作品介紹
書單丨世界經(jīng)典名著都是這樣開場(chǎng)的……
作者：著名作家 整理日期：2022-07-17 12:48:29
對(duì)于作家和靠筆頭養(yǎng)活自己的人來(lái)說(shuō)，寫出第一句，就是邁出了關(guān)鍵的一步。這幾乎是把玩文字人的共識(shí)。但往往很多人都在這兒費(fèi)盡心機(jī)，用力過(guò)猛。而經(jīng)典之所以成為經(jīng)典，一定是從開篇起就悄然埋下了種子。
接下來(lái)就跟著小編去看看大師們都是怎么開頭的吧！
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Jane Austen: Pride and Prejudice
簡(jiǎn)·奧斯丁《傲慢與偏見》
It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.
但凡財(cái)運(yùn)俱佳的單身漢，必然想娶妻成家，這是舉世公認(rèn)的道理。
★點(diǎn)評(píng)★
這是本書所描繪的大部分人物都秉持的觀點(diǎn)，簡(jiǎn)·奧斯丁在開頭用這樣一句話引出了班內(nèi)特夫婦的對(duì)話，刻畫出人物性格，以襯托伊麗莎白的鮮明個(gè)性。
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Albert Camus: The Stranger
阿爾貝·加繆《局外人》
Mother died today. Or maybe, yesterday; I can't be sure.
今天，媽媽死了。也許是昨天，我不知道。
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小說(shuō)以這種不動(dòng)聲色而又蘊(yùn)含內(nèi)在力量的平靜語(yǔ)調(diào)，為我們塑造了一個(gè)驚世駭俗的“荒謬的人”：對(duì)一切都漠然置之的主人公。
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Charles Dickens: A Tale Of Two Cities
查爾斯·狄更斯《雙城記》
It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way.
這是最好的時(shí)代，這是最壞的時(shí)代；這是智慧的時(shí)代，這是愚蠢的時(shí)代；這是信仰的時(shí)期，這是懷疑的時(shí)期；這是光明的季節(jié)，這是黑暗的季節(jié)；這是希望之春，這是失望之冬；人們面前有著各樣事物，人們面前一無(wú)所有；人們正在直登天堂，人們正在直下地獄。
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狄更斯的這部小說(shuō)，奏響了法國(guó)大革命時(shí)期的一首悲歌。那個(gè)復(fù)雜的年代，信仰與懷疑混雜，光明與黑暗交織，希望與失望并行。這段“開頭語(yǔ)”形象地描述了一個(gè)無(wú)比復(fù)雜的時(shí)代。
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Ernest Hemingway: The Old Man And The Sea
海明威《老人與�！�
He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish.
他是個(gè)獨(dú)自在灣流中一條小船上釣魚的老人，至今已去了八十四天，一條魚也沒逮住。
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這部備受贊譽(yù)的小說(shuō)，一開頭便如大海中的冰山，三分在外，七分在內(nèi)，強(qiáng)烈地吸引著讀者讀下去。而這種“冰山效應(yīng)”，也成為海明威作品風(fēng)格的寫照。
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Franz Kafka: Metamorphosis
弗蘭茲·卡夫卡《變形記》
As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a monstrous vermin.
一天早晨，格里高爾.薩姆沙從不安的睡夢(mèng)中醒來(lái)，發(fā)現(xiàn)自己躺在床上變成了一只巨大的甲蟲。
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這部寓言式小說(shuō)，開篇便將讀者引入一種驚訝與不安中，使人在一探究竟之后心生悲涼。
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Vladimir Nabokov: Lolita
弗拉基米爾·納博科夫《洛麗塔》
Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta.
洛麗塔，我生命之光，我欲念之火。我的罪惡，我的靈魂。洛——麗——塔：舌尖向上，分三步，從上顎往下輕輕落在牙齒上。洛。麗。塔。
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通篇幾乎只由[t], [l], [s] 3個(gè)音開頭的單詞組成，而[t], [l] 兩個(gè)音是唇齒相碰的情況下，最外向性的音節(jié)，而這種頭韻（Alliteration）的運(yùn)用，是英文中最典雅的寫作方式之一。這也是最能在讀音中體現(xiàn)“欲望”的音節(jié)，加上長(zhǎng)短句錯(cuò)落，很有節(jié)奏感。在結(jié)尾特意強(qiáng)調(diào)了Lo. Lee. Ta.是為了讓讀者自發(fā)去讀這一段，然后感受這種欲望感。（來(lái)自知乎用戶@淳子）
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Leo Tolstoy: Anna Karenina
列夫·托爾斯泰《安娜·卡列尼娜》
All happy families are alike; each unhappy family is unhappy in its own way.
幸福的家庭都是相似的,不幸的家庭各有各的不幸。
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這部纏綿悱惻又蕩氣回腸的作品，開頭卻如此簡(jiǎn)潔，真猶如：千言萬(wàn)語(yǔ)化作一聲嘆息。
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Charlotte Bronte: Jane Eyre
夏洛蒂·勃朗特《簡(jiǎn)·愛》
There was no possibility of taking a walk that day. We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further out-door exercise was now out of the question.
那天，出去散步是不可能了。其實(shí)，早上我們還在光禿禿的灌木林中溜達(dá)了一個(gè)小時(shí)，但從午飯時(shí)起(無(wú)客造訪時(shí)，里德太太很早就用午飯)便刮起了冬日凜冽的寒風(fēng)，隨后陰云密布，大雨滂沱，室外的活動(dòng)也就只能作罷了。
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《簡(jiǎn)·愛》是一部帶有自傳色彩的長(zhǎng)篇小說(shuō)，它闡述了這樣一個(gè)主題：人的價(jià)值=尊嚴(yán)+愛。小說(shuō)開頭所展現(xiàn)給我們的場(chǎng)景便如女主人公的性格和遭遇：純凈如水中蘊(yùn)含著矛盾和激情。
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Emily Bronte: Wuthering Heights
艾米莉·勃朗特《呼嘯山莊》
1801. - I have just returned from a visit to my landlord - the solitary neighbour that I shall be troubled with. This is certainly a beautiful country! In all England, I do not believe that I could have fixed on a situation so completely removed from the stir of society. A perfect misanthropist's heaven.
1801年，我剛剛拜訪過(guò)我的房東回來(lái)——就是那個(gè)將要給我惹麻煩的孤獨(dú)的鄰居。這兒可真是一個(gè)美麗的鄉(xiāng)間。在整個(gè)英格蘭境內(nèi)，我不相信我竟能找到這樣一個(gè)能與塵世的喧囂完全隔絕的地方，一個(gè)厭世者的理想的天堂。
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開頭便透過(guò)一位房客的視角描繪呼嘯山莊的美景，從而引出后文，一步步發(fā)現(xiàn)美景下的種種不諧調(diào)，使人產(chǎn)生強(qiáng)烈的探知欲望。
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Marcel Proust: In Search of Lost Time
普魯斯特《追憶似水年華》
For a long time I used to go to bed early. Sometimes, when I had put out my candle, my eyes would close so quickly that I had not even time to say "I'm going to sleep." And half an hour later the thought that it was time to go to sleep would awaken me.
在很長(zhǎng)一段時(shí)期里，我都是早早就躺下了。有時(shí)候，蠟燭才滅，我的眼皮兒隨即合上，都來(lái)不及咕噥一句“我要睡著了”。半小時(shí)之后，我才想到應(yīng)該睡覺。這一想，我反倒清醒過(guò)來(lái)。
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這部影響深遠(yuǎn)的意識(shí)流小說(shuō)，開篇便與眾不同。主人翁在蒙朧與清醒的交錯(cuò)之間，千思百緒集于心頭，水到渠成地引出下文。
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Harriet Beecher Stowe: Uncle Tom's Cabin
斯托夫人《湯姆叔叔的小屋》
Late in the afternoon of a chilly day in February, two gentlemen were sitting alone over their wine, in a well-furnished dining parlor, in the town of P -- -- , in Kentucky. There were no servants present, and the gentlemen, with chairs closely approaching, seemed to be discussing some subject with great earnestness.
2月的某一天，天氣依然比較寒冷。黃昏時(shí)分，在P城一間布置典雅兼作餐廳的接待室里，兩位紳士相對(duì)而坐，喝著酒。他們沒有要仆人在旁邊侍候。他們緊挨著坐著，好像在商量什么很重要的事情。
★點(diǎn)評(píng)★
文章開頭給讀者展示了一個(gè)較為立體的場(chǎng)景，并將鏡頭對(duì)準(zhǔn)與這個(gè)輕松愜意的場(chǎng)景不協(xié)調(diào)的神秘人物，使讀者很想探知究竟。
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Garcia Marquez: One Hundred Years of Solitude
馬爾克斯《百年孤獨(dú)》
Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice. At that time Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs.
很多年以后，奧雷連諾上校站在行刑隊(duì)面前，準(zhǔn)會(huì)想起父親帶他去參觀冰塊的那個(gè)遙遠(yuǎn)的下午。當(dāng)時(shí)，馬孔多是個(gè)20戶人家的村莊，一座座土房都蓋在河岸上，河水清澈，沿著遍布石頭的河床流去，河里的石頭光滑、潔白，活像史前的巨蛋。
★點(diǎn)評(píng)★
這部“再現(xiàn)拉丁美洲歷史社會(huì)圖景的鴻篇巨著”，一開篇便將讀者拉入一個(gè)頗具魔幻色彩的境地。“遍布石頭的河床像史前的巨蛋”，引人入勝，令人遐想。
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