《了不起的蓋茨比》屬“壹力文庫(kù)??百靈鳥(niǎo)英文經(jīng)典”系列叢書(shū),是美國(guó)二十世紀(jì)杰出小說(shuō)家F. S. 菲茨杰拉德所著的小說(shuō)。故事發(fā)生在二十世紀(jì)二十年代,窮小子尼克來(lái)到紐約,結(jié)識(shí)了富豪蓋茨比,目睹了紙醉金迷的上流社會(huì)以及蓋茨比與意中人黛西一段被世俗與物欲摧毀的愛(ài)情。全書(shū)以尼克的口吻娓娓道來(lái),細(xì)心的讀者會(huì)發(fā)現(xiàn),書(shū)中有蓋茨比的場(chǎng)景,尼克大多都會(huì)如影隨形地出現(xiàn)。
作者F. S. 菲茨杰拉德(Francis Scott Fitzgerald,1896—1940)是二十世紀(jì)美國(guó)杰出的作家之一。一八九六年九月二十四日生于明尼蘇達(dá)州圣保羅市一個(gè)商人家庭。后考入普林斯頓大學(xué),但中途輟學(xué)。一九二O年出版長(zhǎng)篇小說(shuō)《人間天堂》,一舉成名,之后寄居巴黎,結(jié)識(shí)了安德森、海明威等多位美國(guó)作家。一九二五年《了不起的蓋茨比》的問(wèn)世,奠定了他在現(xiàn)代美國(guó)文學(xué)界杰出的地位,成為二十年代“爵士樂(lè)時(shí)代”的代言人和“迷惘的一代”的代表作家之一。
Chapter 1
In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since.
“Whenever you feel like criticising anyone,” he told me, “just remember that all the people in this world haven’t had the advantages that you’ve had.”
He didn’t say any more, but we’ve always been unusually communicative in a reserved way, and I understood that he meant a great deal more than that. In consequence, I’m inclined to reserve all judgments, a habit that has opened up many curious natures to me and also made me the victim of not a few veteran bores. The abnormal mind is quick to detect and attach itself to this quality when it appears in a normal person, and so it came about that in college I was unjustly accused of being a politician, because I was privy to the secret griefs of wild, unknown men. Most of the confidences were unsought—frequently I have feigned sleep, preoccupation or a hostile levity when I realised by some unmistakable sign that an intimate revelation was quivering on the horizon; for the intimate revelations of young men, or at least the terms in which they express them, are usually plagiaristic and marred by obvious suppressions. Reserving judgments is a matter of infinite hope. I am still a little afraid of missing something if I forget that, as my father snobbishly suggested, and I snobbishly repeat, a sense of the fundamental decencies is parcelled out unequally at birth.
And, after boasting this way of my tolerance, I come to the admission that it has a limit. Conduct may be founded on the hard rock or the wet marshes, but after a certain point I don’t care what it’s founded on. When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart. Only Gatsby, the man who gives his name to this book, was exempt from my reaction—Gatsby, who represented everything for which I have an unaffected scorn. If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away. This responsiveness had nothing to do with that flabby impressionability which is dignified under the name of the “creative temperament”—it was an extraordinary gift for hope, a romantic readiness such as I have never found in any other person and which it is not likely I shall ever find again. No—Gatsby turned out all right at the end; it is what preyed on Gatsby, what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and short-winded elations of men.