The Age of Innocence[純真年代] [平裝] 下載 mobi epub pdf 電子書 2025

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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.

《純真時代》是伊迪絲·華頓的傑齣代錶作品。華頓把愛倫--全書的靈魂人物的性格的各個側麵都描寫的栩栩如生。她的溫柔、善良、勇敢、真實，尤其是她展現齣來的犧牲精神更是伴隨著故事的發展而升華。

內容簡介

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.

《純真年代》講述透過老紐約社會培養齣的最優秀的青年———紐蘭，通過他保守的思想和雙眼，奧蘭斯卡伯爵夫人的形象就是一個極為風情、大膽的女子，有些輕浮、有些散漫，看起來和老紐約社會上的
貴族是那樣的不同，在他看來這樣的女人也不可能具有什麼高貴的品質。但是隨著故事的展開，奧蘭斯卡伯爵夫人的許多優秀的品質被顯現齣來，尤其是她的人道主義的犧牲精神展現得尤為突齣。

作者簡介

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.

伊迪絲·華頓（Edith Wharton, 1862年1月24日－1937年8月11日），是19 世紀末女性現實主義作傢的代錶，她的一生推齣瞭近十餘部作品，包括中、長篇小說、詩歌、傳記和文學批評等不同體裁。由於她生活的局限性，她的小說一般都是以一種極其細膩的手法描寫著貴族生活，所以也被人稱為溫和現實主義作傢。美國女作傢，作品有《高尚的嗜好》、《純真年代》、《四月裏的陣雨》、《馬恩河》、《戰地英雄》等書。

精彩書評

"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.

精彩書摘

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[純真年代] [平裝] 下載 mobi epub pdf txt 電子書 格式

評分☆☆☆☆☆

期間他還聽說瞭一件故事：20多年前，老處女在結婚典禮上，被弟弟亞瑟和未婚夫康生閤謀騙瞭一大筆錢，然後整天萎靡不振，停留在過去的迴憶裏。

評分☆☆☆☆☆

父母雙亡的小朋友皮普（菲力普），從小由一個母老虎姐姐撫養，他和憨厚的鐵匠姐夫喬經常受到姐姐的毆打，有一天，皮普在父母的墳墓前遇到一個逃犯，那逃犯嚇唬他威脅他，讓皮普為他弄來矬子（用來弄開枷鎖），恐懼的皮普照做瞭，皮普內心的善良又為逃犯帶瞭塊餡餅。但不久，逃犯就在和另一個逃犯搏鬥的過程中被警察逮捕瞭。

評分☆☆☆☆☆

包裝很好，下著大雨，還是準時送過來瞭

評分☆☆☆☆☆

一年前，我周遭的生活完全崩潰瞭。工作得筋疲力盡，父親突然去世，和同事、親人之間的相處關係也是一團糟。然而當時我卻不知道，就在這沮喪絕望之中，竟伴隨著最棒的恩賜。

評分☆☆☆☆☆

　　假如“優雅”到瞭最高境界竟變成其反麵，帷幕後麵竟是空洞無物，那將怎麼辦呢？他看著梅——她最後一輪射中靶心後，正麵色紅潤、心態平靜地退齣場地——心中暗自想道：他還從未揭開過那片帷幕。她代錶著社會所代錶的錶相的和睦、穩定、友誼以及對不可推卸的責任，這些都是他曾一度認為是生活目標的東西，當他在埃倫身上發現瞭與他同樣的對生活的感受和對真實和自由的追求時，梅所代錶的社會虛僞被擊得粉碎。

評分☆☆☆☆☆

英文書，老外齣版的。書很小，紙一般。

評分☆☆☆☆☆

　　情感依舊壓抑糾結，他苦心經營的生活錶麵上盡善盡美，其中卻充滿瞭孤獨與無奈。他內心有一個賭注：將內心無能為力的情感寄托給天意。黃昏，金色的湖畔，愛人的背影。他想：要是帆船駛過燈塔之前她能轉過身來，他就上前去找她。他遠遠地望著她憑欄而立的背影，希望她也能心有靈犀的迴眸，許應他心中仿徨的情感一股繼續支持下去的力量。可她終究沒有轉身。

評分☆☆☆☆☆

剛拿到手，迫不及待翻看瞭幾下。這期還是保持瞭[]給我的印象圖片多，文字客觀平和。目測看完這一本，不能說就知道瞭[]，但最起碼比我現在知道的要多，它隻是一本[]，能帶給我們知識（客觀的，求是的），就已經夠可以感恩瞭。豆瓣上有個評論說得甚閤我心，都是值得尊敬的。所以，那些說什麼排版不好看啦，信息量少拉，內容陳舊拼湊連百度都可以搜到拉，之類的人，請首先持珍惜的態度。在國內看多瞭偏激的，憤怒的，莫名其妙的有關[]的評論，這麼一本至少可以好好說話的書籍，反正我是真的覺得非常難得並且眼前一亮的。更何況，個人非常喜歡這種飽滿的排版（個人喜好），內容的信息量對我來說也算有營養瞭（難道是我太沒文化?），自認為沒本事在百度搜到這麼多圖片（你們說的是真的嗎，百度地圖連國外的地方都顯示不瞭）。從另一方麵來講，編輯也要珍惜慢慢積纍起來的粉絲群，不要隨大流，堅持自己的特色，更不要忘瞭雜誌的初衷。這本書不僅能讓你看到奮鬥，也能讓你懂得青春。

評分☆☆☆☆☆

　　

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