茨威格自傳

內(nèi)容概要

這是一個(gè)背井離鄉(xiāng)的思想者，對于精神家園逝去歲月的個(gè)人回憶，幸福與苦難、理想與現(xiàn)實(shí)、和平與戰(zhàn)爭、興盛與衰敗沖撞交織的時(shí)代，觸動(dòng)了作者敏感的心靈與塵封的記憶，不斷追思曾經(jīng)如此安寧、保守、富庶、文雅的故鄉(xiāng)維也納以及整個(gè)遠(yuǎn)去的歐洲。文學(xué)家的細(xì)膩筆觸之下流動(dòng)著史學(xué)家的睿智，他在為已經(jīng)坍塌的整個(gè)時(shí)代造像，個(gè)體的經(jīng)歷融入其中，產(chǎn)生了一部真實(shí)卻不呆板，充滿細(xì)節(jié)卻不失深邃的歷史，其中我們感知到生命盡頭的靈魂，在與自己燦爛的青春對話，夢中的家園給冰冷的現(xiàn)實(shí)帶來一絲絲暖意，但溫暖背后卻是，個(gè)體對于時(shí)世變遷的驚恐與無奈。

作者簡介

斯蒂芬·茨威格，奧地利著名文學(xué)家、人物傳記作家，以文字華麗、思想性見長，其作品在我國擁有較多的讀者。作家本人因不滿30年代末和40年代初法西斯勢力橫行，于1942年自殺。茨威格除其在文學(xué)上的成就，其傳記獨(dú)樹一幟，具有強(qiáng)烈的人道主義的精神，頌揚(yáng)人類偉大的思想

書籍目錄

CHAP。Ⅰ.THE WORLD OF SECURITYⅡ.SCHOOL IN THE LAST CENTURYⅢ.EROS MATUTINUSⅣ.UNIVERSITAS VITAEⅤ.PARIS,THE CRRY OF ETERNAL YOUTHⅥ.BYPATHS ON THE WAY TO MYSELFⅦ.BEYOND EUROPEⅧ.LIGHT AND SHADOW OVER EUROPEⅨ.THE EIRST HOURS OF THE WAR OF I9I4Ⅹ.THE STRUGGLE FOR INTELLECTUAL BROTHEHOODⅪ. IN THE HEART OF EUROPEⅫ.HOMECOMING TO AUSTRIAXⅢ.INTO THE WORLD AGAINXⅣ.SUNSETXⅤ.INCIPIT HITLERXⅥ.THE AGONY OF PEACE    PUBLISHER’S POSTSCRIPT    BIBLIOGRAPHY OF ORIGINAL WORKS OF STEFAN ZWEIG INDEX

章節(jié)摘錄

　　of the world meant not only the triumph of an individual, but the victory of the idea of youth. That one did not have to be born a prince or a duke to achieve power at an early age, that one might come from any humble and even poor family and yet be a general at twenty-four, ruler of France at thirty and of the entire world, caused hundreds, after this unique success, to abandon petty voca- tions and provincial abodes.　Lieutenant Bonaparte had fired the minds of an entire generation of youth.　Fie drove them to aspire to higher things, he made the erals of the Grande Armce the heroes and careerists of the comEdie humaine.　It is always an in-dividual young person who aclfieves the unattainable for the first　　time in any field, and thus encourages all the youngsters aroundhim or who come after him, by the mere fact of his success.　Inthis sense Hofmannsthal and Rilke signified an unusual impulse forour as yet unfermented energies.　Without hoping that any one ofus could ever repeat the miracle of Hofinannsthal, we were nonethe less strengthened by his mere physical existence.　It provedtangibly that a poet was possible in our time, in our city, in ourmidst.　For after all, his her, a banker, came from the sameJewish middle class as the rest of us; this genius had grown up-in a house similar to our own, with similar furniture and similarmanners, he had gone to a similarly sterile Gymnasium, he hadstudied out of the samc textbooks and had sat for eight years onthe same wooden benches, mpatient as we had becn, similarlyimpassioned for all intellectual values; and Io, while he was stillfrayiug his trouscrs on the benchcs and being forced to march aroundin thc Gymnasium, hc had socceeded in transccuding space and confines, city aud family, by his flight into the boundless. ThroughHofannsthal it was to some cxtcnt demonstratcd to us, ad oculos,that in principlc it was ossible, even at our age and in the prison-atmsphere of an Austrian Gymnasium, to create poetry, and evento create perfection.　It was even possible--a terrific cmptatiou fora youthful temperament--to he pubhshed, to be celebrated, tobecome famous, while at home and in school one was still con-sidered a half-grown, nimportant being.　Rilke stood for a different sort of encouragement, and supple-mented that of Hofmamsthal in a comforting fashion.　It wouldhave seemed blasphemous for even the most daring of us to try torival Hofmaunsthal.　We knew that he was a unique miracle ofpremature perfection, which conld never be repeated, and when wesixteen-year-olds compared our rhymes with the perfectly conceivedverses which he had written at the same age, we quaked with shame.　　In the same way we felt humbled in our knowledge of the eaglesflight with which he coursed through cosmic space while .stillthe Gymnasium. On the other hand, Rilke had begun to write andpublish his poems at an equally early age--when he. was seventeenor eighteen. But Rilkes early verses, in comparison with Hof-　　mannsthals, and even in an absolute sense, were immature, childishand naive, and only forbearance could find a few slender goldentraces of talent in them. It was only gradually, in his twenty-　　second and twenty-third years, that the personality of this majesticpoet, so boundlessly loved by us, began to emerge; an.d that wasan enormous consohdon for us. It was not necessary tlaeretore toattain perfection while still in the mnasium as Hofmannsthal haddone, but like Rilke we could fed our way, experiment for our-wives, and climb upward. We did not have to give up in immediatedespair became for the time being our writing was unripe, ir-responsible and inadequate, and perhaps instead of the miracle ofHofmannsthal we could repeat in ourselves the serener, more normalrise of Rilke.　　For as was to be expcted, we ha long since begun to write orto create verses, to compose music or to revite; every passivepassionate attitude is of itself an unnatural one for youth, for it isin its being not only tO take up impressions but to reproduce themactively. For a young man to love the theatre means thathe.willat least desire or dream to work for, or in, the theatre. To admiretalent cstatically in all its forms irresistibly leads to introspection,to see i~ it is not possible to discover some trace or possibility ofthis choicest of essences in ones xplored body or still doudysoul.　And so it occurred in our class atschool that, in keepingwith the Viennese atmosphere and the particular limitadons or" thetimes, the impulse to crcative producdon became.positively epi-demic.　Each one of us sought some talent within himself andendeavoured to unfold it. Four or five of us wished ~o be actors.They imitatedd the diction of the Imperial players, they recited and declaimed without ceasing, secretly took lessons in acting, and,during the recesses at school, distributed parts and improvisedentire-scenes from the classics, while the rest of us formed a curiousbut exacting audience. Two or three were splendidly accomplishedmusicians but had not yet decided whether they would becomecomposers, virtuosi, or conductors. I owe to them my first know-ledge of the new music which then was still generally scorned atthe official concerts of the philharmonic, whereas they, in turn,came to us for the words for their songs and choruses.　　……

媒體關(guān)注與評論

　　編者的話　　《名人名傳叢書》是一大型文化建設(shè)工程，在其起步之初，編者有話告之于讀者：　　歷史是無數(shù)人物之傳記。史源于事，事源于人；無人則無事，無事則無史。馬克思、恩格斯有言：“歷史不過是追求著自己目的的人的活動(dòng)而已。”評述“追求著自己目的的人的活動(dòng)”，即成傳記；解讀傳記，因而即是解讀歷史。無數(shù)人物之傳記構(gòu)成為歷史，于無數(shù)人物之傳記之外另求一歷史，則無歷史矣。　　傳記是傳主成敗得失之記錄。傳記講解傳主之成敗得失，名傳講解名人之成敗得失。講善惡可也，講賢不肖可也，講毀譽(yù)可也，但均不及講智愚、講成敗得失來得根本。名人之跌倒與爬起、之挫敗與新生，其中之“一陰一陽之道”，正是后人入世立足之航標(biāo)燈、之后車鑒、之警示牌。解讀傳記，尤其是解讀名人之傳記，恰如為自己“主政”請來無數(shù)大智大勇之“垂簾聽政者”?！　∶怂髦畟饔浭侨宋闹A。名人為名人作傳，恰如“酒逢知已”、“棋逢對手”，一舉一動(dòng)．一言一行，均了然于心，盡在不言中。凡人為名人作傳，所以不能上境界，在凡人無以跟上名人之大智大慧；名人為名人作傳，所以能動(dòng)人心弦，在名人可以看穿名人之背后，從而能對傳主之成敗得失，達(dá)致“同情之了解”。酒不逢知己，酒而無味；棋不逢對手，棋而無趣。讀者猶如旁觀者，看兩強(qiáng)之打斗，自可以鍛煉自己、提高自己，而向名人靠近一小步。名人為名人作傳，記錄名人之成敗得失，從而也就記錄了歷史。吾人解讀名人所作名人之傳記，讀懂名人之成敗得失，從而也就讀懂了歷史?！　』谝陨险J(rèn)識，《名人名傳叢書》將盡可能發(fā)掘、整理名人所撰名人之傳記。在近年內(nèi)，將推出中文版名人名傳100種、英文版名人名傳100種，每種均在原文字基礎(chǔ)上，配以精美插圖，以收圖文并茂、相得益彰之效。此工程而能完工，將是中國文化建設(shè)史上的一件大事?！　　睹嗣麄鲄矔?由名人傳記文化研究中心編輯。該中心在編輯現(xiàn)有名人名傳的同時(shí)，亦準(zhǔn)備推出名人文集和名人研究系列，歡迎賜稿。

編輯推薦

　　茨威格的小說深受弗洛伊德的影響。弗洛伊德在治療精神病人的過程中，提出了心理分析法。根據(jù)弗洛伊的觀點(diǎn)，人的思維不僅有意識，還有前意識和無意識。茨威格不僅寫過大量傳記和評論作品，也寫了不少中短篇小說和一部長篇小說，此外早期寫過詩歌，還寫了一些劇本。他的寫作涉及文學(xué)的體裁較多。應(yīng)該說，他在中短篇小說和傳記文學(xué)方面取得了較大的成功。

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