Edward Morgan Forster (

爱德华·摩根·福斯特维基百科，自由的百科全书。

E·M·福斯特(Edward Morgan Forster，1879年-1970年)，英国小说家、散文家。

1879年1月1日生于伦敦。

父亲是建筑师，福音派信徒，强调一个人应有道德责任感。

母亲则比较随和、宽容。

幼年时父亲去世。

少年时，入肯特郡坦布里奇学校。

这是一座“公学”，在这里的经历使他以对英国“公学”十分反感，因为这种学校训练出来的学生“体格发育好，头脑也比较发达，但心灵全不发达”。

1897年进入剑桥大学国王学院学习，与新实在论哲学家穆尔和古典学者狄金逊交往，生活在一种自由主义、怀疑论、崇拜南欧和古代文明的文化气氛中。

开始创作后，他成为英国文学史上著名的布卢姆茨伯里派的一员，强调爱、同情、敏感、美的创造和享受、追求知识的勇气，实际上是流行在上层知识分子中间的人文主义精神。

他反对基督教，但不反对宗教精神。

第一次世界大战期间，他被派往埃及亚历山大城，在部队中任文职。

1912和1922年先后两次游历印度。

1946年剑桥大学国王学院聘他为荣誉研究员。

1970年在考文垂逝世E. M. ForsterFrom Wikipedia, the free encyclopediaEdward Morgan Forster OM, CH (1 January 1879 – 7 June 1970), was an English novelist, short story writer, essayist and librettist. He is known best for his ironic and well-plotted novels examining class difference and hypocrisy and also the attitudes towards gender and homosexuality in early 20th-century British society. Forster's humanistic impulse toward understanding and sympathy may be aptly summed up in the epigraph to his 1910 novel Howards End: "Only connect".Early yearsForster was born at 6 Melcombe Place, Dorset Square, London NW1, in a building which no longer exists. His father, an architect, died when Forster was only a year old. Among Forster's ancestors were members of the ClaphamSect. As a boy he inherited £8,000 from his paternal great-aunt Marianne Thornton, daughter of the abolitionist Henry Thornton, which was enough to live on and enabled him to become a writer. He attended Tonbridge School in Kent as a day boy. The theatre at the school is named after him.At King's College, Cambridge, between 1897 and 1901,[1] he became a member of the Apostles (formally named the Cambridge Conversazione Society), a discussion society. Many of its members went on to constitute what came to be known as the Bloomsbury Group, of which Forster was a peripheral member in the 1910s and 1920s. There is a famous recreation of Forster's Cambridge at the beginning of The Longest Journey.After leaving university he travelled on the continent with his mother. He visited Egypt, Germany and India with the classicist Goldsworthy Lowes Dickinson in 1914. When the First World War broke out, he became a conscientious objector.Forster spent a second spell in India in the early 1920s as the private secretary to the Maharajah of Dewas. The Hill of Devi is his non-fictional account of this trip. After returning from India, he completed his last novel, A Passage to India (1924), for which he won the James Tait Black Memorial Prize for fiction. After A Passage to IndiaArlington Park Mansions, ChiswickIn the 1930s and 1940s Forster became a successful broadcaster on BBC Radio and a public figure associated with the British Humanist Association. He was awarded a Benson Medal in 1937.Forster developed a friendship with Bob Buckingham, a policeman, and his wife, May, and included the couple in his circle, which also included the writer and editor of The Listener, J.R. Ackerley, the psychologist W.J.H. Sprott, and, for a time, the composer Benjamin Britten. Other writers with whom Forster associated included the poet Siegfried Sassoon and the Belfast-based novelist Forrest Reid.From 1925 until her death in March 1945 the novelist lived with his mother Alice Clare (Lily) in West Hackhurst, Abinger Hammer, finally leaving on or around 23 September 1946.[2] His London base was 26, Brunswick Square from 1930 to 1939, after which he rented 9, Arlington Park Mansions in Chiswick until at least 1961.[3][4]Forster was elected an honorary fellow of King's College, Cambridge in January 1946,[3] and lived for the most part in the college, doing relatively little. He declined a knighthood in 1949 and was made a Companion of Honour in 1953.[3] In 1969 he was made a member of the Order of Merit. Forster died in Coventry on 7 June 1970 at the age of 91, at the home of the Buckinghams.[3] NovelsForster had five novels published in his lifetime. Although Maurice appeared shortly after his death, it had been written nearly sixty years earlier. A seventh novel, Arctic Summer, was never finished.His first novel, Where Angels Fear to Tread (1905), is the story of Lilia, a young English widow who falls in love with an Italian man, and of the efforts of her bourgeois relatives to get her back from Monteriano (based on San Gimignano). The mission of Philip Herriton to retrieve her from Italy has features in common with that of Lambert Strether in Henry James's The Ambassadors, a work Forster discussed ironically and somewhatdisapprovingly in his book Aspects of the Novel (1927). Where Angels Fear to Tread was adapted into a film by Charles Sturridge in 1991.Next, Forster published The Longest Journey (1907), an inverted bildungsroman following the lame Rickie Elliott from Cambridge to a career as a struggling writer and then to a post as a schoolmaster, married to the unappetising Agnes Pembroke. In a series of scenes on the hills of Wiltshire which introduce Rickie's wild half-brother Stephen Wonham, Forster attempts a kind of sublime related to those of Thomas Hardy and D. H. Lawrence. Forster's third novel, A Room with a View (1908), is his lightest and most optimistic. It was started before any of his others, as early as 1901, and exists in earlier forms referred to as "Lucy". The book is the story of young Lucy Honeychurch's trip to Italy with her cousin, and the choice she must make between the free-thinking George Emerson and the repressed aesthete Cecil Vyse. George's father Mr Emerson quotes thinkers who influenced Forster, including Samuel Butler. A Room with a View was filmed by Merchant-Ivory in 1985.Where Angels Fear to Tread and A Room with a View can be seen collectively as Forster's Italian novels. Both include references to the famous Baedeker guidebooks and concern narrow-minded middle-class English tourists abroad. The books share many themes with short stories collected in The Celestial Omnibus and The Eternal Moment.Howards End (1910) is an ambitious "condition-of-England" novel concerned with different groups within the Edwardian middle classes represented by the Schlegels (bohemian intellectuals), the Wilcoxes (thoughtless plutocrats) and the Basts (struggling lower-middle-class aspirants).It is frequently observed that characters in Forster's novels die suddenly. This is true of Where Angels Fear to Tread, Howards End and, most particularly, The Longest Journey.Forster achieved his greatest success with A Passage to India (1924). The novel takes as its subject the relationship between East and West, seen through the lens of India in the later days of the British Raj. Forster connects personal relationships with the politics of colonialism through the story of the Englishwoman Adela Quested, the Indian Dr. Aziz, and the question of what did or did not happen between them in the Marabar Caves.Maurice (1971) was published posthumously. It is a homosexual love story which also returns to matters familiar from Forster's first three novels, such as the suburbs of London in the English home counties, the experience of attending Cambridge, and the wild landscape of Wiltshire. The novel was controversial, given that Forster's sexuality had not been previously known or widely acknowledged. Today's critics continue to argue over the extent to which Forster's sexuality, even his personal activities,[5] influenced his writing. Key themesForster's views as a humanist are at the heart of his work, which often depicts the pursuit of personal connections in spite of the restrictions of contemporary society. His humanist attitude is expressed in the non-fictional essay What I Believe.Forster's two best-known works, A Passage to India and Howards End, explore the irreconcilability of class differences. A Room with a View also shows how questions of propriety and class can make connection difficult. The novel is his most widely read and accessible work, remaining popular longafter its original publication. His posthumous novel Maurice explores the possibility of class reconciliation as one facet of a homosexual relationship. Sexuality is another key theme in Forster's works, and it has been argued that a general shift from heterosexual love to homosexual love can be detected over the course of his writing career. The foreword to Maurice describes his struggle with his own homosexuality, while similar issues are explored in several volumes of homosexually charged short stories. Forster's explicitly homosexual writings, the novel Maurice and the short-story collection The Life to Come, were published shortly after his death.Forster is noted for his use of symbolism as a technique in his novels, and he has been criticised (as by his friend Roger Fry) for his attachment to mysticism. One example of his symbolism is the wych elm tree in Howards End; the characters of Mrs Wilcox in that novel and Mrs Moore in A Passage to India have a mystical link with the past and a striking ability to connect with people from beyond their own circles.Notable works by ForsterNovels•Where Angels Fear to Tread (1905)•The Longest Journey (1907)• A Room with a View (1908)•Howards End (1910)• A Passage to India (1924)•Maurice (written in 1913–14, published posthumously in 1971)•Arctic Summer (an incomplete fragment, written in 1912–13, published posthumously in 2003)Short stories•The Celestial Omnibus (and other stories) (1911)•The Eternal Moment and other stories (1928)•Collected Short Stories (1947) a combination of the above two titles, containing:o "The Story of a Panic"o "The Other Side Of The Hedge"o "The Celestial Omnibus"o "Other Kingdom"o "The Curate's Friend"o "The Road from Colonus"o "The Machine Stops"o "The Point of It"o "Mr Andrews"o "Co-ordination"o "The Story of the Siren"o "The Eternal Moment"•The Life to Come and other stories (1972) (posthumous) containing the following stories written between approximately 1903 and 1960:o "Ansell"o "Albergo Empedocle"o "The Purple Envelope"o "The Helping Hand"o "The Rock"o "The Life to Come"o "Dr Woolacott"o "Arthur Snatchfold"o "The Obelisk"o "What Does It Matter? A Morality"o "The Classical Annex"o "The Torque"o "The Other Boat"o "Three Courses and a Dessert: Being a New and Gastronomic Version of the Old Game of Consequences"o "My Wood"Plays and pageants•Abinger Pageant (1934)•England's Pleasant Land (1940)Film scripts• A Diary for Timothy (1945) (directed by Humphrey Jennings, spoken by Michael Redgrave)Libretto•Billy Budd (1951) (based on Melville's novel, for the opera by Britten) Collections of essays and broadcasts•Abinger Harvest (1936)•Two Cheers for Democracy (1951)Literary criticism•Aspects of the Novel (1927)•The Feminine Note in Literature (posthumous) (2001)Biography•Goldsworthy Lowes Dickinson (1934)•Marianne Thornton, A Domestic Biography (1956)Travel writing•Alexandria: A History and Guide (1922)•Pharos and Pharillon (A Novelist's Sketchbook of Alexandria Through the Ages) (1923)•The Hill of Devi (1953)Miscellaneous writings•Selected Letters (1983–85)•Commonplace Book (1985)•Locked Diary (2007) (held at King's College, Cambridge)Notable films based upon novels by Forster• A Passage to India (1984), dir. David Lean• A Room with a View (1985), dir. James Ivory•Maurice (1987), dir. James Ivory•Where Angels Fear to Tread (1991), dir. Charles Sturridge •Howards End (1992), dir. James Ivory。

My WoodE. M. ForsterEdward Morgan Forster (1879-1970), English essayist, novelist, biographer, and literary critic, wrote several notable works of fiction dealing with the constricting effects of social and national conventions upon human relationships. These novels include A Room with a View(1908), Howards End(1910), and A Passage to India (1924). In addition, his lectures on fiction, collected as Aspects of the Novel (1927), remain graceful elucidations of the genre. In “My Wood” taken from his essay collection Abinger Harvest(1936), Forster writes with wit and wisdom about effect of property upon human behavior---notably his own.A few years ago I wrote a book which dealt with in part with the difficulties of the English in India. Feeling that they would have had no difficulties in India themselves, Americans read the book freely. The more they read it the better it made them feel, and a cheque to the author was the result. I bought a wood with the cheque. It is not a large wood----it contains scarcely any trees, and it is intersected, blast it by a public footpath. Still, it is the first property that I have owned, so it is right that other people should participate in my shame, and should ask themselves, in accents that will vary in horror, this very important question: What is the effect upon the character? Don’t let’s touch the economics; the effect of private ownership upon the community as a whole is another question----a more important question, perhaps, but another one. Let’s keep to psychology.If you own things, what’s their effect on you? What’s the effect on me of my wood?In the first place, it makes me feel heavy. Property does have this effect. Property produces men of weight, and it was a man of weight who failed to get into the Kingdom of Heaven. He was not wicked, that unfortunate millionaire in the parable, he was only stout; he stuck out in front, not to mention behind, and as he wedged himself this way and that in the crystalline entrance and bruised his well-fed flanks, he saw beneath him a comparatively slim camel passing through the eye of a needle and being woven into the robe of God. The Gospels all through couple stoutness and slowness. They point out what is perfectly obvious, yet seldom realized: that if you have a lot of things you cannot move about a lot, that furniture requires dusting, dusters require servants, servants require insurance stamps, and the whole tangle of them makes you think twice before you accept an invitation to dinner or go for a bathe in the Jordan. Sometimes the Gospels proceed further and say with Tolstoy that property is sinful; they approach the difficult ground of asceticism here, where I cannot follow them. But as to the immediate effects of property on people, they just show straightforward logic. It produces men of weight. Men of weight cannot, by definition, move like the lightning from the East unto the West, and the ascent of a fourteen-stone bishop into a pulpit is thus the exact antithesis of the coming of the Son of Man. My wood makes me feel heavy.In the second place, it makes me feel it ought to be larger.The other day I heard a twig snap in it. I was annoyed at first, for I thought that someone was blackberrying, and depreciating the value of the undergrowth. On coming nearer, I saw it was not a man who had trodden on the twig and snapped it, but a bird, and I felt pleased. My bird. The bird was not equally pleased. Ignoring the relation between us, it took fright as soon as it saw the shape of my face, and flew straight over the boundary h edge into field, the property of Mrs. Henessy’s bird. Something seemed grossly amiss here, something that would not have occurred had the wood been larger. I could not afford to buy Mrs. Henessy out, I dared not murder her, and limitations of this sort beset me on every side. Ahab did not want that vineyard---he only needed it to round off his property, preparatory to plotting a new curve---and all the land around my wood has become necessary to me in order to round off the wood. A boundary protects. But ----poor little things---the boundary in its turn to be protected. Noises on the edge of it. Children throw stones. A little more, and then a little more, until we reach the sea. Happy Canute! Happier Alexander! And after all, why should even the world be the limit of possession? A rocket containing a Union Jack, will, it is hoped, be shortly fired at the moon. Mars Sirius. Beyond which…But these immensities ended by saddening me. I could not suppose that my wood was destined nucleus of universal dominion---it is so very small and contains no mineral wealth beyond the blackberries. Nor was I comforted when Mrs. Henessy’s bird took alarm for the second time and flew clean away from us all, under the belief that it belonged to itself.In the third place, property makes its owner feel that he ought to do something to it. Yet he isn’t sure what. A restlessness comes over him, a vague sense that he has a personality to express---the same sense which, without any vagueness, leads the artist to an act of creation. Sometimes I think I will cut down such trees as remain in the wood, at other times I want to fill up the gaps between them with new trees. Both impulses are pretentious and empty. They are not honest movements towards money-making or beauty. They spring from a foolish desire to express myself and from an inability to enjoy what I have got. Creation, property, enjoyment form a sinister trinity in the human mind. Creation and enjoyment are both very, very good, yet they are often unattainable without a material basis, and at such moments property pushes itself in as a substitute, saying, “Accept me instead---I’m good enough for all three.” It is not enough. It is, as Shakespeare said of lust, “The expense or spirit in a waste of shame”: it is “Before, a joy proposed; behind, a dream.” Yet we don’t know how to shun it. It is forced on us by our economic system as the alternative to starvation. It is also forced on us by an internal defect in the soul, by the feeling that in property may lie the germs of self-development and of exquisite or heroic deeds. Our life on earth is, and ought to be, material and carnal! But we have not yet learned to manage our materialism and carnality properly; they are still entangled with the desire for ownership, where (in the words of Dante) “Possession is one with loss.”And this brings us to our fourth and final point: the blackberries.Blackberries are not plentiful in this meager grove, but they are easily seen from the public footpath which traverses it, and all too easily gathered. Foxgroves, too---people pull up the foxgroves, and ladies of an educational tendency even grubfor toadstools to show them on the Monday in class. Other ladies, less educated, roll down the bracken in the arms of their gentlemen friends. There is paper, there are tins. Pray, does my wood belong to me or doesn’t it? And, if it does, should I not own it best by allowing no one else to walk there? There is a wood near Lyme Regis, also cursed by a public footpath, where the owner has not hesitated on this point. He has built high stone walls each side of the path, and has spanned it by bridges, so that the public circulate like termites while he gorges on the blackberries unseen. He really does own his wood, this able chap. Dives in Hell did pretty well, but the gulf dividing him from lazarus could be travesed by vision, and nothing traverses it here. And perhaps I shall come to this in time. I shall wall in and fence out until I really taste the sweets of property. Enormously stout, endlessly avaricious, pseudo-creative, intensely selfish, I shall weave upon my forehead the quadruple crown of possession until those nasty Bolshies come and take it off again and thrust me aside into the outer darkness.。

The EnglishmanEdward Morgan Forster (1879-1970)The Englishman appears to be cold and unemotional because he is really slow. When an event happens, he may understand it quickly enough with his mind, but he takes quite a while to feel it. Once upon a time a coach, containing some Englishmen and some Frenchmen, was driving over the Alps. The horses ran away1, and as they were dashing across a bridge the coach caught on the stonework2, tottered, and nearly fell into the ravine below. The Frenchmen were frantic with terror: they screamed and gesticulated and flung themselves about, as Frenchmen would3. The Englishmen sat quite calm. An hour later the coach drew up at an inn to change horses, and by that time the situations were exactly reversed. The Frenchmen had forgotten all abut the danger, and were chattering gaily; the Englishmen had just begun to feel it, and one had a nervous breakdown and was obliged to go to bed. We have here a clear physical difference between the two races—a difference that goes deep into character. The Frenchmen responded at once; the Englishmen responded in time. They were slow and they were also practical. Their instinct forbade them to throw themselves about in the coach, because it was more likely to trip over if they did. They had this extraordinary appreciation4of fact that we shall notice again and again. When a disaster comes, the English instinct is to do what can be done first, and to postpone the feeling as long as possible. Hence they are splendid at emergencies. No doubt they are brave – no one will deny that – but bravery is partly an affair of the nerves, and the English nervous system is well equipped for meeting a physical emergency. It acts promptly and feels slowly. Such a combination is fruitful, and anyone who possesses it has gone a long way toward5being brave. And when the action is over, then the Englishman can feel.英国人爱德华摩尔根福斯特（1879-1970）英国人表面上给人以冷漠无情之感，实际上则因为感觉较慢。

摘要：福斯特（Edward Morgan Forster）的作品并不算多，只有六部长篇小说，一些短篇小说和散文，另外，还有一本文学评论集《小说面面观》。

在福斯特早期创作的两部与意大利有关的小说：《天使不敢涉足的地方》（Where Angels Fears to Tread）和《看得见风景的房间》（A Room With a View）中，作者以他独特的文化身份、文化先见和旅游经历为基础，依靠他对英国中产阶级典型形象独特而细致的观察，在英国和意大利的文化冲突中，关照英国中产阶级的困境，并积极探索改变英国中产阶级现状的途径。

关键词：福斯特；意大利小说；注视者；他者第一部分：作者及创作背景简介福斯特出生于英格兰的一个标准的英国中产阶级家庭，少年进入坦布里奇公学学习，对他影响较大。

后来福斯特进入剑桥大学英王学院（King`s college）学习，攻读历史和希腊文学，剑桥有着自由的学术空气，福斯特与新实在论哲学家穆尔I和古典学者狄金逊II两位好友常常自由地交流，这对福斯特的人文主义和自由主义思想形成起了巨大作用。

1901年，他前往希腊、意大利旅行，几乎将这两个美丽国度的主要城市走遍，这对于作者熟悉意大利的风土人情，从而为日后创作以意大利为背景的小说积累了素材和感性认识，1903年他回到英国，开始创作《看得见风景的房间》的意大利部分，虽说这篇小说发表于《天使不敢涉足的地方》之后，但事实上，它的前半部分是福斯特的处女作，创作时间早于《天使不敢涉足的地方》。

当时的英国刚刚进入“爱德华时代”，作为知识分子，福斯特不得不面对新旧两种势力的冲福斯特的意大利———对福斯特两部“意大利小说”的形象学解读任欢吴婷（四川大学文学与新闻学院）量之多，艺术力量之惊人，在英国文学史上前无古人。

跟前辈斯威夫特一样，在其剧作中，他始终关注当时的社会，讽刺经济、社会、政治弊端，或时代的丑恶现象。

他最好的剧作都是揭露性的，就连他也把自己的剧作说成是“问题剧”或“有争议的剧”———探讨经济、社会、政治、道德和宗教问题。

my wood e.m.forster 中的典故
“My wood”是英国著名小说家、散文家爱德华·摩根·福斯特（Edward Morgan Forster）于二十世纪三十年代所创作的散文，被收录在福斯特的杂文集《阿宾哲收获集》中。

在该散文中，福斯特运用了典故、引用、夸张等修辞手法，分析了财产的拥有给人带来的四个恶劣后果。

其中提到的典故是《马太福音》中的一个故事：一位不幸的富翁在天堂之门被拒之门外，因为他太胖了，无法进入。

这个典故强调了财产对人的性格和行为的影响，即拥有过多的财产可能会导致人们变得懒惰、自私和贪婪。