the_killers杀手
kill的意思用法大全
kill的意思用法大全kill有使停止,破坏，减弱，抵消的意思。
那你们想知道kill的用法吗?今天我给大家带来了kill的用法,希望能够帮助到大家，一起来学习吧。
kill的意思vt. vi. 杀死…vt. 使停止[结束，失败],破坏，减弱，抵消,使痛苦，使受折磨,使笑得前仰后合，使笑死了n. 杀死,猎,被捕杀的动物,猎物adj. 致命的变形：过去式: killed; 现在分词：killing; 过去分词：killed;kill用法kill可以用作动词kill的基本意思是“使终止”,或指通过某种手段使某人或某物失去生命,即“杀死”。
kill可指任何形式的“杀死”,可以是有意的,也可以是无意的,关键是“杀而死”,是终结性的,多指“死于非命”。
kill只叙述处死这一事实,不涉及使之死的人、处死的手段或环境。
用于比喻可指“使…难受至极”“使…笑〔累〕得要死”“使…着迷”“使…尴尬至极”等。
引申可用于计划、感情、希望等抽象事物,作“摧毁,扼杀”“否决”“消磨”“关闭”“抵消,中和”等解。
kill还可作“吃光,饮尽”解,原为俚语,现在一般场合也可以用。
kill可用作及物动词,也可用作不及物动词。
用作及物动词时,后接名词或代词作宾语,有时也可接双宾语,其间接宾语可以转化为介词for的宾语。
kill用作不及物动词时的主动形式有时可表被动意义。
kill的主语既可以是人(个体的人或集团的人),也可以是动物或任何无生命的事物,如战争、灾害等。
kill用作动词的用法例句His wife was killed in a car accident.他的妻子在车祸中丧生。
They fumigated the room to kill the vermin.他们用烟熏房间以杀死害虫。
The noise killed the music.噪音淹没了音乐。
kill用法例句1、Dont try and double-cross me, Taylor, because Ill kill you.别跟我耍花招，泰勒，要不我会杀了你。
The Killers by Ernest Hemingway
The Killers by Ernest HemingwayShort Story ClassicsErnest Hemingway1899-1961The Killersby Ernest HemingwayThe door of Henry‟s lunchroom opened and two men came in. They sat down at the counter.“What‟s yours?” George asked them.“I don‟t know,” one of the men said. “What do you want to eat, Al?”“I don‟t know,” said Al. “I don‟t know what I want to eat.”Outside it was getting dark. The streetlight came on outside the window. The two men at the counter read the menu. From the other end of the counter Nick Adams watched them. He had been talking to George when they came in.“I‟ll have a roast pork tenderloin with apple sauce and mashed potatoes,”the first man said.“It isn‟t ready yet.”“What the hell do you put it on the card for?”“That‟s the dinner,” George explained. “You can get that at six o‟clock.”George looked at the clock on the wall behind the counter.“It‟s five o‟clock.”“The clock says twenty minutes past five,” the second man said.“It‟s twenty minutes fast.”“Oh, to hell with the clock,”the first man said. “What have you got to eat?”“I can give you any kind of sandwiches,” George said. “You can have ham and eggs, bacon and eggs, liver and bacon, or a steak.”“Give me chicken croquettes with green peas and cream sauce and mashed potatoes.”“That‟s the dinner.”“Everything we want‟s the dinner, eh? That‟s the way you work it.”“I can give you ham and eggs, bacon and eggs, liver—”“I‟ll take ham and eggs,” the man called Al said. He wore a derby hat and a black overcoat buttoned across the chest. His face was small and white and he had tight lips. He wore a silk muffler and gloves.“Give me bacon and eggs,” said the other man. He was about the same size as Al. Their faces were different, but they were dressed like twins. Both wore overcoats too tight for them. They sat leaning forward, their elbows on the counter.“Got anything to drink?” Al asked.“Silver beer, bevo, ginger-ale,” George said.“I mean you got anything to drink?”“Just those I said.”“This is a hot town,” said the other. “What do they call it?”“Summit.”“Ever hear of it?” Al asked his friend.“No,” said the friend.“What do they do here nights?” Al asked.“They eat the dinner,” his friend said. “They all come here and eat the big dinner.”“That‟s right,” George said.“So you think that‟s right?” Al asked George.“Sure.”“You‟re a pretty bright boy, aren‟t you?”“Sure,” said George.“Well, you‟re not,” said the other little man. “Is he, Al?”“He‟s dumb,” said Al. He turned to Nick. “What‟s your name?”“Adams.”“Another bright boy,” Al said. “Ain‟t he a bright boy, Max?”“The town‟s full of bright boys,” Max said.George put the two platters, one of ham and eggs, the other of bacon and eggs, on the counter. He set down two side dishes of fried potatoes and closed the wicket into the kitchen.“Which is yours?” he asked Al.“Don‟t you remember?”“Ham and eggs.”“Just a bright boy,” Max said. He leaned forward and took the ham and eggs. Both men ate with their gloves on. George watched them eat. “What are you looking at?” Max looked at George.“Nothing.”“The hell you were. You were looking at me.”“Maybe the boy meant it for a joke, Max,” Al said.George laughed.“You don‟t have to laugh,” Max said to him. “You don‟t have to laugh at all, see?‟“All right,” said George.“So he thinks it‟s all right.” Max turned to Al. “He thinks it‟s all right. That‟s a good one.”“Oh, he‟s a thinker,” Al said. They went on eating.“What‟s the bright boy‟s name down the counter?” Al asked Max.“Hey, bright boy,” Max said to Nick. “You go around on th e other side of the counter with your boy friend.”“What‟s the idea?” Nick asked.“There isn‟t any idea.”“You better go around, bright boy,” Al said. Nick went around behind the counter.“What‟s the idea?” George asked.“None of your damned business,” Al said. “Who‟s out in the kitchen?”“The nigger.”“What do you mean the nigger?”“The nigger that cooks.”“Tell him to come in.”“What‟s the idea?”“Tell him to come in.”“Where do you think you are?”“We know damn well where we are,” the man called Max said. “Do we look silly?”“You talk silly,” A1 said to him. “What the hell do you argue with this kid for? Listen,” he said to George, “tell the nigger to come out here.”“What are you going to do to him?”“Nothing. Use your head, bright boy. What would we do to a nigger?”George opened the slit that Opened back into the kitchen. “Sam,” he called.“Come in here a minute.”The door to the kitchen opened and the nigger came in. “What was it?” he asked. The two men at the counter took a look at him.“All right, nigger. You stand right there,” Al said.Sam, the nigger, standing in his apron, looked at the two men sitting at the counter. “Yes, sir,” he said. Al got down from his stool.“I‟m going back to the kitchen with the nigger and bright boy,” he said. “Go on ba ck to the kitchen, nigger. You go with him, bright boy.” The little man walked after Nick and Sam, the cook, back into the kitchen. The door shut after them. The man called Max sat at the counter opposite George. He didn‟t look at George but looked in the mirror that ran along back of the counter. Henry‟s had been made over from a saloon into a lunch- counter. “Well, bright boy,” Max said, looking into the mirror, “why don‟t you say something?”“What‟s it all about?”“Hey, Al,” Max called, “bright boy wants to know what it‟s all about.”“Why don‟t you tell him?” Al‟s voice came from the kitchen.“What do you think it‟s all about?”“I don‟t know.”“What do you think?”Max looked into the mirror all the time he was talking.“I wouldn‟t say.”“Hey, Al, bright boy says he wouldn‟t say what he thinks it‟s all about.”“I can hear you, all right,” Al said from the kitchen. He had propped open the slit that dishes passed through into the kitchen with a catsup bottle. “Listen, bright boy,” he said from the kitchen to George. “Stand a little further along the bar. You move a little to the left, Max.” He was like a photographer arranging for a group picture.“Talk to me, bright boy,” Max said. “What do you think‟s going to happen?”George did not say anything.“I‟ll tell you,” Max said. “We‟re going to kill a Swede. Do you know a big Swede named Ole Anderson?”“Yes.”“He comes here to eat every night, don‟t he?”“Sometimes he comes here.”“He comes here at six o‟clock, don‟t he?”“If he comes.”“We know all that, bright boy,” Max said. “Talk about something else. Ever go to the movies?”“Once in a while.”“You ought to go to the movies more. The movies are fine for a bright boy like you.”“What are you going to kill Ole Anderson for? What did he ever do to you?”“He never had a chance to do anything to us. He never even seen us.”And he‟s only going to see us once,” Al said from the kitchen:“What are you going to kill him for, then?” George asked.“We‟re killing him for a friend. Just to oblige a friend, bright boy.”“Shut up,” said Al from the kitchen. “You talk too goddamn much.”“Well, I got to keep bright boy amused. Don‟t I, bright boy?”“You talk too damn much,” Al said. “The nigger and my bright boy are amused by themselves. I got them tied up like a couple of girl friends in the convent.”“I suppose you were in a convent.”“You never know.”“You were in a kosher convent. That‟s where you were.”George looked up at the clock.“If anybody comes in you tell them the cook is off, and if they keep after it, you tell them you‟ll go back and cook yourself. Do you get that, bright boy?”“All right,” George said. “What you going to do with us afterward?”“That‟ll depend,” Max said. “That‟s one of those things you never know at the time.”George looked up at the dock. It was a quarter past six. The door from the street opened. A streetcar motorman came in.“Hello, George,” he said. “Can I get supper?”“Sam‟s gone out,” George said. “He‟ll be back in about half an hour.”“I‟d better go up the street,” the motorman said. George l ooked at the clock. It was twenty minutes, past six.“That was nice, bright boy,” Max said. “You‟re a regular little gentleman.”“He knew I‟d blow his head off,” Al said from the kitchen.“No,” said Max. “It ain‟t that. Bright boy is nice. He‟s a nice boy. I like him.”At six-fifty-five George said: “He‟s not coming.”Two other people had been in the lunchroom. Once George had gone out to the kitchen and made a ham-and-egg sandwich “to go” that a man wantedto take with him. Inside the kitchen he saw Al, his derby hat tipped back, sitting on a stool beside the wicket with the muzzle of a sawed-off shotgun resting on the ledge. Nick and the cook were back to back in the corner, a towel tied in each of their mouths. George had cooked the sandwich, wrapped it up in oiled paper, put it in a bag, brought it in, and the man had paid for it and gone out.“Bright boy can do everything,” Max said. “He can cook and everything. You‟d make some girl a nice wife, bright boy.”“Yes?” George said, “Your friend, Ole Anderson, isn‟t going to come.”“We‟ll give him ten minutes,” Max said.Max watched the mirror and the clock. The hands of the clock marked seven o‟clock, and then five minutes past seven.“Come on, Al,” said Max. “We better go. He‟s not coming.”“Better give him five minutes,” Al said from the kitchen.In the five minutes a man came in, and George explained that the cook was sick.“Why the hell don‟t you get another cook?” the man asked. “Aren‟t you running a lunch-counter?” He went out.“Come on, Al,” Max said.“What about the two bright boys and the nigger?”“They‟re all right.”“You think so?”“Sure. We‟re through with it.”“I don‟t like it,” said Al. “It‟s sloppy. You talk too much.”“Oh, what the hell,” said Max. “We got to keep amused, haven‟t we?”“You talk too much, all the same,” Al said. He came out from the kitchen. The cut-off barrels of the shotgun made a slight bulge under the waist of his too tight-fitting overcoat. He straightened his coat with his gloved hands.“So long, bright boy,” he said to George. “You got a lot of luck.”“That‟s the truth,” Max said. “You ought to play the races, bright boy.”The two of them went out the door. George watched them, through the window, pass under the arc-light and across the street. In their tight overcoats and derby hats they looked like a vaudeville team. George went back through the swinging door into the kitchen and untied Nick and the cook.“I don‟t want any more of that,” said Sam, the cook. “I don‟t want any more of that.”Nick stood up. He had never had a towel in his mouth before.“Say,” he said. “What the hell?” He was trying to swagger it off.“They were going to kill Ole Anderson,” George said. “They were going to shoot him when he came in to eat.”“Ole Anderson?”“Sure.”The cook felt the corners of his mouth with his thumbs.“They all gone?” he asked.“Yeah,” said George. “They‟re gone now.”“I don‟t like it,” said the cook. “I don‟t like any of it at all”“Listen,” George said to Nick. “You better go see Ole Anderson.”“All right.”“You better not have anything to do with it at all,” Sam, the cook, said.“You better stay way out of it.”“Don‟t go if you don‟t want to,” George said.“Mixing up in this ain‟t going to get you anywhere,” the cook said. “You stay out of it.”“I‟ll go see him,” Nick said to George. “Where does he live?”The cook turned away.“Little boys always know what they want to do,” he said.“He lives up at Hirsch‟s rooming-house,” George said to Nick.“I‟ll go up there.”Outside the arc-light shone through the bare branches of a tree. Nick walked up the street beside the car-tracks and turned at the next arc-light down a side-street. Three houses up the street was Hirsch‟s roominghouse. Nick walked up the two steps and pushed the bell. A woman cameto the door.“Is Ole Anderson here?”“Do you want to see him?”“Yes, if he‟s in.”Nick followed the woman up a flight of stairs and back to the end of a corridor. She knocked on the door.“Who is it?”“It‟s somebody to see you, Mr. Anderson,” the woman said.“It‟s Nick Adams.”“Come in.”Nick opened the door and went into the room. Ole Anderson was lying on the bed with all his clothes on. He had been a heavyweight prizefighter and he was too long for the bed. He lay with his head on two pillows. He did not look at Nick.“What was it?” he as ked.“I was up at Henry‟s,” Nick said, “and two fellows came in and tied up me and the cook, and they said they were going to kill you.”It sounded silly when he said it. Ole Anderson said nothing.“They put us out in the kitchen,” Nick went on. “They were going to shoot you when you came in to supper.”Ole Anderson looked at the wall and did not say anything.“George thought I better come and tell you about it.”“There isn‟t anything I can do about it,” Ole Anderson said.“I‟ll tell you what they were like.”“I don‟t want to know what they were like,” Ole Anderson said. He looked at the wall. “Thanks for coming to tell me about it.”“That‟s all right.”Nick looked at the big man lying on the bed.“Don‟t you want me to go and see the police?”“No,” Ole Anderson said. “That wouldn‟t do any good.”“Isn‟t there something I could do?”“No. There ain‟t anything to do.”“Maybe it was just a bluff.”“No. It ain‟t just a bluff.”Ole Anderson rolled over toward the wall.“The only thing is,” he said, talking toward the wall, “I just can‟t make up my mind to go out. I been here all day.”“Couldn‟t you get out of town?”“No,” Ole Anderson said. “I‟m through with all that running around.”He looked at the wall.“There ain‟t anything to do now.”“Couldn‟t you fix it up some way?”“No. I got in wrong.” He talked in the same flat voice. “There ain‟t anything to do. After a while I‟ll make up my mind to go out.”“I better go back and see George,” Nick said.“So long,” said Ole Anderson. He did not look toward Nick. “Thanks fo r coming around.”Nick went out. As he shut the door he saw Ole Anderson with all his clothes on, lying on the bed looking at the wall.“He‟s been in his room all day,” the landlady said downstairs. “I guess he don‟t feel well. I said to him: …Mr. Anderson, you ought to go out and take a walk on a nice fall day like this,‟ but he didn‟t feel like it.”“He doesn‟t want to go out.”“I‟m sorry he don‟t feel well,” the woman said. “He‟s an awfully nice man. He was in the ring, you know.”“I know it.”“You‟d never know it except from the way his face is,” the woman said. They stood talking just inside the street door. “He‟s just as gentle.”“Well, good night, Mrs. Hirsch,‟ Nick said.“I‟m not Mrs. Hirsch,” the woman said. “She owns the place. I just look after i t for her. I‟m Mrs. Bell.”“Well, good night, Mrs. Bell,” Nick said.“Good night,” the woman said.Nick walked up the dark street to the corner under the arc-light, and then along the car-tracks to Henry‟s eating-house. George was inside, back of the counter.“Did you see Ole?”“Yes,” said Nick. “He‟s in his room and he won‟t go out.”The cook opened the door from the kitchen when he heard Nick‟s voice.“I don‟t even listen to it,” he said and shut the door.“Did you tell him about it?” George asked.“Sure.I told him but he knows what it‟s all about.”“What‟s he going to do?”“Nothing.”“They‟ll kill him.”“I guess they will.”“He must have got mixed up in something in Chicago.”“I guess so,” said Nick.“It‟s a hell of a thing!”“It‟s an awful thing,” Nick said.They did not say anything. George reached down for a towel and wiped the counter.“I wonder what he did?” Nick said.“Double-crossed somebody. That‟s what they kill them for.”“I‟m going to get out of this town,” Nick said.“Yes,” said George. “That‟s a good thing to do.”“I can‟t stand to think about him waiting in the room and knowing he‟s going to get it. It‟s too damned awful.”“Well,” said George, “you better not think about it.”。
The Killers
eggs, on the counter. He set down two side dishes of fried potatoes and
closed the wicket into the kitchen.
“The nigger that cooks.”
“Tell him to come in.”
“What’s the idea?”
“Tell him to come in.”
“Where do you think you are?”
“We know damn well where we are,” the man called Max said. “Do we look
wore overcoats too tight for them. They sat leaning forward, their elbows
on the counter.
“Got anything to drink?” Al asked.
“Silver beer, bevo, ginger-ale,” George said.
“That’s the dinner,” George explained. “You can get that at six o’clock.
George looked at the clock on the wall behind the counter.
“It’s five o’clock.”
a good one.”
“Oh, he’s a thinker,” Al said. They went on eating.
“省略”折射出的魅力
“省略”折射出的魅力以语言风格简洁、洗练著称的美国文学大师海明威，在美国文坛上开创了一代新的文风。
在他的许多杰出作品中，《杀手》是一篇能代表海明威文体风格的短篇小说，主要讲述了主人公尼克·亚当斯在目睹罪恶以及人性的冷漠和绝望后，变得更加成熟的过程。
在这部作品中，海明威成功地运用了简单的人物对话、简短的叙述以及重复效应等叙事模式。
值得注意的是，在这些叙事模式中，作者巧妙地把握了“省略”的尺度，在删除一些信息的同时留下必要的线索，让读者有章可循，通过细读文本发现那些隐藏在字里行间的信息。
本文主要通过分析海明威在创作《杀手》时运用的“省略”策略，从三个方面来解读这位文学大师笔下隐含的匠心独运，走进那隐藏在水下“八分之七”的空间。
标签：海明威杀手省略在英美文学史中，不同创作风格的作家有着不同的创作方法，文学大师厄内斯特·海明威（Ernest Hemingway，1899-1961）也不例外。
他追求语言的简明蕴藉，往往在有限的文字中暗含无限丰富的内容[1]。
在欣赏海明威小说的过程中，细心的读者会发现不管读上多少遍，总能在文本的字里行间发现新的信息。
这便是“省略”所折射出来的巨大艺术魅力。
众所周知，对于任何一部文学作品的创作来说，省略只是一种手段，而绝不是目的。
文学作品的真正目的还是在于艺术表现[2]（p81）。
因此，“省略”的尺度就成为了小说创作中无法回避的一个重要问题。
那么，对于一位一流作家来说，在创作过程中应该怎样做出取舍，“省略”哪些内容而又保留哪些内容呢？海明威的“冰山原则”完美地诠释了这一问题：即露出水面的“八分之一”和隐藏在水下的“八分之七”[2]（p81）。
那么，海明威又是怎样合理而巧妙地把握住“省略”的尺度，既让读者们有章可循又不至于暴露太多文本隐含信息呢？本文以短篇小说《杀手》（The Killers，1927）为例，从三个方面来分析作者所省略掉的“弦外之音”。
一、简单的人物对话《杀手》这部作品一共有2962字，其中人物对话内容就有1688字，占了全文多于一半的篇幅。
the_killers解析
Characters
Al （艾尔） Max（麦克斯） George （乔治） Nick Adam（尼克） Sam （塞姆） Ole Andresn（奥尔· 安德森） killer killer waiter waiter cook prizefighter
“Both men ate with their gloves on” “Max looked into the mirror all the time he was talking” ....... 戴着手套吃饭 ，把厨子和尼克嘴里塞上绑起来，留下乔治 招呼客人,总是看着柜台后面那一排镜子...都说明了他们是 专业的杀手，谨慎小心，处事果断熟练。
Four scenes in the novel
• In the first scene, 2 gangsters harassed Nick and George and caused some amusement. 第一场景主要集中在亨利餐馆，围绕杀手和乔治 的对话展开。
In Scene 2, 2 gangsters controlled George, Nick and Sam, and arranged the crime scene skillfully. But Ole Andreson didn’t appear. So they left. 第二场景在亨利餐馆，杀手控制了乔治，尼克和 赛姆，准备刺杀奥尔，奥尔没有出现，杀手离开。 In Scene 3, after the killers’ leaving, Nick went to tell Ole Andreson about what had happened. But it seemed that Ole Andreson knew all about it. He didn’t take any action and refused Nick’s suggestion. He was waiting to die. 第三场景在赫奇公寓，侧重描述尼克向奥尔报信 以及后者的反应。
从空间批评的角度解读海明威短篇小说《杀手》
外国文学从空间批评的角度解读海明威短篇小说《杀手》文/钱奂摘要：海明威的短篇小说《杀手》(The killers 1927)延续了海明威的写作的冰山风格，以人物对话的形式组织全文，通过人物要素与场景要素位置的确定，延展了小说在叙事之外的具体空间到抽象空间的置换，体现了强烈的异质空间的特质。
本文试图从空间批评的角度，通过小说展现的空间意象来探索小说中的人物在物理空间、社会空间和个体的心理空间之间的互动关系，发掘小说中渗透的空间异质意识所体现的美国社会生存活动紧张的“关系集合”，以及海明威对于个体身份焦虑的人文思考。
关键词：《杀手》；异质空间；关系集合；暴力欧内斯特·海明威，美国著名作家和记者，“迷惘的一代”作家中的代表人物，其作品表现出了对人生、世界、社会的迷茫和彷徨。
《杀手》被誉为美国短篇小说的经典之作，也是现代美国短篇小说中最优秀的作品之一。
作为最早被引入中国翻译的海明威短篇小说，许多文艺理论批评家都试图从小说的主题分析，冰山语言特点，以及硬汉小说等方面来阐释对海明威作品的理解。
但对海明威作品中所透露出来的空间格局分析的人却较少，本文试图通过文本细读的方法从小说中展现的空间意象的角度入手，借助福柯的异质空间理论结合文本分析，对海明威的小说《杀手》中表现的异托邦情境进行深层次的解读，从而关照作品中所透露的对美国社会生存活动的关系集合与对个体身份焦虑的人文思考。
一、故事中的空间意象海明威的短篇小说《杀手》作为一篇几乎由对话组建起来的小说，就整体上看，既缺少对小说故事背景的常规介绍，又能发现作者刻意地在小说中抹去相当多的信息，以一种极简的语句，让读者建构起对小说故事的基本想象。
海明威似乎确信，“亨利快餐厅”这五个字已经完全完成了作者为读者交代背景的义务，而之后的情节只需要利用场景中存在的物理空间与社会空间之间互动的真实表现，从而让读者对原本故事中的情境进行黏补与粘合，读者自能够勾画出一部小说所要表达的真实内容。
The killers
艾尔-----“He (Al) wore a derby hat and a black overcoat buttoned across the chest. His face was small and white and he had tight lips. He wore a silk muffler and gloves.” 麦克斯-----“He(Max) was about the same size as Al. Their faces were different, but they were dressed like twins. Both wore overcoats too tight for them.”
Analysis of The Killers
1.The Plot of The Killers
2.Analysis of Dialogues in The killers
The killers tells the story of two professional killers’ waiting at Henry’s lunch-room to kill a boxer named Ole Andreson, But they do not fulfill their task in the end.
这段对话, 展示了三个店员对杀人事件的不同 态度。George显得遇事沉稳老练, 在杀手离开 后马上要Nick去通知Andreson。而Nick年轻 单纯、正直善良, 觉得很有必要去告诉拳击师, 他的回答干脆利落“行”。厨师Sam胆小怕 事, 生怕惹祸上身。当Nick决心要去拳击师家 时, Sam“转身就走”表明他害怕把自己卷进 去, 从而招惹麻烦的心理。
Theme:
杀人者 the killer英文对白
（lao）代表老板；（da）代表老大；（xiao）代表进去绑人的；（3）被杀的人；(1)(2)代表路人-Hello.-taro,go and help kim in the back.-(lao)what do you want to eat?-(xiao)well…….what do you want to eat,brother?-(da)I’ll have a tenshin-bowl.-(lao）sorry,it isn’t ready yet.-(da)why do you write it on the wall then?-(lao)that’s the dinner. you can get that at six o’colock.-(xiao)hey old man , it’s five minutes past six.-(lao)it’s twenty minutes fast.-(da)why don’t you throw the damn clock way then?What have you got to eat?-(lao)I can give you any kind of ramen noodles.Y ou can have it with miso or salt flavor.-(da)gyoza and ramen with miso flavor and sliced pork on top.-(lao)sorry, we won’t have them until next week.-(da)everthing we want’s not available.This’s the way you work it,huh?-(lao)sorry. I can give you fried rice instead of gyoza.-(da)I’ll take ramen whit sart flavor and fired rice.-(xiao)I’ll take fired rice too, and ramen with miso flavor.-(lao)1 salt,1 miso ,and two fired rice!-(xiao)got anything to drink?-(lao)how about tea?I have cold barley tea….-(xiao)wait…I’m not talking about that.I mean you got anything to drink?-(lao)sorry, we are out. just what I said.-(da)what a great town! What do they call it?-(xiao)heaven’s city. Ever heard of it?-(lao)no.-(xiao)what do they do in a town like this at night?-(da)they eat the dinner. They all come here and eat the big dinner.-(xiao) that’s right.-(da)hey old man.so you think that’s right?-(lao)sure.you’re a smartass,aren’t you?-(da)no.he,s dumb.-(da)hey kid, what’s your name?-(er)it’s taro murakami.-(xiao)another smartass. isn’t he a smartass, bro?-(da)the town’s full of smartasses .-(lao)there you go.Fried rice.-(da)what are you looking at?-(lao)nothing.-(da)the hell you were. Y ou were looking at me.-(xiao)it’s just your imagination,ken.-(da)what the hell are you laughing at?-(lao)sorry.-(da) sorry?did you hear that?-(xiao) give him a break.What’s the kid’s name down the counter?-(da)hey kid, come here.-(er)why?-(xiao)none of your business!-(da)you better listen,kid.-(xiao)who’s out in the back?-(lao)the Korean.-(xiao)Korean?what’s the Korean doing here?-(lao)he is the cook.-(xiao)tell him to come out.-(lao)what in the world are you doing?Where do you think you are?-(da)we know dame where we are!Do we look stupid?-(xiao)what the hell do you argue with him for? aitell the Korean to come out here.-(lao)what are you doing to do, to kim?-(xiao)nothing.Think.what would we do to a Korean?-(lao) kim, come in here a minute.-(xiao) hey,you! Do inside the kitchen. Y ou too,kid! -(da)old man, why don’t you say something?-(lao)what’s this all about?-(da)what do you think this is all about?-(lao)I have no idea.-(da)what do you think ?-(lao)I don’t know!-(da)talk to me.I want to hear what you think is going to happenI’ll tell you.We’re here to kill someone.Do you know a man nanmed…Nobuo Takagi?He comes here to eat every night,doesn’t he?-(lao)sometimes he comes here.-(da)he comes here at six o’clock,doesn’t he?-(lao)what are you going to kill Nobu for?What did he ever do to you?-(xiao)he can’t do anything to us.He never even seen us.And he’s only going to see us once.-(lao)what are you going to kill him for then?-(da)we owe it to a friend.That’s why we have to do it.-(xiao)hey bro, easy on the chatting.-(da)what’s wrong?got to keep the old man amused.Don’t I,old man-(xiao)the Korean and the kid are amused by themselves.I got them tied up and they’re shaking like girls.-(da)old man.If anybody comes in you tell them the cook is off.If they keep after it,tell them you’ll cook yourself. Got that?-(lao)what you going to do with us afterward?-(da)that’ll depend.That’s one of those things you never know until the time comes-(1)toku-san. Can you fix me something?-(lao)sorry.kim’s done out. he’ll be back in less then an hour.-(1)well, I’ll come back later.-(lao)sorry.-(da)miki.we better go.he’s not coming.-(xiao)better give him five minutes.-(lao)I am sorry but the cook is sick-(2)why the hell don`t you get a healthier cook then?-(da)What the hell was that?Come on miki-(xiao)What about the old man and the men in the kitchen?-(da)Just leave them.-(xiao)we’re just going to leave them like that?-(da)you have a problem with that?-(xiao)I don’t like it .you talk too much,bro.-(da) shut the hell up!We got keep amused, have’t we?Right,old man?So long ,old man.Y ou got a lot of luck.-(lao)sons of bitchens!Hey, go see Nobu-san.-(er)right-(lao)don’t do if you don’t want to.-(er)I’ll do to see him.-(3)who is it?-(er)it’s Murakami… it’s Taro.-(3)come on in.-(3)what is it?-(er)I was over at Toku-san’s and two fellows came in and tied Kim and me up and they said they were going to kill you.They put us out in the kitchen.They were going to kill you when you came in.Toku-san thought I better come and tell you about it.-(3)There is nothing…..I can do about it.-(er)I’ll tell you what they look like.-(3) No……I’d rather not know.Thanks for coming to tell me about it.- (er)Don’t you want me to go to the police?- (3)(笑声) Police…..No. That wouldn’t do any good.-(er)isn’t there something I could do?-(3)no.there is nothing to go.-(er)maybe it was just a bluff.-(3)no,it’s not a bluff.-(er) couldn’t you get out of town?-(3)I’m through with all that running around.I Don’t care anymore.-(er) couldn’t you fix it up some way?-(3) No. Not anymore.-(er) I better go back and see Toku-san.-(3)taro. Thanks for everything.。
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“Shut up,” said Al from the kitchen”. “You talk too god-damn much”. “You talk too damn much” ...... 我们还了解了两个杀手各自的性格特点。艾尔谨慎小心， 心狠手辣。麦克斯则性格外露，比较随意，喜欢说话。
Sam（塞姆）: indifferent and hopeless
He was repeatedly called “the nigger” by George and those 2 killers. After he was untied by George, he said “You better stay way out of it.” “You stay out of it.” “I don't even listen to it ”. 塞姆的出场为数不多，当他面对杀手时，“腰系围裙站着， 看着这两个人”，他一定意识到事情的严重，但经验证明， 沉默远胜于反抗。随后的对话愈加反映出塞姆的世故，杀手 离开后，他阻止尼克报信，尼克回来，塞姆拒绝参与讨论， 他的冷漠源自黑人的身份，社会地位低下，饱受欺凌，面对 杀人者，生存是第一要务，因而选择远离是非，明哲保身。 小说对塞姆着墨并不多，他战战兢兢如履薄冰的形象，通过 他面对事件激烈的反应鲜明的呈现在读者面前。
海明威的作品里的人物大都是推崇实干、不尚空谈的硬汉 子。 小说中安德森就是一个把感情埋在心里，沉默寡言的人， 他代表第一次大战后整个燥动不安的一代人，在嘈杂的社 会中，他知道一切努力都是徒劳的，他“已经跑够了”。 他生活孤独，前程绝望，面对着眼前人生的巨大空白，面 对异己的力量，个人的力量竟然是如此的渺小，如此的软 弱，如此的无奈。他意识到无论他怎么努力，最终都将被 打败，这使他产生了一种绝望感，但他还要保持一种绝望 的勇气。正是这种勇气使他面对逆境能够保持男子汉气概， 保持人的尊严，镇定自若地等待死亡的到来。他沉着坚定， 体面从容，一丝一毫也不肯丢弃自己做人的尊严。在他身 上，我们发现了海明威笔下人物特有的素质：尽管因战争 或环境而遭受伤害，行为方式依然保持着体面从容。他们 无畏无怨，宠辱不惊，以其教养和克制，面对无可更改的 逆境，表现了一种坚韧刚毅卓然抗争的气魄。这从另一方 面表现了海明威对死的一贯态度，即人在面对死亡时应保 持尊严与人格也即“重压下的优雅风度”和“人是可以被 摧毁的但却是不可被打败的”
Ole Andresn（奥尔· 安德森）
“I don’t want to know what they were like,” Ole Andreson said. He looked at the wall “there isn't anything I can do about it.” “I’m through with all that running around” ......
The killers
Ernest Hemingway
欧内斯特· 海明威 Ernest Hemingway
美国作家和记者，被认为是20世 纪最著名的小说家之一，同时也 是继马克吐温后对美国文学语言 影响最大的作家。
出生于美国伊的家中自杀身亡。海明 威一生中的感情错综复杂，先后 结过四次婚，是美国“迷惘的一 代”（Lost Generation）作家中的 代表人物，作品中对人生、世界、 社会都表现出了迷茫和彷徨
1952年《老人与海》 （The Old Man and the Sea）
获奖情况
• 1953年，《老人与海》一书获得普利策奖；
• 1954年，《老人与海》又夺得诺贝尔文学 奖。 • 2001年，《太阳照样升起》（The Sun Also Rises）《永别了，武器》两部作品 被美国现代图 书馆列入“20世纪中的100部 最佳英文小说”中。
“Both men ate with their gloves on” “Max looked into the mirror all the time he was talking” ....... 戴着手套吃饭 ，把厨子和尼克嘴里塞上绑起来，留下乔治 招呼客人,总是看着柜台后面那一排镜子...都说明了他们是 专业的杀手，谨慎小心，处事果断熟练。
小说描写两名职业杀手在一家小餐馆伺机 暗杀拳击手奥尔· 安德森的故事。
Characters
Al （艾尔） Max（麦克斯） George （乔治） Nick Adam（尼克） Sam （塞姆） Ole Andresn（奥尔· 安德森） killer killer waiter waiter cook prizefighter
In Scene 4, Nick went back to the lunchroom and decided to get out of the town. 第四场景是尼克返回餐馆，并打算离开这 个城市。
Two killers
Al （艾尔）“He wore a derby hat and a black overcoat buttoned across the chest. His face was small and white and he had tight lips. He wore a silk muffler and gloves.” Max（麦克斯）“He was about the same size as Al. Their faces were different, but they were dressed like twins. Both wore overcoats too tight for them.” 从对他们的外表描述读者脑海里浮现出电影画面里常出现 的黑社会的杀人者的形象: 他们戴着圆顶礼帽, 穿着绷得紧 紧的黑大衣, 戴着手套, 给人盛气凌人压迫感。 简短怪异的关于点餐的对话也突出了两人的不同寻常。
代表作
1926年《太阳照常升起》（The Sun also Rises） 1929年《永别了，武器》（A Farewell to Arms） 1932年《乞力马扎罗的雪》（The Snows of Kilimanjaro）
1940年《丧钟为谁而鸣》（For Whom the Bell Tolls )
战争的洗礼
死亡的恐惧
1918年，海明威虚报年龄参加一 战，在意大利前线当救护队司机。初 次参战就体验到了出生入死的滋味。 1936年西班牙内战时，他以记者 身份奔赴了前线，目睹了战争中的生 生死死。 第二次世界大战中，他又以记者 的身份奔赴于各个战场，在前线的一 次汽车事故中，他的头部受重伤，伤 口共缝了57针。 1949年，他被猎枪的枪塞打伤了 眼睛。 1953年，他去非洲狩猎，遇飞机 坠毁幸免于难。 1961年,在家中用猎枪自杀。
Content
The killers tells the story of two professional killers’ waiting at Henry’s lunch-room to kill a boxer named Ole Andreson, But they do not fulfill their task in the end.
快乐的童年,倔强冒险的性格 父亲是著名医生，喜欢狩猎、 运动、钓鱼，一心培养海明威 “男子汉”的兴趣和性格。 母亲是个虔诚的教徒，特别喜 爱音乐和绘画，要培养他成为 循规蹈矩的上流社会的人物。 海明威的童年是在幸福中度过 的。快乐祥和的气氛使海明威 养成了对文学、艺术和体育运 动的热爱，同时安适的生活也 使他性格倔强，喜欢冒险。
Nick Adams（尼克）: kind, friendly, helpful, innocent
Faced harass of those 2 killers, he answered without hassle. After those 2 killers’ leaving, he went to tell Ole Andreson about what had happened. 尼克一直静静地在餐室一角默默观察杀手的举动；随后他 被艾尔赶到厨房捆了个结实，“他从没让人在嘴里塞过毛 巾”，这是一个惊心动魄的体验，让他切身体会到了杀手 们的冷酷凶险；直到和奥尔接触后，后者面对被追杀时的 无动于衷，使尼克深深感到自己身处世界的混乱和黑暗， 他感到“这太可怕了”，决定“离开这个镇”。在他的人 生中第一次有了对于“邪恶的发现”——这个世界是个罪 恶的世界，因此，他要远离邪恶。
描写拳击手安德森，当餐馆的小伙计尼克找到他并告知有人要杀他时，安 德烈森的反应却并不像我们所预料的那样充满恐惧和愤怒。“奥利・安德 烈森和衣躺在床上。他头枕着两只枕头。他并没有朝尼克看。”他和衣躺 在床上，不看尼克，说明他已经知道有人要杀他，但他只是坐以待毙，不 愿采取任何行动，“这种事情，叫我有什么办法。”“我已经叫人家不高 兴啦，没有什么办法。”他明知道“那不光光是恐吓。”却“不想知道他 们是啥样子”，也不愿去找警察“去了（警察局）也没什么用。”也不打 算逃离这个地方，他只是躺在床上，望着墙壁，冷漠而麻木地等待着，文 中“他望着墙壁”重复了七次，表明他对即将到来的死亡的无奈。
Some Characters in the lunchroom
George（乔治）: experienced and calm
George can keep calm, even can talk with gangsters naturally.Faced harass about the dinner menu by those 2 gangsters, he dealt with it peacefully and adeptly。 After the killer’s leaving, he asks Nick to alarm Ole Andreson。 乔治表现出一种处变不惊的镇定，他和杀手冷静的交谈， 说着该说的话，做着该做的事，看不出一丝异样，似乎 已经适应这个社会。