《 hóu jué fū rén》 shì qiáo zhì · sāng zǎo qī de zuò pǐn， kè huà liǎo yī gè bù yuàn tóng xiàn shí shè huì tóng liú hé wū 'ér zhuī qiú chún jié 'ài qíng de guì zú nǚ xìng。 xiàn shí shēng huó zhōng quē fá 'ài qíng， tā zài bēi jù zhōng zhǎo dào liǎo， yú shì yī qǐ zhēn zhèng de 'ài qíng bēi jù fā shēng liǎo
《 mò pǔ lā》（ 1838） shì “ fù nǚ wèn tí ” xiǎo shuō de zuì hòu yī bù， yǐ jīng lù chū“ shè huì wèn tí xiǎo
shuō” de duān ní。 zhè bù xiǎo shuō jì yòu fù nǚ wèn tí xiǎo shuō de nèi róng， yòu dà dà tū pò liǎo zhè zhǒng kuàng jià。 yī shì zhè
bù xiǎo shuō de nǚ zhù rén gōng 'ài dé méi zhǎng wò liǎo zì jǐ de mìng yùn， yóu tā lái tiǎo xuǎn zì jǐ de zhōng shēn bàn lǚ， fù nǚ de
hūn yīn wèn tí sì hū bù fù cún zài。 èr shì zhè bù xiǎo shuō zhǎn kāi liǎo xiāng dāng guǎng kuò de shè huì bèi jǐng miáo xiě， pēng jī liǎo xiōng
cán、 wán gù de guì zú dài biǎo tè lǐ sī táng yī jiā， hái miáo huì liǎo 18 shì jì mò de zhòng dà shì jiàn， rú bèi 'ěr nà jiù cān
jiā liǎo měi guó de dú lì zhàn zhēng。 sān shì kè huà liǎo yī gè nóng mín zhé xué jiā pà xī 'áng sī， tā xìn yǎng lú suō hé lā mò nài
de sī xiǎng， zhù zhāng rén rén píng děng， zhè shì nóng cūn zhōng chún pǔ、 ruì zhì、 zhèng zhí de nóng mín dài biǎo， tǐ xiàn liǎo qiáo zhì ·
sāng chū qī de kōng xiǎng shè huì zhù yì sī xiǎng。 sì shì jiā qiáng liǎo duì fēng jiàn zhì dù de fěng cì hé pēng jī， xiǎo shuō jiān ruì dì jiē
lù liǎo 18 shì jì mò fǎ guó de sī fǎ zhì dù rú hé tān zāng wǎng fǎ、 cǎo guǎn rén mìng， yǐ jí jiào shì qióng shē jí yù、 zōng jiào
tuán tǐ yǔ dǎi tú hàng xiè yī qì děng xiàn xiàng。 wǔ shì miáo xiě shòu dào bù liáng xí sú xūn táo de guì zú qīng nián， rú hé zài huò dé
wén huà zhī shí de jī chǔ shàng， gǎi diào liǎo chǒu 'è、 bēi liè de xíng wéi hé sī xiǎng， chéng wéi xīn rén， fā zhǎn liǎo lú suō de jiào
yù sī xiǎng。 ài dé méi zài xiǎo shuō zhōng shì měi hé shàn de xiàng zhēng， tā jù yòu qiáng liè de gòng hé zhù yì xìn niàn， bìng yǐ zhè zhǒng
xìn niàn gǎn rǎn liǎo pà xī 'áng sī。 tā zhī chí bèi 'ěr nà cān jiā měi guó dú lì zhàn zhēng hé kàng jī rù qīn zhě， tā shēn zhī bèi 'ěr
nà de shū shū mendōu shì hù 'è bù quān de 'è gùn， ér tā běn xìng què shì shàn liáng de， néng gòu gǎi 'è cóng shàn。 bèi 'ěr nà de
yī shēng biǎo míng， jiào yù néng gǎi biàn rén de xí xìng， jìn 'ér shǐ mǒu xiē luò wǔ de rén gēn shàng wén míng fā zhǎn de guò chéng： tā yī
dàn shòu dào 'ài qíng de qū shǐ， zhè yī gǎi biàn jiù gèng yì shí xiàn。
cóng zhè wǔ gè fāng miàn lái kàn，《 mò pǔ lā》 què shí shì qiáo zhì · sāng nèi róng zuì fēng fù de xiǎo shuō zhī yī。 yīn cǐ，
zì tā wèn shì yǐ lái， yī zhí shòu dào dú zhě hé píng lùn jiā de zhòng shì hé zàn shǎng。
《 mò pǔ lā》 bèi chēng wéi yī bù“ dǒu péng jiā cháng jiàn” shì de xiǎo shuō， zhè lèi xiǎo shuō zhù zhòng qíng jié de fù zá qū
zhé， bō lán qǐ fú。 xiǎo shuō kāi juàn， zài fēng yǔ jiāo jiā de yè wǎn， yī gè mí liǎo lù de měi lì gū niàn lái dào mó kū，
wài miàn shì qí jǐng duì zài měng gōng， zhè gè shàonǚ zé zài gōng bǎo lǐ wéi bǎo chí zì jǐ de qīng bái zhǎn kāi yīcháng dǒu zhì。 suí hòu
tā hé bèi 'ěr nà cóng dì dào táo chū。 chéng bǎo dāng yè bèi gōng pò hòu， liǎng gè mò pǔ lā yǔ tā men bù qī 'ér yù。 xì jù xìng
chǎng miàn yī huán tào yī huán。 shěn pàn bèi 'ěr nà yīcháng dá dào xiǎo shuō fā zhǎn gāo cháo， xiěde diē dàng qǐ fú， jīng cǎi fēn chéng。
jīng guò tā de zhàn yǒu de wò xuán bēn zǒu， ài dé méi fù yuán hòu de chū tíng zuò zhèng， pà xī 'áng sī de jiē fā， àn qíng cái shuǐ
luò shí chū。 zhěng bù xiǎo shuō xiěde yī qì hē chéng， qíng jié yóu nián jiè bā xún de bèi 'ěr nà kǒu shù chū lái， què méi yòu shēng yìng
hé tuō jié zhī gǎn。 zhè yī qiē xiǎn shì liǎo qiáo zhì · sāng xián shú de xiě zuò jì qiǎo。
zhè lǐ hái yào tí dào xiǎo shuō zhōng yōu měi de fēng jǐng miáo xiě。 wú lùn shì léi yǔ zhī yè bèi 'ěr nà jū zhù de nà gè chéng bǎo
de yīn sēn、 dì dào hé jī guān de qiǎo miào、 gōng bǎo fèi xū de huāng liáng kǒng bù， hái shì qí shì yú bèi 'ěr de gōng bǎo zhōng yè wǎn
yuè xià yī duì qíng rén de jiāo fēng， miàn duì chū qiū duō wù zhī yè de tián yě rén wù nèi xīn de gǎn shòu， dū xiěde fù yú shū qíng
hé làng màn de sè cǎi， zhè shì duì fǎ guó zhōng bù dì qū nóng cūn fēng jǐng de yī qū sòng gē。
Plot summary
The novel's plot has been called a plot of female socialization, in which the hero is taught by the heroine how to live peacefully in society. Mauprat resembles the fairy tale "Beauty and the beast." As this would suggest, the novel is a romance. However, Sand resists the immediate happy ending of marriage between the two main characters in favor of a more gradual story of education, including a reappraisal of the passive female role in courtship and marriage. Sand also calls into question Rousseau's ideal version of the female education as described in his novelÉmile, namely, training women for domesticity and the home.
The novel, set before the French Revolution, depicts the coming of age of a nobleman named Bernard Mauprat. The story is narrated by the old Bernard in his country home many years later, as told to a nameless young male visitor. Bernard recounts how, raised by a violent gang of his feudal kinsmen after the death of his mother, he becomes a brutalized "enfant sauvage." When his cousin Edmée is held captive by Bernard's "family", he helps her escape, but elicits a promise of marriage from her by threatening rape. Thus begins the long courtship of Bernard and Edmée. The novel ends with a trial similar to the one in Stendhal's The Red and the Black.
During the period Sand wrote the novel, she was gradually becoming more interested in the problem of political equality in society and in the views of socialist thinkers such as Pierre Leroux. Mauprat depicts a new type of literary figure, the peasant visionary Patience. Part of the novel takes place during the American Revolutionary War.
Film adaption
Mauprat was adopted into a silent film with the same title by French director Jean Epstein in 1926. Luis Buñuel was assistant director on this film, and was Buñuel's first film credit.
shuō” de duān ní。 zhè bù xiǎo shuō jì yòu fù nǚ wèn tí xiǎo shuō de nèi róng， yòu dà dà tū pò liǎo zhè zhǒng kuàng jià。 yī shì zhè
bù xiǎo shuō de nǚ zhù rén gōng 'ài dé méi zhǎng wò liǎo zì jǐ de mìng yùn， yóu tā lái tiǎo xuǎn zì jǐ de zhōng shēn bàn lǚ， fù nǚ de
hūn yīn wèn tí sì hū bù fù cún zài。 èr shì zhè bù xiǎo shuō zhǎn kāi liǎo xiāng dāng guǎng kuò de shè huì bèi jǐng miáo xiě， pēng jī liǎo xiōng
cán、 wán gù de guì zú dài biǎo tè lǐ sī táng yī jiā， hái miáo huì liǎo 18 shì jì mò de zhòng dà shì jiàn， rú bèi 'ěr nà jiù cān
jiā liǎo měi guó de dú lì zhàn zhēng。 sān shì kè huà liǎo yī gè nóng mín zhé xué jiā pà xī 'áng sī， tā xìn yǎng lú suō hé lā mò nài
de sī xiǎng， zhù zhāng rén rén píng děng， zhè shì nóng cūn zhōng chún pǔ、 ruì zhì、 zhèng zhí de nóng mín dài biǎo， tǐ xiàn liǎo qiáo zhì ·
sāng chū qī de kōng xiǎng shè huì zhù yì sī xiǎng。 sì shì jiā qiáng liǎo duì fēng jiàn zhì dù de fěng cì hé pēng jī， xiǎo shuō jiān ruì dì jiē
lù liǎo 18 shì jì mò fǎ guó de sī fǎ zhì dù rú hé tān zāng wǎng fǎ、 cǎo guǎn rén mìng， yǐ jí jiào shì qióng shē jí yù、 zōng jiào
tuán tǐ yǔ dǎi tú hàng xiè yī qì děng xiàn xiàng。 wǔ shì miáo xiě shòu dào bù liáng xí sú xūn táo de guì zú qīng nián， rú hé zài huò dé
wén huà zhī shí de jī chǔ shàng， gǎi diào liǎo chǒu 'è、 bēi liè de xíng wéi hé sī xiǎng， chéng wéi xīn rén， fā zhǎn liǎo lú suō de jiào
yù sī xiǎng。 ài dé méi zài xiǎo shuō zhōng shì měi hé shàn de xiàng zhēng， tā jù yòu qiáng liè de gòng hé zhù yì xìn niàn， bìng yǐ zhè zhǒng
xìn niàn gǎn rǎn liǎo pà xī 'áng sī。 tā zhī chí bèi 'ěr nà cān jiā měi guó dú lì zhàn zhēng hé kàng jī rù qīn zhě， tā shēn zhī bèi 'ěr
nà de shū shū mendōu shì hù 'è bù quān de 'è gùn， ér tā běn xìng què shì shàn liáng de， néng gòu gǎi 'è cóng shàn。 bèi 'ěr nà de
yī shēng biǎo míng， jiào yù néng gǎi biàn rén de xí xìng， jìn 'ér shǐ mǒu xiē luò wǔ de rén gēn shàng wén míng fā zhǎn de guò chéng： tā yī
dàn shòu dào 'ài qíng de qū shǐ， zhè yī gǎi biàn jiù gèng yì shí xiàn。
cóng zhè wǔ gè fāng miàn lái kàn，《 mò pǔ lā》 què shí shì qiáo zhì · sāng nèi róng zuì fēng fù de xiǎo shuō zhī yī。 yīn cǐ，
zì tā wèn shì yǐ lái， yī zhí shòu dào dú zhě hé píng lùn jiā de zhòng shì hé zàn shǎng。
《 mò pǔ lā》 bèi chēng wéi yī bù“ dǒu péng jiā cháng jiàn” shì de xiǎo shuō， zhè lèi xiǎo shuō zhù zhòng qíng jié de fù zá qū
zhé， bō lán qǐ fú。 xiǎo shuō kāi juàn， zài fēng yǔ jiāo jiā de yè wǎn， yī gè mí liǎo lù de měi lì gū niàn lái dào mó kū，
wài miàn shì qí jǐng duì zài měng gōng， zhè gè shàonǚ zé zài gōng bǎo lǐ wéi bǎo chí zì jǐ de qīng bái zhǎn kāi yīcháng dǒu zhì。 suí hòu
tā hé bèi 'ěr nà cóng dì dào táo chū。 chéng bǎo dāng yè bèi gōng pò hòu， liǎng gè mò pǔ lā yǔ tā men bù qī 'ér yù。 xì jù xìng
chǎng miàn yī huán tào yī huán。 shěn pàn bèi 'ěr nà yīcháng dá dào xiǎo shuō fā zhǎn gāo cháo， xiěde diē dàng qǐ fú， jīng cǎi fēn chéng。
jīng guò tā de zhàn yǒu de wò xuán bēn zǒu， ài dé méi fù yuán hòu de chū tíng zuò zhèng， pà xī 'áng sī de jiē fā， àn qíng cái shuǐ
luò shí chū。 zhěng bù xiǎo shuō xiěde yī qì hē chéng， qíng jié yóu nián jiè bā xún de bèi 'ěr nà kǒu shù chū lái， què méi yòu shēng yìng
hé tuō jié zhī gǎn。 zhè yī qiē xiǎn shì liǎo qiáo zhì · sāng xián shú de xiě zuò jì qiǎo。
zhè lǐ hái yào tí dào xiǎo shuō zhōng yōu měi de fēng jǐng miáo xiě。 wú lùn shì léi yǔ zhī yè bèi 'ěr nà jū zhù de nà gè chéng bǎo
de yīn sēn、 dì dào hé jī guān de qiǎo miào、 gōng bǎo fèi xū de huāng liáng kǒng bù， hái shì qí shì yú bèi 'ěr de gōng bǎo zhōng yè wǎn
yuè xià yī duì qíng rén de jiāo fēng， miàn duì chū qiū duō wù zhī yè de tián yě rén wù nèi xīn de gǎn shòu， dū xiěde fù yú shū qíng
hé làng màn de sè cǎi， zhè shì duì fǎ guó zhōng bù dì qū nóng cūn fēng jǐng de yī qū sòng gē。
Plot summary
The novel's plot has been called a plot of female socialization, in which the hero is taught by the heroine how to live peacefully in society. Mauprat resembles the fairy tale "Beauty and the beast." As this would suggest, the novel is a romance. However, Sand resists the immediate happy ending of marriage between the two main characters in favor of a more gradual story of education, including a reappraisal of the passive female role in courtship and marriage. Sand also calls into question Rousseau's ideal version of the female education as described in his novelÉmile, namely, training women for domesticity and the home.
The novel, set before the French Revolution, depicts the coming of age of a nobleman named Bernard Mauprat. The story is narrated by the old Bernard in his country home many years later, as told to a nameless young male visitor. Bernard recounts how, raised by a violent gang of his feudal kinsmen after the death of his mother, he becomes a brutalized "enfant sauvage." When his cousin Edmée is held captive by Bernard's "family", he helps her escape, but elicits a promise of marriage from her by threatening rape. Thus begins the long courtship of Bernard and Edmée. The novel ends with a trial similar to the one in Stendhal's The Red and the Black.
During the period Sand wrote the novel, she was gradually becoming more interested in the problem of political equality in society and in the views of socialist thinkers such as Pierre Leroux. Mauprat depicts a new type of literary figure, the peasant visionary Patience. Part of the novel takes place during the American Revolutionary War.
Film adaption
Mauprat was adopted into a silent film with the same title by French director Jean Epstein in 1926. Luis Buñuel was assistant director on this film, and was Buñuel's first film credit.
qí shí zǎo zài 1946 nián， qiáo zhì · sāng jiù yǐ jīng kāi shǐ duì tián yuán shēng huó gǎn xīng qù。 zhè yī nián tā fā biǎo liǎo zhù míng de tián yuán xiǎo shuō《 mó zhǎo》， quán shū méi yòu fù zá de qíng jié hé rǒng cháng de lǐ lùn chǎn shù， ér shì zì shǐ zhì zhōng chōng mǎn shī yì。 zhè bù xiǎo shuō shī gē wén xué zuò pǐn diàn dìng liǎo zuò jiā wǎn qī chuàng zuò de jī diào。