کتاب شرلی

اثر شارلوت برونته از انتشارات نشر نی - مترجم: رضا رضایی-داستان تاریخی

«قرن نوزدهم در نوجوانی غول‌آسای خود بازیگوشی می‌کند... این پسرِ غول در بازی‌های خود کوه‌ها را از جا می‌کند و برای تفریح صخره‌ها را به این‌سو آن‌سو می‌اندازد.»؛

این توصیف شارلوت برونته است از زمانه‌ی دشوار و متلاطمی که در آن کل اروپا درگیر جنگ‌های ناپلئونی است و انگلستان نیز با بحران‌های جدی اجتماعی و اقتصادی روبه‌رو است. در بحبوحه‌ی شورش‌های کارگری و آشفتگی‌های صنعتی و تجاری، هنوز «عشق» جوانه می‌زند، اما روابط افراد تحت تأثیر رویداد‌های سیاسی و تاریخی قرار می‌گیرد و تعبیر و تفسیر طبقات اجتماعی از این رویدادها نیز بر مصلحت و منفعت خود آن‌ها مبتنی است. عواطف و احساسات در برابر ملاحظات مادی و اجتماعی رنگ می‌بازند، ازدواج‌ها مصلحتی‌اند (نه عاشقانه) و مناسبات انسانی تابع معیارهای مادی (نه عاطفی). شرلی رمانی است تاریخی ـ اجتماعی به عالی‌ترین معنای کلمه؛


خرید کتاب شرلی
جستجوی کتاب شرلی در گودریدز

معرفی کتاب شرلی از نگاه کاربران
فوق العاده کلاسیک .گرم وصمیمی و دل نشین
زمین نمیشد گذاشت حالا من دل تنگ مانده ام اینجا قرن21 🙈
یک داستان همیشگی اما با روایتی بی نهایت تاثیر گذار ..و اگر بخواهم از قدرت قلمش بگویم، می گویم من ساعاتی که مشغول خواندن بودم در برایارمینز بودم در کنار شومینه جناب یورک و روی صندلی محبوبش در اتاقی که درک هنری مالک را می رساند آن جا بودم و راوی سوم شخصی که شاید از نزدیکان شرلی بود برایم از اتفاقات مهم روزانه میگفت با شیوه ای بی نظیر مرا از اخبار روز با خبر می کرد و خوب حواسش بود که تعبیر هایی اصیل به کار بگیرد از اساطیر از شجاع دلانی که برایش حد کمال بودند ..پر از اصطلاح های فرانسوی که مشعوف می شوی از دیدنشان 😀...شرلی از اون دست کتاب هایی است که شما رو دعوت به یک آرامش همیشگی میکند. من زندگی رو چه قدر بیشتر دوست دارم الان😻



*_
به نظر من... که هر روز بیشتر اثبات می شود@. ما نمی توانیم در این دنیا به چیزی برسیم که بیرزد نگهش داریم، حتی به صورت اصل یا اعتقاد، مگر آن که از دل آتش تطهیرکننده بیرون آمده باشد یا از کام خطر نیروی بخش.ما اشتباه می کنیم، سقوط می کنیم، له می شویم، بعد با احتیاط بیشتری جلو می رویم. با ولع از جام زرین رذالت ها زهر می نوشیم و می بلعیم، یا از کیسهٔ آزمندی، حال مان بد می شود، تباه می شویم، هر چیز خوبی که در ما هست علیه ما قد علم می کند، روح ما با خشمی بی امان علیه جسم ما برمی خیزد، بعد نوبت می رسد به جنگی در وجودمان، که اگر روح مان قدرت داشته باشد،پیروز می شود و از آن پس زمام وجودمان را به دست می گیرد.


*با این حال، کارولین مقاومت می کرد و به زانو در نمی آمد. در قلب دخترانه اش قدرتی نهفته بود، و او از این قدرت استفاده می کرد. مردان و زنان هنگامی بیشتر تقلا می کنند که تنها هستند،بدون مشاور، یا محرم راز .و محروم از دلگرمی، پند و اندرز، دلسوزی و غمخواری.


*خانم یورک گفت: «مارتین از کلیسا رفتن بدش می اید، اما از حرف گوش کردن بیشتر بدش می آید.》
_پس شرّ خالصم
«بله... هستی.»
«مادر، ... نیستم.»
«پس چه هستی؟»
مجموعهٔ بغرنجی از انواع اغراض و نیات که اگر بخواهم جزئیات و ظرایفش را برای شما توضیح بدهم درست مثل این است که بخواهم دل و روده ام را بریزم بیرون تا طرز کار داخلی کالبد خاکی ام را نشان بدهم.»


*《کارولین،چرا تو همیشه درست موقعی می روی که من خیلی دلم می خواهد بمانی؟》
《برای این که مطمئن می شوی داری از دست می دهی،تازه دلت میخواهد نگه داری.》


صورتش گل انداخته بود، خوشحال به نظر می رسید،نیمچه لبخندی هم در چهره اش نقش بسته بود، اما مژه هایش خیس بود.در خواب اشک ریخته بود. شاید قبل از خواب چند قطره اشک از چشم هایش غلتیده بود،چون از شنیدن آن بد و بیراهی که نثارش شده بود دلش به درد امده بود. هیچ مردی و هیچ زنی نمی تواند همیشه نظر غیر منصفانه دیگران را بشنود و دم برنیاورد، بخصوص اگر این نظر غیرمنصفانه با الفاظ توهین امیز بیان بشود. دشنام و ناسزا، حتی اگر از دهان ابلهی خارج شود، گاهی احساسات بی دفاع را جریحه دار می کند. شرلی شبیه کودکی بود که شیطنت کرده و تنبیه شده است اما دیگر بخشیده و آرام گرفته است.
*😻🙈🙆

مشاهده لینک اصلی
خب این اولین بار بود که کتابی با موضوع جنبش لودیت‌ها می‌خوندم و از این نظر بسیار برام جالب بود. روایت برونته از باب شباهتش به روایت مارکس از مسایل انقلاب صنعتی و طبقات جذاب بود، اما در نهایت با نوعی سانتی‌مانتالیسم کلاسیک، تمام شد. خط اصلی روایت به داستان‌های جین آستین شبیه بود... عشق دختر فقیر اما اصیل و مرد پولدار، دختر پولدار بافهم و کمالات و‌ مرد فقیر اما شایسته؛ عدم پذیرش اجتماعی این عشق و در نهایت پیروزی عشق بر تمام قیدوبندهای اجتماعی.
به جز این هر از گاهی نقدهایی به کلیسا، همزمان به جریانات منتقد کلیسا مطرح می‌شد، و البته که برونته یک روایت ملایم فمینیستی هم از زن مطلوب خودش به دست داد: فعال، آگاه و در عین حال دلبر، مراقب، و‌ در بند مردی که به او عشق عرضه کند.
گره‌ها به سیاق آستین اواخر داستان همه با هم باز می‌شدند، اما به نظرم شارلوت برونته در باز کردن گره و تعریف پایان ماجرا صبورتر و هنرمندانه‌تر عمل کرده.

مشاهده لینک اصلی
In the fast changing industrializing England , of 1811-12, from farming to factories, ( the beauty of the green land, clear waters and blue skies, are being destroyed, rapidly, by dark, ugly pollution ) people will have to also, adapt or starve, machines are taking over, sounds familiar ? A bleak future for some, others to prosper, but a hiccup occurs ...Napoleon, a long ruinous, endless war, of 15 years is devastating Yorkshires trade, embargoes by both France and her arch enemy Britain, in the north of the nation, like the rest of the realm, cause havoc...Robert Moore, the good looking, half -English, his father , and Belgian mother, born in that country in fact, has fled the bloody conflict, across the windy channel, to apparent safety , scraping up a few coins, left by their deceased , respectable parents, building a wool mill, there, he has an older, plain, good heart sister, Hortense, living with him, and a younger, even more plainer, but quite intelligent, poor brother , Mr.Louis, a tutor, to a faraway wealthy family . Mr.Robert Moore, 30, is very ambitious, some says ruthless man, firing many employees, and replacing them with a machine, trouble follows, as in much of the nation, angry rioters called the Luddites, former mill workers, have been wrecking the new , detested machines, threatening to kill the owners...in his small village, the foreigner, Robert, almost bankrupt, is hated, and a constant, uneasy feeling of menacing violence, permeates the area. The handsome Mr. Moore, has female admirers, delicate, lovely, Caroline Helstone, raised by a stern, but not unkind parson, an uncle , Rev. Matthewston Helstone, and rich beauty, an orphan, rather proud Shirley Keeldar, she owns the property that the mill stands on, loans Mr. Moore, money to survive the economic difficulties. His brother, Louis, unexpectedly arrives in the village with the family he works for, relatives of Shirleys , and an arrogant uncle, of hers, tries to marry the highly reluctant niece, to an appropriate, financially secure, gentleman, settle all his troubles, the loose ends, the always responsible man has his duties to perform...but things are complicated, Caroline loves Robert, he loves Shirley, or her money, and the penniless Louis, loves Shirley...a rectangle, you can figure out, yourself, how to resolved the confusing situation. Not Charlotte Brontes best book, ( obviously Jane Eyre is ) but still an interesting peek into the early Nineteenth Centurys, Industrial Revolution, the turmoil and deadly effects that happens , in society , to the ordinary people , who could never really fight back, in the place it all began, not so merry England.

مشاهده لینک اصلی
...but I perceive that certain sets of human beings are very apt to maintain that other sets should give up their lives to them and their service, and then they requite them by praise: they call them devoted and virtuous. Is this enough? Is it to live? Is there not a terrible hollowness, mockery, want, craving, in that existence which is given to others, for want of something of your own to bestow it on? I suspect there is. Does virtue lie in abnegation of the self? I do not believe it.
This book is long, complicated, and polemical. It is full of numerous characters that are never proclaimed fully evil or utterly good, references that few modern readers would understand without the copious end notes, and bundles of plots weaving in and out of a myriad number of sociocultural subjects. The authors views are as obvious in her text as the nose on your face; religion, politics, womens rights, you name it, she has something to say about it. Finally, what this all adds up to is not an adventure, nor a history, not even a treatise of various ideas on multifarious subject matters, but a romance, if that.

I loved it.

If history is both well written and well integrated into an intriguing yet formative fictional piece, Ill eat it up like cake. If characters and plots are sacrificed on the altar of theme and powerful insight, Im all the happier. If my own personal views are presented in a form eloquent, intelligent, and explicit, better yet augmenting and honing my mind as my eye reads on, yes, I will cling to it in as biased a manner as I please. And, if it tickles my particular brand of humor, I will especially treasure it.

Will this book please everyone? No, far from it. The author is far too wrapped within her own thoughts and intentions within these pages, and not even my love blinds me to the emphatic disagreements I had with the book as a result. As these disagreements are few and far between the wonderfully long passages of masterful insight, I dont mind them much. What matters far more to me are many places of brilliance, the brightest of them being the ingenious way with which the author treats gaslighting, that all too common and insidious mechanism that dominates relations between women and men; as if the truth of defining action and reaction lay solely within the latters power while the former is left to rot in silence.
It is not, she resumed, much excited, - It is not that I hate you; you are a good sort of man: perhaps you mean well in your way; but we cannot suit: we are ever at variance. You annoy me with small meddling, with petty tyranny; you exasperate my temper, and make and keep me passionate. As to your small maxims, your narrow rules, your little prejudices, aversions, dogmas, bundle them off: Mr Sympson - go, offer them a sacrifice to the deity you worship; Ill none of them: I wash my hands of the lot. I walk by another creed, light, faith, and hope, than you.
Im not surprised Woolf decried Charlotte Brontë within her A Room of Ones Own for letting too much anger and indictment creep into her writing. I myself wonder at Brontës fervent declamations, often uttered by female characters who later on act in complete opposition to their previously stated thoughts and feelings. Seemingly, perhaps, as this sort of idealism rarely results in a happy ending, at least for most suspenders of disbelief. Seemingly, as what matters is that Brontë did indeed pen her insight on paper that later was successfully published. She did exhaust most of her cutting wit and fine tuned psychological scalpel on the matter of women from infant to old maid, but there are men and children, poor and rich, politic and politic that may not be likable but always are true.
‘I must read Shakespeare?
You must have his spirit before you; you must hear his voice with your minds ear; you must take some of his soul into yours.
With a view to making me better; is it to operate like a sermon?
It is to stir you; to give you new sensations. It is to make you feel your life strongly, not only your virtues, but your vicious, perverse points.’
This book achieves exactly that.

مشاهده لینک اصلی
La primera parte es muy lenta pero preciosa, la segunda frenética y maravillosa.
Creo que se ha convertido en mi libro preferido de Charlotte Brontë ♥

مشاهده لینک اصلی
Shirley is Charlotte’s sophomore slump. Her Kill Uncle. Her You Shall Know Our Velocity. Her Supposed Former Infatuation Junkie. And so on. I don’t care how cute Mr Rochester is, this novel is a deeply vexing mess. Firstly, there are several plotlines and not one has the urge to intersect. The rebelling miners plot launches the novel in tandem with the idle curates poor-versus-rich plot, then dribbles away with the introduction of the second plot: Caroline’s crush on Mr Moore. This plot is soon replaced by the late appearance of Shirley, the most interesting character in the novel, whose bland friendship with Caroline stems the flow of Shirley’s androgynous awesomeness. This too dribbles away with too many pastoral scenes, misplaced polemics, increasingly tedious extended dialogues and domestic trivialities. The novel feels aimless and incompetent without recourse to the tropes of a form (i.e. gothic romance tropes) like Charlotte used in Jane Eyre, so bumbles along at a grinding pace offering succour in all-too-infrequent scenes of tension or conflict between Shirley and others, which soon peter out into dreary ten-page dialogues or ruminations studded with biblical references. I managed up to 392pp, which is three-quarters—if any devotees of this book want to fill me in on the last quarter please do. Disappointing! Next one up: Vilette.

مشاهده لینک اصلی
Shirley is a not-quite-comfortable hybrid of a romance and an anti-silver fork novel, the latter as assuredly as Thackeray’s trenchantly sarcastic Vanity Fair, which is set during the same period. It is among the first of the industrial novels that demonstrate the desperation of the poor during the beginning of the industrial revolution’s inexorably swift changes.

Bronte probably heard accounts from oldsters about troubles when the looms were being replaced by machines, and there was certainly trouble enough during her own time—there is a mid-Victorian flavor, a particularly middle-class outlook on history as well as economics, that doesn’t always accord with Regency accounts of same. For example, Bronte’s insistence that uprisings were always led by wily, unscrupulous outsiders, and not by angry, desperate people themselves.

There is also a distinctly early Victorian veneration of Wellington, who in 1811 had a year to go before he attained the double promotion that made him into the hero who strode mightily through all the Bronte kids’ juvenilia antipodal to their various Byronic hero-villains. Alone out of all the Brontes’ published works, Wellington gets his veneration here, a year before his rise to national consciousness and popularity.

As for the hybrid nature of the novel, it is also a harbinger of what Trollope and others would soon do in delving into ecclesiastical matters. There are a lot of clergymen of all kinds in this novel, good, bad, and a mix, as there is a lot of church politicking at the village level. Perhaps this preponderance of clergy was prompted by Bronte’s reaction to the horrified reviews of Jane Eyre that so grieved her, with their condemnations of the book’s immorality.

Finally, then there is a sympathetic and protracted look into that most risible of figures, old maids—and at the same time, a pungent look at disastrous marriages, and the many reasons why they fail; though the early chapters feature men condemning women for rendering marriage hellish, the entire book breathes in answer from the female point of view.

On the first page, the unnamed narrator insists that the book is not a romance, which is only partly true. Robert Moore is certainly not much of a hero, especially to modern audiences as he tramples all over Caroline’s faithful love through most of the book, in favor of his mill. Louis Moore, the secondary hero, doesn’t even enter the novel until well past half-way, and then mostly we hear about him, with a few scenes on stage. But those few scenes are delicious with the wit demonstrated in Jane Eyre, and in both brothers, though we see the Bronte Mark I Byronic hero (none of them could resist), here they are corseted strictly within acceptable Victorian tropes.

There is a great deal of humor gleaming here and there, like Dr. Langweilig of the Moravian preachers (Langweilig = boring in German), and many wisecracking asides by the narrator.

Even Brontes insistence that the novel isnt a romance is tongue in cheek. The tropes of early Victorian romance are definitely there—the near-deathbed scene with the rejected heroine pining away, the sudden and dramatic revelation of a long-lost mother, a gunshot wound that renders the hero helpless to be tenderly taken care of, while he remorsefully counts up his sins and arises determined to be a better man to his long-suffering heroine.

I think if one regards the novel as one of female agency built around female friendship, then the book’s disparate bits fall into place. Even those old maids gain agency when times are troubled by organizing social welfare to keep the desperately poor from starving. And there is a great deal about female education being crucial to success in life, whether as wives, mothers, managers of estates, or solitary women expected to live in service to others. (Bronte deals with that platitude with justified sarcasm in a laugh-out-loud bit of a scene.)

Nor does Bronte forget the servants, many of whom have speaking roles in this novel. Bronte acknowledges the unseen work of servants, for example in disparaging the fine oak drawing room in Shirley Keeldar’s manor for the grim labor it requires of servants, scrubbing with bees-wax laden cloths.

“Women read men more truly than men read women. I’ll prove that in a magazine paper some day when I have time, only it’ll never be inserted; it will be ‘declined with thanks’ and left for me at the publisher’s.”

At the time this was written, Shirley was a masculine name. The use of it for a heroine signified another strong-willed female (Jane Eyre having previously been published to resounding success), and in that the reader is not disappointed. But the story is less Shirley Keeldar’s than it is Caroline Helstone’s.

Some biographers feel that Shirley and Caroline are fictional depictions of Emily and Anne, who both died during Charlotte’s writing of the book. The eponymous Jane had come out of her in one white-hot session (which goes a way to explain the weird structure of the last quarter of the book), but this one took a protracted time to complete, as Charlotte dealt with, and then grieved over, these family deaths.

If Caroline and Shirley do represent Anne and Emily, these are vastly idealized depictions. From anything I’ve read, poor Emily was stump-silent in social situations, uncomprehending of much social interaction and unable to deal, much preferring to escape entirely and tramp isolated through the countryside, the wilder the better. The distortions peopling Wuthering Heights, whose wild passions threw the Victorian reading world into a tizzy, indicate a fierce inner world, and a strong will fueling it. I wonder if we glimpse a bit of the real Emily not so much in Shirley’s masterful handling of servants, clergy, gentlemen, and nobles alike, but in her partisanship for every old and ugly dog she met.

And in good, plain-spoken, unshakably honorable and moral, retiring and obedient little Caroline, we can see Anne in her silent struggles for faith—a struggle Charlotte would have recently seen in the poetry left behind in her dead sister’s papers.

Each sister was given the devoted Byronic hero lover that neither had in real life, and above all is lovingly depicted the ardent and loyal friendship that I suspect does mirror the real bond those sisters shared until the end.

مشاهده لینک اصلی
کتاب های مرتبط با - کتاب شرلی


 کتاب صلیب سربی
 کتاب گیرنده شناخته نشد
 کتاب گتسبی بزرگ
 کتاب یک سرباز خوب
 کتاب جنگ آخرزمان
 کتاب لطفا به من نخندید