Following the tremendous popular success of Jane Eyre, which earned her lifelong notoriety as a moral revolutionary, Charlotte Brontë vowed to write a sweeping social chronicle that focused on something real and unromantic as Monday morning. Set in the industrializing England of the Napoleonic wars and Luddite revolts of 1811-12, Shirley (1849) is the story of two contrasting heroines. One is the shy Caroline Helstone, who is trapped in the oppressive atmosphere of a Yorkshire rectory and whose bare life symbolizes the plight of single women in the nineteenth century. The other is the vivacious Shirley Keeldar, who inherits a local estate and whose wealth liberates her from convention.
A work that combines social commentary with the more private preoccupations of Jane Eyre, Shirley demonstrates the full range of Brontë's literary talent. Shirley is a revolutionary novel, wrote Brontë biographer Lyndall Gordon. Shirley follows Jane Eyre as a new exemplar--but so much a forerunner of the feminist of the later twentieth century that it is hard to believe in her actual existence in 1811-12. She is a theoretic possibility: what a woman might be if she combined independence and means of her own with intellect. Charlotte Brontë imagined a new form of power, equal to that of men, in a confident young woman [whose] extraordinary freedom has accustomed her to think for herself....Shirley [is] Brontë's most feminist novel.
Charlotte Bronte was a natural story-teller with a gift for creating memorable characters and for evoking atmosphere. The novel is set among the cloth mills of the author's native Yorkshire and she succeeds brilliantly in creating the full drama of the latter part of the Napoleonic Wars when labour-saving machinery was smashed by desperate, unemployed workers.
Rich in historical detail, Shirley is a human as well as a social novel with a perpetual relevance in its exploration of humanity's efforts to reconcile personal and economic aspirations with social justice and harmony.
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我得说,这本书的叙事视角处理得非常巧妙,它像是一个漂浮在角色之上的观察者,时而贴近,时而疏远,这种距离感掌握得恰到好处,避免了叙事陷入过度主观的泥潭。我着迷于作者如何运用“不可靠叙述者”的手法,让你在阅读的过程中不断地自我修正对事件的判断。你以为你已经掌握了真相,但下一章,一个不经意的细节就会让你对之前所有的认知产生怀疑。这种智力上的博弈,让我这个读者感到自己被充分尊重,仿佛作者在邀请我参与一场解谜游戏,而不是简单地被告知故事的来龙去脉。这种动态的阅读体验,极大地增强了沉浸感。而且,书中对于不同角色内心世界的描述,语气和逻辑完全不同,你几乎可以分辨出谁在说真话,谁在自我欺骗,这种精妙的区分,显示出作者对心理学的深刻理解。读完后,我甚至开始怀疑自己对现实世界的认知,是不是也存在类似的“叙事盲点”。
评分这本书的语言风格,简直是独树一帜,充满了复古的韵味和一种难以言喻的颓废美感。它大量运用了那些在现代快节奏写作中几乎绝迹的、结构复杂的长句和典雅的词汇,但奇特的是,它们读起来并不晦涩,反而有一种庄重的美感,仿佛在阅读一份被精心装裱的历史文件。我特别喜欢它在描绘角色情绪波动时,那种克制却又极富画面感的文字。比如,它描述悲伤时,不会直接喊出“他很伤心”,而是会用“那份失落像凝固的琥珀,将他的一部分灵魂永远封存其中”这样的意象来替代,极大地提升了美学价值。这种对文字的极致追求,让这本书的文本本身就具有了极高的收藏价值。对于那些追求阅读质感,厌倦了平铺直叙的读者来说,这本书无疑是一剂强心针。它让你重新意识到,文字不仅仅是传达信息的工具,它本身也可以是一种感官体验,一种艺术享受。我甚至会忍不住把某些句子抄录下来,细细品味其内在的韵律和结构。
评分简直是一场文字的盛宴,结构布局之精巧,如同最复杂的钟表机械,每一个齿轮都咬合得天衣无缝。我关注的焦点在于叙事节奏的把控,快慢张弛之间,情绪的张力被拿捏得炉火纯青。有些章节,笔力如疾风骤雨,信息量爆炸,情节推进得令人喘不过气,仿佛被卷入了一场无法逃脱的风暴;而另一些片段,则如同老旧留声机里传出的爵士乐,缓慢、慵懒,充满了对过往时光的呢喃和追忆,每一个停顿都充满了意义。作者对白的处理尤其值得称道,那不是日常生活中那种琐碎的闲聊,而是充满暗示和潜台词的艺术品,你得仔细去捕捉那些没有说出口的话语,才能真正理解人物关系微妙的倾斜和转变。阅读过程中,我多次停下来,反复品味某些对话,它们精炼得像诗歌,却又承载了小说全部的重量。这种高度凝练的表达方式,极大地提升了阅读的门槛,但也带来了巨大的回报——每一次深思熟虑的解读,都会带来新的发现。这是一部需要“慢读”才能领略其妙处的作品,快进只会错过太多风景。
评分这本小说读完后,心里久久不能平静,它像是一面镜子,照出了人性的复杂与幽微。作者的笔触细腻得令人咋舌,每一个场景、每一个人物的动作都仿佛经过了精心雕琢,却又自然流畅,毫不做作。我尤其欣赏它对环境氛围的营造,那种淡淡的忧郁和挥之不去的宿命感,透过文字渗透出来,让人仿佛能闻到空气中潮湿的气息,感受到阳光穿过厚重窗帘时那种斑驳的光影。故事的主线虽然清晰,但其深层探讨的却是关于选择与代价的永恒主题。它没有提供简单的答案,反而将读者推入了一个充满灰色地带的道德迷宫。我甚至能想象出故事中人物每一次呼吸、每一次心跳的频率,那种代入感极强,让人忍不住去思考,如果是我,会做出怎样的抉择。整本书读下来,更像是一次深刻的自我对话,那些隐藏在心底深处的恐惧、渴望和不甘,都被这本书温柔又残忍地揭示了出来。结局的处理更是高明,没有刻意的煽情,却留下了无尽的余韵,让人合上书页后,仍需时间去消化那种复杂的情感重量。
评分这本书最让我震撼的是它对社会肌理的剖析,那种冷静到近乎冷酷的观察角度,让人不寒而栗。它不是那种直白地批判时弊的小说,而是通过构建一个特定的小世界,然后让这个世界的运作逻辑来反衬出宏大叙事下的荒谬与虚伪。书中对于阶层固化、权力运作的描摹,极其写实,没有丝毫的温情滤镜。我尤其欣赏作者在处理配角群像时的功力,那些看似边缘的人物,其实都扮演着推动故事真相的关键角色,他们各自的挣扎和妥协,汇集成了一幅令人心酸的众生相。印象最深的是关于“规矩”那段论述,它揭示了某些既定规则是如何被精心维护,又是如何轻易地碾碎个体的梦想。读到这里,我不禁感到一种强烈的无力感,仿佛面对的不是虚构的故事,而是我们每天都在呼吸的现实。这种穿透力,使得这本书不仅仅停留在文学层面,更具有了一种社会学的重量。它迫使我们去质疑那些我们习以为常、不假思索接受的东西。
评分偶然得到一本1889版的
评分By the second half I found it really a nice piece. Or maybe I had got used to the wordiness of it. But the first half still needs reorganization and abridgement, and I still dislike it when everyone talks in that excessively demonstrative way as if desperate to bring everything to the foreground.
评分By the second half I found it really a nice piece. Or maybe I had got used to the wordiness of it. But the first half still needs reorganization and abridgement, and I still dislike it when everyone talks in that excessively demonstrative way as if desperate to bring everything to the foreground.
评分By the second half I found it really a nice piece. Or maybe I had got used to the wordiness of it. But the first half still needs reorganization and abridgement, and I still dislike it when everyone talks in that excessively demonstrative way as if desperate to bring everything to the foreground.
评分By the second half I found it really a nice piece. Or maybe I had got used to the wordiness of it. But the first half still needs reorganization and abridgement, and I still dislike it when everyone talks in that excessively demonstrative way as if desperate to bring everything to the foreground.
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