo 20 shì jì chū yè yīng guó shàng liú shè huì de fēng qíng， tōng guò nǚ zhùjué kāng nī nà yī kuǎn kuǎn yōu yǎ jīng zhì de fú shì、 huá lì 'ér kōng dòng de shì nèi bù jǐng， yǐ jí kǎo jiū de yòng jù、 fán suǒ de shēng huó xì jié， fǎn chèn chū shàng liú shè huì rén men jīng shén shàng de kōng xū yǔ cāng bái。
《 chá tài lāi fū rén de qíng rén》 - láo lún sī sī yìn、 zì shòu zuò pǐn
《 chá tài lāi fū rén de qíng rén》 láo lún sī
suī rán zài xiě chū《 chá tài lāi fū rén de qíng rén》 zhī qián， láo lún sī yǐ yǐ《 cǎi hóng》、《 liàn 'ài zhōng de fù nǚ》、《 ér zǐ yǔ qíng rén》 děng zuò pǐn xiǎng yòu liǎo xiāng dāng míng shēng， kě shì， yǎn xià de zhè bù shū， réng rán jiào chū bǎn shāng、 péng yǒu shèn zhì láo lún sī zì jǐ gǎn dào wéi nán。 zuì hòu， láo lún sī zhǐ hǎo zì jǐ zài yì guó qù sī zì chū bǎn， chū bǎn hòu yòu zì jǐ fā shòu。 dāng rán， zhèng yīn wéi zhè zhǒng xíng shì， yě zuì zǎo dì、 wú xū guān fāng rèn kě dì jiāng zhè bù zhù dìng yào yǐn qǐ xuān rán dà bō de zuò pǐn tuī xiàng liǎo shè huì。
1926 nián， láo lún sī biàn kāi shǐ liǎo《 chá tài lāi fū rén de qíng rén》 de xiě zuò， bìng zài bù suàn cháng de shí jiān， wán chéng liǎo dì yī gǎo。 dāng shí， tā yǐ jīng zài shì tú lián xì chū bǎn liǎo， kě hěn kuài， tā biàn dǎ xiāo liǎo zhè yàng de xiǎng fǎ。 tā dāng shí de xīn qíng shì máo dùn de。 zài zhì mǒu wèi chū bǎn jiè rén shì de xìn zhōng， tā kāi shǐ liǎo yù xiān de biàn jiě：
“ guān yú wǒ de xiǎo shuō《 chá tài lāi fū rén de qíng rén》， xiàn zài wǒ zhēn shì zuǒ yòu wéi nán， shì rén jiāng huì rèn wéi zhè bù xiǎo shuō shì bù zhèng pài de。 kě nǐ zhī dào tā bìng fēi bù zhèng pài。 wǒ shǐ zhōng kǔ xīn gū yì dì zài zuò tóng yī jiàn shì qíng， jiù shì shǐ rén men zài tí dào xìng guān xì shí， yìng gǎn dào shì zhèng dāng hé zhēn guì de， ér bù shì xiū kuì。 zhè bù xiǎo shuō shì wǒ zài zhè yī fāng miàn suǒ zuò de jìn yī bù nǔ lì。 zài wǒ kàn lái， xìng shì měi hǎo de、 wēn róu de， dàn yòu rú chì luǒ zhe de rén nà yàng cuì ruò。”
láo lún sī réng zài bù tíng dì tiáozhěng zhe zhè bù zuò pǐn， dì 'èr gǎo、 dì sān gǎo …… kě jí shǐ zhè yàng， zài xiàn shí shè huì zhōng， tā réng rán yóu yú zhè bù zuò pǐn 'ér zhāo zhì má fán， tā shèn zhì zhǎo bù dào wèitā fú wù de dǎ zì yuán。 láo lún sī dāng shí zhù zài yì dà lì de fó luó lún sà， zuì xiān tā zhǎo dào dāng dì yī wèi yuàn yì tì tā dǎ zì de nǚ zǐ， kě zài dǎ dào dì wǔ zhāng shí， zhè wèi nǚ zǐ bùgànliǎo， jiāng gǎo zǐ tuì liǎo huí lái， shuō tā bù néng zài dǎ xià qù， yīn wéi zuò pǐn nèi róng tài wū huì、 āng zàng……
miàn duì zhè yàng de fǎn yìnghè zì jǐ de xīn lǐ yù qī， láo lún sī yī dù bù xiǎng chū bǎn zhè bù zuò pǐn， kě shì， yī fāng miàn yóu yú jīng jì yā lì， yī fāng miàn jī yú tā juéjiàng de xìng gé， zài 1927 nián 11 yuè shí， láo lún sī kāi shǐ shì tú sī xià yìn zhì《 chá tài lāi fū rén de qíng rén》 liǎo。 yóu yú zì jǐ de xīn lǐ yù gǎn， tā zàn shí bù zhǐ wàng zài yīng yǔ shì jiè de yīng guó huò měi guó móu qiú chū bǎn， ér dǎ suàn zài yì dà lì jiāng tā yìn chū lái。 yuán yīn chú qù fó luó lún sà de yìn shuà hěn piányí， hái yòu shēn chù yì dì， qǐ mǎ bù zhì yú zài yìn shuà shí biàn yǐn qǐ bù bì yào de má fán。
àn láo lún sī dāng shí de dǎ suàn， zì jǐ sī xià yìn zhì， dì yī cì yìn shuà shàng 700 bù， měi cè dìng jià liǎng gè jī ní（ dāng shí měi jī ní xiāng dāng 21 xiān lìng）， zhè yàng xià lái， jiù huì zuàn dào 600 dào 700 yīng bàng。 zhè zài dāng shí shì yī bǐ bù xiǎo de shōu rù liǎo。 bù jiǔ， duì cǐ shū xiāo shòu de gū jì hé zì jǐ jīng jì jié jù de yā pò， láo lún sī yòu xiǎng tí gāo yìn shù héng héng 1000 bù。 àn zhào xiān qián dìng jià， tā jiù kě yǐ zuàn dào 1000 yīng bàng。 wèile néng gòu wéi dú zhě jiē shòu， tā shèn zhì yī dù dǎ suàn jiāng zhè bù zuò pǐn míng zì gǎi wéi《 róu qíng mì yì》 huò《 yuē hàn tuō mǎ sī hé jiǎn fū rén》， yīn wéi zhè yàng kàn qǐ lái méi yòu《 chá tài lāi fū rén de qíng rén》 nà yàng cì yǎn。
zài《 chá tài lāi fū rén de qíng rén》 jiāo fù chū bǎn shāng zhī qián， láo lún sī ràng jǐ wèi yǒu rén dú liǎo zhè bù shū gǎo。 fǎn yìng bù yī， yòu qiáng liè fǎn chā。 yī xiē péng yǒu rèn wéi zhè bù shū bù cuò， shuō tā men“ fēi cháng xǐ huān zhè běn shū”； yī wèi nǚ shì zài dú dào zhè bù xiǎo shuō hòu què“ dà fā léi tíng” héng héng dào dé shàng de fèn nù。 zhè fǎn yìng shǐ láo lún sī gǎn dào yòu qù qǐ lái。 tā gěi lìng yī wèi hái wèi dú dào cǐ shū de yǒu rén shuō：“ wǒ xī wàng nǐ bù huì tǎo yàn zhè bù xiǎo shuō héng héng jìn guǎn nǐ hěn kě néng bù xǐ huān tā。 zhè bù xiǎo shuō běn shēn jiù shì yīcháng gé mìng héng héng yī kē xiǎo xiǎo de zhà dàn。”
láo lún sī zhōng yú yào jiāng zhè zhà dàn yǐn bào liǎo。 jiāo chū shū gǎo jǐ tiān zhī hòu， láo lún sī biàn zhì hán měi guó shī rén wēi tè bīn nà。 tā men liǎng rén céng jīng yī qǐ qù mò xī gē lǚ xíng guò。 zài xìn zhōng， láo lún sī xī wàng tā néng gòu wèicǐ shū zuò yī xiē xiāo shòu gōng zuò。 zài gěi lìng yī wèi zhù zài niǔ yuē de hàn mì 'ěr dùn āi mǔ sī fū rén de xìn lǐ， láo lún sī yě xī wàng tā néng bāng zhù xiāo shòu zhè bù zuò pǐn：“ zhè shì yī bù wēn róu de， shēng zhí qì de xiǎo shuō。 xiàn zài nǐ jié hūn liǎo， zì rán huì lǐ jiě tā de。 yóu yú shì sú de gōng zhòng róng bù dé duì shēng zhí qì de miáo xiě， wǒ zhǐ dé zài zhè lǐ chū bǎn zhè bù xiǎo shuō。 rú guǒ nǐ bù xián má fán， qǐng bǎ nà xiē dìng dān sàn fā gěi nà xiē yuàn yì gòu mǎi zhè bù xiǎo shuō de rén men。 wǒ rèn wéi zhè bù xiǎo shuō shì zhí dé yī mǎi de。” zài gěi tā zài měi guó de wén xué dài lǐ rén kē dì sī bù lǎng de xìn zhōng， láo lún sī xiě de zhí jié dé duō：“ wǒ zhēn xī wàng zhè bù xiǎo shuō néng mài chū yī qiān cè， huò zhě mài chū qù dà bù fēn， fǒu zé wǒ jiù huì pò chǎn。 wǒ xiǎng zhí jiē bǎ shū gěi gòu mǎi zhě jì qù。 wǒ zhǔn bèi gěi nǐ jì shàng yī xiē dìng dān， nǐ néng fǒu wèiwǒ zhǎo yī xiē dìng gòu zhě？ zhǐ yào tā men jì lái liǎng yīng bàng， wǒ jiù huì bǎ shū jì gěi tā men。” dāng rán， gèng duō de dìng dān jì wǎng liǎo yīng guó， zhè bì jìng shì láo lún sī de zǔ guó。 jìn guǎn tā zhī dào zhè kē“ zhà dàn” de wēi lì， kě zhè lǐ yě kě néng yòu gèng duō de zhī yīn。
láo lún sī suǒ xún zhǎo de fó luó lún sà zhè jiā yìn shuà chǎng， qià hǎo yìn shuà shāng hé yìn shuà chǎng dōuméi yòu rén dǒng dé yīng wén。 zài láo lún sī kàn lái， zhè dǎo chéng liǎo zì jǐ de“ fú qì”。 zhè jiā yìn shuà chǎng quán bù shǒu gōng cāo zuò， pái zì hěn zǎi xì， yòng de yě shì yī zhǒng jīng zhì de shǒu gōng zhì zuò de yì dà lì zhǐ zhāng， suǒ yǐ， yìn chū de shū xiào guǒ shí fēn xī yǐn rén。 láo lún sī zì jǐ wéi zhè bù xiǎo shuō shè jì fēng miàn： xià bù shì huǒ yàn fēi yáng de hóng sè dǐ zǐ， zhōng jiān yī zhǐ hēi sè de fèng huáng tú 'àn， pō yòu“ fèng huáng niè pán” de wèi dào。 zhè gè tú 'àn， hòu lái zhèng shì chū bǎn de qǐ 'é bǎn fēng miàn yě yán yòng liǎo xià lái。
hěn kuài， láo lún sī de nǔ lì dé dào huí bào。 xiān shì tā de zǔ guó héng héng yīng guó héng héng jì lái liǎo duō fèn xiǎo shuō dìng dān， rán hòu shì měi guó， dìng dān yě zài zhú jiàn jì huí。 zhè biān， láo lún sī zài jǐn zhāng dì jiàoduì qīng yàng。 4 yuè、 5 yuè、 6 yuè…… dào liǎo 28 rì zhè yī tiān， zhè bù zhù dìng yào yǐn fā dà zhèn dòng de shū héng héng《 chá tài lāi fū rén de qíng rén》， àn zhào láo lún sī zì jǐ jiān chí de shū míng chū bǎn liǎo。
zài láo lún sī zǔ guó de yīng guó， dāng shí rén men guān niàn hái xiāng dāng bǎo shǒu， suǒ yǐ， bāng zhù tā tuī xiāo gāi shū de péng yǒu， shì mào zhe bèi pàn gāo 'é fá kuǎn de wēi xiǎn lái gōng zuò de。 yī wèi yīng guó de péng yǒu hòu lái huí yì shuō， láo lún sī dāng shí gěi tā men de xuān chuán cí wéi： zhè shì yī bù wěi dà de zhù zuò， shì“ èr shí shì jì guāng róng de xiàng zhēng。” zhè yě xǔ shì jī fā tā men gān mào fēng xiǎn de yuán yóu zhī yī。 hěn kuài， yīng guó de dú zhě chǎn shēng liǎo fǎn yìng。 jiē dào yǒu rén gào zhī xiāo xī de diàn bào， láo lún sī jì jǐn zhāng yòu xīng fèn： zhè bù xiǎo shuō xiàng yī kē zhà dàn， zài wǒ dà duō shù yīng guó péng yǒu zhōng jiān bào zhà kāi lái， tā men xiàn zài réng rěn shòu zhe dàn zhèn zhèng de tòng kǔ。“ wǒ gǎn dào wǒ yǐ rēng chū qù yī kē zhà dàn， lái hōng zhà tā men xū wěi de xìng gǎn hé xū wěi xìng……”
bù guò， yī bù fēn jì wǎng měi guó de yóu jiàn bèi kòu zhù liǎo。 kě yī qiē yǐ jīng wú fǎ zǔ lán。 shū shí fēn hǎo xiāo， láo lún sī jiā yìn 200 cè lái yìng fù， qí yú de， jiù zhǐ néng kàn zhe dào yìn běn héng xíng shì chǎng， jiè cǐ dà zuàn qí qián liǎo。 dì yī pī shū jì dào měi guó bù dào yī gè yuè， tōu yìn běn biàn chū lái liǎo。 yóu yú tōu yìn běn fǎng zhì shuǐ píng hěn gāo， lián shū diàn lǎo bǎn dū biàn rèn bù chū， bìng qiě shòu jià gāo yú yuán bǎn： shí wǔ yuán， ér yuán bǎn jià jǐn shí yuán。 hěn kuài， dì 'èr zhǒng、 dì sān zhǒng…… dào yìn běn zài niǔ yuē chū xiàn liǎo。 hěn kuài， lún dūn hé bā lí，《 chá tài lāi fū rén de qíng rén》 de dào yìn běn chū lóng liǎo， shòu jià gāo dá měi běn sān yīng bàng huò liǎng yīng bàng。
bā lí yī jiā shū diàn， yī kǒu qì zì yìn liǎo 1500 cè， chōng chì shì chǎng。 láo lún sī zhǎo lái yī běn kàn kàn， zhǐ néng kǔ xiào， yīn wéi dào yìn běn hái hěn rèn zhēn dì jiāng yuán bǎn zhōng de yī xiē cuò wù gěi gǎi zhèng liǎo。 kě zhè běn yìn zhì hěn bù cuò de shū méi yòu gěi láo lún sī dài lái rèn hé xiào yì。 tā pī fā gěi shū diàn shì měi běn 100 fǎ láng， mài gěi dú zhě chéng liǎo 300、 400 shèn zhì 500 fǎ láng。 zhè xiē 'ōu zhōu de dào yìn zhě shèn zhì xiàng láo lún sī tí chū jiàn yì， xī wàng néng gòu gěi tā men shòu quán， chéng rèn tā men de yìn běn。 zhè yàng， láo lún sī jiù kě yǐ zài dào yìn běn zhōng， chōu qǔ yī xiē bǎn shuì。 běn lái， láo lún sī jīhū dū tóng yì liǎo zhè xiàng jiàn yì， kě zì zūn xīn zuì hòu zǔ zhǐ liǎo tā。 tā zhǐ néng jué yì zài fǎ guó chū yī zhǒng zì jǐ rèn kě de bǎn běn。 zì jǐ zǔ guó héng héng yīng guó de fā hángjiā， quàn láo lún sī jiāng gāi shū jiā yǐ shān gǎi， chū yī gè“ jié běn”， bìng dāyìng gěi tā fēng hòu de bào chóu， kě láo lún sī wú fǎ jiē shòu， tā rèn wéi， nà yàng“ jiù děng yú yòng jiǎn dāo cái jiǎn wǒ zì jǐ de bí zǐ。 shū liúxiě liǎo。”
kě bù guǎn zěn me shuō， láo lún sī yǐ sī yìn、 zì shòu de fāng shì tuī chū《 chá tài lāi fū rén de qíng rén》， xiàn zài kàn lái réng rán shì chǔlǐ dé dāng de yī jiàn shì。 rú rén men suǒ zhī， gāi shū hòu lái bèi chá jìn duō nián， chū bǎn shè zhèng shì chū bǎn quán běn（ qí jiān yòu shān jié běn yìn chū）， yǐ shì jǐ shí nián zhī hòu de shì qíng。 dāng chū cháng ruò láo lún sī bù cǎi qǔ sī yìn， zì shòu fāng shì， nà me， tā zài yòu shēng zhī nián（ shū chū bǎn liǎng nián zhī hòu de 1930 nián 2 yuè， zhè wèi jí jù cái huá de zuò jiā bìng shì）， jué rán jiàn bù dào zhè bù zuò pǐn wèn shì。 zhī hòu， yī qiē shì qíng jué nán yù liào。 yě xǔ， tā de shǒu gǎo huì suí shí yān miè； nà me， yī bù zhù dìng yào yǐn qǐ gōng zhòng xīng qù， fǎ tíng biàn lùn， wén xué jiè cháng qī tǎo lùn de zhù shù， jiù kě néng yǒng jiǔ zài hēi 'àn zhōng chénmò。 zuì qǐ mǎ， huì tuī chí shù shí nián wèn shì。 zhè zhǒng jiēguǒ， huò xǔ zuò zhě běn rén yǐ yòu yù gǎn， suǒ yǐ， cǎi qǔ fēi zhèng cháng shǒu duàn jí shí tuī chū tā， shì shí fēn bì yào de。
qí cì，《 chá tài lāi fū rén de qíng rén》 de chū bǎn， jǐn jǐn cóng jīng jì jiǎo dù kǎo lǜ， tā yě dá dào liǎo shǐ láo lún sī bǎi tuō kùn jiǒng de mùdì。 jìn guǎn hòu lái dào yìn běn cóng zhōng shǔn xī liǎo zuò zhě dà liàng de xīn xuè， kě yī qiān duō bù yìn běn réng rán wèitā zuàn liǎo yī qiān duō yīng bàng。 zhè gè shù mù， zài dāng shí shì xiāng dāng dà de。 zhè shǐ hěn cháng yī duàn shí jiān nèi， láo lún sī kě yǐ zì zú dì duì péng yǒu shuō：“ suǒ yǐ wǒ xiàn zài bù chóu méi qián yòng liǎo。”
zài jīn tiān kàn lái， láo lún sī chǎn shēng zuì dà yǐng xiǎng de zuò pǐn， yǐ rán shì zhè cè《 chá tài lāi fū rén de qíng rén》。 zhè bù zuò pǐn， zài duō gè guó jiā， zài xiāng dāng cháng shí jiān， bèi jìn zhǐ chū bǎn。 zài zuò zhě jiā xiāng běn tǔ de yīng guó， zhè bù shū shèn zhì bèi tuī shàng fǎ tíng。 yǐ gāi shū chū bǎn bā shí nián hòu de jīn tiān yǎn guāng kàn，《 chá tài lāi fū rén de qíng rén》 hái shì rú zuò zhě zì jǐ rèn shí de：“ shì zhèng dāng hé zhēn guì de”， jí shǐ zài xìng de miáo xiě shàng， tā yě shì“ wēn róu、 mǐn gǎn”， shèn zhì shì chéng zhì de。 cóng zhè xiē fāng miàn qù rèn shí， dāng nián láo lún sī yǐ sī yìn、 zì shòu de fāng shì fā xíng cǐ shū， kě yǐ shuō yì yì fēi cháng。
The story is said to have originated from events in Lawrence's own unhappy domestic life, and he took inspiration for the settings of the book from Eastwood in Nottinghamshire where he grew up. According to some critics, the fling of Lady Ottoline Morrell with "Tiger", a young stonemason who came to carve plinths for her garden statues, also influenced the story. Lawrence at one time considered calling the novel Tenderness and made significant alterations to the text and story in the process of its composition. It has been published in three different versions.
Plot introduction
The story concerns a young married woman, Constance (Lady Chatterley), whose upper-class husband, Clifford Chatterley, has been paralyzed and rendered impotent. Her sexual frustration leads her into an affair with the gamekeeper, Oliver Mellors. This novel is about Constance's realization that she cannot live with the mind alone; she must also be alive physically.
Main characters
* Lady Chatterley is the protagonist of the novel. Before her marriage, she is simply Constance Reid, an intellectual and social progressive from a Scottish bourgeois family, the daughter of Sir Malcolm and the sister of Hilda. When she marries Clifford Chatterley, a minor nobleman, Constance (or, as she is known throughout the novel, Connie) assumes his title, becoming Lady Chatterley. Lady Chatterley's Lover chronicles Connie's maturation as a woman and as a sensual being. She comes to despise her weak, ineffectual husband, and to love Oliver Mellors, the gamekeeper on her husband's estate. In the process of leaving her husband and conceiving a child with Mellors, Lady Chatterley moves from the heartless, bloodless world of the intelligentsia and aristocracy into a vital and profound connection rooted in sensuality and sexual fulfillment.
* Oliver Mellors is the lover in the novel's title. Mellors is the gamekeeper on Clifford Chatterley's estate, Wragby Hall. He is aloof, sarcastic, intelligent and noble. He was born near Wragby, and worked as a blacksmith until he ran off to the army to escape an unhappy marriage. In the army, he rose to become a commissioned lieutenant — an unusual position for a member of the working classes — but was forced to leave the army because of a case of pneumonia, which left him in poor health. Surprisingly, we learn from different characters' accounts that Mellors was in fact finely educated in his childhood, has good table manners, is an extensive reader, and can speak English 'like a gentleman', but chooses to behave like a commoner and speak broad Derbyshire dialect, probably in an attempt to fit into his own community. Disappointed by a string of unfulfilling love affairs, Mellors lives in quiet isolation, from which he is redeemed by his relationship with Connie: the passion unleashed by their lovemaking forges a profound bond between them. At the end of the novel, Mellors is fired from his job as gamekeeper and works as a laborer on a farm, waiting for a divorce from his old wife so he can marry Connie. Mellors is a man with an innate nobility but who remains impervious to the pettiness and emptiness of conventional society, with access to a primal flame of passion and sensuality.
* Clifford Chatterley is Connie's husband. Clifford Chatterley is a young, handsome baronet who becomes paralyzed from the waist down during World War I. As a result of his injury, Clifford is impotent. He retires to his familial estate, Wragby Hall, where he becomes first a successful writer, and then a powerful businessman. But the gap between Connie and him grows ever wider; obsessed with financial success and fame, he is not truly interested in love, and she feels that he has become passionless and empty. He turns for solace to his nurse and companion, Mrs. Bolton, who worships him as a nobleman even as she despises him for his casual arrogance. Clifford is portrayed as a weak, vain man, but declares his right to rule the lower classes, and he soullessly pursues money and fame through industry and the meaningless manipulation of words. His impotence is symbolic of his failings as a strong, sensual man, and could also represent the increasing loss of importance and influence of the ruling classes in a modern world.
* Mrs. Bolton, also known as Ivy Bolton, is Clifford's nurse and caretaker. She is a competent, still-attractive middle-aged woman. Years before the action in this novel, her husband died in an accident in the mines owned by Clifford's family. Even as Mrs. Bolton resents Clifford as the owner of the mines — and, in a sense, the murderer of her husband — she still maintains a worshipful attitude towards him as the representative of the upper class. Her relationship with Clifford - she simultaneously adores and despises him, while he depends and looks down on her - is probably one of the most complex relationships in the novel.
* Michaelis is a successful Irish playwright with whom Connie has an affair early in the novel. Michaelis asks Connie to marry him, but she decides not to, realizing that he is like all other intellectuals: a slave to success, a purveyor of vain ideas and empty words, passionless.
* Hilda Reid is Connie's older sister by two years, the daughter of Sir Malcolm. Hilda shared Connie's cultured upbringing and intellectual education. She remains unliberated by the raw sensuality that changed Connie's life. She disdains Connie's lover, Mellors, as a member of the lower classes, but in the end she helps Connie to leave Clifford.
* Sir Malcolm Reid is the father of Connie and Hilda. He is an acclaimed painter, an aesthete and a bohemian who despises Clifford for his weakness and impotence, and who immediately warms to Mellors.
* Tommy Dukes, one of Clifford's contemporaries, is a brigadier general in the British Army and a clever and progressive intellectual. Lawrence intimates, however, that Dukes is a representative of all intellectuals: all talk and no action. Dukes speaks of the importance of sensuality, but he himself is incapable of sensuality and uninterested in sex. Of Clifford's circle of friends, he is the one who Connie becomes closest to.
* Duncan Forbes is an artist friend of Connie and Hilda. Forbes paints abstract canvases, a form of art Mellors seems to despise. He once loved Connie, and Connie originally claims to be pregnant with his child.
* Bertha Coutts, although never actually appearing in the novel, has her presence felt. She is Mellors' wife, separated from him but not divorced. Their marriage faltered because of their sexual incompatibility: she was too rapacious, not tender enough. She returns at the end of the novel to spread rumors about Mellors' infidelity to her, and helps get him fired from his position as gamekeeper. As the novel concludes, Mellors is in the process of divorcing her.
Themes
In Lady Chatterley's Lover, Lawrence comes full circle to argue once again for individual regeneration, which can be found only through the relationship between man and woman (and, he asserts sometimes, man and man). Love and personal relationships are the threads that bind this novel together. Lawrence explores a wide range of different types of relationships. The reader sees the brutal, bullying relationship between Mellors and his wife Bertha, who punishes him by preventing his pleasure. There is Tommy Dukes, who has no relationship because he cannot find a woman whom he respects intellectually and, at the same time, finds desirable. There is also the perverse, maternal relationship that ultimately develops between Clifford and Mrs. Bolton, his caring nurse, after Connie has left.
Mind and body
Richard Hoggart argues that the main subject of Lady Chatterley's Lover is not the sexual passages that were the subject of such debate but the search for integrity and wholeness. Key to this integrity is cohesion between the mind and the body for "body without mind is brutish; mind without body...is a running away from our double being." Lady Chatterley's Lover focuses on the incoherence of living a life that is "all mind", which Lawrence saw as particularly true among the young members of the aristocratic classes, as in his description of Constance's and her sister Hilda's "tentative love-affairs" in their youth:
So they had given the gift of themselves, each to the youth with whom she had the most subtle and intimate arguments. The arguments, the discussions were the great thing: the love-making and connexion were only sort of primitive reversion and a bit of an anti-climax.
The contrast between mind and body can be seen in the dissatisfaction each has with their previous relationships: Constance's lack of intimacy with her husband who is "all mind" and Mellors's choice to live apart from his wife because of her "brutish" sexual nature. These dissatisfactions lead them into a relationship that builds very slowly and is based upon tenderness, physical passion, and mutual respect. As the relationship between Lady Chatterley and Mellors develops, they learn more about the interrelation of the mind and the body; she learns that sex is more than a shameful and disappointing act, and he learns about the spiritual challenges that come from physical love.
Neuro-psychoanalyst Mark Blechner identifies the "Lady Chatterley phenomenon" in which the same sexual act can affect people in different ways at different times, depending on their subjectivity. He bases it on the passage in which Lady Chatterley feels disengaged from Mellors and thinks disparagingly about the sex act: "And this time the sharp ecstasy of her own passion did not overcome her; she lay with hands inert on his striving body, and do what she might, her spirit seemed to look on from the top of her head, and the butting of his haunches seemed ridiculous to her, and the sort of anxiety of his penis to come to its little evacuating crisis seemed farcical. Yes, this was love, this ridiculous bouncing of the buttocks, and the wilting of the poor insignificant, moist little penis." Shortly thereafter, they make love again, and this time, she experiences enormous physical and emotional involvement: "And it seemed she was like the sea, nothing but dark waves rising and heaving, heaving with a great swell, so that slowly her whole darkness was in motion, and she was ocean rolling its dark, dumb mass."
Class system and social conflict
Besides the evident sexual content of the book, Lady Chatterley’s Lover also presents some views on the British social context of the early 20th century. For example, Constance’s social insecurity, arising from being brought up in an upper middle class background, in contrast with Sir Clifford’s social self-assurance, becomes more evident in passages such as:
Clifford Chatterley was more upper-class than Connie. Connie was well-to-do intelligentsia, but he was aristocracy. Not the big sort, but still it. His father was a baronet, and his mother had been a viscount’s daughter.
There are also signs of dissatisfaction and resentment of the Tevershall coal pit’s workers, the colliers, against Clifford, who owned the mines. By the time Clifford and Connie had moved to Wragby Hall, Clifford's father's estate in Nottinghamshire, the coal industry in England seemed to be in decline, although the coal pit still was a big part in the life of the neighbouring town of Tevershall. References to the concepts of anarchism, socialism, communism, and capitalism permeate the book. Union strikes were also a constant preoccupation in Wragby Hall. An argument between Clifford and Connie goes:
‘’Oh good!, said Connie. “If only there aren’t more strikes!”
“What would be the use of their striking again! Merely ruin the industry, what’s left of it; and surely the owls are beginning to see it!”
“Perhaps they don’t mind ruining the industry,” said Connie.
“Ah, don’t talk like a woman! The industry fills their bellies, even if it can’t keep their pockets quite so flush,” he said, using turns of speech that oddly had a twang of Mrs. Bolton.
The most obvious social contrast in the plot, however, is that of the affair of an aristocratic woman (Connie) with a working class man (Mellors). Mark Schorer, an American writer and literary critic, considers a familiar construction in D.H. Lawrence's works the forbidden love of a woman of relatively superior social situation who is drawn to an "outsider" (a man of lower social rank or a foreigner), in which the woman either resists her impulse or yields to it. Schorer believes the two possibilities were embodied, respectively, in the situation into which Lawrence was born, and that into which Lawrence married, therefore becoming a favorite topic in his work.
Controversy
An authorized abridgment of Lady Chatterley's Lover that was heavily censored was published in America by Alfred E. Knopf in 1928. This edition was subsequently reissued in paperback in America both by Signet Books and by Penguin Books in 1946.
British obscenity trial
When the full unexpurgated edition was published by Penguin Books in Britain in 1960, the trial of Penguin under the Obscene Publications Act of 1959 was a major public event and a test of the new obscenity law. The 1959 act (introduced by Roy Jenkins) had made it possible for publishers to escape conviction if they could show that a work was of literary merit. One of the objections was to the frequent use of the word "fuck" and its derivatives. Another objection involves the use of the word "cunt".
Various academic critics and experts of diverse kinds, including E. M. Forster, Helen Gardner, Richard Hoggart, Raymond Williams and Norman St John-Stevas, were called as witnesses, and the verdict, delivered on 2 November 1960, was "not guilty". This resulted in a far greater degree of freedom for publishing explicit material in the United Kingdom. The prosecution was ridiculed for being out of touch with changing social norms when the chief prosecutor, Mervyn Griffith-Jones, asked if it were the kind of book "you would wish your wife or servants to read".
The Penguin second edition, published in 1961, contains a publisher's dedication, which reads: "For having published this book, Penguin Books were prosecuted under the Obscene Publications Act, 1959 at the Old Bailey in London from 20 October to 2 November 1960. This edition is therefore dedicated to the twelve jurors, three women and nine men, who returned a verdict of 'Not Guilty' and thus made D. H. Lawrence's last novel available for the first time to the public in the United Kingdom."
In 2006, the trial was dramatised by BBC Wales as The Chatterley Affair.
Australia
Main article: Censorship in Australia
Not only was the book banned in Australia, but a book describing the British trial, The Trial of Lady Chatterley, was also banned. A copy was smuggled into the country and then published widely. The fallout from this event eventually led to the easing of censorship of books in the country, although the country still retains the Office of Film and Literature Classification. In early October 2009, the federal institution of Australia Post banned the sale of this book in their stores and outlets claiming that books of this nature don't fit in with the 'theme of their stores'.
Canada
In 1945, McGill University Professor of Law and Canadian modernist poet F. R. Scott appeared before the Supreme Court of Canada to defend Lady Chatterley's Lover from censorship. However, despite Scott's efforts, the book was banned in Canada for 30 years due to concerns about its use of "obscene language" and explicit depiction of sexual intercourse. On November 15, 1960 an Ontario panel of experts, appointed by Attorney General Kelso Roberts, found that novel was not obscene according to the Canadian Criminal Code.
United States
In 1930, Senator Bronson Cutting proposed an amendment to the Smoot-Hawley Tariff Act, which was then being debated, ending the practice of having U.S. Customs censor allegedly obscene books imported to U.S. shores. Senator Reed Smoot vigorously opposed such an amendment, threatening to publicly read indecent passages of imported books in front of the Senate. Although he never followed through, he included Lady Chatterley's Lover as an example of an obscene book that must not reach domestic audiences, declaring "I've not taken ten minutes on Lady Chatterley's Lover, outside of looking at its opening pages. It is most damnable! It is written by a man with a diseased mind and a soul so black that he would obscure even the darkness of hell!"
Lady Chatterley's Lover was one of a trio of books (the others being Tropic of Cancer and Fanny Hill), the ban on which was fought and overturned in court with assistance by lawyer Charles Rembar in 1959.
A French film (1955) based on the novel and released by Kingsley Pictures was in the United States the subject of attempted censorship in New York on the grounds that it promoted adultery. The Supreme Court held that the law prohibiting its showing was a violation of the First Amendment's protection of Free Speech.
The book was famously distributed in the U.S. by Frances Steloff at the Gotham Book Mart, in defiance of the book ban.
Japan
The publication of a full translation of Lady Chatterley's Lover by Ito Sei in 1950 led to a famous obscenity trial in Japan, extending from May 8, 1951 to January 18, 1952, with appeals lasting to March 13, 1957. Several notable literary figures testified for the defense, but the trial ultimately ended in a guilty verdict with a ¥100,000 for Ito and a ¥250,000 fine for his publisher.
India
In 1964, bookseller Ranjit Udeshi in Bombay was prosecuted under Sec. 292 of the Indian Penal Code (sale of obscene books) for selling an unexpurgated copy of Lady Chatterley's Lover.
Ranjit D. Udeshi v. State of Maharashtra (AIR 1968 SC 881) was eventually laid before a three-judge bench of the Supreme Court of India, where Chief Justice Hidayatullah declared the law on the subject of when a book can be regarded as obscene and established important tests of obscenity such as the Hicklin test.
The judgement upheld the conviction, stating that:
When everything said in its favour we find that in treating with sex the impugned portions viewed separately and also in the setting of the whole book pass the permissible limits judged of from our community standards and as there is no social gain to us which can be said to preponderate, we must hold the book to satisfy the test we have indicated above.
Cultural influence
In the United States, the free publication of Lady Chatterley's Lover was a significant event in the "sexual revolution". At the time, the book was a topic of widespread discussion and a byword of sorts. In 1965, Tom Lehrer recorded a satirical song entitled "Smut", in which the speaker in the song lyrics cheerfully acknowledges his enjoyment of such material; "Who needs a hobby like tennis or philately?/I've got a hobby: rereading Lady Chatterley."
British poet Philip Larkin's poem "Annus Mirabilis" begins with a reference to the trial:
Sexual intercourse began
In nineteen sixty-three
(which was rather late for me) -
Between the end of the "Chatterley" ban
And The Beatles' first LP.
By the 1970s, the story had become sufficiently safe in Britain to be parodied by Morecambe and Wise; a "play wot Ernie wrote" was obviously based on it, with Michele Dotrice as the Lady Chatterley figure. Introducing it, Ernie explained that his play was "about a man who has an accident with a combine harvester, which unfortunately makes him impudent".
Standard editions
* Lady Chatterley's Lover (1928), edited by Michael Squires, Cambridge University Press, 1993, ISBN 0-521-22266-4.
* The First and Second Lady Chatterley Novels, edited by Dieter Mehl and Christa Jansohn, Cambridge University Press, 1999, ISBN 0-521-47116-8. These two books, The First Lady Chatterley and John Thomas and Lady Jane were earlier drafts of Lawrence's last novel.
* The Second Lady Chatterley's Lover, Oneworld Classics 2007, ISBN 978-1-84749-019-3
In 1946 an English hardcover edition, copyright Jan Förlag, was published by Victor Pettersons Bokindustriaktiebolag Stockholm, Sweden. It is marked "Unexpurgated authorized edition". A paperback edition followed in 1950.
Adaptations
Radio
Lady Chatterley's Lover has been adapted for BBC Radio 4 by acclaimed writer Michelene Wandor and was first broadcast in September 2006.
Film and television
Lady Chatterley's Lover has been adapted for film several times:
* In 1955, starring Danielle Darrieux; was banned in the United States.
* In 1961, actor Michael Gough, playing a seemingly sinister but ultimately heroic butler named Fisk, is seen reading Lady Chatterley's Lover in the British horror comedy film What a Carve Up! (aka No Place Like Homicide! in the USA).
* 1981 film version by Just Jaeckin starring Sylvia Kristel and Nicholas Clay.
* In 1993 a lengthy television mini-series entitled Lady Chatterley directed by Ken Russell starring Joely Richardson and Sean Bean for BBC Television. This film incorporates some material from the longer second version John Thomas and Lady Jane.
* In 1998, Viktor Polesný filmed a Czech-Language television version with Zdena Studenková (Constance), Marek Vašut (Clifford) and Boris Rösner (Mellors).
* In 2006, the French director Pascale Ferran filmed a French-Language version with Marina Hands as Constance and Jean-Louis Coulloc'h as the game keeper, which won the Cesar Award for Best Film in 2007. Marina Hands was awarded best actress at the 2007 Tribeca Film Festival. The film was based on John Thomas and Lady Jane, Lawrence's second version of the story. It was broadcast on the French television channel Arte on 22 June 2007 as Lady Chatterley et l'homme des bois (Lady Chatterley and the Man of the Woods).
Theatre
Lawrence's novel was successfully dramatised for the stage in a three-act play by a young British playwright named John Harte. Although produced at The Arts Theatre in London in 1961 (and elsewhere later on), his play was written in 1953. It was the only D. H. Lawrence novel ever to be staged and his dramatisation was the only one to be read and approved by Lawrence's widow, Frieda. Despite her attempts to obtain the copyright for Harte to have his play staged in the 1950s, Baron Philippe de Rothschild did not relinquish the dramatic rights until his film was released in France.
Only the Old Bailey trial against Penguin Books for alleged obscenity in publishing the unexpurgated paperback edition of the novel prevented the play's transfer to the much bigger Wyndham's Theatre, for which it had already been licensed by the Lord Chamberlain's Office on 12 August 1960 with passages censored. It was fully booked out for its limited run at The Arts Theatre and well reviewed by Harold Hobson, the prevailing West End theatre critic of the time.
《 chá tài lāi fū rén de qíng rén》 - zuò pǐn yǐng xiǎng
duì yú láo lún sī， xìng jiāo shì yī zhǒng hán xù zhù yì de yì shù。 zài tā huà fǔ xiǔ wéi shén qí de wén bǐ zhī xià， xìng 'ài shì yī céng shēn sì yī céng， yī cì xì guò yī cì de fēi yì zhe de xuán wō， shì 'ài mèi 'ér jī qíng、 xì nì 'ér shī yì、 shēn kè 'ér yòu kōng xū de zhōng jí gāo cháo。 xìng zài céng céng shén mì hé mǐn gǎn de yā lì xià， réng rán shì nán nǚ zhī jiān zuì zhí jiē shí jì yǔ zuì zì rán de jiāo liú。
láo lún sī hé zhè běn shū， yī zhí yǐ láidōu shì jìn jì de dài míng cí， rán 'ér，“ yī dàn néng gòu dé dào shìdàng de chǔlǐ， zhè bù xiǎo shuō de zhòng dà yì yì biàn xiǎn shì chū lái”。 láo lún sī rèn wéi yī gè rén， bù bì dìng yào qiú xìng fú， bù bì dìng yào qiú wěi dà， dàn qiú zhī dào“ shēng huó”， ér zuò gè zhēn zhèng de rén。 yào zuò zhēn zhèng de rén， yào guò zhēn zhèng de shēng huó ‘ biàn yào shǐ shēng mìng péng pài bān de jī dòng。 zhè zhǒng jī dòng shì cóng jiē chù (Contact) zhōng， cóng hé yī (togetherness) yī qǐ zhōng chǎn shēng chū lái de， ér shì jiè， zhèng shì tōng guò zhè zhǒng rén lèi yuán shǐ qíng yù de miàn mào， lái jiē jìn wǒ men。
zài yī jiǔ 'èr bā héng héng 'èr jiǔ nián liǎng nián jiān， ōu měi wén tán shàng zuì lìng rén zhèn jīng、 zuì yǐn qǐ zhēng zhí de shū， dà gài mò guò yú láo lún sī (D． H． Lawrence) de zhè běn《 chá tài lāi fū rén de qíng rén》 liǎo。 gēn zhe， yī jiǔ sān líng nián láo lún sī shì shì。 gài guān lùn dìng， shì jiè wén tán yòu wéi zhè běn shū rè nào liǎo yī fān。 zài xiàn shì jì de xiǎo shuō jiā zhōng， jué méi yòu yī gè xiàng láo lún sī yī yàng， shòu guò shì rén zhè yàng cán kù dì rǔ mà de； ér tóng shí， zài yīng guó xiàn dài zuò jiā zhōng， yào zhǎo dào yī gè xiàng láo lún sī yī yàng de， shòu zhe jīng yīng de qīng nián zhī shí jiē jí suǒ jí duān chóng bài de rén， què shì hǎn jiàn de， láo lún sī de zhè běn shū， bǎ xū wěi de wèi dào zhě men nòng diān liǎo， tā bǎ fǔ bài de jìn dài wén míng de zhēng níng miàn kǒng， tài bù róng qíng dì bào lù liǎo。 dàn shì， láo lún sī què zài zhè xiē“ gǒu rén qióng xiàng” de wèi dào zhě men de diān kuáng fǎn gōng zhī xià， zài zhè zhǒng jìn dài wén míng de xiōng xiǎn de pái jī zhī xià， chéng wéi wú gū de xī shēng zhě： tā de tiān cái de shòu mìng， gěi pái shān dǎo hǎi de cháo fěng hé fěi bàng suǒ jié shù liǎo。 xiàn zài， zhèng rú láo lún láo dòng bǎo hù fū rén shuō，《 chá tài lāi fū rén de qíng rén》 de zuò zhě， shì xiàng yī zhǐ xiǎo niǎo shìde， bèi mái zàng zài zhōng hǎi de càn làn de yáng guāng zhī xià de yī gè jì mò de fén mù lǐ liǎo。 dàn shì， zhè běn wén yì jié gòu， què zài dí rén de chóu hèn de dàn shì wú kě nài hé de chén mò tài dù zhī xià， jì xù tù lù guāng máng， tā bù dàn zài jìn dài wén yì jiè fàng liǎo yī xiàn róng rén de guāng cǎi， ér qiě zài jìn hū hēi 'àn de shēng huó xià， rán qǐ liǎo yī zhǎn guāng liàng de míng dēng。
《 chá tài lāi fū rén de qíng rén》 - yǐngpiān jiǎn jiè
gù shì fā shēng zài yī zhàn hòu de yīng gé lán。 cóng zhàn chǎng shàng guī lái de kè lì fú tè。 chá tài lāi jué shì yóu yú zài zhàn zhēng zhōng shòu shāng 'ér dǎo zhì xià bàn shēn tān huàn， zhōng nián zhǐ néng zuò zài lún yǐ shàng。 chá tài lāi hé tā de xīn hūn qī zǐ kāng nī huí dào lǎo jiā de zhuāng yuán， zhǔn bèi guò yī zhǒng yǔ shì wú zhēng de tián yuán shēng huó。 nián qīng mào měi de kāng nī shì yī gè xīn dì shàn liáng de nǚ zǐ， tā míng zhī děng dài zhe zì jǐ de jiāng shì màn cháng gū jì de rì zǐ， què réng rán jiē shòu liǎo mìng yùn de 'ān pái， gān yuàn liú zài zhàng fū shēn biān。
zhè tiān， kāng nī yòu shì qù zhǎo zhuāng yuán de kàn lín rén mǐ 'ěr sī， mǐ 'ěr sī zhèng zài yuàn zǐ kōng dì shàng lín yù。 kāng nī wú yì jiān piē jiàn liǎo tā luǒ lù 'ér jiàn zhuàng de shēn tǐ， bù yóu zài xīn lǐ dàng qǐ yī zhèn lián yī。 mǐ 'ěr sī xiǎn rán yě bèi diǎn yǎ wēn wǎn de kāng nī xī yǐn zhù liǎo。 wèile shǐ jiā zú néng gòu chuán chéng xià qù， kè lì fú tè xiàng kāng nī tí chū， xī wàng tā néng gěi zhè gè jiā shēng gè hái zǐ， dàn què zāo dào kāng nī de duàn rán jù jué。 dāng wǎn de shèng dàn wǔ huì shàng， kè rén mendōu zài jìn qíng kuáng huān， wéi kāng nī dú zuò yī bàng， xīn qíng yù mèn。 bà bà hé mèi mèi dū wéi tā dān xīn， fēn fēn quàn tā yào zhēn xī zì jǐ de qīng chūn， yào shè fǎ kāipì zì jǐ de shēng huó。
zài mèi mèi xī 'ěr dá de bāng zhù xià， kè lì fú tè pìn qǐng liǎo yī wèi guǎ fù bó 'ěr dùn tài tài suí shēn cìhou。 kāng nī yóu cǐ dé yǐ cóng bìng rén shēn bàng tuō shēn， dé dào yī xiē zì yóu shí jiān。 kāng nī jīng cháng dú zì dào lín jiān sàn bù， hé mǐ 'ěr sī yòu liǎo yī xiē jiē chù。 tiān cháng rì jiǔ， liǎng rén zhú jiàn chǎn shēng liǎo gǎn qíng。 kāng nī kāi shǐ yuè lái yuè bù néng rěn shòu chá tài lāi dà zhái zhōng huá lì dàn què kè bǎn cāng bái de shēng huó liǎo， tā jué dé zì jǐ yǐ bèi yā pò dé yǎn yǎn yī xī， tā xiàng wǎng wài miàn de dà zì rán， xiàng wǎng mǐ 'ěr sī shēn shàng huàn fā chū lái de huó lì。 zhōng yú， kāng nī tóu rù liǎo mǐ 'ěr sī de huái bào。 tā men rú chī rú zuì dì zuò 'ài， zhè shì liǎng gè jiàn kāng ròu tǐ zhī jiān de wán mǎn de xìng 'ài、 quán shēn xīn tóu rù de xìng 'ài、 xiāng hù zūn zhòng lǐ jiě shàn yì huí yìng de xìng 'ài， zhè zhǒng xìng 'ài yóu zuì chū chún cuì de ròu tǐ xī yǐn màn màn zhuǎn huà chéng liǎo yī zhǒng líng hún de xiāng hù pèng zhuàng， mǐ 'ěr sī yòng 'ài fǔ yǔ rè qíng shǐ kāng nī biàn chéng liǎo yī gè zhēn zhèng de nǚ rén， kāng nī jīng qí dì fā xiàn zì jǐ shēn shēn 'ài shàng liǎo zhè gè cū lǔ méi yòu wén huà dàn què shēn chén rè qíng de nán zǐ。 kāng nī hé mǐ 'ěr sī chéng liǎo líng yù hé yī de qíng rén， dāng kāng nī wǎn shàng qiāoqiāo dì cóng chá tài lāi dà zhái lǐ páo xiàng zài yī bàng shǒu hòu tā de mǐ 'ěr sī de shí hòu， tā yǐ jīng wán quán chén zuì yú zhè duàn gǎn qíng liǎo。
yī gè yǔ tiān， kāng nī yǔ mǐ 'ěr sī zài lín zhōng xiǎo wū yōu huì。 jī qíng péng pài de kāng nī chōng xiàng wū wài， tuō qù shēn shàng de cháng páo， luǒ zhe shēn tǐ zài yǔ zhōng bēn páo， mǐ 'ěr sī yě huān jiào zhe zhuī liǎo chū qù。 kāng nī wán měi wú xiá de dòng tǐ zài cōng lǜ de sēn lín zhōng xiǎn dé nà me zì rán hé xié， liǎng rén xiàng kuài lè de jīng líng yī yàng zài yǔ zhōng xī xì。 zhī hòu， tā men yòng xiān huā zhuāng diǎn bǐ cǐ， yóu rú huí guī yī diàn yuán de yà dāng yǔ xià wá。 zhè shí， héng gèn zài tā men zhī jiān de děng jí zhàng 'ài zǎo yǐ dàng rán wú cún。
zhōng yú， kāng nī huái shàng liǎo mǐ 'ěr sī de hái zǐ。 zài wài chū lǚ yóu qī jiān， tā bǎ zì jǐ de gù shì tǎn chéng dì gào sù liǎo xī 'ěr dá， xī 'ěr dá duì kāng nī de zuò fǎ bù yǐ wéi rán， hái jī jí dì yào wéi hái zǐ wù sè yī gè guì zú fù qīn， què bèi kāng nī jù jué。 kāng nī nán yǐ gē shè duì mǐ 'ěr sī de sī niàn， tí qián huí dào zhuāng yuán， què fā xiàn mǐ 'ěr sī pò yú yā lì yǐ jīng cí zhí， bìng zāo dào dú dǎ， bèi qiǎn sòng dào kuàng shàng shāo méi。 xī rì de xiǎo mù wū yě yǐ bù zài shì tā men de lè yuán， liǎng rén sì hū yǐ jīng zǒu tóu wú lù。
mǐ 'ěr sī jué xīn lí kāi yīng guó， qù jiā ná dà móu shēng， kāng nī miàn lín jué zé。 zhōng yú， kāng nī xiàng kè lì fú tè tí chū lí hūn， bìng gào sù tā， tā suǒ 'ài de rén shì kàn lín rén mǐ 'ěr sī。 kè lì fú tè dé zhī hòu， yóu rú duò rù xiàn jǐng de kùn shòu， kuáng nù dào：“ tiān nǎ！ nǐ jìng hé wǒ de pú rén fā shēng guān xì！” zuì hòu， kāng nī yǔ mǐ 'ěr sī zhè yī duì duō nán de qíng rén zhōng yú xiāng yù zài qián wǎng jiā ná dà de chuán shàng。 liǎng gè rén de míng tiān shì guāng míng 'ér chōng mǎn xī wàng de， kāng nī fàng qì liǎo yōng róng shē huá dàn què sǐ qì chén chén de guì fù shēng huó， bēn xiàng liǎo zì yóu yǔ 'ài qíng， liǎng gè lái zì bù tóng jiē céng de rén zhōng yú chōng pò shì sú de zhàng 'ài， huò dé xīn shēng。
《 chá tài lāi fū rén de qíng rén》 - zuò pǐn bèi jǐng
yuán zhù zài yīng guó bèi jìn 30 nián， chū bǎn gāi shū de qǐ 'é chū bǎn shè bèi kòng chū bǎn yín huì zuò pǐn， zhí zhì 1960 nián cái bèi xuān gào wú zuì， xiǎo shuō yì tóng shí jiě jìn。 yóu yú xiǎo shuō de mǐn gǎn， gēn jù xiǎo shuō gǎi biān de diàn yǐng tóng yàng yǐn qǐ rén men de pǔ biàn guān zhù。
yǐngpiān《 chá tài lāi fū rén de qíng rén》 gēn jù yīng guó 20 shì jì xiǎo shuō jiā dài wèi . hè bó tè . láo lún sī chuàng zuò yú 1928 nián de tóng míng xiǎo shuō gǎi biān。 láo lún sī de zhè bù jīng diǎn míng zhù zì wèn shì qǐ jiù bèi shòu zhēng yì， zài yīng guó bèi jìn 30 nián， dàn què bù fáng 'ài shì rén duì tā de xǐ 'ài hé chuán yuè。 xiǎo shuō céng duō cì bèi bān shàng yín mù， 1992 nián yīng guó dà dǎo yǎn kěn。 lā sài 'ěr shòu BBC diàn shì tái zhī yāo， jiāng qí zài dù bān shàng yín mù， pāi chéng liǎo yī bù cháng dá 4 gè duō xiǎo shí、 zǒng gòng 4 jí de diàn shì jù， bìng jiǎn ji chū yī gè cháng yuē 2 xiǎo shí、 gōng yǐng yuàn fàng yìng de diàn yǐng“ suō jiǎn běn”。
běn piàn dǎo yǎn kěn。 lā sài 'ěr yǐ pāi shè yīnyuè jiā zhuànjì piàn 'ér wén míng。 cǐ qián， tā yě céng liǎng dù gǎi biān láo lún sī de xiǎo shuō《 hóng》 hé《 liàn 'ài zhōng de nǚ rén》。
《 chá tài lāi fū rén de qíng rén》 - zhù tí sī xiǎng
cóng fú lóu bài de《 bāo fǎ lì fū rén》、 tuō 'ěr sī tài de《 ān nà。 kǎ liè lín nà》 dào láo lún sī de《 chá tài lāi fū rén de qíng rén》， xī fāng xiàn dài xiǎo shuō yī zhí fǎn fù tàn tǎo zhe yī gè zhù tí， jí zài jí jù biàn huà de shè huì zhōng， yǐ hūn nǚ xìng duì shì sú de shè huì jià zhí suǒ zuò de fǎn pàn jí qí hòu guǒ。 běn piàn zài cì yǐ diàn yǐng de xíng shì duì zhè yī zhù tí zuò chū hū yìng。 dǎo yǎn kěn。 lā sài 'ěr lì qiú zhōng shí yú láo lún sī de yuán zhù， bǎo liú liǎo yuán zhù de dà bù fēn qíng jié hé duì bái， zài jié gòu shàng yě méi yòu dà de tiáozhěng， bǐ jiào zhǔn què dì chuán dá chū yuán zhù zhōng suǒ yùn hán de shēn kè zhù tí， yǐ wéi měi de shì jué yǔ yán jiē shì liǎo nǚ xìng dú lì xìng yì shí de zì wǒ méng fā hé zì wǒ jiù shú。 yǐngpiān zài jiē shì nán nǚ qíng 'ài de tóng shí， jiāng xìng 'ài miáo xiě shàng shēng dào zhé xué hé měi xué de gāo dù， bàn suí zhe chì liè de xìng 'ài tǐ yàn de， zé shì duì lì shǐ、 zhèng zhì、 zōng jiào、 jīng jì děng shè huì wèn tí de yán sù sī kǎo。 chá tài lāi fū fù de jié hé shì yī zhǒng bù hé xié de jī xíng hūn yīn。 bàn shēn tān huàn、 shī qù nán xìng néng lì de zhàng fū hé zhèng zhí fāng nián de qī zǐ， zhè shì yī gè cán kù de zǔ hé， hé kuàng kè lì fú tè shì gè xū wěi zì sī de rén， zài tā de xīn mù zhōng， kāng nī zhǐ bù guò shì yī jiàn měi lì de fù yōng hé chuán zōng jiē dài de gōng jù。 kè lì fú tè bù néng mǎn zú kāng nī de zhèng cháng qíng yù， mǐ 'ěr sī zé bāng zhù kāng nī shí xiàn liǎo zì wǒ， huàn xǐng liǎo tā shēn shàng de nǚ xìng běn néng。 zuì zhōng， liǎng rén de qì hé yóu ròu yù zhī 'ài shēng huá dào xīn líng de jiāo róng， kāng nī fǎn pàn liǎo tā suǒ cóng shǔ de nà gè jiē jí， zài nà gè fēng jiàn bǎo shǒu de shí dài， tā de yǒng gǎn xuǎn zé， wú yí jù yòu nǚ xìng gè tǐ de jī jí yì yì。
láo lún sī bì shēng zhì lì yú nán nǚ xìng 'ài tí cái xiǎo shuō de chuàng zuò， tā rèn wéi， xiǎo shuō《 chá tài lāi fū rén de qíng rén》“ zuì hǎo ná gěi suǒ yòu 17 suì de shàonǚ men kàn kàn”。 zài tā kàn lái， rén lèi de xìng 'ài jù yòu zhì gāo wú shàng de jià zhí。 zhè gè shì jiè shàng， kǒng pà zài méi yòu nǎ yī gè zuò jiā néng xiàng láo lún sī nà yàng， yǐ zōng jiào bān de rè chén zàn měi rén jiān xìng 'ài、 yǐ xì nì wēi miào de bǐ chù miáo huì liǎng xìng guān xì zhōng nà zhǒng yù xiān yù sǐ de zhì gāo jìng jiè。 láo lún sī de xiǎo shuō yī xiàng yǐ dà dǎn 'ér xiáng jìn de xìng miáo xiě zhù chēng， dǎo yǎn kěn . lā sài 'ěr yì bù kuì wéi yòng shì jué yǔ yán jiǎng shù gù shì、 biān zhì qíng yù de gāo shǒu， yǐngpiān zhōng xìng 'ài chǎng miàn de zhǎn xiàn bù jǐn hán xù yōu měi， ér qiě fù yòu shī yì， dǎo yǎn méi yòu zài qíng sè chǎng miàn shàng zuò guò duō de xuàn rǎn hé pū chén， zhǐ shì diǎn dào wéi zhǐ， dàn què jiāng rén tǐ yǔ qíng yù shī yì huà， jiāng shī yì shì jué huà， bǎ yǐngpiān zhù rén gōng qíng gǎn gù shì pāi dé huǎng ruò tóng huà xiān jìng。
běn piàn de fú zhuāng hé bù jǐng zhì zuò yě shí fēn kǎo jiū， shēng dòng dì zài xiàn liǎo 20 shì jì chū yè yīng guó shàng liú shè huì de fēng qíng， tōng guò nǚ zhùjué kāng nī nà yī kuǎn kuǎn yōu yǎ jīng zhì de fú shì、 huá lì 'ér kōng dòng de shì nèi bù jǐng， yǐ jí kǎo jiū de yòng jù、 fán suǒ de shēng huó xì jié， fǎn chèn chū shàng liú shè huì rén men jīng shén shàng de kōng xū yǔ cāng bái。
《 chá tài lāi fū rén de qíng rén》 - láo lún sī sī yìn、 zì shòu zuò pǐn
《 chá tài lāi fū rén de qíng rén》 láo lún sī
suī rán zài xiě chū《 chá tài lāi fū rén de qíng rén》 zhī qián， láo lún sī yǐ yǐ《 cǎi hóng》、《 liàn 'ài zhōng de fù nǚ》、《 ér zǐ yǔ qíng rén》 děng zuò pǐn xiǎng yòu liǎo xiāng dāng míng shēng， kě shì， yǎn xià de zhè bù shū， réng rán jiào chū bǎn shāng、 péng yǒu shèn zhì láo lún sī zì jǐ gǎn dào wéi nán。 zuì hòu， láo lún sī zhǐ hǎo zì jǐ zài yì guó qù sī zì chū bǎn， chū bǎn hòu yòu zì jǐ fā shòu。 dāng rán， zhèng yīn wéi zhè zhǒng xíng shì， yě zuì zǎo dì、 wú xū guān fāng rèn kě dì jiāng zhè bù zhù dìng yào yǐn qǐ xuān rán dà bō de zuò pǐn tuī xiàng liǎo shè huì。
1926 nián， láo lún sī biàn kāi shǐ liǎo《 chá tài lāi fū rén de qíng rén》 de xiě zuò， bìng zài bù suàn cháng de shí jiān， wán chéng liǎo dì yī gǎo。 dāng shí， tā yǐ jīng zài shì tú lián xì chū bǎn liǎo， kě hěn kuài， tā biàn dǎ xiāo liǎo zhè yàng de xiǎng fǎ。 tā dāng shí de xīn qíng shì máo dùn de。 zài zhì mǒu wèi chū bǎn jiè rén shì de xìn zhōng， tā kāi shǐ liǎo yù xiān de biàn jiě：
“ guān yú wǒ de xiǎo shuō《 chá tài lāi fū rén de qíng rén》， xiàn zài wǒ zhēn shì zuǒ yòu wéi nán， shì rén jiāng huì rèn wéi zhè bù xiǎo shuō shì bù zhèng pài de。 kě nǐ zhī dào tā bìng fēi bù zhèng pài。 wǒ shǐ zhōng kǔ xīn gū yì dì zài zuò tóng yī jiàn shì qíng， jiù shì shǐ rén men zài tí dào xìng guān xì shí， yìng gǎn dào shì zhèng dāng hé zhēn guì de， ér bù shì xiū kuì。 zhè bù xiǎo shuō shì wǒ zài zhè yī fāng miàn suǒ zuò de jìn yī bù nǔ lì。 zài wǒ kàn lái， xìng shì měi hǎo de、 wēn róu de， dàn yòu rú chì luǒ zhe de rén nà yàng cuì ruò。”
láo lún sī réng zài bù tíng dì tiáozhěng zhe zhè bù zuò pǐn， dì 'èr gǎo、 dì sān gǎo …… kě jí shǐ zhè yàng， zài xiàn shí shè huì zhōng， tā réng rán yóu yú zhè bù zuò pǐn 'ér zhāo zhì má fán， tā shèn zhì zhǎo bù dào wèitā fú wù de dǎ zì yuán。 láo lún sī dāng shí zhù zài yì dà lì de fó luó lún sà， zuì xiān tā zhǎo dào dāng dì yī wèi yuàn yì tì tā dǎ zì de nǚ zǐ， kě zài dǎ dào dì wǔ zhāng shí， zhè wèi nǚ zǐ bùgànliǎo， jiāng gǎo zǐ tuì liǎo huí lái， shuō tā bù néng zài dǎ xià qù， yīn wéi zuò pǐn nèi róng tài wū huì、 āng zàng……
miàn duì zhè yàng de fǎn yìnghè zì jǐ de xīn lǐ yù qī， láo lún sī yī dù bù xiǎng chū bǎn zhè bù zuò pǐn， kě shì， yī fāng miàn yóu yú jīng jì yā lì， yī fāng miàn jī yú tā juéjiàng de xìng gé， zài 1927 nián 11 yuè shí， láo lún sī kāi shǐ shì tú sī xià yìn zhì《 chá tài lāi fū rén de qíng rén》 liǎo。 yóu yú zì jǐ de xīn lǐ yù gǎn， tā zàn shí bù zhǐ wàng zài yīng yǔ shì jiè de yīng guó huò měi guó móu qiú chū bǎn， ér dǎ suàn zài yì dà lì jiāng tā yìn chū lái。 yuán yīn chú qù fó luó lún sà de yìn shuà hěn piányí， hái yòu shēn chù yì dì， qǐ mǎ bù zhì yú zài yìn shuà shí biàn yǐn qǐ bù bì yào de má fán。
àn láo lún sī dāng shí de dǎ suàn， zì jǐ sī xià yìn zhì， dì yī cì yìn shuà shàng 700 bù， měi cè dìng jià liǎng gè jī ní（ dāng shí měi jī ní xiāng dāng 21 xiān lìng）， zhè yàng xià lái， jiù huì zuàn dào 600 dào 700 yīng bàng。 zhè zài dāng shí shì yī bǐ bù xiǎo de shōu rù liǎo。 bù jiǔ， duì cǐ shū xiāo shòu de gū jì hé zì jǐ jīng jì jié jù de yā pò， láo lún sī yòu xiǎng tí gāo yìn shù héng héng 1000 bù。 àn zhào xiān qián dìng jià， tā jiù kě yǐ zuàn dào 1000 yīng bàng。 wèile néng gòu wéi dú zhě jiē shòu， tā shèn zhì yī dù dǎ suàn jiāng zhè bù zuò pǐn míng zì gǎi wéi《 róu qíng mì yì》 huò《 yuē hàn tuō mǎ sī hé jiǎn fū rén》， yīn wéi zhè yàng kàn qǐ lái méi yòu《 chá tài lāi fū rén de qíng rén》 nà yàng cì yǎn。
zài《 chá tài lāi fū rén de qíng rén》 jiāo fù chū bǎn shāng zhī qián， láo lún sī ràng jǐ wèi yǒu rén dú liǎo zhè bù shū gǎo。 fǎn yìng bù yī， yòu qiáng liè fǎn chā。 yī xiē péng yǒu rèn wéi zhè bù shū bù cuò， shuō tā men“ fēi cháng xǐ huān zhè běn shū”； yī wèi nǚ shì zài dú dào zhè bù xiǎo shuō hòu què“ dà fā léi tíng” héng héng dào dé shàng de fèn nù。 zhè fǎn yìng shǐ láo lún sī gǎn dào yòu qù qǐ lái。 tā gěi lìng yī wèi hái wèi dú dào cǐ shū de yǒu rén shuō：“ wǒ xī wàng nǐ bù huì tǎo yàn zhè bù xiǎo shuō héng héng jìn guǎn nǐ hěn kě néng bù xǐ huān tā。 zhè bù xiǎo shuō běn shēn jiù shì yīcháng gé mìng héng héng yī kē xiǎo xiǎo de zhà dàn。”
láo lún sī zhōng yú yào jiāng zhè zhà dàn yǐn bào liǎo。 jiāo chū shū gǎo jǐ tiān zhī hòu， láo lún sī biàn zhì hán měi guó shī rén wēi tè bīn nà。 tā men liǎng rén céng jīng yī qǐ qù mò xī gē lǚ xíng guò。 zài xìn zhōng， láo lún sī xī wàng tā néng gòu wèicǐ shū zuò yī xiē xiāo shòu gōng zuò。 zài gěi lìng yī wèi zhù zài niǔ yuē de hàn mì 'ěr dùn āi mǔ sī fū rén de xìn lǐ， láo lún sī yě xī wàng tā néng bāng zhù xiāo shòu zhè bù zuò pǐn：“ zhè shì yī bù wēn róu de， shēng zhí qì de xiǎo shuō。 xiàn zài nǐ jié hūn liǎo， zì rán huì lǐ jiě tā de。 yóu yú shì sú de gōng zhòng róng bù dé duì shēng zhí qì de miáo xiě， wǒ zhǐ dé zài zhè lǐ chū bǎn zhè bù xiǎo shuō。 rú guǒ nǐ bù xián má fán， qǐng bǎ nà xiē dìng dān sàn fā gěi nà xiē yuàn yì gòu mǎi zhè bù xiǎo shuō de rén men。 wǒ rèn wéi zhè bù xiǎo shuō shì zhí dé yī mǎi de。” zài gěi tā zài měi guó de wén xué dài lǐ rén kē dì sī bù lǎng de xìn zhōng， láo lún sī xiě de zhí jié dé duō：“ wǒ zhēn xī wàng zhè bù xiǎo shuō néng mài chū yī qiān cè， huò zhě mài chū qù dà bù fēn， fǒu zé wǒ jiù huì pò chǎn。 wǒ xiǎng zhí jiē bǎ shū gěi gòu mǎi zhě jì qù。 wǒ zhǔn bèi gěi nǐ jì shàng yī xiē dìng dān， nǐ néng fǒu wèiwǒ zhǎo yī xiē dìng gòu zhě？ zhǐ yào tā men jì lái liǎng yīng bàng， wǒ jiù huì bǎ shū jì gěi tā men。” dāng rán， gèng duō de dìng dān jì wǎng liǎo yīng guó， zhè bì jìng shì láo lún sī de zǔ guó。 jìn guǎn tā zhī dào zhè kē“ zhà dàn” de wēi lì， kě zhè lǐ yě kě néng yòu gèng duō de zhī yīn。
láo lún sī suǒ xún zhǎo de fó luó lún sà zhè jiā yìn shuà chǎng， qià hǎo yìn shuà shāng hé yìn shuà chǎng dōuméi yòu rén dǒng dé yīng wén。 zài láo lún sī kàn lái， zhè dǎo chéng liǎo zì jǐ de“ fú qì”。 zhè jiā yìn shuà chǎng quán bù shǒu gōng cāo zuò， pái zì hěn zǎi xì， yòng de yě shì yī zhǒng jīng zhì de shǒu gōng zhì zuò de yì dà lì zhǐ zhāng， suǒ yǐ， yìn chū de shū xiào guǒ shí fēn xī yǐn rén。 láo lún sī zì jǐ wéi zhè bù xiǎo shuō shè jì fēng miàn： xià bù shì huǒ yàn fēi yáng de hóng sè dǐ zǐ， zhōng jiān yī zhǐ hēi sè de fèng huáng tú 'àn， pō yòu“ fèng huáng niè pán” de wèi dào。 zhè gè tú 'àn， hòu lái zhèng shì chū bǎn de qǐ 'é bǎn fēng miàn yě yán yòng liǎo xià lái。
hěn kuài， láo lún sī de nǔ lì dé dào huí bào。 xiān shì tā de zǔ guó héng héng yīng guó héng héng jì lái liǎo duō fèn xiǎo shuō dìng dān， rán hòu shì měi guó， dìng dān yě zài zhú jiàn jì huí。 zhè biān， láo lún sī zài jǐn zhāng dì jiàoduì qīng yàng。 4 yuè、 5 yuè、 6 yuè…… dào liǎo 28 rì zhè yī tiān， zhè bù zhù dìng yào yǐn fā dà zhèn dòng de shū héng héng《 chá tài lāi fū rén de qíng rén》， àn zhào láo lún sī zì jǐ jiān chí de shū míng chū bǎn liǎo。
zài láo lún sī zǔ guó de yīng guó， dāng shí rén men guān niàn hái xiāng dāng bǎo shǒu， suǒ yǐ， bāng zhù tā tuī xiāo gāi shū de péng yǒu， shì mào zhe bèi pàn gāo 'é fá kuǎn de wēi xiǎn lái gōng zuò de。 yī wèi yīng guó de péng yǒu hòu lái huí yì shuō， láo lún sī dāng shí gěi tā men de xuān chuán cí wéi： zhè shì yī bù wěi dà de zhù zuò， shì“ èr shí shì jì guāng róng de xiàng zhēng。” zhè yě xǔ shì jī fā tā men gān mào fēng xiǎn de yuán yóu zhī yī。 hěn kuài， yīng guó de dú zhě chǎn shēng liǎo fǎn yìng。 jiē dào yǒu rén gào zhī xiāo xī de diàn bào， láo lún sī jì jǐn zhāng yòu xīng fèn： zhè bù xiǎo shuō xiàng yī kē zhà dàn， zài wǒ dà duō shù yīng guó péng yǒu zhōng jiān bào zhà kāi lái， tā men xiàn zài réng rěn shòu zhe dàn zhèn zhèng de tòng kǔ。“ wǒ gǎn dào wǒ yǐ rēng chū qù yī kē zhà dàn， lái hōng zhà tā men xū wěi de xìng gǎn hé xū wěi xìng……”
bù guò， yī bù fēn jì wǎng měi guó de yóu jiàn bèi kòu zhù liǎo。 kě yī qiē yǐ jīng wú fǎ zǔ lán。 shū shí fēn hǎo xiāo， láo lún sī jiā yìn 200 cè lái yìng fù， qí yú de， jiù zhǐ néng kàn zhe dào yìn běn héng xíng shì chǎng， jiè cǐ dà zuàn qí qián liǎo。 dì yī pī shū jì dào měi guó bù dào yī gè yuè， tōu yìn běn biàn chū lái liǎo。 yóu yú tōu yìn běn fǎng zhì shuǐ píng hěn gāo， lián shū diàn lǎo bǎn dū biàn rèn bù chū， bìng qiě shòu jià gāo yú yuán bǎn： shí wǔ yuán， ér yuán bǎn jià jǐn shí yuán。 hěn kuài， dì 'èr zhǒng、 dì sān zhǒng…… dào yìn běn zài niǔ yuē chū xiàn liǎo。 hěn kuài， lún dūn hé bā lí，《 chá tài lāi fū rén de qíng rén》 de dào yìn běn chū lóng liǎo， shòu jià gāo dá měi běn sān yīng bàng huò liǎng yīng bàng。
bā lí yī jiā shū diàn， yī kǒu qì zì yìn liǎo 1500 cè， chōng chì shì chǎng。 láo lún sī zhǎo lái yī běn kàn kàn， zhǐ néng kǔ xiào， yīn wéi dào yìn běn hái hěn rèn zhēn dì jiāng yuán bǎn zhōng de yī xiē cuò wù gěi gǎi zhèng liǎo。 kě zhè běn yìn zhì hěn bù cuò de shū méi yòu gěi láo lún sī dài lái rèn hé xiào yì。 tā pī fā gěi shū diàn shì měi běn 100 fǎ láng， mài gěi dú zhě chéng liǎo 300、 400 shèn zhì 500 fǎ láng。 zhè xiē 'ōu zhōu de dào yìn zhě shèn zhì xiàng láo lún sī tí chū jiàn yì， xī wàng néng gòu gěi tā men shòu quán， chéng rèn tā men de yìn běn。 zhè yàng， láo lún sī jiù kě yǐ zài dào yìn běn zhōng， chōu qǔ yī xiē bǎn shuì。 běn lái， láo lún sī jīhū dū tóng yì liǎo zhè xiàng jiàn yì， kě zì zūn xīn zuì hòu zǔ zhǐ liǎo tā。 tā zhǐ néng jué yì zài fǎ guó chū yī zhǒng zì jǐ rèn kě de bǎn běn。 zì jǐ zǔ guó héng héng yīng guó de fā hángjiā， quàn láo lún sī jiāng gāi shū jiā yǐ shān gǎi， chū yī gè“ jié běn”， bìng dāyìng gěi tā fēng hòu de bào chóu， kě láo lún sī wú fǎ jiē shòu， tā rèn wéi， nà yàng“ jiù děng yú yòng jiǎn dāo cái jiǎn wǒ zì jǐ de bí zǐ。 shū liúxiě liǎo。”
kě bù guǎn zěn me shuō， láo lún sī yǐ sī yìn、 zì shòu de fāng shì tuī chū《 chá tài lāi fū rén de qíng rén》， xiàn zài kàn lái réng rán shì chǔlǐ dé dāng de yī jiàn shì。 rú rén men suǒ zhī， gāi shū hòu lái bèi chá jìn duō nián， chū bǎn shè zhèng shì chū bǎn quán běn（ qí jiān yòu shān jié běn yìn chū）， yǐ shì jǐ shí nián zhī hòu de shì qíng。 dāng chū cháng ruò láo lún sī bù cǎi qǔ sī yìn， zì shòu fāng shì， nà me， tā zài yòu shēng zhī nián（ shū chū bǎn liǎng nián zhī hòu de 1930 nián 2 yuè， zhè wèi jí jù cái huá de zuò jiā bìng shì）， jué rán jiàn bù dào zhè bù zuò pǐn wèn shì。 zhī hòu， yī qiē shì qíng jué nán yù liào。 yě xǔ， tā de shǒu gǎo huì suí shí yān miè； nà me， yī bù zhù dìng yào yǐn qǐ gōng zhòng xīng qù， fǎ tíng biàn lùn， wén xué jiè cháng qī tǎo lùn de zhù shù， jiù kě néng yǒng jiǔ zài hēi 'àn zhōng chénmò。 zuì qǐ mǎ， huì tuī chí shù shí nián wèn shì。 zhè zhǒng jiēguǒ， huò xǔ zuò zhě běn rén yǐ yòu yù gǎn， suǒ yǐ， cǎi qǔ fēi zhèng cháng shǒu duàn jí shí tuī chū tā， shì shí fēn bì yào de。
qí cì，《 chá tài lāi fū rén de qíng rén》 de chū bǎn， jǐn jǐn cóng jīng jì jiǎo dù kǎo lǜ， tā yě dá dào liǎo shǐ láo lún sī bǎi tuō kùn jiǒng de mùdì。 jìn guǎn hòu lái dào yìn běn cóng zhōng shǔn xī liǎo zuò zhě dà liàng de xīn xuè， kě yī qiān duō bù yìn běn réng rán wèitā zuàn liǎo yī qiān duō yīng bàng。 zhè gè shù mù， zài dāng shí shì xiāng dāng dà de。 zhè shǐ hěn cháng yī duàn shí jiān nèi， láo lún sī kě yǐ zì zú dì duì péng yǒu shuō：“ suǒ yǐ wǒ xiàn zài bù chóu méi qián yòng liǎo。”
zài jīn tiān kàn lái， láo lún sī chǎn shēng zuì dà yǐng xiǎng de zuò pǐn， yǐ rán shì zhè cè《 chá tài lāi fū rén de qíng rén》。 zhè bù zuò pǐn， zài duō gè guó jiā， zài xiāng dāng cháng shí jiān， bèi jìn zhǐ chū bǎn。 zài zuò zhě jiā xiāng běn tǔ de yīng guó， zhè bù shū shèn zhì bèi tuī shàng fǎ tíng。 yǐ gāi shū chū bǎn bā shí nián hòu de jīn tiān yǎn guāng kàn，《 chá tài lāi fū rén de qíng rén》 hái shì rú zuò zhě zì jǐ rèn shí de：“ shì zhèng dāng hé zhēn guì de”， jí shǐ zài xìng de miáo xiě shàng， tā yě shì“ wēn róu、 mǐn gǎn”， shèn zhì shì chéng zhì de。 cóng zhè xiē fāng miàn qù rèn shí， dāng nián láo lún sī yǐ sī yìn、 zì shòu de fāng shì fā xíng cǐ shū， kě yǐ shuō yì yì fēi cháng。
The story is said to have originated from events in Lawrence's own unhappy domestic life, and he took inspiration for the settings of the book from Eastwood in Nottinghamshire where he grew up. According to some critics, the fling of Lady Ottoline Morrell with "Tiger", a young stonemason who came to carve plinths for her garden statues, also influenced the story. Lawrence at one time considered calling the novel Tenderness and made significant alterations to the text and story in the process of its composition. It has been published in three different versions.
Plot introduction
The story concerns a young married woman, Constance (Lady Chatterley), whose upper-class husband, Clifford Chatterley, has been paralyzed and rendered impotent. Her sexual frustration leads her into an affair with the gamekeeper, Oliver Mellors. This novel is about Constance's realization that she cannot live with the mind alone; she must also be alive physically.
Main characters
* Lady Chatterley is the protagonist of the novel. Before her marriage, she is simply Constance Reid, an intellectual and social progressive from a Scottish bourgeois family, the daughter of Sir Malcolm and the sister of Hilda. When she marries Clifford Chatterley, a minor nobleman, Constance (or, as she is known throughout the novel, Connie) assumes his title, becoming Lady Chatterley. Lady Chatterley's Lover chronicles Connie's maturation as a woman and as a sensual being. She comes to despise her weak, ineffectual husband, and to love Oliver Mellors, the gamekeeper on her husband's estate. In the process of leaving her husband and conceiving a child with Mellors, Lady Chatterley moves from the heartless, bloodless world of the intelligentsia and aristocracy into a vital and profound connection rooted in sensuality and sexual fulfillment.
* Oliver Mellors is the lover in the novel's title. Mellors is the gamekeeper on Clifford Chatterley's estate, Wragby Hall. He is aloof, sarcastic, intelligent and noble. He was born near Wragby, and worked as a blacksmith until he ran off to the army to escape an unhappy marriage. In the army, he rose to become a commissioned lieutenant — an unusual position for a member of the working classes — but was forced to leave the army because of a case of pneumonia, which left him in poor health. Surprisingly, we learn from different characters' accounts that Mellors was in fact finely educated in his childhood, has good table manners, is an extensive reader, and can speak English 'like a gentleman', but chooses to behave like a commoner and speak broad Derbyshire dialect, probably in an attempt to fit into his own community. Disappointed by a string of unfulfilling love affairs, Mellors lives in quiet isolation, from which he is redeemed by his relationship with Connie: the passion unleashed by their lovemaking forges a profound bond between them. At the end of the novel, Mellors is fired from his job as gamekeeper and works as a laborer on a farm, waiting for a divorce from his old wife so he can marry Connie. Mellors is a man with an innate nobility but who remains impervious to the pettiness and emptiness of conventional society, with access to a primal flame of passion and sensuality.
* Clifford Chatterley is Connie's husband. Clifford Chatterley is a young, handsome baronet who becomes paralyzed from the waist down during World War I. As a result of his injury, Clifford is impotent. He retires to his familial estate, Wragby Hall, where he becomes first a successful writer, and then a powerful businessman. But the gap between Connie and him grows ever wider; obsessed with financial success and fame, he is not truly interested in love, and she feels that he has become passionless and empty. He turns for solace to his nurse and companion, Mrs. Bolton, who worships him as a nobleman even as she despises him for his casual arrogance. Clifford is portrayed as a weak, vain man, but declares his right to rule the lower classes, and he soullessly pursues money and fame through industry and the meaningless manipulation of words. His impotence is symbolic of his failings as a strong, sensual man, and could also represent the increasing loss of importance and influence of the ruling classes in a modern world.
* Mrs. Bolton, also known as Ivy Bolton, is Clifford's nurse and caretaker. She is a competent, still-attractive middle-aged woman. Years before the action in this novel, her husband died in an accident in the mines owned by Clifford's family. Even as Mrs. Bolton resents Clifford as the owner of the mines — and, in a sense, the murderer of her husband — she still maintains a worshipful attitude towards him as the representative of the upper class. Her relationship with Clifford - she simultaneously adores and despises him, while he depends and looks down on her - is probably one of the most complex relationships in the novel.
* Michaelis is a successful Irish playwright with whom Connie has an affair early in the novel. Michaelis asks Connie to marry him, but she decides not to, realizing that he is like all other intellectuals: a slave to success, a purveyor of vain ideas and empty words, passionless.
* Hilda Reid is Connie's older sister by two years, the daughter of Sir Malcolm. Hilda shared Connie's cultured upbringing and intellectual education. She remains unliberated by the raw sensuality that changed Connie's life. She disdains Connie's lover, Mellors, as a member of the lower classes, but in the end she helps Connie to leave Clifford.
* Sir Malcolm Reid is the father of Connie and Hilda. He is an acclaimed painter, an aesthete and a bohemian who despises Clifford for his weakness and impotence, and who immediately warms to Mellors.
* Tommy Dukes, one of Clifford's contemporaries, is a brigadier general in the British Army and a clever and progressive intellectual. Lawrence intimates, however, that Dukes is a representative of all intellectuals: all talk and no action. Dukes speaks of the importance of sensuality, but he himself is incapable of sensuality and uninterested in sex. Of Clifford's circle of friends, he is the one who Connie becomes closest to.
* Duncan Forbes is an artist friend of Connie and Hilda. Forbes paints abstract canvases, a form of art Mellors seems to despise. He once loved Connie, and Connie originally claims to be pregnant with his child.
* Bertha Coutts, although never actually appearing in the novel, has her presence felt. She is Mellors' wife, separated from him but not divorced. Their marriage faltered because of their sexual incompatibility: she was too rapacious, not tender enough. She returns at the end of the novel to spread rumors about Mellors' infidelity to her, and helps get him fired from his position as gamekeeper. As the novel concludes, Mellors is in the process of divorcing her.
Themes
In Lady Chatterley's Lover, Lawrence comes full circle to argue once again for individual regeneration, which can be found only through the relationship between man and woman (and, he asserts sometimes, man and man). Love and personal relationships are the threads that bind this novel together. Lawrence explores a wide range of different types of relationships. The reader sees the brutal, bullying relationship between Mellors and his wife Bertha, who punishes him by preventing his pleasure. There is Tommy Dukes, who has no relationship because he cannot find a woman whom he respects intellectually and, at the same time, finds desirable. There is also the perverse, maternal relationship that ultimately develops between Clifford and Mrs. Bolton, his caring nurse, after Connie has left.
Mind and body
Richard Hoggart argues that the main subject of Lady Chatterley's Lover is not the sexual passages that were the subject of such debate but the search for integrity and wholeness. Key to this integrity is cohesion between the mind and the body for "body without mind is brutish; mind without body...is a running away from our double being." Lady Chatterley's Lover focuses on the incoherence of living a life that is "all mind", which Lawrence saw as particularly true among the young members of the aristocratic classes, as in his description of Constance's and her sister Hilda's "tentative love-affairs" in their youth:
So they had given the gift of themselves, each to the youth with whom she had the most subtle and intimate arguments. The arguments, the discussions were the great thing: the love-making and connexion were only sort of primitive reversion and a bit of an anti-climax.
The contrast between mind and body can be seen in the dissatisfaction each has with their previous relationships: Constance's lack of intimacy with her husband who is "all mind" and Mellors's choice to live apart from his wife because of her "brutish" sexual nature. These dissatisfactions lead them into a relationship that builds very slowly and is based upon tenderness, physical passion, and mutual respect. As the relationship between Lady Chatterley and Mellors develops, they learn more about the interrelation of the mind and the body; she learns that sex is more than a shameful and disappointing act, and he learns about the spiritual challenges that come from physical love.
Neuro-psychoanalyst Mark Blechner identifies the "Lady Chatterley phenomenon" in which the same sexual act can affect people in different ways at different times, depending on their subjectivity. He bases it on the passage in which Lady Chatterley feels disengaged from Mellors and thinks disparagingly about the sex act: "And this time the sharp ecstasy of her own passion did not overcome her; she lay with hands inert on his striving body, and do what she might, her spirit seemed to look on from the top of her head, and the butting of his haunches seemed ridiculous to her, and the sort of anxiety of his penis to come to its little evacuating crisis seemed farcical. Yes, this was love, this ridiculous bouncing of the buttocks, and the wilting of the poor insignificant, moist little penis." Shortly thereafter, they make love again, and this time, she experiences enormous physical and emotional involvement: "And it seemed she was like the sea, nothing but dark waves rising and heaving, heaving with a great swell, so that slowly her whole darkness was in motion, and she was ocean rolling its dark, dumb mass."
Class system and social conflict
Besides the evident sexual content of the book, Lady Chatterley’s Lover also presents some views on the British social context of the early 20th century. For example, Constance’s social insecurity, arising from being brought up in an upper middle class background, in contrast with Sir Clifford’s social self-assurance, becomes more evident in passages such as:
Clifford Chatterley was more upper-class than Connie. Connie was well-to-do intelligentsia, but he was aristocracy. Not the big sort, but still it. His father was a baronet, and his mother had been a viscount’s daughter.
There are also signs of dissatisfaction and resentment of the Tevershall coal pit’s workers, the colliers, against Clifford, who owned the mines. By the time Clifford and Connie had moved to Wragby Hall, Clifford's father's estate in Nottinghamshire, the coal industry in England seemed to be in decline, although the coal pit still was a big part in the life of the neighbouring town of Tevershall. References to the concepts of anarchism, socialism, communism, and capitalism permeate the book. Union strikes were also a constant preoccupation in Wragby Hall. An argument between Clifford and Connie goes:
‘’Oh good!, said Connie. “If only there aren’t more strikes!”
“What would be the use of their striking again! Merely ruin the industry, what’s left of it; and surely the owls are beginning to see it!”
“Perhaps they don’t mind ruining the industry,” said Connie.
“Ah, don’t talk like a woman! The industry fills their bellies, even if it can’t keep their pockets quite so flush,” he said, using turns of speech that oddly had a twang of Mrs. Bolton.
The most obvious social contrast in the plot, however, is that of the affair of an aristocratic woman (Connie) with a working class man (Mellors). Mark Schorer, an American writer and literary critic, considers a familiar construction in D.H. Lawrence's works the forbidden love of a woman of relatively superior social situation who is drawn to an "outsider" (a man of lower social rank or a foreigner), in which the woman either resists her impulse or yields to it. Schorer believes the two possibilities were embodied, respectively, in the situation into which Lawrence was born, and that into which Lawrence married, therefore becoming a favorite topic in his work.
Controversy
An authorized abridgment of Lady Chatterley's Lover that was heavily censored was published in America by Alfred E. Knopf in 1928. This edition was subsequently reissued in paperback in America both by Signet Books and by Penguin Books in 1946.
British obscenity trial
When the full unexpurgated edition was published by Penguin Books in Britain in 1960, the trial of Penguin under the Obscene Publications Act of 1959 was a major public event and a test of the new obscenity law. The 1959 act (introduced by Roy Jenkins) had made it possible for publishers to escape conviction if they could show that a work was of literary merit. One of the objections was to the frequent use of the word "fuck" and its derivatives. Another objection involves the use of the word "cunt".
Various academic critics and experts of diverse kinds, including E. M. Forster, Helen Gardner, Richard Hoggart, Raymond Williams and Norman St John-Stevas, were called as witnesses, and the verdict, delivered on 2 November 1960, was "not guilty". This resulted in a far greater degree of freedom for publishing explicit material in the United Kingdom. The prosecution was ridiculed for being out of touch with changing social norms when the chief prosecutor, Mervyn Griffith-Jones, asked if it were the kind of book "you would wish your wife or servants to read".
The Penguin second edition, published in 1961, contains a publisher's dedication, which reads: "For having published this book, Penguin Books were prosecuted under the Obscene Publications Act, 1959 at the Old Bailey in London from 20 October to 2 November 1960. This edition is therefore dedicated to the twelve jurors, three women and nine men, who returned a verdict of 'Not Guilty' and thus made D. H. Lawrence's last novel available for the first time to the public in the United Kingdom."
In 2006, the trial was dramatised by BBC Wales as The Chatterley Affair.
Australia
Main article: Censorship in Australia
Not only was the book banned in Australia, but a book describing the British trial, The Trial of Lady Chatterley, was also banned. A copy was smuggled into the country and then published widely. The fallout from this event eventually led to the easing of censorship of books in the country, although the country still retains the Office of Film and Literature Classification. In early October 2009, the federal institution of Australia Post banned the sale of this book in their stores and outlets claiming that books of this nature don't fit in with the 'theme of their stores'.
Canada
In 1945, McGill University Professor of Law and Canadian modernist poet F. R. Scott appeared before the Supreme Court of Canada to defend Lady Chatterley's Lover from censorship. However, despite Scott's efforts, the book was banned in Canada for 30 years due to concerns about its use of "obscene language" and explicit depiction of sexual intercourse. On November 15, 1960 an Ontario panel of experts, appointed by Attorney General Kelso Roberts, found that novel was not obscene according to the Canadian Criminal Code.
United States
In 1930, Senator Bronson Cutting proposed an amendment to the Smoot-Hawley Tariff Act, which was then being debated, ending the practice of having U.S. Customs censor allegedly obscene books imported to U.S. shores. Senator Reed Smoot vigorously opposed such an amendment, threatening to publicly read indecent passages of imported books in front of the Senate. Although he never followed through, he included Lady Chatterley's Lover as an example of an obscene book that must not reach domestic audiences, declaring "I've not taken ten minutes on Lady Chatterley's Lover, outside of looking at its opening pages. It is most damnable! It is written by a man with a diseased mind and a soul so black that he would obscure even the darkness of hell!"
Lady Chatterley's Lover was one of a trio of books (the others being Tropic of Cancer and Fanny Hill), the ban on which was fought and overturned in court with assistance by lawyer Charles Rembar in 1959.
A French film (1955) based on the novel and released by Kingsley Pictures was in the United States the subject of attempted censorship in New York on the grounds that it promoted adultery. The Supreme Court held that the law prohibiting its showing was a violation of the First Amendment's protection of Free Speech.
The book was famously distributed in the U.S. by Frances Steloff at the Gotham Book Mart, in defiance of the book ban.
Japan
The publication of a full translation of Lady Chatterley's Lover by Ito Sei in 1950 led to a famous obscenity trial in Japan, extending from May 8, 1951 to January 18, 1952, with appeals lasting to March 13, 1957. Several notable literary figures testified for the defense, but the trial ultimately ended in a guilty verdict with a ¥100,000 for Ito and a ¥250,000 fine for his publisher.
India
In 1964, bookseller Ranjit Udeshi in Bombay was prosecuted under Sec. 292 of the Indian Penal Code (sale of obscene books) for selling an unexpurgated copy of Lady Chatterley's Lover.
Ranjit D. Udeshi v. State of Maharashtra (AIR 1968 SC 881) was eventually laid before a three-judge bench of the Supreme Court of India, where Chief Justice Hidayatullah declared the law on the subject of when a book can be regarded as obscene and established important tests of obscenity such as the Hicklin test.
The judgement upheld the conviction, stating that:
When everything said in its favour we find that in treating with sex the impugned portions viewed separately and also in the setting of the whole book pass the permissible limits judged of from our community standards and as there is no social gain to us which can be said to preponderate, we must hold the book to satisfy the test we have indicated above.
Cultural influence
In the United States, the free publication of Lady Chatterley's Lover was a significant event in the "sexual revolution". At the time, the book was a topic of widespread discussion and a byword of sorts. In 1965, Tom Lehrer recorded a satirical song entitled "Smut", in which the speaker in the song lyrics cheerfully acknowledges his enjoyment of such material; "Who needs a hobby like tennis or philately?/I've got a hobby: rereading Lady Chatterley."
British poet Philip Larkin's poem "Annus Mirabilis" begins with a reference to the trial:
Sexual intercourse began
In nineteen sixty-three
(which was rather late for me) -
Between the end of the "Chatterley" ban
And The Beatles' first LP.
By the 1970s, the story had become sufficiently safe in Britain to be parodied by Morecambe and Wise; a "play wot Ernie wrote" was obviously based on it, with Michele Dotrice as the Lady Chatterley figure. Introducing it, Ernie explained that his play was "about a man who has an accident with a combine harvester, which unfortunately makes him impudent".
Standard editions
* Lady Chatterley's Lover (1928), edited by Michael Squires, Cambridge University Press, 1993, ISBN 0-521-22266-4.
* The First and Second Lady Chatterley Novels, edited by Dieter Mehl and Christa Jansohn, Cambridge University Press, 1999, ISBN 0-521-47116-8. These two books, The First Lady Chatterley and John Thomas and Lady Jane were earlier drafts of Lawrence's last novel.
* The Second Lady Chatterley's Lover, Oneworld Classics 2007, ISBN 978-1-84749-019-3
In 1946 an English hardcover edition, copyright Jan Förlag, was published by Victor Pettersons Bokindustriaktiebolag Stockholm, Sweden. It is marked "Unexpurgated authorized edition". A paperback edition followed in 1950.
Adaptations
Radio
Lady Chatterley's Lover has been adapted for BBC Radio 4 by acclaimed writer Michelene Wandor and was first broadcast in September 2006.
Film and television
Lady Chatterley's Lover has been adapted for film several times:
* In 1955, starring Danielle Darrieux; was banned in the United States.
* In 1961, actor Michael Gough, playing a seemingly sinister but ultimately heroic butler named Fisk, is seen reading Lady Chatterley's Lover in the British horror comedy film What a Carve Up! (aka No Place Like Homicide! in the USA).
* 1981 film version by Just Jaeckin starring Sylvia Kristel and Nicholas Clay.
* In 1993 a lengthy television mini-series entitled Lady Chatterley directed by Ken Russell starring Joely Richardson and Sean Bean for BBC Television. This film incorporates some material from the longer second version John Thomas and Lady Jane.
* In 1998, Viktor Polesný filmed a Czech-Language television version with Zdena Studenková (Constance), Marek Vašut (Clifford) and Boris Rösner (Mellors).
* In 2006, the French director Pascale Ferran filmed a French-Language version with Marina Hands as Constance and Jean-Louis Coulloc'h as the game keeper, which won the Cesar Award for Best Film in 2007. Marina Hands was awarded best actress at the 2007 Tribeca Film Festival. The film was based on John Thomas and Lady Jane, Lawrence's second version of the story. It was broadcast on the French television channel Arte on 22 June 2007 as Lady Chatterley et l'homme des bois (Lady Chatterley and the Man of the Woods).
Theatre
Lawrence's novel was successfully dramatised for the stage in a three-act play by a young British playwright named John Harte. Although produced at The Arts Theatre in London in 1961 (and elsewhere later on), his play was written in 1953. It was the only D. H. Lawrence novel ever to be staged and his dramatisation was the only one to be read and approved by Lawrence's widow, Frieda. Despite her attempts to obtain the copyright for Harte to have his play staged in the 1950s, Baron Philippe de Rothschild did not relinquish the dramatic rights until his film was released in France.
Only the Old Bailey trial against Penguin Books for alleged obscenity in publishing the unexpurgated paperback edition of the novel prevented the play's transfer to the much bigger Wyndham's Theatre, for which it had already been licensed by the Lord Chamberlain's Office on 12 August 1960 with passages censored. It was fully booked out for its limited run at The Arts Theatre and well reviewed by Harold Hobson, the prevailing West End theatre critic of the time.
失乐园duān zhuāng xián huì de yī xué jiào shòu zhī qī lǐn zǐ yǔ mǒu chū bǎn shè zhù biān jiǔ mù zài yī cì shè jiāo chǎng hé xiè hòu xiāng shí。 gōng zuò kuáng de zhàng fū duì lǐn zǐ de lěng mò， yīn gōng zuò biàn dòng 'ér shī yì de jiǔ běn yǔ qī zǐ bù lěng bù rè de má mù guān xì。 wú 'ài de jiā tíng hūn yīn yǔ nán yú dǐ yù de qíng gǎn yòu huò， shǐ lǐn zǐ yǔ jiǔ mù xiàn rén“ hūn wài qíng” de xuán wō。 jīng shén gòng míng hé gǎn guān de huān yuè tǐ yàn shǐ tā men kāi shǐ chóngxīn shěn shì zì jǐ de rén shēng yì yì。 fàng zòng de mí zuì zhī hòu jiē zhǒng 'ér lái de shì lǐn zǐ de zhàng fū yǐ“ bù lí hūn” jìn xíng bào fù， jiǔ mù bèi nì míng xìn kùn rǎo miàn lín jiàng zhí 'ér bù dé bù cí zhí。 qīn rén de shū lí yǔ shì rén de bái yǎn shǐ tā men mì mì tóng jū ── tōu shí“ jìn guǒ” de rén bèi zhú chū lè yuán。 wèile fǎn huí lè yuán， yǒng jiǔ dì shēng huó zài lè yuán lǐ， tā men tà shàng liǎo bù guī zhī lǚ， què dào：“ huó zhe tài hǎo liǎo！” zhè shì yī bù mèng huàn yǔ xiàn shí、 líng yǔ ròu、 huān yuè yǔ tòng chǔ xiāng hù jiāo zhì de zhèn hàn xīn líng de jié zuò。 qí miào de xīn lǐ huó dòng yǔ cuò zōng fù zá de gǎn qíng jiū gé， róng rù dào yì yù tè yòu de sì jì gēngdié de qǐ lì huán jìng lǐ， lìng rén huí cháng dàng qì。 zhè bù xiǎo shuō zài bào kān liánzǎi shí jiù yǐn qǐ kōng qián qiáng liè dì fǎn xiǎng， dān xíng běn chū bǎn hòu rì běn dú zhě zhēng xiāng chuán yuè， gǎi biān chéng tóng míng diàn yǐng hé diàn shì jù shàng yǎn zhī hòu jiā yù hù xiǎo， xíng chéng suǒ wèi“ shī lè yuán xiàn xiàng”。
duì yú xìng， shǎo nán men yóu yú nán yǐ yì zhì zì jǐ 'ér gǎn dào bù 'ān； yǔ cǐ tóng shí， tā men yòu bào yòu cháng shì xìng 'ài de yuàn wàng。 yīn cǐ， tā men de shí qíng shì： zhì shēn yú zhè liǎng zhǒng hù xiāng máo dùn de qíng gǎn de jiāfèng zhōng kǔ kǔ sī suǒ， mèn mèn bù lè。
wú lùn nán xìng hái shì nǚ xìng， chéngzhǎng wéi xiǎng dāng dāng de rén shì jí qí bù yì de。
zài cǐ， wǒ men suǒ shuō de“ xiǎng dāng dāng de rén” zhǐ de shì wú lùn zài ròu tǐ hái shì zài jīng shén fāng miàn dū jiàn kāng qiě chéng shú de nán rén hé nǚ rén。
zài chéng rén zhī qián， rén， wú yī lì wài yào yú yuè xíng xíng sè sè de zhàng 'ài、 bì lěi。 bǐ rú shuō nǚ xìng bā， tā men xiān yào jīng lì chū cháo tǐ yàn， zài zhàn shèng yóu cǐ yǐn qǐ de chōng jī zhī hòu， shǐ yǔ nán xìng chū cì fā shēng xìng guān xì， bù jiǔ tā biàn rèn shēn、 shēng chǎn……， zǒu wán shàng shù lì chéng hòu， tā cái suàn chéng shú liǎo。
wú lùn nán xìng hái shì nǚ xìng， chéngzhǎng wéi xiǎng dāng dāng de rén shì jí qí bù yì de。
zài cǐ， wǒ men suǒ shuō de“ xiǎng dāng dāng de rén” zhǐ de shì wú lùn zài ròu tǐ hái shì zài jīng shén fāng miàn dū jiàn kāng qiě chéng shú de nán rén hé nǚ rén。
zài chéng rén zhī qián， rén， wú yī lì wài yào yú yuè xíng xíng sè sè de zhàng 'ài、 bì lěi。 bǐ rú shuō nǚ xìng bā， tā men xiān yào jīng lì chū cháo tǐ yàn， zài zhàn shèng yóu cǐ yǐn qǐ de chōng jī zhī hòu， shǐ yǔ nán xìng chū cì fā shēng xìng guān xì， bù jiǔ tā biàn rèn shēn、 shēng chǎn……， zǒu wán shàng shù lì chéng hòu， tā cái suàn chéng shú liǎo。
cóng sān gè yuè qián de liù yuè chū kāi shǐ， měi dāng yuè jīng lái de qián hòu， mù zhī nèi dōng zǐ jiù gǎn dào yì cháng。
dōng zǐ yī mǐ wǔ wǔ gāo de gè tóu， tǐ zhòng yě bù guò sì shí gōng jīn zuǒ yòu， shòu shòu de． suǒ yǐ duì zì jǐ de shēn tǐ bìng bù hěn zì xìn， dàn huà shuō huí lái， zhè jǐ nián yě méi yòu dé guò shénme bìng。 huàn jì de shí hòu 'ǒu 'ěr huì shāng fēng gǎn mào， dàn rěn shàng liǎng、 sān tiān， yě jiù zì rán hǎo liǎo。 dī xuè yā zhǐ yòu yī bǎi zuǒ yòu， duō shǎo yòu xiē pín xuè， yòu shí huì tóuyūn， dàn zhè yě cóng láidōu méi yòu shénme dà bù liǎo de。 dōng zǐ zì wǒ gǎn jué rén shì shòu xiǎo liǎo xiē， dàn shēn tǐ bìng bù suàn tàichà。
dàn shì， zhè jǐ gè yuè yuè jīng zhōu qī lā cháng liǎo。
dōng zǐ yī mǐ wǔ wǔ gāo de gè tóu， tǐ zhòng yě bù guò sì shí gōng jīn zuǒ yòu， shòu shòu de． suǒ yǐ duì zì jǐ de shēn tǐ bìng bù hěn zì xìn， dàn huà shuō huí lái， zhè jǐ nián yě méi yòu dé guò shénme bìng。 huàn jì de shí hòu 'ǒu 'ěr huì shāng fēng gǎn mào， dàn rěn shàng liǎng、 sān tiān， yě jiù zì rán hǎo liǎo。 dī xuè yā zhǐ yòu yī bǎi zuǒ yòu， duō shǎo yòu xiē pín xuè， yòu shí huì tóuyūn， dàn zhè yě cóng láidōu méi yòu shénme dà bù liǎo de。 dōng zǐ zì wǒ gǎn jué rén shì shòu xiǎo liǎo xiē， dàn shēn tǐ bìng bù suàn tàichà。
dàn shì， zhè jǐ gè yuè yuè jīng zhōu qī lā cháng liǎo。
男人的一半是女人
男人的一半是女人miàn duì qī zǐ de chū guǐ， xiū rǔ、 bù gān、 zì bēi…… zhǒng zhǒng qíng xù zài zhāng yǒng lín de xīn zhōng bù duàn jiū jié， bù duàn kuò dà， fèn nù de qíng gǎn jiàn jiàn yùn jī chéng yī gǔ dà hóng liú， tū rán bào fā， tā zhōng yú chéng wèile yī gè zhēn zhèng de nán rén， bù zài shì zài nán nǚ xìng shì shàng wú néng de fèi wù。 dàn cóng cǐ zhī hòu， tā zài yě wú fǎ tǐ liàng xiāng jiǔ céng jīng bèi pàn……
zhāng xián liàng yòng làng màn yǔ xiě shí yǔ xiě shí shǒu fǎ jiāo zhì， jiāng kè gǔ míng xīn de shāng tòng zhuǎn huà chéng wéi pǔ biàn de rén xìng tǐ huì。 jīng zhàn dú tè de xù shì shǒu fǎ， lǐng rén jìn rù gāo cháo dié qǐ、 zhèn lóng fā guì de xiǎo shuō xīn jìng jiè！
《 nán rén de yī bàn shì nǚ rén》 - zuò zhě jiǎn jiè
zhāng xián liàng zhāng xián liàng
zhāng xián liàng， nán， jiāng sū xū yí xiàn rén， 1936 nián 12 yuè shēng yú nán jīng。 1955 nián zhōng xué bì yè hòu zhì níng xià yín chuān gànbù wén huà xué xiào rèn jiào。 1957 nián yīn zài《 yán hé》 wén xué yuè kān shàng fā biǎo cháng shī《 dà fēng gē》 ér bèi liè wéi yòu pài， suì zāo shòu láo jiào、 guǎn zhì、 jiān jìn dá shí jǐ nián， qí jiān céng wài táo liú làng， tǎo fàn dù rì。 1979 nián 9 yuè huò píng fǎn， 1980 nián diào zhì níng xià《 shuò fāng》 wén xué zá zhì shè rèn biān ji， tóng nián jiā rù zhōng guó zuò jiā xié huì， 1981 nián kāi shǐ zhuān yè wén xué chuàng zuò。 céng rèn níng xià huí zú zì zhì qū wén lián fù zhù xí、 zhù xí， zhōng guó zuò jiā xié huì níng xià fēn huì zhù xí děng zhí， bìng rèn liù jiè zhèng xié quán guó wěi yuán huì wěi yuán， zhōng guó zuò xié zhù xí tuán wěi yuán。 shòu jiā tíng yǐng xiǎng， cóng xiǎo shēn shòu zhōng guó gǔ diǎn wén xué xūn táo， zhōng xué shí dài kāi shǐ guǎng fàn jiē chù 'é luó sī wén xué hé fǎ guó wén xué zuò pǐn， bìng cháng shì wén xué chuàng zuò， céng xiě zuò fā biǎo liǎo 60 yú shǒu shī gē。 1979 nián chóngxīn zhí bǐ chuàng zuò hòu， xiān hòu fā biǎo liǎo duǎn piān xiǎo shuō《 xíng lǎo hàn hé gǒu de gù shì》、《 líng yǔ ròu》、《 xiào 'ěr bù lā kè》、《 chū wěn》 děng； zhōng piān xiǎo shuō《 tǔ láo qíng huà》、《 lóng zhǒng》、《 hé de zǐ sūn》、《 lǜ huà shù》、《 làng màn de hēi pào》、《 nán rén de yī bàn shì nǚ rén》； cháng piān xiǎo shuō《 nán rén de fēng gé》、《 xí guàn sǐ wáng》。 xiān hòu jié jí chū bǎn de xuǎn jí yòu zhōng duǎn piān jí《 líng yǔ ròu》、《 gǎn qíng de lì chéng》（ wéi wù lùn zhě de qǐ shì lù dì yī bù， bāo kuò《 chū wěn》、《 lǜ huà shù》、《 nán rén de yī bàn shì nǚ rén》（ sān piān） jí zhōng piān xuǎn jí《 zhāng xián liàng jí》。 qí zhōng《 líng yǔ ròu》、《 xiào 'ěr bù lā kè》 fēn bié huò 1980 nián jí 1983 nián quán guó yōu xiù duǎn piān xiǎo shuō jiǎng，《 lǜ huà shù》 huò dì sān jiè quán guó yōu xiù zhōng piān xiǎo shuō jiǎng。
《 nán rén de yī bàn shì nǚ rén》 - chuàng zuò bèi jǐng
tòng sù“ wén gé” bēi cǎn mìng yùn de“ shāng hén wén xué” liú xíng yī shí， zhāng xián liàng 1985 nián chū bǎn de《 nán rén de yī bàn shì nǚ rén》 shì qí zhōng zuì zhù míng de yī bù。 tā dì yī cì tán dào liǎo xìng yā yì de wèn tí。 yī gè yīn yòu pài 'ér rù yù， lìng yī gè yīn zuò fēng wèn tí bèi láo gǎi。 liǎng gè rén zài láo dòng de mài tián lǐ bì kāi kānshǒu zuò liǎo bàn gè xiǎo shí de fū qī， zài jiàn miàn shí yǐ shì 8 nián yǐ hòu。
wén zhāng de hòu bàn bù fēn hěn xiàng wáng shuò de《 guò bǎ yǐn jiù sǐ》， dōushì jiāng liǎng gè rén cóng xiāng 'ài dào fēn shǒu de wú nài hé bǐ cǐ shāng hài。 bù tóng de shì，《 nán rén de yī bàn shì nǚ rén》 lǐ yòu dà liàng miáo xiě tōu kuī、 zuò 'ài hé tōng jiān de qíng jié xiǎo shuō。 zhāng xián liàng bǎ xìng dàngzuò yī zhǒng wén huà de、 shēng mìng de sī kǎo duì xiàng， shū zhōng de xìng miáo xiě wú lùn zěn yàng jīng shì hài sú， dū jù yòu lǐ xìng hé měi xué qíng zhì， jǐn kòu rén wù de gè xìng hé mìng yùn。 zài dāng shí， zhè bù xiǎo shuō yǐn qǐ de fǎn xiǎng bù xùn yú《 luò lì tǎ》 duì xī fāng shì jiè de chōng jī。
20 duō nián de shí jiān， xiān hòu chū xiàn liǎo guān niàn、 jīng yàn、 xīn tài děng fēi cháng bù tóng de jǐ dài zuò jiā， yě chū xiàn liǎo guān huái、 xù shì、 wén tǐ děng fēi cháng bù tóng de hào rú yān hǎi de zuò pǐn。 zhè lǐ biān xuǎn de《 zhōng guó xiǎo shuō 50 qiáng》（ 1978-2000） xuǎn rù de zuò jiā zuò pǐn， cóng yī gè fāng miàn zhèng shí liǎo zhè yī kàn fǎ bìng fēi xū wàng。 zhōng guó zuò jiā shòu zhì yú lì shǐ chuán tǒng hé xiàn shí huán jìng， xiǎo shuō chuàng zuò hé guān niàn de fā zhǎn biàn huà tóng yàng bù néng lí kāi zhè yī chuán tǒng hé xiàn shí。 dà gài cóng 1978 nián dài kāi shǐ， xiǎo shuō kāi shǐ xiǎn shì chū yī tǐ huà shí dài bù jìn xiāng tóng de zhuī qiú hé fēng mào。 zuò wéi yī zhǒng xiǎng xiàng hé xū gòu de wén tǐ xíng shì， zhú jiàn bō lí liǎo dān chún de zhèng zhì mù biāo xiáng hé qiáng diào de jiào huà gōng néng。 duì rén de xīn nèi tòng kǔ、 qíng gǎn yào qiú、 sī xiǎng máo dùn děng yǔ rén xìng xiāng guān de wèn tí， kāi shǐ zài xiǎo shuō zhōng dé yǐ fǎn yìng hé biǎo xiàn。
《 nán rén de yī bàn shì nǚ rén》 - píng jià
《 nán rén de yī bàn shì nǚ rén》 de míng shēng dà zào， hěn dà chéng dù shàng hé tā biǎo xiàn bìng tàn suǒ xìng dì biǎo xiàn liǎo xìng yòu guān。 zài zhōng guó xīn wén xué de fàn chóu nèi bǎ xìng yì shí xìng huó dòng xiě jìn xiǎo shuō de xíng jìng， zhāng xián liàng bìng bù shì wéi yī de zuò jiā， dàn cháng shì yǐ zhé xué de tài dù、 yù yǐ wéi wù zhù yì de rèn shí lùn wéi jī chǔ bǎ liǎng xìng jiān de shēng huó què lì wéi shěn měi biǎo xiàn de duì xiàng， zài yī gè fēi cháng běn zhì de céng cì shàng bǎ xìng de jiāo liú zuò wéi yī kuài zhuān mǎ nà rù shēng mìng běn tǐ zì wǒ píng héng zhōng de nǔ lì， zé wú yí dài yòu xiē chuàng shì jì de sè cǎi。 zhè zhǒng cháng shì hé nǔ lì shǐ tā de zhè piān xiǎo shuō zài zì lǐ xíng jiān mí màn zhe yī zhǒng xíng 'ér shàng xué de wèi dào， bìng yě yīn cǐ shǐ tā zhù dòng dì hé bàn gè shì jì qián de xiàn dài jīng diǎn zuò jiā yù dá fū men xiāng bié kāi lái， yì hé tóng shí dài de zuò jiā zhū rú wáng 'ān yì děng xíng chéng liǎo chā yì。
xiàn zài kàn lái， zhè piān xiǎo shuō chū xiàn zài chōng yì zhe sī xiǎng de rè chén hé tàn suǒ jīng shén de 80 nián dài zhōng qī， zhè yī shì shí běn shēn biàn yòu chén qián liǎo yī zhǒng yì wèi shēn cháng de yù yì， zuò zhě wú xíng zhōng yǐ jīng yǐ tā měi miào shèng jié de bǐ chù wéi shēng mìng jí wén xué de quán lì zuò liǎo yī cì lǐ zhí qì zhuàng de kàng zhēng yǔ biàn jiě， zhè zhǒng kè guān xìng de yì yì shí jì shàng yǐ yuǎn yuǎn chāo chū liǎo wén běn de biǎo miàn yì zhì yīn 'ér gèng jù zhàn lüè xìng gèng fù yòu cún zài de jià zhí。 zhè yàng shuō shì yīn wéi zhāng xián liàng bìng wú jū xīn qù chōng dāng wén xué shì jiè de mào xiǎn qí shì， tā zǒu chū zhè yī bù shì yīn wéi tā“ fēi rú cǐ bù kě”， shì yīn wéi tā yǐ wú kě huí bì zhè shēng mìng shì jiè de zuì hòu yī dào píng zhàng。
zhāng xián liàng wán qiáng de yù yǐ yì shù zhī bǐ chuān tòu shì jiè de nǔ lì shǐ tā bì rán xìng dì xuǎn qǔ liǎo zhè yī kàn qǐ lái zuì jù zhēng fú gǎn de sī xiǎng zhī diǎn： xìng。 yú shì， nǚ rén， xìng， biàn zài tā de zhè yī zuò pǐn zhōng zì rán 'ér rán dì chéng wéi liǎo yī zhǒng guò chéng， yī zhǒng bèi jǐng， yī zhǒng huà yǔ de shǒu duàn， tā xiǎng jiè cǐ qù chāo yuè shēng mìng de cháng guī xíng tài qù xún qiú líng hún de níng jìng hé jīng shén de yǒng héng， zài zì wǒ de shēng mìng jí jǐ dài rén de shēng mìng zhōng liú xià lì jié nán huǐ de jīng shén lù bēi。 dàn shì shí zhèng míng zhè bìng bù róng yì。
《 nán rén de yī bàn shì nǚ rén》 - sī xiǎng jí fēng gé
yīn wéi zài chún cuì de shēng huó lǐng yù， zài jīng yàn dài tì zhe sī xiǎng de dì fāng， bìng bù néng chǎn shēng zhé xué， zài xìng yǔ xìng de mí bǔ、 zhěng jiù、 duò luò、 pái chì、 kuān róng zhōng， sī xiǎng shí jì shàng biàn chéng liǎo xiā zǐ， zhé xué yì jiāng wú néng wéi lì； ér yǐ wén xué de fāng shì lái shì tú zhèng míng、 jiě shì sī xiǎng huò xìn niàn de cún zài de xíng wéi běn shēn shì fǒu chéng wéi kě néng， yě shì yī jiàn pō wéi zhí dé huái yí de shì qíng。 zhāng xián liàng jiù shì zhè yàng zǒng shì zài zuì jiǎn dān de dì fāng mí shī liǎo fāng xiàng， suǒ yǐ， tā de dòng jī yǔ xiào guǒ zǒng shì nán yǐ zǒu dào yī tiáo xiàn shàng， tā yù shì xiǎng gào sù wǒ men yī xiē qīng xī hé míng lǎng de dōng xī jiēguǒ jiù yù shǐ wǒ men xiàn rù máng rán。
yī bān rèn wéi，《 nán rén de yī bàn shì nǚ rén》 shì《 lǜ huà shù》 de xù piān， cóng“ wéi wù lùn zhě de qǐ shì lù” jí yī xiē rén wù suǒ jīng lì de shí jiān shàng kàn， zhè yī diǎn hǎo xiàng míng bái wú wù。 dàn zhè yǐ jīng bù zhòng yào， zhòng yào de shì， zài sī xiǎng de lián xù xìng hé fēng gé de lián xù xìng zhī wài， wǒ men bìng wèi fā xiàn rèn hé xīn de jìn zhǎn yǔ shēn dù。
《 lǜ huà shù》 lǐ nà gè yī yuán huà de、 jī jí、 zhì pǔ、 xiàng shàng de shì jiè， nà gè chōng mǎn shī yì de làng màn de mǔ tǐ hé fú zhǐ， xiàn zài biàn chéng liǎo yī gè dān diào de shì sú de fēn wéi， biàn chéng liǎo yī gè kàn bù chū rèn hé nèi zài luó ji xìng hèshī yì de“ hūn biàn” de gù shì。 zhāng xián liàng de sī xiǎng zài zǒu chū liǎo《 lǜ huà shù》 zhī hòu， xiǎn rán zài zhè lǐ zǒu shàng liǎo jí duān， yī gè yóu jìn hū dān yī de shēng mìng xiàn xiàng suǒ zhù qǐ de gǎn qíng dī bà， dǎng zhù liǎo yù liú xiàng shì jiè hé xīn líng shēn chù de shuǐ liú， sī xiǎng de lì liàng kāi shǐ yū huí pán xuán zài yǔ yán de zhī jià jié gòu jiān， shǐ zhōng wú fǎ fú shàng gù shì de biǎo miàn。
yǔ cǐ tóng shí， zuò zhě duì zhàn zài wǒ men miàn qián de xù shì rén de 'ài mèi tài dù hé duì zhèng zhì yào qiú de kè yì fèng yíng yě shǐ yuè dú huó dòng yuè lái yuè chéng wéi bēifù shí zì jià de chén zhòng xíng wéi。 rén men bù míng bái， zhāng yǒng lín de zhèng zhì jí líng hún de biǎo xiàn hé yǐ huì shì rú cǐ chū sè， tā de xíng xiàng shí jì shàng bìng méi yòu shénme“ bàn gè rén” huò shì wán rén、 quán rén de qū bié， tā sì hū zǎo jiù dòng xī liǎo rén shì jiān de xīng shuāi jì yù hé bēi huān lí hé， chú liǎo nán rén de zì zūn hé běn néng wài， tā sì hū zǎo yǐ bùwèi shēng huó suǒ yòu， zāi rǔ bù jīng， hǎo xiàng xīn zhōng suí shí dōuyǐ zhuāng jìn liǎo yī gè yǒng héng， suí shí dū yìng hé zhe shí dài de xīn shēng。
xiāng fǎn， zuò wéi zhāng shuǐ lín mìng yùn jí shēng mìng zhī yī bù fēn de nǚ rén huáng xiāng jiǔ， qí xíng xiàng sè diào zé yào lěng dàn dé duō， tā chú liǎo sì yā yǎng 'é zhī wài， wéi yī de xīn qíng biàn shì jué zhe zhāng yǒng lín hǎo， biàn shì yǒng yuǎn chōng yíng zhe yī zhǒng kuài lè de xìng fú de yuàn wàng， zuò wéi gù shì de chéngfèn， zhè yī xíng xiàng zài shí jì de yì shù cāo zuò guò chéng zhōng yuǎn yuǎn méi yòu pài shàng yìng yòu de yòng chǎng， tā sì hū zhǐ shì yī gè bǎi shè， yī gè chèn tuō， yī gè yú zhěng gè de shēng mìng yǔ lì shǐ guò chéng zhōng shāo zòng jí shì de yǐng zǐ， suī rán xù shù zhě zài gù shì kāi shǐ biàn bǎ duì tā de chàn huǐ yǔ liú liàn zhǐ shì chū lái， dàn zhè yī xìn hào bì jìng hái shì tài wēi ruò liǎo， suǒ yǐ， zài zhè chǎng shēng mìng de yīnghé fēn yì zhī zhōng， yuè dú de xiǎng xiàng hé rèn shí yě jǐn jǐn tíng liú yú“ nán rén de yī bàn shì nǚ rén” zhè yàng de yǔ yì céng miàn， wú fǎ zài xiàng zòng shēn mài chū yī bù。
zhí dé shuō míng de shì，《 nán rén de yī bàn shì nǚ rén》 zuò wéi yī piān tàn suǒ xìng de zuò pǐn， jù hé zhe chuàng zuò shí jiàn zhōng tài duō de jīng yàn yǔ máo dùn， tā de fù zá chéng dù lìng rén nán yǐ xiǎng xiàng。 yóu yú duì zuò zhě chuàng zuò bèi jǐng jí zì shēn shēng huó jīng yàn zhī shí de jué rú yǐ jí pī píng fāng fǎ de jú xiàn xìng， huò zhě shuō yě yóu yú shí dài běn shēn de jú xiàn xìng， shǐ wǒ men zhì jīn wú fǎ duì zhè yī zuò pǐn de gè gè fāng miàn zuò chū mǎn yì de jiě shì， dàn yòu yī diǎn shì kěn dìng de： zuò wéi tàn suǒ de cháng shì，《 nán rén de yī bàn shì nǚ rén》 yě xǔ bìng bù chéng gōng， kě zhè bìng bù fáng 'ài tā chéng wéi yī piān fēi cháng yōu yì zuò pǐn de kě néng， tā běn shēn de zhǒng zhǒng máo dùn shí jì shàng dōuzài zhèng shí bìng shuō míng zhe zhāng xián liàng zuò wéi yī míng bǐng fù fēi fán de zuò jiā de chū sè yǔ dú tè zhī chù。
《 nán rén de yī bàn shì nǚ rén》 - tè sè
gù shì de nèi hán
kàn guò《 nán rén de yī bàn shì nǚ rén》 zhī hòu， yòu zhǒng yù bà bù néng de gǎn shòu， tài jǐn zhāng liǎo， tài tiē jìn pí yǔ ròu liǎo。 nà zhǒng tòng chǔ， fǎng fó shì wǒ zì jǐ zài qīn lì nà chǎng cháng jiǔ de jiū chán， zì wǒ yǔ zì wǒ， rén yǔ rén， nán rén yǔ nǚ rén， zhàng fū hé qī zǐ。 zhāng yǒng lín yǔ huáng xiāng jiǔ， dōushì qī cǎn de。 dāng bēi wēi de shēng mìng wèile huò dé yī diǎn wēn nuǎn zǒu zài yī qǐ， tóng shí yòu zài zhuī qiú xìng fú de guò chéng zhōng hù xiāng zhé mó duì fāng， chū yú zhēn xīn de 'ài yǔ chū yú zhēn xīn de hèn zhèng rú nán rén yǔ nǚ rén jiū chán zài yī qǐ， chēng zhǎng liǎo nǐ de nǎo dài。 zuì ràng rén jiū xīn de zài yú huáng xiāng jiǔ bǎo hán zhēn qíng de yuàn yán， nà kè dú zhōng jī qíng péng pài de 'ài， ràng rén bù néng bù dàng qì huí cháng 'ā。
qí shí， rú guǒ huàn yī gè jiǎo dù yě kě yǐ bǎ zhěng gè gù shì jié gòu diào。 nà yǒng yuǎn dōukě yǐ shuō shì yī gè guān yú xìng de wèn tí， cóng zuì chū zhāng yǒng lín wú yì zhōng tōu kàn dào huáng xiāng jiǔ jīng zhì de luǒ tǐ， dào zhāng yǒng lín sàng shī xìng gōng néng bèi huáng xiāng jiǔ bǐ shì hé huī fù xìng gōng néng hòu zài xìng fāng miàn wú qíng dì bào fù yǔ jīng shén cuī cán， zhí zhì zuì hòu yìng shēng shēng bǎ yī fèn kè gǔ míng xīn de 'ài gē liè， nà dōushì xìng fāng miàn de zhèng cháng yǔ yì cháng， sàng shī yǔ huī fù dǎo zhì de yī zhǒng shēng huó bō lán。 zhèng rú zhù rén gōng bù duàn chóngfù de shuō dào， sàng shī liǎo xìng gōng néng， zì jǐ shì gè fèi rén， tái bù qǐ tóu， rèn qī zǐ tōu hàn zǐ， dāng zì jǐ tū rán jiān huī fù， zì jǐ chóngxīn chéng wéi yī gè wán zhěng de rén， zhè zài yī gè wù zhì tiáo jiàn jí duān kuì fá de shè huì tiáo jiàn xià， shì yī gè duō me zhēn shí de dào lǐ。 zuì qǐ mǎ cóng wǒ zhè yàng yī gè nán xìng de yǎn guāng shàng lái kàn， zhè shì yī gè rèn lì shǐ rú hé yǎn biàn dū gēnggǎi bù liǎo de shì shí， bìng qiě， zhèng yīn wèiyòu zhè zhǒng xìng fāng miàn de biàn huà， yòu liǎo zhè zhǒng qǐ fú， rén cái shí shí zài zài chéng wéi rén， ér fēi zuò zhě yī zhí qiáng diào de shì huí dào liǎo yuán shǐ shè huì， zhǐ shèng xià ròu tǐ de yù wàng。
gù shì de xù shù
zài gù shì de xù shù fāng miàn， yòu yī zhǒng yuè dú de kuài gǎn。 zhè zhǒng kuài gǎn de zào jiù yuán yú liǎng diǎn， dì yī shì huáng xiāng jiǔ zhè yàng yī gè cóng 23 suì dào 31 suì de nǚ zǐ， cóng yī chū chǎng dào jié jú， dōushì yī gè měi lì xìng gǎn de nǚ zǐ， bìng qiě jīhū shì jí zhōng zài shēn tǐ fāng miàn de měi。 guāng huá， jǐn còu de pí fū， yuán rùn de shēn tǐ， zhèng cháng de xìng yù， wú lùn hé shí hé dì， zuò zhě zǒng shì zài wéi chí zhè zhè yàng yī gè nǚ xìng xíng xiàng。 wǒ men 'àn zhào cháng rén de luó ji， shí fēn guān xīn zhè yàng yī wèi nǚ zǐ de zāo yù。 bìng qiě wǒ men hái dé gǎn xiè zuò zhě， zài hùn luàn， chǒu lòu de nián dài， wèiwǒ men kāipì liǎo yī gè zhèng cháng de shěn měi jiǎo dù。 dì 'èr， jiù yào shuō dào nán zhù rén gōng zhāng yǒng lín， shì yī gè shí dài de sī xiǎng zhě， yě shì yī gè láo dòng de qiáng rén， bìng qiě hái chū xiàn liǎo 'ǒu 'ěr de zhuàng jǔ， yíng dé liǎo rén men de pǔ biàn zūn jìng。 yǐ shàng liǎng diǎn shì zūn zhào yī zhǒng yīng xióng bēi jù mó shì lái sù zào rén wù de， zì gǔ yǐ lái zǒng shì zuì yòu xiào de diào dòng kuài gǎn de xù shì mó shì。 gèng zhòng yào de kuài gǎn（ qí shí bù rú shuō shì tòng chǔ） hái zhù yào lái zì zhè liǎng gè rén wù de shàn liáng hé 'è dú。 wèile zì jǐ de yù wàng， kě yǐ bù gù bǐ cǐ de rén shēng gǎn shòu， dàn shuāng fāng dōushì 'ài dé zhēn chéng de。 zhǐ kě xī nán zhù rén gōng zuò liǎo yī huí sī xiǎng jiā cái yòu de yú mèi， zì shì qí gāo， xīn xiōng xiá zhǎi， bìng qiě bù qù hē hù nǚ xìng de wēn róu， ér nǚ zhù rén gōng zhēn de shì dài zhe tiě liáo wǔ dǎo， zài yī cì xìng xū qiú de tàn xiǎn zhōng shū diào liǎo zhěng gè zì jǐ zhōng qíng zhì jí de nán rén。 zhè jiù shì shēng huó， xiàn zài huí tóu kàn， tā shì yī huán kòu zhe yī huán fā shēng de， wǒ men bù néng qù zhuī jiū shénme， ér shēng huó zhǐ néng rú cǐ， tā shì zuì zhèng cháng de liǎo。
《 fēng diān lǎo rén rì jì》 de zhù rén gōng nián líng wéi qī shí qī suì， zhè bù zuò pǐn wán chéng de shí hòu， gǔ qí rùn yī láng yě gāng hǎo qī shí qī suì。 xiān tàn tǎo zhè bù zuò pǐn de jù tǐ shù jù shì bù shì shì shí， nèi róng kěn dìng shì gēn jù zuò zhě dāng shí de xīn lǐ zhuàng tài xiě chéng de。 rán 'ér， rì běn rén de tè diǎn shì suí zhe nián líng de zēngzhǎng yù fā guān xīn fēng huā xuě yuè zhī shì， kě wén zhōng lǎo rén dào liǎo rú cǐ nián líng hái bǎo chí zhe duì xìng de hàoqí yǔ zhí zhe， zhè bù néng shuō shì zhèng cháng de。
xiě dào zhè lǐ， wǒ dú liǎo dú táng nà dé · jī 'ēn xiě de yòu guān zhè bù zuò pǐn de wén zhāng， yì wài dì fā xiàn lǐ miàn yòu zhè me yī chù héng héng“《 fēng diān lǎo rén rì jì》 xiě de shì lǎo nián rén de xìng de wèn tí， zhè zài shì jiè wén xué fàn wéi nèi， jiù wǒ suǒ zhī， yě shǔ wéi yī。” wǒ xiǎng liǎo hěn duō， dàn nǎo hǎi lǐ zhōng jiū méi yòu fú xiàn chū yī bù yǔ tā xiāng sì de wài guó wén xué zuò pǐn。 qián jǐ nián， wǒ fān yì liǎo hēng lì · mǐ lè de tú wén jí《 shī mián zhèng huò zhě luàn tiào de 'è mó》， zhè bù zuò pǐn yě tán dé shì“ lǎo nián rén de xìng”， dàn lüè yòu bù tóng。 tā xiě de shì， nián jiè bā shí de mǐ lè 'ài shàng liǎo nián qīng de rì běn gū niàn hòu jiù shī mián liǎo de shì。 shí 'èr fú shuǐ cǎi huà shàng yě dào chù huà zhe“ OMANKO”、“ HARIKATA”、“ MITOKORO-ZEME” děng rì yǔ pīn yīn wén zì hé lèi sì tú 'àn。 dàn shì， wén zhāng què wán quán méi yòu cǐ lèi xù shù， shèn zhì chōng mǎn jīng shén、 chōu xiàng hé zhé lǐ xìng， sī háo méi yòu jù tǐ tán jí xìng de wèn tí。
ruò shuō wài guó wén xué zhōng wán quán méi yòu lèi sì de zuò pǐn， zhè wǒ bù dà qīng chǔ， suǒ yǐ zhuóshí duì zhè yī shuō fǎ chī jīng。 kǎo lǜ dào wài guó rén de shēng lǐ tè zhēng， zhè gè shuō fǎ gèng ràng rén yì wài。 wǒ jué dé， duì rì běn rén lái shuō， lèi sì gǔ qí rùn yī láng shìde zuò jiā yě shí shǔ lì wài。 dàn shì， zǎi xì xiǎng lái， zhè zhǒng kàn fǎ yě bù dà duì。 rì běn rén tiān shēng duì“ yīn yì” mǐn gǎn， zhè yě shì zhī chēng zhè bù zuò pǐn chéng lì de jī chǔ。 dāng rán， hái yòu qí tā yuán yīn。 suǒ wèi qí tā yuán yīn， zhǐ de shì lǐ jiě gǔ qí wén xué de guān jiàn suǒ zài héng héng shòu nüè zhù yì（ zhè bù zuò pǐn zhù yào fǎn yìng de shì xīn lǐ céng miàn de shòu nüè qīng xiàng）。 rú guǒ chú qù zhè yī yīn sù， chū sè dì fǎn yìng liǎo“ lǎo nián rén de xìng” wèn tí de， hái yòu zuò jiā hé tián fāng huì。 suǒ yǐ， fǎn dǎo huì dé chū zhè me yī gè bù kě sī yì de jié lùn： shì jiè wén xué suǒ qiàn quē de“ tán jí lǎo nián rén de xìng wèn tí de wén xué zuò pǐn” zhōng， jìng yǔ rì běn rén de tè zhì yòu wēn hé zhī chù。
dàn shì， wèile bù ràng dà jiā chǎn shēng wù jiě， wǒ yào tè bié bǔ chōng： yīn yì què shí shì zhè bù zuò pǐn chéng lì de yī dà yào sù， dàn bù néng hū shì de shì， duì“ xìng” zhè yī wèn tí běn shēn， zhè bù zuò pǐn yě zuò liǎo jí zhì de tàn suǒ。 bù zhǐ shì xìng， rèn hé shì qíng dōubèi bī dào jí zhì de shí hòu， jiù huì shēng chū yī gǔ qí guài de yōu mò。 cháng shì cóng zhè yī jiǎo dù rù shǒu， bìng néng xiě xià qù de huà， jiù suàn nèi róng zài zěn me jù tǐ， yě huì shì yī dà fēi yuè， cóng jù tǐ de gù shì fàn wéi tiào chū lái， chéng wéi wén xué de yī gè dǐng fēng。 zhè zhǒng zuò pǐn， yǔ sè qíng zuò pǐn yòu zhe mò dà de chā yì。 dàn shì， zhǐ yào xiǎng zài miáo xiě lǎo nián rén de xìng wèn tí shí mào chū qí tè de yōu mò， kàn lái jiù bì xū ràng xīn lǐ céng miàn de shòu nüè qīng xiàng jiā rù jìn lái。
wǒ zhī suǒ yǐ zhè me xiě， shì yīn wéi wǒ huí xiǎng qǐ《 yàoshì》 wán chéng de shí hòu， chū xiàn liǎo hǎo jǐ piān zhǐ zé tā de sè qíng zhī chù de pī píng wén zhāng， dāng shí de zhòng yì yuàn fǎ wù wěi yuán huì shèn zhì hái tǎo lùn guò tā“ jiū jìng shì wěi xiè hái shì wén xué”。 rán 'ér， shí dài lún zhuǎn。 xiàn zài， sè qíng lǐ suǒ dāng rán dì bèi jiē shòu， zhè yě bù hǎo。《 fēng diān lǎo rén rì jì》 kě yǐ shuō shì chǔyú《 yàoshì》 de yán cháng xiàn shàng de zuò pǐn， yě xǔ tán tán《 yàoshì》 fā biǎo shí suǒ shòu dào de pī píng， yě bù suàn wú yòng。
xiě dào zhè lǐ， wǒ dú liǎo dú táng nà dé · jī 'ēn xiě de yòu guān zhè bù zuò pǐn de wén zhāng， yì wài dì fā xiàn lǐ miàn yòu zhè me yī chù héng héng“《 fēng diān lǎo rén rì jì》 xiě de shì lǎo nián rén de xìng de wèn tí， zhè zài shì jiè wén xué fàn wéi nèi， jiù wǒ suǒ zhī， yě shǔ wéi yī。” wǒ xiǎng liǎo hěn duō， dàn nǎo hǎi lǐ zhōng jiū méi yòu fú xiàn chū yī bù yǔ tā xiāng sì de wài guó wén xué zuò pǐn。 qián jǐ nián， wǒ fān yì liǎo hēng lì · mǐ lè de tú wén jí《 shī mián zhèng huò zhě luàn tiào de 'è mó》， zhè bù zuò pǐn yě tán dé shì“ lǎo nián rén de xìng”， dàn lüè yòu bù tóng。 tā xiě de shì， nián jiè bā shí de mǐ lè 'ài shàng liǎo nián qīng de rì běn gū niàn hòu jiù shī mián liǎo de shì。 shí 'èr fú shuǐ cǎi huà shàng yě dào chù huà zhe“ OMANKO”、“ HARIKATA”、“ MITOKORO-ZEME” děng rì yǔ pīn yīn wén zì hé lèi sì tú 'àn。 dàn shì， wén zhāng què wán quán méi yòu cǐ lèi xù shù， shèn zhì chōng mǎn jīng shén、 chōu xiàng hé zhé lǐ xìng， sī háo méi yòu jù tǐ tán jí xìng de wèn tí。
ruò shuō wài guó wén xué zhōng wán quán méi yòu lèi sì de zuò pǐn， zhè wǒ bù dà qīng chǔ， suǒ yǐ zhuóshí duì zhè yī shuō fǎ chī jīng。 kǎo lǜ dào wài guó rén de shēng lǐ tè zhēng， zhè gè shuō fǎ gèng ràng rén yì wài。 wǒ jué dé， duì rì běn rén lái shuō， lèi sì gǔ qí rùn yī láng shìde zuò jiā yě shí shǔ lì wài。 dàn shì， zǎi xì xiǎng lái， zhè zhǒng kàn fǎ yě bù dà duì。 rì běn rén tiān shēng duì“ yīn yì” mǐn gǎn， zhè yě shì zhī chēng zhè bù zuò pǐn chéng lì de jī chǔ。 dāng rán， hái yòu qí tā yuán yīn。 suǒ wèi qí tā yuán yīn， zhǐ de shì lǐ jiě gǔ qí wén xué de guān jiàn suǒ zài héng héng shòu nüè zhù yì（ zhè bù zuò pǐn zhù yào fǎn yìng de shì xīn lǐ céng miàn de shòu nüè qīng xiàng）。 rú guǒ chú qù zhè yī yīn sù， chū sè dì fǎn yìng liǎo“ lǎo nián rén de xìng” wèn tí de， hái yòu zuò jiā hé tián fāng huì。 suǒ yǐ， fǎn dǎo huì dé chū zhè me yī gè bù kě sī yì de jié lùn： shì jiè wén xué suǒ qiàn quē de“ tán jí lǎo nián rén de xìng wèn tí de wén xué zuò pǐn” zhōng， jìng yǔ rì běn rén de tè zhì yòu wēn hé zhī chù。
dàn shì， wèile bù ràng dà jiā chǎn shēng wù jiě， wǒ yào tè bié bǔ chōng： yīn yì què shí shì zhè bù zuò pǐn chéng lì de yī dà yào sù， dàn bù néng hū shì de shì， duì“ xìng” zhè yī wèn tí běn shēn， zhè bù zuò pǐn yě zuò liǎo jí zhì de tàn suǒ。 bù zhǐ shì xìng， rèn hé shì qíng dōubèi bī dào jí zhì de shí hòu， jiù huì shēng chū yī gǔ qí guài de yōu mò。 cháng shì cóng zhè yī jiǎo dù rù shǒu， bìng néng xiě xià qù de huà， jiù suàn nèi róng zài zěn me jù tǐ， yě huì shì yī dà fēi yuè， cóng jù tǐ de gù shì fàn wéi tiào chū lái， chéng wéi wén xué de yī gè dǐng fēng。 zhè zhǒng zuò pǐn， yǔ sè qíng zuò pǐn yòu zhe mò dà de chā yì。 dàn shì， zhǐ yào xiǎng zài miáo xiě lǎo nián rén de xìng wèn tí shí mào chū qí tè de yōu mò， kàn lái jiù bì xū ràng xīn lǐ céng miàn de shòu nüè qīng xiàng jiā rù jìn lái。
wǒ zhī suǒ yǐ zhè me xiě， shì yīn wéi wǒ huí xiǎng qǐ《 yàoshì》 wán chéng de shí hòu， chū xiàn liǎo hǎo jǐ piān zhǐ zé tā de sè qíng zhī chù de pī píng wén zhāng， dāng shí de zhòng yì yuàn fǎ wù wěi yuán huì shèn zhì hái tǎo lùn guò tā“ jiū jìng shì wěi xiè hái shì wén xué”。 rán 'ér， shí dài lún zhuǎn。 xiàn zài， sè qíng lǐ suǒ dāng rán dì bèi jiē shòu， zhè yě bù hǎo。《 fēng diān lǎo rén rì jì》 kě yǐ shuō shì chǔyú《 yàoshì》 de yán cháng xiàn shàng de zuò pǐn， yě xǔ tán tán《 yàoshì》 fā biǎo shí suǒ shòu dào de pī píng， yě bù suàn wú yòng。
zuì 'è gǔ dǐ yòu yīng huā
zuò zhě： qián dìng píng
héng héng héng qiǎn cháng gǔ qí rùn yī láng
rì běn zuò jiā jǐng shàng jìng shuō guò， chuān duān kāng chéng měi de fāng chéng shì fēi cháng fù zá，“ yòng yī gēn shéng zǐ shuān bù zhù”。 yìng yòng zhè gè jǐng shàng fāng chéng shì， wǒ men sì hū yě kě yǐ lái tào qí tā mǒu xiē rì běn zuò jiā。 bǐ rú， yǒng jǐng hé fēng hé tā de sī shū dì zǐ gǔ qí rùn yī láng。 yuè dú zhè xiē zuò jiā shí wǒdōu bù jìn huì fā wèn： měi， dào dǐ shì shénme？ měi， yòu dào dǐ zài nǎ lǐ？
wén xué pī píng jiā jiù xǐ huān zhè yàng xuán hū de wèn tí， dàn shì bù huì tóng yì xià miàn de dá 'àn：
měi， jiù zài zuì qiān de shēn chù， jiù zài zuì 'è de gǔ dǐ。
shì jiè wén xué jiè yòu yī gè fēi cháng yòu qù de xiàn xiàng， wéi měi zhù yì de yì zhuǎn huà xìng。 wéi měi zhù yì hǎo xiàng zǒng shì xiàng tā de nà qún chàng dǎo zhě yī yàng， mìng huó bù cháng， zǒng bù duàn dì xiàng 'è mó zhù yì huò qí tā fāng xiàng zhuǎn huà。
yǒng jǐng hé fēng shì wéi měi zhù yì xìn tú， xiǎng tōng guò shū fā sī gǔ zhī yōu qíng， lái biǎo dá duì yú xiàn shí de bù mǎn； yào yòng miáo xiě fēng sú hé yàn qíng， lái dǐ zhì cán kù de shì fēng rì xià。 dàn shì， tā de wéi měi zhù yì yī kāi shǐ jiù hùn jìn liǎo zì rán zhù yì sè diào。 xiǎo shuō《 dì yù zhī huā》 cóng shū míng dào nèi róng dū jìn tòu liǎo zuǒ lā。 tā hòu lái xiě de《 duàn cháng tíng rì jì》， hái yòu xià miàn de《 měi guó gù shì》， wén bǐ yōu měi， kě xiǎng dú zhě：
shù lín lǐ chóngchóng dié dié cháng zhe shù hé fēng shù。 zhè gè guó jiā de fēng shù， nà yóu yú yè lǐ de lù shuǐ 'ér fā huáng de yè zǐ yǐ jīng kāi shǐ piāo líng， yáng cháng xiǎo dào shàng dào chù dū pū mǎn liǎo dà piàn de luò yè。 kě shì， shù què zhèng shuāng yè hóng yú 'èr yuè huā li。 xī yáng guāng xiàn chuān tòu liǎo shēn hòu de lín zǐ， bǎ shù yè jiǎn zhí shì yī piàn yī piàn dì zhào liàng liǎo， zhēn xiàng zài xià zhe yī zhèn jīn sè de yǔ。（ bǐ zhě yì）
yǒng jǐng hé fēng、 gǔ qí rùn yī láng hé zuǒ téng chūn fū shì rì běn wéi měi zhù yì（ rì wén shì“ dān měi zhù yì”， yě pō dé yào lǐng） sān dài biǎo。 hé fēng yī zhí bǎ rùn yī láng kàn zuò shì zì jǐ de wén xué hòu jì。 kě shì， rùn yī láng méi yòu jì chéng hé fēng nà zhǒng wén míng pī pàn jīng shén， ér shì shǐ zhōng yī guàn dì gù zhí yú nǚ xìng měi zhì gāo wú shàng， jiān chí zhe duì yú nǚ xìng měi de bìng tài zhuī qiú， chén nì zài nán xìng duì yú nǚ xìng měi zhī xìng wú néng de zhíniù。 yú shì， cóng wéi měi chū fā， què zǒu jìn liǎo 'è mó。
cóng chǔnǚ zuò《 wén shēn》 hé《 qí lín》， jīng guò《 chī rén zhī 'ài》、《 chūn qín chāo》 děng， dào wǎn nián fā biǎo de《 yàoshì》（ rì wén《 jiàn（ か ぎ）》） hé《 fēng diān lǎo rén rì jì》， rùn yī láng yī bù yī bù zǒu xiàng zuì 'è yuān sǒu。 zhè lǐ yī xiàn guàn chuān de， shì nán xìng zài nǚ xìng měi miàn qián de 'ài mù、 mó bài、 qīng dǎo hé…… wú néng。 zhè lǐ de nán xìng， duì yú yāo mó huà liǎo de jí duān nǚ xìng měi， shì jì dān jīng jié lǜ、 pīn mìng zhuī qiú， yòu zì cán xíng huì、 wèi xǐ bù qián。
wǒ men kě yǐ kàn kàn《 yàoshì》， xiǎo shuō 1956 nián zài《 zhōng yāng gōng lùn》 zá zhì yī yuè hào shàng kāi shǐ pī lù， fù miàn hū shēng dà huá， yǐ zhì zuò zhě bù dé bù tíng bǐ sān gè yuè， dào wǔ yuè hào cái liánzǎi xià qù。 zhè bù xiǎo shuō què lì jí zài 'ōu měi huò dé liǎo xīn shǎng。 wǒ duō nián qián zài dé guó mǎi liǎo yī běn yuán dōng dé chū de shū：《 ài zhī yù héng héng héng sì qiān nián lái de yàn qíng shī gē hé sǎnwén》（ DieLustzuliebenkErotischeDichtungundProsaausvierJahrtausenden）。 hào chēng“ sì qiān nián”， kě wèi yáng yáng dà guān， qí zhōng yuǎn dōng zuò pǐn zhǐ xuǎn《 jīn píng méi》 hé《 yàoshì》， zuò wéi dài biǎo。 jìn lái fān yì jiè bǎ“ bō xī mǐ yà”
shēng cún de hēng lì · mǐ lè（ HenryMiller） dū“ quán yì” liǎo， bù zhī wèishénme， fù yòu sī xiǎng hé rén wén nèi hán de rùn yī láng hé《 yàoshì》 què sì hū wú rén wèn jīn？
zhè piān xiǎo shuō wéi rào zhe yī duì gān gà nián líng fū qī de xìng shēng huó zhǎn kāi。 wǔ shí liù suì de dà xué jiào shòu shì nán zhù rén gōng， qī zǐ yù zǐ sì shí wǔ suì。 miàn duì tǐ tài fēng mǎn， xìng yù wàng shèng 'ér fēng qíng chéng shú de qī zǐ， tǐ lì shuāi ruò de jiào shòu xīn yòu yú 'ér lì bù zú。 jiào shòu yú shì yè lǐ qǐ lái diǎn dēng、 guān kàn luǒ tǐ shuì shú de qī zǐ。 tā jiù xiàng yī gè nián lǎo shuāi bài、 jūn lín fá lì de guó wáng， zài xún shì yǐ jīng wú fǎ tǒng yù de fēng wò guó tǔ yī yàng。 tā kàn dào yī piàn fēng guāng wú xiàn， pán pán yān， yān， fēng fáng shuǐ wō， chù bù zhī hū jǐ qiān wàn luò。 xīn sī chūn guāng róng róng， ér tǐ lì què fēng yǔ qī qī， zhǐ néng gòu tú huàn nài hé！ zhè shí， yī gè xié 'è 'ér zhì mìng de xiǎng fǎ biàn chéng xū 'ér rù。 tā xiǎng qǐ liǎo jīng cháng dào jiā lǐ lái de xué shēng、 nián qīng lì qiáng de mù cūn。 yòu yī cì yù zǐ yùn dǎo zài yù shì shí， tā jiù ràng mù cūn qù bǎ luǒ tǐ de qī zǐ bào jìn wò shì。 yǐ hòu， yòu duō cì ràng mù cūn duì luǒ tǐ shú shuì de yù zǐ pāi zhào。 tā xiǎng jī qǐ nián qīng de mù cūn duì yú qī zǐ yù zǐ de 'ài yù， ér zì jǐ zé yī bàng kuī cè fāng xiàng。 xī wàng děng dào yī tiān， yòng mù cūn duì yù zǐ de qíng yù zuò cuī huà jì， yě néng gòu bǎ tā duì qī zǐ de lì liàng chóngxīn jī fā qǐ lái。 jiēguǒ， tā zhèng zhōng liǎo xī yàn suǒ shuō，“ qǐng guǐ róng yì sòng guǐ nán”（ ItiseasiertoraisetheDe-vilthantolayhim.）…… bù liào yù zǐ zài nián qīng de mù cūn shēn shàng， dì yī cì tǐ yàn dào liǎo xīn xiān、 qiáng liè 'ér biàn huà duō zī de xìng， jié hūn 'èr shí jǐ nián yùn cáng zài ròu tǐ shēn chù méi yòu jué xǐng de xìng gěi yī xià zǐ huàn xǐng， yī fā bù kě 'è zhǐ……《 yàoshì》 zài jié gòu shàng de tè diǎn， shì quán piān xiǎo shuō yóu jiào shòu hé yù zǐ liǎng rén de rì jì zǔ chéng。 jiào shòu de rì jì yòng piàn jiǎ míng， yù zǐ de rì jì yòng píng jiǎ míng， jiāo hù chū xiàn。 liǎng bù rì jì yòu xiān míng 'ér niǔ qū de xīn lǐ tè diǎn， jì rì jì běn shì yī fèn yǐn sī， kě zhè lǐ rì jì zuò zhě qǐ chū jiù xī wàng duì fāng néng gòu dú dào， suǒ yǐ， shí bù shí liú lù chū shì zài wèile duì fāng 'ér xiě rì jì de xīn tài。 wēi miào de dì fāng， zài yú jì xiǎng duì fāng kàn dào， yòu bù xī wàng duì fāng cāi chū rì jì shì wéi zhī xiě zuò de zhū sī mǎ jì； jì xiǎng duì fāng néng gòu chuài cè zì jǐ de yǐn bì yù wàng， yòu bù xī wàng duì fāng míng què cāi chū zhè zhǒng yù qiú bìng yú yǐ míng huǒ zhí zhàng de fǎn yìng…… qí zhōng， tè bié yǐ yù zǐ de rì jì xiěde wěi wǎn dòng rén yòu dà dǎn biǎo lù。 yòu yī duàn， pō fú hé lǐ yì shān shī yì：
“ hóng lù huā fáng bái mì pí， huáng fēng zǐ dié liǎng cān chā。 chūn chuāng yī jué fēng liú mèng， què shì tóng qīn bù dé zhī”：
…… dāng wǒ tà jìn wò shì shí， zhàng fū yǐ jīng shàng chuáng liǎo。 tā yī kàn jiàn wǒ， jiù bǎ chuáng tóu dēng dǎ kāi。 jìn lái， chú liǎo mǒu yī shí kè， zhàng fū bù xǐ huān wò shì liàng táng táng de…… zhàng fū kàn wǒ mù yù zài dēng guāng liàng táng zhī zhōng， tū rán lù chū jīng yà de yǎn guāng。 wǒ hěn míng bái qí zhōng 'ào mì。 wǒ měi cì cóng yù shì chū lái， zǒng shì dài shàng 'ěr huán shàng chuáng， ér qiě mǎ shàng gù yì bǎ bèi jǐ xiàng zhe zhàng fū， zhǐ liú gěi tā yī piàn dài zhe 'ěr huán de 'ěr duǒ chuí 'ér。 zhè yī dòng zuò bù kě yán chuán， zhàng fū yǐ qián hái méi yòu jiàn dào guò， yú shì， zhè lì kè jiù shǐ dé tā xīng fèn qǐ lái。 wǒ hái méi yòu zhǔn bèi hǎo， zhǐ jué dé tā yǐ jīng zài chuáng shàng jiù xù， yī bǎ cóng hòu miàn bào zhù wǒ， jiù fēng kuáng dì wěn wǒ de 'ěr duǒ chuí 'ér。 wǒ tīng tā sī mó， yǎn jīng bì zhe。…… wǒ dǎo bìng bù jué dé， gěi yī gè hái jiào zuò“ zhàng fū” de rén， zhè yàng qīn wěn 'ěr duǒ chuí 'ér yòu shénme bù kuài。 zhǐ shì， yī shí wǒ zěn me yě bù néng shuō wǒ 'ài de hái shì tā。 tóng mù cūn xiāng bǐ， zhè hào qīn wěn xiǎn dé shí zài bèn zhuō wú qù！
yī biān wǒ zhè yàng xiǎng zhe， yī biān tā de shé tóu yǎng sī sī dì zài sī mó zhe wǒ de 'ěr duǒ chuí 'ér。…… jīn yè， wǒ bǎ bái tiān tóng mù cūn yī qǐ jìn xíng guò de xī xì， chóngxīn tóng tā yě yī yī yǎn xí liǎo yī biàn。 ér qiě， yī biān hái mán yòu xīng qù dì tǐ yàn zhe， tā men liǎng gè rén dào dǐ zài nǎ lǐ bù tóng， yòu shì tú bǎ tā men liǎng gè rén zài gǎn jué hé fēng gé shàng qū fēn kāi lái……（ bǐ zhě yì） zhè yàng de qíng jǐng， dāng rán shì bù wěn dìng píng héng。 zhàng fū bù jiǔ jiù zhōng fēng 'ér sǐ， liú xià liǎo guǎ mǔ gū 'ér， hé yī gè dì wèi gān gà de mù cūn…… rùn yī láng zài xìng xíng wéi de wěi wǎn miáo xiě shàng， zài xìng xīn lǐ de shēn kè kè huà shàng， dū kān chēng gāo shǒu。 shū lǐ de qíng jié hé xì jié dū zú yǐ ràng zhōng guó de zhèng rén jūn zǐ cù méi dèng yǎn， dàn shì， quán shū yòu jīhū quán shì chōu xiàng miáo xiě。 dòng zuò yuǎn fēi“ jù xiàng” de dòng zuò， rén wù yě bù shì“ jù xiàng” de rén wù……
duì yú zhè yī xiǎo shuō yīnggāi zuò hé lǐ jiě？ bǐ zhě bù shì rì běn wén xué zhuān jiā， wú yì cóng xué jiū de jiǎo dù lā chǎng zǐ bào quán shuō huà， zhǐ shì jué dé rì běn rén guài。 wǒ zài xī fāng wén xué méi yòu dú dào tóng lèi mǔ tí de zuò pǐn， zhǐ yòu Sadism（ xìng nüè dài kuáng）、 Masochism（ xìng shòu nüè kuáng） děng děng fèi fǎn yíng tiān。 rì běn zuò jiā shuǐ shàng miǎn yě jī shǎng rùn yī láng， tā zài《 yuè qián zhú 'ǒu》 lǐ， yě xiě dào liǎo wō náng nán pú fú zài měi yàn nǚ miàn qián de xìng de nú xìng， dàn shì bǐ jiào hán xù shāng gǎn。
zhè zhǒng duì nán rén de xìng chǒu huà， bìng fēi cóng rùn yī láng shǐ。 jiè chuān lóng zhī jiè yòu yī piān《 nǚ tǐ》， jiù shì yī fú fēng qíng màn huà。 yī gè nán rén yī tiān jué dé zì jǐ de líng hún fù dào liǎo yī zhǐ shī de shēn shàng。 tā zài shuò dà wú péng de chuáng shàng màn bù， zhōng yú dào liǎo yī zuò gāo shān miàn qián。 tā chū shén rù huà xīn shǎng zhe zhè zuò shān de měi jǐng， zhí dào tū rán wù chū， yuán lái， zhè zuò gāo shān jiù shì tā de qī zǐ de yī zhǐ rǔ fáng…… jiè chuān wú liáo dì bǎ zhùjué xiě chéng zhōng guó rén yáng mǒu， tā zhēn shì tài bù dǒng zhōng guó hé zhōng guó rén； zhōng guó nán xìng cóng lái méi yòu zài nǚ xìng miàn qián zhè yàng wèi xǐ shì ruò。 rì běn wén huà cái yī kāi shǐ jiù shì nǚ xìng wén huà， qí kāi chuàng zhě píng 'ān shí qī de zǐ shì bù、 qīng shǎo nà yán、 hé quán shì bù děng， quándōu shì dà nèi nǚ guān。 kě yǐ shuō， duì yú chǒu 'è xiàn shí fǎn gǎn yǐn fā wéi měi， wéi měi chù fā xún gēn hé fù gǔ， fù gǔ jiù fǎn huí dào yuán tóu de nǚ xìng chóng bài， yī chóng bài jiù yī yú hú dǐ！
《 yàoshì》 shì yī bù xìng bēi jù， zài xìng kǒng jù miàn qián， jiào shòu yī shǒu zào chéng liǎo zì jǐ de huǐ miè。 rùn yī láng wén xué zài xíng xíng sè sè xìng cuò luàn de běn xiāng hòu miàn， jiē shì de shì miàn duì xìng wú néng de rén lèi nán tí。 kě yǐ shuō， zì cóng rén lèi yī dàn shēng， jiù yòu zhè gè wèn tí。 zài dé guó kàn guò yī bù diàn yǐng《 yī bǎi wàn nián qián》， shuō de shì rén lèi de yī zú zài bǎi wàn nián qián de yī duàn gù shì。 nà lǐ miàn de rén hái bù huì shuō huà， dàn shì， yǐ jīng yòu liǎo sì wú jì dá de sè qíng kuáng， yě yòu nán rén jiàn liǎo nǚ xìng bù gǎn xīng qù。 zhè gè wèn tí sì hū bù huì yòu zuì zhōng dá 'àn。 jiào shòu qiǎngqiú rén jiān xìng 'ài 'ér yuàn sǐ， ér nà xìng 'ài duì yú tā yǐ jīng lì suǒ bù néng jí。 jiào shòu jiù xiàng xiǎo hái zǐ“ yìng yào” tiān biān de yuè liàng yī yàng， yú shì zhè gè bēi jù yòu biàn chéng liǎo yīcháng xǐ jù liǎo。 zhè lǐ méi yòu zuì 'è， wéi yī de zuì 'è shì xìng， yǐ jí shēng lái jiù gěi zhuāng shàng liǎo xìng de rén lèi zì jǐ。 rén lèi shēng lái jiù huàn liǎo xìng de yù qiú， què yòu shì rú cǐ wǔ huā bā mén， xíng tài gè yì， bù néng huàyī。
rú guǒ yìng yào， jiù shì bēi jù， huò zhě xǐ jù。 rén shēng de bēi xǐ yuán lái zhǐ chā yī bù！ dàn shì bù lùn bēi xǐ， duì yú zhùjué dōushì jiě tuō。
yī xiū hé shàng shuō guò yī jù chán：“ rù fó jiè yì， rù mó jiè nán！” zhè huà dà kě tóng rì běn wén huà hé rén xìng yī qí yín wèi。 rén men xǐ huān bǎ“ měi” tóng rì běn wén xué lián xì qǐ lái。 lì rú， chuān duān shì qī yàn de měi， sān dǎo shì nán xìng de yáng gāng měi， ér gǔ qí rùn yī láng zé shì diǎn yǎ yàn lì， děng děng。 shí jì shàng， rì běn wén xué lǐ měi hé chǒu shì fēi cháng jǐn mì dì róng hé zài yī qǐ de。
dù biān chún yī xiǎo shuō de zhù rén gōng shuō， yīng huā shù xià mái zhe shī tǐ！《 yàoshì》 zhè biān zé shì chì luǒ luǒ de chǒu lòu、 huāng miù hé zuì 'è， ér shǒu fǎ hé miáo xiě yòu shì měi de： yàn lì chán mián。 zuì 'è jiù shì rén běn shēn， suǒ yǐ， zuì 'è de gǔ dǐ， yě jiù shì rén de shēn céng gòu zào， dào dá liǎo měi lì de yì shù jìng jiè， shēn céng chù jìng rán yòu kāi fàng zhe yīng huā bān de měi。 zuì 'è gǔ dǐ yòu yīng huā！
zuò zhě： qián dìng píng
héng héng héng qiǎn cháng gǔ qí rùn yī láng
rì běn zuò jiā jǐng shàng jìng shuō guò， chuān duān kāng chéng měi de fāng chéng shì fēi cháng fù zá，“ yòng yī gēn shéng zǐ shuān bù zhù”。 yìng yòng zhè gè jǐng shàng fāng chéng shì， wǒ men sì hū yě kě yǐ lái tào qí tā mǒu xiē rì běn zuò jiā。 bǐ rú， yǒng jǐng hé fēng hé tā de sī shū dì zǐ gǔ qí rùn yī láng。 yuè dú zhè xiē zuò jiā shí wǒdōu bù jìn huì fā wèn： měi， dào dǐ shì shénme？ měi， yòu dào dǐ zài nǎ lǐ？
wén xué pī píng jiā jiù xǐ huān zhè yàng xuán hū de wèn tí， dàn shì bù huì tóng yì xià miàn de dá 'àn：
měi， jiù zài zuì qiān de shēn chù， jiù zài zuì 'è de gǔ dǐ。
shì jiè wén xué jiè yòu yī gè fēi cháng yòu qù de xiàn xiàng， wéi měi zhù yì de yì zhuǎn huà xìng。 wéi měi zhù yì hǎo xiàng zǒng shì xiàng tā de nà qún chàng dǎo zhě yī yàng， mìng huó bù cháng， zǒng bù duàn dì xiàng 'è mó zhù yì huò qí tā fāng xiàng zhuǎn huà。
yǒng jǐng hé fēng shì wéi měi zhù yì xìn tú， xiǎng tōng guò shū fā sī gǔ zhī yōu qíng， lái biǎo dá duì yú xiàn shí de bù mǎn； yào yòng miáo xiě fēng sú hé yàn qíng， lái dǐ zhì cán kù de shì fēng rì xià。 dàn shì， tā de wéi měi zhù yì yī kāi shǐ jiù hùn jìn liǎo zì rán zhù yì sè diào。 xiǎo shuō《 dì yù zhī huā》 cóng shū míng dào nèi róng dū jìn tòu liǎo zuǒ lā。 tā hòu lái xiě de《 duàn cháng tíng rì jì》， hái yòu xià miàn de《 měi guó gù shì》， wén bǐ yōu měi， kě xiǎng dú zhě：
shù lín lǐ chóngchóng dié dié cháng zhe shù hé fēng shù。 zhè gè guó jiā de fēng shù， nà yóu yú yè lǐ de lù shuǐ 'ér fā huáng de yè zǐ yǐ jīng kāi shǐ piāo líng， yáng cháng xiǎo dào shàng dào chù dū pū mǎn liǎo dà piàn de luò yè。 kě shì， shù què zhèng shuāng yè hóng yú 'èr yuè huā li。 xī yáng guāng xiàn chuān tòu liǎo shēn hòu de lín zǐ， bǎ shù yè jiǎn zhí shì yī piàn yī piàn dì zhào liàng liǎo， zhēn xiàng zài xià zhe yī zhèn jīn sè de yǔ。（ bǐ zhě yì）
yǒng jǐng hé fēng、 gǔ qí rùn yī láng hé zuǒ téng chūn fū shì rì běn wéi měi zhù yì（ rì wén shì“ dān měi zhù yì”， yě pō dé yào lǐng） sān dài biǎo。 hé fēng yī zhí bǎ rùn yī láng kàn zuò shì zì jǐ de wén xué hòu jì。 kě shì， rùn yī láng méi yòu jì chéng hé fēng nà zhǒng wén míng pī pàn jīng shén， ér shì shǐ zhōng yī guàn dì gù zhí yú nǚ xìng měi zhì gāo wú shàng， jiān chí zhe duì yú nǚ xìng měi de bìng tài zhuī qiú， chén nì zài nán xìng duì yú nǚ xìng měi zhī xìng wú néng de zhíniù。 yú shì， cóng wéi měi chū fā， què zǒu jìn liǎo 'è mó。
cóng chǔnǚ zuò《 wén shēn》 hé《 qí lín》， jīng guò《 chī rén zhī 'ài》、《 chūn qín chāo》 děng， dào wǎn nián fā biǎo de《 yàoshì》（ rì wén《 jiàn（ か ぎ）》） hé《 fēng diān lǎo rén rì jì》， rùn yī láng yī bù yī bù zǒu xiàng zuì 'è yuān sǒu。 zhè lǐ yī xiàn guàn chuān de， shì nán xìng zài nǚ xìng měi miàn qián de 'ài mù、 mó bài、 qīng dǎo hé…… wú néng。 zhè lǐ de nán xìng， duì yú yāo mó huà liǎo de jí duān nǚ xìng měi， shì jì dān jīng jié lǜ、 pīn mìng zhuī qiú， yòu zì cán xíng huì、 wèi xǐ bù qián。
wǒ men kě yǐ kàn kàn《 yàoshì》， xiǎo shuō 1956 nián zài《 zhōng yāng gōng lùn》 zá zhì yī yuè hào shàng kāi shǐ pī lù， fù miàn hū shēng dà huá， yǐ zhì zuò zhě bù dé bù tíng bǐ sān gè yuè， dào wǔ yuè hào cái liánzǎi xià qù。 zhè bù xiǎo shuō què lì jí zài 'ōu měi huò dé liǎo xīn shǎng。 wǒ duō nián qián zài dé guó mǎi liǎo yī běn yuán dōng dé chū de shū：《 ài zhī yù héng héng héng sì qiān nián lái de yàn qíng shī gē hé sǎnwén》（ DieLustzuliebenkErotischeDichtungundProsaausvierJahrtausenden）。 hào chēng“ sì qiān nián”， kě wèi yáng yáng dà guān， qí zhōng yuǎn dōng zuò pǐn zhǐ xuǎn《 jīn píng méi》 hé《 yàoshì》， zuò wéi dài biǎo。 jìn lái fān yì jiè bǎ“ bō xī mǐ yà”
shēng cún de hēng lì · mǐ lè（ HenryMiller） dū“ quán yì” liǎo， bù zhī wèishénme， fù yòu sī xiǎng hé rén wén nèi hán de rùn yī láng hé《 yàoshì》 què sì hū wú rén wèn jīn？
zhè piān xiǎo shuō wéi rào zhe yī duì gān gà nián líng fū qī de xìng shēng huó zhǎn kāi。 wǔ shí liù suì de dà xué jiào shòu shì nán zhù rén gōng， qī zǐ yù zǐ sì shí wǔ suì。 miàn duì tǐ tài fēng mǎn， xìng yù wàng shèng 'ér fēng qíng chéng shú de qī zǐ， tǐ lì shuāi ruò de jiào shòu xīn yòu yú 'ér lì bù zú。 jiào shòu yú shì yè lǐ qǐ lái diǎn dēng、 guān kàn luǒ tǐ shuì shú de qī zǐ。 tā jiù xiàng yī gè nián lǎo shuāi bài、 jūn lín fá lì de guó wáng， zài xún shì yǐ jīng wú fǎ tǒng yù de fēng wò guó tǔ yī yàng。 tā kàn dào yī piàn fēng guāng wú xiàn， pán pán yān， yān， fēng fáng shuǐ wō， chù bù zhī hū jǐ qiān wàn luò。 xīn sī chūn guāng róng róng， ér tǐ lì què fēng yǔ qī qī， zhǐ néng gòu tú huàn nài hé！ zhè shí， yī gè xié 'è 'ér zhì mìng de xiǎng fǎ biàn chéng xū 'ér rù。 tā xiǎng qǐ liǎo jīng cháng dào jiā lǐ lái de xué shēng、 nián qīng lì qiáng de mù cūn。 yòu yī cì yù zǐ yùn dǎo zài yù shì shí， tā jiù ràng mù cūn qù bǎ luǒ tǐ de qī zǐ bào jìn wò shì。 yǐ hòu， yòu duō cì ràng mù cūn duì luǒ tǐ shú shuì de yù zǐ pāi zhào。 tā xiǎng jī qǐ nián qīng de mù cūn duì yú qī zǐ yù zǐ de 'ài yù， ér zì jǐ zé yī bàng kuī cè fāng xiàng。 xī wàng děng dào yī tiān， yòng mù cūn duì yù zǐ de qíng yù zuò cuī huà jì， yě néng gòu bǎ tā duì qī zǐ de lì liàng chóngxīn jī fā qǐ lái。 jiēguǒ， tā zhèng zhōng liǎo xī yàn suǒ shuō，“ qǐng guǐ róng yì sòng guǐ nán”（ ItiseasiertoraisetheDe-vilthantolayhim.）…… bù liào yù zǐ zài nián qīng de mù cūn shēn shàng， dì yī cì tǐ yàn dào liǎo xīn xiān、 qiáng liè 'ér biàn huà duō zī de xìng， jié hūn 'èr shí jǐ nián yùn cáng zài ròu tǐ shēn chù méi yòu jué xǐng de xìng gěi yī xià zǐ huàn xǐng， yī fā bù kě 'è zhǐ……《 yàoshì》 zài jié gòu shàng de tè diǎn， shì quán piān xiǎo shuō yóu jiào shòu hé yù zǐ liǎng rén de rì jì zǔ chéng。 jiào shòu de rì jì yòng piàn jiǎ míng， yù zǐ de rì jì yòng píng jiǎ míng， jiāo hù chū xiàn。 liǎng bù rì jì yòu xiān míng 'ér niǔ qū de xīn lǐ tè diǎn， jì rì jì běn shì yī fèn yǐn sī， kě zhè lǐ rì jì zuò zhě qǐ chū jiù xī wàng duì fāng néng gòu dú dào， suǒ yǐ， shí bù shí liú lù chū shì zài wèile duì fāng 'ér xiě rì jì de xīn tài。 wēi miào de dì fāng， zài yú jì xiǎng duì fāng kàn dào， yòu bù xī wàng duì fāng cāi chū rì jì shì wéi zhī xiě zuò de zhū sī mǎ jì； jì xiǎng duì fāng néng gòu chuài cè zì jǐ de yǐn bì yù wàng， yòu bù xī wàng duì fāng míng què cāi chū zhè zhǒng yù qiú bìng yú yǐ míng huǒ zhí zhàng de fǎn yìng…… qí zhōng， tè bié yǐ yù zǐ de rì jì xiěde wěi wǎn dòng rén yòu dà dǎn biǎo lù。 yòu yī duàn， pō fú hé lǐ yì shān shī yì：
“ hóng lù huā fáng bái mì pí， huáng fēng zǐ dié liǎng cān chā。 chūn chuāng yī jué fēng liú mèng， què shì tóng qīn bù dé zhī”：
…… dāng wǒ tà jìn wò shì shí， zhàng fū yǐ jīng shàng chuáng liǎo。 tā yī kàn jiàn wǒ， jiù bǎ chuáng tóu dēng dǎ kāi。 jìn lái， chú liǎo mǒu yī shí kè， zhàng fū bù xǐ huān wò shì liàng táng táng de…… zhàng fū kàn wǒ mù yù zài dēng guāng liàng táng zhī zhōng， tū rán lù chū jīng yà de yǎn guāng。 wǒ hěn míng bái qí zhōng 'ào mì。 wǒ měi cì cóng yù shì chū lái， zǒng shì dài shàng 'ěr huán shàng chuáng， ér qiě mǎ shàng gù yì bǎ bèi jǐ xiàng zhe zhàng fū， zhǐ liú gěi tā yī piàn dài zhe 'ěr huán de 'ěr duǒ chuí 'ér。 zhè yī dòng zuò bù kě yán chuán， zhàng fū yǐ qián hái méi yòu jiàn dào guò， yú shì， zhè lì kè jiù shǐ dé tā xīng fèn qǐ lái。 wǒ hái méi yòu zhǔn bèi hǎo， zhǐ jué dé tā yǐ jīng zài chuáng shàng jiù xù， yī bǎ cóng hòu miàn bào zhù wǒ， jiù fēng kuáng dì wěn wǒ de 'ěr duǒ chuí 'ér。 wǒ tīng tā sī mó， yǎn jīng bì zhe。…… wǒ dǎo bìng bù jué dé， gěi yī gè hái jiào zuò“ zhàng fū” de rén， zhè yàng qīn wěn 'ěr duǒ chuí 'ér yòu shénme bù kuài。 zhǐ shì， yī shí wǒ zěn me yě bù néng shuō wǒ 'ài de hái shì tā。 tóng mù cūn xiāng bǐ， zhè hào qīn wěn xiǎn dé shí zài bèn zhuō wú qù！
yī biān wǒ zhè yàng xiǎng zhe， yī biān tā de shé tóu yǎng sī sī dì zài sī mó zhe wǒ de 'ěr duǒ chuí 'ér。…… jīn yè， wǒ bǎ bái tiān tóng mù cūn yī qǐ jìn xíng guò de xī xì， chóngxīn tóng tā yě yī yī yǎn xí liǎo yī biàn。 ér qiě， yī biān hái mán yòu xīng qù dì tǐ yàn zhe， tā men liǎng gè rén dào dǐ zài nǎ lǐ bù tóng， yòu shì tú bǎ tā men liǎng gè rén zài gǎn jué hé fēng gé shàng qū fēn kāi lái……（ bǐ zhě yì） zhè yàng de qíng jǐng， dāng rán shì bù wěn dìng píng héng。 zhàng fū bù jiǔ jiù zhōng fēng 'ér sǐ， liú xià liǎo guǎ mǔ gū 'ér， hé yī gè dì wèi gān gà de mù cūn…… rùn yī láng zài xìng xíng wéi de wěi wǎn miáo xiě shàng， zài xìng xīn lǐ de shēn kè kè huà shàng， dū kān chēng gāo shǒu。 shū lǐ de qíng jié hé xì jié dū zú yǐ ràng zhōng guó de zhèng rén jūn zǐ cù méi dèng yǎn， dàn shì， quán shū yòu jīhū quán shì chōu xiàng miáo xiě。 dòng zuò yuǎn fēi“ jù xiàng” de dòng zuò， rén wù yě bù shì“ jù xiàng” de rén wù……
duì yú zhè yī xiǎo shuō yīnggāi zuò hé lǐ jiě？ bǐ zhě bù shì rì běn wén xué zhuān jiā， wú yì cóng xué jiū de jiǎo dù lā chǎng zǐ bào quán shuō huà， zhǐ shì jué dé rì běn rén guài。 wǒ zài xī fāng wén xué méi yòu dú dào tóng lèi mǔ tí de zuò pǐn， zhǐ yòu Sadism（ xìng nüè dài kuáng）、 Masochism（ xìng shòu nüè kuáng） děng děng fèi fǎn yíng tiān。 rì běn zuò jiā shuǐ shàng miǎn yě jī shǎng rùn yī láng， tā zài《 yuè qián zhú 'ǒu》 lǐ， yě xiě dào liǎo wō náng nán pú fú zài měi yàn nǚ miàn qián de xìng de nú xìng， dàn shì bǐ jiào hán xù shāng gǎn。
zhè zhǒng duì nán rén de xìng chǒu huà， bìng fēi cóng rùn yī láng shǐ。 jiè chuān lóng zhī jiè yòu yī piān《 nǚ tǐ》， jiù shì yī fú fēng qíng màn huà。 yī gè nán rén yī tiān jué dé zì jǐ de líng hún fù dào liǎo yī zhǐ shī de shēn shàng。 tā zài shuò dà wú péng de chuáng shàng màn bù， zhōng yú dào liǎo yī zuò gāo shān miàn qián。 tā chū shén rù huà xīn shǎng zhe zhè zuò shān de měi jǐng， zhí dào tū rán wù chū， yuán lái， zhè zuò gāo shān jiù shì tā de qī zǐ de yī zhǐ rǔ fáng…… jiè chuān wú liáo dì bǎ zhùjué xiě chéng zhōng guó rén yáng mǒu， tā zhēn shì tài bù dǒng zhōng guó hé zhōng guó rén； zhōng guó nán xìng cóng lái méi yòu zài nǚ xìng miàn qián zhè yàng wèi xǐ shì ruò。 rì běn wén huà cái yī kāi shǐ jiù shì nǚ xìng wén huà， qí kāi chuàng zhě píng 'ān shí qī de zǐ shì bù、 qīng shǎo nà yán、 hé quán shì bù děng， quándōu shì dà nèi nǚ guān。 kě yǐ shuō， duì yú chǒu 'è xiàn shí fǎn gǎn yǐn fā wéi měi， wéi měi chù fā xún gēn hé fù gǔ， fù gǔ jiù fǎn huí dào yuán tóu de nǚ xìng chóng bài， yī chóng bài jiù yī yú hú dǐ！
《 yàoshì》 shì yī bù xìng bēi jù， zài xìng kǒng jù miàn qián， jiào shòu yī shǒu zào chéng liǎo zì jǐ de huǐ miè。 rùn yī láng wén xué zài xíng xíng sè sè xìng cuò luàn de běn xiāng hòu miàn， jiē shì de shì miàn duì xìng wú néng de rén lèi nán tí。 kě yǐ shuō， zì cóng rén lèi yī dàn shēng， jiù yòu zhè gè wèn tí。 zài dé guó kàn guò yī bù diàn yǐng《 yī bǎi wàn nián qián》， shuō de shì rén lèi de yī zú zài bǎi wàn nián qián de yī duàn gù shì。 nà lǐ miàn de rén hái bù huì shuō huà， dàn shì， yǐ jīng yòu liǎo sì wú jì dá de sè qíng kuáng， yě yòu nán rén jiàn liǎo nǚ xìng bù gǎn xīng qù。 zhè gè wèn tí sì hū bù huì yòu zuì zhōng dá 'àn。 jiào shòu qiǎngqiú rén jiān xìng 'ài 'ér yuàn sǐ， ér nà xìng 'ài duì yú tā yǐ jīng lì suǒ bù néng jí。 jiào shòu jiù xiàng xiǎo hái zǐ“ yìng yào” tiān biān de yuè liàng yī yàng， yú shì zhè gè bēi jù yòu biàn chéng liǎo yīcháng xǐ jù liǎo。 zhè lǐ méi yòu zuì 'è， wéi yī de zuì 'è shì xìng， yǐ jí shēng lái jiù gěi zhuāng shàng liǎo xìng de rén lèi zì jǐ。 rén lèi shēng lái jiù huàn liǎo xìng de yù qiú， què yòu shì rú cǐ wǔ huā bā mén， xíng tài gè yì， bù néng huàyī。
rú guǒ yìng yào， jiù shì bēi jù， huò zhě xǐ jù。 rén shēng de bēi xǐ yuán lái zhǐ chā yī bù！ dàn shì bù lùn bēi xǐ， duì yú zhùjué dōushì jiě tuō。
yī xiū hé shàng shuō guò yī jù chán：“ rù fó jiè yì， rù mó jiè nán！” zhè huà dà kě tóng rì běn wén huà hé rén xìng yī qí yín wèi。 rén men xǐ huān bǎ“ měi” tóng rì běn wén xué lián xì qǐ lái。 lì rú， chuān duān shì qī yàn de měi， sān dǎo shì nán xìng de yáng gāng měi， ér gǔ qí rùn yī láng zé shì diǎn yǎ yàn lì， děng děng。 shí jì shàng， rì běn wén xué lǐ měi hé chǒu shì fēi cháng jǐn mì dì róng hé zài yī qǐ de。
dù biān chún yī xiǎo shuō de zhù rén gōng shuō， yīng huā shù xià mái zhe shī tǐ！《 yàoshì》 zhè biān zé shì chì luǒ luǒ de chǒu lòu、 huāng miù hé zuì 'è， ér shǒu fǎ hé miáo xiě yòu shì měi de： yàn lì chán mián。 zuì 'è jiù shì rén běn shēn， suǒ yǐ， zuì 'è de gǔ dǐ， yě jiù shì rén de shēn céng gòu zào， dào dá liǎo měi lì de yì shù jìng jiè， shēn céng chù jìng rán yòu kāi fàng zhe yīng huā bān de měi。 zuì 'è gǔ dǐ yòu yīng huā！
《 běi huí guī xiàn》 shì mǐ lè de dì yī bù zìzhuàn tǐ xiǎo shuō， yě shì tā chū bǎn de dì yī běn shū。 cǐ shū yǐ huí yì lù de xíng shì xiě jiù， mǐ lè zài shū zhōng zhuī yì tā tóng jǐ wèi zuò jiā、 yì shù jiā péng yǒu zài bā lí dù guò de yī duàn rì zǐ， zhǐ zài tōng guò zhū rú gōng zuò、 jiāo tán、 yàn yǐn、 piáo jì děng chāo xiàn shí zhù yì hé zì rán zhù yì de kuā zhāng、 biàn xíng shēng huó xì jié miáo xiě jiē shì rén xìng， tàn jiū qīng nián rén rú hé zài tè dìng huán jìng zhōngjiàng zì jǐ zào jiù chéng yì shù jiā zhè yī chuán tǒng xī fāng wén xué zhù tí。
The novel included a preface credited to Anaïs Nin (although allegedly penned by Miller himself).
The book was distributed by Frances Steloff at her Gotham Book Mart, in defiance of censorship pressures.
Plot introduction
Set in France (primarily Paris) during the 1930s, it is the tale of Miller's life as a struggling writer. Combining fiction and autobiography, some chapters follow a strict narrative and refer to Miller's actual friends, colleagues, and workplaces; others are written as stream-of-consciousness reflections. It is written in the first person, as are many of Miller's other novels, and often fluctuates between past and present tense. There are many passages explicitly describing the narrator's sexual encounters, but the book does not solely focus on this subject.
Legal issues
In 1964, the U.S. Supreme Court, in Grove Press, Inc. v. Gerstein, cited Jacobellis v. Ohio (which was decided the same day) and overruled state court findings of obscenity.
A copyright infringing "Medusa" edition of the novel was published in New York City in 1940 by Jacob Brussel; its title page claimed its place of publication to be Mexico. Brussel was eventually sent to jail for three years for the edition, a copy of which is in the Library of Congress.
Critical reception
George Orwell called this novel
"the most important book of the mid-1930s [and Miller is] the only imaginative prose-writer of the slightest value who has appeared among the English-speaking races for some years past."
Samuel Beckett hailed it as "a momentous event in the history of modern writing". Norman Mailer, in his book on Miller, Genius and Lust, called it "one of the ten or twenty greatest novels of the century". The Modern Library named it the 50th greatest book of the 20th century. Edmund Wilson said of the novel:
The tone of the book is undoubtedly low; The Tropic of Cancer, in fact, from the point of view both of its happening and of the language in which they are conveyed, is the lowest book of any real literary merit that I have ever remember to have read... there is a strange amenity of temper and style which bathes the whole composition even when it is disgusting or tiresome.
In his dissent from the majority holding that the book was not obscene, Pennsylvania Supreme Court Justice Michael Musmanno wrote Cancer is "not a book. It is a cesspool, an open sewer, a pit of putrefaction, a slimy gathering of all that is rotten in the debris of human depravity."
The novel included a preface credited to Anaïs Nin (although allegedly penned by Miller himself).
The book was distributed by Frances Steloff at her Gotham Book Mart, in defiance of censorship pressures.
Plot introduction
Set in France (primarily Paris) during the 1930s, it is the tale of Miller's life as a struggling writer. Combining fiction and autobiography, some chapters follow a strict narrative and refer to Miller's actual friends, colleagues, and workplaces; others are written as stream-of-consciousness reflections. It is written in the first person, as are many of Miller's other novels, and often fluctuates between past and present tense. There are many passages explicitly describing the narrator's sexual encounters, but the book does not solely focus on this subject.
Legal issues
In 1964, the U.S. Supreme Court, in Grove Press, Inc. v. Gerstein, cited Jacobellis v. Ohio (which was decided the same day) and overruled state court findings of obscenity.
A copyright infringing "Medusa" edition of the novel was published in New York City in 1940 by Jacob Brussel; its title page claimed its place of publication to be Mexico. Brussel was eventually sent to jail for three years for the edition, a copy of which is in the Library of Congress.
Critical reception
George Orwell called this novel
"the most important book of the mid-1930s [and Miller is] the only imaginative prose-writer of the slightest value who has appeared among the English-speaking races for some years past."
Samuel Beckett hailed it as "a momentous event in the history of modern writing". Norman Mailer, in his book on Miller, Genius and Lust, called it "one of the ten or twenty greatest novels of the century". The Modern Library named it the 50th greatest book of the 20th century. Edmund Wilson said of the novel:
The tone of the book is undoubtedly low; The Tropic of Cancer, in fact, from the point of view both of its happening and of the language in which they are conveyed, is the lowest book of any real literary merit that I have ever remember to have read... there is a strange amenity of temper and style which bathes the whole composition even when it is disgusting or tiresome.
In his dissent from the majority holding that the book was not obscene, Pennsylvania Supreme Court Justice Michael Musmanno wrote Cancer is "not a book. It is a cesspool, an open sewer, a pit of putrefaction, a slimy gathering of all that is rotten in the debris of human depravity."
《 nán huí guī xiàn》 zuò wéi hēng lì · mǐ lè zìzhuàn shì luó màn shǐ de zhòng yào zuò pǐn， zhù yào xù shù hé miáo xiě liǎo hēng lì · mǐ lè zǎo nián zài niǔ yuē de shēng huó jīng lì， yǐ jí yǔ cǐ yòu guān de zhǒng zhǒng gǎn xiǎng、 lián xiǎng、 xiá xiǎng hé huàn xiǎng。 mǐ lè zài zhè bù zhù yào miáo xiě zì jǐ de nèi zài jīng shén shì jiè de zuò pǐn zhōng， yùn yòng yīnyuè、 xìng yǐ jí yī zhǒng dá dá zhù yì shì de gǎn jué cuò luàn lái bù duàn zhuī qiú zì wǒ biǎo xiàn de kuáng xǐ。 běn shū chú liǎo zuì chū de yī dà bù fēn hé yī xiē yǐ kōng xíng xíng shì chū xiàn de bù guī zé de duàn luò huàfēn yǐ wài， zhǐ yòu liǎng gè zhèng shì de bù fēn： chāqǔ hé wěi shēng， dōushì jiè yòng liǎo yīnyuè de shù yǔ， sì hū zhěng bù zuò pǐn shì yī shǒu biǎo xiàn zì wǒ yīnyuè qíng xù de wán zhěng yuèqǔ。 hēng lì · mǐ lè zài běn shū zhōng miáo xiě de yī cì cì xìng chōng dòng gòu chéng liǎo yī bù xìng kuáng xiǎng qū， ér tā de xìng kuáng xiǎng qū yòu shì tā pī pàn xī fāng wén huà、 chóngjiàn zì wǒ de fēi dào dé huà qīng xiàng de yī bù fēn。
hēng lì · mǐ lè zài běn shū zhōng shǒu yǐn liǎo fǎ guó zhōng shì jì dào dé zhé xué jiā bǐ dé · ā bó lā 'ěr de huà lái shuō míng tā xiě cǐ shū de mùdì：“ wǒ zhè yàng zuò wéi de shì ràng nǐ tōng guò bǐ jiào nǐ wǒ de tòng kǔ 'ér fā xiàn， nǐ de tòng kǔ suàn bù dé yī huí shì， zhì duō bù guò shì xiǎo shì yī zhuāng， cóng 'ér shǐ nǐ gèng róng yì chéng shòu nǐ tòng kǔ de yā lì。”
The novel is set in 1920s New York, where the narrator 'Henry V. Miller' works in the personnel division of the 'Cosmodemonic' telegraph company. Although the narrator's experiences closely parallel Miller's own time in New York working for the Western Union Telegraph Company, and he shares the author's name, the novel is considered a work of fiction.
The book is a story of spiritual awakening. Miller grinds down the reader with tales of poverty, suffering, and depravity, then attempts to create an experience of satiety. Much of the story surrounds his New York years of struggle with wife June Miller, and the process of finding his voice as a writer.
hēng lì · mǐ lè zài běn shū zhōng shǒu yǐn liǎo fǎ guó zhōng shì jì dào dé zhé xué jiā bǐ dé · ā bó lā 'ěr de huà lái shuō míng tā xiě cǐ shū de mùdì：“ wǒ zhè yàng zuò wéi de shì ràng nǐ tōng guò bǐ jiào nǐ wǒ de tòng kǔ 'ér fā xiàn， nǐ de tòng kǔ suàn bù dé yī huí shì， zhì duō bù guò shì xiǎo shì yī zhuāng， cóng 'ér shǐ nǐ gèng róng yì chéng shòu nǐ tòng kǔ de yā lì。”
The novel is set in 1920s New York, where the narrator 'Henry V. Miller' works in the personnel division of the 'Cosmodemonic' telegraph company. Although the narrator's experiences closely parallel Miller's own time in New York working for the Western Union Telegraph Company, and he shares the author's name, the novel is considered a work of fiction.
The book is a story of spiritual awakening. Miller grinds down the reader with tales of poverty, suffering, and depravity, then attempts to create an experience of satiety. Much of the story surrounds his New York years of struggle with wife June Miller, and the process of finding his voice as a writer.
zuì zǎo tīng dào de luò lì tǎ， shì yī běn xiǎo shuō de míng zì hé yī wèi 13 suì shàonǚ de míng zì。 rú guǒ jǐn cóng duì xiǎo shuō de lǐ jiě， kě yǐ jiāng qí dān chún dì lǐ jiě wéi zǎo shú de xìng gǎn shàonǚ yǐ jí tā hé liàn tóng pǐ de lián xì， ér qiě yòu jiē chù xī fāng wén huà de rén huì fā xiàn， xī fāng rén shuō de“ luò lì tǎ” nǚ hái shì nà xiē chuānzhuó chāo duǎn qún， huà zhe chéng shú zhuāng róng dàn yòu liú zhe shàonǚ liú hǎi de nǚ shēng， jiǎn dān lái shuō jiù shì“ shàonǚ qiáng chuān nǚ láng zhuāng” de qíng kuàng。 dàn shì dāng“ luò lì tǎ” liú chuán dào liǎo rì běn， rì běn rén jiù jiāng qí dàngchéng tiān zhēn kě 'ài shàonǚ de dài míng cí， tǒng yī jiāng 14 suì yǐ xià de nǚ hái chēng wéi“ luò lì tǎ dài”， ér qiě tài dù biàn chéng“ nǚ láng qiáng chuān shàonǚ zhuāng”， jí chéng shú nǚ rén duì qīng sè nǚ hái de xiàng wǎng。 ér jīhū suǒ yòu dōng fāng xíng de“ luò lì tǎ”， dū yǐ diàn yǐng《 xià qī wù yǔ》 lǐ de gōng tíng wá wá shí zhuāng zuò wéi biāo zhǔn lái dǎ bàn zì jǐ。 gǎng bǎn“ luò lì tǎ” yóu cǐ 'ér lái， ér guàn yú xiàng xiāng gǎng qǔ jīng de yuè bǎn luò lì tǎ yě yī yàng。 dàn bù tóng de shì， yuè bǎn luò lì tǎ wán jiā nián líng jí zhōng zài 13 － 25 suì， ér qiě dà bù fēn rén bù chāo guò 20 suì， shí qī bā suì de zhè lèi wán jiā， tā men bìng bù cún zài yào pīn mìng zhuāng nèn de xū yào， gèng duō shí hòu tā men zhuī qiú de shì yī zhǒng zhǎn xīn de yī zhe tài dù， hé xún qiú yòu bié yī bān de shēng huó fāng shì。
zài xī fāng“ luò lì tǎ” shì gè jí yòu xiàng zhēng yì yì de míng zì， yì zhǐ xìng gǎn shàonǚ、 liàn tóng děng yì， qǔ zì yī bù míng wéi《 luò lì tǎ》 de xiǎo shuō， hòu pāi wéi tóng míng diàn yǐng， guó nèi yì fān yì wéi《 yī zhī lí huā yā hǎi táng》。 tào yòng zuì jìn liú xíng de lǐ 'ān dǎo yǎn de nà jù míng yán， wǒ men kě yǐ shuō，“ měi gè nǚ hái xīn lǐ dōuyòu yī gè luò lì tǎ”， cóng xī fāng dào dōng fāng， cóng rì běn dào xiāng gǎng， zài dào zhōng guó nèi dì， suī rán shí jiān màn cháng liǎo xiē， dàn 14 suì shàonǚ luò lì tǎ nà yàng jīng líng kě 'ài de nǚ hái xíng xiàng jìng néng zài quán shì jiè yǐn qǐ“ xuān rán dà bō”， gū jì shì bàn shì jì yǐ qián tā de chuàng zuò zhě gēn běn wú fǎ yù liào dào de， tā men shèn zhì tè bié xuǎn zé rén liú zuì mì jí de shāng yè zhōng xīn zuò wéi zì jǐ de xiù chǎng， bù lùn nǐ shì fǒu jiē shòu， tā men zǒng shì nà me jiāo 'ào、 nà me wàng wǒ， shuí gǎn shuō， luò lì tǎ bù shì zhēn zhèng gāo guì de xiǎo gōng zhù。
luò lì tǎ - jī běn zī liào
yóu yī kāi shǐ de LOLI shì LOLITA de jiǎn chēng， zhǐ dài kě 'ài、 xī yǐn rén de yòu nǚ（ duō zhǐ 7 ～ 14 suì）， yuán yú xiǎo shuō《 luò lì tǎ》 dào hòu lái wén huà de yán shēn， lolita ＝ xíng róng cí， dài biǎo luó lì zhuàng、 kě 'ài de yòu nǚ， loli= yòu nǚ， duō yòng zài diàn yǐng yǐ jí rì běn GALGAME wén huà zhōng。
zuì jìn， yīn wéi rì běn hé yīng měi de diàn yǐng wén huà de yǐng xiǎng， shǐ luó lì fēng gé de fú zhuāng dà xíng qí dào， LOLITA yǎn biàn chéng dài biǎo liǎo yī zhǒng fú shì fēng gé， yóu qí shì zài rì běn， LOLITA chéng wéi liǎo dài biǎo xìng qiáng de fú zhuāng pǐn pái， bìng bèi yuè lái yuè duō shàonǚ tuī chóng， cóng 'ér jiàn jiàn qǔ dài liǎo LOLITA zhǐ xíng róng cí， dài biǎo luó lì zhuàng、 kě 'ài de yòu nǚ de dì wèi。
tè zhēng
yī gè nǚ shēng jiū jìng shì bù shì luó lì， měi rén de dìng yì dōuyòu bù tóng： yòu yǐ nián líng（ yán gé shēng lǐ nián líng） lái fēn de， yòu yǐ qì zhì（ xīn lǐ nián líng、 wài biǎo nián líng） lái fēn de， gèng yán gé de shì liǎng xiàng biāo zhǔn dōuyào dá dào de， zuì hòu hái yòu zì jǐ rèn wéi shì jiù dāng zuò shì de。 bù guò pǔ biàn lái shuō yòu yī gè zhòng diǎn jiù shì yào“ shàng wèi fā yù” huò zhě“ fā yù bù quán”。
xīn lǐ
Lolita bù dān shì yī zhǒng fú shì cháo liú， gèng shì nián qīng rén biǎo dá qíng gǎn xū yào de fāng shì， huò shì mí bǔ zì xìn bù zú de zì wǒ bǎo hù wǔ zhuāng。 yī rú fā zhǎn xīn lǐ xué jiā 'ài lì xùn zhǐ chū， nián qīng rén zhèng chǔyú“ zì wǒ rèn shí yǔ mí luàn” de jiē duàn， tā men wǎng wǎng yōng yòu tóng zhēn yǔ mèng xiǎng， yòu bǎi tuō xiàn shí guī xiàn de kě qiú， xū yào xún zhǎo zì wǒ， yīn cǐ yǐ bù jī hé yě xìng tiǎo zhàn chuán tǒng， qī wàng dé dào bié rén guān zhù、 liǎo jiě、 rèn tóng hé zhēn zhèng jiē nà。
luó lì yòu sān hǎo： shēn jiāo、 yāo róu、 yì tuī dǎo
lèi xíng
xiǎo gōng zhù xíng、 jiā zhōng xiǎo mèi xíng、 nǚ wáng xíng、 xiǎo 'è mó xíng、 dǎn qiè jiāo xiū xíng、 xiǎo mí hú xíng、 lèi chéng shú xíng
luò lì tǎ - sān dà zú qún
yī、 SweetLolita héng héng héng yǐ fěn hóng、 fěn lán、 bái sè děng fěn sè xì liè wéi zhù， yī liào xuǎn yòng dà liàng lěi sī， wù qiú dì zào chū yáng wá wá bān de kě 'ài hé làn màn， zài guǎng zhōu shì zuì duō rén xuǎn zé de zào xíng， zǒu zài dà jiē shàng yě bù suàn tài zhāng yáng。
SweetLolita
xiàn jīn zài Lolita jiè de dì wèi： zhù liú
SweetLolita zhèng rú qí míng， shǔ yú suǒ yòu Lolita fēn lèi zhōng fú shì shè jì zuì wéi tián měi de yī gè pài bié。 Sweet xì yáng zhuāng de bù liào dà duō yǐ fěn hóng、 fěn lán huò bái sè děng fěn nèn kě 'ài de dān sè wéi zhù。 chú cǐ zhī wài， wèile néng zhì zào chū yī zhǒng fǎng ruò yáng wá wá bān kě 'ài tián měi、 làn màn chún zhēn de qì xī， Sweet xì yáng zhuāng tōng cháng huì zài yī wù shàng shǐ yòng bǐ bié de pài xì gèng duō de lěi sī hé běn bù xí zhòu。
jìn jǐ nián lái， dà yuē shì yīn wéi bǎn xíng yǔ shè jì jīng cháng bèi shān zhài de yuán gù， gè jiā Sweet xì yáng zhuāng pǐn pái fēn fēn bìn qì dān sè bù liào， zhuǎn 'ér shǐ yòng qǐ gè zhǒng yìn yòu táng guǒ、 dàn gāo、 xiǎo dòng wù huò miáo shù mǒu gè tóng huà chǎng jǐng de yìn huā bù liào（ yīn wéi tú 'àn tè shū qiě nán yǐ fǎng zhì， zhè zhǒng bù liào wǎng wǎng shì dān cǐ yī jiā bié wú fēn diàn， suǒ yǐ xiāng dāng néng fáng D bǎn yú wèi rán）。
yī bān lái shuō， Sweet xì Lolita yáng zhuāng wǎng wǎng bǐ qí tā xì bié de yáng zhuāng gèng néng huò dé chū cì tà jìn Lolita shì jiè de nǚ hái men de qīng lái。
Sweet xì Lolita yáng zhuāng dài biǎo pǐn pái： BABY,THESTARSSHINEBRIGH、 AngelicPretty、 METAMORPHOSE
èr、 ClassicalLolita héng héng héng yǐ jiǎn yuē sè diào wéi zhù， zhuózhòng jiǎn cái yǐ biǎo dá qīng yǎ de xīn sī， yán sè bù chū tiǎo， rú chá sè hé bái sè。 lěi sī huā biān huì xiāng yìng jiǎn shǎo， ér hé yè xí shì zuì dà tè sè， zhěng tǐ fēng gé bǐ jiào píng shí， shì hé xīn shǒu。
☆ ClassicalLolita☆
xiàn jīn zài Lolita jiè de dì wèi： zhù liú
qià rú qí míng， Classical xì Lolita yáng zhuāng zhèng shì suǒ yòu xì bié de Lolita yáng zhuāng zhōng fú zhuāng kuǎn shì zuì wéi yōu yǎ de pài bié。 qí yáng zhuāng shè jì jiù hǎo xiàng 19 shì jì yīng guó de guì zú shàonǚ yī bān， jì gǔ diǎn yōu yǎ， yòu bù shī chún zhēn kě 'ài。
Classical xì Lolita yáng zhuāng suǒ xuǎn yòng de bù liào suī rán yě xǐ huān yǐ chún sè wéi zhù， dàn tā suǒ shǐ yòng de chún sè liào zǐ yī dìng dōuyòu zhe sù yǎ dé tǐ yòu bù cì yǎn de sè diào。 chú kāi bái、 hēi、 fěn、 lán zhè sì gè jī běn sè zhī wài， gè shì gè yàng měi lì de suì huā bù yě shì Classical xì yáng zhuāng bù liào de 'ài yòng zhī xuǎn。
yǔ Sweet xì Lolita yáng zhuāng bù tóng， chú liǎo gǔ diǎn xì lěi sī zhī wài， Classical xì Lolita yáng zhuāng jí shǎo huì zài yī wù shàng shǐ yòng dào dà liàng zào xíng píng píng、 zhì dì yī bān de lěi sī。 zài yī fú shàng měi gè xū yào yòng dào huā biān de dì fāng， Classical xì Lolita yáng zhuāng jī běn shàng dū huì yǐ yǔ yī fú xiāng tóng zhì dì de běn bù xí zhòu lái dài tì lěi sī。 ér Classical xì yáng zhuāng suǒ xuǎn yòng de bù liào yán sè yì fēi cháng sù yǎ， chú liǎo bái、 hēi、 fěn、 lán zhè sì gè jī běn sè zhī wài， gè shì gè yàng měi lì de suì huā bù yě shì Classical xì yáng zhuāng bù liào de cháng yòng zhě。
zǒng 'ér yán zhī， Classical xì Lolita yáng zhuāng de tè sè jiù shì“ jiǎn yuē 'ér bù jiǎn dān”。 yóu yú kuǎn shì jiǎn dān dà fāng、 yōu yǎ bù fán， Classical xì Lolita yáng zhuāng bǐ qí tā xì bié de Lolita yáng zhuāng gèng shì hé rì cháng chuānzhuó， yě gèng róng yì bèi jiāzhǎng jí dà zhòng suǒ jiē shòu。 dāng shàonǚ men yàn juàn liǎo zào xíng guò yú kuā zhāng de Sweet xì Lolita yáng zhuāng hé fēi cháng bù rì cháng de Gothic xì Lolita yáng zhuāng hòu， Classical xì Lolita yáng zhuāng jiù shùn lǐ chéng zhāng dì chéng wéi liǎo tā men de bì rán xuǎn zé yǔ zuì zhōng xuǎn zé。 yòu yì sī de shì， zuì néng chuān chū Classical xì Lolita yáng zhuāng yùn wèi de rén jū rán bìng bù shì qīng chūn huó pō de gāo chū zhōng nǚ shēng， ér shì nà xiē nián jì zài 20 yǐ shàng de、 yīn wéi gōng zuò hé yuè lì de yuán gù 'ér yōng yòu liǎo chén jìng qì zhì de nián qīng nǚ zǐ。 kàn lái zài xiàn shí zhōng，“ qì zhì” néng yǔ“ nián qīng” wán měi bìng cún de shí lì guǒ rán qū zhǐ kě shù ní。
dài biǎo pǐn pái： MaryMagdalene、 Victorianmaiden、 JULIETTE&JUSTINE Lolita bù shì Cosplay： qián zhě dài biǎo shēng huó tài dù， hòu zhě gèng jiā qiáng diào juésè mó fǎng gothiclolita
sān、 GothicLolita héng héng héng zhù sè shì hēi hé bái， tè zhēng shì xiǎng biǎo dá shén mì kǒng bù hé sǐ wáng de gǎn jué。 tōng cháng pèi yǐ shí zì jià yín qì děng zhuāng shì， yǐ jí huà jiào wéi nóng liè de shēn sè zhuāng róng， rú hēi sè zhǐ jiá、 yǎn yǐng、 chún sè， qiáng diào shén mì sè cǎi。
☆ GothicLolita☆
xiàn jīn zài Lolita jiè de dì wèi： zhù liú
shǒu xiān xū yào zhù yì de shì， GothicLolita yǔ chún zhèng de Gothic shì wán quán bù tóng de， dà jiā qiān wàn bù yào bǎ tā men hùn wéi yī tán héng héng yīn wéi yǐ zhèng cháng rén de yǎn guāng lái kàn， chún cuì de Gothic gēn běn jiù shì“ yāo mó guǐ guài bān de rén wù”。 ér GothicLolita suī rán zài fú shì shè jì shàng yě mí màn zhe xiāng dāng nóng hòu de Gothic wèi， dàn tā zhì shǎo hái néng gěi rén yǐ xiǎo 'è mó bān lìng lèi de kě 'ài tiān zhēn zhī gǎn。
qí cì， nà xiē rèn wéi fán shì yòng hēi bái sè miàn liào zhì zuò de Lolita yáng zhuāng jiù yī dìng shǔ yú Gothic xì Lolita yáng zhuāng de xiǎng fǎ yě shì cuò wù de。 shì shí shàng， jí shǐ cǎi yòng wán quán xiāng tóng de miàn liào jìn xíng yī wù zhì zuò， nà xiē chū zì bù tóng pài xì zhī shǒu de Lolita yáng zhuāng yě yǐ jiù huì zài guān gǎn shàng cún zài zhe jí yì fēn biàn de míng xiǎn chā yì héng héng
jiù suàn tú lǐ de mó tè dū chuānzhuó hēi sè de yáng zhuāng， dàn rén men hái shì néng cóng kuǎn shì hé zào xíng shàng qīng yì rèn chū shuí cái shì tián nèn kě 'ài de Sweet xì Lolita yáng zhuāng、 shuí yòu shì rú tóng sǐ shén bān lěng dàn gū gāo de Gothic xì Lolita yáng zhuāng de。
jīhū 97 ％ yǐ shàng de Gothic xì Lolita yáng zhuāng dū zhǐ cǎi yòng liǎo hēi sè hé bái sè de dān sè bù liào， xiàng fěn hóng、 nèn huáng zhī lèi de kě 'ài yán sè kě shì yǔ zhè gè xì bié wán quán jué yuán de。 cǐ wài， Gothic xì Lolita yáng zhuāng yě shì suǒ yòu lèi bié de Lolita yáng zhuāng zhōng zuì cháng shǐ yòng pí zhì cái liào de pài bié。 nán guài zài guó nèi de mǒu xiē dì fāng， shì fǒu chuānzhuó shǐ yòng shàng děng xiǎo yáng pí zhì zuò de shù yāo huì chéng wéi liǎo wài xíng rén pàn duàn cǐ rén shì fǒu Gothic xì Lolita shàonǚ de wéi yī biāo zhǔn liǎo。
chú liǎo dān diào de bù liào yòng sè zhī wài， Gothic xì Lolita shàonǚ men zuì 'ài shǐ yòng de pèi shì， yě shì zuì néng biǎo xiàn chū Gothic nà gǔ hùn hé liǎo“ kǒng bù”、“ chún zhēn”、“ shén mì”、“ jué wàng”、“ yōu yù”、“ sǐ wáng” yǔ“ jìn jì” zhè qī dà zhù tí de dú yòu qì xī de gè lèi xiǎo wù（ rú hēi sè zhǐ jiá yóu、 shí zì jià hé kū lóu yín shì děng）。
ElegantGothicLolita cǐ wài， Gothic xì Lolita yáng zhuāng zhōng hái cún zài zhe liǎng gè bǐ jiào tè bié de fēn zhī héng héng EGLLolita jí EGALolita。 EGLLolita de quán chēng shì“ ElegantGothicLolita”（ jí“ yǎ zhì gē tè Lolita”）。 tā de kuǎn shì shè jì yī bān piān xiàng chuán tǒng gǔ diǎn， suī yǔ GothicLolita fēi cháng jiē jìn， què yòu duō dài liǎo diǎn xī xuè guǐ de gǎn jué。 ér EGALolita de quán chēng zé shì“ ElegantGothicAristocrat”（ jí“ yǎ zhì gē tè guì zú”）， qí fú zhuāng kuǎn shì yī bān wéi nán zhuāng、 cháng qún、 kù zǐ hé lǐng jiān dìng yòu niǔ kòu de chèn yī jí wài tào。
yǔ qí tā xì bié de Lolita yáng zhuāng bǐ qǐ lái， jí yōu yǎ huá lì yǔ hēi 'àn guǐ yì yú yī shēn de GothicLolita kě wèi shì zuì shòu 'ōu měi rén rè 'ài hé zháomí de Lolita fēng gé。 yě xǔ zhè shì yīn wéi Gothic xì Lolita yáng zhuāng de shè jì zhōng chōng mǎn liǎo shén mì jí yòu huò de jìn yù sè cǎi， suǒ yǐ gèng néng yǐn qǐ shēn shòu jī dū jiào yǐng xiǎng zhī rén de gòng míng bà。
dài biǎo pǐn pái： Moi-meme-Moitie、 MilleFleur
luò lì tǎ - xiāng guān píng lùn
shì shí shàng“ nǚ xìng huà” běn lái jiù shì gè méi yòu shénme jù tǐ gài niàn de cí， ér“ luò lì tǎ” de nǚ xìng huà wú fēi shì yōng yòu shàonǚ shì de xìng gǎn hé yóu rú xiǎo hú lí jīng bān de jiǎo xiá。
qí shí méi yòu“ luò lì tǎ” qíng jié de nǚ rén jiù xiàng shì guò yú chéng shú de shuǐ guǒ， shī qù liǎo qīng sè dài lái de huí wèi。 yú shì， nà xiē zhuì mǎn bái sè de hēi sè de huā biān qún zǐ， xiōng qián de bǎng dài bǎ wǒ men dài huí dào shì qù de měng dǒng suì yuè， nà bù jǐn jǐn shì dān chún yì yì shàng de zhuāng nèn， ér shì duì yú zì jǐ de zuì hǎo jiǎng lì， yǔn xǔ zì jǐ shēng huó zài fēi xiàn shí de shì jiè zhōng， gǔ lì zì jǐ fàn nà xiē xiǎo xiǎo de cuò wù， shèn zhì yòu nà me yī diǎn cán rěn hé xié 'è。
zhè zhǒng shí shàng kě néng shì cóng yī bù rì jù kāi shǐ dà sì màn yán bìng zài míng xīng de shuài lǐng xià chéng wéi shí shàng de， zài rì jù《 xià qī wù yǔ》 zhōng， shēn tián gōng zǐ de“ luò lì tǎ” bàn xiāng jiāng zhè yī fēng shàng tuī xiàng dǐng diǎn。 lìng rì běn jiē tóu de chuānzhuó yě xíng chéng liǎo sān gǔ bù tóng de fēng shàng，“ tián měi kě 'ài luò lì tǎ” duō wéi tián měi kě rén de fēng gé， yǐ fěn sè wéi zhù， yùn yòng dà liàng lěi sī xí zhòu qún， biǎo xiàn chū yáng wá wá bān de kě rén xíng xiàng；“ gē tè shì luò lì tǎ” zài 'ōu měi yóu qí liú xíng， yǐ hēi sè wéi zhù， mí màn zhe sǐ wáng qì xī de kǒng bù yǔ yōu yǎ， kě yǐ pèi shàng hēi sè de zhǐ jiá yóu hé chún gāo， dì zào tuí fèi de qì zhì；“ jīng diǎn luò lì tǎ” zé shì zuì jiǎn dān de rù mén kuǎn， qún shēn duō wéi hé yè biān， tòu guò suì huā hé fěn sè biǎo xiàn chū qīng chún de gǎn jué。
zhè zhǒng liú xíng fēng cóng rì běn tōng guò xiāng gǎng xùn sù màn yán dào zhōng guó nèi dì， ràng nà xiē shēn zhe“ gōng zhù zhuāng” de nǚ rén men yǐ shí shàng de jiè kǒu kāi shǐ sì yì zhuāng nèn， ér zhè zhǒng zhuāng nèn de jìng jiè yě bù zài tíng liú yú yuán yòu de“ shī chū wú míng” liǎo。
shí shàng jiè zì rán yě bù huì cuò guò rèn hé yī gè kě yǐ dà zuò wén zhāng de yóu tóu， zài zhè gè luò lì tǎ bān“ xiǎo yāo jīng” héng xíng de nián dài， shí shàng jīng yīng men fēn fēn xiàng měng dǒng hé pàn nì zhì jìng， tā men hé pǔ tōng dà zhòng yī qǐ jìn rù yīcháng jù jué zhǎngdà de yóu xì zhōng。 nián qīng qiě xìng gǎn de zhuāng bàn， bìng bù nán zuò dào， yīn cǐ jìn nián lái， lěi sī huā biān hé hú dié jié céng fēngmǐ yī shí， qiě fēng tóu bù jiǎn。 lián Dior zài jīn nián de xiù chǎng shàng yě yòng huá lì hé bù tóng jì jié fú zhuāng de hùn dā， zhì zào chū zǎo shú de mó dēng xiǎo nǚ láng fēng gé， shuò dà de tài yáng yǎn jìng， nǚ rén wèi shí zú de pí cǎo dā pèi jiè mò huáng de bǎi xí qún hé diào dài shàng yī， xìng gǎn qīng chún yī gèdōu bù néng shǎo。
After its publication, Nabokov's Lolita attained a classic status, becoming one of the best-known and most controversial examples of 20th century literature. The name "Lolita" has entered pop culture to describe a sexually precocious girl. The novel was adapted to film by Stanley Kubrick in 1962, and again in 1997 by Adrian Lyne.
Lolita is included on TIME's 100 Best English-language Novels from 1923 to 2005. It is fourth on the Modern Library's 1998 list of the 100 Best Novels of the 20th century.
Plot summary
Lolita is divided into two parts and 36 short chapters. It is narrated by Humbert Humbert, a literary scholar born in 1910 to a Swiss father and an English mother in Paris, who is obsessed with what he refers to as "nymphets". Humbert suggests that this obsession results from the death of a childhood sweetheart, Annabel Leigh. In 1947, Humbert moves to Ramsdale, a small New England town, to write. He rents a room in the house of Charlotte Haze, a widow. While Charlotte tours him around the house, he meets her 12-year-old daughter, Dolores (also known as Dolly, Lolita, Lola, Lo, and L), with whom he falls in love at first sight. Humbert stays at the house only to remain with her. While he is infatuated with Lolita, a highly intelligent and articulate, albeit tempestuous teenage girl, he disdains of her preoccupation with contemporary American popular culture, such as teen movies and comic books.
While Lolita is away at summer camp, Charlotte, who has fallen in love with Humbert, tells him that he must either marry her or move out. Humbert reluctantly agrees in order to continue living near Lolita. Charlotte is oblivious of Humbert's distaste and pity for her, and his lust for Lolita, until she reads his diary. Upon learning of Humbert's true feelings and intentions, Charlotte is appalled. She makes plans to flee with Lolita, and threatens to expose Humbert's perversions. But as she runs across the street in a state of shock, she is struck and killed by a passing car.
Humbert picks Lolita up from camp, pretending that Charlotte is ill in a hospital. He does not return to Charlotte's home out of fear that the neighbors will be suspicious. Instead, he takes Lolita to a hotel, where he meets a strange man (later revealed to be Clare Quilty), who seems to know who he is. Humbert attempts to use sleeping pills on Lolita so that he may molest her without her knowledge, but they have little effect on her. Instead, she initiates sex. He discovers that he is not her first lover, as she had sex with a boy at summer camp. Humbert reveals to Lolita that Charlotte is actually dead; Lolita has no choice but to accept her stepfather into her life on his terms.
Lolita and Humbert drive around the country, moving from state to state and motel to motel. Humbert initially keeps the girl under control by threatening her with reform school; later he bribes her for sexual favors, though he knows that she does not reciprocate his love and shares none of his interests. The novel's first part ends after he rapes her. After a year touring North America, the two settle down in another New England town, where Lolita is enrolled in school. Humbert is very possessive and strict, forbidding Lolita to take part in after-school activities or to associate with boys; the townspeople, however, see this as the action of a loving and concerned, while old fashioned, parent.
Lolita begs to be allowed to take part in the school play; Humbert reluctantly grants his permission in exchange for more sexual favors. The play is written by Clare Quilty. He is said to have attended a rehearsal and been impressed by Lolita's acting. Just before opening night, Lolita and Humbert have a ferocious argument, which culminates in Lolita saying she wants to leave town and resume their travels.
As Lolita and Humbert drive westward again, Humbert gets the feeling that their car is being tailed and he becomes increasingly paranoid, suspecting that Lolita is conspiring with others in order to escape. She falls ill and must convalesce in a hospital; Humbert stays in a nearby motel, without Lolita for the first time in years. One night, Lolita disappears from the hospital; the staff tell Humbert that Lolita's "uncle" checked her out. Humbert embarks upon a frantic search to find Lolita and her abductor, but eventually he gives up.
One day in 1952, Humbert receives a letter from Lolita, now 17, who tells him that she is married, pregnant, and in desperate need of money. Humbert goes to see Lolita, giving her money in exchange for the name of the man who abducted her. She reveals the truth: Clare Quilty, an acquaintance of Charlotte's and the writer of the school play, checked her out of the hospital and attempted to make her star in one of his pornographic films; when she refused, he threw her out. She worked odd jobs before meeting and marrying her husband, who knows nothing about her past.
Humbert asks Lolita to leave her husband and return to him, but she refuses, and he breaks down in tears. He leaves Lolita, and kills Quilty at his mansion, shooting him to death in an act of revenge. He then is arrested for driving on the wrong side of the road and swerving. The narrative closes with Humbert's final words to Lolita in which he wishes her well, and reveals the novel in its metafiction to be the memoirs of his life, only to be published after he and Lolita have both died.
According to the novel's fictional "Foreword", Humbert dies of coronary thrombosis upon finishing his manuscript. Lolita dies giving birth to a stillborn girl on Christmas Day, 1952.
Style and interpretation
The novel is a tragicomedy narrated by Humbert, who riddles the narrative with word play and his wry observations of American culture. His humor provides an effective counterpoint to the pathos of the tragic plot. The novel's flamboyant style is characterized by word play, double entendres, multilingual puns, anagrams, and coinages such as nymphet, a word that has since had a life of its own and can be found in most dictionaries, and the lesser used "faunlet." One of the novel's characters, "Vivian Darkbloom," is an anagram for author Vladimir Nabokov.
Several times, Humbert begs the reader to understand that he is not proud of his union with Lolita, but is filled with remorse. At one point, he is listening to the sounds of children playing outdoors, and is stricken with guilt at the realization that he robbed Lolita of her childhood.
Some critics have accepted Humbert's version of events at face value. In 1959, novelist Robertson Davies excused the narrator entirely, writing that the theme of Lolita is "not the corruption of an innocent child by a cunning adult, but the exploitation of a weak adult by a corrupt child. This is no pretty theme, but it is one with which social workers, magistrates and psychiatrists are familiar."
Most writers, however, have given less credit to Humbert and more to Nabokov's powers as an ironist. For Richard Rorty, in his famous interpretation of Lolita in Contingency, Irony, and Solidarity, Humbert is a "monster of incuriosity." Nabokov himself described Humbert as "a vain and cruel wretch" and "a hateful person" (quoted in Levine, 1967).
Martin Amis, in his essay on Stalinism, Koba the Dread, proposes that Lolita is an elaborate metaphor for the totalitarianism that destroyed the Russia of Nabokov's childhood (though Nabokov states in his Afterword that he "[detests] symbols and allegories"). Amis interprets it as a story of tyranny told from the point of view of the tyrant. "Nabokov, in all his fiction, writes with incomparable penetration about delusion and coercion, about cruelty and lies", he says. "Even Lolita, especially Lolita, is a study in tyranny."
In 2003, Iranian expatriate Azar Nafisi published the memoir Reading Lolita in Tehran about a covert women's reading group. For Nafisi, the essence of the novel is Humbert's solipsism and his erasure of Lolita's independent identity. She writes: "Lolita was given to us as Humbert's creature [...] To reinvent her, Humbert must take from Lolita her own real history and replace it with his own [...] Yet she does have a past. Despite Humbert's attempts to orphan Lolita by robbing her of her history, that past is still given to us in glimpses."
One of the novel's early champions, Lionel Trilling, warned in 1958 of the moral difficulty in interpreting a book with so eloquent and so self-deceived a narrator: "we find ourselves the more shocked when we realize that, in the course of reading the novel, we have come virtually to condone the violation it presents [...] we have been seduced into conniving in the violation, because we have permitted our fantasies to accept what we know to be revolting."[citation needed]
Publication and reception
Due to its subject matter, Nabokov was unable to find an American publisher for Lolita after finishing it in 1953. After four refusals, he finally resorted to Olympia Press in Paris, September 1955. Although the first printing of 5,000 copies sold out, there were no substantial reviews. Eventually, at the end of 1955, Graham Greene, in an interview with the (London) Times, called it one of the best novels of 1955. This statement provoked a response from the (London) Sunday Express, whose editor called it "the filthiest book I have ever read" and "sheer unrestrained pornography." British Customs officers were then instructed by a panicked Home Office to seize all copies entering the United Kingdom. In December 1956, the French followed suit and the Minister of the Interior banned Lolita (the ban lasted for two years). Its eventual British publication by Weidenfeld & Nicolson caused a scandal that contributed to the end of the political career of one of the publishers, Nigel Nicolson.
By complete contrast, American officials were initially nervous, but the first American edition was issued without problems by G.P. Putnam's Sons in 1958, and was a bestseller, the first book since Gone with the Wind to sell 100,000 copies in the first three weeks of publication. The first official translation of the book was the Danish edition, which was published in 1957.
Today, it is considered by many to be one of the finest novels written in the 20th century. In 1998, it was named the fourth greatest English language novel of the 20th century by the Modern Library. Nabokov rated the book highly himself. In an interview for BBC Television in 1962 he said,
Lolita is a special favourite of mine. It was my most difficult book—the book that treated of a theme which was so distant, so remote, from my own emotional life that it gave me a special pleasure to use my combinational talent to make it real.
Two years later, in 1964's interview for Playboy, he said,
I shall never regret Lolita. She was like the composition of a beautiful puzzle—its composition and its solution at the same time, since one is a mirror view of the other, depending on the way you look. Of course she completely eclipsed my other works—at least those I wrote in English: The Real Life of Sebastian Knight, Bend Sinister, my short stories, my book of recollections; but I cannot grudge her this. There is a queer, tender charm about that mythical nymphet.
At the same year, in the interview for Life, Nabokov was asked, "Which of your writings has pleased you most?" He answered,
I would say that of all my books Lolita has left me with the most pleasurable afterglow—perhaps because it is the purest of all, the most abstract and carefully contrived. I am probably responsible for the odd fact that people don't seem to name their daughters Lolita any more. I have heard of young female poodles being given that name since 1956, but of no human beings.
Sources and links
Links in Nabokov's work
In 1939, Nabokov wrote a novella Volshebnik (Волшебник) that was published only posthumously in 1986 in English translation as The Enchanter. It can be seen as an early version of Lolita but with significant differences: it takes place in Central Europe, and the protagonist is unable to consummate his passion with his stepdaughter, leading to his suicide. The theme of ephebophilia was already touched on by Nabokov in his short story A Nursery Tale, written in 1926. Also, in the 1932 Laughter in the Dark, Margot Peters is sixteen and already had an affair when middle-aged Albinus is attracted to her.
In chapter three of the novel The Gift (written in Russian in 1935–1937) the similar gist of Lolita's first chapter is outlined to the protagonist Fyodor Cherdyntsev by his obnoxious landlord Shchyogolev as an idea of a novel he would write "if I only had the time": a man marries a widow only to gain access to her young daughter, who however resists all his passes. Shchyogolev says it happened "in reality" to a friend of his; it is made clear to the reader that it concerns himself and his stepdaughter Zina (fifteen at the time of marriage) who becomes the love of Fyodor's life and his child bride.
In April 1947 Nabokov wrote to Edmund Wilson: "I am writing ... a short novel about a man who liked little girls–and it's going to be called The Kingdom by the Sea...." The work expanded into Lolita during the next eight years. Nabokov used the title A Kingdom by the Sea in his 1974 pseudo-autobiographic novel Look at the Harlequins! for a Lolita-like book written by the narrator who, in addition, travels with his teenage daughter Bel from motel to motel after the death of her mother; later, his fourth wife is Bel's look-alike and shares her birthday.
In the unfinished novel The Original of Laura, published posthumously, a character Hubert H. Hubert appears, an older man preying upon then-child protagonist, Flora. Unlike in Lolita, his advances are unsuccessful.
Allusions/references to other works
* In the Foreword, there is a reference to "the monumental decision rendered December 6, 1933 by Hon. John M. Woolsey in regard to another, considerably more outspoken book"—that is, the decision in the case United States v. One Book Called Ulysses, in which Woolsey ruled that James Joyce's novel was not obscene and could be sold in the United States.
* Humbert Humbert's first love, Annabel Leigh, is named after the "maiden" in the poem "Annabel Lee" by Edgar Allan Poe, and their young love is described in phrases borrowed from Poe's poem. Nabokov originally intended Lolita to be called The Kingdom by the Sea, drawing on the rhyme with Annabel Lee that was used in the first verse of Poe's work. A passage at the end of Chapter 1 — "Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns" — is also a reference to the poem. ("With a love that the winged seraphs in heaven / Coveted her and me.")
* Humbert Humbert's double name recalls Poe's "William Wilson", a tale in which the main character is haunted by his doppelgänger, paralleling to the presence of Humbert's own doppelgänger, Clare Quilty. Humbert is not, however, his real name, but a chosen pseudonym.
* Humbert Humbert's field of expertise is French literature (one of his jobs is writing a series of educational works that compare French writers to English writers), and as such there are several references to French literature, including the authors Gustave Flaubert, Marcel Proust, François Rabelais, Charles Baudelaire, Prosper Mérimée, Remy Belleau, Honoré de Balzac, and Pierre de Ronsard.
* In chapter 17 of Part I, Humbert quotes "to hold thee lightly on a gentle knee and print on thy soft cheek a parent's kiss" from Lord Byron's Childe Harold's Pilgrimage.
* In chapter 35 of Part II, Humbert's "death sentence" on Quilty parodies the rhythm and use of anaphora in T. S. Eliot's poem Ash Wednesday.
* The line "I cannot get out, said the starling" from Humbert's poem is taken from a passage in Laurence Sterne's A Sentimental Journey Through France and Italy, "The Passport, the Hotel De Paris."
Possible real-life prototypes
According to Alexander Dolinin, the prototype of Lolita was 11-year-old Florence Horner, kidnapped in 1948 by a 50-year-old mechanic Frank La Salle, who had caught her stealing a five-cent notebook. La Salle traveled with her over various states for 21 months and is believed to have raped her. He claimed that he was an FBI agent and threatened to “turn her in” for the theft and to send her to "a place for girls like you." The Horner case was not widely reported, but Dolinin adduces various similarities in events and descriptions.
The problem with this suggestion is that Nabokov had already used the same basic idea — that of a child molester and his victim booking into an hotel as man and daughter — in his then-unpublished 1939 work Volshebnik (Волшебник). This is not to say, however, that Nabokov could not have drawn on some details of the case in writing Lolita, and the La Salle case is mentioned explicitly in Chapter 33 of Part II:
Had I done to Dolly, perhaps, what Frank Lasalle, a fifty-year-old mechanic, had done to eleven-year-old Sally Horner in 1948?
Heinz von Lichberg's "Lolita"
German academic Michael Maar's book The Two Lolitas describes his recent discovery of a 1916 German short story titled "Lolita" about a middle-aged man travelling abroad who takes a room as a lodger and instantly becomes obsessed with the preteen girl (also named Lolita) who lives in the same house. Maar has speculated that Nabokov may have had cryptomnesia (a "hidden memory" of the story that Nabokov was unaware of) while he was composing Lolita during the 1950s. Maar says that until 1937 Nabokov lived in the same section of Berlin as the author, Heinz von Eschwege (pen name: Heinz von Lichberg), and was most likely familiar with his work, which was widely available in Germany during Nabokov's time there. The Philadelphia Inquirer, in the article "Lolita at 50: Did Nabokov take literary liberties?" says that, according to Maar, accusations of plagiarism should not apply and quotes him as saying: "Literature has always been a huge crucible in which familiar themes are continually recast... Nothing of what we admire in Lolita is already to be found in the tale; the former is in no way deducible from the latter." See also Jonathan Lethem in Harper's Magazine on this story.
Nabokov's afterword
In 1956, Nabokov penned an afterword to Lolita ("On a Book Entitled Lolita") that was included in every subsequent edition of the book.
One of the first things Nabokov makes a point of saying is, despite John Ray Jr.'s claim in the Foreword, there is no moral to the story.
In the afterword, Nabokov wrote that "the initial shiver of inspiration" for Lolita "was somehow prompted by a newspaper story about an ape in the Jardin des Plantes who, after months of coaxing by a scientist, produced the first drawing ever charcoaled by an animal: this sketch showed the bars of the poor creature's cage". Neither the article nor the drawing has been recovered.
In response to an American critic who characterized Lolita as the record of Nabokov's "love affair with the romantic novel", Nabokov wrote that "the substitution of 'English language' for 'romantic novel' would make this elegant formula more correct".
Nabokov concluded the afterword with a reference to his beloved first language, which he abandoned as a writer once he moved to the United States in 1940: "My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian language for a second-rate brand of English".
Russian translation
Nabokov translated Lolita into Russian; the translation was published by Phaedra in New York in 1967.
The translation includes a "Postscriptum" in which Nabokov reconsiders his relationship with his native language. Referring to the afterword to the English edition, Nabokov states that only "the scientific scrupulousness led me to preserve the last paragraph of the American afterword in the Russian text..." He further explains that the "story of this translation is the story of a disappointment. Alas, that 'wonderful Russian language' which, I imagined, still awaits me somewhere, which blooms like a faithful spring behind the locked gate to which I, after so many years, still possess the key, turned out to be non-existent, and there is nothing beyond that gate, except for some burned out stumps and hopeless autumnal emptiness, and the key in my hand looks rather like a lock pick."
Film, TV or theatrical adaptations
The 1962 adaptation's movie poster art.
The 1997 movie poster art.
* Lolita has been filmed twice: the first adaptation was made in 1962 by Stanley Kubrick, and starred James Mason, Shelley Winters, Peter Sellers and Sue Lyon as Lolita; and a second adaptation in 1997 by Adrian Lyne, starring Jeremy Irons, Dominique Swain, and Melanie Griffith. Nabokov was nominated for an Academy Award for his work on the earlier film's adapted screenplay, although little of this work reached the screen. The more recent version was given mixed reviews by critics. It was delayed for over a year because of its controversial subject matter, and was not released in Australia until 1999.
* Nabokov's own version of the screenplay (dated Summer 1960 and revised December 1973) for Kubrick's film was published by McGraw-Hill in 1974.
* The book was adapted into a musical in 1971 by librettist/lyricist Alan Jay Lerner and composer John Barry under the title Lolita, My Love. Critics were surprised at how sensitively the story was translated to the stage, but the show nonetheless closed on the road before it opened in New York.
* In 1982, Edward Albee adapted the book into a non-musical play. It was savaged by critics, Frank Rich notably attributing the temporary death of Albee's career to it.
* In 2003, Russian director Victor Sobchak wrote a second non-musical stage adaptation, which played in England at the Lion and Unicorn Fringe Theater in London. It drops the character of Quilty and updates the story to modern England.
* Rodion Shchedrin adapted Lolita into a Russian language opera, which premiered in Moscow in 2006 and was published that same year. It had a much earlier performance in Sweden in 1992. It was nominated for Russia's Golden Mask award.
* The Boston-based composer John Harbison began an opera of Lolita, which he abandoned in the wake of the clergy child-abuse scandal that rocked Boston. Fragments of what he had done were woven into seven-minute piece "Darkbloom: Overture for an Imagined Opera". Vivian Darkbloom, an anagram of Vladimir Nabokov, is a character in Lolita.
References in other media
* The novel Lo's Diary by Pia Pera retells the story from Lolita's point of view, making major plot changes on the premise that Humbert's version is incorrect on many points. Lolita is characterized as being quite sadistic and manipulative.
* The collection Poems for Men who Dream of Lolita by Kim Morrissey takes the form of a series of poems written by Lolita herself reflecting on the events in the story, a sort of diary in poetry form. In strong contrast to Pera's novel, Morrissey portrays Lolita as an innocent, wounded soul. Morrissey had earlier done a stage adaptation of Sigmund Freud's famous Dora case.
* Steve Martin wrote the short story "Lolita at Fifty" (included in his collection Pure Drivel), which is a gently humorous look at how Dolores Haze's life might have turned out.
* In The Police song "Don't Stand So Close to Me" about a schoolgirl's crush on her teacher, the teacher "starts to shake and cough just like the old man in that book by Nabokov." The singer mispronounces Nabokov's name.
* The lyrics of the song "Posters", a song by the rock band Dada about a girl who leads the (male) narrator to her room, includes the line "She asked me if I ever read Lolita."
* In the 1999 film American Beauty, the lead character's name, Lester Burnham, is an anagram of "Humbert learns".
* The 2001 Album Gourmandises by the French singer-songwriter Alizee featured her most successful single Moi... Lolita which reached number one in several countries in Europe and East Asia
* The 2007 Marilyn Manson song and music video for "Heart-Shaped Glasses (When the Heart Guides the Hand)" draws strong influence from Lolita, largely inspired by the comparable age difference between Manson and girlfriend Evan Rachel Wood.
* In Katy Perry's song 'One of the Boys', she mentions Lolita. "I studied Lolita religiously"
* The 2010 song "Lolita" by Mexican singer Belinda was inspired by the story.
* On their 2010 album, the band Glass Wave dedicates a song to Lolita. The lyrics are sung in her own voice.
* In the Red Dwarf episode Marooned, David Lister is forced to burn books to keep warm after crashing on an Ice Planet. When asking if he can burn Lolita, Arnold Rimmer advises him to "save page sixty eight". Lister reads it, calls it "disgusting" then slips it into his jacket and burns the rest.
* In the novel Pretty Little Liars, Hanna makes a silent reference when she catches a 40 year old man staring at her and Mona. She looks at him and thinks "A regular Humbert Humbert", but doesn't speak aloud because Mona wouldn't understand the literary reference and she had only read it in the first place because "Lolita looked deliciously dirty."
Further reading
* Appel, Alfred Jr. (1991). The Annotated Lolita (revised ed.). New York: Vintage Books. ISBN 0-679-72729-9. One of the best guides to the complexities of Lolita. First published by McGraw-Hill in 1970. (Nabokov was able to comment on Appel's earliest annotations, creating a situation that Appel described as being like John Shade revising Charles Kinbote's comments on Shade's poem Pale Fire. Oddly enough, this is exactly the situation Nabokov scholar Brian Boyd proposed to resolve the literary complexities of Nabokov's Pale Fire.)
* Levine, Peter (1967). "Lolita and Aristotle's Ethics" in Philosophy and Literature Volume 19, Number 1, April 1995, pp. 32–47.
* Nabokov, Vladimir (1955). Lolita. New York: Vintage International. ISBN 0-679-72316-1. The original novel.
zài xī fāng“ luò lì tǎ” shì gè jí yòu xiàng zhēng yì yì de míng zì， yì zhǐ xìng gǎn shàonǚ、 liàn tóng děng yì， qǔ zì yī bù míng wéi《 luò lì tǎ》 de xiǎo shuō， hòu pāi wéi tóng míng diàn yǐng， guó nèi yì fān yì wéi《 yī zhī lí huā yā hǎi táng》。 tào yòng zuì jìn liú xíng de lǐ 'ān dǎo yǎn de nà jù míng yán， wǒ men kě yǐ shuō，“ měi gè nǚ hái xīn lǐ dōuyòu yī gè luò lì tǎ”， cóng xī fāng dào dōng fāng， cóng rì běn dào xiāng gǎng， zài dào zhōng guó nèi dì， suī rán shí jiān màn cháng liǎo xiē， dàn 14 suì shàonǚ luò lì tǎ nà yàng jīng líng kě 'ài de nǚ hái xíng xiàng jìng néng zài quán shì jiè yǐn qǐ“ xuān rán dà bō”， gū jì shì bàn shì jì yǐ qián tā de chuàng zuò zhě gēn běn wú fǎ yù liào dào de， tā men shèn zhì tè bié xuǎn zé rén liú zuì mì jí de shāng yè zhōng xīn zuò wéi zì jǐ de xiù chǎng， bù lùn nǐ shì fǒu jiē shòu， tā men zǒng shì nà me jiāo 'ào、 nà me wàng wǒ， shuí gǎn shuō， luò lì tǎ bù shì zhēn zhèng gāo guì de xiǎo gōng zhù。
luò lì tǎ - jī běn zī liào
yóu yī kāi shǐ de LOLI shì LOLITA de jiǎn chēng， zhǐ dài kě 'ài、 xī yǐn rén de yòu nǚ（ duō zhǐ 7 ～ 14 suì）， yuán yú xiǎo shuō《 luò lì tǎ》 dào hòu lái wén huà de yán shēn， lolita ＝ xíng róng cí， dài biǎo luó lì zhuàng、 kě 'ài de yòu nǚ， loli= yòu nǚ， duō yòng zài diàn yǐng yǐ jí rì běn GALGAME wén huà zhōng。
zuì jìn， yīn wéi rì běn hé yīng měi de diàn yǐng wén huà de yǐng xiǎng， shǐ luó lì fēng gé de fú zhuāng dà xíng qí dào， LOLITA yǎn biàn chéng dài biǎo liǎo yī zhǒng fú shì fēng gé， yóu qí shì zài rì běn， LOLITA chéng wéi liǎo dài biǎo xìng qiáng de fú zhuāng pǐn pái， bìng bèi yuè lái yuè duō shàonǚ tuī chóng， cóng 'ér jiàn jiàn qǔ dài liǎo LOLITA zhǐ xíng róng cí， dài biǎo luó lì zhuàng、 kě 'ài de yòu nǚ de dì wèi。
tè zhēng
yī gè nǚ shēng jiū jìng shì bù shì luó lì， měi rén de dìng yì dōuyòu bù tóng： yòu yǐ nián líng（ yán gé shēng lǐ nián líng） lái fēn de， yòu yǐ qì zhì（ xīn lǐ nián líng、 wài biǎo nián líng） lái fēn de， gèng yán gé de shì liǎng xiàng biāo zhǔn dōuyào dá dào de， zuì hòu hái yòu zì jǐ rèn wéi shì jiù dāng zuò shì de。 bù guò pǔ biàn lái shuō yòu yī gè zhòng diǎn jiù shì yào“ shàng wèi fā yù” huò zhě“ fā yù bù quán”。
xīn lǐ
Lolita bù dān shì yī zhǒng fú shì cháo liú， gèng shì nián qīng rén biǎo dá qíng gǎn xū yào de fāng shì， huò shì mí bǔ zì xìn bù zú de zì wǒ bǎo hù wǔ zhuāng。 yī rú fā zhǎn xīn lǐ xué jiā 'ài lì xùn zhǐ chū， nián qīng rén zhèng chǔyú“ zì wǒ rèn shí yǔ mí luàn” de jiē duàn， tā men wǎng wǎng yōng yòu tóng zhēn yǔ mèng xiǎng， yòu bǎi tuō xiàn shí guī xiàn de kě qiú， xū yào xún zhǎo zì wǒ， yīn cǐ yǐ bù jī hé yě xìng tiǎo zhàn chuán tǒng， qī wàng dé dào bié rén guān zhù、 liǎo jiě、 rèn tóng hé zhēn zhèng jiē nà。
luó lì yòu sān hǎo： shēn jiāo、 yāo róu、 yì tuī dǎo
lèi xíng
xiǎo gōng zhù xíng、 jiā zhōng xiǎo mèi xíng、 nǚ wáng xíng、 xiǎo 'è mó xíng、 dǎn qiè jiāo xiū xíng、 xiǎo mí hú xíng、 lèi chéng shú xíng
luò lì tǎ - sān dà zú qún
yī、 SweetLolita héng héng héng yǐ fěn hóng、 fěn lán、 bái sè děng fěn sè xì liè wéi zhù， yī liào xuǎn yòng dà liàng lěi sī， wù qiú dì zào chū yáng wá wá bān de kě 'ài hé làn màn， zài guǎng zhōu shì zuì duō rén xuǎn zé de zào xíng， zǒu zài dà jiē shàng yě bù suàn tài zhāng yáng。
SweetLolita
xiàn jīn zài Lolita jiè de dì wèi： zhù liú
SweetLolita zhèng rú qí míng， shǔ yú suǒ yòu Lolita fēn lèi zhōng fú shì shè jì zuì wéi tián měi de yī gè pài bié。 Sweet xì yáng zhuāng de bù liào dà duō yǐ fěn hóng、 fěn lán huò bái sè děng fěn nèn kě 'ài de dān sè wéi zhù。 chú cǐ zhī wài， wèile néng zhì zào chū yī zhǒng fǎng ruò yáng wá wá bān kě 'ài tián měi、 làn màn chún zhēn de qì xī， Sweet xì yáng zhuāng tōng cháng huì zài yī wù shàng shǐ yòng bǐ bié de pài xì gèng duō de lěi sī hé běn bù xí zhòu。
jìn jǐ nián lái， dà yuē shì yīn wéi bǎn xíng yǔ shè jì jīng cháng bèi shān zhài de yuán gù， gè jiā Sweet xì yáng zhuāng pǐn pái fēn fēn bìn qì dān sè bù liào， zhuǎn 'ér shǐ yòng qǐ gè zhǒng yìn yòu táng guǒ、 dàn gāo、 xiǎo dòng wù huò miáo shù mǒu gè tóng huà chǎng jǐng de yìn huā bù liào（ yīn wéi tú 'àn tè shū qiě nán yǐ fǎng zhì， zhè zhǒng bù liào wǎng wǎng shì dān cǐ yī jiā bié wú fēn diàn， suǒ yǐ xiāng dāng néng fáng D bǎn yú wèi rán）。
yī bān lái shuō， Sweet xì Lolita yáng zhuāng wǎng wǎng bǐ qí tā xì bié de yáng zhuāng gèng néng huò dé chū cì tà jìn Lolita shì jiè de nǚ hái men de qīng lái。
Sweet xì Lolita yáng zhuāng dài biǎo pǐn pái： BABY,THESTARSSHINEBRIGH、 AngelicPretty、 METAMORPHOSE
èr、 ClassicalLolita héng héng héng yǐ jiǎn yuē sè diào wéi zhù， zhuózhòng jiǎn cái yǐ biǎo dá qīng yǎ de xīn sī， yán sè bù chū tiǎo， rú chá sè hé bái sè。 lěi sī huā biān huì xiāng yìng jiǎn shǎo， ér hé yè xí shì zuì dà tè sè， zhěng tǐ fēng gé bǐ jiào píng shí， shì hé xīn shǒu。
☆ ClassicalLolita☆
xiàn jīn zài Lolita jiè de dì wèi： zhù liú
qià rú qí míng， Classical xì Lolita yáng zhuāng zhèng shì suǒ yòu xì bié de Lolita yáng zhuāng zhōng fú zhuāng kuǎn shì zuì wéi yōu yǎ de pài bié。 qí yáng zhuāng shè jì jiù hǎo xiàng 19 shì jì yīng guó de guì zú shàonǚ yī bān， jì gǔ diǎn yōu yǎ， yòu bù shī chún zhēn kě 'ài。
Classical xì Lolita yáng zhuāng suǒ xuǎn yòng de bù liào suī rán yě xǐ huān yǐ chún sè wéi zhù， dàn tā suǒ shǐ yòng de chún sè liào zǐ yī dìng dōuyòu zhe sù yǎ dé tǐ yòu bù cì yǎn de sè diào。 chú kāi bái、 hēi、 fěn、 lán zhè sì gè jī běn sè zhī wài， gè shì gè yàng měi lì de suì huā bù yě shì Classical xì yáng zhuāng bù liào de 'ài yòng zhī xuǎn。
yǔ Sweet xì Lolita yáng zhuāng bù tóng， chú liǎo gǔ diǎn xì lěi sī zhī wài， Classical xì Lolita yáng zhuāng jí shǎo huì zài yī wù shàng shǐ yòng dào dà liàng zào xíng píng píng、 zhì dì yī bān de lěi sī。 zài yī fú shàng měi gè xū yào yòng dào huā biān de dì fāng， Classical xì Lolita yáng zhuāng jī běn shàng dū huì yǐ yǔ yī fú xiāng tóng zhì dì de běn bù xí zhòu lái dài tì lěi sī。 ér Classical xì yáng zhuāng suǒ xuǎn yòng de bù liào yán sè yì fēi cháng sù yǎ， chú liǎo bái、 hēi、 fěn、 lán zhè sì gè jī běn sè zhī wài， gè shì gè yàng měi lì de suì huā bù yě shì Classical xì yáng zhuāng bù liào de cháng yòng zhě。
zǒng 'ér yán zhī， Classical xì Lolita yáng zhuāng de tè sè jiù shì“ jiǎn yuē 'ér bù jiǎn dān”。 yóu yú kuǎn shì jiǎn dān dà fāng、 yōu yǎ bù fán， Classical xì Lolita yáng zhuāng bǐ qí tā xì bié de Lolita yáng zhuāng gèng shì hé rì cháng chuānzhuó， yě gèng róng yì bèi jiāzhǎng jí dà zhòng suǒ jiē shòu。 dāng shàonǚ men yàn juàn liǎo zào xíng guò yú kuā zhāng de Sweet xì Lolita yáng zhuāng hé fēi cháng bù rì cháng de Gothic xì Lolita yáng zhuāng hòu， Classical xì Lolita yáng zhuāng jiù shùn lǐ chéng zhāng dì chéng wéi liǎo tā men de bì rán xuǎn zé yǔ zuì zhōng xuǎn zé。 yòu yì sī de shì， zuì néng chuān chū Classical xì Lolita yáng zhuāng yùn wèi de rén jū rán bìng bù shì qīng chūn huó pō de gāo chū zhōng nǚ shēng， ér shì nà xiē nián jì zài 20 yǐ shàng de、 yīn wéi gōng zuò hé yuè lì de yuán gù 'ér yōng yòu liǎo chén jìng qì zhì de nián qīng nǚ zǐ。 kàn lái zài xiàn shí zhōng，“ qì zhì” néng yǔ“ nián qīng” wán měi bìng cún de shí lì guǒ rán qū zhǐ kě shù ní。
dài biǎo pǐn pái： MaryMagdalene、 Victorianmaiden、 JULIETTE&JUSTINE Lolita bù shì Cosplay： qián zhě dài biǎo shēng huó tài dù， hòu zhě gèng jiā qiáng diào juésè mó fǎng gothiclolita
sān、 GothicLolita héng héng héng zhù sè shì hēi hé bái， tè zhēng shì xiǎng biǎo dá shén mì kǒng bù hé sǐ wáng de gǎn jué。 tōng cháng pèi yǐ shí zì jià yín qì děng zhuāng shì， yǐ jí huà jiào wéi nóng liè de shēn sè zhuāng róng， rú hēi sè zhǐ jiá、 yǎn yǐng、 chún sè， qiáng diào shén mì sè cǎi。
☆ GothicLolita☆
xiàn jīn zài Lolita jiè de dì wèi： zhù liú
shǒu xiān xū yào zhù yì de shì， GothicLolita yǔ chún zhèng de Gothic shì wán quán bù tóng de， dà jiā qiān wàn bù yào bǎ tā men hùn wéi yī tán héng héng yīn wéi yǐ zhèng cháng rén de yǎn guāng lái kàn， chún cuì de Gothic gēn běn jiù shì“ yāo mó guǐ guài bān de rén wù”。 ér GothicLolita suī rán zài fú shì shè jì shàng yě mí màn zhe xiāng dāng nóng hòu de Gothic wèi， dàn tā zhì shǎo hái néng gěi rén yǐ xiǎo 'è mó bān lìng lèi de kě 'ài tiān zhēn zhī gǎn。
qí cì， nà xiē rèn wéi fán shì yòng hēi bái sè miàn liào zhì zuò de Lolita yáng zhuāng jiù yī dìng shǔ yú Gothic xì Lolita yáng zhuāng de xiǎng fǎ yě shì cuò wù de。 shì shí shàng， jí shǐ cǎi yòng wán quán xiāng tóng de miàn liào jìn xíng yī wù zhì zuò， nà xiē chū zì bù tóng pài xì zhī shǒu de Lolita yáng zhuāng yě yǐ jiù huì zài guān gǎn shàng cún zài zhe jí yì fēn biàn de míng xiǎn chā yì héng héng
jiù suàn tú lǐ de mó tè dū chuānzhuó hēi sè de yáng zhuāng， dàn rén men hái shì néng cóng kuǎn shì hé zào xíng shàng qīng yì rèn chū shuí cái shì tián nèn kě 'ài de Sweet xì Lolita yáng zhuāng、 shuí yòu shì rú tóng sǐ shén bān lěng dàn gū gāo de Gothic xì Lolita yáng zhuāng de。
jīhū 97 ％ yǐ shàng de Gothic xì Lolita yáng zhuāng dū zhǐ cǎi yòng liǎo hēi sè hé bái sè de dān sè bù liào， xiàng fěn hóng、 nèn huáng zhī lèi de kě 'ài yán sè kě shì yǔ zhè gè xì bié wán quán jué yuán de。 cǐ wài， Gothic xì Lolita yáng zhuāng yě shì suǒ yòu lèi bié de Lolita yáng zhuāng zhōng zuì cháng shǐ yòng pí zhì cái liào de pài bié。 nán guài zài guó nèi de mǒu xiē dì fāng， shì fǒu chuānzhuó shǐ yòng shàng děng xiǎo yáng pí zhì zuò de shù yāo huì chéng wéi liǎo wài xíng rén pàn duàn cǐ rén shì fǒu Gothic xì Lolita shàonǚ de wéi yī biāo zhǔn liǎo。
chú liǎo dān diào de bù liào yòng sè zhī wài， Gothic xì Lolita shàonǚ men zuì 'ài shǐ yòng de pèi shì， yě shì zuì néng biǎo xiàn chū Gothic nà gǔ hùn hé liǎo“ kǒng bù”、“ chún zhēn”、“ shén mì”、“ jué wàng”、“ yōu yù”、“ sǐ wáng” yǔ“ jìn jì” zhè qī dà zhù tí de dú yòu qì xī de gè lèi xiǎo wù（ rú hēi sè zhǐ jiá yóu、 shí zì jià hé kū lóu yín shì děng）。
ElegantGothicLolita cǐ wài， Gothic xì Lolita yáng zhuāng zhōng hái cún zài zhe liǎng gè bǐ jiào tè bié de fēn zhī héng héng EGLLolita jí EGALolita。 EGLLolita de quán chēng shì“ ElegantGothicLolita”（ jí“ yǎ zhì gē tè Lolita”）。 tā de kuǎn shì shè jì yī bān piān xiàng chuán tǒng gǔ diǎn， suī yǔ GothicLolita fēi cháng jiē jìn， què yòu duō dài liǎo diǎn xī xuè guǐ de gǎn jué。 ér EGALolita de quán chēng zé shì“ ElegantGothicAristocrat”（ jí“ yǎ zhì gē tè guì zú”）， qí fú zhuāng kuǎn shì yī bān wéi nán zhuāng、 cháng qún、 kù zǐ hé lǐng jiān dìng yòu niǔ kòu de chèn yī jí wài tào。
yǔ qí tā xì bié de Lolita yáng zhuāng bǐ qǐ lái， jí yōu yǎ huá lì yǔ hēi 'àn guǐ yì yú yī shēn de GothicLolita kě wèi shì zuì shòu 'ōu měi rén rè 'ài hé zháomí de Lolita fēng gé。 yě xǔ zhè shì yīn wéi Gothic xì Lolita yáng zhuāng de shè jì zhōng chōng mǎn liǎo shén mì jí yòu huò de jìn yù sè cǎi， suǒ yǐ gèng néng yǐn qǐ shēn shòu jī dū jiào yǐng xiǎng zhī rén de gòng míng bà。
dài biǎo pǐn pái： Moi-meme-Moitie、 MilleFleur
luò lì tǎ - xiāng guān píng lùn
shì shí shàng“ nǚ xìng huà” běn lái jiù shì gè méi yòu shénme jù tǐ gài niàn de cí， ér“ luò lì tǎ” de nǚ xìng huà wú fēi shì yōng yòu shàonǚ shì de xìng gǎn hé yóu rú xiǎo hú lí jīng bān de jiǎo xiá。
qí shí méi yòu“ luò lì tǎ” qíng jié de nǚ rén jiù xiàng shì guò yú chéng shú de shuǐ guǒ， shī qù liǎo qīng sè dài lái de huí wèi。 yú shì， nà xiē zhuì mǎn bái sè de hēi sè de huā biān qún zǐ， xiōng qián de bǎng dài bǎ wǒ men dài huí dào shì qù de měng dǒng suì yuè， nà bù jǐn jǐn shì dān chún yì yì shàng de zhuāng nèn， ér shì duì yú zì jǐ de zuì hǎo jiǎng lì， yǔn xǔ zì jǐ shēng huó zài fēi xiàn shí de shì jiè zhōng， gǔ lì zì jǐ fàn nà xiē xiǎo xiǎo de cuò wù， shèn zhì yòu nà me yī diǎn cán rěn hé xié 'è。
zhè zhǒng shí shàng kě néng shì cóng yī bù rì jù kāi shǐ dà sì màn yán bìng zài míng xīng de shuài lǐng xià chéng wéi shí shàng de， zài rì jù《 xià qī wù yǔ》 zhōng， shēn tián gōng zǐ de“ luò lì tǎ” bàn xiāng jiāng zhè yī fēng shàng tuī xiàng dǐng diǎn。 lìng rì běn jiē tóu de chuānzhuó yě xíng chéng liǎo sān gǔ bù tóng de fēng shàng，“ tián měi kě 'ài luò lì tǎ” duō wéi tián měi kě rén de fēng gé， yǐ fěn sè wéi zhù， yùn yòng dà liàng lěi sī xí zhòu qún， biǎo xiàn chū yáng wá wá bān de kě rén xíng xiàng；“ gē tè shì luò lì tǎ” zài 'ōu měi yóu qí liú xíng， yǐ hēi sè wéi zhù， mí màn zhe sǐ wáng qì xī de kǒng bù yǔ yōu yǎ， kě yǐ pèi shàng hēi sè de zhǐ jiá yóu hé chún gāo， dì zào tuí fèi de qì zhì；“ jīng diǎn luò lì tǎ” zé shì zuì jiǎn dān de rù mén kuǎn， qún shēn duō wéi hé yè biān， tòu guò suì huā hé fěn sè biǎo xiàn chū qīng chún de gǎn jué。
zhè zhǒng liú xíng fēng cóng rì běn tōng guò xiāng gǎng xùn sù màn yán dào zhōng guó nèi dì， ràng nà xiē shēn zhe“ gōng zhù zhuāng” de nǚ rén men yǐ shí shàng de jiè kǒu kāi shǐ sì yì zhuāng nèn， ér zhè zhǒng zhuāng nèn de jìng jiè yě bù zài tíng liú yú yuán yòu de“ shī chū wú míng” liǎo。
shí shàng jiè zì rán yě bù huì cuò guò rèn hé yī gè kě yǐ dà zuò wén zhāng de yóu tóu， zài zhè gè luò lì tǎ bān“ xiǎo yāo jīng” héng xíng de nián dài， shí shàng jīng yīng men fēn fēn xiàng měng dǒng hé pàn nì zhì jìng， tā men hé pǔ tōng dà zhòng yī qǐ jìn rù yīcháng jù jué zhǎngdà de yóu xì zhōng。 nián qīng qiě xìng gǎn de zhuāng bàn， bìng bù nán zuò dào， yīn cǐ jìn nián lái， lěi sī huā biān hé hú dié jié céng fēngmǐ yī shí， qiě fēng tóu bù jiǎn。 lián Dior zài jīn nián de xiù chǎng shàng yě yòng huá lì hé bù tóng jì jié fú zhuāng de hùn dā， zhì zào chū zǎo shú de mó dēng xiǎo nǚ láng fēng gé， shuò dà de tài yáng yǎn jìng， nǚ rén wèi shí zú de pí cǎo dā pèi jiè mò huáng de bǎi xí qún hé diào dài shàng yī， xìng gǎn qīng chún yī gèdōu bù néng shǎo。
After its publication, Nabokov's Lolita attained a classic status, becoming one of the best-known and most controversial examples of 20th century literature. The name "Lolita" has entered pop culture to describe a sexually precocious girl. The novel was adapted to film by Stanley Kubrick in 1962, and again in 1997 by Adrian Lyne.
Lolita is included on TIME's 100 Best English-language Novels from 1923 to 2005. It is fourth on the Modern Library's 1998 list of the 100 Best Novels of the 20th century.
Plot summary
Lolita is divided into two parts and 36 short chapters. It is narrated by Humbert Humbert, a literary scholar born in 1910 to a Swiss father and an English mother in Paris, who is obsessed with what he refers to as "nymphets". Humbert suggests that this obsession results from the death of a childhood sweetheart, Annabel Leigh. In 1947, Humbert moves to Ramsdale, a small New England town, to write. He rents a room in the house of Charlotte Haze, a widow. While Charlotte tours him around the house, he meets her 12-year-old daughter, Dolores (also known as Dolly, Lolita, Lola, Lo, and L), with whom he falls in love at first sight. Humbert stays at the house only to remain with her. While he is infatuated with Lolita, a highly intelligent and articulate, albeit tempestuous teenage girl, he disdains of her preoccupation with contemporary American popular culture, such as teen movies and comic books.
While Lolita is away at summer camp, Charlotte, who has fallen in love with Humbert, tells him that he must either marry her or move out. Humbert reluctantly agrees in order to continue living near Lolita. Charlotte is oblivious of Humbert's distaste and pity for her, and his lust for Lolita, until she reads his diary. Upon learning of Humbert's true feelings and intentions, Charlotte is appalled. She makes plans to flee with Lolita, and threatens to expose Humbert's perversions. But as she runs across the street in a state of shock, she is struck and killed by a passing car.
Humbert picks Lolita up from camp, pretending that Charlotte is ill in a hospital. He does not return to Charlotte's home out of fear that the neighbors will be suspicious. Instead, he takes Lolita to a hotel, where he meets a strange man (later revealed to be Clare Quilty), who seems to know who he is. Humbert attempts to use sleeping pills on Lolita so that he may molest her without her knowledge, but they have little effect on her. Instead, she initiates sex. He discovers that he is not her first lover, as she had sex with a boy at summer camp. Humbert reveals to Lolita that Charlotte is actually dead; Lolita has no choice but to accept her stepfather into her life on his terms.
Lolita and Humbert drive around the country, moving from state to state and motel to motel. Humbert initially keeps the girl under control by threatening her with reform school; later he bribes her for sexual favors, though he knows that she does not reciprocate his love and shares none of his interests. The novel's first part ends after he rapes her. After a year touring North America, the two settle down in another New England town, where Lolita is enrolled in school. Humbert is very possessive and strict, forbidding Lolita to take part in after-school activities or to associate with boys; the townspeople, however, see this as the action of a loving and concerned, while old fashioned, parent.
Lolita begs to be allowed to take part in the school play; Humbert reluctantly grants his permission in exchange for more sexual favors. The play is written by Clare Quilty. He is said to have attended a rehearsal and been impressed by Lolita's acting. Just before opening night, Lolita and Humbert have a ferocious argument, which culminates in Lolita saying she wants to leave town and resume their travels.
As Lolita and Humbert drive westward again, Humbert gets the feeling that their car is being tailed and he becomes increasingly paranoid, suspecting that Lolita is conspiring with others in order to escape. She falls ill and must convalesce in a hospital; Humbert stays in a nearby motel, without Lolita for the first time in years. One night, Lolita disappears from the hospital; the staff tell Humbert that Lolita's "uncle" checked her out. Humbert embarks upon a frantic search to find Lolita and her abductor, but eventually he gives up.
One day in 1952, Humbert receives a letter from Lolita, now 17, who tells him that she is married, pregnant, and in desperate need of money. Humbert goes to see Lolita, giving her money in exchange for the name of the man who abducted her. She reveals the truth: Clare Quilty, an acquaintance of Charlotte's and the writer of the school play, checked her out of the hospital and attempted to make her star in one of his pornographic films; when she refused, he threw her out. She worked odd jobs before meeting and marrying her husband, who knows nothing about her past.
Humbert asks Lolita to leave her husband and return to him, but she refuses, and he breaks down in tears. He leaves Lolita, and kills Quilty at his mansion, shooting him to death in an act of revenge. He then is arrested for driving on the wrong side of the road and swerving. The narrative closes with Humbert's final words to Lolita in which he wishes her well, and reveals the novel in its metafiction to be the memoirs of his life, only to be published after he and Lolita have both died.
According to the novel's fictional "Foreword", Humbert dies of coronary thrombosis upon finishing his manuscript. Lolita dies giving birth to a stillborn girl on Christmas Day, 1952.
Style and interpretation
The novel is a tragicomedy narrated by Humbert, who riddles the narrative with word play and his wry observations of American culture. His humor provides an effective counterpoint to the pathos of the tragic plot. The novel's flamboyant style is characterized by word play, double entendres, multilingual puns, anagrams, and coinages such as nymphet, a word that has since had a life of its own and can be found in most dictionaries, and the lesser used "faunlet." One of the novel's characters, "Vivian Darkbloom," is an anagram for author Vladimir Nabokov.
Several times, Humbert begs the reader to understand that he is not proud of his union with Lolita, but is filled with remorse. At one point, he is listening to the sounds of children playing outdoors, and is stricken with guilt at the realization that he robbed Lolita of her childhood.
Some critics have accepted Humbert's version of events at face value. In 1959, novelist Robertson Davies excused the narrator entirely, writing that the theme of Lolita is "not the corruption of an innocent child by a cunning adult, but the exploitation of a weak adult by a corrupt child. This is no pretty theme, but it is one with which social workers, magistrates and psychiatrists are familiar."
Most writers, however, have given less credit to Humbert and more to Nabokov's powers as an ironist. For Richard Rorty, in his famous interpretation of Lolita in Contingency, Irony, and Solidarity, Humbert is a "monster of incuriosity." Nabokov himself described Humbert as "a vain and cruel wretch" and "a hateful person" (quoted in Levine, 1967).
Martin Amis, in his essay on Stalinism, Koba the Dread, proposes that Lolita is an elaborate metaphor for the totalitarianism that destroyed the Russia of Nabokov's childhood (though Nabokov states in his Afterword that he "[detests] symbols and allegories"). Amis interprets it as a story of tyranny told from the point of view of the tyrant. "Nabokov, in all his fiction, writes with incomparable penetration about delusion and coercion, about cruelty and lies", he says. "Even Lolita, especially Lolita, is a study in tyranny."
In 2003, Iranian expatriate Azar Nafisi published the memoir Reading Lolita in Tehran about a covert women's reading group. For Nafisi, the essence of the novel is Humbert's solipsism and his erasure of Lolita's independent identity. She writes: "Lolita was given to us as Humbert's creature [...] To reinvent her, Humbert must take from Lolita her own real history and replace it with his own [...] Yet she does have a past. Despite Humbert's attempts to orphan Lolita by robbing her of her history, that past is still given to us in glimpses."
One of the novel's early champions, Lionel Trilling, warned in 1958 of the moral difficulty in interpreting a book with so eloquent and so self-deceived a narrator: "we find ourselves the more shocked when we realize that, in the course of reading the novel, we have come virtually to condone the violation it presents [...] we have been seduced into conniving in the violation, because we have permitted our fantasies to accept what we know to be revolting."[citation needed]
Publication and reception
Due to its subject matter, Nabokov was unable to find an American publisher for Lolita after finishing it in 1953. After four refusals, he finally resorted to Olympia Press in Paris, September 1955. Although the first printing of 5,000 copies sold out, there were no substantial reviews. Eventually, at the end of 1955, Graham Greene, in an interview with the (London) Times, called it one of the best novels of 1955. This statement provoked a response from the (London) Sunday Express, whose editor called it "the filthiest book I have ever read" and "sheer unrestrained pornography." British Customs officers were then instructed by a panicked Home Office to seize all copies entering the United Kingdom. In December 1956, the French followed suit and the Minister of the Interior banned Lolita (the ban lasted for two years). Its eventual British publication by Weidenfeld & Nicolson caused a scandal that contributed to the end of the political career of one of the publishers, Nigel Nicolson.
By complete contrast, American officials were initially nervous, but the first American edition was issued without problems by G.P. Putnam's Sons in 1958, and was a bestseller, the first book since Gone with the Wind to sell 100,000 copies in the first three weeks of publication. The first official translation of the book was the Danish edition, which was published in 1957.
Today, it is considered by many to be one of the finest novels written in the 20th century. In 1998, it was named the fourth greatest English language novel of the 20th century by the Modern Library. Nabokov rated the book highly himself. In an interview for BBC Television in 1962 he said,
Lolita is a special favourite of mine. It was my most difficult book—the book that treated of a theme which was so distant, so remote, from my own emotional life that it gave me a special pleasure to use my combinational talent to make it real.
Two years later, in 1964's interview for Playboy, he said,
I shall never regret Lolita. She was like the composition of a beautiful puzzle—its composition and its solution at the same time, since one is a mirror view of the other, depending on the way you look. Of course she completely eclipsed my other works—at least those I wrote in English: The Real Life of Sebastian Knight, Bend Sinister, my short stories, my book of recollections; but I cannot grudge her this. There is a queer, tender charm about that mythical nymphet.
At the same year, in the interview for Life, Nabokov was asked, "Which of your writings has pleased you most?" He answered,
I would say that of all my books Lolita has left me with the most pleasurable afterglow—perhaps because it is the purest of all, the most abstract and carefully contrived. I am probably responsible for the odd fact that people don't seem to name their daughters Lolita any more. I have heard of young female poodles being given that name since 1956, but of no human beings.
Sources and links
Links in Nabokov's work
In 1939, Nabokov wrote a novella Volshebnik (Волшебник) that was published only posthumously in 1986 in English translation as The Enchanter. It can be seen as an early version of Lolita but with significant differences: it takes place in Central Europe, and the protagonist is unable to consummate his passion with his stepdaughter, leading to his suicide. The theme of ephebophilia was already touched on by Nabokov in his short story A Nursery Tale, written in 1926. Also, in the 1932 Laughter in the Dark, Margot Peters is sixteen and already had an affair when middle-aged Albinus is attracted to her.
In chapter three of the novel The Gift (written in Russian in 1935–1937) the similar gist of Lolita's first chapter is outlined to the protagonist Fyodor Cherdyntsev by his obnoxious landlord Shchyogolev as an idea of a novel he would write "if I only had the time": a man marries a widow only to gain access to her young daughter, who however resists all his passes. Shchyogolev says it happened "in reality" to a friend of his; it is made clear to the reader that it concerns himself and his stepdaughter Zina (fifteen at the time of marriage) who becomes the love of Fyodor's life and his child bride.
In April 1947 Nabokov wrote to Edmund Wilson: "I am writing ... a short novel about a man who liked little girls–and it's going to be called The Kingdom by the Sea...." The work expanded into Lolita during the next eight years. Nabokov used the title A Kingdom by the Sea in his 1974 pseudo-autobiographic novel Look at the Harlequins! for a Lolita-like book written by the narrator who, in addition, travels with his teenage daughter Bel from motel to motel after the death of her mother; later, his fourth wife is Bel's look-alike and shares her birthday.
In the unfinished novel The Original of Laura, published posthumously, a character Hubert H. Hubert appears, an older man preying upon then-child protagonist, Flora. Unlike in Lolita, his advances are unsuccessful.
Allusions/references to other works
* In the Foreword, there is a reference to "the monumental decision rendered December 6, 1933 by Hon. John M. Woolsey in regard to another, considerably more outspoken book"—that is, the decision in the case United States v. One Book Called Ulysses, in which Woolsey ruled that James Joyce's novel was not obscene and could be sold in the United States.
* Humbert Humbert's first love, Annabel Leigh, is named after the "maiden" in the poem "Annabel Lee" by Edgar Allan Poe, and their young love is described in phrases borrowed from Poe's poem. Nabokov originally intended Lolita to be called The Kingdom by the Sea, drawing on the rhyme with Annabel Lee that was used in the first verse of Poe's work. A passage at the end of Chapter 1 — "Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns" — is also a reference to the poem. ("With a love that the winged seraphs in heaven / Coveted her and me.")
* Humbert Humbert's double name recalls Poe's "William Wilson", a tale in which the main character is haunted by his doppelgänger, paralleling to the presence of Humbert's own doppelgänger, Clare Quilty. Humbert is not, however, his real name, but a chosen pseudonym.
* Humbert Humbert's field of expertise is French literature (one of his jobs is writing a series of educational works that compare French writers to English writers), and as such there are several references to French literature, including the authors Gustave Flaubert, Marcel Proust, François Rabelais, Charles Baudelaire, Prosper Mérimée, Remy Belleau, Honoré de Balzac, and Pierre de Ronsard.
* In chapter 17 of Part I, Humbert quotes "to hold thee lightly on a gentle knee and print on thy soft cheek a parent's kiss" from Lord Byron's Childe Harold's Pilgrimage.
* In chapter 35 of Part II, Humbert's "death sentence" on Quilty parodies the rhythm and use of anaphora in T. S. Eliot's poem Ash Wednesday.
* The line "I cannot get out, said the starling" from Humbert's poem is taken from a passage in Laurence Sterne's A Sentimental Journey Through France and Italy, "The Passport, the Hotel De Paris."
Possible real-life prototypes
According to Alexander Dolinin, the prototype of Lolita was 11-year-old Florence Horner, kidnapped in 1948 by a 50-year-old mechanic Frank La Salle, who had caught her stealing a five-cent notebook. La Salle traveled with her over various states for 21 months and is believed to have raped her. He claimed that he was an FBI agent and threatened to “turn her in” for the theft and to send her to "a place for girls like you." The Horner case was not widely reported, but Dolinin adduces various similarities in events and descriptions.
The problem with this suggestion is that Nabokov had already used the same basic idea — that of a child molester and his victim booking into an hotel as man and daughter — in his then-unpublished 1939 work Volshebnik (Волшебник). This is not to say, however, that Nabokov could not have drawn on some details of the case in writing Lolita, and the La Salle case is mentioned explicitly in Chapter 33 of Part II:
Had I done to Dolly, perhaps, what Frank Lasalle, a fifty-year-old mechanic, had done to eleven-year-old Sally Horner in 1948?
Heinz von Lichberg's "Lolita"
German academic Michael Maar's book The Two Lolitas describes his recent discovery of a 1916 German short story titled "Lolita" about a middle-aged man travelling abroad who takes a room as a lodger and instantly becomes obsessed with the preteen girl (also named Lolita) who lives in the same house. Maar has speculated that Nabokov may have had cryptomnesia (a "hidden memory" of the story that Nabokov was unaware of) while he was composing Lolita during the 1950s. Maar says that until 1937 Nabokov lived in the same section of Berlin as the author, Heinz von Eschwege (pen name: Heinz von Lichberg), and was most likely familiar with his work, which was widely available in Germany during Nabokov's time there. The Philadelphia Inquirer, in the article "Lolita at 50: Did Nabokov take literary liberties?" says that, according to Maar, accusations of plagiarism should not apply and quotes him as saying: "Literature has always been a huge crucible in which familiar themes are continually recast... Nothing of what we admire in Lolita is already to be found in the tale; the former is in no way deducible from the latter." See also Jonathan Lethem in Harper's Magazine on this story.
Nabokov's afterword
In 1956, Nabokov penned an afterword to Lolita ("On a Book Entitled Lolita") that was included in every subsequent edition of the book.
One of the first things Nabokov makes a point of saying is, despite John Ray Jr.'s claim in the Foreword, there is no moral to the story.
In the afterword, Nabokov wrote that "the initial shiver of inspiration" for Lolita "was somehow prompted by a newspaper story about an ape in the Jardin des Plantes who, after months of coaxing by a scientist, produced the first drawing ever charcoaled by an animal: this sketch showed the bars of the poor creature's cage". Neither the article nor the drawing has been recovered.
In response to an American critic who characterized Lolita as the record of Nabokov's "love affair with the romantic novel", Nabokov wrote that "the substitution of 'English language' for 'romantic novel' would make this elegant formula more correct".
Nabokov concluded the afterword with a reference to his beloved first language, which he abandoned as a writer once he moved to the United States in 1940: "My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian language for a second-rate brand of English".
Russian translation
Nabokov translated Lolita into Russian; the translation was published by Phaedra in New York in 1967.
The translation includes a "Postscriptum" in which Nabokov reconsiders his relationship with his native language. Referring to the afterword to the English edition, Nabokov states that only "the scientific scrupulousness led me to preserve the last paragraph of the American afterword in the Russian text..." He further explains that the "story of this translation is the story of a disappointment. Alas, that 'wonderful Russian language' which, I imagined, still awaits me somewhere, which blooms like a faithful spring behind the locked gate to which I, after so many years, still possess the key, turned out to be non-existent, and there is nothing beyond that gate, except for some burned out stumps and hopeless autumnal emptiness, and the key in my hand looks rather like a lock pick."
Film, TV or theatrical adaptations
The 1962 adaptation's movie poster art.
The 1997 movie poster art.
* Lolita has been filmed twice: the first adaptation was made in 1962 by Stanley Kubrick, and starred James Mason, Shelley Winters, Peter Sellers and Sue Lyon as Lolita; and a second adaptation in 1997 by Adrian Lyne, starring Jeremy Irons, Dominique Swain, and Melanie Griffith. Nabokov was nominated for an Academy Award for his work on the earlier film's adapted screenplay, although little of this work reached the screen. The more recent version was given mixed reviews by critics. It was delayed for over a year because of its controversial subject matter, and was not released in Australia until 1999.
* Nabokov's own version of the screenplay (dated Summer 1960 and revised December 1973) for Kubrick's film was published by McGraw-Hill in 1974.
* The book was adapted into a musical in 1971 by librettist/lyricist Alan Jay Lerner and composer John Barry under the title Lolita, My Love. Critics were surprised at how sensitively the story was translated to the stage, but the show nonetheless closed on the road before it opened in New York.
* In 1982, Edward Albee adapted the book into a non-musical play. It was savaged by critics, Frank Rich notably attributing the temporary death of Albee's career to it.
* In 2003, Russian director Victor Sobchak wrote a second non-musical stage adaptation, which played in England at the Lion and Unicorn Fringe Theater in London. It drops the character of Quilty and updates the story to modern England.
* Rodion Shchedrin adapted Lolita into a Russian language opera, which premiered in Moscow in 2006 and was published that same year. It had a much earlier performance in Sweden in 1992. It was nominated for Russia's Golden Mask award.
* The Boston-based composer John Harbison began an opera of Lolita, which he abandoned in the wake of the clergy child-abuse scandal that rocked Boston. Fragments of what he had done were woven into seven-minute piece "Darkbloom: Overture for an Imagined Opera". Vivian Darkbloom, an anagram of Vladimir Nabokov, is a character in Lolita.
References in other media
* The novel Lo's Diary by Pia Pera retells the story from Lolita's point of view, making major plot changes on the premise that Humbert's version is incorrect on many points. Lolita is characterized as being quite sadistic and manipulative.
* The collection Poems for Men who Dream of Lolita by Kim Morrissey takes the form of a series of poems written by Lolita herself reflecting on the events in the story, a sort of diary in poetry form. In strong contrast to Pera's novel, Morrissey portrays Lolita as an innocent, wounded soul. Morrissey had earlier done a stage adaptation of Sigmund Freud's famous Dora case.
* Steve Martin wrote the short story "Lolita at Fifty" (included in his collection Pure Drivel), which is a gently humorous look at how Dolores Haze's life might have turned out.
* In The Police song "Don't Stand So Close to Me" about a schoolgirl's crush on her teacher, the teacher "starts to shake and cough just like the old man in that book by Nabokov." The singer mispronounces Nabokov's name.
* The lyrics of the song "Posters", a song by the rock band Dada about a girl who leads the (male) narrator to her room, includes the line "She asked me if I ever read Lolita."
* In the 1999 film American Beauty, the lead character's name, Lester Burnham, is an anagram of "Humbert learns".
* The 2001 Album Gourmandises by the French singer-songwriter Alizee featured her most successful single Moi... Lolita which reached number one in several countries in Europe and East Asia
* The 2007 Marilyn Manson song and music video for "Heart-Shaped Glasses (When the Heart Guides the Hand)" draws strong influence from Lolita, largely inspired by the comparable age difference between Manson and girlfriend Evan Rachel Wood.
* In Katy Perry's song 'One of the Boys', she mentions Lolita. "I studied Lolita religiously"
* The 2010 song "Lolita" by Mexican singer Belinda was inspired by the story.
* On their 2010 album, the band Glass Wave dedicates a song to Lolita. The lyrics are sung in her own voice.
* In the Red Dwarf episode Marooned, David Lister is forced to burn books to keep warm after crashing on an Ice Planet. When asking if he can burn Lolita, Arnold Rimmer advises him to "save page sixty eight". Lister reads it, calls it "disgusting" then slips it into his jacket and burns the rest.
* In the novel Pretty Little Liars, Hanna makes a silent reference when she catches a 40 year old man staring at her and Mona. She looks at him and thinks "A regular Humbert Humbert", but doesn't speak aloud because Mona wouldn't understand the literary reference and she had only read it in the first place because "Lolita looked deliciously dirty."
Further reading
* Appel, Alfred Jr. (1991). The Annotated Lolita (revised ed.). New York: Vintage Books. ISBN 0-679-72729-9. One of the best guides to the complexities of Lolita. First published by McGraw-Hill in 1970. (Nabokov was able to comment on Appel's earliest annotations, creating a situation that Appel described as being like John Shade revising Charles Kinbote's comments on Shade's poem Pale Fire. Oddly enough, this is exactly the situation Nabokov scholar Brian Boyd proposed to resolve the literary complexities of Nabokov's Pale Fire.)
* Levine, Peter (1967). "Lolita and Aristotle's Ethics" in Philosophy and Literature Volume 19, Number 1, April 1995, pp. 32–47.
* Nabokov, Vladimir (1955). Lolita. New York: Vintage International. ISBN 0-679-72316-1. The original novel.
běn shū jiǎng shù liǎo yī gè míng jiào jū sī tīng nà de shàonǚ yù dào de shí cì jīng lì、 shí duàn gù shì。 yóu yú fù mǔ de pò chǎn， tā hé jiě jiě bù dé zǒu shàng liú làng de dào lù。 jiě jiě háo bù yóu yù dì tóu shēn jì yuàn。 dàn jū sī tīng nà jiān xìn shàng dì de wàn néng， wéi zì jǐ de mìng yùn kǔ kǔ zhēngzhá。 rán 'ér tā què lǚ zāo jié nán， tā suǒ zāo yù dào de shì： lìn sè、 qiǎng jié、 tóng xìng liàn、 wú rén dào、 jiān yín、 nú yì、 wàng sī fù yì、 tōu qiè、 wū gào、 zāi zāng xiàn hài。 tā běn xiǎng tōng guò qián chéng de chàn huǐ， qiú zhù zōng jiào de lì liàng yǐ dé dào zhěng jiù， dàn què diē rù liǎo gèng wéi kǔ nán de shēn yuān。 tā luò rù liǎo yī qún chéng xiǎn xié 'è xí de wěi jūn zǐ zhī shǒu， bèi tā men sì yì qī rǔ。 tā jí wéi wéi hù zì jǐ de qīng chún， zhēn 'ài zì jǐ de rén gé， dàn yī gè ruò nǚ zǐ zhōng jiū hái shì nán táo 'è yùn。……
Justine is set just before the French Revolution in France and tells the story of a young woman who goes under the name of Therese. Her story is recounted to Madame de Lorsagne while defending herself for her crimes, en route to punishment and death. She explains the series of misfortunes which have led her to be in her present situation.
History of the work
Justine (original French title Les infortunes de la vertu) was an early work by the Marquis de Sade, written in two weeks in 1787 while imprisoned in the Bastille. It is a novella (187 pages) with relatively little of the obscenity which characterized his later writing as it was written in the classical style (which was fashionable at the time), with much verbose and metaphorical description.
A much extended and more graphic version, entitled Justine ou Les Malheurs de la vertu (1791) (English title: Justine, or The Misfortunes of the virtue or simply Justine) was the first of Sade's books to be published.
A further extended version La Nouvelle Justine ou Les Malheurs de la vertu was published in 1797. It was accompanied by a continuation, Juliette about Justine's sister. The two together formed 10 volumes of nearly 4000 pages in total; publication was completed in 1801. This final version, La Nouvelle Justine, departed from the first-person narrative of the previous two versions, and included around 100 engravings.
Napoleon Bonaparte ordered the arrest of the anonymous author of Justine and Juliette, and as a result Sade was incarcerated for the last 13 years of his life. Napoleon called Justine "the most abominable book ever engendered by the most depraved imagination".
The book's destruction was ordered by the Cour royale de Paris on May 19, 1815. A censored English translation was issued in the USA by the Risus Press in the early 1930s. The first unexpurgated English translation (by 'Pieralessandro Casavini', a pseudonym for Austryn Wainhouse) was published by the Olympia Press in 1953. Wainhouse later revised this translation for publication in the United States by Grove Press. Other versions currently in print, notably the Wordsworth edition, are abridged and heavily censored.
Plot summary
The plot concerns Justine, a 12-year-old maiden ("As for Justine, aged as we have remarked, twelve"...) who sets off, impecunious, to make her way in France. It follows her until age 26, in her quest for virtue. She is presented with abuse, hidden under a virtuous mask. The unfortunate situations include: the time when she seeks refuge and confession in a monastery, but is forced to become a sex-slave to the monks, who subject her to countless orgies, rapes and other abuses. When helping a gentleman who is robbed in a field, he takes her back to his chateau with promises of a post caring for his wife, but she is then confined in a cave and subject to much the same punishment. These punishments are mostly the same throughout, even when she goes to a judge to beg for mercy in her case as an arsonist, and then finds herself openly humiliated in court, unable to defend herself.
Justine (Therese) and Juliette were the daughters of Monsieur de Bertole. Bertole was a widower banker who fell in love with another man's woman. The man, Monsieur de Noirseuil, in the interest of revenge, pretended to be his friend, and made sure he became bankrupt and eventually poisoned him, leaving the girls orphans. Juliette and Justine lived in a nunnery, where the Abbess of the nunnery corrupted Juliette (and attempted to corrupt Justine too). However, Justine was sweet and virtuous. When the Abbess found out about Bertole's death she booted both girls out. Juliette's story is told in another book, and Justine continues on in pursuit of virtue, beginning from becoming a maid in the house of the Usurer Harpin, which is where her troubles begin anew.
In her search for work and shelter Justine constantly fell into the hands of perverts and rogues who would rape and torture her and the people she makes friends with. Justine was falsely accused of theft by Harpin and sent to jail expecting execution. She had to ally herself with a Miss Dubois, a criminal who helped her to escape along with her band. In order to escape they had to start a fire in the prison, in which 21 people died. After escaping the band of Dubois, Justine wanders off and accidentally trespasses upon the lands of The Count of Bressac.
These are, of course, described in true Sadean form. However, unlike some of his other works, the novel is not just a catalogue of sadism.
The story is told by "Therese" in an inn, to Madame de Lorsagne. It is finally revealed that Madame de Lorsagne is her long lost sister. The irony is that her sister submitted to a brief period of vice and found herself a comfortable existence where she could exercise good, while Justine refused to make concessions for the greater good and was plunged further into vice than those who would go willingly.
The story ends with Madame de Lorsagne relieving her from a life of vice and clearing her name. Soon afterward, Justine becomes introverted and morose, and is finally struck by a bolt of lightning and killed instantly. Madame de Lorsagne joins a religious order after Justine's death.
Major themes
De Sade was strongly involved in both the development of his own philosophies (which later became many of the principles of sadism) and an investigation into the changing nature of his country. As, later in life, he became very involved in politics and became a member of the National Convention, we can see many of his ideas introduced in this, one of his earlier works.
Key philosophical ideas as follows:
* going against accepted tradition
* the subjectivity of virtue and vice
* the pursuit of desire and the consequences of it
* the evils of absolutism for either the purposes of good or evil
* Nature, as being the only true ruler of man
* The notion of Reason as dominating disinterested system
The more political ideas focus on:
* the hierarchy and inequalities within a class system
* the corruption of the church, the justice system and most major institutions
* the respective roles of the sexes
* the necessity of reliance upon others (appropriate as De Sade advocated a form of utopian socialism, at least later in life)
Additional Key Philosophical Ideas:
1. The pursuit of virtue, as well as that of vice, are both for the sake of pleasure, as pleasure is the ultimate goal of mankind and of life.
2. Pain is good, too, insofar as its removal results in pleasure; and even heightened pleasure.
3. Evil and crime are directly pleasurable in themselves, avoiding the sublimation and delayed gratification involved in acts of virtue. Of course, it is pleasure that the virtuous expect in the afterlife, after their life-long denial of the instinctual self-gratifications withheld them, either by their own will, or through the imposition of custom or law.
4. There is even a type of pleasure involved for the "just" in the punishments inflicted by law and society on those judged "guilty" of following nature's instincts, and this one is equally perverse.
5. The will to power is the will to pleasure, and all use of reason is ordered toward the attainment, in whatever be the immediately manifest form, of that end. Hence, virtue is always a mask of sorts.
Contemporary reference
Justine was written around 30 years after Samuel Richardson's Pamela, or Virtue Rewarded, and the thematic influence is clear. The story is quite related in terms of the endless trials which face each heroine, but with the opposite results. While Pamela's unwavering dedication to virtue does force her to suffer the threat of some vices, and confinement similar to that which befalls Justine, she is eventually successful in reforming Mr B. and becoming his wife. She then leads a life of prosperity and happiness.
In 1793, the rival writer Rétif de la Bretonne published his Anti Justine.
Film, TV or theatrical adaptations
The story has been adapted for film several times, most notably in a 1969 international co-production directed by Jesus Franco and starring Jack Palance, Romina Power, and Klaus Kinski as the Marquis, titled Marquis de Sade: Justine. There has also been a graphic novel version by Guido Crepax. In 1973 the Japanese director Tatsumi Kumashiro filmed an adaptation of Justine as part of Nikkatsu's Roman Porno series. The film was titled Woman Hell: Woods are Wet (女地獄 森は濡れた, Onna Jigoku: Mori wa Nureta?).
Justine was also featured in the 2000 film Quills based on the life of the Marquis de Sade.
Justine is set just before the French Revolution in France and tells the story of a young woman who goes under the name of Therese. Her story is recounted to Madame de Lorsagne while defending herself for her crimes, en route to punishment and death. She explains the series of misfortunes which have led her to be in her present situation.
History of the work
Justine (original French title Les infortunes de la vertu) was an early work by the Marquis de Sade, written in two weeks in 1787 while imprisoned in the Bastille. It is a novella (187 pages) with relatively little of the obscenity which characterized his later writing as it was written in the classical style (which was fashionable at the time), with much verbose and metaphorical description.
A much extended and more graphic version, entitled Justine ou Les Malheurs de la vertu (1791) (English title: Justine, or The Misfortunes of the virtue or simply Justine) was the first of Sade's books to be published.
A further extended version La Nouvelle Justine ou Les Malheurs de la vertu was published in 1797. It was accompanied by a continuation, Juliette about Justine's sister. The two together formed 10 volumes of nearly 4000 pages in total; publication was completed in 1801. This final version, La Nouvelle Justine, departed from the first-person narrative of the previous two versions, and included around 100 engravings.
Napoleon Bonaparte ordered the arrest of the anonymous author of Justine and Juliette, and as a result Sade was incarcerated for the last 13 years of his life. Napoleon called Justine "the most abominable book ever engendered by the most depraved imagination".
The book's destruction was ordered by the Cour royale de Paris on May 19, 1815. A censored English translation was issued in the USA by the Risus Press in the early 1930s. The first unexpurgated English translation (by 'Pieralessandro Casavini', a pseudonym for Austryn Wainhouse) was published by the Olympia Press in 1953. Wainhouse later revised this translation for publication in the United States by Grove Press. Other versions currently in print, notably the Wordsworth edition, are abridged and heavily censored.
Plot summary
The plot concerns Justine, a 12-year-old maiden ("As for Justine, aged as we have remarked, twelve"...) who sets off, impecunious, to make her way in France. It follows her until age 26, in her quest for virtue. She is presented with abuse, hidden under a virtuous mask. The unfortunate situations include: the time when she seeks refuge and confession in a monastery, but is forced to become a sex-slave to the monks, who subject her to countless orgies, rapes and other abuses. When helping a gentleman who is robbed in a field, he takes her back to his chateau with promises of a post caring for his wife, but she is then confined in a cave and subject to much the same punishment. These punishments are mostly the same throughout, even when she goes to a judge to beg for mercy in her case as an arsonist, and then finds herself openly humiliated in court, unable to defend herself.
Justine (Therese) and Juliette were the daughters of Monsieur de Bertole. Bertole was a widower banker who fell in love with another man's woman. The man, Monsieur de Noirseuil, in the interest of revenge, pretended to be his friend, and made sure he became bankrupt and eventually poisoned him, leaving the girls orphans. Juliette and Justine lived in a nunnery, where the Abbess of the nunnery corrupted Juliette (and attempted to corrupt Justine too). However, Justine was sweet and virtuous. When the Abbess found out about Bertole's death she booted both girls out. Juliette's story is told in another book, and Justine continues on in pursuit of virtue, beginning from becoming a maid in the house of the Usurer Harpin, which is where her troubles begin anew.
In her search for work and shelter Justine constantly fell into the hands of perverts and rogues who would rape and torture her and the people she makes friends with. Justine was falsely accused of theft by Harpin and sent to jail expecting execution. She had to ally herself with a Miss Dubois, a criminal who helped her to escape along with her band. In order to escape they had to start a fire in the prison, in which 21 people died. After escaping the band of Dubois, Justine wanders off and accidentally trespasses upon the lands of The Count of Bressac.
These are, of course, described in true Sadean form. However, unlike some of his other works, the novel is not just a catalogue of sadism.
The story is told by "Therese" in an inn, to Madame de Lorsagne. It is finally revealed that Madame de Lorsagne is her long lost sister. The irony is that her sister submitted to a brief period of vice and found herself a comfortable existence where she could exercise good, while Justine refused to make concessions for the greater good and was plunged further into vice than those who would go willingly.
The story ends with Madame de Lorsagne relieving her from a life of vice and clearing her name. Soon afterward, Justine becomes introverted and morose, and is finally struck by a bolt of lightning and killed instantly. Madame de Lorsagne joins a religious order after Justine's death.
Major themes
De Sade was strongly involved in both the development of his own philosophies (which later became many of the principles of sadism) and an investigation into the changing nature of his country. As, later in life, he became very involved in politics and became a member of the National Convention, we can see many of his ideas introduced in this, one of his earlier works.
Key philosophical ideas as follows:
* going against accepted tradition
* the subjectivity of virtue and vice
* the pursuit of desire and the consequences of it
* the evils of absolutism for either the purposes of good or evil
* Nature, as being the only true ruler of man
* The notion of Reason as dominating disinterested system
The more political ideas focus on:
* the hierarchy and inequalities within a class system
* the corruption of the church, the justice system and most major institutions
* the respective roles of the sexes
* the necessity of reliance upon others (appropriate as De Sade advocated a form of utopian socialism, at least later in life)
Additional Key Philosophical Ideas:
1. The pursuit of virtue, as well as that of vice, are both for the sake of pleasure, as pleasure is the ultimate goal of mankind and of life.
2. Pain is good, too, insofar as its removal results in pleasure; and even heightened pleasure.
3. Evil and crime are directly pleasurable in themselves, avoiding the sublimation and delayed gratification involved in acts of virtue. Of course, it is pleasure that the virtuous expect in the afterlife, after their life-long denial of the instinctual self-gratifications withheld them, either by their own will, or through the imposition of custom or law.
4. There is even a type of pleasure involved for the "just" in the punishments inflicted by law and society on those judged "guilty" of following nature's instincts, and this one is equally perverse.
5. The will to power is the will to pleasure, and all use of reason is ordered toward the attainment, in whatever be the immediately manifest form, of that end. Hence, virtue is always a mask of sorts.
Contemporary reference
Justine was written around 30 years after Samuel Richardson's Pamela, or Virtue Rewarded, and the thematic influence is clear. The story is quite related in terms of the endless trials which face each heroine, but with the opposite results. While Pamela's unwavering dedication to virtue does force her to suffer the threat of some vices, and confinement similar to that which befalls Justine, she is eventually successful in reforming Mr B. and becoming his wife. She then leads a life of prosperity and happiness.
In 1793, the rival writer Rétif de la Bretonne published his Anti Justine.
Film, TV or theatrical adaptations
The story has been adapted for film several times, most notably in a 1969 international co-production directed by Jesus Franco and starring Jack Palance, Romina Power, and Klaus Kinski as the Marquis, titled Marquis de Sade: Justine. There has also been a graphic novel version by Guido Crepax. In 1973 the Japanese director Tatsumi Kumashiro filmed an adaptation of Justine as part of Nikkatsu's Roman Porno series. The film was titled Woman Hell: Woods are Wet (女地獄 森は濡れた, Onna Jigoku: Mori wa Nureta?).
Justine was also featured in the 2000 film Quills based on the life of the Marquis de Sade.
wáng yào céng jīng shì yī gè wú qíng de pí tiáo kè hé qiāo zhà fàn， zhí dào yòu yī tiān tā yù dào liǎo nǚ zhāo dài lì chuān。 wáng yào yuán běn yǐ wéi， lì chuān jiù xiàng qí tā nǚ hái yī yàng， kě yǐ rèn yóu tā de bǎi bù， dàn shì lì chuān de juéjiàng yuǎn guò cuò chāo hū tā de xiǎng xiàng。 zài hù xiāng zhé mó zhōng， liǎng rén rén jiàn jiàn mí shī liǎo zì wǒ。 tā shī qù liǎo zì yóu， ér tā shī qù liǎo shēng mìng。 fú xíng bā nián hòu， wáng yào zǒu chū jiān yù de dà mén。 tā chí qiāng chuǎng rù lì chuān mǔ qīn de zhù suǒ， xiǎng yào liǎo jié zì jǐ de xīn yuàn……
“ dù méi jiù xiàng yī jiàn bīng qì， yī bǐng guān yǔ guān lǎo yé shǒu zhōng de nà zhǒng jí wéi huá lì fēng lì wú bǐ de dà dāo” héng héng wáng shuò《 guò bǎ yǐn jiù sǐ》
wáng shuò de zuò pǐn jué fēi bái huà wén lǐ de fēng bēi， wáng shuò běn rén zhí dé zūn jìng dàn shì wú xū mó bài。 zài cháng shí jiān de bèi nǐ fāng chàng bà wǒ dēng chǎng de wén tán yì tán gē tán wǔ tán fēn fán de xìn xī hōng zhà zhī hòu， wǒ gèng yuàn yì bǎ yī qiē guī jié wéi yī zhǒng“ xiàn xiàng”， yī zhǒng tuō lí liǎo rén hé shì zài tè dìng huán jìng xià tè dìng shí dài lǐ bì rán fā shēng de xiàn xiàng。 tā bù yǐ rén de yì zhì wéi zhuǎn yí， bìng qiě bù huì yīn cǐ jiāng yǔ zhī xiāng guān de rén hé shì chèn tuō dé wěi dà。 yīn wéi zhǐ yòu xiàn xiàng běn shēn shì wěi dà de， jiù hǎo bǐ shǎo liǎo gē bái ní hé gā lì lüè， dì qiú rén yě zǎo wǎn dū huì zhī dào dì qiú shì yuán de， méi yòu niú dùn zǒng huì yòu yáng dùn， méi yòu 'ài yīn sī tǎn hái huì yòu 'èr yīn sī tǎn yī yàng。 wěi dà de xiàn xiàng dú yī wú 'èr， ér suǒ wèi wěi rén zé yī dìng yòu wéi shù zhòng duō de tì bǔ。
zǎi xì yán jiū yě huì fā xiàn wáng shuò de zuò pǐn bù jǐn bù wěi dà， ér qiě yě yī yàng huì luò rù gè zhǒng kē jiù hé sú tào，“ nán rén bù huài nǚ rén bù 'ài” jiù shì zuì míng xiǎn de yī gè， bù lùn shì gǎi biān wéi diàn shì jù《 guò bǎ yǐn》 suǒ qǔ cái de《 guò bǎ yǐn jiù sǐ》、《 wú rén hècǎi》 hé《 yǒng shī wǒ 'ài》， hái shì《 yī bàn hǎi shuǐ yī bàn huǒ yàn》、《 kōng zhōng xiǎo jiě》 yǐ jí《 fú chū hǎi miàn》， nán zhù rén gōng qīng yī sè de yóu shǒu hǎo xián bù wù zhèng yè wán shì bù gōng zuǐ gāo shǒu dī， fàng zài yī qǐ huó tuō 'ér jiù shì yī liú máng tuán huǒ， ér nǚ rén bì rán chún qíng de yī tā hú tú bù shì kōng jiě jiù shì hù shì bù shì chuī cháng dí jiù shì tiào bā lěi， zuì cì yě shì dà xué lǐ de xué shēng huì gànbù， méi tóu méi nǎo shì sǐ rú guī de 'ài shàng yī gè sù mìng zhōng 'ān pái hǎo de huài nán rén， míng zhī nán rén huài piān tóu huài rén huái， zuì hòu 'ài dào shāng hén lěi lěi fēi sǐ jí shāng jí shǐ jié hòu yú shēng dǐng duō gǒu yán cán chuǎn。 bù guò， sú tào yě shì jiǎng jiū gè tào fǎ de， wáng shuò jiù shì nà gè cháng cháng bǎ wǒ men zhuāng zài tào zǐ lǐ de rén。 yīn wéi tā gǎn shàng liǎo tā nà gè shí dài wén xué huà yǔ quán zhōng zuì kě 'ài de“ xiàn xiàng”， zài tā zhī qián， ài qíng shì gāo dà quán de shì gān gān jìng jìng de zǔ zhì 'ān pái de， zài tā zhī hòu， ài qíng shì lián jià 'ér fàn làn de， bù guǎn chā jǐ zhǐ zú tōu jǐ yè qíng dōushì jiàn guài bù guài de。 wéi dú tā， dì yī cì bǎ nán rén hé nǚ rén zhī jiān de xī xiào nù mà dàngchéng zhù yào nèi róng lái xiě， dì yī cì bǎ qīng chūn de cán kù hé 'ài qíng de piān zhí fàng zài yī qǐ xiě， dì yī cì wán wán zhěng zhěng de xù shù xiān huā shì rú hé chā zài niú fèn shàng bìng zuì hòu hé niú fèn tóng guī yú jìn de。 zhè gēn běn yǔ wěi dà wú guān， zhēn shí 'ér yǐ。 nà xiē guō wǎn piáo pén yóu zuǐ huá shé de nán nán nǚ nǚ， nà xiē shēn 'ài zhe duì fāng què yī dìng yào níng bā zhe zhēng chǎo zhe biǎo dá zì jǐ de 'ài yì de nán nán nǚ nǚ， nà xiē bù lì zhì guāng chě dàn zhǐ tán qǐng bù shuō 'ài mào sì méi xīn méi fèi shí zé kè gǔ míng xīn de nán nán nǚ nǚ， bù jiù shì wǒ men zì jǐ me？ běn gāi fǎn yìng zhēn shí de wén yì zuò pǐn hé wén yì gōng zuò zhě 'ǒu 'ěr jìn zhí jìn zé liǎo yī cì， dú zhě biàn pěng zhe zuò zhě yī qǐ fēi shàng tiān liǎo～
《 guò bǎ yǐn jiù sǐ》、《 wú rén hècǎi》 hé《 yǒng shī wǒ 'ài》 sān bù zuò pǐn dōushì yǐ nán nǚ zhù rén gōng de 'ài qíng wéi zhù xiàn， zhōng jiān de qíng jié zhǎn kāi yě wú fēi jiù shì liǎng rén zhī jiān de chǎo chǎo nào nào yǔ fēn fēn hé hé， dàn shì wáng shuò bì jìng shì gè gǎo wén xué de， dǒng dé wén zhāng de kāi tóu jié wěi bù néng còu hé， yú shì sān bù zuò pǐn zài jié wěi de chǔlǐ shàng fēng gé jiǒng yì gè xiǎn shén tōng：《 guò bǎ yǐn jiù sǐ》 xuǎn zé liǎo fēng kuáng， duì dù méi zhè gè rén wù de piān 'ài zhì 'ài yǐ jí rè 'ài ràng wǒ jué dé zhè gè jié wěi chā qiáng rén yì， yě bù gòu gōng píng， zhěng piān xiǎo shuō dōuzài 'àn shì zhe de mí zú zhēn guì hé nán yǐ gē shè zài zuì hòu què bèi yǎn rén 'ěr mùdì táo bì liǎo， shū zhōng zuì hòu dù méi zài hēi 'àn de gōng lù shàng qí chē kuáng bēn de huà miàn ràng wǒ zhí dào xiàn zài dōuwú fǎ píng jìng de bù wèn yī gè wèishénme de jiē shòu xià lái héng héng zhè yàng yī gè jiǎn dān chún cuì de nǚ rén， zài zěn me yàng yě wǒ yě bù rěn xīn pāo xià tā bù guǎn； ér《 wú rén hècǎi》 de jié wěi jiù hǎo xiàng tā de tí mù yī yàng， luò mò 'ér 'ān jìng， sì hū zuì jiē jìn rén men zhēn shí de shēng huó。 gāng cái yě shuō guò， wáng lǎo shī bù shǎ， tā zhī dào kāi tóu jié wěi mǎ hǔ bù dé， zhī suǒ yǐ gǎn zhè yàng qiǎo wú shēng xī de cǎo cǎo shōu kǒu， shì yīn wéi《 wú rén hècǎi》 de zài lì yì hé qíng jié zhǎn kāi shàng yǐ jīng zuàn zú liǎo cǎi tóu： yī duì lí liǎo hūn de fū fù rú hé 'ǒu duàn sī lián de shēng huó zài yī gè wū yán xià bìng qiě hái ruò wú qí shì de jié jiāo xīn huān tòu guò bié de yǎn jīng guān chá zì jǐ nèi xīn zhēn shí de 'ài qíng， zhè zhǒng bù zěn me yán sù bù zěn me kào pǔ de wán xiào bān de gǎn qíng guān xì， qià qià fú hé liǎo rén men duì tián mì 'ài qíng yǔ shēn xīn zì yóu de kě wàng hé duì hūn yīn jiā suǒ shuāng fāng zé rèn de kǒng jù tóng shí bìng cún， yú hé xióng zhǎng tōng tōng xiǎng yào de xīn lǐ zhuàng tài；《 yǒng shī wǒ 'ài》 de jié wěi shì zuì xì jù huà de， ài dào shēn chù hái bù xíng， hái yào zài 'ài dào shēn chù shī qù 'ài， shī qù 'ài qíng hái bù xíng， hái yào shī qù shēng mìng， bēi zhuàng dào bù guǎn nǐ shì fǒu rèn wéi zhè shì yī gè hé lǐ bì yào huò zhě yīnggāi de jié jú， nǐ dū dé chéng rèn zhè shì yī gè yī bù dào wèi de、 bǐ rèn hé jié jú gèng xiàng jié jú de jié jú， réndōu sǐ liǎo nǐ hái xiǎng zěn me yàng， shuí yě bù huì shǎ liǎo bā jī de zhuī jiū nán zhù rén gōng huàn shàng de jī wú lì zhèng dào dǐ yòu méi yòu kē xué yǐ jù， dū máng zhe rè lèi yíng kuàng de kàn zhe yī gè nán rén yī biān tǎn rán miàn duì jí jiāng dào lái de sǐ wáng， yī biān rěn rǔ fù zhòng de yòng pāo qì hé chéng quán lái zhěng jiù zì jǐ de 'ài rén。 suī rán tōng piān dōuzài wéi zhè yī cì bēi zhuàng de“ sǐ liǎo dōuyào 'ài” pū diàn， dàn qí shí yě jīng bù qǐ tuī qiāo， yóu qí shì wèile bì miǎn sǐ wáng gěi 'ài rén dài lái de dà shāng hài biàn yào tōng guò yù zhī yī gè xiǎo shāng hài lái bǎo quán duì fāng de zuò fǎ， shí zài ruò zhì， dāng yī qiē zhēn xiāng dà bái de shí hòu， sǐ wáng yǐ jiù bù kě nì zhuǎn， shāng hài bái bái yòu duō yī cì。
zhè yàng kàn lái，《 guò bǎ yǐn jiù sǐ》 shuō sǐ qí shí méi sǐ， dàn gù shì yī kāi shǐ de jiū chán zhēng chǎo hé sǐ qù huó lái què yì cǎi fēn chéng gāo cháo dié qǐ，《 yǒng shī wǒ 'ài》 tōng piān hóng yáng zhe 'ài de wěi dà， jié wěi gē sòng zhe sǐ de guāng róng， shì míng fù qí shí de“ guò bǎ yǐn jiù sǐ”（ zhǔn què dì shuō shì hái méi guò yǐn jiù sǐ liǎo）， zhè xià zǐ fèng tóu hé bào wěi dōuyòu liǎo， jiù chā zhǎo yī gè hé shì de“ fú luò yī dé” guò dù， yī zhāng tiān yī wúfèng kōng qián jué hòu de wén xué pīn tú jiù néng dàn shēng liǎo， piān qiǎo zhè shí《 wú rén hècǎi》 dài zhe tā nà xī xiào zhe 'ài mèi zhe lí hūn bìng tóng jū zhe de jīng měi qiáo duàn piān piān zǒu lái héng héng zhū dù， jiù shì tā liǎo héng héng yī bù sān hé yī de wáng shuò pái diàn shì jù《 guò bǎ yǐn》 jiù zhè yàng shē chǐ de wèn shì liǎo。
yōu huà zhòng zǔ hòu de qíng jié gài kuò qǐ lái lēng jiǎo fēn míng yì cháng guò yǐn： xiāng shí、 liàn 'ài、 jié hūn、 zhēng chǎo、 lí hūn、 zài liàn 'ài、 zài jié hūn、 sǐ qù。 qí shí， bù guǎn shì yuán zhù yě hǎo， diàn shì jù yě hǎo， tā men de chéng gōng dū lí bù kāi zuì hòu nà gè“ sǐ” zì。 sǐ wáng shì yī gè zhòng zhòng de fǎ mǎ， yīn wéi sǐ wáng jiù yì wèi zhe yǒng yuǎn de shī qù， ràng yī qiē bù měi hǎo de lián tóng měi hǎo de shùn jiān huà wéi wū yòu。 wǒ yī zhí tì dù méi míng bù píng， wǒ shèn zhì jué dé rú guǒ fēi yào sǐ yī gè rén cái OK de huà， yīnggāi xuǎn zé dù méi。 yuán zhù hé diàn shì jù zhōng dū tí dào dù méi de fù qīn qīn shǒu shā sǐ liǎo zì jǐ de mǔ qīn， yǐ cǐ wéi bèi jǐng hé yuán yóu lái jiě shì dù méi zài 'ài qíng lǐ de piān zhí hé wán gù。 zài wáng shuò de zuò pǐn lǐ， gěi nǚ zhùjué yī gè míng zhèng yán shùn de chǎo nào de lǐ yóu de qíng kuàng shǎo zhī yòu shǎo， huò xǔ wáng shuò yě jué dé dù méi de guòfèn hé piān jī xū yào yī diǎn diǎn zhī chēng， dàn wǒ jué dé， qí shí dà kě bù bì， jí shǐ méi yòu nà xiē shēng mìng lǐ de yīn yǐng， nǚ rén zài 'ài qíng chōng jǐng dé bù dào mǎn zú de shí hòu suǒ bào fā chū de néng liàng yě huì yuǎn yuǎn chāo guò gè zhǒng guó chóu jiā hèn de zǒng hé。 zhǐ bù guò dù méi zài 'ài shàng fāng yán 'ài shàng 'ài qíng zhī wài， gèng duō liǎo zài 'ài qíng lǐ liáo shāng hé xún qiú bì hù de shē wàng。 dù méi hěn shǎ， tā bù dǒng 'ài shì xiān huā měi jiǔ yě shì chuān cháng dú yào， ài kě néng ràng xīn zhì wán zhěng de rén xiàn rù jiān nán fán suǒ， dàn yī dìng bù huì ràng xīn yòu qī qī de rén huò rán kāi lǎng； tā wàng liǎo 'ài qíng běn shēn hé tā zì jǐ yī yàng， shì yī bǎ fēng lì wú bǐ de shuāng rèn bīng qì， bù shāng jí zì shēn yǐ jīng wàn xìng， hái zhǐ wàng tā liáo shāng jiù mìng。 jiǎn zhí yǐn zhèn zhǐ kě。
bù guǎn kàn liǎo duō shǎo biàn zhè bù diàn shì jù de dà jié jú， kàn dào kuáng wěn zhī hòu quán shēn wú lì de tān dǎo zài dù méi huái lǐ de fāng yán， wǒ yǐ rán kě yǐ bù fèi chuī huī zhī lì de háo táo dà kū， bùwèi sǐ qù de fāng yán， zhǐ wéi huó zhe de dù méi。 sǐ de shì fāng yán， kě shēng bù rú sǐ de shì dù méi， dù méi zhè cì de shī qù cái shì chè chè dǐ dǐ wán wán quán quán， bù jǐn shē wàng zài yě méi yòu kě néng mǎn zú， shèn zhì lián yī gè huó kǒu 'ér yě méi làxià。 qǐng yǔn xǔ wǒ shī tài de shuō yī jù： zhè shí zài tài tā mā de cán rěn liǎo！
wǒ dà dǎn de jiǎ shè， xiàn shí shēng huó zhōng rú guǒ zhēn de cún zài fāng hé dù de huà， jí shǐ tā men fù hūn， zhēng chǎo yǐ rán hái huì jì xù， dù méi yǐ jiù dé bù dào tā xiǎng yào de 'ài qíng， yī fāng miàn yóu yú dù méi de kē qiú yǔ shí jù jìn gēn běn méi rén néng gòu mǎn zú， lìng yī fāng miàn yīn wéi fāng yán gǔ zǐ lǐ shì yī gè bù yuàn fàng qì zì wǒ de rén， ér dù méi yòu shì nà yàng tiān zhēn de xū suǒ wú dù。 yǔ qí zhè yàng， hái bù rú ràng dù méi zài hé zì jǐ zuì 'ài de rén jiē liǎo liǎng cì hūn， guò liǎo liǎng bǎ yǐn zhī hòu hōng hōng liè liè de sǐ qù。
duì tā lái shuō， nà cái shì xìng fú。
wáng shuò de zuò pǐn jué fēi bái huà wén lǐ de fēng bēi， wáng shuò běn rén zhí dé zūn jìng dàn shì wú xū mó bài。 zài cháng shí jiān de bèi nǐ fāng chàng bà wǒ dēng chǎng de wén tán yì tán gē tán wǔ tán fēn fán de xìn xī hōng zhà zhī hòu， wǒ gèng yuàn yì bǎ yī qiē guī jié wéi yī zhǒng“ xiàn xiàng”， yī zhǒng tuō lí liǎo rén hé shì zài tè dìng huán jìng xià tè dìng shí dài lǐ bì rán fā shēng de xiàn xiàng。 tā bù yǐ rén de yì zhì wéi zhuǎn yí， bìng qiě bù huì yīn cǐ jiāng yǔ zhī xiāng guān de rén hé shì chèn tuō dé wěi dà。 yīn wéi zhǐ yòu xiàn xiàng běn shēn shì wěi dà de， jiù hǎo bǐ shǎo liǎo gē bái ní hé gā lì lüè， dì qiú rén yě zǎo wǎn dū huì zhī dào dì qiú shì yuán de， méi yòu niú dùn zǒng huì yòu yáng dùn， méi yòu 'ài yīn sī tǎn hái huì yòu 'èr yīn sī tǎn yī yàng。 wěi dà de xiàn xiàng dú yī wú 'èr， ér suǒ wèi wěi rén zé yī dìng yòu wéi shù zhòng duō de tì bǔ。
zǎi xì yán jiū yě huì fā xiàn wáng shuò de zuò pǐn bù jǐn bù wěi dà， ér qiě yě yī yàng huì luò rù gè zhǒng kē jiù hé sú tào，“ nán rén bù huài nǚ rén bù 'ài” jiù shì zuì míng xiǎn de yī gè， bù lùn shì gǎi biān wéi diàn shì jù《 guò bǎ yǐn》 suǒ qǔ cái de《 guò bǎ yǐn jiù sǐ》、《 wú rén hècǎi》 hé《 yǒng shī wǒ 'ài》， hái shì《 yī bàn hǎi shuǐ yī bàn huǒ yàn》、《 kōng zhōng xiǎo jiě》 yǐ jí《 fú chū hǎi miàn》， nán zhù rén gōng qīng yī sè de yóu shǒu hǎo xián bù wù zhèng yè wán shì bù gōng zuǐ gāo shǒu dī， fàng zài yī qǐ huó tuō 'ér jiù shì yī liú máng tuán huǒ， ér nǚ rén bì rán chún qíng de yī tā hú tú bù shì kōng jiě jiù shì hù shì bù shì chuī cháng dí jiù shì tiào bā lěi， zuì cì yě shì dà xué lǐ de xué shēng huì gànbù， méi tóu méi nǎo shì sǐ rú guī de 'ài shàng yī gè sù mìng zhōng 'ān pái hǎo de huài nán rén， míng zhī nán rén huài piān tóu huài rén huái， zuì hòu 'ài dào shāng hén lěi lěi fēi sǐ jí shāng jí shǐ jié hòu yú shēng dǐng duō gǒu yán cán chuǎn。 bù guò， sú tào yě shì jiǎng jiū gè tào fǎ de， wáng shuò jiù shì nà gè cháng cháng bǎ wǒ men zhuāng zài tào zǐ lǐ de rén。 yīn wéi tā gǎn shàng liǎo tā nà gè shí dài wén xué huà yǔ quán zhōng zuì kě 'ài de“ xiàn xiàng”， zài tā zhī qián， ài qíng shì gāo dà quán de shì gān gān jìng jìng de zǔ zhì 'ān pái de， zài tā zhī hòu， ài qíng shì lián jià 'ér fàn làn de， bù guǎn chā jǐ zhǐ zú tōu jǐ yè qíng dōushì jiàn guài bù guài de。 wéi dú tā， dì yī cì bǎ nán rén hé nǚ rén zhī jiān de xī xiào nù mà dàngchéng zhù yào nèi róng lái xiě， dì yī cì bǎ qīng chūn de cán kù hé 'ài qíng de piān zhí fàng zài yī qǐ xiě， dì yī cì wán wán zhěng zhěng de xù shù xiān huā shì rú hé chā zài niú fèn shàng bìng zuì hòu hé niú fèn tóng guī yú jìn de。 zhè gēn běn yǔ wěi dà wú guān， zhēn shí 'ér yǐ。 nà xiē guō wǎn piáo pén yóu zuǐ huá shé de nán nán nǚ nǚ， nà xiē shēn 'ài zhe duì fāng què yī dìng yào níng bā zhe zhēng chǎo zhe biǎo dá zì jǐ de 'ài yì de nán nán nǚ nǚ， nà xiē bù lì zhì guāng chě dàn zhǐ tán qǐng bù shuō 'ài mào sì méi xīn méi fèi shí zé kè gǔ míng xīn de nán nán nǚ nǚ， bù jiù shì wǒ men zì jǐ me？ běn gāi fǎn yìng zhēn shí de wén yì zuò pǐn hé wén yì gōng zuò zhě 'ǒu 'ěr jìn zhí jìn zé liǎo yī cì， dú zhě biàn pěng zhe zuò zhě yī qǐ fēi shàng tiān liǎo～
《 guò bǎ yǐn jiù sǐ》、《 wú rén hècǎi》 hé《 yǒng shī wǒ 'ài》 sān bù zuò pǐn dōushì yǐ nán nǚ zhù rén gōng de 'ài qíng wéi zhù xiàn， zhōng jiān de qíng jié zhǎn kāi yě wú fēi jiù shì liǎng rén zhī jiān de chǎo chǎo nào nào yǔ fēn fēn hé hé， dàn shì wáng shuò bì jìng shì gè gǎo wén xué de， dǒng dé wén zhāng de kāi tóu jié wěi bù néng còu hé， yú shì sān bù zuò pǐn zài jié wěi de chǔlǐ shàng fēng gé jiǒng yì gè xiǎn shén tōng：《 guò bǎ yǐn jiù sǐ》 xuǎn zé liǎo fēng kuáng， duì dù méi zhè gè rén wù de piān 'ài zhì 'ài yǐ jí rè 'ài ràng wǒ jué dé zhè gè jié wěi chā qiáng rén yì， yě bù gòu gōng píng， zhěng piān xiǎo shuō dōuzài 'àn shì zhe de mí zú zhēn guì hé nán yǐ gē shè zài zuì hòu què bèi yǎn rén 'ěr mùdì táo bì liǎo， shū zhōng zuì hòu dù méi zài hēi 'àn de gōng lù shàng qí chē kuáng bēn de huà miàn ràng wǒ zhí dào xiàn zài dōuwú fǎ píng jìng de bù wèn yī gè wèishénme de jiē shòu xià lái héng héng zhè yàng yī gè jiǎn dān chún cuì de nǚ rén， zài zěn me yàng yě wǒ yě bù rěn xīn pāo xià tā bù guǎn； ér《 wú rén hècǎi》 de jié wěi jiù hǎo xiàng tā de tí mù yī yàng， luò mò 'ér 'ān jìng， sì hū zuì jiē jìn rén men zhēn shí de shēng huó。 gāng cái yě shuō guò， wáng lǎo shī bù shǎ， tā zhī dào kāi tóu jié wěi mǎ hǔ bù dé， zhī suǒ yǐ gǎn zhè yàng qiǎo wú shēng xī de cǎo cǎo shōu kǒu， shì yīn wéi《 wú rén hècǎi》 de zài lì yì hé qíng jié zhǎn kāi shàng yǐ jīng zuàn zú liǎo cǎi tóu： yī duì lí liǎo hūn de fū fù rú hé 'ǒu duàn sī lián de shēng huó zài yī gè wū yán xià bìng qiě hái ruò wú qí shì de jié jiāo xīn huān tòu guò bié de yǎn jīng guān chá zì jǐ nèi xīn zhēn shí de 'ài qíng， zhè zhǒng bù zěn me yán sù bù zěn me kào pǔ de wán xiào bān de gǎn qíng guān xì， qià qià fú hé liǎo rén men duì tián mì 'ài qíng yǔ shēn xīn zì yóu de kě wàng hé duì hūn yīn jiā suǒ shuāng fāng zé rèn de kǒng jù tóng shí bìng cún， yú hé xióng zhǎng tōng tōng xiǎng yào de xīn lǐ zhuàng tài；《 yǒng shī wǒ 'ài》 de jié wěi shì zuì xì jù huà de， ài dào shēn chù hái bù xíng， hái yào zài 'ài dào shēn chù shī qù 'ài， shī qù 'ài qíng hái bù xíng， hái yào shī qù shēng mìng， bēi zhuàng dào bù guǎn nǐ shì fǒu rèn wéi zhè shì yī gè hé lǐ bì yào huò zhě yīnggāi de jié jú， nǐ dū dé chéng rèn zhè shì yī gè yī bù dào wèi de、 bǐ rèn hé jié jú gèng xiàng jié jú de jié jú， réndōu sǐ liǎo nǐ hái xiǎng zěn me yàng， shuí yě bù huì shǎ liǎo bā jī de zhuī jiū nán zhù rén gōng huàn shàng de jī wú lì zhèng dào dǐ yòu méi yòu kē xué yǐ jù， dū máng zhe rè lèi yíng kuàng de kàn zhe yī gè nán rén yī biān tǎn rán miàn duì jí jiāng dào lái de sǐ wáng， yī biān rěn rǔ fù zhòng de yòng pāo qì hé chéng quán lái zhěng jiù zì jǐ de 'ài rén。 suī rán tōng piān dōuzài wéi zhè yī cì bēi zhuàng de“ sǐ liǎo dōuyào 'ài” pū diàn， dàn qí shí yě jīng bù qǐ tuī qiāo， yóu qí shì wèile bì miǎn sǐ wáng gěi 'ài rén dài lái de dà shāng hài biàn yào tōng guò yù zhī yī gè xiǎo shāng hài lái bǎo quán duì fāng de zuò fǎ， shí zài ruò zhì， dāng yī qiē zhēn xiāng dà bái de shí hòu， sǐ wáng yǐ jiù bù kě nì zhuǎn， shāng hài bái bái yòu duō yī cì。
zhè yàng kàn lái，《 guò bǎ yǐn jiù sǐ》 shuō sǐ qí shí méi sǐ， dàn gù shì yī kāi shǐ de jiū chán zhēng chǎo hé sǐ qù huó lái què yì cǎi fēn chéng gāo cháo dié qǐ，《 yǒng shī wǒ 'ài》 tōng piān hóng yáng zhe 'ài de wěi dà， jié wěi gē sòng zhe sǐ de guāng róng， shì míng fù qí shí de“ guò bǎ yǐn jiù sǐ”（ zhǔn què dì shuō shì hái méi guò yǐn jiù sǐ liǎo）， zhè xià zǐ fèng tóu hé bào wěi dōuyòu liǎo， jiù chā zhǎo yī gè hé shì de“ fú luò yī dé” guò dù， yī zhāng tiān yī wúfèng kōng qián jué hòu de wén xué pīn tú jiù néng dàn shēng liǎo， piān qiǎo zhè shí《 wú rén hècǎi》 dài zhe tā nà xī xiào zhe 'ài mèi zhe lí hūn bìng tóng jū zhe de jīng měi qiáo duàn piān piān zǒu lái héng héng zhū dù， jiù shì tā liǎo héng héng yī bù sān hé yī de wáng shuò pái diàn shì jù《 guò bǎ yǐn》 jiù zhè yàng shē chǐ de wèn shì liǎo。
yōu huà zhòng zǔ hòu de qíng jié gài kuò qǐ lái lēng jiǎo fēn míng yì cháng guò yǐn： xiāng shí、 liàn 'ài、 jié hūn、 zhēng chǎo、 lí hūn、 zài liàn 'ài、 zài jié hūn、 sǐ qù。 qí shí， bù guǎn shì yuán zhù yě hǎo， diàn shì jù yě hǎo， tā men de chéng gōng dū lí bù kāi zuì hòu nà gè“ sǐ” zì。 sǐ wáng shì yī gè zhòng zhòng de fǎ mǎ， yīn wéi sǐ wáng jiù yì wèi zhe yǒng yuǎn de shī qù， ràng yī qiē bù měi hǎo de lián tóng měi hǎo de shùn jiān huà wéi wū yòu。 wǒ yī zhí tì dù méi míng bù píng， wǒ shèn zhì jué dé rú guǒ fēi yào sǐ yī gè rén cái OK de huà， yīnggāi xuǎn zé dù méi。 yuán zhù hé diàn shì jù zhōng dū tí dào dù méi de fù qīn qīn shǒu shā sǐ liǎo zì jǐ de mǔ qīn， yǐ cǐ wéi bèi jǐng hé yuán yóu lái jiě shì dù méi zài 'ài qíng lǐ de piān zhí hé wán gù。 zài wáng shuò de zuò pǐn lǐ， gěi nǚ zhùjué yī gè míng zhèng yán shùn de chǎo nào de lǐ yóu de qíng kuàng shǎo zhī yòu shǎo， huò xǔ wáng shuò yě jué dé dù méi de guòfèn hé piān jī xū yào yī diǎn diǎn zhī chēng， dàn wǒ jué dé， qí shí dà kě bù bì， jí shǐ méi yòu nà xiē shēng mìng lǐ de yīn yǐng， nǚ rén zài 'ài qíng chōng jǐng dé bù dào mǎn zú de shí hòu suǒ bào fā chū de néng liàng yě huì yuǎn yuǎn chāo guò gè zhǒng guó chóu jiā hèn de zǒng hé。 zhǐ bù guò dù méi zài 'ài shàng fāng yán 'ài shàng 'ài qíng zhī wài， gèng duō liǎo zài 'ài qíng lǐ liáo shāng hé xún qiú bì hù de shē wàng。 dù méi hěn shǎ， tā bù dǒng 'ài shì xiān huā měi jiǔ yě shì chuān cháng dú yào， ài kě néng ràng xīn zhì wán zhěng de rén xiàn rù jiān nán fán suǒ， dàn yī dìng bù huì ràng xīn yòu qī qī de rén huò rán kāi lǎng； tā wàng liǎo 'ài qíng běn shēn hé tā zì jǐ yī yàng， shì yī bǎ fēng lì wú bǐ de shuāng rèn bīng qì， bù shāng jí zì shēn yǐ jīng wàn xìng， hái zhǐ wàng tā liáo shāng jiù mìng。 jiǎn zhí yǐn zhèn zhǐ kě。
bù guǎn kàn liǎo duō shǎo biàn zhè bù diàn shì jù de dà jié jú， kàn dào kuáng wěn zhī hòu quán shēn wú lì de tān dǎo zài dù méi huái lǐ de fāng yán， wǒ yǐ rán kě yǐ bù fèi chuī huī zhī lì de háo táo dà kū， bùwèi sǐ qù de fāng yán， zhǐ wéi huó zhe de dù méi。 sǐ de shì fāng yán， kě shēng bù rú sǐ de shì dù méi， dù méi zhè cì de shī qù cái shì chè chè dǐ dǐ wán wán quán quán， bù jǐn shē wàng zài yě méi yòu kě néng mǎn zú， shèn zhì lián yī gè huó kǒu 'ér yě méi làxià。 qǐng yǔn xǔ wǒ shī tài de shuō yī jù： zhè shí zài tài tā mā de cán rěn liǎo！
wǒ dà dǎn de jiǎ shè， xiàn shí shēng huó zhōng rú guǒ zhēn de cún zài fāng hé dù de huà， jí shǐ tā men fù hūn， zhēng chǎo yǐ rán hái huì jì xù， dù méi yǐ jiù dé bù dào tā xiǎng yào de 'ài qíng， yī fāng miàn yóu yú dù méi de kē qiú yǔ shí jù jìn gēn běn méi rén néng gòu mǎn zú， lìng yī fāng miàn yīn wéi fāng yán gǔ zǐ lǐ shì yī gè bù yuàn fàng qì zì wǒ de rén， ér dù méi yòu shì nà yàng tiān zhēn de xū suǒ wú dù。 yǔ qí zhè yàng， hái bù rú ràng dù méi zài hé zì jǐ zuì 'ài de rén jiē liǎo liǎng cì hūn， guò liǎo liǎng bǎ yǐn zhī hòu hōng hōng liè liè de sǐ qù。
duì tā lái shuō， nà cái shì xìng fú。
qī nián qián， wáng yùn nà yīn qíng shāng chū guó。 huí guó hòu 'ǒu yù shí zhuāng shè jì shī wén sī， liǎng rén zhuì rù 'ài hé。
kě guò qù de yīn yǐng réng zài， nà gè céng jīng shāng hài zì jǐ de téng hǎi qí jū rán shì wén sī de jiě fū， ér qiě， tā jiān chí ràng yùn nà lí kāi wén sī。 wáng yùn nà bèi pò dāyìng， wén sī tòng kǔ bù yǐ。
yùn nà fā xiàn zhēn xiāng， yuán lái téng hǎi qí hé wén sī jū rán shì yī duì tóng xìng liàn rén！ duō nián qián de qíng shāng yě gǎi biàn liǎo téng hǎi qí， tā bù zài 'ài nǚ rén。
téng hǎi qí wēi xié wén sī， bù jiǔ， téng bèi shā。 xiōng shǒu shì shuí？ wáng yùn nà？ wén sī？ hái shì wén sī de jiě jiě？
kě guò qù de yīn yǐng réng zài， nà gè céng jīng shāng hài zì jǐ de téng hǎi qí jū rán shì wén sī de jiě fū， ér qiě， tā jiān chí ràng yùn nà lí kāi wén sī。 wáng yùn nà bèi pò dāyìng， wén sī tòng kǔ bù yǐ。
yùn nà fā xiàn zhēn xiāng， yuán lái téng hǎi qí hé wén sī jū rán shì yī duì tóng xìng liàn rén！ duō nián qián de qíng shāng yě gǎi biàn liǎo téng hǎi qí， tā bù zài 'ài nǚ rén。
téng hǎi qí wēi xié wén sī， bù jiǔ， téng bèi shā。 xiōng shǒu shì shuí？ wáng yùn nà？ wén sī？ hái shì wén sī de jiě jiě？
zhèn bǎo de shēng mìng lǐ jiù yòu liǎng gè nǚ rén， tā shuō yī gè shì tā de bái méi guī， yī gè shì tā de hóng méi guī。 yī gè shì shèng jié de qī， yī gè shì rè liè de qíng fù…… liú yáng huí lái de zhèn bǎo ( zhào wén xuān shì ) zài yī jiā wài shāng gōng sī móu liǎo gè gāo zhí。 wèile jiāo tōng fāng biàn， tā zū liǎo lǎo tóng xué wáng shì hóng de wū zǐ。 zhèn bǎo liú xué qī jiān， yòu yī gè jiào méi guī de chū liàn qíng rén。 tā céng yīn jù jué guò méi guī de qiú huān 'ér huò qǔ liǎo“ liǔ xià huì” de hǎo míng shēng。 wáng shì hóng yòu yī wèi fēng qíng wàn zhǒng de tài tài， tā zǒng lìng zhèn bǎo xiǎng rù fēi fēi。 yòu yī cì， shì hóng qù xīn jiā pō zuò shēng yì liǎo， jīng guò jǐ fān líng yǔ ròu de dǒu zhēng， zài yī gè zhà nuǎn hái hán de yǔ rì， zhèn bǎo bèi zhè wèi jiào jiāo ruǐ ( chén chōng shì ) de tài tài“ qiú zhù” liǎo。 lìng zhèn bǎo suǒ liào bù jí de shì jiāo ruǐ zhè cì shì fù chū liǎo zhēn 'ài de。 dāng tā tí chū bǎ zhēn xiāng gào sù liǎo wáng shì hóng shí， zhèn bǎo bìng dǎo liǎo。 zài bìng fáng， zhèn bǎo bǎ zhēn shí de yī miàn gào sù liǎo jiāo ruǐ héng héng tā bù xiǎng wèicǐ qíng 'ér chéng shòu tài duō zénàn。 jiāo ruǐ shōu shí tā fēn luàn de lèi zhū， chū qí de lěng jìng qǐ lái， cóng cǐ zǒu chū liǎo tā de shēng mìng。
zài mǔ qīn cuō hé xià， zhèn bǎo dài zhe diǎn bēi liáng de xī shēng gǎn， qǔ liǎo shēn cái dān bó、 jìng rú zhǐ shuǐ de mèng yān lí ( yè yù qīng shì )。 xīn niàn gěi rén de gǎn jué zhǐ shì lǒngtǒng de bái jìng， tā wú fǎ huàn qǐ zhèn bǎo de xìng yù。 zhèn bǎo kāi shǐ zài wài biān piáo jì。 kě shì yòu yī tiān， tā jìng fā xiàn liǎo tā de yīn yǐng lǐ méi yòu rèn hé guāng zé de bái méi guī yān lí， jū rán hé yī gè xíng xiàng wèi xiá de cái féng guān xì 'ài mèi。 cóng cǐ， zhèn bǎo zài wài biān gōng kāi wán nǚ rén， yī wèi dì fàng làng xíng hái qǐ lái。 yòu yī tiān， tā zài gōng gòng qì chē shàng qiǎo yù liǎo tā shēng mìng zhōng de“ hóng méi guī” jiāo ruǐ， tā yǐ shì yī zhǒng zhōng nián rén de sú yàn liǎo。 suì yuè wú qíng， huā kāi huā luò， zài lèi guāng zhōng， zhèn bǎo de hóng méi guī yǔ bái méi guī yǐ shì yī zhǒng xiàn shí zhōng de huàn yǐng。 jiù rì de shàn liáng yī diǎn yī diǎn dì bī jìn zhèn bǎo。 huí dào jiā， zài yī fān xiē sī dǐ lǐ de fā zuò hòu， zhèn bǎo yòu chóngxīn biàn chéng liǎo yī gè hǎo rén。
《 hóng méi guī yǔ bái méi guī》 - píng jià
běn piàn shì gǎi biān zì zhāng 'ài líng tóng míng xiǎo shuō de diàn yǐng《 hóng méi guī yǔ bái méi guī》， guān jǐn péng yǐ yī zhǒng lěng jùn bàng guān de tài dù miáo shù liǎo yī zhǒng wú nài qíng gǎn。 zài qǐ luò de diàn tī lǐ hóng méi guī nà zhāng jiāo yàn míng mèi de liǎn yìng jiàn tā xīn dǐ wǎn zhuǎnqǔ zhé de xīn sī， jié jìng míng liàng de xǐ shǒu jiān lǐ bái méi guī cāng bái wú sè de shēng mìng。 jīng zhì měi lì， duò luò tuí táng， què zài yī bù jīng yì jiān jiāng xīn dǐ de yī sī chún zhēn róu qíng qīng qīng liú lù， yī gè nán zǐ kě yǐ jiāng nǚ xìng qíng gǎn kè huà dào rú cǐ de xì nì、 fēng fù， lìng rén tàn wéi guān zhǐ。 ér yīn yī bù《 xiǎo huā》（ huò bǎi huā jiǎng zuì jiā nǚ yǎn yuán jiǎng） ér zài dà lù wéi rén shú xī de chén chōng píng jiè zài běn piàn zhōng chū sè de yǎn yì liǎo hóng méi guī 'ér huò dāng nián de jīn mǎ jiǎng zuì jiā nǚ zhùjué jiǎng。 yī xiàng yǐ dà dǎn chū wèi wén míng de tā zài běn piàn zhōng kě wèi shì qiǎng jìn liǎo fēng tóu， lìng céng jīng bèi yù wéi“ gǎng chǎn sān jí huáng hòu” de bō bà yè yù qīng 'àn rán shī sè， tóng yàng shì fēng qíng wàn zhǒng， dàn xiāng duì 'ér yán chén chōng hái shì gèng dǒng dé yǎn xì， ér bù zhǐ shì show shēn cái。
zài《 hóng méi guī yǔ bái méi guī》 yī piàn zhōng， guān jǐn péng suī rán biǎo miàn shàng chéng xiàn de shì zhāng 'ài líng de xiǎo shuō， bèi dì lǐ què cāo zòng zhǒng zhǒng diàn yǐng shǒu fǎ， wán nòng yǔ yán de yóu xì yǔ xù shù de yóu xì， yǐ tiǎo zhàn de zī tài yǔ zhāng 'ài líng duì huà， gǎi xiě liǎo zhāng 'ài líng de xiǎo shuō， shǐ dé zhè gè gù shì biàn chéng yī gè bù yī yàng de gù shì， yī gè nǚ xìng dé yǐ chéngzhǎng de gù shì。 suī rán zhāng 'ài líng de xiǎo shuō zhùjué jīhū dōushì nǚ xìng， tā duì yú nǚ xìng juésè de miáo shù yě tè bié xì nì shēn kè， dàn shì， tā bǐ xià de nǚ xìng què dōushì shēn shēn xiàn zài zhōng guó chuán tǒng fēng jiàn yì shí xíng tài zhī zhōng bēi wēi kě lián 'ér píng fán yōng sú de xiǎo juésè， zhāng 'ài líng cóng lái bù fù yú tā xiǎo shuō zhōng de nǚ xìng rèn hé zì jué huò chéngzhǎng。
zài guān jǐn péng de chǔlǐ zhī xià， nǚ xìng juésè bèi fù yú liǎo chén mò， yě tóng shí bèi fù yú liǎo zì yóu。 guān jǐn péng xuǎn zé de zuò fǎ biàn shì shǐ xù shù zhě bù jìn rù nǚ xìng juésè de yì shí shì jiè， bìng shǐ nǚ xìng juésè bǎo liú 'ài mèi 'ér bù tòu míng de xíng xiàng。 guān zhòng yīn wéi wú fǎ tōu tīng dào nǚ xìng juésè de nèi zài shēng yīn， biàn wú fǎ wán quán zhǎng wò zhè xiē juésè。 shí fēn guǐ yì de shì， nǚ xìng juésè yīn 'ér gèng jù yòu mǒu zhǒng quán shì kōng jiān tánxìng chū rù de zì yóu。
yòu yīcháng jǐng zhōng， yān lí shǒu máng jiǎo luàn dì yòng bào zhǐ tì zhèn bǎo bāo yín qì， ràng dǔ bǎo sòng lǐ。 zhèn bǎo kàn yān lí bāo dé bù chéng múyàng， duó liǎo guò lái zì jǐ bāo， kǒu zhōng hái tàn liǎo kǒu qì shuō： 「 rén bèn fán shì nán！ 」 xiǎo shuō zhōng xù shù zhě miáo xiě yān lí de fǎn yìng shì： yān lí liǎn shàng lüè guò tā de bì qiè de yuàn fèn， suí jí yòu wēi xiào， zì jǐ xiào zhe， yòu kàn kàn dǔ bǎo kě xiào liǎo méi yòu， pà tā méi tīng dǒng tā zhàng fū shuō de xiào huà。 guān jǐn péng de jìng tóu què zhǐ tíng liú zài yān lí sì xiào fēi xiào、 mó lēng liǎng kě de biǎo qíng。 zhè zhǒng yì yì 'ài mèi bù qīng de xiào róng fǎn 'ér shì zì jǐ kě yǐ zhǎng wò jú shì， bù xū duì wài rén jiě shì de xiào róng。 piàn wěi zhèn bǎo zài wò shì zhōng luàn shuāi dōng xī， hái cháo zhe yān lí zhì dōng xī， shū zhōng miáo shù yān lí「 jí máng fān shēn xiàng wài táo」， ér zhèn bǎo「 jué dé tā wán quán bèi dǎ bài liǎo」。 kě shì， guān jǐn péng de diàn yǐng jìng tóu què zhào zhe yān lí liǎn shàng wú fǎ zhuō mō de biǎo qíng， yǐ jí tā xià lóu hòu huǎn huǎn dàn qǐ jiāo ruǐ de zhù tí qū， dài biǎo qíng yù liú dòng de「 méi guī xiāng」 yīnyuè。
《 hóng méi guī yǔ bái méi guī》 - duì bái jiě xī
“ yě xǔ měi yī gè nán zǐ quándōu yòu guò zhè yàng de liǎng gè nǚ rén， zhì shǎo liǎng gè。 qǔ liǎo hóng méi guī， jiǔ 'ér jiǔ zhī， hóng de biàn liǎo qiáng shàng de yī mǒ wén zǐ xuè， bái de hái shì“ chuáng qián míng yuè guāng”； qǔ liǎo bái méi guī， bái de biàn shì yī fú shàng de yī lì fàn nián zǐ， hóng de què shì xīn kǒu shàng de yī kē zhū shā zhì”。
“ zhèn bǎo de shēng mìng lǐ yòu liǎng gè nǚ rén， tā shuō yī gè shì tā de‘ bái méi guī’， yī gè shì tā de‘ hóng méi guī’。 yī gè shì shèng jié de qī， yī gè shì rè liè de qíng fù”，“ qǔ liǎo‘ bái méi guī’， bái de biàn shì yī fú shàng zhān de yī lì fàn nián zǐ， hóng de què shì xīn kǒu shàng de yī kē zhū shā zhì。” shì qǔ“ hóng méi guī” hái shì qǔ“ bái méi guī”？ zhè shì gè wèn tí， suǒ wèi hūn yīn， jiù shì ràng guān zhòng mù dǔ yī duǒ huā yóu xuàn làn zǒu xiàng diāo xiè de jié jú。
《 hóng méi guī yǔ bái méi guī》 zhè bù diàn yǐng pāi dé fēi cháng jīng zhì de diàn yǐng， yǐngpiān bǎ sān sì shí nián dài jiù shàng hǎi de qì fēn yíng zào dé fēi cháng chéng gōng， yìn xiàng zuì shēn kè de shì nà bù lǎo shì diàn tī， bǎ sān shí nián dài shàng hǎi de fēng qíng biǎo lù dé wú yí。 zhāng 'ài líng shì yī wèi jí wéi tè bié de nǚ zuò jiā， tā de jí jù cái qíng de jiā zuò、 tā de qīng mò guì zú hòu yì de shēn shì、 tā de chōng mǎn qū zhé de yī shēng， gòu chéng liǎo tā zhè wèi kuàng shì cái nǚ de chuán qí sè cǎi。 zhāng 'ài líng de xiǎo shuō duì rén wù xīn lǐ de kè huá xì nì zhī jí，《 hóng méi guī yǔ bái méi guī》 zhōng yíng zào chū xīn xīng shāng yè chéng shì fú huá bèi hòu de kōng dòng cāng bái hé bǎi wú liáo lài hé biǎo miàn wēn xīn hé xié jiā tíng dǐ céng què suǒ suì chén zhòng de yàn juàn， tòu guò xǔ xǔ rú shēng de rén wù xíng xiàng， tòu guò suī nián dài xiāng gé jiǔ yuǎn dàn kàn sì shú xī qīnqiè de gù shì qíng jié， nǐ néng tǐ wèi dào yī zhǒng rén shēng de cāng liáng， nà zhǒng wú nài yǔ bēi 'āi nà zhǒng qī yàn de měi， zhè shì běn piàn gěi rén liú xià de shēn kè yìn xiàng hé kǎi tàn。
gù shì shì zài píng cháng bù guò de gù shì， ér dǎo yǎn guān jǐn péng bǎ rén wù de nèi xīn shì jiè de miáo xiě kè huá sī sī rù kòu， chéng xiàn gěi guān zhòng de shì nán zhù rén gōng nà niǔ qū de xīn tài xià niǔ qū de gè xìng， yǐ jí xiāng yìng 'ér lái de niǔ qū de hūn yīn， niǔ qū de rén shēng。 sān shí nián dài rú fēng guò xì， sān shí nián dài cuì ruò、 yōu jìng、 měi yàn de nǚ rén shì jì mò de nǚ rén， tā men de wēi xiào luò huā sì dì fēn fēn piāo guò lái。 sān shí nián dài de yuè liàng xiàng“ duǒ yún xuān” xìn jiān làxià de yī dī lèi zhū， chén jiù 'ér mó hú…… sān shí nián dài de yuè liàng zǎo yǐ chén liǎo xià qù， sān shí nián dài de rén yě yǐ jīng chéng wéi guò qù， sān shí nián dài de gù shì hái méi wán， wán bù liǎo……
《 hóng méi guī yǔ bái méi guī》 - guān yú yǐngpiān
zài zhāng 'ài líng de xiǎo shuō zhōng， xù shù zhě duì yān lí dé liǎo biàn mì zhèng， bǎ zì jǐ měi tiān guān zài yù shì lǐ bìng tài shì huàn xiǎng zuò liǎo shí fēn jù tǐ miáo shù：「 tā dī tóu kàn zhe zì jǐ xuě bái de dù zǐ， bái 'ái 'ái de yī piàn， shí 'ér gǔ qǐ lái xiē， shí 'ér biě jìn qù， dù qí de shì yàng yě gǎi biàn， yòu shí hòu shì tián jìng wú biǎo qíng de xī là shí xiàng de yǎn jīng， yòu shí hòu shì tū chū de nù mù， yòu shí hòu shì xié jiào shén fó de yǎn jīng， yǎn lǐ yòu yī zhǒng xiǎn 'è de wēi xiào， rán 'ér hěn kě 'ài， yǎn jiǎo wān wān dì， piē chū yú wěi wén」。 dàn shì， zài diàn yǐng zhōng， yān lí dú zì zài yù shì nèi yǐ shǒu zhǎng fǔ nòng dù pí， què bìng méi yòu xù shù zhě wéi tā jiě shì tā de xíng wéi， zài jiā shàng zhè yī jǐng yǔ zhèn bǎo zài gōng gòng zǎo táng yǔ zhòng nán zǐ luǒ shēn xǐ zǎo zhè yī duàn píng xíng jiāo chā fā zhǎn， bèi jǐng shì「 tōu wěn」 de yīnyuè， yīn cǐ yān lí zài yù shì zhōng de xíng wéi yīn hán yì 'ài mèi 'ér shèn zhì yòu qíng yù zì jué méng fā de 'àn shì。 zhèn bǎo xǐ zǎo zhī hòu yǐ zuò 'ài fā xiè qíng yù， ér yān lí fā xiè yù wàng de fāng shì zé shì yī fǎn wǎng cháng chén mò， tāo tāo bù jué dì hé zhèn bǎo de tóng shì tán huà， bìng qiě yǐnyǐn wǎn liú， yāo qǐng zài fǎng。
suí zhe diàn yǐng zhōng de gù shì fā zhǎn， yǐngpiān zhōng de nán xìng xù shù zhě jiàn jiàn wú fǎ zhǎng wò quán bù de shì shí。 suī rán tā réng rán xù shù zhe zhāng 'ài líng de gù shì， dàn shì， yǐng xiàng què bèi pàn tā。 diàn yǐng zhōng de xù shù zhě shuō yān lí yǐ jiù「 xiàng rén jiě shì， wēi xiào zhe， zhōng xīn dì wèitā yǎn shì」， dàn shì， jìng tóu tiào jiē de chǎng jǐng què shì yān lí duì dǔ bǎo pī píng zhèn bǎo zài wài miàn hú lái， tā shèn zhì shuō：「 zhè yàng dǎo bù rú lí liǎo hūn de hǎo， lí hūn yòu huì zěn me yàng ní？…… zhēn bù zhī dào wǒ yào tì tā biàn hù dào duō jiǔ！」 zài zhāng 'ài líng de xiǎo shuō zhōng， yān lí bìng méi yòu zhè zhǒng zì jué yǔ dǎn liàng。
guān jǐn péng gèng lì yòng liǎng zhǒng bù tóng de yù shì kōng jiān tū xiǎn liǎo hóng méi guī yǔ bái méi guī de chā yì， yǐ jí bái méi guī de chéngzhǎng。 hóng méi guī jiāo ruǐ de kōng jiān shì dēng guāng hūn 'àn、 wù qì mí màn， qiáng miàn de cí zhuān duō lēng jiǎo 'ér bù guī zé， huá huá de shuǐ shēng bù jué yú 'ěr； ér bái méi guī yān lí de kōng jiān zé shì gān shuǎng liàng jié， qiáng miàn de cí zhuān fāng zhěng bái jìng， dài biǎo yān lí lěng gǎn jié pǐ de shǒu juàn píng zhěng dì tiē zài qiáng miàn。 jiāo ruǐ yù shì zhōng de zhēng téng shuǐ qì hū yìng fú dòng yú quán piàn zhī zhōng、 bù duàn chóngfù chū xiàn、 dài biǎo qíng yù liú dòng de shuǐ de yì xiàng： shàng hǎi de yǔ shuǐ、 jiē dào shàng de shuǐ、 cǎi zài jiǎo xià fǎn yìng chū rén liǎn de shuǐ、 chōng mǎ tǒng de shuǐ shēng、 nán xìng gōng gòng zǎo táng de shuǐ、 yìng zài qiáng shàng huàng dòng de shuǐ yǐng、 yīn guǐ shàng huá huá yī yè de yǔ shēng。 yān lí rú bái méi guī bān wú gè xìng de cāng bái， yǔ gān shuǎng de yù shì， yǐn shè tā qiàn quē qíng yù de zì jué。 dàn shì， cái féng shī liǎng dù qiáng diào， yī fú yán sè bù duì méi yòu guān xì， kě yǐ zài rǎn yī rǎn sè。 yān lí de gè xìng jiàn jiàn de zēng jiā liǎo yī xiē sè cǎi， zhèng rú tā shēn shàng de yī fú jiàn jiàn duō liǎo yī xiē hóng sè de sè diào， ér tā yě hé nǚ 'ér yī qǐ xué huì liǎo「 méi guī xiāng」 de yīnyuè。
yān lí zài nǚ 'ér bèi sòng dào xué xiào zhù dú zhī hòu， bǎ zì jǐ guān zài yù shì nèi de yī jǐng， xiàng shì sǐ 'ér fù shēng de tuì biàn。 zhè yī jǐng jié wěi shí， jìng tóu jiāo jù yóu yān lí liǎn shàng yí xiàng bèi jǐng de cí zhuān qiáng miàn， guān zhòng jīng yà dì fā xiàn， yuán běn guāng liàng píng huá de cí zhuān， xiàn zài biǎo miàn shàng liè zhe yǔ jiāo ruǐ de yù shì cí zhuān yī yàng de bù guī zé lēng jiǎo。 zài yān lí lěng jìng dì shuō「 lí liǎo hūn yòu zěn me yàng」 de shí hòu， jìng tóu cóng tā de cè yǐng yí xiàng zhuō shàng de yī shù hóng méi guī。 wǒ men fā xiàn， cóng yuē huì yǔ hūn lǐ zhōng de chén mò， zhuǎn 'ér fā zhǎn dào tí yì lí hūn、 huò shì zài shè jiāo chǎng hé de tài tài juàn zhōng fā huī yì lùn， yān lí xué huì liǎo yù wàng， yě xué huì liǎo yǔ yán。 yān lí bù zài shì rú bái sè yī yàng dān chún 'ér wú gè xìng de nǚ xìng， què fā zhǎn chū liǎo tā duō lēng jiǎo de gè xìng yǔ qíng yù。 hóng méi guī yǔ bái méi guī bù zài shì yǐ lián xì cí「 yǔ」 lái chuàn lián de liǎng gè fēn bié gè tǐ， ér shì yǐ xié xiàn「 ／」 lā hé de yī tǐ liǎng miàn。
chú liǎo lì yòng jìng tóu tì nǚ xìng juésè shuō huà zhī wài， guān jǐn péng gèng lì yòng qiáng diào jìn jù lí de diàn yǐng yǔ yán， lái tū xiǎn nǚ xìng de tè zhì。 lì rú jiāo ruǐ jiāng zì jǐ guǒ zài zhèn bǎo de yǔ yī lǐ， diǎn qǐ tā chōu guò de yān dì， yǐ chù jué yǔ xiù jué lái jiē jìn zhèn bǎo。 guān jǐn péng shèn zhì yǐ jí jìn de jù lí pāi shè yī yuàn zhōng de chuáng xì tè xiě， shǐ huà miàn chōng mǎn jī fū de huá nì jī lǐ， jìng tóu wú fǎ kuàng zhù rén tǐ， bìng shī qù zhōu zāo shì wù de huán rào yǔ fāng wèi dà xiǎo de cān kǎo yǐ jù， yě shǐ dé guān zhòng wú fǎ bǎo chí tōu kuī de jù lí， ér bì xū hé jiāo ruǐ yǔ zhèn bǎo yī yàng diān dǎo zài jiē chù de gǎn jué zhī zhōng。 guān jǐn péng shèn zhì qiáng diào nǚ xìng suǒ shàn cháng de fēi yǔ yán de shēng yīn， yǐ bié yú nán xìng de xiàng zhēng yǔ yán wén fǎ， lì rú jiāo ruǐ zì zài xuān huá de xiào shēng、 yīn guǐ shàng fǎn fù rú xīn zhōng lù lu bān de diàn tī shēng jiàng shēng， yǔ dài biǎo qíng yù liú dòng de「 méi guī xiāng」 de qín yīn。
guān jǐn péng lì yòng《 hóng méi yǔ bái méi guī》 suǒ zhǎn lù de jī lǐ yǔ duō zhòng shēng yīn dà dǎn dì tiǎo zhàn yǔ diān fù liǎo zhāng 'ài líng de wén zì， bìng yǐ jù yòu nǚ xìng tè zhì de shū xiě fāng shì gǎi xiě xiāng gǎng zhù liú diàn yǐng de diàn yǐng yǔ yán mó shì， jiàn lì liǎo zì jǐ de yǔ yán， yī zhǒng nǚ xìng shēng yīn de yǔ yán。
zài mǔ qīn cuō hé xià， zhèn bǎo dài zhe diǎn bēi liáng de xī shēng gǎn， qǔ liǎo shēn cái dān bó、 jìng rú zhǐ shuǐ de mèng yān lí ( yè yù qīng shì )。 xīn niàn gěi rén de gǎn jué zhǐ shì lǒngtǒng de bái jìng， tā wú fǎ huàn qǐ zhèn bǎo de xìng yù。 zhèn bǎo kāi shǐ zài wài biān piáo jì。 kě shì yòu yī tiān， tā jìng fā xiàn liǎo tā de yīn yǐng lǐ méi yòu rèn hé guāng zé de bái méi guī yān lí， jū rán hé yī gè xíng xiàng wèi xiá de cái féng guān xì 'ài mèi。 cóng cǐ， zhèn bǎo zài wài biān gōng kāi wán nǚ rén， yī wèi dì fàng làng xíng hái qǐ lái。 yòu yī tiān， tā zài gōng gòng qì chē shàng qiǎo yù liǎo tā shēng mìng zhōng de“ hóng méi guī” jiāo ruǐ， tā yǐ shì yī zhǒng zhōng nián rén de sú yàn liǎo。 suì yuè wú qíng， huā kāi huā luò， zài lèi guāng zhōng， zhèn bǎo de hóng méi guī yǔ bái méi guī yǐ shì yī zhǒng xiàn shí zhōng de huàn yǐng。 jiù rì de shàn liáng yī diǎn yī diǎn dì bī jìn zhèn bǎo。 huí dào jiā， zài yī fān xiē sī dǐ lǐ de fā zuò hòu， zhèn bǎo yòu chóngxīn biàn chéng liǎo yī gè hǎo rén。
《 hóng méi guī yǔ bái méi guī》 - píng jià
běn piàn shì gǎi biān zì zhāng 'ài líng tóng míng xiǎo shuō de diàn yǐng《 hóng méi guī yǔ bái méi guī》， guān jǐn péng yǐ yī zhǒng lěng jùn bàng guān de tài dù miáo shù liǎo yī zhǒng wú nài qíng gǎn。 zài qǐ luò de diàn tī lǐ hóng méi guī nà zhāng jiāo yàn míng mèi de liǎn yìng jiàn tā xīn dǐ wǎn zhuǎnqǔ zhé de xīn sī， jié jìng míng liàng de xǐ shǒu jiān lǐ bái méi guī cāng bái wú sè de shēng mìng。 jīng zhì měi lì， duò luò tuí táng， què zài yī bù jīng yì jiān jiāng xīn dǐ de yī sī chún zhēn róu qíng qīng qīng liú lù， yī gè nán zǐ kě yǐ jiāng nǚ xìng qíng gǎn kè huà dào rú cǐ de xì nì、 fēng fù， lìng rén tàn wéi guān zhǐ。 ér yīn yī bù《 xiǎo huā》（ huò bǎi huā jiǎng zuì jiā nǚ yǎn yuán jiǎng） ér zài dà lù wéi rén shú xī de chén chōng píng jiè zài běn piàn zhōng chū sè de yǎn yì liǎo hóng méi guī 'ér huò dāng nián de jīn mǎ jiǎng zuì jiā nǚ zhùjué jiǎng。 yī xiàng yǐ dà dǎn chū wèi wén míng de tā zài běn piàn zhōng kě wèi shì qiǎng jìn liǎo fēng tóu， lìng céng jīng bèi yù wéi“ gǎng chǎn sān jí huáng hòu” de bō bà yè yù qīng 'àn rán shī sè， tóng yàng shì fēng qíng wàn zhǒng， dàn xiāng duì 'ér yán chén chōng hái shì gèng dǒng dé yǎn xì， ér bù zhǐ shì show shēn cái。
zài《 hóng méi guī yǔ bái méi guī》 yī piàn zhōng， guān jǐn péng suī rán biǎo miàn shàng chéng xiàn de shì zhāng 'ài líng de xiǎo shuō， bèi dì lǐ què cāo zòng zhǒng zhǒng diàn yǐng shǒu fǎ， wán nòng yǔ yán de yóu xì yǔ xù shù de yóu xì， yǐ tiǎo zhàn de zī tài yǔ zhāng 'ài líng duì huà， gǎi xiě liǎo zhāng 'ài líng de xiǎo shuō， shǐ dé zhè gè gù shì biàn chéng yī gè bù yī yàng de gù shì， yī gè nǚ xìng dé yǐ chéngzhǎng de gù shì。 suī rán zhāng 'ài líng de xiǎo shuō zhùjué jīhū dōushì nǚ xìng， tā duì yú nǚ xìng juésè de miáo shù yě tè bié xì nì shēn kè， dàn shì， tā bǐ xià de nǚ xìng què dōushì shēn shēn xiàn zài zhōng guó chuán tǒng fēng jiàn yì shí xíng tài zhī zhōng bēi wēi kě lián 'ér píng fán yōng sú de xiǎo juésè， zhāng 'ài líng cóng lái bù fù yú tā xiǎo shuō zhōng de nǚ xìng rèn hé zì jué huò chéngzhǎng。
zài guān jǐn péng de chǔlǐ zhī xià， nǚ xìng juésè bèi fù yú liǎo chén mò， yě tóng shí bèi fù yú liǎo zì yóu。 guān jǐn péng xuǎn zé de zuò fǎ biàn shì shǐ xù shù zhě bù jìn rù nǚ xìng juésè de yì shí shì jiè， bìng shǐ nǚ xìng juésè bǎo liú 'ài mèi 'ér bù tòu míng de xíng xiàng。 guān zhòng yīn wéi wú fǎ tōu tīng dào nǚ xìng juésè de nèi zài shēng yīn， biàn wú fǎ wán quán zhǎng wò zhè xiē juésè。 shí fēn guǐ yì de shì， nǚ xìng juésè yīn 'ér gèng jù yòu mǒu zhǒng quán shì kōng jiān tánxìng chū rù de zì yóu。
yòu yīcháng jǐng zhōng， yān lí shǒu máng jiǎo luàn dì yòng bào zhǐ tì zhèn bǎo bāo yín qì， ràng dǔ bǎo sòng lǐ。 zhèn bǎo kàn yān lí bāo dé bù chéng múyàng， duó liǎo guò lái zì jǐ bāo， kǒu zhōng hái tàn liǎo kǒu qì shuō： 「 rén bèn fán shì nán！ 」 xiǎo shuō zhōng xù shù zhě miáo xiě yān lí de fǎn yìng shì： yān lí liǎn shàng lüè guò tā de bì qiè de yuàn fèn， suí jí yòu wēi xiào， zì jǐ xiào zhe， yòu kàn kàn dǔ bǎo kě xiào liǎo méi yòu， pà tā méi tīng dǒng tā zhàng fū shuō de xiào huà。 guān jǐn péng de jìng tóu què zhǐ tíng liú zài yān lí sì xiào fēi xiào、 mó lēng liǎng kě de biǎo qíng。 zhè zhǒng yì yì 'ài mèi bù qīng de xiào róng fǎn 'ér shì zì jǐ kě yǐ zhǎng wò jú shì， bù xū duì wài rén jiě shì de xiào róng。 piàn wěi zhèn bǎo zài wò shì zhōng luàn shuāi dōng xī， hái cháo zhe yān lí zhì dōng xī， shū zhōng miáo shù yān lí「 jí máng fān shēn xiàng wài táo」， ér zhèn bǎo「 jué dé tā wán quán bèi dǎ bài liǎo」。 kě shì， guān jǐn péng de diàn yǐng jìng tóu què zhào zhe yān lí liǎn shàng wú fǎ zhuō mō de biǎo qíng， yǐ jí tā xià lóu hòu huǎn huǎn dàn qǐ jiāo ruǐ de zhù tí qū， dài biǎo qíng yù liú dòng de「 méi guī xiāng」 yīnyuè。
《 hóng méi guī yǔ bái méi guī》 - duì bái jiě xī
“ yě xǔ měi yī gè nán zǐ quándōu yòu guò zhè yàng de liǎng gè nǚ rén， zhì shǎo liǎng gè。 qǔ liǎo hóng méi guī， jiǔ 'ér jiǔ zhī， hóng de biàn liǎo qiáng shàng de yī mǒ wén zǐ xuè， bái de hái shì“ chuáng qián míng yuè guāng”； qǔ liǎo bái méi guī， bái de biàn shì yī fú shàng de yī lì fàn nián zǐ， hóng de què shì xīn kǒu shàng de yī kē zhū shā zhì”。
“ zhèn bǎo de shēng mìng lǐ yòu liǎng gè nǚ rén， tā shuō yī gè shì tā de‘ bái méi guī’， yī gè shì tā de‘ hóng méi guī’。 yī gè shì shèng jié de qī， yī gè shì rè liè de qíng fù”，“ qǔ liǎo‘ bái méi guī’， bái de biàn shì yī fú shàng zhān de yī lì fàn nián zǐ， hóng de què shì xīn kǒu shàng de yī kē zhū shā zhì。” shì qǔ“ hóng méi guī” hái shì qǔ“ bái méi guī”？ zhè shì gè wèn tí， suǒ wèi hūn yīn， jiù shì ràng guān zhòng mù dǔ yī duǒ huā yóu xuàn làn zǒu xiàng diāo xiè de jié jú。
《 hóng méi guī yǔ bái méi guī》 zhè bù diàn yǐng pāi dé fēi cháng jīng zhì de diàn yǐng， yǐngpiān bǎ sān sì shí nián dài jiù shàng hǎi de qì fēn yíng zào dé fēi cháng chéng gōng， yìn xiàng zuì shēn kè de shì nà bù lǎo shì diàn tī， bǎ sān shí nián dài shàng hǎi de fēng qíng biǎo lù dé wú yí。 zhāng 'ài líng shì yī wèi jí wéi tè bié de nǚ zuò jiā， tā de jí jù cái qíng de jiā zuò、 tā de qīng mò guì zú hòu yì de shēn shì、 tā de chōng mǎn qū zhé de yī shēng， gòu chéng liǎo tā zhè wèi kuàng shì cái nǚ de chuán qí sè cǎi。 zhāng 'ài líng de xiǎo shuō duì rén wù xīn lǐ de kè huá xì nì zhī jí，《 hóng méi guī yǔ bái méi guī》 zhōng yíng zào chū xīn xīng shāng yè chéng shì fú huá bèi hòu de kōng dòng cāng bái hé bǎi wú liáo lài hé biǎo miàn wēn xīn hé xié jiā tíng dǐ céng què suǒ suì chén zhòng de yàn juàn， tòu guò xǔ xǔ rú shēng de rén wù xíng xiàng， tòu guò suī nián dài xiāng gé jiǔ yuǎn dàn kàn sì shú xī qīnqiè de gù shì qíng jié， nǐ néng tǐ wèi dào yī zhǒng rén shēng de cāng liáng， nà zhǒng wú nài yǔ bēi 'āi nà zhǒng qī yàn de měi， zhè shì běn piàn gěi rén liú xià de shēn kè yìn xiàng hé kǎi tàn。
gù shì shì zài píng cháng bù guò de gù shì， ér dǎo yǎn guān jǐn péng bǎ rén wù de nèi xīn shì jiè de miáo xiě kè huá sī sī rù kòu， chéng xiàn gěi guān zhòng de shì nán zhù rén gōng nà niǔ qū de xīn tài xià niǔ qū de gè xìng， yǐ jí xiāng yìng 'ér lái de niǔ qū de hūn yīn， niǔ qū de rén shēng。 sān shí nián dài rú fēng guò xì， sān shí nián dài cuì ruò、 yōu jìng、 měi yàn de nǚ rén shì jì mò de nǚ rén， tā men de wēi xiào luò huā sì dì fēn fēn piāo guò lái。 sān shí nián dài de yuè liàng xiàng“ duǒ yún xuān” xìn jiān làxià de yī dī lèi zhū， chén jiù 'ér mó hú…… sān shí nián dài de yuè liàng zǎo yǐ chén liǎo xià qù， sān shí nián dài de rén yě yǐ jīng chéng wéi guò qù， sān shí nián dài de gù shì hái méi wán， wán bù liǎo……
《 hóng méi guī yǔ bái méi guī》 - guān yú yǐngpiān
zài zhāng 'ài líng de xiǎo shuō zhōng， xù shù zhě duì yān lí dé liǎo biàn mì zhèng， bǎ zì jǐ měi tiān guān zài yù shì lǐ bìng tài shì huàn xiǎng zuò liǎo shí fēn jù tǐ miáo shù：「 tā dī tóu kàn zhe zì jǐ xuě bái de dù zǐ， bái 'ái 'ái de yī piàn， shí 'ér gǔ qǐ lái xiē， shí 'ér biě jìn qù， dù qí de shì yàng yě gǎi biàn， yòu shí hòu shì tián jìng wú biǎo qíng de xī là shí xiàng de yǎn jīng， yòu shí hòu shì tū chū de nù mù， yòu shí hòu shì xié jiào shén fó de yǎn jīng， yǎn lǐ yòu yī zhǒng xiǎn 'è de wēi xiào， rán 'ér hěn kě 'ài， yǎn jiǎo wān wān dì， piē chū yú wěi wén」。 dàn shì， zài diàn yǐng zhōng， yān lí dú zì zài yù shì nèi yǐ shǒu zhǎng fǔ nòng dù pí， què bìng méi yòu xù shù zhě wéi tā jiě shì tā de xíng wéi， zài jiā shàng zhè yī jǐng yǔ zhèn bǎo zài gōng gòng zǎo táng yǔ zhòng nán zǐ luǒ shēn xǐ zǎo zhè yī duàn píng xíng jiāo chā fā zhǎn， bèi jǐng shì「 tōu wěn」 de yīnyuè， yīn cǐ yān lí zài yù shì zhōng de xíng wéi yīn hán yì 'ài mèi 'ér shèn zhì yòu qíng yù zì jué méng fā de 'àn shì。 zhèn bǎo xǐ zǎo zhī hòu yǐ zuò 'ài fā xiè qíng yù， ér yān lí fā xiè yù wàng de fāng shì zé shì yī fǎn wǎng cháng chén mò， tāo tāo bù jué dì hé zhèn bǎo de tóng shì tán huà， bìng qiě yǐnyǐn wǎn liú， yāo qǐng zài fǎng。
suí zhe diàn yǐng zhōng de gù shì fā zhǎn， yǐngpiān zhōng de nán xìng xù shù zhě jiàn jiàn wú fǎ zhǎng wò quán bù de shì shí。 suī rán tā réng rán xù shù zhe zhāng 'ài líng de gù shì， dàn shì， yǐng xiàng què bèi pàn tā。 diàn yǐng zhōng de xù shù zhě shuō yān lí yǐ jiù「 xiàng rén jiě shì， wēi xiào zhe， zhōng xīn dì wèitā yǎn shì」， dàn shì， jìng tóu tiào jiē de chǎng jǐng què shì yān lí duì dǔ bǎo pī píng zhèn bǎo zài wài miàn hú lái， tā shèn zhì shuō：「 zhè yàng dǎo bù rú lí liǎo hūn de hǎo， lí hūn yòu huì zěn me yàng ní？…… zhēn bù zhī dào wǒ yào tì tā biàn hù dào duō jiǔ！」 zài zhāng 'ài líng de xiǎo shuō zhōng， yān lí bìng méi yòu zhè zhǒng zì jué yǔ dǎn liàng。
guān jǐn péng gèng lì yòng liǎng zhǒng bù tóng de yù shì kōng jiān tū xiǎn liǎo hóng méi guī yǔ bái méi guī de chā yì， yǐ jí bái méi guī de chéngzhǎng。 hóng méi guī jiāo ruǐ de kōng jiān shì dēng guāng hūn 'àn、 wù qì mí màn， qiáng miàn de cí zhuān duō lēng jiǎo 'ér bù guī zé， huá huá de shuǐ shēng bù jué yú 'ěr； ér bái méi guī yān lí de kōng jiān zé shì gān shuǎng liàng jié， qiáng miàn de cí zhuān fāng zhěng bái jìng， dài biǎo yān lí lěng gǎn jié pǐ de shǒu juàn píng zhěng dì tiē zài qiáng miàn。 jiāo ruǐ yù shì zhōng de zhēng téng shuǐ qì hū yìng fú dòng yú quán piàn zhī zhōng、 bù duàn chóngfù chū xiàn、 dài biǎo qíng yù liú dòng de shuǐ de yì xiàng： shàng hǎi de yǔ shuǐ、 jiē dào shàng de shuǐ、 cǎi zài jiǎo xià fǎn yìng chū rén liǎn de shuǐ、 chōng mǎ tǒng de shuǐ shēng、 nán xìng gōng gòng zǎo táng de shuǐ、 yìng zài qiáng shàng huàng dòng de shuǐ yǐng、 yīn guǐ shàng huá huá yī yè de yǔ shēng。 yān lí rú bái méi guī bān wú gè xìng de cāng bái， yǔ gān shuǎng de yù shì， yǐn shè tā qiàn quē qíng yù de zì jué。 dàn shì， cái féng shī liǎng dù qiáng diào， yī fú yán sè bù duì méi yòu guān xì， kě yǐ zài rǎn yī rǎn sè。 yān lí de gè xìng jiàn jiàn de zēng jiā liǎo yī xiē sè cǎi， zhèng rú tā shēn shàng de yī fú jiàn jiàn duō liǎo yī xiē hóng sè de sè diào， ér tā yě hé nǚ 'ér yī qǐ xué huì liǎo「 méi guī xiāng」 de yīnyuè。
yān lí zài nǚ 'ér bèi sòng dào xué xiào zhù dú zhī hòu， bǎ zì jǐ guān zài yù shì nèi de yī jǐng， xiàng shì sǐ 'ér fù shēng de tuì biàn。 zhè yī jǐng jié wěi shí， jìng tóu jiāo jù yóu yān lí liǎn shàng yí xiàng bèi jǐng de cí zhuān qiáng miàn， guān zhòng jīng yà dì fā xiàn， yuán běn guāng liàng píng huá de cí zhuān， xiàn zài biǎo miàn shàng liè zhe yǔ jiāo ruǐ de yù shì cí zhuān yī yàng de bù guī zé lēng jiǎo。 zài yān lí lěng jìng dì shuō「 lí liǎo hūn yòu zěn me yàng」 de shí hòu， jìng tóu cóng tā de cè yǐng yí xiàng zhuō shàng de yī shù hóng méi guī。 wǒ men fā xiàn， cóng yuē huì yǔ hūn lǐ zhōng de chén mò， zhuǎn 'ér fā zhǎn dào tí yì lí hūn、 huò shì zài shè jiāo chǎng hé de tài tài juàn zhōng fā huī yì lùn， yān lí xué huì liǎo yù wàng， yě xué huì liǎo yǔ yán。 yān lí bù zài shì rú bái sè yī yàng dān chún 'ér wú gè xìng de nǚ xìng， què fā zhǎn chū liǎo tā duō lēng jiǎo de gè xìng yǔ qíng yù。 hóng méi guī yǔ bái méi guī bù zài shì yǐ lián xì cí「 yǔ」 lái chuàn lián de liǎng gè fēn bié gè tǐ， ér shì yǐ xié xiàn「 ／」 lā hé de yī tǐ liǎng miàn。
chú liǎo lì yòng jìng tóu tì nǚ xìng juésè shuō huà zhī wài， guān jǐn péng gèng lì yòng qiáng diào jìn jù lí de diàn yǐng yǔ yán， lái tū xiǎn nǚ xìng de tè zhì。 lì rú jiāo ruǐ jiāng zì jǐ guǒ zài zhèn bǎo de yǔ yī lǐ， diǎn qǐ tā chōu guò de yān dì， yǐ chù jué yǔ xiù jué lái jiē jìn zhèn bǎo。 guān jǐn péng shèn zhì yǐ jí jìn de jù lí pāi shè yī yuàn zhōng de chuáng xì tè xiě， shǐ huà miàn chōng mǎn jī fū de huá nì jī lǐ， jìng tóu wú fǎ kuàng zhù rén tǐ， bìng shī qù zhōu zāo shì wù de huán rào yǔ fāng wèi dà xiǎo de cān kǎo yǐ jù， yě shǐ dé guān zhòng wú fǎ bǎo chí tōu kuī de jù lí， ér bì xū hé jiāo ruǐ yǔ zhèn bǎo yī yàng diān dǎo zài jiē chù de gǎn jué zhī zhōng。 guān jǐn péng shèn zhì qiáng diào nǚ xìng suǒ shàn cháng de fēi yǔ yán de shēng yīn， yǐ bié yú nán xìng de xiàng zhēng yǔ yán wén fǎ， lì rú jiāo ruǐ zì zài xuān huá de xiào shēng、 yīn guǐ shàng fǎn fù rú xīn zhōng lù lu bān de diàn tī shēng jiàng shēng， yǔ dài biǎo qíng yù liú dòng de「 méi guī xiāng」 de qín yīn。
guān jǐn péng lì yòng《 hóng méi yǔ bái méi guī》 suǒ zhǎn lù de jī lǐ yǔ duō zhòng shēng yīn dà dǎn dì tiǎo zhàn yǔ diān fù liǎo zhāng 'ài líng de wén zì， bìng yǐ jù yòu nǚ xìng tè zhì de shū xiě fāng shì gǎi xiě xiāng gǎng zhù liú diàn yǐng de diàn yǐng yǔ yán mó shì， jiàn lì liǎo zì jǐ de yǔ yán， yī zhǒng nǚ xìng shēng yīn de yǔ yán。
色，戒zuǒ yòu shǒu liǎng gè tài tài chuānzhuó hēi ní dǒu péng， fān lǐng xià lù chū yī gēn chén zhòng de jīn liàn tiáo， shuāng xíng héng qiān guò qù kòu zhù lǐng kǒu。 zhàn shí shàng hǎi yīn wéi yǔ wài jiè gé jué， xīng chū yī xiē běn dì de shí zhuāng。 lún xiàn qū jīn zǐ jī xíng de guì， zhè me cū de jīn suǒ liàn jià zhí bù zī， yòng lái dài tì dà yī niǔ kòu， bù cūn bù sú， yòu kě yǐ chuān zài wài miàn zhāo yáo guò shì， yīn cǐ chéng wéi wāng zhèng fǔ guān tài tài de。 yě xǔ hái shì shòu chóngqìng de yǐng xiǎng， jué dé hēi dà chǎng zuì zhuāng yán dà fāng。
yì tài tài shì zài zì jǐ jiā lǐ， méi chuān tā nà jiàn yī kǒu zhōng， yě réng jiù“ zuò rú zhōng”， fā fú liǎo， tā gēn jiā zhī shì liǎng nián qián zài xiāng gǎng rèn shí de。 nà shí hòu fū fù liǎ gēn zhe wāng jīng wèi cóng chóngqìng chū lái， zài xiāng gǎng dān gē liǎo xiē shí。 gēn wāng jīng wèi de rén， céng zhòng míng yǐ jīng zài hé nèi bèi 'àn shā liǎo， suǒ yǐ zài xiāng gǎng dū shēn jū jiǎn chū。
yì tài tài bù miǎn yào tiān xiē dōng xī。 kàng zhàn hòu fāng yǔ lún xiàn qū dū quē huò， dào liǎo zhè gòu wù de tiān táng， zǒng bù néng rù bǎo shān kōng shǒu huí。 jīng rén jiè shào liǎo zhè wèi mài tài tài péi tā mǎi dōng xī， běn dì rén nèi xíng， xiāng gǎng lián dà gōng sī dōuyào tǎo jià hái jià de， bù huì jiǎng guǎng dōng huà yě chī kuī。 tā men mài xiān shēng shì jìn chū kǒu shāng， shēng yì rén xǐ huān jié jiāo guān chǎng， bǎ yì tài tài zhāo dài dé wú wēi bù zhì。 yì tài tài shí fēn gǎn jī。 zhēn zhū gǎng shì biàn hòu xiāng gǎng xiàn luò， mài xiān shēng de shēng yì tíng dùn liǎo， jiā zhī yě páo qǐ dān bāng lái， tiē bǔ jiā yòng， dài liǎo xiē shǒu biǎo xī yào xiāng shuǐ sī wà dào shàng hǎi lái mài。 yì tài tài yī dìng yào liú tā zhù zài tā men jiā。
“ zuó tiān wǒ men dào shǔ yú qù héng héng mài tài tài méi qù guò。” yì tài tài gào sù hēi dǒu péng zhī yī。
“ ò。”
“ mǎ tài tài zhè yòu hǎo jǐ tiān méi lái liǎo bā？” lìng yī gè hēi dǒu péng shuō。
pái shēng pī pā zhōng， mǎ tài tài zhǐ gū nóng liǎo yī shēng“ yòu gè qīn qī jiā yòu diǎn shì”。
yì tài tài xiào dào：“ dāyìng qǐng kè， lài bù diào de。 duǒ qǐ lái liǎo。”
jiā zhī yí xīn mǎ tài tài shì chī cù， yīn wéi zì cóng tā lái liǎo， yī qiē yǐ tā wéi zhōng xīn。
“ zuó tiān shì liào tài tài qǐng kè， zhè liǎng tiān tā yī gè rén dú yíng，” yì tài tài yòu gào sù mǎ tài tài。“ pèng jiàn xiǎo lǐ gēn tā tài tài， jiào tā men zuò guò lái， xiǎo lǐ shuō tā men qǐng de kè hái méi dào。 wǒ shuō liào tài tài qǐng kè nán dé de， nǐ men hǎo yì sī bù shǎng guāng？ gāng qiǎo pèng shàng xiǎo lǐ dà qǐng kè， lái liǎo yī dà zhuō zǐ rén。 zuò bù xià tiān yǐ zǐ， hái shì jǐ bù xià， liào tài tài zuò zài wǒ bèi hòu。 wǒ shuō hái shì wǒ jiào de tiáo zǐ piào liàng！
tā shuō lǎo dū lǎo liǎo， hái chī wǒ de dòu fǔ。 wǒ shuō má pó dòu fǔ shì yào lǎo dòu fǔ má！
ài yō， dū xiào sǐ liǎo！ xiàode má pó bái má zǐ dū hóng liǎo。”
dà jiādōu xiào。
“ shì nǎ gè shuō de？ nà huí yì xiān shēng guò shēng rì， bù shì jiù shuō má gū xiàn shòu li！” mǎ tài tài shuō。
yì tài tài hái zài xiàng mǎ tài tài bào dào zhè liǎng tiān de xīn wén， yì xiān shēng jìn lái liǎo， gēn sān gè nǚ kè diǎn tóu zhāo hū。
“ nǐ men jīn tiān shàng chángzǐ zǎo。”
tā zhàn zài tā tài tài bèi hòu kàn pái。 fáng jiān nà tóu zhěng gè yī miàn qiáng shàng dū guà zhe tǔ huáng hòu ní chuāng lián， shàng miàn yìn yòu tè dà de zhuān hóng fèng wěi cǎo tú 'àn， yī gēn gēn héng xié zhe yě yòu yī rén gāo。 zhōu fó hǎi jiā lǐ yòu， suǒ yǐ tā men yě yòu。 xī fāng zuì jìn xīng chū lái de jiǎ luò dì dà chuāng de chuāng lián， zài zhàn shí shàng hǎi yīn wéi bó lái pǐn chuāng lián liào zǐ quē huò， zhè yàng zhěng dà pǐ yòng shàng qù， yòu hái yào duì huā， què shì háo jǔ。 rén xiàng yìng zài nà dà rén guó de fèng wěi cǎo shàng， gèng xiǎn dé tā 'ǎi xiǎo。 chuānzhuó huī sè xī zhuāng， shēng dé cāng bái qīng xiù， qián miàn tóu fā wēi tū， tuì chū yī zhǐ qí cháng de huā jiān； bí zǐ cháng cháng de， yòu diǎn“ shǔ xiāng”， jù shuō yě shì zhù guì de。
“ mǎ tài tài nǐ zhè zhǐ jǐ kè lā héng héng sān kè lā？ qián tiān nà pǐn fēn yòu lái guò liǎo， yòu zhǐ wǔ kè lā de， guāng tóu hái bù jí nǐ zhè zhǐ。” yì tài tài shuō。
mǎ tài tài dào：“ dōushuō pǐn fēn de dōng xī bǐ wài tóu diàn jiā hǎo má！”
yì tài tài dào：“ qián kè sòng shàng mén lái， bù guò hǎo zài fāng biàn， yòu kě yǐ liú zhe duō kàn liǎng tiān。 pǐn fēn de dōng xī yòu shí hòu dǎo shì wài tóu méi yòu de。 shàng cì nà zhǐ huǒ yóu zuàn， bù kěn mǎi gěi wǒ。” shuō zhe bái liǎo yì xiān shēng yī yǎn。“ xiàn zài gāi yào duō shǎo qián liǎo？ huǒ yóu zuàn méi máo bìng de， zhǎng dào shí jǐ liǎng、 jǐ shí liǎng jīn zǐ yī kè lā， pǐn fēn hái shuō huǒ yóu zuānfěn hóng zuàn dōushì yòu jià wú shì。”
yì xiān shēng xiào dào：“ nǐ nà zhǐ huǒ yóu zuàn shí jǐ kè lā， yòu bù shì gē zǐ dàn，‘ zuàn shí’ * biān， yě shì shí tóu， dài * xuè zhì xià pín jí chài huān shù！ *
pái zhuō shàng díquè shì jiè zhǐ zhǎn lǎn huì， jiā zhī xiǎng。 zhǐ yòu tā méi yòu zuàn jiè， dài lái dài qù zhè zhǐ fěi cuì de， zǎo zhī bù dài liǎo， jiào rén jiàn xiào héng héng zhèng yǎn dū kàn bù dé tā。
yì tài tài dào：“ bù mǎi hái yào tīng nǐ zhè xiē huà！” shuō zhe dǎ chū yī zhāng wǔ tǒng， mǎ tài tài duì miàn de hēi dǒu péng pā lā tān xià pái lái， dùn shí yī piàn xiào tàn yuàn yóu shēng， fāng jiǎn duàn huà fēng。
dà jiā suàn hú zǐ， yì xiān shēng chéng luàn lǐ xiàng jiā zhī bǎ xià kē cháo mén kǒu lüè piān liǎo piān。
tā lì jí piē liǎo liǎng gè hēi dǒu péng yī yǎn， hái hǎo， bù xiàng yòu rén zhù yì dào。 tā péi chū chóu mǎ， ná qǐ chá bēi lái hē liǎo yī kǒu， hū dào：“ gāi sǐ wǒ zhè jì xìng！ yuē liǎo sān diǎn zhōng tán shēng yì， huì wàng dé gān gān jìng jìng。 zěn me bàn， yì xiān shēng xiān tì wǒ dǎ liǎng juàn， mǎ shàng huí lái。”
yì tài tài jiào jiāng qǐ lái dào：“ bù xíng！ nǎ yòu zhè yàng de？ zǎo yòu bù shuō， bù zuò xīng de。”
“ wǒ hái zhèng xiǎng zhuóshǒu fēng zhuǎn liǎo。” gāng hú liǎo yī pái de hēi dǒu péng zhe shuō。
“ chú fēi zhǎo liào tài tài lái。 qù dǎ gè diàn huà gěi liào tài tài。” yì tài tài yòu xiàng jiā zhī dào：“ děng lái liǎo zài zǒu。”
“ yì xiān shēng tì wǒ dǎzháo。” jiā zhī kàn liǎo kàn shǒu biǎo。“ yǐ jīng wǎn liǎo， yuē liǎo gè qián kè chī kā fēi。”
“ wǒ jīn tiān yòu diǎn shì， guò tiān péi nǐ men dǎ tōng xiāo。” yì xiān shēng shuō。
“ zhè wáng jiā zhī zuì huài liǎo！” yì tài tài xǐ huān lián míng dài xìng jiào tā wáng jiā zhī， xiàng tóng xué de chēng hū。“ zhè huí fēi yào fá nǐ。 qǐng kè qǐng kè！”
“ nǎ yòu xíng kè qǐng zuò kè de？” mǎ tài tài shuō。“ mài tài tài dào shàng hǎi lái shì kè。”
“ yì tài tài dōushuō liǎo。 yào nǐ hù zhe！” lìng yī gè hēi dǒu péng shuō。
tā men qǔ xiào còu qù yě yào liú shén， suī rán yì tài tài de nián jì zuò tā mǔ qīn chuò chuò yòu yú， tā men cóng lái bù shuō rèn gān nǚ 'ér de huà。 zài yì tài tài zhè nián jì， zhèng yòu diǎn yáo bǎi bù dìng， yòu yào xiàng lǎo tài tài men xǐ huān yòu nián qīng piào liàng de nǚ xìng cù yōng de， zhòng xīng pěng yuè yī bān， yòu yào chī cù。
“ hǎohǎo， jīn tiān wǎn shàng qǐng kè，” jiā zhī shuō。“ yì xiān shēng tì wǒ dǎzháo， bù rán wǎn shàng qǐng kè méi yòu nǐ。”
“ yì xiān shēng bāng bāng máng， bāng bāng máng！ sān quē yī shāng yīn zhì de。 xiān dǎzháo， mǎ tài tài zhè jiù qù dǎ diàn huà zhǎo dā zǐ。”
“ wǒ shì zhēn yòu diǎn shì，” shuō qǐ zhèng shì， tā mǎ shàng shēng yīn yī dī， zhǐ gū nóng liǎo yī shēng。“ dài huì hái yòu rén lái。”
“ wǒ jiù zhī dào yì xiān shēng bù huì yòu gōng fū，” mǎ tài tài shuō。
shì mǎ tài tài huà lǐ yòu huà， hái shì tā shén jīng guò mǐn？ jiā zhī xīn lǐ xiǎng。 kàn tā xiào xī xī de shén qì， yě shèn zhì yú mǎ tài tài zhè huà hái dài diǎn tǎo hǎo de yì wèi， zhī dào tā xiǎng rén zhī dào， hèn bù dé yào rén jiā qǔ xiào tā liǎng jù。 yě nán shuō， zài shēn chén de rén， yòu shí hòu yě huì dé yì wàng xíng qǐ lái。
zhè tài wēi xiǎn liǎo。 jīn tiān zài bù chéng gōng， zài tuō xià qù yào gěi yì tài tài zhī dào liǎo。
tā hái zài gēn yì tài tài tǎo jià hái jià， tā yǐ jīng zǒu kāi liǎo。 tā fèi jìn chún shé cái dé tuō shēn， huí dào zì jǐ wò shì lǐ， yě méi huàn yī fú， cōng cōng shōu shí liǎo yī xià， nǚ yōng yǐ jīng lái huí shuō chē zài mén kǒu děng zhe。 tā chéng yì jiā de qì chē chū qù， fēn fù sī jī kāi dào yī jiā kā fēi guǎn， xià liǎo chē biàn dǎ fā tā huí qù。
shí jiān hái zǎo， kā fēi guǎn méi shí me rén， diǎn zhe yī duì duì xìng zǐ hóng bǎi zhé chóu zhào bì dēng， dì fāng hěn dà， dōushì xiǎo yuán zhuō zǐ， àn huā xì bái má bù zhuō bù， bǎo shǒu xìng de cān tīng múyàng。 tā dào guì tái shàng qù dǎ diàn huà， líng shēng xiǎng liǎo sì cì jiù guà duàn liǎo zài dǎ， pà guì tái shàng de rén jué dé qí guài， nán nán shuō liǎo shēng：“ kě huì bō cuò liǎo hào mǎ？”
shì yuē dìng de 'àn hào。 zhè cì yòu rén jiē tīng。
“ wèi？”
hái hǎo， shì kuàng yù mín de shēng yīn。 jiù lián zhè shí hòu tā yě hái yòu diǎn pà shì liáng rùn shēng， jìn guǎn tā hěn shí xiāng， zǒng ràng bié rén shàng qián。
“ wèi， èr gē，” tā yòng guǎng dōng huà shuō。“ zhè liǎng tiān jiā lǐ dōuhǎo？”
“ hǎo， dōuhǎo。 nǐ ní。”
“ wǒ jīn tiān qù mǎi dōng xī， bù guò shí jiān méi yī dìng。”
“ hǎo， méi guān xì。 fǎn zhèng wǒ men děng nǐ。 nǐ xiàn zài zài nǎ lǐ？”
“ zài xiá fēi lù。”
“ hǎo， nà me jiù shì zhè yàng liǎo。”
piàn kè de chén mò。
“ nà méi shí me liǎo？” tā de shǒu bīng lěng， duì xiāng yīn gǎn dào yī sī wēn nuǎn yǔ yǐ liàn。
“ méi shí me liǎo。”
“ mǎ shàng jiù qù yě shuō bù dìng。”
“ lái dé jí， méi wèn tí。 hǎo， dài huì jiàn。”
tā guà duàn liǎo， chū lái jiào sān lún chē。
jīn tiān yào shì bù chéng gōng， kě zhēn bù néng zài zài yì jiā zhù xià qù liǎo， zhè xiē tài tài men zài bàng biān hǔ shì dān dān de。 yě xǔ yīngdāng yī dā shàng tā jiù zhǎo gè shénme jiè kǒu bān chū lái， tā kě yǐ bō gè gōng yù gěi tā zhù， shàng liǎng cì jiù shì zài gōng yù jiàn miàn， liǎng cì dì fāng bù tóng， dōushì yīng měi rén de fáng zǐ， zhù rén jìn liǎo jí zhōng yíng。 dàn shì nà fǎn 'ér gèng nán xià shǒu liǎo héng héng zhī dào tā shénme shí hòu lái？ yào lái yě shì hū rán cóng tiān 'ér jiàng， bù rán yù xiān yuē dìng yě huì lín shí yòu shì， lái bù chéng。 dǎ diàn huà gěi tā yòu nán， tā tài tài kàn dé jǐn， jǐ gè bàn gōng chù dà gài dū 'ān chā dé yòu 'ěr mù。 biàn méi yòu， zhǐ yào yòu rén zhī dào jiù huì huài shì， dǎ xiǎo bào gào tǎo hǎo tā tài tài de rén tài duō。
bù qù zhǎo tā， tā shèn zhì yú kě yǐ yī cì dōubù lái， jù shuō zhè yàng de shì yě yòu guò， gōng yù jiù suàn shì lín bié zèng pǐn。 tā shì shí zài tài duō， gù bù guò lái， yī gè yǎn bù jiàn， jiù huì diū zài nǎo hòu。 hái fēi dé dīng zhe tā， jiǎn zhí xū yào dīliù zhe liǎng zhǐ zài tā gēn qián huàng。
“ liǎng nián qián yě hái méi yòu zhè yàng li，” tā yōng zhe wěn zhe tā de shí hòu qīng shēng shuō。
tā tóu wēi zài tā xiōng qián， méi kàn jiàn tā liǎn shàng yī hóng。
jiù lián xiàn zài xiǎng qǐ lái， yě hái xiàng gěi zhēn zhā liǎo yī xià， mǎ shàng kàn jiàn nà xiē rén kě zēng de yǎn guāng dǎliang zhe tā， dài zhe diǎn huì xīn de wēi xiào， lián kuàng yù mín zài nèi。
zhǐ yòu liáng rùn shēng yáng yáng bù cǎi， zhuāng zuò méi zhù yì tā zhè liǎng nián xiōng bù yuè lái yuè gāo。 yǎn guò bù zhǐ yī huí de yī xiǎo chǎng xì， yī chū xiàn zài yǎn qián lì kè bèi tā gǎn zǒu liǎo。
dào gōng gòng zū jiè hěn yòu yī jié zǐ lù。 sān lún chē tà dào jìng 'ān sì lù xī mó lù kǒu， tā jiào zài lù jiǎo yī jiā xiǎo kā fēi guǎn qián tíng xià。 wàn yī tā de chē xiān dào， kàn kàn lù biān， zhǐ yòu zài guò qù diǎn tíng zhe gè mù tàn qì chē。
zhè jiā dà gài zhù yào kào mén shì wài mài， zhǐ zhuāng zhe liáo liáo jǐ gè kǎ wèi， suī rán yīn 'àn， qíng diào háo wú。 kào lǐ yòu gè lěng qì bō lí guì tái zhuāng zhe gè sè xī diǎn， hòu miàn yī gè xiá xiǎo de yǒng dào dēng diǎn dé xuě liàng， zhào chū lǐ miàn de qiáng bì xià bàn jié qī chéng kā fēi sè， liàng jīng jīng de tū 'āo bù píng； yī zhǐ xiǎo bīng xiāng bàng biān guà zhe bái hào yī， shàng miàn jìn fáng dǐng chéng pái guà zhe xī zǎi tuō huàn xià lái de xiàn ní cháng jiā páo， gùyī pū yī bān。
tā tīng tā shuō， zhè shì tiān jīn qǐ shì lín de yī hào xī zǎi chū lái kāi de。 xiǎng bì tā jiǎn zhōng zhè yī jiā jiù shì wèile bù huì pèng jiàn shú rén， yòu mén lín jiāo tōng yào dào， zhēn shì pèng jiàn rén yě méi guān xì， bù bǐ piān pì de dì duàn shǐ rén yí xīn， xiàng shì yòu mán rén de shì。
miàn qián yī bēi kā fēi yǐ jīng bīng liáng liǎo， chē zǐ hái méi lái。 shàng cì jiē liǎo tā qù， yòu hái zài gōng yù lǐ děng liǎo kuài yī gè zhōng tóu tā cái dào。 shuō zhōng guó rén bù shǒu shí kè， dào liǎo guān chǎng cái dēng fēng zào jí liǎo。 zài zhào zhè yàng děng xià qù， qù mǎi dōng xī diàn dōuyào dǎyàng liǎo。
shì tā zì jǐ shuō de：“ wǒ men jīn tiān zhí dé jì niàn。 zhè yào mǎi gè jiè zhǐ， nǐ zì jǐ jiǎn。 jīn tiān wǎn liǎo， bù rán wǒ péi nǐ qù。” nà shì dì yī cì zài wài miàn jiàn miàn。
dì 'èr cì shí jiān gèng bī cù， jiù méi tí qǐ。 dāng rán bù huì jiù cǐ suàn liǎo， dàn shì rú guǒ jīn tiān méi xiǎng qǐ lái， dǎo yào tā qù rào zhe wān zǐ tí xǐng tā， qǐ bù tài shī shēn fèn， shā fēng jǐng？ huàn liǎo lìng yī gè nán rén， dāng rán shì zhè qíng xíng。 tā zhè yàng de lǎo jiān jù huá， jué bù huì rèn wéi tā zhè me gè shàonǎi nǎi huì kàn shàng yī gè sì wǔ shí suì de 'ǎi zǐ。
bù shì wéi qián fǎn 'ér kě yí。 ér qiě shǒu shì xiàng lái shì nǚ tài tài men de yī gè ruò diǎn。 tā bù shì chū lái páo dān bāng má， shùn biàn lāo diǎn wài kuài yě zài qíng lǐ zhī zhōng。 tā zì jǐ shì gǎo tè gōng de， bù qǐ yí yědōu jiǎo tù sān kū， wù bì jiào rén zhuō mō bù dìng。 tā xū yào qǔ xìn yú tā， yīn wéi qì jīn shì zài tā zhǐ dìng de dì diǎn huì miàn， xiàn zài yào tā tóng qù tā zhǐ dìng de dì fāng。
shàng cì chē zǐ lái jiē tā， dǎo shì zhǔn shí dào de。 jīn tiān děng zhè me jiǔ， xiǎng bì shì tā zì jǐ lái jiē。 dǎo yě hǎo， bù rán zài gōng yù lǐ jiàn miàn， yī dào liǎo nà lǐ， zài chū lái jiù yòu nán liǎo。 chú fēi běn lái yù bèi zài nà lǐ chī wǎn fàn， nào dào bàn yè cái zǒu héng héng dàn shì jiù lián dì yī cì yě méi zài nà lǐ chī fàn。 zì rán yào duō dān gē yī huì， chū qù liǎo jiù bù huí lái liǎo。 pà diàn dǎyàng， yào jí sǐ rén liǎo， yòu bù néng cuī tā kuài zhe diǎn， xiàng jì nǚ yī yàng。
tā qǔ chū fěn jìng zǐ lái zhào liǎo zhào， bǔ liǎo diǎn fěn。 chí dào yě bù yī dìng shì tā zì jǐ lái。 hái bù shì xīn xiān jìn yī guò， bù ná tā dāng zhuāng shì liǎo。 jīn tiān bù chéng gōng， yǐ hòu yě xǔ bù huì zài yòu jī huì liǎo。
tā yòu kàn liǎo kàn biǎo。 yī zhǒng shī bài de yù gǎn， xiàng sī wà shàng yī dào liè hén、 yīn liáng dì zài tuǐ dù zǐ shàng qiāoqiāo wǎng shàng pá。
xié duì miàn kǎ wèi shàng yòu gè zhōng zhuāng nán zǐ hěn zhù yì tā。 yě shì yī gè rén， zài nà lǐ kàn bào。 bǐ tā lái dé zǎo， bù huì shì gēn zōng tā。 gūliáng bù chū tā shì shénme lù dào？ dài de shǒu shì shì bù shì zhēn de？ bù dà xiàng wǔ nǚ， yào shì yǎn diàn yǐng huà jù de， yòu bù miàn shú。
tā dǎo shì yǎn guò xì， xiàn zài yě hái shì zài tái shàng mài mìng， bù guò méi rén zhī dào， chū bù liǎo míng。
zài xué xiào lǐ yǎn de yědōu shì kāng kǎi jī 'áng de 'ài guó lì shǐ jù。 guǎng zhōu lún xiàn qián， lǐng dà bān dào xiāng gǎng， yě hái gōng yǎn guò yī cì， shàng zuò jū rán hái bù huài。 xià liǎo tái tā xīng fèn dé sōng chí bù xià lái， dà jiā chī liǎo xiāo yè cái sàn， tā hái bù kěn huí qù， yǔ liǎng gè nǚ tóng xué chéng shuāng céng diàn chē yóu chē hé。 lóu shàng chéng kè xī shǎo， chē shēn yáo yáo huàng huàng zài kuān kuò de jiē xīn zǒu， chuāng wài hēi 'àn zhōng ní hóng dēng de guǎng gào， xiàng jiǔ hòu de liáng fēng yī yàng zuì rén。
jiè gǎng dà de jiào shì shàng kè， shàng kè xià kè jǐ dé hēi yā yā de 'āi 'āi cèng cèng， bàn tiān cái tōng guò， shí fēn bù biàn， bù miǎn yòu jì rén lí xià zhī gǎn。 xiāng gǎng yī bān rén duì guó shì mò bù guān xīn de tài dù yě shǐ rén fèn kǎi。 suī rán tóng xué duō shù jiā zài shěng chéng， fēi cháng jìn biàn， yě yòu xué shēng de xīn qíng。 yòu zhè me jǐ gè zuì tán dé lái de jiù xíng chéng liǎo yī gè xiǎo jí tuán。 wāng jīng wèi yīháng rén dào liǎo xiāng gǎng， wāng fū fù liǎ yǔ chén gōng bó děngdōu shì guǎng dōng rén， yòu gè fù guān yǔ kuàng yù mín shì xiǎo tóng xiāng。 kuàng yù mín qù zhǎo tā， yī lā jiāo qíng， dǎ tīng dào bù shǎo xiāo xī。 huí lái dà jiā qī zuǐ bā shé， dìng xià yī tiáo měi rén jì， yóu yī gè nǚ shēng qù jiē jìn yì tài tài héng héng bù néng shuō shì xué shēng， dà dū shì xué shēng zuì jī liè， tā men yòu jiè xīn。 shēng yì rén jiā de shàonǎi nǎi hái chā bù duō， yóu qí zài xiāng gǎng， méi yòu guó jiā sī xiǎng。 zhè juésè dāng rán yóu xué xiào jù tuán de dāng jiā huā dàn dān rèn。
jǐ gè rén lǐ miàn zhǐ yòu huáng lěi jiā lǐ yòu qián， suǒ yǐ shì tā bēn zǒu chóu kuǎn， zū fáng zǐ， jiè chē zǐ， jiè xíng tóu。 zhǐ yòu tā huì kāi chē， yīn cǐ yóu tā chōng dāng sī jī。
ōu yáng líng wén zuò mài xiān shēng。 kuàng yù mín suàn shì biǎo dì， péi zhe biǎo sǎo， dì yī cì yóu nà fù guān dài tā men qù jiē yì tài tài chū lái mǎi dōng xī。 kuàng yù mín jiù méi xià chē， chē zǐ xiān sòng tā yǔ fù guān gè zì huí jiā héng héng fù guān zuò zài qián zuò héng héng zài kāi tā men liǎ dào zhōng huán。
yì xiān shēng tā jiàn guò jǐ cì， dōubù guò diǎn tóu zhāo hū。 zhè tiān dì yī cì zuò xià lái yī zhuō dǎ pái， tā zhī dào tā bù shì bù zhù yì tā， bù guò bù gǎn mào mèi。 tā zì cóng shí 'èr sān suì jiù yòu rén zhuī qiú， tā yòu shù。 suī rán tā zhè shí qī shí fēn xiǎo xīn jǐn shèn， yě shí zài bié hěn liǎo， zhé jū wú liáo， xīn shì zhòng， yòu wú fǎ pái qiǎn， lián jiǔ dū bù gǎn hē， fáng wāng gōng guǎn suí shí yào zhǎo tā yòu shì。 gòng shì de liǎng duì fū fù hé lìn liǎo yīzhuàng jiù lóu， zhì duō guān qǐ mén lái dǎ dǎ xiǎo má jiāng。
pái zhuō shàng tí qǐ yì tài tài tì tā mǎi de hǎo jǐ tào xī zhuāng liào zǐ， yù bèi xiān zuò liǎng tào。 jiā zhī jiè shào yī jiā fú zhuāng diàn， shì tā men de shú cái féng。“ bù guò xiàn zài shì wàng jì， máng zhe zuò yóu kè shēng yì， néng gòu yī tuō jǐ gè yuè， zhè yàng hǎo liǎo， yì xiān shēng jǐ shí yòu kōng， yì tài tài dǎ gè diàn huà gěi wǒ， wǒ qù dài tā lái。 lǎo zhù gù liǎo， tā bù hǎo yì sī bù gǎn yī gǎn。” lín zǒu diū xià tā de diàn huà hào mǎ， yì xiān shēng chéng tā tài tài sòng tā chū qù， yī dìng huì chāo liǎo qù， guò liǎng tiān zhǎo gè jiè kǒu dǎ diàn huà lái tàn tàn kǒu qì， zài bàn gōng shí jiān nèi， mài xiān shēng bù zài jiā de shí hòu。
nà tiān wǎn shàng wēi yǔ， huáng lěi kāi chē jiē tā huí lái， yī tóng shàng lóu， dà jiādōu zài děng xìn。 yī cì kōng qián chéng gōng de yǎn chū， xià liǎo tái hái méi xià zhuāng， zì jǐ dū jué dé gù pàn jiān guāng yàn zhào rén。 tā shěbùdé tā men zǒu， hèn bù dé zài dào nà lǐ qù。 yǐ jīng xià bàn yè liǎo， kuàng yù mín tā men yòu bù tiào wǔ， zhǎo nà zhǒng tōng xiāo yíng yè de xiǎo guǎn zǐ qù chī jí dì yù yě hǎo， zài máo máo yǔ lǐ lǎo yuǎn yī lù zǒu huí lái， fēng dào tiān liàng。
dàn shì dà jiā jì yì guò yī zhèn zhī hòu， dū chén mò xià lái liǎo， ǒu 'ěr yòu yī liǎng gè rén qiǎo shēng jī gū liǎng jù， yòu shí hòu pū chī yī xiào。
nà chī xiào shēng yòu diǎn 'ěr shú。 zhè bù shì yī tiān de shì liǎo， tā zhī dào tā men zǎo jiù bèi hòu tǎo lùn guò。
“ tīng tā men shuō， zhè xiē rén lǐ hǎo xiàng zhǐ yòu liáng rùn shēng yī gè rén yòu xìng jīng yàn，”
lài xiù jīn gào sù tā。 chú tā zhī wài zhǐ yòu lài xiù jīn yī gè nǚ shēng。
piān piān shì liáng rùn shēng！
dāng rán shì tā。 zhǐ yòu tā piáo guò。
jì rán yòu xī shēng de jué xīn， jiù bù néng shuō bù gān xīn piányí liǎo tā。
jīn tiān wǎn shàng， yù zài wǔ tái zhào míng de yú huī lǐ， lián liáng rùn shēng dū bù shí fēn tǎo yàn liǎo。 dà jiā fǎng fó kàn chū lái， yī gè gèdōu liù liǎo， jiù shèng xià liáng rùn shēng。 yú shì xì jì xù yǎn xià qù。
yě bù zhǐ zhè yī yè。 dàn shì jiē lián jǐ tiān yì xiān shēng dōuméi dǎ diàn huà lái。 tā dǎ diàn huà gěi yì tài tài， yì tài tài méi jīng dǎ cǎi de， shuō zhè liǎng tiān máng， bù qù mǎi dōng xī， guò tiān zài dǎ diàn huà lái zhǎo tā。
shì yí xīn liǎo？ fā xiàn lǎo yì yòu tā de diàn huà hào mǎ？ hái shì dé dào liǎo huài xiāo xī， rì běn fāng miàn de？ zhé mó liǎo tā liǎng xīng qī zhī hòu， yì tài tài huān tiān xǐ dì dǎ diàn huà lái cí xíng， shí fēn bào qiàn zǒude cōng máng， lái bù jí jiàn miàn liǎo， jiān yāo tā fū fù liǎ dào shàng hǎi lái wán， duō zhù xiē shí chàng xù yī xià， hái yào dài tā men dào nán jīng qù yóu lǎn。 xiǎng bì zǒng shì huí nán jīng zǔ zhì zhèng fǔ de jìhuà yī dù gē qiǎn， suǒ yǐ qián yī xiàng xiāo shēng nì jì qǐ lái。
huáng lěi tuō liǎo yī pì gǔ de zhài。 jiā lǐ tīng jiàn shuō tā zài xiāng gǎng gēn yī gè wǔ nǚ lìn wū tóng jū liǎo， yòu duàn jué liǎo tā de jiē jì， láng bèi wàn fēn。
tā yǔ liáng rùn shēng zhī jiān zǎo jiù yǐ jīng hěn jiāng。 dà jiādōu zhī dào tā shì 'ào huǐ liǎo， yědōu duǒ zhe tā， zài yī qǐ shāng liàng de shí hòu dōubù zhèng yǎn kàn tā。
“ wǒ shǎ。 fǎn zhèng jiù shì wǒ shǎ，” tā duì zì jǐ shuō。
yě shèn zhì yú zhè cì dà jiā qǐhòng pěng tā chū mǎ de shí hòu， jiù yǐ jīng yòu rén bié jù yòng xīn liǎo。
tā bù dàn duì liáng rùn shēng yào bì xián yí， gēn tā men zhè yī huǒ réndōu shū yuǎn liǎo， zǒng jué dé tā men yòng hàoqí de yì yàng de yǎn guāng kàn tā。 zhēn zhū gǎng shì biàn hòu， hǎi lù yī tōng， dū zhuǎn xué dào shàng hǎi qù liǎo。 tóng shì lún xiàn qū， shàng hǎi hái yòu shū kě niàn。 tā méi gēn tā men yī kuài zǒu， zài shàng hǎi yě méi yòu lái wǎng。
yòu hěn jiǔ tā dōubù què dìng yòu méi yòu rǎn shàng shénme zàng bìng。
zài shàng hǎi， dǎo gěi tā men gēn yī gè dì xià gōng zuò zhě dā shàng liǎo xiàn。 yī gè xìng wú de héng héng xiǎng bì yě bù shì zhēn xìng wú héng héng yī tīng tā men yòu zhè yàng bǎo guì de yī tiáo lù zǐ， dāng rán jí lì gǔ lì tā men jìn xíng。 tā men zhǐ hǎo yòu lái zhǎo tā， tā yě yì bù róng cí。
shì shí shì， měi cì gēn lǎo yì zài yī qǐ dū xiàng xǐ liǎo gè rè shuǐ zǎo， bǎ jī yù dū chōng diào liǎo， yīn wéi yī qiēdōu yòu liǎo gè mùdì。
zhè kā fēi guǎn mén kǒu xiǎng bì yòu rén wàng fēng， kàn jiàn tā zài qì chē lǐ， jiù huì qù tōng zhī yī qiē tí qián。 gāng cái lái de shí hòu dǎo méi kàn jiàn yòu rén zài fù jìn dòu liú。 héng jiē duì miàn de píng 'ān xì yuàn zuì lǐ xiǎng liǎo， láng zhù xià de yīn yǐng zhōng yòu yǎn bì， xì yuàn mén kǒu děng rén yòu míng zhèng yán shùn， bù guò mén qián de chǎng dì tài kōng kuàng， jù lí tài yuǎn， kàn bù qīng chǔ qì chē lǐ de rén。
yòu gè sòng huò de dān chē， tíng zài gé bì wài guó rén kāi de pí huò diàn mén kǒu， fǎng fó chē huài liǎo， zài jiǎn shì xiū lǐ。 tì xiǎo píng tóu， yuē yòu sān shí lái suì， dī zhe tóu， kàn bù qīng chǔ， dàn xiǎn rán bù shì shú rén。 tā jué dé bù huì shì jiē yìng de chē zǐ。 yòu xiē huà tā men bù gào sù tā tā yě bù wèn， dàn shì tīng shàng qù hái shì tā men yuán bān rén mǎ。 héng héng yòu nà gè wú bāng máng， yě shuō bù dìng gǎo dé dào qì chē。 nà liàng chūchāi qì chē yào shì hái tíng zài nà lǐ， yě xǔ jiù shì jiē yìng de， sī jī nà jiù shì huáng lěi liǎo。 tā gāng cái lái de shí hòu chē zǐ bèi duì zhe tā， kàn bù jiàn sī jī。
wú dà gài hái shì bù dà xìn rèn tā men， pà tā men tài nèn， huì chū luàn zǐ dài lěi rén。 tā bù jiàn dé yī gè rén dān qiāng pǐ mǎ zài shàng hǎi， dàn shì shǐ zhōng jiù shì tā yī gè rén gēn kuàng yù luò。
xǔ liǎo xī shōu tā men jìn zǔ zhì。 dà gài zhè cì suàn shì gè kǎo yàn。
“ tā mendōu shì chàbù duō qiāng kǒu tiē zài rén shēn shàng kāi qiāng de， nǎ xiàng diàn yǐng lǐ gé dé lǎo yuǎn miáo zhǔn。” kuàng yù mín yòu yī cì xiào zhe gào sù tā。
dà gài yě shì jiào tā 'ān xīn de huà， bù huì luàn qiāng zhī xià yāng jí chí yú， bù dǎ sǐ yě chéng liǎo cán fèi， hái bù rú sǐ liǎo。
zhè shí hòu dào lín tóu， yòu shì yī zhǒng zī wèi。
shàng chǎng huāng， yī shàng qù jiù hǎo liǎo。
děng zuì nán 'áo。 nán rén hái kě yǐ chōu yān。 xū piāo piāo kōng lāo lāo de， jiǎn zhí bù zhī dào shēn zài hé suǒ。 tā dǎ kāi shǒu tí dài， qǔ chū yī píng xiāng shuǐ， bō lí píngsāi lián zhe yī gēn xiǎo bō lí gùn zǐ， zhàn liǎo xiāng shuǐ zài 'ěr chuí bèi hòu yī mǒ。 wēi liáng yòu lēng， yī piàn kōng máng zhōng zhǐ yòu zhè diǎn jiē chù。 zài mǒ nà biān 'ěr duǒ dǐ xià， bàn shǎng cái wén jiàn duǎn duǎn yī lǚ zhī zǐ huā xiāng。
tuō xià dà yī， zhǒu wān lǐ miàn yě chá liǎo xiāng shuǐ， hái méi lái dé jí zài chuān shàng， gé zhe chú chuāng lǐ de bái sè sān céng jié hūn dàn gāo mù zhì mó xíng， yǐ jiàn yī liàng qì chē kāi guò lái， yī wàng 'ér zhī shì tā de chē， bèi hòu méi duǒ zhe nà bù yǎ guān de shāo mù tàn de bǎn xiāng。
tā jiǎn qǐ dà yī shǒu tí dài， wǎn zài bì shàng zǒu chū qù。 sī jī yǐ jīng xià chē dài kāi chē mén。 yì xiān shēng zuò zài kào lǐ nà biān。
“ lái wǎn liǎo， lái wǎn liǎo！” tā hā zhe yāo nán nán shuō zhe， zuò wéi dào qiàn。
tā zhǐ kàn liǎo tā yī yǎn。 shàng liǎo chē， sī jī huí dào qián zuò， tā gào sù tā“ fú kāi sēn lù”。 nà shì tā men shàng cì qù de gōng yù。
“ xiān dào zhè 'ér yòu pán diàn，” tā dī shēng xiàng tā shuō，“ wǒ 'ěr huán shàng diào liǎo kē xiǎo zuàn， yào ná qù xiū。 jiù zài zhè 'ér， bù rán gāng cái zǒu zǒu guò qù jiù shì liǎo， yòu pà nǐ lái liǎo zhǎo bù dào rén， zuò nà 'ér shǎ děng， děng zhè bàn tiān。”
tā xiào dào：“ duì bù qǐ duì bù qǐ， jīn tiān zhēn lái wǎn liǎo héng héng yǐ jīng chū lái liǎo， yòu lái liǎo liǎng gè rén， yòu bù néng bù jiàn。” shuō zhe biàn tàn shēn xiàng sī jī dào：“ xiān huí dào gāng cái nà 'ér。” zǎo kāi guò liǎo yī tiáo jiē。
tā juē zhe zuǐ nán nán shuō dào：“ jiàn yī miàn zhè me má fán， zhù nǐ men nà 'ér yòu yī jù huà dōubù néng shuō héng héng wǒ huí xiāng gǎng qù liǎo， tuō nǐ mǎi zhāng hǎo diǎn de chuán piào zǒng xíng？”
“ yào huí qù liǎo？ xiǎng xiǎo mài liǎo？”
“ shénme xiǎo mài dà mài， hái yào tí zhè gè rén héng héng qì dū qì sǐ liǎo！”
tā shuō guò tā shì bào fù zhàng fū wán wǔ nǚ。
yī zuò dìng xià lái， tā jiù bào zhe gēbo， yī zhǐ zhǒu wān zhèng dǐ zài tā zuì féi mǎn de nán bàn qiú wài yuán。 zhè shì tā de guàn jì， biǎo miàn shàng duān zuò， àn zhōng què zài shí gǔ xiāo hún， yī zhèn zhèn má shàng lái。
tā yī niǔ shēn fú zài chē chuāng shàng wǎng wài kàn， miǎn dé yòu kāi guò liǎo。 chē dào xià yī gè shí zì lù kǒu fāng cái dà zhuǎn wān zhé huí。 yòu yī gè Ｕ xíng dà zhuǎn wān， cóng yì lì bǐng gān xíng guò jiē dào píng 'ān xì yuàn， quán shì wéi yī de yī gè qīng jié de 'èr lún diàn yǐng yuàn， huī hóng 'àn huáng 'èr sè zhuān qì de mén miàn， yòu yī zhǒng zhēn zhì cū ní de wēn nuǎn gǎn， zhěng gè jiàn zhù yuán yuán de cháo lǐ 'āo， chéng wéi yī gōu xīn yuè qiē guò lù jiǎo， mén qián shí fēn kuān chǎng。 duì miàn jiù shì gāng cái nà jiā kǎi sī lìng kā fēi guǎn， rán hòu xī bó lì yà pí huò diàn， lǜ wū fū rén shí zhuāng diàn， bìng pái liǎng jiā sì gè dà chú chuāng， huá guì de mù zhì mó tè 'ér zài ní hóng dēng hòu bǎi chū gè zhǒng zī tài。 gé bì yī jiā xiǎo diàn yī bǐ gèng bù qǐ yǎn， chú chuāng lǐ kōng wú yī wù， zhāo pái shàng suī yòu yīng wén“ zhū bǎo shāng” zì yàng， yě kàn bù chū shì zhū bǎo diàn。
tā zhuǎn gào sī jī tíng xià， xià liǎo chē gēn zài tā hòu miàn jìn qù。 tā chuānzhuó gāo gēn xié bǐ tā gāo bàn gè tóu。 bù rán yě jiù bù chuān zhè me gāo de gēn liǎo， tā xiǎn rán bìng bù jiè yì。 tā fā xiàn dà gè zǐ wǎng wǎng xǐ huān jiāo xiǎo líng lóng de nǚ rén， dǎo shì 'ǎi xiǎo de nán rén xǐ huān nǚ rén gāo xiē， yě xǔ shì yī zhǒng bǔ cháng de xīn lǐ。 zhī dào tā zài kàn， gèng ruǎn yáng yáng dì 'āo zhe yāo。 yāo xì， wǎn ruò yóu lóng yóu jìn bō lí mén。
yī gè chuān xī zhuāng de yìn dù diàn yuán shàng qián zhāo hū。 diàn táng suī xiǎo， dǎo yě gāo shuǎng chǎng liàng， zhǐ shì xuě dòng shìde guāng tā tā yī wú suǒ yòu， kào lǐ shè zhe wéi yī de duǎn duǎn yī zhǐ bō lí guì tái， chén liè zhe yī xiē“ dàn chén shí” héng héng 'àn zhào shēng rì yuè fèn， dài liǎo yùn qì hǎo de， huáng shí yīng zhī lèi de“ bàn bǎo shí”， hóng lán bǎo shí dōushì bǎo shí fěn zhì de。
tā zài shǒu tí dài lǐ qǔ chū yī zhǐ lí xíng hóng bǎo shí 'ěr zhuì zǐ， shàng miàn suì zuàn pīn chéng de yè zǐ diū liǎo yī lì zuàn。
“ kě yǐ pèi，” nà yìn dù rén kàn liǎo shuō。
tā wèn liǎo duō shǎo qián， jǐ shí yòu， yì xiān shēng biàn dào：“ wèn tā yòu méi yòu hǎo diǎn de jiè zhǐ。” tā shì liú rì de， yīng wén bù kěn shuō， zǒng shì duān zhe guān jià zǐ děng rén fān yì。
tā dùn liǎo dùn fāng dào：“ gànshénme？”
tā xiào dào：“ wǒ men bù shì yào mǎi gè jiè zhǐ zuò jì niàn má？ jiù shì zuàn jiè hǎo bù hǎo？ yào hǎo diǎn de。”
tā yòu dùn liǎo dùn， ná tā wú kě nài hé sì dì xiào liǎo。“ yòu méi yòu zuàn jiè？”
tā qīng shēng wèn。
nà yìn dù rén yī yáng liǎn， zhāoshàng fā shēng hǎn， jī li wā lā xiǎng shì yìn dù huà， dǎo xià liǎo tā men yī tiào， suí jí yǐn lù shàng lóu。
gé duàn diàn táng hòu shēn de bǎn bì qī nǎi yóu sè， kào biān yòu gè mén， mén kǒu jiù shì hēi dòng dòng de xiǎo lóu tī。 bàn gōng shì zài liǎng céng lóu zhī jiān de yī gè gé lóu shàng， shì gè qiǎn qiǎn de yáng tái， fǔ kàn diàn táng， biàn yú jiān dū。 yī jìn mén zuǒ shǒu qiáng shàng guà zhe cháng duǎn bù qí liǎng zhǐ jìng zǐ， jìng miàn huà zhe wǔ cǎi huā niǎo， jīn zì tí kuǎn：“ péng chéng wàn lǐ bā dá xiān shēng kāi yè zhì xǐ chén mào kūn jìng hè”， dōushì rén sòng de。 hái yòu yī zhǐ
héng 'é shì dà jìng， shàng huà cǎi fèng mǔ dān。 gé lóu wū dǐng pō xié， bǎn bì shàng méi chù guà， yǐ zài qiáng gēn。
qián miàn yán zhe wū mù lán gān fàng zhe zhāng shū zhuō， zhuō shàng yòu diàn huà， diǎn zhe tái dēng。
bàng biān yòu zhǐ chájī gē dǎ zì jī， zhào zhe jiù qī bù tào zǐ。 yī gè 'ǎi pàng de yìn dù rén cóng juàn yǐ shàng zhàn qǐ lái zhāo hū， dài nuó yǐ zǐ； yī zhāng cāng hēi de dà liǎn， shī zǐ bí。
“ nǐ men yào kàn zuàn jiè。 zuò xià， zuò xià。” tā màn tūn tūn tiǎn zhe dù zǐ zǒu xiàng wū yú， fǔ shēn qù kāi yī zhǐ gǔ jiù de lǜ tǎn miàn xiǎo 'ǎi bǎo xiǎn xiāng。
zhè nǎ xiàng gè zhū bǎo diàn de qì pài？ yì xiān shēng miàn bù gǎi sè， jiā zhī dǎo zhēn yòu diǎn bù hǎo yì sī。 tīng shuō xiàn zài yòu xiē diàn bù guò shì gè huǎng zǐ， jiù kào tún jī huò shì zuò hēi shì jīn chāo。 wú xuǎn zhōng zhè pán diàn zǒng shì wèile dì duàn， lí kǎi sī lìng yòu jìn。 gāng cái shàng lóu de shí hòu tā dǎo shì xiǎng zhe， xià qù de shí hòu zhēn shì wèng zhōng zhuō biē héng héng tā yòu shēn shì pài， zài lóu tī shàng zǒu zài tā qián miàn， yī tà jìn diàn táng， bàng biān jiù shì guì tái。 guì tái qián de liǎng gè gù kè zhèng hǎo lán zhù qù lù。 bù guò liǎng gè nán rén xuǎn gòu lián jià bǎo shí xiù kòu lǐng zhēn， yǔ sòng nǚ péng yǒu de xiǎo lǐ wù， bù néng zhēn zhuó guò jiǔ， bù xiàng nǚ rén mó gū。 yào kòu zhǔn shí jiān， bù néng jìn lái dé tài zǎo， yě bù néng zài wài miàn pái huái héng héng tā de sī jī zuò zài chē zǐ lǐ， huì qǐ yí。 yào yī jìn lái jiù jìn lái， dǐng duō zài pí huò diàn kàn kàn chú chuāng， zài chē zǐ bèi hòu hǎo liǎng zhàng chù， gé liǎo yī jiā mén miàn。
tā zuò zài shū zhuō biān， rěn bù zhù huí guò tóu qù wàng liǎo wàng lóu xià， zhǐ kàn dé jiàn chú chuāng， bō lí ~* jià dū kōng zhe， chuāng míng jǐ jìng， lián ní hóng guāng guǎn dōuméi zhuāng， chuāng wài rén hángdào biān tíng zhe qì chē， kàn dé jiàn chē shēn xià yuán。
liǎng gè nán rén yī kuài lái mǎi dōng xī， yě xǔ yòu diǎn chù mù， bù dàn kě néng yǐn qǐ sī jī de zhù yì， shèn zhì yú tā zài gé lóu shàng kàn jiàn liǎo yě fàn yí xīn， é yán zhe bù xià lái。 lüè yī jiāng chí jiù bù duì liǎo。 xiǎng bì tā men bù huì jìn lái， hái shì zài mén kǒu lán jié。 nà jiù gèng nán kòu zhǔn shí jiān liǎo， yòu bù néng páo guò lái， páo bù shēng mǎ shàng huì huàn qǐ sī jī de zhù yì。 héng héng zhǐ dài yī gè sī jī， kě néng jiān rèn bǎo biāo。
yě xǔ liǎng gè rén fēn bù liǎng biān， yī gè dài zhe lài xiù jīn zài tiē gé bì lǜ wū fū rén mén qián kàn chú chuāng。 nǚ hái zǐ kàn zhōng liǎo mǎi bù qǐ de shí zhuāng， nà shì suí biàn zhàn duō jiǔ dū xíng。 nán péng yǒu děng dé bù nài fán， jìn kě yǐ bèi duì zhe chú chuāng dōng zhāng xī wàng。
zhè xiē tā yědōu mó hú dì xiǎng dào guò， míng zhī bù guān tā shì， bù yào tā guǎn。 zhè shí hòu yīn wéi bù zhī dào xià yī bù zěn yàng， zài zhè xiǎo lóu shàng nán miǎn jué dé shì gāo zuò zài huǒ yào tǒng shàng， mǎ shàng jiù yào gěi zhà fēi liǎo， liǎng tiáo tuǐ dōuyòu diǎn xū ruǎn。
nà diàn yuán yǐ jīng xià qù liǎo。
dōng jiā huǒ jì yī hēi yī bái， bù xiàng fù zǐ。 bái liǎn de yī liǎn dōu sāi qīng hú zǐ zhā， hòu yǎn jiǎn shuì chén chén bàn hé zhe， gè zǐ yě bù gāo， què shí fēn zhuàng shuò， kàn lái shì gè liǎng yòng de diàn huǒ jiān jǐng wèi。 guì tái wèi zhì zhè me hòu， chú chuāng yòu kōng kōng rú yě， xiǎng bì shì bái tiān yě pà qiǎng héng héng wǎn shàng yòu tiě tiáo lā mén。 nà yě hái yòu diǎn zhí qián de dōng xī？ jiù pà bù guò shì huáng jīn měi chāo yín yáng。
què jiàn nà diàn zhù qǔ chū yī zhǐ chǐ lái cháng de hēi sī róng bǎn， yī duān lüè xiǎo xiē， shàng miàn yī gè gè féng yǎn qiàn mǎn zuàn jiè。 tā fú zài zhuō shàng kàn， yì xiān shēng zài tā bàng biān yě còu jìn liǎo xiē lái kàn。
nà diàn zhù jiàn tā 'èr rén háo wú fǎn yìng， yě méi zhāi xià yī zhǐ lái kàn kàn， biàn yòu sòng huí bǎo xiǎn xiāng dào：“ wǒ hái yòu zhè zhǐ。” zhè zhǐ zhuāng zài shēn lán sī róng xiǎo hé zǐ lǐ， shì fěn hóng zuàn shí， yòu wān dòu dà。
bù shì shuō fěn hóng zuàn yě shì yòu jià wú shì？ tā zhèng liǎo zhèng， bù jìn rú shì zhòng fù。
kàn bù chū zhè pán diàn， zǒng suàn tì tā zhēng huí liǎo miàn zǐ， bù rán bǎ tā dài dào zhè me gè pò dì fāng lái héng héng qiāo zhú gàng yòu bù zài xíng， xiǎo guǎng dōng dào shàng hǎi， chéng liǎo“ dà xiāng lǐ”。 qí shí mǎ shàng qiāng shēng yī xiǎng， yǎn qián zhè yī qiēdōu fěn suì liǎo， hái yòu shénme miàn zǐ bù miàn zǐ？ míng zhī rú cǐ， xīn lǐ bù xìn， yīn wéi quán shén zài kàng jù zhe， dì yī shì bù gǎn cháo zhè shàng miàn qù xiǎng， shēn kǒng shén sè yòu yì， bèi tā kàn chū lái。
tā ná qǐ nà zhǐ jiè zhǐ， tā zhǐ jiù tā shǒu zhōng kàn liǎo kàn， qīng shēng xiào dào：“ ài， zhè zhǐ hǎo xiàng hǎo diǎn。”
tā nǎo hòu yòu diǎn hán sōu sōu de， lóu xià liǎng biān chú chuāng， zhōng qiàn bō lí mén， yī piàn jīng chè， zài tā bèi hòu zhǎn kāi， jiù xiàng yòu liǎng céng lóu gāo de luò dì dà chuāng， suí shí dōukě yǐ bào pò。 yī fāng miàn zhè xiǎo diàn shuì chén chén de， zhǐ yǐn yǐn tīng jiàn shì shēng héng héng zhàn shí jiē shàng bù dà yòu qì chē， nán dé qìn shēng lá bà。 nà chén hān de kōng qì wēn nuǎn de zhòng yā， xiàng mián bèi dǎo zài liǎn shàng。 yòu bàn gè tā zài shú shuì， shēn zài mèng zhōng， zhī dào mǎ shàng jiù yào chū shì liǎo， yòu huǎng hū zhī dào bù guò shì gè mèng。
tā bǎ jiè zhǐ jiù zhe tái dēng de guāng fān lái fù qù xì kàn。 zài zhè yōu 'àn de yáng tái shàng， bèi hòu míng liàng de chú chuāng yǔ bō lí mén shì yín mù， zài fàng yìng yī zhāng hēi bái dòng zuò piàn， tā bù rěn kàn yī gè liúxiě chǎng miàn， huò shì jiàndié shòu xíng xùn， gèng chù mù jīng xīn， tā xiǎo shí hòu yě jiù pà kàn， huì zài lóu zuò qián pái diào guò shēn lái bèi duì zhe lóu xià。
“ liù kè lā。 dài shàng shì shì。” nà diàn zhù shuō。
tā zhè 'ān yì de xiǎo yīng cháo zhí dé liú liàn。 qiáng gēn xié yǐ zhe de dà jìng zǐ zhào zhe tā de jiǎo， tà zài mǔ dān huā cóng zhōng。 shì tiān fāng yè tán lǐ de shì chǎng， cái huì wú yì zhōng fā xiàn qí zhēn yì bǎo。 tā bǎ nà fěn hóng zuàn jiè dài zài shǒu shàng cè guò lái cè guò qù dì kàn， yǔ tā méi guī hóng de zhǐ jiá yóu yī bǐ， qí shí bù guò wēi hóng， yě bù tài dà， dàn shì guāng tóu jí zú， liàng shǎn shǎn de， yì xīng yī yàng， hóng dé yòu zhǒng shén mì gǎn。 kě xī bù guò shì wǔ tái shàng de xiǎo dào jù， ér qiě zhǐ yòng zhè me yī huì gōng fū， shǐ rén gǎn dào chóu chàng。
“ zhè zhǐ zěn me yàng？” yì xiān shēng yòu shuō。
“ nǐ kàn ní？”
“ wǒ wài xíng。 nǐ xǐ huān jiù shì liǎo。”
“ liù kè lā。 bù zhī dào yòu méi yòu máo bìng， wǒ shì kàn bù chū lái。”
tā men zhǐ guǎn zì jǐ xì shēng tán xiào。 tā shì nèi dì xué xiào chū shēn， suī rán guǎng zhōu kāi shāng bù zuì zǎo， bìng bù xiàng xiāng gǎng de shū yuàn zhù zhòng yīng wén。 tā bù dé bù shuō yīng yǔ de shí hòu zǒng shì shēng yīn jí dī。 zhè yìn dù lǎo bǎn jiàn yán yǔ bù dà tōng， bǎ shēng yì jīng dū miǎn liǎo。 sān yán liǎng yǔ jiǎng tuǒ jià qián， shí yī gēn dà tiáo zǐ， míng tiān sòng lái， fèn liàng bù zú zhào bǔ， duō liǎo zhǎo hái。
zhǐ yòu yī qiān líng yī yè lǐ cái yòu zhè yàng de shì。 yòng jīn zǐ， yě shì tiān fāng yè tán lǐ de shì。
tài kuài liǎo tā yòu yòu diǎn dān xīn。 tā men dà gài xiǎng bù dào chū lái dé zhè me kuài。 tā cóng wǔ tái jīng yàn shàng zhī dào， jiù shì tái cí zhàn de shí jiān zuì duō。
“ yào tā kāi gè dān zǐ bā？” tā shuō。 xiǎng bì míng tiān zǒng shì yù bèi pài rén lái， sòng tiáo zǐ lǐng huò。
diàn zhù yǐ jīng zài kāi dān jù。 jiè zhǐ yě tuō xià lái hái liǎo tā。
bù miǎn gǎn dào chéng jiāo hòu de qīng sōng， liǎng rén bìng zuò zhe， dū wǎng hòu kào liǎo kào。 zhè yī chà nà jiān fǎng fó zhǐ yòu tā men liǎ zài yī qǐ。
tā qīng shēng xiào dào：“ xiàn zài dōushì tiáo zǐ。 lián dìng qián dōubù yào。”
“ hái hǎo bù yào， wǒ chū lái cóng lái bù dài qián。”
tā gēn tā men hùn liǎo zhè xiē shí， yě zhī dào zǒng shì fù guān fù zhàng， tè quán jiē jí cóng lái bù zì jǐ kǒu dài lǐ tāo qián de。 jīn tiān chū lái dāng rán méi dài fù guān， wèile bǎo mì。
yīng wén yòu zhè huà：“ quán shì shì yī zhǒng chūn yào。” duì bù duì tā bù zhī dào。 tā shì zuì wán quán bèi dòng de。
yòu yòu zhè jù yàn yǔ：“ dào nán rén xīn lǐ qù de lù tōng guò wèi。” shì shuō nán rén hàochī， pèng shàng huì zuò cài kuǎn dài tā men de nǚ rén， róng yì shàng gōu。 yú shì jiù yòu rén shuō：“ dào nǚ rén xīn lǐ de lù tōng guò。” jù shuō shì chū nián jīng tōng yīng wén de nà wèi míng xué zhě shuō de， míng zì tā jiào bù chū， jiù xiǎo dé tā tì zhōng guó rén duō qī biàn hù de nà jù míng yán：“ zhǐ yòu yī zhǐ chá hú jǐ zhǐ chá bēi， nǎ yòu yī zhǐ chá hú yī zhǐ chá bēi de？”
zhì yú shénme nǚ rén de xīn， tā jiù bù xìn míng xué zhě shuō dé chū nà yàng xià zuò de huà。 tā yě bù xiāng xìn nà huà。 chú fēi shì shuō lǎo liǎo dàotiē de fēng chén nǚ rén， huò shì fēng liú guǎ fù。 xiàng tā zì jǐ， bù shì běn lái tǎo yàn liáng rùn shēng， zhǐ yòu gèng tǎo yàn tā？
dāng rán nà yě xǔ bù tóng。 liáng rùn shēng yī zhí tǎo rén xián guàn liǎo， méi zì xìn xīn， ér qiě yī xiàng jiàn liǎo tā zì cán xíng huì， yòu diǎn pà tā。
nà， nán dào tā yòu diǎn 'ài shàng liǎo lǎo yì？ tā bù xìn， dàn shì yě wú fǎ zhǎn dīng jié tiě dì shuō bù shì， yīn wéi méi liàn 'ài guò， bù zhī dào zěn me yàng jiù suàn shì 'ài shàng liǎo。
cóng shí wǔ liù suì qǐ tā jiù zhǐ gù máng zhe dǐ dǎng gè fāng miàn lái de gōng shì， zhè yàng de nǚ hái zǐ bù dà róng yì zhuì rù 'ài hé， dǐ kàng lì tài qiáng liǎo。 yòu yī zhèn zǐ tā yǐ wéi tā kě néng huì xǐ huān kuàng yù mín， jiēguǒ hòu lái hèn tā， hèn tā gēn nà xiē bié rén yī yàng。
gēn lǎo yì zài yī qǐ nà liǎng cì zǒng shì nà me tí xīn diào dǎn， yào chù chù liú shén， nǎ hái qù wèn zì jǐ jué dé zěn yàng。 huí dào tā jiā lǐ， yòu shì fēng shēng hè lì， yī xī shù jīng。 tā men shuìde wǎn， hǎo róng yì huí dào zì jǐ fáng jiān lǐ， jiù zhǐ gòu máng zhe chī kē 'ān mián yào， hǎohǎo dì shuì yī jué liǎo。 kuàng yù mín gěi liǎo tā yī xiǎo píng， jiào tā zuì hǎo bù yào chī， wàn yī shàng wǔ yòu shénme shì fā shēng， xū yào nǎo zǐ qīng xǐng diǎn。 dàn shì bù chī jiù shuì bù zhe， tā shì cóng lái bù nào shī mián zhèng de rén。
zhǐ yòu xiàn zài， jǐn zhāng dé lā cháng dào yǒng héng de zhè yī chà nà jiān， zhè shì nèi xiǎo yáng tái shàng yī dēng yíng rán， yìng chèn zhe lóu xià mén chuāng shàng yī piàn bái sè de tiān guāng。 yòu zhè yìn dù rén zài bàng biān， zhǐ yòu gèng jué dé shì tā men liǎ zài dēng xià dān dú xiāng duì， yòu mìqiè yòu jū shù， hái cóng lái méi yòu guò。 dàn shì jiù lián cǐ kè tā yě zài yě bù huì xiǎng dào tā 'ài bù 'ài tā， ér shì héng héng
tā bù zài kàn tā， liǎn shàng de wēi xiào yòu diǎn bēi 'āi。 běn lái yǐ wéi xiǎng bù dào zhōng nián yǐ hòu hái yòu zhè yàng de qí yù。 dāng rán yě shì quán shì de mó lì。 nà dǎo hái yóu kě， tā de quán lì yǔ tā běn rén duō shǎo shì fēn bù kāi de。 duì nǚ rén， lǐ yě shì fēi sòng bù kě de， bù guò sòng zǎo liǎo jiù xiàng shì kàn bù qǐ tā。 míng zhī shì zhè me huí shì， bù ràng tā zì wǒ táo zuì yī xià， bù miǎn wǔ rán。
péi huān chǎng nǚ zǐ mǎi dōng xī， tā shì lǎo shǒu liǎo， zhǐ yī bàng suí shì， zǒng shǐ rén bù zhù yì tā。 cǐ kè de wēi xiào yě sī háo bù dài fěng cì xìng， bù guò yòu diǎn bēi 'āi。 tā de cè yǐng yíng zhe tái dēng， mù guāng xià shì， jié máo xiàng mǐ sè de 'é chì， xiē luò zài shòu shòu de miàn jiá shàng， zài tā kàn lái shì yī zhǒng wēn róu lián xī de shén qì。
zhè gè rén shì zhēn 'ài wǒ de， tā tū rán xiǎng， xīn xià hōng rán yī shēng， ruò yòu suǒ shī。
tài wǎn liǎo。
diàn zhù bǎ dān jù dì gěi tā， tā wǎng shēn shàng yī chuài。
“ kuài zǒu，” tā dī shēng shuō。
tā liǎn shàng yī dāi， dàn shì lì kè míng bái liǎo， tiào qǐ lái duó mén 'ér chū， mén kǒu suī rán méi rén， xū yào yī bǎ zhuā zhù mén kuàng， yīn wéi yī tà chū qù mǎ shàng yào zhuā zhù lóu tī fú shǒu， lóu tī jì zhǎi yòu hēi jiū jiū de。 tā tīng jiàn tā lián cèng dài páo， sān jiǎo liǎng bù xià qù， tī jí shàng bù guī zé de gū dōng qī cā shēng。
tài wǎn liǎo。 tā zhī dào tài wǎn liǎo。
diàn zhù zhèng zhù liǎo。 tā yě zhī dào tā men xíng jì kě yí， zhǐ hǎo zuò zhe bù dòng， zhǐ bié guò shēn qù kàn lóu xià。 qī bù zhuān shàng dā dā dā yī zhèn pí xié shēng， tā yǐ jīng chōng rù shì xiàn nèi， yī tuī mén， pào dàn sì dì zhí shè chū qù。 diàn yuán jǐn gēn zài hòu miàn chū xiàn， tā zhèng dān xīn zhè bǎo biāo shēn pī de yìn dù rén huì lā lā chě chě， wèn shì zěn me huí shì， dān gē jǐ miǎo zhōng yě huì wù shì， dàn shì dà gài kàn zài nà guān fāng qì chē fèn shàng， bìng méi lán zǔ， zhǐ zhàn zài mén kǒu guān wàng， jiǎn yǐng hǔ bèi xióng yāo dǔ zhù liǎo mén。 zhǐ tīng jiàn qì chē zī de yī shēng jiān jiào， fǎng fó zhí sǒng qǐ lái， pēng！ guān shàng chē mén héng héng hái shì qiāng jī？ héng héng héng chōng zhí zhuàng kāi zǒu liǎo。
fàng qiāng sì hū bù huì zhǐ fàng yī qiāng。
tā dìng liǎo dìng shén。 méi tīng jiàn qiāng shēng。
yī sōng liǎo kǒu qì， tā hún shēn pí ruǎn xiàng shēng liǎo chǎng dà bìng yī yàng， zhī chēng zhe ná qǐ dà yī shǒu tí dài zhàn qǐ lái， diǎn diǎn tóu xiào dào：“ míng tiān。” yòu dī shēng nán nán shuō dào：“ tā wàng liǎo yòu diǎn shì， gǎn shí jiān， xiān zǒu liǎo。”
diàn zhù dǎo yǐ jīng kòu shàng dú mù xiǎn wēi jìng， xuán zhǔn liǎo dù shù， kàn guò zhè zhǐ jiè zhǐ méi diào bāo， fāng cái wēi xiào qǐ shēn xiāng sòng。
yě bù guài tā yí xīn。 gāng cái jiǎng jià qián de shí hòu tài shuǎng kuài liǎo yě shì yī gè yuán yīn。 tā cōng cōng xià lóu， nà diàn yuán jiàn tā yě xià lái liǎo， dùn liǎo dùn méi shuō shénme。 tā zài mén kǒu què tīng jiàn lǐ miàn lóu shàng lóu xià hǎn huà。
mén kǒu gāng qiǎo méi yòu sān lún chē。 tā xiàng xī mó lù nà tóu zǒu qù。 zhí xíng de rén yǔ jiē yìng de yī dìng dū páo liǎo， jiàn tā zhè yàng yī gè rén cāng huáng páo chū lái shàng chē táo zǒu， dāng rán zhī dào shì qíng bài lù liǎo。 tā réng jiù zhuì zhuì， wàn yī yòu hòu mén bǎ fēng de bù jiē tóu， hái zài zhè fù jìn。 qí shí zhuàng jiàn liǎo yòu zěn yàng？ yí xīn tā jiù bù huì zǒu shàng qián lái zhì wèn tā。 jiù shì yí xīn， yě bù huì bù wèn qīng hóng zào bái jiù bǎ tā zhí xíng liǎo。
tā yòu diǎn chà yì tiān hái méi hēi， fǎng fó zài lǐ miàn bù zhī dài liǎo duō shǎo shí hòu。 rén xíng dào shàng xī lái rǎng wǎng， mǎ lù shàng yī liàng liàng sān lún chí guò， jiù shì méi yòu kōng chē。 chē rú liú shuǐ， yǔ lù shàng xíng réndōu gēn tā gé zhe céng bō lí， jiù xiàng chú chuāng lǐ zhǎn lǎn pí dà yī yǔ biān fú xiù làn yín yī qún de mù měi rén yī yàng kě wàng 'ér bù kě jí， yě gēn tā men yī yàng xián shì zì rú， zhǐ yòu tā yī gè rén xīn huāng yì luàn guān zài wài miàn。
xiǎo xīn bù yào bèi hòu lái liàng mù tàn qì chē， yī chà chē kāi liǎo chē mén， shēn chū shǒu lái bǎ tā tuō shàng chē qù。
píng 'ān xì yuàn qián miàn de chǎng dì kōng dàng dàng de， bù shì sàn chǎng shí jiān， yě méi yòu sān lún chē jù jí。 tā zhèng chóu chú jiān， jiǎo bù màn liǎo xià lái， yī huí tóu què jiàn duì jiē rǎn rǎn lái liǎo yī liàng， lǎo yuǎn de jiù kàn jiàn bǎ shǒu shàng shuān zhe yī zhǐ zhǐ zhā hóng lǜ bái sān sè xiǎo fēng chē。 chē fū shì gè gāo gè zǐ nián qīng rén， zài zhè dāng rì jiǎn zhí shì gè bái mǎ qí shì， jiàn tā huī shǒu jiào， tà kuài liǎo dà zhuǎn wān guò jiē， yī jiā sù， nà xiǎo fēng chē biàn tuán tuán fēizhuàn qǐ lái。
“ yú yuán lù，” tā shàng liǎo chē shuō。
xìng kuī zhè cì zài shàng hǎi gēn tā men zhè huǒ rén jiàn miàn cì shù shǎo， méi gēn tā men tí qǐ yòu gè qīn qī zhù zài yú yuán lù。 kě yǐ qù zhù jǐ tiān， kàn kàn fēng sè zài shuō。
sān lún chē hái méi dào jìng 'ān sì， tā tīng jiàn chuī shào zǐ。
“ fēng suǒ liǎo。” chē fū shuō。
yī gè chuān duǎn dǎ de zhōng nián rén yī shǒu qiān zhe gēn cháng shéng zǐ guò jiē， zuǐ lǐ hái xián zhe shào zǐ。 duì jiē yī gè chuān duǎn dǎ de wò zhe shéng zǐ lìng yī tóu， lā zhí lái lán duàn liǎo jiē。 yòu rén zài méi jīng dǎ cǎi de yáo líng。 mǎ lù kuò， báobáo de yáng tiě pí shìde líng shēng zài bàn kōng zhōng zài chén zài fú， bù chuán guò lái， tīng shàng qù hěn yuǎn。
sān lún chē fū bù fú qì， zhí tà dào fēng suǒ xiàn shàng cái tíng zhǐ liǎo， jiāo zào dì bǎ xiǎo fēng chē níng liǎo yī xià， níng dé tā yòu zhuàndòng qǐ lái， huí guò tóu lái xiàng tā xiào xiào。
pái zhuō shàng xiàn zài yòu sān gè hēi dǒu péng duì zuò。 xīn lái de yī gè liào tài tài bí liáng shàng yòu jǐ diǎn qiào bái má zǐ。
mǎ tài tài xiào dào：“ yì xiān shēng huí lái liǎo。”
“ kàn zhè wáng jiā zhī， chāi làn wū， hái shuō qǐng kè， zhè shí hòu hái bù huí lái！”
yì tài tài shuō：“ děng tā qǐng kè hǎo liǎo！ héng héng děng dào zhè shí hòu méi chī fàn， dù zǐ dōuyào 'è chuān liǎo！”
liào tài tài xiào dào：“ yì xiān shēng nǐ tài tài shǒu qì hǎo， shuō hǎo liǎo míng tiān qǐng kè。”
mǎ tài tài xiào dào：“ yì xiān shēng nǐ tài tài bù xiàng nǐ shuō huà bù suàn huà， shàng cì yíng liǎo bù shì dāyìng qǐng kè， dào xiàn zài hái shì kōng tóu zhī piào， hǎo yì sī de？ xiǎng chī nǐ yī dùn zhēn bù róng yì。”
“ yì xiān shēng shì gāi qǐng qǐng wǒ men liǎo， wǒ men qǐng nǐ shì qǐng bù dào de。” lìng yī gè hēi dǒu péng shuō。
tā zhǐ shì wēi xiào。 nǚ yōng dǎo liǎo chá lái， tā zài chá bēi dié zǐ lǐ kē liǎo kē yān huī， kàn liǎo qiáng shàng de hòu ní chuāng lián yī yǎn。 bǎ zhěng gè qiáng dū gài zhù liǎo， kě yǐ duǒ duō shǎo cì kè？ tā hái yòu diǎn xīn jīng ròu tiào de。
míng tiān jì zhe jiào tā men bǎ lián zǐ chāi liǎo。 bù guò tā tài tài yī dìng bù kěn， zhè me guì de dōng xī， zěn me kěn bái gē zhe bù yòng？
dōushì tā bù hǎo héng héng zhè cì de shì bù dū guài tā jiāo yǒu bù shèn？ xiǎng xiǎng shí zài bù néng bù gǎn dào jīng yì， zhè měi rén jú liǎng nián qián zài xiāng gǎng yǐ jīng fā dòng liǎo， bù zhì dé zhè yàng zhōu mì， què bèi měi rén lín shí biàn jì fàng zǒu liǎo tā。 tā hái shì zhēn 'ài tā de， shì tā shēng píng dì yī gè hóng fěn zhī jǐ。 xiǎng bù dào zhōng nián yǐ hòu hái yòu zhè fān yù hé。
bù rán tā kě yǐ bǎ tā liú zài shēn biān。“ tè wù bù fēn jiā”， bù shì yòu zhè jù huà？ kuàng qiě tā bù guò shì gè xué shēng。 tā men nà huǒ rén lǐ zhǐ yòu yī gè chóngqìng tè wù， gěi tā táo zǒu liǎo， shì cǐ yì wéi yī de quē hàn。 dà gài shì zài píng 'ān xì yuàn kàn liǎo yī bàn xì chū lái， xíng cì shī fēng hòu zài huí xì yuàn， fēng suǒ de shí hòu chá qǐ lái yòu piào gēn， hùn guò liǎo guān。 gēn tā yī kuài děng zhe xià shǒu de yī gè xiǎo zǐ kàn jiàn tā tāo xiāng yān tāo chū piào gēn lái， réng jiù shōu hǎo。 yù xiān jiǎng hǎo liǎo， jiē yìng de chē zǐ bù yào guǎn tā， xiǎng bì zǒng shì yī gè rén liù huí diàn yǐng yuàn liǎo。 nà xiē hún xiǎo zǐ jīng bù qǐ xùn wèn， chī liǎo diǎn kǔ tóu quándōu shuō liǎo。
yì xiān shēng zhàn zài tā tài tài bèi hòu kàn pái， qìn miè liǎo xiāng yān， mǐn liǎo kǒu chá， hái tài tàng。 zǎo diǎn shuì héng héng tài lěi liǎo yī shí sōng chí bù xià lái， shuì yì háo wú。 jīn tiān zhēn shì lěi zhe liǎo， yī zhí zuò zài diàn huà bàng biān děng xìn， lián wǎn fàn dōuméi hǎohǎo dì chī。
tā yī tuō xiǎn mǎ shàng yī gè diàn huà dǎ qù， bǎ nà yī dài dū fēng suǒ qǐ lái， yī wǎng dǎ jìn， bù dào wǎn shàng shí diǎn zhōng tǒng tǒng qiāng bì liǎo。
tā lín zhōng yī dìng hèn tā。 bù guò“ wú dú bù zhàng fū”。 bù shì zhè yàng de nán zǐ hàn， tā yě bù huì 'ài tā。
dāng rán tā yě shì bù dé yǐ。 rì jūn xiàn bīng duì hái zài qí cì， zhōu fó hǎi zì jǐ yě gǎo tè gōng， shì nèi zhèng bù wéi pián zhī jī guān， zhèng duì tā shí fēn zhù mù。 yī dàn fā xiàn yì gōng guǎn de shàng bīn jìng shì cì kè de yǎn xiàn， chéng shénme huà， qíng bào gōng zuò de shǒu nǎo， zhè me hú tú hái xíng？
xiàn zài bù pà zhōu zhǎo chá zǐ liǎo。 rú guǒ shuō tā shā zhī miè kǒu， tā yě lǐ zhí qì zhuàng： bù guò shì xiē xué shēng， bù xiàng tè wù hái kě yǐ liú zhe màn màn dì bī gōng， zhà qǔ qíng bào。 tuō xià qù， wài jiān zhī dào de rén duō liǎo， jiǎng qǐ lái yòu shì 'ài guó de dà xué shēng 'àn shā hàn jiān， yǐng xiǎng bù hǎo。
tā duì zhàn jú bìng bù lè guān。 zhī dào tā jiāng lái zěn yàng？ dé yī zhī jǐ， sǐ 'ér wú hàn。 tā jué dé tā de yǐng zǐ huì yǒng yuǎn yǐ bàng tā， ān wèi tā。 suī rán tā hèn tā， tā zuì hòu duì tā de gǎn qíng qiáng liè dào shì shénme gǎn qíng dōubù xiāng gān liǎo， zhǐ shì yòu gǎn qíng。 tā men shì yuán shǐ de liè rén yǔ liè wù de guān xì， hǔ yǔ chāng de guān xì， zuì zhōng jí de zhàn yòu。 tā zhè cái shēng shì tā de rén， sǐ shì tā de guǐ。
“ yì xiān shēng qǐng kè qǐng kè！” sān gè hēi dǒu péng yuè nào yuè xiōng， rǎng chéng yī piàn。
“ nà huí míng míng dāyìng de！”
yì tài tài xiào dào：“ mǎ tài tài bù yě dāyìng qǐng kè， jǐ tiān méi lái jiù bù tí liǎo。”
mǎ tài tài xiào dào：“ tài tài lái jiù jià liǎo！ yì xiān shēng， tài tài xīn téng nǐ。”
“ yì xiān shēng dào dǐ qǐng shì bù qǐng？”
mǎ tài tài wàng zhe tā yī xiào。“ yì xiān shēng shì gāi qǐng kè liǎo。” tā zhī dào tā xiǎo dé tā shì zhǐ nà chǒng qǐng jiǔ。 jīn tiān liǎng rén shuāng shuāng shī zōng， nǚ de sān gèng bàn yè hái méi huí lái。 tā huí lái liǎo yòu yòu diǎn jīng shén huǎng hū de yàng zǐ， liǎn shàng yòu biē bù zhù de xǐ qì yáng yáng， dài sān fēn chūn sè。 kàn lái hái shì dì yī cì shàng shǒu。
tā tí xǐng zì jǐ， yào jì dé gào sù tā tài tài shuō huà xiǎo xīn diǎn： tā nà gè“ mài tài tài” shì jiā lǐ yòu jí shì， gǎn huí xiāng gǎng qù liǎo。 dōushì tā yǐn láng rù shì， zhù jìn lái bù jiǔ tā jiù yòu qíng bào， rèn wéi kě yí， pài rén gēn zōng， fā xiàn yī gè chóngqìng jiàndié wǎng， zhèng zài diào chá， yòu dé dào xiāo xī shuō xiàn bīng duì yě fēng wén， yīn cǐ bù dé bù tí qián xíng dòng， bù rán bù dàn bèi bié rén mào liǎo gōng qù， chá chū shì zǒu tā tài tài de lù zǐ， yě yú tā yòu 'ài。 hǎohǎo dì xià hǔ xià hǔ tā， miǎn dé yǐ hòu tīng jiàn mǎ tài tài bān zuǐ， yòu yào gēn tā nào。
“ yì xiān shēng qǐng kè qǐng kè！ tài tài dài biǎo bù suàn。”
“ tài tài guī tài tài de， shuō hǎo liǎo míng tiān qǐng。”
“ xiǎo dé yì xiān shēng shì máng rén， nǐ shuō nǎ tiān yòu kōng bā， guò liǎo míng tiān nǎ tiān dōuhǎo。”
“ qǐng kè qǐng gè！ qǐng chī lái xǐ fàn diàn。”
“ lái xǐ fàn diàn jiù shì chī gè pīn pén。”
“ ài， dé guó cài yòu shénme hǎochīde？ jiù shì gè lěng pén。 hái shì hú nán cài， huàn huàn kǒu wèi。”
“ hái shì shǔ yú héng héng zuó tiān mǎ tài tài méi qù。”
“ wǒ shuō hái shì jiǔ rú， hǎo jiǔ méi qù liǎo。”
“ nà tiān yáng tài tài qǐng kè bù shì jiǔ rú？”
“ nà tiān méi yòu liào tài tài， liào tài tài shì hú nán rén， wǒ men bù huì diǎn cài。”
“ chī lái chī qù sì chuān cài hú nán cài， dū là sǐ liǎo！”
“ gào sù tā bù chī là de hǎo liǎo。”
“ bù chī là de zěn me hú dé chū là zǐ？”
xuān xiào shēng zhōng， tā qiǎo rán zǒu liǎo chū qù。
（ yī jiǔ wǔ nián）
fǎ guó zuò jiā zuǒ lā（ EmileZola） de dài biǎo zuò《 nà nà》 shì tā de hóng piān jù zhù《 lú gòng－ mǎ kǎ 'ěr jiā zú》 zhōng yī bù pō yòu wén xué jià zhí hé yì shù jià zhí de cháng piān xiǎo shuō。《 nà nà》 fā biǎo hòu zài fǎ guó yǐn qǐ liǎo hōng dòng， xiǎo shuō chū bǎn de dì yī tiān， qí xiāo shòu liàng dá wǔ wàn wǔ qiān duō cè， kāi chuàng liǎo fǎ guó chū bǎn jiè cóng wèi yòu de shèng kuàng。 xiǎo shuō céng bèi gǎi biān wéi diàn shì、 diàn yǐng zài fǎ guó duō cì bō yìng。 1981 nián 4 yuè 5 rì， fǎ guó《 shì jiè bào》 céng fā biǎo píng lùn， rèn wéi zuǒ lā zài《 nà nà》 zhōng“ fēi cháng zhēn shí dì miáo xiě de 19 shì jì nà gè jù biàn de shí dài， dào jīn tiān hái méi yòu guò shí， tā miáo huì de nà xiē rén wù suǒ yù dào de yī xiē wèn tí， yě zhèng shì wǒ men jīn tiān suǒ yù dào de。”
nèi róng jiǎn jiè：
nà nà xiǎo shí hòu shí fēn tiáopí， zhuān mén zuò nòng jiào shī hé tóng xué， xǐ huān kuī tàn dà rén de suǒ zuò suǒ wéi， shí wǔ suì bèi yī gè fù lǎo shāng kàn zhōng， hòu lái gēn tā sī bēn liǎo。 nà nà 18 suì hòu， chéng liǎo gē jù yuàn de nǚ yǎn yuán， tā shàng yǎn xià liú de xǐ jù， yòu huò liǎo wú shù wáng sūn gōng zǐ， qí zhōng yòu wáng zǐ、 hóu jué、 bó jué、 yínháng jiā、 guì zú zǐ dì、 jūn guān、 xīn wén jì zhě děng， tā men zhōng měi yī gè réndōu yào hé nà nà xiāng hǎo， jiù bù kě bì miǎn dì zāo dào 'è yùn， yòu de pò chǎn， yòu de zì shā， yòu de rù yù， hái yòu rén wèile nà nà de yuán gù， róng rěn zì jǐ de qī zǐ yǔ rén tōng jiān， bǎ zì jǐ de dú shēng nǚ jià gěi nà nà de qíng fū， zì jǐ yě luò dào qīng jiā dàng chǎn de dì bù。 nà nà shì fǔ shí jì， tā fǔ shí liǎo bā lí de zhěng gè shàng céng shè huì， tā de suǒ zuò suǒ wéi shì jiàn mín duì shàng céng shè huì de bào fù。 zuì hòu， nà nà sǐ yú tiān huā， zhè jiù shì shuō， zhè gè shè huì yǐ jīng bǎi fēn zhī bǎi de fǔ làn， lián fǔ shí zhè gè shè huì de gōng jù běn shēn yě fǔ làn liǎo。
xiǎo shuō píng lùn：
nà nà yòu xiāng dāng fù zá de xìng gé。 zuò wéi jì nǚ， tā yòng ròu tǐ mí huò nán rén， shǐ tā men qīng qí suǒ yòu gōng tā huī huò， tā xí guàn yú guò shē chǐ yín yì de shēng huó， sì hū chēng dé shàng shì yī gè dào dé bài huài de nǚ zǐ。 rán 'ér， nà nà duì mài xiào shēng yá shí fēn yàn 'è， tā zhù zài huá lì de gōng guǎn lǐ， dàn nèi xīn kōng xū jì mò； tā xiàn mù cóng liáng de jì nǚ yī 'ěr mǎ， mèng xiǎng jiāng lái zì jǐ yě huì yòu zhè yàng yī gè guī sù； tā hái méi yòu shī qù yī gè shàonǚ duì 'ài qíng de tiān zhēn huàn xiǎng， chōng jǐng zhe yī fū yī qī de xiǎo kāng shēng huó， yī zhí rěn shòu fāng táng de dú dǎ， jiēguǒ huàn xiǎng hái shì pò miè liǎo。 tā jīng cháng tàn xī：“ nán rén chán zhe wǒ hǎo kǔ！” zhè zhèng shì pǔ tiān xià jì nǚ gòng tóng de tàn xī， yě shì yī gè bèi wǔ rǔ bèi sǔn hài de fù nǚ duì mài yín zhì dù de kòng sù。 tā suī rán chù zài fǔ huà de huán jìng zhōng， xīn zhōng réng yòu bù miè de shī qíng， tā dào liǎo xiāng xià， wàng jiàn liǎo guǎng kuò de tiān kōng， cuì lǜ de tián yě， wén zhe shù cóng de xiāng wèi， zǒu jìn fēng shōu de cài yuán， bù yóu dé táo zuì liǎo， jìng mào zhe dà yǔ qù zhāi cǎo méi。 zhè mù dòng rén de qíng jǐng， chōng fēn biǎo xiàn liǎo nà nà de jīng shén shì jiè。 nà nà hái shì yī gè cí xiáng de mǔ qīn， zhēn chéng dì 'ài zhe xiǎo lù yì， zuì hòu jìng wéi zhào kàn 'ér zǐ 'ér sǐ yǔ tiān huā。 yīnggāi shuō， nà nà zài běn zhì shàng shì shàn liáng de。 tā zhī suǒ yǐ jù yòu máo dùn 'ér fù zá de xìng gé， shì yòu qí shè huì gēn yuán de。
“ jiā pín wàn shì 'āi”， nà nà bù kān rěn shòu fù qīn de kǎo dǎ 'ér lí jiā chū zǒu， yī jìn rù shè huì， lì jí zài nà gè jīn qián tǒng zhì de shè huì de bī pò hé dú hài xià duò rù bēi jù de shēn yuān。 tā dāng shàng liǎo gē jù yǎn yuán， yī jǔ chéng míng， chéng liǎo míng jì。 ēn gé sī shuō guò， mài yín zhì dù“ shǐ fù nǚ zhōng jiān bù xìng chéng wéi shòu hài zhě de rén duò luò”， jiù shì shuō， jì nǚ bù jǐn yīn mài yín 'ér shòu hài， ér qiě bèi mài yín shēng huó fǔ shí líng hún。 nà nà de líng hún bèi fǔ shí， zòng shǐ tā yàn 'è zì jǐ suǒ chù de wàn 'è shè huì， què yòu wú fǎ dǎ pò tào zài tā tóu shàng de jiā suǒ。 tā fǔ shí nán rén shì bù zì jué de， jiù xiàng tā kěn yī gè píng guǒ yī yàng。
zuǒ lā zài xiǎo shuō de dì shí zhāng， céng miáo xiě nà nà hé sà dān zài chī fàn shí gù yì ná tā men de bēi jiàn chū shēn lái wǔ rǔ tóng zhuō de dá guān guì rén； tā hái céng yào mǐ fǎ bó jué chuānzhuó cháo fú lái jiàn tā， tā zài hòu miàn yòng jiǎo tī tā， xīn lǐ xiǎng zhe shì tī zài huáng dì bì xià shēn shàng， hòu lái tā yòu bǎ zhuāng yán de cháo fú rèn yì jiàn tà，“ zhè shì tā de bào fù！” zuǒ lā suǒ miáo xiě de， qí shí bù shì yī gè jì nǚ duǎn zàn yī shēng de lì shǐ， ér shì dì 'èr dì guó dá guān guì rén men de yī lián chuàn dào dé bài huài shǐ， zhè shì fǎ guó shàng liú shè huì dāng shí de zhēn shí xiě zhào。
nèi róng jiǎn jiè：
nà nà xiǎo shí hòu shí fēn tiáopí， zhuān mén zuò nòng jiào shī hé tóng xué， xǐ huān kuī tàn dà rén de suǒ zuò suǒ wéi， shí wǔ suì bèi yī gè fù lǎo shāng kàn zhōng， hòu lái gēn tā sī bēn liǎo。 nà nà 18 suì hòu， chéng liǎo gē jù yuàn de nǚ yǎn yuán， tā shàng yǎn xià liú de xǐ jù， yòu huò liǎo wú shù wáng sūn gōng zǐ， qí zhōng yòu wáng zǐ、 hóu jué、 bó jué、 yínháng jiā、 guì zú zǐ dì、 jūn guān、 xīn wén jì zhě děng， tā men zhōng měi yī gè réndōu yào hé nà nà xiāng hǎo， jiù bù kě bì miǎn dì zāo dào 'è yùn， yòu de pò chǎn， yòu de zì shā， yòu de rù yù， hái yòu rén wèile nà nà de yuán gù， róng rěn zì jǐ de qī zǐ yǔ rén tōng jiān， bǎ zì jǐ de dú shēng nǚ jià gěi nà nà de qíng fū， zì jǐ yě luò dào qīng jiā dàng chǎn de dì bù。 nà nà shì fǔ shí jì， tā fǔ shí liǎo bā lí de zhěng gè shàng céng shè huì， tā de suǒ zuò suǒ wéi shì jiàn mín duì shàng céng shè huì de bào fù。 zuì hòu， nà nà sǐ yú tiān huā， zhè jiù shì shuō， zhè gè shè huì yǐ jīng bǎi fēn zhī bǎi de fǔ làn， lián fǔ shí zhè gè shè huì de gōng jù běn shēn yě fǔ làn liǎo。
xiǎo shuō píng lùn：
nà nà yòu xiāng dāng fù zá de xìng gé。 zuò wéi jì nǚ， tā yòng ròu tǐ mí huò nán rén， shǐ tā men qīng qí suǒ yòu gōng tā huī huò， tā xí guàn yú guò shē chǐ yín yì de shēng huó， sì hū chēng dé shàng shì yī gè dào dé bài huài de nǚ zǐ。 rán 'ér， nà nà duì mài xiào shēng yá shí fēn yàn 'è， tā zhù zài huá lì de gōng guǎn lǐ， dàn nèi xīn kōng xū jì mò； tā xiàn mù cóng liáng de jì nǚ yī 'ěr mǎ， mèng xiǎng jiāng lái zì jǐ yě huì yòu zhè yàng yī gè guī sù； tā hái méi yòu shī qù yī gè shàonǚ duì 'ài qíng de tiān zhēn huàn xiǎng， chōng jǐng zhe yī fū yī qī de xiǎo kāng shēng huó， yī zhí rěn shòu fāng táng de dú dǎ， jiēguǒ huàn xiǎng hái shì pò miè liǎo。 tā jīng cháng tàn xī：“ nán rén chán zhe wǒ hǎo kǔ！” zhè zhèng shì pǔ tiān xià jì nǚ gòng tóng de tàn xī， yě shì yī gè bèi wǔ rǔ bèi sǔn hài de fù nǚ duì mài yín zhì dù de kòng sù。 tā suī rán chù zài fǔ huà de huán jìng zhōng， xīn zhōng réng yòu bù miè de shī qíng， tā dào liǎo xiāng xià， wàng jiàn liǎo guǎng kuò de tiān kōng， cuì lǜ de tián yě， wén zhe shù cóng de xiāng wèi， zǒu jìn fēng shōu de cài yuán， bù yóu dé táo zuì liǎo， jìng mào zhe dà yǔ qù zhāi cǎo méi。 zhè mù dòng rén de qíng jǐng， chōng fēn biǎo xiàn liǎo nà nà de jīng shén shì jiè。 nà nà hái shì yī gè cí xiáng de mǔ qīn， zhēn chéng dì 'ài zhe xiǎo lù yì， zuì hòu jìng wéi zhào kàn 'ér zǐ 'ér sǐ yǔ tiān huā。 yīnggāi shuō， nà nà zài běn zhì shàng shì shàn liáng de。 tā zhī suǒ yǐ jù yòu máo dùn 'ér fù zá de xìng gé， shì yòu qí shè huì gēn yuán de。
“ jiā pín wàn shì 'āi”， nà nà bù kān rěn shòu fù qīn de kǎo dǎ 'ér lí jiā chū zǒu， yī jìn rù shè huì， lì jí zài nà gè jīn qián tǒng zhì de shè huì de bī pò hé dú hài xià duò rù bēi jù de shēn yuān。 tā dāng shàng liǎo gē jù yǎn yuán， yī jǔ chéng míng， chéng liǎo míng jì。 ēn gé sī shuō guò， mài yín zhì dù“ shǐ fù nǚ zhōng jiān bù xìng chéng wéi shòu hài zhě de rén duò luò”， jiù shì shuō， jì nǚ bù jǐn yīn mài yín 'ér shòu hài， ér qiě bèi mài yín shēng huó fǔ shí líng hún。 nà nà de líng hún bèi fǔ shí， zòng shǐ tā yàn 'è zì jǐ suǒ chù de wàn 'è shè huì， què yòu wú fǎ dǎ pò tào zài tā tóu shàng de jiā suǒ。 tā fǔ shí nán rén shì bù zì jué de， jiù xiàng tā kěn yī gè píng guǒ yī yàng。
zuǒ lā zài xiǎo shuō de dì shí zhāng， céng miáo xiě nà nà hé sà dān zài chī fàn shí gù yì ná tā men de bēi jiàn chū shēn lái wǔ rǔ tóng zhuō de dá guān guì rén； tā hái céng yào mǐ fǎ bó jué chuānzhuó cháo fú lái jiàn tā， tā zài hòu miàn yòng jiǎo tī tā， xīn lǐ xiǎng zhe shì tī zài huáng dì bì xià shēn shàng， hòu lái tā yòu bǎ zhuāng yán de cháo fú rèn yì jiàn tà，“ zhè shì tā de bào fù！” zuǒ lā suǒ miáo xiě de， qí shí bù shì yī gè jì nǚ duǎn zàn yī shēng de lì shǐ， ér shì dì 'èr dì guó dá guān guì rén men de yī lián chuàn dào dé bài huài shǐ， zhè shì fǎ guó shàng liú shè huì dāng shí de zhēn shí xiě zhào。