都柏林人
出版社:上海译文出版社
出版日期:1984-01-01
ISBN:SH10188-494
作者:[爱尔兰]詹姆斯·乔伊斯
页数:263页
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精彩书评 (总计4条)
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1 《姐妹们》宗教、信仰及其幻灭，冷漠，呆滞2 《偶遇》少年与老年，人生各个阶段的断裂，潜藏在心中的变态3 《阿拉比》爱的虚妄，虚荣心，冲动4 《伊芙琳》爱的虚妄，自己与责任的冲突，责任与感情，意志力之不可避免的软弱5 《车赛以后》虚荣，庸俗，“欢乐”的虚伪，市侩的拜物教6 《两个浪子》年轻的荒诞，空虚，卑俗，漠不关心，人与人相互的欺骗与蔑视，寻求意义7 《寄寓》爱的虚妄，市侩的婚姻与欲望，阴谋，生活的空虚本质8 《一朵浮云》人的改变，友情中的虚荣与真相，贫富之间的矛盾心态，自负与自恋，自视清高与理想9 《无独有偶》麻木，异化，沉沦到不能自拔，令人悲哀的恶性循环10 《土》可爱的人们的无奈的生命，泪水中响起爱尔兰民歌11 《悲痛的往事》孤独，精神与爱与什么是爱，自责，中年人对于人生的检视12 《纪念日，在委员会办公室》爱尔兰的政治，理想与现实，历史与现在，崇高与委琐13 《母亲》虚伪，市侩，吝啬与贪婪，卑俗14 《圣恩》宗教的虚伪，咬伤舌头也许象征在宗教性的社会环境压力下的失语，爱尔兰的宗教，严肃与无聊15 《死者》爱的真实与虚妄，欢乐的真与假，人与人的真诚与逢场作戏，庸俗，冷漠，无聊，尴尬，情面，死亡，死亡与爱，死亡与所有人（作为必然，作为苦，作为罪的罚，作为仅仅是一个结束），死亡与生 -
“The Dead”What I have done and left undone hardly mattered. Success is unimportant and failure amounts to nothing. Life is insignificant and death of little consequence.------------- William Somerset Maugham"The Dead" is the final short story in the 1914 collection Dubliners by James Joyce. It is the longest story in the collection and is often considered the best of Joyce's shorter works. At 15,672 words it has also been considered a novella. The story centers on Gabriel Conroy on the night of the Morkan sisters' annual dance and dinner in the first week of January, 1904, perhaps the Feast of the Epiphany (January 6). Typical of the stories in Dubliners, "The Dead" develops toward a moment of painful self-awareness; Joyce described this as an epiphany. The narrative generally concentrates on Gabriel's insecurities, his social awkwardness, and the defensive way he copes with his discomfort. The story culminates at the point when Gabriel discovers that, through years of marriage, there was much he never knew of his wife's past.Upon arriving at the party with his wife, Gabriel makes an unfunny joke about the maid's marriage prospects, after which he fidgets, adjusts his clothing, and offers her money as a holiday present. Not long after that, he gets flustered again when his wife pokes fun at him over a conversation they had earlier, in which he had suggested buying a pair of galoshes for the bad weather. With such episodes, Gabriel is depicted as particularly pathetic. Similarly, Gabriel is unsure about quoting a poem from the poet Robert Browning when he is giving his dinner address, as he is afraid to be seen as pretentious. But at the same time, Gabriel considers himself above the others when he considers that the audience would not understand the words he uses.Later in the evening, when giving the traditional holiday toast in front of the guests, Gabriel overcompensates for some of his earlier statements to his evening dancing partner Miss Ivors, who is an Irish nationalist. His talk relies heavily on conventions, and he praises the virtues of the Irish people and idealizes the past in a way that feels contrived and disingenuous (especially considering what the past will mean to him once he hears his wife's story).When preparing to leave the party, Gabriel sees his wife, Gretta, on the stairs, absorbed in thought. He stares at her for a moment before he recognizes her as his wife. He then imagines her as the model in a painting called "Distant Music". Her distracted, wistful mood arouses sexual interest in him. He tries indirectly to confront her about it after the party in the hotel room he has reserved for them, but he finds her unresponsive. Trying to make ironic, half-suggestive comments to his wife, Gabriel learns that she was feeling nostalgic after having heard Mr. D'Arcy singing The Lass of Aughrim at the party.Upon being pressed further, Gretta tells Gabriel that the song had reminded her of the time when she was a young girl in Galway, when she had been in love with a young boy named Michael Furey. At the time, Gretta was being kept at her grandmother's home before she was to be sent off to a convent in Dublin. Michael, being terribly sick, was ordered to remain bedridden and was unable to see her. Despite being sick, when it came time for her to leave Galway, Michael travelled through the rain to Gretta's window, and although he got to speak with her again, he ended up dying within the week.The remainder of the text delves into Gabriel's thoughts after he hears this story, exploring his shifting views on himself, his wife, the past, on the living and the dead. It is ambiguous whether the epiphany is just an artistic and emotional moment or whether Gabriel will ever manage to escape his smallness and insecurity.Such synopsis above about The dead is taken from Wikipedia.AnalysisIn the dead, Gabriel Conroy’s restrained behavior and his reputation mark him a man of authority and caution, but two encounters with women at the party challenge his confidence, thus leading to his unmeasured response and loss of control later.When he sees Gretta transfixed by the music at the end of the party, Gabriel yearns intensely to have control of her strange feelings. Though Gabriel remembers their romantic courtship and is overcome with attraction for Gretta, this attraction is rooted not in love but strangely in his desire to control her.At the hotel, Gabriel grows irritated by Gretta’s behavior. She does not seem to share his romantic inclinations, and in fact bursts into tears. Then Gretta confesses that he was thinking a former lover who died after waiting outsider of her window in the cold when she was lost in the song from the party. And then Gretta later falls asleep, but Gabriel remains awake, disturbed by Gretta’s new information.After Gretta fall asleep, Gabriel curls up on the bed, and his final encounter with her confess ultimately make his unease culminates in his tense and at the same time forces him to confront his stony view of the world as well as contemplate his own morality. He has never been “master” and he now that another man preceded him in Gretta’s life. He feels sadness rather than simply jealousy because Michel Furey once felt an aching love that himself has never known and maybe never experienced.Reflecting on his own life, he felt that life is short and far from his control. And those who leave the world like Michael Furey, with great passion, in fact live more fully than people like himself.“Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried.” We maybe a shadow of whoever but ourselves in the world and cannot find out what make ourselves unique , living in a world in which the living and the death met, truth and lies mixed and sincerity and hypocrisy collide. Once we may thought that life can be divided to past of the dead and the present of the living, and the later must be of more importance. Now you will recognize that such division is of no significance. As we look outside the window we imagine what covering the ancestors’ grave will someday just as it covers those people still living, as well as the entire world. One by one , we were all becoming shade. Better pass boldly into that other world, in the full glory of some passion, than fade and wither dismally with age.And what is death? Michael Furey’s is dead at 17 but he is still living in somewhere in his lover’s heart. And as for us, we will eventually join the death and will not be remembered without changes deeply in our souls and spirits. But we still have time and chance to change our attitude and embrace life and our dreams, luckily. Deadening routines we may faces everyday like the horse that circles around and around the mill in Gabriel’s anecdote, these Dubliners settle into an expected routine at this party. We are unable to break from the routines we know, so we live life without new experience and eventually numb to the world. We must no longer live in the past and should embrace the present. Both the dead and the living should no longer unit in frozen paralysis. Free our minds and live unfettered by deadening routines, the paralysis cannot last forever as well as the unusual snow in Ireland in the novel. -
（2011年5月号《书城》杂志。转载请注明出处。）有人说：“打开世界地图，并不等于周游了世界。”文学也一样，说再多的“浪漫主义”、“古典主义”、“雪莱”、“托尔斯泰”也没有用。文学是要一本一本读着，一个巷子一个巷子走下来的，谁也代替不了。退一步讲，嚼别人吐出来的甘蔗渣有什么乐趣！那些耸人听闻而又不知所云的概念和名词，给予我们的只不过是榨干了汁汁水水的所谓“文学常识”。听得越多，越围绕作品形成一个符咒，几乎变成卡夫卡的“城堡”，使人无法进入。这真是一个有趣的悖论——评论读得越多，越是不想读原作。“名著就是谁都知道却人人不想去看的书。 ”可谓一语道破。沸沸嚣嚣的评论有时还真是一场无预谋的骗局。之前基于不知从哪儿听来的粗浅印象，我一直对乔伊斯怀有深刻的偏见。对大名鼎鼎的意识流、如雷贯耳的现代主义，从来都是望而生畏、敬而远之的，总觉得它们无外乎华而不实的文学实验，只是捉弄人的花纹和漩涡。直到我在课堂上看到《阿拉比》那篇小文——这就是乔伊斯！窘迫而敏感的人呵！他的东西总莫名其妙地勾起人的回忆。很神奇的小说，它不把你勾进它的故事里，相反，它拉你回溯你自己的世界——家中的木桌，小孩子的嬉闹，向晚的灯光，昨日和远方，那里民情淳朴，心地洁白。令人不胜感慨。我从来没看到过写初恋写得如此干净的文字。那份感情宛若神明，似乎捧着它就足以睥睨万物。歌德说：“我爱你，与你何涉？”文中说的大抵就是这个吧。小家伙的女神甚至不具备一个名字，只说是“曼根的姐姐”。可他会在沉沉的雨夜躲在黑漆漆的后客厅里悸动得难以自持，颤抖着喃喃自语：“啊，爱！啊，爱！” 多么纯粹！屠格涅夫也有一篇《初恋》，可是相比之下是大孩子了，更为注重青春的躁动和奔突的荷尔蒙的力量。小说最后是一场幻灭。爱情（确切的说，这里还只是单恋）的魔力让人骄傲得不自量力，让人错以为拿着那柄宝剑可以无往不胜，甚至能跟整个世界对峙。经过漫长的、惴惴不安的期待，又几经波折，终于千难万险地来到了“阿拉比”。可是等待他的那个“阿拉比”是打烊后荒凉阒寂而又陌生疏离的“阿拉比”，他手足无措了，萌生出一种巨大的失落感。对他来说，长廊尽头传来的熄灯的喊声就像是在灰姑娘心头敲打的十二点钟声——所有的辉煌和梦幻陡然消失了，内心无限怅惘。这种怅惘与其说是他对那个“魅人的阿拉比” 的不满，不如说是他长途跋涉的疲累，是朝圣前的兴奋所必然带来的淡淡绝望。小男孩与成人世界。这就是《阿拉比》结尾处的图式。那个似乎神秘而不可解的王国横亘在他面前，他怎么敌得过那个世界呢？！他困惑地向里张望着。打败他的不是现实，而是突然的自省。事实上，他的极乐和至痛都发生在自己的内心。爱恋也好，苦痛也罢，自始至终都是内在的、不为人知的，甚至可以说是想象性的。让他受折磨的并不是外部的境遇，而是一直梦着的他忽然发现自己其实是在做梦。单单这种醒来就已经让他惊愕得不得了了。刚二十出头的乔伊斯在这个故事上拿捏得如此到位，竟能把感情刻画得这么细腻、这么有质感！真是令人钦佩讶异。《阿拉比》可以称得上是乔伊斯短篇小说集《都柏林人》中最好的作品之一。我一直认为，小说家在短篇中才见功力。读这个集子，总觉清气逼人，让人想起初冬有太阳的早晨，路两旁草叶上的白霜。生命旋归宁静，隐隐约约的忧伤像矮房子上方停得安安稳稳的雾。他笔下的人物好像都在出神，几乎有点像睡着了一样，每个人都很安耽，于是灵魂的些微搅动皆成波澜。诗人的美德是节制。成功的写作都有着一种看似不经意的自控力。《都柏林人》都像是小酒馆里听来的故事，他给它们罩上了一层昏黄的光晕。除了少数几篇（如《无独有偶》、《母亲》）略有些闹热，叙述基本上都是不动声色的，又每每于结尾处有惊人的扭转，让你在漫不经心中魂悸魄动。即使是这种猝不及防的天启式的灵光乍现（乔伊斯自己称作“epiphany”）也并不浓烈，照样是安安静静的。这样写小说真可谓炉火纯青，直入化境。我甚至不想分析他的技法，因为它们总是与叙述融为一体，隐秘得几近让你感觉不到。至于《都柏林人》的主题，众口一词，都说是揭露都柏林人的麻痹（出于乔伊斯1906年5月5日致葛兰特•理查兹的信中提及的“moral paralysis”）。这就像鲁迅揭露国民劣根性一样几乎成为定式。于是，评论铺天盖地地认为这部短篇小说集反映的就是都柏林人的冷漠僵化、麻木无知、腐败怯懦、虚伪狡诈、市侩乏味、阴沉无趣、精神空虚……似乎天底下所有的缺点都被都柏林人拣了去。我倒觉得这种评论未免有点太道德感了，忽视了其他声音。（这种“道德感”是简单的，它用的语言是仿佛事不关己似的、贴标签式的评断。）这些定论将先入为主的意见强加于读者，无意中给作品判了死刑。不客气地说，大伙都自觉不自觉地被乔伊斯给误导了。他真的写的是都柏林吗？现实世界实际上一无是处，如果缺失了心灵的参与。他教给大家的是这样一种对生活的审视，而这种审视是全人类的。如果说他是“用一种处心积虑的卑琐的文体来描写” ，那他也是要把人们从卑琐之中解救出来。在他那里，心灵和现实是不协和的，你走你的，我走我的。内心世界丰富而深邃，洞穴似的，人生就此无限展开。压根没什么好与坏，只要你以一颗赤子之心坦诚面对就是了。读乔伊斯的《都柏林人》，不由得感叹，历史无不是重复。相隔一个世纪了，这本小书读上去还是那么贴近，总有某种境遇让人感到似曾相识。可以说，我们的现实生活跟书中的小人物没有丝毫隔阂，有时甚至就是他们的翻版。这种随处可得的熟悉感能给我们莫大的慰藉。因为文学说到底是一种沟通，是穿越千山万水，说一声“我懂”。《姐妹们》、《偶遇》、《阿拉比》写认认真真的小孩子，世界向他们张开。《伊芙琳》写面临抉择时的极度紧张。结尾处大开大合，空空茫茫的未知，到底何去何从？人仿若是命运的惊涛骇浪中一棵无依的芦苇，被某种不可控的非理性的东西席卷裹挟。而《车赛以后》那一句“天亮了！” 简直就像上帝的审判，停不下来的、让人精疲力竭的舞鞋应声而断。《无独有偶》中抄合同的小职员的生存状态让人想起马克思所说的“人的异化”。卡夫卡笔下也有类似的境况，但笔触截然不同，更逆来顺受些。《悲痛的往事》极为打动我，那个对自己无比严苛的人被“人生的盛宴” 排斥在外，唯有永世的孤独。《死者》从啰啰嗦嗦的舞会写起，开始险些看不下去。直读到文末，所有的细节汇成涨落不一的潮水，那么撼人心魄，下雨的夜晚那个站在花园里为爱而死的年轻人，仿佛我也瞧见了。小说结尾，“整个爱尔兰都在下雪。” 那么静谧，那么博大，那么悲悯……乔伊斯很坏，咕咕哝哝的，把什么都说得朦朦胧胧，让你自己去探寻。在我看来，文学最大的乐趣就在于发现，有些主题太过显明的篇什（如《圣恩》、《纪念日，在委员会办公室》）反而算不上上乘之作。爱尔兰的国都在乔伊斯笔下就像个贫瘠萧索、了无生趣的小镇，无所事事的少年游来荡去。都柏林真的就那么不可救药吗？这个叛离故土的浪子当时让家乡人伤透了心。然而有趣的是，现在乔伊斯这个名字却几乎成为爱尔兰的代言，每年6月16日向他致敬的“布鲁姆日”（Bloomsday，出自乔伊斯代表作《尤利西斯》）也成了都柏林的狂欢盛会，其隆重程度丝毫不亚于国庆日。乔伊斯对都柏林是有感情的，所以他才会那么厌恶它。所谓“爱之深，责之切”嘛。事实上，没有人能摆脱故乡的影子，无论走多远。故乡就像胎记一样，因不可抹去而痛恨。乔伊斯眼里有泪光，也有怀旧的伤感，可他还是用《都柏林人》和他的祖国说了再见。 那个诗人船长康拉德的出发是驶向神秘之域，是穿越时空之旅。而乔伊斯的出发只是离开。去哪？不知道，也不在乎。外面就好，要去闯荡。就像《偶遇》中对远方的渴望——“可是我想，一直呆在家里不可能有真正冒险的经历，非到国外去不行。” 还有《一朵浮云》里小钱德勒的抱怨：“毫无疑问，要想发迹，必须远走高飞。在都柏林，你什么也干不成。” 以及《死者》中加布里埃尔脱口而出的“我的祖国已经让我厌烦了，厌烦了！” 如果说康拉德的出发是生机勃勃的，那么乔伊斯的出发只能说是茫然无措的。《一朵浮云》中，小钱德勒梦想着从伦敦凯旋的老朋友能给他一个出口，却惊讶地发现那不过是个呛人的烟囱。原来外面也是茫然，也是虚空。康拉德可以兴冲冲地奔向另一个世界，而在乔伊斯这里，世界只有一个呀。剧作家易卜生强调在日常生活中理想的坚持，而乔伊斯却说，若要葆有理想，必须离开世俗熏染的日常。天主教，财富，政治，宴会，家庭，爱情，婚姻，独身……他轻轻否决了这一切。因为人一旦投入生活的洪流，会立马被淹没。文学是不可复原的，或者说，文学不可通过非文学的途径复原。我们大可以就《都柏林人》的情节梗概侃侃而谈，说上几百遍，然而它的魅力绝不局限于那个干巴巴的故事上。从某种意义上讲，任何解读都是一种误读，因为失去了它原始的新鲜和生命。洋洋洒洒，给乔伊斯的《都柏林人》写了一首长长的抒情诗，可还是心生惶恐，觉得写得再长，也只不过一种以偏概全的抽离和遮蔽。
精彩短评 (总计50条)
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没有什么传统意义上的小说结尾，但每篇都让人置身场景。让我真正理解了过程即目的。 -
太棒了！用来写毕业论文 《悲痛的往事》《死者》 旧书的翻译真好 -
行色匆匆，很有逼格 -
青年乔伊斯沉稳而富有才情的笔调，与《阿拉比》《一朵浮云》《死者》产生共鸣，《死者》的结尾十页左右是全书最精彩的部分，文字细腻且极富画面感，一对夫妻参加晚宴归来的途中，一股浓酽的柔情涌上丈夫胸口并缓缓漫延，当他们二人回到旅馆房间时，沉默的妻子却突然向他讲起一个年轻时的恋人，一个死去的青年。雪在这样的夜晚无声地飘落，“雪花微微地穿过宇宙在飘落，微微地，如同他们最终的结局那样，飘落到所有的生者和死者身上”。 -
伟大的文学作品...可惜我已经忘得差不多了，唉...深感智商着急 -
乔伊斯虽说写的是都柏林人，实际上那么柔软，细致的心理刻画是超越国界的共鸣情感，唉，文学只能让人清醒又略带点苦涩地活着！
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复调
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整个爱尔兰都在下雪。 -
重读《死者》 -
《死者》的大雪和《百年孤独》的大雨 -
乔伊斯：‘我的目标是要为祖国写一章精神史。我选择都柏林作为背景，因为在我看来，这城市乃是麻痹的中心。’ -
把人物精神解剖出来，够深刻，却不够犀利。翻译佳。 -
简单的故事，非常细致地写出氛围来，好得令人绝望。有几篇需要一再重读。 -
比起近幾年出的版本，更喜歡這本的風格。雖然確實有些地方譯錯了但整體真心棒。 -
不错 -
来爱尔兰买的第一本书 -
挺有味道的小说，想看很久了。给四星是因为之前的期待值太高，换作不是乔伊斯说不定会有个五星。有些小说让你欢喜让你爱，有些却会让你害怕让你冷。《都柏林人》越细看会越冷。 -
好吧，没看懂 -
作家的卑微与伤感一直在其中游动。 -
没读完。这该是手边常备书吧慢慢看. -
总觉得故事情节比较难以抓住我，不过大概能感受到都柏林人的空虚与麻木。 -
乔伊斯时代都柏林的镜像 -
第一篇好，美，二三四一般，放到今天看真的有点过时了 -
早期翻译得特别好 -
又是意识流，我艹 -
翻译的毫无感觉 -
雨、雪、天主教徒、新教徒、英国国王、黑啤酒、小酒馆、随时都会身无分文的酒徒、雨雾蒙蒙夜里街上的行人、无爱的婚姻中的女性 -
虽然纸张泛黄，有些地方比较模糊，但是属这个版本翻译得好；此类小说以人物的心理刻画为主，走意识流路线。讲的都是生活中的那些小人物，故事虽轻，但描写细腻。 -
最爱短篇小说集，喜欢“阿尔比”和“死者”。 -
就是这一本，书摊两块钱淘的，已经忘了写的是什么，需要再读一遍 -
幼年時期面對死亡的懵懂無知， 以為逝者會復生。 少年時期對愛慕對象所表現出的渴望被認同。青年時期對實現理想的憧憬與面對現實的無能為力。中年時期面對窘迫生活的困厄無助。老年時期對過往的留戀， 對死亡的不可置否。整部短篇小說猶如一個輪迴， 死亡始終直面著每一個人， 而每一個人都終將面對， 走往彼岸。 -
《偶遇》《阿拉比》《伊芙琳》，短篇中的短篇，神作。 -
学校图书馆/初读无感，渐渐融进氛围。感觉更像是都柏林的风俗人物志吧，形形色色的人物。最喜欢最后一篇《死者》，他爱着怜悯着那个并非是当初那个病弱的少年为之献出生命的面容。 -
现代人群像 -
在下雨天读完。爱尔兰真冷啊。最后的雪大概是纷纷扬扬的灵魂吧。 -
《阿拉比》《死者》 -
爱尔兰，欧洲的第三世界 “我的祖国已经让我厌烦了，厌烦了！” -
看的是武汉大学出版社版本，可能是翻译问题，决定看一遍上海译文出版社出版的。大概是生活阅历不够，对乔伊斯其他的著作也没阅读过，所以并不能很好理解，共鸣很难达成。一定会再看一遍的。等我看完《如何阅读一本书》之后 -
《伊芙琳》和《纪念日，在委员办公室》最能打动我，前一篇是关于这想挣脱又不舍的人生，后一篇把小人物油滑调侃背后的辛酸写到了极致。 -
翻译真不错 -
杰出的心理描写，展现人类真实的生活图景。原来批判揭露一个社会的麻木不只有鲁迅式的方法。 -
整个爱尔兰都在下雪
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图书馆里很旧的书。从幼时写到老年。这本集子是由好几个人翻译的。前几篇都起来很流畅，很符合中文的顺序和习惯，很舒服。 -
我喜欢一遍一遍的读 -
短篇集必读，最佳译本。 -
一个又一个的故事，时间的流逝折射出一个民族的历程，作者用这本等待着他所热爱的爱尔兰的新生。 -
上世纪80年代末读到此书，对其中一篇印象特别深刻。 -
很久以前看的。每一篇都有一个意外的结局。乔伊斯真是技巧帝！！！ -
配合着英文版又读了一遍，比大一的时候感触多多了... -
路上看了很久的一本书。非常喜欢《悲痛的往事》和《死者》（尤其是结尾那段惊艳到了）。