The Age of Innocence[纯真年代] [平装] epub pdf mobi txt 电子书 下载 2024

The Age of Innocence[纯真年代] [平装] epub pdf mobi txt 电子书 下载 2024

☆☆☆☆☆
简体网页||繁体网页



点击这里下载

The Age of Innocence[纯真年代] [平装] epub pdf mobi txt 电子书 下载 2024

类似图书 点击查看全场最低价

---

编辑推荐

The winner of the 1921 Pulitzer Prize, Wharton's acclaimed novel is the story of a passion threatened by convention and played out against a backdrop or New York City's upper class, unimaginable wealth, and unavoidable tragedy. Revised reissue.

《纯真时代》是伊迪丝·华顿的杰出代表作品。华顿把爱伦--全书的灵魂人物的性格的各个侧面都描写的栩栩如生。她的温柔、善良、勇敢、真实，尤其是她展现出来的牺牲精神更是伴随着故事的发展而升华。

内容简介

The 1920s novel of a passion threatened by convention and played outagainst a backdrop of New York City-s upper class, unimaginable wealth,and unavoidable tragedy.

《纯真年代》讲述透过老纽约社会培养出的最优秀的青年———纽兰，通过他保守的思想和双眼，奥兰斯卡伯爵夫人的形象就是一个极为风情、大胆的女子，有些轻浮、有些散漫，看起来和老纽约社会上的
贵族是那样的不同，在他看来这样的女人也不可能具有什么高贵的品质。但是随着故事的展开，奥兰斯卡伯爵夫人的许多优秀的品质被显现出来，尤其是她的人道主义的牺牲精神展现得尤为突出。

作者简介

Edith Wharton:One of America's most important novelists, Edith Wharton was a refined, relentless chronicler of the Gilded Age and its social mores. Along with close friend Henry James, she helped define literature at the turn of the 20th century, even as she wrote classic nonfiction on travel, decorating and her own life.

伊迪丝·华顿（Edith Wharton, 1862年1月24日－1937年8月11日），是19 世纪末女性现实主义作家的代表，她的一生推出了近十余部作品，包括中、长篇小说、诗歌、传记和文学批评等不同体裁。由于她生活的局限性，她的小说一般都是以一种极其细腻的手法描写着贵族生活，所以也被人称为温和现实主义作家。美国女作家，作品有《高尚的嗜好》、《纯真年代》、《四月里的阵雨》、《马恩河》、《战地英雄》等书。

精彩书评

"One of the best novels of the 20th century."
--NY Times Book Review

"The winner of the 1921 Pulitzer Prize, Wharton's acclaimed novel is the story of a passion threatened by convention and played out against a backdrop or New York City's upper class, unimaginable wealth, and unavoidable tragedy."
-- Revised reissue.

精彩书摘

ON A January evening of the early seventies, Christine Nilsson was singing in "Faust" at the Academy of Music in New York.

Though there was already talk of the erection, in remote metropolitan distances "above the Forties," of a new Opera House which should compete in costliness and splendour with those of the great European capitals, the world of fashion was still content to reassemble every winter in the shabby red and gold boxes of the sociable old Academy. Conservatives cherished it for being small and inconvenient, and thus keeping out the "new people" whom New York was beginning to dread and yet be drawn to; and the sentimental clung to it for its historic associations, and the musical for its excellent acoustics, always so problematic a quality in halls built for the hearing of music.

It was Madame Nilsson's first appearance that winter, and what the daily press had already learned to describe as "an exceptionally brilliant audience" had gathered to hear her, transported through the slippery, snowy streets in private broughams, in the spacious family landau, or in the humbler but more convenient "Brown coupé." To come to the Opera in a Brown coupe was almost as honourable a way of arriving as in one's own carriage; and departure by the same means had the immense advantage of enabling one (with a playful allusion to democratic principles) to scramble into the first Brown conveyance in the line, instead of waiting till the cold-and-gin congested nose of one's own coachman gleamed under the portico of the Academy. It was one of the great livery-stableman's most masterly intuitions to have discovered that Americans want to get away from amusement even more quickly than they want to get to it.

When Newland Archer opened the door at the back of the club box the curtain had just gone up on the garden scene. There was no reason why the young man should not have come earlier, for he had dined at seven, alone with his mother and sister, and had lingered afterward over a cigar in the Gothic library with glazed black-walnut bookcases and finial-topped chairs which was the only room in the house where Mrs. Archer allowed smoking. But, in the first place, New York was a metropolis, and perfectly aware that in metropolises it was "not the thing" to arrive early at the opera; and what was or was not "the thing" played a part as important in Newland Archer's New York as the inscrutable totem terrors that had ruled the destinies of his forefathers thousands of years ago.

The second reason for his delay was a personal one. He had dawdled over his cigar because he was at heart a dilettante, and thinking over a pleasure to come often gave him a subtler satisfaction than its realisation. This was especially the case when the pleasure was a delicate one, as his pleasures mostly were; and on this occasion the moment he looked forward to was so rare and exquisite in quality that—well, if he had timed his arrival in accord with the prima donna's stage-manager he could not have entered the Academy at a more significant moment than just as she was singing: "He loves me—he loves me not—he loves me!—" and sprinkling the falling daisy petals with notes as clear as dew.

She sang, of course, "M'ama!" and not "he loves me," since an unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences. This seemed as natural to Newland Archer as all the other conventions on which his life was moulded: such as the duty of using two silver-backed brushes with his monogram in blue enamel to part his hair, and of never appearing in society without a flower (preferably a gardenia) in his buttonhole.

"M'ama . . . non m'ama . . ." the prima donna sang, and "M'ama!" with a final burst of love triumphant, as she pressed the dishevelled daisy to her lips and lifted her large eyes to the sophisticated countenance of the little brown Faust-Capoul, who was vainly trying, in a tight purple velvet doublet and plumed cap, to look as pure and true as his artless victim.

Newland Archer, leaning against the wall at the back of the club box, turned his eyes from the stage and scanned the opposite side of the house. Directly facing him was the box of old Mrs. Manson Mingott, whose monstrous obesity had long since made it impossible for her to attend the Opera, but who was always represented on fashionable nights by some of the younger members of the family. On this occasion, the front of the box was filled by her daughter-in-law, Mrs. Lovell Mingott, and her daughter, Mrs. Welland; and slightly withdrawn behind these brocaded matrons sat a young girl in white with eyes ecstatically fixed on the stage lovers. As Madame Nilsson's "M'ama!" thrilled out above the silent house (the boxes always stopped talking during the Daisy Song) a warm pink mounted to the girl's cheek, mantled her brow to the roots of her fair braids, and suffused the young slope of her breast to the line where it met a modest tulle tucker fastened with a single gardenia. She dropped her eyes to the immense bouquet of lilies-of-the-valley on her knee, and Newland Archer saw her white-gloved finger-tips touch the flowers softly. He drew a breath of satisfied vanity and his eyes returned to the stage.

No expense had been spared on the setting, which was acknowledged to be very beautiful even by people who shared his acquaintance with the Opera Houses of Paris and Vienna. The foreground, to the footlights, was covered with emerald green cloth. In the middle distance symmetrical mounds of woolly green moss bounded by croquet hoops formed the base of shrubs shaped like orange-trees but studded with large pink and red roses. Gigantic pansies, considerably larger than the roses, and closely resembling the floral pen-wipers made by female parishioners for fashionable clergymen, sprang from the moss beneath the rose-trees; and here and there a daisy grafted on a rose-branch flowered with a luxuriance prophetic of Mr. Luther Burbank's far-off prodigies.

In the centre of this enchanted garden Madame Nilsson, in white cashmere slashed with pale blue satin, a reticule dangling from a blue girdle, and large yellow braids carefully disposed on each side of her muslin chemisette, listened with downcast eyes to M. Capoul's impassioned wooing, and affected a guileless incomprehension of his designs whenever, by word or glance, he persuasively indicated the ground floor window of the neat brick villa projecting obliquely from the right wing.

"The darling!" though

The Age of Innocence[纯真年代] [平装] epub pdf mobi txt 电子书 下载 2024

The Age of Innocence[纯真年代] [平装] 下载 epub mobi pdf txt 电子书 2024

评分☆☆☆☆☆

一年前，我周遭的生活完全崩溃了。工作得筋疲力尽，父亲突然去世，和同事、亲人之间的相处关系也是一团糟。然而当时我却不知道，就在这沮丧绝望之中，竟伴随着最棒的恩赐。

评分☆☆☆☆☆

　　这一集要给琼恩和耶哥蕊特的感情线、詹姆和布雷妮的友（在）谊（一）线（起）送上五星赞！完季之后，如果说还有值得我回味的地方，一定是这两对了，编得栩栩如生、水到渠成。

评分☆☆☆☆☆

1、很便宜

评分☆☆☆☆☆

　　 阿切尔不是不能揭开那帷幕，是他不敢，因为他的懦弱，他怕知道最终的真相后，他无法保持表面的平静，姿态优雅地存活下去。那是连他自己都不敢承认的虚伪，可他正在虚伪的海洋的中心扮演着这个他应该扮演的角色，身边是那个美丽的女人——他要与其生活一辈子却根本不了解的妻子。

评分☆☆☆☆☆

　　

评分☆☆☆☆☆

我并不同意他的观点。我觉得“梅是纯真的关键词，外貌性格和爱的表现。她的存在意味着一种近乎完美的世俗规范，没有强制性，完全是自我要求，完全自然。她的牺牲在于表面看来不动声色的制衡，她是一个比丈夫更具有家庭责任感的女人，对她而言，守护一段爱情与婚姻，经营一个家庭与家族，不单纯是为了粉饰繁华，为了虚伪礼仪和旁人的眼光，也是一种建构一种完美健全人格的必须。她嫁给了他，清醒地爱着他的爱，承担着他的欺骗与出轨，然后镇定沉着地把一切交给岁月去酝酿成一种更高程度的和谐，固若金汤。她的端庄美好优秀维系着丈夫一贯的良好名声，也无声无息地化解每一种复杂，贴上饱经风霜的纯真的标签。”

评分☆☆☆☆☆

　　但他终于只能理所当然地和梅在一起，那么多的羁绊，他无法抗拒。

评分☆☆☆☆☆

用心读这本书，细细品味每句话的含义。你会发现，其实最棒的，就是你自己！

评分☆☆☆☆☆

　　梅是属于白天的女人，她高贵、美丽，是理想的妻子，纯洁得像一朵带露的百合花。他们的结合是两个最大家族的联姻。

类似图书 点击查看全场最低价