据纽约国际出版社1937年版转译。

Wuthering Heights is the one and only novel byEmily Bronte， who died at the age of twenty-nine， ayear after the publication of her novel. Her short lifewas found to be quite as enigmatic as her masterpiece.Born in 1818， she was the fifth of the six children ofan Irish country parson and his frail wife. Two yearslater， when all six children were under the age of 7， theBrontes made the Haworth Parsonage on the Yorkshiremoors their home， where the mother died of cancer soonafter her arrival. Her sister Elizabeth came aod stayedon to look after the motherless family. But the childrenhad little affection from either the aunt or the father.They kept very mucb to themselves， and imagined adven-tures for their toy soldiers. So Emily and her youngersister Anne invented a saga devoted to the island ofGondal， in tiny books in microscopic writing which oc-cupied them for years. They also had real adventuresof their own in the moors that stretch to a radius ot" 20miles around the hill village of Haworth， which wereundoubtedly also a stirnulus to invention. After briefunhappy experiences at schools and later working as agoverness， Emily returned at the end of 1842 to Haworth，where she spent the rest of her brief life.In 1845， ber elder sister Chariotte discoveredEmily's poems， and brought them out the followingyear in a joint publication， Poems by Currer， Ellis dndActon Bell. These poems by "Ellis Bell" （the pseudonymof Emily） placo their author among the most originalpoets of the century. Wuthering Heights， written be-tween October 1845 and June 1846， was published by T.C.Newby in December 1847. Unlike Charlotte's novelJane Eyre， it only rnet with hostile incomprehension.A year later， the young authoress of the unrecognizedmasterpiece died of consumption December 19， 1848.Of her last days， Charlotte wrote： "Day by day， when 1saw with what a front she met suffering， 1 looked onher with an anguish of wonder and love. 1 have seennothing like it; but， indeed， 1 have never seen her paral-lel in anything. Stronger than a man， simpler than achild， her nature stood alone."It was from this unparalleled nature of hers that anunparalleled novel came into being. The central actionof the novel evolves around Heathcliff's unparalleledrelationship with Catherine： from union to separation，then from separation to reunion in death. It is set inmotion with the arrival of Heathcliff at WutheringHeights， a gypsy waif whom Mr. Eamshaw has pickedup in the streets of Liverpool and brings home to rearas one of his own children. Heathcliff and the daughterCathy become attached to each other， while the father'saffection for the foundling makes his son Hindley furi-ously jealous. Upon the early death of his father， Hind-ley， now master of the house， bullies Heathcliff andreduces him to the humiliating position of farm drudge，though Cathy remains loyal as ever. An accident， how-ever， brings her into Thrushcross Grange， where the younggirl becomes attracted by the young master Edgar Lin-ton's good looks and good manners and the family'ssocial standing. When Heathcliff overhears her de-claririg that she cannot marry him because it" would de-grade her， he runs away in a rage of passion. The separa-tion lasts until he returns three years later， mysteriouslyenriched， to find Cathy unhappily married to Edgar.Inflamed by Cathy's betrayal， the stormy eruptions ofhis passionate and ferocious nature now make life in-tolerable for her and promptly send the rueful broken-hearted Cathy to her grave. Now that their earthlyseparation is complete， the vengeful Heathcliff pursuesrelentlessly the ruination of the two houses. The de-monic thirst for revenge， however， brings him neithersatisfaction nor peace. Onlv. the memory. of the deadCathy drives him on with the "one universal idea" ofa final union with her spirit， which he ultimately bringsabout with a wilful fast.This strange tale is without question one ofthe great-est tragic love stories of all times， comparable to Tol-stoy's Anna Karenina and Cao Xueqin's The Dream ofthe Red Chamber. However， there are significant dif-ferences. Whereas both the Russian and the Chinesemasterpiece have for their background the glamourouspanorama ofglittering bigh society life， the tragic life anddeath of Heathcliff and Catherina is set against the "at-mospheric tumult" of the wild moors of the north of Eng-land. Stripped of external trappings， the drama of their"immortal" love appeals by an emotional power andintensity of its own that defies mundane imagination.But it is more than a great love story. For it isalso a tragedy of human alienation. Heathcliff beginshis fictional career as "a dirty， ragged， black-hairedchild，" a homeless gypsy foundling： an archetypal childof nature. Once thrust into the midst of "h.uman" so-ciety， his innocent nature begins to be twisted and distort-ed by the forces of hate which tura the Heights into aplace "where every man's hand is against his neighbour."Still he might endure it all and retain his human dignity，did he not find himself betrayed by the only love whichis nothing less than his life itself. When that love isbeyond redemption in this world， Heathcliff's course ofutter alienation is destined not to end until it reaches，inexorably， the other extreme of angelic innocence： "alying fiend， a monster， not a human being." After all，"Heaven hath no rage like love to hatred turned！"Most of all， however， the novel is a supreme truetragedy in that it depicts the drama and spectacle of themost poignant sufferings of a noble human soul. Heath-cliff is a peculiar sort of the noble savage， and his nobi-lity as a tragic hero lies essentially in his soul's great capa-city for suffering. Linton suffers （innocently by mun-dane standards）， Cathy suffers （largely because she betraysher true selt'）， but the emotional focus of the novel， thatwhich dominates and organizes the sequence of emo-tional responses on the part of the attentive and sen-sitive reader， is the sustained course of intense sufferingsthat turns the hero's soul into a living hell. Read in thislight， the controversial "mysterious" novel becomes atonce a masterpiece comprehensible and admirable mall its aspects and proportions.Why does the novel open with a most bizarre blood-curdling incident as it does？ Simply because it meansto strike unerringly from the very beginning the keynotedf the hero's ever-suffering soul. Heathcliff's haunt-ing cry "Come in！ Come in！ Cathy， do come in！"echoes throughout the story. Even the commonplaceyoung city spark Lockwood is shaken by "such anguishin the gush of grief that accompanied this raving， that mycompassion made me overlook its folly." The siage isset for a powerful tragedy of the ever-suffering soul.One thing that has baffled and even repelled somecritics and readers alike is Heathcliff's "demonic" thirstfor revenge that plunges him into abysmal plots and fero-cities against others， mostly innocent victims. Even hersister Charlotte felt compelled to apologize for such "im-morality" and send the "unredeemed" Heathcliff "neveronce swerving in his arrowstraight course to perdition."But for Heathcliff， love is suffering， from the beginningto the end. What happens after Cathy's death is butan intensified continuation of 'what has happened before.So if one rose above Charlotte's "Christian ethics" orthe like， one could perhaps see and feel all Heathcliff'sunspeakable outrages are nothing but horrifying symp-toms of the upheavals in his tormented soul. Heath-cliff is after all a giant defying a world of dwarfs and thedrama of his ordeal the highest homage to man's spiri-tuality.Wu Ningkun

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《北回归线》是米勒的第一部自传体小说，也是他出版的第一本书。此书以回忆录的形式写就，米勒在书中追忆他同几位作家、艺术家朋友在巴黎度过的一段日子，旨在通过诸如工作、交谈、宴饮、嫖妓等超现实主义和自然主义的夸张、变形生活细节描写提示人性，探究青年人如何在特定环境中将自己造就成艺术家这一传统西方文学主题。

本套书共收录作者代表性作品20部，现已出版10种。包括：北回归线、南回归线、黑色的春天、性爱之旅、情欲之网、春梦之结、宇宙的眼睛、巨大的子宫、大瑟尔、空调恶梦。亨利·米勒的《北回归线》，《黑色的春天》、《南回归线》都是先在法国面世，并称“自传三部曲”。由于他的作品中存在着露骨的性描写，英语国家长期拒绝发表他的作品，所以他最初在英语国家默默无闻。英语国家的读者读到亨利·米勒的上述三部作品，首先还要感谢盟军在１９４４年以后来到巴黎。英美军队的军人及随军人员在巴黎市场上发现了亨利·米勒的书，争相传阅，并把它们偷偷带回英美等国。亨利·米勒的作品意外地比那些流行的文学精英们获得了更广泛的读者，但是，由于许多人仍然把亨利·米勒看作专写“淫秽作品”的作家，他的主要作品都无法在美国公开发表。后经过长期努力，美国终于在１９６１年对《北回归线》解禁，允许它在国内公开发表。亨利·米勒说：“我不相信任何词语，无论它怎样错落有致，构思精美，但我却相信超出词语之外、且词语所难以充分描绘的语言。除了在语文学家的头脑里，字词是不单独存在的，离开了语言，就失去了生命。大家都以自己特有的语言风格昭示于人。对于心底清纯的人，最难辨认的笔迹也会明白无误。”

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《苔丝》既是一场爱情悲剧，也是一部人生悲剧。制造了这场悲剧的参与者们一一受到惩处：吞噬人的社会受到了批判，坑人的衣冠禽兽阿历克·德伯遭到了唾骂，而且死有余辜，这场爱情悲剧与人生悲剧的双重主角苔丝付出了生命的代价。那么，那尊冷酷的神——安琪儿·克莱尔呢？历来他都以这场爱情悲剧受害人的形象获得了读者的宽容谅解，轻轻松松过了关，那么这一次，是否该让他承担起这份不可推卸的责任——是他推了苔丝那致命的一把！本文无意揪住这个好人不放，只是试图增加一个窗口，多一个视角来观看这台人生悲剧。

据Gallimard1975年法文版译出。

《爱的教育》的作者亚米契斯（Edmond0 de Amicis）在一八四六年十二月二十一日生于意大利Ligurla州的Oneglia地方。在Cuneo和丘林（Turin）进过学校，后被送入Modena的陆军学校。一八六六年Custozza之战，他加入军队去打仗。在军营中间著了许多短篇小说，在《ItaliaMilitare》上发表，这是他的著作生活的开始。他的《Novel-le》和《Bozze七ti Militari》第一次披露于该杂志时，就博得一时的欢迎。后来印成单行本，卖完了好几版。他因著作事业有望，便脱离军队，专心著述。以丘林为其文字业的大本营，后又漫游世界各地，著成游记多种。其中最著名的是《西班牙》（一八七三）、《荷兰》（一八七四）、《君士坦丁堡》（一八七七）、《摩洛哥》（一八七九）这几部。一九0八年三月十二日因心脏病殁于Bordighera。亚米契斯的最初的作品是倾向于爱国主义的。在他的青年时代正在意大利民族独立战争中。他的最初的作品Novelle》和《Bozzetti Miljtari》即以感时忧国，激动了许多的读者。但他的最好的作品，却都是游记。因为他所最擅长的是景物描写。由美国旅行回国后，他变成了社会主义者，《Sull Oceano》一书便是他发表社会主义的见解的作品。《爱的教育》（原名Coure）在他的作品中间算是销行最广的。而且在意大利学校儿童的读物中间，这一部也要算是最普遍的了。这书的目的，是打算写出儿童中间的友情，不为阶级及社会地位所阻隔的友情。他在这书里把小学生的世界活泼泼地映演在我们眼前了。成人了解儿童的心情本是不可能的事。但读了这几篇日记，谁都要把儿童时代的情感重新唤起。这是亚米契斯的最大成功处。当亚米契斯写这部书时，他的心中便充满了青年之火。所以书内的辞藻与结构虽不讲求，但单是一种情绪就能使读者十分感动了。与《爱的教育》同性质的，更有一部描写友谊的书，叫《Gli Amicio》，是二大册的巨著，也非常动人。collsonm—orley的《近代意大利文学》（Modern ItalJan Literature）341—342页里说：“亚米契斯或者可以算得是最近半世纪来意大利最有名的作家了。他只有些少的创造力，他的作品的结构也很平常，而且他有一个弱点——就是为我们盎格鲁撒克逊人所不大喜欢的伤感的悲观主义。他写得最出色的是书中的几个小人物。他的描写，差不多和照相一般准确，可是又都有生色。他出了许多游记：《La Spagna》，《L’Marocco》，《Ricordi di Lonara》（一八八0年）等。这不过是些印象主义的旅行纪事，因此有人给他一个徽号，叫‘文学的商业旅行家’（讥其旅行之目的专在作游记以赚钱也）。话虽如此，这些游记却又都是滑稽的，有时也略带感动的，会主义者；他对于社会问题的见解，在《Il romanz0 di unmaestfro》（1890），《L’Oceano》（1899）两部书上表现。《LaCarrozza di tutti》是一部长篇的动人的小品集，写电车中所见的丘林风物。亚米契斯自称为马志尼的弟子，他的信仰，他的癖性，都属于马志尼派，在《L’idioma gentile》（1905）一书里，最足表现。他从马志尼学得自然的、单纯的、朴素的作风；这种作风，很受时人的赞赏。”

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