(完整版)Ticket,please读后感
请买票读后感50词
请买票读后感50词英文回答：After buying a ticket, I felt a sense of excitement and anticipation. It was like a door opening to a new adventure. The process of buying the ticket itself was quite interesting. I had to choose the date, time, and destination, and then go through the online booking system. It reminded me of the saying "The world is your oyster." I felt empowered, as if I could go anywhere and do anything.Once I had the ticket in my hand, it became a tangible symbol of my upcoming journey. It was like holding a golden ticket to a magical world. I couldn't help but think of the phrase "The sky's the limit." The ticket represented freedom and endless possibilities.When the day finally arrived, I boarded the plane witha mix of nervousness and excitement. As the plane took off, I couldn't help but think of the phrase "Take the plunge."I was taking a leap of faith, stepping out of my comfort zone and into the unknown.During the flight, I struck up a conversation with the person sitting next to me. We talked about our travel experiences and shared tips and recommendations. It was like we were old friends catching up. I thought to myself, "It's a small world after all." Despite our different backgrounds and cultures, we found common ground and connected.Upon reaching my destination, I was greeted by a bustling city and a completely different culture. It was a feast for the senses. The sights, sounds, and smells were all new and exciting. I couldn't help but think of the phrase "A whole new world." I was experiencing something completely different and it was exhilarating.In conclusion, buying a ticket is not just a transaction, but a gateway to new experiences. It represents freedom, adventure, and the opportunity to connect with people from all walks of life. It opens up aworld of possibilities and reminds us that life is meant to be explored.中文回答：买了票之后，我感到兴奋和期待。
tikets please读后感
tikets please读后感英文回答：After reading the book "Tickets Please" by D.H. Lawrence, I was captivated by the author's ability to depict the complexities of human relationships and the consequences of suppressed emotions. The story is set during World War I and revolves around a group of women who work on the trams in England. Lawrence skillfully portrays the tension and power dynamics between the male soldiers and the female tram conductors, highlighting the societal changes brought about by the war.One aspect of the book that stood out to me was the character development. Lawrence presents each character with depth and authenticity, allowing the reader to understand their motivations and struggles. For instance, the protagonist, Annie, is a strong-willed woman who refuses to let the war define her. She is independent and determined, and her interactions with the male soldiersreveal her resilience and defiance against societal norms.The theme of love and desire is also prominent throughout the book. Lawrence explores the complexities of romantic relationships, depicting the raw emotions and conflicts that arise when love is intertwined with power dynamics. The relationships between Annie and the soldiers are passionate and tumultuous, reflecting the chaotic nature of wartime romances. The author's use of vivid imagery and poetic language adds depth to these relationships, making them feel both believable and emotionally charged.Furthermore, Lawrence's writing style is rich and evocative. He paints a vivid picture of the war-torn landscape and the bustling trams, immersing the reader in the setting. His use of descriptive language and sensory details creates a palpable atmosphere, allowing the reader to experience the sights, sounds, and smells of the wartime era. This attention to detail enhances the overall reading experience and adds a layer of authenticity to the story.In addition to the compelling characters and immersive setting, the book also explores themes of gender roles and societal expectations. Lawrence challenges traditional gender norms by presenting strong and independent female characters who defy societal expectations. The female tram conductors in the story symbolize the changing roles of women during the war, as they take on traditionally male-dominated jobs and assert their independence. This exploration of gender dynamics adds depth to the story and provokes thought on the societal changes brought about by war.In conclusion, "Tickets Please" by D.H. Lawrence is a captivating and thought-provoking read. The book delvesinto the complexities of human relationships, explores themes of love and desire, and challenges traditional gender roles. Lawrence's vivid imagery and rich writing style make the story come alive, immersing the reader in the wartime era. Overall, the book offers a nuanced portrayal of the effects of war on individuals and society, making it a compelling and engaging read.中文回答：读完D.H.劳伦斯的《Tickets Please》后，我被作者描绘人际关系的复杂性和压抑情感的后果所深深吸引。
(完整版)新概念第一册笔记整理
新概念第一册1—2课文详解及英语语法课文详注 Further notes on the text1．Excuse me 对不起。
这是常用于表示道歉的客套话,相当于汉语中的“劳驾”、“对不起"。
当我们要引起别人的注意、要打搅别人或打断别人的话时,通常都可使用这一表达方式。
在课文中,男士为了吸引女士的注意而使用了这句客套话。
它也可用在下列场合：向陌生人问路，借用他人的电话，从别人身边挤过，在宴席或会议中途要离开一会儿等等。
2．Yes?什么事?课文中的 Yes?应用升调朗读，意为：“什么事?”Yes？以升调表示某种不肯定或询问之意,也含有请对方说下去的意思。
3．Pardon？对不起，请再说一遍.当我们没听清或没理解对方的话并希望对方能重复一遍时，就可以使用这一表达方式。
较为正式的说法是：I beg your pardon。
I beg your pardon？ Pardon me。
它们在汉语中的意思相当于“对不起，请再说一遍”或者“对不起，请再说一遍好吗？”4．Thank you very much．非常感谢！这是一句表示感谢的用语，意为“非常感谢（你）”。
请看下列类似的表达式，并注意其语气上的差异：Thank you。
谢谢（你）。
Thanks! 谢谢!5．数字1～10的英文写法1—one 2—two 3—three 4—four 5-five6—six 7—seven 8—eig ht 9—nine 10—ten语法 Grammar in use一般疑问句一般疑问句根据其结构又分为若干种。
通过主谓倒装可将带有be的陈述句变为一般疑问句。
即将be的适当形式移到主语之前,如：陈述句：This is your watch。
这是你的手表.疑问句：Is this your watch? 这是你的手表吗？（可参见 Lessons 15~16语法部分有关 be的一般现在时形式的说明.)词汇学习 Word study1．coat n. 上衣,外套： Is this your coat？这是你的外套吗？coat and skirt〈英>(上衣、裙子匹配的)西式女套装2．dress n。
ticketplease读后感
ticketplease读后感英文回答：Ticket to Paradise is a romantic comedy film that follows the story of George and Georgia Cotton, a divorced couple who reunite to prevent their daughter from making the same mistake they did by marrying a local she met while on vacation in Bali. Directed by Ol Parker and starring George Clooney and Julia Roberts, the film explores the themes of love, forgiveness, and second chances. While the film has been praised for its star-studded cast and beautiful scenery, it has also been criticized for its predictable plot and lack of originality.The film begins with George and Georgia receiving an invitation to their daughter Lily's wedding in Bali. Despite their initial reluctance to attend, they decide to go in order to try to talk Lily out of it. However, their efforts are unsuccessful, and Lily refuses to listen to their advice.George and Georgia are forced to spend time together as they try to figure out how to deal with their daughter's decision. In the process, they begin to realize that they still have feelings for each other. They eventuallyreconcile and decide to give their relationship another try.The film ends with George and Georgia getting married again in a beautiful ceremony on the beach. They are surrounded by their family and friends, and they arefinally able to put the past behind them.Ticket to Paradise is a heartwarming and humorous film that will appeal to fans of romantic comedies. The film's star-studded cast and beautiful scenery make it a visually pleasing experience, and the story is engaging and entertaining. However, the film's predictable plot and lack of originality may make it less appealing to some viewers.中文回答：从字面意思上看，“Ticket to Paradise”是一张通往天堂的门票。
the tickets,please的人物分析
the tickets,please的人物分析1.丰满灵巧活泼首先我们从外貌上来看，《请买票》这篇小说对安妮的外貌并没有很直接的描述，但在p24三段最后一句中概括道，“那是个丰满，灵巧，活泼的姑娘。
”从这儿可以看出安妮充满生机，她活泼靓丽，俨然是个妙龄女郎。
这在p23第五自然段也有印证，“值得一提的是，这儿的大部分姑娘非常年轻标致。
”安妮作为这个群体中的一员，极大可能也是很好看的。
还有在这段的上面一句，“于是他又与新来的姑娘故伎重演，不过也总得相当漂亮。
”作为一个花心大萝卜，游戏人间的情场浪荡子，托马斯俨然不会委屈自己，所以作为他狩猎名单里占了很长时间的安妮自然长相也不会差的。
此外，p25到数第四段中，“安妮能使男人筋酥骨软，神魂颠倒”，这段貌似情事的描写也为其提供印证，安妮是年轻貌美有魅力的姑娘，无疑问了。
2.安妮坚毅专横，疑心很重时刻准备着主动出击，就像一位女战士。
安妮工作的单轨列车行驶在工业区与城区之间，经过死气沉沉，肮脏阴冷的小集市区，前往倚在黑暗的荒野边不断颤抖颤抖的寒冷小镇，p21页文章第一段对车外的环境做了蛮细致的描写，我们可以看出这环境的恶劣。
大同小异的是，车内的环境也不容乐观，在p21第二段中，那些男性工作人员们，他们大多是具有某方面弱势的男人，他们身上都具有一种魔鬼的精神，坐车变成了障碍越野赛。
我们也可以看到还有乘客们，大多是贫穷粗鲁满嘴跑火车的旷工。
车箱里此起彼伏地哼着淫荡小曲儿的旷工们，充斥着男女们压抑的欲望。
其中，p22页中，安妮与乘客特得的对话，特得的态度是轻慢的挑衅的又带着点儿调情的，“哦，我有鸡眼，斯通小姐……”而安妮的回应是，““你该把你的脚丫子装进兜儿里。
”可以说，是辛辣讽刺的，这个也可以看出安妮性格里面泼辣的一面。
我认为，安妮养成这样的“铁石心肠”的性格，是与周围环境分不开的。
她“不假辞色”地反击，没有一丝留余地，除了她对这些旷工的看不起外，还有一点便是武装后的她过人的胆量，绝不叫人占一点便宜，心中对男权是有鄙夷的。
tickets please读后感
tickets please读后感
摘要：
1.电影简介
2.电影亮点
3.电影反思
4.个人建议
正文：
【提纲】
一、电影简介
《Tickets Please》是一部讲述在拥挤的通勤生活中，人们如何寻求一丝温暖与慰藉的故事。
本片通过多个角色交织的情感线索，展示了他们在日常奔波中面临的压力与挑战，以及在这过程中所展现出来的人性光辉。
二、电影亮点
1.真实反映生活：电影以现实主义的手法，生动地展现了现代都市人的日常生活，让观众产生强烈的共鸣。
2.出色的表演：影片中的演员均有上佳表现，他们将角色的内心世界刻画得入木三分，为影片增色不少。
3.细腻的情感描绘：电影以温馨、感人的笔触，揭示了人与人之间的情感联系，让观众在观影过程中感受到人性的美好。
三、电影反思
1.忙碌生活中的人文关怀：影片提醒我们在忙碌的生活中，不要忘记关心
身边的人，传递出温暖与关爱。
2.社会压力下的自我调适：电影启示我们在面对压力时，要学会调整心态，寻求合适的应对方式。
3.珍视当下：影片让我们认识到，要学会珍惜与亲人、朋友相处的时光，不要让生活悄然离去。
四、个人建议
1.合理安排生活：在工作与生活中，要学会平衡，合理安排时间，避免过度劳累。
2.增加人际交往：多与身边的人沟通交流，增进感情，让生活变得更加美好。
3.关注心理健康：在面对压力时，要学会自我调适，保持良好的心态，必要时寻求专业帮助。
Tickets-please《请买票》 赏析
Tickets, Please （中英结合带分析）by D. H. LAWRENCEThere is in the Midlands a single-line tramway system which boldly leaves the county town and plunges off into the black, industrial countryside, up hill and down dale, through the long ugly villages of workmen's houses, over canals and railways, past churches perched high and nobly over the smoke and shadows, through stark, grimy cold little market-places, tilting away in a rush past cinemas and shops down to the hollow where the collieries are, then up again, past a little rural church, under the ash trees, on in a rush to the terminus, the last little ugly place of industry, the cold little town that shivers on the edge of the wild, gloomy country beyond. There the green and creamy coloured tram-car seems to pause and purr with curious satisfaction. But in a few minutes—the clock on the turret of the Co-operative Wholesale Society's Shops gives the time—away it starts once more on the adventure. Again there are the reckless swoops downhill, bouncing the loops: again the chilly wait in the hill-top market-place: again the breathless slithering round the precipitous drop under the church: again the patient halts at the loops, waiting for the outcoming car: so on and on, for two long hours, till at last the city looms beyond the fatgas-works, the narrow factories draw near, we are in the sordid streets of the great town, once more we sidle to a standstil l at our terminus, abashed by the great crimson and cream-coloured city cars, but still perky, jaunty, somewhat dare-devil, green as a jaunty sprig of parsley out of a black colliery garden.在英国中部有一路单轨车。
新概念英语Lesson 95 Tickets, please
• miss
• 1) v. 错过 他没打中目标。
He missed the target. 我把球丢给他，但他没接着。
I threw the ball to him but he missed it. 他必须去机场接他母亲，所以没能参加会议。
Sorry, I didn’t catch your words. 你能听懂我的意思吗？
Did you catch my idea? catch one’s attention 引起…注意 catch up with 赶上…
你先走，我马上就会赶上你。
You just go on in front. I’ll catch up with you soon.
2. We’ve got plenty of time.
• have got= have 有… • 充裕的、足够的、大量的
3. Let's go and have a drink.
• Let’s go and do sth. • 让我们去做某事。 • Let’s go and see a film/movie. • 我们去看个电影吧。
• 2）（政府机关等的）局，所，中心 a police station 警察局 a fire station 消防 队
• catch caught/caught
• 1) v. 捕捉，逮捕 在公共汽车上我们抓住一个小偷。
We caught a thief on the bus today. 我今天钓了五条鱼
have a drink = have something to drink • 喝点什么
• Ken: Biblioteka here's a bar next door to the station.
(完整版)新概念英语第一册自学导读
新概念英语第一册自学导读Lessons 1～2课文详注 Further notes on the text．Excuse me 对不起。
这是常用于表示道歉的客套话，相当于汉语中的“劳驾”、“对不起”。
当我们要引起别人的注意、要打搅别人或打断别人的话时，通常都可使用这一表达方式。
在课文中，男士为了吸引女士的注意而使用了这句客套话。
它也可用在下列场合：向陌生人问路，借用他人的电话，从别人身边挤过，在宴席或会议中途要离开一会儿等等。
．Yes？什么事？课文中的 Yes？应用升调朗读，意为：“什么事？”Yes？以升调表示某种不肯定或询问之意，也含有请对方说下去的意思。
．Pardon？对不起，请再说一遍。
当我们没听清或没理解对方的话并希望对方能重复一遍时，就可以使用这一表达方式。
较为正式的说法是：I beg your pardon.I beg your pardon?Pardon me.它们在汉语中的意思相当于“对不起，请再说一遍”或者“对不起，请再说一遍好吗？”．Thank you very much．非常感谢！这是一句表示感谢的用语，意为“非常感谢（你）”。
请看下列类似的表达式，并注意其语气上的差异：Thank you.谢谢（你）。
Thanks!谢谢！．数字1～10的英文写法—one 2—two 3—three 4—four 5—five—six 7—seven 8—eight 9—nine 10—ten语法 Grammar in use一般疑问句一般疑问句根据其结构又分为若干种。
通过主谓倒装可将带有be的陈述句变为一般疑问句。
即将be的适当形式移到主语之前，如：陈述句：This is your watch.这是你的手表。
疑问句：Is this your watch?这是你的手表吗？（可参见 Lessons 15～16语法部分有关 be的一般现在时形式的说明。
）词汇学习 Word study1．coat n.上衣，外套：Is this your coat?这是你的外套吗？coat and skirt<英>（上衣、裙子匹配的）西式女套装2．dress n.（1）连衣裙；套裙：Is this your dress?这是你的连衣裙吗？（2）服装；衣服：casual dress 便服evening dress 晚礼服Lessons3～4课文详注 Further notes on the text1．My coat and my umbrella please. 请把我的大衣和伞拿给我。
Dubious progress in D.H.Lawrence's Ticket Please
Dubious progress in D. H. Lawrence's "Tickets, Please"Bernard-Jean Ramadier1"Tickets, Please" is one of the short stories in the collection England My England, published in 1922. It is a simple anecdote told in deceptively simple language; a young inspector of the tramway system seduces all the conductresses on the Midlands line. One of them, Annie, eventually falls for him on a special occasion, but she wants more than a flirtation. As she becomes more and more possessive, the young man lets her down and picks up another girl: Annie then decides to take revenge. As all the other conductresses more or less consciously bear a grudge against the seducer, they set a trap for him; one evening they manage to attract him into their waiting-room at the depot where they molest him. The girls' pretext for harassing him is to make him choose one of them for his wife: eventually he spitefully chooses Annie who, far from being proud and contented, falls prey to conflicting feelings. Freed at last, the inspector walks away alone in the night while the girls leave the depot one by one "with mute, stupefied faces" (346)1• 2 Women's struggle for their rights and a real social status was at times very violent; in August an(...)2Yet, for all its apparent simplicity, the plot is as baffling for the reader as their newly-acquired identity is for the girls. There is more than meets the eye in the story: it was written during the First World War and it uses the moral and social upheaval brought about by the conflict, insisting on the psychological consequences of the change in women's status resulting from employment and following their fight to be given social recognition and the vote.2 At the time, that new social role of women was regarded as a form of progress by the male-dominated society and by some women, as Lawrence makes critically clear. The girl conductors benefit from their new status in the microcosm of the tram system before becoming aware of their real second-rate status when it comes to direct human relationship. Living under the delusion of being real actors recognised as fully responsible human beings, they are brutally shown by the chief inspector's offhand attitude how wrong they have been. Theirsubsequent violent reaction reveals their deep frustration and the ambiguous relationships between the sexes, marred and warped by progress.3Like the girls, the miners are both beneficiaries and victims of progress; they form the social background of the story, at the same time realistic and symbolical as the introduction of the short story shows. The miners' economic function is laden with an implicit symbolical value; extracting coal to fuel the industry is like raping the earth by plundering its riches, which has far-reaching consequences for human beings. German mythology provides a similar image of agression when dwarves wrest gold from the earth, turning the latter into a wasteland where spirituality and transcendentalism are dead. In "Tickets, Please",the incidental effects of progress on humanity are shown through the Lawrentian central theme of the relationship between men and women. Here, the weaker sex and the stronger sex are respectively and ironically embodied by Annie Stone and John Thomas Raynor.4The girl conductors are "fearless young hussies" (335) who bravely face the dangers of the tram journeys and the male passengers' advances; as such, they belong to a different class of women whose job is exceptional: "This, the most dangerous tram-service in England, as the authorities themselves declare, with pride, is entirely conducted by girls". (335) Such a positive and indirectly self-congratulatory statement is immediately tempered with the grimly humorous description of the girls, tranformed into hybrids:In their ugly blue uniform, skirts up to their knees, shapeless old peaked caps on their heads, they have all the sang-froid of an oldnon-commissioned officer. (335)• 3 In the description of Tavershall, "all went by ugly, ugly, ugly".Lady Chatterley's Love(...)5One of Lawrence's key-words—ugly3—is used here to describe the devalued official uniform worn by the girls, just as the word is repeated to stigmatise the industrial landscape crossed by the tram in alliterative phrases ("long ugly villages," "last little ugly place of industry," 334). Resembling transvestites in their ugly uniforms, the conductors retain only a bawdy sort of feminity with their "skirts up to their knees." They are the drivers' fit counterparts; the latter are "men unfit for active service: cripples and hunchbacks" (334) who compensate for their physical deficiencies by taking foolish risks while others, effeminate, "creep forward in terror." (335) Excessive prudence or rashness betrays their deep imbalance, a defect reinforced by the chaotic rhythm of the syntax in the long opening paragraphs of the short story. They lack the"sang-froid" which characterizes the girls, as if they might just as well swap jobs with them. A parallel can be drawn between the drivers' loss of manhood and the conductresses' loss of womanhood. Lawrence makes it clear that the price to pay for social progress is the loss of gender differentiation: the girls assume a new authority, which turns them into sham soldiers ("non-commisioned officer," 335) with a masculine,sailor-like behaviour:this roving life aboard the car gives them a sailor's dash and recklessness. What matter how they behave when the ship is in port? Tomorrow they will be aboard again. (336)6Annie Stone is one of them and her name, which is evocative of a hard, mineral substance, is in keeping with her inflexible, adamant way of asserting her brand new soldier-like authority. Lawrence ironically insists on the girl's commitment to her job through tapinosis, referring to the Greek battle of the "hot gates": "The step of that tram-car is her Thermopylae." (335) In order to show the ambiguity of the relationship between men and women, the young inspector John Thomas Raynor is introduced as a central device to the meaningful melodrama that gradually develops. "A fine cock-of-the-walk he was": the young man's numerous conquests make him an object for scandal; always on the lookout for "pastures new," he considers himself as the proprietor of the girl conductors ("his old flock," 340). This vocabulary aims at revealing his simplistic approach to his relationship with his subordinates; he is reduced to a shallow figure of a man, meant to embody a male-dominated system that gives women the outward attributes of authority within the limits of the tram car and under man's supervision. Annie's personality is more complex; she has two faces, a superficial one on board the tram and a deep, instinctive one outside the system. Impervious to one another in the first half of the short story, the two identities then begin to overlap. As a conductor she takes her job seriously, which increases her natural shrewishness and consequently she first adopts the same attitude with John Thomas Raynor as with the other male passengers: "Annie [...] was something of a Tartar, and her sharp tongue had kept John Thomas at arm's length for many months" (336), before allowing a gradual complicity, both intimate and distant to develop between them:In this subtle antagonism they knew each other like old friends, they were as shrewd with one another almost as man and wife. (337)• 4 See the use of "impudent", 336 and 341, which echoes "hussies", p. 3357Each of them knows the rules of the game and plays them on board the tram within the frame of a relationship superficially liberalised by their respective functions and their young age4; however, Annie's feminine instincts and impulse are still there, to be given full play on a fit occasion.• 5 Italics mine.8There is a drastic change of attitude between Annie-the-conductor and the girl who has a night off and goes alone to the November fun fair. Despite the "sad decline in brilliance and luxury," (337) many people are there for entertainment, and the general illusory, transient atmosphere of the event is indicated by the expression "artificial wartime substitutes" (337), describing ersatz coconuts. In an environment whose hostility is suggested by the expressions "drizzling ugly night" (337) and "black, drizzling darkness" (338) introducing and closing the fun fair scene, the place, for all its shabbiness, is a fit place for a love encounter; furthermore, "To be at the Statutes without a fellow was no fun." Lawrence explicitly links the change of place with the change of rules which at the fun fair define the status of men and women; the latter resume their traditional passive attitude, whereas men assert their long-established economic superiority. Annie is no longer the woman in charge; she has left her uniform to don her best clothes, more appropriate in this place where it is advisable to observe a ritualistic form of behaviour to be in "the right style" (337), which is in fact an intimation of submissiveness. The new quality of the relationship between Annie and John Thomas is emphasized by the repetition of "round"; like the world, "The roundabouts were veering round"5, and the fair, despite its sham, allows a re-enactment of the real positions of men and women in society:John Thomas made her stay on for the next round. And therefore she could hardly for shame repulse him when he put his arm round her and drew her a little nearer to him, in a very warm and cuddly manner. (337)• 6 J. Chevalier et A. Gheerbrant, Dictionnaire des symboles,Paris: Laffont, 1995, p. 962.9John Thomas's permissive attitude, accepted by Annie as a matter of course, is an implicit denial of the reality of the social progress giving women authority and autonomy. The conformist rules at the Statutes Fair are those of the society of that time: men pay for women, thus resuming in civil activities the domination temporarily handed over to women in the tram service. In their Dictionnaire des symboles, Chevalier and Gheerbrandt see the conductor as a figure of the impersonal self, both a judge and a sanction whose function evokes strictness and clockworkprecision, while the ticket suggests a give and take deal.6 In that symbolical reading, the title "Tickets, Please" announces the girls' deep desire for real reciprocity in their relationship with men; in the reality of their daily routine aboard the tram, because they embody regulation, the conductors' "peremptory" request is their "ticket" to respect and consideration. As a conductor, you are handed the ticket whereas as a merry-go-round rider you have to hand over the ticket or token. On the Dragons, Annie is completely passive because she has no direct part in the exchange; her partner pays for the round and hands the ticket over, thus buying the girl's complaisance: "John Thomas paid each time, so she could but be complaisant."•7 L'Eau et les rêves,Paris: José Corti, 1974, p. 159.10In this budding affair, both of them find what they were looking for in an egocentric way; their flirtation does not imply love as hinted by the use of "liked"; it remains foreplay, as superficial as the setting, the contacts remain shallow and go no further than kisses on the lips, that "terrain de la sensualité permise" as Bachelard has it.7Their attraction for one another is genuine and uncomplicated at first: "Annie liked John Thomas a good deal. She felt so rich and warm in herself whenever he was near", "And John Thomas really liked Annie, more than usual. The soft, melting way in which she could flow into a fellow, as if she melted into his very bones, was something rare and good," (339) but that sensual convergence, which seems to announce a future harmonious development, is only momentary. John Thomas and Annie, although momentarily brought together, remain poles apart; their affair is doomed as their symbolical positions on the wooden horses makes clear. That merry-go-round (open and lit, contrary to the dragons and the cinema) is a mechanistic representation of the world and society; on it each one instinctively finds his or her place: "she sat sideways, towards him, on the inner horse", "He [...] sat astride on the outer horse" (338); they share the same circular movement ("round" comes again twice), but while Annie sits near the centre, John Thomas chooses a horse on the outer edge of the platform, to perform eccentric antics on it:Round they spun and heaved, in the light. And round he swung on his wooden steed, flinging one leg across her mount, and perilously tipping up and down, across the space, half lying back, laughing at her. (338)11Spatial position and behaviour are directly linked: Annie's quiet side-saddle riding contrasts sharply with the man's eccentricity. The girl is concerned about her appearance, ("she was afraid her hat was on one side") and John Thomas plays his part as a perfect suitor, winning hat-pins for her, thus re-enacting primitive man's gift-giving to hisfemale companion. This is only, however, superficial behaviour, for he intends to preserve his marginality. He does not want to enter the circle of a complete sentimental relationship, characterised by possession and mechanical circularity: "he had no idea of becoming an all-round individual to her". (339)•8 Cf. Lady Chatterley's Lover, op. cit., ch. XIV, p. 219.•9 Women in Love, op. cit., chapitre III, p. 46.12The lovers are not mere anecdotal characters: they are given significance by Lawrence's irony and use of onomastics. Like Annie, the inspector's function and name mark him out; he has authority over the girl conductors, he has "clean hand[s]" (337) unlike the miners, and he is neither a cripple nor a hunchback, unlike the drivers, which makes him desirable. As for his name —John Thomas Raynor—the reader's attention is attracted by the first part of it with reference to Lady Chatterley's Lover,8where the same "John Thomas" is used by Mellors to designate his penis. Fully exploited in the novel, the sexual connotation of the name is used here to suggest that the young inspector is only a regressed predecessor of the game-keeper and his natural, blooming phallus, which is confirmed by the author's spelling out that the young man is "always called John Thomas, except sometimes, in malice, Coddy" (336). The explicit nickname given to the ladykiller is a diminishing alteration of "codpiece" in order to minimize the phallic identity of the character. Yet, John Thomas wants to keep his status of object of desire and as Annie becomes more and more possessive, he shies away from further involvment in a love story; after the parallelism of the first feelings ("Annie liked John Thomas," "John Thomas really liked Annie") comes divergence: "She did not want a mere nocturnal presence," "John Thomas intended to remain a nocturnal presence" (339). The girl wants to go beyond superficial sexual gratification to reach a complete relationship reconciling the diurnal and nocturnal phases of human personality: "Annie wanted to consider him a person, a man; she wanted to take an intelligent interest in him, and to have an intelligent response." To use Lawrentian terminology, Annie is then developing her "knowing-self," i.e., her conscious ego, and by developing the latter, she causes her instinct for possession to grow: "The possessive female was aroused in Annie". That desire is similar to that of Hermione in Women in Love, as Birkin has it: "You want to clutch things and have them in your power"9and it is linked with the repetition of the name of the fair in which the norm refused by John Thomas is inscribed; "The Statutes" connotes law, regulation, code, and more precisely marriage, which remains unspoken up to the dialogue between the man, Annie, and Muriel Baggaley:“Come on, John Thomas! Come on! Choose!” said Annie.“What are you after? Open the door,” he said.“We shan't—not till you've chosen!” said Muriel.“Chosen what?” he said.“Chosen the one you're going to marry,” she replied. (342)•10 Highwayman and horsestealer, Dick Turpin was born in 1706 in Essex and was hanged in York in 1739.(...)•11 In 1913-1914, the « Cat and Mouse » Act was promulgated, enabling the release of hunger-strikers s(...)•12 Lawrence was himself aggressed by women: at sixteen, he was working at a Nottingham artificial lim(...)13In the central scene at the Statutes, Lawrence gives John Thomas enough rope to hang himself: on the horses, the inspector's mount bears the name of "Black Bess," the mare that carried Dick Turpin10 to York, where he was hanged, and in English as in French, hanging evokes marriage. On the other hand, by entering the girls' room, he unconsciously walks into the lion's mouth and becomes the conductresses' plaything ("he was their sport," 343) and their prey: in that scene, the parts of the cat and the mouse, as portrayed in a famous poster of the time11 are reversed: first "at bay", the man is compared to an animal: "He lay [...] as an animal lies when it is defeated" / "he started to struggle as an animal might." (343) Their will for revenge sets free deep forces in the girls: "Wildfire", evoking the final burst of violence, was the name of Annie's horse. The adjective "wild" is repeated five times in the short sentences used to describe the physical assault against John Thomas ("wild creatures," "in a wild frenzy of fury," "wild blows," "their hair wild," "the wild faces of the girls," 343) to stress the young women's metamorphosis and to throw a different light on the scene. In the physical assault against John Thomas, staged like a hunt, a dream scene can be read between the lines, the Freudian Other Scene, in which the girls' unconscious desire to own the man, to "hold" him12, emerges. Annie's desire has been frustrated ("she had been so very sure of holding him," 339) and changed into manifest aggressivity. What the text shows us really is an aggravated date rape: an over-confident victim willingly walking into a self-set trap, a gang of aggressors, mounting tension in the dialogues and the final breaking loose of instincts.14Blinded by conceit, John Thomas behaves boorishly, declaring: “There's no place like home, girls” (341); his personal system of references is superficial and simplistic; he is unable to understand the change in the girls' attitude, motivated by frustration and anger. Still clinging to his position as a male and an inspector, he does not perceive that despite their uniforms marking them out as guardians of order and discipline, theconductors are about to yield to instinct and give vent to their animus. The words he uses reveal his misunderstanding of the real situation, as he first tries to place his gaolers back into the context of service and reality ("“We've got to be up in good time in the morning,” he said, in the benevolent official manner," (341) before assuming his inspector's status ("“get back to your senses.” He spoke with official authority." 343). Both attempts are ineffectual because by appealing to the girls' reason, he uses a system of references ("intelligent response," 339) which he has himself refused to endorse ("He hated intelligent interest," 339). Similarly, the huntresses no longer recognize his social identity and authority, inseparable as they are from his uniform: he has taken off his coat, his cap has been slapped away and his jacket and shirt have been torn. Progressively down-graded from his rank, held to the floor, John Thomas falls silent and his half-nakedness, his forced immobility and muteness eventually change the scene into a metonymy of impotence.•13 Representing six antinomic and complementary emotions, anger, joy, desire, pain, hatred, love. The(...)•14 This is implied by the narrator's commentary: "In this subtle antagonism they knew each other(...)15Symbolically, there are five girls13besides Annie (six is a number also evoking union and revolt) who outnumber the man inspector and relish their revenge; but they dominate John Thomas by force of numbers and paradoxically it is Annie who breaks the unity of their group --thus allowing their victim to regain control, to have the last word-- by forcing him to answer the obsessive question. Having regained his status as subject, the man chooses Annie and so marks her out as his favourite enemy, as if the relationship of a man and woman in a couple could only end in struggle, as if the only fit rhyme for wife were strife.14 Thus the dialogue between Annie, John Thomas and Laura Sharp finds a justification:“tha's got to take one of us!”“Nay [...] ” he said [...] “I don't want to make enemies.”“You'd only make one,” said Annie.“The chosen one,” added Laura. (342)•15 A. Beal's judgement on Lawrence's stories perfectly suits "Tickets, Please": "As in(...)16The brutal ending of the short story is the result of the combined effects of the environment and dubious progress: the conductors reenact the mechanical violence that surrounds them; John Thomas crystallises men's social domination and by aggressing him, the young women compensate for the frustration they experience from the passive role society confinesthem to in spite of the apparent emancipation it bestows on them by giving them jobs. In its excess, their violent assault against John Thomas is similar to the tram drivers' erratic behaviour; in Lawrence's symbol system,15it has the same significance as Gudrun's reaction before Gerald Crich's mare, opposing a violent movement with a similarly violent movement.17The war emphasizes the dubious quality of the technical and social progress that the story exposes; the first world war sets the background of the three main scenes, denouncing and amplifying man's inability to find an agreement in a pacific way and to use technical progress for the benefit of mankind. The backlash or after shock of the event is to give rights to the weak which had hitherto been refused to them; for Lawrence, this social progress is dubious: instead of promoting order and harmony, it causes degeneration and regression by altering natural relationships between people. The girl conductors have been contaminated by the superficial order of social progress and the disorder it finally brings about; socially promoted by their job, Annie and her likes are only able to play their part fully while on the tram; in the general outside movement of society, men remain in control, as the scene at the Statutes shows. Because she is more proud, more possessive and also harsher than the other girls, Annie Stone inspires them to revolt against John Thomas, both the emblem and instrument of alienating progress.18By allowing the obscure, unbridled forces that characterize the outside ("Outside was the darkness and lawlessness of wartime," 340) into their well-protected, "cosy" world, the women, who have already lost their natural specificity through their uniforms and function, lose it now through violence. Changing genders is a regression underlined by Lawrence through the use of "strange" (343) and "strangely" (343) to describe the girl conductors and the glare in their eyes, and the use of "unnatural" and "supernatural" to qualify the strength they derive from their number.•16 B. Brugière, "Lecture critique d'un passage de Women in Love", Les Langues Modernes, N°2(...)•17 The desperate exclamation is repeated in Lady Chatterley's Lover, op. cit., chapitre XI, p. 162.•18 Women in Love,op. cit., chapitre XIV, p. 187.•19 Psychoanalysis and the Unconscious, Melbourne, London, Toronto: William Heinemann Ltd., 1961, p. 24(...)19In his great novels, Lawrence "vise à établir une éthique à rebours du conditionnement socio-historique"16 and in "Tickets, Please" he clings to the cultural primitivism that informs his works, showing through the story of Annie and John Thomas Raynor the authentic sadness he deeply feltas he witnessed the disfigurement of his country—England my England17—and the perverted relationships between people as a consequence of misused progress. The unbridgeable gap between the protagonists is eventually described through their walking out in the night, one at a time, imprisoned in his or her egoism and oblivious to the rest. Before this final definitive divorce, two images give a palpable reality to the opposition between men and women's aspirations, reducing them to physical phenomena of attraction and repulsion caused by an excessive temperature ("Annie let go of [John Thomas] as if he had been a hot coal," 344) or by incompatible polarities ("The girls moved away from contact with him as if he had been an electric wire." 345). Coal and electricity thus reappear in the text to remind us that for Lawrence, life is aself-regenerating movement, as natural as Gudrun's love-dance18, and opposed to the "self exhaustive motion" of a society spiritually bled dry by mechanical progress. "Tickets, Please" reads like an illustration of the criticism in Psychoanalysis and the Unconscious,in which the novelist sharply judges the outcome of progress: "the whole of modern life is a shrieking failure. It is our own fault."19.Notes1 D. H. Lawrence, The Complete Short Stories, The Phoenix Edition, London: Heinemann, 1968, 3 vols, vol 2, pp. 334-346.2Women's struggle for their rights and a real social status was at times very violent; in August and November 1913, as he visited Scotland, Asquith was twice molested by suffragettes; arson developed: letters were set alight in pillar-boxes and buildings were burnt. The same year, Mrs Pankhurst was tried after a bomb attack on the Surrey home of chancellor David Lloyd George.3In the description of Tavershall, "all went by ugly, ugly, ugly". Lady Chatterley's Lover, Harmondsworth: Penguin Books, 1961, chapter xi, p. 158.4See the use of "impudent", 336 and 341, which echoes "hussies", p. 3355Italics mine.6J. Chevalier et A. Gheerbrant, Dictionnaire des symboles, Paris: Laffont, 1995, p. 962.7L'Eau et les rêves,Paris: José Corti, 1974, p. 159.8Cf. Lady Chatterley's Lover, op. cit., ch. XIV, p. 219.9Women in Love, op. cit., chapitre III, p. 46.10Highwayman and horsestealer, Dick Turpin was born in 1706 in Essex and was hanged in York in 1739. Cf. Chronicle of Britain, editor: Henrietta Heald, Farnborough, Hampshire: Chronicle Communications Ltd., 1992, p. 685.11In 1913-1914, the « Cat and Mouse » Act was promulgated, enabling the release of hunger-strikers so that they did not die in prison but leaving them liable to be rearrested later for the same offenses. A poster was issued, denouncing the cruelty of the Liberal government; it showed a huge Tom-cat holding in its fangs a tiny woman girt with a WSPU banner.12Lawrence was himself aggressed by women: at sixteen, he was working at a Nottingham artificial limb factory when his women fellow workers, excited by his feminine looks, physically assaulted him to check his sex. Cf. F. J. Temple, David Herbert Lawrence, Paris: Seghers, 1960, p. 37.13Representing six antinomic and complementary emotions, anger, joy, desire, pain, hatred, love. The girls' names, like Annie's (Muriel Baggaley, Nora Purdy, Laura Sharp, Polly Birkin and Emma Houselay) are not chosen at random by Lawrence. Another girl is mentioned, Cissy Meakin, but she has left the service.14This is implied by the narrator's commentary: "In this subtle antagonism they knew each other like old friends, they were as shrewd with one another almost as man and wife. p. 337.15 A. Beal's judgement on Lawrence's stories perfectly suits "Tickets, Please": "As in the novels, unconscious forces often motivate the characters." A. Beal, D. H. Lawrence, Edingurh and London: Oliver and Boyd, 1968, p. 100.16 B. Brugière, "Lecture critique d'un passage de Women in Love", Les Langues Modernes, N°2, mars-avril 1968, p. 63.17The desperate exclamation is repeated in Lady Chatterley's Lover, op. cit., chapitre XI, p. 162.18Women in Love,op. cit., chapitre XIV, p. 187.。
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Deep thinking on Ticket, PleaseRecently, I have read a short novel called Ticket, please, written by David Herbert Lawrence. It is a story about a male and some females. It happens in World War I, when all able-bodied men go to the war front and those who are unfit for service stay in the country to do some work and also at that time women do some work. John Thomas is the hero and he is an amorous and irresponsible man. In the novel, it describes that “he flirt with the girl conductor in the morning, and walks out with them in the dark night, when they leave their tram-car at the depot. Of course, the girls quit the service frequently. Then he flirts and walks with the newcomer”. From it, we can easily know what kind of person he is. Though he is not a good man, he is attractive. Even Annie, a Tartar is attracted by him in the end. At first Annie is interested in him and Keep him at arm's length deliberately. But after his cunning pursuit for her, she falls in love with him. However, when she wants to take an intelligent interest in him, he just wants to remain a nocturnal presence, and decided to leave her. Feeling so sad and being hurt, she determines to have her own back. She unites with other girls whom he has hurts. They use tricks to keep him in a waiting room and beat him fiercely. They ask him to choose only one girl. And of course, he revolts them like crazy. At last, he chooses Annie, with strange and disparaging voice. In the end of this story, because those girls can't do anything with him except beating him,they have no alternative choice but letting him go.On the surface, this is only a story about a man who cheats and plays with women's feelings. However, on a deeper level, combining the background at that time and the author's life experience, we can find many things below the surface, that is, sex and equal. Lawrence was born to poor parents and his all life was in the great social and political upheavals. Also, he experienced the First World War. His many novels have a melancholy tone, and many of them are about sex. This novel is also about sex and, what’s more, about equality. John Thomas, the inspector, to some extent is the representative of males. And those conductors, including Annie, are the representative of females. On one hand, from this story, we can see males have the absolute advantage. Though those girls are hurt by John and they want to revenge him, they have to give in in the end. I think those sentences are very well written: “But while they can vilify him, disrobe him, pummel him, they cannot impose the final humiliation and rape him.” “The girls, especially Annie, are forced to recognize the limits of their power. The single source of the defeat is their failure to be a man.”(copy from the book) What a deep going analysis! I am really impresses by the two sentences. Indeed, for a long time before, females had few rights and were submissive to males. Females could only stay at home, attending their husband and their children. Males were the central person in families who could workoutside and had a higher social status. Of course, on the other hand, this novel reflect females struggle for their right and own happiness. In the story, there are a group of “fearless young hussies” and as far as I am concerned they represent those females who fight for themselves. Combining the background of that time, we know that during the First World War, because of the heavy fighting a large number of British men have to leave their original jobs and enter the war. In order to maintain the normal life and ensure social functions normally, women shoulder the responsibility of their own life, their family and the social stability. They go out of home space, enter into the social sphere and have a job. At that time, women's social status improved and some pioneers make a bid for the females’ right and t accelerate the feminist movement. In my opinion, Annie is the miniature of those pioneers. She is different from other girls. At first she keeps distance with John Thomas deliberately and when hurt by John, she try to get her dignity back and want to let him to his revenge. Though she fails in the end, at least she has fought for herself. What’s more, there is something I want to say about the ending. We know the story is ended with the man’s victory. In my point of view, the ending is also a mirror to the social society. By finding information from the internet, I know that though in the First World War females’’ social statues had improved a little. But just after the war ended, females’’ statues decreased again, just like before the war. And the ending indicatesthat” no matter how strengthened by the freedom brought by the First World War, women can never be the equals of men” (copy from the book) Anyway, I like this novel. I like what it expresses under the surface story. By reading it, I have a better understanding on the fight of sex, on the relationship between the First World War and the feminist movement.。