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《金钵记》是亨利•詹姆斯所著的*后一本长篇小说，与另外两本小说《鸽翼》和《使节》并列为他后期创作成熟阶段的三大重要著作。在美国兰登书屋一九九八年评选的“二十世纪百佳英文小说”中，詹姆斯的这三部小说都榜上有名，且排名靠前。

长相俊帅的亚美利哥是意大利没落贵族的后裔，他凭着王子的头衔，迎娶了美国大富翁亚当•魏维尔的千金——本不识愁滋味的单纯女子玫姬。夏萝是玫姬自童年就保持着联系的好朋友，但玫姬不知道的是，她和亚美利哥是旧日的恋人。当亚当•魏维尔续弦娶了夏萝为妻，他们之间的关系变得微妙起来……

夏萝正式进了魏维尔家门后，越来越不避嫌地与王子俨然以男女主人之姿现身。玫姬难道对于丈夫与继母间的行为真的不知不觉吗？但由于缺乏实质证据，她无从得知真相。直到有一天，玫姬买下一只古董金钵作为送给父亲的生日礼物……

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亨利•詹姆斯（Henry James,1843—1916）

十九世纪继霍桑、麦尔维尔之后伟大的美国小说家，也是美国乃至世界文学史上的大文豪。出生在纽约的亨利•詹姆斯长期旅居欧洲，对十九世纪末美国和欧洲的上层生活有细致入微的观察，因此其作品无一不涉及美国与欧洲在文化上的差异与冲突。代表作有长篇小说《一位女士的画像》《鸽翼》《使节》《金钵记》，中篇小说《黛西•米勒》《阿斯彭文稿》《螺丝在拧紧》等。此外还写了许多文学评论、游记、传记和剧本。他擅长描绘内心意识的微妙变化，被认为是心理分析小说的开创者之一，是二十世纪小说意识流写作技巧的先驱，对二十世纪崛起的现代派及后现代派文学有着非常巨大的影响。

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He knew her narrow hands, he knew her long fingers and the shape and colour of her finger-nails, he knew her special beauty of movement and line when she turned her back, and the perfect working of all her main attachments, that of some wonderful finished intrument, something intently made for exhibition, for a prize.

他已经没办法不这样一次又一次看着夏萝的双眼，很明显地，她也一次又一次看着她丈夫的双眼。从自己全部的脉动中，他也能感受到她所要传达的。这一点使他们相依，得以度过表面上分离的假象；把另外两张脸，把流逝的晚会时光、所有的人、灯火、花朵、虚假的言谈以及精致的音乐都变成了他们之间一道神秘的金色桥梁；桥摆荡得很厉害，有时候简直令人头晕，为了要紧密相依，最大的法则就是要“用心”保持警觉，永不可鲁葬地有所怠慢，也永远不可蓄意伤人。

Among many matters thrown into relief by a refreshed acquaintance with "The Golden Bowl" what perhaps most stands out for me is the still marked inveteracy of a certain indirect and oblique view of my presented action; unless indeed I make up my mind to call this mode of treatment, on the contrary, any superficial appearance notwithstanding, the very straightest and closest possible. I have already betrayed, as an accepted habit, and even to extravagance commented on, my preference for dealing with my subject matter, for "seeing my story," through the opportunity and the sensibility of some more or less detached, some not strictly involved, though thoroughly interested and intelligent, witness or reporter, some person who contributes to the case mainly a certain amount of criticism and int...

2段

I am aware of having glanced a good deal already in the direction of this embarrassed truth--which I give for what it is worth; but I feel it come home to me afresh on recognising that the manner in which it betrays itself may be one of the liveliest sources of amusement in "The Golden Bowl." It's not that the muffled majesty of authorship doesn't here ostensibly reign; but I catch myself again shaking it off and disavowing the pretence of it while I get down into the arena and do my best to live and breathe and rub shoulders and converse with the persons engaged in the struggle that provides for the others in the circling tiers the entertainment of the great game. There is no other participant, of course, than each of the real, the deeply involved and immersed and more or less bleeding...

3段

There are other things I might remark here, despite its perhaps seeming a general

connexion that I have elsewhere sufficiently shown as suggestive; but I have

other matter in hand and I take a moment only to meet a possible objection—

should any reader be so far solicitous or even attentive—to what I have just said.

It may be noted, that is, that the Prince, in the volume over which he nominally

presides, is represented as in comprehensive cognition only of those aspects as

to which Mrs. Assingham does n’t functionally—perhaps all too officiously, as

the reader may sometimes feel it—supersede him. This disparity in my plan is,

however, but superficial; the thing abides rigidly by its law of showing Maggie

Verver at first through her suitor’s and her husband’s exhibitory vision of her, a...

So much for some only of the suggestions of re-perusal here—since, all the while, I feel myself awaited by a pair of appeals really more pressing than either

of those just met; a minor and a major appeal, as I may call them: the former of

which I take first. I have so thoroughly “gone into” things, in an expository way,

on the ground covered by this collection of my writings, that I should still judge

it superficial to have spoken no word for so salient a feature of our Edition as the

couple of dozen decorative “illustrations.” This series of frontispieces contribute

less to ornament, I recognise, than if Mr. Alvin Langdon Coburn’s beautiful photographs, which they reproduce, had had to suffer less reduction; but of those that

have suffered least the beauty, to my sense, remains great, and...

书籍介绍

《金钵记》是亨利•詹姆斯所著的*后一本长篇小说，与另外两本小说《鸽翼》和《使节》并列为他后期创作成熟阶段的三大重要著作。在美国兰登书屋一九九八年评选的“二十世纪百佳英文小说”中，詹姆斯的这三部小说都榜上有名，且排名靠前。

长相俊帅的亚美利哥是意大利没落贵族的后裔，他凭着王子的头衔，迎娶了美国大富翁亚当•魏维尔的千金——本不识愁滋味的单纯女子玫姬。夏萝是玫姬自童年就保持着联系的好朋友，但玫姬不知道的是，她和亚美利哥是旧日的恋人。当亚当•魏维尔续弦娶了夏萝为妻，他们之间的关系变得微妙起来……

夏萝正式进了魏维尔家门后，越来越不避嫌地与王子俨然以男女主人之姿现身。玫姬难道对于丈夫与继母间的行为真的不知不觉吗？但由于缺乏实质证据，她无从得知真相。直到有一天，玫姬买下一只古董金钵作为送给父亲的生日礼物……