The Way We Live Now (Modern Library Classics)

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出版者:Modern Library
作者:Anthony Trollope
出品人:
页数:832
译者:
出版时间:2001-08-14
价格:USD 14.00
装帧:Paperback
isbn号码:9780375757310
丛书系列:
图书标签:
  • 维多利亚时代
  • 社会讽刺
  • 英国文学
  • 小说
  • 经典文学
  • 现代文学
  • 道德
  • 阶级
  • 爱情
  • 金钱
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具体描述

'Trollope did not write for posterity,' observed Henry James. 'He wrote for the day, the moment; but these are just the writers whom posterity is apt to put into its pocket.' Considered by contemporary critics to be Trollope's greatest novel, The Way We Live Now is a satire of the literary world of London in the 1870s and a bold indictment of the new power of speculative finance in English life. 'I was instigated by what I conceived to be the commercial profligacy of the age,' Trollope said.

His story concerns Augustus Melmotte, a French swindler and scoundrel, and his daughter, to whom Felix Carbury, adored son of the authoress Lady Carbury, is induced to propose marriage for the sake of securing a fortune. Trollope knew well the difficulties of dealing with editors, publishers, reviewers, and the public; his portrait of Lady Carbury, impetuous, unprincipled, and unswervingly devoted to her own self-promotion, is one of his finest satirical achievements.

His picture of late-nineteenth-century England is a portrait of a society on the verge of moral bankruptcy. In The Way We Live Now Trollope combines his talents as a portraitist and his skills as a storyteller to give us life as it was lived more than a hundred years ago.

好的,这是一本关于十九世纪英国社会、道德和金钱的恢弘史诗的简介。 --- 繁华表象下的腐朽与挣扎:一部关于维多利亚晚期英国的辛辣讽刺剧 《The Way We Live Now》 作者:安东尼·特罗洛普 (Anthony Trollope) 出版年代:1875年 时代背景: 在维多利亚时代晚期,英格兰正处于其国力与物质财富的巅峰。工业革命的浪潮席卷了整个社会,催生了前所未有的金融繁荣,但也带来了深刻的社会焦虑与道德重塑。旧有的贵族阶层在新的财富面前开始显得摇摇欲坠,而新兴的金融巨头、投机者和野心勃勃的“新钱”阶层正以前所未有的速度渗透并重塑着社会结构。这是一个物质至上的时代,金钱成为衡量一切价值的唯一标尺,而“体面”的表象与内在的腐败之间的张力达到了临界点。 故事梗概: 这部巨著并非一部简单的爱情故事或家庭伦理剧,它是一幅关于十九世纪中后期英国上流社会、政治、金融和乡村地主阶级相互倾轧的宏大群像画卷。小说以两位核心人物的戏剧性冲突为轴心,对那个时代最引人注目的现象——投机、贪婪与虚伪——进行了毫不留情的解剖。 核心人物与冲突: 故事的中心人物是奥古斯塔斯·梅尔莫特(Augustus Melmotte),一位来自欧洲大陆、背景神秘、却拥有惊人财富和影响力的金融巨头。梅尔莫特是典型的“新钱”代表,他以空前的速度和浮夸的姿态进入伦敦的金融和社交圈。他代表着一种危险的新型资本主义:缺乏根基、依靠形象和承诺、以庞大的金融工程为赌注。他的目标是巩固自己的社会地位,通过联姻将自己与古老的英国贵族血脉(特别是德尔泰家族)连接起来。梅尔莫特的出现,如同一枚定时炸弹,威胁着保守、讲求信誉的传统英格兰的稳定。 与梅尔莫特形成鲜明对比的是菲茨巴里·奥布雷(Fitzperez Aubery),一位英俊、受人尊敬但却负债累累的乡村地主。奥布雷的困境是传统英格兰贵族阶层的缩影:他继承了土地和名誉,却缺乏管理财富的手段,最终陷入债务泥潭,不得不向财富的“新力量”——梅尔莫特——低头,试图通过婚姻来挽救家族的衰落。 情节的纵深与多线叙事: 特罗洛普巧妙地编织了多条平行的故事线,它们相互交织,共同描绘出社会的病灶: 1. 家庭与婚姻的交易: 围绕着梅尔莫特的女儿奥古斯塔·梅尔莫特的婚姻选择,展现了在这个时代,婚姻早已沦为一种纯粹的经济契约。她与一位追求社会地位的贵族子弟亨利·格雷之间的关系,凸显了女性在经济压力下的无奈选择。 2. 政治的腐蚀: 故事深入到议会和内阁的运作中。人物如布莱克斯坦爵士和里奇蒙德公爵等,揭示了政治家们如何轻易地被金融利益集团收买或影响。权力不再仅仅源于血统或智慧,而是越来越依赖于谁能提供更多的政治献金或谁的商业帝国更为宏大。 3. 道德的挣扎与审判: 贯穿始终的是对“诚实”这个核心概念的探讨。小说中的人物,从投机者到受害者,都必须面对一个问题:在一个一切都可以被包装和估价的社会中,真正的道德价值在哪里?特罗洛普毫不留情地展示了当投机热潮退去时,那些看似光鲜亮丽的金融泡沫如何迅速破裂,以及社会对破产者——特别是那些通过欺诈手段致富者——施加的残酷审判。 主题的深度挖掘: 《The Way We Live Now》 之所以成为不朽的经典,在于其对现代性的深刻洞察: 金钱至上主义 (Mammonism): 小说尖锐地批评了“金钱万能”的社会信条。梅尔莫特是一个活生生的证据,证明了在缺乏传统道德约束的情况下,财富如何膨胀为一个具有破坏性的怪物。 形象与真实的反差: 维多利亚时代的社会高度重视“体面”和“外观”。特罗洛普揭示了这层光鲜外衣下隐藏的空虚、欺骗和道德滑坡。谁能更好地“表演”成功,谁就能暂时掌控话语权。 传统与现代的冲突: 英国的土地贵族(代表着旧秩序和坚实的价值观)与新兴的国际金融资本(代表着流动性、不确定性和全球化)之间的碰撞,构成了社会变革的内在张力。 结语: 这是一部充满活力、讽刺辛辣、人物刻画入木三分的杰作。它不仅是一部描绘过去时代的百科全书,更是一面投射至今仍未消散的社会焦虑的镜子。通过特罗洛普犀利的笔触,读者将清晰地看到一个社会如何在追逐浮华的财富和地位时,逐步迷失了其真正的道德航向。这部小说以其对人性和社会机制的深刻理解,持续引发着关于财富、诚实与现代生活本质的思考。

作者简介

ANTHONY TROLLOPE, the quintessential Victorian novelist whose dozens of books illuminate virtually every aspect of late nineteenth century England, was born in Russell Square, London, on April 24, 1815. He was the son of Thomas Anthony Trollope, a failed barrister. His mother, Frances Trollope, successfully turned to writing in order to improve their finances.

As a charity day student at Harrow School Trollope was shunned by boarders. Later as a student at Winchester College he was often flogged his older brother Tom. At the age of nineteen Trollope embarked on a career as a civil servant in London's General Post Office. In 1841 he was transferred to Ireland, where he lived happily for the next eighteen years, advancing steadily through the ranks of the postal service. In 1844 he married Rose Heseltine, who became a trusted literary assistant once he began to write.

The Macdermots of Ballycloran, Trollope's first book, was published in 1847. But it was not until 1855 that he achieved commercial success with The Warden, the initial volume in six-book series about clerical life in and around the fictional cathedral town of Barchester. Two sequels, Barchester Towers (1857) and Doctor Thorne (1858), quickly ensured his fame. The West Indies and the Spanish Main, the first of several travelogues Trollope recorded while journeying abroad on postal business, appeared in October 1859. The same year he returned to England and took up residence at Waltham House in Hertfordshire, some twelve miles from London. There Trollope settled into a disciplined routine that enabled his phenomenal productivity. He rose every morning at five o'clock and wrote for three to four hours in order to meet a self-imposed weekly quota of approximately forty pages; moreover he frequently began a new book the very day he completed one. The novelist's only passionate diversion was foxhunting.

Trollope quickly became part of London's literary life. His work began to appear serially in Cornhill Magazine, and he formed a great friendship with its editor, William Thackeray. He finished the last three volumes in the Barsetshire series--Framley Parsonage (1861), The Small House at Allington (1864), and The Last Chronicle of Barset (1867). Meanwhile, he launched the Palliser novels, a new series about politics, with Can You Forgive Her? (1865). At the time, Nathaniel Hawthorne perfectly pinpointed the secret of the Englishman--s appeal: 'The novels of Anthony Trollope [are] just as real as if some giant had hewn a great lump out of the earth and put it under a glass case, with all its inhabitants going about their daily business, and not suspecting that they were being made a show of. These books are just as English as a beef-steak . . . but still I should think that human nature would give them success anywhere.'

Trollope resigned from the postal service late in 1867, to become editor of Saint Paul's Magazine. The next year he made an unsuccessful bid for a seat in Parliament. In 1871 Trollope relinquished Waltham House and embarked on a two-year trip to Australia, New Zealand, and the United States. Upon returning to London he settled at 39 Montagu Square and soon published the engaging travel book Australia and New Zealand (1873). In later novels Trollope shifted his interest from scenes of provincial life to satires of English politics and society--among them The Claverings (1867), He Knew He Was Right (1869), The Way We Live Now (1875), and The American Senator (1877). The five remaining Palliser novels--Phineas Finn (1869), The Eustace Diamonds (1873), Phineas Redux (1874), The Prime Minister (1876), and The Duke's Children (1880)--also focused on political and social themes.

In the final years of his life Trollope traveled extensively. He journeyed to Ceylon and South Africa, and revisited both Ireland and Australia. He also turned out two biographies, Thackeray (1879) and The Life of Cicero (1880), and began writing his memoirs. Anthony Trollope died on December 6, 1882, a month after suffering a paralyzing stroke. The author's self-portrait, An Autobiography, appeared the following year. 'Trollope will remain one of the most trustworthy . . . of the writers who have helped the heart of man to know itself,' judged Henry James. 'His great, his inestimable merit was a complete appreciation of the usual.'

目录信息

读后感

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【本文为特罗洛普《如今世道》的英文版导读】 1872年12月,特罗洛普在澳大利亚殖民地和新西兰度过了忙碌的十八个月后,途经旧金山、盐湖城和纽约回到了英格兰。旅途和繁忙并没有妨碍他进行写作,有关这些偏远地方的书“差不多也都完成了”。在流亡国外的几个月期...

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小时候,最喜欢听别人讲故事。(第一句话就是谎言,因为小时候并没有人给我讲故事。父母忙于生计,所以自己多半时候都待在外婆的家里。老太太倒是十分宠我,却总摆不脱现实生活中的吃喝拉撒。) 第一篇印象深刻的故事还是上幼儿园的时候,老师讲给我的。(第二句话又在撒谎,明...  

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小时候,最喜欢听别人讲故事。(第一句话就是谎言,因为小时候并没有人给我讲故事。父母忙于生计,所以自己多半时候都待在外婆的家里。老太太倒是十分宠我,却总摆不脱现实生活中的吃喝拉撒。) 第一篇印象深刻的故事还是上幼儿园的时候,老师讲给我的。(第二句话又在撒谎,明...  

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【本文为特罗洛普《如今世道》的英文版导读】 1872年12月,特罗洛普在澳大利亚殖民地和新西兰度过了忙碌的十八个月后,途经旧金山、盐湖城和纽约回到了英格兰。旅途和繁忙并没有妨碍他进行写作,有关这些偏远地方的书“差不多也都完成了”。在流亡国外的几个月期...

评分

【本文为特罗洛普《如今世道》的英文版导读】 1872年12月,特罗洛普在澳大利亚殖民地和新西兰度过了忙碌的十八个月后,途经旧金山、盐湖城和纽约回到了英格兰。旅途和繁忙并没有妨碍他进行写作,有关这些偏远地方的书“差不多也都完成了”。在流亡国外的几个月期...

用户评价

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最让我感到震撼的,是作者对“现代性”的焦虑捕捉。虽然成书于一百多年前,但书中所展现的社会运转逻辑——信息的不对称性、资本的快速流动带来的不确定感、以及人与人之间日益工具化的关系——与我们今日所处的数字化时代,有着惊人的相似之处。那种被外界的喧嚣和无休止的竞争裹挟着,身不由己地向前奔跑的疲惫感,我感同身受。书中的某些场景,比如光怪陆离的社交舞会,华丽的外表下隐藏着冷酷的算计,简直就是现代企业并购或社交媒体公关大战的古典预演。我特别欣赏作者那种近乎于百科全书式的描写能力,他不仅描绘了人物的内心活动,更是将那个时代的建筑、服装、政治氛围等环境元素也描绘得栩栩如生,构建了一个坚实、可信的阅读世界。这使得读者在阅读时,不仅是在体验故事,更像是在参与一场历史的深度沉浸,从中汲取关于人性永恒不变的教训。

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坦率地说,这本书的阅读体验是费力的,但这种费力感却是一种智力上的愉悦。它不是那种让你沉溺于情节的“逃避式”阅读,而是要求你全程保持警觉,去辨别谁在撒谎,谁又在利用谁。作者没有给我们提供任何明确的道德标杆,相反,他似乎更倾向于展示人性的灰色地带,以及在极端压力下,所谓的“好人”和“坏蛋”之间的界限是如何模糊不清的。我特别喜欢他那句式的简洁和精准,虽然句式复杂,但每一个词语的选择都经过了千锤百炼,没有一个冗余的形容词。这本书就像是一场对人性的长期观察实验,充满了复杂性和悖论。例如,那些最无私、最善良的角色,往往也是最缺乏实际生存智慧,最终落得悲惨下场的;而那些精明强干、甚至有些卑劣的角色,却似乎总能在社会洪流中占据上风。这种对现实残酷性的直面,让我对这本书给予最高的敬意,它教会了我,真正的文学作品,需要的不是安慰,而是清醒的洞察力。

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这本书的结构之宏大,令人赞叹,但真正抓住我的,是其中对于“名誉”这一概念的反复拷问。在那个时代,名誉几乎等同于生存权和社交资本,而书中那些借贷、欺诈和诽谤的桥段,无一不是围绕着如何摧毁或保全这个脆弱的标签。我仿佛能闻到那些老牌贵族和新兴商人之间弥漫的火药味,他们用金钱和声望进行着一场场看不见硝烟的战争。作者笔下的每一个主要人物,无论其社会地位如何,似乎都在某种程度上被“名誉”所挟持,为了维护一个虚无缥缈的形象,可以付出极其沉重的代价。这种对社会规范的深刻洞察,使得这本书的价值超越了单纯的小说范畴,它提供了一个透视特定历史时期社会心理的绝佳窗口。坦白说,一开始我对那些冗长的法庭辩论和复杂的家族财产纠葛感到有些头疼,但当把这些看似散乱的线索串联起来后,你会发现,作者构建了一个极其精密的逻辑闭环,证明了在那个结构下,个体的命运是如何被集体意志和既定规则所操控的。

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初次接触这位作家的作品,着实让我有些措手不及。这本书的叙事节奏,说实话,并不算“好读”——它不急不躁,甚至有些拖沓,许多看似无关紧要的日常细节被反复描摹,这让我一度怀疑自己是否理解了作者的意图。然而,正是这些看似琐碎的片段,如同细密的针脚,最终织就了一幅关于社会关系的巨大挂毯。我惊喜地发现,作者极其擅长通过人物的对话来揭示其内心深处的矛盾与虚伪。那些看似礼貌得体的交谈背后,实则暗流涌动,每个人都在小心翼翼地维护着自己精心构建的形象,生怕一不小心就暴露了底牌。特别是对于那些试图通过婚姻或依附来攀附上流社会的女性角色,她们的挣扎与妥协,读来令人唏嘘。这不是一部简单的爱情故事或家庭伦理剧,它更像是一部社会病理学报告,细致地解剖了维多利亚时代晚期,当传统道德观念受到工业革命和资本膨胀的冲击时,人们如何在道德真空地带摸索求存。我喜欢这种需要耐心去品味的阅读体验,它像一杯需要慢慢温热的浓茶,初品可能微涩,回甘却悠长。

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这本小说,读完之后总有一种莫名的压抑感挥之不去,仿佛作者用他那冷峻的笔触,将十九世纪末的伦敦,乃至整个人类社会中那种赤裸裸的、不加掩饰的物质欲望和道德沦丧,原原本本地剥开给我们看。它不像那些情节跌宕起伏的畅销书那样能让人一口气读完,反而更像是一面冰冷的镜子,你得鼓足勇气才能凑近去端详那些反射出来的丑陋。我尤其欣赏作者对于“新贵”阶层那种入木三分的刻画,那些刚刚通过投机和不光彩的手段积累起财富的人,他们急于用金钱来填补精神世界的空虚,用奢靡的生活来掩盖他们那尚未被社会完全接纳的身份。书中对金融泡沫和投机行为的描绘,即便放到今天来看,都具有惊人的预见性,让人不禁思考,时间究竟是治愈了人性的弱点,还是仅仅换了一种更精致的外衣?那种社会阶层之间微妙的张力、金钱至上的价值观如何渗透到每一个角落,每一个人物的呼吸里,都让人感到一种深刻的无力感。这本书要求读者保持一种清醒的距离感,去观察而非简单地代入,这也是它魅力所在,因为它挑战了我们对“成功”和“体面”的固有认知。

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