D.H. Lawrence finished "Lady Chatterley's Lover" in 1928, but it was not published in an uncensored version until 1960. Many contemporary critics of D.H. Lawrence viewed the Victorian love story as vulgar, and even pornographic. It was banned immediately upon publication in both the UK and the US. The obscenity trials which followed established legal precedents for literature which still endure. At the heart, "Lady Chatterley's Lover" is a story about the invisible bonds between lovers, companions, and husbands and wives. Against this backdrop, Lawrence also explores the relationship between physical desire and spiritual fulfillment, often using sensual and explicitly sexual language. This special edition of "Lady Chatterley's Lover" has been restored for a modern audience, including all previously censored material. Excerpt from "Lady Chatterley's Lover - Restored Modern Edition" Reprinted by permission. All rights reserved Supreme pleasure? she said, looking up at him. Is that sort of idiocy the supreme pleasure of the life of the mind? No, thank you Give me the body. I believe the life of the body is a greater reality than the life of the mind: when the body is really awakened to life. But so many people, like your famous wind-machine, have only got minds tacked on to their physical corpses. He looked at her in wonder. The life of the body, he said, is just the life of the animals. And thats better than the life of professional corpses. But its not true The human body is only just coming to real life. With the Greeks it gave a lovely flicker, then Plato and Aristotle killed it, and Jesus finished it off. But now the body is coming really to life, it is really rising from the tomb. And it will be a lovely, lovely life in the lovely universe, the life of the human body. -- Ch. 16, p. 281 He went down again into the darkness and seclusion of the wood. But he knew that the seclusion of the wood was illusory. The industrial noises broke the solitude, the sharp lights, though unseen, mocked it. A man could no longer be private and withdrawn. The world allows no hermits. And now he had taken the woman, and brought on himself a new cycle of pain and doom. For he knew by experience what it meant. It was not womans fault, nor even loves fault, nor the fault of sex. The fault lay there, out there, in those evil electric lights and diabolical rattlings of engines. There, in the world of the mechanical greedy, greedy mechanism and mechanized greed, sparkling with lights and gushing hot metal and roaring with traffic, there lay the vast evil thing, ready to destroy whatever did not conform. Soon it would destroy the wood, and the bluebells would spring no more. All vulnerable things must perish under the rolling and running of iron. He thought with infinite tenderness of the woman. Poor forlorn thing, she was nicer than she knew, and oh so much too nice for the tough lot she was in contact with. Poor thing, she too had some of the vulnerability of the wild hyacinths, she wasnt all tough rubber-goods and platinum, like the modern girl. And they would do her in As sure as life, they would do her in, as they do in all naturally tender life. Tender Somewhere she was tender, tender with a tenderness of the growing hyacinths, something that has gone out of the celluloid women of today. But he would protect her with his heart for a little while. For a little while, before the insentient iron world and the Mammon of mechanized greed did them both in, her as well as him. -- Ch.10, p. 134
劳伦斯(1885-1930)是二十世纪英国最独特和最有争议的作家之一。他生于诺丁汉一个矿工家庭,二十一岁时入诺丁汉大学学习,一生中创作了四十余部小说、诗歌、游记等作品,《儿子与情人》被认为是其最好的小说。劳伦斯提倡人性自由发展,反对工业文明对自然的破坏。他的作品对家庭、婚姻和性进行了深入探索,对20世纪的小说写作产生了广泛影响。她是英国诗人、小说家、散文家,曾在国内外漂泊十多年。他写过诗,但主要写长篇小说,共有 10 部,最著名的为《虹》( 1915 )、《爱恋中的女人》( 1921 )和《查特莱夫人的情人》( 1928 )。《查特莱夫人的情人》是劳伦斯的最后一部小说。劳伦斯相信,人类的性爱具有至高无上的价值,也许这个世界上没有一个作家能像他那样,以宗教般的热忱赞美人间性爱,以细腻微妙的笔触描绘两性关系中那种欲仙欲死的境界,而那伴随着炽烈的性爱体验的,是对历史、政治、宗教、经济等社会问题的严肃思考。由于小说毫不隐晦地描写了性爱,因而被斥为淫秽作品,并遭查禁。1959年出版此书的英国企鹅出版社还被控犯有出版淫秽作品罪,引起了轰动整个西方出版界的官司。直到1960年10月伦敦中央刑事法院裁定出版社无罪,小说才得以解禁。《查特莱夫人的情人》虽然命运坎坷,但终以其严肃的寓意、社会批判的主题,真切透辟的写实手法和细腻深刻的心理描写成为名著,并对现当代英国乃至西方文学产生了重大影响。
这是一部非常非常美丽的小说,美丽得如同童话。它是文学描写中最动人的爱情之一了:富有灵性,激情跌宕。然而读懂的人大约并不多。 “接触之美是远比眼见之美更为生动和深刻的。”男女主人公是自然的儿女,他们敏感,细腻,超越了世俗的名利、地位的纷扰,感受着生命最本...
我对这部作品的感情是复杂的,它承载了太多关于“解放”的文学意象。我希望这次的阅读,能够让我抛开过往的刻板印象,重新去审视那些关于“真实感受”与“社会角色”之间的永恒冲突。我更看重的是那些未被驯化的情感表达,那些在礼仪和禁忌边缘游走的、充满生命力的瞬间。我希望这个“恢复版”没有过度美化或过度净化文本,而是忠实地保留了劳伦斯笔下那种原始的、近乎野性的激情与对僵化体制的深刻不屑。每一次阅读,都应该是一次对自我内心深处被压抑部分的诚实面对,而好的版本,就是那把能轻易开启这扇门的钥匙,它必须足够锋利,足够精确,才能切开重重迷雾,直达核心。
评分我必须承认,选择阅读这本书,更多是出于一种对文学史脉络的梳理和对禁忌话题的探索欲望。这不仅仅是一个爱情故事,它更像是一面镜子,折射出彼时社会对“生命力”与“情感自然性”的压抑与恐惧。在那个时代背景下,敢于触碰如此敏感的议题,本身就是一种巨大的勇气。我关注的重点在于,这些被“恢复”的文字,如何更直接、更无畏地展现了人与人之间,尤其是在情感和肉体层面上的原始联结。我更倾向于从社会学和心理学的角度去解构作品,探究作者是如何巧妙地利用环境描写和人物对话,来批判僵化的礼教和虚伪的精英文化。每一次重读,都能从中挖掘出新的时代隐喻,而一个优质的版本,理应能更精准地传递出这些潜藏的文化密码,让这些批判的力量不因时间的推移而消减。
评分这本“恢复版”的经典之作,初捧在手,那种墨香和纸张的触感就让人心头一热。我向来对那些经过精心校订、力求还原作者原意的版本情有独钟,总觉得每一次重读,都像是在与作者进行一次跨越时空的对话,去探寻那些隐藏在字里行间、被岁月磨平的微妙情感和时代印记。这次选择这本特定版本,纯粹是出于对劳伦斯这位文学巨匠的敬意,以及对“修复”二字所蕴含的匠心精神的好奇。我期待着,在这些文字重现其应有的清晰与力量时,我能更深入地体会到那个特定历史时期,人们在面对禁锢与解放时内心的挣扎与渴望。阅读的过程,与其说是对一个故事的重温,不如说是一场对人性深处复杂性的细腻勘察,每一次翻页,都像是在解开一重又一重社会强加于个体的枷锁。那些关于阶级、关于自然、关于生命本能的探讨,即便在今天看来,依旧是振聋发聩的。希望这次的阅读体验,能比以往任何一次都更为纯粹、更为震撼。
评分老实说,我对这类被冠以“复古”或“现代恢复”名号的版本总是抱持着一种审慎的乐观态度。毕竟,文学的魅力往往在于其“流变性”,但同时,对初衷的尊重又是不可或缺的。我更看重的是文本的“质感”——文字排列的节奏感,段落过渡的流畅性,这些细微之处往往决定了阅读体验的成败。在我看来,一部伟大的作品,其叙事声调必须是统一且具有穿透力的,不应被任何技术性的瑕疵所干扰。我希望这本“修复版”能真正做到了让语言回归其本来的面貌,剥离掉那些不必要的干扰,让读者能直接面对作者构建的世界观和人物的灵魂深处。阅读的过程,其实就是进入作者意图构建的那个心理空间,任何版本上的偏差,都可能像照相机的失焦一样,使得意境大打折扣。这次的期待,主要聚焦于文字的“纯净度”和叙述的“连贯性”。
评分从排版和装帧上来说,这个版本的“现代恢复”给我带来了一种奇妙的平衡感——既有经典文学的厚重,又不失当代阅读的舒适性。内文的字体选择恰到好处,字距和行距的拿捏,极大地减轻了长时间阅读带来的视觉疲劳。说到底,阅读体验是个综合性的工程,文字内容固然是核心,但呈现方式也同样重要。如果内容再精彩,排版混乱或者纸张粗糙,都会让人难以沉浸其中。我尤其欣赏那种能够让人忘记自己是在“阅读一本印刷品”的体验,仿佛文字直接印在了脑海里。这种沉浸感,对于探讨深度主题的作品尤为关键,因为它要求读者必须全神贯注,跟上作者那略显跳跃和充满象征意味的叙事节奏。这次的物理感受,是我愿意为之买单的重要原因之一。
评分第一本英文书。
评分吾师曾曰过:女人的阴道是女人的心。
评分吾师曾曰过:女人的阴道是女人的心。
评分吾师曾曰过:女人的阴道是女人的心。
评分这本看得时间能按年算了吧,真的很吃力。虽然很多地方感觉情节设置别别扭扭的而且德比口音太可怕了,但是主角们的转变和觉醒写得绝赞一发!而且有的描写助性效果极佳。雨中裸奔那一段着实比电影里精彩,但总的来说感觉印象中电影难得地刻画得要比原著来得舒服,作者文笔不是很对口味。下阶段任务推一本卡波特然后回归挚爱的王尔德。
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