华研原版英文小说 The Return of the Native 还乡 英文版
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商品详情
书名：The Return of the Native还乡
难度：Lexile蓝思阅读指数1040
作者：Thomas Hardy托马斯?哈代
出版社名称：Bantam Classics
出版时间：1981
语种：英文
ISBN：9780553212693
商品尺寸：10.9 x 2.5 x 16.3 cm
包装：简装
页数：492
The Return of the Native《还乡》是英国著名作家托马斯?哈代创作的一部具有代表性的“性格与环境小说”，作品以英国西南部威塞克斯“一片苍茫万古如斯”的埃格敦荒原为背景，描写了五个青年男女不同的悲剧命运。其中的女主人公游苔莎是当代英国小说里被描写得成功的几位女主人公之一，而故事发生的地点埃格敦荒原则是风景描写的典范。《还乡》是哈代的小说艺术开始走向成熟的重要标志，是哈代的重要作品之一。本书为Bantam Classics推出的英文版，内容无删减，适合有一定英文基础的文学爱好者阅读。
This fine novel sets in opposition two of Thomas Hardy’s most unforgettable creations: his heroine, the sensuous, free-spirited Eustacia Vye, and the solemn, majestic stretch of upland in Dorsetshire he called Egdon Heath. The famous opening reveals the haunting power of that dark, forbidding moor where proud Eustacia fervently awaits a clandestine meeting with her lover, Damon Wildeve. But Eustacia’s dreams of escape are not to be realized—neither Wildeve nor the returning native Clym Yeobright can bring her salvation.
Injured by forces beyond their control, Hardy’s characters struggle vainly in the net of destiny. In the end, only the face of the lonely heath remains untouched by fate in this masterpiece of tragic passion, a tale that perfectly epitomizes the author’s own unique and melancholy genius.
Clym Yeobright returns from Paris to the village of his birth, inspired to improve the life of its men and women. But his plans are upset when he falls in love with a beautiful, darkly discontented girl, Eustacia Vye, who longs to escape from her provincial surroundings.
托马斯?哈代（Thomas Hardy，1840-1928），英国作家。做过建筑师助手，19世纪60年代转向文学活动。一生写有许多作品，前期作品长篇小说《绿荫下》《远离尘嚣》，将宗法制农村生活理想化，反对资本主义的城市文明。长篇小说《还乡》《卡斯特桥市长》《林中居民》《德伯家的苔丝》和《无名的裘德》。
Thomas Hardy, whose writings immortalized the Wessex country side and dramatized his sense of the inevitable tragedy of life, was born near Egdon Heath Dorset in 1840, the eldest child of a prosperous stonesmason. As a youth he trained as an architect in 1862 obtained a post in London. During this time he began seriously to write poetry, which remained his first literary love and his last. In 1867-68, his fist novel was refused publication, butUnder the Greenwood Tree (1872), his first Essex novel, did well enough for him to continue writing. In 1874, Far from the Madding Crowd, published serially and anonymously in the Cornhill Magazine, became a great success. Hardy married Emma Gifford in1874, and in 1855, they settled at Max Gate in Dorchester, where he lived the rest of his life. There he wroteThe Return of the Native (1878), The Mayor of Casterbridge (1886),Tess of the d’Urbervilles (1891), andJude the Obscure (1895). With Tess Hardy clashed with the expectations of his audience; a storm of abuse broke over the “infidelity” and “obscenity” of this great novel he had subtitled “A Pure Woman Faithfully Presented.” Jude the Obscure aroused even greater indignation and was denounced as pornography. Hardy’s disgust at the reaction to Jude led him to announce in 1896 that he would never write fiction again. He published the Wessex Poems in 1898, Poems of the Past and Present in 1901, and from 1903 to 1908,The Dynasts, a huge drama in which Hardy’s conception of the Immanent Will, implicit in the tragic novels, in most clearly stated. In 1912, Hardy’s wife Emma died. The marriage was childless and had long been a troubled one, but in the years after her death, Hardy memorialized her in several poems. At 74, he married his longtime secretary, Florence Dugdale, herself a writer of children’s books and articles, with whom he lived happily until his death in 1928. His heart was buried in the Wessex countryside; his ashes were placed next to Charles Dickens’s in the Poets Corner of Westminster Abbey.
A SATURDAY afternoon in November was approaching the time of twilight, and the vast tract of unenclosed wild known as Egdon Heath embrowned itself moment by moment. Overhead the hollow stretch of whitish cloud shutting out the sky was as a tent which had the whole heath for its floor.
The heaven being spread with this pallid screen and the earth with the darkest vegetation, their meeting-line at the horizon was clearly marked. In such contrast the heath wore the appearance of an instalment of night which had taken up its place before its astronomical hour was come: darkness had to a great extent arrived hereon, while day stood distinct in the sky. Looking upwards, a furze-cutter would have been inclined to continue work; looking down, he would have decided to finish his faggot and go home. The distant rims of the world and of the firmament seemed to be a division in time no less than a division in matter. The face of the heath by its mere complexion added half an hour to evening; it could in like manner retard the dawn, sadden noon, anticipate the frowning of storms scarcely generated, and intensify the opacity of a moonless midnight to a cause of shaking dread.
In fact, precisely at this transitional point of its nightly roll into darkness the great and particular glory of the Egdon waste began, and nobody could be said to understand the heath who had not been there at such a time. It could best be felt when it could not clearly be seen, its complete effect and explanation lying in this and the succeeding hours before the next dawn: then, and only then, did it tell its true tale. The spot was, indeed, a near relation of night, and when night showed itself an apparent tendency to gravitate together could be perceived in its shades and the scene. The sombre stretch of rounds and hollows seemed to rise and meet the evening gloom in pure sympathy, the heath exhaling darkness as rapidly as the heavens precipitated it. And so the obscurity in the air and the obscurity in the land closed together in a black fraternization towards which each advanced half-way.
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