Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. 1st World Library-Literary Society is a non-profit educational organization. Visit us online at www.1stWorldLibrary.ORG - - As will be seen later on, Pygmalion needs, not a preface, but a sequel, which I have supplied in its due place. The English have no respect for their language, and will not teach their children to speak it. They spell it so abominably that no man can teach himself what it sounds like. It is impossible for an Englishman to open his mouth without making some other Englishman hate or despise him. German and Spanish are accessible to foreigners: English is not accessible even to English-men. The reformer England needs today is an energetic phonetic enthusiast: that is why I have made such a one the hero of a popular play. There have been heroes of that kind crying in the wilderness for many years past. When I became interested in the subject towards the end of the eighteen-seventies, Melville Bell was dead; but Alexander J. Ellis was still a living patriarch, with an impressive head always covered by a velvet skull cap, for which he would apologize to public meetings in a very courtly manner. He and Tito Pagliardini, another phonetic veteran, were men whom it was impossible to dislike. Henry Sweet, then a young man, lacked their sweetness of character: he was about as conciliatory to conventional mortals as Ibsen or Samuel Butler. His great ability as a phonetician (he was, I think, the best of them all at his job) would have entitled him to high official recognition, and perhaps enabled him to popularize his subject, but for his Satanic contempt for allacademic dignitaries and persons in general who thought more of Greek than of phonetics. Once, in the days when the Imperial Institute rose in South Kensington, and Joseph Chamberlain was booming the Empire, I induced the editor of a leading monthly review to commission an article from Sweet on the imperial importance of his subject. When it arrived, it contained nothing but a savagely derisive attack on a professor of language and literature whose chair Sweet regarded as proper to a phonetic expert only. The article, being libelous, had to be returned as impossible; and I had to renounce my dream of dragging its author into the limelight. When I met him afterwards, for the first time for many years, I found to my astonishment that he, who had been a quite tolerably presentable young man, had actually managed by sheer scorn to alter his personal appearance until he had become a sort of walking repudiation of Oxford and all its traditions. It must have been largely in his own despite that he was squeezed into something called a Readership of phonetics there. The future of phonetics rests probably with his pupils, who all swore by him; but nothing could bring the man himself into any sort of compliance with the university, to which he nevertheless clung by divine right in an intensely Oxonian way. I daresay his papers, if he has left any, include some satires that may be published without too destructive results fifty years hence. He was, I believe, not in the least an ill-natured man: very much the opposite, I should say; but he would not suffer fools gladly.
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读罢此书,我脑海中浮现的,首先是那种扑面而来的、充满活力和烟火气的街景描绘。作者对特定社会环境的还原度,简直令人拍案叫绝,仿佛我能闻到空气中混合着煤烟、廉价香水和泥土的气味。 叙事风格极其流畅自然,它没有刻意追求华丽的辞藻堆砌,而是采用了那种近乎纪录片式的观察视角,精准地捕捉了人物在特定生活压力下的细微反应。 角色之间的互动充满了尖锐的火花,那种基于身份差异产生的误解、试探与最终的和解(或者说适应),构成了故事最引人入胜的部分。我尤其对其中对于“教化”过程的描绘深感着迷,它不是简单的知识灌输,而是一场关于如何重新编码感官世界、如何习得新的社交代码的社会工程学实验。 这种实验性在文学作品中是较为罕见的,它挑战了我们对于“自然形成”的社会规范的盲目接受。 整个阅读体验,与其说是被动接受一个既定的故事,不如说是一种主动参与到这场“身份重塑”实验中的过程。情节的推进虽然看似缓慢,但每一步都像是在解开一个复杂的谜团,最终的谜底并非是简单的善恶对立,而是对人类适应性极限的深刻探索。 读完后,那种久久不能散去的“真实感”,让我对那些曾经被我忽略的社会边缘群体,有了更深层次的理解和共情。
评分这部作品带给我的震撼,是那种直击灵魂深处的、关于人性与社会结构之间复杂博弈的深刻反思。初读时,我被那些鲜活得仿佛能从纸页间走出来的角色深深吸引,他们的语言充满了那个时代特有的腔调与力量,那种粗粝感和隐藏在底层的那一丝丝优雅的挣扎,构成了一种迷人的张力。 故事的叙事节奏把握得极为精妙,张弛有度,时而如同一场紧张的对弈,步步紧逼,让人喘不过气;时而又突然转向细腻入微的心理描写,让读者得以窥见角色内心深处那些不为人知的脆弱与渴望。 我特别欣赏作者在处理阶级鸿沟时的那种冷静和克制,没有进行空洞的说教,而是将这些社会现实编织进了人物的日常对话和行为逻辑之中。 那些关于语言、身份认同的探讨,在今天看来依旧闪耀着惊人的洞察力,它让我重新审视自己是如何定义“他者”的,以及我们赖以构建自我的那些社会标签,究竟有多么脆弱和可塑。 读完后,我花了很长时间去回味那些关键的转折点,尤其是高潮部分的冲突爆发,那种宿命感和个体意志的抗争,让整部作品的格局瞬间拔高,留给读者的思考空间,远比故事本身要宏大得多。 总结来说,这是一部需要用心去品味的“文本雕塑”,它的每一个词汇、每一个停顿,似乎都经过了深思熟虑,其艺术价值和思想深度,足以让任何一位严肃的文学爱好者沉醉其中。
评分如果用一个词来形容我的阅读感受,那会是“锐利”。这部作品的笔触异常锐利,直插社会表象的肌理,毫不留情地剖开那些光鲜亮丽的表皮,展示出底层生活的真实质感。 它不像某些经典文学那样,试图用宏大的历史背景来包裹主题,而是聚焦于几个个体在特定环境下的微观挣扎,这种“以小见大”的手法,反而更具冲击力。 我特别欣赏作者在处理角色心理转变时的细腻铺陈,那种从麻木到觉醒,再到面对现实的重新选择的过程,处理得极其自然,没有丝毫的戏剧化矫揉造作。 特别是关于“体面”与“真实”之间的拉扯,是贯穿始终的母题,它探讨了身份标签对于一个人的异化作用。一个人为了获得社会的认可,究竟需要放弃多少真实的自我? 故事的后半部分,节奏稍有放缓,但这种沉淀感是必要的,它给了角色足够的时间去消化他们所经历的一切剧变,也给了读者足够的时间去消化作者所抛出的社会观察。 读完后,我感到一种混合了清醒和些许悲凉的情绪,它提醒着我们,真正的改变,往往比我们想象的要漫长和复杂得多。
评分这部小说的魅力在于其永恒的时代性,尽管故事背景设定在过去,但其中探讨的议题,如阶级流动性、身份构建与语言权力,在今天依然具有强大的现实意义。 作者的文字风格如同精准的手术刀,冷静、客观,但每一次切割都直达病灶。 叙事视角保持了一种近乎冷峻的疏离感,这使得读者能够以一种批判性的眼光去审视人物的命运,而不是盲目地陷入情感的漩涡。 给我留下最深刻印象的是其对“表演”这一概念的探讨——我们如何为不同的听众扮演不同的角色,如何将自己的生存变成一场持续不断的公开演出。 这种对社会角色扮演的解构,是极其高明的。我甚至觉得,这本书更像是一部关于社会心理学的田野调查报告,而非单纯的小说。 细节的打磨达到了令人发指的地步,无论是场景布置还是道具的象征意义,都充满了深思熟虑的安排。每一次重读,都能发现新的线索和被忽略的伏笔,显示出作者构建这个文本世界的严谨性。 整体而言,这是一部需要读者投入相当智力资源去解码的文本,但其回馈的价值——那种对社会运作底层逻辑的透彻理解——是无可估量的。
评分这本书的叙事结构简直像是一台极其精密的瑞士钟表,每一个齿轮的咬合都恰到好处,环环相扣,推动着故事走向一个既在意料之外又在情理之中的结局。 让我印象深刻的是作者对于“声音”和“语言”的运用,这不仅仅是对话,更是一种象征体系的构建。台词设计的高明之处在于,它能在不经意间揭示出角色的社会地位、教育背景乃至于他们内心深处潜藏的阶级焦虑。 这种听觉上的层次感,使得阅读过程本身变成了一场听觉盛宴,我甚至能“听见”不同社会阶层人士说话时的口腔共振和语调差异。 故事的核心冲突,在我看来,更多地指向了现代社会中个体主体性是如何被外部系统所规训和塑造的。当一个人被赋予了新的“外壳”,其内在的自我意识是否会随之发生根本性的转变?作者并没有给出简单的答案,而是将这个问题抛给了读者,引发了一场持久的内心辩论。 这种开放性的结局处理,避免了传统戏剧的沉重感,反而赋予了作品一种轻盈的、哲学思辨的美感。阅读时,我时常会暂停下来,思考某一句话背后的多重隐喻,足见其文本的密度之高。
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