莫娜卡芙对我说：“她们三姐妹一致的装束，同样的发型，还有那与美国六十年代后期的审美观相违，却又惬意的新英格兰背景设置，都深深打动了我。”
"I was charmed by the matching costumes of the three sisters, their hairstyles, and the way the cozy New England setting played against the aesthetics of late-sixties America," Monakhov told me.
理查森以其抒情的笔触摹状了痴迷于爱情的心灵所感受到的每一次隐秘的震颤，《莫里斯·格斯特》也由此而得以跻身于《包法利夫人》、《安娜·卡列尼娜》之列。
Maurice Guest joins Madame Bovary and Anna Karenina, as the lyrical sweep of Richardson's prose reveals every intimate tremor felt by a human heart obsessed with the love of another. Carmen Callil
理查森以其抒情的笔触摹状了痴迷于爱情的心灵所感受到的每一次隐秘的震颤，《莫里斯·格斯特》也由此而得以跻身于《包法利夫人》、《安娜·卡列尼娜》之列。
Maurice Guest joins Madame Bovary and Anna Karenina, as the lyrical sweep of Richardson's prose reveals every intimate tremor felt by a human heart obsessed with the love of another. Carmen Callil
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