作为俄国文学大师，契诃夫为后世读者贡献了无数优秀的文学作品。他的观察深邃冷静，他的讽刺辛辣幽默，他无情揭露沙皇统治下旧俄国的社会弊病，对广大劳动人民表达了深切同情。今天我们为大家带来契诃夫的代表作《套中人》，让我们重温这部经典短篇，一同感受俄国文学的魅力。

作品简介

《套中人》是俄国作家安东·巴甫洛维奇·契诃夫创作的短篇小说，发表于1898年10月。故事讲述了希腊文教员别里科夫因循守旧、惧怕变革，总想生活在“套子”里，生活过得如同一潭死水，后与瓦连卡姐弟的交往使他感到失去了套子的保护，最终崩溃而死。该作反映了十九世纪末沙皇统治下俄国的黑暗现实，批判禁锢人性的制度与环境，语言风趣，情节曲折，讽刺意味浓厚，是契诃夫短篇小说中的代表作。

 

作者简介

安东·巴甫洛维奇·契诃夫（Anton Pavlovich Chekhov，1860-1904），俄罗斯批判现实主义作家、剧作家，出生于罗斯托夫州，1879年进入莫斯科大学医学系学习，毕业后开始行医，同时进行文学创作。契诃夫擅长创作短篇小说，与欧·亨利、莫泊桑并称“世界三大短篇小说家”，同时也是世界现代戏剧的奠基人之一。代表作有《变色龙》《套中人》《樱桃园》等。

 

（插图选自《契诃夫文集：14卷》人民文学出版社，2020）

 

精彩片段

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“...Two months ago a certain Belikov died in our town, a colleague of mine, a teacher of Greek. You must have heard of him. He was remarkable for one thing: no matter how fine the weather was, he always went out in goloshes, carrying an umbrella and wearing a warm, wadded overcoat. And his umbrella he always kept in a case and his watch was in a case of grey chamois, and when he took out his penknife to sharpen a pencil that, too, was in a little case. Even his face seemed to be in a case, for he always kept it concealed behind the turned-up collar of his coat. He wore dark spectacles and a warm waistcoat, and he kept cotton-wool in his ears and he had the hood raised whenever he got into a cab. In a word, one saw in this man a perpetual and irresistible longing to wrap some covering around himself -- one might call it a case -- which would isolate him from external impressions. Reality chafed and alarmed him and kept him in a state of perpetual apprehension, and it was, perhaps, to justify his timidity and his aversion to the present that he always exalted the past and things which had never existed. The ancient languages which he taught were at bottom the goloshes and umbrella behind which he hid himself from the realities of existence...

“And his opinions, too, Belikov tried to confine in a case. Only bulletins and newspaper articles in which something was prohibited were clear to him. If he saw a bulletin forbidding the scholars to go out on the street after nine o’clock, or if he read an article enjoining him from carnal love, that was fixed and clear to him -- and basta! For to him there was always an element of doubt, something unspoken and confused, concealed in licence and liberty of action. When it was permitted to start a dramatic or reading club in the town he would shake his head and say softly: ‘That is all very well and very fine, but I shouldn’t wonder if something unpleasant would come of it.”

本书是一部全面研究契诃夫的作品，重点探究契诃夫创作对传统批判现实主义的继承与重要突破，阐释契诃夫作品中具有现代主义特征的异化意识、荒诞意识及其产生根源，兼及契诃夫的审美观念、叙事方式、艺术风格等，深入分析了契诃夫创作与20世纪人类文化思潮的契合关系，以及其能够具备前瞻性文化意识的内外部成因。

This book considers the hundred years of re-writes of Anton Chekhov’s work, pdresenting a wide geographical landscape of Chekhovian influences in drama. The volume examines the elusive quality of Chekhov’s dramtic universe as an intricate mechanism, an engine in which his enigmatic characters exist as the dramatic and psychological ciphers we have been de-coding for a century, and continue to do so. The book presents adaptation as the emerging genre of drama, theatre, and film, and investigates the original and transformative knowledge that the story of Chekhov’s drama in mutations offers to scholars of drama and performace, to students of modern literatures and cultures, and to theatre practitioners worldwide.

文案策划及录音：图书借阅部 李圣昭

编辑：宣传策划小组 刘瑞华