I have always fondly remembered a remark that I heard fall years ago from the lips of Ivan Turgenev in regard to his own experience of the usual origin of the fictive picture. It began for him almost always with the vision of some person or persons, who hovered before him, soliciting him, as the active or passive figure, interesting him and appealing to him just as they were and by what they were. He saw them, in that fashion, as disponibles, saw them subject to the chances, the complications of existence, and saw them vividly, but then had to find for them the right relations, those that would most bring them out; to imagine, to invent and select and piece together the situations most useful and favorable to the sense of the creatures themselves, the complications they would be most likely to produce and to feel. "To arrive at these things is to arrive at my 'story, '" he said, "and that's the way I look for it. The result is that I'm often accused of not having 'story' enough. I seem to myself to have as much as I need -- to show my people, to exhibit their relations with each other; for that is all my measure. If I watch them long enough I see them come together, I see them PLACED, I see them engaged in this or that act and in this or that difficulty. How they look and move and speak and behave, always in the setting I have found for them, is my account of them -- of which I dare say, alas, QUE CELA MANQUE SOUVENT D'ARCHITECTURE. But I would rather, I think, have too little architecture than too much -- when there's danger of its interfering with my measure of the truth. The French of course like more of it than I give -- having by their own genius such a hand for it; and indeed onemust give all one can. As for the origin of one's wind-blown germs themselves, who shall say, as you ask, where THEY come from?" -- Henry James
What Contributes to Isabel's Tragedy? For a lady who bestowed upon dazzling beauty by god, and inherited a handsome amount of money from her uncle, wonderful life, like a volume of painting , was supposed to unfold itself before her. But, for Isabel, it's...
评分伊莎贝拉有着完美主义和理想主义的倾向。爱上奥斯蒙德完全就是自己的幻影在起作用。在表面上,伊莎贝拉是一位渴望自由与独立的女性,厌恶金钱与世俗的虚伪,但是在真正的现实生活中,却为了证明自己对世俗的厌恶,而最终却被一位特别虚伪的一事无成的半吊子而虏获,这是伊莎贝...
评分读这本书前几章时,乃至整部小说的阅读过程中,我常常几乎以为自己打开的是简·奥斯汀的第七本小说(类似她的女同胞J·K·罗琳,最厚的一本)。的确,这位在他72岁时终于加入英国国籍的美国人,在小说开篇时以优雅闲适的语言——这语言常被认为是不可翻译的,但博尔赫斯说:“...
评分讀的第一本亨利詹姆斯,他以前是我的小說盲點,慚愧。這本在看到書之前老早有真人形象在腦中了……都怪我們電視臺動不動就播一遍簡康萍導的電影版,這些年來瞄到過四五遍不止,雖然每次都是缺頭少尾、看到哪裡是哪裡的。結果有一次總算看到了女主角的美國追求者,咦,像Viggo,...
评分在我看来书名《一位女士的画像》就是对这本书最好的定位,就像一张正经绘制的风景油画,写实、饱满、色彩丰富、面面俱到;细节往往值得人欣赏和品味,鸟瞰全局的时候反而容易迷乱。 细致描写——无论是对于七上八下的人物内心活动还是对于花样繁多的沙龙式场景——是《画像》...
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