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☆☆☆☆☆

Charles Dickens（查尔斯·狄更斯） 著

图书标签:

• 经典文学
• 维多利亚时代
• 社会批判
• 孤儿
• 成长小说
• 狄更斯
• 英国文学
• 平装本
• 小说
• 文学名著

出版社： Penguin Group USA

ISBN：9780141439747

版次：1

商品编码：19127787

包装：平装

丛书名： Classics Series

出版时间：2003-04-15

页数：608

正文语种：英文

商品尺寸：19.3x12.8x2.9cm;0.414kg

内容简介

Oliver nace y crece en un orfanato parroquial. Con nueve a?os es enviado a trabajar en una funeraria. Huye y cae en un grupo de ladronzuelos callejeros dirigidos por Fagin, un judío usurero, y unidos a un delincuente violento de nombre Sikes.

作者简介

Charles Dickens was born in 1812 near Portsmouth where his father was a clerk in the navy pay office. The family moved to London in 1823, but their fortunes were severely impaired. Dickens was sent to work in a blacking-warehouse when his father was imprisoned for debt. Both experiences deeply affected the future novelist. In 1833 he began contributing stories to newspapers and magazines, and in 1836 started the serial publication of Pickwick Papers. Thereafter, Dickens published his major novels over the course of the next twenty years, from Nicholas Nickleby to Little Dorrit. He also edited the journals Household Words and All the Year Round. Dickens died in June 1870.

　　查尔斯·狄更斯（Charles Dickens，1812～1870），1812年生于英国的朴次茅斯。父亲过着没有节制的生活，负债累累。年幼的狄更斯被迫被送进一家皮鞋油店当学徒，饱尝了艰辛。狄更斯16岁时，父亲因债务被关进监狱。从此，他们的生活更为悲惨。工业革命一方面带来了19世纪前期英国大都市的繁荣，另一方面又带来了庶民社会的极端贫困和对童工的残酷剥削。尖锐的社会矛盾和不公正的社会制度使狄更斯决心改变自己的生活。15岁时，狄更斯在一家律师事务所当抄写员并学习速记，此后，又在报社任新闻记者。在《记事晨报》任记者时，狄更斯开始发表一些具有讽刺和幽默内容的短剧，主要反映伦敦的生活，逐渐有了名气。他了解城市底层人民的生活和风土人情，这些都体现在他热情洋溢的笔端。此后，他在不同的杂志社任编辑、主编和发行人，其间发表了几十部长篇和短篇小说，主要作品有《雾都孤儿》、《圣诞颂歌》、《大卫·科波菲尔》和《远大前程》等。
　　狄更斯的作品大多取材于与自己的亲身经历或所见所闻相关联的事件。他在书中揭露了济贫院骇人听闻的生活制度，揭开了英国社会底层的可怕秘密，淋漓尽致地描写了社会的黑暗和罪恶。本书起笔便描写了主人公奥利弗生下来便成为孤儿，以及在济贫院度过的悲惨生活。后来，他被迫到殡仪馆做学徒，又因不堪忍受虐待而离家出走。孤身一人来到伦敦后，又落入了窃贼的手中。狄更斯在其作品中大量描写了黑暗的社会现实，对平民阶层寄予了深切的向情，并无情地批判了当时的社会制度。他在小说描写的现实性和人物的个性化方面成绩是突出的。他成为继莎士比亚之后，塑造作品人物数量最多的一个作家。

精彩书评

Publishers Weekly
The inimitable Martin Jarvis brings his talents to bear on Charles Dickens's classic in an audiobook that will delight listeners with its superb recreations of gritty 19th-century London. To escape Mr. Bumble and life in the workhouse, Oliver flees to London where he meets the Artful Dodger and becomes embroiled with Fagin's ragtag band of thieves. Jarvis simply dazzles: his performance captures both the humor and sorrow of the text, his narration is crisp, and his characterizations--his rendition of the terrifying district magistrate, Mr. Fang, is particularly memorable--are as varied as they are energetic, befitting, and enjoyable. (June)

目录

Contents
Introduction
Chronology of Dickens's Life and Work
Historical Context of Oliver Twist
OLIVER TWIST
Notes
Interpretive Notes
Critical Excerpts
Questions for Discussion
Suggestions for the Interested Reader

精彩书摘

Oliver Twist
CHAPTER 1
Treats of the Place where Oliver Twist was Born, and of the Circumstances attending his Birth

Among other public buildings in a certain town which for many reasons it will be prudent to refrain from mentioning, and to which I will assign no fictitious name, it boasts of one which is common to most towns, great or small, to wit, a workhouse; and in this workhouse was born, on a day and date which I need not take upon myself to repeat, inasmuch as it can be of no possible consequence to the reader, in this stage of the business at all events, the item of mortality whose name is prefixed to the head of this chapter. For a long time after he was ushered into this world of sorrow and trouble, by the parish surgeon, it remained a matter of considerable doubt whether the child would survive to bear any name at all; in which case it is somewhat more than probable that these memoirs would never have appeared, or, if they had, being comprised within a couple of pages, that they would have possessed the inestimable merit of being the most concise and faithful specimen of biography extant in the literature of any age or country. Although I am not disposed to maintain that the being born ina workhouse is in itself the most fortunate and enviable circumstance that can possibly befall a human being, I do mean to say that in this particular instance it was the best thing for Oliver Twist that could by possibility have occurred. The fact is, that there was considerable difficulty in inducing Oliver to take upon himself the office of respiration,—a troublesome practice, but one which custom has rendered necessary to our easy existence,—and for some time he lay gasping on a little flock mattress, rather unequally poised between this world and the next, the balance being decidedly in favour of the latter. Now, if during this brief period, Oliver had been surrounded by careful grandmothers, anxious aunts, experienced nurses, and doctors of profound wisdom, he would most inevitably and indubitably have been killed in no time. There being nobody by, however, but a pauper old woman, who was rendered rather misty by an unwonted allowance of beer, and a parish surgeon who did such matters by contract, Oliver and Nature fought out the point between them. The result was, that, after a few struggles, Oliver breathed, sneezed, and proceeded to advertise to the inmates of the workhouse the fact of a new burden having been imposed upon the parish, by setting up as loud a cry as could reasonably have been expected from a male infant who had not been possessed of that very useful appendage, a voice, for a much longer space of time than three minutes and a quarter.
As Oliver gave his first proof of the free and proper action of his lungs, the patchwork coverlet which was carelessly flung over the iron bedstead, rustled; the pale face of a young female was raised feebly from the pillow; and a faint voice imperfectly articulated the words, 'Let me see the child, and die.'
The surgeon had been sitting with his face turned towards the fire, giving the palms of his hands a warm and a rub alternately; but as the young woman spoke, he rose, and advancing to the bed's head, said, with more kindness than might have been expected of him—
'Oh, you must not talk about dying yet.'
'Lor bless her dear heart, no!' interposed the nurse, hastily depositing in her pocket a green glass bottle, the contents of which she had been tasting in a corner with evident satisfaction. 'Lor bless her dear heart, when she has lived as long as I have, sir, and had thirteen children of her own, and all on 'em dead except two, and them in the wurkus with me, she'll know better than to take on in that way, bless her dear heart! Think what it is to be a mother, there's a dear young lamb, do.'
Apparently this consolatory perspective of a mother's prospects failed in producing its due effect. The patient shook her head, and stretched out her hand towards the child.
The surgeon deposited it in her arms. She imprinted her cold white lips passionately on its forehead, passed her hands over her face, gazed wildly round, shuddered, fell back—and died. They chafed her breast, hands, and temples; but the blood had frozen for ever. They talked of hope and comfort. They had been strangers too long.
'It's all over, Mrs Thingummy,' said the surgeon at last.
'Ah, poor dear, so it is!' said the nurse, picking up the cork of the green bottle which had fallen out on the pillow as she stooped to take up the child. 'Poor dear!'
'You needn't mind sending up to me, if the child cries, nurse,' said the surgeon, putting on his gloves with great deliberation. 'It's very likely it will be troublesome. Give it a little gruel if it is.' He put on his hat, and, pausing by the bed-side on his way to the door, added, 'She was a good-looking girl, too; where did she come from?'
'She was brought here last night,' replied the old woman, 'by the overseer's order. She was found lying in the street;—she had walked some distance, for her shoes were worn to pieces; but where she came from, or where she was going to, nobody knows.'
The surgeon leant over the body, and raised the left hand. 'The old story,' he said, shaking his head: 'no wedding-ring, I see. Ah! Good night!'
The medical gentleman walked away to dinner; and thenurse, having once more applied herself to the green bottle, sat down on a low chair before the fire, and proceeded to dress the infant.
What an excellent example of power of dress young Oliver Twist was! Wrapped in the blanket which had hitherto formed his only covering, he might have been the child of a nobleman or a beggar;—it would have been hard for the haughtiest stranger to have fixed his station in society. But now that he was enveloped in the old calico robes, which had grown yellow in the same service, he was badged and ticketed, and fell into his place at once—a parish child—the orphan of a workhouse—the humble half-starved drudge—to be cuffed and buffeted through the world,—despised by all, and pitied by none.
Oliver cried lustily. If he could have known that he was an orphan, left to the tender mercies of churchwardens and overseers, perhaps he would have cried the louder.
All new material is copyright ? 1998 by Tom Doherty Associates, LLC.

前言/序言

《沉默的羔羊》：深入人性幽暗的迷宫 作者：托马斯·哈里斯 出版社：西蒙与舒斯特 (Simon & Schuster) 装帧：精装/平装 类型：心理惊悚/犯罪小说 --- 当智慧被用于最深层的恶意，真相便成为一场致命的游戏。 《沉默的羔羊》（The Silence of the Lambs）不仅仅是一部惊悚小说，它是一次对人类心智深渊的无畏探索，对善与恶界限的模糊描绘。托马斯·哈里斯以其冷峻、精准的笔触，构建了一个令人窒息的叙事迷宫，将读者抛入一场与时间赛跑的狩猎之中，而猎物，不仅是逍遥法外的连环杀手，更是主角内心深处无法言喻的恐惧与创伤。 故事的开端：联邦调查局的绝望与一线希望 故事的核心围绕着克拉丽丝·史达琳（Clarice Starling）展开。她并非天生的英雄，而是一名雄心勃勃、但经验尚浅的联邦调查局（FBI）实习生。在巴尔的摩的学院里，她接受了一项近乎不可能完成的任务：协助追捕一个代号“野牛比尔”（Buffalo Bill）的残忍杀手。此人专门绑架年轻女性，残忍地剥下她们的皮肤，其作案手法令人发指。 传统的侧写（Profiling）技术已经失效，时间紧迫，受害者人数不断增加。为了获得线索，史达琳的导师，杰克·克劳福德，将她引向了一个极度危险但思维敏锐的资源——汉尼拔·莱克特博士（Dr. Hannibal Lecter）。 莱克特博士：魅力的恐怖与智性的陷阱 汉尼拔·莱克特，前顶尖的精神病学家，现为一名被囚禁在高级精神病监狱中的食人魔。他拥有无与伦比的洞察力、高雅的品味和一种令人毛骨悚然的魅力。莱克特对普通囚犯不屑一顾，但他对史达琳——一个带着显而易见的乡村口音和内心深处创伤的年轻女性——产生了兴趣。 莱克特拒绝直接提供信息。他提出了一个交易：他将以谜语和心理暗示的方式引导史达琳，交换条件是她必须向他坦白自己“沉默的羔羊”的童年经历——那些挥之不去的噩梦和驱动她追求正义的原始动力。 这种交易是小说中最具张力的部分。每一次会面，都像是一场高风险的心理博弈。史达琳必须在“危险的诱惑”与“专业的需求”之间找到平衡。莱克特精准地剖析她的恐惧、她的阶级焦虑以及她对成功的渴望，他的话语如同手术刀般精准而冷酷，剥开她的防御。读者在见证史达琳成长的同时，也被莱克特那令人着迷的邪恶所震撼。 猎杀“野牛比尔”：紧迫的倒计时 与此同时，“野牛比尔”的最新受害者已经出现，情况比预想的更糟。史达琳必须迅速将莱克特的洞察力转化为实际行动。她不仅要面对外在的罪犯，还要应对联邦机构内部的性别歧视、政治压力以及自身精神的重负。 小说对侧写工作的描绘极为细致真实。史达琳穿梭于田纳西州和华盛顿特区的档案室、停尸房以及乡村小镇的阴暗角落。她运用莱克特提供的碎片化信息，结合自己的直觉和训练，试图拼凑出凶手的画像——一个渴望“蜕变”的扭曲灵魂。 主题的深度：创伤、性别与身份的构建 《沉默的羔羊》的伟大之处在于它对核心主题的深刻挖掘： 1. 创伤的驱动力： 史达琳的坚韧源于她童年对无助和死亡的体验。她追捕杀手，本质上是试图平息内心深处那些被屠宰的羔羊的哀嚎。小说细腻地描绘了女性在充满男性主导权力的环境（如FBI）中，如何利用自身的敏锐和脆弱来争取生存和尊重。 2. 智力与兽性的共存： 莱克特博士代表了知识分子堕落到极致的可能。他优雅地讨论艺术、古典音乐和哲学，同时却策划着最原始的暴力行为。他既是史达琳的导师，也是她未来可能堕落的黑暗镜像。这种亦师亦友、亦正亦邪的关系，使得角色的复杂性达到了顶点。 3. 身份的伪装与蜕变： “野牛比尔”痴迷于制作“女人皮”的服装，这象征着对身份的极端渴望与病态的占有欲。这种“蜕变”的渴望与史达琳在FBI中努力“证明自己”以获得身份的挣扎形成了鲜明对比。 结局的震撼与回响 当史达琳最终深入“野牛比尔”的巢穴时，故事达到了白热化的顶点。在漆黑的地下室里，她发现自己完全孤立无援，与一个准备好杀戮的凶手进行着原始的搏斗。这一幕是对“独行侠”英雄叙事的经典致敬，但史达琳的胜利，是基于智力、勇气，以及她对自身痛苦的接纳。 最终，当任务完成后，史达琳试图回归正常生活。然而，莱克特博士的最后一次越狱与来电，像一把悬在空中的达摩克利斯之剑，永远地改变了她的未来。他不再是遥远的囚犯，而是潜伏在世界上的一个自由的、无法预测的威胁。 《沉默的羔羊》是一部节奏完美、心理刻画入木三分的杰作。它迫使读者直视黑暗，并思考：究竟是什么，让我们成为了我们现在的样子？在正义的追寻中，我们又愿意付出何种代价来让那些羔羊的哀鸣永远停止？它留给读者的，是关于人性边缘地带永恒的沉思。

评分☆☆☆☆☆

这本厚厚的精装书，拿到手里就感觉沉甸甸的，光是翻阅目录和前言，就足以让人对作者的宏大叙事野心窥见一斑。初读之下，我立刻被带入了一个完全陌生的世界，那种维多利亚时代伦敦街头的气息，那种空气中弥漫的潮湿与煤烟味，仿佛都能通过文字真切地感知到。故事的开篇处理得极其巧妙，没有采用传统的线性叙事，而是通过一系列看似零散却又暗藏玄机的片段，逐步勾勒出主人公错综复杂的身世背景。作者对于社会阶层的描摹达到了令人咋舌的细致程度，无论是上流社会的虚伪做作，还是底层流浪儿的挣扎求生，都被刻画得入木三分。尤其是对那些边缘人物的心理活动和日常琐事的捕捉，展现出一种近乎残酷的真实感，让人在赞叹其文学功底的同时，也不禁为书中人物的命运捏一把汗。书中对于环境的渲染，几乎达到了与人物命运同等重要的地位，那雾气缭绕、灯火昏黄的街道，俨然成了角色本身的一部分，这种环境烘托手法，极大地增强了作品的悲剧氛围和宿命感。这本书绝非轻松的读物，它更像是一面镜子，映照出人类社会中那些永恒的阴暗角落与微弱的光芒，值得反复咀嚼。

评分☆☆☆☆☆

坦白说，这本书的篇幅确实令人望而生畏，我花了比预期更长的时间才得以通读，但每翻过一页，都觉得时间花得值。吸引我的，首先是一种结构上的精妙布局。作者仿佛是一位技艺高超的建筑师，将无数看似松散的线索，最终汇聚成一个逻辑严密、结构宏伟的整体。书中埋设的伏笔回收得极其自然流畅，没有丝毫的生硬感或刻意为之的痕迹，这显示出作者非凡的掌控力。阅读时，我脑中不断浮现出各种关于角色命运的猜想，然而，当真相大白时，那种恍然大悟的感觉，既在意料之外，又在情理之中，实在令人拍案叫绝。此外，书中对于法律、教育制度，乃至慈善机构运作的细节描写，都带有强烈的批判色彩，但绝非空洞的说教，而是通过具体的人物遭遇来展现制度的弊端，更具说服力和感染力。这种将社会议题融入个体命运的叙事方式，使得这本书超越了一般的通俗小说范畴，具备了更深远的社会学价值。

评分☆☆☆☆☆

不得不承认，初次接触这类经典文学作品时，我曾担心其语言风格会显得晦涩难懂，但事实证明我的顾虑完全是多余的。作者的文字功底深厚，遣词造句考究，但绝不故作高深，反而有一种独特的韵律感和画面感。读起来，仿佛能清晰地“看”到每一个场景的细节，每一个角色的面部表情。尤其是那些描写群体场景的段落，例如集市的喧嚣、监狱的压抑，作者运用了一种如同全景摄像机般的叙事视角，将场景的立体感和动态感展现得淋漓尽致。这种叙事技巧的成熟，极大地提升了阅读的愉悦度，即使面对沉重的题材，阅读过程也保持了高度的流畅性。这本书成功地将一个特定历史时期的风貌，以一种既史诗又贴近个体体验的方式呈现出来，它教会了我如何用更审慎、更富有同理心的目光去审视那些我们习以为常的社会结构。这是一次难忘的阅读旅程，收获颇丰。

评分☆☆☆☆☆

我向来对那种宏大叙事中穿插的细腻情感描写情有独钟，而这本书在这方面做得近乎完美。它并非那种一味强调苦难的“苦情剧”，相反，在最绝望的时刻，总能让人瞥见人性中闪光的部分。我尤其欣赏作者在塑造配角时的手法，每一个人物，无论戏份多少，都有其独立而丰满的灵魂。比如那位表面上看似冷漠，实则内心充满挣扎的角色，他的每一次犹豫、每一次妥协，都清晰地展示了在特定社会压力下个体意志的扭曲与抗争。阅读过程中，我时常会停下来，不是因为情节进展缓慢，而是因为某个精妙的对话，或者某段突如其来的哲思，让我不得不深思良久。作者的语言风格在不同场合切换自如，时而如同严谨的法庭记录般冷静客观，时而又化身为充满激情的布道者，对不公义进行声讨。这种语言上的多变性，极大地丰富了阅读体验，使得原本厚重的文本变得轻盈且富有张力。对于那些追求文学深度而非仅仅追求情节刺激的读者来说，这本书无疑是一份珍贵的礼物，它提供的远不止一个故事，更是一种对特定历史时期社会思潮的深刻洞察。

评分☆☆☆☆☆

这本书的节奏把握得极其老道，高潮迭起，但绝非那种廉价的戏剧化冲突堆砌。它更像是一部精心编排的交响乐，有缓慢的铺陈，有突如其来的强音，也有悠远的回响。我发现自己完全沉浸在了那个由文字构筑的残酷世界里，对书中人物的喜怒哀乐感同身受。最让我动容的是作者对“希望”这个主题的处理。在那个黑暗的背景下，希望显得如此渺茫，却又如此顽固地存在于某些角色的心中，成为了支撑他们走下去的唯一力量。书中对这种微弱光芒的捕捉和描绘，极其细腻和真挚，没有将人物塑造成不食人间烟火的英雄，而是让他们在挣扎中保有了一丝人性的光辉。这种真实感，使得整部作品的基调虽然偏向沉重，却又不会让人完全陷入绝望。对于喜欢探究人性复杂性和道德灰色地带的读者而言，这本书提供了绝佳的文本样本，值得反复品味其中蕴含的复杂人性博弈。