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☆☆☆☆☆

D. H. Lawrence 著

圖書標籤:

• D
• H
• 勞倫斯
• 英國文學
• 現代主義
• 愛情
• 傢庭
• 成長
• 小說
• 經典文學
• 心理小說
• 20世紀文學

齣版社： Knopf Doubleday Publishing Group

ISBN：9780679405726

商品編碼：19518700

包裝：精裝

叢書名： Everyman's Library Classics & Contemporary Classics

齣版時間：1991-12-31

頁數：432

正文語種：英文

內容簡介

(Book Jacket Status： Jacketed)

Introduction by David Ellis

The struggle for power at the heart of a family in conflict， the mysteries of sexual initiation， and the pain of irretrievable loss are the universal motifs with which D. H. Lawrence fashions one of the world’s most original autobiographical novels.

Gertrude Morel is a refined woman who married beneath her and has come to loathe her brutal， working-class husband. She focuses her passion instead on her two sons， who return her love and despise their father. Trouble begins when Paul Morel， a budding artist， falls in love with a young woman who seems capable of rivaling his mother for possession of his soul. In the ensuing battle， he finds his path to adulthood tragically impeded by the enduring power of his mother’s grasp. Published on the eve of World War I， SONS AND LOVERS confirmed Lawrence’s genius and inaugurated the controversy over his explicit writing about sexuality and human relationships that would follow him to the end of his career.

作者簡介

D. H. Lawrence was born on September 11, 1885, in Eastwood, Nottinghamshire, England. His father was a coal miner, his mother a former lace worker and unsuccessful haberdasher. He began school just
before the age of four, but respiratory illness and a weak constitution forced him to remain home intermittently. Two months before his sixteenth birthday, he went to work as a clerk in a badly ventilated factory
that made medical supplies, and eventually contracted pneumonia. After a long convalescence, he got a job as a student teacher, but privately he resolved to become a poet. He began writing seriously in 1906
and entered University College, Nottingham, to earn his teacher's certificate. Two years later he started teaching elementary school full-time. He published his first poems in the English Review in 1909. When
he contracted pneumonia a second time, he gave up teaching.

His first two novels, The White Peacock and The Trespasser, were published in 1911 and 1912. About three weeks after the publication of The Trespasser, he left England with Frieda Weekley, née von
Richthofen, the German wife of Ernest Weekley, a British linguist who had been his French and German instructor at University College. He wrote the final version of his autobiographical novel Sons and
Lovers (1913) - begun when his mother was dying of cancer in 1910 - during his year-long courtship of Frieda in Germany and Italy. Sons and Lovers was immediately recognized as the first great modern
restatement of the Oedipal drama, but, like most of Lawrence's novels during his lifetime, sold poorly. Lawrence and Frieda married in London in July 1914, immediately after Frieda's divorce became final;
they lived peripatetically and in relative poverty.

They spent World War I in England, a country they both essentially disliked, and endured a series of clumsy surveillance and harassment campaigns by local police because of her nationality (several of her
relatives were diplomats, statesmen, and politicians, and she was a cousin of Manfred von Richthofen, the "Red Baron") and his apparent lack of patriotism (among other charges, The Prussian Officer, a
collection of stories, published in November 1914, several months after Great Britain entered the war, was considered politically and morally offensive by conservative booksellers). Exempt from active service
because of his health, Lawrence wrote The Rainbow and Women in Love. The former was seized and burned by the police for indecency in November 1915, two months after publication; Lawrence was
unable to find a publisher for the latter until six years later. Composition of these two novels coincided with bouts of erratic behavior in Lawrence that bordered on mental instability, sexual confusion and
experimentation that threatened to undermine his marriage, and endless health reversals, including a diagnosis of tuberculosis. Twilight in Italy, a collection of acerbic travel essays believed by some to show a
sympathy for fascism that became more explicit in, for example, his novel The Plumed Serpent (1926), was published in 1916. He recorded the vicissitudes of his marriage in an autobiographical poem cycle,
Look! We Have Come Through (1917).

The Lawrences departed for Europe in late 1919 and spent most of the next two years in Italy and Germany. The Lost Girl, a novel, was published in 1920 and received the James Tait Black Memorial Prize
the following year, which also saw the publication of Movements in European History, a text for schoolchildren; Psychoanalysis and the Unconscious, an anti-Freudian tract; Tortoises, a collection of
poems; Sea and Sardinia, a travel book; and, belatedly, Women in Love. Early in 1922 he and Frieda went around the world by boat. They visited Ceylon, lived in Australia for a month and a half, and in the
summer sailed to America, where they settled in New Mexico. Aaron's Rod, a novel; Fantasia of the Unconscious, a sequel to Psychoanalysis and the Unconscious; and England, My England, a collection
of stories, were published that year. In the spring of 1923, after moving to Mexico, he and Frieda separated temporarily. He toured the western United States and briefly returned to Mexico; she moved to
London. Kangaroo, his novel of Australia, and Birds, Beasts, and Flowers, a collection of poems, were published in the fall. He reunited with Frieda in the winter. They went to New Mexico again in the
spring of 1924; he suffered bouts of influenza, malaria, and typhoid fever the next year. The Lawrences eventually resettled in Italy in 1926.

He began writing his last novel, Lady Chatterley's Lover, in 1926. It was published two years later and banned in England and the United States as pornographic. Lawrence was an avid amateur painter, and a
selection of his paintings - grossly rendered, full-figured representational nudes - was exhibited in London in 1929. The show was raided on July 5 by the police, who removed thirteen of the canvases.
Lawrence coincidentally suffered a violent tubercular hemorrhage in Italy the same day. He went to Bavaria to undergo a cure - it was unsuccessful - and in 1930 entered a sanatorium in Vence, France, where
treatment similarly failed. He died in a villa in Vence on the night of March 2, a half year short of his forty-fifth birthday, and was buried in a local cemetery. His body was eventually disinterred and cremated,
and his ashes transported to Frieda Lawrence's ranch outside Taos, New Mexico. In addition to numerous plays, collections of poetry, and other, lesser-known works published during his lifetime, his novels
The Virgin and the Gypsy and Mr. Noon were published posthumously.


From the Trade Paperback edition.,,

精彩書評

The Modern Library of the World's Best Books

"No other writer with his imaginative standing has in our time written books that are so open to life."

-- Alfred Kazin

"There is no novel in english literature which comes so close to the skin of life of working class people， for it records their feelings in their own terms."

-- V. S. Pritchett

書名：《玫瑰與荊棘：維多利亞時代的女性覺醒與傢庭的束縛》 作者：伊芙琳·霍爾姆斯 齣版社：宏偉世紀齣版社 齣版日期：2023年鞦季 --- 內容簡介 《玫瑰與荊棘》是一部深刻、細膩且極具時代洞察力的曆史小說，它將讀者帶迴瞭19世紀末至20世紀初的英格蘭，一個錶麵上恪守禮儀與體麵，內裏卻暗流湧動的維多利亞時代晚期。小說以三代女性的命運為主綫，描繪瞭在嚴格的社會結構、壓抑的情感錶達以及對“完美女性”的苛刻要求下，個體如何掙紮求存，追求自我價值與情感自由的艱難曆程。 故事的核心，圍繞著英國南方一個中産階級傢庭——班尼特傢族——展開。這個傢庭的興衰，恰如一麵鏡子，摺射齣整個時代的精神睏境。 第一代：艾米莉亞的隱忍與渴望 故事始於艾米莉亞·班尼特，一個在傳統傢庭中被教育成“閤格的淑女”的女性。她的婚姻是一場完全基於社會地位和物質考量的結閤，缺乏真摯的愛戀。艾米莉亞是那個時代“光榮的犧牲者”。她將所有的熱情與未竟的夢想，深深地埋藏在每日的茶會、刺綉和維護傢庭體麵之中。 作者細緻入微地刻畫瞭艾米莉亞在看似平靜的日常錶象下，內心的波瀾壯闊。她對知識的渴求，對藝術的熱愛，以及對丈夫情感冷漠的無聲抵抗，構成瞭她前半生的底色。小說通過她的視角，揭示瞭維多利亞時代婚姻製度對女性精神世界的扼殺，如何將天賦與激情異化為傢務瑣事與社交手腕。當她的兒子——未來的傢族希望——降生時，艾米莉亞將所有的情感寄托投射其上，這既是母愛的體現，也是她試圖通過下一代實現自我價值的一種補償性行為。這種過度的情感依戀，也為日後傢庭關係的扭麯埋下瞭伏筆。 第二代：薇奧萊特的抗爭與迷失 艾米莉亞的女兒，薇奧萊特，成長於工業革命的後期，接受瞭比母親更開明的教育，但她所麵對的社會壓力並未減輕，反而更加復雜。薇奧萊特是一個充滿活力與叛逆精神的女性。她厭倦瞭那些被預設好的劇本——得體的交談、不閤時宜的笑聲、以及對任何可能引起非議的興趣的壓製。 薇奧萊特的故事集中展現瞭“新女性”的黎明與幻滅。她渴望接受高等教育，渴望參與到社會思潮的討論中去，甚至偷偷旁聽大學的講座。她與一位思想進步的年輕律師的短暫戀情，是她生命中唯一一次真正自主選擇的經曆。這段關係因男方的政治抱負與傢庭的世俗壓力而迅速夭摺。 小說精彩地描繪瞭薇奧萊特如何在理想與現實之間搖擺。她最終步入瞭一段“體麵”的婚姻，但內心深處對自由的呼喚從未停止。她的抗爭方式變得更為隱晦和內化，她以一種近乎神經質的方式去審視自己的角色，她的矛盾、她的痛苦，是那個時代受過教育的女性集體心聲的放大。 第三代：剋拉拉的抉擇與和解 故事的焦點最終落在瞭薇奧萊特的女兒，剋拉拉身上。剋拉拉的童年見證瞭母親的壓抑和祖母的沉靜，這使她對傢庭的“完美”外殼産生瞭深刻的懷疑。她生活在兩次世界大戰的陰影下，一個社會結構開始瓦解，個人主義開始抬頭的時代。 剋拉拉不再滿足於在傢庭框架內尋求意義。她選擇投身於戰後重建時期新興的社會工作，試圖在幫助他人的過程中定義自我。然而，她發現，即使社會麵貌在改變，女性在傢庭內部依然承擔著無形的、巨大的情感勞動。 小說的後半部分，著重於剋拉拉如何與自己殘存的傢族曆史和解。她必須解開祖母的隱忍、母親的掙紮是如何無意識地影響瞭她對親密關係的認知。剋拉拉麵臨著一個最終的選擇：是徹底切斷與過去的情感紐帶，還是從中汲取力量，構建一種更真實、更可持續的自我認同。她對傢庭遺産的審視，不僅是對物質財産的清點，更是對世代相傳的情感模式的解構與重塑。 時代背景與藝術特色 《玫瑰與荊棘》的敘事視角在三代女性之間流暢地切換，使得讀者得以縱覽近六十年的社會變遷。霍爾姆斯以其精準的筆觸，重構瞭維多利亞時代和愛德華時代的室內場景、服飾細節、以及那些在沙龍和客廳中上演的無聲博弈。 小說深入探討瞭以下主題： 1. 情感的代際傳遞： 探討瞭未解決的母女矛盾如何以潛意識的形式影響下一代的親密關係。 2. “體麵”的代價： 揭示瞭社會對女性“德行”的定義如何成為一種隱形的監獄。 3. 覺醒的成本： 女性追求教育和職業自由時，必須付齣的情感與社會代價。 4. 空間的局限性： 無論是閨房、客廳還是花園，這些女性被期望居住的空間，如何象徵著她們被限製的命運。 這部小說不僅是對一個特定時代的中産傢庭的細緻描摹，更是一麯關於女性韌性、犧牲與最終自我解放的宏大挽歌。它提醒我們，每一次個體微小的反抗，都是對僵化傳統的有力衝擊。讀者將在班尼特傢族的玫瑰與荊棘中，看到曆史的倒影，以及人類情感永恒的復雜性。

評分☆☆☆☆☆

這本書帶來的思考是持久而深刻的，它不提供簡單的答案或心靈雞湯式的慰藉，而是留下瞭一連串令人不安卻又無法迴避的問題。讀完後，我花瞭幾天時間整理思緒，它迫使我重新審視自己與原生傢庭的關係，審視個體在社會結構和經濟壓力下的生存狀態。書中探討的階層固化、夢想與現實的衝突，在今天依然具有強烈的現實意義，這讓我意識到，偉大的作品之所以不朽，正是因為它觸及瞭人類經驗中那些永恒的母題。這不是一本可以輕鬆“消費”掉的書，它需要讀者付齣耐心和共鳴，並願意與作者一同在精神的荒原上跋涉。每當我迴憶起書中的某個場景或某句精闢的議論時，都會獲得新的感悟，這是一種緩慢而持續的內在重塑過程。

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這本書的敘事節奏處理得相當高明，它並非那種一味追求情節跌宕起伏的商業小說，而是更側重於情感的積纍與爆發。初讀時可能會覺得有些平緩，但細心體會，就會發現作者在高潮前的鋪墊是多麼的深思熟慮。就像一條緩緩流淌的河流，錶麵平靜，水麵下卻暗流湧動，積蓄著巨大的能量。當那些關鍵性的衝突點到來時，其爆發的力度就顯得異常強大和自然，完全不突兀。這種張弛有度的敘事技巧，讓讀者在不知不覺中被帶入情境，完全適應瞭書中世界的時空觀。有時候，作者會故意放慢語速，用大段的景物描寫或環境烘托來渲染特定的心境，這種“留白”的處理，反而給瞭讀者巨大的想象空間，讓閱讀不再是被動接受，而是主動參與構建。

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我花瞭整整一個周末的時間沉浸在作者對人物內心世界的細膩刻畫中，那種筆觸的犀利和精準，簡直讓人拍案叫絕。他似乎有一種魔力，能夠將人物那些潛藏在心底最深處、最隱晦的情緒，一絲不苟地剝開來，展現在讀者麵前。特彆是對傢庭內部那種復雜而微妙的關係的描摹，簡直是教科書級彆的。每一個角色都不是扁平化的符號，他們有各自的掙紮、欲望和妥協，你甚至能清晰地感受到他們呼吸的頻率和血液流動的熱度。那種壓抑感，從字裏行間滲透齣來，讓人喘不過氣，卻又忍不住想要繼續往下讀，去探尋那些令人心碎的真相。讀到某些段落時，我甚至會停下來，閤上書本，在腦海中反復咀嚼作者的用詞，思考自己是否真正理解瞭人物此刻的境遇。這種閱讀體驗是極其消耗精神力的，但迴報卻是豐厚的，它拓寬瞭我對人性復雜性的認知邊界。

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這本書的封麵設計簡直是一場視覺的盛宴，那種厚重的精裝質感，拿在手裏沉甸甸的，立刻就能感受到它承載的曆史感和分量。內頁的紙張選擇也非常考究，墨色的印刷在米白色的紙麵上顯得格外清晰，閱讀起來既舒適又不傷眼睛。我通常是那種對書籍的“硬件”要求比較高的人，這本書的裝幀完全符閤我的期待，甚至可以說超齣瞭預期。那種翻閱時紙張輕微摩擦的聲音，混閤著油墨散發齣的淡淡的年代氣息，讓人仿佛穿越迴瞭那個遙遠的時代，感受到齣版人對這本書的尊重。裝幀的工藝處理得非常細緻，書脊的縫綫紮實，即便是經常翻閱，也完全不用擔心散頁的問題。我常常會因為一本裝幀精美的書而多齣閱讀的動力，這本書無疑就是這樣一本，它不僅僅是內容的載體，更是一件值得收藏的藝術品。每次將它從書架上取下，都像是在對待一件珍貴的古董，那種觸感和視覺上的滿足感，是電子閱讀器永遠無法替代的。

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從文學史的角度來看，這本書的語言風格無疑是那個時代一個重要的裏程碑。它沒有過多華麗辭藻的堆砌，但每一個句子都像是經過瞭鐵匠反復錘煉的利器，精準而有力。作者對於日常對話的捕捉能力令人驚嘆，那些看似平淡的對話，實則蘊含著巨大的張力，透露齣人物間未曾言明的權力鬥爭和情感隔閡。我尤其欣賞作者對地域性語言和時代特徵的把握，那些詞匯的選擇，一下就把讀者拉迴到瞭那個特定的社會背景之中，仿佛能聞到當時工廠裏彌漫的煤煙味。這種高度的真實感，使得作品具有瞭超越一般小說的厚重感和文獻價值。它不是在“講述”一個故事，而是在“重現”一個活生生的時代切片，這對於追求文學深度的讀者來說，無疑是極大的享受。

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第一次世界大戰對許多受過正規教育的歐洲人是一次震動，隨之他們的幻想也破滅瞭。這些歐洲人曾經相信物質的進步等同於文明的發展，並相信這種物質文明已永遠消弭瞭戰爭的隱患。勞倫斯嚮來就不贊同這種幾乎遍及全球的關於物質文明的信念。他對戰爭的恐懼，盡管更多齣於個人原因，但從政治和社會的角度看，卻證實是有預見性的—他認為戰爭是因循守舊的開端，是對真正的不乾涉主義（或自由放任主義）的進攻。這在事實上已成為二十世紀的特徵。

評分☆☆☆☆☆

第一次世界大戰對許多受過正規教育的歐洲人是一次震動，隨之他們的幻想也破滅瞭。這些歐洲人曾經相信物質的進步等同於文明的發展，並相信這種物質文明已永遠消弭瞭戰爭的隱患。勞倫斯嚮來就不贊同這種幾乎遍及全球的關於物質文明的信念。他對戰爭的恐懼，盡管更多齣於個人原因，但從政治和社會的角度看，卻證實是有預見性的—他認為戰爭是因循守舊的開端，是對真正的不乾涉主義（或自由放任主義）的進攻。這在事實上已成為二十世紀的特徵。

評分☆☆☆☆☆

書是好書。不過，京東的包裝實在是不敢恭維，居然是把書弄髒瞭。。。。無力吐槽ing.

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before the age of four, but respiratory illness and a weak constitution forced him to remain home intermittently. wo months before his sixteenth birthday, he went to work as a clerk in a badly ventilated factory

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before the age of four, but respiratory illness and a weak constitution forced him to remain home intermittently. wo months before his sixteenth birthday, he went to work as a clerk in a badly ventilated factory

評分☆☆☆☆☆

物流迅速，服務周到，書很好

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that made medical supplies, and eventually contracted pneumonia. After a long convalescence, he got a job as a student teacher, but privately he resolved to become a poet. He began writing seriously in 1906

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that made medical supplies, and eventually contracted pneumonia. After a long convalescence, he got a job as a student teacher, but privately he resolved to become a poet. He began writing seriously in 1906

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before the age of four, but respiratory illness and a weak constitution forced him to remain home intermittently. wo months before his sixteenth birthday, he went to work as a clerk in a badly ventilated factory