莫泊桑中短篇小说选（英汉双语） pdf epub mobi txt 电子书 下载 2025

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☆☆☆☆☆

[法] 莫泊桑 著

图书标签:

• 莫泊桑
• 短篇小说
• 法国文学
• 经典文学
• 双语阅读
• 英汉对照
• 文学
• 小说
• 外国文学
• 名著

出版社： 北京工业大学出版社

ISBN：9787563952762

版次：1

商品编码：12129031

包装：平装

开本：16开

出版时间：2017-07-01

用纸：纯质纸

页数：294

字数：419000

正文语种：中文，英文

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★荟萃“短篇小说之王”经典作品。
★初高中语文新课标必读名著，展现法语魅力的典范。
★全面反映十九世纪后半期法国社会风貌和人情世态。充满戏剧张力的故事，行云流水的文笔，精湛的艺术表现手法，定让您手不释卷！

内容简介

《莫泊桑中短篇小说选》是莫泊桑是在小说创作上的杰作成就。莫泊桑是世界上数一数二的短篇小说大师，本书精选了《羊脂球》、《项链》、《春天》等经典名篇，集中体现了莫泊桑中短篇小说的取材广泛性，涵盖了当时法国社会生活的方方面面。他经常揭露和谴责统治阶级的腐朽没落，同情和赞扬下层社会的劳动人民。

作者简介

莫泊桑，全名是居伊·德·莫泊桑(Guy de Maupassant 1850--1893)，19世纪后半期法国优秀的批判现实主义作家曾拜法国著名作家福楼拜为师。一生创作了6部长篇小说和350多篇中短篇小说他的文学成就以短篇小说为突出是与契诃夫和欧?亨利并列的世界三大短篇小说巨匠之一对后世产生极大影响。译者：青闰（1965～），河南武陟人。本名宋金柱，常用笔名听泉、宣碧。现供职于焦作大学翻译中心。擅长双语互译。迄今已在外文出版社、译林出版社、上海交通大学出版社、东华大学出版社、大连理工大学出版社、中国宇航出版社等出版双语著作多部。另在《世界文学》《译林》《当代外国文学》《英语世界》等重要报刊发表译文和论文多篇。他翻译的原则是：“以雅俗共赏为基点，注重选材的广度、深度和科学性，整体把握字词句段篇，力求做到形声色味神的完美统一。”

精彩书评

一辈子读过经典和没读过经典的人生整个都不一样，我不敢劝你们读一辈子的经典，但是希望你们至少认认真真读几本经典。
——马　原

这些书之所以被称为经典，乃是它可以chaoyue时间、年龄、语言和族群而成为人类心灵成长的营养。商务印书馆是信誉极好的出版机构，相信这套书能带给读者莫大的阅读惊喜。
——方　方

对于学生们来说，应该是用两只眼睛读书，一只眼睛看书上的文字，另一只眼睛看文字的背后。这样才会在“经典”引导下，建立自己的思想。
——北　村

当一个人在少年时期就开始阅读经典作品，那么他的少年就会被经典作品中zui为真实的思想和情感带走，当他成年以后就会发现人类共有的智慧和灵魂在自己身上得到了延续。
——余　华 著名评

目录

Simon’s Papa / 西蒙的爸爸 1
My Uncle Jules / 我的叔叔于勒 12
Father Milon / 米隆老爹 22
Two Friends / 两个朋友 31
The Piece of String / 一截细绳 41
On the River / 在河上 50
The Prisoners / 俘虏 58
The Wardrobe / 衣橱 72
The Umbrella / 雨伞 81
In the Wood / 树林里 92
Happiness / 幸福 98
The Diamond Necklace / 钻石项链 106
A Duel / 一场决斗 117
A Stroll / 散步 124
The Blind Man / 盲人 132
The Relic / 圣骨 137
The Wolf / 狼 144
The Devil / 魔鬼 152
Mademoiselle Fifi / 菲菲小姐 161
That Costly Ride / 骑马的代价 176
Clair de Lune / 月光 186
The Little Cask / 小酒桶 193
The False Gems / 珠宝 201
A Coup d’Etat / 一次政变 210
Mademoiselle Pearl / 珍珠小姐 224
Boule de Suif / 羊脂球 244

精彩书摘

Noon had just struck. The school door opened and the youngsters darted out, jostling each other in their haste to get out quickly. But instead of promptly dispersing and going home to dinner as usual, they stopped a few paces off, broke up into knots, and began whispering.
The fact was that, that morning, Simon, the son of La Blanchotte, had, for the first time, attended school.
They had all of them in their families heard talk of La Blanchotte; and, although in public she was welcome enough, the mothers among themselves treated her with a somewhat disdainful compassion, which the children had imitated without in the least knowing why.
As for Simon himself, they did not know him, for he never went out, and did not run about with them in the streets of the village, or along the banks of the river. And they did not care for him; so it was with a certain delight, mingled with considerable astonishment, that they met and repeated to each other what had been said by a lad of fourteen or fifteen who appeared to know all about it, so sagaciously did he wink. “You know—Simon—well, he has no papa.”
Just then La Blanchotte’s son appeared in the doorway of the school. He was seven or eight years old, rather pale, very neat, with a timid and almost awkward manner.
He was starting home to his mother’s house when the groups of his schoolmates, whispering and watching him with the mischievous and heartless eyes of children bent upon playing a nasty trick, gradually closed in around him and ended by surrounding him altogether. There he stood in their midst, surprised and embarrassed, not understanding what they were going to do with him. But the lad who had brought the news, puffed up with the success he had met with already, demanded: “What is your name?”
He answered: “Simon.”
“Simon what?” retorted the other.
The child, altogether bewildered, repeated: “Simon.”
The lad shouted at him: “One is named Simon something—that is not a name—Simon indeed.”
The child, on the brink of tears, replied for the third time: “My name is Simon.”
The urchins began to laugh. The triumphant tormentor cried: “You can see plainly that he has no papa.”
A deep silence ensued. The children were dumfounded by this extraordinary, impossible, monstrous thing—a boy who had not a papa; they looked upon him as a phenomenon, an unnatural being, and they felt that hitherto inexplicable contempt of their mothers for La Blanchotte growing upon them.
As for Simon, he had leaned against a tree to avoid falling, and he remained as if prostrated by an irreparable disaster. He sought to explain, but could think of nothing to say to refute this horrible charge that he had no papa. At last he shouted at them quite recklessly: “Yes, I have one.”
“Where is he?” demanded the boy.
Simon was silent, he did not know. The children roared, tremendously excited; and those country boys, little more than animals, experienced that cruel craving which prompts the fowls of a farmyard to destroy one of their number as soon as it is wounded. Simon suddenly espied a little neighbor, the son of a widow, whom he had seen, as he himself was to be seen, always alone with his mother.
“And no more have you,” he said; “no more have you a papa.”
“Yes,” replied the other, “I have one.”
“Where is he?” rejoined Simon.
“He is dead,” declared the brat, with superb dignity; “he is in the cemetery, is my papa.”
A murmur of approval rose among the little wretches as if this fact of possessing a papa dead in a cemetery had caused their comrade to grow big enough to crush the other one who had no papa at all. And these boys, whose fathers were for the most part bad men, drunkards, thieves, and who beat their wives, jostled each other to press closer and closer, as though they, the legitimate ones, would smother by their pressure one who was illegitimate.
The boy who chanced to be next Simon suddenly put his tongue out at him with a mocking air and shouted at him: “No papa! No papa!”
Simon seized him by the hair with both hands and set to work to disable his legs with kicks, while he bit his cheek ferociously. A tremendous struggle ensued between the two combatants, and Simon found himself beaten, torn, bruised, rolled on the ground in the midst of the ring of applauding schoolboys. As he arose, mechanically brushing with his hand his little blouse all covered with dust, some one shouted at him: “Go and tell your papa.”
Then he felt a great sinking at his heart. They were stronger than he was, they had beaten him, and he had no answer to give them, for he knew well that it was true that he had no papa. Full of pride, he attempted for some moments to struggle against the tears which were choking him. He had a feeling of suffocation, and then without any sound he commenced to weep, with great shaking sobs.
A ferocious joy broke out among his enemies, and, with one accord, just like savages in their fearful festivals, they took each other by the hand and danced round him in a circle, repeating as a refrain: “No papa! No papa!”
But suddenly Simon ceased sobbing. He became ferocious. There were stones under his feet; he picked them up and with all his strength hurled them at his tormentors. Two or three were struck and rushed off yelling, and so formidable did he appear that the rest became panic-stricken. Cowards, as the mob always is in presence of an exasperated man, they broke up and fled.
Left alone, the little fellow without a father set off running toward the fields, for a recollection had been awakened in him which determined his soul to a great resolve. He made up his mind to drown himself in the river.
He remembered, in fact, that eight days before, a poor devil who begged for his livelihood had thrown himself into the water because he had no more money. Simon had been there when they fished him out again; and the wretched man, who usually seemed to him so miserable, and ugly, had then struck him as being so peaceful with his pale cheeks, his long drenched beard, and his open eyes full of calm. The bystanders had said: “He is dead.” And some one had said: “He is quite happy now.”
……

经典文学的永恒回响：世界文学名著精选 本卷精选收录了二十世纪初至中叶，几位在世界文学史上占据里程碑地位的大师级作家的中短篇小说杰作。这些作品不仅以其深刻的思想内涵和精湛的叙事技巧著称，更以其对人类复杂情感与社会百态的敏锐捕捉，跨越了语言和时代的界限，成为全球读者阅读与研究的焦点。 收录篇目侧重于探寻个体在宏大历史背景下的命运浮沉，以及在社会结构变迁中所面临的道德困境与精神挣扎。 --- 第一部分：现代主义的先声与意识流的探索 本部分聚焦于那些在叙事结构和心理刻画上进行大胆革新的作家群体。他们试图打破传统线性叙事的束缚，深入挖掘人物潜意识的流动与碎片化的内心世界。 《时间的碎片与记忆的迷宫》——（一位英国意识流先驱的作品选集） 本辑精选了这位“流派巨匠”最为人称道的七篇短篇小说。这些作品并非以情节的跌宕起伏取胜，而是以其对“时间”和“瞬间感知”的极致描摹而震撼文坛。 主题聚焦： 小说深入剖析了日常琐事中蕴含的巨大心理张力。作者擅长捕捉人物在进行看似平静的活动（如散步、做饭、参加宴会）时，其内心思绪是如何以非逻辑、多层次的方式奔涌而出。对“内心独白”的运用达到了炉火纯青的地步，使读者得以直接潜入人物意识的底层结构。 叙事技巧： 摒弃了传统的时间顺序，通过敏锐的感官细节（气味、光影、色彩）触发大量的闪回与预感。例如，其中一篇关于一位老妇人回忆其青年时代舞会的小说，用不到三千字的篇幅，构建了一个跨越五十年的情感图谱，核心在于对“错过”与“遗憾”的哲学探讨。 艺术成就： 这些文本要求读者具备高度的参与性，它们挑战了“什么才是故事”的传统定义，将焦点从外部事件转移到内心体验的真实性上，对后世的文学创作产生了深远的影响。 --- 第二部分：现实主义的坚守与社会批判的锋芒 本部分的作品延续了对社会现实的深刻洞察，但其表现手法已不再拘泥于古典的写实主义，而是融入了象征、讽刺乃至荒诞的元素，展现了对工业化、城市化进程中人性的反思。 《冷峻的目光：都市边缘的群像》——（两位东欧作家的对位精选） 此部分汇集了两位风格迥异但批判力度相当的作家作品，他们以锐利、近乎残酷的笔触，描绘了在快速变动的社会边缘挣扎的小人物。 选篇一：关于“官僚主义的异化” 内容概述： 重点收录了三篇描写中小型城市中，普通职员在繁复且毫无意义的行政流程中逐渐被“抽空灵魂”的故事。其中最著名的篇目《最后一份批文》，讲述了一个抄写员为了获得一份无关紧要的休假许可，与系统进行了长达数月的徒劳斗争。 侧重点： 作者通过精准的对话和对文书细节的刻画，揭示了制度的非人化倾向。人物的语言逐渐退化为官方术语的机械重复，个体情感被彻底压抑。讽刺意味极其浓厚，展现了现代社会中权力结构对个体的隐形钳制。 选篇二：关于“贫困与尊严的悖论” 内容概述： 聚焦于城市底层劳工群体，展现了他们在极端物质匮乏下，如何艰难地维护着最后的精神自持。其中一篇小说讲述了一位失业的钟表匠，宁愿饿死也不愿变卖他那把象征着手艺与尊严的工具箱的故事。 侧重点： 这组作品没有将底层人物浪漫化，而是以一种近乎冷酷的客观视角，展现了生存的残酷。作家对细节的关注，如破旧衣物的纹理、廉价食物的味道，构成了强烈的感官体验，使读者直面生存的重量。 --- 第三部分：存在主义的追问与人性的终极探索 本卷的最后部分，将视野投向了对人类存在的本质、自由意志的边界以及“意义”的虚无性的深刻反思。 《荒原上的回声：关于选择与虚无的寓言》——（一位战后作家的短篇哲学之旅） 这位作家以其简洁、精准、充满寓言色彩的笔触闻名。其短篇小说常常设置在简化的、几乎是舞台化的场景中，以探讨宏大的哲学命题。 核心主题： 集中探讨了“责任的重负”与“选择的徒劳”。在许多故事中，人物被置于一个必须做出重大抉择的瞬间，但无论做出何种选择，最终都导向了某种程度的失落或困惑。 叙事风格： 语言克制、精准，几乎没有多余的形容词。作者擅长使用象征物（如一口深井、一扇紧闭的门、一个无解的谜题）来承载人物的内心焦虑。例如，一篇小说中，主人公终其一生都在等待一个从未被发出的信号，这一等待本身构成了他全部的生命意义。 象征意义： 这些作品超越了具体的时代背景，直接触及了人类面对未知与死亡时的普遍困境。它们强迫读者审视自我存在的合法性，以及在缺乏既定道德框架时，如何定义“做人”的含义。 --- 本选集汇集了现代文学史上不同流派的精英之作，旨在提供一个多维度的视角，去审视二十世纪人类精神的复杂景观。这些故事的价值，不在于提供慰藉，而在于其无畏地揭示了生活本身的复杂性与多重性。

评分☆☆☆☆☆

我发现，这本书的装帧和排版也相当考究。在这个充斥着快餐文化阅读的时代，能拿到一本实体书，尤其是这种精心校对的双语版本，本身就是一种享受。纸张的质感、字体的大小和行距的舒适度，都体现了出版方对读者的尊重。当我沉浸在那些关于诺曼底乡村生活、或是巴黎上流社会阴暗面的描述中时，良好的阅读载体极大地降低了视觉疲劳，让我的注意力能完全集中在文字本身。它不仅仅是知识的载体，更是一种可以被珍藏和反复翻阅的物品。购买和拥有这样一本经典选集，对我而言，更像是在精神世界里置办了一处可以随时回归的安静角落，在那里，我可以与最伟大的心灵进行一场跨越时空的对话，感受那份经久不衰的文学魅力。

评分☆☆☆☆☆

这本《莫泊桑中短篇小说选（英汉双语）》实在是让人欲罢不能，读完之后我的内心久久不能平静。我是一个对经典文学情有独钟的读者，尤其是那些能够深刻揭示人性复杂面的作品。莫泊桑的文字，那种不动声色的冷峻和精准，就像一把锋利的手术刀，毫不留情地剖开了十九世纪末法国社会的百态。我特别欣赏他那种对细节的捕捉能力，每一个场景的描绘，每一个人物的动作，都充满了生活的质感，让人仿佛身临其境。比如他笔下的那些小人物，那些在社会底层挣扎、在虚荣与欲望中沉浮的个体，他们的悲剧命运，读来令人唏嘘。那种不加粉饰的真实感，远比那些宏大的叙事更具有震撼力。每一次翻开这本书，我都像是进行了一次深刻的自我审视，反思着人性中那些难以启齿的弱点。这本书不仅仅是文学作品，更是一部洞察人心的社会学报告，值得反复咀嚼。

评分☆☆☆☆☆

这本书里那些关于爱情与背叛，尊严与屈辱的故事，像一团团挥之不去的阴影，紧紧抓住我的心神。我尤其被其中几篇关于女性命运的作品所触动。莫泊桑毫不留情地揭露了父权社会对女性的规训和压迫，那些看似光鲜亮丽的表象下，隐藏着多少无声的呐喊和绝望的妥协。我常常在想，即便时隔百年，我们是否真的走出了那种被社会期待所定义的角色桎梏？这种跨越时代的共鸣，让阅读体验变得沉重而有价值。他笔下的人物，没有绝对的好人与坏人，每个人都有其生存的逻辑和不得已的苦衷。这种复杂性，避免了脸谱化的说教，而是用一种近乎残忍的客观，让我们直面人性的灰色地带。每一次合上书卷，我都感到一种清醒的痛苦——那是对世界认识加深后的必然代价。

评分☆☆☆☆☆

作为一名文学爱好者，我经常会对比不同时代、不同地域作家的叙事风格。与俄国作家的宏大叙事和对灵魂拷问不同，莫泊桑的笔触是那样简洁、紧凑，直击要害。他更像一个冷眼旁观的记录者，没有过多的抒情和议论，一切都通过情节的推进和人物的对话自然流淌出来。这种“零度写作”的倾向，使得故事的张力更加强大，每一个转折都显得那么必然且令人心悸。我甚至觉得，他的短篇小说结构精巧得如同一个完美的机械装置，每一个齿轮都咬合得天衣无缝，最终导向那个无可逃避的结局。这种对形式的极致追求，使得这本书在可读性之余，更具备了极高的艺术典范价值。对于想学习如何讲好一个故事的写作者来说，这本书简直是无价的教科书。

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我对这类双语对照读物的偏爱，很大程度上是因为它们提供了跨越语言障碍的直接体验。阅读《莫泊桑中短篇小说选》的过程中，我发现对照阅读的优势是无可替代的。当遇到一些中文翻译中可能略显平淡的表达时，立刻去看原文，那种语言的张力和韵味便会扑面而来。莫泊桑的法语原文是如此凝练和富有音乐性，即便是初学者也能感受到那种文字的节奏感。这种并行的阅读方式，极大地提升了我的阅读效率和理解深度。我不再满足于仅仅知道故事的大意，而是开始关注词语的选择，句式的构造，以及作者是如何通过特定的语言结构来营造氛围的。它让我体会到，好的翻译固然重要，但直接面对原著的挑战与乐趣，才是真正将一位作家的精髓吸纳进自己知识体系的关键一步。这本书的设计非常贴心，为不同水平的读者都搭建了一个绝佳的学习和欣赏平台。

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我为什么喜欢在京东买东西，因为今天买明天就可以送到。我为什么每个商品的评价都一样，因为在京东买的东西太多太多了，导致积累了很多未评价的订单，所以我统一用段话作为评价内容。京东购物这么久，有买到很好的产品。

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挺好的，挺好的，挺好的，挺好的，挺好的，挺好的，挺好的，挺好的，挺好的，挺好的，挺好的，挺好的，

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99元10本，房龙的宽容，依稀只记得初中的课本曾经有过节选，，放着以后偶尔有空翻翻也好啊?

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第二次在京东上买书，书看着质量很好，买书充实一下自己，给自己找些快乐。快递小哥辛苦。

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物流很快，书的包装也塑封的很好，就像是新书，不错?

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美国作家房龙著，英汉双语，有塑封，值得推荐。

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书籍是人类进步的阶梯，其实，读书就是将人类浓缩几千年的科技、文化快速习得的最佳方式，读书能够让你在极短的时间内，掌握大量的科学文化知识，摆脱愚昧和迷信，你不再是一个空白的人，而是通过读书赋予了自己丰富的知识色彩。

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99元10本的活动加上神券还是挺给力的，京东棒棒哒。

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经常在京东上买书，已经成为一种习惯了，喜欢它物流快，书也是正版的，售后服务也不错，而且还经常有优惠，支持京东