内容简介,不要太长~最好有中文注释

内容简介,不要太长~最好有中文注释
内容简介,不要太长~最好有中文注释

内容简介,不要太长~最好有中文注释
著作简介和内容简介, 请酌情选取:
歌剧魅影
The Phantom of the Opera (Le Fantôme de l’Opéra in French) is a French novel by Gaston Leroux. It was first published as a serialization in Le Gaulois from September 23, 1909 to January 8, 1910. It is believed to have been inspired by George du Maurier's Trilby. It was translated into English in 1911. It has since been adapted many times into film and stage productions, the most notable of which was Andrew Lloyd Webber's 1986 musical, which is now the longest running Broadway show in history, and the most lucrative entertainment enterprise of all time, its worldwide box office over the past 20 years out-grossing even the highest grossing film in history, Titanic.
Leroux's original 1910 novel is set in 19th century Paris at the Opera Garnier (The Paris Opera or The National Academy of Music), which was built between 1857 and 1874 over a huge underground lake. The employees claim that the opera house is haunted by a mysterious ghost who wreaks chaos and destruction when displeased. Erik, posing as the "Phantom of the Opera" (Opera Ghost in the Mattos and Bair translation), sends the managers of the Opera Garnier repeated threats of catastrophe should they not pay him a monthly stipend of 20,000 francs and perpetually reserve Box no.5 for him at every show. This arrangement, unbroken during the many years of the manager's tenure, is abruptly terminated when two new proprietors, Armand Moncharmin and Firmin Richard, take over the opera house and refuse to give in to what they view as the empty threats, originally thinking it a practical joke by former managers, and eventually growing suspicious of each other.
Meanwhile, Erik has taken on a new protégée, Christine Daaé. He tells her that he is the "Angel of Music", a heavenly spirit sent by her dead father to help her, and proceeds to give her regular voice lessons through the wall. Under the tutelage of her new teacher, Christine makes rapid progress in her musical studies and achieves new prominence on stage when she is selected to replace the current prima donna Carlotta, whose act is sabotaged by the Phantom. Christine shines in her featured debut and immediately wins the hearts of the audience, including that of her childhood boyfriend, Raoul, the Vicomte de Chagny.
Erik becomes envious of Christine's relationship with Raoul and takes her to his Gothic world beneath the opera house. Christine quickly finds that there is nothing angelic about Erik, and learns to her disappointment that he is just a man, and that he and the ghost are one and the same (and comes to know him as malicious, volatile, dangerous and somewhat bitter, yet also brilliant and pitiful). She is infuriated at having been deceived, and demands to be set free. Erik promises to release her after five days. After some awkward moments (dining by herself while he watches, being shown his room which looks like a death chamber, his bed a coffin...) Erik and Christine eventually begin a duet from Otello, and in a fit a of passion Christine rips off his mask, driven by curiosity to see the face of the man who loves her, and why he wears a mask. "If I live to be one hundred, I should always hear that superhuman cry of grief and rage which he uttered before that terrible sight reached my eyes," Christine later tells Raoul. The Phantom is furious and threatens to keep her in his lair forever, but later changes his mind. Christine is released, but only after promising to return by her own will and swearing never to give her love to anyone else. Christine does return, but only out of pity for Erik.
But Erik isn't the only one who is envious. After Christine's debut performance, Raoul overhears Christine succumbing to a tyrannical, disembodied voice in her dressing room (Erik). He becomes suspicious that another man is taking advantage of her innocent belief in an "Angel of Music" in order to seduce her. He starts spying on her in an attempt to find the mysterious seducer. Christine suddenly becomes aware of this and is very angry, but after Erik reveals himself, and with Raoul's persistence and threat not to leave on his naval expedition unless she tells him the truth (while promising to help her escape it), she decides to tell Raoul, on the roof of the Opera Garnier, everything that has happened between her and Erik. The two of them plan to run away from Paris and the "horror of Erik".
Erik overhears everything on the roof, and abducts Christine from the stage during her final performance at the Opera Garnier as Margarita in Gounod's Faust, at the point where Christine, as Margarita, is appealing to the angels. Raoul follows them down into the depths of the cavern beneath the opera house, and is guided to Erik's house by a character known as the Persian. Unfortunately for both of them, the route they take to Erik's house leads instead to a torture chamber (a catoptric cistula), where they helplessly listen to Erik raging at Christine, who lied to him and betrayed him. He threatens that should Christine not marry him, he will destroy the Opera House with explosives, in turn, "many members of the human race" would be destroyed. Christine, already on the brink of suicide, sadly accepts his proposal at 11pm the next night, Erik's "deadline."
Eventually, Christine shows Erik genuine sympathy and displays an act of love by crying with him, not running away when he takes off his mask, and even going so far as to kiss him on the forehead. This granted Erik a happiness he never thought possible. In despair, Erik releases Raoul and Christine and gives them his blessings to marry. He asks only that Christine come back after his death, and bury him with the ring he gave her, which is indeed not long afterwards.
Right before his death, Erik delivers a monologue expressing his grief, in which he describes how Christine was the only woman to let him kiss her, his brief euphoria when she kissed him, his despair at having the love of his life betrothed to another, and his gratitude to the Persian, who once saved his life. This is the only part of the novel written in Erik's perspective. Choking and sobbing, he dedicates his death to his beloved Christine.
"He had a heart that could have held the empire of the world, and in the end, he had to content himself with a cellar," writes Leroux in the epilogue of his book.
儿子与情人
Sons and Lovers is the third published novel of D.H. Lawrence, taken by many to be his earliest masterpiece. It tells the story of Paul Morel, a young man and a budding artist. This autobiographical novel is a brilliant evocation of life in a working class mining community.
The original 1913 edition was heavily edited by Edward Garnett who removed eighty passages, roughly a tenth of the text. Despite this the novel is dedicated to Garnett. It was not until the 1992 Cambridge University Press edition that the missing text was restored.
Lawrence rewrote the work four times until he was happy with it. Although before publication the work was usually called Paul Morel, Lawrence finally settled on Sons and Lovers. Just as this changed title makes the work less focused on a central character, many of the latter additions broadened the scope of the work thereby making the work less autobiographical. While some of the edits by Garnett were on the grounds of propriety or style, others would once more narrow the emphasis back upon Paul.
In 1999, the Modern Library ranked Sons and Lovers ninth on a list of the 100 best novels in English of the 20th century.
Part I:
The refined daughter of a "good old burgher family," Gertrude Coppard meets a rough-hewn miner at a Christmas dance and falls into a whirlwind romance. But soon after her marriage to Walter Morel, she realizes the difficulties of living off his meager salary in a rented house. The couple fight and drift apart and Walter retreats to the pub after work each day. Gradually, Mrs. Morel's affections shift to her sons, beginning with the oldest, William.
As a boy, William is so attached to his mother that he doesn't enjoy the fair without her. As he grows older, he defends her against his father's occasional violence. Eventually, he leaves home for a job in London, where he begins to rise up into the middle class. He is engaged, but he detests the girl's superficiality. He dies, and Mrs. Morel is heartbroken, but when Paul catches pneumonia, she rediscovers her love for her second son.
Part II:
Both repulsed by and drawn to his mother, Paul is afraid to leave her but wants to go out on his own, and needs to experience love. Gradually, he falls into a relationship with Miriam, a farm girl who attends his church. The two take long walks and have intellectual conversations about books, but Paul resists, in part because his mother looks down on her. At work, Paul meets Clara Dawes, who has separated from her husband, Baxter.
Paul leaves Miriam behind as he grows more intimate with Clara, but even she cannot hold him, and he returns to his mother. When his mother dies soon after, he is alone.
Lawrence summarised the plot in a letter to Edward Garnett on 12 November 1912:
It follows this idea: a woman of character and refinement goes into the lower class, and has no satisfaction in her own life. She has had a passion for her husband, so her children are born of passion, and have heaps of vitality. But as her sons grow up she selects them as lovers — first the eldest, then the second. These sons are urged into life by their reciprocal love of their mother — urged on and on. But when they come to manhood, they can't love, because their mother is the strongest power in their lives, and holds them. It's rather like Goethe and his mother and Frau von Stein and Christiana — As soon as the young men come into contact with women, there's a split. William gives his sex to a fribble, and his mother holds his soul. But the split kills him, because he doesn't know where he is. The next son gets a woman who fights for his soul — fights his mother. The son loves his mother — all the sons hate and are jealous of the father. The battle goes on between the mother and the girl, with the son as object. The mother gradually proves stronger, because of the ties of blood. The son decides to leave his soul in his mother's hands, and, like his elder brother go for passion. He gets passion. Then the split begins to tell again. But, almost unconsciously, the mother realises what is the matter, and begins to die. The son casts off his mistress, attends to his mother dying. He is left in the end naked of everything, with the drift towards death.
This is the most autobiographical of all Lawrence's works as the author himself had a similar relationship with his own mother. The use of this oedipal theme is one of a number of Freudian concepts he used throughout his books. Like many of his works, Sons and Lovers was criticized when first published for obscenity and one publisher called it "the dirtiest book he had ever read" but compared to his later works it is quite constrained.