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內容簡介

該書系清代沈復所寫的一部回憶錄。《浮生六記》原有六記，現存四記：《閨房記樂》、《閑情記趣》、《坎坷記愁》、《浪游記快》。后兩記《中山記歷》、《養生記道》已失傳。作者以樸實的文筆記敘自己大半生的經歷，歡愉與愁苦兩相對照，真切動人。其中他與妻子蕓的愛情故事，是作品中最為人稱道的部分。

編輯推薦

清代充滿生活趣味的自傳體隨筆真摯動人的愛情告白林語堂陳寅恪俞平伯馮其庸眾多名家快意閱讀文白對照中英雙語，買中文版送英文版

作者簡介

沈復( 1763—1825?)，字三白，號梅逸，清代文學家，著有《浮生六記》。少年隨父游宦讀書，奉父命習幕，曾在安徽績溪、上海青浦、江蘇揚州、湖北荊州、山東萊陽等地做幕僚。中年經商。沈復平時好游山水，工詩善畫，長于散文。

在線預覽

閨房記樂

余年十三，隨母歸寧，兩小無嫌，得見所作，雖嘆其才思雋秀，竊恐其福澤不深，然心注不能釋，告母曰 :"若為兒擇婦，非淑姊不娶。"母亦愛其柔和，即脫金約指締姻焉。此乾隆乙未七月十六日也。

譯文

我十三歲時，和母親回她的老家見到蕓，我們兩小無猜。我偶然看見了蕓的詩句，雖然贊嘆她的才思秀美俊逸，但暗暗擔心她的福分不深，然而我愛慕專注她的心總不能放下，便對母親說 :"如果要給我挑選媳婦，我非淑珍姐姐不娶。"母親也喜歡她的溫柔和順，當場就脫下金戒指為我們定了親。當時是乾隆乙未年(1775年)七月十六日。

是年冬，值其堂姊出閣，余又隨母往。蕓與余同齒而長余十月，自幼姊弟相呼，故仍呼之曰淑姊。時但見滿室鮮衣，蕓獨通體素淡，僅新其鞋而已。見其繡制精巧，詢為己作，始知其慧心不僅在筆墨也。其形削肩長項，瘦不露骨，眉彎目秀，顧盼神飛，惟兩齒微露，似非佳相。一種纏綿之態，令人之意也消。

譯文

那一年冬天，正好她的堂姐出嫁，我又隨母親前去。蕓和我同歲，但比我大十個月，從小我們以姐弟相稱，所以仍然稱她為淑珍姐姐。當時只見滿屋的人都穿著鮮艷的衣服，惟獨蕓一身素淡，只有一雙鞋子是新的。我看見鞋繡制得精美巧妙，問后才知是蕓自己做的，這才知道她的聰慧并不是僅僅表現在筆墨上。蕓的肩膀瘦削，脖項修長，但瘦不露骨，眉彎目秀，顧盼之間神采飛揚，美中不足的是兩顆牙齒微微露出，好像不是福相。蕓身上那一種纏綿的姿態，令人意氣消蕩。

索觀詩稿，有僅一聯，或三四句，多未成篇者。詢其故，笑曰 :"無師之作，愿得知己堪師者敲成之耳。"余戲題其簽曰"錦囊佳句"，不知夭壽之機此已伏矣。

譯文

我要來她的詩稿看，見有的僅有一聯，或者只是三四句，大部分沒有成篇。問她是什么緣故，蕓笑著說 :"沒有老師指點的作品，希望得到知音并可做老師的人把它推敲完成。"我開玩笑在她的詩稿上寫下了"錦囊佳句"題簽，卻不知這里已潛含著她早逝的先兆了。

是夜，送親城外，返已漏三下，腹饑索餌，婢嫗以棗脯進，余嫌其甜。蕓暗牽余袖，隨至其室，見藏有暖粥并小菜焉。余欣然舉箸，忽聞蕓堂兄玉衡呼曰 :"淑妹速來！"蕓急閉門曰 :"已疲乏，將臥矣。"玉衡擠身而入，見余將吃粥，乃笑睨蕓曰 :"頃我索粥，汝曰`盡矣`，乃藏此專待汝婿耶？"蕓大窘避去，上下嘩笑之。余亦負氣，挈老仆先歸。自吃粥被嘲，再往，蕓即避匿，余知其恐貽人笑也。

譯文

這天夜里，送親到城外，返回家中已是三更了。肚子餓了找東西吃，女仆遞給我棗脯，我嫌太甜。蕓悄悄拉了一下我的袖子，我就跟著她來到她的房間，見她藏有溫熱的粥和小菜。我高興地舉起筷子，忽然聽見蕓的堂哥玉衡叫道 :"淑妹快來 !"蕓急忙關上房門說 :"我已經累得不行了，馬上就要睡覺。"玉衡擠身進來，看見我正要吃粥，就斜著眼睛笑著對蕓說 :"剛才我向你要粥喝，你說`吃完了`。原來是藏在這里專門款待你的丈夫呀 !"蕓非常難為情，迅速躲開了，上上下下都笑話我們。我也感到很生氣，就帶著老仆人一起先回家了。自吃粥被別人嘲笑以后，我再去時，蕓總是立即躲避開來，我知道她是怕又引起別人的笑話。

The Joys of the Wedding Chamber

When I was thirteen, my mother took me along on a visit to her relatives. That was the first time I met my cousin Yün, and we two children got on well together. I had a chance to see her poems that day, and though I sighed at her brilliance I privately feared she was too sensitive to be completely happy in life. Still, I could not forget her, and I remember saying to my mother, `If you are going to choose a wife for me, I will marry no other than Yün.`

Mother also loved her gentleness, so she was quick to arrange our engagement, sealing the match by giving Yün a gold ring from her own finger. This was in the 39th year of the reign of the Emperor Chien Lung,5 on the 16th day of the seventh month.

That winter mother took me to their home once again, for the marriage of Yün`s cousin. Yün and I were born in the same year, but because she was ten months older than I, I had always called her `elder sister`, while she called me `younger brother`. We continued to call one another by these names even after we were engaged.

At her cousin`s wedding the room was full of beautifully dressed people. Yün alone wore a plain dress; only her shoes were new. I noticed they were skilfully embroidered, and when she told me she had done them herself I began to appreciate that her cleverness lay not only in her writing.

Yün had delicate shoulders and a stately neck, and her figure was slim. Her brows arched over beautiful, lively eyes. Her only blemish was two slightly protruding front teeth, the sign of a lack of good fortune. But her manner was altogether charming, and she captivated all who saw her.

I asked to see more of her poems that day, and found some had only one line, others three or four, and most were unfinished. I asked her why.

`I have done them without a teacher,`she replied, laughing. `I hope you, my best friend, can be my teacher now and help me finish them.` Then as a joke I wrote on her book, `The Embroidered Bag of Beautiful Verses`. I did not then realize that the origin of her early death already lay in that book.

That night after the wedding I escorted my relatives out of the city, and it was midnight by the time I returned. I was terribly hungry and asked for something to eat. A servant brought me some dried plums, but they were too sweet for me. So Yün secretly tugged at my sleeve and I followed to her room, where she had hidden some warm rice porridge and some small dishes of food. I delightedly picked up my chopsticks, but suddenly heard Yün`s cousin Yu-heng call, `Yün, come quickly!`

Yün hurriedly shut the door and called back, `I`m very tired. I was just going to sleep.` But Yu-heng pushed open the door and came in anyway.

He saw me just about to begin eating the rice porridge, and chuckled, looking out of the corner of his eye at Yün. `When I asked you for some rice porridge just now, you said there wasn`t any more! But I see you were just hiding it in here and saving it for your "husband"!`

Yün was terribly embarrassed, and ran out. The whole household broke into laughter. I was also embarrassed and angry, roused my servant, and left early.

Every time I returned after that, Yün would hide. I knew she was afraid that everyone would laugh at her.

……

媒體評論

吾國文學，自來以禮法顧忌之故，不敢多言男女間關系，而于正式男女關系如夫婦者，尤少涉及，蓋閨房燕昵之情意，家庭米鹽之瑣屑，大抵不列于篇章，惟以籠統之詞，概括言之而已。此后來沈復《浮生六記》之《閨房記樂》，所以為例外創作。 ——陳寅恪沈復習幕經商，文學非其專業。今讀其文，無端悲喜能移我情，家常言語，反若有勝于宏文巨制者，此無他，真與自然而已。言必由衷謂之真，稱意而發謂之自然。雖日兩端，蓋非二義。其閨房燕昵之情，觸忤庭闈之由，生活艱虞之狀，與夫旅逸朋游之樂，即各見于書，而個性自由與封建禮法之沖突，往往如實反映，躍然紙上，有似弦外微言，實題中之正義也。 ——俞平伯《浮生六記》儼然一塊純美的水晶，只見明瑩不見襯露明瑩的顏色：只見精微，不見制作精微的痕跡。 ——俞伯平我喜歡這本書，及時是因為作者沈三白寫得很坦率真實，不論是哪一章，都有濃厚的生活氣息和人情味，而且，作者的思想是很自由的，尤其是開頭及時篇就是寫夫婦生活的《閨房記樂》，而且寫得那么大膽和自然……我讀《浮生六記》，一直把它作為我國古典散文中最美好的一種散文來讀的，事實也確是如此。 ——馮其庸我讀《浮生六記》并不很早，卻是好幾回用這本書作語文教材，讀得很細；我曾用它教美國學生，效果很好。 ——曹聚仁父親的理想女人是《浮生六記》的蕓娘。他愛她能與沈復促膝暢談書畫，愛她的憨性，愛她的愛美。 ——林太乙(林語堂之女，作家) 我們看見這書的作者自身也表示那種愛美愛真的精神，和那中國文化最特色的知足常樂恬淡自適的天性。 ——林語堂像《浮生六記》中的蕓，雖非西施面目，并且前齒微露，我卻覺得是美人。 ——林語堂蕓，我想，是中國文學上一個最可愛的女人。……她只是我們有時在朋友家中遇見的有風韻的麗人，因與其夫伉儷情篤令人盡絕傾慕之念，我們只覺得世上有這樣的女人是一件可喜的事，只顧認她是朋友之妻，可以出入其家，可以不邀自來吃午飯，或者當她與她丈夫促膝暢談書畫文學腐乳鹵瓜之時，你們打瞌睡，她可以來放一條毛氈把你的腳腿蓋上。也許古今各代都有這種女人，不過在蕓身上，我們似乎看見這樣賢達的美德特別齊全，一生中不可多得。 ——林語堂