紅字（中英對(duì)照）

內(nèi)容概要

　　這部小說(shuō)是19世紀(jì)美國(guó)浪漫主義作家霍桑的長(zhǎng)篇小說(shuō)。小說(shuō)以兩百多年前的殖民地時(shí)代的美洲為題材，但揭露的卻是19世紀(jì)資本主義發(fā)展時(shí)代美國(guó)社會(huì)法典的殘酷、宗教的欺騙和道德的虛偽。主人公海斯特被寫成了崇高道德的化身。她不但感化了表里不一的丁梅斯代爾，同時(shí)也在感化著充滿罪惡的社會(huì)。它不僅是美國(guó)浪漫主義小說(shuō)的代表作，同時(shí)也被稱作是美國(guó)心理分析小說(shuō)的開創(chuàng)篇。本書是小說(shuō)的英漢對(duì)照版?！　∷貋?lái)了，并重新戴上——完全是出于自愿，因?yàn)榫褪窃谀氰F面無(wú)情時(shí)期的最嚴(yán)酷的執(zhí)事也不會(huì)強(qiáng)迫她這么做——重新戴上了我們?cè)?jīng)講過(guò)的那么一個(gè)悲慘的故事中的標(biāo)志。從此以后，那個(gè)標(biāo)志就再也沒(méi)有離開過(guò)她的胸前?！　〉?，隨著赫斯特生涯中那含辛茹苦、富有思想、自我獻(xiàn)身的歲月的流逝，紅A字已不再是受人奚落、令人痛恨的烙印了，而是成了使人為之遺憾，望而生畏，以至肅然起敬的東西了，并且由于赫斯特沒(méi)有私心，從不計(jì)較個(gè)人的利益和安樂(lè)，所以人們都愿意向她傾訴自己的痛苦和困惑，并把她看作一個(gè)飽經(jīng)患難的人而向她求教?！　∷龍?jiān)信有朝一日會(huì)更加光明，那時(shí)這個(gè)世界也一定會(huì)因而輝煌成熟，于是在那天堂般的時(shí)代，一個(gè)新的真理必將出現(xiàn)，從而將整個(gè)男女之間的關(guān)系建立在更加牢靠的彼此幸福的基礎(chǔ)上。

書籍目錄

The Prison—Door 獄門The Market—Place 市場(chǎng)The Recognition 認(rèn)出The Interview 相見(jiàn)Hester at Her Needle 赫斯特的針線活Pearl 珠兒The Governor’s Hall 州長(zhǎng)的大廳The Elf-Child and the Minister 小精靈和牧師The Leech　醫(yī)生The Leech and His Patient 醫(yī)生和他的病人The Interior of a Heart 內(nèi)心The Minister’s Vigil 牧師的夜出Another View of Hester 赫斯特的另一面Hester and the Physician 赫斯特和醫(yī)生Hester and Pead 赫斯特和珠兒A Forest Walk 林中漫步The Pastor and His Parishioner 牧師和他的教民A Flood of Sunshine 陽(yáng)光普照The Child at the Brook—Side 溪邊的小女孩The Minister in a Maze 困惑不解的牧師The New England Holiday 新英格蘭的節(jié)日The Procession 行進(jìn)的隊(duì)伍The Revelation of the Scarlet Letter　新出現(xiàn)的紅A字Conclusion 終結(jié)

章節(jié)摘錄

　　The Prison-Door　　THRONG of bearded men,　in sad-colored garments and gray,steeple-crowned hats, intermixed with women, some wearing hoods,and others bareheaded,　was assembled in front of a wooden edifice,　the door of which was heavily timbered with oak, and　　studded with iron spiks.　　The founders of a new colony,　whatever Utopia of human virtue and happiness they might originally project, have invariably recognized it among their earliest practical necessities to allot a portion of the virgin soil as a cemetery, and another portion as the site of a prison. In accordance with this rule,　it may safely be assumed that the forefathers of Boston had built the first prison-house,　somewhere in the vicinity of Cornhill,　almost as seasonably as they marked out the first burial-ground,　on Isaac Johnsons lot, and round about his grave, which subsequently became the nucleus of all the congregated sepulchres in the old church-yard of Kings Chapel. Certain it is,that, some fifteen or twenty years after the settlement of the town, the wooden jail was already marked with weather-stains and other indications of age,　which gave a yet darker aspect to its beetle-browed and gloomy front. The rust on the ponderous iron-work of its oaken door looked more antique than anything else in the new world. Like all that pertains to crime,　it seemed never to have known a youthful era. Before this uglyedifice,　and between it and the wheel-track of the street,　was a grass-plot,　much overgrown with burdock,　pig-weed,　apple-peru,　and such unsightly vegetation,which evidently found something congenial in the soil that had so early borne the black flower of civilized society, a prison. But, on one side of the portal, anti rooted almost at the threshold,　was a wild rose-bush,　covered,　in this month of June,　with its delicate gems, which might be imagined to offer their fragrance and fragile beauty to the prisoner as he went in, and to the condemned criminal as he came forth to his doom,in token that the deep heart of Nature could pity and be kind to him.　　This rose-bush, by a strange chance, has been kept alive in history; but whether it had merely survived out of the stern old wilderness, so long after the fall of the gigantic pines and oaks that originally overshadowed it--or whether, as there is fair authority for believing, it had sprung up under the footsteps of　　the sainted Ann Hutchinson, as she entered the prison-door--we shall not take upon us to determine. Finding it so directly on the threshold of our narrative,　which is now about to issue from that inauspicious portal, we could hardly do otherwise than pluck one of its flowers and present it to the reader. It may serve, let us　　hope, to symbolize some sweet moral blossom, that may be found along the track,　or relieve the darkening close of a tale of human frailty and sorrow.　　第一章　獄門　　一群滿臉胡子的男子，身穿深暗色的衣服，頭戴灰色的尖帽，其中還混雜著一些扎了頭巾或光著腦袋的婦女，聚集在一所大木屋前面。屋門是櫟木做的，很厚實(shí)，上面釘滿了大頭鐵釘。　　新殖民地的創(chuàng)始人，不管他們?cè)仍O(shè)計(jì)的是一種什么樣的人間美滿、幸福的烏托邦，可都一定承認(rèn)，根據(jù)他們草創(chuàng)時(shí)期的實(shí)際需要，應(yīng)從這片處女地中劃出一部分做墓地，再劃出一部分做監(jiān)獄的基地。按照這一常規(guī)，可以萬(wàn)無(wú)一失地推斷，波士頓的祖先們?cè)谝了_克．約翰遜①的地段內(nèi)，在他的墳?zāi)怪車鷦澇隽俗钤绲脑岬?，并且?guī)缀跖c此同時(shí)，還在康布爾附近一個(gè)地方建立了第一所監(jiān)獄。伊薩克·約翰遜的墳?zāi)购髞?lái)成了皇家舊教堂墓地里一片墳?zāi)沟闹行摹５拇_，在這個(gè)城市建成大約十五至二十年以后，那所木造監(jiān)獄由于風(fēng)吹雨打和年深日久已是痕跡斑斑了。這就給那猙獰而陰森的監(jiān)獄正面更增加了一番凄涼景象。它那櫟木大門上面沉重的大頭鐵釘長(zhǎng)滿了鐵銹，看上去比美洲的任何東西都要古老。它像一切有罪的東西一樣，從不知道自己有過(guò)一段青春時(shí)期。在這座陰森可怕的木屋前面，在它同街上那條車道之間，是一塊草坪，上面長(zhǎng)滿了牛蒡、茨藜、蒺藜牽牛以及諸如此類的很不雅觀的植物，顯而易見(jiàn)，它們?cè)谶@片很早就開出了文明社會(huì)的黑花——監(jiān)獄——的土壤中，找到了適宜生長(zhǎng)的養(yǎng)料。然而，在入口的另一面，幾乎就在門檻上生了根的，是一叢野玫瑰，它在這六月的天氣里，綴滿了寶石般晶瑩的花朵。這也許可以設(shè)想，這些花朵要把自己的芳香和嬌艷獻(xiàn)給那步人牢房的囚犯，獻(xiàn)給那跨出牢房去接受極刑的死囚，借以表示造物主的內(nèi)心對(duì)他的同情和仁慈。　　這一叢玫瑰由于一個(gè)奇妙的機(jī)緣，已永垂青史了。但是，它是否僅僅是那原來(lái)遮蓋它的那些參天古松和櫟樹倒落以后很久而從荒蕪的原野中幸存下來(lái)的呢?還是有充分的證據(jù)認(rèn)為是在成了圣徒的安·哈欽森走進(jìn)獄門時(shí)，在她的足跡下萌生出來(lái)的呢?我們可以姑置勿論了。由于這叢玫瑰恰好就在我們現(xiàn)在就要從那不祥的獄門講起的故事的開頭，我?guī)缀跚椴蛔越匾乱欢鋪?lái)奉獻(xiàn)給讀者。我們希望，它能象征故事進(jìn)程中那一路上可以找到的芬芳宜人的道德之花，或用來(lái)沖淡些這一人類的脆弱和悲哀的故事的陰暗結(jié)局。

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