1 Understanding Fiction ..... 2 Pot ..... 7
David Herbert Lawrence and "Tickets, Please" ..... 10
1.3 Character ..... 23
Sherwood Anderson and "The Egg" ..... 26
4 Point of View and Tone ..... 38
Margaret Atwood and "Rape Fantasies" ..... 40
(1) 1.5 Theme ..... 51
James Joyce and "The Dead" ..... 54
6 Style ..... 92
Ernest Hemingway and "In Another Country" ..... 94
7 Selected Commentaries ..... 102
Mark Savin: "Coming Full Circle: Sherwood Anderson's 'The
Egg'” ..... 102
L. J. Morrissery: "Inner and Outer Perceptions in Joyce's 'The
Dead" ..... 106
8 Further Reading ..... 114
Luigi Pirandello and "War" ..... 114
Student Paper: "Defining 'War" ..... 117
Unit Two Poetry ..... 119
1 Understanding Poetry ..... 120
2 Voice: Speaker and Tone ..... 125
Robert Browning and "Soliloquy of the Spanish Cloister" ..... 127
3 Diction ..... 136
William Blake and "London" ..... 138
4 Imagery ..... 144
William Shakespeare and Sonnet 130 ..... 146
5 Figures of Speech ..... 153
Emily Dickinson and "I like to see it lap the Miles" ..... 156
6 Sound and Rhythm ..... 162
E. E. Cummings and "anyone lived in a pretty how town" ..... 165
7 Selected Commentaries ..... 171
Heather Glen: "The Stance of Observation in William Blake's
'London" ..... 171
William Freedman: "Dickinson's 'I like to see it lap the
Miles" ..... 174
8 Further Reading ..... 176
Robert Frost and "Design" ..... 176
Student Paper: "An Unfolding of Robert Frost's 'Design" ..... 177
Unit Three Drama ..... 181
1 Understanding Drama ..... 182
2 Shakespearean Comedy ..... 188
William Shakespeare and A Midsummer Night's Dream ..... 190
3 The Problem Play ..... 210
George Bernard Shaw and Widowers' Houses ..... 212
4 The Feminist Theater ..... 232
Susan Glaspell and Trifles ..... 234
5 The Theater of the Absurd ..... 249
Samuel Beckett and "Krapp's Last Tape" ..... 252
6 Selected Commentaries ..... 263
Kate Kellaway: "Shaw-ly Some Mistake" ..... 263
Robert Brustein: "Krapp's Last Tape" ..... 265
7 Further Reading ..... 267
Sophocles and Antigonê ..... 267
Student Paper: "Antigonê: A Struggle between Human and Divine
Powers" ..... 300
Unit Four Literary Criticism ..... 303
2 Marxist Criticism ..... 311
Raymond Williams and "Base and Superstructure in Marxist
Cultural Theory" ..... 314
3 Psychoanalytical Criticism ..... 317
Sigmund Freud and "Creative Writers and Day-Dreaming" ..... 320
4 Feminist Criticism ..... 323
Sandra M. Gilbert, Susan Gubar and "The Madwoman in the
Attic: The Woman Writer and the Nineteenth-Century Literary
Imagination" ..... 327
5 Postcolonial Criticism ..... 330
Edward Said and "Introduction' to Orientalism" ..... 333
6 Selected Commentaries ..... 336
Maggie Humm: "Feminist Futures" ..... 336
Leela Gandhi: "The Limits of Postcolonial Theory" ..... 338
7 Further Reading ..... 341
Margaret Atwood and "Spelling" ..... 341
Student Paper: "A Feminist Critique of Margaret Atwood's 'Spell-
ing'" ..... 343
Appendlixes ..... 345
Glossary of Literary Terms ..... 345
Literary Background Information ..... 350
Sample Papers ..... 369
Websites for Further Studies ..... 375
References ..... 376
Fiction
1.1 Understanding Fiction
We read stories largely for the emotional and intellectual pleasures they render us. Sometimes we want to read about people like ourselves, or about familiar and agreeable places, experiences, and ideas. Under other circumstances we read in order to escape from the reality and have the experiences that are strange, irrelevant, or different. Surprised by an unexpected turn of events or satisfied as our expectations are met, we are drawn into the imaginative worlds. Fiction, as a significant reflection of life and an imaginative extension of its possibilities, enlarges our understanding of ourselves and deepens our appreciation of life. 我们阅读故事主要是为了它们带给我们的情感和智力愉悦。有时候，我们想要读到像我们自己这样的人，或者熟悉和令人愉快的地方、经历和想法。在其他情况下，我们阅读是为了逃避现实，体验那些奇怪、无关或不同寻常的经历。当我们被意想不到的事件转折所吸引或者当我们的期望得到满足时，我们就被吸引进入想象世界。小说作为生活的重要反映和其可能性的想象延伸，扩大了我们对自己的理解，加深了我们对生活的欣赏。
"Fiction" is a general term for invented stories. Now it is usually applied to novels, short stories, novellas, romances, fables, and other narrative works in prose. Its adjective form "fictional," compared with the adjective "fictitious" implying the unfavorable sense of falsehood, is more neutral as it possesses a positive sense closer to "imaginative" or "inventive." "小说"是指虚构故事的通用术语。现在通常用于小说、短篇小说、中篇小说、言情小说、寓言和其他散文叙事作品。它的形容词形式"虚构的"，与形容词"虚假的"相比，暗示了不利的虚假意义，更中性，因为它具有更接近"富有想象力"或"有创造力"的积极意义。
In the realm of fiction the novel is the most important type due to its greater openness and flexibility. As a literary form quite influential in the modern time, the novel has taken the place of its narrative predecessors including epic and romance. Different from the marvels of romance or epic, the novel often describes a secular world with more sense of "reality." Generally, the novel can be categorized around particular kinds of character (the Künstlerroman, the spy novel, the Bildungsroman), setting (the historical novel, the campus novel), plot (the detective novel), or structure (the epistolary novel, the picaresque novel). The greater length distinguishes novels from short stories and novellas. Although there is no established minimum length for a novel, it is often long enough to be published in an independent edition, which is not the case of short stories and novellas. Such adequate length permits the novel a fuller and subtler development of characters, plots, and even the change of settings. 在小说领域中，小说是最重要的类型，因为它具有更大的开放性和灵活性。作为一种在现代时代颇具影响力的文学形式，小说已经取代了史诗和浪漫故事等叙事前辈的位置。与浪漫或史诗的奇迹不同，小说通常描述一个更具“现实感”的世俫。一般来说，小说可以根据特定类型的人物（如艺术家小说、间谍小说、成长小说）、背景（如历史小说、校园小说）、情节（如侦探小说）或结构（如书信体小说、流浪汉小说）进行分类。更长的篇幅使小说与短篇小说和中篇小说有所区别。虽然小说没有确立的最低长度标准，但通常足够长以便单独出版，而这对于短篇小说和中篇小说并非如此。这种适当的长度使小说能够更充分、更微妙地发展人物、情节，甚至改变背景。
Short stories have their origins in oral story-telling traditions and the prose anecdote. The ancient forms comprising parables, fables, and tales are often instructive by making religious or spiritual points. The realistic short stories full of detailed representation of everyday life were popular in early-nineteenth-century magazines and often led to fame and novel-length projects for their authors. Some modern writers, however, try to break away from conventions and endeavor to mix features of early story forms with realistic modes. Shifting back and forth between realistic and fantastic worlds, these storytellers have discovered new ways to delineate human experiences powerfully. 短篇小说起源于口头讲故事传统和散文轶事。古代形式包括寓言、寓言和故事，通常通过宗教或精神观点进行教育。充满对日常生活细致描绘的现实主义短篇小说在 19 世纪初期的杂志中很受欢迎，通常会使作者走向名声和长篇项目。然而，一些现代作家试图摆脱传统，努力将早期故事形式的特点与现实主义模式混合。在现实世界和奇幻世界之间来回切换，这些讲故事者发现了强有力地描述人类经历的新方法。
The short novel, sometimes called novella, is a written, fictional, prose narrative longer than a short story but shorter than a novel. Although the novella is a common literary genre in several European languages, it is less common in English. The short novel shares characteristics with both the short story and the novel. Like the short story, the short novel depends upon glimpses 短篇小说，有时被称为中篇小说，是一种书面的虚构散文叙事，比短篇故事长但比小说短。虽然中篇小说是几种欧洲语言中常见的文学体裁，但在英语中并不常见。短篇小说与短篇故事和小说都有共同特点。像短篇故事一样，短篇小说也依赖于片段。
of understanding and quick turns of action to solidify theme or reveal character. Yet the relatively longer length allows the novella a slower unfolding of characters and ideas. Though it is difficult for the novella to achieve the novel's panoramic sweep, the advantages of the genre lie in a consistency of style and focus, as well as a concentration and compression of effect. Henry James has called it the "blessed" form, and Vladimir Nabokov has praised it as "intrinsically artistic" "by diminishing large things and enlarging small ones." 理解和快速行动的转变来巩固主题或揭示人物。然而，相对较长的长度使中篇小说能够更缓慢地展现人物和思想。虽然中篇小说很难达到小说的全景式描绘，但这种体裁的优势在于风格和焦点的一致性，以及效果的集中和压缩。亨利·詹姆斯称之为“受祝福的”形式，弗拉基米尔·纳博科夫则赞扬它为“固有艺术性”，“通过缩小大事物和放大小事物”。
The understanding of fiction usually comprises three steps: experience, interpretation, and evaluation. In responding to a work, we bring our personal and collective experience to our reading. Such subjective, emotional, and impressionistic kind of response illustrates what we mean by the experience of fiction. As an intellectual counterpart to our emotional experience, interpretation makes sense of the work's implied meanings. Finally, evaluation involves judgments of the quality as well as the cultural, social, and moral values the work displays. Grounded in interpretation, evaluation is related with our emotional experiences. 小说的理解通常包括三个步骤：体验、解释和评价。在回应一部作品时，我们将个人和集体经验带入阅读中。这种主观、情感和印象主义的回应说明了我们所说的小说体验。作为我们情感体验的智力对应物，解释理解了作品暗含的意义。最后，评价涉及对作品展示的质量以及文化、社会和道德价值的判断。评价基于解释，与我们的情感体验相关。
As is shown, experience and evaluation are somewhat subjective. For academic learners, interpretation is cherished for its relative objectivity. Then how do we develop an ability to interpret fiction with competence and confidence? One way is to become familiar with its basic elements or characteristics. In interpreting fiction, we largely rely on analysis of such elements as plot, structure, character, setting, point of view, theme, style, irony and symbol. 正如所示，经验和评价在一定程度上是主观的。对于学术学习者来说，解释因其相对客观性而受到珍视。那么我们如何培养解释小说的能力并且充满信心呢？一种方法是熟悉其基本元素或特征。在解释小说时，我们主要依赖于对情节、结构、人物、背景、视角、主题、风格、讽刺和象征等元素的分析。
Plot is the pattern of events and situations in a narrative work. It keeps us interested and turning pages to find out what will happen next. Different from the story that indicates the "raw material" of events, the plot is the selected version of events in a certain order or duration. An effective plot usually follows the mode of cause and effect between incidents. Many fictional plots turn on a conflict, or struggle between opposing forces, which is usually resolved at the end of the story. Therefore, a story's structure can be examined in relation to its plot. In examining structure, we look for patterns, for the shape that the story as a whole possesses. If plot is the sequence of unfolding action, structure is the design or form of the completed action. Plot and structure together reveal aspects of the story's artistic design. Character is the personage portrayed in the fiction. Usually characters possess particular moral, intellectual, and emotional qualities embodied by their words and actions. We approach them in the same way we approach people. We have to observe their actions, listen to their speech, and notice how they relate to other characters and how other characters respond to them, especially to what they say about each other. In analyzing characters' relationships, we relate one act, one speech, one physical detail to another until we understand the characters. Sometimes animals or even inanimate things may act as characters, but they are no more than the extension of human beings. Setting includes the time, place, and environment in the story. It is the context in which the events take place and the plot evolves. More than a simple backdrop for action, setting provides a historical and cultural context that enhances our understanding of the characters. Sometimes setting also symbolizes the emotional state of the characters. For instance, a contrast between an enclosed room and the world outside may indicate a character's subjugation and his desire for freedom. Point of view is the position from which the events seem to be observed and presented to the reader. It involves the author's decisions about who is to tell the story and how it is to be told. The chief distinction is usually 情节是叙事作品中事件和情况的模式。它让我们感兴趣，翻开页面，想知道接下来会发生什么。与指示事件“原材料”的故事不同，情节是按照一定顺序或持续时间选择的事件版本。一个有效的情节通常遵循事件之间的因果关系模式。许多虚构情节围绕冲突展开，或者是对立力量之间的斗争，通常在故事结尾得到解决。因此，故事的结构可以通过其情节来审视。在审视结构时，我们寻找模式，整个故事所具有的形状。如果情节是展开行动的顺序，结构就是完成行动的设计或形式。情节和结构共同揭示了故事艺术设计的方面。人物是虚构作品中描绘的人物。通常人物具有特定的道德、智力和情感品质，这些品质通过他们的言行体现出来。我们对待他们的方式与对待人类相同。 我们必须观察他们的行动，倾听他们的言谈，注意他们如何与其他角色相处以及其他角色如何回应他们，特别是他们如何评价彼此。在分析角色关系时，我们将一个行为、一个言论、一个身体细节与另一个联系起来，直到我们理解这些角色。有时动物甚至无生命的事物可能会扮演角色，但它们不过是人类的延伸。场景包括故事中的时间、地点和环境。这是事件发生和情节发展的背景。场景不仅仅是行动的简单背景，它提供了一个历史和文化背景，增进了我们对角色的理解。有时场景也象征着角色的情感状态。例如，一个封闭的房间与外面的世界之间的对比可能表明一个角色的受制和他对自由的渴望。视角是事件似乎被观察和呈现给读者的位置。它涉及作者关于谁来讲述故事以及如何讲述的决定。主要区别通常是
made between first-person narratives and third-person narratives, and some modern authors employ multiple point of view, in which the events are presented from the vantage-points of two or more characters. A story's theme is its main idea or point formulated as a generalization. It is often related to the other elements of fiction more as consequence than as a parallel element. In fiction theme is rarely presented and readers have to abstract it from the details and explain what these basic elements collectively suggest. Theme is different from subject, which means what the story is generally about. For example, that Pirandello's "War" is about parents and children is more a statement of subject than of theme. To pinpoint the theme we need to explain what the story implies about parents and children. It is not wise to think of theme as hidden somewhere beneath the surface of the story; instead it is better to be understood as the implied significance of the story's details. Any statement of theme is valid to the extent that it accounts for the details of elements. We have to understand that there are multiple ways to state a story's theme, but any statement is a simplified version because it inevitably excludes some dimensions of the story. Style is known as the verbal identity of the writer. Each author distinguishes himself by his own way of choosing words and arranging them. Diction, syntax, and the use of figures of speech help to create his face and voice. Two additional facets of fictional works are irony and symbol. While not as pervasive as elements such as plot and character, irony and symbol are tremendously important. If we cannot perceive a writer's ironic intentions, we may not only misconstrue a particular story, but also interpret it as suggesting the opposite of what it actually is intended to mean. And if we overlook a story's symbols, we may underestimate its achievement and oversimplify its significance. All in all, we discuss elements separately only to highlight their specific features. As a matter of fact, fiction is an organic whole, and each element is related to other elements to convey feeling and meaning. 第一人称叙述和第三人称叙述之间的区别，一些现代作家采用多视角，事件从两个或更多角色的角度呈现。故事的主题是其作为概括的主要观点或观点。它通常与小说的其他元素更多地相关，而不是作为一个平行元素。在小说中，主题很少被直接呈现，读者必须从细节中抽象出来，并解释这些基本元素共同暗示的内容。主题与主题不同，主题意味着故事通常是关于什么。例如，皮兰德罗的《战争》是关于父母和孩子，更多的是主题而不是主题的陈述。要准确把握主题，我们需要解释故事对父母和孩子的意味。不明智地认为主题隐藏在故事表面之下；相反，最好理解为故事细节的暗示意义。对主题的任何陈述都是有效的，只要它解释了元素的细节。 我们必须明白，表达故事主题的方式有多种，但任何陈述都是简化版本，因为它必然排除了故事的某些维度。风格被称为作家的语言特征。每位作者通过自己选择词语和排列它们的方式来区别自己。用词、句法和修辞手法有助于塑造他的面孔和声音。小说作品的另外两个方面是讽刺和象征。虽然不像情节和人物等元素那样普遍，讽刺和象征却非常重要。如果我们无法察觉作家的讽刺意图，我们不仅可能误解特定故事，还可能将其解释为与其实际意图相反。如果我们忽略了故事的象征，我们可能会低估其成就并过分简化其意义。总的来说，我们只是分开讨论元素，以突出它们的具体特征。事实上，小说是一个有机整体，每个元素都与其他元素相关，以传达情感和意义。
As a literary type, fiction has undergone years of development and variation. Short stories dated back to oral traditions which produced epics such as Homer's Iliad and Odyssey. The most famous fables were Aesop's Fables. Anecdotes, first popular under the Roman Empire, remained welcome well into the eighteenth century. In Europe, the oral story-telling tradition began to develop into written stories in the early fourteenth century, most notably with Geoffrey Chaucer's Canterbury Tales and Giovanni Boccaccio's Decameron. The mid-seventeenth century in France saw the development of a refined short novel, the "nouvelle," by such authors as Madame de Lafayette. It is wildly recognized that the publication of Miguel de Cervantes's Don Quixote de la Mancha in 1605 announced the appearance of the first true novel. The British novel originated from Daniel Defoe's Robinson Crusoe (1719). It was under the influence of a new kind of commercial society that novels emerged reporting the experiences of the middle-class groups and serving as a mirror in which readers found their own dilemmas. No wonder, early novels tended to be secular. In the late eighteenth century an emotionally extravagant kind named sentimental novel became popular. These novels repeatedly involved tearful scenes and exhibited close associations between virtue and sensibility. Oliver Goldsmith's The Vicar of Wakefield (1766) and Laurence Sterne's Sentimental Journey (1768) were typical in this regard. Besides, Walter Scott's historical novels enjoyed reputation for their association of romantic atmosphere with realistic depictions of history and common people's lives. Scott was regarded as a transitional figure who moved from 作为文学类型，小说经历了多年的发展和变化。短篇小说可以追溯到口头传统，产生了荷马的《伊利亚特》和《奥德赛》等史诗。最著名的寓言故事是伊索寓言。轶事最初在罗马帝国时期流行，一直受到欢迎，直至 18 世纪。在欧洲，口头讲故事的传统开始在 14 世纪初发展成书面故事，尤其是乔叟的《坎特伯雷故事集》和博卡奇奥的《十日谈》。17 世纪中叶的法国见证了一种精致的短篇小说“nouvelle”的发展，由拉斐特夫人等作家创作。众所周知，1605 年米格尔·德·塞万提斯的《堂吉诃德》的出版宣告了第一部真正的小说的出现。英国小说起源于丹尼尔·笛福的《鲁宾逊漂流记》（1719 年）。在新型商业社会的影响下，小说开始涌现，报道中产阶级群体的经历，并作为一面镜子，读者在其中找到自己的困境。难怪，早期小说往往是世俗的。 在十八世纪末，一种情感奢华的小说类型，名为感伤小说，变得流行起来。这些小说反复涉及令人泪目的场景，并展示了美德和感性之间的密切关系。奥利弗·戈德史密斯的《韦克菲尔德牧师》（1766 年）和劳伦斯·斯特恩的《感伤之旅》（1768 年）在这方面是典型的。此外，沃尔特·斯科特的历史小说以其将浪漫氛围与对历史和普通人生活的现实描绘相结合而享有盛誉。斯科特被视为一个过渡性人物，他从
romanticism to realism and was more concerned with social and moral problems.
The nineteenth century was an age of conversion from a traditional pre-modern state to a modern industrial society. History witnessed a disintegration of traditional local communities and a rise of industrial towns. Most Victorian novels were realistic, recording the main grounds of hope and uneasiness which Victorians felt, the modes of thought and behavior they followed, and the standards of value they held. The outstanding Victorian novelists include Charles Dickens, George Eliot, Anthony Trollope, William Thackeray, and Elizabeth Gaskell. Different from Victorian Britain, early nineteenth-century America was preoccupied with Idealism and independence. The nation experienced a shift from the anxious demand for a European-style tradition to a self-assured revival of spiritual intelligence and cultural autonomy. Washington Irving, James Fenimore Cooper, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville all made explorations of American life. The first examples of the short stories in the United States were Washington Irving's Rip van Winkle (1819) and The Legend of Sleepy Hollow (1820), Edgar Allan Poe's Tales of the Grotesque and Arabesque (1840) and Nathaniel Hawthorne's Twice-Told Tales (1842). In the late nineteenth century, the growth of print magazines and journals created a strong demand for short fiction. At the same time, the first literary theories about the short story appeared. A widely known one was Edgar Allan Poe's The Philosophy of Composition (1846). From 1865 on, the rules of American social action changed due to material expansion. The dominant characteristic became the growth and concentration of capital. Like their British contemporaries, Americans experienced an oppressive consciousness of displacement and separation. Mark Twain, William Dean Howells, Theodore Dreiser were known for their realistic portrayal of the industrial progress and heightened materialism. 十九世纪是从传统的前现代国家转变为现代工业社会的时代。历史见证了传统的地方社区的解体和工业城镇的兴起。大多数维多利亚时代的小说都是现实主义的，记录了维多利亚人感受到的希望和不安的主要基础，他们遵循的思维和行为方式，以及他们持有的价值标准。杰出的维多利亚时代小说家包括查尔斯·狄更斯、乔治·艾略特、安东尼·特罗洛普、威廉·萨克雷和伊丽莎白·盖斯凯尔。与维多利亚时代的英国不同，十九世纪早期的美国专注于理想主义和独立。这个国家经历了从对欧洲式传统的焦虑需求到对精神智力和文化自治的自信复兴的转变。华盛顿·欧文、詹姆斯·菲尼莫·库珀、埃德加·爱伦·坡、纳撒尼尔·霍桑、赫尔曼·梅尔维尔都对美国生活进行了探索。 美国短篇小说的最初例子是华盛顿·欧文的《里普·范·温克尔》（1819）和《睡谷传说》（1820），埃德加·爱伦·坡的《怪诞与阿拉伯风格故事集》（1840）以及纳撒尼尔·霍桑的《重述故事》（1842）。19 世纪末，印刷杂志和期刊的增长为短篇小说创造了强烈需求。与此同时，关于短篇小说的第一批文学理论出现了。其中一个广为人知的是埃德加·爱伦·坡的《创作哲学》（1846）。从 1865 年开始，由于物质扩张，美国社会行动的规则发生了变化。主导特征变成了资本的增长和集中。与他们的英国同时代人一样，美国人经历了一种压抑的被替代和分离意识。马克·吐温、威廉·迪恩·豪威尔斯、西奥多·德莱塞以其对工业进步和加剧的物质主义的现实描绘而闻名。
At the turn of the twentieth century, there arose a more deliberate kind of realism called naturalism which aimed to provide a precise description of actual circumstances of human life in minute details. As an extension of realism, naturalism placed more emphasis on the helplessness and insignificance of man in face of the cold and hostile world. Stephen Crane and Jack London were its spokesmen. Then a trend far more avant-garde in literary practice came on stage as a revolt against conventional realism. Inspired by new ideas in anthropology, psychology, philosophy, political theory, and psychoanalysis, modernist writers demonstrated a radical spirit free from bourgeois values. In fiction, the established chronological development was challenged by Joseph Conrad and William Faulkner, while James Joyce and Virginia Woolf attempted stream-ofconsciousness styles. Their favored techniques included juxtaposition and multiple point of view, and the usual theme was about a sense of urban cultural dislocation. 在二十世纪之交，出现了一种更加深思熟虑的现实主义形式，称为自然主义，旨在提供对人类生活实际情况的精确描述，着重描绘细节。作为现实主义的延伸，自然主义更加强调人类在冷酷和敌对世界面前的无助和渺小。斯蒂芬·克莱恩和杰克·伦敦是其代言人。然后，一种更具前卫性的文学实践趋势登场，作为对传统现实主义的反叛。受到人类学、心理学、哲学、政治理论和精神分析等新思想的启发，现代主义作家展示了一种摆脱资产阶级价值观的激进精神。在小说中，约瑟夫·康拉德和威廉·福克纳挑战了已建立的时间发展，而詹姆斯·乔伊斯和弗吉尼亚·伍尔夫尝试了意识流风格。他们偏爱的技巧包括并置和多视角，通常主题是关于城市文化错位感。
The demand for quality short stories hit its peak in the mid-twentieth century, when in 1952 Life magazine published Ernest Hemingway's The Old Man and the Sea. Since then, the number of commercial magazines that publish short stories has declined. After World War II, postmodernism has turned up when the Western morale is in crisis. Whether it is a reaction against or a continuation of modernism is still open to debate, and even the definition itself is controversial because of its obscurity, yet it is at least clear that postmodernism tries to overthrow the modernist elitism and carries the experimentation in technique to the extreme. While a modernist novelist would try to wrest a meaning from the world through myth, symbol, or formal complexity, the postmodernist 优质短篇小说的需求在二十世纪中叶达到了顶峰，1952 年《生活》杂志刊登了欧内斯特·海明威的《老人与海》。此后，出版短篇小说的商业杂志数量有所下降。二战后，后现代主义出现在西方道德危机时期。它是对现代主义的反应还是延续仍有争议，甚至定义本身因其模糊而具有争议，但至少可以明确的是，后现代主义试图推翻现代主义的精英主义，并将技术实验推向极端。而现代主义小说家会试图通过神话、象征或形式复杂性从世界中获得意义，后现代主义者则会……
greets the absurd or meaningless confusion of contemporary existence, favoring "depthless" works of pastiche, parody, or aleatory disconnection. Postmodern techniques are often found in the novels of Thomas Pynchon, Kurt Vonnegut, Vladimir Nabokov, William S. Burroughs, and Angela Carter. Recently short stories have also found a new life online, in publications, collections, and blogs. 对当代存在的荒谬或无意义混乱表示问候，偏爱过去拼贴、模仿或随机断裂的“无深度”作品。后现代技术经常出现在托马斯·品钦、库尔特·冯内古特、弗拉基米尔·纳博科夫、威廉·S·巴勒斯和安吉拉·卡特的小说中。最近，短篇小说也在在线出版物、合集和博客中找到了新生命。
The above-mentioned linear development may offer a panoramic view of fiction for beginners. Nevertheless, we have to be aware that such division of the literary development is based on common features like thematic concerns, writing styles, and historical periods. The chronological classification never indicates the replacement of the former by the latter. Rather, different schools often coexist in an interconnected and overlapping way. A deeper insight into this subject will undoubtedly entail far more efforts. 上述的线性发展可能为初学者提供小说的全景视图。然而，我们必须意识到，文学发展的这种划分是基于主题关注、写作风格和历史时期等共同特征。时间顺序分类从未意味着后者取代前者。相反，不同的学派常常以相互关联和重叠的方式共存。对这一主题的深入了解无疑需要更多的努力。
References
1.2 Plot 情节
Plot is defined as "an author's careful arrangement of incidents in a narrative to achieve a desired effect." E. M. Foster illustrates this point in his Aspects of the Novel, noting that "The king died and then the queen died" promises a story, but not a plot as there exists no casual relationship between the two incidents. Hence a significant causal relationship between a series of events is of vital importance to establish an effective plot. In realistic novels causality is especially important. If we rewrite the sentence as "The king died and then the queen died of grief," it contains causality and is regarded as a plot. 情节被定义为“作者在叙述中精心安排事件以达到预期效果”。E. M. 福斯特在他的小说方面阐述了这一点，指出“国王去世，然后王后去世”承诺了一个故事，但并非一个情节，因为这两个事件之间没有因果关系。因此，一系列事件之间存在重要的因果关系对于建立有效的情节至关重要。在现实主义小说中，因果关系尤为重要。如果我们将这句话改写为“国王去世，然后王后因悲伤而去世”，那么它包含了因果关系，被视为一个情节。
Traditionally, plots arise out of a conflict, either internal or external. When a story includes an internal conflict, the protagonist often undergoes a conflict with himself or herself. For example, in the Bildungsroman, a boy or a girl must go through special trials before maturing. Virginia Woolf's The Waves is composed of interior monologues of six characters experiencing their individual anxieties and ecstasies from childhood to adulthood. The crisis of identity thus involves unavoidable quarrels inside. In contrast, an external conflict usually happens between people, but it also occurs between the protagonist and either society or natural forces. In Thomas Hardy's Tess of the d'Urbervilles, for instance, Tess conflicts with two men, the industrial world, nature, and Fate. Emily in William Faulkner's "A Rose for Emily" is in conflict with the society of a small town that finds itself alternately scandalized by and sympathetic toward her. 传统上，情节源于冲突，无论是内在的还是外在的。当一个故事包含内在冲突时，主人公通常会与自己发生冲突。例如，在成长小说中，男孩或女孩在成熟之前必须经历特殊的考验。弗吉尼亚·伍尔夫的《波浪》由六个角色的内心独白组成，描述了他们从童年到成年时期经历的个人焦虑和欢愉。因此，身份危机涉及不可避免的内部争吵。相比之下，外部冲突通常发生在人与人之间，但也可能发生在主人公与社会或自然力量之间。例如，在托马斯·哈代的《德伯家的苔丝》中，苔丝与两个男人、工业世界、自然和命运发生冲突。威廉·福克纳的《为艾米莉献上玫瑰》中的艾米莉与一个小镇的社会发生冲突，这个社会时而对她感到丑闻，时而又对她感到同情。
Typical fictional plots begin with an exposition, develop a series of complications that lead to a crisis, reach a climax, and then fall off as the conflicts are resolved. The following diagram illustrates such structure: 典型的虚构情节通常以序言开始，发展一系列导致危机的复杂情节，达到高潮，然后随着冲突的解决而逐渐落幕。下图说明了这种结构：
An exposition often provides explanatory information that helps readers to understand the situation in the story. It offers the setting and introduces major characters and sometimes some minor characters. Simply put, the exposition includes necessary background information about what happens before the story begins. 一篇论述通常提供解释性信息，帮助读者理解故事中的情况。它提供了背景设定，并介绍了主要角色，有时还包括一些次要角色。简而言之，论述包括关于故事开始之前发生的事情的必要背景信息。
The complications are indeed intensifications of the conflict leading to a moment of great tension. In this section, various episodes occur that develop, complicate, or intensify the conflict. The actions may suggest external conflicts such as high-speed chases, adventures, or violence, and may also be as subtle as a raised eyebrow, a hidden smile, or even an impulsive purchase implying the internal conflicts. 并发症确实是冲突加剧，导致紧张局势的时刻。在这一部分中，会发生各种情节，发展、复杂或加剧冲突。行动可能暗示外部冲突，如高速追逐、冒险或暴力，也可能像抬起眉毛、藏起微笑，甚至是冲动购买，暗示内部冲突。
Climax, or the turning point, is a moment of the greatest tension that fixes the outcome. We can understand it as the point of greatest conflict, the emotional high point, or the point at which one of the opposing forces gains the advantage. A story's climax often demands the main character to choose some form of action that will either worsen or improve his or her situation. 高潮，或者转折点，是一个最大紧张的时刻，决定了结果。我们可以理解为最大冲突点，情感高潮点，或者其中一方获得优势的点。故事的高潮经常要求主角选择某种行动，这将使他或她的情况恶化或改善。
The events that follow the climax are understood as the falling action. In novels, this section may be quite long; in short stories it tends to be fairly brief.
The falling action finally leads to the resolution or denouement of the story. Denouement is a French word meaning the "unknotting" or the untying of a knot. Laurence Perrine has suggested three kinds of endings: happy, unhappy, and indeterminate. In a happy ending, the main character is the winner. In an unhappy one, the main character does not gain so spectacularly. The indeterminate ending, which is neither happy nor unhappy, is the most popular kind in modern fiction. Given the horrors of modern society, most writers reject the possibility of happy endings, tend to be pessimistic or cynical about the human condition, and see life as ambiguous. 下降动作最终导致故事的结局或结局。结局是一个法语词，意思是“解开”或解开结。劳伦斯·佩林建议了三种结局：快乐的，不快乐的和不确定的。在一个快乐的结局中，主要角色是赢家。在一个不快乐的结局中，主要角色并没有那么显著地获得。不确定的结局，既不快乐也不不快乐，是现代小说中最受欢迎的一种。鉴于现代社会的恐怖，大多数作家拒绝快乐结局的可能性，倾向于对人类状况持悲观或愤世嫉俗的态度，并将生活视为模棱两可。
As a matter of fact, most stories do not exhibit such strict formality of design. A story's climactic moment, for instance, may occur simultaneously with its ending, with little or no formal resolution. Or its action may rise and fall repeatedly in an uneven pattern. Besides, the components of a plot, namely, exposition, rising action, climax, falling action, and resolution or denouement, may be of varying length. The exposition and rising action are usually the longest sections, while the falling action and resolution are the shortest. 事实上，大多数故事并不表现出如此严格的设计形式。例如，一个故事的高潮时刻可能与其结局同时发生，几乎没有正式的解决。或者其情节可能以不规则的模式反复上升和下降。此外，情节的组成部分，即，开端、上升动作、高潮、下降动作和结局或结尾，可能长度不同。开端和上升动作通常是最长的部分，而下降动作和结局则是最短的。
To tell their stories, writers often employ a number of techniques, including flashback, foreshadowing, suspense, or coincidence. These devices are meant to attract readers and compel 为了讲述他们的故事，作家们经常采用许多技巧，包括倒叙、预示、悬念或巧合。这些手法旨在吸引读者并驱使他们。
them to follow the action closely.
Flashbacks disrupt the linear movement of the plot and present an earlier action. If the story starts in the middle of the action or at a dramatic moment of intensity, the writer has to go back to the earlier point to update the reader. We have to rely on the narration or the dialogue to get the necessary information. Foreshadowing gives clues suggesting the events that will occur later. It prepares for unexpected twists and helps to create surprise endings. Foreshadowing can be done through setting, action, or a character's thoughts or speech. The two techniques are useful for the writer to create suspense, which refers to the feeling of anxious anticipation, expectation or uncertainty that creates tension and maintains the reader's interest. Finally, writers may rely on coincidence, which means the chance occurrence of two things at the same time or place. It is a useful device to denote the working of Fate in a person's life or create a humorous effect. But this technique demands careful attention. If the coincidence is used improbably, it surely weakens a story. 闪回打乱了情节的线性发展，并展示了较早的行动。如果故事从行动的中间或紧张时刻开始，作者就必须回到较早的点来更新读者。我们必须依靠叙述或对话来获取必要的信息。预示给出了提示将来会发生的事件的线索。它为意想不到的转折做准备，并有助于创造出惊喜的结局。预示可以通过场景、行动或角色的思想或言语来实现。这两种技巧对于作者创造悬念很有用，悬念指的是一种焦虑的期待、期望或不确定性的感觉，它制造了紧张感并保持了读者的兴趣。最后，作家可能依赖巧合，即两件事在同一时间或地点的偶然发生。这是一个有用的手法，用来表示命运在一个人生活中的运作或创造幽默效果。但这种技巧需要仔细注意。如果巧合被不太可能地使用，那肯定会削弱一个故事。
With the help of the concepts and terms introduced above, we are able to discuss the proficiency of a fiction writer. Bearing in mind the description of plot structure, as well as the discussion of 借助上面介绍的概念和术语，我们能够讨论小说作家的熟练程度。牢记情节结构的描述，以及讨论。
techniques, we are ready to discuss the following stories with more focus on how the authors craft their works.
References
Abrams, M. H. A Glossary of Literary Terms. 5th ed. New York: Holt, Rinehart, and Winston, 1988.
Baidick, Chris. Oxford Concise Dictionary of Literary Terms. Shanghai: Shanghai Foreign Language Educa-
tion Press, 2001.
Beaty, Jerome, and J. Paul Hunter, eds. The Norton Introduction to Literature. 7th ed. New York: W. W.
Norton & Company, 1998.
DiYanni, Robert, ed. Literature: Reading Flction. Poetry, and Drama, 5th ed. Boston: McGraw Hill, 2002.
Gordon, Jane Bachman, and Karen Kuehner. Fiction: An Introduction to the Short Story. Lincolnwood: NTCl
Contemporary Publishing Group, 1999
领初通视频 作业
DAUID HERBERT LAWREIGEE (1885-1930)
50 - 3 与页!!!Design in art, is a recognitian of the relation between variousthings, various elements in the creative flux. You can't invent adesign. You recognize it, in the fourth dimension. That is, withyour blood and your bones, as well as with your eyes.
D. H. Lawrence was an English novelist, storywriter, essayist, poet, literary critic and painter. He was born in Eastwood, Nottinghamshire, central England. After graduation from Nottingham University, Lawrence briefly pursued a teaching career. In 1909, a number of Lawrence's poems were published in the English Review. The appearance of his first novel, The White Peacock (1911), launched Lawrence into a writing career. Lawrence's other important novels include Sons and Lovers (1913), The Rainbow (1915) and Women in Love (1920). His best known novel is Lady Chatterley's Lover (1928), which was banned for a time in both the UK and the US as pornographic. Lawrence's non-fiction works comprise Movements in European History (1921), Psychoanalysis and the Unconscious (1922) and Studies in Classic American Literature (1923). "Snake" and "How Beastly the Bourgeoisie Is" are probably his most anthologized poems. He also gained posthumous renown for his expressionistic paintings completed in the 1920s. He is :1ow generally regarded as a visionary thinker and significant representative of modernism in English literature, although the attitudes toward women and sexuality in his works are largely criticized by the feminists. D·H·劳伦斯（D. H. Lawrence）是一位英国小说家、故事作家、散文家、诗人、文学评论家和画家。他出生在英格兰中部的诺丁汉郡伊斯特伍德。劳伦斯从诺丁汉大学毕业后，曾短暂从事教学工作。1909 年，劳伦斯的一些诗歌在《英国评论》上发表。他的第一部小说《白孔雀》（1911 年）的问世开启了劳伦斯的写作生涯。劳伦斯的其他重要小说包括《儿子与情人》（1913 年）、《彩虹》（1915 年）和《恋爱中的女人》（1920 年）。他最著名的小说是《查特利夫人的情人》（1928 年），曾因色情内容在英国和美国被禁。劳伦斯的非虚构作品包括《欧洲历史运动》（1921 年）、《精神分析与潜意识》（1922 年）和《经典美国文学研究》（1923 年）。《蛇》和《资产阶级是多么可恶》可能是他最广为人知的诗歌选集。他还因 20 世纪 20 年代完成的表现主义绘画而获得了死后的声誉。 他现在通常被视为英国文学现代主义的先知性思想家和重要代表，尽管他作品中对待女性和性别的态度在很大程度上受到女权主义者的批评。
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There is in the Midlands a single-line tramway system which boldly leaves the county town and plunges off into the black, industrial countryside, up hill and down dale, through the long ugly villages of workmen's houses, over canals and railways, past churches perched high and nobly over the smoke and shadows, through stark, grimy cold little market-places, tilting away in a rush past cinemas and shops down to the hollow where the collieries are, then up again, past a little rural church, under the ash trees, on in a rush to the terminus, the last little ugly place of industry, the cold little town that shivers on the edge of the wild, gloomy country beyond. There the green and creamy coloured tram-car seems to pause and purr with curious satisfaction. But in a few minutes - the clock on the turret of the Co-operative Wholesale Society's Shops gives the time - away it starts once more on the adventure. Again there are the reckless swoops downhill, bouncing the loops: again the chilly wait in the hill-top market-place: again the breathless slithering round the precipitous drop under the church: again the patient halts at the loops, waiting for the outcoming car: so on and on, for two long hours, till at last the city looms beyond the fat gas-works, the narrow factories draw near, we are in the sordid streets of the great town, once more we sidle to a standstill at our terminus, abashed by the great crimson and cream-coloured city cars, but still perky, jaunty, somewhat dare-devil, green as a jaunty sprig of parsley out of a black colliery garden. 在中部地区有一条单轨有轨电车系统，大胆地离开县城，冲向黑暗的工业乡村，上下起伏，穿过长长的丑陋的工人住宅村庄，越过运河和铁路，经过高高坐落在烟雾和阴影之上的教堂，穿过严酷、肮脏、寒冷的小市场，匆匆而过电影院和商店，直到煤矿所在的低洼地带，然后再次上升，经过一座小乡村教堂，穿过梣树下，匆匆赶往终点站，最后一个丑陋的工业区，寒冷的小镇在荒凉、阴郁的乡村边缘颤抖。在那里，绿色和奶油色的有轨电车似乎停下来，带着好奇的满足而轻声咕噜。但几分钟后 - 合作社批发商店尖塔上的时钟显示时间 - 它再次开始新的冒险。 再次有鲁莽的俯冲下坡，弹跳环路：再次在山顶市场寒冷等待：再次在教堂下陡峭的悬崖边喘不过气来地滑行：再次在环路处耐心等待即将出现的车辆：如此循环往复，长达两个小时，直到最后城市在肥胖的煤气厂之外显现，狭窄的工厂逐渐接近，我们置身于伟大城市肮脏的街道中，再次在终点站停下，被巨大的深红色和奶油色的城市车辆所震撼，但仍然神气十足，洋溢着一种大胆的勇气，像一株黑煤矿花园里的欢快香菜叶一样翠绿。
To ride on these cars is always an adventure. Since we are in wartime, the drivers are men unfit for active service: cripples and hunchbacks. So they have the spirit of the devil in them. The ride becomes a steeple-chase. Hurray! We have leapt in a clear jump over the canal bridges now for the four-lane corner. With a shriek and a trail of sparks we are clear again. To be sure, a tram often leaps the rails - but what matter! It sits in a ditch till other trams come to haul it out. It is quite common for a car, packed with one solid mass of living people, to come to a dead halt in the midst of unbroken blackness, the heart of nowhere on a dark night, and for the driver and the girl conductor to call, "All get off car's on fire!" Instead, however, of rushing out in a panic, the passengers stolidly reply: "Get on - get on! We're not coming out. We're stopping where we are. Push on, George." So till flames actually appear. 乘坐这些车辆总是一次冒险。由于我们处于战时，司机们都是不能服役的男人：跛子和驼背。所以他们心中有魔鬼的精神。乘车就像参加了一场障碍赛。万岁！我们已经跃过了运河桥，现在是四车道的拐角。伴随着一声尖叫和一串火花，我们又一次安全了。当然，有时电车会脱轨 - 但又有何妨！它会坐在沟渠里，直到其他电车来把它拉出来。一辆挤满了一团活人的车辆，在一片漆黑中突然停下来，处于无人之境的黑夜中，司机和女售票员会喊道：“所有人下车，车着火了！”然而，乘客们并没有惊慌失措地冲出去，而是坚定地回答：“上车 - 上车！我们不下车。我们就停在这里。继续前进，乔治。”直到火焰真的出现。
The reason for this reluctance to dismount is that the nights are howlingly cold, black, and
windswept, and a car is a haven of refuge. From village to village the miners travel, for a change of cinema, of girl, of pub. The trams are desperately packed. Who is going to risk himself in the black gulf outside, to wait perhaps an hour for another tram, then to see the forlorn notice "Depot"7 Only", because there is something wrong! Or to greet a unit of three bright cars all so tight with people that they sail past with a howl of derision. Trams that pass in the night. 风吹过，汽车是庇护所。 矿工们从一个村庄到另一个村庄旅行，为了换换电影、女孩、酒吧。 有轨电车拥挤不堪。 谁会冒险走出去黑暗的深渊，也许要等一个小时才能等到另一辆电车，然后看到孤独的通知“车库只有一辆”，因为出了问题！ 或者迎接一组三辆明亮的车，车上挤满了人，它们带着嘲笑的呼啸声飞驰而过。 夜晚经过的有轨电车。
This, the most dangerous tram-service in England, as the authorities themselves declare, with pride, is entirely conducted by girls, and driven by rash young men, a little crippled, or by delicate young men, who creep forward in terror. The girls are fearless young hussies. In their ugly blue uniform, skirts up to their knees, shapeless old peaked caps on their heads, they have all the sang-froid of an old non-commissioned officer. With a tram packed with howling colliers, roaring hymns downstairs and a sort of antiphony of obscenities upstairs, the lasses are perfectly at their ease. They pounce on the youths who try to evade their ticket-machine. They push off the men at the end of their distance. They are not going to be done in the eye - not they. They fear nobody - and everybody fears them. 这是英格兰最危险的有轨电车服务，正如当局自己自豪地宣称的那样，完全由女孩们负责，由冒失的年轻男子驾驶，有些是残疾的，或者是柔弱的年轻男子，他们惊恐地向前爬行。女孩们是无畏的年轻妇女。穿着丑陋的蓝色制服，裙子到膝盖，头上戴着形状不规则的老式尖顶帽，她们拥有老军士的冷静。有一辆满载着嚎叫的矿工的有轨电车，楼下传来吼叫的圣歌，楼上传来淫秽的反唱，女孩们完全自在。她们抓住试图逃避购票的年轻人。她们把到站的男人推开。她们不会被愚弄，她们不怕任何人，而每个人都怕她们。
"Hello, Annie!"
"Hello, Ted!"
"Oh, mind my corn, Miss Stone. It's my belief you've got a heart of stone, for you've trod on it again."
"You should keep it in your pocket," replies Miss Stone, and she goes sturdily upstairs in her high boots.
"Tickets, please."
She is peremptory, suspicious, and ready to hit first. She can hold her own against ten thousand. The step of that tram-car is her Thermopylae.
Therefore, there is a certain wild romance aboard these cars - and in the sturdy bosom of
Annie herself. The time for soft romance is in the morning, between ten o'clock and one, when things are rather slack: that is, except marketday and Saturday. Thus Annie has time to look about her. Then she often hops off her car and into a shop where she has spied something, while the driver chats in the main road. There is very good feeling between the girls and the drivers. Are they not companions in peril, shipments aboard this careering vessel of a tram-car, for ever rocking on the waves of a stormy land? 安妮本人。软浪漫的时刻是在早上十点到一点之间，那时事情相对较慢：也就是说，除了市场日和星期六。因此，安妮有时间四处看看。然后她经常从车上跳下来，进入一家她发现的商店，而司机则在主干道上聊天。女孩和司机之间有很好的感情。他们不是共同面对危险的伙伴吗，在这辆不断在风暴之地的波浪上摇摆的有轨电车上装载货物？
Then, also, during the easy hours, the inspectors are most in evidence. For some reason, everybody employed in this tram-service is young: there are no grey heads. It would not do. Therefore the inspectors are of the right age, and one, the chief, is also good-looking. See him stand on a wet, gloomy morning, in his long oilskin, his peaked cap well down over his eyes, waiting to board a car. His face is ruddy, his small brown moustache is weathered, he has a faint impudent smile. Fairly tall and agile, even in his waterproof, he springs aboard a car and greets Annie. 然后，在轻松的时段，检查员最为显眼。由于某种原因，这家有轨电车服务的所有员工都很年轻：没有一位是白发人。这是不行的。因此，检查员的年龄都合适，其中一位首席检查员还很英俊。看着他站在一个潮湿、阴沉的早晨，穿着长长的防水衣，尖顶帽深深地压在眼睛上，等待上车。他的脸色红润，小小的棕色胡子风吹日晒，微微带着一丝无礼的笑容。他相当高大、灵活，即使穿着防水衣，也轻盈地跃上车，向安妮打招呼。
There are only two people in the car. Inspecting is soon over. Then for a long and impudent chat on the foot-board, a good, easy, twelve-mile chat.
The inspector's name is John Thomas Raynor - always called John Thomas, except sometimes, in malice, Coddy. His face sets in fury when he is addressed, from a distance, with this abbreviation. There is considerable scandal about John Thomas in half a dozen villages. He flirts with the girl conductors in the morning, and walks out with them in the dark night, when they leave their tram-car at the depot. Of course, the girls quit the service frequently. Then he flirts and walks out with the newcomer: always providing she is sufficiently attractive, and that she will consent to walk. It is remarkable, however, that most of the girls are quite comely, they are all young, and this roving life aboard the car gives them a sailor's dash and recklessness. What matter how they behave when the ship is in port. Tomorrow they will be aboard again. 检查员的名字是约翰·托马斯·雷诺 - 总是被称为约翰·托马斯，除非有时，出于恶意，被称为科迪。当他被用这个缩写从远处称呼时，他的脸上露出愤怒的表情。关于约翰·托马斯在半打村庄中有相当多的丑闻。他在早晨和女售票员调情，当她们在车站离开有轨电车时，他会和她们一起出去。当然，女孩们经常辞职。然后他会和新来的女孩调情并出去：前提是她足够有吸引力，并且她愿意出去散步。然而，值得注意的是，大多数女孩都相当漂亮，她们都很年轻，而且在车上的这种流动生活给她们带来了水手的大胆和鲁莽。当船在港口时，她们的行为有何关系。明天她们将再次上船。
Annie, however, was something of a Tartar, and her sharp tongue had kept John Thomas at arm's length for many months. Perhaps, therefore, she liked him all the more: for he always came up smiling, with impudence. She watched him vanquish one girl, then another. She could tell by the movement of his mouth and eyes, when he flirted with her in the morning, that he had been walking out with this lass, or the other, the night before. A fine cock-of-the-walk he was. She could sum him up pretty well. 安妮，然而，有点像一个鞑靼人，她尖利的舌头让约翰·托马斯保持距离已经很多个月了。也许，因此，她更喜欢他：因为他总是面带微笑，带着厚颜无耻。她看着他征服一个女孩，然后又一个。她可以通过他早上和她调情时的嘴和眼睛的动作来判断，他昨晚和这个女孩或那个女孩约会过。他是一个很棒的自负之人。她可以很好地总结他。
In this subtle antagonism they knew each other like old friends, they were as shrewd with one another almost as man and wife. But Annie had always kept him sufficiently at arm's length. Besides, she had a boy of her own. 在这种微妙的对抗中，他们彼此像老朋友一样了解对方，他们几乎像夫妻一样狡猾。但安妮一直保持着与他一定的距离。此外，她还有自己的孩子。
The Statutes fair, however, came in November, at Bestwood. It happened that Annie
had the Monday night off. It was a drizzling ugly night, yet she dressed herself up and went to the fair ground. She was alone, but she expected soon to find a pal of some sort.
The roundabouts were veering round and grinding out their music, the side shows were making as much commotion as possible. In the coco-nut shies there were no coco-nuts, but artificial war-time substitutes, which the lads declared were fastened into the irons. There was a sad decline in brilliance and luxury. None the less, the ground was muddy as ever, there was the same crush, the press-of faces lighted up by the flares and the electric lights, the same smell of naphtha and a few fried potatoes, and of electricity. 环形交叉路口不停地转动，发出音乐声，旁边的小景观尽可能制造骚动。在椰子碰碰车里没有椰子，而是人造的战时替代品，男孩们声称这些东西被固定在铁器上。光彩和奢华有所减退。尽管如此，地面仍然泥泞不堪，人群拥挤，脸上被火把和电灯照亮，空气中弥漫着油气和少许炸土豆的味道，还有电气的气味。
Who should be the first to greet Miss Annie on the showground but John Thomas? He had a black overcoat buttoned up to his chin, and a tweed cap pulled down over his brows, his face between was ruddy and smiling and handy as ever. She knew so well the way his mouth moved. 谁应该在表演场地上第一个迎接安妮小姐，而不是约翰·托马斯？他穿着一件黑色大衣，扣到下巴，头戴一顶 tweed 帽子，拉到眉毛上，他的脸色红润，微笑着，像往常一样灵巧。她太了解他嘴巴的动作方式了。
She was very glad to have a "boy". To be at the Statutes without a fellow was no fun. Instantly, like the gallant he was, he took her on the dragons, grim-toothed, round-about switchbacks. It was not nearly so exciting as a tram-car actually. But, then, to be seated in a shaking, green dragon, uplifted above the sea of bubble faces, careering in a rickety fashion in the lower heavens, whilst John Thomas leaned 她非常高兴有一个“男孩”。独自在雕像前是无聊的。就像他是一个勇敢的 一样，他立刻带她坐在那些龙身上，那些龙咬牙切齿，蜿蜒曲折。实际上，这并不像有轨电车那样令人兴奋。但是，坐在一个摇晃的绿龙上，高高地抬起，俯瞰着一片泡泡脸，摇摇晃晃地在下层天空中飞驰，而约翰·托马斯则倚靠在旁边。
cont
over her, his cigarette in his mouth, was after all the right style. She was a plump, quick, alive little creature. So she was quite excited and happy.
John Thomas made her stay on for the next round. And therefore she could hardly for shame repulse him when he put his arm round her and drew her a little nearer to him, in a very warm and cuddly manner. Besides, he was fairly discreet, he kept his movement as hidden as possible. She looked down, and saw that his red, clean hand was out of sight of the crowd. And they knew each other so well. So they warmed up to the fair. 约翰·托马斯让她留下参加下一轮比赛。因此，当他用手臂搂住她，把她拉近一点，以一种非常温暖和亲昵的方式时，她几乎无法因为羞耻而拒绝他。此外，他相当谨慎，他尽可能隐藏自己的动作。她低头一看，发现他那只红色干净的手不被人群看到。他们彼此非常了解。所以他们开始热情起来。
After the dragons they went on the horses. John Thomas paid each time, so she could but be complaisant. , of course, sat astride on the outer horse - named "Black Bess" - and she sat sideways, towards him, on the inner horse — named "Wildfire". But of course John Thomas was not going to sit discreetly on "Black Bess", holding the brass bar. Round they spun and heaved, in the light. And round he swung on his wooden steed, flinging one leg across her mount, and perilously tipping up and down, across the space, half lying back, laughing at her. He was perfectly happy; she was afraid her hat was on one side, but she was excited. 龙之后，他们骑上了马。 约翰·托马斯每次都付钱，所以她只能让步。 当然，她骑在外面的马上——名叫“黑贝丝”的马上，而她侧身坐在内侧的马上——名叫“野火”的马上。 但约翰·托马斯当然不会端庄地坐在“黑贝丝”上，握着黄铜杆。 他们在光线中旋转和起伏。 他在他的木马上旋转，一条腿横跨她的坐骑，危险地上下摇摆，横跨空间，半躺着，笑着。 他很开心；她担心她的帽子歪了，但她很兴奋。
He threw quoits on a table, and won for her two large, pale-blue hat-pins. And then, hearing the noise of the cinemas, announcing another performance, they climbed the boards and went in.
Of course, during these performances pitch darkness falls from time to time, when the machine goes wrong. Then there is a wild whooping, and a loud smacking of simulated kisses. In these moments John Thomas drew Annie towards him. After all, he had a wonderfully warm, cosy way of holding a girl with his arm, he seemed to make such a nice fit. And, after all, it was pleasant to be so held: so very comforting and cosy and nice. He leaned over her and she felt his breath on her hair; she knew he wanted to kiss her on the lips. And, after all, he was so warm and she fitted in to him so softly. After all, she wanted him to touch her lips. 当然，在这些表演中，偶尔会有一片漆黑，当机器出故障时。然后就会听到野性的呼喊声，以及模拟亲吻的响声。在这些时刻，约翰·托马斯将安妮拉向自己。毕竟，他有一种非常温暖、舒适的方式用手臂搂着女孩，他似乎与她很合拍。毕竟，被这样拥抱是愉快的：非常令人安心、舒适和愉悦。他俯身在她身上，她感受到他的呼吸在她的头发上；她知道他想要亲吻她的嘴唇。毕竟，他是如此温暖，而她如此柔软地贴合在他身上。毕竟，她希望他触摸她的嘴唇。
But the light sprang up; she also started electrically, and put her hat straight. He left his arm lying nonchalantly behind her. Well, it was fun, it was exciting to be at the Statutes with John Thomas. 但灯光亮起来了；她也电力地开始了，把帽子戴正了。他把手臂悠闲地放在她的后面。嗯，和约翰·托马斯在法规处真是有趣，令人兴奋。
When the cinema was over they went for a walk across the dark, damp fields. He had all the arts of love-making. He was especially good at holding a girl, when he sat with her on a stile in the black, drizzling darkness. He seemed to be holding her in space, against his own warmth and gratification. And his kisses were soft and slow and searching. 当电影结束时，他们走到黑暗潮湿的田野上散步。他精通所有的恋爱艺术。当他与女孩一起坐在黑暗细雨中的栅栏上时，他尤其擅长拥抱女孩。他似乎在空间中拥抱着她，与自己的温暖和满足感相抗衡。他的吻柔软缓慢而又温柔。
So Annie walked out with John Thomas, though she kept her own boy dangling in the distance. Some of the tram-girls chose to be huffy. But there, you must take things as you find them, in this life. 所以安妮和约翰·托马斯走了出去，尽管她让自己的男孩在远处晃动。一些有轨电车女孩选择生气。但是，在这个生活中，你必须接受事物的现状。
There was no mistake about it, Annie liked John Thomas a good deal. She felt so rich and warm in herself whenever he was near. And John Thomas really liked Annie, more than usual. The soft, melting way in which she could flow into a fellow, as if she melted into his very bones, was something rare and good. He fully appreciated this. 安妮对约翰·托马斯的喜欢毫无疑问。每当他在附近时，她感到自己如此富有和温暖。而约翰·托马斯也真的很喜欢安妮，比平常更多。她能够以柔软、融化的方式融入一个人，仿佛融入他的骨骼，这种罕见而美好的感觉，他完全欣赏。
But with a developing acquaintance there began a developing intimacy. Annie wanted to consider him a person, a man; she wanted to take an intelligent interest in him, and to have an intelligent response. She did not want a mere nocturnal presence, which was what he was so far. And she prided herself that he could not leave her. 但随着熟悉的发展，开始了一种亲密的发展。安妮希望把他看作一个人，一个男人；她希望对他产生智慧的兴趣，并做出智慧的回应。她不想要一个仅仅是夜间存在的人，这就是他目前的样子。她自豪地认为他不能离开她。
Here she made a mistake. John Thomas intended to remain a nocturnal presence; he had no idea of becoming an all-round individual to her. When she started to take an intelligent interest in him and his life and his character, he sheered off. He hated intelligent interest. And he knew that the only way to stop it was to avoid it. The possessive female was aroused in Annie. So he left her. 在这里，她犯了一个错误。约翰·托马斯打算保持夜间存在；他没有想过成为她眼中的全面人物。当她开始对他、他的生活和性格产生智慧兴趣时，他就退缩了。他讨厌智慧的兴趣。他知道唯一阻止它的方法就是避免它。安妮中觉醒了占有欲。所以他离开了她。
It is no use saying she was not surprised. She was at first startled, thrown out of her count. For she had been so very sure of holding him. For a while she was staggered, 47 and everything became uncertain to her. Then she wept with fury, indignation, desolation, and misery. Then she had a spasm of despair. And then, when he came, still impudently, on to her car, still familiar, but letting her see by the movement of his head that he had gone away to somebody else for the time being, and was enjoying pastures new, then she determined to have her own back. 她不再感到惊讶是没有用的。一开始她感到惊慌，失去了镇定。因为她曾经非常确信能控制住他。有一段时间她感到困惑，一切对她来说都变得不确定。然后她愤怒、愤慨、绝望和痛苦地哭泣。接着她陷入绝望的痉挛。然后，当他仍然厚颜无耻地走向她的车时，仍然熟悉，但通过他的头部动作让她看到他暂时离开去找别人了，并且正在享受新的生活，那时她决定要让他尝尝自己的滋味。
She had a very shrewd idea what girls John Thomas had taken out. She went to Nora Purdy. Nora was a tall, rather pale, but well-built girl, with beautiful yellow hair. She was rather secretive. 她对约翰·托马斯带出去的女孩有一个非常敏锐的想法。她去找了诺拉·普尔迪。诺拉是一个高个子，相当苍白但身材匀称的女孩，有着美丽的金黄色头发。她有点神秘。
"Hey!" said Annie, accosting her, then softly, "Who's John Thomas on with now?"
"I don't know," said Nora.
"Why tha does," said Annie, ironically lapsing into dialect. "Tha knows as well as I do."
"Well, I do, then," said Nora. "It isn't me, so don't bother."
"It's Cissy Meakin, isn't it?"
"It is, for all I know."
"Hasn't he got a face on him!" said Annie. "I don't half like his cheek. I could knock him off the foot-board when he comes round at me."
"He'll get dropped-on one of these days," said Nora.
"Ay, he will, when somebody makes up their mind to drop it on him. I should like to see him taken down a peg or two, shouldn't you?"
"I shouldn't mind," said Nora.
"You've got quite as much cause to as I have," said Annie. "But we'll drop on him one of these days, my girl. What? Don't you want to?"
"I don't mind," said Nora.
But as a matter of fact, Nora was much more vindictive than Annie:
One by one Annie went the round of the old flames. It so happened that Cissy Meakin left the tramway service in quite a short time. Her mother made her leave. Then John Thomas was on the qui-vive He cast his eyes over his old flock. And his eyes lighted on Annie. He thought she would be safe now. Besides, he liked her. 安妮一个接一个地走过旧情人。恰巧西西·米金很快就离开了有轨电车服务。她的母亲让她离开。然后约翰·托马斯处于警戒状态。他审视了他的旧群羊。他的目光落在了安妮身上。他认为她现在会安全了。此外，他喜欢她。
She arranged to walk home with him on Sunday night. It so happened that her car would be in the depot at half past nine: the last car would come in at 10:15. So John Thomas was to wait for her there. 她安排在星期天晚上和他一起走回家。碰巧她的车将在九点半在车库里，最后一辆车将在十点十五分到达。所以约翰·托马斯要在那里等她。
At the depot the girls had a little waitingroom of their own. It was quite rough, but cosy, with a fire and an oven and a mirror, and table and wooden chairs. The half dozen girls who knew John Thomas only too well had arranged 在车站，女孩们有一个小等候室。这个等候室相当简陋，但很舒适，有火炉、烤炉、镜子、桌子和木椅。那几个对约翰·托马斯了如指掌的女孩们已经安排好了。
45 nocturnal: 夜的。
46 sheered off: 避开。
47 staggered: 吃惊的、动摇的。
48 accosting her: 和她搭话。
49 get dropped-on: 受到处罚
50 vindictive: 有报复心的
51 on the qui-vive: 警觉的。
to take service this Sunday afternoon. So, as the cars began to come in, early, the girls dropped into the waiting-room. And instead of hurrying off home, they sat around the fire and had a cup of tea. Outside was the darkness and lawlessness of wartime. 本周日下午接受 服务。因此，当汽车提前到达时，女孩们走进了候车室。她们没有急着回家，而是围坐在火炉旁喝茶。外面是战时的黑暗和无序。
John Thomas came on the car after Annie, at about a quarter to ten. He poked his head easily into the girls' waiting-room
"Prayer-meeting?" he asked.
"Ay," said Laura Sharp. "Ladies only."
"That's me!" said John Thomas. It was one of his favourite exclamations.
"Shut the door, boy," said Muriel Baggaley.
"On which side of me?" said John Thomas.
"Which tha likes," said Polly Birkin.
He had come in and closed the door behind him. The girls moved in their circle, to make a place for him near the fire. He took off his greatcoat and pushed back his hat.
"Who handles the teapot?" he said.
Nora Purdy silently poured him out a cup of tea.
"Want a bit o' my bread and drippin"?" said Muriel Baggaley to him.
"Ay, give us a bit."
And he began to eat his piece of bread.
"There's no place like home, girls," he said.
They all looked at him as he uttered this piece of impudence. He seemed to be sunning himself in the presence of so many damsels.
"Especially if you're not afraid to go home in the dark," said Laura Sharp.
"Me! By myself I am."
They sat till they heard the last tram come in. In a few minutes Emma Houselay entered.
"Come on, my old duck!" cried Polly Birkin.
"It is perishing," said Emma, holding her fingers to the fire.
"But - I'm afraid to, go home in, the dark," sang Laura Sharp, the tune having got into her mind.
"Who're you going with tonight, John
Thomas?" asked Muriel Baggaley, coolly.
"Tonight?" said John Thomas. "Oh, I'm going home by myself tonight - all on my lonelyO."
"That's me!" said Nora Purdy, using his own ejaculation.
The girls laughed shrilly.
"Me as well, Nora," said John Thomas.
"Don't know what you mean," said Laura.
"Yes, I'm toddling, " said he, rising and reaching for his overcoat.
"Nay," said Polly. "We're all here waiting for you."
"We've got to be up in good time in the morning," he said, in the benevolent official manner.
They all laughed.
"Nay," said Muriel. "Don't leave us all lonely, John Thomas. Take one!"
"I'll take the lot, if you like," he responded gallantly.
"That you won't either," said Muriel, "Two's company; seven's too much of a good thing."
"Nay - take one," said Laura. "Fair and square, all above board, and say which."
"Ay," cried Annie, speaking for the first time. "Pick, John Thomas; let's hear thee."
"Nay," he said. "I'm going home quiet tonight. Feeling good, for once."
"Whereabouts?" said Annie. "Take a good 'un, then. But tha's got to take one of us!"
"Nay, how can I take one," he said, laughing uneasily. 'I don't want to make enemies."
52 take service: 值班。
53 damsels: 少女, 年轻女人。
54 ejaculation: 突然说出的激动言语。
55 toddling: 要走了。
56 Fair and square, all above board: 光明正大的。
"You'd only make one," said Annie.
"The chosen one," added Laura.
"Oh, my! Who said girls!" exclaimed John Thomas, again turning, as if to escape. "Well good-night."
"Nay, you've got to make your pick," said Muriel. "Turn your face to the wall, and say which one touches you. Go on - we shall only just touch your back - one of us. Go on - turn your face to the wall, and don't look, and say which one touches you." “不，你必须做出选择，”穆里尔说。“把脸转向墙壁，说出哪一个触动了你。继续吧——我们只会轻轻碰触你的背部——我们中的一个。继续吧——把脸转向墙壁，不要看，然后说出哪一个触动了你。”
He was uneasy, mistrusting them. Yet he had not the courage to break away. They pushed him to a wall and stood him there with his face to it. Behind his back they all grimaced, tittering. He looked so comical. He looked around uneasily. 他感到不安，不信任他们。然而，他没有勇气脱离。他们把他推到墙边，让他面对着墙站着。在他背后，他们都做鬼脸，咯咯笑。他看起来很滑稽。他不安地四处张望。
"Go on!" he cried.
"You're looking - you're looking!" they shouted.
He turned his head away. And suddenly, with a movement like a swift cat, Annie went forward and fetched him a box on the side of the head that sent his cap flying and himself staggering. He started round. 他转过头去。突然，安妮像一只敏捷的猫一样动作迅速地向前走去，用力打了他一拳，他的帽子飞了起来，他自己也摇摇晃晃地后退了一步。他开始转身。
But at Annie's signal they all flew at him, slapping him, pinching him, pulling his hair, though more in fun than in spite or anger. He, however, saw red. His blue eyes flamed with strange fear as well as fury, and he butted through the girls to the door. It was locked. He wrenched at it. Roused, alert, the girls stood round and looked at him. He faced them, at bay. At that moment they were rather horrifying to him, as they stood in their short uniforms. He was distinctly afraid. 但是在安妮的信号下，他们都朝着他飞扑过去，拍打他，掐他，拉他的头发，虽然更多是玩笑而不是恶意或愤怒。然而，他看红了。他的蓝眼睛闪烁着奇怪的恐惧和愤怒，他顶开女孩们冲向门。门被锁住了。他用力扭动着。女孩们被惊醒，警觉地站在周围看着他。他面对着她们，陷入绝境。在那一刻，她们对他来说相当可怕，因为她们穿着短裙制服。他明显感到害怕。
"Come on, John Thomas! Come on! Choose!" said Annie.
"What are you after? Open the door," he said.
"We shan't — not till you've chosen!" said Muriel.
"Chosen what?" he said.
"Chosen the one you're going to marry," she replied.
hesitated a moment.
"Open the blasted door, " he said, "and get back to your senses." He spoke with official authority.
"You've got to choose!" cried the girls.
"Come on!" cried Annie, looking him in the eye. "Come on! Come on!"
He went forward, rather vaguely. She had taken off her belt, and swinging it, she fetched him a sharp blow over the head with the buckle end. He sprang and seized her. But immediately the other girls rushed upon him, pulling and tearing and beating him. Their blood was now thoroughly up. He was their sport now. They were going to have their own back, out of him. Strange, wild creatures, they hung on him and rushed at him to bear him down. His tunic was torn right up the back, Nora had hold at the back of his collar, and was actually strangling him. Luckily the button burst. He struggled in a wild frenzy of fury and terror, almost mad terror. His tunic was simply torn off his back, his shirtsleeves were torn away, his arms were naked. The girls rushed at him, clenched their hands on him and pulled at him: or they rushed at him and pushed him, butted him with all their might: or they struck him wild blows. He ducked and cringed and struck sideways. They became 他向前走去，相当模糊。她脱下了腰带，挥舞着，用带扣末端猛击了他的头部。他跳起来抓住了她。但立刻其他女孩冲上前来，拉扯着、撕扯着、殴打着他。她们的血液现在完全沸腾了。他现在成了她们的玩物。她们要从他身上讨回公道。奇怪、狂野的生物，她们缠住他，冲向他，试图把他压倒。他的外衣被撕破了，诺拉抓住他后领，实际上勒住了他。幸运的是，纽扣爆裂了。他陷入了狂怒和恐惧的狂暴之中，几乎是疯狂的恐惧。他的外衣被简直从背上撕下来，衬衫袖子被撕掉，他的手臂裸露了。女孩们冲向他，用力抓住他，拉扯他：或者他们冲向他，推搡他，用尽全力顶他：或者他们猛击他。他躲闪、畏缩，侧身打击。她们变得
57 they all grimaced, tittering: 她们都在扮鬼脸吃吃地笑。
58 spite: 敌意。
59 butted: 以头抵撞。
60 wrenched: 猛扭。
61 at bay: 陷入困境, 走投无路。
62 the blasted door: 这该死的门。
63 the buckle end: 带扣的一端。
64 tunic: 束腰外衣。
65 ducked and cringed: 闪避、畏缩。
more intense.
At last he was down. They rushed on him, kneeling on him. He had neither breath nor strength to move. His face was bleeding with a long scratch, his brow was bruised.
Annie knelt on him, the other girls knelt and hung on to him. Their faces were flushed, their hair wild, their eyes were all glittering strangely. He lay at last quite still, with face averted, as an animal lies when it is defeated and at the mercy of the captor. Sometimes his eye glanced back at the wild faces of the girls. His breast rose heavily, his wrists were torn. 安妮跪在他身上，其他女孩也跪着抓住他。她们的脸红扑扑，头发凌乱，眼睛闪烁着奇怪的光芒。最后，他静静地躺着，脸转向一边，就像一只被打败、处于俘虏的动物一样躺着。有时，他的眼睛会瞥向女孩们狂野的脸庞。他的胸膛起伏不定，手腕被抓伤。
"Now, then, my fellow!" gasped Annie at length. "Now then - now -"
At the sound of her terrifying, cold triumph, he suddenly started to struggle as an animal might, but the girls threw themselves upon him with unnatural strength and power, forcing him down. 在她可怕、冷酷的胜利声中，他突然开始像动物一样挣扎，但女孩们用超乎寻常的力量和能量扑向他，将他压倒。
"Yes - now, then!" gasped Annie at length.
And there was a dead silence, in which the thud of heart-beating was to be heard. It was a suspense of pure silence in every soul.
"Now you know where you are," said Annie.
The sight of his white, bare arm maddened the girls. He lay in a kind of trance of fear and antagonism. They felt themselves filled with supernatural strength.
Suddenly Polly started to laugh - to giggle wildly - helplessly - and Emma and Murie joined in. But Annie and Nora and Laura remained the same, tense, watchful, with gleaming eyes. He winced away from these eyes. 突然，波莉开始笑了 - 狂笑 - 无助地 - 艾玛和穆里也加入其中。但安妮、诺拉和劳拉保持不变，紧张、警惕，眼睛闪闪发光。他从这些眼睛中退缩。
"Yes," said Annie, in a curious low tone, secret and deadly. "Yes! You've got it now! You know what you've done, don't you? You know what you've done."
He made no sound nor sign, but lay with bright, averted eyes, and averted, bleeding face.
"You ought to be killed, that's what you ought," said Annie, tensely. "You ought to be killed." And there was a terrifying lust in her voice.
Polly was ceasing to laugh, and giving longdrawn Oh-h-hs and sighs as she came to herself.
"He's got to choose," she said vaguely.
"Oh, yes, he has," said Laura, with vindictive decision.
"Do you hear - do you hear?" said Annie. And with a sharp movement, that made him wince, she turned his face to her.
"Do you hear?" she repeated, shaking him.
But he was quite dumb. She fetched him a sharp slap on the face. He started, and his eyes widened. Then his face darkened with defiance, after all.
"Do you hear?" she repeated.
He only looked at her with hostile eyes.
"Speak!" she said, putting her face devilishly near his.
"What?" he said, almost overcome.
"You've got to choose!" she cried, as if it were some terrible menace, and as if it hurt her that she could not exact more.
"What?" he said, in fear.
"Choose your girl, Coddy. You've got to choose her now. And you'll get your neck broken if you play any more of your tricks, my boy. You're settled now."
There was a pause. Again he averted his face. He was cunning in his overthrow. He did not give in to them really - no, not if they tore him to bits.
"All right, then," he said, "I choose Annie." His voice was strange and full of malice. Annie
66 averted: 转开
67 a kind of trance of fear and antagonism: 一种
怀着恐惧和对抗心理的恍惚。
68 winced: 退缩
69 defiance: 挑战, 葴视, 挑鲜。
let go of him as if he had been a hot coal.
"He's chosen Annie!" said the girls in chorus.
"Me!" cried Annie. She was still kneeling, but away from him. He was still lying prostrate, with averted face. The girls grouped uneasily around.
"Me!" repeated Annie, with a terrible bitter accent.
Then she got up, drawing away from him with strange disgust and bitterness.
"I wouldn't touch him," she said.
But her face quivered with a kind of agony, she seemed as if she would fall. The other girls turned aside. He remained lying on the floor, with his torn clothes and bleeding, averted face. 但她的脸上露出一种痛苦的表情，她看起来好像要倒下了。其他女孩都转过了头。他仍躺在地板上，衣服破烂，脸上流着血。
"Oh, if he's chosen -" said Polly.
"I don't want him - he can choose again," said Annie, with the same rather bitter hopelessness.
"Get up," said Polly, lifting his shoulder. "Get up."
He rose slowly, a strange, ragged, dazed creature. The girls eyed him from a distance, curiously, furtively, dangerously.
"Who wants him?" cried Laura, roughly.
"Nobody," they answered, with contempt. Yet each one of them waited for him to look at her, hoped he would look at her. All except Annie, and something was broken in her.
He, however, kept his face closed and averted from them all. There was a silence of the end. He picked up the torn pieces of his tunic, without knowing what to do with them. The girls stood about uneasily, flushed, panting, tidying their hair and their dress unconsciously, and watching him. He looked at none of them. He espied his cap in a corner, and went and picked it up. He put it on his head, and one of the girls burst into a shrill, hysteric laugh at the sight he presented. He, however, took no heed, but went straight to where his overcoat hung on a peg. The girls moved away from contact with him as if he had been an electric wire. He put on his coat and buttoned it down. Then he rolled his tunic-rags into a bundle, and stood before the locked door, dumbly. 然而，他仍然保持着面无表情，避开了所有人。这是一种终结的沉默。他捡起他的破烂外衣，不知道该怎么处理它们。女孩们站在那里，不安地环顾四周，脸红气喘，不自觉地整理着头发和衣服，注视着他。他没有看向她们中的任何一个。他在一个角落里发现了他的帽子，走过去捡起来。他戴在头上，其中一个女孩看到他的模样，突然发出尖锐的歇斯底里笑声。然而，他没有理会，径直走到挂着的大衣处。女孩们远离他，仿佛他是一根电线。他穿上外套，扣好扣子。然后他把他的外衣碎片卷成一捆，站在锁着的门前，默默无语。
"Open the door, somebody," said Laura.
"Annie's got the key," said one.
Annie silently offered the key to the girls. Nora unlocked the door.
"Tit for tat, old man," she said. "Show yourself a man, and don't bear a grudge."
But without a word or sign he had opened the door and gone, his face closed, his head dropped.
"That'll learn him," said Laura.
"Coddy!" said Nora.
"Shut up, for God's sake!" cried Annie fiercely, as if in torture.
"Well, I'm about ready to go, Polly. Look sharp!" said Muriel.
The girls were all anxious to be off. They were tidying themselves hurriedly, with mute, stupefied faces.
70 dazed: 头晕眼花的.
71 furtively: 偷偷地, 暗中地。
72 espied: 看到。
73 Tit for tat: 一报还一报。
74 stupefied: 麻木的。
Lawrence, D. H. "Tickets, Please." England, My England. New York: Books for Libraries Press, 1972. 51-66.
Lawrence carefully delineates the reckless movement of the trams. Can you tell its significance? Are there any links between the movement and the new women's energy?
Yawrence uses specific words and details to describe the conductresses' strength. Find the words and details out and account for the reasons for women's emerging power.
What sort of man is John Thomas? Consider his performance at the Statutes fair and explain why Lawrence uses the word "gallant" to describe him. Is he a real hero?
Why does John Thomas prefer Annie to the other girls?
After John Thomas has gone away to somebody else, Annie determines to "have her own back." Likewise, the deserted girls all want to "have their own back, out of him." Can you tell the meanings of Annie's own and the girls' own? 约翰·托马斯离开去找别人后，安妮决定“让他们尝尝自己的滋味”。同样，被抛弃的女孩们都想“让他们尝尝自己的滋味”。你能告诉安妮和女孩们的“自己”的含义吗？
At the end of the story, Annie feels "something was broken in her." What is this something? Explain.
Try to analyze the plot.
A Brief Analysis of chickets. Please"
"Tickets, Please," written by D. H. Lawrence in 1818-1819, dramatizes his ironic vision of World War I as an opportunity for the destruction of an exhausted culture and the rebirth of longrepressed erotic eñergies. 《查票，请》，由 D·H·劳伦斯在 1818-1819 年写成，戏剧化地展现了他对第一次世界大战的讽刺视野，认为这是摧毁疲惫文化并重生长期被压抑的性能量的机会。
The customary reading of the story is John Thomas's final choice of Annie redeems her, making her sensible of the gift of rich love she has lost through her misguided possessiveness. 故事的传统阅读是约翰·托马斯最终选择安妮，使她意识到她通过错误的占有欲失去了丰富爱的礼物。
A careful reading of the story, however, indicates the opposite. Indeed, the story implies a fierce battle between the sexes. When Annie kneels on John's back in a reversal of the traditional position, she asserts the ascendency of her sex and assumes for herself the patriarchal right to force the seducer to marry: "'You've got to choose!' she cried." In the assumption of male sexual prerogatives, she appears to win the battle of the sexes. 然而，仔细阅读这个故事表明相反。事实上，这个故事暗示了性别之间的激烈斗争。当安妮跪在约翰的背上，颠倒了传统的位置时，她肯定了自己性别的优势，并假定了自己有权强迫诱奸者结婚的家长权利：“‘你必须选择！’她喊道。”在男性性特权的假设中，她似乎赢得了性别之战。
Yet John "did not give in to them really - no, not if they tore him to bits"; he jerks his face loose from Annie's grasp and, in a voice "strange and full of malice," utters "I choose Annie." Instantly Annie collapses in "bitter hopelessness" and commands the girls to end their taunts. 然而，约翰“并没有真的屈服于他们 - 不，即使他们把他撕成碎片也不会”; 他从安妮的控制中挣脱出来，用一种“奇怪而充满恶意”的声音说出“我选择安妮”。 安妮立即陷入“痛苦的绝望”中，并命令女孩们停止嘲讽。
John's victory rests on her realization that while she can force him to the ground, only he can "exact more," and his choice of Annie vindictively reminds her of the realities of sexual politics. At the end of the story, then, Annie is not horrified because she has lost love through her possessive ways; rather "something was broken in her," and she is tormented by the realization that she is too weak to wreak vengeance on her enemy. 约翰的胜利建立在她意识到，虽然她可以把他逼到地上，但只有他才能“更加确切”，而他恶毒地选择安妮让她想起了性政治的现实。因此，在故事的结尾，安妮并不因为她通过占有方式失去了爱而感到恐惧；相反，“她内心有些破碎”，她被意识到自己太弱无法对敌人报仇所折磨着。
The title "Tickets, Please" also suggests women's inferiority: men pay a price to get in the gate. The title indicates a more fundamental, more disturbing point: no matter how strengthened by the freedom brought by World War I, women can never be the equals of men. The masculine power remains in the word "please." Annie's essential failure in her own eyes, the cruelest element in her humiliation, is her failure to be a man. Beaten but undefeated, John reassembles the cloak and cap and Annie herself produces the key to unlock the door of the escape, and he returns alone to his mist-filled darkness to await a better day. 标题“请出示门票”也暗示了女性的劣势：男人付出代价才能进入大门。这个标题表明了一个更根本、更令人不安的观点：无论第一次世界大战带来的自由如何加强，女性永远无法与男性平等。男性的权力仍然存在于“请”这个词中。安妮在自己眼中的本质失败，是她被羞辱的最残酷元素，是她无法成为一个男人。被打败但未被打败，约翰重新组装斗篷和帽子，安妮自己拿出钥匙打开逃生的门，他独自回到充满雾气的黑暗中等待更美好的一天。
The Plot of "Mickets, Please?
"Tickets, Please" has a clear plot structure. The exposition describes the setting and introduces the major characters. The story happens in a sterile black industrial countryside of central England during the First World War. At that time all able-bodied men depart for the trenches, only crippled and delicate men are left at home. Against the picture of declining masculinity, there exist a group of "fearless young hussies," empowered women conductors on a tram line connecting villages and coal mines, assuming the jobs and the prerogatives of the departed soldiers. Annie is the chief among them due to her roughness and intelligence. John Thomas, representative of phallic power, is summoned into their midst like a god. In a world deprived of fit suitors, John represents the rare presence of sensual power. “请出示车票”具有清晰的情节结构。开端描述了背景并介绍了主要人物。故事发生在第一次世界大战期间英格兰中部的一片干净的黑色工业乡村。那时，所有健壮的男人都去了前线，只有残疾和柔弱的男人留在家里。在男子气概日渐衰落的背景下，存在着一群“无畏的年轻女人”，她们是连接村庄和煤矿的有轨电车线路上的女售票员，承担起了离开的士兵的工作和特权。安妮是她们中的首领，因为她的粗犷和聪明。约翰·托马斯，象征阳具力量的代表，被召唤到她们中间，如同神一般。在缺乏合适求爱者的世界中，约翰代表了感官力量的罕见存在。
After the background information come a series of complications of the conflicts between John and these women conductors. Since John enjoys a casual way of living, he continuously flirts with and abandons these girls. He has an affair with Annie, the chief of the masculinized girls. Here Lawrence parodies the conventions of romantic love comedy, in which lovers typically meet in an oppressive everyday world, escape to a wonderland where nature reigns, law relaxes, and the barriers to happiness are overcome, and return transformed to a purged and elevated everyday world. In "Tickets, Please," there is no such everyday world, nor exists a clearly contrasting holiday world. When the action shifts from the tram line to the Statutes fair at nearby Bestwood, Annie finds there is "a sad decline in brilliance and luxury." There seems no movement from reality to holiday and the only root Annie is to know is her "rich, warm" place in John's arms. But what John intends to remain is just the "nocturnal presence" as he cannot offer the transforming power of love. The "intelligent interest" Annie begins to take in him, despite her full return of his passion, fails to get any response. John, threatened by Annie's "possessiveness," decides to break up with her and start affairs with other girls at once. When John falls short on what she considers their bargain, Annie makes her choice, and in an act of self-reification she "determine[s] to have her own back." 在背景信息之后，约翰与这些女指挥之间的冲突引发了一系列复杂情节。由于约翰喜欢随意的生活方式，他不断地调情并抛弃这些女孩。他与安妮有一段风流韵事，她是这些女孩中最具男子气概的首席。在这里，劳伦斯对浪漫爱情喜剧的传统进行了讽刺，其中恋人通常在压抑的日常世界相遇，逃到自然统治的仙境，法律放松，幸福的障碍被克服，然后转变回一个净化和提升的日常世界。在《请出示车票》，没有这样的日常世界，也不存在明显对比的假日世界。当行动从有轨电车线转移到附近贝斯特伍德的法规集市时，安妮发现那里“辉煌和奢华有所减退”。似乎没有从现实到假日的转变，安妮唯一知道的根源就是她在约翰怀中的“富有、温暖”之处。但约翰打算保持的只是“夜间的存在”，因为他无法提供爱情的转化力量。尽管安妮对他产生了“聪明的兴趣”，尽管她全心回应了他的激情，但却得不到任何回应。 约翰受安妮的“占有欲”威胁，决定与她分手，并立即开始与其他女孩发展关系。当约翰未能达到她认为是他们之间的协议时，安妮做出了选择，并在一次自我实现的行为中“决定要自己的回报”。"
The intensifications of the conflict lead to a moment of great tension and finally reach the
climax. In the waiting-room, the girls use food, warmth, and the charm of feminine culture to disguise their scheme of revenge. At the signal Annie makes, John is overwhelmed by an attack of enraged discarded girl friends and their leader, Annie, who seek to end his easy ways by forcing him to choose one sweetheart. The attack of the angry girls on the "cock-of-the-walk" John has an indication of sexual arousal. The stripping away of his clothes (the "sight of his white, bare arm maddened the girls") stirs his attackers into a sexual frenzy. But while they can vilify him, disrobe him, pummel him, they cannot impose the final humiliation and rape him. Only John has the power to penetrate, to choose. Hence woman at her most aggressive conceals her fundamental impotence. 高潮。在候车室里，女孩们利用食物、温暖和女性文化的魅力来掩饰她们的复仇计划。在安妮发出的信号下，约翰被一群愤怒的被抛弃的女友和她们的领袖安妮所压倒，她们试图通过迫使他选择一个心爱的人来结束他轻松的生活方式。愤怒的女孩们对“公鸡”约翰的袭击表明了性唤起的迹象。剥夺他的衣服（“看到他那白皙的赤裸胳膊让女孩们发狂”）激起了他的袭击者的性狂热。但是，虽然她们可以诽谤他、脱去他的衣服、殴打他，但她们无法施加最终的羞辱并强奸他。只有约翰有能力渗透、选择。因此，女人在她最具侵略性的时候掩饰了她根本的无能。
The conflict is finally resolved as John snatches victory from defeat when he chooses Annie. The reverse takes place at the end of the story and the battle between the sexes is ended with the man's victory. The girls, especially Annie, are forced to recognize the limits of their power. The single source of the defeat is their failure to be a man. 冲突最终在约翰选择安妮时从失败中夺取胜利而得以解决。故事结尾发生了反转，性别之间的战斗以男性的胜利告终。女孩们，尤其是安妮，被迫认识到自己权力的局限。失败的唯一原因是她们未能成为一个男人。
References
Breen, Judith Puchner. "D. H. Lawrence, World War I and the Battle Between the Sexes: A Reading of The Blind Man' and 'Tickets, Please."' Women's Studies 13 (1986): 63-75.
Plot is one big reason for our readers to read fiction. Seeing what happens, we also follow the fortunes of the characters. In fact, plot and characters are inseparable. What we are usually concerned with is what happens to an individual. 情节是我们的读者阅读小说的一个重要原因。看到发生的事情，我们也会关注角色的命运。事实上，情节和角色是密不可分的。我们通常关心的是一个人发生了什么。
We approach fictional characters with the similar concerns with which we approach people. Very often we grant them a kind of reality equivalent to if not identical with our own. In so doing we permit ourselves to be caught up in the life of the story and its characters. We observe their actions, listen to their speech, notice their relationship, and look for links and clues to their function and significance in the story. However true-to-life they are, characters are never equivalents to people in reality. Some of their aspects are magnified while others are played down to the background. That is why a character in the fiction, for all its lifelikeness, is after all "fictional." 我们对虚构角色的态度与我们对待人的态度相似。我们经常赋予他们一种与我们自己相等甚至相同的现实感。这样做，我们允许自己被故事和角色的生活所吸引。我们观察他们的行动，倾听他们的言语，注意他们的关系，并寻找他们在故事中的功能和意义的联系和线索。然而，无论他们多么逼真，角色永远不会等同于现实中的人。他们的某些方面被放大，而其他方面则被淡化到背景中。这就是为什么虚构作品中的角色，尽管栩栩如生，终究是“虚构”的原因。
In Aspects of the Novel, E. M. Forster suggests a distinction between "flat characters" and "round characters." According to Forster, a round character is three-dimensional, complex enough to surprise the reader without losing credibility. Round characters are fully developed and exhibit many characteristics, some of which may be contradictory. They possess the "incalculability of life." When we read D. H. Lawrence's "Tickets, Please," for instance, we will know Annie almost as intimately as we know our best friend. On the contrary, a flat character is incapable of surprising the reader. Such two-dimensional characters can be described with one or two characteristics. Sometimes their names even indicate their traits, such as being cowardly, or puzzled, or stubborn. 在小说的方面，E. M. 福斯特提出了“平面角色”和“圆角色”的区别。根据福斯特的说法，一个圆角色是三维的，足够复杂，能够让读者感到惊讶，同时又不失可信度。圆角色是完全发展的，展示出许多特征，其中一些可能是矛盾的。他们拥有“生活的不可计算性”。例如，当我们阅读 D. H. 劳伦斯的《车票，请》，我们会对安妮的了解几乎和了解我们最好的朋友一样深入。相反，一个平面角色无法让读者感到惊讶。这种二维角色可以用一个或两个特征来描述。有时，他们的名字甚至表明了他们的特征，比如胆小、困惑或固执。
Conventionally characters in fiction can be classified as major and minor. The protagonist is the main or central character. In most cases, the title character is the protagonist, as in the case of Jane Eyre. These characters are generally the roundest, most fully developed in a work. They may also be the most sympathetic ones able to arouse the reader's concern and sympathy. In reading "Tickets, Please," for example, we may not understand Annie fully, but she always holds our attention and even sympathy. As is mentioned in the previous section, every fiction includes conflicts that involve opposing forces. The adverse are identified as antagonists which include people, society, natural or supernatural forces. Like protagonists, many antagonists are also round characters. Together, protagonists and antagonists comprise the major characters or forces in fiction. 传统上，小说中的角色可以分为主要角色和次要角色。主角是主要或中心角色。在大多数情况下，标题角色是主角，就像简·爱一样。这些角色通常是作品中最圆满、最完整发展的角色。他们也可能是最能引起读者关注和同情的角色。例如，在阅读《车票，请》时，我们可能不完全了解安妮，但她总是吸引我们的注意力，甚至同情。正如前一节中提到的，每部小说都包括涉及对立力量的冲突。对立力量被确定为敌对者，包括人、社会、自然或超自然力量。与主角一样，许多敌对者也是圆满的角色。主角和敌对者共同构成了小说中的主要角色或力量。
Characters other than major characters are named minor characters. They primarily function as foils, stereotypes, or pieces of furniture. The confidant, the person in whom the protagonist confides, is one important kind of foils. Usually they are friends of the protagonist and their conversations make possible the revelation of the protagonist's thought or plan. Foils are often flat 除了主要角色之外的角色被称为次要角色。它们主要起到衬托、刻板印象或家具的作用。知己，即主人公信任的人，是一种重要的衬托。通常他们是主人公的朋友，他们的对话使主人公的想法或计划得以揭示。衬托往往是平面的。
characters in vivid contrast against the protagonist in terms of appearance or personality. They function to emphasize the protagonist's characteristics and sometimes provide a comic relief. A stereotyped character represents a category of people, such as the dumb athlete, the nagging wife, and the absent-minded professor. As this kind of people is easily recognizable, the writer needn't spend much space describing them. Stereotyped characters are sometimes called stock or type characters. In the seventeenth and eighteenth centuries when the novel rose as a new literary type, novelists, perhaps owing to the influence of dramatic works, inclined to create characters who typified some definite qualities, or symbolized certain virtues or vices. Characters such as misers, villains, old gossips, poor but ambitious boys were quite common. In modern eyes, these characters might appear a bit stereotyped. They are more a prototype than an individual. The last type of minor characters is the piece-of-furniture character. As the name indicates, they are almost void of personality and function usefully like a chair or a sofa: they deliver letters that contain items affecting the plot, they drive the bus to take the major characters to a destination, or they serve meals or open the door. In short, minor characters are rarely round characters. 在外貌或个性方面与主角形成鲜明对比的角色。它们的功能是强调主角的特点，有时提供喜剧缓解。刻板角色代表一类人，如愚蠢的运动员、唠叨的妻子和健忘的教授。由于这类人很容易被认出，作家不需要花太多篇幅来描述他们。刻板角色有时被称为存货或类型角色。在十七和十八世纪小说兴起为新文学类型时，小说家可能受到戏剧作品的影响，倾向于创造具有某些明确品质的角色，或象征某些美德或恶习。吝啬鬼、恶棍、老八卦、贫穷但雄心勃勃的男孩等角色是相当常见的。在现代眼中，这些角色可能显得有点刻板。它们更像是原型而不是个体。最后一种次要角色类型是家具角色。 正如名字所示，他们几乎没有个性，像椅子或沙发一样有用：他们传递包含影响情节的物品的信件，他们开车送主要角色去目的地，或者他们提供餐食或打开门。简而言之，配角很少是圆形人物。
Similarly, there exists another differentiation between "static" and "active" characters. If a character is almost incapable of change, or seems changing mostly because our original view of him or her is not complete, this character is identified as static. An active character, on the other hand, is one who changes with the plot. In modern literature, characters are often complex, changeable, and thus unpredictable, most of them being fairly dynamic. We sometimes use "open character" and "closed character" to refer to the same distinction. This static-dynamic dichotomy, however, does not imply that the latter is necessarily superior to the former. Both of them are approaches for characterization. 同样，还存在另一种“静态”和“活跃”角色之间的区别。如果一个角色几乎无法改变，或者似乎改变主要是因为我们对他或她的原始看法不完整，那么这个角色被认定为静态。另一方面，活跃角色是随着情节变化的角色。在现代文学中，角色通常是复杂的、多变的，因此难以预测，其中大多数都是相当动态的。我们有时使用“开放性角色”和“封闭性角色”来指代同样的区别。然而，这种静态-动态的二分法并不意味着后者一定优于前者。它们都是角色塑造的方法。
By characterization, we mean the representation of a character or characters in novel writing, especially by imitating or describing actions, gestures, or speeches. Normally writers would employ more than one approach for characterization, such as direct exposition, and indirect description through actions or the inner world. 通过人物刻画，我们指的是在小说写作中对一个或多个人物的表现，尤其是通过模仿或描述行动、姿态或言谈来表现。通常作家会采用多种方法来进行人物刻画，比如直接阐述，以及通过行动或内心世界的间接描述。
In direct characterization, the narrator or a character tells the reader another character's appearance or his or her personality. In the opening paragraphs of "Tickets, Please," for instance, the narrator describes the conductresses' uniforms: "In their ugly blue uniform, skirts up to their knees, shapeless old peaked caps on their heads, they have all the sang-froid of an old noncommissioned officer." As is shown, direct characterization often occurs during the exposition to offer the background information. In indirect characterization, narrators or characters describe what another character looks like without comment. A character's lifting of eyebrows, for example, may suggest his or her amazement. Besides, a character's own státements are an important way to reveal his or her character. Every individual uses specific diction and grammar in accordance with his education or personality. In Mark Twain's The Adventures of Huckleberry Finn, the black man's statements are quite different from the white boy's. A character's actions are another significant way of characterization. At the end of "Tickets, Please," Annie suddenly slaps John Thomas's face violently, which fully reveals her indignation. Such careful delineation privileges a writer to show rather than tell, and grants the reader opportunities to speculate. Most importantly, the characters' personality is conveyed through their thoughts about themselves, external events, or 在直接刻画中，叙述者或角色告诉读者另一个角色的外表或性格。例如，在《车票，请》的开头段落中，叙述者描述了女售票员的制服：“穿着丑陋的蓝色制服，裙子到膝盖，头上戴着形状不定的老式尖顶帽，她们都有一种老军士的冷静。”正如所示，直接刻画通常发生在序言中，提供背景信息。在间接刻画中，叙述者或角色描述另一个角色的外表而不发表评论。例如，一个角色挑眉可能暗示他或她的惊讶。此外，一个角色自己的陈述是揭示他或她性格的重要方式。每个人根据自己的教育或个性使用特定的措辞和语法。在马克·吐温的《哈克贝利·费恩历险记》中，黑人的陈述与白人男孩的完全不同。一个角色的行动是另一种重要的刻画方式。 在《车票，请》的结尾，安妮突然猛烈地打了约翰·托马斯的脸，充分展现了她的愤怒。这种细致的描绘赋予了作家展示而非告知的特权，并让读者有机会推测。最重要的是，人物的个性是通过他们对自己、外部事件或者的想法来传达的
other people. In the nineteenth-century realistic novels, characters are often caught up in conflicts between individuals and the conventional order of society. In modern and postmodern fiction, characters usually experience cultural dislocation or a culture of fragmentary sensations, nostalgia, and superficiality. The internal struggles and the character's instability become the critic focuses. 在 19 世纪的现实主义小说中，人物经常陷入个人与社会传统秩序之间的冲突。在现代和后现代小说中，人物通常经历文化错位或碎片感、怀旧和肤浅文化。内在挣扎和人物的不稳定成为评论家关注的焦点。
We have to remember that one aim of fiction writers is to reveal the truth of human condition. To judge the success of an author's characterization, we see if the actions of a character are plausibly motivated and remain consistent. If a writer sacrifices plausibility and consistency, his or her characters are seldom truthful, hence the failure of characterization. 我们必须记住小说作家的一个目标是揭示人类状况的真相。要评判作者塑造人物的成功，我们要看人物的行为是否合理动机并保持一致。如果作家牺牲了合理性和一致性，他或她的人物很少是真实的，因此塑造失败。
Reterences
I think it was Joseph Conrad who said that a writer only began to live after he began to write. It pleased me to think I was after all but ten years old. Plenty of time ahead for such a one. Time to look about, plenty of time to look about. 我认为是约瑟夫·康拉德说过，作家只有在开始写作后才开始生活。想到我只有十岁，这让我感到高兴。对于这样一个人来说，还有很多时间。有时间四处看看，有足够的时间四处看看。
Sherwood Anderson was an American novelist, short story writer, playwright, essayist, and newspaper editor. Derived from everyday speech, his prose style influenced American writing between two world wars. As one of the earliest American writers responding to Freud's theories, Anderson made his name with his masterpiece, Winesburg, Ohio (1919), a picture of life in a typical small Midwestern town seen through the eyes of its inhabitants. His other novels about Midwestern villages include Windy McPherson's Son (1916) and Marching Men (1917), both concerning the psychological themes of everyday life. His novel Dark Laughter (1925) is a bestseller, which tells the story of a disillusioned protagonist travelling down the Mississippi. The short stories collected in The Triumph of the Egg (1921), Horses and Men (1932), and Death in the Woods (1933) also demonstrate his interest in psychological process. In 1921 Anderson received the first Dial Award for his contribution to American literature. After his death, his reputation soon declined, but in the 1970s scholars and critics found a new interest in his works. 谢伍德·安德森（Sherwood Anderson）是一位美国小说家、短篇小说作家、剧作家、散文家和报纸编辑。他的散文风格源自日常语言，影响了两次世界大战之间的美国写作。作为最早回应弗洛伊德理论的美国作家之一，安德森以其代表作《俄亥俄州的温斯堡》（1919）而闻名，这是一个典型中西部小镇生活的画面，透过居民的眼睛展现。他的其他关于中西部村庄的小说包括《温迪·麦克弗森的儿子》（1916）和《行军的人们》（1917），都涉及日常生活的心理主题。他的小说《黑色笑声》（1925）是一部畅销书，讲述了一个幻灭的主人公沿着密西西比河旅行的故事。收录在《蛋的胜利》（1921）、《马和人》（1932）和《树林中的死亡》（1933）中的短篇小说也展示了他对心理过程的兴趣。1921 年，安德森因对美国文学的贡献而获得第一个《表盘》奖。他去世后，他的声誉很快下降，但在 20 世纪 70 年代，学者和评论家重新对他的作品产生了兴趣。
The Egg
My father was, I am sure, intended by nature to be a cheerful, kindly man. Until he was thirty-four years old he worked as a farm-hand for a man named Thomas Butterworth whose place lay near the town of Bidwell, Ohio. He had then a horse of his own and on Saturday evenings drove into town to spend a few hours in social intercourse with other farm-hands. In town he drank several glasses of beer and stood about in Ben Head's saloon - crowded on Saturday evenings with visiting farm-hands. Songs were sung and glasses thumped on the bar. At ten o'clock father drove home along a lonely country road, made his horse comfortable for the night and himself went to bed, quite happy in his position in life. He had at that time no notion of trying to rise in the world. 我的父亲，我相信，天生就是一个开朗、和蔼的人。直到他三十四岁时，他一直在俄亥俄州比德韦尔镇附近的一个叫托马斯·巴特沃斯的人那里做农场工人。那时他有自己的一匹马，每逢周六晚上就驾车进城，与其他农场工人一起度过几个小时的社交时间。在城里，他会喝几杯啤酒，站在本·海德的酒吧里——周六晚上总是挤满了来访的农场工人。人们唱歌，玻璃杯在吧台上敲击。十点钟时，父亲沿着一条荒凉的乡间小路回家，让他的马过夜，然后自己上床睡觉，对自己的生活位置感到很满足。那时，他并没有想过要在社会上有所作为。
It was in the spring of his thirty-fifth year that father married my mother, then a country school-teacher, and in the following spring I came wriggling and crying into the world. Something happened to the two people. They became ambitious. The American passion for getting up in the world took possession of them. 他三十五岁的春天，父亲娶了我的母亲，当时她是一名乡村教师，第二年春天，我哭哭啼啼地来到这个世界。两个人发生了一些变化。他们变得雄心勃勃。美国人追求上进的激情占据了他们。
It may have been that mother was responsible. Being a school-teacher she had no doubt read books and magazines. She had, I presume, read of how Garfield, Lincoln, and other Americans rose from poverty to fame and greatness and as I lay beside her - in the days of her lying-in - she may have dreamed that I would some day rule men and cities. At any rate she induced father to give up his place as a farm-hand, sell his horse and embark on an independent enterprise of his own. She was a tall silent woman with a long nose and troubled grey eyes. For herself she wanted nothing. For father and myself she was incurably ambitious. 可能是母亲负责的。作为一名学校教师，她无疑读过书籍和杂志。我想，她可能读过关于加菲尔德、林肯和其他美国人如何从贫困中崛起成名成就的故事，当我躺在她身边时，也许她梦想着有一天我会统治人和城市。无论如何，她说服父亲放弃农场工的工作，卖掉他的马，开始自己的独立事业。她是一个高个子、沉默寡言的女人，长着一只长鼻子和忧郁的灰色眼睛。她自己什么都不想要。对于父亲和我自己，她有着无法治愈的野心。
The first venture into which the two people went turned out badly. They rented ten acres of poor stony land on Griggs's Road, eight miles from Bidwell, and launched into chicken raising. I grew into boyhood on the place and got my first impressions of life there. From the beginning they were impressions of disaster and if, in my turn, I am a gloomy man inclined to see the darker side of life, I attribute it to the fact that what should have been for me the happy joyous days of childhood were spent on a chicken farm. 两人的第一次冒险结果很糟糕。他们在比德韦尔（Bidwell）八英里外的格里格斯路（Griggs's Road）租了十英亩贫瘠的石地，开始养鸡。我在那个地方长大，对生活有了第一印象。从一开始，这些印象就是灾难的印象，如果说我是一个忧郁的人，倾向于看到生活的阴暗面，我归因于我童年本应该是快乐愉快的日子却在一个养鸡场度过。
One unversed in such matters can have no notion of the many and tragic things that can happen to a chicken. It is born out of an egg, lives for a few weeks as a tiny fluffy thing such as you will see pictured on Easter cards, then becomes hideously naked, eats quantities of corn and meal bought by the sweat of your father's brow, gets diseases called pip, cholera, and other names, stands looking with stupid eyes at the sun, becomes sick and dies. A few hens, and now and then a rooster, intended to serve God's mysterious ends, struggle through to maturity. The hens lay eggs out of which come other chickens and the dreadful cycle is thus made complete. It is all unbelievably complex. Most philosophers must have been raised on chicken farms. One hopes for so much from a chicken and is so dreadfully disillusioned. Small chickens, just setting out on the journey of life, look so bright and alert and they are in fact so dreadfully stupid. They are so much like people they mix one up in one's judgments of life. If disease does not kill them they wait until your expectations are thoroughly aroused and then walk under the wheels of a wagon - to go squashed and dead back to their maker. Vermin infest their youth, and fortunes must be spent for curative powders. In later life I have seen how a literature has been built up on the subject of fortunes to be made out of the raising of chickens. It is intended to be read by the gods who have just eaten of the tree of the knowledge of good and evil. It is a hopeful literature and declares that much may be done by simple ambitious people who own a few hens. Do not be led astray by it. It was not written for you. Go hunt for gold on the frozen hills of Alaska, put your faith in the honesty of a politician, believe if you will that the world is daily growing better and that good will triumph over evil, but do not read and believe the literature that is written concerning the hen. It was not written for you. 一个对这些事情一无所知的人无法想象鸡可能发生的许多悲剧。它从一个蛋中孵化出来，作为一个小小的毛茸茸的东西生活几个星期，就像你在复活节卡片上看到的那样，然后变得丑陋地赤裸，吃着用你父亲辛勤劳动换来的大量玉米和面粉，患上叫做 pip、霍乱等疾病，呆呆地望着太阳，生病然后死去。一些母鸡，偶尔一只公鸡，被用来为上帝神秘的目的服务，艰难地成长到成熟。母鸡产下蛋，孵化出其他小鸡，这可怕的循环就这样完成了。这一切都是难以置信的复杂。大多数哲学家可能都是在鸡场长大的。人们对鸡寄予了如此多的期望，结果却如此令人沮丧。小小的小鸡，刚开始人生旅程，看起来如此聪明和警觉，实际上却是如此愚蠢。它们如此像人类，以至于让人在对生活的判断中感到困惑。 如果疾病没有杀死它们，它们会等到你的期望完全被激起，然后走到马车的车轮下 - 被碾扁并死去，回到它们的制造者那里。害虫侵扰它们的青春，必须花费财富购买治疗粉末。在后来的生活中，我看到了一个关于养鸡可以赚大钱的主题建立起来的文学。它旨在供那些刚刚吃过善恶知识树果实的神灵阅读。这是一种充满希望的文学，宣称简单有抱负的人可以通过拥有几只母鸡来做很多事情。不要被它误导。它不是为你写的。去在阿拉斯加的冰冻山丘上寻找黄金，相信政客的诚实，相信世界每天都在变得更好，善将战胜恶，但不要阅读并相信关于母鸡的文学。它不是为你写的。
I, however, digress. My tale does not primarily concern itself with the hen. If correctly told it will centre on the egg. For ten years my father and mother struggled to make our chicken farm pay and then they gave up that struggle and began another. They moved into the town of Bidwell, Ohio and embarked in the restaurant business. After ten years of worry with incubators that did not hatch, and with tiny - and in their own way lovely - balls of fluff that passed on into semi-naked pullethood and from that into dead henhood, we threw all aside and packing our belongings on a wagon drove down Griggs's Road toward Bidwell, a tiny caravan of hope looking for a new place from which to start on our upward journey through life. 然而，我岔开话题。我的故事并不主要涉及母鸡。如果讲述正确，它将以蛋为中心。十年来，我的父母努力让我们的养鸡场盈利，然后他们放弃了这场斗争，开始了另一场。他们搬到俄亥俄州比德韦尔镇，从事餐厅生意。经过十年与孵化器的烦恼，那些没有孵化的小球和以自己的方式可爱的小毛球进入了半裸的母鸡期，然后死去，我们抛开一切，把行李打包上马车，沿着格里格斯路朝比德韦尔镇驶去，一个充满希望的小队伍，寻找一个新的地方，从那里开始我们在生活中向上的旅程。
We must have been a sad-looking lot, not, I fancy, unlike refugees fleeing from a battlefield. Mother and I walked in the road. The wagon that contained our goods had been borrowed for the day from Mr. Albert Griggs, a neighbor. Out of its sides stuck the legs of cheap chairs and at the back of the pile of beds, tables, and boxes filled with kitchen utensils was a crate of live chickens, and on top of that the baby carriage in which I had been wheeled about in my infancy. Why we stuck to the baby carriage I don't know. It was unlikely other children would 我们一定看起来很悲伤，我想，不太像是从战场逃离的难民。母亲和我走在路上。装有我们物品的马车是从邻居阿尔伯特·格里格斯先生那里借来的。车边伸出廉价椅子的腿，堆放着床、桌子和装满厨房器具的箱子，上面还有一箱活鸡，最上面是我婴儿时期被推着走的婴儿车。我不知道为什么我们还坚持使用婴儿车。其他孩子不太可能会。
be born and the wheels were broken. People who have few possessions cling tightly to those they have. That is one of the facts that make life so discouraging.
Father rode on top of the wagon. He was then a bald-headed man of forty-five, a little fat and from long association with mother and the chickens he had become habitually silent and discouraged. All during our ten years on the chicken farm he had worked as a laborer on neighboring farms and most of the money he had earned had been spent for remedies to cure chicken diseases, on Wilmer's White Wonder Cholera Cure or Professor Bidlow's Egg Producer or some other preparations that mother found advertised in the poultry papers. There were two little patches of hair on father's head just above his ears. I remember that as a child I used to sit looking at him when he had gone to sleep in a chair before the stove on Sunday afternoons in the winter. I had at that time already begun to read books and have notions of my own and the bald path that led over the top of his head was, I fancied, something like a broad road, such a road as Caesar might have made on which to lead his legions out of Rome and into the wonders of an unknown world. The tufts of hair that grew above father's ears were, I thought, like forests. I fell into a half-sleeping, half-waking state and dreamed I was a tiny thing going along the road into a far beautiful place where there were no chicken farms and where life was a happy eggless affair. 父亲骑在马车顶上。那时他四十五岁，是一个秃头的男人，有点胖，长期与母亲和鸡打交道，他变得习惯性地沉默和沮丧。在我们在养鸡场的十年里，他一直在邻近农场做工人，他挣的大部分钱都花在治疗鸡病的药物上，比如 Wilmer 的白色神奇霍乱治疗药或者比德洛教授的产蛋剂，或者母亲在家禽报纸上看到的其他一些广告。父亲的头上耳朵上方有两小块头发。我记得小时候，冬天的星期天下午，他在火炉前的椅子上睡着时，我会坐在那里看着他。那时我已经开始读书并有自己的想法，我想象他头顶的秃脑袋像一条宽阔的道路，就像凯撒可能会开辟的道路，引领他的军队离开罗马，进入一个未知世界的奇迹。我认为父亲耳朵上长出的一簇簇头发像森林。 我陷入了半睡半醒的状态，梦见自己变成了一个微小的存在，沿着道路前行，来到一个美丽的地方，那里没有鸡场，生活是一种快乐的无蛋事务。
One might write a book concerning our flight from the chicken farm into town. Mother and I walked the entire eight miles - she to be sure that nothing fell from the wagon and I to see the wonders of the world. On the seat of the wagon beside father was his greatest treasure. I will tell you of that. 有人可能会写一本关于我们从养鸡场到镇上的飞行的书。母亲和我走了整整八英里 - 她确保没有东西从马车上掉下来，而我则是为了看世界的奇迹。在父亲旁边的马车座位上是他最珍贵的宝藏。我会告诉你那个故事。
On a chicken farm where hundreds and even thousands of chickens come out of eggs surprising things sometimes happen. Grotesques are born out of eggs as out of people. The accident does not often occur - perhaps once in a thousand births. A chicken is, you see, born that has four legs, two pairs of wings, two heads or what not. The things do not live. They go quickly back to the hand of their maker that has for a moment trembled. The fact that the poor little things could not live was one of the tragedies of life to father. He had some sort of notion that if he could but bring into henhood or roosterhood a five-legged hen or a two-headed rooster his fortune would be made. He dreamed of taking the wonder about to county fairs and of growing rich by exhibiting it to other farm-hands. 在一个鸡场里，数百甚至数千只小鸡从蛋中孵化出来，有时会发生令人惊讶的事情。怪异的 会像人一样从蛋中孵化出来。这种意外并不经常发生 - 也许一千次孵化中才会发生一次。你会看到，有些小鸡会生来就有四条腿、两对翅膀、两个头或其他奇怪的特征。这些生物无法生存。它们很快就会回到那位稍稍颤抖的造物主手中。这些可怜的小生物无法生存，对父亲来说是生活的悲剧之一。他有一种想法，如果他能让一只五条腿的母鸡或一只两个头的公鸡成为母鸡或公鸡，他的财富就会得以实现。他梦想着把这个奇迹带到县集市，并通过向其他农场工人展示来发财。
At any rate he saved all the little monstrous things that had been born on our chicken farm. They were preserved in alcohol and put each in its own glass bottle. These he had carefully put into a box and on our journey into town it was carried on the wagon seat beside him. He drove the horses with one hand and with the other clung to the box. When we got to our destination the box was taken down at once and the bottles removed. All during our days as keepers of a restaurant in the town of Bidwell, Ohio, the grotesques in their little glass bottles sat on a shelf back of the counter. Mother sometimes protested but father was a rock on the subject of 无论如何，他都保存了在我们的鸡场上出生的所有小怪物。它们被保存在酒精中，并分别放在自己的玻璃瓶中。他把这些小瓶小心地放进一个盒子里，在我们去镇上的旅途中，这个盒子就被放在他旁边的马车座位上。他一手驾驶马匹，一手抓住盒子。当我们到达目的地时，盒子立即被取下，瓶子被拿出来。在俄亥俄州比德韦尔镇经营餐馆的日子里，这些怪异的小玻璃瓶就一直放在柜台后面的架子上。母亲有时会抗议，但父亲在这个问题上是坚定不移的。
\footnotetext{
17 Caesar: 恺撒大帝 (Julius Caesar, 公元前 100-44)，古罗马共和国末期杰出的军事统帅、政治家。恺撒出身贵族, 历任财务官、祭司长、大法官、执政官、监察官、独裁官等职。公元前 60 年与庞培、克拉苏秘密结成同盟, 随后出任高卢总督, 花了八年时间征服了高卢全境 (大约是现在的法国），还袭击了日耳曼和不列颠。公元前 49 年, 他率军占领罗马, 打败庞培, 集大权于一身, 实行独裁统治。
18 legions: 古罗马军团。
19 grotesques: 奇形怪状的人或物。
his treasure. The grotesques were, he declared, valuable. People, he said, liked to look at strange and wonderful things.
Did I say that we embarked in the restaurant business in the town of Bidwell, Ohio? I exaggerated a little. The town itself lay at the foot of a low hill and on the shore of a small river. The railroad did not run through the town and the station was a mile away to the north at a place called Pickleville. There had been a cider mill and pickle factory at the station, but before the time of our coming they had both gone out of business. In the morning and in the evening busses came down to the station along a road called Turner's Pike from the hotel on the main street of Bidwell. Our going to the out of the way place to embark in the restaurant business was mother's idea. She talked of it for a year and then one day went off and rented an empty store building opposite the railroad station. It was her idea that the restaurant would be profitable. Travelling men, she said, would be always waiting around to take trains out of town and town people would come to the station to await incoming trains. They would come to the restaurant to buy pieces of pie and drink coffee. Now that I am older I know that she had another motive in going. She was ambitious for me. She wanted me to rise in the world, to get into a town school and become a man of the towns. 我说过我们在俄亥俄州比德韦尔镇从事餐饮业吗？我有点夸张了。镇子本身位于一座低矮山脚下，靠近一条小河。铁路没有穿过镇子，车站在北边一英里远的一个叫皮克维尔的地方。车站曾经有一个苹果酒厂和腌菜工厂，但在我们来之前，它们都已经倒闭了。早晚有公共汽车沿着一条叫特纳派克的路从比德韦尔镇主街的酒店开到车站。我们去这个偏僻的地方从事餐饮业是母亲的主意。她谈论了一年，然后有一天离开了，租了一个对面铁路站的空店铺。她认为餐厅会有利可图。她说，旅行者们总是在等待乘火车离开镇子，镇上的人会来车站等待进站的火车。他们会来餐厅买一块馅饼和喝咖啡。现在我长大了，我知道她去的另一个动机。她为我抱有雄心。 她希望我在社会中崛起，进入城镇学校，成为一个城镇人。
At Pickleville father and mother worked hard as they always had done. At first there was the necessity of putting our place into shape to be a restaurant. That took a month. Father built a shelf on which he put tins of vegetables. He painted a sign on which he put his name in large red letters. Below his name was the sharp command "EAT HERE" - that was so seldom obeyed. A show case was bought and filled with cigars and tobacco. Mother scrubbed the floor and the walls of the room. I went to school in the town and was glad to be away from the farm and from the presence of the discouraged, sad-look- ing chickens. Still I was not very joyous. In the evening I walked home from school along Turner's Pike and remembered the children I had seen playing in the town school yard. A troop of little girls had gone hopping about and singing. I tried that. Down along the frozen road I went hopping solemnly on one leg. "Hippity Hop To The Barber Shop," I sang shrilly. Then I stopped and looked doubtfully about. I was afraid of being seen in my gay mood. It must have seemed to me that I was doing a thing that should not be done by one who, like myself, had been raised on a chicken farm where death was a daily visitor. 在皮克维尔，父亲和母亲像往常一样辛勤工作。起初，我们需要把地方整理成一家餐厅的样子。那花了一个月的时间。父亲建了一个架子，上面放着罐头蔬菜。他画了一个标志，上面用大红字写着他的名字。在他的名字下面是一个尖锐的命令“在这里吃饭” - 很少有人遵守。买了一个展示柜，里面装满了雪茄和烟草。母亲擦洗了房间的地板和墙壁。我在镇上上学，很高兴能远离农场和那些沮丧、悲伤的鸡。但我并不是很快乐。晚上，我从学校沿着特纳大道走回家，想起了在镇上学校操场上玩耍的孩子们。一群小女孩在跳跃唱歌。我也尝试了一下。沿着结冰的路，我一个腿跳着庄严地走着。“Hippity Hop To The Barber Shop”，我尖声唱着。然后我停下来，犹豫地四处看了看。我害怕被人看到我快乐的心情。 我一定觉得我在做一件不应该由像我这样在鸡场长大、死亡是每天的客人的人做的事情。
Mother decided that our restaurant should remain open at night. At ten in the evening a passenger train went north past our door followed by a local freight. The freight crew had switching to do in Pickleville and when the work was done they came to our restaurant for hot coffee and food. Sometimes one of them ordered a fried egg. In the morning at four they returned north-bound and again visited us. A little trade began to grow up. Mother slept at night and during the day tended the restaurant and fed our boarders while father slept. He slept in the same bed mother had occupied during the night and I went off to the town of Bidwell and to school. During the long nights, while mother and I slept, father cooked meats that were to go into sandwiches for the lunch baskets of our boarders. Then an idea in regard to getting up in the world came into his head. The American spirit took hold of him. He also became ambitious. 母亲决定我们的餐馆晚上继续营业。晚上十点，一列客运列车从我们门前往北方驶过，随后是一列当地货运列车。货运列车的工作人员需要在皮克维尔进行调车作业，完成后他们来到我们的餐馆喝热咖啡和吃东西。有时他们中的某人会点一份煎蛋。早上四点时，他们再次返回北方，并再次光顾我们。一点点生意开始兴起。母亲晚上睡觉，白天照料餐馆并给我们的寄宿者 喂食，而父亲则睡觉。他睡在母亲晚上睡过的同一张床上，而我则去了比德韦尔镇上上学。在漫长的夜晚里，母亲和我睡觉时，父亲烹饪肉类，用于我们寄宿者午餐盒子里的三明治。然后，一个关于跻身上流社会的想法浮现在他脑海中。美国精神占据了他。他也变得雄心勃勃。
In the long nights when there was little to do father had time to think. That was his undoing. He decided that he had in the past been an unsuccessful man because he had not been cheerful enough and that in the future he would adopt a cheerful outlook on life. In the early morning he came upstairs and got into bed with mother. She woke and the two talked. From my bed in the corner I listened. 在漫长的夜晚，当没有什么事情可做时，父亲有时间思考。那是他的失败之处。他决定，过去他之所以是一个不成功的人，是因为他不够快乐，而在未来，他将采取快乐的人生态度。清晨，他上楼和母亲上床。她醒来，两人交谈。我躺在角落的床上听着。
It was father's idea that both he and mother should try to entertain the people who came to eat at our restaurant. I cannot now remember his words, but he gave the impression of one about to become in some obscure way a kind of public entertainer. When people, particularly young people from the town of Bidwell, came into our place, as on very rare occasions they did, bright entertaining conversation was to be made. From father's words I gathered that something of the jolly inn-keeper effect was to be sought. Mother must have been doubtful from the first, but she said nothing discouraging. It was father's notion that a passion for the company of himself and mother would spring up in the breasts of the younger people of the town of Bidwell. In the evening bright happy groups would come singing down Turner's Pike. They would troop shouting with joy and laughter into our place. There would be song and festivity. I do not mean to give the impression that father spoke so elaborately of the matter. He was as I have said an uncommunicative man. "They want some place to go. I tell you they want some place to go," he said over and over. That was as far as he got. My own imagination has filled in the blanks. 父亲的想法是，他和母亲都应该尽力招待来我们餐厅吃饭的人。我现在记不起他的话了，但他给人的印象是，他即将以某种隐晦的方式成为一种公共表演者。当人们，特别是来自比德韦尔镇的年轻人，偶尔来到我们的地方时，就要展开明快有趣的对话。从父亲的话中，我明白到他想要追求一种像欢乐的 旅店老板那样的效果。母亲一开始可能就有疑虑，但她没有说什么泄气的话。父亲认为，比德韦尔镇年轻人的胸怀中会涌现出对他和母亲的喜爱之情。在晚上，明亮快乐的群体会唱着歌沿着特纳大道走来。他们会欢呼着、笑着涌入我们的地方。那里会有歌声和欢庆。我并不是说父亲对此事说得那么详细。正如我所说，他是一个不爱交流的人。“他们需要一个地方去。我告诉你，他们需要一个地方去，”他一遍又一遍地说。这就是他的想法。 我的想象填补了空白。
For two or three weeks this notion of father's invaded our house. We did not talk much, but in our daily lives tried earnestly to make smiles take the place of glum looks. Mother smiled at the boarders and I, catching the infection, smiled at our cat. Father became a little feverish in his anxiety to please. There was no doubt, lurking somewhere in him, a touch of the spirit of the showman. He did not waste much of his ammunition on the railroad men he served at night but seemed to be waiting for a young man or woman from Bidwell to come in to show what he could do. On the counter in the restaurant there was a wire basket kept always filled with eggs, and it must have been before his eyes when the idea of being entertaining was born in his brain. There was something prenatal about the way eggs kept themselves connected with the development of his idea. At any rate an egg ruined his new impulse in life Late one night I was awakened by a roar of anger coming from father's throat. Both mother and I sat upright in our beds. With trembling hands she lighted a lamp that stood on a table by her head. Downstairs the front door of our restaurant went shut with a bang and in a few minutes father tramped up the stairs. He held an egg in his hand and his hand trembled as though he were having a chill. There was a half insane light in his eyes. As he stood glaring at us I was sure he intended throwing the egg at either mother or me. Then he laid it gently on the table beside the lamp and dropped on his knees beside mother's bed. He began to cry like a boy and I, carried away by his grief, cried with him. The two of us filled the little upstairs room with our wailing voices. It is ridiculous, but of the picture we made I can remember only the fact that mother's hand continually stroked the bald path that ran across the top of his head. I have forgotten what mother said to him and how she induced him to tell her of what had happened downstairs. His explanation also has gone out of my mind. I 在两三个星期里，父亲的这个概念侵入了我们的家。我们没有说太多话，但在日常生活中，努力让微笑取代忧郁的表情。母亲对寄宿者微笑，我也受到感染，对我们的猫微笑。父亲在焦虑中变得有点发热，急于取悦。毫无疑问，他心中潜藏着一丝表演者的精神。他并没有在夜间为他服务的铁路工人身上浪费太多弹药，但似乎在等待一个从比德韦尔来的年轻人或女人进来展示他的能力。餐厅的柜台上总是放着一个装满鸡蛋的铁丝篮，当他脑海中产生娱乐想法时，这些鸡蛋肯定在他眼前。鸡蛋与他的想法发展保持联系的方式有点先天的意味。无论如何，一个鸡蛋毁掉了他生活中的新冲动。深夜，我被父亲喉咙里传来的怒吼声惊醒。母亲和我都坐直了身子。她颤抖着点亮了床头桌上的一盏灯。 我们餐馆楼下的前门砰地关上，几分钟后，父亲重重地踩着楼梯上来。他手里拿着一个鸡蛋，手颤抖得像是在发冷。他眼中有一种半疯狂的光芒。当他站在那里盯着我们时，我确信他打算把鸡蛋扔向母亲或我。然后他轻轻地把鸡蛋放在灯旁的桌子上，跪在母亲床边。他开始像个孩子一样哭泣，我被他的悲伤感动，也跟着哭了起来。我们两个用哭声充满了那个小小的楼上房间。这看起来很荒谬，但我只记得我们的画面中母亲不停地抚摸着他头顶上的秃顶。我忘记了母亲对他说了什么，以及她是如何说服他告诉她楼下发生了什么的。他的解释也已经从我的脑海中消失。 I
23 undoing: 崩溃，毁灭。
24 jolly: 快活的, 欢乐的。
25 glum: 阴郁的，阴沉的。
26 lurking: 潜伏。
27 pre-natal: 出生以前的。
28 wailing: 嚎啕。
remember only my own grief and fright and the shiny path over father's head glowing in the lamp light as he knelt by the bed.
As to what happened downstairs. For some unexplainable reason I know the story as well as though I had been a witness to my father's discomfiture. One in time gets to know many unexplainable things. On that evening young Joe Kane, son of a merchant of Bidwell, came to Pickleville to meet his father, who was expected on the ten o'clock evening train from the South. The train was three hours late and Joe came into our place to loaf about and to wait for its arrival The local freight train came in and the freight crew were fed. Joe was left alone in the restaurant with father. 至于楼下发生了什么。出于一些无法解释的原因，我知道这个故事，就好像我亲眼目睹了我父亲的困扰。时间会让人了解许多无法解释的事情。那天晚上，比德韦尔的商人乔·凯恩的儿子年轻的乔·凯恩来到皮克维尔，等待他父亲，他父亲预计会乘坐南方十点钟的晚班火车到达。火车晚点了三个小时，乔进来我们的地方闲逛，等待火车的到来。当地的货运列车进站，货运员工吃饭。乔独自一人留在餐厅里和他父亲在一起。
From the moment he came into our place the Bidwell young man must have been puzzled by my father's actions. It was his notion that father was angry at him for hanging around. He noticed that the restaurant keeper was apparently disturbed by his presence and he thought of going out. However, it began to rain and he did not fancy the long walk to town and back. He bought a five-cent cigar and ordered a cup of coffee. He had a newspaper in his pocket and took it out and began to read. "I'm waiting for the evening train. It's late," he said apologetically. 从他进入我们的地方的那一刻起，比德韦尔年轻人一定对我父亲的行为感到困惑。他认为父亲生气是因为他在附近晃荡。他注意到餐馆老板显然对他的出现感到不安，于是他考虑离开。然而，开始下雨了，他不想走很长的路去镇上再回来。他买了一支五分钱的雪茄，点了一杯咖啡。他口袋里有一份报纸，拿出来开始阅读。“我在等晚班火车。它晚点了，”他抱歉地说。
For a long time father, whom Joe Kane had never seen before, remained silently gazing at his visitor. He was no doubt suffering from an attack of stage fright. As so often happens in life he had thought so much and so often of the situation that now confronted him that he was somewhat nervous in its presence. 很长时间以来，乔·凯恩从未见过的父亲静静地凝视着他的访客。毫无疑问，他正在遭受一场怯场的攻击。正如生活中经常发生的那样，他对眼前的情况思考了很多次，以至于现在在它的面前有些紧张。
For one thing, he did not know what to do with his hands. He thrust one of them nervously over the counter and shook hands with Joe Kane. "How-de-do," he said. Joe Kane put his newspaper down and stared at him. Father's eye lighted on the basket of eggs that sat on the counter and he began to talk. "Well," he began hesitatingly, "well, you have heard of Christo- pher Columbus, eh?" He seemed to be angry. "That Christopher Columbus was a cheat," he declared emphatically. "He talked of making an egg stand on its end. He talked, he did, and then he went and broke the end of the egg." 首先，他不知道该怎么办才好。他紧张地把其中一只手伸过柜台，与乔·凯恩握手。“你好，”他说。乔·凯恩放下报纸盯着他看。父亲的目光落在柜台上放着的一篮鸡蛋上，他开始说话。“嗯，”他犹豫地开始说，“嗯，你听说过克里斯托弗·哥伦布，对吧？”他似乎很生气。“那个克里斯托弗·哥伦布是个骗子，”他断然地宣称。“他说要让鸡蛋竖立起来。他说了，然后他去把鸡蛋的一端打破了。”
My father seemed to his visitor to be beside himself at the duplicity of Christopher Columbus. He muttered and swore. declared it was wrong to teach children that Christopher Columbus was a great man when, after all, he cheated at the critical moment. He had declared he would make an egg stand on end and then when his bluff had been called he had done a trick. Still grumbling at Columbus, father took an egg from the basket on the counter and began to walk up and down. He rolled the egg between the palms of his hands. He smiled genially. He began to mumble words regarding the effect to be produced on an egg by the electricity that comes out of the human body. He declared that 我父亲似乎对克里斯托弗·哥伦布的欺诈感到愤怒。他喃喃自语并发誓。他宣称教孩子克里斯托弗·哥伦布是一个伟大的人是错误的，因为他在关键时刻作弊。他曾宣称他能让一个鸡蛋竖立起来，但当他被揭穿时，他却耍了个花招。父亲仍在抱怨哥伦布，他从柜台上的篮子里拿出一个鸡蛋，开始走来走去。他用手掌之间滚动着鸡蛋。他友好地微笑着。他开始喃喃自语关于人体释放出的电能对鸡蛋产生的影响。他宣称
34 genially: 亲切地, 和蔼地。
without breaking its shell and by virtue of rolling it back and forth in his hands he could stand the egg on its end. He explained that the warmth of his hands and the gentle rolling movement he gave the egg created a new centre of gravity, and Joe Kane was mildly interested. "I have handled thousands of eggs," father said. "No one knows more about eggs than I do." 不破坏它的外壳，凭借 在手中来回滚动，他可以让鸡蛋竖立起来。他解释说，他的手的温度和他给予鸡蛋的轻轻滚动运动创造了一个新的重心，乔·凯恩稍感兴趣。父亲说：“我处理过成千上万个鸡蛋，没有人比我更了解鸡蛋。”
He stood the egg on the counter and it fell on its side. He tried the trick again and again, each time rolling the egg between the palms of his hands and saying the words regarding the wonders of electricity and the laws of gravity. When after a half hour's effort he did succeed in making the egg stand for a moment he looked up to find that his visitor was no longer watching. By the time he had succeeded in calling Joe Kane's attention to the success of his effort the egg had again rolled over and lay on its side. 他把鸡蛋放在柜台上，结果它倒在一边。他一次又一次尝试这个把戏，每次都把鸡蛋在手掌之间滚动，并说出关于电力奇迹和重力定律的话语。经过半个小时的努力后，他终于成功让鸡蛋站立了一会儿，抬头发现访客已不在看着了。当他成功吸引乔·凯恩的注意力，告诉他自己的努力成功时，鸡蛋又滚动过去，倒在一边。
Afire with the showman's passion and at the same time a good deal disconcerted by the failure of his first effort, father now took the bottles containing the poultry monstrosities down from their place on the shelf and began to show them to his visitor. "How would you like to have seven legs and two heads like this fellow?' he asked, exhibiting the most remarkable of his treasures. A cheerful smile played over his face. He reached over the counter and tried to slap Joe Kane on the shoulder as he had seen men do in Ben Head's saloon when he was a young farm-hand and drove to town on Saturday evenings. His visitor was made a little ill by the sight of the body of the terribly deformed bird floating in the alcohol in the bottle and got up to go. Coming from behind the counter father took hold of the young man's arm and led him back to his seat. He grew a little angry and for a moment had to turn his face away and force himself to smile. Then he put the bottles back on the shelf. In an outburst of generosity he fairly compelled Joe Kane to have a fresh cup of coffee and another cigar at his expense. Then he took a pan and filling it with vinegar, taken from a jug that sat beneath the counter, he declared himself about to do a new trick. "I will heat this egg in this pan of vinegar," he said. "Then I will put it through the neck of a bottle without breaking the shell. When the egg is inside the bottle it will resume its normal shape and the shell will become hard again. Then I will give the bottle with the egg in it to you. You can take it about with you wherever you go. People will want to know how you got the egg in the bottle. Don't tell them. Keep them guessing. That is the way to have fun with this trick." . 父亲被表演者的激情所激发，同时也对他的第一次尝试失败感到相当困惑，现在他从架子上取下装有禽畜怪物的瓶子，开始向访客展示它们。"你想像这家伙一样有七条腿和两个头吗？"他问道，展示他最引人注目的珍宝。他脸上露出了愉快的微笑。他伸手过柜台，试图像在本·海德的酒吧里看到的那样拍打乔·凯恩的肩膀，当时他还是一个年轻的农场工人，每逢周六晚上开车去镇上。他的访客看到瓶子里酒精中漂浮着的可怕畸形鸟的身体，有点作呕，站起身要走。父亲从柜台后面走过来，抓住年轻人的胳膊，把他领回座位。他有点生气，一时不得不把脸转开，强迫自己微笑。然后他把瓶子放回架子上。在慷慨的爆发中，他几乎强迫乔·凯恩免费喝一杯新咖啡和再来一支雪茄。 然后他拿了一个平底锅，倒满了从柜台下的一个罐子里取出的醋，他宣布自己要做一个新的戏法。“我会把这个鸡蛋在这锅里的醋里加热，”他说。“然后我会把它放进一个瓶子的瓶颈里，而不破坏蛋壳。当鸡蛋在瓶子里时，它会恢复正常形状，蛋壳会再次变硬。然后我会把装有鸡蛋的瓶子给你。你可以随身携带它。人们会想知道你是如何把鸡蛋放进瓶子里的。不要告诉他们。让他们猜猜。这就是用这个戏法玩得开心的方法。”
Father grinned and winked at his visitor. Joe Kane decided that the man who confronted him was mildly insane but harmless. He drank the cup of coffee that had been given him and began to read his paper again. When the egg had been heated in vinegar father carried it on a spoon to the counter and going into a back room got an empty bottle. He was angry because his visitor did not watch him as he began to do his trick, but nevertheless went cheerfully to work. For a long time he struggled, trying to get the egg to go through the neck of the bottle. He put the pan of vinegar back on the stove, intending to reheat the egg, then picked it up and burned his fingers. After a second bath in the hot vinegar the shell of the egg had been softened a little but not enough for his purpose. He worked and worked and a spirit of desperate determination took possession of him. When he thought that at last the trick was about to be consummated the delayed train came in at the station and Joe Kane started to go nonchalantly out at the door. Father made a last desperate 父亲咧嘴一笑，对他的访客眨眼。乔·凯恩决定，面对他的这个人虽然有点疯狂，但是无害。他喝了递给他的咖啡，又开始看报纸。当鸡蛋在醋里加热后，父亲用勺子把它端到柜台上，然后走进后面的房间拿了一个空瓶子。他生气了，因为他的访客没有看着他开始表演他的戏法，但还是愉快地开始工作。他努力了很长时间，试图让鸡蛋通过瓶子的瓶颈。他把装有醋的锅放回炉子上，打算重新加热鸡蛋，然后拿起来烫伤了手指。经过第二次在热醋中浸泡后，鸡蛋的壳软化了一点，但还不够他的目的。他努力工作，一股绝望的决心占据了他。当他以为最终要完成这个戏法时，延误的火车进站了，乔·凯恩开始漫不经心地朝门口走去。父亲做出最后的绝望。
effort to conquer the egg and make it do the thing that would establish his reputation as one who knew how to entertain guests who came into his restaurant. He worried the egg. He attempted to be somewhat rough with it. He swore and the sweat stood out on his forehead. The egg broke under his hand. When the contents spurted over his clothes, Joe Kane, who had stopped at the door, turned and laughed. 努力征服这个鸡蛋，并让它做出能够建立他声誉的事情，表明他知道如何招待来到他餐厅的客人。他担心这个鸡蛋。他试图对它有些粗鲁。他发誓，额头上的汗珠凝结了起来。鸡蛋在他手下破裂了。当内容物喷溅到他的衣服上时，站在门口的乔·凯恩转身笑了起来。
A roar of anger rose from my father's throat. He danced and shouted a string of inarticulate words. Grabbing another egg from the basket on the counter, he threw it, just missing the head of the young man as he dodged through the door and escaped. 我父亲的喉咙里发出一声愤怒的吼叫。他跳舞着喊着一连串不清楚的话。他从柜台上的篮子里抓起另一个鸡蛋，扔了出去，差点没砸到那个年轻人的头，他躲过门口逃走。
Father came upstairs to mother and me with an egg in his hand. I do not know what he intended to do. I imagine he had some idea of destroying it, of destroying all eggs, and that he intended to let mother and me see him begin. 父亲手里拿着一个鸡蛋上楼来找母亲和我。我不知道他打算做什么。我想他可能打算摧毁它，摧毁所有的鸡蛋，并且他打算让母亲和我看到他开始。
When, however, he got into the presence of mother something happened to him. He laid the egg gently on the table and dropped on his knees by the bed as I have already explained. He later decided to close the restaurant for the night and to come upstairs and get into bed. When he did so he blew out the light and after much muttered conversation both he and mother went to sleep. I suppose I went to sleep also, but my sleep was troubled. 然而，当他进入母亲的面前时，发生了一些事情。他轻轻地把蛋放在桌子上，像我已经解释过的那样，跪在床边。后来，他决定关闭餐厅，上楼去睡觉。当他这样做时，他吹灭了灯，经过了很多低声交谈后，他和母亲都睡着了。我想我也睡着了，但我的睡眠很不安宁。
I awoke at dawn and for a long time looked at the egg that lay on the table. I wondered why eggs had to be and why from the egg came the hen who again laid the egg. The question got into my blood. It has stayed there, I imagine, because I am the son of my father. At any rate, the problem remains unsolved in my mind. And that, I conclude, is but another evidence of the complete and final triumph of the egg - at least as far as my family is concerned. 我在黎明醒来，长时间地盯着桌子上的鸡蛋。我想知道为什么会有鸡蛋，为什么从鸡蛋里孵出母鸡，再生下鸡蛋。这个问题深深地印在我的血液里。我想这可能是因为我是我父亲的儿子。无论如何，这个问题在我的脑海中仍然没有解决。我得出的结论是，这只是鸡蛋在我家族中取得了完全和最终的胜利的另一个证据。
Questions
for
Discussion
Describe the narrator and his parents.
Is the major conflict internal or external? Find out details to support your idea.
How does the narrator feel about chickens?
What kind of role do the father's collection and exhibition of malformed chickens play in the story?
.
What decision does the father make to entertain guests? Is it contrary to his nature? What is wrong with his decision? Can you find out an exact phrase in the story to describe his state of mind? 父亲做出了什么决定来招待客人？这与他的本性相悖吗？他的决定有什么问题？你能找出故事中描述他心态的确切短语吗？
List the symbolic meanings of the egg in this story.
What are the possible reasons for the family's failure?
A Brief Analysis of "The Dgg"
"The Egg" is found in Anderson's second short story collection, The Triumph of the Egg (1921). Through a sensitive delineation of poverty and eccentricity, the author seems to be preoccupied with a desire to describe the plight of the "grotesque" - the unsuccessful, the deprived, and the inarticulate. 《蛋》收录在安德森的第二部短篇小说集《蛋的胜利》（1921 年）中。通过对贫困和古怪的敏感描绘，作者似乎专注于描述“怪诞”者的困境 - 那些不成功的、被剥夺的和不善言辞的人。
Usually critics regard "The Egg" as an autobiographical expression of Anderson's relationship with his father and, on a larger scale, as "a parable of human defeat." As the most important symbol, the egg assumes associations beyond those of the culinary. For the father, farmer and restaurateur, the egg represents the concrete manifestation of his personal failures; for the narrator, the son of the father, the egg symbolizes the futility of life itself. 通常评论家认为《鸡蛋》是安德森与父亲关系的自传式表达，更大的层面上，是“人类失败的寓言”。作为最重要的象征，鸡蛋承担了超越烹饪之外的联想。对于父亲、农民和餐馆老板来说，鸡蛋代表了他个人失败的具体体现；对于叙述者、父亲的儿子来说，鸡蛋象征着生命本身的徒劳。
The father experiences personal failures in three successive ventures with eggs. His first encounter with eggs involves the chicken farm, the family's enterprise to rise in the world. The demise of the farm should not be attributed to the father's idleness (ten years of "the sweat of your father's brow"), but to the uncooperativeness of the eggs and "the many and tragic things that can happen to a chicken." The unhappy fates awaiting the eggs resemble those awaiting human beings: "Small chickens, just setting out on the journey of life, look so bright and alert and they are in fact so dreadfully stupid." Having admitted the failure of the farm, the father sets out "looking for a new place from which to start on our upward journey through life." The family moves to Pickleville, Ohio, and starts a restaurant there. This time the man changes his profession to serve eggs instead of nurturing them. As usual, he "worked hard" and the restaurant "remain[ed] open at night," but people seldom obey his order to "Eat Here." Out of desperation, the father determines to entertain guests by using the egg as a prop, which announces his doom. In the crucial scene where the father disastrously makes his every effort to entertain Joe Kane, the egg is again associated with failure and sense of personal inadequacy. The father begins with a vehement attack on the legend of Christopher Columbus and the egg. Then he tries to do what Columbus did only by trickery. Nevertheless, he does not understand that the American Dream is not achieved by those innocent and sincere enough to follow the rules. At the end of the story, the father loses patience and confidence to the core. The narrator cynically describes "the complete and final triumph of the egg," comparing the dreadful cycle of the chicken and the egg to the cycle of life: "They are so much like people they mix one up in one's judgments of life." 父亲在三次连续的与鸡蛋有关的事业中经历了个人失败。他与鸡蛋的第一次接触涉及到家庭的养鸡场，这是家族企业向上发展的一部分。养鸡场的倒闭不应归咎于父亲的懒惰（“你父亲辛勤劳作十年”），而是归因于鸡蛋的不合作和“鸡身上可能发生的许多悲剧”。等待鸡蛋的不幸命运类似于等待人类的命运：“小鸡刚刚踏上生命之旅，看起来如此明亮和警觉，实际上却是如此可怕地愚蠢。”在承认养鸡场的失败后，父亲开始“寻找一个新的地方，从那里开始我们在人生中的向上之旅”。家人搬到俄亥俄州的皮克维尔，并在那里开了一家餐馆。这一次，这位男士改变了自己的职业，开始服务鸡蛋而不是培育它们。像往常一样，他“努力工作”，餐馆“晚上营业”，但人们很少听从他“在这里吃饭”的命令。在绝望之际，父亲决定通过使用鸡蛋作为道具来招待客人，这宣告了他的厄运。 在关键场景中，父亲竭尽全力取悦乔·凯恩，但结果却是灾难性的，蛋再次与失败和个人无能感联系在一起。父亲开始激烈攻击克里斯托弗·哥伦布和蛋的传说。然后他试图通过欺骗来模仿哥伦布所做的事情。然而，他并不明白美国梦不是由那些足够天真和真诚遵循规则的人实现的。故事结束时，父亲失去了耐心和信心。叙述者讽刺地描述了“蛋的完全和最终胜利”，将鸡蛋和鸡蛋的可怕循环与生命的循环进行了比较：“它们与人类非常相似，让人在对生活的判断中感到困惑。"
In the story the egg refuses to be cultivated, nor will it stand on end or be squeezed into a bottle. To Anderson and the narrator, the egg symbolizes the maddening predictable, intractable, unpliable banality of the world. If any solution might be suggested, it would be an imaginative negation of the marriage and a return to the idealized bachelorhood of his father as described in the beginning of the story. However, the author does not intend to negate the family. The ultimate villain is not the parents, nor Joe Kane, but the system that holds "the American passion for getting up in the world." As the disaster that haunted the farm may be ended by the interruption in the cycle of the chicken and the egg, the ideological trauma is likely to be cured with the recognition of the dangers of the system and the refusal to become involved in it. 在故事中，蛋拒绝被培育，也不会竖立起来或被挤进瓶子里。对于安德森和叙述者来说，蛋象征着世界的令人发狂的可预测、难以改变、不易弯曲的平庸。如果有任何解决方案可以提出，那就是对婚姻的想象性否定，回归到故事开头描述的父亲理想化的单身生活。然而，作者并不打算否定家庭。最终的恶棍不是父母，也不是乔·凯恩，而是那个维系“美国人追求社会地位的激情”的系统。就像困扰农场的灾难可能会因为鸡和蛋的循环中断而结束一样，意识形态上的创伤可能会通过认识到系统的危险并拒绝参与其中来得到治愈。
In "The Egg" the father is an active and round character undergoing dramatic changes. At the beginning of the story, the father is portrayed in a romanticized picture as a single farm-hand: "He had then a horse of his own and on Saturday evenings drove into town to spend a few hours in social intercourse with other farm-hands." After his marriage, especially after the birth of the son, "the American passion for getting up in the world took possession" of him. Persuaded by the mother, the father embarks on a difficult journey to make fortune. We are surprised and sympathetic with the father's desperate eagerness to make the egg stand on end or force it inside a bottle. Like the deformed chicken he has collected, the man himself has become a grotesque, a human failure shaped by naive belief in the American Dream. The climax of the story is the scene in which the father tries to entertain Joe Kane. The author characterizes the father's anxiety to please through careful descriptions of his gestures and words. Not knowing what to do with his customer, he "thrust one of [his hands] nervously over the counter and shook hands with Joe Kane," and says "How-de-do." The stage fright apparently disturbs him. Then the writer spends lots of space describing the man's passionate movements, such as "rolling the egg between the palms of his hands and saying the words regarding the wonders of electricity and the laws of gravity" or "grinned and winked at his visitor." The vivid delineation of the father's passionate actions quickens the rhythm of the story until the final catastrophe breaks out. The narrator has constructed his version of the events out of the roar of anger, the bang of the door, the father's emotional state and appearance. "The bald path that ran across the top of his head" indicates the emptiness and futility of the man's dream. Besides, the author employs other characters' comments to portray the father. In Joe's eyes, the father is "mildly insane but harmless." As for the son, "my father was ... intended by nature to be a cheerful, kindly man." As the plot develops, this assumption is challenged and makes the reader ponder. 在《蛋》中，父亲是一个积极且圆润的角色，经历着戏剧性的变化。故事开始时，父亲被描绘成一个浪漫化的形象，是一个独自工作的农场工人：“那时他有自己的一匹马，每逢星期六晚上都会开车进城，与其他农场工人一起度过几个小时的社交。”在结婚后，尤其是在儿子出生后，“对于在社会上取得成功的美国激情占据了他的心”。在母亲的劝说下，父亲踏上了一段艰难的致富之旅。我们对父亲拼命想让鸡蛋竖立或强行塞进瓶子的绝望渴望感到惊讶和同情。就像他收集的畸形鸡一样，这个人本身已经变成了一个怪诞的、由对美国梦的天真信仰塑造的人类失败者。故事的高潮是父亲试图取悦乔·凯恩的场景。作者通过对他的动作和言辞的细致描述来刻画父亲想取悦的焦虑。不知道如何对待他的顾客，他“紧张地伸出一只[手]越过柜台，与乔·凯恩握手”，并说“你好”。舞台恐惧显然让他感到不安。然后作者花了很多篇幅描述这个男人的激情动作，比如“在手掌之间滚动鸡蛋并说起关于电力奇迹和重力定律的话”或者“对着访客咧嘴笑并眨眼”。对父亲激情行为的生动描绘加快了故事的节奏，直到最终的灾难爆发。叙述者通过愤怒的咆哮、门的砰然一声、父亲的情绪状态和外表构建了他对事件的版本。“从他头顶上横穿的秃顶路径”表明了这个男人梦想的空虚和徒劳。此外，作者还利用其他人物的评论来描绘父亲。在乔的眼中，父亲是“轻微疯狂但无害的”。至于儿子，“我的父亲本来是……天生是一个开朗、善良的人。”随着情节的发展，这种假设受到挑战，使读者深思。
Contrary to the father who changes and develops, the mother remains flat and static. She has been a school-teacher who reads books and magazines. Familiar with people rising from scratch, the mother successfully introduces ambition into her husband's idyllic existence. When the farm business turns out to be a disaster, she sets out to locate a new enterprise and helps shape it. As the narrator says, the mother's dream is to see the son "rule men and cities." Embracing the American Dream wholeheartedly, she fulfills her supportive role in the story as a minor character. 与不断变化和发展的父亲相反，母亲保持平淡和静态。她一直是一名阅读书籍和杂志的学校教师。熟悉从零开始崛起的人，母亲成功地将雄心壮志引入了丈夫田园生活中。当农场生意变成灾难时，她着手寻找新的企业并帮助塑造它。正如叙述者所说，母亲的梦想是看到儿子“统治人和城市”。她全心全意拥抱美国梦，在故事中以一个次要角色的身份履行她的支持角色。
Like the father, the narrator is also an active character. Anderson does not describe the son's appearance, but largely focuses on his actions and thoughts. At the beginning, the narrator admits himself as "a gloomy man inclined to see the darker side of life," and he attributes such inclination to his childhood on a chicken farm. When the family moves to the town, he temporarily gets happy. Nevertheless, he is still nervous and hesitant to utter a shrill song, afraid happiness is not his right type. The son's mysterious identification with his father is further demonstrated in his capacity to visualize the disastrous scene: "For some unexplainable reason I know the story as well as though I had been a witness to my father's discomfiture." The subjunctive mood indicates that the climax of the story is just out of his imagination which "filled in the 像父亲一样，叙述者也是一个积极的角色。安德森没有描述儿子的外表，而是主要关注他的行动和思想。在开始时，叙述者承认自己是一个“倾向于看到生活阴暗面的忧郁人”，并将这种倾向归因于他在养鸡场长大的童年。当家人搬到镇上时，他暂时感到快乐。然而，他仍然紧张和犹豫地不敢发出尖锐的歌声，害怕快乐不是他应有的类型。儿子与父亲的神秘联系进一步体现在他能够想象灾难性场景的能力上：“出于无法解释的原因，我知道这个故事，就像我亲眼目睹了父亲的困惑一样。”虚拟语气表明故事的高潮只是他的想象，“填补了".
blanks." Like the father, the son has been broken, which explains the last sentence of the story: "And that, I conclude, is but another evidence of the complete and final triumph of the egg - at least as far as my family is concerned." The "family" he mentions includes himself, even though the events of the story occur while he is a boy. The line makes sense when we understand that the events are indeed reconstructions of a defeated mind seeking to place the seeds of his defeat and the blame for it - as far from himself as possible. “空白。” 就像父亲一样，儿子也已经崩溃，这解释了故事的最后一句话：“我得出结论，这只是蛋彻底和最终胜利的另一个证据 - 至少就我家而言是如此。” 他提到的“家庭”包括他自己，尽管故事发生时他还是个男孩。 当我们理解这些事件实际上是一颗被打败的心灵寻求将他的失败之种和责任归咎于他本人尽可能远时，这句话就有意义了。
Refereпces
1.4 Point of View and Tone
Point of view is the vantage point from which the story is presented by the narrator. In other words, it is the position of the story teller. The points of view most commonly used include firstperson narratives ( ) and third-person narratives (he, she, they). 观点是故事由叙述者呈现的视角。换句话说，它是讲故事者的立场。最常用的观点包括第一人称叙述（ ）和第三人称叙述（他、她、他们）。
It is essential to distinguish the "I" narrator from the author. In fiction the author creates a persona through which he tells the story. Even in autobiographical novels, it is not safe to equate the narrator with the writer. Rather we had better to assume that the writer has taken details from his life and other sources and reworked them. The narrator in Sherwood Anderson's "The Egg," for example, is not to be understood as the author himself. Rather he is a mask produced by Anderson to recount the story. In various kinds of novels, this narrative "I" plays different roles. The narrator can function as the central figure, or participate in the central action once in a while, or even remains in the periphery merely recording what he sees as an observer. Further, the firstperson narrator may or may not fully understand the events in the story: if he or she does not, then the narrator is termed a naive narrator. In Margaret Atwood's "Rape Fantasies," the narrator is in part a naive narrator because she understands her own world but not the world to which she belongs. As is expected, a first-person narrator's point of view is often restricted to his or her partial knowledge and experience. There is little doubt that the first-person point of view is fairly "limited." Since both the progress of the story and the perception of the reader depend on the subjective narration, a first-person narrator is not always a trustworthy guide. The reader has to determine a narrator's reliability, and estimate the truth of that narrator's disclosures. If the narrator tells the truth, he is called a reliable narrator; otherwise, he is an unreliable one. 区分“I”叙述者和作者是至关重要的。在小说中，作者通过创造一个人物来讲述故事。即使在自传小说中，也不能简单地将叙述者等同于作者。我们最好假设作者从自己的生活和其他来源获取细节并加以改编。例如，雪伍德·安德森的《鸡蛋》中的叙述者并不是作者本人。相反，他是安德森创造的一个面具，用来叙述故事。在各种小说中，这个叙述者的“I”扮演着不同的角色。叙述者可以是中心人物，偶尔参与中心行动，或者仅仅作为观察者留在边缘记录所见的事物。此外，第一人称叙述者可能完全理解故事中的事件，也可能不理解；如果他或她不理解，那么叙述者就被称为天真叙述者。在玛格丽特·阿特伍德的《强奸幻想》中，叙述者在某种程度上是一个天真叙述者，因为她了解自己的世界，但不了解自己所属的世界。 正如预期的那样，第一人称叙述者的观点通常受限于他或她的局部知识和经验。毫无疑问，第一人称观点相当“有限”。由于故事的进展和读者的感知都取决于主观叙述，第一人称叙述者并不总是一个可信赖的向导。读者必须确定叙述者的可靠性，并评估叙述者披露的真实性。如果叙述者讲真话，他被称为可靠的叙述者；否则，他是一个不可靠的叙述者。
Different from first-person point of view, third-person point of view may take us inside a character's consciousness or remain objective as it does not assume the perspective of any character. Normally, third-person point of view has two varieties: omniscient and limited. The thirdperson omniscient narrator stands outside or "above" the events, but has special privileges to approach all or most of the characters' unspoken thoughts or know events happening simultaneously in different places. This viewpoint is frequently employed by realist writers, particularly those in the Victorian age. The third-person limited point of view, in contrast, confines the reader's knowledge of the events to the observation of a single character or a small group of characters. One type of limited omniscience is the objective point of view, in which the author makes no commentary but records only the details that can be seen and heard, as a newspaper reporter does. This point of view is more common in modern fiction. Besides, many writers favor multiple point of view, in which the events are shown from the positions of two or more different characters. 与第一人称视角不同，第三人称视角可能会带领我们进入一个角色的意识，或者保持客观性，不假设任何角色的观点。通常，第三人称视角有两种变体：全知和有限。第三人称全知的叙述者站在事件之外或“上方”，但有特权接近所有或大多数角色的未说出的想法，或者知道同时发生在不同地方的事件。这种观点经常被现实主义作家采用，尤其是维多利亚时代的作家。相比之下，第三人称有限视角将读者对事件的了解限制在观察单个角色或一小群角色。有限全知的一种类型是客观视角，作者在其中不发表评论，只记录可以看到和听到的细节，就像一名报纸记者所做的那样。这种视角在现代小说中更为常见。此外，许多作家偏爱多重视角，其中事件从两个或更多不同角色的立场展示。
The second-person point of view is not so common as the other two modes. It has its origin in some traditional works, and is mainly employed in the late twentieth century. Its most striking feature is the person addressed by the narrator as "you" has different referents in various contexts: a specific character within the story, the current reader, or even the narrator himself. Hence such point of view can meet diverse purposes. 第二人称视角并不像其他两种模式那样常见。它起源于一些传统作品，主要用于 20 世纪末。最引人注目的特点是叙述者称呼的“你”在不同语境中有不同的指代对象：故事中的特定角色，当前的读者，甚至是叙述者自己。因此，这种视角可以满足多样化的目的。
Every kind of narrative has its own particular contribution to the revelation of the story's theme and plot. Therefore an author has to decide who is to tell the story and how it is to be told. While reading stories, we readers should consider how point of view affects our responses to the work. Our reading responses are actually influenced by the degree of a narrator's knowledge, the objectivity of a narrator's responses, and the degree of his or her participation in the action. 每种叙述方式都对揭示故事的主题和情节有其独特的贡献。因此，作者必须决定由谁来讲述故事以及如何讲述。在阅读故事时，我们读者应考虑观点如何影响我们对作品的反应。我们的阅读反应实际上受叙述者知识的程度、叙述者反应的客观性以及他/她在行动中的参与程度的影响。
Another element concerning the storytelling is tone. Tone in writing is somewhat like tone of voice in speech. It can be serious, introspective, satirical, sad, ironic, playful, condescending, formal, or informal. Usually tone is achieved through descriptive details of setting, character dialogue, or the narrator's direct comment. Though the author's tone may be changed in a novel, the same tone is often maintained throughout a short story. Different from mood that implies the atmosphere of the work, tone is the author's attitude toward the characters, the topic, or the readers, as expressed by the narrator. For instance, in "The Egg," the narrator tells us in the first two paragraphs that his father is intended by nature to be a cheerful, kindly man, but after his marriage he is possessed by the American passion to rise in the world. Then the narrator describes his gloomy childhood in the chicken farm, the father's determination to entertain guests, and speculates the complete and final triumph of the egg. The comments the narrator makes all point to the author's attitude toward the grotesque characters. It is through the persona of the narrator that the author's attitude is made clear. The tone of this story is best understood as gently amused and sympathetic 另一个与叙事有关的要素是语调。写作中的语调有点像口语中的语气。它可以是严肃的、内省的、讽刺的、悲伤的、讽刺的、俏皮的、居高临下的、正式的或非正式的。通常，语调是通过对环境、人物对话或叙述者的直接评论的描述细节来实现的。虽然小说中作者的语调可能会发生变化，但在短篇小说中通常会保持相同的语调。与暗示作品氛围的情绪不同，语调是作者对人物、主题或读者的态度，由叙述者表达。例如，在《鸡蛋》中，叙述者在前两段告诉我们，他的父亲天生是一个快乐、和蔼的人，但在结婚后，他被美国人的升迁热情所控制。然后叙述者描述了他在鸡场里阴郁的童年，父亲决心招待客人，并推测了鸡蛋的完全和最终胜利。叙述者所做的评论都指向作者对怪诞人物的态度。 正是通过叙述者的角色，作者的态度得以明确。这个故事的语气最好理解为温和幽默和同情
References
Abrams, M. H. A Glossary of Literary Terms. 5th ed. New York: Holt, Rinehart, and Winston, 1988.
Baldick. Chris. Oxford Concise Dictlonary of Literary Terms. Shanghal: Shanghai Foreign Language Education Press, 2001
Beaty, Jerome, and J. Paul Hunter, eds. The Norton Introduction to Literature. 7th ed. New York: W. W. Norton & Company. 1998
DiYanni, Robert, ed. Literature: Reading Fiction, Poetry, and Drama. 5th ed. Boston: McGraw Hill, 2002 Gordon, Jane Bachman, and Karen Kuehner. Fiction: An Introduction to the Short Story: Lincolnwood: NTCl Contemporary Publishing Group, 1999 DiYanni，Robert，编辑。文学：阅读小说，诗歌和戏剧。第 5 版。波士顿：麦格劳希尔，2002 年戈登，简·巴赫曼和卡伦·库纳。小说：短篇小说导论：林肯伍德：NTCl 当代出版集团，1999 年
A voice is a human gift; it should be cherished and used, to utter fully human speech as possible. Powerlessness and silence go together.
Born in Ottawa, Canada, Margaret Atwood is one of Canada's most public literary personalities who has made her name by being versatile. A prolific poet, novelist, literary critic, feminist and activist, she is a winner of the Arthur C. Clarke Award and Prince of Asturias Award for Literature. Atwood has been shortlisted for the Booker Prize five times, winning once, and has been a finalist for the Governor General's Award seven times, winning twice. As a poet she has produced seventeen collections of verse. She is also the editor of The New Oxford Book of Canadian Verse in English (1982). Her twelve novels, six children's books, and numerous short stories have earned her a place as an important writer of fiction as well. Her most acclaimed novels include The Edible Woman (1969), Surfacing (1972), Lady Oracle (1976), The Handmaids Tale (1985), Cat's Eye (1989), The Blind Assassin (2000), and Oryx and Crake (2003). The focal points in her writing are human relationships and power struggles between the sexes. 出生在加拿大渥太华的玛格丽特·阿特伍德是加拿大最知名的文学人物之一，以多才多艺而闻名。作为一位多产的诗人、小说家、文学评论家、女权主义者和活动家，她曾获得过阿瑟·C·克拉克奖和阿斯图里亚斯亲王文学奖。阿特伍德曾五次入围布克奖，赢得过一次，并七次入围总督文学奖，两次获奖。作为一位诗人，她出版了十七部诗集。她还是《新牛津英语加拿大诗选》（1982 年）的编辑。她的十二部小说、六本儿童书籍和众多短篇小说使她成为一位重要的小说作家。她最著名的小说包括《可食用的女人》（1969 年）、《浮出水面》（1972 年）、《女神谕者》（1976 年）、《使女的故事》（1985 年）、《猫眼》（1989 年）、《盲刺客》（2000 年）和《奥力克斯和克雷克》（2003 年）。她的写作重点是人际关系和性别之间的权力斗争。
Rape Fantasies
The way they're going on about it in the magazines you'd think it was just invented, and not only that but it's something terrific, like a vaccine for cancer. They put it in capital letters on the front cover, and inside they have these questionnaires like the ones they used to have about whether you were a good enough wife or an endomorph or an ectomorph, remember that? With the scoring upside down on page 73, and then these numbered do-it-yourself dealies, you know? RAPE, TEN THINGS TO DO ABOUT IT, like it was ten new hairdos or something. I mean, what's so new about it? 他们在杂志上大肆宣传，你会觉得这是刚刚发明出来的，而且不仅如此，而且还像是一种治疗癌症的疫苗。他们把它放在封面上的大写字母中，里面有这些问卷调查，就像他们过去常常问你是否是一个好妻子，或者是内形或外形，还记得吗？在 73 页上颠倒着评分，然后这些编号的自助交易，你知道吗？强奸，对此有十件事要做，就像是十种新发型一样。我的意思是，这有什么新鲜的？
So at work they all have to talk about it because no matter what magazine you open, there it is, staring you right between the eyes, and they're beginning to have it on the television, too. Personally I'd prefer a June Allyson movie anytime but they don't make them any more and they don't even have them that much on the Late Show. For instance, day before yesterday, that would be Wednesday, thank god it's Friday as they say, we were sitting around in the women's lunch room - the lunch room, I mean you'd think you could get some peace and quiet in there - and Chrissy closes up the magazine she's been reading and says, "How about it, girls, do you have rape fantasies?" 所以在工作中，他们都不得不谈论这个，因为无论你打开哪本杂志，它都在那里，直勾勾地盯着你，他们也开始在电视上播放。就我个人而言，我随时都更喜欢看琼·阿莉森的电影，但他们不再制作这样的电影了，而且在深夜秀上也很少播放。比如，前天，也就是星期三，感谢上帝，就像他们说的那样，我们坐在女士们的午餐室里——午餐室，我是说你会认为你可以在那里得到一些宁静——克里西合上了她一直在看的杂志，说：“女孩们，你们有强奸幻想吗？”
The four of us were having our game of bridge the way we always do, and I had a bare twelve points counting the singleton with not that much of a bid in anything. So I said on club, hoping Sondra would remember about the one club convention, because the time before when I used that she thought I really meant clubs and she bid us up to three, and all I had was four little ones with nothing higher than a six, and we went down two and on top of that we were vulnerable. She is not the world's best bridge player. I mean, neither am I but there's a limit. 我们四个人正在打桥牌，就像我们经常做的那样，我只有十二分，算上单张牌，没有太多的叫牌。所以我叫梅花，希望桑德拉能记得一梅花约定，因为上次我用过那个时，她以为我真的是指梅花，然后叫到了三分，而我只有四张小牌，没有比六更高的牌，我们输了两分，而且我们还是易受攻击的。她不是世界上最好的桥牌玩家。我是说，我也不是，但也有个限度。
Darlene passed but the damage was done, Sondra's head went round like it was on ball bearings and she said, "What fantasies?"
"Rape fantasies," Chrissy said. She's a receptionist and she looks like one; she's pretty but cool as a cucumber, like she's been painted all over with nail polish, if you know what I mean. Varnished." "It says here all women have rape fantasies." “强奸幻想，”克里西说。她是一名接待员，看起来就像一个；她很漂亮，但冷静如黄瓜，就像她被指甲油涂满了一样，如果你知道我是什么意思。上了一层清漆。”“这里写着所有女人都有强奸幻想。”
"For Chrissake, I'm eating an egg sandwich," I said, "and I bid one club and Darlene passed."
"You mean, like some guy jumping you in an alley or something," Sondra said. She was eating her lunch, we all eat our lunches during the game, and she bit into a piece of that celery she always brings and started to chew away on it with this thoughtful expression in her eyes and I knew we might as well pack it in as far as the game was concerned. “你的意思是，就像有人在小巷里袭击你一样吗？”桑德拉说。她正在吃午餐，我们都在比赛期间吃午餐，她咬了一口她总是带来的芹菜，开始咀嚼，眼中带着一种思考的表情，我知道就游戏而言，我们可能也该收手了。
"Yeah, sort of like that," Chrissy said. She was blushing a little, you could see it even under her makeup.
"I don't think you should go out alone at night," Darlene said, "you put yourself in a position," and I may have been mistaken but she was looking at me. She's the oldest, she's forty-one though you wouldn't know it and neither does she, but I looked it up in the employees' file. I like to guess a person's age and then look it up to see if I'm right. I let myself have an extra pack of cigarettes if I am, though I'm trying to cut down. I figure it's harmless as long as you don't tell. I mean, not everyone has access to that file, it's more or less confidential. But it's all right if I tell you, I don't expect you'll ever meet her, though you never know, it's a small world. Anyway. "我认为你不应该独自在夜晚外出，"达琳说，"你会置自己于危险之中，"我可能弄错了，但她正看着我。她是最年长的，虽然她已经四十一岁了，但你不会知道，她自己也不知道，但我在员工档案里查到了。我喜欢猜测一个人的年龄，然后查看是否正确。如果我猜对了，我会让自己多抽一包香烟，尽管我正在努力减少吸烟。我觉得只要不告诉别人，这是无害的。我的意思是，并不是每个人都能访问 那个档案，它更多或多少是保密的。 但如果我告诉你也没关系，我不指望你会见到她，尽管你永远不知道，这个世界很小。无论如何。
"For heaven's sake, it's only Toronto," Greta said. She worked in Detroit for three years and she never lets you forget it, it's like she thinks she's a war hero or something, we should all admire her just for the fact that she's still walking this earth, though she was really living in Windsor the whole time, she just worked in Detroit. Which for me doesn't really count. It's where you sleep, right? “天啊，只是多伦多而已，”格蕾塔说。她在底特律工作了三年，从不让你忘记这一点，就好像她认为自己是一名战争英雄一样，我们都应该因为她仍然在这个地球上行走而钦佩她，尽管她实际上一直住在温莎，只是在底特律工作。对我来说，这并不算什么。重要的是你在哪里睡觉，对吧？
"Well, do you?" Chrissy said. She was obviously trying to tell us about hers but she wasn't about to go first, she's cautious, that one.
"I certainly don't," Darlene said, and she wrinkled up her nose, like this, and I had to laugh. "I think it's disgusting." She's divorced, I read that in the file too, she never talks about it. It must've been years ago anyway. She got up and went over to the coffee machine and turned her back on us as though she wasn't going to have anything more to do with it. "我当然不会," 达琳说，她皱起了鼻子，就像这样，我不得不笑了。"我觉得这很恶心。" 她离婚了，我也在档案里读到了，她从不谈论这件事。反正那肯定是很多年前的事了。她站起来走到咖啡机那里，转过身去，仿佛不再愿意继续参与。
"Well," Greta said. I could see it was going to be between her and Chrissy. They're both blondes, I don't mean that in a bitchy way but they do try to outdress each other. Greta would like to get out of Filing, she'd like to be a receptionist too so she could meet more people. You don't meet of anyone in Filing except other people in Filing. Me, I don't mind it so much, I have outside interests. “好吧，”格蕾塔说。我看得出这将是她和克里西之间的事情。她们两个都是金发，我不是说这是一种刻薄的方式，但她们确实试图互相比拼着打扮。格蕾塔想要摆脱文件工作，她也想成为一名接待员，这样她就可以认识更多人。在文件工作中你不会遇到其他人，除了其他文件工作的人。我倒无所谓，我有自己的兴趣爱好。
"Well," Greta said, "I sometimes think about, you know my apartment? It's got this little balcony, I like to sit out there in the summer and I have a few plants out there. I never bother that much about locking the door to the balcony, it's one of those sliding glass ones, I'm on the eighteenth floor for heaven's sake, I've got a good view of the lake and the Tower and all. But I'm sitting around one night in my housecoat, watching TV with my shoes off, you know how you do, and I see this guy's feet, coming down past the window, and the next thing you know he's standing on the balcony, he's let himself down by a rope with a hook on the end of it from the floor above, that's the nineteenth, and before I can even get up off the chesterfield he's inside the apartment. He's all dressed in black with black gloves on" - I knew right away what show she got the black gloves off because I saw the same one - "and then he, well, you know." “嗯，”格蕾塔说，“我有时会想，你知道我的公寓吗？它有一个小阳台，我喜欢在夏天坐在那里，阳台上有几盆植物。我从来不太在意锁阳台的门，那是那种滑动玻璃门，我住在十八楼，天哪，我可以看到湖和 塔等等。但有一天晚上，我穿着睡袍坐在家里看电视，脱了鞋，你知道的，突然我看到一个人的脚，从窗户下面经过，接着他就站在阳台上，他用一个挂钩的绳子从楼上降下来，那是十九楼，还没等我从沙发上站起来，他就已经进了公寓。他全身穿着黑色，戴着黑手套” - 我立刻知道他从哪里弄到那双黑手套，因为我看到过同样的 - “然后他，嗯，你知道的。”
"You know what?" Chrissy said, but Greta said, "And afterwards he tells me that he goes all over the outside of the apartment building like that, from one floor to another, with his rope and his hook ... and then he goes out to the balcony and tosses his rope, and he climbs up i and disappears." “你知道吗？”克里西说，但格里塔说，“然后他告诉我，他就这样沿着公寓楼的外面走来走去，从一层到另一层，带着他的绳子和他的钩子...然后他走到阳台上，抛出绳子，爬上去，然后消失了。”
"Just like Tarzan," 15 I said, but nobody laughed.
"Is that all?" Chrissy said. "Don't you ever think about, well, I think about being in the bathtub, with no clothes on ..."
"So who takes a bath in their clothes?" I said, you have to admit it's stupid when you come to think of it, but she just went on, "... with lots of bubbles, what I use is Vitabath, it's more expensive but it's so relaxing, and my hair pinned up, and the door opens and this fellow's standing there ..." “那么谁穿着衣服洗澡？”我说，你得承认想想这件事很愚蠢，但她却继续说道，“...有很多泡泡，我用的是 Vitabath，虽然更贵但很放松，我的头发扎起来，门打开，一个家伙站在那里...”
"How'd he get in?" Greta said.
"Oh, I don't know, through a window or something. Well, I can't very well get out of the bathtub, the bathroom's too small and besides he's blocking the doorway, so I just lie there, and he starts to very slowly take his own clothes off, and then he gets into the bathtub with me." 哦，我不知道，可能是通过窗户或其他什么方式。嗯，我很难从浴缸里出来，浴室太小了，而且他挡住了门口，所以我只能躺在那里，然后他开始很慢地脱掉自己的衣服，然后跟我一起进了浴缸。
"Do you scream or anything?" said Darlene. She'd come back with her cup of coffee, she was getting really interested. "I'd scream like bloody murder."
"Who'd hear me?" Chrissy said. "Besides, all the articles say it's better not to resist, that way you don't get hurt."
"Anyway you might get bubbles up your nose," I said, "from the deep breaking," and I swear all four of them looked at me like I was in bad taste, like I'd insulted the Virgin Mary or something. I mean, I don't see what's wrong with a little joke now and then. Life's too short, right? “无论如何，你可能会从深处冒出泡泡，”我说，“我发誓他们四个都看着我，就好像我很没品味，就好像我侮辱了圣母玛利亚 一样。我的意思是，我不明白偶尔开个小玩笑有什么不对。毕竟，生命太短暂了，对吧？”
"Listen," I said, "those aren't rape fantasies. I mean, you aren't getting raped, it's just some guy you haven't met formally who happens to be more attractive than Derek Cummins" - he's the Assistant Manager, he wears elevator shoes or at any rate they have these thick soles and he has this funny of talking, we call him Derek Duck - "and you have a good time. Rape is when they've got a knife or something and you don't want to." “听着，”我说，“那些不是强奸幻想。我的意思是，你没有被强奸，只是有个你还没正式见过的家伙，比德里克·卡明斯更有吸引力” - 他是助理经理，穿着增高鞋或者至少他们有这些厚底，他说话有点滑稽，我们叫他德里克·鸭 - “你玩得很开心。强奸是指他们拿着刀或者其他东西，而你不想要。”
"So what about you, Estelle," Chrissy said, she was miffed because I laughed at her fantasy, she thought I was putting her down. Sondra was miffed too, but this time she'd finished her celery and she wanted to tell about hers, but she hadn't got in fast enough. "Estelle，你怎么样呢，"克里斯说，她有点生气，因为我笑她的幻想，她以为我在看不起她。桑德拉也有点生气，但这次她已经吃完了芹菜，她想讲讲她的，但她没来得及插嘴。
"All right, let me tell you one," I said. "I'm walking down this dark street at night and this fellow comes up and grabs my arm. Now it so happens that I have a plastic lemon in my purse, you know how it always says you should carry a plastic lemon in your purse? I don't really do it, I tried it once but the darn thing leaked all over my chequebook, but in this fantasy I have one, and I say to him, 'You're intending to rape me, right?' and he nods, so I open my purse to get the plastic lemon, and I can't find it! My purse is full of all this junk, Kleenex and the kind of stuff; so I ask him to hold out his hands, like this, and I pile all this junk into them and down at the bottom there's the plastic lemon, and I can't get the top off. So I hand it to him and he's very obliging, he twists the top off and hands it back to me, and I squirt him in the eye." "好吧，让我告诉你一个，"我说。"我在夜晚走在这条黑暗的街道上，一个人走过来抓住我的胳膊。现在碰巧我手袋里有一个塑料柠檬，你知道它总是说你应该随身携带一个塑料柠檬吗？我并没有真的这样做，我试过一次，但该死的东西漏在我的支票簿上，但在这个幻想中，我有一个，我对他说，'你打算强奸我，对吧？'他点头，于是我打开手袋拿塑料柠檬，但我找不到它！我的手袋里塞满了各种垃圾，纸巾和各种东西；所以我让他伸出手，像这样，我把所有这些垃圾堆在他手里，底部有个塑料柠檬，但我打不开盖子。所以我把它递给他，他很乐意，他拧开盖子递给我，然后我向他眼睛喷射。"
I hope you don't think that's too vicious. Come to think of it, it is a bit mean, especially when he was so polite and all.
"That's your rape fantasy?" Chrissy says. "I don't believe it."
"She's a card," Darlene says, she and I are the ones that've been here the longest and she never will forget the time I got drunk at the office party and insisted I was going to dance under the table instead of on top of it, I did a sort of Cossack number but then I hit my head on the "她是个怪人，"达琳说，她和我是在这里时间最长的人，她永远不会忘记我在办公室派对上喝醉了，坚持说我要在桌子底下跳舞而不是在桌子上，我做了一种哥萨克 舞蹈，但后来我撞到了头
16 bubbles: 泡沫。
17 the Virgin Mary: 圣母玛丽亚
18 at any rate: 无论如何, 至少。
19 soles: 鞋底。
20 miffed: 稍有些生气。
21 putting her down: 羞辱她。
22 darn: damn, 该死的，可恶的。
23 Kleenex: 原是美国一种面巾纸商标,现常用来指面巾纸。
24 obliging: 亲切的, 有礼貌的, 愿意帮人忙的。
25 squirt: (向……)喷射。
26 vicious: 不道德的, 恶意的, 刻毒的。
27 Cossack: 哥萨克人。
bottom of the table - actually it was a desk when I went to get up, and I knocked myself out cold. She's decided that's the mark of an original mind and she tells everyone new about it and I'm not sure that's fair. Though I did do it. 桌子底部 - 实际上当我起身时，那是一张桌子，我撞晕了自己。她认为这是一个原创思维的标志，她告诉每个新人，我不确定这是否公平。尽管我确实这样做了。
"I'm being totally honest," I say. I always am and they know it. There's no point in being anything else, is the way I look at it, and sooner or later the truth will out so you might as well not waste the time, right? "You should hear the one about the Easy-Off Oven Cleaner." “我完全诚实地说，”我说。我总是如此，他们知道。在我看来，没有必要做其他事情，迟早真相会大白，所以你最好不要浪费时间，对吧？“你应该听听那个关于 Easy-Off 烤箱清洁剂的故事。”
But that was the end of the lunch hour, with one bridge game shot to hell, and the next day we spent most of the time arguing over whether to start a new game or play out the hands we had left over from the day before, so Sondra never did get a chance to tell about her rape fantasy. 但那是午餐时间的结束，一个桥牌游戏泡汤了，第二天我们大部分时间都在争论是开始新游戏还是打完前一天剩下的牌，所以桑德拉从未有机会讲述她的强奸幻想。
It started me thinking though, about my own rape fantasies. Maybe I'm abnormal or something, I mean I have fantasies about handsome strangers coming in through the window too, like Mr. Clean, I wish one would, please god somebody without flat feet and big sweat marks on his shirt, and over five feet five, believe me being tall is a handicap though it's getting better, tall guys are starting to like someone whose nose reaches higher than their belly button. But if you're being totally honest you can't count those as rape fantasies. In a real rape fantasy, what you should feel is this anxiety, like when you think about your apartment building catching on fire and whether you should use the elevator or the stairs or maybe just stick your head under a wet towel, and you try to remember everything you've read about what to do but you can't decide. 它让我开始思考，关于我自己的强奸幻想。也许我是不正常的，我指的是我有关于英俊陌生人从窗户进来的幻想，就像清洁先生一样，我希望有人会来，求求上帝，不要是个脚板扁平、衬衫上有大汗渍的人，而且身高超过五英尺五，相信我，身高是一种残疾，尽管情况正在好转，高个子们开始喜欢那些鼻子比肚脐更高的人。但如果你完全诚实，你不能把那些算作强奸幻想。在一个真正的强奸幻想中，你应该感到焦虑，就像当你想到公寓大楼着火时，你是否应该乘电梯还是走楼梯，或者只是把头埋在湿毛巾下，你试图记住你读过的关于该怎么做的一切，但你无法决定。
For instance, I'm walking along this dark street at night and this short, ugly fellow comes up and grabs my arm, and not only is he ugly, you know, with a sort of puffy nothing face, like those fellows you have to talk to in the bank when your account's overdrawn - of course I don't mean they're all like that - but he's absolutely covered in pimples. So he gets me pinned against the wall, he's short but he's heavy, and he starts to undo himself and the zippers gets stuck. I mean, one of the most significant moments in a girl's life, it's almost like getting married or having a baby or something, and he sticks the zipper. 例如，我在晚上沿着这条黑暗的街道走着，一个矮矮的、丑陋的家伙走过来抓住我的胳膊，他不仅丑陋，而且有一张肿胀的毫无表情的脸，就像那些你在银行透支账户时不得不与之交谈的家伙们 - 当然我不是说他们都是那样的 - 但他满脸都是痘痘。所以他把我按在墙上，他个子矮但很重，然后开始解开自己的拉链，拉链卡住了。我是说，这是女孩一生中最重要的时刻之一，几乎像结婚或生孩子一样重要，而他却卡住了拉链。
So I say, kind of disgusted, "Oh for Chrissake," and he starts to cry. He tells me he's never been able to get anything right in his entire life, and this is the last straw, he's going to go jump off a bridge. 所以我有点恶心地说：“哦，天哪”，然后他开始哭了。他告诉我他一生中从来没有做对过任何事情，这是最后一根稻草，他要去跳桥了。
"Look," I say, I feel so sorry for him, in my rape fantasies I always end up feeling sorry for the guy, I mean there has to be something wrong with them, if it was Clint Eastwood it'd be different but worse luck it never is. I was the kind of little girl who buried dead robins, know what I mean? It used to drive my mother nuts, she didn't like me touching them, because of the germs guess. So I say, "Listen, I know how you feel. You really should do something about those pimples, if you got rid of them you'd be quite good looking, honest; then you wouldn't have to go around doing stuff like this. I had them myself once," I say, to comfort him, but in fact I did, and it ends up I give him the name of my old dermatologist, the one I had in high school, that was back in Leamington, except I used to go to St. Catherine's for the dermatologist. I'm telling you, I was really lonely when I first came “看，”我说，我为他感到很抱歉，在我的强奸幻想中，我总是最终为那个男人感到抱歉，我的意思是他们一定有问题，如果是克林特·伊斯特伍德的话就不同了，但不走运的是从来没有。我是那种埋葬死麻雀的小女孩，你知道我的意思吗？这曾经让我妈妈抓狂，她不喜欢我碰它们，因为有细菌，我猜。所以我说，“听着，我知道你的感受。你真的应该对那些痘痘做点什么，如果你摆脱了它们，你会看起来相当帅气，真的；那么你就不必四处做这种事了。我自己曾经也有过，”我说，为了安慰他，但事实上我确实有过，结果我告诉了他我以前的皮肤科医生的名字，那是我高中时候的，那时我在利明顿，但我去圣凯瑟琳看皮肤科医生。我告诉你，当我第一次来到这里时我真的很孤独。
here; I thought it was going to be such a big adventure and all, but it's a lot harder to meet people in a city. But I guess it's different for a guy.
Or I'm lying in bed with this terrible cold, my face is all swollen up, my eyes are red and my nose is dripping like a leaky tap, and this fellow comes in through the window and he has a terrible cold too, it's a new kind of flu that's been going around. So he says, "I'b going do rabe you" - I hope you don't mind me holding my nose like this but that's the way I imagine it - and he lets out this terrific sneeze, which slows him down a bit, also I'm no object of beauty myself, you'd have to be some kind of pervert to want to rape someone with a cold like mine, it'd be like raping a bottle of LePage's mucilage the way my nose is running. He's looking wildly around the room, and I realize it's because he doesn't have a piece of Kleenex! "Id's ride here," I say, and I pass him the Kleenex, god knows why he even bothered to get out of bed, you'd think you were going to go around climbing in windows you'd wait till you were healthier, right? I mean, that takes a certain amount of energy. So I ask him why doesn't he let me fix him a NeoCitran and scotch, that's what I always take, you still have the cold but you don't feel it, so I do and we end up watching the Late Show together. I mean, they aren't all sex maniacs, the rest of the time they must lead a normal life. I figure they enjoy watching the Late Show just like anybody else. 或者我躺在床上，感冒得很厉害，脸都肿了，我的眼睛发红，鼻子像漏水的水龙头一样滴个不停，这个家伙从窗户进来，他也感冒得很厉害，是一种新型流感。所以他说，“我要强奸你” - 希望你不介意我这样捂着鼻子，但我就是这么想象的 - 然后他打了一个猛烈的喷嚏，这让他有点停顿，而且我自己也不是什么美丽的对象，你得是某种变态才会想要强奸一个像我这样感冒的人，我的鼻子流得就像一瓶 LePage's 胶水。他疯狂地环顾房间，我意识到他是因为没有纸巾！“这里有，”我说，然后递给他纸巾，天知道他为什么还要起床，你会觉得如果你要爬窗户，你应该等到你康复了再说，对吧？我的意思是，那需要一定的能量。 所以我问他为什么不让我给他调一杯 NeoCitran 和威士忌，那是我经常喝的，你还感冒但却感觉不到，所以我就给他调了，最后我们一起看了深夜秀。我的意思是，他们不都是性狂， 其余时间他们一定过着正常的生活。我想他们也喜欢看深夜秀，就像其他人一样。
I do have a scarier one though ... where the fellow says he's hearing angel voices that're telling him he's got to kill me, you know, you read about things like that all the time in the papers. In this one I'm not in the apartment where I live now, I'm back in my mother's house in Leamington and the fellow's been hiding in the cellar, he grabs my arm when I go downstairs to get a jar of jam and he's got hold of the axe too, out of the garage, that one is really scary. I mean, what do you say to a nut like that? 我确实有一个更可怕的故事...一个人说他听到天使的声音告诉他要杀了我，你知道，在报纸上经常看到这样的事情。在这个故事中，我不在我现在住的公寓里，我回到了利明顿的母亲家，那个人一直藏在地下室，当我下楼去拿果酱时，他抓住了我的胳膊，他还拿着从车库里拿出来的斧头，那个故事真的很可怕。我的意思是，对于像那样的疯子，你说什么？
So I start to shake but after a minute I get control of myself and I say, is he sure the angel voice have got the right person, because I hear the same angel voices and they've been telling me for some time that I'm going to give birth to the reincarnation of St. Anne who in turn has the Virgin Mary and right after that comes Jesus Christ and the end of the world, and he wouldn't want to interfere with that, would he? So he gets confused and listens some more, and then he asks for a sign and I show him my vaccination mark, you can see it's sort of an odd-shaped one, it got infected because I scratched the top off, and that does it, he apologizes and climbs out the coal chute again, which is how he got in in the first place, and I say to myself there's some advantage in having been brought up a Catholic even though I haven't been to church since they changed the service into English, it just isn't the same, you might as well be a Protestant. I must write to Mother and tell her to nail up that coal chute, it always has bothered me. Funny, I couldn't tell you at all what this man looks like but I know exactly what kind of shoes he's wearing, because that's the last I see of him, his shoes going up the coal chute, and they're the old-fashioned kind that lace up the ankles, even though he's a young fellow. That's strange, isn't it? 所以我开始颤抖，但过了一分钟后，我控制住自己说，他确定天使的声音找对了人吗？因为我也听到了同样的天使声音，它们告诉我已经有一段时间了，我将会生下圣安妮的转世 ，而圣安妮又是圣母玛利亚，紧接着就是耶稣基督和世界末日，他不会想干涉这件事，对吧？于是他感到困惑，继续倾听，然后他要求一个迹象，我向他展示了我的疫苗接种 印记，你可以看到它的形状有点奇怪，因为我抓破了顶部，这样一来，他道歉并再次爬出煤炭斜道 ，这也是他最初进来的方式，我对自己说，即使我自从他们把弥撒改成英语后就再也没去过教堂，但成长在一个天主教家庭也有一些好处，那种感觉就不一样了，你倒不如当个新教徒。我得写信给妈妈，让她把那个煤炭斜道封上，它一直让我感到不安。 有趣的是，我完全说不出这个人长什么样，但我却清楚地知道他穿的是什么鞋子，因为那是我最后看到他的地方，他的鞋子顺着煤炭滑道往上走，那是那种老式的鞋子，系在脚踝处，尽管他是个年轻人。这很奇怪，不是吗？
see him safely out of there and I go upstairs right away and make myself a cup of tea. I don't think about that one much. My mother always said you shouldn't dwell on unpleasant things and I generally agree with that, I mean, dwelling on them doesn't make them go away. Though not dwelling on them doesn't make them go away either, when you come to think of it. 看到他安全离开那里，我立刻上楼去，给自己泡一杯茶。我不太想那件事。我妈妈总是说你不应该纠结于不愉快的事情，我基本上同意这个观点，我是说，纠结于这些事情并不能让它们消失。不过，不去纠结于它们也不能让它们消失，当你仔细想想的时候。
Sometimes I have these short ones where the fellow grabs my arm but I'm really a Kung. expert, can you believe it, in real life I'm sure it would just be a conk on the head and that's that, like getting your tonsils out, you'd wake up and it would be all over except for the sore places, and you'd be lucky if your neck wasn't broken or something. I could never even hit the volleyball in gym and a volleyball is fairly large, you know? - and I just go zap with my fingers into his eyes and that's it, he falls over, or I flip him against a wall or something. But I could never really stick my fingers in anyone's eyes, could you? It would feel like hot jello and I don't even like cold jello, just thinking about it gives me the creeps. I feel a bit guilty about that one, I mean how would you like walking around knowing someone's been blinded for life because of you? 有时候我会遇到这种短小的情况，那个家伙抓住我的胳膊，但我真的是一个功夫专家，你能相信吗，在现实生活中，我敢肯定那只是一击头部，就像拔除扁桃体一样，你会醒来，一切都结束了，除了疼痛的地方，如果你的脖子没有断掉或者其他什么的话，你会很幸运。我甚至在体育课上都无法击中排球，你知道吗？- 我只需用手指轻轻一点，他就会倒下，或者我把他摔到墙上或其他地方。但我从来不会真的把手指插进别人的眼睛，你会吗？那感觉就像热果冻，而我甚至不喜欢冷果冻，光是想想就让我毛骨悚然。我对那件事感到有点内疚，我的意思是，你会喜欢知道因为你而导致别人终身失明吗？
But maybe it's different for a guy.
The most touching one I have is when the fellow grabs my arm and I say, sad and kind of dignified, "You'd be raping a corpse." That pulls him up short and explain that I've just found out I have leukaemia and the doctors have only given me a few months to live. That's why I'm out pacing the streets alone at night, I need to think, you know, come to terms with myself. I don't really have leukaemia but in the fantasy I do, I guess I chose that particular disease because a girl in my grade four class died of it, the whole class sent her flowers when she was in the hospital. I didn't understand then that she was going to die and I wanted to have leukaemia too so I could get flowers. Kids are funny, aren't they? Well, it turns out that he has leukaemia himself, and he only has a few months to live, that's why he's going around raping people, he's very bitter because he's so young and his life is being taken from him before he's really lived it. So we walk along gently under the street lights, it's spring and sort of misty, and we end up going for coffee, we're happy we've found the only other person in the world who can understand what we're going through, it's almost like fate, and after a while we just sort of look at each other and our hands touch, and he comes back with me and moves into my apartment and we spend our last months together before we die, we just sort of don't wake up in the morning, though I've never decided which one of us gets to die first. If it's him I have to go on and fantasize about the funeral, if it's me I don't have to worry about that, so it just about depends on how tired I am at the time. You may not believe this but sometimes I even start crying. I cry at the ends of movies, even the ones that aren't all that sad, so I guess it's the same thing. My mother's like that too. 我最感动的一次是当那个家伙抓住我的胳膊，我说，悲伤而有点庄严，“你会强奸一个尸体。”这让他停下来，我解释说我刚发现我得了白血病，医生只给了我几个月的生命。这就是为什么我晚上独自在街上走来走去，我需要思考，你知道的，接受自己。我并没有真的得白血病，但在幻想中我得了，我想我选择了这种疾病，因为我四年级时有个女孩死于这种病，整个班级在她住院时送她花。那时我不明白她会死，我也想得白血病，这样我也能得到花。孩子们真有趣，不是吗？结果他自己也得了白血病，只剩几个月可活，这就是为什么他四处强奸人，他很痛苦，因为他还很年轻，生命就要被剥夺，他还没真正活过。 所以我们在街灯下轻轻地走着，现在是春天，有点雾蒙蒙的，最后我们去喝咖啡，我们很高兴找到了世界上唯一能理解我们所经历的人，这几乎像是命中注定的事情，过了一会儿我们彼此看着对方，手碰到了一起，他跟着我回到了我的公寓，我们在一起度过了最后几个月，然后我们就去世了，早上醒不来了，虽然我从来没有决定过我们谁先去世。如果是他，我就得继续生活并幻想葬礼，如果是我，我就不用担心这些，所以这取决于我当时有多累。你可能不会相信，但有时候我甚至会开始哭泣。我在电影结尾处哭泣，即使那些电影并不那么悲伤，所以我想这是一样的。我妈妈也是这样的。
The funny thing about these fantasies is that the man is always someone I don't know, and the statistics in the magazines, well, most of them anyway, they say it's often someone you do know, at least a little bit, like your boss or 关于这些幻想的有趣之处在于，那个男人总是我不认识的人，而杂志上的统计数据，嗯，大多数情况下，它们说通常是你认识的人，至少有点像你的老板或
44 Kung-Fu: 功夫。
45 conk: 敲在头上的一击。
46 tonsils: 扁桃腺。
47 flip: 掷, 弹。
48 jello: 凝胶物。
49 creeps: 惊恐, 战栗, 像有东西在人皮肤上爬动似的害怕或厌恶的感觉。
50 pull up short: 突然停住, 骤然停止。
51 leukaemia: 白血病。
52 come to terms: 达成协议, 妥协, 让步。
something - I mean, it wouldn't be my boss, he's over sixty and I'm sure he couldn't rape his way out of a paper bag, poor old thing, but it might be someone like Derek Duck, in his elevator shoes, perish the thought - or someone you just met, who invites you up for a drink, it's getting so you can hardly be sociable any more, and how are you supposed to meet people if you can't trust them even that basic amount? You can't spend your whole life in the Filing Department or cooped up in your own apartment with all the doors and windows locked and the shades down. I'm not what you would call a drinker but I like to go out now and then for a drink or two in a nice place, even if I am by myself, I'm with Women's Lib on that even though I can't agree with a lot of the other things they say. Like here for instance, the waiters all know me and if anyone, you know, bothers me ... I don't know why I'm telling you all this, except I think it helps you get to know a person, especially at first, hearing some of the things they think about. At work they call me the office worry wart, but it isn't so much like worrying, it's more like figuring out what you should do in an emergency, like I said before. 某事 - 我的意思是，不会是我的老板，他已经六十多岁了，我肯定他连一个纸袋都逃不出来，可怜的老家伙，但可能是像德里克·达克这样的人，穿着高跟鞋，想都不要想 - 或者是你刚认识的人，邀请你上去喝一杯，现在你几乎不能再像以前那样做社交了，你又怎么能认识人呢，如果你连最基本的信任都没有呢？你不能一辈子都呆在文件部门里，或者关在自己的公寓里，所有的门窗都锁着，窗帘拉得严严实实。我不是什么酒鬼，但我喜欢偶尔出去喝一两杯，即使我一个人，我在这方面支持妇女解放，尽管我不同意她们说的很多其他事情。比如在这里，所有的服务员都认识我，如果有人，你知道的，打扰我...我不知道为什么我告诉你这一切，除了我觉得这有助于你了解一个人，尤其是在最初阶段，听到他们对一些事情的看法。 在工作中他们称我为办公室的担心者，但这并不完全是担心，更像是在紧急情况下找出你应该做什么，就像我之前说的那样。
Anyway, another thing about it is that there's a lot of conversation, in fact I spend most of my time, in the fantasy that is, wondering what I'm going to say and what he's going to say, I think it would be better if you could get a conversation going. Like, how could a fellow do that to a person he's just had a long conversation with, once you let them know you're human, you have a life too, I don't see how they could go ahead with it, right? I mean, I know it happens but I just don't understand it, that's the part I really don't understand. 无论如何，关于这件事的另一件事是，有很多对话，事实上，我大部分时间都在幻想中，想着我要说什么，他会说什么，我觉得如果你能开始一场对话会更好。比如，一个人怎么能对刚刚和他长时间交谈过的人这样做，一旦你让他们知道你也是人，你也有自己的生活，我不明白他们怎么能继续下去，对吧？我的意思是，我知道这种事情发生了，但我就是不明白，这是我真的不明白的部分。
53 cooped up: 关进, 拘禁。
54 shades: 遮光物, 帘。
55 I'm with Women's Lib on that: 我债成妇女解放运动关于此的观点。
56 wart: 癌, 讨厌的人。
Questions
for
Discussion
In what ways does the story redefine the term "rape fantasy"?
How would you characterize the "rape fantasies" of the narrator's coworkers? Are they really about rape? Try to compare the coworker's fantasies with the protagonist's. What do the differences indicate? 你会如何描述叙述者同事们的“强奸幻想”？它们真的是关于强奸吗？试着将同事们的幻想与主人公的进行比较。这些差异意味着什么？
Compare Estelle's six fantasies. What kind of person is she? Why does she tell her fantasies to a stranger in a bar?
What role do the media play in the girls' fantasies? Find out the details to support your idea.
Atwood, Margaret. "Rape Fantasies." Lives and Moments: An Introduction to Short Fiction. Ed. Hans Ostrom. Fort Worth: Holt, Rinehart and Winston, Inc., 1991. 597-604
To some extent, the narrator is naive. That is, the speaker seems somewhat unaware of how her story will strike the listener. What effect does this narrator have on you, and how does such a narrator shape the perspective on rape that this story provides? 在某种程度上，叙述者是天真的。也就是说，说话者似乎有些不知道她的故事会给听众带来什么样的影响。这位叙述者对你有什么影响，这样的叙述者如何塑造了这个故事对强奸的视角？
What is the tone of the story?
A Brief Analysis of "Rape Fantasies?
"Rape Fantasies" was published in 1975 and collected in Dancing Girls and Other Stories (1977). The story, told by Estelle, relates the rape fantasies that she and her coworkers share over a bridge game at lunch. One of the ladies mentions a magazine article saying that every woman has rape fantasies, which gets the women in an uproar. Each woman's idea of how her rape would take place is humorous. The story ends with a comment on how women could overcome the particular social problem by having a conversation with the rapist. While the comic is laced throughout the story, a serious discussion about sex, power, and violence is maintained. The nature of the conversations makes this work ultimately sobering. 《强奸幻想》于 1975 年出版，并收录在《跳舞女孩和其他故事》（1977 年）中。这个故事由埃斯特尔讲述，讲述了她和同事们在午餐时分享的强奸幻想。其中一位女士提到一篇杂志文章说每个女人都有强奸幻想，这让女人们大为震惊。每个女人对自己被强奸的想法都很幽默。故事以评论结束，称女性可以通过与强奸犯对话来克服特定的社会问题。尽管整个故事中充满了幽默元素，但对性、权力和暴力的严肃讨论仍在进行。对话的性质使这部作品最终令人深思。
As its name suggests, a rape fantasy is a fantasy about rape. Psychiatrists hold that both males and females have rape fantasies in their sexual fantasy realms, though the latter experience such day-dreams more often. Rape fantasy is also known as "seduction fantasy." It is a selfcontrolled dream, in which the dreamer has control over what is happening and is not experiencing the terror of someone invading or controlling her body. Such explanation justifies Greta's and Chrissy's fantasies. As Estelle points out, what they are describing, either the Tarzan-like man or a stranger in a bubble bath, is no more than sexual fantasies to fulfill their wish to meet suitable guys. Under confined social circumstances their fantasies are better understood as a means of reconciliation. Interestingly, both characters mention the influence of the media on their choice to remain complaisant. Greta is paralyzed in front of the man who resembles the superman in the show, and Chrissy" abides by the instructions of all articles to avoid hurt - she just "lies" there and remains silent. Contrary to the popular belief that women want to be dominated and rescued, their cases prove that women are defined by their culture as passive objects for male consumption. 正如其名所示，强奸幻想是关于强奸的幻想。精神科医生认为，无论男性还是女性，在他们的性幻想领域中都会有强奸幻想，尽管后者更经常经历这种白日梦。强奸幻想也被称为“诱惑幻想”。这是一个自我控制的梦，梦者在其中控制着发生的事情，并不会经历有人入侵或控制她身体的恐惧。这种解释证明了格里塔和克里西的幻想。正如埃斯特尔指出的那样，他们描述的，无论是像泰山一样的男人还是一个在泡澡的陌生人，都不过是为了满足她们希望遇到合适男士的性幻想。在受限社会环境下，她们的幻想更好地被理解为一种调解手段。有趣的是，两位角色都提到了媒体对她们选择保持顺从的影响。格里塔在面对类似节目中超人的男人时瘫痪了，而克里西“遵循所有文章的指示以避免受伤 - 她只是“躺”在那里保持沉默。 与普遍认为的女性希望被支配和拯救的观点相反，她们的案例证明，女性被定义为文化中被男性消费的被动对象。
Estelle's fantasies are extraordinary for their associations with female strength. In most of her rape fantasies the man turns out to be a pal. If the encounters are not friendly, Atwood makes sure to have the woman overpower the man or make the man look like a fool. The heroine always manages to pull through the rough times. She prevails in every episode. Instead of being something for men to consume, Estelle is either equal to or better than the man that intends to rape her, doing even more than a male might pursue. More importantly, Estelle's fantasies are featured with oral communication. She seems to hold an idea that a society could be changed by conversation. As the beginning of the story shows, a major way for females to bond is simply through talking. The Estelle 的幻想之所以非凡，是因为它们与女性力量的联系。在她的大多数强奸幻想中，男人最终都会成为一个朋友。如果邂逅不友好，阿特伍德会确保女性压倒男人或让男人看起来像个傻瓜。女主角总是设法度过艰难时期。她在每一集中都取得了胜利。Estelle 不是供男人消费的对象，她要么与那个打算强奸她的男人平起平坐，要么比他更出色，甚至比男性更积极。更重要的是，Estelle 的幻想中充满了口头交流。她似乎认为社会可以通过对话而改变。正如故事的开头所示，女性之间建立联系的一种主要方式就是简单地交谈。
end of the story implies that the patriarchic dominance may be erased if a dialogue is made between the sexes. Finally, the females' communication with each other also indicates women's desire to have a voice in society. It seems that they are tired of letting the men do all the talking, and they are ready to be heard, too. 故事的结尾暗示着，如果性别之间进行对话，父权制可能会被抹去。最后，女性之间的交流也表明了女性渴望在社会中发声。看起来她们厌倦了让男性说个不停，她们也准备好发声了。
Atwood does not answer the underlying question that she poses throughout the story of whether a man could rape a woman if she were to strike up a conversation with him. The author leaves the issue entirely up to the woman to decide. Like most of her writings about social problems, the story never offers any definite solution. 阿特伍德没有回答她在整个故事中提出的根本问题，即如果一个女人和一个男人开始交谈，那么男人是否可以强奸女人。作者完全把这个问题留给了女人自己决定。就像她大部分关于社会问题的作品一样，这个故事也从未提供任何明确的解决方案。
The Point of View and the Tone of 4hape Dantasies?
The one consistent thing about "Rape Fantasies" is the way it is told. Obviously, the story is a first-person narrative, almost like a stream of consciousness, but not quite. The narrator, Estelle, is telling her story to someone else in a bar in Toronto, and she blurts out the whole story, including every thought she had about the other women's fantasies. Not allowing the listener to interrupt, she just keeps on until she finishes. Estella's view of the world is restricted to her partial knowledge and experience. From the monologue we know Estella is far away from home and quite lonely. Like the other girls', her fantasies reveal the female yearning for security, friendship, and love. Though she understands her own world, she is unable to comprehend the reality, which justifies the last paragraph, "I mean, I know it happens but I just don't understand it, that's the part I really don't understand." Therefore, Estella is a naive narrator who seems somewhat unaware of how her story will strike the listener. “强奸幻想”中唯一一致的事情是它的叙述方式。显然，这个故事是第一人称叙述，几乎像意识流一样，但又不完全相同。叙述者埃斯特尔（Estelle）在多伦多的一家酒吧里向某人讲述她的故事，她突然说出了整个故事，包括她对其他女性幻想的每一个想法。她不允许听众打断，只是一直讲下去，直到结束。埃斯特尔对世界的看法受限于她的局部知识和经验。从独白中我们知道，埃斯特尔远离家乡，感到相当孤独。和其他女孩一样，她的幻想揭示了女性对安全、友谊和爱的渴望。尽管她了解自己的世界，但她无法理解现实，这解释了最后一段话：“我的意思是，我知道这种事情发生了，但我就是不明白，这是我真正不明白的部分。”因此，埃斯特尔是一个天真的叙述者，似乎对自己的故事会给听众留下什么印象有些不知情。
Such narratives are similar to dramatic monologues in poetry. The dramatic monologue is a form invented and practiced principally by Robert Browning and other Victorians. In this kind of poems there must be a speaker and an implied auditor, and the reader often perceives a gap between what that speaker says and what he or she actually reveals. The case is true in "Rape Fantasies." Estella is telling her story to a stranger, possibly a man who intends to rape her. Under the surface of comic episodes, there exists the harsh reality concerning loneliness, sexual discrimination and power struggles. While Estella pours out her thoughts to the invisible listener, the reader experiences a tension between sympathy and judgment. 这样的叙述与诗歌中的戏剧独白相似。戏剧独白是罗伯特·勃朗宁和其他维多利亚时代作家首创并广泛实践的一种形式。在这类诗歌中，必须有一个说话者和一个暗示的听众，读者常常会感知到说话者所说与实际透露的内容之间存在的差距。在《强奸幻想》中也是如此。艾丝黛拉正在向一个陌生人讲述她的故事，可能是一个打算强奸她的男人。在幽默片段的表面下，存在着关于孤独、性别歧视和权力斗争的残酷现实。当艾丝黛拉向看不见的听众倾诉自己的想法时，读者会在同情和评判之间体验到一种紧张感。
When reading the story, we could almost get the impression that Atwood is making a mockery of rape. The whole idea of rape is played off as if it were a very natural thing. The author is very clever in the way she addresses serious issues by keeping it comfortable enough to get a laugh out of reading. The story is overflowing with irony. Almost every type of irony is presented in this short story, ranging from verbal to situational to dramatic. The ironic tone adds depth to the plot and makes the short story much more entertaining. Verbal irony consists of understatements and overstatements. Greta's and Chrissy's rape fantasies understate the impact of rape and what that situation would be like. When Darlene says that they should not go out alone at night, it is an overstatement. Situational irony is also interwoven throughout the story. Chrissy's and Greta's rape fantasies are examples of situational irony along with examples of understatements. Their 阅读这个故事时，我们几乎会觉得阿特伍德在嘲讽强奸。整个强奸的概念被描绘得好像是一件非常自然的事情。作者非常聪明地通过保持足够舒适来处理严肃问题，让人在阅读中发笑。这个故事充满了讽刺。几乎每种类型的讽刺都在这个短篇小说中呈现，从言语到情景到戏剧性都有。讽刺的语调增加了情节的深度，使这个短篇小说更加有趣。言语讽刺包括轻描淡写和夸张。格里塔和克里西的强奸幻想淡化了强奸的影响以及那种情况会是什么样子。当达琳说他们不应该独自在夜晚外出时，这是一种夸张。情景讽刺也贯穿整个故事。克里西和格里塔的强奸幻想是情景讽刺的例子，同时也是轻描淡写的例子。他们
fantasies are not what rape would truly be like but rather what they hope it would be like. Estelle comments their fantasies stating that they are just having sex with guys they have not been formally introduced to. Another example of situational irony is in Estelle's rape fantasies. She states that in her fantasies strangers rape her, but statistics show that women are more likely to be raped by someone they know. Dramatic irony is the most predominant type in the story. Such irony is created when a character has no information about a situation or else misjudges it. Once again, Greta's and Chrissy's rape fantasies are examples in this regard. Through their descriptions it is obvious that they really have no knowledge of what it would be like to be raped. The best example of dramatic irony is at the very end of the story when Estelle is talking to the man at the bar about having a conversation with a rapist to remind him that she is a real human and has a life too. She says she doesn't think the person would be able to go through with the plans after having such a realization. But in the last sentence of the story, she admits she does not know and that adds greatly to the irony. Atwood does a beautiful job of setting the tone through careful employment of different types of irony. Without irony, there would be no such a story. 幻想并不是强奸的真实情况，而是他们希望强奸会是什么样子。埃斯特尔评论他们的幻想，说他们只是和他们没有正式介绍过的男人发生性关系。埃斯特尔的强奸幻想中还有另一个情景讽刺。她说在她的幻想中，陌生人会强奸她，但统计数据显示，女性更有可能被认识的人强奸。戏剧性讽刺是故事中最主要的一种类型。当一个角色对某种情况一无所知或者误判时，就会产生这种讽刺。格里塔和克里西的强奸幻想再次是这方面的例子。通过她们的描述，很明显她们并不了解被强奸会是什么感觉。戏剧性讽刺的最好例子出现在故事的最后，当埃斯特尔在酒吧和一个男人谈话，提到和一个强奸犯对话，提醒他她也是一个真实的人，也有自己的生活。她说她认为那个人在有这样的认识后不会继续计划。但在故事的最后一句，她承认自己并不知道，这更加增加了讽刺。 阿特伍德通过精心运用不同类型的讽刺来设定基调，做得非常出色。没有讽刺，就不会有这样一个故事。
Reading a novel, we always tend to ask what it is about. Retelling the story or giving a brief summary is far from enough. What is more significant is the thought or idea the author presents to the reader. Without a grasp of this idea, we can hardly catch the meaning of the work. Like a common thread, the theme is repeated and incorporated throughout a literary work. It denotes the central idea formulated as a generalization. 阅读小说时，我们总是倾向于问它讲的是什么。重新讲述故事或给出简要摘要远远不够。更重要的是作者向读者呈现的思想或观念。没有把握这个观念，我们很难理解作品的意义。主题像一根共同的线索，贯穿于整部文学作品中。它代表着作为一种概括形成的中心思想。
In academic papers it is advisable to state thesis explicitly in the beginning paragraphs. Unlike thesis that proposes the central argument, theme in fiction is often implicit. As readers have to abstract it from the details of characters and actions, theme is more subtle and more open to interpretation. Besides, theme is also distinct from plot or subject in that it is more abstract. Generally, the theme is the idea that holds the story together. In essence, it is the main idea or some type of lesson or message that the author wants to convey to the reader. To say, for instance, that "The Egg" is about disillusionment is more a statement of subject than of theme. To pinpoint its theme we would have to explain what the story implies about disillusionment. The theme thus might be "Disillusionment is necessary to the process of maturing." To take another example, Bernard Shaw might suggest in his Widowers' Houses that "Even the most idealistic young man must compromise his principles." As is shown, there exist two important clues to the nature of a theme statement: first, it is presented in a complete sentence, and second, its content is debatable. 在学术论文中，建议在开头段落明确陈述论点。与提出中心论点的论文不同，小说中的主题通常是隐含的。读者必须从人物和行动的细节中抽象出来，主题更加微妙，更容易被解释。此外，主题也不同于情节或主题，因为它更加抽象。一般来说，主题是贯穿整个故事的想法。本质上，它是作者想要传达给读者的主要思想或某种教训或信息。例如，说“《蛋》是关于幻灭的”更多是主题而非主题的陈述。要准确把握其主题，我们需要解释故事对幻灭的含义。因此，主题可能是“幻灭对成熟过程是必要的”。再举一个例子，伯纳德·肖可能在他的《鳏夫之家》中暗示“即使是最理想主义的年轻人也必须妥协自己的原则”。正如所示，主题陈述的性质有两个重要线索：首先，它以完整的句子呈现，其次，其内容是有争议的。
As for the fiction, the theme is usually an abstract idea of human nature or the human condition made concrete by the author's deliberate arrangement of literary devices. Therefore, the theme is related to other elements of fiction more as a consequence than as a parallel element that can be separately identified. From the factual details of plot (especially conflict), character, point of view, and setting (especially imagery), we are able to explain what these elements collectively suggest. Any statement of theme is valid and valuable to the extent that it accounts for these details. In truly great works of literature, the author intertwines the theme throughout the work and the full impact is slowly realized as the reader processes the text. The overall message is often the idea that sticks with the reader long after the book is over. Actually, identifying the theme demands more than one reading. 至于小说，主题通常是作者通过有意识的文学手法的安排将人类本性或人类状况的抽象概念具体化。因此，主题与小说的其他元素更多地是作为结果而不是可以单独识别的平行元素相关。通过情节（尤其是冲突）、人物、视角和背景（尤其是意象）的事实细节，我们能够解释这些元素共同暗示的内容。对主题的任何陈述在解释这些细节时都是有效且有价值的。在真正伟大的文学作品中，作者将主题贯穿整个作品，读者在阅读文本时逐渐意识到其全面影响。总体信息通常是读者在书籍结束后长时间记忆的想法。实际上，识别主题需要多次阅读。
Although themes in literature are kaleidoscopic, some familiar thematic concerns could still be generalized. As products of reality, most books aim to reflect the relations between man and nature, man and society, man and religion, as well as man and man. The theme of individuals in nature may include nature being at war with individuals, people out of place in nature needing technology to survive and people destroying nature and themselves with uncontrolled technology. The individual in society may concern the conflicts between society and man's inner nature, 尽管文学作品中的主题多姿多彩，但仍然可以概括一些熟悉的主题关注点。作为现实的产物，大多数书籍旨在反映人与自然、人与社会、人与宗教以及人与人之间的关系。个体在自然中的主题可能包括自然与个体之间的对抗，人在自然中不合适需要科技生存，以及人们使用不受控制的技术破坏自然和自己。在社会中的个体可能涉及社会与人内在本性之间的冲突。
social influences upon man's destiny, and man's sense of alienation and fear in spite of the pressure to be among people. An individual's relation to the gods often involves issues of benevolent gods rewarding human beings for overcoming evil and temptation, gods mocking the individual and torturing him for presuming to be great, and the death of gods in whom people can place their faith or yearning for meaning in the universe. Human relations include marriages in which each partner is supported and enabled to grow, parents sacrificing all for a better life for their children, friends making extreme sacrifices, a boy and a girl going through a special trial or series of trials before maturing. Besides, time and death are important thematic concerns in many literary works. We may come across the enjoy-life policy or the anxiety with the passage of time. For some writers, death is part of living that gives life its final meaning. For others, death is the ultimate absurd joke on life or there is no death, only a different plane or mode of life without physical decay. At times, a story can have more than one theme. In a single literary work there might be several central ideas closely associated with one another. These ideas, mutually dependent and interactive, display the author's intentions as well as the social and cultural context in which the story takes place. 社会对人的命运的影响，以及尽管有与人为伍的压力，但人们仍然感到疏离和恐惧。个体与神的关系通常涉及仁慈的神灵奖励人类克服邪恶和诱惑，神灵嘲笑个体并因为自认为伟大而折磨他，以及人们可以寄托信仰或对宇宙意义的渴望的神灵之死。人际关系包括婚姻，其中每个伴侣都得到支持并有机会成长，父母为了子女更好的生活而牺牲一切，朋友做出极端的牺牲，男孩和女孩在成熟之前经历特殊的考验或一系列考验。此外，时间和死亡是许多文学作品中重要的主题关注点。我们可能会遇到享乐主义政策或随着时间的流逝而产生的焦虑。对于一些作家来说，死亡是生活的一部分，赋予生命最终的意义。对于其他人来说，死亡是对生活的终极荒谬笑话，或者没有死亡，只有一个不同的生命层面或模式，没有身体腐烂。有时，一个故事可能有多个主题。 在一部文学作品中可能会有几个与彼此密切相关的中心思想。这些思想相互依存、相互作用，展示了作者的意图以及故事发生的社会和文化背景。
We have known that literary theme is different from the storyline or the subject in that it is the meaning on a deeper, more abstract level. Though it might be difficult to find themes, there are some ways to identify them. 我们已经知道，文学主题与故事情节或主题不同，因为它是在更深层次、更抽象层面上的意义。虽然可能很难找到主题，但有一些方法可以识别它们。
The first step is to identify the central topics or "big ideas." Before reading a work, we have to look at the title. Usually it will give some clues as to what the story is about. The title of "The Killers" reminds us of killing and the theme might have something to do with it. While reading the book, we have to look for the central topic. We may ask questions like: Is the book about secrets, as in The Turn of the Screw? Is it about family, as in Little Woman? Is it about growing up, as in The Adventure of Huckleberry Finn? The identification of central topics will help us begin to identify possible themes. The second step is to organize thoughts. Write down the central topic and include examples from the story that support that topic. Pay attention to characters' actions, speeches, and responses, and then form a "big picture" of the story. What is the story all about? What is the author trying to tell us? With a little bit of time and thought, the theme will show up. 第一步是确定中心主题或“大思想”。在阅读作品之前，我们必须看一下标题。通常标题会给出一些线索，告诉我们故事是关于什么的。《杀手》的标题让我们想起了杀戮，主题可能与此有关。在阅读书籍时，我们必须寻找中心主题。我们可以提出问题，比如：这本书是关于秘密的吗，就像《螺丝在拧紧》一样？它是关于家庭的吗，就像《小妇人》一样？它是关于成长的吗，就像《哈克贝利·费恩历险记》一样？确定中心主题将帮助我们开始识别可能的主题。第二步是整理思绪。写下中心主题，并包括支持该主题的故事中的例子。注意人物的行动、言论和反应，然后形成故事的“大局”。这个故事到底是关于什么？作者想告诉我们什么？稍加时间和思考，主题就会显现出来。
To illustrate how to go about this process, let us examine a widely known book, Ernest Hemingway's The Old Man and the Sea. With the basic facts of the story in mind, we are supposed to answer the question: "What is the story about?" Some readers might answer the theme is "fishing" or "a Cuban fisherman." While this is true enough, "fishing" is a topic and "Cuban fisherman" is the subject. Other readers may answer, "This old man has set out alone, wrestles for three days to land a huge fish, then has to watch sharks eat it before he can get it back to port." This reply is indeed a plot summary because it only conveys facts without giving any comment. To abstract the theme, active readers must absorb the facts of the story and then ask, "What might these facts signify?" In other words, what general or universal truth about human beings is the author suggesting? We might reply, "courage," "endurance," or "nature." These abstract nouns indeed are considered motifs, which are elements shared by various literary works. A motif, though sometimes used interchangeably with the theme, indeed indicates a recurrent concept or pattern which will be elaborated into a general theme, or a concrete object, image, action that emerges repeatedly throughout the work. Then we might come up with the following theme statement: 为了说明如何进行这个过程，让我们来看一个广为人知的书籍，欧内斯特·海明威的《老人与海》。在脑海中记住故事的基本事实后，我们应该回答这个问题：“这个故事讲的是什么？”一些读者可能会回答主题是“钓鱼”或“古巴渔夫”。虽然这足够正确，“钓鱼”是一个话题，“古巴渔夫”是主题。其他读者可能会回答：“这位老人独自出发，与一条巨大的鱼搏斗三天，然后不得不看着鲨鱼吃掉它，然后才能把它带回港口。”这个回答确实是一个情节摘要，因为它只传达事实而没有任何评论。为了抽象出主题，积极的读者必须吸收故事的事实，然后问自己：“这些事实可能意味着什么？”换句话说，作者在暗示关于人类的一般或普遍真理是什么？我们可能会回答：“勇气”，“耐力”或“自然”。这些抽象名词确实被认为是主题，它们是各种文学作品共享的元素。 主题，虽然有时与主题可互换使用，但实际上指的是一个会被详细阐述为一个普遍主题的重复概念或模式，或者是在整个作品中反复出现的具体对象、形象、行为。那么我们可能会提出以下主题陈述：
"Despite extraordinary courage and endurance, Santiago loses his struggle against hostile and powerful natural forces." However, this statement's reference to Santiago prevents it from being a general statement about human beings. We can make it more general as "Despite extraordinary courage and endurance, human beings often lose their struggle against more powerful natural forces." This statement suggests that the work reflects a pessimistic view of life. But if we recall Santiago's thought of the sea birds and the fish as his brothers, his dream of the lions and other images of greatness, if we reread the last paragraph, often an important clue to the meaning of a work of fiction, we might modify the above theme statement as follows: "Despite extraordinary courage and endurance, human beings often lose the struggle against more powerful natural forces. Still, even a temporary triumph over solitude, age, physical exhaustion, and bad luck enables humans to regain their pride and dignity." As is demonstrated, for a complex work, theme may need to be stated in several sentences and must accommodate the main details of the story. 尽管圣地亚哥表现出非凡的勇气和耐力，但他最终还是败在了敌对而强大的自然力量之下。然而，这个说法中提到的圣地亚哥使其无法成为关于人类的一般性陈述。我们可以将其更普遍化为“尽管表现出非凡的勇气和耐力，人类经常在与更强大的自然力量的斗争中失败。” 这个说法表明这部作品反映了一种悲观的生活观。但是，如果我们回想起圣地亚哥将海鸟和鱼视为兄弟的想法，他对狮子的梦想以及其他伟大形象，如果我们重新阅读最后一段，通常是解释小说意义的重要线索，我们可能会修改上述主题陈述如下：“尽管表现出非凡的勇气和耐力，人类经常在与更强大的自然力量的斗争中失败。然而，即使是对孤独、年龄、体力耗尽和厄运的暂时胜利也能让人类重拾自己的骄傲和尊严。” 正如所示，对于一部复杂的作品，主题可能需要用几个句子来表达，并且必须包含故事的主要细节。
References
JAMES JOYCE (1882-1941)
My head is full of pebbles and rubbish and broken matches and bits of glass picked up 'most everywhere. The task I set myself technically in writing a book from eighteen different points of view and in as many styles, all apparently unknown or undiscovered by my fellow tradesmen, that and the nature of the legend chosen would be enough to upset anyone's mental balance. 我的脑袋里装满了鹅卵石、垃圾、断掉的火柴和各种地方拾来的玻璃碎片。我给自己设定的任务是从十八个不同的视角和风格写一本书，所有这些视角和风格似乎都是我的同行们未曾发现的，再加上所选择的传说的性质，足以让任何人的精神失衡。
James Joyce
James Joyce, an Irish expatriate writer, is widely considered to be one of the most influential writers of the twentieth century. He is best known for his novels Portrait of the Artist as a Young Man (1916), Ulysses (1922), Finnegans Wake (1939), and the short story collection Dubliners (1914). In his works Joyce is noted for his experimental use of language and technical innovations including an extensive use of interior monologue, a complex network of symbolic parallels drawn from the mythology, history, and literature, and a unique language of invented words, puns, and allusions. Although Joyce spent most of his life on the Continent, his native country remained basic to all his writings. His choice of Dublin as the scene was due to his belief that the city seemed "the centre of paralysis." As the result of his minute attentiveness to a personal locale and his self-imposed exile and influence throughout Europe, Joyce was paradoxically one of the most cosmopolitan yet one of the most regionally-focused of all the English language writers of his time. 詹姆斯·乔伊斯（James Joyce）是一位爱尔兰侨民作家，被广泛认为是二十世纪最具影响力的作家之一。他最著名的作品包括《一个年轻人的艺术家的画像》（1916 年）、《尤利西斯》（1922 年）、《芬尼根的守灵者》（1939 年）和短篇小说集《都柏林人》（1914 年）。在他的作品中，乔伊斯以其对语言的实验性使用和技术创新而闻名，包括大量使用内心独白、从神话、历史和文学中汲取的象征性平行网络，以及独特的创造性词汇、双关语和典故。尽管乔伊斯大部分时间都在欧洲大陆度过，但他的祖国始终是他所有作品的基础。他选择都柏林作为背景的原因是因为他认为这座城市似乎是“瘫痪的中心”。由于他对个人所在地的细致关注、自我放逐以及在整个欧洲的影响力，乔伊斯在他所处时代的英语作家中，既是最具国际化的，又是最具地域性关注的矛盾人物之一。
The Dead
Lily, the caretaker's daughter, was literally run off her feet. Hardly had she brought one gentleman into the little pantry behind the office on the ground floor and helped him off with his overcoat than the wheezy hall-door bell clanged again and she had to scamper along the bare hallway to let in another guest. It was well for her she had not to attend to the ladies also. But Miss Kate and Miss Julia had thought of that and had converted the bathroom upstairs into a ladies' dressing-room. Miss Kate and Miss Julia were there, gossiping and laughing and fussing, walking after each other to the head of the stairs, peering down over the banisters and calling down to Lily to ask her who had come. 莉莉， 管理员的女儿，实际上是忙得不可开交。她刚刚把一个绅士带到楼下办公室后面的小餐厅，帮他脱掉外套，那吱吱作响的大门铃又响了，她不得不匆匆忙忙地沿着光秃秃的走廊跑去让另一个客人进来。幸好她不必照顾女士们。但凯特小姐和茱莉亚小姐已经考虑到了这一点，把楼上的浴室改成了女士更衣室。凯特小姐和茱莉亚小姐在那里，闲聊、笑闹、忙碌，互相跟在后面走到楼梯的顶端，趴在栏杆上往下看，喊着问莉莉来了谁。
It was always a great affair, the Misses Morkan's annual dance. Everybody who knew them came to it, members of the family, old friends of the family, the members of Julia's choir, any of Kate's pupils that were grown up enough, and even some of Mary Jane's pupils too. Never once had it fallen flat. For years and years it had gone off in splendid style, as long as anyone could remember; ever since Kate and Julia, after the death of their brother Pat, had left the house in Stoney Batter and taken Mary Jane, their only niece, to live with them in the dark, gaunt house on Usher's Island, the upper part of which they had rented from Mr. Fulham, the corn-factor on the ground floor. That was a good thirty years ago if it was a day. Mary Jane, who was then a little girl in short clothes, was now the main prop of the household, for she had the organ in Haddington Road. She had been through the Academy and gave a pupils concert every year in the upper room of the Antient Concert Rooms. Many of her pupils belonged to the better-class families on the 这总是一场盛大的盛会，莫肯小姐们每年一度的舞会。所有认识她们的人都会来参加，家庭成员、家庭的老朋友、朱莉娅合唱团的成员、凯特的学生中已经长大的一些人，甚至还有玛丽简的学生们。从来没有一次失败过。多年来，这场舞会一直以辉煌的方式进行，就像每个人都记得的那样；自从凯特和朱莉娅在他们的兄弟帕特去世后离开了斯通尼巴特的房子，带着他们唯一的侄女玛丽简搬到了乌舍岛上的那座阴暗、瘦削的房子里，他们租下了楼下的玉米经销商富勒姆先生的房子。如果不是一天，那已经有三十年了。当时还穿着短裤的小女孩玛丽简现在是家庭的主要支柱，因为她在哈丁顿路上有一架风琴。她曾经在学院学习，并每年在古老音乐厅的上层举办学生音乐会。她的许多学生都来自更好的家庭。
Kingstown and Dalkey line. Old as they were, her aunts also did their share. Julia, though she was quite grey, was still the leading soprano in Adam and Eve's, and Kate, being too feeble to go about much, gave music lessons to beginners on the old square piano in the back room. Lily, the caretaker's daughter, did housemaid's work for them. Though their life was modest, they believed in eating well; the best of everything: diamond-bone sirloins threeshilling tea and the best bottled stout. But Lily seldom made a mistake in the orders, so that she got on well with her three mistresses. They were fussy, that was all. But the only thing they would not stand was back answers. 金斯敦和达基线。尽管她的姑姑们年纪已经很大了，但她们也尽了自己的一份力。尤利娅虽然已经相当年迈，但仍然是亚当和夏娃乐队中的首席女高音 ，而凯特由于身体状况不佳，无法四处走动，便在后屋的旧方钢琴上给初学者上音乐课。看守员的女儿莉莉为她们做女仆的工作。尽管她们的生活很朴素，但她们相信吃得好是重要的；只要最好的一切：钻骨牛排 、三先令茶 和最好的瓶装黑啤酒 。但莉莉很少出错，所以她与三位女主人相处得很好。她们有点挑剔， 这就是全部。但她们绝对不能容忍的是对她们的回答。
Of course, they had good reason to be fussy
1 Lily: 有两层含义: (1)百合花因为常在葬礼上使用, 所以象征死亡; (2)复活与再生。
2 pantry: 餐具室, 食品室。
3 clanged: 叮当响。
4 scamper: 奔跑。
5 attend to: 照顾。
6 banisters: 楼梯的扶栏。
7 choir: 唱诗班。
8 fallen flat: 达不到预期效果, 完全失败。
9 gaunt: 荒凉的
10 corn-factor: 谷物商。
11 the Academy: The Royal Irish Academy of Music, 爱尔兰皇家音乐学院。
12 soprano: 女高音。
13 Adam and Eve's: 圣芳济会教堂。
14 sirloins: 牛的上部腰肉。
15 three-shilling tea: 日常好茶的价格是此价的四分之一。
16 stout: 烈性黑啤酒。
17 fussy: 爱挑别的, 难取悦的。
on such a night. And then it was long after ten o'clock and yet there was no sign of Gabriel and his wife. Besides they were dreadfully afraid that Freddy Malins might turn up screwed. They would not wish for worlds that any of Mary Jane's pupils should see him under the influence; and when he was like that it was sometimes very hard to manage him. Freddy Malins always came late, but they wondered what could be keeping Gabriel: and that was what brought them every two minutes to the banisters to ask Lily had Gabriel or Freddy come. 在这样的夜晚。然后十点过后很久了，但是加布里埃尔和他的妻子还没有出现的迹象。此外，他们非常害怕弗雷迪·马林斯可能会喝醉。他们绝不希望玛丽·简的任何学生看到他受影响；而当他那样的时候，有时很难控制他。弗雷迪·马林斯总是迟到，但他们想知道是什么让加布里埃尔耽搁了：这就是他们每两分钟都来到楼梯扶手问莉莉加布里埃尔或弗雷迪来了吗的原因。
"O, Mr. Conroy," said Lily to Gabriel when she opened the door for him, "Miss Kate and Miss Julia thought you were never coming. Good-night, Mrs. Conroy."
"I'll engage they did," said Gabriel, "but they forget that my wife here takes three mortal hours to dress herself."
He stood on the mat, scraping the snow from his goloshes, while Lily led his wife to the foot of the stairs and called out:
"Miss Kate, here's Mrs. Conroy."
Kate and Julia came toddling down the dark stairs at once. Both of them kissed Gabriel's wife, said she must be perished alive, and asked was Gabriel with her.
"Here I am as right as the mail,, 2 Aunt Kate! Go on up. I'll follow," called out Gabriel from the dark.
He continued scraping his feet vigorously while the three women went upstairs, laughing, to the ladies' dressing-room. A light fringe of snow lay like a cape on the shoulders of his overcoat and like toecaps on the toes of his goloshes; and, as the buttons of his overcoat slipped with a squeaking noise through the snow-stiffened frieze, a cold, fragrant air from out-of-doors escaped from crevices and folds. 他继续用力地刮脚，而三个女人笑着上楼去了女士更衣室。一层轻薄的雪像披风一样铺在他大衣的肩膀上，像鞋尖盖在他的防水鞋上；当他大衣的纽扣在雪硬化的饰边上发出尖锐的声音时，一股冷冽的芬芳空气从门缝和褶皱中逸出。
"Is it snowing again, Mr. Conroy?" asked Lily.
She had preceded him into the pantry to help him off with his overcoat. Gabriel smiled at the three syllables she had given his surname and glanced at her. She was a slim, growing girl, pale in complexion and with hay-coloured hair. The gas in the pantry made her look still paler. Gabriel had known her when she was a child and used to sit on the lowest step nursing a rag doll. 她已经先他一步走进了餐具室，帮他脱掉外套。加布里埃尔对她给他姓氏的三个音节微笑了一下，然后看了她一眼。她是一个苗条的正在长大的女孩，皮肤苍白，头发是干草色。餐具室里的煤气让她看起来更苍白。加布里埃尔在她还是个孩子的时候就认识她了，那时她总是坐在最低的台阶上抱着一个破布娃娃。
"Yes, Lily," he answered, "and I think we're in for a night of it."
He looked up at the pantry ceiling, which was shaking with the stamping and shuffling of feet on the floor above, listened for a moment to the piano and then glanced at the girl, who was folding his overcoat carefully at the end of a shelf. 他抬头看着储藏室的天花板，上面的脚步声和踉跄声使天花板摇晃起来，他听了一会儿钢琴声，然后看了一眼那个正在货架尽头仔细叠着他大衣的女孩。
"Tell me. Lily," he said in a friendly tone, "do you still go to school?"
"O no, sir," she answered. "I'm done schooling this year and more."
"O, then," said Gabriel gaily, "I suppose we'll be going to your wedding one of these fine days with your young man, eh?"
The girl glanced back at him over her shoulder and said with great bitterness:
"The men that is now is only all palaver" and what they can get out of you."
18 Gabriel: 在希伯莱语里, Gabriel意思是“牧师, 先知 (man of God) ”, 传统意义上他是死亡天使 (an angel of death)。在弥尔顿的《失乐园》(IV) 中, 他也是天堂的守护者之 - (one of the guards of Heaven)。
screwed: 喝醉的
20 scraping: 擦, 刮。
21 goloshes: 橡胶套鞋。
22 mail: 世纪之交的爱尔兰，每天要投送五次邮件。
23 cape: 披肩。
24 toecaps: 鞋尖装饰, 鞋头。
25 crevices and folds: 缝隍和折痕。
26 complexion: 面色, 肤色。
27 palaver: 废话, 空话。
Gabriel coloured, as if he felt he had made a mistake and, without looking at her, kicked off his goloshes and flicked actively with his muffler at his patent-leather shoes.
He was a stout, tallish young man. The high colour of his cheeks pushed upwards even to his forehead, where it scattered itself in a few formless patches of pale red; and on his hairless face there scintillated restlessly the polished lenses and the bright gilt rims of the glasses which screened his delicate and restless eyes. His glossy black hair was parted in the middle and brushed in a long curve behind his ears where it curled slightly beneath the groove left by his hat. 他是一个魁梧、个子较高的年轻人。他脸颊的高色泽一直推到额头，散布在几处无规则的淡红色斑块上；在他光溜溜的脸上，眼镜的抛光镜片和明亮的镀金边框不停地闪烁，遮住了他那敏感而不安的眼睛。他光滑的黑发中间分开，向后刷成一条长弧线，耳朵后面微微卷曲，略显帽子留下的凹槽。
When he had flicked lustre into his shoes he stood up and pulled his waistcoat down more tightly on his plump body. Then he took a coin rapidly from his pocket.
"O Lily," he said, thrusting it into her hands, "it's Christmas-time, isn't it? Just ... here's a little ..."
He walked rapidly towards the door.
"O no, sir!" cried the girl, following him. "Really, sir, I wouldn't take it."
"Christmas-time! Christmas-time!" said Gabriel, almost trotting to the stairs and waving his hand to her in deprecation.
The girl, seeing that he had gained the stairs, called out after him:
"Well, thank you, sir."
He waited outside the drawing-room door until the waltz should finish, listening to the skirts that swept against it and to the shuffling of feet. He was still discomposed by the girl's bitter and sudden retort. It had cast a gloom over him which he tried to dispel by arranging his cuffs and the bows of his tie. He then took from his waistcoat pocket a little paper and glanced at the headings he had made for his speech. He was undecided about the lines from Robert Browning, for he feared they would be above the heads of his hearers. Some quotation that they would recognise from Shakespeare or from the Melodies would be better. The indelicate clacking of the men's heels and the shuffling of their soles reminded him that their grade of culture differed from his. He would only make himself ridiculous by quoting poetry to them which they could not understand. They would think that he was airing his superior education. He would fail with them just as he had failed with the girl in the pantry. He had taken up a wrong tone. His whole speech was a mistake from first to last, an utter failure. 他在客厅门外等待，直到华尔兹结束，听着裙摆划过门的声音和脚步的拖拽声。女孩尖刻而突然的回应仍让他心烦意乱。这让他感到沮丧，他试图通过整理袖口和领结的蝴蝶结来驱散这种情绪。然后，他从背心口袋里拿出一张小纸，看了看他为演讲做的标题。他对罗伯特·勃朗宁的诗句犹豫不决，因为他担心这些诗句会超出听众的理解范围。他觉得引用莎士比亚或旋律中他们会认识的一些引语会更好。男士们的鞋跟发出的粗鲁声音和鞋底的拖拽声提醒他，他们的文化水平与他不同。如果他向他们引用他们无法理解的诗句，他只会让自己变得荒谬。他们会认为他在炫耀自己的优越教育。他会像在餐具室里失败一样在他们面前失败。他的整个演讲从头到尾都是错误的，完全失败。
Just then his aunts and his wife came out of the ladies' dressing-room. His aunts were two small, plainly dressed old women. Aunt Julia was an inch or so the taller. Her hair, drawn low over the tops of her ears, was grey; and grey also, with darker shadows, was her large flaccid face. 就在那时，他的两位姑姑和他的妻子走出女士更衣室。他的姑姑们是两位身穿朴素衣服的老妇人。朱莉亚姑姑稍微高一点。她的头发垂落在耳朵上方，已经变成灰色；她的脸也是灰色的，带着深色的阴影。
39 the Melodies: 由爱尔兰诗人 Thomas Moore 在1807至1834年间创作,在爱尔兰家喻户晓。
40 flaccid: 松驰的。
Though she was stout in build and stood erect, her slow eyes and parted lips gave her the appearance of a woman who did not know where she was or where she was going. Aunt Kate was more vivacious. Her face, healthier than her sister's, was all puckers and creases, like a shrivelled red apple, and her hair, braided in the same old-fashioned way, had not lost its ripe nut colour. 尽管她身材魁梧，站得笔直，但她慢慢的眼神和张开的嘴唇让她看起来像是一个不知道自己在哪里或者要去哪里的女人。凯特阿姨更有活力。她的脸比她姐姐更健康，布满皱纹，就像一个干瘪的红苹果，她的头发以同样老式的方式编织，保持着成熟的核桃色。
They both kissed Gabriel frankly. He was their favourite nephew, the son of their dead elder sister, Ellen, who had married T. J. Conroy of the Port and Docks.
"Gretta tells me you're not going to take a cab back to Monkstown tonight, Gabriel," said Aunt Kate.
"No," said Gabriel, turning to his wife, "we had quite enough of that last year, hadn't we? Don't you remember, Aunt Kate, what a cold Gretta got out of it? Cab windows rattling all the way, and the east wind blowing in after we passed Merrion. Very jolly it was. Gretta caught a dreadful cold." "不，"加布里埃尔说，转向他的妻子，"去年我们已经经历过足够多了，对吧？你还记得吗，凯特阿姨，格雷塔因此患了重感冒吗？出租车窗户整路都在哗哗作响，我们经过梅里昂后，东风吹进来。非常愉快。格雷塔感冒得很厉害。"
Aunt Kate frowned severely and nodded her head at every word.
"Quite right, Gabriel, quite right," she said. "You can't be too careful."
"But as for Gretta there," said Gabriel, "she'd walk home in the snow if she were let."
Mrs. Conroy laughed.
"Don't mind him, Aunt Kate," she said. "He's really an awful bother, what with green shades for Tom's eyes at night and making him do the dumb-bells, and forcing Eva to eat the stirabout. The poor child! And she simply hates the sight of it!... O, but you'll never guess what he makes me wear now!" "不要在意他，凯特阿姨，"她说。"他真的很烦人，晚上给汤姆戴绿色眼罩，让他做哑铃运动，还逼着伊娃吃燕麦粥。 可怜的孩子！她简直讨厌看到它！...哦，但你永远猜不到他现在让我穿什么！"
She broke out into a peal of laughter and glanced at her husband, whose admiring and happy eyes had been wandering from her dress to her face and hair. The two aunts laughed heartily, too, for Gabriel's solicitude was a standing joke with them. 她突然笑了起来，看了一眼她的丈夫，他那欣赏和快乐的眼睛一直在从她的衣服转向她的脸和头发。两位姑姑也开心地笑了起来，因为加布里埃尔的关心一直是他们的一个笑话。
"Goloshes!" said Mrs. Conroy. "That's the latest. Whenever it's wet underfoot I must put on my goloshes. Tonight even, he wanted me to put them on, but I wouldn't. The next thing he'll buy me will be a diving suit. , "高尔什鞋!"康罗伊夫人说。 "这是最新款。每当脚下潮湿时，我必须穿上我的高尔什鞋。今晚，他甚至想让我穿上它们，但我不会。他接下来会给我买的东西将是潜水服。 。
Gabriel laughed nervously and patted his tie reassuringly, while Aunt Kate nearly doubled herself, so heartily did she enjoy the joke. The smile soon faded from Aunt Julia's face and her mirthless eyes were directed towards her nephew's face. After a pause she asked: 加布里埃尔紧张地笑了笑，安抚地拍了拍领带，而凯特阿姨几乎弯下腰来，她是如此地开心地笑着。朱莉娅阿姨脸上的微笑很快消失了，她那没有欢乐的眼睛盯着侄子的脸。停顿片刻后，她问道：
"And what are goloshes, Gabriel?"
"Goloshes, Julia!" exclaimed her sister. "Goodness me, don't you know what goloshes are? You wear them over your ... over your boots, Gretta, isn't it?"
"Yes," said Mrs. Conroy. "Guttapercha things. We both have a pair now. Gabriel says everyone wears them on the Continent."
"O, on the Continent," murmured Aunt Julia, nodding her head slowly.
Gabriel knitted his brows and said, as if he were slightly angered:
41 vivacious: 活泼的, 欢快的。
42 puckers and creases: 披纹，褶皱。
43 shrivelled: 皱缩的。
44 braided: 把 (头发) 编成辩子。
45 rattling: 发出卡嗒卡嗒声。
46 what ... stirabout: 什么为了汤姆的眼睛晚上要用绿灯罩呀, 要让他练哑铃呀, 强迫伊娃吃麦片粥呀。
47 solicitude: 关怀, 挂念。
48 diving suit: 潜水服。
49 doubled herself: (笑得) 直不起腰。
50 mirthless: 不快乐的, 沉焖的, 忧郁的。
51 Guttapercha things: 用古塔胶做的东西。
"It's nothing very wonderful, but Gretta thinks it very funny because she says the word reminds her of Christy Minstrels. .
"But tell me, Gabriel," said Aunt Kate, with brisk tact. "Of course, you've seen about the room. Gretta was saying ..."
"O, the room is all right," replied Gabriel. "I've taken one in the Gresham." 53
"To be sure," said Aunt Kate, "by far the best thing to do. And the children, Gretta, you're not anxious about them?"
"O, for one night," said Mrs. Conroy. "Besides, Bessie will look after them."
"To be sure," said Aunt Kate again. "What a comfort it is to have a girl like that, one you can depend on! There's that Lily, I'm sure I don't know what has come over her lately. She's not the girl she was at all." “确实，”阿姨凯特再次说道。“有这样一个可以依靠的女孩真是一种安慰！那个莉莉，我真的不知道最近发生了什么事。她根本不是以前那个女孩了。”
Gabriel was about to ask his aunt some questions on this point, but she broke off suddenly to gaze after her sister, who had wandered down the stairs and was craning her neck over the banisters. 加布里埃尔正要就这一点向他的姑姑提出一些问题，但她突然中断了，转身望着她的妹妹，后者已经走下楼梯，伸长脖子趴在栏杆上。
"Now, I ask you," she said almost testily, "where is Julia going? Julia! Julia! Where are you going?
Julia, who had gone half way down one flight, came back and announced blandly:
"Here's Freddy."
At the same moment a clapping of hands and a final flourish of the pianist told that the waltz had ended. The drawing-room door was opened from within and some couples came out. Aunt Kate drew Gabriel aside hurriedly and whispered into his ear: 就在同一时刻，掌声和钢琴家最后的华丽演奏告诉大家华尔兹已经结束了。客厅的门从里面打开，一些情侣走了出来。凯特阿姨匆忙拉开加布里埃尔，悄声对他说：
"Slip down, Gabriel, like a good fellow and see if he's all right, and don't let him up if he's screwed. I'm sure he's screwed. I'm sure he is."
Gabriel went to the stairs and listened over the banisters. He could hear two persons talking in the pantry. Then he recognised Freddy Malins' laugh. He went down the stairs noisily.
"It's such a relief," said Aunt Kate to Mrs. Conroy, "that Gabriel is here. I always feel easier in my mind when he's here. ... Julia, there's Miss Daly and Miss Power will take some refreshment. Thanks for your beautiful waltz, Miss Daly. It made lovely time." “加布里埃尔在这里真是太令人宽慰了，”凯特阿姨对康罗伊夫人说，“他在这里的时候，我总是感到心情舒畅。……茱莉亚，达利小姐和鲍尔小姐要来点茶点了。 谢谢你美妙的华尔兹，达利小姐。它让时间更加美好。”
A tall wizen-faced man, with a stiff grizzled moustache and swarthy skin, who was passing out with his partner, said:
"And may we have some refreshment, too, Miss Morkan?"
"Julia," said Aunt Kate summarily, "and here's Mr. Browne and Miss Furlong. Take them in, Julia, with Miss Daly and Miss Power."
"I'm the man for the ladies," said Mr. Browne, pursing his lips until his moustache bristled and smiling in all his wrinkles. "You know, Miss Morkan, the reason they are so fond of me is - "
He did not finish his sentence, but, seeing that Aunt Kate was out of earshot, at once led the three young ladies into the back room. The middle of the room was occupied by two square tables placed end to end, and on these Aunt Julia and the caretaker were straightening and 他没有说完他的话，但是看到凯特阿姨听不见，他立刻把三位年轻女士带进了后屋。房间中间摆放着两张正好相连的方桌，朱莉婶婶和看管人员正在整理这些桌子。
smoothing a large cloth. On the sideboard were arrayed dishes and plates, and glasses and bundles of knives and forks and spoons. The top of the closed square piano served also as a sideboard for viands and sweets. At a smaller sideboard in one corner two young men were standing, drinking hop-bitters. 在平整一块大布料。边柜上摆放着盘子、碟子、玻璃杯、刀叉和勺子。封闭的方形钢琴顶部也用作摆放食物和甜点的边柜。在一个角落的较小边柜上，两个年轻人站在那里喝着啤酒苦艾酒。
Mr. Browne led his charges thither and invited them all, in jest, to some ladies' punch, hot, strong and sweet. As they said they never took anything strong, he opened three bottles of lemonade for them. Then he asked one of the young men to move aside, and, taking hold of the decanter, filled out for himself a goodly measure of whisky. The young man eyed him respectfully while he took a trial sip. 布朗先生带领他的学生们去那里，并开玩笑地邀请他们喝一些女士果汁，热的、浓郁的和甜美的。他们说他们从不喝浓的东西，于是他为他们打开了三瓶柠檬汽水。然后他请一个年轻人让开，拿起酒瓶，为自己倒了一大杯威士忌。那个年轻人尊敬地看着他，当他尝了一口。
"God help me," he said, smiling, "it's the doctor's orders."
His wizened face broke into a broader smile, and the three young ladies laughed in musical echo to his pleasantry, swaying their bodies to and fro, with nervous jerks of their shoulders. The boldest said: 他枯瘦的脸上露出了更宽的笑容，三位年轻女士跟着他的幽默笑声响起了优美的笑声，摇摆着身体，肩膀紧张地抽搐。最大胆的说：
"O, now, Mr. Browne, I'm sure the doctor never ordered anything of the kind."
Mr. Browne took another sip of his whisky and said, with sidling mimicry:
"Well, you see, I'm like the famous Mrs. Cassidy, who is reported to have said: 'Now, Mary Grimes, if I don't take it, make me take it, for I feel I want it."
His hot face had leaned forward a little too confidentially and he had assumed a very low Dublin accent so that the young ladies, with one instinct, received his speech in silence. Miss Furlong, who was one of Mary Jane's pupils, asked Miss Daly what was the name of the pretty waltz she had played; and Mr. Browne, seeing that he was ignored, turned promptly to the two young men who were more appreciative. 他热情的脸有点过于亲密地向前倾斜，他假装了一个非常浓重的都柏林口音，以至于年轻女士们本能地静静地听着他的讲话。弗朗小姐是玛丽·简的学生之一，她问戴利小姐弹的那支漂亮的华尔兹叫什么名字；而布朗先生看到自己被忽视，便立刻转向那两个更加欣赏的年轻男士。
A red-faced young woman, dressed in pansy, came into the room, excitedly clapping her hands and crying:
"Quadrilles! Quadrilles!"
Close on her heels came Aunt Kate, crying:
"Two gentlemen and three ladies, Mary Jane!"
"O, here's Mr. Bergin and Mr. Kerrigan," said Mary Jane. "Mr. Kerrigan, will you take Miss Power? Miss Furlong, may I get you a partner, Mr. Bergin. O, that'll just do now."
"Three ladies, Mary Jane," said Aunt Kate.
The two young gentlemen asked the ladies if they might have the pleasure, and Mary Jane turned to Miss Daly.
"O, Miss Daly, you're really awfully good, after playing for the last two dances, but really we're so short of ladies tonight."
"I don't mind in the least, Miss Morkan."
"But I've a nice partner for you, Mr. Bartel D'Arcy, the tenor. I'll get him to sing later on All Dublin is raving about him."
"Lovely voice, lovely voice!" said Aunt Kate.
As the piano had twice begun the prelude to the first figure Mary Jane led her recruits quickly from the room. They had hardly gone when Aunt Julia wandered slowly into the room, looking behind her at something. 当钢琴第二次开始弹奏第一个舞蹈动作的前奏时，玛丽·简迅速带领她的新兵们离开了房间。她们刚走没多久，朱莉娅姨妈慢慢地走进房间，回头看着身后的某物。
"What is the matter, Julia?" asked Aunt Kate anxiously. "Who is it?"
62 hop-bitters: 苦味蛇麻子啤酒。
63 Mr. ... sweet: 布朗先生把他受托照管的女士们引到那里，开玩笑地请她们三位都尝点女宾用的混和甜饮料, 又热, 又浓, 又甜。
64 decanter: 玻璃水瓶。
65 with sidling mimicry: 侧身做了个鬼脸。
66 low: 低俗的，下层阶级使用的。
67 pansy: 蓝紫色。
68 quadrilles: 四对方舞。
69 tenor: 男高音
Julia, who was carrying in a column of tablenapkins, turned to her sister and said, simply, as if the question had surprised her:
"It's only Freddy, Kate, and Gabriel with him."
In fact right behind her Gabriel could be seen piloting Freddy Malins across the landing. The latter, a young man of about forty, was of Gabriel's size and build, with very round shoulders. His face was fleshy and pallid, touched with colour only at the thick hanging lobes of his ears and at the wide wings of his nose. He had coarse features, a blunt nose, a convex and receding brow, tumid and protruded lips. His heavy-lidded eyes and the disorder of his scanty hair made him look sleepy. was laughing heartily in a high key at a story which he had been telling Gabriel on the stairs and at the same time rubbing the knuckles of his left fist backwards and forwards into his left eye. 事实上，加布里埃尔的身后可以看到他在走廊上驾驶弗雷迪·马林斯。后者，一个大约四十岁的年轻人，和加布里埃尔一样高大，肩膀圆圆。他的脸肉肉的，苍白，只有耳垂和宽大的鼻翼上有一点颜色。他有粗糙的面部特征，鼻子钝钝的，额头凸起后退，嘴唇肿胀突出。他那沉重的眼睑和稀疏头发的凌乱让他看起来昏昏欲睡。他正在高声大笑，他正在向加布里埃尔讲述的故事，同时用左拳的指关节来回摩擦左眼。
"Good-evening, Freddy," said Aunt Julia.
Freddy Malins bade the Misses Morkan good-evening in what seemed an offhand fashion by reason of the habitual catch in his voice and then, seeing that Mr. Browne was grinning at him from the sideboard, crossed the room on rather shaky legs and began to repeat in an undertone the story he had just told to Gabriel. 弗雷迪·马林斯以一种看似随意的方式向莫肯小姐们道晚安，因为他声音中的习惯性结巴，然后看到布朗先生从餐具柜那边冲他咧嘴笑，他便摇摇晃晃地穿过房间，低声重复刚刚告诉加布里埃尔的故事。
"He's not so bad, is he?" said Aunt Kate to Gabriel.
Gabriel's brows were dark but he raised them quickly and answered:
"O, no, hardly noticeable."
"Now, isn't he a terrible fellow!" she said. "And his poor mother made him take the pledge on New Year's Eve. But come on, Gabriel, into the drawing-room."
Before leaving the room with Gabriel she signalled to Mr. Browne by frowning and shaking her forefinger in warning to and fro. Mr. Browne nodded in answer and, when she had gone, said to Freddy Malins: 在与加布里埃尔离开房间之前，她通过皱眉并摇动她的食指向布朗先生发出警告的信号。布朗先生点头回答，当她离开后，对弗雷迪·马林斯说：
"Now, then, Teddy, I'm going to fill you out a good glass of lemonade just to buck you up.
Freddy Malins, who was nearing the climax of his story, waved the offer aside impatiently but Mr. Browne, having first called Freddy Malins' attention to a disarray in his dress, filled out and handed him a full glass of lemonade. Freddy Malins' left hand accepted the glass mechanically, his right hand being engaged in the mechanical readjustment of his dress. Mr. Browne, whose face was once more wrinkling with mirth, poured out for himself a glass of whisky while Freddy Malins exploded, before he had well reached the climax of his story, in a kink of high-pitched bronchitic laughter and, setting down his untasted and overflowing glass, began to rub the knuckles of his left fist backwards and forwards into his left eye, repeating words of his last phrase as well as his fit of laughter would allow him. 弗雷迪·马林斯正接近他的故事高潮，不耐烦地挥手拒绝了邀请，但布朗先生首先提醒弗雷迪·马林斯注意他衣着的凌乱，然后倒满一杯柠檬汽水递给他。弗雷迪·马林斯的左手机械地接过玻璃杯，他的右手忙着机械地调整衣服。布朗先生的脸再次因为欢乐而皱起，他给自己倒了一杯威士忌，而弗雷迪·马林斯在他的故事还未达到高潮之前，突然爆发出一阵尖声的支气管炎笑声，放下未尝的满杯，开始用左拳的指关节来回摩擦左眼，重复他最后一句话以及他的笑声允许的程度。
Gabriel could not listen while Mary Jane was playing her Academy piece, full of runs and difficult passages, to the hushed drawing-
70 landing: 楼梯平台。
71 pallid: 苍白。
72 touched ... nose: 只有厚厚的耳垂和宽大的鼻翼有点血色。
lips: 他相貌粗俗, 一只塌鼻子, 额头凸出又向后斜缩回去, 嘴唇是肿胀而颌出的。
74 His ... sleepy: 他的眼皮厚重, 头发稀疏凌乱, 显出一副没睡醒的样子。
75 offhand: 随便的, 唐突的。
76 the habitual catch in his voice: 一向说起话来是噎声噎气的。
77 undertone: 小声, 低音。
78 take the pledge: 起掊。
79 buck you up: 给你提提精神。
80 bronchitic: 支气管炎的，咳嗽般的。
81 runs: 速奏。
82 hushed: 安静的。
room. He liked music but the piece she was playing had no melody for him and he doubted whether it had any melody for the other listeners, though they had begged Mary Jane to play something. Four young men, who had come from the refreshment-room to stand in the doorway at the sound of the piano, had gone away quietly in couples after a few minutes. The only persons who seemed to follow the music were Mary Jane herself, her hands racing along the key-board or lifted from it at the pauses like those of a priestess in momentary imprecation, and Aunt Kate standing at her elbow to turn the page. 房间。他喜欢音乐，但她弹奏的曲子对他来说没有旋律，他怀疑其他听众是否也没有感受到旋律，尽管他们请求玛丽·简弹奏一些东西。四个年轻人从休息室走过来，站在门口听到钢琴声后，几分钟后悄悄地成对离开了。似乎唯一在听音乐的人是玛丽·简自己，她的手在键盘上飞快地移动，或者在停顿时从键盘上抬起，就像一个瞬间祈祷的女祭司， 还有站在她身边翻页的凯特阿姨。
Gabriel's eyes, irritated by the floor, which glittered with beeswax under the heavy chandelier, wandered to the wall above the piano. A picture of the balcony scene in Romeo and Juliet hung there and beside it was a picture of the two murdered princes in the Tower which Aunt Julia had worked in red, blue and brown wools when she was a girl. Probably in the school they had gone to as girls that kind of work had been taught for one year. His mother had worked for him as a birthday present a waistcoat of purple tabinet, with little foxes' heads upon it, lined with brown satin and having round mulberry buttons. It was strange that his mother had had no musical talent though Aunt Kate used to call her the brains carrier of the Morkan family. Both she and Julia had always seemed a little proud of their serious and matronly sister. Her photograph stood before the pierglass. She held an open book on her knees and was pointing out something in it to Constantine who, dressed in a man-o'-war suit, lay at her feet. It was she who had chosen the name of her sons for she was very sensible of the dignity of family life. Thanks to her, Constantine was now senior curate in Balbrigan and, thanks to her, Gabriel himself had taken his degree in the Royal University. A shadow passed over his face as he remembered her sullen opposition to his marriage. Some slighting phrases she had used still rankled in his memory; she had once spoken of Gretta as being country cute and that was not true of Gretta at all. It was Gretta who had nursed her during all her last long illness in their house at Monkstown. 加布里埃尔的眼睛被地板激怒，地板上闪闪发光的蜡，沉重的吊灯下，漫游到钢琴上方的墙壁。罗密欧与朱丽叶阳台场景的图片挂在那里，旁边是两位在塔楼被谋杀的王子的图片，朱莉娅姨妈小时候用红色、蓝色和棕色的羊毛绣制的。也许在她们小时候上学的学校里，这种工作曾经教过一年。他母亲为他做了一件紫色塔比内特背心作为生日礼物，上面有小狐狸的头，里面衬有棕色缎子，扣子是圆形的桑葚。奇怪的是，他母亲没有音乐天赋，尽管朱莉娅经常称她为莫肯家族的智囊团。她和朱莉娅总是有点为她们那位严肃和成熟的姐姐感到自豪。她的照片放在镜前。她膝上放着一本打开的书，正在向康斯坦丁指着书中的某个内容，康斯坦丁穿着一套军装，躺在她脚下。她选择了儿子的名字，因为她非常重视家庭生活的尊严。 由于她的帮助，康斯坦丁现在是巴尔布里根的高级助理牧师，多亏了她，加布里埃尔本人也在皇家大学取得了学位。他记得她对他的婚姻的阴郁反对，脸上掠过一丝阴影。她曾用一些轻蔑的措辞，这些话至今仍在他的记忆中挥之不去；她曾说过格雷塔是乡村可爱的，而这并不是格雷塔的真实写照。在蒙克斯敦的家里，正是格雷塔照料她度过了她最后的长病。
He knew that Mary Jane must be near the
83 imprecation: 析求。
84 chandelier: 树枝形的装饰灯。
85 Romeo and Juliet: 这里指的是莎士比亚《罗密欧与朱丽叶》阳台上的那场戏（第二幕,第二场）。这预示着格蕾塔后来承认的她早年的情人站在窗台下等她的一幕。
86 a picture of the two murdered princes in the Tower: 关于伦敦塔里两位王子被害的画。伦敦塔曾是一座监狱。理查三世在古堡中杀害他的两个侄子, 以保证自己顺利登基, 莎士比亚在《理查三世》里有所表现。在《罗密欧与朱丽叶》里也有两位王子被杀害。这两幅画之间的联系也许促使加布里埃尔思考爱与死亡的问题。
87 tabinet: 波纹塔夫绸。
88 mulberry: 深紫红色。
89 brains carrier: 智慧的继承人。
90 matronly: 安祥的, 庄重的。
91 pierglass: 穿衣镜。
92 Constantine: 康士坦丁大帝是第一位舨依基督教的罗马皇帝。
93 man-o'-war suit: 海军服。
94 curate: 副牧师。
95 Balbrigan: 巴尔不里千,都柏林郡北部沿海的一个镇名。
96 the Royal University: 这并非是所大学, 而是督察都伯林高等教育教学标准和课程的一所机构。这所机构倾向英国新教传统，对天主教传统加以控制。这预示着加布里埃尔与自己国家的疏远, 也为后来他与伊弗斯的冲突埋下伏笔。
97 sullen: 愠怒的, 闪闪不乐的
98 being country cute: 像乡下人似的做作。
end of her piece for she was playing again the opening melody with runs of scales after every bar and while he waited for the end the resentment died down in his heart. The piece ended with a trill of octaves in the treble and a final deep octave in the bass. Great applause greeted Mary Jane as, blushing and rolling up her music nervously, she escaped from the room. The most vigorous clapping came from the four young men in the doorway who had gone away to the refreshment-room at the beginning of the piece but had come back when the piano had stopped. 她的演奏结束了，因为她又开始演奏开头的旋律，每个小节后都有音阶的奔跑，而他等待结束时，心中的怨恨消退了。乐曲以高音区的八度颤音和低音区的最后一个深音八度结束。玛丽·简脸红着，紧张地卷起乐谱，逃离了房间，众人报以热烈的掌声。门口的四个年轻人中，最热烈的掌声来自于那四个年轻人，他们在乐曲开始时去了茶水间，但当钢琴停下来时又回来了。
Lancers were arranged. Gabriel found himself partnered with Miss Ivors. She was a frank-mannered talkative young lady, with a freckled face and prominent brown eyes. She did not wear a low-cut bodice and the large brooch which was fixed in the front of her collar bore on it an Irish device and motto. 兰瑟斯 已经安排好了。加布里埃尔发现自己与艾沃斯小姐搭档。她是一个坦率健谈的年轻女士，长着布满雀斑的脸和明显的棕色眼睛。她没有穿低胸服，她领口前别着一个大胸针，上面刻着一个爱尔兰的图案和座右铭。
When they had taken their places she said abruptly:
"I have a crow to pluck with you." 103
"With me?" said Gabriel.
She nodded her head gravely.
"What is it?" asked Gabriel, smiling at her solemn manner.
"Who is G. C.?" answered Miss Ivors, turning her eyes upon him.
Gabriel coloured and was about to knit his brows, as if he did not understand, when she said bluntly:
"O, innocent Amy! I have found out that you write for The Daily Express. Now, aren't you ashamed of yourself?"
"Why should I be ashamed of myself?" asked Gabriel, blinking his eyes and trying to smile.
"Well, I'm ashamed of you," said Miss Ivors frankly. "To say you'd write for a paper like that I didn't think you were a West Briton."
A look of perplexity appeared on
Gabriel's face. It was true that he wrote a literary column every Wednesday in The Daily Express, for which he was paid fifteen shillings. But that did not make him a West Briton surely. The books he received for review were almost more welcome than the paltry cheque. loved to feel the covers and turn over the pages of newly printed books. Nearly every day when his teaching in the college was ended he used 加百列的脸。他每周三在《每日快报》上写一篇文学专栏，每次得到 15 先令的报酬，这是真的。但这并不一定意味着他是西布里顿。他收到的书籍几乎比微薄的支票更受欢迎。 喜欢感受新印书的封面，翻阅书页。几乎每天，当他在学院的教学结束后，他都会这样做。
99 with runs of scales after every bar: 每一小节后面都来一段溜音节的速奏。
104 The Daily Express: 一份受尊敬的报纸,立场是亲英的。乔伊斯本人在 1902 到 1904 年间在这份报纸上发表书评。
105 West Briton: 西布立吞人。这种说法基于爱尔兰位于英国西方的事实，但却极具贬损性，指的是对英国而不是对本国效忠的爱尔兰人。古代盎格鲁一撒克逊人入侵以前住在不列颠岛上的凯尔特族人,后被迫退入西部山地, 逐渐形成近代威尔士人, 一部分渡海迁居高卢的阿尔魔利卡,故西布立吞人即指威尔士人。此处艾弗丝只是讯刺加布里埃尔的行为不像个爱尔兰人。
106 perplexity: 困惑，迷惑。
107 The ... cheque: 比起那张数目小得可怜的支票来, 他更欢迎收到的那些送来让他评论的书。
to wander down the quays to the secondhand booksellers, to Hickey's on Bachelor's Walk, to Web's or Massey's on Aston's Quay, or to O'Clohissey's in the bystreet. He did not know how to meet her charge. He wanted to say that literature was above politics. But they were friends of many years' standing and their careers had been parallel, first at the University and then as teachers: he could not risk a grandiose phrase with her. He continued blinking his eyes and trying to smile and murmured lamely that he saw nothing political in writing reviews of books. 漫步在码头 到二手书店，到巴切勒斯沃克的希基店，到阿斯顿码头的韦布或马西店，或者到拐角处的奥克洛西店。他不知道如何应对她的指责。他想说文学高于政治。但他们是多年的朋友，他们的职业生涯一直平行，先是在大学，然后是作为教师：他不敢用夸张的措辞冒险。 他继续眨眼，试图微笑，含糊地说他在书评中看不到任何政治因素。
When their turn to cross had come he was still perplexed and inattentive. Miss Ivors promptly took his hand in a warm grasp and said in a soft friendly tone:
"Of course, I was only joking. Come, we cross now."
When they were together again she spoke of the University question and Gabriel felt more at ease. A friend of hers had shown her his review of Browning's poems. That was how she had found out the secret: but she liked the review immensely. Then she said suddenly: 当他们再次在一起时，她谈到了大学问题 ，加布里埃尔感到更加自在。她的一个朋友给她看了他对勃朗宁诗集的评论。这就是她发现秘密的方式：但她非常喜欢这篇评论。然后她突然说：
"O, Mr. Conroy, will you come for an excursion to the Aran Isles this summer? We're going to stay there a whole month. It will be splendid out in the Atlantic. You ought to come. Mr. Clancy is coming, and Mr. Kilkelly and Kathleen Kearney. It would be splendid for Gretta too if she'd come. She's from Connacht, isn't she?" "哦，康罗伊先生，今年夏天你会来阿兰群岛游玩吗？我们打算在那里待一个月。在大西洋上会很壮观。你应该来。克兰西先生也会来，还有基尔凯利先生和凯瑟琳·卡尼。如果格蕾塔也来的话，对她来说也会很棒。她是康纳赫特人，对吧？"
"Her people are," said Gabriel shortly.
"But you will come, won't you?" said Miss Ivors, laying her arm hand eagerly on his arm.
"The fact is," said Gabriel, "I have just arranged to go - "
"Go where?" asked Miss Ivors.
"Well, you know, every year I go for a cycling tour with some fellows and so -"
"But where?" asked Miss Ivors.
"Well, we usually go to France or Belgium or perhaps Germany," said Gabriel awkwardly.
"And why do you go to France and Belgium," said Miss Ivors, "instead of visiting your own land?"
"Well," said Gabriel, "it's partly to keep in touch with the languages and partly for a change."
"And haven't you your own language to keep in touch with - Irish ?" asked Miss Ivors.
"Well," said Gabriel, "if it comes to that, you know, Irish is not my language."
Their neighbours had turned to listen to the cross-examination. Gabriel glanced right and left nervously and tried to keep his good humour under the ordeal which was making a blush invade his forehead. 他们的邻居们转过头来听审问。加百利紧张地左右看了看，努力保持他在这场考验中的幽默感，这让他的额头泛起红晕。
"And haven't you your own land to visit," continued Miss Ivors, "that you know nothing of, your own people, and your own country?"
"O, to tell you the truth," retorted Gabriel suddenly, "I'm sick of my own country, sick of
108 quays: 码头。
109 he ... her: 他不能冒险对她说一句大话。
110 cross: 舞蹈里的一个穿插动作。
111 the University question: 整个 19 世纪和 20 世纪初, 爱尔兰教育处于一个复杂的状态。大学问题最初是关于爱尔兰信仰天主教的男性接受的大学教育实质的问题,后来又与爱尔兰女性教育相联系。早在 1903年爱尔兰大学就接受女性入学 (这比英国早很多, 剑桥大学直到1948年才接受女生)。争论的焦点在于爱尔兰自身以及天主教信仰在多大程度上应该成为大学教育的一部分。
Gabriel did not answer for his retort had heated him.
"Why?" repeated Miss Ivors.
They had to go visiting together and, as he had not answered her, Miss Ivors said warmly:
"Of course, you've no answer."
Gabriel tried to cover his agitation by taking part in the dance with great energy. He avoided her eyes for he had seen a sour expression on her face. But when they met in the long chain he was surprised to feel his hand firmly pressed. She looked at him from under her brows for a moment quizzically until he smiled. Then, just as the chain was about to start again, she stood on tiptoe and whispered into his ear: 加布里埃尔试图通过充满活力地参与舞蹈来掩饰自己的激动。他避开了她的眼睛，因为他看到她脸上带着酸溜溜的表情。但当他们在长长的链条中相遇时，他惊讶地感到自己的手被紧紧握住。她斜眼看了他一会儿，直到他微笑。然后，就在链条即将重新开始时，她站在脚尖上，悄悄地对他耳语：
"West Briton!"
When the lancers were over Gabriel went away to a remote corner of the room where Freddy Malins' mother was sitting. She was a stout feeble old woman with white hair. Her voice had a catch in it like her son's and she stuttered slightly. She had been told that Freddy had come and that he was nearly all right. Gabriel asked her whether she had had a good crossing. She lived with her married daughter in Glasgow and came to Dublin on a visit once a year. She answered placidly that she had had a beautiful crossing and that the captain had been most attentive to her. She spoke also of the beautiful house her daughter kept in Glasgow, and of all the friends they had there. While her tongue rambled on Gabriel tried to banish from his mind all memory of the unpleasant incident with Miss Ivors. Of course the girl or woman, or whatever she was, was an enthusiast but there was a time for all things. Perhaps he ought not to have answered her like that. But she had no right to call him a West Briton before people, even in joke. She had tried to make him ridiculous before people, heckling him and staring at him with her rabbit's eyes. 当枪骑兵结束时，加布里埃尔走到房间的一个角落，那里是弗雷迪·马林斯的母亲坐着。她是一个身材魁梧、虚弱的老妇人，头发白了。她的声音像她儿子一样有些结巴。有人告诉她弗雷迪来了，他差不多没事了。加布里埃尔问她过得怎么样。她和已婚女儿住在格拉斯哥，每年来一次都柏林探望。她平静地回答说她的船程很美好，船长对她非常周到。她还谈到女儿在格拉斯哥的漂亮房子，以及他们在那里的所有朋友。当她滔滔不绝时，加布里埃尔试图从脑海中驱逐出与伊沃斯小姐的不愉快事件的所有记忆。当然，那个女孩或女人，或者她是什么，是一个狂热者，但一切都有时机。也许他不应该那样回答她。但她没有权利在人们面前称他为西布里顿，即使是开玩笑。她试图在人们面前让他变得荒谬，戏弄他，用她的兔子眼睛盯着他。
He saw his wife making her way towards him through the waltzing couples. When she reached him she said into his ear:
"Gabriel. Aunt Kate wants to know won't you carve the goose as usual. Miss Daly will carve the ham and I'll do the pudding."
"All right," said Gabriel.
"She's sending in the younger ones first as soon as this waltz is over so that we'll have the table to ourselves."
"Were you dancing?" asked Gabriel.
"Of course I was. Didn't you see me? What row had you with Molly Iwors ?"
"No row. Why? Did she say so?"
"Something like that. I'm trying to get that Mr. D'Arcy to sing. He's full of conceit, I think."
"There was no row," said Gabriel moodily, "only she wanted me to go for a trip to the west of Ireland and I said I wouldn't."
His wife clasped her hands excitedly and gave a little jump.
"O, do go, Gabriel," she cried. "I'd love to see Galway again."
"You can go if you like," said Gabriel coldly.
She looked at him for a moment, then turned to Mrs. Malins and said:
"There's a nice husband for you, Mrs. Malins."
While she was threading her way back across the room Mrs. Malins, without adverting
115 quizzically: 古怪地, 引人发笑地。
116 stuttered: 口吃, 结结巴巴。
117 whether ... crossing: 渡海峡时情况怎样。
118 rambled on: 唠唠彻吻地说。
119 heckling: 质问，诘问。
120 What ... Ivors?: 你跟莫莉艾弗丝榱裏些什么?
121 conceit: 自负, 狂妄。
to the interruption, went on to tell Gabriel what beautiful places there were in Scotland and beautiful scenery. Her son-in-law brought them every year to the lakes and they used to go fishing. Her son-in-law was a splendid fisher. One day he caught a beautiful big fish and the man in the hotel cooked it for their dinner. 继续告诉加布里埃尔苏格兰有多美丽的地方和美丽的风景。她女婿每年都带他们去湖边，他们过去常常去钓鱼。她女婿是一位出色的钓鱼者。有一天，他钓到了一条漂亮的大鱼，旅馆里的人为他们做了晚餐。
Gabriel hardly heard what she said. Now that supper was coming near he began to think again about his speech and about the quotation. When he saw Freddy Malins coming across the room to visit his mother Gabriel left the chair free for him and retired into the embrasure of the window. The room had already cleared and from the back room came the clatter of plates and knives. Those who still remained in the drawing-room seemed tired of dancing and were conversing quietly in little groups. Gabriel's warm trembling fingers tapped the cold pane of the window. How cool it must be outside! How pleasant it would be to walk out alone, first along by the river and then through the park! The snow would be lying on the branches of the trees and forming a bright cap on the top of the Wellington Monument. How much more pleasant it would be there than at the suppertable! 加布里埃尔几乎没有听到她说的话。现在晚饭快到了，他又开始思考自己的演讲和引用。当他看到弗雷迪·马林斯走过房间去看望他的母亲时，加布里埃尔为他留出了空椅子，退到了窗户的凹处。房间已经清空，从后面的房间传来盘子和刀叉的碰撞声。仍留在客厅里的人似乎已经厌倦了跳舞，正在小组中安静地交谈。加布里埃尔温暖而颤抖的手指敲击着窗户的冷玻璃。外面一定很凉爽！独自走出去，先沿着河边，然后穿过公园，一定很惬意！树枝上一定落满了雪，惠灵顿纪念碑的顶上形成了一顶明亮的帽子。在那里一定比在餐桌上更惬意！
He ran over the headings of his speech; Irish hospitality, sad memories, the Three Graces, Paris, the quotation from Browning. He repeated to himself a phrase he had written in his review: "One feels that one is listening to a thought-tormented music." Miss Ivors had praised the review. Was she sincere? Had she really any life of her own behind all her propagandism? There had never been any illfeeling between them until that night. It unnerved him to think that she would be at the suppertable, looking up at him while he spoke with her critical quizzing eyes. Perhaps she would not be sorry to see him fail in his speech. An idea came into his mind and gave him courage. He would say, alluding to Aunt Kate and Aunt Julia: 他匆匆浏览了演讲的标题；爱尔兰的好客，悲伤的回忆，三位女神，巴黎，从布朗宁那里引用的语录。他重复着自己在评论中写下的一句话：“人感觉自己正在倾听一种被思想折磨的音乐。”艾弗斯小姐曾赞扬过这篇评论。她是真诚的吗？她在所有的宣传背后真的有自己的生活吗？他们之间从来没有过任何芥蒂，直到那个晚上。想到她会坐在晚宴桌旁，用她那批判性的窥视眼睛看着他，这让他感到不安。也许她会乐意看到他在演讲中失败。一个想法闯入他的脑海，给了他勇气。他会提到凯特阿姨和茱莉亚阿姨说：
"Ladies and Gentlemen, the generation which is now on the wane among us may have had its faults but for my part I think it had certain qualities of hospitality, of humour, of humanity, which the new and very serious and hypereducated generation that is growing up around us seems to me to lack." Very good: that was one for Miss Ivors. What did he care that his aunts were only two ignorant old women? 女士们先生们，现在在我们中间逐渐衰落的一代 可能有它的缺点，但就我而言，我认为它具有一定的好客、幽默和人性，而在我们周围成长的新一代，显得非常严肃和过度教育，似乎缺乏这些品质。很好：这是为伊沃斯小姐而设的。他又怎么会在乎他的姑姑只是两个无知的老女人呢？
A murmur in the room attracted his attention. Mr. Browne was advancing from the door, gallantly escorting Aunt Julia, who leaned upon his arm, smiling and hanging her head. An irregular musketry of applause escorted her also as far as the piano and then, as Mary Jane seated herself on the stool, and Aunt Julia, no longer smiling, half turned so as to pitch her voice fairly into the room, gradually ceased. Gabriel recognised the prelude. It was that of an old song 房间里的窃窃私语引起了他的注意。布朗先生从门口走过来，殷勤地护送朱莉娅阿姨，她依靠着他的胳膊，微笑着低下头。一阵不规则的掌声也护送着她一直走到钢琴旁，然后当玛丽·简坐在凳子上，朱莉娅阿姨不再微笑，半转身将声音投向房间，渐渐停止。加布里埃尔认出了前奏。那是一首老歌的前奏。
122 adverting to: 注意, 留意。
123 retired ... window: 退到窗口的斜墙旁。
124 the park: 都伯林的凤凰公园 (the Phoenix Park) 是世界上最大的城市公园，占地超过1 700 英亩, 1747 年开放。
126 the Three Graces:三女神 (Aglaia, Euphrosyne, and Thalia，代表优雅、美丽、快乐 (grace, beauty, and the enjoyment of life）。她们与缪斯（the Muses）、阿芙罗狄蒂 (Aphrodite) 以及爱神厄洛斯 (Eros)一起负责最好的艺术、爱与生活中的美。
131 wane: 衰退。
of Aunt Julia's - Arrayed for the Bridal. Her voice, strong and clear in tone, attacked with great spirit the runs which embellish the air and though she sang very rapidly she did not miss even the smallest of the grace notes. To follow the voice, without looking at the singer's face, was to feel and share the excitement of swift and secure flight. Gabriel applauded loudly with all the others at the close of the song and loud applause was borne in from the invisible suppertable. It sounded so genuine that a little colour struggled into Aunt Julia's face as she bent to replace in the music-stand the old leather-bound songbook that had her initials on the cover. Freddy Malins, who had listened with his head perched sideways to hear her better, was still applauding when everyone else had ceased and talking animatedly to his mother who nodded her head gravely and slowly in acquiescence. At last, when he could clap no more, he stood up suddenly and hurried across the room to Aunt Julia whose hand he seized and held in both his hands, shaking it when words failed him or the catch in his voice proved too much for him. 朱莉婶婶的 - 婚礼盛装。她的声音清晰而有力，充满活力地攻击着装饰这首曲调的各种音符，尽管她唱得很快，却没有错过哪怕是最微小的优美音符。跟随着声音，不看歌手的脸，就能感受并分享到快速而安全飞行的兴奋。加布里埃尔在歌曲结束时和其他人一起大声鼓掌，从看不见的晚宴桌传来了热烈的掌声。掌声听起来如此真诚，以至于朱莉婶婶脸上涌现出一丝红晕，她弯下腰把带有她名字缩写的旧皮革装订歌谱放回乐谱架上。弗雷迪·马林斯斜着头倾听，以便更好地听清她的声音，当其他人停止鼓掌时，他仍在热烈鼓掌，并且与他的母亲兴奋地交谈，母亲庄重而缓慢地点头表示同意。最后，当他再也鼓掌不动时，他突然站起来，匆忙穿过房间走向朱莉婶婶，抓住她的手，双手握住，当他无法开口或者声音中的哽咽太过强烈时，他摇晃着她的手。
"I was just telling my mother," he said, "I never heard you sing so well, never. No, I never heard your voice so good as it is tonight. Now! Would you believe that now? That's the truth. Upon my word and honour that's the truth. I never heard your voice sound so fresh and so ... so clear and fresh, never." “我刚告诉我妈妈，”他说，“我从来没听过你唱得这么好，从来没有。不，我从来没有听过你的声音像今晚这样好。现在！你会相信吗？这是真的。我发誓，这是真的。我从来没有听过你的声音听起来这么清新和……如此清晰和清新，从来没有。”
Aunt Julia smiled broadly and murmured something about compliments as she released her hand from his grasp. Mr. Browne extended his open hand towards her and said to those who were near him in the manner of a showman introducing a prodigy to an audience: 朱莉娅阿姨面带微笑，轻声说了些关于赞美的话，然后从他的手中挣脱出来。布朗先生伸出张开的手向她伸过去，并对站在他附近的人们说道，就像是一个表演者向观众介绍一个奇才一样：
"Miss Julia Morkan, my latest discovery!"
He was laughing very heartily at this himself when Freddy Malins turned to him and said:
"Well, Browne, if you're serious you might make a worse discovery. All I can say is I never heard her sing half so well as long as I am coming here. And that's the honest truth."
"Neither did I," said Mr. Browne. "I think her voice has greatly improved."
Aunt Julia shrugged her shoulders and said with meek pride:
"Thirty years ago I hadn't a bad voice as voices go.
"I often told Julia," said Aunt Kate emphatically, "that she was simply thrown away in that choir. But she never would be said by me."
She turned as if to appeal to the good sense of the others against a refractory child while Aunt Julia gazed in front of her, a vague smile of reminiscence playing on her face.
"No," continued Aunt Kate, "she wouldn't be said or led by anyone, slaving there in that choir night and day, night and day. Six o'clock on Christmas morning! And all for what?"
"Well, isn't it for the honour of God, Aunt Kate?" asked Mary Jane, twisting round on the piano-stool and smiling.
Aunt Kate turned fiercely on her niece and said:
"I know all about the honour of God, Mary
132 Her ... notes: 她音调有力而清形, 精神十足地配合着一段段使曲调华丽的速奏。虽然她唱得很快, 却连一个最小的装饰音也没漏掉。
133 animatedly: 热烈地, 生气勃勃地。
134 in acquiescence: 默许。
135 prodigy: 惊人的事物, 奇事。
136 Thirty ... go: 三十年前, 跟一般槡子比,我的嗓子并不坏。
137 she ... choir: 在那个合唱队里, 人家简直就不把她当回事儿。
138 refractory: 难控制的。
139 reminiscence: 回想，怀旧。
Jane, but I think it's not at all honourable for the pope to turn out the women out of the choirs that have slaved there all their lives and put little whipper-snappers of boys over their heads. I suppose it is for the good of the Church if the pope does it. But it's not just, Mary Jane, and it's not right." 简，但我认为教皇把那些一辈子在那里辛苦工作的女人赶出唱诗班，然后让一群小男孩掌管他们，这一点都不光荣。我想教皇这样做是为了教会的利益。但这不公正，玛丽简，也不正确。
She had worked herself into a passion and would have continued in defence of her sister for it was a sore subject with her but Mary Jane, seeing that all the dancers had come back, intervened pacifically: 她已经激动得无法自持，本来会继续为她的姐妹辩护，因为这是她心中的痛处，但玛丽·简看到所有舞者都回来了，便和解地介入了：
"Now, Aunt Kate, you're giving scandal to Mr. Browne who is of the other persuasion."
Aunt Kate turned to Mr. Browne, who was grinning at this allusion to his religion, and said hastily:
"O, I don't question the pope's being right. I'm only a stupid old woman and I wouldn't presume to do such a thing. But there's such a thing as common everyday politeness and gratitude. And if I were in Julia's place I'd tell that Father Healey straight up to his face ...." "哦，我不怀疑教皇是对的。我只是一个愚蠢的老妇人，我不敢做这样的事情。但是有一种普通的日常礼貌和感激之情。如果我是朱莉娅，我会直接告诉海利神父面对面...."
"And besides, Aunt Kate," said Mary Jane, "we really are all hungry and when we are hungry we are all very quarrelsome."
"And when we are thirsty we are also quarrelsome," added Mr. Browne.
"So that we had better go to supper," said Mary Jane, "and finish the discussion afterwards."
On the landing outside the drawing-room Gabriel found his wife and Mary Jane trying to persuade Miss Ivors to stay for supper. But Miss Ivors, who had put on her hat and was buttoning her cloak, would not stay. She did not feel in the least hungry and she had already overstayed her time. 在客厅外的楼梯平台上，加布里埃尔发现他的妻子和玛丽·简正试图说服伊沃斯小姐留下来吃晚饭。但伊沃斯小姐已经戴上帽子，系好斗篷，不愿意留下来。她一点也不饿，而且已经超过了她的停留时间。
"But only for ten minutes, Molly," said Mrs. Conroy. "That won't delay you."
"To take a pick itself," said Mary Jane, "after all your dancing."
"I really couldn't," said Miss Ivors.
"I am afraid you didn't enjoy yourself at all," said Mary Jane hopelessly.
"Ever so much, I assure you," said Miss Ivors, "but you really must let me run off now."
"But how can you get home?" asked Mrs. Conroy.
"O, it's only two steps up the quay."
Gabriel hesitated a moment and said:
"If you will allow me, Miss Ivors, I'll see you home if you are really obliged to go."
But Miss Ivors broke away from them.
"I won't hear of it," she cried. "For goodness' sake go in to your suppers and don't mind me. I'm quite well able to take care of myself."
"Well, you're the comical girl, Molly," said Mrs. Conroy frankly.
"Beannacht libh," cried Miss Ivors, with a laugh, as she ran down the staircase.
Mary Jane gazed after her, a moody puzzled expression on her face, while Mrs. Conroy leaned over the banisters to listen for the hall-door. Gabriel asked himself was he the cause of her abrupt departure. But she did not seem to be in ill humour: she had gone away laughing. He stared blankly down the staircase. 玛丽·简凝视着她，脸上带着忧郁的困惑表情，而康罗伊夫人则俯身倚在栏杆上，倾听大厅门口的声音。加布里埃尔自问，是他导致了她的突然离开吗。但她似乎并不生气：她离开时笑了。他茫然地盯着楼梯下方。
At the moment Aunt Kate came toddling out of the supper-room, almost wringing her hands in despair.
140 the pope to turn out the women out of the choirs: 主教 Pius X 于1903 年决定：唱诗班是圣餐仪式的一个重要部分, 妇女应被排除在外, 由年轻男孩代替。
141 whipper-snappers: 傲慢的家伙, 自以为了不起的年轻人。
142 who ... persuasion: 他的宗教信仰跟您的不同。
143 Father Healey: 希利神父。
144 To ... itself: 吃点东西吧。
145 Beannacht libh: 晚安, 亲爱的。
146 ill humour: 不高兴, 不悦, 怒气
"Where is Gabriel?" she cried. "Where on earth is Gabriel? There's everyone waiting in there, stage to let, and nobody to carve the goose!"
"Here I am, Aunt Kate!" cried Gabriel, with sudden animation, "ready to carve a flock of geese, if necessary."
A fat brown goose lay at one end of the table and at the other end, on a bed of creased paper strewn with sprigs of parsley, lay a great ham, stripped of its outer skin and peppered over with crust crumbs, a neat paper frill round its shin and beside this was a round of spiced beef. Between these rival ends ran parallel lines of side-dishes: two little minsters of jelly, red and yellow; a shallow dish full of blocks of blancmange and red jam, a large green leafshaped dish with a stalk-shaped handle, on which lay bunches of purple raisins and peeled almonds, a companion dish on which lay a solid rectangle of Smyrna figs, a dish of custard topped with grated nutmeg, a small bowl full of chocolates and sweets wrapped in gold and silver papers and a glass vase in which stood some tall celery stalks. In the centre of the table there stood, as sentries to a fruit-stand which upheld a pyramid of oranges and American apples, two squat old-fashioned decanters of cut glass, one containing port and the other dark sherry. On the closed square piano a pudding in a huge yellow dish lay in waiting and behind it were three squads of bottles of stout and ale and minerals, drawn up according to the colours of their uniforms, the first two black, with brown and red labels, the third and smallest squad white, with transverse green sashes. 一只肥胖的棕色鹅躺在桌子的一端，另一端放着一张褶皱纸上撒满了欧芹的大火腿，火腿被剥去外皮，撒上了面包屑，腿上还围着一个整洁的纸边，旁边是一块香料牛肉。在这两端之间，摆放着一排并列的配菜：两个小果冻罐，一个红色一个黄色；一个装满白脆块的浅盘，还有红果酱，一个大的绿叶形状的盘子，上面有一把茎状手柄，上面摆放着一堆紫葡萄干和去皮杏仁，一个伴侣盘上摆放着一块方形的士姆拉无花果，一碟奶油撒上了磨碎的肉豆蔻，一个小碗里装满了用金银纸包裹的巧克力和糖果，一个玻璃花瓶里插着一些高大的芹菜茎。桌子中央摆放着两个古老的矮玻璃酒瓶，一只装着波特酒，另一只装着黑雪利酒，它们站在一个水果架前，水果架上摆放着一个橙子和美国苹果的金字塔。 在合上的方形钢琴上，一个放在巨大黄色盘子里的布丁静静地等待着，它后面是三排瓶子，分别是黑色、带有棕色和红色标签的第一、第二排，以及第三排最小的白色瓶子，带有横向绿色腰带。 根据它们制服的颜色排列。
Gabriel took his seat boldly at the head of the table and, having looked to the edge of the carver, plunged his fork firmly into the goose. He felt quite at ease now for he was an expert carver and liked nothing better than to find himself at the head of a well-laden table. 加布里埃尔大胆地坐在桌子的一头，看了看切肉刀的边缘，然后坚定地将叉子插入鹅肉中。他现在感到非常自在，因为他是一个熟练的切肉师，最喜欢的就是坐在一张摆满美食的桌子的一头。
"Miss Furlong, what shall I send you?" he asked. "A wing or a slice of the breast?"
"Just a small slice of the breast."
"Miss Higgins, what for you?"
"O, anything at all, Mr. Conroy."
While Gabriel and Miss Daly exchanged plates of goose and plates of ham and spiced beef Lily went from guest to guest with a dish of hot floury potatoes wrapped in a white napkin. This was Mary Jane's idea and she had also suggested apple sauce for the goose but Aunt Kate had said that plain roast goose without any apple sauce had always been good enough for her and she hoped she might never eat worse. Mary Jane waited on her pupils and saw that they got the best slices and Aunt Kate and Aunt Julia opened and carried across from the piano bottles of stout and ale for the gentlemen and bottles of minerals for the ladies. There was a great deal of confusion and laughter and noise, the noise of orders and counter-orders, of knives and forks, of corks and glass-stoppers. Gabriel began to 当加布里埃尔和戴利小姐交换鹅肉、火腿和香料牛肉的盘子时，莉莉拿着一盘裹在白色餐巾里的热面粉土豆从客人中间走过。这是玛丽·简的主意，她还建议给鹅配上苹果酱，但凯特阿姨说，对她来说，一直以来只吃过普通的烤鹅，没有苹果酱已经足够好了，她希望自己永远不会吃到更差的。玛丽·简招待她的学生，确保他们得到最好的肉片，而凯特阿姨和茱莉阿姨则从钢琴旁打开并端过瓶瓶罐罐的烈酒和淡啤酒给男士们，给女士们则是瓶瓶罐罐的汽水。现场一片混乱和欢笑声，有着点菜和反点菜的喧嚣声，有着刀叉声、瓶塞声和玻璃瓶塞声。加布里埃尔开始
152 In ... sherry: 桌子正中立着两只矮胖的老式雕花细颈玻璃瓶, 一只盛着白蒲萄酒,另一只盛着深色的雪利酒, 它们像卫兵似的守卫着一只水果盘, 盘子托起尖尖的一堆藒子和美洲苹果。
153 drawn up: 使排列。
154 sashes: 饰带
carve second helpings as soon as he had finished the first round without serving himself. Everyone protested loudly so that he compromised by taking a long draught of stout for he had found the carving hot work. Mary Jane settled down quietly to her supper but Aunt Kate and Aunt Julia were still toddling round the table, walking on each other's heels, getting in each other's way and giving each other unheeded orders. Mr. Browne begged of them to sit down and eat their suppers and so did Gabriel but they said there was time enough, so that, at last, Freddy Malins stood up and, capturing Aunt Kate, plumped her down on her chair amid general laughter. 他一结束第一轮就开始切第二份，而没有给自己盛食物。大家都大声抗议，于是他妥协地喝了一大口浓啤酒，因为他觉得切肉很辛苦。玛丽·简安静地坐下来吃晚餐，但凯特阿姨和茱莉亚阿姨仍在桌子周围蹒跚而行，踩着对方的脚跟，互相挡道，互相发号施令却被忽视。布朗先生请求她们坐下来吃晚餐，加布里埃尔也这样做了，但她们说还有足够的时间，最后，弗雷迪·马林斯站起来，抓住凯特阿姨，让她猛地坐在椅子上，引起了全场的笑声。
When everyone had been well served Gabriel said, smiling:
"Now, if anyone wants a little more of what vulgar people call stuffing let him or her speak."
A chorus of voices invited him to begin his own supper and Lily came forward with three potatoes which she had reserved for him.
"Very well," said Gabriel amiably, as he took another preparatory draught, "kindly forget my existence, ladies and gentlemen, for a few minutes."
He set to his supper and took no part in the conversation with which the table covered Lily's removal of the plates. The subject of talk was the opera company which was then at the Theatre Royal. Mr. Bartell D'Arcy, the tenor, a dark-complexioned young man with a smart moustache, praised very highly the leading contralto of the company but Miss Furlong thought she had a rather vulgar style of production. Freddy Malins said there was a Negro chieftain singing in the second part of the Gaiety pantomime who had one of the finest tenor voices he had ever heard. 他开始吃晚饭，没有参与桌上的谈话，桌子上盖着莉莉拿走盘子的谈话。谈话的主题是当时在皇家剧院的歌剧团。男高音歌手巴特尔·达西，一个皮肤黝黑、留着时髦小胡子的年轻人，非常赞扬了该团的首席女低音 ，但弗隆小姐认为她的表演风格有点庸俗。弗雷迪·马林斯说，在快乐剧团 的第二部分有一位黑人酋长 演唱，他听过的最好的男高音之一。
"Have you heard him?" he asked Mr. Bartell D'Arcy across the table.
"No," answered Mr. Bartell D'Arcy carelessly.
"Because," Freddy Malins explained, "now I'd be curious to hear your opinion of him. I think he has a grand voice."
"It takes Teddy to find out the really good things," said Mr. Browne familiarly to the table.
"And why couldn't he have a voice too?" asked Freddy Malins sharply. "Is it because he's only a black?"
Nobody answered this question and Mary Jane led the table back to the legitimate opera. One of her pupils had given her a pass for Mignon. Of course it was very fine, she said, but it made her think of poor Georgina Burns. Mr. Browne could go back farther still, to the old Italian companies that used to come to Dublin - Tietjens, Ilma de Murzka, Campanini, the great Trebelli, Giuglini, Ravelli, Aramburo. Those were the days, he said, when there was something like singing to be heard in Dublin. He told too of how the top gallery of the old Royal used to be packed night after night, of how one night an Italian tenor had sung five encores to Let Like a Soldier Fall, introducing a high every time, and of how the gallery boys would sometimes in their enthusiasm unyoke the horses 没有人回答这个问题，玛丽·简带领着大家回到了合法的歌剧院。她的一个学生给了她一张《弥涅翁》的通行证。当然，她说，这非常好，但让她想起了可怜的乔治娜·伯恩斯。布朗先生甚至可以回溯到过去常来都柏林的老意大利公司 - 提亚金斯、伊尔玛·德·穆尔兹卡、坎帕尼尼、伟大的特雷贝利、朱格利尼、拉维利、阿兰布罗。那些日子，他说，都柏林还能听到像样的歌唱声。他还讲述了过去老皇家剧院顶层包厢每晚都挤满了人，有一晚一个意大利男高音为《像士兵一样倒下》唱了五次安可，每次都加高音，以及包厢里的男孩们有时会在热情中解下马匹的挽具。
155 taking a long draught of stout: 喝了一大口黑啤酒。
156 Now ... speak: 嗯, 要是哪位客人想再来点儿俗人们说的㜚, 就请说话。
157 contralto: 女低音歌手。
158 chieftain: 酋长, 队长。
159 the Gaiety pantomime: 哑剧《欢乐》。 pantomime 是一种无声的、用身体语言表现神话的表演形式, 由合唱团在幕前吟唱故事。
160 Mignon: 《迷娘》, 歌德原著, 法国马思耐谱为歌剧的名作。
161 encores: 再演唱。
162 a high C: 高音C。
from the carriage of some great prima donna and pull her themselves through the streets to her hotel. Why did they never play the grand old operas now, he asked, Dinorah, Lucrezia Borgia? Because they could not get the voices to sing them: that was why. 从一些伟大女高音的马车上 并亲自把她们拉到街上的酒店。 他问，为什么他们现在不演唱那些宏伟的古老歌剧，Dinorah，Lucrezia Borgia？ 因为他们找不到合适的声音来演唱：这就是原因。
"Oh, well," said Mr. Bartell D’Arcy, "I presume there are as good singers today as there were then."
"Where are they?" asked Mr. Browne defiantly.
"In London, Paris, Milan," said Mr. Bartell D'Arcy warmly. "I suppose Caruso, for example, is quite as good, if not better than any of the men you have mentioned."
"Maybe so," said Mr. Browne. "But I may tell you I doubt it strongly."
"O, I'd give anything to hear Caruso sing," said Mary Jane.
"For me," said Aunt Kate, who had been picking a bone, "there was only one tenor. To please me, I mean. But I suppose none of you ever heard of him."
"Who was he, Miss Morkan?" asked Mr. Bartell D'Arcy politely.
"His name," said Aunt Kate, "was Parkinson. I heard him when he was in his prime and I think he had then the purest tenor voice that was ever put into a man's throat."
"Strange," said Mr. Bartell D’Arcy. "I never even heard of him."
"Yes, yes, Miss Morkan is right," said Mr. Browne. "I remember hearing of old Parkinson but he's too far back for me."
"A beautiful, pure, sweet, mellow English tenor," said Aunt Kate with enthusiasm.
Gabriel having finished, the huge pudding was transferred to the table. The clatter of forks and spoons began again. Gabriel's wife served out spoonfuls of the pudding and passed the plates down the table. Midway down they were held up by Mary Jane, who replenished them with raspberry or orange jelly or with blancmange and jam. The pudding was of Aunt Julia's making and she received praises for it from all quarters. She herself said that it was not quite brown enough. 加布里埃尔完成后，巨大的布丁被转移到桌子上。叉子和勺子的叮当声再次响起。加布里埃尔的妻子舀出一勺勺的布丁，然后将盘子递给桌子上的人。在中间停下来的时候，玛丽·简拿起盘子，用覆盆子果冻、橙子果冻或者白蒙格和果酱重新装满它们。这个布丁是由朱莉娅阿姨制作的，她受到了各方的赞扬。她自己说这个布丁的颜色还不够棕色。
"Well, I hope, Miss Morkan," said Mr. Browne, "that I'm brown enough for you because, you know, I'm all brown."
All the gentlemen, except Gabriel, ate some of the pudding out of compliment to Aunt Julia. As Gabriel never ate sweets the celery had been left for him. Freddy Malins also took a stalk of celery and ate it with his pudding. He had been told that celery was a capital thing for the blood and he was just then under doctor's care. Mrs. Malins, who had been silent all through the supper, said that her son was going down to Mount Melleray in a week or so. The table then spoke of Mount Melleray, how bracing the air was down there, how hospitable the monks were and how they never asked for a penny-piece from their guests. 除了加布里埃尔之外，所有绅士们都吃了一些布丁，以示对朱莉娅阿姨的尊敬。由于加布里埃尔从不吃甜食，所以芹菜留给了他。弗雷迪·马林斯也拿了一根芹菜，和布丁一起吃了。他被告知芹菜对血液很有好处，而他当时正接受医生的照料。马林斯夫人在整个晚餐期间一直保持沉默，她说她的儿子将在一周左右去梅勒雷山。桌子上谈论起梅勒雷山，那里的空气有多清新，修士们有多好客，他们从来不向客人索要一分钱。
"And do you mean to say," asked Mr.
163 unyoke ... prima donna: 从某个有名的歌剧女演员的马车上解下马来。
164 pull her themselves through the streets to her hotel: 这是 1868 年都伯林有名的一应轶事。德国女高音歌唱家 Therese Tietjens 在演出结束后, 学生们将绳子线在她的马车上, 拉着车穿过大街, 同时另一些学生在楼顶放烟花。
Browne incredulously, "that a chap can go down there and put up there as if it were a hotel and live on the fat of the land and then come away without paying anything?"
"O, most people give some donation to the monastery when they leave," said Mary Jane.
"I wish we had an institution like that in our Church," said Mr. Browne candidly.
He was astonished to hear that the monks never spoke, got up at two in the morning and slept in their coffins. asked what they did it for.
"That's the rule of the order," said Aunt Kate firmly.
"Yes, but why?" asked Mr. Browne.
Aunt Kate repeated that it was the rule, that was all. Mr. Browne still seemed not to understand. Freddy Malins explained to him, as best he could, that the monks were trying to make up for the sins committed by all the sinners in the outside world. The explanation was not very clear for Mr. Browne grinned and said: 凯特阿姨重复说这就是规矩，就这样。布朗先生似乎仍然不明白。弗雷迪·马林斯尽其所能向他解释，修士们试图弥补外界所有罪人犯下的罪过。这个解释对布朗先生来说并不是很清楚，他只是咧嘴笑着说：
"I like that idea very much but wouldn't a comfortable spring bed do them as well as a coffin?"
"The coffin," said Mary Jane, "is to remind them of their last end."
As the subject had grown lugubrious it was buried in a silence of the table during which Mrs. Malins could be heard saying to her neighbour in an indistinct undertone:
"They are very good men, the monks, very pious men."
The raisins and almonds and figs and apples and oranges and chocolates and sweets were now passed about the table and Aunt Julia invited all the guests to have either port or sherry. At first Mr. Bartell D'Arcy refused to take either but one of his neighbours nudged him and whispered something to him upon which he allowed his glass to be filled. Gradually as the last glasses were being filled the conversation ceased. A pause followed, broken only by the noise of the wine and by unsettlings of chairs. The Misses Morkan, all three, looked down at the tablecloth. Someone coughed once or twice and then a few gentlemen patted the table gently as a signal for silence. The silence came and Gabriel pushed back his chair. 葡萄干、杏仁、无花果、苹果、橙子、巧克力和糖果现在在桌子上传递，朱莉娅阿姨邀请所有客人喝波特酒或雪利酒。一开始，巴特尔·达西先生拒绝喝任何一种，但他的一个邻居拍了拍他，悄声对他说了些什么，于是他允许自己的杯子被倒满。随着最后几杯酒被倒满，谈话逐渐停止。接着是一段沉默，只有酒的声音和椅子的移动声。莫肯小姐们三人都低头看着桌布。有人咳嗽了一两声，然后几位绅士轻轻拍了拍桌子，作为安静的信号。沉默降临了，加布里埃尔推开椅子。
The patting at once grew louder in encouragement and then ceased altogether. Gabriel leaned his ten trembling fingers on the tablecloth and smiled nervously at the company. Meeting a row of upturned faces he raised his eyes to the chandelier. The piano was playing a waltz tune and he could hear the skirts sweeping against the drawing-room door. People, perhaps, were standing in the snow on the quay outside, gazing up at the lighted windows and listening to the waltz music. The air was pure there. In the distance lay the park where the trees were weighted with snow. The Wellington Monument wore a gleaming cap of snow that flashed westward over the white field of Fifteen Acres. 一下子，拍手声更加响亮地鼓励着，然后完全停止了。加布里埃尔把颤抖的十根手指放在桌布上，紧张地对着众人微笑。他看到一排仰望的脸庞，抬起眼睛看向吊灯。钢琴正在演奏华尔兹曲，他能听到裙摆在客厅门口掠过的声音。也许外面的码头上站着人们，凝视着亮着灯光的窗户，聆听着华尔兹音乐。那里的空气很纯净。远处是那片挂满雪的公园。惠灵顿纪念碑戴着一顶闪闪发光的雪帽，向西闪耀在十五英亩的白色田野上。
He began:
"Ladies and Gentlemen,
"It has fallen to my lot this evening, as in years past, to perform a very pleasing task but a task for which I am afraid my poor powers as a speaker are all too inadequate."
"No, no!" said Mr. Browne.
"But, however that may be, I can only ask you tonight to take the will for the deed and to lend me your attention for a few moments while
169 slept in their coffins: 这是一种广为流传的夸张说法，也许是受到特拉普派（the Trappist) 的影响而产生的。这一派终生禁声, 且穿着法衣睡觉。
170 spring bed: 弹簧床。
171 lugubrious: 阴郁的，悲哀的。
172 nudged: 用肘轻推。
173 unsettlings: 移动。
I endeavour to express to you in words what my feelings are on this occasion.
"Ladies and Gentlemen, it is not the first time that we have gathered together under this hospitable roof, around this hospitable board. It is not the first time that we have been the recipients - or perhaps, I had better say, the victims - of the hospitality of certain good ladies." 女士们先生们，这并不是我们第一次聚集在这个热情好客的屋顶下，围坐在这张热情好客的餐桌旁。这也不是我们第一次成为某些好心女士的款待对象 - 或者，我最好说，是受害者。
He made a circle in the air with his arm and paused. Everyone laughed or smiled at Aunt Kate and Aunt Julia and Mary Jane who all turned crimson with pleasure. Gabriel went on more boldly: 他用手臂在空中画了一个圈，停顿了一下。每个人都笑了或者对凯特阿姨、茱莉亚阿姨和玛丽·简微笑，她们都因为高兴而变得通红。加布里埃尔更加大胆地继续说道：
"I feel more strongly with every recurring year that our country has no tradition which does it so much honour and which it should guard so jealously as that of its hospitality. It is a tradition that is unique as far as my experience goes (and I have visited not a few places abroad) among the modern nations. Some would say, perhaps, that with us it is rather a failing than anything to be boasted of. But granted even that, it is, to my mind, a princely failing, and one that I trust will long be cultivated among us. Of one thing, at least, I am sure. As long as this one roof shelters the good ladies aforesaid - and I wish from my heart it may do so for many and many a long year to come - the tradition of genuine warm-hearted courteous Irish hospitality, which our forefathers have handed down to us and which we in turn must hand down to our descendants, is still alive among us." 我越来越强烈地感到，我们的国家没有任何传统比待客之道更值得自豪，也没有任何传统比待客之道更应该被我们珍视。就我所知，这一传统在现代国家中是独一无二的（我曾经去过不少国外地方）。也许有人会说，对我们来说，这更像是一种缺点，而不是什么值得夸耀的事情。但即使如此，我认为这是一种高贵的缺点，我希望这种传统能够在我们中间长久地传承下去。至少有一点我是肯定的。只要这一屋檐庇护着上述那些善良的女士们 - 我由衷地希望它能够这样做很多很多年 - 我们祖先传给我们的真诚热情、有礼貌的爱尔兰待客之道的传统，我们也必须传给我们的后代，这一传统在我们中间依然存在。
A hearty murmur of assent ran round the table. It shot through Gabriel's mind that Miss Ivors was not there and that she had gone away discourteously: and he said with confidence in himself: 一阵热烈的赞同声在桌子周围传开。加布里埃尔心中闪过一个念头，伊沃斯小姐不在那里，她已经失礼地离开了；他自信地说道：
"Ladies and Gentlemen,
"A new generation is growing up in our midst, a generation actuated by new ideas and new principles. It is serious and enthusiastic for these new ideas and its enthusiasm, even when it is misdirected, is, I believe, in the main sincere. But we are living in a sceptical and, if I may use the phrase, a thought-tormented age: and sometimes I fear that this new generation, educated or hypereducated as it is, will lack those qualities of humanity, of hospitality, of kindly humour which belonged to an older day. Listening tonight to the names of all those great singers of the past it seemed to me, I must confess, that we were living in a less spacious age. Those days might, without exaggeration, be called spacious days: and if they are gone beyond recall let us hope, at least, that in gatherings such as this we shall still speak of them with pride and affection, still cherish in our hearts the memory of those dead and gone great ones whose fame the world will not willingly let die." 我们中间正在成长一代新人，这一代被新思想和新原则所激励。它对这些新思想非常认真和热情，即使有时方向错误，我相信，总体上是真诚的。但我们生活在一个怀疑和，如果我可以这么说，一个思想受折磨的时代：有时我担心这一代新人，无论受过教育还是过度受教育，都会缺乏那些属于旧日的人性、好客和和蔼的幽默品质。今晚听着过去所有那些伟大歌手的名字，我不得不承认，我觉得我们生活在一个不那么宽敞的时代。那些日子可以毫不夸张地称为宽敞的日子：如果它们已经过去不复返，让我们至少希望，在这样的聚会中，我们仍然会自豪地和深情地谈论它们，仍然会在心中珍惜那些已故的伟大人物的记忆，世界不愿意让他们的名声消逝。
"Hear, hear!" said Mr. Browne loudly.
"But yet," continued Gabriel, his voice falling into a softer inflection, "there are always in gatherings such as this sadder thoughts that will recur to our minds: thoughts of the past, of youth, of changes, of absent faces that we miss here tonight. Our path through life is strewn with many such sad memories: and were we to brood upon them always we could not find the heart to go on bravely with our work among the living. We have all of us living duties and living affections which claim, and rightly claim, our strenuous endeavours. "但是," 加布里埃尔继续说道，他的声音渐渐柔和了起来，"在这样的聚会中总会有一些更令人伤感的思绪涌上心头：对过去、青春、变迁、缺席的面孔的思念，今晚我们在这里怀念的。我们人生的道路上布满了许多这样令人悲伤的回忆：如果我们总是沉湎于这些回忆之中，我们就无法坚定地继续与活着的人们共同努力。我们每个人都有活着的责任和活着的情感需要我们努力去实现，这是理所当然的。"
"Therefore, I will not linger on the past. I
174 endeavour: 尝试
175 aforesaid: 上述的, 前述的。
176 assent: 替成, 同意。
177 discourteously: 不礼貌地, 粗鲁地。
178 actuated: 激励, 驱使。
179 beyond recall: 一去不复返
180 inflection: 变音, 转调。
181 brood upon: 沉思。
will not let any gloomy moralising intrude upon us here tonight. Here we are gathered together for a brief moment from the bustle and rush of our everyday routine. We are met here as friends, in the spirit of good-fellowship, as colleagues, also to a certain extent, in the true spirit of camaraderie, and as the guests of - what shall I call them? - the Three Graces of the Dublin musical world." 今晚我们不会让任何沮丧的道德说教打扰我们。我们在这里聚集在一起，暂时远离我们日常生活的喧嚣和匆忙。我们在这里相聚如朋友，以友谊的精神，也在某种程度上，以真正的同志情谊之精神，作为——我应该怎么称呼他们呢？——都柏林音乐界的三位女神的客人。
The table burst into applause and laughter at this allusion. Aunt Julia vainly asked each of her neighbours in turn to tell her what Gabriel had said.
"He says we are the Three Graces, Aunt Julia," said Mary Jane.
Aunt Julia did not understand but she looked up, smiling, at Gabriel, who continued in the same vein:
"Ladies and Gentlemen,
"I will not attempt to play tonight the part that Paris played on another occasion. I will not attempt to choose between them. The task would be an invidious one and one beyond my poor powers. For when I view them in turn, whether it be our chief hostess herself, whose good heart, whose too good heart, has become a byword with all who know her, or her sister, who seems to be gifted with perennial youth and whose singing must have been a surprise and a revelation to us all tonight, or, last but not least, when I consider our youngest hostess, talented, cheerful, hard-working and the best of nieces, I confess, Ladies and Gentlemen, that I do not know to which of them I should award the prize. , 我今晚不会尝试扮演巴黎在另一场合扮演的角色。我不会尝试在他们之间做选择。这项任务将是一项令人厌恶的任务，超出了我的能力范围。因为当我依次看到她们时，无论是我们的女主人本人，她的善良心灵，她过于善良的心灵，已经成为所有认识她的人的谚语，还是她的姐妹，似乎天生年轻，她的歌声对我们所有人来说都是一个惊喜和启示，或者，最后但同样重要的是，当我考虑到我们最年轻的女主人，有才华、开朗、勤奋，是最好的侄女时，我承认，女士们，先生们，我不知道应该把奖项颁给她们中的哪一个。
Gabriel glanced down at his aunts and, seeing the large smile on Aunt Julia's face and the tears which had risen to Aunt Kate's eyes, hastened to his close. He raised his glass of port gallantly, while every member of the company fingered a glass expectantly, and said loudly: 加布里埃尔扫视了一下他的阿姨们，看到朱莉娅阿姨脸上的灿烂笑容和凯特阿姨眼中涌起的泪水，便赶紧走到他们身边。他英勇地举起了他的波特酒杯，而每个人都期待地摸了摸自己的酒杯，然后大声说道：
"Let us toast them all three together. Let us drink to their health, wealth, long life, happiness and prosperity and may they long continue to hold the proud and self-won position which they hold in their profession and the position of honour and affection which they hold in our hearts." 让我们一起为他们三人干杯。让我们为他们的健康、财富、长寿、幸福和繁荣干杯，愿他们能够继续保持在自己的职业中所获得的骄傲和自豪地位，以及在我们心中所拥有的尊荣和深情之位。
All the guests stood up, glass in hand, and turning towards the three seated ladies, sang in unison, with Mr. Browne as leader:
"For they are jolly gay fellows,
For they are jolly gay fellows,
For they are jolly gay fellows,
Which nobody can deny."
Aunt Kate was making frank use of her handkerchief and even Aunt Julia seemed moved. Freddy Malins beat time with his pudding-fork and the singers turned towards one another, as if in melodious conference, while they sang with emphasis: 凯特阿姨正在大量使用手绢，甚至茱莉亚阿姨似乎也被感动了。弗雷迪·马林斯用他的布丁叉打着节拍，歌手们转向彼此，仿佛在歌唱时进行悦耳的交流，他们强调地唱道：
"Unless he tells a lie,
Unless he tells a lie."
Then, turning once more towards their hostesses, they sang:
"For they are jolly gay fellows,
For they are jolly gay fellows,
For they are jolly gay fellows,
Which nobody can deny."
The acclamation which followed was taken up beyond the door of the supper-room by many of the other guests and renewed time after time, Freddy Malins acting as officer with his
182 bustle: 多多忙忙
183 camaraderie: 同志之爱，友情。
184 in the same vein: 以同样的口气。
185 invidious: 易招㜍妒的，招致不满的。
186 byword: 口头禅。
187 perennial: 长期的, 永久的。
188 award the prize: 这里加布里埃尔再次使用 Paris 的典故。
189 beat time: 打拍子。
190 The ... time: 晚餐房间门外一次又
一次地响起其他客人们的应声欢呼和鼓掌。
fork on high.
The piercing morning air came into the hall where they were standing so that Aunt Kate said:
"Close the door, somebody. Mrs. Malins will get her death of cold."
"Browne is out there, Aunt Kate," said Mary Jane.
"Browne is everywhere," said Aunt Kate, lowering her voice.
Mary Jane laughed at her tone.
"Really," she said archly, "he is very attentive."
"He has been laid on here like the gas,"191 said Aunt Kate in the same tone, "all during the Christmas."
She laughed herself this time goodhumouredly and then added quickly:
"But tell him to come in, Mary Jane, and close the door. I hope to goodness he didn't hear me."
At that moment the hall-door was opened and Mr. Browne came in from the doorstep, laughing as if his heart would break. He was dressed in a long green overcoat with mock astrakhan cuffs and collar and wore on his head an oval fur cap. He pointed down the snowcovered quay from where the sound of shrill prolonged whistling was borne in. 那时，大厅门被打开，布朗先生从门口走了进来，笑得似乎要笑裂了心似的。他穿着一件长长的绿色大衣，袖口和领子上装饰着仿羊毛皮，头上戴着一个椭圆形的毛皮帽子。他指着被积雪覆盖的码头，那里传来尖锐而持续的哨声。
"Teddy will have all the cabs in Dublin out," he said.
Gabriel advanced from the little pantry behind the office, struggling into his overcoat and, looking round the hall, said:
"Gretta not down yet?"
"She's getting on her things, Gabriel," said Aunt Kate.
"Who's playing up there?" asked Gabriel.
"Nobody. They're all gone."
"O no, Aunt Kate," said Mary Jane. "Bartell D'Arcy and Miss O'Callaghan aren't gone yet."
"Someone is fooling at the piano anyhow," said Gabriel.
Mary Jane glanced at Gabriel and Mr.
Browne and said with a shiver:
"It makes me feel cold to look at you two gentlemen muffled up like that. I wouldn't like to face your journey home at this hour."
"I'd like nothing better this minute," said Mr. Browne stoutly, "than a rattling fine walk in the country or a fast drive with a good spanking goer between the shafts. "195
"We used to have a very good horse and trap at home," said Aunt Julia sadly.
"The never-to-be-forgotten Johnny," said Mary Jane, laughing.
Aunt Kate and Gabriel laughed too.
"Why, what was wonderful about Johnny?" asked Mr. Browne.
"The late lamented Patrick Morkan, our grandfather, that is," explained Gabriel, "commonly known in his later years as the old gentleman, was a glue-boiler. ',
"O, now, Gabriel," said Aunt Kate, laughing, "he had a starch mill."198
"Well, glue or starch," said Gabriel, "the old gentleman had a horse by the name of Johnny. And Johnny used to work in the old gentleman's mill, walking round and round in order to drive the mill. That was all very well; but now comes the tragic part about Johnny. One fine day the old gentleman thought he'd like to drive out with the quality to a military review in "好吧，胶水或淀粉，"加布里埃尔说，"老绅士有一匹名叫约翰尼的马。 约翰尼过去常在老绅士的磨坊里工作，绕着圈走来走去，以便驱动磨坊。 这一切都很好；但现在是关于约翰尼的悲剧部分。 有一天，老绅士想和贵族们一起去参加一次军事检阅。"
191 gas: 当时煤气在都柏林还是新鲜事物。
192 mock astrakhan cuffs and collar: 仿阿斯特拉罕羔皮的袖口和领子。阿斯特拉罕: 俄国城市。
193 muffled up: 裏, 包。
194 stoutly: 刚强地, 坚决地。
195 a ... shafts: 轻车快马地奔一阵子。
196 trap: 双轮轻便马车。
197 glue-boiler: 做熬胶生意的人。
198 starch mill: 粉坊。
the park.
"The Lord have mercy on his soul," said Aunt Kate compassionately.
"Amen," said Gabriel. "So the old gentleman, as I said, harnessed Johnny and put on his very best tall hat and his very best stock collar and drove out in grand style from his ancestral mansion somewhere near Back Lane, I think." "阿门，"加布里埃尔说。"就像我说的那样，老绅士给约翰尼套上了他最好的高礼帽和最好的领结，然后以盛大的方式从他位于巴克巷附近的祖宅驾驶出去。"
Everyone laughed, even Mrs. Malins, at Gabriel's manner and Aunt Kate said:
"O, now, Gabriel, he didn't live in Back Lane, really. Only the mill was there."
"Out from the mansion of his forefathers," continued Gabriel, "he drove with Johnny. And everything went on beautifully until Johnny came in sight of King Billy's statue: and whether he fell in love with the horse King Billy sits on or whether he thought he was back again in the mill, anyhow he began to walk round the statue." “从他祖辈的豪宅出来，”加布里埃尔继续说道，“他和约翰尼一起驾车离开。一切都进行得很顺利，直到约翰尼看到比利国王的雕像：无论是他爱上了比利国王骑的那匹马 ，还是他以为自己又回到了磨坊，总之他开始绕着雕像走。”
Gabriel paced in a circle round the hall in his goloshes amid the laughter of the others.
"Round and round he went," said Gabriel, "and the old gentleman, who was a very pompous old gentleman, was highly indignant. Go on, sir! What do you mean, sir? Johnny! Johnny! Most extraordinary conduct! Can't understand the horse!" “他转来转去，”加布里埃尔说，“那位老绅士，一个非常自负的老绅士，非常愤怒。继续，先生！你是什么意思，先生？约翰尼！约翰尼！行为极不寻常！完全不懂这匹马！”
The peal of laughter which followed Gabriel's imitation of the incident was interrupted by a resounding knock at the hall-door. Mary Jane ran to open it and let in Freddy Malins. Freddy Malins, with his hat well back on his head and his shoulders humped with cold, was puffing and steaming after his exertions. 大家对加布里埃尔模仿事件的笑声 突然被大厅门口响亮的 敲声打断。玛丽·简跑过去打开门，让弗雷迪·马林斯进来。弗雷迪·马林斯头戴斜帽，肩膀因寒冷而耸起，他在努力后喘着气，蒸腾着热气。
"I could only get one cab," he said.
"O, we'll find another along the quay," said Gabriel.
"Yes," said Aunt Kate. "Better not keep Mrs. Malins standing in the draught."
Mrs. Malins was helped down the front steps by her son and Mr. Browne and, after many manoeuvres, hoisted into the cab. Freddy
Malins clambered in after her and spent a long time settling her on the seat, Mr. Browne helping him with advice. At last she was settled comfortably and Freddy Malins invited Mr. Browne into the cab. There was a good deal of confused talk, and then Mr. Browne got into the cab. The cabman settled his rug over his knees, and bent down for the address. The confusion grew greater and the cabman was directed differently by Freddy Malins and Mr. Browne, each of whom had his head out through a window of the cab. The difficulty was to know where to drop Mr. Browne along the route, and Aunt Kate, Aunt Julia and Mary Jane helped the discussion from the doorstep with cross directions and contradictions and abundance of laughter. As for Freddy Malins he was speechless with laughter. He popped his head in and out of the window every moment to the great danger of his hat, and told his mother how the discussion was progressing, till at last Mr. Browne shouted to the bewildered cabman above the of everybody's laughter: 马林斯跟着她爬进车里，花了很长时间把她安顿在座位上，布朗先生给了他一些建议。最后，她舒适地坐好了，弗雷迪·马林斯邀请布朗先生上了车。有很多混乱的交谈，然后布朗先生上了车。车夫把毯子盖在他膝盖上，弯下腰问地址。混乱变得更加严重，车夫被弗雷迪·马林斯和布朗先生不同的指示引导，他们两人都把头伸出车窗。困难在于要知道在路线上何处放下布朗先生，凯特阿姨、茱莉亚阿姨和玛丽简在门口提供了交叉指示、矛盾和大量的笑声帮助讨论。至于弗雷迪·马林斯，他笑得说不出话来。他时不时地把头伸进窗户，让他的帽子处于极大的危险之中，并告诉他的母亲讨论的进展情况，直到最后布朗先生对着困惑的车夫大声喊道，掩盖了所有人的笑声：
"Do you know Trinity College?"
"Yes, sir," said the cabman.
199 he'd ... park: 他要摆起上流人士的架势,到公园里去参观军事检阅。
200 stock collar: 硬领。
201 the horse King Billy sits on: 信仰新教的英王威廉三世 (William of Orange, 生于 1650 年, 1689-1702 在位)在 1690 年打败爱尔兰, 开始了他对爱尔兰的完全征服。他的塑像位于三一学院和议会对面。激烈的爱尔兰民族主义者非常喜爱将威廉摔死的这匹马。
202 The peal of laughter: 一连串大笑声
203 resounding: 响亮的。
204 after ... cab: 忙乱了一阵, 被扶上了马车。
205 din: 喧器。
"Well, drive bang up against Trinity College gates," said Mr. Browne, "and then we'll tell you where to go. You understand now?"
"Yes, sir," said the cabman.
"Make like a bird for Trinity College."
"Right, sir," said the cabman.
The horse was whipped up and the cab rattled off along the quay amid a chorus of laughter and adieus.
Gabriel had not gone to the door with the others. He was in a dark part of the hall gazing up the staircase. A woman was standing near the top of the first flight, in the shadow also. He could not see her face but he could see the terracotta and salmon-pink panels of her skirt which the shadow made appear black and white. It was his wife. She was leaning on the banisters, listening to something. Gabriel was surprised at her stillness and strained his ear to listen also. But he could hear little save the noise of laughter and dispute on the front steps, a few chords struck on the piano and a few notes of a man's voice singing. 加布里埃尔没有和其他人一起走到门口。他站在大厅的一个黑暗角落里，仰望着楼梯。一个女人站在第一层楼梯的顶部附近，也在阴影中。他看不见她的脸，但能看见她裙子的赭色和鲑鱼粉色的面板，阴影使其看起来是黑白的。那是他的妻子。她靠在栏杆上，听着什么。加布里埃尔对她的静止感到惊讶，竭力倾听。但他除了听到前台楼梯上笑声和争吵声、钢琴上弹奏的几个和弦和一个男声唱歌的几个音符外，几乎什么也听不到。
He stood still in the gloom of the hall, trying to catch the air that the voice was singing and gazing up at his wife. There was grace and mystery in her attitude as if she were a symbol of something. He asked himself what is a woman standing on the stairs in the shadow, listening to distant music, a symbol of. If he were a painter he would paint her in that attitude. Her blue felt hat would show off the bronze of her hair against the darkness and the dark panels of her skirt would show off the light ones. Distant Music he would call the picture if he were a painter. 他站在大厅的阴暗处一动不动，试图捕捉那声音唱歌的空气，凝视着他的妻子。她的姿态中充满了优雅和神秘，仿佛她是某种象征。他自问，一个女人站在阴影中的楼梯上，聆听着远处的音乐，是某种象征。如果他是一位画家，他会用那种姿态来描绘她。她的蓝色毡帽会突显出她头发的铜色与黑暗的对比，裙子的深色面板会突显出浅色的部分。如果他是一位画家，他会称这幅画为《远处的音乐》。
The hall-door was closed; and Aunt Kate, Aunt Julia and Mary Jane came down the hall, still laughing.
"Well, isn't Freddy terrible?" said Mary Jane. "He's really terrible."
Gabriel said nothing but pointed up the stairs towards where his wife was standing. Now that the hall-door was closed the voice and the piano could be heard more clearly. Gabriel held up his hand for them to be silent. The song seemed to be in the old Irish tonality and the singer seemed uncertain both of his words and of his voice. The voice, made plaintive by distance and by the singer's hoarseness, faintly illuminated the cadence of the air with words expressing grief: 加布里埃尔什么也没说，只是指着楼梯上面他妻子站着的地方。现在大厅门关上了，声音和钢琴声听起来更清晰了。加布里埃尔举起手示意他们安静。这首歌似乎是在古老的爱尔兰音调中，歌手似乎对自己的歌词和声音都不确定。声音因距离和歌手的嘶哑而变得哀怨，微弱地点亮了表达悲伤的歌词的旋律。
"O, the rain falls on my heavy locks
And the dew wets my skin,
My babe lies cold ...
"O," exclaimed Mary Jane. "It's Bartell D'Arcy singing and he wouldn't sing all the night. O, I'll get him to sing a song before he goes."
"O, do, Mary Jane," said Aunt Kate.
Mary Jane brushed past the others and ran to the staircase, but before she reached it the singing stopped and the piano was closed abruptly.
"O, what a pity!" she cried. "Is he coming down, Gretta?"
Gabriel heard his wife answer yes and saw
206 adieus: 道别。
207 the terra-cotta and salmon-pink panels: 赤褐色和橙红色的拼花。
208 tonality: 音调。
209 plaintive: 悲哀的, 哀伤的。
210 the cadence of the air: 曲调的抑扬顿挫。
211 locks: 头发。
212 O ... cold: 这首歌是《奥格里姆的姑娘》,故事讲的是一个农村姑娘受了格雷格里勋爵的诱惑，有了他的小孩。她到勋爵的城堡去寻求帮助, 却被他的母亲假扮儿子的声音驱逐出去。绝望中女子带着小孩乘船出海自杀。尽管勋爵发现了其母的奸计飞马相救，却依然没有成功。最后勋爵哀悼自己失去的爱人, 对母亲加以诅咒。
her come down towards them. A few steps behind her were Mr. Bartell D'Arcy and Miss O'Callaghan.
"O, Mr. D'Arcy," cried Mary Jane, "it's downright mean of you to break off like that when we were all in raptures listening to you."
"I have been at him all the evening," said Miss O'Callaghan, "and Mrs. Conroy, too, and he told us he had a dreadful cold and couldn't sing."
"O, Mr. D'Arcy," said Aunt Kate, "now that was a great fib to tell."
"Can't you see that I'm as hoarse as a crow?" said Mr. D'Arcy roughly.
He went into the pantry hastily and put on his overcoat. The others, taken aback by his rude speech, could find nothing to say. Aunt Kate wrinkled her brows and made signs to the others to drop the subject. Mr. D'Arcy stood swathing his neck carefully and frowning. 他匆忙地走进食品储藏室，穿上了他的外套。其他人被他粗鲁的言辞吓了一跳，无话可说。凯特阿姨皱着眉头，示意其他人不要再谈这个话题。达西先生小心地围着脖子，皱着眉头。
"It's the weather," said Aunt Julia, after a pause.
"Yes, everybody has colds," said Aunt Kate readily, "everybody."
"They say," said Mary Jane, "we haven't had snow like it for thirty years; and I read this morning in the newspapers that the snow is general all over Ireland."
"I love the look of snow," said Aunt Julia sadly.
"So do I," said Miss O'Callaghan. "I think Christmas is never really Christmas unless we have the snow on the ground."
"But poor Mr. D'Arcy doesn't like the snow," said Aunt Kate, smiling.
Mr. D'Arcy came from the pantry, fully swathed and buttoned, and in a repentant tone told them the history of his cold. Everyone gave him advice and said it was a great pity and urged him to be very careful of his throat in the night air. Gabriel watched his wife, who did not join in the conversation. She was standing right under the dusty fanlight and the flame of the gas lit up the rich bronze of her hair, which he had seen her drying at the fire a few days before. She was in the same attitude and seemed unaware of the talk about her. At last she turned towards them and Gabriel saw that there was colour on her cheeks and that her eyes were shining. A sudden tide of joy went leaping out of his heart. 达西先生从餐具室走出来，裹得严严实实，扣得紧紧的，悔过的口气告诉他们他感冒的经过。每个人都给他出主意，说这太可惜了，并敦促他在夜间空气中要非常小心喉咙。加布里埃尔看着他的妻子，她没有参与谈话。她站在灰尘的天窗正下方，煤气灯的火焰照亮了她丰盛的铜色头发，他几天前看到她在火前吹干头发。她保持着同样的姿势，似乎没有注意到围绕她的谈话。最后她转向他们，加布里埃尔看到她脸颊泛红，眼睛闪闪发光。一股突如其来的喜悦之潮从他的心中腾空而起。
"Mr. D'Arcy," she said, "what is the name of that song you were singing?"
"It's called The Lass of Aughrim,",220 said Mr. D'Arcy, "but I couldn't remember it properly. Why? Do you know it?"
"The Lass of Aughrim," she repeated. "I couldn't think of the name."
"It's a very nice air," said Mary Jane. "I'm sorry you were not in voice tonight."
"Now, Mary Jane," said Aunt Kate, "don't annoy Mr. D'Arcy. I won't have him annoyed."
Seeing that all were ready to start she shepherded them to the door, where good-night was said:
"Well, good-night, Aunt Kate, and thanks for the pleasant evening."
"Good-night, Gabriel. Good-night, Gretta!"
"Good-night, Aunt Kate, and thanks ever so much. Good-night, Aunt Julia."
"O, good-night, Gretta, I didn't see you."
"Good-night, Mr. D’Arcy. Good-night, Miss O'Callaghan."
213 downright: 完全, 彻底。
214 in raptures: 着迷, 狂喜。
215 fib: 小谎。
216 swathing: 包裹。
217 repentant: 后悔的。
218 fanlight: 扇形窗。
219 the flame ... hair: 煤气灯的火光照亮她深青铜色的头发。
220 The Lass of Aughrim: 《奥格里姆的姑娘》。
"Good-night, Miss Morkan."
"Good-night, again."
"Good-night, all. Safe home."
"Good-night. Good-night."
The morning was still dark. A dull, yellow light brooded over the houses and the river; and the sky seemed to be descending. It was slushy underfoot; and only streaks and patches of snow lay on the roofs, on the parapets of the quay and on the area railings. The lamps were still burning redly in the murky air and, across the river, the palace of the Four Courts stood out menacingly against the heavy sky. 早晨仍然很黑。一种沉闷的黄光笼罩着房屋和河流；天空似乎在下降。脚下是泥泞的；屋顶、码头的护栏和区域的栏杆上只有零星和斑块的雪。灯笼在阴暗的空气中依然闪烁着红光，河对岸，四座法院的宫殿在沉重的天空下显得威胁。
She was walking on before him with Mr. Bartell D'Arcy, her shoes in a brown parcel tucked under one arm and her hands holding her skirt up from the slush. She had no longer any grace of attitude, but Gabriel's eyes were still bright with happiness. The blood went bounding along his veins; and the thoughts went rioting through his brain, proud, joyful, tender, valorous. 她在他面前与巴特尔·达西先生一起走着，她的鞋子装在一个棕色包裹里，夹在一只胳膊下，另一只手抓着裙子，避开泥泞。她再也没有了优雅的姿态，但加布里埃尔的眼睛仍然闪耀着幸福。血液在他的血管中奔腾；思绪在他的脑海中狂欢，骄傲、快乐、温柔、勇敢。
She was walking on before him so lightly and so erect that he longed to run after her noiselessly, catch her by the shoulders and say something foolish and affectionate into her ear. She seemed to him so frail that he longed to defend her against something and then to be alone with her. Moments of their secret life together burst like stars upon his memory. A heliotrope envelope was lying beside his breakfast-cup and he was caressing it with his hand. Birds were twittering in the ivy and the sunny web of the curtain was shimmering along the floor: he could not eat for happiness. They were standing on the crowded platform and he was placing a ticket inside the warm palm of her glove. He was standing with her in the cold, looking in through a grated window at a man making bottles in a roaring furnace. It was very cold. Her face, fragrant in the cold air, was quite close to his; and suddenly he called out to the man at the furnace: 她轻盈地直立在他面前走着，让他渴望悄无声息地追赶她，轻轻地抓住她的肩膀，对她耳语一些愚蠢而充满爱意的话语。她在他眼中显得如此脆弱，让他渴望保护她免受伤害，然后独处于她身旁。他们秘密生活中的片刻犹如星星般在他记忆中闪耀。早餐杯旁边放着一封天花石紫色的信封，他正用手抚摸着它。鸟儿在常春藤上叽叽喳喳，阳光透过窗帘在地板上闪烁：他因为幸福而无法进食。他们站在拥挤的站台上，他把一张车票放进她温暖的手套掌心里。他和她站在寒冷中，透过一个熊熊烈火中制瓶子的人的铁栅窗往里看。天气非常寒冷。她的脸在寒冷的空气中散发着芬芳，离他很近；突然间，他对熔炉旁的人喊道：
"Is the fire hot, sir?" 229
But the man could not hear with the noise of the furnace. It was just as well. He might have answered rudely.
A wave of yet more tender joy escaped from his heart and went coursing in warm flood along his arteries. Like the tender fire of stars moments of their life together, that no one knew of or would ever know of, broke upon and illumined his memory. He longed to recall to her those moments, to make her forget the years of their dull existence together and remember only their moments of ecstasy. For the years, he felt, had not quenched his soul or hers. Their children, his writing, her household cares had not quenched all their souls' tender fire. In one letter that he had written to her then he had said: "Why is it that words like these seem to me so dull and cold? Is it because there is no word tender enough to be your name?" 一波更加温柔的喜悦从他的心中涌出，沿着他的动脉温暖地流淌。就像他们在一起的生活时光中的温柔星火，那些没有人知道或将永远不会知道的时刻，突然闯入并照亮了他的记忆。他渴望回忆起那些时刻，让她忘记他们一起度过的沉闷岁月，只记得他们的狂喜时刻。他觉得，岁月并没有熄灭他的灵魂或她的灵魂。他们的孩子，他的写作，她的家务琐事并没有熄灭他们灵魂中所有的温柔火焰。在他当时写给她的一封信中，他曾说：“为什么像这样的话语对我来说显得如此乏味和冷漠？是因为没有一个足够温柔的词语可以成为你的名字吗？”
Like distant music these words that he had written years before were borne towards him from the past. He longed to be alone with her. When the others had gone away, when he and she were in the room in the hotel, then they would be alone together. He would call her softly: 像遥远的音乐一样，他多年前写下的这些话语从过去传向他。他渴望与她独处。当其他人离开后，当他和她在旅馆的房间里时，他们将独处在一起。他会轻声呼唤她：
221 slushy: 泥泞的。
222 parapets: 护墙。
223 murky: 黑暗的。
224 the Four Courts: 四院大厦，都柏林的著名建筑。
225 slush: 㟋泥。
226 valorous: 勇武的，无畏的。
227 heliotrope: 淡紫色的。
228 a grated window: 一扇有格栅的窗子。
229 Is the fire hot, sir?: 火在西方文学里是激情与爱的象征。
230 arteries: 动脉。
231 quenched: 熄灭，平息，压制。
"Gretta!"
Perhaps she would not hear at once: she would be undressing. Then something in his voice would strike her. She would turn and look at him. ...
At the corner of Winetavern Street they met a cab. He was glad of its rattling noise as it saved him from conversation. She was looking out of the window and seemed tired. The others spoke only a few words, pointing out some building or street. The horse galloped along wearily under the murky morning sky, dragging his old rattling box after his heels, and Gabriel was again in a cab with her, galloping to catch the boat, galloping to their honeymoon. 在温塔文街的拐角处，他们遇到了一辆出租车。他很高兴听到它的嘎吱声，因为这样可以避免他们交谈。她朝窗外看着，看起来很疲倦。其他人只说了几句话，指着一些建筑物或街道。马在阴沉的早晨天空下疲惫地疾驰着，拖着他那辆古老的嘎吱作响的箱子，加布里埃尔再次和她坐在一辆出租车里，疾驰着去赶船，疾驰着去度蜜月。
As the cab drove across O'Connell Bridge Miss O'Callaghan said:
"They say you never cross O'Connell Bridge without seeing a white horse.,
"I see a white man this time," said Gabriel.
"Where?" asked Mr. Bartell D'Arcy.
Gabriel pointed to the statue, on which lay patches of snow. Then he nodded familiarly to it and waved his hand.
"Good-night, Dan," he said gaily.
When the cab drew up before the hotel, Gabriel jumped out and, in spite of Mr. Bartell D'Arcy's protest, paid the driver. He gave the man a shilling over his fare. The man saluted and said:
"A prosperous New Year to you, sir."
"The same to you," said Gabriel cordially. 235
She leaned for a moment on his arm in getting out of the cab and while standing at the curbstone, bidding the others good-night. She leaned lightly on his arm, as lightly as when she had danced with him a few hours before. He had felt proud and happy then, happy that she was his, proud of her grace and wifely carriage. But now, after the kindling again of so many memories, the first touch of her body, musical and strange and perfumed, sent through him a keen pang of lust. Under cover of her silence he pressed her arm closely to his side; and, as they stood at the hotel door, he felt that they had escaped from their lives and duties, escaped from home and friends and run away together with wild and radiant hearts to a new adventure. 她在下出租车时短暂地倚在他的胳膊上，站在路边时，向其他人道晚安。她轻轻地倚在他的胳膊上，就像几个小时前与他共舞时一样轻盈。那时他感到自豪和幸福，幸福地拥有她，为她的优雅和妻子般的举止感到自豪。但现在，在这么多回忆再次燃起之后，她身体的第一次接触，音乐般的、奇异的、芬芳的，让他感到一阵强烈的欲望。在她沉默的掩护下，他紧紧地抓住她的胳膊；当他们站在酒店门口时，他感到他们已经逃离了他们的生活和责任，逃离了家人和朋友，带着狂野而光辉的心一起踏上了新的冒险。
An old man was dozing in a great hooded chair in the hall. He lit a candle in the office and went before them to the stairs. They followed him in silence, their feet falling in soft thuds on the thickly carpeted stairs. She mounted the stairs behind the porter, her head bowed in the ascent, her frail shoulders curved as with a burden, her skirt girt tightly about her. He could have flung his arms about her hips and held her still, for his arms were trembling with desire to seize her and only the stress of his nails against the palms of his hands held the wild impulse of his body in check. The porter halted on the stairs to settle his guttering candle. They halted, too, on the steps below him. In the 一位老人在大厅里的一把大摇椅上打盹。他在办公室里点燃了一支蜡烛，然后走到楼梯前面。他们默默跟随着他，脚步在厚厚的地毯楼梯上轻轻落下。她跟在门房后面上楼，头低着，脆弱的肩膀弯曲着，仿佛背负着重担，裙子紧紧地束在身上。他本可以把双臂搂住她的臀部，让她静止下来，因为他的双臂因渴望抓住她而颤抖，只有指甲紧贴在手掌上的压力才能控制住他身体的狂热冲动。门房在楼梯上停下来整理他手中燃烧的蜡烛。他们也在他下面的台阶上停下来。
234 the statue: 桥北面的这座雕像是爱尔兰受人尊敬的英雄 Daniel O'Connell (17751847), 他一生致力于通过和平和政治手段达到爱尔兰独立。
235 cordially: 诚挚地, 诚恳地。
236 curbstone: 路边石。
237 lit a candle: 这里乔伊斯加入了一些 19 世纪恐怖小说的成分。
238 girt: 围绕。
silence Gabriel could hear the falling of the molten wax into the tray and the thumping of his own heart against his ribs.
The porter led them along a corridor and opened a door. Then he set his unstable candle down on a toilet-table and asked at what hour they were to be called in the morning.
"Eight," said Gabriel.
The porter pointed to the tap of the electriclight and began a muttered apology, but Gabriel cut him short.
"We don't want any light. We have light enough from the street. And I say," he added, pointing to the candle, "you might remove that handsome article, like a good man."
The porter took up his candle again, but slowly, for he was surprised by such a novel idea. Then he mumbled good-night and went out. Gabriel shot the lock to.
A ghastly light from the street lamp lay in a long shaft from one window to the door. Gabriel threw his overcoat and hat on a couch and crossed the room towards the window. looked down into the street in order that his emotion might calm a little. Then he turned and leaned against a chest of drawers with his back to the light. She had taken off her hat and cloak and was standing before a large swinging mirror, unhooking her waist. Gabriel paused for a few moments, watching her, and then said: 街灯发出一道可怕的 光，从一个窗户延伸到门口。加布里埃尔把大衣和帽子扔在沙发上，走向窗户。他低头看着街道，希望情绪能稍微平静下来。然后他转过身，靠在一个抽屉柜上，背对着光线。她已经脱掉帽子和斗篷，站在一个大摇镜前，解开她的腰带。加布里埃尔停顿了一会儿，看着她，然后说：
"Gretta!"
She turned away from the mirror slowly and walked along the shaft of light towards him. Her face looked so serious and weary that the words would not pass Gabriel's lips. No, it was not the moment yet. 她慢慢地转身离开镜子，沿着光线走向他。她的脸看起来如此严肃和疲倦，以至于加布里埃尔的嘴唇无法说出话来。不，现在还不是时候。
"You looked tired," he said.
"I am a little," she answered.
"You don't feel ill or weak?"
"No, tired: that's all."
She went on to the window and stood there, looking out. Gabriel waited again and then, fearing that diffidence was about to conquer him, he said abruptly:
"By the way, Gretta!"
"What is it?"
"You know that poor fellow Malins?" he said quickly.
"Yes. What about him?"
"Well, poor fellow, he's a decent sort of chap, after all," continued Gabriel in a false voice. "He gave me back that sovereign I lent him, and I didn't expect it, really. It's a pity he wouldn't keep away from that Browne, because he's not a bad fellow, really." “唉，可怜的家伙，毕竟他还是个不错的家伙，”加布里埃尔用假声音继续说道。“他把我借给他的那枚金币还给了我，我真没想到。可惜他不肯远离那个布朗，因为他其实也不是个坏家伙。”
He was trembling now with annoyance. Why did she seem so abstracted? He did not know how he could begin. Was she annoyed, too, about something? If she would only turn to him or come to him of her own accord!! To take her as she was would be brutal. No, he must see some ardour in her eyes first. He longed to be master of her strange mood. 他现在因为恼怒而颤抖。她为什么看起来如此心不在焉？他不知道该如何开始。她也为某事而恼怒吗？如果她只能转向他或自愿走向他！以她现在的状态对待她会很残忍。不，他必须先看到她眼中的热情。他渴望成为她奇怪情绪的主人。
"When did you lend him the pound?" she asked, after a pause.
Gabriel strove to restrain himself from breaking out into brutal language about the sottish Malins and his pound. He longed to cry to her from his soul, to crush her body against his, to overmaster her. But he said: 加布里埃尔努力克制自己，不要用粗暴的语言谈论愚蠢的 马林斯和他的磅。他渴望从心底向她呼喊，将 她的身体压在自己身上，压倒她。但他说：
"O, at Christmas, when he opened that little
239 molten: 熔化的。
240 a muttered apology: 咭哝着道㝺。这时已经停电了。
241 ghastly: 苍白的, 可怕的。
242 shaft: 轴, 杆状物。
243 diffidence: 缺乏自信。
244 abstracted: 心不在焉的, 出神的。
245 of her own accord: 自愿地。
246 ardour: 激情, 炽热。
247 sottish: 愚泰的。
248 crush: 碾碎, 压垮, 粉碎。
Christmas-card shop in Henry Street."
He was in such a fever of rage and desire that he did not hear her come from the window. She stood before him for an instant, looking at him strangely. Then, suddenly raising herself on tiptoe and resting her hands lightly on his shoulders, she kissed him. 他处于一种愤怒和欲望的狂热中，以至于他没有听到她从窗户走过来。她站在他面前片刻，奇怪地看着他。然后，突然站在脚尖上，轻轻地把手放在他的肩膀上，她吻了他。
"You are a very generous person, Gabriel," she said.
Gabriel, trembling with delight at her sudden kiss and at the quaintness of her phrase, put his hands on her hair and began smoothing it back, scarcely touching it with his fingers. The washing had made it fine and brilliant. His heart was brimming over with happiness. Just when he was wishing for it she had come to him of her own accord. Perhaps her thoughts had been running with his. Perhaps she had felt the impetuous desire that was in him, and then the yielding mood had come upon her. Now that she had fallen to him so easily, he wondered why he had been so diffident. 加布里埃尔感到高兴得颤抖，因为她突然的吻和她措辞的古怪，他把手放在她的头发上，开始抚摸，几乎没有用手指碰到。洗过头后，头发变得细腻而明亮。他的心里充满了幸福。就在他渴望时，她自愿来到他身边。也许她的想法和他一样。也许她感受到了他内心的冲动欲望，然后顺从的心情降临。现在她如此轻易地屈服于他，他想知道自己为什么如此犹豫。
He stood, holding her head between his hands. Then, slipping one arm swiftly about her body and drawing her towards him, he said softly:
"Gretta, dear, what are you thinking about?"
She did not answer nor yield wholly to his arm. He said again, softly:
"Tell me what it is, Gretta. I think I know what is the matter. Do I know?"
She did not answer at once. Then she said in an outburst of tears:
"O, I am thinking about that song, The Lass of Aughrim."
She broke loose from him and ran to the bed and, throwing her arms across the bed-rail, hid her face. Gabriel stood stock still for a moment in astonishment and then followed her. As he passed in the way of the cheval-glass he caught sight of himself in full length, his broad, well-filled shirt-front, the face whose expression always puzzled him when he saw it in a mirror, and his glimmering gilt-rimmed eyeglasses. He halted a few paces from her and said: 她挣脱开他，跑向床边，把胳膊搭在床栏上，掩面。加百利惊讶地站在原地片刻，然后跟了上去。当他经过马镜的时候，他看到了自己的全身影像，他宽阔、丰满的衬衣前襟，那张面孔的表情总是让他在镜子里看到时感到困惑，以及他闪闪发光的镀金眼镜。他停在她几步之外，说道：
"What about the song? Why does that make you cry?"
She raised her head from her arms and dried her eyes with the back of her hand like a child. A kinder note than he had intended went into his voice.
"Why, Gretta?" he asked.
"I am thinking about a person long ago who used to sing that song."
"And who was the person long ago?" asked Gabriel, smiling.
"It was a person I used to know in Galway when I was living with my grandmother," she said.
The smile passed away from Gabriel's face. A dull anger began to gather again at the back of his mind and the dull fires of his lust began to glow angrily in his veins.
"Someone you were in love with?" he asked ironically.
"It was a young boy I used to know," she answered, "named Michael Furey. He used to sing that song, The Lass of Aughrim. He was very delicate."
Gabriel was silent. He did not wish her to think that he was interested in this delicate boy.
"I can see him so plainly," she said, after a moment. "Such eyes as he had: big, dark eyes! And such an expression in them - an expression!"
"O, then, you are in love with him?" said Gabriel. -
249 quaintness: 离奇有趣。
250 impetuous: 冲动的, 猛烈的, 激烈的。
251 cheval-glass: 可转动的穿衣镜。
252 Michael Furey: Michael 是战斗天使，也是人类行为的记录者。
"I used to go out walking with him," she said, "when I was in Galway."
A thought flew across Gabriel's mind.
"Perhaps that was why you wanted to go to Galway with that Ivors girl?" he said coldly.
She looked at him and asked in surprise:
"What for?"
Her eyes made Gabriel feel awkward. He shrugged his shoulders and said:
"How do I know? To see him, perhaps."
She looked away from him along the shaft of light towards the window in silence.
"He is dead," she said at length. 253 "He died when he was only seventeen. Isn't it a terrible thing to die so young as that?"
"What was he?" asked Gabriel, still ironically.
"He was in the gasworks, she said.
Gabriel felt humiliated by the failure of his irony and by the evocation of this figure from the dead, a boy in the gasworks. While he had been full of memories of their secret life together, full of tenderness and joy and desire, she had been comparing him in her mind with another. A shameful consciousness of his own person assailed him. He saw himself as a ludicrous figure, acting as a pennyboy for his aunts, a nervous, well-meaning sentimentalist, orating to vulgarians and idealising his own clownish lusts, the pitiable fatuous fellow he had caught a glimpse of in the mirror. Instinctively he turned his back more to the light lest she might see the shame that burned upon his forehead. 加布里埃尔对他的讽刺失败感到羞辱，也因为这个从死者中唤起的形象，一个在煤气厂工作的男孩。当他充满了他们秘密生活的回忆，充满了温柔、快乐和欲望时，她却在心里拿他与另一个人比较。他被自己的人格感到羞耻。他看到自己是一个荒谬的形象，为他的姑姑们当小贩，一个紧张的、好心的感伤主义者，对着庸俗者演讲，理想化自己的滑稽欲望，他在镜子里瞥见的可怜愚蠢的家伙。本能地，他把背转向更亮的地方，以免她看到烧在他额头上的羞耻。
He tried to keep up his tone of cold interrogation, but his voice when he spoke was humble and indifferent.
"I suppose you were in love with this Michael Furey, Gretta," he said.
"I was great with him at that time," she said.
Her voice was veiled and sad. Gabriel, feeling now how vain it would be to try to lead her whither he had purposed, caressed one of her hands and said, also sadly:
"And what did he die of so young, Gretta? Consumption, was it?"
"I think he died for me," she answered.
A vague terror seized Gabriel at this answer, as if, at that hour when he had hoped to triumph, some impalpable and vindictive being was coming against him, gathering forces against him in its vague world. But he shook himself free of it with an effort of reason and continued to caress her hand. He did not question her again, for he felt that she would tell him of herself. Her hand was warm and moist: it did not respond to his touch, but he continued to caress it just as he had caressed her first letter to him that spring morning. 这个回答让加百利感到一种模糊的恐惧，仿佛在他希望取得胜利的那个时刻，某种无形而复仇心切的存在正在向他逼近，在模糊的世界里聚集力量对抗他。但他用理智的努力摆脱了这种恐惧，继续抚摸着她的手。他不再质疑她，因为他感觉她会自己告诉他。她的手温暖而湿润：没有回应他的触摸，但他继续抚摸着，就像他在那个春天早晨抚摸她给他的第一封信一样。
"It was in the winter," she said, "about the beginning of the winter when I was going to leave my grandmother's and come up here to the convent. And he was ill at the time in his lodgings in Galway and wouldn't be let out, and his people in Oughterard were written to. He was in decline, they said, or something like that. I never knew rightly." "那是在冬天，"她说，"大约在冬天开始的时候，我正要离开我奶奶那里，来到这里的修道院。 那时他在加尔韦的住所里生病了，不让出去，他在奥特拉德的家人被通知了。他们说他在衰退，或者类似的情况。我从来不太清楚。"
She paused for a moment and sighed.
"Poor fellow," she said. "He was very fond of me and he was such a gentle boy. We used to go out together, walking, you know, Gabriel, like the way they do in the country. He was going to study singing only for his health. He had a very "可怜的家伙，"她说。"他非常喜欢我，他是个温柔的男孩。我们过去常一起出去散步，你知道的，加布里埃尔，就像他们在乡下那样。他本来要学唱歌只是为了健康。他有一个非常"
253 at length: 最后。
254 gasworks: 煤气厂
255 ludicrous: 可笑的, 滑稓的。
256 orating ... lusts: 在一群俗人面前演讲, 把自己滑稽的情欲理想化。
257 fatuous: 昏庸的, 愚笨的。
258 consumption: 肺病。
259 some impalpable and vindictive being: 某个难以捉摸的、报复性的东西。
260 convent: 女修道院。
good voice, poor Michael Furey."
"Well; and then?" asked Gabriel.
"And then when it came to the time for me to leave Galway and come up to the convent he was much worse and I wouldn't be let see him so I wrote him a letter saying I was going up to Dublin and would be back in the summer, and hoping he would be better then." 然后当我离开高威去修道院的时候，他病得更重了，我没能见到他，所以我写了封信给他，说我要去都柏林，夏天回来时希望他会好些。
She paused for a moment to get her voice under control, and then went on:
"Then the night before I left, I was in my grandmother's house in Nuns' Island, packing up, and I heard gravel thrown up against the window. The window was so wet I couldn't see, so I ran downstairs as I was and slipped out the back into the garden and there was the poor fellow at the end of the garden, shivering." 然后在我离开的前一天晚上，我在修女岛的祖母家里收拾行李，听到有碎石被扔到窗户上的声音。窗户上很湿，我看不清，所以我就穿着衣服跑下楼，溜到后面的花园，看到那可怜的家伙在花园的尽头发抖。
"And did you not tell him to go back?" asked Gabriel.
"I implored of him to go home at once and told him he would get his death in the rain. But he said he did not want to live. I can see his eyes as well as well! He was standing at the end of the wall where there was a tree." "我恳求他立刻回家，并告诉他在雨中会让他丧命。但他说他不想活了。我可以看到他的眼睛！他站在墙的尽头，那里有一棵树。"
"And did he go home?" asked Gabriel.
"Yes, he went home. And when I was only a week in the convent he died and he was buried in Oughterard, where his people came from. O, the day I heard that, that he was dead!"
She stopped, choking with sobs, and, overcome by emotion, flung herself face downward on the bed, sobbing in the quilt. Gabriel held her hand for a moment longer, irresolutely, and then, shy of intruding on her grief, let it fall gently and walked quietly to the window. 她停下来，被啜泣所憋住，被情感淹没，脸朝下扑倒在床上，在被子里呜咽。加布里埃尔犹豫了一会儿握着她的手，然后，害羞地不想打扰她的悲伤，轻轻放开手，静静地走到窗前。
She was fast asleep.
Gabriel, leaning on his elbow, looked for a few moments unresentfully on her tangled hair and half-open mouth, listening to her deep-drawn breath. So she had had that romance in her life: a man had died for her sake. It hardly pained him now to think how poor a part he, her husband, had played in her life. He watched her while she slept, as though he and she had never lived together as man and wife. His curious eyes rested long upon her face and on her hair: and, as he thought of what she must have been then, in that time of her first girlish beauty, a strange, friendly pity for her entered his soul. He did not like to say even to himself that her face was no longer beautiful, but he knew that it was no longer the face for which Michael Furey had braved death. 加布里埃尔靠在手肘上，凝视着她纷乱的头发和半张着的嘴，毫无怨恨地凝视了几分钟，听着她深深的呼吸。她的生活中曾经有过那段浪漫：一个男人曾为了她而死。现在想起他，她的丈夫，在她的生活中扮演了多么微不足道的角色，他几乎不感到痛苦。他看着她睡着的样子，仿佛他们从未作为夫妻生活在一起。他好奇的眼睛长时间地停留在她的脸上和头发上：当他想到她那时候，她初次少女美丽的时光，一种奇怪而友善的怜悯涌入他的灵魂。他不愿意甚至对自己说她的脸不再美丽，但他知道那不再是迈克尔·菲利为之冒死的脸庞。
Perhaps she had not told him all the story. His eyes moved to the chair over which she had thrown some of her clothes. A petticoat string dangled to the floor. One boot stood upright, its limp upper fallen down: the fellow of it lay upon its side. He wondered at his riot of emotions of an hour before. From what had it proceeded? From his aunt's supper, from his own foolish speech, from the wine and dancing, the merrymaking when saying good-night in the hall, the pleasure of the walk along the river in the snow. Poor Aunt Julia! She, too, would soon be a shade with the shade of Patrick Morkan and his horse. He had caught that haggard look upon her face for a moment when she was singing Arrayed for the Bridal. Soon, perhaps, he would be sitting in that same drawing-room, dressed in black, his silk hat on his knees. The blinds would be drawn down and Aunt Kate would be sitting beside him, crying and blowing her nose and telling him how Julia had died. He would cast about in his mind for some words that might console her, and would find only lame and useless ones. Yes, yes: that would happen very soon. 也许她没有把整个故事告诉他。他的目光转向椅子，她把一些衣服扔在上面。一条衬裙的绳子悬在地板上。一只靴子直立着，松弛的鞋面倒了下来：它的伙伴躺在一边。他想起了一个小时前自己情绪的波动。这是从哪里来的呢？是从他阿姨的晚餐，是从他自己愚蠢的言论，是从酒和舞蹈，是从大厅里说晚安时的欢乐，是从在雪地里沿着河边散步的愉悦。可怜的朱莉娅阿姨！她也很快会成为帕特里克·莫肯和他的马的影子。当她唱《为婚礼穿戴打扮》时，他曾瞥见她脸上疲惫的表情。也许很快，他会坐在同样的客厅里，穿着黑色，丝质礼帽放在膝盖上。百叶窗会拉下来，凯特阿姨会坐在他旁边，哭泣着擤鼻涕，告诉他朱莉娅是怎么去世的。他会在脑海中寻找一些可以安慰她的话语，但只会找到无力的、无用的话语。是的，是的：这很快就会发生。
The air of the room chilled his shoulders He stretched himself cautiously along under the sheets and lay down beside his wife. One by one, they were all becoming shades. Better pass boldly into that other world, in the full glory of some passion, than fade and wither dismally with age. He thought of how she who lay beside him had locked in her heart for so many years that image of her lover's eyes when he had told her that he did not wish to live. 房间里的空气让他的肩膀感到寒冷。他小心翼翼地伸展身体，躺在被子下面，靠在妻子身边。一个接一个，他们都变成了幽灵。与其在年老时黯然凋零，不如勇敢地走向另一个世界，以某种激情的完全荣耀。他想起她躺在他身边时，多年来心中锁着她情人告诉她不愿活下去时的眼睛的形象。
Generous tears filled Gabriel's eyes. He had never felt like that himself towards any woman, but he knew that such a feeling must be love. The tears gathered more thickly in his eyes and in the partial darkness he imagined he saw the form of a young man standing under a dripping tree. Other forms were near. His soul had approached that region where dwell the vast hosts of the dead. He was conscious of, but could not apprehend, their wayward and flickering existence. His own identity was fading out into a grey impalpable world: the solid world itself, which these dead had one time reared and lived in, was dissolving and dwindling. 慷慨的眼泪充满了加布里埃尔的眼睛。他从未对任何女人有过这样的感觉，但他知道这种感觉一定是爱。眼泪在他的眼睛里聚集得更密，在半昏暗中，他想象自己看到一个年轻人站在一棵滴水的树下。其他形态也在附近。他的灵魂已经接近了那个居住着大量死者的地区。他意识到，但无法理解，它们任性而摇曳不定的存在。他自己的身份正在淡出到一个灰色的无形世界中：这些死者曾经建立并生活在其中的实体世界正在溶解和缩小。
A few light taps upon the pane made him turn to the window. It had begun to snow again. He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight. The time had come for him to set out on his journey westward. Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead. 几声轻轻的敲击使他转向窗户。雪又开始下了。他昏昏欲睡地看着银色和深色的雪花斜斜地落在灯光下。是时候开始他的西行之旅了。是的，报纸说得没错：整个爱尔兰都下雪了。黑暗的中部平原的每个角落都在下雪，无树的山丘上也在下着，轻轻地落在艾伦泥沼上，更远的西方，轻轻地落在黑暗的叛变的香农河波浪上。它也在下在了孤独的教堂墓地的每个角落，那里躺着迈克尔·菲利埋葬着。它厚厚地堆积在弯曲的十字架和墓碑上，也落在小门的矛上，落在贫瘠的荆棘上。当他听到雪花在宇宙中轻轻地落下，像他们最后终结的降临一样，轻轻地落在所有生者和死者身上时，他的灵魂慢慢地晕眩了。
264 their wayward and flickering existence: 他们变幻无常、时隐时现的存在。
265 obliquely: 倾斜地。
266 the Bog of Allen: 艾伦沼泽。
267 the dark mutinous Shannon waves: 香农河黑沉浣、奔腾澎湃的浪潮。
There is a repeated appearance of the word "eyes" in the story, including Gabriel's "delicate and restless eyes," Aunt Julia's "slow eyes," Gabriel's covering the eyes of his own child. More important, perhaps, are the eyes of Michael Furey. Do you see any connection between the image of eyes and the theme of life and death? 故事中反复出现了“眼睛”一词，包括加布里埃尔的“细腻而不安的眼睛”，朱莉娅阿姨的“慢慢的眼睛”，加布里埃尔遮住自己孩子的眼睛。也许更重要的是迈克尔·菲利的眼睛。您是否看到眼睛形象与生死主题之间的联系？
What is the author's purpose in depicting Gretta's weathered face? Why does the author mention Aunt Julia at the end of the story? Is age a major issue in the story?
When Miss Ivors wants to get outside away from the apolitical revellers, Gabriel longs to be outside as a result of her political hassling of him. In both cases the outside is seen as a refuge, an escape, but from different insides. It is interesting to note that Gabriel longs for the very Irish snow his galoshes protect him from. His "warm trembling" fingers tap the cold pane of the window, itself a boundary between warmth and trembling. Try to explain the ambiguity implied in this scene. 当伊沃斯小姐想要远离那些不关心政治的狂欢者时，加布里埃尔渴望外出，因为她对他的政治纠缠。在这两种情况下，外面被视为一个避难所，一个逃避，但来自不同的内心。有趣的是，加布里埃尔渴望那些他的胶靴保护他免受的爱尔兰雪。他那“温暖颤抖”的手指敲击着窗户的冷玻璃，窗户本身是温暖和颤抖之间的界限。试着解释这一场景中暗示的模棱两可之处。
After the couple leaves the party, Gabriel remains within the carnival atmosphere and does not see Gretta's tears, which indeed are not for him. Gabriel, the lover, is undermined by the text's insistence on a balcony setting for a situation in which the lovers are not communicating. What are their respective imagined sexual encounters? Do you see a contrast between warmth and cold? Does it resolve at the end of the story? 夫妇离开派对后，加布里埃尔仍然沉浸在狂欢氛围中，没有看到格蕾塔的眼泪，而这些眼泪实际上并不是为他而流的。加布里埃尔，这位恋人，被文本对于一个情侣没有沟通的情境坚持要设定在阳台上的设定所削弱。他们各自想象的性爱经历是什么？你看到了温暖和冷漠之间的对比吗？这个故事最后有没有得到解决？
At the end of the story, the author writes "The time had come for him to set out on his journey westward." To go west is a time-honored trope in literature for death, for the setting of the sun; however, in this story the west (Galway, the Aran Isles) has symbolized the life force (the Gaelic, the true roots of Ireland, the sturdy peasantry, the life force of Michael Furey). Which opinion sounds more valid, Gabriel is now irretrievably dead spiritually or 故事结尾，作者写道：“他该启程向西行了。”向西行是文学中代表死亡、太阳落山的古老主题；然而，在这个故事中，西方（高威、阿兰群岛）象征着生命力量（盖尔语、爱尔兰真正的根源、坚实的农民阶层、迈克尔·菲利的生命力量）。哪种观点更有说服力，加布里埃尔现在在精神上已经无法挽回地死去了呢？
he is realizing here that his true regeneration lies in the renewal of life that can come from seeking out his roots, of no longer being a West Briton? Or do you think these two contradictory interpretations are both right at the same time? 他在这里意识到，他真正的重生在于寻找自己的根源，从中获得生命的更新，不再是一个西方不列颠人？或者你认为这两种矛盾的解释同时正确吗？
Snow is falling all over Ireland. Does it represent death? Is all Ireland covered by the spirit of the dead? Is there no physical or spiritual fire in Ireland?
"The Dead," the last story of Dubliners (1914), was completed in Rome in 1907. The title comes from a poem of Thomas Moore's Irish Melodies, written during the period 1807-1834:
Oh, ye Dead! Oh, ye Dead! Whom we know by the light you give
From your cold gleaming eyes, though you move like men who live.
Why leave you thus your graves,
In far off fields and waves,
Where the worm and the sea-bird only know your bed,
To haunt this spot where all
Those eyes that wept your fall,
And the hearts that wail'd you, like your own, lie dead?
It is true, it is true, we are shadows cold and wan;
And the fair and the brave whom we lov'd on earth are gone,
But still thus even in death
So sweet the living breath
Of the fields and the flow'rs in our youth we wander'd o'er
That ere, condemn'd, we go
To freeze mid Hecla's* snow,
We would taste it awhile, and think we live once more!
(*Hecla is a volcano in Iceland.)
As the poem indicates, death lives side by side with life. Similar to the melody, "The Dead" displays full dimension of opposites: life - death, movement - enclosure, darkness - light, and warmth - cold. The snow outside and the party inside are not only settings, or embellishments of the theme of death versus life; the songs, the talk, and the feasting are rather assertions against a silent, snowy winter context, which, in turn, deviously penetrates the party itself. Therefore, a dialogue between the outside and the inside, between the voices and the silence prevails. 正如这首诗所指出的，死亡与生命并存。类似旋律，“死者”展示了对立的完整维度：生命 - 死亡，运动 - 封闭，黑暗 - 光明，温暖 - 寒冷。外面的雪和里面的派对不仅仅是背景或装饰死亡与生命主题的元素；歌曲、谈话和盛宴更是对寂静、多雪的冬季背景的肯定，而这背景又巧妙地渗透到派对本身。因此，外部与内部之间的对话，声音与沉默之间的对话占据主导地位。
The occasion of the story is on January 6th, 1904. The year of 1904 is assumed because the characters talk about Pope Pius X's recent (November, 1903) Motu Proprio. They also mention the party as taking place after New Year's Eve but still during Christmas time, which would last until January 6th, the Feast of the Epiphany. Traditionally, the date commemorates the manifestation of Jesus Christ to the Gentiles as represented by the Magi. As the custom designates, characters enjoy a feast on the day, which erases the division between the intimacy of the house and the snowy cosmic negation. The author carefully describes the mountain-like food and heart-felt laughter and jokes during the meal, indicating human beings' efforts to triumph over the world and their hope for the future. The talk and the laughter are centered upon the Irish hospitality and the good old days to fight against their disappearance. Therefore, the feast is a very special occasion to overcome the prohibitions and fear of the nature and the snow. The word "epiphany," moreover, can refer to literary insight - a moment in a text when an apparently commonplace 故事发生在 1904 年 1 月 6 日。1904 年被假定是因为人物谈论教皇庇护十世最近（1903 年 11 月）发布的《动议》。他们还提到派对是在新年之后但仍在圣诞节期间举行的，这将持续到 1 月 6 日，即主显节。传统上，这一日期纪念了耶稣基督向以玛各人的显现，以马吉为代表。按照习俗，人物们在这一天享用盛宴，这消除了家庭的亲密和雪的宇宙否定之间的分隔。作者仔细描述了像山一样的食物和饱含感情的笑声和笑话，在餐桌上表明人类努力战胜世界并对未来充满希望。谈话和笑声集中在爱尔兰的好客和美好的往日时光，以抵抗它们消失的命运。因此，盛宴是一个非常特殊的场合，可以克服自然和雪的禁忌和恐惧。此外，“主显节”一词还可以指文学洞察力 - 文本中一个明显平凡的时刻。
occurrence initiates the sudden perception of meaning. It is a time when things or people in the world reveal their true character or essence. At the end of the story Gabriel, the major character, experiences an epiphany with a spiritual flash that changes the way he views himself and the world around him. 事件引发了突然的意义感知。这是一个时刻，世界中的事物或人们展现出他们真正的特性或本质。在故事的结尾，主要角色加布里埃尔经历了一次灵性闪现的顿悟，改变了他对自己和周围世界的看法。
Generally agreed to be one of the finest, most moving, and beautiful in twentieth-century fiction, the final paragraph is also one of the most ambiguous. It opens with the sound of the snow tapping against the pane, uniting and contrasting the scene with the earlier occasion of Gabriel at the window during the party and of Michael Furey's "tapping" on Gretta's window with the pebbles. Gabriel is portrayed as watching "sleepily," and in western literature sleep and death are closely connected. In the preceding paragraphs the shades of the dead have been visiting Gabriel. The implication is that, because of the events of this night, Gabriel has come to realize not only that he is a ridiculous figure, but that he has never known what true love is, and that Gretta feels more for someone in her earlier life than she has for him. The crux of the problem of interpretation is the meaning of "The time had come for him to set out on his journey westward." To go west is a trope in literature for death; however, in this story the west (Galway, the Aran Isles) has symbolized the life force. Consequently, there has been considerable disagreement over whether Gabriel is now dead spiritually or that he is realizing his true regeneration lies in his roots. The reader will have to make a choice or, in the spirit of contemporary literary theory, decide that there is no choice. We can also accept both meanings, and hold these contradictory interpretations in the mind without trying to resolve them. A final possibility is that Joyce himself has not settled on a meaning, that he is leaving Gabriel's spiritual state torn between two contradictions. 一般认为是二十世纪小说中最优秀、最动人和最美丽的之一，最后一段也是最模糊的之一。它以雪花轻轻敲打窗格的声音开头，将场景与加布里埃尔在派对期间站在窗前和迈克尔·菲利在格蕾塔窗前用小石头“敲打”的早期场景联系和对比。加布里埃尔被描绘为“昏昏欲睡地”注视着，而在西方文学中，睡眠和死亡密切相关。在前面的段落中，死者的阴影一直在拜访加布里埃尔。这暗示着，由于这个夜晚的事件，加布里埃尔不仅意识到自己是一个可笑的人物，而且他从未知道什么是真正的爱，而格蕾塔对她早年生活中的某个人的感情比对他更深。解释问题的关键在于“他已经到了启程向西旅行的时候了”的含义。向西行走在文学中是死亡的隐喻；然而，在这个故事中，西方（加尔韦、阿兰群岛）象征着生命力。 因此，关于加布里埃尔现在是否在精神上已经死亡，或者他正在意识到他真正的重生在于他的根源，存在相当大的分歧。读者将不得不做出选择，或者按照当代文学理论的精神，决定没有选择。我们也可以接受这两种含义，并将这些矛盾的解释保留在脑海中，而不试图解决它们。最后一种可能性是，乔伊斯本人并没有确定一个含义，他让加布里埃尔的精神状态处于两种矛盾之间。
The other major problem of interpretation is presented by the image of the snow, which is falling all over Ireland (including the Bog of Allen, some twenty-five miles southwest of Dublin). Joyce certainly knew Homer, and may be alluding to a passage in The Iliad where the stones thrown by warriors are compared to snow falling, a snow that covers "the grey sea, the harbours and beaches,/and the surf that breaks against it is stilled, all all things elsewhere/it shrouds from above." (See Iliad, XII. 278 - 89, Lattimore translation.) According to Homer, snow=arrows=death, and this may be Joyce's intent in his final paragraph. Attempts to determine an unassailable interpretation are further confounded by the final images of death (the graveyard) and yet a death with promise of resurrection, as we are given allusions to the crucifixion of Christ with the "crosses" on the headstones, and the "spears" and the "thorns." So, is Gabriel incontrovertibly spiritually dead or is there the suggestion that he will be renewed? All we know is that his soul is fainting (has "swooned") and that the snow - whether death or rebirth is "falling faintly" not only "upon all the living and the dead," but on all the readers of this timeless story. 解释的另一个主要问题是雪的形象，它正在爱尔兰各地下降（包括阿伦沼泽，距都柏林西南约二十五英里）。乔伊斯肯定知道荷马，可能在暗示《伊利亚特》中的一段，那里战士投掷的石头被比作下落的雪，一场覆盖“灰色的海洋、港口和海滩，/以及打破它的浪潮平息，所有其他地方/从上方遮蔽”的雪（见《伊利亚特》，XII. 278-89，拉蒂莫尔翻译）。根据荷马，雪=箭=死亡，这可能是乔伊斯在最后一段中的意图。试图确定一种无可辩驳的解释受到最终死亡形象（墓地）的干扰，但却带有复活的承诺，因为我们看到了对基督的钉死的暗示，如墓碑上的“十字架”，以及“长矛”和“荆棘”。那么，加布里埃尔是否无可争议地在精神上死亡，还是有暗示他将得到更新？ 我们所知道的是，他的灵魂正在昏迷（已经“昏倒”），而雪——无论是死亡还是重生都在“轻轻地落下”，不仅“落在所有活着的人和死去的人”身上，也落在所有阅读这个永恒故事的人身上。
The Theme of caThe Dead?
Overtly concerning the effects of death on the living, "The Dead" can be coherently read also as a tale about social hierarchies. Like the imagined and real presence of snow, the effect of hierarchies, which is general in the story, involves Gabriel Conroy centrally. 《死者》明显关注死亡对生者的影响，也可以被连贯地解读为关于社会等级制度的故事。就像雪的想象和真实存在一样，故事中普遍存在的等级制度的影响，主要涉及加布里埃尔·康罗伊。
Gabriel plays an administrative role in a manipulative, repressive way. He makes his children eat, do, and wear what he thinks is in their best interest. Though this kind of action might be justified as parental care, his high-handed behavior and Gretta's description of his actions make him appear more dominating than concerned. He also demands that Gretta wear galoshes for her own good, which reflects Gabriel's desire to express the superiority of his continental taste and knowledge. More than a judge of what is good for his family, Gabriel is the main arbiter of taste and action in the story, giving judgments of praise and blame in his thoughts and in his afterdinner speech. He speaks as one of those empowered to maintain order, tradition, and the status quo. 加布里埃尔以一种操纵性、压制性的方式扮演着行政角色。他让他的孩子吃、做和穿他认为对他们最有利的东西。尽管这种行为可能被解释为父母的关心，但他的专横行为和格蕾塔对他行为的描述使他看起来更像是支配者而不是关心者。他还要求格蕾塔为了自己的利益穿防水靴，这反映了加布里埃尔想要表达他大陆口味和知识的优越性。加布里埃尔不仅是他家庭的利益裁判，还是故事中品味和行动的主要仲裁者，在他的思想和晚餐演讲中发表赞扬和责备的判断。他说话的口吻就像那些被赋予维护秩序、传统和现状权力的人之一。
The numerous interlocking hierarchies, particularly those involving class, gender, and nationalism, are evident in the story. Gabriel's encounters with Lily, the caretaker's daughter, clarify the meaning of his position. As a young, single, female servant, Lily represents the base of a complex social pyramid on top of which stands Gabriel, a well-off, mature, márried professional man. Like many other members of the middle and upper classes in his time, Gabriel has the disposable income. The first moment includes Lily's pronunciation of Gabriel's surname when she asks, "- Is it snowing again, Mr. Conroy?" Since Joyce uses standard spelling, the reader does not suspect Lily's nonstandard pronunciation until Gabriel belatedly notes it in thought: "Gabriel smiled at the three syllables she had given his surname and glanced at her." He has heard the markers of class difference and smiles and glances at someone he sees as an ignorant serving girl. Gabriel's smile and glance are withdrawn when Lily saying, "- The men that is now is only all palaver and what they can get out of you." Since Lily has made explicit grammar mistakes, the educated reader can easily place Lily socially this time. Here Gabriel does not make any coherent comment because he is taken aback by the vehemence and the content of the statement to register the class difference. The would-be master of ceremonies and speaker is rendered temporarily speechless by the serving girl. He blushes and glances away. Then he offers Lily a gift of money as if the money would make up for the gaffe. The exchange, which involves gold and an ungrammatical statement about palaver, indicates again that a hierarchy is in place. Gabriel's paternalistic view of Lily as a little girl and an ignorant servant finds its negative counterpart in Lily's implied experience as an adult with men. With the help of money, Gabriel survives his skirmish with the representative of a lower class. This time he is injured but not disabled to maintain his place at the top of the social pyramid. 众多交织的等级制度，尤其是涉及阶级、性别和民族主义的等级制度，在故事中是显而易见的。加布里埃尔与莉莉，看守的女儿的相遇，阐明了他的地位的意义。作为一个年轻、单身、女仆的莉莉代表了一个复杂社会金字塔的基础，而在金字塔的顶端是加布里埃尔，一个富有、成熟、已婚的专业人士。和他那个时代的许多中上阶层的成员一样，加布里埃尔有可支配的收入。第一个时刻包括莉莉在问加布里埃尔时发音他的姓氏：“- 又下雪了吗，康罗伊先生？”由于乔伊斯使用标准拼写，读者直到加布里埃尔迟迟注意到这一点时才怀疑莉莉的非标准发音：“加布里埃尔对她给出的姓氏的三个音节微笑了一下，然后看了她一眼。”他听到了阶级差异的标志，微笑着看着一个他视为无知的女仆。当莉莉说：“- 现在的男人只会说空话，只会从你身上得到什么。”时，加布里埃尔的微笑和眼神变得冷淡。由于莉莉犯了明显的语法错误，受过教育的读者可以很容易地将莉莉社会地位放在这个时代。 这里，加布里埃尔没有做出任何连贯的评论，因为他被这个声明的激烈程度和内容震惊，无法意识到阶级差异。这位即将成为主持人和发言人的人被侍女暂时弄得无言以对。他脸红，扭头看向别处。然后，他给莉莉一份金钱作为礼物，仿佛金钱可以弥补失误。这次交流涉及金钱和一个关于闲聊的不合语法的陈述，再次表明了存在着一种等级制度。加布里埃尔对莉莉的父权主义观念，将她视为一个小女孩和一个无知的仆人，在莉莉暗示的与男人的成年经历中找到了负面对应。在金钱的帮助下，加布里埃尔成功地与一个低阶级代表的冲突相抗衡。这一次他受伤了，但没有失去能力，仍然保持着社会金字塔顶端的地位。
Gabriel's relationship with his wife Gretta involves sexually exploitative elements. On the one hand, Gabriel idealizes his wife as a pure Madonna; on the other hand, he perceives her as a sexualized figure. The idealization distances him emotionally from her. Toward the end of the evening, standing "in a dark part of the hall gazing up the staircase," Gabriel watches Gretta listening to Mr Bartell D'Arcy singing "The Lass of Aughrim" and thinks her as "a symbol of something." He regards Gretta as a thing, an object, a symbol, instead of as a woman, a human being. Though he sees the "grace and mystery" in her attitude, he cannot share it. In his unconscious desire he goes so far to turn her into an object that he even wants to paint a picture of her. This striking scene reveals so much about Gabriel. First of all, he cannot see Gretta's face, which suggests he has never really known Gretta; second, he sees only her lower body, the site of sexual organs, which echoes the final scene in which Gabriel's lust overwhelms his desire for 加布里埃尔与妻子格蕾塔的关系涉及性剥削元素。一方面，加布里埃尔将妻子理想化为纯洁的圣母玛利亚；另一方面，他将她视为性化的形象。这种理想化使他与她在情感上产生距离。在晚上接近尾声时，站在“大厅的一个黑暗角落凝视着楼梯”，加布里埃尔看着格蕾塔听着巴特尔·达西先生演唱“奥格林姑娘”，并认为她是“某种象征”。他将格蕾塔视为一种东西、一个物体、一个象征，而不是一个女人、一个人类。尽管他看到她态度中的“优雅和神秘”，但他无法分享。在他潜意识的欲望中，他甚至想把她变成一个物体，甚至想画一幅她的画像。这个引人注目的场景揭示了加布里埃尔的许多事情。首先，他看不到格蕾塔的脸，这表明他从未真正了解过格蕾塔；其次，他只看到她的下半身，性器官的位置，这呼应了最后一幕，加布里埃尔的欲望被他对她的欲望所淹没。
sharing Gretta's mind. Moreover, she hears in this scene a music of love that he cannot hear, or, as the text says, "strained his ear to listen" to. Gabriel only hears the everyday, the noise instead of music. To Gretta the song brings back the memory of the young, delicate Michael Furey in Galway, who has sung the song to her, loved her passionately, and died of consumption. Before Gabriel discovers the personal elements connected with the song and how they have affected his wife, he creates a fantasy of her renewed attachment to him, despite "the years of their dull existence together," and allows his passion to develop in multiple ways - romantic, intimate, lustful, even angry - as he gradually realizes that she is not thinking of him. 分享格雷塔的心灵。此外，她在这一幕中听到了一首他听不到的爱情音乐，或者正如文本所说，“竭力用耳朵聆听”。加布里埃尔只听到了日常生活中的噪音，而不是音乐。对于格雷塔来说，这首歌让她回忆起在加尔韦向她唱过这首歌、热情地爱过她并死于结核病的年轻、纤弱的迈克尔·菲利。在加布里埃尔发现与这首歌相关的个人元素以及它们如何影响他的妻子之前，他创造了一个幻想，认为她重新对他产生了依恋，尽管“他们一起度过的无聊岁月”，并允许自己的激情以多种方式发展 - 浪漫的、亲密的、充满欲望的，甚至愤怒的 - 当他逐渐意识到她并没有想着他。
In their hotel room after the party, when Gretta reveals the existence of Michael Furey, for a moment Gabriel maintains his calm superiority, but that begins to crumble when Gretta fails to respond to his ironic question about Michael's social status. Though Gabriel briefly tries to mock at Michael who was "a boy in the gasworks," such strategy does not protect him in the same way as it has had earlier in the evening with Lily. He realizes that Gretta's feelings for Michael cannot be reduced to the conventional phrase he offers ("I suppose you were in love with this Michael Furey, Gretta") when she majestically declares that she "was great with him at that time." He is "humiliated by the failure of his irony." Again, he turns away and his face colors. However, his manner of speaking is transformed. No longer playing a policelike role, he finds it impossible to "keep up his tone of cold interrogation." Instead his voice becomes "humble and indifferent." The indifference implies no lack of feeling, but it does suggest that Gabriel's irony and the motivation to inflict it are gone. Once Gabriel's tone changes, Gretta is no longer the intended object of his potential manipulation. He helps her to speak and to tell her story. By posing questions that help her to continue speaking, Gabriel provides the accompaniment for Gretta. He lays down his lance by abetting a woman's speech that tells him things he would rather not hear. 在派对后的酒店房间里，当格蕾塔透露迈克尔·菲利的存在时，加布里埃尔保持着冷静的优越感，但当格蕾塔未能回应他关于迈克尔社会地位的讽刺问题时，这种优越感开始崩溃。尽管加布里埃尔曾试图嘲笑曾在“煤气厂工作的男孩”迈克尔，但这种策略并没有像之前在与莉莉交谈时那样保护他。他意识到格蕾塔对迈克尔的感情不能简单归结为他所提供的常规短语（“我想你当时是爱上了这个迈克尔·菲利，格蕾塔”），当她庄严地宣称她“那时和他在一起很美好”时。他“因讽刺失败而感到羞辱”。他再次转身，脸色涨红。然而，他说话的方式发生了变化。不再扮演警察般的角色，他发现“保持冷漠的口吻已经不可能”。相反，他的声音变得“谦卑和漠不关心”。这种漠不关心并不意味着缺乏感情，但它确实表明加布里埃尔的讽刺和施加讽刺的动机已经消失。一旦加布里埃尔的语调改变，格蕾塔就不再是他潜在操纵的对象。 他帮助她说话并讲述她的故事。通过提出问题帮助她继续讲话，加布里埃尔为格雷塔提供了伴奏。他放下他的长矛，帮助一个女人说话，告诉他他宁愿不听到的事情。
Compared with Gabriel's encounters with Lily and Gretta, his experience with Miss Ivors evokes the relations of military action, nationalism, and colonial allegiances. In the story's first part, Gabriel does not dance at the call of "Quadrilles," but he does in the second part when "Lancers were arranged." For English speakers "lancers" has the explicit military connection. Here the movement of soldiers with weapons is domesticated and brought into the drawing room, where it is performed politely and harmlessly to music by noncombatants. The dance becomes the vehicle for a clash that involves national and regional allegiances and gender stereotypes. Miss Ivors does not mind breaking a lance with her partner. Gabriel, however, does mind because her looks, speech, and attitudes bring competing national and regional ties as well as gender expectations to the fore in ways that upset him. Gabriel colors, responds to Miss Ivors only "Iamely," and avoids her eyes. The pressure has increased considerably over the earlier encounters largely because Gabriel cannot use his class standing as an effective cover. The relatively formal application of the surname to Miss Ivors contrasts with the use of the first name for the servant, which indicates Miss Ivors's higher class standing in Gabriel's eyes. But his use of the surname also conveys his male distance and sense of superiority with respect to the woman whom Gretta addresses simply as "Molly." 与加布里埃尔与莉莉和格蕾塔的相遇相比，他与艾沃斯小姐的经历唤起了军事行动、民族主义和殖民地忠诚的关系。在故事的第一部分中，加布里埃尔没有在“四方舞”中跳舞，但在第二部分中，他在“兰瑟舞”中跳舞。对于讲英语的人来说，“兰瑟舞”具有明确的军事联系。在这里，带着武器的士兵的动作被驯化并带入客厅，在那里他们礼貌地、无害地跳着音乐，由非战斗人员表演。舞蹈成为了一个涉及国家和地区忠诚以及性别刻板印象的冲突载体。艾沃斯小姐不介意与她的舞伴交锋。然而，加布里埃尔在意，因为她的外表、言谈和态度带来了竞争性的国家和地区联系，以及性别期望，这些方式让他感到不安。加布里埃尔脸红，只是“勉强”回应艾沃斯小姐，并避开她的眼睛。与早期的相遇相比，压力显著增加，主要是因为加布里埃尔无法利用他的阶级地位作为有效的掩护。 对伊沃斯小姐姓氏的相对正式使用与对仆人使用名字的对比，表明伊沃斯小姐在加布里埃尔眼中的较高阶级地位。但他对姓氏的使用也传达了他与格雷塔所称的那位女士之间的男性距离感和优越感。"
Because of Miss Ivor's comparatively unfeminine attire and her frank statements about nationalism, Gabriel's assumptions about gender, appropriate behavior, and his own identity are all shaken. Gabriel notices that "She did not wear a low-cut bodice." In the place of flesh at her 因为伊沃小姐相对不太女性化的着装和她对民族主义的坦率表态，加布里埃尔对性别、适当行为以及自己身份的假设都受到了动摇。加布里埃尔注意到，“她没有穿低胸装。”在她身上取而代之的是肉体。
throat, Miss Ivors displays the nationalistic emblem that turns the covered bodice into something more aggressive and oppositional than merely a refusal to show flesh. Putting a political symbol where the conventional mark of gender identity should appear reinforces the challenge to Gabriel's composure. He feels so uncomfortable because Miss Ivors combines unconventional, unfeminine dress and talk with the friendly gesture of a "firmly pressed" hand and jokes with serious criticism of his politics. For Gabriel, a low-cut bodice would be more comforting. He cannot consider her only as a girl, nor as a conventional woman, which explains his irritable thought of her as "the girl or woman, or whatever she was." Her looking at him makes her even less good-looking in his view. Those eyes that have pierced him like a lance become part of an unattractive face that is less than human, and he calls them "rabbit's eyes." As Gabriel's gender and political identities are threatened, he pays Miss Ivors silently back with the thoughts that she is physically unattractive and discourteous. Her implied failure to meet Gabriel's standards for her gender and class enables him to keep his sense of himself temporarily intact. 在 Miss Ivors 的喉咙上，展示了民族主义的象征，使得覆盖的上衣变得比仅仅拒绝露肉更具侵略性和对立性。在传统的性别认同标志应该出现的地方放置一个政治象征，加强了对加布里埃尔镇定的挑战。他感到如此不舒服，因为 Miss Ivors 将不传统、不女性化的服装和言谈与“坚定地握着”的友好姿态以及严肃批评他的政治结合在一起。对于加布里埃尔来说，一个低领的上衣会更令人安慰。他无法把她仅仅看作一个女孩，也不能把她看作一个传统的女人，这解释了他对她的恼怒想法：“那个女孩或女人，或者她是什么。”她看着他让他觉得她更不好看。那些像长矛一样刺穿他的眼睛成为一个不吸引人的脸的一部分，不如人类，他称之为“兔子眼”。当加布里埃尔的性别和政治身份受到威胁时，他用默默地认为她在外貌上不吸引人和不礼貌来回击 Miss Ivors。 她暗示未能达到加布里埃尔对她性别和阶级的标准，使他能够暂时保持自己的自我感。
In the three scenes with Lily, Miss Ivors, and Gretta, Gabriel turns away from them in order to hide his blush. He also averts his eyes in order to avoid seeing the harsh truth about himself reflected in their faces. In the final scene with Gretta, Gabriel eventually turns his eyes toward her once she sleeps. When he does, he encounters a fact about her that also applies to himself: "He did not like to say even to himself that her face was no longer beautiful but he knew that it was no longer the face for which Michael Furey had braved death." This reflection on her looks differs substantially in tone and implication from Gabriel's vindictive thoughts about Miss Ivors. He stops thinking delusively of his wife as the young woman he courted or of their relations as those of young lovers. He recalls almost immediately "that haggard look" on Aunt Julia's face while she was singing. Gabriel finally recognizes in the faces of these two women something that he has failed to see in either Lily or Miss Ivors, the mortality that he shares with them. He sees the equivalent of the snow that will eventually cover their graves and his own. Therefore, "The Dead" can be understood as a story about a character who encounters the inevitability of his own death, and loses at least temporarily his sense of being at the pinnacle of multiple hierarchies. 在与莉莉、艾弗斯小姐和格蕾塔的三个场景中，加布里埃尔转身离开她们，以掩饰自己的脸红。他还转移目光，以避免在她们的脸上看到关于自己的残酷真相。在与格蕾塔的最后一幕中，当她入睡时，加布里埃尔最终将目光转向她。当他这样做时，他发现了关于她的一个事实，这也适用于他自己：“他不愿意甚至对自己说，她的脸不再美丽，但他知道那不再是迈克尔·菲利为之冒死的脸。”对她容貌的这种反思在语调和含义上与加布里埃尔对艾弗斯小姐的报复性思想有很大不同。他停止幻想妻子是他追求的年轻女子，或者他们之间的关系是年轻恋人的关系。他几乎立即回想起阿姨茱莉娅在唱歌时的“憔悴神情”。加布里埃尔最终意识到，在这两个女人的脸上，有一些他未能在莉莉或艾弗斯小姐身上看到的东西，那就是他与她们共享的有限生命。他看到了最终将覆盖她们和自己坟墓的雪的等价物。 因此，“死者”可以被理解为一个关于一个角色遭遇自己死亡的必然性，并至少暂时失去了自己处于多重等级制度顶峰的感觉的故事。
References
Gray. Wallace. "Walloce Gray's Notes for James Joyce's "The Dead "" 14 Dec. 2007 <http:l/www.mendele.
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Keimo, Edna. Song, Snow and Feosting: Diaiogue and Camival in 'The Dead." Orbis Litterarum 54 (7999):
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Momissey, L. J. "Irner and Outer Perceptions in Joyce's 'The Dead." Studles in Short Fiction 25 (1988): 21-29.
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Rolamd. Wagner C. "A. Bith Announcement in The Dead.'" Studices in Short Flotion 32 (1995): 447-62
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1.6 Style
By definition, style is the manner of expression of a particular writer, school, period, or genre produced by choice of words, grammatical structures, use of literary devices, and all the possible parts of language use. It is the combined qualities that distinguish one category from another. 根据定义，风格是特定作家、学派、时期或体裞性质的表达方式，由词语选择、语法结构、文学修辞手法的使用以及语言使用的所有可能部分产生。它是区分一个类别与另一个类别的综合特质。
On the author's part, style is concerned not with "what to say" but "how to say it." It indicates a writer's characteristic way of saying things. The French naturalist Georges de Buffon has made a pertinent observation that "The style is the man himself," suggesting a writer's literary style reflects his or her own personality. Though impressive, this definition seems rather subjective because style is in fact more than a psychological profile of the writer. Jonathan Swift takes a more objective approach, claiming "Proper words in proper places make the true definition of a style." His definition promises a possibility to break a work into components for analysis. In order to appreciate a writer's style, we usually pay close attention to elements including tone, diction, imagery, syntax, and organizational structure. 作者的风格并不关心“说什么”，而是“怎么说”。它表明了作家说话的特点方式。法国博物学家乔治·德·布丰曾做出过一项中肯的观察：“风格即人。”这表明作家的文学风格反映了他或她自己的个性。尽管令人印象深刻，这个定义似乎相当主观，因为风格实际上不仅仅是作家的心理特征。乔纳森·斯威夫特采取了更客观的方法，声称“适当的词语放在适当的位置才是风格的真正定义。”他的定义承诺了将作品分解为分析组件的可能性。为了欣赏作家的风格，我们通常会密切关注诸如语调、措辞、意象、句法和组织结构等元素。
Tone indicates the speaker's attitude towards his subject (solemn, serious, playful, ironic, or sentimental) and his audience (formal, informal, intimate, or pretentious). As a metaphor drawn from the tone of voice in speech or song, tone is the emotional coloring or the emotional meaning of the work. A clear interpretation of the tone in a literary text depends upon the right understanding of the context, which helps readers figure out the full meaning and the speaker's attitude towards the subject. In fiction, tone is the result of allusion, diction, figurative language, imagery, irony, motif, symbolism, and syntax. Two authors dealing with one subject may have different tones due to their particular employment of literary devices. For instance, both Joyce and Atwood deal with gender politics, but their works display profound differences in the tone. 语调表示说话者对主题（庄严、严肃、俏皮、讽刺或感伤）和听众（正式、非正式、亲密或矫揉造作）的态度。作为从言语或歌曲的语调中借来的隐喻，语调是作品的情感色彩或情感意义。对文学文本中语调的清晰解释取决于对上下文的正确理解，这有助于读者理解完整的含义以及说话者对主题的态度。在小说中，语调是暗示、措辞、比喻语言、意象、讽刺、主题、象征和句法的结果。处理同一主题的两位作者可能由于对文学手法的特殊运用而具有不同的语调。例如，乔伊斯和阿特伍德都涉及性别政治，但他们的作品在语调上显示出深刻的差异。
Diction refers to a writer's choice of words. The words chosen can be described as general or specific (tree vs. weeping willow); formal or informal ("How do you do" vs. "Hello"); abstract or concrete (brotherhood vs. cousin); common (drat); jargon; Latin-based or Anglo-Saxon words (make a hotel reservation vs. book a room). As we read Anderson's "The Egg," for example, we notice the diction is appropriate to the first-person narrator, an adult looking back on his unhappy childhood. If this "I" narrator were a teenager, such diction would be too sophisticated. In "Rape Fantasies," the author deliberately uses plain, everyday words to mimic conversations. 词汇指的是作家选择的词语。所选的词可以描述为一般或具体（树 vs. 垂柳）；正式或非正式（“你好” vs. “你好”）；抽象或具体（兄弟情谊 vs. 表兄弟）；常见（讨厌）；行话；拉丁词基或盎格鲁-撒克逊词（预订酒店 vs. 预订房间）。例如，当我们阅读安德森的《蛋》时，我们注意到词汇适合第一人称叙述者，一个回顾自己不幸童年的成年人。如果这个“我”叙述者是一个十几岁的青少年，这样的词汇就会显得太复杂。在《强奸幻想》中，作者故意使用简单的日常用语来模仿对话。
Imagery is also essential to establish a writer's style as it extends to all the senses - sight, taste, smell, touch and hearing. Sensory imagery can make ideas vivid and stir the emotions of a reader. Very often imagery is associated with figures of speech including simile, metaphor, personification, hyperbole, analogy, and others. In "The Egg" Anderson limits his imagery to sensory images and employs no more than one or two figures of speech in the first several paragraphs. The striking monologues of the heroine in "Rape Fantasies," on the other hand, are filled with hyperboles, while the narration in "The Dead" sticks closely to symbolic implications. 意象对于建立作家的风格也是至关重要的，因为它延伸到所有感官 - 视觉、味觉、嗅觉、触觉和听觉。感官意象可以使想法生动并激发读者的情感。很多时候，意象与修辞手法相关联，包括比喻、隐喻、拟人、夸张、类比等。在《蛋》中，安德森将他的意象限制在感官形象上，并在最初几段中没有使用超过一两个修辞手法。另一方面，在《强奸幻想》中，女主角的独白充满了夸张，而在《死者》中的叙述则紧密围绕着象征意义。
Another component of style is the sentence. Syntax, or sentence structure, is the pattern or arrangement of individual words and phrases. Many interesting writers use a number of methods to achieve variety. The narrative of "The Egg," for instance, is primarily told through declarative sentences, but several paragraphs later Anderson varies the pattern with an interrogative sentence. Some writers may write a fragment to shock; some may contrast sentence lengths; others may invert the natural order and begin with something other than a subject, such as prepositional phases or verbal phrases introduced by a gerund. 风格的另一个组成部分是句子。句法，或句子结构，是个别单词和短语的模式或排列。许多有趣的作家使用多种方法来实现变化。例如，“The Egg”的叙述主要通过陈述句来讲述，但几段之后，安德森用疑问句改变了模式。一些作家可能写碎片以引起震惊；一些可能对比句子长度；其他人可能颠倒自然顺序，以非主语开始，比如介词短语或由动名词引导的动词短语。
Last but not the least, structure is helpful for a writer to create a particular style. Most fiction maintains the chronological organization structure. Incidents of the plot develop causally; that is, one event causes a second, that causes the third, and so on. Some story writers, however, choose to vary this predictable structure. Faulkner's "A Rose for Emily," for example, starts in the middle of things. In Atwood's "Rape Fantasies," the series of incidents create an episodic structure and invite the reader to determine the connections between each episode. 最后但并非最不重要的是，结构对于作家创造特定风格是有帮助的。大多数小说保持着时间顺序的组织结构。情节的事件是因果发展的；也就是说，一个事件导致第二个事件，第二个事件导致第三个事件，依此类推。然而，一些故事作家选择改变这种可预测的结构。例如，福克纳的《为艾米莉献上一朵玫瑰》，故事从中间开始。在阿特伍德的《强奸幻想》中，一系列事件创造了一个片段式的结构，并邀请读者确定每个片段之间的联系。
Bearing all the components in mind, we can easily tell a writer's characteristic way of saying things. Generally, we can make a distinction between two kinds of styles-the formal and the familiar. Their differences go back to the ancient Greek distinction between "vulgar," "plain," "middle," and "grand" speech. Shakespeare uses the formal style effortlessly, so do John Donne, John Milton, Charles Dickens, F. Scott Fitzgerald and Henry James. The hallmarks of formal style are: periodic and loose sentences, parallelism, repetition, metaphor and comparison, Latinate language and multisyllabic words, as well as allusions. Employed to greater or lesser degrees, these techniques add power and richness to the natural manner of expression. They are especially useful when solemnity or a feeling of classicity or tradition is appropriate. By the beginning of the eighteenth century, writers began to rebel against formality and write more conversationally. The recognizable familiar style is plain, straightforward, and concrete. It is neither the slang of the street nor the loftiness of George Eliot. The familiar style is direct and to the point, of which Mark Twain and Ernest Hemingway being the spokesmen. A familiar style includes judicious use of speech characteristics, such as simple vocabulary, use of slang and profanity, less rigorous grammar, contractions, simple and short sentences, and irony and humor. Besides, it also distinguishes itself with minimal use of subordinate clauses and use of dialogue. Though each having distinctive features, the formal and the familiar styles sometimes can be combined as preachers and politicians have used through the ages to achieve powerful effect. 考虑到所有组成部分，我们可以很容易地判断一个作家说话的特点方式。一般来说，我们可以区分两种风格——正式和熟悉。它们的区别可以追溯到古希腊对“粗俗”、“朴素”、“中庸”和“宏伟”言辞的区分。莎士比亚毫不费力地运用正式风格，约翰·邓恩、约翰·弥尔顿、查尔斯·狄更斯、F·斯科特·菲茨杰拉德和亨利·詹姆斯也是如此。正式风格的特点包括：周期性和松散的句子、平行结构、重复、隐喻和比喻、拉丁语言和多音节词，以及典故。这些技巧以不同程度被运用，为自然表达方式增添了力量和丰富性。当需要庄严或经典传统感时，它们尤为有用。到了十八世纪初，作家们开始反抗正式主义，更加口语化地写作。可识别的熟悉风格是朴素、直接和具体的。它既不是街头俚语，也不是乔治·艾略特的高雅之风。 熟悉的风格直截了当，马克·吐温和欧内斯特·海明威是其代言人。熟悉的风格包括审慎地运用语言特点，如简单词汇、俚语和粗话的使用、不那么严格的语法、缩略词、简单短句、以及讽刺和幽默。此外，它还以最少的从属从句使用和对话的运用来区别于其他风格。尽管各自具有独特特点，正式和熟悉的风格有时可以结合起来，就像古往今来的传教士和政治家们所使用的方式，以达到强大的效果。
References
INTERVIEWER: Who would you say are your literary forebears - those you have learned the most from?
HEMINGWAY: Mark Twain, Flaubert, Stendhal, Bach, Turgenev, Tolstoy, Dostoyevsky. Chekhov, Andrew Marvell, Johm Donne, Maupassant, the good Kipling, Thoreau, Captain Marryat, Shakespeare, Mozart, Quevedo, Dante, Virgil, Tintoretto, Hieronymus Bosch, Brueghel, Patinir, Goya, Giatto, Cézanne, Van Gogh, Gauguin, San Juan de la Cruz, Góngora - it would take a day to remember everyone. Then it would sound as though I were claiming an erudition I did not possess instead of trying to remember all the prople who have been an influence on my life and work. This isn't an old dull question. It is a very good but a solemn question and requires an examination of conscience. I put in painters, or started to, because I learn as much from painters about how to write as from writers. You ask how this is done? It would take another day of explaining. I should think what one leams from composers and from the study of harmony and counterpoint would be obvious. 海明威：马克·吐温，福楼拜，司汤达尔，巴赫，屠格涅夫，托尔斯泰，陀思妥耶夫斯基，契诃夫，安德鲁·马维尔，约翰·邓恩，莫波桑，好基普林，梭罗，马里亚特船长，莎士比亚，莫扎特，克维多，但丁，维吉尔，丁托列托，耶罗尼穆斯·博世，布呂盖尔，帕蒂尼尔，戈雅，吉奥托，塞尚，梵高，高更，圣胡安·德·拉·克鲁斯，贡戈拉 - 要记住每个人需要一天的时间。然后听起来好像我声称我没有的博学而不是试图记住所有对我的生活和工作有影响的人。这不是一个古老乏味的问题。这是一个非常好但庄严的问题，需要审视良心。我加入了画家，或者开始加入，因为我从画家那里学到的写作技巧和从作家那里学到的一样多。你问这是如何做到的？这需要另一个解释的一天。我认为从作曲家那里学到的东西和从和声和对位的研究中学到的东西是显而易见的。
Ernest Hemingway was an American novelist, short story writer, and journalist. He was part of the 1920s expatriate community in Paris, and one of the veterans of World War I later known as "the Lost Generation." Hemingway's distinctive writing style is characterized by economy and understatement. His protagonists are typically stoical men who exhibit an ideal described as "grace under pressure." The Sun Also Rises (1926), A Farewell to Arms (1929), For Whom the Bell Tolls (1940), and The Old Man and the Sea (1952) are Hemingway's best novels that epitomize an anguished generation over the European war, over the shattered illusion of peaceful order irrevocably lost. A few stories including "The Killers," "The Snows of Kilimanjaro," "A Clean, Well-Lighted Place," and "The Short Happy Life of Francis Macomber" are known as finest stories in English. In 1953 Hemingway won the Pulitzer Prize for, and the Nobel Prize in Literature in 1954 for "his powerful styleforming mastery of the art of modern narration." 欧内斯特·海明威是一位美国小说家、短篇小说作家和记者。他是 1920 年代巴黎的侨民社区的一员，也是一战老兵之一，后来被称为“失落的一代”。海明威独特的写作风格以简洁和克制为特点。他的主人公通常是坚忍不拔的男人，展现出一种被描述为“压力下的优雅”的理想。《太阳照常升起》（1926 年）、《永别了，武器》（1929 年）、《丧钟为谁而鸣》（1940 年）和《老人与海》（1952 年）是海明威最好的小说，概括了一代人对欧洲战争的痛苦，对永远失去的和平秩序的幻想的破灭。包括《杀手》、《乞力马扎罗的雪》、《一个干净明亮的地方》和《弗朗西斯·麦康伯的短暂幸福生活》在内的一些故事被认为是英语中最优秀的故事。1953 年，海明威获得了普利策奖，并于 1954 年因“他对现代叙事艺术的强大风格形成掌握”而获得了诺贝尔文学奖。
In Another Country
In the fall the war was always there, but we did not go to it any more. It was cold in the fall in Milan and the dark came very early. Then the electric lights came on, and it was pleasant along the streets looking in the windows. There was much game hanging outside the shops, and the snow powdered in the fur of the foxes and the wind blew their tails. The deer hung stiff and heavy and empty, and small birds blew in the wind and the wind turned their feathers. It was a cold fall and the wind came down from the mountains. 在秋天，战争总是存在的，但我们不再去参与了。米兰的秋天很冷，天黑得很早。然后电灯亮了起来，在街上看着橱窗里的东西感觉很愉快。商店外挂着很多野味，雪粉在狐狸的毛皮上，风吹动它们的尾巴。鹿挂在那里僵硬而沉重，空空如也，小鸟在风中飘荡，风吹动它们的羽毛。这是一个寒冷的秋天，风从山上吹来。
We were all at the hospital every afternoon, and there were different ways of walking across the town through the dusk to the hospital. Two of the ways were alongside canals, but they were long. Always, though, you crossed a bridge across a canal to enter the hospital. There was a choice of three bridges. On one of them a woman sold roasted chestnuts. It was warm, standing in front of her charcoal fire, and the chestnuts were warm afterward in your pocket. The hospital was very old and very beautiful, and you entered a gate and walked across a courtyard and out a gate on the other side. There were usually funerals starting from the courtyard. Beyond the old hospital were the new brick pavilions, and there we met every afternoon and were all very polite and interested in what was the matter, and sat in the machines that were to make so much difference. 我们每天下午都在医院，有不同的方式穿过黄昏去医院。有两条路是沿着运河走的，但很长。不过，你总是要穿过一座桥跨过运河进入医院。有三座桥可供选择。其中一座桥上有一位女士卖烤栗子。站在她的木炭火前很暖和，口袋里的栗子之后也很暖和。医院非常古老而美丽，你穿过一个大门，穿过一个庭院，然后从另一边的大门出去。通常会有从庭院开始的葬礼。在古老的医院之外是新的砖瓦亭，我们每天下午在那里见面，都非常有礼貌，对事情很感兴趣，并坐在那些将产生很大影响的机器里。
The doctor came up to the machine where I was sitting and said: "What did you like best to do before the war? Did you practice a sport?"
I said: "Yes, football."
"Good," he said. "You will be able to play football again better than ever."
My knee did not bend and the leg dropped straight from the knee to the ankle without a calf,' and the machine was to bend the knee and make it move as riding a tricycle. But it did not bend yet, and instead the machine lurched when it came to the bending part. The doctor said: "That will all pass. You are a fortunate young man. You will play football again like a champion." 我的膝盖没有弯曲，腿从膝盖到脚踝直直地垂下，没有小腿，机器应该弯曲膝盖，让它像骑三轮车一样移动。但它还没有弯曲，相反，当它到达弯曲部分时，机器突然摇晃。医生说：“这一切都会过去的。你是一个幸运的年轻人。你将再次像冠军一样踢足球。”
In the next machine wás a major who had a little hand like a baby's. He winked at me when the doctor examined his hand, which was between two leather straps that bounced up and down and flapped the stiff fingers, and said: "And will I too play football, captain-doctor?" He had been a very great fencer, and before the war the greatest fencer in Italy. 在旁边的机器里坐着一个少校，他的手像婴儿一样小。当医生检查他的手时，他冲我眨了眨眼，手被夹在两根皮带之间，手指僵硬地上下弹跳着，他说：“我也能踢足球吗，队长医生？”他曾是一位非常出色的剑客，在战争前是意大利最优秀的剑客。
The doctor went to his office in a back room and brought a photograph which showed a hand that had been withered almost as small as the major's, before it had taken a machine course, and after was a little larger. The major held the photograph with his good hand and looked at it very carefully. "A wound?" he asked. 医生走进后面的办公室，拿来一张照片，照片上显示一只手曾经干瘪得几乎和少校的手一样小，之后经过了一段机器课程后，变得稍微大了一点。少校用他的好手拿着照片，仔细地看着。“伤口？”他问道。
"An industrial accident," the doctor said.
"Very interesting, very interesting," the major said, and handed it back to the doctor.
"You have confidence?"
"No," said the major.
There were three boys who came each day who were about the same age I was. They were all three from Milan, and one of them was to be a lawyer, and one was to be a painter, and one had intended to be a soldier, and after we were finished with the machines, sometimes we walked back together to the Café Cova, which was next door to the Scala. We walked the short way through the communist quarter because we were four together. The people hated us because we were officers, and from a wine-shop someone called out, "A basso gli ufficiali!"' as we passed. Another boy who walked with us sometimes and made us five wore a black silk handkerchief across his face because he had no nose then and his face was to be rebuilt. He had gone out to the front from the military academy and been wounded within an hour after he had gone into the front line for the first time. They rebuilt his face, but he came from a very old family and they could never get the nose exactly right. He went to South America and worked in a bank. But this was a long time ago, and then we did not any of us know how it was going to be afterward. We only knew then that there was always the war, but that we were not going to it any more. 有三个男孩每天都来，他们和我差不多年纪。他们三个都来自米兰，其中一个要成为律师，一个要成为画家，一个打算当兵。用完机器后，有时我们一起走回科瓦咖啡馆，那是在斯卡拉歌剧院旁边。我们走短路穿过共产主义区，因为我们一起四个人。人们讨厌我们，因为我们是军官，从一家酒店里有人喊道：“打倒军官！”当我们经过时。有时和我们一起走的另一个男孩，使我们五个人，他脸上戴着黑色丝绸手帕，因为他那时没有鼻子，他的脸要重新建造。他从军校出发去前线，第一次进入前线后不到一个小时就受伤了。他们重建了他的脸，但他来自一个非常古老的家族，他们永远也无法把鼻子弄得完全正确。他去了南美，在一家银行工作。但这是很久以前的事了，那时我们谁也不知道以后会怎样。 我们当时只知道战争一直存在，但我们不再参与其中。
We all had the same medals, except the boy with the black silk bandage across his face, and he had not been at the front long enough to get any medals. The tall boy with a very pale face who was to be a lawyer had been lieutenant of Arditi and had three medals of the sort we each had only one of. He had lived a very long time with death and was a little detached. We were all a little detached, and there was nothing that held us together except that we met every afternoon at the hospital. Although, as we walked to the Cova through the tough part of town, walking in the dark, with light and singing coming out of the wine-shops, and sometimes having to walk into the street when the men and women would crowd together on the sidewalk so that we would have had to jostle them to get by, we felt held together by there being something that had happened that they, the people who disliked us, did not understand. 除了脸上裹着黑丝绸绷带的男孩，我们所有人都有同样的奖章，而他还没有在前线待够时间获得任何奖章。那个长得很高、脸色苍白的男孩，本来要成为一名律师，曾经是阿尔迪蒂的中尉，有三枚我们每人只有一枚的奖章。他与死亡相处了很长时间，有点超然。我们都有点超然，除了每天下午在医院见面，没有什么能把我们联系在一起。尽管当我们走过城镇的艰难地带，走在黑暗中，从酒吧里传出光亮和歌声，有时不得不走到街上，因为男人和女人会挤在人行道上，我们必须推开他们才能通过，但我们感到被某种事情联系在一起，那是他们，那些不喜欢我们的人，不理解的事情。
We ourselves all understood the Cova, where it was rich and warm and not too brightly lighted, and noisy and smoky at certain hours. and there were always girls at the tables and the illustrated papers on a rack on the wall. The girls at the Cova were very patriotic, and I found that the most patriotic people in Italy were the café girls - and I believe they are still patriotic. 我们自己都了解科瓦，那里富有、温暖，灯光不太明亮，在某些时候很吵闹、烟雾弥漫。桌子上总是坐着女孩，墙上挂着插图报纸。科瓦的女孩非常爱国，我发现意大利最爱国的人是咖啡馆的女孩们，我相信她们现在依然爱国。
The boys at first were very polite about my medals and asked me what I had done to get them. I showed them the papers, which were written in very beautiful language and full of fratellanza and abnegazione, but which really said, with the adjectives removed, that I had been given the medals because I was an American. After that their manner changed a little toward me, although I was their friend against outsiders. I was a friend, but I was never really one of them after they had read the citations, because it had been different with them and they had done very different things to get their medals. I had been wounded, it was true; but we all knew that being wounded, after all, was really an accident. I was never ashamed of the ribbons, though, and sometimes, after the cocktail hour, I would imagine myself having done all the things they had done to get their medals; but walking home at night through the empty streets with the cold wind and all the shops closed, trying to keep near the street lights, I knew that I would never have done such things, and I was very much afraid to die, and often lay in bed at night by myself, afraid to die and wondering how I would be when back to the front again. 男孩们一开始对我的奖章非常客气，问我是如何获得它们的。我给他们看了那些用非常美丽的语言写成的文件，充满了兄弟情谊和无私奉献，但实际上，去掉形容词后，文件说我之所以获得奖章是因为我是美国人。之后，他们对我的态度有些变化，尽管我是他们对外人的朋友。我是朋友，但在他们读了奖状后，我从未真正成为他们中的一员，因为他们获得奖章的方式与我不同。我确实受伤了，但我们都知道，受伤实际上只是一种意外。 我从未为那些缎带感到羞耻，有时，在鸡尾酒时间过后，我会想象自己做过他们为了得到奖章而做的一切事情；但是在夜晚穿过空荡荡的街道回家，寒风刺骨，所有商店都关门了，努力靠近街灯，我知道我永远不会做出这样的事情，我非常害怕死去，经常一个人躺在床上，害怕死去，想知道当我再次回到前线时会是什么样子。
The three with the medals were like huntinghawks; and I was not a hawk, although I might seem a hawk to those who had never hunted; they, the three, knew better and so we drifted apart. But I stayed good friends with the boy who had been wounded his first day at the front, because he would never know now how he would have turned out; so he could never be accepted either, and I liked him because I thought perhaps he would not have turned out to be a hawk either. 佩戴奖牌的三人就像猎鹰一样；而我并不是一只猎鹰，尽管对于从未狩猎过的人来说，我可能看起来像只猎鹰；他们三人知道得更清楚，所以我们渐行渐远。但我和那个在前线受伤的男孩仍是好朋友，因为他永远不会知道自己会变成什么样；所以他也永远不会被接受，我喜欢他是因为我认为也许他也不会成为一只猎鹰。
The major, who had been a great fencer, did not believe in bravery, and spent much time while we sat in the machines correcting my grammar. He had complimented me on how I spoke Italian, and we talked together very easily. One day I had said that Italian seemed such an easy language to me that I could not take a great interest in it; everything was so easy to say. "Ah, yes," the major said. "Why, then, do you not take up the use of grammar?" So we took up the use of grammar, and soon Italian was such a difficult language that I was afraid to talk to him until I had the grammar straight in my mind. 这位曾是一名出色的剑客的少校并不相信勇气，而是花了很多时间在我们坐在机器里纠正我的语法。他曾称赞我说意大利语的方式，我们之间交谈得非常轻松。有一天，我说意大利语对我来说是一门如此简单的语言，以至于我对它没有太大兴趣；一切都如此容易说。"啊，是的，"少校说。"那么，你为什么不开始学习语法呢？"于是我们开始学习语法，很快意大利语变得如此困难，以至于我害怕与他交谈，直到我把语法弄清楚为止。
The major came very regularly to the hospital. I do not think he ever missed a day, although I am sure he did not believe in the machines. There was a time when none of us believed in the machines, and one day the major said it was all nonsense. The machines were new then and it was we who were to prove them. It was an idiotic idea, he said, "a theory like another." I had not learned my grammar, and he said I was a stupid impossible disgrace, and he was a fool to have bothered with me. He was a small man and he sat straight up in his chair with his right hand thrust into the machine and looked straight ahead at the wall while the straps thumbed up and down with his fingers in them. 主要人物非常定期地来医院。我认为他从未错过一天，尽管我确信他不相信机器。有一段时间，我们谁都不相信机器，有一天主要人物说这一切都是胡说八道。那时机器是新的，我们是要证明它们的。他说这是一个愚蠢的想法，“一种像另一种的理论。”我还没学好语法，他说我是一个愚蠢的不可能的耻辱，他是个傻瓜，浪费时间和我在一起。他是个矮小的人，坐在椅子上挺直身子，右手伸进机器里，直视前方的墙壁，而皮带则在他的手指中间上下弹动。
"What will you do when the war is over if it is over?" he asked me. "Speak grammatically!" "I will go to the States."
"Are you married?"
"No, but I hope to be."
"The more a fool you are," he said. He seemed very angry. "A man must not marry."
"Why, Signor Maggiore?"
"Don't call me Signor Maggiore."
"Why must not a man marry?"
"He cannot marry. He cannot marry," he said angrily. "If he is to lose everything, he should not place himself in a position to lose that. He should not place himself in a position to lose. He should find things he cannot lose." 他不能结婚。他不能结婚，"他生气地说。"如果他要失去一切，他就不应该让自己处于那种失去的位置。他不应该让自己处于那种失去的位置。他应该找到那些他不能失去的东西。"
He spoke very angrily and bitterly, and looked straight ahead while he talked.
"But why should he necessarily lose it?"
"He'll lose it," the major said. He was looking at the wall. Then he looked down at the machine and jerked his little hand out from between the straps and slapped it hard against his thigh. "He'll lose it," he almost shouted. "Don't argue with me!" Then he called to the attendant who ran the machines. "Come and turn this damned thing off." "他会丢掉的，"少校说。他看着墙。然后他看着机器，把他的小手从绑带之间抽出来，狠狠地拍在大腿上。"他会丢掉的，"他几乎喊道。"不要和我争论！"然后他叫来管理机器的服务员。"过来把这该死的东西关掉。"
He went back into the other room for the light treatment and the massage. Then I heard him ask the doctor if he might use his telephone and he shut the door. When he came back into the room, I was sitting in another machine. He was wearing his cape and had his cap on, and he came directly toward my machine and put his arm on my shoulder. 他回到另一个房间接受光疗和按摩。然后我听到他问医生是否可以使用电话，然后他关上了门。当他回到房间时，我正坐在另一台机器上。他穿着斗篷，戴着帽子，直接走向我的机器，把手搭在我的肩膀上。
"I am sorry," he said, and patted me on the shoulder with his good hand. "I would not be rude. My wife has just died. You must forgive me."
"Oh —-" I said, feeling sick for him. "I am so sorry."
He stood there biting his lower lip. "It is very difficult," he said. "I cannot resign myself."
He looked straight past me and out through the window. Then he began to cry. "I am utterly unable to resign myself," he said and choked. And then crying, his head up looking at nothing, carrying himself straight and soldierly, with tears on both cheeks and biting his lips, he walked past the machines and out the door. 他径直朝我走过去，透过窗户望了出去。然后他开始哭了。“我完全无法接受这个事实，”他说着，声音哽咽。然后，他抬起头，眼睛看着虚空，挺直身体，像个士兵一样，双颊泪流满面，咬着嘴唇，走过机器，走出了门。
The doctor told me that the major's wife, who was very young and whom he had not married until he was definitely invalided out of the war, had died of pneumonia. She had been sick only a few days. No one expected her to die. The major did not come to the hospital for three days. Then he came at the usual hour, wearing a black band on the sleeve of his uniform. When he came back, there were large framed photographs around the wall, of all sorts of wounds before and after they had been cured by the machines. In front of the machine the major used were three photographs of hands like his that were completely restored. I do not know where the doctor got them. I always understood we were the first to use the machines, The photographs did not make much difference to the major because he only looked out of the window. 医生告诉我，少校的妻子，她非常年轻，直到他被确诊为伤残出战时才结婚，死于肺炎。她只生病了几天。没有人料到她会死。少校三天没有来医院。然后他在正常时间来了，制服袖子上戴着黑色臂章。当他回来时，墙上挂着大幅照片，展示各种伤口在机器治愈前后的情况。在少校使用的机器前面，有三张像他的手完全恢复了的照片。我不知道医生从哪里弄来的。我一直以为我们是第一个使用这些机器的。照片对少校并没有太大影响，因为他只是望着窗外。
Both "The Dead" and "In Another Country" depict scenes of looking out of the window. Compare and contrast the two different ways.
Detect and analyze the diction that implies the author's attitude towards the three boys, the major, and the war.
What is the significance of the syntax in the story? Does it contribute to the tone?
Try to rewrite the story in formal style. Use as many formal techniques and figures of speech as you can. Compared with the original, which version is more effective?
The first two-thirds of the work is focused on the young narrator convalescing in Milan. He is an American in Italy, a newcomer to the language, an officer among hostile civilians, a patient with a serious handicap, and a frightened soldier among genuine war heroes, all of which indicating his being in another country. The story is then illuminated by the shift of attention from the American soldier to the Italian major midway through the story. At the climax, when the major learns his wife's death, the young man simply becomes an observer, and thereafter the major dominates. Such scheme on the one hand contributes to reinforce the alienation of the narrator; on the other hand, the author is particularly interested with the kinds of experience that the American either lacks or underestimates. When the major emerges to be the central character, it is because the story moves on the subjects beyond the American's experience, namely, love, despair, and death. 作品的前两个部分集中在年轻叙述者在米兰康复。他是一个在意大利的美国人，是一位语言新手，是敌对平民中的一名军官，是一个患有严重残疾的病人，是一个在真正的战争英雄中感到恐惧的士兵，所有这些都表明他身处另一个国家。然后，故事通过将注意力从美国士兵转移到故事中间的意大利少校而得以阐明。在高潮时，当少校得知妻子去世时，年轻人只是一个旁观者，此后少校占据主导地位。这种方案一方面有助于加强叙述者的疏离感；另一方面，作者特别关注美国人缺乏或低估的经历类型。当少校成为中心人物时，是因为故事转向了超出美国人经历范围的主题，即爱情、绝望和死亡。
It is of vital importance for the American to witness the major's grief. On the day of the wife's death, Hemingway writes, "She had been sick only a few days. No one expected her to die." When the major gets the phone, he has already known that the wife is either dead or dying, as his extreme anger indicates. He not only loves his wife, but also has no confidence in the treatment. The narrator perceives the depths of love and despair by witnessing the effects of the wife's death. Therefore, the major, having undergone love and the loss of it, is in another country from the American. 美国人目睹少校的悲伤至关重要。海明威在妻子去世的那天写道：“她只病了几天。没有人料到她会死。”当少校接到电话时，他已经知道妻子要么已经死了，要么濒临死亡，因为他极度愤怒。他不仅爱他的妻子，而且对治疗没有信心。叙述者通过目睹妻子的死亡效果来感知爱和绝望的深度。因此，经历了爱情和失去爱情的少校与美国人身处另一个国家。
The story's title alludes to Christopher Marlowe's The Jew of Malta. Hemingway reuses the material in The Sun Also Rises and Across the River and into the Trees. As Philip Young says, "Unless one knows the origin of this title its point is lost." The Jew of Malta describes a murder made by a Jew who has poisoned his own daughter along with a convent full of nuns. The Jew is trying to forestall the charge of murder by interrupting his accusers and confessing lesser sins: 故事的标题暗指克里斯托弗·马洛的《马耳他的犹太人》。海明威在《太阳照常升起》和《穿过河流进入树林》中重复使用了这些材料。正如菲利普·杨所说，“除非人们知道这个标题的起源，否则它的意义就会失去。”《马耳他的犹太人》描述了一个犹太人犯下的谋杀，他用毒药毒死了自己的女儿和一座满是修女的修道院。这位犹太人试图通过打断控告他的人并坦白较轻的罪行来阻止被指控谋杀：
Fryar. Thou hast committed -
Barabas. Fornication? but that was in another Country:
And besides, the Wench is dead. (Marlowe, I, 309)
Correspondences between story and play seem obvious. The major's dead wife resembles the Jew's dead wench, and the major may be understood as the counterpart of the Jew. The relationship, however, is the opposite. While the Jew is insincere and cares nothing about some woman he has fornicated, the major cherishes genuine love towards his wife. Hence the major's experience with love positions him in another country from both the loveless Jew of Malta and the inexperienced young American. One cannot shrug off such love as Barabas shrugs off the wench. Such a loss is desolating, and the major cannot "resign himself." 故事和游戏之间的对应关系似乎很明显。少校已故的妻子类似于犹太人已故的女人，而少校可以被理解为犹太人的对应物。然而，这种关系是相反的。虽然犹太人不诚实，对他与某个妇女发生性关系并不在乎，但少校对妻子怀有真挚的爱。因此，少校对爱的经历使他与马耳他无情的犹太人和经验不足的年轻美国人处于另一个国度。一个人不能像巴拉巴斯对待女人那样对待这样的爱。这样的损失是令人绝望的，少校无法“顺从自己”。
Having lost everything in his life, the major finally resigns himself to the hopeless situation and recovers his temporarily shattered decorum. Three days later he returns "at the usual hour, wearing a black band." But his new experience with loss leaves him completely detached: "The photographs did not make much difference to the major because he only looked out of the window." 在生活中失去了一切后，少校最终接受了绝望的局面，并恢复了暂时破碎的体面。三天后，他“在惯常的时间回来，戴着黑色臂章。”但是他对失去的新体验让他完全超然： “照片对少校并没有太大影响，因为他只是望着窗外。”
The Style of "Tn Another Country"
"In Another country" is a good exemplar of Hemingway's style of precision and concision. The piece is full of verbs but short of adjectives and adverbs which the author deems as redundant. Besides, it distinguishes itself with minimal use of subordinate clauses and use of plain, straightforward dialogue, in which both diction and tone embody the speakers' identity and personality. We can tell the Americans' anxiety and shame, war heroes' pride, the major's despair, and the doctor's inability from their speech. The language is so concise that little wonder Hemingway's design of dialogue is described as "telegraphic." 《在另一个国家》是海明威精确和简洁风格的一个很好的例证。这篇作品充满了动词，但缺少形容词和副词，作者认为这些是多余的。此外，它以最少的从属从句和简单直接的对话脱颖而出，其中用词和语调都体现了说话者的身份和个性。我们可以从他们的言谈中感受到美国人的焦虑和羞耻，战争英雄的自豪，少校的绝望，以及医生的无能。语言如此简洁，难怪海明威的对话设计被描述为“电报式”。
More importantly, this work epitomizes Hemingway's "iceberg" principle, according to which only a fraction of the meaning of a scene shows on the surface and the rest must be inferred from the individual details. In the story Hemingway cultivates a very elaborate motif of images concerned with looking and windows. The author mentions the window three times and uses "to look" nine times. This is a common verb, but nine occurrences in 2100 words seem unusual. 更重要的是，这部作品体现了海明威的“冰山”原则，根据这一原则，一个场景的意义只有一小部分显现在表面，其余部分必须从个别细节中推断出来。在故事中，海明威培养了一个非常精心构思的形象主题，涉及看和窗户。作者提到窗户三次，并使用“看”九次。这是一个常见的动词，但在 2100 个词中出现九次似乎不寻常。
Although the American completes the first looking, all the following looking is done by the major:
(1) ... it was pleasant along the streets looking in the windows.
(2) The major held the photograph with his good hand and looked at it very carefully.
(3) ... he sat straight up in his chair with his right hand thrust into the machine and looked straight ahead at the wall while the straps thumped ...
(4) He spoke very angrily and bitterly, and looked straight ahead while he talked.
(5) "He'll lose it," the major said. He was looking at the wall.
(6) Then he looked down at the machine and jerked his little hand out from between the straps ...
(7) He looked straight past me and out through the window.
(8) And then crying, his head up looking at nothing, carrying himself straight and soldierly, with tears on both his cheeks and biting his lips, he walked past the machines and out the door. (8) 然后哭泣，抬起头看着虚无，挺直身体，像个士兵一样，双颊泪流满面，咬着嘴唇，走过机器，走出门。
(9) The photographs did not make much difference to the major because he only looked out of the window.
The looking must not be separated from the three references to windows. They occur precisely at the beginning, the climax, and the end of the story, and their main function is to emphasize the difference between the American's point of view and the major's. In the opening paragraph, "It was cold in the fall in Milan and the dark came very early. Then the electric lights came on, and it was pleasant along the streets looking in the windows." This looking in from the cold is an epitome of the lonely exclusion that the American suffers as an outsider. But it is also more. All the many images of death in the opening paragraph are outside - the fall, the cold, the darkness, the game hanging outside the shops, the snow, the wind, and the carcasses "stiff and heavy and empty." The first window image creates spatial equivalents for the contrast between death outside and the bright warm life within. From the narrator's inexperienced point of view, which dominates the beginning of the story, life seems the way the first paragraph depicts it: he is surrounded by frightening reminders of death and alienation, yet when he looks in the windows, life on the inside 看必须与对窗户的三次引用不可分割。它们恰好出现在故事的开头、高潮和结尾，它们的主要功能是强调美国人和少校观点之间的差异。在开头的段落中，“在米兰的秋天很冷，天黑得很早。然后电灯亮了起来，在街上看着窗户很惬意。”从寒冷中看进去，这是美国人作为局外人所遭受的孤独排斥的缩影。但它也更多。开头段落中所有关于死亡的形象都在外面 - 秋天、寒冷、黑暗、店铺外悬挂的游戏、雪、风，以及“僵硬、沉重和空洞”的尸体。第一个窗户形象为外部的死亡与内部明亮温暖生活之间的对比创造了空间等价物。从叙述者主导故事开头的经验不足的观点来看，生活似乎就像第一段描述的那样：他被死亡和疏离的可怕提醒包围着，但当他看着窗户时，内部的生活
seems bright, warm, and attractive.
The major, however, whose view prevails in the latter half of the story, sees things differently. Several passages suggest that the unflinching manner of his looking is important. Twice he looks "straight ahead," once "straight past," once he looks "carrying himself straight and soldierly." But what he looks at is surly more informative. When he examines the photo carefully, the first time he looks at anything, we see both what he would like to believe and what he is too realistic to accept. All the other looking occurs on or after the day his wife dies. Then he looks down on the machine and does not even bother to look at the faked photographs. But more importantly, while his head is full of his wife's death, he is twice looking "at the wall" and once "looking at nothing." This last, in view of Hemingway's insistence of nada (nothing) in "A Clean, Well-lighted Place," probably means more than the major is not looking at anything. He is looking at death, the blank wall, the nothing. 然而，在故事的后半部分占主导地位的少校却持有不同看法。几处描写表明，他坚定的眼神是重要的。两次他“直视前方”，一次“直视过去”，一次“挺直身体像个士兵”。但他所看的更具信息量。当他仔细检查照片时，第一次看到任何东西时，我们看到了他想要相信的和他太现实而无法接受的东西。所有其他的看都发生在他妻子去世的那天或之后。然后他俯视机器，甚至都不去看伪造的照片。但更重要的是，当他的脑海里充满了妻子的死亡时，他两次“看着墙壁”，一次“看着虚无”。考虑到海明威在《一个干净明亮的地方》中对虚无的坚持，这最后一点可能意味着少校不是在看任何东西。他在看死亡，空白的墙壁，虚无。
This brings us back to the windows. The second and third window images confirm the spatial equivalents implied by the first, but from the opposite point of view. The major - in every respect thus far an initiated character, an insider - sees through the windows from the inside out. The second occurrence falls precisely at the climax, and we know that his mind is full of death: "I cannot resign myself." 这让我们回到了窗户。第二和第三个窗户的形象证实了第一个暗示的空间等价物，但是从相反的角度。主要的 - 在各方面迄今为止是一个经验丰富的角色，一个内部人 - 从内部向外看透过窗户。第二次发生恰好在高潮时，我们知道他的心中充满了死亡：“我无法接受。”
The third occurs in the last line. The major by now has resigned himself, but the photographs that offered no hope the first time he looked still offer none, "because he only looked out of the window." It is a deft move indeed, for the line, drawing together the imagery of looking and windows, also turns the structural peculiarity of a split perspective into an asset. To the major, the fully experienced insider, life does not contain the brightness and warmth it seem to the American to have in the first paragraph. In gazing out the window the major looks toward death, perhaps even with a lover's longing analogous to the American's feeling as he looks in. Still thinking about his wife, the major is in another country. Being in death, the wife occupies the one realm of experience from which the major himself has been excluded. Direct and to the point, Hemingway portrays a world where there are few certainties, where the comforts of traditional assumptions have been stripped away, and where violence, conflict, and death are inescapable realities. 第三次出现在最后一行。现在，少校已经接受了自己的命运，但第一次看到那些没有希望的照片时仍然没有希望，“因为他只是望着窗外。”这确实是一个巧妙的举动，因为这一行将看和窗户的意象结合在一起，也将分裂视角的结构特点转化为一种优势。对于少校这位经验丰富的内行来说，生活并不像第一段中美国人所认为的那样充满了光明和温暖。当少校凝视窗外时，他朝着死亡看去，也许甚至带有一种类似于美国人看进去时的恋人渴望。少校仍在想着他的妻子，他身处另一个国家。在死亡中，妻子占据了少校自己被排除在外的体验领域。海明威直截了当地描绘了一个世界，那里几乎没有确定性，传统假设的安慰已经被剥夺，暴力、冲突和死亡是不可避免的现实。
As is demonstrated, Hemingway strictly adheres to the principle of the hard, clean objectivity of showing rather than telling. He only reveals the basic news of the soldiers' lives, but explores their mentality mainly through details and careful choices of dictions and images. Instead of using traditional expository mode to develop the story, Hemingway chooses to restrict his narrative, which allows characters to reveal themselves only through their dialogue and actions without authorial comment. Different from James Joyce's "The Dead," the narrations are all written in short sentences, showing no more than the characters' actions. With the short length, intentional understatement, and extreme self-possession, Hemingway successfully sets up an atmosphere compatible with the theme. 正如所展示的，海明威严格遵循展示而非叙述的硬朗、干净客观原则。他只揭示士兵生活的基本消息，但主要通过细节和谨慎选择的措辞和形象来探索他们的心态。海明威选择限制叙述，而不是使用传统的阐释模式来发展故事，这使得角色只能通过他们的对话和行动来展现自己，而没有作者的评论。与詹姆斯·乔伊斯的《死者》不同，叙述都是用简短的句子写成的，只展示角色的行动。通过简短的长度、有意的轻描淡写和极端的自我控制，海明威成功地营造了与主题相符的氛围。
Reterences
1.7 Selected Commentaries
Coming Full Circle: Sherwood Anderson's "The Egg"
Mark Savin
So easy is it to see Sherwood Anderson's "The Egg" as a tale of parental ambition gone berserk that one may not see that the narrator's story is as much a repetition of his father's acts as it is a remembrance of them. The narrator's most obvious accomplishment - describing this father's wretched attempt to "get up" in the world — is not the same as his most important one reconstructing in words, in a story, the experience of his father. The conventional assumption about "The Egg" that "although the experiences of his parents have had a lasting effect on the narrator, he can take a detached view of them," confuses the surface text of the story - the sometimes maddening desire of parents to provide a better life for their children - with its subtext - the awkward and troubling recognition of a son's deep similarity to his father. The story centers on attachment even as it assumes a pose of detachment. Anderson gives us a tale which, if we observe how it is told, proves to be as much about what is implied as what is made explicit, as much about the act of storytelling as the story told. 如此容易地将雪伍德·安德森的《鸡蛋》视为父母野心失控的故事，以至于人们可能没有意识到叙述者的故事既是他父亲行为的重复，也是对它们的回忆。叙述者最明显的成就——描述父亲在世界上“站起来”的可悲尝试——并非与他最重要的成就相同，即用文字、故事重建父亲的经历。关于《鸡蛋》的传统假设是“尽管父母的经历对叙述者产生了持久影响，但他可以客观地看待它们”，这混淆了故事的表面文本——父母有时令人疯狂地渴望为子女提供更好的生活——与其潜台词——儿子与父亲的深刻相似之处的尴尬和令人不安的认知。故事围绕着依恋展开，即使它假装客观。安德森给了我们一个故事，如果我们观察它是如何被讲述的，就会发现它既关乎暗示，也关乎明示，既关乎讲故事的行为，也关乎所讲述的故事。
The unnamed narrator of "The Egg" begins his story with an awkwardly qualified sentence calculated by the author to call attention to the process of the narrator's telling: "My father was, I am sure, intended by nature to be a cheerful, kindly man." Though the reader is not explicitly told that the narrator's father has ended a gloomy and broken man, one has little doubt that such is implied. Characteristic of this narrator is that even his most straightforward biographical statements tend to be conspicuously oblique or ambiguous, often needing to be read against their apparent or public meaning. While such statements may be regarded as merely humorous, to do so wrongly denies the possibility of serious meaning embedded in comic language; and in a story whose latent subject is the suppressed attachment and identification of son to father it makes sense that the narrator's joking means more than it says. Describing his own birth he adopts a distant and understated voice which skips over what he does not wish to consider explicitly: 《蛋》中的无名叙述者以一个笨拙地限定的句子开始他的故事，这个句子是作者精心计算的，旨在引起叙述者讲述过程的注意：“我父亲，我相信，天生就是一个快乐、和蔼的人。”虽然读者并没有明确被告知叙述者的父亲已经成为一个忧郁和破碎的人，但人们很少怀疑这样的暗示。这位叙述者的特点是，即使是他最直接的传记陈述也往往明显地含糊或模棱两可，通常需要根据它们的表面或公开含义来阅读。虽然这样的陈述可能被视为仅仅是幽默，但这样做错误地否认了喜剧语言中蕴含的严肃意义的可能性；在一个潜在主题是儿子对父亲的压抑附着和认同的故事中，叙述者的开玩笑意味着比字面意思更多。描述自己的出生时，他采用了一种遥远和轻描淡写的语气，跳过了他不愿明确考虑的部分。
It was in the spring of his thirty-fifth year that my father married my mother, then a country school-teacher and in the following spring I came wriggling and crying into the world. Something happened to the two people. They became ambitious (p. 76). 他三十五岁的春天，我的父亲娶了我的母亲，当时她是一名乡村教师，第二年春天，我哭着蠕动着来到这个世界。两个人发生了一些事情。他们变得雄心勃勃。
"Something happened," he tells us with a Heller-like indirection that neatly yokes together two very different events. What happened, of course, refers not merely to what we are told in the succeeding sentences - that his parents became ambitious, rented a farm, later moved to Bidwell (more properly Pickleville), opened a wayside café - but to what is referred to in the previous sentence - that he was born. The ambiguity of "something happened" to describe the fact of his own birth from a narrator who elsewhere latches on to the fine points of chicken physiology, small town geography or whatever else passes into view, suggests not only how uncomfortable he is at the role his own birth has played in the miserable affairs of his parents, but also how difficult it is for him to bring this subject into words. What matters most in Anderson's text, as distinct from the story told by the narrator, is that attention be drawn to how the narrator uses words, for that is where Anderson's story, again as distinct from the narrator's story, lies. "发生了一些事情，"他用一种类似海勒的迂回方式告诉我们，巧妙地将两个非常不同的事件联系在一起。当然，发生的事情不仅仅指的是我们在接下来的句子中被告知的内容 - 他的父母变得雄心勃勃，租了一座农场，后来搬到了比德韦尔（更确切地说是皮克维尔），开了一家路边咖啡馆 - 还指的是前一句中提到的内容 - 他的出生。"发生了一些事情"这种模棱两可的表达方式，描述了他自己出生的事实，而这位叙述者在其他地方则着重于鸡的生理学细节、小镇地理或其他任何出现在视野中的事物，这不仅表明了他对自己的出生在父母悲惨事务中所扮演的角色感到多么不舒服，而且也表明了他很难用言语表达这个主题。在安德森的文本中，最重要的是要注意叙述者如何使用言辞，因为安德森的故事，与叙述者的故事相区别，就在于此。
In parts, of course, the narrator's self-conscious narration may be explained by the guilt he assumes over this thing that "happened," his birth. But to read "The Egg" only as a story of repressed guilt, important as that notion is, fails to account for curious turns and deeper feelings present in the text. When in the story's penultimate sentence the narrator suddenly declares, "I am the son of my father," (p. 85) the reader is likely caught off guard. How does the narrator come to make this affecting statement when the apparent effect of much of what he has told the reader before has been to distinguish and thereby separate the apparently knowing son from the manic father. Whatever role the son's birth may have played in the father's antic ventures, whatever guilt may have been generated by the happening of his birth, it is not simply guilt that binds them. As throughout the story humor servers to make guilt, so guilt severs to mask the son's fear of how much he resembles his father. It is easier for the unnamed narrator to accept the self-declared culpability of his birth (something for which the reader knows that he cannot really be held responsible) than to accept his essential likeness to his father. 当然，在某些部分，叙述者自我意识的叙述可能可以解释为他对这件“发生”的事情，也就是他的出生所感到的内疚。但是，仅将《蛋》解读为被压抑的内疚的故事，尽管这个概念很重要，却无法解释文本中存在的奇怪转折和更深层次的情感。当在故事倒数第二句中，叙述者突然宣称，“我是我父亲的儿子”时，读者很可能会措手不及。在他之前告诉读者的大部分内容明显是要区分并因此将明知的儿子与疯狂的父亲分开，那么叙述者是如何做出这个感人的声明的呢？无论儿子的出生在父亲的疯狂冒险中扮演了什么角色，无论他的出生所带来的内疚是如何产生的，将他们联系在一起的不仅仅是内疚。就像整个故事中幽默用来制造内疚一样，内疚也用来掩盖儿子对自己与父亲有多相似的恐惧。 未命名的叙述者更容易接受他出生的自我宣称的有罪行为（读者知道他实际上并不应该为此负责）而不是接受他与父亲的本质相似。
No scene more powerfully suggests the awkward the intense nature of their relationship than the unexplained but twice repeated incident of father and son weeping together in the dim light of the upstairs bedroom: 没有场景比父子在楼上卧室昏暗的灯光下一起哭泣这一未解释但两次重复的事件更有力地暗示了他们关系的尴尬和紧张本质
Late one night I was awakened by a roar of anger coming from father's throat. Both mother and I sat upright in our beds. With trembling hands she lighted a lamp that stood on the table by her head. Downstairs the front door of our restaurant went shut with a bang and in a few minutes father tramped up the stairs. He held an egg in his hand and his hand trembled as though he were having a chill. There was a half-insane light in his eyes. As he stood there glaring at us I was sure he intended throwing the egg at either mother or me. Then he laid it gently on the table beside the lamp and dropped on his knees beside mother's bed. He began to cry like a boy, and I, carried away by his grief, cried with him. The two of us filled the little room with our wailing voices (p. 82). 深夜，我被父亲喉咙里传来的愤怒吼声惊醒。母亲和我都坐直了身子。她颤抖的手点亮了床头桌上的一盏灯。楼下，我们餐馆的前门砰地一声关上，几分钟后父亲沉重地上了楼梯。他手里拿着一个鸡蛋，手颤抖得像是在发冷。他眼中有一种半疯狂的光芒。当他站在那里盯着我们时，我确信他打算把鸡蛋扔向母亲或我。然后他轻轻地把它放在灯旁的桌子上，跪在母亲床边。他开始像个孩子一样哭泣，我被他的悲伤感染，也跟着哭了起来。我们两个用哭声充满了这个小房间（第 82 页）。
The scene is a turning point in the story: not only does it recall the traumatic moment when his father collapses under the burden of a failed public self, but also it marks the first time the narrator seriously places himself in the action of the story, ties his own actions to those of his father. "For some unexplainable reason," the narrator tells us as he responds to the memory of their crying and seeks to explain the genesis of the event, "I know the story as well as though I had been a witness to my father's discomfiture. One in time gets to know many unexplainable things" (p. 82). Only as one can explain his knowledge of this "unexplainable" story of what happened downstairs does the otherwise obscure relationship between father and son come into focus. The elaborately detailed recollection of how his father attempted to entertain the indifferent traveler, Joe Kane, with tricks and comic patter comes not from anything the narrator witnessed or was told, but from what he knows - consciously or not - of himself. "My own imagination has filled in the blanks," he says, but the discrepancy between what the father may have actually said and what his son has written so exceeds the sort of petty amplification implied by the phrase "fill the blanks" that one should recognize that the son is reconstructing and not merely rephrasing his father's history. The elaborate posturing and histrionic appeal to authority described in the public performances of the father are enacted as well in the narrative performances of the son. The obsessive desire to amuse and entertain which so marks the narrator's writing repeats the desire to entertain that characterizes the father's behavior. In telling these anecdotes the narrator attempts to distract himself from his own unhappiness just as his father had done before him. Both are terribly lonely men, desperately eager to please a world which seems to disregard them except as they frantically contend for its attention. The difficulty for both is that the act of entertainment, whether jokes or writing, can succeed only if understood to mean more than it says, yet to admit to such special meaning seems impossible except in cryptic declarations or wordless weeping. 场景是故事的转折点：不仅让人回想起父亲在公共自我失败的负担下倒下的创伤时刻，而且也标志着叙述者第一次认真将自己置身于故事的行动中，将自己的行为与父亲的行为联系起来。叙述者告诉我们，他以某种无法解释的原因回应着他们哭泣的记忆，并试图解释事件的起因，“我不知为何，”他说，“我对这个故事了如指掌，就好像我亲眼目睹了父亲的困惑一样。人随着时间会了解许多无法解释的事情”（第 82 页）。只有当一个人能解释他对楼下发生的这个“无法解释”的故事的了解时，父子之间原本晦涩的关系才会变得清晰起来。关于父亲如何试图用戏法和滑稽的话术取悦漠不关心的旅行者乔·凯恩的精心回忆，并非来自叙述者亲眼目睹或被告知的任何事情，而是来自他对自己的了解 - 无论是有意识的还是无意识的。 "我的想象填补了空白,"他说，但父亲实际可能说过的话与他儿子所写的内容之间的差异远远超过了“填补空白”这个短语所暗示的琐碎增加，人们应该认识到儿子正在重建而不仅仅是改述他父亲的历史。父亲在公开表演中描述的复杂姿态和夸张的权威呼吁也在儿子的叙述表演中上演。叙述者写作中表现出的过分追求取悦和娱乐的欲望重复了父亲行为中的取悦欲望。在讲述这些轶事时，叙述者试图让自己从自己的不幸中分心，就像他的父亲以前所做的那样。两人都是非常孤独的人，迫切渴望取悦一个似乎忽视他们的世界，除非他们拼命争取它的注意。对于两者来说，娱乐行为，无论是开玩笑还是写作，只有在被理解为意味着更多的东西时才能成功，然而承认这种特殊意义似乎只能通过神秘的声明或无言的哭泣来实现。
If the narrator's relationship to the world around him is understood as essentially similar to that of his father, then the apparently meandering collection of anecdotes and digressions that compose the narrator's tale may be seen as the metamorphosis of his father's collection of grotesque 如果把叙述者与他周围世界的关系理解为与他父亲的基本相似，那么组成叙述者故事的一系列看似漫无目的的轶事和离题插话，可以被视为他父亲怪诞集合的变形
chickens into the words. (Like Sherwood Anderson himself, this teller forms his grotesques from words.) The narrator's peculiarly enthusiastic denunciation of the duplicitous nature of chicken raising echoes the enthusiasm with which his father denounces the duplicity of Columbus's egg trick. The narrator's attempt to hold the reader's attention by telling us when he has exaggerated or digressed recalls his father's attempt to ingratiate bored Joe Kane by telling him the secret of the egg in the bottle. By playing both comic and historian, by hyperbole and anecdote, the narrator hopes to catch our attention just as his father once hoped to catch the notice of any stranger whose attentive glance might break the loneliness of his own despair. The narrator's search for a voice which will be accepted by his readers is as compelling as his father's quest for objects or tricks which will entertain; both hope that imaginative invention will displace the despair of feeling unwanted while at the same time not making that despair explicit. "People," said the father in a lesson well heeded by his son, "like to look at strange and wonderful things" (p. 79). 鸡变成了文字。（就像谢伍德·安德森本人一样，这位讲故事者用文字塑造了他的怪诞人物。）叙述者对饲养鸡的欺诈性质的独特热情谴责，与他的父亲谴责哥伦布的鸡蛋戏法的狡诈性质的热情相呼应。叙述者试图通过告诉我们何时夸大或离题来吸引读者的注意力，这让人想起他的父亲试图通过告诉乏味的乔·凯恩瓶中鸡蛋的秘密来讨好他。通过扮演喜剧演员和历史学家，通过夸张和轶事，叙述者希望像他的父亲曾经希望引起任何陌生人的注意一样引起我们的注意，这种注意可能会打破他自己绝望的孤独。叙述者寻找一种被读者接受的声音，就像他的父亲寻找能娱乐的物品或戏法一样；两者都希望想象力的发明能够取代感到不受欢迎的绝望，同时又不明确表达这种绝望。“人们，”父亲说，他的儿子牢记了这个教训，“喜欢看奇怪和美妙的事物”（第 79 页）。
To the numerous images of the egg which critics have noted in this story perhaps one more should be added. The narrative structure is itself egg-like: within the shell of history lies a second and more vulnerable sphere, the fictions one creates about oneself and one's genesis. The power of "The Egg" resides not in impersonal memory, not in that outer shell, but in the revelation of the softer worlds of the imagination. Anderson, the architect of this doubled scheme, knows that the narrator's story is in some ways unspeakable; its very importance prevents him from speaking of it directly. The story works by lodging the significant and implicit so neatly within the trivial and explicit that each accommodates and protects the other, a fertile center contained within a protective shell. 在这个故事中，评论家们已经注意到了许多蛋的形象，也许还应该再添加一个。叙事结构本身就像蛋一样：在历史的壳内，存在着第二个更加脆弱的领域，即一个人为自己和自己的起源创造的虚构。《蛋》的力量不在于无情的记忆，也不在于那个外壳，而在于揭示想象力更柔软的世界。这个双重方案的设计者安德森知道，叙述者的故事在某种程度上是无法言说的；它的重要性使他无法直接谈论它。这个故事通过将重要和隐含的内容巧妙地嵌入琐碎和明显的内容中来运作，使每个内容都能容纳和保护另一个，一个富饶的中心被包含在一个保护性的外壳中。
Savin, Mark. "Coming Full Circle: Sherwood Anderson's 'The Egg."' Studies in Short Fiction 18 (1981): 454-58.
Inner and Outer Perceptions in Joyce's "The Dead"
L. J. Morrissery
In his short stories, Joyce's conspicuous symbols usually grow out of a disparity between a character's romantic inner perception and squalid outer reality. This disparity creates the strange sense of displacement common to so many characters in Dubliners. In some like "The Sister," "Counterparts," "Two Gallants," "Ivy Day in the Committee Room," "Clay," and "A Painful Case," the inner image is held only briefly. It may be no more than a nightmare glimpse of "some pleasant and vicious region" of the soul with its "long velvet curtains and a swinging lamp of antique fashion" as it is in "The Sisters." Or it may be no more than the romantic images of a song/poem, as it is in "Clay" ("I Dreamt that I Dwelt"), "Ivy Day ..." ("The Death of Parnell") and "Two Gallants" ("Silent, O Moyle"). Even as corrupt a perceiver as Farrington, in "Counterparts," has a glimpse of the foreign, the romantically unattainable, as his "eyes wandered at every moment in the direction of one of the young women ... [with her] immense scarf of peacock-blue muslin.. wound round her hat ... [her] bright yellow gloves, reaching to the elbow ... [her] plump arm which she moved very often and with much grace ... [and her] London accent. This image may be vulgar, but for Farrington, it is radically at odds with his squalid life of work, pub and home, and it helps create sympathy in the reader for this displaced man. 在乔伊斯的短篇小说中，显著的象征通常源于人物浪漫内心感知与肮脏外部现实之间的差异。这种差异造成了《都柏林人》中许多角色共同的奇怪错位感。在一些作品中，如《姐妹》、《对应物》、《两个绅士》、《委员会房间的常春藤日》、《黏土》和《一个痛苦的案例》，内心形象仅被短暂保留。它可能仅仅是灵魂中“一些愉快而邪恶的地区”的噩梦一瞥，带有“长长的天鹅绒窗帘和古老风格的摇摆灯”，就像在《姐妹》中一样。或者它可能仅仅是一首歌/诗的浪漫形象，就像在《黏土》（“我梦见我住在那里”）、《常春藤日...》（“帕内尔之死”）和《两个绅士》（“寂静，哦莫伊尔”）中一样。即使像法林顿这样一个腐败的感知者，在《对应物》中，也会瞥见外国的、浪漫无法企及的东西，就像他“每时每刻的眼睛都朝着年轻女子之一的方向漫游... [她]巨大的孔雀蓝色薄纱围巾..缠绕在她的帽子周围... [她]明亮的黄色手套，伸到肘部...” 她那丰满的手臂经常动作优雅...还有她的伦敦口音。这个形象可能有些庸俗，但对于法林顿来说，它与他那肮脏的工作、酒吧和家庭生活截然不同，有助于读者对这个流离失所的人产生同情。
In at least two of his short stories, Joyce intensifies and extends this disparity. In "Araby," for instance, the romantic image of the girl, with "her figure defined by the light from the halfopened door. . . . Her dress sw[inging] as she moved her body and the soft rope of her hair toss [ing] from side to side," is aggressively tested against Dublin reality. The boy tests her "image ... in places the most hostile to romance" (31), carrying it like a "chalice" (31) "through the flaring streets, jostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop boys who stood on guard by barrels of pigs cheeks" (31). One "dark rainy evening" he tests the image in the squalid "back drawing-room in which the priest had died (31) and again on the Saturday night of the house"(33).Through it all he sees "nothing but the brown-clad figure cast by [his] imagination"(33).It isn't until he acts on her inner imagining ("She asked me was I going to Araby. ... It would be a splendid bazaar, she said; she would love to go" 31) rather than his own and goes to the squalid bazaar with its closed stalls and darkened hall, its money counters and flirtatious stall girl that his image of the girl fails him. Acting out her inadequate romantic imagining, which he has taken over ("The syllables of the word Araby were called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me" 32), he loses his own inner image of the girl and can only "remember[ing] with difficulty why I had come" (35). All his pseudo-religious imagery surrounding the girl fails in this "silence like that which pervades a church after a service" (34), and he sees himself "as a creature driven and derided by vanity" (35). 在他的至少两个短篇小说中，乔伊斯加剧并延伸了这种差异。例如，在《阿拉伯》中，女孩的浪漫形象，"她的身影被半开的门的光线勾勒出来……她的裙子随着她的动作摆动，她柔软的头发摇摆着"，被积极地与都柏林的现实进行了考验。男孩在"最不适合浪漫的地方……检验她的形象"（31），像"一只圣杯"（31）一样"穿过火光四射的街道，在醉酒的男人和讨价还价的女人中间，在工人的咒骂声中，在守卫着猪脸肉桶的店员们的尖叫赞美声中"（31）。一个"黑暗多雨的夜晚"，他在肮脏的"牧师死去的后客厅"（31）中测试这个形象，再次在"房子的星期六夜晚"（33）测试。在这一切中，他只看到"由[他的]想象力投射出来的褐色衣衫的身影"（33）。直到他行动起来，才发现她内心的想象（"她问我是否要去阿拉伯……"）。 她说，那将是一个辉煌的集市；她很想去"31)而不是他自己，他去了那个肮脏的集市，那里有关闭的摊位和昏暗的大厅，有计算钱币的柜台和调情的摊位女孩，他对女孩的形象让他失望。他表现出了她不完整的浪漫想象，他接管了这种想象（“阿拉伯这个词的音节在我灵魂沉浸其中的寂静中呼唤着我，并给我带来了东方的魔力”32），他失去了自己对女孩的内心形象，只能“难以回忆我为什么来的原因”（35）。他围绕女孩的伪宗教意象在这种“像在礼拜后教堂里弥漫的寂静”（34）中失败了，他看到自己“像一个被虚荣驱使和嘲笑的生物”（35）。
By merging two disparate patterns of imagery, Joyce further intensifies this same disillusionment and loss of self in "The Dead." One set, those images of Gabriel's wife Gretta, are a complex version of the boy's image of the girl in "Araby"; the other those images of snow in the story. Each should be examined separately before seeing how they merge. 通过合并两种不同的意象模式，乔伊斯在《死者》中进一步加剧了这种失望和自我丧失。其中一组是加布里埃尔的妻子格蕾塔的形象，是《阿拉伯》中男孩对女孩的复杂版本；另一组是故事中的雪的形象。在看它们如何融合之前，应该分别对每组进行检查。
Gabriel is not an innocent like the boy. Instead, from the beginning of the story, he feels alienated from his culture and insecure as a result of his alienation. That is, he feels superior because "the indelicate clacking of the men's heels and the shuffling of their soles reminded him that their grade of culture differed from his." Yet he feels inadequate before them. "He would only make himself ridiculous. . . . He would fail with them. ... His inner image of his wife is comprised of a similar vacillation. He is delighted by her exterior image at the opening of the party; his "admiring and happy eyes had been wandering from her dress to her face and her hair" (180). Yet his attained ideal is corrupted by a nagging doubt, by a fear that, as his Mother said, she is only "country cute" (187). When she gently mocks Gabriel's continental affectation about galoshes with her Irish phrasing — "Tonight even he wanted me to put them on" (180), "Guttapercha things" (181) — he reminds her of her "grade of culture": "Gabriel knitted his brows and said, as if he were slightly angered: It's nothing very wonderful but Gretta thinks it very funny because she says the word reminds her of Christy Minstrels" (181). Put in her place, Gretta falls silent. His ideal woman will no longer break into vulgar "peal[s] of laughter" (180). 加布里埃尔不像那个男孩那样天真无邪。相反，在故事开始时，他感到与自己的文化疏离，因此感到不安。也就是说，他感到自己更优越，因为“男人们的鞋跟发出的粗鲁声音和他们鞋底的拖拖拉拉声让他想起他们的文化水平与他的不同。”然而，他在他们面前感到自卑。“他只会让自己变得荒谬……他会失败。 他对妻子的内心形象也存在类似的摇摆不定。在派对开始时，他对她的外表印象感到高兴；他的“赞赏和快乐的眼睛一直从她的衣服转向她的脸和头发”（180 页）。然而，他所达到的理想被一种烦人的怀疑腐蚀，一种恐惧，正如他母亲所说，她只是“乡村可爱”（187 页）。 当她用爱尔兰口音轻蔑地嘲笑加布里埃尔关于胶鞋的大陆做作时，他提醒她的“文化水平”：“加布里埃尔皱着眉头说，仿佛有点生气：这没什么了不起，但格雷塔觉得很有趣，因为她说这个词让她想起了克里斯蒂民谣演员”（181 页）。被放在她的位置上，格雷塔沉默了。他理想中的女人将不再发出粗俗的“笑声”（180 页）。
Nearly the same pattern is repeated at the end of the party. First Gabriel sees Gretta as a romantic image from a painting (212). Distanced and silenced by Bartell D'Arcy's singing of "The Lass of Aughrim," she has been so self-effaced, so "unaware of the talk about her" (212), that Aunt Julia nearly misses her when the good-nights are said: "O, good-night, Gretta, I didn't see you" (212). Because she is so silent, Gabriel can continue his romantic revery despite the "murky air" (213) of Dublin. He can nearly ignore that with "her shoes in a brown parcel tucked under one arm and her hands holding her skirt up from the slush[s] he had no longer any grace of attitude" (213). Like the boy in "Araby" he can take his romantic image into the squalid Dublin night and yet keep the romance alive. By editing the " oments of their moments of ecstasy" (214). Again, like "Araby," this inner romantic image of the male is brought down by the inner yearning of a simple Irish female. In "The Dead" Gretta's romantic imagining - "a boy in the gasworks" (219) "died for me" (220) — may not be quite as inadequate as Mangan's sister's interest in the bazaar; but Gretta's sentimental Irish love story, the memory of which is appropriately triggered by the melodramatic "Lass of Aughrim," just as surely triumphs over her male's secret imaginings as the girl's does in "Araby." Once again, when the male takes over the romantic imaginings of the female ("he imagined he saw the form of a young man standing under a dripping tree" 223), he is left with squalid reality ("His eyes moved to the chair over which she had thrown some of her clothes. A petticoat string dangled to the floor. ..." 222) and despair ("He had never felt like that himself towards any woman. ..." 223). 在派对结束时，几乎相同的模式重复出现。加布里埃尔首先将格蕾塔视为一幅浪漫的画像（212）。在巴特尔·达西演唱《奥格林的姑娘》时被疏远和沉默，她一直如此自我抹去，如此“对周围的谈论毫不知情”（212），以至于朱莉娅姨妈在说晚安时几乎没注意到她：“哦，晚安，格蕾塔，我没看见你”（212）。由于她如此沉默，加布里埃尔可以继续他的浪漫幻想，尽管都柏林的“浑浊空气”（213）。他几乎可以忽视她“鞋子装在一个棕色包裹里，一只手臂下夹着，另一只手拿着裙子避开泥泞”（213）这一点。就像“阿拉比”的男孩一样，他可以将他的浪漫形象带入肮脏的都柏林之夜，但仍然保持浪漫的活力。通过编辑“ 他们的狂喜时刻”（214）。再次，就像“阿拉比”一样，男性内心的浪漫形象被一个简单的爱尔兰女性内心的渴望所打败。 在《死者》中，格蕾塔的浪漫想象——“煤气厂里的一个男孩”（219）“为我而死”（220）——可能并不像曼根的姐妹对集市的兴趣那样不足，但格蕾塔的多愁善感的爱尔兰爱情故事，适时被戏剧性的“奥格林的女孩”触发的记忆，就像女孩在《阿拉伯》中一样，肯定会战胜她男性的秘密想象。再次，当男性接管女性的浪漫想象时（“他想象自己看到一个年轻男子站在一棵滴水的树下”223），他只剩下肮脏的现实（“他的目光移到她扔在椅子上的一些衣服上。一根衬裙带垂到地板上……”222）和绝望（“他从未对任何女人有过那种感觉……”223）。
At the same time that Joyce is developing this pattern of disparate images around the woman in "The Dead," he is also developing another pattern of snow images. Like so many of Joyce's symbols, snow begins as a naturalistic detail of setting. It simply seems to be there to establish the time of year, as do the overcoats of the guests and Gabriel and Gretta's galoshes. When Gabriel enters "scraping his feet vigorously ... [with] a light fringe of snow lay[ing] like a cape on the shoulders of his overcoat and like toecaps on the toes of his galoshes" (177), it is clearly winter. But Gabriel soon appropriates this outer reality as a romantic inner longing. 在乔伊斯围绕《死者》中的女人发展这种不同形象的模式的同时，他也在发展另一种雪花图像的模式。就像乔伊斯的许多象征一样，雪花最初是作为自然主义背景的细节。 它似乎只是在那里为了确定一年中的时间，就像客人和加布里埃尔以及格雷塔的胶鞋一样。当加布里埃尔“用力地拖着脚...[身上]覆盖着一层雪花，就像披在大衣肩膀上的披风，也像胶鞋的鞋尖上的鞋盖”（177 页）时，很明显是冬天。但加布里埃尔很快将这种外在现实视为一种浪漫的内心渴望。
Gabriel has two reveries about snow while he is at the party. The first occurs after the first hiatus in the text and well into the party. Gabriel's general irritation with vulgar dance has been exacerbated by Mary Jane's inappropriate "Academy piece" (186), by his "rankl[ing] ... memory" (187) of his mother's disapproval of Gretta, by Miss Ivors' challenge to Gabriel's cosmopolitan affectation and her allusion to Gretta's country background, and by an irritating few minutes beside Freddy Malins' tiresome mother. As he hears the "clatter of plates and knives" (191) from the other room, Gabriel "began to think again about his speech and about the quotation" (191) and begins nervously tapping the cold windowpane with "warm trembling fingers" (192). "How cool it must be outside! How pleasant it would be to talk out alone, first along by the river and then through the park! The snow would be lying on the branches of trees and forming a bright cap on the top of the Wellington Monument. How much more pleasant it would be there than at the supper table!" (192). He next thinks of the snow moments before his after-dinner speech. He has risen, "leaned his ten trembling fingers on the tablecloth and smiled nervously at the company" (202). Unable to meet the eyes of the "upturned faces he raised his eyes to the chandelier" (202) and drifts into another revery about snow. "People, perhaps, were standing in the snow on the quay outside, gazing up at the lighted windows and listening to the waltz music. The air was pure there. In the distance lay the park where the trees were weighted with snow. The Wellington 加布里埃尔在派对上有两次关于雪的幻想。第一次发生在文本中的第一个间断之后，也是在派对进行到中途时。加布里埃尔对粗俗的舞蹈感到一般恼火，这种感觉被玛丽·简不合适的“学院作品”（186）加剧，被他对母亲不赞成格蕾塔的“记忆”（187）所激怒，被伊沃斯小姐对加布里埃尔的世界主义做作和对格蕾塔乡村背景的暗示所激怒，以及在弗雷迪·马林斯令人厌烦的母亲身边度过的令人恼火的几分钟。当他听到另一个房间里的“盘子和刀叉的碰撞声”（191）时，加布里埃尔“又开始思考他的演讲和引用”（191），开始紧张地用“颤抖的温暖手指”（192）敲打冷冰窗。 “外面一定很凉爽！独自谈话会很愉快，先沿着河边走，然后穿过公园！雪会落在树枝上，形成惠灵顿纪念碑顶部的明亮帽子。在那里会比在餐桌上更愉快多少！”（192）。接着他又在晚餐演讲前的片刻想起了雪。 他站起来，“把颤抖的十根手指搭在桌布上，紧张地对着众人微笑”（202 页）。无法面对“仰望的脸庞，他抬起目光看向吊灯”（202 页），然后陷入另一个关于雪的幻想。“也许，外面的码头上有人站在雪地里，仰望着亮着灯光的窗户，聆听着华尔兹音乐。那里的空气很纯净。远处是那片树木被雪覆盖的公园。威灵顿
8 See Allen Tate, "Three Commentaries: Poe, James, and Joyce," Sewanee Review, 58 (Winter 1950), 10-15.
Monument wore a gleaming cap of snow that flashed westward over the white field of Fifteen Acres" (202).
Again Joyce set up the inner/outer contrast simply by putting these reveries in the context of this genteel Dublin party where Freddy Malins' drunkenness, Miss Ivors' political discord, disagreements about music and religion, and Bartell D'Arcy's simple bad temper (211) are covered over by euphemism, sentiment, and trivia. In addition to this contrast, Joyce establishes yet another. In the early morning after Gabriel's two reveries are over, and after some talk of weather in the hallway ("we haven't had snow like it for thirty years" 211), we follow Gabriel and Gretta outside into the squalid reality of a Dublin snow. Rather than the "gleaming cap of snow," it is "slushy" (212) "streaks and patches ... on the roofs, on the parapets ... and on the area railings" (212-213). Rather than the "pure" air Gabriel imagines, we are told that "a dull yellow light brooded over the houses and the river," that "the sky seemed to be descending" (212). The air is "murky" and "the palace of the Four Courts stood out menacingly against the heavy sky" (213). Even the horse is part of this brooding Dublin atmosphere as he "galloped along wearily under the murky morning sky, dragging his old rattling box after his heels" (214). 再次，乔伊斯通过将这些幻想置于这个上流社交的都柏林派对背景中，简单地建立了内外对比，弗雷迪·马林斯的醉酒、伊沃斯小姐的政治分歧、关于音乐和宗教的分歧，以及巴特尔·达西的简单坏脾气被委婉、感情和琐事掩盖（211）。除了这种对比，乔伊斯还建立了另一种对比。在加布里埃尔的两次幻想结束后的清晨，以及在走廊里谈论天气之后（“我们已经有三十年没有下过这样的雪了”211），我们跟随加布里埃尔和格蕾塔走出去，进入都柏林雪后的肮脏现实。与“闪闪发光的雪帽”不同，这里是“泥泞的”（212）“屋顶上、栏杆上……以及院子的栏杆上”（212-213）“条纹和斑块”。加布里埃尔所想象的“纯净”空气，我们被告知“一种沉闷的黄光笼罩着房屋和河流”，“天空似乎在下降”（212）。空气“浑浊”，“四庭院宫殿在沉重的天空下显得威胁性”（213）。 即使是马也是这种沉闷的都柏林氛围的一部分，他“在阴沉的早晨天空下疲惫地奔跑，拖着他的旧响箱在脚后面”（214）。
Obviously, both of Gabriel's inner reveries about snow are in sharp contrast to the snow we see here. Once we experience the real Dublin scene of murk, slush, and menace, Gabriel's imagined scenes — "cool," "pleasant," "bright," "pure," "gleaming," full of snow that "flashed westward" seem excessively idealized. His cozy winter park scene which he twice imagined (192 and 202), and his image of a jolly Christmas party seen from without ("People, perhaps, were standing in the snow. ..." 202), are like Christmas cards from Freddy Malins' shop. 显然，加布里埃尔对雪的内心幻想与我们在这里看到的雪形成鲜明对比。一旦我们体验到真实的都柏林景象，阴暗、泥泞和威胁，加布里埃尔想象中的场景——“凉爽”、“愉快”、“明亮”、“纯净”、“闪闪发光”，充满了“向西闪烁”的雪，似乎过于理想化。他两次想象的舒适冬季公园场景（192 和 202），以及他从外部看到的欢乐圣诞派对的形象（“也许，人们站在雪地里……”202），就像弗雷迪·马林斯商店的圣诞卡一样。
Joyce has also begun a wonderful overlapping of his two image patterns during this walk and ride through the Dublin streets to "the Gresham" (181). Rather than recognize the disparity between his inner imaginings about the snow and the reality of the snow when confronted by it, Gabriel plunges into his sensual romantic revery about his "secret life" with Gretta ("A heliotrope envelope," "the warm palm of her glove," "[h]er face, fragrant in the cold air" 213). The reader is made acutely aware of the way Gabriel escapes squalid through revery in this passage. Not only is the imagined snow very different from the real snow, but we also hear Gabriel consciously modifying the outer truth about the cold night and Gretta ("She had no longer any grace of attitude" 213; "He longed to recall to her those moments, to make her forget the years of their dull existence together" 213-214) with images of fire borrowed from romantic poetry ("Moments of their secret life together burst like stars upon his memory," "Like the tender fires of stars moments of their life together" 213; "all their souls' tender fire" 214). Throughout this scene the text juxtaposes the reality of Gretta amidst slush with Gabriel's poetically imagined wife amidst fire. 乔伊斯在这次漫步和骑行穿越都柏林街头到“格雷瑟姆”期间，也开始了他两种形象模式的美妙重叠（181）。加布里埃尔并没有意识到他内心对雪的幻想与实际雪的差异，而是陷入了对与格蕾塔的“秘密生活”进行感性浪漫幻想的状态（“一封紫罗兰信封”，“她手套上温暖的手掌”，“她的脸，在寒冷的空气中芬芳”213）。读者在这一段中清楚地意识到加布里埃尔通过幻想逃避肮脏。想象中的雪不仅与真实的雪截然不同，而且我们还听到加布里埃尔有意识地修改了关于寒冷夜晚和格蕾塔的外在真相（“她再也没有任何优雅的态度”213；“他渴望让她回忆起那些时刻，让她忘记他们一起度过的无聊岁月”213-214），用从浪漫诗歌中借来的火焰形象（“他们秘密生活中的时刻如同星星般在他记忆中爆发”，“像星星般温柔的火焰他们生活中的时刻”213；“他们所有灵魂的温柔火焰”214）。 在整个场景中，文本将格蕾塔置身于泥泞中的现实与加布里埃尔诗意想象中的妻子置身于火中进行对比。
Even more clearly than in "Araby," this image disparity sets out the central problem in the story and in Dubliners. How can one have an imaginative inner life when one's imaginative "vocabulary" is limited? The boy's is limited by the church and by nineteenth-century notions of chivalric romance. Gabriel's imaginings about snow are the limited Christmas card reveries of an urban man. His prettily snow-covered trees and river are those of Dublin. The limit of his imagined escape is a walk in the park. It is also significant that in both of these reveries the "West Briton" (188), Gabriel, will think of monument to the Irishman who had become an English hero, Wellington. Monuments of Anglo-Irish heroes are very much on Gabriel's mind this night. He will tell a comic story at the expense of his grandfather Patrick Morkan and his horse Johnny, who went "round and round ... King Billy's statue" (208). The reader is surely to connect Gabriel's mimed "pac[ing] in a circle round" (208) King Billy - a hero to Orangemen and villain to Catholics - with Gabriel's return in reverie to Wellington's monument. In the same way, his reveries about his wife, while more poetically intense, are limited. When Gabriel sees Gretta descending the stairs, he sees that she is "a symbol of something" (210). Here Gabriel is the active, if unsuccessful, symbol searcher; he perceives his very flesh and blood wife as an aesthetic object. Although he asks what she is a symbol of, we know that he doesn't know the answer; he doesn't really know what spiritual quality is embodied in her attitude of "grace and mystery" (210). Specifically, he is blind to the love flooding her at that moment. All he can do when he glimpses Gretta on the stairs is see her as a sentimental romantic painter would and find an intriguing literal title for his picture (she is listening to distant music), which is unwittingly ironic. Once again Gabriel reduces experience to a conventional image that suggests to him comforting but unspecified symbolic meanings, as have his Christmas card images of Dublin. Finally, his perceptions are those of a husband "happy that she was his, proud of her grace and wifely carriage" (215). Even when his poetic "fires of stars" have "kindl[ed] again ... a keen pang of lust" (215), he is too conventionally genteel to reach out to Gretta as the simple boy from the gasworks has. As he later realizes, his gentility has not been a yearning for some unattainable ideal; he has only been "idealizing his own clownish lusts" (220). 比在《阿拉伯》中更清楚，这种形象上的差异揭示了故事和都柏林人的中心问题。当一个人的想象“词汇”受限时，他如何拥有丰富的内心想象生活呢？男孩的想象受到教堂和十九世纪骑士浪漫观念的限制。加布里埃尔对雪的想象是城市人的有限圣诞卡幻想。他漂亮的雪覆盖的树木和河流是都柏林的景象。他想象中逃避的极限是在公园散步。同样重要的是，在这两个幻想中，“西布里顿人”（188），加布里埃尔，会想到成为英雄的爱尔兰人惠灵顿的纪念碑。盎格鲁-爱尔兰英雄的纪念碑在加布里埃尔的脑海中占据着很大的位置。他将讲一个滑稽故事，讽刺他的祖父帕特里克·莫肯和他的马约翰尼，他们“绕着……比利国王的雕像”（208）转来转去。读者肯定会将加布里埃尔模仿的“绕着国王比利走圈”（208）与奥兰治人的英雄和天主教徒的恶棍国王比利联系起来，这与加布里埃尔在幻想中回到惠灵顿纪念碑有关。 以同样的方式，他对妻子的幻想，虽然更具诗意的强烈，却是有限的。当加布里埃尔看到格蕾塔走下楼梯时，他看到她是“某种象征”（210）。在这里，加布里埃尔是主动的，尽管不成功的象征搜寻者；他将自己的亲肤妻子视为审美对象。尽管他问她是什么象征，但我们知道他不知道答案；他并不真正知道她身上“优雅和神秘”的精神品质是什么。具体来说，他对她那时倾注的爱是盲目的。当他在楼梯上瞥见格蕾塔时，他所能做的就是像一个多愁善感的浪漫画家一样看待她，并为他的画找到一个有趣的字面标题（她正在听远处的音乐），这是无意中具有讽刺意味的。加布里埃尔再次将经验简化为传统形象，这些形象对他暗示着令人安慰但未指明的象征意义，就像他对都柏林的圣诞卡图像一样。最后，他的感知是一个“为她是他的妻子而高兴，为她的优雅和妻子般的举止感到自豪”的丈夫（215）。即使在他诗意的“星之火”再次燃烧时... 一种强烈的欲望之痛（215），他太传统斯文以至于无法像煤气厂的简单男孩那样伸出手去接触格蕾塔。正如他后来意识到的那样，他的斯文并不是对某种无法实现的理想的渴望；他只是一直在“理想化自己滑稽的欲望”（220）。
Gabriel's third, and final, reverie about snow closes the story. As Gabriel leans and than lies on the bed beside Gretta, and before this final reverie, we know that he has again been searching, consciously and then half-consciously, for a conventional means of embodying the deeply-felt experience of Gretta's revelation. Now the symbol he finds appropriate is that of sentimental death. He thinks of Aunt Julia dying, that is, of her euphemistically becoming a "shade," the material for a comic after-dinner story like "the shade of Patrick Morkan and his horse" (222). He "imagine[s]" Michael Furey, "the form of a young man standing under a dripping tree" (223). Struggling for an appropriate yet comfortable image to enclose all of these "shades," he has made a surprising euphemistic leap for a Catholic. Alive he has a soul: "pity for her entered his soul" (222); "his soul had approached ..." (223). Once he is dead he will be a "shade": "One by one they were all becoming shades" (223). Clearly, Gabriel's eschatology is an odd combination of Christian language ("soul") and nineteenth-century euphemism ("shade"). Although Gabriel's brother is a "senior curate" (186), Gabriel's own image of death is tinged with non-Christian, nineteenthcentury, heroic romanticism ("Better pass boldly into that other world, in the full glory of some passion ..." 223). For him, the afterlife is Byronically vague: "that region where dwell the vast hosts of the dead"; "[h]is own identity was fading out into a grey impalpable world" (223). Finally, there are the conventional sentimental tears, as much a part of Irish life as drink. Gabriel's are "generous" (223), but not so different from Little Chandler's "tears of remorse" at the end of "A Little Cloud" or Joe's comic tears at the end of "Clay." 加布里埃尔关于雪的第三次，也是最后一次的幻想结束了故事。当加布里埃尔靠在格蕾塔身边的床上躺下之前，我们知道在这最后的幻想之前，他再次有意识地或半意识地寻找一种传统的方式来体现格蕾塔启示的深刻体验。现在，他找到的合适象征是感伤的死亡。他想到朱莉娅阿姨的去世，也就是说，她委婉地成为了一个“幽灵”，成为一个像“帕特里克·莫肯和他的马的幽灵”那样的滑稽晚餐故事的素材。他“想象”迈克尔·菲利，是“站在滴水的树下的一个年轻人的形象”。为了找到一个合适而又舒适的形象来包容所有这些“幽灵”，他为一个天主教徒来说做出了一个令人惊讶的委婉跳跃。活着时他有灵魂：“对她的怜悯进入了他的灵魂”；“他的灵魂已经接近……”。一旦他死了，他将成为一个“幽灵”：“他们一个接一个地都变成了幽灵”。显然，加布里埃尔的末世论是基督教语言（“灵魂”）和 19 世纪委婉语（“幽灵”）的奇怪组合。 尽管加布里埃尔的兄弟是一位“高级牧师”，加布里埃尔对死亡的形象却带有非基督教、十九世纪的英雄式浪漫主义色彩（“更好地勇敢地走进另一个世界，在某种激情的完全荣耀中…”）。对他来说，来世是拜伦式的模糊：“那个居住着大量死者的地区”；“他自己的身份正在淡出到一个灰色的无形世界”。最后，还有传统的感伤之泪，与饮酒一样是爱尔兰生活的一部分。加布里埃尔的泪水“慷慨”，但与小钱德勒在《一朵小云》结尾处的“悔恨之泪”或乔在《黏土》结尾处的滑稽之泪并没有太大不同。" "
As he is about to drift into sleep, comforted by his tears and his romantic eschatology ("the solid world itself which these dead had one time reared and lived in was dissolving and dwindling" 223), the two patterns of images merge for the final time. He is snapped into half wakefulness by a "few light taps upon the pane[which] made him turn to window" (223). He watches the flakes fall against the lamplight. This snow has both the beautiful qualities of Gabriel's earlier reveries and the forbidding qualities of the real snow in the Dublin streets; "the flakes" are both "silver and dark" (223). But the snow in Gabriel's last revery is no more real than in his first two. This is not the streaky and patchy slush that has fallen on Ireland this night; it is an imagined heavy blanket, falling annihilating and thickly drifting over everything. Although the snow is not real, Gabriel does sense the ambivalent nature of real snow, and this is appropriate to his imaginative sweep aross Ireland. Thus the mood in the revery is partly that of the murky Dublin streets. The central plain is "dark," the hills "treeless," the waves "dark mutinous," and finally we end in a "lonely churchyard" (223). 当他即将进入睡眠时，被他的眼泪和浪漫的末世论所安慰（“这些死者曾经建立并生活的实实在在的世界正在溶解和缩小”223），两种图像模式最终合并。他被“窗户上轻轻的几声敲击”（223）打断了半睡半醒状态。他看着雪花落在灯光下。这场雪既有加布里埃尔早期幻想的美丽特质，也有都柏林街头真实雪的威严特质；“雪花”既是“银色又是黑暗”（223）。但加布里埃尔最后一次幻想中的雪并不比前两次更真实。这不是今晚落在爱尔兰的那些条纹和斑块状的雪泥；这是一种想象中的厚重毯子，覆盖着一切，消灭并厚厚地飘落。尽管雪并不真实，加布里埃尔确实感受到了真实雪的矛盾性质，这与他对整个爱尔兰的想象力相符。因此，幻想中的情绪部分是都柏林街头的昏暗。中央平原“黑暗”，山丘“光秃”，波浪“黑暗叛逆”，最后我们来到一个“孤独的教堂墓地”（223）。
Obviously, Gabriel imagination has been forced beyond the bounds of urban Dublin. Now he flashed "westward" over all of Ireland, not simply over the "Fifteen Acres" of Phoenix Park. The park had imaginatively reassured him, with its pretty, snow-capped monument and its trees "weighted with snow" (202); this last revery, however, gives him no easy escape from Gretta's revelation. Even the comic pedantry of remembered details from the party ("Yes, the newspapers were right, ..." 223) cannot bring back Gabriel's reveries of comforting snow; the monument his imagination conjures up this time is not a gesture of Anglo-Irish urban patriotism. Instead, it is the simple grave of Michael Furey, whom he would rather forget. This monument to a West of Ireland hero who died for love is an accidental conglomeration of the iconography of a Christian hero ("crooked crosses," "spears," "barren thorns" 223-224) rather than the planned iconography of English nationalism. At least imaginatively, Gabriel has left the safety of his urban, Anglo-Irish setting with its riverside quay, booksellers, and park, and he has taken the trip Miss Ivors challenged him to take: "The time had come for him to set out on his journey westward" (223). The trip has become symbolic and nightmarish for Gabriel. 显然，加布里埃尔的想象力已被迫超越都柏林城市的界限。现在，他的思绪“向西”飞越整个爱尔兰，不仅仅是飞越凤凰公园的“十五英亩”。公园以其美丽的、被雪覆盖的纪念碑和“被雪压弯的”树木让他感到安慰；然而，这最后的幻想并不能让他轻松逃避格蕾塔的启示。即使是从聚会中记起的滑稽细节的学究式矫枉过正（“是的，报纸是对的，…”），也无法让加布里埃尔重新回到那些令人安慰的雪的幻想中；这一次，他想象中出现的纪念碑并非是英爱城市爱国主义的姿态。相反，它是迈克尔·菲利的简单坟墓，他宁愿忘记。这座纪念西爱尔兰英雄为爱而死的纪念碑，是基督教英雄的图像（“弯曲的十字架”，“矛”，“贫瘠的荆棘”）的意外混合，而不是英国民族主义的计划图像。 至少在想象中，加布里埃尔已经离开了他那个城市的安全环境，那里有河边的码头、书商和公园，他已经开始了伊沃斯小姐向他提出的挑战之旅：“他已经到了启程向西旅行的时候”（223）。 这次旅行对加布里埃尔来说已经变成了象征性的和噩梦般的经历。
The snow drifts down, covering the Irish landscape, thickly drifting over the lonely graveyard. In this modern day Night Thoughts, the images of snow and death coalesce in the churchyard where Michael Furey lies buried. With these images in place, the narrator intervenes again, and begins to report Gabriel's sensations. Gabriel's drifting mind near sleep plays with the word pairs "falling faintly," "faintly falling," intensifying the oppressiveness of the snow in the repeated "falling" (repeated 7 times in 147 words) and reintroducing its delicacy in "faintly." He feels his soul swoon; he actually hears the inaudible snow falling "through the universe" (224); then in a smile ("like the descent ..." 224) he compares the snow with the fall of the last judgment. Although sentimental and melodramatic, Gabriel's final reported sensations give the reader a strong sense of ending, not of the ending of sleep but of death (to "go west" has been an English euphemism for death since the sixteenth century). Snow has thus undergone a symbolic change in Gabriel's mind, from a way of representing his desire for escape into an idealized urban landscape to a representation of the ultimate escape of death. Although by the end of the story he is at one with the dead, it is a oneness of limited terror because of his restricted imaginative "vocabulary."16 雪花飘落，覆盖着爱尔兰的风景，厚厚地漂浮在孤寂的墓地上。在这个现代的夜思中，雪和死亡的形象在迈克尔·菲利埋葬的教堂墓地中融为一体。有了这些形象，叙述者再次介入，并开始报告加布里埃尔的感觉。加布里埃尔的漂泊思绪接近入睡，玩弄着词对“微弱地落下”，“微弱地落下”，在重复的“落下”中加重了雪的压迫感（在 147 个词中重复了 7 次），并在“微弱地”中重新引入了它的精致感。他感到自己的灵魂晕眩；他实际上听到了无声的雪花“穿过宇宙”落下（224）；然后在一个微笑中（“像下降…”224），他将雪与最后审判的降临相比。尽管多愁善感和戏剧化，加布里埃尔最后报告的感觉给读者一种强烈的结束感，不是睡眠的结束，而是死亡的结束（“向西去”自 16 世纪以来一直是英语委婉语指死亡）。 雪在加布里埃尔的心中经历了象征性的变化，从代表他对逃避的渴望的方式转变为理想化的城市景观的代表，再到代表死亡的最终逃逸。尽管故事结束时他与死者合而为一，但由于他受限的想象“词汇”，这种合一是有限恐怖的。"16
15 Janet Egleson Dunleavy, "The Ectoplasmic Truthtellers of 'The Dead,'" James Joyce Quarterly, 21, no. 4 (Summer 1984), identifies four "voices" in the narration: "What we seem to have ... is a story filtered in part through at least four different and distinctive personalities who cannot be ranked as multiple point-of-view narrators (because they are not given full responsibility for telling the tale) but who can be described as characters" (309). My view of the narration is less abstract. Like the other two reveries about snow, this is partly "mediated." That is, the narrator opens the reverie by simply recording Gabriel's actions ("A few light taps ... made him turn. ... He watched sleepily. ..."). Then he shifts to report of Gabriel's inner musing ("The time had come for him to set out. ..."). Finally, he moves us into an unmediated relationship with Gabriel. Beginning with 'Gabriel's remembering Mary Jane's weather report ("Yes, the newspapers were right. ...") and until the final word, we hear Gabriel's musings about the snow without narrative intrusion. 15 Janet Egleson Dunleavy 在《詹姆斯·乔伊斯季刊》（1984 年夏季第 21 卷第 4 期）中指出，《死者》中的“真实告诉者”识别出叙述中的四个“声音”：“我们似乎有的是...一个故事，部分通过至少四种不同和独特的个性过滤，他们不能被归类为多重视角叙述者（因为他们没有完全负责叙述故事），但可以被描述为角色”（309 页）。我对叙述的看法不那么抽象。就像关于雪的另外两个幻想一样，这部分是“被中介的”。也就是说，叙述者通过简单记录加布里埃尔的行动（“几声轻轻的敲击...使他转身...他昏昏欲睡地看着...”）来开启幻想。然后他转向报道加布里埃尔内心的沉思（“他该出发了...”）。最后，他将我们带入与加布里埃尔的非中介关系。从“加布里埃尔记得玛丽·简的天气报告（“是的，报纸是对的...”）开始，一直到最后一个字，我们听到加布里埃尔对雪的沉思，没有叙述干扰。
16 Obviously my reading of "The Dead" is similar to Hugh Kenner's or Brewster Ghiselin's ["The Unity of Joyce's 'Dubliners,'" Accent (Spring 1956), 76-78 and (Summer 1956), 207-212] or Bernard Bernstock's [James Joyce: The Undiscovered Country (New York: Barnes and Noble, 1977)] who sees "as little chance of Conroy turning life into art as ever there had been of Chandler recomposing the view along the Liffy into a poem" p.7. It is unlike Allen Tate's, or Richard Ellman's ["The Background of 'The Dead'" in James Joyce (1959; rpt. Oxford: Oxford University Press, 1982) 243-253] or Joanne Higgins" ["A Reading of the Last Sentence of 'The Dead,'" English Language Notes, 17, no. 3 (March 1980)] who sees the tears, the Shannon waves and the melting snow as symbols of "potential rebirth" (206) for Gabriel who has gone through the Nicenian necessary first state "of spiritual rejuvenation" (204). For an excellent argument in support of a deliberate final ambiguity ("a conclusion that offers almost opposite meanings, each of which can be logically argued" 29), see Florence L. Walzl. 16 显然，我对《死者》的阅读与休·肯纳（Hugh Kenner）或布鲁斯特·吉斯林（Brewster Ghiselin）的观点相似，他们认为“康罗伊将生活转化为艺术的机会几乎没有，就像钱德勒重新构思利菲河畔的景色为诗歌一样”（第 7 页）。这与艾伦·泰特（Allen Tate）或理查德·埃尔曼（Richard Ellman）的观点不同，他们认为泪水、香农河的波浪和融化的雪是加布里埃尔的象征，代表着“潜在的重生”（206），他经历了尼斯尼的必要第一阶段“精神复兴”（204）。关于支持故意最终模棱两可的优秀论点（“一个提供几乎相反含义的结论，每个都可以逻辑地辩论”29），请参见弗洛伦斯·L·瓦尔兹。
All of Gabriel's reveries about Gretta and snow, even this final one, reveal that he is a conventional Dubliner. After Gretta's revelation he recognizes some of his emotional limits, just as he senses the ambivalent nature of snow. But even in his leap "westward," he cannot escape the limits of his confining "vocabulary." He is unaware of how completely his urban, Anglo-Irish culture has altered his region, his perception of heroism and his private passion by restricting his imagination. 加布里埃尔关于格雷塔和雪的所有幻想，甚至包括这最后一个，都表明他是一个传统的都柏林人。在格雷塔的启示之后，他意识到自己的一些情感局限，就像他感受到雪的矛盾本质一样。但即使在他的“向西”飞跃中，他也无法摆脱他那限制性“词汇”的局限。他没有意识到他的都市、盎格鲁-爱尔兰文化已经如何完全改变了他的地区、他对英雄主义的看法以及他的私人激情，通过限制他的想象力。
The strength of this story comes from the way these patterns of disparate images merge and reinforce each other in order to symbolically define and limit the reader's sympathy for Gabriel. Here is a sensitive and intelligent Irishman who is part of the conventionality, the pretty squalor, the paralysis and death of Dublin. Both cliché-ridden and "hypereducated" (203), he embodies the deadness of that culture, with its sentimentality, its third-rate opera singers and its musical evenings. Caught between European and Gaelic culture, like Miss Ivors, he can embrace neither, except timidly on summer holidays. We can have sympathy with such a displaced man who has so little sense of self but not with "that hemiplegia or paralysis which many consider a city" that created him. 这个故事的力量来自于这些不同图像模式的融合和相互强化，以象征性地定义和限制读者对加布里埃尔的同情。这是一个敏感而聪明的爱尔兰人，他是都柏林的常规、漂亮的肮脏、瘫痪和死亡的一部分。他既充斥着陈词滥调又“过度受教育”（203），他体现了那种文化的死寂，带有感伤情怀、三流歌剧歌手和音乐之夜。他像伊沃斯小姐一样处于欧洲文化和盖尔文化之间，除了在夏季假期胆怯地接受外，他无法拥抱任何一种文化。我们可以同情这样一个失落的人，他对自我几乎没有什么概念，但不能同情“许多人认为是一个城市的半身不遂或瘫痪”创造了他。
17 Gabriel's natural allusions are to Browning, whose book of poems he has just reviewed, and then to Shakespeare and finally to "the Melodies," (179) which he thinks of by title and not by their author, Thomas Moore. He should scarcely worry about his audience not catching an allusion to English or Continental culture; they seem surrounded by it. His aunts have two needlepoint pictures worked by Julia, as a girl, on their drawing-room wall, one of "the balcony scene in Romeo and Juliet" and another of "the two murdered princes in the tower" (186). Aunt Julia sings music from a Bellini opera with lyrics by George Linley (an Englishman born in Leeds). The guests' discussion at the dinner table is of Italian opera and Italian singers. Freddy Malins' mother praises the scenery of Scotland, and even the song that Gretta has locked in her heart ("The Lass of Aughrim") is Scots-Irish. The world of bourgeois Dublin is thoroughly European or British. In any case, Gabriel appears to have replaced his Browning quotation not with a more recognizable one from Shakespeare but with a less recognizable paraphrase of one from Milton ("The World Will Not Willingly Let Die" 203). 17 加布里埃尔的自然暗示是对勃朗宁的，他刚刚评论过的诗集，然后是对莎士比亚，最后是对“旋律”（179），他只是按标题而不是按作者托马斯·摩尔来考虑。他几乎不用担心他的听众不会理解对英国或欧洲文化的暗示；他们似乎被包围在其中。他的姑姑们在客厅墙上有两幅由朱莉娅（小时候）绣制的针织画，一幅是“罗密欧与朱丽叶的阳台场景”，另一幅是“在塔中被谋杀的两位王子”（186）。朱莉娅姑姑演唱贝里尼歌剧中由乔治·林利（一位出生在利兹的英国人）填词的音乐。客人们在餐桌上讨论意大利歌剧和意大利歌手。弗雷迪·马林斯的母亲赞扬苏格兰的风景，甚至格蕾塔心中锁着的歌曲（“奥格林的女孩”）也是苏格兰-爱尔兰的。都柏林的资产阶级世界完全是欧洲或英国的。无论如何，加布里埃尔似乎已经用一句不太容易辨认的米尔顿的一句话（“世界不会情愿地让死去”203）取代了他的勃朗宁引语。
18 Selected Letters of James Joyce, ed. Richard Ellman (London, 1975), p.22.
Morrissey, L. J. "Inner and Outer Perceptions in Joyce's 'The Dead.'" Studies in Short Fiction 25 (1988): 21-29.
1.8 Further Reading
Each of us, face to face with other men, is clathed with some sort of dignity, but we know only too well all the unspeakable things that go on in the heart.
Luigi Pirandello ranks as the most important and innovative Italian dramatist of the early twentieth century. He was born in Sicily and moved to Rome to pursue a writing career. Novels and short stories flowed from his pen. Winner of the 1934 Nobel Prize in literature, Pirandello expresses the confusion and suffering of the human condition in disturbing yet humorous ways. His works focus primarily on the inherent instability of human existence, specifically the conflict of reason and instinct within the human mind. 路易吉·皮兰德罗被认为是二十世纪初最重要和最具创新精神的意大利剧作家。他出生在西西里岛，后来搬到罗马追求写作事业。小说和短篇小说源源不断地从他的笔端流出。皮兰德罗获得了 1934 年的诺贝尔文学奖，他以令人困惑但幽默的方式表达了人类处境中的混乱和苦难。他的作品主要关注人类存在的固有不稳定性，特别是人类心灵中理性与本能的冲突。
The passengers who had left Rome by the night express had had to stop until dawn at the small station of Fabriano in order to continue their journey by the small old-fashioned local joining the main line with Sulmona. 乘坐夜间特快列车离开罗马的乘客不得不在法布里亚诺小站停留到黎明，以便继续乘坐连接索尔莫纳主线的小型老式当地列车继续旅程。
At dawn, in a stuffy and smoky secondclass carriage in which five people had already spent the night, a bulky woman in deep mourning was hosted in - almost like a shapeless bundle. Behind her - puffing and moaning, followed her husband - a tiny man; thin and weakly, his face death-white, his eyes small and bright and looking shy and uneasy. 黎明时分，在一个闷热而烟雾弥漫的二等车厢里，已有五个人在那里过夜，一个身材庞大的 女人深深地哀悼着，几乎像一个没有形状的捆绑物。在她身后，她的丈夫——一个瘦小而虚弱的男人，喘着气，呻吟着，他的脸色苍白如死，他的眼睛又小又亮，看起来害羞而不安。
Having at last taken a seat he politely thanked the passengers who had helped his wife and who had made room for her; then he turned round to the woman trying to pull down the collar of her coat and politely inquired: 最后找到一个座位后，他礼貌地感谢了帮助他妻子并为她让出位置的乘客；然后他转过身去，看着那位试图拉下外套领子的女士，礼貌地询问道：
"Are you all right, dear?"
The wife, instead of answering, pulled up her collar again to her eyes, so as to hide her face.
"Nasty world," muttered the husband with a sad smile.
And he felt it his duty to explain to his traveling companions that the poor woman was to be pitied for the war was taking away from her only son, a boy of twenty to whom both had devoted their entire life, even breaking up their home at Sulmona to follow him to Rome, where he had to go as a student, then allowing him to volunteer for war with an assurance, however, that at least six months he would not be sent to the front and now, all of a sudden, receiving a wire saying that he was due to leave in three days' time and asking them to go and see them off. 他觉得有责任向同行的旅伴解释，这位可怜的女人值得同情，因为战争正在夺走她唯一的儿子，一个二十岁的男孩，他们俩都把整个生命都奉献给了他，甚至为了跟随他到罗马，不惜解散在苏尔莫纳的家庭，让他去当学生，然后允许他自愿参加战争，尽管有一个保证，至少六个月内不会被派往前线，但现在，突然收到一封电报，说他将在三天后离开，并请他们去送行。
The woman under the big coat was twisting and wriggling, at times growling like a wild animal, feeling certain that all those explanations would not have aroused even a shadow of sympathy from those people who - most likely - were in the same plight as herself. One of them, who had been listening with particular attention, said: 大衣下的女人扭动着身体，有时像野兽般咆哮，她确信所有那些解释都不会引起那些人一丝同情，他们很可能正处于和她一样的困境。其中一人特别留心地听着，说道：
"You should thank God that your son is only leaving now for the front. Mine has been sent there the first day of the war. He has already come back twice wounded and been sent back again to the front." "你应该感谢上帝，你的儿子现在才去前线。我的儿子在战争的第一天就被派去了那里。他已经两次受伤回来，又被送回前线。"
"What about me? I have two sons and three nephews at the front," said another passenger.
"Maybe, but in our case it is our only son," ventured the husband.
"What difference can it make? You may spoil your only son by excessive attentions, but you cannot love him more than you would all your other children if you had any. Parental love is not like bread that can be broken to pieces and split amongst the children in equal shares. A father gives all his love to each one of his children without discrimination, whether it be one or ten, and if am suffering now for my two sons, I am not suffering half for each of them but double ..." "这有什么区别呢？你可能会因过分关注而宠坏你的独生子，但如果你有其他孩子的话，你也不会比对他更爱其他孩子。父母的爱不像面包那样可以分成碎片平均分给孩子们。一个父亲会毫无偏见地把所有的爱都给每一个孩子，无论是一个还是十个，如果我现在为我的两个儿子而受苦，我并不是为每个孩子受一半的苦，而是双倍..."
"True ... true ..." sighed the embarrassed husband, "but suppose (of course we all hope it will never be your case) a father has two sons at the front and he loses one of them, there is still
1 bulky: 个头大的。
2 nasty: 污秽的, 肮脏的, 令人厌恶的。
3 wriggling: 扭动。
4 growling: 咆哮。
one left to console him ... while ..."
"Yes," answered the other, getting cross, "a son left to console him but also a son left for whom he must survive, while in the case of the father of an only son if the son dies the father can die too and put an end to his distress. Which of the two positions is worse? Don't you see how my case would be worse than yours?" "是的," 另一个回答道，变得生气起来，"一个儿子留下来安慰他，但也是一个儿子留下来，他必须活下去，而在一个独生子的父亲的情况下，如果儿子死了，父亲也可以死去，结束他的痛苦。哪个位置更糟糕？你难道看不出我的情况比你的更糟糕吗？"
"Nonsense," interrupted another traveler, a fat, red-faced man with bloodshot eyes of the palest gray.
He was panting. From his bulging eyes seemed to spurt inner violence of an uncontrolled vitality which his weakened body could hardly contain.
"Nonsense," he repeated, trying to cover his mouth with his hand so as to hide the two missing front teeth. "Nonsense. Do we give life to our own children for our own benefit?"
The other travelers stared at him in distress. The one who had had his son at the front since the first day of the war sighed: "You are right. Our children do not belong to us, they belong to the country ..." 其他旅行者苦恼地盯着他。自从战争第一天起就把儿子留在前线的那个人叹了口气：“你说得对。我们的孩子不属于我们，他们属于国家…”
"Bosh," retorted the fat traveler. "Do we think of the country when we give life to our children? Our sons are born because ... well, because they must be born and when they come to life they take our own life with them. This is the truth. We belong to them but they never belong to us. And when they reach twenty they are exactly what we were at their age. We too had a father and mother, but there were so many other things as well ... girls, cigarettes, illusions, new ties ... and the Country, of course, whose call we would have answered - when we were twenty - even if father and mother had said no. Now, at our age, the love of our Country is still great, of course, but stronger than it is the love of our children. Is there any one of us here who wouldn't gladly take his son's place at the front if he could?" “呸，”胖旅行者反驳道。“当我们给孩子生命时，我们会考虑国家吗？我们的儿子出生是因为……嗯，因为他们必须出生，当他们来到这个世界时，他们带走了我们的生命。这就是事实。我们属于他们，但他们从不属于我们。当他们到了二十岁，他们正是我们在他们这个年龄时的样子。我们也有父亲和母亲，但还有许多其他事情……女孩、香烟、幻想、新的联系……当然还有国家，我们在二十岁时会回应它的召唤，即使父母说不行。现在，在我们这个年龄，当然我们对国家的爱仍然很大，但比起这种爱，对孩子的爱更强烈。我们中有谁不愿意如果可能的话，乐意替自己的儿子站在前线吗？”
There was a silence all round, everybody nodding as to approve.
"Why then," continued the fat man, "should we consider the feelings of our children when they are twenty? Isn't it natural that at their age they should consider the love for their Country (I am speaking of decent boys, of course) even greater than the love for us? Isn't it natural that it should be so, as after all they must look upon us as upon old boys who cannot move any more and must sat at home? If Country is a natural necessity like bread of which each of us must eat in order not to die of hunger, somebody must go to defend it. And our sons go, when they are twenty, and they don't want tears, because if they die, they die inflamed and happy (I am speaking, of course, of decent boys). Now, if one dies young and happy, without having the ugly sides of life, the boredom of it, the pettiness, the bitterness of disillusion ... what more can we ask for him? Everyone should stop crying; everyone should laugh, as I do ... or at least thank God - as I do - because my son, before dying, sent me a message saying that he was dying satisfied at having ended his life in the best way he could have wished. That is why, as you see, I do not even wear mourning ..." “那么，”胖子继续说道，“我们为什么要考虑我们的孩子们到了二十岁时的感受呢？在他们这个年龄，他们认为对国家的爱（我当然是指体面的男孩）比对我们的爱更重要，这不是很自然吗？这不是很自然吗，因为毕竟他们会把我们看作是不能再动弹，只能坐在家里的老男孩？如果国家像我们每个人都必须吃以免饿死的面包一样是一种自然必需品，那么就必须有人去捍卫它。我们的儿子们在二十岁时去了，他们不想要眼泪，因为如果他们死了，他们会死得激情四射和幸福（我当然是指体面的男孩）。现在，如果一个人年轻而幸福地死去，没有经历生活的丑陋面，没有生活的无聊、琐碎和幻灭的苦涩……我们还能为他要求什么呢？每个人都应该停止哭泣；每个人都应该像我一样笑……或者至少感谢上帝——就像我一样——因为我的儿子在临终前给我发了一条信息，说他对自己的生命以最好的方式结束感到满意。这就是为什么，你看，我甚至不穿丧服……”
He shook his light fawn coat as to show it; his livid lip over his missing teeth was trembling, his eyes were watery and motionless, and soon after he ended with a shrill laugh which might well have been a sob. 他摇动着他浅褐色的 外套，好像在展示它；他苍白的嘴唇在缺失的牙齿上颤抖着，他的眼睛湿润而静止，不久之后他以尖锐的笑声结束，这笑声很可能是一声叹息。
"Quite so ... quite so ..." agreed the others.
The woman who, bundled in a corner under her coat, had been sitting and listening had for the last three months - tried to find in the words of her husband and her friends something to console her in her deep sorrow, something that might show her how a mother should resign herself to send her son not even to death but to a probable danger of life. Yet not a word had she found amongst the many that had been said ... and her grief had been greater in seeing that nobody - as she thought - could share her feelings. 那个裹在大衣下角的女人，过去三个月一直坐着听着，试图在丈夫和朋友的话语中找到一些安慰她深深悲伤的东西，一些可能告诉她一个母亲应该如何放手让儿子去面对生命的危险而不是死亡的话。然而，在众多的话语中，她找不到一句能够安慰她的话……她的悲伤更甚，因为她看到没有人——她所以为的——能够分享她的感受。
But now the words of the traveler amazed and almost stunned her. She suddenly realized that it wasn't the others who were wrong and could not understand her but herself who could not rise up to the same height of those fathers and mothers willing to resign themselves, without crying, not only to the departure of their sons but even to their death. 但是现在旅行者的话让她感到惊讶，几乎让她目瞪口呆。她突然意识到，不是别人错了，不懂她，而是她自己无法达到那些愿意甘愿放弃，不哭泣，甚至不仅仅是接受儿子离去，甚至是接受他们去世的那些父母们的高度。
She lifted her head, she bent over from her corner trying to listen with great attention to the details which the fat man was giving to his companions about the way his son had fallen as a hero, for his King and his Country, happy and without regrets. It seemed to her that she had stumbled into a world she had never dreamt of, a world so far unknown to her, and she was so pleased to hear everyone joining in congratulating that brave father who could so stoically speak of his child's death. 她抬起头，从角落里弯腰，试图专心倾听那个胖子向同伴们讲述他的儿子如何英勇牺牲，为国王和国家而死，幸福而无悔的细节。她觉得自己仿佛跌入了一个她从未梦到过的世界，一个对她来说迄今为止未知的世界，她很高兴听到每个人都加入祝贺那位勇敢的父亲，他能如此坚忍地谈论自己孩子的死亡。
Then suddenly, just as if she had heard nothing of what had been said and almost as if waking up from a dream, she turned to the old man, asking him:
"Then ... is your son really dead?"
Everyone stared at her. The old man, too, turned to look at her, fixing his great, bulging, horribly watery light gray eyes, deep in her face. For some time he tried to answer, but words failed him. He looked and looked at her, almost as if only then - at that silly, incongruous question - he had suddenly realized at last that his son was really dead - gone for ever - for ever. His face contracted, became horribly distorted, then he snatched in haste a handkerchief from his pocket and, to the amazement of everyone, broke into harrowing, heart-breaking, uncontrollable sobs. 大家都盯着她。老人也转过头去看她，凝视着她那双巨大、突出、可怕地水汪汪的浅灰色眼睛，深深地盯着她的脸。有一段时间，他试图回答，但却无法开口。他看着她，几乎好像只有在那个愚蠢、不合时宜的 问题时，他才突然意识到他的儿子真的已经死了——永远离开了——永远。他的脸扭曲了，变得可怕扭曲，然后他匆忙从口袋里拿出手绢，令所有人惊讶的是，他突然陷入了令人心碎的、令人心碎的、无法控制的哭泣。
11 stoically: 坚忍地，能忍受痛苦地。
12 incongruous: 不调和的, 不适宜的。
13 harrowing: 痛心的, 悲惨的。
Pirandello, Luigi. "War." Literature: Reading Fiction, Poetry, and Drama. Ed. Robert DiYanni. Sth ed. Boston: McGraw Hill, 2002. 439-42.
Student Paper on Fiction
The following brief analysis written by a student focuses on the characters in Pirandello's "War." The writer considers how the dialogue and descriptions of the characters lead to a metaphorical interpretation of the story's title. 以下简短分析是一位学生写的，重点关注皮兰德罗的《战争》中的人物。作者考虑了对话和人物描述如何导致对故事标题的隐喻解释。
Carol Holt
English 102
Professor DiYanni
March 30, 1998
Defining War
Luigi Pirandello calls his short story about grieving and worried parents, "War." At first reading, the title seems a bit misleading because the setting is a railroad car rather than a battlefield, and the characters are people who have sent their sons off to the front but who are not directly involved themselves. Further reading, however, shows that each mother and father is going through a personal struggle within his or her mind. In addition, the characters fight among themselves about what view they should take of their sons' military service. In a sense, the railroad car becomes a battlefield as the characters engage in war both within themselves and with others. 路易吉·皮兰德罗称他关于悲伤和担忧父母的短篇小说为《战争》。初读时，标题似乎有点误导，因为故事背景是在火车车厢里，而不是在战场上，人物是那些送儿子去前线但自己并未直接参与的人。然而，进一步阅读显示，每位母亲和父亲都在自己的内心中经历着个人挣扎。此外，人物们在彼此之间争论他们应该如何看待儿子的军事服务。在某种意义上，火车车厢成为一个战场，因为人物们在自己内心和他人之间进行战争。
The dialogue between the bulky woman's husband and the man who has two sons at the front seems like a war in several ways. They engage in conflict and each tries to outdo the other, bringing out more and more verbal weapons in an attempt to be the victor. The arguments are as empty and meaningless as are many real-life physical battles. One father argues that losing an only son is the worst fate. The other counters that the death of one son while the other lives prevents the grieving parent from the "remedy" of suicide. This war is certainly futile and cannot be resolved in a logical or satisfactory way. Each side is convinced of the truth of its own argument. Each looks only at its own point of view. Just as with real warring factions, there seems to be no way to bring the two sides together. 庞大女人的丈夫和那个有两个儿子的男人之间的对话在某种程度上看起来像是一场战争。他们陷入冲突，各自试图胜过对方，不断拿出更多的言语武器，试图成为胜利者。这些争论和许多现实生活中的身体战斗一样空洞和毫无意义。一个父亲认为失去独生子是最糟糕的命运。另一个则反驳说，一个儿子去世而另一个活着会阻止悲痛的父母采取“自杀”的“疗法”。这场战争显然是徒劳的，无法以逻辑或令人满意的方式解决。每一方都坚信自己论点的真理。每一方只看自己的观点。就像真正交战的派别一样，似乎没有办法让双方走到一起。
When the fat, red-faced man speaks, he seems to be making a statement with which all the passengers can agree. They all shake their heads as if to approve when he speaks of love of country and patriotism. Nevertheless, he too is involved in a war. As he continues to speak and as the bulky woman starts to listen, he becomes more and more emotional. For example, his eyes are watery and he ends one of his speeches "with a shrill laugh which might well have been a sob" (Pirandello 112). The bulky woman tries to resolve the conflict - the war - within herself, but as she states the one fact most frightening to her, the red-faced man reveals his own painful battle. When she says, "Then...is your son really dead?" (112) the red-faced man burst into tears. He has not resolved the fight that is going on between his sense of patriotism and his love for his fallen son. 当那个肥胖、满脸通红的男人讲话时，他似乎在发表一种所有乘客都能赞同的声明。当他谈到对国家和爱国主义的热爱时，所有人都会点头表示赞同。然而，他也卷入了一场战争。随着他继续讲话，以及那位体型庞大的女人开始倾听，他变得越来越情绪化。例如，他的眼睛含泪，他在其中一次演讲结束时“发出了一个尖锐的笑声，这很可能是一声叹息”（皮兰德罗 112）。那位体型庞大的女人试图解决内心的冲突 - 战争 - 但当她提到最让她恐惧的事实时，那位满脸通红的男人揭示了自己的痛苦战斗。当她说：“那么...你的儿子真的死了吗？”（112）那位满脸通红的男人突然哭了起来。他没有解决他在爱国主义和对逝去儿子的爱之间的斗争。
Pirandello has extended the definition of war. Conflicts, struggles, and exchange of ammunition occur not just on the actual battlefields but also in the lives of those connected to members of fighting forces. As the title of Pirandello's story suggests, wars may be fought on metaphoric battlefields and may produce casualties who never stop a bullet. 皮兰德罗扩展了战争的定义。冲突、斗争和弹药交换不仅发生在实际战场上，也发生在与作战部队成员有关的人生中。正如皮兰德罗故事的标题所暗示的那样，战争可能在隐喻性战场上进行，并可能造成从未中弹的伤亡。
Works Cited
Pirandello, Luigi. "War." Literature: Fiction, Poetry, Drama, and the Essay. Ed. Robert Diyanni, 4th ed. New York: McGraw, 1998, 110-12.
Holt, Carol. "Defining War." Literature: Reading Fiction, Poetry, and Drama. Ed. Robert DiYanni. 5th ed. Boston: McGraw Hill, 2002. 113-14.
Poetry
2.1 Understanding Poetry
In some ways reading poetry is much like reading fiction: we observe details of action and language, make connections and inferences, and draw conclusions. We also bring to poetry the same intellectual and emotional dispositions, the same general experience with life and literature that we draw on in reading fiction. Yet there is something different about reading poems. The difference involves our being more attentive to certain enjoyable devices not available to fiction: rhyme, alliteration, meter, and rhythm in line and stanza. Meanwhile, poets are expected to make greater use of resources of meaning such as figurative language, allusion, symbol, and imagery. The connotations of words, details of syntax and punctuation are important as well. As readers of fiction, we are largely concerned with meaning. Any figurative language or graceful turns of word order may be regarded as pleasant extras. But in poetry all these "extras" matter as much as the paraphrasable content, if no more. As an art of condensation and implication, poems concentrate meaning and distill feeling. 在某种程度上，阅读诗歌很像阅读小说：我们观察行动和语言的细节，建立联系和推断，并得出结论。我们在阅读诗歌时也带有相同的智力和情感倾向，以及在阅读小说时所依赖的生活和文学的一般经验。然而，阅读诗歌有所不同。这种差异在于我们更加关注某些小说中无法获得的有趣设备：韵律、头韵、节奏和诗行和诗节中的节奏。与此同时，诗人被期望更多地利用诸如比喻语言、典故、象征和意象等意义资源。词语的内涵、句法和标点的细节也同样重要。作为小说的读者，我们主要关注意义。任何比喻语言或优美的词序转折都可以被视为愉快的额外内容。但在诗歌中，所有这些“额外内容”与可解释的内容一样重要，甚至更重要。作为一种浓缩和暗示的艺术，诗歌集中表达意义并提炼感情。
What, then, is poetry? The dictionary definition of the term "poetry" is the language sung, chanted, spoken, or written according to some pattern of recurrence that emphasizes the relationships between words on the basis of sound and sense. Nevertheless, perhaps the characteristic most central to the definition of poetry is its unwillingness to be defined, labeled, or nailed down. William Wordsworth made a try at a definition: "the spontaneous overflow of powerful feelings ... recollected in tranquility." For Thomas Carlyle, poetry is "musical thought." Emily Dickinson emphasized its effects on the reader: "If I read a book and it makes my body so cold no fire ever can warm me, I know that is poetry." Elizabeth Bishop paid attention to its condensation: "hundreds of things coming together at the right moment." As is shown, different from the common use of language to communicate information, the major concern of poetry is with experience beautiful or ugly, strange or common, noble or ignoble, actual or imaginary. All experience is enjoyable through this medium of art, which allows us imaginatively to participate in it, broadening as well as deepening our own experience. 那么，什么是诗歌？“诗歌”这个词的词典定义是根据某种重复模式唱、吟、说或写的语言，强调基于声音和意义之间的关系。然而，也许对诗歌定义最核心的特征是它不愿被定义、标记或固定。威廉·华兹华斯曾试图给出一个定义：“强烈感情的自发溢出……在宁静中回忆起来。”对于托马斯·卡莱尔，诗歌是“音乐思想”。艾米莉·狄金森强调了它对读者的影响：“如果我读一本书，它让我的身体变得如此冰冷，任何火都无法温暖我，我知道那就是诗歌。”伊丽莎白·毕晓普关注它的浓缩：“数百件事物在恰当时刻汇聚在一起。”正如所示，与普通语言用于传达信息不同，诗歌的主要关注点是美丽或丑陋、奇怪或普通、高贵或卑贱、真实或虚构的经历。所有经历通过这种艺术媒介都是愉悦的，它让我们在想象中参与其中，拓宽和深化我们自己的经历。
Generally, poetry can be classified as narrative, lyric, and dramatic. Narrative and lyric poems are the most popular. While the former stress story and action, the latter focus on emotion and song. Both types have numerous subdivisions: narrative poetry includes epic, romance, and ballad; lyric poetry includes elegy and epigraph, sonnet and sestina, aubade and villanelle. The grandest of narratives is the epic that fuses myth and history and describes cultural heroes involved in grand adventures. Epics tend to be larger than life as they recount valorous deeds enacted in vast landscapes. The conventions require the epic be formal, complex, and serious. In Western literature the most famous epics are Homer's Illiad, Virgil's Aeneid, Dante's Divine Comedy, and Milton's Paradise Lost. Far less ambitious than epics, ballads are perhaps the most popular 通常，诗歌可以分为叙事诗、抒情诗和戏剧性诗歌。叙事诗和抒情诗是最受欢迎的。前者强调故事和行动，后者侧重情感和歌曲。这两种类型都有许多分支：叙事诗包括史诗、浪漫诗和民谣；抒情诗包括挽歌和题词、十四行诗和六重奏、清晨曲和维拉内尔。最宏大的叙事是融合神话和历史，描述文化英雄参与宏伟冒险的史诗。史诗往往比生活更大，因为它们叙述了在广阔景观中发生的英勇行为。传统要求史诗是正式、复杂和严肃的。在西方文学中，最著名的史诗是荷马的《伊利亚特》、维吉尔的《埃涅阿斯》、但丁的《神曲》和弥尔顿的《失乐园》。比史诗雄心更少的民谣也许是最受欢迎的。
form of narrative poetry. Folk ballads were passed on orally, only to be written down much later, hence their unknown authorship. There are also literary ballads that imitate folk ballads but are more polished stylistically and more self-conscious in their use of poetic techniques. Another type of narrative poem is the romance, in which adventure is a central feature. The chief characters are human beings who often confront monsters, dragons, and disguised animals. Romances dealing with the marvelous were popular during the Middle Ages and the Renaissance. Different from narrative poems in which story and action predominate, lyric poetry is characterized by brevity, melody and emotional intensity. Originally designed to be sung to a musical accompaniment, lyrics have been the predominant type of poetry in the West for several hundred years. Forms of lyric poetry range from the epigram, a brief witty poem that is often satirical, to the elegy which deals solemnly with death and is often a lament for the dead. Lyric forms also include the ode, a long stately poem on exalted theme; and the aubade, a love lyric expressing complaint that dawn means the speaker must part from his lover. The sonnet is normally fourteen lines and condenses an expression of emotion or an articulation of idea according to one of two basic patterns: the Italian (or Petrarchan) or the English (or Shakespearean). An Italian sonnet is composed of an eight-line octave and a six-line sestet. It may state a problem in the octave and present a solution in its sestet. A Shakespearean sonnet is composed of three four-line quatrains and a concluding two-line couplet. It will usually introduce a subject in the first quatrain, expand and develop it in the second and third quatrains, and conclude something about it in its final couplet. Besides the sonnet, there are two other lyric forms, sestina and villanelle, both deriving from French poetry and rely heavily on repetition. A third kind of poetry is dramatic poetry, which presents the voice of an imaginary character or characters speaking directly, without any additional narration by the author. In a dramatic poem, the poet says within the limits of one imaginary character addressing another imaginary character. 叙事诗的形式。民间民谣是口头传承的，直到后来才被记录下来，因此作者不为人知。还有文学民谣，模仿民间民谣但在风格上更加精致，在诗歌技巧的运用上更加自觉。另一种叙事诗是浪漫诗，其中冒险是一个重要特征。主要人物是经常面对怪物、龙和伪装的动物的人类。关于奇妙的浪漫故事在中世纪和文艺复兴时期很受欢迎。与叙事诗中故事和行动占主导地位不同，抒情诗以简洁、旋律和情感强度为特征。最初设计为配以音乐伴奏演唱的抒情诗已经成为西方几百年来主要的诗歌类型。抒情诗的形式包括讽刺性强的简短机智的讽刺诗——讽刺诗，以及庄严地处理死亡并经常为死者哀悼的挽歌。抒情形式还包括颂歌，这是一首长篇庄严的诗歌，主题高尚；以及晨曦诗，一首表达抱怨的爱情抒情诗，因为黎明意味着说话者必须与爱人分离。 十四行诗通常包括表达情感或思想的表达，根据两种基本模式之一：意大利（或彼特拉克）或英国（或莎士比亚）。意大利十四行诗由八行组成的八行组和六行组成的六行组成。它可能在八行组中陈述问题，并在六行组中提出解决方案。莎士比亚十四行诗由三个四行组成的四行组和一个结尾的两行组成。它通常会在第一个四行组中介绍一个主题，在第二和第三个四行组中扩展和发展它，并在最后的两行组中总结一些关于它的内容。除了十四行诗，还有另外两种抒情形式，六重唱和维拉内尔，两者都源自法国诗歌，并且严重依赖重复。第三种诗歌形式是戏剧诗歌，它展示了一个虚构角色或角色直接讲话的声音，作者没有额外的叙述。在戏剧诗中，诗人在一个虚构角色限制内对另一个虚构角色说话。
As a prehistoric literary form, poetry existed in the oral tradition long before the written literature emerged. The Epic "Beowulf" was the earliest surviving works in Old English. Many English and Scottish popular ballads also went back to the Middle Ages. In Elizabethan time Thomas Waston, Sir Philip Sidney, and William Shakespeare were experts of sonnets. Edmund Spenser and Christopher Marlowe were good at pastoral poems that were about rural scenery and characters. Lyrics such as those from Shakespeare's plays represented the further development of poems meant to be sung and accompanied by music. In the earlier seventeenth century metaphysical poems were in full swing, which concerned not only with love, but also with religion and mortality. John Donne made an enduring mark in the school for his elaborate conceits, or dominating ideas around which the figures are organized. In the late seventeenth century the popular poetic form was didactic poetry written to teach and instruct the reader. John Dryden and Alexander Pope both arrived at a poise that allowed them to address men of different status. In the same age John Milton accomplished his great modern epics different from those written by his predecessors since Homer. From 1790s to 1830s in Britain, there was a sweeping literary shift known as the Romantic Movement. Its chief emphasis was upon freedom of individual self-expression. Rejecting the ordered rationality of the Enlightenment, romantic poets like William Wordsworth and Samuel Taylor Coleridge turned to the emotional directness 作为史前文学形式，诗歌存在于口头传统中，早于书面文学的出现。史诗《贝奥武甫》是最早的存世作品之一，用古英语写成。许多英国和苏格兰流行的民谣也可以追溯到中世纪。在伊丽莎白时代，托马斯·沃森、菲利普·悉尼爵士和威廉·莎士比亚都是十四行诗的专家。埃德蒙·斯宾塞和克里斯托弗·马洛是擅长描写乡村风景和人物的田园诗人。莎士比亚戏剧中的歌词代表了诗歌进一步发展，旨在配以音乐演唱。在十七世纪早期，形而上诗歌盛行，不仅关注爱情，还涉及宗教和死亡。约翰·邓恩因其精心构思的概念或主导思想而在学界留下深远影响，这些思想围绕着人物展开。十七世纪末，流行的诗歌形式是教诲诗歌，旨在教导读者。约翰·德莱顿和亚历山大·蒲柏都达到了一种平衡，使他们能够与不同地位的人交流。 在同一时代，约翰·弥尔顿完成了他伟大的现代史诗，与荷马以来的前辈们所写的不同。从 1790 年代到 1830 年代的英国，发生了一场被称为浪漫主义运动的文学大转变。它的主要重点是个体自我表达的自由。拒绝启蒙运动的有序理性，浪漫主义诗人如威廉·华兹华斯和塞缪尔·泰勒·柯勒律治转向情感直接性
of personal experience and to the boundlessness of individual imagination and aspiration. Nature was reevaluated from the notion of a repulsive or even horrible world to the source of inspiration and freedom. Poetic language also underwent the big change from the highly furnished diction to the common language chiefly used by the middle and lower classes of society. Besides Wordsworth and Coleridge, John Keats, Percy Bysshe Shelly, George Gordon Byron, William Blake, Robert Burns were other eminent participants of the movement. In the Victorian Age many poets continued the romantic practice. Alfred Tennyson gained the reputation as the greatest poet of his time for he reaffirmed the romantic retrospective tradition. There also appeared different voices of experiment, typical of which was Robert Browning's unique creation of dramatic monologue. For a time American poetry imitated the traditional verse of England. It was Walt Whitman who brought a new American voice to the world. Whitman's poems, energized with American speech patterns and slang, built up a catalogue of images peculiar of the technology and democracy of America. While Whitman eulogized free American spirits, Emily Dickinson contributed another poetic voice in New England countryside. Leading a retired life, she wrote her skeptical poems meditatively with economy. At the turn of the twentieth century, W. B. Yeats in Ireland pioneered the modernist trends in poetry, which was a cosmopolitan range of experimental and avant-garde directions in literature of the early twentieth-century. Compared with their forebears, modernist poets preferred a more colloquial and unliterary diction and were happy with free verse, a form of verse without meter. These devices helped these poets easily express a sense of urban cultural dislocation with a new psychological awareness. American poets Ezra Pound and T. S. Eliot were two leading figures of the modernist movement. Pound led an influential poetic practice known as Imagism in the 1910s. These imagists sought a new clarity and exactness in short lyric poems by cultivating concision and directness around single images with looser rhymes. Amy Lowell, H. D. (Hilda Doolittle), D. H. Lawrence, William Carlos Williams were included in this group. T. S. Eliot was somewhat exceptional for he experimented with combinations of traditional verse with modern experience, apt at connecting a striking imagery with historical and mythological allusions. The end of the Second World War marked a new phase in literature known as postmodernism. Different from the prevalence of high art in modernist time, an amalgam of many styles have existed simultaneously in postmodern poetry. Some poets still concern for the clarity of image, some become absorbed in opacity or dreamworld progressions, while others are involved in self-exploration, historical recollection or social research. The rising black or other nonwhite poets and women poets also add new sources and strengths to question conventional wisdom. 个人经验和个人想象力和愿望的无限性。自然从一个令人厌恶甚至可怕的世界的概念重新评估为灵感和自由的源泉。诗意语言也经历了从高度装饰的措辞到主要由社会中下层阶级使用的通用语言的重大变化。除了华兹华斯和柯勒律治，约翰·济慈、珀西·比希·雪莱、乔治·戈登·拜伦、威廉·布莱克、罗伯特·彭斯等人也是该运动的杰出参与者。在维多利亚时代，许多诗人继续了浪漫主义的实践。阿尔弗雷德·丁尼生因重新肯定浪漫主义的回顾传统而获得了他那个时代最伟大诗人的声誉。还出现了不同的实验声音，其中典型的是罗伯特·勃朗宁独特创作的戏剧独白。有一段时间，美国诗歌模仿了英格兰的传统韵文。是沃尔特·惠特曼将新的美国声音带给了世界。惠特曼的诗歌，充满了美国的语音模式和俚语，构建了一个关于美国技术和民主的图像目录。 当惠特曼颂扬自由的美国精神时，艾米莉·狄金森在新英格兰乡村贡献了另一个诗意的声音。她过着隐居的生活，以节俭的方式冥想地写下她怀疑的诗歌。在二十世纪初，爱尔兰的威廉·巴特勒·叶芝开创了诗歌中的现代主义潮流，这是二十世纪初文学中实验性和前卫方向的一种世界性范围。与他们的前辈相比，现代主义诗人更喜欢更口语化和非文学化的措辞，并且乐于使用无韵律的自由诗形式。这些手法帮助这些诗人轻松表达了一种对城市文化错位的新心理意识。美国诗人埃兹拉·庞德和 T·S·艾略特是现代主义运动的两位主要人物。庞德在 1910 年代领导了一种被称为意象主义的有影响力的诗歌实践。这些意象派通过培养简洁和直接性围绕单一形象以及更松散的押韵，寻求在短抒情诗中的新清晰度和准确性。艾米·洛威尔、H·D（希尔达·杜利特尔）、D·H·劳伦斯、威廉·卡洛斯·威廉斯也包括在这一群体中。T·S·艾略特。 艾略特在某种程度上是异常的，因为他尝试将传统诗歌与现代经验相结合，善于将引人注目的意象与历史和神话典故联系起来。第二次世界大战结束标志着文学史上的一个新阶段，即后现代主义。与现代主义时代高艺术盛行不同，后现代主义诗歌中同时存在着许多风格的混合。一些诗人仍然关注图像的清晰度，一些沉浸在模糊或梦幻般的进展中，而其他人则参与自我探索、历史回忆或社会研究。崛起的黑人或其他非白人诗人和女性诗人也为质疑传统智慧增添了新的来源和力量。
In essence, poetry is a kind of "saying." As the most condensed and concentrated form of literature, poetry says the most in the fewest number of words. In order to appreciate poetry, we have to examine some interrelated parts called elements inside poems. The basic elements comprise voice including speaker and tone, situation and setting, diction, imagery, figures of speech such as simile and metaphor, symbolism and allegory, syntax, rhyme, rhythm and meter, myth and allusion, structure including closed form and open form, as well as theme. 实质上，诗歌是一种“言说”。作为文学的最浓缩和最集中的形式，诗歌用最少的词语说出最多的内容。为了欣赏诗歌，我们必须审视诗歌内部的一些相互关联的部分，称为元素。基本元素包括声音，包括说话者和语气，情境和背景，措辞，意象，比喻和隐喻等修辞手法，象征主义和寓言，句法，押韵，韵律和格律，神话和典故，结构，包括封闭形式和开放形式，以及主题。
When reading or hearing a poem, we hear a speaker's voice. A speaker is not necessarily the poet. The relationship between the speaker and the poet is like that between the narrator and the novelist. Sometimes we hear the voice from a character who may express ideas and feelings quite 当阅读或听诗歌时，我们听到了一个说话者的声音。说话者不一定是诗人。说话者和诗人之间的关系就像叙述者和小说家之间的关系。有时我们听到的声音来自一个角色，可能表达出各种想法和感情。
different from the poet's own. On other occasions a woman poet will create a male persona. It is the speaker's voice that conveys the poem's tone, which usually implies the attitude the poet takes toward a theme or a subject. The tone may be affectionate, hostile, earnest, playful, or sarcastic. Setting refers to the specific time and space in the poem. The imaginary situation in poetry usually concerns the event, the place, the addressee, and the cause of the event. By diction we mean the choice of words. At their most successful, poems include "the best words in the best order," as Samuel Taylor Coleridge has said. A word often has three component parts: sound, denotation or the dictionary meaning, and connotation or the overtones of the meaning. The multidimentional nature of words requires a precise selection of the desired words by context. Reading a poem, we have to be clear about the denotations, but it is more important to know what the words imply or suggest. Imagery may be defined as the representation through language of sense experience. An image may represent a sight, a sound, a smell, a taste, a touch, a movement, or any internal sensation such as hunger or thirst. As experience comes to us largely through the senses, imagery is an effective way to evoke vivid undergoing. A figure of speech is any way of saying something other than the ordinary way, and figurative language is a kind of language using figures of speech. Among them similes and metaphors are the most common and effective ways to make comparisons. Other figures of speech include personification, apostrophe, overstatement, understatement, metonymy, synecdoche, and paradox. A symbol can be anything that stands for something else, which is usually an idea conventionally associated with it. A tree, for instance, can represent a family's roots and branches. Different from metaphor, a symbol functions literally and figuratively at the same time. Related to symbolism, allegory is a form of narrative in which people, places, happenings have hidden or symbolic meanings. Allegory differs from symbolism in that it establishes a strict system of correspondences between details of action and a pattern of meaning. Symbolic works that are not allegorical are less systematic and more open-ended in what their symbols mean. Syntax is defined as the arrangement of words in a sentence, phrase, or clause. The syntax may be simple and direct, or inverted and varied. Sometimes the poet uses normal word order for each sentence but varies their lengths radically. If a long sentence is followed by a short one, for instance, the effect is to increase the emphasis on the short one. Like other elements, syntax is important to express meaning and convey feeling. Rhythm refers to the recurrence of sound involving some metrical pattern, which is a sequence of measured sound-units recurring more or less regularly in lines of verse. Both rhyme and meter help to create the sense of musical repetition in the poem. Myths and allusions are narratives referring to something in history or previous literature. Like richly connotative words or symbols, they are means of suggesting far more than they say. When we analyze a poem's structure, we concentrate on its patterns of organization. Form, as a general idea, is the design of a thing as a whole, the configuration of all its parts. Writing in closed form, a poet follows some sort of pattern. On a page, poems in closed form tend to look regular and symmetrical, often falling into stanzas that indicate groups of rimes. One of the most popular forms of poetry has been the sonnet, a fourteen-line poem usually written in iambic pentameter. Other fixed forms such as sestina and villanelle all have their respective metrical patterns. Many poets, however, have resisted the limitations inherent in using rhyming lines in a prescribed manner. As alternatives to the 与诗人自己的不同。在其他场合，女诗人会创造一个男性角色。传达诗歌语调的是发言者的声音，这通常暗示了诗人对主题或对象采取的态度。语调可能是亲切的、敌对的、认真的、俏皮的或讽刺的。环境指的是诗歌中的具体时间和空间。诗歌中的想象情境通常涉及事件、地点、被称呼者以及事件的原因。所谓措辞是指词语的选择。在最成功的情况下，诗歌包括“最佳的词语以最佳的顺序”，正如塞缪尔·泰勒·柯勒律治所说。一个词通常有三个组成部分：声音、指称或词典含义，以及内涵或含义的意义。词语的多维性要求通过上下文精确选择所需的词语。阅读一首诗，我们必须清楚词语的指称，但更重要的是要知道这些词语暗示或建议什么。意象可以被定义为通过语言表达感官体验。图像可以代表视觉、声音、气味、味道、触觉、动作，或任何内部感觉，如饥饿或口渴。 随着经验主要通过感官来到我们身边，意象是唤起生动体验的有效方式。修辞是除了普通方式之外表达某事的任何方式，比喻语言是使用修辞的一种语言。其中，比喻和隐喻是最常见和有效的比较方式。其他修辞包括拟人、呼语、夸张、轻描淡写、换喻、提喻和悖论。符号可以是代表其他事物的任何东西，通常与其惯例相关联的概念。例如，一棵树可以代表一个家庭的根和枝。与隐喻不同，符号同时在字面上和比喻上起作用。与象征主义相关的寓言是一种叙事形式，其中人物、地点、事件具有隐藏或象征意义。寓言与象征主义不同之处在于它建立了行动细节和意义模式之间的严格对应系统。不是寓言的象征作品在其符号意义上不那么系统化，更具开放性。 语法被定义为句子、短语或从句中单词的排列方式。语法可能是简单直接的，也可能是倒装和多样化的。有时诗人会使用正常的词序来构成每个句子，但会大幅度地改变它们的长度。例如，如果一个长句后面跟着一个短句，那么效果就是增强对短句的强调。与其他元素一样，语法对于表达意义和传达感情至关重要。节奏指的是涉及一定韵律模式的声音的重复，这是一种在诗歌行中更或少定期重复的测量声音单元序列。押韵和格律都有助于在诗歌中创造音乐重复的感觉。神话和典故是指涉及历史或先前文学中某事物的叙述。像富有内涵的词语或符号一样，它们是暗示远比其所言更多的手段。当我们分析一首诗的结构时，我们关注它的组织模式。形式作为一个总体概念，是一件事物的设计，是所有部分的配置。在封闭形式写作中，诗人遵循某种模式。 在一页上，封闭形式的诗歌往往看起来规则对称，通常分为显示韵脚组的各个段落。最受欢迎的诗歌形式之一是十四行诗，通常是用抑扬格五音步写成的。其他固定形式，如六重奏和维拉内尔，都有各自的韵律模式。然而，许多诗人抵制了在规定的方式中使用押韵句子所固有的限制。作为替代方案
strictness of fixed forms, they developed looser, more open and free forms. Open or free form does not mean formlessness. Instead it suggests that poets capitalize on the freedom either to create their own forms or to use the traditional fixed forms in more flexible ways. Last but not the least, theme is the total meaning of a poem. It is an abstract idea that emerges from the treatment of its subject matter. We have to recognize that poems can have multiple themes since poems can be interpreted from more than one perspective and there is more than one way to state or explain a poem's meaning. Though we usually analyze poetry through elements, we have to bear in mind that a poem is not a confederation of separate elements, but a unified and organic whole. We study one element at a time just because the intellect best comprehends what it can separate. But all elements in a poem indeed fuse, all dancing together. 固定形式的严格性，他们发展出更宽松、更开放和自由的形式。 开放或自由形式并不意味着无形。 相反，它表明诗人可以利用自由来创造自己的形式，或者以更灵活的方式使用传统的固定形式。 最后但同样重要的是，主题是一首诗的总意义。 它是从对待主题的方式中产生的抽象概念。 我们必须认识到诗歌可以有多个主题，因为诗歌可以从多个角度解释，而且有多种方式陈述或解释诗歌的意义。 虽然我们通常通过元素来分析诗歌，但我们必须记住，一首诗不是一堆独立元素的联盟，而是一个统一的有机整体。 我们一次研究一个元素，只是因为智力最能理解它所能分离的东西。 但诗歌中的所有元素确实融合在一起，共同起舞。
Poetry is not like the daily news to be galloped: a poem differs from most prose in that it is to be read slowly, carefully, and attentively. To read poetry well we need to slow down enough to observe details of language, form, and sound. At first glance, a poem usually will make some sense and give some pleasure, but it may not yield everything at once. Good poems yield more if read twice, and best poems still go on yielding after ten, twenty, or a hundred readings. How to set about reading a poem? Here are some suggestions. 诗歌不像日常新闻那样匆匆忙忙：诗歌与大多数散文不同，它需要被慢慢、仔细、专注地阅读。要读好诗歌，我们需要放慢速度，观察语言、形式和声音的细节。乍一看，一首诗通常会有一些意义并带来一些愉悦，但它可能不会一次性展现出所有东西。好的诗歌如果读两遍会有更多收获，而最好的诗歌在十次、二十次或一百次阅读后仍会不断产生新的收获。如何开始阅读一首诗？以下是一些建议。
To begin with, read the poem once straight through open-mindedly. We enjoy whatever we find and do not dwell on troublesome words or passages. On the second reading, we read for the exact sense of all the words, and look up the difficult words in a dictionary. It is advisable to dwell on the difficult parts as long as we need to. It is also good to read the poem aloud or hear someone else read it, or at least sound the words in our mind. We may discover meanings that we didn't perceived in it before. Finally, we try to paraphrase the poem as a whole, and analyze the elements line by line. By doing this, we can see the central thought of the poem, its theme. 首先，以开放的心态直接阅读一遍这首诗。我们享受我们发现的一切，不要纠缠于困扰的词语或段落。在第二次阅读中，我们阅读所有词语的确切意义，并查阅词典中的困难词语。建议我们尽可能多地纠缠于困难部分。大声朗读诗歌或听别人朗读，或者至少在脑海中发出声音。我们可能会发现以前没有察觉到的意义。最后，我们尝试将整首诗改写成自己的话，并逐行分析其中的元素。通过这样做，我们可以看到诗歌的中心思想，它的主题。
References
Poems are personal expressions. When reading a poem, we usually assume that we hear the poet's voice. Yet it is not always the case. Poets usually create a persona, or fictitious "character," just as writers of fiction or drama do. Sometimes the character expresses ideas or feelings similar to the poet's own, but sometimes quite different. Indeed the speaker of the poem is different from the poet, just as a character in a play or story is different from the author. Though some poems seem autobiographical, it is still a good idea to talk of a speaker instead of the poet. In Theodore Roethke's "My Papa's Waltz," for example, we hear an adult speaker remembering his childhood play with his drunk father and addressing him. Though the poet uses the first pronoun and presents himself as if he were speaking directly to the reader in his own voice, we cannot equal the speaker with the creator because the poem presents only a partial portrait less than the full personality of the poet. Usually there is a pointed discrepancy between the speaker and what we know of the poet - when the male poets have females speak in the poems, for instance. Thomas Hardy in his poem "The Ruined Maid" has chosen to create two speakers, both females, each of whom has a distinctive voice, personality, and character. Instead of addressing the reader directly, Hardy allows the ladies to have a free conversation about their life experiences. 诗歌是个人表达。阅读诗歌时，我们通常假设听到了诗人的声音。然而，并非总是如此。诗人通常创造一个人物，或虚构的“角色”，就像小说或戏剧作家所做的那样。有时，这个角色表达的想法或感情与诗人自己的相似，但有时则完全不同。事实上，诗歌中的发言者与诗人不同，就像戏剧或故事中的角色与作者不同一样。尽管有些诗歌看起来是自传体的，但最好还是谈论发言者而不是诗人。例如，在西奥多·罗思克的《我爸爸的华尔兹》中，我们听到一个成年发言者回忆他与醉酒父亲的童年游戏并与他交谈。尽管诗人使用第一人称代词，并表现得好像他在用自己的声音直接对读者说话，但我们不能将发言者等同于创作者，因为诗歌只呈现了诗人的部分形象，而非完整的个性。通常，发言者与我们所了解的诗人之间存在明显的差异 - 例如，男性诗人在诗歌中让女性发言。 托马斯·哈代在他的诗歌《被毁坏的女仆》中选择创造了两位讲话者，都是女性，每个人都有独特的声音、个性和性格。哈代没有直接与读者交流，而是让这两位女士自由地谈论她们的生活经历。
In poetry unattractive or unreliable speakers are common, and poets intentionally invite readers to ponder what the speakers are talking about. For instance, the speaker in Robert Browning's "Soliloquy of the Spanish Cloister" is a monk, as the title implies, but he shows himself to be the most unspiritual. The poem starts with a growl, and this harsh sound turns out to be so warning that we are about to get to know a real beast, even though he is in the clothing of a religious man. In many cases we are expected to identify the speaker and tell his or her character before we can appreciate what else goes on. In other times the identity of the speaker remains obscure. What we can be sure of only is the sort of person the speaker is portrayed to be. The point therefore is to observe the characterization of the created speaker carefully. Intelligent or foolish, kind or wicked, the speaker is made to characterize himself; the details accumulate into a fairly full portrait. 在诗歌中，不吸引人或不可靠的说话者很常见，诗人有意邀请读者思考说话者在谈论什么。例如，罗伯特·勃朗宁的《西班牙修道院的独白》中的说话者是一位修士，正如标题所示，但他表现出自己最不灵性。诗歌以一声咆哮开始，这种刺耳的声音原来是如此警告，以至于我们即将了解一个真正的野兽，尽管他穿着宗教人士的衣服。在许多情况下，我们期望能够识别说话者并了解他或她的性格，然后才能欣赏其他内容。在其他时候，说话者的身份仍然模糊不清。我们唯一可以确定的是说话者被描绘成什么样的人。因此，观察创造的说话者的性格刻画是关键。无论是聪明还是愚蠢，善良还是邪恶，说话者都被塑造成自己的性格；细节积累成一个相当完整的画像。
The question about the speaker usually leads to questions about the tone. It is the voice that conveys the poem's tone. The range of tones we find in poems is as various and complex as the range of voices and attitudes we discern in everyday experience. The tone of a poem is the emotional coloring, or the emotional meaning, of the work and is an extremely important part of the full meaning. Though we can neither see a face nor hear a voice literally, we can infer the poet's attitude from other evidence. Strictly speaking, tone is whatever in the poem makes an attitude clear to us: the use of meter and rhyme (or the lack of them); the inclusion of certain kinds of details and exclusion of other kinds; particular choices of words and sentence pattern, of 通常关于演讲者的问题会引出关于语调的问题。是声音传达了诗歌的语调。我们在诗歌中发现的语调范围就像我们在日常经验中发现的声音和态度的范围一样多样和复杂。诗歌的语调是作品的情感色彩，或情感意义，是完整意义的一个极其重要的部分。虽然我们既不能看到面孔也不能听到声音，但我们可以从其他证据推断出诗人的态度。严格来说，语调是诗歌中使我们明确态度的任何东西：韵律和押韵的使用（或缺乏它们）；包含某些类型的细节和排除其他类型的细节；特定的词语选择和句式模式，以及
imagery and figurative language. Almost all elements help to indicate its tone, which is an end product in a poem.
Like tone of voice, tone in literature often conveys an attitude toward the person addressed. Like the manner of a person, the manner of a poem may be condescending or respectful, friendly or aggressive. Again like tone of voice, the tone of a poem tells us how the speaker feels about himself or herself: sad or glad, overconfident or humble. But usually the tone of a poem means the poet's attitude toward a theme or a subject: affectionate, solemn, calm, earnest, hostile, playful, or sarcastic. One important and persistent tone is the ironic tone of voice. Irony is a way of speaking that implies a discrepancy or opposition between what is said and what is meant. Wilfred Owen's "Dulce et Decorum Est" is a good example of the ironic tone. The details of death by gas in battle are antithetical to the false and hollow Latin title, which translates to "It is sweet and right to die for one's country." This quote from the Roman poet Horace has been repeated patriotically from generation to generation, from war to war. In the poem, however, the view that war is glorious and the death in battle is honorable is countered with images of slaughter. Owen writes about those horrors to prove the saying wrong, almost as if the speaker were writing to someone who had told him that it would be sweet and fitting for him to die for his country in WWI. We may never be able to know, of course, the poet's personal feelings. All we need know is how to feel when we read the poem. In order to rightly perceive the tone of a poem, we have to read the poem carefully, paying attention to whatever suggestions we find in it. 就像语调一样，文学作品中的语气通常传达了对被称呼人的态度。就像一个人的态度一样，一首诗的态度可能是居高临下的或尊重的，友好的或具有攻击性的。再次像语调一样，一首诗的语气告诉我们说话者对自己的感受：悲伤或快乐，自负或谦逊。但通常一首诗的语气意味着诗人对主题或对象的态度：充满深情、庄严、平静、认真、敌对、俏皮或讽刺。一种重要且持久的语气是讽刺的语气。讽刺是一种暗示言语中所说与所意之间的差异或对立的方式。威尔弗雷德·欧文的《甜蜜而荣耀》是讽刺语气的一个很好的例子。战斗中因毒气而死的细节与虚假而空洞的拉丁标题相矛盾，该标题翻译为“为国家而死是甜蜜而正确的”。这句来自罗马诗人贺拉斯的名言一代又一代地被爱国主义地传颂，从一场战争到另一场战争。然而，在这首诗中，战争光荣、战死光荣的观点被屠杀的形象所对抗。 欧文写下这些恐怖的事情，是为了证明这句话是错误的，几乎就像说话者在写信给一个告诉他在第一次世界大战中为国家而死是甜蜜和合适的人。当然，我们可能永远无法知道诗人的个人感受。我们只需要知道的是当我们阅读这首诗时该如何感受。为了正确地感知一首诗的语气，我们必须仔细阅读这首诗，注意其中任何我们发现的暗示。
References
Abrams, M. H. A Glossary of Literary Terms. 5th ed. New York: Holt, Rinehart, and Winston, 1988.Baldick, Chris. Oxford Concise Dictionary of Liferary Terms. Shanghai: Shanghai Foreign LanguageEducation Press, 2001.Beaty, Jerome, and J. Paul Hunter, eds. The Norton Introduction to Literature. 7th ed. New York: W. W.Norton & Company, 1998DiYanni, Robert, ed. Liferature: Reading Flction, Poetry, and Drama. 5th ed. Boston: McGraw Hill, 2002Kennedy, X. J, and Dana Gioia. An Introduction to Poetry. 10th ed. New York: Longman, 2002.Perrine, Laurence, ed. Sound and Sense: An Introduction to Poetry. 7 th ed. San Diego: Harcourt BraceJovanovich, Publishers, 1987.
White shall not neutralize the black, nor good compensate bad in man, absolve him so: life's business being just the terrible choice.
Robert Browning
Robert Browning was an English poet and playwright whose mastery of dramatic verse, especially dramatic monologues, made him one of the foremost Victorian poets. Sometimes overshadowed by his wife Elizabeth Barrett Browning's success, Browning struggled to find his voice in the Victorian literary world for many years. He produced collections of poetry and dramatic works for the stage, but it was not until The Ring and the Book (1868-1869) that he finally gained financial and literary success. Perhaps his most frequently cited dramatic monologue is "My Last Duchess" (1842), which explores the mad mind of a murderer despite his eloquence in expressing himself. Browning's profound contributions to the development of poetry through his psychological portraits and use of diction and rhythm, which seemed modern and experimental to Victorian readers, have long inspired poets into the twentieth century including Ezra Pound, T. S. Eliot, and Robert Frost. 罗伯特·勃朗宁（Robert Browning）是一位英国诗人和剧作家，他精通戏剧诗歌，尤其是戏剧独白，使他成为维多利亚时代最重要的诗人之一。有时会被他的妻子伊丽莎白·巴雷特·勃朗宁（Elizabeth Barrett Browning）的成功所掩盖，勃朗宁在维多利亚文学界多年来一直在寻找自己的声音。他创作了诗集和戏剧作品，但直到《戒指与书》（1868-1869）才最终取得了财务和文学上的成功。也许他最常被引用的戏剧独白是《我最后的公爵夫人》（1842），探讨了一个谋杀犯疯狂的思想，尽管他在表达自己时很雄辩。勃朗宁通过他的心理画像、用词和节奏的运用对诗歌发展做出了深刻贡献，这些对维多利亚读者来说似乎是现代和实验性的，长期以来一直激励着诗人，包括埃兹拉·庞德、T·S·艾略特和罗伯特·弗罗斯特，一直延续到二十世纪。
Soliloquy of the Spanish Cloister
Gr-r-r - there go, my heart's abhorrence!
Water your damned flower-pots, do!
If hate killed men, Brother Lawrence,
God's blood, would not mine kill you!
What? your myrtle-bush wants trimming?
Oh, that rose has prior claims -
Needs its leaden vase filled brimming?
Hell dry you up with its flames!
At the meal we sit together;
Salve tibi! I must hear
Wise talk of the kind of weather,
Sort of season, time of year:
Not a plenteous cork-crop.' scarcely
Dare we hope oak-galls, I doubt;
What's the Latin name for "parsley?"
What's the Greek name for Swine's Snout?
Whew! We'll have our platter burnished,
Laid with care on our own shelf!
With a fire-new spoon we're furnished,
And a goblet for ourself,
Rinsed like something sacrificial
Ere 'tis fit to touch our chaps
Marked with . for our initial!
(He-he! There hiš lily snaps! )
Saint, forsooth! While brown Dolores
Squats outside the Convent bank
With Sanchicha, telling stories,
Steeping tresses in the tank,
Blue-black, lustrous, thick like horsehairs,
Can't I see his dead eye glow,
Bright as 'twere a Barbary corsair's?
(That is, if he'd let it show!)
When he finishes refection,
Knife and fork he never lays
Cross-wise, to my recollection,
As do I, in Jesu's praise.
I the Trinity illustrate,
1 cloister: 修道院。
2 abhorrence: 痛恨，憎恶。
3 Brother Lawrence: 与说话者同在一个修道院的另一个修士。
4 myrtle-bush: 香桃木丛。
5 brimming: 满溢的。
6 Salve tibi: 拉丁文, 相当于英语 "Hail to thee", 欢迎你。诗中的斜体一般都是Brother Lawrence 的话。
40 in Belial's gripe: in the clutches of Satan, 在恶魔的掌握中。Belial在这并不特指 Satan,而是如在旧约中使用的, 一个邪恶的名字。
41 greengages: 青梅。
42 Pledge: 抵押。
43 indenture: 契约。
44 retrieve: 重新得到，找回
45 Blasted: 被诅咒的，枯萎的。
46 rose-acacia: 毛洋槐。
, Hine: 一句咒语或诅咒的开头。
48 Vespers: 天主教的晚梼。
49 Plena ... Virgo: Hail, Virgin, full of grace!
50 swine: 猪, 卑贱的人。
Browning, Robert. "Soliloquy of the Spanish Cloister." The Norton Introduction to Literature. Ed. Beaty, Jerome, and J. Paul Hunter. 7th eds. New York: W. W. Norton & Company, 1998. 852 - 53 .
Discussion
Try to identify and characterize the speaker.
Clearly propinquity has led to the speaker's hatred of Brother Lawrence. What other causes are also suggested in the poem?
The words "Hy, Zy, Hine" have caused much controversy. They are nonsense, but may be an attempt to conjure demons. How does the persona as a monk intend to employ the magical incantation? Does it align the speaker with Devil worship? “Hy, Zy, Hine”这几个词引起了很多争议。它们毫无意义，但可能是试图召唤恶魔的尝试。作为一名僧侣，人物打算如何运用这个魔法咒语？这是否将说话者与魔鬼崇拜联系起来？
How come is the reference to "Vespers" (evening prayers) significant?
Browning is noted as a writer of Dramatic Monologues, in which a single "actor" or persona speaks to an implied auditor and is, as it were, overheard by the reader who has no authorial comment to shape his or her interpretation of the characters and their circumstances. This poem, however, is entitled a "Soliloquy." What features render the poem a soliloquy rather than a dramatic monologue? In particular, who is the poem's "implied auditor"? 勃朗宁被誉为戏剧独白的作家，其中一个单一的“演员”或人物与一个暗示的听众交谈，并且被读者偷听，读者没有作者的评论来塑造他或她对人物及其情况的解释。然而，这首诗被称为“独白”。是什么特征使这首诗成为独白而不是戏剧独白？特别是，这首诗的“暗示听众”是谁？
What is the tone of the poem?
A Brief Analysis of "Soliloguy of the Spanish Cloister?
Browning's fame today rests mainly on his dramatic monologues, in which the speaker inadvertently "gives away" about himself in the process of rationalizing past actions, or "special-pleading" his case to a silent auditor. Rather than thinking out loud, the character composes a self-defense which the addressee, as "juror," is challenged to see through. 今天，勃朗宁的声誉主要建立在他的戏剧独白上，讲述者在理性化过去行为的过程中无意中“泄露”了关于自己的信息，或者向无声的听众“特别辩护”自己的情况。角色并非在自言自语，而是构思一种自我辩护，让收信人作为“陪审员”来看穿。
The epithet "dramatic monologue" did not come into very common use until the twentieth century and never seems to have been used by Browning himself. In the late 1840s Browning criticism displayed an awareness that not all of Browning's poetry could be discussed effectively in the traditional poetic criticism, and an attempt began to define and to classify the dramatic monologue. Not surprisingly, these definitions have emphasized its relationship to traditional drama. Critics employed terms such as "soliloquy," "a dialogue of which we hear only the chief speaker's part," "monodrama," and "a drama of the interior" to suggest that the Browning monologue was not to be considered as a poem at all, but a special type of play. But such descriptions accomplished very little since Browning's works were clearly not ordinary dramas and they demanded a type of interpretation different from the stage play. Only in the twentieth century the classifications of the poems have been accompanied by elaborate and systematic attempts to define the form. “戏剧独白”这个称谓直到 20 世纪才变得非常普遍，似乎从未被布朗宁本人使用过。在 19 世纪 40 年代末，布朗宁的批评表明，不是所有布朗宁的诗歌都能在传统的诗歌批评中有效讨论，于是开始尝试定义和分类戏剧独白。毫不奇怪，这些定义强调了它与传统戏剧的关系。评论家们使用诸如“独白”，“我们只听到主要发言者的一部分对话”，“独角戏”和“内心戏剧”等术语，暗示布朗宁的独白不应被视为诗歌，而是一种特殊类型的戏剧。但这些描述几乎没有起到什么作用，因为布朗宁的作品显然不是普通的戏剧，它们需要一种与舞台剧不同的解释方式。直到 20 世纪，对这些诗歌的分类才伴随着复杂而系统的尝试来定义这种形式。
Strictly speaking, "monologue" adheres to one set of meanings for the Greek roots: monos, that is, "single" rather than "alone," and logos, in this case, "discourse." Many definitions are possible for the term "dramatic." Robert Browning suggested what he meant by the word: "These of mine are called 'Dramatic' because the story is told by some actor in it, not by the poet himself." Hence a rather simple definition for "dramatic monologue" is "a single discourse by one whose presence is indicated by the poet but who is not the poet himself." As a poem written as a speech made by a character at some decisive moment, dramatic monologue is often addressed by the speaker to some other character who remains silent. 严格来说，“独白”坚持希腊词根的一组含义：monos，即“单一”而不是“独自”，以及 logos，在这种情况下是“言论”。对于“戏剧性”这个术语，有许多可能的定义。罗伯特·勃朗宁（Robert Browning）提出了他对这个词的理解：“我的这些作品被称为‘戏剧性’，因为故事是由其中的某个角色讲述的，而不是由诗人自己讲述的。”因此，“戏剧性独白”的一个相当简单的定义是“一个由诗人指示但并非诗人本人的人物所做的单一言论”。作为一首诗，写成某个决定性时刻某个角色所做的讲话，戏剧性独白通常由说话者向某个保持沉默的其他角色发表。
For writing a dramatic monologue, the poet may exploit a number of dramatic, prosodic and verbal elements which all have the chief effect of realizing character. A scene or situation may be selected and suggested in the title or the verse with the utmost economy. The emphasis is not upon scene itself, but its usefulness in helping to establish and to reveal a personality. A second character may be suggested, but its presence is only to be indicated through the words of the speaker. Its function is also to help to reveal the speaker's character and deprived of any artistic importance of its own. Thought and feeling may be used with the highest degree of relevance to the speaker to reveal the springs of his nature. Diction, imagery, rhythm, syntax, all of which become characteristic of the speaker portrayed. 对于写戏剧独白，诗人可以利用许多戏剧性、韵律和语言元素，这些元素都主要起到实现人物性格的作用。可以选择一个场景或情境，并在标题或诗句中以最大的经济性暗示。重点不在于场景本身，而在于它在帮助建立和揭示人物性格方面的用处。可以暗示第二个人物，但其存在仅通过说话者的话语来表明。它的功能也是帮助揭示说话者的性格，并没有自己的艺术重要性。思想和感情可以被用来与说话者的性格特点高度相关，以揭示他内在的动机。措辞、意象、节奏、句法，所有这些都成为所描绘说话者的特征。
"Soliloquy of the Spanish Cloister" is a highly entertaining poem portraying the grumblings of a jealous monk. As the speaker is talking to himself instead of a silent auditor, the poem is not technically a dramatic monologue as so many of Browning's poems are; rather, it is, as its title suggests, a "soliloquy," even though it is an independent poem, and not a speech from a play. Nevertheless it shares many of the features of the dramatic monologues: an interest in sketching out a character, an attention to aestheticizing detail, and an implied commentary on morality. 《西班牙修道院的独白》是一首极具娱乐性的诗歌，描绘了一个嫉妒的修道士的抱怨。由于讲话者是在自言自语而不是对一个沉默的听众说话，这首诗在技术上并不像布朗宁的许多诗歌那样是一首戏剧独白；相反，正如其标题所暗示的那样，它是一首“独白”，尽管它是一首独立的诗歌，而不是来自戏剧的一段台词。然而，它仍然具有许多戏剧独白的特征：对塑造人物的兴趣，对审美细节的关注，以及对道德的暗示性评论。
Collected in Dramatic Lyrics, the "Soliloquy" was published in 1842. It probably owes something to Browning's travels in Italy in 1838, when he had ample opportunity to observe monasteries. Unlike many of Browning's monologues, this poem has no real historical specificity, and the Spanish cloister is simply an anonymous monastery. The portrait of the speaker is obsessively intimate and unflattering. He presents himself as the model of righteousness, and condemns a fellow monk, Brother Lawrence, for his immorality. In his desperate hatred, he designs several ways to trap the soul of the fellow monk, only revealing the faults he assigns to Lawrence are in fact his own. 收录在戏剧歌词集中，《独白》于 1842 年出版。这首诗可能受到勃朗宁 1838 年在意大利旅行的影响，当时他有充分的机会观察修道院。与勃朗宁许多独白不同，这首诗没有真正的历史特定性，西班牙修道院只是一个匿名的修道院。说话者的肖像异常亲密且不讨喜。他把自己描绘成正义的典范，并谴责一位同僚修士劳伦斯的道德败坏。在绝望的仇恨中，他设计了几种方法来陷害同僚修士的灵魂，只揭示了他所归咎于劳伦斯的过失实际上是他自己的。
The "Soliloquy" is made up of nine eight-line stanzas. In the first stanza we can tell Brother Lawrence's love of gardening, of nurturing things, as well as providing little luxuries for the monastery: "Gr-r-r - there go, my heart's abhorrence! / Water your damned flowerpots, do! / If hate killed men, Brother Lawrence, / God's blood, would not mine kill you!" The speaker takes the oath with murder in his heart. His observations of the monk are poisonous, showing sarcasm and contempt for the care with which Brother Lawrence works his plants and for his desire to add some beauty to the monastery. “独白”由九个八行诗节组成。在第一节中，我们可以看出劳伦斯修士对园艺的热爱，对培育事物的热情，以及为修道院提供一些小奢侈品：“咯咯——我的心中的憎恶！/给你该死的花盆浇水吧！/如果仇恨能杀人，劳伦斯修士，/上帝的血，不会是我的杀你！”说话者心怀杀意发誓。他对修士的观察是有毒的，显示出对劳伦斯修士精心照料植物和为修道院增添一些美丽的愿望的讽刺和蔑视。
In the second stanza, the speaker is offended by Brother Lawrence's simple, respectful greeting at their meals (Salve tibi!). To him the talk of the weather is neither interesting nor "wise." The speaker does not realize that a person with Brother Lawrence's interests would naturally be interested in the weather all of the time. He is pompously offended by the idea that the monk 在第二段中，演讲者对劳伦斯修士在用餐时简单而尊重的问候（Salve tibi！）感到冒犯。对他来说，天气的谈话既不有趣也不“明智”。演讲者没有意识到，一个像劳伦斯修士这样的人自然会一直对天气感兴趣。他对修士可能对天气感兴趣这个想法感到自大和冒犯。
should be using religious Latin to name his plants.
In stanza three, the speaker is irritated because Brother Lawrence possesses eating utensils that are nice, monogramed, and clean, suggesting that the monk is too worldly and proud. But we can tell nice things do not necessarily make Brother Lawrence a "bad" monk. In the last line when one of Brother Lawrence's flowers breaks: "(He-he! There his lily snaps!)" The speaker demonstrates his near demonic delight in the slightest misfortune suffered by the monk. If the speaker were much better than Brother Lawrence, he would not wish him so much harm. 在第三节中，讲话者感到恼火，因为劳伦斯修士拥有漂亮、带有字母刻印和干净的餐具，这表明这位修士太世俗和骄傲。但我们可以看出，漂亮的东西并不一定会让劳伦斯修士成为一个“坏”修士。在最后一行，当劳伦斯修士的一朵花被打断时：“（嘿嘿！那里他的百合花折断了！）”讲话者展示了他对修士遭受的最轻微不幸的近乎恶魔般的喜悦。如果讲话者比劳伦斯修士好得多，他就不会希望他受到如此多的伤害。
The fourth stanza is interesting because the speaker attempts to suggest that Brother Lawrence is also a lecher, a voyeur, and so on. However, it is the speaker who not only knows the names of the Iadies, but also the details of their appearances. How could he know so exactly the ways a lecher would look and feel? It is more reasonable to assume that the speaker himself has spent a lot of time observing these women, letting his imagination pursue them, developing the dead-eyed glow, and careful not to "let it show." 第四段很有趣，因为演讲者试图暗示劳伦斯修士也是一个好色之徒、窥淫者等等。然而，演讲者不仅知道这些女士的名字，还知道她们的外貌细节。他怎么可能如此准确地知道好色之徒的外表和感觉？更合理的假设是演讲者自己花了很多时间观察这些女人，让自己的想象追随她们，培养出那种死气沉沉的眼神，小心翼翼地不让“它”显露出来。
In the next stanza, the speaker continues with his nit-picking and objects to Brother Lawrence's lack of forming the cross with his eating utensils as he himself does. What is worse, Brother Lawrence drinks his juice in one gulp instead of sipping it, and becomes the same as a heretic to the speaker. 在下一节中，演讲者继续挑剔，反对劳伦斯兄弟不像他自己那样用餐具摆出十字架。更糟糕的是，劳伦斯兄弟一口气喝完果汁，而不是小口喝，这让演讲者觉得他和异端者一样。
In stanza six, the speaker criticizes Brother Lawrence harshly for his showing favoritism to the Abbot. He ignores the fact that first, Brother Lawrence has cared for and grew the melon, and second, he makes sure each brother gets a slice. The monk's generosity is completely lost on the selfish speaker who would probably have taken good care of himself. He tries his best to spoil the pleasure for the monks and even prevents the double from happening by keeping "them close-nipped on the sly!" 在第六节中，演讲者严厉批评劳伦斯修士对阿博特表现出偏袒。他忽视了第一，劳伦斯修士曾照料并种植了西瓜，第二，他确保每个修士都能得到一片。修士的慷慨完全被这位自私的演讲者忽略了，后者可能只会照顾好自己。他尽力破坏修士们的快乐，甚至通过暗中“阻止他们双份”来阻止这种快乐的发生！
The seventh stanza finds the speaker planning to bring about the damnation of Brother Lawrence. In Galatians 5:19-21 St. Paul mentions the seventeen devices of the flesh for entrapping the soul. The poet uses "twenty-nine" largely to indicate a good number. The speaker just desires to trap Brother Lawrence into one of the twenty-nine "distinct damnations" and assault his dogma in the hope of catching him in a heresy. Such design has Renaissance elements. It was then that revenge became a fine art, and men were no longer content to kill merely the bodies of their enemies, but insisted upon the destruction of the soul as well. The speaker's imagined assault is to kill his enemy's body and soul once and for all. He deliberately chooses a moment when Brother Lawrence is "just a-dying" for he hopes to cause the latter to commit a damnable sin when there is no time left for him to ask and be given forgiveness. Tricking him at the moment of death means sending him to hell. Interestingly, the speaker's fantasies about trapping Lawrence into damnation suggest that Lawrence is in fact a good man who will receive salvation. 第七节发现说话者计划导致劳伦斯兄弟的诅咒。在加拉太书 5:19-21 中，圣保罗提到了肉体陷阱灵魂的十七种设备。诗人主要使用“二十九”来表示一个好数字。说话者只是希望将劳伦斯兄弟陷入二十九个“明显的诅咒”之一，并攻击他的教条，希望将他陷入异端。这种设计具有文艺复兴元素。那时，复仇成为一种精致的艺术，人们不再满足于仅仅杀死敌人的身体，而是坚持摧毁灵魂。说话者想象的攻击是一劳永逸地杀死他的敌人的身体和灵魂。他故意选择劳伦斯兄弟“只是快死了”的时刻，因为他希望在后者没有时间请求并得到宽恕时，导致他犯下可恶的罪。在临终时欺骗他意味着将他送往地狱。有趣的是，说话者关于陷害劳伦斯兄弟入地狱的幻想表明，劳伦斯实际上是一个善良的人，将得到拯救。
In stanza eight, the speaker's attack is upon Lawrence's morals. He hopes to trap the monk through exposing him to the lewdness of his French novel. Nevertheless it is he, not Brother Lawrence, who has clearly an interest in smut. Notice he says in "my scrofulous French novel/On gray paper with blunt type!/ Simply glance at it, you grovel/ Hand and foot in Belial's gripe." 在第八节中，演讲者的攻击针对劳伦斯的道德。他希望通过让这位修士接触他的法国小说的淫秽来陷害他。然而，明显对淫秽感兴趣的是他自己，而不是劳伦斯修士。请注意他在诗中说：“我的淫秽的法国小说/在灰纸上用钝字印刷！只需瞥一眼，你就会在贝利亚的掌控下匍匐不前。”
And in the last stanza, the speaker even goes to the point of being willing to risk his own soul by making a deal with the devil. He claims he could make such a bargain that Satan would believe he were getting the speaker's soul when in fact a "flaw," or a loophole in the "indenture" would let 在最后一节中，演讲者甚至愿意冒着自己的灵魂的风险与魔鬼达成交易。 他声称他可以达成这样的交易，以至于撒旦会相信他得到了演讲者的灵魂，而实际上“瑕疵”或“契约”中的漏洞会让。
him escape. The paradox here is that making any sort of bargain with the devil to the disadvantage of another, whether one tricks Satan in the end or not, must necessarily involve the loss of one's soul: the very act of making such a treacherous bargain constitutes a mortal sin. By the end of the poem the speaker utters vicious growling once again: "Hy, Zy, Hine ...," which may be the beginning of an imprecation or incantation. In condemning others he condemns himself, and joins the devil worship. 他逃脱了。这里的悖论在于与魔鬼做任何形式的交易，以损害他人为代价，无论最终是否欺骗了撒旦，都必然涉及失去自己的灵魂：做出如此背叛性的交易行为本身就构成了致命的罪恶。在诗歌结束时，说话者再次发出恶毒的咆哮：“Hy, Zy, Hine ...”，这可能是一种诅咒或咒语的开始。在谴责他人的同时，他也在谴责自己，并加入了魔鬼崇拜。
Voice in "Soliloquy of the Spanish Cloister?
The "Soliloquy" is rather amusing and straightforward. The speaker, a monk himself, is possessed of a savage, obsessive hatred of Brother Lawrence, another monk at the monastery. The suppressed rage is demonstrated in the "Gr-r-r" of the first and last lines of the poem. This is not the utterance of a human being, but animal hostility, and this harsh sound frames the poem. In fact, the "Soliloquy" is mainly a fit of rage brought on by this deeply rooted hatred. “独白”相当有趣且直截了当。说话者是一位僧侣，他对修道院里另一位僧侣劳伦斯兄弟充满了野蛮、执着的仇恨。在诗歌的第一行和最后一行中，被压抑的愤怒表现为“咆哮”的声音。这不是人类的言语，而是动物的敌意，这种刺耳的声音构成了整首诗。事实上，“独白”主要是由这种根深蒂固的仇恨引发的愤怒发作。
The speaker first reveals his bitter feelings in the brief opening, then he presents a list of grievances against the hated Brother Lawrence. His grievances are petty, ranging from indignation at the way Lawrence speaks of his flowers to the brother's table conversation to his suspected poor table manners. The speaker seems to believe that ritual and formality, rather than generosity, humility, kindness, are the measure of a godly man. Nevertheless we cap speculate that part of his hatred may originate from an unconscious jealousy of Brother Lawrence's virtues. It is also possible that his hatred has its roots partially in the ability of the monk to enjoy the simple things of life. Being a religious man, the speaker explores several ways to damnation to which he would expose Lawrence. He has become so obsessed with his hatred that does not even recognize his attitude may result in the loss of his own salvation. The list of grievances, an important clue to the speaker's mental state, indicates an enduring rage and not a passing annoyance. He hates Brother Lawrence to the bone for reasons that seem frivolous to an outside observer. 演讲者首先在简短的开场中透露了他的苦涩情感，然后列举了对被憎恨的劳伦斯修士的不满清单。他的不满是琐碎的，从对劳伦斯谈论他的花朵的愤怒到兄弟的餐桌谈话再到他怀疑的餐桌礼仪。演讲者似乎认为，仪式和礼节，而不是慷慨、谦卑、善良，才是一个敬神的人的衡量标准。然而，我们可以推测，他的仇恨部分可能源自对劳伦斯修士美德的无意嫉妒。他对修士能够享受生活中简单事物的能力也许也是仇恨的根源之一。作为一个虔诚的人，演讲者探讨了几种导致他会让劳伦斯陷入地狱的方式。他对仇恨如此痴迷，以至于甚至没有意识到他的态度可能导致他自己的救赎丧失。不满清单是揭示演讲者心理状态的重要线索，表明他的愤怒是持久的，而不是一时的烦恼。他对劳伦斯修士的仇恨深入骨髓，原因对外界观察者来说似乎是琐碎的。
Considering that the narrator's rage is purely based on a carnal emotion, we can easily think of him as an animal. But bestiality is only a part of what makes his hatred so disturbing. The speaker is a religious man theologically learned. In his monastic way of life he has read enough to know where the damnations are in Galatians and he also knows French and enough Latin. This learning seems out of place alongside of a bestial nature. Nevertheless, his education has not diminished his hatred; rather it provides a more elevated means of expressing it. "Knife and fork he never lays/Cross-wise, to my recollection,/As do I, in Jesu's praise." In order to emphasize his own superiority over Lawrence, the speaker does not use the more common "As I do," but uses the anastrophe "As do I." Equipped with knowledge, he also uses delicate comparisons. "- Can't I see his dead eye glow,/Bright as 'twere a Barbary corsair's?" This simile focuses on Lawrence's supposed lechery, and expresses the speaker's feelings louder than any mere statement could. He also portrays Lawrence as a pagan who is worse than an Arian. The hating man, in his dispensation of justice, would like to send Lawrence "Off to hell, a Manichee." Overlooking the admonishment from Christ not to judge others, he forgets his merciless and unfair judgment 考虑到叙述者的愤怒纯粹基于肉欲情感，我们可以很容易地将他视为动物。但兽性只是使他的仇恨如此令人不安的一部分。说话者是一个在神学上有学问的虔诚人。在他的修道生活中，他读过足够多的书，知道加拉太书中的诅咒在哪里，他还懂法语和足够的拉丁语。这种学识似乎与兽性格格不入。然而，他的教育并没有减少他的仇恨；相反，它提供了一种更高尚的表达方式。“他从不把刀叉交叉放置/在我记忆中，/像我一样，赞美耶稣。”为了强调自己对劳伦斯的优越性，说话者没有使用更常见的“像我一样”，而是使用了倒装句“像我一样”。他具备知识，也使用微妙的比较。“- 我难道看不见他那死眼睛发光，/亮如巴巴利亚海盗的？”这个比喻集中在劳伦斯所谓的好色上，并比任何简单的陈述更响亮地表达了说话者的感受。他还将劳伦斯描绘成一个比阿里乌斯派更糟糕的异教徒。 憎恨的人，在他的正义分配中，想要把劳伦斯送到地狱，一个摩尼教徒。忽视基督的告诫不要评判他人，他忘记了自己无情和不公正的判断
will bring about the precise one when the time comes. In the last stanza the speaker mutilates praise of the Virgin Mary. Instead of the proper "Ave, Maria, gratia plena," the speaker delivers a twisted form of the phrase: "Plena gratiâ/Ave, Virgo!" Hatred has twisted the speaker. He is not holy now, if he ever was. Although we see these things, the speaker is oblivious to them or any injustice on his part. He fits the old idea of seeing the mote in his brother's eye and not seeing the beam in his own. 到时候会带来精确的一个。在最后一节中，发言者对圣母玛利亚进行了严重的批评。发言者没有说出正确的“阿维，玛利亚，恩宠满溢”，而是说出了一个扭曲的短语：“恩宠满溢/阿维，圣母！”仇恨扭曲了发言者。他现在不再是神圣的，如果他曾经是的话。尽管我们看到了这些事情，发言者却对此视而不见，也不认为自己有任何不公正之处。他符合旧有的看到兄弟眼中的刺而看不见自己眼中的梁木的观念。
In the "Soliloquy" the speaker is made to characterize himself. The details accumulate into a full portrait and here we do not have any "objective" comment made by the poet or another speaker to give us perspective. Except for the moments when the speaker parodies Brother Lawrence, we have only heard the speaker's own words and thoughts. The whole poem is about him and his attitudes, and the point is to characterize the speaker and develop in us a dislike of him and what he stands for - total hypocrisy. 在“独白”中，讲话者被要求对自己进行表征。细节积累成一个完整的肖像，在这里我们没有任何由诗人或另一个讲话者做出的“客观”评论来给我们透视。除了讲话者模仿劳伦斯兄弟的时刻，我们只听到了讲话者自己的话语和思想。整首诗都是关于他和他的态度，重点是对讲话者进行表征，并在我们心中培养对他及其所代表的东西的厌恶 - 完全的虚伪。
While the speaker actually possesses the negative qualities he tries to ascribe to Brother Lawrence, his words have demonstrated that the fellow is a good monk. The internal nature of the hating man is the complete opposite of his external appearance. It is in this discrepancy that the irony of the work lies. The speaker, despite his disapproval of Lawrence's frivolity, is lower than the latter in spirituality. His hatred prevents him from seeing that the very sins with which he hopes to damn Lawrence come from within his own experience. It is the speaker who knows where the damnations are in Galatians. It is also the speaker who spies on the girls, owns the "scrofulous French novel," and prepare to sell his soul. 尽管说话者实际上具有他试图归咎于劳伦斯修士的负面品质，但他的话表明这个人是一个好修道士。憎恨之人的内在本质与他外表完全相反。正是在这种矛盾中，这部作品的讽刺之处所在。尽管说话者不赞同劳伦斯的轻浮，但在灵性上却不如后者。他的憎恨使他看不到，他希望谴责劳伦斯的那些罪恶实际上源自他自己的经历。知道加拉太书中的谴责之处的是说话者。也是说话者偷窥女孩，拥有“疯狂的法国小说”，并准备出卖自己的灵魂。
The punctuation of the poem also helps to create the ironic tone. Exclamation marks are common such as in the speaker's many merciless explosions. "Hell dry you up with its flames!" Such punctuation also occurs where the speaker ridicules his rival. "And a goblet for ourself/... Marked with L. for our initial!/ (He-he! There his lily snaps!)" Like the list, these exclamations occur regularly throughout the piece, indicating the speaker's bitter emotion never slackens. Another telling form of punctuation is the question mark which occurs throughout the poem. Interestingly, they are not used to ask a question but to heighten sarcasm. "What? Your myrtle-bush wants trimming?/Oh that rose has prior claims/Needs its leaden vase filled brimming?" The speaker couldn't care less about Lawrence's flowers. His real aim is to ridicule and to express his disgust. The two marks of punctuation are sometimes used together. "Oh, those melons? If he's able/We're to have a feast! So nice!" Here, both the exclamation point and the question mark show the same sarcasm, which emphasizes the deep hatred felt by the speaker. Sarcasm is expressed in other ways as well. For example, the speaker uses the first-person plural when speaking of Lawrence: 诗歌的标点符号也有助于营造讽刺的语气。感叹号很常见，比如在说话者的无情爆发中。“地狱用火焰把你烤干！”这样的标点符号也出现在说话者嘲笑对手的地方。“为我们自己倒一杯酒/...上面标着 L.代表我们的名字的首字母！/（嘿嘿！那里他的百合花折断了！）”像这样的列表，这些感叹号在整篇作品中经常出现，表明说话者的痛苦情绪从未减轻。另一种具有说明性的标点符号是问号，它贯穿整首诗。有趣的是，它们并不用来提问，而是用来加重讽刺。“什么？你的欧桃灌木需要修剪吗？/哦，那朵玫瑰有先例/需要把它的铅质花瓶灌满？”说话者对劳伦斯的花毫不在乎。他真正的目的是嘲笑和表达厌恶。有时这两种标点符号会一起使用。“哦，那些甜瓜？如果他能行/我们将有一场盛宴！多好啊！”在这里，感叹号和问号都显示出同样的讽刺，突显了说话者所感受到的深刻仇恨。讽刺还可以通过其他方式表达。例如，当说到劳伦斯时，演讲者使用第一人称复数
Whew! We'll have our platter burnished, Laid with care on our own shelf!
With a fire-new spoon we're furnished, And a goblet for ourself.
Using "we" to refer to his enemy, the speaker expresses more of the sins that he believes the brother would commit without actually knowing Lawrence's mind. However, the "we" form makes
it seem as if he had such knowledge. The speaker uses this supposed knowledge against Brother Lawrence, providing more fodder for his lists of hatred.
Through the tone of voice Browning uses, we can sense the author's contemptuous mocking of the rage and hypocrisy. On the surface, the poem may seem to be a light piece about the utterings of a grumpy but disrespectable monk. No one could admire this speaker's moral dissolution, yet he represents a merely thinly veiled version of people whose public characters are very much admired - the moralists and preachers of Browning's day. The "Soliloquy" repeatedly approaches a tone similar to that used by the more strident of Victorian essayists and religious figures. Portraying the monk's interior commentary, Browning exposes such people's hypocrisy and essential immorality, and indicates that behind righteousness often lurks selfrighteousness and corruption. 透过勃朗宁使用的语调，我们可以感受到作者对愤怒和虚伪的蔑视嘲讽。在表面上，这首诗似乎是关于一个脾气暴躁但不值得尊敬的僧侣的轻松作品。没有人会钦佩这位发言人的道德沦丧，然而他代表了那些公众人物非常受人尊敬的人的一个仅仅薄薄遮掩的版本 - 勃朗宁时代的道德家和传道士。《独白》一再接近维多利亚时代更为强硬的散文家和宗教人物所使用的语调。勃朗宁描绘了僧侣的内心评论，揭露了这些人的虚伪和本质上的不道德，并指出在正义背后常常隐藏着自以为是和腐败。
Reterences
Bloom, Harold, and Adrienne Munich, eds. Robert Browning: A Collection of Critical Essays. EnglewoodCliffs, N.J.: Prentice-Hall, 1979.Dessommes, Nancy B. "Browning's Sollioquy of the Spanish Cloister." Expllicator 52 (1993): 34-36.DeVane, William C. A Browning Handbook. New York: Appleton-Century-Crofts, 1955.Gransden, K. W. "The Uses of Personae." Browning's Mind and Art. Ed. Clarence Tracy. New York: Barnes &Noble, 1970. 51-74.Honan, Park. Browning's Characters. A Study in Poetic Technique. Hamden, Conn.: Archon Books, 1969.Patterson, Thomas. "Rage in 'Solliloquy of the Spanish Cloister' and 'Locksley Hall.' 2 Mar. 2008 <http://www.victorianweb.org/authors/rb/patterson.html>."Robert Browning." 24 Feb. 2008 http://www.online-literature.com/robert-browning/."Robert Browning's Poetry." 25 Feb. 2008 http://www.sparknotes.com/poetry/browning/section2.rhtml
2.3 Diction
While reading fiction or drama, we usually keep our attention to plots or characters. Reading a poem, however, we are likely to pause over words because in the short and concise creation everything comes down to the individual words and a lot depends on every single word. At their most successful, poems include the "best words." The desired words vary from one context to another and are not necessarily the most beautiful or most noble-sounding words, but the most meaningful ones that do the most work to convey feelings and indirectly imply ideas rather than state them outright. Such careful choice of words is called diction. Compared with the practical use of language that emphasizes precision or exactness, a fuller and more extensive use of words that involves ambiguity is more appreciated in poems. 在阅读小说或戏剧时，我们通常会把注意力集中在情节或角色上。然而，在阅读诗歌时，我们往往会停下来思考每个词，因为在短小精悍的创作中，一切都归结于个别的词语，很多东西取决于每一个词。在最成功的情况下，诗歌包含了“最好的词语”。所需的词语因情境而异，并不一定是最美丽或最高贵的词语，而是那些最有意义的词语，它们最能传达感情并间接暗示思想，而不是直接陈述。这种精心选择词语的技巧被称为用词。与强调精确性或准确性的语言实际应用相比，诗歌中更受欢迎的是更丰富、更广泛地使用词语，其中包含模糊性。
In reading a poem, some readers skip over its words rapidly trying to leap to the poem's general theme at once. In so doing they often ignore the multiple meanings of words. In fact, we readers have to remember that an average word has three component parts: sound, denotation, and connotation. The elementary part of a word is its denotation or denotations, i.e. the dictionary meaning or meanings of the word. Usually the denotations are clear and without any unambiguous meaning, but the English language has a number of common words with many denotations, and we have to think twice to see what they mean in a specific context. The noun spring, for example, by denotation means the first season of the year, the act of jumping up, the water coming up from the ground, or the coiled elastic wire. Further, the word can be used as a verb. More importantly, spring carries additional connotations: its overtones of meaning. Beyond its dictionary meaning, spring may suggest energy, hope, and vitality, which indicate emotional coloration that implies people's attitude. Usually, the connotations of a word largely depend on its past histories and associations, as well as ways and circumstances in which it is used. For instance, the word skeleton denotes "the bony framework of a human being or other vertebrate animal, which supports the flesh and protects the organs." But by its associations, the word can rouse thoughts of war, disease, death, or one's plans to go to medical school. To take another example, in Yvor Winter's "At the San Francisco Airport," father and daughter are parting at a place called "terminal." The word refers to the airport building, of course, but it also implies a boundary, an extremity, a terminus, something that is limited, a junction, and a place where a connection may be broken. And what do we make of Romeo's assertion that Juliet "is the sun"? He cannot mean that his sweetheart is "the incandescent body of gases about which the earth and other planets revolve" (a dictionary definition). He means, of course, that he thrives in her sight and feels warm in her presence or even at the thought of her, that she is the center and illuminates his world. As is demonstrated, connotations can be as important to a poem as denotations are as they are means for a poet to concentrate or enrich meanings by saying more in fewer words. Very 在阅读一首诗时，一些读者会快速跳过诗歌中的文字，试图一下子跳到诗歌的主题。这样做的结果通常是他们经常忽略了单词的多重含义。事实上，我们读者必须记住，一个普通单词有三个组成部分：声音、指称和内涵。一个词的基本部分是它的指称或指称，即该词的词典含义或含义。通常，指称是清晰的，没有任何歧义的含义，但英语中有许多常见单词有许多指称，我们必须三思而后看看它们在特定语境中的含义。例如，名词“spring”按指称的含义是一年中的第一个季节，跳跃的行为，地下水涌出，或者盘绕的弹性金属丝。此外，这个词也可以用作动词。更重要的是，“spring”还带有额外的内涵：它的意义色彩。除了词典含义外，“spring”可能暗示能量、希望和活力，这表明了暗示人们态度的情感色彩。 通常，一个词的内涵很大程度上取决于它的过去历史和关联，以及它的使用方式和环境。例如，词语“骨架”表示“人类或其他脊椎动物的骨骼框架，支撑着肉体并保护器官。” 但通过它的关联，这个词可以唤起关于战争、疾病、死亡或一个人计划上医学院的想法。再举一个例子，在伊沃尔·温特的《在旧金山机场》，父亲和女儿在一个名为“航站楼”的地方告别。这个词当然指的是机场建筑，但它也暗示着一个边界、一个极限、一个终点、一个有限的东西、一个交汇点，以及一个连接可能会中断的地方。那么我们如何理解罗密欧说朱丽叶“是太阳”呢？他不可能指的是他的爱人是“地球和其他行星绕着运转的发光气体体”（词典定义）。他当然是指他在她的视线中茁壮成长，感受到她的温暖，甚至在想到她时也是如此，她是他的中心，照亮了他的世界。 正如所示，内涵对于一首诗的重要性可以与外延一样重要，因为它们是诗人通过用更少的词语说更多来集中或丰富意义的手段。非常
often poets will take advantage of the fact that words have multiple meanings and use them to mean more than one thing at a time.
Sometimes a poet may import a word from one area of language into a poem composed mostly from a different area. If this is done clumsily, the result will be incongruous. Otherwise, the result will be a shock of surprise and an increment of meaning. Emily Dickinson in her poem "There is no frigate like a book," for instance, considers the power of a book or of poetry to carry us away, to let us escape from our immediate surroundings into a world of imagination. To do this she chooses several kinds of transportation that have romantic connotations. 有时候，诗人可能会将一个词从语言的一个领域引入到主要由另一个领域组成的诗歌中。如果这样做得笨拙，结果将是不协调的。否则，结果将是一种惊喜和意义的增加。例如，艾米莉·狄金森在她的诗歌《没有什么比书更像一艘快艇》中考虑了书籍或诗歌的力量，让我们远离现实，进入想象的世界。为了做到这一点，她选择了几种具有浪漫意味的交通工具。
There is no frigate like a book
To take us lands away,
Nor any coursers like a page
Of prancing poetry.
This traverse may the poorest take
Without oppress of toll;
How frugal is the chariot
That bears the human soul!
"Frigate" for Dickinson suggests exploration and adventure; "coursers," beauty, spirit, and speed; "chariot," speed and the ability to go through the air and on land. In fact, the many varieties of language open to poets provide them with the richest resources. 迪金森的“护卫舰”暗示着探索和冒险；“赛马”，美丽、精神和速度；“战车”，速度和能够在空中和陆地上行驶的能力。事实上，诗人可以使用的众多语言变体为他们提供了最丰富的资源。
The ambiguity and multiplicity of meanings possessed by words are perhaps an obstacle to practical writers such as scientists who value the exactness and often try to confine words to one meaning at one time. Differently, the poet demands a multidimentional language, and creates it partly by using a multidimentional vocabulary, in which the dimensions of connotation and sound are added to the dimension of denotation. Therefore, in reading poetry, we have to develop a sense of language, a feeling for words. 词语所具有的模糊性和多重含义可能是实践作家（如重视准确性并常常试图将词语限制在一个含义上的科学家）的障碍。相反，诗人要求一种多维语言，并通过使用多维词汇的方式部分地创造了它，其中内涵和声音的维度被添加到指称的维度中。因此，在阅读诗歌时，我们必须培养一种语言感，对词语有一种感觉。
References
Abrams, M. H. A Glossary of Llterary Terms. 5th ed. New York: Holt, Rinehar, and Winston, 1988.
Baldick, Chris. Oxford Concise Dicfionary of Llerary Terms. Shanghai: Shanghai Foreign Language Educa-
tion Press, 200)
Eeaty, Jerome, and J. Paul Hunter, eds. The Norton Introduction to Literature. 7th ed. New York: W. W.
Narton & Company, 1998.
Dlekinson, Emily. "There is no frigate \lke a book." The American Tradition in Literature. Ed. Sculley Bradley et
al. 3rd ed. New York: Norton, 1967. 191
Divanni, Robert, ed. Literature: Reading Flction. Poetry, and Drama. 5th ed. Boston: McGraw Hill, 2002
Kennedy. X. J., and Dana Gioia. An Introduction to Poetry. 10th ed. New York: Longman, 2002.
Perrine, Laurence, ed. Sound and Sense: An Introduction to Poetry. 7th ed. San Diego: Harcourt Brace
Jovanovich, Publishers, 1987.
A fool sees not the same tree that a wise man sees.
William Blake
William Blake was an English poet, painter, and printmaker. His works were largely unrecognized during his lifetime, but are now considered seminal in the history of both poetry and the visual arts. Blake is highly regarded today for his expressiveness and creativity, as well as the philosophical and mystical undercurrents that reside within his works. His chief poetic works include Songs of Innocence (1789), Songs of Experience (1794), and The Marriage of Heaven and Hell (1790-1793). Though it is hard to classify Blake's body of work in one genre, he heavily influenced the Romantic poets with recurring themes of good and evil, heaven and hell, knowledge and innocence, and external reality versus inner. Going against common conventions of the time, Blake believed in sexual and racial equality and justice for all, rejected the Old Testament's teachings in favor of the New, and abhorred oppression in all its forms. He was characterized as a "glorious luminary," "a man not forestalled by predecessors, nor to 威廉·布莱克（William Blake）是一位英国诗人、画家和版画家。他的作品在他的一生中大多未被认可，但现在被认为是诗歌和视觉艺术史上的重要作品。布莱克今天因其表现力和创造力而备受推崇，以及他作品中存在的哲学和神秘主题。他的主要诗歌作品包括《天真之歌》（1789 年）、《经验之歌》（1794 年）和《天堂与地狱之婚》（1790-1793 年）。虽然很难将布莱克的作品归类为一种流派，但他深深影响了浪漫主义诗人，反复出现的主题包括善恶、天堂与地狱、知识与天真、外部现实与内在。与当时的普遍惯例相悖，布莱克相信性别和种族平等，主张为所有人争取正义，拒绝旧约圣经的教导，支持新约，憎恶一切形式的压迫。他被描述为“光辉灿烂的明星”，“一个不被前人预见的人，也不被其他人所束缚”。
Blake's plate of "London" be classed with contemporaries, nor to be replaced by known or readily surmisable successors."
London
1794
I wander through each chartered street, Near where the chartered Thames does flow, And mark in every face I meet, Marks of weakness, marks of woe.
In every cry of every man,
In every infant's cry of fear,
In every voice, in every ban,
The mind-forged manacles hear:
How the chimney-sweeper's cry
Every black'ning church appalls,
And the hapless soldier's sigh
Runs in blood down palace-walls.
But most, through midnight streets I hear How the youthful harlot's curse
Blasts the new-born infant's tear,
1 charted: 受特许的。
2 woe: 悲哀。
3 ban: 禁令。
4 mind-forged manacles: 灵魂的镣轾。forge:铸造。
5 Every ... appalls: 震撼着每一座重黑的教堂。appalls: 使胆寒, 使惊骇。
6 hapless: 倒䨣的, 不幸的。
7 harlot: 妓女。
8 Blasts: 摧毁, 损害。
And ... hearse: 用瘟疫把婚车变成灵车。 blights: 破坏, 使枯萎。plague: 瘟疫。hearse: 灵车, 枢车。
Questions
for
Discussion
What words appear repeatedly in the poem? What is their significance?
The denotations of "chartered" include first, established by a charter (a written grant or a certificate of incorporation), second, leased or hired. What other possible connotations can you suggest? Are there other words in the poem with similar connotations? “特许”的指示包括首先，由特许状（书面授权或公司章程证书）建立，其次，租赁或雇用。您能提出其他可能的内涵吗？诗中还有其他具有类似内涵的词吗？
The dictionary meaning of "black'ning" is becoming black. Why is the church described black'ning?
Both "Blasts" and "blights" mean "to cause to wither" or "to ruin and destroy." Is it a good way to import words in the area of horticulture to describe sickness and death?
How can a harlot spread the plague and turn the wedding carriage into a hearse? Why does Blake emphasize the harlot's young age? What kind of social evil is the poet criticizing?
Blake, William. "London." Literature: Reading Fiction, Poetry, and Drama. Ed. Robert DiYanni. 5th ed. Boston: McGraw Hill, 2002. 757-58.
A Brief Amalysis of "London"
"London" was published in Songs of Experience in 1794 during the upheavals of the French Revolution. In Paris, revolutionary forces invaded the Tuileries, suspending the rule of the King. In order to stop the spread of revolution to Britain, a Royal Proclamation was made to outlaw seditious writings, and troops were garrisoned round the capital, which was suffering political and social unrest due to the marked social and working inequalities of the time. The city was then shackled to landlords, overseers and owners who controlled and demeaned the majority of the lower and middle classes. As an unorthodox Christian of the dissenting tradition, Blake felt that the state was abandoning those in need. "London" in fact reflects the author's extreme disillusionment with the suffering he saw in the capital. Within the poem, Blake describes eighteenth-century London as a hell filled with people who are confined to the hopelessness and misery of their situation. 《伦敦》发表于 1794 年的《经验之歌》中，当时正值法国大革命的动荡时期。在巴黎，革命力量入侵图伊勒里花园，暂停了国王的统治。为了阻止革命蔓延到英国，皇家颁布了一项禁止煽动性文字的法令，并在首都周围驻扎了军队，当时由于明显的社会和工作不平等，首都正饱受政治和社会动荡之苦。当时，这座城市被地主、监工和所有者束缚，他们控制并贬低了大多数下层和中产阶级。作为异端基督教徒，布莱克认为国家正在抛弃那些需要帮助的人。事实上，《伦敦》反映了作者对首都所见苦难的极度失望。在诗中，布莱克将 18 世纪的伦敦描述为一个充满绝望和痛苦的地狱，人们被困在自己处境的绝望和痛苦中。
The poem is organized in two ways. First, it is arranged about the street-cries of London. We see with the speaker's eyes in the first stanza and are hearing many things simultaneously in the second, third, and fourth stanzas. The passage from sight to sound has an effect of reducing the sense of distance of the observer from his object. We are then immersed within the human condition through which the speaker walks. Literally, we hear the cries of the children, the "weep" of the chimney-sweepers, and the more symbolic sounds of "bans," "manacles," and the soldier's "sigh." "Every" falls upon us seven times and "cry" three times, emphasizing the common condition of misery. In the third stanza through the sounds we sense the activities indicated: the efforts of the chimney-sweep, the blackening walls of the churches, and the blood of the soldier. We are not far from this predicament and are more deeply immersed within it. Unlike the day-time streets described in the first three stanzas, the fourth stanza leads us to the darkness of "midnight streets," where we hear the harlot's "curse." Then, the immersion in sights and sounds forces us to generalize from London to the human condition. We have to attend to a second, symbolic, level of organization. Through the choice of the most fundamental examples such as man, infant, soldier, palace, and harlot, the poem acquires a generalized resonance. If "London" is that part of the human condition which may be described as "Hell," it is a city of Everyman. The speaker is not observing from without as a spectacle, but is seeing and experiencing from within together with his fellow-sufferers. 这首诗以两种方式组织。首先，它围绕伦敦的街头呼喊进行安排。我们在第一节中通过讲话者的眼睛看到，同时在第二、第三和第四节中听到许多事情。从视觉到听觉的转变使观察者与对象之间的距离感减少。然后，我们沉浸在讲话者走过的人类境况中。从字面上看，我们听到了孩子们的哭声，烟囱扫除工人的“哭泣”，以及“禁令”、“手铐”和士兵的“叹息”等更具象征意义的声音。 “每个”出现了七次，“哭泣”出现了三次，强调了悲惨的共同境况。通过声音，我们在第三节中感知到了所指示的活动：烟囱扫除工人的努力，教堂墙壁的变黑，以及士兵的鲜血。我们离这种困境不远，更深入地沉浸其中。与前三节描述的白天街道不同，第四节将我们带到了“午夜街道”的黑暗中，我们听到了妓女的“诅咒”。然后，对景象和声音的沉浸迫使我们从伦敦推广到人类的状况。我们必须关注第二个象征性的组织层面。通过选择最基本的例子，如人、婴儿、士兵、宫殿和妓女，诗歌获得了一种普遍的共鸣。如果“伦敦”是可以描述为“地狱”的人类状况的一部分，那么它是一个普世之城。说话者不是作为一个景观从外部观察，而是与他的同伴一起从内部看到和经历。
The tone of grave compassion continues in the cries, the fear, and the tear contained in the poem. Contemplation and pity fall upon those sufferers, but the tone of indignation falls upon the institutions of repression including mind-forg'd manacles, blackning Church, Palace, and Marriage hearse. And the symbolic organization is within the market relations. In developing imagery Blake discloses their cause. From the first line he never loses the image of buying and selling. What are bought and sold in London are not only goods and services, but human values, affections, and vitalities. We move through these values in ascendant scale: goods bought and sold (street-cries), childhood (the chimney-sweep), human life (the soldier), and youth, beauty and love, in the figure of the diseased harlot who is only the other side of the "Marriage hearse." In a 严肃怜悯的语调在诗歌中的呼喊、恐惧和眼泪中延续。思考和怜悯落在那些受难者身上，但愤慨的语调则落在包括心灵锁链、黑暗的教堂、宫殿和婚姻灵车在内的压制机构上。象征性的组织存在于市场关系之中。在发展意象时，布莱克揭示了它们的根源。从第一行开始，他从未放弃买卖的形象。在伦敦买卖的不仅是商品和服务，还有人类的价值观、感情和生命力。我们通过这些价值观在升级的尺度上移动：买卖的商品（街头呼喊）、童年（烟囱清扫工）、人类生命（士兵）以及青春、美丽和爱情，体现在那位患病的妓女身上，她只是“婚姻灵车”另一面的象征。
series of unified images Blake compresses an indictment of the institutions of State, which divides man from man, brings him into mental and moral bondage, destroys the sources of joy, and brings blindness and death. Therefore, "London" is far more than a description of a city in which the author lived for most of his life. The poem is a devastating and concise political analysis, delivered with passionate anger, revealing the complex connections between patterns of ownership and the ruling ideology, the way all human relations are inescapably bound together within a single destructive society. 布莱克压缩了一系列统一的图像，对国家机构提出了控诉，这些机构将人与人分开，使他们陷入精神和道德奴役，摧毁了快乐的源泉，带来了盲目和死亡。因此，“伦敦”远不止是描述作者大部分生活在其中的城市。这首诗是一篇毁灭性而简洁的政治分析，充满激情的愤怒表达，揭示了所有人际关系在一个毁灭性社会中不可避免地相互联系的复杂关系。
Diction in "London"
"London" is among the most lucid of Songs of Experience. Every reader carf see London as Blake's own city, as an image of the state of English society and as an image of human condition. A closer reading of the diction, however, is likely to add something new to what we have experienced. 《伦敦》是《经验之歌》中最清晰的之一。每位读者都可以将伦敦视为布莱克自己的城市，作为英国社会状况的象征，以及人类处境的象征。然而，对措辞的更深入阅读可能会为我们的体验增添一些新的东西。
The poem's opening shows the speaker wandering the "chartered" streets of London down to the "chartered Thames." The word "chartered" denotes "established by a charter (a written grant or a certificate of incorporation)" or "leased or hired." However, Blake used it in a critical sense. He changed the original version of "dirty" to "chartered." A fragment in the poet's notebook helps to define the alteration: "Tho, born on the cheating banks of Thames," thus "chartered" arose in Blake's mind in association with "cheating." It is clearly a word to be connected with commerce. We may recall the Chartered Companies which were bastions of privilege within the government of the city. Or we may think of the monopolistic privileges of the East India Company, whose ships were so prominent in the commerce of the Thames. The use of this loaded word repeatedly sharpens the point that the streets and the river are privately owned, suggesting the oppressive nature of early capitalism, in which the Whig alliance of merchants, rising finance capitalists and some of the most powerful landed aristocrats were busy accumulating capital, transferring wealth from the majority to the minority. But for Blake, "chartered" is a stronger and more complex word with obvious political allusion. His contemporary readers would no doubt have picked up on it. Blake's friend Thomas Paine has stated in his best-selling Rights of Man the year before: "It is a perversion of terms to say, that a charter gives rights. It operates by a contrary effect, that of taking rights away." For Paine, a charter implies not a freedom but monopoly. The liberties or privileges granted to one guild, company, corporation or even nation exclude others from the enjoyment of these liberties. Therefore, a charter is exclusive in its nature. Blake shares much of Paine's political outlook and chooses "chartered" out of the biggest political argument agitating Britain in 1791-1793. His choice expresses the political and economic control that London is enduring at the time of his writing, and asserts the connotations of "exclusion," "the annulling of rights," "negative operation" and "giving, selling, and buying freedom." 诗歌的开头展示了演讲者漫步在伦敦的“特许”街道上，一直走到“特许泰晤士河”。 “特许”一词表示“由特许状（书面授权或公司注册证书）建立”或“租用或雇用”。然而，布莱克以批判的意义使用了它。他将“肮脏”的原始版本改为“特许”。诗人笔记本中的一个片段有助于定义这种改变：“虽然，出生在泰晤士河的欺骗河岸上”，因此“特许”在布莱克的思想中与“欺骗”联系在一起。这显然是一个与商业相关的词语。我们可能会想起特许公司，它们是城市政府内特权的堡垒。或者我们可能会想到东印度公司的垄断特权，其船只在泰晤士河的商业中占据重要地位。这个充满含义的词语的重复使用锐化了街道和河流是私人所有的观点，暗示了早期资本主义的压迫性质，其中商人的辉格联盟、崛起的金融资本家和一些最有权势的土地贵族正忙于积累资本，将财富从多数人转移到少数人。 但对于布莱克来说，“特许”是一个更强烈和更复杂的词，带有明显的政治暗示。他的当代读者无疑会注意到这一点。布莱克的朋友托马斯·潘恩在他畅销书《人的权利》中在前一年曾说过：“说特许给予权利是术语的曲解。它的作用恰恰相反，是剥夺权利。”对于潘恩来说，特许并不意味着自由，而是垄断。授予一个行会、公司、法人或甚至国家的自由或特权会排除其他人享有这些自由的权利。因此，特许在本质上是排他的。布莱克与潘恩的政治观点很相似，选择了“特许”，这是 1791-1793 年英国最激烈的政治争论之一。他的选择表达了他写作时伦敦正在经历的政治和经济控制，并强调了“排斥”、“废除权利”、“负面作用”和“给予、出售和购买自由”的内涵。"
In the second stanza this commonality of suffering is hammered home by the pounding rhythm, stressing the word "every" five times. This repetition indicates that no one is immune. It 在第二段中，通过强烈的节奏强调了苦难的共同性，重复了“每个”这个词五次。这种重复表明没有人能幸免。
is a picture of a whole society in chains, and the tightness of the poem's structure emphasizes this feeling of entrapment. The sense of imprisonment is made absolutely plain in the phrase "mind-forged manacles." Literally, manacles are metal restraining cuffs devised to subjugate people by physical force. Metaphorically, mental chains imprison through ideological acceptance of the status quo. The mind is fettered by the invisible chains of its own unfreedom. The "mind-forged manacles" are those of deceit, self-interest, absence of love, of law, repression, and hypocrisy. The "ban" denotes prohibition. In Blake's time, the "ban" has further associations, from the bans before marriage, the prohibitive and possessive ethic constraining "lawless" love, to the bans of Church and State against the publications and activities of the followers of Paine. All these associations are gathered into the central one of a code of morality which constricts, denies, prohibits and punishes. 整个社会被锁链所束缚，诗歌结构的紧密强调了这种困境感。在短语“心灵锻造的手铐”中，囚禁感被表现得非常明显。从字面上看，手铐是一种金属约束手铐，旨在通过物理力量使人屈服。在隐喻上，心灵的锁链是通过对现状的意识形态接受而囚禁的。心灵被自身无自由的隐形锁链所束缚。这些“心灵锻造的手铐”是欺骗、私利、缺乏爱、法律、压抑和虚伪的手铐。 “禁令”表示禁止。在布莱克的时代，“禁令”还有进一步的联想，从婚前禁令，约束“无法无天”的爱的禁止和占有伦理，到教会和国家对潘恩追随者的出版物和活动的禁令。所有这些联想都汇聚成一种道德准则，它限制、否认、禁止和惩罚。
After the dirge of passivity in the second stanza, we come to a moment of analysis, of understanding in stanza three. The boy sweeper is a well-known figure of pity in Blake's time. The author has packed the meaning of "The Chimney Sweeper" of Songs of Experience whose father and mother "are both gone up to the church to praise God & his Priest & King,/ Who make up a heaven of our misery" into the lines. The adjective "black'ning" visually attaches to the Church complicity in the brutal exploitation of child-labor along with the wider consequences of the smoke of expanding commerce. The word "appalls" is used in a familiar sense in Blake's time as puts to shame, puts in fear, challenges, indicts. The "black'ning" church is indeed fearful of the menace the sweepers represent. The soldier whose sigh "Runs in blood down Palace walls" is a "hapless" victim. The soldier, sighing in death or fear, metaphorically stains the palace walls with his blood just as the sweeper's cry blackens the churches. Perhaps the soldier's discontented "sigh" takes the tangible form of red-painted protest slogans on palace walls. The revolutionary phrase "No King!" and other seditious slogans has indeed appeared on the wall of the Privy Garden. 在第二节的消极挽歌之后，我们来到第三节的分析、理解时刻。在布莱克时代，清扫烟囱的男孩是一个备受同情的人物。作者将《经验之歌》中“烟囱清扫工”的含义，即父母“都去教堂赞美上帝和他的祭司和国王，/ 他们构成了我们苦难的天堂”融入到诗中。形容词“变黑”直观地暗示了教堂与残酷剥削童工以及扩张商业烟雾的更广泛后果之间的勾结。词语“惊骇”在布莱克时代被用于熟悉的意义，即使羞辱、使恐惧、挑战、控诉。这座“变黑”的教堂确实害怕清扫工代表的威胁。那位“在宫殿墙上流淌鲜血的”叹息的士兵是一个“不幸”的受害者。士兵在死亡或恐惧中叹息，象征性地用他的鲜血染黑了宫殿墙壁，就像清扫工的哭声让教堂变黑一样。也许士兵不满的“叹息”以红色涂抹的抗议口号的形式出现在宫殿墙上。革命口号“无王！“另外一些煽动性口号确实出现在内阁花园的墙上。”
The final stanza reveals how the system constructed on the savage institutions of power the law, church, monarchy and army - poisons personal relationships at the deepest level. It is no longer daytime, but midnight. The harlot passes her own misery onto her child due to venereal disease which blinds the new born infant. She also passes on the pox to the husbands who then take their infection back to their wives and plague the marriage hearse. Like "mind-forged manacles," "marriage hearse" is a fantastically potent phrase, reverberating with meanings: the two words are linked oxymoronically, with the notion of joyous, fruitful marriage undermined by venereal disease. The phrase also fillets bourgeois marriage in all its hypocrisy, the husband routinely unfaithful to his wife, and suggests the sterile wedded state, which contemporary feminist Mary Wolstencraft has called legalized prostitution. By striking at the family, the poem attacks the reproductive system of society itself. The harlot's curse does more than make the baby cry; it destroys bourgeois complacency. It's a fitting end; the poem's final line has the incantatory power of a curse itself, with the rhyme of alliterative sounds (black'ning, blood, blasts, blights) has reached its crescendo. 最后一节揭示了系统是如何建立在野蛮的权力机构——法律、教会、君主制和军队之上，从而在最深层次上破坏了个人关系。现在已不再是白天，而是午夜。妓女因梅毒将自己的痛苦传给了她的孩子，导致新生婴儿失明。她还将疾病传给丈夫，然后丈夫将感染带回给妻子，使婚姻葬车遭受瘟疫。像“心灵上的枷锁”一样，“婚姻葬车”是一个极具力量的短语，回响着多重含义：这两个词被矛盾地联系在一起，喜悦、富饶的婚姻概念被梅毒所破坏。这个短语还揭露了资产阶级婚姻的虚伪，丈夫经常对妻子不忠，暗示了无子嗣的婚姻状态，当代女权主义者玛丽·沃斯通克拉夫特称之为合法的卖淫。诗歌打击了家庭，攻击了社会的生殖系统。妓女的诅咒不仅使婴儿哭泣，还摧毁了资产阶级的自满。 这是一个合适的结局；诗歌的最后一行本身就具有诅咒的咒语力量，所有谐音声音（black'ning，blood，blasts，blights）的押韵已经达到了高潮。
Poetry is about human experience and thus particular and concrete. It often presents a vivid world to us through the senses. We see daylight break and fade; we hear robins and bluebirds singing; we smell damp earth and blossoming hyacinths; we feel the sting of a bee; we taste the coldness of iced grapes. Such details trigger our memories, stimulate our feelings and command our responses. Compared with ordinary language, the poets' language is usually more sensuous and more full of imagery. 诗歌是关于人类经验的，因此是具体而具体的。它经常通过感官向我们展示一个生动的世界。我们看到白昼的来临和消逝；我们听到知更鸟和蓝鸟的歌唱；我们闻到潮湿的土壤和开花的风信子的芬芳；我们感受到蜜蜂的刺痛；我们品尝到冰冻葡萄的冷。这些细节触发我们的记忆，激发我们的感情并引导我们的反应。与普通语言相比，诗人的语言通常更具感官性和更充满意象。
Imagery may be defined as the representation through language of sense experience. The word image perhaps most often indicates a mental picture, a sight (visual imagery), but it may also be a sound (auditory imagery), a smell (olfactory imagery); a taste (gustatory imagery); touch like hardness or wetness (tactile imagery); an internal sensation such as hunger, thirst (organic imagery); or movement (kinesthetic imagery). We may further extend this list, but for purposes of discussing poetry such classification should be enough. 意象可以被定义为通过语言表达感官体验。单词“形象”可能最常表示一种心理图像，一种视觉（视觉意象），但它也可能是一种声音（听觉意象），一种气味（嗅觉意象）；一种味道（味觉意象）；像硬度或湿润这样的触觉（触觉意象）；一种内部感觉，比如饥饿、口渴（有机意象）；或者运动（动觉意象）。我们可以进一步扩展这个列表，但就讨论诗歌而言，这种分类应该足够了。
In a poem, it is unlikely for the poet to employ all kinds of imageries. Usually one or two particularly sharp and representative details will be sufficient. Visual imagery that suggests something seen in the mind's eye is most frequently employed. Showing instead of telling, poets will seek concrete or image-bearing words in preference to abstract or non-image-bearing ones. Robert Browning's "Meeting at Night," for instance, is well-known for its use of imageries. Every line in the poem contains some imagery, something appealing to the senses. 在一首诗中，诗人不太可能运用各种各样的意象。通常，一两个尤其鲜明和代表性的细节就足够了。最常用的视觉意象是暗示着在心灵中看到的东西。诗人会选择具体或带有意象的词语，而不是抽象或无意象的词语。例如，罗伯特·勃朗宁的《夜会》以其运用意象而闻名。这首诗的每一行都包含一些意象，一些吸引感官的东西。
The gray sea and the long black land; And the yellow half-moon large and low; And the startled little waves that leap In fiery ringlets from their sleep, As I gain the cove with pushing prow, And quench its speed i' the slushy sand. 灰色的海和漫长的黑色土地；还有大而低的黄色半月；还有惊恐的小浪跃起，从它们的睡梦中冒出火焰般的卷发，当我用推进的船头抵达小海湾，将速度熄灭在泥泞的沙滩上。
Then a mile of warm sea-scented beach; Three fields to cross till a farm appears; A tap at the pane, the quick sharp scratch And blue spurt of a lighted match, And a voice less loud, through its joys and fears, Than the two hearts beating each to each! 然后是一英里长的温暖海味沁人的海滩； 三个田地要穿过才能看到一个农场； 窗户上轻轻敲击，快速而尖锐的划痕， 一团蓝色的火柴火花， 以及一种声音，比起它们的欢乐和恐惧， 更不如两颗心跳动的声音！
Although the poem is about love, it does not tell us the feelings directly. The poet even avoids the
word love in his poem. His business is to communicate experience, not information. Therefore, he chooses to present us with a specific situation and describes the lover's journey in terms of sense impressions, which the reader virtually sees and hears what the lover experiences and shares his anticipation and excitement. The gray sea, the long black land, the yellow half-moon, the startled little waves with their fiery ringlets, and the blue spurt of the lighted match all appeal to our sense of sight and convey not only shape but also color and motion. The warm sea-scented beach appeals to our senses of smell and touch. The pushing prow of the boat on the slushy sand, the tap at the pane, the quick scratch of the match, the low speech of the lovers, and the sound of their hearts beating all invoke the sense of hearing. 他的诗中表达了爱的含义。他的任务是传达经验，而不是信息。因此，他选择向我们展示一个具体的情境，并描述恋人的旅程以感官印象为基础，读者几乎可以看到和听到恋人的体验，分享他的期待和兴奋。灰色的海，长长的黑色陆地，黄色的半月，惊吓的小浪带着火红的卷发，以及点燃的火柴的蓝色火花，都吸引了我们的视觉感受，传达了形状、颜色和运动。温暖的海味沙滩激发了我们的嗅觉和触觉。船头在泥泞的沙滩上推动，窗户上的轻拍声，火柴的快速划破声，恋人们的低语声，以及他们心跳的声音都唤起了听觉感受。
To illustrate the point, we can cite another relatively unknown example "The Piercing Chill I Feel," a haiku written by Taniguchi Buson around 1760 about the speaker's feelings toward death in general. 为了阐明这一观点，我们可以举另一个相对不太为人所知的例子《我感到的刺骨寒冷》，这是谷口坤写于 1760 年左右的一首俳句，表达了讲话者对死亡的一般感受。
The piercing chill I feel:
My dead wife's comb, in our bedroom, under my heel ...
This haiku is appreciated for its tactile imagery. Instead of a long discussion, the speaker focuses on the striking experience of his bare foot against the comb, now cold and motionless but associated with the wife. The widower feels a shock as if he felt the woman's corpse. The five images, namely chill, wife, comb, bedroom, heel, all convey a physical sense of death. Although we can divide Buson's haiku into five images, in doing so we have drawn a distinction to disassemble a single experience. Therefore we use the word tactile imagery to refer to this pattern of related details, through which the abstraction of death is successfully translated. 这首俳句因其触感意象而受到赏识。演讲者没有进行长篇讨论，而是专注于他赤脚触碰梳子的强烈体验，现在梳子已经冷却并静止，但与妻子有关。鳏夫感到一种震撼，仿佛感受到了女人的尸体。这五个意象，即寒冷、妻子、梳子、卧室、脚跟，都传达了一种死亡的身体感。虽然我们可以将武者俳句分为五个意象，但这样做实际上是在区分和解构一个单一的体验。因此，我们使用“触感意象”这个词来指代这种相关细节的模式，通过这种方式成功地翻译了死亡的抽象概念。
As is demonstrated, to speak of the imagery of a poem - all its images taken together - is often more useful than to speak of separate images. Imageries may occur in a single word, a phrase, a sentence, or an entire short poem. They help evoke vivid experience and convey feelings and ideas. In short, imageries are codes carrying personal meanings in disguise. 正如所展示的，谈论一首诗的意象——所有的意象汇集在一起——通常比谈论单独的意象更有用。意象可能出现在一个词、一个短语、一个句子或整首短诗中。它们有助于唤起生动的体验，传达感情和思想。简而言之，意象是携带个人含义的代码。
Reterences
Sonnet 130
WILIAM SHAKESPEARE (1564-1616)
Love is a smoke made with the fume of sighs.
William Shakespeare
William Shakespeare is widely regarded as the greatest writer in the English language and the world's preeminent poet and dramatist. His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare's 154 sonnets were collected and published in 1609 under the name of Shakespeare's Sonnets. Evidence suggests that the poet wrote sonnets throughout his career for a private readership. He seems to have planned two contrasting series: one about uncontrollable lust for a married woman of dark complexion (the "dark lady"), and one about conflicted love for a fair-young man (the "fair youth"). Critics praise the Sonnets as a profound meditation on the nature of love, sexual passion, procreation, death, and time. The imageries come from wide resources including gardening, navigation, law, farming, 威廉·莎士比亚被广泛认为是英语文学史上最伟大的作家，也是世界上最杰出的诗人和戏剧家。他的作品包括 38 部戏剧、154 首十四行诗、两部长篇叙事诗和几首其他诗歌。他的戏剧被翻译成了每一种主要的活语言，并且比其他任何剧作家的作品更频繁地上演。莎士比亚的 154 首十四行诗于 1609 年汇编出版，名为《莎士比亚十四行诗集》。证据表明，这位诗人在整个职业生涯中为私人读者写了十四行诗。他似乎计划了两个截然不同的系列：一个关于对一个肤色深的已婚女人的无法控制的欲望（“黑夫人”），另一个关于对一个年轻俊美男子的矛盾之爱（“俊少年”）。评论家们赞扬这些十四行诗是对爱情、性激情、生育、死亡和时间本质的深刻沉思。这些意象来自广泛的资源，包括园艺、航海、法律、农业。
Shakespeare's house in Stratford business, astrology, and domestic affairs.
130
My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
And yet, by heaven, I think my love as rare
Coral: 珊瑚。
dun: 暗褐色的, 微暗的。
damasked: 淡红色的, 粉红色的。
reeks: 呼气, 臭气。
5 belied: 错误地描述, 歪曲地再现。 As any she belied with false compare.
Questions
Try to describe the mistress in detail.
Find out imageries as many as possible, and explain the connections between them.
Why does the speaker deny all the usual details concerning female beauty to his mistress?
How does the poet use imageries to reinforce the theme?
Analyze the structure and explain the contrast between the first three quatrains and the couplet.
A Brief Amalysis of Sonnet 180
Sonnet 130, one of Shakespeare's most famous, compares the speaker's lover to a number of other beauties that are never in the speaker's favor. In the first quatrain, the speaker observes that the mistress's eyes are "nothing like the sun," and her lips are less red than coral; opposite to white snow, her breasts are dun-colored, and her hairs are like black wires on her head. In the second quatrain, the speaker says he has seen roses separated by color ("damasked") into red and white, but he cannot perceive such roses in his mistress's cheeks; and the breath that "reeks" from his lover is less delightful than perfume. In the third quatrain, he admits that, though he loves her voice, music "hath a far more pleasing sound," and that, though he has never seen a goddess, his mistress, unlike goddesses, walks on the ground. In the couplet, however, the speaker declares that, "by heaven," he thinks his love as rare and valuable "[a]s any she belied with false compare," that is, any love in which false comparisons are invoked to describe the beloved's beauty. 《130 号十四行诗》是莎士比亚最著名的作品之一，比较了演讲者的情人与其他一些美女，这些美女从未得到演讲者的青睐。在第一个四行诗中，演讲者观察到情妇的眼睛“不像太阳”，她的嘴唇不如珊瑚那样红；与白雪相反，她的胸部是暗色的，她的头发像黑色的铁丝。在第二个四行诗中，演讲者说他曾看到玫瑰被颜色分开（“花纹”）成红色和白色，但他在情妇的脸颊上看不到这样的玫瑰；从他情人身上“散发出来”的气味不如香水那般令人愉悦。在第三个四行诗中，他承认，尽管他喜欢她的声音，但音乐“有着更加悦耳的声音”，尽管他从未见过女神，但他的情妇，不像女神那样，是在地上行走的。然而，在联句中，演讲者宣称，“上天”，他认为他的爱如此珍贵和宝贵，“与任何通过虚假比较来描述所爱之人的爱一样”。
Written in the traditional Shakespearean sonnet form, the rhetoric structure of the sonnet is fairly important to its effect. Usually, a sonnet condenses into fourteen lines as an expression of emotion or an articulation of idea following the divisions suggested by their structural patterns. Different from the Italian sonnet which is composed of an eight-line octave and a six-line sestet, a Shakespearean sonnet consists of three four-line quatrains and a concluding couplet. In the first quatrain of Sonnet 130, the speaker spends one line on each comparison between his mistress and something else, namely the sun, coral, snow, and wires. In the second and third quatrains, he expands the descriptions to occupy two lines each, so that roses/cheeks, perfume/ breath, music/voice, and goddess/mistress each receive a pair of unrhymed lines. This creates the effect of an expanding and developing argument, and neatly prevents the poem from becoming stagnant. It is in the couplet that the speaker ends with an assertion that despite her imperfections, his beloved is as wonderful as any that has been falsely compared by poets. 以传统的莎士比亚十四行诗形式写成，十四行诗的修辞结构对其效果相当重要。通常，十四行诗压缩成十四行，表达情感或阐述观念，遵循其结构模式所建议的分割。与由八行组成的八行抒情诗和由六行组成的六行抒情诗不同，莎士比亚十四行诗由三个四行四行组成，以及一个总结性的联韵对。在第一四行诗中，演讲者在他的情人和其他事物之间的每个比较上花费一行，即太阳、珊瑚、雪和电线。在第二和第三四行诗中，他将描述扩展到每个占据两行，使得玫瑰/脸颊、香水/呼吸、音乐/声音和女神/情人各自获得一对不押韵的行。这创造了一个扩展和发展论点的效果，并巧妙地防止了诗歌变得停滞。正是在联韵中，演讲者以一种断言结束，即尽管她有缺陷，但他心爱的人和诗人虚假比较的任何人一样美好。
In sonnet 130, Shakespeare's ideal motives of love prevail, but the element of sarcasm also remains. In many ways, this sonnet subverts and reverses the conventions of the Petrarchan love sequence common in Shakespeare's day. Most sonnets in Elizabethan England were modeled after that of the Italian poet Francesco Petrarch who wrote a series of love poems to an idealized and idolized mistress named Laura, with whom Petrarch first met and fell in love in 1327. In the sonnets, Petrarch praises her beauty, her worth, and her perfection using an extraordinary variety of metaphors to compare a succession of body parts with natural beauties, such as by comparing her eyes to the sun or her hair to gold. The following is one of the sequences: 在十四行诗 130 中，莎士比亚对爱情的理想动机占主导地位，但讽刺元素也仍然存在。在许多方面，这首十四行诗颠覆并颠倒了莎士比亚时代普遍存在的彼特拉克式恋爱序列的传统。伊丽莎白时代英格兰的大多数十四行诗都是以意大利诗人弗朗切斯科·彼特拉克的模式为蓝本的，他写了一系列向一个理想化和偶像化的名为劳拉的情人致敬的爱情诗，彼特拉克于 1327 年首次遇见并爱上了她。在这些十四行诗中，彼特拉克赞美她的美丽、她的价值和她的完美，使用了各种非凡的比喻来将一系列身体部位与自然美景相比，比如将她的眼睛比作太阳或将她的头发比作黄金。以下是其中一个序列：
Laura
She used to let her golden hair fly free
For the wind to toy and tangle and molest;
Her eyes were brighter than the radiant west.
Seldom they shine so now. I used to see
Pity look out of those deep eyes on me.
"It was false pity," you would now protest.
I had love's tinder heaped within my breast;
What wonder that the flame burned furiously?
She did not walk in any mortal way,
But with angelic progress; when she spoke,
Unearthly voices sang in unison.
She seemed divine among the dreary folk
Of earth. You say she is not so today?
Well, though the bow's unbent, the wound bleeds on.
A Renaissance figurative painting by Guiseppe Arcimboldo, 1563
It was Petrarch who initiated the tradition of comparing one's beloved to all things beautiful under the sun, and to things divine and immortal as well. In Shakespeare's day, these metaphors had already become cliche, but they were still the widely accepted technique for writing love poetry. A typical sonnet of the time which uses lofty comparisons to praise a beloved idol is given below. It was written by Bartholomew Griffin and published in 1596 . 是彼特拉克开创了将心爱之人比作太阳下一切美好事物，以及神圣不朽之物的传统。在莎士比亚时代，这些比喻已经变得陈词滥调，但它们仍然是写爱情诗歌的广泛接受的技巧。以下是一首典型的十四行诗，使用高尚的比喻来赞美心爱的偶像。这首诗是由巴塞洛缪·格里芬（Bartholomew Griffin）于 1596 年发表的。
My Lady's hair is threads of beaten gold;
Her front the purest crystal eye hath seen;
Her eyes the brightest stars the heavens hold;
Her cheeks, red roses, such as seld have been;
Her pretty lips of red vermilion dye;
Her hand of ivory the purest white;
Her blush AURORA, or the morning sky.
Her breast displays two silver fountains bright;
The spheres, her voice; her grace, the Graces three;
Her body is the saint that I adore;
Her smiles and favours, sweet as honey be.
Her feet, fair THETIS praiseth evermore.
But Ah, the worst and last is yet behind:
For of a griffon she doth bear the mind!
Like Griffin's sonnet, many others follow the Petrarchan tradition of fulsome praise. On the contrary, Sonnet 130 mocks the garish and flowery courtly metaphors by presenting a speaker who seems to take them at face value, and somewhat bemusedly, decides to tell the truth. His mistress is realistically portrayed to be everything except beautiful. In order to paint a vivid picture of the dark lady, the poet uses a combination of a simile and several metaphors. He starts the poem with a simile comparing his mistress's eyes to the sun, then quickly switches over to metaphors to compare the rest of her characteristics, such as her breasts to snow and hair to 像格里芬的十四行诗一样，许多其他作品遵循彼特拉克传统，对其进行了充分的赞美。相反，第 130 首十四行诗嘲笑了华丽而花哨的宫廷隐喻，通过展示一个似乎真的相信这些隐喻的讲述者，并有些困惑地决定说出真相。他的情妇被真实地描绘成除了美丽之外的一切。为了生动描绘这位黑发女子，诗人使用了比喻和几个隐喻的结合。他以比喻开始诗歌，将他的情妇的眼睛比作太阳，然后迅速转向隐喻，将她的其他特征进行比较，比如将她的胸部比作雪，头发比作
wires. It seems that the speaker is explaining the fact that he does not necessarily want a mistress that is ravishing, and that all of the qualities that other men see in women are not his own and in fact repulse him. In the couplet, then, the speaker shows his full intent, insisting that love does not need these fantasies, and women do not need to look like flowers or the sun in order to be beautiful. Therefore, the sonnet takes the love poem to a deeper, more intimate level where looks are no longer important and it is inner beauty that matters. This is indeed a poem written by a man that has learned to love with his heart and not his eyes. 线。看来演讲者正在解释一个事实，即他并不一定想要一个迷人的情妇，其他男人看到女人身上的所有品质并不是他自己的，实际上让他感到反感。在这首联句中，演讲者展示了他的真正意图，坚持认为爱情不需要这些幻想，女人也不需要看起来像花朵或太阳才能美丽。因此，这首十四行诗将爱情诗歌提升到一个更深层次、更亲密的层面，外表不再重要，内在美才是最重要的。这确实是一首由一个学会用心而不是眼睛去爱的男人写的诗。
Imagery in Sonnet 130
In a gentle and plain-spoken manner, Shakespeare shows the differences between the natural imagery of cliché comparison and his mistress. The poet runs through a catalogue of the senses, to see what it is that attracts him to his mistress. Through the images of what the speaker sees, hears, and smells, the sonnet communicates the idea that his mistress is not perfect. 莎士比亚以温和和直言不讳的方式展示了陈词滥调比较的自然意象与他的情人之间的差异。诗人列举了一系列感官，以查看是什么吸引他对他的情人。通过说话者看到、听到和闻到的形象，这首十四行诗传达了他的情人并非完美的观念。
Our first sense impression is visual. In lines one through six, Shakespeare uses a lot of visual images to depict the mistress's looks. The poet cunningly employs Petrarchan images while deliberately undermining them. Unlike the traditional sun-like eyes, the speaker claims that his mistress's eyes "are nothing like the sun." In the second line, the visual image of the lady continues: the speaker describes her lips that are far from "coral." In Shakespeare's day only the red variety of coral would have been generally available, which were often prized for ornamental purposes and classed among precious stones. In our mind's eye, however, we perceive a woman with pallid lips and dim eyes. Then, the speaker goes on to describe the mistress's skin and breasts, which conventionally are associated with whiter snow. Contrary to pearl and ivory breasts, the woman's breasts are seen as "dun," which might bring the reader down to earth with a bump. According to Oxford English Dictionary, "dun" indicates a dull or dingy brown color, especially dull grayish brown, like the hair of the ass and mouse. We have to accept that the woman's breasts are somewhat brownish instead of as white as snow. Whether this confirms that his mistress is truly dark seems doubtful; most likely the cause of the claim here to her darkness is that of being deliberately provocative. In reality skin is never as white as snow, or as lilies, therefore to countermand the extravagant claims of other poets by a simple declaration of something closer to reality might jolt everyone to a truer appraisal of love and the experience of loving. Line four describes the lady's hair in detail. Traditionally hair has often been compared to golden wires or threads, as in the sonnet by Bartholomew Griffin given above. A Renaissance reader would not have visualized wire as an industrial object. Its main use at the time would have been in jewellery and lavish embroidery. The shock here is not in the wires themselves as a sign of beauty but in the fact that they are black. In line five and six, the speaker envisions the color of the lady's cheeks. White, red and damasked are the first three varieties of roses described in Gerard's Herbal, A History of Plants (1597). The damask rose was pinkish, and it has a more pleasant smell and fitter for meat and medicine. In Shakespeare's Sonnet, the image of rose, as the exemplar of all that is beautiful, has appeared from as early as Sonnet 1 and been presented as the most fitting symbol 我们的第一个感觉是视觉的。在第一至第六行中，莎士比亚使用了许多视觉形象来描绘情妇的容貌。诗人狡猾地运用彼特拉克式的形象，同时故意削弱它们。与传统的太阳般的眼睛不同，说话者声称他的情妇的眼睛“一点也不像太阳”。在第二行，女士的视觉形象继续：说话者描述她的嘴唇远非“珊瑚”。在莎士比亚时代，只有红色珊瑚才普遍可得，通常被视为装饰用途和珍贵石之一。然而，在我们的脑海中，我们看到一个嘴唇苍白、眼睛昏暗的女人。然后，说话者继续描述情妇的皮肤和胸部，传统上与白雪联系在一起。与珍珠和象牙胸部相反，这位女士的胸部被视为“暗色”，这可能让读者回到现实。根据牛津英语词典，“暗色”表示一种沉闷或暗淡的褐色，尤其是暗淡的灰褐色，如驴和老鼠的毛发。我们必须接受这位女士的胸部有些泛棕色，而不是像雪一样白。 这是否证实他的情妇确实是黑暗的似乎值得怀疑；这里声称她黑暗的原因很可能是故意挑衅。实际上皮肤从来不会像雪那样白，也不会像百合那样，因此通过简单宣称更接近现实的东西来反驳其他诗人的夸张说法，可能会让每个人对爱和爱的经历有更真实的评价。第四行详细描述了这位女士的头发。传统上，头发常常被比作金色的线或丝线，就像上面提到的巴塞洛缪·格里芬的十四行诗中所描述的那样。文艺复兴时期的读者不会将金属线想象成工业物品。当时主要用途可能是在珠宝和奢华刺绣上。这里的震惊不在于金属线本身作为美的象征，而在于它们是黑色的事实。在第五和第六行，说话者设想了这位女士脸颊的颜色。白色、红色和绣花是杰拉德的《草药史》（1597 年）中描述的前三种玫瑰的品种。绣花玫瑰呈粉红色，气味更宜人，更适合用于食物和药物。在莎士比亚的十四行诗中，玫瑰的形象作为一切美好的典范，早在第一首十四行诗中就出现了，并被呈现为最合适的象征
and simile of the youth. Since the woman's cheeks have no such "roses" growing in them, we can infer that she is weak and not young any more.
After the details about the mistress's looks, we come to the olfactory image and smell the lady's breath in the next two lines. In the traditional world of sonneteering the beloved's breath smells sweeter than all perfumes. It is part of the courtly tradition of love to declare and believe that the goddess whom one adores has virtually no human qualities. All her qualities are divine. This mistress, however, only produces "reeks." In Shakespeare's time, the word was not as suggestive of foetid exhalations as it is now. Even from an early date, it has tended to be associated with steamy, sweaty and unsavory smells. The original meaning seems to have been "to emit smoke." The expression is on a par with the earlier descriptions of dun breasts and hair made of black wire. 在描述情妇的外表细节之后，我们来到嗅觉形象，接着在接下来的两行中闻到了这位女士的气息。在十四行诗的传统世界中，心爱之人的气息比所有香水都要甜美。在宫廷爱情传统中，宣称并相信自己所崇拜的女神几乎没有人类的品质是一部分。她的所有品质都是神圣的。然而，这位情妇只散发出“臭味”。在莎士比亚的时代，这个词并不像现在那样暗示着难闻的呼吸。甚至从早期开始，它就倾向于与蒸汽、汗臭和令人不快的气味联系在一起。最初的意思似乎是“散发烟雾”。这种表达与早期对深褐色胸部和由黑色丝线制成的头发的描述相媲美。
Line nine and line ten dwell on an aural image. Curiously, these two lines almost express the opposite of their exact meaning. One is invited to read "I love to hear her speak, for the sound is far more pleasing than music to my ear." In fact that is almost a stronger meaning than the superficial and more obvious one, because the declaration that he loves to hear her surmounts the obstacle of his prior knowledge that music might be better. However much better it is he still would much prefer to listen to her voice, and his knowledge of the superiority of music is irrelevant. The introduction of the term music enlightens the speaker's experience of listening to his beloved. Technically the effect is perhaps achieved by the directness of the statement "I love to hear her speak," which is then consolidated by the pleasing sound of music that follows. 第九行和第十行聚焦在一种听觉形象上。耐人寻味的是，这两行几乎表达了与它们确切含义相反的意思。人们被邀请阅读“我喜欢听她说话，因为这声音比音乐更令我耳目一新。”事实上，这几乎是一个比表面和更明显的意思更强烈的含义，因为他喜欢听她说话的宣言克服了他先前知道音乐可能更好的障碍。无论音乐有多好，他仍然更愿意听她的声音，他对音乐的优越性的了解是无关紧要的。引入音乐这个术语使说话者对倾听他所爱的人的经历有了启示。从技术上讲，这种效果可能是通过直接陈述“我喜欢听她说话”，然后由接下来的音乐声音加以巩固。
The last two lines of the third quatrain invoke a tactile image. In the ancient world encounters with gods and goddesses were often reported, and probably quite widely believed. Literature abounds with incidents of intervention in human affairs by various deities. Shakespeare had himself described Venus in his poem Venus and Adonis. However, this beloved mistress is nothing like a goddess. When she walks, she "treads on the ground" with earthly feet. She has far outdistanced any divinity in her merely human beauties and her mortal approachability. 第三节四行诗的最后两行描绘了一幅触觉形象。在古代世界，人们经常报告与众神相遇的经历，这种情况可能相当广泛地被认为是真实的。文学作品中充斥着各种不同神灵干预人类事务的事件。莎士比亚在他的诗《维纳斯与阿多尼斯》中描述了维纳斯。然而，这位心爱的情人与女神截然不同。当她行走时，她用尘世的脚“踏在地上”。她的人类美丽和她的可接近性远远超过了任何神性。
Though the poet has employed visual, olfactory, aural, and tactile images to describe this beloved dark lady, the praise of his mistress seems so negative that we are left with the impression that she is almost unlovable. In the couplet, however, the speaker asserts his "rare" love, precious, superb, of fine and unusual quality. The word has indicated something more wonderful and richer than its modern uses. As we know, Shakespeare uses it far more frequently in his later plays. To the famous description of Cleopatra, Agrippa exclaims "O rare for Antony!" Though not being a goddess, his beloved may be as rare to him as if she were Cleopatra. 尽管诗人运用了视觉、嗅觉、听觉和触觉形象来描述这位心爱的黑暗女士，但对他的情人的赞美似乎如此消极，以至于我们留下的印象是她几乎不可爱。然而，在这对联中，说话者却断言他的“珍贵”爱情，珍贵、卓越，品质上乘且异常。这个词表明了比现代用法更美妙和更丰富的东西。众所周知，莎士比亚在他后期的剧中更频繁地使用这个词。在对克利奥帕特拉的著名描述中，阿格里帕惊叹道“哦，安东尼的珍贵！”尽管不是女神，他心爱的人对他来说可能像克利奥帕特拉一样珍贵。
The poem's concrete details strongly evoke the imagery of an ugly but adorable mistress. The last line, however, creates an ambiguity with the word "belied." Traditionally, the line is rephrased as "I think that my love is as rare as she is belied by false compare." Although this reading foregrounds Shakespeare's response to Petrarchan imagery, implying that other sonneteers actively misrepresent or "belie" their mistresses' beauty, it represents a strangely non-Shakespearian construction. Felicia Jean Steele has proved that for Shakespeare, "to belie" is to misrepresent someone actively, to lie about someone, almost to slander. For Shakespeare, the "belier" is always more significant than the "belied." In other words, the agent of the lying is 诗歌的具体细节强烈唤起了一个丑陋但可爱的情妇形象。然而，最后一行用“belied”一词造成了歧义。传统上，这一行被改写为“我认为我的爱就像她被虚假比较所掩盖的那样珍贵。”尽管这种阅读突出了莎士比亚对彼特拉克式意象的回应，暗示其他十四行诗作者积极地误传或“掩盖”他们情妇的美丽，但它代表了一种奇怪的非莎士比亚式结构。费利西亚·琼·斯蒂尔已经证明，对于莎士比亚来说，“掩盖”是积极地误传某人，对某人撒谎，几乎是诽谤。对于莎士比亚来说，“掩盖者”总是比“被掩盖者”更重要。换句话说，说谎者的行为者是
Shakespeare's focus of attention; he or she who is belied is simply the victim of ill will. If read with these Shakespearian tendencies, the final couplet of Sonnet 130 changes: "And yet, by heaven, I think my love as rare / As any [whom] she belied with false compare." This alternative reading changes the focus of the poem dramatically: the mistress becomes an agent of misrepresentation and potentially a poet herself, or at least a speaker who "belies" others "with false compare." The question becomes whom has she belied? Is this the reason that the poet says, "I love to hear her speak"? This proposed alternative reading in fact does not invalidate the premise that Shakespeare pokes fun at the overused Petrarchan conceits. Nevertheless, it does open up a possibility: the dark lady may actually be a speaking subject rather than simply an object of desire. 莎士比亚的关注焦点；被诋毁的人只是恶意的受害者。如果以这些莎士比亚式的倾向来阅读，130 号十四行诗的最后两行发生变化：“然而，我认为我的爱像天堂一样珍贵/如同她用虚假比较诋毁的任何人。”这种替代阅读大大改变了诗歌的焦点：情妇成为了一种误导的代理人，可能是一位诗人本身，或者至少是一个“用虚假比较”来“诋毁”他人的说话者。问题变成了她诋毁了谁？这就是诗人说“我喜欢听她说话”的原因吗？事实上，这种提出的替代阅读并没有否定莎士比亚取笑过度使用的彼特拉克式的套话的前提。然而，它确实打开了一个可能性：黑暗女士实际上可能是一个说话的主体，而不仅仅是一种欲望的对象。
The language of poetry is almost always visual and pictorial. Rather than depending on abstract ideas and elaborate reasoning, poetry mainly relies on concrete and specific words to create images in our minds. But being concrete does not simply mean being descriptive. Very often the vividness and forcefulness come through comparisons, or figures of speech. Broadly defined, a figure of speech is any way of saying something other tharr the ordinary way. Figurative language, that is, language using figures of speech, figures forth things that we cannot see or are not familiar in terms of something already known to us. For instance, God is said to be like a father, death is often compared to a sunset, and life is regarded as a forest, a journey, or a sea. Although some rhetoricians have classified as many as 250 separated figures, for poetic analysis a dozen will be sufficient. 诗歌的语言几乎总是视觉和形象的。诗歌主要依赖具体和具体的词语来在我们的头脑中创造形象，而不是依赖抽象的观念和复杂的推理。但具体并不仅仅意味着描述性。很多时候，生动和有力是通过比喻或修辞手法来实现的。广义上，修辞手法是指以非常规方式表达某事物的任何方式。比喻语言，也就是使用修辞手法的语言，描绘了我们无法看到或不熟悉的事物，或者用我们已知的事物来描述。例如，上帝被说成像父亲，死亡经常被比作日落，生活被视为森林、旅程或海洋。尽管一些修辞学家将多达 250 种不同的修辞手法分类，但对于诗歌分析来说，十几种就足够了。
Metaphor and simile are both used as means of comparing normally unrelated things. More than 2,300 years ago Aristotle defined metaphor as "an intuitive perception of the similarity in dissimilars." He also suggested that the greatest of a poet's achievement is to be the "master of metaphor." The twentieth-century American poet Robert Frost echoed Aristotle by maintaining that metaphor is central to poetry, and essentially poetry is a way of "saying one thing and meaning another." Unlike simile in which the comparison is expressed by the use of some word or phrase including like, as, and seems, metaphor implies the comparison, that is, the figurative term is substituted for or identified with the literal term. "Oh, my love is like a red, red rose" or "Oh, my love resembles a red, red rose" for instance, are similes while "Oh, my love is a red, red rose" counts a metaphor. Sometimes we have an implied metaphor, in which the writer does not use neither a connective nor the verb to be. "Oh, my love has red petals and sharp thorns" or "Oh, I placed my love into a long-stem vase/And I bandaged my bleeding thumb" are both good examples of implied metaphors. Different from similes that often make quick comparisons and usually do not elaborate, metaphors often extend over a long section of a poem or even over a whole poem, in which case they are called extended metaphors. The seventeenth-century metaphysical poets John Donn and Andrew Marvell are two of the great users of such metaphors. In everyday speech, simile and metaphor occur frequently. We use similes such as "The tickets are selling like hotcakes" and metaphors such as the "eye of a needle," the "bed of a river," the "foot of a bed," and the "head of a nation." Due to habitual use they are not surprising and are called dead similes and metaphors. The sense of freshness and originality is appreciated in poetry, hence similes and metaphors should be really alive in it. A good metaphor or a simile is a new naming replacing the ordinary way of naming an object, an action, or a process. Umbrellas may be described as "recurved blossoms of the storm," and the sense of emptiness is like a "great hole" in the head. 隐喻和比喻都是用来比较通常不相关的事物的手段。 2300 多年前，亚里士多德将隐喻定义为“对不同事物之间相似性的直觉感知”。 他还建议，诗人最伟大的成就是成为“隐喻的大师”。 20 世纪美国诗人罗伯特·弗罗斯特回应亚里士多德的观点，认为隐喻对诗歌至关重要，而诗歌本质上是一种“说一件事，意味着另一件事”的方式。 与比喻不同，比喻是通过使用包括“像”、“如”和“似乎”在内的某些词语或短语来表达比较，而隐喻暗示比较，即比喻性术语被替换或与字面术语等同。 例如，“哦，我的爱情像一朵红色的玫瑰”或“哦，我的爱情类似于一朵红色的玫瑰”是比喻，而“哦，我的爱情是一朵红色的玫瑰”则是隐喻。 有时我们有隐含的隐喻，作家既不使用连接词也不使用动词“是”。 “哦，我的爱情有红色的花瓣和尖锐的刺”或“哦，我把我的爱放在一个长茎花瓶里/我包扎了流血的拇指”都是隐含隐喻的很好例子。 与常常进行快速比较并通常不详细阐述的比喻不同，隐喻通常延伸至诗歌的一个较长部分，甚至整首诗，这种情况下被称为延伸隐喻。十七世纪的形而上诗人约翰·唐和安德鲁·马维尔是这种隐喻的伟大使用者之一。在日常语言中，比喻和隐喻经常出现。我们使用比喻，如“门票像热饼一样畅销”，以及隐喻，如“针眼”，“河床”，“床脚”和“国家之首”。由于习惯性使用，它们不足为奇，被称为陈词滥调的比喻和隐喻。诗歌中欣赏新鲜和独特的感觉，因此比喻和隐喻应该在其中真正生动。一个好的隐喻或比喻是一种新的命名，取代了对对象、行动或过程的普通命名方式。雨伞可以被描述为“风暴的反弯花朵”，而空虚的感觉就像头上的“大洞”。
Personification is another important figure of speech in which a thing, an animal, or an abstract term, such as truth or nature, is made human. It is actually a subtype of metaphor, an implied comparison in which the figurative term is always a human being. In Shakespeare's sonnet 73 "That time of year thou mayst in me behold," for instance, sleep is personified and identified as the "second self" of Death. Its main emphasis is on how night and sleep close in on our sense of twilight. Interestingly, personifications differ in the degree to which they ask the reader to visualize the literal term in human form. In Sylvia Plath's "Mirror," she personifies an object and makes a mirror speak and think, but we continue to visualize it as a mirror. In Keats's "To Autumn," the poet describes autumn as a harvester "sitting careless on a granary floor," which invite readers to make a complete identification of autumn with a human being. 拟人是修辞中的另一个重要手法，其中一个事物、动物或抽象术语，如真理或自然，被赋予人性。实际上，这是隐喻的一个子类，一种暗示性比较，其中比喻性术语总是一个人类。例如，在莎士比亚的十四行诗 73 中的“那个时节，你可以在我身上看到”，睡眠被拟人化，并被认定为死亡的“第二个自我”。它主要强调了夜晚和睡眠如何包围我们对黄昏的感知。有趣的是，拟人在要求读者将字面术语可视化为人类形式的程度上有所不同。在西尔维娅·普拉斯的《镜子》中，她拟人化了一个物体，让镜子说话和思考，但我们仍然将其视为镜子。在济慈的《致秋天》中，诗人将秋天描述为“坐在谷仓地板上漫不经心的收割者”，这邀请读者将秋天完全与一个人类进行类比。
Hand in hand with personification often goes apostrophe: a way of addressing someone absent or dead or something non-human as if that person or thing were present and alive and could reply to what is being said. The poet may address a spade, a moon, a historical figure, or a spirit. In "To Autumn" Keats, for instance, apostrophizes as well as personifies autumn. Like personification, apostrophe is a way of giving life and immediacy to the inanimate. 与拟人化常常伴随着撇号：一种称呼不在场或已故的人或非人类事物，就好像那个人或事物在场并且能够回应所说的话。诗人可能会称呼一把铁锹、一轮月亮、一个历史人物或一个精神。例如，在《致秋天》中，济慈既拟人化又使用撇号来赞美秋天。和拟人化一样，撇号是赋予无生命物体生命和即时性的一种方式。
Overstatement, understatement, and verbal irony form a series, for they consist, respectively, of saying more, saying less, and saying the opposite of what one really means. Overstatement, or hyperbole, is exaggeration in the service of truth. In order to emphasize, poets often exaggerate for effect. Instances are Marvell's profession of a love that should grow "Vaster than empires, and more slow" and John Burgon's description of Petra: "A rose-red city, half as old as Time." The opposite of overstatement is understatement, which implies less than one means. If, for example, upon sitting down to a loaded dinner plate, we say, "This looks like a nice snack," we are actually stating less than the truth. Verbal irony, saying the opposite of what one means, is often confused with sarcasm and satire. While sarcasm is bitter or cutting speech intending to give hurt, satire is a more formal term applied to written literature implying a ridicule of human folly or vice with the purpose of reforming or at least keeping people from making such mistakes. Irony indeed is a figure that may be used as their tool. When Stephen Crane writes "War is kind," for instance, he actually wants to convey the opposite idea. 夸张、轻描淡写和言语讽刺构成了一个系列，因为它们分别是说得更多、说得更少和说出真实意思的相反之处。夸张，或者叫夸张法，是为了真相而夸大其词。为了强调，诗人们常常夸张以产生效果。例如，马维尔(Marvell)表达的爱情应该“比帝国还要广阔，比时间还要缓慢”，约翰·伯冈(John Burgon)描述佩特拉(Petra)：“一座玫瑰红色的城市，比时间还要年轻”。夸张的相反是轻描淡写，暗示的意思少于实际意思。例如，当我们坐下来看到一盘满满的晚餐时，说“这看起来像是一顿不错的小吃”，实际上是说得比实际情况少。言语讽刺，说出真实意思的相反之处，常常被误解为讽刺和讽刺。虽然讽刺是苦涩或尖刻的言辞，意在伤害，讽刺是一个更正式的术语，用于指代文学作品，暗示对人类愚蠢或恶习的嘲讽，目的是改革或至少阻止人们犯下这样的错误。讽刺确实是一个可以作为他们工具使用的修辞手法。 当斯蒂芬·克莱恩写道“战争是善良的”时，实际上他想传达的是相反的观念。
In metonymy, the name of a thing is substituted for that of another closely associated with it. A. E. Housman's Terence uses metonymy in "Terence, This Is Stupid Stuff" when he advises fellows to "Look into the pewter pot/ To see the world as the world's not." By "pewter pot" he means the ale that is in the pot, not the pot itself, and by "world" he means human life and the conditions under which it is lived. A kind of metonymy, synecdoche is the use of a part of a thing to stand for the whole of it or vice versa. When Ezra Pound's speaker in "Portrait d'un Femme" says "Great minds have sought you," he is using synecdoche, because what he means is "men with great minds." 在换喻中，一件事物的名称被另一件与之密切相关的事物的名称所替代。A. E.豪斯曼的泰伦斯在《泰伦斯，这是愚蠢的东西》中使用了换喻，当他建议同伴们“看看锡壶/看看世界并非真实”时。他所说的“锡壶”指的是壶里的麦酒，而不是壶本身，“世界”则指人类生活及其所处的条件。一种换喻，借代是使用事物的一部分来代表整体，反之亦然。当埃兹拉·庞德在《一个女人的肖像》中说“伟大的头脑曾寻找过你”时，他使用了借代，因为他的意思是“有伟大头脑的人”。
Paradox occurs in a statement that at first seems self-contradictory but on reflection makes some sense. In a sonnet, the blind John Milton writes about his encounter with his dead wife one night in a dream. The poem ends in a paradox: "But oh, as to embrace me she inclined, / I waked, she fled, and day brought back my night." We understand here that literally day does not bring back night, but the awakening does announce the end of the dream and lead to the speaker's 悖论发生在一种起初看起来自相矛盾但经过反思又有些道理的陈述中。在一首十四行诗中，盲目的约翰·弥尔顿写道他在梦中与已故妻子相遇的经历。这首诗以一个悖论结束：“但哦，当她倾向于拥抱我时，/我醒来，她逃走，白昼带回我的黑夜。”我们在这里理解，从字面上讲，白昼并不会带回黑夜，但醒来确实宣告了梦的结束，并导致讲述者的。
sorrow.
Pun, or play of words, usually reminds the readers of another word or other words of similar or identical sounds but of very different denotation. It is often used to achieve a facetious effect. When asked about the difference between men and womeq, Samuel Johnson, the great dictionary-maker, replied, "I can't conceive, madam, can you?" Tactically, Johnson solved the problem by using a pun "conceive," indicating the ability both to form an idea and become pregnant. Puns may also be serious, as in the lines by E. E. Cummings: "the bigness of cannon/ is skillful." When reading aloud, "is skillful" becomes "is killful," implying the cannon's exclusiveness. 双关语通常会让读者联想到另一个词或其他发音相似或相同但含义完全不同的词。它经常被用来达到滑稽的效果。当被问及男人和女人之间的区别时，伟大的词典编纂者塞缪尔·约翰逊回答说：“我无法想象，夫人，你能吗？”战术上，约翰逊通过使用双关语“conceive”解决了这个问题，表明了既能形成想法又能怀孕的能力。双关语也可能是严肃的，就像 E·E·卡明斯的这句话：“大炮的巨大/是技巧。”在朗读时，“is skillful”变成了“is killful”，暗示了大炮的独特性。
Obviously, every use of figurative language involves a risk of misinterpretation, though the risk is worth taking. If we are to read poetry well, we have to be able to interpret figurative language. Through imagination and practice our ability of interpretation can be much increased. For a person who can translate the figure, the dividends are immense. 显然，每一次使用比喻语言都涉及误解的风险，尽管这种风险是值得冒的。如果我们要读好诗歌，就必须能够解释比喻语言。通过想象力和实践，我们的解释能力可以大大增强。对于能够翻译这种比喻的人来说，回报是巨大的。
Relerences
Abrams, M. H. A Glossary of Llterary Terms. 5th ed. New York: Holt, Rinehart, and Winston, 1988.
Baldick, Chris. Oxford Concise Dictionary of Literary Terms. Shanghai: Shanghai Foreign Language Education Press, 2001.
Beaty, Jerome, and J. Paul Hunter, eds. The Norton Introduction to Literature, 7th ed. New York: W. W. Norton & Company, 1998
DiYanni, Robert, ed. Literature: Reading Flction, Poetry, and Drama. 5th ed. Boston: McGraw Hill, 2002. Kennedy, X. J., and Dana Gloia. An Introductlon to Poetry. 10th ed. New York: Longman, 2002. Perrine, Laurence, ed. Sound and Sense: An Introduction to Poetry, 7th ed. San Diego; Harcourt Brace Jovanovich, Publishers, 1987 DiYanni, Robert，编辑。文学：阅读小说、诗歌和戏剧。第 5 版。波士顿：麦格劳希尔，2002 年。肯尼迪，X. J.，和戴娜·格洛伊亚。诗歌导论。第 10 版。纽约：朗曼，2002 年。佩林，劳伦斯，编辑。声音与意义：诗歌导论，第 7 版。圣地亚哥：哈考特布雷斯乔万诺维奇出版社，1987 年。
If I feel physically as if the top of my head were taken off. I know that is poetry.
Emily Dickinson
Emily Dickinson is considered one of the most original nineteenth-century American poets. A deeply sensitive woman, Dickinson lived a mostly reclusive life questioning the puritanical background of her family and exploring her own spirituality. She is noted for her unconventional broken rhyming meter, use of dashes and random capitalization as well as her creative use of metaphor and innovative style. Her major motifs include flowers and gardens, eternity, morbidity associated with illness, dying and death, the teachings of Jesus Christ, as well as the undiscovered continent referring to the mind and spirit. Fewer than a dozen of her nearly eighteen hundred poems appeared during her lifetime. Her first collection of poetry was published in 1890 by personal acquaintances who heavily edited the content. A complete and mostly unaltered collection The Poems of Emily Dickinson was printed for the first time in 1955. Since then, her sophistication and profound intellect has been glorified by laymen and scholars alike and influenced many other authors and poets into the twenty-first century. 艾米莉·狄金森被认为是十九世纪美国最原创的诗人之一。作为一个深感敏感的女性，狄金森过着大部分隐居生活，质疑她家庭的清教徒背景，并探索自己的灵性。她以不拘一格的押韵节奏、破折号的运用、随机大写字母以及创造性的隐喻和创新风格而闻名。她的主要主题包括花朵和花园、永恒、与疾病相关的病态、死亡和死亡、耶稣基督的教导，以及指代头脑和精神的未被发现的大陆。她近 1800 首诗中只有不到十几首在她有生之年发表。她的第一部诗集于 1890 年由个人熟人出版，对内容进行了大幅编辑。她的诗集《艾米莉·狄金森诗集》于 1955 年首次完整且基本未经修改地印刷。从那时起，她的复杂和深刻的智慧受到了外行人和学者的赞美，并影响了许多其他作者和诗人直至 21 世纪。
I like to see it lap the Miles
I like to see it lap the Miles -
And lick the Valleys up -
And stop to feed itself at Tanks -
And then - prodigious step
Around a Pile of Mountains -
And supercilious peer
In Shanties - by the sides of Roads -
And then a Quarry pare
To fit its Ribs?
And crawl between
Complaining all the while
In horrid - hooting stanza
Then chase itself down Hill -
And neigh like Boanerges -
Then - punctual as a Star
Stop - docile and omnipotent
At its own stable door -
1 Tanks: (盛液体的) 槽, 桶。这里既指饮马槽, 也指油箱。
2 prodigious: 巨大的。
3 supercilious: 自大的, 傲慢的,目空一切的。
4 peer: 凝视，盯着看。
5 Shanties: 简徆小屋, 棚屋。
6 a Quarry pare: Quarry: 采石场。pare: 削去,修剪。火车削去的是草地和泥土。
Dickinson, Emily. "I like to see it lap the Miles." Literature: Reading Fiction, Poetry, and Drama. Ed. Robert DiYanni. 5th ed. Boston: McGraw Hill, 2002. 855.
Paraphrase the poem line by line. Explain what is said or suggested in each line of the poem.
Identify the speaker and the tone. Is the speaker possibly an advocate or an antagonist of the situation?
How do the poem's diction and imagery help convey its meaning?
Try to analyze the figures of speech in the poem.
What social, cultural, or other values seem central to the poem?
A Brief Analysis of "I like to see it lap the Miles"
One of the most widely anthologized of Dickinson's poems, "I like to see it lap the Miles" was composed in 1862 and first published in 1891. Apparently the poet builds her poem around the image of the train, symbol of the technological progress, and infuses it with new life by imagining that the locomotive has some attributes of the horse. First it covers miles and crosses the valleys with an unbelievable speed, then stops to feed itself and with a new strength and zeal resumes its journey. Roaring arrogantly, it peeps into the huts by the sides of the tracks while running through them. It also passes through a narrow tunnel making a loud and horrible noise. Then down the hill it moves neighing like Boanerges, the famous war horse, and finally arrives at its destination on time. Not identifying the object nor its metaphorical equivalent, the poet asks readers to make connections by themselves. Part of the charm of the poem just lies in its indirection: it is written in the form of a riddle, which provides sharply divergent interpretations. 《我喜欢看它跑过英里》是狄更生诗歌中最广泛被选入选集的之一，创作于 1862 年，首次发表于 1891 年。显然，诗人围绕火车这一象征着技术进步的形象构建了她的诗歌，并通过想象火车具有马的某些属性来赋予它新生命。它首先以难以置信的速度穿越英里，越过山谷，然后停下来自我滋养，以新的力量和热情继续旅程。它咆哮着傲慢地窥视着沿着铁轨两侧的小屋，同时奔跑着穿过它们。它还穿过一个狭窄的隧道，发出巨大而可怕的噪音。然后它沿着山坡移动，像著名的战马波奈尔吉斯一样嘶鸣，最终准时到达目的地。诗人没有明确指出对象或其隐喻等价物，而是要求读者自行建立联系。这首诗的魅力部分在于其间接性：它以谜语的形式写成，提供了截然不同的解释。
Ostensibly, the poem is basically a comic eulogy of the Amherst-Belchertown Railroad. According to Richard Brantley, Dickinson's art thrives on her admiration for, as well as her knowledge about, the Industrial Revolution. In her letter on February 6, 1852, Dickinson reported the progress of the railway: "[T]he grand Rail Road decision is made, and there is great rejoicing throughout this town and the neighboring. [...] Every body is wide awake, every thing is stirring, the streets are full of people talking cheeringly. [...] Nobody believes it yet, it seems like a fairy tale, a most miraculous event in the lives of us all." The account may tell Dickinson's deep, fresh, and early involvement with the American mechanical arts, the nineteenth-century technological achievement. As a matter of fact, her father himself had become director of the Amherst and Belchertown Railroad and culminated his interest in empirical procedures. The fact that Dickinson's train moves seems to have something to do with the earnest and progressive spirit of her father and of the Industrial Revolution. The poem, then, appears to be a demonstration of Dickinson's youthful-American spirit of near-triumphalism and optimism about the steam power and the steamdriven engine in particular. 表面上，这首诗基本上是对安赫斯特-贝尔切敦铁路的滑稽颂词。根据理查德·布兰特利的说法，狄更生的艺术源于她对工业革命的钦佩和了解。在 1852 年 2 月 6 日的一封信中，狄更生报告了铁路的进展：“大铁路决定已经做出，全镇和邻近地区都在欢庆。[...]每个人都很清醒，一切都在活跃，街上挤满了人们在愉快地交谈。[...]没有人相信这件事，它看起来像一个童话故事，在我们所有人的生活中是一个奇迹般的事件。”这段描述可能反映了狄更生对美国机械艺术、19 世纪技术成就的深刻、新鲜和早期参与。事实上，她的父亲本人已经成为安赫斯特和贝尔切敦铁路的董事，并且达到了他对实证程序的兴趣的顶峰。狄更生的火车运行似乎与她父亲以及工业革命的认真和进步精神有关。 这首诗似乎展示了狄更生年轻的美国精神，对蒸汽动力和蒸汽驱动引擎的近乎胜利主义和乐观主义。
Despite the positive edge to this well-known lyric, the ironic tone comes through. Beneath the playful surface there seems a serious social consciousness with which the poem suggests that the train does not necessarily signify social progress. If the poet implies pride in her father for bringing the world to Amherst, her suspicion controls her passion. Compared with "To a Locomotive in Winter" by Walt Whitman, this poem demonstrates a devastating critique of the theme of progress. Similar to "I like to see it lap the Miles," "To a Locomotive in Winter" is also about a train which is described as very strong and powerful in a positive way. The differences between the two poems are so conspicuous that the latter deserves to be quoted in full: 尽管这首著名歌词有积极的一面，但讽刺的语调透露出来。在轻松的表面之下，似乎有着严肃的社会意识，诗歌暗示火车并不一定代表社会进步。如果诗人暗示对她父亲为安赫斯特带来世界感到自豪，她的怀疑控制了她的激情。与沃尔特·惠特曼的《冬日火车》相比，这首诗表现出对进步主题的毁灭性批评。与《我喜欢看它跑过英里》类似，《冬日火车》也是关于一列火车，以积极的方式描述为非常强大和有力。这两首诗之间的差异如此明显，以至于后者值得全文引用：
To a Locomotive in Winter
Thee for my recitative,
Thee in the driving storm, even as now, the snow, the winter-day declining,
Thee in thy panoply, thy measur'd dual throbbing, and thy beat convulsive,
Thy black cylindric body, golden brass, and silvery steel,
Thy ponderous side-bars, parallel and connecting rods, gyrating, shuttling at thy sides,
Thy metrical, now swelling pant and roar, now tapering in the distance,
Thy great protruding head-light fix'd in front,
Thy long, pale, floating vapor-pennants, tinged with delicate purple,
The dense and murky clouds out-belching from thy smoke-stack,
Thy knitted frame, thy springs and valves, the tremulous twinkle of thy wheels,
Thy train of cars behind, obedient, merrily-following,
Through gale or calm, now swift, now slack, yet steadily careering;
Type of the modern - emblem of motion and power - pulse of the continent,
For once, come serve the Muse, and merge in verse, even as here I see thee,
With storm, and buffeting gusts of wind, and falling snow,
By day, thy warning, ringing bell to sound its notes,
By night, thy silent signal lamps to swing.
Fierce-throated beauty!
Roll through my chant, with all thy lawless music! thy swinging lamps at night,
Thy piercing, madly-whistled laughter, echoing, rumbling like an earthquake, rousing all,
Law of thyself complete, thine own track firmly holding,
(No sweetness debonair of tearful harp or glib piano thine,)
Thy trills of shrieks by rocks and hills return'd,
Launch'd o'er the prairies wide, across the lakes.
To the free skies, unpent, and glad, and strong.
Whitman's speaker is definitely a supporter of the technological progress of America, represented by the locomotive. In form of address the speaker gives a detailed description of how it sounds, looks like and works, pointing out how strong and good-working the engine is. In line 21 it is described as "Type of the modern - emblem of motion and power - pulse of the continent." 惠特曼的讲述者绝对是美国技术进步的支持者，以火车头为代表。在致辞形式中，讲述者详细描述了它的声音、外观和工作原理，指出这台引擎是多么强大和高效。在第 21 行中，它被描述为“现代的象征 - 运动和力量的标志 - 大陆的脉搏。”
The locomotive is thus a symbol for the technical progress of America and has enough strength to drive the technical fortune.
On the contrary, Dickinson's "I like to see it lap the Miles" is full of negative connotations. Readers are often confused with the happy declaration of the lyrical I and tend to reckon the poet's own liking of the train. Nevertheless, the point of view of the speaker cannot be identified with that of the poet. The deliberate naivete of the opening statement, "I like to see it..." with its pose of uncritical enthusiasm, is undercut again and again throughout the poem, yet it represents an attitude which must have predominated in Dickinson's own family as well as among the general public. Thus the tension is created between the superficial reactions Dickinson saw around her and her own profound reservations about this new glorification of speed and power. Besides, the apparently positive response of the poem contains a number of negative words, such as "lap," "lick," "prodigious," "supercilious," "pare," "Complaining," "horrid," "hooting," "omnipotent," all of which create an ironic warning of impending technological catastrophe. Beneath the poem's undoubtedly humorous surface, we can recognize a version of "some rough beast" of threatened destruction. 相反，狄金森的《我喜欢看它跑过英里》充满了负面含义。读者常常会对抒情的“我”快乐的宣言感到困惑，并倾向于认为诗人自己喜欢火车。然而，说话者的观点不能与诗人的观点相提并论。开篇陈述的故意天真，“我喜欢看它……”以及其表现出的毫无批判性的热情，一再在整首诗中被削弱，但它代表了狄金森自己家庭以及普通大众中必然占主导地位的一种态度。因此，在狄金森周围看到的表面反应与她对这种新的速度和力量的赞美的深刻保留之间产生了紧张。此外，诗歌中明显的积极回应包含了许多负面词语，如“跃过”，“舔”，“巨大的”，“傲慢的”，“削减”，“抱怨”，“可怕的”，“呼啸”，“全能的”，所有这些都构成了对即将到来的技术灾难的讽刺警告。在这首诗无疑幽默的表面之下，我们可以认出一种受到威胁的毁灭的“一些粗糙的野兽”的版本。
Figures of Speech in "I like to see it lap the Milles"
As we know, metaphors may take one of four forms. In the first form, both literal and figurative terms are named. In the second form, the literal term is named and the figurative term is implied. In the third form, the literal term is implied and the figurative term is named. "I like to see it lap the Miles" takes the fourth form, in which both the literal and figurative terms are implied, hence its complexity. Such a strategy has evidently proved attractive to the general audience, if we can judge by the poem's familiarity. 正如我们所知，隐喻可以采取四种形式之一。在第一种形式中，既有字面意义又有比喻意义的术语被命名。在第二种形式中，命名了字面意义的术语，暗示了比喻意义。在第三种形式中，暗示了字面意义的术语，命名了比喻意义。"我喜欢看它跑过英里"采用了第四种形式，其中既暗示了字面意义又暗示了比喻意义，因此具有复杂性。这种策略显然对普通观众具有吸引力，如果我们可以根据诗歌的熟悉程度来判断的话。
The poem begins with a description of the swiftness of the unnamed creature that laps and licks the landscape. Instead of simply passing through them, the creature somehow swallows up the miles and valleys. Its presence seems intrusive and a threat to the natural world. In the third line, it feeds itself without the help of any human being, indicating the absence of human control. Then it becomes "prodigious," a giant able to "step/Around a Pile of Mountains - " Here the immense size has.been stressed instead of the speed and becomes the dominant impression. The mountains are accordingly reduced to the dimensions of a heap of rubble because the monstrous size of the creature is beyond the human, or even the natural, scale. 诗歌以描述未命名生物的迅速开始，它舔舐着风景。这个生物不仅仅是简单地穿过它们，而是以某种方式吞噬了里程和山谷。它的存在似乎是侵入性的，对自然界构成威胁。在第三行，它自给自足，没有任何人类的帮助，表明人类控制的缺失。然后它变得“巨大”，一个能够“踏过一堆山脉”的巨人。在这里，巨大的尺寸被强调，而不是速度，并成为主要印象。因此，山脉被缩小到一堆碎石的尺寸，因为这个庞大生物的尺寸超出了人类甚至自然的尺度。
In the following lines, the creature confronts human beings in an explicit way. We see it "supercilious peer/In Shanties - by sides of Roads - " In history, these shanties are homes of the immigrant laborers' homes. They lay the tracks for the railroad, but are now looked down upon by the created which peers into the dilapidated shacks. The right relationship between man and machine has been distorted, or even reversed. The personification of the train here further translates the attitude of social superiority the creature assumes into the snobbery of the local gentry toward these workers. 在接下来的几行中，这个生物以明确的方式面对人类。我们看到它“傲慢地凝视/在棚屋旁 - 在路边 -” 在历史上，这些棚屋是移民劳工的住所。他们铺设了铁路的轨道，但现在被创造出来的生物所轻视，凝视着那些破旧的棚屋。人与机器之间的正确关系已经扭曲，甚至颠倒了。这里火车的拟人化进一步将生物所假定的社会优越感转化为当地绅士对这些工人的势利眼。
In lines that follow, the creature seems to determine its own journey: it pares the quarry, "fit
its ribs, and crawl between" indicating its passage through a tunnel. There seems no room for anything else because it shapes space to suit itself. The word "quarry" may indicate the creature's appetite as the innards of the mountain have become its prey which it strips. The creature's self-absorption continues to the end of this stanza as it "chase[s] itself down Hill -" Interesting enough, up to this point nothing in the poem has indicated that the creature is a horse. It is more like a serpent which resembles the actual shape of a train. 它的肋骨，爬行在之间"表明它穿过隧道。似乎没有空间容纳其他任何东西，因为它塑造空间以适应自己。"采石场"这个词可能表明这个生物的食欲，因为山腹的内脏已成为它的猎物，它剥夺了它。这个生物的自我吸收一直延续到这一节的结尾，因为它"追逐自己下山-"有趣的是，到目前为止，诗中没有任何地方表明这个生物是一匹马。它更像是一条类似火车实际形状的蛇。
In the next stanza, Dickinson combines metaphor with simile. The creature is "neighing like Boanerges - / Then - punctual as a Star." The iron horse is finally alluded to clearly. Its sound is compared to "Bonanerges," the biblical name, meaning "Sons of Thunder," given by Jesus to his disciples James and John who try to bring down fire upon an inhospitable Samaritan village (Mark 3: 17). Therefore, the name not only connotes noise but also destruction. Unlike the disciples who obey their Master, the beast seems to be on its own. 在下一节中，狄金森将隐喻与明喻结合起来。这个生物“像波奈尔吉斯一样嘶鸣 - / 然后 - 如星星一样准时。” 铁马最终被明确提及。它的声音被比作“波奈尔吉斯”，这是圣经中的名字，意为“雷之子”，耶稣赐给他的门徒雅各和约翰，他们试图在一个不友好的撒玛利亚村庄上降下火焰（马可福音 3:17）。因此，这个名字不仅暗示着噪音，还暗示着毁灭。与顺从主人的门徒不同，这个野兽似乎是独立行动的。
In the final lines the creature is described both "docile and omnipotent." This paradox points toward the answer to the riddle. We should be aware that "omnipotent" indeed is a divine attribute, properly applicable to God alone. The all-powerful God has only been "docile" for one time when he was born. The star and the stable suddenly present a new meaning: they remind us of the infant Christ. This creature, like Jesus Christ, has become the sole participant in a new nativity. It is both the sign (star) and the carrier, which lead to the stable, to see and worship the new god - itself. Here we might also recall the serpent's temptation in Genesis: "Ye shall be as gods." 在最后几行中，这个生物被描述为“温顺而全能”。这种悖论指向了谜底的答案。我们应该意识到，“全能”确实是一个神圣的属性，只适用于上帝。全能的上帝只有在出生时才“温顺”过一次。星星和马厩突然呈现出新的意义：它们让我们想起了婴孩基督。这个生物，像耶稣基督一样，已经成为新诞生的唯一参与者。它既是标志（星星），也是载体，引领我们到马厩，看见并崇拜新的神——它自己。在这里，我们也可以回想起《创世记》中的蛇的诱惑：“你们必如神一样。”
Thus the poem may be read as a commentary on the human capacity to create idols. On the surface the speaker is celebrating the newly-born "docile" iron horse, but we can tell the very irony that the train itself is to become "omnipotent," an all-powerful god made by human hands but no long under control. It seems that the servant threatens to become the master whose unbridled speed and power are capable of consuming the nature and human world around it. 因此，这首诗可以被解读为对人类创造偶像的能力的评论。在表面上，说话者正在庆祝新生的“温顺”铁马，但我们可以看出火车本身将成为“全能”的讽刺，这是人类制造的全能之神，但不再受控制。似乎仆人威胁要成为主人，其无拘无束的速度和力量有能力消灭周围的自然和人类世界。
Relerences
"Emlly Dlckinson." 14 Mar, hittp://www.online-literaiure com/dickinson/>"Emily Dickinson." 14 Mar. 2008 <http://en.wikjpedia.org/wik//Emily diekinson>orconnell, Patrick F. "Emlly Dlckinson's Train: Iron Horse or 'Rough Beast?" Amerlcan Literature 52 (1980):.Whitman, Wait, "TTo a Locomotive in Winter." The Amerlcan Tradition In Literature. Ed. Sculley BradleyRichmond Croom Beatty, and E. Hudson Long. Vol. 2. New York: Grosset & Duniap, Inc.. 1967.
2.6 Sound and Rhythm
Poetry is almost a musical language distinguished from other languages used only to convey information. Historically, poetry began as an oral art and some poems were performed with some kind of musical instrument accompanied. A poem is more fully experienced when a reader reads or hears it. Basically, a poet has two ways to achieve musical quality: by the choice of sounds and by rhythm. 诗歌几乎是一种与其他语言区分开来的音乐语言，仅用于传达信息。 从历史上看，诗歌起源于口头艺术，一些诗歌是伴随着某种乐器演奏的。 当读者阅读或听到诗歌时，会更充分地体验到诗歌。 基本上，诗人有两种方式来实现音乐质量：通过声音的选择和节奏。
Poets often select sounds as an emotional stimulus. By adapting the sound to its content, a poet can reinforce the meaning and intensify the communication. The sound of , for instance, suggesting the swishing of water, is accurately used in Henry Howard Surrey's line "Calm is the sea, the waves work less and less." In the company of meaning, the sound becomes more powerful and contributes greatly to a poem's effect. In poetry, when the sound of words is working harmoniously with meaning, the effect is euphony. The opposite is cacophony, indicating a harsh, discordant effect. 诗人经常选择声音作为情感刺激。通过将声音调整到内容，诗人可以加强意义并加强沟通。例如， 的声音，暗示水的潺潺声，在亨利·霍华德·萨里的句子“海面平静，波浪逐渐减弱”中被准确地使用。在意义的陪伴下，声音变得更加强大，并对诗歌的效果做出了巨大贡献。在诗歌中，当词语的声音与意义和谐地配合时，效果是悦耳动听的。相反的是刺耳声，表明一种刺耳、不和谐的效果。
Among poetic devices onomatopoeia is the one that relates sound more closely to meaning. It is an attempt to represent a thing or action by a word that imitates the sound associated with it: crash, bang, ding-dong, or pitter-patter. Using onomatopoeia, Emily Dickinson wrote an effective line about the fly with its "uncertain stumbling Buzz," in which the sounds , and help make a droning buzz. 在诗歌设备中，拟声是一种将声音与意义更紧密联系的手法。它试图通过模仿与之相关的声音的词语来代表一件事物或行动：砰、嘭、叮咚或沙沙声。艾米莉·狄金森利用拟声写了一句有效的关于苍蝇的句子，描述其“摇摇晃晃的嗡嗡声”，其中声音 和 有助于形成一种嗡嗡声。
Like musical pieces, poems have patterns of sound, among which long popular is alliteration, a succession of similar sounds. Initial alliteration occurs in the repetition of the same consonant sound at the beginning of successive words, as in "safe and sound," "fish or fowl," or "round and round the rugged rocks the ragged rascal ran." Internal alliteration occurs inside the words, as in E. E. Cummings's "colossal hoax of clocks and calendars." The sound of within "hoax" alliterates with the chs in "clocks." As is shown, we recognize alliteration by sound, not by spelling. For instance, "know" and "nail" alliterate while "know" and "key" do not. In old English verse, each line was held together by alliteration. Most poets nowadays keep alliterations for special occasion as they always direct our attention. Poets may use it for emphasis, as in Edward Lear's lines "Far and few, far and few./ Are the lands when the Jumblies live." With the aid of sound, it is easy to point out the connection between things. If we repeat the sound of a vowel instead of a consonant, we produce assonance, as in "light vine," "holy smoke," or "eager beaver." Like alliteration, it slows the reader down and makes the phrases unforgettable. Sometimes alliteration and assonance are even combined, as in "time and tide," or "sink or swim." 像音乐作品一样，诗歌也有声音模式，其中长期流行的是头韵，即一系列相似的声音。初始头韵出现在连续单词开头重复相同辅音音素的情况下，如“平安无事”，“鱼或禽”，或“在崎岖的岩石周围，那个褴褛的流氓跑来跑去”。内部头韵出现在单词内部，如 E.E.卡明斯的“时钟和日历的巨大骗局”。在“骗局”中的/s/与“时钟”中的/chs/发生头韵。正如所示，我们通过声音而不是拼写来识别头韵。例如，“知道”和“指甲”发生头韵，而“知道”和“钥匙”则不发生头韵。在古英语诗歌中，每行都由头韵连接在一起。大多数现代诗人将头韵保留给特殊场合，因为它们总是引起我们的注意。诗人可能用它来强调，如爱德华·利尔的句子“远处和稀少，远处和稀少。当翁布利人生活时，土地是如此”。借助声音，很容易指出事物之间的联系。如果我们重复元音的声音而不是辅音，我们就会产生谐音，如“轻藤”，“神圣的烟雾”，或“热心的海狸”。像头韵一样，它能让读者放慢速度，使短语难以忘怀。有时候头韵和元音谐音甚至会结合在一起，比如“时光荏苒”或“生死存亡”。"
Although most contemporary English poetry is unrhymed, rhyme is one important means to set poetry different from ordinary speech and bring it closer to music. A rhyme, narrowly defined, occurs when two or more words or phrases contain an identical or similar vowel-sound, 尽管大多数当代英语诗歌都是无韵的，但韵律是将诗歌与普通语言区分开来并使其更接近音乐的重要手段之一。狭义上定义，韵律发生在两个或更多单词或短语包含相同或相似元音音韵时。
usually stressed, and the consonant-sounds (if any) that follow the vowel-sound are identical, as in "hay" and "sleigh," "prairie schooner" and "piano tuner." As is seen, rhyme also depends on sound, not on spelling. Robert Herrick, for instance, makes good use of rim to surprise: "Then while time serves, and we are but decaying. / Come, my Corinna, come, let's go a-Maying." With the rhyming words, the poet calls to mind things so unlike as "May" and "decay." Starting reverberation between words and pointing to their connections in meaning, rhyme helps poets to group ideas, emphasize certain words, and weave a poem together. To have an exact rhyme, final consonant sounds should be identical: "red" and "bread," "wealthily" and "stealthily," "walk to her" and "talk to her." If the consonants are the same but the vowels are different, we have slant rhyme, also named near rhyme, off rhyme, or imperfect rhyme, as "sun" rhyming with "bone," "moon," "rain," or "green." Many poets love the unexpected effects of slant rhyme. William Blake, for instance, uses it to express disappointed letdowns and negations: "He who the ox to wrath has moved/ Shall never be by woman loved." Consonance is indeed a kind of slant rhyme. The rhymed words or phrases share the same beginning and ending consonants, but have a different vowel, as in "spoiled" and "spilled." W. H. Auden's line " where are you going?" said the reader to rider," is a good example of consonance. When rhyming words appear at the end of lines, they are called end rhymes, which are most frequently used in English verses. If they occur in the middle, they are internal rhymes. Poets may choose to use either kind or employ both in one poem. Another classification is made between masculine rhyme and feminine rhyme. The former is a rhyme of one-syllable words ("jail," "bail") or (in words of more than one syllable) stressed final syllables: "divorce" and "remorse." Feminine rhyme is a rhyme of two or more syllables, with stress on a syllable other than the last: "turtle" and "fertile." Skillfully used, feminine rhyme often heightens the musical effect of a poem. We must not, however, have the impression that all poems should employ rhymes. Like other devices, rhymes can only be judged in the light of the poet's total intention. For many poems, especially modern poems, rhymes would not be appropriate. Besides, the unskillful or excessive use of rhymes will become humorous or silly. 通常是重读的，跟随元音音素的辅音音素（如果有的话）是相同的，比如“hay”和“sleigh”，“prairie schooner”和“piano tuner”。如所见，押韵也取决于音韵，而不是拼写。例如，罗伯特·赫里克（Robert Herrick）巧妙地利用了韵脚来制造惊喜：“Then while time serves, and we are but decaying. / Come, my Corinna, come, let's go a-Maying.” 通过押韵的词语，诗人让人想起了“May”和“decay”这样截然不同的事物。通过在词语之间产生回响并指向它们在意义上的联系，押韵帮助诗人将思想分组，强调某些词语，并将一首诗编织在一起。要有完全的押韵，最后的辅音音素应该是相同的：“red”和“bread”，“wealthily”和“stealthily”，“walk to her”和“talk to her”。如果辅音相同但元音不同，我们就有了半押韵，也称为近押韵、偏押韵或不完全押韵，比如“sun”与“bone”、“moon”、“rain”或“green”押韵。许多诗人喜欢半押韵带来的意想不到的效果。例如，威廉·布莱克（William Blake）用它来表达失望和否定：“He who the ox to wrath has moved/ Shall never be by woman loved.共鸣确实是一种倾斜押韵。押韵的词语或短语共享相同的起始和结尾辅音，但元音不同，如“spoiled”和“spilled”。W. H. 奥登的句子“ 你要去哪里？”读者对骑手说，是共鸣的一个很好的例子。当押韵的词语出现在行尾时，它们被称为尾韵，这在英语诗歌中最常用。如果它们出现在中间，它们被称为内韵。诗人可以选择在一首诗中使用任一种或两种都使用。另一种分类是男韵和女韵之间的区别。前者是一个音节词的押韵（“jail”，“bail”）或（多音节词中）重读的最后一个音节：“divorce”和“remorse”。女韵是两个或更多音节的押韵，重音在最后一个音节以外的音节上：“turtle”和“fertile”。巧妙地使用，女韵常常增强诗歌的音乐效果。然而，我们不应该认为所有诗歌都应该使用押韵。像其他手法一样，押韵只能根据诗人的整体意图来评判。 对于许多诗歌，尤其是现代诗歌，押韵可能并不合适。此外，押韵的不熟练或过度使用会变得滑稽或愚蠢。
Employing rhyming words or not, every poem has a rhythm, which means the recurrence of stresses and pauses. A stress, or accent, is a greater amount of force given to one syllable in speaking than is giving to another. The stress will bring more emphasis and we often read it slightly louder, higher in pitch, or longer in duration than other syllables. Though every English word at least has one stress, it is difficult to notice a rhythm in one word. At least we should have a few words to establish a pattern. When stresses recur at fixed intervals, the result is called a meter. For measuring verse we often use the foot and the line. The basic metrical unit is the foot. Normally it comprises one accented syllable and one or two unaccented syllables. The prevailing metrical foot is iambic, which means an unstressed syllable followed by a stressed syllable, such as "the sun." The secondary unit of measurement is the line, which is measured by naming the number of feet in it. The frequently used number is five, and the line is thus called pentameter. A foot and a line can be combined to describe the musical feature of a poem. For instance, we can divide the line "The lights begin to twinkle from the rocks" into five feet: the lights/ begin/ to twin-/kle from/the rocks, and in each foot, we may detect that the unaccented syllable is always followed by a stressed one. If most of the lines of the poem are written in this way, 无论是否使用押韵词，每首诗都有一种节奏，这意味着重音和停顿的重复。重音或重音是在说话时给予一个音节更多力量的方式，比给另一个音节更多力量。重音会带来更多的强调，我们通常会稍微大声，音调更高，或持续时间比其他音节长。虽然每个英语单词至少有一个重音，但很难在一个单词中注意到节奏。至少我们应该有几个单词来建立一个模式。当重音以固定间隔重复时，结果被称为节奏。为了测量韵律，我们经常使用音步和行。基本的韵律单位是音步。通常包括一个重音音节和一个或两个无重音音节。主要的韵律音步是抑扬格，意味着一个无重音音节后面跟着一个重音音节，比如“太阳”。第二个测量单位是行，通过命名其中的音步数量来衡量。经常使用的数字是五，因此该行被称为五音步。音步和行可以结合描述诗歌的音乐特征。 例如，我们可以将句子“The lights begin to twinkle from the rocks”分成五个音步：the lights/ begin/ to twin-/kle from/the rocks，而在每个音步中，我们可能会发现非重音音节总是紧跟着一个重音音节。如果大部分诗句都是这样写的，
we may say the prevailing metrical pattern is iambic pentameter. However, it does not necessarily mean that each line should follow suit. Perfect regularity of meter is no criterion of merit. If a meter alternates too regularly, it becomes monotonous and mechanical. In order to stress or to avoid monotony, good poets often introduce variations into poems by substituting other kinds of feet for regular feet or through variation of accents. It is not right to presume that all poetry should be metrical. Following Walt Whitman in the nineteenth century, more and more modern poets have adopted the writing of free verse, which is not verse at all. They may be rhymed or unrhymed, and the only difference between free verse and prose is that free verse is still written in lines. More than 50 percent of contemporary poetry is written in free verse. 我们可以说，流行的韵律模式是抑扬五音格。然而，并不意味着每一行都应该如此。韵律的完美规则并不是评判优劣的标准。如果一个韵律交替得太规律，就会变得单调和机械。为了强调或避免单调，优秀的诗人经常通过用其他种类的音节替代规则的音节或通过变换重音来在诗歌中引入变化。并不正确地假设所有诗歌都应该有韵律。19 世纪沿袭沃尔特·惠特曼的做法，越来越多的现代诗人采用了自由诗的写作方式，这根本不是诗。它们可以押韵或不押韵，自由诗与散文之间唯一的区别在于自由诗仍然是按行写的。超过 50%的当代诗歌是用自由诗写成的。
Besides stresses, pauses also contribute to the rhythm in a poem. We often apply the name of cesura, or caesura to any pause in a line. Double lines ( ) are used to indicate a cesura in poetry study. Very often, a cesura will occur at a mark of punctuation, but it may also occur even if no punctuation is present. Most often, pauses tend to occur after each line. If a line ends in a full pause indicated by some punctuation mark, we call it end-stopped. Otherwise it is called a run-on line, such as “... Sir, 'twas not/ Her husband's presence only, called that spot/ Of joy into the Duchess's cheek: perhaps." In such cases, pauses fall within a line rather than at the end of one, and we readers have to read on to the lines following in order to complete a thought. 除了重音外，停顿也对诗歌的节奏起着作用。我们经常将停顿称为 cesura 或 caesura 的名称应用于一行中的任何停顿。双线（ ）用于指示诗歌研究中的 cesura。很多时候，cesura 会出现在标点符号处，但即使没有标点符号，它也可能发生。大多数情况下，停顿往往发生在每一行之后。如果一行以某个标点符号表示的完全停顿结束，我们称之为 end-stopped。否则，它被称为 run-on line，例如“...先生，那不仅仅是她丈夫的存在，召唤了公爵夫人脸颊上的喜悦：也许。”在这种情况下，停顿发生在一行内而不是在一行的末尾，我们读者必须继续阅读后面的行才能完成一个思想。
References
Abrams, M. H. A Glossary of Literary Terms. 5th ed. New York: Holt, Rinehart, and Winston, 1988.Baldick. Chris, Oxfora Concise Dictionary of Liferary Terms: Shanghai: Shanghai Foreign LanguageEducation Press, 2001Beaty, Jerome, and . Paul Hunter, eds. The Norton Introduction to Literature. 7th ed. New York: W. W.Norton & Company, 1998Dilanni, Robert, ed. Literature: Reading Fletlon, Poetry, and Drama. 5th ed. Boston: McGraw Hill, 2002Kennedy, X. J., and Dana Gloia. An Introduction to Poefry, 10th ed. New York: Longman, 2002Perine, Laurence, ed. Sound and Sense: An Introduction to Poetry. 7th ed. San Diego: Harcourt BraceJovanovich. Publishers, 1987.
E. E. CUMMIMGS (1894 - 1962)
Listen; there's a hell of a good universe next door: let's go.
E. E. Cummings
Edward Estlin Cummings, popularly known as E. E. Cummings, was an American poet, painter, essayist, and playwright. Remembered as a preeminent voice of twentieth-century poetry, Cummings produced more than 900 poems. While many of his poems have a sonnet structure, a number of them are free verse that features a typographically exuberant style. Cummings experimented with capitalization or lack of it, punctuation, line breaks, hyphenation, and various verse shapes. In order to express his sense of the ever-progressing life, he refused to adopt titles and his poems looked without beginnings and endings, consisting of fragmentary lines. Words or punctuations often make little sense until read aloud, at which point the meaning and emotion become clear. Tricky it seems, there always exist humor, willingness, and sincerity in his poetry to express such traditional themes as love and nature, as well as the relationship of the individual to the masses and to the world. His attack on dehumanized commercial mass culture and celebration of loners, lovers, and nonconformists make him quite similar to many nineteenthcentury writers such as Emerson, Thoreau, and Whitman. His major collections were published in the 1920s and the 1930s. Cummings received a special citation by the National Book Award committee in 1955 and the Bollingen Prize in 1957. 爱德华·埃斯特林·卡明斯，通常被称为 E.E.卡明斯，是一位美国诗人、画家、散文家和剧作家。卡明斯被誉为二十世纪诗歌的杰出代表声音，创作了 900 多首诗歌。尽管他的许多诗歌采用了十四行诗的结构，但其中一些是自由诗，具有印刷排印风格。卡明斯尝试使用大写或不使用大写、标点符号、换行、连字符和各种诗歌形式。为了表达他对不断发展的生活的感知，他拒绝采用标题，他的诗歌看起来没有开头和结尾，由片段式的句子组成。直到朗读时，单词或标点符号通常没有多少意义，此时意义和情感才会变得清晰。尽管看起来有些棘手，但他的诗歌中总是存在幽默、愿意和真诚，以表达诸如爱情和自然等传统主题，以及个体与群众和世界之间的关系。他对非人性化商业大众文化的抨击以及对孤独者、恋人和不随波逐流者的赞美使他与许多 19 世纪作家如爱默生、梭罗和惠特曼非常相似。 他的主要作品集出版于 20 世纪 20 年代和 30 年代。卡明斯在 1955 年获得了国家图书奖委员会的特别表彰，并在 1957 年获得了波林根奖。
anyone lived in a pretty how town
anyone lived in a pretty how town (with up so floating many bells down) spring summer autumn winter he sang his didn't he danced his did
Women and men (both little and small) cared for anyone not at all they sowed' their isn't they reaped their same sun moon stars rain
children guessed (but only a few and down they forgot as up they grew autumn winter spring summer) that noone loved him more by more
when by now and tree by leaf she laughed his joy she cried his grief bird by snow and stir by still anyone's any was all to her
someones married their everyones laughed their cryings and did their dance (sleep wake hope and then) they said their nevers they slept their dream
20 stars rain sun moon
(and only the snow can begin to explain how children are apt to forget to remember with up so floating many bells down)
one day anyone died i guess
(and noone stooped to kiss his face) busy folk buried them side by side little by little and was by was
all by all and deep by deep and more by more they dream their sleep noone and anyone earth by april wish by spirit and if by yes
Women and men (both dong and ding) summer autumn winter spring reaped their sowing and went their came 35 sun moon stars rain
1 sowed: 播种。
2 reaped: 收割, 收获。
3 are apt to: 易于，倾向。
Cummings, E. E. "anyone lived in a pretty how town." An Introduction to Poetry. Ed. Dana Gioia. 10th ed. New York: Longman, 2002. 73-74.
What story does the poem tell? Who is the speaker? Who are the characters? What does the word "noone" mean?
What effect does the disorder of the words in the two opening lines bring? Rearrange them into the order you would expect them usually to follow.
Cummings uses one part of speech as if they were another. For instance, he uses the adverb "never" as a noun in line 20. What other words in the poem perform the similar function? What are the possible purposes? 卡明斯将一种词性用作另一种词性。例如，他在第 20 行将副词“never”用作名词。诗中还有哪些词具有类似的功能？可能的目的是什么？
Why does the poet employ run-on lines? How come there is no punctuation?
The author uses repetition to show the passage of time: "spring summer autumn winter," and "sun moon stars rain." Why does he change the order of the seasons or celestial images in repeating these lines? 作者使用重复来展示时间的流逝：“春夏秋冬”，以及“太阳月亮星星雨”。他为什么要改变季节或天体图像的顺序来重复这些句子？
Analyze the sounds and rhythm in the poem and explain their connections with the theme.
A. Brief Analysis of "anyone lived in a pretity how town"
Dedicated to the charms of children but more often offended by the corruptions of adults, obsessed by the big abstractions of love and death, E. E. Cummings is a poet who skillfully combines feeling and intelligence. In order to fathom his syntax and penetrate to the heart of his meaning, we have to keep in mind some general rules. First, treat each stanza as a separate syntactical unit. The syntax within a single stanza usually rides across the line divisions. If so, the assumption of syntactically independent stanzas is often safe. Secondly, supply punctuation and capitalization as necessary, or add words to complete the sense. Thirdly, rearrange words within lines as needed. Cummings does not usually use both ellipsis and distorted word order in a single line. When a line wants rearranging, he has often supplied all the necessary words. Finally, pay attention to context. With Cummings, meaning develops from relationships among poems, and we do well to examine neighboring poems in deciding among possible interpretations. 专注于儿童的魅力，但更常常被成年人的腐败所冒犯，着迷于爱和死亡这些大抽象概念的 E. E. 康明斯是一位巧妙地结合了情感和智慧的诗人。为了理解他的句法并深入到他的意义核心，我们必须牢记一些基本规则。首先，将每一节视为一个独立的句法单元。单个节内的句法通常跨越行的分割线。如果是这样，通常可以假设句法独立的节是安全的。其次，根据需要添加标点和大写字母，或添加词语以完整表达意思。第三，根据需要重新排列行内的词语。康明斯通常不会在单行中同时使用省略号和扭曲的词序。当一行需要重新排列时，他通常已经提供了所有必要的词语。最后，注意上下文。在康明斯的作品中，意义是从诗歌之间的关系中发展出来的，我们最好在选择可能的解释时检查相邻的诗歌。
"anyone lived in a pretty how town," published in 1940, is numbered 29 in 50 Poems. It neighboring poem, sonnet 28, published in January 1940 is a protest about the twentieth-century warring ideologies to which most individuals do obeisance. Sonnet 28 appeared only three months after Germany and Russia had agreed to divide Poland between them. Probing similar themes but avoiding reference to political events, "anyone lived in a pretty how town" creates a different diction for its parable of individuality hounded by conformity. It details the lives of residents in a nameless town. Like much of Cummings's work, the poem is actually untitled, so critics use the 《任何人都住在一个漂亮的小镇里》，发表于 1940 年，在《50 首诗歌》中排名第 29。它的邻近诗歌，即 1940 年 1 月发表的第 28 首十四行诗，是一首抗议二十世纪交战意识形态的诗歌，大多数人都顺从于其中。第 28 首十四行诗出现在德国和俄罗斯同意在三个月后分割波兰之后。虽然探讨了类似的主题，但避免了对政治事件的提及，《任何人都住在一个漂亮的小镇里》为其关于个性被一致性追逐的寓言创造了不同的措辞。它详细描述了一个无名小镇居民的生活。与卡明斯的许多作品一样，这首诗实际上没有标题，因此评论家使用
first line to refer to the poem.
Central to an adequate understanding of this poem is the realization that there are, in fact, only two main characters: "anyone" and "noone" (no one). With other townsfolk they live in "a pretty how town," by rearrangement, "how pretty a town." It is "pretty" only in a superficial way for it is consciously trite and conventional. It is also a town focused on "how," the methods and rules of things. Deprived of originality, the town tinkles with bells and watches the seasons pass in a kind of stupor. Despite the implication of their names, "anyone" and "noone" are the only characters possessing uniqueness and individuality. "Anyone" "danced his did" and "dream[t] his sleep" while the monotonous townsfolk "did their dance" and "slept their dream." "Anyone" also "sang his didn't" and "danced his did," entering heartedly into things both unpleasant and pleasant. People, however, "cared for anyone not at all." Not caring for the protagonist, they also care for nobody at all. Sowing nonexistence ("their isn't"), they "reaped their same" by spawning numerous repetitive generations. Reaping the same thing they sow, they also harvest a sameness, a dull conformity, from their crop of negations. The town's children sense the love of "noone" for "anyone": "children guessed ... that noone loved him more by more," but being raised in a conformist world, they are forced to adopt the views, or lack, of their parents and grow up into forgetful adulthood: "down they forgot as up they grew." 对于理解这首诗的充分理解至关重要的是要意识到，实际上只有两个主要角色：“任何人”和“无人”（没有人）。他们与其他镇民一起生活在“一个相当美丽的小镇”，通过重新排列，“多么美丽的小镇”。这个小镇只是在表面上“美丽”，因为它是刻意陈腐和传统的。它也是一个专注于“如何”的小镇，关注事物的方法和规则。这个小镇缺乏独创性，随处可见钟声响起，看着季节在一种恍惚中过去。尽管他们的名字暗示着，“任何人”和“无人”是唯一拥有独特性和个性的角色。“任何人”“跳着他的舞”和“做着他的梦”，而单调的镇民“跳着他们的舞”和“做着他们的梦”。“任何人”还“唱着他的不”，“跳着他的舞”，全心全意地投入到令人不快和愉快的事物中。然而，人们“根本不关心任何人”。不关心主角，他们也不关心任何人。他们播下了“他们的不存在”，通过产生大量重复的后代“收获了他们的同样”。 他们所种的，也会收获同样的东西，一种单调的一致性，从他们的否定作物中。镇上的孩子们感受到“无人”对“任何人”的爱：“孩子们猜想……无人越来越爱他”，但在一个一致主义的世界中长大，他们被迫接受父母的观点或缺乏，并长大成为健忘的成年人：“他们忘记了，他们长大了。""
Repeating throughout the poem the pattern of the first three stanzas - a quatrain devoted to "anyone" followed by one on the townspeople and a third on the children - the poet returns, in stanza 4, to the relation of "anyone" and "noone." Cummings sets up similar terms "more by more," "when by now," "tree by leaf," "side by side" and "little by little" to function in complex ways in describing the lovers' feelings. In such way, two separate entities are united by the word "by," which produces multiple senses out of a single phrase. The phrase "someones married their everyones" suggests all the world, or everyone actually. Significantly, "anyone" and "noone" never marry, never involving themselves in what, for Cummings, is too much the "candy" institution suggested in "this little bride & groom are" (New Poems, 8). In contrast to the humane and sympathetic "noone," who "laughed his joy" and "cried his grief," the townsfolk "laughed their cryings," covering deep feeling in a shallow joviality. They are also hopeless for they "said their nevers" (their negations of prayer) and "slept their dream." The lovers, however, "dream their sleep" into something more than unconsciousness. 在整首诗中反复出现的模式是前三节的模式——一个专门致力于“任何人”的四行诗，接着是关于镇民的一节，然后是关于孩子的第三节——诗人在第四节回到了“任何人”和“无人”的关系。卡明斯在描述恋人的感情时，设置了类似的术语“越来越多”，“现在”，“树叶”，“并排”和“一点一点”，以复杂的方式发挥作用。通过这种方式，两个独立的实体被“通过”这个词联合起来，从一个短语中产生多重意义。短语“有人嫁给了他们的每个人”暗示了整个世界，或者实际上是每个人。值得注意的是，“任何人”和“无人”从不结婚，从不参与卡明斯眼中太过于“糖果”般的机构，这在“这对小新娘和新郎”中有所暗示（新诗，8）。与人道主义和富有同情心的“无人”相比，他“笑着他的快乐”和“哭着他的悲伤”，镇民们“笑着他们的哭泣”，用浅薄的欢乐掩盖深刻的感情。他们也是绝望的，因为他们“说着他们的永不”（他们对祈祷的否定）并“睡着他们的梦”。然而，恋人们“梦着他们的睡眠”，使之超越了无意识。
The last three stanzas break from the rest with the authorial intrusion of "i guess." It offers a slant-rhyme for the word "face," more importantly, presents the narrator to be a raconteur. Realizing he has to draw the tale to a close, he emphasizes its purely fictional, and therefore allegorical, character. The poem ends with the death of anyone. Only the heartbroken noone mourns his passing and is buried with him. The "busy folk" bury the lovers "side by side" and they forget their tenderness caring "little by little." The last stanza concludes with the children, who "forgot to remember/with up so floating many bells down." They have become conventional people: "Women and men (both dong and ding)." Unchanged by what they have witnessed, they "went their came" without altering course. They accept the circularity of seasons, the habitual changes in weather, repetitions of bells, and the tradition of lovelessness. Finally, the poem ends not with "anyone" and "noone," but with "dong and ding," not with the self-sacrifice but with timid conformity. 最后三节与其他部分不同，作者干预了“我猜”的部分。它为“面孔”提供了一个斜押韵，更重要的是，表明叙述者是一个说书人。意识到他必须结束故事，他强调了它纯粹是虚构的，因此是寓言的性质。诗歌以任何人的死亡结束。只有心碎的无人哀悼他的离去，并与他一起埋葬。 “忙碌的人”将恋人“并排”埋葬，他们忘记了彼此的温柔，逐渐地“一点一点”照顾。最后一节以“孩子们”结束，“忘记了记住/随着许多钟声飘落”。他们已经变成了传统的人：“女人和男人（都是咚和叮）”。他们没有因为所见而改变，“他们走了他们来”而不改变方向。他们接受季节的循环性，天气的习惯性变化，钟声的重复以及无爱的传统。最后，诗歌并非以“任何人”和“无人”结束，而是以“咚和叮”结束，不是以自我牺牲，而是以胆怯的顺从。
The metaphorical meaning of the poem is symbolic of everyday life. The character "anyone"
really could be anyone, and the pretty town is a microcosm of the world. "Anyone" is full of life, but not appreciated by society that only cares about nobody but itself. Meanwhile, though "anyone" and "noone" care about each other, "noone" can be taken in two contradictory ways: either "noone" is a character just like "anyone" or nonexistence as indicated in "noone loved him more by more." Though portrayed as a sincere lover, "noone" possibly never exists, and "anyone" is likely to be alone all the time. When "anyone" dies, "noone" really cares. 真的可能是任何人，而这个美丽的小镇是世界的缩影。“任何人”充满生机，但却不被只关心自己的社会所赏识。与此同时，虽然“任何人”和“无人”互相关心，但“无人”可以被理解为两种矛盾的方式：要么“无人”就像“任何人”一样是一个角色，要么像“无人爱他更多”中所示的不存在。虽然被描绘为一个真诚的爱人，“无人”可能从未存在，而“任何人”可能一直孤独。当“任何人”死去时，“无人”真的在乎。
Sound and Rhythm in "fanyone lived in a pretty town"
Poetry in open form, also called free verse, suggests a kind of verse liberated from the shackles of rhyme and meter. Writing the poem in open form, E. E. Cummings's "anyone lived in a pretty how town" rolls across the tongue like a song. Superficially, the playful rhythm and sound complement nature's sequences where life cycles rotate throughout the nine stanzas; masked, however, is life's monotony as the four-line stanzas, mostly tetrameters that mirror the four seasons, lead to death's certainty. 开放形式的诗歌，也称为自由诗，暗示一种从韵律和格律的枷锁中解放出来的诗歌形式。以开放形式写诗，E. E. 康明斯的《任何人都住在一个漂亮的小镇》像一首歌般在口中流淌。表面上，轻快的节奏和声音与自然的序列相辅相成，生命循环在九个段落中循环；然而，掩盖其中的是生活的单调，因为大部分是四行的段落，大多是四音步，反映了四季，导致了死亡的必然性。
The poem opens with light, harmonious double dactyls (metrical foot consisting of one accented syllable followed by two unaccented or of one long syllable followed by two short) in line 1: "anyone lived in a pretty how town." Such rhythm continues in subsequent dactyls such as "Women and men (both little and small)" (5), "someones married their everyones" (17), and "many bells down" that stream into trochees like "pretty" (1), "summer autumn winter" (3), and iambs like "with up so floating" ( 2,24. Bells, which often announce important events in small-town communities such as weddings or funerals, seemingly sway in varied meter that carries a carefree rising and falling as if the "many bells" celebrate life or joyfully acknowledge "anyone," a youthful "he" who "sang" and "danced" (4) in the "spring" of life. But "spring," the only monosyllabic foot in line 3 , harbors the undertones of isolation and mortality that begin to emerge. By line 24 , which repeats line 2 , the bells seemingly toll for death, a solitary journey. Stanza 6 further suggests the human winter in "stars" (21) and especially "snow" (22), which often suggest a metaphorical season of death. 诗歌以轻快和谐的双抑格（一重音节后跟两个无重音节或一长音节后跟两个短音节的韵脚）开篇，第 1 行：“anyone lived in a pretty how town.”。这样的节奏在后续的抑格中延续，比如“Women and men (both little and small)”（5）、“someones married their everyones”（17），以及“many bells down”这样的流入抑格，如“pretty”（1）、“summer autumn winter”（3），以及像“with up so floating”（2,24）这样的抑抑格。钟声，通常在小镇社区中宣布重要事件如婚礼或葬礼，似乎摇摆在各种节奏中，带着轻松的起伏，仿佛“many bells”在庆祝生命或欢快地承认“anyone”，一个年轻的“他”在生命的“春天”中“唱歌”和“跳舞”（4）。但是“spring”，第 3 行中唯一的单音节韵脚，隐藏着孤立和死亡的暗示开始浮现。到第 24 行，重复第 2 行，钟声似乎为死亡敲响，一个孤独的旅程。第 6 节进一步暗示了“星星”（21）和尤其是“雪”（22）中的人类冬天，这经常暗示着一个比喻性的死亡季节。
Monosyllabic feet such as "sun moon stars rain" (8) also break the easygoing pace to emphasize certain maturity for "anyone" toward the summer ("sun") of life. It occurs without significance to others who "cared not [. . ] at all" (6) as if to focus on human isolation in the midst of humanity. Only the children in the third stanza notice that "anyone" and "noone" (12), the female persona, fall in love. As "someones married their everyones" (17), the poem increasingly hints of monotony and life's insignificance. Interestingly, line 12 contains three feet rather than four. The trimeter reinforces "autumn" (11), often considered the metaphorical golden years of life as time like the line runs short. Line 23 contains two falling dactyls anchored around a rising anapest (a reversed dactyl) that gives a seesaw effect reflective, perhaps, of the children's inevitable maturity and constant cycles of birth and death. The line's extra foot creates contrast between "remember" and the fact that everyone "forget[s]" or is forgotten in time. The "snow" (22) suggests unavoidable death, which occurs in stanza seven as seasons continuously churn. 单音节的脚步，如“太阳 月亮 星星 雨”（8），也打破了轻松的步伐，强调了“任何人”对生命的夏天（“太阳”）的某种成熟。这种情况对“毫不在乎[...]一点也不在乎”的其他人没有意义（6），仿佛专注于人类在人群中的孤立。只有第三节中的孩子们注意到，“任何人”和“无人”（12），女性人物，坠入爱河。正如“有些人嫁给了他们的每一个人”（17），诗歌越来越暗示了单调和生活的无足轻重。有趣的是，第 12 行包含三个音步而不是四个。三音步强调了“秋天”（11），通常被认为是生命的隐喻黄金岁月，就像时间一样，线条变短。第 23 行包含两个下降的三拍节，围绕一个上升的无韵脚（一个倒置的三拍节）锚定，产生一种摇摆的效果，或许反映了孩子们不可避免的成熟和不断循环的出生和死亡。该行的额外音步在“记得”和每个人“忘记”或在时间中被遗忘之间创造了对比。 “雪”（22）暗示了不可避免的死亡，在第七节中，季节不断地变化。
As "anyone" and "noone" die, notably, the seasons turn perpetually to "april" (31) or spring, and back to "summer" (34) or "sun" (36) suggestive, perhaps, that in the midst of life death exists yet, life goes on. 随着“任何人”和“无人”的死亡，值得注意的是，季节永远转向“四月”（31）或春天，然后回到“夏天”（34）或“太阳”（36），或许是在生命中死亡仍然存在的同时，生活继续前行。
Also, the poem is highly alliterative and euphonic. Assonance dominates with variations on vowel sounds, especially as in ow, which occurs three times in the first stanza alone: "how town" and "down." The sound is repeated in "down" (10), "now" (13), and "how" (23). Long os flow throughout in words like "so," "floating," "both," "sowed," "noone," "snow," "hope," and "sowing" (2, 2, 5, 7, 12, 15, 19, 22, 24, 26,35). A sustained ooo courses along in words such as "moon," "few," "grew," and "stooped" (8, 9, 10, 21, 26,36). The resulting ow-oh-oo seems playful, yet mournful as they drench the poem in a sense of unhindered progression toward sorrow and death. 此外，这首诗具有很高的头韵和和谐音。元音音韵占主导地位，尤其是像 ow 这样的变体，它在第一节中就出现了三次："how town"和"down"。这种声音在"down"（10）、"now"（13）和"how"（23）中重复出现。长音 o 在词语中流动，比如"so"、"floating"、"both"、"sowed"、"noone"、"snow"、"hope"和"sowing"（2、2、5、7、12、15、19、22、24、26、35）。持续的 ooo 在词语中流动，比如"moon"、"few"、"grew"和"stooped"（8、9、10、21、26、36）。由此产生的 ow-oh-oo 似乎是俏皮的，但又带有悲伤的色彩，因为它们使诗歌充满了一种向悲伤和死亡不受阻碍地前进的感觉。
Rhymes, internal, end, and slant, hide the immutable force, time that orders human life. "By," "by," and "cried," for instance, seem inconsequential until the reader slows on cacophonous gutturals like ir in "bird" and "stir" in stanza 4, while "grief" or sadness, underscored by "still," imply that by and by grief awaits. "Deep" and "sleep" , one of six end rhymes which normally render pleasure, also guide the reader's attention to inescapable death. Some lines end in slant rhymes like "same" "rain" , "guess" "face" and accentuate death's poignant certainty by negation of rhythmic harmony. 韵，内部，结尾和倾斜，隐藏着不可改变的力量，命令人类生活的时间。“通过”，“通过”和“哭泣”，例如，似乎微不足道，直到读者在第 4 节中减慢对诸如“bird”和“stir”中的 ir 这样的不和谐的喉音时，而“悲伤”或悲伤，则由“still”强调，暗示着悲伤在等待。 “深”和“睡” ，六个结尾韵之一，通常带来愉悦，也引导读者注意不可避免的死亡。一些行以倾斜韵收尾，如“same”“rain” ，“guess”“face” ，通过消除节奏和谐的否定，强调了死亡的深刻确定性。
Apart from sounds, the poem's form also contributes to its rhythm. Like anyone's nonconformist life in the town, the lengths of the lines seem naturally irregular. Compared with closed-form writers, Cummings enjoys a privilege to break off a line at whatever point he likes. Line breaks lead to emphasis. The word at the end of a line takes a little more stress and receives a little more attention because the ending of the line compels us to make a slight pause. In the first stanza, for example, slight pauses follow the words "town," "down," "winter," and "did," all of which draw our attention to the negative movement of a town. 除了声音之外，诗歌的形式也有助于其节奏。就像镇上任何人的非传统生活一样，行的长度似乎自然不规则。与封闭形式的作家相比，卡明斯享有在任何他喜欢的地方断开一行的特权。行的断裂导致强调。一行的结尾的词会受到更多的重视，因为行的结尾迫使我们稍作停顿。例如，在第一节中，词“镇”，“下”，“冬天”和“做”之后都有轻微的停顿，所有这些都引起我们对镇的负面运动的注意。
In such classics of open-form poetry, sound and rhythm are positive forces. Doing without these powerful elements, the poet will find it difficult to engage and sustain the reader's attention. To compose lines with keen awareness of both sound and rhythm, and of their infinite possibilities, really calls for skill. 在这样的开放形式诗歌经典中，声音和节奏是积极的力量。没有这些强大的元素，诗人将发现很难吸引并保持读者的注意力。以敏锐意识同时考虑声音和节奏，并了解它们无限的可能性来构思诗句，确实需要技巧。
References
"anyone lived in a pretty how town." 15 Feb. 2008 <http://en.wikipedia.org/wiki/
Anyone_lived_in_a_pretty_how_town>
"E. E. Cummings." 15 Mar. 2008 <http://en.wikipedia.org/wik/E_e_cummings>
Hunt, B. J. "Cummings's 'anyone llved in a pretty how town,"' Expllcator, 64 (2006):231-32.
Kidder, Rushworth M. E. E. Cummings: An Introduction to the Poetry. New York: Columbia University Press,
1979
2.7 Selected Commentaries
Passage one
The Stance of Observation in William Blake's "London"
Heather Glen
In choosing to present his vision of social disaster thus, Blake was engaging with a familiar literary mode. The assumption of a stance of "observation," freely passing judgment on that which is before it, is common to much eighteenth-century literature: "Their mark what ills the scholar's life assail." But nowhere is it more prominent than in that which attempts to describe London, a place of bewildering diversity, changing and growing rapidly, in which a new kind of anonymity and alienation was becoming a remarked-upon fact of life. Indeed, it seems that in the literature of London the implications of this state were beginning to become an explicit preoccupation. Thus, Ben Sedgly in 1751: 在选择以这种方式呈现他对社会灾难的愿景时，布莱克正在参与一种熟悉的文学模式。假设采取“观察”的立场，自由地对眼前的事物进行评判，这在 18 世纪的许多文学作品中很常见：“他们标记了学者生活中的种种不幸。”但在试图描述伦敦的作品中，这种情况比任何地方都更为突出，伦敦是一个变化迅速、多样性令人困惑的地方，其中一种新的匿名和疏离感正在成为人们关注的生活事实。事实上，似乎在伦敦的文学作品中，这种状态的含义开始变得明显起来。因此，本·塞德格利在 1751 年写道：
No man can take survey of this opulent city, without meeting in his way, many melancholy instances resulting from this consumption of spirituous liquors: poverty, diseases, misery and wickedness, are the daily observations to be made in every part of this great metropolis: whoever passes along the streets, may find numbers of abandoned wretches stretched upon the old pavement, motionless and insensible, removed only by the charity of passengers from the danger of being crushed by carriages, trampled by horses, or strangled with filth in the common eyes. 没有人能够调查这个富饶的城市，而不在路上遇到许多令人沮丧的例子，这些例子都是由于烈性酒的消耗而导致的：贫困、疾病、苦难和邪恶，是在这座伟大都市的每个角落都能看到的日常观察结果：沿着街道走的人，可能会发现许多被遗弃的可怜人躺在旧的人行道上，一动不动、麻木不仁，只有路人的慈善才能将他们从被马车碾压、被马踩踏或被污秽窒息的危险中解救出来。
"Take survey of," "meeting in his way," "observations to be made," "whoever passes along the streets may find" - the sense throughout is of an anonymous and freely observing stranger, rather than of a member of a society who sees himself as shaped by it and interacting with others within it. Perhaps such a perspective is natural in a documentary work such as Sedgly's. But this sense of the self in the city is central, too, to much of the most powerful imaginative literature of the century, literature which is after all not merely a description of or meditation upon the world, but the recreation of a certain mode of being within it. It is a sense that informs the novels of “进行调查”，“在他的路上开会”，“需要观察的事物”，“无论谁经过街道都可能发现” - 整个感觉都是一个匿名且自由观察的陌生人，而不是一个认为自己受其塑造并与其内部其他人互动的社会成员。也许这样的视角在塞德格利的纪录片作品中是自然的。但这种对城市中自我的感知也是本世纪许多最有力的想象文学的核心，这些文学作品毕竟不仅仅是对世界的描述或沉思，而是对其中某种生存方式的再现。这种感觉贯穿于
Defoe: the figures of Roxana and Colonel Jack and Moll Flanders move through the streets from adventure to adventure with a freedom from social constraint which is only possible because of the nature of London life. It is to be found in Gay's Trivia and The Beggar's Opera; in Boswell's Journal; in Johnson's London; and even in those of his essays which seem to have nothing to do with London at all: 迪福：罗克萨娜、杰克上校和莫尔·弗兰德斯的形象在伦敦的街道上自由地穿梭于一次又一次的冒险之中，这种自由是因为伦敦生活的本质才有可能实现的社会约束。这种情况可以在盖伊的《Trivia》和《乞丐歌剧》中找到；在博斯韦尔的《日记》中找到；在约翰逊的《伦敦》中找到；甚至在他的一些看似与伦敦无关的文章中也可以找到：
He that considers how little he dwells upon the condition of others, will learn how little the attention of others is attracted by himself. While we see multitudes passing before us, of whom perhaps not one appears to deserve our notice, or excites our sympathy, we should remember, that we likewise are lost in the same throng, that eye which happens to glance upon us is turned in a moment on him that follows us, and that the utmost which we can reasonably hope or fear is to fill a vacant hour with prattle, and be forgotten. 考虑到自己很少关注他人状况的人，会了解到别人对自己的关注也很少。当我们看到许多人在我们面前经过，也许没有一个值得我们注意或引起我们的同情时，我们应该记住，我们自己也在人群中迷失，那个偶然瞥见我们的眼睛转瞬间就会转向跟在我们后面的人，我们可以合理希望或担心的最大程度就是用闲聊填满一个空闲的时刻，然后被遗忘。
Here, the tone is one of judicious moralizing. But the imagery is that of the confusing eighteenth-century London street, in which relations with one's fellow beings involve attracting attention, deserving notice, glancing and turning, even exciting sympathy: in which the other is the object of observation rather than one with whom one interacts. And the supposedly free individual who sees those who pass before him as a mighty spectacle is himself "lost in the same throng." 在这里，语调是审慎的道德说教之一。但意象却是混乱的十八世纪伦敦街道，其中与他人的关系涉及吸引注意、值得注意、瞥视和转身，甚至激起同情：在这里，他人是被观察的对象，而不是与之互动的对象。而那个被认为是自由个体的人，将那些经过他面前的人视为一场伟大的景观，而他自己却“在同一人群中迷失”。
The eighteenth-century London street was not, then, merely a place where suffering and distress could be seen on a hitherto unprecedented scale: it was also a place where that sense of the other as object — often as feeble and wretched object — which Blake exposes in "The Human Abstract" ("we ... make somebody Poor") was the dominant mode of relationship. And it is a sense which is an ironic point of reference in "London." For this poem begins with a speaker who seems to be a detached observer, who wanders "thro" the streets of the city and "marks" the sights before him. Yet his is not the lively and distinctive London of Defoe or Gay or Johnson: what he records is not variety, but sameness. To him, both streets and river are simply "chartered": the different faces which pass all bear the same message, "Marks of weakness, marks of woe." And the tight quatrain with its present indicative tense conveys not flexible responsiveness to constantly changing possibilities, but entrapment. What this speaker sees is fatally linked to the way in which he sees it. In the notebook draft, the second word of the third line was "see": Blake's alteration limits any incipient sense of freedom. The triple beat of "mark" - an active verb materializing into two plural nouns-registers a new consciousness of this "I" implication in the world "thro" which he wanders. What he observes is the objectification of his own activity. 十八世纪的伦敦街道并不仅仅是一个可以看到前所未有的苦难和困扰的地方：它也是一个那种将他人视为客体的地方——通常是作为软弱和可怜的客体——这正是布莱克在《人类抽象》中揭示的主要关系模式。这种感觉在《伦敦》中是一个讽刺性的参照点。因为这首诗以一个似乎是超然观察者的发言人开始，他漫步在城市的街道上，“标记”着他眼前的景象。然而，他所看到的不是迪福、盖伊或约翰逊笔下生动而独特的伦敦：他记录的不是多样性，而是单调。对他来说，街道和河流都只是“特许的”：所有经过的不同面孔都传达着相同的信息，“软弱的标记，痛苦的标记”。而严密的四行诗与其现在时态传达的不是对不断变化可能性的灵活回应，而是困境。这位发言人所看到的与他看待它的方式是致命地相连的。在笔记本草稿中，第三行的第二个词是“看到”：布莱克的修改限制了任何初期的自由感。 “标记”这个三拍子的动词，变成了两个复数名词，记录了他在“thro”这个世界中徘徊时对“我”涵义的新意识。他所观察到的是他自己活动的客体化。
"Mark" is not the only change which Blake made in this stanza. In the notebook draft, the first two lines read:
I wander through each dirty street,
Near where the dirty Thames does flow.
The substitution, in the engraved version, of "chartered," signals a complex process of poetic thought. For "chartered" in 1793 was a word at the centre of political debate: a word whose accepted meaning of "granted privileges or rights" had been challenged by Paine a year earlier, in a book whose sales had by now reached 200,000 : 在雕刻版本中，“特许”的替代品标志着一个复杂的诗意思维过程。因为在 1793 年，“特许”是政治辩论的中心词：这个词的接受意义是“授予特权或权利”，一年前被潘恩挑战过，他的一本书的销量现在已经达到了 20 万册。
It is a perversion of terms to say, that a charter gives rights. It operates by a contrary effect, that of taking rights away. Rights are inherently in all the inhabitants; but charters, by annulling those rights in the majority, leave the right by exclusion in the hands of a few...all charters have no other than an indirect negative operation. They do not give rights to , but they make a difference in favour of by taking away the right of , and consequently are instruments of injustice. 说一个宪章赋予权利是术语的曲解。它的作用是相反的，即剥夺权利。权利本来就属于所有居民；但宪章通过废除大多数人的权利，将权利排除在少数人手中...所有宪章都只有间接的负面作用。它们不赋予 权利，而是通过剥夺 的权利来偏袒 ，因此是不公正的工具。
No contemporary of Blake's could have read the two altered opening lines of his poem as an objective description of the trading organization of the city. Their repetition of "chartered" forces into prominence the newly, ironically recognized sense that the very language of "objective" description may be riddled with ideological significance: that beneath the assurance of polite usage make lurk another, "cheating" meaning. And this sense informs the stanza in a peculiar way. It is as though beneath the polite surface - the observer in London wandering the streets of a city whose "chartered" organization he notes, as the guidebooks noted its commercial organization, and whose manifestations of distress and depravity he, like hundreds of other eighteenth-century writers, remarks - there is another set of meanings, which are the reverse of those such description could customarily bear. They are not meanings private to Blake: and they are meanings which focus in those sound-linked and repeated words, "mark" and "chartered." 没有布莱克同时代的人能够将他诗歌的两行修改后的开头读作城市贸易组织的客观描述。他们对“特许”力量的重复突显了一种新的、讽刺性地认识到“客观”描述语言可能充满意识形态意义的感觉：在礼貌用语的保证之下，可能隐藏着另一种“欺骗”的意义。这种感觉以一种特殊的方式贯穿整个诗节。就好像在礼貌表面之下——在伦敦漫步于街头的观察者注意到城市的“特许”组织，正如导游手册注意到其商业组织，以及他所注意到的困苦和堕落的表现，就像其他数百位 18 世纪作家一样——还有另一层含义，这些含义与通常的描述相反。这些含义并不是布莱克私有的：它们是那些与声音相连并重复的词“标记”和“特许”聚焦的含义。
3 Paine, The Rights of Man, ed. Henry Collins (Hammondsworth: Penguin, 1969) 242-43.
Glen, Heather. "The Stance of Observation in William Blake's 'London.'" An Introduction to Poetry. Ed. X. J. Kennedy and Dana Gioia. 10th ed. New York: Longman, 2002. 661-63.
Dickinson's "I like to see it lap the Miles"
Emily Dickinson, we know, wrote a substantial number of poems about poetry. Given that, and given the modern critical penchant for reading poems ostensibly or primarily on other subjects as, at least additionally, poems about poetry, it is something of a surprise that "I like to see it lap the Miles," with its "horrid — hooting stanza —," has not received such treatment. Here it will. 艾米莉·狄金森，我们知道，写了大量关于诗歌的诗歌。鉴于此，以及现代批评倾向于将诗歌表面上或主要关于其他主题的诗歌解读为至少另外一种关于诗歌的诗歌，令人惊讶的是，“我喜欢看它跑过英里”，以其“可怕的——呼啸的段落——”，并未受到这种对待。在这里将会。
The poem begins with a form of praise Dickinson bestows (there unarguably) on literature in "There is no Frigate like a Book," its capacity to traverse distances swiftly and effortlessly. Indeed, in that poem she compares the literary work to frigate and courser, two modes of transportation, which is precisely, I think, what she is doing here with the train and horse metaphors. "I like to see it" is usually read as a poem about the train, characterized - for a variety of reasons - as a horse. I am suggesting that beyond this metaphor, which I do not deny, lies another through which both horse and train, a more recent but to Dickinson no less exotic form of transportation than frigate or courser, are the vehicles for another tenor: poetry. 诗歌以迪金森赋予文学的赞美形式开始（毫无疑问），在《没有什么比书更好的驱逐舰》中，它具有迅速而轻松地穿越距离的能力。事实上，在那首诗中，她将文学作品比作驱逐舰和赛马，这正是我认为她在这里用火车和马的隐喻所做的事情。通常认为“我喜欢看到它”是一首关于火车的诗，因为出于各种原因而被描述为马。我认为除了这个隐喻之外，还有另一个隐喻，通过这个隐喻，马和火车，一种比驱逐舰或赛马更近但对迪金森来说同样异国情调的交通工具，成为另一个对象：诗歌。
The third line, "And stop to feed itself at Tanks -," introduces an important aspect of Dickinson's feelings about poetry as expressed in this poem: its capacity for self-generation, its ability to feed itself at the tanks of mind, world, and internal resource, and thereby to threaten the controls of poet and form. That fractiousness is seen in the thrust beyond the expected end-stop at the end of line four, past the stanza break to line five. This engaging surprise is usually viewed as a poetic parallel to the conquering speed and power of the train, and so it is. But it is also an illustration of the form-breaking potency of a poetry that "feeds itself" and that looks with supercilious distain at mere "Shanties - by the sides of Roads -," the shoddy, representable world it passes alongside, but which, like conventional form, cannot define or intimidate it. 第三行，“并停下来在坦克里自给自足 -，”介绍了狄更生在这首诗中表达的关于诗歌的重要方面：它自我生成的能力，它在思想、世界和内在资源的坦克中自给自足的能力，从而威胁到诗人和形式的控制。这种不服管束的特性体现在超出预期的第四行末尾的停顿之外，跨越了诗节的分界线到第五行。这种引人入胜的惊喜通常被视为对火车征服速度和力量的诗意对应，因此它确实如此。但这也是对“自给自足”的诗歌的破坏形式的一个例证，它以傲慢的轻蔑之态看待着仅仅“在路边的小屋旁边 -”的简陋、可代表的世界，它经过的地方，但是像传统形式一样，不能定义或威胁到它。
The poem does pare a quarry "To fit its Ribs/And crawl between," does assume a shape to fit it. But the shaping power belongs to the poem which pares it, not to the quarry or pre-established form. And once again, between stanzas two and three as between the first two stanzas, there is a form-violating bypass. Paring a shape to fit its ribs requires more space and freedom than is readily available and, consequently, a breaking of the stays of traditional stanzaic verse. Poems, Dickinson seems to be saying in fine Romantic fashion, including this one, determine their own form. And yet, while doing so, they resent and resist the confining need to crawl between even these new walls. Straining against barriers, they complain, as this poem does, both substantively and onomatopoetically, "In horrid - hooting stanza - " (that word should not be lightly passed), before chasing themselves - again the notion of self-generation, escape from full formal or authorial control in pursuit of its own resources - downhill, on the pages as poems will do. 这首诗确实削减了一个采石场“以适应其肋骨/并爬行其间”，假设了一个适合它的形状。但是，塑造的权力属于削减它的诗歌，而不是采石场或预先设定的形式。再次，在第二和第三节之间，就像在前两节之间一样，存在着一种违反形式的绕过。削减一个适合其肋骨的形状需要比现有的空间和自由更多，因此，传统的诗歌体诗歌的支撑被打破。迪金森似乎在细致的浪漫风格中说，包括这首诗在内，诗歌决定了它们自己的形式。然而，在这样做的同时，它们对于爬行在甚至这些新墙之间的限制性需求感到愤恨和抵抗。它们努力克服障碍，抱怨，就像这首诗所做的那样，无论在实质上还是拟声地，“在可怕的-呼啸的诗节中-”（这个词不应轻易忽略），然后追逐自己-再次是自我生成的概念，逃离完全的形式或作者控制，追求自己的资源-沿着页面下坡，就像诗歌会做的那样。
In the end, however, the poet has her way, as of course she has been having it all along. Limit-resistant "Son of Thunder" though it is, in the end the poem can be tamed. However much
freedom it has taken until now (or has been allowed, to illustrate how much the poet can control), here, "punctual as a Star," it slows and stops where it was meant to, at its place of origin. What is usually read as a rhythmical duplication of the train's braking and halting can also be read as a demonstration of regained poetic control. Not that it was ever lost, of course. The figurativeness and suggestiveness of the language of poetry, its subject, rhythm, and sound, are powerful forces, feeding on themselves and one another and urging the poem beyond the restraining walls of form. But in that potency is its docility. For the resistance of rebellious matter to conventional form, emerging as subject, shapes and ultimately determines the form this poem about poetry assumes. Transgression is obedience; the shape it pares is the shape it keeps, the hooting stanza a necessary part of the music. If I am right, if this is, among other things, a poem about poetry and about itself, it does indeed "chase itself down Hill — " and "Stop — docile and omnipotent/ At its own stable door -." " 自由直到现在才被允许（或者被允许，以说明诗人可以控制多少），在这里，“准时如星星”，它减慢并停止在它原本应该停留的地方。通常被解读为火车刹车和停车的节奏重复也可以被解读为重新获得诗歌控制的示范。当然，并不是说它曾经丢失过。诗歌语言的比喻性和暗示性，它的主题、节奏和声音，是强大的力量，相互滋养并推动诗歌超越形式的约束墙。但在那种力量中是它的顺从。对于叛逆物质对传统形式的抵抗，作为主题出现，最终塑造并决定了这首关于诗歌的诗歌所呈现的形式。违反就是顺从；它削减的形状就是它保留的形状，呼啸的诗节是音乐的必要部分。如果我是对的，如果这首诗是关于诗歌和关于自身的诗歌，它确实“追逐自己下山——”并“停下——顺从而全能/ 在它自己的马厩门口——”。
2.8 Furrier Reading
Forgive, O Lord, my little jokes on Thee, and I'll forgive Thy great big joke on me.
Robert Frost did not gain his reputation with the American public until 1914 when he published his second poetic edition North of Boston. From 1914 to his death, Frost enjoyed the honor as the nation's best-loved poet. His poems sound natural and unplanned for his love of clear diction, colloquial rhythms, simple images, and folksy speakers. He revitalized the tradition of New England regionalism and kept the myth that rural New England was the heart of America. Most of Frost's poems fall into a few types: Nature lyrics describing and commenting on a scene or event, dramatic narrative poems about the lives of common people, and poems of commentary or generalization. "Stopping by Woods on a Snowy Evening," "After Apple-Picking," "The Road Not Taken," and "Mending Wall" are his best-known poems. 罗伯特·弗罗斯特直到 1914 年出版他的第二本诗集《波士顿以北》，才在美国公众中获得声誉。从 1914 年到去世，弗罗斯特享有国家最受喜爱的诗人的荣誉。他的诗歌听起来自然而不经意，因为他喜欢清晰的措辞、口语节奏、简单的意象和乡村口音。他使新英格兰地区主义的传统焕发生机，并保持了农村新英格兰是美国心脏的神话。弗罗斯特的大部分诗歌可归为几种类型：描述和评论场景或事件的自然抒情诗，关于普通人生活的戏剧叙事诗，以及评论或概括的诗歌。《在雪夜驻足林间》、《采苹果后》、《未选择的道路》和《修墙》是他最著名的诗歌。
Design
I found a dimpled spider, fat and white, On a white heal-all, holding up a moth
Like a white piece of rigid satin clothAssorted characters of death and blight Mixed ready to begin the morning right,
Like the ingredients of a witches' broth A snow-drop spider, a flower like a froth, And dead wings carried like a paper kite.
What had that flower to do with being white,
The wayside blue and innocent heal-all?
What brought the kindred spider to that height, Then steered the white moth thither in the night? What but design of darkness to appall? If design govern in a thing so small.
1 dimpled: 有酒窝, 笑展的。
2 heal-all: 夏枯草, 万灵药。
3 blight: 枯萎病，不良影响。
4 broth: 肉汤。
5 froth: 泡, 泡沫。
6 kindred: 同族的, 同类的。
7 appall: 使胆寒，使惊骇。
Frost, Robert. "Design." Literature: Reading Fiction, Poetry, and Drama. Ed. Robert DiYanni. 5th ed. Boston: McGraw Hill, 2002. 891.
Student Paper on Poetry
The following brief analysis written by a student finds something worth unfolding in every line in Frost's poem. The writer proceeds sequentially through the poem from the title to the last line and takes up some points out of order. Brief references tell us where the writer found Frost's remarks and give page numbers for her quotation. 以下由一位学生撰写的简要分析发现了弗罗斯特诗中每一行都值得展开的东西。作者按顺序从标题到最后一行逐一进行分析，并有些地方是无序的。简要的参考告诉我们作者在哪里找到了弗罗斯特的言论，并给出了她引用的页码。
Student's Name
Professor's Name
Course Name
Date
An Unfolding of Robert Frost's "Design"
"I always wanted to be very observing," Robert Frost once told an audience, after reading his poem "Design." Then he added, "But I have always been afraid of my own observations."
(qtd. in Cook 126-27) What could Frost have observed that could scare him? Let's examine the poem in question and see what we discover.
Starting with the title, "Design," any reader of this poem will find it full of meaning. As Webster's New Collegiate Dictionary defines design, the word can denote among other things a plan, purpose, intention or aim ("Design"). Some arguments for the existence of God (I remember from Sunday School) are based on the "argument from design": that because the world shows a systematic order, there must be a Designer who made it. But the word design can also mean "a secret or sinister scheme" such as we attribute to a "designing person" ("Design"). As we shall see, Frost's poem incorporates all of these meanings. His poem raises the old philosophic question of whether there is a Designer, an evil Designer, or no Designer at all. 从标题“设计”开始，任何阅读这首诗的人都会发现它充满了意义。正如韦伯斯特新学院词典定义的那样，设计这个词可以表示计划、目的、意图或目标等等（“设计”）。关于上帝存在的一些论据（我记得是从主日学校学到的）是基于“设计论”：因为世界展现出系统性秩序，所以必须有一个创造它的设计者。但设计这个词也可以表示“秘密或阴险的计划”，就像我们归因于一个“心机深重的人”（“设计”）。正如我们将看到的，弗罗斯特的诗融合了所有这些含义。他的诗提出了一个古老的哲学问题，即是否存在一个设计者、一个邪恶的设计者，或者根本没有设计者。
Like many other sonnets, "Design" is divided into two parts. The first eight lines draw a picture centering on the spider, who at first seems almost jolly. It is dimpled and fat like a baby, or Santa Claus. The spider stands on a wildflower whose name, heal-all, seems ironic: a heal-all is supposed to cure any diseases, but this flower has no power to restore life to the dead moth. (Later, in line ten, we learn that the heal-all used to be blue. Presumably, it has died and become bleached-looking.) In the second line we discover, too, that the spider has hold of another creature, a dead moth. We then see the moth described with an odd simile in line three: "Like a white piece of rigid satin cloth." Suddenly, the moth becomes not a creature but a piece of fabric - lifeless and dead - and yet satin has connotations of beauty. Satin is luxurious material used in rich formal clothing, such as coronation gowns and brides' dresses. Additionally, there is great accuracy in the word: the smooth and slightly plush surface of satin is like the powder-smooth surface of moths' wings. But this "cloth," rigid and white, could be the lining to Dracula's coffin. 像许多其他十四行诗一样，“设计”分为两部分。前八行描绘了一个以蜘蛛为中心的画面，起初似乎几乎是欢快的。它像婴儿或圣诞老人一样有酒窝和胖乎乎的。蜘蛛站在一朵名为“全愈”的野花上，这似乎有讽刺意味：全愈应该能治愈任何疾病，但这朵花无法使死去的飞蛾恢复生机。（后来，在第十行，我们得知全愈曾经是蓝色的。可以推测，它已经死亡并变得苍白。）在第二行，我们也发现蜘蛛抓住了另一个生物，一只死去的飞蛾。然后我们看到在第三行用奇怪的比喻描述了飞蛾：“像一块白色的坚硬缎布。”突然间，飞蛾不再是一个生物，而是一块布料 - 无生命和死亡 - 但缎布具有美丽的内涵。缎布是一种豪华的材料，用于富丽堂皇的服装，如加冕礼服和新娘礼服。此外，这个词非常准确：缎布的光滑和略带绒毛的表面就像飞蛾翅膀的粉状光滑表面。但这块“布料”，坚硬而白色，可能是德古拉的棺材内衬。
In the fifth line an invisible hand enters. The characters are "mixed" like ingredients in an evil potion. Some force doing the mixing is behind the scene. The characters in themselves are innocent enough, but when brought together, their whiteness and look of rigor mortis are overwhelming. There is something diabolical in the spider's feast. The "morning right" echoes the word rite, a ritual - in this case apparently a Black Mass or a Witches' Sabbath. The simile in line seven ("a flower like a froth") is more ambiguous and harder to describe. A froth is white, foamy, and delicate - something found on a brook in the woods or on a beach after a wave recedes. However, in the 在第五行，一只无形的手进入。字符像邪恶药剂中的成分一样“混合”。在幕后进行混合的力量。字符本身足够无辜，但当它们聚在一起时，它们的洁白和僵硬的外表是压倒性的。蜘蛛的盛宴中有一些邪恶的东西。 “早晨的权利”回响着仪式一词，一种仪式 - 在这种情况下显然是黑弥撒或女巫的安息日。第七行的比喻（“像泡沫一样的花”）更加模糊和难以描述。泡沫是白色的，多泡的，精致的 - 在树林中的小溪上或海浪退去后在海滩上发现的东西。然而，在
natural world, froth also can be ugly: the foam on a polluted steam or a rabid dog's mouth. The dualism in nature - its beauty and its horror - is there in that one simile.
So far, the poem has portrayed a small, frozen scene, with the dimpled killer holding its victim as innocently as a boy holds a kite. Already, Frost has hinted that Nature may be, as Radcliffe Squires suggests, "Nothing but an ash-white plain without love or faith or hope, where ignorant appetites cross by chance" (87). Now, in the last six lines of the sonnet, Frost comes out and directly states his theme. What else could bring these deathly pale, stiff things together "but design of darkness to appall?" the question is clearly rhetorical; we are meant to answer, "Yes, 到目前为止，这首诗描绘了一个小小的冻结场景，凹陷的凶手像男孩拿风筝一样天真地抓住受害者。弗罗斯特已经暗示自然可能是，正如拉德克利夫·斯奎尔斯所建议的那样，“只是一个没有爱、信仰或希望的灰白平原，无知的欲望偶然交错”（87）。现在，在十四行诗的最后六行中，弗罗斯特直接阐明了他的主题。除了黑暗的设计来使这些死一般苍白、僵硬的事物聚集在一起，还有什么能够做到呢？这个问题显然是反问的；我们应该回答，“是的”。
there does seem an evil design at work here!" I take the next-to-last line to mean, "What except a design so dark and sinister that we're appalled by it?" "Appall," by the way, is the second pun in the poem: it sounds like a pall or shroud. (The derivation of appall, according to Weberter's, is ultimately from a Latin word meaning "to grow pale"-an interesting word choice for a poem full of white pale images ["Appall"].) Steered carries the suggestion of a steering-wheel or rudder that some pilot had to control. Like the word brought, it implies that some invisible force charted the paths of spider, heal-all, and moth, so that they arrived together. 这里似乎有一个邪恶的设计在起作用！我认为倒数第二行的意思是，“除了一个如此黑暗和邪恶以至于我们感到震惊的设计，还有什么？”顺便说一句，“Appall”是诗中的第二个双关语：它听起来像是一块披风或裹尸布。（根据韦伯特的说法，“Appall”的词源最终来自一个拉丁词，意思是“变得苍白”-这是一个有趣的词选择，因为这首诗充满了白色苍白的形象[“Appall”]。）“Steered”带有一个暗示，即一个飞行员必须控制的方向盘或舵。像“brought”这个词一样，它暗示着一些看不见的力量规划了蜘蛛、愈合草和蛾子的路径，使它们同时到达。
Having suggested that the universe is in the hands of that sinister force (an indifferent God? Fate? the Devil?), Frost adds a note of doubt. The Bible tells us that "His eye is on the sparrow," but at the moment the poet doesn't seem sure. Maybe, he hints, when things in the universe drop below a certain size, they pass completely out of the Designer's notice. When creatures are this little, maybe God doesn't bother to govern them but just lets them run wild. And possibly the same mindless chance is all that governs human lives. And because this is even more senseless than having an angry God intent on punishing us, it is, Frost suggests, the worst suspicion of all. 暗示宇宙受到那个邪恶力量的控制（一个冷漠的上帝？命运？魔鬼？），弗罗斯特加入了一丝怀疑。圣经告诉我们“他的眼睛看顾麻雀”，但此刻诗人似乎并不确定。也许，他暗示，当宇宙中的事物降至一定尺寸以下时，它们完全超出了设计者的注意范围。当生物如此微小时，也许上帝不会费心管理它们，而只是让它们肆意生长。也许同样毫无意义的机遇支配着人类的生活。弗罗斯特暗示，因为这比一个愤怒的上帝意图惩罚我们更加无意义，这是最糟糕的怀疑。
Works cited
"Appall." Webster's Tenth New Collegiate Dictionary. 1993.Cook, Reginald. Ṙobert Frost: A Living Voice. Amherst: U of Massachusetts P. 1974."Design." Webster's Tenth New Collegiate Dictionary. 1991Frost, Robert. "Design." Collected Poems, Prose and Plays. New York: Library of America, 1995.275.Squires, Radcliffe. The Major Themes of Robert Frost. Ann Arbor: of Michigan P, 1963.
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Drama
3.1 Understanding Drama
Human experience, either real or imagined, is the subject for all literary genres. Though novels, poems and plays deal with similar subjects, the means of representation in artistic forms differ with the medium. Contrary to fiction and poetry, a play is written not only to be read, but also to be enacted. It would be taken for granted that the theatre involves a script designed to be given life by actors in a place specially built for its presentation. 人类的经历，无论是真实的还是想象的，都是所有文学体裁的主题。 尽管小说、诗歌和戏剧涉及类似的主题，但艺术形式中的表现手段因媒介而异。 与小说和诗歌相反，戏剧不仅是为了阅读而写的，还要被表演。 我们理所当然地认为，戏剧涉及一份脚本，由演员在专门为其呈现而建造的地方赋予生命。
The word "drama" originates from the Greek dran, meaning "to do" or "to act." The chief feature that distinguishes drama from other types of literature is its potential for being performed. Aristotle, the first known theorist of drama, defines it as "an imitation of action." For G. B. Tennyson, "Dram is a story that people act out on a stage before spectators." Eric Bentley observes, "The theatrical situation, reduced to a minimum, is that A impersonates B while C looks on." And Marjorie Boulton regards a play as something "not really a piece of literature for reading." Instead, "A true play is three-dimensional; it is literature that walks and talks before our eyes." All the quotations stress the theatricality of drama, that it is an art performed by real people on a stage with an emphasis on action. “戏剧”一词源自希腊语 dran，意为“做”或“表演”。区别戏剧与其他文学类型的主要特征是其可被表演的潜力。亚里士多德，被认为是第一个戏剧理论家，将其定义为“对行动的模仿”。对于 G. B. Tennyson 来说，“戏剧是人们在舞台上面对观众表演的故事。”埃里克·本特利观察到，“剧场情境被简化为 A 扮演 B，而 C 旁观。”玛乔里·布尔顿认为戏剧是“不是真正用于阅读的文学作品。”相反，“一个真正的戏剧是三维的；它是在我们眼前走动和交谈的文学。”所有这些引文强调了戏剧的戏剧性，即它是由真实人物在舞台上表演的一种强调行动的艺术。
The origin of drama is usually traced back to rites of remote antiquity with priests and dancers dressed and masked as animals or gods to call to the tribe's protection and welfare. Even though drama began as a preverbal activity, the history of drama began with Greek tragedies and comedies from the fifth century B.C. 戏剧的起源通常可以追溯到遥远古代的仪式，祭司和舞者穿着动物或神明的服装和面具，以呼唤部落的保护和福祉。尽管戏剧始于一种非语言的活动，但戏剧的历史始于公元前五世纪的希腊悲剧和喜剧。
In the Poetics, Aristotle set down a detailed analysis of tragedies. The tragic heroes are high-born individuals whose personalities develop out of moral choices under extreme pressures. They often do some deeds and suffer from their great errors, which are called by critics as "tragic flaws." The tragic flaw is necessarily not a single trait, such as pride or rashness, but often a combination of character traits that results in misjudgment. The classical formula illustrates the hero committing errors and suffering consequentially, and then recognizing the nature of his own acts. Oedipus the King written by Sophocles, for instance, reveals Oedipus's step-by-step progression toward self-discovery. Ignorant of his birth, Oedipus flees from his adopted parents to avoid the oracle of his killing Father and marrying Mother. His flight is commendable, but it happens to be a great mistake because it brings him back to his real parents and the subsequent catastrophes. He kills his own father by accident on the road and marries his mother later. His endeavor to solve the old murder mystery finally reveals his own guilt; therefore his success becomes his doom. Such concept of the noble tragic hero was undermined by bourgeois drama in the mid-eighteenth century which showed ordinary people in relation to their society. Thus began the modern concept of commonplace heroes, such as Willy Loman in Arthur Miller's Death of a Salesman who sacrifices 在《诗学》中，亚里士多德详细分析了悲剧。悲剧英雄是出身高贵的个体，其个性在极端压力下形成道德选择。他们经常做一些事情并因其巨大错误而受苦，评论家称之为“悲剧性缺陷”。悲剧性缺陷必然不是单一特质，比如骄傲或鲁莽，而往往是一系列性格特征的组合导致错误判断。古典公式阐明了英雄犯错误并遭受相应后果，然后认识到自己行为的本质。例如，索福克勒斯所写的《奥德修斯国王》揭示了奥德修斯逐步走向自我发现。奥德修斯不知道自己的出生，逃离养父母以避开杀死父亲并娶母亲的预言。他的逃离值得称赞，但却是一个巨大的错误，因为这将他带回到他的亲生父母和随后的灾难。他在路上意外杀死自己的父亲，后来娶了自己的母亲。他努力解开旧谋杀之谜最终揭示了自己的罪行；因此，他的成功成为了他的厄运。 贵族悲剧英雄的概念在十八世纪中叶被资产阶级戏剧破坏，展示了普通人与社会的关系。因此开始了现代普通英雄的概念，比如亚瑟·米勒的《推销员之死》中的威利·洛曼，他牺牲了
to maintain his sense of personal dignity.
In contrast to tragedies that demonstrate noble individuals' falls, comedies expose human follies or ugliness in human nature and celebrate human survival. Aristotle's account of comedy is lost and from his few scattered articles we know that comedy has originated later than tragedy and it usually imitates lowborn people's actions. Commonly, there exist two types of central figures. One is the ridiculous type such as misers or obstructive parents; the other includes figures who overcome difficulties such as young lovers. The most familiar comic plot is that of two lovers obstructed by their parents finally removing the obstacles and all joining in the marriage festivities. Though critical of man's foolishness, the best comedy is good-natured and attributes human error to folly instead of evil or corruption. 与展示高尚个体堕落的悲剧相比，喜剧揭示了人类的愚蠢或人性中的丑陋，并庆祝人类的生存。亚里士多德对喜剧的描述已经失传，从他零星的几篇文章中我们知道，喜剧起源较晚于悲剧，通常模仿的是卑贱人物的行为。通常存在两种中心人物类型。一种是荒谬类型，如吝啬鬼或阻碍父母；另一种包括克服困难的人物，如年轻恋人。最熟悉的喜剧情节是两位恋人被父母阻挠，最终消除障碍，所有人参与婚礼庆祝。尽管批评人类的愚蠢，最好的喜剧是善良的，将人类错误归因于愚蠢而不是邪恶或腐败。
Besides tragedy and comedy, there is another dramatic type called tragicomedy. The Roman playwright Titus Maccius Plautus invented the term around 186 B.C. to describe his play Amphitron about serious events ending happily after many twists. This style continued to the end of the seventeenth century. Combining tragic and comic incidents, tragicomedy mixes styles, subjects, languages, and characters of both tragedy and comedy. In modern tragicomedies, however, the endings are not always happy. Rather, they are neither tragic nor comic. Samuel Beckett's Waiting for Godot is subtitled as a "tragicomedy," in which humor and despair are mixed and the ending illustrates that there is no easy solution. 除了悲剧和喜剧之外，还有一种叫做悲喜剧的戏剧类型。罗马剧作家提图斯·马修斯·普劳图斯在公元前 186 年左右创造了这个术语，用来描述他的戏剧《安菲特隆》，讲述了许多曲折之后以幸福结局结束的严肃事件。这种风格延续到了 17 世纪末。悲喜剧结合了悲剧和喜剧事件，混合了悲剧和喜剧的风格、主题、语言和角色。然而，在现代的悲喜剧中，结局并不总是幸福的。相反，它们既不悲剧也不喜剧。塞缪尔·贝克特的《等待戈多》被副标题为“悲喜剧”，其中幽默和绝望交织，结局表明没有简单的解决方案。
According to Aristotle, drama is made up of six elements, namely plot, character, thought, language, spectacle or visual effects, and choral odes. Plot has been regarded as the "soul of tragedy" and outweighs character in that plot reveals character. Usually for analysis plot is divided into four parts: exposition, complication, reversal, and resolution. The best plot, in Aristotle's view, is a concentrated compiling of events leading to reversal, catastrophe, and recognition. The classical principle that demands a beginning, a middle, and a solution has undergone changes in modern period. Beckett and Harold Pinter have produced plays without formal expositions and definite endings. With the loss of certainty and consistency, modern drama no longer develops along established formulas. The postmodern drama exhibits a major shift from the primacy of plot to the primacy of character. With the shift, the spiritual realm within takes the place of the physical realm without. Often adopting reflexive forms, postmodern plays tend to substitute fragments for plot, which helps to reflect broken images of a fluid reality. 根据亚里士多德的观点，戏剧由六个要素构成，即情节、人物、思想、语言、场面或视觉效果以及合唱颂歌。情节被视为“悲剧的灵魂”，在情节揭示人物方面胜过人物。通常情节分析分为四个部分：开端、发展、转折和结局。在亚里士多德看来，最好的情节是一系列事件的集中编排，导致转折、灾难和认知。要求有开头、中间和解决方案的古典原则在现代时期已经发生了变化。贝克特和哈罗德·品特创作了没有正式开场和明确结局的剧作。随着确定性和一致性的丧失，现代戏剧不再沿袭既定的公式发展。后现代戏剧从情节的主导地位转向人物的主导地位。随着这种转变，内在的精神领域取代了外在的物质领域。后现代戏剧常采用反思形式，倾向于用碎片替代情节，以反映流动现实的破碎形象。
Dramatic characters are often revealed in their actions; hence conflicts are essential in character analysis. We can see a character's clashes with God, with nature, with another character, or with himself. Besides dramatic conflicts, characters are also defined by their physical features, speeches, dresses, and social positions. 戏剧人物常常通过他们的行动来展现，因此冲突在人物分析中是至关重要的。我们可以看到一个人物与上帝、自然、另一个人物或自己之间的冲突。除了戏剧性冲突，人物还可以通过他们的外貌特征、言谈、服装和社会地位来定义。
The language is often understood as words printed as dialogue. Unlike our daily conversation, dramatic language is highly selective and purposeful to convey the background information as well as characters' thoughts and feelings. Signs and symbols are useful vehicles in the theater to create multiple layers of meanings. For example, Susan Glaspell has entitled her play Trifles to indicate the marginalization of women by masculine discourse and their subsequent appropriation of it. Besides the verbal text, the dramatic language includes other means of communication such as the actor's presence, sounds, lighting effects, movement, silences, stage 语言通常被理解为印刷为对话的文字。与我们日常对话不同，戏剧语言是高度选择性和有目的的，旨在传达背景信息以及人物的思想和感情。符号和象征在剧院中是有用的工具，可以创造多层含义。例如，苏珊·格拉斯佩尔将她的剧本《琐事》命名为表明女性被男性话语边缘化及其随后的占有。除了口头文本外，戏剧语言还包括其他交流手段，如演员的存在、声音、灯光效果、动作、沉默、舞台。
properties, and film projections or images. Therefore, in order to appreciate language of a play, we have to pay full attention to the spoken and the unspoken, sounds and silences.
The history of drama is a long story to tell. Ritual drama once prospered worldwide, and the most impressive examples came from the Mediterranean where western civilization began. Greek drama derived from choral songs and dances celebrating gods and local heroes. Imitations, costumes, make-ups, masks, dances, music were some of the important elements in these early rituals. It was believed that Thespis, the legendary first actor, made the fist step out of the chorus and took a solo role acting as the god thus transforming choral song into acted drama. Tragedy, which meant goat-song in Greek, started with the introduction of an actor playing various roles by changing masks and exchanging dialogue with the leader of the chorus who commented upon his actions in song. It was traditional to perform the great tragedies of Aeschylus, Sophocles, and Euripides at the spring festival every year. Although tragedies remained the staple of the festivals, comedies were first introduced in 484 B.C. and enjoyed great popularity. The survived complete comedies produced by Aristophanes suggested that the form developed from an amalgam of choral and other ritual elements. Most of the comedies ended with a revel or a banquet. Unlike tragedies that preferred familiar subjects drawn from mythology, comedies invented their own. 戏剧的历史是一个漫长的故事。仪式戏剧曾经在全球范围内繁荣，最令人印象深刻的例子来自地中海，那里是西方文明的起源地。希腊戏剧源自合唱歌曲和舞蹈，庆祝神祗和当地英雄。模仿、服装、化妆、面具、舞蹈、音乐是这些早期仪式中的重要元素之一。人们相信传说中的第一位演员 Thespis 走出合唱团，扮演神祗的独角戏角色，从而将合唱歌曲转化为表演戏剧。悲剧在希腊语中意为“山羊歌”，随着引入一个扮演不同角色的演员，通过更换面具和与合唱团领导人交换对话来开始。传统上每年春节都会演出埃斯库罗斯、索福克勒斯和欧里庇得斯的伟大悲剧。尽管悲剧仍然是节日的主打，喜剧首次于公元前 484 年引入，并受到极大欢迎。阿里斯托芬创作的完整喜剧表明，这种形式是从合唱和其他仪式元素的混合中发展而来。 大多数喜剧以狂欢或宴会结束。与更喜欢从神话中汲取熟悉主题的悲剧不同，喜剧创造了自己的主题。
The Greek plays were still in operation through Roman times. The theater followed the armies, and the actors became new professionals. But the tastes were changing and serous tragedies were not as alluring as they once were. Comedy was favored as an entertaining ornament to society. As the Western Roman Empire collapsed, the classical theater faded. During the early years of the Christian dominance, the Church declared its hostility to the theater. The main reason was that the plays and public performances preserved values no longer acceptable to the new Christian beliefs. For a thousand years and more the history of the drama was all darkness and vacancy. But the Church finally realized that it was impossible to eradicate pagan activities entirely and many rituals of the Church were themselves highly dramatic. Therefore, a Christian compromise was made and many festivals in the church year became, in effect, an annual drama re-enacting the life of Christ. Mysteries or miracle-plays came into being as sequences of episodes taken from the life of some wonder-working saints. In the fourteenth century a new kind of drama named morality play appeared and it flourished through the sixteenth century. Combining delight and instruction, morality plays were wonderful teaching vehicles to teach the dangers of sin and the goodness of God. - 希腊戏剧在罗马时期仍然在运作。剧院跟随军队前进，演员成为新的专业人士。但口味在改变，严肃的悲剧不再像过去那样吸引人。喜剧成为社会的一种娱乐装饰。随着西罗马帝国的崩溃，古典剧院逐渐消失。在基督教统治的早期，教会宣布对剧院的敌意。主要原因是剧目和公开表演保留了新基督教信仰不再接受的价值观。一千多年来，戏剧的历史一片黑暗和空虚。但教会最终意识到，完全根除异教活动是不可能的，教会的许多仪式本身就具有高度戏剧性。因此，基督教做出了妥协，教会年度的许多节日实际上成为重现基督生平的年度戏剧。奇迹或神迹剧逐渐出现，这些剧是从一些行奇迹的圣人生平中选取的一系列情节。 在十四世纪出现了一种名为道德剧的新型戏剧，它在十六世纪蓬勃发展。道德剧结合了娱乐和教育，是教导罪恶危险和上帝的善良的绝妙教学工具。 -
In the latter part of the sixteenth century history witnessed a theatrical explosion of which the center was London. Permanent theaters were built in response to public demand. Subjects of urgent topical importance were dramatized while they were still fashionable. New plays often run no more than a few days, which made playwrights more as a hack than as a literary artist. William Shakespeare, for example, produced at least thirty-seven plays while his theatrical career continued from 1586 until 1611, a period of twenty-five years. Meanwhile he made himself useful both as an actor and as a playwright. Though the playwrights' life was uncertain, theater did attract talent from all walks of life. A group of six well-educated men chose to write for the public stage. Among them Christopher Marlow was best known for his Doctor Faustus which was about a university man who sold his soul to the devil. Besides, the structure of Elizabethan drama was more flexible 在十六世纪后期，历史见证了一个戏剧爆发，其中心是伦敦。永久剧院是为了满足公众需求而建造的。紧迫时事议题被戏剧化，而它们仍然时尚。新剧往往只演几天，这使剧作家更像是一个雇佣工，而不是一个文学艺术家。例如，威廉·莎士比亚在他的戏剧生涯从 1586 年持续到 1611 年的时期内至少创作了三十七部剧作，这是二十五年的时间。与此同时，他既是一名演员，也是一名剧作家。尽管剧作家的生活充满不确定性，戏剧确实吸引了各行各业的人才。一群受过良好教育的六个人选择为公众舞台写作。其中，克里斯托弗·马洛以他的《浮士德博士》而闻名，这部作品讲述了一个大学生将灵魂卖给了魔鬼。此外，伊丽莎白时代戏剧的结构更加灵活。
than that of the middle ages. Tragic scenes mixed with comic and scenes from high and low life were intermingled. Subplots were common as related to the main theme. Since the British regarded them as the center of the universe, they tended to portray foreigners as stereotypes. The French were often funny, the Spanish fantastic, Moors exotic, Italians treacherous and corrupt. In Shakespeare's The Merchant of Venice, for example, the Jews were presented greedy and stupid. The proud audience was also fascinated with the British history and they loved to see their past dramatized on the stage, hence the prosperity of history plays. Shakespeare, for instance, composed Henry VI, Richard III, Richard II, Henry IV, Henry V, and Henry VIII. The Elizabethan playwrights also drew inspiration and plot materials from foreign sources and they were proud of having rediscovered the Greek and Roman classics. The pure imitation had little popular appeal and most authors chose to take the substance while rejecting the classical form. Another popular Elizabethan model was the wonder play. The age was a time of geographical and intellectual exploration with the new worlds being discovered and old barriers breaking down. The appeal of exotic lands was conspicuous in Peele's The Battle of Alcazar, Marlowe's Tamburlaine, and Shakespeare's Tempest. 与中世纪相比，悲剧场景与喜剧场景以及高低生活场景混合在一起。次要情节与主题相关常见。由于英国人认为自己是宇宙的中心，他们倾向于将外国人描绘成刻板印象。法国人常常滑稽，西班牙人奇幻，摩尔人异国情调，意大利人奸诈腐败。例如，在莎士比亚的《威尼斯商人》中，犹太人被描绘为贪婪愚蠢。自豪的观众也着迷于英国历史，他们喜欢看到自己的过去在舞台上戏剧化，因此历史剧繁荣兴盛。例如，莎士比亚创作了《亨利六世》、《理查三世》、《理查二世》、《亨利四世》、《亨利五世》和《亨利八世》。伊丽莎白时代的剧作家还从外国来源汲取灵感和情节素材，他们为重新发现希腊和罗马古典文学感到自豪。纯粹的模仿缺乏普遍吸引力，大多数作者选择保留实质而拒绝古典形式。另一个受欢迎的伊丽莎白时代模式是奇迹剧。 这个时代是地理和智力探索的时代，新世界被发现，旧障碍被打破。异国情调的吸引力在皮尔的《阿尔卡萨之战》、马洛的《坦布雷恩》和莎士比亚的《暴风雨》中显而易见。
In 1658 with the death of Oliver Cromwell came the Restoration England. Public performances of plays resumed quickly and the audience primarily made up of aristocratic craved more entertainment they had experienced during the prewar days and their exile in France. Frivolity became a virtue, and the theater largely followed French patterns and forsook its own Elizabethan tradition. Shakespeare's plays were still popular, but sixteen of them were revised under the influence of neoclassical principles that had shaped the European stage. 1658 年，奥利弗·克伦威尔去世，英国开始了复辟时期。戏剧公开演出很快恢复，观众主要是贵族，他们渴望在战前和流亡在法国期间所经历的更多娱乐。轻浮成为一种美德，戏剧在很大程度上遵循法国模式，放弃了自己的伊丽莎白时代传统。莎士比亚的戏剧仍然很受欢迎，但其中有十六部在新古典主义原则的影响下进行了修改，这些原则塑造了欧洲舞台。
The crucial change in the eighteenth century was the rise of the middle classes. As the Restoration represented the last fling of a glittering aristocracy, the new age saw the ascent of the middle classes that became gradually richer, larger and more influential. They demanded plays that mirrored their reality of establishment. The London theater thus gradually settled under the pall of middle-class respectability. The moral tone of plays was changing and the settings and characters also reflected the shift of social values. George Lillo's The London Merchant spoke clearly for its time. 十八世纪的关键变化是中产阶级的崛起。随着复辟时期代表着辉煌贵族的最后狂欢，新时代见证了中产阶级的崛起，他们逐渐变得更加富裕、更大规模和更有影响力。他们要求戏剧反映他们建立的现实。伦敦剧院逐渐沉浸在中产阶级的尊严之中。戏剧的道德风气正在改变，舞台和角色也反映了社会价值观的转变。乔治·利洛的《伦敦商人》清晰地代表了当时的时代。
The Romantic Movement at the end of the eighteenth century was a violent revolt against the past and forced the theater to transform. The shattering changes brought by the American Revolution in 1776 and the French Revolution in 1789 were felt throughout Europe. The theater responded to these changes and evolved new subject matters and forms of plays. Shakespeare who had been devalued by the Restoration dramatists as formless and uncouth was reconsidered. His sprawling style, his mingling of tragedy and comedy in the same play, and his use of common vocabulary were celebrated by the Romantics who wished to sweep away their past and return to an earlier freedom. Besides Shakespeare, melodrama was another important kind of plays that received a boost from the Romantic Movement. It included simplified characters and clear moral issues. Though the scripts were of slight literary merit, the performances of passion, or terror, or lively fun afforded the audience chances to wallow in raw emotion, which was especially loved by the working class. Until it was superseded by film, melodrama remained one of the greatest sources of mass entertainment. 十八世纪末的浪漫主义运动是对过去的激烈反抗，迫使戏剧进行转变。1776 年美国革命和 1789 年法国大革命带来的巨变在整个欧洲都有所感受。戏剧对这些变化做出了回应，并演变出新的题材和戏剧形式。被复辟时期戏剧家贬低为毫无形式和粗俗的莎士比亚重新受到重视。他那散漫的风格，在同一部戏中交织悲剧和喜剧，以及使用通俗词汇的方式受到浪漫主义者的赞扬，他们希望扫除过去，回归早期的自由。除了莎士比亚，情节剧是另一种在浪漫主义运动中受到推崇的重要戏剧类型。它包括简化的角色和明确的道德问题。尽管剧本在文学价值上稍显不足，但激情、恐怖或欢乐的表演为观众提供了沉浸在原始情感中的机会，尤其受到工人阶级的喜爱。直到被电影取代，情节剧仍然是大众娱乐的最重要来源之一。
The nineteenth-century British theater moved toward greater realism. T. W. Robertson
pioneered the idea of total realism by advocating that the theater, in all aspects, should represent life as it was. The subject matter of plays should be drawn from life as actually lived. Characters abandoning old stereotypes should mimic real people and perform real actions. Settings should resemble actual places as much as possible. Shakespeare's plays, especially his historical plays, were produced with an attempt to capture the complete historical accuracy of setting and costume. All these changes affected the theater and spread across both sides of the Atlantic. Realism became the dominant mode of the time. Andre Antoine and Emile Zola in France, Henrik Ibsen in Norway, Constantin Stanislavsky and Anton Pavlovich Chekhov in Russia were representatives of the realistic movement on the continent. In America, realism was cultivated by the commercial theater for its own sake. What attracted the audience was the real world represented on the stage in rich detail. They were happy with stage depictions of natural phenomena, disasters, and historical periods recreated. 开创了全面现实主义的理念，主张戏剧在各个方面都应该如实地描绘生活。剧本的题材应该来源于实际生活。角色应该摒弃旧有的刻板形象，模仿真实人物并表现真实行为。布景应尽可能地类似实际场所。莎士比亚的戏剧，尤其是他的历史剧，都力图捕捉完整的历史背景和服装。所有这些变化影响了戏剧，并在大西洋两岸传播开来。现实主义成为当时的主导模式。法国的安德烈·安托万和艾米尔·左拉，挪威的亨利克·易卜生，俄罗斯的康斯坦丁·斯坦尼斯拉夫斯基和安东·帕夫洛维奇·契诃夫都是大陆现实主义运动的代表人物。在美国，现实主义是由商业戏剧为了自身利益而培养的。吸引观众的是舞台上以丰富细节展现的真实世界。他们喜欢舞台上对自然现象、灾难和历史时期的再现。
The twentieth-century theater was known for its diversity. Realism continued and the most successful playwright of this sort was George Bernard Shaw. However, a theatrical movement cultivating illogic, anarchy, and absurdity existed side by side with realism. One subculture that broke sharply from the realistic method was expressionism that concentrated on the nature of the inner self instead of the external world. These plays commonly followed the pattern of the dream, in which the mind broke loose and the inner concerns were more revealed. August Strindberg, the known expressionist, indeed named his best-known work of this genre Dream Play. For the generation who had lived through the wars, the problem of communication in an increasingly complex and terrifying world became the major issue. Their response to the spiritual and material impoverishment, and the ultimate threat of total annihilation was put clear in the theater of the absurd. Eugene Inonesco and Samuel Beckett were representatives of the school. Another important theatrical theory named "alienation effect" was put forward by Bertolt Brecht. He demanded the audience should not passively enjoy the play but remain a sense of critical detachment by looking at familiar objects in a new and unfamiliar way. Toward the end of the twentieth century, there has begun a conscious returning to the rituals of the past. When society seems to fall apart, a desire of restoration starts. In New York, Greek tragedies have been returned to ritual. Mime, chorus, and ancient Persian texts are produced to evoke the mystery at the heart of life. On the very experimental fringe of the contemporary theater, we have seen the revival of the tradition. 二十世纪的戏剧以其多样性而闻名。现实主义继续发展，这类戏剧中最成功的剧作家是乔治·伯纳德·肖。然而，一个培育不合逻辑、无政府和荒谬的戏剧运动与现实主义并存。一个与现实主义方法截然不同的亚文化是表现主义，它专注于内在自我的本质而非外部世界。这些戏剧通常遵循梦境的模式，其中思维脱离束缚，内在关注更加显露。表现主义者奥古斯特·斯特林伯格确实将他这一流派中最著名的作品命名为《梦之戏》。对于经历过战争的一代人来说，在一个日益复杂和可怕的世界中的沟通问题成为主要议题。他们对精神和物质贫困以及总毁灭的最终威胁的回应清晰地体现在荒诞主义戏剧中。尤金·伊诺内斯科和塞缪尔·贝克特是这一学派的代表。另一个重要的戏剧理论名为“疏离效果”，由贝托尔特·布莱希特提出。 他要求观众不应 passively 享受戏剧，而是通过以新的和陌生的方式看待熟悉的物体保持批判性的超然态度。到了二十世纪末，人们开始有意识地回归到过去的仪式。当社会似乎分崩离析时，一种恢复的愿望开始萌发。在纽约，希腊悲剧已经回归到仪式。哑剧、合唱和古波斯文本被制作出来，以唤起生活核心的神秘。在当代戏剧的实验边缘，我们看到了传统的复兴。
Theatre at Epidavros, Peloponnese, Greece
References
Abrams, M. H. A Glossary of Literary Terms, 5th ed. New York: Holt, Rinehart, and Winston, 1988
Amott, Peter. The Theater in Its Time. Boston and Toronto: Little, Brown and Company, 1981
Baldick, Chris. Oxford Concise Dictionary of Literary Terms. Shanghai: Shanghai Foreign Language Education Press, 2001.
Barranger, Milly S, Understanding Plays. Boston: Allyn and Bacon, 1990
Beaty, Jerome, and J. Paul Hunter, eds. The Norton Introduction to Llterature, 7th ed. New York: W. W. Norton & Company, 1998
DiYanni, Robert, ed. Literature: Reading Fiction, Poetry, and Drama. 5th ed. Boston: McGraw Hill, 2002. Waison, G. J. Drama: An Introduction. Basingstoke: Macmillan, 1983.
3.2 Shakespearean Comedy
Shakespearean Comedy
William Shakespeare's plays come in many forms, including histories, tragedies, comedies and tragicomedies. The comedies full of laughter, irony, satire and wordplay are popular.
The structure is very important in Shakespeare's comedies. All his comedies have five acts and the climax is always during the third act. The play usually goes through three phases. First there is order and discipline, then chaos and disorder start, and finally order is restored again and the play is completed in a festive ending. 莎士比亚喜剧中的结构非常重要。他所有的喜剧都有五幕，高潮总是在第三幕。剧情通常经历三个阶段。首先是秩序和纪律，然后混乱和无序开始，最后秩序再次恢复，剧情在欢乐的结局中完成。
Love and friendship played within a courtly society are the common themes of Shakespearean comedies. In his comedies love provides the main ingredient. Usually there exists some obstacle to the lovers' relationship, examples of which include the slanderous tongues, the father insistent upon his daughter marrying his choice, or the expulsion of the rightful woman. 莎士比亚喜剧中常见的主题是贵族社会中的爱情和友谊。在他的喜剧中，爱情是主要元素。通常情侣之间存在一些障碍，例如恶毒的舌头、父亲坚持女儿嫁给他选择的人，或者驱逐合适的女人。
In order to provoke "thoughtful laughter," Shakespeare's comedies often use puns and ironies. A good example of puns is what Lysander in A Midsummer Night's Dream (1595-6) says to Hermia, "For lying so, Hermia, I do not lie." Here "lie" could mean both lying down or not telling the truth. Oxymoron and ironies also give additional meanings to the plays. Titania in the same play has fallen in love with an ass and she says, "Thou art as wise, as thou art beautiful," but we know that an ass is neither beautiful nor intelligent. Another thing that makes the comedy humorous is the way Shakespeare shows stupidity among the characters by using malapropism, exaggerated alliteration, mispronunciation and bad punctuation. In the plays we could easily distinguish the people not well educated through the mistakes they have made when talking and acting. The craftsmen in the mentioned play might use big words and try to sound clever, when they actually sound stupid. Alliteration is exaggerated like, "Whereat, with blade, with bloody blameful blade, he bravely broached his boiling bloody breast," making the sounds awkward and pointless. Mispronunciations like "perfet" instead of "perfect" and bad punctuations such as "We do not come, as minding to content you, our true intent is" all contribute to the humor of the play. 为了引发“深思的笑声”，莎士比亚的喜剧经常使用双关语和讽刺。双关语的一个很好的例子是《仲夏夜之梦》（1595-6）中的莱桑德对赫尔米娅说的话，“因为我这样躺着，赫尔米娅，我并没有说谎。”这里的“说谎”既可以指躺下，也可以指不说实话。矛盾修辞和讽刺也为戏剧赋予了额外的意义。同一部戏中的缇坦妮娅爱上了一个驴，她说，“你像智者一样聪明，像美丽一样美丽”，但我们知道驴既不美丽也不聪明。另一个使喜剧有趣的因素是莎士比亚展示人物之间愚蠢的方式，通过使用词语误用、夸张的头韵、发音错误和糟糕的标点符号。在戏剧中，我们可以很容易地通过他们说话和行动时犯的错误来区分受教育程度不高的人。在提到的戏剧中，工匠们可能会使用大词汇并试图显得聪明，但实际上听起来很愚蠢。头韵被夸张地使用，比如，“他勇敢地刺穿了他沸腾的血腥胸膛”，使声音显得尴尬和毫无意义。 发音错误，如“perfet”而不是“perfect”，以及糟糕的标点符号，比如“我们不是来，关心满足你，我们真正的意图是”，都为这部戏剧增添了幽默感。
Besides A Midsummer Night's Dream, other Shakespeare's important comedies include Much Ado About Nothing (1598-1600), Twelfth Night (1598-1600), and The Merry Wives of Windsor (1600-1). Much Ado About Nothing is a romantic comedy about a love relationship and exploits games of verbal punning and backchat between two reluctant lovers. Twelfth Night, an intricate comedy, plays the familiar games of the time with boys playing girls who dress as boy pages. The 除了《仲夏夜之梦》之外，莎士比亚的其他重要喜剧作品包括《无事生非》（1598-1600）、《第十二夜》（1598-1600）和《温莎的风流妇人》（1600-1）。《无事生非》是一部浪漫喜剧，讲述了一段爱情关系，以及两位不情愿的恋人之间的语言双关和口舌之战。《第十二夜》是一部错综复杂的喜剧，展现了当时常见的男孩扮演女孩，装扮成男仆的情节。
Merry Wives of Windsor is the only comedy that Shakespeare set in his own time and country. The use of local settings was still very new in the plays of the time.
All the world's a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts, his acts being seven ages.'
The productive experience of William Shakespeare can be roughly divided into four periods. From 1592 to 1598 , he devoted himself mainly to chronicle histories including Richard II, Richard III, Henry IV, King John, and Henry V as well as comedies including Two Gentlemen of Verona, The Comedy of Errors, A Midsummer Night's Dream, The Merchant of Venice, and Love's Labor's Lost. From 1601 to 1609, he underwent the period of the great tragedies and romantic comedies. These tragedies were Hamlet, Macbeth, Othello, King Lear, and Antony and Cleopatra, and his comedies included As You Like It, Twelfth Night, and Much Ado About Nothing. From 1610 onwards, he retired to Stratford and continued his writing of tragicomedies including The Tempest, Cymbeline, and The Winter's Tale. 威廉·莎士比亚的创作经历大致可分为四个时期。从 1592 年到 1598 年，他主要致力于编年史剧，包括《理查二世》、《理查三世》、《亨利四世》、《约翰国王》和《亨利五世》，以及喜剧作品，包括《维洛那的两绅士》、《错误的喜剧》、《仲夏夜之梦》、《威尼斯商人》和《劳力士的失恋》。从 1601 年到 1609 年，他经历了伟大悲剧和浪漫喜剧时期。这些悲剧作品包括《哈姆雷特》、《麦克白》、《奥赛罗》、《李尔王》和《安东尼与克莉奥佩特拉》，他的喜剧作品包括《皆大欢喜》、《第十二夜》和《无事生非》。从 1610 年开始，他退隐到斯特拉特福德，并继续创作悲喜剧，包括《暴风雨》、《辛白林》和《冬天的故事》。
A Midsummer Night's Dream
ACT III
SCENE I. The wood. TITANIA lying asleep.
Enter QUINCE, SNUG, BOTTOM, FLUTE, SNOUT, and STARVELING
BOTTOM
Are we all met?
QUINCE
Pat, pat; and here's a marvellous convenient place for our rehearsal. This green plot shall be our stage, this hawthorn-brake our tiring-house; and we will do it in action as we will do it before the duke. 拍，拍；这里是我们排练的一个奇妙便利的地方。这片绿地将是我们的舞台，这树丛将是我们的化妆间；我们将在这里表演，就像我们将在公爵面前表演一样。
BOTTOM
Peter Quince, -
QUINCE
What sayest thou, bully Bottom?
BOTTOM
There are things in this comedy of Pyramus and Thisby that will never please. First, Pyramus must draw a sword to kill himself; which the ladies cannot abide. How answer you that?
SNOUT
By'r lakin, a parlous fear.
STARVELING
I believe we must leave the killing out, when all is done.
BOTTOM
Not a whit: I have a device to make all well.
Write me a prologue; and let the prologue seem to say, we will do no harm with our swords, and that Pyramus is not killed indeed; and, for the more better assurance, tell them that I, Pyramus, am not Pyramus, but Bottom the weaver: this will put them out of fear. 给我写一个序言； 让序言似乎表明，我们不会用剑伤害任何人，皮拉姆斯并没有真的被杀死；为了更好的 保证，告诉他们我，皮拉姆斯，不是皮拉姆斯，而是织工博托姆：这将让他们不再害怕。
QUINCE
Well, we will have such a prologue; and it shall be written in eight and six.
BOTTOM
No, make it two more; let it be written in eight and eight.
SNOUT
Will not the ladies be afeard of the lion?
STARVELING
I fear it, I promise you.
BOTTOM
Masters, you ought to consider with yourselves: to bring in - God shield us! - a lion among ladies, is a most dreadful thing; for there is not a more fearful wild-fow than your lion living; and we ought to look to it. 大师们，你们应该自己考虑：把一只狮子带进来——天佑我们！——在女士们中间，是一件最可怕的事情；因为没有比你们生活中的狮子更可怕的野禽了；我们应该注意这一点。
SNOUT
Therefore another prologue must tell he is not a lion.
BOTTOM
Nay, you must name his name, and half his face must
8 eight and six: 八六体, 即八音节和六音节相间的诗体, 为民谣常用诗体, 即“歌谣体"。
9 eight and eight: 八八体, 即全用八音节的诗句。
10 the lion: 据说，詹姆斯一世在继承英国王位前为苏格兰国王时,曾在一次假面舞剧中带进活的师子。这里莎士比亚是暗指史实。
11 wild-fowl: 野禽, 实为野兽之误。 Bottom 颠三倒四, 常用错字。
be seen through the lion's neck: and he himself must speak through, saying thus, or to the same defect, — "Ladies," - or "Fair-ladies - I would wish You," - or "I would request you," - or "I would entreat you, - not to fear, not to tremble: my life for yours. If you think I come hither as a lion, it were pity of my life: no I am no such thing; I am a man as other men are." And there, indeed, let him name his name, and tell them plainly he is Snug the joiner. 透过狮子的脖子看到：他必须亲自说出来，这样说，或者有同样的缺陷， —“女士们，” - 或“美女们 - 我希望你们，” - 或“我想要你们，” - 或“我恳求你们，- 不要害怕，不要发抖：我的生命换你们的生命。如果你们认为我是作为一只狮子来到这里，那将是我生命的遗憾： 不，我不是这样的东西；我和其他人一样是个人。”确实，让他说出自己的名字，并明确告诉他们他是木匠斯纳格。
QUINCE
Well, it shall be so. But there is two hard things that is, to bring the moonlight into a chamber; for, you know, Pyramus and Thisby meet by moonlight.
SNOUT
Doth the moon shine that night we play our play?
BOTTOM
A calendar, a calendar! Look in the almanac; find out moonshine, find out moonshine.
QUINCE
Yes, it doth shine that night.
BOTTOM
Why, then may you leave a casement of the great chamber window, where we play, open, and the moon may shine in at the casement.
QUINCE
Ay; or else one must come in with a bush of thorns and a lantern, and say he comes to disfigure, or to present, the person of Moonshine. Then, there is another thing: we must have a wall in the great chamber; for Pyramus and Thisby says the story, did talk through the chink of a wall. 噢；否则就必须拿着一捆荆棘和一盏灯笼进来，说他是来毁容的，或者是来展示月光之人的。然后，还有一件事：我们必须在大厅里有一堵墙；因为皮拉姆斯和西比的故事说，他们是通过墙缝交谈的。
SNOUT
You can never bring in a wall. What say you, Bottom?
BOTTOM
Some man or other must present Wall: and let him have some plaster, or some loam, or some rough-cast about him, to signify wall; and let him hold his fingers thus, and through that cranny shall Pyramus and Thisby whisper. 必须有某个男人出现在墙前：让他身上带一些灰泥、 或一些土壤、 或一些粗糙的 ，以表示墙；让他这样握住手指，皮拉姆斯和西比就可以通过那个裂缝窃窃私语。
QUINCE
If that may be, then all is well. Come, sit down, every mother's son, and rehearse your parts. Pyramus, you begin: when you have spoken your speech, enter into that brake: and so every one according to his cue. 如果可能的话，那么一切都好。来吧，坐下，每个母亲的孩子， 排练你们的角色。皮拉姆斯，你开始：当你说完你的台词后，进入那个灌木丛：然后每个人按照他的提示。
Enter PUCK behind
PUCK
What hempen homespuns have we swagg'ring here, So near the cradle of the Fairy Queen?
What, a play toward! I'll be an auditor;
An actor too, perhaps, if I see cause.
QUINCE
Speak, Pyramus. Thisby, stand forth.
12 defect:此处应为 "effect"。本应说 to the effect that（大意说……），Bottom 想在此卖弄文采，却说错了。
13 pity of my life: 那我真是苦命。
14 joiner: 细工木匠。
15 almanac: 历书, 年鉴。
16 casement: 窗扉。
17 bush of thorns: 柴枝，据英国民间传说，月中人背负一捆刺柴。
8 disfigure: Quince 的意思是“figure”, 扮演。
19 the person of Moonshine: 许多国家的民间故事里都说月亮上有个人。有时据说他是违反了犹太安息日法令的一个男人, 被判被人用石块打死。
But hark, a voice! Stay thou but here awhile, And by and by I will to thee appear.
Exit
PUCK
A stranger Pyramus than e'er played here.
Exit
FLUTE
Must I speak now?
QUINCE
Ay, marry, must you; for you must understand he goes but to see a noise that he heard, and is to come again.
FLUTE
Most radiant Pyramus, most lily-white of hue, Of colour like the red rose on triumphant brier, Most brisky juvenal and eke most lovely Jew, As true as truest horse that yet would never tire, I'll meet thee, Pyramus, at Ninny's tomb. 大多数光辉的皮拉姆斯，最白的色调，颜色像胜利的荆棘上的红玫瑰，最活泼的年轻人，也是最可爱的犹太人，像最真实的马一样，永远不会疲倦，我会在尼尼的墓碑上见到你，皮拉姆斯。
QUINCE
" 'Ninus' tomb," man! Why, you must not speak that yet; that you answer to Pyramus: you speak all your part at once, cues and all. Pyramus enter: your cue is past; it is "never tire."
FLUTE
, - As true as truest horse, that yet would never tire.
Re-enter PUCK, and BOTTOM with an ass's head
BOTTOM
If I were fair, Thisby, I were only thine.
QUINCE
O monstrous! O strange! We are haunted. Pray, masters! fly, masters! Help!
Exeunt QUINCE, SNUG, FLUTE, SNOUT, and STARVELING
PUCK
I'll follow you, I'll lead you about a round,
Through bog, through bush, through brake, through brier: Sometime a horse I'll be, sometime a hound, A hog, a headless bear, sometime a fire;
And neigh, and bark, and grunt, and roar, and burn, Like horse, hound, hog, bear, fire, at every turn.
Exit
BOTTOM
Why do they run away? This is a knavery of them to make me afeard.
Re-enter SNOUT
SNOUT
O Bottom, thou art changed! What do I see on thee?
BOTTOM
What do you see? You see an ass-head of your own, do you?
Bless thee, Bottom, bless thee! Thou art translated.
Exit
BOTTOM
I see their knavery: this is to make an ass of me; to fright me, if they could. But I will not stir from this place, do what they can: I will walk up and down here, and I will sing, that they shall hear I am not afraid. 我看到了他们的恶作剧：这是要愚弄我；如果他们能吓唬我，但我不会离开这个地方，无论他们做什么：我会在这里走来走去，我会唱歌，让他们知道我不害怕。
Sings
The ousel cock, so black of hue,
With orange-tawny bill,
The throstle with his note so true,
The wren with little quill, -
TITANIA
[Awaking] What angel wakes me from my flowery bed?
BOTTOM
[Sings]
The finch, the sparrow, and the lark,
The plain-song cuckoo gray,
Whose note full many a man doth mark,
And dares not answer nay; -
for, indeed, who would set his wit to so foolish
a bird? Who would give a bird the lie, though he cry
"cuckoo" never so?
TITANIA
I pray thee, gentle mortal, sing again:
Mine ear is much enamour'd of thy note;
So is mine eye enthralled to thy shape;
And thy fair virtue's force perforce doth move me On the first view to say, to swear, I love thee.
BOTTOM
Methinks, mistress, you should have little reason for that: and yet, to say the truth, reason and love keep little company together now-a-days; the more the pity that some honest neighbours will not make them friends. Nay, I can gleek upon occasion. 我认为，女士，你对此应该没有太多理由：但说实话，理智和爱情如今很少在一起；更可惜的是，一些诚实的邻居不愿让它们成为朋友。不过，我可以在适当的时候开玩笑。
TITANIA
Thou art as wise as thou art beautiful.
BOTTOM
Not so, neither: but if I had wit enough to get out of this wood, I have enough to serve mine own turn.
TITANIA
Out of this wood do not desire to go:
Thou shalt remain here, whether thou wilt or no.
I am a spirit of no common rate;
The summer still doth tend upon my state;
And I do love thee: therefore, go with me;
I'll give thee fairies to attend on thee,
And they shall fetch thee jewels from the deep,
40 translated: 变形了。
41 that they shall: 让他们能。
42 ousel: 乌鸦
43 throstle: 画眉。
44 wren: 鹤釷
45 The ... quill: 山鸟嘴巴黄沉沉，浑身长满黑羽毛，画眉唱得顶认真，声音尖细是鹤鹤。 quill: 喉管。
48 give a bird the lie: 对杜鹃回答: “你撒䐠。”义同 answer nay。
49 enamour'd of: 恋慕，耽溺，醉心于。
50 enthralled to: 被迷住。to=by。
51 thy fair virtue's per force: 你的优良品质的神力。
52 I ... occasion: 我有时也会说说笑话。gleek:说笑话。
53 to serve mine own turn: 达到自己的目的。
54 tend upon my state: 听从我的命令。tend upon: 伺侯，服侍。state: 显赫（的身份)。
And sing while thou on pressed flowers dost sleep;
And I will purge thy mortal grossness so
That thou shalt like an airy spirit go.
Peaseblossom! Cobweb! Moth! and Mustardseed!56
Enter PEASEBLOSSOM, COBWEB, MOTH, and MUSTARDSEED
PEASEBLOSSOM
Ready
COBWEB
And I.
MOTH
And I.
MUSTARDSEED
And I.
ALL
Where shall we go?
TITANIA
Be kind and courteous to this gentleman; Hop in his walks and gambol in his eyes; Feed him with apricocks and dewberries, With purple grapes, green figs, and mulberries; The honey-bags steal from the humble-bees, 58 And for night-tapers crop their waxen thighs, And light them at the fiery glow-worm's eyes, To have my love to bed and to arise; 59 And pluck the wings from Painted butterflies, To fan the moonbeams from his sleeping eyes: Nod to him, elves, and do him courtesies. 对这位绅士要友善和有礼貌；跟随他的步伐，在他的眼中嬉戏；用杏子和露莓喂养他，紫葡萄、青无花果和桑葚；从蜜蜂那里偷取蜂蜜袋，剪下它们蜡制的腿，点燃火红萤火虫的眼睛，让我的爱人入睡和醒来；摘下彩蝶的翅膀，扇动月光从他的睡眼中；精灵们，向他点头，对他表示礼貌。
PEASEBLOSSOM
Hail, mortal!
COBWEB
Hail!
MOTH
Hail!
MUSTARDSEED
Hail!
BOTTOM
I cry your worship's mercy, heartily: I beseech your worship's name.
COBWEB
Cobweb.
BOTTOM
I shall desire you of more acquaintance, good Master
Cobweb: if I cut my finger, I shall make bold with you. Your name, honest gentleman?
PEASEBLOSSOM
Peaseblossom.
BOTTOM
I pray you, commend me to Mistress Squash, your mother, and to Master Peascod, your father. Good Master Peaseblossom, I shall desire you of more acquaintance too. Your name, I beseech you, sir? 我请求你，向 Mistress Squash， 你的母亲，和 Master Peascod， 你的父亲问好。 Peaseblossom 先生，我也希望能更加熟悉你。 请问，你的名字是？
MUSTARDSEED
Mustardseed.
BOTTOM
Good Master Mustardseed, I know your patience well: that same cowardly, giant-like ox-beef hath
59 The ... arise: 去把野蜂的蜜囊偷取,剪下蜂股的蜜蜡做烛炬, 在流萤的火睛里点了火,照着我的爱人晨兴夜卧。night-tapers: 细蜡烛。
60 And ... courtesies: 再摘下彩蝶儿粉翼娇红,掮去他眼上的月光溶溶。来，向他鞠一个深深的躬。
61 cry ... mercy: 请问, 请赐教。
62 I ... name: 请列位多多担待在下。请教大号是一? your worship: 足下, 阁下。
63 make bold with: 冒昧, 大胆借重你。旧俗,割破手指时,用蛛丝缠缚伤口以止血。
64 Squash: 未熟的豆英。
65 Peascod: 成熟的豆荚。
devoured many a gentleman of your house: I promise you your kindred had made my eyes water ere now. I desire your more acquaintance, good Master Mustardseed.
TITANIA
Come, wait upon him; lead him to my bower.
The moon methinks looks with a watery eye;
And when she weeps, weeps every little flower,
Lamenting some enforced chastity.
Tie up my love's tongue bring him silently.?
Exeunt
SCENE II. Another part of the wood.
Enter OBERON
OBERON
I wonder if Titania be awaked;
Then, what it was that next came in her eye, Which she must dote on in extremity.
Enter PUCK
Here comes my messenger.
How now, mad spirit!
What night-rule now about this haunted grove?
PUCK
My mistress with a monster is in love.
Near to her close and consecrated bower,
While she was in her dull and sleeping hour, A crew of patches, rude mechanicals, That work for bread upon Athenian stalls, Were met together to rehearse a play Intended for great Theseus' nuptial-day. The shallowest thick-skin of that barren sort, Who Pyramus presented, in their sport Forsook his scene and_enter'd in a brake When I did him at this advantage take, An ass's nole I fixed on his head: Anon his Thisby must be answered, And forth my mimic comes. When they him spy, As wild geese that the creeping fowler eye, Or russet-pated choughs, many in sort, Rising and cawing at the gun's report, Sever themselves and madly sweep the sky, So, at his sight, away his fellows fly; And, at our stamp, here o'er and o'er one falls; He murder cries and help from Athens calls. 当她处于沉闷和沉睡的时刻，一群补丁，粗糙的机械工人，他们在雅典的摊位上为了生计而工作，聚集在一起排练一出戏剧，旨在庆祝忒修斯的婚礼日。那些最肤浅的厚皮肤的贫瘠人，他们在玩耍中扮演皮拉墨斯，离开了他们的场景，进入了一片灌木丛，当我抓住这个机会时，我在他的头上放了一个驴的头：接着他的提比必须回答，我的模仿者走出来。当他们发现他时，就像野鹅看到潜行的捕鸟人一样，或者像许多种类的红头乌鸦，升起并在枪声中呱呱叫，分开并疯狂地扫过天空，所以，在看到他的时候，他的同伴们飞走了；在我们的脚步声中，一个接一个地倒下；他大声呼救，并请求从雅典来的帮助。
Their sense thus weak, lost with their fears thus strong, Made senseless things begin to do them wrong; For briers and thorns at their apparel snatch; 87
66 that ... house: 那块庞大无比的牛肉曾把您家里好多人都吞去了。ox-beef: 菜牛。
67 I ... now: 不瞒您说, 您的亲戚们曾经把咱辣出泪水来。made my eyes water: (芥末的辣味)使我流泪。语意双关, 诙谐, 暗示芥子的辛啈。
92 This ... Antipodes: 我宁愿想像地球的中心可以穿成孔道, 月亮会从里面钻了过去,在地球的那一端跟它的兄长白昼捣乱。 Her brother: 此处指太阳。月神妃琵是太阳神腓勃斯的妹妹。Antipodes: 居住在地球那一端的人。
93 dead: deadly, 恐怖。
94 Venus: 维纳斯, 金星, 又是罗马神话中的爱情女神。这里有双重含义。
95 carcass: 尸体。
96 never number'd among men: 别再把你算作人了。
97 once tell true: 说说实话。
And hast thou kill'd him sleeping? O brave touch!
Could not a worm, an adder, do so much?
An adder did it; for with doubler tongue Than thine, thou serpent, never adder stung.
DEMETRIUS
You spend your passion on a misprised mood :
I am not guilty of Lysander's blood;
Nor is he dead, for aught that I can tell.
HERMIA
I pray thee, tell me then that he is well.
DEMETRIUS
An if I could, what should I get therefore?
HERMIA
A privilege never to see me more.
And from thy hated presence part I so:
See me no more, whether he be dead or no.
Exit
DEMETRIUS
There is no following her in this fierce vein:
Here therefore for a while I will remain.
So sorrow's heaviness doth heavier grow
For debt that bankrupt sleep doth sorrow owe:
Which now in some slight measure it will pay, If for his tender here I make some stay.
Lies down and sleeps
OBERON
What hast thou done? Thou hast mistaken quite And laid the love-juice on some true-love's sight:
Of thy misprision must perforce ensue
Some true love turn' and not a false turn'd true.
PUCK
Then fate o'er-rules, that one man holding troth, A million fail, confounding oath on oath.
OBERON
About the wood go swifter than the wind,
And Helena of Athens look thou find:
All fancy-sick she is and pale of cheer,
With sighs of love, that costs the fresh blood dear:
By some illusion see thou bring her here:
I'll charm his eyes against she do appear.
PUCK
I go, I go; look how I go,
Swifter than arrow from the Tartar's bow.
Exit
OBERON
Flower of this purple dye,
Hit with Cupid's archery,
Sink in apple of his eye.
When his love he doth espy,
Let her shine as gloriously
As the Venus of the sky.
When thou wakest, if she be by,
98 brave touch: 真高尚 (反讽)。
99 worm, adder: 蛇
100 An ... stung: 一条蛇, 一条毒蛇, 都比不
上你; 因为它分叉的毒舌, 还不及你的毒心更毒! doubler: 分叉的。
101 on a misprised mood: 你的脾气发得好没来由。
102 no following: 跟着她也没用。
103 heavier: 此处有“心情沉重”和 “瞌睡”的双重意义。
104 So ... stay: 睡眠欠下了沉忧的债，心头加重了沉忧的担; 我且把黑甜乡暂时寻访,还了些还不尽的糊涂账。这句话意义曲折，说的是忧郁唯有睡眠可以补偿，但因忧郁过多, 而睡眠不足, 帮睡眠负了忧郁的债。如果等到睡眠来补偿, 那忧郁就可以减轻了。
105 turn'd: 变心
106 Then ... oath: 一切都是命运在作主, 保持着忠心的不过一个人; 变心的,把盟誓起了一个毁了一个的，却有百万个人。Puck 在此是支吾其词，大意是说，情人变心是命中注定的，不变心的少之又少。
107 look thou: [古]喂！（引起对方注意的话）。下面的 see thou, 同此。
108 With ... dear: 痴心的叹息耗去了她脸上的血色。伊莉莎白时代的人相信每一次叹息都会损耗一滴血。
109 against: 当……时候。
110 Tartar: 鞑靼人，泛指东方游牧民族，他们是有名的擅长弓箭的战士。
111 apple of his eye: 他的瞳仁。
Beg of her for remedy.
Re-enter PUCK
PUCK
Captain of our fairy band,
Helena is here at hand;
And the youth, mistook by me,
Pleading for a lover's fee.
Shall we their fond pageant see?
Lord, what fools these mortals be!
OBERON
Stand aside: the noise they make Will cause Demetrius to awake.
PUCK
Then will two at once woo one;
That must needs be sport alone;
And those things do best please me
That befall preposterously.
Enter LYSANDER and HELENA
LYSANDER
Why should you think that I should woo in scorn?
Scorn and derision never come in tears:
Look, when I vow, I weep; and vows so born, In their nativity all truth appears.
How can these things in me seem scorn to you, Bearing the badge of faith, to prove them true?
HELENA
You do advance your cunning more and more.
When truth kills truth, devilish-holy fray!
These vows are Hermia's: will you give her o'er?
Weigh oath with oath, and you will nothing weigh:
Your vows to her and me, put in two scales,
Will even weigh, and both as light as tales.
LYSANDER
I had no judgment when to her I swore.
HELENA
Nor none, in my mind, now you give her o'er.
LYSANDER
Demetrius loves her, and he loves not you.
DEMETRIUS
[Awaking] O Helena, goddess, nymph, perfect, divine! To what, my love, shall I compare thine eyne? Crystal is muddy. O, how ripe in show Thy lips, those kissing cherries, tempting grow!
That pure congealed white, high Taurus snow, Fann'd with the eastern wind, turns to a crow When thou hold'st up thy hand: O, let me kiss This princess of pure white, this seal of bliss!
HELENA
O spite! O hell! I see you all are bent To set against me for your merriment: If you were civil and knew courtesy, You would not do me thus much injury. Can you not hate me, as I know you do, But you must join in souls to mock me too? 哦，恶意！哦，地狱！我看到你们都在故意针对我取乐：如果你们有礼貌和懂得礼仪，你们就不会对我造成这么大的伤害。你们难道不能像我知道你们那样恨我吗，非要联合起来嘲笑我吗？
121 Your ... tales: 把你对她和对我的誓言放在两个科盘里, 一定称不出轻重来, 因为都是像空话那样虚浮。tales: 瞎编的故事。
122 give her o'er: 抛弃她。
123 thine eyne: your eyes。
124 Taurus:陶洛斯山, 位于小亚细亚南部土耳其。
125 seal: 象征。与前面提到的 princess 均出自 Helena的手。
If you were men, as men you are in show,
You would not use a gentle lady so;
To vow, and swear, and superpraise my parts,
When I am sure you hate me with your hearts.
You both are rivals, and love Hermia;
And now both rivals, to mock Helena:
A trim exploit, a manly enterprise,
To conjure tears up in a poor maid's eyes
With your derision! None of noble sort
Would so offend a virgin, and extort
A poor soul's patience, all to make you sport.
LYSANDER
You are unkind, Demetrius; be not so; For you love Hermia; this you know I know: And here, with all good will, with all my heart, In Hermia's love I yield you up my part; And yours of Helena to me bequeath, Whom I do love and will do till my death. 你德米特里斯不仁慈；不要这样；因为你爱赫米娅；你知道我知道：我全心全意地，全心全意地，把我在赫米娅的爱中让给你；你的海伦娜的那部分留给我，我爱她，直到我死。
HELENA
Never did mockers waste more idle breath.
DEMETRIUS
Lysander, keep thy Hermia; I will none :
If e'er I loved her, all that love is gone.
My heart to her but as guest-wise sojourn'd,
And now to Helen is it home return'd,
There to remain.
LYSANDER
Helen, it is not so.
DEMETRIUS
Disparage not the faith thou dost not know,
Lest, to thy peril, thou aby it dear.
Look, where thy love eomes; yonder is thy dear.
Re-enter HERMIA
HERMIA
Dark night, that from the eye his function takes, The ear more quick of apprehension makes; Wherein it doth impair the seeing sense, It pays the hearing double recompense.
Thou art not by mine eye, Lysander, found; Mine ear, I thank it, brought me to thy sound But why unkindly didst thou leave me so?
LYSANDER
Why should he stay, whom love doth press to go?
HERMIA
What love could press Lysander from my side?
LYSANDER
Lysander's love, that would not let him bide, Fair Helena, who more engilds the night Than all yon fiery oes and eyes of light. Why seek'st thou me? Could not this make thee know, The hate I bare thee made me leave thee so? 莱桑德的爱情，不让他等待，美丽的赫莲娜，比所有那些燃烧的火焰和光明的眼睛更加照亮夜晚。你为什么要找我？这难道不能让你明白，我对你的憎恨让我离开你吗？
HERMIA
You speak not as you think: it cannot be.
HELENA
Lo, she is one of this confederacy!
Now I perceive they have conjoin'd all three
To fashion this false sport, in spite of me. Injurious Hermia! most ungrateful maid! Have you conspired, have you with these contrived To bait me with this foul derision?
Is all the counsel that we two have shared, The sisters' vows, the hours that we have spent, When we have chid the hasty-footed time
Have with our needles created both one flower, Both on one sampler, sitting on one cushion, Both warbling of one song, both in one key, As if our hands, our sides, voices and minds, Had been incorporate. So we grow together, Like to a double cherry, seeming parted, But yet an union in partition; 用我们的针创造了一朵花，两者都在同一样本上， 坐在同一个垫子上，两者都在同一首歌中歌唱，都在同一音调中，仿佛我们的手、我们的身体、声音和思想都融为一体。所以我们一起成长，像一颗双樱桃，看似分开，但实际上是一个分割中的联合。
Two lovely berries moulded on one stem;
So, with two seeming bodies, but one heart;
Two of the first, like coats in heraldry,
Due but to one and crowned with one crest. And will you rent our ancient love asunder, To join with men in scorning your poor friend?
It is not friendly, 'tis not maidenly:
Our sex, as well as I, may chide you for it, Though I alone do feel the injury.
HERMIA
I am amazed at your passionate words. I scorn you not: it seems that you scorn me.
HELENA
Have you not set Lysander, as in scorn, To follow me and praise my eyes and face? And made your other love, Demetrius, Who even but now did spurn me with his foot, To call me goddess, nymph, divine and rare, Precious, celestial? Wherefore speaks he this To her he hates? And wherefore doth Lysander Deny your love, so rich within his soul, And tender me, forsooth , affection, But by your setting on, by your consent? What thought I be not so in grace as you, So hung upon with love, so fortunate, But miserable most, to love unloved? This you should pity rather than despise. 你不是让莱桑德尔嘲笑地跟着我，赞美我的眼睛和脸吗？你不是让你的另一个爱人狄米特里斯，刚刚还用脚踢我，现在却称我为女神、仙女、神圣和稀有，珍贵、天上的吗？他为什么对他讨厌的人说这些话？莱桑德尔为什么拒绝你的爱，他的灵魂里充满了爱，却对我温柔，实际上是因为你的安排，因为你的同意？我可能没有你那么受宠爱，那么被爱所围绕，那么幸运，但最不幸的是，爱一个不爱我的人？你应该怜悯我，而不是鄙视我。
HERMIA
I understand not what you mean by this.
HELENA
Ay, do, persever, counterfeit sad looks, Make mouths upon me when I turn my back; Wink each at other; hold the sweet jest up:
This sport, well carried, shall be chronicled. If you have any pity, grace, or manners, You would not make me such an argument. But fare ye well: 'tis partly my own fault; Which death or absence soon shall remedy. 这项运动，如果进行得当，将被记录下来。如果你有任何怜悯、优雅或礼貌，你就不会给我提出这样的论点。但祝你们好运：这在一定程度上是我的错；死亡或离别很快就会解决这个问题。
LYSANDER
Stay, gentle Helena; hear my excuse:
My love, my life my soul, fair Helena!
HELENA
O excellent!
HERMIA
Sweet, do not scorn her so.
DEMETRIUS
If she cannot entreat, I can compel.
LYSANDER
Thou canst compel no more than she entreat:
Thy threats have no more strength than her weak prayers. Helen, I love thee; by my life, I do:
I swear by that which I will lose for thee, To prove him false that says I love thee not.
DEMETRIUS
I say I love thee more than he can do.
LYSANDER
If thou say so, withdraw, and prove it too.
DEMETRIUS
Quick, come!
HERMIA
Lysander, whereto tends all this?
LYSANDER
Away, you Ethiope !
DEMETRIUS
No, no; he'll
Seem to break loose; take on as you would follow, But yet come not: you are a tame man, go!
LYSANDER
Hang off, thou cat, thou burr! vile thing, let loose,
Or I will shake thee from me like a serpent!
HERMIA
Why are you grown so rude? What change is this?
Sweet love, -
LYSANDER
Thy love! Out, tawny Tartar, out!
Out, loathed medicine! O hated potion, hence!
HERMIA
Do you not jest?
HELENA
Yes, sooth; and so do you.
LYSANDER
Demetrius, I will keep my word with thee.
DEMETRIUS
I would I had your bond, for I perceive
A weak bond holds you: I'll not trust your word.
LYSANDER
What, should I hurt her, strike her, kill her dead? Although I hate her, I'll not harm her so.
HERMIA
What, can you do me greater harm than hate?
Hate me! wherefore? O me! What news , my love!
Am not I Hermia? Are not you Lysander?
I am as fair now as I was erewhile.
Since night you loved me; yet since night you left me:
Why, then you left me , the gods forbid! In earnest, shall I say?
LYSANDER
Ay, by my life;
And never did desire to see thee more.
Therefore be out of hope, of question, of doubt;
Be certain, nothing truer; 'tis no jest
That I do hate thee and love Helena.
HERMIA
O me! you juggler ! you canker-blossom!
You thief of love! What, have you come by night
And stolen my love's heart from him?
HELENA
Fine, i'faith!
Have you no modesty, no maiden shame, No touch of bashfulness? What, will you tear Impatient answers from my gentle tongue? Fie, fie! you counterfeit, you puppet, you!
154 What news: 究竟是怎么一回事呢? erewhile: just now. juggler: 骗子。 canker-blossom: 花中的蚟虫。 i'faith: in faith 的缩略式, 实在, 真正 urged: 夸大，自夸。
And with her personage, her tall personage, Her height, forsooth, she hath prevail'd with him. And are you grown so high in his esteem;
Because I am so dwarfish and so low?
How low am I, thou painted maypole? speak;
How low am I? I am not yet so low
But that my nails can reach unto thine eyes.
HEILENA
I pray you, though you mock me, gentlemen, Let her not hurt me: I was never curst; I have no gift at all in shrewishness;
I am a right maid for my cowardice:
Let her not strike me. You perhaps may think, Because she is something lower than myself, That I can match her.
HERMIA
Lower! hark, again.
HELENA
Good Hermia, do not be so bitter with me.
I evermore did love you, Hermia,
Did ever keep your counsels, never wrong'd you;
Save that, in love unto Demetrius,
I told him of your stealth unto this wood.
He follow'd you; for love I follow'd him;
But he hath chid me hence and threaten'd me
To strike me, spurn me, nay, to kill me too:
And now, so you will let me quiet go,
To Athens will I bear my folly back
And follow you no further: let me go:
You see how simple and how fond I am.
HERMIA
Why, get you gone: who is't that hinders you?
HELENA
A foolish heart, that I leave here behind.
HERMIA
What, with Lysander?
HELENA
With Demetrius.
LYSANDER
Be not afraid; she shall not harm thee, Helena.
DEMETRIUS
No, sir, she shall not, though you take her part.
HEIENA
O, when she's angry, she is keen and shrewd!
She was a vixen when she went to school;
And though she be but little, she is fierce.
HERMIA
"Little" again! nothing but "low" and "little"!
Why will you suffer her to flout me thus?
Let me come to her.
LYSANDER
Get you gone, you dwarf;
You minimus, of hindering knot-grass made;
You bead, you acorn.
DEMETRIUS
You are too officious
In her behalf that scorns your services.
Let her alone: speak not of Helena;
Take not her part; for, if thou dost intend
Never so little show of love to her,
Thou shalt aby it.
LYSANDER
Now she holds me not;
Now follow, if thou darest, to try whose right, Of thine or mine, is most in Helena.
160 personage: 身材。
161 thou painted maypole: 你这涂脂抹粉的花棒儿。maypole: 五月柱, 英俗在乡间欢度五月节时，在空场中央树立很高的五月柱，乡民们盛装集会，围柱歌舞。柱上涂彩，柱顶缚着花圈，四周牵出许多条布带, 每条布带由一个女子拉着。这里把瘦长个子的 Helena 比作五月柱。
162 stealth: 私密的行动，即私奔。
163 so: 只要, 要是。
164 keen and shrewd: 尖刻、凶狠。
165 vixen: 雌狐, 泼妇, 母老虎。
166 knot-grass: 两耳草,一种贴地的爬藤草,英俗认为其汁能阻碍儿童和动物的生长发育。
167 Never: ever。
168 Thou ... it: 就请你当心着吧!
DEMETRIUS
Follow! Nay, I'll go with thee, cheek by jole.
Exeunt LYSANDER and DEMETRIUS
HERMIA
You, mistress, all this coil is 'long of you: Nay, go not back.
HELENA
I will not trust you, I,
Nor longer stay in your curst company.
Your hands than mine are quicker for a fray,
My legs are longer though, to run away.
Exit
HERMIA
I am amazed, and know not what to say.
Exit
OBERON
This is thy negligence: still thou mistakest, Or else committ'st thy knaveries wilfully.
PUCK
Believe me, king of shadows, I mistook.
Did not you tell me I should know the man
By the Athenian garment be had on?
And so far blameless proves my enterprise,
That I have 'nointed an Athenian's eyes;
And so far am I glad it so did sort
As this their jangling I esteem a sport.
OBERON
Thou see'st these lovers seek a place to fight: therefore, Robin, overcast the night; The starry welkin cover thou anon With drooping fog as black as Acheron, And lead these testy rivals so astray As one come not within another's way. Like to Lysander sometime frame thy tongue, Then stir Demetrius up with bitter wrong; And sometime rail thou like Demetrius; And from each other look thou lead them thus, Till o'er their brows death-counterfeiting sleep With leaden legs and batty wings doth creep: Then crush this herb into Lysander's eye; Whose liquor hath this virtuous property, To take from thence all error with his might, And make his eyeballs roll with wonted sight. When they next wake, all this derision 你看到这些恋人在寻找地方争斗： 因此，罗宾，让夜晚变得阴沉；星空 你立刻用下垂的黑如阿刻隆的雾覆盖； 并让这些易怒的对手迷失方向，使他们不会相遇。有时像莱桑德一样控制你的舌头，然后用苦毒的言语激怒德米特里乌斯； 有时像德米特里乌斯一样大声斥责；并让他们互不相向，直到死亡假装的睡眠 用铅腿和蝙蝠翅膀悄悄爬行：然后将这种草药压在莱桑德的眼睛上；其液体具有这种有益的特性， 可以从中消除所有错误，并使他的眼珠恢复正常视力。当他们下次醒来时，所有这些讥讽。
Shall seem a dream and fruitless vision, And back to Athens shall the lovers wend, With league whose date till death shall never end. Whiles I in this affair do thee employ, I'll to my queen and beg her Indian boy; And then I will her charmed eye release From monster's view, and all things shall be peace. 将会显得像是一个梦和毫无意义的幻象，恋人们将返回雅典，他们的联盟将持续至死不渝。在我忙于这件事时，我会去找我的女王，请求她的印度男孩；然后我会解开她被怪物所困视线，一切将会恢复和平。
PUCK
My fairy lord, this must be done with haste, For night's swift dragons cut the clouds full fast, And yonder shines Aurora's harbinger;
At whose approach, ghosts, wandering here and there, Troop home to churchyards: damned spirits all, That in crossways and floods have burial,
169 cheek by jole: 并肩走。
170 'long of: along of, on account of
171 This ... wilfully: 要不是你弄错了, 一定是你故意在捣蛋。
172 'nointed: anointed, 把 (花汁) 滴在……上。
173 sort: 发生。
174 Hie: go。
175 welkin: 苍穹，天空。
176 Acheron: 冥河, 希腊神话中地狱里五条河流之一, 亦为地狱之别称。
177 Like ... wrong: 你学着拉山德的声音痛骂狄米特律斯, 叫他气得直跳。wrong: 痛吗。
178 death-counterfeiting sleep: 死一样的睡眠。
179 virtuous property: 强效的特性。
180 With league: 一同, 一起。
181 And ... end: 回到雅典去, 订下白头到老,永无尽期的盟约。
182 I'll to: I'll go to.
183 night's swift dragons: 黑夜的飞龙。据神话传说, 夜是驾着飞龙（即有翅膀的蛇）拉的车子驶过天空的。
I with the morning's love have oft made sport, And, like a forester, the groves may tread, Even till the eastern gate, all fiery-red, Opening on Neptune with fair blessed beams, Turns into yellow gold his salt green streams. 我经常和早晨的爱开玩笑， 就像一个森林管理员，可能踏遍树林，一直到东方的大门，通往海神 的美丽祝福光芒，将他的咸绿色溪流变成了金黄色。
But, notwithstanding, haste; make no delay:
We may effect this business yet ere day.
Exit
PUCK
Up and down, up and down,
I will lead them up and down:
I am fear'd in field and town:
Goblin, lead them up and down.
Here comes one.
Re-enter LYSANDER
LYSANDER
Where art thou, proud Demetrius? Speak thou now. PUCK
Here, villain; drawn and ready. Where art thou?
LYSANDER
I will be with thee straight.
PUCK
Follow me, then,
To plainer ground.
Exit LYSANDER, as following the voice
Re-enter DEMETRIUS
DEMETRIUS
Lysander, speak again:
Thou runaway, thou coward, art thou fled?
Speak! In some bush? Where dost thou hide thy head?
PUCK
Thou coward, art thou bragging to the stars, Telling the bushes that thou look'st for wars, And wilt not come? Come, recreant; come, thou child; I'll whip thee with a rod: he is defiled That draws a sword on thee 你这个懦夫，你是在向星星吹牛，告诉灌木丛你在寻找战争，却不敢前来吗？来吧，懦夫；来吧，你这个孩子；我会用棍子抽打你：拔剑对你出手的人是被玷污的
DEMETRIUS
Yea, art thou there?
PUCK
Follow my voice: we'll try no manhood here.
Exeunt
Re-enter LYSANDER
LYSANDER
He goes before me and still dares me on:
When I come where he calls, then he is gone.
The villain is much lighter-heel' than I:
I follow'd fast, but faster he did fly;
That fallen am I in dark uneven way,
And here will rest me.
Lies down
Come, thou gentle day!
For if but once thou show me thy grey light,
I'll find Demetrius and revenge this spite.
Sleeps
Re-enter PUCK and DEMETRIUS
PUCK
Ho, ho, ho! Coward, why comest thou not?
DEMETRIUS
Abide me, if thou darest; for well I wot Thou runn'st before me, shifting every place,
186 They ... night: 他们永远见不到日光的融融, 只每夜在暗野里凭吊着凄风。
187 I ... sport: 我经常和黎明女神的爱人一起游巡。相传黎明女神Aurora 爱上了伟大的猎人 Cephalus
188 Neptune: 海王星。
189 Goblin: 妖魔，恶鬼。
190 drawn and ready: 把你的剑拔出来准备着吧。
191 try no manhood here: 这儿不适宜我们打斗。
192 dares me on: 挑拨着我上前。
193 much lighter-heel'd: 脚步比我快得多。
194 Abide me: wait for me.
195 wot: know
And darest not stand, nor look me in the face.
Where art thou now?
PUCK
Come hither: I am here.
DEMETRIUS
Nay, then, thou mock'st me. Thou shalt buy this dear, If ever I thy face by daylight see:
Now, go thy way. Faintness constraineth me
To measure out my length on this cold bed.
By day's approach look to be visited.
Lies down and sleeps
Re-enter HELENA
HELENA
weary night, long and tedious night, Abate thy hour! Shine comforts from the east, That I may back to Athens by daylight, From these that my poor company detest:
And sleep, that sometimes shuts up sorrow's eye, Steal me awhile from mine own company.
Lies down and sleeps
PUCK
Yet but three? Come one more;
Two of both kinds make up four.
Here she comes, curst and sad:
Cupid is a knavish lad,
Thus to make poor females mad.
Re-enter HERMIA
HERMIA
Never so weary, never so in woe, Bedabbled with the dew and torn with briers, I can no further crawl, no further go; My legs can keep no pace with my desires. Here will I rest me till the break of day. Heavens shield Lysander, if they mean a fray ! 从未如此疲倦，从未如此悲伤，被露水打湿，被荆棘撕裂，我再也无法爬行，再也无法前行；我的腿无法跟上我的欲望。我将在这里休息，直到天亮。上天保佑莱桑德，如果他们打算发生冲突！
Lies down and sleeps
PUCK
On the ground
Sleep sound:
I'll apply
To your eye,
Gentle lover, remedy.
Squeezing the juice on LYSANDER's eyes
When thou wakest,
Thou takest
True delight
In the sight
Of thy former lady's eye:
And the country proverb known,
That every man should take his own,
In your waking shall be shown:
Jack shall have Jill;
Nought shall go ill:
The man shall have his mare again, and all shall be well.
Exit
196 buy this dear: 为此付出重大的代价。
197 measure out my length: 伸展我的四肢。
198 By ... visited: 等待着白天的降临。
199 mean a fray: 真要决斗。
200 Jack shall have Jill: 谚语, “哥哥爱妹妹”,即每个男人都会找到自己的爱人。Jack 是乡间普通男青年名。Jill: 乡间普通女青年名。
In the play, there exist two worlds. What kind of world do Oberon and Puck represent? What kind of world do the four lovers represent? Do you think Shakespeare has created a balance between these oppositional worlds? 在这部戏中存在着两个世界。奥伯伦和帕克代表着怎样的世界？四位恋人代表着怎样的世界？你认为莎士比亚是否在这两个对立世界之间创造了平衡？
How can you interpret the reversal of roles between male and female?
How many binary oppositions can you detect?
The happy ending of A Midsummer Night's Dream is somewhat due to the benevolent control exercised by Oberon. It can be said that it is this powerful principle of good luck that makes the play comic. Do you think such release is escapist in the non-comic universe? 《仲夏夜之梦》的快乐结局在某种程度上归功于奥伯伦行使的仁慈控制。可以说，正是这种强大的好运原则使得这出戏变得喜剧化。你认为这种释放在非喜剧宇宙中是一种逃避吗？
What is the theme of the play?
A Brief Analysis of A Mifolsmmmer Night's Dream
A Midsummer Night's Dream, written around 1595 to 1596, has been regarded as Shakespeare's first great mature comedy and remained one of his most popular works for the stage. It dramatizes the mistakes and confusions in the cross-wooing of four young Athenians and deals with the farcical efforts of a group of Athenian artisans to stage a play in the context of a wedding celebration of the Duke Theseus. Most of the actions of the play take place in an enchanted wood outside Athens which is populated by fairies. 《仲夏夜之梦》写于 1595 年至 1596 年左右，被认为是莎士比亚的第一部伟大成熟喜剧，一直是他最受欢迎的舞台作品之一。该剧描绘了四位年轻雅典人交错求爱中的错误和混乱，以及一群雅典工匠在提修斯公爵的婚礼庆典中努力上演一出戏剧的滑稽努力。该剧大部分情节发生在雅典外的一片被仙子们居住的魔法森林中。
The three interlocking plots seem rather complicated, yet the play still follows the typical structure of Shakespearean comedy. At first there exist order and discipline when Theseus is getting ready to wed Hippolita, then quickly the whole situation changes when Lysander and Hermia flee into the forest and complications start to build up. The play finally ends with a joyful ending, when daylight has returned, the duke and duchess and the four lovers are united. Their world of love has come to its proper order. 三个交织在一起的情节似乎相当复杂，但剧本仍然遵循莎士比亚喜剧的典型结构。一开始，忒修斯准备娶希波丽塔时存在秩序和纪律，然后当莉桑德和赫米娅逃进森林时，整个情况迅速发生变化，复杂性开始增加。剧终以欢乐的结局结束，当白昼回归时，公爵和公爵夫人以及四位恋人团聚。他们的爱情世界已经恢复了适当的秩序。
In the opening scene, Hermia refuses her father Egeus's instruction to marry his chosen man, Demetrius. According to an ancient Athenian law, a daughter must marry the suitor chosen by her father, or else face death. Theseus, the Duke, out of kindness offers her an alternative of lifelong chastity worshipping the goddess Diana as a nun. Hermia and her lover Lysander then decide to escape through the forest at night. Hermia informs her friend Helena who has recently been rejected by Demetrius, but the friend reveals the plan to Demetrius in order to win back his favor. Demetrius, followed doggedly by Helena, chases Hermia into the woods while Hermia and Lysander sleep. Meanwhile, Oberon, king of the fairies, and his queen, Titania, arrive in the forest. The king seeks to punish Titania's disobedience and asks Puck to help him apply a magical juice from a flower called "love-in-idleness," which makes the victim fall in love with the first living thing seen 在开场场景中，赫尔米娅拒绝了她父亲埃格斯要她嫁给他所选的人德米特里斯的指示。根据古代雅典法律，女儿必须嫁给父亲选择的求婚者，否则将面临死亡。公爵忒修斯出于善意向她提供了终身贞洁的选择，作为修女崇拜女神黛安娜。赫尔米娅和她的恋人莱桑德尔决定在夜晚逃离森林。赫尔米娅告知了她最近被德米特里斯拒绝的朋友海伦娜，但朋友为了重新赢得他的青睐而向德米特里斯透露了计划。德米特里斯一路被海伦娜紧追不舍，追赶赫尔米娅进入树林，而赫尔米娅和莱桑德尔则在睡觉。与此同时，仙王奥伯伦和他的王后缇坦妮娅来到了森林。国王寻求惩罚缇坦妮娅的不服从，并要求帕克帮助他使用一种叫做“爱懒花”的魔法汁液，使受害者爱上第一个看到的活物。
upon awakening. Having witnessed Demetrius's cruelty toward Helena, Oberon orders Puck to spread some of the juice on the eyelids of the young Athenian man. But Puck accidentally puts the juice on the eyes of Lysander, who then falls in love with Helena. Seeing Demetrius still following Hermia, Oberon charms his eyes. Due to these errors, both young men now fight over Helena who is convinced that her two suitors are simply mocking her. The four pursue and quarrel with each other most of the night, until the two men become so enraged that they seek a place to duel each other. Oberon then orders Puck to keep the lovers from catching up with one another and to re-charm Lysander for Hermia. Meanwhile, a group of lower-class laborers have planned to perform a play about Pyramus and Thisbe for Theseus's wedding, and they go into the forest for their rehearsal. Bottom, a weaver, is spotted by Puck who transforms his head into that of an ass. Titania is awakened by Bottom's singing and immediately falls in love with him. Having achieved his goals, Oberon releases Titania and orders Puck to remove the ass's head from Bottom. The fairies then disappear, and Theseus and Hippolita arrive on the scene during an early morning hunt. They wake the lovers and arrange a group wedding. The lovers decide that the night's events must have been a dream. After they all exit, Bottom awakes, and he too believes that he must have experienced a dream. In Athens, three couples watch the laborers perform. Finally, as night falls, Oberon and Titania bless the house, its occupants, and the future children of the newlyweds, and Puck delivers a soliloquy to the audience. 在醒来时。奥伯伦目睹了德米特里斯对海伦娜的残忍，命令帕克在年轻的雅典人的眼睑上涂抹一些药汁。但帕克不小心把药汁涂在了莱桑德的眼睛上，于是莱桑德爱上了海伦娜。看到德米特里斯仍然追随赫米娅，奥伯伦施展魅力。由于这些错误，两个年轻人现在为了海伦娜而争斗，而海伦娜相信她的两个追求者只是在嘲笑她。这四个人大部分夜晚都在追逐和争吵，直到两个男人变得如此愤怒，他们寻找地方决斗。奥伯伦随后命令帕克阻止恋人们相遇，并重新为赫米娅施展魅力。与此同时，一群下层劳工计划为忒修斯的婚礼上演关于皮拉墨斯和西比的戏剧，他们进入森林排练。织工博托姆被帕克发现，帕克把他的头变成了驴头。泰坦尼亚被博托姆的歌声唤醒，立即爱上了他。奥伯伦实现了他的目标，释放了泰坦尼亚，并命令帕克把驴头从博托姆身上移除。 仙女们随后消失了，忒修斯和希波丽塔在清晨狩猎时到达现场。他们唤醒了恋人们，并安排了一场集体婚礼。恋人们决定那个晚上的事件一定是个梦。当他们都离开后，博托姆醒来，他也相信自己一定经历了一个梦境。在雅典，三对情侣观看工人们的表演。最后，夜幕降临时，奥伯伦和提泰妮娅祝福这座房子、它的居民以及新婚夫妇未来的孩子，而帕克则向观众独白。
The comic relief in the play is mainly provided by Puck who confuses the four lovers in the forest. Nevertheless, the play is more than a lyric escapist fantasy. The opposition between reason and love is highlighted by Shakespeare's deliberate contrast between the play's major locations, the city of Athens where the play begins and ends, and the magic wood which is presided by the fairies. The Duke is presented as the embodiment of reason. A public man and rational holder of the law, he knows that marriage is the legal contract that ties society together and ensures its continuance. Not unexpectedly, Egeus appeals to the Duke to back him up to have his daughter Hermia marry a man she does not love. The young lovers flee the city of reason for the wood, the place of irrationality. Their plunge into the wood is rather a flight from restriction to the freedom of nature. What happens in the wood may not be explicable in rational terms. The wood is indeed a symbolic place that offers imaginative insights and truths beyond the reach of reason. The ancient idea of metamorphosis is expressed in the wood. People are changing their understanding, their feelings and their images. With the love juice of cupid both Demetrius and Lysander learn to change the receiver of their affection. We see that love turns people around, and sometimes make asses of them. But significantly, when the confusions are almost sorted out, Theseus appears once more in the morning. The phantasmal moonlight has vanished and the light of reason shines again with the sun. The movement from wood to city is also symbolic. The multiple marriages not only help to give the play a joyous ending but also indicate that the power and force of love have been directed towards the common good of society, and the conflict between individual desires and social law is resolved. 戏剧中的喜剧缓和主要由帕克提供，他在森林里迷惑了四位恋人。然而，这部戏剧不仅仅是一部抒情的逃避幻想。莎士比亚有意通过戏剧的主要场景——雅典城和由仙子主持的魔法森林之间的鲜明对比，突出了理性与爱情之间的对立。公爵被塑造成理性的化身。作为一个公众人物和法律的理性持有者，他知道婚姻是将社会联系在一起并确保其延续的法律契约。不出所料，埃格斯向公爵求助，希望他支持自己让女儿赫米亚嫁给一个她不爱的男人。年轻恋人们逃离了理性之城，来到了充满非理性的森林。他们投入森林，更像是从束缚到自然自由的逃逸。森林中发生的事情可能无法用理性的术语解释。森林确实是一个象征性的地方，提供了超越理性范围的想象洞见和真理。古老的变形观念在森林中得到了表达。人们正在改变他们的理解、感受和形象。 随着丘比特的爱液，德米特里斯和莱桑德学会了改变他们的感情接受者。我们看到爱情能够改变人们，有时候也会让他们变得愚蠢。但值得注意的是，当混乱几乎被解决时，忒修斯再次在清晨出现。幻影般的月光已经消失，理性之光再次随着太阳照耀。从树林到城市的转变也具有象征意义。多重婚姻不仅帮助戏剧有一个欢乐的结局，还表明爱的力量和力量已经指向社会的共同利益，个人欲望与社会法律之间的冲突得到解决。
The happy marriages, on the other hand, arouse a question of male dominance. Like other Shakespeare's comedies, A Midsummer Night's Dream includes a section in which females enjoy more power and freedom than they actually possess. Helena and Hermia escape into the woods for a night where they do not fall under the laws of Theseus or Egeus. Upon their arrival in Athens, 相反，幸福的婚姻引发了男性主导的问题。与莎士比亚的其他喜剧一样，《仲夏夜之梦》中包括一个部分，女性在那里享有比她们实际拥有的更多权力和自由。海伦娜和赫米娅逃进树林过夜，他们在那里不受忒修斯或埃格斯的法律约束。抵达雅典后，
however, the couples are married. For women marriages seem the ultimate social achievements while men go on to do other great things and gain societal recognition. To some extent, the triple wedding depends upon the success of a process by which the feminine pride and power are brought under the control of lords and husbands. The consummation of marriage, therefore, indicates how power over a woman changes hands from father to husband. 然而，这些夫妇已经结婚。对于女性来说，婚姻似乎是最终的社会成就，而男性则继续做其他伟大的事情并获得社会认可。在某种程度上，三重婚礼取决于一个过程的成功，通过这个过程，女性的自豪和权力被控制在领主和丈夫手中。因此，婚姻的完成表明了对一个女人的控制权是如何从父亲转移到丈夫手中的。
In the play the fairies are of importance as an imaginative device to manifest ideas about love and nature. They live in the moonlit wood and contrast with the daylight city of reason. In juxtaposing Athens and the enchanted wood Shakespeare creates a genuinely dramatic conflict. A serious question is raised: which is reality, the reason embodied in the city of Athens or the imaginative impulses and drives located in the wood? All the Athenians, plus Bottom and Titania fall asleep sometimes during the play and they all wake up to have themselves or their situation changed. After waking from their final sleep, the lovers are amazed to see each other there and feel that their experiences are just dreams. All the fairy adventures that have taken place during the moonlit night seem just dreamlike hallucinations. However, the lovers might have been in contact with true reality in the wood; the social ties of the city state, of the reason might be the dream. Yet the question is left open, for all the characters do return to Athens, the social world. 在戏剧中，仙子作为一种想象的手段，对于表达关于爱和自然的观念至关重要。他们生活在月光照耀的树林中，与理性的白昼城市形成对比。莎士比亚通过将雅典和魔法树林并置，创造了一个真正的戏剧性冲突。一个严肃的问题被提出：哪一个才是现实，是体现在雅典城市中的理性，还是位于树林中的想象冲动和驱动力？所有雅典人，加上博托姆和提泰妮娅，在戏剧中有时会入睡，然后他们都醒来发现自己或自己的情况发生了变化。从最后一次睡梦中醒来后，恋人们惊讶地看到彼此，并感到他们的经历只是梦境。在月光照耀的夜晚发生的所有仙子冒险似乎只是梦幻般的幻觉。然而，恋人们可能已经与树林中的真实现实接触过；城邦社会联系，理性的可能是梦境。然而，这个问题仍然悬而未决，因为所有角色都返回雅典这个社会世界。
References
3.3 The Problem Play
The Problem Play
The problem play or play of ideas is a type of drama that has developed during the nineteenth century to deal with controversial social issues in a realistic manner. It has been regarded as part of the wider movement of Realism in the arts. Dramatists of this school are often concerned with political, economic, moral, or religious issues. The driving force behind such plays is the exploration of social problems, like alcoholism or prostitution, and the expression of indignation against oppression and social evil. A characteristic feature of the problem play is that it presents problematic issues through debates between the characters on stage, who typically represent conflicting points of view within a realistic social context. Thus the dramatic devices and forms are meant to serve the social purpose and the characters are often used as examples of the general problems. 问题剧或思想剧是一种戏剧类型，它在 19 世纪发展起来，以现实方式处理有争议的社会问题。它被视为艺术领域现实主义运动的一部分。这个学派的剧作家经常关注政治、经济、道德或宗教问题。这类戏剧的推动力是探索社会问题，如酗酒或卖淫，并表达对压迫和社会邪恶的愤慨。问题剧的一个特征是通过舞台上人物之间的辩论来呈现问题性议题，这些人物通常代表现实社会背景中相互冲突的观点。因此，戏剧手法和形式旨在服务社会目的，人物经常被用作一般问题的例证。
The advent of the problem play was determined by a transformative historical context. In the transitional age from feudalism to industrialization and modernization, western society experienced unparalleled hope, agony and loss. The old way of rural living was giving way to speedy bourgeois life. The privileges of the aristocrat were disappearing, the middle class ascended political power with their wealth made in business, and the working class had no other ways but to endure a miserable life. With the changes of the social structure, serious social problems arose and widespread anger emerged against exploitation, poverty, dirt and disorder, hypocrisy and lying, prostitution and slavery. Under such circumstances, a great number of theories emerged. Socialism was being born in the tenements, feminism was gathering its forces in middle-class homes, and a new awareness of human depths had been pulling art into step with science ever since Darwin, all of which exerted great influence upon the problem play. 问题剧的出现是由一个转变的历史背景所决定的。在从封建主义到工业化和现代化的过渡时代，西方社会经历了前所未有的希望、痛苦和失落。乡村生活的旧方式正在让位于快速的资产阶级生活。贵族的特权正在消失，中产阶级凭借商业赚得的财富升至政治权力之巅，工人阶级除了忍受悲惨的生活外别无选择。随着社会结构的变化，严重的社会问题出现，人们对剥削、贫困、肮脏和混乱、虚伪和谎言、卖淫和奴役产生了广泛的愤怒。在这种情况下，大量理论涌现。社会主义在贫民窟中诞生，女权主义在中产阶级家庭中聚集力量，对人类深度的新认识自达尔文以来一直在将艺术引入科学的步伐，所有这些对问题剧产生了巨大影响。
As the playwright's intention is to expose social ills, and to stimulate thoughts and discussions on the part of the audience, frequently the playwright views the problem and its solution in a way that defies or rejects the conventional belief. The characters usually have to undergo conflicts with the laws, values, traditions, and representatives of society. Not surprisingly, problem plays have aroused anger and controversy in audiences and critics. 由于剧作家的意图是揭露社会弊病，并激发观众的思考和讨论，因此剧作家经常以一种违背或拒绝传统信念的方式看待问题及其解决方案。角色通常不得不与法律、价值观、传统和社会代表发生冲突。毫不奇怪，问题剧引起了观众和评论家的愤怒和争议。
The earliest forms of the problem play are to be found in the work of French writers such as Alexandre Dumas, fils, who most famously deals with the subject of prostitution in La Dame aux camélias. Other French playwrights follow suit with dramas about a range of social issues, sometimes approaching the subject in a moralistic, sometimes in a sentimental manner. The most important exponent of the problem play is the Norwegian writer Henrik Ibsen, whose work combine penetrating characterization with emphasis on topical social issues, usually concentrated on the moral dilemmas of a central character. In a series of plays Ibsen addresses a range of problems, 问题剧最早的形式可以在法国作家的作品中找到，比如亚历山大·仲马（Alexandre Dumas, fils），他最著名的作品是《茶花女》（La Dame aux camélias），涉及了卖淫这一主题。其他法国剧作家也纷纷效仿，创作了关于各种社会问题的戏剧，有时以道德主义的方式处理这一主题，有时以感伤的方式处理。问题剧最重要的代表是挪威作家亨利克·易卜生（Henrik Ibsen），他的作品将深刻的人物刻画与对时事社会问题的强调相结合，通常集中在一个中心人物的道德困境上。易卜生在一系列戏剧中探讨了一系列问题。
most notably the restriction of women's lives in A Doll's House (1879), sexually transmitted diseases in Ghosts (1881) and provincial greed in An Enemy of the People (1882). Ibsen's dramas prove immensely influential, spawning variants of the problem play in works by George Bernard Shaw and other later dramatists. 最著名的是《玩偶之家》（1879 年）中对妇女生活的限制，以及《鬼屋》（1881 年）中的性传播疾病和《人民的敌人》（1882 年）中的省级贪婪。易卜生的戏剧证明具有巨大影响力，激发了乔治·伯纳德·肖和其他后来剧作家作品中的问题剧变体。
Reterences
Capitalism has destroyed our belief in any effective power but that of self interest backed by force.
George Bernard Shaw was an Irish novelist, critic, pamphleteer, essayist, socialist spokesman, but is best known today as a playwright. Shaw was born in Dublin and moved to London at twenty. There he established the Fabian Society, a socialist political organization dedicated to transforming Britain into a socialist state, not by revolution but by systematic progressive legislation, bolstered by persuasion and mass education. Shaw lectured for the Fabian Society, and wrote pamphlets on the progressive arts, including The Quintessence of Ibsenism (1891), and The Perfect Wagnerite (1898). Meanwhile, Shaw worked as an art critic, then as a music critic, and finally as theatre critic. In 1892, Shaw wrote his first play, Widowers' Houses. In the following years, he created as many as 53 plays. The important works include Mrs. Warren's Profession (1893), Man and Superman (1902-1903), Major Barbara (1905), Pygmation (1912-1913), and St. Joan (1923). In 1925 Shaw was awarded the Nobel Prize for Literature. 乔治·伯纳德·肖（George Bernard Shaw）是爱尔兰小说家、评论家、传单作者、散文家、社会主义发言人，但今天最为人所知的是他作为剧作家。肖出生在都柏林，二十岁时搬到伦敦。在那里，他建立了费边社（Fabian Society），这是一个致力于通过系统的渐进立法、以说服和大众教育为支撑，将英国转变为社会主义国家的社会主义政治组织，而非通过革命。肖为费边社讲课，并撰写了关于渐进艺术的传单，包括《易卜生主义的精髓》（1891 年）和《完美的瓦格纳主义者》（1898 年）。与此同时，肖先后担任过艺术评论家、音乐评论家，最终成为戏剧评论家。1892 年，肖写下了他的第一部剧作《鳏夫之家》。在接下来的几年里，他创作了多达 53 部剧作。重要作品包括《沃伦夫人的职业》（1893 年）、《人与超人》（1902-1903 年）、《芭芭拉大人》（1905 年）、《皮格马利翁》（1912-1913 年）和《圣女贞德》（1923 年）。1925 年，肖被授予诺贝尔文学奖。
Widowers' Houses
ACTII
In the library of a handsomely appointed villa at Surbiton on a sunny forenoon in September. Sartorius is busy at a writing table littered with business letters. The fireplace, decorated for summer, is close behind him: the window is in the opposite wall. Between the table and the window Blanche, in her prettiest frock, sits reading The Queen. The door is in the middle. All the walls are lined with shelves of smartly tooled books , fitting into their places like bricks. 在九月的一个阳光明媚的上午，在萨比顿一座布置精美的别墅的图书馆里。萨托里乌斯正忙于一张摆满商业信函的写字桌前。壁炉装饰着夏季的装饰品，就在他身后：窗户在对面的墙上。在桌子和窗户之间，布兰奇穿着她最漂亮的裙子，坐在那里读《女王》杂志。门在中间。所有的墙壁都排满了智能装订的书架，像砖块一样完美地放置着。
SARTORIUS: Blanche.
BLANCHE: Yes, papa.
SARTORIUS: I have some news here.
BLANCHE: What is it?
SARTORIUS: I mean news for you - from Trench.
BLANCHE: [with affected indifference] Indeed?
SARTORIUS: "Indeed?"! Is that all you have to say to me? Oh, very well.
He resumes his work. Silence.
BLANCHE: What do his people say, papa?
SARTORIUS: His people? I don't know. [Still busy].
Another pause.
BLANCHE: What does he say?
SARTORIUS: He! He says nothing. [He folds a letter leisurely, and looks for the envelope]. He prefers to communicate the result of his - where did I put? — oh, here. Yes: he prefers to communicate the result in person. SARTORIUS：他！他什么也没说。[他悠闲地折叠一封信，然后找信封]。他更喜欢亲自传达结果。
BLANCHE: [springing up] Oh, papa! When is he coming?
SARTORIUS: If he walks from the station, he may arrive in the course of the next half hour. If he drives, he may be here at any moment.
BLANCHE: [making hastily for the door] Oh! SARTORIUS: Blanche.
BLANCHE: Yes, papa.
SARTORIUS: You will of course not meet him until he has spoken to me.
BLANCHE: [hypocritically] Of course not, papa. I shouldn't have thought of such a thing.
SARTORIUS: That is all. EShe is going, when he puts out his hand, and says with fatherly emotion] My dear child. [She responds by going over to kiss him. A tap at the door]. Come in. Lickcheese enters, carrying a black handbag. He is a shabby, needy man, with dirty face and linen, scrubby beard and whiskers, going bald. A nervous, wiry, pertinacious human terrier, judged by his mouth and eyes, but miserably apprehensive and servile before Sartorius. He bids Blanche "Good morning, miss"; and she 萨托利乌斯：就这样。当他伸出手时，她走了过去，带着父爱的情感说] 我亲爱的孩子。[她回应着走过去亲吻他。门外传来敲门声。] 进来。利奇奇走进，提着一个黑色手提包。他是一个衣衫褴褛、贫穷的男人，脸脏，衣服脏，胡子蓬乱，开始秃头。从他的嘴和眼睛判断，他是一个神经质、顽强的人类猎犬，但在萨托利乌斯面前却表现得可怜、恐惧和奴性。他对布兰奇说“早上好，小姐”；她
1 smartly tooled books: 封面突花装潢的书。
2 affected: 做作的, 假装的。
3 his people: 他的家族。Trench属于上层阶级 (the upper class), 其父是次子, 没有长子继承权, 所以 Trench 需要通过学习一种职业谋生, 收入也相当有限。他的姨妈是文中的 Lady Roxdale, 叔父是 Sir Harry Trench。 Sartorius 虽然家财万贯，却属于暴发的中产阶级 (the middle class)，故而希望通过与上层阶级联姻提高社会地位。中产阶级与上层阶级这种各取所需的婚姻在维多利亚时代非常普遍。在第一幕, Sartorius 要求 Trench写信给Lady Roxdale报告他与Blanche 订婚一事, 而且强调要他的家庭回信表示对 Blanche 的接受, 从这也可以看出中产阶级文化身份上的不自信
passes out with a slight and contemptuous recognition of him.
LICKCHEESE: Good morning, sir.
SARTORIUS: [harsh and peremptory] Good morning.
LICKCHEESE: [taking a little sack of money from his bag] Not much this morning, sir. I have just had the honor of making Dr Trench's acquaintance, sir.
SARTORIUS: [looking up from his writing, displeased] Indeed?
LICKCHEESE: Yes, sir. Dr. Trench asked his way of me, and was kind enough to drive me from the station.
SARTORIUS: Where is he, then?
LICKCHEESE: I left him in the hall, with his friend, sir. I should think he is speaking to Miss Sartorius.
SARTORIUS: Hm! What do you mean by his friend?
LICKCHEESE: There is a Mr. Cokane with him, sir.
SARTORIUS: I see you have been talking to him, eh?
LICKCHEESE: As we drove along: yes, sir.
SARTORIUS: [sharply] Why did you not come by the nine o'clock train?
LICKCHEESE: I thought -
SARTORIUS: It cannot be helped now; so never mind what you thought. But do not put off my business again to the last moment. Has there been any further trouble about the St. Giles property ? SARTORIUS：现在无法改变；所以不要在意你之前的想法。但不要再把我的事情拖到最后一刻。关于圣吉尔斯财产是否还有进一步的麻烦？
LICKCHEESE: The Sanitary Inspector has been complaining again about No. 13 Robbins's Row. He says he'll bring it before the vestry?
SARTORIUS: Did you tell him that I am on the vestry?
LICKCHEESE: Yes, sir.
SARTORIUS: What did he say to that?
LICKCHEESE: Said he supposed so, or you wouldn't dare to break the law so scand'lous. I only tell you what he said.
SARTORIUS: Hm! Do you know his name?
LICKCHEESE: Yes, sir. Speakman.
SARTORIUS: Write it down in the diary for the day of the next meeting of the Health Committee. I will teach Mr. Speakman his duty to members of the vestry.
LICKCHEESE: [doubtfully] The vestry can't hurt him, sir. He's under the Local Government Board.
SARTORIUS: I did not ask you that. Let me see the books. [Lickcheese produces the rent book, and hands it to Sartorius; then makes the desired entry in the diary on the table, watching Sartorius with misgiving as the rent book is examined. Sartorius rises, frowning.] One pound four for repairs to number thirteen! What does this mean? 萨托利乌斯：我没问你那个。让我看看账本。【利奇奖产生租金账本，并将其交给萨托利乌斯；然后在桌子上的日记中进行所需的记录，同时担心地看着萨托利乌斯检查租金账本。萨托利乌斯皱着眉头站起来。】修理十三号的费用是一镑四便士！这是什么意思？
LICKCHEESE: Well, sir, it was the staircase on the third floor. It was downright dangerous: there weren't but three whole steps in it, and no handrail. I thought it best to have a few boards put in. LICKCHEESE：嗯，先生，是在三楼的楼梯。它真的很危险：只有三个完整的台阶，而且没有扶手。我觉得最好还是加几块木板。
SARTORIUS: Boards! Firewood, sir, firewood! They will burn every stick of it. You have spent twenty-lour shillings of my money on firewood for them.
LICKCHEESE: There ought to be stone stairs, sir: it would be a saving in the long run. The clergyman says -
SARTORIUS: What! Who says?
4 peremptory: 专横的, 强制的。
5 St. Giles property: 伦敦圣贾尔士工业区租给工人住的房产。
6 The Sanitary Inspector: 卫生检查员。十九世纪伦敦贫民区住房的卫生情况十分糟糕。
7 vestry: 教区委员会。
8 the Local Government Board: 市政府卫生局。
9 handrail: 栏杆，扶手。
LICKCHEESE: The clergyman, sir, only the clergyman. Not that I make much account of him; but if you knew how he has worried me over that staircase -
SARTORIUS: I am an Englishman; and I will surfer no priest to interfere in my business. [He turns suddenly on Lickcheese]. Now look here, Mr. Lickcheese! This is the third time this year that you have brought me a bill of over a pound for repairs. I have warned you repeatedly against dealing with these tenement houses as if they were mansions in a West-End square.! I have had occasion to warn you too against discussing my affairs with strangers. You have chosen to disregard my wishes. You are discharged. SARTORIUS：我是英国人；我不会容忍任何神父干涉我的事务。[他突然转向利克奇斯]。现在听着，利克奇斯先生！这已经是今年第三次你给我带来超过一英镑的维修账单了。我已经多次警告过你，不要把这些租户房屋当作西区广场的豪宅来对待！我也曾不止一次警告过你不要和陌生人讨论我的事务。你选择无视我的意愿。你被解雇了。
LICKCHEESE: [dismayed] Oh, sir, don't say that.
SARTORIUS: [fiercely] You are discharged.
LICKCHEESE: Well, Mr. Sartorius, it is hard, so it is. No man alive could have screwed more out of them poor destitute devils for you than I have, or spent less in doing it. I have dirtied my hands at it until they're not fit for clean work hardly; and now you turn me - LICKCHEESE：嗯，萨托利斯先生，这很难，确实如此。 活着的人中没有人能比我更多地从那些可怜的穷鬼那里为您挤取更多，或者花费更少。 我已经在这件事上弄脏了我的手，以至于它们几乎不适合干净的工作； 现在你转过身来对待我 -
SARTORIUS: [interrupting him menacingly] What do you mean by dirtying your hands? If I find that you have stepped an inch outside the letter of the law, Mr. Lickcheese, I will prosecute you myself. The way to keep your hands clean is to gain the confidence of your employers. You will do well to bear that in mind in your next situation. SARTORIUS: [威胁地打断他] 你说什么是弄脏你的手？如果我发现你违反法律的一寸，利克奇斯先生，我会亲自起诉你。保持双手清洁的方法是赢得雇主的信任。在下一个工作中记住这一点会对你有好处。
The PARLORMAID: [opening the door] Mr. Trench and Mr. Cokane.
Cokane and Trench come in: Trench festively dressed and in buoyant spirits: Cokane highly self-satisfied.
SARTORIUS: How do you do, Dr. Trench? Good morning, Mr. Cokane. I am pleased to see you here. Mr. Lickcheese: you will place your accounts and money on the table: I will examine them and settle with you presently. 萨托利乌斯：特伦奇博士，你好？早上好，科肯先生。很高兴见到你在这里。利克奇斯先生：你把账目和钱放在桌子上，我会立即检查并与你结算。
Lickcheese retires to the table, and begins to arrange his accounts, greatly depressed. The Parlormaid withdraws.
TRENCH: [glancing at Lickcheese] I hope we're not in the way.
SARTORIUS: By no means. Sit down, pray. I fear you have been kept waiting.
TRENCH: [taking Blanche's chair] Not at all. We've only just come in. [He takes out a packet of letters, and begins untying them].
COKANE: [going to a chair nearer the window, but stopping to look admiringly round before sitting down] You must-be happy here with all these books, Mr. Sartorius. A literary atmosphere. COKANE：[走到靠窗的椅子旁，但在坐下之前停下来欣赏四周] 萨托利斯先生，您一定很喜欢这里，有这么多书。一个文学氛围。
SARTORIUS: [resuming his seat] I have not looked into them. They are pleasant for Blanche occasionally when she wishes to read. I chose the house because it is on gravel. The deathrate is very low. SARTORIUS：[重新坐下] 我没有看过它们。 布兰奇偶尔想读书时，它们对她很愉快。 我选择这所房子是因为它建在砾石上。 死亡率非常低。
TRENCH: [triumphantly] I have any amount of letters for you. All my people are delighted that I am going to settle. Aunt Maria wants Blanche to be married from her house. [He hands Sartorius a letter]. TRENCH: [得意洋洋地] 我有很多信要给你。 我所有的人都很高兴我要定居了。 玛丽亚阿姨希望布兰奇从她家出嫁。 [他递给萨托里乌斯一封信]。
SARTORIUS: Aunt Maria?
COKANE: Lady Roxdale, my dear sir: he means Lady Roxdale. Do express yourself with a little more tact, my dear fellow.
TRENCH: Lady Roxdale, of course. Uncle Harry
COKANE: Sir Harry Trench. His godfather, my dear sir, his godfather.
TRENCH: Just so. The pleasantest fellow for
\footnotetext{
10 tenement houses: 贫民区的经济公寓。
11 a West-End square: 伦敦西区富人住宅区。
12 You are discharged: 你被解雇了
13 destitute: 穷困的, 缺乏的。
14 your next situation: your next job.
15 gravel: 沙砾层。
his age you ever met. He offers us his house at St Andrews for a couple of months, if we care to pass our honeymoon there. [He hands Sartorius another letter]. It's the sort of house nobody can live in, you know; but it's a nice thing for him to offer. Don't you think so? 他是你见过的最年轻的人。如果我们愿意在那里度蜜月的话，他愿意把他在圣安德鲁斯的房子借给我们住几个月。[他递给萨托里乌斯另一封信]。你知道，那是一种没有人能住进去的房子，但他愿意提供这样的事情，你觉得怎么样？
SARTORIUS: [dissembling a thrill at the titles] No doubt. These seem very gratifying, Dr. Trench.
TRENCH: Yes, arn't they? Aunt Maria has really behaved like a brick. If you read the postscript you'll see she spotted Cokane's hand in my letter. [Chuckling] He wrote it for me.
SARTORIUS: [glancing at Cokane] Indeed! Mr. Cokane evidently did it with great tact.
COKANE: [returning the glance] Don't mention it.
TRENCH: [gleefully] Well, what do you say now, Mr Sartorius? May we regard the matter as settled at last?
SARTORIUS: Quite settled. [He rises and offers his hand. Trench, glowing with gratitude, rises and shakes it vehemently, unable to find words for his feelings].
COKANE: [coming between them] Allow me to congratulate you both. [He shakes hands with the two at the same time].
SARTORIUS: And now, gentlemen, I have a word to say to my daughter. Dr. Trench: you will not, I hope, grudge me the pleasure of breaking this news to her: I have had to disappoint her more than once since I last saw you. Will you excuse me for ten minutes? 萨托利乌斯：先生们，现在我要对我的女儿说一句话。特伦奇博士：我希望您不会介意我告诉她这个消息的乐趣：自从上次见到您以来，我不得不让她失望不止一次。您能原谅我十分钟吗？
COKANE: [in a flush of friendly protest] My dear sir: can you ask?
TRENCH: Certainly.
SARTORIUS: Thank you. [He goes out].
TRENCH: [chuckling again] He won't have any news to break, poor old boy: she's seen all the letters already.
COKANE: I must say your behaviour has been far from straightforward, Harry. You have been carrying on a clandestine correspondence.
LICKCHEESE: [stealthily] Gentlemen -
TRENCH [turning: they had forgotten his
COKANE presence] Hallo!
LICKCHEESE: [coming between them very humbly, but in mortal anxiety and haste] Look here, gentlemen. [To Trench] You, sir, I address myself to more particular. Will you say a word in my favor to the guvnor ? He's just given me the sack; and I have four children looking to me for their bread. A word from you, sir, on this happy day, might get him to take me on again. LICKCHEESE：[非常谦卑地走到他们中间，焦急而匆忙] 听着，先生们。[对特伦奇说] 先生，我特别向您求助。您能向老板说句好话吗？他刚刚开除了我；我有四个孩子指望我养活他们。您在这个幸福的日子里说句话，也许能让他再次雇用我。
TRENCH: [embarrassed] Well, you see, Mr. Lickcheese, I don't see how I can interfere. I'm very sorry, of course.
COKANE: Certainly you cannot interfere. It would be in the most execrable taste.
LICKCHEESE: Oh, gentlemen, you're young; and you don't know what loss of employment means to the like of me. What harm would it do you to help a poor man? Just listen to the circumstances, sir. I only - LICKCHEESE：哦，先生们，你们还年轻；你们不知道失业对像我这样的人意味着什么。帮助一个穷人会对你们造成什么伤害呢？请听听我的情况，先生。我只是 -
TRENCH: [moved, but snatching at an excuse for taking a high tone in avoiding the unpleasantness of helping him] No: I had rather not. Excuse my saying plainly that I think Mr Sartorius is not a man to act hastily or harshly. I have always found him very fair and generous; and I believe he is a better judge of the circumstances than I am. TRENCH: [移开，但找借口以避免帮助他的不愉快] 不，我宁愿不要。请原谅我直言不讳地说，我认为萨托里斯先生不是一个轻率或苛刻行事的人。我一直觉得他非常公正和慷慨；我相信他比我更能判断情况。
COKANE: [inquisitive] I think you ought to
16 dissembling: 掩饰。
17 ... like a brick: she is strict and sharp。
18 postscript: 附言。
19 regard the matter as settled: 认为这门婚事是定下来了。
20 clandestine: 秘密的。
21 the guvnor: governor, 指 Sartorius。
22 execrable: 可憎的, 讨厌的, 恶劣的。
hear the circumstances, Harry. It can do no harm. Hear the circumstances by all means.
LICKCHEESE: Never mind, sir: it ain't any use. When I hear that man called generous and fair! - well, never mind.
TRENCH: [severely] If you wish me to do anything for you, Mr. Lickcheese, let me tell you that you are not going the right way about it in speaking ill of . Sartorius.
LICKCHEESE: Have I said one word against him, sir? I leave it to your friend: have I said a word? COKANE: True: true. Quite true. Harry: be just.
LICKCHEESE: Mark my words, gentlemen: he'll find what a man he's lost the very first week's rents the new man'll bring him. You'll find the difference yourself, Dr Trench, if you or your children come into the property. I've took money there when no other collector alive would have wrung it out. And this is the thanks I get for it! Why, see here, gentlemen! Look at that bag of money on the table. Hardly a penny of that but there was a hungry child crying for the bread it would have bought. But I got it for him - screwed and worried and bullied it out of them. - look here, gentlemen: I'm pretty seasoned to the work; but there's money there that I couldn't have taken if it hadn't been for the thought of my own children depending on me for giving him satisfaction. And because I charged him four-and-twenty shillin to mend a staircase that three women have been hurt on, and that would have got him prosecuted for manslaughter if it had been let go much longer, he gives me the sack. Wouldn't listen to a word, though I would have offered to make up the money out of my own pocket, aye, and am willing to do it still if you will only put in a word for me. 利克奇：先生们，记住我的话：他会在新人第一周的租金中发现自己失去了一个男人。如果您或您的孩子进入这个物业，您自己会发现这种差异，特伦奇博士。当其他收款员都不会去收取时，我曾经在那里收过钱。而这就是我得到的感谢！看这里，先生们！看看桌子上的那袋钱。那里几乎没有一分钱不是有一个饥饿的孩子在哭着要买面包的。但我为他拿到了 - 我从他们那里榨取、烦恼和欺负出来。看这里，先生们：我对这项工作相当有经验；但那里有些钱，如果不是因为想到我的孩子们依赖我给他满意，我是拿不到的。因为我收了他二十四先令来修理一条三个女人受伤的楼梯，如果再拖得久一点，他就会因过失杀人而被起诉，他就把我解雇了。他根本不听任何话，尽管我愿意自掏腰包弥补这笔钱，是的，如果您只肯替我说句话，我仍然愿意这样做。
TRENCH: [aghast] You took money that ought to have fed starving children! Serve you right! If I had been the father of one of those children, I'd have given you something worse than the sack. I wouldn't say a word to save your soul, if you have such a thing. Mr. Sartorius was quite right. TRENCH: [惊讶] 你拿了本该用来喂饱饥饿儿童的钱！你活该！如果我是其中一个孩子的父亲，我会给你比被解雇更糟糕的东西。如果你有灵魂的话，我不会说一句话来拯救你的灵魂。萨托里斯先生是完全正确的。
LICKCHEESE: [staring at him, surprised into contemptuous amusement in the midst of his anxiety] Just listen to this! Well, you are an innocent young gentleman. Do you suppose he sacked me because I was too hard? Not a bit on it; it was because I wasn't hard enough. I never heard him say he was satisfied yet: no, nor he wouldn't, not if I skinned em alive. I don't say he's the worst landlord in London; he couldn't be worse than some; but he's no better than the worst I ever had to do with. And, though I say it, I'm better than the best collector he ever done business with. I've screwed more and spent less on his properties than anyone would believe that knows what such properties are. I know my merits, Dr. Trench, and will speak for myself if no one else will. LICKCHEESE：【惊讶地看着他，在他焦虑中感到轻蔑的乐趣】听听这个！嗯，你是一个天真的年轻绅士。你以为他解雇我是因为我太严厉吗？一点也不；是因为我不够严厉。我从来没听他说过他满意了：不，他不会，即使我把他们活活剥皮也不会。我不说他是伦敦最糟糕的房东；他不可能比某些人更糟糕；但他也不比我曾经打交道的最糟糕的房东好。虽然我这么说，但我比他曾经做过生意的最好的收款人更好。我在他的房产上赚得更多，花得更少，任何了解这类房产的人都不会相信。我知道我的优点，特伦奇博士，如果没有其他人，我会为自己说话。
COKANE: What description of properties? Houses?
LICKCHEESE: Tenement houses, let from week to week by the room or half room: aye, or quarter room. It pays when you know how to work it, sir. Nothing like it. It's been calculated on the cubic foot of space, sir, that you can get higher rents letting by the room than you can for a mansion in Park Lane. LICKCHEESE：廉租房屋，每周按房间或半个房间出租：是的，或者是四分之一的房间。先生，只要您知道如何运作，这是有利可图的。没有什么比得上它。根据空间的立方英尺计算，通过按房间出租可以获得比在帕克莱恩庄园出租更高的租金。
RENCH: I hope Mr. Sartorius hasn't much of that sort of property, however it may pay.
LICKCHEESE: He has nothing else, sir; and he shews his-sense in it, too. Every few hundred pounds he could scrape together he bought old houses with: houses that you wouldn't hardly look at without holding your nose. He has em in St. Giles's . he has em in Marylebone: he has em in Bethnal Green. Just look how he lives himself, and you'll see the good of it to him. He likes a low deathrate and a gravel soil for himself, he does. You come down with me to Robbins's Row; and I'll shew you a soil and a death-rate, I will! And, mind you, it's me that makes it pay him so well. Catch him going down to collect his own rents! Not likely! LICKCHEESE：先生，他没有别的，而且他也表现出了他的聪明。他每隔几百英镑就会买些旧房子：那些你差点看都不想看的房子。他在圣吉尔斯有，他在玛丽波恩有，他在贝斯纳尔绿有。看看他自己是怎么生活的，你就会明白对他有多好。他喜欢自己住在低死亡率和砾石土壤的地方。你跟我去罗宾斯巷吧；我会给你展示一下土壤和死亡率。而且，你要知道，正是我让他这么赚钱。他去收自己的租金？不可能！
TRENCH: Do you mean to say that all his property - all his means - come from this sort of thing?
LICKCHEESE: Every penny of it, sir.
Trench, overwhelmed, has to sit down.
COKANE: [looking compassionately at him] Ah, my dear fellow, the love of money is the root of all evil.
LICKCHEESE: Yes, sir; and we'd all like to have the tree growing in our garden.
COKANE: [revolted] Mr. Lickcheese: I did not address myself to you. I do not wish to be severe with you; but there is something peculiarly repugnant to my feelings in the calling of a rent collector. COKANE: [叛变] 利克奇斯先生：我没有对你说话。我不想对你严厉；但对我来说，收租的行为有一种特别令我感到厌恶的东西。
LICKCHEESE: It's no worse than many another. I have my children looking to me.
COKANE: True: I admit it. So has our friend Sartorius. His affection for his daughter is a redeeming point - a redeeming point, certainly.
LICKCHEESE: She's a lucky daughter, sir. Many another daughter has been turned out upon the streets to gratify his affection for her. That's what business is, sir, you see. Come, sir: I think your friend will say a word for me now he knows I'm not in fault. LICKCHEESE：她是一个幸运的女儿，先生。许多其他女儿被赶出街头来满足他对她的感情。这就是生意，先生，您看到了。来吧，先生：我想您的朋友现在知道我没有错，会为我说句话的。
TRENCH: [rising angrily] I will not. It's a damnable business from beginning to end; and you deserve no better luck for helping in it. I've seen it all among the out-patients at the hospital; and it used to make my blood boil to think that such things couldn't be prevented. TRENCH: [愤怒地站起来] 我不会的。从头到尾都是可恶的事情；你帮忙参与其中，你不配有更好的运气。我在医院看到过所有这些门诊病人；想到这些事情无法阻止，我曾经怒火中烧。
LICKCHEESE: [his suppressed spleen breaking out] Oh indeed, sir. But I suppose you'll take your share when you marry Miss Blanche, all the same. [Furiously] Which of us is the worse. I should like to know? Me that wring the money out to keep a home over my children, or you that spend it and try to shove the blame on to me? LICKCHEESE: [他压抑的怒火爆发] 哦，确实，先生。但我想当你娶布兰奇小姐时，你也会拿走你的那份。[愤怒地] 我们两个谁更坏，我想知道？是我为了给孩子们一个家而挤出钱来，还是你花掉它然后试图把责任推到我身上？
COKANE: A most improper observation to address to a gentleman, Mr. Lickcheese! A most revolutionary sentiment!
LICKCHEESE: Perhaps so. But then Robbins's Row ain't a school for manners. You collect a week or two there - you're welcome to my place if I can't keep it for myself - and you'll hear a little plain speaking, you will. 或许是。但罗宾斯街不是一个礼仪学校。在那里待上一两个星期——如果我不能留着，欢迎来我这里——你会听到一些直言不讳的话。
COKANE: [with dignity] Do you know to whom you are speaking, my good man?
LICKCHEESE: [recklessly] I know well enough who I'm speaking to. What do I care for you, or a thousand such? I'm poor: that's enough to make a rascal of me. No consideration for me! Nothing to be got by saying a word for me! [Suddenly cringing to Trench] Just a word, sir. It would cost you nothing. [Sartorius appears at the door, unobserved]. Have some feeling for the poor. LICKCHEESE: [鲁莽地] 我很清楚我在跟谁说话。我管你是谁，或者千千万万个你们。我很穷：这就足以让我成为一个恶棍。对我毫无考虑！说一句话对我毫无好处！[突然向特伦奇卑躬] 只是一句话，先生。这对您不会花费任何代价。[萨托里乌斯出现在门口，未被注意到] 对穷人多多体谅一下。
TRENCH: I'm afraid you have shewn very little, by your own confession.
LICKCHEESE: [breaking out again] More than
\footnotetext{
28 em in St. Giles's: tenement houses in St. Giles's.
29 repugnant: 矛盾的。
30 out-patient: 门珍病人。
31 rascal: 流讯，无赖，坏蛋。
Have some feeling for the poor:
Show sympathy for the poor.
your precious father-in-law, anyhow. I [Sartorius's voice, striking in with deadly coldness, paralyzes him].
SARTORIUS: You will come here tomorrow not later than ten, Mr. Lickcheese, to conclude our business. I shall trouble you no further today. [Lickcheese, cowed, goes out amid dead silence. Sartorius continues, after an awkward pause] is one of my agents, or rather was; for have unfortunately had to dismiss him for repeatedly disregarding my instructions. [Trench says nothing. Sartorius throws off his embarrassment, and assumes a jocose, rallying air, unbecoming to him under any circumstances, and just now almost unbearably jarring]. Blanche will be down presently, Harry [Trench recoils] - I suppose I must call you Harry now. What do you say to a stroll through the garden, Mr. Cokane? We are celebrated here for our flowers. SARTORIUS：明天十点之前你会来这里，利克奇斯先生，以结束我们的交易。今天我不会再打扰你了。【利克奇斯，受到压制，默默无语地离开。萨托利乌斯继续，在尴尬的停顿后说】是我的一个代理人，或者说曾经是；因为 不幸地不得不解雇他，因为他反复无视我的指示。【特伦奇什么也没说。萨托利乌斯摆脱了尴尬，假装轻松、戏谑的态度，这在任何情况下都不适合他，而现在几乎是令人无法忍受的】布兰奇很快就会下来，哈里【特伦奇退缩了】-我想我现在必须称呼你为哈里了。科肯先生，你觉得去花园散步怎么样？我们这里以花园而闻名。
COKANE: Charmed, my dear sir, charmed. Life here is an idyl1 - a perfect idyll. We were just dwelling on it.
SARTORIUS: slyly] Harry can follow with Blanche. She will be down directly.
TRENCH [hastily] No. I can't face her just now.
SARTORIUS: [rallying him] Indeed! Ha, ha!
The laugh, the first they have heard from him, sets Trench's teeth on edge. Cokane is taken aback, but instantly recovers himself.
COKANE: Ha! ha! ha! Ho! ho!
TRENCH: But you don't understand.
SARTORIUS: Oh, I think we do, I think we do. Eh, Mr Cokane? Hal ha!
COKANE: I should think we do. Ha! ha! ha! They go out together, laughing at him. He collapses into a chair, shuddering in every nerve. Blanche appears at the door. Her face lights up when she sees that he is alone. She trips noiselessly to the back of his chair and clasps her hands over his eyes. With a convulsive start and exclamation he springs up and breaks away from her. COKANE：我想我们是的。哈！哈！哈！他们一起出去，嘲笑他。他跌坐在椅子上，每根神经都在颤抖。布兰奇出现在门口。当她看到他独自一人时，她的脸上闪过一丝光芒。她悄无声息地走到他椅子后面，用双手捂住他的眼睛。他猛地一跳，惊叫一声，从她身边躲开。
BLANCHE: [astonished] Harry!
TRENCH: [with distracted politeness] I beg your pardon. I was thinking - won't you sit down?
BLANCHE: [looking suspiciously at him] Is anything the matter? [She sits down slowly near the writing table. He takes Cokane's chair].
TRENCH: No. Oh no.
BLANCHE: Papa has not been disagreeable, I hope.
TRENCH: No: I have hardly spoken to him since I was with you. [He rises; takes up his chair; and plants it beside hers. This pleases her better. She looks at him with her most winning smile. A sort of sob breaks from him; and he catches her hands and kisses them passionately. Then, looking into her eyes with intense earnestness, he says] Blanche: are you fond of money? TRENCH：不，自从我和你在一起以后，我几乎没怎么和他说过话。【他站起来，拿起椅子，把它放在她旁边。这让她更高兴。她用最迷人的微笑看着他。他发出一种抽泣声，抓住她的手，热情地吻了一下。然后，他用极度认真的眼神看着她，说】布兰奇：你喜欢钱吗？
BLANCHE: [gaily] Very. Are you going to give me any?
TRENCH: [wincing] Don't make a joke of it: I'm serious. Do you know that we shall be very poor?
BLANCHE: Is that what made you look as if you had neuralgia?
TRENCH: [pleadingly] My dear: it's no laughing matter. Do you know that I have a bare seven hundred a year to live on?
BLANCHE: How dreadful!
TRENCH: Blanche: It's very serious indeed: I assure you it is.
BLANCHE: It would keep me rather short in my housekeeping, dearest boy, if I had nothing of my own. But papa has promised me that I shall be richer than ever when we are married.
33 idyll: 田园诗, 牧歌。
34 plant it: put the chair.
35 neuralgia: 神经痛。
TRENCH: We must do the best we can with seven hundred. I think we ought to be self-supporting.
BLANCHE: That's just what I mean to be, Harry. If I were to eat up half your seven hundred, I should be making you twice as poor; but I'm going to make you twice as rich instead. [He shakes his head]. Has papa made any difficulty? 布兰奇：哈里，这正是我的意思。如果我吃掉你七百的一半，那我会让你变得更穷；但我要让你变得更富有，而不是更贫穷。[他摇了摇头]。爸爸有什么困难吗？
TRENCH: [rising with a sigh and taking his chair back to its former place] No. None at all. [He sits down dejectedly. When Blanche speaks again her face and voice betray the beginning of a struggle with her temper]. TRENCH：[叹了口气，把椅子放回原来的位置] 没有。一点也没有。[他沮丧地坐下。当布兰奇再次开口时，她的脸和声音都显示出她开始控制脾气的迹象]。
BLANCHE: Harry: are you too proud to take money from my father?
TRENCH: Yes, Blanche: I am too proud.
BLANCHE: [after a pause] That is not nice to me, Harry.
TRENCH: You must bear with me, Blanche. I I can't explain. After all, it's very natural.
BLANCHE: Has it occurred to you that I may be proud, too?
TRENCH: Oh, that's nonsense. No one will accuse you of marrying for money.
BLANCHE: No one would think the worse of me if I did, or of you either. [She rises and begins to walk restlessly about]. We really cannot live on seven hundred a year, Harry; and I don't think it quite fair of you to ask me merely because you are afraid of people talking. 布兰奇：如果我这样做，也不会有人对我有什么看法，对你也是一样。【她站起身来，开始不安地走动】。哈里，我们真的无法靠七百英镑一年生活；我认为你仅仅因为害怕别人议论而要求我这样做，这并不太公平。
TRENCH: It's not that alone, Blanche.
BLANCHE: What else is it, then?
TRENCH: Nothing. I -
BLANCHE: [getting behind him, and speaking with forced playfulness as she bends over him, her hands on his shoulders] Of course it's nothing. Now don't be absurd, Harry: be good; and listen to me: I know how to settle it. You are too proud to owe anything to me; and I am too proud to owe anything to you. You have seven hundred a year. Well, I will take just seven hundred a year from papa at first; and then we shall be quits. Now, now, 布兰奇：[走到他身后，弯下腰，双手放在他的肩膀上，勉强地说着玩笑话] 当然没什么。现在别傻了，哈里：乖一点；听我说：我知道怎么解决。你太骄傲了，不愿欠我任何东西；而我也太骄傲，不愿欠你任何东西。你每年有七百英镑。好吧，我一开始就从爸爸那里拿七百英镑；然后我们就扯平了。 现在，现在，
Harry, you know you've not a word to say against that.
TRENCH: It's impossible.
BLANCHE: Impossible!
TRENCH: Yes, impossible. I have resolved not to take any money from your father.
BLANCHE: But he'll give the money to me, not to you.
TRENCH: It's the same thing. [With an effort to be sentimental] I love you too well to see any distinction. [He puts up his hand half-heartedly: she takes-it over his shoulder with equal indecision. They are both trying hard to conciliate one another]. TRENCH：都一样。[努力表现感情] 我爱你太深，看不出任何区别。[他无力地举起手：她犹豫不决地搭在他肩上。他们都在努力和解对方]。
BLANCHE: That's a very nice way of putting it, Harry; but I'm sure there's something I ought to know. Has papa been disagreeable?
TRENCH: No: he has been very kind - to me, at least. It's not that. It's nothing you can guess, Blanche. It would only pain you perhaps offend you. I don't mean, of course, that we shall live always on seven hundred a year. I intend to go at my profession in earnest, and work my fingers to the bone. TRENCH：不，至少对我来说，他一直很友善。不是这个问题。这是你猜不到的事情，布兰奇。也许只会让你感到痛苦，甚至冒犯你。当然，我并不是说我们会一直靠每年七百英镑生活。我打算认真从事我的职业，拼命工作。
BLANCHE: [flaying with his fingers, still over his shoulder] But I shouldn't like you with your fingers worked to the bone, Harry. I must be told what the matter is. [He takes his hand quickly away: she flushes angrily, and her voice is no longer even an imitation of the voice of a lady as she exclaims] I hate secrets; and I don't like to be treated as if I were a child. 布兰奇：[用手指挥舞，仍然背对着他] 但我不希望看到你的手指被搞得筋疲力尽，哈里。我必须知道问题出在哪里。[他迅速把手拿开：她生气地脸红了，她的声音不再是淑女的模仿，她愤然地喊道] 我讨厌秘密；我也不喜欢被当成小孩子对待。
TRENCH: [annoyed by her tone] There's nothing to tell. I don't choose to trespass on 一 your father's generosity: that's all.
BLANCHE: You had no objection half an hour
36 be quits: 对等, 两相抵消。
37 work one's fingers to the bone: work hard.
trespass: 得罪, 冒犯。
ago, when you met me in the hall, and shewed me all the letters. Your family doesn't object. Do you object?
TRENCH: [earnestly] I do not indeed. It's only a question of money.
BLANCHE: [imploringly, the voice softening and refining for the last time] Harry: there's no use in our fencing in this way. Papa will never consent to my being absolutely dependent on you; and I don't like the idea of it myself. If you even mention such a thing to him you will break off the match: you will indeed. 白兰奇：【恳求地，声音最后一次变得柔和和精致】哈里：我们这样争吵没有任何意义。爸爸永远不会同意我完全依赖你；而且我自己也不喜欢这个想法。如果你甚至向他提到这样的事情，你会破坏这段关系：你真的会的。
TRENCH: [obstinately] I can't help that.
BLANCHE: [white with rage] You can't help - ! Oh, I'm beginning to understand. I will save you the trouble. You can tell papa that I have broken off the match; and then there will be no further difficulty. 布兰奇：[愤怒地白了] 你帮不了忙 -！哦，我开始明白了。我会省你的麻烦。你可以告诉爸爸，我已经解除了婚约；然后就不会再有任何困难了。
TRENCH: [taken aback] What do you mean, Blanche? Are you offended?
BLANCHE: Offended! How dare you ask me? TRENCH: Dare!
BLANCHE: How much more manly it would have been to confess that you were trifling with me that time on the Rhine! Why did you come here today? Why did you write to your people?
TRENCH: Well, Blanche, if you are going to lose your temper -
BLANCHE: That's no answer. You depended on your family to get you out of your engagement; and they did not object: they were only too glad to be rid of you. You were not mean enough to stay away, and not manly enough to tell the truth. You thought you could provoke me to break the engagement: that's so like a man to try to put the woman in the wrong. Well, you have your way: I release you. I wish you'd opened my eyes by downright brutality; by striking me; by anything rather than shuffling as you have done. BLANCHE: 那不是答案。你依赖你的家人来帮你摆脱订婚；他们并没有反对：他们只是太高兴摆脱你了。你不够卑鄙以远离，也不够男子气概以说出真相。你以为你可以激怒我来取消订婚：这很像男人试图让女人出错。好吧，你得逞了：我释放你。我希望你能通过彻底的残忍打开我的眼睛；通过打我；通过任何事情，而不是像你现在这样犹豫不决。
TRENCH: [hotly] Shuffling! If I'd thought you capable of turning on like this, I'd never have spoken to you. I've a good mind never to speak to you again.
BLANCHE: You shall not - not ever. I will take care of that [going to the door].
TRENCH: [alarmed] What are you going to do?
BLANCHE: To get your letters: your false letters, and your presents: your hateful presents, to return them to you. I'm very glad it's all broken off; and if - [as she puts her hand to the door it is opened from without by Sartorius, who enters and shuts it behind him] 布兰奇：拿到你的信：你的虚假信件和你的礼物：你可恨的礼物，要把它们还给你。我很高兴一切都结束了；如果 - [她伸手去开门，萨托里乌斯从外面打开了门，走了进来并关上了门]
SARTORIUS: [interrupting her severely] Hush, pray, Blanche: you are forgetting yourself: you can be heard all over the house. What is the matter?
BLANCHE: [too angry to care whether she is overheard or not] You had better ask him. He has some excuse about money.
SARTORIUS: Excuse! Excuse for what?
BLANCHE: For throwing me over.
TRENCH: [vehemently] I declare I never -
BLANCHE: [interrupting him still more vehemently] You did. You did. You are doing nothing else -
TRENCH: [together: each trying to shout down the other] I am doing nothing of the sort. You know very well that.
BLANCHE: What else is it but throwing me over? But I don't care for what you are saying is disgracefully untrue. It's a damned lie. I won't stand - you. I hate you. I always hated you. Beastly - dirty — vile - 布兰奇：除了抛弃我还能是什么？但我不在乎你所说的是可耻的不真实。这是该死的谎言。我不会忍受你。我讨厌你。我一直讨厌你。可恶的 - 肮脏的 - 卑鄙的 -
39 break off the match: 解除婚约。
40 the Rhine: 莱茵河。在第一幕, 二人是在菜茵河上旅游时相遇的。
41 shuffling: 蒙混, 推诿。
42 turning on me: attacking me.
SARTORIUS: [in desperation at the noise] Silence! [Still more formidably] Silence!! [They obey. He proceeds firmly] Blanche: you must control your temper: I will not have these repeated scenes within hearing of the servants. Dr. Trench will answer for himself to me. You had better leave us. [He opens the door, and calls] Mr. Cokane: will you kindly join us here? 萨托利乌斯：[绝望地对着噪音] 安静！[更加严厉地] 安静！！[他们听从了。他坚定地继续] 布兰奇：你必须控制你的脾气：我不希望在仆人听到的地方发生这些重复的场面。特伦奇医生会对我自己负责。你最好离开我们。[他打开门，喊道] 科肯先生：你能来这里和我们一起吗？
COKANE: [in the conservatory] Coming, my dear sir, coming. [He appears at the door].
BLANCHE: I'm sure I have no wish to stay. I hope I shall find you alone when I come back. [An inarticulate exclamation bursts from Trench. She goes out, passing Cokane resentfully. He looks after her in surprise; then looks questioningly at the two men. Sartorius shuts the door with an angry stroke, and turns to Trench]. 布兰奇：我确定我不想留下。希望我回来时能找到你一个人。【特伦奇发出一声不清楚的呼喊。她走出去，心怀不满地经过科肯。他惊讶地望着她离去，然后疑惑地看着两个男人。萨托利厄斯生气地关上门，转向特伦奇】。
SARTORIUS: [aggressively] Sir -
TRENCH: [interrupting him more aggressively] Well, sir?
SARTORIUS: [mastering himself] If you have anything to say to me, Dr. Trench, I will listen to you patiently. You will then allow me to say what I have to say on my part.
TRENCH: [ashamed] I beg your pardon. Of course, yes. Fire away.
SARTORIUS: May I take it that you have refused to fulfill your engagement with my daughter?
TRENCH: Certainly not: your daughter has refused to fulfill her engagement with me. But the match is broken off, if that's what you mean.
SARTORIUS: Dr. Trench: I will be plain with you. I know that Blanche has a quick temper. It is part of her strong character and her physical courage, which is greater than that of most men, I can assure you. You must be prepared for that. If this quarrel is only Blanche's temper, you may take my word for it that it will be over before tomorrow. But I understood from what she said just now that you have made some difficulty on the score of money. SARTORIUS：特伦奇博士：我会直言不讳地告诉你。我知道布兰奇脾气急躁。这是她坚强性格和身体勇气的一部分，比大多数男人都要强，我可以向你保证。你必须做好准备。如果这场争吵只是布兰奇的脾气，你可以相信我的话，明天之前就会结束。但我刚才从她的话中了解到，你在金钱问题上有些困难。
TRENCH: [with renewed excitement] It was Miss Sartorius who made the difficulty. I shouldn't have minded that so much, if it hadn't been for the things she said. She shewed that she doesn't care that [snapping his fingers] for me. TRENCH: [怀着 renewed 的兴奋] 是萨托利斯小姐制造了困难。如果不是她说的那些话，我倒不会那么在意。她表现出她根本不在乎我。
COKANE: [soothingly] Dear boy -
TRENCH: Hold your tongue, Billy: it's enough to make a man wish he'd never seen a woman. Look here, Mr. Sartorius: I put the matter to her as delicately and considerately as possible, never mentioning a word of my reasons, but just asking her to be content to live on my own little income; and yet she turned on me as if I'd behaved like a savage. TRENCH：闭嘴，比利：这足以让一个人希望自己从未见过女人。听着，萨托利斯先生：我尽可能细致和体贴地向她提出了这个问题，从未提及我的理由，只是请求她满足于依靠我的微薄收入生活；然而她却对我发火，好像我表现得像野蛮人一样。
SARTORIUS: Live on your income is impossible: my daughter is accustomed to a proper establishment. Did I not expressly undertake to provide for that? Did she not tell you I promised her to do so? SARTORIUS：仅靠你的收入生活是不可能的：我的女儿习惯了一个适当的生活环境。 我不是明确承诺要提供这样的吗？她没有告诉你我答应过她这样做吗？
TRENCH: Yes, I know all about that, Mr. Sartorius; and I'm greatly obliged to you; but I'd rather not take anything from you except Blanche herself.
SARTORIUS: And why did you not say so before?
TRENCH: No matter why. Let us drop the subject.
SARTORIUS: No matter! But it does matter, sir. I insist on an answer. Why did you not say so before?
TRENCH: I didn't know before.
43 Suavity: 愉快, 温和。
44 Fire away: 连珠炮般地接下去(特指谈话或提问)。
45 establishment: household, residence.
SARTORIUS: [provoked] Then you ought to have known your own mind on a point of such vital importance.
TRENCH: [much injured] I ought to have known! Cokane: is this reasonable? [Cokane's features are contorted by an air of judicial consideration, but he says nothing; and Trench again addresses Sartorius, this time with a marked diminution of respect]. How the deuce could I have known? You didn't tell me. TRENCH: [much injured] 我应该知道的！Cokane: 这合理吗？[Cokane 的表情被一种司法考虑的气氛扭曲，但他什么也没说；Trench 再次对 Sartorius 说话，这次尊重明显减少]. 我怎么可能知道？你没告诉我。
SARTORIUS: You are trifling with me, sir. You said that you did not know your own mind before.
TRENCH: I said nothing of the sort. I say that I did not know where your money came from before.
SARTORIUS: That, is not true, sir. I -
COKANE: Gently, my dear sir. Gently, Harry, dear boy. Suaviter in modo: fort -
TRENCH: Let him begin, then. What does he mean by attacking me in this fashion?
SARTORIUS: Mr. Cokane: you will bear me out . I was explicit on the point. I said I was a self-made man; and I am not ashamed of it.
TRENCH: You are nothing of the sort. I found out this morning from your man - Lickcheese, or whatever his confounded name is - that your fortune has been made out of a parcel of unfortunate creatures that have hardly enough to keep body and soul together - made by screwing, and bullying, and threatening, and all sorts of pettifogging tyranny. TRENCH：你根本不是那样的人。我今天早上从你的人那里得知 - Lickcheese，或者无论他那该死的名字是什么 - 你的财富是靠一群不幸的人赚来的，他们几乎没有足够的东西来维持生计 - 靠欺骗、恐吓、威胁和各种小人之事来赚取。
SARTORIUS: [outraged] Sir! [They confront one another threateningly].
COKANE: [softly] Rent must be paid, dear boy. It is inevitable, Harry, inevitable. [Trench turns away petulantly. Sartorius looks after him reflectively for a moment; then resumes his former deliberate and dignified manner, and addresses Trench with studied consideration, but with a perceptible condescension to his youth and folly]. COKANE：[轻声] 亲爱的男孩，租金必须支付。哈里，这是不可避免的，不可避免的。[特伦奇不悦地转身。萨托利乌斯沉思地看着他片刻，然后恢复了以前的从容和庄重态度，对特伦奇表示关心，但对他的年轻和愚蠢有一种可察觉的屈尊态度]。
SARTORIUS: I am afraid, Dr. Trench, that you are a very young hand at business; and I am sorry I forgot that for a moment or so. May I ask you to suspend your judgment until we have had a little quiet discussion of this sentimental notion of yours? If you will excuse me for calling it so. [He takes a chair, and motions Trench to another on his right]. 萨托利乌斯：特伦奇博士，恐怕您在商业方面还很年轻；我很抱歉我一时忘记了这一点。我可以请您暂时搁置您的判断，直到我们对您这种感性观念进行一番安静的讨论吗？如果您原谅我这样说的话。【他拿起一把椅子，示意特伦奇坐在他右边的另一把椅子上】。
COKANE: Very nicely put, my dear sir. Come, Harry: Sit down and listen; and consider the matter calmly and judicially. Don't be headstrong.
TRENCH: I have no objection to sit down and listen; but I don't see how that can make black white, and I am tired of being turned on as if I were in the wrong. [He sits down]. Cokane sits at Trench's elbow, on his right. They compose themselves for a conference. TRENCH：我没有反对坐下来听；但我不明白那怎么可能让黑变白，我也厌倦了被当成错的感觉。【他坐下来】。Cokane 坐在 Trench 的右边肘上。他们准备进行一次会议。
SARTORIUS: I assume, to begin with, Dr. Trench, that you are not a Socialist, or anything of that sort.
TRENCH: Certainly not. I'm a Conservative. At least, if I ever took the trouble to vote, I should vote for the Conservative and against the other fellow.
COKANE: True blue, Harry, true blue!
SARTORIUS: I am glad to find that so far we are in perfect sympathy. I am, of course, a Conservative. Not a narrow or prejudiced one, I hope, nor at all opposed to true progress. Still, a sound
46 Cokane's features are contorted: Cokane 的五官扭曲了。
47 How the deuce could I have known?: 我怎么能知道? deuce 为非正式用法, 加强语气。
48 Suaviter in modo: fort 一: 拉丁语, suaviter in modo, fortitier in re: Gentle in manner, resolute in deed
49 bear out: to prove right or justified; confirm.
50 pettifogging: 欺骗的, 诡辩的。
51 judically: 公平地。
52 headstrong: 顽固的, 任性的。
53 True blue: faithful。
Conservative. As to Lickcheese, I need say no more about him than that I have dismissed him from my service this morning for a breach of trust; and you will hardly accept his testimony as friendly or disinterested. As to my business, it is simply to provide homes suited to the small means of very poor people, who require roofs to shelter them just like other people. Do you suppose I can keep up those roofs for nothing? 保守。至于利奇奇斯，我无需多说，只需说明我今天早上因为违反了信任而解雇了他；你几乎不会把他的证词视为友好或无私。至于我的业务，只是为非常贫困的人提供适合他们微薄收入的住所，他们需要像其他人一样的屋顶来庇护他们。你以为我可以白白维护这些屋顶吗？
TRENCH: Yes: that's all very fine; but the point is, what sort of homes do you give them for their money? People must live somewhere, or else go to jail. Advantage is taken of that to make them pay for houses that are not fit for dogs. Why don't you build proper dwellings, and give fair value for the money you take? TRENCH：是的：这一切都很好；但问题是，你们为他们提供什么样的住所？人们必须住在某个地方，否则就得去监狱。利用这一点让他们为不适合狗居住的房子付钱。为什么不建造适宜的住所，为你们收取的钱物有所值呢？
SARTORIUS: [pitying his innocence] My young friend, these poor people do not know how to live in proper dwellings, they would wreck them in a week. You doubt me; try it for yourself. You are welcome to replace all the missing banisters, handrails, cistern lids and dusthole tops at your own expense," and you will find them missing again in less than three days: burnt, sir, every stick of them. I do not blame the poor creatures: they need fires, and often have no other way of getting them. But I really cannot spend pound after pound in repairs for them to pull down, when I can barely get them to pay me four and sixpence a week for a room, which is-the recognized fair London rent. No, gentlemen: when people are very poor, you cannot help them, no matter how much you may sympathize with them. It does them more harm than good in the long run. I prefer to save my money in order to provide additional houses for the homeless, and to lay by a little for Blanche. [He looks at them. They are silent: Trench unconvinced, but talked down; Cokane humanely perplexed. Sartorius bends his brows; comes forward in his chair as if gathering himself for a spring, and addresses himself, with impressive significance, to Trench]. And now, Dr. Trench, may I ask what your income is derived from? SARTORIUS: [怜悯他的天真] 我年轻的朋友，这些可怜的人不知道如何生活在适当的住所里，他们会在一周内将其毁掉。你怀疑我；亲自试试吧。你可以自费更换所有缺失的栏杆、扶手、水箱盖和垃圾箱盖，然后你会发现不到三天又会失踪：先生，它们每根都被烧掉了。我不责怪这些可怜的生灵：他们需要火，而且通常没有其他获取方式。但我真的不能一遍又一遍地花钱修理他们拆毁的东西，当我几乎无法让他们为一间房间支付四先令六便士一周的房租，这是公认的伦敦公平租金。不，先生们：当人们非常贫困时，你无法帮助他们，无论你对他们怀有多少同情。从长远来看，这对他们更有害无益。我更愿意把钱存起来，为无家可归者提供额外的住房，并为 Blanche 存点钱。[他看着他们。他们沉默着：特伦奇不信服，但被说服了；科肯人道地困惑。 萨托利乌斯皱起眉头；他向前挪动椅子，仿佛在为跳跃做准备，并带着令人印象深刻的意义对特伦奇说。现在，特伦奇博士，我可以问一下您的收入来源是什么吗？
TRENCH: [defiantly] From interest: not from houses. My hands are clean as far as that goes. Interest on a mortgage.
SARTORIUS: [forcibly] Yes: a mortgage on my property. When I, to use your own words, screw, and bully, and drive these people to pay what they have freely undertaken to pay me, I cannot touch one penny of the money they give me until have first paid you your seven hundred a year out of it. What Lickcheese did for me, I do for you. He and I are alike intermediaries: you are the principal. It is because of the risks I run through the poverty of my tenants that you exact interest from me at the monstrous and exorbitant rate of seven per cent, forcing me to exact the uttermost farthing in my turn from the tenants. And yet, Dr. Trench, you, who have never done a hand's turn of work in connection with the place, you have not hesitated to speak contemptuously of me because I have applied my industry and forethought to the management of our property, and am maintaining it by the same honorable means. SARTORIUS：[强硬地]是的：我的财产上有一笔抵押。当我，用你自己的话来说，欺骗、欺凌和逼迫这些人支付他们自愿承担的款项时，他们给我的钱中的每一分钱，直到 先支付你七百英镑的年收入。利奇奇斯为我做的事，我为你做。他和我都是中间人：你是主要人物。 正是因为我承担着我的租户贫困带来的风险，你才以七分之一的荒谬和过高的利率向我收取利息，迫使我反过来从租户那里收取最后一分钱。然而，特伦奇博士，你从未为这个地方做过一天的工作，你却毫不犹豫地轻蔑地对待我，因为我把我的工业和先见之明应用于我们财产的管理，并通过同样光荣的手段维持着它。
COKANE: [greatly relieved] Admirable, my dear sir, excellent! I felt instinctively that Trench was talking unpractical nonsense. Let us drop the subject, my dear boy: you only make an ass of yourself when you meddle in business COKANE：[大大地松了一口气] 令人钦佩，我亲爱的先生，太好了！我本能地感觉到特伦奇在说一些不切实际的废话。我们不谈这个话题了，我亲爱的孩子：当你插手业务时，你只会让自己出丑。
56 lay by a little: to save a little money for future use.
57 mortgage: 抵押。
58 you are the principal: 一语双关, principal 既有东家又有主犯之意。
59 exorbitant: 过高的, 过度的。
60 forethought:事先的考虑, 深虑。
matters. I told you it was inevitable.
TRENCH: [dazed] Do you mean to say that I am just as bad as you are?
COKANE: Shame, Harry, shame! Grossly bad taste! Be a gentleman. Apologize.
SARTORIUS: Allow me, Mr. Cokane. [to Trench] If, when you say you are just as bad as I am, you mean that you are just as powerless to alter the state of society, then you are unfortunately quite right. SARTORIUS：请允许我，科肯先生。[对特伦奇说]如果你说你和我一样坏的时候，你的意思是你和我一样无力改变社会状况，那么很不幸，你是对的。
Trench does not at once reply. He stares at Sartorius, and then hangs his head and gazes stupidly at the floor, morally beggared, with his clasped knuckles between his knees, a living picture of disillusion. Cokane comes sympathetically to him and puts an encouraging hand on his shoulder. Trench 没有立即回答。他盯着萨托里乌斯，然后低下头，愚蠢地凝视着地板，道德上一贫如洗，双手握拳夹在膝盖间，是一个幻灭的活生生的画面。科肯同情地走向他，鼓励地把手放在他的肩膀上。
COKANE: [gently] Come, Harry, come! Pull yourself together. You owe a word to Mr Sartorius.
TRENCH: [still stupefied, slowly unlaces his fingers; puts his hands on his knees, and lifts himself upright; pulls his waistcoat straight with a tug; and tries to take his disenchantment philosophically as he says, turning to Sartorius] Well, people who live in glass houses have no right to throw stones. But, on my honor, I never knew that my house was a glass one until you pointed it out. I beg your pardon. [He offers his hand]. TRENCH：[仍然茫然，慢慢地解开手指；把手放在膝盖上，站起来；用力拉直背心；试图以哲学的态度对待自己的幻灭，他转向萨托里厄斯说] 嗯，住在玻璃房子里的人没有权利扔石头。 但是，我向你保证，直到你指出来，我从未意识到我的房子是玻璃的。请原谅我。[他伸出手]。
SARTORIUS: Say no more, Harry: your feelings do you credit. assure you I feel exactly as you do, myself. Every man who has a heart must wish that a better state of things was practicable. But unhappily it is not. SARTORIUS：不用多说了，哈里：你的感受很值得称赞。我向你保证，我自己的感受与你完全一样。每个有心的人都希望更好的事态是可行的。但不幸的是，现实并非如此。
TRENCH: [a little consoled I suppose not.
COKANE: Not a doubt of it, my dear sir: not a doubt of it. The increase of the population is at the bottom of it all.
SARTORIUS: [to Trench] I trust I have convinced you that you need no more object to Blanche sharing my fortune, than I need object to her sharing yours.
TRENCH: [with dull wistfulness] It seems so,
We're all in the same swim, it appears. I hope you'll excuse my making such a fuss.
SARTORIUS: Not another word. In fact, I thank you for refraining from explaining the nature of your scruples to Blanche: I admire that in you, Harry. Perhaps it will be as well to leave her in ignorance. SARTORIUS：不要再说了。事实上，我感谢你没有向布兰奇解释你的顾虑的本质：我钦佩你，哈里。也许最好让她保持无知。
TRENCH: [anxiously] But I must explain now. You saw how angry she was.
SARTORIUS: You had better leave that to me. [He looks at his watch, and rings the bell]. Lunch is nearly due: while you are getting ready for it I can see Blanche; and I hope the result will be quite satisfactory to us all. [The parlormaid answers the bell: he addresses her with his habitual peremptoriness]. Tell Miss Blanche I want her. 萨托利乌斯：最好还是让我来处理这件事。[他看了看手表，然后按响了铃。] 午餐快要到了：你准备好午餐的时候，我可以去见布兰奇；希望结果对我们所有人都很满意。[客厅女仆应声按铃：他以他习惯的专横态度对她说。] 告诉布兰奇小姐我要见她。
THE PARLORMAID: [her face falling expressively] Yes, sir. [She turns reluctantly to ].
SARTORIUS: [on second thoughts] Stop. [She stops]. My love to Miss Blanche; and I am alone here and would like to see her for a moment if she is not busy.
THE PARLORMAID: relieved Yes sir. [She goes out .
SARTORIUS: I will shew you your room, Harry. I hope you will soon be perfectly at home in it. You also, Mr. Cokane, must learn your way about here. Let us go before Blanche comes. [He leads the way to the door]. 萨托利乌斯：我会带你去你的房间，哈利。希望你很快就会完全适应它。柯肯先生，你也必须熟悉这里的路。在布兰奇来之前，让我们走吧。【他领着去门口】。
COKANE: [cheerily, following him] Our little discussion has given me quite an appetite.
61 people who live in glass houses have no right to throw stones: 墇语, 自己有错且勿批评别人。
62 do you credit: to show that you deserve respect.
63 swim: current of social affairs.
64 refraining from: 避免。
65 scruples: 梼琽, 犹像, 顾忌。
TRENCH: [moodily] It's taken mine away. The two friends go out, Sartorius holding the door for them. He is following when the parlormaid reappears. She is a snivelling sympathetic creature, and is on the verge of tears. TRENCH: [情绪低落地] 它把我的带走了。 两位朋友走出去，萨托利乌斯为他们开门。当他跟着走时，客厅女仆又出现了。她是一个娇气的同情心泛滥的人，快要哭出来了。
SARTORIUS: Well: is Miss Blanche coming?
THE PARLORMAID: Yes, sir. I think so, sir.
SARTORIUS: Wait here until she comes; and tell her that I will be back in a moment. I have to shew Dr. Trench his room.
THE PARLORMAID: Yes, sir. [She comes into the room. A sound between a sob and a sniff escapes her].
Sartorius looks suspiciously at her. He half closes the door.
SARTORIUS: [lowering his voice] What's the matter with you?
THE PARLORMAID: [whimpering ] Nothing, sir.
SARTORIUS: [at the same pitch, more menacingly] Take care how you behave yourself when there are visitors present. Do you hear?
THE PARLORMAID: Yes, sir. [Sartorius goes out],
SARTORIUS: [outside] Excuse me: I had a word to say to the servant.
Trench is heard replying "Not at all," and Cokane "Don't mention it, my dear sir."
Their voices pass out of hearing. The parlormaid sniffs; dries her eyes; and takes some brown paper and a ball of string from a cupboard under the bookcase. She put them on the table, and wrestles with another sob. Blanche comes in with a jewel box in her hands. Her expression is that of a strong and determined woman in an intense passion. The maid looks at her with abject wounded affection and bodily terror. 他们的声音渐渐听不见了。女仆抽鼻子；擦干眼泪；从书柜下的橱柜里拿出一些棕色纸和一团绳子。她把它们放在桌子上，努力控制着另一阵哭泣。布兰奇手里拿着一个珠宝盒进来。她的表情像是一个充满激情的坚强决绝的女人。女仆用一种卑微受伤的情感和身体恐惧的眼神看着她。
BLANCHE: [looking round] Where's my father?
THE PARLORMAID: [tremulously propitiatory] He left word he'd be back directly, miss. I'm sure he won't be long. Here's the paper and string all ready, miss. [She spreads the paper on the table]. Can I do the parcel for you, miss? 女仆：[颤抖地讨好地]他留言说他会马上回来，小姐。我相信他不会很久。这是准备好的纸和绳子，小姐。[她把纸铺在桌子上]。我可以帮您包裹吗，小姐？
BLANCHE: No. Mind your own business. [She empties the box on the sheet of brown paper. It contains a packet of letters and some jewelry. She plucks a ring from her finger and throws it down on the heap so angrily that it rolls away and falls on the carpet. The maid submissively picks it up and puts it on the table, again sniffing and drying her eyes.] What are you crying for? 布兰奇：不。管好你自己的事。[她把盒子倒在一张棕色纸上。里面装着一封信和一些珠宝。她从手指上拔下一枚戒指，生气地扔到一堆里，结果它滚开了，掉在地毯上。女仆顺从地捡起来，放在桌子上，再次抽泣擦干眼泪。]你为什么哭？
THE PARLORMAID: [plaintively] You speak so brutal to me, Miss Blanche; and I do love you so. I'm sure no one else would stay and put up with what I have to put up with.
BLANCHE: Then go. I don't want you. Do you hear? Go.
THE PARLORMAID: [piteously, falling on for knees] Oh no, Miss Blanche. Don't send me away from you: don't -
BLANCHE: [with fierce disgust] Agh! I hate the sight of you. [The maid, wounded to the heart, cries bitterly]. Hold your tongue. Are those two gentlemen gone?
THE PARLORMAID: [weeping] Oh, how could you say such a thing to me, Miss Blanche: me that -
BLANCHE: [seizing her by the hair and throat] Stop that noise, I tell you, unless you want me to kill you.
THE PARLORMAID: [protesting and imploring, but in a carefully subdued voice] Let me go. Miss Blanche: you know you'll be sorry: you always are. Remember how dreadfully my head was cut last time. 客厅女仆：[抗议和恳求，但声音小心地压制]让我走。布兰奇小姐：你知道你会后悔的：你总是后悔。记得上次我头被割得多么可怕。
BLANCHE: [raging] Answer me, will you. Have
66 It's taken mine away: 让我倒胃。
67 snivelling: 啜泣的。
68 whimpering: 鸣咽。
69 abject: 可怜的。
they gone?
THE PARLORMAID: Lickcheese has gone, looking dread - [she breaks off with a stifled cry as Blanche's fingers tighten furiously on her].
BLANCHE: Did I ask you about Lickcheese? You beast: you know who I mean: you're doing it on purpose.
THE PARLORMAID: [in a gasp] They're staying to lunch.
BLANCHE: [looking intently into her face] He?
THE PARLORMAID: [whispering with a sympathetic nod] Yes, miss. [Blanche lets-her drop, and stands forlorn, with despair in her face. The parlormaid, recognizing the passing of the crisis of passion, and fearing no further violence, sits discomfitedly on her heels, and tries to arrange her hair and cap, whimpering a little with exhaustion and soreness]. Now you've set my hands all trembling; and I shall jingle the things on the tray at lunch so that everybody will notice me. It's too bad of you, Miss - [Sartorius coughs outside]. 女仆：[同情地低声说] 是的，小姐。[布兰奇让她掉下来，孤独地站在那里，脸上满是绝望。女仆意识到激情已经过去，不再害怕进一步的暴力，坐在脚后跟上，试图整理头发和帽子，有点疲惫和疼痛地呜咽着]。现在你让我的手都在颤抖；我会在午餐时把托盘上的东西响起来，让每个人都注意到我。你太过分了， 小姐 - [萨托利乌斯在外面咳嗽]。
BLANCHE: [quickly] Sh! Get up. [The parlormaid hastily rises, and goes out as demurely as she can. Sartorius glances sternly at her and comes to Blanche]
SARTORIUS: [mournfully] My dear: can you not make a little better fight with your temper?
BLANCHE: [panting with the subsidence of her fit] No I can't. I won't. I do my best. Nobody who really cares for me gives me up because of my temper. I never shew my temper to any of the servants but that girl; and she is the only one that will stay with us. 布兰奇：[喘着气，发作平息] 不，我不能。我不会的。我尽力了。真正关心我的人不会因为我的脾气而放弃我。我从不对仆人们发脾气，只有那个女孩；她是唯一愿意留在我们身边的人。
SARTORIUS: But, my dear, remember that we have to meet our visitors at luncheon presently. I have run down before them to say that I have arranged that little difficulty with Trench. It was only a piece of mischief made by Lickcheese. Trench is a young fool; but it is all right now. 但是，亲爱的，记得我们很快就要在午餐时见到我们的访客。我已经在他们之前赶到，告诉他们我已经与特伦奇解决了那点小困难。那只是利奇奇搞的一点恶作剧。特伦奇是个年轻的傻瓜；但现在一切都没问题了。
BLANCHE: I don't want to marry a fool.
SARTPRIUS: Then you will have to take a husband over thirty, Blanche. You must not expect too much, my child. You will be richer than your husband, and, I think, cleverer too. I am better pleased that it should be so. SARTPRIUS：那么，布兰奇，你将不得不嫁给一个三十岁以上的丈夫。我的孩子，你不应该期望太多。你会比你的丈夫更富有，我认为你也更聪明。我更喜欢这样。
BLANCHE: [seizing his arm] Papa.
SARTORIUS: Yes, my dear.
BLANCHE: May I do as I like about this marriage; or must I do as you like?
SARTORIUS: [uneasily] Blanche -
BLANCHE: No, papa: you must answer me.
SARTORIUS: [abandoning his self-control, and giving way recklessly to his affection for her] You shall do as you like now and always, my beloved child. I only wish to do as my own darling pleases. SARTORIUS：[放弃自我控制，不顾一切地投入对她的感情] 你现在和永远都可以随心所欲，我亲爱的孩子。我只希望能够按照我心爱的人的意愿去做。
BLANCHE: Then I will not marry him. He has played fast and loose with me. He thinks us beneath him: he is ashamed of us: he dared to object to being benefited by you - as if it were not natural for him to owe you everything; and yet the money tempted him after all. [She throws her arms hysterically about his neck] Papa: I don't want to marry: I only want to stay with you and be happy as we have always been. I hate the thought of being married: I don't care for him. I don't want to leave you. [Trench and Cokane come in; but she can hear nothing but her own voice and does not notice them]. Only send him away: promise me that you will send him away and keep me here with you as we have always - [seeing Trench Oh! [She hides her face on her father's breast]. 布兰奇：那我就不会嫁给他。他对我玩弄心机。他认为我们配不上他：他为我们感到羞耻：他竟然敢反对接受你的帮助 - 好像欠你一切不是理所当然一样；然而金钱最终诱惑了他。【她歇斯底里地抱住他的脖子】爸爸：我不想结婚：我只想和你在一起，像我们一直幸福地生活。我讨厌结婚的想法：我不在乎他。我不想离开你。【特伦奇和科肯进来；但她只听见自己的声音，没有注意到他们】。只是把他送走：答应我你会把他送走，让我和你在这里像我们一直一样 - 【看到特伦奇 哦！【她把脸藏在父亲的胸前】。
TRENCH: nervously] I hope we are not intruding.
SARTORIUS: [formidably] Dr. Trench: my daughter has changed her mind.
70 played fast and loose: to behave in a recklessly irresponsible or deceitful manner.
TRENCH: [disconcerted] Am I to understand
COKANE: [striking in in his most vinegary manner] I think, Harry, under the circumstances, we have no alternative but to seek luncheon elsewhere.
TRENCH: But, Mr. Sartorius, have you explained?
SARTORIUS: [straight in Trench's face] I have explained sir. Good morning. [Trench, outraged, advances a step. Blanche sinks away from her father into a chair. Sartorius stands his ground rigidly.] SARTORIUS：[直接面对特伦奇] 我已经解释过了先生。早上好。[特伦奇愤怒地向前迈出一步。布兰奇从父亲身边退到椅子上。萨托利乌斯僵硬地站在原地。]
TRENCH: [turning away indignantly] Come on, Cokane.
COKANE: Certainly, Harry, certainly. [Trench goes out, very angry. The parlormaid, with atray jingling inter hands, passes outside]. You have disappointed me, sir, very acutely. Good morning. [He follows Trench]. COKANE：当然，哈里，当然。[特伦奇走出去，非常生气。女仆手里拿着一个盘子，传过外面]。你让我非常失望，先生。早上好。[他跟着特伦奇走了出去]。
Questions
for
Discussion
What are the supposed differences between a born gentleman and a selfmade gentleman? Do they share any similarities in reality?
Why does Sartorius keep so many books in the library? Why does the author compare them to "bricks"?
Cokane repeats such words as "taste" and "tact." Try to explain their connotations.
What are Sartorius's excuses for his vile venture? How does he convince Trench step by step?
Describe Trench's transformation from a gentleman full of idealism to an accomplice of Sartorius's business.
Blanche displays her temper when she pulls the parlormaid's hair, while in front of Trench she takes care to be ladylike. What is her true color? Try to characterize her.
Widowers' Houses, first produced in 1892, was the first of Shaw's plays to be staged. Shaw started writing this play in 1885 , in collaboration with William Archer. When he read out to Archer the two tentative Acts which consisted ideas concerning "slum landlordism and municipal jobbery," Archer refused his collaboration. Seven years later Shaw completed it alone and devoted it to an exposure of the evil of landlordism, of hollowness of personal idealism. Shaw utilized in the play his personal knowledge of rent-collecting from tenant living in slum-house. He himself had been a clerk in the land-agent company in Dublin and his normal duty was to collect rent from the tenants of a dozen slum-houses in Dodd's Row. He discovered that every progress and fashion of society was a result of exploitation of the poor by the rich, which caused poverty, slavery, disease, drunkenness, murder and other unpleasant vices. 《鳏夫之家》于 1892 年首次上演，是肖伍的第一部戏剧。肖伍从 1885 年开始创作这部剧，与威廉·阿彻合作。当他向阿彻朗诵了涉及“贫民窟地主主义和市政腐败”的两个试探性幕时，阿彻拒绝了他的合作。七年后，肖伍独自完成了这部剧，并致力于揭露地主主义的邪恶和个人理想主义的虚伪。肖伍在剧中利用了自己对从贫民窟房客那里收租的个人经验。他曾在都柏林的一家土地代理公司担任职员，正常职责是从多达十二栋贫民窟房屋的租户那里收租。他发现社会的每一次进步和时尚都是富人对穷人的剥削所致，导致了贫困、奴役、疾病、酗酒、谋杀和其他不良习惯。
Widowers' Houses is a comedy and satire; it exposes a fact of social life, a fact that middle class respectability and gentility fatten upon poverty. It has the conventional structure for comedy: Act I, exposition, boy meets girl; Act II, complication, boy loses girl; Act III, dénouement, boy gets girl after all. The romantic plot is set in ironic counterpoint to the pattern of social analysis. When Dr. Trench, given to idealism, learns that Sartorius's money is tainted, and comes from "[s]crewing, and bullying, threatening and all sort of petty-fogging tyranny," he breaks off his engagement to Sartorius's daughter, Blanche. But all his boast of idealism disappears when he learns, to his great shock, that his own money comes from much the same source. All his pretensions to idealism give way to the moment he perceives that the reality is different, and involves his personal interest. Quickly Dr. Trench changes his stance, and compromises with the facts of life as they are. Trench and Blanche's reunion at the end represents his final acceptance of the status quo and his part in it. 寡妇之家是一部喜剧和讽刺作品；它揭示了社会生活的一个事实，即中产阶级的体面和文雅是建立在贫困之上的。它具有喜剧的传统结构：第一幕，铺陈，男孩遇见女孩；第二幕，发展，男孩失去女孩；第三幕，结局，男孩终究得到女孩。浪漫情节与社会分析的模式形成了讽刺的对比。当理想主义者特伦奇博士得知萨托里乌斯的钱是脏钱，来自于“欺骗、恐吓、威胁和各种卑鄙的暴政”时，他取消了与萨托里乌斯的女儿布兰奇的订婚。但当他震惊地得知自己的钱也来自于类似的来源时，他所有的理想主义自夸都消失了。当他意识到现实与他的个人利益有关时，他所有的理想主义都崩溃了。特伦奇博士迅速改变了立场，与现实生活中的事实妥协。特伦奇和布兰奇最终团聚代表了他最终接受现状及自己在其中所扮演角色的决定。
Clearly, the play presents the most unpleasant fact of social life and has been called the most unpleasant play Shaw ever wrote. Its vital quality lies in its freshness of type. It is neither tragedy nor melodrama, neither comedy nor burlesque. Instead the play is a challenge to the traditional division and Shaw chose to call it a didactic play. Together with Mrs. Warren's Profession (1893) and The Philanderer (1898), Widowers' Houses is included in Shaw's Plays Unpleasant (1898), the subject matter of which is "the crimes of society." Thus, Shaw has brought about, for the first time, a new orientation in the theater and purpose of English drama. The play is a study of modern life, purely ironical in conception, and almost completely realistic in workmanship. What Shaw has endeavored to do is to set society before the audience not merely in its surface aspect of lovemaking, intriguing, dinner-giving and eating, but in what he has conceived to be the more important light of the "cash nexus." He gives us love-making without romance, friendship without sincerity, landlordism without pity, life as it is lived in the upper middle-class without charm. 显然，这部剧展现了社会生活中最不愉快的事实，并被称为肖伊所写的最不愉快的剧作。它的关键品质在于其类型的新鲜感。它既不是悲剧也不是通俗剧，既不是喜剧也不是讽刺剧。相反，这部剧挑战了传统的分类，肖伊选择称其为教诲性剧作。《寡妇楼》（1898）与《沃伦夫人的职业》（1893）以及《调情者》（1898）一起被收录在肖伊的《不愉快剧作》（1898）中，其主题是“社会的罪行”。因此，肖伊首次在戏剧和英国戏剧目的方面带来了新的方向。这部剧是对现代生活的研究，概念上纯粹讽刺，工艺上几乎完全现实。肖伊试图做的是将社会呈现给观众，不仅仅是在其浮面上的恋爱、勾心斗角、宴会和进餐，而是在他认为更重要的“金钱联系”的光下。他给我们呈现了没有浪漫的恋爱，没有真诚的友谊，没有怜悯的地主主义，上层中产阶级生活的无魅力状态。
Of the five principal characters, not one of them is very principled - or even very likable. There are the penny-pinching slumlord Mr. Sartorious, his temperamental and selfish daughter, Blanche, Dr. Harry Trench who derives his income from a mortgage on the tenements, Trench's 在这五个主要角色中，没有一个是非常有原则的 - 甚至也不是非常讨人喜欢的。有吝啬的贫民窟地主萨托里乌斯先生，他脾气暴躁、自私的女儿布兰奇，从租金中获得收入的哈里·特伦奇博士，特伦奇的
friend, the amoral William DeBurgh Cokane, and the slimy rent collector, Mr. Lickcheese. Although there's a fitful romance between Trench and Blanche, Shaw abandons that aspect of the play in the second act and only returns to it in the closing minutes of the third, wrapping it up in a most cursory manner. Essentially, the play revolves around the quintet's schemes to squeeze more money out of London's poorest inhabitants. Despite a momentary twinge of conscience on Trench's part, by play's end, everyone is as greedy and hypocritical as they have been at the start. 朋友，无道德的威廉·德伯格·科肯和阴险的租金收取人利克奇斯先生。虽然特伦奇和布兰奇之间有一段不稳定的浪漫关系，肖尔在第二幕中放弃了剧中的这一方面，只在第三幕的最后几分钟回到这个话题，并以最草率的方式结束了它。基本上，剧情围绕着五人小组的阴谋，试图从伦敦最贫困的居民身上榨取更多的钱。尽管特伦奇在某一刻有过一丝良心的犹豫，但到剧终时，每个人都像一开始那样贪婪和虚伪。
The basic subject matter of the play is sex and social economics, and most originally, the relation between the two. Widowers' Houses, at first sight, might appear to be all social economics and very little sex. Its object is to take its audience with the naive hero, Harry Trench, from ignorance through disillusionment to a recognition of complicity with Sartorius. As Shaw says at the end of the Unpleasant Preface, "I must warn my readers that my attacks are directed against themselves, not against my stage figures." It is in fact one of Shaw's most forceful and lucid polemic demonstrations of the capitalist system. The simple shock of Trench at Sartorius's arguments which prove him a sleeping partner in the business he has just indignantly spurned makes for a very effective dramatic moment. He is, as Shaw's stage direction puts it, "morally beggared." However, Shaw goes beyond this revelation of one of the least acceptable faces of capitalism. Lickcheese, the penurious rent-collector of Act II is transformed into the prosperous entrepreneur of Act III. He is used to show the slum-landlord how to change his colors in an atmosphere of changed public opinion. Sartorius will appear to become a model property-owner but only to win compensation from the city authorities when his property is requisitioned for the building of a new road. Plain rack-renting gives way to more complicated forms of municipal swindling: the capitalist continues to accumulate capital. 该剧的基本主题是性和社会经济，最初是两者之间的关系。乍一看，《鳏夫之家》可能看起来全是社会经济，几乎没有性。它的目的是带领观众与天真的英雄哈里·特伦奇一起，从无知到幻灭，再到认识到与萨托里乌斯的共谋。正如肖在不愉快的序言结尾所说：“我必须警告我的读者，我的攻击是针对他们自己，而不是针对我的舞台人物。”事实上，这是肖最有力和清晰的资本主义制度的论战之一。特伦奇对萨托里乌斯的论点的简单震惊，证明他是一个刚刚愤然拒绝的生意中的合伙人，造成了一个非常有效的戏剧性时刻。正如肖的舞台指示所说，“在道德上破产了。”然而，肖超越了这种资本主义最不可接受的一面的揭示。第二幕中的贫困的租金收取者利克奇斯在第三幕中变成了繁荣的企业家。他被用来向贫民窟地主展示如何在变化的公众舆论氛围中改变立场。 萨托利乌斯将表现出成为一个模范房地产所有者的形象，但只是为了从城市当局那里获得补偿，当他的财产被征用用于修建新道路时。普通的租金被取代为更复杂的市政欺诈形式：资本家继续积累资本。
The love-plot between Trench and Blanche may appear to be not much more than a peg to hang all of the economic analysis. Blanche is made much more dominant in the relationship with Trench from the start, forthright and direct in their first interview instead of indulging in elaborate lovers' charades. Their final meeting is with explicit stage directions: 特伦奇和布兰奇之间的爱情情节可能看起来不过是一个用来挂载所有经济分析的挂钩。布兰奇在与特伦奇的关系中更加占主导地位，从一开始就直率而直接，在他们的第一次面谈中没有沉溺于复杂的恋人戏剧。他们最后的会面带有明确的舞台指示：
For a moment they stand face to face, quite close to one another, she provocative, taunting, half defying, half inviting him to advance, in a flush of undisguised animal excitement. It suddenly flashes on him that all this ferocity is erotic: that she is making love to him. His eye lights up: a cunning expression comes into the corners of his mouth: with a heavy assumption of indifference he walks straight back to his chair, and plants himself in it with his arms folded. 一时间，他们面对面站着，彼此相当近，她挑衅、嘲弄，半挑衅、半邀请他前进，在一种毫不掩饰的动物兴奋中。他突然意识到所有这种凶猛都是性爱的：她正在对他示爱。他的眼睛亮了起来：一种狡猾的表情出现在他嘴角的角落：他装作漠不关心，径直走回椅子，双臂交叉坐下。
Trench triumphs finally in the battle of the sexes by refusing to respond to her attempted humiliation of him, by his silence reducing her to tenderness. The climax of this catch-as-catch-can relationship then snaps into place as the marriage which clinches the shady deal to be engineered by Sartorius and Lickcheese, and thus completes Trench's assimilation into the corrupt capitalist world. Indeed, Shaw is trying to go beyond merely showing the interdependence of love and marriage with an economic social system. He is suggesting an aggressiveness and rapacity in the 在性别之战中，特伦奇最终取得胜利，拒绝回应她对他的羞辱尝试，通过他的沉默将她降为温柔。这种捉迷藏式关系的高潮随后出现，成为萨托利乌斯和利克奇斯策划的婚姻，从而完成了特伦奇对腐败资本主义世界的同化。事实上，肖试图超越仅仅展示爱情和婚姻与经济社会体系的相互依存。他在暗示一种侵略性和贪婪。
sexual life of his middle-class characters which match the reality of their money-making. Therefore, sex itself seems to be as tainted as society is, and to stand in as much need of radical alteration. 他中产阶级人物的性生活与他们赚钱的现实相匹配。因此，性本身似乎像社会一样被玷污，并且需要进行根本性改变。
Widowers' Houses was first presented by the Independent Theatre at the Royalty Theatre, London in 1892. It met with hostile reception from the apoplectic newspaper press and such drama-reviewer friends of Shaw's as William Archer who were both publicly and privately scornful. E. M. Forster, however, recalled in "Notes on the Way," in Time and Tide (1934), "Ever since I have read Widowers' Houses I have felt hopeless about investments. ... It is impossible for anyone to have clean hands. ... No individual, however humble, can be guiltless." As is admitted, the play is saturated with the vulgarity of the life it represents and not a single character in it invites admiration or sympathy. To effect such exposure and shock is indeed the trait of the new play the problem play. Thus Shaw makes it truly a play of ideas - a play in which exposition of ideas gets precedence over other dramatic elements. 寡妇楼是由独立剧院于 1892 年在伦敦皇家剧院首次上演。它遭到了中风般的报纸媒体和肖友威廉·阿彻等戏剧评论家的公开和私下的蔑视。然而，E·M·福斯特在《路上笔记》中回忆道：“自从我读了《寡妇楼》以来，我对投资感到绝望。...没有人能洁手。...没有人，无论多么卑微，都可以无罪。”正如所承认的，这部剧充满了它所代表的生活的庸俗，其中没有一个角色值得钦佩或同情。实现这种揭露和震撼确实是新剧问题剧的特征。因此，肖确实使它成为一个真正的思想剧 - 一个在其中思想的阐述优先于其他戏剧元素的剧。
References
3.4 The Feminist Theater
The Feminist Theater
Feminist plays explore issues of women's oppression and rights based on sex and genderrelated issues. Often they are committed to radical social change and direct political action. In 1970 Kate Millet produced Sexual Politics that called attention to gender bias in politics and in art. She illustrated ways of recognizing and interpreting the "image of woman" in literature written by men as misogynistic and subversive to women's interests. The new view linked art with maledominated or patriarchal politics. As feminism is defined as a critique of prevailing social conditions which have excluded women from dominant male cultural, social, sexual, political, and intellectual discourses and pursuits, the goal for almost all feminist theatre groups is to subvert such expectation, to enable or initiate positive change for women through theatrical representation. 女权主义戏剧探讨基于性别和性别相关问题的妇女压迫和权利问题。通常，它们致力于激进的社会变革和直接政治行动。1970 年，凯特·米勒创作了《性政治》，引起了人们对政治和艺术中性别偏见的关注。她阐述了识别和解释男性文学中“女性形象”为厌恶女性和对女性利益具有颠覆性的方式。这种新观点将艺术与男性主导或父权政治联系起来。由于女权主义被定义为对排除妇女在主导男性文化、社会、性、政治和知识话语和追求之外的现存社会条件的批判，几乎所有女权主义戏剧团体的目标是颠覆这种期望，通过戏剧表现使妇女获得或发起积极变革。
Initial feminist observations on the history of theater noted the absence of women playwrights. As late as the seventeenth century, Aphra Behn emerged as the first woman to earn her living as a playwright. For another two centuries women writers endeavored to create a literature of shared subjects and concerns. Anna Cora Mowatt, Ann Nichols, Rachel Crothers, Susan Glaspell, and Gertrude Stein were the most successful playwrights at the turn of the twentieth century. As pioneers of feminist drama, they challenged the male discourse and communicated the inner drama of their lives in original dramatic forms. Accommodating their own experiences in the plays, they raised the consciousness of audiences and readers about women's lives, feelings, needs and ambitions. The Vietnam War decade produced a generation of Off and Off Off Broadway writers whose subjects, attitudes, and styles predated the women's movement of the 1970s. Feminist drama was then a further articulation of women's viewpoints and new dramatic forms for mirroring the special rhythms, emotions, and experiences of women. 女权主义者最初对戏剧史的观察指出了女性剧作家的缺席。直到 17 世纪，阿菲拉·贝恩成为第一位以剧作家为生的女性。另外两个世纪，女性作家努力创作出一部关于共同主题和关注的文学作品。安娜·科拉·莫瓦特、安·尼科尔斯、瑞秋·克罗瑟斯、苏珊·格拉斯佩尔和格特鲁德·斯坦是 20 世纪初最成功的剧作家。作为女权主义戏剧的先驱，她们挑战了男性话语，并以独特的戏剧形式传达了她们生活中的内在戏剧。她们在剧中融入了自己的经历，唤起了观众和读者对女性生活、感受、需求和抱负的意识。越战年代产生了一代 Off 和 Off Off 百老汇作家，他们的主题、态度和风格早于 20 世纪 70 年代的妇女运动。女权主义戏剧是对女性观点和新戏剧形式的进一步表达，用以反映女性特有的节奏、情感和经历。
In the 1970s the feminist perspective produced a number of new women writers, directors, designers in the regional theaters, Off Off Broadway, and grass-roots collectives as alternatives to the commercial tradition of Broadway. Most of them took the stance of radical feminism stressing that patriarchy or all systems of male dominance were the primary source of the oppression of women. In their work, women's biologism (cycles, intuition, fertility, bonding, nurturing) and such social issues as rape and discrimination served as ultimate signs of women's victimization by men. 在 1970 年代，女权主义视角在地区剧院、Off Off Broadway 和草根集体中产生了许多新的女性作家、导演和设计师，作为对百老汇商业传统的替代。她们中的大多数采取了激进女权主义的立场，强调父权制或所有男性主导体系是对女性压迫的主要来源。在她们的作品中，女性的生物主义（周期、直觉、生育、联系、培育）以及强奸和歧视等社会问题被视为男性对女性受害的最终标志。
The strategies of feminist theory are largely focused on politics, patriarchal prejudice, sexual oppression, wage inequities, discriminatory hiring practices, and women's invisibility within a male-dominated culture. Feminist critics and playwrights often take a two-edged approach to their critique of drama's history and writing. First, there is an effort to reconstruct the history of 女性主义理论的策略主要集中在政治、父权偏见、性压迫、工资不平等、歧视性招聘实践以及女性在男性主导文化中的隐形。女性主义批评家和剧作家经常采取双刃剑的方式来批评戏剧历史和写作。首先，他们努力重建历史。
women in theater and to recover plays and materials buried over centuries. Second, they evolve new writing styles compatible with radical feminism which remains the predominant critical approach in the United States. In writing for the theater, feminist playwrights have introduced new subjects, vocabularies, characters, forms, and alternative modes of perception. The psychological, social, cultural, and educational controls based on sex and gender-related issues are identified and explored. Women characters appear in these plays as subjects rather than as objects and their alienation and repression are concentrated. Besides, feminist writers reject traditions of western psychiatry and elevate women from a subordinate, derivative, and apolitical position in the family unit in particular and in society in general. A lot of feminist plays are set in domestic environments such as living rooms, kitchens, or bedrooms. Within the family unit, women are portrayed as confined to the domestic setting, dependent upon their husbands and other male companions, and denied opportunities for growth and change. Under such circumstances, women are betrayed, brutalized, habituated, and imprisoned. 在戏剧中的女性，并挖掘埋藏了几个世纪的戏剧和材料。其次，她们发展了与激进女性主义相容的新写作风格，这在美国仍然是主要的批评方法。在为戏剧写作时，女性主义剧作家引入了新的主题、词汇、角色、形式和替代的感知模式。基于性别和性别相关问题的心理、社会、文化和教育控制被识别和探讨。这些戏剧中的女性角色出现为主体而非客体，她们的疏离和压抑得到了集中。此外，女性主义作家拒绝西方精神病学的传统，将女性从家庭单位中的次要、衍生和无政治地位中解放出来，特别是在社会中。许多女性主义戏剧设定在家庭环境中，如客厅、厨房或卧室。在家庭单位内，女性被描绘为局限于家庭环境，依赖于丈夫和其他男性伴侣，并被剥夺成长和改变的机会。在这种情况下，女性被背叛、残酷对待、习惯化和囚禁。
References
Trifles
SUSAII GLASPELL (1881-1948)
MRS. PETERS
They say he was a good man.
MRS. HALE
Yes - good; he didn't drink, and kept his word as well as most, I guess, and paid his debts. But he was a hard man, Mrs. Peters. Just to pass the time of day with him - [Shivers.] Like a raw wind that gets to the bone. 是的 - 很好；他不喝酒，而且像大多数人一样信守诺言，我想，还清了债务。但他是个强硬的人，彼得斯夫人。只是和他寒暄一下 - [发抖。] 就像刺骨的寒风。
Susan Glaspell
Susan Glaspell, born in Iowa, was a bestselling novelist and a Pulitzer Prizewinning playwright. She was a cofounder and playwright of the Provincetown Players, one of the most important collaboratives in the development of modern drama in the United States. In many of her plays Glaspell used experimental techniques to convey her socialist and feminist ideas, and to portray female characters who challenged the restrictions and stereotypes imposed on them by society. Through her long career, Glaspell wrote thirteen plays, fourteen novels, and fifty short stories, articles and essays. 苏珊·格拉斯佩尔出生于爱荷华州，是一位畅销小说家和普利策奖得主剧作家。她是普罗温斯敦剧团的联合创始人和剧作家，该剧团是美国现代戏剧发展中最重要的合作伙伴之一。在她的许多剧本中，格拉斯佩尔使用实验性技巧来传达她的社会主义和女权主义思想，并描绘了挑战社会对她们施加的限制和刻板印象的女性角色。在她漫长的职业生涯中，格拉斯佩尔写了十三部剧本、十四部小说和五十篇短篇小说、文章和论文。
Trifles
[SCENE: The kitchen in the now abandoned farmhouse of JOHN WRIGHT, a gloomy kitchen, and left without having been put in order unwashed pans under the sink, a loaf of bread outside the bread-box, a dish-towel on the table - other signs of incompleted work. At the rear the outer door opens and the SHERIFF comes in followed by the COUNTY ATTORNEY and HALE. The SHERIFF and HALE are men in middle life, the COUNTY ATTORNEY is a young man; all are much bundled up and go at once to the stove. They are followed by the two women - the SHERIFF'S wife first; she is a slight wiry' woman, a thin nervous face. MRS. HALE is larger and would ordinarily be called more comfortable looking, but she is disturbed now and looks fearfully about as she enters. The women have come in slowly, and stand close together near the door.] [场景：约翰·赖特（JOHN WRIGHT）现在废弃的农舍厨房，一个阴郁的厨房，没有整理过的未洗的锅在水槽下面，一个面包盒外面有一条面包，桌子上有一块抹布 - 其他未完成工作的迹象。 后面的外门打开，警长进来，县检察官和哈尔跟在后面。 警长和哈尔是中年男人，县检察官是年轻人； 他们都穿得很厚，立刻走到火炉旁。 两名妇女跟在后面 - 警长的妻子先走； 她是一个纤细而有力的女人，脸色苍白。 哈尔夫人更高大，通常看起来更舒适，但她现在很不安，进来时四处惊恐地看着。 女人们走进来很慢，站在门附近紧挨在一起。]
COUNTY ATTORNEY
[Rubbing his hands.]
This feels good. Come up to the fire, ladies.
MRS. PETERS
[After taking a step forward.]
I'm not - cold.
SHERIFF
[Unbuttoning his overcoat and stepping away from the stove as if to mark the beginning of official business.]
Now, Mr. Hale, before we move things about, you explain to Mr. Henderson just what you saw when you came here yesterday morning.
COUNTY ATTORNEY
By the way, has anything been moved? Are things just as you left them yesterday?
SHERIFF
[Looking about.]
It's just the same. When it dropped below zero last night I thought I'd better send Frank out this morning to make a fire for us - no use getting pneumonia with a big case on, but I told him not to touch anything except the stove - and you know Frank. 昨晚气温降到零度以下时，我觉得最好让弗兰克今天早上出去给我们生火——穿着大外套容易得肺炎，但我告诉他除了火炉什么都不要碰——你知道弗兰克的性子。
COUNTY ATTORNEY
Somebody should have been left here yesterday.
SHERIFF
Oh - yesterday. When I had to send Frank to Morris Center for that man who went crazy - I want you to know I had my hands full yesterday. I knew you could get back from Omaha by today and as long as I went over everything here myself - 哦 - 昨天。当我不得不送弗兰克去莫里斯中心给那个疯了的人时 - 我想让你知道昨天我手头很忙。我知道你今天可以从奥马哈回来，只要我自己检查了这里的一切 -
COUNTY ATTORNEY
Well, Mr. Hale, tell just what happened when you came here yesterday morning.
HALE
Harry and I had started to town with a load of potatoes. We came along the road from my place and as I got here I said, "I'm going to see if I can't get John Wright to go in with me on a party telephone." I spoke to Wright about it once before and he put me off, saying folks talked too much anyway, and all he asked was peace and quiet - I guess you know about how much he talked himself; but I thought maybe if I went to the house and talked about it before his wife, though I said to Harry that I didn't know as what his wife wanted made much difference to John — 哈里和我带着一车土豆去镇上。我们沿着从我家到这里的路走来，当我到这里时，我说：“我要看看能不能让约翰·赖特和我一起办一个联络电话。”我之前和赖特谈过一次，他把我拒绝了，说人们总是说得太多了，他只想要和平与宁静 - 我想你大概知道他自己说了多少话；但我想也许如果我去他家和他的妻子谈谈，尽管我对哈里说我不知道他的妻子想要什么会对约翰有多大影响 —
COUNTY ATTORNEY
Let's talk about that later, Mr. Hale. I do want to talk about that, but tell now just what happened when you got to the house.
HALE
I didn't hear or see anything; I knocked at the door, and still it was all quiet inside. I knew they must be up, it was past eight o'clock. So I knocked again, and I thought I heard somebody say, "Come in." I wasn't sure, I'm not sure yet, but I opened the door - this door [indicating the door by which the two women are still standing] 我什么都没听见也没看见；我敲了敲门，里面依然一片寂静。我知道他们一定起床了，已经过了八点钟。于是我又敲了一下，我觉得听见有人说：“进来吧。”我不确定，现在还不确定，但我打开了门——这扇门【指着两个女人仍站在的门】
and there in that rocker pointing to it]
sat Mrs. Wright.
[They all look at the rocker.]
COUNTYATTORNEY
What - was she doing?
HALE
She was rockin' back and forth. She had her apron in her hand and was kind of - pleating it.
COUNTY ATTORNEY
And how did she - look?
HALE
Well, she looked queer.
COUNTY ATTORNEY
How do you mean - queer?
HALE
Well, as if she didn't know what she was going to do next. And kind of done up.?
COUNTY ATTORNEY
How did she seem to.feel about your coming?
HALE
Why, I don't think she minded - one way or other. She didn't pay much attention. I said, "How do, Mrs. Wright, it's cold, ain't it?" And she said, "Is it?" - and went on kind of pleating at her apron. Well, I was surprised; she didn't ask me to come up to the stove, or to set down, but just sat there, not even looking at me, so I said, "I want to see John." And then she - laughed. I guess you would call it a laugh. I thought of Harry and the team outside, so I said a little sharp: 为什么，我觉得她不在意 - 无论如何。她没有太在意。我说，“怎么了，怀特夫人，天冷，是吧？”她说，“是吗？” - 然后继续在她的围裙上做褶边。嗯，我很惊讶；她没有让我靠近火炉，或者坐下，而只是坐在那里，甚至没有看着我，所以我说，“我想见约翰。”然后她 - 笑了。我想你会称之为笑声。我想到了外面的哈里和队伍，所以我说得有点尖锐：
"Can't I see John?" "No," she says, kind o' dull like. "Ain't he home?" says I. "Yes," says she, "he's home." "Then why can't I see him?" I asked her, out of patience. "'Cause he's dead," says she. "Dead?" says I. She just nodded her head, not getting a bit excited, but rockin' back and forth. "Why - where is he?" says , not knowing what to say. She just pointed upstairs - like that [himself pointing to the room above]. I got up, with the idea of going up there. I walked from there to here - then I says, "Why, what did he die of?" "He died of a rope round his neck," says she, and just went on pleatin' at her apron. Well, I went out and called Harry. I thought I might - need help. We went upstairs and there he was lyin' - “我不能见约翰吗？” “不行，”她说，有点无聊。 “他不在家吗？”我问。 “在，”她说，“他在家。” “那为什么我不能见他？”我耐心地问她。 “因为他死了，”她说。 “死了？”我说。她只是点了点头，一点也不激动，但来回摇晃着。 “为什么 - 他在哪里？”我问，不知道该说什么。她只是指了指楼上 - 就像这样【自己指向楼上的房间】。我站起来，想要上去。我从那里走到这里 - 然后我说，“为什么，他是怎么死的？” “他死于脖子上的绳子，”她说，然后继续在围裙上折褶。好吧，我出去叫了哈里。我觉得我可能需要帮助。我们上楼，他就躺在那里 -
COUNTY ATTORNEY
I think I'd rather have you go into that upstairs, where you can point it all out. Just go on now with the rest of the story.
HALE
Well, my first thought was to get that rope off. It looked ... [Stops, his face twitches]
... but Harry, he went up to him, and he said, "No, he's dead all right, and we'd better not touch anything." So we went back down stairs. She was still sitting that same way. "Has anybody been notified?" I asked. "No," says she, unconcerned. "Who did this, Mrs. Wright?" said Harry. He said it business-like - and she stopped pleatin' of her apron. "I don't know," she says. "You don't know?" says Harry. "No," says she. "Weren't you sleepin' in the bed with him?" says Harry. "Yes," says she, "but I was on the inside." "Somebody slipped a rope round his neck and strangled him and you didn't wake up?" says Harry. "I didn't wake up," she said after him. We must 'a looked as if we didn't see how that could be, for after a minute she said, "I sleep sound." Harry was going to ask her more questions but I said maybe we ought to let her tell her story first to the coroner, 8 or the sheriff, so Harry went fast as he could to Rivers' place, where there's a telephone. ... 但是哈里，他走到他身边，他说，“不，他确实死了，我们最好不要碰任何东西。”所以我们回到楼下。她还是坐在那个位置。我问：“有人被通知了吗？” “没有，”她说，毫不在意。“谁做的这事，赖特夫人？” 哈里说。他说得很专业 - 她停止了整理围裙。“我不知道，”她说。“你不知道？”哈里说。“不，”她说。“你和他睡在床上吗？”哈里说。“是的，”她说，“但我在里面。”“有人给他脖子套了绳子勒死了，你竟然没醒？”哈里说。“我没醒，”她跟着说。我们看起来好像不明白怎么可能，过了一会儿她说，“我睡得很沉。”哈里本来要问她更多问题，但我说也许我们应该让她先向验尸官或警长讲述她的故事，所以哈里尽快去了里弗斯的地方，那里有电话。
COUNTY ATTORNEY
And what did Mrs. Wright do when she knew that you had gone for the coroner?
HALE
She moved from that chair to this one over here [Pointing to a small chair in the corner] and just sat there with her hands held together and looking down. I got a feeling that I ought to make some conversation, so I said I had come in to see if John wanted to put in a telephone, and at that she started to laugh, and then she stopped and looked at me - scared. [The COUNTY ATTORNEY, who has had his notebook out, makes a note.] 她从那把椅子移动到这边的这把椅子上[指着角落里的一把小椅子]，双手合拢坐在那里，低头看着。我觉得我应该开启一些对话，于是我说我进来是想看看约翰是否想安装电话，她听了开始笑起来，然后停下来看着我，带着恐惧的表情。【县检察官拿出笔记本，做了个记录。】
I dunno, maybe it wasn't scared. I wouldn't like to say it was. Soon Harry got back, and then Dr. Lloyd came, and you, Mr. Peters, and so I guess that's all I know that you don't.
COUNTY ATTORNEY
[Looking around.]
I guess we'll go upstairs first - and then out to the barn and around there. [To the SHERIFF.]
You're convinced that there was nothing important here - nothing that would point to any motive.
SHERIFF
Nothing here but kitchen things.
[The COUNTY ATTORNEY, after again looking around the kitchen, opens the door of a cupboard closet. He gets up on a chair and looks on a shelf. Pulls his hand away, sticky.]
COUNTY ATTORNEY
Here's a nice mess.
[The women draw nearer.]
MRS. PETERS
[To the other woman.]
Oh, her fruit; it did freeze. [To the LAWYER.]
She worried about that when it turned so cold. She said the fire'd go out and her jars would break.
SHERIFF
Well, can you beat the women! Held for murder and worryin' about her preserves.
COUNTY ATTORNEY
I guess before we're through she may have something more serious than preserves to worry about.
HALE
Well, women are used to worrying over trifles.
[The two women move a little closer together.] COUNTY ATTORNEY
[With the gallantry of a young politician.]
And yet, for all their worries, what would we do without the ladies? [The women do not unbend. He goes to the sink, takes a dipperful of water from the pail and pouring it into a basin, washes his hands. Starts to wipe them on the roller-towel, turns it for a cleaner place.] 尽管如此，尽管他们担心，但没有女士们，我们该怎么办呢？【女士们没有放松。他走到水槽，从桶里舀了一勺水倒进盆里，洗了手。开始在卷筒毛巾上擦拭，把它翻转到更干净的地方。】
Dirty towels! [Kicks his foot against the pans under the sink.]
Not much of a housekeeper, would you say, ladies?
MRS. HALE
[Stiffly.]
There's a great deal of work to be done on a farm.
COUNTY ATTORNEY
To be sure. And yet [With a little bow to her]
I know there are some Dickson county farmhouses which do not have such roller towels.
[He gives it a pull to expose its full length again.]
MRS. HALE
Those towels get dirty awful quick. Men's hands aren't always as clean as they might be.
COUNTY ATTORNEY
Ah, loyal to your sex, I see. But you and Mrs. Wright were neighbors. I suppose you were friends, too.
MRS. HALE
[Shaking her head.]
I've not seen much of her of late years. I've not been in this house - it's more than a year.
COUNTY ATTORNEY
And why was that? You didn't like her?
MRS. HALE
I liked her well enough. Farmers' wives have their hands full, Mr. Henderson. And then COUNTY ATTORNEY
Yes - ?
MRS. HALE
[Looking about.]
It never seemed a very cheerful place.
COUNTY ATTORNEY
No - it's not cheerful. I shouldn't say she had the homemaking instinct.
MRS. HALE
Well, I don't know as Wright had, either.
COUNTY ATTORNEY
You mean that they didn't get on very well?
MRS. HALE
No, I don't mean anything. But I don't think a place'd be any cheerfuller for John Wright's being in it.
COUNTY ATTORNEY
I'd like to talk more of that a little later. I want to get the lay of things upstairs now.
[He goes to the left, where three steps lead to a stair door.]
SHERIFF
I suppose anything Mrs. Peters does'll be all right. She was to take in some clothes for her, you know, and a few little things. We left in such a hurry yesterday.
COUNTY ATTORNEY
Yes, but I would like to see what you take, Mrs. Peters, and keep an eye out for anything that might be of use to us.
MRS. PETERS
Yes, Mr. Henderson.
[The women listen to the men's steps on the stairs, then look about the kitchen.]
MRS. HALE
I'd hate to have men coming into my kitchen, snooping around and criticising.
[She arranges the pans under sink which the LAWYER had shoved out of place.]
MRS. PETERS
Of course it's no more than their duty.
MRS. HALE
Duty's all right, but I guess that deputy sheriff that came out to make the fire might have got a little of this on. [Gives the roller towel a pull.] Wish I'd thought of that sooner. Seems mean to talk about her for not having things slicked up when she had to come away in such a hurry. 责任还好，但我猜那位副警长出来生火的时候可能沾了一点这个。【拉了一下卷毛巾。】真希望我早点想到这个。在她匆忙离开的时候，说她没有把事情处理得井井有条似乎有点刻薄。
MRS. PETERS
[Who has gone to a small table in the left rear corner of the room, and lifted one end of a towel that covers a pan.]
She had bread set. [Stands still.]
MRS. HALE
[Eyes fixed on a loaf of bread beside the breadbox, which is on a low shelf at the other side of the room. Moves slowly toward it.]
She was going to put this in there. [Picks up loaf, then abruptly drops it. In a manner of returning to familiar things.]
It's a shame about her fruit. I wonder if it's all gone. [Gets up on the chair and looks.]
I think there's some here that's all right, Mrs. Peters. Yes - here; [Holding it toward the window.]
this is cherries, too. [Looking again.]
I declare I believe that's the only one. [Gets down, bottle in her hand. Goes to the sink and wipes it off on the outside.]
She'll feel awful bad after all her hard work in the hot weather. I remember the afternoon I put up my cherries last summer.
[She puts the bottle on the big kitchen table, center of the room. With a sigh, is about to sit down in the rocking-chair. Before she is seated realizes what chair it is; with a slow look at it, steps back. The chair which she has touched rocks back and forth.] 她把瓶子放在大厨房桌子上，正好在房间中央。她叹了口气，准备坐在摇椅上。她还没坐下就意识到是什么椅子；她缓慢地看了一眼，然后退后一步。她碰过的椅子前后摇晃着。
MRS. PETERS
Well, I must get those things from the front room closet. [She goes to the door at the right, but after looking into the other room, steps back.] You coming with me, Mrs. Hale? You could help me carry them. 好吧，我必须从前房的壁橱里拿那些东西。[她走到右边的门口，但在看了另一个房间后，退了回来。] 你跟我一起来，海尔夫人？你可以帮我搬它们。
[They go in the other room; reappear, MRS. PETERS carrying a dress and skirt, MRS. HALE following with a pair of shoes.]
MRS. PETERS
My, it's cold in there. [She puts the clothes on the big table, and hurries to the stove.]
MRS. HALE
[Examining the skirt.]
Wright was close. I think maybe that's why she kept so much to herself. She didn't even belong to the Ladies Aid. I suppose she felt she couldn't do her part, and then you don't enjoy things when you feel shabby. She used to wear pretty clothes and be lively, when she was Minnie Foster, one of the town girls singing in the choir. But that - oh, that was thirty years ago. This all you was to take in? 赖特很亲近。我想也许这就是为什么她总是独来独往。她甚至不属于妇女援助会。我想她觉得自己无法尽到自己的责任，然后当你感到破旧时，你就无法享受事物。她过去常穿漂亮的衣服，活泼开朗，当她还是明妮·福斯特时，是镇上的女孩之一，在唱诗班里唱歌。但那个 - 哦，那是三十年前的事了。这一切你都能理解吗？
MRS. PETERS
She said she wanted an apron. Funny thing to want, for there isn't much to get you dirty in jail, goodness knows. But I suppose just to make her feel more natural. She said they were in the top drawer in this cupboard. Yes, here. And then her little shawl that always hung behind the door. 她说她想要一条围裙。想要这种东西有点滑稽，因为在监狱里很难弄脏衣服，天知道。但我想她可能只是为了让自己感觉更自然。她说围裙在这个橱柜的顶层抽屉里。是的，在这里。然后是她常挂在门后的小披肩。
[Opens stair door and looks.]
Yes, here it is. [Quickly shuts door leading upstairs.]
MRS. HALE
[Abruptly moving toward her.]
Mrs. Peters?
MRS. PETERS
Yes, Mrs. Hale?
MRS. HALE
Do you think she did it?
MRS. PETERS
[In a frightened voice.]
Oh, I don't know.
MRS. HALE
Well, I don't think she did. Asking for an apron and her little shawl. Worrying about her fruit.
MRS. PETERS
[Starts to speak, glances up, where footsteps are heard in the room above. In a low voice.] . Peters says it looks bad for her. Mr. Henderson is awful sarcastic in a speech and he'll make fun of her sayin' she didn't wake up. [开始说话，抬头看了一眼，楼上传来脚步声。低声说。] 彼得说情况对她不利。亨德森先生在演讲中非常讽刺，他会取笑她说她没有醒来。
MRS. HALE
Well, I guess John Wright didn't wake when they was slipping that rope under his neck.
MRS. PETERS
No, it's strange. It must have been done awful crafty and still. They say it was such a - funny way to kill a man, rigging it all up like that.
MRS. HALE
That's just what Mr. Hale said. There was a gun
14 Ladies Aid: Rachel Cole 于 1878 年创立了
The Ladies Aid Sewing Circle and Rescue Society，该组织成员每周二晚上聚会，做针线等慈善活动，也争取妇女选举权。 1893 年, 科罗拉多成为第一个授予妇女选举权的州, 这之后她们又为禁酒及争取妇女财产权而斗争。Rachel于1926年去世后，该组织逐渐瓦解，1931 年正式解散。
15 sarcastic: 讽刺的。
in the house. He says that's what he can't understand.
MRS. PETERS
Mr. Henderson said coming out that what was needed for the case was a motive; something to show anger, or - sudden feeling.
MRS. HALE
[Who is standing by the table.]
Well, I don't see any signs of anger around here. [She puts her hand on the dish towel which lies on the table, stands looking down at table, one half of which is clean, the other half messy.] It's wiped to here. [Makes a move as if to finish work, then turns and looks at loaf of bread outside the breadbox. Drops towel. In that voice of coming back to familiar things.] 嗯，我这里没有看到任何愤怒的迹象。【她把手放在桌子上的抹布上，站在桌子前低头看着，一半干净，一半乱。】擦到这里了。【做出要完成工作的动作，然后转身看着面包盒外的面包。放下抹布。以熟悉事物回来的声音说。】
Wonder how they are finding things upstairs. I hope she had it a little more red-up up there. You know, it seems kind of sneaking. Locking her up in town and then coming out here and trying to get her own house to turn against her! 想知道他们在楼上找东西的情况。希望她在那边整理得更红一点。你知道，这似乎有点阴险。把她关在城里，然后出来这里，试图让她自己的房子反对她！
MRS. PETERS
But Mrs. Hale, the law is the law.
MRS. HALE
I s'pose 'tis. [Unbuttoning her coat.]
Better loosen up your things, Mrs. Peters. You won't feel them when you go out.
[MRS. PETERS takes off her fur tippet, goes to hang it on hook at back of room, stands looking at the under part of the small corner table.]
MRS. PETERS
She was piecing a quilt.
[She brings the large sewing basket and they look at the bright pieces.]
MRS. HALE
It's her log cabin pattern. Pretty, isn't it? I wonder if she was goin' to quilt it or just knot it?
[Footsteps have been heard coming down the stairs. The SHERIFF enters followed by HALE and the COUNTY ATTORNEY.]
SHERIFF
They wonder if she was going to quilt it or just knot it!
[The men laugh, the women look abashed.]
COUNTY ATTORNEY
[Rubbing his hands over the stove.]
Frank's fire didn't do much up there, did it? Well, let's go out to the barn and get that cleared up. [The men go outside.]
MRS. HALE
[Resentfully.]
I don't know as there's anything so strange, our takin' up our time with little things while we're waiting for them to get the evidence. [She sits down at the big table smoothing out a block with decision.] 我不知道有什么事情那么奇怪，我们花时间处理一些小事，等待他们拿到证据。【她坐在大桌子旁，坚定地整理着一个木块。】
I don't see as it's anything to laugh about.
MRS. PETERS
[Apologetically.]
Of course they've got awful important things on their minds.
[Pulls up a chair and joins MRS. HALE at the table.]
MRS. HALE
[Examining another block.]
Mrs. Peters, look at this one. Here, this is the one she was working on, and look at the sewing! All the rest of it has been so nice and even. And look at this! It's all over the place! Why, it looks as if she didn't know what she was about! 彼得斯夫人，看这个。这是她正在做的那个，看看这个缝纫！其他部分都很整齐。再看这个！到处都是！看起来好像她不知道在干什么！
[After she has said this they look at each other, then start to glance back at the door. After an instant MRS. HALE has pulled at a knot and ripped the sewing.]
MRS. PETERS
Oh, what are you doing, Mrs. Hale?
MRS. HALE
[Mildly.]
Just pulling out a stitch or two that's not sewed very good. [Threading a needle.]
Bad sewing always made me fidgety.
MRS. PETERS
[Nervously.]
I don't think we ought to touch things.
MRS. HALE
I'll just finish up this end. [Suddenly stopping and leaning forward.]
Mrs. Peters?
MRS. PETERS
Yes, Mrs. Hale?
MRS. HALE
What do you suppose she was so nervous about?
MRS. PETERS
Oh - I don't know. I don't know as she was nervous. I sometimes sew awful queer when I'm just tired. [MRS. HALE starts to say something, looks at MRS. PETERS, then goes on sewing.] Well I must get these things wrapped up. They may be through sooner than we think. [Putting apron and other things together.] 哦 - 我不知道。我不知道她是不是紧张。我有时候只是累了，就会缝得很糟糕。【哈尔夫人开始说些什么，看了看彼得斯夫人，然后继续缝纫。】好吧，我必须把这些东西包好。它们可能比我们想象的要快完成。【把围裙和其他东西放在一起。】
I wonder where I can find a piece of paper, and string.
MRS. HALE
In that cupboard, maybe.
MRS. PETERS
[Looking in cupboard.]
Why, here's a bird-cage. [Holds it up.]
Did she have a bird, Mrs. Hale?
MRS. HALE
Why, I don't know whether she did or not I've not been here for so long. There was a man around last year selling canaries cheap, but I don't know as she took one; maybe she did. She used to sing real pretty herself. 为什么，我不知道她是否这样做了，我已经很久没有在这里了。去年有个人卖便宜的金丝雀，但我不知道她是否买了一个；也许她买了。她自己以前唱得很好听。
MRS. PETERS
[Glancing around.]
Seems funny to think of a bird here. But she must have had one, or why would she have a cage? I wonder what happened to it.
MRS. HALE
I s'pose maybe the cat got it.
MRS. PETERS
No, she didn't have a cat. She's got that feeling some people have about cats - being afraid of them. My cat got in her room and she was real upset and asked me to take it out.
MRS. HALE
My sister Bessie was like that. Queer, ain't it?
MRS. PETERS
[Examining the cage.]
Why, look at this door. It's broke. One hinge is pulled apart.
MRS. HALE
[Looking too.]
Looks as if someone must have been rough with it.
MRS. PETERS
Why, yes. [She brings the cage forward and puts it on the table.]
MRS. HALE
I wish if they're going to find any evidence they'd be about it. I don't like this place.
MRS. PETERS
But I'm awful glad you came with me, Mrs. Hale. It would be lonesome for me sitting here alone. MRS. HALE
It would, wouldn't it? [Dropping her sewing.]
But I tell you what I do wish, Mrs. Peters. I wish I had come over sometimes when she was here. I
[Looking around the room.]
— wish I had.
MRS. PETERS
But of course you were awful busy, Mrs. Hale - your house and your children.
MRS. HALE
I could've come. I stayed away because it weren't cheerful - and that's why I ought to have come. I - I've never liked this place. Maybe because it's down in a hollow and you don't see the road. I dunno what it is, but it's a lonesome place and always was. I wish I had come over to see Minnie Foster sometimes. I can see now Shakes her 我本可以来的。我之所以远离是因为这里不开心 - 这也是我应该来的原因。我 - 我从来不喜欢这个地方。也许是因为它在一个山谷里，看不到道路。我不知道是什么原因，但这是一个寂寞的地方，一直都是。有时我真希望能过去看看米妮·福斯特。我现在可以看到她在做什么。
18 canaries: 金丝雀。
head.]
MRS. PETERS
Well, you mustn't reproach yourself, Mrs. Hale. Somehow we just don't see how it is with other folks until - something comes up.
MRS. HALE
Not having children makes less work - but it makes a quiet house, and Wright out to work all day, and no company when he did come in. Did you know John Wright, Mrs. Peters?
MRS. PETERS
Not to know him; I've seen him in town. They say he was a good man.
MRS. HALE
Yes - good; he didn't drink, and kept his word as well as most, I guess, and paid his debts. But he was a hard man, Mrs. Peters. Just to pass the time of day with him - [Shivers.]
Like a raw wind that gets to the bone. [Pauses, her eye falling on the cage.]
I should think she would 'a wanted a bird. But what do you suppose went with it?
MRS. PETERS
I don't know, unless it got sick and died.
[She reaches over and swings the broken door, swings it again, both women watch it.]
MRS. HALE
You weren't raised round here, were you? [MRS. PETERS shakes her head.]
You didn't know - her?
MRS. PETERS
Not till they brought.her yesterday.
MRS. HALE
She - come to think of it, she was kind of like a bird herself - real sweet and pretty, but kind of timid and - fluttery. How - she - did change. [Silence; then as if struck by a happy thought and relieved to get back to everyday things.] 她 - 想想看，她本身有点像一只鸟 - 真的很甜美漂亮，但有点胆小和 - 躁动。她 - 真的变了。【沉默；然后仿佛被一个快乐的想法击中，松了口气回到日常事务。】
Tell you what, Mrs. Peters, why don't you take the quilt in with you? It might take up her mind.
MRS. PETERS
Why, I think that's a real nice idea, Mrs. Hale. There couldn't possibly be any objection to it, could there? Now, just what would I take? I wonder if her patches are in here - and her things.
[They look in the sewing basket.]
MRS. HALE
Here's some red. I expect this has got sewing things in it. [Brings out a fancy box.]
What a pretty box. Looks like something somebody would give you. Maybe her scissors are in here.
[Opens box. Suddenly puts her hand to her nose.]
Why - [MRS. PETERS bends nearer, then turns her face away.]
There's something wrapped up in this piece of silk.
MRS. PETERS
Why, this isn't her scissors.
MRS. HALE
[Lifting the silk.]
Oh, Mrs. Peters - its -
[MRS. PETERS bends closer.]
MRS. PETERS
It's the bird.
MRS. HALE
[Jumping up.]
But, Mrs. Peters - look at it! It's neck! Look at its neck! It's all - other side to.
MRS. PETERS
Somebody - wrung - its - neck.
[Their eyes meet. A look of growing comprehension of horror. Steps are heard outside. MRS HALE slips box under quilt pieces, and sinks into her chair. Enter SHERIFF and COUNTY
ATTORNEY. MRS. PETERS rises.]
COUNTY ATTORNEY
[As one turning from serious things to little pleasantries.]
Well, ladies, have you decided whether she was going to quilt it or knot it?
MRS. PETERS
We think she was going to - knot it.
COUNTY ATTORNEY
Well, that's interesting, I'm sure. [Seeing the
birdcage.]
Has the bird flown?
MRS. HALE
[Putting more quilt pieces over the box.]
We think the - cat got it.
COUNTY ATTORNEY
[Preoccupied.]
Is there a cat?
[MRS. HALE glances in a quick covert way at MRS. PETERS.]
MRS. PETERS
Well, not now! They're superstitious, you know. They leave.
COUNTY ATTORNEY
[To SHERIFF PETERS, continuing an interrupted conversation.]
No sign at all of anyone having come from the outside. Their own rope. Now let's go up again and go over it piece by piece. [They start upstairs.] It would have to have been someone who knew just the - 从外面没有任何人来过的迹象。他们自己的绳子。现在让我们再次上去，一块一块地检查。【他们开始上楼。】必须是一个知道的人。
[MRS. PETERS sits down. The two women sit there not looking at one another, but as if peering into something and at the same time holding back. When they talk now it is in the manner of feeling their way over strange ground, as if afraid of what they are saying, but as if they cannot help saying it.] 彼得斯夫人坐下来。 两个女人坐在那里，彼此不看对方，但仿佛在凝视着某物，同时又在克制着。 当她们说话时，就像在摸索着陌生的领域，好像害怕自己在说什么，但又好像无法不说出来。
MRS. HALE
She liked the bird. She was going to bury it in that pretty box.
MRS. PETERS
[In a whisper.]
When I was a girl — my kitten - there was a boy took a hatchet, and before my eyes - and before I could get there - [Covers her face an instant.]
If they hadn't held me back I would have -
[Catches herself, looks upstairs where steps are heard, falters weakly]
— hurt him.
MRS. HALE
[With a slow look around her.]
I wonder how it would seem never to have had any children around. [Pause.]
No, Wright wouldn't like the bird - a thing that sang. She used to sing. He killed that, too.
MRS. PETERS
[Moving uneasily.]
We don't know who killed the bird.
MRS. HALE
I knew John Wright.
MRS. PETERS
It was an awful thing was done in this house that night, Mrs. Hale. Killing a man while he slept, slipping a rope around his neck that choked the life out of him.
MRS. HALE
His neck. Choked the life out of him. [Her hand goes out and rests on the bird-cage.]
MRS. PETERS
[With rising voice.]
We don't know who killed him. We don't know.
MRS. HALE
[Her own feeling not interrupted.]
If there'd been years and years of nothing, then a bird to sing to you, it would be awful - still, after the bird was still.
MRS. PETERS
[Something within her speaking.]
I know what stillness is. When we homesteaded in Dakota, and my first baby died - after he was two years old, and me with no other then MRS. HALE
[Moving.]
How soon do you suppose they'll be through, looking for the evidence?
MRS. PETERS
I know what stillness is. [Pulling herself back.] The law has got to punish crime, Mrs. Hale.
MRS. HALE
[Not as if answering that.]
I wish you'd seen Minnie Foster when she wore a white dress with blue ribbons and stood up there in the choir and sang. [A look around the room.]
Oh, I wish I'd come over here once in a while! That was a crime! That was a crime! Who's going to punish that?
MRS. PETERS
[Looking upstairs.]
We mustn't - take on.
MRS. HALE
I might have known she needed help! I know how things can be - for women. I tell you, it's queer, Mrs. Peters. We live close together and we live far apart. We all go through the same things - it's all just a different kind of the same thing. [Brushes her eyes, noticing the bottle of fruit, reaches out for it.] 我本来就应该知道她需要帮助！我知道事情可能会怎样——对于女人来说。我告诉你，彼得斯夫人，这很奇怪。我们住得很近，但又相隔甚远。我们都经历着同样的事情——只是同一种事情的不同类型。【刷了刷眼睛，注意到了果汁瓶，伸手拿起来。】
If I was you I wouldn't tell her her fruit was gone. Tell her it ain't. Tell her it's all right. Take this in to prove it to her. She - she may never know whether it was broke or not.
MRS. PETERS
[Takes the bottle, looks about for something to wrap it in; takes petticoat from the clothes brought from the other room, very nervously begins winding this around the bottle. In a false voice.] 拿起瓶子，四处寻找可以包裹它的东西；从另一个房间带来的衣服中拿出衬裙，非常紧张地开始将其缠绕在瓶子周围。用假声音。
My, it's a good thing the men couldn't hear us. Wouldn't they just laugh! Getting all stirred up over a little thing like a - dead canary. As if that could have anything to do with - with wouldn't they laugh! 我的，幸好那些男人听不见我们。他们肯定会笑死！就因为一只死金丝雀这么点小事就搞得那么激动。好像那跟……他们会笑死的！
[The men are heard coming down stairs.]
MRS. HALE
[Under her breath.]
Maybe they would - maybe they wouldn't.
COUNTY ATTORNEY
No, Peters, it's all perfectly clear except a reason for doing it. But you know juries when it comes to women. If there was some definite thing.
Something to show - something to make a story about - a thing that would connect up with this strange way of doing it -
[The women's eyes meet for an instant. Enter HALE from outer door.]
HALE
Well, I've got the team around. Pretty cold out there.
COUNTY ATTORNEY
I'm going to stay here a while by myself. [To the SHERIFF.]
You can send Frank out for me, can't you? I want to go over everything. I'm not satisfied that we can't do better.
SHERIFF
Do you want to see what Mrs. Peters is going to take in?
[The LAWYER goes to the table, picks up the apron, laughs.]
COUNTY ATTORNEY
Oh, I guess they're not very dangerous things the ladies have picked out. [Moves a few things about, disturbing the quilt pieces which cover the box. Steps back.]
No, Mrs. Peters doesn't need supervising. For that matter, a sheriff's wife is married to the law. Ever think of it that way, Mrs. Peters?
MRS. PETERS
Not - just that way.
SHERIFF
[Chuckling.]
Married to the law. [Moves toward the other room.]
I just want you to come in here a minute, George. We ought to take a look at these windows.
COUNTY ATTORNEY
[Scoffingly.]
Oh, windows!
SHERIFF
We'll be right out, Mr. Hale.
[HALE goes outside. The SHERIFF follows the COUNTY ATTORNEY into the other room. Then MRS. HALE rises, hands tight together, looking
intensely at MRS. PETERS, whose eyes make a slow turn, finally meeting MRS. HALE'S. A moment MRS. HALE holds her, then her own eyes point the way to where the box is concealed. Suddenly MRS. PETERS throws back quilt pieces and tries to put the box in the bag she is wearing. It is too big. She opens box, starts to take bird out, cannot touch it, goes to pieces, stands there helpless. Sound of a knob turning in the other room. MRS. HALE snatches the box and puts it in the pocket of her big coat. Enter COUNTY 紧紧地盯着彼得斯夫人，她的眼睛缓慢地转动，最终与哈尔夫人的目光相遇。哈尔夫人停顿了一下，然后她自己的眼睛指向了盒子隐藏的地方。突然，彼得斯夫人掀开被子，试图把盒子放进她穿着的袋子里。盒子太大了。她打开盒子，开始取出鸟，却碰不到它，最终支离破碎，无助地站在那里。听到另一个房间里门把手转动的声音。哈尔夫人抢过盒子，放进她大外套口袋里。郡进入。
ATTORNEY and SHERIFF.] COUNTY ATTORNEY
[Facetiously.]
Well, Henry, at least we found out that she was not going to quilt it. She was going to - what is it you call it, ladies?
MRS. HALE
[Her hand against her pocket.]
We call it — knot it, Mr. Henderson.
[CURTAIN]
What is the significance of the setting?
Can you tell the differences between the two oppositional worlds occupied by men and women?
What makes the transformation of Mrs. Hale and Mrs. Peters?
Are the bird and the cage symbols? What kind of life does Minnie lead?
How many times does the word "trifles" appear in the text? What kind of masculine attitude does it imply?
What is the significance of the title?
Glaspell, Susan. "Trifles." Literature: Reading Fiction, Poetry, and Drama. Ed. Robert Diyanni. 5th ed. Boston: McGraw Hill, 2002. 1615-26.
A Brief Analysis of Trifles
Susan Glaspell's one-act play, Trifles (1916), was first performed by the Provincetown Players in 1916. Today it is perceived as an example of early feminist drama and frequently anthologized in American literature textbooks. 苏珊·格拉斯佩尔的短剧《琐事》（1916 年）于 1916 年首次由普罗温斯敦剧团上演。今天，它被视为早期女权主义戏剧的一个例子，并经常被收入美国文学教科书中。
The play was inspired by actual events that occurred in Iowa at the turn of the century. A farmer's wife, Margaret Hossack, in Indianola, Iowa, was accused of killing her husband by striking him twice in the head with an axe while he slept. At first people supposed that the farmer was murdered by burglars, but a subsequent investigation turned up evidence suggesting Mrs. Hossack, the unhappy wife, was the killer. Eventually, she was charged with and sentenced to life imprisonment. Working as a reporter at the time, Glaspell wrote twenty-six articles covering the case, and found herself feeling more and more sympathy for the accused. Years later when Glaspel had to come up with a new play to end the drama season of Provincetown Players, her memory of the Hossack trial inspired Trifles. 这部剧灵感来源于 20 世纪初爱荷华州发生的实际事件。爱荷华州印第安诺拉市的一位农夫妻子玛格丽特·霍萨克被指控用斧头击打睡觉时的丈夫两次头部而杀害了他。起初人们认为这位农夫是被入室盗贼谋杀的，但随后的调查发现了证据表明不幸的妻子霍萨克夫人是凶手。最终，她被控并被判处无期徒刑。当时作为一名记者，格拉斯佩尔写了 26 篇涵盖该案的文章，并发现自己对被告越来越感到同情。多年后，当格拉斯佩尔不得不为普罗温斯敦剧团的戏剧季结束创作一部新剧时，她对霍萨克审判的记忆启发了《琐事》。
Trifles is a murder mystery that explores the nature of truth, gender relationships, and power struggles between the sexes. The setting is a bleak, untidy kitchen in an abandoned rural farmhouse. While a cold winter wind blows outside, the characters come in to investigate a violent murder: the farm's owner, John Wright, is strangled to death in sleep, and his wife, Minnie, has been taken into custody as a suspect in the crime. In the play, the farmer and his wife never actually appear; instead, the story focuses on the investigation made by Henry Peters, the sheriff, George Henderson, the attorney, and Lewis Hale, a neighbor and Mrs. Peters and Mrs. Hale, wives to the two local men. While the men tramp around the farmhouse searching for clues, the women find out bits of evidence in the "trifles" of Minnie and ultimately choose to keep silent about their discovery. 琐事是一部探讨真相本质、性别关系和性别之间权力斗争的谋杀悬疑剧。故事发生在一个荒凉、凌乱的废弃农舍的厨房里。在寒冷的冬风吹拂之外，人物们进来调查一起暴力谋杀案：农场主约翰·赖特在睡梦中被勒死，他的妻子明妮被拘留作为犯罪嫌疑人。在剧中，农场主和他的妻子实际上从未出现；相反，故事聚焦于由警长亨利·彼得斯、律师乔治·亨德森和邻居刘易斯·黑尔以及两位当地男子的妻子彼得斯夫人和黑尔夫人所进行的调查。当男人们在农舍周围搜寻线索时，女人们在明妮的“琐事”中发现了一些证据，并最终选择对他们的发现保持沉默。
The plot seems simple, yet it represents a profound conflict between two models of perception and behavior. An exploration of the play reveals a fundamental difference between the women's actions and the men's, a difference grounded in varying understandings of the home space. 情节看起来简单，但它代表了两种感知和行为模式之间的深刻冲突。对这部剧的探索揭示了女性行为和男性行为之间的根本差异，这种差异根植于对家庭空间的不同理解。
From the very outset, the men and women perceive the setting, the lonely farmhouse, from distinctive perspectives. The men come to the scene of a crime and attempt to look through the eyes of legal investigators. They go methodically from room to room, following the preset plan of the search. The county attorney conducts his investigation by the book. He interviews the key witness, asking for only facts. The sheriff and attorney are certain that they have left nothing out, "nothing of importance." Yet at the end of the play, they know no more than at the beginning. The motive for the crime remains obscure. 从一开始，男人和女人以不同的视角看待这个孤独的农舍。男人们来到犯罪现场，试图从法律调查员的角度看问题。他们按照预设的计划，有条不紊地从房间到房间搜查。县检察官按照规定的程序进行调查。他只询问关键证人，要求提供事实。警长和检察官确信他们没有漏掉任何重要的事情。然而，在剧终时，他们并不比一开始知道更多。犯罪动机仍然模糊不清。
By contrast, the women arrive at a home. Although neither they nor the men realize it, they are conducting an investigation, too. Their process seems formless as they move through the kitchen, talking and reflecting. The men patronize them and gently ridicule their concerns while the women themselves, at least at the outset, characterize their activity in the house as relatively 相比之下，女人们到达一个家。虽然他们和男人们都没有意识到，但他们也在进行一项调查。当他们在厨房里走动、交谈和反思时，他们的过程似乎是无形的。男人们对她们表示怜悯，并温和地嘲笑她们的担忧，而女人们自己，至少在开始阶段，将她们在家中的活动描述为相对地。
unimportant. But as Mrs. Hale and Mrs. Peters gather household goods for Minnie Wright, the two characters begin to reconstruct the accused woman's life. They do so through several means: memories of her, memories of their own lives which are similar to hers in many ways, and speculation about her feelings and responses to the conditions of her life. Instead of following a predetermined schedule of inquiry, they begin, almost instinctively, to put themselves into Minnie Wright's place. In her sewing box, they discover Minnie's dead pet bird, and this discovery would be the missing piece to the men's "puzzle." As they recognize that the bird has been violently strangled and then lovingly set inside a piece of rich material, their eyes meet and a "look of growing comprehension of horror." They then reflect her husband would not have such a thing that sings and would have silenced it as he has silenced the singing Minnie. As they share and ponder, the details of Minnie's life lead Mrs. Hale and Mrs. Peters to comprehend what their husbands do not: the motive for the murder. More importantly, the details that allow them this insight — details overlooked as trifles by the men - lead the women to understand the almost tangible oppression of Minnie Wright's everyday life. 不重要。但是当哈尔夫人和彼得斯夫人为米妮·赖特收集家庭物品时，这两个角色开始重建被指控女人的生活。他们通过几种方式这样做：她的记忆，他们自己生活中与她很多方面相似的记忆，以及对她对生活条件的感受和反应的猜测。他们没有遵循预定的调查时间表，几乎是本能地开始把自己放在米妮·赖特的位置上。在她的针线盒里，他们发现了米妮的死宠物鸟，这一发现将成为男人们“谜题”的缺失部分。当他们意识到这只鸟已经被暴力勒死，然后被爱心地放在一块丰富的材料中时，他们的眼睛相遇，一种“逐渐理解恐怖”的表情。然后他们反思她的丈夫不会拥有这样一个会唱歌的东西，他会像他让米妮停止歌唱一样让它安静下来。当他们分享和思考时，米妮生活的细节让哈尔夫人和彼得斯夫人理解了他们的丈夫所不理解的：谋杀的动机。 更重要的是，让她们洞察到这一点的细节——这些细节在男人看来微不足道——让女人们理解米妮·赖特日常生活中几乎可以感知到的压迫。
Mrs. Hale and Mrs. Peters use their imagination to picture troubling situations of Minnie's living with her hard husband and they also recall pertinent information about the wife. The women remember stories of the young, singing Minnie Foster and contemplate the lonely quiet of her childless farmhouse. But the women do not simply remember and sympathize with Minnie. They identify with her, quite literally. Mrs. Hale defends the accused women's housekeeping from the county attorney's attack. Mrs. Hale also mourns the loss of Mrs. Wright's preserved fruit, remembering her own hard work during canning season. Again, to the men, this empathy is trivial and harmless, but it is the emotional tie that determines the play's outcome. Later, Mrs. Peters empathizes in more significant ways: she evokes precise moments in her own life that parallel Minnie Wright's pain. After discovering the canary with its neck wrung, Mrs. Peters recalls the boy who murdered her kitten long ago, and whispers, "If they hadn't held me back I would have - hurt him." She also contemplates the stillness of her old homestead after her first baby died and compares the situation to Minnie's solitude. This evocation of memories compels the women to see Minnie Wright not as an abstract murderer but as a fully developed, complex victim who at last retaliates against the source of her pain. Their perspective impels them imaginatively to relive her entire married life rather than simply to research one violent moment. As they see her as an individual and not simply a participant in a criminal action, they uncover the key evidence in the case. The men, however, remain oblivious to women's solidarity. Their vision narrows their focus, and in this case leads to a type of blindness as to what has occurred at the farmhouse. It is the women's way to discover the evidence that leads them to withhold it because they recognize they are bound up in the texture of events just as Minnie Wright is. 哈尔夫人和彼得斯夫人运用他们的想象力来描绘明妮与她严厉丈夫生活中令人不安的情况，并回忆起关于这位妻子的相关信息。这些女性记得年轻、唱歌的明妮·福斯特的故事，并思考她无子女的农舍的孤独宁静。但这些女性不仅仅是记得并同情明妮。她们与她产生了直接的共鸣。哈尔夫人为被控的女性家务受到县检察官的攻击进行辩护。哈尔夫人也为赖特夫人保存的水果的损失而哀悼，回忆起自己在罐头季节努力工作的情景。对于男性来说，这种共情是微不足道且无害的，但它是决定这出戏剧结局的情感纽带。后来，彼得斯夫人以更重要的方式产生了共鸣：她唤起了自己生活中与明妮·赖特的痛苦相似的确切时刻。在发现了被扼死的金丝雀后，彼得斯夫人回忆起那个很久以前杀死她小猫的男孩，并低声说：“如果他们没有阻止我，我会……伤害他。”她还思考了她第一个孩子去世后老家的寂静，将这种情况与明妮的孤独进行了比较。 这种唤起回忆的方式迫使女性们不再把明妮·赖特视为一个抽象的凶手，而是作为一个完全发展、复杂的受害者，最终对她的痛苦来源进行报复。她们的观点激发了她们的想象力，让她们重新体验她的整个婚姻生活，而不仅仅是研究一个暴力时刻。当她们把她看作一个个体，而不仅仅是犯罪行为中的参与者时，她们发现了案件的关键证据。然而，男性们对女性的团结视而不见。他们的视野变窄，导致在这种情况下对农舍发生的事情产生一种盲目。女性们发现证据的方式是发现了导致他们隐瞒证据的原因，因为她们意识到自己与事件的纹理紧密相连，就像明妮·赖特一样。
It is in fact no accident that the women discover the evidence. Their method from the very beginning of the play leads not only to the discovery that eludes the men, but also to their ultimate moral choice, a choice which radically separates them from the men. These women construct an alternative paradigm of justice and care, as they posit it on different grounds than the tradition of rights and rules, the standards used in the dominant culture. The ethic of care, the notion of responsibility within relationships especially, takes precedence in such a construction over strict 事实上，女性发现证据并非偶然。剧中女性的方法不仅导致了男性无法发现的发现，还导致了她们最终的道德选择，这种选择从根本上将她们与男性分开。这些女性构建了一个不同于传统权利和规则、主导文化中使用的标准的正义和关怀的替代范式。在这种构建中，关怀伦理，尤其是关系中的责任观念，优先于严格的。
formulations of justice based on precise reciprocity. Therefore, unlike some moral development schemas whose highest stage strives for principles which are universal in application, the women in this play develop a highly differentiated moral schema. They are concerned more with relationships than with rules. The neat, rigid order of criminal law, an order defined and upheld by their husbands and the county attorney, has given way to the pattern of day-to-day life and shared responsibilities and experience. Significantly, Mrs. Peter's final action goes far beyond mere silent complicity with Mrs. Hale's concealment of evidence. It is the sheriff's wife herself, the woman the county attorney deems to be "married to the law," who frantically tries to hide the bird. Of course, the women's choice to adopt an alternative model of perception can succeed only in silence, but it is no longer a silence of powerlessness. In the play's final line, a line replete with several puns, Mrs. Hale and Mrs. Peters intentionally "knot" their knowledge and do "not" share it. Their silence has become a mark of their solidarity, a refusal to endanger a sister. Though this silence sounds no different to the men than the women's initial speechlessness, there is a completely new tone in the quiet. Different from the powerless silence in the beginning, their final refusal to speak rings with the strength of intention and choice. For the men in the play, however, their secret remains an undiscovered "trifle." 基于精确互惠的正义公式。因此，与一些道德发展模式不同，这部剧中的女性发展了一种高度区分的道德模式。她们更关心人际关系而非规则。刑法的整洁、严格秩序，由她们的丈夫和县检察官定义和维护，已经让位于日常生活和共同责任与经验的模式。值得注意的是，彼得太太的最终行动远远超出了对黑尔太太隐瞒证据的沉默默许。正是警长的妻子自己，县检察官认为她是“法律之妻”，拼命试图隐藏那只鸟。当然，女性选择采用一种替代的感知模式只能在沉默中成功，但这不再是一种无力的沉默。在剧的最后一行，一行充满了几个双关语，黑尔太太和彼得太太故意“打结”她们的知识，并“不”分享它。她们的沉默已成为她们团结的标志，拒绝危及姐妹。 尽管这种沉默对男性来说与女性最初的无言不同，但在这种宁静中有一种全新的语调。与一开始的无力沉默不同，他们最终的拒绝讲话充满了意图和选择的力量。然而，对于剧中的男性来说，他们的秘密仍然是一个未被发现的“小事”。"
References
3.5 The Theater of the Absurd
The Theater of the Absurd
The Theater of the Absurd is a designation for particular plays written by a number of European playwrights in the late 1940s, 1950s, and 1960s. The term also refers to the style of theatre which has evolved from their work. During the time, Samuel Beckett, Arthur Adamov, Eugene Ionesco, Jean Genet pioneered new ways of expressing their vision of human purposelessness in a universe without meaning or value. This new wave was called by Martin Esslin in 1961 as the Theater of the Absurd, a term derived from The Myth of Sisyphus by French philosopher Albert Camus who held that life is inherently without meaning. Critics have applied the label to a wide range of plays which demonstrate some common characteristics: broad comedy, often similar to Vaudeville, mixed with horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of clichés, wordplay, and nonsense; plots that are cyclical or absurdly expansive; either a parody or dismissal of realism and the concept of the "well-made play." 1 荒诞剧场是指 20 世纪 40 年代末、50 年代和 60 年代由许多欧洲剧作家创作的特定戏剧的称谓。这个术语还指的是从他们的作品中演变出来的戏剧风格。在那个时期，塞缪尔·贝克特、亚瑟·亚达莫夫、尤金·约内斯科、让·热内等人开创了表达人类无目的在一个没有意义或价值的宇宙中的新方式。这股新浪潮被马丁·埃斯林在 1961 年称为荒诞剧场，这个术语源自法国哲学家阿尔贝·加缪的《西西弗斯神话》，他认为生命本质上是没有意义的。评论家们将这个标签应用于一系列戏剧，这些戏剧展示了一些共同特征：宽泛的喜剧，常常类似于杂耍，混合了可怕或悲惨的形象；角色陷入绝望的境地，被迫做重复或毫无意义的行动；对话充满陈词滥调、文字游戏和胡言乱语；情节循环或荒谬扩张；要么是对现实主义和“精心制作的剧本”概念的讽刺或摒弃。
The sources of the Theatre of the Absurd were rooted in the modernist experiments of the 1920s and 1930s. The school was also influenced by the traumatic experience of the Second World War, which showed the total precariousness of any values and conventions. The threat of nuclear annihilation from 1945 seemed to have been an important factor in the rise of this new theatre. At the same time, it was a reaction to the disappearance of the religious dimension form contemporary life. For the playwrights, there were no goals when man was cut off from his religious and metaphysical roots and all his efforts became senseless, futile, and oppressive. 荒诞剧场的源头根植于 20 世纪 20 年代和 30 年代的现代主义实验。这个学派也受到了第二次世界大战的创伤经历的影响，这表明了任何价值观和传统的完全不稳定性。从 1945 年开始的核毁灭威胁似乎是这种新剧院兴起的重要因素。同时，这也是对宗教维度从当代生活中消失的反应。对于剧作家来说，当人类与宗教和形而上学根源隔绝时，他的所有努力变得毫无意义、徒劳和压迫。
As an experimental form of theatre, the Theatre of the Absurd has employed techniques borrowed from earlier innovators. The mode of most Absurdist plays is tragicomedy. Esslin has cited William Shakespeare, the first great playwright to use tragicomedy, as an influence on the school. Other early film comedians such as Charlie Chaplin are also direct influences. One commonly cited precursor is Luigi Pirandello who is a theatrical experimentalist trying to bring down the fourth wall utilized by Realism. Many of the Absurdists also have direct connections with the Dadaists and Surrealists. Existentialism which is an influential philosophy during the rise of the Theatre of the Absurd is most often associated with the said school. Many of the Absurdists are contemporaries with Jean-Paul Sartre, the philosophical spokesman for Existentialism in Paris. Sartre has praised Genet's plays, stating that for Genet "Good is only an illusion. Evil is a Nothingness which arises upon the ruins of Good." The major difference between Sartre and the Theatre of the Absurd is that the latter shows the failure of man without recommending a solution. For instance, Samuel Beckett's primary focus is on the failure of man to overcome "absurdity." 作为一种实验性的戏剧形式，荒诞剧场借鉴了早期创新者的技术。大多数荒诞剧的模式是悲喜剧。埃斯林引用了威廉·莎士比亚，第一位使用悲喜剧的伟大剧作家，作为该学派的影响。其他早期电影喜剧演员如查理·卓别林也是直接影响者。一个常被引用的前辈是路易吉·皮兰德罗，他是一位试图打破现实主义所利用的第四面墙的戏剧实验者。许多荒诞主义者也与达达主义者和超现实主义者有直接联系。存在主义在荒诞剧场兴起期间是一种有影响力的哲学，最常与该学派联系在一起。许多荒诞主义者与让-保罗·萨特是同时代人，他是巴黎存在主义的哲学代言人。萨特赞扬了热内的戏剧，称热内的“善只是一种幻觉。邪恶是在善的废墟上升起的虚无。”萨特和荒诞剧场之间的主要区别在于后者展示了人类的失败，但没有提出解决方案。 例如，塞缪尔·贝克特的主要关注点是人类无法克服“荒谬”。"
The "Absurd" movement was originally a Paris-based avant-garde phenomenon tied to extremely small theaters in the Quartier Latin. Some of the Absurdists such as Jean Genet were born in France. Many others were born elsewhere but lived in France, writing often in French: Samuel Beckett from Ireland; Eugene Ionesco from Romania. As the influence of the Absurdists grew, the style spread to other countries. Consequently, with the absurdist plays came a challenge to the conventional ideas about plot, action, character, and language. Most absurdist plays assumed highly innovative forms, aiming to shake the viewers out of their comfortable, conventional lives of everyday concerns. “荒诞”运动最初是一个总部设在巴黎的前卫现象，与拉丁区的极小剧院有关。一些荒诞主义者，如让·热内，出生在法国。许多其他人出生在其他地方，但在法国生活，经常用法语写作：爱尔兰的塞缪尔·贝克特；罗马尼亚的尤金·约内斯科。随着荒诞主义者的影响力增长，这种风格传播到其他国家。因此，随着荒诞剧的出现，对情节、行动、人物和语言的传统观念提出了挑战。大多数荒诞剧采用高度创新的形式，旨在摇醒观众，使他们摆脱舒适、传统的日常生活关注。
In practice, The Theatre of the Absurd departs from realistic characters, situations and all of the associated theatrical conventions. Time, place and identity are ambiguous and fluid, and even basic causality frequently breaks down. Meaningless plots, repetitive or nonsensical dialogue and dramatic non-sequiturs are often used to create dream-like, or even nightmare-like moods. Esslin makes a distinction between the dictionary definition of absurd ("out of harmony" in the musical sense) and Drama's understanding of the Absurd: "Absurd is that which is devoid of purpose.... Cut off from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless." 在实践中，荒诞剧场摆脱了现实主义角色、情境以及所有相关的戏剧传统。时间、地点和身份都是模糊和流动的，甚至基本的因果关系经常会崩溃。无意义的情节、重复或荒谬的对话以及戏剧性的不合逻辑常被用来营造梦幻般甚至噩梦般的氛围。埃斯林区分了荒谬的词典定义（在音乐意义上是“不和谐的”）和戏剧对荒谬的理解：“荒谬是缺乏目的的……与他的宗教、形而上学和超验根源隔绝，人类迷失了；他的一切行为变得毫无意义、荒谬和无用。”
The characters in Absurdist drama are lost and floating in an incomprehensible universe and they abandon rational devices because these approaches are inadequate. Many characters appear as automatons stuck in routines speaking only in cliché. Characters are frequently stereotypical, archetypal, or flat character types. The more complex characters are often in crisis because the world around them is incomprehensible and they often find themselves trapped in a routine. 荒诞剧中的角色迷失在一个难以理解的宇宙中漂浮，他们放弃了理性的手段，因为这些方法是不足够的。许多角色表现为僵化于常规中的自动机器人，只说陈词滥调。角色经常是典型的、原型的或扁平的角色类型。更复杂的角色经常处于危机之中，因为他们周围的世界是难以理解的，他们经常发现自己被困在一种常规中。
Traditional plot structures are rarely a consideration. Absurdist dramas subvert logic for they are indeed anti-rationalist. The negation of rationalism is based on the belief that rationalist thought, like language, only deals with the superficial aspects of things. In absurdist plays dramatic conflicts disappear. The frantic performance of characters only underlines the fact that nothing happens to change their existence. Plots can consist of the absurd repetition of cliché and routine, as in Waiting for Godot (1952) or The Bald Soprano (1949). Often there is a menacing outside force that remains a mystery. Absence, emptiness, nothingness, and unresolved mysteries are central features in many Absurdist plots. For instance, the action of Godot is centered around the absence of a man named Godot, for whom the characters perpetually wait. In many of Beckett's later plays, most features are stripped away and what is left is a minimalistic tableau: a woman 传统的情节结构很少被考虑。荒诞剧本颠覆逻辑，因为它们确实是反理性主义的。对理性主义的否定基于这样的信念，即理性主义思想，就像语言一样，只涉及事物的表面方面。在荒诞剧中，戏剧性冲突消失了。角色的疯狂表演只强调了一个事实，即没有任何事情发生来改变他们的存在。情节可以由陈词滥调和常规的荒谬重复组成，如《等待戈多》（1952 年）或《秃头歌剧女高音》（1949 年）。通常会有一个神秘的外部力量存在。缺席、空虚、虚无和未解之谜是许多荒诞情节的核心特征。例如，《戈多》的行动围绕着一个名叫戈多的人的缺席展开，人物们永远在等待他。在贝克特的许多后期剧中，大多数特征都被剥离，剩下的只是一个极简主义的画面：一个女人。
walking slowly back and forth in Footfalls (1975), or only a junk heap on stage and the sounds of breathing in Breath (1969).
Despite its reputation for nonsense language, much of the dialogue in Absurdist plays is naturalistic. The moments when characters resort to nonsense language or clichés - when words appear to have lost their denotative function, thus creating misunderstanding among the characters - make the Theatre of the Absurd distinctive. Language stops being a means of communication because words are seen unable to express the essence of human experience. Distinctive Absurdist language will range from meaningless clichés to Vaudeville-style word play to meaningless nonsense. Indeed the language of Absurdist Theater becomes secondary to the poetry of the concrete and objectified images of the stage. Many of Beckett's plays devalue language for the sake of the striking tableau. 尽管荒诞派戏剧以无意义的语言而闻名，但其中许多对话却是自然主义的。人物诉诸无意义的语言或陈词滥调的时刻——当单词似乎失去了其指示功能，从而在人物之间造成误解——使得荒诞派戏剧独具特色。语言不再是交流的手段，因为单词被视为无法表达人类经验的本质。独特的荒诞派语言将从毫无意义的陈词滥调到歌舞杂耍式的文字游戏再到毫无意义的废话。事实上，荒诞派戏剧的语言变成了舞台上具体和客观化形象的诗意的次要元素。贝克特的许多戏剧都贬低语言，以突出的画面为目的。
Waiting for Godot, Beckett's masterpiece, is a strange little play in which "nothing happens." New dramatic strategies have been introduced: no recognizable plots, puppet-like characters, mechanical behavior and language, illogical acts, and nightmares. All these devices help to create a ritual-like, mythological, and allegorical vision related to the world of dreams. The plot is simple to relate. Two tramps, Vladimir (Didi) and Estragon (Gogo) are waiting for the arrival of . Godot by a sickly looking tree. They quarrel, make up, contemplate suicide, try to sleep, eat a carrot and gnaw on some chicken bones. Then, a master and a slave appear, who perform a grotesque scene in the middle of the play. Later a young boy arrives to say that Mr. Godot will not come today, but he will come tomorrow. The two tramps resume their vigil by the tree, which between the first and second day has sprouted a few leaves. The denouement of the play is another beginning. Vladimir asks his friend, "Well? Shall we go?" And Estragon answers, "Yes, let's go." But neither moves. The curtain falls over their immobility. Perhaps the most famous production of Waiting for Godot took place in 1957 when a company of actors from the San Francisco Actor's Workshop presented the play at the San Quentin penitentiary for an audience of over fourteen hundred convicts. Surprisingly, the production was a great success. The prisoners understood as well as Vladimir and Estragon that life means waiting, killing time and clinging to the hope that relief may be just around the corner. 《等待戈多》是贝克特的杰作，是一部奇怪的小剧，其中“什么也没有发生”。引入了新的戏剧策略：没有可识别的情节，像木偶般的角色，机械化的行为和语言，不合逻辑的行为和噩梦。所有这些手法有助于创造一种类似仪式、神话和寓言的愿景，与梦境世界相关。情节很简单。两个流浪汉，弗拉基米尔（迪迪）和埃斯特拉贡（戈戈）在一个看起来病态的树下等待戈多的到来。他们争吵，和好，思考自杀，试图入睡，吃胡萝卜，啃鸡骨头。然后，一个主人和一个奴隶出现，他们在剧中间表演了一场怪诞的场景。后来，一个年轻男孩来说戈多先生今天不会来，但明天会来。两个流浪汉重新开始在树旁守候，第一天和第二天之间，树长出了几片叶子。剧终是另一个开始。弗拉基米尔问他的朋友，“好吗？我们走吗？”埃斯特拉贡回答，“是的，我们走吧。”但两人都没有动。幕布落下，覆盖了他们的静止状态。 或许《等待戈多》最著名的一次演出发生在 1957 年，当时来自旧金山演员工作室的一群演员在圣昆廷监狱为一千四百多名囚犯观众演出了这部剧。令人惊讶的是，这次演出取得了巨大成功。囚犯们像弗拉基米尔和埃斯特拉贡一样明白，生活就是等待，消磨时间，并抱着希望救赎可能就在不远处。
References
Nothing is funnier than unhappiness, I grant you that. Yes, yes, it's the most comical thing in the world.
Samuel Beckett
Samuel Beckett was an Irish-French writer, the first of the absurdists to win international fame. His writings were almost in French, and he himself translated them into English. Beckett's first triumph came in 1953 when Waiting for Godot premiered at the Théâtre de Babylone. It is a comic study of philosophical uncertainty focusing on the absurdity of human existence. His other important outputs include the prose trilogy Molloy (1951), Malone Dies (1951) and The Unnamable (1953), as well as the plays Endgame (1957) and Krapp's Last Tape (1958). These works have been translated into over twenty languages. In 1969 Beckett was awarded the Nobel Prize for Literature. Never exactly mainstream, Beckett is nonetheless considered one of the most important European writers of the twentieth century for his influence on modern literature and for his ability to impress, shock and confound. 塞缪尔·贝克特（Samuel Beckett）是一位爱尔兰-法国作家，是第一个赢得国际声誉的荒诞主义作家。他的作品几乎都是用法语写的，他自己将它们翻译成英语。贝克特的第一个成功作品是 1953 年《等待戈多》在巴比伦剧院首演。这是一部关注人类存在荒谬性的哲学不确定性的喜剧研究。他的其他重要作品包括散文三部曲《莫洛伊》（1951）、《马龙死亡》（1951）和《无名者》（1953），以及戏剧《终局》（1957）和《克拉普的最后一盘录音带》（1958）。这些作品已被翻译成二十多种语言。1969 年，贝克特获得了诺贝尔文学奖。贝克特虽然从未成为主流，但他被认为是二十世纪最重要的欧洲作家之一，因为他对现代文学的影响以及他的能力给人留下深刻印象、震惊和困惑。
Krapp's Last Tape
A late evening in the future.
Krapp's den.
Front centre a small table, the two drawers of which open towards audience.
Sitting at the table, facing front, i.e. across from the drawers, a wearish old man: Krapp.
Rusty black narrow trousers too short for him. Rust black sleeveless waistcoat, four capacious pockets. Heavy silver watch and chain. Grimy white shirt open at neck, no collar. Surprising pair of dirty white boots, size ten at least, very narrow and pointed. 生锈的黑色窄裤对他来说太短了。黑色无袖背心，四个宽敞的口袋。厚重的银表和链子。脏兮兮的白色衬衫领口敞开，没有领子。令人惊讶的一双脏兮兮的白色靴子，至少是十码，非常窄而尖。
White face. Purple nose. Disordered grey hair. Unshaven.
Very near-sighted (but unspectacled ). Hard of hearing.
Cracked voice. Distinctive intonation.
Laborious walk.
On the table a tape-recorder with microphone and a number of cardboard boxes containing reels of recorded tapes.
Table and immediately adjacent area in strong white light. Rest of stage in darkness.
Krapp remains a moment motionless, heaves a great sigh, looks at his watch, fumbles in his pockets, takes out an envelope, puts it back, fumbles, takes out a small bunch of keys, raises it to his eyes, chooses a key, gets up and moves to front of table. He stoops, unlocks first drawer, peers into it, feels about inside it, takes out a reel of tape, peers at it, puts it back, locks drawer, unlocks second drawer peers into it, feels about inside it, takes out a large banana, peers at it, locks drawer, puts keys back in his pocket. He turns, advances to edge of stage, halts, strokes banana, peels it, drops skin at his feet, puts end of banana in his mouth and remains motionless, staring vacuously before him. Finally he bites off the end, turns aside and begins pacing to and fro at edge of stage, in the light, i.e. not more than four or five paces either way, meditatively eating banana. He treads on skin, slips, nearly falls, recovers himself, stoops and peers at skin and finally pushes it, still stooping, with his foot over the edge of the stage into pit. He resumes his pacing, finishes banana, returns to table, sits down, remains a moment motionless, heaves a great sigh, takes keys from his pockets, raises them to his eyes, chooses key, gets up and moves to front of table, unlocks second drawer, takes out a second large banana, peers at it, locks drawer, puts back his keys in his pocket, turns, advances to the edge of stage, halts, strokes banana, peels it, tosses skin into pit, puts an end of banana in his mouth and remains motionless, staring vacuously before him. Finally he has an idea, puts banana in his waistcoat pocket, the end emerging, and goes with all the speed he can muster backstage into 克拉普保持静止片刻，深深地叹了口气，看了看手表，摸索着口袋，拿出一个信封，又放回去，摸索着，拿出一把小钥匙串，举到眼前，选了一把钥匙，站起来走到桌子前。他弯下腰，打开第一个抽屉，往里面看，摸索着，拿出一卷磁带，看了看，放回去，锁上抽屉，打开第二个抽屉往里看，摸索着，拿出一根大香蕉，看了看，锁上抽屉，把钥匙放回口袋里。他转身走到舞台边缘，停下来，抚摸着香蕉，剥皮，把皮扔在脚下，把香蕉放进嘴里，保持静止，茫然地凝视着前方。最后他咬下一口，转身开始在舞台边缘来回踱步，在灯光下，即不超过四五步，沉思着吃着香蕉。他踩到皮，滑倒，差点摔倒，挺直身体，弯下腰看着皮，最后用脚把皮推到舞台边缘掉进坑里。 他恢复踱步，吃完香蕉，回到桌子旁，坐下，静止片刻，长叹一口气，从口袋里拿出钥匙，举到眼前，选择一把钥匙，站起来走到桌子前，打开第二个抽屉，拿出第二根大香蕉，仔细看了看，锁上抽屉，把钥匙放回口袋，转身走到舞台边缘，停下来，抚摸香蕉，剥皮，把皮扔进坑里，把香蕉放进嘴里，保持静止，茫然地凝视着前方。最后，他想到了一个主意，把香蕉放在背心口袋里，最后露出来，然后尽可能地加速，走进了后台
darkness. Ten seconds. Loud pop of cork. Fifteen seconds. He comes back into light carrying an old ledger and sits down at table. He lays ledger on table, wipes his mouth, wipes his hands on the front of his waistcoat, brings them smartly together and rubs them. 黑暗。 十秒。 瓶塞发出响亮的声音。 十五秒。 他拿着一本旧账簿回到光线下，坐在桌子旁。 他把账簿放在桌子上，擦了擦嘴，用背心前面擦了擦手，然后迅速地把手合在一起擦擦。
KRAPP
(Briskly.) Ah! (He bends over ledger, turns the pages, finds the entry he wants, reads.) Box ... thrree ... spool ... five. (He raises his head and stares front. With relish.) Spool! (Pause.) Spooool! (Happy smile. Pause. He bends over table, starts peering and poking at the boxes.) Box ... thrree ... three ... four ... two ... (With surprise) nine! good God! ... seven ... ah! the little rascal! (He takes up the box, peers at it.) Box thrree. (He lays it on table, opens it and peers at spools inside.) Spool ... (He peers at the ledger.) ... five ... (He peers at spools.) ... five ... five ... ah! the little scoundrel! (He takes out a spool, peers at it.) Spool five. (He lays it on table, closes box three, puts it back with the others, takes up the spool.) Box three, spool five. (He bends over the machine, looks up. With relish.) Spooool! (Happy smile. He bends, loads spool on machine, rubs his hands.) Ah! (He peers at ledger, reads entry at foot of page.) Mother at rest at last ... Hm ... The black ball ... (He raises his head, stares blankly front. Puzzled.) Black ball? ... (He peers again at ledger, reads.) The dark nurse ... (He raises his head, broods, peers again at ledger, reads.) Slight improvement in bowel condition ... Hm ... Memorable ... what? (He peers closer.) Equinox, memorable equinox. (He raises his head, stares blankly front. Puzzled.) Memorable equinox? ... (Pause. He shrugs his head shoulders, peers again at ledger, reads.) Farewell to - (He turns the page) — love. （轻快地。）啊！（他弯下身子，翻动账簿的页，找到想要的记录，读着。）盒子...三...线轴 ...五。（他抬起头，凝视前方。满足地。）线轴！（停顿。）线轴！（开心的微笑。停顿。他弯下身子，开始查看和戳弄盒子。）盒子...三...三...四...二...（惊讶地）九！天啊！...七...啊！小家伙！（他拿起盒子，凝视着。）盒子三。（他把它放在桌子上，打开并凝视里面的线轴。）线轴...（他看着账簿。）...五...（他看着线轴。）...五...五...啊！小淘气鬼！（他拿出一个线轴，看着。）线轴五。（他把它放在桌子上，关闭盒子三，把它放回其他盒子里，拿起线轴。）盒子三，线轴五。（他弯下身子，看着机器。满足地。）线轴！（开心的微笑。他弯下身子，把线轴装上机器，揉着手。）啊！（他看着账簿，读着页脚的记录。）母亲终于安息...嗯...黑球...（他抬起头，茫然地凝视前方。困惑。）黑球？...（他再次看着账簿，读着。）黑暗的护士... (他抬起头，沉思，再次凝视账簿，阅读。) 肠道 状况略有改善...嗯...难忘...什么？(他凑近看。) 春分，难忘的春分。 (他抬起头，茫然地凝视前方。困惑。) 难忘的春分？... (停顿。他耸耸肩，再次凝视账簿，阅读。) 告别 - (他翻开页面) — 爱。
He raises his head, broods, bends over machine, switches on and assumes listening posture, i.e. leaning forward, elbows on table, hand cupping ear towards machine, face front.
TAPE
(Strong voice, rather pompous, clearly Krapp's at a much earlier time.) Thirty-nine today, sound as a - (Settling himself more comfortable he knocks one of the boxes off the table, curses, switches off, sweeps boxes and ledger violently to the ground, winds tape back to the beginning, switches on, resumes posture.) Thirty-nine today, sound as a bell, apart from my old weakness, and intellectually I have now every reason to suspect at the ... (Hesitates.) ... crest of the wave - or thereabouts. Celebrated the awful occasion, as in recent years, quietly at the winehouse. Not a soul. Sat before the fire with closed eyes, separation the grain from the husks. Jotted down a few notes, on the back on an envelope. Good to be back in my den in my old rags. Have just eaten I regret to say three bananas and only with difficulty restrained a fourth. Fatal things for a man with my condition. (Vehemently.) Cut 'em out! (Pause.) The new light above my table is a great improvement. With all this darkness around me I feel less alone. (Pause.) In a way. (Pause.) I love to get up and move about in it, then back here to ... (Hesitates.) ... me. (Pause.) Krapp. （声音浑厚，有些自负， 明显是 Krapp 在更早的时候。）今天三十九岁，声音像铃铛一样清脆 - （他更舒适地坐下，把桌子上的一个盒子打掉，咒骂着，关掉，猛烈地把盒子和分类账扫到地上，把磁带倒回到开头，打开，恢复姿势。）今天三十九岁，声音像铃铛一样清脆， 除了我的旧弱点，智力上我现在有充分的理由怀疑在...（犹豫。）...浪潮的顶峰 - 或者附近。庆祝这可怕的场合， 就像最近几年一样，安静地在酒馆里。一个人也没有。闭着眼睛坐在火前，分离谷物和壳。 在信封背面记下了几个笔记。回到我的老窝里，穿着破烂。我刚吃了三根香蕉，很遗憾地说只勉强忍住了第四根。对于我这种病情的人来说是致命的东西。（激烈地。）戒掉它们！（停顿。）我桌子上的新灯光是一个很大的改进。在我周围这么黑暗的地方，我感到不那么孤单。 （停顿。）在某种程度上。 （停顿。）我喜欢起身四处走动，然后回到这里...（犹豫。）...我。 （停顿。）Krapp。
Pause.
The grain, now what I wonder do I mean by
\footnotetext{
8 spool: 线轴。Krapp 即使已 69 岁也像孩子一样喜欢爆破音和长元音带来的快感。
9 broods: 沉思。
10 bowel: 肠。
11 Equinox: 昼夜平分点, 春分或秋分。
12 pompous: 华而不实的。
13 sound as a bell: 非常健壮。
14 crest: 顶部, 顶峰。
15 the awful occasion: 指的是生日。
16 husks: 外壳。
17 Jotted down: 草草记下, 略记。
that, I mean ... (Hesitates.) ... I suppose I mean those things worth having when all the dust has - when all my dust has settled. I close my eyes and try and imagine them.
Pause. Krapp closes his eyes briefly.
Extraordinary silence this evening, I strain my ears and do not hear a sound. Old Miss McGlome always sings at this hour. But not tonight. Songs of her girlhood, she says. Hard to think of her as a girl. Wonderful woman, though. Connaught, I fancy. (Pause.) Shall I sing when I am her age, if I ever am? No. (Pause.) Did I sing as a boy? No. (Pause.) Did I ever sing? No. 今晚异常寂静，我竖起耳朵却听不到任何声音。老麦格隆夫人总是在这个时候唱歌。但今晚不是。她说那是她少女时代的歌曲。很难想象她曾经是个少女。不过，她是个了不起的女人。我想是康诺特人。 （停顿。）如果我到了她这个年纪，我会唱歌吗？不会。 （停顿。）我小时候唱过歌吗？没有。 （停顿。）我曾经唱过歌吗？没有。
Pause.
Just been listening to an old year, passages at random. I did not check in the book, but it must be at least ten or twelve years ago. At that time I think I was still living on and off with Bianca in Kedar Street. Well out of that, Jesus yes! Hopeless business. (Pause.) Not much about her, apart from a tribute to her eyes. Very warm. I suddenly was them again. (Pause.) Incomparable! (Pause.) Ah well ... (Pause.) These old P.M.s are gruesome, but I often find them - (Krapp switches off, broods, switches on) a help before embarking on a new ... (Hesitates.) ... retrospect. Hard to believe I was ever that young whelp. The voice! Jesus! And the aspirations! (Brief laugh in which Krapp joins.) And the resolutions! (Brief laugh in which Krapp joins.) To drink less, in particular. (Brief laugh of Krapp alone.) Statistics. Seventeen hundred hours, out of the preceding eight thousand odd, consumed on licensed premises alone. More than , say of his waking life. (Pause.) Plans for a less ... (Hesitates.) ... engrossing sexual life. Last illness of his father. Flagging pursuit of happiness. Unattainable laxation. Sneers at what he calls his youth and thanks to God that it's over. (Pause.) False ring there. (Pause.) Shadows of the opus magnum. Closing with a - (Brief laugh. yelp to 刚刚在听一本旧年的书，随意翻阅。我没有查书，但至少是十年或十二年前的事了。那时候我想我还时不时和比安卡在基达尔街住在一起。嗯，那段日子，天哪！毫无希望的事情。 （停顿。）除了对她的眼睛的赞美，关于她的事情不多。非常温暖。我突然又看到了它们。 （停顿。）无与伦比！ （停顿。）啊，好吧... （停顿。）这些旧的私人信件令人难受，但我经常发现它们 - （克拉普关闭，沉思，打开）在着手新的...（犹豫。）...回顾之前，是有帮助的。难以相信我曾经那么年轻。声音！天哪！还有抱负！（克拉普加入其中的短暂笑声。）还有决心！（克拉普加入其中的短暂笑声。）尤其是少喝酒。 （克拉普独自发出短暂笑声。）统计数据。在前面的八千多小时中，有一千七百小时是在有许可的场所度过的。比他醒着的时间还要多，说 。 （停顿。）计划过上一个不那么...（犹豫。）...全神贯注的性生活。父亲的最后疾病。对幸福的追求逐渐减弱。无法实现的放松。 嘲笑他所称的青春，并感谢上帝它已经结束了。（停顿。）那里有虚假的铃声。（停顿。）伟大作品的阴影。结束于 -（短暂笑声）。 咆哮到
Providence. (Prolonged laugh in which Krapp joins.) What remains of all that misery? A girl in a shabby green coat, on a railway-station platform? No?
Pause.
When I look-
Krapp switches off, broods, looks at his watch, gets up, goes backstage into darkness. Ten seconds. Pop of cork. Ten seconds. Second cork. Ten seconds. Third cork. Ten seconds. Brief burst of quavering song. 克拉普关掉，沉思，看了看手表，站起来，走到后台的黑暗中。 十秒。 瓶塞弹出声。 十秒。 第二个瓶塞。 十秒。 第三个瓶塞。 十秒。 短暂的颤抖歌声。
KRAPP
(sings).
Now the day is over, Night is drawing nigh-igh,
Shadows -
Fit of coughing. He comes back into light, sits down, wipes his mouth, switches on, resumes his listening posture.
TAPE
Back on the year that is gone, with what I hope is perhaps a glint of the old eye to come, there is of course the house on the canal where mother lay a-dying, in the late autumn, after her long viduity (Krapp gives a start.), and the (Krapp switches off, winds back tape a little, bends his ear closer to the machine, switches on) - a-dying, after her long viduity, and the - 回顾过去的一年，希望或许还有一丝旧日的眼光，当然有母亲在运河边的房子里奄奄一息，那是在晚秋，经过了她漫长的寡居生活（克拉普开始震惊），然后（克拉普关闭，将磁带倒回一点，将耳朵贴近机器，打开）- 奄奄一息，经过了她漫长的寡居生活，然后 -
Krapp switches off, raises his head, stares blankly before him. His lips move in the syllables of "viduity." No sound. He gets up, goes back stage into darkness, comes back with an enormous dictionary, lays it on table, sits down and looks up the word. 克拉普关掉电灯，抬起头，茫然地凝视着前方。他的嘴唇发出“寡妇”的音节。没有声音。他站起来，走回舞台后面的黑暗中，拿着一本巨大的词典回来，把它放在桌子上，坐下来查找这个词。
KRAPP
(Reading from dictionary.) State - or condition of being - or remaining - a widow - or widower. (Looks up. Puzzled.) Being — or remaining? ... (Pause. He peers again at dictionary. Reading.) "Deep weeds of viduity" ... Also of an animal, especially a bird ... the vidua or weaver bird Black plumage of male ... (He looks up. With relish.) The vidua bird! (从字典上读。) 寡妇或鳏夫的状态或状况。 (看起来困惑。) 是——还是保持？... (停顿。他再次凝视字典。读。) "寡妇的深草丛" ... 也是动物的一种，尤其是鸟类 ... 寡妇鸟或编织鸟 黑色羽毛的雄性 ... (他抬起头。带着喜悦。) 寡妇鸟！
Pause. He closes dictionary, switches on, resumes listening posture.
TAPE
bench by the weir from where I could see her window. There I sat, in the biting wind, wishing she were gone. (Pause.) Hardly a soul, just a few regulars, nursemaids, infants, old men, dogs. I got to know them quite well - oh by appearance of course I mean! One dark young beauty I recall particularly, all white and starch, incomparable bosom, with a big black hooded perambulator, most funereal thing. Whenever I looked in her direction she had her eyes on me. And yet when I was bold enough to speak to her - not having been introduced - she threatened to call a policeman. As if I had designs on her virtue! (Laugh. Pause.) The face she had! The eyes! Like ... (Hesitates.) ... chrysolite (Pause.) Ah well ... (Pause.) I was there when - (Krapp switches off, broods, switches on again) - the blind went down, one of those dirty brown roller affairs, throwing a ball for a little white dog, as chance would have it. I happened to look up and there it was. All over and done with, at last. I sat on for a few moments with the ball in my hand and the dog yelping and pawing at me. 坐在堰边的长凳上，从那里我可以看到她的窗户。我坐在那里，受着刺骨的寒风，希望她走了。（停顿。）几乎没有人，只有几个常客，保姆、婴儿、老人、狗。我对他们很熟悉——哦，当然是外表上的意思！我特别记得一个黑发年轻美女，全身洁白而挺括，无与伦比的胸膛，推着一个大黑色罩篷的婴儿车，看起来极为丧葬。每当我朝她的方向看去，她就盯着我。但是当我大胆地和她说话——没有被介绍的情况下——她威胁要叫警察。好像我对她的贞操有什么企图！（笑。停顿。）她的脸！她的眼睛！像……（犹豫。）……黄玉（停顿。）唉，好吧……（停顿。）当时我在那里——（克拉普关掉，沉思，再次打开）——百叶窗拉下来了，那种脏褐色的卷帘，为一个小白狗扔球，正好碰巧。我恰巧抬头看见了。一切都结束了，终于。我坐了一会儿，手里拿着球，小狗在我身边叫着、用爪子抓着我。
(Pause.) Moments. Her moments, my moments. (Pause.) The dog's moments. (Pause.) In the end I held it out to him and he took it in his mouth, gently, gently. A small, old, black, hard, solid rubber ball. (Pause.) I shall feel it, in my hand until my dying day. (Pause.) I might have kept it. (Pause.) But I gave it to the dog. （停顿。）瞬间。她的瞬间，我的瞬间。（停顿。）狗的瞬间。（停顿。）最后我把它递给了他，他轻轻地接在嘴里。一个小的、旧的、黑色的、坚硬的橡胶球。（停顿。）我会感觉到它，直到我临终的那一天。（停顿。）我本来可以留下它。（停顿。）但我把它给了狗。
Pause.
Ah well ...
Pause.
Spiritually a year of profound gloom and indulgence until that memorable night in March at the end of the jetty, in the howling wind, never to be forgotten, when suddenly I saw the whole thing. The vision, at last. This fancy is what I have chiefly to record this evening, against the day when my work will be done and perhaps no place left in my memory, warm or cold, for the miracle that ... (Hesitates.) ... for the fire that set it alight. What I suddenly saw then was this, that the belief I had been going on all my life, namely - (Krapp switches off impatiently, winds tape forward, switches on again.) - great granite rocks the foam flying up in the light of the lighthouse and the wind-gauge spinning like a propeller, clear to me at last that the dark I have always struggled to keep under is in reality - (Krapp curses, switches off, winds tape forward, switches on again.) — unshatterable 精神上是一个充满深沉忧郁和放纵的一年，直到那个令人难忘的三月晚上，在码头的尽头， 在呼啸的风中，永远不会被遗忘，当我突然看到了整个事情。终于看到了愿景。这个幻想是我今晚主要要记录的，等到有一天我的工作完成了，也许我的记忆中再也没有温暖或寒冷的地方，来容纳那个奇迹...（犹豫。）...点燃它的火。我当时突然看到的是，我一直以来信仰的东西，也就是 -（克拉普不耐烦地关掉，快进磁带，再次打开。）- 巨大的花岗岩石 泡沫在灯塔的光线下飞扬，风速计 像螺旋桨一样旋转， 终于清楚地明白，我一直努力掩盖的黑暗实际上是 -（克拉普咒骂，关掉，快进磁带，再次打开。）- 不可摧毁。
30 vidua: 守寨的，寡妇的。
31 weaver bird: 织巢鸟。
32 plumage: 鸟类羽毛。
33 starch: 拘谨, 古板, 生硬。
34 hooded perambulator: 有罩盖的赗儿车。
35 chrysolite: 贵橄榄石。
36 jetty:防波堤, 码头。
37 granite rocks: 花岗石。
38 wind-gauge: 风力计, 风速计。
39 spinning like a propeller: 像螺旋推进器一样旋转。
association until my dissolution of storm and night with the light of the understanding and the fire - (Krapp curses louder, switches off, winds tape forward, switches on again ) - my face in her breasts and my hand on her. We lay there without moving. But under us all moved, and moved us, gently, up and down, and from side to side. 直到我的消亡 ，将风暴和黑夜与理解之光和火联系在一起 - （克拉普咒骂声更大，关闭，将磁带前进，再次打开） - 我的脸在她的胸前，我的手在她身上。我们躺在那里一动不动。但在我们下面，一切都在移动，移动着我们，轻轻地上下摆动，左右摆动。
Pause.
Past midnight. Never knew such silence. The earth might be uninhabited.
Pause.
Here I end -
Krapp switches off, winds tape back, switches on again.
upper lake, with the punt, bathed off the bank, then pushed out into the stream and drifted. She lay stretched out on the floorboards with her hands under her head and her eyes closed. Sun blazing down, bit of a breeze, water nice and lively. I noticed a scratch on her thigh and asked her how she came by it. Picking gooseberries, she said. I said again I thought it was hopeless and no good going on, and she agreed, without opening her eyes. (Pause.) I asked her to look at me and after a few moments - (Pause.) - after a few moments she did, but the eyes just slits, because of the glare. I bent over her to get them in the shadow and they opened. (Pause. Low.) Let me in. (Pause.) We drifted in among the flags and stuck. The way they went down, sighing, before the stem! (Pause.) I lay down across her with my face in her breasts and my hand on her. We lay there without moving. But under us all moved, and moved us, gently, up and down, and from side to side. 上湖，坐在小船上， 从岸边下水，然后推出到水流中漂流。她躺在地板上，双手枕着头，闭着眼睛。阳光灿烂，微风拂过，水面波光粼粼。我注意到她大腿上有一道划痕，问她是怎么弄的。摘草莓， 她说。我再次说觉得绝望，觉得继续下去没有意义，她闭着眼睛同意了。（停顿。）我让她看着我，几分钟后 -（停顿。）- 几分钟后她看了过来，但眼睛只是一条缝，因为阳光太刺眼。我俯身使她的眼睛处于阴影中，她的眼睛睁开了。（停顿。低声）让我进去。（停顿。）我们漂流在芦苇丛中卡住了。它们在茎前叹息着下沉的方式！（停顿。）我横躺在她身上，脸埋在她的胸前，手放在她身上。我们躺在那里一动不动。但在我们下面，一切都在移动，轻轻地上下摇摆，左右摇摆。
Pause.
Past midnight. Never knew -
Krapp switches off, broods. Finally he fumbles in his pockets, encounters the banana, takes it out, peers at it, puts it back, fumbles, brings out the envelope, fumbles, puts back envelope, looks at his watch, gets up and goes backstage into darkness. Ten seconds. Sound of bottle against glass, then brief siphon. Ten seconds. Bottle against glass alone. Ten seconds. He comes back a little unsteadily into light, goes to the front of table, takes out keys, raises them to his eyes, chooses key, unlocks first drawer, peers into it, feels about inside it, takes out reel, peers at it, locks drawer, puts keys back in his pocket, goes and sits down, takes reel off machine, lays it on dictionary, loads virgin reel on machine, takes envelope from his pocket, consults back of it, lays it on table, switches on, clears his throat and begins to record. 克拉普关闭，沉思。最后他在口袋里摸索，碰到香蕉，拿出来，凝视着它，放回去，摸索，拿出信封，摸索，放回信封，看了看手表，站起来，走到后台的黑暗中。十秒钟。瓶子碰玻璃的声音，然后短暂的气泵声。十秒钟。瓶子碰玻璃的声音。十秒钟。他有点摇摇晃晃地回到光线中，走到桌子前，拿出钥匙，举到眼前，选择钥匙，打开第一个抽屉，凝视着里面，摸索其中，拿出卷轴，凝视着它，锁上抽屉，把钥匙放回口袋，走过去坐下，拿下机器上的卷轴，放在字典上，给机器装上新的卷轴，从口袋里拿出信封，查看背面，放在桌子上，打开开关，清了清嗓子，开始录音。
KRAPP
Just been listening to that stupid bastard I took myself for thirty years ago, hard to believe I was ever as bad as that. Thank God that's all done with anyway. (Pause.) The eyes she had! (Broods, realizes he is recording silence, switches off, broods. Finally.) Everything there, everything, all the - (Realizing this is not being recorded, switches on.) Everything there, everything on this old muckball, all the light and dark and famine and feasting of ... (Hesitates.) ... the ages! (In a shout.) Yes! (Pause.) Let that go! Jesus! Take his mind off his homework! Jesus (Pause. Weary.) Ah well, maybe he was right. (Broods. Realizes. Switches off. Consults envelope.) Pah! (Crumples it and throws it away. Broods. Switches on.) Nothing to say, not a squeak. What's a year now? The sour cud and the iron stool. (Pause.) Revelled in the word spool. (With relish.) Spooool! Happiest moment of the past half million. (Pause.) Seventeen copies sold, of which eleven at trade price to free 刚刚听了那个我三十年前认为自己是个愚蠢混蛋的录音，很难相信我曾经那么糟糕。感谢上帝，那一切都已经结束了。 （停顿。）她的眼睛！（沉思，意识到正在录制沉默，关闭录音，沉思。最后。）那里的一切，所有的一切，这个古老的泥球上的一切，所有的光明和黑暗，饥荒和盛宴…… （犹豫。）……岁月！（大声喊道。）是的！（停顿。）让它走吧！天啊！让他把注意力从家庭作业上转移！天啊（停顿。疲倦。）啊，也许他是对的。 （沉思。意识到。关闭。查看信封。）呸！（把它揉成一团扔掉。沉思。打开。）没什么可说的，一点声音都没有。现在是什么年代？酸涩的反刍和铁制凳子。 （停顿。）陶醉于“线轴”这个词。 （带着满足。）线轴！过去五十万年里最快乐的时刻。 （停顿。）卖出十七本，其中十一本以贸易价格出售给自由。
40 dissolution: 分解, 解散。
41 punt: 平底船。
42 gooseberries: 醋栗。
43 slits: 切开, 裂成狭长裂缝。
44 cud: 反刍的食物。
45 Revelled: 狂欢。
circulating libraries beyond the seas. Getting known. (Pause.) One pound six and something, eight I have little doubt. (Pause.) Crawled out once or twice, before the summer was cold. Sat shivering in the park, drowned in dreams and burning to be gone. Not a soul. (Pause.) Last fancies. (Vehemently.) Keep 'em under! (Pause.) Scalded the eyes out of me reading Effir again, a page a day, with tears again. Effie ... (Pause.) Could have been happy with her, up there on the Baltic, and the pines, and the dunes. (Pause.) Could I? (Pause.) And she? (Pause.) Pah! (Pause.) Fanny came in a couple of times. Bony old ghost of a whore. Couldn't do much, but I suppose better than a kick in the crutch. The last time wasn't so bad. How do you manage it, she said, at your age? I told her I'd been saving up for her all my life. (Pause.) Went to Vespers once, like when I as in short trousers. (Pause. Sings.) 海外的流动图书馆。变得知名。(停顿。)一镑六和一点点，我毫不怀疑。 (停顿。)在夏天变冷之前，爬出去过一两次。坐在公园里发抖，沉浸在梦想中，渴望离开。一个人都没有。(停顿。)最后的幻想。(激动地。)把它们压制住！(停顿。)再次读 Effir 时，眼睛被烫瞎，每天一页，再次流泪。Effie... (停顿。)本可以和她在波罗的海上，松树和沙丘上幸福。 (停顿。)我可以吗？(停顿。)她呢？(停顿。)呸！(停顿。)芬妮几次进来。一个老骨感的妓女。不能做太多，但我想比被踢在裆部好。最后一次还不错。你怎么做到的，她说，你这个年纪？我告诉她我一辈子都在为她存钱。(停顿。)曾经去过一次晚祷，就像我穿短裤时一样。(停顿。唱歌。)
Now the day is over,
Night is drawing nigh-igh,
Shadows - (Coughing, then almost inaudible.) - of the evening
Steal across the sky.
(Gasping.) Went to sleep and fell off the pew. (Pause.) Sometimes wondered in the night if a last effort mightn't - (Pause.) Ah finish your booze now and get to your bed. Go on with this drivel in the morning. Or leave it at that. (Pause.) Leave it at that. (Pause.) Lie propped up in the dark - and wander. Be again in the dingle on a Christmas Eve, gathering holly, the red-berried. (Pause.) Be again on Croghan on a Sunday morning, in the haze, with the bitch, stop and listen to the bells. (Pause.) And so on. (Pause.) Be again, be again. (Pause.) All that old misery. (Pause.) Once wasn't enough for you. (Pause.) Lie down across her. （喘息。）睡着了，从长凳上摔下来。 （停顿。）有时在夜里想，最后的努力不是可能吗 -（停顿。）啊，喝完你的酒 现在去睡觉吧。明天继续这个废话 。或者就这样吧。（停顿。）就这样吧。（停顿。）靠在黑暗中 - 漫步。再次在圣诞前夕的丛林中，采集冬青，那些红浆果。 （停顿。）再次在克罗汉山上，一个星期天早晨，在薄雾中，和母狗一起，停下来听钟声。 （停顿。）等等。 （停顿。）再次，再次。 （停顿。）所有那些旧的痛苦。 （停顿。）一次不够。 （停顿。）躺在她身上。
Long pause. He suddenly bends over machine, switches off, wrenches off tape, throws it away, puts on the other, winds it forward to the passage he wants, switches on, listens staring front. 长时间的暂停。他突然俯身到机器上，关掉开关，拧下磁带，扔掉它，换上另一个，将它向前卷到他想要的部分，打开开关，凝视前方听着。
TAPE
gooseberries, she said. I said again I thought it was hopeless and no good going on, and she agreed, without opening her eyes. (Pause.) I asked her to look at me and after a few moments - (Pause.) - after a few moments she did, but the eyes just slits, because of the glare. I bent over her to get them in the shadow and they opened. (Pause. Low.) Let me in. (Pause.) We drifted in among the flags and stuck. The way they went down, sighing, before the stem! (Pause.) I lay down across her with my face in her breasts and my hand on her. We lay there without moving. But under us all moved, and moved us, gently, up and down, and from side to side. 醋栗，她说。我再次说我觉得没希望，继续下去也没用，她闭着眼睛同意了。（停顿。）我让她看着我，过了几分钟 -（停顿。）- 几分钟后她看了过来，但眼睛只是缝隙，因为刺眼。我俯身使它们在阴影中，它们才睁开。（停顿。低声。）让我进去。（停顿。）我们漂流在芦苇中，卡住了。它们下垂的方式，叹息着，沿着茎！（停顿。）我躺在她身上，脸埋在她的胸前，手放在她身上。我们躺在那里一动不动。但在我们下面，一切都在移动，移动着我们，轻轻地，上下摇摆，左右摇摆。
Pause. Krapp's lips move. No sound.
Past midnight. Never knew such silence. The earth might be uninhabited.
Pause.
Here I end this reel. Box - (Pause. - three, spool - (Pause.) - five. (Pause.) Perhaps my best years are gone. When there was a chance of happiness. But I wouldn't want them back. Not with the fire in me now. No, I wouldn't want them back. 这里我结束这个卷轴。盒子 - （暂停。 - 三，线轴 - （暂停。） - 五。 （暂停。）也许我最好的岁月已经过去了。当幸福的机会出现时。但我不想把它们带回来。现在我心中燃烧着火焰，不，我不想把它们带回来。
Krapp motionless staring before him. The tape runs on in silence.
CURTAIN
46 dunes: 沙丘。
47 Vespers: 晚梼, 晚课
48 pew: 教堂内的靠前长登。
49 booze: 酒宴
50 drivel: 胡言乱语, 糊涂话
Beckett, Samuel. Krapp's Last Tape. 15 May 2008 <https://www.msu.edu/ sullivan/BeckettKrapp.html>.
What do you think about the way to record the past with tapes? Do you believe what the tape says about Krapp's life thirty years ago is true?
Do you think Krapp's song is in consistency with the play's dreary atmosphere?
Try to analyze the imagery of light and darkness.
A section is repeated in the play. Find it out and explain its importance for Krapp.
Could you tell the subtlety of memories, regrets, fantasies, and disappointment in the play?
What is Beckett's vision of human experience? Use evidence to support your idea.
A Brief Analysis of Trrapp's Last Tape
Along with Waiting for Godot and Endgame (1957), Krapp's Last Tape remains one of Beckett's major plays and was directed by Beckett himself on several occasions. Performed in New York in 1960, it was enthusiastically reviewed by Robert Brustein as Beckett's "best dramatic poem about the old age of the world." Played in Paris the same year, it was seen as "a kind of lyrical poem of solitude." The definitive performance was that of Martin Held, in a production directed by Beckett himself, which has been universally celebrated as outstanding. 随着《等待戈多》和《终局》（1957 年）一起，《克拉普的最后录音带》仍然是贝克特的重要剧作之一，并且曾多次由贝克特本人执导。1960 年在纽约上演时，罗伯特·布鲁斯坦对此作品给予了热情的评价，称其为贝克特关于世界衰老的“最佳戏剧诗”。同年在巴黎上演时，被视为“一种关于孤独的抒情诗”。马丁·赫尔德的表演被认为是最具代表性的，他在由贝克特本人执导的制作中出色地演绎了这一角色，被普遍赞誉为杰出之作。
The play looks complicated when it is read in an armchair, but is perfectly straightforward in performance. Old Krapp opens his own voice; the thirty-nine-year-old Krapp then speaks on tape; Krapp senior stops him, croaks out a fragment of a hymn, resumes his listening, interrupts it again to consult the dictionary, listens 这部戏在扶手椅上阅读时看起来很复杂，但在表演中却非常直接。老克拉普开启了自己的声音；三十九岁的克拉普随后在磁带上讲话；老克拉普停止他，嘶哑地唱出一段圣歌，继续倾听，再次打断以查阅字典，听取。
further, switches off when the younger man announces the imminent end of the tape and winds back to the account of the "farewell to love." Then Krapp the elder records his own comments, sings his hymn again, remembers the love story, throws away his current recording (his "last tape" of the title), returns for the third time to the love affair, and allows the old tape to be concluded and "run on in silence." 此外，当年轻人宣布磁带即将结束时，老克拉普关闭开关，倒带到“告别爱情”的描述。然后老克拉普记录自己的评论，再次唱起他的赞美诗，回忆起爱情故事，放弃当前的录音（标题中的“最后一盘磁带”），第三次回到恋爱事件，最后让旧磁带结束并“静静地继续播放”。
Many critics have congratulated Beckett on his imaginative use of the tape recorder. Although only one person is on stage, Beckett manages to have tow characters, in effect, by means of the 许多评论家对贝克特在使用录音机方面的想象力表示祝贺。尽管舞台上只有一个人，但贝克特通过这种方式成功地创造了两个角色。
recorded voice of the younger Krapp. The play, then, is only in a technical sense a monologue, in that the same actor plays both roles; but it comes over as a dialogue, conducted between an old man and his middle-aged hopeful self in former and happier times. Indeed there is even a shadowy presence of a third Krapp, in his late twenties, who is mentioned by thirty-nine-year-old Krapp. 年轻的克拉普的录音。因此，从技术上讲，这部戏只是一个独白，因为同一位演员扮演两个角色；但它却被视为一场对话，在以前更幸福的时光里，一个老人和他中年时期充满希望的自己之间进行。事实上，甚至还有一个第三个克拉普的模糊存在，他是在他三十九岁时被三十九岁的克拉普提到。
As the most important dramatic prop, the tape recorder incorporates material from the past into the play and enables the author to explore the problem of the ever-changing identity of the self. Early in the play, Beckett is careful to drive a wedge between the Krapp we see on the stage and the Krapp we hear on the tape. We see a short-sighted old man, who is bored, frustrated, cracked of voice and clownishly possessed of an autoerotic passion for bananas. We hear the "strong [...], rather pompous" voice of one who proclaims himself physically sound and intellectually at the crest of the wave. The two Krapps share a weakness for drink and bananas, and an ability to laugh at the aspirations of an even younger Krapp. The situation is both comic and strange, and the result of the confrontation is not simply of an arid present with a rich past, but of conflicting formations of the self. The life Krapp looks back on is the life of the selves he has made. Though his old selves may be forgotten, his successive patterns of habit grow out of one another, holding him the prisoner of men he can no longer even recognize. Here Beckett presents a man whose life over a period of some forty to fifty years is a sequence of fragmentary selves held together by habit and by a thread of memory. 作为最重要的戏剧道具，录音机将过去的材料融入剧本，使作者能够探索自我的不断变化身份的问题。在剧中早期，贝克特小心翼翼地在舞台上展示的克拉普和录音带上听到的克拉普之间划清了界限。我们看到一个目光短浅的老人，他感到无聊、沮丧，声音嘶哑，滑稽地对香蕉有一种自恋的激情。我们听到一个声音“强大[...], 相当自负”的人，他宣称自己在身体上健康，智力处于巅峰状态。这两个克拉普都对饮酒和香蕉有着弱点，都能够嘲笑甚至更年轻的克拉普的志向。这种情况既滑稽又奇怪，对抗的结果不仅仅是一个干燥的现在与一个丰富的过去，而是自我的冲突形成。克拉普回顾的生活是他创造的自我的生活。尽管他的旧自我可能被遗忘，但他连续的习惯模式相互衍生，使他成为他甚至无法认出的人的囚犯。 在这里，贝克特呈现了一个人的生活，在大约四十到五十年的时间里，是一系列由习惯和记忆之线连接在一起的片段自我。
The play ends with Krapp paralyzed and motionlessly staring into space and the tape, coming to its end, running on in silence. What has been wrong? The clues are there, but Krapp is too close to them. The audience, however, is in a position to see more clearly. The imagery of light and darkness points toward the answer. In the production the playing area is very bright, and the rest dark. This contrast is most striking, pinpointing the use of only a very small part of the stage for most of the action, and it is also of dramatic importance. It justifies Krapp's turning round anxiously once or twice, as if, Beckett said, "Old Nick" were there: "Death is standing behind him, and unconsciously he's looking for it [because] it's the end ... he's through with his work, with love and with religion." But there are also metaphysical reasons for the light/dark dichotomy. Evidently light represents to Krapp consciousness, activity, individuality, and the darkness seems to him to offer a retreat into the freedom of unawareness. Either path frightens him: forward into light and a full life, or backward into darkness and spiritual death. Half in life and half out of it, he can choose neither one direction nor the other. Besides, light also corresponds to rationality, the area of life in which man can conceptualize his experience and therefore feel himself the master of it. Darkness, on the other hand, is associated with the irrational, in which man can only open himself to receive experiences that break down, overpower him, and reduce him to submission. To a person who can see life only in sharp black and white, darkness is terrifying. Krapp would have to accept a life in which the light of reason and the darkness of irrationality stood side by side, reached out to one another, and interpenetrated. This, however, is something he dreads as if it were a threat to his very being. The irony is that, because he is unable to approach life in this way, that is, to accept it in its full complexity and mysteriousness, he never manages to become fully alive. 戏剧以克拉普瘫痪，毫无动静地凝视着空间和录音带结束，录音带在沉默中继续播放。出了什么问题？线索都在那里，但克拉普离它们太近了。然而，观众处于更清晰的位置。光与黑暗的意象指向答案。在制作中，演出区非常明亮，其余部分则很暗。这种对比最为显著，突出了舞台的大部分行动只使用了很小的一部分，这也具有戏剧性的重要性。这正好解释了克拉普焦虑地转身一两次，就像贝克特说的那样，“老尼克”在那里：“死亡站在他身后，他下意识地寻找着它[因为]这是终点……他完成了他的工作，与爱情和宗教告别。”但光/暗的二分法也有形而上的原因。显然，光对克拉普代表意识、活动、个性，而黑暗对他来说则提供了一个进入无知自由的避难所。任何一条道路都让他感到恐惧：向前走进光明和充实的生活，或者向后走进黑暗和精神死亡。 生活中一半，生活之外一半，他既不能选择一个方向，也不能选择另一个方向。此外，光也对应于理性，这是人可以概念化他的经验并因此感觉自己掌控的生活领域。另一方面，黑暗则与非理性相关联，人只能敞开心扉接受那些打破、压倒他并使他屈服的经验。对于一个只能看到生活的鲜明黑白的人来说，黑暗是可怕的。克拉普必须接受一个理性之光和非理性之暗并存、相互延伸、相互渗透的生活，然而，他对此深感畏惧，仿佛这是对他自身存在的威胁。讽刺的是，由于他无法以这种方式接近生活，也就是无法接受其完整的复杂性和神秘性，他从未能完全活过来。
Just as Krapp's life alternates between periods in the light and periods of escape into darkness,
so the women in his life represent to him an ambiguous combination of light and darkness, life and death, challenge and escape. The only woman with whom Krapp has a long relationship is his mother. Her long state of widowhood associates her with darkness and withdrawal from life. Krapp's desire for her death probably grows out of a complicated inner conflict: on the one hand, his resentment at her giving birth to him and imposing on him the burden of being, and on the other hand, the resentment for the paralysis of will that she symbolizes, preventing him from bearing the burden as a man. Apart from his mother, the first woman mentioned in the play is Bianca, whose name means white in Italian and whose setting is Kedar Street. Kedar means "dark" in Hebrew. As a white figure associated with light, she represents a challenge to Krapp to come to life, to accept the full being of manhood in a relationship with her. However, to be her lover Krapp has to accept the darkness of her setting. The younger Krapp chooses to withdraw from the challenge, and the thirty-nine year old looking back reaffirms the decision. Ten or twelve years later he is able to forget the reason of his retreat, but selects what is really only one side of her attraction: the warmth of her eyes. The darkness of her eyes, the challenge of mystery, is chosen to be buried. Another woman, the "dark nurse" is a similar image combining both darkness and light. The whiteness of her costume suggests the call to conscious being, while the darkness of her coloring suggests the realm of mystery into which an emotional relationship with a woman would carry him. Her role as a nurse, on the other hand, suggests the possibility of escape into an infantile dependency. The thirty-nine-year-old Krapp's description reveals his complicated reactions: "One dark young beauty I recollect particularly, all white and starch, incomparable bosom, with a big black hooded perambulator, most funereal thing." The shining bride, with a bosom both sexually enticing and maternal, draws him simultaneously toward manhood and toward infancy, toward activity and passivity, toward life and death. The last woman in Krapp's life is the girl in the boat, with whom he seems to have come closer than on any other occasion to a genuine interpenetration with another person. It is significant that this coming together takes place in shadow. Krapp has to shield the eyes, the traditional windows of the soul, from the glare of the sun so that they could open. Similarly, an emotional sharing of lives only takes place in an area of shadow. The complexity of Krapp's relationship with the dark side of life embodied in women is in fact a part of the philosophical vision which seems so important to the man. Having made his choices, Krapp has arrived at the condition he is now in, old and alone, facing the approach of the final night to which his Vespers hymn refers. 因此，他生活中的女人对他来说代表着光明和黑暗、生与死、挑战与逃避的模糊组合。克拉普唯一与之有长期关系的女人是他的母亲。她长期的寡居状态让她与黑暗和远离生活联系在一起。克拉普对她死亡的渴望可能源于一种复杂的内心冲突：一方面，他对她生下他并强加给他存在的负担的怨恨，另一方面，对她象征的意志瘫痪的怨恨，阻止他作为一个男人承担这个负担。除了他的母亲，剧中提到的第一个女人是比安卡，她的名字在意大利语中意为白色，她的背景是基达街。基达在希伯来语中意为“黑暗”。作为与光明相关联的白色形象，她对克拉普构成了一个挑战，要求他活过来，接受与她的关系中的男子气概。然而，要成为她的情人，克拉普必须接受她背景的黑暗。年轻的克拉普选择逃避挑战，而回望的三十九岁的他重申了这个决定。 十二年后，他能够忘记他撤退的原因，但选择了她吸引力的一个方面：她眼睛的温暖。她眼睛的黑暗，神秘的挑战，被选择埋藏。另一个女人，“黑暗护士”是一个类似的形象，结合了黑暗和光明。她制服的洁白暗示着对意识存在的召唤，而她的肤色的黑暗则暗示着与女人的情感关系将带领他进入的神秘领域。另一方面，她作为一名护士的角色暗示着逃避到婴儿式依赖的可能性。三十九岁的克拉普的描述揭示了他复杂的反应：“我特别记得一个黑暗的年轻美女，全身洁白而挺括，无与伦比的胸部，推着一个大黑色罩篷的婴儿车，最具葬礼气氛的东西。”闪亮的新娘，既性感又母性的胸部，同时将他引向成年和婴儿期，向活跃和被动，向生与死。 克拉普生命中的最后一个女人是船上的女孩，他似乎比其他任何时候都更接近与另一个人真正相互渗透。重要的是，这种相聚发生在阴影中。克拉普必须保护眼睛，传统的灵魂之窗，免受阳光的刺眼之处，以便它们能够打开。同样，生活的情感分享只发生在阴影区域。克拉普与生命黑暗面的关系的复杂性实际上是他的哲学愿景的一部分，这似乎对这个人很重要。克拉普已经做出了选择，他现在处于的状态，老了，孤独，面对他的晚祷诗所提到的最后一夜的来临。
The language in the play is another important vehicle to distinguish between the Krapp that we see and the one that we hear on tape. The language of Krapp the younger is more learned and even precious compared with Krapp the senior's. The latter is irritated at the former's pompous, pedantic style and he stops the tape whenever the younger one begins to declaim. He fails to understand the word "viduity" used by his former self. Perhaps even young Krapp may have used a dictionary for this, wishing to make a good impression on tape. But the language of the play operates on another important level. As Alec Reid has pointed out: 在戏剧中的语言是区分我们看到的克拉普和录音中听到的克拉普之间的另一个重要手段。年轻的克拉普的语言比老克拉普更有学问，甚至更珍贵。老克拉普对年轻克拉普的浮夸、学究气风格感到恼火，每当年轻人开始高谈阔论时，他就停止录音。他不理解自己以前使用的“寡妇”这个词。也许年轻的克拉普甚至可能为此使用了词典，希望在录音中留下良好印象。但戏剧的语言在另一个重要层面上起作用。正如亚历克·里德所指出的：
As we listen, we become aware of something else, of three distinct sound-patterns. Gradually we distinguish an even-paced measure for narrative speech, a slower, long-
drawn-out lyrical tempo, and a brisker, harsh, sardonic tone, and we notice the periods of silence marking the change from one rhythm to the next. From the interplay of these rhythms we gradually realizes that Krapp-at-39 is torn by two radically opposed elements in his character, and that the conflict still racks the old man sitting at the table in front of us. The sound-patterns [...] are inevitable; deliberately constructed by Beckett through the words he has chosen, the way he has arranged them, and the pauses which he has put down to separate them. 拉长的抒情节奏，以及更快、更严厉、更讽刺的语调，我们注意到沉默的时期标志着从一个节奏到下一个的变化。从这些节奏的相互作用中，我们逐渐意识到克拉普在 39 岁时被他性格中两个根本对立的元素所撕裂，而这种冲突仍然折磨着坐在我们面前桌子旁的老人。声音模式[...]是不可避免的；贝克特通过他选择的词语、他安排它们的方式以及他用来分隔它们的停顿，有意地构建了这些模式。
References
Barranger, Milly S. Understanding Plays. Boston: Allyn and Bacon, 1990.
Brustein, Robert, "Krapp's Last Tape." Samuel Beckett: The Critical Heritage. Ed. Lawrence Graver and
Raymond Federman. London: Routledge, 1997. 192
Fletcher, Beryl S. A Student's Guide to the Plays of Samuel Beckett. London: Faber & Faber, 1978.
Graver, Lowrence, and Raymond Federman, eds. Samuel Beakett: The Critical Heritage. London
Routledge & Kegan Paui, 1979
Lawley, Paul. "Stages of Identity: From Krapp's Last Tape to Play," The Cambridge Companion to Samuel
Beckett. Ed. John Pilling, Cambridge: Cambridge University Press, 1994. 88-95
"Samuel Beckett." 2 May 2008 < http://en:wikipedia.org/wiki/Samuel_Beckett>
Webb, Eugene. The Plays of Samuel Beckett. Seattle: University of Washington Press, 1974.
3.6 Selected Commentaries
Passage one
Shaw-ly Some Mistake
Kate Kellaway
George Bernard Shaw sets the scene for Widowers' Houses as follows: "In the garden restaurant of a hotel at Remagen on the Rhine, on a fine afternoon in August in the eighteen eighties. Looking down the Rhine towards Bonn, the gate leading from the garden to the riverside is seen on the right. The hotel is on the left ..." Shaw's stage directions read like bossy little novels. How would Fiona Shaw, an actress of unconventional brilliance, respond to Shaw's authority? 乔治·伯纳德·肖为《鳏夫之家》设定了如下场景：“在莱茵河畔雷马根的一家酒店的花园餐厅里，是十八八十年代的八月一个晴朗的下午。往下看莱茵河朝着波恩方向，花园通往河边的大门在右侧可见。酒店在左侧……”肖的舞台指示读起来像是专横的小小小说。非常出色的演员菲奥娜·肖会如何回应肖的权威？
The answer is: unconventionally. At the Cottesloe, part of the National Theatre in London, Shaw makes her debut as a director. And from the start, it is clear that she is intent on rebuilding Widowers' Houses, or on pulling them down. There is no Rhine, no furniture, no room with a view. There is a shelf generously piled up with grey sea stones and, behind these, what looks like a large grey parcel wrapped up in string (designer Peter McKintosh). I like sets that jettison detail. But in this case it was absurd watching formal characters trying to make themselves comfortable on bulky shingle for want of hotel chairs. 答案是：非传统。在伦敦国家剧院的科茨洛剧场，肖夫人首次担任导演。从一开始，就清楚地看到她打算重建遗孀之家，或者将其拆除。没有莱茵河，没有家具，也没有景观房间。有一个慷慨地堆满灰色海石的架子，背后似乎是用绳子包裹的一个大灰色包裹（设计师彼得·麦金托什）。我喜欢那些舍弃细节的布景。但在这种情况下，看着正式角色试图在笨重的鹅卵石上舒适地坐下，却没有酒店椅子，实在是荒谬的。
I loved the beginning: a man looking like GBS himself strolls on stage and, in a comically relaxed and benign way, enacts a peculiar, partial striptease, disposing of his red braces with a flourish, to the sound of an accordion. This is our introduction to Dr. Harry Trench, the medical student who seems to regard life as a permanent rag week and who occupies his body with twitching disregard. It is an arresting opening. But I still have no clue of what we were supposed to learn from it, beyond the exact appearance and colour of Dr. Trench's undergarments - and the proof that Jonathan Slinger can act. 我喜欢开头：一个看起来像 GBS 本人的男人漫步上台，在一个滑稽轻松和仁慈的方式中，表演了一个奇特的、部分的脱衣舞，用手风琴的声音摆动着他的红色背带。这是我们对哈里·特伦奇博士的介绍，这位医学生似乎把生活看作是一个永久的狂欢周，他用一种不经意的方式占据着自己的身体。这是一个引人注目的开场。但我仍然不知道我们应该从中学到什么，除了哈里·特伦奇博士内衣的确切外观和颜色 - 以及乔纳森·斯林格能够表演。
There is an old joke about books that suffer from "too many words." This production suffers from too much acting. A first-rate cast shows us, irrepressibly, what it can do. The effect is like observing good writers fatally in love with their own inventive imagery - at the expense of content. The production needs a severe or pitiless editor. Fiona Shaw is neither; she has an exorbitant, restless imagination that often distracts from the play. 有一个关于书籍的老笑话是它们“言多必失”。这部作品则是因为演技过多而受苦。一流的演员阵容向我们展示了他们无法抑制的表演能力。效果就像是观察到优秀作家对自己的创意形象爱得死去活来，而牺牲了内容。这部作品需要一个严厉或无情的编辑。菲奥娜·肖既不是严厉的，也不是无情的；她有着过分的、不安分的想象力，经常让人分心，偏离了剧本。
Widowers' Houses is - or ought to be - an austere piece. It does not need any flying buttresses; it can stand without help. It is about what happens when love and bad money meet. Trench has a modest income, but he can boast aristocratic relations. Blanche is not well-connected, but her father, Mr. Sartorius, is ostentatiously rich. Sartorius declares himself content for the match to go 鳏夫之家是-或应该是-一部朴素的作品。它不需要任何飞扶壁；它可以独立站立。它讲述的是当爱情和坏钱相遇时会发生什么。特伦奇有一份适中的收入，但他可以夸耀自己有贵族关系。布兰奇没有良好的社交关系，但她的父亲萨托里乌斯先生却是炫耀性地富有。萨托里乌斯宣称自己对这场婚事感到满意。
ahead on one snobbish condition: that Trench's fancy relations welcome his daughter unconditionally. Trench has not bothered to find out how Sartorius made his money. He is to discover, in the most sensational scene of the play, that his father-in-law owns rotten tenements which he rents out to the poor. Trench is appalled. The plot thickens, or tightens to a stranglehold, when Trench discovers for the first time that his own income is derived from interest on the mortgage of a property owned by Sartorius. He is Sartorius's toy. Trench discovers that it is not so easy to be self-righteous and censorious about the ill-gotten income of others when your own livelihood turns out to be from the same source. Like so many of Bernard Shaw's plays, this is a moral argument made flesh. Shaw filed the piece under "Plays unpleasant," and eloquently unpleasant it is. 提前提出了一个傲慢的条件：特伦奇的花俏亲戚们无条件地欢迎他的女儿。特伦奇从未费心去了解萨托里斯是如何赚钱的。在剧中最轰动的一幕中，他发现他的岳父拥有破烂的公寓，租给穷人。特伦奇感到震惊。情节变得更加扑朔迷离，或者说变得越发紧绷，当特伦奇第一次发现自己的收入来自于萨托里斯拥有的一处房产的抵押贷款利息时。他成了萨托里斯的玩物。特伦奇发现，当你的生计来源与他人的不义之财相同时，要自以为是和苛刻批评他人的非法收入并不容易。和伯纳德·肖的许多剧作一样，这是一个具体的道德争论。肖将这部作品归类为“令人不快的戏剧”，而它确实令人不快。
Pip Donaghy plays Mr. Sartorius. His performance stands out. There is always, even at his most extrovert moments, something withheld by this actor - a mournful look in the eye, or a sense of incipient menace. He brings moral complexity to the part: when Sartorius boasts of being a self-made man, there is anguish in it. There are moments when he becomes jovial - but in a sinister way. When he puts on a kilt and dances, he looks frighteningly kittenish. And Donaghy has a natural sense of timing. This is more than can be said for the production. It begins at manic speed - running away from and with itself, as if slow always meant dull. As Trench's friend, Cokane, Wale Ojo is especially hyper. There were moments when I was reminded of amateur productions where pace is so often a problem. I attended a matinee of Widowers' Houses, and at the interval most of the row in front of me removed itself. One scene, in particular, was the culprit. Blanche (well and intensely played by Emma Bernbach) retires behind a screen of gauze and we see her and Dr. Trench's crazy copulation in shadow play. It is clownishly obscene - quite an elaboration on the kiss that Bernard Shaw prescribed. Would GBS see it as GBH? My objection was that it was exhibitionist, part of a production that did not trust the play. And then, unsurprisingly in this production, Blanche becomes pregnant. The text does not allude to it, so we have to rely on telling glimpses of a swollen belly - to cartoon effect. 皮普·多纳吉饰演萨托里斯先生。他的表现脱颖而出。即使在他最外向的时刻，这位演员总是有所保留 - 眼中带着悲伤的眼神，或者一种潜在的威胁感。他为角色带来了道德复杂性：当萨托里斯吹嘘自己是一个白手起家的人时，其中充满了痛苦。有时他会变得愉快 - 但以一种险恶的方式。当他穿上苏格兰裙并跳舞时，看起来令人恐惧而又可爱。多纳吉有着天生的节奏感。这比对该制作的评价更多。它以疯狂的速度开始 - 似乎总是在逃避和追赶自己，好像缓慢总是意味着乏味。作为特伦奇的朋友科凯恩，瓦莱·奥乔尤为活跃。有时我想起了业余制作，其中节奏往往是个问题。我参加了一场《鳏夫之家》的日场演出，在中场休息时，我前面的大部分座位都空了。特别是有一个场景是罪魁祸首。布兰奇（由艾玛·伯恩巴赫出色而强烈地扮演）退到了一屏幕后面，我们看到她和特伦奇医生疯狂的性交的影子戏。这是滑稽地淫秽 - 是伯纳德·肖所规定的亲吻的一个相当详细的描述。 GBS 会把它看作 GBH 吗？我的反对意见是它是一种炫耀，是一部不信任剧本的制作的一部分。然后，在这个制作中，不出所料，布兰奇怀孕了。文本没有提到这一点，所以我们必须依靠一些肚子肿胀的瞥见——效果就像卡通一样。
Gary Sefton plays Lickcheese - the sacked rent-collector who reveals to Trench the truth about his father-in-law. Sefton is superb in this scene. He is vindictive, desperate and impossible to ignore - he has a family to support. Shaw intends that he should return in the second half as a well-heeled blackguard. You would think this transformation were enough. But in this production he is reinvented further as a camp fellow in a little black frock with jangly jet necklace. There is nothing to account for this theatrical indulgence. In the second half, the set has metamorphosed into a glass house with smashed windows - people have been throwing stones. I fear more stones before this production has run its course. 加里·塞夫顿扮演利克奇斯（被解雇的租金收取员），向特伦奇透露了关于他岳父的真相。塞夫顿在这一场景中表现出色。他报复心强，绝望且不容忽视 - 他有一个家庭要养活。肖打算让他在下半场回归为一个富有的恶棍。你可能会认为这种转变已经足够了。但在这个制作中，他进一步被重新塑造成一个穿着黑色小裙子、戴着叮当玉石项链的同性恋者。对于这种戏剧性的放纵没有任何解释。下半场，舞台变成了一个玻璃房子，窗户被打碎 - 人们一直在扔石头。我担心在这个制作结束之前会有更多的石头。
Kellaway, Kate. "Shaw-ly Some Mistake." New Statesman, 129 (2000): 45-46.
Krapp's Last Tape
Robert Brustein
"Krapp's Last Tape" is Samuel Beckett's latest, and very possibly his best, dramatic poem about the old age of the world. Still obsessed with the alienation, vacuity, and decay of life upon a planet devoid of God and hope, Beckett is finally able to sound those chords of compassion which have always vibrated quietly in his other work. Yet, what really strikes me as new is the extraordinary economy of the writing, the absolute flawlessness of the form. "Godot" and "Endgame," for all their great poetry and insight, were ultimately marred, I think, by their length. It is one thing to affirm that life is a string of aimless, inconsequential, and monotonous events; it is quite another to produce and reproduce these events upon the stage. Although Beckett's art, like Ionesco's, lends itself most readily to short statements, the burden of his plays - that one day is very much like another — has led him into labyrinths of longueur and repetition. 《克拉普的最后录音带》是塞缪尔·贝克特最新的，也很可能是他最好的戏剧诗，关于世界的老龄化。贝克特仍然困扰于世界上缺乏上帝和希望的异化、空虚和衰败，最终能够发出那些一直在他其他作品中悄然振动的同情和和谐的和弦。然而，真正让我感到新奇的是写作的非凡经济性，形式的绝对无瑕。《等待戈多》和《终局》尽管有着伟大的诗意和洞察力，但我认为最终被他们的长度所玷污。肯定生活是一连串毫无目的、毫无意义和单调乏味的事件是一回事；在舞台上产生和重现这些事件则是另一回事。尽管贝克特的艺术，像伊奥内斯科的艺术一样，最容易表达简短的陈述，但他戏剧的负担——一天和另一天非常相似——却导致他陷入了冗长和重复的迷宫。
In "Krapp," Beckett disposes of this problem with the aid of a simple mechanical device. Today and tomorrow are, through the use of a tape recorder, simultaneously revealed. Set in the future (I suspect all of Beckett's plays are), this brief and beautiful art-work revolves around a solitary character, the perfect realization of Beckett's idea of human isolation. Like so many of the author's creations, Krapp is incredibly ancient. He putters laboriously around his hermetic cell, myopically examining his keys, peering dimly into his books, testing his shrunken vocal organs on words which please him, pouring whiskey noisily down his throat, sucking toothlessly on a banana with the same relish and resignation that Estragon eats his carrot and Nagg his soda biscuit. Reduced to his most elementary appetites, Krapp has no purpose or occupation except to listen to his organs die and to feel his functions fail. He is, like Eliot's Gerontion, "an old man in a draughty house under a windy knob," but he is without even Gerontion's dream of rain. 在《克拉普》中，贝克特借助一个简单的机械装置解决了这个问题。通过使用录音机，今天和明天同时显现出来。这部作品设定在未来（我怀疑贝克特的所有戏剧都是如此），这部简短而美丽的艺术作品围绕着一个孤独的角色展开，完美地体现了贝克特对人类孤立的理念。像作者的许多创作一样，克拉普是令人难以置信的古老。他在他的密闭牢房里辛苦地忙碌着，近视地检查着他的钥匙，模糊地瞧着他的书，试验着他萎缩的声带发出让他满意的词语，大声地将威士忌灌进喉咙，无牙地吮吸着香蕉，就像埃斯特拉贡吃胡萝卜和纳格吃苏打饼干一样满足和无奈。克拉普被降至他最基本的欲望，除了听着他的器官死去和感受他的功能失败外，他没有任何目的或职业。他就像艾略特的《老人杰朗蒂昂》，“在一个风吹的旋钮下的通风房子里的老人”，但他甚至没有杰朗蒂昂对雨的梦想。
Krapp is surrounded, almost buried, by his past - boxes upon boxes of magnetic tapes, the vocal diary of his entire life. The action of the play is the replaying of one spool, a mundane yesterday recorded 30 years before when Krapp was middle-aged and already rather juiceless. The droning, slightly pompous voice from the machine evokes a variety of responses from the aged Krapp: anger, interest, melancholy, contempt, despair. A memory of feeling returns to his withered hand during a description of the texture of a black rubber ball; after the story of a girl in a tattered dress glimpsed on a railway platform, he hurriedly plays the section over; he turns the set off in disgust in the midst of a rabid, excited account of a eureka insight into the meaning of life; he collapses into ruins of longing during the indifferently intoned narrative of a sexual experience in a rocking boat. On the last tape, Krapp intends to record his present day's activities, but there is now nothing left in him, "not a squeak," nothing but memory, loss, and impotent desire, nothing 克拉普被他的过去所包围，几乎被埋没 - 一盒又一盒的磁带，记录了他一生的口述日记。剧中的情节是重播一个卷轴，一个平凡的昨天，30 年前克拉普还年轻中年，已经相当无趣。机器传来的单调、略显自大的声音引发了老年克拉普各种反应：愤怒、兴趣、忧郁、蔑视、绝望。在描述黑色橡胶球的质地时，他手上的一丝感觉记忆回来；在听到一个穿破烂裙子的女孩在火车站一瞥的故事后，他匆忙重播那一段；在听到一个狂热、兴奋地描述对生命意义的顿悟时，他厌恶地关闭了收音机；在听到一个漠然地叙述在摇晃的小船上性经历的故事时，他陷入了渴望的废墟。在最后一盒磁带上，克拉普打算记录当天的活动，但现在他已经一无所有，“一声尖叫”也没有，只剩下记忆、失落和无能为力的欲望，什么都没有。
to do but put on the old tape and eavesdrop on his past when he could still press the flesh against another human body. The curtain descends on Krapp stiffening in his rented room, his head laid miserably on the machine, his arms around it like a grotesque and wizened lover. It is a haunting and harrowing work, brilliantly directed by Alan Schneider and played by Donald Davis with just the right balance of pathos and absurdity. 只能播放旧磁带，偷听他过去的声音，当他还能将自己的肉体压在另一个人的身体上时。帷幕落下，克拉普僵硬地坐在他租的房间里，他悲惨地靠在机器上，他的手臂像一个怪诞而枯槁的情人一样环绕着它。这是一部令人难忘和令人心碎的作品，由艾伦·施耐德执导，唐纳德·戴维斯演绎得恰到好处，既有悲剧感又有荒谬感。
Brustein, Robert. "Krapp's Last Tape." Samuel Beckett: The Critical Heritage. Ed. Lawrence Graver and Raymond Federman. London: Routledge, 1997. 192.
3.7 Further Reading
Antigonê
A marble relief of a poet, perhaps Sophocles.
Sophocles (496 B.C.-406 B.C.)
One word frees us of all the weight and pain in life. That word is love.
Sophocles was one of the three ancient Greek tragedians whose works have survived to the present day, the other two being Aeschylus and Euripides. In his life Sophocles wrote 120 or more plays, but only seven have survived in a complete form, including the most famous Antigonê and Oedipus the King. For almost 50 years, Sophocles was the most-awarded playwright in the dramatic competitions of ancient Athens. He influenced the development of the drama, most importantly by adding a third actor and thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights such as Aeschylus. 索福克勒斯（Sophocles）是三位古希腊悲剧作家之一，其作品至今仍然流传，另外两位是埃斯库罗斯（Aeschylus）和欧里庇得斯（Euripides）。索福克勒斯一生中写了 120 多部戏剧，但只有七部完整保存下来，包括最著名的《安提戈涅》和《奥狄浦斯王》。在近 50 年的时间里，索福克勒斯是古代雅典戏剧比赛中获奖最多的剧作家。他对戏剧的发展产生了影响，最重要的是增加了第三位演员，从而减少了合唱在情节呈现中的重要性。他还比早期剧作家如埃斯库罗斯更深入地塑造了角色。
Antigonê
Readers will be able to understand Antigonê more fully if they understand the background of Polyneicês's death. After Oedipus exiled himself from Thebes, his two sons, Eteoclês and Polyneicês, shared the rule of Thebes. Although they originally agreed to reign in alternate years, Eteoclês refused to step down when his allotted time had passed. Polyneicês, with the help of the king of Argos, attempted to remove Eteoclês from the throne. In the attack on Thebes, the brothers killed one another. Creon assumed the throne and declared that Eteoclês should be buried with full honors. Because Polyneicês had attacked his native city, his body was to be shamefully left lying where he fell. 读者将能够更全面地理解《安提贡尼》如果他们了解波利涅克斯之死的背景。奥狄浦斯自底比斯流亡后，他的两个儿子埃忒俄克勒斯和波利涅克斯共同统治底比斯。尽管他们最初同意轮流统治，但埃忒俄克勒斯在轮到他下台时拒绝让位。波利涅克斯在阿尔戈斯国王的帮助下试图罢黜埃忒俄克勒斯的王位。在对底比斯的进攻中，两兄弟互相残杀。克瑞翁继承王位，并宣布埃忒俄克勒斯应该受到全副的葬礼。因为波利涅克斯袭击了他的家乡城市，他的尸体应该被羞辱地留在他倒下的地方。
Antigon
Sophocles
An English Version by Dudley Fitts and Robert Fitzgerald
CHARACTERS
ANTIGONÊ, daughter of Oedipus
ISMENÊ, daughter of Oedipus
EURYDICÊ, wife of Creon
CREON, King of Thebes
HAIMON, Son of Creon
TEIRESIAS, a blind seer
A SENTRY
A MESSENGER
CHOURUS
Scene. Before the palace of CREON, King of Thebes. A central double door, and two lateral doors. A platform extends the length of the façade, and from this platform three steps lead down into the "ORCHESTRA," or chorus-ground. 场景。底比斯国王克瑞昂的宫殿前。中央双门，两侧门。一个平台延伸到正面的长度，从这个平台上有三级台阶通往“乐池”，或合唱团地面。
Time. Dawn of the day after the repulse of the Argive army from the assault on Thebes.
PROLOGUE
(ANTIGON and ISMENEी enter from the central door of the palace.)
ANTIGONÊ: Ismenê, dear sister,
You would think that we had already suffered enough
For the curse on Oedipus.
I cannot imagine any grief
That you and I have not gone through. And now -
Have they told you of the new decree of our King Creon?
ISMENÊ: I have heard nothing: I know
That two sisters lost two brothers, a double death
In a single hour; and I know that the Argive army Fled in the night; but beyond this, nothing.
ANTIGONÊ: I thought so. And that is why I wanted you
To come out here with me. There is something we must do.
ISMENÊ: Why do you speak so strangely?
ANTIGONÊ: Listen, Ismenê:
Creon buried our brother Eteoclês
With military honors, gave him a soldier's funeral, And it was right that he should; but Polyneicês, Who fought as bravely and died as miserably They say that Creon has sworn No one shall bury him, no one mourn for him, But his body must lie in the fields, a sweet treasure For carrion birds to find as they search for food. That is what they say, and our good Creon is coming here To announce it publicly; and the penalty Stoning to death in the public square! There it is, And now you can prove what you are: 以军事荣誉给了他一个士兵的葬礼，这是正确的；但是波利涅克斯，他像勇敢地战斗，悲惨地死去，他们说克里昂发誓不让任何人埋葬他，也不让任何人为他哀悼，他的尸体必须躺在田野里，成为食腐鸟寻找食物的甜蜜宝藏。这就是他们说的，我们善良的克里昂正在这里公开宣布；而惩罚是在公共广场上用石头砸死！就是这样，现在你们可以证明你们是什么人了：
A true sister, or a traitor to your family.
ISMENÊ: Antigonê, you are mad! What could I possibly do?
ANTIGONÊ: You must decide whether you will help me or not.
ISMENÊ: I do not understand you. Help you in what?
ANTIGONÊ: Ismenê, I am going to bury him. Will you come?
ISMENÊ: Bury him! You have just said the new law forbids it.
ANTIGONÊ: He is my brother. And he is your brother, too.
ISMENÊ: But think of the danger! Think what Creon will do!
ANTIGONÊ: Creon is not strong enough to stand in my way. ISMENÊ: Ah sister!
Oedipus died, everyone hating him
For what his own search brought to light, his eyes
Ripped out by his own hand; and Iocastê died, His mother and wife at once: she twisted the cords
That strangled her life; and our two brothers died,
Each killed by the other's sword. And we are left:
But oh, Antigonê,
Think how much more terrible than these
Our own death would be if we should go against Creon
And do what he has forbidden! We are only women,
We cannot fight with men, Antigonê!
The law is strong, we must give in to the law
In this thing, and in worse. I beg the Dead
To forgive me, but I am helpless: I must yield
To those in authority. And I think it is dangerous business
To be always meddling.
ANTIGONÊ: If that is what you think,
I should not want you, even if you asked to come.
You have made your choice, you can be what you want to be.
But I will bury him, and if I must die,
I say that this crime is holy: I shall lie down
With him in death, and I shall be as dear
To him as he to me.
It is the dead,
Not the living, who make the longest demands:
We die for ever ...
You may do as you like,
Since apparently the laws of gods mean nothing to you.
ISMENE:: They mean a great deal to me; but I have no strength
To break laws that were made for the public good.
ANTIGONÊ: That must be your excuse, I suppose.
But as for me,
I will bury the brother I love.
ISMENÊ: Antigonê,
I am so afraid for you!
ANTIGONÊ: You need not be:
You have yourself to consider, after all.
ISMENÊ: But no one must hear of this, you must tell no one!
I will keep it a secret, I promise!
ANTIGONÊ: O tell it! Tell everyone!
Think how they'll hate you when it all comes out
If they learn that you knew about it all the time!
ISMENÊ: So fiery! You should be cold with fear.
ANTIGONÊ: Perhaps. But I am doing only what I must.
ISMENÊ: But can you do it? I say that you cannot.
ANTIGONÊ: Very well: when my strength gives out,
I shall do no more.
ISMENÊ: Impossible things should not be tried at all.
ANTIGONÊ: Go away, Ismenê:
I shall be hating you soon, and the dead will too, For your words are hateful.
Leave me my foolish plan:
I am not afraid of the danger; if it means death,
It will not be the worst of death - death without honor.
ISMENÊ: Go then, if you feel that you must.
You are unwise,
But a loyal friend indeed to those who love you.
(Exit into the palace. ANTIGONÊ goes off, left. Enter the CHORUS.)
PÁRODOS
Strophe 1
CHORUS: Now the long blade of the sun, lying
Level east to west, touches with glory
Thebes of the Seven Gates. Open, unlidded
Eye of golden day! O marching light
Across the eddy and rush of Dircê's stream,
Striking the white shields of the enemy
Thrown headlong backward from the blaze of morning!
CHORAGOS: Polyneicês their commander
Roused them with windy phrases,
He the wild eagle screaming
Insults above our land,
His wings their shields of snow,
His crest their marshalled helms.
Antistrophe 1
CHORUS: Against our seven gates in a yawning ring
The famished spears came onward in the night;
But before his jaws were sated with our blood.
Or pinefire took the garland of our towers,
He was thrown back; and as he turned, great Thebes -
No tender victim for his noisy power -
Rose like a dragon behind him, shouting war.
CHORAGOS: For God hates utterly
The bray of bragging tongues;
And when he beheld their smiling,
Their swagger of golden helms,
The frown of his thunder blasted
Their first man from our walls.
Strophe 2
CHORUS: We heard his shout of triumph high in the air
Turn to a scream; far out in the flaming arc
He fell with his windy torch, and the earth struck him.
And others storming in fury no less than his
Found shock of death in the dusty joy of battle.
CHORAGOS: Seven captains at seven gates
Yielded their clanging arms to the god
That bends the battle-line and breaks it.
These two only, brothers in blood,
Face to face in matchless rage,
Mirroring each the other's death,
Clashed in long combat.
Antistrophe 2
CHORUS: But now in the beautiful morning of victory
Let Thebes of the many chariots sing for joy!
With hearts for dancing we'll take leave of war:
Our temples shall be sweet with hymns of praise,
And the long nights shall echo with our chorus.
SCENEI
CHORAGOS: But now at last our new King is coming:
Creon of Thebes, Menoikeus' son.
In this auspicious dawn of his reign
What are the new complexities
That shifting Fate has woven for him?
What is his counsel? Why has he summoned
The old men to hear him?
(Enter CREON from the palace, center. He addresses the CHORUS from the top step.)
CREON: Gentlemen: I have the honor to inform you that our Ship of State, which recent storms have threatened to destroy, has come
safely to harbor at last, guided by the merciful wisdom of Heaven. I have summoned you here this morning because I know that I can depend upon you: your devotion to King Laïos was absolute; you never hesitated in your duty to our late ruler Oedipus; and when Oedipus died, your loyalty was transferred to his children. Unfortunately, as you know, his two sons, the princes Eteoclês and Polyneicês, have killed each other in battle; and , as the next in blood, have succeeded to the full power of the throne. 最终安全地驶入港口，受到天堂仁慈智慧的指引。我今天早上召集你们在这里，因为我知道我可以依靠你们：你对国王莱俄斯的忠诚是绝对的；你从未在对我们已故统治者伊底普斯的职责上犹豫；当伊底普斯去世时，你的忠诚转移到了他的孩子身上。不幸的是，正如你所知，他的两个儿子，王子埃忒克勒斯和波吕涅克斯，在战斗中互相杀害；而 ，作为血缘关系最近的人，已经继承了王位的全部权力。
I am aware, of course, that no Ruler can expect complete loyalty from his subjects until he has been tested in office. Nevertheless, I say to you at the very outset that I have nothing but contempt for the kind of Governor who is afraid, for whatever reason, to follow the course that he knows is best for the State; and as for the man who sets private friendship above the public welfare, - I have no use for him, either. I call God to witness that if I saw my country headed for ruin, I should not be afraid to speak out plainly; and I need hardly remind you that I would never have any dealings with an enemy of the people. No one values friendship more highly than I; but we must remember that friends made at the risk of wrecking our Ship are not real friends at all. 我当然知道，没有统治者能指望在经历过办公室考验之前就获得完全的忠诚。然而，我在一开始就告诉你们，我对那种因为任何原因而害怕跟随他知道对国家最有利的道路的州长深感鄙视；至于把私人友谊置于公共福祉之上的人，我对他也毫无用处。我呼吁上帝作证，如果我看到我的国家走向毁灭，我将毫不畏惧地直言不讳；我几乎不需要提醒你们，我永远不会与人民的敌人打交道。没有人比我更重视友谊；但我们必须记住，以危及我们的船只为代价而结交的朋友根本不是真正的朋友。
These are my principles, at any rate, and that is why I have made the following decision concerning the sons of Oedipus: Eteoclês, who died as a man should die, fighting for his country, is to be buried with full military honors, with all the ceremony that is usual when the greatest heroes die; but his brother Polyneicês, who broke his exile to come back with fire and sword against his native city and the shrines of his fathers' gods, whose one idea was to spill the blood of his blood and sell his own people into slavery - Polyneicês, I say, is to have no burial: no man is to touch him or say the least prayer for him; he shall lie on the plain, unburied; and the birds and the scavenging dogs can do with him whatever they like. 这些是我的原则，无论如何，这就是为什么我已经做出了关于俄狄浦斯的儿子们的以下决定：埃忒克勒斯，像一个人应该死去的那样，为他的国家而战而死，将被以完整的军事荣誉安葬，所有通常在最伟大的英雄死去时所进行的仪式都会进行；但他的兄弟波吕涅刻斯，打破了流亡之地回来，带着火和剑对抗他的故乡和他父神的神殿，他的唯一想法是流淌他的血并将自己的人民卖为奴隶 - 我说，波吕涅刻斯将不会被埋葬：没有人可以触碰他或为他祈祷；他将躺在平原上，无人埋葬；鸟类和食腐狗可以随意对待他。
This is my command, and you can see the wisdom behind it. As long as I am King, no traitor is going to be honored with the loyal man. But whoever shows by word and deed that he is on the side of the State, - he shall have my respect while he is living and my reverence when he is dead. 这是我的命令，你可以看到其中的智慧。只要我是国王，任何叛徒都不会被视为忠诚的人。但任何通过言行表明自己站在国家一边的人，他在世时将得到我的尊重，他去世后将得到我的敬意。
CHORAGOS: If that is your will, Creon son of Menoikeus,
You have the right to enforce it: we are yours.
CREON: That is my will. Take care that you do your part.
CHORAGOS: We are old men: let the younger ones carry it out.
CREON: I do not mean that: the sentries have been appointed.
CHORAGOS: Then what is it that you would have us do?
CREON: You will give no support to whoever breaks this law.
CHORAGOS: Only a crazy man is in love with death!
CREON: And death it is; yet money talks, and the wisest
Have sometimes been known to count a few coins too many.
(Enter SENTRY from left.)
SENTRY: I'll not say that I'm out of breath from running, King, because every time I stopped to think about what I have to tell you, I felt like going back. And all the time a voice kept saying, "You fool, don't you know you're walking straight into trouble?'; and then another voice: "Yes, but if you let somebody else get the news to Creon first, it will be even worse than that for you!" But good sense won out, at least I hope it was good sense, and here I am with a story that makes no sense at all; but I'll tell it anyhow, because, as they say, what's going to happen's going to happen and - 哨兵：国王，我不会说我跑得上气不接下气，因为每次我停下来想要告诉您的事情时，我都感觉想要回头。一直有个声音在说：“你这个傻瓜，难道不知道你正在直奔麻烦吗？”；然后又有另一个声音说：“是的，但如果你让别人先把消息告诉克里昂，那对你来说会更糟糕！”但好像理智占了上风，至少我希望是理智，所以我在这里讲述一个毫无意义的故事；但我还是会讲，因为正如他们所说，将要发生的事情就会发生，而且 -
CREON: Come to the point. What have you to say?
SENTRY: I did not do it. I did not see who did it.
You must not punish me for what someone else has done.
CREON: A comprehensive defense! More effective, perhaps, If I knew its purpose. Come: what is it?
SENTRY: A dreadful thing ... I don't know how to put it -
CREON: Out with it!
SENTRY: Well, then;
The dead man -
Polyneicês -
(Pause. The SENTRY is overcome, fumbles for words. CREON waits impassively.)
Out there -
Someone, -
New dust on the slimy flesh!
(Pause. No sign from CREON.)
Someone has given it burial that way, and
Gone ...
(Long pause. CREON finally speaks with deadly control.)
CREON: And the man who dared do this?
SENTRY: I swear I
Do not know! You must believe me!
Listen:
The ground was dry, not a sign of digging, no,
Not a wheeltrack in the dust, no trace of anyone,
It was when they relieved us this morning: and one of them,
The corporal, pointed to it.
There it was,
The strangest -
Look:
The body, just mounded over with light dust: you see?
Not buried really, but as if they'd covered it
Just enough for the ghost's peace. And no sign
Of dogs or any wild animal that had been there.
And then what a scene there was! Every man of us
Accusing the other: we all proved the other man did it,
We all had proof that we could not have done it.
We were ready to take hot iron in our hands,
Walk through fire, swear by all the gods,
It was not I!
I do not know who it was, but it was not I!
(CREON's rage has been mounting steadily, but the SENTRY is too intent upon his story to notice it.)
And then, when this came to nothing, someone said
A thing that silenced us and made us stare
Down at the ground: you had to be told the news,
And one of us had to do it! We threw the dice, And the bad luck fell to me: So here I am, No happier to be here than you are to have me:
Nobody likes the man who brings bad news.
CHORAGOS: I have been wondering, King: can it be that the gods have done this?
CREON(furiously): Stop!
Must you doddering wrecks
Go out of your heads entirely? "The gods"!
Intolerable!
The gods favor this corpse? Why? How had he served them?
Tried to loot their temples, burn their images,
Yes, and the whole State, and its laws with it!
Is it your senile opinion that the gods love to honor bad men?
A pious thought! -
No, from the very beginning
There have been those who have whispered together,
Stiff-necked anarchists, putting their heads together,
Scheming against me in alleys. These are the men,
And they have bribed my own guard to do this thing.
(Sententiously) Money!
There's nothing in the world so demoralizing as money.
Down go your cities,
Homes gone, men gone, honest hearts corrupted,
Crookedness of all kinds, and all for money!
(To SENTRY)
But you -!
I swear by God and by the throne of God, The man who has done this thing shall pay for it! Find that man, bring him here to me, or your death Will be the least of your problems: I'll string you up 我指着上帝和上帝的宝座发誓，做了这件事的人将为此付出代价！找到那个人，把他带到我这里，否则你的死将是你最小的问题：我会把你绞死
Alive, and there will be certain ways to make you
Discover your employer before you die;
And the process may teach you a lesson you seem to have missed:
The dearest profit is sometimes all too dear:
That depends on the source. Do you understand me?
A fortune won is often misfortune.
SENTRY: King, may I speak?
CREON: Your very voice distresses me.
SENTRY: Are you sure that it is my voice, and not your conscience?
CREON: By God, he wants to analyze me now!
SENTRY: It is not what I say, but what has been done, that hurts you.
CREON: You talk too much.
SENTRY: Maybe; but I've done nothing.
CREON: Sold your soul for some silver: that's all you've done.
SENTRY: How dreadful it is when the right judge judges wrong!
CREON: Your figures of speech
May entertain you now; but unless you bring me the man, You will get little profit from them in the end.
(Exit CREON into the palace.)
SENTRY: "Bring me the man"-!
I'd like nothing better than bringing him the man!
But bring him or not, you have seen the last of me here.
At any rate, I am safe!
(Exit SENTRY.)
ODEI
Strophe 1
CHORUS: Numberless are the world's wonders, but none More wonderful than man; the storm gray sea Yields to his prows, the huge crests bear him high; Earth, holy and inexhaustible, is graven With shining furrows where his plows have gone Year after year, the timeless labor of stallions. 合唱：世界的奇迹无数，但没有比人更奇妙的了；暴风雨的大海屈服于他的船头，巨浪高高托起他；圣洁而无穷尽的大地上刻满了闪亮的犁沟，那是他的犁耕岁月年复一年，是无尽的马匹劳作。
Antistrophe 1
The lightboned birds and beasts that cling to cover, The lithe fish lighting their reaches of dim water, All are taken, tamed in the net of his mind;
The lion on the hill, the wild horse windy-maned, Resign to him; and his blunt yoke has broken The sultry shoulders of the mountain bull.
Strophe 2
Words also, and thought as rapid as air, He fashions to his good use; statecraft is his, And his the skill that deflects the arrows of snow, The spears of winter rain: from every wind He has made himself secure - from all but one: In the late wind of death he cannot stand. 话语也像空气一样迅速，他将其塑造成自己的好用之物；政治是他的，避开雪箭、冬雨之矛的技巧也是他的：他使自己免受一切风的侵袭——除了一种：在死亡的最后风中，他无法站立。
Antistrophe 2
O clear intelligence, force beyond all measure!
fate of man, working both good and evil!
When the laws are kept, how proudly his city stands!
When the laws are broken, what of his city then?
Never may the anárchic man find rest at my hearth,
Never be it said that my thoughts are his thoughts.
SCENE II
(Reenter SENTRY leading ANTIGONÊ.)
CHORAGOS: What does this mean? Surely this captive woman Is the Princess, Antigonê. Why should she be taken?
SENTRY: Here is the one who did it! We caught her
In the very act of burying him. - Where is Creon?
CHORAGOS: Just come from the house.
(Enter CREON, center.)
CREON: What has happened?
Why have you come back so soon?
SENTRY(expansively): O King,
A man should never be too sure of anything:
I would have sworn
That you'd not see me here again: your anger
Frightened me so, and the things you threatened me with;
But how could tell then
That I'd be able to solve the case so soon?
No dice-throwing this time: I was only too glad to come!
Here is this woman. She is the guilty one:
We found her trying to bury him.
Take her, then; question her; judge her as you will.
I am through with the whole thing now, and glad of it.
CREON: But this is Antigonê! Why have you brought her here?
SENTRY: She was burying him, I tell you!
CREON(severely): Is this the truth?
SENTRY: I saw her with my own eyes. Can I say more?
CREON: The details: come, tell me quickly!
SENTRY: It was like this:
After those terrible threats of yours, King,
We went back and brushed the dust away from the body.
The flesh was soft by now, and stinking,
So we sat on the hill to windward and kept guard.
No napping this time! We kept each other awake.
But nothing happened until the white round sun
Whirled in the center of the round sky over us:
Then, suddenly,
A storm of dust roared up from the earth, and the sky
Went out, the plain vanished with all its trees
In the stinging dark. We closed our eyes and endured it.
The whirlwind lasted a long time, but it passed;
And then we looked, and there was Antigonê!
I have seen
A mother bird come back to a stripped nest, heard
Her crying bitterly a broken note or two
For the young ones stolen. Just so, when this girl
Found the bare corpse, and all her love's work wasted,
She wept, and cried on heaven to damn the hands
That had done this thing.
And then she brought more dust
And sprinkled wine three times for her brother's ghost.
We ran and took her at once. She was not afraid,
Not even when we charged her with what she had done.
She denied nothing.
And this was a comfort to me,
And some uneasiness: for it is a good thing
To escape from death, but it is no great pleasure
To bring death to a friend.
Yet I always say
There is nothing so comfortable as your own safe skin!
CREON(slowly, dangerously): And you, Antigonê,
You with your head hanging, - do you confess this thing?
ANTIGONÊ: I do. I deny nothing.
CREON (to SENTRY): You may go.
(Exit SENTRY.)
(To ANTIGONÊ) Tell me, tell me briefly:
Had you heard my proclamation touching this matter?
ANTIGONÊ: It was public. Could I help hearing it?
CREON: And yet you dared defy the law.
ANTIGONÊ: I dared.
It was not God's proclamation. That final Justice
That rules the world below makes no such laws.
Your edict, King, was strong,
But all your strength is weakness itself against
The immortal unrecorded laws of God.
They are not merely now: they were, and shall be, Operative for ever, beyond man utterly.
I knew I must die, even without your decree:
I am only mortal. And if I must die
Now, before it is my time to die,
Surely this is no hardship: can anyone
Living, as I live, with evil all about me,
Think Death less than a friend? This death of mine
Is of no importance; but if I had left my brother Lying in death unburied, I should have suffered.
Now I do not.
You smile at me. Ah Creon,
Think me a fool, if you like; but it may well be
That a fool convicts me of folly.
CHORAGOS: Like father, like daughter: both headstrong, deaf to reason!
She has never learned to yield.
CREON: She has much to learn.
The inflexible heart breaks first, the toughest iron
Cracks first, and the wildest horses bend their necks
At the pull of the smallest curb.
Pride? In a slave?
This girl is guilty of a double insolence, Breaking the given laws and boasting of it.
Who is the man here,
She or , if this crime goes unpunished?
Sister's child, or more than sister's child,
Or closer yet in blood - she and her sister
Win bitter death for this!
(To SERVANTS)
Go, some of you,
Arrest Ismenê. I accuse her equally.
Bring her: you will find her sniffling in the house there.
Her mind's a traitor: crimes kept in the dark
Cry for light, and the guardian brain shudders;
But how much worse than this
Is brazen boasting of barefaced anarchy!
ANTIGONÊ: Creon, what more do you want than my death?
CREON: Nothing.
That gives me everything.
ANTIGONÊ: Then I beg you: kill me.
This talking is a great weariness: your words
Are distasteful to me, and I am sure that mine
Seem so to you. And yet they should not seem so:
I should have praise and honor for what I have done.
All these men here would praise me
Were their lips not frozen shut with fear of you.
(Bitterly) Ah the good fortune of kings,
Licensed to say and do whatever they please!
CREON: You are alone here in that opinion.
ANTIGONÊ: No, they are with me. But they keep their tongues in leash.
CREON: Maybe. But you are guilty, and they are not.
ANTIGONÊ: There is no guilt in reverence for the dead.
CREON: But Eteoclês - was he not your brother too?
ANTIGONÊ: My brother too.
CREON: And you insult his memory?
ANTIGONÊ (softly): The dead man would not say that I insult it.
CREON: He would: for you honor a traitor as much as him.
ANTIGONÊ: His own brother, traitor or not, and equal in blood.
CREON: He made war on his country. Eteoclês defended it.
ANTIGONÊ: Nevertheless, there are honors due all the dead.
CREON: But not the same for the wicked as for the just.
ANTIGONÊ: Ah Creon, Creon,
Which of us can say what the gods hold wicked?
CREON: An enemy is an enemy, even dead.
ANTIGONÊ: It is my nature to join in love, not hate.
CREON (finally losing patience): Go join them then; if you must have love,
Find it in hell!
CHORAGOS: But see, Ismenê comes:
(Enter ISMENÊ, guarded.)
Those tears are sisterly, the cloud
That shadows her eyes rains down gentle sorrow.
CREON: You too, Ismenê,
Snake in my ordered house, sucking my blood
Stealthily - and all the time I never knew
That these two sisters were aiming at my throne!
Ismenê,
Do you confess your share in this crime, or deny it?
Answer me.
ISMENÊ: Yes, if she will let me say so. I am guilty.
ANTIGONÊ (coldly): No, Ismenê. You have no right to say so.
You would not help me, and I will not have you help me.
ISMENÊ: But now I know what you meant; and I am here
To join you, to take my share of punishment.
ANTIGONE:: The dead man and the gods who rule the dead Know whose act this was. Words are not friends.
ISMENÊ: Do you refuse me, Antigonê? I want to die with you:
I too have a duty that I must discharge to the dead.
ANTIGONÊ: You shall not lessen my death by sharing it.
ISMENE:: What do I care for life when you are dead?
ANTIGONÊ: Ask Creon. You're always hanging on his opinions.
ISMENÊ: You are laughing at me. Why, Antigonê?
ANTIGONÊ: It's a joyless laughter, Ismenê.
ISMENÊ: But can I do nothing?
ANTIGONÊ: Yes. Save yourself. I shall not envy you.
There are those who will praise you; I shall have honor, too.
ISMENÊ: But we are equally guilty!
ANTIGONÊ: No more, Ismenê.
You are alive, but I belong to Death.
CREON (to the CHROUS): Gentlemen, I beg you to observe these girls:
One has just now lost her mind; the other, It seems, has never had a mind at all.
ISMENÊ: Grief teaches the steadiest minds to waver, King.
CREON: Yours certainly did, when you assumed guilt with the guilty!
ISMENÊ: But how could I go on living without her?
CREON: You are. She is already dead.
ISMENÊ: But your own son's bride!
CREON: There are places enough for him to push his plow.
I want no wicked women for my sons!
ISMENÊ: O dearest Haimon, how your father wrongs you!
CREON: I've had enough of your childish talk of marriage!
CHORAGOS: Do you really intend to steal this girl from your son?
CREON: No; Death will do that for me.
CHORAGOS: Then she must die?
CREON (ironically): You dazzle me.
But enough of this talk!
(To GUARDS) You, there, take them away and guard them well:
For they are but women, and even brave men run
When they see Death coming.
(Exeunt ISMENÊ, ANTIGONÊ, and GUARDS.)
ODEII
Strophe 1
CHORUS: Fortunate is the man who has never tasted God's vengeance!
Where once the anger of heaven has struck, that house is shaken
For ever: damnation rises behind each child
Like a wave cresting out of the black northeast,
When the long darkness under sea roars up
And bursts drumming death upon the wind-whipped sand.
Antistrophe 1
I have seen this gathering sorrow from time long past
Loom upon Oedipus' children: generation from generation
Takes the compulsive rage of the enemy god.
So lately this last flower of Oedipus' line
Drank the sunlight! But now a passionate word
And a handful of dust have closed up all its beauty.
Strophe 2
What mortal arrogance
Transcends the wrath of Zeus?
Sleep cannot lull him nor the effortless long months
Of the timeless gods: but he is young for ever,
And his house is the shining day of high Olympus.
All that is and shall be,
And all the past, is his.
No pride on earth is free of the curse of heaven.
Antistrophe 2
The straying dreams of men
May bring them ghosts of joy:
But as they drowse, the waking embers burn them;
Or they walk with fixed eyes, as blind men walk.
But the ancient wisdom speaks for our own time:
Fate works most for woe
With Folly's fairest show.
Man's little pleasure is the spring of sorrow.
SCENEIII
CHORAGOS: But here is Haimon, King, the last of all your sons.
It is grief for Antigonê that brings him here,
And bitterness at being robbed of his bride?
(Enter HAIMON.)
CREON: We shall soon see, and no need of diviners.
Son,
You have heard my final judgment on that girl:
Have you come here hating me, or have you come
With deference and with love, whatever I do?
HAIMON: I am your son, father. You are my guide.
You make things clear for me, and I obey you.
No marriage means more to me than your continuing wisdom.
CREON: Good. That is the way to behave: subordinate
Everything else, my son, to your father's will.
This is what a man prays for, that he may get
Sons attentive and dutiful in his house,
Each one hating his father's enemies, Honoring his father's friends. But if his sons
Fail him, if they turn out unprofitably, What has he fathered but trouble for himself And amusement for the malicious?
So you are right
Not to lose your head over this woman.
Your pleasure with her would soon grow cold, Haimon,
And then you'd have a hellcat in bed and elsewhere.
Let her find her husband in Hell!
Of all the people in this city, only she
Has had contempt for my law and broken it.
Do you want me to show myself weak before the people?
Or to break my sworn word? No, and I will not.
The woman dies.
I suppose she'll plead "family ties." Well, let her.
If I permit my own family to rebel,
How shall I earn the world's obedience?
Show me the man who keeps his house in hand,
He's fit for public authority.
I'll have no dealings
With lawbreakers, critics of the government:
Whoever is chosen to govern should be obeyed -
Must be obeyed, in all things, great and small, Just and unjust! O Haimon,
The man who knows how to obey, and that man only, Knows how to give commands when the time comes.
You can depend on him, no matter how fast
The spears come: he's a good soldier, he'll stick it out.
Anarchy, anarchy! Show me a greater evil!
This is why cities tumble and the great houses rain down,
This is what scatters armies!
No, no: good lives are made so by discipline.
We keep the laws then, and the lawmakers, And no woman shall seduce us. If we must lose, Let's lose to a man, at least! Is a woman stronger than we?
CHORAGOS: Unless time has rusted my wits,
What you say, King, is said with point and dignity.
HAIMON(boyishly earnest): Father:
Reason is God's crowning gift to man, and you are right
To warn me against losing mine. I cannot say -
I hope that I shall never want to say! - that you
Have reasoned badly. Yet there are other men
Who can reason, too; and their opinions might be helpful.
You are not in a position to know everything
That people say or do, or what they feel:
Your temper terrifies - everyone
Will tell you only what you like to hear.
But I, at any rate, can listen; and I have heard them
Muttering and whispering in the dark about this girl.
They say no woman has ever, so unreasonably,
Died so shameful a death for a generous act:
"She covered her brother's body. Is this indecent?
She kept him from dogs and vultures. Is this a crime?
Death? - She should have all the honor that we can give her!"
This is the way they talk out there in the city.
You must believe me:
Nothing is closer to me than your happiness.
What could be closer? Must not any son
Value his father's fortune as his father does his?
I beg you, do not be unchangeable:
Do not believe that you alone can be right.
The man who thinks that,
The man who maintains that only he has the power
To reason correctly, the gift to speak, the soul -
A man like that, when you know him, turns out empty.
It is not reasonable never to yield to reason!
In flood time you can see how some trees bend, And because they bend, even their twigs are safe, While stubborn trees are torn up, roots and all. And the same thing happens in sailing:
Make your sheet fast, never slacken, - and over you go, Head over heels and under: and there's your voyage.
Forget you are angry! Let yourself be moved!
I know I am young; but please let me say this:
The ideal condition
Would be, I admit, that men should be right by instinct;
But since we are all too likely to go astray,
The reasonable thing is to learn from those who can teach.
CHORAGOS: You will do well to listen to him, King,
If what he says is sensible. And you, Haimon, Must listen to your father. - Both speak well.
CREON: You consider it right for a man of my years and experience
To be schooled by a boy?
HAIMON: It is not right
If I am wrong. But if I am young, and right,
What does my age matter?
CREON: You think it right to stand up for an anarchist?
HAIMON: Not at all. I pay no respect to criminals.
CREON: Then she is not a criminal?
HAIMON: The City would deny it, to a man.
CREON: And the City proposes to teach me how to rule?
HAIMON: Ah. Who is it that's talking like a boy now?
CREON: My voice is the one voice giving orders in this City!
HAIMON: It is no City if it takes orders from one voice.
CREON: The State is the King!
HAIMON: Yes, if the State is a desert.
(Pause)
CREON: This boy, it seems, has sold out to a woman.
HAIMON: If you are a woman: my concern is only for you.
CREON: So? Your "concern"! In the public brawl with your father!
HAIMON: How about you, in a public brawl with justice?
CREON: With justice, when all that I do is within my rights?
HAIMON: You have no right to trample on God's right.
CREON(completely out of control): Fool, adolescent fool!
Taken in by a woman!
HAIMON: You'll never see me taken in by anything vile.
CREON: Every word you say is for her!
HAIMON(quietly, darkly): And for you.
And for me. And for the gods under the earth.
CREON: You'll never marry her while she lives.
HAIMON: Then she must die. - But her death will cause another.
CREON: Another?
Have you lost your senses? Is this an open threat?
HAIMON: There is no threat in speaking to emptiness.
CREON: I swear you'll regret this superior tone of yours!
You are the empty one!
HAIMON: If you were not my father,
I'd say you were perverse.
CREON: You girl-struck fool, don't play at words with me!
HAIMON: I am sorry. You prefer silence.
CREON: Now, by God -!
I swear, by all the gods in heaven above us,
You'll watch it, I swear you shall!
(To the SERVANTS)
Bring her out!
Bring the woman out! Let her die before his eyes!
Here, this instant, with her bridegroom beside her!
HAIMON: Not here, no; she will not die here, King.
And you will never see my face again.
Go on raving as long as you've a friend to endure you.
(Exit HAIMON.)
CHORAGOS: Gone, gone.
Creon, a young man in a rage is dangerous!
CREON: Let him do, or dream to do, more than a man can.
He shall not save these girls from death.
CHORAGOS: These girls?
You have sentenced them both?
CREON: No, you are right.
I will not kill the one whose hands are clean.
CHORAGOS: But Antigonê?
CREON (somberly): I will carry her far away
Out there in the wilderness, and lock her
Living in a vault of stone. She shall have food,
As the custom is, to absolve the State of her death.
And there let her pray to the gods of Hell:
They are her only gods:
Perhaps they will show her an escape from death,
Or she may learn,
though late,
That piety shown the dead is piety in vain.
(Exit CREON.)
ODEIII
Strophe
CHORUS: Love, unconquerable
Waster of rich men, keeper
Of warm lights and all-night vigil
In the soft face of a girl:
Sea-wanderer, forest-visitor!
Even the pure Immortals cannot escape you,
And mortal man, in his one day's dusk,
Trembles before your glory.
Antistrophe
Surely you swerve upon ruin
The just man's consenting heart,
As here you have made bright anger
Strike between father and son -
And none has conquered but Love!
A girl's glance working the will of heaven:
Pleasure to her alone who mocks us, Merciless Aphroditê.
SCENE IV
CHORAGOS(as ANTIGONÊ enters guarded):
But I can no longer stand in awe of this, Nor, seeing what I see, keep back my tears. Here is Antigonê, passing to that chamber Where all find sleep at last.
Strophe 1
ANTIGONÊ: Look upon me, friends, and pity me
Turning back at the night's edge to say
Good-by to the sun that shines for me no longer;
Now sleepy Death
Summons me down to Acheron, that cold shore:
There is no bridesong there, nor any music.
CHORUS: Yet not unpraised, not without a kind of honor,
You walk at last into the underworld;
Untouched by sickness, broken by no sword.
What woman has ever found your way to death?
4 Aphroditê: 阿芙罗狄蒂 (爱与美的女神)。
Antistrophe 1
ANTIGONÊ: How often have I heard the story of Niobê,
Tantalos' wretched daughter, how the stone
Clung fast about her, ivy-close: and they say
The rain falls endlessly
And sifting soft snow; her tears are never done
I feel the loneliness of her death in mine.
CHORUS: But she was born of heaven, and you
Are woman, woman-born. If her death is yours,
A mortal woman's, is this not for you
Glory in our world and in the world beyond?
Strophe 2
ANTIGONÊ: You laugh at me. Ah, friends, friends,
Can you not wait until I am dead? O Thebes, O men many-charioted, in love with Fortune, Dear springs of Dircê, sacred Theban grove, Be witnesses of me, denied all pity, Unjustly judged! and think a word of love For her whose path turns 你能不能等到我死了？奥底普斯，驾着许多战车的人们，爱上了命运，亲爱的迪尔刻之泉，神圣的底比斯树林，请作证，我被剥夺了所有怜悯，被不公正地判决！请为那个转变道路的人想一句爱的话
Under dark earth, where there are no more tears.
CHORUS: You have passed beyond human daring and come at last
Into a place of stone where Justice sits.
I cannot tell
What shape of your father's guilt appears in this.
Antistrophe 2
ANTIGONÊ: You have touched it at last: that bridal bed
Unspeakable, horror of son and mother mingling:
Their crime, infection of all our family!
O Oedipus, father and brother!
Your marriage Strikes from the grave to murder mine.
I have been a stranger here in my own land:
All my life
The blasphemy of my birth has followed me.
CHORUS: Reverence is a virtue, but strength
Lives in established law: that must prevail.
You have made your choice,
Your death is the doing of your conscious hand.
Epode
ANTIGONÊ: Then let me go, since all your words are bitter,
And the very light of the sun is cold to me.
Lead me to my vigil, where I must have
Neither love nor lamentation; no song, but silence.
(CREON interrupts impatiently.)
CREON: If dirges and planned lamentations could put off death,
Men would be singing for ever.
(To the SERVANTS)
Take her, go!
You know your orders: take her to the vault
And leave her alone there. And if she lives or dies,
That's her affair, not ours: our hands are clean
ANTIGONÊ: O tomb, vaulted bride-bed in eternal rock,
Soon I shall be with my own again
Where Persephonê welcomes the thin ghosts underground:
And I shall see my father again, and you, mother,
And dearest Polyneicês -
dearest indeed
To me, since it was my hand
That washed him clean and poured the ritual wine:
And my reward is death before my time!
And yet, as men's hearts know, I have done no wrong,
I have not sinned before God. Or if I have,
I shall know the truth in death. But if the guilt
Lies upon Creon who judged me, then I pray,
May his punishment equal my own.
CHORAGOS: O passionate heart, Unyielding, tormented still by the same winds!
CREON: Her guards shall have good cause to regret their delaying.
ANTIGONÊ: Ah! That voice is like the voice of death!
CREON: I can give you no reason to think you are mistaken.
ANTIGONÊ: Thebes, and you my fathers' gods,
And rulers of Thebes, you see me now, the last
Unhappy daughter of a line of kings,
Your kings, led away to death. You will remember
What things I suffer, and at what men's hands,
Because I would not transgress the laws of heaven.
(To the GUARDS, simply.) Come: let us wait no longer.
(Exit ANTIGONÊ, left, guarded.)
5 Persephonê: 冥后。
ODEIV
Strophe 1
CHORUS: All Danaê's beauty was locked away
In a brazen cell where the sunlight could not come:
A small room still as any grave, enclosed her.
Yet she was a princess too,
And Zeus in a rain of gold poured love upon her.
O child, child,
No power in wealth or war
Or tough sea-blackened ships
Can prevail against untiring Destiny!
Antistrophe 1
And Dryas' son also, that furious king,
Bore the god's prisoning anger for his pride:
Sealed up by Dionysos in deaf stone, His madness died among echoes.
So at the last he learned what dreadful power
His tongue had mocked:
For he had profaned the revels,
And fired the wrath of the nine
Implacable Sisters that love the sound of the flute.
Strophe 2
And old men tell a half-remembered tale Of horror where a dark ledge splits the sea
And a double surf beats on the gray shores:
How a king's new woman, sick
With hatred for the queen he had imprisoned, Ripped out his two sons' eyes with her bloody hands While grinning Arês watched the shuttle plunge Four times: four blind wounds crying for revenge, 对他囚禁的女王充满仇恨，用她血腥的双手撕下了他的两个儿子的眼睛，同时咧嘴笑着，阿瑞斯 看着穿梭机四次坠落：四个盲目的伤口呼唤复仇
Antistrophe 2
Crying, tears and blood mingled. - Piteously born, Those sons whose mother was of heavenly birth!
6 Dryas' son: Lycurgus, 色雷斯 (Thrace) 的国王。
7 Implacable Sisters: the Muses, 缪斯。
8 a king's new woman: Eidothea, 国王 Phineas 的第二任妻子, 在国王将前任王后关在洞穴里后将王后的儿子弄瞎。
9 Arês: 战神。
Her father was the god of the North Wind
And she was cradled by gales, She raced with young colts on the glittering hills
And walked untrammeled in the open light:
But in her marriage deathless Fate found means
To build a tomb like yours for all her joy.
SCENE V
(Enter blind TEIRESIAS, led by a boy. The opening speeches of TEIRESIAS should be in singsong contrast to the realistic lines of CREON.)
TEIRESIAS: This is the way the blind man comes, Princes, Princes,
Lockstep, two heads lit by the eyes of one.
CREON: What new thing have you to tell us, old Teiresias?
TEIRESIAS: I have much to tell you: listen to the prophet, Creon.
CREON: I am not aware that I have ever failed to listen.
TEIRESIAS: Then you have done wisely, King, and ruled well.
CREON: I admit me debt to you. But what have you to say?
TEIRESIAS: This, Creon: you stand once more on the edge of fate.
CREON: What do you mean? Your words are a kind of dread.
TEIRESIAS: Listen, Creon:
I was sitting in my chair of augury, at the place
Where the birds gather about me. They were all a-chatter,
As is their habit, when suddenly I heard
A strange note in their jangling, a scream, a
Whirring fury; knew that they were fighting,
Tearing each other, dying
In a whirlwind of wings clashing. And I was afraid.
I began the rites of burnt-offering at the altar,
But Hephaistos failed me: instead of bright flame,
There was only the sputtering slime of the fat thigh-flesh
Melting: the entrails dissolved in gray smoke,
The bare bone burst from the welter. And no blaze!
This was a sign from heaven. My boy described it,
Seeing for me as I see for others.
I tell you, Creon, yourself have brought
This new calamity upon us. Our hearths and altars
10 Hephaistos: 火神。
Are stained with the corruption of dogs and carrion birds
That glut themselves on the corpse of Oedipus' son.
The gods are deaf when we pray to them, their fire
Recoils from our offering, their birds of omen
Have no cry of comfort, for they are gorged
With the sick blood of the dead.
O my son,
These are no trifles! Think: all men make mistakes,
But a good man yields when he knows his course is wrong,
And repairs the evil. The only crime is pride.
Give in to the dead man, then: do not fight with corpse -
What glory is it to kill a man who is dead?
Think, I beg you:
It is for your own good that I speak as I do.
You should be able to yield for your own good.
CREON: It seems that prophets have made me their especial province.
All my life long
I have been a kind of butt for the dull arrows
Of doddering fortune-tellers!
No, Teiresias:
If your birds - if the great eagles of God himself
Should carry him stinking bit by bit to heaven,
I would not yield. I am not afraid of pollution:
No man can defile the gods
Do what you will,
Go into business, make money, speculate
In India gold or that synthetic gold from Sardis,
Get rich otherwise than by my consent to bury him.
Teiresias, it is a sorry thing when a wise man
Sells his wisdom, lets out his words for hire!
TEIRESIAS: Ah Creon! Is there no man left in the world -
CREON: To do what? - Come, let's have the aphorism!
TEIRESIAS: No man who knows that wisdom outweighs any wealth?
CREON: As surely as bribes are baser than any baseness.
TEIRESIAS: You are sick, Creon! You are deathly sick!
CREON: As you say: it is not my place to challenge a prophet.
TEIRESIAS: Yet you have said my prophecy is for sale.
CREON: The generation of prophets has always loved gold.
TEIRESIAS: The generation of kings has always loved brass.
CREON: You forget yourself! You are speaking to your King.
TEIRESIAS: I know it. You are a king because of me.
CREON: You have certain skill; but you have sold out.
TEIRESIAS: King, you will drive me to words that -
CREON: Say them,then!
Only remember: I will not pay you for them.
TEIRESIAS: No, you will find them too costly.
CREON: No doubt. Speak:
Whatever you say, you will not change my will.
TEIRESIAS: Then take this, and take it to heart!
The time is not far off when you shall pay back
Corpse for corpse, flesh of your own flesh.
You have thrust the child of this world into living night,
You have kept from the gods below the child that is theirs:
The one in a grave before her death, the other,
Dead, denied the grave. This is your crime:
And the Furies and the dark gods of Hell
Are swift with terrible punishment for you.
Do you want to buy me now, Creon?
Not many days,
And your house will be full of men and women weeping,
And curses will be hurled at you from far
Cities grieving for sons unburied, left to rot
Before the walls of Thebes.
These are my arrows, Creon: they are all for you.
(To BOY.) But come, child: lead me home.
Let him waste his fine anger upon younger men.
Maybe he will learn at last
To control a wiser tongue in a better head.
(Exit TEIRESIAS.)
CHORAGOS: The old man has gone, King, but his words
Remain to plague us. I am old, too,
But I cannot remember that he was ever false.
CREON: That is true. ... It troubles me.
Oh it is hard to give in! but it is worse
To risk everything for stubborn pride.
CHORAGOS: Creon: take my advice.
CREON: What shall I do?
CHORAGOS: Go quickly: free Antigonê from her vault
And build a tomb for the body of Polyneicês.
CREON: You would have me do this!
CHORAGOS: Creon, yes!
And it must be done at once: God moves
Swiftly to cancel the folly of stubborn men.
CREON: It is hard to deny the heart! But I
Will do it: I will not fight with destiny.
CHORAGOS: You must go yourself, you cannot leave it to others.
CREON: I will go.
Bring axes, servants:
Come with me to the tomb. I buried her. I
Will set her free.
Oh quickly!
My mind misgives -
The laws of gods are mighty, and a man must serve them
To the last day of his life!
(Exit CREON.)
PAEAN
Strophe 1
CHORAGOS: God of many names
CHORUS: O Iacchos
son
of Kadmeian Sémelê
O born of the Thunder!
Guardian of the West
Regent
Of Eleusis' plain
O Prince of maenad Thebes
and the Dragon Field by rippling Ismenós.
Antistrophe 1
CHORAGOS: God of many names
CHORUS: the flame of torches
flares on our hills
the nymphs of Iacchos
dance at the spring of Castalia.
from the vine-close mountain
come ah come in ivy:
Evohé evohé! sings through the streets of Thebes
11 paean: 欢乐歌，赞美歌。
12 Iacchos: 酒神。
13 Sémelê: Iacchos 的母亲, Zeus 的妻子。
14 maenad: 女礼拜者, Iacchos 的侍女。
15 Ismenós: 底比斯附近的一条河, 传说里面布满龙牙, 在此生长出了底比斯的祖先。
16 Castalia: Parnasos 山上的一道泉水。
Strophe 2
CHORAGOS: God of many names
CHORUS: Iacchos of Thebes
heavenly Child of Sémelê bride of Thunderer!
The shadow of plague is upon us:
come
with clement feet
oh come from Parnasos
down the long slopes
across the lamenting water
Antistrophe 2
CHORAGOS: Iô Fire! Chorister of the throbbing stars!
O purest among the voices of the night!
Thou son of God, blaze for us!
CHORUS: Come with choric rapture of circling Maenads
Who cry Iô Iacche!
God of many names!
EXODOS
(Enter MESSENGER from left.)
MESSENGER: Men of the line of Kadmos, you who live
Near Amphion's citadel,
I cannot say
Of any condition of human life "This is fixed,
This is clearly good, or bad." Fate raises up,
And Fate casts down the happy and unhappy alike:
No man can foretell his Fate.
Take the case of Creon:
Creon was happy once, as I count happiness:
Victorious in battle, sole governor of the land,
Fortunate father of children nobly born.
And now it has all gone from him! Who can say
That a man is still alive when his life's joy fails?
CHORAGOS: Your words hint at sorrow: what is your news for us?
MESSENGER: They are dead. The living are guilty of their death.
CHORAGOS: Who is guilty? Who is dead? Speak!
MESSENGER: Haimon.
Haimon is dead; and the hand that killed him Is his own hand.
CHORAGOS: His father's? or his own?
MESSENGER: His own, driven mad by the murder his father had done.
CHORAGOS: Teiresias, Teiresias, how clearly you saw it all!
MESSENGER: This is my news: you must draw what conclusions you can from it.
CHORAGOS: But look: Eurydicê, our Queen:
Has she overheard us?
(Enter EURYDICE from the palace, center.)
EURYDICÊ: I have heard something, friends:
As I was unlocking the gate of Pallas' shrine, For I needed her help today, I heard a voice
Telling of some new sorrow. And I fainted
There at the temple with all my maidens about me.
But speak again: whatever it is, I can bear it:
Grief and are no strangers.
MESSENGER: Dearest Lady,
I will tell you plainly all that I have seen.
I shall not try to comfort you: what is the use,
Since comfort could lie only in what is not true?
The truth is always best.
I went with Creon
To the outer plain where Polyneicês was lying,
No, friend to pity him, his body shredded by dogs.
We made our prayers in that place to Hecatê
And Pluto, that they would be merciful. And we bathed
The corpse with holy water, and we brought
Fresh-broken branches to turn what was left of it,
And upon the urn we heaped up a towering barrow
Of the earth of his own land.
When we were done, we ran
To the vault where Antigonê lay on her couch of stone.
One of the servants had gone ahead,
And while he was yet far off he heard a voice
Grieving within the chamber, and he came back
And told Creon. And as the King went closer, The air was full of wailing, the words lost, And he begged us to make all haste. "Am I a prophet?"
He said, weeping, "And must I walk this road, The saddest of all that I have gone before? My son's voice calls me on. Oh quickly, quickly!
Look through the crevice there, and tell me If it is Haimon, or some deception of the gods!" We obeyed; and in the cavern's farthest corner We saw her lying:
She had made a noose of her fine linen veil
t And hanged herself. Haimon lay beside her, His arms about her waist, lamenting her, His love lost under ground, crying out That his father had stolen her away from him. When Creon saw him the tears rushed to his eyes And he called to him: "What have you done, child? Speak to me. 她吊死了。海蒙躺在她身旁，双臂环绕着她的腰，哀悼着她，他的爱人永远埋在地下，大声哭诉说他的父亲把她从他身边夺走。克瑞昂看到他时，眼泪涌上了眼眶，他呼唤着他：“你做了什么，孩子？跟我说说。”
What are you thinking that makes your eyes so strange?
O my son, my son, I come to see you on my knees!"
But Haimon spat in his face. He said not a word,
Staring -
And suddenly drew his sword
And lunged. Creon shrank back, the blade missed; and the boy,
Desperate against himself, drove it half its length
Into his own side, and fell. And as he died
He gathered Antigonê close in his arms again, Choking, his blood bright red on her white cheek.
And now he lies dead with the dead, and she is his At last, his bride in the house of the dead.
(Exit EURYDICÊ into the palace.)
CHORAGOS: She has left us without a word. What can this mean?
MESSENGER: It troubles me, too; yet she knows what is best,
Her grief is too great for public lamentation,
And doubtless she has gone to her chamber to weep
For her dead son, leading her maidens in his dirge.
(Pause.)
(Exit MESSENGER into the palace. Enter CREON with attendants bearing HAIMON's body.)
CHORAGOS: But here is the King himself: oh look at him,
Bearing his own damnation in his arms.
CREON: Nothing you say can touch me any more.
My own blind heart has brought me
From darkness to final darkness. Here you see
The father murdering, the murdered son -
And all my civic wisdom!
Haimon my son, so young, so young to die,
I was the fool, not you; and you died for me.
CHORAGOS: That is the truth; but you were late in learning it.
CREON: This truth is hard to bear. Surely a god
Has crushed me beneath the hugest weight of heaven,
And driven me headlong a barbaric way
To trample out the thing I held most dear.
The pains that men will take to come to pain!
(Enter MESSENGER from the palace.)
MESSENGER: The burden you carry in your hands is heavy,
But it is not all: you will find more in your house.
CREON: What burden worse than this shall I find there?
MESSENGER: The Queen is dead.
CREON: O port of death, deaf world,
Is there no pity for me? And you, Angel of evil,
I was dead, and your words are death again.
Is it true, boy? Can it be true?
Is my wife dead? Has death bred death?
MESSENGER: You can see for yourself.
CREON: Oh pity!
All true, all true, and more than I can bear!
O my wife, my son!
MESSENGER: She stood before the altar, and her heart
Welcomed the knife her own hand guided,
And a great cry burst from her lips for Megareus dead,
And for Haimon dead, her sons; and her last breath
Was a curse for their father, the murderer of her sons.
And she fell, and the dark flowed in through her closing eyes.
CREON: O God, I am sick with fear.
Are there no swords here? Has no one a blow for me?
MESSENGER: Her curse is upon you for the deaths of both.
CREON: It is right that it should be. I alone am guilty.
I know it, and I say it. Lead me in,
Quickly, friends.
I have neither life nor substance. Lead me in.
CHORAGOS: You are right, if there can be right in so much wrong.
The briefest way is best in a world of sorrow.
CREON: Let it come,
Let death come quickly, and be kind to me.
I would not ever see the sun again.
CHORAGOS: All that will come when it will; but we, meanwhile,
Have much to do. Leave the future to itself.
CREON: All my heart was in that prayer!
CHORAGOS: Then do not pray any more: the sky is deaf.
CREON: Lead me away. I have been rash and foolish.
I have killed my son and my wife.
I look for comfort; my comfort lies here dead.
Whatever my hands have touched has come to nothing.
Fate has brought all my pride to a thought of dust.
(As CREON is being led into the house, the CHORAGOS advances and speaks directly to the audience.)
CHORAGOS: There is no happiness where there is no wisdom;
No wisdom but in submission to the gods.
Big words are always punished,
And proud men in old age learn to be wise.
Sophocles. "Antigonê." Literature: Reading Fiction, Poetry, and Drama. Ed. Robert Diyanni. 5th ed. Boston: McGraw Hill, 2002. 1263 -93.
Student Paper on Drama
The following brief analysis written by a student analyzes Antigonê's conflict between her duty to the law of the state and her obligation to honor her dead brother by burying him. 以下由一名学生撰写的简要分析分析了安提贡尼在她的职责是遵守国家法律和她的义务是通过埋葬她的死去的兄弟之间的冲突。
Alayna Phieffer
Dr. Kitts
Literature and Composition
December 10, 1999
Antigonêı A Struggle between Human and Divine Powers
In Antigonê by Sophocles there are several ways to interpret the conflict between Creon and Antigonê. Perhaps the most widely accepted interpretation is that their conflict represents a struggle between state and individual. This reading is valid but it is also shallow; if looked into deeper, we can see that the struggle in this play lies between earthly and divine powers. 在索福克勒斯的《安提戈涅》中，有几种解释克里昂和安提戈涅之间的冲突。也许最广泛接受的解释是，他们之间的冲突代表了国家与个人之间的斗争。这种阅读是有效的，但也很肤浅；如果深入研究，我们可以看到这部剧中的斗争在于地上和神圣力量之间。
Creon represents a tyrannical rule that makes no allowances for the unwritten laws, spiritual in nature, which so often guide humans to act. He is so consumed with ruling the state and so intoxicated with the power he possesses that he is unable to comprehend the motives behind Antigonê's burial of her brother Polyneicês. This can be seen in the first encounter between Antigonê and Creon. 克里昂代表了一个暴虐的统治，不容许无形的精神法则，这些法则经常指导人们的行为。他如此沉迷于统治国家，如此陶醉于自己拥有的权力，以至于无法理解安提戈涅埋葬她的兄弟波吕涅克斯背后的动机。这可以在安提戈涅和克里昂之间的第一次相遇中看到。
CREON: And yet you dared defy the law.
ANTIGONÊ: I dared.
It was not God's proclamation. That final Justice
That rules the world below makes no such laws.
Your edict, King, was strong,
But all your strength is weakness itself against
The immortal unrecorded laws of God.
They afe not merely now: they were, and shall be, Operative for ever, beyond man utterly.
... but if I had left my brother
Lying in death unburied, I should have suffered.
Now I do not.
(Scene II)
This conversation immediately establishes Antigonê's ideal; to her, divine law is more powerful and right than any law decreed by the state. Creon, to save face and maintain order, sticks to his decree and sentences her to death. 这段对话立即确立了安提贡尼的理想；对她来说，神圣法律比国家颁布的任何法律更强大、更正确。 克瑞翁为了保全面子和维护秩序，坚持他的法令，并判处她死刑。
This conflict of harsh state laws with one's inner duty goes still deeper, and it is clear that the
gods are on Antigonê's side. It seems best to look at what Antigonê and others say about divine intervention and their actions concerning it. The first evidence that the gods are involved can be seen in the double burial. Antigonê is apprehended when she goes to her brother's body, but just before this we are told by the sentry that someone has buried the body of Polyneicês. He states that there are no signs of human involvement, no wheel tracks or any sign of animals present; the body is covered with a light dusting. We can perceive this statement to be true; otherwise why would Sophocles have included it? Why did Antigonê then go back to her brother for a second time? Perhaps the answer lies in a statement made by the chorus-leader: "I have been wondering, King: can it be that the gods have done this?" (Scene I). 众神站在安提戈涅一边。最好看看安提戈涅和其他人对神的干预以及他们对此行动的看法。第一个证据表明神明介入的是双重葬礼。安提戈涅在去找她兄弟的尸体时被逮捕，但就在此之前，哨兵告诉我们有人埋葬了波利涅克斯的尸体。他说没有人类参与的迹象，没有车辙或任何动物的迹象；尸体上覆盖着一层轻微的尘土。我们可以认为这个说法是真实的；否则苏福克勒斯为什么要包括它呢？那么为什么安提戈涅会第二次回到她兄弟身边呢？也许答案在于领舞者的一句话：“我一直在想，国王：难道是神明做了这件事吗？”（第一场）。
The watchman's actions, upon entering the palace, are revealing. He twists and turns as though he is afraid that Creon will not believe him; after all, he cannot understand it himself. If the body had been buried deep in the ground, one could argue that this is evidence that it was done by man, but the light dusting of the body implies something more. 守卫进入宫殿时的举动很有意义。他扭来扭去，仿佛害怕克里昂不相信他；毕竟，他自己也无法理解。如果尸体被埋得很深，人们可以争辩说这是人为所为，但尸体上轻微的尘埃暗示着更多的事情。
Another piece of evidence to support God's involvement in this play's action is apparent in the first conversation between Antigonê and Ismenê. Antigonê says, "Creon is not strong enough to stand in my way" (Prologue). And later after Ismenê says how dangerous it is to go against authority, Antigonê responds: 支持上帝参与这场戏剧行动的另一证据显而易见地出现在安提戈涅和伊斯梅涅之间的第一次对话中。安提戈涅说：“克里昂不够强大，无法阻止我”（序幕）。后来伊斯梅涅说反抗权威是多么危险之后，安提戈涅回答：
If that is what you think,
I should not want you, even if you asked to come.
You have made your choice, you can be what you want to be.
But I will bury him, and if I must die,
I say that this crime is holy: I shall lie down
With him in death, and I shall be as dear
To him as he to me.
It is the dead,
Not the living, who make the longest demands:
We die for ever...
You may do as you like,
Since apparently the laws of the gods mean nothing to you.
(Prologue)
Antigonê is saying that she is acting in accordance with the will of the gods; divine law will always surpass any human laws.
Later, she tells Creon that it was not the words of the gods that she disobeyed, but it was their words that led her to act. This idea is common in Greek tragedy. When characters like Antigonê act in ways fundamentally necessary in human life, or out of a place deep within themselves, they are said to be working with the gods, and this becomes so sacred that not even written law could stop them. 后来，她告诉克里昂，她违抗的不是神的话语，而是他们的话语引导她行动。这种观念在希腊悲剧中很常见。当像安提贡这样的角色以对人类生活根本必要的方式行动，或者出于内心深处的原因时，他们被认为是在与神合作，这变得如此神圣，以至于即使书面法律也无法阻止他们。
As Antigonê is about to be buried alive, she realizes that no one understands her. Still she feels that she was obeying a divine law, even though now the gods seem to have nothing to do with her and have made no attempt to save her. But still she maintains her deep belief that she had to do it, and says that she had no choice: 当安提贡尼即将被活埋时，她意识到没有人理解她。尽管如此，她仍然觉得自己在遵守一种神圣的法律，即使现在似乎神明与她无关，也没有试图拯救她。但她仍然坚信自己必须这样做，并说她别无选择：
Thebes, and you my fathers' gods,
And rulers of Thebes, you see me now, the last
Unhappy daughter of a line of kings,
Your kings, led away to death. You will remember
What things I suffer, and at what men's hands,
Because I would not transgress the laws of heaven.
(Scene IV)
To her, the laws of heaven must guide our lives and they must always be obeyed no matter the consequence.
Finally we see the divine hand in prophecy, most obviously in the tragic destiny of Oedipus. His tragedy is sorrowfully left behind to his descendants. Tragedy must fall upon Antigonê as it fell upon her brothers. When she decides to bury Polyneicês, it is indeed an act of free will, but one cannot disclaim the necessity of this action by fate - a tragic, inherited curse. 最后，我们看到神圣的预言之手，最明显地体现在俄狄浦斯的悲剧命运中。他的悲剧遗憾地留给了他的后代。悲剧必将降临在安提戈涅身上，就像它降临在她的兄弟身上一样。当她决定埋葬波吕涅克斯时，这确实是一种自由意志的行为，但人们不能否认这一行动的必然性 - 一种悲剧性的、继承的诅咒。
Teiresias may help Creon decide to amend his law, but he also serves a deeper purpose. Prophecy delivered by the gods implies law. Creon, by refusing to bury Polyneicês, has gone against the gods. Teiresias makes Creon's offense to the gods clear. He tells of evil omens that he has witnessed, like the fighting birds and the fat not catching on fire. These incidents portend Creon's tragic destiny. His conflicts are now with both upper and nether gods. 提瑞西亚斯可能帮助克里昂决定修改他的法律，但他也有更深层次的目的。神灵传达的预言意味着法律。克里昂拒绝埋葬波吕涅克斯，这是违背神灵的。提瑞西亚斯让克里昂对神灵的冒犯变得清晰。他讲述了他目睹的邪恶预兆，如争斗的鸟和脂肪不着火。这些事件预示着克里昂的悲剧命运。他现在与上层和下层的神灵都发生冲突。
Creon's action leads him into a world of suffering; for although he recognizes his mistakes and tries to correct them, he is too late. After taking care of Polyneicês's remains, he hurries to Antigonê's tomb only to find his son and Antigonê dead. Upon hearing the news of her son, his wife kills herself. This leaves Creon in a world full of despair. With his son and wife dead he is left to suffer and remember that universal laws are more powerful than any he may ever decree. 克里昂的行动将他带入了一个充满苦难的世界；尽管他意识到自己的错误并试图纠正，但已经太迟了。在处理波利涅克斯的遗体后，他匆忙赶往安提贡的坟墓，却发现他的儿子和安提贡已经死了。在听到儿子的消息后，他的妻子自杀了。这让克里昂陷入了绝望之中。他的儿子和妻子已经去世，他只能独自承受并记住，普遍法则比他所颁布的任何法令都更加强大。
The idea that runs throughout this play is that there will always be certain forces and absolutes in life that must be respected, and essentially will be because they are divine in nature. When individuals do not look past the apparent causes and fail to see the divine implications, they may work against these laws. If the laws are offended, the wrath will be felt, not necessarily from supernatural powers, but in the actions and reactions of people who are strong enough or desperate enough to follow their own hearts and live by their ideals. Life on earth produces no human laws that are unbreakable. The only way to be sure of not wreaking this havoc upon oneself is to understand and respect the gods. By doing so one demonstrates respect for humanity as well. 贯穿整个剧本的观念是生活中总会存在一些必须受到尊重的力量和绝对的东西，因为它们本质上是神圣的。当个人无法看到超越表面原因并未能意识到神圣的含义时，他们可能会违背这些法则。如果法则受到侵犯，将会感受到愤怒，不一定来自超自然力量，而是来自那些足够强大或绝望到足以追随自己内心并按照自己理想生活的人们的行动和反应。地球上没有不可违背的人类法则。确保不给自己带来灾难的唯一方法是理解和尊重神灵。通过这样做，一个人展示了对人类的尊重。
Works cited
Sophocles. Antlgonê. Literature: Reading Fiction, Poetry, and Drama. Ed. Robert DiYanni. Compact ed. New York: McGraw, 2000, 811-41
Matthew Arnold, a nineteenth-century literary critic, describes literary criticism as "A disinterested endeavor to learn and propagate the best that is known and thought in the world." This definition implies that literary criticism is a disciplined activity that attempts to describe, study, analyze, justify, interpret, and evaluate a work of art. Traditionally, literary critics involve themselves in either theoretical or practical criticisms. Theoretical criticism formulates the theories, principles, and tenets of the nature and value of art. Critics provide the necessary framework for practical criticism by citing general aesthetic and moral principles of art. Practical criticism, also known as applied criticism, applies the theories and tenets of theoretical criticism to a particular work. If a practical critic posits that one can use only one theory or one set of principles to evaluate a literary work, he is called the absolutist critic; otherwise he is named a relativistic critic who uses various and even contradictory theories in critiquing a piece of literature. No matter which school the critics align themselves with, the basis of literary criticism is literary theory. Without theory, practical criticism could not exist. It should be mentioned that some of the theorists and critics would use the word "poetics" to indicate the body of theories and principles about the distinctive features of literature in general. As "poem" may refer to any literary text instead of its narrow sense, i.e., a composition written in metrical feet forming rhythmical lines, "poetics" is sometimes used synonymously with "literary theory." 马修·阿诺德，一位十九世纪的文学评论家，将文学批评描述为“一种无私的努力，旨在了解和传播世界上最好的知识和思想。” 这个定义暗示着文学批评是一种纪律性的活动，试图描述、研究、分析、证明、解释和评价一件艺术作品。传统上，文学评论家参与理论批评或实践批评。理论批评制定了关于艺术的性质和价值的理论、原则和准则。评论家通过引用艺术的一般美学和道德原则为实践批评提供必要的框架。实践批评，也称为应用批评，将理论批评的理论和原则应用于特定作品。如果一个实践评论家认为可以只使用一种理论或一套原则来评价一部文学作品，他被称为绝对主义评论家；否则，他被称为相对主义评论家，他在评论一部文学作品时使用各种甚至矛盾的理论。无论评论家属于哪个学派，文学批评的基础都是文学理论。 没有理论，实践批评就无法存在。应该提到，一些理论家和评论家会使用“诗学”一词来指代关于文学一般特点的理论和原则。由于“诗歌”可能指任何文学文本而不是其狭义意义，即以韵律行形式写成的作品，“诗学”有时被用作“文学理论”的同义词。"
A well-articulated theory assumes that an innocent reading of a text or a complete emotional or spontaneous response to a work cannot exist. Anyone who reacts to a text is already a practicing literary critic because practical criticism is rooted in the reader's preconditioned mind concerning his or her expectations. Most readers develop their understanding of the workings of literature from reading literary.works, but they are invariably biased, though to different degrees, by their particular values and aesthetic positions. That a reader does not consciously approach literature from any particular theoretical perspective does not necessarily mean that he is not using theory. Conscious or unconscious, whole or partial, informed or ill informed, a reader's theory prepares him to respond to the text in a particular fashion and involves him in the process of literary criticism. The choice between "theoretical" and "nontheoretical" approaches to literature thus turns out to be a false one. It is true that a reader uses theory in any case, and the real choice is between doing so blindly and unconsciously or doing so with full critical awareness. Expectedly, the second option is likely to yield more detailed and sophisticated readings in that a logical and clearly defined theory will enable readers to consciously develop their own personal methods of interpretation, permitting them to justify, order, and clarify their own appraisals of a text in a 一个表达清晰的理论假设，认为对文本的无辜阅读或对作品的完全情感或自发反应是不存在的。对文本做出反应的任何人都已经是一个实践文学评论家，因为实践批评根植于读者关于他或她期望的先验心态。大多数读者通过阅读文学作品来发展对文学运作的理解，但他们总是受到自己特定价值观和审美立场的不同程度的偏见影响。一个读者并不是有意从任何特定的理论角度接近文学，并不一定意味着他没有使用理论。无论是有意识的还是无意识的，完整的还是部分的，知情的还是不知情的，一个读者的理论都会让他以特定方式回应文本，并让他参与文学评论的过程。因此，在文学方面选择“理论”和“非理论”方法之间实际上是一个虚假的选择。一个读者在任何情况下都会使用理论，真正的选择在于是盲目无意识地使用还是有充分的批判意识地使用。预计，第二个选项可能会产生更详细和复杂的阅读，因为一个逻辑和清晰定义的理论将使读者能够有意识地发展自己的个人解释方法，使他们能够证明、排序和澄清他们对文本的评价
consistent manner.
It would be a mistake to think that literary theory is a new phenomenon. In fact literary criticism has probably existed as old as literature itself. The ancient Greeks, particularly Aristotle and Plato, devoted much theoretical reflection to literature, and works such as Aristotle's Poetics remain the most significant founding texts of literary theory. Medieval philosophers, among them Saint Thomas Aquinas, paid a great deal of attention to art and literature in their work. Renaissance writers, especially Sir Philip Sidney, thought quite carefully about the theoretical implications of their literary efforts. The British Romantic movement introduced new aesthetic ideas to literary study, including the idea that literature itself could elevate a common subject to the level of the sublime. The late nineteenth century brought renown to authors known more for critical writing than for their own literary work, such as Matthew Arnold who was indeed a transitional figure in literary criticism. After Arnold's death in 1888, literary theories have become increasingly diversified. 认为文学理论是一个新现象是错误的。事实上，文学批评可能存在和文学本身一样久远。古希腊人，特别是亚里士多德和柏拉图，致力于文学的理论反思，亚里士多德的《诗学》等作品仍然是文学理论最重要的奠基文本。中世纪哲学家，包括圣托马斯·阿奎那，对艺术和文学非常关注。文艺复兴作家，尤其是菲利普·悉尼爵士，非常认真地思考他们文学努力的理论含义。英国浪漫主义运动为文学研究引入了新的美学思想，包括文学本身可以将一个普通主题提升到崇高境界的想法。19 世纪末，一些更以批评写作而不是自己的文学作品而闻名的作家，如马修·阿诺德，确实是文学批评中的过渡人物。阿诺德于 1888 年去世后，文学理论变得日益多样化。
The twentieth century has been described as the age of "theory." In order to illustrate the complicated relationship between the twentieth-century literary theories, Skylar Hamilton Burris has prepared a literary criticism map to show their connections, differences, similarities, strengths, and weaknesses. 二十世纪被描述为“理论时代”。为了阐明二十世纪文学理论之间复杂的关系，斯凯勒·汉密尔顿·伯里斯准备了一张文学批评地图，展示它们之间的联系、差异、相似之处、优势和劣势。
The work itself is placed in the center because all approaches must deal, to some extent, with the text itself. From the 1910s to the 1930s there emerged a group of highly influential Russian Formalists including Viktor Shklovsky and Roman Jakobson. They advocated a "scientific" method for studying poetic language and argued that literature itself, or rather, those of its features that distinguish it from other human activities, must constitute the object of inquiry of literary theory. Hence "literary facts" have to be prioritized over the philosophical, aesthetic or psychological commitments of literary criticism. In the 1930s, New Criticism first appeared. Like Russian Formalists, New Critics exclude traditional psychological and cultural-historical approaches. Instead of studying the extrinsic elements, New Critics insist on the preeminence of the text itself, 工作本身被置于中心位置，因为所有方法都必须在某种程度上处理文本本身。从 1910 年代到 1930 年代，出现了一群具有极大影响力的俄罗斯形式主义者，包括维克托·什克洛夫斯基和罗曼·雅各布森。他们主张用“科学”方法研究诗歌语言，并认为文学本身，或者说，那些使其与其他人类活动有所区别的特征，必须构成文学理论研究的对象。因此，“文学事实”必须优先于文学批评的哲学、美学或心理承诺。在 1930 年代，新批评首次出现。与俄罗斯形式主义者一样，新批评家排除了传统的心理学和文化历史方法。新批评家坚持研究文本本身的首要地位，而不是研究外在元素。
arguing that critics' job is to read literary texts closely and carefully, attending primarily to their strictly literary properties. In the 1960s Jacques Derrida coined the term Deconstruction, which also subjects texts to careful, formal analysis. Opposite to Formalism and New Criticism, Deconstruction reaches an opposite conclusion: there is no meaning in language. Derrida's particular methods of textual criticism involves discovering, recognizing, and understanding the underlying, unspoken and implicit assumptions, ideas, and frameworks that "accidentally" betray, subvert its purportedly "essential" message. Such way of reading reveals the paradoxes of the text and disturbs the seeming tranquility. 批评家的工作是仔细阅读文学文本，主要关注它们的严格文学特性。在 1960 年代，雅克·德里达创造了解构主义这个术语，也将文本置于仔细的形式分析之下。与形式主义和新批评相反，解构主义得出了相反的结论：语言中没有意义。德里达的文本批评方法涉及发现、认识和理解文本中潜在的、未言明的假设、观念和框架，这些“意外”地暴露、颠覆了其所谓的“本质”信息。这种阅读方式揭示了文本的悖论，扰乱了表面的宁静。
Historical and biographical studies prevailed in the first part of the twentieth century, and they are sometimes called "traditional" approaches. Historical approach is probably the most successful traditional approach to literature, in which literary works are illuminated by a close and careful study of the historical context. In the historical view, critics have to understand the author and his world so as to comprehend his intent and to make sense of his work. For instance, to fully appreciate Hamlet (1599-1601) we need to acquire certain knowledge of the institution of the monarchy. In biographical point of view, a work is illuminated through a discussion of the experiences and opinions of its author. Both approaches are forms of what the American New Critics would later come to call "extrinsic" approaches to literature. That is, they focus on understanding literary works by bringing external information to bear on them rather than by close and careful consideration of the work itself. 20 世纪上半叶，历史和传记研究盛行，有时被称为“传统”方法。历史方法可能是文学中最成功的传统方法，通过对历史背景的密切和仔细研究来阐明文学作品。在历史观中，评论家必须了解作者及其世界，以理解其意图并理解其作品。例如，要充分欣赏《哈姆雷特》（1599-1601），我们需要获得有关君主制度的某些知识。在传记观点中，通过讨论作者的经历和观点来阐明作品。这两种方法都是美国新批评家后来称之为“外在”文学方法的形式。也就是说，它们侧重于通过引入外部信息来理解文学作品，而不是通过对作品本身的密切和仔细考虑。
An intertextual approach aims to compare the work in question to other literature so as to get a broader view. The text's meaning is understood to be shaped by other texts as the author borrows and transforms a prior text or a reader refers of one text in reading another. The term "intertextuality" was coined by Julia Kristeva in 1966 to indicate that meaning is mediated through, or filtered by, "codes" imparted to the writer and reader by other texts. For example, when we read James Joyce's Ulysses (1922) we decode it as a modernist literary experiment, or as a response to the epic tradition. Nowadays, the use of the term has attained a variety of meanings ranging from Kristeva's original vision to those who simply use it as a stylish way of talking about allusion and influence. 一种互文性方法旨在将所讨论的作品与其他文学作品进行比较，以便获得更广泛的视角。文本的意义被理解为受其他文本塑造，因为作者借鉴并转化了先前的文本，或读者在阅读另一篇文本时参考了其中一篇文本。朱莉娅·克里斯蒂娃于 1966 年创造了“互文性”一词，以表明意义是通过其他文本传达或过滤的，这些文本向作者和读者传达了“代码”。例如，当我们阅读詹姆斯·乔伊斯的《尤利西斯》（1922 年）时，我们将其解读为现代主义文学实验，或者作为对史诗传统的回应。如今，这个术语的使用已经获得了各种意义，从克里斯蒂娃最初的愿景到那些简单地将其用作谈论典故和影响的时髦方式的人。
Different from the above-mentioned methodologies that put emphasis on the author or the text itself, reader-response criticism is concerned with the reader and his experience of a literary work. Although in literrary theory it is never new to admit the reader's role in creating the meaning, modern reader-response criticism began in the 1960s and 1970s, particularly in America and Germany, in work by Norman Holland, Stanley Fish, Wolfgang Iser, Hans-Robert Jauss and others. Different from formalism and the New Criticism, in which the reader's role in re-creating literary works is ignored, reader-response theory recognizes the reader as an active agent who imparts "real existence" to the work and completes its meaning through interpretation. Therefore, literature should be viewed as a performing art in which each reader creates his own, possibly unique, text-related performance. 与强调作者或文本本身的上述方法不同，读者响应批评关注读者及其对文学作品的体验。尽管在文学理论中承认读者在创造意义方面的作用并不新鲜，但现代读者响应批评始于 20 世纪 60 年代和 70 年代，特别是在美国和德国，由诺曼·荷兰、斯坦利·费希、沃尔夫冈·伊瑟尔、汉斯-罗伯特·约斯等人的作品中展开。与形式主义和新批评不同，读者响应理论认识到读者作为一种能够赋予作品“真实存在”并通过解释完成其意义的主动主体。因此，文学应被视为一种表演艺术，每位读者创造自己的、可能是独特的、与文本相关的表演。
Mimetic criticism seeks to see how well a work accords with the real world. Critics concentrate on the representation of the real world. They would ask questions such as: Is the work accurate? Is it correct? Is it moral? Does it show how people really act? As such, mimetic criticism 模拟批评旨在看作品与现实世界的符合程度。评论家集中于对现实世界的表现。他们会问诸如：作品准确吗？它正确吗？它道德吗？它是否展示了人们真实的行为方式？因此，模拟批评
can include some forms of moral / philosophical criticism, psychological criticism, and feminist criticism.
Beyond the real world exist the spiritual and symbolic attributes that archetypal literary criticism deals with. The word archetype appeared in European texts as early as 1545, meaning "first-moulded." An archetype is defined to be a generic, idealized model of a person, object, or concept from which similar instances are derived, copied, patterned, or emulated. Archetypal literary criticism interprets a text by focusing on recurring myths and archetypes in the narrative, such as symbols, images, and character types in a literary work. Two other academic disciplines, namely social anthropology and psychoanalysis, have contributed to archetypal criticism in separate ways. James G. Frazer deals with mythology and archetypes in anthropological terms. The work of Carl Gustav Jung, a Swiss born psychoanalyst, theorizes about myths and archetypes in relation to the collective unconscious, a number of innate thoughts, feelings, instincts, and memories that reside in the unconsciousness of all people. It is the work of the Canadian literary critic Northrop Frye that theorizes archetypal criticism in purely literary terms. Frye's version strictly categorizes works based on their genres, which determines how an archetype is to be interpreted in a text. In the 1950 s and 1960 s, archetypal criticism was most popular largely due to Frye's work. Though archetypal literary criticism is no longer widely practiced, nor have there been any major developments in the field, it still has a place in the tradition of literary studies. 超越现实世界存在着原型文学批评所涉及的精神和象征属性。原型一词早在 1545 年就出现在欧洲文本中，意为“第一次塑造”。原型被定义为一个人、物体或概念的通用、理想化模型，类似实例都是从中衍生、复制、模式化或模仿而来的。原型文学批评通过关注叙事中的重复神话和原型，如文学作品中的符号、形象和角色类型，来解释文本。另外两个学术学科，即社会人类学和精神分析，以不同方式为原型批评做出了贡献。詹姆斯·G·弗雷泽从人类学角度处理神话和原型。瑞士出生的精神分析家卡尔·古斯塔夫·荣格的工作理论化了关于神话和原型与集体无意识的关系，集体无意识是所有人潜意识中存在的一些内在思想、感觉、本能和记忆。加拿大文学评论家诺斯罗普·弗莱的工作则从纯粹的文学角度理论化了原型批评。 弗莱的版本严格按照作品的流派进行分类，这决定了原型在文本中如何被解释。在 20 世纪 50 年代和 60 年代，由于弗莱的工作，原型批评最受欢迎。尽管原型文学批评不再被广泛实践，也没有任何重大发展，但它仍然在文学研究传统中占有一席之地。
To most readers psychological criticism seems rather attractive. Psychological critics view literary works through the lens of psychology. They look either at the psychological motivations of the characters or of the authors, or of the readers. Jung is also a significant force in psychological criticism. His concept of the process of individuation, namely, the process of discovering what makes one different from everyone else, has largely influenced psychological critics. But most frequently, psychological critics apply Freudian psychology to works. A Freudian approach often includes pinpointing the influences of a character's id (the instinctual, pleasure seeking part of the mind), superego (the part of the mind that represses the id's impulses) and the ego (the part of the mind that controls but does not repress the id's impulses, releasing them in a healthy way). Sexual implications of symbols and imagery are also important as Freud believes that all human behavior is motivated by sexuality. Lacanian psychoanalysis, which integrates psychoanalysis with semiotics and Hegelian philosophy, is popular in France and Latin America. Jacques Lacan's major contributions concern the "mirror stage," the Real, the Imaginary and the Symbolic, and the claim that the "unconscious is structured as a language." 对大多数读者来说，心理批评似乎相当吸引人。心理评论家通过心理学的视角来看待文学作品。他们要么关注人物的心理动机，要么关注作者或读者的心理动机。荣格在心理批评中也起着重要作用。他关于个体化过程的概念，即发现自己与他人不同的过程，对心理评论家产生了很大影响。但最常见的是，心理评论家将弗洛伊德的心理学应用于作品中。弗洛伊德的方法通常包括指出人物的本我（头脑中本能的、寻求快乐的部分）、超我（压抑本我冲动的部分）和自我（控制但不压抑本我冲动，以健康方式释放它们的部分）的影响。弗洛伊德认为，符号和意象的性暗示也很重要，因为他认为所有人类行为都受性欲驱使。拉康的精神分析将精神分析与符号学和黑格尔哲学相结合，在法国和拉丁美洲很受欢迎。 雅克·拉康的主要贡献涉及“镜像阶段”，真实、想象和象征，以及“无意识被构造为一种语言”的说法。"
Feminist criticism focuses on the impact of gender on writing and reading. It usually begins with a critique of patriarchal culture, and is concerned with the place of female writers in the cannon. The history of feminist criticism has been broad and varied, from classic works of nineteenth-century women authors such as Margaret Fuller to cutting-edge theoretical work in women's studies and gender studies by "third-wave" authors such as bell hooks. In the most general and simple terms, feminist literary criticism before the 1970 s - in the first and second waves of feminism - is concerned with the politics of women's authorship and the representation of women's condition within literature. Since the arrival of more complex conceptions of gender and subjectivity and third-wave feminism, feminist literary criticism has taken a variety of new 女性主义批评关注性别对写作和阅读的影响。它通常从批判父权文化开始，关注女性作家在文学中的地位。女性主义批评的历史是广泛而多样的，从十九世纪女作家如玛格丽特·富勒的经典作品到第三波作者如贝尔·胡克斯在妇女研究和性别研究领域的前沿理论工作。在最一般和简单的术语中，1970 年代之前的女性主义文学批评 - 在第一和第二波女权主义浪潮中 - 关注的是女性创作的政治和文学中对女性状况的表现。自性别和主体性的更复杂概念以及第三波女权主义的到来以来，女性主义文学批评已经采取了各种新的。
routes. While the more traditionally feminist concern with the representation and politics of women's lives has continued to play an active role in criticism, gender has been employed as a means of deconstruction and a concrete political investment. It has also been closely associated with the birth and growth of queer studies. Indeed, feminist criticism is political and often revisionist. Critics may argue that gender determines everything, or all gender differences are imposed by society. 路线。尽管更传统的女权主义关注女性生活的表现和政治的作用在批评中继续发挥着积极作用，但性别已被用作解构和具体政治投资的手段。它也与酷儿研究的诞生和发展密切相关。事实上，女性主义批评是政治的，通常是修正主义的。评论家可能会认为性别决定一切，或者所有性别差异都是社会强加的。
Marxist literary criticism is a loose term describing criticism informed by the philosophy or the politics of Marxism. Its history is as long as Marxism itself. Classical Marxism refers to the body of theory expounded by Karl Marx and Friedrich Engels. According to Marxist theory, in capitalist societies the individual is shaped by class relations. In the twentieth century many of the Marxist theorists have also been literary critics, including Georg Lukács, Raymond Williams, and Fredric Jameson. The simplest goal of Marxist literary criticism includes an assessment of the political "tendency" of a literary work, determining whether its social content or its literary form is "progressive"; however, it is by no means the only or the necessary. From Walter Benjamin to Fredric Jameson, Marxist critics have been concerned with aesthetics and politics. For some postMarxist critics, they have begun with the basic tenets of Marxism but moved away from the mode of production and included factors other than class, such as gender, ethnicity, and a reflexive relationship between the base and superstructure. 马克思主义文学批评是一个宽泛的术语，描述了受马克思主义哲学或政治启发的批评。它的历史与马克思主义本身一样悠久。经典马克思主义指的是由卡尔·马克思和弗里德里希·恩格斯阐述的理论体系。根据马克思主义理论，在资本主义社会中，个体受阶级关系塑造。在 20 世纪，许多马克思主义理论家也是文学评论家，包括乔治·卢卡奇、雷蒙德·威廉姆斯和弗雷德里克·詹姆逊。马克思主义文学批评的最简单目标包括评估文学作品的政治“倾向”，确定其社会内容或文学形式是否“进步”；然而，这绝不是唯一或必要的。从瓦尔特·本雅明到弗雷德里克·詹姆逊，马克思主义评论家一直关注美学和政治。对于一些后马克思主义评论家来说，他们从马克思主义的基本原则出发，但远离了生产方式，并包括了除阶级以外的其他因素，如性别、种族和基础结构与上层建筑之间的反思关系。
Minority criticism mainly deals with works by authors of color. In socioeconomics, the term "minority" typically refers to a socially subordinate ethnic group in terms of language, nationality, religion and/or culture. Examining works of ethnic writers, including African, African American, Jewish, Caribbean, Asian American, and native texts, minority criticism focuses on cultural contexts and literary traditions in which these works are situated. The most important approach of this field is the postcolonial theory, which is an intellectual discourse reacting to the cultural legacy of colonialism. As a literary theory, postcolonialism deals with cultural identity in colonized societies: the dilemmas of developing a national identity after colonial rule; the ways in which writers articulate and celebrate that identity while often reclaiming it from and maintaining strong connections with the colonizer; the ways in which the knowledge of the colonized people has been generated and used to serve the colonizer's interests; and the ways in which the colonizer's literature has justified colonialism via images of the colonized as a perpetually inferior people, society and culture. Edward Said's 1978 Orientalism has been described as a seminal work in the field. 少数族裔批评主要涉及有色作者的作品。在社会经济学中，“少数族裔”一词通常指的是在语言、国籍、宗教和/或文化方面处于社会地位较低的民族群体。审视少数族裔作家的作品，包括非洲人、非裔美国人、犹太人、加勒比人、亚裔美国人和土著文本，少数族裔批评侧重于这些作品所处的文化背景和文学传统。这一领域最重要的方法是后殖民理论，这是一种反应殖民主义文化遗产的知识性讨论。作为一种文学理论，后殖民主义处理殖民社会中的文化身份：在殖民统治之后发展国家身份的困境；作家表达和庆祝这种身份的方式，同时经常从殖民者那里重新夺回并保持与殖民者的紧密联系；殖民者如何生成和利用殖民人民的知识来服务殖民者的利益；以及殖民者的文学如何通过描绘殖民者为永远劣等的形象来为殖民主义辩护，描绘殖民社会和文化为永远劣等的形象。 爱德华·赛义德（Edward Said）于 1978 年出版的《东方主义》被描述为该领域的开创性作品。
Ecocriticism is nowadays very popular among Western scholars. It is known by a number of names: "green cultural studies," "ecopoetics," and "environmental literary criticism." Unlike other literary theories which examine the relations between writers, texts, and the world, ecocriticism focuses on the interconnections between nature and culture, specifically the cultural artifacts of languages and literature. While most literary theories regard "the world" as the synonym of society or the social sphere, ecocriticism expands the notion of "the world" to include the entire ecosphere. Ecocritics analyze human perception of wilderness and its changes throughout history, as well as the representation of environmental issues in literature. Despite the broad scope of inquiry, all ecological criticism has one fundamental premise in common: human culture is 生态批评在西方学者中现在非常流行。它被称为许多名称：“绿色文化研究”，“生态诗学”和“环境文学批评”。与其他文学理论不同，其他文学理论考察作家、文本和世界之间的关系，生态批评关注自然和文化之间的相互联系，特别是语言和文学的文化产物。虽然大多数文学理论将“世界”视为社会或社会领域的同义词，生态批评将“世界”的概念扩展到包括整个生态圈。生态批评家分析人类对荒野的感知及其在历史上的变化，以及文学中环境问题的表现。尽管调查范围广泛，所有生态批评都有一个共同的基本前提：人类文化是
connected to the physical world, affecting it and affected by it. As a theoretical discourse, ecocriticism negotiates between the human and the non-human.
As early as the late 1960s and 1970s scholars have been publishing works of ecotheory and criticism giving rise to an explosion of environmentalism. However, these important works were scattered due to the lack of organized movements to study the ecological side of literature. William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay entitled "Literature and Ecology: An Experiment in Ecocriticism." His purpose was to concentrate on "the application of ecology and ecological concepts to the study of literature." Different from feminism and Marxism, ecocriticism failed to evolve a coherent movement in the late 1970s. It was not until the mid 1980s that critics began to work collectively to establish ecocritism as a genre. 早在 1960 年代末和 1970 年代，学者们就开始发表生态理论和批评作品，引发了环保主义的爆发。然而，由于缺乏组织起来研究文学生态方面的运动，这些重要作品散落在各处。威廉·鲁克特可能是第一个使用生态批评这个术语的人。1978 年，鲁克特发表了一篇名为《文学与生态学：生态批评实验》的文章。他的目的是集中于“将生态学和生态概念应用于文学研究”。与女性主义和马克思主义不同，生态批评在 1970 年代末未能形成一个连贯的运动。直到 1980 年代中期，评论家们才开始共同努力，将生态批评确立为一种文学流派。
Ecocriticism was officially heralded by the publication of two seminal works, both published in 1996: The Ecocriticism Reader, edited by Cheryll Glotfelty and Harold Fromm, and The Environmental Imagination by Lawrence Buell. Glotfelty defines ecocriticism as "the study of the relationship between literature and the physical environment". For Buell, ecocriticism is a "study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis". 生态批评正式宣告诞生于两部开创性作品的出版，均发表于 1996 年：由谢瑞尔·格洛特费尔蒂和哈罗德·弗罗姆编辑的《生态批评读本》以及劳伦斯·比尔的《环境想象》。格洛特费尔蒂将生态批评定义为“文学与物理环境之间关系的研究”。对于比尔来说，生态批评是“在致力于环保实践的精神中进行的文学与环境关系研究”。
The scope of ecocriticism has broadened rapidly from nature writing, Romantic poetry and canonical literature to film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has borrowed methodologies from fields of literary, social and scientific studies and considered contributive other disciplines, such as history, philosophy, ethics, and psychology. The most current scholarship in the field of ecocriticism can often be found in both the prominent journal Interdisciplinary Studies in Literature and Environment (ISLE) hosted by the Association for the Study of Literature and Environment (ASLE) in the United States and the newly established online Journal of Ecocriticism: A New Journal of Nature, Society and Literature (JOE). 生态批评的范围迅速从自然写作、浪漫诗歌和经典文学扩展到电影、电视、戏剧、动物故事、建筑、科学叙事以及一系列文学文本。同时，生态批评借鉴了文学、社会和科学研究领域的方法论，并考虑了其他学科的贡献，如历史、哲学、伦理学和心理学。生态批评领域最新的学术研究常常可以在美国文学与环境研究协会（ASLE）主办的著名期刊《跨学科文学与环境研究》（ISLE）以及新成立的在线期刊《生态批评杂志：自然、社会和文学的新期刊》（JOE）中找到。
As has been demonstrated, different theoretical interpretations of the same literary work can bring forth very different views, focusing on different characters and different parts of the plot or generating opposing views of the same characters and events. However, theories can also overlap with one another, producing compatible, even similar, readings of the same work. For example, while Marxism focuses on the socioeconomic considerations that underlie human behavior, it does not exclude the psychological domain of human experience; rather, when it addresses human psychology, it does so in order to demonstrate how psychological experience is produced by socioeconomic factors. Similarly, while feminist analysis usually draws on psychoanalytic and Marxist concepts, it uses them to illuminate feminist concerns to examine the ways in which women are psychologically and socioeconomically oppressed. 正如已经证明的那样，对同一文学作品的不同理论解释可能产生非常不同的观点，侧重于不同的人物和情节的不同部分，或者产生对同一人物和事件的相反观点。然而，理论也可以相互重叠，产生相容甚至相似的对同一作品的阅读。例如，尽管马克思主义关注潜在于人类行为的社会经济考虑，但并不排除人类经验的心理领域；相反，当它涉及人类心理学时，是为了展示心理经验是如何由社会经济因素产生的。同样，尽管女性主义分析通常借鉴精神分析和马克思主义概念，但它们用来阐明女性主义关注点，以审视女性在心理和社会经济上受到压迫的方式。
As the application of critical theory to a literary text, literary criticism tries to explain its production, its meaning, its design, and its beauty to us. Of course, when we apply critical theories that involve a desire to change the world for the better - such as feminism, Marxism, African American criticism, and queer criticism - we will sometimes find a literary work flawed in terms of its deliberate or inadvertent promotion of sexist, capitalist, racist, or homophobic values. But 文学批评作为将批判理论应用于文学文本的一种形式，试图向我们解释其产生、意义、设计和美感。当然，当我们应用那些涉及到改变世界为更美好的批判理论时，比如女性主义、马克思主义、非裔美国人批评和酷儿批评，我们有时会发现一部文学作品在其故意或无意中宣扬性别歧视、资本主义、种族主义或同性恋恐惧等价值观方面存在缺陷。但
even in these cases, the flawed work has value because we can use it to understand how these oppressive ideologies operate. Therefore, literary criticism helps us not only understand literature better but also uses literature better to understand the world outside of literature. Nevertheless, literary criticism, no matter how fascinating in its own right, does not function independently of literature itself. It is designed not to replace literature but to provide tools for the appreciation and understanding of the richness and evocative power of literature. 即使在这些情况下，有缺陷的作品也有价值，因为我们可以利用它来理解这些压迫性意识形态是如何运作的。因此，文学批评不仅帮助我们更好地理解文学，还能更好地利用文学来理解文学之外的世界。然而，文学批评，无论其本身多么迷人，都不会独立于文学本身而存在。它的设计目的不是取代文学，而是为欣赏和理解文学的丰富性和感染力提供工具。
References
Arnoid, Matthew. "The Function of Criticism at the Present Time," The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch. New York: Norton, 2001. 806-25.
Bertens, Hans. Llterary Theory: The Basics. London and New York: Routledge, 2001.
Buell, Lawrence. The Environmental Imagination; Thoredu. Nature Writing, and the Formation of Amerlcan Culture, Cambridge, MA and London, England: Harvard University Press, 1995.
-. Writing for an Endangered World: Literature, Culture, and Environment in the U.S. and Beyand: Cambridge, MA and London, England: The Belknap Press of Harvard University Press, 2001
Bressler, Charles E. Literary Criticlsm: An Introduction to Theory and Practice. Pearson Education and Beljing: Higher Education Press, 2004.
Brooker, M. Keith. A Practical Introduction to Literary Theory and Criticism. White Plains, N.Y. Longman, 1996 .
Davis, Robert Con, and Ronald Schleifer eds. Contemporary Literary Criticlsm: Literary and Crifica Studles. New York and London: Longman, 1989.
Garrard, Greg. Ecocriticism. New York: Routledge, 2004.
Glotfelty, Cheryll and Harold Fromm, eds. The Ecocriticism Reader: Landmarks in Literary Ecology Athens and London: University of Georgia, 1996
Phillips, Dana. The Truth of Ecology: Nature, Culture, and Literature In America. Oxford: Oxford University Press, 2003.
Selden, Raman, et al. A Reader's Guide to Contemporary Literary Theory. 5th ed. Harlow: Pearson Longman. 2005.
Tyson, Lois. Critical Theory Today. New York & London: Garland Publishing, Inc.. 1999.
4.2 Maxist Criticism
Marxism, both as a political science and a literary approach, is based on the historical, economic, and sociological theory of Karl Marx and Friedrich Engels. The fundamental premises of Marxism are the economic systems structuring human societies. Different from formalistic critics who are mainly concerned with the internal or aesthetic form of an art work, Marxist critics find it necessary to disclose the social milieu in which the work is produced or the social circumstances to which it ought to speak. Marxist approach, in Richard Wasson's words, is "to explain how their own methodologies can come to grips with class, race, sex, with oppressions and liberation." Many contemporary theories about culture, power, and inequality derive from Marxism. 马克思主义作为一种政治科学和文学方法，基于卡尔·马克思和弗里德里希·恩格斯的历史、经济和社会学理论。马克思主义的基本前提是经济系统构建人类社会。与主要关注艺术作品内部或审美形式的形式主义批评家不同，马克思主义批评家认为有必要揭示作品产生的社会环境或它应该言说的社会情况。马克思主义方法，用理查德·瓦森的话说，是“解释他们自己的方法如何能够应对阶级、种族、性别、压迫和解放”。许多关于文化、权力和不平等的当代理论源自马克思主义。
Marx and Engels initiated the classical Marxism which flourished until World War II. According to Marx and Engels, the consciousness of a given class at a given historical moment derives from modes of material production. The set of beliefs, values, attitudes, and ideas that constitutes the consciousness of the class forms an ideological superstructure that is shaped and determined by the material infrastructure or economic base. Matter is put priority over mind which is regarded as the product of historical forces. For classical Marxists, getting and keeping economic power is the motive behind all social and political activities. Marx delineates a historical progression from primitive society through feudal society and into various forms of capitalist society, leading to a socialist society. As capitalism develops, the class structure simplifies around two main classes: proletariat and bourgeoisie. The underlying economic structure of class inequality, and class conflicts are emphases of classical Marxian analyses. Marx also sees the bourgeoisie in charge of economic power manipulate politics and exercise cultural control, which sustains the unequal system of relationships. Religion, for instance, is compared with the opiate of the masses. 马克思和恩格斯发起了古典马克思主义，一直繁荣至第二次世界大战。根据马克思和恩格斯的观点，某一历史时刻某一阶级的意识来源于物质生产方式。构成阶级意识的一套信仰、价值观、态度和思想形成了一个意识形态的上层建筑，这个上层建筑受到物质基础或经济基础的塑造和决定。物质被置于优先于被视为历史力量产物的心灵之上。对于古典马克思主义者来说，获取和保持经济权力是所有社会和政治活动背后的动机。马克思描绘了一个从原始社会经过封建社会进入各种形式的资本主义社会，最终通向社会主义社会的历史进程。随着资本主义的发展，阶级结构围绕两个主要阶级简化：无产阶级和资产阶级。阶级不平等的潜在经济结构和阶级冲突是古典马克思主义分析的重点。马克思还看到资产阶级掌握经济权力，操纵政治并行使文化控制，从而维持不平等的关系体系。 宗教，例如，被比作是群众的鸦片。
In 1924 there emerged a loose aggregation of intellectuals called Frankfurt School who worked for or connected with the Frankfurt Institute for Social Research founded in Germany. Along with the Italian Marxist Antonio Gramsi's writings, their critical theory has formed the main body of Western Marxism as opposed to Soviet Marxism. Most of its names have by now become familiar to the academic community: Max Horkheimer, Theodor Adorno, Herbert Marcuse, Walter Benjamin, and Erich Fromm. Their studies are labeled interdisciplinary, encompassing insights from many different areas. While pursuing a variety of intellectual disciplines and theoretical approaches, they share a guiding thread of analyses: the diagnosis of the ruined, pathological world of the early twentieth century. Under the shadows of industrial capitalism and National Socialism, the Frankfurt School ponders the situation and searches possible salvation. Their answers lie not in political activism or in a revolutionary labor movement, but in 1924 年，德国成立了一个名为法兰克福学派的知识分子松散聚集体，他们为或与德国成立的法兰克福社会研究所有关。与意大利马克思主义者安东尼奥·格拉姆西的著作一起，他们的批判理论形成了西方马克思主义的主体，与苏联马克思主义相对立。他们中的大多数人现在已经为学术界所熟知：马克斯·霍克海默、西奥多·阿多诺、赫伯特·马库塞、瓦尔特·本雅明和埃里希·弗洛姆。他们的研究被标签为跨学科的，涵盖了许多不同领域的见解。在追求各种知识学科和理论方法的同时，他们分享了一个分析的指导线索：对 20 世纪初期毁灭、病态世界的诊断。在工业资本主义和国家社会主义的阴影下，法兰克福学派思考着这种情况，并寻找可能的拯救之道。他们的答案不在于政治行动或革命劳工运动，而在于
such abstruse phenomena as avant-garde art, psychoanalysis, dialectical philosophy, and a messianic religious faith. For instance, the modernist experimentation with disruptive forms such as fragmentation, estrangement, and dehumanization has been thought to implicitly provide a critique of mass society. The Institute was forced into exile by the ascendancy of the Nazi Party to power in 1933. By the late 1930s the School had been drifting heavily towards the philosophical. The Marxist orientation gives way and expands to include such figures as Nietzsche and Freud. This move suggests a suspicion of the individual's dangerously hidden forces. They argue that even the movements in which humanity tries to liberate itself, such as the Enlightenment, contain the seeds of self-ruination. After the war, only Horkheimer and Adorno returned to Frankfurt and the tone of their works has become more melancholy oriented towards memory and meditation on the past than toward a diagnosis of the present. 像前卫艺术、精神分析、辩证哲学和救世主宗教信仰等深奥现象。例如，现代主义对破坏性形式的实验，如碎片化、疏远和非人化，被认为隐含地提供了对大众社会的批判。该学院在 1933 年纳粹党掌权后被迫流亡。到了 20 世纪 30 年代末，学校已经严重偏向哲学。马克思主义取向让位并扩展到包括尼采和弗洛伊德等人物。这一举措表明对个体危险隐藏力量的怀疑。他们认为，即使是人类试图解放自己的运动，如启蒙运动，也包含了自我毁灭的种子。战后，只有霍克海默和阿多诺回到法兰克福，他们的作品风格变得更加忧郁，更加倾向于对过去的记忆和沉思，而不是对当下的诊断。
One of the developments of Marx's thinking about ideology - a system of meanings and values - is the concept of hegemony proposed by Antonio Gramsci, a founding member and onetime leader of the Communist Party of Italy. Gramsci wants to explain how the capitalist ruling class continues to rule despite the manifest evidence of inequality. According to Gramsci, only part of the controlling means lies with coercion, namely, the military and police. The most important part of controlling is through hegemony, "the process of formation, spread and development of a unified national language [that] occurs through a whole complex of molecular processes." In other words, a diverse culture can be ruled or dominated by one group or class, and everyday practices and shared beliefs provide the foundation for complex systems of domination. Gramsci argues that the failure of the workers to make an anti-capitalist revolution is due to the successful capture of the workers' ideology, self-understanding, and organizations by the hegemonic culture. Hence hegemony is effected chiefly through non-coercive means as the ruling class succeeds in persuading the other classes of society to accept its own moral, political and cultural values. This concept assumes a plain consent given by the majority of a population to a certain direction suggested by those in power. The bourgeoisie hegemony, for instance, is based on its intellectual and moral leadership with its ideology practiced and spread as "common sense." The central institutions of capitalist society - its courts and schools, its churches and mass media are immured in ideas and beliefs promoting the bourgeois interests. Meanwhile, Gramsci emphasizes struggle. He notes that "common sense is not something rigid and immobile, but is continually transforming itself." Society is like "a war of manoeuvre," a real and ideological battlefield of ideas, beliefs, values and meanings. Consent must be constantly won and rewon, for people's material social experience constantly reminds them of the disadvantages of subordination and thus poses a threat to the dominant class. In Gramsci's view, capitalism will not be overcome until the working class develops its counter-hegemony. 马克思关于意识形态的思考之一发展成果是由意大利共产党创始成员和一时领袖安东尼奥·格拉姆西提出的“霸权”概念。格拉姆西想要解释资本主义统治阶级如何继续统治，尽管明显存在不平等的证据。根据格拉姆西的观点，控制手段的一部分仅仅是通过强制手段，即军事和警察。控制的最重要部分是通过“霸权”，“一个统一的国家语言的形成、传播和发展的过程是通过一整套分子过程发生的”。换句话说，一个多元文化可以被一个群体或阶级统治或主导，日常实践和共享信念为复杂的统治系统提供基础。格拉姆西认为，工人未能发动反资本主义革命是因为工人的意识形态、自我理解和组织被霸权文化成功控制。 因此，霸权主要通过非强制手段实现，因为统治阶级成功地说服社会其他阶级接受其自身的道德、政治和文化价值观。这个概念假定大多数人口对权力者建议的某个方向给予明确同意。例如，资产阶级霸权是建立在其知识和道德领导地位上的，其意识形态被实践和传播为“常识”。资本主义社会的中心机构——其法院和学校、教堂和大众传媒都充斥着促进资产阶级利益的思想和信仰。同时，格拉姆西强调斗争。他指出，“常识并非僵化不动，而是不断转变自己。”社会就像是“一场机动战争”，是意识形态、信仰、价值观和意义的真实和意识形态的战场。同意必须不断赢得和重新赢得，因为人们的物质社会经验不断提醒他们从属的劣势，从而对主导阶级构成威胁。在格拉姆西看来，资本主义直到工人阶级发展出其反霸权主义才能被克服。
Similar to Gramsci's theory of cultural production, Raymond Williams, probably the most important British Marxist literary critic since World War II, seeks to convince us of the shaping power of social and economic practices and institutions. In his 1958 essay "Culture Is Ordinary" Williams states that "a culture is a whole way of life, and the arts are part of a social organization which economic change clearly radically affects." Literature and other cultural forms are seen as the manifestation of a deeply social process that involves authorial ideology, institutional process, 类似于格拉姆西的文化生产理论，雷蒙德·威廉姆斯可能是二战后最重要的英国马克思主义文学评论家，他试图说服我们社会和经济实践与制度的塑造力量。在他 1958 年的文章《文化是平凡的》中，威廉姆斯指出“文化是整个生活方式，艺术是社会组织的一部分，而经济变革显然会对其产生根本影响。”文学和其他文化形式被视为深层社会过程的表现，涉及作者意识形态、制度过程。
and aesthetic form. Like Gramsci, Williams believes there is always space for opposition directed towards the elaboration of another social order. One of his contributions is to make a distinction between residual, dominant and emergent cultures, which sheds light on the role that subversive and oppositional identities and movements play within the dominant culture. This model explains the simultaneous existence of cultures from different epochs in the present moment. According to Williams, each epoch not only consists of different variations and stages, but at every point is also composed of a process of dynamic, contradictory relationships in the interplay of 和审美形式。像格拉姆西一样，威廉姆斯认为总有空间用于反对，以促进另一种社会秩序的阐述。他的一个贡献是区分残余、主导和新兴文化，这阐明了颠覆性和反对性身份和运动在主导文化中扮演的角色。这一模型解释了不同时代文化在当前时刻同时存在的现象。根据威廉姆斯，每个时代不仅包含不同的变体和阶段，而且在每个时刻也由动态、矛盾的关系过程组成，在相互作用中。
Raymond Williams dominant, residual and emergent forms. Residual and emergent forms operate in a process of continual tension, which can take the form of both incorporation and opposition within dominant forms. The following excerpt is drawn from Williams's essay "Base and Superstructure in Marxist Cultural Theory" published in 1977. In it he uses Gramsci's notion of hegemony to argue about the power of dominant political and economic forces in cultural aspects of life and suggests the possibility of alternative and oppositional cultural forces within certain historical context. 雷蒙德·威廉姆斯的主导、残余和新兴形式。残余和新兴形式在持续紧张的过程中运作，可以以主导形式内部的融合和对抗的形式出现。以下摘录取自威廉姆斯于 1977 年发表的《马克思主义文化理论中的基础和上层建筑》一文。在这篇文章中，他运用了格拉姆西的霸权观念，探讨了主导政治和经济力量在文化生活中的影响力，并提出了在特定历史背景下可能存在替代和对抗性文化力量的可能性。
References
Base and Superstructure in Maraist Cultural Theory
Raymond Williams
The Complexity of Hegemony
It is Gramsci's great contribution to have emphasized hegemony, and also to have understood it at a depth which is, I think, rare. For hegemony supposes the existence of something which is truly total, which is not merely secondary or superstructural, like the weak sense of ideology, but which is lived at such a depth, which saturates the society to such an extent, and which, as Gramsci put it, even constitutes the substance and limit of common sense for most people under its sway, that it corresponds to the reality of social experience very much more clearly than any notions derived from the formula of base and superstructure. [...] This notion of hegemony as deeply saturating the consciousness of a society seems to me to be fundamental. And hegemony has the advantage over general notions of totality, that it at the same time emphasizes the fact of domination. 这是格拉姆西的伟大贡献，他强调了霸权，并且以我认为是罕见的深度理解了它。因为霸权假定存在着一种真正全面的东西，不仅仅是次要的或上层建筑的，像弱化的意识形态那样，而是在如此深度上生活，浸透到社会的如此程度，并且正如格拉姆西所说，甚至构成了在其控制下的大多数人的常识的实质和界限，它比从基础和上层建筑的公式推导出的任何概念更清晰地对应社会经验的现实。[...] 我认为，这种深深渗透到社会意识中的霸权观念是基本的。而霸权相对于总体性的一般概念具有优势，它同时强调了统治的事实。
The theoretical model which I have been trying to work with is this. I would say first that in any society, in any particular period, there is a central system of practices, meanings and values, which we can properly call dominant and effective. All I am saying is that it is central. [..] In any case what I have in mind is the central, effective and dominant system of meanings and values, which are not merely abstract but which are organized and lived. This is why hegemony is not to be understood at the level of mere opinion or mere manipulation. It is a whole body of practices and expectations; our assignments of energy, our ordinary understanding of the nature of man and of his world. It is a set of meanings and values which as they are experienced as practices appear as reciprocally confirming. It thus constitutes a sense of reality for most people in the society, a sense of absolute because experienced reality beyond which it is very difficult for most members of the society to move, in most areas of their lives. 我一直试图使用的理论模型是这样的。我首先要说的是，在任何社会，在任何特定时期，都存在一个中心的实践、意义和价值体系，我们可以恰当地称之为主导和有效。我所说的只是它是中心的。无论如何，我心中所想的是中心的、有效的和主导的意义和价值体系，它们不仅仅是抽象的，而是有组织的和实际生活中的。这就是为什么霸权不应该被理解为仅仅是意见或仅仅是操纵的层面。它是一整套实践和期望；我们对能量的分配，我们对人类本质和他的世界的普通理解。它是一套意义和价值观，当它们作为实践被体验时，会相互确认。因此，它构成了大多数人在社会中的现实感，一种绝对的感觉，因为超越这种感觉对于社会大多数成员在生活的大部分领域来说是非常困难的。
It is not only the depths to which this process reaches, selecting and organizing and interpreting our experience. It is also that it is continually active and adjusting; it isn't just the past, the dry husks of ideology which we can more easily discard. And this can only be so, in a complex society, if it is something more substantial and more flexible than any abstract imposed ideology. Thus we have to recognize the alternative meanings and values, the alternative opinions and attitudes, even some alternative sense of the world, which can be accommodated and tolerated within a particular effective and dominant culture. This has been much under-emphasized in our notions of a superstructure, and even in some notions of hegemony. [...] 这个过程不仅仅是深入到哪个程度，选择和组织和解释我们的经验。它还是持续活跃和调整的；它不仅仅是过去，我们可以更容易抛弃的干瘪的意识形态。在一个复杂的社会中，这只能是如此，如果它比任何抽象的强加意识形态更加实质和灵活。因此，我们必须承认替代的含义和价值观，替代的观点和态度，甚至一些替代的世界观，这些都可以在一个特定的有效和主导文化中被容纳和容忍。在我们对上层建筑的概念中，甚至在一些霸权的概念中，这一点被忽视得太多了。
Residual and Emergent Cultures
I have next to introduce a further distinction, between residual and emergent forms, both of alternative and of oppositional culture. By "residual" I mean that some experiences, meanings and values, which cannot be verified or cannot be expressed in terms of the dominant culture, are 我接下来要介绍的是进一步区分，即替代文化和对立文化的残余和新兴形式。所谓“残余”，是指一些经验、意义和价值，无法在主导文化的术语中得到验证或表达。
nevertheless lived and practised on the basis of the residue - cultural as well as social - of some previous social formation. There is a real case of this in certain religious values, by contrast with the very evident incorporation of most religious meanings and values into the dominant system. The same is true, in a culture like Britain, of certain notions derived from a rural past, which have a very significant popularity. A residual culture is usually at some distance from the effective dominant culture, but one has to recognize that, in real cultural activities, it may get incorporated into it. This is because some part of it, some version of it — and especially if the residue is from some major area of the past — will in many cases have had to be incorporated if the effective dominant culture is to make sense in those areas. It is also because at certain points a dominant culture cannot allow too much of this kind of practice and experience outside itself, at least without risk. Thus the pressures are real, but certain genuinely residual meanings and practices in some important cases survive. 尽管如此，仍然生活和实践在一些先前社会形成的残余基础上 - 无论是文化还是社会。在某些宗教价值观中存在这种情况，与大多数宗教意义和价值观明显融入主导体系形成对比。在像英国这样的文化中，源自农村过去的某些概念具有非常显著的流行度。残余文化通常与有效的主导文化有一定距离，但必须承认，在实际文化活动中，它可能会被吸收进去。这是因为它的某些部分，某种版本 - 尤其是如果残余来自过去的某个重要领域 - 在许多情况下必须被吸收，以便有效的主导文化在这些领域有意义。这也是因为在某些时候，主导文化不能容忍太多这种类型的实践和经验存在于自身之外，至少不会带来风险。因此，压力是真实存在的，但在某些重要情况下，某些真正残余的意义和实践仍然存在。
By "emergent" I mean, first, that new meanings and values, new practices, new significances and experiences, are continually being created. But there is then a much earlier attempt to incorporate them, just because they are part - and yet not a defined part — of effective contemporary practice. Indeed it is significant in our own period how very early this attempt is, how alert the dominant culture now is to anything that can be seen as emergent. We have then to see, first, as it were a temporal relation between a dominant culture and on the other hand an èmergent culture. But we can only understand this if we can make distinctions, that usually require very precise analysis, between residual-incorporated and residual not incorporated, and between emergentincorporated and emergent not incorporated. It is an important fact about any particular society, how far it reaches into the whole range of human practices and experiences in an attempt at incorporation. 通过“紧急”一词，我指的是，首先，不断产生新的含义和价值，新的实践，新的意义和经验。但是，有一个更早的尝试将它们纳入其中，仅仅因为它们是有效的当代实践的一部分，但又不是明确定义的一部分。事实上，在我们自己的时代，这种尝试是多么早期，主导文化现在对任何可以被视为新兴的事物是多么敏锐。因此，我们首先要看到，一方面是主导文化，另一方面是新兴文化之间的一种时间关系。但是，我们只有在能够区分残余-纳入和残余未纳入，以及新兴-纳入和新兴未纳入的情况下才能理解这一点。关于任何特定社会的一个重要事实是，它在纳入尝试中达到了多远，涵盖了人类实践和经验的整个范围。
Now it is crucial to any Marxist theory of culture that it can give an adequate explanation of the sources of these practices and meanings. We can understand, from an ordinary historical approach, at least some of the sources of residual meanings and practices. These are the results of earlier social formations, in which certain real meanings and values were generated. In the subsequent default of a particular phase of a dominant culture, there is then a reaching back to those meanings and values which were created in real societies in the past, and which still seem to have some significance because they represent areas of human experience, aspiration and achievement, which the dominant culture under-values or opposes, or even cannot recognize. But our hardest task, theoretically, is to find a non-metaphysical and non-subjectivist explanation of emergent cultural practice. Moreover, part of our answer to this question bears on the process of persistence of residual practices. 现在对于任何马克思主义文化理论来说，重要的是它能够充分解释这些实践和意义的来源。我们可以从普通的历史方法中理解至少一些残余意义和实践的来源。这些是早期社会形成的结果，在这些社会形成中产生了某些真实的意义和价值。在主导文化的特定阶段出现缺失后，就会回溯到过去真实社会中创造的那些意义和价值，这些意义和价值似乎仍然具有一定的重要性，因为它们代表了人类经验、愿望和成就的领域，而这些领域被主导文化低估或反对，甚至无法认可。但从理论上讲，我们最困难的任务是找到一种非形而上学和非主观主义的新兴文化实践解释。此外，我们对这个问题的部分答案涉及残余实践的持续过程。
Williams, Raymond. "Base and Superstructure in Marxist Cultural Theory." Contemporary Literary Criticism: Literary and Critical Studies. Ed. Robert Davis and Ronald Schleifer. New York & London: Longman, 1989. 382 - 86. 威廉姆斯，雷蒙德。“马克思主义文化理论中的基础和上层建筑。”当代文学批评：文学和批评研究。罗伯特·戴维斯和罗纳德·施莱弗编辑。纽约和伦敦：朗曼，1989 年。382-86。
In classical Marxist terms, the mass media, in the ownership of the ruling class, simply disseminates the ideas and world views of the ruling class, as well as denies or defuses alternative ideas. According to the stance, the mass media functions to produce "false consciousness" in the workingclasses. Do you think such interpretation has some limits? If the media in modern societies has to succeed, does it have to accommodate some alternatives and oppositions? 在古典马克思主义的术语中，大众传媒由统治阶级拥有，简单地传播统治阶级的观念和世界观，同时否定或化解替代观念。根据这种立场，大众传媒的功能是在工人阶级中产生“虚假意识”。您认为这种解释有一定的局限性吗？如果现代社会的媒体要成功，是否必须容纳一些替代观点和反对意见？
In Dominic Strinati's view, the main problem with Gramsci's ideas is the same as with the Frankfurt School's theories: their Marxist background. Strinati believes a class-based analysis tends to simplify the relation between the people and their own culture. Do you agree with him? 在多米尼克·斯特里纳蒂（Dominic Strinati）看来，格拉姆西（Gramsci）的观点的主要问题与法兰克福学派的理论相同：它们的马克思主义背景。斯特里纳蒂认为，基于阶级的分析往往会简化人们与自己文化之间的关系。你同意他的观点吗？
Can you use Raymond William's model of residual/dominant/emergent cultures to analyze contemporary Chinese culture?
4.3 Psychoanalytical Griticism
Psychoanalysis, simply put, is the analysis of the psyche. The object of its study is the "deep structure" of the mind. Since Sigmund Freud published his Interpretation of Dreams in 1899, there has been a steady and deepening incorporation between psychology and literary criticism. Through the lens of psychology, readers may look either at the psychological motivations of the characters or of the authors, and be able to relate a theory of mind to literary aesthetics, narrative structure, or the social and cultural context. 精神分析简单来说，就是对心灵的分析。它研究的对象是心灵的“深层结构”。自西格蒙德·弗洛伊德于 1899 年出版《梦的解析》以来，心理学和文学批评之间的融合稳步加深。通过心理学的视角，读者可以看到人物或作者的心理动机，并能将心灵理论与文学美学、叙事结构或社会文化背景联系起来。
Traditionally, psychological critics would apply Freudian psychology to literary works. The basic principle of the theory is the pleasure principle that indicates the motive to avoid discomfort produced by the conflicts people inevitably feel. According to Freud, "What decides the purpose of life is simply the program of the pleasure principle. What do people demand of life and wish to achieve in it? The answer to this can hardly be in doubt. They want to become happy and to remain so." The pleasure principle, however, is continuously challenged and repressed by the reality principle as society cannot allow people to go around enacting the fantasies of the pleasure principle, and it invents prohibitions such as religion and etiquette to keep the beasts at bay. Consequently, the sexual and aggressive pleasures are repressed to the unconscious, which is compared to the big iceberg containing the hidden, repressed desires of life. 传统上，心理批评家会将弗洛伊德心理学应用于文学作品。该理论的基本原则是快乐原则，表明人们不可避免地感到的冲突产生的不适感是动机。根据弗洛伊德，“决定生活目的的是快乐原则的程序。人们对生活有什么要求，希望在其中实现什么？对此的答案几乎毫无疑问。他们想要变得快乐并保持快乐。”然而，快乐原则不断受到现实原则的挑战和压抑，因为社会不能允许人们随意实现快乐原则的幻想，它发明了诸如宗教和礼仪之类的禁令来阻止野兽。因此，性和攻击性的快乐被压抑到潜意识中，这与包含生活中隐藏的、被压抑的欲望的巨大冰山相比。
The early theory of the self found in The Interpretation of Dreams divides the mind into three areas, the unconscious, the preconscious, and the conscious. The unconscious is not accessible to the conscious self except in disguised forms. The cultural norms and repressions are stored in the preconscious, which is somewhat available to the conscious self. It is the preconscious which substitutes attainable gratifications for unattainable ones, and works to substitute thought for sensory and affective memories. 《梦的解析》中提出的自我早期理论将心灵分为三个领域，即无意识、前意识和意识。无意识对意识自我而言是不可接触的，除非以伪装形式出现。文化规范和压抑存储在前意识中，这在一定程度上可供意识自我使用。前意识替代了无法实现的满足，努力用思想替代感官和情感记忆。
Sigmund Fréud
The division of unconscious, preconscious, and conscious corresponds to some extent to Freud's later Tripartite model of the workings of the human mind. He divides the personality into the interacting structure: id, ego, and superego. The id mainly comes from two forms of instinct: death wish and love wish. Death wish does not necessarily mean a wish to die, but an urge to "restore an earlier stage of things" or simply to destroy. Love wish is called by Freud "libido," basically sexual. Being the psychological reservoir of instincts, the id is devoted solely to the gratification of prohibited desire of all kinds — desire for power, for sex, for amusement or for food. The superego is the social values and taboos that people internalize as their sense of right and wrong. The responsibility of the ego is to negotiate 潜意识、前意识和意识的划分在某种程度上对应于弗洛伊德后来提出的人类心智运作的三部分模型。他将人格划分为相互作用的结构：本我、自我和超我。本我主要来源于两种本能形式：死亡愿望和爱情愿望。死亡愿望并不一定意味着想要死亡，而是一种“恢复早期事物阶段”或简单地摧毁的冲动。爱情愿望被弗洛伊德称为“生命力”，基本上是性欲。作为本能的心理储备库，本我专注于满足各种被禁欲望——对权力、性、娱乐或食物的欲望。超我是人们内化为是非观念的社会价值观和禁忌。自我的责任是协商。
between the internal world's id and superego and the external world of reality, which continually prevents the ego from achieving its goals. For some, necessary negotiations are difficult to achieve, and the repression may become excessive and make them ill, hence hysteria and neurosis. For most of us, however, we experience dreams or parapraxes (slips, ways in which the unconscious speaks despite the vigilance of our conscious selves) when drives rising from the id, being repressed by the ego and the superego, our defenses, and then finding their expressions in displaced forms as wish fulfillment. 在内部世界的本我和超我之间以及外部现实世界之间，不断阻止自我实现其目标。对于一些人来说，必要的协商很难实现，而压抑可能变得过度并使他们生病，因此出现歇斯底里和神经症。然而，对于我们大多数人来说，当源自本我的驱动力被自我和超我压抑时，我们的防御机制，我们会经历梦境或口误（失误，即使我们的意识自我保持警惕，无意识仍在说话的方式），然后以替代形式实现愿望。
No wonder, in literary studies, the operations of repression are of vital importance to analyze the psyches of characters or of authors. Critics may ask questions such as: What are the operations of ego-id-superego? How does repression structure or inform the work? That is, what unconscious motives are operating in the main characters; what core issues are thereby illustrated; and how do these core issues structure or inform the piece? While doing the analysis, critics have to remember that the unconscious consists of repressed wounds, fears, unresolved conflicts, and guilty desires, which are primary indicators of psychological identity. 在文学研究中，压抑的运作对分析人物或作者的心理至关重要。评论家可能会提出诸如：自我-本我-超我的运作是什么？压抑如何构建或影响作品？也就是说，主要人物中存在着哪些潜意识动机；由此展示了哪些核心问题；这些核心问题如何构建或影响作品？在进行分析时，评论家必须记住，潜意识包括被压抑的创伤、恐惧、未解决的冲突和内疚欲望，这些是心理身份的主要指标。
Besides the Tripartite model, dream interpretation has been another significant way to reveal authors' or characters' repressed motives and wishes. During sleep the unconscious is somewhat free to express itself, but there still exists some censorship to protect us from seeing our repressed experiences and emotions, which causes dream distortion. What we actually dream is manifest content, which is the unconscious message in disguise. In interpreting dreams, the goal is to recall the manifest content and try to uncover the latent content. For Freud, a literary work is the external expression of the author's unconscious mind. Accordingly, it can be treated like a dream. In literature the manifest is the plot while the latent is believed to be the true meaning of the author. Since our sexuality is an important reflection of our psychological being, dreams about our gender roles are quite revealing. Male imageries include towers, rockets, guns, arrows, swords, and the like. Actually, anything that stands upright might be functioning as a phallic symbol. Likewise, female imagery can be anything that stands in for the womb. Caves, rooms, cups or enclosures and containers of any kind can be female imageries. Besides, female imageries also include milk or anything that can stand for the breast. Therefore, recurrent or striking dream symbols, especially those relevant to death, sexuality, and the unconscious, are helpful to reveal the ways in which the narrator or speaker is projecting his or her unconscious desires, fears, wounds, or unresolved conflicts onto other characters, the setting, or the events portrayed. 除了三分模型之外，梦境解释是揭示作者或角色压抑动机和愿望的另一重要方式。在睡眠期间，无意识在某种程度上可以自由表达自己，但仍然存在一些审查，以保护我们免受看到我们被压抑的经历和情绪，这导致了梦境扭曲。我们实际上梦到的是显性内容，这是无意识信息的伪装。在解释梦境时，目标是回忆显性内容并尝试揭示潜在内容。对于弗洛伊德来说，文学作品是作者无意识心灵的外在表达。因此，它可以像梦一样对待。在文学中，显性是情节，而潜在被认为是作者的真正含义。由于我们的性别角色是我们心理存在的重要反映，关于我们性别角色的梦境是相当具有启示性的。男性意象包括塔、火箭、枪、箭、剑等。实际上，任何直立的东西都可能作为阳具象征。同样，女性意象可以是代表子宫的任何东西。 洞穴、房间、杯子或任何形式的容器都可以是女性意象。此外，女性意象还包括牛奶或任何代表乳房的东西。因此，经常出现或引人注目的梦境符号，特别是与死亡、性欲和潜意识有关的符号，有助于揭示叙述者或讲述者将其潜意识的欲望、恐惧、创伤或未解决的冲突投射到其他角色、环境或所描绘的事件中的方式。
In Interpretation of Dreams, Freud introduces a concept of the Oedipus complex, the name of which is borrowed from a Greek legend in which Oedipus unknowingly slays his father and marries his mother. Freud believes that the son desires union with the mother, and regards the father as his enemy who intervenes and bars this union. He feels the need to do away with the superfluous father and to take his place. This process is less clear for a girl because she will never possess a penis and must, therefore, find fulfillment in relationship to a male in her adult life in order to make up for her lack. From the time of puberty onward, the individual must turn himself to the great task of freeing himself from the parents, and only after this detachment is accomplished can he cease to be a child and so becomes a member of society. If the child cannot pass smoothly through this mental stage, then there is a "neurosis" that will affect his adult life. Hamlet's hesitation 在《梦的解析》中，弗洛伊德介绍了伊底普斯情结的概念，这个名字取自一个希腊传说，传说中伊底普斯无意中杀死了他的父亲并娶了他的母亲。弗洛伊德认为儿子渴望与母亲结合，把父亲视为干涉并阻止这种结合的敌人。他感到有必要摆脱多余的父亲并取而代之。对于女孩来说，这个过程不太明显，因为她永远不会拥有阴茎，因此必须在成年后与男性建立关系以弥补她的缺陷。从青春期开始，个体必须转向解放自己脱离父母的重大任务，只有在完成这种分离之后，他才能停止做一个孩子，成为社会的一员。如果孩子无法顺利度过这个心理阶段，那么他的成年生活将受到“神经症”的影响。哈姆雷特的犹豫。
to kill his uncle, for instance, is interpreted as his incapacity to execute his surrogate who actually fulfills his repressed wish to get rid of his own father.
In Freudian criticism, repression and sublimation are two terms demonstrating the power of the societal superego and its prohibition of desire. When the pleasure principle cannot express itself, it must bury (repress) or transfer (sublimate) its desire. When the re-circulated content of unconscious desire plays a powerful role in the psychological life of the individual, he may act it out in neurotic behaviors that society disapproves of, such as rape and violence, or repress it completely, which often leads to madness, or sublimate it in socially approved ways, such as reading Playboy or watching professional wrestling or reading romances. There are basically three kinds of sublimations of raw desire: religion, intellectual and academic work, and creative works of art. Religion is believed to be effective "by forcibly fixing [people] in a state of psychical infantilism and by drawing them into mass delusion ... sparing many people an individual neurosis." Similarly, intellectual and academic work shifts the instinctual aims in such a way that they cannot come up against frustration from the external world. In the excerpt "Creative Writers and Day-Dreaming" Freud associates the daydream with the creative writing. In his view, the writer creates a world of fantasy in the same way as the child at play. Creative writing, like a day-dream for wish-fulfillments, is a game in disguise of the immoral desire. What differs the creative writing from a naïve one is the art form, the technique of overcoming the feeling of repulsion. By participating the writer's fantasies readers find relief and liberation of tensions in their own minds. 在弗洛伊德的批评中，压抑和昇华是两个术语，展示了社会超我力量及其对欲望的禁止。当快乐原则无法表达自己时，它必须埋藏（压抑）或转移（昇华）其欲望。当无意识欲望的再循环内容在个体的心理生活中发挥强大作用时，他可能会以神经质行为表现出来，这些行为社会不赞成，比如强奸和暴力，或者完全压抑它，这往往导致疯狂，或者以社会认可的方式昇华它，比如阅读《花花公子》或观看职业摔跤或阅读言情小说。基本上有三种原始欲望的昇华：宗教、知识和学术工作，以及创作艺术作品。人们相信宗教是有效的，“通过强制将[人们]固定在心理幼稚状态，并将他们卷入群体妄想...使许多人免受个体神经症的困扰。”同样，知识和学术工作以这样一种方式转移本能目标，使它们无法受到外部世界的挫折。 在《创造性作家和白日梦》的节选中，弗洛伊德将白日梦与创造性写作联系在一起。在他看来，作家创造了一个幻想世界，就像孩子在玩耍一样。创造性写作，就像一个满足愿望的白日梦，是一种伪装成不道德欲望的游戏。创造性写作与天真的写作之间的区别在于艺术形式，以及克服排斥感的技巧。通过参与作家的幻想，读者在自己的心灵中找到了解脱和释放紧张的方式。
References
Creative Writers and Day-Dreaming
Sigmund Freud
[...] Should we not look for the first traces of imaginative activity as early as in childhood? The child's best-loved and most intense occupation is with his play or games. Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, rearranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. [..] 我们不应该在童年时期寻找想象活动的最初痕迹吗？孩子最喜欢和最强烈的活动是玩耍或游戏。我们是否可以说，每个玩耍的孩子都像一个创意作家，因为他创造了自己的世界，或者说，以一种新的方式重新排列他的世界中的事物，这让他感到愉悦？认为他不认真对待那个世界是错误的；相反，他非常认真地对待自己的游戏，并在其中投入了大量的情感。
The creative writer does the same as the child at play. He creates a world of fantasy which he takes very seriously - that is, which he invests with large amounts of emotion - while separating it sharply from reality. [...] 创意作家与玩耍的孩子做着同样的事情。他创造了一个充满幻想的世界，他非常认真地对待这个世界，也就是说，他投入了大量的情感，同时将其与现实分割得很清晰。[...]
As people grow up, then, they cease to play, and they seem to give up the yield of pleasure which they gained from playing. But whoever understands the human mind knows that hardly anything is harder for a man than to give up a pleasure which he has once experienced. Actually, we can never give anything up; we only exchange one thing for another. What appears to be a renunciation is really the formation of a substitute or surrogate. In the same way, the growing child, when he stops playing, gives up nothing but the link with real objects; instead of playing, he now fantasies. He builds castles in the air and creates what are called day-dreams. I believe that most people construct fantasies at times in their lives. This is a fact which has long been overlooked and whose importance has therefore not been sufficiently appreciated. 随着人们长大，他们停止了玩耍，似乎放弃了从玩耍中获得的快乐。但是，谁了解人类心灵的人都知道，对一个人来说，几乎没有什么比放弃一种曾经体验过的快乐更难的事情。实际上，我们永远无法放弃任何东西；我们只是将一种东西换成另一种。看似放弃的实际上是形成了一种替代品或代用品。同样，当成长中的孩子停止玩耍时，他并没有放弃任何东西，只是与真实物体的联系断了；他现在幻想。他在空中建造城堡，创造所谓的白日梦。我相信大多数人在生活中的某个时候都会构建幻想。这是一个长期被忽视的事实，因此其重要性尚未得到足够的重视。
People's fantasies are less easy to observe than the play of children. The child, it is true, plays by himself or forms a closed psychical system with other children for the purposes of a game; but even though he may not play his game in front of grown-ups, he does not, on the other hand, conceal it from them. The adult, on the contrary, is ashamed of his fantasies and hides them from other people. He cherishes his fantasies as his most intimate possessions, and as a rule he would rather confess his misdeeds than tell anyone his fantasies. It may come about that for that reason he believes he is the only person who invents such fantasies and has no idea that creations of this kind are widespread among other people. 人们的幻想不像孩子们的游戏那样容易观察。 孩子确实会自己玩耍，或者与其他孩子形成一个封闭的心理系统来进行游戏；但即使他可能不会在大人面前玩游戏，另一方面，他也不会将其隐藏起来。 相反，成年人对自己的幻想感到羞耻，并将其隐藏起来。 他珍视自己的幻想，视之为最私密的财产，通常他宁愿坦白自己的过错，也不愿告诉任何人自己的幻想。 也许因此他会认为自己是唯一一个创造这种幻想的人，根本不知道这类创作在其他人中是普遍存在的。
Let us make ourselves acquainted with a few of the characteristics of fantasying. We may lay it down that a happy person never fantasies, only an unsatisfied one. The motive forces of fantasies are unsatisfied wishes, and every single fantasy is the fulfillment of a wish, a correction of unsatisfying reality. These motivating wishes vary according to the sex, character, and circumstances of the person who is having the fantasy; but they fall naturally into two main groups. They are either ambitious wishes, which serve to elevate the subject's personality; or they are erotic ones. [...] But we will not lay stress on the opposition between the two trends; we would rather emphasize the fact that they are often united. [...] 让我们熟悉一下幻想的一些特征。我们可以断定，一个快乐的人从不幻想，只有一个不满足的人。幻想的动力是不满足的愿望，每一个幻想都是一个愿望的实现，对不满意的现实的修正。这些激励愿望根据拥有幻想的人的性别、性格和环境而有所不同；但它们自然地分为两大类。它们要么是雄心勃勃的愿望，用来提升主体的个性；要么是性爱的愿望。[...] 但我们不会强调这两种趋势之间的对立；我们更愿意强调它们经常是结合在一起的。[...]
I cannot pass over the relation of fantasies to dreams. Our dreams at night are nothing else than fantasies like these, as we can demonstrate from the interpretation of dreams. Language, in its 我不能忽略幻想与梦想之间的关系。我们晚上的梦想不过就是这样的幻想，正如我们可以从梦的解释中证明的那样。语言，在其
unrivalled wisdom, long ago decided the question of the essential nature of dreams by giving the name of "day-dreams" to the airy creations of fantasy. If the meaning of our dreams usually remains obscure to us in spite of this pointer, it is because of the circumstance that at night there also arise in us wishes of which we are ashamed; these we must conceal from ourselves, and they have consequently been repressed, pushed into the unconscious. Repressed wishes of this sort and their derivatives are only allowed to come to expression in a very distorted form. When scientific work had succeeded in elucidating this factor of dream-distortion, it was no longer difficult to recognize that night-dreams are wish-fulfillments in just the same way as day-dreams - the fantasies which we all know so well. 无与伦比的智慧，很久以前通过将“白日梦”这个名称赋予幻想的空灵创作，决定了梦境的本质问题。尽管有这个指示，我们的梦的意义通常对我们来说仍然是模糊的，这是因为在夜晚我们也会产生一些让我们感到羞愧的愿望；我们必须将这些愿望隐藏起来，因此它们被压抑了，被推入无意识之中。这种被压抑的愿望及其衍生物只能以非常扭曲的形式表达出来。当科学工作成功地阐明了这种梦境扭曲因素时，不再难以认识到夜晚的梦境与白日梦一样是愿望的实现——我们都很熟悉的幻想。
So much for fantasies. And now for the creative writer. May we really attempt to compare the imaginative writer with the "dreamer in broad daylight," and his creations with day-dreams? Here we must begin by making an initial distinction. We must separate writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who seem to originate their own material. We will keep to the latter kind. [...] 对幻想而言就是这样。现在轮到创意作家了。我们真的可以尝试将富有想象力的作家与“白天做梦者”以及他的创作与白日梦进行比较吗？在这里，我们必须首先进行一个初步的区分。我们必须将那些像古代史诗和悲剧作家一样接过现成材料的作家与那些似乎创作自己材料的作家分开。我们将坚持后者。[...]
We are perfectly aware that very many imaginative writings are far removed from the model of the naive day-dream; and yet I cannot suppress the suspicion that even the most extreme deviations from that model could be linked with it through an uninterrupted series of transitional cases. 我们非常清楚，许多富有想象力的作品与天真白日梦的模式相去甚远；然而，我无法抑制怀疑，即使是最极端的偏离该模式的作品，也可能通过一系列不间断的过渡情况与之联系在一起。
If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. [...] In the light of the insight we have gained from fantasies, we ought to expect the following state of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfillment in the creative work. The work itself exhibits elements of the recent provoking occasion as well as of the old memory. 如果我们将富有想象力的作家与白日梦者进行比较，将诗意创作与白日梦进行比较，如果要有任何价值，那么它必须在某种程度上表现出自身的富饶。[...] 根据我们从幻想中获得的洞察力，我们应该期待以下事态。现在强烈的经历唤醒了创作作家对早期经历（通常属于他的童年）的记忆，从中现在产生了一个愿望，这个愿望在创作中得以实现。作品本身展示了最近引发事件的元素，也展示了旧记忆的元素。
Do not be alarmed at the complexity of this formula. [...] You will not forget that the stress it lays on childhood memories in the writer's life - a stress which may perhaps seem puzzling is ultimately derived from the assumption that a piece of creative writing, like day-dream, is a continuation of, and a substitute for, what was once the play of childhood. 不要对这个公式的复杂性感到惊讶。[...] 你不会忘记它在作家生活中对童年记忆的强调 - 这种强调可能看起来令人困惑，最终源自这样一个假设：创意写作，就像白日梦一样，是童年游戏的延续和替代。
We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the refashioning of ready-made and familiar material. Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite extensive. In so far as the material is already at hand, however, it is derived from the popular treasure-house of myths, legends, and fairy tales. The study of constructions of folk psychology such as these is far from being complete, but it is extremely probable that myths, for instance, are distorted vestiges of the wishful fantasies of the whole nations, the secular dreams of youthful humanity. [...] 我们不应忽视的是，我们必须回到那种想象力作品，我们必须认识到，它们不是原创作品，而是对现成和熟悉材料的再塑。即使在这里，作家也保持了一定程度的独立性，这种独立性可以体现在材料的选择和其中的变化上，这些变化通常是相当广泛的。然而，就材料而言，它已经存在于民间神话、传说和童话的宝库中。对这类民间心理结构的研究远未完成，但极有可能，例如神话是整个民族愿望幻想的扭曲残留，是年轻人类的世俗梦想。[...]
You will remember how I have said that the day-dreamer carefully conceals his fantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pleasure by his disclosure. Such fantasies, when we learn them, repel us or at least leave us cold. But when a creative writer 你会记得我曾经说过，白日梦者会小心地将他的幻想隐藏起来，因为他觉得有理由为这些幻想感到羞耻。我现在应该补充说，即使他向我们传达这些幻想，他也无法通过揭示它们给我们带来快乐。当我们了解这些幻想时，我们感到厌恶，或者至少让我们感到冷漠。但当一个创意作家
presents his plays to us or tells us what we are inclined to take to be his personal day-dreams, we experience a great pleasure, and one which probably arises from the confluence of many sources. How the writer accomplishes this is his innermost secret. [...] We can guess two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal — that is, aesthetic - yield of pleasure which he offers us in the presentation of his fantasies. We give the name of an incentive bonus, or a forepleasure, to a yield of pleasure such as this, which is offered to us so as to make possible the release of still greater pleasure arising from deeper psychical sources. In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a forepleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is due to the writer's enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the threshold of new, interesting, and complicated inquires; but also, at least for the moment, to the end of our discussion. 当他向我们展示他的戏剧或告诉我们我们倾向于认为是他个人白日梦时，我们会感受到一种巨大的愉悦，这种愉悦可能来自许多源泉的汇合。作家如何实现这一点是他最深层的秘密。[...] 我们可以猜测到这种技巧使用的两种方法。作家通过改变和伪装来软化他自私的白日梦的性格，他通过纯粹形式的 - 也就是美学的 - 愉悦产生来贿赂我们，他在呈现他的幻想时向我们提供。我们将这种愉悦产生称为激励奖金，或者前愉悦，这种愉悦被提供给我们，以便释放更深层心理源泉产生的更大愉悦。在我看来，创作作家带给我们的所有美学愉悦都具有这种前愉悦的特征，我们对想象作品的实际享受来自于我们心灵中紧张的释放。甚至可能有不少这种效果是由于作家使我们能够从此享受我们自己的白日梦而不自责或羞愧。 这将我们带到了新的、有趣的、复杂的探讨的门槛；但也至少暂时结束了我们的讨论。
Questions
for
Discussion
What are the similarities between night-dreams and day-dreams? Before reading the passage, have you ever thought they are connected? What do these dreams reveal?
Freud compares a creative writer to a child at play. Do you think childhood is of vital importance in psychoanalysis?
Mad people, like creative writers, are also absorbed in fantasies. What are the differences between a creative writer and a lunatic?
At the end of the excerpt, Freud mentions the discussion has brought us to "the threshold of new, interesting, and complicated inquires." In your opinion, what is the orientation of the new inquires? 在摘录的结尾，弗洛伊德提到讨论已经将我们带到了“新的、有趣的和复杂的探究的门槛”。在您看来，新探究的方向是什么？
Do you agree with Freud's idea wholeheartedly? If you took a Marxist perspective, what would you say about a writer's creative motives?
Freud, Sigmund. "Creative Writers and Day-Dreaming." 20th Century Literary Criticism: A Reader. Ed. David Lodge. London: Longman, 1972. 10-16.
4.4 Feminist Griticism
Broadly defined, feminist criticism examines how literature and other cultural productions reinforce or undermine the oppression of women. It is the concern of feminist critics to probe the marginalization of women in economic, political, social, and psychological terms and examine the ways in which women are relegated to a secondary position. Feminism, indeed, represents one of the most significant social and aesthetic revolutions of modern times. 广义上，女性主义批评探讨文学和其他文化作品如何强化或削弱对女性的压迫。女性主义批评家关注探究女性在经济、政治、社会和心理方面的边缘化，并审视女性被排斥到次要位置的方式。事实上，女性主义代表了现代社会和美学中最重要的革命之一。
The history of feminism is the history of Feminist movements, which has been divided into three waves. The First Wave of feminism was the time of the abolitionists and suffragettes from 1848 to 1920 . Women at that time fought for franchise and the abolition of slavery. They also won women the right to own and inherit property, the right to divorce and to joint custody. From 1920 to 1960 feminism was in a temporary state of retreat due to two world wars, the Great Depression, and the Cold War. The 1960s was a time of social and intellectual unrest. History witnessed the Black Civil Rights Movement, sociological changes in the family as women reentered workplace, Vietnam War protests, and the rise of radical philosophies. Therefore, the Second Wave came alive in the mid-1960s and lasted until 1982. Women helped legalize the pill, the abortion, a mediocre equal pay bill, and laid bare things like sexual harassment, and domestic violence. The Third Wave began in 1982 mostly because young women who grew up with the Second Wave have wanted a voice of their own. They have pushed the Second Wave along toward its goal of full-equality. More women have been seen on careers and taken responsibilities previously labeled masculine. Individuals have been hopefully not defined and limited by gender. 女权主义的历史是女权主义运动的历史，被分为三个阶段。第一波女权主义是从 1848 年到 1920 年废奴主义者和妇女选举权活动家的时期。当时的妇女为争取选举权和废除奴隶制而奋斗。她们还赢得了妇女拥有和继承财产的权利，离婚和共同监护的权利。从 1920 年到 1960 年，女权主义处于暂时的退缩状态，原因是两次世界大战、大萧条和冷战。20 世纪 60 年代是社会和思想动荡的时期。历史见证了黑人民权运动、家庭结构的社会变革，妇女重新进入职场，越南战争抗议以及激进哲学的兴起。因此，第二波女权主义在 20 世纪 60 年代中期兴起，并持续到 1982 年。妇女帮助合法化避孕药、堕胎、一项一般的平等工资法案，并揭露了性骚扰和家庭暴力等问题。第三波女权主义始于 1982 年，主要是因为与第二波一起长大的年轻女性想要有自己的声音。她们推动第二波女权主义朝着实现完全平等的目标迈进。 越来越多的女性涉足职场，并承担起过去被标签为男性的责任。个体希望不再被性别定义和限制。
For feminist critics, a clear distinction is made between the word sex, which refers to biological constitution as female or male, and the word gender, which refers to cultural programming as feminine and masculine. Different from sex, gender is created by society rather than by nature. The norms of patriarchy privilege men over women by promoting traditional gender roles. Men have been regarded as rational, strong, protective, and decisive, while women emotional, weak, nurturing, and submissive. Such stereotypes justify all disparities that exclude women from equal accesses to social resources. For instance, women are unlikely to obtain leadership and decisionmaking positions in either families or social world, and are convinced that they are not fit for careers such as mathematics and physicians. Therefore, patriarchy is sexist because it inscribes the innate inferiority of women to men. A nineteenth-century assumption was that women were not able to pursue any academic work or serious endeavors because the periods reduced their energy and too much work would affect their health. Such view of the inborn inferiority of women is called biological essentialism, which bases social inequality on biological differences, and has long been used to justify and maintain the male monopoly of social power. As a result women are 对于女性主义批评者来说，他们清楚地区分了“性别”这个词，它指的是作为女性或男性的生物构成，以及“性别”这个词，它指的是作为女性和男性的文化编程。与性别不同，性别是由社会而不是自然创造的。父权制度的规范通过推广传统的性别角色，使男性优于女性。男性被视为理性、强壮、保护性和果断，而女性被视为情感丰富、软弱、 nurturing 和顺从。这种刻板印象证明了所有排除女性平等获得社会资源的差异。例如，女性不太可能在家庭或社会世界中获得领导和决策职位，并且相信自己不适合从事数学和医生等职业。因此，父权制度是性别歧视的，因为它将女性的天生劣势刻在了男性身上。19 世纪的一个假设是，女性无法从事任何学术工作或严肃的努力，因为月经会消耗她们的能量，过多的工作会影响她们的健康。 女性天生的劣势观被称为生物本质主义，它将社会不平等基于生物差异，并长期被用来为男性对社会权力的垄断进行辩护和维持。因此，妇女们
denied educational and occupational opportunities and remain powerless in patriarchal society. It can be concluded that the inferior position occupied by women has been culturally, not biologically, produced. Patriarchal ideology suggests there are only two identities for a woman. If she accepts the traditional gender roles and remains submissive, she is a "good girl" or an "angel"; otherwise, she is a "bad girl" or a "siren." Positive or not, both roles are projections of male desires. The angels are kept in the house to be good mothers and wives. Florence Nightingale in her Notes on Nursing (1859) has emphasized the domesticated qualities inherent in the role: "Every woman must, at some time or other of her life, become a nurse." The author has stressed the nursing as something both compatible with domestic ideals of femininity and natural for women. On the contrary, the siren figure stands in opposition to the domestic Madonna as she violates patriarchal sexual norms and threatens men's sexuality, hence their punishment. 在父权社会中，女性被剥夺了教育和职业机会，保持无力。可以得出结论，女性所处的劣势地位是文化上而非生物学上产生的。父权意识形态暗示女性只有两种身份。如果她接受传统的性别角色并保持顺从，她就是一个“好女孩”或“天使”；否则，她就是一个“坏女孩”或“塞壬”。无论是积极的还是消极的，这两种角色都是男性欲望的投射。天使被关在家里成为好母亲和妻子。弗洛伦斯·南丁格尔在她的《护理笔记》（1859 年）中强调了角色中固有的家庭化特质：“每个女人在生活中的某个时候都必须成为一名护士。”作者强调护理既符合女性家庭理想，又是女性天生的。相反，塞壬形象与家庭化的圣母形象相对立，因为她违反了父权性 norms 并威胁男性的性欲，因此受到惩罚。
The problem of getting beyond patriarchal ideologies has puzzled feminists for a long time. De Beauvoir in The Second Sex (1949) has drawn a conclusion that the identity of women is constructed by men. Kate Millett's Sexual Politics (1970) is the first widely read book of feminist criticism. Differentiating sex from gender, Millett writes the essence of gender politics is power, and male dominance is the pervasive power in society. She has analyzed writers including D. H. Lawrence, Norman Mailer, Henry Miller, and Jean Genet, pointing out that they distort women characters and exemplify violence against women and male power in general. The act of speaking is another focus for studying women writers. In her Silences (1978), Tillie Olsen has seen silences result from "circumstances of being born into the wrong class, race or sex, being denied education, becoming numbered by economic struggle, muzzled by censorship or distracted or impeded by the demands of nurturing." Likewise, Elaine Showalter in A Literature of Their Own (1977) has delineated a female tradition. She has identified three historical phases of women's literary development: the feminine phase (1840-80), during which women writers imitated the dominant tradition; the feminist phase (1880-1920), during which women advocated minority rights and protested; and the female phase (1920-present), during which oppositional practices have been replaced by a rediscovery of women's texts and women. Showalter has criticized traditional literary history that merely makes a few women writers accepted and creates an alternative canon by exploring neglected or forgotten British women novelists from Brontë to Lessing. Meanwhile, feminists pay close attention to experiences of women from all races, classes and cultures. African American, Americán Indian, lesbian, elderly, and Third World subjects have been examined to achieve a pluralism. 超越父权意识形态的问题长期困扰着女权主义者。德·博沃尔在《第二性》（1949 年）中得出结论，即女性的身份是由男性构建的。凯特·米勒特的《性政治》（1970 年）是第一本广泛阅读的女权主义批评书籍。米勒特区分了性别和性别，她写道性别政治的本质是权力，男性主导是社会中普遍存在的权力。她分析了包括 D·H·劳伦斯、诺曼·梅勒、亨利·米勒和让·热内等作家，指出他们扭曲了女性角色，并举例说明了对女性和男性权力的暴力。言说行为是研究女性作家的另一个焦点。在她的《沉默》（1978 年）中，蒂莉·奥尔森认为沉默是由“出生在错误的阶级、种族或性别环境中、被剥夺教育、被经济斗争所困扰、被审查制度所压制或被照顾需求所分散或阻碍”而产生的。同样，伊莲·肖沃尔特在《她们自己的文学》（1977 年）中勾勒了一个女性传统。 她确定了女性文学发展的三个历史阶段：女性阶段（1840-80 年），在这个阶段，女作家模仿主导传统；女权主义阶段（1880-1920 年），在这个阶段，女性倡导少数权利并抗议；女性阶段（1920 年至今），在这个阶段，对立实践已被重新发现女性文本和女性所取代。肖沃尔特批评了传统文学史仅仅接受了少数女作家并通过探索从勃朗特到莱辛的被忽视或被遗忘的英国女小说家创造了另类经典。与此同时，女权主义者密切关注来自各种种族、阶级和文化的女性经历。非裔美国人、美洲印第安人、女同性恋、老年人和第三世界的主题已被审视以实现多元主义。
Generally, there exist four kinds of feminist practices: gender studies, Marxist feminism, psychoanalytic feminism, and minority feminist criticism. Feminist critics in gender studies believe the entire concept of female difference is the cause of female oppression, therefore they wish tó go beyond "difference" altogether. Their concerns are about sex-related writing strategies, including matters of subject, vocabulary, syntax, style, imagery, narrative structure, characterization and genre preference. By studying women's writing as a gender issue, they ask the general question of the evaluation of art. Different from gender studies, many feminists draw on elements of Marxist, psychoanalytic and minority theories because they find them useful in 通常存在四种女权主义实践：性别研究、马克思主义女权主义、精神分析女权主义和少数民族女权主义批评。性别研究中的女权主义评论家认为女性差异的整个概念是女性压迫的原因，因此他们希望完全超越“差异”。他们关注的是与性有关的写作策略，包括主题、词汇、句法、风格、意象、叙事结构、人物刻画和流派偏好等问题。通过将女性写作作为性别问题来研究，他们提出了艺术评价的一般问题。与性别研究不同，许多女权主义者借鉴马克思主义、精神分析和少数民族理论的元素，因为他们发现这些理论在实践中很有用。
examining issues relevant to women's experience. In "Feminist Criticism in the Wilderness" (1981), Showalter has made a pertinent observation of the features of each school: "English feminist criticism, essentially Marxist, stresses oppression; French feminist criticism, essentially psychoanalytic, stresses repression; American feminist criticism, essentially textual, stresses expression." Whatever their differences are, all three have become gynocentric, searching for terminology to rescue the feminine from being a synonym for inferiority. In Marxist feminism, economic forces are seen to have been manipulated by patriarchal law and custom to keep women oppressed as an underclass. The prevailing capitalistic system of the West is attacked as sexually and economically exploitative. Hélène Cixous and Julia Kristeva are representatives of French feminism deeply influenced by Jacques Lacan. They want to theorize about women's relationship to language and signification and view femininity as a language of the unconscious that destabilizes sexual categories. These French feminists advocate a utopian female space which is free of symbolic order, sex roles, otherness and the Law of the Father. Therefore, motherhood is embraced and the place with the Voice of the Mother is regarded as the source of all feminine writing. The minority feminist criticism mainly includes black feminism and lesbian feminism. Since blacks and lesbians have been long attacked in western culture, their problems are greatly shaped by race and sexual orientation and thus more political than personal. Black feminists have accused white mainstream feminism of marginalization, arguing the black women are oppressed by double oppression of racism and sexism. Similarly, lesbian feminists address issues related to both sexism and heterosexism. For them, heterosexuality is not a "natural" sexual orientation but a political institution that subordinates women to patriarchy in that women's subservience to men is built into heterosexual definitions of feminine sexuality. From this point of view, patriarchy and heterosexuality are inseparable. 审视与女性经验相关的问题。在《荒野中的女性主义批评》（1981 年）中，秀沃尔特对每个学派的特点做出了相关观察：“英国女性主义批评基本上是马克思主义，强调压迫；法国女性主义批评基本上是精神分析，强调压抑；美国女性主义批评基本上是文本性的，强调表达。”无论它们之间的差异是什么，这三种批评都变得以女性为中心，寻求术语来拯救女性不再成为劣势的同义词。在马克思主义女性主义中，经济力量被视为被父权法律和习俗操纵，以使女性成为一个被压迫的下层阶级。西方盛行的资本主义制度被指责为性别和经济上的剥削。埃莱娜·西苏和朱莉娅·克里斯蒂娃是受雅克·拉康深刻影响的法国女性主义代表。她们希望理论化关于女性与语言和符号的关系，并将女性视为一种破坏性别范畴的无意识语言。 这些法国女权主义者倡导一个乌托邦的女性空间，其中没有象征秩序、性别角色、他者和父权法则。因此，母性被接受，母亲之声的地方被视为所有女性写作的源泉。少数女权主义批评主要包括黑人女权主义和女同性恋女权主义。由于黑人和女同性恋长期以来在西方文化中受到攻击，他们的问题在很大程度上受到种族和性取向的影响，因此更具政治性而非个人性。黑人女权主义者指责白人主流女权主义将黑人妇女置于种族主义和性别歧视的双重压迫之下。同样，女同性恋女权主义者关注与性别歧视和异性恋歧视有关的问题。对于她们来说，异性恋不是一种“自然”的性取向，而是一个将女性置于父权制度之下的政治制度，因为女性对男性的服从被内建于异性恋对女性性别的定义之中。从这个角度来看，父权制度和异性恋是不可分割的。
As is demonstrated, feminist issues range widely across cultural, social, political, and psychological categories, so does feminist literary criticism. Whatever stance is taken, the ultimate goal of feminist criticism is to enhance our understanding of women's experience and enrich our appreciation of women's value in the world. The following excerpt is from The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (1979), a landmark in feminist literary criticism. The title is drawn from Charlotte Brontë's Jane Eyre, in which Rochester's mad wife Bertha stays locked in the attic. In the work, Sandra M. Gilbert and Susan Gubar examine Victorian literature from a feminist perspective and argue that women writers should strive for definition beyond the dichotomy of the "angel" or the "monster" prescribed by patriarchy. In this excerpt the authors disclose the metaphor of literary paternity and delineate the nineteenth-century women's anxiety about literary creation. 正如所展示的，女权主义议题在文化、社会、政治和心理等领域广泛存在，女权主义文学批评也是如此。无论采取何种立场，女权主义批评的最终目标是增进我们对女性经历的理解，丰富我们对女性在世界中的价值的认识。以下摘录来自《阁楼里的疯女人：女性作家与 19 世纪文学想象力》（1979 年），这是女权主义文学批评的里程碑。标题取自夏洛蒂·勃朗特的《简·爱》，其中罗切斯特的疯妻贝莎被关在阁楼里。在这部作品中，桑德拉·M·吉尔伯特和苏珊·古巴从女性主义角度审视了维多利亚时代的文学，并主张女性作家应该努力超越由父权制度规定的“天使”或“怪物”的二元对立。在这段摘录中，作者揭示了文学父权的隐喻，并勾勒了 19 世纪女性对文学创作的焦虑。
References
Correa, Delia da Sousa. George Eliot, Music and Victorian Culture. New York: Palgrave Macmillan, 2003. Eaglefon, Mary, ed. Feminist Literary Theory: A Reader. Oxford, OX: Blackwell Publishers, 1996.
Humm, Maggle. A Reader's Guide to Contemporary Feminist Literary Criticism. New York: Harvester Wheatsheaf, 1994.
Showalter, Elaine. "Feminist Criticism in the Wilderness." Critical Inquiry 8(1981):181 - 205.
-. A Literature of Their Own: British Women Novelists from Brontë to Lessing. Beijing: Foreign Language Teaching and Research Press, 2004.
The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination
Sandra M. Gillbert and Susan Gubar
Is a pen a metaphorical penis? Gerard Manley Hopkins seems to have thought so. In a letter to his friend R. W. Dixon in 1886 he confided a crucial feature of his theory of poetry. The artist's "most essential quality," he declared, is "masterly execution, which is a kind of male gift, and especially marks off men from women, the begetting of one's thought on paper, on verse, or whatever the matter is." In addition, he noted that "on better consideration it strikes me that the mastery I speak of is not so much in the mind as a puberty in the life of that quality. The male quality is the creative gift." 'Male sexuality, in other words, is not just analogically but actually the essence of literary power. The poet's pen is in some sense (even more than figuratively) a penis. [...] 一支笔是隐喻性的阴茎吗？杰拉德·曼利·霍普金斯似乎是这样认为的。在 1886 年写给他的朋友 R.W.迪克森的一封信中，他坦白了他关于诗歌理论的一个关键特征。他宣称，艺术家的“最重要的品质”是“娴熟的执行力，这是一种男性的天赋，尤其是将男性与女性区分开来，将自己的思想写在纸上、写成诗歌，或者无论是什么材料。”此外，他指出“在更好的考虑之后，我觉得我所说的掌握并不是在头脑中，而是在那种品质生命中的一种青春期。男性的品质是创造性的天赋。” 换句话说，男性性欲不仅在类比上而且实际上是文学力量的本质。诗人的笔在某种意义上（甚至比喻性地更甚）是一支阴茎。
In medieval philosophy, the network of connections among sexual, literary and theological metaphors is equally complex: God the Father both engenders the cosmos and, as Ernst Robert Curtius notes, writes the Book of Nature. [...] More recently, male artists like the Earl of Rochester in the seventeenth century and Auguste Renoir in the nineteenth, have frankly defined aesthetics based on male sexual delight. "I ... never Rhym'd, but for my Pintle's [penis's] sake," declares Rochester's witty Timon, and (according to the painter Bridget Riley) Renoir "is supposed to have said that he painted his paintings with his prick." Clearly, both these artists believe that "the penis is the head of the body," and they might both agree too, with John Irwin's suggestion that the relationship "of the masculine self with the feminine-masculine work is also an autoerotic act ... a kind of creative onanism in which through the use of the phallic pen on the 'pure space' of the virgin page.. the self is continually spent and wasted ..." No doubt it is for all these reasons, moreover, that poets have traditionally used a vocabulary derived from the patriarchal "family romance" to describe their relations with each other. As Harold Bloom has pointed out, "from the sons of Homer to the sons of Ben Jonson, poetic influence [has] been described as 在中世纪哲学中，性、文学和神学隐喻之间的联系网络同样复杂：上帝作为天父既创造了宇宙，又如欧内斯特·罗伯特·库尔修斯所指出的，书写了自然之书。[...] 更近年来，男性艺术家如十七世纪的罗切斯特伯爵和十九世纪的奥古斯特·雷诺阿，坦率地定义了基于男性性快感的美学。罗切斯特机智的提蒙宣称：“我……从未为了我的阳具而押韵。”，而（根据画家布里奇特·莱利的说法）雷诺阿“据说曾表示他用自己的阳具来绘画他的画作。”显然，这两位艺术家都相信“阳具是身体的头”，他们可能也同意约翰·欧文的建议，即“男性自我与女性-男性作品之间的关系也是一种自慰行为……一种创造性的手淫，通过阳具笔在‘纯净空间’的白纸上的使用……自我不断地被消耗和浪费……"“ 毫无疑问，正是出于所有这些原因，诗人们传统上使用源自父权制“家庭浪漫”词汇来描述彼此之间的关系。”正如哈罗德·布鲁姆所指出的，“从荷马之子到本·琼森之子，诗歌影响被描述为
1 The Correspondence of Gerard Manley Hopkins and Richard Watson Dixon, ed. C. C. Abbott (London: Oxford University Press, 1935). p. 133
2 See E. R. Curtius, European Literature and the Latin Middle Ages (New York: Harper Torchbooks, 1963), pp. 305, 306.
3 "Timon, A Satyr," in Poems by John Wilmot Earl of Rochester, ed. Vivian de Sola Pinto (London: Routledge and Kegan Paul, 1953), p. 99 .
4 Bridget Riley, "The Hermaphrodite," Art and Sexual Politics, ed. Thomas B. Hass and Elizabeth C. Barker (London: Collier Books, 1973), p. 82 .
5 Norman O. Brown, Love's Body (New York: Vintage Books, 1968), p.134.; John T. Irwin, Doubling and Incest. Repetition and Revenge (Baltimore: The John Hopkins University Press, 1975), p. 163.
a filial relationship," a relationship of "sonship." The fierce struggle at the heart of literary history, says Bloom, is a "battle between strong equals, father and son as mighty opposites, Laius and Oedipus at the crossroads." 一个孝顺的关系，“儿子关系。” 布鲁姆说，文学史中的激烈斗争是“强大平等者之间的战斗，父亲和儿子作为强大的对立面，莱俄斯和俄狄浦斯在十字路口。”
Though many of these writers use the metaphor of literary paternity in different ways and for different purposes, all seem overwhelmingly to agree that a literary text is not only speech quite literally embodied, but also power mysteriously made manifest, made flesh. In patriarchal Western culture, therefore, the text's author is a father, a progenitor, a procreator, an aesthetic patriarch whose pen is an instrument of generative power like his penis. More, his pen's power, like his penis's power, is not just the ability to generate life but the power to create a posterity to which he lays claim, as, in Said's paraphrase of Partridge, "an increaser and thus a founder." In this respect, the pen is truly mightier than its phallic counterpart the sword, and in patriarchy more resonantly sexual. [...] 尽管许多作家以不同的方式和不同的目的使用文学亲权的隐喻，但似乎都一致认为文学文本不仅是文字的具体体现，而且是神秘力量的显现，是具象化的。因此，在父权制西方文化中，文本的作者是一个父亲，一个始祖，一个创造者，一个审美的族长，他的笔就像他的生殖器一样是一种生成力量的工具。而且，他的笔的力量，就像他的生殖器的力量一样，不仅是生成生命的能力，而且是创造一个他宣称拥有的后代的力量，正如赛义德对帕特里奇的解释所说，“一个增加者，因此是一个创始人。”在这方面，笔确实比其象征性对应物剑更强大，在父权制社会中更具性别共鸣。 [...]
Where does such an implicitly or explicitly patriarchal theory of literature leave literary women? If the pen is a metaphorical penis, with what organ can females generate texts? The question may seem frivolous, but as our epigraph from Anaïs Nin indicates, both the patriarchal etiology that defines a solitary Father God as the only creator of all things, and the male metaphors of literary creation that depend upon such an etiology, have long "confused" literary women, readers and writers alike. For what if such a profoundly masculine cosmic Author is the sole legitimate model for all earthly authors? Or worse, what if the male generative power is not just the only legitimate power but the only power there is? That literary theoreticians from Aristotle to Hopkins seemed to believe that this was so no doubt prevented many women from ever "attempting the pen" - to use Nanne Finch's phrase - and caused enormous anxiety in generations of those women who were "presumptuous" enough to dare such an attempt. Jane Austen's Anne Elliot understates the case when she decorously observes, toward the end of Persuasion, that "men have had every advantage of us in telling their story. Education has been theirs in so much higher a degree; the pen has been in their hands" (II, chap. 11). For, as Anne Finch's complaint suggests, the pen has been defined as not just accidentally but essentially a male "tool," and therefore not only inappropriate but actually alien to women. Lacking Austen's demure irony, Finch's passionate protest goes almost as far toward the center of the metaphor of literary paternity as Hopkins's letter to Canon Dixon. Not only is "a woman that attempts the pen" an intrusive and "presumptuous Creature," she is absolutely unredeemable: no virtue can outweigh the "fault" of her presumption because she has grotesquely crossed boundaries dictated by Nature: 文学中存在这样一种隐性或明示的父权理论，那么文学女性又该何去何从呢？如果笔是隐喻性的阴茎，那么女性又该用什么器官创作文本呢？这个问题可能看似轻浮，但正如我们从安娜伊丝·宁的引语中可以看出的，那些将孤独的父神定义为一切创造者的父权起源论，以及依赖这种起源论的文学创作男性隐喻，长期以来一直“困扰”着文学女性、读者和作家们。如果如此深刻的男性宇宙作者是所有地球作者唯一合法的典范，那又该如何呢？或者更糟糕的是，如果男性生殖力不仅是唯一合法的力量，而且是唯一存在的力量呢？从亚里士多德到霍普金斯的文学理论家们似乎相信如此，毫无疑问，这阻止了许多女性从未“尝试用笔” - 使用南妮·芬奇的说法 - 并且导致了许多女性代代之间的巨大焦虑，那些“自以为是”地敢于尝试的女性。简·奥斯汀的安妮·艾略特在《劝导》结束时庄重地观察到，“男人在讲述他们的故事方面确实占尽了优势”。 教育在很大程度上属于他们；笔一直在他们手中（第二章第 11 节）。正如安妮·芬奇的抱怨所暗示的那样，笔被定义为不仅仅是偶然的，而且本质上是男性的“工具”，因此不仅不合适，而且实际上对女性来说是陌生的。缺乏奥斯汀那种谦逊的讽刺，芬奇的激烈抗议几乎达到了文学父权隐喻的中心，就像霍普金斯写给迪克森牧师的信一样。“试图挥笔的女人”不仅是一个冒昧和“自以为是的生物”，她是绝对无法挽救的：没有任何美德可以抵消她的“自以为是”的过错，因为她已经丑陋地跨越了自然规定的界限
They tell us, we mistake our sex and way, Good breeding, fashion, dancing, dressing, play
Are the accomplishments we shou'd desire;
To write, or read, or think, or to enquire
Wou'd cloud our beauty, and exhaust our time,
And interrupt the conquests of our prime;
\footnotetext{
6 Harold Bloom, The Anxiety of Influence (New York: Oxford University Press, 1973), pp. .
All references to Persuasion are to volume and chapter of the text edited by R. W. Chapman, reprinted with an introduction by David Daiches (New York: Norton, 1958).
Whilst the dull manage, of a servile house Is held by some, our outmost art and use.
Because they are by definition male activities, this passage implies, writing, reading, and thinking are not only alien but also inimical to "female" characteristics. One hundred years later, in a famous letter to Charlotte Brontë, Robert Southey rephrased the same notion: "Literature is not the business of a woman's life, and it cannot be." It cannot be, the metaphor of literary paternity implies, because it is physiologically as well as sociologically presence of literary power, female sexuality is associated with the absence of such power, with the idea - expressed by the nineteenth-century thinker Otto Weininger - that "woman has no share in ontological reality." As we shall see, a further implication of the paternity/creativity metaphor is the notion (implicit both in Weininger and in Southey's letter) that women exist only to be acted on by men, both as literary and as sensual objects. 因为根据定义，写作、阅读和思考被暗示为男性活动，这段文字表明，这些活动不仅与“女性”特征格格不入，而且对其有害。一百年后，罗伯特·南锡在写给夏洛蒂·勃朗特的一封著名信中重新表达了同样的观念：“文学不是女人生活的事业，也不可能是。”文学的父权隐喻暗示，这是因为在生理和社会上，文学权力的存在，女性的性欲与这种权力的缺失相关联，与 19 世纪思想家奥托·魏宁格所表达的“女人在本体现实中没有份额”的观念相关。正如我们将看到的，父权/创造力隐喻的另一个含义是（既在魏宁格的思想中，也在南锡的信中隐含），女性只存在于男性的作用下，既作为文学对象，也作为感官对象。
8 Anne Finch, The Poems of Anne, Countess of Winchilsea (New York:Ungar,1979), pp. 4-5.
9 Southey to Charlotte Brontë, March 1837. quoted in Winifred Gérin, Charlotte Brontë: The Evolution of Genius (Oxford: Oxford University Press, 1967), p. 110 .
Questions
for
Discussion
The nineteenth-century heroines would muse about "how nice it would be to be a man." What do you think were men's privileges in that society?
Victorian prostitution was a conspicuous social phenomenon. Can you associate the prostitute with the image of siren? What kind of role did the siren play in men's life? If the siren should be punished, why was she tolerated in life? 维多利亚时代的卖淫是一个显著的社会现象。你能把妓女与塞壬的形象联系起来吗？塞壬在男人生活中扮演了什么样的角色？如果塞壬应该受到惩罚，为什么她在生活中被容忍？
In your opinion, what does the title "The Madwoman in the Attic" imply? Were nineteenth-century women writers perceived to be mad? What were their possible difficulties to pursue a career? 在您看来，“阁楼里的疯女人”这个标题意味着什么？十九世纪的女作家被认为是疯狂的吗？她们追求职业的可能困难是什么？
Try to analyze the painting from the feminist perspective.
"The Awakening Conscience", 1854, by William Holman Hunt (1827-1910)
Gilbert, Sandra M., and Susan Gubar. "The Madwoman in the Attic: The Woman Writer and the NineteenthCentury Literary Imagination." Feminist Literary Theory: A Reader. Ed. Mary Eagleton. Oxford, OX, UK: Blackwell Publishers, . 吉尔伯特，桑德拉 M.，古巴，苏珊。《阁楼里的疯女人：女作家与 19 世纪文学想象力》。《女性主义文学理论：读者》。玛丽·伊格尔顿编辑。英国牛津，OX：布莱克韦尔出版社， 。
4.5 Postcolonial Griticism
As a literary approach, postcolonialism can be defined as a discourse that concerns itself particularly with literature written in English in formerly colonized countries. It usually excludes literature that represents either British or American viewpoints, and focuses on writings from colonized cultures in Australia, New Zealand, Africa, South America, and other places and societies that were once dominated by white, male European cultural, political, and philosophical tradition. Indeed postcolonial literature and theory investigate what happens when two cultures clash and when one of them with its accompanying ideology empowers and deems itself superior to the other. 作为一种文学方法，后殖民主义可以被定义为一种关注在以前被殖民的国家用英语写成的文学的话语。它通常排除代表英国或美国观点的文学，侧重于澳大利亚、新西兰、非洲、南美等被殖民文化的作品，以及其他曾被白人、男性欧洲文化、政治和哲学传统统治的地方和社会。事实上，后殖民文学和理论探讨了当两种文化发生冲突时以及其中一种文化及其伴随的意识形态将自己视为优越于另一种文化时会发生什么。
During the 1960s, Frantz Fanon, Albert Memmi, George Lamming, and other critics began to publish texts that have become the cornerstone of postcolonial writings. The term postcolonialism first appeared in the late 1980s in scholarly journal articles and as a subtitle in Bill Ashcroft, Gareth Griffiths, and Helen Tiffin's text The Empire Writes Back: Theory and Practice in Post-Colonial Literatures (1989). By the mid-1990s, the term has become firmly established. Today postcolonialism often refers to literature of cultures colonized by the British Empire. 在 1960 年代，弗朗茨·法农（Frantz Fanon）、阿尔贝·梅米（Albert Memmi）、乔治·兰明（George Lamming）等评论家开始发表的文本成为后殖民文学的基石。后殖民主义这一术语最早出现在 1980 年代末的学术期刊文章中，并作为比尔·阿什克罗夫特（Bill Ashcroft）、加雷斯·格里菲斯（Gareth Griffiths）和海伦·蒂芬（Helen Tiffin）的文本《帝国的回声：后殖民文学中的理论与实践》（1989 年）的副标题。到了 1990 年代中期，这一术语已经得到了牢固确立。今天，后殖民主义通常指的是被英国帝国殖民的文化的文学。
Postcolonial theory has come into being only after colonization occurs and the colonized people have had time to think and then to write about their oppression and loss of cultural identity. How the colonized respond to changes in language, curricular matters in education, race differences, and a host of other discourses, including the act of writing, become the context and the theories of postcolonialism. Though concerned with diverse and numerous issues, all postcolonial theorists and critics agree that they are all engaged in a reassessment of the traditional relationship between the metropolis and its colonial subjects. As critics point out, to be colonized is to be removed from history. In its interaction with the conquering culture, the colonized or indigenous culture is forced to go underground or to be obliterated. It is the critics' task to radically question the aggressively expansionist imperialism of the colonizing powers and in particular the system of values that support imperialism and that they see as still dominant within the Wéstern world. Central to these interests are issues of race and ethnicity, language, gender, identity, class, and above all, power. The major concern is highlighting the struggle that occurs when one culture is dominated by another. Hence postcolonial criticism is an engagement with and contestation of colonialism's discourses, power structures, and social hierarchies. 后殖民理论只有在殖民化发生后，殖民地人民有时间思考并写下他们的压迫和文化身份丧失之后才出现。殖民地人如何应对语言变化、教育课程事项、种族差异以及其他一系列话语，包括写作行为，都成为后殖民主义的背景和理论。尽管关注各种各样的问题，所有后殖民主义理论家和评论家都同意，他们都在重新评估大都市与其殖民地主体之间的传统关系。正如评论家所指出的，被殖民化意味着被从历史中抹去。在与征服文化的互动中，被殖民化或土著文化被迫地转入地下或被抹杀。评论家的任务是彻底质疑殖民统治者的侵略性扩张主义，特别是支持帝国主义的价值体系，他们认为这些价值体系在西方世界仍然占主导地位。这些兴趣的核心问题包括种族和族裔、语言、性别、身份、阶级，尤其是权力。 主要关注的是当一个文化被另一个文化主导时发生的斗争。因此，后殖民批评是对殖民主义话语、权力结构和社会等级制度的参与和争辩。
The key text in the establishment of postcolonial theory is Palestinian-American Edward W. Said's Orientalism (1978). Drawing on Foucault and Gramsci, Said's study has totally changed the agenda of the study of non-Western cultures and their literatures and pushed it in the direction of what we now call postcolonial theory. In this text, Said examines how through the ages, particularly in the nineteenth century, the heyday of imperialist expansion, Western texts have represented the 建立后殖民理论的关键文本是巴勒斯坦裔美国人爱德华·赛义德（Edward W. Said）的《东方主义》（1978 年）。赛义德的研究借鉴了福柯和格拉姆西的观点，彻底改变了对非西方文化及其文学研究议程，并将其推向我们现在所称的后殖民理论方向。在这篇文章中，赛义德探讨了通过历史时期，特别是 19 世纪，帝国主义扩张的鼎盛时期，西方文本如何描绘了
East, and more specifically the Islamic Middle East. According to Said, nineteenth-century Europeans try to justify their territorial conquests by propagating a manufactured belief called Orientalism - the creation of non-European stereotypes that suggest "Orientals" are indolent, thoughtless, sexually immoral, unreliable, and demented. The inferiority that Orientalism attributes to the East simultaneously serves to justify the West's superiority. The sensuality, irrationality, 东方，更具体地说是伊斯兰中东。据赛义德称，19 世纪的欧洲人试图通过传播一种名为东方主义的制造信念来证明他们的领土征服 - 创造非欧洲人的刻板印象，暗示“东方人”懒惰、轻率、性道德败坏、不可靠和疯狂。东方主义归因于东方的劣势同时也用来证明西方的优越性。感性、非理性，
Edward W. Said primitiveness, and despotism of the East construct the West as rational, democratic, progressive, and so on. Hence the West always functions as the "center" and the East is a marginal "other" that simply through its existence confirms the West's centrality and superiority. Not surprisingly, the opposition that the West's discourse sets up about the East makes use of another basic opposition, that between the masculine and the fëminine. Naturally, the West functions as the masculine pole - enlightened, rational, entrepreneurial, disciplined, while the East is its feminine opposition - irrational, passive, undisciplined, and sensual. For Said, the West's representations of the East ultimately work within the framework of a conscious and determined effort at subordination. 爱德华·赛义德认为，东方的原始性和专制主义构建了西方作为理性、民主、进步等的形象。因此，西方始终充当“中心”，而东方则是一个边缘的“他者”，仅仅通过其存在就确认了西方的中心地位和优越性。毫不奇怪，西方话语对东方所设立的对立关系利用了另一个基本对立关系，即男性与女性之间的对立。自然地，西方充当男性极点 - 开明、理性、创业、纪律性，而东方则是其女性对立面 - 不理性、被动、缺乏纪律和感性。对于赛义德来说，西方对东方的表现最终在一个有意识和决心的努力框架内运作，旨在实现对东方的支配。
Orientalism - the Western discourse about the Orient — has served hegemonic purposes. As is understood, Gramsci thinks of "hegemony" as domination by consent, the way the ruling class succeeds in oppressing other classes with their apparent approval through culture. In other words, the ruling class makes its own values and interests central in what it presents as a common, neutral culture. Accepting that "common" culture, the other classes become complicit in their own oppression and the result is a kind of velvet domination. Orientalism, then, has legitimized Western expansionism and imperialism in the eyes of Western governments and their electorates and it has insidiously worked to convince the "natives" that Western culture represents universal civilization, and accepting that culture could only benefit them. It has been propagated that Western culture would, for example, elevate natives from the "backward" or "superstitious" conditions in which they still live and would make them participants in the most advanced civilization the world had ever seen. 东方主义 - 西方关于东方的话语 - 服务于霸权目的。众所周知，格拉姆西认为“霸权”是通过同意来实现统治，即统治阶级通过文化的明显认可成功压迫其他阶级。换句话说，统治阶级使自己的价值观和利益成为其呈现为共同、中立文化的核心。接受这种“共同”文化，其他阶级就成为了自己压迫的同谋，结果是一种天鹅绒式的统治。因此，东方主义在西方政府及其选民眼中合法化了西方的扩张主义和帝国主义，并且潜在地努力说服“土著”认为西方文化代表了普世文明，接受这种文化只会使他们受益。人们宣传说，比如，西方文化会使土著摆脱他们仍然生活在的“落后”或“迷信”状态，并使他们成为世界上曾经见过的最先进文明的参与者。
For Said, Western representations of the Orient, no matter how well intentioned, have always been part of this damaging discourse. Wittingly or unwittingly, they have been complicit with the working of Western power. Even those who are in sympathy with Oriental peoples and their cultures cannot overcome their Eurocentric perspective and have unintentionally contributed to Western domination. These false representations have paved the way for military domination, cultural displacement, and economic exploitation. As we can see, Said's Orientalism offers a challenging theoretical framework and a new perspective on the interpretation of Western writing about the East and of writing produced under colonial rule, which might be read both for signs of complicity with Western hegemony and for a possibly counterhegemonic stance. 对赛义德来说，西方对东方的表现，无论出于何种善意，始终是这种有害话语的一部分。无论是有意还是无意，它们都与西方权力的运作相勾结。即使是那些对东方人民和他们的文化表示同情的人，也无法摆脱他们的欧洲中心主义视角，无意中促成了西方的统治。这些错误的表现为军事统治、文化转移和经济剥削铺平了道路。正如我们所看到的，赛义德的东方主义提供了一个具有挑战性的理论框架和对西方有关东方的写作以及殖民统治下产生的写作的新视角，这些写作可能被解读为与西方霸权相勾结的迹象，也可能表现出一种可能的反霸权立场。
While Said prompts us to question Western representations of the East, Homi Bhabha concentrates his study on what actually happens in the cultural interaction between the colonizer and the colonized. For Bhabha, the encounter of the colonizer and the colonized always affects 虽然赛义德促使我们质疑西方对东方的表现，但何米·巴巴则将研究重点放在殖民者和被殖民者之间的文化互动中实际发生的事情上。对于巴巴来说，殖民者和被殖民者的相遇总是会产生影响。
both. While the colonized has to suffer uncertainties and fragmentation that colonialism and displacements have brought, the colonizer cannot escape a complex and paradoxical relationship with the colonized. Instead of being self-sufficient with regard to his identity, the colonizer at least partly constructs it through interaction with the colonized as the former's identity is not a fixed entity, but a meaning generated by difference. Moreover, the colonizer's identity is undermined by mimicry as the colonized repeats his ways of behavior, either out of choice or under duress. In mimicry the colonizer sees himself in a mirror that slightly but effectively distorts his image, which subtly "others" his own identity. Perhaps the most influential of Bhabha's contribution to postcolonial theory is his notion of hybridity. Contrary to Said's Orientalism which keeps the spheres of the colonizer and the colonized apart, Bhabha, with his interest in their interaction, sees important movements going both ways. He argues that the cultural interaction of the colonizer and the colonized leads to a fusion of cultural forms that intervenes in the exercise of authority. 两者。在殖民地化和流离失所带来的不确定性和分裂中，殖民地的人必须承受，而殖民者无法摆脱与殖民地人的复杂和矛盾关系。殖民者并非通过自身身份来构建自己的身份，而是在与殖民地人的互动中至少部分地构建自己的身份，因为前者的身份并非固定实体，而是由差异产生的意义。此外，殖民者的身份会受到模仿的影响，因为殖民地人会重复他的行为方式，无论是出于选择还是在压力下。在模仿中，殖民者看到自己在一个略微但有效地扭曲他形象的镜子中，这会微妙地“异化”他自己的身份。也许巴巴的后殖民理论中最有影响力的贡献是他对混合性的概念。与赛义德的东方主义将殖民者和殖民地人的领域分开不同，巴巴关注他们之间的互动，认为重要的运动是双向的。他认为殖民者和殖民地人的文化互动导致文化形式的融合，干预了权威的行使。
Different from Said and Bhabha, Gayatri Chakravorty Spivak is the first postcolonial theorist with a fully feminist agenda. Gender and social class are her major analytic categories. Spivak employs the term subaltern to describe the lower layer of colonial and postcolonial society: the homeless, the unemployed, the subsistence farmers, the day labors, and so on. Special attention is paid to the female subaltern whom she argues are doubly marginalized. According to Spivak, as colonized women almost go unheard within their own patriarchal culture, they are doubly unheard under a colonial regime. Trying to be attentive to difference and save the subaltern from misrepresentation, Spivak distinguishes herself among the major postcolonial theorists. 与赛义德和巴巴相比，盖亚特里·查克拉沃蒂·斯皮瓦克是第一位具有完全女性主义议程的后殖民理论家。性别和社会阶级是她的主要分析范畴。斯皮瓦克使用“势力下层”一词来描述殖民和后殖民社会的底层：无家可归者、失业者、自给自足的农民、临时工等。她特别关注被边缘化的女性势力下层，她认为她们被双重边缘化。据斯皮瓦克称，作为殖民地妇女在自己的父权文化中几乎无人听闻，她们在殖民统治下更是无人问津。为了关注差异并避免对势力下层的错误代表，斯皮瓦克在主要后殖民理论家中独树一帜。
The following excerpt is from Said's "Introduction' to Orientalism." As we know, this book is meant to describe a tradition, both academic and artistic, of hostile and deprecatory views of the East by the West, shaped by the attitudes of the era of European imperialism in the eighteenth and nineteenth centuries. In the extract the author briefly introduces the artificiality of the Orient, as well as power relations and homorganic implications of Orientalism. 以下摘录来自赛义德的《东方主义导论》。众所周知，这本书旨在描述一种敌对和贬低东方的传统，无论是学术上还是艺术上，这种传统是由欧洲帝国主义时代的态度所塑造的，这个时代是 18 和 19 世纪。在这段摘录中，作者简要介绍了东方的人为性，以及东方主义的权力关系和同源含义。
References
Bertens, Hans. Literary Theory: The Basics. London and New York: Routledge, 2001
Gandhi, Leela. Póstcolonial Theory: A Critical Introduction. New York: Columbla University Press, 1998
"Postcolonialism." 15 Jul. 2008 < http://en.wikipedia,org/wiki/Postcolonial_literary_critlcisith>
Young, Robert J. Postcolónialism: An Historical Introduction. Malden, Mass.: Blackwell Publlshers, 2007
"Introduction" to Orientalism
II
I have begun with the assumption that the Orient is not an inert fact of nature. It is not merely there, just as the Occident itself is not just there either. We must take seriously Vico's great observation that men make their own history, that what they can know is what they have made, and extend it to geography: as both geographical and cultural entities - to say nothing of historical entities - such locales, regions, geographical sectors as "Orient" and "Occident" are man-made. Therefore as much as the West itself, the Orient is an idea that has a history and a tradition of thought, imagery, and vocabulary that have given it reality and presence in and for the West. The two geographical entities thus support and to an extent reflect each other. 我已经假定东方不是自然的惰性事实。它不仅仅存在，正如西方本身也不仅仅存在。我们必须认真对待维科的伟大观察，即人们创造自己的历史，他们所能知道的就是他们所创造的，并将其扩展到地理学：作为地理和文化实体 - 更不用说历史实体 - 诸如“东方”和“西方”这样的地理区域是人造的。因此，与西方本身一样，东方是一个具有历史和思想传统的概念，具有赋予其在西方现实和存在的思想、形象和词汇。因此，这两个地理实体支持并在一定程度上相互反映。
Having said that, one must go on to state a number of reasonable qualifications. In the first place, it would be wrong to conclude that the Orient was essentially an idea, or a creation with no corresponding reality. When Disraeli said in his novel Tancred that the East was a career, he meant that to be interested in the East was something bright young Westerners would find to be an all-consuming passion; he should not be interpreted as saying that the East was only a career for Westerners. There were - and are cultures and nations whose location is in the East, and their lives, histories, and customs have a brute reality obviously greater than anything that could be said about them in the West. About that fact this study of Orientalism has very little to contribute, except to acknowledge it tacitly. But the phenomenon of Orientalism as I study it here deals principally, not with a correspondence between Orientalism and Orient, but with the internal consistency of Orientalism and its ideas about the Orient (the East as career) despite or beyond any correspondence, or lack thereof, with a "real" Orient. My point is that Disraeli's statement about the East refers mainly to that created consistency, that regular constellation of ideas as the pre-eminent thing about the Orient, and not to its mere being, as Wallace Stevens's phase has it. 说到这一点，必须继续陈述一些合理的限制条件。首先，错误的结论是，东方本质上是一个观念，或者是一个没有相应现实的创造。当狄斯雷利在他的小说《坦克雷德》中说东方是一种事业时，他的意思是对东方感兴趣是一种明亮的年轻西方人会发现成为一种全身心的激情；他不应被解释为说东方只是西方人的一种事业。有文化和国家位于东方，他们的生活、历史和习俗具有明显比西方所说的任何东西更大的现实性。关于这一事实，东方主义的研究几乎没有什么可以贡献，除了默认地承认它。但我在这里研究的东方主义现象主要涉及的不是东方主义与东方之间的对应关系，而是东方主义及其关于东方的观念（东方作为事业）的内在一致性，尽管或超越任何对应关系或缺乏对应关系，与“真实”东方。 我的观点是，迪斯雷利关于东方的声明主要指的是那种创造的一致性，那种关于东方的主要事物的常规思想星座，而不是它的存在本身，正如华莱士·史蒂文斯所说的那样。
A second qualification is that ideas, cultures, and histories cannot seriously be understood or studied without their force, or more precisely their configurations of power, also being studied. To believe that the Orient was created or, as I call it, "Orientalized" - and to believe that such things happen simply as a necessity of the imagination, is to be disingenuous. The relationship between Occident and Orient is a relationship of power, of domination, of varying degrees of a complex hegemony, and is quite accurately indicated in the title of K. M. Panikkar's classic Asia and Western Dominance. The Orient was Orientalized not only because it was discovered to be "Oriental" in all those ways considered commonplace by an average nineteenth-century European, but also because it could be - that is, submitted to being - made 第二个资格是，想法、文化和历史如果没有研究它们的力量，或者更准确地说，没有研究它们的权力配置，就无法认真理解或研究。相信东方是被创造的，或者正如我所说的，“东方化” - 并且相信这些事情之所以发生只是想象的必然性，是不诚实的。东方和西方之间的关系是一种权力关系，是一种支配关系，是一种复杂霸权的不同程度，这在潘尼卡尔的经典作品《亚洲与西方的支配》的标题中得到了准确体现。东方被东方化，不仅因为它被发现在所有那些被 19 世纪普通欧洲人认为是司空见惯的方式中是“东方的”，而且因为它可以 - 也就是说，可以被 - 制造。
Oriental. There is very little consent to be found, for example, in the fact that Flaubert's encounter with an Egyptian courtesan produced a widely influential model of the Oriental woman; she never spoke of herself, she never represented her emotions, presence, or history. He spoke for and represented her. He was foreign, comparatively wealthy, male, and these were historical facts of domination that allowed him not only to possess Kuchuk Hanem physically but to speak for her and tell his readers in what way she was "typically Oriental." My argument is that Flaubert's situation of strength in relation to Kuchuk Hanem was not an isolated instance. It fairly stands for the pattern of relative strength between East and West, and the discourse about the Orient that it enabled. 东方。例如，弗洛贝尔与一位埃及妓女的邂逅产生了一个广泛影响的东方女性模型，这一事实中很少能找到共识；她从不谈论自己，也从不表现自己的情感、存在或历史。他为她说话并代表她。他是外国人，相对富裕，男性，这些是支配的历史事实，使他不仅能够在肉体上拥有库丘克哈内姆，还能为她说话，并告诉读者她“典型地东方”的方式。我的论点是，弗洛贝尔与库丘克哈内姆之间的力量关系并非孤立的例子。它相当代表了东西方之间相对力量的模式，以及它所赋予的关于东方的话语。
This brings us to a third qualification. One ought never to assume that the structure of Orientalism is nothing more than a structure of lies or of myths which, were the truth about them to be told, would simply blow away. I myself believe that Orientalism is more particularly valuable as a sign of European-Atlantic power over the Orient than it is as a veridic discourse about the Orient (which is what, in its academic or scholarly form, it claims to be). Nevertheless, what we must respect and try to grasp is the sheer knitted-together strength of Orientalist discourse, its very close ties to the enabling socio-economic and political institutions, and its redoubtable durabiljty. After all, any system of ideas that can remain unchanged as teachable wisdom (in academies, books, congresses, universities, foreign-service institutes) from the period of Earnest Renan in the late 1840s until the present in the United States must be something more formidable than a mere collection of lies. Orientalism, therefore, is not an airy European fantasy about the Orient, but a created body of theory and practice in which, for many generations, there has been a considerable material investment. Continued investment made Orientalism, as a system of knowledge about the Orient, an accepted grid for filtering through the Orient into Western consciousness, just as the same investment multiplied - indeed, made truly productive - the statements proliferating out from Orientalism into the general culture. 这使我们进入第三个资格。一个人永远不应该假设东方主义的结构仅仅是一种谎言或神话的结构，如果关于它们的真相被揭示出来，它们就会消失。我个人认为，东方主义更具价值的是作为欧洲-大西洋对东方的权力的标志，而不是作为关于东方的真实论述（这是它在学术或学术形式中所声称的）。然而，我们必须尊重并努力理解东方主义论述的纯粹紧密的联系，它与使社会经济和政治机构能够运作的关系，以及它的坚固持久性。毕竟，任何一套思想体系，从 19 世纪 40 年代末的欧内斯特·勒南时期一直持续到现在的美国，作为可教授的智慧（在学术界、书籍、大会、大学、外交服务学院）保持不变，必定比一堆谎言更为强大。因此，东方主义不是欧洲对东方的虚幻幻想，而是一个创造出来的理论和实践体系，在这个体系中，已经有许多代人投入了相当多的物质。 东方主义的持续投资，作为有关东方的知识体系，成为了一个被接受的网格，用于将东方过滤到西方意识中，正如同样的投资增加了 - 实际上，使东方主义中不断涌现的言论变得真正富有成效 - 进入了普遍文化。
Gramsci has made the useful analytic distinction between civil and political society in which the former is made up of voluntary (or at least rational and noncoercive) affiliations like schools, families, and unions, the latter of state institutions (the army, the police, the central bureaucracy) whose role in the polity is direct domination. Culture, of course, is to be found operation within civil society, where the influence of ideas, of institutions, and of other persons works not through domination but by what Gramsci calls consent. In any society not totalitarian, then, certain cultural forms predominate over others, just as certain ideas are more influential than others; the form of this cultural leadership is what Gramsci has identified as hegemony, an indispensable concept for any understanding of cultural life in the industrial West. It is hegemony, or rather the result of cultural hegemony at work, that gives Orientalism the durability and the strength I have been speaking about so far. Orientalism is never far from what Denys Hay has called the idea of Europe, a collective notion identifying "us" Europeans as against all "those" non-Europeans, and indeed it can be argued that the major component in European culture is precisely what made that culture hegemonic both in and outside Europe: 格拉姆西在分析中做出了有用的区分，即公民社会和政治社会，前者由自愿（或至少是理性和非强制性）的团体组成，如学校、家庭和工会，后者由国家机构（军队、警察、中央官僚机构）组成，其在政治体制中的作用是直接统治。当然，文化是在公民社会中运作的，那里的思想、制度和其他人的影响并非通过统治，而是通过格拉姆西所称的共识。因此，在任何非极权主义的社会中，某些文化形式比其他文化形式更为突出，就像某些思想比其他思想更有影响力一样；这种文化领导的形式就是格拉姆西所确定的霸权，这是对工业化西方文化生活的任何理解都不可或缺的概念。正是霸权，或者说是文化霸权产生的结果，赋予了东方主义我迄今所谈到的持久性和力量。东方主义永远离不开 Denys Hay 所称的欧洲观念，这是一个集体概念，将我们欧洲人与所有那些非欧洲人区分开来，实际上可以说，欧洲文化的主要组成部分恰恰是使得这种文化在欧洲内外都占主导地位的因素
2 Denys Hay. Europe: The Emergence of an Idea. 2nd ed. (Edinburgh: Edinburgh University Press, 1968).
4.6 Selected Commentaries
Passage one
Feminist Futures
Maggie Humm
Throughout Europe there is a marked discrepancy between the economic status and the educational status of women. During the last decades women's representation in education has grown enormously but so has our participation in low paid and part-time work. [..]] This discrepancy is more deeply etched into Black and migrant women's lives. Fortress Europe offers few trellises for Black women. Similarly feminist literary criticism has created a lively and substantial body of work in the last decades but continues to exist in a hostile and often marginal academic place. At a time when nationalisms and right-wing politics are being energetically asserted it is even more crucial to assert with equal force a truly gendered, anti-racist reading of culture. 整个欧洲女性的经济地位和教育地位之间存在明显的差距。在过去几十年里，女性在教育领域的代表性大大增加，但我们在低薪和兼职工作中的参与也在增加。这种差距更深刻地影响了黑人和移民女性的生活。堡垒欧洲为黑人女性提供了很少的支持。同样，女性主义文学批评在过去几十年中创造了丰富而实质性的作品，但仍然存在于一个敌对且常常边缘化的学术领域。在民族主义和右翼政治得到积极肯定的时候，更有必要坚决主张一个真正性别化、反种族主义的文化阅读。
What might be the future of feminist literary criticsm seems to me to involve a gendered dynamic of race and scholarship which attends to all women as subjects of literature. [...] First, feminist literary criticism has to be feminist as much as it is literary. It must contiually expose the social agencies of literary construction, its own as well as those of traditional critics. Second, while self-reflexivity cannot in itself become a radical politics, by declaring a "politcs of location" and the differences of race, age, sexuality and class critics can address a wider readership. Finally, and most important, by continually generating new paradigms, new ways of seeing, feminist literary criticism can suggest ideas for new social agencies. [...] 我认为女性主义文学批评的未来可能涉及到一种性别动态，即种族和学术的性别动态，这种动态关注所有女性作为文学主体。首先，女性主义文学批评必须既是女性主义的，也是文学的。它必须不断揭示文学建构的社会机构，包括自身和传统评论家的社会机构。其次，虽然自我反思本身不能成为激进政治，但通过宣布“位置政治”和种族、年龄、性取向和阶级的差异，评论家可以面向更广泛的读者群。最后，最重要的是，通过不断产生新的范式、新的视角，女性主义文学批评可以提出新的社会机构的理念。
Feminist critical anthologies are good examples of the dialectic between political and critical thinking. Anthologies are crucial to a collective voice. Often the contributions to anthologies step outside the conventions of academic "discourse," taking in autobiography and popular culture; in this way they share a political collectivity. Writings from feminist anthologies challenge the individualistic author-focused norms of the academy and often break down the hierarchical ordering of criticism "above" creative writing. Many collections include the work of students and can represent the first inklings of what will become exciting and "mainstream" feminist thinking in the future. 女性主义批评选集是政治和批判性思维之间辩证关系的良好例证。选集对于集体声音至关重要。通常，选集的贡献超越学术“话语”的传统，涉及自传和流行文化；通过这种方式，它们分享政治集体性。来自女性主义选集的作品挑战了学术界以个人为中心的规范，并经常打破了批评“高于”创意写作的等级秩序。许多选集包括学生的作品，可以代表未来令人兴奋和“主流”女性主义思想的最初萌芽。
Feminist anthologies have undergone a sea change since the 1980s. For example, two white feminist edited collections published in 1985 are representative of the 1980s approach: Elaine Showalter's The New Feminist Criticism: Essays on Women, Literature and Theory and Gayle Greene and Coppélia Kahn's Making a Difference: Feminist Literary Criticism. In these volumes women's multiple differences of sexuality, race, class and age were to some extent confined to a single Black 女权主义选集自 1980 年代以来发生了翻天覆地的变化。例如，1985 年出版的两部由白人女权主义者编辑的选集代表了 1980 年代的方法：伊莲·肖沃尔特（Elaine Showalter）的《新女性主义批评：关于女性、文学和理论的论文》和盖尔·格林（Gayle Greene）与科佩利亚·卡恩（Coppélia Kahn）合著的《产生差异：女性文学批评》。在这些卷子中，女性在性取向、种族、阶级和年龄等方面的多重差异在某种程度上被限制在一个黑人身上。
feminist essay and one lesbian feminist essay. By the 1990s the speculative associations of white feminist critics with critics of Afra-American and Third World literature (for example, Elly Bulkin, Minnie Bruce Pratt and Barbara Smith's outstanding Yours in Struggle) had forced feminist literary criticism to re-evaluate the importance of the political. 女权主义论文和一篇女同性恋女权主义论文。到了 20 世纪 90 年代，白人女权主义批评家与非裔美国人和第三世界文学批评家（例如，埃利·布尔金、明妮·布鲁斯·普拉特和芭芭拉·史密斯杰出的《你在斗争中》）的推测性联系迫使女性主义文学批评重新评估政治的重要性。
What has happened in feminist literary criticism is, therefore, a microcosm of what has happened to women more generally outside the academy, in schools, in the media and in the wider culture. There was a growing interest in feminist criticism from the 1970s when it became clear that the meanings as well as the causes of women's oppression were much more intransigent than at first thought. 女性主义文学批评中发生的事情，因此是女性在学术界以外、学校、媒体和更广泛文化中发生的事情的缩影。从 20 世纪 70 年代开始，人们对女性主义批评产生了越来越浓厚的兴趣，因为很明显，女性压迫的意义和原因比最初想象的更为顽固。
Like political feminism, critical feminism today is shaped by a much richer understanding of difference. The recognition of difference is now one of feminist criticism's major strengths and has created a new future for critical and theoretical practice. Theory can no longer be totalizing or universal. Contemporary writers" speculation about the collective differences of "I" and celebrations of divergent ethnicities shift the emphasis in feminist criticism from a monolithic "woman" to unfixed, multiple and constantly changing experiences and literatures. Diversity and deconstruction do not cancel out positives, or a feminist politics; rather, together, they produce a broader change in knowledge about women. 像政治女性主义一样，当今的批判性女性主义受到对差异更丰富理解的影响。对差异的认可现在是女性主义批评的主要优势之一，并为批判性和理论实践开辟了新的未来。理论不再能够是全面化或普遍化的。当代作家对“我”的集体差异的猜测和对不同种族的庆祝将女性主义批评的重点从单一的“女性”转移到了不固定、多元且不断变化的经历和文学作品上。多样性和解构并不会抵消积极因素或女性主义政治；相反，它们共同促成了对女性知识的更广泛变革。
The work of several Asian and Black writers in Britain — the poets and non-fiction essayists, Grace Nichols, Debjani Chatterjee, Merle Collins and Valerie Bloom,, among others - mark very powerful shifts in contemporary culture and criticism. In Let It Be Told: Black women Writers in Britain (1988), Lauretta Ngchobo, Valerie Bloom and others aim to create a sense of culture and community in the face of British racism. This text is more distinctly political than traditional critiques and pursues a threefold goal: to range from Jamaican village life to burning issues of international concern, converting humour into protest; to celebrate the long tradition of "talkers" with roots in African oral art and performance; and to have a clear-eyed and determined sense of women's collectivity particularly involving mothering and the family. 在英国，几位亚裔和黑人作家的作品——包括诗人和非虚构散文作家 Grace Nichols、Debjani Chatterjee、Merle Collins 和 Valerie Bloom 等人——标志着当代文化和批评中非常强大的转变。在《让它被告知：英国黑人女作家》（1988 年）中，Lauretta Ngchobo、Valerie Bloom 等人旨在在英国种族主义面前创造一种文化和社区感。这篇文章比传统评论更具政治性，追求三重目标：从牙买加村庄生活到国际关注的燃烧问题，将幽默转化为抗议；庆祝根植于非洲口头艺术和表演的“说话者”长久传统；并且具有明确而坚定的对女性集体特别是涉及母性和家庭的意识。
Black British writing challenges both white racism and the aridity of much postmodern writing by insisting on the importance of dialect, rhyme and lyric. Black feminism's statement of communal purpose is more than a profession of faith. It is also a realistic evaluation of what is most needed by British Black feminists at this particular moment if Black writing is to validate what Edward Braithwaite calls a "Nation Language." 黑人英国作家挑战白人种族主义和许多后现代作品的枯燥，坚持方言、押韵和抒情的重要性。黑人女性主义对社区目标的表述不仅仅是信仰的宣言，也是对英国黑人女性主义者在这一特定时刻最需要的东西的现实评估，如果黑人写作要验证爱德华·布雷思维特所说的“民族语言”。
Here is a vision of criticism as a politics of identification, not singular identity, and as a sweeping sign of Black self-confidence. British Black feminists' continual double-edged and ironic interaction with Black culture is both feminist and broadly historical. Similarly the Asian writer Debjani Chatterjee gives attention to the multiple women "victims" of history which include her mother as well as Medusa. These critics focus on matrifocal constants in women's lives and literature, often utilizing mythical images and archetypes. In a companion piece in Let It Be Told the Guyanese writer Grace Nichols expresses concern about the destructive impact of white myths on the Black psyche and, in "i is a long memoried woman," creates an alternative priestess figure of complex moods. All of this writing answers the key question - what is feminist criticism? — by undoing oppositions such as intellectual/rural, Black/white and the privileged binaries such 这里提出了批评的愿景，作为一种认同政治，而不是单一身份，也是黑人自信的广泛标志。英国黑人女权主义者与黑人文化持续双重边缘和讽刺性互动，既是女权主义者，也是广泛历史的。同样，亚洲作家德布贾尼·查特吉关注历史上多位女性“受害者”，包括她的母亲和美杜莎。这些评论家关注女性生活和文学中的母系常数，通常利用神话形象和原型。在圭亚那作家格雷斯·尼科尔斯的《让它被告知》中，她表达了对白人神话对黑人心灵的破坏性影响的担忧，并在“我是一个记忆深刻的女人”中，创造了一个情绪复杂的替代女祭司形象。所有这些写作都回答了一个关键问题 - 什么是女性主义批评？ - 通过解除智力/乡村，黑/白和特权二元对立等。
oppositions carry with them. Other points of comparison among new critical writings devoted to ethnicities and scholarship are critiques in which the words "feminism" and "woman" are not flagged or even indexed but which address the uniqueness of gendered experience.[...] 反对派随之而来。致力于种族和学术的新批评性著作之间的其他比较点是批评，其中“女权主义”和“女人”这两个词并未被标记甚至被索引，而是涉及性别经验的独特性。
Feminist criticism now resists any clean break between theory and practice and refuses to engage in a unitary and masterful deconstruction of texts, in favour of a plurality of readings and writing practices. What is at stake currently, it seems to me, is a complete "re-vision" of what it means to read, and how reading relates to critical understanding. 女性主义批评现在抵制理论与实践之间的干净分割，并拒绝从事对文本的统一和权威的解构，而倾向于多元的阅读和写作实践。在我看来，目前面临的问题是对阅读的含义进行全面的“重新审视”，以及阅读与批判性理解之间的关系。
Humm, Maggie. "Feminist Futures." A Reader's Guide to Contemporary Feminist Literary Criticism. New York: Harvester Wheatsheaf, 1994. 291 - 97.
Passage Two
The Limits of Postcolonial Theory
Leela Gandhi
Postmodern/poststructuralist commentators argue that postcolonialism is in danger of becoming yet another totalizing method and theory. On the other side, Marxist and materialist critics have vociferously made the charge that postcolonial analysis lacks the methodological structure, and will to totalize, necessary for right thinking and left politics. As we have seen, the debate about "totalities" and "fragments" is ultimately concerned with the status of knowledge, ethics and politics in the contemporary world and, less grandiosely, within the set of disciplines which constitute the humanities. 后现代/后结构主义评论家认为，后殖民主义正面临着成为另一种全盘方法和理论的危险。另一方面，马克思主义和唯物主义批评家大声指责后殖民分析缺乏方法论结构和全盘化的意愿，这是正确思考和左翼政治所必需的。正如我们所看到的，关于“整体”和“碎片”的辩论最终关乎当代世界中知识、伦理和政治的地位，更不夸张地说，也关乎构成人文学科的一系列学科内部。
At one extreme, and similarly to feminism, postcolonialism approaches such questions of epistemology and agency universally; that is to say, as questions which are relevant to a generalized "human condition" or a "global situation." Just as feminist theory/criticism is "one branch of interdisciplinary inquiry which takes gender as a fundamental organizing category of experience" (Greene & Kahn 1985, p.1), postcolonialism of the sort defended by the authors of The Empire Writes Back takes colonialism, or more specifically, European colonialism, as a way to organize the experience of "more than three-quarters of the people living in the world today" (Ashcroft et al. 1989 , p.1). As is now well known and well acknowledged, feminism has been forced to concede that "woman" as a monolithic category of analysis across classes and cultures fails - in Chandra Mohanty's words - to account for "women - real, material subjects of their own collective histories"(Talpade Mohanty, 1994). Experience, in other words, is crisscrossed by determinants other than those of gender or, we might add, colonialism alone. 在一个极端，类似于女权主义，后殖民主义普遍地探讨认识论和代理问题；也就是说，将这些问题视为与泛化的“人类状况”或“全球情况”相关的问题。正如女性主义理论/批评是“以性别作为经验的基本组织范畴之一的跨学科探究”（格林和卡恩，1985 年，第 1 页），《帝国的回声》作者所捍卫的后殖民主义将殖民主义，或更具体地说，欧洲殖民主义，作为组织“今天世界上超过四分之三人口的经验”的一种方式（阿什克罗夫等，1989 年，第 1 页）。众所周知并且公认，女权主义不得不承认“女性”作为一个跨阶级和跨文化分析的单一范畴是失败的 - 用钱德拉·莫汉蒂的话说 - 无法解释“女性 - 真实的、物质的自己集体历史的主体”（塔尔帕德·莫汉蒂，1994 年）。换句话说，经验被除了性别或者我们可能补充的殖民主义之外的决定因素交叉影响。
The postcolonial deference to the homogenizing and all-inclusive category "colonialism" fails, first, to account for the similarities between cultures/societies which do not share the experience of colonialism. Second, and similarly to feminism, it fails to account for differences, in this case the culturally and historically variegated forms of both colonization and anti-colonial struggles. As Aijaz Ahmad writes in one of his many critiques of matters postcolonial: "the fundamental effect of constructing this globalised trans-historicity of colonialism is one of evacuating the very meaning of the word and dispersing that meaning so wide that we can no longer speak of determinate histories of determinate structures ..." (Ahmad 1995, p.9). This sort of semantic vacuum is most evident in the claim, made by some Australian and Canadian commentators; that settler societies stand in the same relationship to colonialism as those societies which have experienced the full force and violence of colonial domination. Such claims entirely neutralize, in the name of subject formation, the widely divergent logics of settlement and struggles for independence. Equally, they confer a seamless and undiscriminating postcoloniality on both white settle cultures and on those indigenous peoples displaced through their encounter with these cultures. For postcolonial critics like Helen Tiffin, accordingly, disparate societies such as Bangladesh and Australia are unified upon the somewhat dubious premise that their "subjectivity has been constituted in part by the subordinating power of European colonialism"(Adam & Tiffin 1991, p. vii). 后殖民主义对同质化和全包容性类别“殖民主义”的顺从，首先未能解释那些没有经历殖民主义经历的文化/社会之间的相似之处。其次，类似于女权主义，它未能解释差异，即在这种情况下，殖民化和反殖民化斗争的文化和历史多样化形式。正如 Aijaz Ahmad 在他对后殖民事务的许多批评之一中所写道：“构建这种全球化的跨历史性殖民主义的基本效果是将这个词的意义排空，并将这个意义扩散得如此之广，以至于我们再也无法谈论具体历史的具体结构...”（Ahmad 1995 年，第 9 页）。这种语义真空在某些澳大利亚和加拿大评论家声称的主张中最为明显；即殖民地社会与那些经历了殖民统治的社会之间存在相同的关系。这种主张完全中立化了，以主体形成的名义，定居和独立斗争的截然不同的逻辑。 同样，它们赋予白人殖民定居文化和那些通过与这些文化相遇而被驱逐的土著民族一个无缝且不加区分的后殖民性。因此，对于海伦·蒂芬（Helen Tiffin）等后殖民批评家来说，孟加拉国和澳大利亚等不同的社会在某种可疑的前提下被统一起来，即他们的“主体性在一定程度上是由欧洲殖民主义的支配力量构成的”（亚当和蒂芬，1991 年，第 vii 页）。
Tiffin's faith in the notion of a uniformly subordinated subjectivity invites contestation, not least of all because both subjectivity and power are so differently and unevenly inflected across cultures and histories. While "subjectivity", in Tiffin's usage, seems to point to the state of creative "inferiority," this term also refers to the condition through which people are recognized as free and equal — or "full" — individuals within civil society. As it happens, the story of political subjectivity has always been fraught by exclusions of gender, race, class, caste and religion. Civil society has consistently refused admission and participation to those who, in Carole Pateman's words, "lack the attributes and capacities of "individuals"" (Pateman 1988, p.6). Thus, for Rosseau, women were exempted from subjectivity and for Cecil Rhodes, likewise, black Africans were to be denied the benefits of "mature" and "full" individuality: "The native is to be treated as a child and denied franchise. We must adopt the system of despotism ... in our relations with the barbarous of South Africa" (cited in Nandy 1992, p. 58). Similar divisions marked the edifice of colonial government in India. As Chatterjee says: "The only civil society that the government could recognize was theirs; colonized subjects could never be its equal members" (Chatterjee 1993b, p. 24). 7 In this case, racial difference, much as sexual difference, becomes synonymous with political differences. Thus, unlike the colonizers who possess the privileges of citizenship and subjectivity, the colonized exist only as subjects, or as those suspended in a state of subjection. In India, the nationalist struggle begins as a repudiation of this second-rate civil society of subjects - as a struggle for subjectivity. 蒂芬对统一下级主体性概念的信仰引发了争议，这主要是因为主体性和权力在不同文化和历史背景下的表现方式如此不同且不均衡。在蒂芬的用法中，“主体性”似乎指的是创造性“低下”状态，但这个术语也指的是人们被视为自由和平等的——或“完整”的——个体在公民社会中被认可的状态。事实上，政治主体性的故事总是充满了性别、种族、阶级、种姓和宗教的排斥。公民社会一直拒绝让那些在卡罗尔·帕特曼的话中“缺乏‘个体’的属性和能力”的人进入和参与（帕特曼，1988 年，第 6 页）。因此，对于卢梭来说，妇女被排除在主体性之外，对于塞西尔·罗兹来说，同样，黑人非洲人被剥夺了“成熟”和“完整”个体的利益：“土著应被视为儿童，被剥夺选举权。我们必须在与南非野蛮人的关系中采取专制主义的制度…”（纳迪，1992 年，第 58 页）。 类似的分裂标志着印度殖民政府的建立。正如查特吉所说：“政府能够承认的唯一的公民社会是他们的；殖民地的被统治者永远不可能成为其平等的成员”（查特吉 1993b，第 24 页）。在这种情况下，种族差异，就像性别差异一样，成为政治差异的代名词。因此，与拥有公民权和主体性特权的殖民者不同，被殖民者只存在为被统治者，或者处于被统治状态。在印度，民族主义斗争始于对这种次等被统治者公民社会的否认 - 作为对主体性的斗争。
The arguments of writers like Ashcroft, Tiffin and Griffiths fail to convince primarily on account of their refusal to address adequately the ideological wedge between histories of subjectivity and histories of subjection. There is a fundamental incommensurability between the predominantly cultural "subordination" of settler culture in Australia, and the predominantly administrative and militaristic subordination of colonized culture in Africa and Asia. A theory of postcolonialism which suppresses differences like these is ultimately flawed as an ethical and political intervention into conditions of power and inequality. Equally, pious protestations of postcoloniality from once-colonised nations such as India must engage with the differences between internal histories of subordination, kept in place by the continuing exclusions of postcolonial civil society. 像阿什克罗夫特、蒂芬和格里菲斯这样的作家的论点主要在于他们拒绝充分解决主体性历史和受制历史之间的意识形态分歧，因此无法令人信服。澳大利亚殖民者文化主要受到文化“从属”的影响，而非洲和亚洲殖民文化主要受到行政和军事的支配，这两者之间存在根本的不可比拟性。一个忽略这些差异的后殖民主义理论在道德和政治干预权力和不平等条件方面是有缺陷的。同样，像印度这样的曾经被殖民的国家对后殖民主义的虔诚抗议必须涉及内部受制历史之间的差异，这些差异由后殖民社会的持续排斥所维持。
7 Chatterjee, P. The Nation and Its Fragments: Colonial and Postcolonial Histories (Princeton, New Jersey: Princeton University Press, 1993b)
Gandhi, Leela. "The Limits of Postcolonial Theory." Postcolonial Theory: A Critical Introduction. New York: Columbia University Press, 1998. 167 - 76.
4.7 Further Reading
Spelling
MARGARET ATWOOD (1939-)
This above all, to refuse to be a victim.
Magaret Atwood
While Atwood is best known for her work as a novelist, her poetry is noteworthy. Up till now she has produced seventeen poetry collections, the latest of which is The Door (2007). Many of her poems have been inspired by myths and fairy tales, which have been an interest of hers from an early age. As a feminist, Atwood shows her concern for women's dilemmas in her poems. 尽管阿特伍德以小说家而闻名，但她的诗歌也很引人注目。到目前为止，她已经出版了十七本诗集，其中最新的是《门》（2007 年）。她的许多诗歌受到神话和童话的启发，这是她从小就感兴趣的内容。作为一名女权主义者，阿特伍德在她的诗歌中展现了对女性困境的关注。
Spelling
My daughter plays on the floor
with plastic letters,
red, blue & hard yellow,
learning how to spell,
spelling,
how to make spells.
I wonder how many women denied themselves daughters, closed themselves in rooms, drew the curtains
so they could mainline words.
A child is not a poem,
a poem is not a child.
there is no either/or.
However.
I return to the story
of the woman caught in the war in labour, her thighs tied together by the enemy so she could not give birth.
Ancestress: the burning witch, her mouth covered by leather to strangle words.
A word after a word
after a word is power.
At the point where language falls away
from the hot bones, at the point where the rock breaks open and darkness flows out of it like blood, at the melting point of granite
when the bones know
they are hollow & the word
splits & doubles & speaks
the truth & the body
itself becomes a mouth.
This is a metaphor.
How do you learn to spell?
Blood, sky & the sun, your own name first, your first naming, your first name, your first word.
In the student paper that follows, note how the author uses the psychoanalytic theories of Jacques Lacan to arrive at her interpretation of Margaret Atwood's poem "Spelling." After reading the paper, ask yourself whether this interpretation has brought to your attention any feminist issues of which you were previously unaware. If so, what are they? 在接下来的学生论文中，请注意作者如何运用雅克·拉康的精神分析理论来解释玛格丽特·阿特伍德的诗歌《拼写》。阅读完论文后，请问自己这种解释是否让你注意到了之前未曾意识到的女权主义问题。如果有的话，它们是什么？
A Feminist Critique of Margaret Atwood's "Spelling"
Kara Roggie
Written in 1981, Margaret Atwood's poem "Spelling" echoes the cries of all women who have been, are, and will be repressed by the dominance of male discourse. The poem provides the reader with strong images of women who are attempting to break out of what Jacques Lacan calls the Symbolic Order and return to the Imaginary Order. The women Atwood pictures in this poem must wrestle from society its symbol of power: the pen. In this process, they must reject the image of the female as constructed by males using a male-dominated discourse and re-define themselves according to their biologically determined sex, not their gender, for gender is social construct defined by the dominant male discourse. 1981 年写成的玛格丽特·阿特伍德的诗歌《拼写》回响着所有被男性话语支配、被压抑的女性的呼声。这首诗提供了强烈的女性形象，她们试图摆脱雅克·拉康所称的象征秩序，回归到想象秩序。阿特伍德在这首诗中描绘的女性必须从社会中夺取权力的象征：笔。在这个过程中，她们必须拒绝由男性使用男性主导话语构建的女性形象，并根据生物学确定的性别重新定义自己，而不是根据性别，因为性别是由主导的男性话语定义的社会构建。
According to Lacan, in our infancy to about six months of age, we all pass through the Imaginary Order, a stage of psychic development characterized by flux and fluidity. This stage is closely related to a woman's body, especially the vagina. During this stage we are able to communicate in a language not governed by laws or gender or power. All too quickly, however, Lacan asserts that the next stage of psychic development approaches, the Symbolic Order. Juxtaposed to the fluidity and flux of the Imaginary Order, the Symbolic order is characterized by structure and rigidity. During this stage male discourse becomes dominant, suppressing the kind of discourse learned during the Imaginary Order. In order to break out of the Symbolic Order and return to the Imaginary Order dominated by fluidity and motion, the women Atwood pictures in "Spelling" must take from society the symbol of power, the pen, and write in their own female-dominated discourse. 根据拉康的观点，在我们出生到大约六个月大的婴儿期间，我们都经历了想象秩序，这是一种以流动和流动性为特征的心理发展阶段。这个阶段与女性的身体密切相关，特别是阴道。在这个阶段，我们能够用一种不受法律、性别或权力约束的语言进行交流。然而，拉康断言，心理发展的下一个阶段即将到来，那就是象征秩序。与想象秩序的流动性和流动性相对比，象征秩序以结构和刚性为特征。在这个阶段，男性话语变得主导，压制了在想象秩序期间学到的那种话语。为了摆脱象征秩序，回到由流动性和运动主导的想象秩序，阿特伍德在《拼写》中描绘的女性必须从社会中夺取权力的象征——笔，并用自己的女性主导话语写作。
In the first stanza Atwood describes the persona's daughter playing with "plastic letters" and "learning how to spell." The language she is spelling is androgynous, one unaffected by social and cultural influences. She turns spells boldly with colors of "red, blue & hard yellow" (line 3). Hers is a semiotic language possessing an innocence that has not been confronted by castration anxiety. She therefore plays contentedly on the floor with no one telling her how to spell. 在第一节中，阿特伍德描述了人物的女儿玩“塑料字母”和“学习拼写”的情景。她拼写的语言是雌雄同体的，不受社会和文化影响。她用“红色、蓝色和硬黄色”（第 3 行）大胆地拼写。她的语言是一种符号语言，具有一种尚未受到阉割焦虑影响的天真。因此，她在地板上愉快地玩耍，没有人告诉她如何拼写。
The persona then compares her daughter's bold use of semiotic language to those women who "[deny] themselves daughters" by conforming to the Symbolic language by which men maintain power not only in literature but also in society (line 8). In conforming to the Symbolic Order, these women close themselves up in rooms; they conceal their true discourse, the fluid female chora, in order to "mainline words" (line 11). To be heard and accepted by society, such women must mimic the Symbolic language of male-dominated discourse, or they must sacrifice not being heard at all, thereby repressing the language of their Imaginary Order. 人物随后将她女儿大胆使用符号语言与那些通过遵循男性维持权力的象征语言而“[否认]自己是女儿”的女性进行比较（第 8 行）。遵循象征秩序，这些女性将自己封闭在房间里；他们隐藏自己真实的话语，流动的女性空间，以便“主线词语”（第 11 行）。为了被社会听到和接受，这样的女性必须模仿男性主导话语的象征语言，或者他们必须牺牲不被听到，从而压抑他们想象秩序的语言。
In the next stanza the persona alludes to the necessity of developing a new androgynous
language in order to solve the dilemma faced by these women. By stating that "a child is not a poem,/a poem is not a child," the persona asserts that the Imaginary Order is not acceptable to the poem any more than the Symbolic Order is acceptable to a child (line ). She therefore suggests that there need not be any distinction between female and male discourse, but rather that both should be revolutionized into a new language that embodies both male and female properties. Both male and female should harmonize together in language with equal distribution of power. In effect, there should be no "either/or" (line 14). 为了解决这些妇女面临的困境，语言。通过表明“一个孩子不是一首诗，/一首诗也不是一个孩子”，人物声称，想象秩序对诗歌来说不再可接受，就像象征秩序对孩子来说也不可接受一样（第 行）。因此，她建议不需要区分女性和男性话语，而是应该将两者革命化为一种新语言，既包含男性特性又包含女性特性。男性和女性应该在语言中和谐共处，权力分配应该平等。实际上，不应该有“要么/要么”（第 14 行）。
But the power of language remains unequal, and the persona returns to reality by replaying the story of a woman "caught in the war" between society and herself (lines 15 - 17). In this story, the woman is laboring to give birth to her true self - that is, a language unaffected by male discourse - but the enemy, the male, binds her legs to prevent her intended revolution. And simultaneously an ancestress is also kept from spelling her language as leather is placed over her mouth to "strangle" the words that will give her power (line 23). After all, "a word after a word/ after a word is power;" a power that society struggle to repress and destroy (lines ). This male-dominated society cannot allow these "radical" women to give birth to a new language that would make women and men equals, for then men would be forced to relinquish power and to share it with women whom they believe are merely deformed men. Males, therefore, symbolically close the womb, forcing women to use male discourse if they wish to "mainline words." 但语言的力量仍然不平等，人物通过重播一个女人“陷入战争”与社会和自己之间的故事（第 15-17 行）回到现实。在这个故事中，这个女人正在努力诞生她真正的自我 - 也就是说，一种不受男性话语影响的语言 - 但敌人，男性，绑住她的腿阻止她打算的革命。同时，一个祖先也被阻止拼写她的语言，因为皮革被放在她的嘴上“勒死”那些将赋予她力量的话语（第 23 行）。毕竟，“一个词接一个词/接一个词就是力量；”社会努力压制和摧毁的力量（第 行）。这个男性主导的社会不能允许这些“激进”的女性诞生一种新的语言，使女性和男性平等，因为那样男性将被迫放弃权力并与他们认为只是变形的男性分享权力。因此，男性象征性地关闭子宫，迫使女性使用男性话语，如果她们希望“注射词语”。
As language "falls away/from the hot bones," the rock-hard conventions of patriarchy break open and melt away (lines ). Only under the kind of pressure that will break rock and melt granite is the hollowness of Symbolic language exposed. The word that was strangled to deny power to women, "splits & doubles & speaks/the truth & the body/itself becomes a mouth" (lines . Symbolically, the persona paints a picture of an embryo splitting inside a woman's womb, slowing giving shape to a new language. Simultaneously, the metaphorical womb contends with the metaphorical penis. When the words of the womb become words, each word leading to the production of more words, and the body becomes a mouth, then the female can rise above the rigidity and structure of the Symbolic Order, embrace the Imaginary Order, and communicate in a new language without hesitation or restriction. Through revolutionizing and creating language, the metaphorical womb can then triumph over the metaphorical penis, taking the penis's pen. 当语言“从炙热的骨头上消失”时，父权制度的坚硬传统被打开并融化（第 行）。只有在能够击碎岩石并融化花岗岩的压力下，象征性语言的空洞才会暴露出来。那个被扼杀以剥夺女性权力的词语，“分裂&加倍&说出真相&身体/本身成为一张嘴”（第 行）。在象征意义上，人物描绘了一个胚胎在女性子宫内分裂的画面，慢慢地赋予新语言形态。同时，比喻性子宫与比喻性阴茎相争。当子宫的言语变成词语，每个词语导致更多词语的产生，身体变成一张嘴，那么女性就能超越象征秩序的僵化和结构，拥抱想象秩序，并毫不犹豫或受限地用一种新语言交流。通过革新和创造语言，比喻性子宫就能战胜比喻性阴茎，夺取阴茎的笔。
In the final stanza, the persona challenges us, the readers, to consider how we learn to spell. Do we learn inside of gendered constructs, or do we learn by our biological nature? Do we allow society to name us as a man or a woman, or do we learn to spell by our first word learned in the Imaginary Order, a language that ultimately fails to distinguish between genders? 在最后一节中，人物向我们读者提出挑战，让我们考虑我们是如何学会拼写的。我们是在性别构造内学习，还是根据我们的生物本性学习？我们是否允许社会将我们称为男人或女人，还是我们是通过在想象秩序中学到的第一个单词来学习拼写，这种语言最终无法区分性别？
The reader, and in particular the female, is left to seek and to regain the innocence of the preOedipal infant who is untouched by the Symbolic Order. The persona exhorts the reader to challenge socialized conventions of language and to relate to one's biological sex rather than to gender. As women spell their language according to their sex, then and only then will they be able to define themselves and their world views rather than accepting the definitions that maledominated society has already constructed for them. 读者，尤其是女性，被留下来寻找和重获未被符号秩序触及的前俄狄浦斯婴儿的纯真。人物劝告读者挑战社会化的语言惯例，与自己的生理性别联系，而不是性别。当女性根据自己的性别拼写语言时，那么只有那时她们才能定义自己和自己的世界观，而不是接受男性主导社会已经为她们构建的定义。
Appendixes
1. Glossary of Literary Terms
Abstract
Absurd, the, a term derived from Albert Camus's existentialism, which refers to the modern sense of human purposelessness and the paralysis of human aspiration. Martin Esslin coined the phrase Theatre of the Absurd in 1961, the classic work of which is Samuel Beckett's Waiting for Godot (1952). Other dramatists associated with it include Edward Albee, Jean Genet, and Harold Pinter. 荒谬，这个词源自阿尔贝·加缪的存在主义，指的是现代人类无目的感和人类愿望的瘫痪。马丁·埃斯林在 1961 年创造了“荒诞剧场”这个词，其中经典作品是塞缪尔·贝克特的《等待戈多》（1952 年）。与之相关的其他剧作家包括爱德华·阿尔比、让·热内和哈罗德·品特。
act, a major division in a play, consisting one or more scenes.
alliteration, the repetition of the initial consonants of neighboring words, such as in "lord of language." It is also known as "head rhyme" or "initial rhyme."
allusion, an indirect reference to some event, person, place, or artistic work. The writer does not explain it and its realization relies on readers' familiarity with what is mentioned. It is an effective means to call upon the history or the literary tradition which writer and reader are supposed to share. 典故，是对某个事件、人物、地点或艺术作品的间接提及。作者不加以解释，其实现依赖于读者对所提及内容的熟悉程度。这是一种有效的方式，可以借助作者和读者应该共享的历史或文学传统。
antagonist, the most important character who opposes the protagonist or hero in an artistic work.
assonance, the repetition of the same or similar vowels in the stressed syllables of neighboring words, such as "sweet dream." It can substitute the end rhyme sometimes.
avant-grade, an original French military and political term indicating the pioneer of an army or political movement. Since the late nineteenth century, it has been used to refer to those arrtists and writers who revolt against tradition and make experiment with art. 先锋，一个原始的法国军事和政治术语，指示军队或政治运动的先驱。自 19 世纪末以来，它已被用来指那些反抗传统并在艺术上进行实验的艺术家和作家。
B
ballad, a folk song or orally transmitted poem telling some popular story in a simple and dramatic way. It appeared in the late Middle Ages in many parts of Europe and flourished particularly in Scotland from the fifteenth century onward. Since the eighteenth century, some romantic poets have written imitations of its form and style. 民谣，是一种民间歌曲或口头传颂的诗歌，以简单而戏剧化的方式讲述一些流行故事。它在欧洲许多地区于中世纪晚期出现，并在苏格兰特别是从 15 世纪开始繁荣。自 18 世纪以来，一些浪漫主义诗人写了模仿其形式和风格的作品。
blank verse, unrhymed lines of iambic pentameter. It echoes the natural rhythms of speech and is widely used in narrative and meditative poems. Shakespeare, Wordsworth, and Tennyson have written blank verse. Blank verse should not be confused with free verse which has no regular meter. 白话体诗，即无韵的五音步韵律行。它回响着自然语言的节奏，在叙事和冥想诗中被广泛使用。莎士比亚、华兹华斯和丁尼生都写过白话体诗。白话体诗不应与没有规则节奏的自由诗混淆。
canon, books recognized by authority, especially by critics or anthologists, and perceived suitable for academic study.
character, the personage in a narrative or dramatic work. E.M. Forster makes a distinction between flat and round characters. The former are simple and unchanging; the latter are complex and dynamic. The representation of characters is called characterization. comedy, a play usually with a happy ending chiefly aiming to amuse its audience by representing everyday life and exploring common human failings. It dates back 角色，叙事或戏剧作品中的人物。E.M.福斯特区分了平面和圆形角色。前者简单且不变；后者复杂且动态。角色的表现被称为人物刻画。喜剧，通常以快乐结局为主要目的，通过描绘日常生活和探索普遍人类缺陷来取悦观众。它可以追溯到
to the Greek playwright Aristophanes. Shakespeare, Oscar Wilde, and Bernard Shaw are masters of comedy. connotation, the further associations that a word or phrase have besides its dictionary meaning (the denotation). For example, the word "bird" denotes a flying creature, but also implies freedom and energy. 希腊剧作家阿里斯托芬。莎士比亚、奥斯卡·王尔德和伯纳德·肖是喜剧大师。内涵，一个词语或短语除了其字典含义（指示）之外的进一步联想。例如，单词“鸟”表示一种飞行生物，但也暗示着自由和能量。
consonance, the repetition of the same or similar consonants in neighboring words, such as "hot foot." It can be regarded as the counterpart to assonance.
D
defamiliarization, the device of disrupting habitual perception of the world and making familiar objects strange. Russian formalist Shklovsky argues that art exists in order to recover the sensation of life which is destroyed in the automatized routine of everyday experience. 陌生化，打破对世界的习惯感知并使熟悉的物体变得陌生的设备。俄罗斯形式主义者什克洛夫斯基认为，艺术的存在是为了恢复在日常经验的自动化常规中被破坏的生活感。
E
Ecocriticism, a literary approach that examines the interconnections between nature and culture, specifically the cultural artifacts of languages and literature. It basic premise is that human culture is connected to the physical world, affecting it and affected by it. As a theoretical discourse, it negotiates between the human and the non-human. The scope of ecocriticism has broadened rapidly from nature writing, Romantic poetry and canonical literature to film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, it has borrowed methodologies from fields of literary, social and scientific studies. 生态批评是一种文学方法，它审视自然与文化之间的相互关系，特别是语言和文学的文化产物。其基本前提是人类文化与物质世界相连，相互影响。作为一种理论话语，它在人类和非人类之间进行协商。生态批评的范围迅速从自然写作、浪漫诗歌和经典文学扩展到电影、电视、戏剧、动物故事、建筑、科学叙事以及一系列文学文本。与此同时，它借鉴了文学、社会和科学研究领域的方法论。
elegy, a lyric poem lamenting a dead friend, or a public figure. Shelley's "Adonais" is on the death of Keats, and Whitman commemorates Abraham Lincoln in his "When Lilacs Last in the Dooryard Bloom'd." In a broader sense, an elegy may be a poem reflecting on a solemn subject, such as life's shortness or its sorrows. 挽歌，一首抒发对已故朋友或公众人物哀悼之情的抒情诗。雪莱的《阿多奈斯》是为了凯茨的逝世而作，惠特曼在他的《当紫丁香在门前开放时》中纪念亚伯拉罕·林肯。在更广泛的意义上，挽歌可能是一首反映庄严主题的诗，比如生命的短暂或悲伤。
epic, a long narrative poem celebrating the great deeds of some legendary heroes. Homer's Iliad and Odyssey are traditional epics. Virgil and Milton are two masters following Homer. The Anglo-Saxon poem "Beowulf" is also written in the epic form. epiphany, the term in Christian theology referring to a manifestation of God's presence in the world. James Joyce adopts it in his novels to mean a special moment of sudden insight. 史诗，是一种长篇叙事诗，赞颂一些传奇英雄的伟大事迹。荷马的《伊利亚特》和《奥德赛》是传统史诗。维吉尔和弥尔顿是继荷马之后的两位大师。盎格鲁-撒克逊史诗《贝奥武甫》也是以史诗形式写成的。启示，基督教神学术语，指上帝在世界中显现的表现。詹姆斯·乔伊斯在他的小说中采用这个词来表示突然洞察的特殊时刻。
F
fable, a brief tale that conveys a moral lesson often by giving human speech and manners to animals.
foot, a group of syllables taken as a unit of poetic meter. The foot in English verses is counted as being either stressed or unstressed. The most common feet are the iamb (unstressed followed by stressed, like to be) and the trochee (stressed followed by unstressed, like beat it). The number of feet in a line determines the description of its length. A line of five feet is a pentameter. 脚，一组音节被视为诗歌格律的单位。在英语诗歌中，脚被计算为重读或轻读。最常见的脚是抑扬格（轻读后接重读，如 to be）和扬抑格（重读后接轻读，如 beat it）。一行中的脚数决定了其长度的描述。五个脚的一行是五音步格律。
G
genre, the French word for a type or species. The term is used simultaneously for the basic modes of literary art (lyric, narrative, dramatic), for the categories of writing (poetry, prose, fiction), and for some subcategories (sonnet, picaresque novel; novella, epigram; satire, comedy; pastoral, science fiction). 类型，法语单词，指一种类型或物种。该术语同时用于文学艺术的基本模式（抒情、叙事、戏剧），写作类别（诗歌、散文、小说）以及一些子类别（十四行诗、流浪汉小说；中篇小说、讽刺诗；讽刺、喜剧；田园诗、科幻小说）。
hero or heroine, the main character in a novel or drama. It is interchangeably used with the term protagonist.
I
imagery, a literary term referring to the uses of language that evoke sense-impressions as opposed to the language of abstract argument or exposition. The imagery comprises the set of images that appeal to senses other than sight. 意象，是一个文学术语，指的是利用语言来唤起感官印象，而不是抽象论证或阐释的语言。意象包括一组呼吁除视觉之外其他感官的形象。
Imagism, the poetic practice of a group of American and British poets between 1912 and 1917. Under the influence of Japanese haiku and some Greek lyrics, these imagists prefer to short, concise, and direct poems centering on single images. Key imagists include Ezra Pound, Amy Lowell, H.D., and William Carlos Williams. 意象主义是一群美国和英国诗人在 1912 年至 1917 年间的诗歌实践。在日本俳句和一些希腊抒情诗的影响下，这些意象主义者更喜欢以单一图像为中心的简短、简洁和直接的诗歌。关键的意象主义者包括埃兹拉·庞德、艾米·洛威尔、H.D.和威廉·卡洛斯·威廉姆斯。
legend, stories passed down through oral tradition. They are usually unreliable accounts of historical persons like saints, warriors, or popular heroes based on some kind of historical basis. King Arthur and his knights and Robin Hood are known legends in English tradition. 传说，是通过口头传统流传下来的故事。它们通常是关于历史人物（如圣人、战士或受欢迎的英雄）的不可靠记载，基于某种历史基础。亚瑟王及其骑士和罗宾汉是英国传统中著名的传说。
lyric, any short poem expressing the speaker's personal mood, feeling, or meditation. The most common emotions expressed in lyrics are love and grief. Lyrics are the most extensive category of verse, the forms of which include sonnet, ode, elegy, and haiku. 歌词是表达说话者个人情绪、感情或冥想的任何短诗。歌词中最常表达的情感是爱和悲伤。歌词是诗歌中最广泛的类别，其形式包括十四行诗、颂歌、挽歌和俳句。
M
metaphor, the most important figure of speech, in which one thing, idea, or action is referred to by a word or expression denoting another thing, idea, or action which has some common quality with the former. In poetry, metaphor is often used to create new combinations of ideas. 隐喻是修辞中最重要的修辞手法，其中一个事物、思想或行为被用一个词或表达指代另一个具有与前者某些共同特质的事物、思想或行为。在诗歌中，隐喻经常被用来创造新的思想组合。
meter, the pattern of measured sound-units recurring more or less regularly in lines of verse. English meters are named after the feet: a dimeter has two feet, a trimeter three, a tetrameter four, a pentameter five, a hexameter six, and a heptameter seven. 米，度量音节模式在诗行中以更或少规律地重复。英语的米以“脚”命名：二音步为二音步，三音步为三音步，四音步为四音步，五音步为五音步，六音步为六音步，七音步为七音步。
modernism, a general term applied to the experimental and avant-garde trends in literature and other arts of the early twentieth century. In fiction, modernist writers like James Joyce and William Faulkner, deliberately disrupted the continuity of chronological development and favored techniques of juxtaposition and multiple point of view and attempted new ways of tracing the consciousness of characters' thoughts. In poetry, Ezra Pound and T.S. Eliot preferred fragmentary images and complex allusions to the logical expression of thoughts. In theater, Luigi Pirandello and Bertolt Brecht initiated new forms of abstraction to replace realist and naturalist productions. Modernist writing is mainly about city life and expresses a sense of alienation and dislocation. 现代主义是一个普遍术语，用于描述二十世纪初文学和其他艺术领域的实验性和前卫趋势。在小说中，像詹姆斯·乔伊斯和威廉·福克纳这样的现代主义作家故意打破了时间发展的连续性，偏爱并列和多重视角的技巧，并尝试新的方式来追踪人物思想的意识。在诗歌中，埃兹拉·庞德和 T·S·艾略特更喜欢片段形象和复杂典故，而不是逻辑表达思想。在戏剧中，路易吉·皮兰德罗和贝尔托尔特·布莱希特开创了新的抽象形式，以取代现实主义和自然主义的作品。现代主义写作主要关注城市生活，表达了一种疏离和错位感。
myth, a fictional narrative usually in supernatural or imaginative terms to express collective attitudes to fundamental matters of life, death, divinity, and existence. Compared with legends, myths have less historical basis. 神话是通常以超自然或想象的方式表达对生命、死亡、神性和存在等基本问题的集体态度的虚构叙事。与传说相比，神话的历史基础较少。
narrator, one who tells the story in a certain narrative. A narrator is distinguished from the real author. Narrators vary according to the degree of their involvement in stories. In first-person narratives, they act as witnesses or participate in the events; in thirdperson narratives, they stand out of the events; an omniscient narrator does not participate in the events but enjoys the privileges such as access to characters' thoughts. Further distinction may be made between reliable narrators who alwáys tell the truth and unreliable narrators who do not. 叙述者，是在某种叙述中讲述故事的人。叙述者与真实作者有所区别。叙述者根据其在故事中的参与程度而有所不同。在第一人称叙述中，他们充当见证人或参与事件；在第三人称叙述中，他们站在事件之外；全知叙述者不参与事件，但享有诸如接触人物思想的特权。可进一步区分可靠叙述者总是讲真话，而不可靠叙述者则不是。
naturalism, a kind of realism with the view that human beings are passive victims of natural forces and social circumstances. Naturalist fictions aim to be objective, offering detailed and fully researched investigations into unexplored corners of modern society. Emile Zola, Theodore Dreiser, Frank Norris, George Moore, and George Gissing are representatives of such genre. 自然主义是一种现实主义，认为人类是自然力量和社会环境的被动受害者。自然主义小说的目标是客观的，提供对现代社会未曾探索的角落进行详细和充分研究。埃米尔·左拉、西奥多·德莱塞、弗兰克·诺里斯、乔治·摩尔和乔治·吉辛是这种类型的代表。
pastoral, a conventional mode that celebrates the innocent life of musical shepherds and shepherdesses in poems, plays, and prose romances. The motif is often about the love and sorrows of shepherds who live in their innocence and idleness. Such mode can be dated back to the Greek idylls. Spenser, Shakespeare, Marlowe, Milton, and Shelley are masters of the genre. 田园诗，一种传统模式，赞美音乐牧羊人和牧羊女在诗歌、戏剧和散文浪漫中的纯真生活。这一主题通常是关于生活在纯真和懒散中的牧羊人的爱情和悲伤。这种模式可以追溯到希腊田园诗。斯宾塞、莎士比亚、马洛、弥尔顿和雪莱是这一流派的大师。
plot, the pattern of events in a narrative or dramatic work. A distinction between plot and story should be made. While story means the raw material of events having taken place in their natural order, plot means the selected version of events as presented in a certain order. Plots may be tightly knit or loosely episodic. Generally, plots will trace the progress of change in which characters are caught up in a developing conflict that is finally resolved. 情节，叙事或戏剧作品中事件的模式。应该区分情节和故事。故事意味着事件的原始材料按照自然顺序发生，而情节意味着按照特定顺序呈现的事件的选定版本。情节可能紧密结合或松散分散。通常，情节将追踪变化的进展，角色被卷入最终解决的发展冲突中。
point of view, the position from which the events are witnessed and presented. Basically, there are two kinds of point of view: first-person narratives and third-
person narratives. A first-person narrator's point of view will often be confined to his own knowledge and experience. A third-person narrator may be omniscient or limited to one character or a group of characters. In modern fictions, there appears "multiple point of view, in which events are presented from the positions of more than one characters. 人物叙述。第一人称叙述者的观点通常会局限于他自己的知识和经验。第三人称叙述者可能是全知的，也可能局限于一个角色或一组角色。在现代小说中，出现了“多重视角”，其中事件是从多个角色的立场呈现的。
postmodernism, a general term referring to the cultural condition prevailing in the advanced capitalist societies since the 1960 s, characterized by a superabundance of disconnected images and styles. This term is ambiguous, implying either that modernism has been superseded or that it has continued into a new phase. Compared with modernists who seek a meaning from the chaotic world, postmodernists embrace deepless works, fragmentary sensations, eclectic nostalgia, and a liberation from the hierarchy of high and low cultures. Typical postmodern writers include Thomas Pynchon, Kurt Vonnegut, Vladimir Nabokov, etc. 后现代主义是一个泛指自 1960 年代以来在先进资本主义社会中盛行的文化状态的总称，其特点是充斥着不相连的图像和风格。这个术语含糊不清，既暗示了现代主义已经被取代，也暗示了它已经进入了一个新阶段。与试图从混乱世界中寻找意义的现代主义者相比，后现代主义者接受无深度的作品、碎片化的感觉、折衷的怀旧情怀，以及对高低文化等级制度的解放。典型的后现代主义作家包括托马斯·品钦、库尔特·冯内古特、弗拉基米尔·纳博科夫等。
prose, a form of writing that is not organized according to the formal patterns of verse. Its unit is the sentence rather than the line.
realism, a term referring both to a literary method based on detailed and faithful recording of life and to a general attitude that rejects romances by recognizing the necessity to reflect the actual problems of life. The dominant realist trend can be mostly found in the nineteenth-century novels and dramas. Novelists including Balzac, Flaubert, George Eliot, Dickens, and Howells, as well as dramatists including Ibsen and Shaw all fall into this category. Though modernism prevails and seems to replace realism in the twentieth century, realism still manages to survive as a major current of fiction sometimes under the label of neo-realism. 现实主义是一个术语，既指基于对生活进行详细和忠实记录的文学方法，也指一种拒绝浪漫主义的一般态度，认识到反映生活实际问题的必要性。主导的现实主义趋势主要可以在 19 世纪的小说和戏剧中找到。包括巴尔扎克、福楼拜、乔治·艾略特、狄更斯和豪尔斯在内的小说家，以及包括易卜生和肖伊在内的戏剧家都属于这一类别。尽管现代主义在 20 世纪盛行并似乎取代了现实主义，但现实主义仍然作为小说的一个主要流派有时以新现实主义的名义存活下来。
Rhyme, the identity of sound between syllables, usually at the end of the verse lines. The rhyming element may be a monosyllable (love/above), or two syllables (whether/together). Although end rhymes are most often used, internal rhymes within the same line are also found. Besides, rhyme is not essential to poetry. 韵律，是指音节之间的声音相同，通常出现在诗句的末尾。押韵的元素可以是单音节（love/above），也可以是双音节（whether/together）。虽然最常见的是末尾押韵，但同一行内部也可以出现内部押韵。此外，押韵并非诗歌必不可少的元素。
romance, a story that depicts the adventures of idealized characters in some remote or enchanted settings, which as a literary tendency opposes to realism. The term mainly refers to the medieval chivalric romances concentrating on courtly love and adventures. such as the tales about King Arthur and his knights. Later romances prefer allegory and psychological exploration, as in Nathaniel Hawthorne's The Blithedale Romance. Modern science fiction and detective story can also be regarded as variants of the romance. 浪漫，是一种描绘理想化人物在某些偏远或神奇环境中冒险的故事，作为文学倾向与现实主义相对立。该术语主要指中世纪骑士浪漫故事，集中于宫廷爱情和冒险，比如关于亚瑟王及其骑士的传说。后来的浪漫更偏向寓言和心理探索，如纳撒尼尔·霍桑的《布莱斯代尔浪漫》。现代科幻小说和侦探故事也可以被视为浪漫的变体。
Romanticism, a modern term applied to the shift in Western attitudes to art and human creativity. The Romantic Movement emerged in the 1790s in Germany and Britain, and in the 1820s in France and elsewhere. It rejected the rationality of the Enlightenment and turned to freedom of individual self-expression, imagination, and aspiration. Sincerity, spontaneity, and originality became the new standards in literature. Poets such as Wordsworth, Coleridge, Keats, Shelley, and Byron, as well as novelists like Poe, and Walter Scott, and Mary Shelley were representatives of the trend. Though challenged by realism and naturalism in the second half of the nineteenth century, Romanticism always has a constant presence in Western literature. 浪漫主义是一个现代术语，用于描述西方对艺术和人类创造力态度的转变。浪漫主义运动于 18 世纪 90 年代在德国和英国兴起，在 19 世纪 20 年代传入法国和其他地方。它拒绝了启蒙运动的理性，转向个体自我表达、想象力和抱负的自由。诚挚、自发和独创成为文学的新标准。像华兹华斯、柯勒律治、济慈、雪莱和拜伦这样的诗人，以及像爱伦·坡、沃尔特·司各特和玛丽·雪莱这样的小说家，都是这一潮流的代表。尽管在 19 世纪下半受到现实主义和自然主义的挑战，浪漫主义始终在西方文学中占有一席之地。
scene, the subdivision of an act in a play. It often represents actions happening in one place at one time, and is marked off by a curtain, a blackout, or a brief emptying of the stage.
science fiction, usually abbreviated to SF, a branch of fiction that explores the possible consequences of some transformation either bought by high technology or mutation of biological or physical reality. It often involves time and space travel, extraterrestrial invasion, or ecological disaster. SF was popular during the and has important influence on some postmodernist fictions. 科幻小说，通常缩写为 SF，是探索某种转变可能带来的后果的一种小说类型，这种转变可能是由高科技或生物或物理现实的突变引起的。它通常涉及时间和空间旅行、外星人入侵或生态灾难。科幻小说在 年代很受欢迎，并对一些后现代主义小说产生重要影响。
self-reflexive, a term referring to literary works that openly reflect on their own fictional status and the process of composition. Self-reflexivity is one of the important features of postmodern fictions and poetry. 自我反思是指文学作品公开反映其自身的虚构状态和创作过程的术语。自我反思是后现代小说和诗歌的重要特征之一。
soliloquy, a dramatic speech articulated by one character alone on the stage. It reveals the character's inner thoughts and feelings to the audience. Soliloquy is a form of monologue, but a monologue is not a 独白，是由一个角色独自在舞台上表达的戏剧性讲话。它向观众展示了角色内心的想法和感情。独白是独白的一种形式，但独白并不是
soliloquy if the speaker is not alone.
sonnet, a lyric poem consisting of 14 rhyming lines of equal length. In English it is often in the pattern of iambic pentameters. The sonnet originated in Italy in the fourteenth century and came to be adopted in England three centuries later. It was a major form of love poetry, and its scope was then extended to religion and politics. During the romantic period the sonnet was revived and is still widely used now. John Donne, Milton, Shakespeare, Wordsworth, and Keats are all masters of such genre. 十四行诗，是由 14 行等长的押韵行组成的抒情诗。在英语中，它通常是按照抑扬格五音步的模式。十四行诗起源于 14 世纪的意大利，三个世纪后传入英格兰。它是一种重要的爱情诗歌形式，后来其范围扩展到宗教和政治。在浪漫主义时期，十四行诗得到复兴，现在仍被广泛使用。约翰·邓恩、弥尔顿、莎士比亚、华兹华斯和济慈都是这种体裁的大师。
stanza, a group of verse lines forming a section of a poem. In printed poems, stanzas are separated by spaces. The term in English poetry is most often applied to groups of four lines.
stream of consciousness, the continuous flow of senses, impressions, thoughts, feelings, and memories in the human mind; or a literary device of representing such mental process. It intervenes the summarizing and selecting narrator, mingles them with impressions and perceptions, or violates the norms of grammar, syntax and logic. An important device of modernist fiction and its later imitations, the technique was widely adopted by James Joyce, Virginia Woolf, and William Faulkner. 意识流，是人类思维中感觉、印象、思绪、情感和记忆的连续流动；或者是一种文学手法，用来表现这种心理过程。它介入总结和选择的叙述者，将它们与印象和感知混合在一起，或者违反语法、句法和逻辑规范。作为现代主义小说及其后续模仿作品的重要手法，这种技巧被詹姆斯·乔伊斯、弗吉尼亚·伍尔夫和威廉·福克纳广泛采用。
symbol, anything that represents something else, usually an idea conventionally associated with it. Objects, words, and images can all function as symbols to bring further significant associations with them. Roses, mountains, voyages have been common literary symbols. A symbol differs from a metaphor in that it is often a substantial image in its own right, around which further significances may gather. For instance, in Melville's Moby-Dick, the White Whale is a creature itself, and at the same time it becomes a focus for many different suggested meanings. Poets like Coleridge, Blake and Yeats, as well as novelists like Melville and 符号，代表其他事物的任何东西，通常是与之传统关联的想法。物体、词语和图像都可以作为符号，带来进一步的重要联想。玫瑰、山脉、航行一直是常见的文学符号。符号与隐喻不同之处在于，它通常是一个独立的形象，周围可能聚集着更多的意义。例如，在梅尔维尔的《白鲸》中，白鲸本身是一个生物，同时也成为许多不同含义的焦点。像柯勒律治、布莱克和叶芝这样的诗人，以及梅尔维尔这样的小说家。
D.H. Lawrence are famous for their reliance upon enigmatic symbols.
text, the actual wording of a written work, which is different from a reader's interpretation of its story, character, theme, etc.; or a specific work as the object of analysis.
theme, an abstract idea that emerges from a literary work's treatment of its subject.
tone, the mood or atmosphere of a work, or the writer's attitude toward the subject-matter, and the reader.
tragedy, a serious play representing the downfall of its protagonist. The famous Greek tragedians include Aeschylus, Euripides, and Sophocles. Aristotle made the most influential definition of tragedy in his Poetics: the imitation of an action that is serious and complete, achieving a catharsis through incidents arousing pity and terror. The protagonist is led into a fatal calamity by his error. English tragedies of Shakespeare's time was not based directly on Greek examples but drew inspirations from Roman revenge tragedies. Modern tragedies are normally about social and domestic problems. 悲剧，是一种代表主人公沦陷的严肃戏剧。著名的希腊悲剧作家包括埃斯库罗斯、欧里庇得斯和索福克勒斯。亚里士多德在他的《诗学》中提出了最有影响力的悲剧定义：模仿一种严肃而完整的行动，通过引起怜悯和恐怖的事件来实现一种洗涤。主人公因自己的错误而陷入致命的灾难。莎士比亚时代的英国悲剧并非直接基于希腊范例，而是从罗马复仇悲剧中汲取灵感。现代悲剧通常涉及社会和家庭问题。
tragicomedy, a play that combines elements of tragedy and comedy, either by providing a happy ending to a possible tragic story or by more complex blending of serious and light moods. Shakespeare's later plays and some modern plays of Beckett and Pinter are seen as tragicomic 悲喜剧，一种结合悲剧和喜剧元素的戏剧，要么通过为可能的悲剧故事提供一个快乐结局，要么通过更复杂地融合严肃和轻松情绪。莎士比亚的后期剧作以及贝克特和品特尔的一些现代剧作被视为悲喜剧。
V
verse, 1. poetry or metrical compositions, as distinct from prose. Free verse is a special case. 2. a line of poetry or a stanza. 3. a poem.
References
2. Literary Background Information
British Literature
Old English Literature The term "Old English" has been used to denote "the unmixed, inflectional state of the English language, commonly known by the barbarous and unmeaning title of 'Anglo-Saxon'." The Germanic people known as the Angles, the Saxons, and the Jutes invaded Britain in the fifth and sixth centuries, bringing with them their language, paganism, and warrior traditions. In the late sixth century the process of reChristianization began, and by the end of the seventh century all kingdoms of Anglo-Saxon England had accepted the discipline of Roman Christianity. The written word was of vital importance to the Church. Through the medium of Latin scholarship was developed at monastic and cathedral schools, which never precluded the survival of a vigorous, vernacular literary tradition. Great efforts had been made to render the Scriptures into English, and certain aspects of religious instructions based on sermons also used English. In 793 due to the invasion of Viking sea-raiders the ordered culture fostered by the English monasteries was disrupted, even extinguished. In the reign of Alfred, King of Wessex (849-99) English learning was again encouraged. From this period dated the four most significant volumes of Old English verse, the Junius manuscript, the Beowulf manuscript, the Vercelli Book, and the Exeter Book. Though many of the poems are supposed to date from a much earlier period, their presence in these tenth-century anthologies confirms not only the survival, acceptability, and consistency of an older tradition but also the complexity and sophistication of the Anglo-Saxon poetry. These poems are generally elevated, and male-centered with a stress on the virtues of a tribal community, on the ties of loyalty between lord and liegeman, on the significance of individual heroism, and on the powerful sway of fate. 古英语文学这个术语被用来表示“英语语言的未混合、屈折状态，通常被称为‘盎格鲁-撒克逊’这个野蛮而无意义的称号。” 5 至 6 世纪，被称为盎格鲁人、撒克逊人和朱特人的日耳曼民族入侵了不列颠，带来了他们的语言、异教和战士传统。6 世纪末，重新基督教化的过程开始了，到了 7 世纪末，所有盎格鲁-撒克逊英格兰的王国都接受了罗马基督教的纪律。书面文字对教会至关重要。通过拉丁语的媒介，在修道院和大教堂学校发展了学术，这并没有排除活跃的本土文学传统的存续。人们曾经做出了巨大努力将圣经翻译成英语，并且一些基于布道的宗教教导也使用了英语。793 年，由于维京海盗的入侵，英国修道院培育的有序文化受到了破坏，甚至被扑灭。在韦塞克斯国王阿尔弗雷德（849-99）的统治下，英语学习再次受到鼓励。 从这个时期开始，最重要的四卷古英语诗歌问世，包括尤尼乌斯手稿、贝奥武夫手稿、维切利书和艾克塞特书。尽管许多诗歌被认为来自更早的时期，但它们出现在这些十世纪的选集中，不仅证实了一个更古老传统的存活、可接受性和一致性，也展示了盎格鲁-撒克逊诗歌的复杂性和精致性。这些诗歌通常是高尚的，以男性为中心，强调部落社区的美德，主君与臣子之间的忠诚关系，个人英雄主义的重要性，以及命运的强大影响。
Medieval Literature 1066-1510 After the Norman Conquest in 1066 England developed a feudal system ruled by native and Norman aristocracy and ordered by a rich and influential Church. The country became trilingual, with a literate clergy refined by Latin, Norman French defining the new ruling class, and English confined to the ruled. The imported prelates controlled the wealth of the Church, and a newly introduced secular aristocracy came into the material and territorial possession. A social and cultural gulf was fixed between a privileged ruling caste and the mass. London claimed the political, economic, and geographical importance, which determined the future written and spoken forms of "standard" English. More importantly, the aristocratic taste for the contemporary French literature shifted the subjects of writing away from its old Germanic insularity towards a broader, shared Western European pattern. In the twelfth century chivalry was a key word for the understanding of cherished military ideals and literary images. According to the chivalric code in Western Europe, a knight swears an oath of loyalty to his lord and pledges himself to protect the weak including all women, to right wrongs usually defined by his liege, and to defend the Christian faith. The idea of knighthood flourished under the patronage of King Edward III who was fascinated with the mythical King Arthur, who had emerged as the type and mirror of all Christian kings. Arthur's court became the focus of chivalric enterprise, to which a variety of legends, Celtic myths, and religious, literary, and moral concepts were attached. Besides the feudal service of a knight to his lord, the concern of courtly love also recognizes the knight's service of a lover to an honored lady who emerges as the dominant partner in a love affair. To some extent women's dignity and distinctiveness are emphasized in the male- 中世纪文学 1066-1510 在 1066 年诺曼征服后，英格兰发展出一个由本土和诺曼贵族统治的封建制度，并由一个富有影响力的教会秩序。这个国家变成了三语制，有一批受拉丁文熏陶的有文化的神职人员，诺曼法语定义了新的统治阶层，而英语则被限制在被统治者之中。进口的主教控制着教会的财富，同时引入的世俗贵族开始占有物质和领土。一个特权统治阶层和大众之间形成了社会和文化鸿沟。伦敦声称政治、经济和地理上的重要性，这决定了未来“标准”英语的书面和口语形式。更重要的是，贵族对当代法国文学的喜好将写作的主题从其古老的日耳曼封闭性转向了更广泛的、共享的西欧模式。在 12 世纪，骑士精神成为理解珍视的军事理想和文学形象的关键词。 根据西欧的骑士精神准则，骑士向他的领主宣誓效忠，并承诺保护弱者，包括所有妇女，纠正通常由他的封臣定义的错误，并捍卫基督教信仰。骑士精神的理念在爱德华三世国王的赞助下蓬勃发展，他着迷于神话中的亚瑟王，后者成为所有基督教国王的典范和镜像。亚瑟的宫廷成为骑士精神事业的焦点，各种传说、凯尔特神话以及宗教、文学和道德概念都与之相关。除了骑士对领主的封建服务外，骑士精神还承认骑士对一位受尊敬的女士的爱情服务，后者在一段恋爱关系中成为占主导地位的一方。在某种程度上，男性强调了女性的尊严和独特性
dominated, clerical, and military civilization. Most English romances tend to present their heroes as knights pursuing a lonely quest. While romances articulate a pious confidence in the values of a Christian society, they also stress the importance of the communal values of a chivalric world. Their subjects include classical Roman legends, tales of France, and British stories. Despite the political and social disruptions of his age, Geoffrey Chaucer's poetry expresses a firm sense of order which is evident in his reflections on the nature and workings of the cosmos, and in his affirmations of an orthodox Christian belief in divine involvement in human affairs. In the fifteenth and early sixteenth centuries the Kingdom of Scotland witnessed a flowering of literature in English. The Scots poets of the period were aware of the cultural and political independence of their nation from the South, thus they began a tradition of poetic composition in the "Inglis" language in Scotland to demonstrate their national self-consciousness. The late medieval religious writing largely had two orientations. While mystery and morality plays for the instruction and entertainment found great popularity among a wide, uneducated audience, some recluses, such as Richard Rolle, chose to express their intense private religious experience. 主导，文书和军事文明。大多数英语浪漫小说倾向于将他们的英雄描绘为追求孤独探索的骑士。虽然浪漫小说表达了对基督教社会价值观的虔诚信心，但它们也强调了骑士世界的共同价值观的重要性。它们的主题包括古典罗马传奇、法国故事和英国故事。尽管乔叟所处时代的政治和社会动荡，他的诗歌表达了一种明确的秩序感，这在他对宇宙的本质和运作的反思中显而易见，并在他对正统基督教信仰中神圣介入人类事务的肯定中体现出来。在 15 世纪和 16 世纪初，苏格兰王国见证了英文文学的繁荣。当时的苏格兰诗人意识到他们的国家与南方的文化和政治独立性，因此他们开始了在苏格兰用“英格利斯”语言进行诗歌创作的传统，以展示他们的民族自我意识。晚中世纪的宗教写作主要有两个方向。 尽管神秘和道德剧在广泛的未受教育的观众中备受欢迎，用于教育和娱乐，但一些隐士，如理查德·罗尔，选择表达他们强烈的私人宗教体验。
Renaissance and Reformation: Literature 1510-1620 The English Reformation was an emphatic assertion of national independence and mature nationhood. King Henry VIII's sovereignty was declared in 1533 in the preamble to the "Act in Restraint of Appeals," according to which Parliament cut off future legal reference to the superior authority of Rome and proclaimed England was ruled by "one supreme head and king" who governed without interference from "any foreign princes or potentates." The announcement fulfills an Arthurian dream of an independent and unified island "Great Britain," which expresses a humanly engineered and divinely blessed unity, conformity and order. Literature of the period springing from and influenced by the culture of the English court reflects the political and religious inclinations of a ruling elite. Poetry at the Court of Henry VIII demonstrated its familiarity with Latinate, as opposed to Italianate, culture, and cultivated a plain English style drawn on a popular English tradition. The culture of the Renaissance found ampler expression in the revival of classical learning with a stress on self-knowledge and on the cultivation of the reasoning faculty through the study of the body of ancient literature and thought. A close knowledge of classical Greek and of the philosophy of Plato was particularly esteemed as a means of purging both the textual and the spiritual corruptions of the Middle Ages. For Thomas More, author of Utopia, the highest duty of a man learned in the theory and practice of ancient government is to serve his king. The Reformers of the English Church expressed a steady confidence in the grace of the English language and the first complete printed English Bible appeared in 1535. The most important effect of the Tudor Reformation on writing was the result of its increasing secular, as opposed to devotional, emphases, which found its full expression in the prolific development of vernacular drama during the sixteenth century. It was the revival of interest in classical tragedy that proved decisive in the evolution of a distinctive national mode. Writers dwelt on the vicissitudes of earthly fortune and traced the tragic falls of men; above all, they expressed pithy moral sentiments with an exaggeratedly rhetorical flourish. The last quarter of the sixteenth century witnessed a vast increase in the amount of prose fiction. This explosion of vernacular fiction began to establish new patterns of reading and writing which demonstrated the rise of bourgeois tastes as raw prologues to the mature English novel. Sir Philip Sidney, George Gascoigne, John Lyly, Thomas Nashe, Thomas Deloney, Robert Greene, and Thomas Lodge were representatives. These Elizabethan writers look back to medieval romances while also look forward to the kind of fiction which has little room for conventional and idealized patterns of courtship and emotional fulfillment. In the reign of Queen Elizabeth a new sense of national tradition had begun to emerge. Writers full of patriotic zeal emphasized divine providence and the special destinies of Britain to make geographical expansions beyond Western Europe. Adventure stories about the exploits of sailors, traders, and explorers were much collected and received with great popularity. Meanwhile, the cult of Elizabeth emerged. The Queen was regarded not only as a saint of perfection, but also the absent, distant, and chaste lover. Many tributes to the 文艺复兴与宗教改革：文学 1510-1620 年。英国宗教改革是对国家独立和成熟国家主权的强烈肯定。亨利八世国王的主权在 1533 年宣布，根据《限制上诉法案》的序言，议会切断了未来法律上对罗马上级权威的参照，并宣称英格兰由“一位至高无上的元首和国王”统治，不受“任何外国王子或统治者”的干涉。这一宣告实现了一个独立和统一的岛屿“大不列颠”的亚瑟王梦想，表达了人类设计和神圣祝福的统一、一致和秩序。这一时期的文学源自并受到英国宫廷文化的影响，反映了统治精英的政治和宗教倾向。亨利八世宫廷的诗歌展示了其对拉丁文化的熟悉，而不是意大利文化，并培养了一种简洁的英语风格，借鉴了流行的英语传统。 文艺复兴的文化在复兴古典学习中得到了更充分的表达，强调自我认识和通过研究古代文学和思想体系培养推理能力。对古典希腊和柏拉图哲学的深入了解被特别看重，作为净化中世纪文本和精神腐化的手段。对于《乌托邦》作者托马斯·莫尔来说，一个精通古代政府理论和实践的人最高的职责是为国王服务。英国教会的改革者对英语的恩典表达了坚定的信心，第一部完整印刷的英文圣经于 1535 年问世。都铎王朝的宗教改革对写作的最重要影响是其越来越世俗化，而不是虔诚的强调，这在 16 世纪的百花齐放的本土戏剧发展中得到充分体现。对古典悲剧的兴趣复兴在形成独特的国家模式的演变中起到了决定性作用。 作家们详细描述了尘世命运的变迁，追溯了人类的悲剧性沦陷；最重要的是，他们用夸张的修辞手法表达了简洁的道德情感。16 世纪最后一个季度见证了散文小说数量的大幅增加。这股口语小说的爆发开始建立起新的阅读和写作模式，展示了资产阶级品味的崛起，作为成熟英国小说的生动序幕。菲利普·悉尼爵士、乔治·加斯科因、约翰·利利、托马斯·纳什、托马斯·德洛尼、罗伯特·格林和托马斯·洛奇是代表人物。这些伊丽莎白时代的作家回顾了中世纪的浪漫故事，同时也展望了那种几乎没有传统和理想化求爱和情感满足模式的小说。在伊丽莎白女王统治时期，一种新的民族传统意识开始崭露头角。充满爱国热情的作家强调神圣的恩典和英国的特殊命运，以实现西欧以外的地理扩张。有关水手、商人和探险家壮举的冒险故事备受青睐，广受欢迎。 与此同时，伊丽莎白的崇拜兴起。女王不仅被视为完美的圣人，还被视为缺席、遥远和贞洁的恋人。许多致敬
Queen can be found in Edmund Spenser's The Faerie Queene. Although the poetry of the last decades of the century is often marked by an assertive nationalism and by a concern to establish a sophisticated philosophical and political discourse in English, it is more notable for the strong lyric impulse. Christopher Marlowe and William Shakespeare were perhaps the most popular of all Elizabethan lyrics. In the late sixteenth-century London, suburban theaters began to establish themselves as an essential part of popular culture. A newly expressive blank-verse tragedy was developed. The key figures in this evolution were Marlowe and Thomas Kyd. Their achievements, however, were completely eclipsed by the plays of Shakespeare though the latter's early tragedies and histories had a symbiotic relationship with those of his contemporaries. Although most tragedies written for the London stage are concerned with the fatal destinies of foreign emperors, kings, princes, or noblemen, a handful influential plays also take English domestic mayhem and the fraught relations of middle-class couples as their subjects. The English Renaissance, which had begun as an opening up to new European learning and to new European style, ended as a restrictive puritanical assertion of national independence from European norms of government and aesthetics. 伊迪蒙德·斯宾塞的《仙后》中可以找到女王。尽管世纪末的诗歌常常被自信的民族主义和对在英语中建立复杂的哲学和政治话语的关注所标记，但更显著的是强烈的抒情冲动。克里斯托弗·马洛和威廉·莎士比亚也许是所有伊丽莎白时代抒情诗人中最受欢迎的。在十六世纪末的伦敦，郊区剧院开始成为流行文化中不可或缺的一部分。一种新的富有表现力的白话诗悲剧得以发展。这一演变中的关键人物是马洛和托马斯·基德。然而，尽管莎士比亚的戏剧完全掩盖了他们的成就，但后者早期的悲剧和历史剧与他同时代人的作品有着共生关系。尽管为伦敦舞台写的大多数悲剧关注的是外国皇帝、国王、王子或贵族的命运，但一些有影响力的剧作也将英国国内的混乱和中产阶级夫妇之间紧张的关系作为主题。 英国文艺复兴始于对新欧洲学问和新欧洲风格的开放，最终以对欧洲政府和美学规范的限制性清教主义主张结束。
Revolution and Restoration: Literature 1620-1690 In 1620 the Pilgrim Fathers set sail for America while Ben Johnson's extravagantly costumed masque was presented at court. Such extreme contrast characterized both the politics and the literature of the seventeenth century. Francis Bacon complained about the costly theater and encouraged King James I to support "some solid work," now called scientific research. Throughout his work, Bacon was a forthright proponent of the innovative power of human reason, and firm believer in a "perpetual renovation" of knowledge. If the King showed no real interest in Bacon's intellectual schemes, he proved himself a sound Defender of the Church of England. With his endorsement, a new English translation of the Bible came into being. The "Authorized" or "King James" version of 1611 became the single most influential work of English prose for its consistent dignity of expression, memorable cadences, felicitous choice of vocabulary, and general intelligibility. The spiritual fertilization was also evident in the popularity of metaphysical poetry written by John Donne and his immediate followers such as George Herbert, and Henry Vaughn. The use of the term "metaphysical" was first given critical currency by Samuel Johnson in the eighteenth century. The metaphysical poets were a loose group and did not form a school or start a movement, but they shared an interest in metaphysical concerns, the imaginative picturing, metaphysical conceits (paradoxical metaphors causing a shock to the reader by the strangeness of the objects compared), and unusual similes or metaphors. While metaphysical poets indulged themselves in the spiritual quest, other poets satisfied their appetite for things earthly by writing secular verses. Gentlemanlike love lyrics and epitaphs about untimely death, verses celebrating country-house hospitality were produced by poets like Thomas Carew and Sir John Suckling. In the late 1640s and 1650s there appeared intense debates about the shape and authority of the constitution of England. Charles I had been obliged to surrender what remained of his sovereignty to the parliamentary victors of the Civil War. In 1646 the Episcopal structure of the Anglican Church had been formally dismantled; in 1649 the monarchy and the House of Lords were abolished by the Parliament, and the House of Commons affirmed that England should from henceforward be ruled as "a Commonwealth and free state." In the pamphlet literature of those radicals, the overthrow of the King had begun to undo the social and political evils, and England could again assert her freedom and throw off the yokes of a Norman aristocracy and Norman-imposed feudalism. These new men at the top, however, were consistently harried by opposition from the old order and other radicals. Hence John Milton defended the English Commonwealth with his pen, his pamphlets playing an active part in pushing the revolutionary cause. Even after the Restoration, Milton and John Bunyan continued to expose the reactionary forces. The century also saw an increase in autobiographical writing, which was a form of self-expression open to both men and women and one that later led on to experiments with fictional first-person narratives. Diarists, including 革命与复兴：文学 1620-1690 年 1620 年，清教徒祖先启航前往美洲，同时本·约翰逊的奢华服饰的舞剧在宫廷上演。这种极端对比特征了 17 世纪的政治和文学。弗朗西斯·培根抱怨昂贵的剧院，并鼓励詹姆斯一世国王支持“一些实质性的工作”，现在被称为科学研究。在他的作品中，培根是人类理性创新力量的坦率倡导者，坚定地相信知识的“永久更新”。如果国王对培根的智力计划没有真正兴趣，他证明自己是英国教会的坚定捍卫者。在他的支持下，一部新的英文圣经译本诞生了。1611 年的“授权”或“国王詹姆斯”版本成为英语散文最具影响力的作品，因其一贯的庄严表达、令人难忘的节奏、幸运的词汇选择和普遍的可理解性。这种精神上的施肥也体现在约翰·邓恩及其直接追随者如乔治·赫伯特和亨利·沃恩所写的形而上诗歌的受欢迎程度。 "形而上学"一词最早由十八世纪的塞缪尔·约翰逊批判性地使用。形而上学诗人是一个松散的群体，他们并没有形成学派或发起运动，但他们共同关注形而上学问题、想象描绘、形而上学概念（通过将对象的奇异性与之相比造成读者震惊的矛盾隐喻）以及不寻常的比喻或隐喻。虽然形而上学诗人沉迷于精神追求，其他诗人通过写世俗诗歌满足他们对尘世事物的欲望。像托马斯·卡鲁和约翰·萨克林爵士这样的诗人创作了绅士般的爱情抒情诗和关于不幸死亡的墓志铭，以及赞美乡村别墅款待的诗歌。在十七世纪四十年代末和五十年代，关于英格兰宪法的形状和权威出现了激烈的辩论。查理一世被迫将他剩余的主权交给了内战的议会胜利者。 在 1646 年，英国圣公会的主教结构正式解体；在 1649 年，议会废除了君主制和上议院，下议院确认英格兰从此将被统治为“共和国和自由国家”。在那些激进分子的小册子文学中，推翻国王已经开始消除社会和政治弊病，英格兰可以再次宣称她的自由，并摆脱诺曼贵族和诺曼强加的封建制度的枷锁。然而，这些新上层人士一直受到来自旧秩序和其他激进分子的反对。因此，约翰·弥尔顿用他的笔捍卫了英国共和国，他的小册子在推动革命事业中发挥了积极作用。即使在复辟后，弥尔顿和约翰·班扬仍然继续揭露反动势力。这个世纪还见证了自传体写作的增加，这是一种男女都可以采用的自我表达形式，后来演变为对虚构第一人称叙述的实验。日记作者，包括
Samuel Pepys, Lady Anne Clifford, and Margaret Cavendish, recorded the rapid changes in British politics, divine providence, personal blessings, and even private financial accounts. In 1660 Charles II was restored to his throne. The restored King, who had been schooled in elegant cynicism in exile, set the tone of a cultured but libidinous court, thus began court poetry where sexual innuendo flourished. Though the world was largely dominated by patriarchal principles, the changing social conditions in the Restoration period did seem to have forced open literary doors for women writers, such as Anne Killigrew, Katherine Philips, and Dorothy Osborne. However, a prosody shaped by reference to ancient poetry and a universal insistence on the primacy of Latin and Greek left many women without the essential basis for the development of a poet's craft. 塞缪尔·皮普斯、安妮·克利福德夫人和玛格丽特·坎文迪许记录了英国政治、神圣命运、个人祝福甚至私人财务账目的迅速变化。1660 年，查理二世复位。这位复位的国王曾在流亡中受过优雅玩世不恭的教育，为文化但好色的宫廷定调，从而开启了宫廷诗歌的时代，性暗示盛行。尽管世界在很大程度上被家长制原则所主导，但复辟时期的社会条件变化似乎确实迫使女性作家打开了文学之门，如安妮·基利格鲁、凯瑟琳·菲利普斯和多萝西·奥斯本。然而，由对古代诗歌的参考和对拉丁语和希腊语至上的普遍坚持塑造的韵律，使许多女性缺乏发展诗人技艺的基础。
Eighteenth-Century Literature 1690-1780 Thanks to the eighteenth-century advances in astronomy, mathematics, mechanics, physics, and optics, natural philosophy shed the taint of forbidden knowledge. Religious mystery was replaced by rational wonder. The revolution in scientific thought begun by Copernicus 150 years earlier was fulfilled as popular enlightenment. The ideal of universal law, order, and tidiness extrapolated from Newtonian physics proved to have widespread ramifications. John Lock's epistemology in favor of the notion of knowledge based on external sensation and internal reflection helped to determine the literary tendency to describe the observable world. The bloodless Glorious Revolution and its subsequent legislation ensured the rule of law and the dominance of Parliament in England. Thus an ideal of harmony, cooperation, and a political order reflecting that of nature seemed to be realized in the triumph of practical reason, liberal religion, and impartial law. In many practical ways, however, such ideal remained an illusion because fierce antagonism of party and parliamentary faction never stopped. To see the culture of the period as exclusively a reflection of ideas of order and proportion is inevitably partial, even distorted. Awkward in identifying himself with the mainstream English politics, Jonathan Swift distinguished himself for his satires related to the deeply riven political, religious, and national issues of Britain and Ireland of his time. Swift's shrill denunciations of human self-satisfaction and self-confidence stand apart from the optimism of many of the propagandists of his time. His awareness of depravity and human failure to live up to ideal norms of behavior and to embody natural or divine harmony makes him an integral part of the eighteenth-century satirical tradition. That tradition reached its apogee in the poetry of Alexander Pope who is also famous for his careful cultivation of poetic technique, his concern with precision and propriety, and his ambitious determination both to define and refine the tastes and ideas of his age. Like Pope, some poets and critics of the early eighteenth century, such as Sir John Denham, were attempting to prescribe a norm for poetry in advocating the use of a circumspect and refined diction, a careful selection of metaphors, and a tidy couplet. Other poets, like James Thomson and Mark Akenside, were trying poetry of nature and pleasures of the imagination. Thomson's poetry consistently intermix expressions of a delight in physics and optics, a pleasure in observing landscape, a genial optimism, and the kind of vague but rational theology. Though Akenside celebrates the imaginative faculty, his poetry moralizes and delights in the joy derived from the contemplation of grandeur. The art of prose fiction developed prodigiously in the years 1720 - 80. Its potential as both instructor and entertainer was readily recognized by a new body of largely middle-class readers. As a mercantile and manufacturing class grew, so did literacy and leisure. The better-educated wives and daughters of tradesmen were rarely employed and the provincial gentry were equally likely to have a good deal of spare time. These readers who had been alienated from courtly styles proved particularly receptive to an easily assimilated, but morally serious, "realistic" literature. The central characters in the novels of the first half of the century are drawn exclusively from the middle classes, but few are aristocrats and none are monarchs. Tyranny and murder are domesticated, usurpation is replaced by disputes over title-deeds, entails, and codicils; courtship and marriage become affairs of the heart not of the state, and the death-bed enters the English novel as death on the battlefield exits. Though Daniel Defoe is commonly regarded as the first true master of the English novel, his prose fiction springs from an experimental 十八世纪文学 1690-1780 由于十八世纪在天文学、数学、力学、物理学和光学方面的进步，自然哲学摆脱了被禁止的知识的污点。宗教的神秘被理性的惊奇所取代。科学思想的革命始于 150 年前的哥白尼，最终成为普及的启蒙。从牛顿物理学中推导出的普遍法则、秩序和整洁的理想证明具有广泛的影响。约翰·洛克的认识论支持基于外部感觉和内部反思的知识观念，有助于决定描述可观察世界的文学倾向。无血的光荣革命及其随后的立法确保了法治和议会在英格兰的主导地位。因此，在实践理性、自由宗教和公正法律的胜利中，一种体现自然秩序的和谐、合作和政治秩序的理想似乎得以实现。然而，在许多实际方面，这种理想仍然是一种幻想，因为党派和议会派系之间的激烈对抗从未停止。 将当时的文化仅视为秩序和比例观念的反映是不可避免地片面的，甚至是扭曲的。乔纳森·斯威夫特在与主流英国政治的认同方面显得笨拙，他以讽刺作品著称，涉及当时英国和爱尔兰深深分裂的政治、宗教和民族问题。斯威夫特对人类自满和自信的尖锐谴责与他那个时代许多宣传家的乐观主义截然不同。他对堕落和人类未能达到行为理想规范、体现自然或神圣和谐的认识，使他成为 18 世纪讽刺传统的一个不可或缺的部分。这一传统在亚历山大·蒲柏的诗歌中达到了顶峰，他也以精心培养诗歌技巧、关注精确和得体、雄心勃勃地决心定义和完善他那个时代的品味和思想而闻名。 像教皇一样，一些十八世纪初的诗人和评论家，如约翰·丹纳姆爵士，试图规定诗歌的规范，主张使用谨慎和精致的措辞，精心选择隐喻，以及整洁的对句。其他诗人，如詹姆斯·汤姆森和马克·艾肯赛德，试图创作自然和想象的诗歌。汤姆森的诗歌始终交织着对物理学和光学的喜悦表达，对观察风景的乐趣，一种亲切的乐观主义，以及那种模糊但理性的神学。尽管艾肯赛德歌颂想象力，他的诗歌却道德化，并且乐此不疲地沉浸在对宏伟景象的沉思中获得的喜悦中。散文小说的艺术在 1720-80 年间得到了巨大发展。一个新的主要由中产阶级读者组成的群体很快意识到了它作为教育者和娱乐者的潜力。随着商业和制造业阶级的增长，识字率和闲暇时间也在增加。受过良好教育的商人妻子和女儿很少受雇，乡绅们同样有很多空闲时间。 这些曾经疏远于宫廷风格的读者，对易于吸收但又道德严肃的“现实主义”文学表现出特别的接受度。在世纪上半叶小说中的中心人物，几乎全部来自中产阶级，但很少是贵族，没有一个是君主。暴政和谋杀被驯化，篡位被取代为关于产权、继承权和遗嘱的争执；求爱和婚姻成为心灵的事务而非国家的事务，而临终之床进入英国小说，战场上的死亡退出。尽管丹尼尔·笛福通常被认为是英国小说的第一位真正大师，但他的散文小说源自一种实验性
involvement in other literary forms, notably the polemic pamphlet, the biography, the history, and the travelbook. To be exact, Defoe is mastering and exploiting a literary form of various origins to celebrate the increasing population and the prosperity of Britain. The novels produced by Henry Fielding and Samuel Richardson in the mid century formed a new species of writing. They do not much reject the autobiographical model established by Defoe and finally supersede it. The fiction of the 1740 s was ample both in its design and appeal. The availability of expensive novels to the reading public was promoted in 1726 by the establishment of the first circulating library, and the move was rapidly spread to most of the major towns of Britain. New literature in general, and novels in particular, circulated among a wide range of readers. The century also witnessed a fashion called Sentimentalism in both poetry and prose fiction. Sentimental literature that moved pity in its readers was viewed as morally instructive. It was held that a powerful evocation of feeling, or a shared compassion made ultimately for a more humane society. Emotion and spontaneity were seen as necessary complements to reason and deliberation, not as opposition to them. The fiction of Samuel Richardson and his sentimental successors, notably Laurence Sterne and Henry Mackenzie, were seen as ducts for the emotional sympathy which bound a community together. Poets, such as Edward Young, Robert Blair, and Thomas Gray, showed their concern with mortality. The mood of their poems is predominantly somber, reflective, melancholic, and moral. They are latterly regarded as a loose group known as the "graveyard poets." The romantic comedies of Oliver Goldsmith and Le Fanu Sheridan enjoyed great popularity towards the end of the century. Both writers share a certain acerbity of wit and an ebullient criticism of affectation which is generally absent from the exploration of tearful neuroses by the proponents of sensibility. 参与其他文学形式，尤其是辩论小册子、传记、历史和旅行书。确切地说，笛福掌握并利用了各种来源的文学形式，以庆祝英国人口增长和繁荣。亨利·菲尔丁和塞缪尔·理查森在中世纪创作的小说形成了一种新的写作类型。它们并不太拒绝笛福建立的自传模式，最终取代了它。18 世纪 40 年代的小说在设计和吸引力方面都很丰富。 te 1726 年建立了第一个流通图书馆，促进了昂贵小说对读者的可获得性，并迅速传播到英国大多数主要城镇。新文学总体上，尤其是小说，在广泛读者群中流传。这个世纪还见证了一种被称为感伤主义的时尚，既在诗歌中，也在散文小说中。感伤文学在读者中引起怜悯，被视为道德教育。人们认为，强烈的情感唤起或共同的同情最终会促成一个更加人道的社会。 情感和自发性被视为理性和审慎的必要补充，而不是与它们对立。塞缪尔·理查森及其感伤继承者，尤其是劳伦斯·斯特恩和亨利·麦肯齐的小说被视为情感共鸣的导管，将社区联系在一起。诗人，如爱德华·扬、罗伯特·布莱尔和托马斯·格雷，表现出对死亡的关注。他们诗歌的情绪主要是阴郁、反思、忧郁和道德的。他们后来被视为一个松散的群体，被称为“墓地诗人”。奥利弗·戈德史密斯和莱茵·谢里丹的浪漫喜剧在世纪末大受欢迎。这两位作家都具有一定的机智辛辣和对虚伪的热情批评，这在感性主张者对泪水神经症的探索中通常是缺失的。
The Literature of the Romantic Period 1780-1830 The period 1780-1830 was an age of "Romanticism," which is open to conflicting interpretation than most others. It was an age obviously moulded by the impact of the French Revolution, but if neutrality was difficult to maintain at the time, the avoidance of taking sides, silences, and a withdrawal of commitment were also proper responses to the political or cultural alignment. A variety of ways of writing, thinking about, criticizing and defining literature co-existed in this particular period. The most persuasive survey of the immediate consequences of the French Revolution was made by Edmund Burke who stressed a need for tradition rather than innovation, for gradualism rather than radicalism. Among the most committed radicals was Thomas Paine who supported both the American and the French Revolutions. Paine's proclamation of his faith in a morality of "doing justice, loving mercy, and endeavouring to make our fellowcreatures happy" made him friends in the revolutionary nations and powerful enemies at home. The Gothic novel arising in 1764 became the major fictional form in the 1790s. It prospered by means of steady references to crags and chasms, to torture and terror, to necromancy, necrophilia, and the uneasily numinous. It rejoices in hauntings, sudden death, dungeons, dreams, diablerie, phantasms, and prophecies. In contrast to the Enlightenment intention to promote universal visibility, the Gothic novel represents the dark side of the Enlightenment, arising in reaction against comfort and security, against political stability and commercial progress, and above all, the rule of reason. Therefore, Gothic novelists, such as Ann Radcliffe and Mary Shelley, are pursuing rather than departing from the sociopolitical aims of eighteenth-century "realistic" fiction. Distancing themselves from the extravagant and political aspects, Charlotte Smith and Frances Burney produced novels of romantic realism. Though deeply touched by the French Revolution, neither writer was to espouse radical causes in her fiction. Their protagonists enter society in unfavorable circumstances and are obliged to learn through mistakes while they also enjoy the love of an upright suitor and the ultimate prospect of a happy marriage. Virtue is rewarded by a slow process of learning how to recognize the correct amatory and social signals. The conflicting, even contradictory pulls of passivity and active commitment also determined the subject matter and mood of English poetry. No poet of the period better embodied these contradictory movements than William Cowper. Recoiling from the unban and 浪漫主义时期文学 1780-1830 年 1780-1830 年是一个“浪漫主义”的时代，比大多数其他时代更容易引起争议的解释。这个时代显然受到法国大革命的影响，但如果在当时保持中立是困难的，那么避免站队、保持沉默和撤回承诺也是对政治或文化立场的适当回应。在这个特定时期，存在着各种写作、思考、批评和定义文学的方式。对法国大革命直接后果最有说服力的调查是埃德蒙·伯克所做的，他强调需要传统而不是创新，需要渐进而不是激进。在最忠诚的激进分子中，托马斯·潘支持美国和法国两次革命。潘宣称自己信仰“做正义、爱怜悯、努力使我们的同胞幸福”的道德，这使他在革命国家结交了朋友，在国内却招致了强大的敌人。1764 年出现的哥特小说成为 1790 年代的主要虚构形式。 它通过稳定地提及悬崖和峡谷、酷刑和恐怖、巫术、尸恋以及不安的神秘感而繁荣。它欢欣于幽灵、突然死亡、地牢、梦境、恶魔术、幻影和预言。与启蒙运动旨在推广普遍可见性相反，哥特小说代表了启蒙运动的黑暗面，反对舒适和安全，反对政治稳定和商业进步，尤其是反对理性的统治。因此，哥特小说家，如安·拉德克利夫和玛丽·雪莱，追求而不是背离 18 世纪“现实主义”小说的社会政治目标。夏洛特·史密斯和弗朗西丝·伯尼远离了奢华和政治方面，创作了浪漫现实主义小说。尽管深受法国大革命的影响，但两位作家都没有在她们的小说中支持激进的事业。她们的主人公在不利的环境中进入社会，被迫通过错误学习，同时也享受到一个正直求婚者的爱和最终幸福婚姻的前景。 美德通过学习如何识别正确的爱情和社交信号来获得回报，这是一个缓慢的过程。被动和积极承诺之间的矛盾甚至相互矛盾的吸引力也决定了英国诗歌的主题和情绪。在这个时期，没有任何诗人比威廉·考珀更好地体现了这些矛盾的运动。从解禁中退缩
courtly traditions that entail a lack of "society, friendship, and love," Cowper balances his loss through a minimal assertion of divine mercy. Such reconciliation informs Cowper's meditations on sin or misfortune, or on the general corruption of the world. Cowper's popularity contrasts sharply with the obscurity in which William Blake worked. A religious, political, and artistic radical throughout his life, Blake proclaims various forms of liberty mainly through symbolism, imagery, and prophetic utterance of the Bible. Blake's passionate, visionary libertarianism is different from the frankly secular democratic bent of his Scots contemporary, Robert Burns. Late eighteenth-century Scotland had generally prospered under the Union with England. Coupled with this achievement was a self-conscious redefinition of "Scottishness" and a revival of serious interest in the Scots vernacular and traditions. Burns's poetry remains close to its roots in the oral traditions of Scotland. His keen ear for Scots vocabulary, idiom, and rhythm enables him to transform folk-song into a poetry of his own. Like Burns, William Wordsworth has a grasp of rural communal relationships. His contribution to Lyrical Ballads (1798) consists chiefly of his use of ballad form and in remoulding its traditional subjects. He also strives to find an appropriate language to describe "humble and rustic life." Breaking with the artificialities of the eighteenthcentury tradition, Wordsworth demands an expression of passions and values which stand apart from those of an exclusively aristocratic or urban civilization. It stands apart, too, from the language of the decorous shepherds of the pastoral tradition. Wordsworth's poetry is radical not because it represents revolutionary thought, but because it attempts to shift a literary perspective away from gentility and sophistication. Besides, he also insists the morally educative influence of nature, and the interrelationship of a love of nature and a love of humanity. Despite his strong sympathy with the Revolution, and despite the republican spirit, Wordsworth remains an uncommitted radical. The same could be observed of his friend Samuel Taylor Coleridge. Most of Coleridge's early work is tinged by a similar radicalism for changes in society and literature, and his later work demonstrates a compensating ready response to a nature charged with the glory and power of God. The idea of the transforming power of the imagination embodied in Wordsworth's and Coleridge's poetry cannot be applied to the novels produced by Jane Austen whose works are "an admirable copy of life." Austen's novels suggest little active political commitment or deep involvement in national and international affairs. Where new writers speak of rights, Austen refers to duties; where they look for steady human improvement, she remains skeptical about the nature of the fallen human condition. The later eighteenth-century cultivation of sensibility and sentiment, and the new "Romantic" insistence on the propriety of passion, are consistently countered in her novels by an ironic exposure of affectation and by a steady affirmation of the virtues of restraint. Other provincial novelists producing the "regional" novel included Maria Edgeworth, the Irish, as well as Susan Ferrier, John Galt, and Sir Walter Scott, the Scottish. Deeply aware of the distinctive nature of Scottish history and culture, and of its divisions and contradictions as much as its vitality, Scott shaped aspects of Scottish nationhood to suit his own Unionist ends and effectively created the historical novel, which was to have vast influence over European and American literature. If Scott was the insider explaining the evolution of the past into the present, George Gordon Byron was an outsider vexed and amused by the anomalies of his own time and culture and his best work is generally rooted in an established satirical tradition. Byron's friend Percy Bysshe Shelly shared with him an equally distaste for the British Establishments, literary and political. His work derives from a philosophical skepticism which questions its Platonic roots as much as it rejects Christian mythology and morality. His later work suggests a search for the mysterious "Power" implicit in wild nature and in the inspiration of poetry. John Keats is known for his creative experiments with form and meter. He draws his immediate experience into his verse, finding metaphors in the natural world, and in his responses to architecture, painting, sculpture and his reading. Among the romantic essayists, William Hazlitt is famous for his foremost literary criticism. Alert to the significance of art and the creative imagination amid the political demands and disappointments of the post-revolutionary ear, he most conspicuously influenced his own contemporaries with his criticism of Shakespeare and Elizabethan drama. 宫廷传统涉及缺乏"社会、友谊和爱情"，考珀通过对神圣怜悯的最小主张来平衡自己的损失。这种和解影响了考珀对罪恶或不幸，或者对世界普遍腐败的沉思。考珀的受欢迎程度与威廉·布莱克的默默无闻形成鲜明对比。布莱克一生都是宗教、政治和艺术激进分子，主要通过象征、意象和对《圣经》的预言性言辞宣扬各种形式的自由。布莱克的充满激情、富有远见的自由主义与他的苏格兰同代人罗伯特·伯恩斯坦率的坦率世俗民主倾向截然不同。18 世纪末的苏格兰在与英格兰的联盟下普遍繁荣。伴随这一成就的是对"苏格兰特色"的自觉重新定义以及对苏格兰方言和传统的严肃兴趣的复兴。伯恩斯的诗歌仍然紧密扎根于苏格兰口头传统。他对苏格兰词汇、习语和韵律的敏锐感知使他能够将民歌转化为自己的诗歌。与伯恩斯一样，威廉·华兹华斯对乡村社区关系有着深刻的理解。 他对《抒情小曲》（1798 年）的贡献主要体现在他运用小曲形式并重新塑造其传统主题上。他还努力寻找一种适当的语言来描述“卑微和乡村生活”。与 18 世纪传统的人为性相悖，华兹华斯要求表达出与专属于贵族或城市文明的激情和价值观有所不同的东西。他的诗歌也与田园传统中庄重牧羊人的语言有所不同。华兹华斯的诗歌之所以激进，并非因为它代表了革命性思想，而是因为它试图将文学视角从文雅和精致中转移开来。此外，他还坚持自然的道德教化影响，以及自然之爱与人类之爱的相互关系。尽管他对革命怀有强烈同情，尽管有共和精神，但华兹华斯仍然是一个不偏不倚的激进分子。同样的情况也可以观察到他的朋友塞缪尔·泰勒·柯勒律治身上。 科勒律治（Coleridge）的大部分早期作品都带有类似的激进主义，对社会和文学的变革充满了热情，而他的后期作品则展示了对充满上帝荣耀和力量的自然的弥补性敏锐反应。沃兹华斯（Wordsworth）和科勒律治诗歌中体现的想象力的转化力量的概念无法适用于简·奥斯汀（Jane Austen）创作的小说，她的作品是“生活的出色复制品”。奥斯汀的小说几乎没有表现出积极的政治承诺或对国家和国际事务的深度参与。新作家谈及权利时，奥斯汀谈及责任；他们寻求稳定的人类进步时，她对人类堕落状况的本质仍持怀疑态度。18 世纪后期对感性和情感的培养，以及新“浪漫主义”对激情的恰当性的坚持，在她的小说中始终受到讽刺性的虚伪揭露和对克制美德的坚定肯定的反击。其他产生“地方”小说的省级小说家包括爱尔兰的玛丽亚·艾奇沃斯（Maria Edgeworth），以及苏珊·费里尔（Susan Ferrier）、约翰·高尔特（John Galt）和苏格兰的沃尔特·斯科特爵士（Sir Walter Scott）。 深刻了解苏格兰历史和文化的独特性，以及其分歧和矛盾，正如其活力一样，斯科特塑造了苏格兰民族性的各个方面，以适应他自己的联合主义目标，并有效地创造了历史小说，这对欧洲和美国文学产生了巨大影响。如果斯科特是内部人，解释过去演变为现在，乔治·戈登·拜伦是一个被自己时代和文化的异常困扰和娱乐的局外人，他最好的作品通常根植于一个已建立的讽刺传统。拜伦的朋友珀西·比什·雪莱与他一样对英国的文学和政治建立感到厌恶。他的作品源自对哲学怀疑的态度，这种怀疑质疑其柏拉图根源，同时拒绝基督教神话和道德。他的后期作品暗示着对野性自然中隐含的神秘“力量”以及诗歌灵感的探寻。约翰·济慈以其对形式和韵律的创造性实验而闻名。 他将自己的即时经验融入诗歌中，在自然界中找到隐喻，并在对建筑、绘画、雕塑和阅读的回应中找到灵感。在浪漫主义散文家中，威廉·哈兹里特以其卓越的文学批评而闻名。在后革命时期的政治要求和失望中，他对艺术和创造性想象的重要性保持警觉，他以对莎士比亚和伊丽莎白时代戏剧的批评最为显著地影响了他的同时代人。
High Victorian Literature 1830 - 1880 The Victorian age was the age of conflicting theories, of scientific and economic confidence and of social and spiritual pessimism, of a shaped awareness of the inevitability of progress and of deep disquiet as to the nature of the present. Like all ages it was full of paradoxes. The domestic political scene saw the sacredness of the principles of liberty, but these principles most benefited middle-class men and were of little relevance to women or the poor. As the Great Exhibition of 1851 demonstrated, this was the age of the application of new technologies. New urban prosperity gave the middle and working classes a variety of domestic comforts, but it also led to a culture obsessed with materials. Charles Darwin's On the Origin of Species by Means of Natural Selection (1859) fostered deep and growing doubts as to the very doctrinal and historical bases of Christianity. Some people chose to be dissenters or even failed to attend any public worship. Though mid-Victorian society laid emphasis on the virtues of monogamy and family life, it was also publicly aware of flagrant moral anomalies throughout the social system. Family was regarded as an agent of oppression and the first real stirring of the modern women's movement started in this period. The anxiety of Victorian Britain is portrayed in the "Condition of England" fiction written by Harriet Martineau, Margaret Hale, and Charles Kingsley. The best author who dealt most directly with the "Condition of England Question" is Charles Dickens. He directs his fiction to a questioning of social priorities and inequalities, to a distrust of institutions, and to a pressing appeal for action and earnestness. In an important way, his novels reflect the nature of Victorian urban society with all its conflicts, constrictions, and fertility. Another influential voice is William Makepeace Thackeray, each of whose fiction responds to particular aspects of mid-Victorian culture, to its earnestness as much as to the fascination with history, its sexual guardedness, and its prodigality. Anthony Trollope was Thackeray's most determined admirer and himself the most informed and observant political novelist in English. Party politics fascinate him. Despite his outward tolerance, he shows his distrust of both politics and politicians. Living in relative seclusion, the Brontë sisters, namely Charlotte Brontë, Emily Brontë, and Anne Brontë, delineated the harrowing picture of the restrictions on contemporary middle-class women. The greatest Victorian poet was Alfred Tennyson who has been called "the poet of the people." His early poetry is derived from the emotional norms evolved by the second generation of Romantics, later he turns away from "idiosyncrasy" towards an interest in ordinary life and community. In the mid century there appeared the socalled "Pre-Raphaelite" poetry which is known for its favor of the superior directness of expression of those artists before the time of Raphael. Such tastes are not especially novel, and what is special about the Pre-Raphael revolution is its frequent reference to cultural heroes who are not exclusively painterly, such as Christ, Chaucer, Shakespeare, and Keats. Christina Rossetti was the most distinguished of the vein. The Brownings first made name for their passionate love-poetry. Where Elizabeth Browning confronts contemporary issues, Robert Browning generally retreats into historical perspectives. The nature of drama serves to stimulate Browning's most distinctive dramatic monologue. The Victorian theater evolved a far more inventive comic style than it did a tragic one. Victorian melodrama, a form developed from a popular taste for spectacle, from folk stories and press reports, from accounts of criminal enterprise, from Gothic and historical fiction, from continental romantic theater and native romantic sentiment, held sway over the popular imagination as cheap theater. George Eliot was the major voice of the new fiction of the . She was the most earnestly imperative and the most probingly intelligent of the great mid-Victorian novelists. Her narratives call not simply for a sympathetic intellectual and emotional response from readers, but, more insistently, for a flexible and demanding moral one. 维多利亚时代是一个充满矛盾理论、科学和经济自信以及社会和精神悲观主义的时代，是一个对进步的必然性有着清晰认识，同时对当前状况的本质深感不安的时代。和所有时代一样，它充满了悖论。国内政治舞台上，自由原则的神圣性得到了重视，但这些原则最有利于中产阶级男性，对女性或穷人却几乎无关紧要。正如 1851 年的伟大博览会所展示的，这是新技术应用的时代。新的城市繁荣给中产阶级和工人阶级带来了各种家庭舒适，但也导致了一个过分迷恋物质的文化。查尔斯·达尔文的《物种起源》（1859 年）培养了对基督教的教义和历史基础产生深刻和日益增长的怀疑。一些人选择成为持异议者，甚至不参加任何公共崇拜。尽管维多利亚时代中期社会强调一夫一妻制和家庭生活的美德，但公众也意识到社会体系中存在明显的道德异常。 家庭被视为压迫的代理机构，现代妇女运动的第一次真正激起始于这一时期。维多利亚时代英国的焦虑在哈里特·马丁诺、玛格丽特·黑尔和查尔斯·金斯利所写的“英格兰状况”小说中得到了描绘。处理“英格兰状况问题”最直接的作家是查尔斯·狄更斯。他将他的小说引向对社会优先事项和不平等的质疑，对制度的不信任，以及对行动和认真的迫切呼吁。在重要方面，他的小说反映了维多利亚城市社会的本质，包括其中的冲突、限制和多产性。另一个有影响力的声音是威廉·梅克皮斯·萨克雷，他的每部小说都回应了维多利亚时代中期文化的特定方面，对其认真程度以及对历史的迷恋、性保守和挥霍的吸引。安东尼·特罗洛普是萨克雷最坚定的崇拜者，也是英国最见多识广、最观察入微的政治小说家。党派政治让他着迷。尽管他表面上宽容，但他表现出对政治和政治家的不信任。 生活在相对隐居中的勃朗特姐妹，即夏洛蒂·勃朗特、艾米莉·勃朗特和安妮·勃朗特，描绘了当代中产阶级妇女所受到的严苛限制。维多利亚时代最伟大的诗人是阿尔弗雷德·丁尼生，被称为“人民的诗人”。他早期的诗歌源自于浪漫主义第二代演变出的情感规范，后来他转向对“个性特征”的不感兴趣，转而对普通生活和社区产生兴趣。19 世纪中叶出现了所谓的“前拉斐尔派”诗歌，以其偏爱拉斐尔时代之前艺术家直接表达的优越性而闻名。这种品味并不特别新颖，前拉斐尔革命的特殊之处在于经常提及那些不仅仅是画家的文化英雄，如基督、乔叟、莎士比亚和济慈。克里斯蒂娜·罗塞蒂是这一流派中最杰出的代表。布朗宁夫妇首先以他们充满激情的爱情诗歌而闻名。伊丽莎白·勃朗宁面对当代问题，而罗伯特·勃朗宁通常退入历史视角。 戏剧的本质是激发勃朗宁最独特的戏剧独白。维多利亚剧院发展出比悲剧更具创意的喜剧风格。维多利亚时代的通俗剧，是从对壮观景观的热衷、民间故事和新闻报道、犯罪活动的描述、哥特式和历史小说、欧陆浪漫剧场以及本土浪漫情感中发展而来，占据了廉价戏剧在大众想象中的主导地位。乔治·艾略特是 新小说的主要代表声音。她是维多利亚时代中期伟大小说家中最认真严肃、最富有探究精神的人。她的叙事不仅仅需要读者产生同情的智力和情感回应，更加迫切地需要读者产生灵活而严格的道德回应。
Late Victorian and Edwardian Literature From the late 1860s onwards, the prospect of radical change to society and to its political constitution was viewed with increasingly unease by liberal and conservative-minded Victorians alike. Economic optimism and the spirit of compromise which marked the middle decades of the century receded. A steady stream of pessimism emerged, reaching its climax in the 1880s. A "modern" gloom and 晚维多利亚时期和爱德华时代文学 从 19 世纪 60 年代末开始，自由派和保守派维多利亚人对社会和政治体制发生根本性变革的前景越来越感到不安。经济乐观主义和标志着本世纪中叶的妥协精神逐渐消退。一股持续的悲观情绪涌现，于 19 世纪 80 年代达到顶峰。一种“现代”的忧郁情绪和
uncertainty hung over the writing concerned with imperial expansion and domestic issues. Sir Arthur Conan Doyle captured an impression of a foggy, disordered London, embodying the obsession with crime and decadence. Robert Louis Stevenson, despite his fascination with horror, was a writer of a far greater variety and invention. He created mystery stories and travel stories. The closing years of the nineteenth century were marked by the European grab for Africa and by European rivalries as to which power could grab most territory. Rudyard Kipling was stimulated by the idea of the British imperial adventure in India. Kipling may have acquiesced to the idea of Empire, but he also points steadily to both the merits and the demerits of the colonial regime. Joseph Conrad was a different kind of outsider concerned with the nature and effects of European imperialism. He deals with the intrusion and interference of Europeans in the Pacific, East Indies, South America, and Africa. Aestheticism took place from around 1868 to 1901, and was generally considered to have ended with the trial of Oscar Wilde whose central arguments were derived from an awareness that art is far more than a mere imitation of nature. He was deeply influenced by Walter Pater who stated that life has to be lived intensely, following an ideal of beauty. Wilde used the' slogan "Art for Art's Sake" (L'art pour l'art), and asserted that there is no connection between art and morality. Besides his fiction, Wilde's comedies of the 1890 s had a sure place in the theater. At the time the English theater was edging towards the openness of Henrik Ibsen, whose spirit was evident throughout George Bernard Shaw's career. Shaw's drama is instructive; his arguments fuse elements of socialism, science, and philosophy; his dialogue can move easily from broad comedy to anguish and back again to comedy; his protagonists have a vivid energy; his settings are predominantly those of the England of the turn of the twentieth century. The problem plays of Ibsen and the Irish Renaissance (i.e. a revival of interest in the Irish language and literature in Ireland) jointly brought about a dramatic movement in Ireland. William Butler Yeats wrote a letter to appeal to a fellow devotee of Celtic and occult alternatives to the drab materialism of modern English culture. This letter marks a turning away from the "common realities" of Ibsen's work. With Lady Augusta Gregory, Yeats established the Abbey Theater, also known as the National Theatre of Ireland. Located in Dublin, the Abbey first opened its doors in 1904, and served as a nursery for many of the leading Irish playwrights and actors of the twentieth century. The Edwardian age was far from consolidated and at peace with itself. Despite its international prestige and power, Britain's economic and military success was relative. There existed the Irish question, the women's suffragette movement, and the constitutional crisis. The reactions against social or familial oppression were gradually marginalized. Formerly silent social groups, especially women, were given voice. Traditional writers, most notably Arnold Bennett and H. G. Wells, developed diachronic movement to delineate the "ordinary." E. M. Forster was concerned with Edwardian middle-class perceptions and imperceptions. He manages to mix a sharp social comedy with didactic narrative insistence on the virtues of tolerance and human decency. The poetry of the 1880s and 1890s was dominated by the later work of those known poets, such as Browning and Tennyson. The one major writer whose poetry seemed to chart new territory was Thomas Hardy. The agnosticism which marks his fiction takes on a new shaping power in the poetry, which is succinct and varied in forms. 对涉及帝国扩张和国内问题的写作笼罩着不确定性。阿瑟·柯南·道尔爵士捕捉到了一个雾蒙蒙、混乱的伦敦印象，体现了对犯罪和颓废的痴迷。罗伯特·路易斯·史蒂文森，尽管着迷于恐怖，却是一位更具多样性和创造力的作家。他创作了神秘故事和旅行故事。19 世纪末期的欧洲充满了对非洲的争夺，以及欧洲势力之间争夺领土的竞争。鲁道夫·吉普林受到了英国在印度的帝国冒险的概念的激励。吉普林可能接受了帝国的概念，但他也坚定地指出了殖民统治的优点和缺点。约瑟夫·康拉德是一位关注欧洲帝国主义性质和影响的不同类型的局外人。他处理了欧洲人在太平洋、东印度、南美和非洲的干涉和干扰。 唯美主义发生在大约 1868 年至 1901 年之间，通常被认为在奥斯卡·王尔德的审判结束时结束，他的中心论点源自一种意识，即艺术远不止是对自然的简单模仿。他深受沃尔特·佩特的影响，后者认为生活必须要充满激情，追求美的理想。王尔德使用了“为了艺术而艺术”（L'art pour l'art）的口号，并断言艺术与道德之间没有联系。除了他的小说外，王尔德在 19 世纪 90 年代的喜剧在剧院中占有一席之地。当时，英国戏剧正朝着亨利克·易卜生的开放方向发展，易卜生的精神贯穿乔治·伯纳德·肖的整个职业生涯。肖的戏剧具有教育意义；他的论点融合了社会主义、科学和哲学的元素；他的对话可以轻松地从宽泛的喜剧转向痛苦，再回到喜剧；他的主人公充满生机；他的背景主要是 20 世纪初英格兰的背景。易卜生的问题剧和爱尔兰文艺复兴（即。 爱尔兰语言和文学在爱尔兰重新引起了兴趣，共同引发了爱尔兰的戏剧性运动。威廉·巴特勒·叶芝写信呼吁同样热衷于凯尔特和神秘主义替代现代英国文化沉闷唯物主义的同道。这封信标志着对易卜生作品中“常见现实”的背弃。叶芝与奥古斯塔·格雷戈里夫人建立了艾比剧院，也被称为爱尔兰国家剧院。位于都柏林的艾比剧院于 1904 年首次开放，成为 20 世纪许多领先的爱尔兰剧作家和演员的摇篮。爱德华时代远未巩固并与自身和平相处。尽管英国在国际声望和实力方面取得了相对成功，但存在爱尔兰问题、妇女选举权运动和宪政危机。对社会或家庭压迫的反应逐渐被边缘化。以前沉默的社会群体，尤其是妇女，得到了发声机会。传统作家，尤其是阿诺德·本内特和 H·G·威尔斯，发展了历时运动来描绘“普通”事物。E·M。 福斯特关注爱德华时代中产阶级的看法和误解。他成功地将尖锐的社会喜剧与道德叙事相结合，强调宽容和人类品德的美德。19 世纪 80 年代和 90 年代的诗歌主要由布朗宁和丁尼生等著名诗人的后期作品主导。唯一一个似乎开辟新领域的重要作家是托马斯·哈代。他小说中的不可知论在诗歌中具有新的塑造力，简洁多样。
Modernism and its Alternatives: Literature 1920-1945 World War I and its immediate aftermath accentuated the feeling that a new start ought to be made, in politics and society as much as in art. When Virginia Woolf announced that "in or about December, 1910, human character changed," she was expressing what seemed by 1924 to be an accumulated sense of exhilaration at a variety of new beginnings and rejections of the past. After the war, the fabric of London intellectual life seemed to have deteriorated. D. H. Lawrence wrote in 1923 that the spirit of the old London collapsed in the winter of 1915-16. To many British writers of the younger generation, the failure of the Western "bourgeois democracies" to address the problems of poverty at home, and the problems of the explosive antidemocratic energies in Italian, German and Spanish Fascism abroad, appeared to expose Communist Russia as the only antidote to political despair. The optimism of "progressive" British intellectuals about the 现代主义及其替代品：文学 1920-1945 第一次世界大战及其直接后果强调了应该在政治和社会以及艺术方面开启新篇章的感觉。当弗吉尼亚·伍尔夫宣布“在或约 1910 年 12 月，人类性格发生了变化”时，她表达了到 1924 年似乎积累的一种对各种新的开始和对过去的拒绝的振奋感。战后，伦敦知识分子生活的结构似乎已经恶化。D·H·劳伦斯在 1923 年写道，旧伦敦的精神在 1915-1916 年冬天崩溃了。对许多英国年轻一代作家来说，西方“资产阶级民主国家”未能解决国内贫困问题，以及意大利、德国和西班牙法西斯主义爆炸性反民主能量问题，似乎暴露了共产主义俄罗斯是政治绝望的唯一解药。英国“进步”知识分子对
achievements of the first "Workers' State" was formed not only by Soviet propaganda but also by the miserable conditions of their fellow-countrymen. The post-war country was haunted by continuing economic depression and rising unemployment, and waste lands seared themselves into more than simply the literary imagination. The sometimes bright, sometimes troubled, new horizon opened by international cultural innovation was rarely concordant with the working lives and domestic diversions of the vast mass. The correspondence between art and life was not at all constant because the artist of the new modernist movement was moving into a sphere more and more remote from that of the ordinary men. A group of writers and artists, most notably Virginia Woolf, E. M. Foster, and Roger Fry, came to be known as the "Bloomsbury Group," which was linked by "a state for discussion in pursuit of truth and a contempt for conventional ways of thinking and feeling, contempt for conventional morals." Their discussion combined tolerant agnosticism with cultural dogmatism, progressive rationality with social snobbery, practical jokes with refined self-advertisement. To its friends, "Bloomsbury" offered a prevision of a relaxed, permissive, and elitist future. Woolf argues for the potential freedom of the novel from commonly received understandings of plot, time and identity. She insists that each day "the mind receives a myriad impressions" and it is the novelist's job to work with this "incessant shower of innumerable atoms." Hence the task of the future novelist, Woolf suggests, is to convey an impression of the "luminous halo" of life with as little mixture of the "alien and external" as possible. The phrase "stream of consciousness" was coined by William James in 1890 as a description of the flow of thought within the human mind. It is a phrase much used in criticism of the new fiction of the 1920s and 1930s, particularly with references to the work of Woolf, to come to terms with a literature which boldly attempts to replicate or represent the flux of thought and feeling within a character without resorting to objective description or to conventional dialogue. Through the device, Woolf defines her own work and that of her contemporaries, such as James Joyce, against the example of the Edwardian materialists who laid too much emphasis on "the fabric of things." A self-proclaimed apostle of new literary and moral freedoms, D. H. Lawrence had little time for Woolf's and Joyce's narrative experiments. He retained a vivid interest in the underlying mysteries, tropes, and patterns of Christianity and in the advent of a Godless prophet, Freud. Lawrence's new philosophy is centered on the concept of a welling, subterranean male consciousness and on the liberation of sexuality from inherited social repression. It was largely through the "little magazines" that the Modernist revolution in poetry was announced and carried forward. An educated audience, impatient with conventions, was ready for change. The appearance of The Waste Land by T. S. Eliot, the most important and influential poet of his own and of the two subsequent generations, struck many as it expressed the disordered and irregular nature of the modern condition in a language that was indisputably "modern." If Eliot recognized any true literary kinship among his contemporaries it was with the Irish novelist James Joyce, whom he proclaimed as "the best living prose writer." Joyce styled "Epiphanies" in his fiction, each being shaped around a moment of revelation as "a sudden spiritual manifestation." The innovations of "Modernism" touched the English theatrical mainstream between the wars only indirectly. The most representative dramatist of the period was Noël Coward, who looked back nostalgically to the lost enchantments of the Edwardian theater. The 1930s were rémarkable for a variety of delayed retrospects on World War , shaped as memoirs, novels, collections of verse, and experimental interfusions of verse and prose. To the upper- and middle-class generations who either avoided or missed the war, the flippant 1920s and the gloomier 1930s were a time haunted by an uncertain future. The uncertainties were built into an often sardonic, questioning, terse, and jerky new fiction. A sense of disillusion runs through novels of William Gerhardie, Henry Green, and Ivy Compton-Burnett. The novels of P. G. Wodehouse, Evelyn Waugh, and Aldous Huxley provide satirical social commentary about young and carefree London aristocrats and bohemians, as well as society in general, in the late 1920s through the early 1940s. For a group of writers and artists, most notably W. H. Auden, it was a shame that they had not been old enough to take part in the European war. This subconscious shame determined the degree of relish with which they embraced socialism in the 1930s. 第一个“工人国家”的成就不仅是由苏联宣传形成的，也是由他们的同胞们悲惨的境况所造成的。战后国家受持续的经济萧条和不断上升的失业率困扰，荒芜的土地不仅仅存在于文学想象之中。国际文化创新开启的有时明朗、有时困扰的新视野很少与广大群众的工作生活和家庭娱乐相一致。艺术与生活之间的对应关系并不是始终如一的，因为新现代主义运动的艺术家正在进入一个与普通人日益疏远的领域。一群作家和艺术家，尤其是弗吉尼亚·伍尔夫、E·M·福斯特和罗杰·弗莱，被称为“布卢姆斯伯里集团”，他们通过“追求真理的讨论状态和对传统思维和感情的蔑视，对传统道德的蔑视”而联系在一起。他们的讨论将宽容的不可知论与文化教条主义相结合，将进步的理性与社会势利相结合，将恶作剧与精致的自我宣传相结合。 对于它的朋友，“布卢姆斯伯里”提供了一个轻松、宽容和精英主义未来的预见。伍尔夫认为小说有潜在的自由，可以摆脱常见的情节、时间和身份理解。她坚持认为每天“头脑接收到无数印象”，小说家的工作就是处理这种“无数原子的不断淋漓”。因此，伍尔夫建议，未来小说家的任务是尽可能少地混入“外来和外部”的印象，传达生活的“光辉光环”。术语“意识流”是由威廉·詹姆斯在 1890 年创造的，用来描述人类思维中的思维流。这个术语在 20 世纪 20 年代和 30 年代新小说的批评中被广泛使用，特别是在涉及伍尔夫的作品时，以应对一种大胆尝试复制或代表人物内心思想和感情流动的文学，而不借助客观描述或传统对话。 通过这个设备，伍尔夫定义了自己的作品以及她的同时代人，比如詹姆斯·乔伊斯，与爱德华时代的唯物主义者相对比，后者过分强调“事物的结构”。作为新文学和道德自由的自封使徒，D·H·劳伦斯对伍尔夫和乔伊斯的叙事实验并不感兴趣。他对基督教的潜在奥秘、修辞和模式以及无神先知弗洛伊德的出现保持着浓厚的兴趣。劳伦斯的新哲学以涌动的地下男性意识和性解放脱离遗传社会压抑为中心。现代主义诗歌革命主要是通过“小杂志”宣布和推动的。受过教育的观众对传统不耐烦，他们渴望变革。T·S·艾略特的《荒原》的出现，他是自己和两代后最重要和有影响力的诗人，许多人认为它表达了现代状况的混乱和不规则性，用一种无可争议的“现代”语言表达了这一点。如果艾略特在他的同时代作家中认出了任何真正的文学亲缘关系，那就是与爱尔兰小说家詹姆斯·乔伊斯，他被誉为“最优秀的现存散文作家”。乔伊斯在他的小说中创造了“顿悟”，每一个都围绕着“突然的精神显现”这一时刻塑造。 “现代主义”的创新只间接触及了英国战间期的主流戏剧。那个时期最具代表性的剧作家是诺埃尔·科沃德，他怀旧地回顾了爱德华时代剧院的失落魅力。 1930 年代以各种形式的对第一次世界大战的延迟回顾而著称，包括回忆录、小说、诗集以及诗歌和散文的实验性融合。对于那些要么回避要么错过了战争的上层和中产阶级一代来说，轻浮的 20 年代和阴郁的 30 年代是一个被不确定未来所困扰的时代。这些不确定性被融入了一种常常讽刺、质疑、简洁和断断续续的新小说中。一种幻灭感贯穿于威廉·格哈迪、亨利·格林和艾薇·康普顿-伯内特的小说中。P.G.小说。 沃德豪斯、伊夫林·沃、奥尔德斯·赫胥黎在 20 世纪 20 年代末至 40 年代初提供了关于年轻无忧的伦敦贵族和波西米亚人以及整个社会的讽刺社会评论。对于一群作家和艺术家，尤其是 W·H·奥登，他们感到遗憾自己没有足够年长参加欧洲战争。这种潜意识的羞愧决定了他们在 20 世纪 30 年代 embrace 社会主义的程度。
They were a generation that recognized that siding with the Left in a class-war might bring about a purging of the guilt of the upper and middle classes. Taking sides, or rather forming ranks with the Left, seemed to many young writers to be the order of the day. However, Edward Upward, Arthur Koestler, and George Orwell found it increasingly difficult to reconcile an "opportunist" party line with what they saw as their personal and artistic integrity. They became what their comrades dismissed as the "rotten elements." 他们是一代人，意识到在阶级斗争中站在左派一边可能会带来对上层和中产阶级的罪恶进行清算。与左派站在一起，或者更确切地说是与左派结成阵营，对许多年轻作家来说似乎是当务之急。然而，爱德华·厄沃德、阿瑟·科斯特勒和乔治·奥威尔发现越来越难以将“机会主义”党路与他们认为的个人和艺术诚信调和在一起。他们成为了同志们所摒弃的“腐朽分子”。
Post-War and Post-Modern Literature When the Second World War ended in Europe in 1945, much of Britain was in ruins. This landscape of ruins must also be recognized as forming an integral part of much of the literature of the late 1940s and the early 1950s. Graham Greene, a devout anti-imperialist and Roman Catholic, was the best known and most respected British novelist of his generation. The themes of his fiction are a colonially wounded world beyond Europe, a gloomy sense of sin and moral unworthiness, and a commitment to outsiders and rebels. In the immediately post-war years, the Empire melted into the "Commonwealth," a loosely associated fellowship of independent former colonies. Official propaganda greeted the granting of independence, but the loss of the Empire was probably deeply resented by those members of the upper and middle classes who once had office in the imperial enterprise. Such loss was steadily compensated for by Britain's gain of a new cultural diversity following the immigration of a large body of workers in the 1950s. The war, the war economy, and wartime propaganda had prepared the way for social change. State-aided education was much promoted, free medical treatment became available to all citizens, both of which pledged to speed the advent the "Welfare State" based on the exercise of benign state planning. An air of optimism fostered the idea that Britain was rebuilding itself in a new, socially responsive economic dawn. The most significant play performed in the 1950s was Samuel Beckett's Waiting for Godot, which demonstrates the author's use of drama as an extension of his wider interest in the gaps, the jumps, and the lurches characterizing the functioning and the malfunctioning of the human mind. Beckett was also the most radically innovative novelist of the 1950s. He chose the form of a fluid monologue, a gushing "stream of consciousness" rather than that of a third-person narrative. William Golding gave a sure indication of his continuing concern with moral allegory in his fiction. Angus Wilson was intent on restoring Victorian narrative styles in opposition to what he saw as the errant experimentalism of the Modernists. He swelled the shape of the novel back to something approaching its nineteenth-century proportions. Iris Murdoch remained equally faithful to traditional fictional shapes. Unlike Wison, she made a scrupulous investigation of the problems posed by moral philosophy. She also developed a series of independent philosophical studies. Muriel Spark shared with Murdoch and Golding a pressing commitment to moral issues and to their relation to fictional form. From the mid-1950s some playwrights and novelists including John Osborne, Kingsley Amis and Philip Larkin were addressed as "Angry Young Men." They took up feelings of frustration due to the perception of themselves as "angry" outsiders of class and literary circles. Holding radical, sometimes even anarchic political views, they described social alienation of different kinds. Not modernists by technique, they also expressed their critical views on society, reprehending certain behaviors or groups in different ways. The decade of the 1960s was often hailed as the era of the "New Morality," which was not only to do with promiscuity, the pill, and macho male values, but also reflect openness about sexual relationships and sexuality. Birth-control and divorce were facilitated; abortion and adult male homosexual acts were legalized; new moral, political, and cultural discourses were gradually established. History also witnessed the "Cold War" crisis and the protests against the Vietnam War. A new generation, impatient with the fudges, compromises, and sins of their elders, felt they might be the forgers of a new social order as they were already the beneficiaries of a new moral one. For the "New Left" authors, notably Raymond Williams, the real hope lay in the active socialism, which would help shape "the political structure of the rest of the century." The broadening of women's perspectives and opportunities proved the most radical and substantial of the social changes of the 1960s. Doris Lessing in her fiction argues that 战后和后现代文学 当 1945 年第二次世界大战在欧洲结束时，英国大部分地区都成为废墟。这片废墟的景观也必须被认可为 20 世纪 40 年代末和 50 年代初许多文学作品的一个组成部分。格雷厄姆·格林（Graham Greene）是一位虔诚的反帝主义者和罗马天主教徒，是他那一代最著名、最受尊敬的英国小说家。他小说的主题包括殖民地受伤的世界超越欧洲、一种阴郁的罪恶感和道德不值感，以及对局外人和叛逆者的承诺。在战后的几年里，帝国融入了“英联邦”，这是一个由独立前殖民地组成的松散联盟。官方宣传迎接了独立的授予，但帝国的损失可能深深地令那些曾在帝国企业中担任职务的上层和中产阶级成员感到不满。这种损失在 20 世纪 50 年代大量工人移民后，逐渐被英国获得新的文化多样性所弥补。战争、战时经济和战时宣传为社会变革铺平了道路。 国家资助的教育得到了很大的推广，免费医疗服务也向所有公民开放，这两者都承诺加速实现基于良性国家规划的“福利国家”的到来。一种乐观的氛围培育了这样一种想法，即英国正在重建自己，迎来一个新的、对社会有响应的经济黎明。20 世纪 50 年代最重要的剧作是塞缪尔·贝克特的《等待戈多》，这部作品展示了作者将戏剧作为他对人类思维功能和失灵特征的更广泛兴趣的延伸的用法。贝克特也是 20 世纪 50 年代最具革新精神的小说家。他选择了流畅的独白形式，一种涌动的“意识流”，而不是第三人称叙述。威廉·戈尔丁在他的小说中明确表达了他对道德寓言的持续关注。安格斯·威尔逊致力于恢复维多利亚叙事风格，与他所看到的现代主义者的错误实验主义相对立。他将小说的形式扩大到接近 19 世纪的规模。 艾丽丝·默多克对传统小说形式保持了同样的忠诚。与威尔逊不同，她对道德哲学提出的问题进行了严谨的调查。她还发展了一系列独立的哲学研究。缪瑞尔·斯帕克与默多克和戈尔丁一样，对道德问题及其与虚构形式的关系有着紧迫的承诺。从 1950 年代中期开始，一些剧作家和小说家，包括约翰·奥斯本、金斯利·埃米斯和菲利普·拉金，被称为“愤怒的年轻人”。他们感到沮丧，因为他们认为自己是阶级和文学圈的“愤怒”局外人。他们持有激进的，有时甚至是无政府主义的政治观点，描述了不同类型的社会疏离。虽然不是技术上的现代主义者，但他们也以不同的方式表达了对社会的批判观点，谴责了某些行为或群体。20 世纪 60 年代常被誉为“新道德”的时代，这不仅涉及滥交、避孕药和男性 macho 价值观，还反映了对性关系和性取向的开放。 计划生育和离婚得到了便利；堕胎和成年男同性恋行为合法化；新的道德、政治和文化话语逐渐确立。历史也见证了“冷战”危机和反对越南战争的抗议。一代新人对长辈的妥协和罪行感到不耐烦，他们觉得自己可能是新社会秩序的铸造者，因为他们已经是新道德秩序的受益者。对于“新左派”作家，尤其是雷蒙德·威廉姆斯，真正的希望在于积极的社会主义，这将有助于塑造“本世纪其余时间的政治结构”。妇女视角和机会的拓宽被证明是 20 世纪 60 年代最激进和实质性的社会变革。多丽丝·莱辛在她的小说中认为
the real revolution is women against men. Apart from her feminist advocations, Lessing is also concerned with growth of political awareness among native blacks and white settlers in colonial East Africa. Jean Rhys explores the nature of loneliness, exploitation, and victimization. Barbara Pym mainly proclaims the virtues of restraint, good behavior, and feminine resilience. Angela Carter's fiction presents its readers with a world of magic and theater in which there is an infinite possibility for change. She reinvents the fairy-tale, infusing her narratives with macabre fantasy and erotic comedy. Compared with the work of their women contemporaries, the novels of John Fowles seem strained, contrived and forced. Fowles has been fascinated by repression and the release of sexual energy that can be equated with personal liberation. The most "typical" novelist of the 1960s and 1970s was Margaret Drabble. Drabble touches on corrupt property-developers and bombs, broken marriages and the alienations of upward social mobility, rural withdrawal and Eastern Europe. Each novel's setting seems to imprison its occupants and the negotiation is often dangerous and unsatisfying. The "campus fiction" of the 1970s and 1980 s is set in universities and colleges, or deals with wayward academics let loose on the wider world. It serves to reflect the academic ambition and the academic tensions of the rapidly expanding world of higher education. Tom Sharpe, Malcolm Bradbury, and David Lodge are representatives of the vein. Other recent British fiction has explored four particular arrears of interest: it has continued the development of the gothic tradition; it has sought a newly distinct feminist expression; it has tried out new varieties of historical writing; and it has begun to include writers and subjects from the old colonies and from a wider world. All four areas overlap, interweave and inform one another. Among the newer novelists are a broad range of contemporary British novelists such as Martin Amis, Ian McEwan, Nick Hornby, Irvine Welsh, V. S. Naipaul, Kazuo Ishiguro, and Salman Rushdie. One is easy to be struck by a variety of origins from the contemporary literary scene. This is an aspect of the postmodern world: a mixture of cultures also known as "hybridity." Today's British literature continues to reflect that complexity. 真正的革命是女性反对男性。除了她的女权主义主张外，莱辛还关注殖民地东非土著黑人和白人移民之间政治意识的增长。琼·赖斯探讨了孤独、剥削和受害的本质。芭芭拉·庞主要宣扬克制、良好行为和女性的坚韧。安吉拉·卡特的小说向读者展示了一个充满魔法和戏剧的世界，其中变革的可能性是无限的。她重新演绎了童话故事，将她的叙事注入了可怕的幻想和色情喜剧。与她们的女性同时代作家相比，约翰·福尔斯的小说显得勉强、刻意和做作。福尔斯一直被压抑和性能量的释放所吸引，这可以等同于个人解放。20 世纪 60 年代和 70 年代最“典型”的小说家是玛格丽特·德拉布尔。德拉布尔涉及腐败的房地产开发商和炸弹、破裂的婚姻和上升社会流动的疏远、乡村撤退和东欧。每部小说的背景似乎囚禁了其居民，谈判常常危险且令人不满。 20 世纪 70 年代和 80 年代的“校园小说”设定在大学和学院，或者涉及在更广阔世界上放任的学术人员。它反映了迅速扩张的高等教育世界的学术抱负和学术紧张关系。汤姆·夏普（Tom Sharpe）、马尔科姆·布拉德伯里（Malcolm Bradbury）和大卫·洛奇（David Lodge）是这一流派的代表。最近的英国小说探索了四个特定的兴趣领域：它继续发展哥特传统；它寻求新的独特女性主义表达；它尝试新的历史写作形式；它开始包括来自旧殖民地和更广泛世界的作家和主题。这四个领域相互重叠、交织并相互影响。在新一代小说家中，有许多当代英国小说家，如马丁·埃米斯（Martin Amis）、伊恩·麦克尤恩（Ian McEwan）、尼克·霍恩比（Nick Hornby）、欧文·韦尔士（Irvine Welsh）、V·S·奈保尔（V. S. Naipaul）、石黑一雄（Kazuo Ishiguro）和萨尔曼·鲁西迪（Salman Rushdie）。人们很容易被当代文学界各种来源所震撼。这是后现代世界的一个方面：文化的混合也被称为“混杂性”。今天的英国文学继续反映了这种复杂性。
American Literature
Beginnings to 1810 Ancestors of modern American Indians existed as early as 25,000 years ago. Oral tradition was the foundation of American literature, at the heart of which was a deep belief in the efficacy of language. Words were thought powerful, magical, and sacred. Stories ranged from origin myths through trickster and hero tales to prophecy. The first classics of American literature were written for Europe. Explorers handed over to their homeland audiences news of doings beyond the horizon. Sermons, meditations, journals, diaries, autobiography, biography, and lyric poetry were developed to interpret life experiences. From these sources, the Old World composed its American imagery. The Puritans left home in the early seventeenth century to escape religious persecution and quest for an ideal place where they could restore the Church to the "purity" of the firstcentury Church as established by Jesus Christ himself. They accepted the doctrine of predestination, original sin, total depravity, and limited atonement through grace from God. They have invested America with a mythology of its own, created a new, corporate ideal of community, and become an agent of social cohesion at every stage of cultural transition. From the seventeenth and eighteenth centuries Americans were blessed by having a large number of historical works. William Bradford and Cotton Mather can be set alongside America's greatest historians. In contrast to Bradford's disillusionment and nostalgia for comfort, Mather wished to glory New England's achievements, denounce backsliders of the second and third generations, and demonstrate New England's fidelity to Old England. In the years of America's first colonization the sermon was an astonishingly popular form of literature. The Puritan sermons followed the rule of clarity and directness. A variety of "similitudes," such as metaphors, extended similes, parallel constructions, and analogies were imbued for effect. The primary subject and purpose of sermons was redemption. The genres of biography and autobiography during the colonial period 开始到 1810 年，现代美洲印第安人的祖先早在 25000 年前就存在了。口头传统是美国文学的基础，其中心是对语言有效性的深刻信仰。人们认为言辞强大、神奇且神圣。故事从起源神话到恶作剧者和英雄传说再到预言，内容丰富多样。美国文学的第一批经典作品是为欧洲人写的。探险家们向本国观众传递了超越地平线的消息。布道、冥想、日记、自传、传记和抒情诗等文学形式被开发出来来解释生活经历。从这些来源中，旧世界构建了自己的美国意象。清教徒在 17 世纪初离开家乡，逃离宗教迫害，寻找一个理想的地方，他们可以将教会恢复到由耶稣基督亲自建立的“纯洁”的第一世纪教会。他们接受了预定论、原罪、全人类堕落和有限的救赎观念，这种救赎是来自上帝的恩典。 他们赋予美国自己的神话，创造了一个新的企业社区理想，并成为文化转变每个阶段的社会凝聚力的代理人。从十七和十八世纪起，美国人就拥有大量历史作品。威廉·布拉德福德和科顿·马瑟可以与美国最伟大的历史学家并列。与布拉德福德的幻灭和对舒适的怀旧相反，马瑟希望赞美新英格兰的成就，谴责第二和第三代的背道者，并展示新英格兰对旧英格兰的忠诚。在美国最初殖民化的岁月里，布道是一种惊人受欢迎的文学形式。清晰和直接是清教徒布道的规则。为了效果，注入了各种“类似物”，如隐喻、延伸的比喻、平行结构和类比。布道的主要主题和目的是救赎。殖民时期的传记和自传体裁
embraced all writing about the self-as-subject. If Mather was the best biographer, Benjamin Franklin ranked top for his Autobiography. Franklin's exposition of economic individualism and social mobility became the model for the "new man" in America, and such tales of worldly success gained popularity and evolved as representatives of popular attitudes and values. The colonial public verse tended to subordinate art and artist to utilitarian design and communal identity, but a tension between cultural limits and personal emotion often emerged in private verse, which included personal poems of meditation, often incorporating emblem tradition. Michael Wigglesworth, Anne Bradstreet, and Edward Taylor were outstanding poets of the time. The puritan's lives suffered many disruptions in the more secular Age of the Democratic Revolution. Boston's commercial growth transformed manners and morals; witchcraft trials weakened trust in the ministry and public officials; new rationalistic philosophies associated with the Enlightenment came from abroad; the Massachusetts charter was issued to claim a royal possession of New England. The fervent Puritan hope for self-transformation became the American passion for self-improvement. Between 1739 and 1742 there appeared religious revivals, the Great Awakening. The doctrinal target of the Awakening preachers was that man can earn his own salvation, which shifted the focus from God to individuals. Thus the Awakening was seen as the fountainhead of American national self-consciousness and marked America's leap into modernity. The freedom of mind helped to forge the demand for national sovereignty. From the outset of the 1760 s pamphlets and newspaper essays underwent a secular transformation by which the quest for salvation was translated into the pursuit of liberty. By the 1770 s, the writings concerned with the controversy between the colonies and Great Britain took on a far more strident note. Thomas Jefferson in the Declaration of Independence (1776) affirmed the sanctity of the rights of man and justified the independence of the colonies from the rule. The Declaration became the most radical, as well as the most fundamental, of the national documents. To the world at large, it marked the opening of the age of revolution. Besides the political sketches, there also existed the imaginative prose. The richest and most appealing was personal narratives, such as the Indian captivity narratives, the soldiers' narratives, and the narratives of European participants in the Revolution. In the 1790s writers on both sides of the Atlantic yielded to the didactic impulse of the age: sentiment and sensibility, comic, tragic, and triumphant heroics, rape and marriage, were well-known themes employed in the service of moral instruction. Likewise familiar to both countries were epistolary, picaresque, and adventure modes of fiction, while the Gothic fiction in America was identified with the emergence of Charles Brockden Brown who reflected a mixture of political anxiety and psychological abnormality. Between 1765 and 1815 there was little American writing that was not touched by the mythology of freedom. However, by 1800 many Americans were anxious about their literature. Drama and prose fiction were only in their infancy in the country. embraced all writing about the self-as-subject. If Mather was the best biographer, Benjamin Franklin ranked top for his Autobiography. Franklin's exposition of economic individualism and social mobility became the model for the "new man" in America, and such tales of worldly success gained popularity and evolved as representatives of popular attitudes and values. The colonial public verse tended to subordinate art and artist to utilitarian design and communal identity, but a tension between cultural limits and personal emotion often emerged in private verse, which included personal poems of meditation, often incorporating emblem tradition. Michael Wigglesworth, Anne Bradstreet, and Edward Taylor were outstanding poets of the time. The puritan's lives suffered many disruptions in the more secular Age of the Democratic Revolution. Boston's commercial growth transformed manners and morals; witchcraft trials weakened trust in the ministry and public officials; new rationalistic philosophies associated with the Enlightenment came from abroad; the Massachusetts charter was issued to claim a royal possession of New England. 热切的清教徒希望自我转变成为美国人对自我改进的热情。在 1739 年至 1742 年间出现了宗教复兴，即大觉醒。觉醒传道者的教义目标是人可以赢得自己的救赎，这将焦点从上帝转移到个人身上。因此，觉醒被视为美国国家自我意识的源泉，并标志着美国跃入现代化。思想的自由有助于塑造对国家主权的需求。从 1760 年代初开始，传单和报纸文章经历了一场世俗转变，将对救赎的追求转化为对自由的追求。到了 1770 年代，有关殖民地与大不列颠之间争议的著作变得更加尖锐。托马斯·杰斐逊在《独立宣言》（1776 年）中肯定了人权的神圣性，并为殖民地独立的正当性辩护。这一宣言成为最激进、也是最基本的国家文件。对全世界而言，它标志着革命时代的开端。 除了政治漫画之外，还存在着富有想象力的散文。最丰富和最吸引人的是个人叙事，比如印第安人被俘叙事，士兵叙事，以及欧洲参与者在革命中的叙事。在 18 世纪 90 年代，大西洋两岸的作家都屈从于那个时代的说教冲动：感情和感性，喜剧，悲剧和胜利的英雄主义，强奸和婚姻，都是用来进行道德教育的众所周知的主题。同样熟悉的主题对两国都是信件体、流浪汉体和冒险体小说，而美国的哥特式小说则与查尔斯·布洛克登·布朗的出现联系在一起，他反映了政治焦虑和心理异常的混合。在 1765 年至 1815 年间，几乎没有一部美国作品不受到自由神话的影响。然而，到 1800 年，许多美国人对他们的文学感到焦虑。戏剧和散文小说在这个国家还处于萌芽阶段。
1810-1865 During the years 1810-1865 America moved, with a truly remarkable acceleration, from the anxious demand for a native tradition of European-style belles lettres to a self-assured revival of spiritual intelligence and cultural autonomy. Washington Irving was among the first to confront the difficulty of finding a literary identity in a country lacking its own distinct cultural heritage. Though an inevitably changing America is the backdrop for Irving's stories, the author's love is for the sadly vanished glories of the past. He puts the reader between national history and sheer fancy, where the two mix to create a fictional territory. More fully than any of his contemporaries, James Fenimore Cooper exploited the possibilities of the American frontier for fiction. Compared with Robert Montgomery Bird of Philadelphia and William Gilmore Simms of Charleston, who take blunt racist attitude toward the Indians in their novels, Cooper has more capacious historical vision. He demonstrates that all the contestants in the struggle for possession of North America in the middle of the eighteenth century are overwhelmed by forces beyond their control. While Cooper is inspired by civilization-building and the march of American progress across the continent, he is also committed to a nostalgic pastoral vision. The typical Southern writers were regional in focus. Before the war, only Edgar Allan Poe emerged from the "Old South." Few of Poe's 1810 年至 1865 年期间，美国以真正令人瞩目的加速度，从对欧洲风格文学传统的焦虑需求，转变为对精神智慧和文化自治的自信复兴。华盛顿·欧文是最早面对在一个缺乏独特文化遗产的国家中寻找文学身份的困难的人之一。尽管一个不可避免变化的美国是欧文故事的背景，但作者的爱却是对过去悲伤消失的荣耀。他将读者置于国家历史和纯粹幻想之间，二者交融形成一个虚构的领土。詹姆斯·芬尼莫·库珀比他的同时代人更充分地利用了美国边疆的小说可能性。与费城的罗伯特·蒙哥马利·伯德和查尔斯顿的威廉·吉尔莫·辛姆斯相比，他们在小说中对印第安人采取了直率的种族主义态度，库珀具有更广阔的历史视野。他表明，18 世纪中叶争夺北美控制权的所有竞争者都被超出他们控制范围的力量所压倒。 虽然库珀受到文明建设和美国进步在整个大陆上的进程的启发，但他也致力于怀旧的田园视野。典型的南方作家关注地区。战前，只有埃德加·爱伦·坡从“旧南方”崛起。"波的少数
works feature Southern locales and characters, and none has distinctive southern themes. He constructs his work around the central issue of unconscious psychological revelation and is fascinated with death, violence, perversity, and madness. His conception of overall effect and precise denouement is quite influential. In the 1840s there appeared distinctive poetic voices of Henry Wadsworth Longfellow, William Cullen Bryant, John Greenleaf Whittier, Oliver Wendell Homes, and James Russell Lowell, who are commonly labeled the Fireside Poets or the Schoolroom Poets. One of the common elements in these poets' work is the light of the fireside; its glow helps to create a neutral ground where the poet and reader can find imaginative delight and melancholy instruction. In a society that has made the first step from agrarian life to the urban, industrial pattern, these poets insist the permanent elements of human nature, eulogize a harmonious life, and lift men's common aspiration and sympathies. Though sometimes out of fashion, their poetry is never out of date. Social life in women's writing of this period was largely represented from a middle-class and white Anglo-Saxon perspective. The first highly successful woman author was Catharine Maria Sedgwich who explored ideas of patriotism, religious rationalism, and womanly self-reliance. A special space must be given to Margaret Fuller who was at once a feminist and an important figure in the transcendental movement. Her transcendental, masculine commitment to self-cultivation and self-expression is balanced by a feminine belief in cooperation and relation. Two other notable women novelists were Louisa May Alcott, author of Little Women, and Harriet Beecher Stowe, author of Uncle Tom's Cabin. Within the context of a regional writing, a colloquial style, Southern writers created the tall tale as a form of ironic hyperbole. The American stage in the nineteenth century was colonial. Dramas written by American authors constituted a very small part, but their subjects and character types were largely native: serious Indian plays, frontier and rural dramas, Yankee plays, temperance plays, minstrel afterpieces, burlesques, and melodramas. From 1810 to 1865 America experienced great anxiety: New England farms declined; household economy gradually broke down; Native Americans were brutally removed from their land; slavery spread from Virginia to Texas. The most powerful expression of anxiety was found in the growth of evangelical religion, most markedly in the Second Great Awakening. A host of reform movements were spawned in the 1840s. In the process, the secular historical authority of the Revolution was displaced by the sacred, providential purpose to which God had committed the nation. However, by 1865, the dominant voice stopped being God's. Voices were reduced to two, the North's and the South's, and the former prevailed as "American." Although a debate on abolition opened in both North and South as early as the early 1830 s, but it took another twenty years for the voices to polarize themselves on a North-South axis. New England transcendentalism was the first American intellectual movement to inspire a substantial number of literary classics: the best essays of Ralph Waldo Emerson and Henry David Thoreau, and the poetry of Walt Whitman. Transcendentalism accepted Unitarianism's most important anti-Calvinist claim that human nature is improvable through nurture and self-culture. The "discovery" of the Reason was the great intellectual breakthrough. Transcendentalism thus emerged as a consciousness-raising project fomented by a group of loosely linked intellectuals who sought philosophical, theological, and social reforms and gave support to abolitionism. It was on literature that transcendentalism had the greatest and most permanent influence. Emerson, Thoreau, and Fuller developed a strongly didactic prose style to reflect moral and spiritual truths Emerson produced "The American Scholar" to lament America's cultural backwardness and call for a national literature, attempting to define the place of the scholar in a democratic and mercantile society. Thoreau's life was practical realizations of Emersonian project: a socially unencumbered Self walks amid a Nature which can activate Ideas enough. However, not all of America's notable antebellum writers shared the idealist program of literature. For Nathaniel Hawthorne, obsession and the concealment of obsession form his great literary subjects. His most importance to the history of fiction may be his development of analytic, psychological realism. His interest is New England's colonial past and many of his tales focus on the narrow-minded sons and grandchildren of the first settlers. Herman Melville is known for his voyage books. For a lifetime he was fascinated with the question of 作品以南方地区和人物为特色，没有明显的南方主题。他围绕无意识心理启示的核心问题构建自己的作品，对死亡、暴力、变态和疯狂着迷。他对整体效果和精确结局的构想具有相当大的影响力。在 19 世纪 40 年代，出现了亨利·沃兹沃斯·朗费罗、威廉·卡伦·布莱恩特、约翰·格林利夫·惠蒂尔、奥利弗·温德尔·霍姆斯和詹姆斯·罗素·洛厄尔等独特的诗歌声音，他们通常被称为壁炉诗人或学堂诗人。这些诗人作品中的一个共同元素是壁炉的光芒；它的光辉有助于营造一个中立的场所，使诗人和读者能够找到想象的乐趣和忧郁的启示。在一个已经从农业生活转向城市、工业模式的社会中，这些诗人坚持人类本性的永恒元素，颂扬和谐的生活，提升人们的共同愿望和同情心。尽管有时过时，但他们的诗歌永远不会过时。这一时期女性写作中的社会生活主要是从中产阶级和白人盎格鲁-撒克逊人的角度来代表的。 第一位极其成功的女作家是凯瑟琳·玛丽亚·塞奇威奇，她探索了爱国主义、宗教理性主义和女性自力更生的思想。玛格丽特·富勒也应该被特别提及，她既是一位女权主义者，也是超验主义运动中的重要人物。她对自我修养和自我表达的超验、男性化承诺，与对合作和关系的女性信念相互平衡。另外两位著名女小说家是路易莎·梅·奥尔科特，著有《小妇人》，以及哈里特·比彻·斯托夫，著有《汤姆叔叔的小屋》。在地区写作、口语风格的背景下，南方作家创作了荒诞夸张的传奇故事。19 世纪美国舞台是殖民的。美国作家创作的戏剧只占很小一部分，但他们的题材和角色类型大多是本土的：严肃的印第安人戏剧、边疆和乡村戏剧、纽约人戏剧、禁酒戏剧、黑人剧场后续、讽刺剧和通俗剧。 从 1810 年到 1865 年，美国经历了巨大的焦虑：新英格兰农场衰落；家庭经济逐渐崩溃；土著美洲人被残酷地驱逐出他们的土地；奴隶制从弗吉尼亚传播到德克萨斯。焦虑的最强烈表达在福音宗教的增长中体现得最为明显，尤其是在第二次大觉醒中。在 1840 年代，涌现了一系列改革运动。在这个过程中，革命的世俗历史权威被神圣的、上帝赋予国家的目的所取代。然而，到 1865 年，主导的声音不再是上帝的。声音被减少为两种，北方和南方的声音，前者胜出成为“美国人”。尽管在早在 1830 年代初期，北方和南方都开始了废奴辩论，但另外二十年才使声音在北方和南方之间极化。新英格兰超验主义是第一个激发大量文学经典的美国知识运动：拉尔夫·沃尔多·爱默生和亨利·大卫·梭罗的最佳散文，以及沃尔特·惠特曼的诗歌。 超验主义接受了一神论最重要的反加尔文主义主张，即人性可以通过培育和自我修养得以改善。理性的“发现”是伟大的智力突破。因此，超验主义作为一个意识提升项目出现，由一群松散联系的知识分子发起，他们寻求哲学、神学和社会改革，并支持废奴主义。超验主义对文学产生了最大和最持久的影响。爱默生、梭罗和富勒发展了一种强烈的说教散文风格，以反映道德和精神真理。爱默生创作了《美国学者》来哀叹美国文化的落后，并呼吁建立一个国家文学，试图定义学者在一个民主和商业社会中的地位。梭罗的生活是爱默生计划的实际实现：一个社会无拘无束的自我在可以激发足够思想的自然中行走。然而，并非所有美国显赫的战前作家都分享文学的理想主义计划。对于纳撒尼尔·霍桑来说，执念和执念的隐藏构成了他伟大的文学主题。 他对小说史最重要的贡献可能是他发展了分析性、心理现实主义。他对新英格兰的殖民历史感兴趣，他的许多故事都聚焦于第一批移民的心胸狭窄的子孙。赫尔曼·梅尔维尔以他的航海书籍而闻名。一生中，他对这个问题着迷
God's existence and nature, the problem of evil, the limits of knowledge, and the indifference of Creation. Standing between Emerson and the modern age in America, Walt Whitman remained the most successful apologist for a literature that is universal because it is native. His poetry stands up for the civil liberties of the Self in the New World. Instead of seeing the body as an emblem of the soul, he contradicts transcendentalists holding the union of Body and Soul. Instead of proceeding to a spiritualization, like the transcendentalists, he never forgets that his body is the theater. His masterly use of American vernacular also earns him the name "an American bard." 上帝的存在和本质，邪恶问题，知识的限度以及创造的冷漠。站在爱默生和现代美国之间，沃尔特·惠特曼仍然是对一种因为本土而普遍的文学最成功的辩护者。他的诗歌为新世界中的自由主义者辩护。他不把身体视为灵魂的象征，而是与超验主义者相矛盾，认为身体和灵魂是统一的。与超验主义者不同，他从不忘记自己的身体是舞台。他对美国白话的精湛运用也赢得了他“美国诗人”的称号。
1865-1910 Through the half decade of the Civil War a systematic program of national consolidation and expansion was carried out, committed the country to the most rapid material, industrial, technological development. The epoch-defining processes made possible the nationalization, the incorporation, and the reinstitutionalization of American life and culture. The rules of social action had somehow changed. There appeared heavy European immigration and significant movements of the population from rural to urban areas. The city appeared as part of the national network of modernization actualized by new railroad lines and telegraph wires. A new gulf had opened between the advantaged and disadvantaged, and an oppressive consciousness of displacement and separation lay in wait for nearly everybody not wholly in thrall to the new business-coup mentality. From the 1870s through the early 1900 s realism was a developing series of responses to such changes. Initially appearing in French aesthetic theory, "realism" designates an art based on the accurate, unromanticized observation of life and nature. As William Dean Howells or Robert Herrick did, there was an attempt to give a comprehensive picture of modern life in its various occupations, class stratifications, and manners. Focusing on the rising middle elasses, Howells seeks to translate his awareness of the potential violence of American class conflict into fiction. He probes the decay of moral values that seems to accompany the industrialization of agrarian America. In his view, fiction must be "true to motives, the impulses, the principles that shape the life of actual men and women"; while it should be infused with an ethical sense that will counter the materialism of contemporary life. In a world increasingly defined by technology and labor, flawlessly sketched landscapes of the local colorists came to seem a lost world. Vernacular writing by Mark Twain, Sarah Orne Jewett, Hamlin Garland, and Willa Cather manifests that realistic literature must embody the race, the milieu, and the historical moment of its author. In their often nostalgic attention to diverse regional customs eroded by standardized urban society, they share with British writers like Thomas Hardy that a work's realism resides both in its local details and in the larger transfigurations of national ideology to which it responds. The role of black writers in American realism was special. Charles Chesnutt, Paul Laurence Dunbar, W. E. B. Du Bois, and Thomas Nelson Page not only added a distinctive voice to American fiction, but also challenged the extent of democratic freedoms through their assimilation. Toward the end of the nineteenth century, an international movement dislodged a primary assumption of realism that characters were autonomous agents, responsible for their behavior. The "naturalists" committed themselves to the premise of "absolute determinism," and wrote novels in which conditions dictated events. Determinism appeared in print no earlier than 1846, according to which individuals are no longer morally independent but succumbed to the logics of heredity and environment. Stephen Crane, Frank Norris, Jack London, and Theodore Dreiser incorporated these assumptions into their works, analyzing social systems that destroy and dehumanize, and individual trajectories of failure or success. Despite all the changes, the confidence about being an American permeated the entire period. Nothing strengthened that confidence more than the popular literature of the time, especially the dime novel. Full of adventures and romances, dime novels were implicitly political in their nationalism, racism, and sexism. They were intended to tell their audience what they ought to be rather than who they were. The rise of modern bourgeoisies was interrelated with the emergence of the press. Print culture, especially newspaper and periodical writing, played a crucial part in shaping and identifying various modern ethnic communities. Black, Indian, Jewish, and German groups established respective print communities, suggesting 1865-1910 年间，通过半个世纪的内战，进行了一项系统的国家巩固和扩张计划，使国家致力于最快速的物质、工业和技术发展。这一定义时代的进程使得美国生活和文化的国家化、合并和再制度化成为可能。社会行动的规则在某种程度上发生了变化。出现了大量的欧洲移民以及人口从农村向城市地区的重要迁移。城市作为现代化国家网络的一部分出现，由新的铁路线和电报线实现。一个新的鸿沟已经在受益者和受害者之间打开，一种对被迫迁移和分离的压抑意识等待着几乎每个不完全受制于新的商业政变心态的人。从 1870 年代到 20 世纪初，现实主义是对这些变化的一系列反应。最初出现在法国美学理论中，“现实主义”指的是基于对生活和自然的准确、不浪漫化观察的艺术。 正如威廉·迪恩·豪尔斯或罗伯特·赫里克所做的那样，有人试图全面展现现代生活的各种职业、阶级分化和风俗。豪尔斯专注于崛起的中产阶级，试图将他对美国阶级冲突潜在暴力的认识转化为小说。他探讨了道德价值观的衰败，似乎伴随着美国农业工业化的进行。在他看来，小说必须“忠于激励、冲动、塑造实际男女生活的原则”；同时，它应该充满一种道德感，以抵制当代生活的唯物主义。在一个日益被技术和劳动定义的世界中，当地色彩派无瑕的描绘景观似乎成为一个失落的世界。马克·吐温、莎拉·奥恩·朱厄特、哈姆林·加兰和威拉·凯瑟等方言作家的作品表明，现实主义文学必须体现作者的种族、环境和历史时刻。 在对多样化地区习俗的怀旧关注中，这些作家与像托马斯·哈代这样的英国作家分享了一种观点，即作品的现实主义既存在于其当地细节中，也存在于其回应的国家意识形态的更大转变中。美国现实主义中黑人作家的角色是特殊的。查尔斯·切斯纳特、保罗·劳伦斯·邓巴、W·E·B·杜波依斯和托马斯·纳尔逊·佩奇不仅为美国小说增添了独特的声音，而且通过他们的同化挑战了民主自由的程度。19 世纪末，一个国际运动推翻了现实主义的一个主要假设，即角色是自主代理人，对其行为负责。"自然主义者"致力于"绝对决定论"的前提，并写了一些小说，其中情况决定了事件。决定论最早出现在 1846 年的印刷品中，根据这一理论，个体不再具有道德独立性，而是屈服于遗传和环境的逻辑。 斯蒂芬·克雷恩、弗兰克·诺里斯、杰克·伦敦和西奥多·德莱塞将这些假设融入了他们的作品中，分析了摧毁和贬低社会系统，以及个体失败或成功的轨迹。尽管一切都在变化，但对成为美国人的信心贯穿整个时期。没有什么比当时流行文学更能加强这种信心，尤其是一美分小说。一美分小说充满了冒险和浪漫，隐含着民族主义、种族主义和性别歧视。它们旨在告诉观众他们应该成为什么样的人，而不是他们是谁。现代资产阶级的崛起与新闻业的兴起密切相关。印刷文化，尤其是报纸和期刊写作，在塑造和识别各种现代族群中起着至关重要的作用。黑人、印度人、犹太人和德国人群体建立了各自的印刷社区，这表明
a certain group identification and mutual adoption between them and America. By the nineteenth century the new woman demanded attention as a powerful social-literary figure. From the 1890 s the new woman - independent, outspoken, iconoclastic - empowered the work of Kate Chopin, Alice James, Charlotte Perkins Gilman, Edith Wharton, Ellen Glasgow, Willa Cather, and Gertrude Stein. Traditional women characters often undergo the duality of the outward existence which conforms, and the inward life which questions. But the new woman is not content to continue the duality nor to sustain its terms of conformity and concealment. The idea of conscious choice is a hallmark of the identity of the new woman, who is very much a middle-class figure, since women from the working class are not able to shape their lives. Such new fiction met hostile reception from both distinguished male writers and conservative women writers in defense of tradition. They opposed the new woman by proclaiming the sacred doctrines of domesticity. Some new-woman writers chose to mask their radical impulses. Only by the 1900 s were they abandoning constraints on consciousness. Among the major voices of the period, Emily Dickinson, Mark Twain, and Henry James were the most outstanding. Dickinson made a profound contribution to American literature because of her radical questioning, reworking, and often rejection of conventional language, poetic style, theology, feminine roles, and attitudes toward her world. Unlike her male contemporaries who participated in public life, Dickinson found freedom from excessive sociability in solitude and in nature. Twain belonged to the generation that lived in the shadow of the gold rush. The magical and treacherous qualities of wealth under unique American circumstances come to seem aspects of reality for him. One of Twain's greatest achievements is to write the most important first-person narrative in American literature. He favors the travel motif and stages his books around the inner life of an appealing central narrator whose voice and idiom have a freshness that creates anew the entire observed world and charges it with moral drama. Unlike James who looked up to Europe, Twain stood up to it and defended democratic ordinariness with his humor. Different from many nineteenth-century novelists on both sides of the Atlantic, James rarely indulged in conventional pieties about the wickedness of wealth and the virtues of the poor. He is best known for his international novels in which protagonists arrive in Europe with dreams of cultural possession and end with disillusionment. In James's view, reality "has a myriad forms" and the sensitive artist's "experience" includes the capacity to imagine and to deduce the entire world from the most floating of impressions. In his late masterpieces James restricts the narrative to the point of view of a single character and subtly refines the free indirect style. He continues to conceal the narrator's presence, denying himself the privilege of "going behind" the characters. 一定程度上的群体认同和他们与美国之间的相互采纳。到了 19 世纪，新女性作为一个强大的社会文学形象开始引起关注。从 19 世纪 90 年代开始，新女性——独立、直言不讳、破坏传统——赋予了凯特·肖邦、爱丽丝·詹姆斯、夏洛特·珀金斯·吉尔曼、伊迪丝·沃顿、埃伦·格拉斯哥、威拉·凯瑟和格特鲁德·斯坦的作品力量。传统女性角色经常经历外在存在的二元性，即符合规范的外在生活和质疑的内在生活。但新女性不满足于继续这种二元性，也不愿维持其符合和隐藏的条件。有意识选择的概念是新女性身份的标志，她们在很大程度上是中产阶级人物，因为来自工人阶级的女性无法塑造自己的生活。这样的新小说遭到了杰出男性作家和保守女性作家的敌意对待，他们为了捍卫传统而反对新女性。他们通过宣扬家庭主义的神圣教义来反对新女性。一些新女性作家选择掩饰他们的激进冲动。直到 20 世纪初，她们才放弃了对意识的约束。 在这一时期的重要声音中，艾米莉·狄金森、马克·吐温和亨利·詹姆斯是最杰出的。狄金森因其对传统语言、诗歌风格、神学、女性角色和对世界态度的激进质疑、改编和常常拒绝而对美国文学做出了深刻贡献。与参与公共生活的男性同时代人不同，狄金森在孤独和大自然中找到了摆脱过度社交的自由。吐温属于生活在淘金热阴影下的一代人。在独特的美国环境下，财富的神奇和危险品质似乎成为他现实的一部分。吐温最伟大的成就之一是写出了美国文学中最重要的第一人称叙述。他偏爱旅行主题，并将他的书籍设置在一个吸引人的中心叙述者的内心生活周围，这位叙述者的声音和语言风格带有一种新鲜感，重新创造了整个被观察世界，并赋予其道德戏剧性。与仰视欧洲的詹姆斯不同，吐温站了起来，并用他的幽默捍卫了民主的平凡。 詹姆斯与大西洋两岸许多 19 世纪小说家不同，很少沉溺于传统的关于财富邪恶和穷人美德的陈词滥调。他以国际小说而闻名，其中主人公带着对文化占有的梦想来到欧洲，最终以幻灭告终。在詹姆斯看来，现实“有无数形式”，敏感的艺术家的“经验”包括想象和从最飘渺的印象中推断整个世界的能力。在他的晚期杰作中，詹姆斯将叙述限制在单一人物的视角，并微妙地完善了自由间接风格。他继续隐藏叙述者的存在，拒绝自己享有“深入”人物的特权。
1910-1945 The intellectual currents of the inter-war period were infused with the tension between production and consumption, between earning and spending, between work and leisure, between abundance and scarcity. Corporate enterprise helped to spread the spirit of consumption throughout American culture, and it played a major role in altering the general public's ways of thinking about self-identity and articulating personal values. Everything seemed uncertain in the new consumer society that was emerging, including the difficult task of securing a reliable sense of one's own "place" in the world. As the number of assembly lines and conveyor belts increased, threatening individuality and weakening pride in personal accomplishment, a surge of nonconformity sprang up. Orthodox belief in virtually every aspect of American life remained suspect. Many of the constraints inhibiting social and cultural innovation had begun to weaken. A talismanic word, "new," set the tone for a good deal of thought and expression. Americans learned about the "New History," the "New Woman," the "New Theater," the "New Poetry." By the end of the century, a handful of critics, most notably Percival Pollard, Edgar Saltus, and James Gibbons Huneker, were promoting a different kind of culture to shake up the cultural establishment. In their view, art and literature were to be enjoyed like sex and food and drink. Thanks to their efforts, symbolism, impressionism, and anarchism became familiar concepts, and the philistinism and materialism of the middle class became legitimate targets for satire. Under such circumstances, regionalism having associated with political 1910-1945 年间，战间期的知识潮流充满了生产与消费、赚钱与花钱、工作与休闲、丰裕与匮乏之间的紧张关系。公司企业帮助传播了消费精神贯穿美国文化，并在改变公众对自我认同和个人价值观的思考方式中发挥了重要作用。在新兴的消费社会中，一切似乎都不确定，包括确立自己在世界中的“位置”的困难任务。随着装配线和传送带的增加，威胁到个性和削弱对个人成就的自豪感，一股非传统的潮流涌现。对美国生活几乎每个方面的正统信仰仍然受到怀疑。许多抑制社会和文化创新的约束开始减弱。一个有魔力的词语“新”为大量思考和表达设定了基调。美国人了解了“新历史”、“新女性”、“新剧院”、“新诗歌”。到世纪末，少数评论家，尤其是 Percival Pollard，Edgar Saltus 和 James Gibbons Huneker，正在推动一种不同的文化，以动摇文化机构。在他们看来，艺术和文学应该像性爱、食物和饮料一样被享受。由于他们的努力，象征主义、印象主义和无政府主义成为熟悉的概念，中产阶级的庸俗和唯物主义成为合法的讽刺目标。在这种情况下，与政治有关的地方主义
and geographical regions became a diminished thing. After the Civil War, regions were sections that had lost its political power to be nations and shrunk to the status of province in a union. Sherwood Anderson wrote books that were both regional and modern. He created a Midwestern town placed by grotesques, isolated both from each other and from themselves. William Faulkner, more than any Southern writer, realized the loss and the possibilities of loss within the region. He invented not a town but a county and produced a series of discrete and self-contained novels and stories related to each other through the blood lines and property lines. Other important Southern writers included Katherine Anne Porter and Flannery O'Connor. They depicted the helplessness of a worn land representing both the ruin of and resistance to the civilization. The intellectual awakening Ezra Pound predicted in 1913 derived in part from these aesthetic critics, but it embraced a broad range of social issues: education, feminism, Freudian psychology, birth control, penology, industrial unionism. The new radicals had "knives in their brains." Pound called the awakening a "Risorgimento," by which he meant "a whole volley of liberations." The dissenters, a mix of idealists, pragmatists, anarchists, pagans, aesthetes, often clashed over their respective tastes and goals. But they had a common enemy in what they loosely and inexactly labeled "Puritanism," a catchall term for everything that appeared to them arid, repressive, and joy-denying in American life. The imagist poets, notably Pound, Amy Lowell, and Hilda Doolittle (H. D.), rebelled against standard poetic material and forms as well as traditional expressions of sense experience, advocating instead the direct presentation of feelings in exquisite images. During the same time, Robert Frost, Vachel Lindsay, Edgar Lee Master, and Carl Sandburg created different kinds of modernist poetry. Frost, for example, adopted traditional forms but used colloquial language and the subject matter of every life, showing disbelief in a stable religious faith. E. E. Cummings combined typographic and grammatical experimentation with romantic humanism and occasional social commentary. Wallace Stevens started his lifelong phenomenology of discourse about the imagination. Many writers who figured prominently in the 1920s, the Jazz Age, belonged to the group which Gertrude Stein dubbed the "lost generation." Cummings, John Dos Passos, and Ernest Hemingway had fallen under the spell of Paris during the war and returned as soon as they could be drawn to the center of avant-garde movements, the city of James Joyce, Pound, and Stein. For them, Berlin or Rome but chiefly Paris provided a humane and tolerant climate. As Stein observed, Paris was "where the twentieth century was" and where the most interesting modernist experiments were taking place. There they formed part of an American enclave and contributed to the advanced magazines that published the work of Hemingway, William Carlos Williams, and Hart Crane before most American publishers dared to take them on. Without such small magazines, without the direct influence of Parisbased intellectuals and artists, it would be difficult to account for the experimental styles and international appeal of the best pre-World War II American writing. Black literature flourished in the 1920s in the Northeast part of New York City called Harlem, a neighborhood of poor Black slums. Black writers appearing in the Harlem Renaissance, including Claude Mckay, James Weldon Johnson, Langston Hughes, Countee Cullen, Sterling A. Brown, and Zora Neale Hurston, were productive and influential, expressing their black pride and recognizing their independent and oppositional cultural force. They rejected merely imitating the styles of Europeans and white Americans and instead explored the historical experiences of black America and the contemporary experiences of black life in the urban North. Mexican American literature took shape in the context of a hybrid frontier environment. Across the Southwest Mexican Americans maintained Mexican traditions in response to irresistible Anglo influences and dev́eloped a distinctive culture and literature. Eusebio Chacón was the most respected Mexican novelist. Asian American writing mirrored the evolving self-image and consciousness of an often misunderstood and increasingly significant racial minority group. Writers recorded the experiences of Asians in the United States and gave powerful expression to individual experiences and perceptions. The best-known writer was Lin Yutang. Women writers of the period suffered conflict, repression, and decline. While the shift from the feminist to the flapper as the womanly ideal caused anxiety for women planning literary careers in the 1920s and 地理区域变成了一个较小的事物。内战后，地区成为失去政治权力成为国家并缩小到联盟中省份地位的部分。谢伍德·安德森写了既有地域特色又现代的书。他创造了一个被怪诞人物所占据的中西部小镇，彼此之间和自己都被孤立起来。威廉·福克纳，比任何南方作家都更加意识到地区内的损失和可能的损失。他创造了一个县而不是一个城镇，并创作了一系列独立而自成一体的小说和故事，通过血缘和财产线相互联系。其他重要的南方作家包括凯瑟琳·安·波特和弗兰纳里·奥康纳。他们描绘了一个疲惫土地的无助，代表了文明的毁灭和抵抗。埃兹拉·庞德在 1913 年预言的知识觉醒在一定程度上源自这些审美批评家，但它涵盖了广泛的社会问题：教育、女权主义、弗洛伊德心理学、节育、刑法学、工业工会主义。新的激进分子脑中有“刀子”。磅称这种觉醒为“复兴”，他指的是“一连串的解放”。持不同意见者，包括理想主义者、实用主义者、无政府主义者、异教徒、唯美主义者，经常在各自的品味和目标上发生冲突。但他们在所谓的“清教主义”这个宽泛而不准确的标签下有一个共同的敌人，这个标签包括了一切在他们看来干燥、压抑和剥夺快乐的美国生活。意象派诗人，尤其是磅、艾米·洛威尔和希尔达·杜利特尔（H. D.），反抗了传统诗歌材料和形式以及传统的感官体验表达，主张用精致的形象直接呈现感情。与此同时，罗伯特·弗罗斯特、瓦切尔·林赛、埃德加·李·马斯特和卡尔·桑德堡创作了不同类型的现代主义诗歌。例如，弗罗斯特采用传统形式，但使用口语和日常生活的主题，表现出对稳定宗教信仰的怀疑。E. E. 康明斯将排印和语法实验与浪漫人道主义和偶尔的社会评论相结合。华莱士·史蒂文斯开始了他终身关于想象力的现象学论述。 20 世纪 20 年代的许多作家，即爵士时代的作家，属于格特鲁德·斯坦称之为“迷失的一代”的群体。卡明斯、约翰·多斯·帕索斯和欧内斯特·海明威在战争期间深受巴黎的魅力，一回到就被吸引到前卫运动的中心，即詹姆斯·乔伊斯、庞德和斯坦的城市。对他们来说，柏林或罗马，但主要是巴黎提供了一个人道和宽容的氛围。正如斯坦所观察到的那样，巴黎是“二十世纪的所在地”，也是最有趣的现代主义实验正在进行的地方。在那里，他们成为美国人的一部分，并为那些在大多数美国出版商敢于接受之前出版海明威、威廉·卡洛斯·威廉姆斯和哈特·克兰的作品的先进杂志做出了贡献。如果没有这些小杂志，没有巴黎知识分子和艺术家的直接影响，很难解释二战前美国最佳作品的实验风格和国际吸引力。20 世纪 20 年代，黑人文学在纽约市东北部的哈莱姆繁荣发展，那里是一个贫困黑人贫民窟的社区。 黑人作家出现在哈莱姆文艺复兴中，包括克劳德·麦凯、詹姆斯·韦尔登·约翰逊、兰斯顿·休斯、康提·卡伦、斯特林·A·布朗和佐拉·尼尔·赫斯顿，他们富有成效且具有影响力，表达了他们的黑人自豪感，并认识到他们独立和对抗性的文化力量。他们拒绝仅仅模仿欧洲人和白人美国人的风格，而是探索了黑人美国的历史经验和城市北部黑人生活的当代经验。墨西哥美国文学在混合边疆环境中形成。在西南部，墨西哥美国人保持了墨西哥传统，以应对不可抗拒的盎格鲁影响，并发展出独特的文化和文学。尤塞比奥·查孔是最受尊敬的墨西哥小说家。亚裔美国人的写作反映了一个常常被误解且日益重要的种族少数群体的不断演变的自我形象和意识。作家记录了亚裔在美国的经历，并有力地表达了个人经历和感知。最著名的作家是林语堂。 当时的女性作家遭受了冲突、压抑和衰落。在 20 世纪 20 年代，从女权主义者转向疯狋女作为女性理想，使计划文学生涯的女性感到焦虑
1930s, the reaction against the feminine voice in American literature in the colleges and the professional associations made the decades more difficult. Despite all the setbacks women writers, such as Stein, H. D., Marianne Moore, produced an important body of work that has finally become influential. The onset of the Depression abruptly reversed the debunking style prevalent in the 1920 s. Writers set out to explore and report the effects of the devastation on the population, and to assess the anger and bewilderment of ordinary Americans. The most sensational social protest novel of the decade was John Steinbeck's The Grapes of the Wrath. Throughout the 1930s the theory and programs of the Communist party attracted a considerable number of writers and intellectuals who expressed and masked their personal anxieties in political metaphors and symbols. The Spanish civil war broke out in 1936 after the forces of General Francisco Franco, aided by Mussolini and Hitler. In the next few years, the war prompted an outpouring of antifascist literature. Though the influence of the Communist party was real, its impact on American culture as a whole and on American literature in particular was of less moment than that of home-bred movements. The overwhelming event of the forties was World War II. Between 1941 and 1945, the entire country, including most writers, donned real or metaphorical uniforms in "the fight for national survival." 上世纪 30 年代，美国文学界对女性声音的反应在大学和专业协会中使这几十年变得更加困难。尽管所有的挫折，像斯坦、H. D.、玛丽安·摩尔等女作家创作了一系列重要作品，最终产生了影响。大萧条的开始突然扭转了 20 世纪 20 年代盛行的揭露风格。作家们开始探索并报道灾难对人口的影响，并评估普通美国人的愤怒和困惑。这十年最轰动的社会抗议小说是约翰·斯坦贝克的《愤怒的葡萄》。在整个 30 年代，共产党的理论和计划吸引了相当数量的作家和知识分子，他们用政治隐喻和象征表达和掩饰了个人的焦虑。1936 年，西班牙内战爆发，由弗朗西斯科·弗朗哥将军、墨索里尼和希特勒支持。在接下来的几年里，这场战争引发了一波反法西斯主义文学的涌现。 尽管共产党的影响是真实的，但它对整个美国文化以及特别是对美国文学的影响，比起国内运动来说要小得多。四十年代最重大的事件是第二次世界大战。在 1941 年至 1945 年期间，整个国家，包括大多数作家，都穿上了真实或隐喻的制服，参加了“为国家生存而战”的斗争。"
1945 to the Present Postwar American history takes place in the context of two overwhelming developments: the international leadership of America in terms of economy and the growth of a postindustrial society. The first determines the political shape of America while the second determines its social structure. One of the immediate consequences of such a context is the difficulty to separate clearly the cultural and political interrelationships. The period is dominated not only by international issues, most notably involved with the Cold War and the third world, but also by such heated topics as the use of cultural resources, the government support for the arts, the influence of the media and the universities on the actual workaday situations of writers, and so on. With the emergence of notable writers who are outspokenly feminists, blacks, gays, immigrants, and other minority members, literature in America continually reawakens the myths of the melting pot, upward mobility, and a free and enlightened public. Such reawakened myths, of course, are often entangled with a violent expression of dissatisfaction at their betrayal and deferral. Whatever counts as important of post-World War II literature might best be discussed under the heading of power. After the war, many writers deserted their old practice of "socialist realism" in the 1930s, in part because of the recognition of the horrors of the Soviet state and a renewed patriotism. Even the most socially concerned writers tended to separate art from all politics. Then in the 1960 s, revolutionary texts exploded. The subjects include race and ethnicity; sex, sexuality, and gender; war, political violence and economic exploitation; and the destruction of nature. In turn, these statements altered culture in the United States in the 1970s and 1980s. After 1945, blacks have been America's most formidable voices of protest. During the 1960 s, three other racial groups forcefully claimed literary space: the Native American, the Hispanic, Puerto Rican, and Mexican American, and Asian American. About 1970, women within these racial and ethnic groups began to write about their "double jeopardy," that is, the experience of being a woman as well as a member of a "minority." Such women of color, including Ntozake Shange, Alice Walker, June Jordan, Toni Morrison, Lorraine Hansberry, Maya Angelou, Gwendolyn Brooks, Margaret Walker, and Zora Neale Hurston claimed a legacy: their own history, their own communal, familial, and linguistic memories. Writing both race and gender, they rejected, adapted, and helped to create the insights and images of the New Feminism that began in the 1960s. The New Feminist literature reflects the confluence of strong historical forces: the number of women of all races and classes, new forms of control of reproduction, changing patterns of marriage and divorce, and women's response to other liberation movements. In the 1970s, Adrienne Rich explored lesbianism. Homosexuality had been considered sinful, criminal, and illegal. During the late 1940s and 1950s, homosexuals both attracted some liberal sympathy and created the rudiments of protest organizations. Though not all gay and 1945 年至今战后美国历史发生在两个压倒性发展的背景下：美国在经济方面的国际领导地位和后工业社会的增长。前者决定了美国的政治形态，而后者决定了其社会结构。这种背景的一个直接后果是很难清晰地区分文化和政治之间的相互关系。这一时期不仅被国际问题所主导，尤其是与冷战和第三世界有关，还被诸如文化资源的利用、政府对艺术的支持、媒体和大学对作家实际工作环境的影响等激烈话题所主导。随着一些杰出作家的出现，他们公开表达了女权主义、黑人、同性恋者、移民和其他少数群体的立场，美国文学不断唤醒了熔炉、上升机会和自由开明公众的神话。当然，这些重新唤醒的神话经常与对其背叛和推迟的暴力表达纠缠在一起。 无论什么被视为二战后重要的文学作品，最好都在权力的范畴下进行讨论。战后，许多作家放弃了他们在上世纪 30 年代的“社会主义现实主义”实践，部分原因是认识到苏联国家的恐怖以及对祖国的重新爱国主义。即使是最关心社会问题的作家也倾向于将艺术与政治分开。然后在 1960 年代，革命性的文本爆发了。主题包括种族和民族; 性别、性取向和性别; 战争、政治暴力和经济剥削; 以及自然的破坏。反过来，这些声明改变了美国在 1970 年代和 1980 年代的文化。1945 年后，黑人一直是美国最强大的抗议之声。在 1960 年代，另外三个种族群体强烈要求文学空间：美洲原住民、西班牙裔、波多黎各人和墨西哥裔美国人，以及亚裔美国人。大约在 1970 年，这些种族和民族群体中的妇女开始写关于她们的“双重困境”，即作为女性和“少数群体”的成员的经历。这些有色彩的女性，包括恩托扎克·尚格、爱丽丝·沃克、朱恩·乔丹、托尼·莫里森、洛林·汉斯贝瑞、玛雅·安杰洛、格温德琳·布鲁克斯、玛格丽特·沃克和佐拉·尼尔·赫斯顿，宣称了一个遗产：她们自己的历史，自己的共同、家庭和语言记忆。她们在写作中既涉及种族又涉及性别，她们拒绝、适应并帮助创造了从 1960 年代开始的新女权主义的见解和形象。新女权主义文学反映了强大历史力量的交汇：各种种族和阶级的女性数量增加，生育控制的新形式，婚姻和离婚模式的变化，以及女性对其他解放运动的回应。在 1970 年代，艾德里安·里奇探讨了女同性恋。同性恋曾被视为罪恶、犯罪和非法。在 1940 年代末和 1950 年代，同性恋者既吸引了一些自由主义者的同情，又建立了抗议组织的雏形。尽管并非所有同性恋者都会
lesbian literature is politically radical for the destruction of capitalism or the transformation of the state, it is culturally radical and liberating. During much of the 1960 s, one focus of radical literature was war and peace. Rich, Susan Sontag, Mary McCarthy, Denise Levertov, Grace Paley, Robert Bly, and Galway Kinnell used literature to argue against the Vietnam War. In the 1980 s, radical literature exposed American force in Central America. Struggles were also made on university and college campuses about the wars, which were inseparable from the "youth movement" that legitimately demanded greater freedom, sexual self-determination, and respect for the young. The Bildungsroman became, not the narrative of adjustment to society, but a narrative of the right to, and rightness of, the rejection of both adjustment and society. Some of the wilder elements of the youth movement, such as distrust of structure and rationality, trust of sexuality, a preference for musical over literary texts, a delight in costumes and performances, drug use, were antecedents of Punk sensibility and writing in the 1970s and 1980s. A related form of protest, the ecology movement, spoke of the destruction of nature, of the biological and physical world. In the late 1950s, the poet Gary Snyder began to call for a "gentle stewardship" of nature, for a more sensitive awareness of our place in the ecosystem. In the late 1960s and 1970s, a major strand of radical feminism fused ecological and feminist thinking. Such writing promised that-nature would survive if women were to liberate and empower themselves. By the mid-1950s T. S. Eliot and the New Criticism had established a literary hegemony, providing the standards adopted by American poetry. Throughout the 1950s, oppositional forces had been developing, but they first became publicly visible through the beat poets, including Allen Ginsberg, Philip Lamantia, Michael McClure, Gary Snyder, Lew Welsh, and Philip Whalen. The beat poets boldly combine the mystical, the political, and the physiological. They proclaim naked self-expression and spontaneous composition. Drugs, madness, Jazz, extreme experiences of all kinds are sought to dislocate ordinary into visionary consciousness. Like the beat poets, the confessional poets, most notably John Berryman, Robert Lowell, and Sylvia Plath, repudiated the orthodoxies of the 1950s. They are unified in defining the creative act as a painful self-exposure, a direct expression of urgent emotion aroused by personal, often extreme, experiences. They probe psychic wounds and sought emotional catharsis. Unlike the beats, the confessional poets have a wide and deep impact on contemporary poetry by creating an atmosphere of permission for the use of intense personal emotion and autobiographical subjects. The Black Mountain poets were socially and closely knit, with Charles Olson as its center. Olson's most important contribution is his return of the human body to American poetry. Although both beat and confessional poets have placed a new emphasis on physical experience, they stress the pain and make it the subject of their poetry. Olson makes artistic creation a physiological process. Eugene O'Neill is generally acclaimed as America's greatest dramatist who sprawled realistic plays with an epic dimension. Before the production of O'Neill's last tragedies published in the 1940s, two playwrights moved into the genre. Tennessee Williams shapes his dramas by lurid violence, whereas Arthur Miller stages ethical imperatives. Moreover, Miller sees himself as a responsible realist whereas Williams is a lyrical romantic. The traditional narrative of American drama ended with Edward Albee, who is celebrated mainly for his early plays. After Albee, a narrative of American drama might skim over the performance craze of the 1960s, the extravagant musicals of the , and the dispersed regionalism of the . The revival of realism came in the postwar years and directed the novel form. Historical process has played a powerful part in American neorealist fiction. It is the writers including Saul Bellow, J. D. Salinger, Bernard Malamud, Norman Mailer, Joseph Heller, Herbert Gold, Nelson Algren, Wright Morris, Walter Abish, Raymond Carver, Joyce Carol Oates, Toni Morrison, Robert Stone, and Richard Ford who present the anxiety, the consciousness of modern nihilism, and the desire for moral recovery. The pressure of history, the sense of necessity, the hunger both to differentiate and reunite the self and society, allow for a strong apprehension of reality in their fiction. In the 1960s and 1970s there appeared self-reflexive fiction that explicitly concerns itself with the process of narration, writing, and composition. It establishes a relation between author and text, and therefore relates to the writing process and 女同性恋文学在政治上是激进的，因为它摧毁了资本主义或改变了国家，它在文化上是激进的和解放的。在 20 世纪 60 年代的大部分时间里，激进文学的一个焦点是战争与和平。里奇、苏珊·桑塔格、玛丽·麦卡锡、丹尼斯·莱弗托夫、格雷斯·佩利、罗伯特·布莱和加尔韦·金内尔利用文学来反对越南战争。在 20 世纪 80 年代，激进文学揭露了美国在中美洲的力量。大学和学院校园也在为战争而斗争，这与“青年运动”密不可分，这场运动合理地要求更大的自由、性自主权和对年轻人的尊重。成长小说不再是适应社会的叙述，而是关于拒绝适应和社会的权利和正确性的叙述。青年运动中一些更狂野的元素，比如对结构和理性的不信任、对性的信任、对音乐而非文学文本的偏爱、对服装和表演的喜爱、药物使用，这些都是朋克感性和 20 世纪 70 年代和 80 年代写作的先驱。 抗议的相关形式，生态运动，谈论了自然的破坏，生物和物理世界。在 20 世纪 50 年代末，诗人加里·斯奈德开始呼吁对自然进行“温和的管理”，对我们在生态系统中的地位有更敏感的意识。在 20 世纪 60 年代和 70 年代末，激进女性主义的一个主要流派融合了生态和女性主义思想。这样的写作承诺，如果女性解放和赋权，自然就会幸存下来。到 20 世纪 50 年代中期，T·S·艾略特和新批评主义已经确立了文学霸权，提供了美国诗歌采纳的标准。在 20 世纪 50 年代，对立力量一直在发展，但它们首次通过垮掉的诗人，包括艾伦·金斯伯格、菲利普·拉曼蒂亚、迈克尔·麦克卢尔、加里·斯奈德、卢·威尔士和菲利普·韦伦，变得公开可见。垮掉的诗人大胆地结合了神秘、政治和生理。他们宣称裸露的自我表达和即兴创作。药物、疯狂、爵士乐、各种极端经历都被寻求，以将普通的转变为幻觉意识。 像节奏诗人、自白诗人一样，尤其是约翰·贝里曼、罗伯特·洛威尔和西尔维娅·普拉斯等自白诗人，否定了 20 世纪 50 年代的正统观念。他们一致认为创作行为是一种痛苦的自我暴露，是对个人经历引发的紧急情感的直接表达。他们探究心灵创伤，寻求情感宣泄。与节奏诗人不同，自白诗人通过创造一种允许使用强烈个人情感和自传主题的氛围，对当代诗歌产生了广泛而深远的影响。黑山诗人社会关系紧密，以查尔斯·奥尔森为中心。奥尔森最重要的贡献是将人体重新引入美国诗歌。尽管节奏诗人和自白诗人都强调了对身体经验的新重视，但他们强调痛苦，并将其作为诗歌的主题。奥尔森将艺术创作视为一种生理过程。尤金·奥尼尔被普遍认为是美国最伟大的剧作家，他创作了具有史诗色彩的现实主义戏剧。在奥尼尔于 1940 年代出版的最后几部悲剧作品之前，已有两位剧作家进入了这一类型。 田纳西·威廉姆斯通过鲜明的暴力来塑造他的戏剧，而亚瑟·米勒则表现出道德的必要性。此外，米勒认为自己是一个负责任的现实主义者，而威廉姆斯则是一个抒情浪漫主义者。美国戏剧的传统叙事以爱德华·奥尔比结束，他主要因早期剧作而受到赞誉。在奥尔比之后，美国戏剧的叙事可能会涉及上世纪六十年代的表演狂热、浮华的音乐剧以及地区主义的分散。现实主义的复兴发生在战后年代，并指导了小说形式。历史进程在美国新现实主义小说中发挥了强大作用。包括索尔·贝娄、J·D·塞林格、伯纳德·马拉穆德、诺曼·梅勒、约瑟夫·海勒、赫伯特·戈尔德、纳尔逊·奥尔格伦、赖特·莫里斯、沃尔特·阿比什、雷蒙德·卡弗、乔伊斯·卡罗尔·奥茨、托尼·莫里森、罗伯特·斯通和理查德·福特等作家呈现了现代虚无主义的焦虑、意识和对道德复苏的渴望。历史的压力、必要性感、自我和社会分化与团结的渴望，使他们的小说中对现实有了强烈的理解。 在 1960 年代和 1970 年代出现了自我反思的小说，明确关注叙述、写作和构成过程。它建立了作者和文本之间的关系，因此与写作过程有关
allows the reader to witness the interplay between author and creation. Writers use such tools as parody, irony, digression, playfulness to demystify the illusionary aspect of the story. William Burroughs, Flannery O'Connor, John Hawkes, Kurt Vonnegut, Jr., John Barth, Richard Brautigan, Thomas Pynchon, Ishmael Reed, Jerzy Kosinski, William Gass, Robert Coover, and Donald Barthelme are outstanding representatives of the vein. Though culture has become more conservative during the past decades, the best writing continues to evolve in opposition to culture's reigning ideologies. The new directions include: the emergence of science fiction as a major literary genre; a more general interaction among literary genres, including critical theory and literature; the vitality and diversity of forms, voices, and myths developed by women and authors from other marginalized groups; the exploration of metaphors and thoughts drawn from science, computers, linguistics, pop culture, economics, and other sources; the recent flowering of the short story. As is shown, contemporary American literature is dazzlingly diverse, exciting, and evolving. New voices have arisen from many quarters, challenging old ideas and adapting literary traditions to suit changing conditions of the national life. Social and economic advances have enabled previously underrepresented groups to express themselves more fully, while technological innovations have created a fast-moving public forum. Reading clubs proliferate, and book fairs and literary festivals attract enthusiastic audiences. Writers from various cultural origins have emerged and are still surfacing, bringing about a literature of mixed cultural identities. To look at a list of the most respected contemporary American writers is to be struck by authors like E. L. Doctorow, Robert Stone, Don DeLillo, Maxine Hong Kingston, Amy Tan, Frank Chin, Alice Walker, Gayl Jones, Maya Angelou, Rita Dove, August Wilson, Philip Roth, Paul Auster, N. Scott Momady, Leslie M. Silko, Louise Erdrich, Rudolfo Anaya, Américo Paredes, Gary Soto, and Denise Chavez, to name only a few. Today, American literature has traversed an extended, winding path from pre-colonial days to contemporary times deeply implicative of society, history, and technology. 允许读者见证作者与创作之间的相互作用。作家们使用讽刺、讽刺、离题、嬉戏等工具来揭示故事的虚幻方面。威廉·S·巴勒斯、弗兰尼·奥康纳、约翰·霍克斯、库尔特·冯内古特、约翰·巴斯、理查德·布劳蒂根、托马斯·品钦、伊斯梅尔·里德、耶日·科辛斯基、威廉·加斯、罗伯特·库弗和唐纳德·巴塞尔姆是该领域的杰出代表。尽管过去几十年文化变得更加保守，但最好的写作仍在与文化主导的意识形态相对立中发展。新的方向包括：科幻小说作为一个重要的文学体裁的出现；文学体裁之间更普遍的互动，包括批评理论和文学；由女性和其他边缘化群体的作者发展的形式、声音和神话的活力和多样性；从科学、计算机、语言学、流行文化、经济学和其他来源汲取的隐喻和思想的探索；短篇小说的最近盛开。正如所示，当代美国文学是令人眼花缭乱、令人兴奋且不断发展的。 新声音已经从各个方面涌现出来，挑战着旧观念，并调整文学传统以适应国家生活条件的变化。社会和经济的进步使以前被边缘化的群体能够更充分地表达自己，而技术创新则创造了一个快速发展的公共论坛。阅读俱乐部不断增加，书展和文学节吸引着热情的观众。来自不同文化背景的作家已经涌现并仍在涌现，带来了一种混合文化身份的文学。看一下最受尊敬的当代美国作家名单，会让人惊讶地发现像 E. L. Doctorow、Robert Stone、Don DeLillo、Maxine Hong Kingston、Amy Tan、Frank Chin、Alice Walker、Gayl Jones、Maya Angelou、Rita Dove、August Wilson、Philip Roth、Paul Auster、N. Scott Momady、Leslie M. Silko、Louise Erdrich、Rudolfo Anaya、Américo Paredes、Gary Soto 和 Denise Chavez 等作者。如今，美国文学已经从殖民前的日子走过了一条漫长而曲折的道路，深深地影响着社会、历史和技术。
References
3. Sample Papers
The following paper demonstrates good use of manuscript form, following the MLA Handbook, 5th ed. References tell us where the writer found the original remarks and give page numbers for the quotations. More information about MLA style can be found in MLA Handbook for Writers of Research Papers, ed. Joseph Gibaldi (New York: The Modern Language Association of America, 1999). 本文展示了手稿形式的良好运用，遵循第 5 版 MLA 手册。参考文献告诉我们作者找到原始言论的地方，并为引用提供了页码。有关 MLA 风格的更多信息可在《研究论文写作 MLA 手册》，约瑟夫·吉巴尔迪（纽约：美国现代语言协会，1999 年）中找到。
William D. Crystal
Professor Akerley
English 1002
9 May 1998
"One of Us ...": Concepts of the Private and the Public in William Faulkner's "A Rose for Emily"
Throughout "A Rose for Emily," William Faulkner introduces a tension between what is private, or belongs to the individual, and what is public, or the possession of the group. "When Miss Emily Grierson died," the tale begins, 整个《为艾米莉献上一朵玫瑰》，威廉·福克纳介绍了私人事物或个人所有的东西与公共事物或群体所有的东西之间的紧张关系。 故事开始时，“当艾米莉·格里尔森小姐去世时”，
our whole town went to her funeral: the men through a sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house....
(119)
The men of the small town of Jefferson, Mississippi, are motivated to attend Miss Emily's funeral for "public" reasons; the women, to see "the inside of her house," that private realm which has remained inaccessible for "at least ten year." 杰斐逊小镇的男人们出席艾米丽小姐的葬礼是出于“公共”原因；女人们则是为了看“她的房子里面”，这个私人领域至少已经“十年”无人进入。
This opposition of the private with the public has intrigued critics of Faulkner's tale since the story was first published. Distinctions between the private and the public are central to Lawrence R. Rodgers's argument in his essay "'We all said, "she will kill herself'": The Narrator/ Detective in William Faulkner's 'A Rose for Emily."" The very concept of the detective genre demands that there "be concealed facts ... [which] must become clear in the end" (Rodgers 119), private actions which become public knowledge. In her feminist tribute - "A Rose for "A Rose for Emily'"-Judith Fetterley uses the private/ public dichotomy to demonstrate the "grotesque reality" (Fetterley 34) of the patriarchal social system in Faulkner's story. According to Fetterley, Miss Emily's "private life becomes a public document that the town folk feel free to interpret at will" ( 36 , emphasis added). Thus, while critics such as Rodgers and Fetterley offer convincing - if divergent - interpretations of "A Rose for Emily," it is necessary first to understand in Faulkner's eerie and enigmatic story the relationship between the public and the private, and the consequences of this relationship within the story and on the reader. 私人与公共的对立自从福克纳的故事首次发表以来就引起了评论家的兴趣。私人与公共之间的区别是劳伦斯·R·罗杰斯在他的文章《“我们都说，‘她会自杀’”：威廉·福克纳《为艾米丽献花》中的叙述者/侦探》中的论点的核心。侦探类型的概念要求“有隐藏的事实... [这些事实] 最终必须变得清晰”（罗杰斯 119），私人行为变成公共知识。在她的女权主义致敬作品《“为艾米丽献花”的“为艾米丽献花”》中，朱迪丝·费特利利用私人/公共的二分法来展示福克纳故事中父权社会体系的“怪诞现实”（费特利 34）。根据费特利的说法，艾米丽小姐的“私人生活变成了一个城镇居民随意解释的公共文件”（36，强调添加）。 因此，尽管像罗杰斯和费特利这样的评论家提供了令人信服的 - 即使是不同的 - 对“为艾米莉献上一朵玫瑰”的解释，但首先有必要了解在福克纳那神秘而难以捉摸的故事中公共与私人之间的关系，以及这种关系在故事中和读者身上的后果。
The most explicit illustration of the opposition between the public and the private occurs in the social and economic interactions between the town of Jefferson, represented by the narrator's "we," and the reclusive Miss Emily. "Alive," the narrator explains, "Miss Emily had been a tradition, a duty, and a care; a sort of hereditary 公共和私人之间的明显对立最明显地体现在由叙述者的“我们”代表的杰斐逊镇与隐居的艾米丽小姐之间的社会和经济互动中。“活着”，叙述者解释道，“艾米丽小姐曾经是一种传统、一种责任和一种关怀；一种类似世袭的。
obligation upon the town, dating from that day in 1894 when Colonel Sartoris, the mayor, ... remitted her taxes, the dispensation dating from the death of her father on into perpetuity" (120). Ironically (and this is one of the prime examples of the complexity of the relationship of private and public in the story), the price of privacy for Miss Emily becomes the loss of that very privacy. Despite - or perhaps because of - her refusal to buy into the community, the citizens of Jefferson determine that it is their "duty," their "hereditary obligation," to oversee her activities. When, for example, Miss Emily's house begins to emit an unpleasant smell, the town officials decide to solve the problem by dusting her property with lime. When she refuses to provide a reason why she wants to buy poison, the druggist scrawls "For rats" (126) across the package, literally and protectively overwriting her silence 镇上的义务，始于 1894 年萨托里斯上校，市长，...免除了她的税款，这种豁免从她父亲去世那天开始，一直延续到永远"（120）。具有讽刺意味的是（这是故事中私人与公共关系复杂性的主要例子之一），对于艾米丽小姐来说，隐私的代价就是失去了那种隐私。尽管 - 或许正因为如此 - 她拒绝融入社区，杰斐逊市的市民们决定，监督她的活动是他们的“责任”，他们的“世袭义务”。例如，当艾米丽小姐的房子开始散发出一股难闻的气味时，镇上官员决定用石灰清洁她的财产来解决问题。当她拒绝提供为什么要购买毒药的理由时，药剂师在包装上潦草地写着“给老鼠”（126），字面上和保护性地覆盖了她的沉默。
Arguably, the townspeople's actions serve to protect Miss Emily's privacy - by preserving her perceived gentility - as much as they effectively destroy it with their intrusive zeal. But in this very act of protection they reaffirm the town's proprietary relation to the public "monument" which is Miss Emily and, consequently, reinforce her inability to make decisions for herself. 可以说，镇民的行为既是为了保护艾米丽小姐的隐私——通过保留她被认为的温柔品质——又像是用他们的过分热情有效地破坏了这种隐私。但在这种保护行为中，他们重申了镇上对公共“纪念碑”艾米丽的所有权关系，因此加强了她无法为自己做决定的能力。
While the communal narrator and Miss Emily appear to be polar opposites - one standing for the public while the other fiercely defends her privacy - the two are united when an outsider such as Homer Barron appears in their midst. If Miss Emily serves as a representation - an icon, an inactive "tableau," an "idol" - of traditional antebellum southern values, then Homer represents all that is new and different. A "day laborer'" (124) from the North, Homer comes to Jefferson to pave the sidewalks, a task which itself suggests the modernization of the town. 尽管共同的叙述者和艾米丽小姐看起来是南辕北辙的 - 一个代表公共利益，而另一个则激烈捍卫她的隐私 - 当像霍默·巴伦这样的外来者出现在他们中间时，这两者却是团结在一起的。如果艾米丽小姐作为传统南方前战争价值观的代表 - 一个图标，一个不活跃的“静态画面”，一个“偶像” - 那么霍默代表了一切新颖和不同的东西。作为来自北方的“临时工”（124），霍默来到杰斐逊铺设人行道，这项任务本身就暗示了该镇的现代化。
The secret and destructive union between these two representational figures implies a complex relationship between the private with the public. When Miss Emily kills and confines his remains to a room in her attic, where, according to Lawrence R. Rodgers, "she has been allowed to carry on her illicit love affair in post-mortem privacy" (119), this grotesque act ironically suggests that she has capitulated to the code of gentility that Jefferson imagines her to embody. This code demands the end of a romantic affair which some residents deemed "a disgrace to the town and a bad example to the young people" (126), thus placing traditions and the good of the community above Miss Emily's own whishes. Through its insistence on Miss Emily's symbolic relation to a bygone era, the town — via the narrator — becomes "an unknowing driving force behind Emily's crime" (Rodgers 120). Her private act is both the result of and a support for public norms and expectations. 这两个代表性人物之间的秘密和破坏性联盟暗示了私人与公共之间复杂的关系。当艾米丽小姐杀死并将他的遗体关押在她阁楼的一个房间里时，根据劳伦斯·R·罗杰斯的说法，“她被允许在事后隐私中继续进行她的私通”（119），这种怪诞的行为讽刺地暗示她已经屈服于杰斐逊想象她具有的绅士精神准则。这种准则要求结束一段浪漫的恋情，一些居民认为这是“对镇上的耻辱，对年轻人的不良示范”（126），因此将传统和社区的利益置于艾米丽小姐自己的愿望之上。通过坚持认为艾米丽小姐象征着过去时代的关系，镇上——通过叙述者——成为“艾米丽犯罪背后的一个无意识的推动力”（罗杰斯 120）。她的私人行为既是公共规范和期望的结果，也是其支持。
At the same time, however, that act of murder also marks Miss Emily's corruption of that very code. By killing Homer in private, Miss Emily deliberately flouts public norms, and by eluding explicit detection until after her own death, she asserts the primacy of the private. The murder of the outsider in their midst thus leads Miss Emily to achieve paradoxically both a more complete privacy - a marriage of sorts without a husband - and a role in the preservation of the community. 与此同时，谋杀行为也标志着艾米丽对那个准则的腐化。通过在私下杀死霍默，艾米丽故意违背公共规范，并且直到自己去世后才被明确发现，她强调了私人的重要性。因此，在他们中间谋杀外来者导致艾米丽矛盾地实现了更完整的隐私 - 一种没有丈夫的婚姻 - 并在维护社区中扮演了角色。
Yet the elaborate relationship between Jefferson and Miss Emily is not the only way in which Homer's murder may be understood as a casualty of the tension between the public and the private. When Miss Emily kills Homer, Rodgers contends, 然而，杰斐逊和艾米丽小姐之间复杂的关系并不是唯一一种可以理解霍默之死是公共和私人之间紧张关系的牺牲品的方式。当艾米丽小姐杀死霍默时，罗杰斯认为，
From the town's point of view, it was the best thing. ... Homer represents the kind of unwelcome resident and ineligible mate the town wants to repel if it is to preserve its traditional arrangements. (125) 从镇的角度来看，这是最好的事情。... 如果要保持传统安排，霍默代表了镇上不受欢迎的居民和不合格的伴侣，镇上希望排斥的类型。 (125)
The people of Jefferson and Miss Emily join in a struggle to "repel" the outside and to ensure a private, inner order and tradition. This complicity creates intriguing parallels among the illicit, fatal union of Homer and Miss Emily, the reunion of the North and the South following the Civil War. In this reformulation of the private and the public, Miss Emily becomes, as Fetterley notes, a "metaphor and mirror for the town of Jefferson" (43). Miss Emily's 杰斐逊和艾米丽小姐的人民加入了一场“驱逐”外部势力、确保私人内部秩序和传统的斗争。这种共谋在荷默和艾米丽小姐的非法致命联盟、南北战争后北方和南方的团聚之间创造了有趣的类比。在私人和公共的重新构想中，正如费特利所指出的，艾米丽小姐成为了杰斐逊镇的“隐喻和镜子”（43）。艾米丽小姐的
honor is the townspeople's honor, her preservation their preservation.
Finally, the parallels between Miss Emily's secretive habits and the narrator's circuitous presentation of the story lead to a third dimension of the negotiations between the private and the public in "A Rose for Emily," a dimension in which Faulkner as author and the collective "we" as narrator confront their public consumers, the readers. Told by the anonymous narrator as if retrospectively, "A Rose for Emily" skips forward and backward in time, omitting details and deferring revelations to such a degree that many critics have gone to extreme lengths to establish reliable chronologies for the tale. 'The much-debated "we" remains anonymous and unreachable throughout the tale-maintaining a virtually unbreachable privacy - even as it invites the public (the reader) to participate in the narrator's acts of detection and revelation. "The dramatic distance on display here," Rodgers observes, 最后，艾米丽小姐秘密习惯与叙述者迂回呈现故事之间的相似之处，导致《为艾米丽献上一朵玫瑰》中私人与公共之间谈判的第三维度，这是福克纳作为作者和集体“我们”作为叙述者面对公众消费者，读者的维度。由匿名叙述者以回顾的方式讲述，“为艾米丽献上一朵玫瑰”在时间上前后跳跃，省略细节并推迟揭示，以至于许多评论家为建立故事的可靠年表而不遗余力。罗杰斯观察到，“这里展示的戏剧距离”，
provides an ironic layer to the narrative. As the observers of the conflict between the teller-of-tale's desire to solve the curious mysteries that surround Emily's life — indeed, his [sic] complicity in shaping them - and his undetective-like detachment from her crimes, readers occupy the tantalizing position of having insight into unraveling the mystery which the narrator lacks. 提供了叙述的一层讽刺。作为故事讲述者渴望解开围绕艾米丽生活的奇怪谜团的冲突的观察者，读者占据了一种诱人的位置，能够洞察解开叙述者所缺乏的神秘之谜。
The reader is thus a member of the communal "we" - partly to the narrator's investigation and Jefferson's voyeuristic obsession with Miss Emily - but also apart, removed to a plane from which "insight" into and observation of the narrator's own actions and motives become possible. The reader, just like Miss Emily, Homer, and the town of Jefferson itself, becomes a crucial element in the tension between the public and the private. 因此，读者是共同体“我们”的一员 - 在一定程度上是叙述者对艾米丽小姐的调查和杰斐逊对她的窥视病态的迷恋 - 但也是独立的，从一个平面上，可以洞察和观察叙述者自己的行动和动机。读者，就像艾米丽小姐、荷马和杰斐逊镇本身一样，成为公共和私人之间紧张关系中的一个关键元素。
Thus, public and private are, in the end, far from exclusive categories. And for all of its literal as well as figurative insistence on opposition and either/or structures, Faulkner's "A Rose for Emily" enacts the provocative idea of being "[o]ne of us" (Faulkner 130), of being both an individual and a member of a community, both a private entity and a participant in the public sphere. 因此，公共和私人最终远非互斥的范畴。尽管弗克纳的《为艾米莉献上一朵玫瑰》在字面上和比喻上坚持对立和二元结构，但它实现了“我们之一”的挑衅性想法（弗克纳 130），既是个体又是社区成员，既是私人实体又是公共领域的参与者。
Works cited
Faulkner. William. "A Rose for Emily." Collected Stories of William Faulkner. New York: Random, 1950 .
Fetterley, Judith. "A Rose for 'A Rose for Emily."' The Resisting Reader: A Feminist Approach to American Fiction. Bloomington: Indiana UP, 1978. .
Moore, Gene M. "Of Time and Its Mathematical Progression: Problems of Chronology in Faulkner's "A Rose for Emily." Studies In Short Fiction 29 (Spring 1992): 195-204.
Rodgers, Lawrence R. "We all said, 'she will kill herself'"; the Narrator/ Detective in William Faulkner's 'A Rose for Emily." Clues: A Journal of Detection 16 (1995): 117-29.
1 Gene M. Moore's essay "Of Time and Its Mathematical Progression: Problems of Chronology in Faulkner's 'A Rose for Emily'" documents the proliferation of such chronologies.
Crystal, Willow D. "'One of Us...': Concepts of the Private and the Public in William Faulkner's 'A Rose for Emily.'" The Norton Introduction to Literature. Ed. Beaty, Jerome, and J. Paul Hunter. 7th ed. New York: W. W. Norton & Company, 1998. 543 - 47. 水晶，威洛·D。“‘我们中的一个...’：威廉·福克纳《为艾米莉献花》中的私人和公共概念。”《诺顿文学导论》。编者比蒂，杰罗姆和 J·保罗·亨特。第 7 版。纽约：W·W·诺顿公司，1998 年。543-47。
Here is an essay written by Becki Woods, a student of Mark Bernier, at Blinn College in Brenham, Texas. With careful credit of the critical sources, the author examines Elizabeth Bishop's poem "The Fish," demonstrating how its imagery helps communicate its general theme. 这是由德克萨斯州布伦纳姆市布林学院学生贝基·伍兹(Becki Woods)撰写的一篇文章，由马克·伯尼尔(Mark Bernier)指导。作者在认真引用关键来源的基础上，审视伊丽莎白·毕晓普(Elizabeth Bishop)的诗歌《鱼》，展示了其意象如何帮助传达其主题。
Elizabeth Bishop's Use of Imagery in "The Fish"
Upon first reading, Elizabeth Bishop's "The Fish" appears to be a simple fishing tale. A close investigation of the imagery in Bishop's highly detailed description, however, reveals a different sort of poem. The real theme of Bishop's poem is a compassion and respect for the fish's lifelong struggle to survive. By carefully and effectively describing the captured fish, his reaction to being caught, and the symbols of his past struggles to stay alive, Bishop creates, through her images of beauty, victory, and survival, something more than a simple tale. 在第一次阅读时，伊丽莎白·毕肖普的《鱼》似乎是一个简单的钓鱼故事。然而，对毕肖普高度详细描述中的意象进行仔细调查，揭示了一种不同类型的诗歌。毕肖普诗歌的真正主题是对鱼一生奋斗求存的同情和尊重。通过仔细有效地描述被捕获的鱼、它被捕获后的反应以及它过去为生存而奋斗的象征，毕肖普通过她对美丽、胜利和生存的意象创造了比简单故事更多的东西。
The first four lines of the poem are quite ordinary and factual:
I caught a tremendous fish and held him beside the boat half out of water, with my hook fast in a corner of his mouth. (1-4)
Except for tremendous, Bishop's persona uses no exaggerations - unlike most fishing stories - to set up the situation of catching the fish. The detailed description begins as the speaker recounts the event further, noticing something signally important about the captive fish: "He didn't fight" (5). At this point the poem begins to seem unusual: most fish stories are about how ferociously the prey resists being captured. The speaker also notes that the "battered and venerable/ and homely" fish offered no resistance to being caught . The image of the submissive attitude of the fish is essential to the theme of the poem. It is his "utter passivity [that] makes [the persona's] detailed scrutiny possible" (McNally 192). 除了巨大之外，主教的人物形象没有夸张 - 不像大多数钓鱼故事那样 - 来设定捕鱼的情况。随着讲述者进一步回顾事件，详细描述开始，注意到关于被捕鱼的一个非常重要的事情：“它没有反抗”（5）。在这一点上，这首诗开始显得不同寻常：大多数钓鱼故事都是关于猎物如何凶猛地抵抗被捕获。讲述者还指出，“受伤和令人尊敬/ 和朴实”的鱼没有反抗被捕捉。鱼的顺从态度形象对诗歌的主题至关重要。正是他的“完全被动[使得人物形象的]详细审查成为可能”（麦克纳利 192）。
Once the image of the passive fish has been established, the speaker begins an examination of the fish itself, noting that "Here and there/ his brown skin hung in strips/ like ancient wall-paper" (9-11). By comparing the fish's skin to wallpaper, the persona creates, as Sybil Estess argues, "implicit suggestions of both artistry and decay" (713). Images of peeling wallpaper are instantly brought to mind. The comparison of the fish's skin and wallpaper, though "helpful in conveying an accurate notion of the fish's color to anyone with memories of Victorian parlors and their yellowed wallpaper ... is," according to Nancy McNally, "even more useful in evoking the associations of deterioration which usually surround such memories" (192). 一旦被建立了被动鱼的形象，演讲者开始对鱼本身进行检查，指出“这里和那里/他的褐色皮肤挂在条状/像古老的墙纸”（9-11）。通过将鱼的皮肤与墙纸进行比较，人物角色创造了，正如 Sybil Estess 所主张的，“暗示了艺术性和腐朽性”（713）。剥落的墙纸的形象立即浮现在脑海中。鱼皮和墙纸的比较，尽管“有助于向任何记忆中有维多利亚客厅和发黄墙纸的人传达鱼的颜色的准确概念...”，但根据 Nancy McNally 的说法，“更有助于唤起通常围绕这些记忆的恶化联想”（192）。
The fish's faded beauty has been hinted at in the comparison, thereby setting up the detailed imagery that soon follows:
He was speckled with barnacles, fine rosettes of lime, and infested with tiny white sea-lice, and underneath two or three rags of green weed hung down. (16-21)
The persona sees the fish as he is; the infestations and faults are not left out of the description. Yet, at the same time, the fisher "express[es] what [he] has sensed of the character of the fish" (Estess 714). 人物将鱼视为它本来的样子；描述中不会忽略寄生虫和缺陷。然而，同时，渔夫“表达了他对鱼性格的感知”（Estess 714）。
Bishop's persona notices "shapes like full-blown roses/ stained and lost through age" on the fish's skin . The persona's perception of the fish's beauty is revealed along with a recognition of its faded beauty, which is best revealed in the description of the fish's being speckled with barnacles and spotted with lime. However, the fisher observes these spots and sees them as rosettes - as objects of beauty, not just ugly brown spots. These images contribute to the persona's recognition of beauty's having become faded beauty. 主教的人物注意到鱼皮上“形状像盛开的玫瑰/因年岁而变得斑驳和失色” 。人物对鱼的美感知随着对其褪色美的认知而显现，最好体现在描述鱼身上长满帆船和斑点的部分。然而，渔夫观察到这些斑点，并将它们视为玫瑰花 - 作为美的对象，而不仅仅是丑陋的褐色斑点。这些形象有助于人物认识到美已经变成了褪色的美。
The poem next turns to a description of the fish's gills. The imagery in "While his gills were breathing in/ the terrible oxygen" (22-23) leads "to the very structure of the creature" that is now dying (Hopkins 201). The descriptions of the fish's interior beauty - "the coarse white flesh/ packed in like feathers," the colors "of his shiny entrails," and his "pink swim-bladder/ like a big peony" - are reminders of the life that seems about to end . 诗歌接着描述了鱼的鳃。在“当他的鳃在呼吸/ 可怕的氧气”（22-23）的意象中，“通向这个现在正在死去的生物的结构”（霍普金斯 201）。对鱼内部美丽的描述 - “粗糙的白色肉/ 像羽毛一样密集”，颜色“闪亮的内脏”，以及他的“粉红色游泳囊/ 像一朵大牡丹” - 提醒着生命似乎即将结束。
The composite image of the fish's essential beauty — his being alive - is developed further in the description of the five fish hooks that the captive, living fish carries in his lip:
As if fascinated by them, the persona, observing how the lines must have been broken during struggles to escape, sees the hooks as "medals with their ribbons/ frayed and wavering,/ a five-haired beard of wisdom/ trailing from his aching jaw" ( ), and the fisher becomes enthralled by re-created images of the fish's fighting desperately for his life on at least five separate occasions - and wining. Crale Hopkins suggests that "[i]n its capability not only for mere existence, but for action, escaping from previous anglers, the fish shares the speaker's humanity" (202), thus revealing the fisher's deepening understanding of how he must now act. The persona has "all along," notes Estess, "describe[d] the fish not just with great detail but with an imaginative empathy for the aquatic creature. In her more-than-objective description, [the fisher] relates what [he] has seen to be both the pride and poverty of the fish" (715). It is at this point that the narrator of this fishing tale has a moment of clarity. Realizing the fish's history and the glory the fish has achieved in escaping previous hookings, the speaker sees everything become, "rainbow, rainbow, rainbow!" (75) - and then unexpectedly lets the fish go. 仿佛被它们迷住了，人物观察到这些线条在挣扎逃脱时必然被断裂，将这些鱼钩视为“勋章与它们的丝带/磨损而摇摆/一缕五毛的智慧/从他疼痛的下巴上拖下”（ ），渔夫被重新创造的图像所迷住，这些图像展示了鱼在至少五次激烈争斗中拼命挣扎求生的场面 - 并且获胜。克雷尔·霍普金斯建议：“在它不仅仅是为了存在而存在的能力中，而是为了行动，逃离之前的钓鱼者，这条鱼与讲述者的人性分享”（202），从而揭示了渔夫对自己现在该如何行动的深刻理解。人物一直以来，“描述了鱼不仅仅是用极大的细节，而且对水生生物有一种富有想象力的同情心。在她超越客观的描述中，[渔夫]将所见到的与鱼的骄傲和贫困联系起来”（715），正如埃斯特斯所指出的那样。在这一点上，这个钓鱼故事的叙述者有了一刹那的清晰。意识到鱼的历史以及鱼在逃脱之前的钩住中取得的荣耀，讲述者看到一切都变成了“彩虹，彩虹，彩虹！(75) - 然后意外地放走了鱼。
Bishop's "The Fish" begins by describing an event that might easily be a conventional story's climax: "I caught a tremendous fish" (1). The poem, however, develops into a highly detailed account of a fisher noticing both the age and the faded beauty of the captive and his present beauty and past glory as well. The fishing tale is not simply a recounting of a capture; it is a gradually unfolding epiphany in which the speaker sees the fish in an entirely new light. The intensity of this encounter between an apparently experienced fisher in a rented boat and battle-hardened fish is delivered through the poet's skillful use of imagery. It is through the description of the capture of an aged fish that Bishop offers her audience her theme of compassion derived from a respect for the struggle for survival. 主教的《鱼》以描述一个可能很容易成为传统故事高潮的事件开始：“我钓到了一条巨大的鱼”（1）。然而，这首诗发展成了一个非常详细的描述，描述了一个渔夫注意到俘虏的年龄和褪色的美丽，以及他现在的美丽和过去的荣耀。这个钓鱼故事不仅仅是一个捕捉的叙述；它是一个逐渐展开的顿悟，在这个过程中，说话者以全新的视角看待这条鱼。这位显然经验丰富的渔夫在一艘租来的船上与经历过战斗的鱼之间的这种相遇的强度，是通过诗人巧妙运用意象来传达的。正是通过描述捕捉一条年迈鱼的过程，主教向观众呈现了她关于同情的主题，这种同情源自对生存挣扎的尊重。
Works Gited
Bishop, Elizabeth. "The Fish." An Introduction to Poetry. Ed. X, J. Kennedy and Dana Gioia. 10th ed. New York: Longman, 2002. 99-101.
Estess, Sybil P. "Elizabeth Bishop: The Delicate Art of Map Making." Southern Review 13 (1977): 713-17. Hopkins, Crale D. "Inspiration as Theme: Art and Nature in the Poetry of Elizabeth Bishop." Arizona Quarterly 32 ( 1976 ): 200-02. Estess, Sybil P. “伊丽莎白·毕晓普：地图制作的精致艺术。”南方评论 13 (1977): 713-17。霍普金斯，克雷尔·D. “灵感作为主题：伊丽莎白·毕晓普诗歌中的艺术与自然。”亚利桑那季刊 32 (1976): 200-02。
McNally, Nancy L. "Elizabeth Bishop: The Discipline of Description." Twentieth Century Literature 11 (1966): .
Woods, Becki. "Elizabeth Bishop's Use of Imagery in 'The Fish.'" An Introduction to Poetry. Ed. Dana Gioia. 10th ed. New York: Longman, 2002. 113 - 18 .
4. Websites for Further Studies
All of the following websites will help us develop our skills in literary studies. Websites listed under "Category I" clarify literary concepts and offer original e-texts of different genres. Websites listed under "Category II" explain literary histories and involve literary criticism. Websites listed under "Category III" demonstrate how to write academic papers. 以下所有网站都将帮助我们发展文学研究技能。列在“第一类别”下的网站阐明文学概念，并提供不同流派的原创电子文本。列在“第二类别”下的网站解释文学历史并涉及文学批评。列在“第三类别”下的网站演示如何撰写学术论文。
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Martin, Loy D. "The Inside of Time: An Essay on the Dramatic Monologue." Robert Browning. Ed. Harold Bloom and Adrienne Munich. Englewood Cliffs, N.J.: Prentice-Hall, 1979. 59-78.
Mesher, David R. "A Triumph of the Ego in Anderson's 'The Egg.'" Studies in Short Fiction 17 (1980): 180 -84 .
Minton, Walter S. "Brief Note: The 'Marriage hearse' in Blake's 'London.'" Papers on Language & Literature. 28 (1992):89-91.
Mishra, M. N. George Bernard Shaw: A Study in His Dramatic Criticism. New Delhi: Radha Publications, 1990 .
Morrissey, L. J. "Inner and Outer Perceptions in Joyce's 'The Dead.'" Studies in Short Fiction 25 (1988): 21-29.
Nightingale, Florence. Notes on Nursing. London: Harrison, 1859.
O'Connell, Patrick F. "Emily Dickinson's Train: Iron Horse or 'Rough Beast?'" American Literature 52 (1980): 469-74.
Ostrom, Hans, ed. Lives and Moments: An Introduction to Short Fiction. Fort Worth: Holt, Rinehart and Winston, Inc., 1991.
Patrick, and Barbara Basset. "Anderson's 'The Egg."" Explicator 40 (1981): 53-55.
Patterson, Thomas. "Rage in 'Soliloquy of the Spanish Cloister' and 'Locksley Hall.'" 2 Mar. 2008 <http:/ /www.victorianweb.org/authors/rb/patterson. html>.
Perrine, Laurence, ed. Sound and Sense: An Introduction to Poetry. 7th ed. San Diego: Harcourt Brace Jovanovich, Publishers, 1987
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Phillips, Dana. The Truth of Ecology: Nature, Culture, and Literature in America. Oxford: Oxford University Press, 2003
Pirandello, Luigi. "War." Literature: Reading Fiction, Poetry, and Drama. Ed. Robert DiYanni. 5th ed. Boston: Mc Graw Hill, 2002. 439-42.
Roche, Joseph ed. The Heath Introduction to Poetry. Massachusetts: D. C. Heath and Company, 1984.
Roland, Wagner C. "A Birth Announcement in "The Dead.'” Studies in Short Fiction 32 (1995): 447-62.
Roggie, Kara. "A Feminist Critique of Margaret Atwood's 'Spelling.'" Literary Criticism: An Introduction to Theory and Practice. Ed. Charles E. Bressler. Upper Saddle River, N.J.: Prentice Hall, 1999. 193-95 Roggie, Kara. "玛格丽特·阿特伍德的《拼写》的女权主义批评." 文学批评：理论与实践导论. 编者查尔斯·E·布雷斯勒. 美国新泽西州上萨德尔河：普林斯顿大厦，1999 年。193-95
Said, Edward. "Introduction to Orientalism." Postcolonialisms: An Anthology of Cultural Theory and Criticism. Ed. Gauray Desai and Supriya Nair. Oxford: Berg, 2005. 74-77.
-. "My mistress's eyes." Sound and Sense: An Introduction to Poetry. Ed. Perrine, Laurence. 7th ed. San Diego: Harcourt Brace Jovanovich, Publishers, 1987. 296.
Webb, Eugene. The Plays of Samuel Beckett. Seattle: University of Washington Press, 1974.
Weintraub, Stanley. Bernard Shaw: A Guide to Research. University Park, Pa.: Pennsylvania State University Press, 1992.
Williams, Raymond. "Base and Superstructure in Marxist Cultural Theory." Contemporary Literary Criticism: Literary and Critical Studies. Ed. Robert Davis and Ronald Schleifer. New York & London: Longman, 1989. 382-86. 威廉姆斯，雷蒙德。“马克思主义文化理论中的基础和上层建筑。”当代文学批评：文学和批评研究。罗伯特·戴维斯和罗纳德·施莱弗编辑。纽约和伦敦：朗曼，1989 年。382-86。
Woods, Becki. "Elizabeth Bishop's Use of Imagery in 'The Fish.'" An Introduction to Poetry. Ed. Dana Gioia. 10th ed. New York: Longman, 2002. 11318.
Young, Robert J. Postcolonialism: An Historical Introduction. Malden, Masś.: Blackwell Publishers, 2001.
Abrams, M. H. A Glossary of Liferary Terms. 5th ed. New York: Holt, Rinehart, and Winston, 1988.
Baldick, Chris. Oxford Concise Dictionary of Literary Terms. Shanghai: Shanghal Foreign Language Education Piess. 2001 .
Beaty, Jerome, and J. Poul Hunter, eds. The Norton Introduction to Literature. 7 th ed. New York: W. W. Norton & Company, 1998.
DiYanni, Robert, ed. Literature: Reading Flction, Poetry, and Drama. 5th ed. Boston: McGraw Hill, 2002. Gordon, Jane Bachman, and Karen Kuehner. Fiction: An Introductlon to the Short Story. Lincolnwood: NTC/ Contemporary Publishing Group, 1999 DiYanni，Robert，编辑。文学：阅读小说，诗歌和戏剧。第 5 版。波士顿：麦格劳希尔，2002 年。戈登，简·巴赫曼和卡伦·库纳。小说：短篇小说导论。林肯伍德：NTC/当代出版集团，1999 年。
20 show case: 玻璃陈列柜。
21 scrubbed: 擦净。
22 boarders: 笴㦈者或寄膳宿者。
35 by virtue of: 依靠, 由于。
36 poultry monstrosities: 畸形的家禽。
Anderson, Sherwood. "The Egg." Fiction: An Introduction to the Short Story. Ed. Jane Bachman Gordon and Karen Kuehner. Lincolnwood: NTC/Contemporary Publishing Group, 1999. 607-16.
Mesher, David R. "A Triumph of the Ego in Anderson's 'The Egg." Studles In Short Fiction 17 (1980): 180-84. Patrick, and Barbara Basset, "Anderson's 'The Egg." Expllcator 40 (1981): 53-55."
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DiYanni. Robert, ed. Literature: Reading Fletion. Poetry, and Drama, 5th ed. Boston: McGrow Hill, 2002
Gardon, Jane Bachman, and Karen Kuehner. Fiction: An Introduction to the Short Story. Lincolnwood: NTC Cantemporary Publishing Group, 1999
Ivers, Mitchell. The Random House Guide fo Good Writing. New York: Ballantine Books, 1993
calf: 小腿
lurched: 突然摇晃、荫落。
flapped: 拍打。
4 A basso gli ufficiali!: Down with the Officers 打倒军官!
5 detached: 分开的, 分离的。
6 jostle: 挤拥，推撞。
7 fratellanza and abnegazione: friendship and self-restrained，友谊与自我克制。
jerked: 急拉, 猛拉。
cape: 斗篷, 披肩, 即一种系于喉部、披在双肩上的无袖外套。
Cass, Collin S. "The Look of Hemingway's in Another Country." Studies in Short Fiction 18 (1981): 309-11 "Emest Hemingway." 15 Dec. 2007 http://en.wikipedia.org/wiki/Emest_Hemingway
1 Arthur Voss, The American Short Story (Norman: University of Oklahoma Press, 1973), p. 194. Though "The Egg" is among the most anthologized of Sherwood Anderson's stories, few critical essays have been published about it. Of the nine essays published about the story in the last twenty years most consider it in terms of American ambition: this is true not only of articles published in German (such as Horst Groene's "The American Idea of Success in Sherwood Anderson's 'The Egg,'" Neusprachliche Mitteilungen aus Wissenschafi and Praxis, 28 [Fall, 1975], 162-166) and in Japanese (such as Akio Chida's "Notes on Sherwood Anderson's 'The Egg,'" Toho Gakue Faculty Bulletin, 11 [July 1969], 12-21, but also of discussions such as David Madden's in American Dreams, American Nightmares (Carbondale, Southern Illinois University Press, 1970). A very different and far more sophisticated reading of the story is Michael West's 1968 essay "Sherwood Anderson's Triumph: 'The Egg,'" American Quarterly, 20 (Winter 1968), 675-693. West, after skillfully considering the biographical sources of the story, discusses the importance to the narrator of his father's failed masculinity and argues that the son wishes to act in his father's stead so as to satisfy his mother. One other essay of note is Gerhard Joseph's "The American Triumph of 'The Egg' and Fitzgerald's The Great Gatsby," Criticism, 7 (Spring 1965), 131-140, though Joseph's insistence on symbolic parallels in the use of the egg is somewhat strained. 1 Arthur Voss，《美国短篇小说》（诺曼：俄克拉荷马大学出版社，1973 年），第 194 页。尽管《鸡蛋》是谢伍德·安德森作品中最常被选入选集的故事之一，但关于它的批评性文章很少。在过去二十年中发表的九篇关于这个故事的文章中，大多数都从美国的野心角度来考虑它：这不仅适用于德文发表的文章（比如霍斯特·格罗恩的《谢伍德·安德森的《鸡蛋》中的美国成功观念》，《新语言学通讯》第 28 期（1975 年秋），162-166 页）和日文发表的文章（比如千田明夫的《谢伍德·安德森的《鸡蛋》笔记》，《东方学院学院通报》第 11 期（1969 年 7 月），12-21 页），还包括大卫·麦登在《美国梦，美国噩梦》（卡本代尔，南伊利诺伊大学出版社，1970 年）中的讨论。对这个故事的一种截然不同且更加复杂的阅读是迈克尔·韦斯特 1968 年的文章《谢伍德·安德森的胜利：《鸡蛋》》，《美国季刊》第 20 期（1968 年冬季），675-693 页。 西方，在熟练考虑故事的传记来源后，讨论了叙述者对父亲失败的男子气概的重要性，并认为儿子希望代替父亲行事以满足母亲。另一篇值得注意的文章是 Gerhard Joseph 的《“The Egg”的美国胜利和菲茨杰拉德的《了不起的盖茨比》》，评论，7（1965 年春季），131-140，尽管 Joseph 坚持认为在使用蛋的象征性并行方面有些牵强。
2 Sherwood Anderson, "The Egg," in The Sherwood Anderson Reader, ed. Paul Rosenfeld (Boston: Houghton Mifflin, 1947), p. 76. All further references to this work appear in the text.
1 This radical simplification of image and symbol does not deny the subtle "intertextuality" of Dubliners, set out by critics like Hugh Kenner, Dubliners's Joyce (Blooming, Ind.: University of Indiana Press, 1956); Florence L. Walzl, "Gabriel and Michael: The Conclusion of 'The Dead,'" James Joyce Quarterly, 4, no. 1 (Fall 1977), 17-31, or Donald T. Torchiana, "The Ending of "The Dead': I Follow Saint Patrick," James Joyce Quarierly, 18, no. 2 (Winter 1981), 123-132. 这种对图像和符号的激进简化并不否认《都柏林人》中微妙的“互文性”，这是评论家如休·肯纳（Hugh Kenner）所阐述的观点，《都柏林人》的乔伊斯（Blooming, Ind.: University of Indiana Press, 1956）；弗洛伦斯·L·沃尔兹（Florence L. Walzl），《加百利和迈克尔：《死者》的结局》，詹姆斯·乔伊斯季刊，第 4 卷，第 1 期（1977 年秋季），17-31 页，或唐纳德·T·托奇安纳（Donald T. Torchiana），《《死者》的结局：我追随圣帕特里克》，詹姆斯·乔伊斯季刊，第 18 卷，第 2 期（1981 年冬季），123-132 页。
2 James Joyce, "The Sisters," in Dubliners: Text, Criticism, and Notes, ed. Robert Scholes and A.Walton Litz (Hammondsworth, England: Penguin books, 1976), p. 11.
3 James Joyce, "The Sisters," p.13.
4 James Joyce, "Counterparts," in Dubliners: Text ..., p. 95.
5 James Joyce, "Araby," in Dubliners: Text ..., p.30. Hereafter cited in the text.
6 James Joyce, "The Dead," in Dubliners: Text ..., p.179. Hereafter cited in the text.
7 Tilly Eggers, "What Is a Woman ... a Symbol of?" James Joyce Quarterly, 18, no. 4 (Summer 1981), argues against the usual notion of Joyce's women being "virgin-mother-temptress" (See, for example, Harry Stone, "'Araby' and the Writings of James Joyce," in Dubliners: Text ..., pp.353-364). She sees Gretta as "a working harmony of contradictions" (387), "a human symbol of the Virgin idea, ... a composite portrait of women in Dubliners, the symbol of all women" (389). 7 Tilly Eggers，“女人是什么……的象征？”詹姆斯·乔伊斯季刊，第 18 卷，第 4 期（1981 年夏季），反对了乔伊斯女性通常被视为“处女-母亲-诱惑者”的观念（例如，哈里·斯通，“‘阿拉伯’和詹姆斯·乔伊斯的作品”，《都柏林人：文本……》，第 353-364 页）。她认为格蕾塔是“矛盾的和谐的工作”（387），“处女理念的人类象征……都柏林人中女性的综合肖像，所有女性的象征”（389）。
9 Both Lily and Aunt Kate avoid Freddy Malins' drunkenness with euphemism: "screwed" (176 and 182), "under the influence" (176), "not so bad" (185). Even Gabriel finally sees his after-dinner speech as a performance by "a nervous well-meaning sentimentalist, orating to vulgarians" (220). Trivial talk of the weather opens and closes the party, and defuses Gabriel's genteel sensibility ("she had no right to call him a West Briton before people, even in joke" 190), and he intends discreetly to pay back Miss Ivors for raising them (192). When Aunt Kate is about to "giv[e] scandal" (194) to the Protestant Mr. Browne by criticizing the Pope, Mary Jane quickly turns the conversation ("we really are all hungry and when we are hungry we are all very quarrelsome" 195). 9 莉莉和凯特阿姨都用委婉语避免弗雷迪·马林斯的醉酒：“喝醉了”（176 和 182），“受影响”（176），“不那么糟糕”（185）。甚至加布里埃尔最终也将自己的晚餐演讲视为“一个紧张的善意感伤者，对着庸俗者演讲”（220）。天气的琐碎谈话开启和结束了聚会，并化解了加布里埃尔的绅士情怀（“她没有权利在人们面前称他为西布里顿，即使是开玩笑”190），他打算悄悄地回报伊沃斯小姐提出的问题（192）。当凯特阿姨即将通过批评教皇“引起丑闻”（194）给新教徒布朗先生带来困扰时，玛丽简迅速转移了话题（“我们真的都饿了，当我们饿了时我们都很好斗”195）。
10 The conjunction of "stars" and "souls" as a metaphor for passion is convention of romantic poetry. See, for example, Wordsworth's "London 1802" or "She Dwelt Among the Untrodden Way," or Keats' "Bright Star," or even George Linley's "Arrayed for the Bridal," which Aunt Julia sings at the party. 10“星星”和“灵魂”结合成激情的隐喻是浪漫诗歌的传统。例如，可以看到华兹华斯的《伦敦 1802 年》或《她居住在未踏之路之间》，或者济慈的《明亮的星星》，甚至乔治·林利的《为婚礼准备好的服装》，这是朱莉娅阿姨在派对上唱的。
11 Florence L. Walzl sees this as another instance of "the patterns of arrest and motion used earlier in Dubliners" (431).
12 Donald T. Torchiana sees this eschatology as "some ancient Patrician accommodation and sympathy that blend the pagan joy and Christian circumspection that usually set so ill together in Ireland" (130). 12 唐纳德·T·托奇亚纳将这种末世论看作是“一些古老的贵族调和和同情，融合了爱尔兰中通常不相容的异教欢乐和基督教谨慎”（130）。
13 James Joyce, "A Little Cloud," in Dubliners: Text ..., p.85.
14 Dubliners: Text ..., p. 106.
cross: 生气, 发怒的。
6 panting: 喘气。
7 bulging: 折皱的。
Bosh: 胡说, 空话。
inflamed: 发炎的，红肿的。
10 fawn: 浅黄褐色的。
Abrams, M. H. A Glossary of Literary Terms: 5th ed. New York: Holt, Rinehart, and Winston, 1988
Baldick, Chris. Oxford Concise Dictionary of Literary Terms. Shanghai: Shanghal Foreign Language Educa tion Press, 2001
Beaty, Jerome, and J. Paul Hunter, eds.The Norton Introduction to Literaiure. 7th ed. New York: W. W Norton & Company, 1998.
Brooks, Cleanth, and Robert Penn Warren, eds. Understanding Poetry. Beliling: Foreign Language Teaching and Research Press, 2004.
DiYanni, Robert, ed. Literature: Reading Flction, Poetry, and Drama. 5th ed. Boston: Mc Grow Hill, 2002 Elliott, Emory, ed. Columbia Literary History of the Uniled States. New York: Columbia University Press, 1988 Kennedy, X. J., and Dana Gloia. An Introduction to Poetry, 10th ed, New York: Longman, 2002. DiYanni, Robert，编辑。文学：阅读小说，诗歌和戏剧。第 5 版。波士顿：麦格劳希尔，2002 年。Elliott, Emory，编辑。哥伦比亚美国文学史。纽约：哥伦比亚大学出版社，1988 年。Kennedy, X. J.，和 Dana Gloia。诗歌导论，第 10 版，纽约：朗曼，2002 年。
Perrine, Laurence, ed. Sound and Sense: An Introduction to Poetry, 7th ed. San Dlego: Harcourt Brace Jovanovich, Publishers, 1987
Roche, Joseph ed. The Heath Introductlon to Poetry. Massachusetts: D. C. Heath and Company, 1984
Sanders, Andrew. The Short Oxford History of Engllsh Literature. Oxford: Clarendon Press; New York: Oxford University Press, 1994.
Abrams; M. H. A Glossary of Literary Terms. 5th ed. New York: Holt, Rinehart, and Winston, 1988
Baldick, Chris. Oxford Concise Dlctionary of Liferary Terms. Shanghai: Shanghai Foreign Language Education Press, 2001
Becry, Jerome, and J. Pquil Hunter, eds.The Norton introduction to Literature. 7th ed. New York: W. W. Norton & Company, 1998.
DiVanni, Robert, ed. Literature: Reading Flction. Poetry, and Drama. 5th ed. Boston: McGraw Hill. 2002 Kennedy, X. J., and Dana Giola. An Introduction to Poetry. 10th ed. New York. Longman, 2002
Perrine. Laurence, ed. Sound and Sense: An Introduction to Poetry. 7th ed. San Diego: Harcourt Brace Jovanovich, Publishers, 1987.
Shakespeare, William. "My mistress's eyes." Sound and Sense: An Introduction to Poetry. Ed. Perrine, Laurence. 7th ed. San Diego: Harcourt Brace Jovanovich, Publishers, 1987. 296.
1 Johnson, "The Vanity of Human Wishes," I. 159. The opening lines of this poem are perhaps the dramatization par excellence of this stance: "Let observation with extensive view,/ Survey mankind, from China to Peru; / Remark each anxious toil, each eager strife,/ And watch the busy scenes of crouded life." 1 约翰逊，《人类愿望的虚荣》，I. 159。这首诗的开头也许是这种立场的戏剧化典范：“让广泛的观察，/ 观察人类，从中国到秘鲁；/ 注意每一个焦虑的劳作，每一个渴望的斗争，/ 并观察拥挤生活的繁忙场景。”
2 Samuel Johnson, The Rambler, 159.
Freedman, William. "Dickinson's ‘I like to see it lap the Miles.'” Explicator 40 (1982): 31-32.
"An Unfolding of Robert Frost's 'Design." An Introduction to Poetry. Ed. X. J. Kennedy and Dana Gioia. 10th ed. New York: Longman, 2002. 610-14.
Here are the approximate dates of composition.
1 "All the world's a stage" is from the soliloquy in As You Like It, spoken by the melancholy Jaques. The "seven ages" refer to seven stages of a man's life: infant, school-boy, lover, soldier, justice, pantaloon, and second childhood. It is one of Shakespeare's most frequently-quoted passages. “全世界都是一个舞台”出自《皆大欢喜》，由忧郁的雅各斯说出。 “七个时期”指的是一个人一生中的七个阶段：婴儿、学童、恋人、士兵、正义者、老年人和第二次童年。 这是莎士比亚最经常引用的段落之一。
"A Midsummer Night's Dream." 2 Apr. 2008 <http:// en.wikjpedia.org/wikj/A_Midsummer_Night's_Dream>. Watson, G. J. Drama: An Introduction. Basingstoke: Macmillan, 1983.威廉・莎士比亚, 《仲夏夜之梦》, 朱生豪择。北京：九洲出版杜, 2001 年。
Barranger, Milly S. Understanding Plays. Boston: Allyn and Bacon, 1990.
Mishra, M. N. George Bernard Shaw: A Study in His Dramatic Criticism. New Delhi; Radha Publications, 1990 .
Weintraub, Stanley. Bernard Show: A Guide to Research. University Park, Pa.: Pennsylvania State University Press, 1992
Barranger, Milly S. Understanding Plays. Boston: Allyn and Bacon, 1990.
Tyson, Lois, Critical Theory Today. New York & London: Garland Publishing, Inc.. 1999
wiry: 瘦长结实的。
2 pneumonia: 肺炎。
3 had my hands full: 非常忙琭。
4 party telephone: 共线电话 (两个以上电话机接在同一线路上)。
5 rocker: 摇椅。
6 pleating: 使……打褶
7 done up: 非正式用法, 极度疲劳。
8 coroner: 验尸官。
9 barn: 谷仓。
10 preserves: 蜜线, 果酱。
11 keep an eye out for: 密切注视, 当心。
12 snooping: 探查, 窥视。
13 slicked up: 非正式用法,使整洁千净。
16 sneaking: 卑鄙的,偷偷摸摸的, 鬼鬼崇奈的。
17 fidgety: 不安的, 烦躁的。
19 hatchet: 短柄斧。
20 homestead: 定居或耕种土地。
1 the "well-made play": It is a genre of theatre from the nineteenth century, involving a very tight plot and a climax that takes place very close to the end of the story, with most of the story taking place before the action of the play. Much of the information regarding such previous action would be revealed through thinly veiled exposition, following that would be a series of causally-related plot complications. A recurrent device is the use of letters or papers falling into unintended hands, in order to bring about plot twists and climaxes. The majority of well-made plays are comedies, often farce. “精心制作的戏剧”：这是十九世纪的一种戏剧类型，涉及非常紧凑的情节和高潮发生在故事结束前非常接近的地方，大部分故事发生在剧本行动之前。关于此前行动的大部分信息将通过隐晦的阐释揭示，接着将是一系列因果关系的情节复杂化。一个经常出现的手法是信件或文件落入意外之手，以引发情节转折和高潮。大多数精心制作的戏剧是喜剧，通常是闹剧。
Barranger. Milly S. Understanding Plays. Boston: Allyn and Bacon, 1990.
Phieffer, Alayna. "Antigonê: A Struggle between Human and Divine Powers." Literature: Reading Fiction, Poetry and Drama. Ed. Robert DiYanni. 5th ed. Boston: McGraw Hill, 2002. 1209 -12.
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Bressler, Charles E. Literary Criticism: An Introduction to Theory and Practice. Pearson Education and Beiling: Higher Education Press, 2004
K.M. Panikkar. Asia and Western Dominance (London: George Allen & Unwin, 1959).
1 "Feminist Scholarship and the Social Construction of Woman", in Making a Difference: Feminist Literary Criticism, ed. Gayle Greene and Coppélia Kahn, (London: Methuen, 1985) pp. 1-36.
2 Ashcroft, B., Griffiths, G., Tiffin, H. The Empire Writes Back: Theory and Practice in Postcolonial Literatures (London: Routledge, 1989)
3 Ahmad, A. In Theory: Classes, Nations, Literatures (Oxford: Oxford University Press, 1995)
4 Past the Last Post: Theorizing Postcolonialism and Postmodernism, ed. Adam, I. & Tiffin, H. ( Hemel Hemstead: Harvester Wheatsheaf,1991)
5 Pateman, C.The Sexual Contract (Cambridge: Dolity Press, 1988)
6 Nandy, A. Traditions, Tyranny and Utopias: Essays in the Politics of Awareness (Delhi: Oxford University Press, 1992)
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