D.H. Lawrence's great autobiographical novel is a provocative portrait of an artist torn between love for his possessive mother and desire for two young beautiful women. Set in the Nottinghamshire coal fields of Lawrence's own boyhood, the story of young Paul Morel's growing into manhood in a British working-class family rife with conflict reveals both an inner and an outer world seething with intense emotions. Gertrude is Paul's puritanical mother who concentrates all her love and attention on her son Paul. She nurtures his talents as a painter - and when she broods that he might marry someday and desert her, he swears he will never leave her. Inevitably, Paul does fall in love, but with two women - and is unable to choose between them. Written early in Lawrence's literary career, Sons and Lovers possesses all the powers of description, insistent sensuality, and scathing social criticism that are the special hallmarks of his genius. "A work of striking originality," writes the critic F.R. Leavis, by "the greatest creative writer in English of our time."
Drawing on both the physical setting and emotional atmosphere of his own childhood, Lawrence's evocation of a working-class life and of family conflicts is a literary masterpiece rich in insights into its author.
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.
劳伦斯的《儿子与情人》中,保罗是个身体羸弱、心思细腻的孩子,对母亲有着强烈的依恋和爱。父母的关系是母亲对父亲的冷漠和厌恶,家庭关系是全部子女都跟随母亲一起厌恶父亲。 于是我们见到了惊悚的一幕:在保罗不小心踩坏了安妮的洋娃娃之后,他提出了火葬洋娃娃的建议,...
评分忘了自己什么时候借的书,似乎看得时间略微久了些,至于为什么看这么久?嗯······大概是觉得这书看得让人心情不好。 书中的几个主要人物的性格都让人觉得不舒服。一切由莫瑞尔太太不幸的婚姻而展开,因为仓促地决定了结婚的对象,没有过多的相处,没有对双方性格的仔细...
评分it hurt the boy keenly,this feeling about her that she had never had her life's fulfillment ,and his own incapability to make up to her hurt him with a sense of impotence,yet made him patiently dogged inside.it was his childish dream. ...
评分爱即生活 第一,这是一本难得一见的纯粹关于爱的小说,并且专指男女之爱(如果母爱也算是一种的话)。第二,小说主要讲的是爱的付出,是无条件且不计回报的爱,而不是交互的爱。第三,看似作为故事中心的保罗并不是主人公,而是母亲、米莉安和克莱拉,因为她们才是爱的主动方。...
评分大学时英美文学课本那几页的引文根本满足不了我的猎奇。抱着阴暗的窥探心思翻看此书,光看前三分之一时居然几度落泪,感觉真像爸爸妈妈还有我的童年。那时候在家里和我妈说说笑笑,我爸一回来我就压力好大,家庭气氛凝沉压抑。爸妈的不和严重影响了我的心情。于是我心里的秤杆...
初次接触 Sons and Lovers (Modern Library),我并没有抱着特别高的期待,只是听说这是一部经典,想了解一下。然而,随着阅读的深入,我逐渐被这个故事深深吸引。劳伦斯笔下的盖茨家族,特别是莫雷尔太太,她那种渴望从自己不幸的婚姻中解脱出来,并将所有的希望寄托在儿子身上,甚至将儿子视为自己生命的延续,这种母爱,既伟大又令人窒息。保罗,作为这个家庭的核心,他承受着母亲过度的期望,同时又在两个截然不同的女性之间摇摆不定。我尤其欣赏劳伦斯对人物心理描写的细腻之处,他能够准确地捕捉到人物内心最深处的矛盾和挣扎,无论是保罗对艺术的热情,还是他对现实生活的无奈,亦或是他对爱情的渴望与恐惧,都描绘得淋漓尽致。这本书不仅仅是一个关于家庭和爱情的故事,它更深刻地探讨了工业化社会对人性的压抑,以及个体在追求自我实现过程中所面临的困境。我常常会思考,在那个年代,像保罗这样的艺术家,他们是如何在物质的束缚和精神的追求之间找到平衡的?书中的爱情线,无论是保罗与米莉森特,还是与克拉拉,都充满了复杂性和争议性,这些情感的纠葛,不仅仅是年轻人的情爱,更是对不同生活方式、不同人生追求的碰撞。我发现,劳伦斯并没有简单地评判任何一个角色,而是将他们置于一个更加广阔的社会和历史背景下,让我们去理解他们的选择和命运。
评分这本书,Sons and Lovers (Modern Library),简直就像是打开了我内心深处的一扇窗户,让我看到了许多过去从未曾仔细审视过的情感和关系。劳伦斯对母子关系的描绘,特别是莫雷尔太太对保罗那种近乎溺爱和占有的爱,让我既感到心酸,又有些理解。她自己生活的不幸,将她推向了将儿子视为自己全部的精神寄托的境地,而保罗,作为这个家庭的希望,他承受着母亲过多的关注,这无疑也影响了他与外界其他女性的交往。我注意到,劳伦斯在刻画人物时,非常注重人物的性格塑造,他笔下的角色,无论是温顺善良的米莉森特,还是独立自主、甚至有些叛逆的克拉拉,都各有鲜明的特点,她们与保罗的关系,也展现了不同类型女性对保罗生活的影响。这本书的节奏感也相当不错,它不像一些过于追求情节冲突的书那样让人喘不过气,而是像一条缓缓流淌的河流,将人物的故事娓娓道来,让读者有足够的时间去体会其中的情感细节。我常常会反复咀嚼那些描写保罗内心彷徨和挣扎的段落,他渴望挣脱母亲的束缚,渴望自由地去爱,但又常常被内心的情感羁绊所困扰,这种拉扯,在现实生活中也是普遍存在的。劳伦斯对环境的描写,也同样出色,那些煤矿小镇的景象,那些工厂的烟囱,都为故事增添了一种独特的时代印记和现实感。
评分拿到 Sons and Lovers (Modern Library) 这本书,我其实是抱着一种学习的态度来阅读的,想看看这位文坛巨匠是如何描绘复杂的人类情感的。读完之后,我发现劳伦斯真的做到了。他笔下的保罗,是一个充满艺术才华、却又饱受原生家庭影响的年轻人。他与母亲之间那种剪不断理还乱的联系,可以说是贯穿了整个故事的核心。母亲莫雷尔,她自身的婚姻不幸,让她将几乎所有的情感寄托都放在了儿子身上,这种爱,既是滋养,也是一种无形的枷锁。我特别欣赏劳伦斯对人物心理活动的细致捕捉,他能够将保罗在艺术创作中的灵感迸发,以及他在面对爱情时的犹豫和挣扎,描绘得如此真实,仿佛我们能直接感受到他内心的每一次悸动。书中的爱情线,尤其是保罗与克拉拉之间的关系,那种激情与理性、占有与自由之间的碰撞,让我看到了爱情的复杂性和多面性。我常常会思考,在那个年代,一个像保罗这样的年轻人,如何在物质的匮乏和精神的追求之间找到平衡?劳伦斯并没有回避现实的残酷,他将那些煤矿工人的生活,那些工厂的景象,都描绘得相当写实,这为故事增添了一种独特的质感。这本书不仅仅是一个关于成长的故事,它更是一部关于人性,关于爱,关于生命本质的深刻探索,它让我对许多习以为常的情感关系,有了全新的认识。
评分Sons and Lovers (Modern Library) 这本书,我真的花了很长时间才消化完,当然,这个“消化”并非是那种一口气读完,然后留下一些模糊印象的“快餐式”阅读。相反,它更像是一场漫长而细致的探索,我反复咀嚼着文字,试图理解人物内心的每一次涌动,每一个细微的转变。D.H.劳伦斯笔下的情感世界,真是如同一个深邃的迷宫,充满了纠葛和张力。他对于母子之间,尤其是母亲与儿子之间那种近乎窒息的、然而又充满了原始生命力的联系的描绘,让我感到既震撼又心疼。保罗,这个年轻的艺术家,他的成长轨迹,他的每一次爱恋,他的每一次挫败,都深深地烙印在了我的脑海里。我尤其喜欢劳伦斯对于细节的捕捉,那种对人物肢体语言、眼神交流,甚至是沉默的深刻洞察,都让角色鲜活起来,仿佛就站在我面前,呼吸着同样的空气。书中对工业化背景下,煤矿工人生活的刻画,也让我对那个时代社会阶层固化、以及个体在巨大社会机器中挣扎的命运有了更直观的感受。阅读这本书的过程,与其说是在读一个故事,不如说是在体验一种复杂而又普遍的人类情感状态,它迫使我去反思自己与家人的关系,与爱人的关系,以及我与自身灵魂深处的连接。这本书的语言风格,时而粗粝直接,时而又诗意盎然,这种奇妙的结合,让阅读体验充满了惊喜。我常常会因为某个句子,某个比喻而停下来,反复品味,甚至会记录下来,因为它们不仅仅是文字,更是对生命本质的某种揭示。
评分初次翻阅 Sons and Lovers (Modern Library),我便被劳伦斯那极具感染力的文字所吸引,仿佛置身于那个被煤灰笼罩的工业小镇,感受着人物内心的起伏跌宕。这部作品最让我着迷的,是对保罗·莫雷尔这个年轻艺术家心理世界的深度挖掘。他身上混合着敏感、才华、困惑和渴望,而这一切,似乎都与他那对母亲——莫雷尔太太——无法割舍的依恋息息相关。莫雷尔太太,一个在不幸婚姻中挣扎的女性,她将自己未能实现的梦想和对生活的热望,全部倾注在了儿子保罗身上,这种母爱,既是支持,也是一种沉重的负担。我尤其赞赏劳伦斯在处理保罗与两位女性——温顺的米莉森特和独立而充满激情的克拉拉——之间的情感关系时,所展现出的 nuanced (细致入微)的观察力。他没有简单地将她们塑造成好与坏的对立面,而是真实地展现了不同性格、不同生活方式对保罗的影响,以及保罗在她们身上所寻求的不同情感需求。每一次阅读到保罗在母亲的爱和对外部世界的向往之间摇摆的段落,我都会为他感到一种深深的共情,因为这种内心的冲突,在人生某个阶段,是许多人都可能经历的。劳伦斯对那个时代社会背景的描绘,那些工厂的烟囱,那些煤矿工人的生活,为故事奠定了坚实的现实基础,也让人物的命运显得更加真实和令人唏嘘。这本书,它不仅仅是在讲述一个家庭的故事,更是在探索人性中那些最深沉、最复杂的情感连接,以及个体如何在这些连接中寻找自我。
评分Sons and Lovers (Modern Library) 这本书,它给我的阅读体验,可以说是一种抽丝剥茧般的深入,劳伦斯用他独特而犀利的笔触,剖析了一个年轻艺术家的灵魂,以及他与家庭、与爱情之间千丝万缕的联系。最让我震撼的,无疑是保罗与母亲之间那种浓烈而又充满矛盾的情感。母亲将保罗视为自己破碎生活的寄托,这种母爱,虽然源于深刻的爱,但却也带有强烈的占有和控制的色彩,这使得保罗在追求个人独立和情感自由的道路上,充满了艰辛。我特别喜欢劳伦斯对人物内心世界的细腻描绘,他能够捕捉到人物最微妙的情感变化,以及他们潜藏在行为背后的真实动机。保罗对艺术的热情,对美的追求,与他所处的社会环境和家庭状况形成的强烈对比,也让这个人物更加鲜活和令人同情。书中的爱情线,无论是保罗与米莉森特之间相对平静的互动,还是他与克拉拉之间充满激情与冲突的碰撞,都展现了不同类型女性对保罗成长的影响,以及他自身在情感选择上的彷徨。我常常会为保罗的挣扎而感到心痛,他渴望摆脱母亲的阴影,渴望自由地去爱,但又常常被内心的情感羁绊所困扰,这种拉扯,在现实生活中也是许多人都会经历的。劳伦斯对那个时代工人阶级生活的真实描绘,那些煤矿小镇的景象,那些艰苦的劳动,都为故事增添了厚重的现实感。
评分Sons and Lovers (Modern Library) 这部作品,我花了好些心思去理解,因为劳伦斯笔下的人物情感,实在是太丰富、太复杂了,它不像一般的文学作品那样,有着清晰的善恶界限,或者简单的情节发展。相反,它更多的是一种对人生境遇、对家庭关系、对爱情本质的深入挖掘。莫雷尔太太,作为影片中一个至关重要的角色,她对儿子保罗那种近乎病态的依恋,以及她自身在婚姻中的不幸,构成了故事的强大张力。保罗,这个年轻的艺术家,他既渴望摆脱母亲的阴影,又在情感上被深深地牵绊,他与两位女性——米莉森特和克拉拉——之间的感情纠葛,也充分展现了他内心的挣扎和成长。我特别欣赏劳伦斯对细节的描绘,他能够将人物微妙的情绪变化,以及他们之间微妙的互动,刻画得入木三分,仿佛我们能直接感受到角色的喜怒哀乐。书中所描绘的那个时代,那个煤矿小镇的艰苦生活,也为故事增添了一层厚重的现实色彩,它不仅仅是背景,更是影响人物命运的重要因素。我常常会反复思考,保罗最终的结局,究竟是他个人意志的胜利,还是他被环境所裹挟的无奈?劳伦斯并没有提供一个简单的答案,而是让读者自己去品味其中的深意。阅读这本书,让我对“爱”的定义有了更广阔的理解,它不仅仅是浪漫的爱情,更包含了亲情、友情,甚至是对生命的某种眷恋。
评分Sons and Lovers (Modern Library) 给我带来的震撼,不仅仅来自于它对人物情感的深刻剖析,更来自于它对那个特定时代背景下,工人阶级生活的真实写照。劳伦斯对煤矿生活的描绘,那种艰苦、危险,但又充满了兄弟情谊和生活气息的场景,让我仿佛置身其中,感受着那些煤灰浸透的衣衫,感受着那份沉甸甸的劳动。保罗,这个敏感而又充满艺术天赋的年轻人,他的成长历程,他与母亲之间那种超越常理的依恋,以及他对独立女性克拉拉的复杂情感,都构成了一幅幅令人难忘的画面。我特别喜欢劳伦斯在描写人物内心世界时使用的那些意象和比喻,它们往往能够直击灵魂,将抽象的情感具象化,让读者能够更清晰地感受到角色的内心波动。例如,他用“脐带”来形容母子之间的联系,这种比喻就充满了力量,也暗示了这种联系的深刻性和某种程度上的束缚。这本书也让我对“爱”有了更深层次的思考,它不仅仅是男女之间的浪漫情怀,更包括了亲子之爱,以及那种在共同经历中形成的、超越血缘的连接。劳伦斯并没有回避人性中的阴暗面,他大胆地展现了嫉妒、占领欲、甚至是病态的爱,这使得整个故事更加真实和具有冲击力。每一次读到保罗在母亲和爱情之间挣扎的段落,我都会感到一种揪心的痛楚,也更加佩服劳伦斯将这些复杂的情感描绘得如此生动。
评分Sons and Lovers (Modern Library) 这本书,我感觉它像是一场深入人心的心理探索,劳伦斯以一种极其细腻和真实的方式,描绘了保罗·莫雷尔的成长历程,以及他与周围人物之间复杂的情感纠葛。最让我印象深刻的,莫过于保罗与母亲之间的那种近乎窒息的依恋,以及母亲对儿子的强烈占有欲。这种母子关系,既是保罗情感世界形成的重要因素,也是他走向独立和成熟的阻碍。我喜欢劳伦斯对人物内心描写的深刻程度,他能够毫不避讳地展现人物的矛盾、欲望,以及他们潜藏在内心深处的挣扎。保罗在艺术上的追求,与他现实生活中的困境,以及他在爱情中的选择,都构成了这个人物的复杂性。书中的两位女性角色,米莉森特和克拉拉,她们各自代表了不同的生活方式和情感模式,保罗在她们之间摇摆不定,也反映了他对自我身份认同的困惑。我常常会为保罗的命运感到揪心,他既渴望自由,又被情感所束缚,这种两难的境地,对于许多人来说,都是一种真实的写照。劳伦斯对工业化时代工人阶级生活的描绘,也为故事增添了独特的时代背景,那些煤矿小镇的场景,那些艰辛的劳动,都让故事更加具有说服力。这本书不仅仅是一个关于家庭和爱情的故事,它更是一部关于个体在时代洪流中,如何寻找自我,如何面对生活挑战的深刻寓言。
评分Sons and Lovers (Modern Library) 这本书,我不得不说,它的力量在于它对人性的深刻洞察,以及对情感关系的复杂描绘。劳伦斯没有回避现实生活中的残酷和无奈,他将一个贫困家庭的挣扎,以及一个敏感而才华横溢的年轻人,在母爱、爱情和社会压力之间的纠葛,展现得淋漓尽致。莫雷尔太太,这个在婚姻中饱受痛苦的女人,她将所有的希望和情感都寄托在儿子保罗身上,这种母爱,虽然带着占有和控制的成分,但其中也包含了深深的爱和牺牲。我喜欢劳伦斯对保罗内心世界的刻画,他对于艺术的热情,他对现实生活的厌倦,以及他在爱情中的迷茫和痛苦,都描绘得非常真实。书中的爱情线,无论是保罗与米莉森特那样相对平静的感情,还是他与克拉拉之间充满激情与冲突的关系,都展现了不同情感模式对个体成长的影响。我常常会思考,保罗最终选择的道路,以及他所付出的代价,究竟是他个人性格的缺陷,还是时代环境所造成的必然?劳伦斯并没有给出明确的答案,而是将这些问题留给读者自己去思考。这本书的语言风格也很有特色,它既有粗犷、直接的描写,也有细腻、诗意的抒情,这种多层次的语言运用,让阅读体验更加丰富。我发现,这本书不仅仅是关于一个男孩的成长故事,它更是关于如何在困境中寻找自我,如何在复杂的情感关系中保持独立,以及如何在物质与精神之间找到平衡。
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