傅雷1908-66： 約翰克利斯朵夫 Jean-Christophe， 嘉爾曼

Carmen, 卡門/嘉爾曼

"慕特拉奏《卡門幻想曲》_樂迷瘋狂"
想起傅雷先生對於將Carmen翻譯成 "卡門"覺得醜陋不堪
他翻譯的梅里美中篇小說 Carmen 為"嘉爾曼" ?


《嘉尔曼》（又译作《卡门》）是法国作家梅里美的主要代表作。卡门就是嘉尔曼，都译自法语“CARMEN”。故事发生在西班牙，主人公嘉尔曼是个聪明美丽、独立不羁、又十分 ...


George Bizet
(born Oct. 25, 1838, Paris, France — died June 3, 1875, Bougival) French composer. Son of a music teacher, he gained admission to the Paris Conservatoire at age 9, and at age 17 he wrote the precocious Symphony in C Major (1855). Intent on success on the operatic stage, he produced The Pearl Fishers (1863), La Jolie Fille de Perth (1866), and Djamileh (1871). Disgusted with the frivolity of French light opera, he determined to reform the genre of opéra comique. In 1875 his masterpiece, Carmen, reached the stage. Though its harsh realism repelled many, Carmen quickly won international enthusiasm and was recognized as the supreme example of opéra comique. Bizet's death soon after its premiere cut short a remarkable career.


Kenny 來談起他高中讀過的這本感人的故事 (包括性的描寫) 約翰克利斯朵夫 (傅雷譯 )
他買一套送兒子 兒子將它當壁紙


這是我初二讀過的 不過幾乎都忘了
上大一時 老康借的是英譯本 那時我還自以為先知先覺

內容簡介

本書是一部透過主角一生經歷去反映現實社會一系列矛盾衝突，宣揚人道主義和英雄主義的長篇小說。小說描寫了主角奮鬥的一生，從兒時音樂才能的覺醒、到青年時代對權貴的蔑視和反抗、再到成年後在事業上的追求和成功、最後達到精神寧靜的崇高境界。
圍繞克里斯朵夫的一生，作者描繪了個人與社會、理想與現實的尖銳衝突，揭露了資產階級文化的腐朽和墮落，揭示了具有人文主義理想的知識份子艱難成長的歷程。
小說對主角坎坷的生活經歷促成心靈昇華，進而造就事業上成就的描寫非常成功。它展示了克里斯朵夫廣闊的內在生活的王國，一連串的危機震撼著他的心靈、蕩滌他的靈魂，通過煉獄之路，他一步一步到達了自由的境地。

Jean-Christophe (1904‒1912) is the novel in ten volumes by Romain Rolland for which he received the Nobel Prize for Literature in 1915. It was translated into English by Gilbert Cannan.
The first four volumes are sometimes grouped as Jean-Christophe, the next three as Jean-Christophe à Paris, and the last three as La fin du voyage ("Journey's End").

1. L'Aube ("Dawn", 1904)
2. Le Matin ("Morning", 1904)
3. L'Adolescent ("Youth", 1904)
4. La Révolte ("Revolt", 1905)
5. La Foire sur la place ("The Marketplace", 1908)
6. Antoinette (1908)
7. Dans la maison ("The House", 1908)
8. Les Amies ("Love and Friendship", 1910)
9. Le Buisson ardent ("The Burning Bush", 1911)
10. La Nouvelle Journée ("The New Dawn", 1912)

The English translations appeared between 1911 and 1913.

Plot

The central character, Jean-Christophe Krafft, is a German musician of Belgian extraction, a composer of genius whose life is depicted from cradle to grave. He undergoes great hardships and spiritual struggles, balancing his pride in his own talents with the necessity of earning a living and taking care of those around him. Tormented by injustices against his friends, forced to flee on several occasions as a result of his brushes with authority and his own conscience, he finally finds peace in a remote corner of Switzerland before returning in triumph to Paris a decade later.

Criticism

Although Rolland first conceived the work in Rome in the spring of 1890, he began in earnest in 1903 after publishing a biography of Beethoven. A letter of 13 September 1902 reveals his plans:

My novel is the story of a life, from birth to death. My hero is a great German musician who is forced by circumstances to leave when he is 16-18 years old, living outside of Germany in Paris, Switzerland, etc. The setting is today's Europe [...] To spell it out, the hero is Beethoven in the modern world.

But in his preface to Dans la maison, published in 1909, Rolland denied that he was writing a novel in the traditional sense, but a "musical novel" in which emotions, not classical action, dictated the course of events. "When you see a man, do you ask yourself whether he is a novel or a poem? [...] Jean-Christophe has always seemed to me to flow like a river; I have said as much from the first pages." This coined the term roman-fleuve (river-novel), which has since been applied to other novel sequences in the same style.
Many individual tomes swerve from the story of Krafft to focus on the other characters. Rolland was an admirer of Leo Tolstoy, and, as in War and Peace, a very large proportion of the work is devoted to the author's thoughts on various subjects: music, art, literature, feminism, militarism, national character, and social changes in the Third Republic, largely attributed to Krafft, although Rolland denied that he shared many traits with his fictional composer. The didactic aspects of Jean-Christophe have been criticised by many readers. In his heavy use of matter-of-fact detail, Rolland followed the methods of naturalist predecessors with whom he otherwise had little in common.

See also

• Bildungsroman