巴爾扎克傳

內(nèi)容概要

巴爾扎克，舉世公認的現(xiàn)實主義小說藝術(shù)大師他是一位力量驚人，從不疲倦的工作者，經(jīng)夯所有偉大都不能避免的那種充滿風暴和斗爭的生活。
他用如櫞之筆征服了世界，他給人世間創(chuàng)造第二個完美的天地，無與倫婦的《人間喜劇》在人類文化歷史上樹起了一座劃時代的豐碑把現(xiàn)實主義文學推上了一新高峰，在最偉大的人物中間，他是一第的一個在最優(yōu)秀的人物中間，他是出類拔萃的一個他的理壯麗的、獨特的，成就是永遠說不盡的。他是《人間喜劇》諸多人物中最奇特、最有趣、最浪漫，也最富有詩意的一個。

作者簡介

茨威格，夢一般的音樂之都維也納蘊育出的文學天才，一位深邃的世界主義者與和平主義者。用生命去感知并促進個體之間、民族之間的相互理解，對求知世界、個人命運充滿無盡好奇與創(chuàng)作的激情。心理分析的方法悄無聲息地融入他的作品中，探尋人類內(nèi)心深處跌宕多變的激情，

書籍目錄

BOOK ONB：Youtb and Early Efforts 1、Childhood Tragedy 2、Praemature Questioning of Destiny 3、The Novel Manufactory of Horace de Saint Aubin & Co. 4、Madame de Berny 5、Business Interlude 6、Balzac and NapoleonBOOK TWO：Balzal at Work 7、The Man of Thirty 8、Black Coffee 9、The Duchesse de Casties 10、Balzac Discovers His SecretBOOK THREE：Tbe Novel of Balzal’s Life 11、The Unknown 12、Geneva 13、Farewell in ViennaBOOK FOUR：Splendor and Misery of Balzac the Noelist 14、A Year of Disasters 15、The Contessa Guidoboni-Visconti 16、The Second Italian Journey……BOOK FIVE：The Autbor of La comeie bumaineBOOK SIX：Fulfillment and FinaleAPPENDIX

章節(jié)摘錄

　　scribbling, and it was the worst kind of prostitution since it was practiced cold-bloodedly and solely with a view to making money quickly. He may, to begin with, have been swayed only by impatience to achieve his freedom, but once he had sunk deep enough and become used to easy profits, the descent grew steeper and steeper. He allowed his talents to be misused for lesser rewards, despite the　　large earnings he drew from his novels, and there was no literaryiniquity that he could not stomach. He was a harlot serving simul-taneously two or three literary pimps. Even when his Cbouans and La peaude chagrin made him an outstanding figure in French litera- ture, he continued--like a married woman secretly visiting a maison de rendezvous to earn some pin-money--to frequent his former low haunts and degrade the famous Honore de Balzac to the status of a cheap hack for the sake of a few hundred francs. Today, when his cloak of anonymity has become somewhat threadbare, we know that Balzac shrank from no literary sin. He patched other mens novels with scraps of his own and barefacedly stole other writers plots and　　situations for his own works. With adroit impudence he undertook every kind of literary tailoring, in which the purloined material was pressed, lengthened, tamed, dyed, and modernized. He supplied any- thing for which there was a demand, whethee in the way of philos- ophy, politics, or causeries, always ready to meet his clients wishes, a brisk, skillful, unscrupulous workman, on call at any time and pre- pared to switch over to the production of any article that happened to be in fashion.　　It is pathetic to think of the kind of people with whom he asso- dated in these dark years. He was the greatest storyteller of his age, yet he was nothing but the hireling of the scabbiest hole-and-comer publishers and wholesale book-hawkers of Paris. All this because he lacked self-confidence and was blind to his real destiny. It must forever remain a unique phenomenon in the annals of literature that eyen a genius like Baron Munchausens feat in drawing himself up from the swamp by his own pigtail.some taint did,it is true ,cling to his garments, a certain sickly perfumed odor from the dissolute haunts of literature he had been wont to frequent.Semper aliquid baerrt. No artist can descend so deeply into the sewers with impunity. The lack of scruple demanded by the sensational novel, its lack of veil-similitude and its gross sentimentalities--these were elements that　　Balzac could never again wholly eliminate from his novels; but it was above all the glibness, the haste, the slick writing, habits contracted during the days of mass production, which Deunanenfly affcted hisstyle,　　Language is a jealous master and avenges itself inexorably on every artist who even occasionally treats it with unconcern. Balzac wakened too late to a sense of responsibility, and after he had reached maturity he would desperately go through his manuscripts, galleys,and page-proofs ten or twenty times; but it was too late to hoe out the weeds which had been allowed to take root with such mpudent lunriance. If Balzacs language and style remained irredeemably defective, it was because he had been untrue to himself in the decisive years of his development.　In the ferment of his mind the young Balzac vaguely perceived that he was degrading his true self. He never put his name to any of these works and later on, though with more audacity than success, he stabboruly disowned them. To the only intimate of his early yeats,the sister who had loyally suppoaed his youthful ambitions, he refused even to show Lberititre de Biragre, "because," as he said,　　"it is a real piece of literary cocbonnerie." He gave her a copy of Lae Lo, is on condition that she should "not lend it to a living soul, not even show it to anyone, and not talk about it, so that the copy does not go the rounds in Bayeux or anywhere else and damage my business." The word he used, commarcr, proves decisively with what complete lack of illusion Balzac regarded his writing at this time. He was bound by contract to supply so many folios to the printer, and the quicker the better; all that mattered in the calculation of his fee was quantity, and all that mattered to Balzac was the Poyment of his fee. In his impatience to start on a new tome as quickly as Possible he cared so little for the artistic problems of composition, style, unity,and originality that he made his sister the cynical vrovosal, since she as not overburdened with work at home, that she write the second volume of Le viceire des Ardennes with the help of a short synopsis　　while he dashed off the first. Hardly had he set up his factory before he was looking round for cheap hands. While acting as a "ghost" for others he was trying to enlist the services of a similar unseen collaborator for himself. Yet in the fare lucid intervals that came to him during his brutish labors he was pricked by a consdence that was not entirely atrophied:　　"Oh, my dear Laure, I bless every day the good fortune which allowed　 me to adopt this free profession, and I am convinced that I shall yet　make a good deal of money by it. But now that I am aware of my　powers, as I believe., I am indeed sorry at having to expend the flower　of my ideas on such absurdities. In my minds eye I see something　 beckoning me and if only I could be assugd as to my material situation　　I would settle down to zeal work.　　Like his Luden de Rubemprt, in whom he later depicted his own fall and eventual stir-redemption, he felt a burning sense of shame and stared with a shudder, like Lady Macbeth, at his stained hands:"My atteml~ to free myself by the bold stroke of writing novels---and what novels! Oh, Laute, how pitifully have my glorious projects col-lapsed!"　　……

媒體關注與評論

　　編者的話　　《名人名傳叢書》是一大型文化建設工程，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而已?！痹u述“追求著自己目的的人的活動”，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?！　饔浭莻髦鞒蓴〉檬е涗?。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，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意；名人為名人作傳，所以能動人心弦，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，將是中國文化建設史上的一件大事?！　　睹嗣麄鲄矔酚擅藗饔浳幕芯恐行木庉?。該中心在編輯現(xiàn)有名人名傳的同時，亦準備推出名人文集和名人研究系列，歡迎賜稿。

編輯推薦

　　《巴爾扎克傳(插圖英文本)》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上，配以精美插圖，以收圖文并茂、相得益彰之處。

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