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在伟大的现实主义大师巴尔扎克的《人间喜剧》巨幅画卷中,一八四一年发表的《于絮尔·弥罗埃》,为我们提供了一幅资产阶级利欲与野心驱使下的掠夺罪恶的形象史。 《于絮尔·弥罗埃》描写了一七八九年以后,直到一八三七年的半个世纪中,法国外省资产阶级的精神风貌。当时,取得政权的法国资产阶级,在大革命中发了财,成了暴发户。这些暴发户沉瀣一气,象巨兽一样,继续向贵族残余势力进逼,对中下层贫苦人民则残酷压榨。与此同时,他们又互相利用、相互倾轧、尔虞我诈、勾心斗角、巧取豪夺;甚至不惜对亲朋也偷盗、欺骗、谋财害命。正如巴尔扎克在《人间喜剧》前言中所指出的那样:“外省生活场景,却表现的是热情、盘算、利欲和野心的时代。”
In the enormous picture of Balzac’s great human comedy, the great realist master, Joel Miroe, published in 1841, provided us with the impetus of bourgeois desires and ambitions The history of plundering the evil image. “In Xiruiluoeruoer” describes the style of the bourgeoisie in France after 1789, half a century until 1837. At that time, the French bourgeoisie, who took power, made a fortune in the Great Revolution and became an upstart. These upstarts indulge in anger, like monsters, continue to force the remnants of the aristocracy, the cruel squeeze on the poor people in the middle and lower strata. In the meantime, they also use each other, mutual strife, intrigues, intrigues, takes advantage of extortion; even at the relatives and friends also steal, cheat, murder and murder. As Balzac pointed out in the preface to “Comedy of the World”: “The scenes of life in other provinces show an era of passion, calculation, lust and ambition.”