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德柏家的苔丝经典语录
德柏家的苔丝经典语句
给你10句经典的引语：
1.“You are the lineal representative of the ancient and knightly family of the d’Urbervilles, who derive their descent from Sir Pagan d’Urberville, that renowned knight who came from Normandy with William the Conqueror, as appears by Battle Abbey Roll?( P. 5 Parson Twingham plants the idea in John Durbeyfield’s mind that he and his family are better than their neighbors and thus begins Tess’s path toward destruction.)
2. “Tess Durbeyfield at this time of her life was a mere vessel of emotion untinctured by experience.”(P.13 At the beginning of the novel, Tess is angry when the villagers attempt to make fun of her prideful father riding home in a hired cart he can’t afford. In a state of heightened emotion, she tells her friends that she will no longer talk to them if they laugh at Durbeyfield. From the beginning, Tess demonstrates great love for her family. She will defend them to the death.)
3. “I don’t know; but I think so. They sometimes seem to be like the apples on our stubbard-tree, most of them splendid and sound—a few blighted.” (P.31 As the youngsters ride along at night to market, Tess pessimistically explains to her younger brother Abraham that stars are indeed worlds and that they have the misfortune to live on a blighted star and that this explains all their family’s misfortunes)
4. “By this time every couple had been suitable matched…an inner cloud of dust rose around the prostate figures.”(P. 68 Unlike Car Darch and the other crude working women, Tess keeps herself pure and apart from drinking and sexual activity. However, as Hardy would have it, despite her efforts, Tess’s fate insures that she will fail to preserve her chastity after she rides off with Alec d’Urberville into the woods.)
5.“I wish I had never been born--there or anywhere else. “(P. 87 Tess says this to Alec d’Urberville after he has seduced her and she feels forced to return home to Marlott in disgrace. She will make this wish over and over throughout the novel until she finally gets her wish.)
6. “Perhaps, of all things, a lie on this thing would do the most good to me now; but I have honour enough left, little as ‘tis, not to tell that lie.” (P. 89 After a month with Alec d’Urberville, Tess realizes she must leave him. Although it would serve her well financially to tell d’Urberville she is in love with him, Tess maintains her honor by leaving him and not becoming his paid mistress.)
7. “`Dead! dead! dead!’” he murmured. After fixedly regarding her for some moments with the same gaze of unmeasurable woe he bent lower, enclosed her in his arms, and rolled her in the sheet as in a shroud. Then lifting her from the bed with as much respect as one would show to a dead body, he carried her across the room, murmuring, ‘My poor, poor Tess, my dearest darling Tess! So sweet, so good, so true!’” (P. 279 After telling him of her secret past, Tess finds Angel sleepwalking and looming over her in the dark. Pride keeps Angel from accepting and loving Tess, yet unconsciously he remains deeply in love with her and understands her reasoning for not telling him the truth. This scene foreshadows Tess’s early death.)
8. “Under the trees several pheasants lay about, their rich plumage dabbled with blood; some were dead, some feebly twitching a wing…Tess’s first thought was to put the still living birds out of their torture, and to this end with her own hands she broke the necks of as many as she could find… ‘Poor darlings—to suppose myself the most miserable being on earth in the sight o’ such misery as yours!’ she exclaimed, her tears running down as she killed the birds tenderly.” (P. 312 After changing her mind about asking Angel’s parents for help, Tess despairs after spending the night outdoors. In the morning she spies the dead and dying pheasants and experiences an affinity for the tortured birds. Then, despite her tortured life at Flintcomb-Ash, she optimistically rallies and realizes that compared with the birds, her life is not bad. Despite her attempts to remain optimistic, however, Hardy’s pessimistic views insure that Tess is doomed and that the birds’ wrung necks foreshadow her own death by hanging.
9. “His father too was shocked to see him. So reduced was that figure from its former contours by worry…you could see the skeleton behind the man and almost the ghost behind the skeleton.” (P. 416 Like his forlorn wife Tess, Angel Clare also undergoes great mental and physical hardship when he is separated from her in Brazil. The price of forgoing his immature judgmental ways comes at great personal cost.)
10. “Justice was done, and the President of the Immortals, in Aeschylean phrase, had ended his sport with Tess.” (P. 447 The Greek dramatist Aeschylus wrote tragedies. Like Aeschylus’s characters, Tess ultimately had no control over her life. Her actions were fate-driven, predestined, determined solely by the whim, or the sport, of the gods.)
木心先生说哈代有一颗耶稣的心，哈代、陀思妥耶夫斯基是第一流的小说家。遂陆续读了哈代的其他作品后再读《德伯家的苔丝》，重温波兰斯基导演的《苔丝》，又重新认识了这部经典之作。
马洛特村、卡斯特桥、爱敏思教堂…这些地名在哈代其他小说也可看到，悠美的行文把对乡村浓浓情感绘制成一幅幅美丽的田园风光图。再读《苔丝》，它们不仅仅是地名，更浸染着苔丝的美丽、苦难与多舛命运。
一个女人因婚前失贞酿成一生的悲剧，古今中外，无论是文学影视作品抑或现实生活中不胜枚举。苔丝的悲剧是多种因素造成的，最重要还是性格与环境，即使今天，悲剧依然可能发生。然而像苔丝那样拥有高贵灵魂的人无论那个时代皆是少数，而今更显得弥足珍贵！
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高贵与出生、贫穷无关。苔丝是生长于乡村的纯朴女子，贫穷未受过高等教育，骨子里的高贵与身俱来，好似土地的芬芳、田野的清风。没落贵族德伯这个姓氏是苔丝一生的悲剧之源。愚蠢虚荣的父母让美丽少女苔丝到当地富豪德伯家认亲以改变贫困，与刘姥姥进大规园的遭遇截然不同，少爷亚历克诱奸了苔丝，自尊、倔强的苔丝愤然离开。苔丝与来的时候同样一无所有却戴上了沉重的枷锁。电影的色调由明转暗，这不仅是苔丝命运的转折点也让她的思想发生了根本改变“差不多从头脑简单的女孩子，一跃而成为思想复杂的妇人了。”
书中有许多蕴含深意的景物描写，画面时而明丽时而灰暗，与人物境遇、心理交相辉映。电影的画面感更强，简直像一幅幅油画。苔丝在金色的麦田里劳动，背景是一群挥舞镰刀割麦子的农民，色彩浓厚而温馨，好似米勒的画；苔丝在树林中受辱遭磨难，色彩黯淡而凄凉，又似拉斐尔的画。苔丝的悲剧命运笼罩在浓浓的宗教氛围中，暗紫的色调弥漫全书。苔丝失贞后凄然回到她的出生地马洛特村说：“我真希望我没有在那儿或其它什么地方下世为人！”亚历克在送苔丝回家是小说第一个高潮，苔丝的倔强、诚实、自尊，对传统道德的反叛在与亚历克的对话中彰显出来，她自己也知道只要说一句谎，就足以得到最有好处的事，但天性的纯洁不容对自己的内心撒谎。亚历克说苔丝完全可以凭自己的美貌获取更多的东西。抑或在世俗人眼里，苔丝有点傻，不知道利用自己得天独厚的条件来取悦他人以获得实际好处。女人利用自己的美貌以达目的似乎无可厚非，张爱玲说：“有美的身体，以身体悦人；有美的思想，以思想悦人；其实也没有多大分别。”而今这样的女人更是不一而足，苔丝的高贵恰在这里，故哈代将“一个纯洁的女人”作为副标题。
失去贞操的苔丝悲愤地呐喊：“贞洁这个东西，一旦失去了就永远失去了吗？有机的自然都有使自己得以恢复的能力，为什么唯独处女的贞洁就没有呢？”苔丝不仅失去了贞操还有了私生子。苔丝恨亚历克却爱她的孩子，婴儿夭折了，苔丝自己为婴孩做洗礼，恳求牧师给孩子一个基督教的葬礼，却遭拒绝，苔丝愤怒地说：“那么我不喜欢你了！而且我永远也不再上你的教堂了。”可以看到苔丝对宗教的反叛。苔丝遭婚变后，皈依基督教的亚历克又来找她，苔丝再次呐喊：“你，还有像你这样的人，你们在这个世界上尽情享乐，都是以我这样的人遭罪受苦为代价的；等你们享乐够了，你们就又皈依了宗教，好到天堂里去享乐，真是多美的事啊！”苔丝一面怀疑宗教一面又无力摆脱宗教的影响，一面全盘接受丈夫克莱尔的先进思想一面又受传统道德的束缚。苔丝认为自己是有罪的，孩子的出生与死亡都是上帝对自己的惩罚。身为家中长女，苔丝为了家人只得背负着沉重的枷锁艰难地活下去。
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为了生存，更为了逃离，苔丝远离家乡到外地做了挤牛奶女工。画面的色调由黯又复明。在这里，苔丝不仅收获了友情更获得了爱情。这里有全书最美的画面，四个笼罩在橙黄色晨雾中的少女，被克莱尔一个一个抱过水洼，她们都暗恋克莱尔，克莱尔只钟情于苔丝。晨曦温柔地撒在树林里，克莱尔抱着苔丝淌水，满满的爱意与羞涩让苔丝暂时忘了背负的十字架和对未来命运的惶恐。哈代其实在故事刚开始就安排他们见面了，电影一开始就是一群白衣少女翩翩起舞，英国乡间迷雾像一层轻纱披在她们身上，洋溢着喜悦的气氛，镜头徐徐推向苔丝，一个美丽、单纯又略带忧伤的少女，与田园风光相得益彰，却又在迷雾中显出对不可知未来一种虚幻的美丽。帅气充满青春活力的克莱尔路过此地，被这一画面迷住了，同这群姑娘跳舞，却未同苔丝跳，俩人四目相对又就此别过，暗示着他们有缘无分最终错过的命运。
克莱尔是牧师的儿子，接受西方先进思想洗礼，瞧不起等级、财富等差异。追求精神上的自由不愿像父亲哥哥那样从事宗教事业，到农村学习劳动。他把苔丝看得如同大地、天空、花草一样美丽、自然、纯真，宁愿放弃门当户对的千金小姐，但爱的却是自己想像中的苔丝，对“纯洁”的看法与世俗之人没有两样。苔丝几乎将克莱尔神圣化，崇拜他，卑微地、用全部热情和整个生命爱他，却不是建立在平等的基础上。从他俩确定关系起，苔丝就像一个罪人等待上帝裁判一样，又惶恐又满怀希望地等待着克莱尔对她的宽恕，克莱尔就是她的上帝。小说第二个高潮，新婚之夜，苔丝向克莱尔坦白了。然而，等待她的却是克莱尔的一句：“我爱的那个女人不是你，是具有你的形象的另外一个女人。”
自由、平等的理想在现实面前是多么苍白无力！克莱尔无法原谅苔丝，尽管他婚前也做过差不多性质的事。然而，男女在这件事上从未真正平等过，更勿说一百多年前的维多利亚时代。“为什么我宽恕了你，你就不能宽恕我？”苔丝问克莱尔这句话含有多少委屈、悲怆，千百年来男女之间的不平等不是苔丝能问出来、克莱尔能回答的。
克莱尔可以无视苔丝的出生、等级、财富，但不能容忍苔丝的“不纯洁”，虽说克莱尔追求自由、平等，但毕竟生活在维多利亚时代，传统等级制度、宗法制度、道德习俗对他的影响根深蒂固，再加上出生于牧师家庭。我们不能用今天的价值标准去要求一百多年前的人，况且今天传统的道德观念还在束缚着我们。倘若这事发生在别人身上，他或许可以用那些新思想去劝慰，发生在自己身上就另当别论了。一百多年过去了，今天又有多少未婚男子会毫无顾忌娶一个生过孩子的女人？仅有的爱情是不够的。尤其在传统观念影响至深的穆斯林国家与大多数东方国家。
土耳其作家奥尔罕·帕慕克的《纯真博物馆》讲述的是上世纪七十年代的一场凄美爱情，女主公芙颂同样纯真、美丽，却因婚前失贞，只能嫁一个不爱的男人，深爱她的男人也只想把她当作笼中鸟。芙颂最后几乎带着自杀的情绪死于车祸。我们现在还处于实现真正男女平等的路上，多少女人因此而背上十字架，似乎越美丽越善良的女子越容易被命运作弄。每当看到苔丝向克莱尔吐露隐情时，总想到《魂断蓝桥》的女主角玛拉向男主角罗伊坦露那段改变她命运的伤心往事，以为罗伊在战争中阵亡，为生活所迫做了妓女，最后没有勇气面对罗伊，也以自杀结束生命。每次从电影中看到这些场面都会潸然泪下，初次看时总想着倘若她们不向心爱之人坦露过去就能获得幸福，而今再看，方懂得她们的悲剧无论如何也无法避免，否则，世上就没有善良、纯洁与美丽。精神上的贵族绝不苟活于世，只想在这个世上干干净净地活着，活得彻底，宁为玉碎不为瓦全。
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得不到克莱尔的原谅，苔丝只得离开克莱尔又回到穷困、衰败的娘家，却不同于第一次从亚历克那里逃离，苔丝对亚历克只有恨，对克莱尔唯有爱，爱得越深伤得越重。娘家并不能给她温暖，还指望她的帮助，苔丝只好再次逃离。一个贫穷、漂亮又自尊的单身年轻女人不仅要养活自己还要养活衰败的娘家。苔丝用破布遮掩自己美丽的容颜，不得不从事繁重的体力劳动，肉体上的苦并未让她绝望，在无望中仍抱着克莱尔会回来的希望苦撐着。后面的色调越来越暗，太多让人心酸的画面。走投无路的苔丝鼓足勇气向克莱尔的父母求助，却在无意中听到克莱尔两个哥哥的谈话，个性中的倔强与自尊让她止步了，命运再次将她推向黑暗的深渊。
哈代安排亚历克再次出现于苔丝的生命中已是一名讲道者，充满了戏剧性，然而生命本身不就是由一连串偶然性构成的吗？克莱尔走后没有给苔丝来过一封信，苔丝从希望到失望到绝望，绝望中给克莱尔写了封满怀悲愤的求救信，依然没有得到回信。苔丝在娘家遭到一系列变故后，为不让母亲、弟妹们露宿街头，只得做了亚历克的情妇。亚历克虽在书中代表着“恶”，但哈代写的是人性，亚历克后来帮助苔丝一家人，也有善的一面。克莱尔从巴西回来找苔丝，哈代没有过多描绘克莱尔思想转变的过程，借作家毕飞宇的话，因为苔丝太美了。苔丝的美有着干草的清香、泥土的芬芳，因为哈代深爱着生他养他的乡村，因为要将悲剧推向最高潮。
当身心疲惫的克莱尔终于找到苔丝时，已不是从前的苔丝，他们再也回不去了。若在张爱玲笔下，两个人只得抱憾别过，然后回到各自的生活中去，日子依旧过下去，太阳照样升起。现实生活中，多是张爱玲笔下不彻底的人，也是卡夫卡笔下的“甲壳虫”，我们卑微、擅变，适应环境不彻底地活着。
哈代写的是普通人中不平凡的人，裘德（哈代另一部长篇小说男主角）、苔丝皆是遵从自己内心，活得纯粹、彻底，不懂得适应环境也无力改变环境最终被环境吞噬的人。苔丝看到克莱尔回来找她，再无法面对亚历克，一个连山鸡受伤都要落泪的弱女子要多大的仇恨才会举刀杀人。苔丝当然知道杀人要偿命，但她爱克莱尔胜过自己的生命。亚历克死了，苔丝以为只能如此才可以面对克莱尔。哈代慈悲地让苔丝在克莱尔带着逃跑中，过了几天快乐的日子，用生命换取那短暂的幸福。影片中，苔丝身穿猩红长裙，在阴冷、灰暗的夜色中愈显得凄美，却也透着一丝微弱的光亮，苔丝最后把自己的妹妹托付给克莱尔，相比裘德的死稍许温暖。
苔丝死了，读者跟着哈代的笔一点一点看到美丽怎样被撕裂、毁灭！在哈代舒缓的行文中恍惚嗅到未被现代文明侵袭的田园气息，纯洁、素朴犹如苔丝。苔丝来自乡间、来自普通人，却又与我们距离迢遥，大慈大悲的哈代塑造了苔丝也是在救济我们品行的贫困。
Everything has the place which the delightful bird sings, also has poisonous snake hissing sound hissing sound calling
The survival destroys, this is the question which is worth pondering
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