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因为研究维多利亚女王时代的著名诗人伦道夫·亨利·阿什（杰瑞米·诺森 Jeremy Northam 饰），罗兰（艾伦·艾克哈特 Aaron Eckhart 饰）在学术界名声大噪。莫得（格温妮丝·帕特洛 Gwyneth Paltrow 饰）也是一名学者，她的研究对象则是维多利亚女王时代的另一名诗人——拉蒙特（詹妮弗·艾莉 Jennifer Ehle 饰）。在历史中，这两位才华横溢的诗人尽在一次餐会上有过一面之缘，此外再无联系。 偶然中，罗兰和莫得发现一封年代久远的情书，而这封情书有极大可能是伦道夫写给拉蒙特的，这也意味着，罗兰和莫得将凭借这一发现在学术界里叱咤风云。随着调查的深入，一段缠绵悱恻的爱情故事展现在了两位学者的眼前，而为了找到最后的真相，一段传奇的旅程就此展开。花季年华2011床下有人3战争与青春萌宝找辣妈8天就死去的怪兽的12日谈电影版两个女人的房间面面大观第二季面对面：绿洲第一季炼印银河解放前线反恐特警组第三季本能2藏匿处哈利波特7夜魔人工厂实验者极端份子惊声尖叫(2001)Ludo纨绔子弟第三季东北狠人沙猩猩韩国街舞少年事件极道鲜师3海神号时间的起点逃亡者恶魔山峰黑白潜行 粤语版玩命快递2谍影重重之上海柏林的女人末日幸存小鬼当家3牙齿在云里养鬼吃人3：地狱之城分手的决心电影万岁1995朽木第三季黑街追辑令爱宠大机密我的爸呀
因为研究维多利亚女王时代的著名诗人伦道夫·亨利·阿什（杰瑞米·诺森 Jeremy Northam 饰），罗兰（艾伦·艾克哈特 Aaron Eckhart 饰）在学术界名声大噪。莫得（格温妮丝·帕特洛 Gwyneth Paltrow 饰）也是一名学者，她的研究对象则是维多利亚女王时代的另一名诗人——拉蒙特（詹妮弗·艾莉 Jennifer Ehle 饰）。在历史中，这两位才华横溢的诗人尽在一次餐会上有过一面之缘，此外再无联系。 偶然中，罗兰和莫得发现一封年代久远的情书，而这封情书有极大可能是伦道夫写给拉蒙特的，这也意味着，罗兰和莫得将凭借这一发现在学术界里叱咤风云。随着调查的深入，一段缠绵悱恻的爱情故事展现在了两位学者的眼前，而为了找到最后的真相，一段传奇的旅程就此展开。花季年华2011床下有人3战争与青春萌宝找辣妈8天就死去的怪兽的12日谈电影版两个女人的房间面面大观第二季面对面：绿洲第一季炼印银河解放前线反恐特警组第三季本能2藏匿处哈利波特7夜魔人工厂实验者极端份子惊声尖叫(2001)Ludo纨绔子弟第三季东北狠人沙猩猩韩国街舞少年事件极道鲜师3海神号时间的起点逃亡者恶魔山峰黑白潜行 粤语版玩命快递2谍影重重之上海柏林的女人末日幸存小鬼当家3牙齿在云里养鬼吃人3：地狱之城分手的决心电影万岁1995朽木第三季黑街追辑令爱宠大机密我的爸呀
长篇影评
1 ) 美国式的浪漫加上英国式的浪漫，无可救药的被这浪漫击中！
演女诗人的那个演员就是95的《傲慢与偏见》的女主角，她浪漫，优雅，自信，独立的气质真是让人印象深刻，先看的这个电影才然后才看的95的《傲慢与偏见》的，当时看见傲慢与偏见的时候就觉得这简直就是我心中的Elizabeth,两段感情都让人觉得浪漫而美好，是个不错的片子！
2 ) 电影不错, 比原作差得还是很多
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
3 ) 缘，妙不可言
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。
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。
4 ) Romance of words
On account of lacking enough time, I meant to watch this film instead of the original work. But now I determine to appreciate this book,since I believe the plot will be complete and meaty that engages me more.
In the typical English romance, for me what the two protagnists talked with each other sounds like a song lingering on my ears.
they say that women change
'Tis so,
but you are ever-constant in your changefulness
like that still thread from the falling river,
one from source to last embrace in the still pool
and ever renewed,
and ever moving on
from first to last,
a myriad of water droped
and you-
i love you for it-
are the force that moves that holds the form
These things are there. The garden and the tree
The serpent and its root, the fruit of gold
The woman in the shadow of the boughs
The running water and the grassy space.
They are and were there. At the old world' rim,
In the Hesperidean grove, the fruit
Glowed golden on eternal boughs, and there
The dragon Ladon crisped his jewelled crest
Scraped a gold claw and sharped a silver tooth
And dozed and waited through eternity
Until the tricksy hero Herakles
Came to his depossession and the theft.
Ash must be a fabulous poet who wrote such spectaculous words that really moved me. I can understand the conflict in Belly's heart. On the one hand, she loved the man who was always resisting to
admit his feeling, and longed for develop further relationship with him. On the other hand, she was scared. She was reminded of the relationship and the pathetic ending of Ash's true love, all her own love affairs and others. All love turns out to be ashes of time.
Even though a man's flame burns up his lover, even he makes her breath-taking, when they are confronted with the fierce reality, they have to choose to sacrifice or make a compromise.
In the typical English romance, for me what the two protagnists talked with each other sounds like a song lingering on my ears.
they say that women change
'Tis so,
but you are ever-constant in your changefulness
like that still thread from the falling river,
one from source to last embrace in the still pool
and ever renewed,
and ever moving on
from first to last,
a myriad of water droped
and you-
i love you for it-
are the force that moves that holds the form
These things are there. The garden and the tree
The serpent and its root, the fruit of gold
The woman in the shadow of the boughs
The running water and the grassy space.
They are and were there. At the old world' rim,
In the Hesperidean grove, the fruit
Glowed golden on eternal boughs, and there
The dragon Ladon crisped his jewelled crest
Scraped a gold claw and sharped a silver tooth
And dozed and waited through eternity
Until the tricksy hero Herakles
Came to his depossession and the theft.
Ash must be a fabulous poet who wrote such spectaculous words that really moved me. I can understand the conflict in Belly's heart. On the one hand, she loved the man who was always resisting to
admit his feeling, and longed for develop further relationship with him. On the other hand, she was scared. She was reminded of the relationship and the pathetic ending of Ash's true love, all her own love affairs and others. All love turns out to be ashes of time.
Even though a man's flame burns up his lover, even he makes her breath-taking, when they are confronted with the fierce reality, they have to choose to sacrifice or make a compromise.
5 ) Feminism in Possession
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.
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.
6 ) 缘，妙不可言
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。
7 ) 在看过很多次后 不由得写下
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
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
挑了原著里面最容易懂的部分，再套入爱情电影类型中二次通俗化的结果。某种程度上也说明了这个故事脱离了拜厄特渊博的知识底蕴、丰富的文体形式以及繁复的叙事技巧以后，就只剩下狗血了。男主角竟然变成了美国人，还要是加州傻大壮阳光沙滩情人style，严重带偏电影的气质……
对美国人来说，所谓优雅就是被评价为像一个英国人。
古装部分那点其中有一个跳河自杀的，她一定是一个心怀坚定的les 对了，p个s那个女的是现在演冰与火里傲慢的王妃一角色。gwen老了不能和无情大地里比
维多利亚时代与现代社会的双线叙事。在一段段诗歌与隐喻中陶醉，一边感叹于那个文学繁荣时代精致而繁重的爱，同时又对这个早已浮躁成瘾爱情沦为速食的摩登时代重燃信心。的确，爱是可以传承的力量，每个时代，都有足以将彼此燃烧的爱情，你所做的，就是耐心地等待属于你的花冠女王。
2009.09.30英国的乡村风光实在很宜人，给三颗星主要就是为了它。男猪脚的气质非常蓝领，还非要让他演高知，确定不是用他来黑美国人的？不过，Jeremy Northam依旧很有爱啊~~
加分全给俩气质好得一塌糊涂的女主角，镜头很美，带缺憾的结尾也很符合文艺女青年的期待
I cannot let you burn me up, nor can I resist you. No mere human can stand in a fire and not be consumed. And I took your hand, mine rested in yours with trust and relief. 隐秘的爱情，在重新被发现的那一刻，仿佛又重来了一次，在当下人们的身体上、血液里，那种激情肆意流淌，不管结局是毁灭还是沉寂。维多利亚时代的诗人Rudolf Henry Ash 与女作家Christabel LaMotte那一段不伦之恋，隐匿于英格兰的乡间、蒸汽火车、山川河流，深绿丛林之中。正如他的名字Ash已经预示了结局。
我总是喜欢18世纪的欧洲故事，喜欢那些关于名人的传说。这是一部美国人的电影，却流露着浓浓的英国味道实属有些难得！
两段故事的穿插，美国人在英国，这两个点都是我很中意的。可是总感觉不够用力，太温吞水。
不咋的。。太好莱坞。。看原著吧。。敢不敢别那么狗血
对Gwyneth Paltrow真是怎么都提不起好感来，也没拍出A.S. Byatt原作的感觉（虽然书我当时也只是草草看完的）。黄哲伦的改编剧本里还是最中意蝴蝶君啊，虽然那效果多半是柯南伯格的奇情镜头在背后助力了一把。
奈特利先生+Lizzy小姐，还有Emma。结局居然有点感人。Lena Headey怎么总演Les。
全是看在与另个possession重名才看,不过挺好看的,我喜欢这种感觉,但是不喜欢剧里那美国"学者"...跟本不是搞学术那样...
就是节奏稍慢了，算是娓娓道来。两条故事线让原本单一的故事显得丰满了起来，更喜欢属于过去的故事
一段关于维多利亚时期爱情的追寻，很美。 不得不承认用英伦腔念中古英语的感觉很好。
相当有趣的故事。选角精当。尤其是Jennifer Ehle 和Jeremy Northam常演古代的名媛绅士，气质与那个时代再符合不过了。评分：8 out of 10
一直在考虑片名，觉得剧情和迷恋无关。绝对是当下穿越剧学习的典范，思维状态的时光穿梭定是好过身体乱窜的。总的来说故事太平淡了，英伦深情又隐忍得要死，更加对不上'Possession'这个题了。俩女主都蛮好，Aaron Eckhart和这个文艺调调相当不搭啊。。。【Gwen演这种文艺小资女不要太好了～
我就是渡口上蓝色的雾/在你视线呼吸的地方/爱情蓝白相间/妹，阅读是对诗歌的伤害/在我离去的时候。不知为何就想起多年前postrider的这段诗。百年前一段短暂而热烈的爱情，在美轮美奂的布景映衬下，愈发澄澈、隽永。
like that still thread from the falling river, one from source to last embrace in the still pool, and ever renewed, and ever moving
诗歌与文字作起点 相遇是神秘又浪漫 时空交错英伦梦 它总是那样讨厌 让人深深中感动却忘不了哀怨....forever love~