Madame Bovary 包法利夫人（英文版）

She wished at the same time to die and to live in Paris. “她既想死，又想去巴黎。”我想这几乎是当下每个人内心的写照，她并不是真的想死，巴黎也只是一个出口的代名词。这两件事其实指向的是同一种东西：她无法忍受此刻的生活。 福楼拜写的是十九世纪的Madame Bovary，最惊人的是这正是现代人的精神状态。Emma有家庭，有爱她的丈夫，有稳定的生活，可她对生命的想象如此的热烈，于是她向往爱情，向往巴黎、舞会、奢侈等等，这些都在告诉她另一种可能的人生。“At bottom of her heart, however, she was waiting for something to happen. Like shipwrecked sailors, she turned despairing eyes upon the solitude of her life, seeking afar off some white sail in the mists of the horizon. She did not know what this chance would be, what wind would bring it her, towards what shore it would drive her, if it would be a shallop or a three-decker, laden with anguish or full of bliss to the portholes. But each morning, as she awoke, she hoped it would come that day; she listened to every sound, sprang up with a start, wondered that it did not come; then at sunset, always more saddened, she longed for the morrow.” 生活本不该是这样，也本不该只是这样。于是我们不断刷新着人生的剧本，恋爱、自由、远方。我们见过或者亲历过其他的可能性，于是再也难以安心的活在唯一的一种人生里。困住Emma和每一个我的，并不是“追求爱情”，我们真正无法忍受的是“人生竟然只能这样”。“She did not believe that things could present themselves in the same way in different places, and since the portion of her life lived had been bad, no doubt that which remained to be lived would be better.” 历来对《包法利夫人》的分析贯穿不同的时代，Emma的道德堕落与虚荣，文学塑造人的欲望，消费主义，女性主义，存在主义等等。 但是，“Madame Bovary, c’est moi.”包法利夫人就是我。不断地重读这部著作，就会在不同时期更加清醒的看到自己。20岁的我把很多意义都寄托在所谓爱情里，如今30岁的我开始从更大的世界理解和建立自我。希望最后回看时，我不会感叹人生竟然只能这样。而这种“真正的人生在别处”的痛苦，或许会伴随着每一代人的阵痛一直持续下去吧。 First, upon the eyes, that had so coveted all worldly pomp; then upon the nostrils, that had been greedy of the warm breeze and amorous odours; then upon the mouth, that had uttered lies, that had curled with pride, and cried out in lewdness ; then upon the hands that had delighted in sensual touches; and finally upon the soles of the feet, so swift of yore, when she was running to satisfy her desires, and that would now walk no more. 福楼拜的语言是那种能够很精准的刺入你内心的，午后的光线，弥漫房间的砒霜的味道，情人的脚步声，所有的细节堆积起来比任何语言描述都更让我窒息。有时候我分不清到底是不是Emma的思想在真实的说话了，作者的声音，人物的特点，内心的独白完全融合在一起。我一边理解Emma，却又一边看着她被幻想吞噬。 最后，男性们能不能别隐身了。Charles可以说是很平庸很典型的一个老实人了，所以那些追求精神共鸣害怕孤独的女性们，看看你们进入的婚姻到底是什么样的吧。“Emma dreamed of her marriage day; she saw herself at home again amid the corn in the little path as they walked to the church. Oh, why had not she, like this woman, resisted, implored? She, on the contrary, had been joyous, without seeing the abyss into which she was throwing herself.”Rodolphe和Leon？美美隐身？历来只有Emma承担了全部批评声，到底什么才是“病”。

Precise and sharp. The agricultural show scene is masterful: Rodolphe whispers seduction to Emma while officials announce farming prizes. Flaubert cuts between romantic clichés and mundane reality, showing how cheap words win over genuine feeling. Emma is too proud to ask Charles for help and ends herself over what feels like a money problem dressed up as despair. Charles, dull and devoted, is the real victim. The blind man haunts like a broken conscience. Flaubert’s choice to continue after Emma’s death — showing Homais rewarded, Charles rotting — feels cold, not clever.

有什么东西是你愿意承担风险和代价也要去偷的呢？如果你愿意冒着风险去偷的“情”，必须情真意切的才有价值。 她偷的是浪漫的幻影，抵押的是真实的性命，这正是最典型的负不对称（用一切换虚无）。 如果剥离法律字眼，回到“用有限代价撬动无价之物”的本质，我愿意冒着“被误解、被孤立、浪费时间”的风险去“偷”的，只有一样东西：偷“未被干扰的当下”。 情真意切之处：因为它是真实对抗虚构的堡垒。包法利夫人偷的是小说里的桥段，硬套进庸常生活，结果错付。 包法利夫人的错付，根本在于她偷错了对象：她偷的是“被爱慕的幻象”，而非“爱自己的能力”；抵押的是无法再生的生命本金，换来的却是消费主义的赝品。