Although he stopped writing at the age of nineteen, Arthur Rimbaud (1854-1891) possessed the most revolutionary talent of the past hundred years, and his poetry and prose have increasingly influenced the major writers of our century. To his masterpiece A Season in Hell is here added Rimbaud's longest and possibly greatest single poem The Drunken Boat, with the original French en faceIlluminations, Rimbaud's major works are available as bilingual New Directions Paperbooks. The reputation of A Season in Hell, which is a poetic record of a man's examination of his own depths, has steadily increased over the years. Upon the first publication of Mrs. Varese's translation by New Directions, the Saturday Review wrote: "One may at last suggest that the translation of A Season in Hell has reached a conclusive point..." Concerning the twenty-five-stanza The Drunken Boat, Dr. Enid Starkie of Oxford University has written: "(It is) an anthology of separate lines of astonishing evocative magic which linger in the mind like isolated jewels." Rimbaud's life was so extraordinary that it has taken on the quality of a myth. A biographical chronology is included in this book.
Unknown beyond the avant-garde at the time of his death in 1891, Arthur Rimbaud has become one of the most liberating influences on twentieth-century culture. Born Jean Nicolas Arthur Rimbaud in Charleville, France, in 1854, Rimbaud’s family moved to Cours d’Orléans, when he was eight, where he began studying both Latin and Greek at the Pension Rossat. While he disliked school, Rimbaud excelled in his studies and, encouraged by a private tutor, tried his hand at poetry. Shortly thereafter, Rimbaud sent his work to the renowned symbolist poet Paul Verlaine and received in response a one-way ticket to Paris. By late September 1871, at the age of sixteen, Rimbaud had ignited with Verlaine one of the most notoriously turbulent affairs in the history of literature. Their relationship reached a boiling point in the summer of 1873, when Verlaine, frustrated by an increasingly distant Rimbaud, attacked his lover with a revolver in a drunken rage. The act sent Verlaine to prison and Rimbaud back to Charleville to finish his work on A Season in Hell. The following year, Rimbaud traveled to London with the poet Germain Nouveau, to compile and publish his transcendent Illuminations. It was to be Rimbaud’s final publication. By 1880, he would give up writing altogether for a more stable life as merchant in Yemen, where he stayed until a painful condition in his knee forced him back to France for treatment. In 1891, Rimbaud was misdiagnosed with a case of tuberculosis synovitis and advised to have his leg removed. Only after the amputation did doctors determine Rimbaud was, in fact, suffering from cancer. Rimbaud died in Marseille in November of 1891, at the age of 37. He is now considered a saint to symbolists and surrealists, and his body of works, which include Le bateau ivre (1871), Une Saison en Enfer (1873), and Les Illuminations (1873), have been widely recognized as a major influence on artists stretching from Pablo Picasso to Bob Dylan.
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这本书对我最大的影响,在于它彻底颠覆了我对“英雄”和“救赎”的刻板印象。它描绘的角色,与其说是英雄,不如说是被命运流放的、挣扎在泥泞边缘的观察者。他们携带的不是荣耀,而是深刻的疲惫和对一切既定价值的彻底怀疑。我深切感受到作者对世俗成功学和矫揉造作的道德观的强烈蔑视。这种批判的力度是如此强大,以至于它不再是简单的反叛,而成为了一种对生存状态的本体论探讨:如果一切皆虚妄,那么我们如何定义价值?这种近乎虚无主义的底色,却奇妙地孕育出一种坚韧不拔的生命力——一种拒绝向平庸低头的、燃烧殆尽的火焰。阅读中,我仿佛能闻到那种特有的、属于流浪者和局外人的、混合着酒气和未被驯服的自由的味道。它不是一本提供答案的书,它是一面镜子,映照出我们时代精神的焦虑与不安。
评分从语言的层面来看,这部作品简直是一场华丽的文字盛宴,同时也是一场对既定语法规范的温柔反叛。作者似乎拥有一种炼金术士般的能力,能将最日常的词汇提炼成具有强大催眠作用的符咒。你会在不经意间发现一些组合,让你忍不住停下来,反复诵读,感受其音韵之美和内在的张力。它挑战了我们对“意义”的传统认知,很多段落的含义是流动的、多义的,它们更像是音乐的旋律而非明确的陈述。这种对语言边界的不断试探,使得阅读过程充满了发现的乐趣——每一次重读,似乎都能捕捉到之前忽略的微妙暗示或潜藏的讽刺。它要求读者放弃线性思维的舒适区,转而拥抱一种更接近梦境逻辑的联想方式。这种大胆的文体实验,无疑将它置于文学史的一个重要坐标上,证明了语言的力量远超其表面的实用功能。
评分总的来说,这是一次非凡的阅读体验,但绝非适合所有人的下午茶读物。它更像是一场精神上的攀登,你需要足够的气力去克服那些陡峭的、令人眩晕的峭壁。对于那些渴望在文学中寻求刺激、挑战自我思维极限的读者来说,这本书是不可多得的宝藏。它成功地将个体生命中最极端、最不为人知的体验,提升到了一个普遍的、具有永恒性的艺术高度。作者将地狱般的内在景观描绘得如此清晰、如此具有现场感,以至于读者在合上书本后,世界似乎都蒙上了一层奇异的光晕。我所能想到的最好的赞美,或许是它成功地创造了一个自洽的、完整而又极其动荡的微观宇宙。它不是在讲述一个故事,它是在邀请你,进入一种存在的方式。强烈推荐给那些不害怕黑暗、并愿意为之付出专注力的严肃阅读者。
评分这本书的叙事结构犹如一首结构精巧、却又充满即兴狂想的交响乐。它没有传统意义上的清晰情节线索,取而代之的是一系列碎片化、却又奇迹般地相互关联的意象和情绪的爆发。读者的体验是高度主观的,你会感觉自己像是漂浮在一条湍急的河流中,时而被卷入激昂的诗意漩涡,时而又被抛到宁静却荒凉的岸边。我特别着迷于作者对节奏的掌控,那种时而拖沓冗长、充满沉思的段落,与突然出现的、如闪电般迅捷的洞察力形成鲜明对比。这种“不稳定”的阅读体验,恰恰是它魅力所在——它模拟了心智在面对巨大压力或极度自由时所呈现出的真实状态。它不屑于取悦任何人,只忠实于内在的律动,这种纯粹的艺术追求,在当下的文学环境中显得尤为珍贵和罕见。看完之后,我感觉自己的感官被重新校准了,对世界的感知变得更加敏锐,也更加复杂。
评分翻开这本厚重的书卷,我立刻被一种强烈的、近乎令人窒息的氛围所攫住。它并非那种轻松愉快的消遣之作,更像是一次深入灵魂的探险,一次对人类精神荒原的忠实记录。作者的笔触如同手术刀般精准而冷酷,剖析着存在的虚无与徒劳。阅读的过程仿佛置身于一个弥漫着硫磺气味的梦境,场景在辉煌的幻象与彻骨的绝望间摇摆不定。我尤其欣赏作者在描述内心冲突时所展现出的那种近乎残忍的坦诚,他毫不留 হাঁট地揭示了文明表皮下潜藏的原始冲动和无可救药的孤独感。文字的密度极高,每一个词语都似乎被赋予了超乎寻常的重量,需要读者反复咀嚼、才能体会到其中蕴含的复杂层次。那种试图超越语言界限、直抵经验本质的努力,令人叹为观止,同时也令人感到一丝不安,仿佛窥探了不该被窥探的领域。这本书迫使你直面内心最深处的阴影,它不提供慰藉,只留下深刻的、难以磨灭的印记。这绝对是一部需要时间沉淀才能真正理解其价值的文学巨著,它的回响会持续在你脑海中低语良久。
评分I called myself a magician,an angel,free from all moral constaint. Rimbaud reminds me of Poe,Coleridge and Keats. The delicate and amazing souls.
评分I called myself a magician,an angel,free from all moral constaint. Rimbaud reminds me of Poe,Coleridge and Keats. The delicate and amazing souls.
评分I called myself a magician,an angel,free from all moral constaint. Rimbaud reminds me of Poe,Coleridge and Keats. The delicate and amazing souls.
评分I called myself a magician,an angel,free from all moral constaint. Rimbaud reminds me of Poe,Coleridge and Keats. The delicate and amazing souls.
评分I called myself a magician,an angel,free from all moral constaint. Rimbaud reminds me of Poe,Coleridge and Keats. The delicate and amazing souls.
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