　　《 jiāo jì huā shèng shuāi jì》 jiǎng shù liǎo bā lí jiāo jì huā 'āi sī dài jiǎn duǎn、 qí tè， què zhù dìng bēi jù de yī shēng。 tā duì shī rén lǚ xī 'ān yī wǎng qíng shēn， kě wàng guò xìng fú zhēn jié de shēng huó。 rán 'ér， jiāo jì huā de shēn shì hé dì wèi shǐ tā yǔ chén fú zài shàng liú shè huì de lǚ xī 'ān gé zhe yī tiáo wú fǎ yú yuè de shè huì tiān qiàn。 xiǎo shuō gēn zhí yú shè huì xiàn shí， tōng guò shēn kè xì zhì de guān chá hé diǎn xíng xíng xiàng de sù zào， gěi rén yǐ qiáng liè de zhēn shí gǎn。 qí zhōng sù zào de yī dà pī guì zú、 yě xīn jiā、 jiào shì、 yínháng jiā、 jì nǚ、 fàn rén、 jǐng chá děng， zài xiàn liǎo nà gè sè cǎi bān lán què yòu lěng kù wú qíng de shè huì。
　　 méi tǐ tuī jiàn
　　 wǒ gāng kāi shǐ dú shū shí， jiù gǎn shòu dào bā 'ěr zhā kè zuò pǐn de mèi lì， jǐng yǎng zhī yú， ài bù shì juàn。 bā 'ěr zhā kè dòng dàng bù 'ān hé wěi dà de yī shēng， zhì jīn hái dé zài tā de hào hàn hóng wěi de jù zhù zhōng zhuī yì。
　　　　 --【 fǎ ] hēng lì tè luó yà
　　 zài zuì wěi dà de rén wù zhōng jiān， bā 'ěr zhā kè shì míng liè qián máo zhě； zài zuì yōu xiù de rén wù zhōng jiān， bā 'ěr zhā kè shì jiǎo jiǎo zhě zhī yī。
　　　　 --【 fǎ】 yǔ guǒ

　　Splendeurs et misères des courtisanes
　　
　　Honoré de Balzac's Splendeurs et misères des courtisanes, translated either as The Splendors and Miseries of Courtesans or as The Harlot High and Low, was published in four parts from 1838-1847. It continues the story of Lucien de Rubempré, who was a main character in Illusions perdues, a preceding Balzac novel. Splendeurs et misères des courtisanes forms part of Balzac's La Comédie humaine.
　　Plot summary
　　
　　Lucien de Rubempré and "Abbé Herrera" (Vautrin) have made a pact, in which Lucien will arrive at success in Paris if he agrees to follow Vautrin's instructions on how to do so. Esther Van Gobseck throws a wrench into Vautrin's best-laid plans, however, because Lucien falls in love with her and she with him. Instead of forcing Lucien to abandon her, he allows Lucien this secret affair, but also makes good use of it. For four years, Esther remains locked away in a house in Paris, taking walks only at night. One night, however, the Baron de Nucingen spots her and falls deeply in love with her. When Vautrin realizes that Nucingen's obsession is with Esther, he decides to use her powers to help advance Lucien.
　　
　　The plan is the following: Vautrin and Lucien are 60,000 francs in debt because of the lifestyle that Lucien has had to maintain. They also need one million francs to buy the old Rubempré land back, so that Lucien can marry Clotilde, the rich but ugly daughter of the Grandlieu's. Esther will be the tool they use to get as much money as possible out of the impossibly rich Nucingen. Things don't work out as smoothly as Vautrin would have liked, however, because Esther commits suicide after giving herself to Nucingen for the first and only time (after making him wait for months). Since the police have already been suspicious of Vautrin and Lucien, they arrest the two on suspicion of murder over the suicide. This turn of events is particularly tragic because it turns out that only hours before, Esther had actually inherited a huge amount of money from an estranged family member. If only she had held on, she could have married Lucien herself.
　　
　　Lucien, ever the poet, doesn't do well in prison. Although Vautrin actually manages to fool his interrogators into believing that he might be Carlos Herrera, a priest on a secret mission for the Spanish king, Lucien succumbs to the wiles of his interviewer. He tells his interrogator everything, including Vautrin's true identity. Afterwards he regrets what he has done and hangs himself in his cell.
　　
　　His suicide, like Esther's, is badly timed. In an effort not to compromise the high society ladies who were involved with him, the justices had arranged to let Lucien go. But when he kills himself, things get more sticky and the maneuverings more desperate. It turns out that Vautrin possesses the very compromising letters sent by these women to Lucien, and he uses them to negotiate his release. He also manages to save and help several of his accomplices along the way, helping them to avoid a death sentence or abject poverty.
　　
　　At the end of the novel, Vautrin actually becomes a member of the police force before retiring in 1845. The nobility that was so fearful for its reputation moves on to other affairs.
　　Main characters
　　
　　 * Esther Van Gobseck, former courtesan and lover of Lucien, assigned to seducing Nucingen. Commits suicide after sleeping with Nucingen for money.
　　 * Lucien de Rubempré, ambitious young man protected by Vautrin, trying to marry Clotilde de Grandlieu. Commits suicide in prison.
　　 * Vautrin, escaped convict with the alias Carlos Herrera, real name Jacques Collin, nickname Trompe-la-Mort. Has a weakness for pretty young men, tries to help Lucien move up in society in every evil way possible.
　　 * Baron de Nucingen, obsessed with Esther and the target of Vautrin's money machinations.
　　 * Jacqueline Collin, aunt of Vautrin, alias of Asie. Charged with watching over Esther and helping Vautrin in his various schemes.
　　 * Clotilde de Grandlieu, target of Lucien's affections, key to his advancement in society. But he cannot marry her unless he buys back his family's ancient land, worth one million francs. Her father prevents the marriage after finding out that the money, which actually came from Esther, did not really come from an inheritance (from Lucien's father), like Lucien was saying.
　　 * Comtesse de Sérizy and Duchesse de Maufrigneuse, former lovers of Lucien of whom Vautrin possesses very compromising letters.
　　 * Camusot de Marville, Comte de Granville, judge and magistrate respectively. Try to work out the case of Vautrin and Lucien without compromising the women involved.
　　 * Peyrade, Contenson, Corentin, Bibi-Lupin, spies of various sorts associated with the police. Try to get Vautrin for various personal reasons.

huàn miè

　　bā 'ěr zhā kè zài《 huàn miè》 zhōng miáo xiě wèi lái de dà zuò jiā dé · ā tài cí shí， shuō guò zhè yàng yī jù huà： “ tā yào xiàng mò lǐ 'āi nà yàng， xiān chéng wéi shēn kè de zhé xué jiā， zài xiě xǐ jù。 ” kàn lái， zhè zhèng shì《 rén jiān xǐ jù》 de zuò zhě duì zì jǐ tí chū de yào qiú。 ér qiě tā yě hé dé · ā tài cí yī yàng， zài bā lí de liù céng gé lóu shàng shòu guò jī 'è hé hán lěng de zhé mó， zài rén lèi zhī shí de bǎozàng zhōng nài xīn dì wā jué guò， zài“ dú qì xūn zhēng” de bā lí shè huì zhōng shēng huó guò、 bó dǒu guò、 gǎn shòu guò。
　　　　 rén men cháng shuō《 ōu yě nī · gé lǎng tái》 hé《 gāo lǎo tóu》 shì bā 'ěr zhā kè de dài biǎo zuò。 shí jì shàng， zài biǎo xiàn zuò jiā běn rén de sī xiǎng gǎn qíng hé zhí jiē de shēng huó tǐ yàn fāng miàn，《 huàn miè》 bǐ qí tā xiǎo shuō jù yòu gèng dà de dài biǎo xìng。 shū zhōng jǐ gè zhù yào rén wù de zāo yù， dà bù fēn qǔ zì zuò jiā běn rén de jīng lì， tā men de jī qíng、 huàn xiǎng hé kǔ nán， tā jīhū quándōu qīn zì tǐ cháng guò。 tā bǎ zì jǐ 'èr shí nián de fèn dǒu lì chéng fēn bié gěi liǎo sān gè bù tóng lèi xíng de qīng nián： tā zài dà wèi · sài xià de gù shì lǐ， qīng sù liǎo zì jǐ jīng yíng yìn shuà suǒ、 zhù zì chǎng hé shòu zhài wù pò hài de cǎn tòng jīng yàn； zài lǚ xī 'ān de zāo yù lǐ， róng rù liǎo zì jǐ zài wén tán hé xīn wén chū bǎn jiè de chén fú； tā bǎ zì jǐ cóng shēng huó hé chuàng zuò zhōng zǒng jié chū de gè zhǒng xìn niàn hé zhù zhāng gěi liǎo dé · ā tài cí； tóng shí ràng lú sī tuō hé fú tuō lěng chōng dāng liǎo tā pōu xī shè huì de dài yán rén。 kě yǐ xiǎng jiàn， zuò jiā duì zhè bù zuò pǐn shì qīng zhù liǎo jí dà rè qíng de。 tā zài gěi hán sī kǎ fū rén de xìn zhōng， céng jiāng《 huàn miè》 chēng zuò“ wǒ de zuò pǐn zhōng jū shǒu wèi de zhù zuò” ①， shēng chēng zhè bù xiǎo shuō“ chōng fēn dì biǎo xiàn liǎo wǒ men de shí dài” ②。 zài《 huàn miè》 dì sān bù chū bǎn xù yán zhōng， bā 'ěr zhā kè míng què xuān chēng zhè shì“ fēng sú yán jiū” zhōng“ qì jīn zuì wéi zhòng yào de yī bù zhù zuò”。
　　
　　《 huàn miè》 de zhōng xīn nèi róng， shì liǎng gè yòu cái néng、 yòu bào fù de qīng nián lǐ xiǎng pò miè de gù shì。 zhù rén gōng lǚ xī 'ān shì yī wèi shī rén， zài wài shěng pō yòu xiē míng qì。 tā dài zhe mǎn nǎo zǐ huàn xiǎng lái dào bā lí， jiēguǒ zài bā lí xīn wén jiè 'è liè fēng qì de yǐng xiǎng xià， lí kāi liǎo yán sù de chuàng zuò dào lù， biàn chéng wú chǐ de bào pǐ wén máng， zuì hòu zài dǎng pài qīngyà、 wén tán dǒu zhēng zhōng shēn bài míng liè。 tā de mèi fū dà wèi · sài xià shì gè mái tóu kǔ gān de fā míng jiā， yīn wéi dí bù guò tóng xíng de yīn xiǎn suàn jì， bèi pò fàng qì fā míng zhuān lì， cóng cǐ qì jué liǎo kē xué yán jiū de lǐ xiǎng。
　　　　 zuò zhě jiāng zhè liǎng gè qīng nián de zāo yù yǔ zhěng zhěng yī dài qīng nián de jīng shén zhuàng tài， yǔ zhěng gè shè huì shēng huó， tè bié shì bā lí shēng huó de yǐng xiǎng jǐn jǐn lián xì zài yī qǐ， shǐ zhī jù yòu liǎo pǔ biàn yì yì。 zài bā 'ěr zhā kè bǐ xià， shí jiǔ shì jì de bā lí hǎo bǐ xī là shén huà zhōng de sài rén nǚ xiān， bù duàn dì xī yǐn zhe hé huǐ miè zhe wài shěng de qīng nián。
　　　　“ bā lí jiù xiàng yī zuò zhōng huò rén de diāo bǎo， suǒ yòu de wài shěng qīng nián dū zhǔn bèi xiàng tā jìn gōng …… zài zhè xiē cái néng、 yì zhì hé chéng jiù de jiào liàng zhōng， yòu zhe sān shí nián lái yī dài qīng nián de cǎn shǐ。” ③
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　　　　① bā 'ěr zhā kè：《 zhì wài guó nǚ zǐ de xìn》（ 1843 nián 3 yuè 2 rì）。
　　　　② bā 'ěr zhā kè：《 zhì wài guó nǚ zǐ de xìn》（ 1842 nián 12 yuè 21 rì）。
　　　　③ bā 'ěr zhā kè：《 huàn miè》 dì sān bù chū bǎn xù yán（ 1843）。
　　　　 zài zhè 'ér， bā lí xiǎn rán shì zuò wéi zī běn zhù yì shēng huó fǎ zé de biǎo zhēng chū xiàn de。 suí zhe fēng jiàn suǒ yòu zhì de jiě tǐ， děng jí mén fá guān niàn de xuē ruò， píng jiè gè rén cái zhì dào shè huì shàng xún qiú fā jì de jī huì， yǐ chéng wéi fǎ guó qīng nián de pǔ biàn huàn xiǎng， yě shì jiā jiā hù hù duì nà xiē shāo yòu tiān fù de hái zǐ bì rán bào yòu de qī wàng。 suǒ yǐ bā 'ěr zhā kè bù wú cháo fěng dì xiě dào：“ ná pò lún de bǎng yàng， shǐ duō shǎo píng fán de rén kuáng wàng zì dà， chéng wéi shí jiǔ shì jì de zhì mìng shāng。” zhè zhǒng huàn xiǎng shì lì shǐ fā zhǎn de bì rán chǎn wù， yě fǎn yìng liǎo shí dài de jìn bù。 yīn wéi zài fēng jiàn shí dài， měi gè rén de shēnfèn dì wèi shì zǎo yǐ huàdìng liǎo de， zhǐ yòu zī běn zhù yì zì yóu jìng zhēng， yǐ jí yǔ zì yóu jìng zhēng xiāng shì yìng de shè huì zhì dù hé zhèng zhì zhì dù chǎn shēng yǐ hòu， cái gěi gè rén de fā zhǎn tí gōng liǎo kě néng。
　　　　 bā lí shì fǎ guó zhèng zhì、 jīng jì、 wén huà de zhōng xīn， shì shí bā shì jì mò yè zī chǎn jiē jí gé mìng de fā yuán dì。 zī chǎn jiē jí de yì shí xíng tài， bì rán yǐ bā lí wéi yuán xīn xiàng wài shěng kuò sàn； bā lí de cái fù、 quán lì， duì wài shěng qīng nián bì rán jù yòu wú fǎ kàng jù de mèi lì。 rén réndōu xiǎng dào bā lí qù pèng yùn qì， rú cǐ biàn xíng chéng gè zhǒng rén cái yún jí bā lí、 hù xiāng jìng zhēng juézhú de jú miàn。 jìng zhēng zhě shì rú cǐ zhī duō， zhēn zhèng néng pá shàng xiǎn hè dì wèi de yòu rú cǐ zhī shǎo， zhè jiù bì rán tiǎo qǐ wú qióng wú jìn jí qí cán kù de dǒu zhēng， yóu cǐ chǎn shēng yī shǒu shǒu gè rén fèn dǒu de shī piān， yī chū chū lǐ xiǎng pò miè de bēi jù， tóng shí yě chǎn shēng liǎo shí jiǔ shì jì wén xué zhōng de yī gè pǔ biàn de zhù tí héng héng gè rén yǔ shè huì de duì kàng。 bā 'ěr zhā kè de zhé lǐ shēn dù zài yú： tā bù jǐn yì shí dào shí dài gěi gè rén de fā zhǎn tí gōng liǎo kě néng， cì jī liǎo qīng nián yī dài de měi miào huàn xiǎng； tóng shí kàn dào liǎo shè huì hái bāo hán zhe nà me duō zǔ 'ài gè rén fā zhǎn de yīn sù， kàn dào liǎo wù de tǒng zhì shǐ duō shǎo rén cái zāo shòu cuī cán， duō shǎo lǐ xiǎng guī yú huàn miè。 zhè zhǒng lǐ xiǎng yǔ xiàn shí de máo dùn， gè rén fā zhǎn de kě néng xìng yǔ zǔ 'ài kě néng xìng zhuǎn huà wéi xiàn shí xìng de shè huì huán jìng de máo dùn， gòu chéng liǎo xiǎo shuō de bēi jù chōng tū。
　　　　 jì rán chōng tū zhù yào shì zài gè rén yǔ huán jìng zhī jiān zhǎn kāi， duì zhù rén gōng bù xìng mìng yùn de miáo huì， bì rán yǔ duì zhěng gè shè huì de pī pàn jiē lù jiāo zhì zài yī qǐ。 zuò zhě bìng bù shì gū lì dì sù zào rén wù， ér shì jiāng rén wù fàng zài lì shǐ de kuàng jià nèi， ràng zhěng gè shè huì zài tā zhōu wéi huó dòng zhe， hū xī zhe， yǐng xiǎng zhe tā de sī xiǎng， zhì yuē zhe tā de xíng dòng。 rén wù zài shēng huó de bō tāo zhōng chén fú， jù lí zì jǐ zuì chū de mù biāo yù lái yù yuǎn， zhōng yú bèi juàn jìn wēi xiǎn de shēn yuān。《 huàn miè》 hǎo xiàng yī fú jù xíng bì huà， zhǎn shì liǎo fǎ guó dà gé mìng yǐ hòu cóng wài shěng dào bā lí de guǎng kuò tú jǐng， miáo huì chū wáng zhèng fù bì shí qī zhǒng zhǒng zuì fù tè zhēng yì yì de xiàn xiàng： yī fāng miàn， guì zú de gāo guì xìng shì hé xiǎn hè dì wèi réng rán qiáng liè dì xī yǐn zhe 'ài mù xū róng de qīng nián； lìng yī fāng miàn， zī chǎn zhě de cái fù yǐ chéng wéi kòng zhì hé nú yì yī qiē de lì liàng， zài yě de zī chǎn jiē jí zì yóu dǎng zài shè huì shàng bǐ zhí zhèng de bǎo wáng dǎng gèng yòu shì lì。 zhè liǎng dà jiē jí de zhēng duó， qiān dòng zhe wén tán shàng liǎng pài shì lì de dǒu zhēng， yě zhī pèi zhe lǚ xī 'ān de sī xiǎng hé mìng yùn。 zài zhè lǐ， zuò zhě mǐn ruì dì zhǐ chū liǎo zài fù bì shí qī hái chǔyú méng yá zhuàng tài de zī běn jí zhōng xiàn xiàng， miáo huì chū gōng shāng yè de jìng zhēng、 tóng xíng jiān de qīngyà hé tūn bìng shì yǐ hé děng yīn xiǎn dú là de fāng shì zài jìn xíng。 dà wèi · sài xià jiù shì zài zhè lèi dǒu zhēng zhōng shòu wéi liè de yī gè xī shēng pǐn。 zài zhè xiē bù tóng de juédòu chǎng shàng， zuò zhě gòu lè liǎo zhòng duō de bù tóng jiē céng、 bù tóng shēnfèn de rén wù…… zǒng zhī，《 huàn miè》 hǎo bǐ shè huì de suō yǐng， jí zhōng liǎo fǎ guó shè huì zài xīn jiù jiāo tì shí qī de zhǒng zhǒng guài xiàn xiàng。 qí zhōng zuì fù shí dài tè sè de xiàn xiàng zhī yī， jiù shì gāng qǐ bù bù jiǔ de xīn wén jiè。
　　　　 zài shí jiǔ shì jì de fǎ guó wén xué zhōng， zhèng miàn jiē lù xīn wén jiè nèi mù de zuò pǐn， bā 'ěr zhā kè de《 huàn miè》 shǔ yú zuì zǎo de， yě shì xiěde zuì dà dǎn de yī bù。 tā sī kāi bào jiè zhè zuò shèng diàn de wéi mù， ràng rén men kàn dào zhè shì gè ná líng hún zuò jiāo yì de pū zǐ。 tā yī zhuāng yī jiàn liè jǔ xīn wén jiè nà xiē jiàn bù dé rén de gòu dāng， rě dé xīn wén jiè de shǒu nǎo hé wén yì jiè de“ zhí zhèng” men bào tiào rú léi。 zài bā 'ěr zhā kè kàn lái， bào jiè jì shì xiàn dài shè huì 'è liè fēng qì de jí zhōng 'ér lù gǔ de biǎo xiàn， yě shì jìn yī bù dú huà shè huì fēng qì de dà yōng jū， zhèng shì bào jiè zhè gǔ xié 'è de shì lì，“ ě shā liǎo dà liàng de qīng chūn hé cái néng”①， bǎ wú shù lǚ xī 'ān shì de qīng nián yǐn xiàng huǐ miè。
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　　　　① bā 'ěr zhā kè：《 huàn miè》 dì 'èr bù chū bǎn xù yán。
　　　　《 huàn miè》 de zhù rén gōng lǚ xī 'ān bù shì yīng xióng（ dāng rán yě bù shì huài dàn）， ér shì yī gè zhōng jiànrén wù。 zuò zhě shì bǎ tā zuò wéi sī xiǎng xìng gé yòu yán zhòng ruò diǎn， ér yòu yòu xiāng dāng tiān fù de yī lèi qīng nián lái kè huà de。 zhè shì shí jiǔ shì jì shàng bàn qī fǎ guó shè huì de diǎn xíng huán jìng zhōng de yī zhǒng diǎn xíng xìng gé。 tā cōng míng， yòu cái huá， dàn shì zì sī、 xū róng， yě xīn hěn dà 'ér yòu yì zhì bó ruò， zǒng xiǎng chāo jìn lù yī bù dēng tiān， méi yòu yì lì zài zhēn xué wèn shàng xià gōng fū。 suǒ yǐ tā jīng bù qǐ fú huá shì jiè de yǐn yòu， bù kě bì miǎn dì zǒu xiàng liǎo duò luò。 duì zhè yàng yī gè rén wù， zuò zhě de tài dù shì jì yòu pī pàn， yě yòu tóng qíng。 duì yú tā de cuò wù hé shī bài， zuò zhě jì bù wán quán guī jiù yú shè huì， yě bù wán quán guī jiù yú gè rén。 shè huì huán jìng de 'è liè yǐng xiǎng， zhèng shì tōng guò lǚ xī 'ān zì shēn de ruò diǎn qǐ zuò yòng de。
　　　　 lǚ xī 'ān dào bā lí yǐ hòu， miàn qián qīng qīng chǔ chǔ bǎi zhe liǎng tiáo lù。 yī shì dé · ā tài cí hé tā de xiǎo tuán tǐ de dào lù， zhè tiáo lù jiān kǔ、 màn cháng， rán 'ér qīng bái kě kào。 yào zǒu zhè tiáo lù， lǚ xī 'ān quē de shì jiān qiáng de yì zhì hé héng xīn。 lìng yī tiáo jiù shì fěi nuò yǐ jīng qǔ dé chéng gōng、 lú sī tuō zhèng wěi suí qí hòu de dào lù， zhè tiáo lù 'āng zàng、 wēi xiǎn， rán 'ér biǎo miàn kàn lái shì míng lì shuāng shōu de jié jìng。 yào zǒu zhè tiáo lù， lǚ xī 'ān què yòu quē fá zuò 'è de bó lì hé běn lǐng。 yīn cǐ lǚ xī 'ān liǎng tiáo lù dū zǒu bù tōng。
　　　　 dà wèi · sài xià shì yǔ lǚ xī 'ān wán quán bù tóng lèi xíng de yī gè qīng nián。 tā zhèng zhí kuān hòu、 chún pǔ shàn liáng。 tā méi yòu shénme xiàng shàng pá de yě xīn， dàn bìng fēi méi yòu cái néng huò bào fù。 tā yòng quán fù jīng lì cóng shì yī xiàng kē xué fā míng， xiǎng wèitā suǒ 'ài de rén zhèng qǐ yī fèn jiā yè， tā bù fá héng xīn yǔ yì lì， què réng zāo dào cǎn bài， yuán yīn shì tā de xīn dì guò yú dān chún， duì xiàn shí quē fá tòu chè de lǐ jiě， bù xiàng dé · ā tài cí děng rén duì rén duì shìdōu yòu jí lěng jìng de fēn xī。 tā zài hǔ láng chéng qún de shè huì lǐ háo wú zì wèi de zhǔn bèi； chū méi zài shēng cún jìng zhēng de qiāng lín dàn yǔ zhōng què bù chuān kǎi jiá， bù dài tóu kuī。 yīn cǐ tā dāng kē xué jiā chuò chuò yòu yú， zuò mǎi mài bì dìng kuī běn， jìng zhēng zhōng bì dìng yī bài tú dì。
　　　　 dé · ā tài cí shì lǐ xiǎng huà liǎo de bā 'ěr zhā kè。 xiǎo tuán tǐ de dào lù zhèng shì zuò zhě wéi zì jǐ xuǎn zé de shēng huó dào lù。 tā xiāng xìn， jìn guǎn shè huì huán jìng xiǎn 'è， zhǐ yào yòu jiān dìng de yì zhì hé héng jiǔ de nǔ lì， réng rán kě yǐ kāi tuò zì wǒ， zhàn shèng jī liú xiǎn tān， dào dá shèng lì de bǐ 'àn。 suǒ yǐ，《 huàn miè》 yī shū suǒ miáo xiě de suī shì lǐ xiǎng de pò miè， què bìng bù gěi rén yǐ bēi guān de yìn xiàng。 yīn wéi zuò zhě zài jiē lù hēi 'àn de tóng shí， yě zhuólì kè huà liǎo yī xiē zhuī qiú zhèng yì zhě、 zì qiáng bù xī zhě， shí kè ràng dú zhě gǎn jué dào yòu yī gǔ bù yǔ 'è zhuó huán jìng tóng liú hé wū de duì kàng lì liàng， yě jiù shì shuō， bā 'ěr zhā kè rèn wéi： rén shì kě yǐ yǔ shè huì jiào liàng de。
　　　　　　　　　　　　　　　　　　　　　　　　　　　　　 ài　　 mín
　　　　　　　　　　　　　　　　　　　　　　　　　　　 yī jiǔ jiǔ 'èr nián qī yuè
　　
　　 shū zhāi：　　“ hǎo bā， nà me wǒ duì jīn tiān de xì jiù 'àn zhào wǒ de yìn xiàng lái bào dǎo，” lǚ xī 'ān qì fèn fèn de shuō。
　　　　 nián qīng de nǚ zhùjué duì wǔ tái jiān dū shuō：“ nǐ hǎo hú tú！ tā shì kē lā lì de qíng rén 'ā。”
　　　　 wǔ tái jiān dū lì kè huí guò shēn lái zhāo hū lǚ xī 'ān：“ xiān shēng， wǒ qù bào gào jīng lǐ。”
　　　　 kě jiàn bào zhǐ zài xiǎo shì qíng shàng yě xiǎn chū wú biān de wēi lì， shǐ lǚ xī 'ān de xū róng xīn gǎn dào mǎn zú。 jīng lǐ chū lái hé dé · léi tuō léi gōng jué hé wǔ dǎo míng xīng dì lì yà shāng liàng， yào qiú bǎ lǚ xī 'ān 'ān chā zài tā men jǐn kào qián tái de bāo xiāng lǐ。 gōng jué jiàn shì lǚ xī 'ān， dāyìng liǎo。
　　　　 nián qīng de léi tuō léi tí dào xià tè lāi nán jué hé dé · bā rì dōng tài tài， shuō dào：
　　　　“ liǎng gè rén bèi nǐ bǎi bù dé hǎo kǔ 'ā。”
　　　　 lǚ xī 'ān dào：“ zài kàn míng tiān bā。 dào cǐ wéi zhǐ， dōushì wǒ de péng yǒu men chū chǎng， zhǐ néng suàn qīng zhuāng de bù bīng， jīn wǎn wǒ cái qīn zì fàng pào。 míng tiān nǐ jiù zhī dào wèishénme wǒ men qǔ xiào bō tè lāi。 wén zhāng de tí mù jiào zuò《 cóng yī bā yī yī nián de bō tè lāi dào yī bā 'èr yī nián de bō tè lāi》。 zài bù rèn 'ēn zhù， xiàng bō bàng jiā mài shēn tóu kào de rén lǐ tóu， xià tè lāi shì gè diǎn xíng。 wǒ de běn shì yào tā men wán quán lǐng jiào guò liǎo， zài shàng dé · méng kē nài tài tài jiā。”
　　　　 lǚ xī 'ān hé qīng nián gōng jué tán huà zhī jiān jìn liàng mài nòng cái huá， jí yú xiàng zhè wèi jué yé zhèng míng， dé · āi sī bā tài tài hé dé · bā rì dōng tài tài qiáo tā bù qǐ shì yòu yǎn wú zhū， dà cuò tè cuò。 kě shì tā zhōng yú xiǎn liǎo yuán xíng： tā xiǎng zì chēng wéi dé · lǚ bāng pō léi， ér dé · léi tuō léi gōng jué piān piān zhuō nòng tā， jiào tā shā 'ěr dōng。
　　　　 gōng jué shuō：“ nǐ yīnggāi zuò bǎo wáng dǎng。 nǐ yǐ jīng xiǎn chū nǐ de cái qì， xiàn zài yào biǎo shì nǐ shí shí wù liǎo。 yào dé dào wáng shàng de zhào shū zhǔn xǔ nǐ gǎi yòng mǔ xì de xìng， wéi yī de bàn fǎ shì xiān wéi gōng tíng chū yī fān lì， zài yào qiú zhè gè 'ēn diǎn。 zì yóu dǎng yǒng yuǎn bù néng shǐ nǐ chéng wéi bó jué！ zhēn zhèng kě pà de lì liàng， bào kān， zǎo wǎn yào bèi zhèng fǔ yā dǎo de。 bào kān fēi jiā yǐ qián zhì bù kě， zhè jiàn shì yǐ jīng tuō yán tài jiǔ liǎo。 yán lùn zì yóu cǐ kè dào liǎo zuì hòu jiē duàn， nǐ gāi jìn liàng lì yòng， zào chéng nǐ de shēng shì。 zài guò jǐ nián， zài fǎ guó yòng xìng shì hé tóu xián zuò zī běn， bǐ cáigàn gèng kě kào。 yòu liǎo zhè liǎng yàng， yī qiēdōu bù chéng wèn tí： cái zhì， mén dì， měi mào， yào shénme yòu shénme。 nǐ cǐ kè zuò zì yóu dǎng， mùdì zhǐ yīnggāi shì jiāng lái tóu kào bǎo wáng dǎng de shí hòu duō zhān yī xiē piányí。”
　　　　 gōng jué gào sù lǚ xī 'ān， tā zài fó luò lì nà de bàn yè cān xí shàng yù dào de gōng shǐ， yào qǐng tā chī fàn， xī wàng tā bù yào jù jué。 lǚ xī 'ān bèi gōng jué de yì lùn dǎ dòng liǎo； jǐ gè yuè zhī qián yǐ wéi yǒng yuǎn zǒu bù jìn qù de shàng liú shè huì xiàng tā kāi liǎo mén， gèng shǐ tā xǐ chū wàng wài。 tā 'àn 'àn zàn tàn bǐgǎn zǐ de lì liàng。 bào kān， cái zhì， jìng shì xiàn dài shè huì de qiāo mén zhuān。 lǚ xī 'ān xīn shàng xiǎng， shuō bù dìng lú sī tuō zhèng zài hòu huǐ， bù gāi bǎ tā yǐn jìn miào táng； lǚ xī 'ān wéi zì jǐ dǎ suàn， yǐ jīng jué dé xū yào zhù qǐ bì lěi， bǎ cóng wài shěng gǎn dào bā lí lái de yě xīn jiā lán zài wài miàn。 tā bù gǎn wèn zì jǐ， cháng ruò yòu gè shī rén xiàng tā dāng chū tóubèn 'ài dì 'ān nà yàng lái zhǎo tā， tā huì cǎi qǔ shénme tài dù。 lǚ xī 'ān xīn shì chóngchóng de shén qì mán bù guò nián qīng de gōng jué， yuán yīn yě bèi tā cāizháo liǎo； yīn wéi gōng jué xiàng zhè gè quē fá yì zhì 'ér yù wàng bù xiǎo de yě xīn jiā jiē lù liǎo zhèng zhì wǔ tái de yuǎn jǐng， zhèng rú zǎo xiān jì zhě men xiàng mó guǐ bǎ yé sū dài dào shèng diàn de dǐng shàng①， ràng lǚ xī 'ān kàn dào wén tán hé wén tán de cái fù。 lǚ xī 'ān bù zhī dào bèi tā de xiǎo bào shāng hài de yī xiē rén zhèng zài shè jìhuà cè duì fù tā， qí zhōng yě yòu dé · léi tuō léi gōng jué cān jiā。 gōng jué xiàng dé · āi sī bā tài tài juàn zǐ lǐ de rén tí dào lǚ xī 'ān de cái qì， jiào tā men tīng zhe chī jīng。 tā shòu dé · bā rì dōng tài tài wěi tuō， zuò yī fān shì tàn gōng zuò， běn lái xī wàng zài 'áng bì jū xǐ jù yuàn yù dào lǚ xī 'ān。 qí shí shàng liú shè huì yě bà， xīn wén jì zhě yě bà， dū tán bù dào shēn móu yuǎn lǜ， bié yǐ wéi tā men de xiàn jǐng jīng guò shénme zhōu mì de 'ān pái。 tā men bìng méi dìng xià fāng 'àn， jiān zhà de quán shù yě bù guò zuò dào nǎ lǐ shì nǎ lǐ， zhù yào shì shǐ zhōng cún zhe xīn， suí jī yìng biàn， bù guǎn hǎo shì huài shì， dū zhǔn bèi lì yòng， dàn děng duì fāng zài qíng yù bō nòng zhī xià zì jǐ sòng shàng mén lái。 zài fó luò lì nà jiā chī xiāo yè nà tiān， qīng nián gōng jué jiù mō qīng lǚ xī 'ān de xìng gé， gāng cái biàn qù zhǔn tā de xū róng xīn jìn gōng， tóng shí jiè tā lái liàn liàn zì jǐ de wài jiāo shǒu wàn。
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　　　　① mó dàn shì tàn yé sū， hū 'ér dài tā dào kuàng yě lǐ， hū 'ér dài wǎng diàn táng dǐng shàng， hū 'ér dài shàng gāo shān。 jiàn《 xīn yuē · mǎ tài fú yīn》 dì sì zhāng。
　　　　 sàn liǎo xì， lǚ xī 'ān gǎn wǎng shèng fěi 'ā kè jiē xiě jù píng， yòu xīn xiěde pō là， jiān kè， xiǎng shì shì zì jǐ de lì liàng。 nà chū xì bǐ shàng huí quán jǐng jù chǎng de nà yī chū gāo míng； kě shì tā xiǎng zhī dào shì fǒu zhēn xiàng rén jiā shuō de， néng gòu bǎ yī běn hǎo xì yā xià qù， bǎ yī běn huài xì pěng chū lái。 dì 'èr tiān tā hé kē lā lì chī zhe zhōng fàn， fān kāi bào zhǐ； tā gēn 'áng bì jū xǐ jù yuàn dǎo luàn de shì yǐ jīng xiān hé kē lā lì shuō liǎo。 lǚ xī 'ān niàn liǎo tā gōng jī dé · bā rì dōng tài tài hé xià tè lāi de wén zhāng， rán hòu hěn qí guài de fā xiàn， tā de jù píng yī yè zhī jiān hū rán biàn dé fēi cháng huǎn hé， chú diào tā jí fēng qù de fēn xī yuán fēng bù dòng zhī wài， jié lùn jìng shì zàn měi。 zhè chū xì jìn kě shǐ jù yuàn dà dà de zuàn yī bǐ。 lǚ xī 'ān de qì nǎo jiǎn zhí méi fǎ xíng róng， jué yì xiàng lú sī tuō kàng yì。 tā yǐ jīng yǐ wéi rén jiā shǎo bù liǎo tā liǎo， tā bù yuàn yì zuò shǎ zǐ， tīng rén zhī pèi， shòu rén zǎi gē。 lǚ xī 'ān wèile kěn dìng zì jǐ de shì lì， tì dào lǐ 'ā hé fěi nuò de zá zhì xiě hǎo yī piān wén zhāng， bǎ pī píng ná dāng zuò pǐn de yì lùn guī nà qǐ lái， zuò yī fān bǐ jiào。 dāyìng gěi xiǎo bào cháng qī zhí bǐ de xiǎo pǐn， yě chéng xīng xiě liǎo yī piān。 nián qīng de jì zhě dōuyòu yī gǔ rè qíng， xiě gǎo hěn rèn zhēn， wǎng wǎng hěn mào shī de ná chū zì jǐ de quán bù jīng huá。 quán jǐng jù chǎng de jīng lǐ tiē liǎo yī chū xīn pái de xǐ jù， ràng fó luò lì nà hé kē lā lì dāng wǎn lún kōng。 chī xiāo yè zhī qián hái yào dǔ qián。 lǚ xī 'ān kàn guò xīn xì cǎi pái， yù xiān xiě hǎo píng lùn， miǎn dé lín shí nào gǎo huāng； lú sī tuō shàng mén lái ná gǎo zǐ。 xiǎo bào kào lǚ xī 'ān xiě de bā lí huā xù fēng xíng yī shí； lǚ xī 'ān bǎ cái xiě de yī gè yòu qù de duǎn piān niàn gěi lú sī tuō tīng liǎo， lú sī tuō qīn zhe tā liǎng jiá， shuō tā zhēn shì xīn wén jiè de tiān shǐ。
　　　　“ nà me gànmá nǐ hū fā qí xiǎng， yào gǎi wǒ de gǎo zǐ ní？” lǚ xī 'ān wèn。 tā xiě nà piān jīng cǎi de wén zhāng yuán shì xiǎng fā xiè tā de yuàn qì de。
　　　　“ wǒ gǎi nǐ gǎo zǐ？” lú sī tuō jiào qǐ lái。
　　　　“ nà me shuí gǎi de？”
　　　　 ài dì 'ān xiào dào：“ péng yǒu， nǐ hái bù dǒng shēng yì jīng。 áng bì jū dìng wǒ men 'èr shí fèn bào， shí jì zhǐ sòng qù jiǔ fèn， jiù shì jīng lǐ， yuèduì zhǐ huī， wǔ tái jiān dū， tā men de qíng fù， lìng wài hái yòu sān gè gǔ dōng。 dà jiē shàng de xì yuàn měi jiādōu yòng zhè gè fāng shì bào xiào wǒ men bào guǎn bā bǎi fǎ láng。 bái sòng fěi nuò de bāo xiāng yě dǐ dé zhè gè shù mù， yǎn yuán hé biān jù dìng de bào hái bù suàn zài nèi。 huài dàn fěi nuò zài dà jiē shàng lāo dào bā qiān fǎ láng。 xiǎo xì yuàn rú cǐ， dà xì yuàn kě xiǎng 'ér zhī！ nǐ míng bái méi yòu？ zán men bù néng bù jìn liàng kè qì。”
　　　　“ wǒ míng bái liǎo， wǒ bù néng zhào wǒ de xīn sī xiě gǎo zǐ……”
　　　　 lú sī tuō dào：“ nà gēn nǐ yòu shénme xiāng gān， zhǐ yào nǐ yóu shuǐ lāo bǎo jiù xíng liǎo。 zài shuō， nǐ duì xì yuàn yòu shénme guò bù qù ní？ yào zá diào zuó tiān de xì， zǒng dé yòu gè lǐ yóu。 wéi pò huài 'ér pò huài， zhǐ néng sǔn hài bào zhǐ。 àn zhào shì fēi qū zhí qù dǎ jī rén， bào zhǐ hái yòu shénme zuò yòng？ kě shì jīng lǐ zhāo dài bù zhōu má？”（ dì 2 bù dì 28 zhāng）

　　Illusions perdues was written by the French writer Honoré de Balzac between 1837 and 1843. It consists of three parts, starting in the provinces, thereafter moving to Paris, and finally returning to provincial France. Thus it resembles another of Balzac’s greatest novels, La Rabouilleuse (The Black Sheep), in that it is set partly in Paris and partly in the provinces. It is, however, unique among the novels and short stories of the Comédie humaine by virtue of the even-handedness with which it treats both geographical dimensions of French social life.
　　
　　Plot summary
　　
　　Lucien Chardon, the son of a lower middle-class father and an impoverished mother of remote aristocratic descent, is the pivotal figure of the entire work. Living at Angoulême, he is impoverished, impatient, handsome and ambitious. His widowed mother, his sister Ève and his best friend, David Séchard, do nothing to lessen his high opinion of his own talents, for it is an opinion they share.
　　
　　Even as Part I of Illusions perdues, Les Deux poètes (The Two Poets), begins, Lucien has already written a historical novel and a sonnet sequence, whereas David is a scientist. But both, according to Balzac, are "poets" in that they creatively seek truth. Theirs is a fraternity of poetic aspiration, whether as scientist or writer: thus, even before David marries Ève, the two young men are spiritual brothers.
　　
　　Lucien is introduced into the drawing-room of the leading figure of Angoulême high society, Mme de Bargeton, who rapidly becomes infatuated with him. It is not long before the pair flee to Paris where Lucien adopts his maternal patronymic of de Rubempré and hopes to make his mark as a poet. Mme de Bargeton, on the other hand, recognises her mésalliance and, though remaining in Paris, severs all ties with Lucien, abandoning him to a life of destitution.
　　
　　In Part II, Un Grand homme de province à Paris, Lucien is contrasted both with the journalist Lousteau and the high-minded writer Daniel d’Arthez. Jilted by Mme de Bargeton for the adventurer Sixte du Châtelet, he moves in a social circle of high-class actress-prostitutes and their journalist lovers: soon he becomes the lover of Coralie. As a literary journalist he prostitutes his talent. But he still harbours the ambition of belonging to high society and longs to assume by royal warrant the surname and coat of arms of the de Rubemprés. He therefore switches his allegiance from the liberal opposition press to the one or two royalist newspapers that support the government. This act of betrayal earns him the implacable hatred of his erstwhile journalist colleagues, who destroy Coralie’s theatrical reputation. In the depths of his despair he forges his brother-in-law’s name on three promissory notes. This is his ultimate betrayal of his integrity as a person. After Coralie’s death he returns in disgrace to Angoulême, stowed away behind the Châtelets’ carriage: Mme de Bargeton has just married du Châtelet, who has been appointed prefect of that region.
　　
　　Meanwhile, at Angoulême David Séchard is betrayed on all sides but is supported by his loving wife. He invents a new and cheaper method of paper production: thus, at a thematic level, the commercialization of paper-manufacturing processes is very closely interwoven with the commercialization of literature. Lucien’s forgery of his brother-in-law’s signature almost bankrupts David, who has to sell the secret of his invention to business rivals. He is about to commit suicide when he is approached by a sham Jesuit priest, the Abbé Carlos Herrera: this, in another guise, is the escaped convict Vautrin whom Balzac had already presented in Le Père Goriot. Herrera takes Lucien under his protection and they drive off to Paris, there to begin a fresh assault on the capital.
　　Fundamental themes of the work
　　
　　The novel has four main themes.
　　
　　(1) The lifestyle of the provinces is juxtaposed with that of the metropolis, as Balzac contrasts the varying tempos of life at Angoulême and in Paris, the different standards obtaining in those cities, and their different perceptions.
　　
　　(2) Balzac explores the artistic life of Paris in 1821-22, and furthermore the nature of the artistic life generally. Lucien, who was already a not quite published author when the novel begins, fails to get that early literary work published whilst he is in Paris and during his time in the capital writes nothing of any consequence. Daniel d’Arthez, on the other hand, does not actively seek literary fame: it comes to him because of his solid literary merit.
　　
　　(3) Balzac denounces journalism, presenting it as the most pernicious form of intellectual prostitution.
　　
　　(4) Balzac affirms the duplicity – and two-facedness – of all things, both in Paris and at Angoulême: e.g., the character of Lucien de Rubempré, who even has two surnames; David Séchard’s ostensible friend, the notary Petit-Claud, who operates against his client, not for him; the legal comptes (accounts) which are contes fantastiques (fantastic tales); the theatre which lives by make-believe; high society likewise; the Abbé Carlos Herrera who is a sham priest, and in fact a criminal; the Sin against the Holy Ghost, whereby Lucien abandons his true integrity as a person, forging his brother-in-law’s signature and even contemplating suicide.
　　Narrative strategies
　　
　　(1) Although Illusions perdues is a commentary upon the contemporary world, Balzac is tantalizingly vague in his delineation of the historico-political background. His delineation of the broader social background is far more precise.
　　
　　(2) Illusions perdues is remarkable for its innumerable changes of tempo. However, even the change of tempo from Part II to Part III is but a superficial point of contrast between life as it is lived in the capital and life in the provinces. Everywhere the same laws of human behaviour apply. A person’s downfall may come from the rapier thrust of the journalist or from the slowly strangling machinations of the law.
　　
　　(3) Most notably in La Cousine Bette Balzac was one of the first novelists to employ the technique of in medias res. In Illusions perdues there is an unusual example of this, Part II of the novel serving as the prelude to the extended flashback which follows in Part III.
　　
　　(4) Illusions perdues is also full of the "sublimities and degradations", "excited emphasis" and "romantic rhetoric" to which F.R. Leavis[1] has objected in Le Père Goriot. Characters and viewpoints are polarized. There is the strong and perhaps somewhat artificial contrast between Lucien and David, art and science, Lousteau and d’Arthez, journalism and literature, Paris and the provinces, etc. And this polarization reaches the point of melodrama as Balzac appears to draw moral distinctions between "vice" and "virtue". Coralie is the Fallen Woman, Ève an Angel of strength and purity. Yet Balzac also describes Coralie’s love for Lucien as a form of redemptive purity, an "absolution" and a "benediction". Thus, through what structurally is melodrama, he underlines what he considers to be the fundamental resemblance of opposites.
　　
　　(5) Introduced into narrative fiction by the Gothic novel (The Castle of Otranto, The Mysteries of Udolpho, The Monk), melodrama was widespread in literature around the time when Illusions perdues was written. Jane Austen satirizes it in Northanger Abbey. Eugène Sue made regular use of it. Instances in Illusions perdues are the use of improbable coincidence; Lucien, in an endeavour to pay Coralie’s funeral expenses, writing bawdy love-songs when her body is hardly yet cold; and the deus ex machina (or Satanas ex machina?) in the form of Herrera’s appearance at the end of the novel.
　　
　　(6) Like all the major works of the Comédie humaine, Illusions perdues pre-eminently focuses on the social nexus. Within the nexus of love, in her relationship with Lucien, Coralie is life-giving: her love has a sacramental quality. However, in an environment of worldly manœuvring her influence upn him is fatal. She is, in other words, both a Fallen and a Risen Woman; all depends upon the nexus within which she is viewed. In the unpropitious environment of Angoulême Mme de Bargeton is an absurd bluestocking; transplanted to Paris, she undergoes an immediate "metamorphosis", becoming a true denizen of high society – and rightfully, in Part III, the occupant of the préfecture at Angoulême. As to whether Lucien’s writings have any value, the social laws are paramount: this is a fact which he does not realize until it is too late.
　　
　　(7) A parallel ambiguity is present in the character of the epicene Lucien de Rubempré. Mme de Bargeton finds no fault with his amorous competence, nor does Coralie. Yet, partly because of his existential circumstances and also because of the narrative context in which Balzac places him, it appears that Lucien is fundamentally homosexual. This, incidentally, is almost the first appearance of homosexuality in modern literature.
　　
　　(8) Illusions perdues is, according to Donald Adamson, "a revelation of the secret workings of the world, rather than a Bildungsroman illuminating the development of character"[2].
　　
　　The success of this novel inspired Balzac to write a four-part sequel, Splendeurs et misères des courtisanes. Illusions perdues and Splendeurs et misères des courtisanes form part of the Comédie humaine, the series of novels and short stories written by Balzac depicting French society in the period of the Restoration and July Monarchy (1815-1848).

ōu yè nī · gé lǎng tái

　　qiān lìn jīng míng de bǎi wàn fù wēng yòu yī wèi tiān zhēn měi lì de dú shēng nǚ 'ér， tā 'ài shàng liǎo yī gè pò chǎn luò bó de qīn qī， wèile zī zhù tā“ chuǎng tiān xià”， qīng náng zèng yú quán bù jī xù， cóng 'ér jī nù 'ài cái rú mìng de fù qīn， fù nǚ jiān fā shēng jī liè chōng tū， dǎn xiǎo 'ér xián huì de cí mǔ cóng cǐ yī bìng bù qǐ； kě zài qī dài zhōng sàng shī fù qīn， yòu bái bái làng fèi qīng chūn de chī qíng gū niàn， zuì zhōng děng dào de què shì fā cái guī lái de fù xīn hàn。
　　
　　《 ōu yě nī . gé lǎng tái》 jiǎng shù de shì lǎo gé lǎng tái de dú shēng nǚ 'ér tiān zhēn měi lì de 'ōu yě nī 'ài shàng liǎo pò chǎn luò bó de biǎo dì xià 'ěr。 wèile zī zhù xià 'ěr， tā jiāng fù qīn de jīn bì quán bù zèng gěi liǎo tā， zhè yī jǔ dòng jī nù liǎo lǎo gé lǎng tái， fù nǚ liǎ 'ér fā shēng liǎo jī liè de chōng tū。 yī xiàng dǎn xiǎo 'ér xián shū de mǔ qīn yīn cǐ yī bìng bù qǐ， ér 'ōu yě nī zhè gè chī qíng de gū niàn zuì zhōng děng dào de què shì fā liǎo xiǎo cái guī lái de fù xīn hàn。
　　《 ōu yě nī . gé lǎng tái》 shì bā 'ěr zhā kè fěng cì zuò pǐn zhōng zuì jù yòu huó lì de yī bù lì zuò。 xiǎo shuō zhōng， lǎo gé lǎng tái yǔ chuán tǒng de shǒu cái nú de xíng xiàng bù dà yī yàng， tā bù jǐn rè zhōng yú shǒu cái， gèng shàn yú fā cái， tā jīng yú suàn jì， néng shěn shí duóshì， píng shí bù dòng shēng sè， kàn zhǔn shí jī yī dìng huì guǒ duàn chū jī。 suǒ mò chéng lǐ， shuídōu cháng dào guò tā de lì hài， dàn tā men fǎn dǎo gèng jìng pèi tā liǎo， bǎ tā kàn chéng suǒ mò chéng de guāng róng， zhè shì yīn wéi jīn qián zài dāng shí shè huì jù yòu wú biān de mèi lì。 lǎo gé lǎng tái sǐ hòu， suī rán 'ōu yě nī . gé lǎng tái yòu liǎo yī dà bǐ yí chǎn hé shōu rù， kě shì tā hé yǐ qián yī yàng， guò zhe jiǎn pǔ de shēng huó。 tā yě shì jīng dǎ xì suàn dì， jīzǎn liǎo xǔ duō nián de jiā chǎn， yòu rén shuō tā hé tā de fù qīn yī yàng lìn sè。 kě shì， tā bǎ qián yòng dào liǎo cí shàn jī gòu hé jiào yù shàng。 tā hé tā de bà bà xíng chéng liǎo xiān míng de duì zhào。
　　 zhè běn shū nóng suō zhī hòu kě néng jiù shì yī jù rén shēng gé yán， huò zhě， shì fù hán zhe zhé lǐ de yī jù huà， bù guò tā hěn zhòng yào。
　　《 ōu yě nī . gé lǎng tái》 zhè bù xiǎo shuō jiē lù liǎo dāng shí zī chǎn jiē jí shè huì zhōng chì luǒ luǒ de jīn qián guān xì， wǒ dú liǎo zhè běn shū shòu yì wú qióng， wǒ shí fēn xǐ huān tā。

　　Eugénie Grandet (1833) is a novel by Honoré de Balzac about miserliness, and how it is bequeathed from the father to the daughter, Eugénie, through her unsatisfying love attachment with her cousin. As is usual with Balzac, all the characters in the novel are fully realized. Balzac conceived his grand project, The Human Comedy, while writing Eugénie Grandet and incorporated it into the Comedie by revising the names of some of the characters in the second edition.
　　Plot Summary
　　
　　Eugenie Grandet is set in the town of Saumur. Eugenie's father Felix is a former cooper who has become wealthy through both business ventures and inheritance. However he is very miserly, and he, his wife, daughter and their servant Nanon live in a run down old house which he is too miserly to repair. His banker des Grassins wishes Eugenie to marry his son Adolphe, and his lawyer Cruchot wishes Eugenie to marry his nephew President Cruchot des Bonfons. The two families constantly visit the Grandets to get Felix's favour, and Felix in turn plays them off against each other for his own advantage.
　　
　　
　　One day in 1819, Felix's nephew Charles Grandet arrives from Paris unexpectedly at their home having been sent there by his father Guillaume. Charles does not realise that his father has gone bankrupt and plans to takes his own life. Guillaume reveals this to his brother Felix in a confidential letter which Charles has carried.
　　
　　Charles is a spoilt, and indolent young man, who is having an affair with an older woman. His father's ruin and suicide are soon published in the newspaper, and his uncle Felix reveals his problems to him. Felix considers Charles to be a burden, and plans to send him off overseas to make his own fortune. However, Eugenie and Charles fall in love with each other, and hope to eventually marry. She gives him some of her own money to help with his trading ventures.
　　
　　Meanwhile Felix hatches a plan to profit from his brother's ruin. He announces to Cruchot des Bonfons that he plans to liquidate his brother's business, and so avoid a declaration of bankruptcy, and therefore save the family honour. Cruchot des Bonfons volunteers to go Paris to make the arrangements provided that Felix pays his expenses. The des Grassins then visit just as they are in the middle of discussions, and the banker des Grassins volunteers to do Felix's bidding for free. So Felix accepts des Grassins offer instead of Cruchot des Bonfons. The business is liquidated, and the creditors get 46% of their debts, in exchange for their bank bills. Felix then ignores all demands to pay the rest, whilst selling the bank bills at a profit.
　　
　　By now Charles has left to travel overseas. He entrusts Eugenie with a small gold plated cabinet which contains pictures of his parents.
　　
　　Later Felix is angered when he discovers that Eugenie has given her money (all in gold coins) to Charles. This leads to his wife falling ill, and his daughter being confined to her room. Eventually they are reconciled, and Felix reluctantly agrees that Eugenie can marry Charles.
　　
　　In 1827 Charles returns to France. By now both of Eugenie's parents have died. However Charles is no longer in love with Eugenie. He has become very wealthy through his trading, but he has also become extremely corrupt. He becomes engaged to the daughter of an impoverished aristocratic family, in order to make himself respectable. He writes to Eugenie to announce his marriage plans, and to break off their engagement. He also sends a cheque to pay off the money that she gave him. Eugenie is heartbroken, especially when she discovers that Charles had been back in France for a month when he wrote to her. She sends back the cabinet.
　　
　　Eugenie then decides to become engaged to Cruchot des Bonfons on two conditions. One is that she remains a virgin, and the other is that he agrees to go to Paris to act for her to pay off all the debts due Guillaume Grandet's creditor's. Bonfons de Cruchot carries out the debt payment in full. This comes just in time for Charles who finds that his future father-in-law objects to letting his daughter marry the son of a bankrupt. When Charles meets Bonfons de Cruchot, he discovers that Eugenie is in fact far wealthier than he is. During his brief stay at Saumur, he had assumed from the state of their home that his relatives were poor.
　　
　　Bonfons de Cruchot marries Eugenie hopeful of becoming fabulously wealthy. However he dies young, and at the end of the book Eugenie is a very wealthy widow having now inherited her husband's fortune. However she is also very unhappy, and tells her servant Nanon "You are the only one who loves me". She lives in the miserly way in which she was brought up, though without her father's obsession for gold.
　　Adaptations
　　
　　Adaptation for cinema:
　　
　　 * 1921 - The Conquering Power - by Rex Ingram - starring Alice Terry (Eugénie), Rudolph Valentino (Charles), Ralph Lewis (Father), Carrie Daumery (Mother), Bridgetta Clark (Mrs Des Grassins)
　　 * 1946 - Eugenia Grandet - by Mario Soldati - starring Alida Valli
　　 * 1965 - Eugenie Grandet - by Rex Tucker - starring Valerie Gearon (Eugénie), Mary Kerridge (Madame des Grassins), Beatrix Lehmann (Madame Grandet), Jonathan Cecil (Adolphe)
　　 * 1993 - Eugénie Grandet, by Jean-Daniel Verhaeghe; starring: Alexandra London (Eugénie), Jean Carmet (Father Grandet), Dominique Labourier (Mother Grandet), Claude Jade (Lucienne des Grassins).

sū chéng wǔ huì

　　bā 'ěr zhā kè cóng 1829 nián kāi shǐ chuàng zuò《 rén jiān xǐ jù》， dào 1848 nián， qí jiān jīng guò 20 nián。 cóng chuàng zuò fā zhǎn dào lù kàn， dà yuē kě fēn wéi sān gè jiē duàn：① 1829 ～ 1835 nián， shì tā de chuàng zuò zǒu shàng chéng shú de shí qī， zhè qī jiān， yī gòng xiě liǎo 40 duō bù， dà dū shì zhōng、 duǎn piān xiǎo shuō。《 ōu yě nī · gé lǎng tái》 hé《 gāo lǎo tóu》 shì zhè yī shí qī de dài biǎo zuò。 qián zhě zhēn shí、 shēng dòng dì zài xiàn liǎo 19 shì jì chū qī fǎ guó de wài shěng shēng huó， sù zào liǎo zài fǎ guó dà gé mìng biàn dòng zhōng fā jì de zī chǎn jiē jí rén wù， tè bié shì kè huà liǎo yī gè jiǎo kuài、 tān lán、 lìn sè de bào fā hù de diǎn xíng xíng xiàng， jiē lù liǎo zī běn zhù yì shè huì rén yǔ rén zhī jiān de jīn qián guān xì； hòu zhě shì bā 'ěr zhā kè zuì zhī míng de zuò pǐn， shēn kè fǎn yìng liǎo fù bì wáng cháo de shè huì zhuàng kuàng， yǐ gāo lǎo tóu de fù 'ài fǎn chèn chū jīn qián de zuì 'è， yóu qí kè huà liǎo zī chǎn jiē jí gè rén yě xīn jiā de diǎn xíng。② 1836～ 1842 nián gòng xiě liǎo 30 duō bù zuò pǐn。 qí zhōng zuì zhòng yào de shì《 huàn miè》， tā shēn kè fǎn yìng liǎo fù bì wáng cháo shí qī jiān ruì de jiē jí duì lì hé dǎng pài dǒu zhēng， hái miáo xiě liǎo jīng jì lǐng yù de zì yóu jìng zhēng tūn bìng xiàn xiàng。③ 1843～ 1848 nián。 dāng shí zhèng shì qī yuè wáng cháo mò qī， jiē jí dǒu zhēng shí fēn jiān ruì， shè huì fǔ bài rì yì míng xiǎn， yīn 'ér， qī yuè wáng cháo de xiàn shí biàn chéng wèitā zuò pǐn zhōng zhèng miàn miáo xiě de zhòng dà tí cái。 dài biǎo zuò《 nóng mín》 shì yī bù zhí jiē miáo xiě nóng cūn jiē jí dǒu zhēng de cháng piān xiǎo shuō。 tā tōng guò fù bì wáng cháo shí qī nóng cūn zhōng zī chǎn jiē jí lián hé nóng mín tóng fǎn huí nóng cūn de guì zú dì zhù jìn xíng jiào liàng， zhōng yú bǎ guì zú gǎn zǒu de guò chéng， shēn kè fǎn yìng liǎo dāng shí fǎ guó nóng cūn fā shēng de biàn huà。 zhè yī jiē duàn lìng yī bù dài biǎo zuò《 bèi yí》 tōng guò duì hàosè de yú luò nán jué hé bào fā hù kè lè fán de kè huà， jí duì qī yuè wáng cháo shè huì xiàn xiàng de guǎng kuò xì zhì de miáo huì， pēng jī liǎo qī yuè wáng cháo fǔ xiǔ de běn zhì。
　　《 sū chéng wǔ huì》 sū chéng wǔ huì
　　
　　《 rén jiān xǐ jù》 gòng bāo kuò 90 duō bù cháng piān、 zhōng piān、 duǎn piān xiǎo shuō， chū xiàn liǎo 2400 duō gè rén wù， chù jí dào shè huì gè jiē céng， bāo kuò zī chǎn zhě、 guì zú、 yě xīn jiā、 zhèng zhì jiā、 sī fǎ rén yuán、 jūn rén、 jiào shì、 yì shù jiā、 nóng mín、 gōng rén、 kē xué jiā、 zhí yuán、 jǐng tàn děng， bèi chēng wéi“ shè huì bǎi kē quán shū”， wéi shì jiè wén xué shǐ suǒ hǎn jiàn。 ēn gé sī rèn wéi《 rén jiān xǐ jù》 shì yī bù wěi dà de zuò pǐn， chēng zàn zuò zhě“ tí gōng liǎo yī bù fǎ guó ‘ shè huì ’ tè bié shì bā lí‘ shàng liú shè huì’ de zhuó yuè de xiàn shí zhù yì lì shǐ”。 ēn gé sī hái shuō , bā 'ěr zhā kè de“ wěi dà zuò pǐn shì duì shàng liú shè huì bì rán bēng kuì de yī qū wú jìn de wǎn gē , tā de quán bù tóng qíng dōuzài zhù dìng yào miè wáng de nà gè jiē jí fāng miàn。 dàn shì， jìn guǎn rú cǐ , dāng tā ràng tā suǒ shēnqiè tóng qíng de nà xiē guì zú nán nǚ xíng dòng de shí hòu , tā de cháo xiào shì kōng qián jiān kè , tā de fěng cì shì kōng qián xīn là de”。
　　《 sū chéng wǔ huì》 - zuò pǐn jiè shào
　　
　　
　　 zuò pǐn yōu mò dì miáo xiě liǎo měi lì 'ér yòu cōng huì de 'ài mǐ lì xiǎo jiě， yīn wéi yī gè shén qíng xǐ huān shàng liǎo yī gè mò shēng nán zǐ， shèn zhì bǎ tā kuā zhāng xiǎng xiàng chéng liǎo yà lì shān dà、 bài lún、 qí tā wěi dà de rén wù， dàn què yīn wéi huāng táng de chuán tǒng guān niàn hé chén fǔ de chéng jiàn jìng zài yī shùn zhī jiān huǐ diào liǎo tā mèng mèi yǐ qiú de xìng fú， niàng chéng liǎo yī shēng lìng rén yù kū wú lèi de 'ài qíng bēi jù。
　　《 sū chéng wǔ huì》 ài mǐ lì
　　
　　 lǎo guì zú dé · fēng dān nà bó jué duì wáng shì zhōng xīn gěng gěng， dàn zài xiàn shí shēng huó zhōng què biǎo xiàn dé shí fēn shí jì。 tā ràng sān gè 'ér zǐ hé liǎng gè nǚ 'ér dū yǔ zī chǎn zhě xīn guì lián yīn， wéi de shì mí bǔ zì jǐ cái lì de kōng xū， biǎo xiàn chū tā duì jiāng hé rì xià de mìng yùn de qīng xǐng rèn shí。 sān nǚ 'ài mǐ lì suī shì zuì nián qīng de yī gè， dàn qí guān niàn zhī chén fǔ jì shèn yú xiōng jiě， yě shèn yú lǎo fù。 tā xū róng 'ér gù zhí de rèn wéi yī wèi bā lí nǚ zǐ， kě yǐ páo dào shā mò lǐ qù zhù zhàng péng， dàn shì jué bù huì zuò dào diàn pū de guì tái lǐ。 jué bù qū zūn xià jià de mén fá zhī jiàn niàng chéng liǎo tā de hūn yīn bēi jù， shǐ tā shī qù liǎo 'ài qíng de xìng fú， yě shī qù liǎo tā suǒ zhuī qiú de xū róng。 ér shěn shí duóshì， shàn yú shùn yìng cháo liú， qiě yòu wù shí jīng shén de guì zú hòu yì mǎ kè xī mǐ lì 'ān， què chéng liǎo zhèng zhì wǔ tái hé jīng jì shēng huó zhōng de jiǎo jiǎo zhě。 bā 'ěr zhā kè duì fēng jiàn chuán tǒng guān niàn de cháo nòng shì xīn là de， duì shè huì qíng shì de bǎ wò shì zhǔn què de。 zuì hòu 'ài mǐ lì kàn zhe jiù rì 'ài rén chū shén de shí hòu , shū diào liǎo pái jú , dé · pèi sài bō lǐ zhù jiào hé 'ǎi dì shuō：“ měi lì de fū rén， nín bǎ‘ hóng xīn wáng’ dǎ chū qù liǎo， wǒ yíng liǎo。 bù guò， nín bù bì lìn xī shū diào de qián， wǒdōu gěi wǒ de xiū dào yuàn liú zhe。” yī yǔ shuāng guān , zhǐ 'ài mǐ lì yīn wéi fēn shén chū cuò liǎo pái， dǎ cuò liǎo hóng xīn wáng； yòu fěng cì tā yīn wéi mén dì piān jiàn hé xū róng cuò shī liǎo zì jǐ zuì 'ài de rén， tóng shí yě cuò shī liǎo zì jǐ zuì xiàng wǎng de xū róng shēng huó。
　　《 sū chéng wǔ huì》 bā 'ěr zhā kè
　　
　　《 sū chéng wǔ huì》 fā biǎo yú qī yuè gé mìng qián xī de 1829 nián， shàng shǔ bā 'ěr zhā kè de shì bǐ zhī zuò， dàn zuò zhě xíng xiàng dì kè huà liǎo fù bì shí qī guì zú de gān gà dì wèi。 suí zhe guì zú jiē jí jīng jì lì liàng de shuāi luò , bǐ jiào míng zhì de guì zú bù duàn gǎi biàn zhe yǐ wǎng gēn shēn dì gù de fēng jiàn yì shí , fēn fēn yǔ zī chǎn jiē jí lián yīn , yǐ wéi chí hé jiā qiáng zì wǒ zài jīng jì shàng hé zhèng zhì shàng de shí lì dì wèi。《 sū chéng wǔ huì》 zhōng de fēng dān nà bó jué jiù shì zhè yàng de shí shí wù zhě， fēng dān nà bó jué suī rán chū shēn yú gǔ lǎo de guì zú shì jiā， dàn tā kàn dào liǎo guì zú bù kě bì miǎn de shuāi wáng mìng yùn yīn 'ér zàn tóng 'ér zǐ、 nǚ 'ér yǔ zī chǎn zhě jié qīn。 bā 'ěr zhā kè xiě chū liǎo shè huì fēng qì de biàn huà， duì mén fá de zūn chóng ràng wèi yú duì jīn qián de mó bài， zī chǎn jiē jí fù nǚ qǔ dài liǎo guì fù rén， huó yuè zài shàng liú shè huì zhōng。 bā 'ěr zhā kè de jiē jí tóng qíng , shì zài zhù dìng yào miè wáng de guì zú yī biān de , rán 'ér tā tóng qíng de lèi shuǐ dǎng bù zhù tā xiàn shí zhù yì de mù guāng , tā bù dé bù wéi bèi zì jǐ de jiē jí tóng qíng hé zhèng zhì piān 'ài , rú qì rú sù dì miáo huì liǎo tā xīn 'ài de guì zú jiē jí de bì rán mòluò 'ér bù pèi yòu gèng hǎo de mìng yùn。
　　《 sū chéng wǔ huì》 - zuò pǐn yǐn yòng
　　
　　
　　 ài mǐ lì shì bā lí guì zú shì jiā dé . fēng dān nà bó jué de nǚ 'ér。 tā bù jǐn cháng dé měi lì， ér qiě cái huá chū zhòng。 zài shè jiāo jiè lǐ， tā bèi jiāo 'ào de nǚ huáng。
　　《 sū chéng wǔ huì》 ài mǐ lì
　　
　　 zhè nián xià jì， dé . fēng dān nà yī jiā lái dào sū chéng bì shǔ。 měi féng xīng qī rì， zhè 'ér dū jǔ xíng shèng dà de lù tiān wǔ huì。 ài mǐ lì bié chū xīn cái dì bǎ zì jǐ dǎ bàn chéng yī gè cūn gū qù cān jiā wǔ huì。 zài wǔ huì shàng， ài mǐ lì 'ǒu rán fā xiàn yī gè qīng nián， tā bèi tā piào liàng de wài biǎo suǒ xī yǐn， bìng cóng tā xiāo sǎ de fēng dù hé huá lì de fú shì duàn dìng：“ tā kěn dìng shì guì zú。” hòu lái tā rèn shí liǎo tā yǎn zhōng de guì zú héng héng lóng gé wēi bìng qiě liǎng rén qíng tóu yì hé。
　　
　　 zài huí qù shí tā gǔ zú yǒng qì wèn dào：“ nǐ shì guì zú má？”
　　 lóng gé wēi miàn sè yīn chén， tā shuō：“ wǒ 'ài nǐ。 nán dào hái yòu bié de bǐ zhè gèng zhòng yào má？” tā nà jiān dìng de kǒu qì hé mù guāng shǐ tā xiū kuì dé dī xià liǎo tóu。
　　 hòu 'ài mǐ lì zǒu jìn shì zhōng xīn de yī jiā bù diàn， yī gè yì xiǎng bù dào de chǎng miàn jīng dé tā chēng mù jié shé： lóng gé wēi zuò zài guì tái lǐ， zhèng yòng shāng rén shú liàn de dòng zuò shù zhe jīn bì。
　　
　　 lóng gé wēi kàn jiàn 'ài mǐ lì， huáng huò bù 'ān dì lái dào tā miàn qián shuō：“ xiǎo jiě， zhè zhǒng shēng yì shàng má fán nòng dé rén bù kě kāi jiāo。 wǒ xī wàng nǐ néng lǐ jiě ......”
　　“ zhè gēn wǒ háo wú xiāng gān！” ài mǐ lì shuō wán zhuǎn shēn biàn zǒu。
　　 lóng gé wēi duō cì qiú jiàn， dū zāo dào tā de jù jué。 tā yòng zuì kè dú de yán yǔ lái zhòu mà shì shàng de yī qiē shāng rén。
　　 jí shǐ jiù gōng gào sù 'ài mǐ lì： lóng gé wēi chū shēn guì zú jiā tíng， wèile gē gē de qián chéng， tā fàng qì liǎo cái chǎn hé jué wèi de jì chéng。 tā yào kào zì jǐ de lì liàng lái shēng huó， tā shì gè yòu wéi de qīng nián。 ài mǐ lì tīng liǎo wú dòng yú zhōng。
　　 zài yī gè wǔ huì shàng， lóng gé wēi lái dào tā gēn qián， kěnqiè dì shuō：“ ài mǐ lì， diū diào nà zhǒng guò fèn de xū róng xīn bā！” ài mǐ lì jiān kè dì dá dào：“ wǒ nìngkě gēn qíng rén dào shā mò shàng qù， yě bù yuàn péi tā qù zuò guì tái！” gé wēi miàn sè cāng bái， biǎo qíng tòng kǔ dì shuō：“ nà wǒ zhǐ dé lí kāi bā lí ......” ài mǐ lì bù nài fán dì dǎ duàn tā de huà：“ děng nǐ huí lái wǒ yě xǔ yǐ jīng tóng bié rén jié hūn liǎo。” lóng gé wēi dào yì dà lì qù liǎo。
　　《 sū chéng wǔ huì》 sū chéng wǔ huì
　　
　　 yóu yú 'ài mǐ lì nà zhǒng gāo 'ào de mén dì guān niàn hé hǎo tiǎo tī de xìng gé， nà xiē guò qù de zhuī qiú zhě dōuchéng liǎo tā xiàn zài de dí rén。 shè huì yú lùn shǐ tā biàn dé fēi cháng gū lì。 dé . fēng dān nà de mén tíng xiǎn dé kōng qián lěng luò。 suí zhe nián huá de shì qù， ài mǐ lì de fù mǔ xiān hòu qù shì， jiù gōng chéng liǎo tā wéi yī de bǎo hù rén。 ài mǐ lì wèile zì jǐ bù chéng wéi lǎo chǔnǚ， zhǐ dé tóng nián mài de jiù gōng jié hūn。 zài háo huá de hūn lǐ shàng， rén men cóng tā měi lì de liǎn jiá shàng kàn dào yī zhǒng shī bài de xiào róng。 hǎi jūn jī dì zhōngjiàng duì nián qīng de fū rén bǎi bān tǐ tiē。 wèile shǐ tā kāi xīn， tā bù tíng dì jǔ xíng zhe yàn huì。 kě shì， biǎo miàn de fù lì táng huáng yǒng yuǎn wú fǎ tián bǔ 'ài mǐ lì kōng xū de xīn líng。
　　 èr nián zhī hòu， lóng gé wēi zài yī cì gōng kāi yàn huì shàng chū xiàn。 ài mǐ lì tīng shuō lóng gé wēi de gē gē qù shì hòu， tā bù jǐn jì chéng liǎo fù xiōng de yí chǎn， ér qiě dé dào liǎo shì xí yì yuàn guì zú fēng hào。 shì dào rú jīn， huǐ zhī wǎn yǐ！ ài mǐ lì quán shēn duō suo， tā shén zhì huǎng hū dì dǎ chū yī zhāng pái， zài zuò de zhù jiào jī fěng dì xiào zhe shuō：“ měi lì de fū rén， nín bǎ‘ hóng xīn wáng’ dǎ chū qù liǎo， wǒ yíng liǎo。 bù guò， nín bù bì lìn xī shū diào de qián， wǒdōu gěi wǒ de xiū dào yuàn liú zhe。”
　　《 sū chéng wǔ huì》 - yì shù jià zhí
　　
　　 bā 'ěr zhā kè shàn yú tōng guò huán jìng miáo xiě zài xiàn shí dài fēng mào， tā de zuò pǐn fù yòu shí dài qì xī， jù yòu fēi fán de yì shù mèi lì。 tā hái bǎ huán jìng miáo xiě tóng rén wù sù zào jǐn mì jié hé qǐ lái， shàn yú duì rén wù wài mào zuò jīng xì miáo xiě， yòu shàn cháng kè huà rén wù de xīn lǐ biàn huà， bìng yùn yòng gè xìng huà de yǔ yán hé kuā zhāng shǒu fǎ lái chōng shí hé tū chū xìng gé tè zhēng， shǐ rén wù xiǎn dé yòu xuè yòu ròu。 bā 'ěr zhā kè de xiǎo shuō gòu sī qiǎo miào， jié gòu duō zhǒng duō yàng 'ér yòu jù yòu dú tè de fēng gé。 tā de bù shǎo zuò pǐn hái dài yòu nóng hòu de làng màn sè cǎi， dà dà fēng fù hé fā zhǎn liǎo xiàn shí zhù yì chuàng zuò fāng fǎ。 tā de chuàng zuò fāng fǎ hé yì shù jì qiǎo duì hòu shì de fǎ guó wén xué nǎi zhì shì jiè wén xué chǎn shēng liǎo jí qí shēn yuǎn de yǐng xiǎng。 zuò wéi yì shù jù jiàng de bā 'ěr zhā kè， zài tā miáo xiě rén wù de duō fāng miàn chéng jiù zhōng， tōng guò yī xì liè jù tǐ 'ér diǎn xíng de xì jié miáo xiě lái tū chū rén wù xìng gé tè diǎn， zhè diǎn zé gèng kě chēng dào。 zhè zhǒng duì xì jié miáo xiě de bī zhēn tóng yàng shǐ rén wù gèng jù zhēn shí gǎn， gèng fù gǎn rǎn lì。
　　 bā 'ěr zhā kè de shì jiè guān chōng mǎn liǎo máo dùn， bìng chōng fēn tǐ xiàn zài qí zuò pǐn zhōng。《 sū chéng wǔ huì》 tōng guò duì xiǎo shuō zhù rén gōng xíng xiàng、 mìng yùn de fēn xī， tàn tǎo nǚ xìng yì shí duì zuò pǐn zhù tí jí rén wù de yǐng xiǎng， dòng chá hé jiě dú zuò jiā nèi xīn fù zá 'ér zhēn shí de qián yǐn sī xiǎng。

　　Le Bal de Sceaux (The Ball at Sceaux) is the fifth work of Honoré de Balzac, one of the oldest texts of la Comédie Humaine.
　　
　　The first edition of this novella was published in 1830 by Mame and Delaunay-Vallée in the Scènes de la vie privée (Scenes of Private Life). It was republished in 1835 by Madame Charles-Béchet, in 1839 in the Charpentier edition, and then in 1842 in the first volume of the Furne edition of la Comédie Humaine.
　　
　　Analysis
　　
　　In writing this novella Balzac seems to have been inspired by the fables of La Fontaine, especially La fille ("The Girl") and Héron ("The Heron"). There is also an allusion to La Fontaine in the choice of Émilie’s surname. The plot is similar to that of another of Balzac's works, La Vieille Fille (The Old Maid), the subject of which hesitates between several suitors and finishes by making do with the only one left.
　　
　　A similar plot informs Aleksandr Pushkin's verse novel Eugene Onegin, which was published in serial form between 1825 and 1832.
　　
　　Plot
　　
　　After having haughtily refused a number of suitors, under the pretext that they are not peers of France, Émilie de Fontaine falls in love with a mysterious young man who quietly appeared at the village dance at Sceaux. Despite his refined appearance and aristocratic bearing, the unknown (Maximilien Longueville) never tells his identity and seems interested in nobody but his sister, a sickly young girl. But he is not insensible to the attention Émilie gives him and he accepts the invitation of Émilie’s father, the Comte de Fontaine. Émilie and Maximilien soon fall in love. The Comte de Fontaine, concerned for his daughter, decides to investigate this mysterious young man, and he discovers him on the Rue du Sentier, a simple cloth merchant, which horrifies Émilie. Piqued, she marries a 70 year old uncle for his title of Vice Admiral, the Comte de Kergarouët.
　　
　　Several years after her marriage, Émilie discovers that Maximilien is not a clothier at all, but in fact a Vicomte de Longueville who has become a Peer of France. The young man finally explains why he secretly tended a store: he did it in order to support his family, sacrificing himself for his sick sister and for his brother, who had departed the country.

bèi yí

　　bā 'ěr zhā kè（ 1799~1850） shì fǎ guó xiàn shí zhù yì wén xué dà shī， tā yī shēng chuàng zuò de 91 bù cháng、 zhōng、 duǎn piān xiǎo shuō， quán bù shōu rù《 rén jiān xǐ jù》 zhōng， chú liǎo guǎng wéi rén zhī de《 ōu yě nī · gé lǎng tái》、《 gāo lǎo tóu》 děng， hái yòu《 bèi yí》、《 dū lán qù huà》 děng。
　　《 bèi yí》 shì tā de yī bù zhù míng xiǎo shuō。 běn shū de zhù rén gōng bèi yí， shì yī gè shēng zài xiāng xià de gū niàn， dài zhe yī shēn de xiāng lǐ qì xī， yóu yú měi lì shàn liáng yòu dé dào gāo guì de táng jiě de guān qiē lái dào liǎo fǎ guó bā lí chéng lǐ， xìng gé juéjiàng de bèi yí yī fāng miàn mǎn huái zhe duì táng jiě de dù jì， yī fāng miàn yòu yǐ zì jǐ hàoshèng de wàng wǒ qín fèn xué xí， chéng lì liǎo shǔ yú zì jǐ de jiā tíng， rán 'ér shí dài shè huì de dòng dàng wàn biàn hé běn xìng de wán gù bù dé bù yòu yī cì xià biǎn chéng gōng rén， jiē xià lái de gù shì bìng bù huì jiù cǐ píng dàn dù guò， bèi yí méi yòu fàng qì hé qū fú yú xiàn zhuàng， wéi zhe zì jǐ de mù biāo jì xù huó zhe， jiān qiáng dì pīn bó， zuì zhōng dé dào liǎo tā de mǎn zú héng héng yòu liǎo yī fèn zì jǐ de shì yè。
　　 bèi yí shì bā 'ěr zhā kè bǐ xià xiāng dāng tè shū de yī gè xíng xiàng。 xiǎo shuō yǐ qí mìng míng， kě jiàn zuò jiā duì tā de zhòng shì。 tā wéi mǒu zhǒng qíng yù suǒ zuǒ yòu， dàn sè diào gòu chéng què shí fēn fù zá。 jí“ chǒu” yǔ“ è” yú yī shēn， shì zhè gè rén wù gěi dú zhě de dì yī yìn xiàng。 zuò jiā wéi tā gòu huà liǎo yī fú lìng rén shēng yàn、 lìng rén shēng wèi de màn huà xiàng， yòu fù yú tā tóng yàng lìng rén shēng yàn、 lìng rén shēng wèi de jí dù xīn。 zhè zhǒng fǎng fó yǔ shēng jù lái de guài pǐ xīn lǐ， qīn rǎo zhe tā zì jǐ de líng hún， yě pò huài zhe bié rén de xìng fú； zài yǔ wǎ lāi lì de yín dàng jié hé hòu， gèng xíng chéng wéi yī zhǒng jù dà de， shèn zhì néng“ huǐ miè zhěng gè chéng shì” de xié 'è lì liàng。 dàn shì， bèi yí de xíng xiàng yòu yuǎn fēi“ è” de huà shēn。

　　La Cousine Bette (English: Cousin Betty or Cousin Bette) is an 1846 novel by French author Honoré de Balzac. Set in mid-19th century Paris, it tells the story of an unmarried middle-aged woman who plots the destruction of her extended family. Bette works with Valérie Marneffe, an unhappily married young lady, to seduce and torment a series of men. One of these is Baron Hector Hulot, husband to Bette's cousin Adeline. He sacrifices his family's fortune and good name to please Valérie, who leaves him for a tradesman named Crevel. The book is part of the Scènes de la vie parisienne section of Balzac's novel sequence La Comédie humaine.
　　
　　In the 1840s, a serial format known as the roman-feuilleton was highly popular in France, and the most acclaimed expression of it was the socialist writing of Eugène Sue. Balzac wanted to challenge Sue's supremacy, and prove himself the most capable feuilleton author in France. Writing quickly and with intense focus, Balzac produced La Cousine Bette, one of his longest novels, in two months. It was published in Le Constitutionnel at the end of 1846, then collected with a companion work, Le Cousin Pons, the following year.
　　
　　The novel's characters represent polarities of contrasting morality. The vengeful Bette and disingenuous Valérie stand on one side, with the merciful Adeline and her patient daughter Hortense on the other. The patriarch of the Hulot family, meanwhile, is consumed by his own sexual desire. Hortense's husband, the Polish exile Wenceslas Steinbock, represents artistic genius, though he succumbs to uncertainty and lack of motivation. Balzac based the character of Bette in part on his mother and the poet Marceline Desbordes-Valmore. At least one scene involving Baron Hulot was likely based on an event in the life of Balzac's friend, the novelist Victor Hugo.
　　
　　La Cousine Bette is considered Balzac's last great work. His trademark use of realist detail combines with a panorama of characters returning from earlier novels. Several critics have hailed it as a turning point in the author's career, and others have called it a prototypical naturalist text. It has been compared to William Shakespeare's Othello as well as Leo Tolstoy's War and Peace. The novel explores themes of vice and virtue, as well as the influence of money on French society. Bette's relationship with Valérie is also seen as an important exploration of homoerotic themes. A number of film versions of the story have been produced, including a 1971 BBC mini-series starring Margaret Tyzack and Dame Helen Mirren, and a 1998 feature film with Jessica Lange in the title role.
　　
　　By 1846 Honoré de Balzac had achieved tremendous fame as a writer, but his finances and health were deteriorating rapidly. After writing a series of potboiler novels in the 1820s, he published his first book under his own name, Les Chouans, in 1829. He followed this with dozens of well-received novels and stories, including La Peau de chagrin (1831), Le Père Goriot (1835), and the two-volume Illusions perdues (1837 and 1839). Because of his lavish lifestyle and penchant for financial speculation, however, he spent most of his life trying to repay a variety of debts. He wrote tirelessly, driven as much by economic necessity as by the muse and black coffee. This regimen of constant work exhausted his body and brought reprimands from his doctor.[2]
　　
　　As his work gained recognition, Balzac began corresponding with a Polish Baronness named Ewelina Hańska, who first contacted him through an anonymous 1832 letter signed "L'Étrangère". They developed an affectionate friendship in letters, and when she became a widow in 1841, Balzac sought her hand in marriage. He visited her often in Poland and Germany, but various complications prohibited their union. One of these was an affair Balzac had with his housekeeper, Louise Breugniot. As she became aware of his affection for Mme. Hanska, Breugniot stole a collection of their letters and used them to extort money from Balzac. Even after this episode, however, he grew closer to Mme. Hanska with each visit and by 1846 he had begun preparing a home to share with her. He grew hopeful that they could marry when she became pregnant, but she fell ill in December and suffered a miscarriage.[3]
　　
　　The mid-nineteenth century was a time of profound transformation in French government and society. The reign of King Charles X ended in 1830 when a wave of agitation and dissent forced him to abdicate. He was replaced by Louis-Philippe, who named himself "King of the French", rather than the standard "King of France" – an indication that he answered more to the nascent bourgeoisie than the aristocratic Ancien Régime. The change in government took place while the economy in France was moving from mercantilism to industrial development. This opened new opportunities for individuals hoping to acquire wealth, and led to significant changes in social norms. Members of the aristocracy, for example, were forced to relate socially to the nouveau riche, usually with tense results. The democratic spirit of the French Revolution also affected social interactions, with a shift in popular allegiance away from the church and the monarchy.[4]
　　
　　In the mid-nineteenth century, a new style of novel became popular in France. The serial format known as the roman-feuilleton presented stories in short regular installments, often accompanied by melodramatic plots and stock characters. Although Balzac's La Vielle fille (1836) was the first such work published in France,[5] the roman-feuilleton gained prominence thanks mostly to his friends Eugène Sue and Alexandre Dumas, père.[6] Balzac disliked their serial writing, however, especially Sue's socialist depiction of lower-class suffering.[7] Balzac wanted to dethrone what he called "les faux dieux de cette littérature bâtarde" ("the false gods of this bastard literature").[8] He also wanted to show the world that, despite his poor health and tumultuous career, he was "plus jeune, plus frais, et plus grand que jamais" ("younger, fresher, and greater than ever").[8] His first efforts to render a quality feuilleton were unsuccessful. Even though Splendeurs et misères des courtisanes (published in segments from 1838 to 1847) was celebrated by critics, Balzac complained to Mme. Hanska that he was "doing pue Sue".[9] He tried again in 1844 with Modeste Mignon, but public reactions were mixed.[10] Two years later Balzac began a new project, determined to create something from his "own old pen again".[9]
　　Writing and publication
　　Balzac first visited the Château de Saché in 1832, when he wrote the autobiographical novel Louis Lambert.[11]
　　
　　After resting for a week in June 1846 at the Château de Saché in Tours, Balzac returned to Paris and began working on a short story called "Le Parasite", which he eventually developed into the novel Le Cousin Pons. He intended from the start to pair it with another novel, collecting them under the title Les Parents pauvres ("The Poor Relations"). He based the second book on a story his sister Laure Surville had written called "La Cousine Rosalie" and published in 1844 in Le Journal des enfants.[12] Writing intensively, he produced the entire novel, named La Cousine Bette after the main character, in two months. This was a significant accomplishment owing to his bad health, but its length made Balzac's writing speed especially remarkable.[13] One critic calls the writing of Les Parents pauvres Balzac's "last explosion of creative energy".[14] Another suggests that this effort was "almost the last straw which broke down Balzac's gigantic strength".[15]
　　
　　Balzac's usual mode of revision involved vast, complicated edits made to galley proofs he received from the printer. When creating La Cousine Bette, however, he submitted the work to his editor piece by piece, without viewing a single proof.[15] The book was serialized in Le Constitutionnel from 8 October to 3 December, and Balzac rushed to keep up with the newspaper's rapid printing schedule. He produced an average of eight pages each day, but was struck by the unexpected enormity of the story as it evolved.[16] Balzac was paid 12,836 francs for the series, which was later published with Le Cousin Pons as a twelve-volume book by Chiendowski and Pétion.[17] The first collected edition of La Cousine Bette was organized into 132 chapters, but these divisions were removed when Balzac added it to his massive collection La Comédie humaine in 1848.[18]
　　Plot summary
　　While caring for him, Bette refers to Wenceslas Steinbock as "mon enfant ... un garçon qui se relève du cercueil" ("my child ... a son risen from the grave").[19]
　　
　　The first third of the novel provides a lengthy exploration of the characters' histories. Balzac makes this clear after 150 pages: "Ici se termine, en quelque sorte, l'introduction de cette histoire." ("Here ends what is, in a way, the introduction to this story.")[20] At the start of the novel, Adeline Hulot – wife of the successful Baron Hector Hulot – is being pressured into an affair by a wealthy perfumer named Célestin Crevel. His desire stems in part from an earlier contest in which the adulterous Baron Hulot had won the hand of the singer Josépha Mirah, also favored by Crevel. The Hulots' daughter, Hortense, has begun searching for a husband; their son Victorin is married to Crevel's daughter Celestine. Mme. Hulot resists Crevel's advances, and he turns his attention elsewhere.
　　
　　Mme. Hulot's cousin, Bette (also called Lisbeth), harbors a deep but hidden resentment of her relatives' success. A peasant woman with none of the physical beauty of her cousin, Bette has rejected a series of marriage proposals from middle-class suitors, and remains unmarried at the age of 42. One day she comes upon a young unsuccessful Polish sculptor named Wenceslas Steinbock, attempting suicide in the tiny apartment upstairs from her own. As she nourishes him back to health, she develops a maternal fondness for him. She also befriends Valérie, the wife of a War Department clerk named Marneffe; the two women form a bond of mutual affection and protection.
　　
　　Baron Hulot, meanwhile, is rejected by Josépha, who explains bluntly that she has chosen another man because of his larger fortune. Hulot's despair is quickly alleviated when he meets and falls in love with Valérie Marneffe. He showers her with gifts, and soon establishes a luxurious house for her and M. Marneffe, with whom he works at the War Department. These debts, compounded by the money he borrowed to lavish on Josépha, threaten the Hulot family's financial security. Panicked, he convinces his uncle Johann Fischer to quietly embezzle funds from a War Department outpost in Algiers. Hulot's woes are momentarily abated and Bette's happiness is shattered, when – at the end of the "introduction" – Hortense Hulot marries Wenceslas Steinbock.
　　
　　Crushed at having lost Steinbock's company, Bette swears vengeance on the Hulot family. She works behind the scenes with Valérie to extract more money from Baron Hulot. Valérie also seduces Crevel and watches with delight as they vie for her attention. With Bette's help, Valérie turns to Steinbock and draws him into her bedroom. When Hortense learns of his infidelity, she leaves Steinbock and returns with their son to live with her mother Adeline. Valérie also proclaims her love to a Brazilian Baron named Henri Montès de Montéjanos, and swears devotion constantly to each of the five men.
　　When Baron Hulot marries the kitchen maid Agathe, his son Victorin concludes: "les enfants ne peuvent pas empêcher la folie des ancêtres en enfance" ("children cannot interfere with the insane acts of their parents in their second childhood").[21]
　　
　　Baron Hulot's brother, known as "le maréchal" ("the Marshal"), hires Bette as his housekeeper, and they develop a mild affection. He learns of his brother's infidelities (and the difficulties they have caused Adeline, who refuses to leave her husband), and promises to marry Bette if she will provide details. She agrees eagerly, delighted at the prospect of finally securing an enviable marriage. While investigating his brother's behavior, however, the Marshal discovers Baron Hulot's scheme in Algiers. He is overwhelmed by the disgrace, and his health deteriorates. Bette's last hope for a brighter future dies with him.
　　
　　When Valérie becomes pregnant, she tells each of her lovers (and her husband) that he is the father. She gives birth to a stillborn child, however, and her husband dies soon thereafter. Hulot and Crevel are ecstatic when they hear this news, each believing that he will become her only love once the official mourning period has passed. Valérie chooses Crevel for his comfortable fortune, and they quickly wed. This news outrages Baron Montès, and he devises a plot to poison the newlyweds. Crevel and Valérie die slowly, their bodies devoured by an exotic Brazilian toxin.
　　
　　Victorin Hulot is later visited by the Prince of Wissembourg, who delivers news of economic good fortune. The Marshal, prior to his death, had made arrangements for repayment of the Baron's debts, as well as employment for Adeline in a Catholic charity. Baron Hulot has disappeared, and Adeline spends her free time searching for him in houses of ill repute. She eventually finds him living with a fifteen-year-old courtesan, and begs him to return to the family. He agrees, but as he climbs into the carriage, Hulot asks: "mais pourrai-je emmener la petite?" ("But can I take the girl?")[22] The Hulot home is reunited for a time, and Bette's fury at their apparent happiness hastens her death. One evening after the funeral, Adeline overhears Hulot seducing a kitchen maid named Agathe. On her deathbed, Adeline delivers her first rebuke to her husband: "[D]ans un moment, tu seras libre, et tu pourras faire une baronne Hulot." ("In a moment, you will be free, and you can make another Baronne Hulot.")[23] Soon after burying his wife, Hulot marries Agathe.
　　Characters and inspirations
　　The death of Marshal Hulot has been called "one of the most moving in all of Balzac".[24]
　　
　　Balzac had written more than seventy novels when he began La Cousine Bette, and populated them with recurring characters. Many of the characters in the novel, therefore, appear with extensive back-stories and biographical depth. For example, Célestin Crevel first appeared in Balzac's 1837 novel César Birotteau, working for the title character. Having accumulated a considerable fortune in that book, Crevel spends his time in La Cousine Bette enjoying the spoils of his labor. Another important recurring character is Marshal Hulot, who first appeared as a colonel in Les Chouans. In the years between that story and La Cousine Bette, he became the Count of Forzheim; in a letter to the Constitutionnel, Balzac described how Marshal Hulot gained this title. The presence of Crevel and Marshal Hulot – among others – in La Cousine Bette allows a continuation of each character's life story, adding emphasis or complexity to earlier events.[25]
　　
　　Other recurring characters appear only briefly in La Cousine Bette; previous appearances, however, give deep significance to the characters' presence. This is the case with Vautrin, the criminal mastermind who tutors young Eugene de Rastignac in Balzac's 1835 novel Le Père Goriot. When he resurfaces in La Cousine Bette, he has joined the police and introduces the Hulot family to his aunt, Mme. Nourrison, who offers a morally questionable remedy for their woes. Although Vautrin's presence in La Cousine Bette is brief, his earlier adventures in Le Père Goriot provide instant recognition and emotional texture. Elsewhere, Balzac presents an entire world of experience by including characters from a particular sphere of society. For example, several scenes feature artists like Jean-Jacques Bixiou, who first appeared in 1837's Les Employés and in many other books thereafter. The world of Parisian nightlife is quickly brought to mind with the inclusion of several characters from Les Comédiens sans le savoir (1846), and Bianchon appears – as always – when a doctor is needed.[26]
　　
　　Balzac's use of recurring characters has been identified as a unique component of his fiction. It enables a depth of characterization that goes beyond simple narration or dialogue. "When the characters reappear", notes the critic Samuel Rogers, "they do not step out of nowhere; they emerge from the privacy of their own lives which, for an interval, we have not been allowed to see."[27] Some readers, however, are intimidated by the depth created by these interdependent stories, and feel deprived of important context for the characters. Detective novelist Arthur Conan Doyle said that he never tried to read Balzac, because he "did not know where to begin".[28] The characterization in La Cousine Bette is considered especially skillful. Anthony Pugh, in his book Balzac's Recurring Characters, says that the technique is employed "for the most part without that feeling of self-indulgence that mars some of Balzac's later work. Almost every example arises quite naturally out of the situation."[29] Biographer Noel Gerson calls the characters in La Cousine Bette "among the most memorable Balzac ever sketched".[30]
　　Bette Fischer
　　Lisbeth Fischer (Cousin Bette) is described as "maigre, brune ... les sourcils épais et réunis par un bouquet ... quelques verrues dans sa face longue et simiesque" ("lean, brown, with ... thick eyebrows joining in a tuft ... and some moles on her narrow simian face").[31]
　　
　　Descriptions of Bette are often connected to savagery and animal imagery. Her name, for example, is a homophone in French for "bête" ("beast"). One passage explains that "elle ressemblait aux singes habillés en femmes" ("she sometimes looked like one of those monkeys in petticoats");[32] elsewhere her voice is described as having "une jalousie de tigre" ("tiger-like jealousy").[33] Her beastly rage comes to the surface with ferocity when she learns of Steinbock's engagement to Hortense:
　　
　　 La physionomie de la Lorraine était devenue terrible. Ses yeux noirs et pénétrants avaient la fixité de ceux des tigres. Sa figure ressemblait à celles que nous supposons aux pythonisses, elle serrait les dents pour les empêcher de claquer, et une affreuse convulsion faisait trembler ses membres. Elle avait glissé sa main crochue entre son bonnet et ses cheveux pour les empoigner et soutenir sa tête, devenue trop lourde; elle brûlait! La fumée de l'incendie qui la ravageait semblait passer par ses rides comme par autant de crevasses labourées par une éruption volcanique.
　　
　　 The peasant-woman's face was terrible; her piercing black eyes had the glare of the tiger's; her face was like that we ascribe to a pythoness; she set her teeth to keep them from chattering, and her whole frame quivered convulsively. She had pushed her clenched fingers under her cap to clutch her hair and support her head, which felt too heavy; she was on fire. The smoke of the flame that scorched her seemed to emanate from her wrinkles as from the crevasses rent by a volcanic eruption.[34]
　　
　　When she learns that her cousin Adeline has been welcoming Steinbock into the Hulot home, Bette swears revenge: "Adeline! se dit Lisbeth, ô Adeline, tu me le payeras, je te rendrai plus laide que moi!" ("'Adeline!' muttered Lisbeth. 'Oh, Adeline, you shall pay for this! I will make you uglier than I am.'")[34] Her cruelty and lust for revenge lead critics to call her "demonic"[35] and "one of Balzac's most terrifying creations".[36] Because of her willingness to manipulate the people around her, Bette has been compared to Iago in William Shakespeare's play Othello.[37] Her fierce persona is attributed partly to her peasant background, and partly to her virginity, which provides (according to Balzac) "une force diabolique ou la magie noire de la volonté" ("diabolical strength, or the black magic of the Will").[38][39]
　　
　　In a letter to Mme. Hanska, Balzac indicated that he based the character of Bette on three women from his life: his mother, Mme. Hanska's aunt Rosalie Rzewuska, and the poet Marceline Desbordes-Valmore. Balzac had a tumultuous relationship with his mother for most of his life, and he incorporated some of her personality (particularly her "obstinate persistence in living",[40] as one critic calls it) into Bette.[41] Rosalie Rzewuska disapproved of Mme. Hanska's relationship with Balzac; biographers agree that her cold determination was part of the author's recipe for Bette.[42] Elements taken from Marceline Desbordes-Valmore are more complex; she faced many setbacks in life and she and Balzac became friends after she left the theatre to take up poetry.[43]
　　Valérie Marneffe
　　
　　Bette's co-conspirator in the destruction of the Hulot family is beautiful and greedy Valérie Marneffe, the unsatisfied wife of a War Department clerk. They develop a deep friendship, which many critics consider an example of lesbian affection.[44] Because of their relationship and similar goals, the critic Frederic Jameson says that "Valérie serves as a kind of emanation of Bette".[45]
　　Valérie Marneffe "attirait tous les regards, excitait tous les désirs, dans le cercle où elle rayonnait" ("attracted every eye, and excited every desire in the circle she shone upon").[46]
　　
　　Valérie is repulsed by her ugly husband and has gone five years without kissing him.[47] She explains bluntly that her position as a married woman provides subtleties and options unavailable to the common prostitute who has one set price; after Marneffe dies, Valérie jockeys for position between Hulot and Montés (while also sleeping with Steinbock), then discards them all to marry Crevel, who offers the most wealth. She amuses herself by mocking her lovers' devotion, and this wickedness – not to mention her gruesome demise – has led some critics to speculate that she is actually the focus of Balzac's morality tale.[48]
　　
　　In one important scene, Valérie models for Steinbock as Delilah, standing victorious over the ruined Samson. With obvious parallels to her own activities, she describes her vision for the piece: "Il s'agit d'exprimer la puissance de la femme. Samson n'est rien, là. C'est le cadavre de la force. Dalila, c'est la passion qui ruine tout." ("What you have to show is the power of woman. Samson is a secondary consideration. He is the corpse of dead strength. It is Delilah—passion—that ruins everything.")[49]
　　
　　Although Balzac did not draw specifically from the women in his life to create Valérie, parallels have been observed in some areas. The tumultuous end of his affair with Louise Breugniot and the advantage she gains from his devotion to Mme. Hanska is similar in some ways to Valérie's manipulation of Steinbock.[50] Critics also connect the pride and anguish felt by Balzac during Mme. Hanska's pregnancy and miscarriage to the same emotions felt by Baron Hulot when Valérie conceives and loses her child.[51] Although he never ascribed to Mme. Hanska any of the traits in Valérie's treacherous character, he felt a devotion similar to that of Hulot. He once wrote to her: "je fais pour mon Eve toute les folies qu'un Hulot fait pour une Marneffe, je te donnerai mon sang, mon honneur, ma vie" ("I commit for [you] all the follies that a Hulot commits for Madame Marneffe; I give you my blood, my honor, my life").[52]
　　Hector and Adeline Hulot
　　
　　Baron Hector Hulot is a living manifestation of male sexual desire, unrestrained and unconcerned with its consequences for the man or his family. As the novel progresses, he becomes consumed by his libido, even in a physical sense. When Valérie tells him to stop dyeing his hair, he does so to please her. His financial woes and public disgrace lead him to flee his own home; by the end of the book he is an elderly, decrepit shell of a man. Baron Hulot is so overcome by his taste for female flesh that he even asks his wife – without irony – if he can bring home his fifteen-year-old mistress.[53]
　　
　　Adeline Hulot, on the other hand, is mercy personified. Like her cousin Bette, she comes from a peasant background, but has internalized the ideals of 19th-century womanhood, including devotion, grace, and deference. She reveals in the first scene that she has known for years about her husband's infidelities, but refuses to condemn him. Adeline's forgiving nature is often considered a significant character flaw. Some suggest that she is partly to blame for Hulot's wandering affection. C.A. Prendergast, for example, calls her forgiveness "an inadequate and even positively disastrous response" to her situation.[54] He further suggests that Adeline, by choosing the role of quiet and dutiful wife, has excised from herself the erotic power to which the Baron is drawn. "[O]ne could at the very least offer the tentative speculation that Hulot's obsessional debauchery is in part the result of a certain poverty in Adeline, that the terrible logic of Hulot's excess is partially shaped by a crucial deficiency in his wife."[55] Others are less accusatory; Adeline's nearly infinite mercy, they say, is evidence of foolishness. Critic Herbert J. Hunt declares that she shows "more imbecility than Christian patience",[56] and David Bellos points out that, like her husband, she is driven by passion – albeit of a different kind: "Adeline's desire (for good, for the family, for Hector, for God) is so radically different from the motivating desires of the other characters that she seems in their context to be without desire...."[57]
　　
　　Balzac's inspiration for the characters of Hector and Adeline remain unclear, but several critics have been eager to speculate. Three officers named Hulot were recognized for their valor in the Napoleonic Wars, and some suggest that Balzac borrowed the name of Comte Hector d'Aure. None of these men, however, were known for the sort of philandering or thievery exhibited by Baron Hulot in the novel. Instead, Balzac may have used himself as the model; his many affairs with women across the social spectrum lead some to suggest that the author "found much of Hulot in himself".[58] Balzac's friend Victor Hugo, meanwhile, was famously discovered in bed with his mistress in July 1845. The similarity of his name to Hector Hulot (and that of his wife's maiden name, Adèle Foucher, to Adeline Fischer) has been posited as a possible indication of the characters' origins.[59]
　　Wenceslas Steinbock
　　"Quoique Steinbock eût vingt-neuf ans, il paraissait, comme certains blonds, avoir cinq ou six ans de moins ... cette jeunesse ... avait cédé sous les fatigues et les misères de l'exil" ("Though Steinbock was nine-and-twenty, like many fair men, he looked five or six years younger ... his youth ... had faded under the fatigue and stress of life in exile".)[60]
　　
　　The Polish sculptor Wenceslas Steinbock is important primarily because of Bette's attachment to him. He offers Bette a source of pride, a way for her to prove herself worthy of her family's respect. When Hortense marries Steinbock, Bette feels as though she has been robbed. Prendergast insists that the incident "must literally be described as an act of theft".[61]
　　
　　Steinbock's relevance also lies in his background and profession, illustrating Balzac's conception of the Polish people, as well as himself. Having spent more than a decade befriending Mme. Hanska and visiting her family in Poland, Balzac believed he had insight into the national character (as he felt about most groups he observed). Thus, descriptions of Steinbock are often laced with commentary about the Polish people: "Soyez mon amie, dit-il avec une de ces démonstrations caressantes si familières aux Polonais, et qui les font accuser assez injustement de servilité." ("'Be my sweetheart,' he added, with one of the caressing gestures familiar to the Poles, for which they are unjustly accused of servility.")[62][63]
　　
　　Critics also consider Steinbock important because of his artistic genius. Like Louis Lambert and Lucien Chardon in Illusions perdues, he is a brilliant man – just as Balzac considered himself to be. Before he is nurtured and directed by Bette, however, Steinbock's genius languishes under his own inertia and he attempts suicide. Later, when he leaves Bette's circle of influence, he fails again. Thus he demonstrates Balzac's conviction that genius alone is useless without determination.[64] Bellos organizes Steinbock and Bette into a duality of weakness and strength; whereas the Polish artist is unable to direct his energies into productive work, Bette draws strength from her virginity and thus becomes powerful by denying the lust to which Steinbock falls prey.[65] Steinbock's drive is further eroded by the praise he receives for his art, which gives him an inflated sense of accomplishment. One critic refers to the artist's downfall as "vanity ... spoiled by premature renown".[66]
　　Style
　　
　　If Balzac's goal was (as he claimed) to write a realist novel from his "own old pen" rather than mimic the style of Eugène Sue, history and literary criticism have declared him successful. William Stowe calls La Cousine Bette "a masterpiece of classical realism"[67] and Bellos refers to it as "one of the great achievements of nineteenth-century realism", comparing it to War and Peace.[68] Some sections of the book are criticized for being melodramatic, and Balzac biographer V. S. Pritchett even refers to a representative excerpt as "bad writing".[69] Most critics, however, consider the moralistic elements of the novel deceptively complex, and some point out that the roman-feuilleton format required a certain level of titillation to keep readers engaged.[70] Others indicate that Balzac's interest in the theatre was an important reason for the inclusion of melodramatic elements.[71]
　　Émile Zola said that Balzac's fiction was "uniquement le compte-rendu brutal de ce que l'écrivain a observé" ("only the brutal report of what the writer has observed").[72]
　　
　　Balzac's trademark realism begins on the first page of the novel, wherein Crevel is described wearing a National Guard uniform, complete with the Légion d'honneur. Details from the 1830s also appear in the novel's geographic locations. The Hulot family home, for example, is found in the aristocratic area of Paris known as the Faubourg Saint-Germain.[73] Bette's residence is on the opposite end of the social spectrum, in the impoverished residential area which surrounded the Louvre: "Les ténèbres, le silence, l'air glacial, la profondeur caverneuse du sol concourent à faire de ces maisons des espèces de cryptes, des tombeaux vivants." ("Darkness, silence, an icy chill, and the cavernous depth of the soil combine to make these houses a kind of crypt, tombs of the living.")[74] Descriptions of her meager quarters are – as usual in Balzac's work – an acute reflection of her personality. The same is true of the Marneffe home at the outset: it contains "les trompeuses apparences de ce faux luxe" ("the illusory appearance of sham luxury"),[75] from the shabby chairs in the drawing-room to the dust-coated bedroom.[76]
　　
　　Precise detail is not spared in descriptions of decay and disease, two vivid elements in the novel. Marneffe, for example, represents crapulence. His decrepit body is a symbol of society's weakness at the time, worn away from years of indulgence. The poison which kills Valérie and Crevel is also described in ghastly detail. The doctor Bianchon explains: "Ses dents et ses cheveux tombent, elle a l'aspect des lépreux, elle se fait horreur à elle-même; ses mains, épouvantables à voir, sont enflées et couvertes de pustules verdâtres; les ongles déchaussés restent dans les plaies qu'elle gratte; enfin, toutes les extrémités se détruisent dans la sanie qui les ronge." ("She is losing her hair and teeth, her skin is like a leper's, she is a horror to herself; her hands are horrible, covered with greenish pustules, her nails are loose, and the flesh is eaten away by the poisoned humors.")[77]
　　
　　La Cousine Bette is unapologetic in its bleak outlook, and makes blunt connections between characters' origins and behavior. For these reasons, it is considered a key antecedent to naturalist literature. Novelist Émile Zola called it an important "roman expérimental" ("experimental novel"),[78] and praised its acute exploration of the characters' motivations.[79][80] Some critics note that La Cousine Bette showed an evolution in Balzac's style – one which he had little time to develop. Pointing to the nuance of plot and comprehensive narration style, Stowe suggests that the novel "might in happier circumstances have marked the beginning of a new, mature 'late Balzac'".[81]
　　Themes
　　Passion, vice, and virtue
　　
　　Valérie's line about Delilah being "la passion qui ruine tout" ("passion which ruins everything") is symbolic, coming as it does from a woman whose passion accelerates the ruin of most people around her – including herself. Baron Hulot, meanwhile, is desire incarnate; his wandering libido bypasses concern for his wife, brother, children, finances, and even his own health. Bette, of course, is living vengeance, and Adeline desperately yearns for the happy home she imagined in the early years of marriage. Each character is driven by a fiery passion, which in most cases consumes the individual.[82] As Balzac puts it: "La passion est un martyre." ("Passion is martyrdom.")[83]
　　After acknowledging herself as Delilah, Valérie warns her guests: "Prenez garde à vos toupets, messieurs!" ("Take care of your wigs, gentlemen!")[84]
　　
　　The intensity of passion, and the consequences of its manifestation, result in a stark contrast of vice and virtue. Bette and Valérie are pure wickedness, and even celebrate the ruin of their targets. As one critic says, "life's truths are viewed in their most atrocious form".[85] Mocking the use of the guillotine during the French Revolution while acknowledging her own malicious intent, Valérie says with regard to Delilah: "La vertu coupe la tête, le Vice ne vous coupe que les cheveux." ("Virtue cuts off your head; vice only cuts off your hair.")[84] Hulot is not intentionally cruel, but his actions are no less devastating to the people around him.[86]
　　
　　On the other side of the moral divide, Adeline and her children stand as shining examples of virtue and nobility – or so it would seem. Hortense ridicules her aunt when Bette mentions her protégé Wenceslas Steinbock, providing a psychological catalyst for the ensuing conflict.[87] Victorin repeatedly expresses outrage at his father's philandering, yet crosses a significant moral boundary when he agrees to fund Mme. Nourrison's plan to eradicate Valérie. As one critic puts it, Victorin's decision marks a point in the novel where "the scheme of right versus wrong immediately dissolves into a purely amoral conflict of different interests and passions, regulated less by a transcendent moral law than by the relative capacity of the different parties for cunning and ruthlessness."[88] The cruelties of the Hulot children are brief but significant, owing as much to their obliviousness (intentional in the case of Victorin, who asks not to learn the details of Mme. Nourrison's scheme) as to malicious forethought.[89]
　　
　　The question of Adeline's virtue is similarly complicated. Although she is forgiving to the point of absurdity, she is often considered more of a dupe than a martyr. Some have compared her to Balzac's title character in Le Père Goriot, who sacrifices himself for his daughters.[90] As Bellos puts it: "Adeline's complicity with Hector certainly makes her more interesting as a literary character, but it undermines her role as the symbol of virtue in the novel."[91] This complicity reaches an apex when she unsuccessfully attempts to sell her affections to Crevel (who has since lost interest) in order to repay her husband's debts. Her flirtation with prostitution is sometimes considered more egregious than Valérie's overt extortion, since Adeline is soiling her own dignity in the service of Baron Hulot's infidelity. For the remainder of the novel, Adeline trembles uncontrollably, a sign of her weakness.[92] Later, when she visits the singer Josépha (on whom her husband once doted), Adeline is struck by the splendor earned by a life of materialistic seduction. She wonders aloud if she is capable of providing the carnal pleasures Hulot seeks outside of their home.[93]
　　
　　Ultimately, both vice and virtue fail. Valérie is devoured by Montés' poison, a consequence of her blithe attitude toward his emotion. Bette is unsuccessful in her effort to crush her cousin's family, and dies (as one critic puts it) "in the margins".[94] Adeline's Catholic mercy, on the other hand, fails to redeem her husband, and her children are similarly powerless – as Victorin finally admits on the novel's last page. Like Raphael de Valentin in Balzac's 1831 novel La Peau de chagrin, Hulot is left with nothing but "vouloir": desire, a force which is both essential for human existence and eventually apocalyptic.[95]
　　Gender and homoeroticism
　　
　　Gender roles, especially the figure of the ideal woman, are central to La Cousine Bette. The four leading female characters (Bette, Valérie, Adeline, and Hortense) embody stereotypically feminine traits. Each pair of women revolves around a man, and they compete for his attention: Valérie and Adeline for Baron Hulot; Bette and Hortense for Wenceslas Steinbock. Balzac's study of masculinity is limited to the insatiable lust of Hulot and the weak-willed inconstancy of Steinbock, with the occasional appearance of Victorin as a sturdy patriarch in his father's absence.[96]
　　French painter Henri de Toulouse-Lautrec depicted lesbian relationships similar to (though more explicit than) that of Bette and Valérie, as in his 1893 painting "In Bed".[97]
　　
　　Critics pay special attention to Bette's lack of traditional femininity, and her unconventional relationships with two characters. She is described from the outset as having "des qualités d'homme" ("certain manly qualities"),[98] with similar descriptions elsewhere. Her relationship and attitude toward Steinbock, moreover, hint at her masculinity. She commands him into submission, and even binds him with economic constraints by lending him the money to develop his sculpture. Her domination is tempered by maternal compassion, but the couple's relationship is compared to an abusive marriage: "Il fut comme une femme qui pardonne les mauvais traitements d'une semaine à cause des caresses d'un fugitif raccommodement." ("He was like a woman who forgives a week of ill-usage for the sake of a kiss and a brief reconciliation.")[99][100]
　　
　　Bette's relationship with Valérie is layered with overtones of lesbianism. Early in the book Bette is "captée" ("bewitched")[101] by Valérie, and quickly declares to her: "Je vous aime, je vous estime, je suis à vous!" ("I love you, I esteem you, I am wholly yours!")[102] This affection may have been platonic, but neighbors of the Marneffes – along with many readers – suspect that their bond transcends friendship.[103] As with Steinbock, Bette and Valérie assume butch and femme roles; the narration even mentions "Le contraste de la mâle et sèche nature de la Lorraine avec la jolie nature créole de Valérie" ("The contrast between Lisbeth's dry masculine nature and Valerie's creole prettiness").[104] The homoeroticism evolves through the novel, as Bette feeds on Valérie's power to seduce and control the Hulot men. As one critic says: "Valérie's body becomes, at least symbolically, the locus of Bette's only erotic pleasure."[105]
　　Wealth and society
　　Balzac once wrote: "The worst fault of the July Revolution is that it did not allow Louis-Philippe three months of dictatorship in which to put the rights of the people and the throne on a secure basis."[106]
　　
　　As with many of his novels, Balzac analyzes the influence of history and social status in La Cousine Bette. The book takes places between 1838 and 1846, when the reign of Louis-Philippe reflected and directed significant changes in the social structure. Balzac was a legitimist favoring the House of Bourbon, and idolized Napoleon Bonaparte as a paragon of effective absolutist power. Balzac felt that French society under the House of Orléans lacked strong leadership, and was fragmented by the demands of parliament. He also believed that Catholicism provided guidance for the nation, and that its absence heralded moral decay.[107]
　　
　　Balzac demonstrated these beliefs through the characters' lives in La Cousine Bette. The conflict between Baron Hulot and the perfumer Crevel mirrors the animosity between the aristocracy of the Ancien Régime and the newly-developed bourgeoisie of traders and industrial entrepreneurs. Although he despised the socialist politics of Eugène Sue, Balzac worried that bourgeois desperation for financial gain drove people from life's important virtues. The characters – especially Bette, Valérie, and Crevel – are fixated on their need for money, and do whatever they must to obtain it.[108] As Crevel explains to Adeline: "Vous vous abusez, cher ange, si vous croyez que c'est le roi Louis-Philippe qui règne ... au-dessus de la Charte il y a la sainte, la vénérée, la solide, l'aimable, la gracieuse, la belle, la noble, la jeune, la toute-puissante pièce de cent sous!" ("You are quite mistaken, my angel, if you suppose that King Louis-Philippe rules us ... supreme above the Charter reigns the holy, venerated, substantial, delightful, obliging, beautiful, noble, ever-youthful, and all-powerful five-franc piece!")[109]
　　
　　Themes of corruption and salvation are brought to the fore as Valérie and Crevel lie dying from the mysterious poison. When his daughter urges him to meet with a priest, Crevel angrily refuses, mocking the church and indicating that his social stature will be his salvation: "la mort regarde à deux fois avant de frapper un maire de Paris!" ("Death thinks twice of it before carrying off a Mayor of Paris.")[110] Valérie, meanwhile, makes a deathbed conversion and urges Bette to abandon her quest for revenge. Ever the courtesan, Valérie describes her new Christianity in terms of seduction: "je ne puis maintenant plaire qu'à Dieu! je vais tâcher de me réconcilier avec lui, ce sera ma dernière coquetterie!" ("I can please no one now but God. I will try to be reconciled to Him, and that will be my last flirtation...!")[111]
　　Reception and adaptations
　　In 1921 actor Bette Davis, born Ruth Elizabeth Davis, chose Bette as her stage name in honor of Balzac's character.[112]
　　
　　The critical reaction to La Cousine Bette was immediate and positive, which Balzac did not expect. Whether due to the intensity of its creation or the tumult of his personal life, the author was surprised by the praise he received. He wrote: "I did not realize how good La Cousine Bette is.... There is an immense reaction in my favour. I have won!"[113] The collected edition sold consistently well, and was reprinted nineteen times before the turn of the century. 20th-century critics remain enthusiastic in their praise for the novel; Saintsbury insists it is "beyond all question one of the very greatest of [Balzac's] works".[114] Biographer Graham Robb calls La Cousine Bette "the masterpiece of his premature old age".[115]
　　
　　Some 19th-century critics attacked the book, on the grounds that it normalized vice and corrupt living. Chief among these were disciples of the utopian theorist Charles Fourier; they disapproved of the "immorality" inherent in the novel's bleak resolution. Critics like Alfred Nettement and Eugène Marron declared that Balzac's sympathy lay with Baron Hulot and Valérie Marneffe. They lambasted him for not commenting more on the characters' degenerate behavior – the same stylistic choice later celebrated by naturalist writers Émile Zola and Hippolyte Taine.[116]
　　
　　Balzac's novel has been adapted several times for the screen. The first was in 1927, when French filmmaker Max DeRieux directed Alice Tissot in the title role.[117] Margaret Tyzack played the role of Bette in the five part serial Cousin Bette aired on the BBC, which also starred Helen Mirren as Valérie Marneffe.[118] The film Cousin Bette was released in 1998, directed by Des McAnuff. Jessica Lange starred in the title role, joined by Bob Hoskins as Crevel, and Elisabeth Shue as the singer Jenny Cadine. Screenwriters Lynn Siefert and Susan Tarr changed the story significantly, and eliminated Valérie. The 1998 film was panned by critics for its generally poor acting and awkward dialogue. Stephen Holden of the New York Times commented that the movie "treats the novel as a thoroughly modern social comedy peopled with raging narcissists, opportunists and flat-out fools".[119][120]
　　
　　La Cousine Bette was adapted for the stage by Jeffrey Hatcher, best known for his screenplay Stage Beauty (based on his stage play Compleat Female Stage Beauty). The Antaeus Company in North Hollywood produced a workshop in 2008 and presented the world premiere of Cousin Bette in early 2010 in North Hollywood, California.[121] The adaptation retains many of the main characters but places Bette as the story's narrator.

bāng sī jiù jiù

　　zhè piān xiǎo shuō sù zào liǎo yī gè fàng gāo lì dài de shǒu cái nú xíng xiàng， zhè yī xíng xiàng gài kuò liǎo sī yòu xīn lǐ de zuì lìng rén zuò 'ǒu de tè diǎn。 zhù rén gōng céng jīng shì yī gè yòu rè qíng， yòu bào fù de rén， dàn bǎo jīng cāng sāng hòu què zǒng jié chū yī tiáo wú chǐ de xìn tiáo： jīn qián jiù shì yī qiē。 jīn qián de fǔ shí zuò yòng shǐ tā zì jǐ de zhù rén yě lún wéi liǎo nú lì。
　　
　　 bāng sī jiù jiù shì yīnyuè jiā， yī gè chéng shí 'ér gāo shàng de zì shí qí lì de rén。 tā fēi cháng xǐ huān huì huà yì shù， wèile fēng fù zì jǐ suǒ shōu cáng de míng huà， tā bù xī fù chū yī qiē jīng lì， wā kōng yī qièxīn sī。 dāng rén men bù zhī dào tā shǒu zhōng yòu zhè yī qiē bǎozàng shí， shuí yě bù bǎ tā fàng zài xīn shàng。
　　
　　 wèile duó qǔ gū líng hàn bāng sī de yí chǎn， xiàng wáng shì shǒu xí tuī shì jiā miù suǒ zhī liú de yī xiē guān miǎn táng huáng de rén biàn qiān wàn bǎi jì， shǐ jìn zhǒng zhǒng shǒu duàn xià dú shǒu hài tā， bù dá mùdì shì bù bà xiū。 duì bāng sī lái shuō， shōu cáng míng huà shì yī zhǒng gāo shàng de 'àihào， duì tā nà xiē yòu qián de qīn qī lái shuō， míng huà zhǐ bù guò shì fā cái de shǒu duàn 'ér yǐ。
　　《 bāng sī jiù jiù》 - yín píng zài xiàn
　　
　　 yǐngpiān gēn jù fǎ guó zhù míng de pī pàn xiàn shí zhù yì zuò jiā bā 'ěr zhā kè de dài biǎo zuò《 bāng sī jiù jiù》 gǎi biān 'ér chéng。
　　
　　 chéng shí 'ér gāo shàng de zhù rén gōng bāng sī shì yī wèi yīnyuè jiā， shōu cáng liǎo dà liàng zhēn guì de yì shù pǐn， yī cì tā yǔ zì jǐ wéi yī de qīn qī jiā miù suǒ yī jiā fā shēng zhēng chǎo， yòu rén huái yí tā yào qǔ xiāo zhí nǚ de jì chéng quán。 bāng sī huàn bìng qī jiān， zhǐ yòu tā de péng yǒu shī mì kè hé nǚ mén fáng xī bǔ tài tài zhào gù tā。 ér nǚ mén fáng de zhēn zhèng mù zài yú bāng sī shōu cáng pǐn， qǐ tú qiè wéi jǐ yòu。 zài lǎo bāng sī bìng wēi zhī jì， rén men shàng yǎn liǎo yīcháng wéi cái chǎn nǐ zhēng wǒ duó de chǒu jù。 yǐngpiān wéi nín chōng fēn zhǎn xiàn liǎo bā 'ěr zhā kè bǐ xià gè zhǒng xiǎo rén wù xíng xiàng。
　　
　　 gēn jù fǎ guó míng zuò jiā bā 'ěr zhā yuán zhù gǎi biān， yīcháng wéi cái chǎn nǐ zhēng wǒ duó de chǒu jù， wéi nín chōng fēn zhǎn xiàn liǎo bā 'ěr zhā kè bǐ xià gè zhǒng xiǎo rén wù xíng xiàng。 bāng sī de yī shēng shì shàn liáng de yī shēng， yī shēng dōuzài yīnyuè huán jìng hé gǔ dài yì shù pǐn de xūn táo zhōng shēng huó， xīn dì dān chún kàn dài， shì tài rén qíng hái dài zhāo'ér tóng de tiān zhēn。 zài tā shēn shàng tóng shí hái jù yòu shōu cáng yì shù pǐn de yǎ pǐ hé tān chī měi shí de 'è pǐ。 bāng sī chǒu lòu de wài mào yǔ jīn zǐ bān de nèi xīn、 bāng sī de shàn liáng yǔ zhōu wéi wū zhuó de shì jiè xíng chéng xiān míng duì bǐ， biǎo xiàn zài jīn qián tān yù xià shàn liáng de rén bēi jù mìng yùn。
　　《 bāng sī jiù jiù》 - rén wù xíng xiàng
　　
　　 bāng sī jiù jiù：
　　
　　 shì yī gè shàn liáng de pò luò guì zú xíng xiàng。
　　 tā nián qīng shì xiě guò bù shǎo gǎn shāng yuèqǔ， gěi bā lí de fù nǚ qiǎn chàng dī yín。 yīn wéixiàng mào shēng dé qí chǒu， yī shēng wèi néng jié hūn。 qīng nián shí qī huò dé yì shù de zuì gāo jiǎng -- luó mǎ jiǎng， bèi zhèng fǔ sòng dào luó mǎ shēn zào， dàn zài yīnyuè shàng méi yòu qǔ dé tū chū chéng jiù， ér shì mí liàn yú màn yóu yì dà lì de míng chéng， bìng yǎng chéng liǎo shōu jí gǔ dài yì shù jīng pǐn de pǐ hǎo， chéng wéi yī gè tān xīn de shōu cáng jiā、 yì shù jiàn shǎng jiā。 tā zài liú xué qī jiān shōu jí de gǔ wán hào jìn liǎo tā quán bù de jiǎng xué jīn jí fù mǔ de yí chǎn。 zài dé guó yīnyuè fēn wéi hé yì dà lì yì shù zhēn pǐn de táo zuì zhī zhōng， tā wàng què liǎo chéng shì de kǔ nǎo， dàn shì shēng jì wèn tí shǐ tā dōng diān xī páo， qù nǚ zǐ xué táng jiān kè cái néng wéi chí qǐ mǎ de shēng huó， dāng tā de yī kē xīn chén jìn zài xīn shǎng rén lèi měi miào yì shù jié zuò shí， bù xìng rǎn shàng liǎo tān zuǐ de 'è xí， wèicǐ huái zhe qī dài de xīn qíng rì yè pàn wàng zhe jiē dào kuò qīn qī de yāo qǐng qù měi cān yī dùn。 zài wài shēng xí fù jiā， tā shòu dào liǎo lěng yù， lián pú rén mendōu zhòu mà tā " chī bái shí de rén yòu lái liǎo。 " cóng cǐ bāng sī zāo dào kuò qīn qī men de wù jiě， tè bié shì wài shēng jiā de wù jiě， ér yī bìng bù qǐ。 zài tā bìng qíng rì yì jiā zhòng shí， tā shēn biān de pú rén gǔ dǒng shāng mǎ gǔ sī bō lěng yī shēng děng duì tā shōu cáng de gǔ wán zhēn pǐn gū jià， fā xiàn tā shōu cáng de gè zhǒng yì shù pǐn shí fēn míng guì， zǒng jià dá dào yī bǎi bā shí wàn fǎ láng， yú shì tā men zhǎn kāi liǎo lüè duó。 tā men shōu mǎi xīn fù， dǎ tīng bìng qíng， wú qíng bāo wéi， àn zhōng kòng zhì， wéi fáng zhǐ yí chǎn de wài liú fèi jìn xīn jì， shèn zhì tōu dào bāng sī de yí zhǔ， zhé mó bāng sī de bìng qíng， jiā sù bāng sī de sǐ wáng。 bāng sī sǐ hòu， tā yī shēng shōu cáng de yì shù pǐn quán bù luò rù wài shēng de shǒu zhōng， ér cānyù yīn móu de qiè duó zhě men jīhū dū fēn liǎo féi。
　　
　　《 bāng sī jiù jiù》 - yì shù shǎng xī
　　
　　 yī bù chuán tǒng de xiǎo shuō， zì rán kě yǐ yòng chuán tǒng de fāng fǎ qù jiě dú。 ràng wǒ men zhuózhòng kàn yī kàn《 bāng sī jiù jiù》 zhōng de zhù yào rén wù bāng sī jiù jiù。
　　
　　 bāng sī jiù jiù shì gè jiù shí dài de“ yí jì”。 xiǎo shuō yī kāi shǐ， biàn yǐ jí fù xiàng zhēng hé gài kuò xìng de shǒu fǎ， wèiwǒ men miáo huì liǎo tā nà bēi jù xìng de wài biǎo jí zhè wài biǎo suǒ zhào shì de bēi jù xìng de mìng yùn。
　　
　　 gù shì fā shēng zài shí jiǔ shì jì sì shí nián dài de bā lí， nà shì qī yuè wáng cháo tǒng zhì shí qī， fǎ guó shè huì shēng huó de gè gè fāng miàn zhèng jīng shòu zhe jī liè de dòng dàng。 guì zú jiē jí zhú jiàn mòluò， zī chǎn jiē jí zhèng kè、 dà yínháng jiā， tóu jī shāng hé dà pī shí lì zhě zhàn jù liǎo fǎ guó de zhèng zhì hé jīng jì wǔ tái， ér bāng sī jiù jiù zài zhè gè shí dài dídí wǔ tái shàng shì xiǎn dé nà me gé gé bù rù： tā“ yī zhe de mǒu xiē xì wēi zhī chù yǐ jiù zhōng shí dì bǎo liú zhe yī bā liù nián de shì yàng， ràng rén huí xiǎng qǐ dì yī dì guó shí dài。” zhè gè“ yòu gān yòu shòu de” lǎo rén，“ zài zhuì zhe bái sè jīn shǔ kòu de 'àn lǜ sè shàng yī wài， yòu tào zhe yī jiàn lì sè de sī bīn sài！…… yī gè chuān sī bīn sài de rén， yào zhī dào zài zhè yī bā sì sì nián， bù chì yú ná pò lún zūn jià yī shí fù shēng，”
　　
　　 guài bù dé tā yī chū chǎng， bā lí jiē tóu zǎo yǐ má mù de wú liáo kàn kè yě bù yóu dé fā chū hán yì fēng fù de wēi xiào， dài zhe jī cì、 cháo nòng huò lián mǐn： tā“ shēn shàng wú yì zhōng liú cún liǎo mǒu gè shí dài de quán bù xiào liào， kàn qǐ lái huó tuō shì zhěng zhěng yī gè shí dài de huà shēn”，“ jiù xiàng rén men shuō dì guó shì yàng jiā jù yī yàng， háo bù yóu yù dì chēng tā wéi dì guó shí dài rén wù。”
　　
　　 zhè wèi“ dì guó shí dài rén wù”， yuán běn shì gè pō yòu cái huá de yīnyuè jiā， tā de qǔzǐ hái huò dé guò luó mǎ dà jiǎng。 dāng chū， guó jiā bǎ tā pài wǎng luó mǎ， běn xiǎng bǎ tā zào jiù chéng yī gè wěi dà de yīnyuè jiā， kě tā què zài nà 'ér rǎn shàng liǎo gǔ dǒng pǐ， hái“ rǎn shàng liǎo qī dà yuán zuì zhōng kǒng pà shàng dì chéng fá zuì qīng de yī zhuāng： tān chán”。
　　
　　 yī fāng miàn， bāng sī nà kē“ shēng jī 'àng rán de xīn líng yǒng bù pí bèi dì xīn shǎng zhe rén lèi zhuàng lì de chuàng zào”， zài shōu cáng hé xīn shǎng rén lèi de yì shù chuàng zào zhōng dé dào wèi jiè hé shēng huá； lìng yī fāng miàn， tā nà zhāng tiǎo tī de zuǐ bā chōng mǎn shì yù， fǔ shí liǎo tā de qì jié， nà“ shì yù qián fú zài rén de xīn zhōng， wú chù bù zài， zài nà 'ér fā hào shī lìng， yào chōng pò rén de yì zhì hé róng yù de quē kǒu……”
　　
　　 cóng biǎo miàn kàn， sì hū shì bāng sī fàn de nà zhuāng yuán zuì ――“ tān chán” bǎ tā tuī xiàng bēi jù de dào lù， yóu yī gè jù yòu yì shù zhuī qiú de yīnyuè jiā“ lún luò dào yī gè chī bái shí”； yǎng chéng liǎo“ chī hǎo hē hǎo” de 'è xí，“ zhǐ yào néng gòu jì xù huó gè tòng kuài， cháng dào suǒ yòu nà xiē shí xiān de guā guǒ shū cài， chǎng kāi dù zǐ dà chī（ huà suī sú， dàn què fù yòu biǎo xiàn lì） nà xiē zhì zuò jīng xì de měi wèi jiā yáo， shénme xià jiàn shìdōu néng zuòde chū lái”。 tā bù jǐn wéi mǎn zú zì jǐ de tān chán fù chū liǎo chén zhòng de dài jià， sàng shī liǎo dú lì de rén gé， ér qiě hái bèi fǔ shí liǎo líng hún，“ duì jiāo jì chǎng shàng nà xiē kè tào， nà xiē qǔ dài liǎo zhēn qíng de xū wěi biǎo yǎn quán yǐ xí yǐ wéi cháng， shuō qǐ lái gōng wéi huà lái， nà jiǎn zhí jiù xiàng huā jǐ gè xiǎo qián yī yàng fāng biàn”。
　　 rán 'ér， zhè jǐn jǐn shì bāng sī rén shēng bēi jù de yī gè fāng miàn， yī gè fēi běn zhì de fāng miàn。 tā de bēi jù de shēn kè yuán yīn， zài yú tā de“ qióng”， zài yú tā yǔ tā de nà xiē fù yòu、 xiǎn hè de“ qīn qī” gēn běn shàng de gé gé bù rù。 yī gè zài yī bā sì sì nián hái chuānzhuó sī bīn sài de“ dì guó shí dài rén wù”， piān piān yòu shēng huó zài yī qún qī yuè gé mìng de jì dé lì yì zhě zhī zhōng。 zài tā shēn biān， yòu fǎ guó yào cái jiè jù tóu bó bǐ nuò，“ dāng nián nào qī yuè gé mìng， hǎo chù jìn ràng bó bǐ nuò dé liǎo， zhì shǎo yǔ bō bàng wáng zú dì 'èr fēn zhī dé dào hǎo chù bù xiāng shàng xià”； yòu“ bù xī xī shēng zì jǐ de zhǎngzǐ”， pīn mìng xiàng zhèng jiè pá de lǎo kǎ miù zuǒ； yòu yě xīn bó bó yī xīn xiǎng dāng sī fǎ bù cháng de zuì gāo fǎ yuàn tíng cháng； yòu gōng zhèng rén chū shēn， hòu lái dāng shàng liǎo bā lí mǒu qū qū cháng， lāo jìn liǎo hǎo chù díkǎ 'ěr duō。 bāng sī dān rèn yuèduì zhǐ huī de nà jiā xì yuàn de jīng lǐ， yě tóng yàng shì gè diǎn xíng de zī chǎn jiē jí bào fā hù。
　　
　　 cóng běn zhì shàng jiǎng， bāng sī shì gè yì shù jiā。 zhǐ yòu zài yì shù de tiān dì lǐ， tā cái yōng yòu qīng chūn； zhǐ yòu yǔ yì shù jiāo liú shí， tā cái xiǎn dé nà me cái qì héng yì。 zài yuèduì de zhǐ huī tái shàng， tā de shǒu shì shì nà me yòu lì； zài tā de nà jiān chōng mǎn rén lèi měi de chuàng zào de shōu cáng shì lǐ， tā shì nà me xìng fú。 duì yú yì shù hé měi de chuàng zào， tā shì nà me yī wǎng qíng shēn。 tā“ rè 'ài yì shù”，“ duì rèn hé shǒu gōng yì pǐn， duì rèn hé shén qí de chuàng zào， wú bù gǎn dào yī zhǒng nán yǐ mǎn zú de yù wàng， nà shì yī wèi nán shì duì yī wèi měi lì de liàn rén de 'ài”。 shèn zhì， dāng tā yīn wéi dé bù dào 'ài 'ér jué wàng， tóu rù dào“ lián fù yòu dé xíng de sēng lǚ yě bù kě bì miǎn de zuì guò―― tān chán” de huái bào shí， yě shì“ xiàng tóu rù dào duì yì shù pǐn de rè 'ài hé duì yīnyuè de chóng bài zhī zhōng”。
　　 rán 'ér， tā duì yì shù de rè 'ài shì yǔ tā suǒ chù de nà gè shí dài de jià zhí qǔ xiàng hé dào dé biāo zhǔn xiāng bèi de。 duì qī yuè wáng cháo shí qī nà xiē zī chǎn jiē jí bào fā hù lái shuō， yīnyuè zhǐ shì nà xiē yīnyuè jiā de yī zhǒng“ hú kǒu de” shǒu duàn， xì yuàn jīng lǐ gē dí sà 'ěr kàn zhòng bāng sī de， bù shì tā de cái huá， ér shì bāng sī biān de yuèqǔ kě yǐ gěi tā zhāo lái guān zhòng， dài lái gǔn gǔn cái yuán； duì 'ài mù xū róng， shuǎ jìn yī qiē shǒu duàn yào ràng zhàng fū dāng shàng yì yuán， nǎi zhì sī fǎ bù cháng de dé ・ mǎ wéi 'ěr tíng cháng tài tài lái shuō， bāng sī sōu jí de nà xiē yì shù pǐn， nà xiē xī shì zhēn pǐn，“ chún cuì shì yī qián bù zhí de wán yì”， yì shù chī mí de bāng sī， wán quán shì“ yī gè guài wù”。
　　
　　 zài zhè xiē rén de fǔ shàng， bāng sī lǎo rén jīng shòu zhe bǎi bān de xī luò、 cháo fěng hé shuǎ nòng， zuì zhōng bèi zhú chū“ tā men de tiān dì”， shí zài shì bù kě bì miǎn de。 zài tā men zhè lǐ， méi yòu yì shù de wèi zhì， tā men“ chóng bài de shì chéng gōng， kàn zhòng de zhǐ shì yī bā sān nián yǐ lái liè qǔ de yī qiē： jù dà de cái fù huò xiǎn hè de shè huì dì wèi”。 jù yuàn de tóu pái wǔ nǚ 'ài luò yī sī・ bù lì cí tú shuō dé shì nà me yī zhēn jiàn xuè： rú jīn zhè gè shì dào，“ dāng lǎo bǎn de jīn jīn jì jiào， zuò guó wáng de qiǎo qǔ háo duó， dāng dà chén de yíng sī wǔ bì， yòu qián de lìn sè kōu mén…… yì shù jiā jiù tài cǎn liǎo！” kàn lái， bāng sī yóu yì shù jiā lún wéi“ chī bái shí de”， zhè bù néng bù shuō yì shù běn shēn de lún sàng， ér bāng sī de bēi jù， kǒng pà jiù shì yì shù de bēi jù liǎo。
　　《 bāng sī jiù jiù》 - xiǎo shuō jiǎn jiè
　　
　　 bāng sī， tiān zhēn kě 'ài de dé guó lǎo tóu 'ér。 yī shēng dú jū。 chú liǎo zài yīnyuè fāng miàn de cái huá， jiù zhǐ shèng xià shōu cáng zhè yī 'ài hǎo lái fēng fù tā de rén shēng liǎo。
　　
　　 méi yòu yí chǎn， zhǐ kào zhe zài xì yuàn zuò yīnyuè zhǐ huī de wēi bó xīn shuǐ， kě lián de lǎo tóu 'ér bù xī fù chū yī qiē jīng lì， wā kōng yī qièxīn sī， píng zhe zì jǐ xiǎo xiǎo de cōng míng， yǐ jí qí piányí de jià gé shōu cáng liǎo xǔ duō de míng huà。
　　
　　 bāng sī měi shù guǎn kě wèi shì shōu cáng pō fēng。 bāng sī duì yú měi shù pǐn de 'àihào zhèng rú qíng rén 'ài yī gè měi lì de qíng fù， yǒng yuǎn bù zhī yàn zú。 duì bāng sī lái shuō， shōu cáng míng huà shì yī zhǒng shí shàng de 'àihào。 tā de měi shù guǎn shì gěi zì jǐ shí shí kè kè xiǎng shòu de。 rán 'ér， duì yú bāng sī de qīn rén yǐ jí zhōu wéi de lín jū lái shuō， què bìng fēi rú cǐ。
　　
　　 bāng sī hǎo xīn de gěi zì jǐ wéi yī de chéng jì rén －－ wài shēng de nǚ 'ér zuò méi， dāng wài shēng yī jiā réndōu kàn hǎo de xiǎo huǒ zǐ jù jué liǎo zhè mén qīn shì， wài shēng xí fù wèile bǎo zhù zì jǐ de miàn zǐ， ér dào chù xuān yáng cǐ shì shì bāng sī jiù jiù de 'è yì de bào fù。 yǐ zhì yú lián lǎo tóu 'ér yī xiàng zūn jìng de réndōu duì bāng sī bù lǐ bù cǎi！
　　
　　 kě lián de lǎo tóu 'ér yī shēng cóng wèi yòu guò bàn diǎn hài rén zhī xīn， zěn me néng gòu chéng shòu rú cǐ chén zhòng 'ér zhì mìng de dǎ jī？
　　
　　 bāng sī yīn cǐ 'ér yī bìng bù qǐ。 shēn biān zhǐ yòu zhōng chéng de xǔ mó kè hé mén fáng tài tài de zhào gù！
　　
　　 mén fáng tài tài zhào gù hǎo rén 'ér bāng sī hé xǔ mó kè yǐ jīng yòu shí nián liǎo。 suī yòu xiē láo dāo， què yě shì shàn liáng de， gēn xǔ mó kè yī yàng， duì bāng sī rú cǐ de zhēn 'ài nà xiē shōu cáng jué dé yòu xiē hǎo xiào， què yě shì xiǎo xīn yì yì de shǒu hù zhe。
　　
　　 zhǐ shì suǒ yòu de yī qiē zài gǔ dǒng shāng léi méng nuò kè hé yóu tài rén shōu cáng jiā mǎ gǔ sī bēizhe bāng sī kàn guò tā de měi shù guǎn zhī hòu gǎi biàn！
　　
　　 yóu tài rén mǎ gǔ sī shì gēn bāng sī 'àn zhōng jiào jìn de shōu cáng jiā。 duì bāng sī de shōu cáng yī zhí hǔ shì dān dān。
　　
　　 mén fáng tài tài xī wàng néng gòu zài bāng sī de yí zhǔ shàng zhàn yòu yī gè míng zì， zài zhè gè yuàn wàng méi yòu dé dào bāng sī de zhí jiē què dìng zhī hòu， wèile néng cóng bāng sī de shōu
　　 cáng zhōng fēn dé yī bēi cán gēng， yóu yī sī bù gǒu de chéng shí yī chà nà jiān biàn chéng wú 'è bù zuò！
　　
　　 gǔ dǒng shāng léi méng nuò kè， qí jiān diāo yīn hěn bù xià yú yóu tài rén， yī gè xiǎo qián dōuyào zhèng de tān dé wú yàn， zěn néng fàng guò kě lián de bāng sī nà xiē jià zhí lián chéng de shōu cáng？
　　
　　 pín kùn liáo dǎo de chū jí fǎ tíng lǜ shī fú lāi qí 'āi， yòu zhe yī shuāng kě pà de lǜ yǎn jīng hé xiōng 'è de qì xī， hǎo bǐ qīng tiān shàng de yún yī yàng de míng xiǎn。 jiāng bāng sī de shōu cáng zuò wéi zì jǐ kě yǐ jiē chù bāng sī de wéi yī chéng jì rén héng héng bāng sī de wài shēng héng héng zuì gāo fǎ tíng tíng cháng de diàn jiǎo shí！
　　 zuì gāo fǎ tíng tíng cháng yī jiā， dāng tā men bù zhī dào bāng sī shǒu zhōng yòu zhe nà dà pī de bǎozàng zhī shí， cóng wèi bǎ bāng sī fàng zài xīn shàng。 zuò wéi bāng sī jiù jiù wéi yī de qīn rén， shèn zhì lián lǎo tóu 'ér lái jiā lǐ chī wǎn fàn yě jiā yǐ kè yì xiū rǔ， bù xī pò huài bāng sī de shēng yù yǐ wéi hù zì jǐ de miàn zǐ。 rán 'ér dāng dé zhī bāng sī yòu zhe yī bǐ jí qí kě guān de yí chǎn shí， zhè xiē guān miǎn táng huáng de rén biàn qiān fāng bǎi jì、 shǐ jìn zhǒng zhǒng shǒu duàn xià dú hài tā， bù dá mùdì shì bù bà xiū！
　　 lǎo shí， qiān hé， tiān zhēn de bāng sī hé xǔ mó kè zěn me néng gòu xiǎng dào yòu zěn me néng gòu xiāng xìn zhè xiē rén nèi xīn lǐ de tān lán、 hěn dú、 jiān zhà？

　　Of the 94 works of Honoré de Balzac’s Comédie humaine, which are in both novel and short story form, Le Cousin Pons is virtually the last. Begun in 1846 as a novella, or long-short story, it was envisaged as one part of a diptych, Les Parents pauvres (The Poor Relations), the other part of which was La Cousine Bette (Cousin Bette).
　　
　　The novella grew in 1847 into a full-length novel with a male poor relation, Pons, as its subject, whereas La Cousine Bette describes the female aspect of that subordinate relationship. The two novels were thus similar yet diametrically different. They were complementary, forming two parts of a whole.
　　
　　Le Cousin Pons has been classified by Balzac as the second Episode of Les Parents pauvres, the first Episode being La Cousine Bette. Especially admired by Paul Bourget, it is one of the very greatest of his novels.
　　
　　Plot summary
　　
　　The novella was based on a short story by an acquaintance of Balzac, Albéric Second,[1] as Tim Farrant has demonstrated. Its original title was to have been “Le Parasite”. Sylvain Pons, a musician in a Parisian boulevard orchestra, has a close friend in another musician from that same orchestra, the German pianist Wilhelm Schmucke. They lodge with Mme Cibot, but Pons – unlike Schmucke – has two failings: his passion (which is almost a mania) for collecting works of art, and his passion for good food. Schmucke, on the other hand, has only one passion, and that is his affection for Pons. Pons, being a gourmet, much enjoys dining regularly with his wealthy lawyer cousins M. and Mme Camusot de Marville, for their food is more interesting than Mme Cibot’s and full of gastronomic surprises. In an endeavour to remain on good terms with the Camusots, and to repay their favour, he tries to find a bridegroom for their unappealing only child Cécile. However, when this ill-considered marriage project falls through, Pons is banished from the house.
　　
　　The novella becomes a novel as Mme Camusot learns of the value of Pons’s art collection and strives to obtain possession of it as the basis of a dowry for her daughter. In this new development of the plot line a bitter struggle ensues between various vulture-like figures all of whom are keen to lay their hands on the collection: Rémonencq, Élie Magus, Mme Camusot – and Mme Cibot herself. Betraying his client Mme Cibot’s interests, the unsavoury barrister Fraisier acts for the Camusots. Mme Cibot sells Rémonencq eight of Pons’s choicest paintings, untruthfully stating in the receipt that they are works of lesser value. She also steals one for herself.
　　
　　Horrified to discover his betrayal by Mme Cibot, and the plots that are raging around him, Pons dies, bequeathing all his worldly possessions to Schmucke. The latter is browbeaten out of them by Fraisier. He in turn dies a broken-hearted man, for in Pons he has lost all that he valued in the world. The art collection comes to the Camusot de Marville family, and the vultures profit from their ill-gotten gains.
　　
　　Fundamental themes of the work
　　
　　(1) Le Cousin Pons is set entirely in Paris, where, as Balzac informs us in his Avant-propos (Foreword) to the Comédie humaine, “the extremes of good and evil are to be found”. However, Le Cousin Pons is not exclusively about the clash of extremes. Some characters, even the eponymous hero himself, are presented in a nuanced way.
　　
　　(2) Balzac’s hatred of the bourgeoisie is epitomized by the greedy, money-obsessed M. and Mme Camusot de Marville who put up with the weekly visits of their poor relation Sylvain Pons until they realize he is a very wealthy art collector, whereupon their sole concern is to exploit him. Balzac also presents the lawyer Fraisier and the doctor Poulain in an ambivalent light.
　　
　　(3) The morals of the working-class characters, e.g., La Cibot and Rémonencq, are scarcely any better than those of the bourgeoisie. As in Balzac’s novel of the countryside, Les Paysans, the proletarian world is displayed in a fiercely aggressive, acquisitive light – almost to the extent of engaging in bitter class conflict.
　　
　　(4) The values of art are contrasted with those of money. As Balzac says in Splendeurs et misères des courtisanes, “la Charte ( Charter of 1814 ) a proclamé le règne de l’argent, le succès devient alors la raison suprême d’une époque athée”. Artistic values aside, Balzac displays the reification or materialization of the world.
　　
　　(5) The law is seen by Balzac as a (totally illegal!) way of depriving people of their rightful property. Harassed by Fraisier, Schmucke renounces his property rights. Pons’s second will is more vulnerable than the first.
　　
　　(6) Balzac subverts conventional social values as social norms are revealed to be a fiction. The values of the Camusot de Marville family are materialistic. It is not the personality of Cécile Camusot herself but Pons’s art collection which is “the heroine of this story”; it is that, not her value as a person, which secures her marriage. The union of the Topinards, who are not strictly married, is the kindest, most affectionate relationship of man and woman in the novel. The friendship of Pons and Schmucke is true love but not love within marriage. The two men are poor and physically ugly but their relationship is golden and pure. Their Platonic friendship runs parallel to the idealizing function of art.
　　
　　(7) Though not a lover in the human physical sense, Pons is a man with an overriding passion, the passion for artistic beauty. In its etymological sense passion equates to suffering. Pons is a Christ-like figure, like some other characters in Balzac's novels (e.g., Joseph Bridau in La Rabouilleuse, and Goriot). He is a man with a mania or idee fixe, and this passion is the cause of his suffering and death.
　　
　　Narrative strategies
　　
　　(1) As has been shown by Donald Adamson, Le Cousin Pons began its existence as a novella, or nouvelle, and was suddenly transformed into a full-length novel. This process of transformation necessitated certain inconsistencies and an uneasy transition from long-short story to fiction of sizable proportions and complexity. Though this longer fiction is often referred to as “Part II” of the novel, Balzac himself does not embark upon his “Part II” of Le Cousin Pons until all the new characters – the corrupt Mme Cibot, Rémonencq, Élie Magus, Poulain and Fraisier – have been introduced. It is in dispute whether these two narrative elements have been fused into a perfect whole. V.S. Pritchett considers that Balzac has been totally successful in combining the two storylines.[2]
　　
　　(2) Le Cousin Pons thus became one of Balzac’s four inheritance novels (the others being Eugénie Grandet, Ursule Mirouët and La Rabouilleuse). From being the vignette of a downtrodden elderly man it mutated into a story of conflict, though with a plot far less complex than that of La Cousine Bette or Splendeurs et misères des courtisanes. The struggle for an inheritance was one of the narrative situations most congenial to Balzac.
　　
　　(3) In the tradition of melodrama Schmucke represents “extreme good”, Mme Camusot “extreme evil”, whereas Pons is an amalgam of the two whilst, Janus-like, Mme Cibot embodies aspects of both. The lurid tones of Pons’s deathbed scene are the height of melodrama. In this drama of light and darkness, or chiaroscuro, the art collection is the heroine of the story.
　　
　　(4) Roman-feuilleton (serial (literature)). The serialization of novels was a feature of the rapid growth of the newspaper industry in France after 1814. Leading feuilletonistes were Eugène Sue, Alexandre Dumas, père, Paul Féval, père, Frédéric Soulié and Eugène Scribe. Balzac became increasingly preoccupied by their popularity in the 1840s and tried to emulate them. This involved incorporating many features of melodrama; it also encouraged the ending of each serialized extract on a note of high suspense.
　　
　　(5) The serialization of fiction also necessitated the increasing use of dialogue. This is particularly so in the later stages of the novel. In Donald Adamson’s words, “the second half of Le Cousin Pons is surely unsurpassed in the extent to which it uses dialogue and in the variety of purposes to which dialogue is applied. It contains few narrative interludes or other digressions”.[3] This gave the novel its markedly dramatic flavour.

lǘ pí jì

xī méng · bō wá Simone de Beauvoir

　　rú guǒ rén shì jiān zhēn yòu yī kuài lǘ pí， shǐ nǐ de yī qiē yuàn wàng dōunéng shí xiàn， tóng shí suí zhe yuàn wàng de shí xiàn， lǘ pí jiāng huì suō xiǎo， nǐ de shēng mìng yě huì suō duǎn， shì wèn， nǐ shì fǒu yuàn yì jiē shòu zhè kuài lǘ pí ?
　　 duì dà duō shù rén lái shuō， dá 'àn jiāng shì kěn dìng de。 qiě bù shuō nà xiē rú běn shū de zhù rén wēng nà yàng， qióng tú mò lù， yǐ jīng shū diào shēn shàng zuì hòu yī méi jīn bì， zhǔn bèi tóu shuǐ zì shā de rén， shì shàng yòu xǔ duō rén， miàn duì jīn qián hé wù zhì xiǎng shòu de yòu huò， hái bù shì jiāng míng yù、 dì wèi、 jiā tíng、 zǔ guó， shèn zhì zì jǐ de shēng mìng， quán bù zhì zhū nǎo hòu， ér gān mào tiān xià zhī dà bù wěi， bù gù dào dé、 fǎ lǜ、 yú lùn de zǔ lì， shā rén fàng huǒ， zhà piàn dào qiè， wú suǒ bùwèi， xiǎo xiǎo yī zhāng lǘ pí， nǎ lǐ zǔ zhǐ dé zhù tā men ? rán 'ér zhè kuài xiǎo xiǎo de lǘ pí， bā 'ěr zhā kè hái shì fèi jìn xīn sī cái dé dào de。 bā 'ěr zhā kè jīng guò shízǎi jiān xīn， shēn kè dì tǐ yàn liǎo jīn qián de wēi lì hé pín qióng de tòng kǔ， shēn zhī yī gè rén rú guǒ fēng kuáng dì zhuī qiú jīn qián， shì jiān shàng hěn shǎo yòu lì liàng néng gòu zǔ zhǐ tā。 bā 'ěr zhā kè shǒu xiān xiǎng dào de lì liàng， shì liáng xīn de qiǎn zé hé tè shū de jí bìng。 zài zhè bù xiǎo shuō lǐ， zhào kāi shèng dà yàn huì de dōng dào zhù shì tài yī fān， ér qiě zài xiǎo shuō lǐ yī zài tí dào《 hóng sè lǚ guǎn》， kě jiàn tài yī fān shì jīng cháng chū xiàn zài bā 'ěr zhā kè nǎo jì de yī gè rén。 wèishénme zhè gè xíng xiàng huì chán zhù bā 'ěr zhā kè， huī zhī bù qù ní ? yuán lái zài《 hóng sè lǚ guǎn》 lǐ， tài yī fān shì gè shā rén fàn， tā yòng zuì yào hǎo de péng yǒu de jiě pōu dāo， shā hài liǎo yī gè shāng rén， dào zǒu liǎo shāng rén de shí wàn fǎ láng zhū bǎo， táo zhī tiān tiān， hài dé tā de zuì yào hǎo de péng yǒu bèi jūn shì fǎ tíng pàn chù sǐ xíng。 tài yī fān yīn cǐ fā liǎo cái， dāng shàng yínháng jiā， yōng yòu jià zhí yī bǎi wàn de dì chǎn， zài shè jiāo chǎng suǒ chū guān shí， tā hěn 'ài xiào， jǔ zhǐ tài dù wán quán xiàng gè cí xiáng de lǎo hǎo rén。 tā wán quán táo tuō liǎo fǎ lǜ de zhì cái， zhèng zài 'ān xiǎng tā： de bù yì zhī cái。 bā 'ěr zhā kè méi yòu wéi fǎn xiàn shí duì zhè yàng yī gè rén gěi yú jiān de zhì cái， zhèng rú《 lǘ pí jì》 lǐ lā fěi 'ěr dé dào liù bǎi wàn yí chǎn yǐ hòu， tài yī fān suǒ shuō de：“ lā fěi 'ěr xiān shēng yǐ chéng wéi liù bǎi wàn fǎ láng de fù wēng， dēng shàng liǎo quán de bǎo zuò。 tā shì guó wáng， tā kě yǐ wéi suǒ yù wéi， tā líng jià yī qiē， xiàng suǒ yòu de fù wēng nà yàng。 duì tā lái shuō， cóng jīn yǐ hòu， suǒ wèi‘ fǎ guó rén zài fǎ lǜ miàn qián rén rén píng děng’， bù guò shì jìzǎi zài dà xiàn zhāng lǐ de yī jù huǎng yán。 tā bù huì fú cóng fǎ lǜ， fǎ lǜ dǎo yào fú cóng tā。 méi yòu wéi bǎi wàn fù wēng 'ér shè de duàn tóu tái， yě méi yòu duì tā men de xíng xíng de guì zǐ shǒu。” lā fěi 'ěr huí dá dào：“ tā mendōu shì gěi zì jǐ xíng xíng de guì zǐ shǒu。”

　　La Peau de chagrin (English: The Magic Skin or The Wild Ass's Skin) is an 1831 novel by French novelist and playwright Honoré de Balzac (1799–1850). Set in early 19th-century Paris, it tells the story of a young man who finds a magic piece of shagreen that fulfills his every desire. For each wish granted, however, the skin shrinks and consumes a portion of his physical energy. La Peau de chagrin belongs to the Études philosophiques group of Balzac's sequence of novels, La Comédie humaine.
　　
　　Before the book was completed, Balzac created excitement about it by publishing a series of articles and story fragments in several Parisian journals. Although he was five months late in delivering the manuscript, he succeeded in generating sufficient interest that the novel sold out instantly upon its publication. A second edition, which included a series of twelve other "philosophical tales", was released one month later.
　　
　　Although the novel uses fantastic elements, its main focus is a realistic portrayal of the excesses of bourgeois materialism. Balzac's renowned attention to detail is used to describe a gambling house, an antique shop, a royal banquet, and other locales. He also includes details from his own life as a struggling writer, placing the main character in a home similar to the one he occupied at the start of his literary career. The central theme of La Peau de chagrin is the conflict between desire and longevity. The magic skin represents the owner's life-force, which is depleted through every expression of will, especially when it is employed for the acquisition of power. Ignoring a caution from the shopkeeper who offers him the skin, the protagonist greedily surrounds himself with wealth, only to find himself miserable and decrepit at the story's end.
　　
　　La Peau de chagrin firmly established Balzac as a writer of significance in France. His social circle widened significantly, and he was sought eagerly by publishers for future projects. The book served as the catalyst for a series of letters he exchanged with a Polish baroness named Ewelina Hańska, who later became his wife. It also inspired Giselher Klebe's opera Die tödlichen Wünsche.

míng shì fēng liú

　　běn shū shì xī méng nà · dé · bō fú wá jì《 dì 'èr xìng》 zhī hòu yī bù miáo xiě zhī shí fènzǐ mìng yùn de huī huáng jù zhù， zuò zhě yǐ qiújìng yòu lì de bǐ chù， shēn kè zhǎn xiàn liǎo 'èr cì dà zhàn hòu fǎ guó zhī shí jiè fǎng huáng qí lù、 qiú suǒ fèn jìn de zhòng shēng xiāng。 zhè lǐ yòu lì jīng mó nán 'ér jiān shǒu shēng huó xìn niàn de zuò jiā， yòu bǐ shì gōng míng 'ér shǐ zhōng bù gān jì mò de jīng shén fēn xī zhuān jiā， yòu ruì yì jìn qǔ 'ér zhōng yú luò tuò de zhé xué jiā……
　　　　 zuò zhě yǐ qí mǐn ruì de guān chá lì hé dòng chá lì， shēn kè dòng rén dì miáo xiě liǎo tā men de zhuī qiú yǔ huàn miè、 xī wàng yǔ shī wàng、 chén lún yǔ fèn qǐ， shǐ běn shū chéng wéi guān zhào nà yī shí dài zhī shí fènzǐ xīn tài yǔ mìng yùn de yī miàn jìng zǐ。

　　The Mandarins (French: Les Mandarins) is a 1954 roman-à-clef by Simone de Beauvoir. Beauvoir was awarded the Prix Goncourt prize in 1954 for The Mandarins. It was first published in English in 1957.
　　
　　The book follows the personal lives of a close-knit group of French intellectuals from the end of WWII to the mid fifties. The title refers to the scholar-bureaucrats of imperial China. The characters at times see themselves as ineffectual "mandarins" as they attempt to discern what role, if any, intellectuals will have in influencing the political landscape of the world after WWII. As in Beauvoir's other works, themes of Feminism, Existentialism, and personal morality are explored as the characters navigate not only the intellectual and political landscape but also their shifting relationships with each other.
　　
　　The British novelist and philosopher Iris Murdoch described the book as "endearing because of its persistent seriousness"
　　
　　Characters
　　
　　Henri Perron (considered to be Albert Camus) is the editor of the leftist newspaper L'Espoir. He is unhappily married to Paula. Henri primarily sees himself as a writer and struggles with his increasing involvement in the political arena.
　　
　　Robert Dubreuilh (considered to be Jean-Paul Sartre) is the founder and leader of the SRL, a liberal, non-Communist political group. He is partly responsible for Henri's literary success, and the two are close personal friends.
　　
　　Anne Dubreuilh (considered to be Beauvoir herself) is the wife of Robert. She is a practicing psychoanalyst. She has an affair with the American writer Lewis Brogan. Her reflections on the lives of the other characters comprises a large portion of the text.
　　
　　Paula Perron is Henri's wife. She is unrelentingly committed to her relationship with Henri, despite his indifference. She develops severe delusions and paranoia regarding this relationship and is forced to seek medical treatment.
　　
　　Nadine Dubreuilh is Robert and Anne's daughter. Nadine is haunted by the death of her boyfriend Diego during the French Resistance. She has an affair with Henri early in the course of the novel and later marries Henri and has a child by him.
　　
　　Lewis Brogan (considered to be Nelson Algren, to whom the book is dedicated) is an American writer with whom Anne has an extended affair.
　　
　　Scriassine David Cesarani in his biography Arthur Koestler, The Homeless Mind, suggests that Scriassine's character is drawn on Arthur Koestler.

shuāng chéng jì

　　gù shì fā shēng yú fǎ guó dà gé tí mìng qī jiān， yīng guó londan lǜ shī xí ní · kǎ dùn， shēn shēn dì 'ài shàng liǎo bā lí nǚ zǐ lù sī · màn nà。 dàn lù sī ． màn nà què jǐn jǐn zhǐ shì bǎ tā dāng zuò pǔ tōng péng yǒu， jià gěi liǎo fǎ guó guì zú qīng nián chá 'ěr sī · dá léi。 dāng fǎ guó zhèng zhì jú shì xiàn rù yī tuán hùn luàn shí， chá 'ěr sī · dá léi zāo dào bào mín qiú jìn， lù sī · màn nà zǒu tóu wú lù， zhǐ hǎo xiàng xí ní · kǎ shì dùn qǐng qiú bāng zhù。 xí ní · kǎ dùn wéi chéng quán suǒ 'ài zhī de xìng fú， jìng rán yǐ xī shēng zì jǐ shēng mìng de fāng shì lái wǎn jiù qíng dí， zài hēi láo tàn jiān zhī jì shī zhǎn cèhuà zhōu mì de diào bāo jì jiāng chá 'ěr sī · dá léi jiù liǎo chū lái， ér tā zé yì wú fǎn gù dì bù shàng duàn tóu tái。 nán zhùjué de gāo shàng qíng cāo zú yǐ lìng tiān xià rén tóng shēng yī kū。
　　 shuāng chéng jì - chuàng zuò tuán duì
　　
　　 dǎo yǎn： jié kè · kāng wēi luó bó tè ·Z· lún nà dé
　　 zhù yǎn： luó nà dé · kǎo 'ěr màn táng nà dé · wǔ cí yī lì suō bái · ài lán
　　
　　 biān jù Writer： chá 'ěr sī · dí gèng sī CharlesDickens sài miù 'ěr ·N· bèi 'ěr màn S.N.BehrmanW.P.LipscombThomas
　　
　　 zhì zuò rén Producedby： dà wèi ·O· sài 'ěr cí ní kè DavidO.Selznick
　　 shuāng chéng jì - yǐng píng
　　
　　 zhè shì yī gè zuì hǎo de shí dài， yě shì yī gè zuì huài de shí dài； zhè shì míng zhì de shí dài， zhè shì yú mèi de shí dài； zhè shì xìn rèn de jì yuán， zhè shì huái yí de jì yuán； zhè shì guāng míng de jì jié， zhè shì hēi 'àn de jì jié； zhè shì xī wàng de chūn rì， zhè shì shī wàng de dōng rì； wǒ men miàn qián yīngyǒu jìn yòu， wǒ men miàn qián yī wú suǒ yòu； wǒ men dū jiāng zhí shàng tiān táng， wǒ men dū jiāng zhí xià dì yù。。。
　　 héng héng dí gèng sī《 shuāng chéng jì》
　　
　　Itwasthebestoftimes,itwastheworstoftimes;itwastheageofwisdom,itwastheageoffoolishness;itwastheepochofbelief,itwastheepochofincredulity;itwastheseasonofLight,itwastheseasonofDarkness;itwasthespringofhope,itwasthewinterofdespair;wehadeverythingbeforeus,wehadnothingbeforeus;wewereallgoingdirectlytoHeaven,wewereallgoingtheotherway.
　　
　　 héng héng CharlesDichens(ATaleofTwoCities)
　　
　　 wèishénme jiào shuāng chéng jì？ dí gèng sī de zhè bù zuò pǐn， ràng wǒ xiǎng qǐ liǎo kǎ sà bù lán kǎ， wèile suǒ 'ài de rén， fàng qì liǎo suǒ 'ài de rén。 liǎo jiě zhè gè shí dài de bèi jǐng shì hěn zhòng yào de， bù rán qián miàn huì jué de zhuǎn de tài kuài。 zǒng de lái shuō， dà zuò jiā de xiǎo shuō hái shì wú xiè kě jī de。 dāng xià de shè huì yǔ dí gèng sī yǎn zhōng shū zhōng de shí dài shì fǒu xiāng sì？ wǒ men de chū kǒu yòu zài nǎ lǐ？ xīn shǎng dí gèng sī de zhè duàn míng yán。
　　 shuāng chéng jì - mù hòu huā xù
　　
　　 běn piàn gǎi biān zì dí gèng sī de tóng míng bù xiǔ míng zhù《 shuāng chéng jì》， zài dà zhì zuò jiā dà wèi． sài cí ní kè yǔ dǎo yǎn jié kè． kāng wéi de qīng lì shè zhì xià， wán chéng liǎo zhè bù fǎn yìng fǎ guó dà gé mìng shí dài bēi jù de jié zuò， yě shì gēn jù běn shū pāi shè de liù gè diàn yǐng bǎn běn zhōng chéng jì zuì hǎo de yī bù。 dí gèng sī de xiǎo shuō lì yòng gè zhǒng yuán sù miáo shù yī gè dòng rén xīn bó cuī rén lèi xià de 'ài qíng gù shì， zì chū bǎn yǐ lái shòu dào wú shù dú zhě de rè xīn zhuī pěng， yī bǎn zài bǎn。 běn piàn bìng méi yòu wán quán bāo kuò xiǎo shuō zhǎn xiàn chū lái de suǒ yòu yuán sù， dàn què méi yòu yí lòu rèn hé zuì wéi zhòng yào de qíng jié。 dāng rán， méi yòu nǎ yī bù tōng guò yōu xiù de xiǎo shuō gǎi biān de diàn ...
　　 shuāng chéng jì -《 shuāng chéng jì》 yuán zhù jiǎn jiè：
　　
　　1775 nián 12 yuè de yī gè yuè yè， yù jū bā lí de nián qīng yī shēng méi ní tè sàn bù shí， tū rán bèi 'è fú lǐ méng dì hóu jué xiōng dì qiǎngpò chū zhěn。 zài hóu jué fǔ dì zhōng， tā mù dǔ yī gè fā kuáng de jué sè nóng fù hé yī gè shēn shòu jiàn shāng de shàonián yǐn hèn 'ér sǐ de cǎn zhuàng， bìng huò xī hóu jué xiōng dì wèile piàn kè yín lè shā hài tā men quán jiā de nèi qíng。 tā jù jué hóu jué xiōng dì de zhòng jīn huì lù， xiě xìn xiàng cháo tíng gào fā。 bù liào kòng gào xìn luò dào bèi gào rén shǒu zhōng， yī shēng bèi guān jìn bā shì dǐ yù， cóng cǐ yǔ shì gé jué， yǎo wú yīn xùn。 liǎng nián hòu， qī zǐ xīn suì 'ér sǐ。 yòu xiǎo de gū nǚ lù qiàn bèi hǎo yǒu láo léi jiē dào lún dūn， zài shàn liáng de nǚ pú pǔ luò sī fǔ yǎng xià cháng dà。
　　
　　18 nián hòu， méi ní tè yī shēng huò shì。 zhè wèi jīng shén shī cháng de báifà lǎo rén bèi bā lí shèng 'ān dōng ní qū de yī míng jiǔ fàn、 tā jiù rì de pú rén dé fá shí shōu liú。 zhè shí， nǚ 'ér lù qiàn yǐ jīng chéngzhǎng， zhuān chéng jiē tā qù yīng guó jū zhù。 lǚ tú shàng， tā men xiè hòu fǎ guó qīng nián chá lǐ · dài 'ěr nà， shòu dào tā de xì xīn zhào liào。
　　
　　 yuán lái dài 'ěr nà jiù shì hóu jué de 'ér zǐ。 tā zēng hèn zì jǐ jiā zú de zuì 'è， yì rán fàng qì cái chǎn de jì chéng quán hé guì zú de xìng shì， yí jū lún dūn， dāng liǎo yī míng fǎ yǔ jiào shī。 zài yǔ méi ní tè fù nǚ de jiāo wǎng zhōng， tā duì lù qiàn chǎn shēng liǎo zhēn chéng de 'ài qíng。 méi ní tè wèile nǚ 'ér de xìng fú， jué dìng mái zàng guò qù， xīn rán tóng yì tā men de hūn shì。
　　
　　 zài fǎ guó， dài 'ěr nà fù mǔ xiāng jì qù shì， shū fù 'è fú lǐ méng dì hóu jué jì xù wéi suǒ yù wéi。 dāng tā nà kuáng zài de mǎ chē ruò wú qí shì dì zhá sǐ yī gè nóng mín de hái zǐ hòu， zhōng yú bèi hái zǐ fù qīn yòng dāo shā sǐ。 yīcháng gé mìng de fēng bào zhèng zài yùn niàng zhī zhōng， dé fá shí de jiǔ diàn jiù shì gé mìng huó dòng de lián luò diǎn， tā de qī zǐ bù tíng dì bǎ guì zú de bào xíng biān zhì chéng bù tóng de huā wén， jì lù zài wéi jīn shàng， kě wàng fù chóu。
　　
　　1739 nián fǎ guó dà gé mìng de fēng bào zhōng yú xí lái liǎo。 bā lí rén mín gōng zhàn liǎo bā shì dǐ yù， bǎ guì zú yī gè gè sòng shàng duàn tóu tái。 yuǎn zài lún dūn de dài 'ěr nà wèile yíng jiù guǎn jiā gài bái lè， mào xiǎn huí guó， yī dào bā lí jiù bèi bǔ rù yù。 méi ní tè fù nǚ wén xùn hòu xīng yè gǎn dào。 yī shēng de chū tíng zuò zhèng shǐ dài 'ěr nà huí dào qī zǐ de shēn biān。 kě shì， jǐ xiǎo shí hòu， dài 'ěr nà yòu bèi dài bǔ。 zài fǎ tíng shàng， dé fá shí xuān dú liǎo dāng nián yī shēng zài yù zhōng xiě xià de xuè shū： xiàng cāng tiān hé dà dì kòng gào 'è fú lǐ méng dì jiā zú de zuì hòu yī gè rén。 fǎ tíng pàn chù dài 'ěr nà sǐ xíng。
　　
　　 jiù zài zhè shí， yī zhí 'àn 'àn 'ài mù lù qiàn de lǜ shī zhù shǒu kǎ 'ěr dēng lái dào bā lí， mǎi tōng yù zú， hùn rù jiān yù， dǐng tì liǎo hūn mí zhōng de dài 'ěr nà， méi ní tè fù nǚ zǎo yǐ zhǔn bèi jiù xù， dài 'ěr nà yī dào， mǎ shàng chū fā。 yīháng rén shùn lì dì lí kāi fǎ guó。
　　
　　 dé fá shí tài tài zài dài 'ěr nà bèi pàn jué hòu， yòu dào méi ní tè zhù suǒ sōu bǔ lù qiàn jí qí yòu nǚ， zài yǔ pǔ luò sī de zhēng dǒu zhōng， yīn qiāng zhī zǒu huǒ 'ér bì mìng。 ér duàn tóu tái shàng， kǎ 'ěr dēng wèile 'ài qíng， cóng róng xiàn shēn。
　　 shuāng chéng jì - dǎo dú
　　
　　 shuāng chéng jì shuāng chéng jì
　　 shì jiè míng zhù《 shuāng chéng jì》 --- zuò zhě dí gèng sī "ATaleofTwoCities"(1859)byCharlesDickens(1812-1870)
　　
　　《 shuāng chéng jì》 shì dí gèng sī zuì zhòng yào de dài biǎo zuò zhī yī。 zǎo zài chuàng zuò《 shuāng chéng jì》 zhī qián hěn jiǔ， dí gèng sī jiù duì fǎ guó dà gé mìng jí wéi guān zhù， fǎn fù yán dú yīng guó lì shǐ xué jiā kǎ lāi 'ěr de《 fǎ guó gé mìng shǐ》 hé qí tā xué zhě de yòu guān zhù zuò。 tā duì fǎ guó dà gé mìng de nóng hòu xīng qù fā duān yú duì dāng shí yīng guó qián fú zhe de yán zhòng de shè huì wēi jī de dān yōu。 1854 nián dǐ， tā shuō：“ wǒ xiāng xìn， bù mǎn qíng xù xiàng zhè yàng mào yān bǐ huǒ shāo qǐ lái hái yào huài dé duō， zhè tè bié xiàng fǎ guó zài dì yī cì gé mìng bào fā qián de gōng zhòng xīn lǐ， zhè jiù yòu wēi xiǎn， yóu yú qiān bǎi zhǒng yuán yīn héng héng rú shōu chéng bù hǎo、 guì zú jiē jí de zhuān héng yǔ wú néng bǎ yǐ jīng jǐn zhāng de jú miàn zuì hòu yī cì jiā jǐn、 hǎi wài zhàn zhēng de shī lì、 guó nèi 'ǒu fā shì jiàn děng děng héng héng biàn chéng nà cì cóng wèi jiàn guò de yīcháng kě pà de dà huǒ。” kě jiàn，《 shuāng chéng jì》 zhè bù lì shǐ xiǎo shuō de chuàng zuò dòng jī zài yú jiè gǔ fěng jīn， yǐ fǎ guó dà gé mìng de lì shǐ jīng yàn wéi jiè jiàn， gěi yīng guó tǒng zhì jiē jí qiāo xiǎng jǐng zhōng； tóng shí， tōng guò duì gé mìng kǒng bù de jí duān miáo xiě， yě duì xīn huái fèn mèn、 xī tú yǐ bào lì duì kàng bào zhèng de rén mín qún zhòng tí chū jǐng gào， huàn xiǎng wéi shè huì máo dùn rì yì jiā shēn de yīng guó xiàn zhuàng xún zhǎo yī tiáo chū lù。
　　
　　 cóng zhè gè mùdì chū fā， xiǎo shuō shēn kè dì jiē lù liǎo fǎ guó dà gé mìng qián shēn shēn jī huà liǎo de shè huì máo dùn， qiáng liè dì pēng jī guì zú jiē jí de huāng yín cán bào， bìng shēnqiè dì tóng qíng xià céng rén mín de kǔ nán。 zuò pǐn jiān ruì dì zhǐ chū， rén mín qún zhòng de rěn nài shì yòu xiàn dù de， zài guì zú jiē jí de cán bào tǒng zhì xià， rén mín qún zhòng pò yú shēng jì， bì rán fèn qǐ fǎn kàng。 zhè zhǒng fǎn kàng shì zhèng yì de。 xiǎo shuō hái miáo huì liǎo qǐ yì rén mín gōng jī bā shì dǐ yù děng zhuàng guān chǎng jǐng， biǎo xiàn liǎo rén mín qún zhòng de wěi dà lì liàng。 rán 'ér， zuò zhě zhàn zài zī chǎn jiē jí rén dào zhù yì de lì chǎng shàng， jí fǎn duì cán kù yā pò rén mín de bào zhèng， yě fǎn duì gé mìng rén mín fǎn kàng bào zhèng de bào lì。 zài dí gèng sī bǐ xià， zhěng gè gé mìng bèi miáo xiě chéng yīcháng huǐ miè yī qiē de jù dà zāinàn， tā wú qíng dì chéng fá zuì 'è de guì zú jiē jí， yě máng mù dì shā hài wú gū de rén men。
　　
　　 zhè bù xiǎo shuō sù zào liǎo sān lèi rén wù。 yī lèi shì yǐ 'è fú lǐ méng dì hóu jué xiōng dì wéi dài biǎo de fēng jiàn guì zú， tā men“ wéi yī bù kě dòng yáo de zhé xué jiù shì yā pò rén”， shì zuò zhě tòng jiā biān tà de duì xiàng。 lìng yī lèi shì dé fá shí fū fù děng gé mìng qún zhòng。 bì xū zhǐ chū de shì， tā men de xíng xiàng shì bèi niǔ qū de。 lì rú dé fá shí de qī zǐ dí 'ān nà， tā chū shēng yú bèi wǔ rǔ、 bèi pò hài de nóng jiā， duì fēng jiàn guì zú huái zhe shēn chóu dà hèn， zuò zhě shēnqiè dì tóng qíng tā de bēi cǎn zāo yù， gé mìng bào fā qián hòu hěn zàn shǎng tā jiān qiáng de xìng gé、 zhuó yuè de cái zhì hé fēi fán de zǔ zhì lǐng dǎo néng lì； dàn dāng gé mìng jìn yī bù shēn rù shí， jiù bǐ fēng yī zhuǎn， bǎ tā biǎn chì wéi yī gè lěng kù、 xiōng hěn、 xiá 'ài de fù chóu zhě。 yóu qí shì dāng tā dào yī shēng zhù suǒ sōu bǔ lù qiàn hé xiǎo lù qiàn shí， gèng bèi biǎo xiàn wéi shì xuè chéng xìng de kuáng rén。 zuì hòu， zuò zhě ràng tā sǐ zài zì jǐ de qiāng kǒu zhī xià， míng què dì biǎo shì liǎo fǒu dìng de tài dù。 dì sān lèi shì lǐ xiǎng huà rén wù， shì zuò zhě xīn mù zhōng yǐ rén dào zhù yì jiě jué shè huì máo dùn、 yǐ bó 'ài zhàn shèng chóu hèn de bǎng yàng， bāo kuò méi ní tè fù nǚ、 dài 'ěr nà、 láo léi hé kǎ 'ěr dēng děng。 méi ní tè yī shēng bèi hóu jué xiōng dì hài dé jiā pò rén wáng， duì hóu jué xiōng dì huái yòu shēn chóu dà hèn， dàn shì wèile nǚ 'ér de 'ài， kě yǐ bìng qì sù chóu jiù hèn； dài 'ěr nà shì hóu jué xiōng dì de zǐ zhí， tā dà chè dà wù， qiǎn zé zì jǐ jiā zú de zuì 'è， pāo qì jué wèi hé cái chǎn， jué xīn yǐ zì jǐ de xíng dòng lái“ shú zuì”。 zhè duì hù xiāng huī yìng de rén wù， yī gè shì guì zú bào zhèng de shòu hài zhě， kuān róng wéi huái； yī gè shì guì zú hóu jué de jì chéng rén， zhù zhāng rén 'ài。 tā men zhōng jiān， gèng yòu zuò wéi nǚ 'ér hé qī zǐ de lù qiàn。 zài 'ài de niǔ dài de wéi xì xià， tā men zǔ chéng yī gè hù xiāng liàng jiě、 gǎn qíng róng qià de xìng fú jiā tíng。 zhè xiǎn rán shì zuò zhě shè xiǎng de yī tiáo yǔ bào lì gé mìng jié rán xiāng fǎn de jiě jué shè huì máo dùn de chū lù， shì bùqiè shí jì de。
　　
　　《 shuāng chéng jì》 yòu qí bù tóng yú yī bān lì shǐ xiǎo shuō de dì fāng， tā de rén wù hé zhù yào qíng jié dōushì xū gòu de。 zài fǎ guó dà gé mìng guǎng kuò de zhēn shí bèi jǐng xià， zuò zhě yǐ xū gòu rén wù méi ní tè yī shēng de jīng lì wéi zhù xiàn suǒ， bǎ yuān yù、 ài qíng yǔ fù chóu sān gè hù xiāng dú lì 'ér yòu hù xiāng guān lián de gù shì jiāo zhì zài yī qǐ， qíng jié cuò zōng， tóu xù fēn fán。 zuò zhě cǎi qǔ dàoxù、 chā xù、 fú bǐ、 pū diàn děng shǒu fǎ， shǐ xiǎo shuō jié gòu wán zhěng yán mì， qíng jié qū zhé jǐn zhāng 'ér fù yòu xì jù xìng， biǎo xiàn liǎo zhuó yuè de yì shù jì qiǎo。《 shuāng chéng jì》 fēng gé sù mù、 chén yù， chōng mǎn yōu fèn， dàn quē shǎo zǎo qī zuò pǐn de yōu mò。

　　A Tale of Two Cities (1859) is a novel by Charles Dickens, set in London and Paris before and during the French Revolution. With 200 million copies sold, it is the most printed original English book, and among the most famous works of fiction.
　　
　　It depicts the plight of the French peasantry demoralized by the French aristocracy in the years leading up to the revolution, the corresponding brutality demonstrated by the revolutionaries toward the former aristocrats in the early years of the revolution, and many unflattering social parallels with life in London during the same time period. It follows the lives of several protagonists through these events, most notably Charles Darnay, a French once-aristocrat who falls victim to the indiscriminate wrath of the revolution despite his virtuous nature, and Sydney Carton, a dissipated British barrister who endeavours to redeem his ill-spent life out of love for Darnay's wife, Lucie Manette.
　　
　　The novel was published in weekly installments (not monthly, as with most of his other novels). The first installment ran in the first issue of Dickens' literary periodical All the Year Round appearing on 30 April 1859; the thirty-first and last ran on 25 November of the same year.
　　
　　Plot summary
　　Book the First: Recalled to Life
　　“ It was the best of times, it was the worst of times... ”
　　
　　—Opening line of A Tale of Two Cities
　　
　　It is 1775. Jarvis Lorry, an employee of Tellson's Bank, is travelling from England to France to bring Dr. Alexandre Manette to London. At Dover, before crossing to France, he meets seventeen-year-old Lucie Manette and reveals to her that her father, Dr. Manette, is not dead, as she had been told. He has been a prisoner in the Bastille for the last 18 years.
　　
　　Lorry and Lucie travel to Saint Antoine, a suburb of Paris, where they meet the Defarges. Monsieur Ernest and Madame Therese Defarge own a wine shop. They also (secretly) lead a band of revolutionaries, who refer to each other by the codename "Jacques" (drawn from the name of an actual French revolutionary group, the Jacquerie).
　　
　　Monsieur Defarge (who was Dr. Manette's servant before Manette's imprisonment, and now has care of him) takes them to see Dr. Manette. Manette has withdrawn from reality due to the horror of his imprisonment. He sits in a dark room all day making shoes, a trade he had learned whilst imprisoned. At first he does not know his daughter, but eventually recognizes her by her long golden hair which resembles her mother's. Dr. Manette had long kept a strand of his wife's hair which was found on his sleeve when he was imprisoned. Lucie's eyes are blue also just like his. Lorry and Lucie take him back to England.
　　Book the Second: The Golden Thread
　　"The Golden Thread" redirects here. For the legal judgement, see Golden thread (law).
　　
　　It is now 1780. French emigrant Charles Darnay is being tried at the Old Bailey for treason. Two British spies, John Barsad and Roger Cly, are trying to frame the innocent Darnay for their own gain. They claim that Darnay, a Frenchman, gave information about British troops in North America to the French. Darnay is acquitted when a witness who claims he would be able to recognise Darnay anywhere cannot tell Darnay apart from a barrister present in court (not one of those defending Darnay), Sydney Carton, who just happens to look almost identical to him.
　　
　　In Paris, the Marquis St. Evrémonde (Monseigneur), Darnay's uncle, runs over and kills the son of the peasant Gaspard; he throws a coin to Gaspard to compensate him for his loss. Monsieur Defarge comforts Gaspard. As the Marquis's coach drives off, Defarge throws the coin back into the coach, enraging the Marquis.
　　
　　Arriving at his château, the Marquis meets with his nephew: Charles Darnay. (Darnay's real surname, therefore, is Evrémonde; out of disgust with his family, Darnay has adopted a version of his mother's maiden name, D'Aulnais.) They argue: Darnay has sympathy for the peasantry, while the Marquis is cruel and heartless:
　　
　　 "Repression is the only lasting philosophy. The dark deference of fear and slavery, my friend," observed the Marquis, "will keep the dogs obedient to the whip, as long as this roof," looking up to it, "shuts out the sky."
　　
　　That night, Gaspard (who has followed the Marquis to his château, hanging under his coach) murders the Marquis in his sleep. He leaves a note saying, "Drive him fast to his tomb. This, from JACQUES."
　　
　　In London, Darnay gets Dr. Manette's permission to wed Lucie. But Carton confesses his love to Lucie as well. Knowing she will not love him in return, Carton promises to "embrace any sacrifice for you and for those dear to you".
　　
　　On the morning of the marriage, Darnay, at Dr. Manette's request, reveals who his family is, a detail which Dr. Manette had asked him to withhold until then. This unhinges Dr. Manette, who reverts to his obsessive shoemaking. His sanity is restored before Lucie returns from her honeymoon; to prevent a further relapse, Lorry destroys the shoemaking bench, which Dr. Manette had brought with him from Paris.
　　
　　It is 14 July 1789. The Defarges help to lead the storming of the Bastille. Defarge enters Dr. Manette's former cell, "One Hundred and Five, North Tower". The reader does not know what Monsieur Defarge is searching for until Book 3, Chapter 9. (It is a statement in which Dr. Manette explains why he was imprisoned.)
　　
　　In the summer of 1792, a letter reaches Tellson's bank. Mr. Lorry, who is planning to go to Paris to save the French branch of Tellson's, announces that the letter is addressed to Evrémonde. Nobody knows who Evrémonde is, because Darnay has kept his real name name a secret in England. Darnay acquires the letter by pretending Evrémonde is an acquaintance of his. The letter turns out to be from Gabelle, a servant of the former Marquis. Gabelle has been imprisoned, and begs the new Marquis to come to his aid. Darnay, who feels guilty, leaves for Paris to help Gabelle.
　　Book the Third: The Track of a Storm
　　"The Sea Rises", an illustration for Book 2, Chapter 21 by "Phiz"
　　
　　In France, Darnay is denounced for emigrating from France, and imprisoned in La Force Prison in Paris. Dr. Manette and Lucie—along with Miss Pross, Jerry Cruncher, and "Little Lucie", the daughter of Charles and Lucie Darnay—come to Paris and meet Mr. Lorry to try to free Darnay. A year and three months pass, and Darnay is finally tried.
　　
　　Dr. Manette, who is seen as a hero for his imprisonment in the hated Bastille, is able to get him released. But that same evening Darnay is again arrested, and is put on trial again the next day, under new charges brought by the Defarges and one "unnamed other". We soon discover that this other is Dr. Manette, through the testimony of his statement (his own account of his imprisonment, written in the Bastille in the "last month of the tenth year of [his] captivity"); Manette does not know that his statement has been found, and is horrified when his words are used to condemn Darnay.
　　
　　On an errand, Miss Pross is amazed to see her long-lost brother, Solomon Pross, but Pross does not want to be recognised. Sydney Carton suddenly appears (stepping forward from the shadows much as he had done after Darnay's first trial in London) and identifies Solomon Pross as John Barsad, one of the men who tried to frame Darnay for treason at his first trial in London. Carton threatens to reveal Solomon's identity as a Briton and an opportunist who spies for the French or the British as it suits him. If this were revealed, Solomon would surely be executed, so Carton's hand is strong.
　　
　　Darnay is confronted at the tribunal by Monsieur Defarge, who identifies Darnay as the Marquis St. Evrémonde and reads the letter Dr. Manette had hidden in his cell in the Bastille. Defarge can identify Darnay as Evrémonde because Barsad told him Darnay's identity when Barsad was fishing for information at the Defarges' wine shop in Book 2, Chapter 16. The letter describes how Dr. Manette was locked away in the Bastille by the deceased Marquis Evrémonde (Darnay's father) and his twin brother (who held the title of Marquis when we met him earlier in the book, and is the Marquis who was killed by Gaspard; Darnay's uncle) for trying to report their crimes against a peasant family. The younger brother had become infatuated with a girl. He had kidnapped and raped her and killed her husband, the knowledge of which killed her father, and her brother died in the act of fighting to protect her honor. Prior to his death, the brother of the raped peasant had hidden the last member of the family, his younger sister, "somewhere safe". The paper concludes by condemning the Evrémondes, "them and their descendants, to the last of their race". Dr. Manette is horrified, but his protests are ignored—he is not allowed to take back his condemnation. Darnay is sent to the Conciergerie and sentenced to be guillotined the next day.
　　
　　Carton wanders into the Defarges' wine shop, where he overhears Madame Defarge talking about her plans to have the rest of Darnay's family (Lucie and "Little Lucie") condemned. Carton discovers that Madame Defarge was the surviving sister of the peasant family savaged by the Evrémondes. The only plot detail that might give one any sympathy for Madame Defarge is the loss of her family and that she has no (family) name. "Defarge" is her married name, and Dr. Manette cannot learn her family name, though he asks her dying sister for it. The next morning, when Dr. Manette returns shattered after having spent the previous night in many failed attempts to save Charles' life, he reverts to his obsessive shoemaking. Carton urges Lorry to flee Paris with Lucie, her father and "Little Lucie".
　　
　　That same morning Carton visits Darnay in prison. Carton drugs Darnay, and Barsad (whom Carton is blackmailing) has Darnay carried out of the prison. Carton—who looks so similar to Darnay that a witness at Darnay's trial in England could not tell them apart—has decided to pretend to be Darnay, and to be executed in his place. He does this out of love for Lucie, recalling his earlier promise to her. Following Carton's earlier instructions, Darnay's family and Lorry flee Paris and France with an unconscious man in their coach who carries Carton's identification papers, but is actually Darnay.
　　
　　Meanwhile Madame Defarge, armed with a pistol, goes to the residence of Lucie's family, hoping to catch them mourning for Darnay (since it was illegal to sympathise with or mourn for an enemy of the Republic); however, Lucie, her child, Dr. Manette and Mr. Lorry are already gone. To give them time to escape, Miss Pross confronts Madame Defarge and they struggle. Pross speaks only English and Defarge speaks only French, so neither can understand each other verbally. In the fight, Madame Defarge's pistol goes off, killing her; the noise of the shot and the shock of Madame Defarge's death cause Miss Pross to go permanently deaf.
　　
　　The novel concludes with the guillotining of Sydney Carton. Carton's unspoken last thoughts are prophetic: Carton foresees that many of the revolutionaries, including Defarge, Barsad and The Vengeance (a lieutenant of Madame Defarge) will be sent to the guillotine themselves, and that Darnay and Lucie will have a son whom they will name after Carton: a son who will fulfill all the promise that Carton wasted. Lucie and Darnay have a first son earlier in the book who is born and dies within a single paragraph. It seems likely that this first son appears in the novel so that their later son, named after Carton, can represent another way in which Carton restores Lucie and Darnay through his sacrifice.
　　“ It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to, than I have ever known. ”
　　
　　—Final sentence of A Tale of Two Cities
　　Analysis
　　
　　A Tale of Two Cities is one of only two works of historical fiction by Charles Dickens (Barnaby Rudge is the other one). It has fewer characters and sub-plots than a typical Charles Dickens novel. The author's primary historical source was The French Revolution: A History by Thomas Carlyle: Charles Dickens wrote in his Preface to Tale that "no one can hope to add anything to the philosophy of Mr. Carlyle's wonderful book" Carlyle's view that history cycles through destruction and resurrection was an important influence on the novel, illustrated especially well by the life and death of Sydney Carton.
　　Language
　　
　　Dickens uses literal translations of French idioms for characters who can't speak English, such as "What the devil do you do in that galley there?!!" and "Where is my husband? ---Here you see me." The Penguin Classics edition of the novel notes that "Not all readers have regarded the experiment as a success."
　　Humor
　　
　　Dickens is renowned for his humor, but A Tale of Two Cities is one of his least comical books. Nonetheless, Jerry Cruncher, Miss Pross, and Mr. Stryver provide much comedy. Dickens also uses sarcasm as humour in the book to show different points of view. The book is full of tragic situations, therefore, leaving little room for intended humor provided by Dickens.
　　Foreshadowing
　　
　　A Tale of Two Cities contains much foreshadowing:
　　
　　 * Carton's promise to Lucie, the "echoing footsteps" heard by the Manettes in their quiet home, and the wine spilling from the wine cask are only a few of dozens of instances.
　　 * Carton promises Lucie he would die for her because he loves her so much.
　　 * Echoing footsteps can either be the people coming into their lives or the revolutionaries.
　　 * The wine spilling in the streets can be blood running through the streets of France.
　　 * The wine cask breaking is a corrupted government, freedom, or blood from guillotine.
　　 * The negro cupids show danger, and death from the guillotine.
　　
　　Themes
　　"Recalled to Life"
　　
　　In Dickens' England, resurrection always sat firmly in a Christian context. Most broadly, Sydney Carton is resurrected in spirit at the novel's close (even as he, paradoxically, gives up his physical life to save Darnay's—just as, in Christian belief, Christ died for the sins of all people.) More concretely, "Book the First" deals with the rebirth of Dr. Manette from the living death of his incarceration.
　　
　　Resurrection appears for the first time when Mr. Lorry replies to the message carried by Jerry Cruncher with the words "Recalled to Life". Resurrection also appears during Mr. Lorry's coach ride to Dover, as he constantly ponders a hypothetical conversation with Dr. Manette: ("Buried how long?" "Almost eighteen years." ... "You know that you are recalled to life?" "They tell me so.") He believes he is helping with Dr. Manette's revival, and imagines himself "digging" Dr. Manette up from his grave.
　　
　　Resurrection is the main theme in the novel. In Jarvis Lorry's thoughts of Dr. Manette, resurrection is first spotted as a theme. It is also the last theme: Carton's sacrifice. Dickens originally wanted to call the entire novel Recalled to Life. (This instead became the title of the first of the novel's three "books".)
　　
　　Jerry is also part of the recurring theme: he himself is involved in death and resurrection in way that the reader does not yet know. The first piece of foreshadowing comes in his remark to himself: "You'd be in a blazing bad way, if recalling to life was to come into fashion, Jerry!" The black humour of this statement becomes obvious only much later on. Five years later, one cloudy and very dark night (in June 1780), Mr. Lorry reawakens the reader's interest in the mystery by telling Jerry it is "Almost a night ... to bring the dead out of their graves". Jerry responds firmly that he has never seen the night do that.
　　
　　It turns out that Jerry Cruncher's involvement with the theme of resurrection is that he is what the Victorians called a "Resurrection Man", one who (illegally) digs up dead bodies to sell to medical men (there was no legal way to procure cadavers for study at that time).
　　
　　The opposite of resurrection is of course death. Death and resurrection appear often in the novel. Dickens is angered that in France and England, courts hand out death sentences for insignificant crimes. In France, peasants are even put to death without any trial, at the whim of a noble. The Marquis tells Darnay with pleasure that "[I]n the next room (my bedroom), one fellow ... was poniarded on the spot for professing some insolent delicacy respecting his daughter—his daughter!"
　　
　　Interestingly, the demolition of Dr. Manette's shoe-making workbench by Miss Pross and Mr. Lorry is described as "the burning of the body". It seems clear that this is a rare case where death or destruction (the opposite of resurrection) has a positive connotation, since the "burning" helps liberate the doctor from the memory of his long imprisonment. But Dickens' description of this kind and healing act is strikingly odd:
　　"The Accomplices", an illustration for Book 2, Chapter 19 by "Phiz"
　　
　　 So wicked do destruction and secrecy appear to honest minds, that Mr. Lorry and Miss Pross, while engaged in the commission of their deed and in the removal of its traces, almost felt, and almost looked, like accomplices in a horrible crime.
　　
　　Sydney Carton's martyrdom atones for all his past wrongdoings. He even finds God during the last few days of his life, repeating Christ's soothing words, "I am the resurrection and the life". Resurrection is the dominant theme of the last part of the novel. Darnay is rescued at the last moment and recalled to life; Carton chooses death and resurrection to a life better than that which he has ever known: "it was the peacefullest man's face ever beheld there ... he looked sublime and prophetic".
　　
　　In the broadest sense, at the end of the novel Dickens foresees a resurrected social order in France, rising from the ashes of the old one.
　　Water
　　
　　Many in the Jungian archetypal tradition might agree with Hans Biedermann, who writes that water "is the fundamental symbol of all the energy of the unconscious—an energy that can be dangerous when it overflows its proper limits (a frequent dream sequence)." This symbolism suits Dickens' novel; in A Tale of Two Cities, the frequent images of water stand for the building anger of the peasant mob, an anger that Dickens sympathises with to a point, but ultimately finds irrational and even animalistic.
　　
　　Early in the book, Dickens suggests this when he writes, “[T]he sea did what it liked, and what it liked was destruction.” The sea here represents the coming mob of revolutionaries. After Gaspard murders the Marquis, he is “hanged there forty feet high—and is left hanging, poisoning the water.” The poisoning of the well represents the bitter impact of Gaspard's execution on the collective feeling of the peasants.
　　
　　After Gaspard’s death, the storming of the Bastille is led (from the St. Antoine neighbourhood, at least) by the Defarges; “As a whirlpool of boiling waters has a centre point, so, all this raging circled around Defarge’s wine shop, and every human drop in the cauldron had a tendency to be sucked towards the vortex...” The crowd is envisioned as a sea. “With a roar that sounded as if all the breath in France had been shaped into a detested word [the word Bastille], the living sea rose, wave upon wave, depth upon depth, and overflowed the city...”
　　
　　Darnay’s jailer is described as “unwholesomely bloated in both face and person, as to look like a man who had been drowned and filled with water.” Later, during the Reign of Terror, the revolution had grown “so much more wicked and distracted ... that the rivers of the South were encumbered with bodies of the violently drowned by night...” Later a crowd is “swelling and overflowing out into the adjacent streets ... the Carmagnole absorbed them every one and whirled them away.”
　　
　　During the fight with Miss Pross, Madame Defarge clings to her with “more than the hold of a drowning woman”. Commentators on the novel have noted the irony that Madame Defarge is killed by her own gun, and perhaps Dickens means by the above quote to suggest that such vicious vengefulness as Madame Defarge's will eventually destroy even its perpetrators.
　　
　　So many read the novel in a Freudian light, as exalting the (British) superego over the (French) id. Yet in Carton's last walk, he watches an eddy that "turned and turned purposeless, until the stream absorbed it, and carried it onto the sea"—his fulfilment, while masochistic and superego-driven, is nonetheless an ecstatic union with the subconscious.
　　Darkness and light
　　
　　As is common in English literature, good and evil are symbolised with light and darkness. Lucie Manette is often associated with light and Madame Defarge with darkness.
　　
　　Lucie meets her father for the first time in a room kept by the Defarges:." Lucie's hair symbolises joy as she winds "the golden thread that bound them all together". She is adorned with "diamonds, very bright and sparkling", and symbolic of the happiness of the day of her marriage.
　　
　　Darkness represents uncertainty, fear and peril. It is dark when Mr. Lorry rides to Dover; it is dark in the prisons; dark shadows follow Madame Defarge; dark, gloomy doldrums disturb Dr. Manette; his capture and captivity are shrouded in darkness; the Marquis’s estate is burned in the dark of night; Jerry Cruncher raids graves in the darkness; Charles's second arrest also occurs at night. Both Lucie and Mr. Lorry feel the dark threat that is Madame Defarge. "That dreadful woman seems to throw a shadow on me," remarks Lucie. Although Mr. Lorry tries to comfort her, "the shadow of the manner of these Defarges was dark upon himself". Madame Defarge is "like a shadow over the white road", the snow symbolising purity and Madame Defarge's darkness corruption. Dickens also compares the dark colour of blood to the pure white snow: the blood takes on the shade of the crimes of its shedders.
　　Social injustice
　　
　　Charles Dickens was a champion of the maltreated poor because of his terrible experience when he was forced to work in a factory as a child. His sympathies, however, lie only up to a point with the revolutionaries; he condemns the mob madness which soon sets in. When madmen and -women massacre eleven hundred detainees in one night and hustle back to sharpen their weapons on the grindstone, they display "eyes which any unbrutalised beholder would have given twenty years of life, to petrify with a well-directed gun".
　　
　　The reader is shown the poor are brutalised in France and England alike. As crime proliferates, the executioner in England is "stringing up long rows of miscellaneous criminals; now hanging housebreaker ... now burning people in the hand" or hanging a broke man for stealing sixpence. In France, a boy is sentenced to have his hands removed and be burned alive, only because he did not kneel down in the rain before a parade of monks passing some fifty yards away. At the lavish residence of Monseigneur, we find "brazen ecclesiastics of the worst world worldly, with sensual eyes, loose tongues, and looser lives ... Military officers destitute of military knowledge ... [and] Doctors who made great fortunes ... for imaginary disorders".
　　
　　The Marquis recalls with pleasure the days when his family had the right of life and death over their slaves, "when many such dogs were taken out to be hanged". He won't even allow a widow to put up a board bearing her dead husband’s name, to discern his resting place from all the others. He orders Madame Defarge's sick brother-in-law to heave a cart all day and allay frogs at night to exacerbate the young man's illness and hasten his death.
　　
　　In England, even banks endorse unbalanced sentences: a man may be condemned to death for nicking a horse or opening a letter. Conditions in the prisons are dreadful. "Most kinds of debauchery and villainy were practised, and ... dire diseases were bred", sometimes killing the judge before the accused.
　　
　　So riled is Dickens at the brutality of English law that he depicts some of its punishments with sarcasm: "the whipping-post, another dear old institution, very humanising and softening to behold in action". He faults the law for not seeking reform: "Whatever is right" is the dictum of the Old Bailey. The gruesome portrayal of quartering highlights its atrocity.
　　
　　Without entirely forgiving him, Dickens understands that Jerry Cruncher robs graves only to feed his son, and reminds the reader that Mr. Lorry is more likely to rebuke Jerry for his humble social status than anything else. Jerry reminds Mr. Lorry that doctors, men of the cloth, undertakers and watchmen are also conspirators in the selling of bodies.
　　
　　Dickens wants his readers to be careful that the same revolution that so damaged France will not happen in Britain, which (at least at the beginning of the book) is shown to be nearly as unjust as France. But his warning is addressed not to the British lower classes, but to the aristocracy. He repeatedly uses the metaphor of sowing and reaping; if the aristocracy continues to plant the seeds of a revolution through behaving unjustly, they can be certain of harvesting that revolution in time. The lower classes do not have any agency in this metaphor: they simply react to the behaviour of the aristocracy. In this sense it can be said that while Dickens sympathises with the poor, he identifies with the rich: they are the book's audience, its "us" and not its "them". "Crush humanity out of shape once more, under similar hammers, and it will twist itself into the same tortured forms. Sow the same seed of rapacious licence and oppression over again, and it will surely yield the same fruit according to its kind".
　　Relation to Dickens' personal life
　　
　　Some have argued that in A Tale of Two Cities Dickens reflects on his recently begun affair with eighteen-year-old actress Ellen Ternan, which was possibly asexual but certainly romantic. Lucie Manette resembles Ternan physically, and some have seen "a sort of implied emotional incest" in the relationship between Dr. Manette and his daughter.
　　
　　After starring in a play by Wilkie Collins entitled The Frozen Deep, Dickens was first inspired to write Tale. In the play, Dickens played the part of a man who sacrifices his own life so that his rival may have the woman they both love; the love triangle in the play became the basis for the relationships between Charles Darnay, Lucie Manette, and Sydney Carton in Tale.
　　
　　Sydney Carton and Charles Darnay may also bear importantly on Dickens' personal life. The plot hinges on the near-perfect resemblance between Sydney Carton and Charles Darnay; the two look so alike that Carton twice saves Darnay through the inability of others to tell them apart. It is implied that Carton and Darnay not only look alike, but they have the same "genetic" endowments (to use a term that Dickens would not have known): Carton is Darnay made bad. Carton suggests as much:
　　
　　 'Do you particularly like the man [Darnay]?' he muttered, at his own image [which he is regarding in a mirror]; 'why should you particularly like a man who resembles you? There is nothing in you to like; you know that. Ah, confound you! What a change you have made in yourself! A good reason for talking to a man, that he shows you what you have fallen away from and what you might have been! Change places with him, and would you have been looked at by those blue eyes [belonging to Lucie Manette] as he was, and commiserated by that agitated face as he was? Come on, and have it out in plain words! You hate the fellow.'
　　
　　Many have felt that Carton and Darnay are doppelgängers, which Eric Rabkin defines as a pair "of characters that together, represent one psychological persona in the narrative". If so, they would prefigure such works as Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde. Darnay is worthy and respectable but dull (at least to most modern readers), Carton disreputable but magnetic.
　　
　　One can only suspect whose psychological persona it is that Carton and Darnay together embody (if they do), but it is often thought to be the psyche of Dickens himself. Dickens was quite aware that between them, Carton and Darnay shared his own initials.
　　Characters
　　
　　Many of Dickens' characters are "flat", not "round", in the novelist E. M. Forster's famous terms, meaning roughly that they have only one mood. In Tale, for example, the Marquis is unremittingly wicked and relishes being so; Lucie is perfectly loving and supportive. (As a corollary, Dickens often gives these characters verbal tics or visual quirks that he mentions over and over, such as the dints in the nose of the Marquis.) Forster believed that Dickens never truly created rounded characters, but a character such as Carton surely at least comes closer to roundness.
　　
　　 * Sydney Carton – A quick-minded but depressed English barrister alcoholic, and cynic; his Christ-like self-sacrifice redeems his own life and that of Charles Darnay.
　　
　　 * Lucie Manette – An ideal Victorian lady, perfect in every way. She was loved by both Carton and Charles Darnay (whom she marries), and is the daughter of Dr. Manette. She is the "golden thread" after whom Book Two is named, so called because she holds her father's and her family's lives together (and because of her blond hair like her mother's). She also ties nearly every character in the book together.
　　
　　 * Charles Darnay – A young French noble of the Evrémonde family. In disgust at the cruelty of his family to the French peasantry, he has taken on the name "Darnay" (after his mother's maiden name, D'Aulnais) and left France for England.
　　
　　 * Dr. Alexandre Manette – Lucie's father, kept a prisoner in the Bastille for eighteen years.
　　
　　 * Monsieur Ernest Defarge – The owner of a French wine shop and leader of the Jacquerie; husband of Madame Defarge; servant to Dr. Manette as a youth. One of the key revolutionary leaders, he leads the revolution with a noble cause, unlike many of other revolutionaries.
　　
　　 * Madame Therese Defarge – A vengeful female revolutionary, arguably the novel's antagonist
　　
　　 * The Vengeance – A companion of Madame Defarge referred to as her "shadow" and lieutenant, a member of the sisterhood of women revolutionaries in Saint Antoine, and revolutionary zealot. (Many Frenchmen and women did change their names to show their enthusiasm for the Revolution)
　　
　　 * Jarvis Lorry – An elderly manager at Tellson's Bank and a dear friend of Dr. Manette.
　　
　　 * Miss Pross – Lucie Manette's governess since Lucie was ten years old. Fiercely loyal to Lucie and to England.
　　
　　 * The Marquis St. Evrémonde – The cruel uncle of Charles Darnay.
　　
　　 * John Barsad (real name Solomon Pross) – A spy for Britain who later becomes a spy for France (at which point he must hide that he is British). He is the long-lost brother of Miss Pross.
　　
　　 * Roger Cly – Another spy, Barsad's collaborator.
　　
　　 * Jerry Cruncher – Porter and messenger for Tellson's Bank and secret "Resurrection Man" (body-snatcher). His first name is short for Jeremiah.
　　
　　 * Young Jerry Cruncher - Son of Jerry and Mrs. Cruncher. Young Jerry often follows his father around to his father's odd jobs, and at one point in the story, follows his father at night and discovers that his father is a resurrection man. Young Jerry looks up to his father as a role model, and aspires to become a resurrection man himself when he grows up.
　　
　　 * Mrs. Cruncher - Wife of Jerry Cruncher. She is a very religious woman, but her husband, being a bit paranoid, claims she is praying against him, and that is why he doesn't succeed at work often. She is often abused verbally, and almost as often, abused physically, by Jerry, but at the end of the story, he appears to feel a bit guilty about this.
　　
　　 * Mr. Stryver – An arrogant and ambitious barrister, senior to Sydney Carton. There is a frequent mis-perception that Stryver's full name is "C. J. Stryver", but this is very unlikely. The mistake comes from a line in Book 2, Chapter 12: "After trying it, Stryver, C. J., was satisfied that no plainer case could be." The initials C. J. almost certainly refer to a legal title (probably "chief justice"); Stryver is imagining that he is playing every role in a trial in which he browbeats Lucie Manette into marrying him.
　　
　　 * The Seamstress – A young woman caught up in The Terror. She precedes Sydney Carton, who comforts her, to the guillotine.
　　
　　 * Gabelle – Gabelle is "the Postmaster, and some other taxing functionary, united" for the tenants of the Marquis St. Evrémonde. Gabelle is imprisoned by the revolutionaries, and his beseeching letter brings Darnay to France. Gabelle is "named after the hated salt tax".
　　
　　 * Gaspard – Gaspard is the man whose son is run over by the Marquis. He then kills the Marquis and goes into hiding for a year. He eventually is found, arrested, and executed.
　　
　　Adaptations
　　Films
　　
　　There have been at least five feature films based on the book:
　　
　　 * A Tale of Two Cities, a 1911 silent film.
　　 * A Tale of Two Cities, a 1917 silent film.
　　 * A Tale of Two Cities, a 1922 silent film.
　　 * A Tale of Two Cities, a 1935 black-and-white MGM film starring Ronald Colman, Elizabeth Allan, Reginald Owen, Basil Rathbone and Edna Mae Oliver. It was nominated for the Academy Award for Best Picture.
　　 * A Tale of Two Cities, a 1958 version, starring Dirk Bogarde, Dorothy Tutin, Christopher Lee, Leo McKern and Donald Pleasance.
　　
　　In the 1981 film History of the World, Part I, the French Revolution segment appears to be a pastiche of A Tale of Two Cities.
　　
　　In the film A Simple Wish, the protagonist's father Oliver (possibly a reference to another of Dickens' famous novels, Oliver Twist) is vying for a spot in his theatre company's production of a musical of A Tale of Two Cities, of which we see the beginning and end, using the two famous quotes, including "It is a far, far better thing that I do", as part of a few solos.
　　
　　Terry Gilliam also developed a film version in the mid-1990s with Mel Gibson and Liam Neeson. The project was eventually abandoned.
　　Radio
　　
　　In 1938, The Mercury Theatre on the Air (aka The Campbell Playhouse) produced a radio adapted version starring Orson Welles.
　　
　　In 1945, a portion of the novel was adapted to the syndicated program The Weird Circle as "Dr. Manette's Manuscript."
　　
　　In 1950, a radio adaptation written by Terence Rattigan and John Gielgud was broadcast by the BBC. They had written it in 1935, as a stage play, but it was not produced.
　　
　　In June 1989, BBC Radio 4 produced a 7-hour drama adapted for radio by Nick McCarty and directed by Ian Cotterell. This adaptation is occasionally repeated by BBC Radio 7. The cast included:
　　
　　 * Charles Dance as Sydney Carton
　　 * Maurice Denham as Dr. Alexandre Manette
　　 * Charlotte Attenborough as Lucie Manette
　　 * Richard Pasco as Jarvis Lorry
　　 * John Duttine as Charles Darnay
　　 * Barbara Leigh-Hunt as Miss Pross
　　 * Margaret Robertson as Madame Defarge
　　 * John Hollis as Jerry Cruncher
　　 * John Bull as Ernest Defarge
　　 * Aubrey Woods as Mr. Stryver
　　 * Eva Stuart as Mrs. Cruncher
　　 * John Moffat as Marquis St. Evremonde
　　 * Geoffrey Whitehead as John Barsad and Jacques #2
　　 * Nicholas Courtney as Jacques #3 and The Woodcutter
　　
　　Television programs
　　
　　An 8-part mini-series was produced by the BBC in 1957 starring Peter Wyngarde as "Sydney Carton", Edward de Souza as "Charles Darnay" and Wendy Hutchinson as "Lucie Manette".
　　
　　Another mini-series, this one in 10 parts, was produced by the BBC in 1965.
　　
　　A third BBC mini-series (in 8 parts) was produced in 1980 starring Paul Shelley as "Carton/Darnay", Sally Osborne as "Lucie Manette" and Nigel Stock as "Jarvis Lorry".
　　
　　The novel was adapted into a 1980 television movie starring Chris Sarandon as "Sydney Carton/Charles Darnay". Peter Cushing as "Dr. Alexandre Manette", Alice Krige as "Lucie Manette", Flora Robson as "Miss Pross", Barry Morse as "The Marquis St. Evremonde" and Billie Whitelaw as "Madame Defarge".
　　
　　In 1989 Granada Television made a mini-series starring James Wilby as "Sydney Carton", Serena Gordon as "Lucie Manette", Xavier Deluc as "Charles Darnay", Anna Massey as "Miss Pross" and John Mills as "Jarvis Lorry", which was shown on American television as part of the PBS television series Masterpiece Theatre.
　　
　　In the 1970 Monty Python's Flying Circus episode "The Attila the Hun Show", the sketch "The News for Parrots" included a scene of A Tale of Two Cities (As told for parrots).
　　
　　The children's television series Wishbone adapted the novel for the episode "A Tale of Two Sitters".
　　
　　This novel was also mentioned in the Nickelodeon show Hey Arnold, where Oscar was learning how to read.
　　Books
　　
　　In Nicholas Meyer's novel The Canary Trainer, descended from Charles and Lucie, once more titled the Marquis de St. Evremonde, attends the Paris Opera during the events of The Phantom of the Opera.
　　
　　American author Susanne Alleyn's novel A Far Better Rest, a reimagining of A Tale of Two Cities from the point of view of Sydney Carton, was published in the USA in 2000.
　　
　　Diane Mayer self-published her novel Evremonde through iUniverse in 2005; it tells the story of Charles and Lucie Darnay and their children after the French Revolution.
　　
　　Simplified versions of A Tale of Two Cities for English language learners have been published by Penguin Readers, in several levels of difficulty.
　　Stage musicals
　　
　　There have been four musicals based on the novel:
　　
　　A 1968 stage version, Two Cities, the Spectacular New Musical, with music by Jeff Wayne, lyrics by Jerry Wayne and starring Edward Woodward.
　　
　　A Tale of Two Cities, Jill Santoriello's musical adaptation of A Tale of Two Cities, was performed at the Asolo Repertory Theatre in Sarasota, Florida, in October and November 2007. James Stacy Barbour ("Sydney Carton") and Jessica Rush ("Lucie Manette") were among the cast. A production of the musical began previews on Broadway on 19 August 2008, opening on 18 September at the Al Hirschfeld Theatre. Warren Carlyle is the director/choreographer; the cast includes James Stacy Barbour as "Sydney Carton", Brandi Burkhardt as "Lucie Manette", Aaron Lazar as "Charles Darnay", Gregg Edelman as "Dr. Manette", Katherine McGrath as "Miss Pross", Michael Hayward-Jones as "Jarvis Lorry" and Natalie Toro as "Madame Defarge".
　　
　　In 2006, Howard Goodall collaborated with Joanna Read in writing a separate musical adaptation of the novel called Two Cities. The central plot and characters were maintained, though Goodall set the action during the Russian Revolution.
　　
　　The novel has also been adapted as a musical by Takarazuka Revue, the all-female opera company in Japan. The first production was in 1984, starring Mao Daichi at the Grand Theater, and the second was in 2003, starring Jun Sena at the Bow Hall.
　　Opera
　　
　　Arthur Benjamin's operatic version of the novel, subtitled Romantic Melodrama in six scenes, was premiered by the BBC on 17 April 1953, conducted by the composer; it received its stage premiere at Sadler's Wells on 22 July 1957, under the baton of Leon Lovett.

shèng dàn sòng gē

　　gù shì gǎi biān zì dí gèng sī de zuò pǐn《 shèng dàn sòng gē》， zhù yào jiǎng shù liǎo xìng qíng kè bó、 lěng kù de shǒu cái nú 'ài bǎi nà zé · sī kè lǔ qí， miàn duì wēn nuǎn de shèng dàn jié， què tǎo yàn zhōu zāo de yī qiē qìng zhù huó dòng。 yú shì shàng tiān pài lái 3 gè jīng líng ràng tā kàn kàn zì jǐ guò qù de suǒ zuò suǒ wéi， yǐ jí qīn yǒu sī xià duì tā de tài dù。 zhè yī qiē jiàn jiàn huàn xǐng tā rén xìng de lìng yī miàn héng héng tóng qíng、 rén cí、 ài xīn jí xǐ yuè， shùn jiān， tā nà gù yòu de zì sī jí lěng kù xùn sù bēng tā， xiāo shī dài jìn， cóng cǐ biàn chéng liǎo yī gè lè shàn hǎo shī de rén。

　　A Christmas Carol is a novella by English author Charles Dickens first published by Chapman and Hall and first released on 19 December 1843. The story tells of sour and stingy Ebenezer Scrooge's ideological, ethical, and emotional transformation after the supernatural visitations of Jacob Marley and the Ghosts of Christmases Past, Present, and Yet to Come. The novella met with instant success and critical acclaim.
　　
　　The book was written and published at a time when Britain was experiencing a nostalgic interest in its forgotten Christmas traditions, and at the time when new customs such as the Christmas tree and greeting cards were being introduced. Dickens's sources for the tale appear to be many and varied but are principally the humiliating experiences of his childhood, his sympathy for the poor, and the Christmas stories of Washington Irving.
　　
　　The tale was pirated immediately, was adapted several times to the stage, and has been credited with restoring the holiday to one of merriment and festivity in Britain and America after a period of sobriety and sombreness. A Christmas Carol remains popular, has never been out of print, and has been adapted to film, opera, and other media.

dà wèi · kē bō fěi 'ěr

　　《 dà wèi · kē bō fěi 'ěr》 shì yīng guó xiǎo shuō jiā chá 'ěr sī · dí gèng sī de dì bā bù cháng piān xiǎo shuō， bèi chēng wéi tā“ xīn zhōng zuì chǒng 'ài de hái zǐ”， yú yī bā sì jiǔ zhì yī bā wǔ O nián jiān， fēn 'èr shí gè bù fēn zhú yuè fā biǎo quán shū cǎi yòng dì yī rén chēng xù shì yǔ qì， qí zhōng róng jìn liǎo zuò zhě běn rén de xǔ duō shēng huó jīng lì。 dí gèng sī chū shēn shè huì dǐ céng， zǔ fù、 zǔ mǔ dū cháng qī zài kè lǔ xūn jué fǔ dāng yōng rén。 fù qīn yuē hàn shì hǎi jūn jūn xū chù zhí yuán， zài dí gèng sī shí 'èr suì nà nián， yīn fù zhài wú lì cháng hái， dài lěi qī zǐ 'ér nǚ hé tā yī qǐ zhù jìn liǎo mǎ xià 'ěr xī zhài wù rén jiān yù。 dāng shí dí gèng sī zài tài wù shì hé pàn de huá lún hēi xié yóu zuōfáng dāng tóng gōng， bǐ tā dà liǎng suì de jiě jiě fàn nī zài huáng jiā yīnyuè xué yuàn xué xí， quán jiā rén zhōng zhǐ yòu tā liǎ méi yòu zài yù zhōng jū zhù。 fù qīn chū yù hòu， dí gèng sī céng yī dù jìn huì líng dùn xué xiào xué xí， bù jiǔ yòu yīn jiā pín 'ér yǒng jiǔ chuò xué， shí wǔ suì shí jìn lǜ shī shì wù suǒ dāng xué tú。 hòu lái， tā xué huì sù jì， bèi lún dūn mín shì lǜ shī yì huì pìn wéi shěn 'àn jì lù yuán。 yī bā sān yī zhì yī bā sān 'èr nián jiān， dí gèng sī xiān hòu dān rèn《 yì huì jìng bào》 hé《 zhēn yáng bào》 pài zhù yì huì de jì zhě。 zhè xiē jīng lì yòu zhù yú tā rì hòu zǒu shàng xiě zuò de dào lù。 tā yī shēng suǒ shòu xué xiào jiào yù bù zú sì nián， tā de chéng gōng quán kào zì jǐ de tiān cái、 qín fèn yǐ jí jiān kǔ shēng huó de mó liàn。 yī bā sān liù nián， dí gèng sī zhōng yú yǐ cháng piān xiǎo shuō《 pǐ kè wēi kè wàizhuàn》 ér míng mǎn tiān xià， dāng shí tā nián jǐn 'èr shí sì suì。
　　
　　 yī bā sì bā nián， fàn nī yīn huàn fèi jié hé zǎo shì， tā de sǐ shǐ dí gèng sī fēi cháng bēi shāng， yīn wéi zài zhòng duō xiōng dì jiě mèi zhōng， zhǐ yòu tā liǎ zài cái néng、 zhì qù shàng shí fēn jiē jìn。 tā liǎ dōuyòu jié chū de biǎo yǎn cái néng， tóng nián shí céng suí fù qīn dào luó chè sī tè de mǐ tè 'ěr fàn diàn， zhàn zài dà cān zhuō shàng biǎo yǎn gē wǔ， yíng dé zhòng rén de zàn tàn。 fàn nī sǐ hòu， dí gèng sī xiě xià yī piān qī qiān zì de huí yì wén zhāng， jì lù tā liǎ yī qǐ dù guò de chōng mǎn jiān xīn de tóng nián。 dí gèng sī shēn hòu， tā de hǎo yǒu fú sī tè zài《 dí gèng sī chuán》 zhōng shǒu cì xiàng gōng zhòng pī lù liǎo dí gèng sī de zǎo nián， xiǎo shuō， gēn jù de zhèng shì zhè piān huí yì。 dí gèng sī xiě zhè piān huí yì shì wéi chuàng zuò yī bù zìzhuàn tǐ cháng piān xiǎo shuō zuò zhǔn bèi。 tā xiǎo shuō zhù rén gōng qǔ guò xǔ duō míng zì， zuì hòu cái xiǎng dào“ dà wèi · kē bō fěi 'ěr”。 fú sī tè tīng liǎo， lì kè jiào hǎo， yīn wéi zhè gè míng zì de suō xiě D.C. zhèng shì zuò zhě míng zì suō xiě de diān dǎo。 yú shì xiǎo shuō zhù rén gōng de míng zì biàn dìng liǎo xià lái。
　　
　　 dí gèng sī zǎo qī zuò pǐn dà duō shì jié gòu sōng sàn de“ liú làng hàn chuán qí”， zú píng jiè líng gǎn xìn bǐ huī sǎ de jí xīng chuàng zuò， ér běn shū zé shì tā de zhōng qī zuò pǐn， gèng jiā zhù zhòng jié gòu jì qiǎo hé yì shù de fēn cùn gǎn。 dí gèng sī zài běn shū dì shí yī zhāng zhōng， bǎ tā de chuàng zuò fāng fǎ gài kuò wéi“ jīng yàn xiǎng xiàng， róu hé wéi yī”。 tā xiě xiǎo shuō， bìng bù jū ní yú lín mó shí jì fā shēng de shì， ér shì chōng fēn fā huī xiǎng xiàng lì， lì yòng shēng huó sù cái jìn xíng zhǎn xīn de chuàng zào。 jìn guǎn shū zhōng dà wèi yòu nián shí gēn mǔ qīn xué zì mǔ de qíng jǐng shì tā běn rén de qīn shēn jīng lì， dà wèi zài mǔ qīn gǎi jià hòu， zài jí duān gū jì de huán jìng zhōng yuè dú de zhèng shì tā běn rén zài nà gè nián líng suǒ dú de shū， mǔ qīn bèi zhé mó sǐ hòu， dà wèi bèi sòng qù dāng tóng gōng de nián líng yě zhèng shì dí gèng sī dāng tóng gōng shí de nián líng， rán 'ér， xiǎo shuō hé shí shì wán quán bù tóng： dí gèng sī bù shì gū 'ér， ér tā bǐ xià de dà wèi què shì“ yí fù zǐ”。 tóng shí， dí gèng sī yòu bǎ zì jǐ fù mǔ de mǒu xiē xìng gé róu jìn liǎo dà wèi de fáng dōng、 tuī xiāo shāng mǐ kǎo bǎifū fù shēn shàng。
　　
　　 dà wèi zǎo nián shēng huó de piān zhāng yǐ hái zǐ de xīn lǐ shì jiǎo xiàng wǒ men zhǎn shì liǎo yī gè zǎo yǐ bèi chéng nián rén dàn wàng de tóng nián shì jiè， xiěde shí fēn zhēn qiē gǎn rén。 lì rú： dà wèi yǐ 'ér tóng tè shū de mǐn gǎn duì zhuī qiú mǔ qīn de nà gè lěng kù、 cán bào、 tān lán de shāng rén mò dé sī dōng yī kāi shǐ jiù huái yòu dí yì， dāng mò dé sī dōng xū qíng jiǎ yì dì shēn shǒu pāi pāi dà wèi shí， tā fā xiàn nà zhǐ shǒu fàng sì dì pèng dào mǔ qīn de shǒu， biàn shēng qì dì bǎ tā tuī kāi。 dà wèi xiàng mǔ qīn fù shù mò dé sī dōng dài tā chū qù wán shí de qíng jǐng， dāng tā shuō dào mò dé sī dōng de yī gè péng yǒu zài tán huà zhōng lǎo tí qǐ yī wèi“ piào liàng de xiǎo guǎ fù” shí， mǔ qīn yī biān xiào zhe， yī biān yào tā bǎ dāng shí de qíng jǐng jiǎng liǎo yī biàn yòu yī biàn。 xù shì wán quán cóng tiān zhēn wú xié de hái zǐ de shì jiǎo chū fā， yòu 'ér bìng bù zhī dào rén jiā jiǎng de jiù shì zì jǐ de mǔ qīn， ér nián qīng guǎ fù yào qiú zài jiào、 duì xìng fú shēng huó de rè liè chōng jǐng yǐ yuè rán zhǐ shàng。 yòu rú： dà wèi gēn bǎo mǔ pèi gé dì dào tā gē gē jiā qù wán， tā de gē gē bì guǒ tí xiān shēng shì yī wèi yú mín。 dà wèi kàn jiàn tā cóng hǎi shàng zuò yè hòu huí lái xǐ liǎn， jué dé tā yǔ xiā xiè jù yòu mǒu zhǒng xiāng sì zhī chù， yīn wéi nà zhāng hēi liǎn bèi rè shuǐ yī tàng， lì kè jiù fā hóng liǎo。 zhè gè qí tè de lián xiǎng， chōng mǎn tóng qù hé dí gèng sī tè yòu de yōu mò。

　　David Copperfield or The Personal History, Adventures, Experience and Observation of David Copperfield the Younger of Blunderstone Rookery (which he never meant to publish on any account) is a novel by Charles Dickens, first published as a novel in 1850. Like most of his works, it originally appeared in serial form a year earlier. Many elements within the novel follow events in Dickens' own life, and it is probably the most autobiographical of all of his novels. In the preface to the 1867 Charles Dickens edition, he wrote, "… like many fond parents, I have in my heart of hearts a favourite child. And his name is David Copperfield."
　　
　　Plot summary
　　
　　The story deals with the life of David Copperfield from childhood to maturity. David is born in England in about 1820. David's father had died six months before he was born, and seven years later, his mother marries Mr Edward Murdstone. David is given good reason to dislike his stepfather and has similar feelings for Mr Murdstone's sister Jane, who moves into the house soon afterwards. Mr Murdstone thrashes David for falling behind with his studies. Following one of these thrashings, David bites him and is sent away to a boarding school, Salem House, with a ruthless headmaster, Mr. Creakle. Here he befriends James Steerforth and Tommy Traddles, both of whom he meets again later on.
　　
　　David returns home for the holidays to find out that his mother has had a baby boy. Soon after David goes back to Salem House, his mother and her baby die and David has to return home immediately. Mr Murdstone sends him to work in a factory in London, of which Murdstone is a joint owner. The grim reality of hand-to-mouth factory existence echoes Dickens' own travails in a blacking factory. His landlord, Mr Wilkins Micawber, is sent to a debtor's prison (the King's Bench Prison) after going bankrupt, and is there for several months before being released and moving to Plymouth. David now has nobody left to care for him in London, and decides to run away.
　　
　　He walks all the way from London to Dover, to find his only relative, his aunt Miss Betsey. The eccentric Betsey Trotwood agrees to bring him up, despite Mr Murdstone visiting in a bid to regain custody of David. David's aunt renames him 'Trotwood Copperfield', soon shortened to "Trot", and for the rest of the novel he is called by either name, depending on whether he is communicating with someone he has known for a long time, or someone he has only recently met.
　　
　　The story follows David as he grows to adulthood, and is enlivened by the many well-known characters who enter, leave and re-enter his life. These include Peggotty, his faithful former housekeeper for his mother, her family, and their orphaned niece Little Em'ly who lives with them and charms the young David. David's romantic but self-serving schoolfriend, Steerforth, seduces and dishonors Little Em'ly, triggering the novel's greatest tragedy; and his landlord's daughter and ideal "angel in the house," Agnes Wickfield, becomes his confidante. The two most familiar characters are David's sometime mentor, the constantly debt-ridden Mr Wilkins Micawber, and the devious and fraudulent clerk, Uriah Heep, whose misdeeds are eventually discovered with Micawber's assistance. Micawber is painted as a sympathetic character, even as the author deplores his financial ineptitude; and Micawber, like Dickens's own father, is briefly imprisoned for insolvency.
　　
　　In typical Dickens fashion, the major characters get some measure of what they deserve, and few narrative threads are left hanging. Dan Peggotty safely transports Little Em'ly to a new life in Australia; accompanying these two central characters are Mrs. Gummidge and the Micawbers. Everybody involved finally finds security and happiness in their new lives in Australia. David first marries the beautiful but naïve Dora Spenlow, but she dies after failing to recover from a miscarriage early in their marriage. David then does some soul-searching and eventually marries and finds true happiness with the sensible Agnes, who had secretly always loved him. They have several children, including a daughter named in honor of Betsey Trotwood.
　　Analysis
　　
　　The story is told almost entirely from the point of view of the first person narrator, David Copperfield himself, and was the first Dickens novel to be written as such a narration.
　　
　　Critically, it is considered a Bildungsroman, i.e., a novel of self-cultivation, and would be influential in the genre which included Dickens's own Great Expectations (1861), Charlotte Brontë's Jane Eyre, published only two years prior, Thomas Hardy's Jude the Obscure, Samuel Butler's The Way of All Flesh, H. G. Wells's Tono-Bungay, D. H. Lawrence's Sons and Lovers, and James Joyce's A Portrait of the Artist as a Young Man.
　　
　　Tolstoy regarded Dickens as the best of all English novelists, and considered Copperfield to be his finest work, ranking the "Tempest" chapter (chapter 55, LV – the story of Ham and the storm and the shipwreck) the standard by which the world's great fiction should be judged. Henry James remembered hiding under a small table as a boy to hear instalments read by his mother. Dostoyevsky read it enthralled in a Siberian prison camp. Franz Kafka called his first book Amerika a "sheer imitation". James Joyce paid it reverence through parody in Ulysses. Virginia Woolf, who normally had little regard for Dickens, confessed the durability of this one novel, belonging to "the memories and myths of life". It was Freud's favourite novel.
　　Characters in David Copperfield
　　
　　 * David Copperfield – An optimistic, diligent, and persevering character, he is the protagonist. He is later called "Trotwood Copperfield" by some ("David Copperfield" is also the name of the hero's father, who dies before David is born). He has many nicknames: James Steerforth nicknames him "Daisy", Dora calls him "Doady", and his aunt refers to him, as a reference to his would-be sister (if he had been born a girl), in and on "Trot" – as in Betsey Trotwood Copperfield.
　　 * Clara Copperfield – David's kind mother, described as being innocently childish, who dies while David is at Salem House. She dies just after the birth of her second child, who dies along with her.
　　 * Peggotty – The faithful servant of the Copperfield family and a lifelong companion to David (referred to at times as Mrs. Barkis after her marriage to Mr. Barkis). Inherits £3,000—a large sum in the mid-19th century—when Mr. Barkis dies. After his death, she becomes Betsey Trotwood's servant.
　　 * Betsey Trotwood – David's eccentric and temperamental yet kindhearted great-aunt; she becomes his guardian after he runs away from Grinby and Murdstone's warehouse in Blackfriars (London). She is present on the night of David's birth but leaves after hearing that Clara Copperfield's child is a boy instead of a girl.
　　 * Mr. Chillip – A shy doctor who assists at David's birth and faces the wrath of Betsey Trotwood after he informs her that Clara's baby is a boy instead of a girl.
　　 * Mr. Barkis – An aloof carter who declares his intention to marry Peggotty. He says to David: "Tell her, 'Barkis is willin'!' Just so." He is a bit of a miser, and hides his surprisingly vast liquid wealth in a plain box labeled "Old Clothes". He bequeaths to his wife the then astronomical sum of £3,000 when he dies about ten years later.
　　 * Edward Murdstone – Young David's cruel stepfather, who canes him for falling behind in his studies. David reacts by biting Mr Murdstone, who then sends him to Salem House, the private school owned by his friend Mr. Creakle. After David's mother dies, Mr Murdstone sends him to work in a factory, where he has to clean wine bottles. He appears at Betsey Trotwood's house after David runs away. Mr Murdstone appears to show signs of repentance when confronted with Copperfield's aunt, but later in the book we hear he has married another young woman and applied his old principles of "firmness."
　　 * Jane Murdstone – Mr. Murdstone's equally cruel sister, who moves into the Copperfield house after Mr. Murdstone marries Clara Copperfield. She is the "Confidential Friend" of David's first wife, Dora Spenlow, and encourages many of the problems that occur between David Copperfield and Dora's father, Mr. Spenlow. Later, she rejoins her brother and his new wife in a relationship very much like the one they had with David's mother.
　　 * Daniel Peggotty – Peggotty's brother; a humble but generous Yarmouth fisherman who takes his nephew Ham and niece Emily into his custody after each of them has been orphaned. After Emily's departure, he travels around the world in search of her. He eventually finds her in London, and after that they emigrate to Australia.
　　 * Emily (Little Em'ly) – A niece of Mr. Peggotty. She is a childhood friend of David Copperfield, who loves her in his childhood days. She leaves her cousin and fiancé, Ham, for Steerforth, but returns after Steerforth deserts her. She emigrates to Australia with Mr. Peggotty after being rescued from a London brothel.
　　 * Ham Peggotty – A good-natured nephew of Mr. Peggotty and the fiancé of Emily before she leaves him for Steerforth. He later loses his life while attempting to rescue a sailor, who happens to be Steerforth, from a shipwreck. His death is hidden from his family due to the fact that David does not want them to worry on the brink of their journey.
　　 * Mrs. Gummidge – The widow of Daniel Peggotty's partner in a boat. She is a self-described "lone, lorn creetur" who spends much of her time pining for "the old 'un" (her late husband). After Emily runs away from home with Steerforth, she changes her attitude to better comfort everyone around her and tries to be very caring and motherly. She too emigrates to Australia with Dan and the rest of the surviving family.
　　 * Martha Endell – A young woman of a bad reputation who helps Daniel Peggotty find his niece after she returns to London. She has worked as a prostitute, and been victim to the idea of suicide.
　　 * Mr. Creakle – The harsh headmaster of young David's boarding school, who is assisted by Tungay. Mr. Creakle is a friend of Mr. Murdstone. He singles out David for extra torment. Later he becomes a Middlesex magistrate, and is considered enlightened for his day.
　　
　　"I am married". Etching by Phiz.
　　
　　 * James Steerforth – A close friend of David, he is of a romantic and charming disposition and has known David ever since his first days at Salem House. Although well-liked by most, he proves himself to be lacking in character by seducing and later abandoning Little Em'ly. He eventually drowns at Yarmouth with Ham Peggotty, who had been trying to rescue him.
　　 * Tommy Traddles – David's friend from Salem House. They meet again later and become eventual lifelong friends. Traddles works hard but faces great obstacles because of his lack of money and connections. He eventually succeeds in making a name and a career for himself.
　　 * Wilkins Micawber – A gentle man who befriends David as a young boy. He suffers from much financial difficulty and even has to spend time in a debtor's prison. Eventually he emigrates to Australia where he enjoys a successful career as a sheep farmer and becomes a magistrate. He is based on Dickens' father, John Dickens.
　　 * Mr. Dick (Richard Babley) – A slightly deranged, rather childish but amiable man who lives with Betsey Trotwood. His madness is amply described in as much as that he claims to have the "trouble" of King Charles I in his head.
　　 * Dr. Strong – The headmaster of David's Canterbury school, whom he visits on various occasions.
　　 * Anne Strong – The young wife of Dr. Strong. Although she remains loyal to him, she fears that he suspects that she is involved in an affair with Jack Maldon.
　　 * Jack Maldon – A cousin and childhood sweetheart of Anne Strong. He continues to bear affection for her and tries to seduce her into leaving Dr. Strong.
　　 * Mr. Wickfield – The father of Agnes Wickfield and lawyer to Betsey Trotwood. He is prone to alcoholism.
　　 * Agnes Wickfield – Mr. Wickfield's mature and lovely daughter and close friend of David since childhood. She later becomes David's second wife and mother of their children.
　　 * Uriah Heep – A wicked young man who serves as partner to Mr. Wickfield. He is finally discovered to have stolen money and is imprisoned as a punishment. He always talks of being "'umble" (humble) and nurtures a deep hatred of David Copperfield and many others.
　　 * Mrs. Steerforth – The wealthy widowed mother of James Steerforth. She herself is incredibly like her son.
　　 * Miss Dartle – A strange, vitriolic woman who lives with Mrs. Steerforth. She has a secret love for Steerforth and blames others such as Emily and even Steerforth's own mother for corrupting him. She is described as being extremely skinny and displays a visible scar on her lip caused by Steerforth. She is also Steerforth's cousin.
　　 * Mr. Spenlow – An employer of David's during his days as a proctor and the father of Dora Spenlow. He dies suddenly of a heart attack while driving his phaeton home.
　　 * Dora Spenlow – The adorable but foolish daughter of Mr. Spenlow who becomes David's first wife. She is described as being impractical and with many similarities to David's mother. She dies of illness on the same day as her dog, Jip.
　　 * Mr.Sharp – He was the chief teacher of Salem House and had more authority than Mr.Mell.He looked weak,both in health and character;his head seemed to be very heavy for him:he walked on one side.He had a big nose.
　　 * Mr.Mell – A tall, thin young man with hollow cheeks.His hair was dusty and dry too,with rather short sleeves and legs.

jiān nán shí shì

　　jiān nán shí shì（ HardTimes） shì yīng guó zuò jiā dí gèng sī de cháng piān xiǎo shuō zuò pǐn， fā biǎo yú 1854 nián， gù shì miáo xiě mǒu gōng yè shì zhèn de shēng huó。
　　
　　 fǎng zhì chǎng chǎng zhù、 yínháng jiā páng dé bèi（ JosiahBounderby） hé tuì xiū de wǔ jīn pī fā shāng rén、 guó huì yì yuán jiān jiào yù jiā tānɡ mǎ sī · gé lāi 'ēn（ ThomasGradgrind） shì hǎo péng yǒu， tā men yī qǐ kòng zhì zhù shì zhèn de jīng jì tǐ xì yǔ jiào yù jī gòu。 tā men zhù zhòng shí lì 'ér qiě bù jiǎng qíng yì， zì mìng bù fán， yǐ gōng lì zhù yì zuò wéi shēng huó yuán zé。 fù zé shì hòu páng dé bèi de shì guǎ fù shǐ bā sī tè tài tài。
　　
　　 gé lāi 'ēn duì zǐ nǚ de jiào yù zhù zhāng“ shí shì qiú shì， jiǎo tà shí dì”， tā men zài xué huì zǒu lù shí， jiù bèi gǎn jìn jiào shì， zhōng rì hé shù zì dǎ jiāo dào， tā men bù yǔn xǔ yuè dú shī gē hé gù shì。 gé léi gěng bǎ nián qīng de nǚ 'ér lù yì suō（ Louisa） jià gěi liǎo nián líng bǐ tā dà dé duō de páng dé bèi， guǎ fù shǐ bā sī tè tài tài jí dù tā， shǐ tā shòu jìn tòng kǔ， dǎo zhì nǚ 'ér hūn yīn pò liè。 tā zé bèi fù qīn：“ nǐ de zhé xué hé jiào yù dōubù néng jiù wǒ liǎo。” zài gé lāi 'ēn zì jǐ de jiào yù zhù zhāng xià， tā de 'ér zǐ tānɡ mǔ（ Tom） bèi pò xié zhù páng dé bèi gōng zuò， tā shēng huó fàng dàng qiě fù zhài lěi lěi， tōu liǎo páng dé bèi yínháng de qián táo páo， duǒ dào mǎ xì tuán lǐ， bàn yǎn yī míng xiǎo chǒu de juésè。 jīng guò liǎo yī lián chuàn de cǎn tòng jiào xùn， yòu shòu dào mǎ xì tuán de nǚ hái xī sī · zhū pǔ（ Sissy,CeciliaJupe） de gǎn huà， zhú jiàn de gǎi biàn liǎo shēng huó tài dù， bèi fù qīn sòng dào měi zhōu。 dàn bìng sǐ zài xǐngqīn de tú zhōng。 páng dé bèi xǐ huān chuī shī zì jǐ bái shǒu qǐ jiā， wū miè gōng rén yóu yú wàng xiǎng guò shē chǐ shēng huó cái chǎn shēng bù mǎn qíng xù。 wǔ nián hòu páng dé bèi zhòngfēng cù sǐ zài jiāo méi zhèn de jiē shàng， lù yì suō zài jià liǎo rén。

　　Hard Times - For These Times (commonly known as Hard Times) is the tenth novel by Charles Dickens, first published in 1853. The book appraises English society and is aimed at highlighting the social and economic pressures of the times.
　　
　　Background
　　
　　The novel is unusual in that it did not contain illustrations; nor is it set in or around London (both usual in Dickens' novels). Instead the story is set in the fictitious Victorian industrial Coketown, a generic Northern English mill-town partially based upon 19th-century Preston.
　　
　　Dickens' reasons for writing Hard Times were mostly monetary. Sales of his weekly periodical, Household Words, were low, and he hoped the inclusion of this novel in instalments would increase sales. Since publication it has received a mixed response from a diverse range of critics, such as F.R. Leavis, George Bernard Shaw, and Thomas Macaulay, mainly focusing on Dickens' treatment of trade unions and his post-Industrial Revolution pessimism regarding the divide between capitalistic mill owners and undervalued workers during the Victorian era.
　　Prevalence of utilitarianism
　　
　　The Utilitarians were one of the targets of this novel. Utilitarianism was a prevalent school of thought during this period, its most famous proponents being Jeremy Bentham and John Stuart Mill. Theoretical Utilitarian ethics hold that promotion of general social welfare is the ultimate goal for the individual and society in general: "the greatest amount of happiness for the greatest number of people." Dickens believed that in practical terms, the pursuit of a totally rationalized society could lead to great misery.
　　
　　Bentham's former secretary, Edwin Karbunkle, helped design the Poor Law of 1834, which deliberately made workhouse life as uncomfortable as possible. In the novel, this is conveyed in Bitzer's response to Gradgrind's appeal for compassion.
　　
　　Dickens was appalled by what was, in his interpretation, a selfish philosophy, which was combined with materialist laissez-faire capitalism in the education of some children at the time, as well as in industrial practices. In Dickens' interpretation, the prevalence of utilitarian values in educational institutions promoted contempt between mill owners and workers, creating young adults whose imaginations had been neglected, due to an over-emphasis on facts at the expense of more imaginative pursuits.
　　
　　Dickens wished to satirize radical Utilitarians whom he described in a letter to Charles Knight as "see[ing] figures and averages, and nothing else." He also wished to campaign for reform of working conditions. Dickens had visited factories in Manchester as early as 1839, and was appalled by the environment in which workers toiled. Drawing upon his own childhood experiences, Dickens resolved to "strike the heaviest blow in my power" for those who laboured in horrific conditions.
　　
　　John Stuart Mill had a similar, rigorous education to that of Louisa Gradgrind, consisting of analytical, logical, mathematical, and statistical exercises. In his twenties, Mill had a nervous breakdown, believing his capacity for emotion had been enervated by his father's stringent emphasis on analysis and mathematics in his education. In the book, Louisa herself follows a parallel course, being unable to express herself and falling into a temporary depression as a result of her dry education.
　　Publication
　　
　　The novel was published as a serial in his weekly publication, Household Words. Sales were highly responsive and encouraging for Dickens who remarked that he was "Three parts mad, and the fourth delirious, with perpetual rushing at Hard Times". The novel was serialised, every week, between April 1 and August 12, 1854. It sold well, and a complete volume was published in August, totalling 110,000 words. Another related novel, North and South by Elizabeth Gaskell, was also published in this magazine.
　　Synopsis
　　
　　The novel follows a classical tripartite structure, and the titles of each book are related to Galatians 6:7, "For whatsoever a man soweth, that shall he also reap." The interpretation of this quote being, whatever is effected upon or done in the present will have a direct effect on what happens later. Book I is entitled "Sowing", Book II is entitled "Reaping", and the third is "Garnering."
　　Book I: Sowing
　　
　　Mr. Gradgrind, whose voice is "dictatorial", opens the novel by stating "Now, what I want is facts" at his school in Coketown. He is a man of "facts and calculations." He interrogates one of his pupils, Sissy, whose father is involved with the circus, the members of which are "Fancy" in comparison to Gradgrind's espousal of "Fact." Since her father rides and tends to horses, Gradgrind offers Sissy the definition of horse. She is rebuffed for not being able to define a horse factually; her classmate Bitzer does, however, provide a more zoological profile description and factual definition. She does not learn easily, and is censured for suggesting that she would carpet a floor with pictures of flowers "So you would carpet your room—or your husband's room, if you were a grown woman, and had a husband—with representations of flowers, would you? Why would you?" She is taught to disregard Fancy altogether. It is Fancy Vs Fact.
　　
　　Louisa and Thomas, two of Mr. Gradgrind's children, pay a visit after school to the touring circus run by Mr. Sleary, only to find their father, who is disconcerted by their trip since he believes the circus to be the bastion of Fancy and conceit. With their father, Louisa and Tom trudge off in a despondent mood. Mr. Gradgrind has three younger children: Adam Smith, (after the famous theorist of laissez-faire policy), Malthus (after Rev. Thomas Malthus, who wrote An Essay on the Principle of Population, warning of the dangers of future overpopulation) and Jane.
　　Gradgrind apprehends Louisa and Tom, his two eldest children, at the circus.
　　
　　Josiah Bounderby, "a man perfectly devoid of sentiment", is revealed as being Gradgrind's boss. Bounderby is a manufacturer and mill owner who is affluent as a result of his enterprise and capital. Bounderby is what one might call a "self-made man" who has risen from the gutter. He is not averse to giving dramatic summaries of his childhood, which terrify Mr. Gradgrind's wife who is often rendered insensate by these horrific stories. He is described in an acerbic manner as being "the Bully of Humility."
　　
　　Mr. Gradgrind and Bounderby visit the public-house where Sissy resides to inform her that she cannot attend the school anymore due to the risk of her ideas propagating in the class. Sissy meets the two collaborators, informing them her father has abandoned her not out of malice, but out of desire for Sissy to lead a better life without him. This was the reasoning behind him enlisting her at Gradgrind's school and Gradgrind is outraged at this desertion. At this point members of the circus appear, fronted by their manager Mr. Sleary. Mr. Gradgrind gives Sissy a choice: either to return to the circus and forfeit her education, or to continue her education and never to return to the circus. Sleary and Gradgrind both have their say on the matter, and at the behest of Josephine Sleary she decides to leave the circus and bid all the close friends she had formed farewell.
　　
　　Back at the Gradgrind house, Tom and Louisa sit down and discuss their feelings, however repressed they seem to be. Tom, already at this present stage of education finds himself in a state of dissatisfaction, and Louisa also expresses her discontent at her childhood while staring into the fire. Louisa's ability to wonder, however, has not been entirely extinguished by her rigorous education based in Fact.
　　
　　We are introduced to the workers at the mills, known as the "Hands." Amongst them is a man named Stephen Blackpool or "Old Stephen" who has led a toilsome life. He is described as a "man of perfect integrity." He has ended his day's work, and his close companion Rachael is about somewhere. He eventually meets up with her, and they walk home discussing their day. On entering his house he finds that his drunken wretch of a wife, who has been in exile from Coketown, has made an unwelcome return to his house. She is unwell, and mumbles inebriated remarks to Stephen, who is greatly perturbed by this event.
　　
　　The next day, Stephen makes a visit to Bounderby to try and end his woeful, childless marriage through divorce. Mrs. Sparsit, Mr. Bounderby's paid companion, is "dejected by the impiety" of Stephen and Bounderby explains that he could not afford to effect an annulment anyway. Stephen is very bewildered and dejected by this verdict given by Bounderby.
　　
　　Meanwhile, Mr. Gradgrind prepares to talk to his daughter about a "business proposal", but she is seemingly apathetic in his company, and this seems to frustrate Mr. Gradgrind's efforts. He says that a proposal of marriage has been made to Louisa by Josiah Bounderby, who is some 30 years her senior. Gradgrind uses statistics to prove that an age inequity in marriage does not prove an unhappy or short marriage however. Louisa passively accepts this offer. Bounderby is rendered ecstatic by the news, as is Louisa's mother, who again is so overwhelmed that she is overcome yet again. Sissy is confounded by but piteous of Louisa.
　　
　　Bounderby and Louisa get married, and they set out to their honeymoon in "Lyon"; so Bounderby can observe the progress of his 'Hands' (labourers who work in his factories there). Tom, her brother, bumps into her before they leave. They hug each other, Tom bidding her farewell and promising to look for her after they come back from their honeymoon.
　　Book 2: Reaping
　　
　　Book Two opens with the attention focused on Bounderby's new bank in Coketown, of which Bitzer alongside the austere Mrs. Sparsit keep watch at night for intruders or burglars. A dashing gentleman enters, asking for directions to Bounderby's house, as Gradgrind has sent him from London, along with a letter. It is James Harthouse, a languid fellow, who was unsure what to do with his life, so became an MP as he saw it as a way out. For this, Dickens despises him.
　　
　　Harthouse is introduced to Bounderby, who again reverts to almost improbable stories of his childhood to entertain Gradgrind. Harthouse is utterly bored by the blusterous millowner, yet is astounded by his wife, Louisa, and notices her melancholy nature. Louisa's brother Tom works for Bounderby, and he has become reckless and wayward in his conduct, despite his meticulous education. Tom decides to take a liking to James Harthouse, on the basis of his clothes, showing his superficiality. Tom is later debased to animal status, as he comes to be referred to as the "whelp", a denunciatory term for a young man. Tom is very forthcoming in his contempt for Bounderby in the presence of Harthouse, who soaks up all these secretive revelations.
　　
　　Stephen is called to Bounderby's mansion, where he informs him of his abstention from joining the union led by the orator Slackbridge, and Bounderby accuses Stephen of fealty and of pledging an oath of secrecy to the union. Stephen denies this, and states that he avoided the Union because of a promise he'd made earlier to Rachael. Bounderby is bedevilled by this conflict of interest and accuses Stephen of being waspish. He dismisses him on the spot, on the basis that he has betrayed both employer and union. Later on a bank theft takes place at the Bounderby bank, and Stephen Blackpool is inculpated in the crime, due to him loitering around the bank at Tom's promise of better times to come, the night before the robbery.
　　
　　Sparsit observes that the relationship between James Harthouse and Louisa is moving towards a near tryst. She sees Louisa as moving down her "staircase", metaphorically speaking. She sets off from the bank to spy upon them, and catches them at what seems to be a propitious moment. However, despite Harthouse confessing his love to Louisa, Louisa is restrained, and refuses an affair. Sparsit is infatuated with the idea that the two do not know they are being observed. Harthouse departs as does Louisa, and Mrs. Sparsit tries to stay in pursuit, thinking that Louisa is going to assent to the affair, though Louisa has not. She follows Louisa to the railway station assuming that Louisa has hired a coachman to dispatch her to Coketown. Sparsit however, misses the fact that Louisa has instead boarded a train to her father's house. Sparsit relinquishes defeat and proclaims "I have lost her!" When Louisa arrives at her father's house, she is revealed to be in an extreme state of disconsolate grief. She accuses her father of denying her the opportunity to have an innocent childhood, and that her rigorous education has stifled her ability to express her emotions. Louisa collapses at her father's feet, into an insensible torpor.
　　Book 3: Garnering
　　
　　Mrs. Sparsit arrives at Mr. Bounderby's house, and reveals to him the news her surveillance has brought. Mr. Bounderby, who is rendered irate by this news, journeys to Stone Lodge, where Louisa is resting. Mr. Gradgrind tries to disperse calm upon the scene, and reveals that Louisa resisted the temptation of adultery. Bounderby is inconsolable and he is immensely indignant and ill-mannered towards everyone present, including Mrs. Sparsit, for her falsehood. Bounderby finishes by offering the ultimatum to Louisa of returning to him, by 12 o'clock the next morning, else the marriage is forfeited. Suffice it to say, Mr. Bounderby resumes his bachelorhood when the request is not met.
　　
　　The discomfited Harthouse leaves Coketown, on an admonition from Sissy Jupe, never to return. He submits. Meanwhile, Mr. Gradgrind and Louisa cast suspicions that Tom, the "whelp", may have committed the bank robbery. Stephen Blackpool who has been absent from Coketown, trying to find mill work under a pseudonym, tries to exculpate himself from the robbery. On walking back to Coketown, he falls down the Old Hell Shaft, an old pit, completing his terminal bad luck in life. He is rescued by villagers, but after speaking to Rachael for the last time, he dies.
　　
　　Louisa suspects that Tom had a word with Stephen, making a false offer to him, and therefore urging him to loiter outside of the bank. Mr. Gradgrind and Sissy concur with this theory and resolve to find Tom, since he is in danger. Sissy makes a plan for rescue and escape, however, and she reveals that she suspected Tom early on during the proceedings. She sends Tom off to the circus that she used to be a part of, namely Mr. Sleary's. Louisa and Sissy travel to the circus; Tom is there, disguised in blackface. Remorselessly, Tom says that he had little money, and that robbery was the only solution to his dilemma. Mr. Sleary is not aware of this and agrees to help him reach Liverpool, and Mr. Gradgrind, prays that his son is able to board a ship that will send him to the faraway Americas. The party is stopped, however, by Bitzer, who is anxious to claim his reward for the misdemeanour. The "excellent young man" is entreated to show compassion and questions whether he has a heart, to which Bitzer, cynically responds, that of course he has a heart, and that the "circulation could not be carried on without one." Sleary is dismayed by this revelation, and agrees to take Bitzer and Tom to the bank without any further delays. However, he sees that Mr. Gradgrind has been kind to Sissy, and agrees to detain and divert Bitzer whilst Tom leaves for Liverpool.
　　
　　Returning to Coketown, Mrs. Sparsit is relieved of her duty to Bounderby who has no qualms about firing a lady, however "highly connected" she may be. The final chapter of the book details the fates of the characters. Mrs. Sparsit returns to live with her aunt, Lady Scadgers. The two have feelings of acrimony towards each other. Bounderby dies of a fit in a street one day. Tom dies in the Americas, having begged for penitence in a half-written letter to his sister, Louisa. Louisa herself grows old and never remarries. Mr. Gradgrind abandons his Utilitarian stance, which brings contempt from his fellow MPs, who give him a hard time. Rachael continues to labour while still consistently maintaining her work ethic and honesty. Sissy is the moral victor of the story, as her children have also escaped the desiccative education of the Gradgrind school and grown learned in "childish lore."
　　Major characters
　　Mr. Gradgrind
　　
　　Thomas Gradgrind is a utilitarian who is the founder of the educational system in Coketown. "Eminently practical" is Gradgrind's recurring description throughout the novel, and practicality is something he zealously aspires to. He represents the stringency of Fact, statistics and other materialistic pursuits. He is a "square" person and this can be seen not only through Dickens´description of his personality but also through the description of his physical appearance, "square shoulders".
　　
　　Only after his daughter's breakdown does he come to a realisation that things such as poetry, fiction and other pursuits are not "destructive nonsense." In the third book, not only does he notice the existence of the unknown thought of "fancy" but he ironically asks Bitzer (one of his students in book the first, who gives a perfect description of a horse) if he has a heart (to save Tom) and in this situation, Bitzer again gives a very scientific response.
　　Mr. Bounderby
　　
　　Josiah Bounderby is a business associate of Mr. Gradgrind. A thunderous merchant given to lecturing others, and boasting about being a self-made man. He employs many of the other central characters of the novel, and his rise to prosperity is shown to be an example of social mobility. He marries Mr. Gradgrind's daughter Louisa, some 30 years his junior, in what turns out to be a loveless marriage. They then had no children. Bounderby is the main target of Dickens' attack on the supposed moral superiority of the wealthy, and is revealed to be an hypocrite in his sensational comeuppance at the end of the novel. He is the " bully of humility" as he tells everyone that he is a "self made man" and that his mother left him to be looked after by his grandmother but then, due to Mrs. Sparsit's wrong accusation of thinking that Mrs. Pegler was the bank robber, we find that he has been lying.
　　
　　He uses Mrs. Sparsit in order to give him status as she belonged to the "Powlers" a very important family in the same way as Bounderby takes advantage of Mrs. Sparsit expecting people of a lower status to respect her presence.
　　Louisa
　　
　　Louisa (Loo) Gradgrind, later Louisa Bounderby, is the unemotional, distant and eldest child of the Gradgrind family. She has been taught to abnegate her emotions, and finds it hard to express herself clearly, saying as a child she has "unmanageable thoughts." She is married to Josiah Bounderby, in a very logical and businesslike manner, representing the emphasis on factuality and business pathos of her education. Her union is a disaster and she is tempted into adultery by James Harthouse, yet she manages to resist this temptation with help from Sissy.
　　
　　All her life she has been "gazing into the fire" "wondering" in the first book we find that she wonders not knowing what it is she is wondering about, in book two with Mrs. Gradgrind's death we get the impression that she well will find out as Mrs. Gradgrind (another victim of the system) says: "there is something wrong" she dies without knowing what it is. It is at the end of book two after Harthouse's love declaration when Louisa understands the meaning of love, fancy, everything that until that moment her life had lacked. She realizes how immature the decision of marrying Bounderby was (only because of Tom's insistence). She then goes to complain to her father and all he says is: "I never knew you were unhappy my child". This shows how Louisa has made him recognize the existence of fancy. Fancy is transmitted through a chain, as Harthouse does to Louisa and Louisa to Gradgrind. The chain breaks at the end of the novel when Gradgrind tries to pass it onto Bitzer.
　　Sissy Jupe
　　
　　Cecilia (Sissy) Jupe is the embodiment of imagination, hope and faith. Abandoned by her father, a circus performer at Sleary's circus. Gradgrind offers Sissy the chance to study at his school and to come and live at Stone Lodge with the Gradgrind children. Sleary also offers her a place and tells her she will be treated like one of the family, but Sissy follows her father's wishes of her having a good education, goes to live with Gradgrind. She goes through "hard times" when she is with the Gradgrinds at the beginning because she does not understand the difference between a life based upon facts and one based upon fancy, like hers. When she does notice this, she leaves school in order to look after ill Mrs. Gradgrind. She always asks Mr. Gradgrind if a letter from her father arrived.
　　
　　Due to Sissy's high morals and natural warm-heartedness she has a huge influence on the Gradgrind family. When Mrs Gradgrind dies she largely takes over the role of mothering the younger Gradgrind Children: Jane, Adam Smith and Malthus.
　　
　　She is the biggest representative of fancy in the novel. She offers the contrast between fact and fancy. She finishes happy and surrounded by children.
　　Tom
　　
　　Thomas (Tom) Gradgrind, Junior is the eldest son and second child of the Gradgrinds. Tom develops as a thoroughly contemptible character. Initially sullen and bitterly resentful of his father's Utilitarian Gradgrindian education, Tom has a very strong relationship with his sister Louisa. At length, Tom starts work in Bounderby's bank (which he later robs), and descends into sybaritic gambling and drinking - he is indiscreet over Louisa's marriage to Bounderby with James Harthouse. Nonetheless Louisa never ceases to deeply adore Tom, and she aids Sissy and Mr. Gradgrind in saving her brother from arrest. It is also hinted that Tom has romantic feelings for Sissy that are partly reciprocated. He is, ultimately, an insecure wastrel.
　　
　　Known as "the whelp" (small puppy) this is the way of Dickens mocking this character. He takes advantage of his loving sister in order to get out of the life that his father is giving him which he doesn't like. We might feel sympathy towards him at some points of the novel (mostly in book one) as he has the same kind of feelings as Louisa.
　　
　　He tells Blackpool to wait for him outside the bank and if he has something to give him, he will make sure Bitzer gives it to him. He tricks him by doing so as he only does so in order to make him look as if it was him who robbed the bank, maybe as a form of revenge after Bounderby sacking him. He is found out in book three where Blackpool is shown to be innocent. Mr. Gradgrind makes signs to put them up in the whole town clearing Blackpool's name and putting the blame on his own son.
　　Old Stephen
　　
　　Stephen Blackpool, or "Old Stephen" as he is referred to by his fellow Hands, is a worker at one of Bounderby's mills. His life is immensely strenuous, and he is married to a constantly inebriated wife who comes and goes throughout the novel. She remains anonymous and unidentified throughout the novel. He forms a close bond with Rachael, a co-worker. After a dispute with Bounderby, he is dismissed from his work at the Coketown mills and is forced to find work elsewhere. Whilst absent from Coketown he is accused of a crime for which he has been framed. Tragically, on his way back to vindicate himself, he falls down a mine-shaft. He is rescued but dies of his injuries.
　　
　　Stephen is a man "of perfect integrity", a man who will never give up his moral standpoint to follow along with the crowd, a quality which leads to the conflict with Slackbridge and the Trade Union.
　　Other characters
　　
　　Bitzer – is a very pale classmate of Sissy's and brought up on facts and is taught to operate according to self-interest. He takes up a job in Bounderby's bank, and later tries to arrest Tom.
　　
　　Mrs. Sparsit – is a "classical" widow who has fallen upon despairing circumstances. She is employed by Bounderby, yet her officiousness and prying get her fired in a humorous send-off by Bounderby.
　　
　　James Harthouse – enters the novel in the 2nd book. James is an indolent, languid, upper-class gentleman, who attempts to woo Louisa, and gets sent away by Sissy.
　　
　　Mrs. Pegler – a "mysterious old woman" who turns out to be Bounderby's mother.
　　
　　Slackbridge – trade union leader
　　
　　Various circus folk", including Signor Jupe (Sissy's father, who never actually appears in the novel), his dog Merrylegs, Mr. Sleary (the lisping manager of the circus) and Cupid, used to represent that the world of the circus is not always as pure as is represented by Sissy and Sleary.
　　
　　Mrs. Gradgrind – the wife of Mr. Gradgrind, who is an invalid and complains constantly. Her marriage to Thomas is a precursor of Louisa's marriage to Bounderby.
　　
　　Mr. M'Choakumchild – the teacher of the class containing Sissy Jupe and Bitzer, says very little but his name suggests a cold personality that stifles imagination.
　　Major themes
　　
　　Relating back to Dickens' aim to "strike the heaviest blow in my power," he wished to educate readers about the working conditions of some of the factories in the industrial towns of Manchester, and Preston. Relating to this also, Dickens wished to expose the assumption that prosperity runs parallel to morality, something which is cruelly shattered in this novel by his portrayal of the moral monsters, Mr. Bounderby, and James Harthouse, the cynical aristocrats. Dickens was also campaigning for the importance of imagination in life, and not for people's life to be reduced to a collection of material facts and statistical analyses. Dickens' favourable portrayal of the Circus, which he describes as caring so "little for Plain Fact", is an example of this.
　　Fact vs. Fancy
　　
　　This theme is developed early on, the bastion of Fact being the eminently practical Mr. Gradgrind, and his model school, which teaches nothing but Facts. Any imaginative or aesthetic subjects are eradicated from the curriculum, but analysis, deduction and mathematics are emphasised. Conversely, Fancy is the opposite of Fact, encompassing, fiction, music, poetry, and novelty shows such as Sleary's circus. It is interesting that Mr. Sleary is reckoned to be a fool by the Fact men, but it is Sleary who realises people must be "amuthed" (amused). This is made cognisant by Tom's sybaritic gambling and Louisa, who is virtually soulless as a young child, and as a married woman. Bitzer, who has adhered to Gradgrind's teachings as a child, turns out to be an uncompassionate egotist.
　　Officiousness and spying
　　
　　Prying and knowledge is key to several characters, namely Mrs. Sparsit and Mr. Bounderby. Mr. Bounderby spends his whole time fabricating stories about his childhood, covering up the real nature of his upbringing, which is solemnly revealed at the end of the novel. While not a snooper himself, he is undone by Sparsit unwittingly revealing the mysterious old woman to be his own mother, and she unravels Josiah's secrets about his upbringing and fictitious stories. Mr. Bounderby himself superintends through calculating tabular statements and statistics, and is always secretly rebuking the people of Coketown for indulging in conceitful activities. This gives Bounderby a sense of superiority, as it does with Mrs. Sparsit, who prides herself on her salacious knowledge gained from spying on others. All "superintendents" of the novel are undone in one way, or another.
　　Honesty
　　
　　This is closely related to Dickens' typical social commentary, which is a theme he uses throughout his entire œuvre. Dickens portrays the wealthy in this novel as being morally corrupt. Bounderby has no moral scruples; he fires Blackpool "for a novelty". He also conducts himself without any shred of decency, frequently losing his temper. He is cynically false about his childhood. Harthouse, a leisured gent, is compared to an "iceberg" who will cause a wreck unwittingly, due to him being "not a moral sort of fellow", as he states himself. Stephen Blackpool, a destitute worker, is equipped with perfect morals, always abiding by his promises, and always thoughtful and considerate of others, as is Sissy Jupe.
　　Literary significance & criticism
　　
　　Critics have had a diverse range of opinions on the novel. Renowned critic John Ruskin declared Hard Times to be his favourite Dickens work due to its exploration of important social questions. However, Thomas Macaulay branded it "sullen socialism", on the grounds that Dickens did not fully comprehend the politics of the time. This point was also made by George Bernard Shaw, who decreed Hard Times to be a novel of "passionate revolt against the whole industrial order of the modern world." Shaw criticized the novel for its failure to provide an accurate account of trade unionism of the time, deeming Dickens' character of Slackbridge, the poisonous orator as "a mere figment of middle-class imagination."
　　
　　F. R. Leavis, in his controversial book, The Great Tradition, described the book as essentially being a moral fable, and awarded it the distinction of being a work of art, decreeing it the only significant novel of Dickens worth scrutinizing.
　　
　　Walter Allen, in an introduction to an alternative edition, characterised Hard Times as being an unsurpassed "critique of industrial society", which was later superseded by works of D. H. Lawrence. Other writers have described the novel as being, as G. K. Chesterton commented in his work Appreciations and Criticisms, "the harshest of his stories"; whereas George Orwell praised the novel (and Dickens himself) for "generous anger."

dǒng bèi fù zǐ

　　《 dǒng bèi fù zǐ》 wú lùn cóng xíng shì fāng miàn hái shì cóng nèi róng fāng miàn 'ér lùn， dōuzài dí gèng sī de zuò pǐn zhōng zhàn jù tè bié zhòng yào de dì wèi， tā tū pò liǎo zǎo qī zuò pǐn zhōng liú làng hàn tǐ（ thepicaresque） de yǐng xiǎng， jǐn jǐn wéi rào yī gè zhōng xīn rén wù、 yī gè zhù dǎo guān niàn lái zhǎn kāi gù shì， zài dí gèng sī de xiǎo shuō zhōng shì dì yī bù jié gòu yán jǐn de dài biǎo zuò。 zuò zhě zài xù yán、 shū xìn zhōng duō cì tí dào， zài xiě《 dǒng bèi fù zǐ》 shí， tā shí kè zhù yì“ kòu jǐn gāi shū de yī bān mùdì yǔ shè jì， bìng yǐ cǐ yán gé shù fù zì jǐ”。《 dǒng bèi fù zǐ》 xíng shì shàng de xīn tè diǎn shì gēn nèi róng fāng miàn de fā zhǎn xiāng lián xì de。 zài zhè yǐ qián， dí gèng sī zài xiǎo shuō zhōng céng pēng jī liǎo fù zhài rén jiān yù、 xīn de jì pín fǎ、 dì fāng shàng de suǒ wèi cí shàn shì yè yǐ jí dà chéng shì dǐ céng de zuì 'è yǔ hēi 'àn， duō duō shàoshào bǎ tā men dāng zuò gū lì de xiàn xiàng。《 dǒng bèi fù zǐ》 què shì tú zài gèng yán jǐn de xíng shì zhōng yǐ xiàn dài chéng shì wéi bèi jǐng， tōng guò yī gè zī chǎn zhě de diǎn xíng xíng xiàng biǎo dá chū duì zī běn zhù yì shè huì de zǒng tǐ guān， ér bù fù zài gè bié shè huì bì bìng shàng zuò wén zhāng。 dāng rán， zhè bìng bù yī dìng yì wèi zhe zuò zhě de xiǎo shuō yì shù xiàng zhe gèng gāo jí jiē duàn fā zhǎn héng héng jié gòu de yán jǐn zài měi xué shàng bù yī dìng bǐ liú làng hàn tǐ xiǎo shuō de sōng sàn gèng yōu yuè， tā men kě yǐ gè yòu gè zì de měi， dàn wú lùn rú hé，《 dǒng bèi fù zǐ》 dài biǎo liǎo zuò zhě sī xiǎng de shēn huà， biǎo xiàn liǎo tā duì shè huì wèn tí de jìn yī bù sī kǎo。
　　　　 yīng guó 19 shì jì xiǎo shuō zhuān jiā kǎi sè lín · dì luò xùn zài tā de xué shù míng zhù《 19 shì jì 40 nián dài de xiǎo shuō》 yī shū zhōng bǎ《 dǒng bèi fù zǐ》 liè wéi 40 nián dài de dài biǎo zuò bù shì 'ǒu rán de。《 dǒng bèi fù zǐ》 jù yòu xiān míng de shí dài tè sè： zuò zhě zài zhè lǐ biǎo xiàn yī gè xīn shí dài héng héng 40 nián dài gōng yè fā dá de yīng guó shè huì。 xiǎo shuō zhōng de lún dūn shì yī gè jīn róng hé shāng yè zhōng xīn、 yī gè dà gǎng kǒu， yòu shì shàng liú shè huì shè jiāo zhōng xīn。 dǒng bèi jiù shì chù zài zhè yàng shēng huó xuán wō zhōng de jù shāng。《 dǒng bèi fù zǐ》 yòng bù shǎo piān fú miáo xiě yī gè pò luò de háng hǎi yí qì shāng suǒ luó mén · jí 'ěr sī； tā de xiǎo diàn pū lǐ bǎi zhe xiē guò shí de yí qì， cóng lái méi yòu rén guāng gù， chú fēi shì jìn lái wèn lù huò duì huàn líng qián。 jí 'ěr sī bēi tàn dào：“ jìng zhēng、 bù tíng de jìng zhēng héng héng xīn fā míng、 céng chū bù qióng de xīn fā míng…… shì jiè bǎ wǒ pāo zài hòu biān liǎo”。 shí dài de luò wǔ zhě suǒ luó mén · jí 'ěr sī hé tā de xiǎo diàn pū zài xiǎo shuō zhōng yǔ dǒng bèi xiān shēng hé tā de dà gōng sī xíng chéng duì bǐ， yù jiā tū chū liǎo《 dǒng bèi fù zǐ》 nèi róng tí cái de shí dài tè sè。
　　　　 dí gèng sī jiù shì zài zhè yàng yī zhǒng bèi jǐng shàng sù zào liǎo yī gè zī chǎn zhě de diǎn xíng xíng xiàng。 guān yú《 dǒng bèi fù zǐ》 de chuàng zuò yì tú， dí gèng sī céng shuō， zài zhè lǐ tā yào chǔlǐ de shì“ ào màn” wèn tí， zhèng rú qián yī bù xiǎo shuō《 mǎ dīng · chái zé 'ěr wéi chí》 lǐ yào zhe zhòng miáo xiě“ zì sī zì lì”。 díquè， zài dǒng bèi xíng xiàng de sù zào shàng， zuò zhě shì cóng 'ào màn rù shǒu de。 xiǎo shuō yī kāi shǐ jiù xiě dào， zài dǒng bèi xiān shēng kàn lái，“ shì jiè shì wèile dǒng bèi fù zǐ jīng shāng 'ér chuàng zào de， tài yáng hé yuè liàng shì wéi liǎo gěi tā men guāng liàng 'ér chuàng zào de。 hé chuān hé hǎi yáng shì wéi liǎo ràng tā men háng chuán 'ér gòu chéng de； hóng ní shǐ tā men yòu féng dào hǎo tiān qì de xī wàng； fēng de shùn nì yǐng xiǎng tā men shí yè de chéng bài； xīng chén zài tā men de guǐ dào nèi yùn xíng， bǎo chí yǐ tā men wéi zhōng xīn de yī zhǒng bù néng qīn fàn de xì tǒng”。 dǒng bèi gōng sī chēng bà sì hǎi， zài dāng shí de zī běn zhù yì jīng jì tǐ xì zhōng jū yú zhōng xīn dì wèi， yú shì dǒng bèi xiān shēng jiù zì rèn shì shì jiè de zhōng xīn， tā de 'ào màn yóu cǐ 'ér lái。 tā de 'ào màn bù shì yóu yú zuò wéi yī gè rén yòu rèn hé yōu yuè yú tā rén de dì fāng， ér shì yóu yú tā de gōng sī de dì wèi、 tā de zī běn lì liàng。 zài dǒng bèi de xíng xiàng zhōng， dí gèng sī bù bǎ wèn tí jú xiàn yú yī bān de zì sī tān lán， shì shí shàng zài sī dé fāng miàn， dǒng bèi jī běn shàng shì 'ēn gé sī shuō de nà zhǒng“ jù yòu gè zhǒng sī dé de kě jìng rén wù”。 zhèng rú xī fāng mǎ kè sī zhù yì zhě A·T· jié kè xùn suǒ zhǐ chū de，“ dǒng bèi de 'ào màn shì tā zuò wéi yī jiā dà gōng sī de tóu mùdì dì wèi dài gěi tā de pǐn zhì”。 yīn cǐ， ào màn zhǐ shì qí biǎo， ér gēn běn wèn tí zài yú dǒng bèi zuò wéi rén， yǔ zī běn tóng yī liǎo。 tā shī qù liǎo rén de běn zhì， zhǐ shì zī běn de huà shēn， yì rú mǒu xiē xī fāng píng lùn suǒ shuō de， shì“ 19 shì jì qǐ yè jīng shén” de xiàng zhēng，“ yī zhǒng zhì dù、 jìng zhēng xīn lǐ hé lěng kù wú qíng” de diǎn fàn。《 dǒng bèi fù zǐ》 yǐ liánzǎi xíng shì wèn shì yǐ hòu， dāng shí biàn yòu píng lùn zhǐ chū：“ miáo huì dǒng bèi zhè lèi de rén wù jiǎn zhí shì dāng wù zhī jí héng héng lún dūn de shì jiè lǐ chōng mǎn liǎo lěng mò de、 zhuāng mó zuò yàng de、 jiāng yìng de、 xuàn yào jīn qián de rén wù， xiǎng fǎ gēn dǒng bèi yī mó yī yàng……” kě jiàn dǒng bèi de xíng xiàng zài dāng shí de yīng guó shè huì shì jù yòu dài biǎo xìng de。
　　　　 shǒu xiān dí gèng sī qiáng diào liǎo dǒng bèi zuò wéi yī gè zī chǎn zhě de fēi rén xìng。 tā bǎ gǎn qíng wán quán pái chú zài zì jǐ de shì yě zhī wài：“ dǒng bèi fù zǐ yī xiàng gēn pí huò dǎ jiāo dào， ér bù gēn gǎn qíng dǎ jiāo dào”。 shí jì shàng《 dǒng bèi fù zǐ》 hěn shǎo shè jí jù tǐ de shāng yè huó dòng， tā qí shí shì yī bù yǐ jiā tíng shēng huó wéi tí cái de xiǎo shuō， tōng guò jiā tíng guān xì， biǎo xiàn liǎo zuò wéi zhàng fū、 zuò wéi fù qīn de dǒng bèi， wéi qí rú cǐ， gèng jiā hōng tuō liǎo tā de lěng kù wú qíng。
　　 dǒng bèi fù zǐ - jù qíng
　　
　　　《 dǒng bèi fù zǐ》 yòu liǎng chù miáo xiě liǎo dǒng bèi xiān shēng jìng rán liú lù liǎo yī zhǒng tiān rán gǎn qíng。 dì yī cì shì zài tā tài tài shēng liǎo nán hái zhī hòu， tā dào wò shì qù kàn wàng，“ duì dǒng bèi tài tài jū rán yě jiā shàng liǎo yī gè qīn mì de chēng hū（ suī rán bù shì méi yòu yī xiē yóu yù， yīn wéi tā bì jìng shì yī gè bù guàn yú jiào chū nà zhǒng chēng hū de rén）， jiào dào：‘ dǒng bèi tài tài， wǒ de héng héng wǒ de qīn 'ài de’。” zài tā men fū qī zhī jiān zhè yī chēng hū shì nà yàng shēng shū， yǐ zhì“ nà wèi shēng bìng de tài tài tái qǐ yǎn jīng cháo tā wàng qù de shí hòu， dùn shí jiān liǎn shàng zhǎng mǎn liǎo wēi gǎn jīng yà de hóng yùn”。 qí shí jí shǐ zhè yī cì nán dé de gǎn qíng liú lù， yě bù shì yǔ gōng sī wú guān de。 dǒng bèi xiān shēng xiǎng dào zì jǐ dé liǎo 'ér zǐ， cóng cǐ yǐ hòu“ zán men de gōng sī， bù dàn míng yì shàng， ér qiě shì shí shàng， yòu gāi jiào zuò‘ dǒng bèi fù zǐ’ lā， dǒng héng héng bèi fù zǐ！” tā shì zài pǐn cháng zhè jǐ gè zì de tián měi zī wèi shí qíng bù zì jìn dì jiào liǎo yī shēng“ wǒ de qīn 'ài de”！ cóng tā de nèi xīn gǎn qíng lái shuō， wǒ men wú cóng pàn duàn zhè“ qīn 'ài de” shì zhǐ tā de tài tài hái shì gèng duō zhǐ tā de gōng sī。 tóng yàng， zài《 dǒng bèi fù zǐ》 yī shū zhōng wǒ men shǐ zhōng wú fǎ pàn duàn zhè“ dǒng bèi fù zǐ” shì zhǐ gōng sī hái shì zhǐ zhè yé 'ér liǎ de guān xì。 zhè zhǒng yòu yì wú yì de hán hùn zì rán shì yì wèi shēn cháng de。
　　　　 dǒng bèi xiān shēng dì 'èr cì gǎn qíng liú lù shì zài kàn zhe gāng chū shēng de 'ér zǐ shí， tā xiǎng dào“ tā dé chéng jiù yī fān mìng zhōng zhù dìng de shì yè nǎ。 mìng zhōng zhù dìng de shì yè， xiǎo jiā huǒ！” jiē zhe“ bǎ hái zǐ de yī zhǐ shǒu jǔ dào zì jǐ de zuǐ chún shàng wěn liǎo yī xià， rán hòu， hǎo xiàng shēn pà zhè zhǒng jǔ dòng yòu sǔn tā de zūn yán shìde， tā fēi cháng bù zì rán dì zǒu kāi liǎo”。 zǒng zhī， jiù shì zhè liǎng cì bù kě duō dé de gǎn qíng liú lù， dǒng bèi xiān shēng yě gǎn dào“ yóu yù”，“ bù xí guàn”，“ yòu sǔn zūn yán”， zǒng zhī shì“ bù zì rán”， jí bù hé hū tā nà“ zī běn huà” liǎo de běn xìng。
　　　　 zài duì dǒng bèi de miáo xiě zhōng， zuò zhě bǎ tā bǐ zuò“ diāo xiàng”、“ mù tóu rén”，“ quán shēn zhí tǐng tǐng de bù huì dǎ wān”， huò shì“ guā dé guāng guāng、 jiǎn cái zhěng qí de kuò shēn shì， guāng liù lì suǒ， xiàng gāng yìn chū lái de chāo piào”。 zuò zhě yòng yī xì liè bīng、 shuāng、 xuě zhī lèi de xíng xiàng lái xuàn rǎn dǒng bèi de tè diǎn， tā de zhù zhái yīn lěng， tā de bàn gōng shì qī liáng。 zài bǎo luó shòu xǐ lǐ de nà yī tiān， bù jǐn jiào táng lǐ hán qì bī rén， ér qiě zài dǒng bèi suí hòu jǔ xíng de yàn huì shàng bǎi zhe de shí wù dōushì bīng lěng de， yǔ xí shàng de zhěng gè qì fēn yī zhì， zuò zhě hái shuō， zuò zài shǒu xí shàng de dǒng bèi běn rén yóu rú yī gè“ bīng dòng shēn shì” de biāo běn。 zǒng zhī， zuò zhě tōng guò kuā zhāng de xì jié miáo xiě， bǎ dǒng bèi zhì yú yī céng céng bīng shuāng de bāo guǒ zhī zhōng， bǎ tā miáo xiě chéng yī wèi shí zú de méi yòu rén xìng de lěng xuè dòng wù。
　　　　 zhèng rú 'ēn gé sī suǒ shuō de， zī chǎn jiē jí“ chú liǎo kuài kuài fā cái yǐ wài， bù zhī dào shì jiè shàng hái yòu bié de kuài lè” yī yàng， jì chéng rén yì wèi zhe zī běn de yán xù， yě jiù shì zī chǎn jiē jí lǐ xiǎng zhōng tōng xiàng“ yǒng héng” yǔ“ bù xiǔ” de wéi yī dào lù， běn zhì shàng hái shì fā cái de kuài lè。《 dǒng bèi fù zǐ》 yī shū de zhù xiàn hé zǒng de shè jì dōushì wéi rào zhe dǒng bèi xiān shēng wéi zì jǐ， yě shì wéi gōng sī， xún zhǎo jì chéng rén de gù shì。 rú guǒ 'àn 19 shì jì xiǎo shuō zhuān jiā shǐ dì fēn · mǎ kē sī de huàfēn， bǎ zuò pǐn huàfēn chéng sì gè bù fēn， nà me kě yǐ kàn chū， dì yī bù fēn yǐ jì chéng rén xiǎo bǎo luó de dàn shēng kāi shǐ， yǐ tā de sǐ wáng gào zhōng； dì 'èr bù fēn miáo xiě liǎo dǒng bèi xiān shēng de bēi tòng yǐ jí tā de dì 'èr cì jié hūn， yì jí zài cì yào dé dào jì chéng rén； dì sān bù fēn biǎo xiàn liǎo dǒng bèi xiān shēng hūn hòu fū qī bù mù， zhōng yú dǎo zhì tā de fū rén sī bēn； dì sì bù fēn miáo xiě liǎo dǒng bèi xiān shēng jīng shén wǎ jiě、 qǐ yè dǎo bì， zuì hòu bèi tā gǎn chū jiā mén de nǚ 'ér fú luò lún sī yòng zì jǐ de 'ài gěi tā yǐ 'ān wèi hé lì liàng， shǐ lǎo nián de dǒng bèi zài shī qù zī běn、 shī qù jì chéng rén zhī hòu huī fù liǎo zì jǐ de rén xìng。 ér jù yòu fěng cì yì wèi de shì，“ suǒ wèi dǒng bèi fù zǐ”， rú shū zhōng yī gè rén wù shuō de“ guī gēn jié dì shì dǒng bèi fù nǚ”！ dàn kāi shǐ shí， dǒng bèi xiān shēng nǎ lǐ néng cāi dào děng dài tā de mìng yùn！ tā bǎ zì jǐ de gǎn qíng quán bù qīng zhù zài gōng sī de jì chéng rén、 gāng gāng dàn shēng de 'ér zǐ shēn shàng， zhì yú nǚ 'ér， jì rán bù shì jì chéng rén， duì dǒng bèi gōng sī méi yòu yì yì， duì tā běn rén yě jiù méi yòu yì yì， xiāng dāng yú“ bù néng tóu zī de yī kuài liè bì”。 qí shí， jiù shì duì yú tā de 'ér zǐ xiǎo bǎo luó， dǒng bèi xiān shēng yě zhǐ néng yǐ zì jǐ de fāng shì qù 'ài。 zhè shì yī zhǒng yì huà liǎo de gǎn qíng。 tā zhǐ bǎ bǎo luó dāng zuò jì chéng rén lái duì dài， dāng zuò“ dǒng bèi fù zǐ gōng sī” zhōng de“ zǐ” ér bù shì zuò wéi yī gè yòu dú lì shēng cún quán lì de rén、 yī gè yòu quán guò kuài yuètóng nián de 'ér tóng。 dǒng bèi bǎ bǎo luó cóng jiàng shēng dào chéng rén de shí qī dū kàn zuò shì nán 'áo de guò dù shí qī，“ tā jí yú jìn rù wèi lái， hèn bù dé kuài diǎn dǎ fā diào zhè zhōng jiān de shí guāng”。 dǒng bèi duì 'ér zǐ de gǎn qíng shì nà yàng de dú zhàn， tā bù xìn rèn nǎi niàn bō lì · tú dé 'ěr， shēng pà 'ér zǐ huì duì tā yòu gǎn qíng， cóng 'ér shòu dào“ xià děng rén” de zhān rǎn， hòu lái dǒng bèi hái shì yīn wéi tā shàn zì bǎ bǎo luó dài huí jiā 'ér bǎ zhè gè hǎo xīn de nǚ rén dǎ fā diào， zhì shǐ yīng 'ér tū rán duàn nǎi， cóng cǐ tǐ ruò duō bìng。 dǒng bèi xiān shēng“ wàng zǐ chéng lóng” xīnqiè， tā bǎ yòu xiǎo de bǎo luó sòng wǎng bù lín bó bó shì xué yuàn。 zhè shì yī zuò yǐ tiánsāi sǐ zhī shí zhù chēng de zhù sù xué xiào。 zài nà lǐ， hái zǐ men bái tiān bèi bī dé bèi sòng tiān shū yī yàng de gǔ dài diǎn jí， wǎn shàng zuò mèng dōushuō xī là wén！“ nà shì yī zuò dà nuǎn fáng， yī jià bù tíng dì yí dòng de bá miáo zhùzhǎng de jī qì， suǒ yòu de hái zǐ dū tí qián‘ kāi huā’， dàn shì bù zú sān gè lǐ bài jiù kū wěi diāo xiè”。 zài nà lǐ， kě lián de xiǎo bǎo luó de tóu nǎo bèi sài mǎn liǎo yī dà duī xī là luó mǎ de gǔ dǒng， tā kū zhe shuō，“ wǒ yào dāng 'ér tóng”， kě nà zài dǒng bèi péi yǎng jì chéng rén de jìhuà lǐ shì bù yǔn xǔ de。 bǎo luó zài zhè xiē cuī huà jì de zuò yòng xià jīng shén bèi shòu cuī cán， bù jiǔ yǐ hòu biàn sǐ qù。 jù yòu fěng cì yì wèi de shì， cóng jiě gù nǎi niàn dào tí qián sòng jìn xué xiào de zhěng gè guò chéng lái kàn， bù shì bié rén， zhèng shì dǒng bèi xiān shēng zì jǐ yī shǒu cù chéng liǎo 'ér zǐ de sǐ wáng。 tā wán quán 'àn zhào zì jǐ xìng gé de luó ji， àn zhào tā de“ yì huà” liǎo de gǎn qíng xíng shì， bù kě néng yòu qí tā zuò fǎ。 zhè bù néng bù shuō shì dǒng bèi de bēi jù。 zhí dé zhù yì de hái yòu， dǒng bèi bù jǐn zài 'ér zǐ huó zhe de shí hòu duì 'ér zǐ de gǎn qíng shì“ yì huà” de， ér qiě zài 'ér zǐ sǐ wáng yǐ hòu， tā de fǎn yìng yě shì“ yì huà” de， nà yǔ qí shuō shì shī qù qīn gǔ ròu de qièfū zhī tòng， dǎo gèng xiàng shì tā de“ zì wǒ” shòu dào dǎ jī、 ào màn shòu dào cuò zhé 'ér yǐn qǐ de tòng kǔ。 dāng lǎo nǎi niàn tú dé 'ěr de zhàng fū xiàng dǒng bèi biǎo shì 'āi dào shí， dǒng bèi bù jǐn bùwèi zhī gǎn dòng， fǎn 'ér yīn wéi bù xiāng gān de rén（ yǔ gōng sī bù xiāng gān） wàng xiǎng fēn dān tā de tòng kǔ 'ér gǎn dào qì fèn， hǎo xiàng zì jǐ shòu liǎo wū rǔ。 zhè bù shì bèi zī běn“ yì huà” liǎo de gǎn qíng yòu shì shénme ní？
　　　　 duì dǒng bèi lái shuō， gèng kě bēi de shì， yóu yú tā de gǔ bǎn、 lěng mò、 méi yòu rén qíng wèi， tā de 'ér zǐ yǔ tā gǎn qíng shū yuǎn 'ér zhōng xīn xǐ 'ài nà xiē dǒng bèi suǒ yàn 'è、 bǐ shì de rén héng héng jiě jiě fú luò lún sī、 nǎi niàn bō lì · tú dé 'ěr， hái yòu gōng sī lǐ de xiǎo gù yuán wò 'ěr tè · gài yī， zài zì jǐ yòu xiǎo shēng mìng de zuì hòu shí kè duì tā men liàn liàn bùshě 'ér bǎ zì jǐ de fù qīn pái chú zài wài。 zài sī xiǎng shàng fù zǐ 'èr rén gèng shì gé gé bù rù； dǒng bèi shì nà yàng jíqiè pàn wàng 'ér zǐ chéngzhǎng wéi jīng míng de shēng yì rén， ér yòu xiǎo de bǎo luó què wèn“ qián néng gànshénme？”， dāng fù qīn shuō qián kě yǐ bàn dào yī qiē， tā bìng bù xìn fú， shuō“ tā bù néng jiù huó wǒ mā mā”。“ tā bù shì cán kù de má？” dí gèng sī tōng guò 'ér tóng de yǎn guāng pī pàn liǎo dǒng bèi suǒ dài biǎo de jià zhí guān。
　　　　 bǎo luó suī rán nián jì yòu xiǎo， què zǒng xiàng shì shēng huó zài yī gè bǐ 'àn shì jiè， tā“ kě yǐ zài hú qiáng zhǐ shàng kàn chū wēi xíng de lǎo hǔ hé shī zǐ…… kàn jiàn yī xiē rén yǐng chòngzhe dì bǎn shàng de fāng kuài hé lēng xíng tú 'àn zuò guài liǎn， ér bié rén què shénme yě kàn bù jiàn”。 tā xiàng gè lǎo rén shìde cháng shí jiān zuò zài hǎi biān shàng， miàn duì zhe yī piàn tiān shuǐ máng máng chén sī bù yǔ。 tā nà mèn“ tā méi jié méi wán dì shuō xiē shénme yā？” héng héng“ wǒ zhī dào tā men yī zhí shì zài shuō xiē shénme de。 shuō de zǒng shì tóng yàng de shì qíng。 nà 'ér shì shénme dì fāng yā？” tā rèqiè dì níng wàng nà tiān shuǐ zhī jì， zài dà hǎi de xuān téng zhōng， tīng dào liǎo shí jiān lǎo rén de zhào huàn， gǎn dào liǎo sǐ wáng de yù zhào， zuì hòu zài hǎi tāo shēng zhōng tā 'ān rán yǔ shì cháng cí……。 kě yǐ shuō， xiǎo bǎo luó zài rèn hé yì yì shàng yě bù shì dǒng bèi de jì chéng rén。《 dǒng bèi fù zǐ》 de dì yī bù fēn， yě shì zuì jīng cǎi bù fēn， biàn yǐ dǒng bèi zài péi yù jì chéng rén fāng miàn de chè dǐ shī bài 'ér gào zhōng。《 dǒng bèi fù zǐ》 zuì chū liánzǎi fā biǎo shí， bǎo luó · luó bèi yāo wáng de yī zhāng zài dāng shí dú zhě zhōng yǐn qǐ qiáng liè fǎn xiǎng，“ jǔ guó shàng xià， gòng tóng 'āi dào”， jǐn cì yú“ zì jǐ jiā lǐ bàn sāngshì”。 dāng shí xǔ duō rén， bāo kuò zhèng jiè wén huà jiè zhù míng rén wù dū háo bù yǐn huì zì jǐ wéi xiǎo bǎo luó de sǐ 'ér tòng kū liú tì。 zhè dāng rán yǔ dāng shí shèng xíng de gǎn shāng zhù yì yuè dú qù wèi fēn bù kāi。 xiǎo bǎo luó de sǐ， yǔ《 lǎo gǔ wán diàn》 zhōng xiǎo nài 'ér de sǐ yī yàng， dōushì 19 shì jì xiǎo shuō zhōng gōng rèn de gǎn shāng zhù yì de diǎn fàn。 dàn shì， bù kě fǒu rèn， bǎo luó zhī sǐ de zhù míng piān zhāng chōng mǎn liǎo jīng yíng de shī yì héng héng“ xiǎo chuán zài bō shàng de piāo dàng yǐ jīng yǐn dé tā yào qù 'ān mián liǎo。 hé 'àn duō me cōng cuì， cháng zài hé 'àn shàng de huā cǎo duō me míng yàn， nà lú wěi yòu shì duō me tíng tíng niǎo niǎo！ zhè shí xiǎo chuán yǐ jīng shǐ dào hǎi lǐ， kě shì hái zài píng jìng dì xiàng qián huá qù”。 xiǎo bǎo luó qù liǎo， hǎo xiàng dé dào liǎo tā de tiān rán guī sù。 tā bù shǔ yú gōng sī， gèng yuǎn lí“ huò bì、 tōng huò、 chāo piào、 wài huì shuài” suǒ gòu chéng de nà gè tā mìng zhōng yào chéng jiù de“ shì yè”。 zài nà gè zī zī míng lì de fú huá shì jiè shàng， bǎo luó de sǐ xiǎn chū liǎo chāo chén bá sú de guāng cǎi， zài mò mò wú yán zhī zhōng duì yǐ“ dǒng bèi fù zǐ gōng sī” wéi dài biǎo de jīn qián lì yù zuò chū liǎo zuì yòu lì de pī pàn。
　　　　 jīng guò dì yī gè dǎ jī， dǒng bèi bìng méi yòu zǒng jié jiào xùn、 dá dào zì wǒ rèn shí。 bù jiǔ yǐ hòu， tā yòu chǔxīn jī lǜ dì wéi dé dào jì chéng rén 'ér shè fǎ。 tā gēn nián qīng měi mào de guǎ fù yī dí sī · gé lán jié jié hūn liǎo。 zhè chún cuì shì yī bǐ jiāo yì， dǒng bèi jiù xiàng zài luó mǎ shì shàng xiàngmǎ sì dì guān chá yī dí sī de cái huá yǔ jiào yǎng， zuì hòu jué dìng mǎi xià。 yī dí sī fèn rán duì tā mǔ qīn shuō“ shí nián yǐ lái， nú lì shì chǎng shàng de nú lì hé jí shì shàng de mǎdōu méi yòu xiàng wǒ zhè yàng bèi zhǎn lǎn chū shòu， xuàn yào gěi kàn kè。” zài zhè dì 'èr cì hūn yīn zhōng， dǒng bèi yòu shī bài liǎo。 zài yī dí sī shēn shàng， tā pèng dào liǎo duì shǒu， gēn tā yī yàng 'ào màn， gēn tā yī yàng qiáng yìng。 liǎng xià lǐ chōng tū de jiēguǒ， yī dí sī wéi bào fù zhàng fū 'ér yǔ gōng sī de jīng lǐ kǎ kè sī bēn， zào chéng liǎo lún dūn shàng liú shè huì de tóu hào chǒu wén。 cǐ wài， dǒng bèi gāng bì zì yòng， zài kǎ kè de zòng yǒng xià tóu zī bù dāng， zài jiā tíng wēi jī de tóng shí， tā de shāng chuán“ zǐ sì” hào zài hǎi shàng yùnàn， tā de gōng sī dǎo bì， tā běn rén xuān gào pò chǎn。 xī rì fù lì táng huáng de zhái dì bèi zhài jǐn rén bō dé yī gān 'èr jìng， lián lǎo shǔ dōubù yuàn dòu liú， zhǐ shèng xià yī gè dǒng bèi xiàng gè yōu líng sì dì zài kōng lóu zhōng yóu dàng。 zài tā jǔ dāo zì shā de nà yī chà nà， nǚ 'ér fú luò lún sī gǎn dào tā gēn qián， yòng zì jǐ de 'ài gǎn huà liǎo tā， shǐ dǒng bèi zhōng yú rèn shí dào， zì jǐ shì yòu zuì de，“ xū yào dé dào kuān shù”。 dǒng bèi nà wéi bèi tiān lǐ rén xìng de 'ào màn bèi fú luò lún sī de 'ài kè fú liǎo。 zài lǎo nián， tā zhōng yú kāi shǐ guò shàng yī zhǒng hé hū rén xìng de shēng huó。 dǒng bèi de mìng yùn， bìng bù qǔ jué yú wài bù shì tài de fā zhǎn； shì dǒng bèi zì jǐ xìng gé de nèi zài luó ji dǎo zhì tā de quán miàn bēng kuì。 tā shì zài zì jǐ chéng fá zì jǐ， bìng zài yīchóng yī zhòng de chéng fá zhōng yī céng yī céng dì bào lù chū zī chǎn jiē jí běn xìng zhōng nà xiē wéi fǎn tiān lǐ rén qíng de yīn sù。
　　　　 ruò zhǐ kàn gù shì qíng jié， wǒ men yě bù néng fǒu rèn《 dǒng bèi fù zǐ》 de jié jú shì qiǎn bó wú lì de。 fǎ guó zhù míng pī píng jiā tài nà shuō dǒng bèi de“ zhuǎn biàn” huǐ liǎo yī běn chū sè de xiǎo shuō。 yī wèi dāng dài píng lùn jiā yòng bù xiè de kǒu qì wèn dào： nán dào yào bǎ dǒng bèi fù zǐ gōng sī de shì jiè mào yì jiāo gěi yǎn lèi wāng wāng de fú luò lún sī qù jīng yíng má？ zài zhè lǐ， wǒ men yòu huí dào xiǎo shuō de shí dài tè sè wèn tí。 xiàng fú luò lún sī nà lèi de“ ān qí 'ér” shì 'àn zhào dāng shí shèng xíng de gōng shì miáo xiě de， běn lái jiù bù xiàn shí， ér dǒng bèi xiān shēng zài tiě lù sì tōng bā dá guó jì mào yì fā dá de shí dài shì gè zhēn shí de xíng xiàng、 yī gè jiē jí de dài biǎo。 fú luò lún sī zěn me kě néng yòng zì jǐ de yǎn lèi qù gǎn huà dǒng bèi de tiě shí xīn cháng ní？《 dǒng bèi fù zǐ》 yī shū de jià zhí bù zài yú zuò zhě xū gòu chū zěn me yàng de fāng 'àn qù jiě jué máo dùn， ér zài yú tā zài sì shí nián dài zī běn zhù yì jīng jì fā dá de lì shǐ shí qī sù zào liǎo yī gè zī chǎn jiē jí de diǎn xíng xíng xiàng， cóng 'ér shēn kè dì jiē shì liǎo guān yú nà gè jiē jí de zhēn lǐ。
　　　　 yě shì zài《 dǒng bèi fù zǐ》 yī shū zhōng， dí gèng sī dì yī cì cǎi yòng liǎo yī gè xiàng zhēng lái guàn chuān quán shū， yǐ chuán dá chū yī gè zǒng de shì jiè tú jǐng、 yī zhǒng duì shí dài、 duì shè huì de lǐ jiě。 tā céng yòng guò wù、 zhuó liú、 lā jī děng xíng xiàng zuò wéi zhè zhǒng xiàng zhēng， ér zài zhè lǐ shì tiě lù。 tiě lù héng héng huǒ chē、 tiě guǐ héng héng de xíng xiàng zài shū zhōng chū xiàn duō cì， wǎng wǎng zài guān jiàn shí kè xuàn rǎn qì fēn， hōng tuō zhù tí。 yòng tiě lù de xíng xiàng lái gài kuò sì shí nián dài gōng yè huà de yīng guó， dāng rán shì zuì qiàdàng bù guò de， zài 19 shì jì shàng bàn yè， tiě lù de fā zhǎn sù dù shì jīng rén de。 jù tǒng jì， 1825 nián hái zhǐ yòu 25 yīng lǐ de tiě lù xiàn， dào liǎo 1845 nián jiù fā zhǎn chéng 2200 duō gōng lǐ， jí zài bù dào 'èr shí nián de shí jiān lǐ biàn zēng jiā liǎo yī bǎi bèi。 chù zài huǒ chē、 diàn bào shí dài de dǒng bèi bǐ qǐ chéng yì chē de pǐ kè wēi kè xiān shēng jiǎn zhí shǔ yú liǎng gè wán quán bù tóng de shì jiè。 tiě lù de fā zhǎn gǎi biàn liǎo rén men de shēng huó fāng shì， gǎi biàn liǎo rén men duì kōng jiān hé shí jiān de gài niàn， hái chǎn shēng liǎo yī zhī xīn de láo dòng duì wǔ： tiě lù gōng rén。 tiě lù yì wèi zhuólì liàng、 yùn dòng hé sù dù， yì wèi zhe gèng kuài de shēng huó jié zòu。 zhè shí， tiě lù shì shè huì biàn gé de xiàng zhēng， tā gěi pò làn bù kān de jiù zhǐ dài lái liǎo xīn de shēng mìng。 shū zhōng xiě dào， yóu yú tiě lù de jiàn shè， bō lì · tú dé 'ěr yī jiā yuán lái zhù de pín mín qū“ sī tǎ gé sī huā yuán” yǐ bù fù cún zài héng héng“ tā cóng dì miàn shàng xiāo shī liǎo， yuán lái yī xiē xiǔ làn de liáng tíng cán cún de dì fāng， xiàn zài sǒng lì zhe gāo dà de gōng diàn； dà lǐ shí de yuán zhù liǎng biān kāi dào， tōng xiàng tiě lù de xīn shì jiè”。 shū zhōng hái xiě dào， yuán xiān duī fàng lā jī de kōng dì yǐ bèi tūn méi， dài zhī 'ér qǐ de shì“ yī céng céng kù fáng， lǐ miàn zhuāng mǎn liǎo fēng fù de wù zī hé guì zhòng de shāng pǐn”。 ér yuán shì huāng wú rén yān de dì fāng xiàn zài xiū qǐ liǎo huā yuán、 bié shù、 jiào táng hé lìng rén xīn kuàng shén yí de lín yìn dà dào。 guò qù yǐ jué méi wéi shēng de tú dé 'ěr， xiàn zài yě zài xīn jiàn shè qǐ lái de tiě lù shàngdàng shàng liǎo yī míng sī lú gōng。 cóng zhè gè jiǎo dù kě yǐ shuō， dí gèng sī shì zhàn zài zàn shǎng de lì chǎng qù kàn yǐ tiě lù wéi xiàng zhēng de gōng yè huà duì shè huì wù zhì fā zhǎn de jī jí yì yì。
　　　　 dàn shì， lìng yī fāng miàn， tiě lù、 huǒ chē zài dí gèng sī bǐ xià yòu chōng mǎn liǎo wēi xié， tā lì dà wú qióng 'ér yòu nán yǐ kòng zhì， tā zài jí chí zhōng sì yòu zì jǐ de mùdì 'ér bǎ rén de yì yuàn zhì yú bù gù。 dāng bǎo luó jiāng yào sǐ qù shí， shū zhōng miáo xiě liǎo huǒ chē de yùn dòng：“ rì rì yè yè， wǎng fǎn bù tíng， fān téng de rè làng yóu rú shēng mìng de xuè liú”。 bǎo luó zài fù qīn de péi yǎng xià zhèng zài qiāoqiāo sǐ qù， ér chē shēng lóng lóng zhèng yǐ léi tíng wàn jūn zhī shì shǐ lái， xiǎn dé nà yàng lěng kù wú qíng。 bǎo luó sǐ hòu， dǒng bèi chéng huǒ chē lǚ xíng， huǒ chē de jī xiè yùn dòng yǔ dǒng bèi de chén zhòng xīn qíng hù xiāng chèn tuō， hòu lái， dǒng bèi qù zhuī gǎn guǎi piàn tā qī zǐ sī bēn díkǎ kè， tā men yī gè zài táo， yī gè jǐn zhuī， zhè shí huǒ chē xiàng gè kě pà de guài shòu，“ hùn shēn mào huǒ de mó guǐ”， fèn nù dì bēn téng páo xiào， huó xiàng gè fù chóu shén， zhōng yú fēi cháng xì jù xìng dì bǎ kǎ kè niǎn sǐ。
　　　　 zhè lǐ， wèn tí bìng bù zài yú sǐ zài huǒ chē lún xià de kǎ kè shì zuì yòu yìng dé。 zhòng yào de shì， zài zhè lǐ， huǒ chē de xíng xiàng zhēng níng kě pà； tā de lái lín“ bàn suí zhe dà dì de zhèn xiǎng， zài 'ěr biān chàn dǒu de shēng làng， yǐ jí yáo yuǎn de jiān jiào shēng； yī piàn 'àn guāng yóu yuǎn 'ér jìn， chà nà jiān biàn chéng liǎng zhī huǒ hóng de yǎn jīng hé yī tuán liè huǒ， yī lù shàng diào zhe rán shāo de méi kuài； jiē zhe， yī gè páng rán dà wù páo xiào zhe、 kuò zhǎn zhe， yǐ bù kě kàng jù de qì shì yā guò lái”。 zhè gè xíng xiàng yuǎn yuǎn chāo tuō liǎo kǎ kè mìng yùn de qū qū xiǎo shì， ér tí chū liǎo gèng dà de wèn tí： jī xiè de wù zhì yùn dòng suǒ shì fàng chū lái de lì liàng duì yú rén lèi shè huì jiū jìng yì wèi zhe shénme？ zài zhè lǐ， dí gèng sī biǎo xiàn liǎo yī gè zhēn zhèng dà zuò jiā de qì bó。 tā tòu guò xiàn xiàng qù bǔ zhuō běn zhì， tōng guò tiě lù de xiàng zhēng duì zī běn zhù yì wù zhì wén míng de fā zhǎn biǎo shì liǎo shēn shēn de yōu lǜ； zhè bēn téng xiàng qián de lì liàng jiāng bǎ rén lèi shè huì dài wǎng hé chù？ zhè huái yí yǔ yōu lǜ shì gēn zuò zhě tōng guò dǒng bèi de xíng xiàng suǒ tí chū de wèn tí wán quán yī zhì de， tā mendōu huì wéi yī gè zǒng de duì shí dài de yí wèn： zī běn zhù yì de gōng yè héng héng tiě lù héng héng gǎi shàn liǎo rén men de shēng cún tiáo jiàn， dàn tā jiāng yǐn qǐ shénme yàng de shè huì biàn huà？ yī gè dǒng bèi xiān shēng shì bèi nǚ 'ér de lèi shuǐ gǎn huà liǎo， dàn yǐ tiě lù wéi biāo zhì de yīng guó zī běn zhù yì de fā zhǎn bù shì huì chǎn shēng gèng duō de dǒng bèi má？
　　　　《 dǒng bèi fù zǐ》 bù shì shè huì xué lùn wén。 dí gèng sī de mó lì jiù zài yú， tā tí chū liǎo dāng shí shè huì zuì běn zhì de wèn tí， tóng shí yòu xiě chū liǎo rén wù zhòng duō、 qíng jié fù zá、 qíng diào duō biàn de yī bù wǔ guāng shí sè de xiǎo shuō jù zhù。 zài zhè lǐ， yǐ dǒng bèi kě wàng zǐ sì de gù shì wéi zhōng xīn， yǎn chū liǎo nà me duō kòu rén xīn xián de bēi xǐ jù。 shè huì dì wèi yòu tiān rǎng zhī bié de rén wù， mìng yùn què nà me qū zhé dì jiāo zhì zài yī qǐ： dì 'èr rèn dǒng bèi fū rén yī dí sī gēn bèi liú fàng de chāng jì 'ài lì sī bù jǐn shì tóng fù yì mǔ de jiě mèi， ér qiě yě shì bèi tóng yī gè nán xìng héng héng kǎ kè jīng lǐ héng héng qī rǔ de nǚ xìng。 zhè zhǒng qíng jié xìng de bèi hòu bù zhèng shì wēi miào dì 'àn shì zhe yī dí sī yǔ dǒng bèi de hūn yīn de shí zhì？《 dǒng bèi fù zǐ》 hái chōng mǎn liǎo yīn móu hé xuán niàn。 kǎ kè jīng lǐ xiàng gè zhī zhū yī yàng zuò zài tā biān zhì de yīn móu gāng luò de zhōng xīn， wéi dǒng bèi xiān shēng、 yī dí sī， wéi fú luò lún sī hé wò 'ěr tè， shèn zhì wéi lǎo shí bā jié díkǎ tè 'ěr chuán cháng dū shè xià liǎo juàn tào， pài liǎo dīng shào。
　　　　 kě shì dào tóu lái， zhèng shì tā zhè gè xīn fù héng héng bù zhēng qì de shàonián luó bó héng héng chū mài liǎo tā， dǎo zhì tā fěn shēn suì gǔ zài chē lún zhī xià， kě wèi shì jiàn běn shēn de cháo fěng。 zài《 dǒng bèi fù zǐ》 zhōng， yǔ zhèng jù de zhù xiàn píng xíng， zǒng yòu xǐ jù nào jù de fù xiàn， shèn zhì xíng chéng yī huán kòu yī huán de mìng yùn de suǒ liàn。 rú zài dǒng bèi xiān shēng wù sè dì 'èr wèi fū rén de shí hòu， liù xū pāi mǎ dàn yòu kě lián kě xiào de tuō kè sī xiǎo jiě jì yú dǒng bèi fū rén de bǎo zuò， lěng luò liǎo yòu yì yú tā de bái gé sī tuō kè shàoxiào， ér lǎo jiān jù huá de bái gé sī tuō kè wèile cuò bài tuō kè sī xiǎo jiě de yě xīn， bǎ yī dí sī yǐn jiàn gěi dǒng bèi， dǎo zhì liǎo tā de dì 'èr cì zāinàn xìng de hūn yīn。
　　　　 zài《 dǒng bèi fù zǐ》 yī shū zhōng， dí gèng sī hái miáo xiě liǎo xǔ duō xiǎo rén wù hé tā men de shēng huó。 pò luò xiǎo shāng rén suǒ luó mén · jí 'ěr sī、 bǎo luó de nǎi niàn tú dé 'ěr yī jiā、 fú luò lún sī de tiē shēn nǚ pú sū shān děng zài gè fāng miàn dū yǔ dǒng bèi xíng chéng duì bǐ。 wǒ men zài shū zhōng kàn dào， yī fāng miàn shì dǒng bèi de huá guì fǔ dǐ， lìng yī fāng miàn shì tú dé 'ěr yī jiā zhù de pò làn bù kān de pín mín kū。 jìn guǎn rú cǐ， qián zhě lěng ruò bīng jiào， hòu zhě rè qì téng téng， chōng mǎn yǒu 'ài yǔ huān lè。 zài nà lěng kù de zī běn zhù yì shè huì， zhè xiē xiǎo rén wù shēn shàng tǐ xiàn liǎo rén qíng hé rén xìng zhōng shàn liáng měi hǎo de běn néng。 bō lì · tú dé 'ěr nà xīng wàng de jiā zú héng héng tā nà fēng fù de rǔ zhī hé zhòng duō de hái zǐ dū miáo xiě de shí fēn kuā zhāng、 fù yú xiàng zhēng yì yì， tǐ xiàn liǎo shēng de huān lè hé duì wèi lái de xī wàng。 yòu qù de shì， zài zuò zhě de qiǎo miào 'ān pái zhī xià， zhè xiē dì wèi dī jiàn de xiǎo rén wù yòu bù duàn gēn dǒng bèi“ zāo yù”。 rú suǒ luó mén · jí 'ěr sī de hǎo yǒu、 luò bó de chuán cháng nèi dé · kǎ tè 'ěr jìng páo qù yǔ dǒng bèi xiān shēng chēng xiōng dào dì， hái yǐ zì jǐ de táng xiá zǐ děng kě xiào de“ chuán jiā bǎo” lái dāng dǐ yā， yào dǒng bèi jiè kuǎn gěi tā。 zhè zài dǒng bèi kàn lái jiǎn zhí shì hài rén tīng wén。 tā bǎi chū zuì wēi fēng lǐn lǐn de jià shì， dàn zuì méi yòu xiàn shí gǎn díkǎ tè 'ěr chuán cháng duì cǐ háo wú chá jué， nòng dé dǒng bèi fǎn 'ér shǒu zú wú cuò。 hòu lái， nǚ pú sū shān yòu chéng dǒng bèi wò bìng de dāng 'ér gōng rán xiàng tā tiǎo zhàn， zhǐ zhe tā de bí zǐ shǔluò tā de bù shì， qì dé dǒng bèi xiān shēng mù dèng kǒu dāi。 zhè xiē xǐ jù xìng chǎng miàn hōng tuō chū liǎo láo dòng rén mín shēng dòng huó pō de xíng xiàng； shì tā men chuō pò liǎo dǒng bèi de 'ào màn， shǐ tā lù chū liǎo dǐ lǐ de kōng xū yǔ ruǎn ruò。 zài sì shí nián dài miáo xiě láo dòng rén mín xíng xiàng de zuò pǐn zhōng， zhè zhǒng xǐ jù huà de chǔlǐ shì bié jù yī gé de。
　　　　 zǒng zhī， chuān chā yú gù shì zhōng de zhòng duō de péi chèn rén wù dū tiān zhēn wú xié， bù shì shǎ dé kě 'ài jiù shì“ jiǎo huá” dé kě xiào。 tā men bù jǐn tuī dòng qíng jié fā zhǎn， ér qiě wéi quán shū dài lái liǎo huān lè qì fēn hé yōu mò qíng qù， shǐ《 dǒng bèi fù zǐ》 chéng wéi dí gèng sī xiǎo shuō zhōng jì yòu shēn dù yòu ráo yòu qù wèi de dài biǎo zuò。 hái zài liánzǎi de shí hòu， bù shí zì de lǎo bǎi xìng zài yī tiān de láolèi zhī hòu jiù yào jù zài yī qǐ tīng rén lǎng dú《 dǒng bèi fù zǐ》， zhí zhì jīn tiān， tā hái shòu dào guǎng dà dú zhě de xǐ 'ài。

　　Dombey and Son is a novel by the Victorian author Charles Dickens. It was first published in monthly parts between October 1846 and April 1848 with the full title Dealings with the Firm of Dombey and Son: Wholesale, Retail and for Exportation. Dickens started writing the book in Lausanne, Switzerland, but travelled extensively during the course of its writing, returning to England to begin another work before completing Dombey and Son.
　　
　　Plot summary
　　
　　The story concerns Paul Dombey, the wealthy owner of the shipping company of the book's title, whose dream is to have a son to continue his business. The book begins when his son is born, and Dombey's wife dies shortly after giving birth. Following the advice of Mrs Louisa Chick, his sister, Dombey employs a wet nurse named Mrs Richards (Toodle). Dombey already has a daughter, Florence, whom he neglects. One day, Mrs Richards, Florence and her maid, Susan Nipper, secretly pay a visit Mrs Richard's house in Stagg's Gardens in order that she can see her children. During this trip, Florence becomes separated and is kidnapped for a short time by Good Mrs Brown before being returned to the streets. She makes her way to Dombey and Son's offices in the City and is guided there by Walter Gay, an employee, who first introduces her to his uncle, the navigation instrument maker Solomon Gill, at his shop the Midshipman.
　　
　　The child, also named Paul, is weak and often ill, and does not socialize normally with others; adults call him "old fashioned". He is intensely fond of his elder sister, Florence, who is deliberately neglected by her father as irrelevant and a distraction. He is sent away to Brighton, first for his health, where he and Florence lodge with the ancient and acidic Mrs Pipchin, and then for his education to Dr and Mrs Blimber's school, where he and the other boys undergo both an intense and arduous education under the tutelage of Mr Feeder, B.A. and Cornelia Blimber. It is here that Paul is befriended by a fellow pupil, the amiable Mr Toots.
　　
　　Here, Paul's health declines even further in this 'great hothouse' and he finally dies, still only six years old. Dombey pushes his daughter away from him after the death of his son, while she futilely tries to earn his love. In the meantime, Walter, who works for Dombey and Son, is sent off to work in Barbados through the manipulations of the firm's manager, Mr James Carker, 'with his white teeth', who sees him as a potential rival through his association with Florence. His boat is reported lost and he is presumed drowned. Walter's uncle leaves to go in search of Walter, leaving his great friend Captain Edward Cuttle in charge of the Midshipman. Meanwhile, Florence is now left alone with few friends to keep her company.
　　
　　Dombey goes to Leamington Spa with a new friend, Major Joseph B. Bagstock. The Major deliberately sets out to befriend Dombey in order to spite his neighbour in Princess's Place, Miss Tox, who has turned cold towards him owing to her hopes - through her close friendship with Mrs Chick - of marrying Mr Dombey. At the spa, Dombey is introduced via the Major to Mrs Skewton and her widowed daughter, Mrs Edith Granger. It is here that he develops an affection for Edith, encouraged by both the Major and the avaricious mother. After they return to London, Dombey remarries, effectively 'buying' the beautiful but haughty Edith as she and her mother are in a poor financial state. The marriage is loveless; his wife despises Dombey for his overbearing pride and herself for being shallow and worthless. Her love for Florence initially prevents her from leaving, but finally she conspires with Mr Carker to ruin Dombey's public image by running away together to Dijon. They do so after her last final argument with Dombey in which he once again attempts to subdue her to his will. When he discovers that she has left him, he blames Florence for siding with her step-mother, striking her on the breast in his anger, and she is forced to run away from home. Highly distraught, she finally makes her way to The Midshipman where she lodges with Captain Cuttle as he attempts to restore her back to health. They are visited frequently by Mr Toots and his boxing companion, the Chicken, since Mr Toots has been desperately in love with Florence since their time together in Brighton.
　　
　　Dombey sets out to find his wife. He is helped in this by Mrs Brown and her daughter, Alice, who, it turns out, was a former lover of Mr Carker. After being transported as a convict after he involved her in some criminal activities, she is seeking her revenge against him now she is returned to England. Going to Mrs Brown's house, Dombey overhears the conversation between Rob the Grinder - who is in the employment of Mr Carker - and the old woman as to the couple's whereabouts and sets off in pursuit. In the meantime, in Dijon, Mrs Dombey informs Carker that she sees him in no better a light than she sees Dombey, that she will not stay with him and she flees their apartment. Distraught, with both his financial and personal hopes lost, Carker flees from his former employer's pursuit. He seeks refuge back in England but, being greatly overwrought, accidentally falls under a train and is killed.
　　
　　After Carker's death, it is discovered that he had been running the firm far beyond its means. This information is gleaned by Carker's brother and sister, John and Harriet, from Mr Morfin, the assistant manager at Dombey and Son, who sets out to help John Carker. He often overheard the conversations between the two brothers in which James, the younger, often abused John, the older, who was just a lowly clerk and who is sacked by Dombey because of his filial relationship to the former manager. Meanwhile, back at the Midshipman, Walter reappears, having been saved by a passing ship after floating adrift with two other sailors on some wreckage. After some time, he and Florence are finally reunited - not as 'brother' and 'sister' but as lovers, and they marry prior to sailing for China on Walter's new ship. This is also the time when Sol Gills returns to the Midshipman. As he relates to his friends, he received news whilst in Barbados that a homeward-bound China trader had picked up Walter and so had returned to England immediately. He said he had sent letters whilst in the Caribbean to his friend Ned Cuttle c/o Mrs MacStinger at Cuttle's former lodgings, and the bemused Captain recounts how he fled the place, thus never receiving them.
　　
　　Florence and Walter depart and Sol Gills is entrusted with a letter, written by Walter to her father, pleading for him to be reconciled towards them both. A year passes and Alice Brown has slowly been dying despite the tender care of Harriet Carker. One night Alice's mother reveals that Alice herself is the [illegitimate]] cousin of Edith Dombey (which accounts for their similarity in appearance when they both meet). In a chapter entitled 'Retribution', Dombey and Son goes bankrupt. Dombey retires to two rooms in his house and all its contents are put up for sale. Mrs Pipchin, for some time the housekeeper, dismisses all the servants and she herself returns to Brighton, to be replaced by Mrs Richards. Dombey spends his days sunk in gloom, seeing no-one and thinking only of his daughter:
　　“ He thought of her as she had been that night when he and his bride came home. He thought of her as she had been in all the home events of the abandoned house. He thought, now, that of all around him, she alone had never changed. His boy had faded into dust, his proud wife had sunk into a polluted creature, his flatterer and friend had been transformed into the worst of villains, his riches had melted away, the very walls that sheltered him looked on him as a stranger; she alone had turned the same, mild gentle look upon him always. Yes, to the latest and the last. She had never changed to him - nor had he ever changed to her - and she was lost. ”
　　
　　However, one day Florence returns to the house with her son, Paul, and is lovingly reunited with her father.
　　
　　Dombey accompanies his daughter to her and Walter's house where he slowly starts to decline, cared for by Florence and also Susan Nipper, now Mrs Toots. They receive a visit from Edth's Cousin Feenix who takes Florence to Edith for one final time - Feenix sought Edith out in France and she returned to England under his protection. Edith gives Florence a letter, asking Dombey to forgive her her crime before her departure to the South of Italy with her elderly relative. As she says to Florence, 'I will try, then to forgive him his share of the blame. Let him try to forgive me mine!'
　　
　　The final chapter (LXII) sees Dombey now a white-haired old man, 'whose face bears heavy marks of care and suffering; but they are traces of a storm that has passed on for ever, and left a clear evening in its track'.. Sol Gills and Ned Cuttle are now partners at the Midshipman, a source of great pride to the latter, and Mr and Mrs Toots announce the birth of their third daughter. Walter is doing well in business, having been appointed to a position of great confidence and trust, and Dombey is the proud grandfather of both a grandson and grand-daughter of whom he dotes on, and the book ends with the highly moving lines:
　　“ 'Dear grandpapa, why do you cry when you kiss me?'
　　
　　He only answers, 'Little Florence! Little Florence!' and smooths away the curls that shade her earnest eyes.
　　 ”
　　Source
　　
　　Dombey and Son, Charles Dickens, Wordsworth Classics, 1995, ISBN 1 85326 257 9
　　Critical appreciation
　　
　　Dombey and Son was conceived first and foremost as a continuous novel. A letter from Dickens to Forster on 26th July, 1846 shows the major details of the plot and theme already substantially worked out. According to the critic George Gissing, 'Dombey was begun at Lausanne, continued at Paris, completed in London, and at English seaside places; whilst the early parts were being written, a Christmas story, The Battle of Life, was also in hand, and Dickens found it troublesome to manage both together. That he overcame the difficulty -- that, soon after, we find him travelling about England as member of an amateur dramatic company -- that he undertook all sorts of public engagements and often devoted himself to private festivity -- Dombey going on the while, from month to month -- is matter enough for astonishment to those who know anything about artistic production. But such marvels become commonplaces in the life of Charles Dickens.'
　　
　　As with most of Dickens' work, a number of socially significant themes are to be found in this book. In particular the book deals with the then-prevalent common practice of arranged marriages for financial gain. Other themes to be detected within this work include child cruelty (particularly in Dombey's treatment of Florence), familial relationships, and as ever in Dickens, betrayal and deceit and the consequences thereof. Another strong central theme, which the critic George Gissing elaborates on in detail in his 1925 work The Immortal Dickens, is that of pride and arrogance, of which Paul Dombey senior is the extreme exemplification in Dickens' work.
　　
　　Gissing makes a number of points about certain key inadequacies in the novel, not the least that Dickens's central character is largely unsympathetic and an unsuitable vehicle and also that after the death of the young Paul Dombey the reader is somewhat estranged from the rest of what is to follow. He notes that 'the moral theme of this book was Pride -- pride of wealth, pride of place, personal arrogance. Dickens started with a clear conception of his central character and of the course of the story in so far as it depended upon that personage; he planned the action, the play of motive, with unusual definiteness, and adhered very closely in the working to this well-laid scheme'. However, he goes on to write that,'Dombey and Son is a novel which in its beginning promises more than its progress fulfils' and gives the following reasons why:
　　“ Impossible to avoid the reflection that the death of Dombey's son and heir marks the end of a complete story, that we feel a gap between Chapter XVI and what comes after (the author speaks of feeling it himself, of his striving to "transfer the interest to Florence") and that the narrative of the later part is ill-constructed, often wearisome, sometimes incredible. We miss Paul, we miss Walter Gay (shadowy young hero though he be); Florence is too colourless for deep interest, and the second Mrs. Dombey is rather forced upon us than accepted as a natural figure in the drama. Dickens's familiar shortcomings are abundantly exemplified. He is wholly incapable of devising a plausible intrigue, and shocks the reader with monstrous improbabilities such as all that portion of the denouement in which old Mrs. Brown and her daughter are concerned. A favourite device with him (often employed with picturesque effect) was to bring into contact persons representing widely severed social ranks; in this book the "effect" depends too often on "incidences of the boldest artificiality," as nearly always we end by neglecting the story as a story, and surrendering ourselves to the charm of certain parts, the fascination of certain characters.' ”
　　
　　Characters in the novel
　　
　　Karl Ashley Smith (the University of St Andrews) in his Introduction to Wordsworth Classics' Dombey and Son makes some reflections on the novel's characters. He believes that Dombey’s power to disturb comes from his belief that human relationships can be controlled by money, giving the following examples to support this viewpoint:
　　“ He tries to prevent Mrs Richards from developing an attachment to Paul by emphasising the wages he pays her. Mrs Pipchin’s small talk satisfies him as ‘the sort of think for which he paid her so much a quarter’ (p.132). Worst of all, he effectively buys his second wife and expects that his wealth and position in society will be enough to keep her in awed obedience to him. Paul’s questions about money are only the first indication of the naivety of his outlook'. ”
　　
　　However, he also believes that the satire against this man is tempered with compassion.
　　
　　Smith also draws attention to the fact that certain characters in the novel 'develop a pattern from Dickens's earlier novels, whilst pointing the way to future works'. One such character is Little Paul who is a direct descendant of Little Nell. Another is James Carker, the ever-smiling manager of Dombey and Son. Smith notes there are strong similarities between him and the likes of Jaggers in Great Expectations and, even more so, the evil barrister, Mr Tulkinghorn, in Bleak House:
　　“ From Fagin (Oliver Twist) onwards, the terrifying figure exerting power over others by an infallible knowledge of their secrets becomes one of the author’s trademarks ... His gentlemanly businesslike respectability marks him out as the ancestor of Tulkinghorn in Bleak House and even of Jaggers in Great Expectations. And his involvements in the secrets of others leads him to as sticky an end as Tulkinghorn’s. The fifty-fifth chapter, where he is forced to flee his outraged employer, magnificently continues the theme of the guilt-hunted man from Bill Sikes in Oliver Twist and Jonas’s restless sense of pursuit in Martin Chuzzlewit. There is always a strong sense in Dickens of the narrative drive of discovery catching up with those who deal in darkness...' ”
　　
　　Gissing looks at some of the minor characters in the novel and is particularly struck by that of Edward (Ned) Cuttle.
　　“ Captain Cuttle has a larger humanity than his roaring friend [Captain Bunsby], he is the creation of humour. That the Captain suffered dire things at the hands of Mrs. MacStinger is as credible as it is amusing, but he stood in no danger of Bunsby's fate; at times he can play his part in a situation purely farcical, but the man himself moves on a higher level. He is one of the most familiar to us among Dickens's characters, an instance of the novelist's supreme power, which (I like to repeat) proves itself in the bodying forth of a human personality henceforth accepted by the world. His sentences have become proverbs; the mention of his name brings before the mind's eye an image of flesh and blood -- rude, tending to the grotesque, but altogether lovable. Captain Cuttle belongs to the world of Uncle Toby, with, to be sure, a subordinate position. Analyse him as you will, make the most of those extravagances which pedants of to-day cannot away with, and in the end you will still be face to face with something vital -- explicable only as the product of genius. ”
　　
　　The growth of the railways
　　
　　A strong theme is the destruction and degradation (of people and places) caused by industrialisation, illustrated in particular by the building of the new railway through Camden Town (assumed to represent the London and Birmingham Railway constructed between 1833 and 1837). This reflects Dickens's apparent antipathy towards railways[citation needed], later reinforced by his involvement in a train crash in 1865. Soon after this incident he wrote two short stories (Mugby Junction and The Signal-Man) which projected a morbid view of the railways.
　　
　　Final thoughts
　　
　　Gissing refers to Dickens's instinctive genius for reflecting the thoughts and morals of the common man in his writing. He observes that the author was in constant communication with Forster,
　　“ ... as to the feeling of his readers about some proposed incident or episode; not that he feared, in any ignoble sense, to offend his public, but because his view of art involved compliance with ideals of ordinary simple folk. He held that view as a matter of course. Quite recently it has been put forth with prophetic fervour by Tolstoy, who cites Dickens among the few novelists whose work will bear this test. An instinctive sympathy with the moral (and therefore the artistic) prejudices of the everyday man guided Dickens throughout his career, teaching him when, and how far, he might strike at things he thought evil, yet never defeat his prime purpose of sending forth fiction acceptable to the multitude. Himself, in all but his genius, a representative Englishman of the middle-class, he was able to achieve this task with unfailing zeal and with entire sincerity. ”
　　
　　Karl Smith, in his turn, gives his specific reasons for what makes Dombey and Son - and the works of Dickens as a whole - worth reading again and again. He observes that this is based in part on Dickens's 'recognition that solemn themes require humour and verbal vigour to accompany and complement them' and goes on to conclude:
　　“ Grim psychological realism, social commentary, comic absurdity and symbolic transcendence are here brought together more than in any previous novel with the possible exception of Oliver Twist. Dombey and Son not only prepares the ground for Dickens’s later masterpieces, but demands to be enjoyed for its own energy and richness. ”
　　Characters in "Dombey and Son"
　　The "Wooden Midshipman" of Uncle Sol's nautical instrument shop of the same name. Statue in the Charles Dickens Museum.
　　
　　 * Mr Paul Dombey – the wealthy owner of the shipping company
　　 * Edith Granger – proud widowed daughter of Mrs Skewton, becomes second Mrs Dombey
　　 * Mrs Fanny Dombey – Mr Dombey's first wife, mother of Florence and Paul, dies soon after Paul is born
　　 * Master Paul Dombey (Little Dombey) – the son, is weak and often ill
　　 * Miss Florence (Floy) Dombey – the elder daughter whom Mr Dombey neglects
　　 * Mrs Louisa Chick – Mr Dombey's sister
　　 * Mr Chick – husband of Mrs Chick
　　 * Miss Lucretia Tox – friend of Mrs Chick, great admirer of Mr Dombey, and neighbour of Major Joseph Bagstock
　　 * James Carker (Mr Carker the Manager) – devious manager in Mr Dombey's business
　　 * John Carker (Mr Carker the Junior) – disgraced older brother of James, lower level employee in Dombey's business
　　 * Miss Harriet Carker – sister of James and John
　　 * Mr Morfin – assistant manager in Mr Dombey's business
　　 * Mr Perch – messenger in Mr Dombey's business
　　 * Solomon (Uncle Sol) Gills – ships' instrument maker and owner of the "Wooden Midshipman", a shop
　　 * Walter Gay – nephew of Gills, friend to Florence, employee of Mr Dombey, sent away by Carker the Manager
　　 * Captain Edward (Ned) Cuttle – retired sea captain, friend of Gills
　　 * Major Joseph Bagstock (Josh, Joe, J.B., Old Joe) – conceited retired army major, admirer of Miss Tox, friend of Mr Dombey until his downfall
　　 * Briggs – schoolmate of Paul's
　　 * Tozer – schoolmate of Paul's
　　 * Mr P. Toots – schoolmate of Paul's, later a dandy in love with Florence
　　 * The Game Chicken – rowdy companion of Mr Toots
　　 * Miss Susan Nipper – Florence's loyal nurse, later marries Mr. Toots
　　 * Mrs Cleopatra Skewton – Edith Dombey's infirm mother and former lover of Bagstock
　　 * Mr Toodle – a railway engineer
　　 * Polly Toodle (Mrs Richards) – wife of Mr Toodle, engaged as nurse to Paul under the name Mrs Richards (by Mr Dombey's order)
　　 * Robin Toodle (Rob the Grinder, Biler) – son of Mr Toodle and Polly, sent to Charitable Grinders school, later engaged in service to Captain Cuttle and Mr. Carker the Manager
　　 * Good Mrs. Brown – an elderly rag dealer
　　 * Alice – daughter of Brown, former lover of Carker's, recently returned from transportation
　　 * Jack Bunsby – commander of a ship, and regarded as an oracle by Captain Cuttle. Eventually is wedded to Mrs MaacStinger.
　　 * Mrs MacStinger – Captain Cuttle's landlady and nemesis
　　 * Mrs Pipchin – stern widow who keeps an 'infantine Boarding-House of a very select description' in Brighton, where Paul is sent for his health
　　 * Master Bitherstone – a fellow-boarder at Mrs. Pipchin's, much later a student at Doctor Blimber's
　　 * Miss Pankey – a fellow-boarder at Mrs. Pipchin's
　　 * Sir Barnet Skettles –
　　 * Lady Skettles –
　　 * Master Skettles – Brighton school pupil
　　 * Doctor Blimber – runs a school in Brighton which Paul briefly attends
　　 * Mrs Blimber – Doctor Blimber's wife
　　 * Miss Cornelia Blimber – Doctor Blimber's daughter, teacher at the school
　　 * Mr Feeder, B.A. – Doctor Blimber's assistant, teacher at the school
　　 * Diogenes (Di) – A dog from the school, befriended by Paul and adopted by Florence after Paul's death
　　
　　Film, TV or theatrical adaptations
　　
　　The novel has been adapted for the screen at least three times:
　　
　　 * 1917 - a silent starring Norman McKinnel as Paul Dombey and Hayford Hobbs as Walter Gay
　　 * 1969 - a television mini-series starring John Carson as Paul Dombey and Derek Seaton as Walter Gay
　　 * 1983 - a television mini-series starring Julian Glover as Paul Dombey and Max Gold as Walter Gay
　　
　　There have also been BBC radio adaptations.
　　
　　In 2007, a two-part French miniseries, Dombais et Fils, was produced by France 3, directed by Laurent Jaoui and starring Christophe Malavoy as "Charles Dombais" (Paul Dombey).
　　
　　It was announced in September 2009 that Andrew Davies would no longer be writing a proposed television adaptation for the BBC.
　　Original publication
　　
　　Dombey and Son was originally published in 19 monthly instalments; each cost one shilling (except for the last, which cost two shillings, being a double issue) and contained 32 pages of text with two illustrations by Phiz:
　　
　　 * I - October 1846 (chapters 1-4);
　　 * II - November 1846 (chapters 5-7);
　　 * III - December 1846 (chapters 8-10);
　　 * IV - January 1847 (chapters 11-13);
　　 * V - February 1847 (chapters 14-16);
　　 * VI - March 1847 (chapters 17-19);
　　 * VII - April 1847 (chapters 20-22);
　　 * VIII - May 1847 (chapters 23-25);
　　 * IX - June 1847 (chapters 26-28);
　　 * X - July 1847 (chapters 29-31);
　　 * XI - August 1847 (chapters 32-34);
　　 * XII - September 1847 (chapters 35-38);
　　 * XIII - October 1847 (chapters 39-41);
　　 * XIV - November 1847 (chapters 42-45);
　　 * XV - December 1847 (chapters 46-48);
　　 * XVI - January 1848 (chapters 49-51);
　　 * XVII - February 1848 (chapters 52-54);
　　 * XVIII - March 1848 (chapters 55-57);
　　 * XIX-XX - April 1848 (chapters 58-62).
　　
　　Trivia
　　
　　 * The motto of the publication Notes and Queries, "When found, make a note of", comes from the novel.
　　 * In the illustrated plate, "Major Bagstock is delighted to have that opportunity," the lettering "HOTEL" on the central building in the background is written in mirror-writing. Phiz, the illustrator, evidently forgot to reverse the lettering so that it would read correctly when the plate was printed. (However, strangely, he got the other lettering in the same plate correct.)
　　 * Sir Harry Johnston wrote a sequel to Dombey and Son in about 1920, titled The Gay-Dombeys.
　　 * In the novel Velocity by Dean Koontz, the comatose wife of the main protagonist often makes incoherent references to the works of Dickens, the 'most mysterious' coming from Dombey and Son, "I want to know what it says, the sea. What it is that it keeps on saying."

yuǎn dà qián chéng

　　《 gū xīng xuè lèi》（ yòu míng《 yuǎn dà qián chéng》） shì dí gèng sī zuì chéng shú de dài biǎo zuò pǐn zhī yī。 xiǎo shuō xù shù liǎo yī gè qīng nián huàn xiǎng pò miè de gù shì。 jīn qián shǐ pí pǔ cóng yī gè qióng xué tú biàn chéng kuòshào yé， yě shǐ tā rǎn shàng liǎo shàng liú shè huì de 'è xí， ér bèi lí liǎo tā yuán yòu de láo dòng rén mín de chún pǔ tiān xìng。 méi yòu liǎo jīn qián， pí pǔ liǎng shǒu kōng kōng dì huí dào jiā xiāng， zé huī fù liǎo zì jǐ de rén xìng。 dí gèng sī yǐ tā dú tè de fāng shì， chǔlǐ 19 shì jì wén xué zhōng jù yòu pǔ biàn yì yì de qīng nián rén de shēng huó dào lù de zhù tí， tū chū liǎo duì jīn qián fǔ shí zuò yòng de jiē lù。
　　
　　 yīng guó zhù míng zuò jiā chá lǐ · dí gèng sī de cháng piān xiǎo shuō《 gū xīng xuè lèi》 céng xiān hòu jǐ shí cì bèi bān shàng yín mù， dàn yóu dà wèi · lǐ 'ēn dǎo yǎn， yuē hàn · mǐ 'ěr sī、 zhēn · xī méng sī、 ā lì kè · jīn nà sī děng yōu xiù yǎn yuán zhù yǎn de zhè bù yǐngpiān , yī zhí bèi rèn wéi shì zuì chéng gōng de yī bù。 yǐngpiān xù shù 19 shì jì chū， nián qīng de yīng guó xiāng cūn tiě jiàng pí pǔ ( yuē hàn · mǐ 'ěr sī shì )， yóu yú nián yòu shí wú yì zhōng bāng zhù guò yī wèi hán yuān bèi xiàn rù yù de táo fàn， ér dé dào yī gè bù zhī xìng míng de 'ēn rén kāng kǎi dà fāng de bāng zhù。 hòu lái， tā zhōng yú jī shēn yú lún dūn shàng liú shè huì， bìng yǔ měi lì de shàonǚ 'āi sī tái nà ( zhēn · xī méng sī shì ) jié xià liǎo shēn hòu de qíng yì。 dà wèi · lǐ 'ēn dǎo yǎn de zhè bù yǐngpiān， bù jǐn zhēn shí dì zài xiàn liǎo 19 shì jì yīng guó shè huì de fēng mào， ér qiě chéng gōng dì yùn yòng liǎo yī xì liè diàn yǐng jì qiǎo， zài diàn yǐng huà fāng miàn qǔ dé liǎo jié chū de chéng jiù。 tè bié shì yǐngpiān kāi tóu， xiǎo nán hái pí pǔ yǔ táo fàn zài huāng jiāo yě wài xiāng yù de chǎng miàn， zài diàn yǐng shǐ shàng yī zhí bèi fèng wéi jīng diǎn。
　　
　　《 gū xīng xuè lèi》 - mù hòu yīng xióng
　　
　　 zài 'ào sī kǎ jiǎng de lì shǐ shàng， zhè bù yǐngpiān shì xiāng dāng zhòng yào de， shì yǔ《 hēi shuǐ xiān huā》 zuì zǎo huò dé 'ào sī kǎ shè yǐng jiǎng hé měi gōng jiǎng de liǎng bù yīng guó yǐngpiān。 yīng guó shè yǐng shī gài yī · gé lín zài shè zhì liǎo《 gū xīng xuè lèi》、《 wù dū gū 'ér》 děng yǐngpiān zhī hòu， gǎi xíng cóng shì dǎo yǎn gōng zuò， xiān hòu dǎo yǎn liǎo《 biāo zhì》、《 fèn nù de chén mò》、《 yī cì bù gòu》 děng 'èr shí bā bù yǐngpiān。 yuē hàn · bù léi 'ēn (1911－ 1969) bù jǐn shì yīng guó yī wèi chū sè de měi gōng shī， yě shì yī wèi zhì piàn rén hé dǎo yǎn。 chú běn piàn wài， tā hái dān rèn guò《 xī bān yá yuán dīng》、《 mǎ zuǐ》 děng yǐngpiān de měi gōng。
　　
　　《 gū xīng xuè lèi》 - nèi róng jiǎn jiè
　　
　　 gù shì jiǎng shù yī gè xiǎo gū 'ér pí pǔ， cóng xiǎo yǐ kào jiě jiě yǔ jiě fū guò huó， què zài wú yì zhōng bāng zhù liǎo yī wèi hán yuān bèi xiàn de táo fàn， hòu lái shòu dào yī wèi bù yuàn tòu lù shēn fèn de rén shì zī zhù， shǐ tā néng zài shàng liú shè huì qiú xué shēng huó， chéng wéi yī míng shēn shì。 yuē sè fū · hā dí zhí dǎo de cǐ piàn shì dí gèng sī míng zhù《 gū xīng xuè lèi》 de chóngpāi diàn shì bǎn。 yuán běn dǎ suàn pāi chéng gē wǔ piàn， hòu lái yīnyuè chè xiāo， yīn cǐ běn piàn pāi lái jiào wéi píng dàn。 mài kè 'ěr · yuē kè、 zhān mǔ sī · méi sēn děng zài cǐ piàn de biǎo xiàn yī bān， dàn gù shì běn shēn nèi róng fēng fù， réng jù yòu yī dìng de xī yǐn lì。

　　Great Expectations is a novel by Charles Dickens. It was first published in serial form in the publication All the Year Round from 1 December 1860 to August 1861. It has been adapted for stage and screen over 250 times.
　　
　　Great Expectations is written in the style of bildungsroman, which follows the story of a man or woman in their quest for maturity, usually starting from childhood and ending in the main character's eventual adulthood. Great Expectations is the story of the orphan Pip, writing about his life and attempting to become a gentleman along the way. The novel can also be considered semi-autobiographical of Dickens, like much of his work, drawing on his experiences of life and people.
　　
　　The main plot of Great Expectations takes place between Christmas Eve 1812, when the protagonist is about seven years old (and which happens to be the year of Dickens' birth), and the winter of 1840.

wù dū gū 'ér

ní gǔ lā · chē 'ěr ní xuě fū sī jī Nikolai Chernyshevsky

　　gù shì fā shēng zài shí jiǔ shì jì de yīng guó。 zài yī gè hán lěng de shēn yè， yīng guó lún dūn de píng mín qū lǐ， yī gè yīng 'ér gāng gāng chū shì， tā mǔ qīn biàn lí kāi liǎo rén shì。 shuí yě bù zhī dào nà chǎn fù shì shuí， tā yí xià de 'ér zǐ biàn chéng liǎo wú míng de gū 'ér。 gū 'ér bèi běn dì jiào huì shōu liú， yóu nǚ guǎn shì fǔ yǎng， gěi tā qǐ liǎo yī gè míng zì jiào 'ào lì fú。
　　
　　 ào lì fú jiǔ suì de shí hòu， bù néng xiàng yòu qián rén jiā hái zǐ nà yàng jìn xué xiào niàn shū， nǚ guǎn shì hái bǎ tā sòng jìn gōng chǎng， hé qí tā tóng gōng yī qǐ， rì yè gànlì bù shèng rèn de kǔ huó， bìng qiě bù ràng tā chī bǎo。 xìng gé juéjiàng de 'ào lì fú bèi dà jiā tuī wéi dài biǎo， tí chū zēng jiā liáng shí de yào qiú。 gōng chǎng de zhí yuán dà jīng shī sè， biàn bù yuàn jì xù shōu liú 'ào lì fú， pà tā yǐng xiǎng qí tā tóng gōng。
　　
　　 dāng shí， bìn yí guǎn de lǎo bàn sēn yà bǐ lì zhèng xū yào xué tú， biàn huā liǎo wǔ gè jīn bàng bǎ tā lǐng liǎo chū qù。 ào lì fú huàn liǎo gè xīn huán jìng， shēng huó guò dé shāo hǎo liǎo yī xiē。 tā cān jiā chū bìn hángliè， xíng dòng guīju， hé hū lǐ yí。 lǎo bàn hěn mǎn yì， dàn zāo dào niánzhǎng xué tú de jì dù， gù yì jī xiào、 wǔ rǔ tā rén gé。 ào lì fú rěn wú kě rěn， bá quán bó dǒu。 lǎo bǎn fū fù jiāng tā dú dǎ， tā bēi fèn tián xiōng， xīng yè chū zǒu。 yī lián bù xíng liǎo qī tiān， cái dào dá lún dūn。
　　
　　 jǔ mù wú qīn， jī hán jiāo pò， zài jué wàng zhōng tā yù dào liǎo shàonián yà dí。 yà dí dài tā dào yī dòng pò bài de wū zǐ lǐ， zhè lǐ yuán lái shì wō cáng fěi dào de kū。 zéi shǒu fú gēn jiàn 'ào lì fú cōng míng líng lì， hěn shì xǐ huān， biàn yào tā hé yà dí yī qǐ shàng jiē qù tōu qiè。 bù liào yà dí shī shǒu bèi fā xiàn， ào lì fú xīn xū， bá tuǐ táo páo， jiēguǒ bèi rén zhuā jìn liǎo jǐng jú。 zéi shǒu fú gēn tīng shuō 'ào lì fú bèi zhuā， tòng zé yà dí wú yòng， yòu dān xīn 'ào lì fú zài jǐng jú zhāo rèn， biàn hé lìng yī zéi shǒu pí lì shāng yì， jué dìng yóu pí lì de qī zǐ nán shān chū miàn， mào chōng 'ào lì fú jiě jiě， jù bǎo jiāng tā lǐng huí。
　　
　　 dàn shì， jǐng jú shěn pī shí， shū diàn lǎo bǎn zhèng míng， tā kàn dào dāng shí páqiè de xiǎo zéi bìng fēi 'ào lì fú。 bèi qiè de zhù rén shì lún dūn fù wēng luó bó tè， yīn zì jǐ yuān wǎng 'ào lì fú hěn gǎn qiàn jiù， yòu jiàn tā kě 'ài yòu kě lián， biàn jiāng tā lǐng huí jiā qù。 ào lì fú dào luó bó tè jiā hòu， shòu dào lǎo rén de chǒng 'ài， jì bù chóu chī chuān， hái néng shàng xué dú shū。 bù liào， luó bó tè yòu gè míng jiào mèng sī de qīn qī， zhuī jiū 'ào lì fú de shēn shì， fā xiàn yuán lái tā shì luó bó tè de wài sūn， nà luó bó tè de quán bù jiā chǎn biàn yào yóu tā chéng shòu。 mèng sī qǐ tú mǒu duó móu duó zhè bǐ cái chǎn， biàn jiāng cǐ shì yán shǒu mì mì， hái hé zéi shǒu pí lì gòu jié， qǐ tú móu hài 'ào lì fú。
　　
　　 mǒu rì， pí lì hé tā qī zǐ nán shān zài jiē shàng xún fǎng， yù jiàn 'ào lì fú， lì jí bǎ tā bǎng huí zéi kū。 fú gēn jiāng tā dú dǎ， jīhū sàng mìng。 nán shān cóng mèng sī chù tàn tīng dào 'ào lì fú de shēn shì hòu， shí fēn tóng qíng， wèile jiù tā chū xiǎn， ràng tā zǔ sūn tuán yuán， biàn 'àn 'àn qù bǎ xiāo xī gào sù liǎo luó bó tè， dāyìng xià cì dài 'ào lì fú tóng lái。 bù liào shì qíng bèi pí lì fā xiàn， hé fú gēn yī qǐ， jiāng nán shān huó huó dǎ sǐ。 luó bó tè zài jiā děng hòu nán shān， dào liǎo yuē dìng zhī qī， bù jiàn nán shān dào lái。 hū rán tīng dào jiē shàng chuán shuō nán shān cǎn sǐ， biàn bào gào jǐng jú， suí tóng jǐng chá zhí dǎo zéi kū。 shì mín men yě fēn fēn cān jiā zhuō zéi， shēng shì hào dà。 fú gēn hé pí lì zuì zhōng nán táo fǎ wǎng。 ào lì fú sǐ lǐ táo shēng， bèi luó bó tè lǐng huí， zǔ sūn tuán jù。

　　Oliver Twist; or, The Parish Boy's Progress (commonly known as Oliver Twist) (1838) is Charles Dickens' second novel. It is about a boy named Oliver Twist, who escapes from a workhouse and meets a gang of pickpockets in London. The novel is one of Dickens's best-known works, and has been the subject of numerous film and television adaptations.
　　
　　Background
　　
　　Oliver Twist is notable for Dickens' unromantic portrayal of criminals and their sordid lives. The book also exposed the cruel treatment of many a waif-child in London, which increased international concern in what is sometimes known as "The Great London Waif Crisis". This was the astounding number of orphans in London in the Dickens era. The book's subtitle, The Parish Boy's Progress alludes to Bunyan's The Pilgrim's Progress and also to a pair of popular 18th-century caricature series by William Hogarth, "A Rake's Progress" and "A Harlot's Progress".
　　
　　An early example of the social novel, the book calls the public's attention to various contemporary evils, including the Poor Law, child labour and the recruitment of children as criminals. Dickens mocks the hypocrisies of his time by surrounding the novel's serious themes with sarcasm and dark humour. The novel may have been inspired by the story of Robert Blincoe, an orphan whose account of hardships as a child labourer in a cotton mill was widely read in the 1830s. It is likely that Dickens's own early youth as a child labourer contributed to the story's development.
　　
　　Oliver Twist has been the subject of numerous film and television adaptations, and is the basis for a highly successful musical play and the multiple Academy Award winning motion picture Oliver!.
　　Publications
　　Cover, first edition of serial, entitled "The Adventures of Oliver Twist" January 1846
　　Design by George Cruikshank
　　
　　The book was originally published in Bentley's Miscellany as a serial, in monthly instalments that began appearing in the month of February 1837 and continued through April 1839. It was originally intended to form part of Dickens's serial The Mudfog Papers. It did not appear as its own monthly serial until 1846. George Cruikshank provided one steel etching per month to illustrate each installment. The first novelization appeared six months before the serialization was completed. It was published in three volumes by Richard Bentley, the owner of Bentley's Miscellany, under the author's pseudonym, "Boz" and included 24 steel-engraved plates by Cruikshank.
　　Plot summary
　　Workhouse and first jobs
　　
　　Oliver Twist is born into a life of poverty and misfortune in a workhouse in an unnamed town (although when originally published in Bentley's Miscellany in 1837 the town was called Mudfog and said to be within 75 miles north of London). Orphaned almost from his first breath by his mother’s death in childbirth and his father’s unexplained absence, Oliver is meagerly provided for under the terms of the Poor Law, and spends the first eight years of his life at a baby farm in the 'care' of a woman named Mrs. Mann. Along with other juvenile offenders against the poor laws, Oliver is brought up with little food and few comforts. Around the time of the orphan’s ninth birthday, Mr. Bumble, a parish beadle, removes Oliver from the baby farm and puts him to work picking oakum at the main workhouse (the same one where his mother worked before she died). Oliver, who toils with very little food, remains in the workhouse for six months, until the desperately hungry boys decide to draw lots; the loser must ask for another portion of gruel. The task falls to Oliver, who at the next meal tremblingly comes forward, bowl in hand, and makes his famous request: "Please, sir, I want some more."
　　Oliver; "Please, sir, I want some more."
　　
　　A great uproar ensues. The board of well-fed gentlemen who administer the workhouse, while eating a meal fit for a mighty king, offer five pounds to any person wishing to take on the boy as an apprentice. A brutal chimney sweep almost claims Oliver, but, when he begs despairingly not to be sent away with "that dreadful man" a kindly old magistrate refuses to sign the indentures. Later, Mr. Sowerberry, an undertaker employed by the parish, takes Oliver into his service. He treats Oliver better, and, because of the boy's sorrowful countenance, uses him as a mourner, at children's funerals. However, Mr. Sowerberry is in an unhappy marriage, and his wife takes an immediate dislike to Oliver—primarily because her husband seems to like him—and loses few opportunities to underfeed and mistreat him. He also suffers torment at the hands of Noah Claypole, an oafish but bullying fellow apprentice who is jealous of Oliver's promotion to mute, and Charlotte, the Sowerberry's maidservant, who is in love with Noah.
　　
　　One day, in an attempt to bait Oliver, Noah insults the orphan’s late mother, calling her "a regular right-down bad 'un". Oliver flies into an unexpected passion, attacking and even beating the much bigger boy. Mrs. Sowerberry takes Noah's side, helps him subdue Oliver, punches and beats Oliver, and later compels her husband and Mr. Bumble, who has been sent for in the aftermath of the fight, into beating Oliver again. Once Oliver is sent to his room for the night, he does something that he hadn't done since babyhood—breaks down and weeps. Alone that night, Oliver finally decides to run away. He wanders aimlessly for a time, until a well-placed milestone sets his wandering feet towards London.
　　The Artful Dodger and Fagin
　　George Cruikshank original engraving of the Artful Dodger (centre), here introducing Oliver (right) to Fagin (left)
　　
　　During his journey to London, Oliver encounters Jack Dawkins, more commonly known by the nickname the "Artful Dodger", although Oliver's innocent nature prevents him from recognising this hint that the boy may be dishonest. Dodger provides Oliver with a free meal and tells him of a gentleman in London who will "give him lodgings for nothing, and never ask for change". Grateful for the unexpected assistance, Oliver follows Dodger to the "old gentleman"'s residence. In this way, Oliver unwittingly falls in with an infamous Jewish criminal known as Fagin, the so-called gentleman of whom the Artful Dodger spoke. Ensnared, Oliver lives with Fagin and his gang of juvenile pickpockets in their lair at Saffron Hill for some time, naively unaware of their criminal occupations. He believes they make wallets and handkerchiefs.
　　
　　Later, Oliver innocently goes out to "make handkerchiefs" because of no income coming in, with two of Fagin’s underlings: The Artful Dodger and a boy of a humorous nature named Charley Bates. Oliver realises too late that their real mission is to pick pockets. Dodger and Charley steal the handkerchief of an old gentleman named Mr. Brownlow, and promptly flee. When he finds his handkerchief missing, Mr. Brownlow turns round, sees Oliver, and pursues him. Others join the chase and Oliver is caught and taken before the magistrate. Curiously, Mr. Brownlow has second thoughts about the boy—he seems reluctant to believe he is a pickpocket. To the judge's evident disappointment, a bookstall holder who saw Dodger commit the crime clears Oliver, who, by now actually ill, faints in the courtroom. Mr. Brownlow takes Oliver home and, along with his housekeeper Mrs. Bedwin, cares for him.
　　Bill Sikes
　　
　　Oliver stays with Mr. Brownlow, recovers rapidly, and blossoms from the unaccustomed kindness. His bliss, however, is interrupted when Fagin, fearing Oliver might "peach" on his criminal gang, decides that Oliver must be brought back to his hideout. When Mr. Brownlow sends Oliver out to pay for some books, one of the gang, a young girl named Nancy, whom Oliver had previously met at Fagin's, accosts him with help from her abusive lover, a brutal robber named Bill Sikes, and Oliver is quickly bundled back to Fagin's lair. The thieves take the five pound note Mr. Brownlow had entrusted to him, and strip him of his fine new clothes. Oliver, dismayed, flees and attempts to call for police assistance, but is ruthlessly dragged back by the Dodger, Charley and Fagin. Nancy, however, is sympathetic towards Oliver and saves him from beatings by Fagin and Sikes.
　　
　　In a renewed attempt to draw Oliver into a life of crime, Fagin forces him to participate in a burglary. Nancy reluctantly assists in recruiting him, all the while assuring the boy that she will help him if she can. Sikes, after threatening to kill him if he does not cooperate, sends Oliver through a small window and orders him to unlock the front door. The robbery goes wrong, however, and Oliver is shot. After being abandoned by Sikes, the wounded Oliver ends up under the care of the people he was supposed to rob: Rose Maylie, her guardian Mrs. Maylie (unrelated to Rose and raising her as her own niece), and Harry Maylie (Mrs. Maylie's son who loves Rose). Convinced of Oliver’s innocence, Rose takes the boy in and nurses him back to health.
　　Mystery
　　
　　Meanwhile, a mysterious man named Monks has found Fagin and is plotting with him to destroy Oliver's reputation. Monks denounces Fagin's failure to turn Oliver into a criminal and the two of them agree on a plan to make sure he does not find out about his past. Monks is apparently related to Oliver in some manner, although it's not mentioned until later.
　　
　　Back In Oliver's hometown, Mr Bumble has married Ms Corney, the wealthy matron of the workhouse, only to find himself constantly arguing with his unhappy wife. After one such argument, Mr Bumble walks over to a pub, where he meets Monks, who informs him about a boy named Oliver Twist. Later the two of them arrange to take a locket and ring which had once belonged to Oliver's mother and toss it into a nearby river. Monks relates this to Fagin as part of the plot to destroy Oliver, unaware that Nancy has eavesdropped on their conversation and gone ahead to inform Oliver's benefactors.
　　
　　Nancy, by this time ashamed of her role in Oliver's kidnapping, and fearful for the boy's safety, goes to Rose Maylie and Mr. Brownlow to warn them. She knows that Monks and Fagin are plotting to get their hands on the boy again and holds some secret meetings on the subject with Oliver's benefactors. One night Nancy tries to leave for one of the meetings but Sikes refuses permission when she doesn't state exactly where she's going. Fagin realizes that Nancy is up to something and resolves to find out what her secret is.
　　
　　Meanwhile Noah Claypole has fallen out with the undertaker Mr. Sowerberry, stolen money from him and moved to London. Charlotte has accompanied him—they are now in a relationship. Using the name "Morris Bolter", he joins Fagin's gang for protection. During Noah's stay with Fagin, the Artful Dodger is caught with a stolen silver snuff box, convicted (in a very humorous courtroom scene) and transported to Australia. Later, Noah is sent by Fagin to "dodge" (spy on) Nancy, and discovers her secret: she has been meeting secretly with Rose and Mr. Brownlow to discuss how to save Oliver from Fagin and Monks. Fagin angrily passes the information on to Sikes, twisting the story just enough to make it sound as if Nancy had informed on him (in reality, she had shielded Sikes, whom she loves despite his brutal character). Believing her to be a traitor, Sikes beats Nancy to death in a fit of rage, and is himself killed when he accidentally hangs himself while fleeing across a rooftop from an angry mob.
　　Resolution
　　Fagin in his cell.
　　
　　Monks is forced by Mr. Brownlow (an old friend of Oliver's father) to divulge his secrets: his real name is Edward Leeford, and he is Oliver's paternal half-brother and, although he is legitimate, he was born of a loveless marriage. Oliver's mother, Agnes, was their father's true love. Mr. Brownlow has a picture of her, and began making inquiries when he noticed a marked resemblance between her face, and the face of Oliver. Monks has spent many years searching for his father's child—not to befriend him, but to destroy him (see Henry Fielding's Tom Jones for similar circumstances). Brownlow asks Oliver to give half his inheritance (which proves to be meagre) to Monks because he wants to give him a second chance; and Oliver, being prone to giving second chances, is more than happy to comply. Monks then moves to America, where he squanders his money, reverts to crime, and ultimately dies in prison. Fagin is arrested and condemned to the gallows; in an emotional scene, Oliver goes to Newgate Gaol to visit the old reprobate on the eve of his hanging, (where Fagin's terror at being hanged has caused him to come down with fever).
　　
　　On a happier note, Rose Maylie turns out to be the long-lost sister of Oliver's mother Agnes; she is therefore Oliver's aunt. She marries her long-time sweetheart Harry, and Oliver lives happily with his saviour, Mr. Brownlow. Noah becomes a paid, semi-professional informer to the police (a "stoolie", or "stoolpigeon" in American terminology). The Bumbles lose their jobs (under circumstances that cause him to utter the well-known line "The law is a ass") and are reduced to great poverty, eventually ending up in the same workhouse where they once lorded it over Oliver and the other boys; and Charley Bates, horrified by Sikes's murder of Nancy, becomes an honest citizen, moves to the country, and works his way up to prosperity.
　　Major themes and symbols
　　Introduction
　　
　　In Oliver Twist, Dickens mixes grim realism, and merciless satire as a way to describe the effects of industrialism on 19th-century England and to criticise the harsh new Poor Laws. Oliver, an innocent child, is trapped in a world where his only options seem to be the workhouse, Fagin's thieves, a prison or an early grave. From this unpromising industrial/institutional setting, however, a fairy tale also emerges: In the midst of corruption and degradation, the essentially passive Oliver remains pure-hearted; he steers away from evil when those around him give in to it; and, in proper fairy-tale fashion, he eventually receives his reward—leaving for a peaceful life in the country, surrounded by kind friends. On the way to this happy ending, Dickens explores the kind of life an orphan, outcast boy could expect to lead in 1830s London.
　　Poverty and social class
　　
　　Poverty is a prominent concern in Oliver Twist. Throughout the novel, Dickens enlarges on this theme, describing slums so decrepit that whole rows of houses are on the point of ruin. In an early chapter, Oliver attends a pauper's funeral with Mr. Sowerberry and sees a whole family crowded together in one miserable room.
　　
　　This ubiquitous misery makes Oliver's few encounters with charity and love more poignant. Oliver owes his life several times over to kindness both large and small. The apparent plague of poverty that Dickens describes also conveyed to his middle-class readers how much of the London population was stricken with poverty and disease. Nonetheless, in Oliver Twist he delivers a somewhat mixed message about social caste and social injustice. Oliver's illegitimate workhouse origins place him at the nadir of society; as an orphan without friends, he is routinely despised. His "sturdy spirit" keeps him alive despite the torment he must endure. Most of his associates, however, deserve their place among society's dregs and seem very much at home in the depths. Noah Claypole, a charity boy like Oliver, is idle, stupid, and cowardly; Sikes is a thug; Fagin lives by corrupting children; and the Artful Dodger seems born for a life of crime. Many of the middle-class people Oliver encounters—Mrs. Sowerberry, Mr. Bumble, and the savagely hypocritical "gentlemen" of the workhouse board, for example; are, if anything, worse.
　　
　　Oliver, on the other hand, who has an air of refinement remarkable for a workhouse boy, proves to be of gentle birth. Although he has been abused and neglected all his life, he recoils, aghast, at the idea of victimizing anyone else. This apparently hereditary gentlemanliness makes Oliver Twist something of a changeling tale, not just an indictment of social injustice. Oliver, born for better things, struggles to survive in the savage world of the underclass before finally being rescued by his family and returned to his proper place—a commodious country house.
　　
　　In a recent film adaptation of the novel, Roman Polanski dispenses with the problem of Oliver's genteel origins by making him an anonymous orphan, like the rest of Fagin's gang.
　　Oliver is wounded in a burglary.
　　Symbolism
　　
　　Dickens makes considerable use of symbolism. The many symbols Oliver faces are primarily good versus evil, with evil continually trying to corrupt and exploit good, but good winning out in the end. The "merry old gentleman" Fagin, for example, has satanic characteristics: he is a veteran corrupter of young boys who presides over his own corner of the criminal world; he makes his first appearance standing over a fire holding a toasting-fork; and he refuses to pray on the night before his execution. The London slums, too, have a suffocating, infernal aspect; the dark deeds and dark passions are concretely characterised by dim rooms, and pitch-black nights, while the governing mood of terror and brutality may be identified with uncommonly cold weather. In contrast, the countryside where the Maylies take Oliver is a pastoral heaven.
　　
　　Food is another important symbol; Oliver's odyssey begins with a simple request for more gruel, and Mr. Bumble's shocked exclamation, represents he may be after more than just gruel. Chapter 8—which contains the last mention of food in the form of Fagin's dinner—marks the first time Oliver eats his share and represents the transformation in his life that occurs after he joins Fagin's gang.
　　
　　The novel is also shot through with a related motif, obesity, which calls attention to the stark injustice of Oliver's world. When the half-starved child dares to ask for more, the men who punish him are fat. It is interesting to observe the large number of characters who are overweight.
　　
　　Toward the end of the novel, the gaze of knowing eyes becomes a potent symbol. For years, Fagin avoids daylight, crowds, and open spaces, concealing himself in a dark lair most of the time: when his luck runs out at last, he squirms in the "living light" of too many eyes as he stands in the dock, awaiting sentence. After Sikes kills Nancy, he flees into the countryside but is unable to escape the memory of her dead eyes. Charley Bates turns his back on crime when he sees the murderous cruelty of the man who has been held up to him as a model.
　　
　　Nancy’s decision to meet Brownlow and Rose on London Bridge reveals the symbolic aspect of this bridge in Oliver Twist. Bridges exist to link two places that would otherwise be separated by an uncrossable void. The meeting on London Bridge represents the collision of two worlds unlikely ever to come into contact—the idyllic world of Brownlow and Rose, and the atmosphere of degradation in which Nancy lives. On the bridge, Nancy is given the chance to cross over to the better way of life that the others represent, but she rejects that opportunity, and by the time the three have all left the bridge, that possibility has vanished forever.
　　
　　When Rose gives Nancy her handkerchief, and when Nancy holds it up as she dies, Nancy has gone over to the "good" side against the thieves. Her position on the ground is as if she is in prayer, this showing her godly or good position.
　　Characters
　　The Last Chance.
　　
　　In the tradition of Restoration Comedy and Henry Fielding, Dickens fits his characters with appropriate names. Oliver himself, though "badged and ticketed" as a lowly orphan and named according to an alphabetical system, is, in fact, "all of a twist." Mr. Grimwig is so called because his seemingly "grim", pessimistic outlook is actually a protective cover for his kind, sentimental soul. Other character names mark their bearers as semi-monstrous caricatures. Mrs. Mann, who has charge of the infant Oliver, is not the most motherly of women; Mr. Bumble, despite his impressive sense of his own dignity, continually mangles the king's English he tries to use; and the Sowerberries are, of course, "sour berries", a reference to Mrs. Sowerberry's perpetual scowl, to Mr. Sowerberry's profession as an undertaker, and to the poor provender Oliver receives from them. Rose Maylie’s name echoes her association with flowers and springtime, youth and beauty, while Toby Crackit’s is a reference to his chosen profession–housebreaking.
　　
　　Bill Sikes’s dog, Bull’s-eye, has “faults of temper in common with his owner” and is an emblem of his owner’s character. The dog’s viciousness represents Sikes’s animal-like brutality, while Sikes's self-destructiveness is evident in the dog's many scars. The dog, with its willingness to harm anyone on Sikes's whim, shows the mindless brutality of the master. Sikes himself senses that the dog is a reflection of himself and that is why he tries to drown the dog. He is really trying to run away from who he is.[citation needed] This is also illustrated when Sikes dies and the dog does immediately also. After Sikes murders Nancy, Bull’s-eye also comes to represent Sikes’s guilt. The dog leaves bloody footprints on the floor of the room where the murder is committed. Not long after, Sikes becomes desperate to get rid of the dog, convinced that the dog’s presence will give him away. Yet, just as Sikes cannot shake off his guilt, he cannot shake off Bull’s-eye, who arrives at the house of Sikes’s demise before Sikes himself does. Bull’s-eye’s name also conjures up the image of Nancy’s eyes, which haunts Sikes until the bitter end and eventually causes him to hang himself accidentally.
　　
　　Dickens employs polarised sets of characters to explore various dual themes throughout the novel;[citation needed] Mr. Brownlow and Fagin, for example, personify 'Good vs. Evil'. Dickens also juxtaposes honest, law-abiding characters such as Oliver himself with those who, like the Artful Dodger, seem more comfortable on the wrong side of the law. 'Crime and Punishment' is another important pair of themes, as is 'Sin and Redemption': Dickens describes criminal acts ranging from picking pockets to murder (suggesting that this sort of thing went on continually in 1830's London) only to hand out punishments with a liberal hand at the end. Most obviously, he shows Bill Sikes hounded to death by a mob for his brutal acts, and sends Fagin to cower in the condemned cell, sentenced to death by due process. Neither character achieves redemption; Sikes dies trying to run away from his guilt, and on his last night alive, the terrified Fagin refuses to see a rabbi or to pray, instead asking Oliver to help him escape. Nancy, by contrast, redeems herself at the cost of her own life, and dies in a prayerful pose.
　　
　　Nancy is also one of the few characters in Oliver Twist to display much ambivalence. Although she is a full-fledged criminal, indoctrinated and trained by Fagin since childhood, she retains enough empathy to repent her role in Oliver's kidnapping, and to take steps to try to atone. As one of Fagin's victims, corrupted but not yet morally dead, she gives eloquent voice to the horrors of the old man's little criminal empire. She wants to save Oliver from a similar fate; at the same time, she recoils from the idea of turning traitor, especially to Bill Sikes, whom she loves. When he was later criticised for giving a "thieving, whoring slut of the streets" such an unaccountable reversal of character, Dickens ascribed her change of heart to "the last fair drop of water at the bottom of a dried-up, weed-choked well".

zěn me bàn

chuān duān kāng chéng Kawabata Yasunari

　　cháng piān xiǎo shuō《 zěn me bàn？》 shì chē 'ěr ní xuě fū sī jī zài yù zhōng chuàng zuò de。 zhè bù xiǎo shuō de xiǎn zhù tè sè shì yǐ huān lè de qíng diào、 míng lǎng de huà miàn zhǎn shì liǎo xīn rén de gù shì。 rén wù xīn、 gù shì xīn、 sī xiǎng xīn， zhèng shì 'é guó jiě fàng yùn dòng jìn rù dì 'èr jiē duàn de fǎn yìng。《 zěn me bàn ?》 de fù biāo tí shì《 xīn rén de gù shì》。 qí zhōng de“ xīn rén” fēn wéi liǎng lèi： yī lèi shì wēi lā、 luó pǔ huò fū、 jí 'ěr shā luò fū hé méi chá luò fū děng rén， shì pǔ tōng rén zhōng de“ xīn rén”； lìng yī lèi jiù shì lā hè měi tuō fū děng rén， shì“ xīn rén” zhōng de tè shū rén。 wēi lā děng réndōu shì píng mín zhī shí fènzǐ， chū shēn dī jiàn， zì shí qí lì， duì zì yóu rè liè zhuī qiú， duì rén de zūn yán jí wéi zūn zhòng， zhè shì tā men gòng tóng de jīng shén tè diǎn。 tā men bù xǐ huān fú kuā， chóng shàng zì rán kē xué， bàn shì cóng shí jì chū fā， jiǎng huà yào jiě jué shí jì wèn tí。 zhè xiē xīn rén zài 'ài qíng chōng tū zhōng， xiǎn shì liǎo gāo shàng de pǐn zhì。 tā men xìn fèng de xī wàng rén réndōu kuài lè xìng fú。 dāng wēi lā bèi tā de mǔ qīn bī pò jià gěi kuòshào sī tuō liè xī ní kē fū 'ér yào zì shā shí， luó pǔ huò fū duō fāng běn zǒu， zhōng yǐ jiǎ jié hūn de fāng shì， bǎ wēi lā jiù chū kǔ hǎi。 wèicǐ luó pǔ huò fū xī shēng liǎo zì jǐ de xué yè， fàng qì liǎo zì jǐ de xué yè hé dāng jiào shòu de qián tú。 wēi lā hé jí 'ěr shā luò fū de 'ài qíng shì zhēn zhèng de 'ài qíng。 kě shì， wēi lā yì shí dào zhè kě néng shǐ luó pǔ huò fū tòng kǔ shí， biàn jié lì gǔ qǐ rè qíng qù 'ài luó pǔ huò fū。 ér jí 'ěr shā luò fū yě zhù dòng shū yuǎn liǎo tóng wēi lā de lián xì， bù zài bài fǎng luó pǔ huò fū jiā。 zhè shì tā mendōu yào wéi duì fāng de xìng fú zhuóxiǎng suǒ biǎo xiàn chū de gāo shàng pǐn zhì。 luó pǔ huò fū jué chá chū zhè zhǒng biàn huà， jiù jié lì cù chéng zhè chǎng zhēn zhèng de liàn 'ài。 luó pǔ huò fū yǐ jiǎ zì shā tuì chū liǎo sān jiǎo guān xì。 jié shù liǎo zhè chǎng zài xī 'ōu wén xué zhōng cháng jiàn de nán yǐ jiě jué de máo dùn。
　　《 zěn me bàn？》 - nèi róng jiǎn jiè
　　
　　 wéi lā shì gè fù yòu bào fù de měi lì gū niàn， tā de mǔ qīn wèile móu qǔ qián cái， yào bǎ tā jià gěi yī wán kù zǐ dì。 zài yī xué yuàn xué shēng luò pǔ huò fū de bāng zhù xià， tā tuō lí jiā tíng yǔ zhī jié hé bìng chuàng bàn liǎo yī jiā shí xíng shè huì zhù yì yuán zé de gōng chǎng。 luò pǔ huò fū xìng gé nèi xiàng， wéi rén yán sù， ér wéi lā què rè qíng bēn fàng， shàn yú jiāo jì。 wéi lā 'ài shàng liǎo xìng gé xiāng tóu de zhàng fū de hǎo yǒu。 wèile wéi lā de xìng fú zěn me bàn ní？ luò pǔ huò fū jué dìng xiǎng fǎ chéng quán tā men……
　　《 zěn me bàn？》 - chuàng zuò jīng lì
　　
　　《 zěn me bàn？》 shì chē 'ěr ní xuě fū sī jī zài jiān yù lǐ xiě chéng de。 wèile méng bì shěn chá guān de jiǎn chá， tā yòng liǎo“ zhàng yǎn fǎ”， kāi piān jiù xiě“ yī gè shǎ guā” de zì shā， pū shuò mí lí， liú xià xuán niàn； zhī hòu， yòu xiě yī gè qīng nián nǚ zǐ shōu dào zì shā zhě de liú yán xìn hòu， bù tóng xún cháng de fǎn yìng； zài zài“ xù” zhōng， yòng zuò zhě de kǒu wěn， tōng guò“ nǚ dú zhě” de shēn fèn shuō： zhè bù xiǎo shuō de nèi róng shì liàn 'ài， zhùjué shì yī gè nǚ rén。 zhè yàng de shǒu fǎ， jì néng méng bì dī shuǐ píng de shěn chá guān， yòu néng xī yǐn yī bān de dú zhě kàn xià qù。 shàonián de wǒ， zhèng shì xiǎng yào zhǎo dào nà gè xuán niàn de dá 'àn， cái xīng qù 'àng rán dì dú xià qù de。
　　
　　 qí shí， chē 'ěr ní xuě fū sī jī zhēn zhèng yào xiě de， shì 'é guó de“ xīn rén”， zhèng rú zhè běn shū de fù biāo tí suǒ zhǐ chū de， tā shì“ xīn rén de gù shì”。
　　
　　 chē 'ěr ní xuě fū sī jī yòng shí fēn hán xù de bǐ diào， kè huà liǎo lā hè měi tuō fū、“ chuān sāngfú de tài tài” děng zhí yè gé mìng jiā de xíng xiàng。 ér chē 'ěr ní xuě fū sī jī zhuóbǐ zuì duō de rén wù， shì lìng wài de sān wèi“ xīn rén”： luó pǔ huò fū、 wēi lā、 jí 'ěr shā nuò fū。 tā mendōu shì chū shēn píng mín de zhī shí fènzǐ， zì zūn， zì qiáng， zhèng pài， zhèng zhí。 qí zhōng zuì ràng wǒ gǎn dòng de rén wù， shì nán zhù rén wēng luó pǔ huò fū。 tā duì zǔ guó hé rén mín de 'ài xīn， tā xiǎng yào gǎi biàn shè huì xiàn zhuàng de yǒng qì， tā de zhì huì， tā gāng qiáng 'ér yán sù de xìng gé， tā duì ruò zhě de tóng qíng hé bāng zhù， tā duì dài yǒu yì hé 'ài qíng de tài dù， yóu qí shì tā zài chǔlǐ tā běn rén、 wēi lā jí jí 'ěr shā nuò fū 3 rén zhī jiān de gǎn qíng jiū gé shí， suǒ biǎo xiàn chū lái de gāo shàng dào dé qíng cāo， dū lìng wǒ jì xīn shǎng yòu jìng pèi。 wǒ jué dé luó pǔ huò fū jiǎn zhí jiù shì yī gè“ huó léi fēng”， kě shì tā běn rén què bù zhè yàng rèn wéi， tā chēng zì jǐ shì“ hé lǐ de lì jǐ zhù yì zhě”， zhè shì chē 'ěr ní xuě fū sī jī wèitā bǐ xià de“ xīn rén” shè lì de zuò rén biāo zhǔn。 luó pǔ huò fū jué dé： zì jǐ 'ài de rén xìng fú liǎo， tā jiù kuài lè liǎo。 dāng rán， zhè yàng chù chù wéi bié rén zhuóxiǎng de hǎo rén， shì yīnggāi yòu yī gè měi mǎn jié jú de， hòu lái tā xiè hòu liǎo dì 4 wèi“ xīn rén” kǎ jié lín nà， yī gè yǔ tā de xìng gé hé xié， yòu rú wēi lā yī yàng yōu xiù de gū niàn， jié wéi kàng lì。 yóu yú luó shì fū fù hé jí shì fū fù běn lái jiù shì zhì tóng dào hé de“ xīn rén”， tā men yòu zhe gòng tóng de lǐ xiǎng， zài luó pǔ huò fū zhǎo dào liǎo kě xīn de qī zǐ zhī hòu， tā yǔ wēi lā hé jí 'ěr shā nuò fū zhōng yú chóngféng， liǎng duì zhì yǒu zhǎo dào liǎo liǎng tào pí lián zhe de fáng zǐ， pí lín 'ér jū， yī biān xíng yī， yī biān jiào yù xué shēng， yī biān yǐ tā men dú tè de fāng shì wèiguó jiā fú wù。
　　《 zěn me bàn？》 - zuò zhě jiè shào
　　
　　 chē 'ěr ní xuě fū sī jī chē 'ěr ní xuě fū sī jī
　　
　　 chē 'ěr ní xuě fū sī jī chū shēng zài yī gè shén fù jiā tíng。 tiān zī cōng yíng de tā 16 suì yǐ jīng tōng lā dīng、 xī là、 fǎ、 dé、 yīng děng 7 zhǒng yǔ yán。 zhōng xué shí dài tā zuì xīn yú bié lín sī jī yǔ hè 'ěr cén。 18 suì tí qián jìn rù dà xué， tā yī biān dú chōu xiàng de hēi gé 'ěr（ 1770-1831）、 fèi 'ěr bā hā（ 1804-1872）， yī biān rè qíng guān zhù zhe 1848 nián de 'ōu zhōu gé mìng。 tā jiā rù liǎo dài biǎo jìn bù lì liàng de zá zhì《 xiàn dài rén》， cù shǐ tā chéng liǎo gé mìng de jiǎng tán。 tā tóng qíng gé mìng zhě， yǔ tā men cháng jiǔ bǎo chí mìqiè de lián xì。 1862 nián， duì tā dí shì yǐ jiǔ de shā huáng zhèng fǔ zhōng yú bǎ tā guān jìn liǎo bǐ dé bǎo niè wǎ hé pàn de yī suǒ jiān yù。 zhè gè cóng bù tíng xī de jīng shén láo dòng zhě yì shū、 xiě shū、 zhuàn wén。 zài bèi guān yā de 678 tiān zhōng， bǎi wàn yán de wén zì rú quán yǒng yī bān gǔ gǔ liú chū。《 zěn me bàn？》 biàn shì tā yòng 110 tiān shí jiān xiě chéng de。
　　《 zěn me bàn？》 - xiǎo shuō yǐng xiǎng
　　
　　 wěi dà de liè níng shuō：“ zài wǒ jiē chù dào mǎ kè sī、 ēn gé sī hé pǔ liè hàn nuò fū de zhù zuò zhī qián， duì wǒ qǐ zhù yào de、 zhàn yā dǎo yōu shì yǐng xiǎng de zhǐ shì chē 'ěr ní xuě fū sī jī， zhè zhǒng yǐng xiǎng jiù shì cóng《 zěn me bàn？》 kāi shǐ de”，“ zhè bù xiǎo shuō néng shǐ rén zhěng gè de shēng mìng dū chōng mǎn huó lì。” liè níng céng zài yī gè xià tiān bǎ《 zěn me bàn？》 lián dú 5 biàn。 wěi dà de zuò pǐn bǎ yī qiē wěi dà de líng hún jǐn mì dì lián jié zài yī qǐ。
　　《 zěn me bàn？》 - zhōng guó chū bǎn
　　
　　 chē 'ěr ní xuě fū sī jī de měi xué dài biǎo zuò《 shēng huó yǔ měi xué》 zǎo zài 1942 nián yóu zhōu yáng（ 1908-1989） yì chū， zài yán 'ān chū bǎn。《 zěn me bàn？》 50 nián dài chū biàn yòu liǎo fèi míng jūn、 luó shū、 jiǎng lù děng 4 zhǒng yì běn。 gé mìng jiā de chē 'ěr ní xuě fū sī jī yǔ tā de“ xīn rén” de gù shì zǎo yǐ zài zhù zào zhōng guó de“ xīn rén” zhōng fā shēng liǎo bù kě gūliáng de shēn kè zuò yòng。

　　What is to be Done? (Russian: 'Что делать') (alternatively translated as "What Shall we Do?") is a novel written by the Russian philosopher, journalist and literary critic Nikolai Chernyshevsky when imprisoned in the Peter and Paul Fortress of St. Petersburg. It was written partly in response to "Fathers and Sons" by Ivan Turgenev. The novel's hero, named Rakhmetov, became an emblem of the philosophical materialism and nobility of Russian radicalism. The novel also expresses, in one character's dream, a society gaining "eternal joy" of an earthly kind.
　　
　　Chernyshevsky offered an ideological vision that promised to resolve the tensions produced by educational reform, Western European competition and cultural intrusion, and the advent of secularization and impact of science in a still predominantly agrarian Christian community. By pursuing these ideals from a materialist and scientific perspective, he undoubtedly persuaded the younger generation of the intelligentsia of the possibility as well as the nobility of acting to overcome Russia's great social and economic problems - thus providing declasse intellectuals with a social role that gave them considerable self-esteem regardless of the success or failure of their actions. For this very reason, the novel has been called "a handbook (or bible) of radicalism" and led to the founding of a Land and Liberty society.

shàonǚ kāi yǎn

chuān duān kāng chéng Kawabata Yasunari

　　běn piān chuàng zuò yú 1936 héng 1937 nián， shì zuò zhě chuàng zuò gāo fēng qī de yī bù cháng piān lì zuò。 zuò pǐn tōng guò duì yì jì 'ā dǎo de nǚ 'ér chū zhī yǎn jīng fù míng de gù shì de jiǎng shù， zài xiàn liǎo rì běn shè huì zhōng guì zú jiē céng duì píng mín jiē céng de yā yì、 qí shì hé wǔ rǔ， fǎn yìng liǎo rì běn píng mín yóu qí shì yì jì jí qí zǐ nǚ de kǎn kě zāo yù yǔ bù gōng mìng yùn， jì tuō liǎo zuò jiā duì bèi yā pò yǔ bèi qī rǔ zhě shēn kè de tóng qíng

cǎi hóng jǐ dù

chuān duān kāng chéng Kawabata Yasunari

　　《 cǎi hóng jǐ dù》 shì chuān duān kāng chéng zhàn hòu de yī bù zhōng jiān xiǎo shuō， gāi zuò yǐ sì jì zhī hóng zuò wéi xiàng zhēng wù， pǔ xiě liǎo tóng fù yì mǔ sān jiě mèi zhàn hòu gè zì bù tóng de mìng yùn， bìng yǐ dōng fāng de“ xū wú” jīng shén shǐ zhàn hòu tòng kǔ de líng hún huò dé liǎo zhěng jiù， shēn kè tǐ xiàn liǎo chuān duān kāng chéng zài zhàn hòu lì tú tōng guò chuán tǒng zhī měi huī fù mín zú zì xìn lì de qí yuàn。
　　
　　 guān jiàn cí： hóng； xiàng zhēng； chuán tǒng měi； zhěng jiù
　　
　　 zhōng tú fēn lèi hào： 1106.4 wén xiàn biāozhì mǎ： A wén zhāng biān hào： 1009-8135(2010)01-0088-04
　　
　　 chuān duān kāng chéng shì rì běn dì yī wèi huò dé nuò bèi 'ěr wén xué jiǎng de zuò jiā， tā de xiǎo shuō chuàng zuò cóng xíng shì lái shuō yǐ chún wén xué wéi zhù， cǐ wài， qí xiǎo shuō de zhòng yào zǔ chéng bù fēn hái yòu zhōng jiān xiǎo shuō、 shǎo nán shàonǚ xiǎo shuō děng。 zhōng jiān xiǎo shuō shì jiè yú chún wén xué yǔ dà zhòng xiǎo shuō zhī jiān de yī zhǒng xiǎo shuō xíng shì， dài biǎo zuò pǐn yòu《 cǎi hóng jǐ dù》、《 rì xī yuè xī》、《 hé biān xiǎo zhèn de gù shì》、《 yù xiǎng》 děng。 zhè lèi zuò pǐn zài yán jiū chuān duān kāng chéng de wén zhāng zhōng jiào shǎo bèi tí jí， dàn zhè xiē zuò pǐn duō yǐ zhàn hòu wéi bèi jǐng， zài zì lǐ xíng wèn yǐn xiàn liǎo zuò zhě duì zhàn hòu měi jūn zhàn lǐng rì běn de xiàn shí de bù mǎn， tóng shí yě tǐ xiàn liǎo chuān duān kāng chéng duì zhěng jiù mín zú lún luò de líng hún、 huī fù mín zú zì xìn lì de qí yuàn。
　　
　　《 cǎi hóng jǐ dù》 xiě de shì shuǐ yuán héng héng yī míng zhàn hòu jiàn zhù jiā yǔ qí sān míng tóng fù yì mǔ de nǚ 'ér má zǐ、 bǎi zǐ hé xiǎo ruò de rén shēng gù shì。 bǎi zǐ wéi cháng nǚ， yě shì gāi xiǎo shuō de zhù yào rén wù， qí mǔ shēng xià tā hòu zì shā， shuǐ yuán suì yǔ má zǐ shēng mǔ jié hūn， cǐ hòu yòu yǔ lìng yī míng nǚ zǐ shēng xià dì sān gè nǚ 'ér xiǎo ruò。 yīn wéi zài mǔ qīn zì shā jí jì mǔ、 jì nǚ、 fù qīn de jiā tíng zhōng zhǎngdà， bǎi zǐ duì gǎn qíng jí dù bù xìn rèn， zì chū liàn nán yǒu xià 'èr zài 'èr zhàn zhōng zuò wéi kōng jūn 'ér xiàn shēn hòu， biàn kāi shǐ wán qǐ wēi xiǎn de gǎn qíng yóu xì， yǔ yī míng jiào xiǎo gōng de shàonián wán qǐ liàn 'ài de yóu xì bìng huái yùn， ér shuāng fāng dōuwú fǎ jiē shòu xiàn shí， xiǎo gōng zuì zhōng zì shā， bǎi zǐ yě fàng qì liǎo hái zǐ。 zài zhè bù zuò pǐn zhōng， chuān duān kāng chéng bìng méi yòu yòng qū zhé de gù shì qíng jié lái xī yǐn dú zhě， xiāng fǎn， chuān duān kāng chéng yòng rì běn chuán tǒng shěn měi yì shí zhōng de“ jì yǔ” lái 'àn shì zuò pǐn de nèi róng。 zhè bù xiǎo shuō yòu bèi yì wéi“ jǐ cì chū hóng”， zhěng piān yǐ“ hóng” zuò wéi hé xīn yì xiàng， tōng guò qí zài bù tóng jì jié zhōng de xíng xiàng biǎo xiàn， shēn kè fǎn yìng liǎo tóng fù yì mǔ sān jiě mèi（ bǎi zǐ、 má zǐ hé ruò zǐ） zài zhàn hòu huán jìng zhōng gè zì bù tóng de mìng yùn。
　　
　　 yī、“ hóng” de nèi hán
　　
　　 chuān duān kāng chéng zài bù shǎo zuò pǐn zhōng dū yòng“ hóng” lái xiàng zhēng rén wù de qíng gǎn hé mìng yùn， bìng fù yú měi lì de qī cǎi zhī“ hóng” yǐ fù zá de nèi hán。 zài chuān duān kāng chéng zuò pǐn zhōng，“ hóng” shǒu xiān shì xī wàng hé chōng jǐng de xiàng zhēng。“ dōng jīng yě chū cǎi hóng má？ zhè jìng zǐ lǐ yě huì chū cǎi hóng má？ yòu xiǎo de tā zhàn zài cǎi hóng de xiǎo hé biān。” zhè lǐ de“ hóng” shì《 shuǐ jīng huàn xiǎng > zhōng de nǚ zhù rén gōng zài zuò wéi xiǎo gū niàn shí de xī wàng， biǎo dá liǎo tā duì dōng jīng hé wèi lái de měi hǎo xiàng wǎng。《 hóng》 zhōng， měi shàonián mù cūn céng mèng xiǎng chéng wéi fēi xíng jiā， dàn zài zhàn hòu hùn luàn de shí dài zhōng， tā zhěng tiān hé wǔ nǚ men hùn zài yī qǐ， zuì shēng mèng sǐ。 yú shì tā duì shēng huó gǎn dào liǎo yàn juàn， jìn 'ér xiǎng táo bì xiàn shí，“ xiǎng fēi dào cǎi hóng lǐ”。 zài tā yǎn lǐ， hóng shì chāo yuè xiàn shí de lǐ xiǎng shì jiè de xiàng zhēng。
　　
　　 qí cì，“ hóng” hái shì jí xiōng de xiàng zhēng。 qī cǎi zhī hóng shì xuàn lì duō zī de， rén men wǎng wǎng bǎ hóng de chū xiàn dāng zuò jí lì de xiàng zhēng， rèn wéi tā huì gěi rén men dài lái xìng fú hé xī wàng。 dàn qī cǎi zhī hóng yòu shì xū huàn de、 shùn xī jí shì de， xìng fú hé“ hóng” yī yàng yě duō shì duǎn zàn wú cháng de。 yīn cǐ， zài tè dìng qíng jìng xià， chuān duān kāng chéng xiǎo shuō zhōng de“ hóng” yòu shì bù jí lì de xiàng zhēng。 zài xiǎo shuō《 měi lì yǔ bēi 'āi》 zhōng， bǎn jiàn qìng zǐ shì gè fù yòu mèi lì de yāo nǚ， bìng yǔ zì jǐ de shī fù yīn zǐ xiàn rù tóng xìng liàn zhī zhōng。 chū yú jí dù， qìng zǐ zhù dòng gòu yǐn yīn zǐ de chū liàn qíng rén dà mù nián xióng hé tā de 'ér zǐ tài yī láng。 tā yāo xì yī tiáo zì jǐ yòu yì huà liǎo“ wú sè de hóng” de yāo dài， zài tiān kuài hēi shí yòu huò tài yī láng yǔ tā yī qǐ qù chéng qì tǐng。 jiēguǒ qì tǐng fā shēng liǎo shì gù， qìng zǐ bèi jiù liǎo shàng lái， tài yī láng què shēn xiàn hú dǐ， tā zhōng yú dá dào liǎo fù chóu de mùdì。 qìng zǐ yāo dài shàng de“ wú sè de hóng” shì yùn hán zhe qí yù móu de。“ zhǐ shì shuǐ mò nóng dàn de qū xiàn， yě xǔ shuídōu kàn bù chū lái bā， dàn wǒ xiǎng ràng xià tiān de hóng rào zài shēn shàng， zhè shì shí jìn huáng hūn xuán zài shān shàng de hóng。” huáng hūn yù shì zhe shēng mìng zhī wǎn qī， ér“ shí jìn huáng hūn xuán zài shān shàng de hóng”、“ wú sè zhī hóng” fēn míng shì yī tiáo yāo qì shí zú de duó mìng gòu hún zhī hóng。 tā bǐ guàn rì bái hóng gèng jiā bù jí lì， tā níng jù liǎo qìng zǐ de yāo qì、 mó xìng， bǎ nián qīng、 dān chún de tài yī láng yǐn xiàng liǎo yī gè wú rén zhī xiǎo de huáng quán shì jiè。
　　
　　 èr、 sì jì zhī hóng yǔ rén de mìng yùn
　　
　　 zài《 cǎi hóng jǐ dù》 zhōng， chuān duān kāng chéng bǎ jì jié de lún huí yǔ“ hóng” de fù zá yì yùn jǐn mì jié hé qǐ lái， bìng zài cǐ jī chǔ shàng， hán xù dì biǎo xiàn liǎo sān jiě mèi de bēi huān lí hé yǔ qíng gǎn mìng yùn。
　　
　　《 cǎi hóng jǐ dù》 yǐ“ dōng tiān de cǎi hóng” kāi piān。 suì mù nián chū shí jié， má zǐ dú zì yī rén qù jīng dū xún zhǎo zì jǐ de mèi mèi ruò zǐ， zài shī wàng 'ér guī de lù shàng， tā wàng jiàn liǎo pí pá hú shàng kōng měi lì de cǎi hóng。 cǐ shí zài má zǐ de yǎn zhōng， cǎi hóng shì jí lì de xiàng zhēng， shì xìng fú hé xī wàng de xiàng zhēng。 tā shuō：“ wǒ men dà rén nián mò kàn jiàn dà cǎi hóng， lái nián gāi shì gè hǎo nián， xìng fú yào lái liǎo。” yú shì， tā de“ xīn fēi dào hú shuǐ duì miàn de cǎi hóng nà biān， sì hū xiǎng yào dào nà cǎi hóng zhī guó qù。” tā xiāng xìn jīng guò zì jǐ de nǔ lì， mèi mèi ruò zǐ huì huí dào zì jǐ de shēn biān， yě hěn kuài huì yòu yī gè chōng mǎn 'ài de jiā tíng chū xiàn。 dàn yǔ má zǐ tóng zuò de dà gǔ què shuō：“ dōng tiān de cǎi hóng yòu diǎn zhěn rén。 rè dài de huā zài hán dài kāi fàng， zhēn yòu xiē xiàng fèi wáng zhī liàn ní。 yě xǔ yīn wéi cǎi hóng xià duān měng rán duàn kāi……”。 guǒ rán， měi lì de qī cǎi zhī hóng hěn kuài jiù biàn huàn liǎo tā de zī yǐng， shī qù liǎo qí yōu měi de gōng xíng qū xiàn， chéng wéi wú fǎ kuà yuè de duàn hóng。 zhè yàng， hóng jiù yǐ dà zì rán de yǔ yán dài gěi má zǐ yī sī bù xiáng de yù gǎn。 tā men jiě mèi zhī jiān de qíng gǎn huò xǔ jiù xiàng zhè dōng tiān bù hé shí yí de duàn hóng， shì gēn běn wú fǎ kuà yuè de。 yě xǔ jiě jiě bǎi zǐ de jí duān shuō fǎ gèng wéi zhēn shí：“ rén yòu gè zhǒng gè yàng de yóu yǒng fāng fǎ， yòu shì hé běn rén xìng qíng de shuǐ chí de shuǐ，…… xiōng dì jiě mèi zǎo wǎn yě yào chéng wéi wài rén， nà yàng gèng hǎo。 jiù rèn tā suí biàn móu shēng suàn liǎo。” bì jìng ruò zǐ shì zài zuò wéi yì jì de mǔ qīn shēn biān zhǎngdà， ér má zǐ hé bǎi zǐ zé shì zài zuò wéi jiàn zhù shī de fù qīn shēn biān zhǎngdà， bù tóng de shēng huó huán jìng zào chéng liǎo tā men shēn fèn de xuán shū， zhù dìng liǎo tā men zhōng jiāng fēn lí de mìng yùn。 yīn cǐ， dōng tiān de duàn hóng yě jiù chéng wéi bù jí lì de yù zhào， chéng wéi lǐ xiǎng wú fǎ shí xiàn de xiàng zhēng。
　　
　　 zài jiē xià lái wàn wù méng shēng de chūn tiān， xiǎo shuō zhōng méi yòu chū xiàn“ chūn tiān de hóng”， què chū xiàn liǎo“ qiáo”。 gōng xíng de qiáo yǔ cǎi hóng de xíng zhuàng shì fēi cháng xiāng shìde， yīn cǐ，“ qiáo” zài chuān duān kāng chéng bǐ xià yě jiù chéng wéi“ hóng” de huà shēn。 zài chūn huā làn màn de shí jié， qīng mù xià 'èr de chū xiàn duì bǎi zǐ hé má zǐ jiě mèi 'ér yán， kě yǐ shuō shì yī shí jī qǐ qiān céng làng。 bǎi zǐ céng yǔ qǐ tài xiāng 'ài， dàn qǐ tài hòu lái zài zhàn zhēng zhōng xī shēng， xià 'èr qià shì qǐ tài de dì dì。 yīn cǐ， bǎi zǐ cóng xià 'èr de jǔ shǒu tóu zú jiān qīng xī dì kàn dào liǎo yǐ sǐ qù de liàn rén de yǐng zǐ， guò qù de qíng gǎn hé bēi shāng yě rú tóng chūn tiān wàn wù de fù sū， pò tǔ 'ér chū。 yǔ cǐ tóng shí， má zǐ yǔ xià 'èr yě zài chūn tiān xiè hòu， tā men suí tóng wàn wù de shēng jī méng shēng liǎo xīn de qíng gǎn。 zhè yàng， zài bǎi zǐ hé sǐ qù de qǐ tài zhī jiān， zài má zǐ hé xià 'èr zhī jiān jiù jiàn lì liǎo bù tóng de“ qiáo”。 bǎi zǐ yǔ qǐ tài de qiáo“ xiàng shì yī zuò méi yòu duì 'àn de qiáo。 huó zhe de rén jià qǐ liǎo qiáo， duì 'àn méi yòu zhī zhù， qiáo de nà yī duān jiù huì xuán kōng。 ér qiě， zhè qiáo wú lùn yán shēn duō cháng， yě shì dào bù liǎo duì 'àn de。” qǐ tài sǐ liǎo， dàn bǎi zǐ de 'ài què bìng méi yòu yīn liàn rén shēng mìng de zhōng jié 'ér zhōng zhǐ， fǎn 'ér yù jiā nóng hòu。 bǎi zǐ dú zì jià qǐ de zhè zuò“ méi yòu duì 'àn de qiáo” wú yí xiàng zhēng liǎo bǎi zǐ“ dān xiàng tōng xíng” zhī 'ài de tòng kǔ yǔ tú láo。 má zǐ yǔ xià 'èr kě wàng jiàn lì“ xiàng cǎi hóng yī yàng měi lì de qiáo”， zhè yī fāng miàn xiàng zhēng liǎo tā men duì 'ài de měi hǎo chōng jǐng， dàn cǎi hóng de xū huàn wú cháng， wú yí yě xiàng zhēng liǎo tā men nèi xīn de bù 'ān， yīn wéi tā men gēn běn wú fǎ kuà yuè qǐ tài hé bǎi zǐ zhī 'ài de yīn yǐng。 yīn cǐ，“ méi yòu duì 'àn de qiáo” rú tóng“ duàn hóng”， yǐ jiù shì lǐ xiǎng wú fǎ shí xiàn de xiàng zhēng， shì bù jí lì de xiàng zhēng：“ xiàng cǎi hóng yī yàng měi lì de qiáo”， yě yǐ rán shì xū huàn wú cháng de xiàng zhēng。
　　
　　 bǎi zǐ yǔ sǐ qù de qǐ tài zhī jiān、 má zǐ yǔ xià 'èr zhī jiān de chén zhòng qíng gǎn suí zhe xià tiān de dào lái 'ér gèng jiā nóng yù。 yīn wú fǎ chéng shòu shī qù qǐ tài de tòng kǔ， bǎi zǐ yǔ shàonián zhú gōng xiàn rù gèng jiā bìng tài de 'ài liàn zhōng， bìng yùn yù liǎo bù gāi yùn yù de shēng mìng。 má zǐ yě yīn liàn qíng de zhé mó， yuán běn jiàn kāng de shēn tǐ kuǎ liǎo xià lái， zhù jìn liǎo yī yuàn。 děng má zǐ chū yuàn shí yǐ dào liǎo wàn wù kāi shǐ chén jì de qiū tiān。 zài qiū tiān xiāo sè de jì jié lǐ， qiū yè kāi shǐ de diāo líng， wàn wù yědōu shōu cáng shēng mìng de rè wàng。 chuān duān kāng chéng yǐ rán yòng dà zì rán de yǔ yán， duì shàonián zhú gōng de yāo zhé jí bǎi zǐ de liú chǎn zuò chū liǎo yù shì：“ yín xìng de yè zǐ hái bù shì luò yè de yán sè， cái gāng gāng kāi shǐ fā huáng。 zhè yàng de yè zǐ yě xǔ hěn cuì。” zhú gōng zì shā， hái zǐ liú chǎn， bǎi zǐ yě zhú jiàn xī miè liǎo xīn zhōng de huǒ yàn， xiàn rù rénrén bǎi bù de wú wéi zhuàng tài。 má zǐ yě suí zhe bìng yù xiāo chú liǎo nèi xīn de tòng kǔ， xī miè liǎo duì xià 'èr fù zá de 'ài。 zài yī yuàn liú chǎn qī jiān， bǎi zǐ shōu dào liǎo má zǐ de xìn， xìn zhōng shuō dōng jīng de tiān kōng yòu chū xiàn liǎo cǎi hóng， huò xǔ zhè jiù shì liǎng jiě mèi huò dé“ wú xīn” zhī hòu， yù shì zhe tā men míng mèi wèi lái de“ cǎi hóng zhī lù” bā。“ qiū tiān de cǎi hóng” zài zhè lǐ zhōng yú chéng wéi jí lì yǔ xìng fú de xiàng zhēng。
　　
　　 sān、 zhàn hòu mín zú líng hún de shī luò yǔ zhěng jiù
　　
　　 zài《 cǎi hóng jǐ dù》 zhōng， chuān duān kāng chéng yǐ“ hóng” yǔ jì jié de lún huí zuò wéi zuò pǐn de 'àn xiàn， bìng qiě yǐ“ xū wú” měi zuò wéi jiě chú jīng shén tòng kǔ de liáng yào bìng fēi 'ǒu rán， zhè yǔ zhàn hòu chuān duān kāng chéng duì chuán tǒng měi de zhí zhù zhuī qiú shì jǐn mì xiāng lián de。 chuān duān kāng chéng rèn wéi“‘ gǔ rén jūn yóu chā huā 'ér wù dào，’ jiù shì shòu chán zōng de yǐng xiǎng， yóu cǐ yě huàn xǐng liǎo rì běn rén de měi de xīn líng。 dà gài yě shì zhè zhǒng xīn líng， shǐ rén men zài cháng qī nèi zhàn de huāng wú zhōng dé yǐ jì xù shēng cún xià lái bā”。
　　
　　 èr zhàn hòu， zuò wéi zhàn bài guó， jù dà de bēi 'āi、 wú zhù yǔ huái yí lǒngzhào zhe zhěng gè rì běn mín zú， tā men zài suí zhī yǒng rù de měi guó wén míng miàn qián bù shèng jīng kǒng。 yòu bù shǎo rén duì mín zú de chuán tǒng shī qù xìn xīn， rèn wéi chuán tǒng de jiù shì yìng yú yǐ pāo qì de； yòu de rén shèn zhì rèn wéi 'ōu měi rén zài rén zhǒng shàng jiù yōu yuè yú dà hé mín zú； hái yòu de rén kàn dào 'ér tóng yòng rì běn guó qí cóng měi jūn nà lǐ huàn táng chī， yě bù qù gān shè。 zài hēi shì chāng jué、 wù jià fēi zhǎng， dào chù dōushì yī piàn fèi xū de qíng xíng xià， zhàn hòu de duō shù rì běn rén shì nán dé xiǎng dào guó jiā de。 wén huà shì yī gè mín zú de líng hún， dàn shì zhàn hòu de rì běn què xiàn rù liǎo zì wǒ fǒu dìng de fēng cháo zhōng， wàng què liǎo mín zú de chuán tǒng。 chuán tǒng de shī luò bì rán yì wèi zhe mín zú líng hún de shī luò， zhè huì jìn yī bù jiā shēn zhàn bài de wáng guó qíng xù， bìng shǐ zhěng gè mín zú xiàn rù tòng kǔ de xū tuō zhī zhōng。 zài《 cǎi hóng jǐ dù》 zhōng， chuān duān kāng chéng jiè yī wèi gāo sēng zhī kǒu chǎn shù liǎo zhè yàng de guān diǎn：“ zhàn hòu tuí fèi pài de hái zǐ， yědōu shì xiē hú zuò fēiwèi de jiā huǒ， jìn qíng hú nào， jìn qíng dǎo luàn， shuí shuō shénme yě bù tīng。 tā men fēi cháng cuò wù dì lǐ jiě liǎo zì yóu。”《 shān yīn》 zhōng de xìn wú yě zhè yàng gǎn tàn dào：“ ā， qián fó jí qù， hòu fó wèi zhì， mèng zhōng lái lín， yìng yǐ héwèi xiàn shí？ wú yì zhōng jìng chéng shòu liǎo nán yǐ chéng shòu de rén de shēn qū……”。
　　
　　“ dāng jǔ shì dōuzài zhuī suí xī 'ōu de shí kè， tā què fēi cháng píng jìng 'ér qiě chōng mǎn xìn xīn dì shuō‘ ràng wǒ men jì chéng rì běn de měi de chuán tǒng bā’， zhè zhǒng dài yòu fā yán zhě de xìng gé de yì jiàn， qiáng liè dì chōng jī zhe rén men de xīn líng”。 zhàn hòu， chuān duān kāng chéng gèng jiā jiān dìng liǎo jì chéng chuán tǒng de xìn niàn。“ mín zú de xīng wáng wú cháng， xīng wáng zhī hòu liú cún xià lái de， jiù shì zhè gè mín zú jù yòu de měi”， zài huāng wú、 qī cǎn hé qióng kùn zhōng， dōng shān zhàn luàn shí qī què yǐ rán néng bǎo cún、 zhí zhe hé chuàng zào měi de chuán tǒng， chuān duān kāng chéng shēn shēn wéi zhī gǎn dòng。 yú shì， tā jué dìng“ bǎ zhàn hòu zì jǐ de shēng mìng zuò wéi wǒ de yú shēng。 yú shēng yǐ bùwèi zì jǐ suǒ yòu， tā jiāng shì rì běn měi de chuán tǒng de biǎo xiàn。” zài zhì héng guāng de dào cí de jié wěi， chuān duān kāng chéng zhè yàng xiě dào：
　　
　　 héng guāng jūn， wǒ jiāng yǐ rì běn shān hé wéi líng hún， zài nǐ shēn hòu huó xià qù， wéi yuàn jūn zhī yí zú wú hòu gù zhī yōu， zé xìng shèn。
　　
　　 zài xīn cháo shè wèitā chū bǎn de quán jí hòu jì zhōng， chuān duān kāng chéng yě zhè yàng xiě dào：
　　
　　 jí shǐ xiàn shí de shēng huó jī běn shàng jié shù liǎo， jí shǐ duì shēng huó de xīng wèi yuè lái yuè dàn bó liǎo， wǒ de jīng shén zì jué hé yuàn wàng yě jiù gèng wéi jiān dìng。 zhè jiù shì wǒ zuò wéi yī gè rì běn zuò jiā de zì jué， hé jì chéng rì běn měi de chuán tǒng de yuàn wàng。 wǒ yuàn yì jiān chí tā zhí dào chú cǐ yǐ wài de yī qiē wán quán xiāo shī……
　　
　　《 cǎi hóng jǐ dù》 suī rán shì chuān duān kāng chéng zhàn hòu de yī bù zhōng jiān xiǎo shuō， dàn zài jì jié měi yǔ xū wú měi de céng miàn shàng yě chōng fēn tǐ xiàn liǎo chuān duān kāng chéng duì chuán tǒng měi de zhí zhe zhuī qiú jí qí duì lún luò de mín zú líng hún de zhěng jiù。
　　
　　 shǒu xiān， rì běn mín zú shì yī gè duì zì rán、 duì jì jié fēi cháng mǐn gǎn de mín zú。 rì běn zhù míng de fēng jǐng huà jiā dōng shān kuí yī shuō：“ chūn tiān méng yá， xià tiān fán mào， qiū tiān yāo ráo， dōng tiān qīng jìng yī wǒ men rì běn rén zǎo zài fó jiào chuán lái yǐ qián， bù jiù yǐ jīng guān chá zhè zhǒng dà zì rán de biàn qiān de shì gù， bìng qiě qièfū dì gǎn shòu dào rén de shēng sǐ sù mìng jí qí bēi xǐ liǎo má？ ér qiě zhè zhǒng gǎn qíng zài qí hòu shí dài de rì běn rén xīn zhōng dū jì chéng xià lái liǎo， fǎng fó shì kè yìn zài rì běn rén de xīn zhōng shìde。” zì gǔ yǐ lái， rì běn zuò jiā yǐ zì rán wéi yǒu、 yǐ sì shí wéi yǒu， tā men de xīn yǔ shēng mìng de bó dòng hé dà zì rán xī xī xiāng tōng。 yīn cǐ， zài tā men kàn lái， yī piàn shù yè“ bù jǐn shì tā， ér qiě shì dì qiú shàng yī qiē yòu shēng mìng de dōng xī de mìng yùn，…… yī piàn yè yòu qí dàn shēng hé shuāi wáng， tā shǐ rén men kàn dào sì jì bù duàn liú zhuǎn， wàn wù shēng shēng bù xī。” jiù shì shuō， rì běn de shī rén、 zuò jiā néng cóng yī cǎo yī mù de xì wēi biàn huà zhōng， mǐn ruì dì zhǎng wò sì jì shí lìng de biàn huà， gǎn shòu dào zì rán shēng mìng de lǜ dòng、 wàn wù de shēng shēng bù xī。 jì jié gǎn yǐ chéng wéi rì běn mín zú wén huà xīn tài de yī bù fēn， tā bìng bù jǐn jǐn shì duì wù lǐ xìng de shí jiān tuī yǎn de gǎn zhī， ér shì zài rì běn chuán tǒng wén huà tǔ rǎng zhōng yùn yù、 péi zhí hé fán yǎn qǐ lái de rén lèi jīng shén yǔ zì rán fēng wù de jiāo zhì róng hé。
　　
　　 chuān duān kāng chéng zài 1968 nián de huò jiǎng yǎn shuō《 wǒ zài měi lì de rì běn》 zhōng， tā yǐ dào yuán chán shī de hègē qǐ bǐ：“ chūn huā qiū yuè xià dù juān， dōng xuě 'ái 'ái hán yì jiā。”
　　
　　 chuān duān kāng chéng rèn wéi“ yǐ‘ xuě、 yuè、 huā’ jǐ gè zì lái biǎo xiàn sì jì shí lìng biàn huà de měi， zài rì běn zhè shì bāo hán zhe shān chuān cǎo mù， yǔ zhòu wàn wù， dà zì rán de yī qiē， yǐ zhì rén de gǎn qíng de měi， shì yòu qí chuán tǒng de。” zài hòu qī dài biǎo zuò《 gǔ dū》 zhōng， chuān duān kāng chéng zé jiāng rén wù zuò wéi zì rán de yī bù fēn lái miáo xiě。 qiān zhòng zǐ hé miáo zǐ zhè duì luán shēng jiě mèi yóu qǐ chū de fēn lí dào chóngféng， zài dào zuì zhōng de fēn lí， tā men de bēi huān lí hé yǔ sì jì de zì rán gēngtì jǐn mì xiāng lián。 gù shì cóng yīng huā làn màn de chūn tiān kāi shǐ， jīng guò shān lín cōng cuì de xià tiān、 lěng yǔ zhòu jiàng de qiū tiān， yī zhí xiě dào yǔ xuě jiāo jiā de chū dōng， rén wù de qíng gǎn yǔ zì rán de sì jì jǐng guān gòng shēng 'ér gòu chéng yī gè měi lì 'ér bēi 'āi de gù shì。 chuān duān kāng chéng hěn lǐ jiě zì rán de xīn， tā mǐn gǎn dì bǎ wò zhù zì rán shēng mìng de lǜ dòng， shǐ rén jiān de bēi huān lí hé yǔ zì rán wàn wù de shēng xī jǐn mì xiāng lián。 yīn cǐ， zài《 cǎi hóng jǐ dù》 zhōng， chuān duān kāng chéng yòng“ hóng” de jǐ cì chū xiàn zuò wéi xiǎo shuō de 'àn xiàn， bìng yǐ sì jì zhī hóng lái 'àn shì rén wù de qíng gǎn yǔ mìng yùn， yě jiù bù shì 'ǒu rán de liǎo， tā bāo hán liǎo chuān duān kāng chéng zhàn hòu duì mín zú chuán tǒng zhī měi de zhí zhù zhuī qiú。
　　
　　 qí cì，“ xū wú” měi shì rì běn mín zú de chuán tǒng shěn měi guān， yě shì chuān duān kāng chéng zhàn hòu de hé xīn sī xiǎng， zài 1968 nián nuò bèi 'ěr huò jiǎng yǎn shuō《 wǒ zài měi lì de rì běn》 zhōng， chuān duān kāng chéng duì cǐ yě zuò liǎo jù tǐ de chǎn shù。
　　
　　“ zhè zhǒng‘ wú’， bù shì xī fāng de xū wú， xiāng fǎn， shì wàn yòu zì zài de kōng， shì wú biān wú yá wú jìn cáng de xīn líng yǔ zhòu。” zài zhōng jiān xiǎo shuō《 rì xī yuè xī》 zhōng， chuān duān kāng chéng yǐ shàonǚ sōng zǐ yǔ zōng guǎng de 'ài qíng wéi zhù xiàn， xiě liǎo zhàn zhēng gěi cháo jǐng yī jiā zào chéng liǎo fū qī lí sàn、 ér zǐ zhàn sǐ de bù xìng， hái xiě liǎo zài měi jūn zhàn lǐng xià， rì běn chuán tǒng de chá dào、 chuán tǒng de fǎng zhì gōng yì， yǐ jí chuán tǒng de shēng huó xí guàn shī qù liǎo zhēn zhèng de jīng suǐ， gǎn tàn rì běn wén huà yí chǎn shī qù liǎo guāng cǎi， dà dà dì dòng yáo liǎo zhàn hòu rì běn rén de xīn líng shì jiè。 yǔ cǐ tóng shí， chuān duān kāng chéng zài xiǎo shuō zhōng sù zào liǎo yī wèi chāo tuō de rén wù， nà jiù shì shǒu ná shān chá huā de mù qí lǎo rén， tā hé zì jǐ de shàoqī jū zhù zài tiě dào biān de xiǎo yuàn lǐ， jìn guǎn wài miàn fēn luàn cáo zá， ān jìng xiáng hé què yī zhí yáng yì zài zhè gè xiǎo wū de zhōu wéi。 zhèng yīn wéi“ wú cháng xùn sù”， mù qí cái shēn xiǎo“ shēng sǐ shì dà”， bìng yǐ huò dá、 chāo tuō de xīn líng zhēn 'ài zì jǐ de shàoqī， zhēn xī zhōu wéi de yī qiē。 mù qí“ xū wú”、 chāo tuō de jīng shén shí kè qiāo dǎzháo xiàn rù shī liàn xuán wō de sōng zǐ de líng hún， shǐ zhè wèi bù xìng de shàonǚ zhú jiàn bǎi tuō liǎo zōng guǎng de yīn yǐng， chóngxīn miàn duì yǔ zōng guǎng zhī dì héng héng xìng 'èr de 'ài qíng。
　　
　　 zài《 cǎi hóng jǐ dù》 zhōng， chūn tiān shì wàn wù fù sū de jì jié， dàn xiǎo shuō bìng méi yòu xiě xiàng zhēng xìng fú hé xī wàng de chūn tiān zhī hóng， què dài zhī yǐ xiàn shí zhōng de“ duàn qiáo”。 qiū tiān shì wàn wù diāo líng de jì jié， rán 'ér dōng jīng de tiān kōng què chū xiàn liǎo měi lì de cǎi hóng。 zhè kàn sì máo dùn， qí zhōng què yùn cáng zhe shēn céng nèi hán。 zài chuān duān kāng chéng kàn lái， zhí zhe yú xiàn shí de qíng gǎn fù sū huò guò dù péng zhàng dū huì gěi rén dài lái jí dà de tòng kǔ， xiāng fǎn， tú láo zhī 'ài de xī miè cái huì gěi rén dài lái xìng fú hé 'ān níng， zhè bāo hán zhe chuān duān kāng chéng duì“ xū wú” měi de tàn qiú。 yīn cǐ， zài xiǎo shuō zhōng，“ qiū tiān de hóng” cái shì xìng fú hé xī wàng de xiàng zhēng。
　　
　　 mù qián， guó nèi dà gài hái méi yòu yī piān yòu guān《 cǎi hóng jǐ dù》 de zhuān mén píng lùn。 zhè bù zuò pǐn yòng 'āi wǎn、 xì nì 'ér shēng dòng de bǐ chù， xù shuō liǎo xiàng cǎi hóng nà yàng xū huàn 'ér měi lì de yì mǔ sān jiě mèi de 'ài liàn yǔ shēng mìng de bēi 'āi， yóu qí shì zhǎn shì liǎo jiě jiě bǎi zǐ yóu yú liàn rén sǐ yú zhàn zhēng 'ér méng shòu mò dà de xīn líng chuāngshāng hé niǔ qū de jī xíng xīn tài， jù yòu nóng hòu de shí dài qì xī。 cǐ wài， gāi zuò yǐ bù tóng jì jié de cǎi hóng zuò wéi xiàng zhēng wù， àn shì jiě mèi de bù tóng mìng yùn， bìng qiě yǐ“ qiū tiān de hóng” suǒ yùn hán de“ xū wú” jīng shén zuò wéi bǎi zǐ bǎi tuō jīng shén tòng kǔ liáng yào， zhǎn xiàn liǎo chuān duān kāng chéng zhàn hòu de zhòng yào sī xiǎng héng héng duì chuán tǒng měi de zhí zhe zhuī qiú。 zhè bù zuò pǐn huò xǔ méi yòu《 gǔ dū》 nà yàng diǎn yǎ， dàn yě bù yìng shòu dào dú zhě、 píng lùn zhě de lěng mò， xī wàng gāi píng lùn néng qǐ dào pāo zhuān yǐn yù de zuò yòng， yǐn qǐ rè 'ài chuān duān kāng chéng wén xué zhě de xīng qù。
　　
　　 cān kǎo wén xiàn：
　　
　　 chuān duān kāng chéng， zài hūn de nǚ rén [M]． yè wèi qú， zhèng mín xiān yì． guì lín： lí jiāng chū bǎn shè， 1998.
　　
　　 chuān duān kāng chéng． měi lì yǔ bēi 'āi · pú gōng yīng [M]. yè wèi qú yì， běi jīng： zhōng guó shè huì kē xué chū bǎn shè， 1996.
　　
　　 chuān duān kāng chéng， cǎi hóng jǐ dù [M]. kǒng xiàn kē děng yì． guì lín： lí jiāng chū bǎn shè， 1996．
　　
　　 chuān duān kāng chéng． měi de cún zài yǔ fā xiàn [M]， yè wèi qú yì． běi jīng： zhōng guó shè huì kē xué chū bǎn shè， 1996.
　　
　　 chuān duān kāng chéng． shān yīn · hú [M]． yè wèi qú yì， běi jīng： zhōng guó shè huì kē xué chū bǎn shè， 1996.
　　
　　 jí tián jīng yī， rì běn xiàn dài wén xué shǐ [M]． qí gān yì， shàng hǎi： shàng hǎi rén mín chū bǎn shè， 1976．
　　
　　 chuān duān kāng chéng， dú yǐng zì mìng [M]． yè wèi qú yì， běi jīng： zhōng guó shè huì kē xué chū bǎn shè， 1996.
　　
　　 héng guāng lì yī． gǎn xiǎng yǔ fēng jǐng [M]． lǐ zhèn shēng yì． nán níng： guǎng xī shī fàn dà xué chū bǎn shè， 2005.
　　
　　[ rì ] dōng shān kuí yí． měi de qíng sù [M]． táng yuè méi yì． běi jīng： zhōng guó qīng nián chū bǎn shè， 1991．

hé biān xiǎo zhèn de gù shì

cūn shàng chūn shù Murakami Haruki

　　chuān duān kāng chéng yǐ《 xuě guó》、《 gǔ dū》、《 qiān zhǐ hè》 sān zuò huò dé 1968 nián nuò jiǎng， shì rì běn dì yī wèi huò gāi jiǎng de zuò jiā。 zài xī fāng rén kàn lái， chuān duān de dōng fāng shěn měi fāng shì， yóu qí shì qí《 xuě guó》 zhōng suǒ biǎo xiàn chū lái de rì shì wù 'āi zhī měi， huò xǔ shì yī dào liàng lì de fēng jǐng； zài zhě héng héng zhè kě néng shì gèng zhòng yào de lǐ yóu héng héng zài tā men kàn lái， chuān duān wén xué“ shòu dào 'ōu zhōu jìn dài xiàn shí zhù yì de yǐng xiǎng”。《 hé biān xiǎo zhèn de gù shì》 jiǎng shù liǎo zhàn hòu rì běn yī gè nián qīng de zhù yuàn yī shēng yì sān yǔ sān wèi nǚ zǐ（ zài jīng jì shàng zhī chí tā de biǎo mèi táo zǐ、 zài sī xiǎng hé shēng huó shàng lǐ jiě tā de tóng shì mín zǐ、 tā suǒ 'ài de gū kǔ wú yǐ de fáng zǐ） de qíng gǎn jiū gé； yì sān de 'ài qíng xuǎn zé tǐ xiàn liǎo dào dé yǔ lún lǐ fāng miàn de sī kǎo。 ruò yǐ《 hé》 lùn， chuān duān kāng chéng de wéi měi zhù yì， qí suǒ quán shì de“ rì běn de měi” zài wǒ kàn lái què shì yī zhǒng nán yǐ rěn shòu de“ chǒu lòu”： zì liàn、 guòfèn hán xù。 zhè bù xiǎo shuō kě yǐ shuō tōng sú dé méi yòu lēng jiǎo， shuō sú bù kě nài yě bùwèi guò。

1973 nián de dàn zǐ qiú

dà jiāng jiàn sān láng Kenzaburō Ōe

　　zhè hái shì yī gè rù kǒu yǔ chū kǒu de gù shì。 jiù xiàng nà zhǐ jìn rù bǔ shǔ qì de xiǎo lǎo shǔ， yīn wéi chū kǒu yǐ jīng guān bì， dì sì tiān zǎo shàng sǐ diào liǎo。 xiǎo lǎo shǔ jiù shì chéng shì qīng nián de lì zǐ， nán zhùjué yě jí shì shǔ， tā zài xún zhǎo chū kǒu。
　　 xiáng jìn de xì jié miáo xiě， duì dàn zǐ qiú jī de mí liàn， wú bù tòu chū shēn shēn de jì mò hé mí máng。 céng zài nuó wēi sēn lín chū xiàn de zhí zǐ zài zhè lǐ zhǐ zài dì yī jié zhōng tí dào， dàn gǎn jué tā de yǐng zǐ shēn shēn dì lǒngzhào zhù liǎo quán wén。 shǔ wàng bù diào duì zhí zǐ de 'ài。 tā bǎ zì jǐ fēng cún zài yī gè zhǐ róng zì jǐ róng shēn de dòng lǐ miàn， fēng cún zài dàn zǐ jī yóu xì lǐ miàn。 chí xù bù duàn de dàn zǐ jī yóu xì bǎ tā yǔ zhōu wéi de shì jiè gé jué liǎo。
　　
　　《 1973 nián de dàn zǐ qiú》 wéi rì běn zhù míng zuò jiā cūn shàng chūn shù de cháng piān xiǎo shuō， miáo shù yī qīng nián wéi xún zhǎo shàonián shí dài de dàn zǐ jī， yòu fǎn huí dào wú biān de gū dú zhī zhōng de gù shì。 zhè yě shì yī bù xún zhǎo de xiǎo shuō。 yī fāng miàn xù shù zhě jiǎng shù liǎo“ wǒ” hé“ shǔ” rú hé nǔ lì bǎi tuō yì huà， xún qiú rén shēng de chū kǒu； lìng yī fāng miàn xù shù zhě tōng guò jiǎng shù zhè duàn wǎng shì， yě zài wéi zì jǐ xiàn zài de shēng huó xún zhǎo chū kǒu。 xiǎo shuō yùn hán zhe zuò zhě xī wàng rén lèi tōng guò xiě zuò huò dé zhěng jiù de měi hǎo xīn yuàn。

　　Pinball, 1973 (1973年のピンボール, 1973-nen no pinbōru?) is a novel published in 1980 by Japanese author Haruki Murakami. The second book in the "Trilogy of the Rat" series, it is preceded by Hear the Wind Sing (1979) and followed by A Wild Sheep Chase (1982), and is the second novel written by Murakami.
　　
　　All three books in the Trilogy of the Rat have been translated into English, but Pinball, 1973, and Hear The Wind Sing, the first two books in the trilogy, were only printed as English translations in Japan by Kodansha under their Kodansha English Library branding, and both only as A6-sized pocketbooks. Before being reprinted in 2009, these novels were difficult to locate and quite expensive, especially outside of Japan. Murakami is alleged to have said that he does not intend for these novels to be published outside of Japan. Whether or not this is true, both novels are much shorter than those that follow and make up the bulk of his work, and are less evolved stylistically. The title, 1973-nen no Pinbōru (1973年のピンボール) reflects the title of the well-known Oe Kenzaburo novel, Man'en Gannen no Futtoboru (万延元年のフットボール).
　　Plot introduction
　　
　　Despite being an early work, Pinball shares many elements with Murakami's later novels. It describes itself in the text as "a novel about pinball," but also explores themes of loneliness and companionship, purposelessness, and destiny. As with the other books in the "Trilogy of the Rat" series, three of the characters include the protagonist, a nameless first-person narrator, his friend The Rat, and J, the owner of the bar where they often spend time.
　　Plot summary
　　
　　The plot centers on the narrator's brief but intense obsession with pinball, his life as a freelance translator, and his later efforts to reunite with the old pinball machine that he used to play. Many familiar elements from Murakami's later novels are present. Wells, which are mentioned often in Murakami's novels and play a prominent role in The Wind-Up Bird Chronicle, occur several times in Pinball. There is also a brief discussion of the abuse of a cat, a plot element which recurs elsewhere in Murakami's fiction, especially Kafka on the Shore and The Wind-Up Bird Chronicle (in which the search for a missing cat is an important plotline). Rain and the sea are also prominent motifs.
　　Major themes
　　
　　Similar to many of Murakami's other novels, the narrator is a detached, unintentionally apathetic character whose deadpan demeanor stands either in union or, more often, starkly in contrast with the attitudes of other characters. The narrative, detached from the tangible world but highly introspective, sets a surreal tone for the novel, in which the narrator seems to find little unusual about such things as living with a pair of twins whom he cannot distinguish and whose names he does not know, or performing a funeral for a telephone circuit box. While the novel hints vaguely at supernatural occurrences (which often appear in Murakami's fiction), the plot is not intended to be interpreted allegorically.

xīn rén hē， xǐng lái bā

dà jiāng jiàn sān láng Kenzaburō Ōe

　　《 gè rén de tǐ yàn》 hé《 wàn yán yuán nián de zú qiú duì》 zhè liǎng bù nuò bèi 'ěr wén xué jiǎng de huò jiǎng zuò pǐn dōuyòu yī tiáo xiāng tóng de guàn chuān shǐ zhōng de qíng jié xiàn suǒ： jí zhù rén gōng zài xiàn shí kùn jìng zhōng kǔ kǔ zhēngzhá， lì tú xún zhǎo yī tiáo zì wǒ jiě jiù de xīn shēng zhī lù。 zhí dé zhù yì de shì， zhè liǎng bù zuò pǐn yǔ tā gèng zǎo qī de zuò pǐn xiāng bǐ， zhù rén gōng shēng cún kùn jìng de xìng zhì hé tā men zuì hòu de jié jú yǐ jīng yòu liǎo zhòng dà de biàn huà。 zài《 qí miào de gōng zuò》、《 sǐ zhě de shē huá》 děng zhè lèi dà jiāng zǎo nián de zuò pǐn zhōng， zhù rén gōng men de shēng huó yī bān méi yòu yù shàng shénme tiān dà de zāinàn， tā men zhǐ shì duì zì jǐ suǒ chù de jìng kuàng gǎn dào kùn huò， wú cóng jìn xíng zì wǒ cún zài díquè rèn。 tā men suī rán xīn yóu bù gān， pīn mìng dì láng bēn shǐ tū， zuò kùn shòu yóu dǒu， rú《 xìng de rén》 zhōng de J hé《 wǒ men de shí dài》 zhōng de“ bù xìng de nián qīng rén” men， dàn shì zuì zhōng de jié jú， hái shì pái huái yú yī piàn máng rán de kùn jìng lǐ wú cóng jiě tuō， shǐ rén gǎn dào chén zhòng de yā yì， gǎn dào gèng dà de mí wǎng， ér niǎo hé mì sān láng men zé dōunéng zài kàn sì chè dǐ jué wàng de kùn jìng zhōng， yáo yáo huàng huàng dì tǐng qǐ shēn lái， bìng zài zì wǒ què rèn hòu cóng xīn dǐ lǐ zī shēng zhí miàn rén shēng de xìn xīn hé yǒng qì， jìn 'ér huò dé liǎo zì wǒ de xīn shēng， zuò pǐn yě yīn cǐ yòu liǎo yī gè gǔ wǔ rén xīn de guāng míng jié jú。 chǎn shēng zhè zhǒng guāng míng jié jú de gēn běn yuán yīn， kě néng bìng bù zài yú zhù rén gōng de zì shēn xìng gé， ér shì yóu yú niǎo hé mì sān láng men suǒ miàn duì de， shì yī gè yǐ yǔ zì jǐ xuè ròu xiāng lián de cán jí 'ér wéi jù tǐ biǎo zhēng de cún zài kùn jìng。 wèile chōng fēn wā jué cán jí 'ér zhù tí de shěn měi jià zhí， dà jiāng jiàn sān láng duì cán jí 'ér xíng xiàng yòu diǎn qiè 'ér bùshě de zhí zhe。 zhè gè cán jí 'ér yòu shí yǐ“ xùn 'ér” de míng zì chū xiàn zài《 hóng shuǐ yǒng shàng wǒ de líng hún》， yòu shí zé yǐ“ yì me” shēn fèn zài《 xīn rén 'ā， xǐng lái bā》 zhōng dēng chǎng， bāo kuò dà jiāng wǎn jìn chuàng zuò de cháng piān jù zhì《 rán shāo de lǜ shù》、《 kōng fān》 zhōng， tā réng pín fán xiàn shēn。

rì cháng shēng huó de mào xiǎn

tuó sī tuǒ yé fū sī jī Fyodor Mikhailovich Dostoevsky

　　zuò zhě zài 1963 nián yǐ hòu fā biǎo de zuò pǐn dà duō yǐ cán jí rén hé hé wèn tí wéi zhù yào tí cái， jù yòu jiào nóng hòu de rén dào zhù yì qīng xiàng。 jiù qí yì shù tè sè 'ér yán， zài gèng chéng shú dì jiè jiàn xī fāng xiàn dài pài wén xué jì qiǎo de tóng shí， chōng fēn yùn yòng rì běn wén xué chuán tǒng zhōng de xiǎng xiàng， bǎ xiàn shí yǔ xū gòu qiǎo miào dì jié hé zài yī qǐ。 zhè yī shí qī de zhù yào zuò pǐn hái yòu《 rì cháng shēng huó de mào xiǎn》 (1964 nián )、《 hé shí dài de sēn lín yǐn dùn zhě》 (1968 nián )、《 hóng shuǐ yānmò wǒ de líng hún》 (1968 nián ) děng cháng piān xiǎo shuō。

zhuō liè de xiào huà