《 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
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.
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
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.
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）
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).
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）
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).
《 yōu gǔ bǎi hé》 shì fǎ guó zhù míng zuò jiā bā 'ěr zhā kè zuì yōu xiù de xiǎo shuō zhī yī， shì fǎ guó wén xué bǎo kù zhōng yī kē cuǐ càn de míng zhū。
qīng nián guì zú fèi lì kè sī zhuī qiú mò sè fū bó jué fū rén。 bó jué fū rén de zhàng fū bào lì， jiā tíng shēng huó quē shǎo lè qù。 tā de jiè rù， xiān qǐ tā gǎn qíng shàng de bō lán。 tā rěn shòu zhe nèi xīn de tòng kǔ， duì zhàng fū bǎo chí zhōng zhēn。 fèi lì kè sī hòu qù bā lí， jīng bù qǐ guì fù dí tè lì xiǎo jiě de yòu huò， zhuì rù qíng wǎng。 bó jué fū rén dé xī， bēi tòng yù jué， bǎ sǐ dāng zuò shì tiān zhù de 'ēn cì。 mí liú zhī jì， fèi lì kè sī gǎn dào， tā zài lín zhōng shí gěi tā de xìn zhōng tù lù liǎo yǐn zhōng。 zhè shì yī qū 'āi wǎn dòng rén de 'ài qíng bēi gē。 zài gǔ bǎo fā shēng de gù shì zhōng， ràng wǒ men kàn dào liǎo shí dài biàn huàn de fēng yún。 bǎi rì zhèng biàn de yǐng xiǎng、 gōng tíng de biàn huà、 lǎo guì zú de liú wáng shēng huó、 nián qīng guì zú bā lí fā jì děng děng， wú yī bù dǎ shàng shēn shēn de shí dài yìn jì。
yǐngpiān《 yōu gǔ bǎi hé》 gēn jù fǎ guó zhù míng de pī pàn xiàn shí zhù yì wén xué jù jiàng bā 'ěr zhā kè de tóng míng xiǎo shuō gǎi biān。
zhè shì yī qū 'āi wǎn dòng rén de 'ài qíng bēi gē。 qīng nián guì zú fèi lì kè sī zài yī cì wǔ huì shàng 'ǒu yù mò sè fū bó jué fū rén， lì kè bèi tā de měi mào hé gāo guì de qì zhì suǒ xī yǐn。 fèi lì kè sī huí jiā xiāng liáo yǎng shí， zài dù yǔ bó jué fū rén xiāng yù， duì tā chǎn shēng liǎo zhēn zhì de 'ài qíng。 bó jué fū rén de zhàng fū pí qì bào lì， jiā tíng quē shǎo lè qù， fèi lì kè sī de jiè rù lìng bó jué fū rén gǎn qíng shàng xiān qǐ liǎo bō lán， dàn tā què bù xiǎng bèi pàn zhàng fū。 liǎng rén zhī jiān bólātú shì de jīng shén zhī liàn， yǐn qǐ liǎo yīng guó nǚ guì zú dù dé lāi xūn jué fū rén de hàoqí， fèi lì kè sī jīng bù qǐ yòu huò， zhuì rù qíng wǎng， bù néng zì bá。 bó jué fū rén dé zhī bēi tòng yù jué， bǎ sǐ dāng zuò tiān zhù de 'ēn cì， mí liú zhī jì， fèi lì kè sī gǎn dào liǎo……
Inspiration
Henriette de Mortsauf was modelled on Balzac's close friend Laure Antoinette de Berny (née Hinner), a woman 22-years his senior who greatly encouraged his early career.[1] Mme de Berny died shortly after reading the completed novel[2] — in which Henriette also dies.
qīng nián guì zú fèi lì kè sī zhuī qiú mò sè fū bó jué fū rén。 bó jué fū rén de zhàng fū bào lì， jiā tíng shēng huó quē shǎo lè qù。 tā de jiè rù， xiān qǐ tā gǎn qíng shàng de bō lán。 tā rěn shòu zhe nèi xīn de tòng kǔ， duì zhàng fū bǎo chí zhōng zhēn。 fèi lì kè sī hòu qù bā lí， jīng bù qǐ guì fù dí tè lì xiǎo jiě de yòu huò， zhuì rù qíng wǎng。 bó jué fū rén dé xī， bēi tòng yù jué， bǎ sǐ dāng zuò shì tiān zhù de 'ēn cì。 mí liú zhī jì， fèi lì kè sī gǎn dào， tā zài lín zhōng shí gěi tā de xìn zhōng tù lù liǎo yǐn zhōng。 zhè shì yī qū 'āi wǎn dòng rén de 'ài qíng bēi gē。 zài gǔ bǎo fā shēng de gù shì zhōng， ràng wǒ men kàn dào liǎo shí dài biàn huàn de fēng yún。 bǎi rì zhèng biàn de yǐng xiǎng、 gōng tíng de biàn huà、 lǎo guì zú de liú wáng shēng huó、 nián qīng guì zú bā lí fā jì děng děng， wú yī bù dǎ shàng shēn shēn de shí dài yìn jì。
yǐngpiān《 yōu gǔ bǎi hé》 gēn jù fǎ guó zhù míng de pī pàn xiàn shí zhù yì wén xué jù jiàng bā 'ěr zhā kè de tóng míng xiǎo shuō gǎi biān。
zhè shì yī qū 'āi wǎn dòng rén de 'ài qíng bēi gē。 qīng nián guì zú fèi lì kè sī zài yī cì wǔ huì shàng 'ǒu yù mò sè fū bó jué fū rén， lì kè bèi tā de měi mào hé gāo guì de qì zhì suǒ xī yǐn。 fèi lì kè sī huí jiā xiāng liáo yǎng shí， zài dù yǔ bó jué fū rén xiāng yù， duì tā chǎn shēng liǎo zhēn zhì de 'ài qíng。 bó jué fū rén de zhàng fū pí qì bào lì， jiā tíng quē shǎo lè qù， fèi lì kè sī de jiè rù lìng bó jué fū rén gǎn qíng shàng xiān qǐ liǎo bō lán， dàn tā què bù xiǎng bèi pàn zhàng fū。 liǎng rén zhī jiān bólātú shì de jīng shén zhī liàn， yǐn qǐ liǎo yīng guó nǚ guì zú dù dé lāi xūn jué fū rén de hàoqí， fèi lì kè sī jīng bù qǐ yòu huò， zhuì rù qíng wǎng， bù néng zì bá。 bó jué fū rén dé zhī bēi tòng yù jué， bǎ sǐ dāng zuò tiān zhù de 'ēn cì， mí liú zhī jì， fèi lì kè sī gǎn dào liǎo……
Inspiration
Henriette de Mortsauf was modelled on Balzac's close friend Laure Antoinette de Berny (née Hinner), a woman 22-years his senior who greatly encouraged his early career.[1] Mme de Berny died shortly after reading the completed novel[2] — in which Henriette also dies.
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。
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).
《 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。
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).
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。
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.
《 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。
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.
yī bā 'èr 'èr nián chūn chū， bā lí de dà fū men bǎ yī gè bìng hòu fù yuán de qīng nián sòng dào xià nuò màn dǐ lái， tā hài de shì yán zhèng， yuán yīn shì yòng gōng guò dù， huò zhě shì shēng huó fàng dàng， màn méi jié zhì。 tā de kāng fù yào qiú jué duì xiū xī， yǐn shí qīng dàn， zhōu wéi yòu hán lěng kōng qì hé wán quán bì miǎn guò dù de gǎn gōng cì jī。 bèi sēn de féi wò de tián yě hé wài shěng sǐ qì chén chén de shēng huó， sì hū zuì yòu lì yú tā de huī fù jiàn kāng。 yú shì tā jiù dào bèi yè chéng zhù jìn tā de yī gè biǎo jiě jiā； bèi yè shì yī gè měi lì de chéng shì， lí hǎi zhǐ yòu bā gōng lǐ， tā de biǎo jiě guò guàn liǎo yǐn jū de shēng huó， yòu yī gè qīn qī huò zhě péng yǒu dào lái jiù xǐ bù zì shèng， duì tā biǎo shì liǎo tè bié rè liè de huān yíng。
chú liǎo shǎo shù tè shū xí sú。 suǒ yòu xiǎo chéng shì dōushì xiāng sì de。 zhè wèi míng jiào jiā sī dōng · dé · ní 'āi yé nán jué xiān shēng de bā lí qīng nián， zài tā biǎo jiě shèng sè wéi 'ěr fū rén jiā lǐ， huò zhě zài tā de yī huǒ péng yǒu jiā lǐ， cān jiā liǎo jǐ gè wǎn huì yǐ hòu。 bù jiǔ jiù rèn shí liǎo zhè gè pì jìng shè huì shì wéi quán chéng tóu miàn rén wù de rén men。 jiā sī dōng · dé · ní 'āi yé bǎ zhè xiē rén shì wéi yǒng jiǔ bù biàn de rén wù， rèn hé yī gè guān chá jiā zài cóng qián zǔ chéng fǎ lán xī de wú shù fēng jiàn fān hóu de shǒu fǔ lǐ， dōukě yǐ fā xiàn zhè xiē rén wù。 tóng shí měi gè réndōu chì zé bié rén de shēng huó fāng shì， jìn lì jiào rén xiāng xìn tā shì zhè gè shè huì zhōng de yī gè lì wài， tā céng jīng shè fǎ gǎi gé zhè gè shè huì 'ér méi yòu chéng gōng。 rú guǒ， zhè gè xīn lái de rén bù xìng yě shuō liǎo jǐ jù pī píng de huà， zhèng shí zhè xiē rén bǐ cǐ jiān hù xiāng zhǐ zhāi de yì jiàn shì zhèng què de。 nà me tā mǎ shàng jiù bèi shì wéi wú fǎ wú tiān de huài rén， shì gè fǔ huà duò luò de bā lí rén， gēn tōng cháng suǒ yòu de bā lí rén yī yàng。
jiā sī dōng · dé · ní 'āi yé zài zhè gè xiǎo xiǎo tiān dì lǐ lòuliǎn de shí hòu， shì xiān tā yǐ jīng bèi bèi yè chéng gōng gòng yú lùn bù huì yòu cuò de tiān píng chēng guò jīn liǎng。 yīn wéi zài zhè gè xiǎo xiǎo shè huì lǐ yī qiē wán quán zūn shǒu lǐ jié， shēng huó lǐ měi jiàn shìdōu shì xié diào de， méi yòu bàn diǎn shì qíng néng mán guò bié rén， suǒ yòu jué wèi hé lǐng dì de jià zhí dōuyòu jià gé biāo míng， gēn bào zhǐ mò yè suǒ dēngzǎi de zhài quàn jià gé yī yàng。 tā de biǎo jiě shèng sè wéi 'ěr fū rén zǎo yǐ shuō guò tā de cái chǎn shù zì， tā de wèi lái xī wàng， yě zhǎn shì guò tā de jiā pǔ， chuī shī guò tā de xué shí， tā de lǐ mào hé tā de lián ràng。 tā suǒ shòu dào de huān yíng shì tā lǐ yìng shòu dào de， tā bèi bù kè qì dì jiē dài wéi yī gè yōu xiù de xiǎo guì zú， yīn wéi tā de nián jì zhǐ yòu 'èr shí sān suì； kě shì yòu jǐ gè nián qīng gū niàn hé jǐ wèi mǔ qīn què duì tā lìng yǎn xiāng kàn， yǔn mǎn wēn qíng。 tā zài 'ào rè shān gǔ lǐ yōng yòu yī wàn bā qiān fǎ lǎng de nián dì zū， tā de fù qīn zǎo wǎn huì yí liú gěi tā nà zuò mǎ nèi wéi 'ěr gǔ bǎo jí qí tā bù fù shǔ jiàn zhù wù。 zhì yú tā de suǒ shòu jiào yù， tā de zhèng zhì qián chéng， tā de rén pǐn， tā de tiān cái， dōubù chéng qí wéi wèn tí。 tā yōng yòu de tǔ dì dū shí fēn féi wò， dì zū shì yòu bǎo zhèng de； zāizhòng de zhí wù yóu qí yōu liáng， wéi xiū fèi yòng hé juān shuì dū yóu diàn hù fù dān；” píng guǒ shù dōuyǐ jīng cháng liǎo sān shí bā nián liǎo； ér tā de fù qīn hái zài shāng liàng yī bǐ jiāo yì， xiǎng bǎ tóng tā de huā yuán lián jiē de 'èr bǎi 'ā 'ěr bāng sēn lín mǎi xià lái， gěi huā yuán wéi shàng wéi qiáng； zhè xiē yōu diǎn shì rèn hé dāng bù cháng de xī wàng， rèn hé rén shì de shēng yù dōubù néng yǔ zhī jìng zhēng de， bù zhī shì chū yú jiǎo huá huò shì lìng yòu dǎ suàn， shèng sè wéi 'ěr fū rén méi yòu tí qǐ jiā sī dōng de gē gē， jiā sī dōng zì jǐ yě yī zì bù tí。 zhè gè gē gē huàn shàng fèi bìng， sì hū bù jiǔ jiù yào bèi rén mái zàng、 āi kū 'ér qiě yí wàng liǎo。 kāi tóu jiā sī dōng · dé · ní 'āi yé ná zhè xiē rén wù lái zuò xiāo qiǎn， kě yǐ shuō， tā bǎ zhè xiē rén wù de zūn róng dū miáo huì zài tā de huà cè lǐ liǎo， tā bǎ zhè xiē rén wù de yòu líng jiǎo de、 duō zhòu wén de、 gōu bí de múyàng 'ér miáo huì dé yòu qù 'ér bī zhēn， tā zhù yì dào tā men de fú zhuāng hé liǎn shàng jī ròu de chōu chù duō me gǔ guài 'ér kě xiào； tā fēi cháng xǐ huān tīng tā men shuō huà lǐ de nuò màn dǐ fāng yán， fēi cháng xǐ huān tā men shǒu jiù de guān niàn hé cū yě de xìng gé。 kě shì， zài yī duàn shí jiān nèi xí guàn liǎo zhè zhǒng sōng shǔ zài lóng zǐ lǐ dǎzhuàn shìde shēng huó yǐ hòu， tā jué chá dào zài zhè zhǒng tíng zhì 'ér bù kě gǎi biàn de shēng huó zhōng quē fá duì lì de biàn huà， tóng xiū dào shì guān zài xiū dào yuàn lǐ méi yòu shénme liǎng yàng， yīn 'ér tā jiù kǔ mèn qǐ lái， suī rán zhè zhǒng kǔ mèn hái bù shì fán nǎo hé yàn 'è， dàn shì zhè liǎng zhě de xiào guǒ dōuyòu liǎo。 jīng guò zhè zhǒng guò dù shí qī de qīng wēi tòng kǔ yǐ hòu， yī gè rén xiàng zhí wù yī yàng yí zhí dào yī gè xiāng fǎn huán jìng de guò chéng jiù wán chéng liǎo， zài zhè gè xīn huán jìng zhōng tā bì xū zì xíng wěi suō， guò zhe yī zhǒng shēngzhǎng bù liáng de shēng huó。 shì shí shàng， rú guǒ méi yòu rèn hé dōng xī bǎ tā lā chū zhè gè shè huì， tā jiù huì zài bù zhī bù jué jiān shì yìng liǎo zhè gè shè huì de shēng huó xí guàn， tā bù zài pà zhè gè shè huì de kōng xū wú liáo， zhè zhǒng kōng xū wú liáo huì qīn xí tā， bǎ tā wán quán xiāo miè。 jiā sī dōng de fèi bù zǎo yǐ xí guàn yú hū xī zhè zhǒng kōng qì liǎo。 tā yǐ jīng wán quán zhǔn bèi hǎo yào què rèn zài zhè zhǒng wú suǒ yòng xīn、 bù dòng nǎo jīn de rì zǐ lǐ yòu yī zhǒng má mù bù rén de xìng fú， tā kāi shǐ wàng jì liǎo nà zhǒng jīng lì bù duàn gēngxīn de yùn dòng， wàng jì liǎo tā zài bā lí céng jīng nà me rè 'ài guò de néng jīng cháng jié chū fēng shuò chéng guǒ de nǎo lì yùn yòng， tā yào yǒng jiǔ liú zài zhè lǐ， zài zhè xiē huà shí zhōng jiān jiāng huà， xiàng yóu lì xī sī de huǒ bàn men yī yàng， zài zhū shēn lǐ jiù mǎn zú liǎo。 yòu yī tiān wǎn shàng， jiā sī dōng · dé · ní 'āi yé zài yī jiā rén jiā de kè tīng lǐ， zuò zài yī wèi lǎo tài tài hé běn zhù jiào guǎn qū de yī gè dài lǐ zhù jiào zhī jiān。 zhè suǒ kè tīng de xì mù hù bì bǎn qī chéng huī sè， dì shàng pū zhe bái tǔ dà fāng zhuān， guà zhe jǐ zhāng jiā lǐ rén de huà xiàng， bǎi zhe sì zhāng dǔ zhuō， shí liù gè rén wéi zhe dǔ zhuō yī biān xián tán， yī biān dǎ huì sī tè zhǐ pái。 tā zài nà lǐ shénme yě bù xiǎng， zhǐ zài xiāo huà tā chī xià qù de měi wèi wǎn cān， zhè zhǒng jīng měi de wǎn cān jiù shì wài shěng rì cháng shēng huó de měi hǎo wèi lái， tā chū hū yì wài fā xiàn zì jǐ zhèng zài zàn tóng dāng dì de shēng huó xí guàn。 tā míng bái liǎo wèishénme zhè xiē rén jì xù shǐ yòng zuó tiān de jiù zhǐ pái， wèishénme tā men zài pò jiù de dǔ zhuō shàng xǐ pái， tā men zěn yàng cái néng zuò dào jì bùwèi zì jǐ， yě bùwèi bié rén chuān shàng hǎo kàn de yī fú。 tā cāi dào liǎo yòu yī zhǒng zhé xué sī xiǎng yǐn cáng zài zhè zhǒng xún huán wǎng fù、 qiān piān yī lǜ de shēng huó lǐ， zài zhè zhǒng hé hū luó ji de 'ān jìng xí guàn lǐ， zài tā men bù shí shí máo háo huá wèihé wù lǐ。 zǒng zhī， tā jīhū dǒng dé liǎo shē chǐ shēng huó de wú yì。 bā lí chéng， lián tóng tā de jī qíng， tā de fēng bào， tā de huān lè， zài tā de xīn zhōng yǐ jīng biàn chéng liǎo tóng nián de huí yì。 tā zhēn xīn chéng yì dì zàn měi yī gè nián qīng gū niàn de hóng rùn de shuāng shǒu， qiān bēi hé hán xiū de shén tài， suī rán chū kàn qǐ lái， tā jué dé tā yī liǎn chǔn xiāng， jǔ zhǐ quē shǎo fēng yùn， quán shēn lìng rén yàn 'è， wài mào yóu qí kě xiào。 tā yǐ jīng wú kě jiù yào liǎo。 cóng qián tā cóng wài shěng dào bā lí qù， xiàn zài tā yòu cóng bā lí huǒ rè de shēng huó zhōng huí dào wài shěng de lěng bīng bīng de shēng huó lǐ lái， méi yòu yī jù huà kě yǐ zhèn dòng tā de 'ěr mó， kě yǐ shǐ tā tū rán jī dòng qǐ lái， rú tóng yī chū chén mèn gē jù de bàn zòu， tū rán chū xiàn yī duàn qí tè de yuèzhāng jiào rén xīng fèn yī yàng。
“ nǐ zuó tiān bù shì qù kàn guò dé · bào sài 'áng fū rén má？” yī wèi lǎo tài tài wèn zhè dì qū zuì háo huá fǔ dì de zhù rén。
“ wǒ shì jīn tiān zǎo shàng qù kàn tā de，” tā huí dá。“ wǒ fā jué tā shí fēn chóu mèn hé tòng kǔ， yǐ zhì wǒ méi fǎ zǐ jiào tā dāyìng míng tiān lái wǒ jiā chī fàn。”
“ nǐ shì tóng zūn fū rén yī qǐ qù de má？” lǎo tài tài dà shēng wèn， lù chū jīng yì de shén sè。
“ bù cuò， shì tóng nèi rén yī qǐ qù de，” guì zú píng jìng dì huí dá。“ dé · bào sài 'áng fū rén bù shì bó gèn dì jiā zú de rén má？ suī rán zhǐ shì nǚ jiā fāng miàn de qīn qī， kě shì zhè gè xìng bǎ yī qiēdōu xǐ shuà liǎo。 nèi rén hěn xǐ huān bào sài 'áng zǐ jué fū rén， zhè wèi kě lián de fū rén gū dān yī gè rén yǐ jīng guò liǎo zhè me cháng de rì zǐ liǎo……” shuō zhe zuì hòu jǐ jù huà de shí hòu， dé · shàng pí niè lè hóu jué lěng lěng dì、 píng jìng dì huán gù zhōu wéi tīng tā shuō huà 'ér qiě duān xiáng zhe tā de guì fù rén； bù guò jīhū bù kě néng cāi chū tā shì tóng qíng dé · bào sài 'áng fū rén de bù xìng zāo yù ní， hái shì duì tā de guì zú shēn fèn ràng bù； yě bù zhī tā yǐ jiē dài tā wéi róng ní， hái shì tā wèile mǎn zú zì zūn xīn， yào qiáng pò dāng dì de guì zú hé tā men de fū rén men qù jiē jiàn tā。
zài chǎng de guì fù miàn miàn xiāng qù， fǎng fó yòng yǎn jīng lái hù xiāng shāng liàng； yú shì zuì shēn chén de jìng jì lǒngzhào zhe kè tīng， tā men de tài dù kàn lái shì biǎo shì bù tóng yì zhè yàng zuò。“ zhè wèi dé · bào sài 'áng fū rén huì bù huì jiù shì nà wèi gēn dá qú dá héng pān tuō xiān shēng liàn 'ài 'ér nào dé mǎn chéng fēng yǔ de nà wèi yā？” jiā sī dōng wèn tā bàng biān de nà wèi nǚ kè。
zài yán zhe kù 'ěr sè lè lóu fáng de wéi qiáng zǒu zhe de shí hòu， rú guǒ 'ǒu rán tīng dào liǎo yī gè yuán dīng de bèn zhòng de jiǎo bù shēng， jiā sī dōng de xīn jiù huì yóu yú xī wàng hé kuài lè 'ér jù liè dì tiào dòng。
tā hěn xiǎng xiě xìn gěi dé · bào sài 'áng fū rén， kě shì duì yī gè méi yòu jiàn guò miàn 'ér qiě yǔ tā bù rèn shí de nǚ rén， shuō xiē shénme hǎo ní？ hé kuàng jiā sī dōng yě bù xiāng xìn zì jǐ； tā tóng xǔ duō hái chōng mǎn huàn xiǎng de qīng nián yī yàng， bù pà sǐ， gèng hài pà de shì dé bù dào duì fāng de dá fù， yīn wéi zhè jiù shì zuì kě pà de miè shì， zhǐ yào tā yī xiǎng qǐ tā de dì yī fēng qíng shū wán quán yòu kě néng bèi rēng jìn huǒ lǐ， tā jiù zhàn lì qǐ lái。 tā xīn lǐ yòu qiān wàn zhǒng máo dùn de sī xiǎng zài dǒu zhēng zhe。 kě shì dào liǎo zuì hòu， yóu yú tā duō fāng huàn xiǎng， jiǎ shè liǎo gè zhǒng lí qí de zāo yù， yòu jiǎo jìn nǎo zhī， tā jū rán zhǎo dào liǎo yī gè kě xǐ de jì cè， zhè zhǒng jì cè zhǐ yào pīn mìng xiǎng xiàng， zǒng shì kě yǐ zài xiǎng xiàng chū lái de yī dà duī jì cè zhōng zhǎo dào de， tā néng gào sù zuì tiān zhēn de nǚ rén， yī gè nán zǐ rè qíng guān xīn tā dào liǎo zěn yàng de chéng dù。 shè huì shàng de guài xiàn xiàng zài yī gè nǚ rén hé tā de qíng rén jiān suǒ zhì zào chū lái de zhēn zhèng zhàng 'ài， bìng bù bǐ dōng fāng shī rén dídí měi miào shén huà gù shì zhōng xū gòu chū lái de zhàng 'ài shǎo， ér qiě tā men xū gòu de zuì huāng dàn de xíng xiàng yě hěn shǎo shì guò shèn qí cí de。 yīn cǐ， zài xiàn shí shēng huó zhōng jiù rú tóng zài tóng huà shì jiè lǐ yī yàng， nǚ rén zǒng shǔ yú nà gè dǒng dé dào dá tā shēn biān， ér qiě néng bǎ tā cóng shòu jiān 'áo de huán jìng lǐ jiě jiù chū lái de nán rén suǒ yòu。 zuì qióng kǔ de yóu fāng sēng men rú guǒ 'ài shàng yǐ liǎo hā lǐ fā de nǚ 'ér， tā men liǎng rén jiān de jù lí， yě jué bù huì bǐ jiā sī dōng hé dé · bào sài 'áng fū rén zhī jiān de jù lí gèng yuǎn。 zǐ jué fū rén yī diǎn yě bù zhī dào dé · ní 'āi yé xiān shēng huì zài tā de zhōu wéi wā liǎo yī dào fēng suǒ háo， ér dé · ní 'āi yé xiān shēng de 'ài qíng què suí zhe zhàng 'ài de kuò dà 'ér jiā shēn， bìng qiě bǎ yáo yuǎn jǐng wù suǒ jù yòu de měi gǎn hé mèi lì， dū fàng zài yǐ tā zhè wèi xiǎng xiàng zhōng de qíng rén shēn shàng。
《 bèi yí qì de nǚ rén》 - chuàng zuò bèi jǐng
19 shì jì shàng bàn yè shì fǎ guó zī běn zhù yì jiàn lì de chū qī， ná pò lún zài 1815 nián de huá tiě lú zhàn yì zhōng chè dǐ bài běi， yóu cǐ bō bàng wáng cháo fù bì， tǒng zhì yī zhí yán xù dào 1830 nián。 yóu yú chá lǐ shí shì de fǎn dòng zhèng cè jī nù liǎo rén mín， qī yuè gé mìng jǐn jǐn sān tiān biàn tuī dǎo liǎo fù bì wáng cháo， kāi shǐ liǎo cháng dá 18 nián de qī yuè wáng cháo de tǒng zhì， yóu jīn róng zī chǎn jiē jí zhǎng wò liǎo zhèng quán。《 ōu yě nī · gé lǎng tái》 fā biǎo yú 1833 nián， yě jí qī yuè wáng cháo chū qī。 gāng guò qù de fù bì wáng cháo zài rén men de tóu nǎo zhōng hái jì yì yóu xīn。 fù bì shí qī， guì zú suī rán cóng guó wài fǎn huí liǎo fǎ guó， yào wǔ yáng wēi， bù kě yī shì， kě shì tā men de shí jì dì wèi yǔ fǎ guó dà gé mìng yǐ qián bù kě tóng rì 'ér yǔ， yīn wéi zī chǎn jiē jí yǐ jīng qiáng dà qǐ lái。 gāng shàng tái de lù yì shí bā bù dé bù bān bù xīn xiàn fǎ， shí xíng jūn zhù lì xiàn， xiàng zī chǎn jiē jí zuò chū ràng bù， yǐ wéi hù yáo yáo yù zhuì de zhèng quán。 zī chǎn jiē jí suī rán shī qù liǎo zhèng zhì quán lì， què píng jiè jīng jì shàng de shí lì yǔ guì zú xiāng kàng héng。 dào liǎo fù bì wáng cháo hòu qī， zī chǎn jiē jí bù jǐn zài chéng shì， ér qiě zài guì zú bǎo chí guǎng fàn yǐng xiǎng de nóng cūn， dū bǎ guì zú dǎ dé luò huā liú shuǐ。 fù bì wáng cháo shí jì shàng dà shì yǐ qù。 bā 'ěr zhā kè bǐ tóng shí dài zuò jiā gèng mǐn ruì， dú jù huì yǎn dì guān chá dào zhè gè zhòng dà shè huì xiàn xiàng。
chú liǎo shǎo shù tè shū xí sú。 suǒ yòu xiǎo chéng shì dōushì xiāng sì de。 zhè wèi míng jiào jiā sī dōng · dé · ní 'āi yé nán jué xiān shēng de bā lí qīng nián， zài tā biǎo jiě shèng sè wéi 'ěr fū rén jiā lǐ， huò zhě zài tā de yī huǒ péng yǒu jiā lǐ， cān jiā liǎo jǐ gè wǎn huì yǐ hòu。 bù jiǔ jiù rèn shí liǎo zhè gè pì jìng shè huì shì wéi quán chéng tóu miàn rén wù de rén men。 jiā sī dōng · dé · ní 'āi yé bǎ zhè xiē rén shì wéi yǒng jiǔ bù biàn de rén wù， rèn hé yī gè guān chá jiā zài cóng qián zǔ chéng fǎ lán xī de wú shù fēng jiàn fān hóu de shǒu fǔ lǐ， dōukě yǐ fā xiàn zhè xiē rén wù。 tóng shí měi gè réndōu chì zé bié rén de shēng huó fāng shì， jìn lì jiào rén xiāng xìn tā shì zhè gè shè huì zhōng de yī gè lì wài， tā céng jīng shè fǎ gǎi gé zhè gè shè huì 'ér méi yòu chéng gōng。 rú guǒ， zhè gè xīn lái de rén bù xìng yě shuō liǎo jǐ jù pī píng de huà， zhèng shí zhè xiē rén bǐ cǐ jiān hù xiāng zhǐ zhāi de yì jiàn shì zhèng què de。 nà me tā mǎ shàng jiù bèi shì wéi wú fǎ wú tiān de huài rén， shì gè fǔ huà duò luò de bā lí rén， gēn tōng cháng suǒ yòu de bā lí rén yī yàng。
jiā sī dōng · dé · ní 'āi yé zài zhè gè xiǎo xiǎo tiān dì lǐ lòuliǎn de shí hòu， shì xiān tā yǐ jīng bèi bèi yè chéng gōng gòng yú lùn bù huì yòu cuò de tiān píng chēng guò jīn liǎng。 yīn wéi zài zhè gè xiǎo xiǎo shè huì lǐ yī qiē wán quán zūn shǒu lǐ jié， shēng huó lǐ měi jiàn shìdōu shì xié diào de， méi yòu bàn diǎn shì qíng néng mán guò bié rén， suǒ yòu jué wèi hé lǐng dì de jià zhí dōuyòu jià gé biāo míng， gēn bào zhǐ mò yè suǒ dēngzǎi de zhài quàn jià gé yī yàng。 tā de biǎo jiě shèng sè wéi 'ěr fū rén zǎo yǐ shuō guò tā de cái chǎn shù zì， tā de wèi lái xī wàng， yě zhǎn shì guò tā de jiā pǔ， chuī shī guò tā de xué shí， tā de lǐ mào hé tā de lián ràng。 tā suǒ shòu dào de huān yíng shì tā lǐ yìng shòu dào de， tā bèi bù kè qì dì jiē dài wéi yī gè yōu xiù de xiǎo guì zú， yīn wéi tā de nián jì zhǐ yòu 'èr shí sān suì； kě shì yòu jǐ gè nián qīng gū niàn hé jǐ wèi mǔ qīn què duì tā lìng yǎn xiāng kàn， yǔn mǎn wēn qíng。 tā zài 'ào rè shān gǔ lǐ yōng yòu yī wàn bā qiān fǎ lǎng de nián dì zū， tā de fù qīn zǎo wǎn huì yí liú gěi tā nà zuò mǎ nèi wéi 'ěr gǔ bǎo jí qí tā bù fù shǔ jiàn zhù wù。 zhì yú tā de suǒ shòu jiào yù， tā de zhèng zhì qián chéng， tā de rén pǐn， tā de tiān cái， dōubù chéng qí wéi wèn tí。 tā yōng yòu de tǔ dì dū shí fēn féi wò， dì zū shì yòu bǎo zhèng de； zāizhòng de zhí wù yóu qí yōu liáng， wéi xiū fèi yòng hé juān shuì dū yóu diàn hù fù dān；” píng guǒ shù dōuyǐ jīng cháng liǎo sān shí bā nián liǎo； ér tā de fù qīn hái zài shāng liàng yī bǐ jiāo yì， xiǎng bǎ tóng tā de huā yuán lián jiē de 'èr bǎi 'ā 'ěr bāng sēn lín mǎi xià lái， gěi huā yuán wéi shàng wéi qiáng； zhè xiē yōu diǎn shì rèn hé dāng bù cháng de xī wàng， rèn hé rén shì de shēng yù dōubù néng yǔ zhī jìng zhēng de， bù zhī shì chū yú jiǎo huá huò shì lìng yòu dǎ suàn， shèng sè wéi 'ěr fū rén méi yòu tí qǐ jiā sī dōng de gē gē， jiā sī dōng zì jǐ yě yī zì bù tí。 zhè gè gē gē huàn shàng fèi bìng， sì hū bù jiǔ jiù yào bèi rén mái zàng、 āi kū 'ér qiě yí wàng liǎo。 kāi tóu jiā sī dōng · dé · ní 'āi yé ná zhè xiē rén wù lái zuò xiāo qiǎn， kě yǐ shuō， tā bǎ zhè xiē rén wù de zūn róng dū miáo huì zài tā de huà cè lǐ liǎo， tā bǎ zhè xiē rén wù de yòu líng jiǎo de、 duō zhòu wén de、 gōu bí de múyàng 'ér miáo huì dé yòu qù 'ér bī zhēn， tā zhù yì dào tā men de fú zhuāng hé liǎn shàng jī ròu de chōu chù duō me gǔ guài 'ér kě xiào； tā fēi cháng xǐ huān tīng tā men shuō huà lǐ de nuò màn dǐ fāng yán， fēi cháng xǐ huān tā men shǒu jiù de guān niàn hé cū yě de xìng gé。 kě shì， zài yī duàn shí jiān nèi xí guàn liǎo zhè zhǒng sōng shǔ zài lóng zǐ lǐ dǎzhuàn shìde shēng huó yǐ hòu， tā jué chá dào zài zhè zhǒng tíng zhì 'ér bù kě gǎi biàn de shēng huó zhōng quē fá duì lì de biàn huà， tóng xiū dào shì guān zài xiū dào yuàn lǐ méi yòu shénme liǎng yàng， yīn 'ér tā jiù kǔ mèn qǐ lái， suī rán zhè zhǒng kǔ mèn hái bù shì fán nǎo hé yàn 'è， dàn shì zhè liǎng zhě de xiào guǒ dōuyòu liǎo。 jīng guò zhè zhǒng guò dù shí qī de qīng wēi tòng kǔ yǐ hòu， yī gè rén xiàng zhí wù yī yàng yí zhí dào yī gè xiāng fǎn huán jìng de guò chéng jiù wán chéng liǎo， zài zhè gè xīn huán jìng zhōng tā bì xū zì xíng wěi suō， guò zhe yī zhǒng shēngzhǎng bù liáng de shēng huó。 shì shí shàng， rú guǒ méi yòu rèn hé dōng xī bǎ tā lā chū zhè gè shè huì， tā jiù huì zài bù zhī bù jué jiān shì yìng liǎo zhè gè shè huì de shēng huó xí guàn， tā bù zài pà zhè gè shè huì de kōng xū wú liáo， zhè zhǒng kōng xū wú liáo huì qīn xí tā， bǎ tā wán quán xiāo miè。 jiā sī dōng de fèi bù zǎo yǐ xí guàn yú hū xī zhè zhǒng kōng qì liǎo。 tā yǐ jīng wán quán zhǔn bèi hǎo yào què rèn zài zhè zhǒng wú suǒ yòng xīn、 bù dòng nǎo jīn de rì zǐ lǐ yòu yī zhǒng má mù bù rén de xìng fú， tā kāi shǐ wàng jì liǎo nà zhǒng jīng lì bù duàn gēngxīn de yùn dòng， wàng jì liǎo tā zài bā lí céng jīng nà me rè 'ài guò de néng jīng cháng jié chū fēng shuò chéng guǒ de nǎo lì yùn yòng， tā yào yǒng jiǔ liú zài zhè lǐ， zài zhè xiē huà shí zhōng jiān jiāng huà， xiàng yóu lì xī sī de huǒ bàn men yī yàng， zài zhū shēn lǐ jiù mǎn zú liǎo。 yòu yī tiān wǎn shàng， jiā sī dōng · dé · ní 'āi yé zài yī jiā rén jiā de kè tīng lǐ， zuò zài yī wèi lǎo tài tài hé běn zhù jiào guǎn qū de yī gè dài lǐ zhù jiào zhī jiān。 zhè suǒ kè tīng de xì mù hù bì bǎn qī chéng huī sè， dì shàng pū zhe bái tǔ dà fāng zhuān， guà zhe jǐ zhāng jiā lǐ rén de huà xiàng， bǎi zhe sì zhāng dǔ zhuō， shí liù gè rén wéi zhe dǔ zhuō yī biān xián tán， yī biān dǎ huì sī tè zhǐ pái。 tā zài nà lǐ shénme yě bù xiǎng， zhǐ zài xiāo huà tā chī xià qù de měi wèi wǎn cān， zhè zhǒng jīng měi de wǎn cān jiù shì wài shěng rì cháng shēng huó de měi hǎo wèi lái， tā chū hū yì wài fā xiàn zì jǐ zhèng zài zàn tóng dāng dì de shēng huó xí guàn。 tā míng bái liǎo wèishénme zhè xiē rén jì xù shǐ yòng zuó tiān de jiù zhǐ pái， wèishénme tā men zài pò jiù de dǔ zhuō shàng xǐ pái， tā men zěn yàng cái néng zuò dào jì bùwèi zì jǐ， yě bùwèi bié rén chuān shàng hǎo kàn de yī fú。 tā cāi dào liǎo yòu yī zhǒng zhé xué sī xiǎng yǐn cáng zài zhè zhǒng xún huán wǎng fù、 qiān piān yī lǜ de shēng huó lǐ， zài zhè zhǒng hé hū luó ji de 'ān jìng xí guàn lǐ， zài tā men bù shí shí máo háo huá wèihé wù lǐ。 zǒng zhī， tā jīhū dǒng dé liǎo shē chǐ shēng huó de wú yì。 bā lí chéng， lián tóng tā de jī qíng， tā de fēng bào， tā de huān lè， zài tā de xīn zhōng yǐ jīng biàn chéng liǎo tóng nián de huí yì。 tā zhēn xīn chéng yì dì zàn měi yī gè nián qīng gū niàn de hóng rùn de shuāng shǒu， qiān bēi hé hán xiū de shén tài， suī rán chū kàn qǐ lái， tā jué dé tā yī liǎn chǔn xiāng， jǔ zhǐ quē shǎo fēng yùn， quán shēn lìng rén yàn 'è， wài mào yóu qí kě xiào。 tā yǐ jīng wú kě jiù yào liǎo。 cóng qián tā cóng wài shěng dào bā lí qù， xiàn zài tā yòu cóng bā lí huǒ rè de shēng huó zhōng huí dào wài shěng de lěng bīng bīng de shēng huó lǐ lái， méi yòu yī jù huà kě yǐ zhèn dòng tā de 'ěr mó， kě yǐ shǐ tā tū rán jī dòng qǐ lái， rú tóng yī chū chén mèn gē jù de bàn zòu， tū rán chū xiàn yī duàn qí tè de yuèzhāng jiào rén xīng fèn yī yàng。
“ nǐ zuó tiān bù shì qù kàn guò dé · bào sài 'áng fū rén má？” yī wèi lǎo tài tài wèn zhè dì qū zuì háo huá fǔ dì de zhù rén。
“ wǒ shì jīn tiān zǎo shàng qù kàn tā de，” tā huí dá。“ wǒ fā jué tā shí fēn chóu mèn hé tòng kǔ， yǐ zhì wǒ méi fǎ zǐ jiào tā dāyìng míng tiān lái wǒ jiā chī fàn。”
“ nǐ shì tóng zūn fū rén yī qǐ qù de má？” lǎo tài tài dà shēng wèn， lù chū jīng yì de shén sè。
“ bù cuò， shì tóng nèi rén yī qǐ qù de，” guì zú píng jìng dì huí dá。“ dé · bào sài 'áng fū rén bù shì bó gèn dì jiā zú de rén má？ suī rán zhǐ shì nǚ jiā fāng miàn de qīn qī， kě shì zhè gè xìng bǎ yī qiēdōu xǐ shuà liǎo。 nèi rén hěn xǐ huān bào sài 'áng zǐ jué fū rén， zhè wèi kě lián de fū rén gū dān yī gè rén yǐ jīng guò liǎo zhè me cháng de rì zǐ liǎo……” shuō zhe zuì hòu jǐ jù huà de shí hòu， dé · shàng pí niè lè hóu jué lěng lěng dì、 píng jìng dì huán gù zhōu wéi tīng tā shuō huà 'ér qiě duān xiáng zhe tā de guì fù rén； bù guò jīhū bù kě néng cāi chū tā shì tóng qíng dé · bào sài 'áng fū rén de bù xìng zāo yù ní， hái shì duì tā de guì zú shēn fèn ràng bù； yě bù zhī tā yǐ jiē dài tā wéi róng ní， hái shì tā wèile mǎn zú zì zūn xīn， yào qiáng pò dāng dì de guì zú hé tā men de fū rén men qù jiē jiàn tā。
zài chǎng de guì fù miàn miàn xiāng qù， fǎng fó yòng yǎn jīng lái hù xiāng shāng liàng； yú shì zuì shēn chén de jìng jì lǒngzhào zhe kè tīng， tā men de tài dù kàn lái shì biǎo shì bù tóng yì zhè yàng zuò。“ zhè wèi dé · bào sài 'áng fū rén huì bù huì jiù shì nà wèi gēn dá qú dá héng pān tuō xiān shēng liàn 'ài 'ér nào dé mǎn chéng fēng yǔ de nà wèi yā？” jiā sī dōng wèn tā bàng biān de nà wèi nǚ kè。
zài yán zhe kù 'ěr sè lè lóu fáng de wéi qiáng zǒu zhe de shí hòu， rú guǒ 'ǒu rán tīng dào liǎo yī gè yuán dīng de bèn zhòng de jiǎo bù shēng， jiā sī dōng de xīn jiù huì yóu yú xī wàng hé kuài lè 'ér jù liè dì tiào dòng。
tā hěn xiǎng xiě xìn gěi dé · bào sài 'áng fū rén， kě shì duì yī gè méi yòu jiàn guò miàn 'ér qiě yǔ tā bù rèn shí de nǚ rén， shuō xiē shénme hǎo ní？ hé kuàng jiā sī dōng yě bù xiāng xìn zì jǐ； tā tóng xǔ duō hái chōng mǎn huàn xiǎng de qīng nián yī yàng， bù pà sǐ， gèng hài pà de shì dé bù dào duì fāng de dá fù， yīn wéi zhè jiù shì zuì kě pà de miè shì， zhǐ yào tā yī xiǎng qǐ tā de dì yī fēng qíng shū wán quán yòu kě néng bèi rēng jìn huǒ lǐ， tā jiù zhàn lì qǐ lái。 tā xīn lǐ yòu qiān wàn zhǒng máo dùn de sī xiǎng zài dǒu zhēng zhe。 kě shì dào liǎo zuì hòu， yóu yú tā duō fāng huàn xiǎng， jiǎ shè liǎo gè zhǒng lí qí de zāo yù， yòu jiǎo jìn nǎo zhī， tā jū rán zhǎo dào liǎo yī gè kě xǐ de jì cè， zhè zhǒng jì cè zhǐ yào pīn mìng xiǎng xiàng， zǒng shì kě yǐ zài xiǎng xiàng chū lái de yī dà duī jì cè zhōng zhǎo dào de， tā néng gào sù zuì tiān zhēn de nǚ rén， yī gè nán zǐ rè qíng guān xīn tā dào liǎo zěn yàng de chéng dù。 shè huì shàng de guài xiàn xiàng zài yī gè nǚ rén hé tā de qíng rén jiān suǒ zhì zào chū lái de zhēn zhèng zhàng 'ài， bìng bù bǐ dōng fāng shī rén dídí měi miào shén huà gù shì zhōng xū gòu chū lái de zhàng 'ài shǎo， ér qiě tā men xū gòu de zuì huāng dàn de xíng xiàng yě hěn shǎo shì guò shèn qí cí de。 yīn cǐ， zài xiàn shí shēng huó zhōng jiù rú tóng zài tóng huà shì jiè lǐ yī yàng， nǚ rén zǒng shǔ yú nà gè dǒng dé dào dá tā shēn biān， ér qiě néng bǎ tā cóng shòu jiān 'áo de huán jìng lǐ jiě jiù chū lái de nán rén suǒ yòu。 zuì qióng kǔ de yóu fāng sēng men rú guǒ 'ài shàng yǐ liǎo hā lǐ fā de nǚ 'ér， tā men liǎng rén jiān de jù lí， yě jué bù huì bǐ jiā sī dōng hé dé · bào sài 'áng fū rén zhī jiān de jù lí gèng yuǎn。 zǐ jué fū rén yī diǎn yě bù zhī dào dé · ní 'āi yé xiān shēng huì zài tā de zhōu wéi wā liǎo yī dào fēng suǒ háo， ér dé · ní 'āi yé xiān shēng de 'ài qíng què suí zhe zhàng 'ài de kuò dà 'ér jiā shēn， bìng qiě bǎ yáo yuǎn jǐng wù suǒ jù yòu de měi gǎn hé mèi lì， dū fàng zài yǐ tā zhè wèi xiǎng xiàng zhōng de qíng rén shēn shàng。
《 bèi yí qì de nǚ rén》 - chuàng zuò bèi jǐng
19 shì jì shàng bàn yè shì fǎ guó zī běn zhù yì jiàn lì de chū qī， ná pò lún zài 1815 nián de huá tiě lú zhàn yì zhōng chè dǐ bài běi， yóu cǐ bō bàng wáng cháo fù bì， tǒng zhì yī zhí yán xù dào 1830 nián。 yóu yú chá lǐ shí shì de fǎn dòng zhèng cè jī nù liǎo rén mín， qī yuè gé mìng jǐn jǐn sān tiān biàn tuī dǎo liǎo fù bì wáng cháo， kāi shǐ liǎo cháng dá 18 nián de qī yuè wáng cháo de tǒng zhì， yóu jīn róng zī chǎn jiē jí zhǎng wò liǎo zhèng quán。《 ōu yě nī · gé lǎng tái》 fā biǎo yú 1833 nián， yě jí qī yuè wáng cháo chū qī。 gāng guò qù de fù bì wáng cháo zài rén men de tóu nǎo zhōng hái jì yì yóu xīn。 fù bì shí qī， guì zú suī rán cóng guó wài fǎn huí liǎo fǎ guó， yào wǔ yáng wēi， bù kě yī shì， kě shì tā men de shí jì dì wèi yǔ fǎ guó dà gé mìng yǐ qián bù kě tóng rì 'ér yǔ， yīn wéi zī chǎn jiē jí yǐ jīng qiáng dà qǐ lái。 gāng shàng tái de lù yì shí bā bù dé bù bān bù xīn xiàn fǎ， shí xíng jūn zhù lì xiàn， xiàng zī chǎn jiē jí zuò chū ràng bù， yǐ wéi hù yáo yáo yù zhuì de zhèng quán。 zī chǎn jiē jí suī rán shī qù liǎo zhèng zhì quán lì， què píng jiè jīng jì shàng de shí lì yǔ guì zú xiāng kàng héng。 dào liǎo fù bì wáng cháo hòu qī， zī chǎn jiē jí bù jǐn zài chéng shì， ér qiě zài guì zú bǎo chí guǎng fàn yǐng xiǎng de nóng cūn， dū bǎ guì zú dǎ dé luò huā liú shuǐ。 fù bì wáng cháo shí jì shàng dà shì yǐ qù。 bā 'ěr zhā kè bǐ tóng shí dài zuò jiā gèng mǐn ruì， dú jù huì yǎn dì guān chá dào zhè gè zhòng dà shè huì xiàn xiàng。
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。
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.
《 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。
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.
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？
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.
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？
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.
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。”
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.
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。”
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.
《 gāo lǎo tóu》 fā biǎo yú 1834 nián， shì bā 'ěr zhā kè zuì yōu xiù de zuò pǐn zhī yī。 zhè bù zuò pǐn zài zhǎn shì shè huì shēng huó de guǎng dù hé shēn dù fāng miàn， zài fǎn yìng zuò jiā shì jiè guān de jìn bù xìng hé jú xiàn xìng fāng miàn， zài biǎo xiàn《 rén jiān xǐ jù》 de yì shù chéng jiù hé bù zú zhī chù fāng miàn， dū jù yòu dài biǎo yì yì。 qí yì shù fēng gé zuì néng dài biǎo bā 'ěr zhā kè de tè diǎn。 zài zhè piān xiǎo shuō zhōng， zuò zhě dì yī cì shǐ yòng tā chuàng zào de“ rén wù zài xiàn fǎ” héng ràng yī gè rén wù bù jǐn zài yī bù zuò pǐn zhōng chū xiàn， ér qiě zài yǐ hòu de zuò pǐn zhōng lián xù bù duàn dì chū xiàn， tā bù jǐn shǐ wǒ men kàn dào rén wù xìng gé xíng chéng de bù tóng jiē duàn， ér qiě shǐ yī xì liè zuò pǐn gòu chéng yī gè zhěng tǐ， chéng wéi《 rén jiān xǐ jù》 de yòu jī bù fēn。 zài cǐ， yī xiē zhù yào rén wù rú lā sī dì niè、 bào sài 'áng zǐ jué fū rén、 fú tè lěng fēn fēn dēng chǎng liàng xiāng，《 rén jiān xǐ jù》 lā kāi liǎo xù mù。
■ zhù míng yì běn
fù léi xiān shēng zài 1963 nián shǒu yì de《 gāo lǎo tóu》 bǎn běn， rén mín wén xué chū bǎn shè zài 1978 nián yòu chóngxīn chū bǎn， zhì jīn wú rén qǐ jí。
■ yòu guān yú《 rén jiān xǐ jù》
bā 'ěr zhā kè yòng zǒng biāo tí wéi《 rén jiān xǐ jù》 de yī xì liè xiǎo shuō， fǎn yìng liǎo jí jù biàn gé shí qī de fǎ guó shēng huó。《 rén jiān xǐ jù》 fēn wéi sān dà bù fēn： fēng sú yán jiū、 zhé lǐ yán jiū hé fēn xī yán jiū； qí zhōng fēng sú yán jiū nèi róng zuì wéi fēng fù， yòu fēn wéi liù gè“ chǎng jǐng”。 qí jī běn nèi róng biǎo xiàn wéi： shǒu xiān， fǎn yìng liǎo shàng shēng de zī chǎn jiē jí qǔ dài guì zú jiē jí de zuì 'è fā jiā shǐ； tóng shí yě xiě chū liǎo guì zú jiē jí de mòluò shuāi wáng shǐ， zhì wéi zhòng yào de nèi róng shì duì jīn qián shì lì de pī pàn， bā 'ěr zhā kè miáo xiě liǎo yī mù mù wéi rào zhe jīn qián 'ér zhǎn kāi de rén jiān cǎn jù， cóng 'ér shǐ wǒ men duì zī běn zhù yì shè huì de zuì 'è yǔ 'āng zàng yòu yī gè xíng xiàng de rèn shí。
gāo lǎo tóu -【 zuò zhě jiǎn jiè】
bā 'ěr zhā kè shì 19 shì jì fǎ guó wěi dà de pī pàn xiàn shí zhù yì zuò jiā， ōu zhōu pī pàn xiàn shí zhù yì wén xué de diàn jī rén hé jié chū dài biǎo， shì yī wèi jù yòu nóng hòu làng màn qíng diào de wěi dà zuò jiā， yī biān yīn shē huá de shēng huó 'ér fù zhài lěi lěi， yī biān yǐ chóng gāo shēn kè de sī xiǎng chuàng zuò chū bó dà jīng shēn de wén xué jù zhù。 tā
de shēng huó qù shì céng chū bù qióng， ér zuò pǐn gèng bèi yù wéi“ fǎ guó shè huì de yī miàn jìng zǐ”。 zài tā shì shì shí， wén xué dà shī yǔ guǒ céng zhàn zài fǎ guó bā lí de méng méng xì yǔ zhōng， miàn duì chéng qiān shàng wàn 'āi dào zhě kāng kǎi jī 'áng dì píng jià dào：“ 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。”
yī shēng chuàng zuò 96 bù cháng、 zhōng、 duǎn piān xiǎo shuō hé suí bǐ， zǒng míng wéi《 rén jiān xǐ jù》。 qí zhōng dài biǎo zuò wéi《 ōu yě nī gé lǎng tái》、《 gāo lǎo tóu》。 100 duō nián lái， tā de zuò pǐn chuán biàn liǎo quán shì jiè， duì shì jiè wén xué de fā zhǎn hé rén lèi jìn bù chǎn shēng liǎo jù dà de yǐng xiǎng。 mǎ kè sī、 ēn gé sī chēng zàn tā“ shì chāo qún de xiǎo shuō jiā”、“ xiàn shí zhù yì dà shī”。 bā 'ěr zhā kè chū shēng yú yī gè fǎ guó dà gé mìng hòu zhì fù de zī chǎn jiē jí jiā tíng， fǎ kē xué xiào bì yè hòu， jù jué jiā tíng wèitā xuǎn zé de shòu rén zūn jìng de fǎ lǜ zhí yè， ér lì zhì dāng wén xué jiā。 wèile huò dé dú lì shēng huó hècóng shì chuàng zuò de wù zhì bǎo zhàng， tā céng shì bǐ bìng chā zú shāng yè， cóng shì chū bǎn yìn shuà yè， dàn dū yǐ pò chǎn gào zhōng。 zhè yī qiēdōu wèitā rèn shí shè huì、 miáo xiě shè huì tí gōng liǎo jí wéi zhēn guì de dì yī shǒu cái liào。 tā bù duàn zhuī qiú hé tàn suǒ， duì zhé xué、 jīng jì xué、 lì shǐ、 zì rán kē xué、 shén xué děng lǐng yù jìn xíng liǎo shēn rù yán jiū， jī lěi liǎo jí wéi guǎng bó de zhī shí。 1829 nián， bā 'ěr zhā kè wán chéng cháng piān xiǎo shuō《 zhū 'ān dǎng rén》， zhè bù qǔ cái yú xiàn shí shēng huó de zuò pǐn wèitā dài lái jù dà shēng yù， yě wéi fǎ guó pī pàn xiàn shí zhù yì wén xué fàng xià dì yī kuài jī shí， bā 'ěr zhā kè jiāng《 zhū 'ān dǎng rén》 hé jìhuà yào xiě de 136 bù xiǎo shuō zǒng mìng míng wéi《 rén jiān xǐ jù》， bìng wéi zhī xiě liǎo《 qián yán》， chǎn shù liǎo tā de xiàn shí zhù yì chuàng zuò fāng fǎ hé jī běn yuán zé， cóng lǐ lùn shàng wéi fǎ guó pī pàn xiàn shí zhù yì wén xué diàn dìng liǎo jiān gù de jī chǔ。 bā 'ěr zhā kè zài yì shù shàng qǔ dé jù dà chéng jiù， tā zài xiǎo shuō jié gòu fāng miàn jiàng xīn dú yùn， xiǎo shuō jié gòu duō zhǒng duō yàng， bù jū yī gé、 bìng shàn yú jiāng jí zhōng gài kuò yǔ jīng què miáo mó xiāng jié hé， yǐ wài xíng fǎn yìng nèi xīn běn zhì děng shǒu fǎ lái sù zào rén wù， tā hái shàn yú yǐ jīng xì rén wēi、 shēng dòng bī zhēn de huán jìng miáo xiě zài xiàn shí dài fēng mào。 ēn gé sī chēng zàn bā 'ěr zhā kè de《 rén jiān xǐ jù》 xiě chū liǎo guì zú jiē jí de mòluò shuāi bài hé zī chǎn jiē jí de shàng shēng fā zhǎn， tí gōng liǎo shè huì gè gè lǐng yù wú bǐ fēng fù de shēng dòng xì jié hé xíng xiàng huà de lì shǐ cái liào，“ shèn zhì zài jīng jì de xì jié fāng miàn（ rú gé mìng yǐ hòu dòng chǎn hé bù dòng chǎn de chóngxīn fēn pèi）， wǒ xué dào de dōng xī yě yào bǐ cóng dāng shí suǒ yòu zhí yè lì shǐ xué jiā、 jīng jì xué yuàn hé tǒng jì xué jiā nà lǐ xué dào de quán bù dōng xī hái yào duō”。（ ēn gé sī：《 ēn gé sī zhì mǎ hā kè nài sī》） bā 'ěr zhā kè yǐ zì jǐ de chuàng zuò zài shì jiè wén xué shǐ shàng shù lì qǐ bù xiǔ de fēng bēi。
gāo lǎo tóu -【 zuò pǐn mù lù】
gòng yòu liù zhāng， fēn bié shì：
dì yī zhāng fú gài gōng yù
dì 'èr zhāng liǎng chù fǎng wèn
dì sān zhāng chū jiàn shì miàn
dì sì zhāng guǐ shàngdàng
dì wǔ zhāng liǎng gè nǚ 'ér
dì liù zhāng fù qīn de sǐ
gāo lǎo tóu -【 nèi róng gěng gài】
1891 nián dōng， zài bā lí lā dīng qū yòu yī gè jiào fú gài gōng yù bāo fàn kè fáng， shì yī gè jiào fú gài de měi guó lǎo fù rén kāi de。 zhè lǐ zhù zhe gè zhǒng gè yàng de rén： yòu qióng dà xué shēng lā sī dì niè； xiē yè de miàn fěn shāng rén gāo lǐ 'ào； wài hào jiào“ guǐ shàngdàng” de fú tuō lěng； bèi dà yínháng jiā gǎn chū jiā mén de tài yī fān xiǎo jiě； gǔ shòu rú cái de lǎo chǔnǚ mǐ xù nuò děng。 měi féng kāi fàn de shí hòu， kè diàn de fàn tīng jiù tè bié rè nào， yīn wéi dà jiā kě yǐ zài yī qǐ qǔ xiào gāo lǎo tóu。
69 suì de gāo lǎo tóu， 6 nián qián jié shù liǎo tā de mǎi mài hòu， zhù dào liǎo fú gài gōng yù。 dāng shí， fēn zhù zài 'èr lóu yī jiān zuì hǎo de fáng jiān， měi nián jiāo yī qiān 'èr bǎi fǎ lǎng de shàn sù fèi， tā yī zhe jiǎng jiū， měi tiān hái qǐng lǐfà shī lái gěi tā shū tóu fā， lián bí yān xiá dōushì jīn de， tā suàn dé shàng zhè suǒ gōng yù lǐ zuì tǐ miàn de fáng kè， rén mendōu jiào tā gāo lǐ 'ào xiān shēng。 guǎ fù lǎo bǎn niàn hái xiàng tā sāo shǒu nòng zī， xiǎng gǎi jià yú tā dāng yī míng běn dì qū de kuò tài tài。
gāo lǎo tóu bǎ tā quán bù de 'ài dū fàng zài liǎng gè chū jià de nǚ 'ér shēn shàng， bù shòu fú gài tài tài de yòu huò。 dì 'èr nián nián mò， gāo lǎo tóu jiù yào qiú huàn cì děng fáng jiān， bìng qiě zhěng gè dōng tiān wū zǐ lǐ méi yòu shēng huǒ qǔ nuǎn， shàn sù fèi yě jiǎn wéi jiǔ bǎi fǎ láng。 dà jiā bǎ tā dāng zuò“ è pǐ、 wú chǐ、 dī néng suǒ chǎn shēng de zuì shén mì de rén wù”。 cháng yòu liǎng gè guì fū qī lái zhǎo tā， yǐ wéi tā yòu yàn yù， gāo lǎo tóu gào sù dà jiā， nà shì tā de nǚ 'ér： léi sī duō bó jué fū rén hé yínháng jiā niǔ qìn gēn tài tài。 dì sān nián， gāo lǎo tóu yòu yào qiú huàn dào zuì dī děng de fáng jiān měi yuè fáng qián jiàng wéi sì shí wǔ fǎ láng， tā jiè liǎo bí yān， pī fā liǎo lǐfà jiàng， jīn gāng zuàn、 jīn yān xiá、 jīn liàn tiáo děng shì wù yě bù jiàn liǎo， rén yě yuè lái yuè shòu， kàn shàng qù huó xiàng yī gè kě lián chóng。 fú gài tài tài yě rèn wéi： yào shì gāo lǎo tóu zhēn yòu nà me yòu qián de nǚ 'ér， tā jué bù huì zhù zài sì lóu zuì dī děng de fáng jiān。
kě shì， gāo lǎo tóu zhè gè mí zhōng yú bèi lā sī dì niè jiē kāi liǎo。 lā sī dì niè shì cóng wài dì lái bā lí dú dà xué de qīng nián， chū shēn pò luò guì zú jiā tíng， bái pí fū、 hēi tóu fā、 lán yǎn jīng， rè qíng 'ér yòu cái qì， xiǎng zuò yī gè qīng lián zhèng zhí de fǎ guān。 dàn bā lí de háo huá shēng huó de cì jī jiā qiáng liǎo tā“ duì quán wèi de yù wàng yǔ chū rén tóu dì de zhì yuàn”。 tā rèn wéi kào zì jǐ de qín fèn xué xí qiú shàng jìn de lù tài jiān kǔ， yě tài yáo yuǎn， hái bù yī dìng xíng dé tōng， ér xiàn shí shè huì yǐ kào jǐ gè yòu qián de nǚ rén zuò jìn shēn de jiē tī zé róng yì dé duō， yú shì tā xiǎng“ qù zhēng fú jǐ gè kě yǐ zuò tā de hòu tái de fù nǚ”。 yóu yú gū mǔ de yǐn jiàn， tā jié shí liǎo yuǎn fáng biǎo jiě， bā lí shè jiāo jiè dì wèi xiǎn hè de bào sài 'áng zǐ jué fū rén。 lā sī dì niè hěn dé yì dì xiàng fú gài gōng yù de fáng kè men jiǎng liǎo zài wǔ huì rèn shí liǎo bó jué fū rén de shì。 gāo lǎo tóu xīng fèn dì wèn：“ zuó wǎn léi sī duō tài tài hěn piào liàng má？” gōng yù lǎo bǎn niàn biàn rèn dìng gāo lǎo tóu dìng shì gěi nà xiē pó niàn nòng qióng de。 lā sī dì niè xiǎng nòng qīng gāo lǎo tóu hé bó jué fū rén de guān xì， jué dìng qù léi sī duō bó jué fū rén jiā。 zài bó jué fū rén jiā tā de hán suān xiāng yǐn qǐ pú rén qīng miè； jiē zhe tā mǎng zhuàng dì chōng jìn liǎo yī jiān yù shì， dà chū yáng xiāng； hòu yòu dào tí dào hé gāo lǎo tóu zhù zài yī qǐ， què yǐn qǐ bó jué fū fù de bù kuài， bǎ tā gǎn liǎo chū lái。 lā sī dì niè shí fēn 'ào nǎo， zhǐ hǎo gǎn qù xiàng biǎo jiě qiú jiào。 bào sài 'áng fū rén gào sù tā， léi sī duō tài tài biàn shì gāo lǐ 'ào de nǚ 'ér。
gāo lǎo tóu shì fǎ guó dà gé mìng shí qī qǐ jiā de miàn fěn shāng rén， zhōng nián sàng qī， tā bǎ zì jǐ suǒ yòu de 'ài dū qīng zhù zài liǎng gè nǚ 'ér shēn shàng。 wèile ràng tā men jǐ jìn shàng liú shè huì， cóng xiǎo gěi tā men liáng hǎo de jiào yù， chū jià shí， gěi liǎo tā men měi rén 80 wàn fǎ láng de péi jià， ràng dà nǚ 'ér jià gěi liǎo léi sī duō bó jué， zuò liǎo guì fù rén； xiǎo nǚ 'ér jià gěi yínháng jiā niǔ qìn gēn， dāng liǎo jīn róng zī chǎn jiē jí kuò tài tài。 tā yǐ wéi nǚ 'ér jià liǎo tǐ miàn rén jiā， zì jǐ biàn kě yǐ shòu dào zūn zhòng、 fèng chéng。 nà zhī bù dào liǎng nián， nǚ xù jìng bǎ tā dāng zuò yàobùde de xià liú dōng xī， bǎ tā gǎn chū jiā mén。 gāo lǎo tóu wèile huò dé tā men de hǎo gǎn， rěn tòng chū mài liǎo diàn pū， jiāng qián yī fēn wéi 'èr gěi liǎo liǎng gè nǚ 'ér， zì jǐ biàn bān jìn liǎo fú gài gōng yù。 liǎng gè nǚ 'ér zhǐ yào bà bà de qián， kě xiàn zài gāo lǎo tóu yǐ méi qián liǎo。
bào sài 'áng fū rén jiào dǎo lā sī dì niè shè huì yòu bēi bǐ yòu cán rěn， yào tā yǐ yá hái yá qù duì fù zhè gè shè huì。 tā shuō：“ nǐ yuè méi yòu xīn gān， jiù yuè gāo shēng dé kuài。 nǐ háo bù liú qíng de dǎ jī rén jiā， rén jiā jiù pà nǐ。”“ méi yòu yī gè nǚ rén guān qiē， tā zài zhè 'ér biàn yī wén bù zhí， zhè nǚ rén hái dé nián qīng、 yòu qián、 piào liàng。” àn zhào biǎo jiě de zhǐ diǎn， lā sī dì niè jué xīn qù gòu yǐn gāo lǎo tóu de 'èr nǚ 'ér niū qìn gēn tài tài。
fú tuō lěng shì gè mù guāng mǐn ruì de rén， kàn chū lā sī dì niè xiǎng wǎng shàng pá de xīn sī。 tā duì lā sī dì niè shuō：“ zài zhè gè hù xiāng tūn shì de shè huì lǐ， qīng bái lǎo shí yī wú yòng chù， rú guǒ bù xiàng pào dàn yī yàng hōng jìn qù， jiù dé xiàng wēn yì yī bān zuàn jìn qù， qīng bái chéng shí shì yī wú yòng chù de。” tā zhǐ diǎn lā sī dì niè qù zhuī qiú wéi duō lì xiǎo jiě， tā kě yǐ jiào rén shā sǐ tài yī fān xiǎo jiě de gē gē， ràng tā dāng shàng jì chéng rén， zhè yàng yínháng jiā de yí chǎn jiù huì luò dào lā sī dì niè shǒu zhōng， zhǐ yào gěi tā 'èr shí wàn fǎ láng zuò bào chóu。 lā sī dì niè suī rán bèi fú tuō lěng de chì luǒ luǒ de yán cí suǒ dǎ dòng， dàn yòu méi gǎn dāyìng xià lái。
lā sī dì niè tōng guò bào sài 'áng fū rén jié shí liǎo niǔ qìn gēn tài tài， ér niǔ qìn gēn tài tài bìng bù shì tā xiǎng yào zhuī qiú de duì xiàng。 tā de zhàng fū zài jīng jì shàng duì tā kòng zhì hěn yán， shèn zhì yào qiú lā sī dì niè ná zì jǐ jǐn yòu de 100 fǎ láng qù dǔ chǎng tì tā yíng 6000 fǎ láng huí lái。 yú shì lā sī dì niè biàn zhuànxiàng
duì tài yī fān xiǎo jiě de jìn gōng。
zhè shí fú tuō lěng yǐ ràng tóng dǎng xún xìn gēn tài yī fān xiǎo jiě de gē gē jué tóu， bìng shā sǐ liǎo tā。 lā sī dì niè máo dùn chóngchóng， shì 'ài wéi duō lì xiǎo jiě ní， hái shì 'ài niǔ qìn gēn tài tài ní？ zuì hòu， tā xuǎn zé liǎo hòu zhě， tā xiǎng“ zhè yàng de jié hé jì méi yòu zuì guò， yě méi yòu shénme néng jiào zuì yán gé de dào xué jiā zhòu yī zhòu méi tóu de dì fāng。”
fáng kè mǐ xù nuò lǎo xiǎo jiě， tā jiē shòu liǎo jǐng chá jú 'àn tàn xiǎn de chāishi， cì tàn fú tuō lěng de shēn fèn。 tā zài fú tuō lěng de yǐn liào zhōng xià má yào， fú tuō lěng bèi zuì dǎo bùxǐng rén shì。 mǐ xù nuò tuō xià fú tuō lěng de wài yī， zài jiān shàng dǎ liǎo yī bā zhǎng， xiān hóng de pí fū shàng lì kè xiàn chū“ kǔ yì fàn” de zì yàng。 dāng fú tuō lěng xǐng lái shí， jǐng chá yǐ jīng bāo wéi liǎo fú gài gōng yù。 tè wù cháng dǎ luò liǎo tā de jiǎ fā， fú tuō lěng quán shēn de xuè lì kè yǒng shàng liǎo liǎn， yǎn jīng xiàng yě māo yī yàng fā liàng， tā shǐ chū yī gǔ mán jìn， dà hǒu yī shēng， bǎ suǒ yòu de fáng kè xià dé dà jiào qǐ lái。 àn tàn men yī qí tāo chū shǒu qiāng， fú tuō lěng yī jiàn liàng jīng jīng de huǒ mén， tū rán biàn liǎo miàn kǒng， zhèn jìng xià lái， zhù dòng bǎ liǎng zhǐ shǒu shēn shàng qù。 tā chéng rèn zì jǐ jiào yǎ kè · kē lěng， hǔn míng“ guǐ shàngdàng”， bèi pàn guò 20 nián kǔ yì， tā bèi dài bǔ liǎo。
gāo lǎo tóu dé zhī lā sī dì niè 'ài zì jǐ de 'èr nǚ 'ér， xiǎng wéi lā sī dì niè yǔ nǚ 'ér qiān xiàn dā qiáo， gòu mǎi liǎo yīzhuàng xiǎo lóu， gōng tā men yōu huì。 yī tiān， niǔ qìn gēn tài tài jí máng lái zhǎo gāo lǎo tóu， shuō míng tā zhàng fū tóng yì ràng tā hé lā sī dì niè lái wǎng， dàn tā bù néng xiàng tā yào huí péi jià qián， gāo lǎo tóu yào nǚ 'ér bù yào jiē shòu zhè tiáo jiàn，“ qián shì xìng mìng， yòu liǎo qián jiù yòu liǎo yī qiē。” zhè shí， léi sī duō fū rén yě lái liǎo。 tā kū zhe gào sù fù qīn： tā de zhàng fū yòng tā mài diào liǎo xiàng liàn de qián qù wéi qíng rén hái zhài， xiàn zài tā de cái chǎn yǐ chàbù duō quán bù bèi duó zǒu， tā yào fù qīn gěi tā yī wàn 'èr qiān fǎ láng qù jiù tā de qíng fū。 liǎng gè nǚ 'ér chǎo qǐ zuǐ lái， gāo lǎo tóu 'ài mò néng zhù， tā jí dé yùn guò qù， huàn liǎo chū qī nǎo yì xuè zhèng。
zài tā huàn bìng qī jiān， liǎng jiě mèi dōuméi lái kàn tā yī cì， dà nǚ 'ér guān xīn de shì jí jiāng cān jiā pàn wàng yǐ jiǔ de bào sài 'áng fū rén de wǔ huì； èr nǚ 'ér lái guò yī cì， dàn bù shì lái kàn fù qīn de bìng de， ér shì yào fù qīn gěi tā zhī fù qiàn cái féng yī qiān fǎ láng de dìng qián。 gāo lǎo tóu bèi bī dé fù chū liǎo zuì hòu 1 wén qián， zhì shǐ zhòngfēng zhèng měng fā zuò。
bào sài 'áng fū rén jǔ xíng shèng dà de wǔ huì， chǎng miàn fēi cháng zhuàng guān， gōng zhù、 jué yé、 míng mén guī xiù dū qián lái cān jiā。 500 duō liàng chē shàng de dēng zhú zhào dé wū nèi chù chù tōng míng tòu liàng。 zǐ jué fū rén zhuāng shù sù yǎ， liǎn shàng méi yòu biǎo qíng， fǎng fó hái bǎo chí zhe guì fù rén de miàn mù， ér zài tā xīn mù zhōng， zhè zuò càn làn de gōng diàn yǐ jīng biàn chéng yī piàn shā mò， yī huí dào nèi shì， biàn jìn bù zhù lèi shuǐ cháng liú， zhōu shēn fā dǒu。 wǔ huì jié shù hòu， lā sī dì niè mù sòng biǎo jiě bào sài 'áng fū rén zuò shàng jiào chē， tóng tā zuò liǎo zuì hòu yī cì gào bié。 tā gǎn dào“ tā de jiào yù yǐ jīng shòu wán liǎo” tā rèn wéi zì jǐ“ rù liǎo dì yù， ér qiě hái dé dāi xià qù”。
kě lián de gāo lǎo tóu kuài duàn qì liǎo， tā hái pàn wàng zhe liǎng gè nǚ 'ér néng lái jiàn tā yī miàn。 lā sī dì niè chāirén qù qǐng tā de liǎng gè nǚ 'ér， liǎng gè nǚ 'ér dū tuī sān zǔ sì bù lái。 lǎo rén měi zhǐ yǎn zhōng mào chū yī kē yǎn lèi， gǔn zài xiān hóng de yǎn pí biān shàng， tā cháng tàn yī shēng， shuō：“ āi， ài liǎo yī bèi zǐ de nǚ 'ér， dào tóu lái fǎn gěi nǚ 'ér yí qì！”
zhǐ yòu lā sī dì niè zhāng luó zhe gāo lǎo tóu de sāngshì， liǎng gè nǚ 'ér nǚ xù zhǐ pài liǎo liǎng jià kōng chē gēn zài líng jiù hòu miàn。 guān mù shì yóu yī gè dà xué shēng xiàng yī yuàn lián jià mǎi lái de， sòng zàng fèi yóu lā sī dì niè mài diào jīn biǎo zhī fù de。 tā mù dǔ zhè yī mù mù bēi jù， suí zhe gāo lǎo tóu de mái zàng yě mái zàng liǎo zì jǐ zuì hòu yī dī tóng qíng de yǎn lèi， tā jué xīn xiàng shè huì tiǎo zhàn，“ xiàn zài zán men liǎ lái pīn yī pīn bā！”
gāo lǎo tóu -【 sī xiǎng gǎn qíng】
《 gāo lǎo tóu》 zhuózhòng jiē lù pī pàn de shì zī běn zhù yì shì jiè zhōng rén yǔ rén zhī jiān chì luǒ luǒ de jīn qián guān xì。 xiǎo shuō yǐ 1819 nián dǐ dào 1820 nián chū de bā lí wéi bèi jǐng， zhù yào xiě liǎng gè píng xíng 'ér yòu jiāo chā de gù shì： tuì xiū miàn tiáo shāng gāo lǐ 'ào lǎo tóu bèi liǎng gè nǚ 'ér lěng luò， bēi cǎn dì sǐ zài fú gài gōng yù de gé lóu shàng； qīng nián lā sī dì niè zài bā lí shè huì de fǔ shí xià zǒu shàng duò luò zhī lù。 tóng shí hái chuān chā liǎo bào sài 'áng fū rén hé fú tuō lěng de gù shì。 tōng guò hán suān de
gōng yù hé háo huá de guì zú shā lóng zhè liǎng gè bù duàn jiāo tì de zhù yào wǔ tái， zuò jiā miáo huì liǎo yī fú fú bā lí shè huì rén yù héng liú、 jí duān chǒu 'è de tú huà， bào lù liǎo zài jīn qián shì lì zhī pèi xià zī chǎn jiē jí de dào dé lún sàng hé rén yǔ rén zhī jiān de lěng kù wú qíng， jiē shì liǎo zài zī chǎn jiē jí de jìn gōng xià guì zú jiē jí de bì rán miè wáng， zhēn shí dì fǎn yìng liǎo bō bàng wáng cháo fù bì shí qī de tè zhēng。
gāo lǎo tóu -【 xiě zuò bèi jǐng】
19 shì jì shàng bàn yè shì fǎ guó zī běn zhù yì jiàn lì de chū qī， ná pò lún zài 1815 nián de huá tiě lú zhàn yì zhōng chè dǐ bài běi， yóu cǐ bō bàng wáng cháo fù bì， tǒng zhì yī zhí yán xù dào 1830 nián。 yóu yú chá lǐ shí shì de fǎn dòng zhèng cè jī nù liǎo rén mín， qī yuè gé mìng jǐn jǐn sān tiān biàn tuī dǎo liǎo fù bì wáng cháo， kāi shǐ liǎo cháng dá 18 nián de qī yuè wáng cháo de tǒng zhì， yóu jīn róng zī chǎn jiē jí zhǎng wò liǎo zhèng quán。《 ōu yě nī · gé lǎng tái》 fā biǎo yú 1833 nián， yě jí qī yuè wáng cháo chū qī。 gāng guò qù de fù bì wáng cháo zài rén men de tóu nǎo zhōng hái jì yì yóu xīn。 fù bì shí qī， guì zú suī rán cóng guó wài fǎn huí liǎo fǎ guó， yào wǔ yáng wēi， bù kě yī shì， kě shì tā men de shí jì dì wèi yǔ fǎ guó dà gé mìng yǐ qián bù kě tóng rì 'ér yǔ， yīn wéi zī chǎn jiē jí yǐ jīng qiáng dà qǐ lái。 gāng shàng tái de lù yì shí bā bù dé bù bān bù xīn xiàn fǎ， shí xíng jūn zhù lì xiàn， xiàng zī chǎn jiē jí zuò chū ràng bù， yǐ wéi hù yáo yáo yù zhuì de zhèng quán。 zī chǎn jiē jí suī rán shī qù liǎo zhèng zhì quán lì， què píng jiè jīng jì shàng de shí lì yǔ guì zú xiāng kàng héng。 dào liǎo fù bì wáng cháo hòu qī， zī chǎn jiē jí bù jǐn zài chéng shì， ér qiě zài guì zú bǎo chí guǎng fàn yǐng xiǎng de nóng cūn， dū bǎ guì zú dǎ dé luò huā liú shuǐ。 fù bì wáng cháo shí jì shàng dà shì yǐ qù。 bā 'ěr zhā kè bǐ tóng shí dài zuò jiā gèng mǐn ruì， dú jù huì yǎn dì guān chá dào zhè gè zhòng dà shè huì xiàn xiàng。
gāo lǎo tóu -【 xiāng guān píng lùn】
“《 gāo lǎo tóu》 hái chéng gōng dì sù zào liǎo qīng nián yě xīn jiā lā sī dì niè hé mòluò guì fū rén bào sài 'áng de xíng xiàng。 qián zhě yuán wéi yī gè wài shěng guì zú qīng nián， xiǎng lái bā lí jìn dà xué zhòng zhèn jiā yè， dàn mù dǔ shàng liú shè huì de huī jīn rú tǔ、 dēng hóng jiǔ lǜ， tā wǎng shàng pá de yù wàng bèi zēng，
tā zài bào sài 'áng zǐ jué fū rén hé táo fàn fú tè lěng de suō shǐ xià， rì yì sàng shī zhèng zhí de liáng xīn， kāi shǐ wéi jīn qián 'ér chū mài zhèng zhí， tè bié jiàn zhèng liǎo gāo lǎo tóu de liǎng gè nǚ 'ér duì dài fù qīn xiàng zhà gān de níng méng yī bān yǐ hòu， gèng jiān dìng liǎo xiàng zī chǎn jiē jí de dào lù zǒu qù de jué xīn。《 gāo lǎo tóu》 zhōng zhù yào miáo xiě liǎo tā yě xīn jiā xìng gé xíng chéng de guò chéng， zài yǐ hòu de yī xì liè zuò pǐn zhōng tā gèng yī fā bù kě shōu shí， kào chū mài dào dé hé liáng xīn jìng dāng shàng liǎo fù guó wù mì shū hé guì zú yuàn yì yuán， ér yī qiē de qǔ dé dū yǐ lài yú jí duān lì jǐ zhù yì yuán zé。 bào sài 'áng zǐ jué fū rén shì bā 'ěr zhā kè wéi guì zú jiē jí chàng de yī qū wú jìn de wǎn gē， tā chū shēn míng mén guì zú， shì bā lí shè jiāo jiè de huáng hòu， zhǐ yīn quē fá jīn qián 'ér bèi qíng rén pāo qì， bèi pò tuì chū bā lí shàng liú shè huì， gāo guì de mén dì zài yě dí bù guò jīn qián de shì lì， tā zài hòu lái de xiǎo shuō zhōng yīn wéi tóng yàng de yuán yīn yòu yī cì bèi jīn qián chū mài。 tā de zāo yù gào sù rén men， guì zú jiē jí chú liǎo shī bài zhī wài bù kě néng yòu gèng hǎo de mìng yùn， jīn qián cái shì zhè gè shì jiè de zhù zǎi。
《 gāo lǎo tóu》 zài yì shù shàng hěn yán jǐn， zuò zhě shè zhì liǎo diǎn xíng huán jìng， ràng diǎn xíng rén wù huó dòng yú qí zhōng， shǐ rén yǔ rén de jīn qián guān xì yǔ huán jìng xiāng qì hé， shū zhōng 'ān pái liǎo sì tiáo qíng jié xiàn suǒ， yǐ lā sī dì niè de duò luò wéi zhù xiàn， qí tā jǐ tiáo qǐ fǔ zhù zuò yòng， zòng héng jiāo cuò yòu mài luò fēn míng； diǎn xíng rén wù de kè huá shì bā 'ěr zhā kè de zuì dà tè sè， bù lùn shì wài mào miáo xiě hái shì xīn lǐ kè huá， shèn zhì yī gè xì jié， rú gāo lǎo tóu měi chī yī kuài miàn bāo dōuyào fàng zài bí xià xiù yī xiù， dū shǐ rén wù gèng xiān míng shēng dòng； rén wù yǔ yán de gè xìng huà yě shì zuò zhě yī dà gōng lì， guì zú shā lóng zhōng de yǔ yán yǔ táo fàn de yǔ yán jué bù yī yàng。”
gāo lǎo tóu -【 jīng cǎi piàn duàn】
gāo lǎo tóu lín sǐ qián xiǎng jiàn nǚ 'ér yī miàn , ràng rén qù jiào tā de nǚ 'ér , kě liǎng gè nǚ 'ér shuí yě méi lái。
gāo lǐ 'ào bù chū shēng liǎo， fǎng fó jí zhōng quán shēn de jīng lì 'áo zhe tòng kǔ。“ tā men zài zhè 'ér， wǒ bù huì jiào kǔ liǎo， gān me hái yào jiào kǔ ní？” tā mí mí hú hú hūn chén liǎo hǎo jiǔ。 kè lì sī duǒ fū huí lái， lā sī dì niè yǐ wéi gāo lǎo tóu shuì shú liǎo， ràng yōng rén gāo shēng huí bào tā chūchāi de qíng xíng。
“ xiān shēng， wǒ xiān shàng bó jué fū rén jiā， kě méi fǎ gēn tā shuō huà， tā hé zhàng fū yòu yào jǐn shì 'ér。 wǒ zài sān yāng qiú， léi sī duō xiān shēng qīn zì chū lái duì wǒ shuō： gāo lǐ 'ào xiān shēng kuài sǐ liǎo shì bù shì？ āi， zài hǎo méi yòu。 wǒ yòu shì， yào tài tài dài zài jiā lǐ。 shì qíng wán liǎo， tā huì qù de。 héng héng
tā sì hū hěn shēng qì， zhè wèi xiān shēng。 wǒ zhèng yào chū lái， tài tài cóng yī shàn wǒ kàn bù jiàn de mén lǐ zǒu dào chuān táng， gào sù wǒ， nǐ duì wǒ fù qīn shuō， wǒ tóng zhàng fū zhèng zài shāng liàng shì qíng， bù néng lái。 nà shì yòu guān wǒ hái zǐ men shēng sǐ de wèn tí。 dàn děng shì qíng yī wán， wǒ jiù qù kàn tā。 héng héng shuō dào nán jué fū rén bā， yòu shì lìng wài yī zhuāng shì 'ér！ wǒ méi yòu jiàn dào tā， bù néng gēn tā shuō huà。 lǎo mā zǐ shuō tā jīn 'ér zǎo shàng wǔ diǎn yī kè cái cóng wǔ huì huí lái， zhōng wǔ yǐ qián jiào xǐng tā， yī dìng yào 'áimà de。 děng huì tā dǎ líng míng wǒ， wǒ huì gào sù tā， shuō tā fù qīn de bìng gèng zhòng liǎo。 bào gào yī jiàn huài xiāo xī， bù huì xián tài wǎn de。 wǒ zài sān yāng qiú yě méi yòng。 āi， shì yā， wǒ yě yào qiú jiàn nán jué， tā bù zài jiā。”
“ yī gè yě bù lái” lā sī dì niē rǎng dào，“ ràng wǒ xiě xìn gěi tā men。”“ yī gè yě bù lái，” lǎo rén zuò qǐ lái jiē zhe shuō，“ tā men yòu shì， tā men zài shuì jué， tā men bù huì lái de。 wǒ zǎo zhī dào liǎo。 zhí yào lín sǐ cái zhī dào nǚ 'ér shì shénme dōng xī！ péng yǒu， nǐ bié jié hūn， bié shēng hái zǐ！ nǐ gěi tā men shēng mìng， tā men gěi nǐ sǐ。 nǐ dài tā men dào shì jiè shàng lái， tā men bǎ nǐ cóng shì jiè shàng gǎn chū qù。 tā men bù huì lái de！ wǒ yǐ jīng zhī dào liǎo shí nián。 yòu shí wǒ xīn lǐ zhè me xiǎng， zhǐ shì bù gǎn xiāng xìn。”
gāo lǎo tóu sǐ liǎo， liǎng gè nǚ 'ér shuí yě méi yòu lái， tā de qián dū gěi nǚ 'ér huā guāng liǎo， dào sǐ lián rù liàn de yī fú dōuméi yòu， shì lā sī dì niè mài liǎo zì jǐ de biǎo cái gěi tā rù liàn de。
lā sī dì niè bēn xià lóu tī， dào léi sī duō tài tài jiā qù liǎo。 gāng cái nà mù kě pà de jǐng xiàng shǐ tā dòng liǎo gǎn qíng， yī lù yì fèn tián xiōng。 tā zǒu jìn chuān táng qiú jiàn léi sī duō tài tài， rén jiā huí bào shuō tā bù néng jiàn róng。
tā duì dāngchāi shuō：“ wǒ shì wèile tā mǎ shàng yào sǐ de fù qīn lái de。”“ xiān shēng， bó jué zài sān fēn fù wǒ men……”“ jì rán bó jué zài jiā， nà me gào sù tā， shuō tā yuè fù kuài sǐ liǎo， wǒ yào lì kè hé tā shuō huà。” ōu yě nà děng liǎo hǎo jiǔ。“ shuō bù dìng tā jiù zài zhè gè shí hòu sǐ liǎo，” tā xīn lǐ xiǎng。
dāngchāi dài tā zǒu jìn dì yī jiào shì， léi sī duō xiān shēng zhàn zài bì lú qián miàn， jiàn liǎo kè rén yě bù qǐng zuò。“ bó jué，” lā sī dì niè shuō，“ lìng yuè zài pò làn de gé lóu shàng jiù yào duàn qì liǎo， lián mǎi mù chái de qián yě méi yòu； tā mǎ shàng yào sǐ liǎo， dàn děng jiàn yī miàn nǚ 'ér……”“ xiān shēng，” bó jué lěng lěng de huí dá，“ nǐ dà gài kě yǐ kàn chū， wǒ duì gāo lǐ 'ào xiān shēng méi yòu shénme hǎo gǎn。 tā jiào huài liǎo wǒ tài tài， zào chéng wǒ jiā tíng de bù xìng。 wǒ bǎ tā dàngzuò rǎo luàn wǒ 'ān níng de dí rén。 tā sǐ yě hǎo， huó yě hǎo， wǒ quán bù zài yì。 nǐ qiáo， zhè shì wǒ duì tā de qíngfèn。 shè huì jìn kě yǐ zé bèi wǒ， wǒ cái bù zài hū ní。 wǒ xiàn zài yào chù lǐ de shì， bǐ gù lǜ nà xiē shǎ guā de kuò yán xián yǔ jǐn yào dé duō。 zhì yú wǒ tài tài， tā xiàn zài nà gè múyàng méi fǎ chū mén， wǒ yě bù ràng tā chū mén。 qǐng nǐ gào sù tā fù qīn， zhǐ xiāo tā duì wǒ， duì wǒ de hái zǐ， jìn wán liǎo tā de zé rèn， tā huì qù kàn tā de。 yào shì tā 'ài tā de fù qīn， jǐ fēn zhōng nèi tā jiù kě yǐ zì yóu……”
“ bó jué， wǒ méi yòu quán lì pī píng nǐ de xíng wéi， nǐ shì nǐ tài tài de zhù rén。 zhì shǎo wǒ néng xiāng xìn nǐ shì jiǎng xìn yì de bā？ qǐng
nǐ dāyìng wǒ yī jiàn shì， jiù shì gào sù tā， shuō tā fù qīn méi yòu yī tiān hǎo huó liǎo， yīn wéi tā bù qù sòng zhōng， yǐ jīng zài zhòu tā liǎo！” léi sī duō zhù yì dào 'ōu yě nà fèn fèn bù píng de yǔ qì， huí dá dào：“ nǐ zì jǐ qù shuō bā。”
lā sī dì niè gēn zhe bó jué zǒu jìn bó jué fū rén píng shí qǐ zuò de kè tīng。 tā lèi rén 'ér shìde mái zài shā fā lǐ， nà fù tòng bù yù shēng de múyàng jiào tā kàn liǎo kě lián。 tā bù gǎn wàng lā sī dì niè， xiān qiè shēng shēng de qiáo liǎo qiáo zhàng fū， yǎn jīng de shén qì biǎo shì tā jīng shén ròu tǐ dōubèi zhuān héng de zhàng fū yā dǎo liǎo。 bó jué cè liǎo cè nǎo dài， tā cái gǎn kāi kǒu：“ xiān shēng， wǒdōu tīng dào liǎo。 gào sù wǒ fù qīn， tā yào zhī dào wǒ xiàn zài de chǔjìng， yī dìng huì yuán liàng wǒ。 xiǎng bù dào yào shòu zhè zhǒng xíng fá jiǎn zhí shòu bù liǎo。 kě shì wǒ yào fǎn kàng dào dǐ，” tā duì dì de zhàng fū shuō。“ wǒ yě yòu 'ér nǚ。 qǐng nǐ duì fù qīn shuō， bù guǎn biǎo miàn shàng zěn me yàng， zài fù qīn miàn qián wǒ bìng méi yòu cuò，” tā wú kě nài hé de duì 'ōu yě nà shuō。
nà nǚ de jīng lì de kǔ nán， ōu yě nà bù nán xiǎng xiàng， biàn dāi dāi de zǒu liǎo chū lái。 tīng dào tè · léi sī duō xiān shēng de kǒu wěn， tā zhī dào zì jǐ bái páo liǎo yī tàng， ā nà sī dà qí yǐ jīng shī qù zì yóu。
jiē zhe tā gǎn dào tè · niǔ qìn gēn tài tài jiā， fā jué tā hái zài chuáng shàng。“ wǒ bù shū fú yā， péng yǒu，” tā shuō。“ cóng tiào wǔ huì chū lái shòu liǎo liáng， wǒ pà yào hài fèi yán ní， wǒ děng yī shēng lái……” ōu yě nà dǎ duàn liǎo tā de huà， shuō dào：“ nǎ pà sǐ shén yǐ jīng dào liǎo nǐ shēn biān， pá yě dé pá dào nǐ fù qīn gēn qián qù。 tā zài jiào nǐ！ nǐ yào tīng dào tā yī shēng， mǎ shàng bù jué dé nǐ zì jǐ hài bìng liǎo。”
“ ōu yě nà， fù qīn de bìng yě xǔ bù xiàng nǐ shuō de nà me yán zhòng； kě shì wǒ yào zài nǐ yǎn lǐ yòu shénme bù shì， wǒ cái nán guò sǐ ní； suǒ yǐ wǒ yī dìng tīng nǐ de fēn fù。 wǒ zhī dào， cháng ruò wǒ zhè yī huí chū qù nào chū yīcháng dà bìng lái， fù qīn yào shāng xīn sǐ de。 wǒ děng yī shēng lái guò liǎo jiù zǒu。” tā yī yǎn kàn bù jiàn 'ōu yě nà shēn shàng de biǎo liàn， biàn jiào dào：“ yō！ zěn me nǐ de biǎo méi yòu lā？” ōu yě nà liǎn shàng hóng liǎo yī kuài。“ ōu yě nà！ ōu yě nà！ cháng shǐ nǐ yǐ jīng bǎ tā mài liǎo， diū liǎo，…… ò！ nà tài qǐ yòu cǐ lǐ liǎo。”
dà xué shēng fú zài dàn fěi nà chuáng shàng， còu zhe tā 'ěr duǒ shuō：“ nǐ yào zhī dào me？ hēng！ hǎo， gào sù nǐ bā！ nǐ fù qīn yī gè qián méi yòu liǎo， jīn wǎn shàng yào bǎ tā rù jiǎn de shī yī dōuméi fǎ mǎi。 nǐ sòng wǒ de biǎo zài dàngpù lǐ， wǒ qián dū guāng liǎo。”
dàn fěi nà měng de cóng chuáng shàng tiào xià， bēn xiàng shū guì， zhuā qǐ qián dài dì gěi lā sī dì niē， dǎzháo líng rǎng dào：“ wǒ qù wǒ qù， ōu yě nà。 ràng wǒ chuān yī fú， wǒ jiǎn zhí shì qín shòu liǎo！ qù bā， wǒ huì gǎn zài nǐ qián miàn！” tā huí tóu jiào lǎo mā zǐ：“ dān lán shì， qǐng lǎo yé lì kè shàng lái gēn wǒ shuō huà。”
gāo lǎo tóu -【 yì shù chéng jiù】
《 gāo lǎo tóu》 jí zhōng biǎo xiàn liǎo bā 'ěr zhā kè xiàn shí zhù yì chuàng zuò yì shù de zhù yào tè sè。
■ jīng xì 'ér fù yòu tè zhēng de diǎn xíng huán jìng
bā 'ěr zhā kè fēi cháng zhòng shì xiáng xì 'ér bī zhēn de huán jìng miáo huì， yī fāng miàn shì wéi liǎo zài xiàn shēng huó， gèng zhòng yào de shì wèile kè huà rén wù xìng gé。 zuò pǐn wéi rào lā sī dì niè de huó dòng， miáo xiě liǎo bā lí bù tóng děng jí、 bù tóng jiē céng de rén men de shēng huó huán jìng； lā dīng qū de fú gài gōng yù， xíng sì láo yù de huáng sè wū
zǐ， dào chù sàn fā zhe“ bìsè de、 méi làn de、 suān fǔ de qì wèi”， sài mǎn liǎo 'āng zàng yóu nì、 cán pò chǒu lòu de qì mǐn hé jiā jù， zhè shì xià céng rén wù de jì jū zhī dì。 táng dǎ qū nèi gāo lǎo tóu de liǎng gè nǚ 'ér jiā lǐ， suī yòu jīn bì huī huáng de fáng zǐ、 guì zhòng de qì wù， dàn“ háo wú qì pài de huí láng”， guà mǎn yì dà lì yóu huà de kè tīng què“ zhuāng shì dé xiàng kā fēi guǎn”， zhè xiǎn shì liǎo zuò wéi xīn guì de zī chǎn jiē jí bào fā hù men sú bù kě nài de pái chǎng。 shèng rì 'ěr màn qū gǔ lǎo de bào sài 'áng fǔ zé xiǎn shì chū wán quán bù tóng de qì pài， yuàn zhōng tào zhe jīng zhuàng mǎ pǐ de huá lì mǎ chē， chuānzhuó jīn xiāng biān dà hóng zhì fú de mén dīng， liǎng biān gōng mǎn xiān huā de dà lóu tī yǐ jí zhǐ yòu huī hé fěn hóng sè de xiǎo qiǎo líng lóng de kè shì， zhè xiē jīng yǎ jué lún de chén shè、 bié chū xīn cái de bù zhì dū chèn tuō chū shàng liú shè huì guì zú“ lǐng xiù” de fēng yǎ chāo qún。 zhè xiē jīng xì 'ér fù yòu tè zhēng de huán jìng miáo xiě， yòu lì yú zhǎn shì qí duì rén jiān xìng gé xíng chéng de yǐng xiǎng。 dāng lā sī dì niè cóng léi sī duō fū rén hé bào sài 'áng fū rén liǎng chù fǎng wèn hòu huí dào qī shēn de fú gài gōng yù shí， zuò pǐn xiě dào：“ zǒu rù qì wèi nán wén de fàn tīng， shí bā gè shí kè hǎo sì mǎ cáo qián de shēng kǒu yī bān zhèng zài chī fàn。 tā jué dé zhè fù qióng suān xiāng gēn fàn tīng de jǐng xiàng chǒu 'è yǐ jí。 huán jìng zhuǎn biàn tài tū wù liǎo， duì bǐ tài qiáng liè liǎo， gé wài cì jī tā de yě xīn……” yǐ jīng xiǎng shòu guò shàng liú shè huì shēng huó de lā sī dì niè zài yě bù kěn zì gān pín jiàn， zuì hòu， tā jué xīn nòng zàng shuāng shǒu， mǒ hēi liáng xīn， bù gù yī qiē dì xiàng shàng pū。 lā sī dì niè de duò luò shì zhè zhǒng tè dìng de diǎn xíng huán jìng suǒ jué dìng de。
■ rén wù xìng gé de diǎn xíng huà
bā 'ěr zhā kè bù jǐn sù zào liǎo gāo lǐ 'ào、 lā sī dì niè、 bào sài 'áng fū rén、 fú tuō lěng děng diǎn xíng xíng xiàng， ér qiě zài qí tā rén wù xíng xiàng de sù zào zhōng yě zuò dào liǎo gòng xìng yǔ gè xìng de tǒng yī。 léi sī duō bó jué fū fù hé niǔ qìn gēn nán jué fū fù suī rán yòu guì zú de tóu xián， shí jì shàng dōushì zī chǎn zhě。 tā men jì yòu zhuī qiú gè rén sī lì de gòng tóng tè xìng， yòu dōushì dú jù gè xìng de diǎn xíng。 yínháng jiā niǔ qìn gēn xīn mù zhōng zhǐ yòu jīn qián， tā duì dài qī zǐ xún qiú wài yù de tài dù hěn míng lǎng：“ wǒ yǔn xǔ nǐ hú jiǎo， nǐ yě dé ràng wǒ fàn zuì， jiào nà xiē kě lián chóng qīng jiā dàng chǎn。” léi sī duō bó jué duì qī zǐ de měi zhe liǎo mí， suī tīng píng tā hé mǎ kè gòu dā， què yòu yī dìng xiàn dù， zhè hé tā de guì zú mén dì guān niàn yòu guān。 tā zhī dào qī zǐ tōu mài zǔ chuán zuàn shí hòu， xiǎng fāng shè fǎ shú huí， ràng tā dài zhe cān jiā wǔ huì， yǐ wéi hù mén dì de zūn yán。
ā nà sī tǎ qí hé dàn fěi nà dōushì gāo lǎo tóu de nǚ 'ér， dàn liǎng zǐ mèi gè yòu zì jǐ de gè xìng。 qián zhě shēn cái gāo dà、 jiēshí、 hēi fā， yǎn jīng jiǒng jiǒng yòu shén， jìn gōng yè jiàn guò huáng shàng， bù bǎ mèi mèi fàng zài yǎn lǐ。 hòu zhě jiāo xiǎo、 jīn fā， jí yòu fēng yùn， zì zhī shè huì dì wèi bù gāo， péi jià bèi zhàng fū qīn zhàn， yòu zāo qíng fū yí qì， xìng gé yōu yù shàn gǎn， jīng cháng huái niàn tóng nián shí dài de xìng fú shēng huó。 dàn tā men liǎ dōushì xū róng xīn jí qiáng de lì jǐ zhù yì zhě， wèile mǎn zú yù wàng， bù xī zhà gān fù qīn de jī xù。 ā nà sī tǎ qí xiàng fù qīn yào qián， wǎng wǎng yòng lè suǒ de fāng fǎ， dàn fěi nà zé yòng sǎ jiāo hǒngpiàn de bàn fǎ。
■ jīng zhì de jié gòu
xiǎo shuō yǐ gāo lǎo tóu hé lā sī dì niè de gù shì wéi liǎng tiáo zhù yào xiàn suǒ， yòu chuān chā liǎo fú tuō lěng、 bào sài 'áng fū rén de gù shì。 jǐ tiáo xiàn suǒ cuò zōng jiāo zhì， tóu xù kàn sì fēn fán 'ér shí jì zhù cì fēn míng、 mài luò qīng chǔ、 yòu tiáo bù wěn。 zuò pǐn yǐ xù shù gāo lǎo tóu bèi nǚ 'ér zhà gān
qián cái zāo pāo qì wéi zhōng xīn qíng jié， yǐ lā sī dì niè wéi zhōng xīn rén wù， tōng guò tā de huó dòng chuān zhēn yǐn xiàn， jiāng shàng céng shè huì yǔ xià céng shè huì lián xì qǐ lái， jiāng guì zú shā lóng yǔ zī chǎn zhě kè tīng lián jié qǐ lái。 suí zhe gāo lǎo tóu zhī mí zài lā sī dì niè yǎn qián zhǎn xiàn、 jiě kāi， qíng jié bù bù tuī xiàng gāo cháo。 fú tuō lěng bèi bǔ、 bào sài 'áng fū rén bèi qì、 gāo lǎo tóu cǎn sǐ， lā sī dì niè dōushì mù dǔ zhě、 jiàn zhèng rén。 shè huì de chǒu 'è zhèng shí liǎo tā jiē shòu de fǎn miàn jiào yù， gāo lǎo tóu mái zàng zhī rì， yě shì lā sī dì niè de qīng nián shí dài jié shù zhī shí。 jǐ tiáo xiàn suǒ jǐn mì jiāo zhì、 huán huán xiāng kòu、 bù bù shēn rù， qǐ zhe hù xiāng shēn huà、 hù wéi bǔ chōng de zuò yòng， cóng 'ér shēn kè dì biǎo xiàn liǎo zuò pǐn de zhù tí。
■ duì bǐ shǒu fǎ de guǎng fàn yùn yòng
yì shù shàng de duì bǐ shǒu fǎ zài《 gāo lǎo tóu》 zhōng yùn yòng dé shí fēn guǎng fàn。 fú gài gōng yù yǔ bào sài 'áng fǔ de qiáng liè duì bǐ， bù jǐn cù shǐ lā sī dì niè gè rén yě xīn de měng liè péng zhàng， ér qiě biǎo míng bù guǎn shì hè hè shēng wēi de háo mén dà hù hái shì qióng suān 'àn dàn de lòu shì kè zhàn， yī yàng chōng chì zhe bài jīn zhù yì， yī yàng cún zài zhe bēi liè wú chǐ。 gāo guì zhuāng zhòng de bào sài 'áng fū rén yǔ cū sú qiáng hàn de fú tuō lěng xíng chéng xiān míng duì bǐ， yī gè wén zhì bīn bīn， yī gè zhí yán bù huì， dàn bù tóng de yǔ yán què yòu jiē shì liǎo tóng yàng de dào lǐ， ér tā men liǎng rén kàn tòu shè huì de lǐ lùn yòu yǔ zì jǐ shēng huó zhōng de cǎn bài chéng wéi fǎn chèn， gèng jiā shēn liǎo bēi jù de yì wèi。 cǐ wài， hái yòu gāo lǎo tóu nǚ 'ér de qióng shē jí yù yǔ gāo lǎo tóu de pín kǔ jiǒng kùn de duì bǐ， bào sài 'áng fū rén tuì yǐn shí rè nào de chǎng miàn yǔ qī liáng xīn qíng de duì bǐ děng děng。 zhè zhǒng xiān míng duì bǐ de shǒu fǎ， shǐ zuò pǐn de zhù tí gèng jiā xiān míng tū chū。
gāo lǎo tóu - bā 'ěr zhā kè héng wén xué shàng de ná pò lún
bā 'ěr zhā kè（ HonoredeBalzac1799～ 1850） 19 shì jì fǎ guó wěi dà de pī pàn xiàn shí zhù yì zuò jiā， ōu zhōu pī pàn xiàn shí zhù yì wén xué de diàn jī rén hé jié chū dài biǎo。 yī shēng chuàng zuò 96 bù cháng、 zhōng、 duǎn piān xiǎo shuō hé suí bǐ， zǒng míng wéi《 rén jiān xǐ jù》。 qí zhōng dài biǎo zuò wéi《 ōu yě nī · gé lǎng tái》、《 gāo lǎo tóu》。 100 duō nián lái， tā de zuò pǐn chuán biàn liǎo quán shì jiè， duì shì jiè wén xué de fā zhǎn hé rén lèi jìn bù chǎn shēng liǎo jù dà de yǐng xiǎng。 mǎ kè sī、 ēn gé sī chēng zàn tā“ shì chāo qún de xiǎo shuō jiā”、“ xiàn shí zhù yì dà shī”。
bā 'ěr zhā kè 1799 nián 5 yuè 20 rì chū shēng yú yī gè fǎ guó dà gé mìng hòu zhì fù de zī chǎn jiē jí jiā tíng， fǎ kē xué xiào bì yè hòu， jù jué jiā tíng wèitā xuǎn zé de shòu rén zūn jìng de fǎ lǜ zhí yè， ér lì zhì dāng wén xué jiā。 wèile huò dé dú lì shēng huó hècóng shì chuàng zuò de wù zhì bǎo zhàng， tā céng shì bǐ bìng chā zú shāng yè， cóng shì chū bǎn yìn shuà yè， dàn dū yǐ pò chǎn gào zhōng。 zhè yī qiēdōu wèitā rèn shí shè huì、 miáo xiě shè huì tí gōng liǎo jí wéi zhēn guì de dì yī shǒu cái liào。 tā bù duàn zhuī qiú hé tàn suǒ， duì zhé xué、 jīng jì xué、 lì shǐ、 zì rán kē xué、 shén xué děng lǐng yù jìn xíng liǎo shēn rù yán jiū， jī lěi liǎo jí wéi guǎng bó de zhī shí。
1829 nián， bā 'ěr zhā kè wán chéng cháng piān xiǎo shuō《 shū 'áng dǎng rén》， zhè bù qǔ cái yú xiàn shí shēng huó de zuò pǐn wèitā dài lái jù dà shēng yù， yě wéi fǎ guó pī pàn xiàn shí zhù yì wén xué fàng xià dì yī kuài jī shí， bā 'ěr zhā kè jiāng《 shū 'áng dǎng rén》 hé jìhuà yào xiě de yī bǎi sì wǔ shí bù xiǎo shuō zǒng mìng míng wéi《 rén jiān xǐ jù》， bìng wéi zhī xiě liǎo《 qián yán》， chǎn shù liǎo tā de xiàn shí zhù yì chuàng zuò fāng fǎ hé jī běn yuán zé， cóng lǐ lùn shàng wéi fǎ guó pī pàn xiàn shí zhù yì wén xué diàn dìng liǎo jī chǔ。
cháng qī de xīn láo yán zhòng sǔn hài liǎo bā 'ěr zhā kè de jiàn kāng， gāng guò 50 suì， tā jiù zhòng bìng chán shēn liǎo。 zài bā 'ěr zhā kè shēng mìng chuí wēi shí kè， tā réng rán chén jìn zài zì jǐ zhì zào de shì jiè lǐ， tā kěn qiú yī shēng yán cháng tā de shēng mìng， tā jiù néng zài xiě chū yī bù zuò pǐn。 1850 nián 8 yuè 18 rì wǎn shàng 11 diǎn bàn， bā 'ěr zhā kè yǒng yuǎn bì shàng liǎo tā de nà shuāng dòng chá yī qiē de yǎn jīng， jié shù liǎo tā xīn qín láolèi de yī shēng。
bā 'ěr zhā kè zài yì shù shàng qǔ dé jù dà chéng jiù， tā zài xiǎo shuō jié gòu fāng miàn jiàng xīn dú yùn， xiǎo shuō jié gòu duō zhǒng duō yàng， bù jū yī gé、 bìng shàn yú jiāng jí zhōng gài kuò yǔ jīng què miáo mó xiāng jié hé， yǐ wài xíng fǎn yìng nèi xīn běn zhì děng shǒu fǎ lái sù zào rén wù， tā hái shàn yú yǐ jīng xì rén wēi、 shēng dòng bī zhēn de huán jìng miáo xiě zài xiàn shí dài fēng mào。 ēn gé sī chēng zàn bā 'ěr zhā kè de《 rén jiān xǐ jù》 xiě chū liǎo guì zú jiē jí de mòluò shuāi bài hé zī chǎn jiē jí de shàng shēng fā zhǎn， tí gōng liǎo shè huì gè gè lǐng yù wú bǐ fēng fù de shēng dòng xì jié hé xíng xiàng huà de lì shǐ cái liào，“ shèn zhì zài jīng jì de xì jié fāng miàn（ rú gé mìng yǐ hòu dòng chǎn hé bù dòng chǎn de chóngxīn fēn pèi）， wǒ xué dào de dōng xī yě yào bǐ cóng dāng shí suǒ yòu zhí yè lì shǐ xué jiā、 jīng jì xué yuàn hé tǒng jì xué jiā nà lǐ xué dào de quán bù dōng xī hái yào duō”。（ ēn gé sī：《 ēn gé sī zhì mǎ · hā kè nài sī》）
bā 'ěr zhā kè yǐ zì jǐ de chuàng zuò zài shì jiè wén xué shǐ shàng shù lì qǐ bù xiǔ de fēng bēi。 tā yǐ duì wén xué de rè 'ài chéng jiù liǎo yī dào měi lì de wén xué fēng jǐng！
Originally published in serial form during the winter of 1834–35, Le Père Goriot is widely considered Balzac's most important novel.[1] It marks the first serious use by the author of characters who had appeared in other books, a technique that distinguishes Balzac's fiction. The novel is also noted as an example of his realist style, using minute details to create character and subtext.
The novel takes place during the Bourbon Restoration, which brought about profound changes in French society; the struggle of individuals to secure upper-class status is ubiquitous in the book. The city of Paris also impresses itself on the characters – especially young Rastignac, who grew up in the provinces of southern France. Balzac analyzes, through Goriot and others, the nature of family and marriage, providing a pessimistic view of these institutions.
The novel was released to mixed reviews. Some critics praised the author for his complex characters and attention to detail; others condemned him for his many depictions of corruption and greed. A favorite of Balzac's, the book quickly won widespread popularity and has often been adapted for film and the stage. It gave rise to the French expression "Rastignac", a social climber willing to use any means to better his situation.
■ zhù míng yì běn
fù léi xiān shēng zài 1963 nián shǒu yì de《 gāo lǎo tóu》 bǎn běn， rén mín wén xué chū bǎn shè zài 1978 nián yòu chóngxīn chū bǎn， zhì jīn wú rén qǐ jí。
■ yòu guān yú《 rén jiān xǐ jù》
bā 'ěr zhā kè yòng zǒng biāo tí wéi《 rén jiān xǐ jù》 de yī xì liè xiǎo shuō， fǎn yìng liǎo jí jù biàn gé shí qī de fǎ guó shēng huó。《 rén jiān xǐ jù》 fēn wéi sān dà bù fēn： fēng sú yán jiū、 zhé lǐ yán jiū hé fēn xī yán jiū； qí zhōng fēng sú yán jiū nèi róng zuì wéi fēng fù， yòu fēn wéi liù gè“ chǎng jǐng”。 qí jī běn nèi róng biǎo xiàn wéi： shǒu xiān， fǎn yìng liǎo shàng shēng de zī chǎn jiē jí qǔ dài guì zú jiē jí de zuì 'è fā jiā shǐ； tóng shí yě xiě chū liǎo guì zú jiē jí de mòluò shuāi wáng shǐ， zhì wéi zhòng yào de nèi róng shì duì jīn qián shì lì de pī pàn， bā 'ěr zhā kè miáo xiě liǎo yī mù mù wéi rào zhe jīn qián 'ér zhǎn kāi de rén jiān cǎn jù， cóng 'ér shǐ wǒ men duì zī běn zhù yì shè huì de zuì 'è yǔ 'āng zàng yòu yī gè xíng xiàng de rèn shí。
gāo lǎo tóu -【 zuò zhě jiǎn jiè】
bā 'ěr zhā kè shì 19 shì jì fǎ guó wěi dà de pī pàn xiàn shí zhù yì zuò jiā， ōu zhōu pī pàn xiàn shí zhù yì wén xué de diàn jī rén hé jié chū dài biǎo， shì yī wèi jù yòu nóng hòu làng màn qíng diào de wěi dà zuò jiā， yī biān yīn shē huá de shēng huó 'ér fù zhài lěi lěi， yī biān yǐ chóng gāo shēn kè de sī xiǎng chuàng zuò chū bó dà jīng shēn de wén xué jù zhù。 tā
de shēng huó qù shì céng chū bù qióng， ér zuò pǐn gèng bèi yù wéi“ fǎ guó shè huì de yī miàn jìng zǐ”。 zài tā shì shì shí， wén xué dà shī yǔ guǒ céng zhàn zài fǎ guó bā lí de méng méng xì yǔ zhōng， miàn duì chéng qiān shàng wàn 'āi dào zhě kāng kǎi jī 'áng dì píng jià dào：“ 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。”
yī shēng chuàng zuò 96 bù cháng、 zhōng、 duǎn piān xiǎo shuō hé suí bǐ， zǒng míng wéi《 rén jiān xǐ jù》。 qí zhōng dài biǎo zuò wéi《 ōu yě nī gé lǎng tái》、《 gāo lǎo tóu》。 100 duō nián lái， tā de zuò pǐn chuán biàn liǎo quán shì jiè， duì shì jiè wén xué de fā zhǎn hé rén lèi jìn bù chǎn shēng liǎo jù dà de yǐng xiǎng。 mǎ kè sī、 ēn gé sī chēng zàn tā“ shì chāo qún de xiǎo shuō jiā”、“ xiàn shí zhù yì dà shī”。 bā 'ěr zhā kè chū shēng yú yī gè fǎ guó dà gé mìng hòu zhì fù de zī chǎn jiē jí jiā tíng， fǎ kē xué xiào bì yè hòu， jù jué jiā tíng wèitā xuǎn zé de shòu rén zūn jìng de fǎ lǜ zhí yè， ér lì zhì dāng wén xué jiā。 wèile huò dé dú lì shēng huó hècóng shì chuàng zuò de wù zhì bǎo zhàng， tā céng shì bǐ bìng chā zú shāng yè， cóng shì chū bǎn yìn shuà yè， dàn dū yǐ pò chǎn gào zhōng。 zhè yī qiēdōu wèitā rèn shí shè huì、 miáo xiě shè huì tí gōng liǎo jí wéi zhēn guì de dì yī shǒu cái liào。 tā bù duàn zhuī qiú hé tàn suǒ， duì zhé xué、 jīng jì xué、 lì shǐ、 zì rán kē xué、 shén xué děng lǐng yù jìn xíng liǎo shēn rù yán jiū， jī lěi liǎo jí wéi guǎng bó de zhī shí。 1829 nián， bā 'ěr zhā kè wán chéng cháng piān xiǎo shuō《 zhū 'ān dǎng rén》， zhè bù qǔ cái yú xiàn shí shēng huó de zuò pǐn wèitā dài lái jù dà shēng yù， yě wéi fǎ guó pī pàn xiàn shí zhù yì wén xué fàng xià dì yī kuài jī shí， bā 'ěr zhā kè jiāng《 zhū 'ān dǎng rén》 hé jìhuà yào xiě de 136 bù xiǎo shuō zǒng mìng míng wéi《 rén jiān xǐ jù》， bìng wéi zhī xiě liǎo《 qián yán》， chǎn shù liǎo tā de xiàn shí zhù yì chuàng zuò fāng fǎ hé jī běn yuán zé， cóng lǐ lùn shàng wéi fǎ guó pī pàn xiàn shí zhù yì wén xué diàn dìng liǎo jiān gù de jī chǔ。 bā 'ěr zhā kè zài yì shù shàng qǔ dé jù dà chéng jiù， tā zài xiǎo shuō jié gòu fāng miàn jiàng xīn dú yùn， xiǎo shuō jié gòu duō zhǒng duō yàng， bù jū yī gé、 bìng shàn yú jiāng jí zhōng gài kuò yǔ jīng què miáo mó xiāng jié hé， yǐ wài xíng fǎn yìng nèi xīn běn zhì děng shǒu fǎ lái sù zào rén wù， tā hái shàn yú yǐ jīng xì rén wēi、 shēng dòng bī zhēn de huán jìng miáo xiě zài xiàn shí dài fēng mào。 ēn gé sī chēng zàn bā 'ěr zhā kè de《 rén jiān xǐ jù》 xiě chū liǎo guì zú jiē jí de mòluò shuāi bài hé zī chǎn jiē jí de shàng shēng fā zhǎn， tí gōng liǎo shè huì gè gè lǐng yù wú bǐ fēng fù de shēng dòng xì jié hé xíng xiàng huà de lì shǐ cái liào，“ shèn zhì zài jīng jì de xì jié fāng miàn（ rú gé mìng yǐ hòu dòng chǎn hé bù dòng chǎn de chóngxīn fēn pèi）， wǒ xué dào de dōng xī yě yào bǐ cóng dāng shí suǒ yòu zhí yè lì shǐ xué jiā、 jīng jì xué yuàn hé tǒng jì xué jiā nà lǐ xué dào de quán bù dōng xī hái yào duō”。（ ēn gé sī：《 ēn gé sī zhì mǎ hā kè nài sī》） bā 'ěr zhā kè yǐ zì jǐ de chuàng zuò zài shì jiè wén xué shǐ shàng shù lì qǐ bù xiǔ de fēng bēi。
gāo lǎo tóu -【 zuò pǐn mù lù】
gòng yòu liù zhāng， fēn bié shì：
dì yī zhāng fú gài gōng yù
dì 'èr zhāng liǎng chù fǎng wèn
dì sān zhāng chū jiàn shì miàn
dì sì zhāng guǐ shàngdàng
dì wǔ zhāng liǎng gè nǚ 'ér
dì liù zhāng fù qīn de sǐ
gāo lǎo tóu -【 nèi róng gěng gài】
1891 nián dōng， zài bā lí lā dīng qū yòu yī gè jiào fú gài gōng yù bāo fàn kè fáng， shì yī gè jiào fú gài de měi guó lǎo fù rén kāi de。 zhè lǐ zhù zhe gè zhǒng gè yàng de rén： yòu qióng dà xué shēng lā sī dì niè； xiē yè de miàn fěn shāng rén gāo lǐ 'ào； wài hào jiào“ guǐ shàngdàng” de fú tuō lěng； bèi dà yínháng jiā gǎn chū jiā mén de tài yī fān xiǎo jiě； gǔ shòu rú cái de lǎo chǔnǚ mǐ xù nuò děng。 měi féng kāi fàn de shí hòu， kè diàn de fàn tīng jiù tè bié rè nào， yīn wéi dà jiā kě yǐ zài yī qǐ qǔ xiào gāo lǎo tóu。
69 suì de gāo lǎo tóu， 6 nián qián jié shù liǎo tā de mǎi mài hòu， zhù dào liǎo fú gài gōng yù。 dāng shí， fēn zhù zài 'èr lóu yī jiān zuì hǎo de fáng jiān， měi nián jiāo yī qiān 'èr bǎi fǎ lǎng de shàn sù fèi， tā yī zhe jiǎng jiū， měi tiān hái qǐng lǐfà shī lái gěi tā shū tóu fā， lián bí yān xiá dōushì jīn de， tā suàn dé shàng zhè suǒ gōng yù lǐ zuì tǐ miàn de fáng kè， rén mendōu jiào tā gāo lǐ 'ào xiān shēng。 guǎ fù lǎo bǎn niàn hái xiàng tā sāo shǒu nòng zī， xiǎng gǎi jià yú tā dāng yī míng běn dì qū de kuò tài tài。
gāo lǎo tóu bǎ tā quán bù de 'ài dū fàng zài liǎng gè chū jià de nǚ 'ér shēn shàng， bù shòu fú gài tài tài de yòu huò。 dì 'èr nián nián mò， gāo lǎo tóu jiù yào qiú huàn cì děng fáng jiān， bìng qiě zhěng gè dōng tiān wū zǐ lǐ méi yòu shēng huǒ qǔ nuǎn， shàn sù fèi yě jiǎn wéi jiǔ bǎi fǎ láng。 dà jiā bǎ tā dāng zuò“ è pǐ、 wú chǐ、 dī néng suǒ chǎn shēng de zuì shén mì de rén wù”。 cháng yòu liǎng gè guì fū qī lái zhǎo tā， yǐ wéi tā yòu yàn yù， gāo lǎo tóu gào sù dà jiā， nà shì tā de nǚ 'ér： léi sī duō bó jué fū rén hé yínháng jiā niǔ qìn gēn tài tài。 dì sān nián， gāo lǎo tóu yòu yào qiú huàn dào zuì dī děng de fáng jiān měi yuè fáng qián jiàng wéi sì shí wǔ fǎ láng， tā jiè liǎo bí yān， pī fā liǎo lǐfà jiàng， jīn gāng zuàn、 jīn yān xiá、 jīn liàn tiáo děng shì wù yě bù jiàn liǎo， rén yě yuè lái yuè shòu， kàn shàng qù huó xiàng yī gè kě lián chóng。 fú gài tài tài yě rèn wéi： yào shì gāo lǎo tóu zhēn yòu nà me yòu qián de nǚ 'ér， tā jué bù huì zhù zài sì lóu zuì dī děng de fáng jiān。
kě shì， gāo lǎo tóu zhè gè mí zhōng yú bèi lā sī dì niè jiē kāi liǎo。 lā sī dì niè shì cóng wài dì lái bā lí dú dà xué de qīng nián， chū shēn pò luò guì zú jiā tíng， bái pí fū、 hēi tóu fā、 lán yǎn jīng， rè qíng 'ér yòu cái qì， xiǎng zuò yī gè qīng lián zhèng zhí de fǎ guān。 dàn bā lí de háo huá shēng huó de cì jī jiā qiáng liǎo tā“ duì quán wèi de yù wàng yǔ chū rén tóu dì de zhì yuàn”。 tā rèn wéi kào zì jǐ de qín fèn xué xí qiú shàng jìn de lù tài jiān kǔ， yě tài yáo yuǎn， hái bù yī dìng xíng dé tōng， ér xiàn shí shè huì yǐ kào jǐ gè yòu qián de nǚ rén zuò jìn shēn de jiē tī zé róng yì dé duō， yú shì tā xiǎng“ qù zhēng fú jǐ gè kě yǐ zuò tā de hòu tái de fù nǚ”。 yóu yú gū mǔ de yǐn jiàn， tā jié shí liǎo yuǎn fáng biǎo jiě， bā lí shè jiāo jiè dì wèi xiǎn hè de bào sài 'áng zǐ jué fū rén。 lā sī dì niè hěn dé yì dì xiàng fú gài gōng yù de fáng kè men jiǎng liǎo zài wǔ huì rèn shí liǎo bó jué fū rén de shì。 gāo lǎo tóu xīng fèn dì wèn：“ zuó wǎn léi sī duō tài tài hěn piào liàng má？” gōng yù lǎo bǎn niàn biàn rèn dìng gāo lǎo tóu dìng shì gěi nà xiē pó niàn nòng qióng de。 lā sī dì niè xiǎng nòng qīng gāo lǎo tóu hé bó jué fū rén de guān xì， jué dìng qù léi sī duō bó jué fū rén jiā。 zài bó jué fū rén jiā tā de hán suān xiāng yǐn qǐ pú rén qīng miè； jiē zhe tā mǎng zhuàng dì chōng jìn liǎo yī jiān yù shì， dà chū yáng xiāng； hòu yòu dào tí dào hé gāo lǎo tóu zhù zài yī qǐ， què yǐn qǐ bó jué fū fù de bù kuài， bǎ tā gǎn liǎo chū lái。 lā sī dì niè shí fēn 'ào nǎo， zhǐ hǎo gǎn qù xiàng biǎo jiě qiú jiào。 bào sài 'áng fū rén gào sù tā， léi sī duō tài tài biàn shì gāo lǐ 'ào de nǚ 'ér。
gāo lǎo tóu shì fǎ guó dà gé mìng shí qī qǐ jiā de miàn fěn shāng rén， zhōng nián sàng qī， tā bǎ zì jǐ suǒ yòu de 'ài dū qīng zhù zài liǎng gè nǚ 'ér shēn shàng。 wèile ràng tā men jǐ jìn shàng liú shè huì， cóng xiǎo gěi tā men liáng hǎo de jiào yù， chū jià shí， gěi liǎo tā men měi rén 80 wàn fǎ láng de péi jià， ràng dà nǚ 'ér jià gěi liǎo léi sī duō bó jué， zuò liǎo guì fù rén； xiǎo nǚ 'ér jià gěi yínháng jiā niǔ qìn gēn， dāng liǎo jīn róng zī chǎn jiē jí kuò tài tài。 tā yǐ wéi nǚ 'ér jià liǎo tǐ miàn rén jiā， zì jǐ biàn kě yǐ shòu dào zūn zhòng、 fèng chéng。 nà zhī bù dào liǎng nián， nǚ xù jìng bǎ tā dāng zuò yàobùde de xià liú dōng xī， bǎ tā gǎn chū jiā mén。 gāo lǎo tóu wèile huò dé tā men de hǎo gǎn， rěn tòng chū mài liǎo diàn pū， jiāng qián yī fēn wéi 'èr gěi liǎo liǎng gè nǚ 'ér， zì jǐ biàn bān jìn liǎo fú gài gōng yù。 liǎng gè nǚ 'ér zhǐ yào bà bà de qián， kě xiàn zài gāo lǎo tóu yǐ méi qián liǎo。
bào sài 'áng fū rén jiào dǎo lā sī dì niè shè huì yòu bēi bǐ yòu cán rěn， yào tā yǐ yá hái yá qù duì fù zhè gè shè huì。 tā shuō：“ nǐ yuè méi yòu xīn gān， jiù yuè gāo shēng dé kuài。 nǐ háo bù liú qíng de dǎ jī rén jiā， rén jiā jiù pà nǐ。”“ méi yòu yī gè nǚ rén guān qiē， tā zài zhè 'ér biàn yī wén bù zhí， zhè nǚ rén hái dé nián qīng、 yòu qián、 piào liàng。” àn zhào biǎo jiě de zhǐ diǎn， lā sī dì niè jué xīn qù gòu yǐn gāo lǎo tóu de 'èr nǚ 'ér niū qìn gēn tài tài。
fú tuō lěng shì gè mù guāng mǐn ruì de rén， kàn chū lā sī dì niè xiǎng wǎng shàng pá de xīn sī。 tā duì lā sī dì niè shuō：“ zài zhè gè hù xiāng tūn shì de shè huì lǐ， qīng bái lǎo shí yī wú yòng chù， rú guǒ bù xiàng pào dàn yī yàng hōng jìn qù， jiù dé xiàng wēn yì yī bān zuàn jìn qù， qīng bái chéng shí shì yī wú yòng chù de。” tā zhǐ diǎn lā sī dì niè qù zhuī qiú wéi duō lì xiǎo jiě， tā kě yǐ jiào rén shā sǐ tài yī fān xiǎo jiě de gē gē， ràng tā dāng shàng jì chéng rén， zhè yàng yínháng jiā de yí chǎn jiù huì luò dào lā sī dì niè shǒu zhōng， zhǐ yào gěi tā 'èr shí wàn fǎ láng zuò bào chóu。 lā sī dì niè suī rán bèi fú tuō lěng de chì luǒ luǒ de yán cí suǒ dǎ dòng， dàn yòu méi gǎn dāyìng xià lái。
lā sī dì niè tōng guò bào sài 'áng fū rén jié shí liǎo niǔ qìn gēn tài tài， ér niǔ qìn gēn tài tài bìng bù shì tā xiǎng yào zhuī qiú de duì xiàng。 tā de zhàng fū zài jīng jì shàng duì tā kòng zhì hěn yán， shèn zhì yào qiú lā sī dì niè ná zì jǐ jǐn yòu de 100 fǎ láng qù dǔ chǎng tì tā yíng 6000 fǎ láng huí lái。 yú shì lā sī dì niè biàn zhuànxiàng
duì tài yī fān xiǎo jiě de jìn gōng。
zhè shí fú tuō lěng yǐ ràng tóng dǎng xún xìn gēn tài yī fān xiǎo jiě de gē gē jué tóu， bìng shā sǐ liǎo tā。 lā sī dì niè máo dùn chóngchóng， shì 'ài wéi duō lì xiǎo jiě ní， hái shì 'ài niǔ qìn gēn tài tài ní？ zuì hòu， tā xuǎn zé liǎo hòu zhě， tā xiǎng“ zhè yàng de jié hé jì méi yòu zuì guò， yě méi yòu shénme néng jiào zuì yán gé de dào xué jiā zhòu yī zhòu méi tóu de dì fāng。”
fáng kè mǐ xù nuò lǎo xiǎo jiě， tā jiē shòu liǎo jǐng chá jú 'àn tàn xiǎn de chāishi， cì tàn fú tuō lěng de shēn fèn。 tā zài fú tuō lěng de yǐn liào zhōng xià má yào， fú tuō lěng bèi zuì dǎo bùxǐng rén shì。 mǐ xù nuò tuō xià fú tuō lěng de wài yī， zài jiān shàng dǎ liǎo yī bā zhǎng， xiān hóng de pí fū shàng lì kè xiàn chū“ kǔ yì fàn” de zì yàng。 dāng fú tuō lěng xǐng lái shí， jǐng chá yǐ jīng bāo wéi liǎo fú gài gōng yù。 tè wù cháng dǎ luò liǎo tā de jiǎ fā， fú tuō lěng quán shēn de xuè lì kè yǒng shàng liǎo liǎn， yǎn jīng xiàng yě māo yī yàng fā liàng， tā shǐ chū yī gǔ mán jìn， dà hǒu yī shēng， bǎ suǒ yòu de fáng kè xià dé dà jiào qǐ lái。 àn tàn men yī qí tāo chū shǒu qiāng， fú tuō lěng yī jiàn liàng jīng jīng de huǒ mén， tū rán biàn liǎo miàn kǒng， zhèn jìng xià lái， zhù dòng bǎ liǎng zhǐ shǒu shēn shàng qù。 tā chéng rèn zì jǐ jiào yǎ kè · kē lěng， hǔn míng“ guǐ shàngdàng”， bèi pàn guò 20 nián kǔ yì， tā bèi dài bǔ liǎo。
gāo lǎo tóu dé zhī lā sī dì niè 'ài zì jǐ de 'èr nǚ 'ér， xiǎng wéi lā sī dì niè yǔ nǚ 'ér qiān xiàn dā qiáo， gòu mǎi liǎo yīzhuàng xiǎo lóu， gōng tā men yōu huì。 yī tiān， niǔ qìn gēn tài tài jí máng lái zhǎo gāo lǎo tóu， shuō míng tā zhàng fū tóng yì ràng tā hé lā sī dì niè lái wǎng， dàn tā bù néng xiàng tā yào huí péi jià qián， gāo lǎo tóu yào nǚ 'ér bù yào jiē shòu zhè tiáo jiàn，“ qián shì xìng mìng， yòu liǎo qián jiù yòu liǎo yī qiē。” zhè shí， léi sī duō fū rén yě lái liǎo。 tā kū zhe gào sù fù qīn： tā de zhàng fū yòng tā mài diào liǎo xiàng liàn de qián qù wéi qíng rén hái zhài， xiàn zài tā de cái chǎn yǐ chàbù duō quán bù bèi duó zǒu， tā yào fù qīn gěi tā yī wàn 'èr qiān fǎ láng qù jiù tā de qíng fū。 liǎng gè nǚ 'ér chǎo qǐ zuǐ lái， gāo lǎo tóu 'ài mò néng zhù， tā jí dé yùn guò qù， huàn liǎo chū qī nǎo yì xuè zhèng。
zài tā huàn bìng qī jiān， liǎng jiě mèi dōuméi lái kàn tā yī cì， dà nǚ 'ér guān xīn de shì jí jiāng cān jiā pàn wàng yǐ jiǔ de bào sài 'áng fū rén de wǔ huì； èr nǚ 'ér lái guò yī cì， dàn bù shì lái kàn fù qīn de bìng de， ér shì yào fù qīn gěi tā zhī fù qiàn cái féng yī qiān fǎ láng de dìng qián。 gāo lǎo tóu bèi bī dé fù chū liǎo zuì hòu 1 wén qián， zhì shǐ zhòngfēng zhèng měng fā zuò。
bào sài 'áng fū rén jǔ xíng shèng dà de wǔ huì， chǎng miàn fēi cháng zhuàng guān， gōng zhù、 jué yé、 míng mén guī xiù dū qián lái cān jiā。 500 duō liàng chē shàng de dēng zhú zhào dé wū nèi chù chù tōng míng tòu liàng。 zǐ jué fū rén zhuāng shù sù yǎ， liǎn shàng méi yòu biǎo qíng， fǎng fó hái bǎo chí zhe guì fù rén de miàn mù， ér zài tā xīn mù zhōng， zhè zuò càn làn de gōng diàn yǐ jīng biàn chéng yī piàn shā mò， yī huí dào nèi shì， biàn jìn bù zhù lèi shuǐ cháng liú， zhōu shēn fā dǒu。 wǔ huì jié shù hòu， lā sī dì niè mù sòng biǎo jiě bào sài 'áng fū rén zuò shàng jiào chē， tóng tā zuò liǎo zuì hòu yī cì gào bié。 tā gǎn dào“ tā de jiào yù yǐ jīng shòu wán liǎo” tā rèn wéi zì jǐ“ rù liǎo dì yù， ér qiě hái dé dāi xià qù”。
kě lián de gāo lǎo tóu kuài duàn qì liǎo， tā hái pàn wàng zhe liǎng gè nǚ 'ér néng lái jiàn tā yī miàn。 lā sī dì niè chāirén qù qǐng tā de liǎng gè nǚ 'ér， liǎng gè nǚ 'ér dū tuī sān zǔ sì bù lái。 lǎo rén měi zhǐ yǎn zhōng mào chū yī kē yǎn lèi， gǔn zài xiān hóng de yǎn pí biān shàng， tā cháng tàn yī shēng， shuō：“ āi， ài liǎo yī bèi zǐ de nǚ 'ér， dào tóu lái fǎn gěi nǚ 'ér yí qì！”
zhǐ yòu lā sī dì niè zhāng luó zhe gāo lǎo tóu de sāngshì， liǎng gè nǚ 'ér nǚ xù zhǐ pài liǎo liǎng jià kōng chē gēn zài líng jiù hòu miàn。 guān mù shì yóu yī gè dà xué shēng xiàng yī yuàn lián jià mǎi lái de， sòng zàng fèi yóu lā sī dì niè mài diào jīn biǎo zhī fù de。 tā mù dǔ zhè yī mù mù bēi jù， suí zhe gāo lǎo tóu de mái zàng yě mái zàng liǎo zì jǐ zuì hòu yī dī tóng qíng de yǎn lèi， tā jué xīn xiàng shè huì tiǎo zhàn，“ xiàn zài zán men liǎ lái pīn yī pīn bā！”
gāo lǎo tóu -【 sī xiǎng gǎn qíng】
《 gāo lǎo tóu》 zhuózhòng jiē lù pī pàn de shì zī běn zhù yì shì jiè zhōng rén yǔ rén zhī jiān chì luǒ luǒ de jīn qián guān xì。 xiǎo shuō yǐ 1819 nián dǐ dào 1820 nián chū de bā lí wéi bèi jǐng， zhù yào xiě liǎng gè píng xíng 'ér yòu jiāo chā de gù shì： tuì xiū miàn tiáo shāng gāo lǐ 'ào lǎo tóu bèi liǎng gè nǚ 'ér lěng luò， bēi cǎn dì sǐ zài fú gài gōng yù de gé lóu shàng； qīng nián lā sī dì niè zài bā lí shè huì de fǔ shí xià zǒu shàng duò luò zhī lù。 tóng shí hái chuān chā liǎo bào sài 'áng fū rén hé fú tuō lěng de gù shì。 tōng guò hán suān de
gōng yù hé háo huá de guì zú shā lóng zhè liǎng gè bù duàn jiāo tì de zhù yào wǔ tái， zuò jiā miáo huì liǎo yī fú fú bā lí shè huì rén yù héng liú、 jí duān chǒu 'è de tú huà， bào lù liǎo zài jīn qián shì lì zhī pèi xià zī chǎn jiē jí de dào dé lún sàng hé rén yǔ rén zhī jiān de lěng kù wú qíng， jiē shì liǎo zài zī chǎn jiē jí de jìn gōng xià guì zú jiē jí de bì rán miè wáng， zhēn shí dì fǎn yìng liǎo bō bàng wáng cháo fù bì shí qī de tè zhēng。
gāo lǎo tóu -【 xiě zuò bèi jǐng】
19 shì jì shàng bàn yè shì fǎ guó zī běn zhù yì jiàn lì de chū qī， ná pò lún zài 1815 nián de huá tiě lú zhàn yì zhōng chè dǐ bài běi， yóu cǐ bō bàng wáng cháo fù bì， tǒng zhì yī zhí yán xù dào 1830 nián。 yóu yú chá lǐ shí shì de fǎn dòng zhèng cè jī nù liǎo rén mín， qī yuè gé mìng jǐn jǐn sān tiān biàn tuī dǎo liǎo fù bì wáng cháo， kāi shǐ liǎo cháng dá 18 nián de qī yuè wáng cháo de tǒng zhì， yóu jīn róng zī chǎn jiē jí zhǎng wò liǎo zhèng quán。《 ōu yě nī · gé lǎng tái》 fā biǎo yú 1833 nián， yě jí qī yuè wáng cháo chū qī。 gāng guò qù de fù bì wáng cháo zài rén men de tóu nǎo zhōng hái jì yì yóu xīn。 fù bì shí qī， guì zú suī rán cóng guó wài fǎn huí liǎo fǎ guó， yào wǔ yáng wēi， bù kě yī shì， kě shì tā men de shí jì dì wèi yǔ fǎ guó dà gé mìng yǐ qián bù kě tóng rì 'ér yǔ， yīn wéi zī chǎn jiē jí yǐ jīng qiáng dà qǐ lái。 gāng shàng tái de lù yì shí bā bù dé bù bān bù xīn xiàn fǎ， shí xíng jūn zhù lì xiàn， xiàng zī chǎn jiē jí zuò chū ràng bù， yǐ wéi hù yáo yáo yù zhuì de zhèng quán。 zī chǎn jiē jí suī rán shī qù liǎo zhèng zhì quán lì， què píng jiè jīng jì shàng de shí lì yǔ guì zú xiāng kàng héng。 dào liǎo fù bì wáng cháo hòu qī， zī chǎn jiē jí bù jǐn zài chéng shì， ér qiě zài guì zú bǎo chí guǎng fàn yǐng xiǎng de nóng cūn， dū bǎ guì zú dǎ dé luò huā liú shuǐ。 fù bì wáng cháo shí jì shàng dà shì yǐ qù。 bā 'ěr zhā kè bǐ tóng shí dài zuò jiā gèng mǐn ruì， dú jù huì yǎn dì guān chá dào zhè gè zhòng dà shè huì xiàn xiàng。
gāo lǎo tóu -【 xiāng guān píng lùn】
“《 gāo lǎo tóu》 hái chéng gōng dì sù zào liǎo qīng nián yě xīn jiā lā sī dì niè hé mòluò guì fū rén bào sài 'áng de xíng xiàng。 qián zhě yuán wéi yī gè wài shěng guì zú qīng nián， xiǎng lái bā lí jìn dà xué zhòng zhèn jiā yè， dàn mù dǔ shàng liú shè huì de huī jīn rú tǔ、 dēng hóng jiǔ lǜ， tā wǎng shàng pá de yù wàng bèi zēng，
tā zài bào sài 'áng zǐ jué fū rén hé táo fàn fú tè lěng de suō shǐ xià， rì yì sàng shī zhèng zhí de liáng xīn， kāi shǐ wéi jīn qián 'ér chū mài zhèng zhí， tè bié jiàn zhèng liǎo gāo lǎo tóu de liǎng gè nǚ 'ér duì dài fù qīn xiàng zhà gān de níng méng yī bān yǐ hòu， gèng jiān dìng liǎo xiàng zī chǎn jiē jí de dào lù zǒu qù de jué xīn。《 gāo lǎo tóu》 zhōng zhù yào miáo xiě liǎo tā yě xīn jiā xìng gé xíng chéng de guò chéng， zài yǐ hòu de yī xì liè zuò pǐn zhōng tā gèng yī fā bù kě shōu shí， kào chū mài dào dé hé liáng xīn jìng dāng shàng liǎo fù guó wù mì shū hé guì zú yuàn yì yuán， ér yī qiē de qǔ dé dū yǐ lài yú jí duān lì jǐ zhù yì yuán zé。 bào sài 'áng zǐ jué fū rén shì bā 'ěr zhā kè wéi guì zú jiē jí chàng de yī qū wú jìn de wǎn gē， tā chū shēn míng mén guì zú， shì bā lí shè jiāo jiè de huáng hòu， zhǐ yīn quē fá jīn qián 'ér bèi qíng rén pāo qì， bèi pò tuì chū bā lí shàng liú shè huì， gāo guì de mén dì zài yě dí bù guò jīn qián de shì lì， tā zài hòu lái de xiǎo shuō zhōng yīn wéi tóng yàng de yuán yīn yòu yī cì bèi jīn qián chū mài。 tā de zāo yù gào sù rén men， guì zú jiē jí chú liǎo shī bài zhī wài bù kě néng yòu gèng hǎo de mìng yùn， jīn qián cái shì zhè gè shì jiè de zhù zǎi。
《 gāo lǎo tóu》 zài yì shù shàng hěn yán jǐn， zuò zhě shè zhì liǎo diǎn xíng huán jìng， ràng diǎn xíng rén wù huó dòng yú qí zhōng， shǐ rén yǔ rén de jīn qián guān xì yǔ huán jìng xiāng qì hé， shū zhōng 'ān pái liǎo sì tiáo qíng jié xiàn suǒ， yǐ lā sī dì niè de duò luò wéi zhù xiàn， qí tā jǐ tiáo qǐ fǔ zhù zuò yòng， zòng héng jiāo cuò yòu mài luò fēn míng； diǎn xíng rén wù de kè huá shì bā 'ěr zhā kè de zuì dà tè sè， bù lùn shì wài mào miáo xiě hái shì xīn lǐ kè huá， shèn zhì yī gè xì jié， rú gāo lǎo tóu měi chī yī kuài miàn bāo dōuyào fàng zài bí xià xiù yī xiù， dū shǐ rén wù gèng xiān míng shēng dòng； rén wù yǔ yán de gè xìng huà yě shì zuò zhě yī dà gōng lì， guì zú shā lóng zhōng de yǔ yán yǔ táo fàn de yǔ yán jué bù yī yàng。”
gāo lǎo tóu -【 jīng cǎi piàn duàn】
gāo lǎo tóu lín sǐ qián xiǎng jiàn nǚ 'ér yī miàn , ràng rén qù jiào tā de nǚ 'ér , kě liǎng gè nǚ 'ér shuí yě méi lái。
gāo lǐ 'ào bù chū shēng liǎo， fǎng fó jí zhōng quán shēn de jīng lì 'áo zhe tòng kǔ。“ tā men zài zhè 'ér， wǒ bù huì jiào kǔ liǎo， gān me hái yào jiào kǔ ní？” tā mí mí hú hú hūn chén liǎo hǎo jiǔ。 kè lì sī duǒ fū huí lái， lā sī dì niè yǐ wéi gāo lǎo tóu shuì shú liǎo， ràng yōng rén gāo shēng huí bào tā chūchāi de qíng xíng。
“ xiān shēng， wǒ xiān shàng bó jué fū rén jiā， kě méi fǎ gēn tā shuō huà， tā hé zhàng fū yòu yào jǐn shì 'ér。 wǒ zài sān yāng qiú， léi sī duō xiān shēng qīn zì chū lái duì wǒ shuō： gāo lǐ 'ào xiān shēng kuài sǐ liǎo shì bù shì？ āi， zài hǎo méi yòu。 wǒ yòu shì， yào tài tài dài zài jiā lǐ。 shì qíng wán liǎo， tā huì qù de。 héng héng
tā sì hū hěn shēng qì， zhè wèi xiān shēng。 wǒ zhèng yào chū lái， tài tài cóng yī shàn wǒ kàn bù jiàn de mén lǐ zǒu dào chuān táng， gào sù wǒ， nǐ duì wǒ fù qīn shuō， wǒ tóng zhàng fū zhèng zài shāng liàng shì qíng， bù néng lái。 nà shì yòu guān wǒ hái zǐ men shēng sǐ de wèn tí。 dàn děng shì qíng yī wán， wǒ jiù qù kàn tā。 héng héng shuō dào nán jué fū rén bā， yòu shì lìng wài yī zhuāng shì 'ér！ wǒ méi yòu jiàn dào tā， bù néng gēn tā shuō huà。 lǎo mā zǐ shuō tā jīn 'ér zǎo shàng wǔ diǎn yī kè cái cóng wǔ huì huí lái， zhōng wǔ yǐ qián jiào xǐng tā， yī dìng yào 'áimà de。 děng huì tā dǎ líng míng wǒ， wǒ huì gào sù tā， shuō tā fù qīn de bìng gèng zhòng liǎo。 bào gào yī jiàn huài xiāo xī， bù huì xián tài wǎn de。 wǒ zài sān yāng qiú yě méi yòng。 āi， shì yā， wǒ yě yào qiú jiàn nán jué， tā bù zài jiā。”
“ yī gè yě bù lái” lā sī dì niē rǎng dào，“ ràng wǒ xiě xìn gěi tā men。”“ yī gè yě bù lái，” lǎo rén zuò qǐ lái jiē zhe shuō，“ tā men yòu shì， tā men zài shuì jué， tā men bù huì lái de。 wǒ zǎo zhī dào liǎo。 zhí yào lín sǐ cái zhī dào nǚ 'ér shì shénme dōng xī！ péng yǒu， nǐ bié jié hūn， bié shēng hái zǐ！ nǐ gěi tā men shēng mìng， tā men gěi nǐ sǐ。 nǐ dài tā men dào shì jiè shàng lái， tā men bǎ nǐ cóng shì jiè shàng gǎn chū qù。 tā men bù huì lái de！ wǒ yǐ jīng zhī dào liǎo shí nián。 yòu shí wǒ xīn lǐ zhè me xiǎng， zhǐ shì bù gǎn xiāng xìn。”
gāo lǎo tóu sǐ liǎo， liǎng gè nǚ 'ér shuí yě méi yòu lái， tā de qián dū gěi nǚ 'ér huā guāng liǎo， dào sǐ lián rù liàn de yī fú dōuméi yòu， shì lā sī dì niè mài liǎo zì jǐ de biǎo cái gěi tā rù liàn de。
lā sī dì niè bēn xià lóu tī， dào léi sī duō tài tài jiā qù liǎo。 gāng cái nà mù kě pà de jǐng xiàng shǐ tā dòng liǎo gǎn qíng， yī lù yì fèn tián xiōng。 tā zǒu jìn chuān táng qiú jiàn léi sī duō tài tài， rén jiā huí bào shuō tā bù néng jiàn róng。
tā duì dāngchāi shuō：“ wǒ shì wèile tā mǎ shàng yào sǐ de fù qīn lái de。”“ xiān shēng， bó jué zài sān fēn fù wǒ men……”“ jì rán bó jué zài jiā， nà me gào sù tā， shuō tā yuè fù kuài sǐ liǎo， wǒ yào lì kè hé tā shuō huà。” ōu yě nà děng liǎo hǎo jiǔ。“ shuō bù dìng tā jiù zài zhè gè shí hòu sǐ liǎo，” tā xīn lǐ xiǎng。
dāngchāi dài tā zǒu jìn dì yī jiào shì， léi sī duō xiān shēng zhàn zài bì lú qián miàn， jiàn liǎo kè rén yě bù qǐng zuò。“ bó jué，” lā sī dì niè shuō，“ lìng yuè zài pò làn de gé lóu shàng jiù yào duàn qì liǎo， lián mǎi mù chái de qián yě méi yòu； tā mǎ shàng yào sǐ liǎo， dàn děng jiàn yī miàn nǚ 'ér……”“ xiān shēng，” bó jué lěng lěng de huí dá，“ nǐ dà gài kě yǐ kàn chū， wǒ duì gāo lǐ 'ào xiān shēng méi yòu shénme hǎo gǎn。 tā jiào huài liǎo wǒ tài tài， zào chéng wǒ jiā tíng de bù xìng。 wǒ bǎ tā dàngzuò rǎo luàn wǒ 'ān níng de dí rén。 tā sǐ yě hǎo， huó yě hǎo， wǒ quán bù zài yì。 nǐ qiáo， zhè shì wǒ duì tā de qíngfèn。 shè huì jìn kě yǐ zé bèi wǒ， wǒ cái bù zài hū ní。 wǒ xiàn zài yào chù lǐ de shì， bǐ gù lǜ nà xiē shǎ guā de kuò yán xián yǔ jǐn yào dé duō。 zhì yú wǒ tài tài， tā xiàn zài nà gè múyàng méi fǎ chū mén， wǒ yě bù ràng tā chū mén。 qǐng nǐ gào sù tā fù qīn， zhǐ xiāo tā duì wǒ， duì wǒ de hái zǐ， jìn wán liǎo tā de zé rèn， tā huì qù kàn tā de。 yào shì tā 'ài tā de fù qīn， jǐ fēn zhōng nèi tā jiù kě yǐ zì yóu……”
“ bó jué， wǒ méi yòu quán lì pī píng nǐ de xíng wéi， nǐ shì nǐ tài tài de zhù rén。 zhì shǎo wǒ néng xiāng xìn nǐ shì jiǎng xìn yì de bā？ qǐng
nǐ dāyìng wǒ yī jiàn shì， jiù shì gào sù tā， shuō tā fù qīn méi yòu yī tiān hǎo huó liǎo， yīn wéi tā bù qù sòng zhōng， yǐ jīng zài zhòu tā liǎo！” léi sī duō zhù yì dào 'ōu yě nà fèn fèn bù píng de yǔ qì， huí dá dào：“ nǐ zì jǐ qù shuō bā。”
lā sī dì niè gēn zhe bó jué zǒu jìn bó jué fū rén píng shí qǐ zuò de kè tīng。 tā lèi rén 'ér shìde mái zài shā fā lǐ， nà fù tòng bù yù shēng de múyàng jiào tā kàn liǎo kě lián。 tā bù gǎn wàng lā sī dì niè， xiān qiè shēng shēng de qiáo liǎo qiáo zhàng fū， yǎn jīng de shén qì biǎo shì tā jīng shén ròu tǐ dōubèi zhuān héng de zhàng fū yā dǎo liǎo。 bó jué cè liǎo cè nǎo dài， tā cái gǎn kāi kǒu：“ xiān shēng， wǒdōu tīng dào liǎo。 gào sù wǒ fù qīn， tā yào zhī dào wǒ xiàn zài de chǔjìng， yī dìng huì yuán liàng wǒ。 xiǎng bù dào yào shòu zhè zhǒng xíng fá jiǎn zhí shòu bù liǎo。 kě shì wǒ yào fǎn kàng dào dǐ，” tā duì dì de zhàng fū shuō。“ wǒ yě yòu 'ér nǚ。 qǐng nǐ duì fù qīn shuō， bù guǎn biǎo miàn shàng zěn me yàng， zài fù qīn miàn qián wǒ bìng méi yòu cuò，” tā wú kě nài hé de duì 'ōu yě nà shuō。
nà nǚ de jīng lì de kǔ nán， ōu yě nà bù nán xiǎng xiàng， biàn dāi dāi de zǒu liǎo chū lái。 tīng dào tè · léi sī duō xiān shēng de kǒu wěn， tā zhī dào zì jǐ bái páo liǎo yī tàng， ā nà sī dà qí yǐ jīng shī qù zì yóu。
jiē zhe tā gǎn dào tè · niǔ qìn gēn tài tài jiā， fā jué tā hái zài chuáng shàng。“ wǒ bù shū fú yā， péng yǒu，” tā shuō。“ cóng tiào wǔ huì chū lái shòu liǎo liáng， wǒ pà yào hài fèi yán ní， wǒ děng yī shēng lái……” ōu yě nà dǎ duàn liǎo tā de huà， shuō dào：“ nǎ pà sǐ shén yǐ jīng dào liǎo nǐ shēn biān， pá yě dé pá dào nǐ fù qīn gēn qián qù。 tā zài jiào nǐ！ nǐ yào tīng dào tā yī shēng， mǎ shàng bù jué dé nǐ zì jǐ hài bìng liǎo。”
“ ōu yě nà， fù qīn de bìng yě xǔ bù xiàng nǐ shuō de nà me yán zhòng； kě shì wǒ yào zài nǐ yǎn lǐ yòu shénme bù shì， wǒ cái nán guò sǐ ní； suǒ yǐ wǒ yī dìng tīng nǐ de fēn fù。 wǒ zhī dào， cháng ruò wǒ zhè yī huí chū qù nào chū yīcháng dà bìng lái， fù qīn yào shāng xīn sǐ de。 wǒ děng yī shēng lái guò liǎo jiù zǒu。” tā yī yǎn kàn bù jiàn 'ōu yě nà shēn shàng de biǎo liàn， biàn jiào dào：“ yō！ zěn me nǐ de biǎo méi yòu lā？” ōu yě nà liǎn shàng hóng liǎo yī kuài。“ ōu yě nà！ ōu yě nà！ cháng shǐ nǐ yǐ jīng bǎ tā mài liǎo， diū liǎo，…… ò！ nà tài qǐ yòu cǐ lǐ liǎo。”
dà xué shēng fú zài dàn fěi nà chuáng shàng， còu zhe tā 'ěr duǒ shuō：“ nǐ yào zhī dào me？ hēng！ hǎo， gào sù nǐ bā！ nǐ fù qīn yī gè qián méi yòu liǎo， jīn wǎn shàng yào bǎ tā rù jiǎn de shī yī dōuméi fǎ mǎi。 nǐ sòng wǒ de biǎo zài dàngpù lǐ， wǒ qián dū guāng liǎo。”
dàn fěi nà měng de cóng chuáng shàng tiào xià， bēn xiàng shū guì， zhuā qǐ qián dài dì gěi lā sī dì niē， dǎzháo líng rǎng dào：“ wǒ qù wǒ qù， ōu yě nà。 ràng wǒ chuān yī fú， wǒ jiǎn zhí shì qín shòu liǎo！ qù bā， wǒ huì gǎn zài nǐ qián miàn！” tā huí tóu jiào lǎo mā zǐ：“ dān lán shì， qǐng lǎo yé lì kè shàng lái gēn wǒ shuō huà。”
gāo lǎo tóu -【 yì shù chéng jiù】
《 gāo lǎo tóu》 jí zhōng biǎo xiàn liǎo bā 'ěr zhā kè xiàn shí zhù yì chuàng zuò yì shù de zhù yào tè sè。
■ jīng xì 'ér fù yòu tè zhēng de diǎn xíng huán jìng
bā 'ěr zhā kè fēi cháng zhòng shì xiáng xì 'ér bī zhēn de huán jìng miáo huì， yī fāng miàn shì wéi liǎo zài xiàn shēng huó， gèng zhòng yào de shì wèile kè huà rén wù xìng gé。 zuò pǐn wéi rào lā sī dì niè de huó dòng， miáo xiě liǎo bā lí bù tóng děng jí、 bù tóng jiē céng de rén men de shēng huó huán jìng； lā dīng qū de fú gài gōng yù， xíng sì láo yù de huáng sè wū
zǐ， dào chù sàn fā zhe“ bìsè de、 méi làn de、 suān fǔ de qì wèi”， sài mǎn liǎo 'āng zàng yóu nì、 cán pò chǒu lòu de qì mǐn hé jiā jù， zhè shì xià céng rén wù de jì jū zhī dì。 táng dǎ qū nèi gāo lǎo tóu de liǎng gè nǚ 'ér jiā lǐ， suī yòu jīn bì huī huáng de fáng zǐ、 guì zhòng de qì wù， dàn“ háo wú qì pài de huí láng”， guà mǎn yì dà lì yóu huà de kè tīng què“ zhuāng shì dé xiàng kā fēi guǎn”， zhè xiǎn shì liǎo zuò wéi xīn guì de zī chǎn jiē jí bào fā hù men sú bù kě nài de pái chǎng。 shèng rì 'ěr màn qū gǔ lǎo de bào sài 'áng fǔ zé xiǎn shì chū wán quán bù tóng de qì pài， yuàn zhōng tào zhe jīng zhuàng mǎ pǐ de huá lì mǎ chē， chuānzhuó jīn xiāng biān dà hóng zhì fú de mén dīng， liǎng biān gōng mǎn xiān huā de dà lóu tī yǐ jí zhǐ yòu huī hé fěn hóng sè de xiǎo qiǎo líng lóng de kè shì， zhè xiē jīng yǎ jué lún de chén shè、 bié chū xīn cái de bù zhì dū chèn tuō chū shàng liú shè huì guì zú“ lǐng xiù” de fēng yǎ chāo qún。 zhè xiē jīng xì 'ér fù yòu tè zhēng de huán jìng miáo xiě， yòu lì yú zhǎn shì qí duì rén jiān xìng gé xíng chéng de yǐng xiǎng。 dāng lā sī dì niè cóng léi sī duō fū rén hé bào sài 'áng fū rén liǎng chù fǎng wèn hòu huí dào qī shēn de fú gài gōng yù shí， zuò pǐn xiě dào：“ zǒu rù qì wèi nán wén de fàn tīng， shí bā gè shí kè hǎo sì mǎ cáo qián de shēng kǒu yī bān zhèng zài chī fàn。 tā jué dé zhè fù qióng suān xiāng gēn fàn tīng de jǐng xiàng chǒu 'è yǐ jí。 huán jìng zhuǎn biàn tài tū wù liǎo， duì bǐ tài qiáng liè liǎo， gé wài cì jī tā de yě xīn……” yǐ jīng xiǎng shòu guò shàng liú shè huì shēng huó de lā sī dì niè zài yě bù kěn zì gān pín jiàn， zuì hòu， tā jué xīn nòng zàng shuāng shǒu， mǒ hēi liáng xīn， bù gù yī qiē dì xiàng shàng pū。 lā sī dì niè de duò luò shì zhè zhǒng tè dìng de diǎn xíng huán jìng suǒ jué dìng de。
■ rén wù xìng gé de diǎn xíng huà
bā 'ěr zhā kè bù jǐn sù zào liǎo gāo lǐ 'ào、 lā sī dì niè、 bào sài 'áng fū rén、 fú tuō lěng děng diǎn xíng xíng xiàng， ér qiě zài qí tā rén wù xíng xiàng de sù zào zhōng yě zuò dào liǎo gòng xìng yǔ gè xìng de tǒng yī。 léi sī duō bó jué fū fù hé niǔ qìn gēn nán jué fū fù suī rán yòu guì zú de tóu xián， shí jì shàng dōushì zī chǎn zhě。 tā men jì yòu zhuī qiú gè rén sī lì de gòng tóng tè xìng， yòu dōushì dú jù gè xìng de diǎn xíng。 yínháng jiā niǔ qìn gēn xīn mù zhōng zhǐ yòu jīn qián， tā duì dài qī zǐ xún qiú wài yù de tài dù hěn míng lǎng：“ wǒ yǔn xǔ nǐ hú jiǎo， nǐ yě dé ràng wǒ fàn zuì， jiào nà xiē kě lián chóng qīng jiā dàng chǎn。” léi sī duō bó jué duì qī zǐ de měi zhe liǎo mí， suī tīng píng tā hé mǎ kè gòu dā， què yòu yī dìng xiàn dù， zhè hé tā de guì zú mén dì guān niàn yòu guān。 tā zhī dào qī zǐ tōu mài zǔ chuán zuàn shí hòu， xiǎng fāng shè fǎ shú huí， ràng tā dài zhe cān jiā wǔ huì， yǐ wéi hù mén dì de zūn yán。
ā nà sī tǎ qí hé dàn fěi nà dōushì gāo lǎo tóu de nǚ 'ér， dàn liǎng zǐ mèi gè yòu zì jǐ de gè xìng。 qián zhě shēn cái gāo dà、 jiēshí、 hēi fā， yǎn jīng jiǒng jiǒng yòu shén， jìn gōng yè jiàn guò huáng shàng， bù bǎ mèi mèi fàng zài yǎn lǐ。 hòu zhě jiāo xiǎo、 jīn fā， jí yòu fēng yùn， zì zhī shè huì dì wèi bù gāo， péi jià bèi zhàng fū qīn zhàn， yòu zāo qíng fū yí qì， xìng gé yōu yù shàn gǎn， jīng cháng huái niàn tóng nián shí dài de xìng fú shēng huó。 dàn tā men liǎ dōushì xū róng xīn jí qiáng de lì jǐ zhù yì zhě， wèile mǎn zú yù wàng， bù xī zhà gān fù qīn de jī xù。 ā nà sī tǎ qí xiàng fù qīn yào qián， wǎng wǎng yòng lè suǒ de fāng fǎ， dàn fěi nà zé yòng sǎ jiāo hǒngpiàn de bàn fǎ。
■ jīng zhì de jié gòu
xiǎo shuō yǐ gāo lǎo tóu hé lā sī dì niè de gù shì wéi liǎng tiáo zhù yào xiàn suǒ， yòu chuān chā liǎo fú tuō lěng、 bào sài 'áng fū rén de gù shì。 jǐ tiáo xiàn suǒ cuò zōng jiāo zhì， tóu xù kàn sì fēn fán 'ér shí jì zhù cì fēn míng、 mài luò qīng chǔ、 yòu tiáo bù wěn。 zuò pǐn yǐ xù shù gāo lǎo tóu bèi nǚ 'ér zhà gān
qián cái zāo pāo qì wéi zhōng xīn qíng jié， yǐ lā sī dì niè wéi zhōng xīn rén wù， tōng guò tā de huó dòng chuān zhēn yǐn xiàn， jiāng shàng céng shè huì yǔ xià céng shè huì lián xì qǐ lái， jiāng guì zú shā lóng yǔ zī chǎn zhě kè tīng lián jié qǐ lái。 suí zhe gāo lǎo tóu zhī mí zài lā sī dì niè yǎn qián zhǎn xiàn、 jiě kāi， qíng jié bù bù tuī xiàng gāo cháo。 fú tuō lěng bèi bǔ、 bào sài 'áng fū rén bèi qì、 gāo lǎo tóu cǎn sǐ， lā sī dì niè dōushì mù dǔ zhě、 jiàn zhèng rén。 shè huì de chǒu 'è zhèng shí liǎo tā jiē shòu de fǎn miàn jiào yù， gāo lǎo tóu mái zàng zhī rì， yě shì lā sī dì niè de qīng nián shí dài jié shù zhī shí。 jǐ tiáo xiàn suǒ jǐn mì jiāo zhì、 huán huán xiāng kòu、 bù bù shēn rù， qǐ zhe hù xiāng shēn huà、 hù wéi bǔ chōng de zuò yòng， cóng 'ér shēn kè dì biǎo xiàn liǎo zuò pǐn de zhù tí。
■ duì bǐ shǒu fǎ de guǎng fàn yùn yòng
yì shù shàng de duì bǐ shǒu fǎ zài《 gāo lǎo tóu》 zhōng yùn yòng dé shí fēn guǎng fàn。 fú gài gōng yù yǔ bào sài 'áng fǔ de qiáng liè duì bǐ， bù jǐn cù shǐ lā sī dì niè gè rén yě xīn de měng liè péng zhàng， ér qiě biǎo míng bù guǎn shì hè hè shēng wēi de háo mén dà hù hái shì qióng suān 'àn dàn de lòu shì kè zhàn， yī yàng chōng chì zhe bài jīn zhù yì， yī yàng cún zài zhe bēi liè wú chǐ。 gāo guì zhuāng zhòng de bào sài 'áng fū rén yǔ cū sú qiáng hàn de fú tuō lěng xíng chéng xiān míng duì bǐ， yī gè wén zhì bīn bīn， yī gè zhí yán bù huì， dàn bù tóng de yǔ yán què yòu jiē shì liǎo tóng yàng de dào lǐ， ér tā men liǎng rén kàn tòu shè huì de lǐ lùn yòu yǔ zì jǐ shēng huó zhōng de cǎn bài chéng wéi fǎn chèn， gèng jiā shēn liǎo bēi jù de yì wèi。 cǐ wài， hái yòu gāo lǎo tóu nǚ 'ér de qióng shē jí yù yǔ gāo lǎo tóu de pín kǔ jiǒng kùn de duì bǐ， bào sài 'áng fū rén tuì yǐn shí rè nào de chǎng miàn yǔ qī liáng xīn qíng de duì bǐ děng děng。 zhè zhǒng xiān míng duì bǐ de shǒu fǎ， shǐ zuò pǐn de zhù tí gèng jiā xiān míng tū chū。
gāo lǎo tóu - bā 'ěr zhā kè héng wén xué shàng de ná pò lún
bā 'ěr zhā kè（ HonoredeBalzac1799～ 1850） 19 shì jì fǎ guó wěi dà de pī pàn xiàn shí zhù yì zuò jiā， ōu zhōu pī pàn xiàn shí zhù yì wén xué de diàn jī rén hé jié chū dài biǎo。 yī shēng chuàng zuò 96 bù cháng、 zhōng、 duǎn piān xiǎo shuō hé suí bǐ， zǒng míng wéi《 rén jiān xǐ jù》。 qí zhōng dài biǎo zuò wéi《 ōu yě nī · gé lǎng tái》、《 gāo lǎo tóu》。 100 duō nián lái， tā de zuò pǐn chuán biàn liǎo quán shì jiè， duì shì jiè wén xué de fā zhǎn hé rén lèi jìn bù chǎn shēng liǎo jù dà de yǐng xiǎng。 mǎ kè sī、 ēn gé sī chēng zàn tā“ shì chāo qún de xiǎo shuō jiā”、“ xiàn shí zhù yì dà shī”。
bā 'ěr zhā kè 1799 nián 5 yuè 20 rì chū shēng yú yī gè fǎ guó dà gé mìng hòu zhì fù de zī chǎn jiē jí jiā tíng， fǎ kē xué xiào bì yè hòu， jù jué jiā tíng wèitā xuǎn zé de shòu rén zūn jìng de fǎ lǜ zhí yè， ér lì zhì dāng wén xué jiā。 wèile huò dé dú lì shēng huó hècóng shì chuàng zuò de wù zhì bǎo zhàng， tā céng shì bǐ bìng chā zú shāng yè， cóng shì chū bǎn yìn shuà yè， dàn dū yǐ pò chǎn gào zhōng。 zhè yī qiēdōu wèitā rèn shí shè huì、 miáo xiě shè huì tí gōng liǎo jí wéi zhēn guì de dì yī shǒu cái liào。 tā bù duàn zhuī qiú hé tàn suǒ， duì zhé xué、 jīng jì xué、 lì shǐ、 zì rán kē xué、 shén xué děng lǐng yù jìn xíng liǎo shēn rù yán jiū， jī lěi liǎo jí wéi guǎng bó de zhī shí。
1829 nián， bā 'ěr zhā kè wán chéng cháng piān xiǎo shuō《 shū 'áng dǎng rén》， zhè bù qǔ cái yú xiàn shí shēng huó de zuò pǐn wèitā dài lái jù dà shēng yù， yě wéi fǎ guó pī pàn xiàn shí zhù yì wén xué fàng xià dì yī kuài jī shí， bā 'ěr zhā kè jiāng《 shū 'áng dǎng rén》 hé jìhuà yào xiě de yī bǎi sì wǔ shí bù xiǎo shuō zǒng mìng míng wéi《 rén jiān xǐ jù》， bìng wéi zhī xiě liǎo《 qián yán》， chǎn shù liǎo tā de xiàn shí zhù yì chuàng zuò fāng fǎ hé jī běn yuán zé， cóng lǐ lùn shàng wéi fǎ guó pī pàn xiàn shí zhù yì wén xué diàn dìng liǎo jī chǔ。
cháng qī de xīn láo yán zhòng sǔn hài liǎo bā 'ěr zhā kè de jiàn kāng， gāng guò 50 suì， tā jiù zhòng bìng chán shēn liǎo。 zài bā 'ěr zhā kè shēng mìng chuí wēi shí kè， tā réng rán chén jìn zài zì jǐ zhì zào de shì jiè lǐ， tā kěn qiú yī shēng yán cháng tā de shēng mìng， tā jiù néng zài xiě chū yī bù zuò pǐn。 1850 nián 8 yuè 18 rì wǎn shàng 11 diǎn bàn， bā 'ěr zhā kè yǒng yuǎn bì shàng liǎo tā de nà shuāng dòng chá yī qiē de yǎn jīng， jié shù liǎo tā xīn qín láolèi de yī shēng。
bā 'ěr zhā kè zài yì shù shàng qǔ dé jù dà chéng jiù， tā zài xiǎo shuō jié gòu fāng miàn jiàng xīn dú yùn， xiǎo shuō jié gòu duō zhǒng duō yàng， bù jū yī gé、 bìng shàn yú jiāng jí zhōng gài kuò yǔ jīng què miáo mó xiāng jié hé， yǐ wài xíng fǎn yìng nèi xīn běn zhì děng shǒu fǎ lái sù zào rén wù， tā hái shàn yú yǐ jīng xì rén wēi、 shēng dòng bī zhēn de huán jìng miáo xiě zài xiàn shí dài fēng mào。 ēn gé sī chēng zàn bā 'ěr zhā kè de《 rén jiān xǐ jù》 xiě chū liǎo guì zú jiē jí de mòluò shuāi bài hé zī chǎn jiē jí de shàng shēng fā zhǎn， tí gōng liǎo shè huì gè gè lǐng yù wú bǐ fēng fù de shēng dòng xì jié hé xíng xiàng huà de lì shǐ cái liào，“ shèn zhì zài jīng jì de xì jié fāng miàn（ rú gé mìng yǐ hòu dòng chǎn hé bù dòng chǎn de chóngxīn fēn pèi）， wǒ xué dào de dōng xī yě yào bǐ cóng dāng shí suǒ yòu zhí yè lì shǐ xué jiā、 jīng jì xué yuàn hé tǒng jì xué jiā nà lǐ xué dào de quán bù dōng xī hái yào duō”。（ ēn gé sī：《 ēn gé sī zhì mǎ · hā kè nài sī》）
bā 'ěr zhā kè yǐ zì jǐ de chuàng zuò zài shì jiè wén xué shǐ shàng shù lì qǐ bù xiǔ de fēng bēi。 tā yǐ duì wén xué de rè 'ài chéng jiù liǎo yī dào měi lì de wén xué fēng jǐng！
Originally published in serial form during the winter of 1834–35, Le Père Goriot is widely considered Balzac's most important novel.[1] It marks the first serious use by the author of characters who had appeared in other books, a technique that distinguishes Balzac's fiction. The novel is also noted as an example of his realist style, using minute details to create character and subtext.
The novel takes place during the Bourbon Restoration, which brought about profound changes in French society; the struggle of individuals to secure upper-class status is ubiquitous in the book. The city of Paris also impresses itself on the characters – especially young Rastignac, who grew up in the provinces of southern France. Balzac analyzes, through Goriot and others, the nature of family and marriage, providing a pessimistic view of these institutions.
The novel was released to mixed reviews. Some critics praised the author for his complex characters and attention to detail; others condemned him for his many depictions of corruption and greed. A favorite of Balzac's, the book quickly won widespread popularity and has often been adapted for film and the stage. It gave rise to the French expression "Rastignac", a social climber willing to use any means to better his situation.