Course: 5.1文学写作：基础

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文学写作：基础

Learning Objectives
::学习目标

Ask subjective and objective questions about what they have read.
::问他们所读到的主观和客观问题。

Learn the meanings of “tone,” “diction,” and “syntax.”
::学习“主题”、“管辖”和“语法”的含义。

Identify the major elements of a plot.
::确定密谋的主要元素。

Identify character, setting, and theme.
::识别字符、设置和主题。

Differentiate between internal and external conflict.
::区分内部和外部冲突。

Why Should I Write About Literature?
::我为什么要写文学?

You might be asking yourself why you should bother writing about something you've read. After all, isn't creative writing more fun, journalistic writing more interesting, and technical writing more useful? Maybe, but consider this: writing about literature will let you exercise your critical thinking skills like no other style of writing will. Even if you don't want to pursue a career involving literature, you can use critical thinking and analysis in any field from philosophy to business to physics. More than being able to think critically, you need to be able to express those thoughts in a coherent fashion. Writing about literature will allow you to practice this invaluable communication skill.
::你也许在自问为什么你应该花心思去写你读过的东西。毕竟,创造性的写作不是更有趣,新闻写作更有趣,技术写作更有用吗?也许,但考虑一下:写作文学会让你像其他任何写作风格一样,运用你的批判性思维技能。即使你不想从事涉及文学的职业生涯,你也可以在从哲学到商业到物理的任何领域使用批判性思考和分析。除了能够批判性地思考之外,你还必须能够以连贯的方式表达这些想法。写作文学可以使你实践这种宝贵的沟通技能。

“Okay,” you say, “that's all good and well. But hasn't anything I have to say about a story already been said? So what's the point, then?” When you write your paper, you might end up saying something that has been discussed, argued over, or proposed by literary critics and students alike. However, when you write something, you present a point of view through your unique voice. Even if something has been said about a book many times, you can add something new to that discussion. Perhaps you can state an idea in simpler terms, or you want to disagree with a popular viewpoint. Even if you're writing to an instructor's prompt, your voice will make the paper unique.
::“好吧,”你说,“这是好事,很好。但我对已经讲过的故事没有说什么要说的吗?”那么,什么是要点呢?” 当你写你的论文时,你可能会说一些已经讨论过、争论过或由文学评论家和学生都提议过的东西。然而,当你写了些东西时,你通过你独特的声音展示了观点。即使对一本书说了很多次了,你也可以为讨论添加一些新东西。也许你可以用更简单的术语来表达一个想法,或者你想要对流行的观点表示异议。即使你写给教员的提示,你的声音也会使这篇论文变得独一无二。

So How Do I Start?
::那我该怎么开始?

To many of us, writing a response to something we've had to read sounds more than a little daunting. There are so many things to examine and analyze in a book, play, or poem. But before you decide that writing about writing just isn't for you, think about this--you already have many of the skills you need to write a good response to literature.
::对我们许多人来说, 写一个回应, 我们不得不阅读的东西, 听上去不单有点困难。在一本书、剧本或诗中, 有很多事情需要检查和分析。但在你决定写作之前, 写作只是不适合你, 想想这个... 你已经有了很多技能, 你需要写出对文学的好反应。

How many times have you heard about someone who watched a horror movie and yelled, “Don't go into the basement!” at the potential victim. Or maybe you've listened to a song and thought about how the lyrics described your life almost perfectly. Perhaps you like to jump up and cheer for your favorite team even if you're watching the game from home. Each time you do one of these things, you are responding to a something you've seen or heard. And when you read a book, you likely do the same thing. Have you ever read anything and sympathized with or hated a character? If so, you've already taken your first step in responding to literature.
::你听说过多少次有人看过恐怖电影,在潜在受害者面前大喊“不要去地下室!!” 或者你听了一首歌,思考歌词如何描述你的生活几乎完美。也许你喜欢跳起来为你最喜欢的团队欢呼,即使你在家里观看游戏。每次你做这些事情,你都会对一件你所看到或听到的事情作出反应。当你读到一本书时,你可能会做同样的事情。你有没有读过任何东西,同情或讨厌一个角色?如果是这样,你已经迈出了对文学的反应的第一步。

However, the next steps are a little harder. You need to be able to put your response into writing so other people can understand why you believe one thing or another about a book, play, or poem. In addition, writing an essay based on how a story makes you think or feel is only one of many ways to respond to what you read. In order to write a strong paper, you will need to examine a text both subjectively and objectively . If you only write about your personal reaction to a book, there won't be much to support your argument except your word alone. Thus, you will need to use some facts from the text to support your argument. Rather than trying to evaluate every nuance of a text all at once, you should start with the basics: character and plot. From there, you can examine the theme of the work and then move on to the finer points such as the writing itself. For instance, when determining how you want to analyze a piece of literature, you might want to ask yourself the following series of questions.
::然而, 接下来的步骤会有点困难。您需要能够将您的响应写成文字, 以便其他人可以理解为什么你对一本书、剧本或诗歌有某种信念。此外, 根据一个故事如何让你思考或感觉, 撰写一篇论文只是对您所读内容的反应的多种方式之一。为了写一份强有力的论文, 您需要同时主观地和客观地检查一个文本。如果您只写个人对一本书的反应, 除了单词之外, 您将没有什么可以支持您的论点。因此, 您需要使用文本中的一些事实来支持您的论点。而不是试图一次评估文本的每一个细微差别, 您应该先从基本内容: 字符和绘图开始。从那里, 您可以检查工作的主题, 然后转到像写作本身这样的精细点上。例如, 当确定您想要如何分析一幅文学时, 您可能想问自己下面的一系列问题。

Questions to consider when writing about literature.
::编写文献时要考虑的问题。

Of course, answering these questions will only start you in your analysis. However, if you can answer them, you will have a strong grasp of the basic elements of the story. From there, you can go on to more specific questions such as “How does symbolism help illustrate the theme?” or “What does the author say about the relationships between characters through the dialogue he gives them?” However, before you can start answering detailed questions like these, you should look at the basic elements of what you're reading.
::当然,回答这些问题只能从你的分析中开始。然而,如果你能够回答这些问题,你将非常清楚地掌握故事的基本内容。从那里,你可以接着讨论更具体的问题,例如“符号性如何帮助说明主题?” 或“作者通过他提供的对话对人物之间的关系怎么说?” 然而,在你开始回答这样的详细问题之前,你应该先看一看正在阅读的内容的基本要素。

The Basics of Literature
::文学基础

Before you dive straight into your analysis of symbolism, diction, imagery, or any other rhetorical device, you need to have a grasp of the basic elements of what you're reading. When we read critically or analytically, we might disregard character, plot, setting, and theme as surface elements of a text. Aside from noting what they are and how they drive a story, we sometimes don't pay much attention to these elements. However, characters and their interactions can reveal a great deal about human nature. Plot can act as a stand-in for real-world events just as setting can represent our world or an allegorical one. Theme is the heart of literature, exploring everything from love and war to childhood and aging.
::在你直接进入你对符号性、字典、图像或任何其他词藻装置的分析之前, 您需要掌握您正在读到的东西的基本元素。当我们批判性或分析性地阅读时, 我们可能会忽略字符、绘图、设置和主题作为文本的表面元素。除了指出它们是什么以及它们如何驱动一个故事之外, 我们有时不重视这些元素。然而, 字符和它们的互动可以揭示大量关于人性的特征。普罗特可以像环境一样成为真实世界事件的旁观者, 能够代表我们的世界或一个象征性的世界。主题是文学的核心, 探索从爱、战争到童年和老龄化的一切。

With this in mind, you can begin your examination of literature with a “Who, What, When, Where, How?” approach. Ask yourself “Who are the characters?” “What is happening?” “When and where is it happening?” and “How does it happen?” The answers will give you character (who), plot (what and how), and setting (when and where). When you put these answers together, you can begin to figure out theme, and you will have a solid foundation on which to base your analysis.
::考虑到这一点,你可以开始用“谁、谁、什么、何时、何地、如何?” 的方法来研究文学。你问自己“谁是人物?” 、“发生了什么?” 、“发生在哪里?” 、“发生在哪里?” 和“发生在哪里?” 和“发生在哪里?” 。答案会给你个性、图画、图画和设置(时间和地点)。当你把这些答案放在一起的时候,你可以开始找出主题,你将有一个坚实的基础来进行分析。

You will also want to keep an author's tone in mind as you read. Tone is the attitude writing can take towards its subject or audience. For instance, writing can be informal, formal, sarcastic, or playful. These are just a few examples of tone. When trying to figure out a story's tone, ask yourself how the writing is actually put together. Does the author use diction , or the overall word choice, to convey a specific tone? For instance, is there any reason to say “joyful” instead of “happy” or “seething” instead of “angry”?
::在阅读时,您也会想着作者的语气。音调是写作的态度可以对主题或观众采取的态度。例如, 写作可以是非正式的、正式的、讽刺的或玩弄的。这些只是调子的几个例子。当试图弄清楚故事的语气时, 请问一下自己写作实际上是怎样拼凑起来的。作者是否使用字典或整体词选择来表达具体的语气? 例如, 是否有理由说“ 快乐” 而不是“ 愤怒 ” , 而不是 “ 快乐” 或“观赏 ” ?

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The following table provides examples of the same scene written in different tones. Pay special attention to the italicized words.
::下表提供了以不同色调写成的同一场景的例子,特别注意斜体字。

Joyful	Unhappy
The sound of their revelry rang throughout the town. The sun gleamed brightly on the parade, and colorful streamers floated through the air like dazzling rainbows .	The noise of the cacophony shrilled throughout the town. The sun glared harshly on the parade, and colorful streamers rained through the air like falling debris .

In addition, ask yourself if the author use unusual syntax -- the order in which the sentence is put together grammatically? (Look at “money is the root of all evil” versus “the root of all evil is money.” Does each sentence imply something different to you?) Keeping tone, diction, and syntax in mind will help in your analysis of literature.
::此外,请问一下自己,作者是否使用不寻常的语法 -- -- 句子按语法排列的顺序? (看看“金钱是一切邪恶的根源”还是“一切邪恶的根源是金钱 ” 。每个句子是否都意味着与你不同的东西? ) 保持语气、字典和语法对文学分析有帮助。

With that said, we should always look at every aspect of these elements, from the most basic to the most complex when we read. Thus, this chapter will begin by giving you a broad overview of character, plot, setting, and theme then provide some examples of how you can use these elements to illustrate some of the more complex ideas in a story.
::因此,我们总是应该研究这些要素的每个方面,从最基本的到最复杂的,从阅读到阅读。因此,本章首先将给你们一个对性格、图谋、设置和主题的广泛概述,然后提供一些例子,说明你如何利用这些要素来说明故事中一些更复杂的想法。

Character

You are probably already adept at identifying the characters of a story, but there are some terms that will be helpful in your literary analysis. Keep in mind that characters aren't necessarily people. They can be animals, divine beings, personifications, etc.
::您可能已经很擅长辨别故事的字符, 但有些术语会有助于您的文学分析。请记住, 字符不一定是人。它们可以是动物、神圣的生物、个性化等等。

One of the most important terms you will use is conflict. Conflict occurs between two opposing sides in a story, usually centering on characters' values, needs, or interests. A conflict can be internal or external. Internal conflict takes place within an individual, such as when a character is torn between duty to his family and duty to the state. External conflict occurs when two individuals or groups of individuals clash. A struggle between a character and his best friend is an example of an external conflict.
::你将使用的最重要术语之一是冲突。一个故事的两个对立方之间发生冲突, 通常以人物的价值观、需要或利益为中心。冲突可以是内部冲突,也可以是外部冲突。内部冲突发生在个人内部, 例如某个性在对家庭的责任和对国家的责任之间被撕裂。外部冲突发生在两个个人或群体发生冲突时。一个性与其最好的朋友之间的争斗是外部冲突的一个实例。

By examining the conflict, we can determine the protagonist and antagonist. The protagonist is the focal point of the conflict, meaning that he or she is the main character of the story. All the action in a story will revolve around its protagonist. In addition, a story that contains a series of conflicts can contain several protagonists--no story is limited to just one. The antagonist is the character who stands in opposition of the protagonist. The antagonist is the other half of the conflict. Remember that an antagonist doesn't have to be a person--it can be a nation, a group, or even a set of ideas.
::通过审查冲突,我们可以确定主角和对立方。主角是冲突的焦点,意味着他或她是故事的主要特点。故事中的所有行动都将围绕主角。此外,包含一系列冲突的故事可以包含几个主角 — — 没有一个故事仅限于一个。对抗者是反对主角的人物。敌对者是冲突的另外一半。记住,对立者不必是一个人,也可以是一个民族,一个团体,甚至一套思想。

Sometimes, the protagonist can take the form of the antihero. The antihero is a protagonist who does not embody traditional “heroic” values. However, the reader will still sympathize with an antihero. For instance, a protagonist who is a scoundrel is an antihero, as a traditional hero would embody virtue.
::有时,主角可以采取反英雄的形式,反英雄是一种不体现传统“英雄”价值观的主角,然而,读者仍然会同情反英雄。比如,恶棍的主角就是反英雄,因为传统英雄将体现美德。

In addition to the protagonist and antagonist, most stories have secondary or minor characters. These are the other characters in the story. They sometimes support the protagonist or antagonist in their struggles, and they sometimes never come into contact with the main characters.
::除了主角和敌对者之外,大多数故事都有次要或次要的人物。这些是故事中的其他人物。有时他们支持主角或敌对者的斗争,有时他们从不与主要人物接触。

Authors use minor characters for a variety of reasons. For instance, they can illustrate a different side of the main conflict, or they can highlight the traits of the main characters. One important type of minor character is called a foil. This character emphasizes the traits of a main character (usually the protagonist) through contrast. Thus, a foil will often be the polar opposite of the main character he or she highlights. Sometimes, the foil can take the form of a sidekick or friend. Other times, he or she might be someone who contends against the protagonist. For example, an author might use a decisive and determined foil to draw attention to a protagonist's lack of resolve and motivation.
::作者出于各种原因使用次要字符。例如, 他们可以说明主要冲突的另一面, 或者可以突出主要字符的特征。一种重要的次要字符被称为 Fuil 。这个字符通过对比来强调主要字符( 通常是主角) 的特征。因此, Fuil 往往与他( 她) 突出的主要字符截然相反。有时, fuil 可以是旁人或朋友的形式。有时, 他( 她) 可能是反对主角的人。例如, 作者可能会用一个果断而坚定的软体来吸引人们注意主角缺乏决心和动机。

Finally, any character in a story can be an archetype. We can define archetype as an original model for a type of character, but that doesn't fully explain the term. One way to think of an archetype is to think of how a bronze statue is made. First, the sculptor creates his design out of wax or clay. Next, he creates a fireproof mold around the original. After this is done, the sculptor can make as many of the same sculpture as he pleases. The original model is the equivalent to the archetype. Some popular archetypes are the trickster figure, such as Coyote in Native American myth or Brer Rabbit in African American folklore, and the femme fatale, like Pandora in Greek myth. Keep in mind that archetype simply means original pattern and does not always apply to characters. It can come in the form of an object, a narrative, etc. For instance, the apple in the Garden of Eden provides the object-based forbidden fruit archetype, and Odysseus's voyage gives us the narrative-based journey home archetype.
::最后, 故事中的任何字符都可以是一个原型。我们可以将原型定义为一种原型的原型, 但它不能完全解释这个术语。一种思考原型的方法是思考如何造出铜像。首先, 雕塑家用蜡或粘土来设计自己的设计。接下来, 他可以在原型周围制造一个防火的模子。完成后, 雕塑家可以制造他喜欢的相同雕塑。原型可以和原型一样。原型和原型一样。一些流行的原型是图案, 比如美国原住民神话中的 Coyote 或非裔美国人民俗中的Brer Rabit, 以及像希腊神话中的Pandora 那样的feme。记住, 原型只是原始图案, 不总是适用于人物。它可以以物体的形式出现, 一种叙述, 例如, Eden 花园中的苹果提供以对象为基础的禁果状型, 而 Odyseus的远征给我们提供了以原型为主的原型。

Plot

Before you can write an in-depth explanation of the themes, motives, or diction of a book, you need to be able to discuss one of its most basic elements: the story. If you can't identify what has happened in a story, your writing will lack context. Writing your paper will be like trying to put together a complex puzzle without looking at the picture you're supposed to create. Each piece is important, but without the bigger picture for reference, you and anyone watching will have a hard time understanding what is being assembled. Thus, you should look for “the bigger picture” in a book, poem, or play by reading for plot.
::在您能够写出对一个书的主题、动机或字典的深入解释之前, 您需要能够讨论其最基本的内容之一: 故事。如果您无法辨别故事中发生的事情, 您的写作将缺乏背景。撰写您的论文将像试图拼凑一个复杂的拼图而不看您应该创造的图片一样。每件都很重要, 但是没有大图可以参考, 您和任何观看者将很难理解正在集合的内容。因此, 您应该寻找一本书、诗或剧本中的“ 大图案 ” 。

A plot is a storyline. We can define plot as the main events of a book, short story, play, poem, etc. and the way those events connect to one another. Conflicts act as the driving forces behind a plot.
::剧情是一个故事线。我们可以将剧情定义为书籍、短故事、剧本、诗歌等的主要事件,以及这些事件相互连接的方式。冲突是阴谋背后的驱动力。

A plot has several main elements: inciting incident, exposition, rising action, climax, falling action, and dénouement. These elements often appear in the order listed here, but you should be aware that some works deviate from this form.
::密谋有几种主要元素:煽动事件、展示、上升动作、高潮、下降动作和沉积。这些元素通常出现在此处列出的顺序中,但您应该知道,有些作品偏离了这种形式。

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A diagram of the components of a basic plot
::基本地块组件的图表图

Inciting Incident: This is the event that sets the main conflict into motion. Without it, we could have no plot, as all the characters would already be living “happily ever after,” so to speak. Most stories contain many conflicts, so you will have to identify the main conflict before you can identify the inciting incident. Remember, the inciting incident and conflict are two separate things—the inciting incident is a moment in a story that starts the main conflict. For instance, a person throwing the first punch can be considered the inciting incident to the conflict of a long fistfight. In addition, the inciting incident can happen before a story takes place, in which case it is related to the reader as a past event.
::煽动性事件:这是引发主要冲突的事件。没有它,我们不可能有任何阴谋,因为所有人物都已经“幸福地生活了下来 ” 。多数故事包含许多冲突,所以你必须先确定主要冲突,然后才能识别煽动性事件。记住,煽动性事件和冲突是两个不同的事件 — — 煽动性事件是引发主要冲突的故事中的片刻。例如,首先出拳的人可以被视为引发长期拳击冲突的事件。此外,煽动性事件可以在故事发生之前发生,如果事件与读者有关,则是过去的事件。

Exposition: This is the part of the story that tells us the setting. We find out who the main characters are and where the story takes place. The exposition also hints at the themes and conflicts that will develop later in the story. Exposition can take place throughout a story as characters reveal more about themselves.
::解说: 这是故事中告诉我们背景的部分。我们找出主要人物是谁, 以及故事发生地点。解说还暗示了故事稍后将发展的主题和冲突。解说可以在整个故事中进行, 因为人物会更多地展示自己。

Rising Action: The rising action is comprised of a series of events that build up to the climax of the story. It introduces us to secondary conflicts and creates tension in the story. You can think of the rising action as the series of events that make the climax of the story possible.
::崛起的动作: 崛起的行动是由一系列事件组成的, 这些事件达到了故事的高潮。它向我们介绍了二次冲突, 并造成了故事的紧张。你可以把上升的行动看作是一系列事件, 使得故事的高潮成为可能。

Climax: The climax has often been described as the “turning point” of a story. A good way to think of it is the incident that allows the main conflict of a story to resolve. The climax allows characters to solve a problem. It take many forms, such as an epiphany the protagonist has about himself, a battle between the protagonist and antagonist, or the culmination of an internal struggle.
::高潮:高潮通常被称为故事的“转折点 ” 。思考它的好方法就是让故事的主要冲突得以解决。高潮允许人物解决问题。它有多种形式,比如主角对自己的自知自明,主角和敌对者之间的战斗,或者内部斗争的高潮。

Many stories actually have smaller climaxes before the main one. Like the main climax, these are turning points in the story. These sub-climaxes can be minor turning points in the main conflict that help build and release suspense during the rising action. They can also be the main turning points for secondary conflicts within a story. You might diagram a plot containing sub-climaxes and a main climax like this:
::许多故事实际上比主要故事的高潮要小。和主要高潮一样, 这些是故事的转折点。这些次高潮可以是主要冲突中的小转折点, 有助于在上升的动作中建立和释放悬念。它们也可以是故事中次要冲突的主要转折点。您可以绘制一个包含次高潮和主要高潮的图示 :

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A diagram of a complex plot, or a plot that contains sub-climaxes.
::复杂图案的图表,或包含超高率图案的图案。

Falling Action: The events that take place after the climax are called the falling action. These events show the results of the climax, and they act as a bridge between the climax and the dénouement.
::下降行动:在高潮之后发生的事件被称为下降行动。这些事件显示了高潮的结果,它们充当了高潮和高潮之间的桥梁。

Dénouement: The word dénouement comes from the French “to untie” and the Latin “knot,” which gives us an indication of its purpose. It serves as the unraveling of a plot--a resolution to a story. In the dénouement, the central conflict is resolved. However, conflicts aren't always resolved. Some stories leave secondary conflicts unsettled, and a rare few even leave doubt about the resolution of the main conflict. The dénouement can also leave the story and characters in the same state they were in before the story began. This often occurs when an epilogue tells the reader that all the conflicts in the story have been resolved. Thus, we can see the dénouement as a kind of mirror to the exposition, showing us the same situation at both the beginning and end of a story.
::Dénouement:dénouement一词来自法国人“解开”和拉丁语“knot”,这告诉我们了它的目的。它起到解开一个阴谋——解决一个故事的作用。在Dénouement中,中央冲突得到了解决。然而,冲突并非总能得到解决。有些故事使二次冲突得不到解决,甚至极少数人甚至对主要冲突的解决产生怀疑。Dénouement也可以把故事和人物留在故事开始之前的状态中。当一个小说告诉读者故事中的所有冲突都已经解决的时候,这种情况经常发生。因此,我们可以把Dénouement看作是一个描述的镜子,向我们展示故事的开始和结束的同样情况。

Setting

If a story has characters and a plot, these elements must exist within some context. The frame of reference in which the story occurs is known as setting. The most basic definition of setting is one of place and time. You want to ask yourself “Where and when does the story take place?” Gone With the Wind, for example, takes place in Georgia during the American Civil War. Setting can be very important in discovering and highlighting the mood, or the general feeling we get from a story. (Note: Be careful not to mix up mood and tone, as they are not the same thing. Mood is the feeling we get from a story; tone is a way of getting that feeling across.) For instance, Edgar Allan Poe portrays a very dark, oppressive setting in “The Fall of the House of Usher,” which makes the reader share the narrator's feelings of confinement and depression. In addition, the house in Poe's story can be seen as a kind of internalized setting. In this kind of setting, an aspect of the story external to a character represents the character's internal development. For instance, the cracked face of the house can be said to represent the cracked minds of the Usher siblings.
::如果故事有字符和情节,这些元素必须存在于某种背景中。故事发生的参照框架被称为背景。最基本的定义是时间和地点。您想问自己“ 故事在哪里和何时发生? ” 例如, “ 随风而去” 在美国内战期间发生在格鲁吉亚。设置在发现和突出情绪或我们从故事中获得的一般感觉方面非常重要。 (注意: 注意不要混淆情绪和语调, 因为它们不是一回事。 Mood 是我们从一个故事中得到的感觉; 语调是表达这种感觉的一种方式。例如, Edgar Allan Poe 在“ Usher之家倒塌” 中描绘了一个非常黑暗和压迫的场景, 使读者能够分享旁白的禁闭和抑郁感。此外, Poe 故事中的房子可以被视为一种内部化的环境。在这种环境中, 故事的外面代表了某个字符的内部发展。例如, Edgar Allan Poe 描绘了一个非常黑暗的外表情, 可以代表着“ Usher sire ” 。

Setting doesn't have to just include the physical elements of time and place. Setting can also refer to a story's social and cultural context. There are two questions to consider when dealing with this kind of setting: “What is the cultural and social setting of the story?” and “What was the author's cultural and social setting when the story was written?” The first question will help you analyze why characters make certain choices and act in certain manners. The second question will allow you to analyze why the author chose to have the characters act in this way.
::设置不必仅仅包括时间和地点的物理要素。设置也可以指一个故事的社会和文化背景。在处理这种背景时,有两个问题需要考虑:“ 故事的文化和社会背景是什么?” 和“ 故事写成时作者的文化和社会背景是什么?” 第一个问题将有助于你分析为什么人物以某种方式做出某些选择和行为。第二个问题将使你能够分析为什么作者选择让角色以这种方式行动。

Theme

Finally, you must examine theme in your basic analysis of literature. Theme is the unifying idea behind a story. It connects the plot points, conflicts, and characters to a major idea. It usually provides a broad statement about humanity, life, or our universe. We can think of theme, in its most basic definition, as the message the author tries to send his or her readers.
::最后,您必须在对文献的基本分析中考察主题。主题是一个故事背后的统一理念。它将情节点、冲突、字符与一个主要理念连接起来。它通常提供一个关于人性、生命或宇宙的宽泛描述。我们可以在作者试图发送其读者的信息时,用最基本的定义来思考主题。

One thing you should remember about theme is that it must be expressed in a complete sentence. For instance, “discrimination” is not a theme; however, “genetic modification in humans is dangerous because it can result in discrimination” is a complete theme.
::关于主题,你应该记住一件事,那就是它必须用一个完整的句子来表达,例如,“歧视”不是一个主题;然而,“人类基因改变是危险的,因为它可能导致歧视”是一个完整的主题。

A story can have more than one theme, and it is often useful to question and analyze how the themes interact. For instance, does the story have conflicting themes? Or do a number of slightly different themes point the reader toward one conclusion? Sometimes the themes don't have to connect-- many stories use multiple themes in order to bring multiple ideas to the readers' attention.
::一个故事可以有不止一个主题, 并且通常可以用来质疑和分析主题的相互作用。例如, 这个故事有矛盾的主题吗? 或者一些略有不同的主题会将读者指向一个结论? 有时这些主题不需要连接- 许多故事使用多个主题来吸引读者的注意。

So how do we find theme in a work? One way is to examine motifs, or recurring elements in a story. If something appears a number of times within a story, it is likely of significance. A motif can be a statement, a place, an object, or even a sound. Motifs often lead us to discern a theme by drawing attention to it through repetition. In addition, motifs are often symbolic. They can represent any number of things, from a character's childhood to the loss of a loved one. By examining what a motif symbolizes, you can extrapolate a story's possible themes. For instance, a story might use a park to represent a character's childhood. If the author makes constant references to the park, but we later see it replaced by a housing complex, we might draw conclusions about what the story is saying about childhood and the transition to adulthood.
::我们如何在作品中找到主题? 一种方法就是在故事中查看“ motifs” 或“ 重复” 元素。如果某个东西出现在一个故事中多次, 它可能是有意义的。一个“ motifs” 可以是声明、一个地方、一个物体, 甚至一个声音。 Motifs 常常引导我们通过反复提醒人们注意它来辨别一个主题。此外, “ motifs” 往往具有象征意义。它们可以代表从一个字符的童年到失去一个被爱的事物。通过检查“ motif” 象征什么, 您可以推断一个故事可能的主题。例如, 一个故事可能会用一个公园来代表一个字符的童年。如果作者经常提到公园, 但我们后来看到它被一个住房综合体所取代, 我们就可以得出关于童年和向成年过渡的故事的结论。

Reading Exercise
::阅读练习

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Now that you’ve learned the basics of reading literature, read the following short story. Keep an eye out for plot, character, setting, tone, mood, and theme.
::现在,你已经学会了阅读文学的基本知识,读了以下的短篇故事。注意情节、性格、设置、语气、情绪和主题。

YOUNG GOODMAN BROWN
::年轻的好人蜂鸣

by Nathaniel Hawthorne
::以纳撒尼尔·霍索恩著

Young Goodman Brown came forth at sunset into the street at Salem village; but put his head back, after crossing the threshold, to exchange a parting kiss with his young wife. And Faith, as the wife was aptly named, thrust her own pretty head into the street, letting the wind play with the pink ribbons of her cap while she called to Goodman Brown.
::古德曼·布朗(Goodman Brown)在日落时出现在Salem村的街道上;但是,在越过门槛后,把他的头往后抬,与年轻妻子交换一个离别之吻。费丝(妻子的名字恰如其分 ) , 将她自己的漂亮头部推到街上,让风把帽子的粉红色丝带吹在她叫到古德曼·布朗时放风。

“Dearest heart,” whispered she, softly and rather sadly, when her lips were close to his ear, “prithee put off your journey until sunrise and sleep in your own bed to-night. A lone woman is troubled with such dreams and such thoughts that she's afeard of herself sometimes. Pray tarry with me this night, dear husband, of all nights in the year.”
::“最亲爱的心脏”,当她的嘴唇靠近他的耳朵时,她轻轻地、相当悲哀地低声地低声地说:“首先,你把旅程拖到日出,睡在自己的床上,一个单身妇女为这种梦境和想法感到烦恼,有时她对自己充满恐惧。亲爱的丈夫,请今晚与我共度今夜。

“My love and my Faith,” replied young Goodman Brown, “of all nights in the year, this one night must I tarry away from thee. My journey, as thou callest it, forth and back again, must needs be done 'twixt now and sunrise. What, my sweet, pretty wife, dost thou doubt me already, and we but three months married?”
::“我的爱和我的信仰”回答说,年轻的古德曼·布朗(Goodman Brown)说,“这一夜中,我必须离开你。正如你所呼吁的那样,我的旅程必须一连串地完成。现在和日出都要完成。我的甜美美丽的妻子,难道你已经怀疑我了吗?我们只结了三个月婚吗?”

“Then God bless you!” said Faith, with the pink ribbons; “and may you find all well when you come back.”
::他说:然后,真主为你们保佑。你们带着粉红色的丝带吧。当你们回来的时候,或准你们发现美好的事物。

“Amen!” cried Goodman Brown. “Say thy prayers, dear Faith, and go to bed at dusk, and no harm will come to thee.”
::他说:阿门啊!古德曼·布朗啊!你说:你们应当谨守拜功,完纳天课,你们在黄昏睡觉,你们不受伤害。

So they parted; and the young man pursued his way until, being about to turn the corner by the meeting-house, he looked back and saw the head of Faith still peeping after him with a melancholy air, in spite of her pink ribbons.
::他们就分开了。那个年轻人追着他走,直到他转弯到会所的角落时,他回过头来,看见信教的领袖不顾她的粉色丝带,仍带着忧郁的气息偷看他。

“Poor little Faith!” thought he, for his heart smote him. “What a wretch am I to leave her on such an errand! She talks of dreams, too. Methought as she spoke there was trouble in her face, as if a dream had warned her what work is to be done tonight. But no, no; 't would kill her to think it. Well, she's a blessed angel on earth; and after this one night I'll cling to her skirts and follow her to heaven.”
::“可怜的小信!”他以为他是因心痛他。他说:我怎能任她作这种差事呢?她也说梦话,我以为她脸上有烦恼,好像梦曾警告她今晚要做什么工作一样。但绝不然,她不会死,她不会死。她是地球上一位吉祥的天使,在一夜之后,我将紧紧紧抱着她的裙子,顺从她到天堂。

With this excellent resolve for the future, Goodman Brown felt himself justified in making more haste on his present evil purpose. He had taken a dreary road, darkened by all the gloomiest trees of the forest, which barely stood aside to let the narrow path creep through, and closed immediately behind. It was all as lonely as could be; and there is this peculiarity in such a solitude, that the traveller knows not who may be concealed by the innumerable trunks and the thick boughs overhead; so that with lonely footsteps he may yet be passing through an unseen multitude.
::古德曼·布朗以对未来的非凡决心,认为自己有理由急于完成目前邪恶的目的。他走过一条枯燥的道路,被森林中所有最光滑的树木笼罩着,这些树木几乎不能靠边站,让狭窄的道路通过,而紧紧闭在后面。它很孤单,而且这种孤单的孤独感使旅行者不知道谁可能被无数的树干和厚厚的树枝所隐藏;这样,他可能带着孤单的脚步经过一个看不见的人群。

“There may be a devilish Indian behind every tree,” said Goodman Brown to himself; and he glanced fearfully behind him as he added, “What if the devil himself should be at my very elbow!”
::古德曼·布朗对自己说:每棵树后,都有一种恶魔般的印度人,他望在他身后,犹如他所说的那样。他说:如果恶魔亲临我的怀抱,那恶魔怎么办?

His head being turned back, he passed a crook of the road, and, looking forward again, beheld the figure of a man, in grave and decent attire, seated at the foot of an old tree. He arose at Goodman Brown's approach and walked onward side by side with him.
::他的头转回去,转过弯路,又转过弯路,又往前看一看一个男子的身影,身穿坟墓和体面的服饰,坐在一棵旧树的脚下,他从古德曼·布朗的门前走来,与他同在一旁。

“You are late, Goodman Brown,” said he. “The clock of the Old South was striking as I came through Boston, and that is full fifteen minutes ago.”
::他说:“古德曼·布朗,你迟到了。” “我经过波士顿时,南方的钟声很响亮,15分钟前就满满了。”

“Faith kept me back a while,” replied the young man, with a tremor in his voice, caused by the sudden appearance of his companion, though not wholly unexpected.
::这名年轻人的声音震颤, 是因为他的同伴突然出现, 虽然并非完全出乎意料。

It was now deep dusk in the forest, and deepest in that part of it where these two were journeying. As nearly as could be discerned, the second traveller was about fifty years old, apparently in the same rank of life as Goodman Brown, and bearing a considerable resemblance to him, though perhaps more in expression than features. Still they might have been taken for father and son. And yet, though the elder person was as simply clad as the younger, and as simple in manner too, he had an indescribable air of one who knew the world, and who would not have felt abashed at the governor's dinner table or in King William's court, were it possible that his affairs should call him thither. But the only thing about him that could be fixed upon as remarkable was his staff, which bore the likeness of a great black snake, so curiously wrought that it might almost be seen to twist and wriggle itself like a living serpent. This, of course, must have been an ocular deception, assisted by the uncertain light.
::现在森林深处是黄昏,最深处是这两条人行走的地方。几乎可以察觉到,第二名旅行者大约五十岁,显然与古德曼·布朗同名,与他有着相当的相似性,尽管可能比特征更能表达。他们可能已经被父亲和儿子带走了。然而,虽然长者像年轻者一样简单而简单,而且同样简单,他有一个熟悉世界、在州长的餐桌或威廉国王的宫廷里不会感到被打倒的人的难以形容的空气,他的事情也许应该叫他。但是他唯一能被固定在显著位置上的东西是他的手杖,它有着巨大的黑蛇的相似性,令人好奇地说,它可能几乎像活的蛇一样被看成是扭动和扭动的。当然,这一定是在不确定的光线的帮助下进行的眼部欺骗。

“Come, Goodman Brown,” cried his fellow-traveller, “this is a dull pace for the beginning of a journey. Take my staff, if you are so soon weary.”
::古德曼·布朗说:你们来吧,布朗啊!他说:这是旅行的开始,速度太慢了。你们带上我的仆人吧,如果你们太疲倦了。

“Friend,” said the other, exchanging his slow pace for a full stop, “having kept covenant by meeting thee here, it is my purpose now to return whence I came. I have scruples touching the matter thou wot'st of.”
::另一个人说:朋友啊!他以缓慢的步伐换取完全停止。他说:我在这里与你会面,以此来履行盟约,我现在的目的就是回到我来的地方。我对你们的事情有疑虑。

“Sayest thou so?” replied he of the serpent, smiling apart. “Let us walk on, nevertheless, reasoning as we go; and if I convince thee not thou shalt turn back. We are but a little way in the forest yet.”
::你说:你告诉我吧!他以蛇为笑柄,他笑著说:让我们继续妄想吧!如果我说服你,你绝不退避,我们只在森林中逗留了一会儿。

“Too far! too far!” exclaimed the goodman, unconsciously resuming his walk. “My father never went into the woods on such an errand, nor his father before him. We have been a race of honest men and good Christians since the days of the martyrs; and shall I be the first of the name of Brown that ever took this path and kept—”
::“太远了,太远了!” 赞美善人,他不知不觉地复行。 “我父亲从未出过这样的差事,他的父亲在他之前也从未进过树林,我们自烈士时代起就一直是诚实的人和虔诚的基督教徒的种族;我是否为布朗的首个名字,他曾走上这条道路,并且坚守正道呢?”

“Such company, thou wouldst say,” observed the elder person, interpreting his pause. “Well said, Goodman Brown! I have been as well acquainted with your family as with ever a one among the Puritans; and that's no trifle to say. I helped your grandfather, the constable, when he lashed the Quaker woman so smartly through the streets of Salem; and it was I that brought your father a pitch-pine knot, kindled at my own hearth, to set fire to an Indian village, in King Philip's war. They were my good friends, both; and many a pleasant walk have we had along this path, and returned merrily after midnight. I would fain be friends with you for their sake.”
::你将说:有这样的公司吗?你将说:有这样的公司吗?我看见那个长者,就向他解释他的停留情况。你说:古德曼·布朗啊!我与你的家人同在清教徒中,我对于你的家属是象以前一样的。你说:这是毫无怨言的。当时,我曾帮助你的祖父,即治安官,当他精明地把贵格教徒的女子从萨勒姆的街道上推倒出去的时候;我曾为你父亲带来了一道圆洞,在我心头上燃起的,在菲利浦国王的战争中,他们把一个印地安村庄放火。他们俩都是我的好朋友,我们有许多人沿着这条路愉快地走过,午夜之后又回来。我将为了他们而与你交友。

“If it be as thou sayest,” replied Goodman Brown, “I marvel they never spoke of these matters; or, verily, I marvel not, seeing that the least rumor of the sort would have driven them from New England. We are a people of prayer, and good works to boot, and abide no such wickedness.”
::他说:假若你所说的那样,(我必说):古德曼·布朗说:我真希望他们从未说过这些话。我的确不惊讶,因为那类谣言,能把他们逐出新英格兰。我们是谨守拜功的,是善功的,绝无恶行。

“Wickedness or not,” said the traveller with the twisted staff, “I have a very general acquaintance here in New England. The deacons of many a church have drunk the communion wine with me; the selectmen of divers towns make me their chairman; and a majority of the Great and General Court are firm supporters of my interest. The governor and I, too—But these are state secrets.”
::旅行者用扭曲的手杖说 : “ 生病与否? ” 旅行者用扭曲的手杖说 : “ 我在新英格兰这里有一个非常普通的熟人。许多教堂的执事和我喝完了圣餐酒;潜水者城镇的选手让我当主席;大多数大法院和普通法院都坚定支持我的利益。州长和我也是 — — 但这些都是国家机密。 ”

“Can this be so?” cried Goodman Brown, with a stare of amazement at his undisturbed companion. “Howbeit, I have nothing to do with the governor and council; they have their own ways, and are no rule for a simple husbandman like me. But, were I to go on with thee, how should I meet the eye of that good old man, our minister, at Salem village? Oh, his voice would make me tremble both Sabbath day and lecture day.”
::古德曼·布朗曾喊叫他说:难道这样吗?他说:古德曼·布朗对他不受干扰的同伴大发雷霆。他说:我与总督和议会毫无关系,他们有自己的方式,他们对一个像我一样的单纯的丈夫来说,不是规则。如果我继续和你在一起,那我怎能在塞勒姆村见到这位善良的老人,即我们的部长的眼睛呢?哦,他的声音将使我震撼安息日与演讲日。

Thus far the elder traveller had listened with due gravity; but now burst into a fit of irrepressible mirth, shaking himself so violently that his snake-like staff actually seemed to wriggle in sympathy.
::到目前为止,老年旅行者以应有的重心聆听了这些话;但现在却陷入了不可压制的欢乐之中,摇晃得如此剧烈,以至于他的蛇般的手杖似乎实际上在同情中摇摆。

“Ha! ha! ha!” shouted he again and again; then composing himself, “Well, go on, Goodman Brown, go on; but, prithee, don't kill me with laughing.”
::“哈哈哈哈!”他一次又一次地喊叫他,然后把自己说成是:“好吧,古德曼·布朗,继续说;但 Prithee, 不要笑杀我。”

“Well, then, to end the matter at once,” said Goodman Brown, considerably nettled, “there is my wife, Faith. It would break her dear little heart; and I'd rather break my own.”
::古德曼·布朗(Goodman Brown)说 , “ 那么,为了立即了结此事, ” 布朗(Goodman Brown)说 , “ 我的妻子, 信仰, 将打破她亲爱的小心, 我宁愿伤伤自己的心。 ”

“Nay, if that be the case,” answered the other, “e'en go thy ways, Goodman Brown. I would not for twenty old women like the one hobbling before us that Faith should come to any harm.”
::他说:不然!你走你的大道吧!古德曼·布朗啊!我对于像我们面前的二十个老妇人那样妄言信道必遭祸福的人,我绝不为她们而奋斗。

As he spoke he pointed his staff at a female figure on the path, in whom Goodman Brown recognized a very pious and exemplary dame, who had taught him his catechism in youth, and was still his moral and spiritual adviser, jointly with the minister and Deacon Gookin.
::当他讲话时,他指着自己的工作人员站在一条道路上的一位女性人物面前,古德曼·布朗认出了一位非常虔诚和堪称楷模的女士,他在年轻时教过他学艺,他仍然是他的道德和精神顾问,与部长和Deacon Gookin一起。

“A marvel, truly, that Goody Cloyse should be so far in the wilderness at nightfall,” said he. “But with your leave, friend, I shall take a cut through the woods until we have left this Christian woman behind. Being a stranger to you, she might ask whom I was consorting with and whither I was going.”
::他说:古德洛伊·克劳斯在夜幕降临在荒野,这真是一件奇事。他说:朋友,如果你允许,我将在树林中划一刀,直到我们把这个基督教妇女抛在后面。她对你们是陌生的,她或许会问我和谁在一起,我要去哪里。

“Be it so,” said his fellow-traveller. “Betake you to the woods, and let me keep the path.”
::他说:你们遵命吧!他同行的旅客说:你们到树林里去,让我守住道路。

Accordingly the young man turned aside, but took care to watch his companion, who advanced softly along the road until he had come within a staff's length of the old dame. She, meanwhile, was making the best of her way, with singular speed for so aged a woman, and mumbling some indistinct words—a prayer, doubtless—as she went. The traveller put forth his staff and touched her withered neck with what seemed the serpent's tail.
::因此,这位年轻男子转身而退,但望着他的同伴,她温柔地在路上前进,直到他到达一个老妇人身内。与此同时,她正在尽她所能,为如此年长的妇女以奇快的速度,在她行走时轻轻地低声低语——祷告。旅行者伸出他的手杖,用蛇的尾巴抚摸她枯萎的脖子。

“The devil!” screamed the pious old lady.
::“魔鬼!”尖叫着这位虔诚的老妇人。

“Then Goody Cloyse knows her old friend?” observed the traveller, confronting her and leaning on his writhing stick.
::“然后Goody Cloyse认识她的老朋友?” 观察旅行者,面对她,靠着他的手杖。

“Ah, forsooth, and is it your worship indeed?” cried the good dame. “Yea, truly is it, and in the very image of my old gossip, Goodman Brown, the grandfather of the silly fellow that now is. But—would your worship believe it?—my broomstick hath strangely disappeared, stolen, as I suspect, by that unhanged witch, Goody Cory, and that, too, when I was all anointed with the juice of smallage, and cinquefoil, and wolf's bane.”
::“啊!忘恩负义,难道是你的崇拜吗?”她喊道:“是的,的确如此吗?”她喊道:“真的如此吗?正如我以前所传的八卦所传的一样,现在这个愚蠢的同胞的祖父,古德曼·布朗(Goodman Brown)是现今的愚人。难道你的崇拜能相信吗?”我的扫帚奇怪地消失了,被我所猜想的那个未挂的女巫,古德·科里偷走了,而且当我被小块汁、肉汁和野狼的暴风所迷惑的时候,我也是被迷惑的。”

“Mingled with fine wheat and the fat of a new-born babe,” said the shape of old Goodman Brown.
::古德曼·布朗(Goodman Brown)的形状说,

“Ah, your worship knows the recipe,” cried the old lady, cackling aloud. “So, as I was saying, being all ready for the meeting, and no horse to ride on, I made up my mind to foot it; for they tell me there is a nice young man to be taken into communion to-night. But now your good worship will lend me your arm, and we shall be there in a twinkling.”
::你们的礼拜,的确知道菜谱,但这位老妇人大喊大叫地说:我曾说:我已准备好开会了,没有骑马可骑了。我已下定决心去骑马了。他们说:我有一个善良的年轻人,要被带去过夜的圣餐。现在,你们的善功,将赏赐我你的手,我们将在一瞬间。

“That can hardly be,” answered her friend. “I may not spare you my arm, Goody Cloyse; but here is my staff, if you will.”
::她的朋友回答他说:那是不可能的,我绝不饶恕你。优美的克洛伊斯啊!如果你愿意,这是我的仆人。

So saying, he threw it down at her feet, where, perhaps, it assumed life, being one of the rods which its owner had formerly lent to the Egyptian magi. Of this fact, however, Goodman Brown could not take cognizance. He had cast up his eyes in astonishment, and, looking down again, beheld neither Goody Cloyse nor the serpentine staff, but his fellow-traveller alone, who waited for him as calmly as if nothing had happened.
::他说:他把它扔在她的脚下,那头牛也许以为是生命,那是它的主人以前借给埃及大魔杖的一根棍子。但Goodman Brown却不能觉悟。他把目光投在惊恐之中,再看下去,他既不能看见Goody Cloyse,也不能看见蛇爪子,但他的同伴们孤单地等待他,他们原是平静地等待他的,犹如什么都没发生一样。

“That old woman taught me my catechism,” said the young man; and there was a world of meaning in this simple comment.
::年轻男子说:“那个老妇人教我我的学说;在这个简单的评论中,有一个意义深远的世界。

They continued to walk onward, while the elder traveller exhorted his companion to make good speed and persevere in the path, discoursing so aptly that his arguments seemed rather to spring up in the bosom of his auditor than to be suggested by himself. As they went, he plucked a branch of maple to serve for a walking stick, and began to strip it of the twigs and little boughs, which were wet with evening dew. The moment his fingers touched them they became strangely withered and dried up as with a week's sunshine. Thus the pair proceeded, at a good free pace, until suddenly, in a gloomy hollow of the road, Goodman Brown sat himself down on the stump of a tree and refused to go any farther.
::他们继续往前走,而老年旅行者则劝告他的同伴们要加快速度,坚持走在路上,他以非常贴切的方式发表其论点,似乎他的论点在审计员的怀中浮现,而不是由他自己提出来。当他们走去时,他拔了一张地图的枝子,为一根木棍服务,并开始脱下树枝和小树枝,这些树枝湿润了夜露,他的手指触摸他们的时候,他们变得奇怪地枯萎和干,就像一个星期的阳光一样。一对树枝在一条漆黑的路上,忽然地走来,古德曼·布朗(Goodman Brown)坐在一棵树的树上,拒绝走更远。

“Friend,” said he, stubbornly, “my mind is made up. Not another step will I budge on this errand. What if a wretched old woman do choose to go to the devil when I thought she was going to heaven: is that any reason why I should quit my dear Faith and go after her?”
::他说:朋友啊!他固执地说:我已下定决心了,我不为这件事再踏一步。如果一个可怜的老妇人,在我以为她将入天堂的时候,选择去见恶魔,那末,她会变成恶魔吗?这就是我为什么放弃我所爱的信仰,而追随她呢?

“You will think better of this by and by,” said his acquaintance, composedly. “Sit here and rest yourself a while; and when you feel like moving again, there is my staff to help you along.” Without more words, he threw his companion the maple stick, and was as speedily out of sight as if he had vanished into the deepening gloom. The young man sat a few moments by the roadside, applauding himself greatly, and thinking with how clear a conscience he should meet the minister in his morning walk, nor shrink from the eye of good old Deacon Gookin. And what calm sleep would be his that very night, which was to have been spent so wickedly, but so purely and sweetly now, in the arms of Faith! Amidst these pleasant and praiseworthy meditations, Goodman Brown heard the tramp of horses along the road, and deemed it advisable to conceal himself within the verge of the forest, conscious of the guilty purpose that had brought him thither, though now so happily turned from it.
::他说:你们坐在这里休息一会儿吧!当你们感觉好象再动起来的时候,我的仆人确已来帮助你们了。没有别的言辞,他就把他的同伴扔在了地上,好像消失在深沉的阴暗中一样迅速地抛下。这位年轻人坐在路边的一瞬间,为自己鼓掌,怀着良心在早晨散步时与部长见面,而不是从老德肯·古金的眼中缩水。他那一夜所度过的夜晚,是何等平静的睡眠呢?当时,他在信道的怀抱中被如此邪恶,但现在却如此纯洁和甜蜜!在这些愉快和值得称赞的默念中,古德曼·布朗听到了沿路骑马的声音,认为最好在森林的尽头躲藏起来,并意识到带他去的罪恶目的,尽管他现在如此愉快地转身。

On came the hoof tramps and the voices of the riders, two grave old voices, conversing soberly as they drew near. These mingled sounds appeared to pass along the road, within a few yards of the young man's hiding-place; but, owing doubtless to the depth of the gloom at that particular spot, neither the travellers nor their steeds were visible. Though their figures brushed the small boughs by the wayside, it could not be seen that they intercepted, even for a moment, the faint gleam from the strip of bright sky athwart which they must have passed. Goodman Brown alternately crouched and stood on tiptoe, pulling aside the branches and thrusting forth his head as far as he durst without discerning so much as a shadow. It vexed him the more, because he could have sworn, were such a thing possible, that he recognized the voices of the minister and Deacon Gookin, jogging along quietly, as they were wont to do, when bound to some ordination or ecclesiastical council. While yet within hearing, one of the riders stopped to pluck a switch.
::骑马者们的马蹄和马车的呼声出现了,有两个古老的古老的声音,当他们走近的时候,他们就清醒地说话。这些混杂的声音似乎在年轻人藏身之地的几码处沿路传过,但毫无疑问地由于那个地方阴暗的深处,旅行者或他们的马蹄都看不到。虽然他们的数字在路边刷了小树枝,但看不到他们拦截了他们必须经过的明亮天空的一片微弱的光芒,哪怕是一瞬间。古林德曼·布朗(Goodman Brown)交替地俯伏,站在尖塔上,拉开树枝,把头推到他头部最远的地方,而没有看到太多的影子。更令人惊讶的是,因为他可能发誓,他认出了部长和杜肯·古金的声音,静静静地跟着他们所要做的事,当他们被绑在某位驾车的路上时,当他们停止一些调或弯曲曲曲的时候。

“Of the two, reverend sir,” said the voice like the deacon's, “I had rather miss an ordination dinner than to-night's meeting. They tell me that some of our community are to be here from Falmouth and beyond, and others from Connecticut and Rhode Island, besides several of the Indian powwows, who, after their fashion, know almost as much deviltry as the best of us. Moreover, there is a goodly young woman to be taken into communion.”
::像执事那样的两位牧师说 : “ 我宁愿错过一个宴会而不是今晚的会议。他们告诉我说,我们的一些社区将来自法尔茅斯和其他地方,还有来自康涅狄格和罗得岛的其他人,除了几个印度乡巴佬之外,还有几个印度乡巴佬,他们随着时装,几乎比我们更了解魔鬼。此外,还有一位优秀的年轻女子要被带入圣餐。 ”

“Mighty well, Deacon Gookin!” replied the solemn old tones of the minister. “Spur up, or we shall be late. Nothing can be done, you know, until I get on the ground.”
::“万事大吉,Deacon Gookin!”他回答道,部长的老调是庄严的。 “你给我安静下来,否则我们就迟到,在我到达地面之前,什么也做不了。 ”

The hoofs clattered again; and the voices, talking so strangely in the empty air, passed on through the forest, where no church had ever been gathered or solitary Christian prayed. Whither, then, could these holy men be journeying so deep into the heathen wilderness? Young Goodman Brown caught hold of a tree for support, being ready to sink down on the ground, faint and overburdened with the heavy sickness of his heart. He looked up to the sky, doubting whether there really was a heaven above him. Yet there was the blue arch, and the stars brightening in it.
::蹄子又响起;那些声音,在空空的空气中说得如此奇异,从未聚集过任何教堂,或虔诚的基督教徒祈祷过的森林中传过出去。这些圣人能到哪里去呢?他们能到这么深的荒野中去呢?年轻的古德曼·布朗抓住一棵树来支撑他,他准备沉在地上,昏倒在地上,他心中的重病使他不堪。他仰望天空,怀疑他上面是否真的有天堂。但有蓝拱门,那棵星座也照亮了。

“With heaven above and Faith below, I will yet stand firm against the devil!” cried Goodman Brown.
::我必在天上与众神同在天下与众信德之下,我必对恶魔坚定不移。(此处叩头!)他喊叫:古德曼·布朗。

While he still gazed upward into the deep arch of the firmament and had lifted his hands to pray, a cloud, though no wind was stirring, hurried across the zenith and hid the brightening stars. The blue sky was still visible, except directly overhead, where this black mass of cloud was sweeping swiftly northward. Aloft in the air, as if from the depths of the cloud, came a confused and doubtful sound of voices. Once the listener fancied that he could distinguish the accents of towns-people of his own, men and women, both pious and ungodly, many of whom he had met at the communion table, and had seen others rioting at the tavern. The next moment, so indistinct were the sounds, he doubted whether he had heard aught but the murmur of the old forest, whispering without a wind. Then came a stronger swell of those familiar tones, heard daily in the sunshine at Salem village, but never until now from a cloud of night. There was one voice of a young woman, uttering lamentations, yet with an uncertain sorrow, and entreating for some favor, which, perhaps, it would grieve her to obtain; and all the unseen multitude, both saints and sinners, seemed to encourage her onward.
::当他仍然向着紧要的深拱朝上看,并举起手来祈祷时,一片云,虽然没有风在震动,却在天顶上奔驰,隐藏着亮亮的星星。蓝色的天空仍然是可见的,除了直接在天上,这个黑色的云团正在迅速向北飞去。空气中飘动,仿佛从云层深处发出一种混乱和令人怀疑的声音。当听众幻想他能够区分自己城镇人民的口音,男人和女人,无论他们是虔诚的还是不虔诚的,许多他曾经在圣餐桌上见到过的人,也看到过其他人在酒馆里暴动。下一刻,声音如此模糊,他怀疑他是否听到过古老森林的乌乌鸦,却无风而低声低语。然后,在萨勒姆村的阳光里每天都听到一些熟悉的人,发出更强烈的呼喊声,但直到现在从未听到过夜云。有一个年轻女人的声音,说出悲叹的口号,却看到许多人在圣堂上充满悲痛,也许使她感到沉痛痛楚。

“Faith!” shouted Goodman Brown, in a voice of agony and desperation; and the echoes of the forest mocked him, crying, “Faith! Faith!” as if bewildered wretches were seeking her all through the wilderness.
::“Faith!” 用痛苦和绝望的声音喊着“Faith!” Goodman Brown; 森林的回声嘲弄他,喊着说:Faith!Faith!

The cry of grief, rage, and terror was yet piercing the night, when the unhappy husband held his breath for a response. There was a scream, drowned immediately in a louder murmur of voices, fading into far-off laughter, as the dark cloud swept away, leaving the clear and silent sky above Goodman Brown. But something fluttered lightly down through the air and caught on the branch of a tree. The young man seized it, and beheld a pink ribbon.
::悲伤、愤怒和恐怖的呼喊在夜里打穿了夜幕,当时不快乐的丈夫屏住呼吸以作回应。当时有人尖叫,立即被淹没在声音响亮的杂音中,逐渐淡化为远处的欢笑,当乌云笼罩在乌云中,留下古德曼·布朗上方的清静天空。但有东西在空气中轻轻地飘落下来,被树枝抓住。年轻人抓住了它,并拿着粉红色的丝带。

“My Faith is gone!” cried he, after one stupefied moment. “There is no good on earth; and sin is but a name. Come, devil; for to thee is this world given.”
::我的信仰已逝去了。当时,他痛哭地说:大地上没有任何福利,罪过只是一种名称。恶魔啊!你来吧!今世的生活,只给你一个名称。

And, maddened with despair, so that he laughed loud and long, did Goodman Brown grasp his staff and set forth again, at such a rate that he seemed to fly along the forest path rather than to walk or run. The road grew wilder and drearier and more faintly traced, and vanished at length, leaving him in the heart of the dark wilderness, still rushing onward with the instinct that guides mortal man to evil. The whole forest was peopled with frightful sounds—the creaking of the trees, the howling of wild beasts, and the yell of Indians; while sometimes the wind tolled like a distant church bell, and sometimes gave a broad roar around the traveller, as if all Nature were laughing him to scorn. But he was himself the chief horror of the scene, and shrank not from its other horrors.
::古德曼·布朗在绝望中疯狂地大笑,大喊大叫、长喊大叫,他是否抓住了自己的手杖,又以这种速度再次出发,他似乎在森林道路上飞,而不是走路或跑步。这条路变得更加狂野、更加迷茫、更加隐蔽,并且消失得更远,把他丢在黑暗的荒野中心,仍然带着引导人类走向邪恶的本能匆匆向前走。整个森林里的人都充满了可怕的声音——树木的裂痕、野兽的咆哮和印第安人的叫喊;有时风像一个遥远的教堂钟声一样吹响,有时在旅行者周围大吼,就像大自然都在嘲笑他一样。但他本人是现场的主要恐怖人物,而不是从其他恐怖中摇晃动。

“Ha! ha! ha!” roared Goodman Brown when the wind laughed at him.
::“哈哈哈!”当风笑着古德曼·布朗时,他叫喊着“哈哈!”

“Let us hear which will laugh loudest. Think not to frighten me with your deviltry. Come witch, come wizard, come Indian powwow, come devil himself, and here comes Goodman Brown. You may as well fear him as he fear you.”
::让我们听听最大声的笑语吧!你们不要以你们的恶行吓唬我。你们来吧,女巫、巫师、印度教徒、恶魔、古德曼·布朗啊!你们或许象他畏惧你们一样畏惧他。

In truth, all through the haunted forest there could be nothing more frightful than the figure of Goodman Brown. On he flew among the black pines, brandishing his staff with frenzied gestures, now giving vent to an inspiration of horrid blasphemy, and now shouting forth such laughter as set all the echoes of the forest laughing like demons around him. The fiend in his own shape is less hideous than when he rages in the breast of man. Thus sped the demoniac on his course, until, quivering among the trees, he saw a red light before him, as when the felled trunks and branches of a clearing have been set on fire, and throw up their lurid blaze against the sky, at the hour of midnight. He paused, in a lull of the tempest that had driven him onward, and heard the swell of what seemed a hymn, rolling solemnly from a distance with the weight of many voices. He knew the tune; it was a familiar one in the choir of the village meeting-house. The verse died heavily away, and was lengthened by a chorus, not of human voices, but of all the sounds of the benighted wilderness pealing in awful harmony together. Goodman Brown cried out, and his cry was lost to his own ear by its unison with the cry of the desert.
::诚然,在闹鬼的森林中,无处可见,没有比古德曼·布朗(Goodman Brown)更可怕的了。当他飞在黑松林中,用疯狂的手势挥舞他的手杖,现在他发出可怕的亵渎的灵感,现在他大喊大叫,把森林中的所有回声都放在他周围笑得像恶魔一样的声音上。他自己形状的恶魔比在人胸中发怒时更可怕。这样就在他的行踪上触动了恶魔,直到他看到一个红灯,在他面前,他看到一个红灯,就像一个清扫的树干和树枝被点燃了一样,在午夜的时候,他把那些破烂的树枝和树枝朝天空扔上。他停在摇晃动的灯里,听到一个响亮的旋律,从许多声音的距离上滚动起来。他知道这个旋律;他在村会合唱室里看到一个熟悉的红灯光光。这时,他的耳光线被烧死在火上,在深处,在深处,在夜里,他那张着着的心的心的心地的心地地,他的心和心地里沉沉睡里。他沉沉地里,他沉沉地地地地地地地哭。

In the interval of silence he stole forward until the light glared full upon his eyes. At one extremity of an open space, hemmed in by the dark wall of the forest, arose a rock, bearing some rude, natural resemblance either to an alter or a pulpit, and surrounded by four blazing pines, their tops aflame, their stems untouched, like candles at an evening meeting. The mass of foliage that had overgrown the summit of the rock was all on fire, blazing high into the night and fitfully illuminating the whole field. Each pendent twig and leafy festoon was in a blaze. As the red light arose and fell, a numerous congregation alternately shone forth, then disappeared in shadow, and again grew, as it were, out of the darkness, peopling the heart of the solitary woods at once.
::在静默的间隔中,他偷走了前方,直到他满眼的光线。在一片空旷的空间里,被森林黑暗的墙堵住,形成一块岩石,与一个变种物或枕头有些粗鲁和自然的相似之处,四周有四根火辣的松树,他们的顶部火焰,他们的树枝,像夜会的蜡烛一样,没有动静。岩石顶顶部的叶子堆积如蜡烛一样,全火烧着,高到黑夜,整片地都照亮了。每根笔尖的树枝和绿叶松在烈火中。随着红光的出现和落下,一个众多的会众纷纷相交而散,然后在阴影中消失,然后再次从黑暗中长出,紧紧紧紧地将孤独的树林的心挖出来。

“A grave and dark-clad company,” quoth Goodman Brown.
::古德曼·布朗(Goodman Brown),

In truth they were such. Among them, quivering to and fro between gloom and splendor, appeared faces that would be seen next day at the council board of the province, and others which, Sabbath after Sabbath, looked devoutly heavenward, and benignantly over the crowded pews, from the holiest pulpits in the land. Some affirm that the lady of the governor was there. At least there were high dames well known to her, and wives of honored husbands, and widows, a great multitude, and ancient maidens, all of excellent repute, and fair young girls, who trembled lest their mothers should espy them. Either the sudden gleams of light flashing over the obscure field bedazzled Goodman Brown, or he recognized a score of the church members of Salem village famous for their especial sanctity. Good old Deacon Gookin had arrived, and waited at the skirts of that venerable saint, his revered pastor. But, irreverently consorting with these grave, reputable, and pious people, these elders of the church, these chaste dames and dewy virgins, there were men of dissolute lives and women of spotted fame, wretches given over to all mean and filthy vice, and suspected even of horrid crimes. It was strange to see that the good shrank not from the wicked, nor were the sinners abashed by the saints. Scattered also among their pale-faced enemies were the Indian priests, or powwows, who had often scared their native forest with more hideous incantations than any known to English witchcraft.
::诚然,他们都是如此。在他们当中,有些面孔在阴暗和阴暗之间颤抖,有些面孔在下个安息日安息后,在安息日之后,看着虔诚的天堂,对来自这片土地上最神圣的雕像的拥挤的树枝满目不忘。有些人肯定地说,总督的夫人在那里。至少有她所认识的高贵的女士,以及尊贵的丈夫和寡妇的妻子,众多的和古老少女,她们都是极品品的,她们都是极品的,她们都是极品的,她们害怕的。她们与这些坟墓、诚实的和丑陋的男子,这些教堂的长老们,这些以他们特别的神圣著称而闻名的教堂成员,这些古老的Deacon Gookin已经到来,并且等待着那个可敬的圣徒,他敬重的牧师的衣食。但是,在他们中间和这些善良的、正直的、正直的、善良的男子之间,他们中间的、诚实的和肮脏的、肮脏的、肮脏的、肮脏的、肮脏的、肮脏的、肮脏的男子中间,这些是那些在教堂的、深处女的、深处的、深处的、深处和妇女中间,这些深处的、深处和肮脏的、深处的、深处的、深处。

“But where is Faith?” thought Goodman Brown; and, as hope came into his heart, he trembled. Another verse of the hymn arose, a slow and mournful strain, such as the pious love, but joined to words which expressed all that our nature can conceive of sin, and darkly hinted at far more. Unfathomable to mere mortals is the lore of fiends. Verse after verse was sung; and still the chorus of the desert swelled between like the deepest tone of a mighty organ; and with the final peal of that dreadful anthem there came a sound, as if the roaring wind, the rushing streams, the howling beasts, and every other voice of the unconcerted wilderness were mingling and according with the voice of guilty man in homage to the prince of all. The four blazing pines threw up a loftier flame, and obscurely discovered shapes and visages of horror on the smoke wreaths above the impious assembly. At the same moment the fire on the rock shot redly forth and formed a glowing arch above its base, where now appeared a figure. With reverence be it spoken, the figure bore no slight similitude, both in garb and manner, to some grave divine of the New England churches.
::古德曼·布朗曾说:但信在哪里呢?他以为古德曼·布朗(Goodman Brown)呢?他心怀希望的时候,他颤抖了。诗歌中的另一首诗词出现了,缓慢而悲哀,如虔诚的爱,但又加入了各种言辞,这些言辞表达了我们本性可以想象的罪孽,而黑暗的暗示远不止如此。对凡人来说,不可理解是幽灵的末日。这四个发热的松动的松动的松动的火焰喷出一股浓烈的火焰;沙漠的合唱声在像一个伟大器官的最深处的音调一样涌出;那恐怖的歌歌最后一出声响起,就像咆哮的狂风、冲涌的溪流、咆哮的野兽和未惊慌的野野野野的所有其他声音,都与罪人的声音相融合在一起,向众王朝。四颗亮的松动的松动的松动的松动的松动的松动的松动的松动的松动,在上模糊的形状和恐怖的壁上,不动的响的响的响的响着的响的歌。同时,在岩石上, 岩石上的火焰正在着的壁上朝红动着着着着的岩石的壁,朝前方的壁上,朝前方,朝前方,朝前方,朝前方,朝前方,朝前方,朝前方朝前方,朝,朝,朝着着着,朝,朝前方朝,朝,朝,朝下朝着着着着着着着着朝,朝,朝前方,朝前方,朝着着着着着着着着着着朝,朝前方,朝前方,朝,朝前方,朝前方,朝前方,朝前方,朝前方,朝前方,朝前方,朝前方,朝前方,朝前方,朝前方,朝前方,朝前方,朝,朝,朝,朝着着着着着着着着着着着着着着着着着着着着着着着着着着着着朝,朝,朝,朝,朝,朝,朝,朝,朝,朝,朝,朝,朝,朝,朝

“Bring forth the converts!” cried a voice that echoed through the field and rolled into the forest.
::“把皈依者带来!”

At the word, Goodman Brown stepped forth from the shadow of the trees and approached the congregation, with whom he felt a loathful brotherhood by the sympathy of all that was wicked in his heart. He could have well-nigh sworn that the shape of his own dead father beckoned him to advance, looking downward from a smoke wreath, while a woman, with dim features of despair, threw out her hand to warn him back. Was it his mother? But he had no power to retreat one step, nor to resist, even in thought, when the minister and good old Deacon Gookin seized his arms and led him to the blazing rock. Thither came also the slender form of a veiled female, led between Goody Cloyse, that pious teacher of the catechism, and Martha Carrier, who had received the devil's promise to be queen of hell. A rampant hag was she. And there stood the proselytes beneath the canopy of fire.
::古德曼·布朗从树的阴影中站起来,来到了会众,他因心中邪恶的人的同情而感到一个令人憎恶的兄弟。他差点发誓说,他死去的父亲的形状从一根烟花向下朝下朝他前进,而一个女人,怀着阴暗的绝望特征,伸出她的手来警告他。他的母亲呢?他没有力量退后一步,也没有抵抗,即使在思想上也是如此。当时,牧师和好心的老迪孔·古金抓住他的手臂,并带领他来到燃烧的岩石上。蒂瑟还带着蒙着面纱的女子的模样,在古德·克洛伊斯,那个虔诚的剑术师和玛莎·卡丽尔之间,她接受了恶魔的为地狱女王的诺言。她是一个狂野的巫婆。火的阴道下,有流的阴道。

“Welcome, my children,” said the dark figure, “to the communion of your race. Ye have found thus young your nature and your destiny. My children, look behind you!”
::黑暗的人物说:我的孩子们啊!你们来到你们的种族的交汇处吧!你们发现你们的本性与命运是如此的年轻。我的孩子啊!你们看你们后面吧!

They turned; and flashing forth, as it were, in a sheet of flame, the fiend worshippers were seen; the smile of welcome gleamed darkly on every visage.
::他们转身而奔走,他们象在火焰中一样闪烁,他们看见恶魔的礼拜者;每面上都暗淡地闪烁着欢迎者的笑容。

“There,” resumed the sable form, “are all whom ye have reverenced from youth. Ye deemed them holier than yourselves, and shrank from your own sin, contrasting it with their lives of righteousness and prayerful aspirations heavenward. Yet here are they all in my worshipping assembly. This night it shall be granted you to know their secret deeds: how hoary-bearded elders of the church have whispered wanton words to the young maids of their households; how many a woman, eager for widows' weeds, has given her husband a drink at bedtime and let him sleep his last sleep in her bosom; how beardless youths have made haste to inherit their fathers' wealth; and how fair damsels—blush not, sweet ones—have dug little graves in the garden, and bidden me, the sole guest to an infant's funeral. By the sympathy of your human hearts for sin ye shall scent out all the places—whether in church, bedchamber, street, field, or forest—where crime has been committed, and shall exult to behold the whole earth one stain of guilt, one mighty blood spot. Far more than this. It shall be yours to penetrate, in every bosom, the deep mystery of sin, the fountain of all wicked arts, and which inexhaustibly supplies more evil impulses than human power—than my power at its utmost—can make manifest in deeds. And now, my children, look upon each other.”
:我曾派遣)你们去教化那些少年,你们把那些少年,当做你们的青年,你们把那些少年,当做你们的青年,你们把那些少年,当做你们的青年,你们把那些少年,当做你们的奴婢,你们把那些少年,当做你们的配主,你们把那些少年,当做你们的奴婢。你们把那些少年,当做你们的青年,你们把那些少年,当做你们的青年,当做你们的青年,你们把那些少年,当做你们的青年,你们把那些少年,当做你们的青年,你们把那些少年,当做你们的青年,你们把那些少年,当做你们的奴婢;他们把那些少年,当做你们的奴婢,当做你们的罪过,当做你们的奴婢,当做你们的奴婢,当做你们的奴婢,当做你们的奴婢,当做你们的奴婢。凡人的奴婢,當做你們的奴婢,當做你們的奴婢,當做你們的奴婢。

They did so; and, by the blaze of the hell-kindled torches, the wretched man beheld his Faith, and the wife her husband, trembling before that unhallowed altar.
::他们确已做了这件事。以火狱点燃的火把盟誓,那薄命的人,和她的丈夫的妻子,在那个荒凉的祭坛前,为他而颤抖。

“Lo, there ye stand, my children,” said the figure, in a deep and solemn tone, almost sad with its despairing awfulness, as if his once angelic nature could yet mourn for our miserable race.
::“你们站在那里,我的孩子们,站在那里”这个人物以深刻和庄严的语调说,他几乎对绝望的可怕感到悲哀,仿佛他曾经的天使般的天性仍然能为我们悲惨的种族哀悼。

“Depending upon one another's hearts, ye had still hoped that virtue were not all a dream. Now are ye undeceived. Evil is the nature of mankind. Evil must be your only happiness. Welcome again, my children, to the communion of your race.”
::你们彼此的心,彼此的心,彼此的心,彼此的心,彼此的心,彼此的心,彼此的心,彼此的心,彼此的心,彼此的心,互相的心,互相的心,互相的心,互相的心,互相的心,互相的心,互相的心,互相的心,互相的心,互相的心,互相的心;互相的心,互相的心;互相的心,互相的心;互相的心;互相的心,互相的心;互相的心;互相的心;互相的心;互相的心;互相的心;互相的心;互相的心;互相的心;互相的心;互相的心;互相的心;互相的心;互相的心;互相的心;互相的心;互相的心,互相的心;互相的心;互相的心;互相的心;互相的心;互相的心。

“Welcome,” repeated the fiend worshippers, in one cry of despair and triumph.
::“欢迎”在一次绝望和胜利的呼喊中,重复了虔诚的信徒。

And there they stood, the only pair, as it seemed, who were yet hesitating on the verge of wickedness in this dark world. A basin was hollowed, naturally, in the rock. Did it contain water, reddened by the lurid light? or was it blood? or, perchance, a liquid flame? Herein did the shape of evil dip his hand and prepare to lay the mark of baptism upon their foreheads, that they might be partakers of the mystery of sin, more conscious of the secret guilt of others, both in deed and thought, than they could now be of their own. The husband cast one look at his pale wife, and Faith at him. What polluted wretches would the next glance show them to each other, shuddering alike at what they disclosed and what they saw!
::他们站在那里,那对是唯一一对,他们好像在黑暗世界中的恶行的边缘上犹豫不决。一个盆地,自然地在岩石里被空洞。那盆水是含水的,被昏暗的光所累累的吗?还是有血呢?还是有血呢?还是有水火呢?这是恶魔的手掌,他准备在他们的额头上打打洗的记号,以便他们分解罪恶的奥秘,以便他们比他们更清楚别人的罪恶,无论在行动上还是在思想上,都比他们更清楚别人的罪过。他的丈夫,以他的妻子为表情,以他为信道的面目看一看。什么污秽的花样,在他们所暴露的和所见的方面,使他们互相震动。

“Faith! Faith!” cried the husband, “look up to heaven, and resist the wicked one.”
::丈夫说:你应当仰望天,你应当抗拒恶人,你应当反抗恶人。

Whether Faith obeyed he knew not. Hardly had he spoken when he found himself amid calm night and solitude, listening to a roar of the wind which died heavily away through the forest. He staggered against the rock, and felt it chill and damp; while a hanging twig, that had been all on fire, besprinkled his cheek with the coldest dew.
::他不知道信仰是否顺从。当他在宁静的夜间和孤单中发现自己的时候,他很少说话,当时他听到在森林中大量死亡的狂风的咆哮。他冲向岩石,感觉它寒冷和潮湿;当时,一头被吊在火上的人,用最寒冷的露露水打他的脸颊。

The next morning young Goodman Brown came slowly into the street of Salem village, staring around him like a bewildered man. The good old minister was taking a walk along the graveyard to get an appetite for breakfast and meditate his sermon, and bestowed a blessing, as he passed, on Goodman Brown. He shrank from the venerable saint as if to avoid an anathema. Old Deacon Gookin was at domestic worship, and the holy words of his prayer were heard through the open window. “What God doth the wizard pray to?” quoth Goodman Brown. Goody Cloyse, that excellent old Christian, stood in the early sunshine at her own lattice, catechizing a little girl who had brought her a pint of morning's milk. Goodman Brown snatched away the child as from the grasp of the fiend himself. Turning the corner by the meeting-house, he spied the head of Faith, with the pink ribbons, gazing anxiously forth, and bursting into such joy at sight of him that she skipped along the street and almost kissed her husband before the whole village. But Goodman Brown looked sternly and sadly into her face, and passed on without a greeting.
::第二天早晨,古曼·布朗年轻人慢慢地来到萨利姆村的街道上,他像一个昏昏欲睡的人一样盯着他。这位年老的牧师正沿着墓地散步,以享受早餐的食欲和冥想他的布道,在古德曼·布朗路过时给一个祝福。他从那个可敬的圣人身上砍下来,仿佛避免了肛门。古金老的Deacon Gookkin在做家内礼拜,他祈祷的圣言通过开放的窗口被听到。“上帝向巫师祈祷什么?”像古德曼·布朗一样。古德·克洛伊斯,这位优秀的老基督徒,站在她的早年阳光下,坐在她自己的衣裙旁,对一个带了一杯早奶的小女孩进行催眠。古德曼·布朗将孩子从魔爪子上抢走,以避之身而去。在会堂的角落,他用粉色丝带刺了信仰的头,紧绷地向外拉出来,并冲入他眼前的欢喜悦,她一望,在街上和整个村庄前几乎亲吻她丈夫。但良好人。

Had Goodman Brown fallen asleep in the forest and only dreamed a wild dream of a witch-meeting?
::古德曼·布朗在森林里睡着了梦见了一个女巫聚会的狂野梦?

Be it so if you will; but, alas! it was a dream of evil omen for young Goodman Brown. A stern, a sad, a darkly meditative, a distrustful, if not a desperate man did he become from the night of that fearful dream. On the Sabbath day, when the congregation were singing a holy psalm, he could not listen because an anthem of sin rushed loudly upon his ear and drowned all the blessed strain. When the minister spoke from the pulpit with power and fervid eloquence, and, with his hand on the open Bible, of the sacred truths of our religion, and of saint-like lives and triumphant deaths, and of future bliss or misery unutterable, then did Goodman Brown turn pale, dreading lest the roof should thunder down upon the gray blasphemer and his hearers. Often, waking suddenly at midnight, he shrank from the bosom of Faith; and at morning or eventide, when the family knelt down at prayer, he scowled and muttered to himself, and gazed sternly at his wife, and turned away. And when he had lived long, and was borne to his grave a hoary corpse, followed by Faith, an aged woman, and children and grandchildren, a goodly procession, besides neighbors not a few, they carved no hopeful verse upon his tombstone, for his dying hour was gloom.
::如果你愿意的话,那确是古德曼·布朗的恶梦,那是古德曼·布朗的恶梦。从那恐怖的梦的夜里,他变成一个悲哀的、阴暗的、深沉沉思的、不信任的,如果不是绝望的人,也是从那恐怖的梦的夜里出生的。在安息日,当众人唱圣歌的时候,他听不到,因为一首罪恶之歌大声地摇在他的耳边,淹死了一切幸福的牲畜。当部长用权力和狂妄的言语,用他的手在公开的圣经上谈论我们宗教的神圣真理,以及圣徒般的生命和胜利的死亡,以及未来的幸福或苦难,如果不是不可磨光的。当古德曼·布朗在安息日,害怕屋顶会打倒灰色的盲文及其传道。他常常在半夜突然醒来时,从信心的触动中退下来;在上午或事件发生时,当家人在祈祷时,他向自己挥手,不动手,他向自己挥手,他妻子和子背着一个坚硬的死。

Review Questions
::回顾问题

lesson content

Write a 10-minute freewrite about your subjective view of “Young Goodman Brown.” Some questions you might want to consider: Did the story hold you in suspense, or did you find the plot predictable? What did you think of the ending? What did you think of Hawthorne's style of writing? What is Hawthorne saying about the society in which Goodman Brown lives? What is Hawthorne saying about Goodman Brown?
::写一篇关于你对“年轻古德曼·布朗”的主观看法的10分钟的自由写稿。你也许想考虑一些问题:故事是否让你处于悬念之中,还是你认为计划可以预测?你对结局有什么看法?你对霍桑的写作风格有什么看法?霍桑对古德曼·布朗所生活的社会有什么看法?霍桑对古德曼·布朗有什么看法?

Sketch a diagram of the plot of “Young Goodman Brown,” labeling the inciting incident, exposition, rising and falling action, climax, sub-climaxes, dénouement, and resolution. 2a. What point did you choose as the climax of “Young Goodman Brown” and why? 2b. Do you think “Young Goodman Brown” has several sub-climaxes, or are his encounters with the townspeople just part of the rising action? Explain your reasoning.
::2a. 你选择什么点作为“Young Goodman Brown”的高潮和为什么? 2b. 你认为“Young Goodman Brown”有几个次高潮,还是他与城镇人民的遭遇只是这一崛起行动的一部分?

What conflicts does Goodman Brown encounter? Are they internal conflicts, external conflicts, or both? Explain your reasoning.
::古德曼·布朗遇到什么冲突?它们是内部冲突、外部冲突还是两者兼有?解释一下你的推理。

We know that Goodman Brown is the protagonist of the story. However, who is the antagonist? Is there more than one?
::我们知道古德曼·布朗是这个故事的主角。然而,谁是敌对者?是不是不止一个?

What is the setting of “Young Goodman Brown”? 5a. Does the story have an internalized setting? If so, what is it and who internalizes it? 5b. What is the mood of “Young Goodman Brown”?
::“青年古德曼布朗”的设置是什么? 5a. 故事是否有内在化的设置? 如果是,那是什么以及谁将它内在化? 5b. “青年古德曼布朗”的心情是什么?

List some possible themes in “Young Goodman Brown.” Remember, a theme is expressed in a sentence, not in one or two words. 6a. Are there any motifs in “Young Goodman Brown” to reinforce the themes you listed? What are they?
::列出“ 年轻古德曼· 布朗” 中的一些可能的主题。记住, 某个主题在句子中表达, 而不是一两个字。 6a。 “ 年轻古德曼· 布朗” 中是否有加强您列出的主题的意向? 它们是什么?

Vocabulary
::词汇表

Introduction
::导言

Subjective Reading: Paying attention to the feelings a story gives you when you read it. When you read subjectively, you follow your intuition about characters and plot points.

Objective Reading: Paying attention to the character, plot, setting, theme, diction, and syntax when you read a story and using these elements to analyze that story.

Tone: The attitude writing can take towards its subject or audience. Tone generally applies to specific sentences or paragraphs, not to the text as a whole.

Diction: The word choice used throughout a text.

Syntax: The order in which a sentence is put together grammatically.

Character
::字符

Character: A person participating in, or alluded to, in the action of a story. Characters can also be animals or inanimate objects.

Conflict: The main problem in a story. It is tension in a story between two or more characters, groups, things, or events.

Internal Conflict: Conflict that takes place within an individual, such as a conflict of morals or of emotions.

External Conflict: Conflict that takes place outside an individual, such as a war or feud.

Protagonist: The main character(s) of a story. The events of a story focus on the protagonist(s).

Antagonist: The character(s), thing(s), event(s), or group(s) that stands in opposition to the protagonist(s).

Antihero: A protagonist who does not embody traditional heroic values.

Secondary/Minor Character: Characters in the story who are not the protagonist(s) or antagonist(s).

Archetype: A character type that has been repeated in literature throughout history.

Plot
::绘图绘图绘图

Plot: The set of events that make up a story.

Inciting Incident: The event that sets off the main conflict in a plot.

Exposition: Parts of the story that tell us about setting and main characters and hit at theme and possible conflicts.

Rising Action: The series of events in a plot that build up to the climax.

Climax: The turning point of the story; it is the incident that allows the story to resolve.

Falling Action: The events in a story that take place between the climax and the dénouement.

Dénouement: The point in the story at which the central conflict is resolved.

Setting
::设置

Setting: The frame of reference in which the story takes place. This includes place, time, and social/cultural context.

Mood: The general feeling the reader gets from the story.

Internalized Setting: When an aspect of the story external to a character represents the character’s internal development.

Theme
::主题主题主题主题主题主题主题主题主题主题主题

Theme: The unifying idea or ideas behind a story. Theme usually provides a broad statement about humanity, life, or our universe and should be expressed in a complete sentence.

Motif: Recurring elements in a story which points to a theme. Motifs can be objects, sounds, statements, etc.

Sources
::来源

Nathaniel Hawthorne, “Young Goodman Brown.” From “Mosses from an Old Manse and Other Stories,”
::Nathaniel Hawthorne,“年轻古德曼·布朗”。