那一只中世纪流传下来的鹅毛笔睡了那么久 尖锐变得圆滑还是说不出 爱情冰河期的冰凌还在心胸生长等待无数的春天飘过黄莺声声 大雁归来依然侧影锋利靠近就鲜血淋淋采集象形文字堆砌深情烧尽真挚的温柔 尝尽世间冷暖 闻过万种心酸看不到清澈流转只能用匹诺曹传达消息我爱你 一千次的高呼没有一次回首 衣袂飘飘 年代走远 找不到亲爱的水晶鞋光着脚 诗句都破碎 光鲜夺目的脸庞飘荡在河畔诗歌破碎成文字 看不到蚊子 只有苍蝇为什么不给我一朵蔷薇一个城堡一个童话的故事为什么就这样让我在凌晨入睡抱紧我所有的文字我最好的自己 它们沉重 我可以携带它们沉湖在湖中种下水草 种下永恒的陪伴等不来一个诗人的问候 让我燃烧你然后燃烧我自己看我 用文字眷念笔尖摇曳的深情残缺 留给你 记下它们记下刻骨铭心
On account of lacking enough time, I meant to watch this film instead of the original work. But now I determine to appreciate this book,since I believe the plot will be complete and meaty that engages me more.In the typical English romance, for me what the two protagnists talked with each other sounds like a song lingering on my ears.they say that women change 'Tis so, but you are ever-constant in your changefulness like that still thread from the falling river, one from source to last embrace in the still pool and ever renewed, and ever moving on from first to last, a myriad of water droped and you- i love you for it- are the force that moves that holds the form These things are there. The garden and the treeThe serpent and its root, the fruit of goldThe woman in the shadow of the boughsThe running water and the grassy space.They are and were there. At the old world' rim,In the Hesperidean grove, the fruitGlowed golden on eternal boughs, and thereThe dragon Ladon crisped his jewelled crestScraped a gold claw and sharped a silver toothAnd dozed and waited through eternityUntil the tricksy hero HeraklesCame to his depossession and the theft.Ash must be a fabulous poet who wrote such spectaculous words that really moved me. I can understand the conflict in Belly's heart. On the one hand, she loved the man who was always resisting toadmit his feeling, and longed for develop further relationship with him. On the other hand, she was scared. She was reminded of the relationship and the pathetic ending of Ash's true love, all her own love affairs and others. All love turns out to be ashes of time. Even though a man's flame burns up his lover, even he makes her breath-taking, when they are confronted with the fierce reality, they have to choose to sacrifice or make a compromise.
以真爱为名,出轨不叫出轨叫浪漫,那个受了严重心伤而被自杀的女同志啊,人民已经把你遗忘本来以为是一部穿越体电影,原来是一部跳跃体,在古今来回切换的画面里,有好莱坞勉为其难的英式矫情bbc《傲慢与偏见》的女主角(我记得我曾及记得她的名字),在这里笑得好苦。。。。
格温妮斯,我爱你没字幕的,我下载了,我看完了,我胜利了!
演女诗人的那个演员就是95的《傲慢与偏见》的女主角,她浪漫,优雅,自信,独立的气质真是让人印象深刻,先看的这个电影才然后才看的95的《傲慢与偏见》的,当时看见傲慢与偏见的时候就觉得这简直就是我心中的Elizabeth,两段感情都让人觉得浪漫而美好,是个不错的片子!
Possession: a romance is often considered as a complex suspense novel regarding history of literature and love. The story starts with a twentieth century dead-in-wood scholar Roland who spends all his time studying a poet Ash from the nineteenth century. It appears at the beginning of the novel that this book focuses on the position of males, particularly Roland and Ash, in different social background. However, new highlights are brought into the novel when Roland discovered the love letters between Ash and Christabel, another poet at that time. The author portrays Christabel and Maud Bailey, tow ladies from different times who change to fight for their freedom to discuss the roles of women through out the history, and how the talent and freedom of women was suppressed. Both Christabel and Maud are described in a somehow negative manner when they first appeared in the story. Roland describes the photo of Christabel as “no clear impression of anyone in particular; it was generic Victorian lady, specific shy poetess” (Byatt 44) Similarly, Maud is described as a very ordinary figure. “At first he did not identify Maud Bailey, and he himself was not in any way remarkable” (44). Thus, it can be clearly seen that both Christable and Maud were not considered stunning based on how they looked. Roland even has the impression that Maud “smelled of something ferny and sharp. Roland didn’t like her voice” (44). This shows that most people in the society didn’t appreciate women’s beauty at first sight.Byatt makes lots of hints and metaphor regarding the fact that people didn’t realize the talent and importance of women. Maud Bailey’s hair is blonde and metallic, a gold that might have existed before the discovery of precious metal: As she unbinds her mane "Roland saw the light rush towards it and glitter on it, the whirling mass, and Maud inside it saw a sea of gold lines, waving" (296). This represents Maud’s stunning beauty and talent; however, She wears it covered with a scarf, symbolic of repressed Victorian sexuality. Although Christabel’s hair color (like Maud’s hair and the scintillating waters of the fountain) is metamorphic in hue, we have seen that it contains pale loops of silver-gold (301). Gold – the color of charm, confidence, and power linked two women together in reflecting an essential element of their feminine nature—fertility, confident and attracting. “Mine the bright earth Mine the corn Mine the gold throne To which you’re born Lie in my lap Tumbled with flowers”This is the song of the gold lady who wears a "queenly crown of gold, a filigree turret of lambent sunny gleams and glistering wires above crisping gold curls as heavy with riches as the golden fleece itself" (169). Based upon these parallels, we can conclude that in Possession, women’s wealth — their power and energy — lies in their hair. Even though Christabel’s and Maud’s beauty and power is not recognized, their natural female characters still exist and shine just like the sparkling gold lady.The connection between Maud and Christabel serves also to connect the past to the present, the Victorian to the Post-modern. Feminism is an important aspect in each time period of the novel. Maud is a modern feminist, attempting to balance her identity as a woman with her identity as an academic scholar, and Christabel is trying to overcome her femininity by living as a recluse with another woman before she met R. H. Ash. Similarly, Maud is a withdrawn person, wary of men, and distrustful. Christabel is doing what many women of her time were doing, that is, struggling for masculine freedom in a world that was very limited for a woman. Maud is doing what many women today are attempting to do, that is, trying to reconcile and accept her femininity in an academic, typically male, environment. Byatt plays up this feminist view of literature and society by choosing to base Christabel's poetry on the strongly feminist poetry. She and Maud are living the liberated version – living on their own, being away from the secular society. These all indicate the ways that women fight against the social pressures and choose their own liberate styles to live.Not surprisingly, the light that gold emits cannot be covered up. Eventually, the free soul broke out and the courage pursuing liberty and love beat the fear of being different from others. Christabel and Maud both changed, as they could not reserve their true feelings anymore. In Victorian tradition, it was the man who 'owned' the woman, his wife. Yet in this modern Victorian work, that becomes twisted. When Ash attempts to 'claim' Christabel on page 308 by holding her and making love to her, the act of possession is switched around. He is trying figuratively to grasp her, and 'she was liquid moving through his grasping fingers, as though she was waves of the sea rising all round him.' He tries to take her all in, to know her, and her womanhood eludes him, as personality always will. Byatt's message seems to be that a personality cannot be taken or possessed by someone else, that individuality always remains, even in Victorian situations of female oppression and domination by males. The same love story that defines Christabel and Ash in the 1860's also describes Roland and Maud in the 1980's. Roland gradually changed his impression about Maud and found her extremely charming as a serious scholar and a beautiful independent woman. As two hearts got closer and closer, Maud finally chose to be her true self. She told Roland about her relationship with Fergus, and the reason why she reserved beauty. Then she was convinced to uncover her hair. “The segments of the plaits were like streaked and polished oval stones, celandine yellow, straw-yellow, silvery yellow, glossy with constricted life. Roland was moved—not exactly with desire, but with an obscure emotion that was partly pity, for the rigorous constriction all that mass had undergone, to be so structured into repeating patterns. If he closed his eyes and squinted, the head against the sea was crowned with knobby horns.” (291) This was how Roland felt when he saw Maud’s hair. The incomparable stunning beauty shocked Roland. “Life is so short,” said Roland. “It has a right to breathe.”(291) The courage and desire for love and freedom made them decide to give their love the right to breathe. Through the two love stories, sexuality is also discussed. On page 6, there is a passage on R.H. Ash's poem representing Proserpina, an ideal Greek woman, as 'gold-skinned in the gloom..grain golden… bound with golden links.' This is an example of idealized fertility and sexuality in Victorian women. It represents sexuality as something that can be conquered and possessed, like gold or grain. The suppression of sexuality in the Victorian era is a theme throughout the book, in both time periods, as is the sexual freedom that both couples eventually reach. The sexuality in Victorian society can be traced in Possession.Byatt successfully displays the change of the roles of women through out the history by shifting from the 1860's to the present. The romances are so similar that it is often difficult to tell which couple Byatt is writing about in any given situation. The way this romantic narrative fits both couples and time periods seems to suggest that not so much has changed, and romance from one time to another is not so different as we thought. The characters mix the old and the new; Maud wears a brooch once belonging to Christabel, and another Ash scholar, Mortimer Cropper, carries Ash's pocket watch. In the end of the novel, the last love letter written by Christabel enables Maud to finally enjoy the value of love in the present, and give her trust to Roland. The cyclical time frame of the novel provides an interesting contrast to the normal, stifling, linear time frame of typical literature and everyday life. Possession, a novel with lots of feminism color, does a good job in portraying two female characters from different times to call for the respect and attention for women from the society. Christabel and Maud are two respectable females who set an example for women to be who they want to be and gain respect and love they deserve.
无可救药爱上你可以再次欣赏到格温妮丝古典式美女的气质与风采,又是与浓厚的文学有关,特别是诗歌。
我对于那个美国人还不是很熟,不过,他拥有连男人都为之着迷的眼神,是不很成熟的男人。
于是,我想起来《时时刻刻》里那个扮演弗吉尼亚的女人,以及从她当时口里说出来的诗句。
淡黄色的头发卷成希腊古典的发式,雪白的高领毛衣,深色的纯毛围巾,还有那种拉丁气息的爱恋,自由而浪漫,发自内心……很忧郁伤感的眼神,的确是。
现代的人根本无法了解诗歌,无法亲近书籍。
因为社会的节奏,因为网络,因为现实。
我难以想象在西方社会那个19世纪、20世纪,人们是怎么样去追逐自由的,那种情感上,或是保守,或是自由奔放。
完全没有制约和教条的爱恋。
是我们这个社会所无法触及的纯净。
一切似乎都是在上帝的保佑下进行着。
有着自己的节奏,有着自己的空间,而我们现在的教育却在告诉我们,他们那个时代是怎么样的剥削,怎么样的压迫,怎么样的资本主义,怎么样的虚伪,怎么样的等级阶级。
我现在确信我们在一个落后的时代了,所有的矜持与奔放都是这个时代所无法时限的。
这个社会是顾及那些不一样的人的空间的,压缩的人群只有在前方才能找到出路,而作为人,到底是为了什么生存呢?
就是为了有大把的金钱,大把的权势,靠近海岸却不适合居住的别墅,那些值得炫耀的事迹嘛。
有多少人有自己想做的事,爱自己现在做的事情,而不要跟我争论你现在是情非得已。
哦,这样的话是我以前安慰自己的语言。
其实,我也只不过因为一部表现19世纪一个优秀诗人波折的爱情故事而感慨。
那好吧,你看我,一旦想说点什么是根本无法节制的不是吗?
总之,我觉得格温妮丝在这部戏里很放松,因为她的笑容很让人觉得亲切。
而那个美国人,也许是叫杰瑞米的这个家伙,我觉得他比较适合去演杀手,军人,而不是一个文学系的研究生。
在当时来说,女人的朴实和善解人意跟男人的狂热与至诚来说,都足以让人信服。
似乎所有的爱情剧都是以两个人的亲密接触而进行下去的。
所以,恋爱中的人们,就最好多多的相互沟通,彼此接触,是现实的,而不是仅仅通通话,聊聊天而已。
很兴奋,我终于了解到这一点。
因为健康的形象,生动幽默的言辞更容易打动一个人,而不是彼此在两个世界里相互想象与揣摩。
在这一点上,我承认西方人是浪漫的,充满的爱与美的自由与放纵。
在两性间的碰撞,是相互对等地的渴求着。
片子在回顾重现过去的同时,两个在现实中彼此具有好感的年轻人也在建立他们的感情通道。
算了,鬼会喜欢这类的片子,这部2002年在当时都没人关注的片子,注定会沉入时间的长河里,也同样在我的记忆里湮灭。
但是,我始终觉得那个男人是德国人。
时间这个东西在网络里显得太不起眼了。
格温妮丝的嘴角纹线的确是优美。
似乎她的片子中总会有优雅的举动。
有时间的话读一下原著吧, Byatt模仿维多利亚时代诗人Robert Browning和美国女诗人Emily Dickenson写的那些戏剧独白和短诗着实精彩, 还有浸泡着浓浓的书卷气的无比含蓄却热烈的书信,读起来浑身鸡皮疙瘩...小拜模拟人物说话写作的水平是一流的.就像她形容男主角Randolph Ash的那样, 是一伟大的ventriloquist
一部美国人拍的英国味十足的电影。
讲述了一段湮没在时间之中的爱情。
一个是男诗人,拥有幸福的家庭、悠闲绅士的生活和深爱的妻子。
另一个是女诗人,与女伴一起隐居在乡间,生活平静,祥和温婉。
但仅仅是一次社交晚会的相遇,就开始了一段互相迷恋辉映的岁月。
让人怦然心动的,是伊们相遇时专注着、闪着亮光的眼神。
男诗人的生活幽雅而富足,却也有着不平凡的感情经历。
他以优美而专一的爱情诗闻名于世,但他深爱的妻子因为疾病,使得伊们只能有精神之爱,更无法拥有孩子。
女诗人的过往犹如英国乡间的晨雾,但从她的同性伴侣和隐居生活来看,也是遭遇过磨难,经历过艰难的选择才换来的平静生活。
可是因为一次相遇,伊们就被彼此吸引了。
在相遇的最初,她对他说:“令人惊讶的是你,你的诗中竟然未曾注意到任何女性的存在。
你的诗作极少提及女人。
”他回答:“你击中我了,女士。
”……然后是一段逐渐加温的书信往来,直到她感觉到危险——“我不能让你将我烧尽……”但,“我不能让你将我烧尽,也不能拒绝你”,虽然“没有人,能站在火中而不被毁灭”……然后,是相约在花市的会面,当“我们走向彼此的那一刻,此生从未感觉过如此专注”“我牵起你的手,我的手在你的手中,有着相信和信赖”他沉静的,似乎有点忐忑又有点幼稚的问:“你后悔么?
”她微笑着,美丽的脸上有着无法用语言可以表达的神采,“我该后悔但我没有,最理性的时候都不曾后悔”然后,她继续歪着头,把难题轻轻的抛向他:“现在怎么办?
”他上前一步,轻轻捏着她的手:“我不想破坏你的生活,明天上午我会去教堂,用我最诚挚的祈祷,祈望你跟我同去约克郡旅行——我们在这世界上,一段迟来的旅程”在火车上,他欠身,然后问:“你希望分开住宿么”……“不跟我住在一起?
”她很果决的说:“我要跟你同住”“我们之前就决定了”“这四个礼拜,是属于我们的”“只有我们”伊们互相注视着,带着掩藏不住的笑意。
他从口袋里掏出一样东西,“希望你接受这个戒指”她笑着除下手套,“我也带了戒指给你”“你看,证明我的决心”…………两位研究者发现了两位诗人的书信,一个男人,一个女人。
两人在阅读诗人们的书信,时而会心微笑,时而有所触动。
两人跟随诗人的旅途,住在了同一间房间,两人躺在一张床上,交谈着。
男人说:“我不允许自己有伊们这样的关系”,“嫉妒、迷恋这种东西,再也不要”“那你很幸运,这些只给人,一团乱麻”“很多人都要这种纠缠,我可不要我的表现让很多人不快乐,非常不快乐”女人说:“对于我,一旦我对谁有感觉,我就全身发冷”“为什么?
”“大概是害怕吧,害怕被爱情烧毁”男人忽然感慨:“我们在说些什么呢?
”“对啊,我们还算是现代人吗”男人看着女人,然后说:“你该把头发放下,让它呼吸。
别假装冷漠,不必担心我”“她(女诗人)说,提防所有男人”“她不认识我,我对你没有任何企图”“那我们很安全”“对”然后伊们彼此注视了一会,然后亲吻……女人想要掀开被子,男人却退却了,女人恼怒的离开。
第二天,两人继续追寻诗人们的旅途,然后,在车站告别。
男人回去后,和朋友说起这个故事,朋友扔过车匙,“开我的宝时捷去找她吧” 女人开门,看见男人拿着一束花,她笑了。
“进来,让我解释”“你确定?
让我进来?
”“对,很确定。
”两个人在窗前坐下来,互相注视着对方。
“你到底来干什么?
”男人有点不好意思,但还是看着她,然后说:“我必须看见你”“我想告诉你那天晚上发生的事情。
”“那时,我只是不想陷进去”“我很想,真的很想…那么做”女人微笑“非常想”女人笑出了声音,从红唇间露出她雪白的牙齿。
“但我不想把事情搞砸”女人看着他,像在鼓励他继续说下去。
“我想搞清楚,我想知道你我之间”“到底…有没有可能”女人继续微笑着,嘴唇抿着,看着他。
他也看着她。
“这样说…可以吗?
”女人向他俯去,亲吻他……他轻轻捏着她的下巴:“我想你是接受了”…………这两段故事构成了整个影片的上半部分,下半部分,感兴趣的人可以自己去看……possession1. 拥有;占有[U]The possession of a degree does not guarantee you a job.拥有一个学位不能保证你找到工作。
2. 所有物;财产[P]Her possessions could fit in one suitcase.她的全部财物可以装在一个手提箱内。
3. 领地,属地,殖民地[C][P1]Some Caribbean islands are still French possessions.一些加勒比岛屿至今仍是法国的领地。
4. 自制,镇定自若[U]With his usual possession, he answered all the questions.他以那惯常的沉着回答了所有的问题。
5. 着魔[U]This charm will protect a man from possession by evil spirits.这个护身符将保护人不致着魔。
看Possession的中文版小说,断断续续的看了一半,因为晦涩的诗词而不得不停顿,无意中发现电影版,便迫不及待的拿来欣赏其实就是一段婚外恋,难道因为它是真爱所以就美好,就值得被同情?
对妻子的爱是责任,对情人的爱是激情,统统冠以爱的名义。
爱太泛滥。
我最爱不起的男人就是对这妻子说我不会和你离婚的,你是我的的责任,我会照顾你一生,然后转头对着情人说,我跟我老婆没有爱情,就只有亲情,我的心都在你身上,但是我不能抛弃一路甘苦与共的糟糠之妻。
说穿了这种男人就是一个自私鬼,两手都要抓还要向世界要同情。
只是不明白为什么女人都容易沉浸在自己编织的美好里,自欺欺人的去相信自己是那个独一无二的存在,还傻傻的为男人寻找各种借口。
想要两全的终不能两全,忧伤带出来的感动和美好倒是能赚足一大把的眼泪。
午后, 一杯菊花清茶, 重温这部电影大片大片英格兰的冷绿泌人心脾淡淡馨香经久不散古今两段情缘在交织的时空中缓缓展开婉若片中行云流水般的诗篇ture love is a durable fire in the mind ever buring
我其实更想看这些美好的女人们相爱啦……Lamotte和Blanche才好磕嘛
就是为了看年轻的哈维,结尾有点点可爱,总体是个文艺过了头的狗血爱情片
太文艺。经不起推敲。贝尔的演员不够赞。英式英语总让人想起——凯拉 奈特利。要是换她来演就好了。
对Gwyneth Paltrow真是怎么都提不起好感来,也没拍出A.S. Byatt原作的感觉(虽然书我当时也只是草草看完的)。黄哲伦的改编剧本里还是最中意蝴蝶君啊,虽然那效果多半是柯南伯格的奇情镜头在背后助力了一把。
就像你发现情感细腻的人,一定是无法抑制的多情。
剪辑新颖,摄影和剧情都很一般啊。
千回百转的爱,总有纠结和遗憾~~米粒的气质女Gwyneth!!!
補英國文學史
扑面而来的文艺气息,个中滋味果然不是我等俗人可以体会的,另外,英伦田园景色确实宜人。BTW,BBC版傲慢与偏见的女主伊丽莎白和权游中的瑟曦女王都有出演。
我不能让你将我点燃,可是我也无力抗拒,没有人能在这样的爱火中不被燃烧。终于,我执起你的手,把我的手放在你的手心。
两段故事的穿插,美国人在英国,这两个点都是我很中意的。可是总感觉不够用力,太温吞水。
既然抵抗不了,就燃烧吧
全无意境 改编完败
看了后才发现 改变自大名鼎鼎的隐之书啊!!!
2009.12.15 20:30电影还行 不过更爱小说
台词写得太好了,都拜那本小说所赐
星星都給Tom Hollander~~
只喜欢古典部分。。。
让我们失去梦想和期望 让我们坚定的信念深陷寒夜 他们整夜沉睡 洋娃娃藏着深邃的秘密 比朋友更能保守秘密 洋娃娃保持了一个沉默的同情心 这是我们的末日 在外面获得长久的生命 或是在一个幽暗的房里
Did you not flame, and I catch fire? 这么惊心的句子还是看书好了…… 另外,为虾米总是要在结婚后才碰到人生真爱?虽然真爱很重要,可是对婚姻的责任又算什么呢?……唉……