純真年代

用戶評(píng)論 (總計(jì)22條)

•   書(shū)不錯(cuò)，就是字有點(diǎn)小，字間距也小，不過(guò)挺值得
•   看過(guò)電影再來(lái)看書(shū)。電影里大段大段的旁白朗誦，不露聲色的諷刺和幽默，這種讀物讀起來(lái)不需要緊張的心情，只要悠閑復(fù)悠閑。
  
  我買(mǎi)過(guò)兩本，放在我所會(huì)到達(dá)的兩個(gè)地點(diǎn)，隨時(shí)拿來(lái)消遣。
  
  書(shū)實(shí)在不貴，對(duì)吧？
•   好書(shū)買(mǎi)回來(lái)收藏。只是這本的封面好像暗了點(diǎn)。
•   書(shū)是好書(shū)，但是也需要好的英文功底
•   書(shū)質(zhì)很好，對(duì)閱讀很有幫助！
•   比起失去韻味的翻譯，還是看原文好一些
•   老師推薦的書(shū)目里，比較了下，這個(gè)版本的書(shū)是性價(jià)比最高的，價(jià)格很便宜，印刷也不錯(cuò)
•   這價(jià)錢(qián)可以了,就是沒(méi)有包,外面有點(diǎn)兒臟...
•   因?yàn)橄矚g電影才買(mǎi)了書(shū)，不過(guò)讀起來(lái)有難度。作者的描寫(xiě)比較細(xì)膩，除了心理描寫(xiě)，還有很多對(duì)那個(gè)時(shí)代生活狀態(tài)的描寫(xiě)，包括服飾，建筑，飲食，風(fēng)俗習(xí)慣等等，有點(diǎn)兒像王安憶的《長(zhǎng)恨歌》。按說(shuō)應(yīng)該買(mǎi)譯本對(duì)照著看，但是不太相信現(xiàn)在書(shū)的翻譯水平，畢竟翻譯這樣的書(shū)對(duì)譯者的要求不只是語(yǔ)言而已。
•   這本書(shū)是本寫(xiě)的很好的書(shū)，就是像是舊的，一點(diǎn)都不像新的，還有折的痕跡。有點(diǎn)失望
•   還沒(méi)看，不過(guò)翻著還是不錯(cuò)的。喜歡電影，小說(shuō)一定是精品。簡(jiǎn)裝本還不錯(cuò)。
•   本書(shū)是英文版的，沒(méi)有包裝。送到時(shí)用開(kāi)口塑料袋裝著，因剛下過(guò)雨，外面濕漉漉的。中英文標(biāo)識(shí)不是很明確。
•   受電影的啟發(fā)買(mǎi)了原著，是不應(yīng)該錯(cuò)過(guò)的名著
•   還行，沒(méi)有別的選擇了
•   還好。質(zhì)量啊，內(nèi)容就不說(shuō)了。
•   包裝還可以,沒(méi)了太多,還沒(méi)有來(lái)得及看這本.
•   包裝精美，物美價(jià)廉，我很滿意
•   我以為是英漢互譯的，結(jié)果不是&;hellip;&;hellip;
•   　　大學(xué)時(shí)看過(guò)的電影，印象很深，當(dāng)時(shí)并不知道是由名著改編，只是喜歡的不得了。那時(shí)不喜歡Ellen，這個(gè)男主角訂婚前夕橫插出來(lái)的女人，一直想不明白Newland為什么愛(ài)她不愛(ài)May（以當(dāng)時(shí)的審美May美的像天使，現(xiàn)在我也這么覺(jué)得）。最近把原著和電影都找出來(lái)重看了一遍，才發(fā)現(xiàn)大學(xué)時(shí)根本沒(méi)看懂這個(gè)故事啊。現(xiàn)在我明白Newland愛(ài)她因?yàn)橹挥兴齻兪切市氏嘞У摹?quot;You gave me my first glimpse of a real life, and at the same moment you asked me to go on with a sham one. It's beyond human enduring-that's all." "Oh, don't say that; when I'm enduring it!" She burst out, her eyes filling. 類似的對(duì)白，每一段看得我心都要碎了！所以當(dāng)他終于放棄，他們最終錯(cuò)過(guò)，這段最終錯(cuò)失的愛(ài)情成為他一生中最傷的痛。
•   　　 "I found a momentary escape in going back to my childish memories of a long-vanished American, and wrote 'The Age of Innocence'." Edith Wharton said later in "A Backward Glance",
  　　 To a certain extent, this novel can be regarded as a recreation of a past age in Wharton's memory. The story is set against the backdrop of upper-class New York society during the 1870s.
  　　 Newland Archer was a gentleman lawyer and heir to one of old New York City's best families, instinctively feeling himself "superior of those chosen specimens of old new york gentility. He had probably read more, thought more, and even seen a good deal more of the world, than any other man of the number." Except that, he was accustomed to the conventional routine life and shaped by the customs and expectations of upper-class New York City society. "Conformity to the discipline of a small society had become almost his second nature."
  　　 He was happily anticipating a highly desirable marriage to May Welland, a beautiful lady who is a perfect product of old New York society. Their engagement was announced.
  　　 However, everything changed after Archer met Countess Olenska, who was May's exotic, beautiful thirty-year-old cousin. Her life was unconventional. She had became a countess by marrying Polish Count Olenski and returned to New York after scandalously separating herself from her bad marriage. Afraid of falling in love with her, Archer begged May to accelerate their wedding date.
  　　 Archer's admiration for Countess Olenska grew and he couldn't help telling his love for her. While in the meantime, May agreed to wed sooner. They married but Archer found that he did not love May at all. He felt he was dead in the marriage.
  　　 He dwelled on Countess Olenska. He tried to forget her but failed. He desperately sought a way to leave May and be with Madame Olenska.
  　　 "I am looking forward to seeing you, every thought is burnt up in a great flame."
  　　 For him, Countess Olenska was the means to take him away from the dreadfully empty conventional routine life.
  　　 "Once more she had managed, by her sheer simplicity, to make him feel stupidly conventional just when he thought he was flinging convention to the winds."
  　　 Eventually, May got pregnant. Knowing it, Madame Olenska went back to Europe. Archer decided not to follow, surrendered his love for the sake of his children, remained in a loveless marriage to May.
  　　 Archer and Madame Olenska were the two main characters who were struggling against convention. Madame Olenska, who was a free spirit and spent her life as she wanted, represented change. While Archer always had the earnest intention of changing, but was unable to go beyond the confines, therefore being trapped in the dilemma,
  　　 Nevertheless, submission was cordially forgiven in the book. May was highly praised by her restraint. And Archer also lived well enough after he gave up Countess Olenska. Only "something he knew he had missed: the flower of life."mentioned his loss. People in the age of innocence were unquestionably in submission to their old New York rituals.
  　　 As for me, it is more than a love story. It is a story which happens to everyone.
  　　 People want to get away from their conventional life but they often failed on the account that they were unable to reach beyond its confines. It just happened in every generation.
  　　
  　　
•   　　純真年代根本是一個(gè)可以用一句話說(shuō)完的俗套故事——這點(diǎn)和十年前同樣讓我泣不成聲的《似水年華》很像。不止是風(fēng)格，情節(jié)也類似糾結(jié)——麥克尤恩《最初最后》的中文譯本后面有幾篇跋，其中一句深得我心：大意是說(shuō)這類創(chuàng)作的相似度可以很高，因?yàn)槊總€(gè)人寫(xiě)作時(shí)都帶入了曾經(jīng)作為讀者的自己。
  　　
  　　開(kāi)這本書(shū)純屬偶然：三月底在看element of style，作者提到一個(gè)點(diǎn)讓我開(kāi)始對(duì)fiction感興趣：論證性文章可以獲取信息；小說(shuō)卻是可以看到作者語(yǔ)言風(fēng)格的鏡子。恰逢郭老師推了age of innocence，它就自然而然地納入了unread list。我的年少無(wú)知體現(xiàn)在，在前幾周我把書(shū)帶在身邊打發(fā)無(wú)聊時(shí)光的時(shí)候，被問(wèn)起在看什么，總是笑著說(shuō)“被推薦了本虐文”——我以為淚點(diǎn)可以很高——其實(shí)是許久未見(jiàn)edith wharton這樣的高手。
  　　
  　　從純文學(xué)性角度，edith wharton在紐約這個(gè)舞臺(tái)上用了全篇的英式英語(yǔ)——作為承托整個(gè)protestant美國(guó)貴族社會(huì)交流的載體。語(yǔ)言背后偏嚴(yán)肅、貴族的文化意向在整個(gè)場(chǎng)景的塑造中起了重要作用。
  　　形容詞副詞用得太好，太貼切。reading flow的連貫性絲毫沒(méi)有被她的復(fù)雜結(jié)構(gòu)大長(zhǎng)句干擾——反而因?yàn)檎Z(yǔ)法邏輯的嚴(yán)密而產(chǎn)生了和諧感和節(jié)奏感。對(duì)比和對(duì)賬的平行結(jié)構(gòu)很大程度上增強(qiáng)了句子的張力——進(jìn)一步強(qiáng)化了場(chǎng)景的張力；雖然用了長(zhǎng)音節(jié)詞比如precaution and precariousness之類，但作為總結(jié)性的存在有一種有力感。
  　　最后一章里面出現(xiàn)了好幾處比喻（包括婚姻是什么），正好前幾周看到昆德拉在《小說(shuō)的藝術(shù)》里提到“比喻”——大意是說(shuō)比喻的運(yùn)用太過(guò)重要，而且必須適度才能把主題表現(xiàn)得恰到好處。edith wharton算是這方面的優(yōu)秀范本。
  　　我哭到一半的時(shí)候郭老師打電話給我，我們談到一個(gè)問(wèn)題：明明是一個(gè)俗套的故事，又怎么會(huì)一擊被戳點(diǎn)淚流不止？結(jié)論的指向性就很明顯：edith wharton是細(xì)節(jié)大師。她明明對(duì)心理沖撞沒(méi)有過(guò)多描繪，卻在不停描寫(xiě)主角的姿勢(shì)——從archer看戲喜歡的演員手肘的靠放，到ellen在篝火旁的身體姿勢(shì)——僅僅是關(guān)于“elbow”在記憶里就出現(xiàn)了不下十次。這種淋漓盡致的細(xì)節(jié)描寫(xiě)造成的結(jié)果是情節(jié)的巨大張力：所有ellen和archer的對(duì)手戲都被描繪得讓人窒息般痛苦糾結(jié)。細(xì)節(jié)描繪其實(shí)是自己最喜歡的風(fēng)格，而因?yàn)閑dith wharton極致的演繹給小說(shuō)特別加上了細(xì)膩的女性特質(zhì)。普利策最后給了edith wharton，說(shuō)不定算是長(zhǎng)久以來(lái)在藝術(shù)界關(guān)于女性藝術(shù)家受到傳統(tǒng)男權(quán)主義的雙重標(biāo)準(zhǔn)迫害的逆襲。
  　　
  　　如果寫(xiě)treatise，這本書(shū)一定還會(huì)被八出各種社會(huì)學(xué)宗教學(xué)的點(diǎn)：比如女權(quán)，比如19世紀(jì)美國(guó)上層社會(huì)的convention，包括protestant的婚姻觀價(jià)值觀，還有在最后一章浮光掠影地出現(xiàn)的現(xiàn)在社會(huì)的moral變遷。反正這些東西全部涉及就說(shuō)不清楚，看個(gè)氣氛吧。
  　　
  　　我一直覺(jué)得看小說(shuō)的帶入過(guò)程可以當(dāng)做投射測(cè)試；其實(shí)寫(xiě)小說(shuō)的過(guò)程應(yīng)該也是。
  　　作為讀者，全書(shū)被戳淚點(diǎn)的地方有兩個(gè)：第九章末尾黃玫瑰vs山谷百合。But they did not look like her-there was something too rich, too strong, in their fiery beauty.
  　　——edith wharton把黃玫瑰形容得美到跋扈，又給了ellen，讀到這里就哭了。因?yàn)槲以缫呀?jīng)腦補(bǔ)出archer對(duì)人生的無(wú)力掌控感，于是ellen畢竟美得有些冤。
  　　第二個(gè)點(diǎn)是最后一章當(dāng)中，dallas說(shuō)may死前說(shuō)we were safe with you, and always would be, because once, when she asked you to, you’d given up the thing you most wanted.
  　　——不能再俗套了，可是當(dāng)edith wharton鋪墊好了一整本書(shū)300頁(yè)的細(xì)節(jié)之后，一切情緒都會(huì)在這里失守。
  　　我不知道在看書(shū)過(guò)程中每個(gè)時(shí)刻我的代入感到底更接近于誰(shuí)：大多數(shù)時(shí)候應(yīng)該是ellen，有時(shí)是may，有時(shí)是archer。對(duì)ellen來(lái)說(shuō)，最高的褒獎(jiǎng)莫過(guò)于dallas那句“when she comes, she's different-and one doesn't know why”。
  　　
  　　也許edith wharton的代入感更接近archer——ellen對(duì)他來(lái)說(shuō)是讓生活變得有意義的標(biāo)志?？上ЫK于edith wharton像archer一樣沒(méi)有被拯救離開(kāi)被她自己嫌棄的上流社會(huì)。
  　　
  　　郭老師說(shuō)她很喜歡最后一章：archer說(shuō)他明白婚姻即使再“dull”也是責(zé)任的所在。
  　　
  　　我們同很喜歡最后那個(gè)場(chǎng)景：二十六年以后的巴黎街口，archer從能看到ellen窗臺(tái)的長(zhǎng)椅上緩緩起身離開(kāi)的背影。
  　　
  　　彼此在edith wharton的筆下觀察到對(duì)方最細(xì)微的姿態(tài)，只為有一天大家老去，相忘于江湖。
•   　　剛開(kāi)始是在學(xué)校看到有同學(xué)在阿里推打折網(wǎng)http://www.alitui.com/remai/買(mǎi)了這個(gè)版本，我翻了下質(zhì)量蠻好的之后就開(kāi)始迷戀了
  　　作者功力很強(qiáng)，有幾處章節(jié)戛然而止讓人頓生敬佩，懷疑作者在創(chuàng)作之初就想到過(guò)自己這部?jī)?yōu)秀的作品會(huì)被拍攝成優(yōu)秀的電影似的。
  　　
  　　從細(xì)節(jié)描述、篇章結(jié)構(gòu)、邏輯關(guān)系、人物心理刻畫(huà)、性格表現(xiàn)等方面，本作品均有卓越表現(xiàn)。我認(rèn)為這部小說(shuō)不遜色于專寫(xiě)美國(guó)紐約上層階級(jí)的任何一部作品，甚至在細(xì)節(jié)、心理活動(dòng)上更勝一籌。
  　　
  　　唯一令人唏噓的是，作者顯然也是一個(gè)缺乏抗?fàn)幠芰Α⒏矣诼曈懚佑诜纯沟娜?，所以為主人公安排了那樣的命運(yùn)，同時(shí)對(duì)當(dāng)時(shí)上流社會(huì)之冷酷虛偽的那一面，僅作否定與感嘆罷了。男女主人公并沒(méi)有在晚年落得潦倒悲慘，相反各有圓滿，這一方面反襯了他們情感世界的極度虛無(wú)和貧瘠，另一方面也表明了作者的態(tài)度：不做衛(wèi)道士也不做逆賊，在這條黑暗、湍急、冰冷的河上按指定的航道行駛，苦悶一生也罷，總犯不了什么大錯(cuò)。

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