Six Characters in Search of an Author
Six Characters in Search of an Author(Sei personaggi in cerca d'autore)A COMEDY IN THE MAKINGBy Luigi Pirandello[1921]English version byEdward Storer[New York: E. P. Dutton, 1922][see also 1925 preface by author]CHARACTERS of the Comedy in the Making∙THE FATHER∙THE MOTHER∙THE STEP-DAUGHTER∙THE BOY∙THE CHILD(The last two do not speak)∙THE SON∙MADAME PACEACTORS of the Company∙THE MANAGER∙LEADING LADY∙LEADING MAN∙SECOND LADY∙L'INGÉNUE∙JUVENILE LEAD∙OTHER ACTORS AND ACTRESSES∙PROPERTY MAN∙PROMPTER∙MACHINIST∙MANAGER'S SECRETARY∙DOOR-KEEPER∙SCENE-SHIFTERSDaytime. The Stage of a TheatreN. B. The Comedy is without acts or scenes. The performance is interrupted once, withoutthe curtain being lowered, when the manager and the chief characters withdraw to arrange the scenario. A second interruption of the action takes place when, by mistake, the stage hands let the curtain down.[Lo straniero, conversazione alla finestra, 1930, F. Casorati]ACT IThe spectators will find the curtain raised and the stage as it usually is during the day time. It will be half dark, and empty, so that from the beginning the public may have the impression of an impromptu performance. Prompter's box and a small table and chair for the manager.Two other small tables and several chairs scattered about as during rehearsals.The ACTORS and ACTRESSES of the company enter from the back of the stage: first one, then another, then two together; nine or ten in all. They are about to rehearse a Pirandello play:Mixing it Up. [Il giuoco delle parti.] Some of the company move off towards their dressing rooms. The PROMPTER who has the "book" under his arm, is waiting for the manager in order to begin the rehearsal.The ACTORS and ACTRESSES, some standing, some sitting, chat and smoke. One perhaps reads a paper; another cons his part.Finally, the MANAGER enters and goes to the table prepared for him. His SECRETARY brings him his mail, through which he glances. The PROMPTER takes his seat, turns on a light, and opens the "book."The Manager [throwing a letter down on the table]. I can't see [To PROPERTY MAN.] Let's have a little light, please!Property Man. Yes sir, yes, at once. [A light comes down on to the stage.]The Manager [clapping his hands]. Come along! Come along! Second act of "Mixing It Up." [Sits down.] [The ACTORS and ACTRESSES go from the front of the stage to the wings, all except the three who are to begin the rehearsal.]The Prompter[reading the "book"]. "Leo Gala's house. A curious room serving as dining-room and study."The Manager [to PROPERTY MAN]. Fix up the old red room.Property Man [noting it down]. Red set. All right!The Prompter [continuing to read from the "book"]. "Table already laid and writing desk with books and papers. Book-shelves. Exit rear to Leo's bedroom. Exit left to kitchen. Principal exit to right."The Manager [energetically]. Well, you understand: The principal exit over there; here, the kitchen. [Turning to actor who is to play the part of SOCRATES.] You make your entrances and exits here. [To PROPERTY MAN.] The baize doors at the rear, and curtains.Property Man [noting it down]. Right!Prompter [reading as before]. "When the curtain rises, Leo Gala, dressed in cook's cap and apron is busy beating an egg in a cup. Philip, also dresesd as a cook, is beating another egg. Guido Venanzi is seated and listening."Leading Man [To MANAGER]. Excuse me, but must I absolutely wear a cook's cap?The Manager [annoyed]. I imagine so. It says so there anyway. [Pointing to the "book."] Leading Man. But it's ridiculous!The Manager [jumping up in a rage]. Ridiculous? Ridiculous? Is it my fault if France won't send us any snore good comedies, and we are reduced to putting on Pirandello's works, where nobody understands anything, and where the author plays the fool with us all? [The ACTORS grin. The MANAGER goes to LEADING MAN and shouts.] Yes sir, you put on the cook's cap and beat eggs. Do you suppose that with all this egg-beating business you are on an ordinary stage? Get that out of your head. You represent the shell of the eggs you are beating! [Laughter and comments among the ACTORS.] Silence! and listen to my explanations, please! [To LEADING MAN.] "The empty form of reason without the fullness of instinct, which is blind." -- You stand for reason, your wife is instinct. It's a mixing up of the parts, according to which you who act your own part become the puppet of yourself. Do you understand?Leading Man. I'm hanged if I do.The Manager. Neither do I. But let's get on with it. It's sure to be a glorious failure anyway. [Confidentially.] But I say, please face three-quarters. Otherwise, what with the abstruseness of the dialogue, and the public that won't be able to hear you, the whole thing will go to hell. Come on! come on!Prompter. Pardon sir, may I get into my box? There's a bit of a draught.The Manager. Yes, yes, of course!At this point, the DOOR-KEEPER has entered from the stage door and advances towards the manager's table, taking off his braided cap. During this manoeuvre, the Six CHARACTERS enter, and stop by the door at back of stage, so that when the DOOR-KEEPER is about to announce their coming to the MANAGER, they are already on the stage. A tenuous light surrounds them, almost as if irradiated by them -- the faint breath of their fantastic reality.This light will disappear when they come forward towards the actors. They preserve, however, something of the dream lightness in which they seem almost suspended; but this does not detract from the essential reality of their forms and expressions.He who is known as THE FATHER is a man of about 50: hair, reddish in colour, thin at the temples; he is not bald, however; thick moustaches, falling over his still fresh mouth, which often opens in an empty and uncertain smile. He is fattish, pale; with an especially wide forehead. He has blue, oval-shaped eyes, very clear and piercing. Wears light trousers and a dark jacket. He is alternatively mellifluous and violent in his manner.THE MOTHER seems crushed and terrified as if by an intolerable weight of shame and abasement. She is dressed in modest black and wears a thick widow's veil of crêpe. When she lifts this, she reveals a wax-like face. She always keeps her eyes downcast.THE STEP-DAUGHTER, is dashing, almost impudent, beautiful. She wears mourning too, but with great elegance. She shows contempt for the timid half-frightened manner of the wretched BOY(14 years old, and also dressed in black); on the other hand, she displays a lively tenderness for her little sister,THE CHILD(about four), who is dressed in white, with a black silk sash at the waist.THE SON (22) tall, severe in his attitude of contempt for THE FATHER, supercilious and indifferent to THE MOTHER.He looks as if he had come on the stage against his will.Door-keeper [cap in hand]. Excuse me, sir . . .The Manager [rudely]. Eh? What is it?Door-keeper [timidly]. These people are asking for you, sir.The Manager [furious]. I am rehearsing, and you know perfectly well no one's allowed to come in during rehearsals! [Turning to the CHARACTERS.] Who are you, please? What do you want?The Father [coming forward a little, followed by the others who seem embarrassed]. As a matter of fact . . . we have come here in search of an author . . .The Manager [half angry, half amazed]. An author? What author?The Father. Any author, sir.The Manager. But there's no author here. We are not rehearsing a new piece.The Step-Daughter [vivaciously]. So much the better, so much the better! We can be your new piece.An Actor [coming forward from the others]. Oh, do you hear that?The Father [to STEP-DAUGHTER]. Yes, but if the author isn't here . . . [To MANAGER.] unless you would be willing . . .The Manager. You are trying to be funny.The Father. No, for Heaven's sake, what are you saying? We bring you a drama, sir.The Step-Daughter. We may be your fortune.The Manager. Will you oblige me by going away? We haven't time to waste with mad people.The Father [mellifluously]. Oh sir, you know well that life is full of infinite absurdities, which, strangely enough, do not even need to appear plausible, since they are true.The Manager. What the devil is he talking about?The Father. I say that to reverse the ordinary process may well be considered a madness: that is, to create credible situations, in order that they may appear true. But permit me to observe that if this be madness, it is the sole raison d'être of your profession, gentlemen. [The ACTORS look hurt and perplexed.]The Manager [getting up and looking at him]. So our profession seems to you one worthy of madmen then?The Father. Well, to make seem true that which isn't true . . . without any need . . . for a joke as it were . . . Isn't that your mission, gentlemen: to give life to fantastic characters on the stage?The Manager[interpreting the rising anger of the COMPANY]. But I would beg you to believe, my dear sir, that the profession of the comedian is a noble one. If today, as things go, the playwrights give us stupid comedies to play and puppets to represent instead of men, remember we are proud to have given life to immortal works here on these very boards! [The ACTORS, satisfied, applaud their MANAGER.]The Father[interrupting furiously]. Exactly, perfectly, to living beings more alive than those who breathe and wear clothes: beings less real perhaps, but truer! I agree with you entirely. [The ACTORS look at one another in amazement.]The Manager. But what do you mean? Before, you said . . .The Father. No, excuse me, I meant it for you, sir, who were crying out that you had no time to lose with madmen, while no one better than yourself knows that nature uses theinstrument of human fantasy in order to pursue her high creative purpose.The Manager. Very well, -- but where does all this take us?The Father. Nowhere! It is merely to show you that one is born to life in many forms, in many shapes, as tree, or as stone, as water, as butterfly, or as woman. So one may also be born a character in a play.The Manager [with feigned comic dismay]. So you and these other friends of yours have been born characters?The Father. Exactly, and alive as you see! [MANAGER and ACTORS burst out laughing.] The Father [hurt]. I am sorry you laugh, because we carry in us a drama, as you can guess from this woman here veiled in black.The Manager[losing patience at last and almost indignant]. Oh, chuck it! Get away please! Clear out of here! [To PROPERTY MAN.] For Heaven's sake, turn them out! The Father [resisting]. No, no, look here, we . . .The Manager [roaring]. We come here to work, you know.Leading Actor. One cannot let oneself be made such a fool of.The Father [determined, coming forward]. I marvel at your incredulity, gentlemen. Are you not accustomed to see the characters created by an author spring to life in yourselves and face each other? Just because there is no "book" [Pointing to the PROMPTER'S box.] which contains us, you refuse to believe . . .The Step-Daughter [advances towards MANAGER, smiling and coquettish]. Believe me, we are really six most interesting characters, sir; side-tracked however.The Father. Yes, that is the word! [To MANAGER all at once.] In the sense, that is, that the author who created us alive no longer wished, or was no longer able, materially to put us into a work of art. And this was a real crime, sir; because he who has had the luck to be born a character can laugh even at death. He cannot die. The man, the writer, the instrument of the creation will die, but his creation does not die. And to live for ever, it does not need to have extraordinary gifts or to be able to work wonders. Who was Sancho Panza? Who was Don Abbondio? Yet they live eternally because -- live germs as they were -- they had the fortune to find a fecundating matrix, a fantasy which could raise and nourish them: make them live for ever!The Manager. That is quite all right. But what do you want here, all of you?The Father. We want to live.The Manager [ironically]. For Eternity?The Father. No, sir, only for a moment . . . in you.An Actor. Just listen to him!Leading Lady. They want to live, in us . . ..Juvenile Lead [pointing to the STEP-DAUGHTER]. I've no objection, as far as that one is concerned!The Father. Look here! look here! The comedy has to be made. [To the MANAGER.] But if you and your actors are willing, we can soon concert it among ourselves.The Manager [annoyed]. But what do you want to concert? We don't go in for concerts here. Here we play dramas and comedies!The Father. Exactly! That is just why we have come to you.The Manager. And where is the "book"?The Father. It is in us! [The ACTORS laugh.] The drama is in us, and we are the drama. We are impatient to play it. Our inner passion drives us on to this.The Step-Daughter [disdainful, alluring, treacherous, full of impudence]. My passion, sir! Ah, if you only knew! My passion for him! [Points to the FATHER and makes a pretence of embracing him. Then she breaks out into a loud laugh.]The Father [angrily]. Behave yourself! And please don't laugh in that fashion.The Step-Daughter. With your permission, gentlemen, I, who am a two months' orphan, will show you how I can dance and sing. [Sings and then dances Prenez garde àTchou-Tchin-Tchou.]Les chinois sont un peuple malin,De Shangal à Pekin,Ils ont mis des écriteaux partout:Prenez garde à Tchou-T chin-Tchou.Actors and Actresses. Bravo! Well done! Tip-top!The Manager. Silence! This isn't a caféconcert, you know! [Turning to the FATHER in consternation.] Is she mad?The Father. Mad? No, she's worse than mad.The Step-Daughter [to MANAGER]. Worse? Worse? Listen! Stage this drama for us at once! Then you will see that at a certain moment I . . . when this little darling here .. [Takes the CHILD by the hand and leads her to the MANAGER.] Isn't she a dear? [Takes her up and kisses her.] Darling! Darling! [Puts her down again and adds feelingly.] Well, when God suddenly takes this dear little child away from that poor mother there; and this imbecile here [Seizing hold of the BOY roughly and pushing him forward.] does the stupidest things, like the fool he is, you will see me run away. Yes, gentlemen, I shall be off. But the moment hasn't arrived yet. After what has taken place between him and me [indicates the FATHER with a horrible wink.] I can't remain any longer in this society, to have to witness the anguish of this mother here for that fool . . . [Indicates the SON.] Look at him! Look at him! See how indifferent, how frigid he is, because he is the legitimate son. He despises me, despises him [Pointing to the BOY.], despises this baby here; because . . . we are bastards. [Goes to the MOTHER and embraces her.] And he doesn't want to recognize her as his mother -- she who is the common mother of us all. He looks down upon her as if she were only the mother of us three bastards. Wretch! [She says all this very rapidly, excitedly. At the word "bastards" she raises her voice, and almost spits out the final "Wretch!"]The Mother [to the MANAGER, in anguish]. In the name of these two little children, I beg you . . . [She grows faint and is about to fall.] Oh God!The Father [coming forward to support her as do some of the ACTORS]. Quick, a chair, a chair for this poor widow!The Actors. Is it true? Has she really fainted?The Manager. Quick, a chair! Here! [One of the ACTORS brings a chair, the OTHERS proffer assistance. The MOTHER tries to prevent the FATHER from lifting the veil which covers her face.]The Father. Look at her! Look at her!The Mother. No, no; stop it please!The Father [raising her veil]. Let them see you!The Mother [rising and covering her face with her hands, in desperation]. I beg you, sir, to prevent this man from carrying out his plan which is loathsorn.e to me.The Manager [dumbfounded]. I don't understand at all. What is the situation? Is this lady your wife? [To the FATHER.]The Father. Yes, gentlemen: my wife!The Manager. But how can she be a widow if you are alive? [The ACTORS find relief for their astonishment in a loud laugh.]The Father. Don't laugh! Don't laugh like that, for Heaven's sake. Her drama lies just here in this: she has had a lover, a man who ought to be here.The Mother [with a cry]. No! No!The Step-Daughter. Fortunately for her, he is dead. Two months ago as I said. We are in mourning, as you see.The Father. He isn't here you see, not because he is dead. He isn't here -- look at her a moment and you will understand -- because her drama isn't a drama of the love of two men for whom she was incapable of feeling anything except possibly a little gratitude -- gratitude not for me but for the other. She isn't a woman, she is a mother, and her drama -- powerful sir, I assure you -- lies, as a matter of fact, all in these four children she has had by two men.The Mother. I had them? Have you got the courage to say that I wanted them? [To the COMPANY.] It was his doing. It was he who gave me that other man, who forced me to go away with him.The Step-Daughter. It isn't true.The Mother [startled]. Not true, isn't it?The Step-Daughter. No, it isn't true, it just isn't true.The Mother. And what can you know about it?The Step-Daughter. It isn't true. Don't believe it. [To MANAGER.] Do you know why she says so? For that fellow there. [Indicates the SON.] She tortures herself, destroys herself on account of the neglect of that son there; and she wants him to believe that if she abandoned him when he was only two years old, it was because he [Indicates the FATHER.] made her do so.The Mother[vigorously]. He forced me to it, and I call God to witness it. [To the MANAGER.] Ask him [Indicates HUSBAND.] if it isn't true. Let him speak. You [To DAUGHTER.] are not in a position to know anything about it.The Step-Daughter. I know you lived in peace and happiness with my father while he lived. Can you deny it?The Mother. No, I don't deny it . . .The Step-Daughter. He was always full of affection and kindness for you. [To the BOY, angrily.] It's true, isn't it? Tell them! Why don't you speak, you little fool?The Mother. Leave the poor boy alone. Why do you want to make me appear ungrateful, daughter? I don't want to offend your father. I have answered him that I didn't abandon my house and my son through any fault of mine, nor from any wilful passion.The Father. It is true. It was my doing.Leading Man [to the COMPANY]. What a spectacle!Leading Lady. We are the audience this time.Juvenile Lead. For once, in a way.The Manager [beginning to get really interested]. Let's hear them out. Listen!The Son. Oh yes, you're going to hear a fine bit now. He will talk to you of the Demon of Experiment.The Father. You are a cynical imbecile. I've told you so already a hundred times. [To the MANAGER.] He tries to make fun of me on account of this expression which I have found to excuse myself with.The Son [with disgust]. Yes, phrases! phrases!The Father. Phrases! Isn't everyone consoled when faced with a trouble or fact he doesn't understand, by a word, some simple word, which tells us nothing and yet calms us? The Step-Daughter. Even in the case of remorse. In fact, especially then.The Father. Remorse? No, that isn't true. I've done more than use words to quieten the remorse in me.The Step-Daughter. Yes, there was a bit of money too. Yes, yes, a bit of money. There were the hundred lire he was about to offer me in payment, gentlemen . . . [Sensation of horror among the ACTORS.]The Son [to the STEP-DAUGHTER]. This is vile.The Step-Daughter. Vile? There they were in a pale blue envelope on a little mahogany table in the back of Madame Pace's shop. You know Madame Pace -- one of those ladies who attract poor girls of good family into their ateliers, under the pretext of their selling robes et manteaux.The Son. And he thinks he has bought the right to tyrannize over us all with those hundred lire he was going to pay; but which, fortunately -- note this, gentlemen -- he had no chance of paying.The Step-Daughter. It was a near thing, though, you know! [Laughs ironically.]The Mother [protesting]. Shame, my daughter, shame!The Step-Daughter. Shame indeed! This is my revenge! I am dying to live that scene . . . The room . . . I see it . . . Here is the window with the mantles exposed, there the divan, the looking-glass, a screen, there in front of the window the little mahogany table with the blue envelope containing one hundred lire. I see it. I see it. I could take hold of it . . . But you, gentlemen, you ought to turn your backs now: I am almost nude, you know. But I don't blush: I leave that to him. [Indicating FATHER.]The Manager. I don't understand this at all.The Father. Naturally enough. I would ask you, sir. to exercise your authority a little here, and let me speak before you believe all she is trying to blame me with. Let me explain. The Step-Daughter. Ah yes, explain it in your own way.The Father. But don't you see that the whole trouble lies here. In words, words. Each one of us has within him a whole world of things, each man of us his own special world. And how can we ever come to an understanding if I put in the words I utter the sense and value of things as I see them; while you who listen to me must inevitably translate them according to the conception of things each one of you has within himself. We think we understand each other, but we never really do. Look here! This woman [Indicating the MOTHER.] takes all my pity for her as a specially ferocious form of cruelty.The Mother. But you drove me away.The Father. Do you hear her? I drove her away! She believes I really sent her away.The Mother. You know how to talk, and I don't; but, believe me, sir [To MANAGER.], after he had married me . . . who knows why? . . . I was a poor insignificant woman . . .The Father. But, good Heavens! it was just for your humility that I married you. I loved this simplicity in you. [He stops when he sees she makes signs to contradict him, opens his arms wide in sign of desperation, seeing how hopeless it is to make himself understood.] You see she denies it. Her mental deafness, believe me, is phenomenal, the limit: [Touches his forehead.] deaf, deaf, mentally deaf! She has plenty of feeling. Oh yes, a good heart for the children; but the brain -- deaf, to the point of desperationThe Step-Daughter. Yes, but ask him how his intelligence has helped us.The Father. If we could see all the evil that may spring from good, what should we do? [At this point the LEADING LADY who is biting her lips with rage at seeing the LEADING MAN flirting with the STEP-DAUGHTER,comes forward and says to the MANAGER.] Leading Lady. Excuse me, but are we going to rehearse today?Manager. Of course, of course; but let's hear them out.Juvenile Lead. This is something quite new.L'Ingénue. Most interesting!Leading Lady. Yes, for the people who like that kind of thing. [Casts a glance at LEADING MAN.]The Manager [to FATHER]. You must please explain yourself quite clearly. [Sits down.] The Father. Very well then: listen! I had in my service a poor man, a clerk, a secretary of mine, full of devotion, who became friends with her. [Indicating the MOTHER.] They understood one another, were kindred souls in fact, without, however, the least suspicion of any evil existing. They were incapable even of thinking of it.The Step-Daughter. So he thought of it -- for them!The Father. That's not true. I meant to do good to them -- and to myself, I confess, at the same time. Things had come to the point that I could not say a word to either of them without their making a mute appeal, one to the other, with their eyes. I could see them silently asking each other how I was to be kept in countenance, how I was to be kept quiet. And this, believe me, was just about enough of itself to keep me in a constant rage, to exasperate me beyond measure.The Manager. And why didn't you send him away then -- this secretary of yours?The Father. Precisely what I did, sir. And then I had to watch this poor woman drifting forlornly about the house like an animal without a master, like an animal one has taken in out of pity.The Mother. Ah yes . . .The Father [suddenly turning to the MOTHER]. It's true about the son anyway, isn't it? The Mother. He took my son away from me first of all.The Father. But not from cruelty. I did it so that he should grow up healthy and strong by living in the country.The Step-Daughter [pointing to him ironically]. As one can see.The Father [quickly]. Is it my fault if he has grown up like this? I sent him to a wet nurse in the country, a peasant, as she did not seem to me strong enough, though she is ofhumble origin. That was, anyway, the reason I married her. Unpleasant all this may be, but how can it be helped? My mistake possibly, but there we are! All my life I have had these confounded aspirations towards a certain moral sanity. [At this point the STEP-DAUGHTER bursts into a noisy laugh.] Oh, stop it! Stop it! I can't stand it.The Manager. Yes, please stop it, for Heaven's sake.The Step-Daughter. But imagine moral sanity from him, if you please -- the client of certain ateliers like that of Madame Pace!The Father. Fool! That is the proof that I am a man! This seeming contradiction, gentlemen, is the strongest proof that I stand here a live man before you. Why, it is just for this very incongruity in my nature that I have had to suffer what I have. I could not live by the side of that woman [Indicating the MOTHER.] any longer; but not so much for the boredom she inspired me with as for the pity I felt for her.The Mother. And so he turned me out -- -.The Father. -- well provided for! Yes, I sent her to that man, gentlemen . . . to let her go free of me.The Mother. And to free himself.The Father. Yes, I admit it. It was also a liberation for me. But great evil has come of it. I meant well when I did it; and I did it more for her sake than mine. I swear it. [Crosses his arms on his chest; then turns suddenly to the MOTHER.] Did I ever lose sight of you until that other man carried you off to another town, like the angry fool he was? And on account of my pure interest in you . . . my pure interest, I repeat, that had no base motive in it . . . I watched with the tenderest concern the new family that grew up around her. She can bear witness to this. [Points to the STEP-DAUGHTER.]The Step-Daughter. Oh yes, that's true enough. When I was a kiddie, so so high, you know, with plaits over my shoulders and knickers longer than my skirts, I used to see him waiting outside the school for me to come out. He came to see how I was growing up.The Father. This is infamous, shameful!The Step-Daughter. No. Why?The Father. Infamous! infamous! [Then excitedly to MANAGER explaining.] After she [Indicating MOTHER.] went away, my house seemed suddenly empty. She was my incubus, but she filled my house. I was like a dazed fly alone in the empty rooms. This boy here [Indicating the SON.] was educated away from home, and when he came back, he seemed to me to be no more mine. With no mother to stand between him and me, he grew up entirely for himself, on his own, apart, with no tie of intellect or affection binding him to me. And then -- strange but true -- I was driven, by curiosity at first and then by some tender sentiment, towards her family, which had come into being through my will. The thought of her began gradually to fill up the emptiness I felt all around me. I wanted to know if she were happy in living out the simple daily duties of life. I wanted to think of her as fortunate and happy because far away from the complicated torments of my spirit. And so, to have proof of this, I used to watch that child coming out of school.The Step-Daughter. Yes, yes. True. He used to follow me in the street and smiled at me, waved his hand, like this. I would look at him with interest, wondering who he might be. I told my mother, who guessed at once. [The MOTHER agrees with a nod.] Then she。
Jane Austen ,Walter Scott, Charles Lamb
Point of view
The term point of view refers to the physical vantage point from which the author narrates the actions of the story. It is the position or location from which the author speaks to the reader. Subjective narration: the “first-person point of view” The narrator is likely to tell quite a different story from the one he or she thinks is being told, for being simple-minded, or deliberately lying. This often renders the narrator unreliable, which forces the reader to read actively. Anonymous narration: the “third-person point of view”— totally omniscient narrator / single character limited omniscience / dual character limited omniscience / multiple character omniscience
Theme
Theme is what a story means, what it says to us; and it results from the interaction of plot, character, emotion, and symbolism. Theme is the sum total of everything that takes place in a story plus the effect all this has on the mind of the reader. Stories can often be interpreted in more than one way, depending upon the inferences the reader draws from the facts that are presented.
高级英语Book5学习资料lesson1
LessonOne Salvation1. 课文译文救赎兰斯顿.休斯在我快13岁那年，我的灵魂得到了拯救，然而并不是真正意义上的救赎。
事情是这样的。
那时我的阿姨里德所在的教堂正在举行一场盛大的宗教复兴晚会。
数个星期以来每个夜晚，人们在那里讲道，唱诵，祈祷。
连一些罪孽深重的人都获得了耶稣的救赎，教堂的成员一下子增多了。
就在复兴晚会结束之前，他们为孩子们举行了一次特殊的集会——把小羊羔带回羊圈。
里德阿姨数日之前就开始和我提这件事。
那天晚上，我和其他还没有得到主宽恕的小忏悔者们被送去坐在教堂前排,那是为祷告的人安排的座椅。
我的阿姨告诉我说：“当你看到耶稣的时候，你看见一道光，然后感觉心里似乎有什么发生。
从此以后耶稣就进入了你的生命，他将与你同在。
你能够看见、听到、感受到他和你的灵魂融为一体。
”我相信里德阿姨说的，许多老人都这么说，似乎她们都应该知道。
尽管教堂里面拥挤而闷热，我依然静静地坐在那里，等待耶稣的到来。
布道师祷告，富有节奏，非常精彩。
呻吟、喊叫、寂寞的呼喊，还有地狱中令人恐怖的画面。
然后他唱了一首赞美诗。
诗中描述了99只羊都安逸的待在圈里，唯有一只被冷落在外。
唱完后他说道：“难道你不来吗？不来到耶稣身旁吗？小羊羔们，难道你们不来吗？”他向坐在祷告席上的小忏悔者们打开了双臂，小女孩们开始哭了，她们中有一些很快跳了起来，跑了过去。
我们大多数仍然坐在那里。
许多长辈过来跪在我们的身边开始祷告。
老妇人的脸像煤炭一样黑，头上扎着辫子，老爷爷的手因长年的劳作而粗糙皲裂。
他们吟唱着“点燃微弱的灯，让可怜的灵魂得到救赎”的诗歌。
整个教堂里到处都是祈祷者的歌声。
最后其他所有小忏悔者们都去了圣坛上，得到了救赎，除了一个男孩和依然静静地坐着等侯的我。
那个男孩是一个守夜人的儿子，名字叫威斯特里。
在我们的周围尽是祈祷的修女、执事。
教堂里异常闷热，天色也越来越暗了。
最后威斯特里小声对我说：“去他妈的上帝。
我再也坐不住了，我们站起来吧，就可以得到救赎了。
in search of Davos Man课文翻译
In Search of Davos ManIntroductionThe concept of “Davos Man” originated from the World Economic Forum (WEF) held annually in the Swiss ski resort town of Davos. It refers to the global elite - influential individuals who gather at the event to discuss and shape global economic policies. In this article, we will explore the characteristics, impact, and criticisms associated with Davos Man.Characteristics of Davos ManDavos Man is characterized by several distinct features:1.Wealth and Power–Davos Man is typically a member of the global elite,possessing tremendous wealth and wielding immense power invarious domains.–These individuals include corporate leaders, politicians, philanthropists, and influential thinkers. They often shapeeconomic policies that affect nations and societiesworldwide.2.Global Outlook–Davos Man has a strong global orientation, emphasizing the interconnectedness of the world and the need forinternational collaboration.–They advocate for open trade, globalization, and economic integration, believing that these factors drive globalprosperity.3.Technological Savvy–Davos Man recognizes the transformative power of technology and the Fourth Industrial Revolution.–They embrace innovation and digitalization, promotingpolicies that harness technological advancements foreconomic growth and societal development.mitment to Social Causes–Many Davos Man participants are engaged in philanthropy and social endeavors.–Initiatives related to climate change, poverty alleviation, access to healthcare and education, and gender equality areoften discussed and supported by this group.Impact of Davos ManThe influence of Davos Man extends beyond the World Economic Forum. Their impact can be seen in various aspects:1.Economic Policy–Davos Man has significant influence on global economic policies adopted by governments and internationalorganizations.–Their advocacy for free trade, deregulation, andliberalization has shaped the economic landscape of manynations.2.Global Governance–Davos Man plays a crucial role in shaping global governance structures.–They participate in forums like the G7, G20, and United Nations, contributing to discussions on issues such asclimate change, poverty eradication, and sustainabledevelopment.3.Business Practices–Davos Man’s emphasis on corporate social responsibility has driven changes in business practices.–Many corporations now prioritize environmentalsustainability, ethical sourcing, and inclusive workplacepolicies due to the influence of this global elite.4.Social Impact–Davos Man’s involvement in philanthropic effort s hascontributed to social change initiatives worldwide.–Through charitable foundations and collaborations, they have made substantial contributions to education, healthcare, andpoverty reduction.Criticisms of Davos ManDespite their influence, Davos Man is not exempt from criticism. Some common critiques include:1.Elitism–Critics argue that Davos Man represents a disconnected elite who are detached from the realities faced by ordinary people.–They claim that the discussions and decisions made by this group predominantly benefit the wealthy, perpetuating socialand economic inequality.ck of Diversity–The composition of Davos Man often lacks diversity, both in terms of gender and representation from developing nations.–Critics argue that a broader range of perspectives isnecessary to address global challenges effectively.3.Ineffectiveness of Policies–Despite their influence, skeptics question the actual impact of Davos Man’s policies on addressing pressing globalissues.–They argue that a narrow focus on market-driven solutions may not adequately address complex problems like climatechange or income inequality.ck of Accountability–Some argue that Davos Man operates without sufficientaccountability, as decisions made at the Forum are notsubject to democratic processes or public scrutiny.–Critics point out that the concentration of power in the hands of a select few can lead to decisions that prioritizetheir own interests over the common good.ConclusionThe concept of Davos Man represents a global elite that holdssubstantial power and influence over economic policies and global governance. While they have made significant contributions to philanthropy and social causes, criticisms regarding elitism, lack of diversity, policy effectiveness, and accountability persist. Understanding the characteristics and impact of Davos Man is crucial forreflecting on the dynamics of power and shaping a more inclusive and equitable global economy.。
美国文学作者和作品中英文名称翻译对照
美国文学作者和作品中英文名称翻译对照1、Benjamin Franklin本杰明·富兰克林1706-1790A Modest Inquiry into the Nature and Necessity of a Paper Money;Poor Richard\'s Almanack穷查理历书；The Way to Wealth致富之道；The Autobiography自传2、Thomas Paine托马斯·潘恩1737-1809The Case of the Officers of Excise税务员问题；Common Sense常识；American Crisis美国危机；Rights of Man人的权利：Downfall of Despotism专制体制的崩溃；The Age of Reason理性时代3、Philip Freneau菲利普·弗伦诺1752-1832The Rising Glory of America蒸蒸日上的美洲；The British Prison Ship英国囚船；To the Memory of the Brave Americans纪念美国勇士——同类诗中最佳；The Wild Honeysuckle野生的金银花；The Indian Burying Ground印第安人殡葬地4、Washington Irving华盛顿·欧文1783-1859A History of New York纽约的历史——美国人写的第一部诙谐文学杰作；The Sketch Book见闻札记The Legend of Sleepy Hollow睡谷的传说——使之成为美国第一个获得国际声誉的作家；Bracebridge Hall布雷斯布里奇田庄；Talks of Travellers旅客谈；The Alhambra阿尔罕伯拉5、James Fenimore Cooper詹姆斯·费尼莫尔·库珀1789-1851The Spy间谍;The Pilot领航者;The Littlepage Manuscripts利特佩奇的手稿;Leatherstocking Tales皮裹腿故事集:The Pioneer拓荒者；The Last of Mohicans最后的莫希干人;The Prairie大草原;The Pathfinder探路者;The Deerslayer杀鹿者6、William Cullen Bryant威廉·柯伦·布莱恩特1794-1878The Poems1821/1932诗选:To a Waterfowl致水鸟——英语中最完美的短诗;Thanatopsis死亡随想——受墓园派影响; The Whitefooted Deer白蹄鹿;A Forest Hymn森林赋;The Flood of Years 似水流年7、Edgar Allan Poe埃德加·爱伦·坡1809-1849（以诗为诗；永为世人共赏的伟大抒情诗人——叶芝）Tales of the Grotesque and Arabesque怪诞奇异故事集;Tales故事集;The Fall of the House of Usher厄舍古屋的倒塌;Ligeia莱琪儿;Annabel Lee安娜贝尔·李——歌特风格；首开近代侦探小说先河，又是法国象征主义运动的源头Tamerlane and Other Poems帖木儿和其他诗;Al Araaf,Tamerlane and Minor Poems艾尔·阿拉夫，帖木儿和其他诗;The Raven and Other Poems乌鸦及其他诗:The Raven乌鸦;The City in the Sea 海城;Israfel 伊斯拉菲尔;To Hellen致海伦8、Ralf Waldo Emerson拉尔夫·沃尔多·爱默生1803-1882Essays散文集:Nature论自然——新英格兰超验主义者的宣言书;The American Scholar论美国学者;Divinity;The Oversoul论超灵;Self-reliance论自立;The Transcendentalist超验主义者;Representative Men代表人物;English Traits英国人的特征;School Address神学院演说Concord Hymn康考德颂;The Rhodo杜鹃花;The Humble Bee野蜂;Days日子-首开自由诗之先河9．Nathaniel Hawthorne纳撒尼尔·霍桑1804-1864Twice-told Tales尽人皆知的故事;Mosses from an Old Manse古屋青苔:Young Goodman Brown 年轻的古德曼·布朗;The Scarlet Letter红字;The House of the Seven Gables有七个尖角阁的房子——心理若们罗曼史;The Blithedale Romance福谷传奇;The Marble Faun玉石雕像10、Henry David Threau亨利·大卫·梭罗1817-1862Wadden,or Life in the Woods华腾湖或林中生活;Resistance to Civil Government/Civil Disobedience抵制公民政府;A Week on the Concord and Merrimack Rivers11、Walt Whitman沃尔特·惠特曼1819-1892Leaves of Grass草叶集:Song of the Broad-Axe阔斧之歌;I hear America Singing我听见美洲在歌唱;When Lilacs Lost in the Dooryard Bloom\'d小院丁香花开时;Democratic Vistas民主的前景;The Tramp and Strike Question流浪汉和罢工问题;Song of Myself自我之歌12、Herman Melville赫尔曼·梅尔维尔1819-1891Moby Dick/The White Whale莫比·迪克/白鲸；Typee泰比;Omoo奥穆;Mardi玛地;Redburn雷得本;White Jacket白外衣;Pierre皮尔埃;Piazza广场故事;Billy Budd比利·巴德13、Henry Wadsworth Longfellow亨利·沃兹沃思·朗费罗1807-1882The Song of Hiawatha海华沙之歌——美国人写的第一部印第安人史诗;Voices of the Night夜吟;Ballads and Other Poens民谣及其他诗;Belfry of Bruges and Other Poems布鲁茨的钟楼及其他诗;Tales of a Wayside Inn路边客栈的故事——诗集：An April Day四月的一天/A Psalm of Life人生礼物/Paul Revere\'s Ride保罗·里维尔的夜奔;Evangeline伊凡吉琳;The Courtship of Miles Standish迈尔斯·斯坦迪什的求婚——叙事长诗；Poems on Slavery奴役篇——反蓄奴组诗14、John Greenleaf Whittier约翰·格林里夫·惠蒂埃1807-1892Poems Written During the Progress of the Abolition Question废奴问题;Voice of Freedom自由之声;In War Time and Other Poems内战时期所作;Snow-Bound大雪封门;The Tent on the Beach and Other Poems海滩的帐篷;Ichabod艾卡博德;A Winter Idyl冬日田园诗15、Harriet Beecher Stowe哈丽特·比彻·斯托1811-1896Uncle Tom\'s Cabin汤姆叔叔的小屋;A Tale of the Great Dismal Swamp德雷德阴暗大沼地的故事片;The Minister\'s Wooing牧师的求婚;The Pearl of Orr\'s Island奥尔岛的珍珠;Oldtown Folks 老城的人们16、Frederick Douglass弗莱德里克·道格拉斯1817-1895Narrative of the Life of Frederick Douglass an American Slave弗莱德里克·道格拉斯，一个美国黑人的自述/My Bondage and My Freedom我的枷锁与我的自由/The life and Time of Frederick Douglass弗莱德里克·道格拉斯的生平与时代17、Emily Dickinson埃米莉·迪金森1830-1886The Poems of Emily Dichenson埃米莉·迪金森诗集——"Tell all the truth and tell it slant"迂回曲折的，玄学的18、Mark Twain马克·吐温（Samuel Longhorne Clemens）——美国文学的一大里程碑The Celebrated Jumping Frog of Calaveras County加拉维拉县有名的跳蛙;The Innocent\'s Abroad傻瓜出国记;The Gilded Age镀金时代;The Adventures of Tom Sawyer汤姆·索耶历险记;The Prince and the Pauper王子与贫儿;The Adventures of Huckleberry Finn哈克贝利·费恩历险记;A Connecticut Yankee in King Arthur\'s Court亚瑟王宫中的美国佬;The Tragedy of Pudd\'nhead Wilson傻瓜威尔逊;Personal Recollections of Joan of Arc冉·达克;The Man That Corrupted Hadleyburg败坏哈德莱堡的人How to Tell a Story怎样讲故事——对美国早期幽默文学的总结19、Francis Bret Harte哈特1836-1902The Luck of Roaring Camp咆哮营的幸运儿——乡土文学作家20、William Dean Howells 威廉·狄恩·豪威尔斯1837-1920The Rise of Silas Lapham赛拉斯·拉帕姆的发迹;A Modern Instance现代婚姻; A Hazard of Now Fortunes时来运转;A Traveller from Altruia从利他国来的旅客;Through the Eye of the Needle透过针眼——乌托邦小说;Criticism and Fiction;Novel-Writing and Novel-Reading小说创作与小说阅读21、Henry Adams享利·亚当斯1838-1918History of the United States During the Administration of Jefferson and Madison（历史著作）；The Education of Henry Adams:An Autobiography享利·亚当斯的教育22、William James威廉·詹姆斯1842-1910（首提"意识流"理论）Principles of Psychology心理学原理；The Will to Believe信仰的意志；Pragmatism:A New Name for Some Old Ways of Thinking实用主义：某些旧思想方法的新名称；The Meaning of Truth真理的意义23、Henry James享利·詹姆斯1843-1916小说：Daisy Miller苔瑟·米乐；The Portrait of a Lady贵妇人画像；The Bostonians波士顿人；The Real Thing and Other Tales真货色及其他故事；The Wings of the Dove鸽翼；The Ambassadors大使；The Golden Bowl金碗评论集：French Poets and Novelists法国诗人和小说家;Hawthorne霍桑;Partial Portraits不完全的画像;Notes and Reviews札记与评论;Art of Fiction and Other Essays小说艺术24、Ambrose Bierce安布罗斯·毕尔斯1842-1914?小品集：The Fiend\'s Deligh魔鬼的乐趣;Nuggests and Dust Panned out in California在加利福尼亚淘出的金块和金粉;Cobwebs from an Empty Skull来自空脑壳的蜘蛛网短篇小说集：Tales of Soldiers and Civilians军民故事;In the Midst of Life在人生中间;Can Such Things Be?这种事情可能吗？The Devil\'s Dictionary魔鬼词典（The Applicant申请者）25、Edward Bellamy爱德华·贝拉米1850-1898Looking Backward:2000-1887回顾：从2000看1887年；Equality平等；The Duke of Sockbridge:A Romance of Shay\'s Rebellion斯托克布里奇的公爵：雪司起义的故事;The Blindman\'s World and Other Stories育人的世界及其他26、Edwin Charles Markham马卡姆1852-1940The Man With the Hoe荷锄人27、Charles Waddell Chesnutt查尔斯·契斯纳特1858-1932The Conjure Woman巫女;The Wife of His Youth and Other Stories of the Color Line他青年时代的妻子（The Sheriff\'s Children警长的儿女）（the pioneer of the color line）;The Marrow of Tradition一脉相承28、Hamlin Garland汉姆林·加兰1860-1940Crumbling Idol崩溃的偶像（真实主义veritism）;Man Travelled Roads大路（The Return of a Private三等兵归来）;Rose of Ducher\'s Cooly荷兰人山谷中的露斯;A Son of the Middle Border 中部边地农家子29、O·Henry欧·享利（William Sidney Porter）1862-1910The Man Higher Up黄雀在后;Sixes and Sevens七上八下30、Edith Wharton伊迪斯·华顿1862-1937The House of Mirth欢乐之家;Ethan Frome;Bunner Sister班纳姐妹;The Age of Innocent天真时代;The Customs of the Country乡村习俗;A Backward Glance回首往事32、George Santayana桑塔亚那1863-1952Scepticism and Animal Faith怀疑主义与动物性信仰;The Realms Being存在诸领域（本质/物质/真理/精神领域：4卷）（Relativity of Knowledge）;Three Philosphical Poets三大哲学诗人；Poems （A Minuet:On Reaching the Age of Fifty小步舞曲：五十书怀）;The Last Puritan最后的清教徒33、William E·B Dubois威廉·艾伯·杜波依斯1868-1963Souls of Black Folk黑人的灵魂（Of Booker T Washington and Others）;The Suppression of the African Slave Trade into the USA制止非洲奴隶贸易进入美国;The Philadephia Negro;John Brown;The Black Flame黑色的火焰（三部曲）34、Edgar Lee Masters埃德加·李·马斯特斯1868-1950A Book of Verse诗集;Maximilian马克西米连（诗集）;Spoon River Anthology斯普恩河诗集（Lucinda Matlock鲁欣达·马物罗克）35、Edwin Arlington Robinson鲁宾逊1869-1935Captain Craig克雷格上尉——诗体小说；The Town Down the River河上的城镇;The Man Against the Sky衬托着天空的人;Avon\'s Harvest沃冯的收成;Collected Poems诗集36、Frank Norris弗兰克·诺里斯1870-1902Moran of the Lady Letty茱蒂夫人号上的莫兰（romantic）;Mc-Teague麦克提格（naturalistic）;The Epic of the Wheat（realistic）小麦诗史（The Octopus章鱼,The Pit小麦交易所）;A Deal in Wheat and Other Stories of the Old and New West小麦交易所及其他新老西部故事37、Stephen Crane斯蒂芬·克莱恩1871-1900Magic:A Girl of the Streets街头女郎梅姬（美国文学史上首次站在同情立场上描写受辱妇女的悲惨命运）；The Red Badge of Courage红色英勇勋章；The Open Boat小划子;The Bride Comes to Yellow Sky新娘来到黄天镇38、Theodore Dreiser西奥多·德莱塞1871-1945Sister Carrie嘉莉姐妹;Jennie Gerhardt珍妮姑娘;Trilogy of Desire欲望三部曲（Financer金融家,The Titan巨人,The Stoic）;An American Tragedy美国的悲剧（被称为美国最伟大的小说）;Nigger Jeff黑人杰弗39、Paul Laurence Dumbar保尔·劳伦斯·邓巴1872-1906We Wear the Mask我们带着面具他是美国第一个有成就的黑人诗人，被称为"黑种人的桂冠诗人"（Poet Laureate of the Negro Race）40、Jack London杰克·伦敦1876-1916The Son of the Wolf狼之子,The Call of the Wild野性的呼唤;The Sea-wolf海狼;White Fang白獠牙;The People of the Abyss深渊中的人们;The Iron Heel铁蹄;Marti Eden马丁·伊登;How I become a Socialist我怎样成为社会党人;The War of the Classes阶级之间的战争;What Life Means to Me生命对我意味着什么;Revolution革命;Love of Life热爱生命;The Mexican墨西哥人;Under the Deck Awings在甲板的天蓬下41、Upton Sinclair厄普顿·辛克莱尔1878-1968Spring and Harvest春天与收获;The Jungle屠场（揭发黑幕运动的代表作家）;King Coal煤炭大王;Oil石油;Boston波士顿;Dragon\'s Teeth龙齿42、Irving Babbitt欧文·白壁德1865-1933（新人文主义主要代表）Literature and the American College文学与美国学院（）要求恢复古典文学教学;The New Laokoon新拉奥孔;Rousseau and Romanticism卢梭与浪漫主义;Democracy and Leadership民主与领导;On being Creative论创造性43、Villa Sibert Cather维拉·凯塞1873-1947O,Pioneers啊，先驱们;My Antonia我的安东尼亚;The Professor\'s House教授之家;Death Comes for the Archibishop大主教之死44、Gertrude Stein格特鲁德·斯坦因1874-1946The Autobiography of Alice B Toklas爱丽丝·托克拉斯的自传；Tender Button温柔的钮扣45、Robert Frest罗伯特·弗罗斯特1874-1963A Boy\'s Wish少年心愿；North of Boston波士顿之北（Mending Wall修墙,After Apple-picking 摘苹果之后）;Mountain Interval山间（成熟阶段）（The Road Not taken没有选择的道路）;West-running Brook西流的溪涧;A Further Range又一片牧场;A Witness Tree一株作证的树46、Sherwood Anderson舍伍德·安德森1876-1941Windy McPherson\'s Son饶舌的麦克斐逊的儿子;Marching Men前进中的人们;Mid-American Chants美国中部之歌;Winesburg,Ohio/The Book of the Grotesque俄亥俄州的温斯堡/畸人志;Poor White穷苦的白人;Many Marriages多种婚姻;Dark Laughter阴沉的笑声The Triumph of the Egg and Other Stories鸡蛋的胜利和其他故事;Death in the Woods and Other Stories林中之死及其他故事;I Want to Know Why我想知道为什么47、Carl Sandburg卡尔·桑德堡1878-1967Always the Young Stranger永远是陌生的年轻人s;In Reckless Ecstasy肆无忌惮的狂热;The Prairie Years草原的年代一、二;The War Years战争的年代（林肯传记）;The American Songbag美国歌袋;The People,Yes人民，好;Honey and Salt蜜与盐;Corn-huskers辗米机（Fog雾）;Smoke and Steel烟与钢48、Wallace Stevens华莱士·史蒂文斯1879-1955Harmonium风琴;The Man With the Blue Guitar弹蓝吉他的人;Notes Toward a Supreme Fiction 关于最高虚构的札记（Peter Quince at the Clavier彼得·昆斯弹风琴;Sunday Morning礼拜天早晨）;The Auroras of Autumn秋天的晨曦;Collected Poems诗集49、Henry Louis Mencken孟肯1880-1956Bernard Shaw:His Plays肖伯纳的戏剧;The Philosophy of Nietzche尼采的哲学;The American Language美车语言;Happy Days幸福的日子（自传三部曲）;Newspaper Days新闻记者的岁月;Heathe Days倡导异端邪说的年代50、William Carlos Williams威廉·卡罗斯·威廉斯1883-1963收入Des Imagistes意像派（意像派的第一部诗选）诗集：Sour Grapes;Spring and All春;The Desert Music;The Journey of Love爱的历程;Collected Poems;Complete Poems;Collected Later Poems;Pictures from Brueghel布留盖尔的肖像;Paterson佩特森（5卷长诗）;Asphodal,That Green Flower常青花日光兰（长诗）名诗：Red Wheelbarrow红色手推车;The Widow\'s Lament in Spring寡妇的春怨;The Dead Baby;The Sparrow ,to My Father麻雀-致父亲;Proletarian Portrait无产阶级画像（from An Early Martyr先驱）;The Great American Novels伟大的美国小说;In the American Grain美国性格;Autobiography自传51、Sinclair Lewis辛克莱·刘易斯1885-1951（美国第一个获诺贝尔奖）Dur Mr Wrenn我们的雷恩先生;The Job求职;The Main Street大先进;Babbitt巴比特;Arrowsmith艾罗史密斯;Elmer Gantry艾尔默·甘特里;Dodsworth多兹沃斯;It can\'t Happen Here事情不会发生在这里;Kingsblood Royal王孙梦52、Ezra Pound艾兹拉·庞德1885-1972The Spirit of Romance罗曼司精神;The Anthology Des Imagistes意像派诗选;Cathay华夏（英译中国诗）;Literary Essays文学论;Hugh Swlwyn Mauberley;A Few Don\'ts by Imagiste意像派戒条;Personage面具;Polite Essays文雅集;The Cantos of Ezra Pound庞德诗章（109首及8首未完成稿）53、Hilda Doolittle希尔达·杜丽特尔1886-1961Sea Garden海的花园;Collected Poems（Dread山精;Pear Tree;Orchard）;The Walls Do Not Fall 墙没在倒塌（战争诗三部曲）;Tribute to the Angels天使颂;The Flowering of the Rod柳条葳蕤;Tribute to Freud献给弗洛伊德;Hellen in Egypt海伦在伦敦（抒情长诗）54、Thomas Stearns Eliot托马斯·艾略特1888-1965Prufrock and Other Observations普罗夫洛克（荒原意识）;The Waste Land荒原（The Burial of the Dead死者的葬礼;A Game of Chess弈棋;The Fire Sermon火诫;Death by Water水边之死;What the Thunder Said雷电之言）;名诗：Ash Wednesday圣灰星期三;Four Quarters四个四重奏诗剧：Murder in the Cathedral大教堂谋杀案;Family Reunion大团圆;Cocktail Party鸡尾酒会55、Eugene Oneil尤金·奥尼尔1888-1953独幕剧：Bound East to Cardiff东航卡迪夫;The Long Voyage Home归途迢迢;The Moon of the Carribbeans加勒比人之月; 多幕剧：Beyond the Horizon天边外（其成名作）;Anna Christie安娜·克里斯蒂;The Emperor Jones琼斯皇;The Hairy Ape毛猿;All the God\'s Children Got Wings上帝的儿女都有翅膀The Great God Brown大神布朗;The Strange Interlude奇异的插曲;Mourning Becomes Electr素娥怨/悲悼a;The Iceman Cometh送冰的人来了;The Long Days Journey Into Night进入黑夜的漫长旅程/日长路远夜常深沉56、Katherine Anne Porter凯瑟琳·安·波特1890-1980Flowering Judas开花的紫荆花（Maria Conception;The Jitting of Granny Weatherall）;Pale Horse,Pale Rider;Leaning Tower and Other Stories——TheCollected Stories of K A Porter Ship of Fools愚人船（唯一的一部长篇小说）;The Never Ending Wrong千古奇冤（回忆录）57、Archibald Mac Leish阿基博尔德·麦克利什1892-1982Towers of Ivory象牙塔;The Happy Marriage幸福的婚姻;Streets in the Moon月色中的街;New Found Land新发现的大陆;Conquistador新西班牙的征服者;Poems1912-1952 广播剧：The Fall of the City城市的陷落;Airraid空袭58、Michael Gold迈克尔·戈尔德1894-1967120 Million一亿二千万;Change The World改变世界;The Hollow Man空心人;Jews Without Money没在钱的犹太人（自传体小说）戏剧：Hoboken Blues;Fiesta节日;Battle Hymn歌;Prletarian Literature in the United States美国无产阶级文学选集（与人合编）59、E Cumings肯明斯1894-1962Tulips anddd Chimneys郁金香与烟囱;The Enormous Room大房间;XLI Poems诗41首;Viva万岁;No，Thanks不，谢谢;Collected Poems诗集;Eimi爱米（访苏游记）60、Edmund Wilson埃德蒙·威尔逊1895-1972Travel in Two Democracies在两个民主国家里旅行;To the Finland Station到芬兰站去;A Piece of My Mind:Reflection at Sixty心里话:行年六十的沉思;Axel\'s Castle阿克塞尔的城堡（象征主义批判的圭阜）;The Ttriple Thinkers三重思想家;The Wound and The Bow创伤与箭;The Shores of Light光明之岸;The Fruits of the MLA现代语言协会的成果61、John Dos Passos帕索斯1896-1970The Three Soldiers;Manhattan Transfer;U.S.A（The Forty-second Parallel;1919;The Big Money）;District of Columbia哥伦比亚大区（The Adventures of a Young Man一个年轻人的冒险;Number One第一号;The Grand Design伟大的计划）;Orient Express东方特别快车（游记）62、F Scott Fitzgerald弗朗西斯·菲茨杰拉德1896-1940（迷惘的一代）The Side of Paradise人间天堂;The Beautiful and the Damned美丽的和倒霉;The Great Gatsby了不起的盖茨比;Tender in the Night夜色温柔;The Last Tycoon最后的巨头短篇小说：Flappers and Philosophers姑娘们和哲学家们;Tales of the Jazz爵士时代的故事;Taps at Reveille早晨的起床号→The Ice Palace冰宫;May Days五一节;The Diamond as Big as the Ritz像里茨饭店那样大的钻石;Winter Dreams冬天的梦;The Rich Boy富家子弟;Babylon Revisted重访巴比伦敦The Crack-up崩溃（自传体文集）63、William Faulkner威廉·福克纳1897-1962The Marble Faun云石林神（诗集）;Soldiers\' Pay兵饷（小说）短篇小说：Dry September干燥的九月;The Sound and the Fury愤怒与喧嚣;As I lay dying 当我垂死的时候;Light in August八月之光;Absalom,Absolam押沙龙，押沙龙（家世小说）64、Malcolm Cowley马尔科姆·考利1898-译作：法国安德烈·纪德Andre Gide的Imaginary Interview虚构的会议诗集：Blue Juniata;The Dry Season;The Exile\'s Return流亡者的回归（研究"迷惘的一代"的专著）;A Second Flowering第二次繁荣（The Other War另一种战争）65、Ernest Hemingway欧内斯特·海明威1899-1961（"迷惘的一代"的代表人物）In Our Time在我们的年代里;The Torrents of Spring春潮;The Sun Also Rises太阳照样升起;Farewell to Arms永别了，武器;For Whom the Bell Tolls丧钟为谁而鸣短篇小说：Men Without Women没有女人的男人;The Winners Take Notheing胜者无所获;The Fifth Column and First Forty-nine Stories第五纵队与首次发表的四十九个短篇政论：To Have and Have Not贫与富回忆录：A Moveable Feast到处逍遥66、Hart Crane哈特·克兰1899-1932My Grandfather\'s Love Letters祖父的情书;Praise for an Urn瓮颂;For the Marriage of Faustus and Hellen为浮士德和海伦的婚姻而作;Voyage航海;The Bridge桥（长诗）;White Buildings白色的楼房（首部诗集）67、Thomas Wolfe托马斯·沃尔夫1900-1938Look Homeward,Angel天使，望乡→（续）Of Time and the River时间与河流;The Web and the Rock蛛网与岩石;You Can\'t Go Home Again有家归不得;The Hills Beyond远山（未完成）短篇小说：From Death to Morning从死亡到早晨68、James Langston Hughes詹姆斯·兰斯顿·休斯1902-1969Mulatto混血儿（剧本）;The Weary Blues疲倦的歌声;Dear Lovely Death亲爱的死神;Shakespear in Harlem哈莱姆的莎士比亚;I Wonder as I Wander我漂泊我思考;The Best of Simple辛普尔精选69、John Steinbeck约翰·斯坦贝克1902-1966Cup of Gold金杯;Tortilla Flat煎饼房;In Dubious Battle胜负未定;Of Mice and Men鼠和人;The Grapes of Wrath愤怒的葡萄;The Moon is Down月亮下去了;Cannery Row罐头厂街;The Pearl 珍珠短篇小说：The Red Pony小红马（The Gift,The Great Mountains大山;The Promise许诺,The Leader of the People人们的领袖）70、Nathanael West韦斯特1903-1940The Dream Life of Balso Snell巴尔索·斯纳尔的梦幻生涯;The Day of Locust蝗灾之日;Miss Lonelyhearts寂寞小说71、James Farrel 法雷尔1904-1979Studs Lonigan斯塔兹·朗尼根（Young Lonigan少年朗尼根;The Young Manhood of Studs Lonigan 朗尼根的青年时代,Judgement Day末日窝审判）;Danny O\'Neil丹尼·奥尼尔（五部曲）;Bernard Carr伯纳德·卡尔（三部曲）短篇小说：Calico Shoes花布鞋;Guillotine Party行刑队文艺评论：A Note on Literary Criticism文艺评论札记;Literature and Morality文学与道德72、Lillian Hellman丽莲·海尔曼1905-1983The Children\'s Hour孩子们的时光;The Little Foxes小狐狸;Watch on the Rhine守望莱茵河;The Searching Wind彻骨的风;The Autumn Garden秋园;Tos in the Attic阁楼里的玩具;The Days to Come未来的日子;Another Part of the Forest森林的另一处回忆录：An Unfinished Wonman一个事业尚未终了的女人;Pentimento旧画新貌;Scoundrel Time邪恶的时代73、Clifford Odets克利福德·奥德茨1906-1963Waiting for Lefty等待老左/勒夫特;Awake and Sing!醒来歌唱;Till the Day I Die直到我死的那天;Paradise Lost失乐园;Golden Boy金孩子;Clash by Night夜间冲突;The Big Knife大刀;The Country Girl乡村姑娘;The Flowering Peach开花的桃树74、Richard Wright理查德·赖特1908-1960Uncle Tom\'s Children汤姆叔叔的孩子们;Native Son土生子;Black Boy;黑孩子The Outsiders局外人;The Long Dream漫长的梦;Eight Men八人行75、Eudora Welty尤多拉·韦尔蒂1906-短篇小说：Death of a Travelling,Salesman巡回推销员之死;A Curtain of Green and Other Stories 绿窗帘和其他;The Wide Net and Other Stories大网和其他故事;The Golden Apples金苹果;The Bridge of Innifallen英尼斯法伦的新娘长篇小说：The Robber Bridgeroom强盗新朗;Detta Wedding德尔塔的婚姻;The Ponder Heart庞德的心;The Losing Battles失败的战斗;The Optismist\'s Daughter乐观者的女儿76、Valdimir Nabokov弗·纳博科夫1899-1977Lolita洛莉塔;Pale Fire微暗的火;The Admiralty Sprie海军部大厦塔尖77、Anais Nin安娜伊思·宁1903-1977The Novel of Future未来的小说;Heida海达;House of Incest乱伦之家;Collages拼贴78、Issac Bashevis Singer艾萨克·辛格1904-1991Gimpel the Fool傻瓜吉姆佩尔;The Family Moskat莫斯卡特家族;Satan in Goray撒旦在戈雷;The Magician of Lublin卢布林的魔术师;The Slave奴隶;The Manor庄园;The Estate产业;Enenemies,A Love Story仇敌们，一个爱情故事;Shosha舒莎短篇小说：The Spinoza of Market Street市场街的斯宾诺莎;A Friend of Kafka卡夫卡的朋友名篇：Neighbours邻居79、Robert Penn Warren罗伯特·沃伦1905-1989Night Rider夜间骑士;At Heaven\'s Gate在天堂门口;All King\'s Men国王的全部人马;World Enough and Time足够的世界和时间;The Cave洞穴;Band of Angels天使的队伍;A Place to Come to归宿诗集：Thirtysix Poems;Selected Poems1923-1943;Brother toDragons;Promised:Poems1954-1956;You,Emperors and Others;Selected Poems New and Old1923-1966;Elven Poems on the Same Themet;Incarnation Poem1966-1968显灵：1966-1968诗选;Now and Then:Poems 1976-1978此时与彼时1976-1978诗选剧作：Proud Flesh骄傲的血肉之躯;Modern Rhetoric当代修辞学；Birth of Love爱之诞生（选自与Cleanth Brooks合编的Understanding Poetry/Understanding Fiction）逃亡者集团The Fugitive的宣言书I\'ll Take My Stand我表明我的立场80、Tennessee William田纳西·威廉斯1911-1983American Blues美国的布鲁斯;Battle of Angels天使的战斗;The Glass Menagerie玻璃动物园;The Streetcar Named Desire欲望号街车;Cat on a Hot Tin Roof热铁皮屋顶上的猫;The Night of The Iguana鬣蜥之夜;Summer and Smoke夏与烟;The Rose Tattoo玫瑰纹;Sweet Bird of Yout 可爱的青春鸟81、John Cheever约翰·契弗1912-1982短篇小说：The Expelled开除短篇小说集：The Way Some People Live一些人的生活方式;The Enormous Radio and Other Stories巨型收音机和其他;The Housebreaker of Shaddy Hill and Other Stories绿茵山窃贼和其他;Some People,Places and Things That Will Not Appear in My Next Novel一些不会在我下一部小说中出现的人物、地点、事件;The Brigadier and the Golf Widow陆军准将和高尔夫迷寡妇;The World of Apples苹果世界→The Stories of John Cheever契弗短篇小说选长篇小说：The Wapshot Chronicle/Scandal瓦普肖特纪事/丑闻;Bullet Park布利特公园;Falconer鹰猎者82、Irwin Shaw欧文·肖1913-1984Bury the Dead埋葬死者;Sailor off the Bremen不来梅港外的水手长篇小说：The Young Lions幼狮;The Troubled Air混浊的空气;Lucy Crown露茜·克朗;Two Weeks in Another Town；Voices of a Summer Day夏日的喁喁声;Rich Man,Poor Man;Evening in Byzantium;Nightwork认夜工;Beggarman,Thief;Bread upon the Waters83、Ralph Ellison拉尔夫·埃利林1914-长篇小说：Invisible Man看不见的人散文集：Shadow and Act影子与行动;Going to the Territory步入文学界84、Bernard Malamud伯纳德·马拉默德1914-1986长篇小说：The Natural天生运动员;The Assistant伙计;The Fixer装配工;A New Life新生活;God\'s Grace上帝的恩赐短篇小说：The Magic Barrel魔桶85、Landall Jarrel兰达尔·贾维尔1914-1965诗集：Blood for a Stranger献给一个陌生人的血;Little Friend ,Little Friend小朋友，小朋友;Losses损失;Seven-league Crutches七里格长的拐杖;The Lost World失去的世界小说：Pictures of an Institution学院小景;The Woman at the Washington Zoo华盛顿动物园的女人评论：Poetry and the Age诗歌与时代;The Death of the Ball Turret Gunner旋转炮塔炮手之死86、John Berryman约翰·贝里曼1914-1972诗：Homage to Mrs Bradstreet献给布拉兹特里夫人；The Dream Songs梦之歌;Poems1942;The Dispossessed被剥夺者（The Ball Poem小球诗）;77 Dream Songs;Berryman\'s Sonnets;Short Poems;His Toy;His Dream;His Rest;Love and Fame;Delusion,etc错觉及其他小说：Recovery复原传记：Stephen Crane斯蒂芬·克莱恩87、Saul Bellow索尔·贝娄1915-长篇小说：Dangling Man晃来晃去/挂起来的人;The Victim受害者;The Adventure of Augie March奥基·马奇历险记;Henderson the Rain King雨王汉德逊;Herzog赫索格;Mr Summlar\'s Planet塞姆勒先生的行星;Humboldt\'s Gift洪堡的礼物中篇小说：Seize the Day且乐今朝88、Arthur Miller阿瑟·米勒1915-Situation Normal情况正常;The Man Who Had All the Luck吉星高照的人;All My Sons都是我的儿子;The Death of a Salesman推销员;The Crucible严峻的考验/萨姆勒的女巫;A View from the Bridge桥头眺望;A Memory of Two Mondays两个星期一的回忆;After the Fall堕落之后;Incident at Vichy维希事件;The Price代价;The Creation of the World and Other Business创世及其他;The Archbishop\'s Ceiling大主教的天花板;The American Clock美国时钟89、Robert Lowell罗伯特·洛厄尔1917-1977诗：Lord Weary\'s Castle威尔利老爷的城堡;Life Studies人生探索名篇：For Sale;Walking in the Blue;For the Union Dead献给联邦死难士→自白诗运动90、J D Salinger杰罗姆·大卫·塞林格1919-短篇小说：The Young Folks年轻人短篇小说集：Nine Stories故事九篇中篇小说：Franny弗兰尼;Zooey卓埃;Raise High the Roof Beam,Carpenters木匠们，把屋梁升高;Seymour:An Introduction西摩其人长篇小说：The Cather in the Rye麦田守望者91、Betty Frieden贝蒂·弗里丹1921-The Feminine Mystique女性的奥秘;It Changed My Life它改变了我的生活;The Second Stage第二阶段（How to get the Women\'s Movement Moving Again）92、Alex Haley亚历克斯·哈利1921-1992The Autobiography of Malcolm X马尔科姆·艾克斯自传Roots根;Hanning汉宁镇（自传体小说）93、Jack Kerouac杰克·凯鲁亚克1922-1966（"垮掉的一代"奠基者）The Town and the City镇和城;On the Road在路上;The Subterraneans 地下居民;The Dharma Bums达摩的流浪者;Visions of Cody科迪的梦想；Doctor Sax萨克斯医生;Maggie Cassidy麦琪·卡西迪;Mexico City Blues墨西哥城的布鲁斯;Lonesome Traveller孤独的旅行者;Desolation Angels凄凉天使;Satori in Paris巴黎参禅记;Vanity of Duluoz杜卢奥斯的偏见94、Kurt Vonnegut库特·冯尼格特长篇小说：Player Piano自动钢琴;The Sirens of Titan泰坦族的海妖;Cat\'s Craddle猫的摇篮;Slaughterhouse Five第五号屠场;Mother Night黑夜母亲;God Bless You,Mr Rosewater上帝保佑你，罗斯瓦特先生;Breakfast of Champions顶呱呱的早餐;Slapstick,or Lonesome No More滑稽剧,又名不再孤独;Jailbird囚犯;Deadeye Dick神枪手迪克短篇小说集：Welcome to the Monkey House欢迎到猴房来（Report on the Barnhouse Effect 关于巴恩豪斯效应的报告）95、Norman Mailer诺曼·米勒1923-（垮掉的一代；文学恐怖主义者/亡命之徒）裸者与死者；Barbary Shore巴巴里海滨;The Deer Park廘苑;An American Dream一场美国梦;The White Negro白色黑人;Advertisement for Myself 为自己做广告;Why Are We in Vietnam?我们为什么要去越南;The Executioner\'s Song刽子手之歌;The Armies of the Night夜色幕下的大军（History as a Novel/The Novel as History）-非虚构小说;New Journalism新新闻报道96、James Dichey詹姆斯·迪基1923-诗集：Into the Stone钻入石头;Drowning With Others跟别人一起淹死（The Lifeguard救生员）;Helmets头盔;Buckdancer\'s Choice班克舞者的选择;Poems1957-1967;The Iodiac黄道长诗：Deliverance解脱诗论集：The Suspect in Poetry诗歌中的嫌疑犯;Babel to Byzatium从巴别尔到拜占庭97、Joseph Heller约瑟夫·海勒1923-长篇小说：Catch-22第二十二条军规;Something Happened出了毛病;As Good as Gold像高尔德一样好剧本：We Bombed in New Haven我们轰炸纽黑文;Catch-22;Clevinger\'s Trial克莱文杰受审（据Catch-22第八章）98、James Baldwin詹姆斯·鲍德温1924-1987散文集：Note of a Native Son土生子的笔记;Nobody Knows My Name;Fire Next Time下一次烈火;No Name in the Street他的名字被遗忘;The Devil Finds Work魔鬼找到工作小说：Go Tell it on the Mountain向苍天呼吁;Giovanni\'s Room乔万尼的房间;Another Country另一个国度;Tell Me How Long the Train\'s Been Gone告诉我火车已开多久;If Beale Street Could Talk假如比尔能说话;Just Above My Head就在我头上短篇小说集：Going to Meet the Man去见这个人剧本：The Amen Corner阿门角;Blues for Mister Charley为查理先生唱布鲁斯/黑人怨;One Day When I was Lost有一天当我迷失的时候/迷路前后100、Flannery O\'Connor弗兰纳里·奥康纳1925-1964长篇小说：Wise Blood慧血;The Violent Bear It Away它为强暴者所夺走短篇小说集：A Good Man Is Hard to Find好人难寻;Everything That Rises Must Converg上升的一切必然汇合e名文：Good Country People善良的乡下人;The Lame Shall Enter First跛腿者先进去;Greenleaf格林利夫;Revelation;Parker\'s Back派克的背101、William Styron威廉·斯泰伦1925-Lie Down in Darkness躺在黑暗中;The Long March长途行军;Set This House on Fire放火烧屋;The Confessions of Nat Turner纳特·特纳的自白;Sophie\'s Choice索菲的选择102、Allen Ginsburg艾伦·金斯堡1926-诗集：Howl and Other Poems嚎叫及其他（America）（The Beat Generation垮掉的一代的宣言书和代表作）;Kaddish and Other Poems卡第绪及其他;Plannet News行星消息;The Fall of America美国的衰弱103、James Wright詹姆斯·赖特1927-1980诗集：The Green Wall绿墙;Saint Judas圣徒犹大;The Tail and Eyes of a Lion狮子的尾巴和眼睛;The Branch Will Not Break树枝不会断;Shall We Gather at the River我们在河边聚会;Collected Poems;Two Citizens两位公民;Moments of the Italian Summer意大利之夏;To a Blossoming Pear Tree致盛开鲜花的梨树;This Journey;A Blessing祝福104、Edward Albee爱德华·阿尔比1928-The Zoo Story动物园的故事;The Death of Bessie Smith贝西·史密斯之死;The Sandbox沙箱;The American Dream美国梦;Who\'s Afraid of Virginia Woolf?谁害怕弗吉尼亚·伍尔夫;Tiny Alice小爱丽丝;A Delicate Balance脆弱的羊群;Seascape海景;The Lady from Dubuque来自杜布克的女人;The Man With Three Arms在臂人105、Martin Luther King Jr马丁·路德·金1929-1968I Have a Dream;Stride Toward Freedom迈向自由;Strength to Love爱的力量;Why We Can\'t Wait?;Where Do We Go from Here,Chaos or Community?今后我们何去何从，纷争还是团结？106、Gary Snyder加里·斯奈德1930-（ecology poet）Riprap大卵石（Piute Creek皮尤特河）;Myths Texts神话与现实;The Back Country偏僻的山村;Regarding Wave观浪（Meeting the Mountain进山）;Turtle Island龟岛;Left Out in the Rain：New Poems 1974-1985留在雨中:1974-1985新诗集文集：Six Sections from Mountains and Rivers Without End Plus One山水穷尽六章外一章;The Real Work:Interviews and Talks脚踏实地工作：访问记与演讲稿107、John Barth约翰·巴思1930-长篇小说：The Floating Opera漂浮的歌剧;The End of the Road穷途末路;The Sot-weed Factor 烟草代理商;Letters书信集;Giles Goat-boy山羊孩子贾尔斯;Lost in the Funhouse迷失在开心馆里（Title题目）;Chimera客迈拉；Sabbatical学院的轮休假;The Friday Book:Essays and Other Nonfictions星期五的书：论文及其他非小说108、Tony Morrison托尼·莫里森1931-The Bluest Eye最蓝的眼睛;Sula苏拉;Song of Solomon所罗门之歌;Tar Baby柏油娃娃;Beloved;Jazz爵士乐109、John Updike厄普代克1932-长篇小说：The Poorhouse Fair养老院义卖会;Rabbit, Run兔子，跑吧;Rabbit Relax兔子回家;Rabbit Is Rich兔字发财;Centaur马人;Of the Farm农场;Couples夫妇;The Witches of Eastwick 伊斯特威克的巫婆们;Tust Me信赖我短篇小说集：Pigeon Feather and Other Stories鸽羽及其他故事;The Music School 音乐学校;Problems and Other Stories问题及其他故事评论集：Hugging the Shore:Essays and Criticism拥抱海洋：论文与批评诗集：Midpoint and Other Poems中点及其他诗篇小说：V；The Crying of Lot 49 49号遗物的拍卖;Gravity\'s Rainbow万有引力之虹110、Joyce Carol Oates 乔伊斯·卡洛尔·欧茨1938-。
命名用英语怎么说
命名用英语怎么说命名指给予名称;定名。
如：卫星命名为“亚洲一号”那么你知道命名用英语怎么说吗?下面来学习一下吧。
命名的英语说法1：name命名的英语说法2：designate命名的相关短语：命名表达式designational expression;命名词naming word;命名大会naming ceremony;命名动作named part;命名法nomenclature; terminology;命名起点starting point;命名的英语例句：1. The party leader said the street should be renamed Freedom Avenue.政党领导人说这条街道应该重新命名为自由大道。
2. I live in Exmoor, which is designated as a national park.我住在埃克斯穆尔，那里已被命名为国家公园。
3. The name Vulcan was given to the undiscovered planet.一颗不为人知的行星被命名为“祝融”。
4. Pirandello titled his play "Six Characters in Search of an Author"皮兰德娄把他的戏剧命名为《六个寻找作者的剧中人》。
5. The car was rebadged as a Vauxhall and sold in Britain.这种汽车被重新命名为沃克斯豪尔在英国出售。
6. Phillimore Island is named after Sir Robert Phillimore.菲利莫尔岛以罗伯特;菲利莫尔爵士的名字命名。
7. He gave his name to a well - known brand of frozen food.他以自己的名字命名的冷冻食品成了名牌.8. The father called the baby John after his grandfather.父亲以祖父的名字约翰来给这个婴儿命名.9. The new ship was christened before it was launched.新船下水前命名了.10. They baptized him Joseph.他们把他命名为约瑟夫.11. England was named after the Angles.英格兰以盎格鲁族之名命名.12. The machine is named after its inventor.这台机器是以其发明者的名字命名的.13. Tony was christened Antony.托尼领洗时命名安东尼.14. The college is named for George Washington. 学院以乔治;华盛顿的名字命名.15. They christened their second child Maria.他们把第二个孩子命名为玛丽亚.。
英国文学简史 常耀信 Chapters 15-16
Thomas Hardy
Introduction Tess of the D’Urbervilles Jude the Obscure
George Gissing George Moore Oscar Wilde Robert Louis Stevenson
Thomas Hardy
Introduction III Hardy’s stories are always moving and bewitching. They touch hearts not so much by plots as through the pathos of the emotional tangle. Hardy places emphasis on the deeper psychology of his characters. This is a feat that indicates Hardy’s empathy with the modern spirit. Hardy’s language possesses a silent power and charm. His prose is studded with rhetorical devices, poetic imagery, and metaphors, and is richly connotative.
Thomas Hardy
Tess of the D’Urbervilles It is the most pastoral of Hardy’s novels. Major characters: Tess, Alec D’Urbervilles, Angel Claire The turn of events and the moment of catharsis prove that the novel is a classic Aristotlean tragedy. The king of the world of the novel is “the President of Immortals,” or maybe variously called “fate,” “destiny,” or “chance.” it represents the forces beyond human control but controlling the lives of the humans.
Five Elements of a Short Story Plot, Character, Setting
Five Elements of Fiction:Plot, Setting, Character, Point of View, ThemeI.Plot–How the author arranges events to develop the basic idea; it is the sequence of events in a story or play. Theplot is a planned, logical series of events having a beginning, middle, and end. The short story usually has one plot so it can be read in one sitting. There are five essential parts of plot:1)Exposition (introduction)– Beginning of the story; characters, background, and setting revealed.2)Rising Action – Events in the story become complicated; the conflict is revealed. These are events betweenthe introduction and climax.•Conflict –Essential to plot, opposition ties incidents together and moves the plot. Not merely limited to arguments, conflict can be any form of struggle the main character faces. Within a shortstory, there may be only one central struggle, or there may be many minor obstacles within adominant struggle. There are two types of conflict:o Internal– Struggle within one's self.▪Character vs. Self– Struggles with own soul, physical limitations, choices, etc.o External– Struggle with a force outside one's self.▪Character vs. Character– Struggles against other people.▪Character vs. Nature– Struggles against animals, weather, environment, etc.▪Character vs. Society– Struggles against ideas, practices, or customs of others3)Climax – Turning point of the story. Readers wonders what will happen next; will the conflict be resolvedor not? Consider the climax as a three-fold phenomenon:•Main character receives new information.•Main character accepts this information (realizes it but does not necessarily agree with it).•Main character acts on this information (makes a choice that will determine whether or not objective is met).4)Falling action– Resolution begins; events and complications start to fall into place. These are the eventsbetween climax and denouement.5)Resolution (Conclusion) –Final outcome of events in the story.II.Setting –Time and location that a story takes place. For some stories, the setting is very important; while for others, it is not. When examining how setting contributes to a story, there are multiple aspects to consider:1)Place - Geographical location; where is the action of the story taking place?2)Time - Historical period, time of day, year, etc; when is the story taking place?3)Weather conditions - Is it rainy, sunny, stormy, etc?4)Social conditions - What is the daily life of the character's like? Does the story contain local colour (writingthat focuses on the speech, dress, mannerisms, customs, etc. of a particular place)?5)Mood or atmosphere - What feeling is created at the beginning of the story? Cheerful or eerie?III.Character– There are two meanings for “character”: 1) a person in a fictional story; or 2) qua lities of a person.1) People in a work of fiction can be a(n):•Protagonist –Clear center of story; all major events are important to this character.•Antagonist –Opposition or “enemy” of main character.2) Characteristics of a character can be revealed through:•his/her physical appearance•what he/she says, thinks, feels, dreams and what he/she does or does not do•what others say about him/her and how others react to him/her3)Characters can be...•Round –Fully developed personalities that are affected by the story’s events; they can learn, grow, or deteriorate by the end of the story.Characters are most convincing when they resemble realpeople by being consistent, motivated, and life-like.•Flat - One-dimensional character•Dynamic–Character who does go through change and “grows” during a story•Static– Character does not go through a change.IV.Point of View – The angle from which the story is told. There are several variations of POV:1)First Person– Story told by the protagonist or a character who interacts closely with the protagonist or othercharacters; speaker uses the pronouns “I”, “me”, “we”. R eaders experiences the story through this person'seyes and only knows what he/she knows and feels.2)Second Person–Story told by a narrator who addresses the read er or some other assumed “you”; speakeruses pronouns “you”, “your”, and “yours”. Ex: You wake up to discover that you have been robbed of all ofyour worldly possessions.3)Third Person–Story told by a narrator who sees all of the action; speaker uses the pronouns “he”, “she”,“it”, “they”, “his”, “hers”, “its”, and “theirs”. This person may be a character in the story. There are severaltypes of third person POV:•Limited – Prob ably the easiest POV for a beginning writer to use, “limited” POV funnels all action through the eyes of a single character; readers only see what the narrator sees.•Omniscient- God-like, the narrator knows and sees everything, and can move from one charac ter’s mind to another. Authors can be omniscient narrators by moving from character to character, eventto event, and introducing information at their discretion. There are two main types of omniscientPOV:4)Innocent Eye/Naïve Narrator – Story told throug h child’s eyes; narrator’s judgment is different from thatof an adult.5)Stream of Consciousness –Story told so reader s solely experience a character’s thoughts and reactions. V.Theme –Central message, “moral of the story,” and underlying meaning of a fictional piece; may be the author’s thoughts on the topic or view of human nature.1)Story’s title usually emphasizes what the author is saying.2)Various figures of speech (symbolism, allusion, simile, metaphor, hyperbole, or irony) may be utilized tohighlight the theme.3)Examples of common themes occurring in literature, on television, and in film are:•Things are not always as they appear to be.•Love is blind.•Believe in yourself.•People are afraid of change.•Don't judge a book by its cover.。
最新英国文学试题库1
最新英国文学试题库1I. Multiple Choice1. Generally speaking, the Renaissance refers to the period between the ___and mid-17th centuries.A 13thB 14thC 15thD 16th2. The Faerie Queene was written by______.A Sir Philip SidneyB W. ShakespeareC E. SpenserD F. Bacon3. ____was the first to introduce the sonnet into English literature.A Thomas WyattB William ShakespeareC Philip SidneyD Thomas Campion4. Which of the following was not written by Henry Fielding?A The History of T om Jones, a FoundlingB The History of the Adventures of Joseph AndrewC The History of AmeliaD Pamela5. _____ compiled The Dictionary of the English Language which became the foundation of all the subsequent English dictionaries.A Ben JonsonB Samuel JohnsonC Alexander PopeD John Dryden6. Henry Fiellding was a versatile man. But he was not a(n) ____.A novelistB dramatistC essayistD critic7. The Romantic Period began in 1798 with the publication of The Lyrical Ballads which was written by_____.1,5,10,12,19,21,23,32,37,39A WordsworthB JohnsonC ColeridgeD Wordsworth and Coleridge8. Which of the following is not a novel by Austen?A Pride and PrejudiceB Sense and SensibilityC Northanger AbbeyD Waverly9. Which of the following is the hero in the novel Jane Eyre?A Mr. RochesterB HeathcliffC HindleyD Silas Marner10. It is Browning who developed the literary form ____.A monodramaB dramatic monologueC soliloquyD point of view keyII. Filling the blanks with proper words1. In the year _____, at the battle of _______, the Normans headed by William, Duke of Normandy, defeated the Anglo-Saxons.2. Chaucer died on the 25th of October, 1400, and was buried in _______.3. _______ are anonymous narrative songs that have been preserved by oral transmission.4. At the beginning of the 16th century the outstanding humanist_______ wrote his Utopia in which he gave a profound and truthful picture of the people’s sufferings and put forward his ideal of a future happy society.5. Edmund Spenser was the author of the greatest epic poem of the time, _______.6. During the 22 years of his literary work Shakespeare produced_______ play, _______narrative poems and _______sonnets. 7,11,19,32,35,39,61,90,126,1317. Paradise Lost tells how_______ rebelled against God and how Adam and Eve were driven out of________.8. Robinson names_______ to commemorate the day of the savage’s rescue.9. ________and _______represented the spirit of what is usually called Pre-Romanticism.10. ________, ________and ________were the watchwords of the French Revolution. keyIII. True or False Questions1. The word “essay” was coined by Bacon.2. John Donne is the leading figure of the “metaphysical ” school.3. John Milton completed Paradise Lost after he becametotally blind.4. According to the Neoclassicists, all forms of literature were to be modeled after the classical works of the ancient Greek and Roman writers.5. The Pilg rim’s Progress is the most successful political allegory in the English language.6. Gulliver’s Travels was written by Alexander Pope.7. The hero in Robinson Crusoe lived on the island for twenty four years. 3478,1213,15,25,31,328. Drama in the Romantic Period is as successful as fiction, poetry and essay.9. Influenced by both Darwin and Spencer, Hardy became a naturalistic writer.10. Tess was hanged because she killed Angel.IV. Questions for brief answers:1. What is the dominant moral of Dr. Faustus?2. What is the writing style of Bacon’s essays?3. What are John Milton’s literary achievements?4. What are some of the features of Fielding’s novels?5. How does Wordsworth define the poet?6. What is a Gothic novel? And name some of Gothic novels and their writers respectively.7. What is an ode?8. When did the Victorian Age begin and end?9. What is Olive Twist famous for?10. Why was Galsworthy a conventional writer?V. Essay questions:1. What is the main idea of The Merchant of Venice?2. Give a very brief account of Paradise Lost.3. Summarize the novel Tom Jones and make somecomments on the main characters in it.4. What is Romanticism and what are some of the major features of the Romanticists?5. What is the famous line in Ode to the West Wind? Give your own opinion about it.6. What do you know about critical realism?7. What are the features of Dickens’s works?8. Make a brief comment on the Victorian Period.9. Comment briefly on Sons and Lovers.10. What are some of the features of Ulysses?VI. Reading Comprehension:Exercise IThe quality of mercy is not strained;It droppeth as the gentle rain from heavenUpon the place beneath. It is twice blest;It blesseth him that gives and him that takes.’Tis mightiest in the mightiest; it becomesThe throned monarch better than his crown.His sceptre shows the force of temporal power,The attribute to awe and majesty,Wherein doth sit the dread and fear of kings;But mercy is above this scept’red sway;It is enthroned in the hearts of kings;It is an attribute to God himself,And earthly power doth then sho w likest God’s When mercy seasons justice. Therefore, Jew, Though justice be thy plea, consider this:That in the course of justice none of usShould see salvation. We do pray for mercy,And that same prayer doth teach us all to renderThe deeds of mercy.QUESTIONS:1. This passage is taken from a play named________.2. The author of the play is_________.3. In the play these lines are uttered by_________.4. What do you think of the speaker of these lines? Exercise IIShall I compare thee to a summer’s day?Thou art more lovely and more temperate.Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date: Sometimes too hot the eye of heaven shines,And often is his gold complexion dimmed;And every fair from fair sometime declines,By chance, or nature’s changing course, untrimmed: But thy eternal summer shall not fade,Nor lose possession of that fair thou owest;Nor shall Death brag thou wanderest in his shade When in eternal lines to time thou growest.So long as men can breathe or eyes can see,So long lives this, and this gives life to thee.QUESTIONS:1. This is one of Shakespeare’s best known________.A. sonnetsB. balladsC. songs2. It runs in iambic pentameter rhymed_________.3. The fourteen lines include three stanzas according to their content with the last two lines as a ________which complete the sense of the above lines.A. preludeB. coupletC. epigraphExercise IIIStudies serve for delight, for ornament, and for ability. Their chief use for delight is in privateness and retiring; for ornament, is in discourse; and for ability, is in the judgment and disposition of business. … T o spend too much time in studies is sloth; to use them too much for ornament is affectation; to make judgment wholly by their rules is the humor of a scholar. …Crafty men contemn studies, simple men admire them, and wise men use them, for they teach not their own use; but that is a wisdom without them, and above them, won by obs ervation…QUESTIONS:1. These words are taken from a famous essay written by_______.2. What is the title of this essay?3. What do you think of the language of this essay?Exercise IVDeath be not proud, though some have called theeMighty and dreadfull, for, thou art not soe,For, those, whom thou think’st, thou dost overthrow,Die not, poore death, nor yet canst thou kill mee;From rest and sleepe, which but thy pictures bee,Much pleasure, them from thee, much more must flow,And soonest our best men with thee doe goe,Rest of their bones, and soules delivered.Thou art slave to Fate, chance, kings, and desperate men,And dost woth poyson, warre, and sicknesse dwell,And poppie, or charmes can make us sleepe as well,And better than thy stroake; why swee’st thou then?One short sleepe past, wee wake eternlly,And death shall be no more, Death thou shalt die.QUESTIONS:1. This poem is a _______.A songB sonnetC ballad2. Is the rhyme scheme the same with a Shakespearean sonnet?3. Who is the writer of this poem?Exercise VWhat though the field be lost?All is not lost: the unconquerable will,And study of revenge, immortal hate,And courage never to submit or yield:And what is else not to be overcome?That glory never shall his wrath or mightExtort from me. To bow and sue for graceWith suppliant knee, and deify his powerWho, from the terror of this arm, so lateDoubted his empire--that were low indeed;That were an ignominy and shame beneathThis downfall; since, by fate, the strength of godsAnd this empyreal substance, cannot fail;Since, through experience of this great event,In arms not worst, in foresight mich advanced,We may with more successful hope resolveTo wage by force or guile eternal war,Irreconcilable to our grand Foe,Who now triu mphs, and in th’ excess of joySole reighing holds the tyranny of Heaven.QUESTIONS:1. These lines are in ________.A blank verseB free verseC villanelle2. In the 2nd line, “the unconquerable will” refers to the will of ______.A ZeusB SatanC Adam3. These lines are taken from a famous epic entitled________.4. Who is the author of this passage?5. What is the central theme of these lines?6. What do you think of the writing style of this passage?Exercise VII had three encouragements. 1. A smooth, calm sea. 2. The tide rising and setting in to the shore. 3. What little wind there was blew me towards the land. And thus, having found two or three broken oars belonging to the boat, and besides the tools which were in the chest, I found two saws, an axe, and a hammer, and with this cargo I put to sea. For a mile or thereabouts my raft went very well, only that I found it drive a little distant from the place where I had landed before, by which I perceived that there was some in-draft of the water, and consequently I hoped to find some creek or river there, which I might make use of as a port to get to land with my cargo. QUESTIONS:1. This passage is taken from a famous novel entitled___________.2. The writer of the novel is __________.3. The prot agonist of the novel is ____________. That is the “I” in this passage.4. Make a brief comment on the hero of the novel.5. What are the characteristics of the style and language?Exercise VIII lay down on the grass, which was very short and soft, where I slept sounder than ever I remember to have done in my life, and as I reckoned, above nine hours; for when I awaked, it was just daylight. I attempted to rise, but was not able to stir: for as I happened to be on my back, I found my arms and legs were strongly fastened on each side to the ground; and my hair, which was long and thick, tied down in the same manner. I likewise felt several slender ligature across my body, from my armpits to my thighs. I could only look upwards; the sun began to grow hot, and the light offended my eyes. I heard a confused noise about me, but in the posture I lay, could see nothing except the sky. In a little time I felt something alive moving on my left leg, which advancing gently forward over my breast, came almost up to my chin; when bending my eyes downwards as much as I could, I perceived it to be a human creature not six inches high, with a bow and arrow in his hands, and a quiver at his back.QUESTIONS:1. This passage is taken from a well-known novel written by ___________.2. The “I” in the novel was dropped in a strange cou ntry.The country’s name is ___________.3. The name of the novel is ___________.4. The name of the “I” in this passage is __________.5. What is the writing style ?Exercise VIIIA proof that even the humblest fortune may grant happiness, which depends, not on circumstances, but constitution.The place of our retreat was in a little neighbourhood, consisting of farmers, who tilled their own grounds, and were equal strangers to poulence and poverty. As they had almost all the conveniences of life within themselves, they seldom visited towns or cities in search of superfluities. Remote from the polite, they still retained the primeval simplicity of manners; and frugal by habit, they scarcely knew that temperance was a virtue. They wrought with cheerfulness on days of labour; but observed festivals as intervals of idleness and pleasure. They kept up the Christmas carol, sent true-love knots on Valentine morning, ate pancakes on Shrovetide, showed their wit on the first of April, and religiously cracked nuts on Michaelmas Eve. Being apprised of our approach, the whole neighbourhood came out to meet their minister, dressed in their finest clothes, and preceded by a pipe and tabor; a feast was also provided for our reception, at which we sat cheerfully down; and what the conversation wanted in wit was made up in laughter.Our little habitation was situated at the foot of a sloping hill, sheltered with a beautiful underwood behind and a prattling river before; on one side a meadow, on the other a green. My farm consisted of about twenty acres ofexcellent land, I having given a hundred pounds for my predecessor’s goodwill. Nothing could exceed the neatness of my little enclosures; the elms and hedgerows appearing with inexpressible beauty. QUESTIONS:1. This passage is taken from a novel entitled_________.2. Who is the writer of this novel?3. The story is told in the first person singular by the central character of the novel. Who is he?Exercise IXI wa nder thro’ each charter’d street,Near where the charter’d Tha mes does flow,And mark in every face I meetMarks of weakness, marks of woe.In ever cry of every man,In every Infant’s cry of fear,In every voice, in every ban,The mind-forg’d manacles I he ar.How the Chimney-sweeper’s cryEvery blackening Church appalls;And the hapless Soldier’s sighRuns in blood down Palace walls.But most thro’ midninght streets I hearHow the youthful Harlot’s curseBlasts the new born Infant’s tear.And blights with plagues the Marriage hearse.QUESTIONS:1. What is the title of the poem?2. This poem is taken from__________.A. “The Songs of Experience”B. “The Songs of Innocence”C. “The song of the Shirt”3. This poem is written in quatrains of iambic ________with alternate rimes.A. pentameterB. tetrameterC. dimeter4. Who is the writer of this poem?5. What does the poem describe?Exercise XMy heart’s in the Highlands, my heart is not here;My heart’s in the Highland, a-chasing the deer;Chasing the wild deer, and following the roe----My heart’s in the Highland wherev er I go.Farewell to the Highlands, farewell to the North!The birthplace of valour, the country of worth;Wherever I wander, wherever I rove,The hills of the Highlands for ever I love. Farewell to the mountains high covered with snow! Farewell to the straits and green valleys below!Farewell to the forests and wild-hanging woods! Farewell to the torrents and loud-pouring floods!My heart’s in the Highlands, my heart is not here; My heart’s in the Highlands, a-chasing the deer; Chasing the wild deer, and following the roe-----My heart’s in the Highlands wherever I go.QUESTIONS:1. Who is the writer of this poem?2. What is the title of this poem?3. What is the main theme of this poem?4. What is the most striking feature of the verse?。
《Whoisyourfavoritecharacterinliterature
( C ) — Must I water the flowers now, mum? — No, you _____. You _____ do it later. (2014贵州
铜仁)
A. mustn’t, must B. mustn’t, may
C. needn’t, may
D. needn’t, must
● Maybe you are right, but I prefer the Monkey King. ● In my view, neither the Monkey King nor Harry
Potter would become a hero without the help of their friends. ● That’s true! One tree can’t make a forest.
1. What are the precious possessions of the couple? They are Jim’s gold watch and Della’s long beautiful hair.
2. What gifts did the couple give to each other? The combs and a watch chain.
Unit 6 Topic 2
Who is your favorite character in literature?
珀西·比希·雪莱（1792.8.4～1822.7.8）， 英国浪漫主义民主诗人、小说家、哲学家， 散文随笔和政论作家，改革家，柏拉图主 义者和理想主义者。
西风颂 （节选）
把我当作你的竖琴吧，有如树林： 尽管我的叶落了，那有什么关系！ 你巨大的合奏所振起的音乐 将染有树林和我的深邃的秋意： 虽忧伤而甜蜜。呵，但愿你给予我 狂暴的精神！奋勇者呵，让我们合一！ 请把我枯死的思想向世界吹落， 让它像枯叶一样促成新的生命！ 哦，请听从这一篇符咒似的诗歌， 就把我的话语，像是灰烬和火星 从还未熄灭的炉火向人间播散！ 让预言的喇叭通过我的嘴唇 把昏睡的大地唤醒吧！西风啊，
全新版大学英语综合教程2学生用书课后习题答案
全新版大学英语综合教程2学生用书课后习题答案全新版大学英语第二版综合教程2答案Unit1 Ways of LearningContent Question1. They were studying arts education in Chinese kindergartens and elementary schools in Nanjing.2. Their 18-month-old son Benjamin was fond of trying to place the key into the slot of the key box during their stay at the Jinling Hotel.3. They would come over to watch Benjamin and then try to teach him how to do it properly.4. Because he realized that this anecdote was directly relevant to their assigned tasks in China: to investigate early childhood education and to throw light on Chinese attitudes toward creativity.5. Most of them displayed the same attitude as the staff at the Jinling Hotel.6. He emphasized that the most important thing is to teach the child that on can solve a problem effectively by oneself.7. He means that this incident pointed to important differences in educational and artistic practices between China and the USA.8. The manner in which the Chinese staff saw the need to teach the child by guiding his hand in the characteristic of a broader attitude to education, one that stands in contrast to the Western preference for leaving the child to explore and learn unaided.9. One example is of children at the age of 5 or 6 painting flowers, fish and animals skillfully and confidently; in a secondexample, calligraphers 9 and 10 years old were producing works; and in a third,young artists work on perfecting their craft for several hoursa day.10. Americans think that unless creativity has been acquired early, it may never emerge, and skills can be picked up later. Chinese think that if skills are not acquired early, they may never be acquired, and there is no hurry to promote creativity.11. This is mainly due to the difference in their way of thinking.12. The author makes the suggestion that we should strike a better balance between the poles of creativity and basic skills.Text OrganizationWorking On Your Own1.1) The text begins with an anecdote.2) His thoughts are mainly about different approaches to learning in China and the West.3) He winds up the text with a suggestion in the form ofa question.2. Chinese1) Show a child how to do something, or tech by holding the hand2) Give greater priority to developing skills at an early age, believing that creativity can be promoted over timeAmericans1) Teach children that they should rely on themselves for solutions to problems2) Put more emphasis on fostering creativity in young children, thinking skills can be picked up laterUnit2 ValuesContent Question1. The Salvation Army is a religious charitableorganization. A Salvation Army bell ringer is a volunteer who help it collect donations.2. The boy asked him: Are you poor? He did it simply out of confusion and curiosity. Obviously he knew nothing about the Salvation Army bell ringer.3. He said, “I have more than some people, but not as mu ch as others.” This means that he was neither poor nor rich.4. The boy’s mother scolded h im because the question was social inappropriate, especially to a person who looked poor.5. Yes, economically he is poor. He lives in a small basemen t apartment. He doesn’t even have a color TV. He falls into the lowest income category. And so on.6. No, the writer does not feel poor. This is because he has enjoyed good health and creativity which he thinks are much more important than material goods.7. He feels out of place among people who are primarily interested in material things.8. She told him th at she was interested in what’s on the inside. but after he took her to his poorly furnished apartment, she changed her mind completely.9. It only shows that to her the most important thing was still material goods rather than what she had claimed before.10. Commercial can put people under pressure to purchase more than is really necessary.11. Because December is the time for to work for the Salvation Army as a bell ringer, which gives him a genuine sense of belonging and brings him happiness in helping others.12. The boy’s question has helped the writer realize that, despite his lack of expensive possessions, he is rich in many other ways and shouldbe thankful for that.Text OrganizationWorking On Your Own1.1) a.√2) the essay is meant to explain something that is, the author’s view of life.3) That one can live a life full of riches without being rich financially.2.Part One: The writer’s encounter with a boy who raised the question “are you poor?”Part Two: In search of an answer the writer finds that not having expensive possessions doesn’t make him feel poor mainly because he enjoys life in many other ways.Part Three: In conclusion, the writer thinks he’s grown to understand more about himself because of the boy’s question.Unit3 The Generation GapContent Question1. There are seven characters---Father, Mother, Heidi, Diane, Sean, Restaurant Manager, and Mrs. Higgins.2. No. Because what he does usually ends up embarrassing them.3. To buy a guitar.4. To check if Sean was going to embarrass him.5. He knew his father was going to embarrass him.6. It was unnecessary and embarrassing.7. He wanted Dan to pressure his son into asking Diane to the senior prom.8. He would speak to his son and insist that the latter give Diane a call.9. She felt humiliated.10. Because the Thompson had just moved.11. He tried to let her know how exceptionally talented a young woman Heidi was.12. Because she couldn’t bear being embarrassed by her father. Text OrganizationWorking On Your Own1.1. A fast-food restaurant2. The Thompson family dining room3. An office at a high school2.Scene One: Father embarrassed Sean by talking too proudly to the restaurant manager.Scene Two: Father embarrassed Diane by persuading a colleague into pressing his son to ask her to the senior prom.Scene Three: Father embarrassed Heidi by boating to an official at her new school about how talented she was.Unit4 The Virtual WorldContent Question1. She used to be a television producer, but now she is a writer.2. She writes and edits articles online, submits them via email, and communicates with colleagues via the Internet, too.3. She could stay computer-assisted at home for weeks, going out only t get mail, newspapers and groceries.4. They feel as if they had become one with the computer,and life seems to be unreal.5. That people who grew used to a virtual life would feel an aversion to outside forms of socializing.6. She gets overexcited, speaks too much, and interrupts others.7. She is bad-tempered, easily angered, and attacks everyone in sight, all because she has long become separated from others and lacks emotional face-to-face exchanges with people.8. She fights her boyfriend, misinterpreting his intentions because of the lack of emotional cues given by their typed dialogue.9. Because we rely on co-works for company.10. She calls people, arrangers to meet the few friends remaining in the City, gets to the gym, arranges interviews for stories, doctor’s appointments---anything to get her out of the house and connected with others.11. No, she doesn’t feel happy. She feels being face to face is intolerable.12. She makes her excuses and flees, re-enters her apartment, runs to the computer, clicks on the modem, and disappears into the virtual world again.Text OrganizationWorking On Your Own1.1. 2-32. 1,4-10,133. 114. 122.The first paragraph describes the consequences of living a virtual life and the last tells of the author’s escape back into it. Together, they bring out the dilemma people at present are in: Because of modern technology, we have a choice between a virtual life and real life, but find both unsatisfactory.Unit5 Overcoming ObstaclesContent Question1. Because the pole was set at 17 feet which was three inches higher than his personal best.2. Because pole-vaulting combines the grace of a gymnast with the strength of a body builder.3. His childhood dream was to fly. His mother read him numerous stories about flying when he was growing up.4. Because he believed in hard work and sweat. His motto: If you want something, work for it!5. Michael's mother wished he could relax a bit more and be that "free dreaming" little boy. On one occasion she attempted to talk to him and his father about this, but his dad quickly interrupted, smiled and said, "You want something, work for it!"6. He began a very careful training program.7. He seemed unaware of the fact that he had just beaten his personal best by three inches. He was very calm.8. He began to feel nervous when the bar was set at nine inches higher than his personal best.9. What his mother had taught him about how to deal with tension or anxiety helped him overcome his nervousness.10. The singing of some distant birds in flight made him associate his final jump with his childhood dream.11. He cou ld imagine the smile on his mother’s face. He thoughthis father was probably smiling too, even laughing. However, in fact, his father hugged his wife and cried like a baby in her arms.12. Because he was blind.Text OrganizationWorking On Your Own1.Part One: Michael faced the most challenging competition in his pole-vaulting career.Part Two: Michael’s childhood was marked with dreams and tough training. Part Three: Michael topped his personal best, won the championship and set a new world record.2.(1) It also has the element of flying, and the thought of flying as high as a two-story building is a mere fantasy to anyone watching such an event.As long as Michael could remember he had always dreamed of flying. (2) All of Michael’s vaults today seemed t o be the reward for his hard work.Unit6 Women, Half the SkyContent Question1. They liked girly toys such as a miniature kitchen, and Barbies.2. To convert a gas-guzzling SUV into a hybrid electric vehicle.3. Because she didn’t know anything about cars and was afraid of being cheated by the mechanic.4. She was craving independence and wanted to live away from home for some time.5. It helped her earn six engineering credits, which ofcourse made it easier for her to become an engineeringmajor.6. Five years.7. In her view, if you find a subject is difficult to learn, it does not mean you’re not good at it. It just means you have to set your mind and work harder to get good at it.8. Because he had confidence in her abilities believing she could have done better if she had studied more.9. No, she wasn’t always confident. She had moments of panic, worried that as a woman she would be unable to understand thermodynamics.10. She considers it wrong because it is based on a faulty premise.11. It is flexible and more powerful than we imagine.12. What she means is not to accept others’ op inions blindly but to use one’s own judgment.Text OrganizationWorking On Your Own1.Part One: The author describes how she stumbled into engineering. Part Two: The author writes about how she has overcome obstacles, including the bias against women, on her way to success.Part Three: The author draws the conclusion that women can do anything men can so long as they believe in their own abilities.2.1) she was not a tomboy.not to an engineering department.she didn’t k now the first thing about engineering.because she craved independence from her parents.already earned her six credits in engineering.2) math and design.she participated in a national competition to convert an SUV into a hybrid electric vehicle.work harder at it.that she should study more.had to work hard at courses she found difficult, which encouraged her to keep going.Unit7 Learning about EnglishContent Question1. It has borrowed and is still borrowing massively from other languages. Today it has an estimated vocabulary of over one million words.2. They don’t like borrowing foreign words. They try to ban words from English.3. Old English or Anglo-Saxon English.4. The Germanic tribes brought it to the British Isles in the 5th century.5. They are usually short and direct.6. They use words derived from Old English.7. An English judge in India noticed that several words in Sanskrit closely resembled some words in Greek and Latin. A systematic study later revealed the Indo-European parent language.8. Greek, Latin, Sanskrit, English, etc.9. There were three languages competing for use in England.10. Words from Greek and Roman classics came into the English language.11. The great principles of freedom and rights of man were born in England, then the Americans carried them forward.12. No. English is and has always been the tongue of thecommon people. There should not be any fence around it to protect its so-calledpurity.Text OrganizationWorking On Your Own1.Part One: Massive borrowing from other languages is a major feature of the English language.Part Two: the history of the English language from the Indo-European parent language to modern English.Part Three: Tolerance, love of freedom, and respect for the rights of others---these qualities in the English-speaking people explain the richness of their language.2.Paras. 10-11: Germanic tribes came to settle in Britain and brought Anglo-Saxon words---Old English.Para. 12: The Christian religion enriched English with words from Greek and Latin.Para. 13: the Vikings from Scandinavia came with words from Old Norse. Para. 14: the Norman Conquest---French influence.Para. 15: The European renaissance and the printing pressbrought many new words from Latin and Greek.Para. 16: The American revolution---the emergence of a new variety---Amercan English.。