Tired of the glitter and glamour of St Petersburg society, aristocratic dandy Eugene Onegin retreats to the country estate he has recently inherited. With the arrival of the idealistic young poet Vladimir Lensky he begins an unlikely friendship, as the poet welcomes this urbane addition to his small social circle - and is happy to introduce Onegin to his fiancée, Olga, and her family. But when Olga's sister Tatiana becomes infatuated with Onegin, his cold rejection of her love brings about a tragedy that engulfs them all. Unfolding with dreamlike inevitability and dazzling energy, Pushkin's tragic poem is one of the great works of Russian literature.
In this new translation, Stanley Mitchell captures the cadences and lightness of the original poem, and discusses in his introduction Pushkin's life, writings and politics, as well as previous translations of the work. This edition also contains a chronology and suggested further reading.
Alexander Sergeyevich Pushkin was born in Moscow in 1799. After traveling through the Caucasus and the Crimea, he was sent to Bessarabia, where he wrote The Captive of the Caucasus and The Fountain at Bakhchisaray, and began Eugene Onegin. His work took an increasingly serious turn during the last year of his southern exile, in Odessa. In 1824 he was transferred in north-west Russia, where he wrote his historical drama Boris Godunov, continued Eugene Onegin and finished The Gipsies. He was mortally wounded and died in January 1837.
Stanley Mitchell was born in 1932 in London. He read Modern Languages (French, German and Russian) at Oxford. He taught at various universities - Birmingham, Essex, Sussex, San Diego California, McGill, Montreal, Dar es Salaam Tanzania, Derby, University College London and Camberwell School of Art. Subjects included Russian literature and art, comparative literature, art history and cultural studies. He is currently Emeritus Professor of Aesthetics at the University of Derby and Honorary Senior Research Fellow in the Department of Art History at University College, London. He has translated Georg Lukacs and Walter Benjamin, written a variety of articles and reviews, and given numerous lectures and talks.
悲剧是艺术的最高形式。 而有谁能比奥涅金更可悲的呢? 我们不去谈奥涅金所代表的他那一时代,或者其他类似的时代的那些空虚、迷茫的年轻贵族们,不去评论他对上流社会的抵触,他的愤世嫉俗,以及他那不成熟的、可以说并不成形的、并且肯定是无法诉诸行动的政治理想。我们仅...
评分“爱情消逝了,缪斯出现, 我昏迷的头脑开始清醒。 我自由了,重又设法缀联 迷人的音韵、思想和感情; 我写着,心儿已不再悲伤, 忘情地写,也不再只写半行 便用笔在稿纸上把人像乱涂, 或是画上一双女人的秀足; 熄灭的灰烬已不会复燃, 我仍将悲伤,但不再哭泣, 很快很快,...
评分 评分“爱情消逝了,缪斯出现, 我昏迷的头脑开始清醒。 我自由了,重又设法缀联 迷人的音韵、思想和感情; 我写着,心儿已不再悲伤, 忘情地写,也不再只写半行 便用笔在稿纸上把人像乱涂, 或是画上一双女人的秀足; 熄灭的灰烬已不会复燃, 我仍将悲伤,但不再哭泣, 很快很快,...
评分《欧根•奥涅金》是被翻译得最多的文本之一,查良铮、冯春、王士燮、剑平、刘宗次、智量都译过,而吕荧——这个“唯一敢为胡风申辩的人”——的译本也以它的平易赢得了我的心。虽然不少语句比起智量来略显土鳖,而且一些旧译专名今天读来已经很不习惯,如P4鲁斯兰和柳德米拉...
坦率地说,这本书的阅读体验是一种挑战,它要求读者付出专注和耐心,因为它拒绝提供简单粗暴的情感宣泄或明确的道德判词。相反,它将所有的判断权交还给了读者,迫使我们去审视那些灰色地带。书中人物的形象是如此立体、如此充满矛盾性——既有光芒万丈的理想主义,也有令人不齿的懦弱和自私。没有绝对的好人或坏人,只有在特定环境下做出选择的、有血有肉的个体。正是这种对人性的不加粉饰的呈现,赋予了这部作品持久的生命力。它像一面棱镜,折射出人类在追求美好、面对现实、处理情感时的普遍困境,每一次重读,都会因为自身阅历的增长而发现新的层次和更深的共鸣,这才是真正的经典之作的标志。
评分读完后,脑海里挥之不去的,是那种强烈的时代气息和浓厚的地域风情。作者似乎拥有将一个时代定格画卷的能力,从贵族沙龙的华丽与虚伪,到乡村庄园的宁静与沉闷,每一个场景的构建都充满了画面感和细节的考究。服饰的质地、宴会的喧哗、甚至是空气中弥漫的味道,都能被清晰地感知到。更令人称道的是,作者巧妙地将社会风貌与人物命运编织在一起,使得角色的选择和困境,不再是孤立的个人悲剧,而是整个社会环境催生出的必然结果。这种宏大叙事与微观情感的完美融合,使得作品的厚度一下子提升了不止一个层次。它不再仅仅是一个爱情故事,更像是一部关于十九世纪俄国贵族阶层兴衰的社会浮世绘,读来让人既感到历史的厚重,又对其命运的不可逆转而感到一丝惋惜。
评分这本书的结构设计非常巧妙,叙事视角时常在局外人的冷静观察与局中人的激烈体验之间切换,这种多维度的呈现方式极大地丰富了作品的层次感。特别是那些穿插其中的诗歌和抒情段落,虽然打断了既有的叙事线索,但它们如同高悬在空中的明镜,瞬间照亮了人物内心最深处的幽暗角落,使我们得以窥见那些不便言说的情愫与挣扎。我尤其欣赏作者在处理“错过”这个主题时的那种近乎残酷的精确性。那些本可以发生的、却因傲慢、误解或命运的玩笑而永远消逝的可能性,被描绘得如此真实可感,以至于读者会忍不住去思考自己人生中那些擦肩而过的瞬间,那种“如果当初”的无力感,随着文字的推进,层层叠加,最终形成一种令人心碎的回响。
评分这部作品的文字功力简直是炉火纯青,每一页都充满了古典文学的韵味和俄国文学特有的那种深沉的忧郁感。作者对人物心理的刻画细致入微,即便是最微小的表情变化、最隐晦的情绪波动,都能被捕捉得丝丝入扣。尤其是对主人公那种游离于世俗之外的孤独感和对生命意义的迷茫,描摹得入木三分,让人仿佛能透过文字感受到那份寒冷的疏离。叙事节奏的处理也极其高明,时而如潺潺流水般平缓叙述,时而又因突发的事件或激烈的内心冲突而陡然加速,这种张弛有度的节奏感,牢牢抓住了读者的心弦,让人在沉浸于那个时代背景的同时,也为角色的命运起伏而揪心不已。阅读过程中,我常常停下来,反复咀嚼那些精妙的比喻和那些富有哲理的独白,它们不仅仅是情节的推进器,更是对人类共通情感的深刻探讨,那种对“何为真爱”、“何为生活价值”的叩问,即使在今天的社会语境下,依然振聋发聩,显示出文本跨越时代的生命力。
评分令人惊叹的是,即便主题如此严肃深刻,作品中依然不乏那种特有的、略带讽刺意味的幽默感。这种幽默并非是浮于表面的插科打诨,而是植根于对人性弱点的深刻洞察。作者对那些遵循陈腐礼仪、墨守成规的人物所展现出的那种带着善意的嘲弄,让冰冷的文字瞬间有了温度和人情味。这种平衡感把握得极好,既没有让悲剧的底色过于沉重而令人窒息,也没有因轻快的调侃而削弱了主题的力量。它像是一杯醇厚的烈酒,入口是苦涩的沉思,回味却是悠长而复杂的,让人在笑声中读出无奈,在泪光中品出清醒。这种复杂的情感交织,正是真正伟大的文学作品所独具的魅力。
评分“Habit is heaven's gift to us: A substitute for happiness.”
评分“Habit is heaven's gift to us: A substitute for happiness.”
评分在学校图书馆摸了一本打发时间,右手书左手2048。简直是愉快的养老生活。
评分“Habit is heaven's gift to us: A substitute for happiness.”
评分“Habit is heaven's gift to us: A substitute for happiness.”
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