【全浸经典】Great Expectation-Charles Dickens
【全浸经典】Great Expectation-Charles Dickens
【全浸经典】Great Expectation-Charles Dickens
全浸阅读=TotalImmerseDynamic eReading=TIDE
内容导读
➤1.-作者简介The Writers-
CHARLES DICKENS
Born on February 7, 1812, Charles Dickens was the second of eight children in a family burdened with financial troubles. Despite his deprived beginnings, he became the best-selling writer of his time.
In 1824, young Charles was withdrawn from school and forced to work at a boot-blacking factory when his improvident father—in fact, his entire family, except for him—was sent to debtor’s prison, where they remained for three months. Once they were released, Charles attended a private school for three years. The young man then became a solicitor’s clerk, mastered shorthand, and before long was employed as a Parliamentary reporter. When he was in his early twenties, Dickens began to publish stories and sketches of London life in a variety of periodicals.
It was the publication of ThePickwick Papers(1836—1837) that catapulted the twenty-five-year-old author to national renown. Dickens wrote with unequaled speed and often worked on several novels at a time, publishing them first in monthly installments and then as books. His early novelsOliver Twist(1837-1838),Nicholas Nickleby(1838-1839),The Old Curiosity Shop(1840-1841), andA Christmas Carol(1843) solidified his enormous, ongoing popularity. When Dickens was in his late thirties, his social criticism became biting, his humor dark, and his view of poverty darker still.David Copperfield(1849-1850),Bleak House(1852-1853),Hard Times(1854),A Tale of Two Cities(1859),Great Expectations(1860- 1861), andOur Mutual Friend(1864-1865) are the great works of his masterful and prolific later period.
In 1858 Dickens’s twenty-three-year marriage to Catherine Hogarth dissolved when he fell in love with Ellen Ternan, a young actress. The last years of his life were filled with intense activity: writing, managing amateur theatricals, and undertaking several reading tours that reinforced the public’s favorable view of his work but took an enormous toll on his health. Working feverishly to the last, Dickens collapsed and died on June 9, 1870, leavingThe Mystery of Edwin Drooduncompleted.
主要作品Major Works：
早期作品以连载发表居多
1.ThePickwick Papers(1836—1837)
2.Oliver Twist(1837-1838)
3.Nicholas Nickleby(1838-1839)
4.The Old Curiosity Shop(1840-1841)
5.A Christmas Carol(1843)
---------------------------------------------------------
后期作品更加辛辣老练，对小人物刻画更加得心应手
6.David Copperfield(1849-1850)
7.Bleak House(1852-1853)
8.Hard Times(1854)
9.A Tale of Two Cities(1859)
10.Great Expectations(1860- 1861)
11. Our Mutual Friends(1864-1865)
Constitutional chicane
➤2.-节选自《远大前程》Digested from “Great Expectation”
》》》作品背景参见节选后的第三部分
Chapter 1.
MY FATHER’S FAMILY NAMEbeing Pirrip, and my christian name Philip, my infant tongue could make of both names nothing longer or more explicit* than Pip. So I called myself Pip, and came to be called Pip.
-infant tongue
-explicit:clearly expressed
I give Pirrip as my father’s family name on the authority of his tombstone and my sister—Mrs. Joe Gargery, who married the blacksmith. As I never saw my father or my mother, and never saw any likeness of either of them (for their days were long before the days of photographs),1my first fancies regarding what they were like were unreasonably derived from their tombstones. The shape of the letters on my father‘s, gave me an odd idea that he was a square, stout, dark man, with curly black hair. From the character and turn of the inscription,“Also Georgiana Wife of the Above,”I drew a childish conclusion that my mother was freckled and sickly. To five little stone lozenges, each about a foot and a half long, which were arranged in a neat row beside their grave, and were sacred to the memory of five little brothers of mine—who gave up trying to get a living exceedingly early in that universal struggle—I am indebted for a belief I religiously entertained that they had all been born on their backs with their hands in their trousers pockets, and had never taken them out in this state of existence.
-on the authority of his tombstone
-never saw any likeness of either of them
-my first fancies regarding...
-were unreasonably derived from...
-square, stout(heavied body), dark man
-drew a childish conclusion that...
-freckled(with freckle雀斑) and sickly
-lozenge 菱形
-gave up trying to get a living exceedingly early in that universal struggle 大师笔下的躺平
-I am indebted for a belief
-they had all been born on their backs with their hands in their trousers pockets, and had never taken them out in this state of existence 双手插兜的黑色幽默
Ours was the marsh country, down by the river, within, as the river wound, twenty miles of the sea.aMy first most vivid and broad impression of the identity of things seems to me to have been gained on a memorable raw afternoon towards evening. At such a time I found out for certain that this bleak place, overgrown with nettles was the churchyard; and that Philip Pirrip, late of this parish, and also Georgiana wife of the above, were dead and buried; and that Alexander, Bartholomew, Abraham, Tobias, and Roger, infant children of the aforesaid, were also dead and buried; and that the dark, flat wilderness beyond the churchyard, intersected with dykes, and mounds, and gates, with scattered cattle feeding on it, was the marshes; and that the low, leaden line beyond, was the river; and that the distant savage lair from which the wind was rushing, was the sea; and that the small bundle of shivers growing afraid of it all and beginning to cry, was Pip.
-the marsh country
-as the river wound(wind)
-At such a time I found out for certain that 这个found out for certain后面开启了一系列的that 从句，不急不忙一层层把场景交待得一清二楚
-the small bundle of shivers
-growing afraid of it all and beginning to cry
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“Hold your noise!” cried a terrible voice, as a man started up from among the graves at the side of the church porch. “Keep still, you little devil, or I’ll cut your throat!”
A fearful man, all in coarse grey, with a great iron on his leg. A man with no hat, and with broken shoes, and with an old rag tied round his head. A man who had been soaked in water, and smothered in mud, and lamed by stones, and cut by flints, and stung by nettles, and torn by briars; who limped and shivered, and glared and growled; and whose teeth chattered in his head as he seized me by the chin.
“O! Don’t cut my throat, sir,” I pleaded in terror. “Pray don’t do it, sir. ”
“Tell us your name!” said the man. “Quick!”
“Pip, sir.”
“Once more,” said the man, staring at me. “Give it mouth!”
“Pip. Pip, sir.”
“Show us where you live,” said the man. “Point out the place!”
I pointed to where our village lay, on the flat in-shore among the alder trees and pollards, a mile or more from the church.
-soaked in water
-smothered in mud
-lamed by stones
-cut by flints
-stung by nettles
-torn by briars(plants with thorns)
-limped and shivered
-glared and growled
-whose teeth chattered in his head
三句A man...a man...a man...人物描写跃然纸上
The man, after looking at me for a moment, turned me upside-down, and emptied my pockets. There was nothing in them but a piece of bread. When the church came to itself—for he was so sudden and strong that he made it go head over heels before me, and I saw the steeple under my feet—when the church came to itself, I say, I was seated on a high tombstone, trembling, while he ate the bread ravenously.
“You young dog,” said the man, licking his lips, “what fat cheeks you ha’ got.”
I believe they were fat, though I was at that time undersized for my years, and not strong.
“Darn Me if I couldn’t eat ‘em,” said the man, with a threatening shake of his head, “and if I han’t half a mind to’t!”
I earnestly expressed my hope that he wouldn‘t, and held tighter to the tombstone on which he had put me; partly, to keep myself upon it; partly, to keep myself from crying.
“Now lookee here!” said the man. “Where’s your mother?”
“There, sir!” said I.
He started, made a short run, and stopped and looked over his shoulder.
“There, sir!” I timidly explained. “Also Georgiana. That’s my mother.”
“Oh!” said he, coming back. “And is that your father alonger your mother?”
“Yes sir,” said I; “him too; late of this parish.”
“Ha!” he muttered then, considering. “Who d‘ye live with—sup posin’ you’re kindly let to live, which I han’t made up my mind about?”
“My sister, sir—Mrs. Joe Gargery—wife of Joe Gargery, the blacksmith, sir.”
“Blacksmith, eh?” said he. And looked down at his leg.
-When the church came to itself—for he was so sudden and strong that he made it go head over heels before me, and I saw the steeple under my feet—when the church came to itself 身临其境
After darkly looking at his leg and at me several times, he came closer to my tombstone, took me by both arms, and tilted me back as far as he could hold me; so that his eyes looked most powerfully down into mine, and mine looked most helplessly up into his.
“Now lookee here,” he said, “the question being whether you’re to be let to live. You know what a file is?”
“Yes, sir.”
“And you know what wittles is?”b
“Yes, sir.”
After each question he tilted me over a little more, so as to give me a greater sense of helplessness and danger.
“You get me a file.” He tilted me again. “And you get me wittles.” He tilted me again. “You bring ‘em both to me.” He tilted me again. “Or I’ll have your heart and liver out.” He tilted me again.
I was dreadfully frightened, and so giddy that I clung to him with both hands, and said, “If you would kindly please to let me keep upright, sir, perhaps I shouldn’t be sick, and perhaps I could attend more.”
-tilted me back
-give me a greater sense of helplessness and danger
-i was dreadfully frightened
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He gave me a most tremendous dip and roll, so that the church jumped over its own weather-cock. Then, he held me by the arms, in an upright position on the top of the stone, and went on in these fearful terms:
“You bring me, to-morrow morning early, that file and them wittles. You bring the lot to me, at that old Battery over yonder. You do it, and you never dare to say a word or dare to make a sign concerning your having seen such a person as me, or any person sumever, and you shall be let to live. You fail, or you go from my words in any particular, no matter how small it is, and your heart and your liver shall be tore out, roasted and ate. Now, I ain’t alone, as you may think I am. There’s a young man hid with me, in comparison with which young man I am a Angel. That young man hears the words I speak. That young man has a secret way pecooliar to himself, of getting at a boy, and at his heart, and at his liver. It is in wain for a boy to attempt to hide himself from that young man. A boy may lock his door, may be warm in bed, may tuck himself up, may draw the clothes over his head, may think himself comfortable and safe, but that young man will softly creep and creep his way to him and tear him open. I am keeping that young man from harming of you at the present moment, with great difficulty. I find it wery hard to hold that young man off of your inside. Now, what do you say?”
-a most tremednous dip and roll
-the church jumped over its own weather-cock(风标）
-in these fearful terms
-make a sign concerning...
I said that I would get him the file, and I would get him what broken bits of food I could, and I would come to him at the Battery,cearly in the morning.
“Say Lord strike you dead if you don‘t!” said the man.
I said so, and he took me down.
“Now,” he pursued, “you remember what you’ve undertook, and you remember that young man, and you get home!”
“Goo-good night, sir,” I faltered.
“Much of that!” said he, glancing about him over the cold wet flat. “I wish I was a frog. Or a eel!”
At the same time, he hugged his shuddering body in both his arms—clasping himself, as if to hold himself together—and limped towards the low church wall. As I saw him go, picking his way among the nettles, and among the brambles that bound the green mounds, he looked in my young eyes as if he were eluding the hands of the dead people, stretching up cautiously out of their graves, to get a twist upon his ankle and pull him in.
-hugged his shuddering body in both his arms, clasping himself, as if to hold himself together
-as if he were eluding the hands of the dead people, stretching up cautiously out of their graves, to get a twist upon his ankle and pull him in
两个as if，满屏孤独凄惨
When he came to the low church wall he got over it, like a man whose legs were numbed and stiff, and then turned round to look for me. When I saw him turning, I set my face towards home, and made the best use of my legs. But presently I looked over my shoulder, and saw him going on again towards the river, still hugging himself in both arms, and picking his way with his sore feet among the great stones dropped into the marshes here and there, for stepping-places when the rains were heavy or the tide was in.
The marshes were just a long black horizontal line then, as I stopped to look after him; and the river was just another horizontal line, not nearly so broad nor yet so black; and the sky was just a row of long angry red lines and dense black lines intermixed. On the edge of the river I could faintly make out the only two black things in all the prospect that seemed to be standing upright; one of these was the beacon by which the sailors steered—like an unhooped cask upon a pole—an ugly thing when you were near it; the other a gibbet, with some chains hanging to it which had once held a pirate. The man was limping on towards this latter, as if he were the pirate come to life, and come down, and going back to hook himself up again. It gave me a terrible turn when I thought so; and as I saw the cattle lifting their heads to gaze after him, I wondered whether they thought so too. I looked all round for the horrible young man, and could seen no signs of him. But, now I was frightened again, and ran home without stopping.
-the marshes were just a long black horizontal line
-the river was just another horizontal line
-the sky was just a row of long angry red lines and dense black lines intermixed 三条线，诉尽荒凉
-as if he were the pirate come to life, and come down, and going back to hook himself up again 好诡异的as if
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《远大前程》是狄更斯偏晚期作品，其时作者风格已经返璞归真，寥寥几笔，就已经把人物与场景交待清楚，且栩栩在目。
机翻中文仅供参考
我父亲的姓是皮里普，我的基督教名字是菲利普，我的婴儿舌头不能把这两个名字比皮普更长或更明确。所以我称自己为皮普，后来被称为皮普。
我根据他的墓碑和我的妹妹——Mrs. 的授权，将 Pirrip 作为我父亲的姓氏。Joe Gargery，嫁给了铁匠。由于我从未见过我的父亲或母亲，也从未见过他们中的任何一个的相似之处（因为他们的时代早在照片时代之前）1，我对他们长相的最初幻想是不合理地来自他们的墓碑。我父亲的字母形状让我觉得他是一个方形的、粗壮的、黑黝黝的男人，有一头卷曲的黑发。从题字“也是乔治亚娜的妻子”的文字和转折中，我得出了一个幼稚的结论，即我的母亲有雀斑和病态。给五个小石锭，每个大约一英尺半长，整齐地排列在他们的坟墓旁边，在我的五个弟弟的记忆中是神圣的——他们很早就放弃了谋生那场普遍的斗争——我感谢我虔诚地接受的一种信念，即他们都是仰卧出生，双手插在裤兜里，从来没有在这种存在状态下把他们拿出来。
我们是沼泽国家，在河边，河流蜿蜒，距离大海 20 英里。a 在我看来，我对事物身份的第一个最生动、最广泛的印象似乎是在一个难忘的原始下午获得的晚上。就在这时，我确定这荒凉、长满荨麻的地方就是教堂墓地。菲利普·皮里普（Philip Pirrip），这个教区的晚期，以及上面的乔治亚娜（Georgiana）的妻子，都死了并被埋葬了；亚历山大、巴塞洛缪、亚伯拉罕、托拜厄斯和罗杰，上述的婴儿，也都死了并被埋葬了；墓地对面黑暗平坦的荒野，与堤坝、土丘和城门相交，散落着牛群在上面觅食，这就是沼泽；远处那条低沉的铅线是河流；远处狂风肆虐的野蛮巢穴是大海；而那一小群颤抖的人越来越害怕这一切并开始哭泣，那就是皮普。
“别吵了！”一个人从教堂门廊旁边的坟墓中站了起来，一个可怕的声音叫道。“别动，小鬼，不然我就割断你的喉咙！”
一个可怕的人，一身粗灰色衣服，腿上挂着一根大铁。一个没有帽子、鞋子破了、头上系着一块旧破布的人。一个被水浸湿，被泥土窒息，被石头绊倒，被燧石割伤，被荨麻刺痛，被荆棘撕碎的人；他一瘸一拐地颤抖着，瞪着眼睛咆哮着；当他抓住我的下巴时，他的牙齿在他的脑海里打颤。
“哦！不要割断我的喉咙，先生，”我惊恐地恳求道。“请不要这样做，先生。”
“告诉我们你的名字！”男人说。“快的！”
“匹普，先生。”
“再来一次，”男人说，盯着我看。“给它嘴！”
“点。匹普，先生。”
“告诉我们你住在哪里，”男人说。“指出地点！”
我指着我们村子所在的地方，在桤木树和波拉德之间的平坦海岸上，距离教堂一英里或更多。
男人看了我一会儿，把我翻了个身，掏空了我的口袋。除了一块面包，里面什么都没有。当教堂清醒过来时——因为他是如此突然和强壮，以至于他在我面前使之从头到脚，我看到了我脚下的尖塔——当教堂清醒过来时，我说，我坐在高台上墓碑颤抖着，他狼吞虎咽地吃着面包。
“你这小狗，”男人舔着嘴唇说，“你的脸蛋多肥啊。”
我相信他们很胖，虽然当时我的身材矮小，而且不强壮。
“如果我不能吃它们，该死的，”那人说，威胁地摇了摇头，“如果我不介意的话！”
我恳切地表示希望他不要，并紧紧抓住他放我的墓碑；部分是为了坚持下去；部分原因是为了不让自己哭泣。
“现在看这里！”男人说。“你妈妈呢？”
“那里，先生！”我说。
他开始了，跑了一小段路，然后停下来回头看了看。
“那里，先生！”我怯生生地解释道。“还有乔治亚娜。那是我妈妈。”
“哦！”他说，回来了。“那是你父亲和你母亲吗？”
“是的，先生，”我说。“他也是；这个教区迟到了。”
“哈！”他喃喃自语，考虑着。“你和谁住在一起——假设你被善意地让住了，我还没有下定决心？”
“我的姐姐，先生——夫人。乔·加杰里——铁匠乔·加杰里的妻子，先生。”
“铁匠，嗯？”他说。并且低头看了看自己的腿。
他阴沉地看了他的腿和我几眼之后，走到我的墓碑前，抓住我的双臂，把我往后仰，尽量抱住我；所以他的眼睛最有力地向下看我的，而我的眼睛最无助地向上看他的。
“现在看这里，”他说，“问题是你是否要活下去。你知道什么是文件吗？”
“是的先生。”
“你知道什么是虫子吗？”b
“是的先生。”
每问完一个问题，他就让我多倾斜一点，让我有更大的无助感和危险感。
“你给我一个锉子。”他再次倾斜我。“而且你让我很生气。”他再次倾斜我。“你把它们都带给我。”他再次倾斜我。“或者我会把你的心脏和肝脏都取出来。”他再次倾斜我。
我吓坏了，头晕目眩，双手紧紧地抱住他，说：“先生，请您让我保持直立，也许我不应该生病，也许我可以参加更多。”
他给了我一个最大的俯冲和翻滚，以至于教堂跳过了自己的风向标。然后，他抓住我的胳膊，直立在石头上，用这些可怕的话继续说：
“明天一大早，你给我带来那份文件和它们的小东西。你给我带来了很多东西，在那边那个旧电池。你这样做了，你从来不敢说一句话，也不敢做任何迹象，表明你见过我这样的人，或者任何人，你会被放生的。你失败了，或者你在任何方面都偏离了我的话，不管它有多小，你的心脏和你的肝脏都会被撕掉，烤着吃。现在，我并不孤单，正如你可能认为的那样。有一个年轻人和我一起躲藏起来，与哪个年轻人相比，我是天使。那个年轻人听到了我说的话。那个年轻人对自己有一种特殊的秘密方式，那就是攻击一个男孩，攻击他的心脏，攻击他的肝脏。一个男孩试图向那个年轻人隐藏自己是不合适的。一个男孩可能会锁上门，可能会在床上暖和起来，可能会蜷缩起来，可能会把衣服拉到头上，可能会认为自己很舒服和安全，但那个年轻人会轻柔地爬过来，爬到他身边，把他撕开.我现在很难阻止那个年轻人伤害你。我发现很难让那个年轻人离开你的内心。现在，你说什么？”
我说我会把锉子拿给他，我会给他我能吃到的零碎食物，然后一大早就到炮台找他。
“如果你不这样做，就说主打死你！”男人说。
我这么说，他就把我拉下来了。
“现在，”他继续说，“你记得你所做的事情，你记得那个年轻人，然后你就回家了！”
“晚安，先生，”我结结巴巴地说。
大部分！”他一边说，一边在寒冷潮湿的公寓里扫视四周。“我希望我是一只青蛙。或者鳗鱼！”
与此同时，他将颤抖的身体抱在怀里——紧紧地抱住自己，仿佛要把自己抱在一起——一瘸一拐地走向教堂的矮墙。当我看到他在荨麻和包围绿色土丘的荆棘中挑出一条路时，他看着我年轻的眼睛，好像他正在躲避死者的手，小心翼翼地从他们的坟墓中伸出来，扭动他的脚踝，把他拉进去。
当他来到教堂的矮墙时，他像一个双腿麻木僵硬的人一样翻过它，然后转身寻找我。看到他转身，我把脸转向家，使劲用腿。但不久，我回头一看，看见他又朝河边走去，仍然用双臂抱住自己，用酸痛的双脚在四处落入沼泽地的巨石中挑出一条路，作为踏脚点。雨很大，或者潮水涨了。
当我停下来照顾他时，沼泽地只是一条长长的黑色水平线；这条河只是另一条水平线，没有那么宽，也没有那么黑。而天空只是一排长长的愤怒的红线和密密麻麻的黑线交织在一起。在河的边缘，我隐约能辨认出这一切似乎是直立的景象中仅有的两个黑色的东西；其中一个是水手们用来驾驶的灯塔——就像一根没有箍的木桶放在一根杆子上——当你靠近它时，这是一个丑陋的东西。另一个是绞刑架，上面挂着一些曾经关押过海盗的锁链。那人一瘸一拐地朝后者走去，仿佛他是一个活过来的海盗，然后下来，又回去重新勾住自己。当我这么想的时候，它给了我一个可怕的转折。当我看到牛群抬起头来注视他时，我不知道它们是否也这么想。我环顾四周，寻找那个可怕的年轻人，却看不到他的踪迹。可是，现在我又被吓到了，马不停蹄地跑回家了。
➤3.-作品背景The backdrop of the work
INTRODUCTION
Whatever expectations Charles Dickens had for his thirteenth novel, he probably did not anticipate that it would someday come to exemplify the Victorian novel itself. But to the countless contemporary readers who follow the adventures of young Pip, the convict he fears, the girl he loves, and the strange old woman he thinks will make his fortune,Great Expectationsis in many ways the quintessential nineteenth-century story: part mystery, part bildungsroman, or novel of education, in which our hero, rising above his modest beginnings, moves to London, prospers, and eventually (he hopes) gets the girl. Pip’s course, however, does not run so smoothly, and it is the variations Dickens plays on this theme that prompt us to readGreat Expectationsboth with and against the grain of the Victorian novel. At times it is less an emblem of tradition than a marker of change in both the English society it depicts and the English novel it represents. There are surprises at work inGreat Expectationsfor both its characters and its readers, who bring to it their own expectations of what a novel should be and do.
A caricature of Dickens displayed in bookstores when the first sections ofGreat Expectationsappeared (in serialized form, as was common for novels in the Victorian era) shows the author at his desk, pen in hand, hair standing on end, exuding genius. The caption reads, “Charles Dickens, from whom we have Great Expectations.” Though the pun is obvious, it is worth recalling for the simple reason that it sounds oddly forward-looking, like something one would say of a promising young writer at the beginning of his career. When Dickens beganGreat Expectations, at age forty-eight, he already had a dozen novels to his name, as well as countless short stories; he was also an accomplished and experienced editor, a powerful publisher, and a prolific generator of nonfic tion—articles, editorials, sketches, and so on. Thanks to both his own prodigious skills and the remarkable rise in literacy rates in nineteenth-century England and America—a fortuitous combination of talented writer and eager new readership—Dickens was one of the first bona-fide mass-market writers in history, a best-selling author and, as novelist Jane Smiley observes in a recent biography, “maybe the first true celebrity in the modern sense.” If the world had great expectations of Dickens, those expectations could be only that he would continue to deliver a product of which he himself was the most significant producer: compelling stories that appeared in monthly or weekly installments to entertain and inform. And so the caricature’s caption reminds us of Dickens’s intimate relationship to his readership; the novels he produced went from his pen to their hands with a kind of immediacy that no longer exists in the world of fiction outside of journalism. With every installment of his new novel, Dickens would fulfill expectations, even as he stoked the public’s appetite for more.
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