英语论文:论《警察与赞美诗》中反讽的运用.doc
警察与赞美诗解析

Vandalism
At the corner stands a shop where the plate-glass window is conspicuous(引人注目的). Soapy takes a cobblestone and dashes it through the glass, after that, he indicates to a cop that it is he who vandalizes the plate-glass window. But the cop doesn't think a person who does something illegal will wait to be punished.
“Mashing” with a young woman
Soapy sees a young woman, Then he tries to mash her so as to be caught by the cop who is looking at him. Unexpectedly, she gives him a big hug and asks him to buy her a pail of suds. She is a prostitute, so Soapy dumps her at the next corner.
? Soapy: proud, lazy, idle,repentant(悔改的)
? The cop: muddle-headed(糊涂的;昏庸的) bulling the weak(恃强凌弱的)
含泪的笑
? 欧·亨利常以其辛辣俏皮的讽刺使读读者的情绪 在悲喜之间激荡,酸甜苦辣,感触至深。
The Cop and the Anthem
英语论文:论《警察与赞美诗》中反讽的运用.doc

论《警察与赞美诗》中反讽的运用The use of irony in The Cop and the AnthemContents摘要 (Ⅰ)Abstract (Ⅱ)Introduction (1)1. Brief introduction of the author and the novel (2)1.1 brief introduction of the author (2)1.2 the author’s writing style (2)2. The statement of irony (4)3. The use of irony in The Cop and the Anthem (7)3.1 Soapy’s way of wintering and his thoughts (7)3.2 Soapy’s six backfired actions (9)3.3cops’ duty and people’s view of cops (11)3.4 Soapy’s view of cops’ irresponsibility (13)3.5 Soapy has been influenced by anthem and decide to turn over a new leaf, butis arrested (14)Conclusion (17)Notes (18)Bibliography (19)Acknowledgements摘要情景反讽作为一种主要的描写手法在欧·亨利《警察与赞美诗》中的运用成功地推动了小说情节的发展,增加了小说的戏剧性悬念,使小说的人物形象更加丰满。
本文将剖析小说中的情景反讽的实例,以指出小说中情景反讽的反复运用表达了欧·亨利对当时美国资本主义社会中不合理的现象的抨击,还表达了作者对下层劳动人民的同情。
作者将情景反讽贯穿于故事的开头、发展和结尾,揭露了资本主义社会的矛盾虚伪和黑白颠倒的本质。
从《警察与赞美诗》分析欧·亨利写作特点

英语短篇小说选读期末论文从《警察与赞美诗》分析欧·亨利写作特点Abstract: O Henry ,one of the most famous writers in America, is well-known for his short story . He is also the founder of modern short story of America. He called in the master layout posed, with his own style. His story is famous for depicting life of middle and lower classes, humorous language, and unexpected ends. The Cop and the Anthem is one of his famous and typical story. He expresses the helpless and misery of common people, meaningful and impressed, with tears inside laugh, through the depicting of Soapy. This is a typical one, from which we can clearly draw out his writing feature--considering about the life of common people; depicting people by using exaggerate and humor as technique; and unexpected endings.内容摘要:欧·亨利20世纪初美国著名短篇小说家,美国现代短篇小说创始人。
与法国的莫泊桑、俄国的契诃夫并称为世界三大短篇小说巨匠。
警察与赞美诗 英文读书报告

《警察与赞美诗》读书报告The Cop And The Anthem was just a very short novel I read in the middle school. I have no memory of this classical novel except its ridiculous ending, which the writer, O Henry ’s best at.By accident,professor Zhong reminds me of the novel in his class. It’s real lucky I think of this novel when I have to finish a reading report this week, especially in autumn. It’s getting colder and colder, so winter is near.The Cop And The Anthem is a story that happened in a cold winter. Soapy is a vagrant who is homeless and jobless. Because of the coming bad weather, he may live uneasily outside and there is a comfortable and warm place for him, Blackwell prison. For years the hospitable Blackwell prison had been his winter refuge.Three months of assured board and bed and good company, safe from north winds and policemen, seemed to Soapy the most desirable thing. Soapy had made his arrangements for his annual journey to the island. He committed crime on purpose so that he can be put into prison in winter. However, things didn't go as he expected. But when he made up his mind to give up evil and return to good, he was arrested.That funny ending impressed me very much. At first, I shew great sympathy to this poor man. He had to put himself into the prison, where his freedom was limited, in order to live himself. But after he stirred up trouble for six times and still didn’t get arrested, he was put into the once dreamed prison because he wanted to be a good man. It’s an entirely incredible ending, but it also became the highlight of this novel. O. Henry's short stories are famous for their surprise endings, his wit, wordplay and humor. And where there is humor, there always is specific implication.His black humor is present in various places from this short novel. Soapy, the vagrant who had committed a crime for six times, was eager to go to prison. But he was always out of luck and got policeman's forgiveness. When Soapy was touched by the anthem and decided to be a good citizen, he was arrested for groundless reasons. This comparison between Soapy’s before and after expresses the social reality profoundly. Although I can’t help laughing when I read this surprise ending, I also feel pity for his miserable life. This kind of black humor not only appears in the ending, it’s used in lots of plots of this novel and often make a contrary to my expectation.Soapy stole an umbrella from well-dressed man when he had expected the umbrella’s owner could send him into the prison. But the umbrella also didn’t belong to that neatly dressed man,anupper class gentleman who had a beautiful appearance. When he sang drunken songs at the top of his voice, danced, and howled on the sidewalk. The policeman mistook him into one of Yale lads celebrating their victory of football game over the Hartford College.He thought Soapy was only noisy but no harm. The funniest one is, when he molested a beautiful lady in front of a policeman, the lady joyfully answered his flirtation. The gentleman and lady who had beautiful appearances, even the policemen all expose one dirty and unrational society to us. It’s a fact beyond our imagination that the noble upper class may hide their dirty heart under good appearance. This sick society caused many poor people’s present like Soapy. But it’s these people that easily could be touched and moved by the simple anthem and decided to give up the evil and be a good man. They were so kind but regarded to be abnormal when they behave peaceful outside the church.O.Henry uses a number of comparison and black humor to fully display the character's wretched fate and cruelty of capitalist society. He is famous for short novels that are skillful with these writing techniques and is also good at describing American society. The story in this novel ironize and reveal the realistic of New York’s society at that times. That ridiculous play happened in a cold late autumn, like now. Hope this winter won’t be so cold because of people’s warm heart.。
(英语毕业论文)《警察与赞美诗》的功能文体分析[修改版]
![(英语毕业论文)《警察与赞美诗》的功能文体分析[修改版]](https://img.taocdn.com/s3/m/838c47d72f60ddccdb38a0d4.png)
第一篇:(英语毕业论文)《警察与赞美诗》的功能文体分析本科生毕业设计(论文)封面(2016 届)论文(设计)题目作者学院、专业班级指导教师(职称)论文字数论文完成时间大学教务处制英语原创毕业论文参考选题(200个)一、论文说明本写作团队致力于英语毕业论文写作与辅导服务,精通前沿理论研究、仿真编程、数据图表制作,专业本科论文3000起,具体可以联系qq958035640。
下列所写题目均可写作。
部分题目已经写好原创。
二、原创论文参考题目1 2 3 4 5 6 7 8 9 中欧文化中英雄主义的比较分析——以《三国演义》和《荷马史诗》为例《玻璃动物园》中的逃避主义解读从《简爱》的多译本看中国两性关系的变化《玻璃动物园》中的逃避主义解读英汉“悲伤”情感隐喻认知对比分析对《斯佳丽》中生态女权主义的解读论教师的非语言行为在课堂教学中的作用xx大学翻译方向学生发展规划《傲慢与偏见》中英语反语的语用分析10 简爱性格研究11 从电视剧《绝望主妇》看委婉语的交际功能12 海明威“冰山原理”在《永别了,武器》中的应用及对写作的指导意义13 从《金色笔记》看多丽丝莱辛的女性意识14 从礼貌原则分析《飘》中人物性格15 从十字军东征看中世纪宗教冲突16 哈克贝里·费恩与汤姆·索亚性格的对比分析17 Analysis on Paul Morel’s Life Passages from the Perspective of Lawrence’s Unconscious 18 From Dormancy to Revival—A Feminist Study on Kate Chopin’s Awakening 19 国际货物销售合同的文体特征及翻译20 浅析《最蓝的眼睛》中的叙事艺术21 《喜宴》中反映出的中西文化差异22 英汉状语语序修辞对比与翻译23 从《在路上》解读“垮掉的一代”时代背景与主题24 英汉新闻语篇概念隐喻对比研究25 中国春节与美国圣诞节的文化比较26 论《小镇畸人》中人物的怪诞性27 Joy Luck Club:Chinese Tradition under American Appreciation 28 网络环境下小组合作学习模式研究29 《罗密欧与朱丽叶》与《梁祝》结局的文化对比研究30 A Study of C-E Translation of Tourist Materials from the Perspective of Cross-culture 31 情景法在新概念英语教学中的应用——以杭州新东方为例32 Miss Havisham: an Imprisoned Woman in Great Expectations 33 浅析《献给艾米莉的玫瑰》中渐渐消失的玫瑰34 《白鲸》的象征意义和悲剧内涵分析35 浅谈《当幸福来敲门》中的美国个人主义36 翻译的对等性研究及其应用37 如何降低初中生英语课堂焦虑38 从《无名的裘德》看哈代的现代性意识39 卡特福德的等值翻译理论与名词化翻译——以《入乡随俗》英译汉为例40 从审美视角分析中国古典诗词的英译41 从跨文化交际角度看汉英基本颜色词文化内涵差异42 《红字》中的象征主义43 解读艾丽斯沃克的《日常用品》中的黑人女性文化44 论《爱玛》中简奥斯丁的社会理想45 The Tragic Color of Tender Is the Night 46 认知语境在语言交际理解中的作用47 霍尔顿的人生之旅--《麦田里的守望者》之存在主义解读48 外教口语课堂中存在的问题及对策49 从《简爱》看知识改变女性命运50 Cross-cultural Differences in Business Etiquette Between China and America 51 浅析隐藏在“面纱”之后的伯莎梅森52 从萨丕尔-沃尔夫假说看中英谚语的文化意象53 论初中英语教学中的情景创设54 技术性贸易壁垒对中国外贸行业的影响—以CR法案为例55 论翻译的艺术56 衔接理论在高中英语阅读教学中的应用57 汉语公示语的英译58 论非言语交际行为与外语教师素质的关系59 电影《暮色》中人物对白的言语行为分析60 中学生英语听力障碍分析与对策61 初中英语教学中开展游戏的积极作用62 浅析《红字》中的象征主义63 跨文化交际中的中西方饮食文化差异64 中英花卉隐喻下的情感叙事对比研究65 从目的论的角度谈商标翻译的原则及技巧6667 小学英语字母与汉语拼音字母教学比较研究68 从合作原则的视角探析《神探夏洛克》人物话语风格69 试论英语词汇教学中的词块教学70 从痛苦中顿悟—《麦田里的守望者》成长主题解读71 The Painful Growth of Scarlett O’Hara in Her Three Marriages 72 从语用等效角度透析旅游景点名称英译73 广告翻译中功能对等的研究74 汉语公示语的英译75 移民影响下的美国文化特点分析76 浅析眼神交流在非语言交际中的作用77 An Analysis of Humor and Satire in Mark Twain's The Million Pound Note 78 英语商务信函的礼貌用语79 Application of Cooperative Principles in the Study of Intercultural Business Negotiation 80 浅析《老人与海》和《海上扁舟》中人与自然的关系81 试析《雾都孤儿》中的浪漫主义色彩82 A Study on the Translation of News Headlines from English Into Chinese83 现代社会的荒诞性——从黑色幽默解读《毛猿》84 论《皮格马利翁》的结局85 从会话合作原则透析英语情景喜剧《生活大爆炸》幽默的产生86 黑色孤岛上的灰色母亲—从黑人女性主义角度解读《宠儿》中的母女关系87 中学英语教学大纲与课程标准的比较研究88 《小城畸人》里的象征主义手法分析89 原版英语电影在大学英语教学中的使用研究90 Color Words in Chinese and Western Literature 91 中英酒吧文化对比92 影响二语习得的因素--案例研究93 《老人与海》象征主义探究94 从《罗密欧与朱丽叶》与《孔雀东南飞》分析中英爱情观异同95 从跨文化交际的发展看西方饮食文化对中国饮食文化的影响96 个人主义在美国社会中的嬗变历程分析97 英语电影片名的汉译要求及赏析98 礼貌用语中的语用失误99 An Analysis of the Main Characters in Twilight-eclipse 100 影视英文在初中口语教学中的运用性研究101 《红楼梦》中座次表达的英译比较102 英语文学作品与改编电影的差异——以《傲慢与偏见》及其版改编电影为例103 从文化角度谈商标的中英互译104 由女性“奴性”潜意识解析玛利娅姆多舛命运105 Sense and Sensibility in Jane Austen’s Persuasion 106 “美国梦”的破灭——《了不起的盖茨比》中的象征107 《简爱》与《呼啸山庄》女主人公比较分析108 英语汽车商标的翻译策略109 拉尔夫埃里森《隐形人》中的凝视与自我建构110111 从大学校训看中西方大学文化差异112 从《嘉莉妹妹》看现代女性的自我实现113 A Comparison of the English Color Terms 114 命运与性格--浅论《哈姆雷特》的悲剧因素115 《虹》中的女性婚姻观浅析116 中英文数字文化对比及其翻译117 从女性主义视角看幽默翻译118 从语境视角看英译汉字幕翻译——以《梅林传奇》为例119 功能对等理论在中文菜单翻译中的应用120 An Analysis of Sexism in English Advertisements 121 《生活大爆炸》言语幽默语用分析122 从《看得见风景的房间》看女性身份的遗失和找寻123 汉英亲属称谓词的文化差异及翻译124 A Contrastive Analysis of Chinese and English Euphemisms for Death from the Perspective of Culture 125 《动物农庄》中的象征意义研究126 一个自我矛盾的精神世界—《达洛卫夫人》中的对照与一致127 浅析英语委婉语128 《女勇士》中美国华裔身份危机的探寻129 美国拓荒运动中的新女性形象--读威拉凯瑟《我的安东妮娅》130 《简爱》中的人文主义思想述评131 析《傲慢与偏见》中达西的性格及人物形象132 A Comparison of the English Color Terms 133 中西文化中颜色词的象征意义134 《玻璃动物园》中的逃避主义解读135 从康妮的视角分析《查特莱夫人的情人》中劳伦斯的性爱观136 反复在格特鲁德斯泰因的作品《三个女人》中的运用137 《楚门的世界》中的黑色幽默138 浅析隐藏在“面纱”之后的伯莎梅森139 论英语中的汉语借词及其影响140 英语电影片名的翻译策略与方法141 浅析华兹华斯诗歌中的自然观142 On the Character of Scarlett O’Hara and the Transition of American Society 143 《红字》中霍桑的女性观144 战争、归乡、爱情—《冷山》的多元主题研究145 《贵妇的画像》的过渡性特征的分析研究146 探究瓦尔登湖的积极现实意义——倡导和谐生存发展模式147 Study on Characteristics of American Black English from Social Perspectives 148 浅析隐藏在“面纱”之后的伯莎梅森149 浅析跨文化交际中的文化休克现象及对策150 高中英语互动式课堂教学模式研究151 少儿英语学习中的情感因素分析152 Research on the Expression of the Speaker’s Intention in English and Chinese Conversation 153 从依恋理论看《呼啸山庄》主人公希斯克利夫悲剧性格的形成154 影响高中学生英语学习兴趣因素的调查及分析—以x市高中学生为调查对象155 从“他者”到“自我”的转变——从女性主义角度看《卖花女》156 从功能理论角度分析电影《点球成金》字幕翻译157 Sexism in English Language 158 英语单词记忆中存在的主要问题和解决方法159 A Preliminary Survey of Translating San in Chinese Idioms 160 中美时间观差异对跨文化交际的影响161 浅探篮球文化的理论构建162 浅析隐藏在“面纱”之后的伯莎梅森163 析乔治艾略特在《织工马南》中的语言特色164 《玻璃动物园》中的逃避主义解读165 英语电影片名的汉译研究166 英语新闻标题的前景化167 An Analysis of Symbols in The Great Gatsby 168 从小飞侠彼得潘浅析詹姆斯巴里的悲剧人生169 中西方酒店文化比较与探讨170 A Comparative Study on Metaphors of FIRE between English and Chinese from aCognitive Perspective 171 《生活大爆炸》言语幽默语用分析(开题报告+论)172 论“迷惘的一代”--以海明威为个案173 从合作原则谈影视翻译策略——以《功夫熊猫》为例174 野性的回归--试析《野性的呼唤》中巴克的生存斗争175 言语行为理论视角下的商务索赔信函话语分析176 论《冰与火之歌》中角色视点手法的运用177 试析跨文化交流中文化休克现象及对策178 英语法律文本翻译原则179 谈英语教学中导入文化背景知识的必要性180 相同的追求,不同的命运——《红楼梦》中的林黛玉和《傲慢与偏见》中的伊丽莎白比较181 对儿子与情人中俄狄浦斯情结的分析182 从《喜福会》母女代沟看中西文化冲突183 沃尔特惠特曼的民主观解读184 归化与异化在《老友记》字幕翻译中的运用185 意象手法在《永别了,武器》中的使用186 论企业对员工过度压力的管理187 通过巴丝谢芭看哈代的宿命论188 从文化差异的角度看习语的翻译189 解读《嘉莉妹妹》中几位男性对嘉莉妹妹的人生影响190 论《觉醒》中艾德娜女性意识的觉醒191 苔丝死之谜192 有关小学双语教学现状及实施问题分析193 《格列佛游记》对理性的反思与批判194 中英花卉隐喻下的情感叙事对比研究195 论《红字》中海斯特的女性主义196 “一只陷入囹圄的小鸟”——苔丝的悲剧命运分析197 男女生英语学习差异比较研究198 现代伦理和俄狄浦斯情结的冲突--浅析劳伦斯作品《儿子与情人》199 从《老人与海》看海明威的硬汉精神200 A Comparison of the English Color Terms第二篇:警察与赞美诗英语原文分析Original TextThe Cop and the Anthemby O .Henry1 On his bench in Madison Square Soapy moved uneasily. When wild goose honk high of nights, and when women without sealskin coats grow kind to their husbands, and when Soapy moves uneasily on his bench in the park, you may know that winter is near at hand.2 A dead leaf fell in Soapy’s lap. That was Jack Frost’s card. Jack is kind to the regular denizens of Madison Square, and gives fair warning of his annual call. At the corners of streets his four hands his pasteboard to the North Wind, footman of the mansion of All Outdoors, so that the inhabitants there of may make ready.3 Soapy’s mind became cognisant of the fact that the time had come for him to resolve himself into a singular Committee of Ways and Means to provide against the coming rigour. And therefore he moved uneasily on his bench.4 The hibernatorial ambitions of Soapy were not of the highest. In them were no considerations of Mediterranean cruises, of soporific Southern skies or drifting in the Vesuvian Bay. Three months on the Island was what his soul craved. Three months of assured board and bed and congenial company, safe from Boreas and bluecoats, seemed to Soapy the essence of things desirable.5 For years the hospitable Blackwell’s had been his winter quarters. Just as his more fortunate fellow New Yorkers had bought their tickets to annual hegira to the Island. And now the time was come. On the previous night three Sabbath newspapers, distributed beneath his coat, about his ankles and over his lap, had failed to repulse the cold as he slept on his bench near the spurting fountain in the ancient square. So the Island loomed large andtimely in Soapy’s mind. He scorned the provisions made in the name of charity for the city’s dependents. In Soapy’s opinion the Law was more benign than Philanthropy. There was an endless round of institutions, municipal and eleemosynary, on which he might set out and receive lodging and food accordant with the simple life. But to one of Soapy’s proud spirit the gifts of charity are encumbered. If not in coin you must pay in humiliation of spirit for every benefit received at the its toll of a bath, every loaf of bread its compensation of a private and personal inquisition. Wherefore it is better to be a guest of the law, which though conducted by rules, does not meddle unduly with a gentleman’s private affairs.6 Soapy, having decided to go to the Island, at once set about accomplishing his desire. There were many easy ways of doing this. The pleasantest was to dine luxuriously at some expensive restaurant; and then, after declaring insolvency, be handed over quietly and without uproar to a policeman. An accommodatingmagistrate would do the rest.7 Soapy left his bench and strolled out of the square and across the level sea of asphalt, where Broadway and Fifth Avenue flow together. Up Broadway he turned, and halted at a glittering café, where are gathered together nightly8 Soapy had confidence in himself from the lowest button of his vest upward. He was shaven, and his coat was decent and his neat black, ready-tied four-in-hand had been presented to him by a lady missionary on Thanksgiving Day. If he could reach a table in the restaurant unsuspected, success would be his. The portion of him that would show above the table would raise no doubt in the waiter’s mind. A roasted mallard duck, thought Soapy, would be about the thing—with a bottle of Chablis, and then Camembert, a demi-tasse and a cigar. One dollar for the cigar would be enough. The total would not be so high as to call forth any supreme manifestation of revenge from the cafémanagement; and yet the meat would leave him filled and happy for the journey to his winter refuge.9 But as Soapy set foot inside the restaurant door the head waiter’s eye fell upon his frayed trousers and decadent shoes. Strong and ready hands turned him about and conveyed him in silence and haste to the sidewalk and averted the ignoble fate of the menaced mallard.10 Soapy turned off Broadway. It seemed that his route to the coveted island was not to be an epicurean one. Some other way of entering limbo must be thought of.11 At a corner of Sixth Avenue electric lights and cunningly displayed wares behind plate-glass made a shop window conspicuous. Soapy took a cobble-stone and dashed it through the glass. People came running round the corner, a policeman in the lead. Soapy stood still, with his hands in his pockets, and smiled12“Where’s the man that done that?”inquired the officer excitedly.13 “Don’t you figure out that I might have had something to do with it?”said Soapy, not without sarcasm, but friendly, as one greets good fortune.14 The policeman’s mind refused to accept Soapy even as a clue. Men who smash windows do not remain to parley with the law’s minions. They take to their heels. The policeman saw a man halfway down the block running to catch a car. With drawn club he joined in the pursuit. Soapy, with disgust in his heart, loafed along, twice unsuccessful.15 On the opposite side of the street was a restaurant of no great pretensions. It catered to large appetites and modest purses. Its crockery and atmosphere were thick; its soup and napery thin. Into this place Soapy tookhis accusive shoes and tell-tale trousers without challenge. At a table he sat and consumed beefsteak, flap-jacks, doughnuts, and pie. And then to the waiter he betrayed the fact that the minutest coin and himself were strangers.16 “Now, get busy and call a cop,”said Soapy. “And don’t keep a gentlemanwaiting.”16 “No cop for youse,”said the waiter, with a voice like butter cakes and an eye like the cherry in a Manhattan cocktail. “Hey, Con!”17 Neatly upon his left ear on the callous pavement two waiters pitched Soapy. He arose, joint by joint, as a carpenter’s rule opens, and beat the dust from his clothes. Arrest seemed but a rosy dream. The Island seemed very far away. A policeman who stood before a drug store two doors away laughed and walked down the street.18 Five blocks Soapy travelled before his courage permitted him to woo capture again. This time the opportunity presented what he fatuously termed to himself a “cinch.”A young woman of a modest and pleasing guise was standing before a show window gazing with sprightly interest at its display of shaving mugs and inkstands, and two yards from the window a large policeman of severe demeanour leaned against a water-plug.19 It was Soapy’s design to assume the rule of the despicable and execrated “masher.”The refined and elegant appearance of his victim and the contiguity of the conscientious cop encouraged him to believe that he would soon feel the pleasant official clutch upon his arm that would ensure his winter quarters of the right little, tight little isle.20 Soapy straightened the lady missionary’s ready-made tie, dragged his shrinking cuffs into the open, set his hat at a killing cant and sidled toward the young women. He made eyes at her, was taken with sudden coughs and “hems,”smiled, smirked, and went brazenly through the impudent and contemptible litany of the “masher.”With half an eye Soapy saw that the policeman was watching him fixedly. The young woman moved away a few steps, and again bestowed her absorbed attention upon the shaving mugs. Soapy followed, boldly stepping to her side, raised his hat and said: “Ah there, Bedelia! Don’t you want to come and play in my yard?”21 The policeman was still looking. The persecuted young woman had but to beckon a finger and Soapy would be practically en route for his insular haven. Already he imagined he could feel the cosy warmth of the station-house. The young woman faced him and, stretching out a hand, caught Soapy’s coat sleeve.22 “Sure, Mike,”she said joyfully, “if you’ll blow me to a pail of suds. I’d have spoke to you sooner, but the cop was watching.”With the young woman playing the clinging ivy to his oak Soapy walked past the policeman overcome with gloom. He seemed doomed to liberty.23 At the next corner he shook off his companion and ran. He halted in the district where by night are foundthe lightest streets, hearts, vows, and librettos. Women in furs and men in greatcoats moved gaily in the wintry air.A sudden fear seized Soapy that some dreadful enchantment had rendered him immune to arrest. The thought brought a little of panic upon it, and when he came upon anotherpoliceman lounging grandly in front of a transplendent theatre he caught at the immediate straw of “disorderly conduct.”24 On the sidewalk Soapy began to yell drunken gibberish at the top of his harsh voice. He danced, howled, raved, and otherwise disturbed the welkin.25 The policeman twirled his club, turned his back to Soapy and remarked to a citizen: “Tis one of them Yale lads celebratin’the goose egg they give to the Hartford College. Noisy; but no harm. We’ve instructions to lave them be.”26 Disconsolate, Soapy ceased his unavailing racket. Would never a policeman lay hands on him? In his fancy the Island seemed an unattainable Arcadia. He buttoned his thin coat against the chilling wind.27 In a cigar store he saw a well-dressed man lighting a cigar at a swinging light. His silk umbrella he had set by the door on entering. Soapy stepped inside, secured the umbrella and sauntered off with it slowly. The man at the cigar light followed hastily.28 “My umbrella,”he said sternly.29 “Oh, is it?”sneered Soapy, adding insult to petit larceny. “Well, why don’t you call a policeman? I took it. Your umbrella! Why don’t you call a cop? There stands one on the corner.”30 The umbrella owner slowed his steps. Soapy did likewise, with a presentiment that luck would run against him. The policeman looked at the two curiously.31“Of course,”said the umbrella man—“that is—well, you know how these mistakes occur—I—if it’s your umbrella I hope you’ll excuse me—I picked it up this morning in a restaurant—If you recognise it as yours, why—I hope you’ll—“32 “Of course it’s mine,”said Soapy viciously.33 The ex-umbrella man retreated. The policeman hurried to assist a tall blonde in an opera cloak across the street in front of a street car that was approaching two blocks away.34 Soapy walked eastward through a street damaged by improvements. He hurled the umbrella wrathfully into an excavation. He muttered against the men who wear helmets and carry clubs. Because he wanted to fall into their clutches, they seemed to regard him as a king who could do no wrong.35 At length Soapy reached one of the avenues to the east where the glitter and turmoil was but faint. He set his face down this toward Madison Square, for the homing instinct survives even when the home is a park bench.36 But on an unusually quiet corner Soapy came to a standstill. Here was an old church, quaint and rambling and gabled. Through one violet-stained window a soft light glowed, where, no doubt, the organist loitered over the keys, making sure of his mastery of the coming Sabbath anthem. For there drifted out to Soapy’s ears sweetmusic that caught and held him transfixed against the convolutions of the iron fence.37 The moon was above, lustrous and serene; vehicles and pedestrains were few; sparrows twittered sleepily in the eaves—for a little while the scene mighthave been a country churchyard. And the anthem that the organist played cemented Soapy to the iron fence, for he had known it well in the days when his life contained such things as mothers and roses and ambitions and friends and immaculate thoughts and collars.38 The conjunction of Soapy’s receptive state of mind and the influences about the old church wrought a sudden and wonderful change in his soul. He viewed with swift horror the pit into which he had tumbled, the degraded days, unworthy desires, dead hopes, wrecked faculties, and base motives that made up his existence.39 And also in a moment his heart responded thrillingly to this novel mood. An instantaneous and strong impulse moved him to battle with his desperate fate. He would pull himself out of the mire; he would make a man of himself again; he would conquer the evil that had taken possession of him. There was time; he was comparatively young yet; he would resurrect his old eager ambitions and pursue them without faltering. Those solemn but sweet organ notes had set up a revolution in him. Tomorrow he would go into the roaring down-town district and find work. A fur importer had once offered him a place as driver. He would find him to-morrow and ask for the position. He would be somebody in the world. He would—40 Soapy felt a hand laid on his arm. He looked quickly round into the broad face of a policeman.41 “What are you doin’here?”asked the officer.42 “Nothing’,”said Soapy.43“Then come along,”said the policeman.44“Three months on the Island,”said the Magistrate in the Police Court the next morning.第三篇:警察与赞美诗分析小说的结构,一般按故事的几个阶段安排,分为开端、发展、高潮、结局几个部分1)故事开端(苏比躺在麦迪生广场他那条长凳上——自有位识相的推事来料理),苏比为逃脱严冬的威胁,筹划着怎样才能被捕入狱。
小人物矛盾却又无奈的选择--读欧亨利的《警察与赞美诗》

最新英语专业全英原创毕业论文,都是近期写作1 探析《呼啸山庄》男女主人公爱情悲剧的根源(开题报告+论文+文献综述)2 Women’s Image in Pygmalion3 A Comparison of the English Color Terms4 环境、性格、命运--评《远大前程》主人公皮普5 An Analysis of Feminism in Little Women6 《蝇王》中的象征7 Family Values in Desperate Housewives8 Analysis on the Withdrawal of Feminism in The Great Gatsby9 对外新闻的导语编译研究10 多丽丝•莱辛《屋顶丽人》与威廉•福克纳《干旱的九月》中女主人公的对比研究11 托妮•莫里森《宠儿》中的主角赛丝的女性形象研究12 《了不起的盖茨比》叙述者尼克分析13 文档所公布均英语专业全英原创毕业论文。
原创Q 799 75 79 3814 广告对中国百姓生活的影响15 《喜福会》中的文化身份分析16 浅析“红”和“黑”在中英文中的文化及语义对比17 从《纯真年代》中的女性角色看伊迪斯华顿的女性意识18 英汉“走类”动词短语概念隐喻的对比研究19 礼貌策略在国际商务谈判中的运用20 艾丽丝沃克《日用家当》中的人物解读21 文化语境视域下英语习语的汉译研究22 从数字看中西方文化差异23 分析海明威在《永别了,武器》中的悲剧意识24 从常见的中英文名字比较中英两国命名文化差异25 《中国日报》与《纽约时报》灾难新闻之比——以系统功能语法为视角26 中国梦和美国梦的对比分析27 语篇分析在阅读教学中的运用28 消费主义视角下看《麦琪的礼物》中的男女主人公29 A Comparative and Contrastive Study of Family Education in China and America30 《绝望的主妇》中的中产阶级女性独立意识的研究31 苔丝的悲剧命运分析32 论《傲骨贤妻》字幕翻译中的归化和异化策略33 一个反叛者的肖像--以《土生子》为例34 论《黑夜中的旅人》中主人公的信仰冲突与融合35 Doomed Tragedy out of Desire-Driven Morbid Personalities in Nabokov’s Lolita36 英语成语跨文化翻译策略37 Approaches to the Limits of Translatability for English Palindromes38 论外国文化在英语学习中的重要性39 论《简爱》中的女性意识40 广告语中预设触发语的语用分析41 《劝导》中安妮•艾略特的道德判断42 论华兹华斯诗歌中的自然观43 《蝴蝶梦》中的哥特式元素44 汽车商标词的翻译特征和方法45 中西方在养老孝道方面的差异46 从英汉颜色词的内涵看其翻译47 诠释《儿子与情人》中儿子、母亲、情人之间的关系48 The Interpretation to Captain Ahab in Moby Dick through Abnormal Psychology49 莎士比亚《仲夏夜之梦》中的男性探究50 论英语小说中俚语的汉译51 Cultural Issues in Interpreting52 高中英语新课标在xx中实施情况调查与分析53 从归化的角度分析《飘》的中译本54 英语委婉语的构成与应用55 美国基督新教与中国儒家的伦理道德的比较56 金钱与婚姻—论《傲慢与偏见》中的婚姻价值与导向57 《嘉莉妹妹》之悲剧性——基于嘉莉与赫斯特伍德的比较58 国际商务谈判中的非语言交际59 合作教学理论在初中英语阅读中的运用60 An investigation of the Feasibility of Inquiry Teaching In Middle School English Teaching61 从跨文化交际视角谈品牌翻译策略62 文化语境对翻译的影响63 科技英语中被动句的语篇功能探析64 从《蝴蝶夫人》到《蝴蝶君》的蜕变65 从古至今的吸血鬼文化66 中西方饮酒礼仪的比较6768 汉语公示语的英译69 On Contradiction Between Comprehension and Expression in Translation70 跨文化意识在初中英语教材中的渗透71 中式菜肴命名的文化内涵与英译72 Cause of Tragedy in Desire Under the Elms73 浅析广告发展现状及其未来发展趋势74 企业行为管理的共同价值观浅析75 多媒体英语教学的优势与劣势76 “It be adj for sb to do sth”中形容词制约研究77 从奥运菜单看中式菜肴英译名规范化程度78 《嘉莉妹妹》中男女主人公命运的对比分析79 On the Character of Scarlett O’Hara and the Transition of American Soci ety80 种族沟通的桥梁——对《宠儿》中两个丹芙的人物分析81 人性的扭曲,堕落与回归——希刺克厉夫的人性简析82 中西方饮食文化的比较研究83 欧•亨利短篇小说中的美式幽默风格的翻译84 从女性主义解读《芒果街上的小屋》85 高中英语词汇教学策略86 论《永别了,武器》中战争对人物的影响87 Analysis on the Chapter Titles Translation of The Story of the Stone88 从《纯真年代》的女性角色看旧纽约的女性地位89 评析杰克伦敦小说《荒野的呼唤》中巴克的象征意象90 浅析《我们共同的朋友》中的象征手法91 英汉动物词汇文化内涵对比92 英语构词法对词汇习得的影响93 文本分类理论与广告翻译94 目的论视角下公示语汉英翻译研究95 功能对等理论视角下的商务合同翻译研究96 《睡谷的传说》中理想与现实的矛盾97 A Comparative Study of Female Consciousness between Wang Anyi’s Everlasting Regret and Virgina Woo lf’s Mrs. Dalloway98 Analysis of the Elements of Modernism of Wuthering Heights99 英语交际中害羞心理产生的根源及其克服方法100 从归化和异化的角度对《小妇人》的两个中文译本的比较研究101 《老人与海》和《热爱生命》的生态比较102 分析路易莎•梅•奥尔科特的《小妇人》中的女权主义103 论《黑夜中的旅人》中主人公的信仰冲突与融合104105 从依恋理论看《呼啸山庄》主人公希斯克利夫悲剧性格的形成106 A Tentative Approach To Contemporary American Romance Movies107 浅析科技英语翻译中的逻辑错误108 《傲慢与偏见》和《简爱》中的性别歧视现象和女权主义109 中国文学作品中的歇后语的英译-以红楼梦为例110 中西服饰文化差异对语言的影响111 《洛丽塔》的悲剧分析112 从目的论角度看外宣翻译研究113 论劳伦斯《儿子与情人》中瓦尔特•莫雷尔悲剧的成因114 德国功能目的论指导下广告口号的汉译115 《蝇王》中的象征116 库柏《最后的莫西干人》中的麦格瓦分析117 从玛氏公司看英美文化对广告的影响118 海明威的矛盾性格在其作品中的体现119 Problems in the Oral Class and Solutions to Them120 从标记理论看英语词汇性别歧视现象121 从目的论角度分析化妆品品牌翻译122 英文小说中的中国文化认同——《京华烟云》赏析123 从死亡委婉语中透视中西方文化差异124 “雨中的猫”与“一个小时的故事”中女性意识觉醒的比较研究125 困境重生—《鲁宾逊漂流记》中鲁宾逊性格浅析126 《西游记》和《哈利波特》的对比127 A Study of Nonverbal Communication128 从功能对等理论角度看求职简历汉译英129 初中生英语听力理解的障碍因素及对策130 英汉委婉语的文化对比研究——以“死亡”委婉语为例131 Satan in Paradise Lost as a Tragic Hero132 解析《诺桑觉寺》中凯瑟琳的自我成长133 从生态视角解读《瓦尔登湖》134 广告英语的语用策略分析135 英语专业学生词汇学习策略特点研究136 目的论在英语儿歌翻译中的应用137 浅析爱伦·坡小说《黑猫》的写作艺术手法138 The Pursuit of Freedom and Love in E.M. Forster’s A Room with a View139 The Analysis of Promotion Strategy of L’Oréal in China140 李宁的品牌推广141 从存在主义视角研究J.D.塞林格《泰迪》142 广告语中预设触发语的语用分析143 从女权主义视角分析《红字》中海斯特白兰的形象144 从女权主义视角解读《简爱》145 德伯家的苔丝中苔丝的悲剧成因分析146 从翻译等值理论看文化词的翻译147 宗教枷锁下的人性挣扎——《红字》中丁梅斯代尔形象解读148 唯美主义理论与实践的矛盾——解析王尔德的矛盾性149 论《荆棘鸟》中拉尔夫的形象150 汉英“眼”概念隐喻的对比研究151 一项有关影响中国学生英语听力理解的因素的调查研究152 浅析中西方文化中会面礼仪的差异153 浅析《远大前程》中皮普的个人抱负与自我完善154 语境对法律英语翻译的影响155 An Analysis of Daphne du Maurier’s Female Identity Anxiety Reflected in Rebecca156 浅析焦虑对英语专业学生英语口语的影响157 《威尼斯商人》中夏洛克形象的解构与重建158 一个女性的悲剧—从人性角度浅析苔丝的悲剧159 生态批评视域中的《红字》160 凯瑟琳安波特作品中的女性话语权威161 Living in the Crack: A Study of the Grotesques in Winesburg, Ohio162 会议交替传译中习语的翻译163 浅析欧•亨利小说中恶棍骗子形象塑造--以《双料骗子》,《提线木偶》为例164 Rhetorical Art and Chinese-English Translation Suggestions of Business Transaction Correspondence165 《哈姆雷特》戏剧中的悲剧因素166 浅析菲利普从妥协走向庸常的原因—反刍毛姆《人性的枷锁》167 浅析造成盖茨比悲剧的因素168 《雾都孤儿》中的反犹主义169 浅析《老人与海》中桑提亚哥的性格170 从儿童心理角度看儿童文学中的对话翻译171 日常生活中隐喻的认知研究172 中美企业文化差异研究173 论《米德尔马契》中的人性主题174 Coherence in English-Chinese Translation: A Pragmatic Study175 英语新闻的用词和翻译176 A Comparison of the English Color Terms177 The General Principles in Translating Chinese Novels into English178 美的遗失与幻灭——论托妮莫里森小说《最蓝的眼睛》中的黑人世界179 论《了不起的盖茨比》中的象征及其作用180 《傲慢与偏见》基本婚姻观背后的世纪英国社会历史因素181 继承与颠覆—解读《傲慢与偏见》中的“灰姑娘”模式182 旅游宣传品的翻译183 英汉动物词汇文化内涵意义对比研究184 Culture Colonialism in Heart of Darkness185 An Image of Eternal Charm—An Interpretation of Scarlett’s Character in Gone with the Wind 186 从《店员》解读作者双重身份的矛盾心理187 A Study of Stylistic Features and Translation of Journalistic English188 An Analysis of “The Cask of Amontillado”189 论英语影视作品的字幕翻译技巧190 反思《夜访吸血鬼》中的同性恋现象191 商务英语书面语语言特色的语用分析192 解析凯瑟琳的爱情与婚姻之分离193 浅谈英汉谚语的翻译——从跨文化角度出发194 谈某些颜色词的翻译195 苔丝之罪是谁之过196 论小说《看不见的人》中的象征主义197 从作者夏洛蒂·勃朗特看《简·爱》198 Aesthetic Arts in Allan Poe’s Poetry—An Analysis of Israfel and Annabel Lee199 善,还是恶――《我弥留之际》中安斯性格分析。
警察与赞美诗的英文读后感1

警察与赞美诗的英文读后感1第一篇:警察与赞美诗的英文读后感1The Cop and the AnthemThe key word:Cop/vagrant/crime/prison/winter/arrested.The Cop and the Anthem is one of O.Henry's representative works.This noveldescribes a vagrant who is jobless, homeless and commits crime on purpose so that he can be put into prison in winter.However,things don't goes as he expected.But when he makes up his mind to give up evil and return to good, he is arrested.Based on the whole text, the author's humor is present in various ways, one ofwhich is through irrationality during the development of plots.soap, the vagrant who has stirred up trouble for six times, is eager to go to prison.But he is always out of luck and get policeman's forgiveness.When soap is touched by the anthem and wants to be a good citizen, he is arrested for groundless reasons.This way is a kind of black humor manifesting social reality profoundly.We can see something gloomy, desperate,but simultaneously, we can't help laughing when reading the vivid description.Once, soap wants to reach his goal by molesting a woman, soap straightened thelady missionary’s ready-made tie, dragged his shrinking cuffs into the open, set his hat at a killing cant and sidled toward the young women.but the seeming virtuous and quiet woman begin to seduce him in reverse.“Sure, Mike,” she said joyfully, “if you’ll blow me to a pail of suds.I’d have spoke to you sooner, but the cop was watching.”With the young woman playing the clinging ivy to his oak soap.Besides, soap steals anumbrella from a neatly dressed customer, but the umbrella is ill-gotten originally.''Of course,''said the umbrella man''that is—well, you know how these mistakes occur—I—if it’s your umbrella I hope you’ll excu se me—I picked it up this morning in a restaurant—If you recognise it as yours, why—I hope you’ll.So themodest and lady and gentleman turn out to be someone that we cannot imagine, which is not rational.Nonetheless, as a matter of fact, they just hide their dirty acts under a beautiful veil and a small sign can indicate a great trend, we can learn that the so-called noble upper class goes more serious than the two.These plots reveals awful mood of that capitalist society.In addition, the conflict between the irrationality of Soap's behavior and the rationality of the cop's judgment is one of the important reasons for Soap's “misfortune”.For example, soap breaks the glass and wait for the policeman to come and arrest him, but the cop reckons that a man who commits evil won't sit and wait for arrest, men who smash windows do not remain to parley with the law’s minions then he excludes soap.Besides, he wants to break the peace by virtue of kicking up a fuss in the street, identically, the cop deems that only college students dare to be so unbridled and boisterous''Tis one of them Yale lads celebrate’ the goose egg they give to the Hartford College.Noisy;but no harm.We have instructions to lave them be.His abnormal conducts is determined by his distorted mentality, which exactly reflects torture and agony both in life and mind oft he low-class.When the poor guy intends to do good the moment he is moved and inspired, the cop believes a vagrant will never something to do with the quiet atmosphere around a church, the soft lamplight and the touching music.Consequently, soap is caughtunexpectedly.“What are you doing here?” asked the officer.''Nothing,'' said soap''Then come along.''said the policeman.''Three months on the Island.'' said the Magistrate in the Police Court the next morning..It is the accident that mirrors confusion of truth and falsehood, black and wright.Needless to say,there are many ways to represent humor, they have one thing incommon--where there is humor, there is specific implication.The writing style of the author is humorous, the disclosure of the society is deepgoing, the reflective life andmental distress are mirky.O.Henry uses a quantity of comparison and humor to fully display the character's wretched fate and cruelty of capitalist society.AboutTheAuthor O.Henry is one of the most famous American critical realist short storywriters, and one of the world's top three masters of the short stories.O.Henry'sreal name was William Sydney Porter.O.Henrywas born in Greensboro, North Carolina on September 11,1862.At age of 20(1882)he moved to Texas, where he had various jobs.He married Athol Estes in 1887, in 1894 while working for First National Bankin Austin, Porter was accused of stealing $4000.He went to prison in Columbus,Ohio for 3 years eventually.While in prison Porter first started to write shortstories and believed that he has found his pseudonym there.After Porter wasreleased from the prison in 1901, he changed his name to O.Henry and moved toNew York in 1902.From December 1903 to January 1906o.Henry wrote a storya week for the New York World magazine, and published several short stories inother magazines.O.Henry's short stories are famous for their surprise endings, his wit, wordplayand humor.He wrote such classic short stories as The Ransom of Red Chief, TheGift of the Magi, The Furnished Room, The Four Billion, Cabbages and Kings,The Last Leaf, The Cop and the Anthem,etc.In his last years O.Henry had financial and health problems.An alcoholic, O.Henry died on June 5, 1910 in New York City, virtually broke.第二篇:警察与赞美诗的英文读后感Wang1 Wang MengmengProfessor Li KangEnglish 09110314March 2012The Cop and the AnthemTBased on the whole text, the author's humor is present in various ways, one ofwhich is through irrationality during the development of plots.Soapy, the vagrant who has stirred up trouble for six times, is eager to go to prison.But he is always out of luck and get policeman's forgiveness.When Soapy is touched by the anthem and wants to be a good citizen, he is arrested for groundless reasons.This way is a kind of black humor manifesting social reality profoundly.We can see something gloomy, desperate,but simultaneously, we can't help laughing when reading the vivid description.Once, Soapy wants to reach his goal by molesting a woman, Soapystraightened the lady missionary’s ready-made tie, dragged his shrinking cuffs intothe open, set his hat at a killing cant and sidled toward the young women(20).butthe seeming virtuous and quiet woman begin to seduce him in reverse.“Sure,Mike,” she said joyfully, “if you’ll blow me to a pail of suds.I’d have spoke to yousooner, but the cop was watching.”With the young woman playing the clinging ivyto his oak Soapy(22).Besides, Soapy steals an umbrella from a neatly dressedcustomer, but the umbrella is ill-gotten originally.''Of course,''said the umbrellaWang2man''that is—well, you know how these mistakes occur—I—if it’s your umbrella Ihope you’ll excuse me—I picked it up this morning in a restaurant—If you recogniseit as yours, why—I ho pe you’ll—''(31).So the modest and lady and gentleman turnout to be someone that we cannot imagine, which is not rational.Nonetheless, as amatter of fact, they just hide their dirty acts under a beautiful veil and a small signcan indicate a great trend, we can learn that the so-called noble upper class goesmore serious than the two.These plots reveals awful mood of that capitalist society.In addition, the conflict between the irrationality of Soapy's behavior and therationality of the cop's judgment is one of the importantreasons for Soapy's“misfortune”.For example, Soapy breaks the glass and wait for the policeman tocome and arrest him, but the cop reckons that a man who commits evil won't sitand wait for arrest, men who smash windows do not remain to parley with thelaw’s minions then he excludes Soapy.Besides, he wants to break the peace byvirtue of kicking up a fuss in the street, identically, the cop deems that onlycollege students dare to be so unbridled and boisterous''Tis one of them Yale ladscelebratin’ the goose egg they give to the Hartford College.Noisy;but no harm.We’ve instructions to lave them be.''(25).His abnormal conducts is determined byhis distorted mentality, which exactly reflects torture and agony both in life andmind oft he low-class.When the poor guy intends to do good the moment he ismoved and inspired, the cop believes a vagrant will never something to do withthe quiet atmosphere around a church, the soft lamplight and the touching music.Consequently, Soapy is caught unexpectedly.“What are you doin’ here?” askedthe officer.''Nothing,'' said Soapy(42).''Then come along.''said thepoliceman(43).''Three months on the Island.'' said the Magistrate in the PoliceCourt the next morning.(44).It is the accident that mirrorsconfusion of truth andfalsehood, black and wright.Needless to say,there are many ways to represent humor, they have one thing incommon--where there is humor, there is specific implication.The writing style of the author is humorous, the disclosure of the society is deepgoing, the reflective life and Wang3mental distress are mirky.O.Henry uses a quantity of comparison and humor to fully display the character's wretched fate and cruelty of capitalist society.Notes1.Jack Frost(Para.2): Jack Frost is a personification of frost.2.Blackwell(Para.5): An island with prisons on East River in New York3.Palm Beach and the Riviera(Para.5): A tourist attraction in winter.4.Cesar(Para.5): A famous statesman, strategist and commander in chief assassinated by Republicans.5.Brutus(Para.5): Roman politician, the chief plotter to assassinate Cesar.6.the choicest products of the grape, the silkworm and the protoplasm(Para.7): It indicates upper-class life.7.brass buttons(Para.5): It refers to policeman, as the fasteners of police uniform are made of brass.Work cited1.2.Henry,O.O Henry 100 Selected Stories [M].Hertfordshire: Wordworth,1995.3.Voss,Arthur.The American Short Story: A Critical Survey[M].Norman:Oklahoma UP,1973:123-1244.田艳.欧亨利短篇小说精选[M].大连:大连理工大学出版社,2005.5.王青松.倪勤.轮欧亨利小说的比喻特色[J].安徽教育学院学报.2006,24(4):82-85.AboutTheAuthorO.Henry is one of the most famous American critical realist short storywriters, and one of the world's top three masters of the shortstories.O.Henry'sreal name was William Sydney Porter.O.Henrywas born in Greensboro, North Carolina on September 11,1862.At age of 20(1882)he moved to Texas, where he had various jobs.He married Athol Estes in 1887, in 1894 while working for First National Bank inAustin, Porter was accused of stealing $4000.He went to prison in Columbus,Ohio for 3 years eventually.While in prison Porter first started to write shortstories and believed that he has found his pseudonym there.After Porter wasreleased from the prison in 1901, he changed his name to O.Henry and moved toNew York in 1902.From December 1903 to January 1906 o.Henry wrote a storya week for the New York World magazine, and published several short stories inother magazines.O.Henry's short stories are famous for their surprise endings, his wit, wordplayand humor.He wrote such classic short stories as The Ransom of Red Chief, TheGift of the Magi, The Furnished Room, The Four Billion, Cabbages and Kings,The Last Leaf, The Cop and the Anthem,etc.In his last years O.Henry had financial and health problems.An alcoholic, O.Henry died on June 5, 1910 in New York City, virtually broke.第三篇:警察与赞美诗读后感《警察和赞美诗》讲的是流浪汉苏比为了度过冬天,而想方设法进入监狱过冬,警察与赞美诗读后感。
以《警察与赞美诗》为例探析反讽在语篇中的运用

4 .A a s a i B uu ,e ey b d o h r y mu t s C e a h d hs r ts v r e fc a i s r t h v t ’tl o a a ei s ol f b t a h,e e y lao r a t ’c mp n a o v r ffb d i o e s o e st n i o r ae a d p r o a q ii o . fa p v t s n li ust n i n e n i
作用。
[ 关键词】 反讽 ; 语篇 ; 社会现实 [ 中图分类号] 0 H5 [ 文献标识码 】 A [ 文章编号 ]6 3 - 7 (09 o —0 8—O 17 - 3 8 20 )6 o4 2 - 8
根据学 者们 的研究 ( 辛艳 伟 20 … ;pre, .& 0 5 Sebr D D .Wio 9 1 , 主要有讽刺 、 l n18 ) 反讽 s 期望和指责批 评三大 语用 功 能 ; 飞兵 (07 的 研究 认 为 , 刘 20 ) 反讽 具 有 表 达 礼
20 0 9年 1 1月
湖北成人教育 学 院学报
J u l fHu e Ad l E u ain Isi t o ma o B i ut d c t n tue o t
No v,2 0 0 9 V . 1 N . O1 5 O6
第 1 5卷
第 6期
的嘲讽 , 也是本句的精妙所在。
2 S a y a c n ie c i ms l f m te o s . o p h d o f n e n h ef r d i o h lwe t b t no hsvs u w r . u o f e t p a d i
- 1、下载文档前请自行甄别文档内容的完整性,平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益,请联系客服反馈,我们会尽快为您处理(人工客服工作时间:9:00-18:30)。
论《警察与赞美诗》中反讽的运用The use of irony in The Cop and the AnthemContents摘要 (Ⅰ)Abstract (Ⅱ)Introduction (1)1. Brief introduction of the author and the novel (2)1.1 brief introduction of the author (2)1.2 the author’s writing style (2)2. The statement of irony (4)3. The use of irony in The Cop and the Anthem (7)3.1 Soapy’s way of wintering and his thoughts (7)3.2 Soapy’s six backfired actions (9)3.3cops’ duty and people’s view of cops (11)3.4 Soapy’s view of cops’ irresponsibility (13)3.5 Soapy has been influenced by anthem and decide to turn over a new leaf, butis arrested (14)Conclusion (17)Notes (18)Bibliography (19)Acknowledgements摘要情景反讽作为一种主要的描写手法在欧·亨利《警察与赞美诗》中的运用成功地推动了小说情节的发展,增加了小说的戏剧性悬念,使小说的人物形象更加丰满。
本文将剖析小说中的情景反讽的实例,以指出小说中情景反讽的反复运用表达了欧·亨利对当时美国资本主义社会中不合理的现象的抨击,还表达了作者对下层劳动人民的同情。
作者将情景反讽贯穿于故事的开头、发展和结尾,揭露了资本主义社会的矛盾虚伪和黑白颠倒的本质。
关键词:情景反讽;警察与赞美诗;美国资本主义社会AbstractThe adroit manipulation of situational irony by O. Henry in his masterpiece The Cop and the Anthem contributes first effectively to the unfolding of the plot. Next it increases its suspense of the plots. Last, it enables the characters vivid. In this paper I will analyze examples of situational irony in that story. The repetition of the use of situational irony expresses O. Henry’s attack on irrational phenomena in the American capitalist society at that time and also his sympathy for the lower class. The author applied the situational ironies in the beginning, development and the end in order to reveal the contradictory, hypocritical and topsy-turvy essence of the capitalist society.Key words: situational irony,The Cop and the Anthem,American capitalist societyIntroductionO. Henry is considered as “Father of American modern short stories”and “Manhattan critics crown prose writer”. His work is full of humor, his stories are amusing, flippant, flat, biting and are filled with irony, sentiment, and pathos. One of his famous works, The Cop and the Anthem is the most typical one. This paper will reveal its rhetoric beauty and the darkness of the society in O. Henry’s time in the way of analyzing the use of irony in The Cop and the Anthem.The paper falls into three parts. The first part gives brief introduction of the author and his writing style.The second part is the statement of irony, such as its definition and classification. The third part, which is the core of the paper, illustrates the use of situational irony in The Cop and the Anthem from five perspectives as follow: 1. Soapy’s way of wintering and his thoughts; 2. Soapy’s six backfired action; 3.cops’duty and people’s views of cops; 4. Soapy’s view of cops’ irresponsibility which disappoints Soapy; 5. Soapy has been influenced by anthem and decide to turn over a new leaf, but is arrested.This thesis mainly helps to learn about the use of irony in O. Henry’s time.1Brief introduction of the author and his writing style1.1 brief introduction of the authorO. Henry whose real name is William Sydney Porter,is most commonly associated with the short story and masterful ironic “O. Henry twist”(surprising ending). He has been hailed as “Father of American modern short stories” and “Manhattan critics crown prose writer”. During his lifetime he worked in various jobs,including a bookkeeper, a drugstore clerk, a Texas Ranger, an accountant, a draftsman, a bank teller and a newspaper columnist,so he knew the common people’s life style well.1.2 the author’s writing styleIrony is one of writing styles of traditional American literature. Washington Irving is the first one to employ this writing style with slight irony to make his stories funny but meaningful. Mark Twain is a good successor who unveiled the truth in life by describing exaggerated images humorously and colloquially. Yet Irving Shaw’s humor focused on the depiction of characters’ personality. In the influence of those writers, O. Henry followed their style. His work is full of humor, his stories are amusing, flippant, flat, biting and are filled with irony, sentiment, and pathos but is quite different from theirs, filled with depressed, miserable and bitter laughter.His major ironic works are The Chair of Philanthromathematics, The Cop and The Anthem, The Four Million, Confessions Of A Humorist and so on, among which The Cop and The Anthem is the most exemplary. Irony runs throughout the whole story.2The statement of ironyIrony is a figure of speech in which the intended meaning of the words used is the direct opposite of their usual sense. It is a broad term referring to the recognition of a reality different from the masking appearance. For example, “For years the hospitable Blackwell’s had been his winter quarters.”As we all know, Blackwell is a rough prison that common people are afraid of going to. Here O. Henry describes the prison with “hospital” which is completely opposite to what it really is. Thus the strong sarcastic irony effect is reached. If the writer uses “rough”, there will be no such effect at all.As irony realizes its effects by means of exaggeration, understatement and sarcasm, it can be subdivided into verbal irony, drama irony and situational irony.First is verbal irony. Verbal irony is a figure of speech in which the actual intent is expressed in words which carry the opposite meaning. It contains two levels of meaning. What it actually means is not decided by its literal meaning but the context,e.g. You are eloquent as an oyster.In fact an oyster is wordless, so here “eloquent” is intended to mean “silent”. In this way, the speaker can satirize someone who’s always taciturn.Second is drama irony. Drama irony has a special meaning, referring to knowledge held by the audience but hidden from the relevant actors. I’ll show you an example.“I hope Tom’s better off where he is”, said Sid; “but if he’d been in some ways---”“Sid!” Tom felt the glare the old lady’s eye, though he could not see it. “not a word against my Tom, now that he’s gone!”In the scene, Tom is hiding under the bed, which is clear to audience except Sid and Tom’s aunt. Because of that, Tom’s aunt reacts so strongly. In ordinary days, Tom is a naughty boy and his aunt always complains about him. It’s funny that Tom’s aunt is so emotional compared with the fact that Tom is still alive.The last one is situational irony which is the ironic spirit applied to event, and situation. The actual development of one situation is just opposite to the expression. For example,Several vacationers at the luxurious Richelieu Apartments there held a hurricane party to watch the storm from their spectacular point. Richelieu Apartments were smashed apart as if by a gigantic fist, and 26 people perished.In time of danger, people still soaked themselves in visual enjoyment rather than running away. The result was that 26 people were killed which was absolutely out of their expectations.There are a sea of ironies in The Cop and the Anthem, especially situational ironies. Detailed analysis about the situational ironies used in this novel will be given next.3The use of irony in The Cop and the Anthem It is the situational irony that is used in The Cop and the Anthem. Because it is applied throughout the beginning, the development and the end, an unexpected effect has been achieved. The analysis and the understanding of situational irony can help enable readers to enjoy literature better, to know more about the temptation for the authors and to improve their taste in literature. Here is the detailed analysis about the situational ironies in this novel.3.1 Soapy’s way of wintering and his thoughtsThe hibernatorial ambitions of Soapy were not of the highest. In them there were no considerations of Mediterranean cruises of soporific Southernshies or drifting in the Vesuvian Bay. Three months on the Island was whathis soul craved. Three months of assured board and bed and congenialcompany, safe from Boreas and blue-coats, seemed to Soapy the essence ofthings desirable. [1] P65For all animals, it is certain that storing food and looking for a place for wintering before winter are excessively necessary, let alone for advanced human beings. As winter is around the corner, wintering in the prison is obviously not a noble and reasonable idea for people with four strong limbs like Soapy, though he has no place to live without a cash in his pocket. What’s more, everyone knows what a prison is used for—a place for holding prisoners. A prison only could provide the prisoners with the most basic even quite bad accommodations, so a prison can never be a place men have been longing for. Yet in the novel, it’s a bigirony that the author compared Soapy’s ridiculous idea to the essence of things desirable.We may know from the novel, at that time there is no lack of American aid agencies, and philanthropists are not in a small number. Thus it should be said that there is no need for Soapy to live such an awkward life. Nevertheless why would Soapy rather go to prison than accept relief? It turns out that in Soapy’s opinion the law was more benign than philanthropy. If not in corn you must pay in humiliation of spirit for every benefit received at the hands of philanthropy. The conflict between Soapy’s strange idea and the reality exposes the hypocrisy of the capitalists with philanthropists’ masks. Once O. Henry severely criticized those sanctimonious capitalists in The Chair of Philanthromathematics. O. Henry said: “W hen a man swindles the public out of a certain amount he begins to get scared and wants to return part of it. And if you’ll watch close and notice the way his charity runs you’ll see that he tries to restore it to the same people he got it from.”In another word, the so-called philanthropists squeeze the money from the civilian population. The essence of charity is a cover for capitalists to give back some money for peace of mind. The ending of The Chair of Philanthromathematics also proved this point. Even in doing philanthropy, philanthropists have not forgotten exploitation and profit.3.2 Soapy’s six backfired actionsSoapy takes altogether six chances to be arrested in this fiction. Each time Soapy ends up with a turn-up and each attempt contains a situational irony. First of all, Soapy goes into a glittering café on Broadway and is ready to have a feast without paying. What a pity! As soon as he sets foot into the restaurant, the head waiter’s eyes fell upon his frayed trousers and decadent shoes. It’s natural that Soapy is thrown to the sidewalk. The last sentence of this part is: “Strong and ready hands turned him about and conveyed him in silence and haste to the sidewalk and averted the ignoble fate of the menaced mallard.” Since Soapy is poor, it’s a shame for the mallard to be eaten by Soapy. It is thus clear that the discrimination against the poor and the concept of “money talks” is very severe. Soapy turns off Broadway and comes to a shop window. He takes a cobblestone and dashes it through the glass. It’s ridiculous that the cop doesn’t regard him as a suspect at all. From this scene, we can figure out that cops in that times were not worth their salt at all. They might always arrest an innocent person, so truth is always far away from them. We can imagine how corrupt the officers are and how dark the society is! Once more Soapy goes into a restaurant but of no great pretensions. This time, Soapy has got something to eat but waiters give him a sound beat without calling a cop. Whenever a waiter face problems like that, he should have called a cop. It’s undoubtedly illegal to give Soapy a sound thrashing by himself. This also reflects the corruption and of cops. People are willingto ask police for help because they know it turns out to be no use. The forth attempt is to molest a strange girl. “A young woman of a modest and pleasing guise was standing before a show window gazing with sprightly interest at its display of shaving mugs and inkstands.” This part of description conveys information that the young woman must be a noble and well-educated lady, while God seems to play tricks on him on purpose. The girl turns out to be a prostitute who seems to won’t let her “customer” go easily. Finally Soapy takes a great deal of effort to get rid of her. Everything goes contrary to Soapy’s wishes. After that Soapy catches at the immediate straw of “disorderly conduct”. He really wants to break public orders because he really wants to be arrested, while once more a cop cares nothing for Soapy’s behavior. Things go on running in the opposite direction. “In a cigar store he saw a well-dressed man lighting a cigar at a swinging light.”“Well-dressed”and smoking “a cigar” both indicate he’s a rich gentleman, at least not poor. Soapy trys to irritate the gentleman by taking away his silk umbrella. Unexpectedly the silk umbrella actually doesn’t belong to the gentleman. He stole it that morning. As a result, he “returns” the silk umbrella to Soapy.This is an ironic and hypocritical age. A prostitute might make up like a noble lady and a thief might dress up like a rich gentleman. It is a society full of lies. In fact, each of Soapy’s action will realize his “dream”without a hitch, while it is the ridiculous society with injustice andcontradiction makes the reasonable possibility out of the question. The situational ironies of six unexpected scenes sharply satire the darkness of the U.S. from multiple angles. In front of people, capitalists always repeatedly claim that everyone is equal before God, but the police react differently to Soapy because they have mistaken Soapy’s identity. When they see Soapy’s ragged clothes, they ignore and even laugh at him; when they mistake Soapy for a rich kid from Yale University, they bear tolerance for all kinds of evil matters as much as possible. All of it reveals to people the essence of capitalist society—the paradise for the rich to enjoy themselves as they wish but the hell for the poor to suffer much.3.3 cops’ duty and people’s view of copsIt is well known that a cop’s job is to make people obey laws and prevent or solve crimes. Nevertheless we may find that the police have already forgotten their duty for a long time in this fiction. At first Soapy breaks the shop window on purpose, while the cop directly runs after a man halfway down the block catching a bus rather than takes Soapy as a suspect. By this token, police at that time seem to investigate the case at intuition rather than evidence. It must take a man some time to run over a half block. If the troublemaker didn’t catch anyone’s attention until he had broken the shop window and run over a half block, how fast he were! What’s more, it is in the day time and Soapy tries to expose his crime, so there must be someone seeing what really happens. As long as the copasks the men who is there, then there will be an answer. Secondly, when Soapy conduct disorderly at public place, the cop absolves him and even provides an explanation for him. I have thought of two reasons to explain this weird thing. One reason is that the cop actually has mistaken Soapy for a rich student at Yale University. If so, the cop stands for all the police who bully the weak and fear the strong and police are lacqueys serving for the capitalists. In those cops’ eyes, people are divided into the poor and the rich or the gentle and the simple, which is the only criterion for them to decide who is guilty. The other reason is that cops are too lazy to undertake their duty. In order to reduce their workload, they turn a blind eye to their cases. It can thus be seen police at that age are always irresponsible. Cops’irresponsibility is also reflected in the scene of stealing umbrella. The time the well-dressed gentleman admits himself taking the umbrella from other one, the cop turns around instead of arresting him. All those things go contrary to what should have happened, which result from the essence of cops—flunkies of the capitalists and tools for the ruling class. After the ex-umbrella man retreated, the policeman hurried to assist a tall blonde in an opera cloak across the street in front of a streetcar that was approaching two blocks away. That is not a cop’s duty, but it seems that he’s quite glad to do these unnecessary trifles. That is to say, police’s job has been to do what they want to rather than what they have to. A series of ironies completelyopposite to what ought to be severely condemn cops’ irresponsibility and inefficiency.As cops always neglect their duty, in people’s mind a cop is no longer what he used to be, to be more exact, but a kind of decoration. Thus whenever they get into some troubles, they always try to resolve them in their own way though it’s legal to ask a cop for help. No wonder Soapy has been thrown out of the restaurant as soon as he tells the waiter he has no money with him. In that age, people won’t get what they deserve with the help of cops. While cops still have the right to arrest someone whom they think of guilty, people seem to be afraid of them. Usually people never do any illegal things to a cop’s face. If they want to, they’ll do it behind his back.3.4 Soapy’s view of cops’ irresponsibilityAmong Soapy’s six failures of trying to get into prison, some failed because Soapy is not lucky enough and meets some guys who are good at disguising themselves, while two cases failed because of the police. If cops were responsible, careful, righteous, or not running dogs of capitalism, Soapy would have got success. In a crime’s eyes, such uncaring cops who fail to distinguish right from wrong are obviously popular with him. Nevertheless in this novel, even Soapy as a criminal is terribly disappointed with those cops. In that world, cops are no longer responsible and criminals wish cops to be dedicated to their duties, whereeverything is upside down. Thus a sharp situational irony works and expresses the author’s dissatisfaction and rage towards cops.3.5 Soapy has been influenced by anthem and decide to turn over a new leaf, but is arrestedAnd the anthem that the organist played cemented Soapy to the iron fence, for he had known it well in the days when his life contained suchthings as mothers and roses and ambitions and friends and immaculatethoughts and collars. [1] P72When Soapy is quite depressed, it’s the anthem that purifies his soul and fills him with hope again. The anthem gives a definition of truthfulness, kindheartedness and beauty, and thus there is no place for falseness, wickedness and ugliness. The anthem is the voice of justice with overwhelming power. It melts Soapy’s cold and despairing heart and pulls back Soapy who is about to move toward abyss. All of a sudden, Soapy has awakened that he is still young with beautiful dreams and wild ambitions. What’s more, his life is not always that bad. He used to get a gracious mother to cherish him, a tender girlfriend to love him and a bunch of friends to support him. Because of all the love and encourage, Soapy has got enough strength to start his brand new life. When Soapy has decided to find a new job and lead an independent life, a cop arrests him because of his doing nothing. As we all know, a prison is a place for prisoners to reform themselves through labor work and ideological education and start with a clean slate. Yet in this fiction, Soapy is arrested at the time of making up his mind to turn over a new leaf, which results ina sharp situational irony. This situational irony echoes the former ones. Thus it lets off the author’s strong resentment against the capitalist system and this topsy-turvy age. It can be said that situational irony is like a chain to link up the whole story. The author pays much attention to the use of situational irony in each scene and creates a humorous, satiric and unexpectable atmosphere for readers. What’s more, O. Henry arranges the ending skillfully. The ending is just opposite to the title, which enhances the ironic effect. Such dismal end conveys author’s deep disappointment of capitalist society. The title is The Cop and the Anthem, which seems to praise cops because they can bring fairness and justice to everyone and comfort to those unlucky people. The novel shows the essence of the cops at that time—flunkies of capitalists. To some extent, cops ruin the influence of the anthem without mercy just like executioners. Irony occurs throughout the text. Every irony serves the theme. What does capitalist society look like? It is a society of wide gap between the rich and the poor, where rich men are extremely extravagant and luxurious while poor men have no place to live; where rich men could get their way while innocent poor men get arrested. Apart from luxurious life, rich people also enjoy privilege which poor people are too far behind to catch up with. The ending not only reveals Soapy’s desire to be better, but also the social blow, thus to enable people to see the reason of Soapy’s fall. The blow from capitalist society imposes hardships oncommon people both physically and mentally and also deprives them of their rights to enjoy happiness.ConclusionO. Henry is a famous American writer of short stories. The author’s humorous nature and ironic brushwork endowed his works with great charm. The Cop and the Anthem is one of O. Henry’s major masterpiece. In the article the author artistically uses irony to reflect real life in the 1880s. At that time, American capitalists got a tremendous success in the direction of industrialization and urbanization and at the same time polarization was gradually intensifying, which enabled people to lead a dog’s life. The novel severely slashed the social inequality, and profoundly reveals the contradiction in the process of the development of material civilization, spiritual civilization and political civilization. This paper deals with the use of irony in The Cop and the Anthem from the perspective of the title, plot ending and theme and analyzes the functions and utilization skills of irony. The whole novel is filled with all kinds of ironies, which makes the theme more distinct and profound, characters more vivid and lifelike, the plot more intricate and sinuous, so that the whole story is more fascinating with humor and wit. Faced with the topsy-turvy world the author depicts, people feel like laughing. Nevertheless it’s not a light-hearted or pleasant laughter but a grieved and thought provoking one. Therefore we can say irony is the soul of The Cop and the Anthem. Because of it, The Cop and the Anthem is ready for an extended life.Notes[1]吴伟仁. History and Anthology of American Literature. 北京:外语教学与研究出版社,1990.Bibliography[1]Ma Keyun.On Artistic Forms and Attributes of Literary Irony. 2004(03).[2]Wayne Booth.The Rhetoric of Fiction[M].Chicago,1961.[3]陈兰.浅议《警察与赞美诗》的主题表现艺术[J]. 江苏教育学院报(社会科学版),1998(04).[4]董衡巽.美国文学简史(修订本).北京:人民文学出版社,2003.[5]龚乙珊.欧·亨利小说语言艺术形式探寻——从《警察与赞美诗》谈起[J].文教资料,2007(22).[6]马军.论欧·亨利的创作风格——以《警察与赞美诗》为例[J].沈阳师范大学学报(社会科学版),2005(03).[7]欧·亨利.聪明人的礼物.上海:世界图书出版公司,1995.[8]王霞.《警察与赞美诗》的功能语言学分析[J].山东外语教学,2005(01).[9]武海玲.含泪的微笑——谈《警察与赞美诗》的语言艺术[J].青海教育,1998(03).[10]辛伟艳.反讽话语语用功能探究[J].山西农业大学学报(社会科学版),2005(04).[11]张乃奇.调侃法律赞美宗教——论《警察与赞美诗》的主题兼及其它[J].辽宁师专学报(社会科学版),1999(05).AcknowledgementsI would like to take this chance to express my gratitude to all people who have ever helped in this project.My sincere and hearty thanks and appreciations go firstly to Lecturer Liu Lamei, my supervisor. It is she who gave me such confidence that I have the ability to complete this study. It is she who passed on so much professional knowledge to conduct me how to start my thesis. It is she who took great pains to call attention to my mistakes. Under her wise and encouraging guidance, this dissertation was written and revised. It has been a great privilege and joy to study under her guidance and supervision. Furthermore, it is my honor to benefit from her personality and diligence. If this work can be of any merits, it is because of her.I am deeply indebted and grateful to all the course teachers in the school of Foreign Languages, Professor Pan Lifeng, and other teachers’wonderful lectures and intellectual discussion.Finally, I would like to express my sincere thanks to all my friends and classmates who gave me invaluable help and sustained encouragement when I was confused in the period of preparing this paper. To all of them, named and unnamed, I wish to extend my thanks.。