无可救药爱上你2002

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

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

    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。

 《国王的演讲》大热，詹妮弗艾莲（Jennifer Ehle）和科林费尔斯（Colin Firth）的那点旧事又被拿来炒作了。两人当年因《傲慢与偏见（1995版）》结缘，共谱恋曲，最后没能像伊丽莎白和达西那样结局圆满。不过在《国王的演讲》中两人有几分钟的对手戏。看了片花不由让人感叹，女人已老，男人却正当年。从95版《傲慢与偏见》时我就开始关注她了。她没有我心目中的伊丽莎白那样灵秀聪颖，最多是个端庄娴雅版的，黑发贴头的卷发并不适合她，她是金发的。不过她有一种说不出的气势，一下子在我的脑子里占据了一席之地。我时常关注她和她的电影。她是美国人，在英国学习戏剧，获得的嘉许和赞赏也都在英国，典型的实力派，有演技却不怎么有名气，不知有没有海伦米勒和朱迪丹奇这么好运，上了年纪还能风光一把。岁月流逝，昨天我突然在电视上认出了她，真是不可思议。
长假里向来是日夜颠倒的，午夜我窝在沙发里，在一大堆零食的包围中百无聊赖的翻着遥控器，东方影视频道在放一部叫《迷梦情缘》的片子。先吸引我停下遥控器的是大美女格温妮丝•帕特洛 Gwyneth Paltrow和大帅哥艾伦•艾克哈特 Aaron Eckhart（他的那部《感谢你抽烟》简直让我顶礼膜拜），然后就看到了詹妮弗艾莲（Jennifer Ehle）和杰瑞米•诺森 Jeremy Northam，我不由放下遥控器，给自己泡了杯茶。再看下去让我想起了《隐之书》。我真不知道这部书被拍成电影了。然后翻翻豆瓣，原来这部片子叫《无可救药爱上你》，我放在“想看”这一栏中，估计想看也是冲着派特洛去的。原来绕了一大圈子，就是这部片子呀。詹妮弗艾莲也是女主角之一。在我看来女诗人本就不是同性恋，在那个女人被压抑的年代，有才华的女人只能用特立独行的方式来与社会抗争。她和她的女友都是那个时代下不得志的人物，空有一身的才华，却得不到世俗的认同。她们只能相依为伴，惺惺相惜。只是女孩间的友谊总是充满了些占有欲。呵呵，这才是她该演的角色。
当然小说写更得好，不然不会一版再版。套用几句歌词，“想爱不能爱才最寂寞”，“将爱进行到底，温柔尚在，寂寞永生”。这样的爱情不是传说，很真实，真实得可以印成铅字，流芳后世。
但遗憾也不少，本来会是一部很成功的小成本电影，不能立刻抓住你的眼球，却也犹如一杯清茗般温馨隽永，但大牌美女帅哥的演出，让这部片子显得有点不伦不类。着实可惜了那英式田园风光。
一定要去看看《国王的演讲》，为了点八卦精神，更为了詹妮弗艾莲那几分钟的演出，看看一个女人如何在她曾爱过的男人面前魅力四射的。

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。

        有时候，生活是那么神奇，一本书，一段音乐，一片碟，冥冥之中，如同有缘，在生命的某个转角与你相遇，某年，某月，某日。
    刚打开IPTV的观大片，看见《无可救药爱上你》，首先觉得是可以用来打发一下时间的娱乐片，华纳兄弟那醒目的WB标记让我比较愿意牺牲一个宝贵夜晚的读书时间去试看它，可是，看完简介，天，我是那么惊喜，竟然是我前不久看过的POSSESSION的电影版，我从不知道，这本书有电影版。
    很惊喜，电影拍得很好，对原著的修改剪辑都恰到好处，现代，古代，两个时代，两代恋人交错重叠，英国自然风光，古老建筑，维多利亚时代的纯美气息，书，诗，手稿，幽默含蓄的对话，美得熨帖到心。这样一个夏末初秋的微凉之夜，因为了这部片子而温暖享受，幸福得像沐浴在燃烧的壁炉之焰，仿佛让人又能年轻得去相信和回望-----爱情。
   电影的叙事风格很徐缓，如同人迹罕至的乡野间默默流淌的溪水，清冽，不慌不忙。
   伦敦的一位文学研究助理罗兰从伦敦图书馆偶然发现一本古书中的几页手稿，是维多利亚时期大诗人艾许未完成的书信，写给某位不知名的女士，出于直觉，他开始查阅历史文件秘密开始调查，其过程中遇到专门研究女诗人兰蒙特的女博士莫德，两个人在通过各种旧日日记诗稿的研究，一点点揭露出艾许与兰蒙特之间不为人知的秘密感情，甚至沿路追溯两个诗人当年唯一一次蜜月般浪漫的约克郡之旅，两个对爱情避之不及的现代人的感情也慢慢开出花蕾。
   前两年看这本书的英语版的时候，就很被文字语言中的维多利亚时代风格而吸引，印象最深的是开头描写伦敦图书馆的一段，读着那些文字，忍不住释卷凝神，伦敦图书馆的一排排高高的书架，书籍带着岁月芳香的气味，透过窗户的柱状阳光里飞舞的微尘......仿佛都突然真真切切包围在你的身边。
   书的语言的确很古典美，当然，在阅读维多利亚时代的诗歌同时也是件磨人的事情，我承认，那是我看得最辛苦的一本原版小说了，第一遍读完的时候甚至不能说完全看懂了故事。
   直到今年买了本卓越的畅销书《隐之书》，看了一会儿才想起什么似的，顿悟那就是POSSESSION,当时的中译名叫《占有》，听说还有译成《中毒》的。现在这部电影又叫《无可救药爱上你》或《迷梦情缘》，这么多的名字，差点让我和今晚这部片子擦肩错过，可是，缘，是多么妙不可言，在不同的时间，我在不知不觉中邂逅了英文原版，中文版和电影。
   中文版也翻得极好，实在佩服译者的实力，这样的一本书翻译出来本身对意志力就是极大的考验，我已经开始动摇自己对翻译的理想了，好像单纯做个读者要轻松愉悦得多。再不要说对于那些古诗的翻译，真的流畅而魅力，把涩涩的古英语中隐含的韵味全部变成了流水般自然的文字。
    再说下电影中的一个细节吧，在约克郡的旅馆，两个人私奔之初，拥抱之后，兰蒙特说“NOT YET", 我不禁感叹她的理智与聪慧，因为这句话，后来有了两人携手去看托马斯瀑布，去海边漫步，才有了灵感，有了才华横溢的诗歌，有了胸针，有了追溯的线索，也有了爱情的一刻延伸开来的浪漫无限，如果没有那句低语，可能就会让感情入了俗套，局限于小旅馆里的抵死缠绵而已。一句聪明而很有魅力的话，我认为。还有点很有趣的发现，演兰蒙特的那个演员的微笑很特别，简直是外国版的蒋雯丽，但其实和书里的不怎么符合，书里的描写兰蒙特有点男性气质似的特别，电影里好像表现不出来，但上镜感不错，还是喜欢。
   小说的结尾很让人意外，真相大白的同时竟然让莫德找到自身的秘密，还有艾许和小女孩的相遇对话作为结尾，那缕金色的头发，给人豁然开朗的欣喜。强烈推荐这个故事，次序是和我的时间表倒过来：电影，中文书，最后，如果不怕啃硬骨头的话，原版。
   

伦敦的一位文学研究助理罗兰从伦敦图书馆偶然发现一本古书中的几页手稿，是维多利亚时期大诗人艾许未完成的书信，写给某位不知名的女士，出于直觉，他开始查阅历史文件秘密开始调查，其过程中遇到专门研究女诗人兰蒙特的女博士莫德，两个人在通过各种旧日日记诗稿的研究，一点点揭露出艾许与兰蒙特之间不为人知的秘密感情，甚至沿路追溯两个诗人当年唯一一次蜜月般浪漫的约克郡之旅，两个对爱情避之不及的现代人的感情也慢慢开出花蕾。