孤星血淚小說在線閱讀

⑸ 《遠大前程》又譯為《孤星血淚》的小說是哪位英國作家在晚年寫成的

查爾斯狄更斯

⑹ 讀過《孤星血淚》的朋友幫幫忙！

（William Wikie Collins，1824年1月8日-1889年9月23日）英國小說家，劇作家。其作品在當時取得很大成功，很受市民的歡迎，後來被認為是推理小說的先驅者之一。

柯林斯生於倫敦，是著名風景畫家威廉·柯林斯的兒子,為了區別於他父親，一般就以他的第二個名字wilkie來稱呼他，即韋基·柯林斯。1851年柯林斯結識了查爾斯·狄更斯，兩人成為終身的朋友和合作者。但和狄更斯專注於對社會的描寫和批判不同，柯林斯被認為是「奇情小說」（sensation novel）的代表作家。奇情小說與哥特小說類似，都充滿著驚悚、煽情、懸疑、罪行等劇情元素，但更加偏向用人們比較熟悉的家庭生活作為場景，用懸疑而不是恐怖來渲染氣氛。

柯林斯的代表作品是1859年出版的《白衣女人》和1868年出版的《月亮寶石》。在這兩篇作品中柯林斯使用了書信體小說的形式，通過捲入案件的一個或幾個人的視角來讓讀者慢慢了解案件的全貌，這樣，他成功的創造了具有懸疑與推理的情節，渲染了一種猶豫而傷感的氣氛，使得兩部作品出版後很受歡迎，後來被認為是早期長篇推理小說的寫作典範。

Wilkie Collins 韋基·柯林斯（1824-1889）
No Name (《沒有姓名》)
The New Magdalen (《新瑪格達琳》)
The Moonstone (《月亮寶石》)
The Woman in White (《白衣女人》)
作者簡介：
韋基·柯林斯（1824-1889）是英國推理小說之父，他的文學地位是堪與英國大文豪查爾斯·狄更斯相比。相對於狄更斯對純文學的貢獻，柯林斯對推理小說佔有極重要的地位。從《白衣女郎》到《月亮寶石》，柯林斯確立了早期長篇推理小說的寫作典範，並繼續孜孜不倦地探索、挖掘推理小說的嶄新布局。其作品的特色充滿哥特式風格，融合驚悚、煽情、懸疑、怪奇等劇情元素，創造了許多後人不斷模仿的故事橋段
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不知道你的英語好不好，我也找到了一些英文資料
His works were classified at the time as 'sensation novels', a genre seen nowadays as the precursor to detective fiction and suspense fiction. He also wrote penetratingly on the plight of women and on the social and domestic issues of his time. Like many writers of his time, he published most of his novels as serials in magazines such as Dickens's All the Year Round, and was known as a master of the form, creating just the right degree of suspense to keep his audience reading from week to week. (Sales of All The Year Round actually increased when The Woman in White followed A Tale of Two Cities.)

He enjoyed ten years of great success following publication of The Woman in White in 1859. His next novel, No Name combined social commentary - the absurdity of the law as it applied to children of unmarried parents (see illegitimacy) - with a densely-plotted revenge thriller. Armadale, the first and only of Collins' major novels of the 1860s to be serialised in a magazine other than Dickens' "All The Year Round", provoked strong criticism, generally centered upon its transgressive villainess Lydia Gwilt; and provoked in part by Collins's typically confrontational preface. The novel was simultaneously a financial coup for its author and a comparative commercial failure: the sum paid by Cornhill for the serialisation rights was exceptional, eclipsing the prices paid for the vast majority of similar novels by a substantial margin, yet the novel itself failed to recoup its publishers' investment. The Moonstone, published in 1868, and the last novel of what is generally regarded as the most successful decade of its author's career, was, despite a somewhat cool reception from both Dickens and the critics, a significant return to form and reestablished the market value of an author whose success in the competitive Victorian literary marketplace had been graally waning in the wake of his first "masterpiece." Viewed by many to represent the advent of the detective story within the tradition of the English novel, The Moonstone remains one of Collins's most critically acclaimed proctions.

However, various factors (most often cited is the death of Dickens in 1870 and thus the loss of his literary mentoring; Collins's increased dependence upon laudanum; and a somewhat ill-advised penchant for using his fiction to rail against social injustices) appear to have led to a decline in the two decades following the success of his sensation novels of the 1860s. His novels and novellas of the '70s and '80s, whilst by no means entirely devoid of merit or literary interest, are generally regarded as inferior to his previous proctions and receive comparatively little critical attention today.

The Woman in White and The Moonstone share an unusual narrative structure, somewhat resembling an epistolary novel, in which different portions of the book have different narrators, each with a distinctive narrative voice (Armadale has this to a lesser extent through the correspondence between some characters). The Moonstone, being the most popular of Collin's novels, is known as a precursor for detective fiction such as Sherlock Holmes.

After The Moonstone, Collins's novels contained fewer thriller elements and more social commentary. The subject matter continued to be "sensational", but his popularity declined. Swinburne commented: "What brought good Wilkie's genius nigh perdition? Some demon whispered - 'Wilkie! have a mission.'"

他的作品不太好找

⑺ 狄更斯的小說《遠大前程》（又名《孤星血淚》）中的主人公皮普父母雙亡，和姐姐住一起。為什麼這個姐姐虐

這個姐姐嫌棄他，因為她要撫養匹普，嫌他是累贅
只有匹普的姐夫才疼他