《LOVER英文》word版

1、.THE LOVER中文名：瑪格麗特·杜斯外文名：MargueriteDuras國(guó)籍：法國(guó)出生日期：1914年4月4日逝世日期：1996年3月3日職業(yè)：女小說(shuō)家，劇作家，電影藝術(shù)家主要成就：1983年法蘭西學(xué)院戲劇大獎(jiǎng)代表作品：麾狄拉特干達(dá)畢業(yè) Part I  ONE DAY, I was already old, in the entrance of a public place a man came&#

2、160;up to me. He introduced himself and  said:'I've known you for years. Everyone says you were beautiful when you were young,but I want to tell you I think&

3、#160;you're more beautiful now than then. Rather than your face as a young woman, I perfer your face as it is now. Ravaged.' I often think of the image 

4、only I can see now, and of which I've never spoken. It's always there, in  the same silence, amazing. It's the only image of myself I like, the only

5、 one in which I recognize myself,  in which I delight. Very early in my life it was too late. It was already  too late when I was eighteen. Between eightee

6、nand twenty-five my face took off in a new direction. I grew old at eighteen. I don't know if it's the same for everyone. I've never asked. But I be

7、lieve I've heard of the way time can suddenly accelerate  on people when they're going through even the most youthful and highly esteemed stages of life.  My agei

8、ng was very sudden. I saw it spread overmy features one by one, changing the relationship between them, making the eyes larger, the expression sadder, the mouth more 

9、;final, leaving great creases in the forehead. But instead of being dismayed I watched this process with the same sort of interest i might have taken in the reading 

10、of abook. And I knew I was right, that one day it  would slow down and take its normal course. The people who knew me at seventeen, when I went  to Fr

11、ance, were surprised when they saw me againtwo years later, at nineteen. And I've kept it ever since, the new face I had then. It has been my face.  It'

12、s got older still, of course, but less, comparatively, than it would otherwise have done. It's scored with deep, dry wrinkles, the skin is cracked. But my face&#

13、160;hasn't collapsed, as some with fine features have done. It's kept the same contours, but its substance has been laid waste. I have a face laid waste.THE LOVER Part

14、 II  So, I'm fifteen and a half. It's on a ferry crossing the Mekong river. The image lasts all the way across. I'm fifteen and a half, there a

15、re no seasons in that  part of the world, we have just one season, hot,  monotonous, we're in the long hot girdle of the earth, with no spring, no rene

16、wal. I'm at a state boarding school in Saigon. I eat and  sleep there, but I go to classes at the French high  school. My mother's a teacher and wants&#

17、160;her girl  to have a secondary education. 'You have to go to  high school.' What was enough for her is not  enough for her daughter. High school and 

18、then a  good degree in mathematics. That was what had  been dinned into me ever since I started school. It  never crossed my mind I might escape the mathe- mati

19、cs degree, I was glad to give her that hope.  Every day I saw her planning her own and her  children's future. There came a time when she  couldn't 

20、;plan anything very grand for her sons  any more, so she planned other futures, makeshift  ones, but they too served their purpose, they  blocked in the time that

21、60;lay ahead. I remember my  younger brother's courses in book-keeping. From  the Universal Correspondence School - every  year, every level. You have to catch up, my 

22、;mother  used to say. It would last for three days, never four.  Never. We'd drop the Universal School whenever  my mother was posted to another place. And begin

23、  again in the next. My mother kept it up for ten  years. It wasn't any good. My younger brother  became an accountant's clerk in Saigon. There was  no&

24、#160;technical school in colonies; we owed my  elder brother's departure for France to that. He  stayed in France for several years to study at the  technical school.

25、 But he didn't keep it up. My  mother must have known. But she had no choice,  he had to be got away from the other two children.  For several yea

26、rs he was no longer part of the  family. It was while he was away that my mother  bought the land, the concession. A terrible business,  but for us, the

27、60;children who were left, not so ter- rible as the presence of the killer who would have been,  the child-killer of the night, of the night of the  hunter.The Lover

28、-DurasThe Lover (French title: L'Amant) is an autobiographical novel by Marguerite Duras, published in 1984 by Les Éditions de Minuit. It has been translated to 43 languages. It was awarded the 1984 Prix Goncourt. The Lover is also a 1992 movie based on this novel, directed by Jean-Jacques

29、Annaud and starring Jane March and Tony Leung Ka Fai. The cast also included Lisa Faulkner. The film was nominated for the Academy Award for Best Cinematography.Summary of the movieSet against the backdrop of French colonial Vietnam, The Lover reveals the intimacies and intricacies of a clandestine

30、romance between a pubescent girl (Jane March), from a financially strapped French family and an older, wealthy Chinese man (Tony Leung Ka-Fai). The story is narrated by Jeanne Moreau, portraying a writer looking back on her youth. In 1929, a 15 year old nameless girl is traveling by ferry across the

31、 Mekong Delta, returning from a holiday at her family home in the village of Sadec, to her boarding school in Saigon. She attracts the attention of a 32 year old son of a Chinese business magnate, a young man of wealth and heir to a tidy fortune. He strikes up a conversation with the girl; she accep

32、ts a ride back to town in his chauffeured limousine. Compelled by the circumstances of her upbringing, this girl, the daughter of a bankrupt, manic-depressive widow, is newly awakened to the impending and all-too-real task of making her way alone in the world. Thus, she becomes his lover, until he b

33、ows to the disapproval of his father and breaks off the affair. For her lover, there is no question of the depth and sincerity of his love, but it isn't until much later that the girl acknowledges to herself her true feelings. Duras' real-life Chinese lover was named Lee. The last she heard

34、of him, he became a born again Christian and loved his family very much. He died and was buried in the same city in Vietnam where Duras first met him. Duras was only 15 at the time of her love affair, which is the age of the heroine in the novel.Marguerite Donnadieu, better known as Marguerite Duras

35、 (French IPA: mag'it dy'as) (April 4, 1914 March 3, 1996) was a French writer and film director. She was born in Saigon, French Indochina (now Vietnam), her father died,her mother raised her with her two brother , they were very poor,the mother went practicly mad, she ( the mother) use to be

36、at her children and even made marguerite a sort of prostitute.when she got 18 she went to France, her parents' native country, to study law, but became a writer instead. She changed her name in 1943 for Duras, the name of a village in the Lot-et-Garonne département, where her father's h

37、ouse was located. She is the author of a great many novels, plays, films and short narratives, including her best-selling, ostensibly autobiographical work L'Amant (1984), translated into English as The Lover. Following the making of a film of the same name(s) (1992, L'Amant, The Lover) base

38、d on her work, Duras then published a slightly different work, L'Amant de la Chine du Nord. Other major works include Moderato Cantabile, also made into a film of the same name, Le Ravissement de Lol V. Stein, and her film India Song. She was also the screenwriter of the 1959 French film Hiroshi

39、ma mon amour, which was directed by Alain Resnais. Duras's early novels were fairly conventional in form (their 'romanticism' was criticised by fellow writer Raymond Queneau); however, with Moderato Cantabile she became more experimental, paring down her texts to give ever-increasing imp

40、ortance to what was not said. She was associated with the Nouveau roman French literary movement. Her films are also experimental in form, most eschewing synch sound, using voice over to allude to, rather than tell, a story over images whose relation to what is said may be more-or-less tangential. S

41、he died at 81 from throat cancer and is interred in the Cimetière du Montparnasse.In The Lover and The North China Lover, Marguerite Duras writes about first love. Both novels are autobiographical, reflecting Duras adolescent experience in the then French colony of Vietnam where she was born in

42、 1914. Her father died in 1918, leaving her mother, a teacher occupying one of the lowliest positions in the colonial hierarchy, to tend for Duras and her two brothers.Both of these novels paint a poignant picture of Duras miserable upbringing. Her family was pitted into dire poverty after her mothe

43、r was lured by the corrupt colonial administration into putting all her savings into the purchase of a worthless plot of land, subject to flooding by the sea. Its here we are at the heart of our common fate, the fact that all three of us are our mothers children, the children of a candid creature mu

44、rdered by society, Duras writes, Were on the side of the society which has reduced her to despair. Because of whats been done to our mother, so amiable, so trusting, we hate life, we hate ourselves. Feelings of shame and anger towards one another and the outside world, enveloped in the fear of not h

45、aving enough to survive on economically, thereafter tarnished the lives of Duras and her siblings.It is within this context that the girl, i.e. Duras herself at age fifteen and a half, lounging on the ferry crossing the Mekong river, wearing a mans flat brimmed hat, a brownish-pink fedora with a bla

46、ck ribbon, attracts the interest of the very elegant rich Chinese man inside the big black limousine. . how important it was to be in my life, that event, the crossing of the river, she relates. The sudden attraction is mutually shared and they instantly become lovers. Hes a man who must make love a

47、 lot, Duras reveals, Im very lucky, obviously, its as if it were his profession, as if unwittingly he knew exactly what to do and what to say. Day in day out, his formidable chauffeur diligently comes to fetch her from the boarding school. But the love story that develops is much more complex than w

48、hat one might guess to be an older mans fetishistic attraction for a little white girl or an impoverished white lay-abouts scheme to exploit a Chinese millionaire. His bachelors quarters not only represent the locus of their boundless intimacy but also a safe haven which enables them to escape from

49、their respective predicaments.In The Lover, Duras Goncourt Prize (the Goncourt is the best-known French literary award) novel, one senses a strain of resentment in the authors tone. It is as if she is telling the love story (her love story) without really wanting to, as though she felt compelled to

50、write as an attempt to stop this experience from recurring in her mind. I often think of the image only I can see now, and of which Ive never spoken, Duras relates at the outset, Its always there, in the same silence, amazing. Its the only image of myself I like, the only one in which I recognize my

51、self, in which I delight. But she holds back from delving into the emotional breadth of their love story, choosing instead to depict it in a minimalist way: Because of his ignorance she suddenly knows: she was attracted to him already on the ferry. She was attracted to him. It depended on her alone.

52、In this novel, Duras tends to defy her emotions its taken for granted I dont love him, that Im with him for the money, that I cant love him, she asserts, its impossible, that he could take any sort of treatment from me and still go on living. This is because hes a Chinese, because hes not a white ma

53、n. When he takes her famished family out to dinner, for example, they all behave as though they have granted him a favour in accepting his invitation and treat him as though he were an inferior person, showing contempt for his envied wealth.In The Lover, Duras resists from overtly acknowledging the

54、strength of her great love. She abstains from revealing her emotions to her lover and sharing them with her readers. When, in tremendous desperation, he confronts her about the impossibility of their love as being against the marital arrangements set out for him by his family, she resists coming to

55、grips with the grievous situation and simply says to him that I agreed with his father. That I refused to stay with him. I didnt give any reasons. In this version the girl tastes and lives out the fruits of first love while tacitly accepting its annihilation. But at the end, as she bids farewell to

56、the big black limousine majestically gazing at her (with the lover inside) on the steam boat departing for France, she realizes how much she has withheld: Shed wept without letting anyone see her tears, because he was Chinese and one oughtnt weep for that kind of lover.And it is with the realization

57、 that The Lover simply scraped the surface of things that Duras resolved to do justice to the true colours of their love story in The North China Lover. Upon discovery of his death, Duras explains in the prelude I stopped the work I was doing. I wrote the story of the North China lover and the child: it wasnt quite there in The Lover, I hadnt given them enough time. This book is a novel containing many features of a screenplay, such as the meticulous visual des