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《遠離塵囂》是哈代第一部得到一緻贊揚的長篇小說。在這部小說裏，田園詩的氣氛已經消失，遠離塵囂的窮鄉僻壤也和人煙稠密的喧鬧城市一樣，在演齣人生的悲劇。女主人公芭絲謝芭是一個農場主，美麗聰慧，但愛慕虛榮。她先後為三個男子所追求，但選擇瞭一個金玉其外、敗絮其中的青年軍官特羅伊。最後雖然小說在芭絲謝芭與加布裏埃爾的圓滿愛情中結束，但全書中悲劇氣氛多於喜劇氣氛，已透露齣作者創作中的悲劇性主題。

內容簡介

Graced with the splendid illustrations executed by Helen Paterson for the first edition of the novel, this special Collector's Edition of Far from the Madding Crowd also features handwritten letters and drawings by Hardy, as well as rare and intimate portraits of the author and his first wife, Emma. Here, too, readers are granted a fascinating and touching glimpse of how two great imaginative writers interact with one another: This edition reproduces the handwritten pages from Virginia Woolf's diary in which she recounts her now-famous visit with the very aged Thomas Hardy at his home, Max Gate, in 1926.

　　《遠離塵囂》是英格蘭偉大的小說傢哈代的代錶作。書中的主人公加布裏埃爾經營著一個小農場，他對前來幫工的巴思喜巴小姐一見傾心，嚮她求婚卻遭拒絕。一場突如其來的變故緻使他傾傢蕩産，流落他鄉。當他來到威瑟伯農場，他驚喜地發現農場主就是他朝思暮想的巴思喜巴小姐，不過這次他卻成瞭巴思喜巴小姐的僕人。
　　巴思喜巴的女傭範妮和中士特羅伊相戀，並定下婚約。範妮走錯瞭教堂，特羅伊拒絕舉行第二次婚禮。鄰居博爾德伍德瘋狂地愛著巴思喜巴小姐，而巴思喜巴小姐卻醉心於特羅伊，並在不明真相的情況下和他閃電般地結瞭婚。加布裏埃爾和巴思喜巴小姐的關係若即若離。博爾德伍德在衝動中殺死瞭特羅伊，自己也被送進瞭法院。在巴思喜巴小姐的三個追求者中，隻剩下加布裏埃爾一個。曆經生活磨難的巴思喜巴小姐終於嫁給瞭對她忠心耿耿的加布裏埃爾。"
　　美麗、高傲的芭思希芭來到威瑟伯裏繼承她叔叔的農場。忠誠能乾的奧剋對她一見鍾情，但遭到瞭拒絕。傢境殷實的農場主波德伍德因為一次誤會不斷地嚮芭思希芭求愛。而芭思希芭卻與英俊的中上特洛伊結瞭婚。然而，浪漫的愛情到結婚後便告終結。幾番風波之後，波德伍德開槍打死瞭特洛伊，自己則嚮警方自首。失去瞭丈夫的芭思希芭同時又麵臨著失去農場的可能。這時奧剋來到她的身邊，給故事一個皆大歡喜的結局。

作者簡介

Thomas Hardy (2 June 1840 – 11 January 1928) was an English novelist and poet. A Victorian realist, in the tradition of George Eliot, he was also influenced both in his novels and poetry by Romanticism, especially by William Wordsworth. Charles Dickens is another important influence on Thomas Hardy. Like Dickens, he was also highly critical of much in Victorian society, though Hardy focused more on a declining rural society.
While Hardy wrote poetry throughout his life, and regarded himself primarily as a poet, his first collection was not published until 1898. Initially therefore he gained fame as the author of such novels as Far from the Madding Crowd (1874), The Mayor of Casterbridge (1886), Tess of the d'Urbervilles (1891), and Jude the Obscure (1895). However, since the 1950s Hardy has been recognized as a major poet, and had a significant influence on The Movement poets of the 1950s and 1960s, including Phillip Larkin.
The bulk of his fictional works, initially published as serials in magazines, were set in the semi-fictional region of Wessex and explored tragic characters struggling against their passions and social circumstances. Hardy's Wessex is based on the medieval Anglo-Saxon kingdom and eventually came to include the counties of Dorset, Wiltshire, Somerset, Devon, Hampshire and much of Berkshire, in south west England.

　　托馬斯·哈代（Thomas Hardy），英國詩人、小說傢。他是橫跨兩個世紀的作傢，早期和中期的創作以小說為主，繼承和發揚瞭維多利亞時代的文學傳統；晚年以其齣色的詩歌開拓瞭英國20世紀的文學。
　　哈代一生共發錶瞭近20部長篇小說，其中最著名的當推《德伯傢的苔絲》、《無名的裘德》(Jude the Obscure)、《還鄉》和《卡斯特橋市長》。詩8集，共918首，此外，還有許多以“威塞剋斯故事”為總名的中短篇小說，以及長篇史詩劇《列王》。

精彩書摘

Chapter I Description of Farmer Oak—An Incident

When Farmer Oak smiled, the corners of his mouth spread till they were within an unimportant distance of his ears, his eyes were reduced to chinks, and diverging wrinkles appeared round them, extending upon his countenance like the rays in a rudimentary sketch of the rising sun.

His Christian name was Gabriel,and on working days he was a young man of sound judgment, easy motions, proper dress, and general good character. On Sundays he was a man of misty views, rather given to postponing, and hampered by his best clothes and umbrella: upon the whole, one who felt himself to occupy morally that vast middle space of Laodicean neutrality which lay between the Communion people of the parish and the drunken section,—that is, he went to church, but yawned privately by the time the congregation reached the Nicene creed, and thought of what there would be for dinner when he meant to be listening to the sermon. Or, to state his character as it stood in the scale of public opinion, when his friends and critics were in tantrums, he was considered rather a bad man; when they were pleased, he was rather a good man; when they were neither, he was a man whose moral colour was a kind of pepper-and-salt mixture.

Since he lived six times as many working-days as Sundays, Oak's appearance in his old clothes was most peculiarly his own—the mental picture formed by his neighbours in imagining him being always dressed in that way. He wore a low-crowned felt hat, spread out at the base by tight jamming upon the head for security in high winds, and a coat like Dr. Johnson's,4 his lower extremities being encased in ordinary leather leggings and boots emphatically large, affording to each foot a roomy apartment so constructed that any wearer might stand in a river all day long and know nothing of damp—their maker being a conscientious man who endeavoured to compensate for any weakness in his cut by unstinted dimension and solidity.

Mr. Oak carried about him, by way of watch, what may be called a small silver clock; in other words, it was a watch as to shape and intention, and a small clock as to size. This instrument being several years older than Oak's grandfather, had the peculiarity of going either too fast or not at all. The smaller of its hands, too, occasionally slipped round on the pivot, and thus, though the minutes were told with precision, nobody could be quite certain of the hour they belonged to. The stopping peculiarity of his watch Oak remedied by thumps and shakes, and he escaped any evil consequences from the other two defects by constant comparisons with and observations of the sun and stars, and by pressing his face close to the glass of his neighbours' windows, till he could discern the hour marked by the green-faced timekeepers within. It may be mentioned that Oak's fob being difficult of access, by reason of its somewhat high situation in the waistband of his trousers (which also lay at a remote height under his waistcoat), the watch was as a necessity pulled out by throwing the body to one side, compressing the mouth and face to a mere mass of ruddy flesh on account of the exertion, and drawing up the watch by its chain, like a bucket from a well.

But some thoughtful persons, who had seen him walking across one of his fields on a certain December morning—sunny and exceedingly mild—might have regarded Gabriel Oak in other aspects than these. In his face one might notice that many of the hues and curves of youth had tarried on to manhood: there even remained in his remoter crannies some relics of the boy. His height and breadth would have been sufficient to make his presence imposing, had they been exhibited with due consideration. But there is a way some men have, rural and urban alike, for which the mind is more responsible than flesh and sinew: it is a way of curtailing their dimensions by their manner of showing them. And from a quiet modesty that would have become a vestal, which seemed continually to impress upon him that he had no great claim on the world's room, Oak walked unassumingly, and with a faintly perceptible bend, yet distinct from a bowing of the shoulders. This may be said to be a defect in an individual if he depends for his valuation more upon his appearance than upon his capacity to wear well, which Oak did not.

He had just reached the time of life at which "young" is ceasing to be the prefix of "man" in speaking of one. He was at the brightest period of masculine growth, for his intellect and his emotions were clearly separated: he had passed the time during which the influence of youth indiscriminately mingles them in the character of impulse, and he had not yet arrived at the stage wherein they become united a Far from the Madding Crowd遠離塵囂 英文原版 [平裝] 下載 mobi epub pdf txt 電子書

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