6.1文学写作：散文分析
Section outline
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Learning Objectives
::学习目标-
Understand the difference between connotation and denotation.
::理解内涵和分义的区别 -
Identify metaphors and similes in a text.
::识别文本中的隐喻和相似之处。 -
Look for repetition within a text.
::查找文本中的重复 。 -
Find imagery in a text.
::在文本中查找图像 。
Introduction
::导言Now that we've gone over the basics of reading literature, we'll explore some of the finer points of reading prose. What's Prose, you ask? Prose is writing without a rhyme scheme or metrical structure, written in full sentences, and often grouped into paragraphs. It's the kind of writing we do most often. In fact, the writing you're reading at this very moment is prose. Considering that most of what we read is prose, it is helpful to know what to look for when analyzing it. Thus, in this chapter we will focus on close reading, or looking for the important details in a text, narration, and structure.
::既然我们已经翻阅了阅读文献的基本内容, 我们将探索读稿的一些更精细的点子。 Prose是什么? Prose 是没有押韵计划或衡量结构的写作, 以完整句子写成, 并且常常被分组到段落中。 这是一种我们经常做的写作。 事实上, 您此时此刻正在读的写作是编稿。 考虑到我们所读的大多是编稿, 分析它时知道该寻找什么是有用的。 因此, 在本章中, 我们将专注于仔细阅读, 或者寻找文本、 叙事和结构中的重要细节 。Close Reading
Connotation vs. Denotation
::内涵vs外延Before we begin looking for words to consider in our literary analysis, we must first look at how we interpret words. When we read something, we first understand it at its most basic, literal level. This is called denotation. You can think of the denotation of a word as its dictionary definition. For instance, when you read the word “cow,” you think of a four-legged herbivorous mammal. However, every word carries a connotation as well as a denotation. A connotation is the non-literal meaning we associate with words. To continue our example, “cow” might connotate farm life, the countryside, or a glass of fresh milk.
::在我们开始在文学分析中寻找需要考虑的词之前,我们必须首先研究我们如何解读词。 当我们读到一些东西时, 我们首先理解它的最基本、 字面上。 这被称为脱记。 您可以将一个词的分义作为字典定义。 比如, 当您读到“ 牛” 一词时, 你就会想到一个四脚的食草哺乳动物。 但是, 每个字都包含一个内涵和一个记号。 一个内涵就是我们与文字联系在一起的非不识字的含义。 继续我们的例子, “ 牛” 可能会把农场生活、 乡村或一杯新鲜牛奶放在一起。Here are a few more examples of connotations and their possible denotations. Word(s) Denotation Connotation George Washington First U.S. President Never told a lie, cut down a cherry tree, wooden teeth, crossed the Delaware Rose A flower Love, affection, romance, sensuality, beauty, the color red New York City A major U.S. city Crowded, center of art and culture, night life, traffic, Statue of Liberty Green A color Vegetation, fertility, growth, envy, money, life, springtime, prosperity As you can see, words have many connotations. Every person will find different connotations for a word, as connotation depends on a person's background, cultural setting, emotions, and subjective opinions. For instance, while the color green often represents prosperity to Western cultures, Eastern cultures associate the color red with wealth and good fortune. However, there are often a number of connotations that are widely accepted as connected to a word. People from all over the world, for example, associate snow with winter and heat waves with summer.
::正如你所看到的,文字有许多含义。每个人都会为一个词找到不同的内涵,因为内涵取决于一个人的背景、文化背景、情感和主观观点。例如,虽然绿色的颜色往往代表西方文化的繁荣,但东方文化将红色与财富和财富联系在一起。然而,经常有一些内涵被广泛接受为一个词的联系。例如,世界各地的人将雪与冬季和热浪与夏季联系起来。So, how do we apply this to reading? Well, when people read, certain words often stand out to them. This is usually because those words carry strong connotations for the reader. Thus, when you read, look for words whose meanings stand out, especially if they relate to a recurring theme in the text. As an example, read through the following excerpt from Edgar Allan Poe's “The Fall of the House of Usher.” Some words that stand out have been italicized.
::那么,我们如何用这个来阅读?嗯,当人们阅读的时候,某些词往往对他们很突出。这通常是因为这些词对读者具有强烈的内涵。因此,当你阅读的时候,我们寻找那些含义突出的词,特别是如果它们与文本中反复出现的主题有关的话。举例来说,通过Edgar Allan Poe 的“Usher家族的倒台”的以下节录阅读。一些突出的词已经被斜体化了。I looked upon the scene before me--upon the mere house, and the simple landscape features of the domain--upon the bleak walls--upon the vacant eye-like windows--upon a few rank sedges--and upon a few white trunks of decayed trees --with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium --the bitter lapse into everyday life--the hideous dropping off of the veil.
::我看着眼前的景象, 看着一栋小房子, 地表的简单地貌特征, 地貌特征, 地貌特征, 地貌特征, 地貌特征, 墙壁, 地貌暗淡的墙壁, 空置的视窗, 几层像玻璃一样的窗帘, 和几片腐烂的树木的白色树干,When reading a passage like this, you might get a general impression that its mood is gloomy and depressing. Certain key words in the passage are what create that impression, and if we look at the italicized text, we can see a pattern. The narrator is describing a house, but “vacant eye-like windows” has a denotation of dark or empty windows, but it also brings up the connotation of corpses. “Rank” means overgrown, but it brings up connotations of abandonment and possible decay. Continue looking at the connotations behind each word, and see if you can detect any patterns. For instance, do the italicized words in this passage make you think of death, decline, and decay? Does the comparison to “the after-dream of the reveller upon opium” make you question the narrator's state of mind? By asking these kinds of questions, you're on your way to doing a close reading.
::当读这样一段时,你可能会得到一个一般的印象,即它的情绪是暗淡和沮丧的。段落中的某些关键词是造成这种印象的是什么,如果我们看一下斜体文字,我们可以看到一个模式。旁白者描述了一个房子,但“视像眼的窗口”有一个暗的或空的窗口,但它也带来了尸体的内涵。“兰克”的意思是过于成熟,但它带来了被遗弃和可能的腐烂的内涵。继续观察每个词背后的内涵,看能不能发现任何模式。例如,这段文字中的斜体文字让你想到死亡、衰落和衰败吗?与“鸦片变异者的后梦”相比,你是否对“鸦片变异者后梦”的思维状态提出质疑?通过询问这些问题,你正在接近阅读。Rhetorical Devices
::修辞手法Now you know how to search for connotation and denotation in a text, but how do you tell which words you should examine closely? If you were to spend time doing a close reading of every word in a story, you would never finish. Thus, you want to look for rhetorical devices when you read. Rhetorical devices are words that serve a special function in the text. Authors include them in order to convey a meaning to the reader. Listed below are some of the most common rhetorical devices.
::现在您知道如何在文本中搜索内涵和批注, 但是您如何告诉哪些词您应该仔细检查 ? 如果您要花时间仔细阅读故事中的每个词, 您永远不会完成。 因此, 您想在阅读时寻找空话装置。 听力装置是用于文本中特殊功能的单词。 作者包括它们, 以便向读者传达含义 。 下面列出的是最常见的空话装置 。Metaphors and Similes
::象喻和比喻Two of the most common rhetorical devices are metaphors and similes. These are both means of comparison. A metaphor compares two things by saying they are the same, while a simile uses the words “like” or “as.”
::最常用的言辞手法是两个隐喻和模棱两可的比喻。 这两种比喻都是比较手段。 一种比喻比较了两件事,说它们是一样的,而一个比喻则使用“类似”或“类似”等词。The following table contains a list of examples. Metaphor Simile My Great Dane is a vacuum. My Great Dane is like a vacuum. That linebacker is a wall. That linebacker is like a wall. She is a cheetah. She runs as fast as a cheetah. In the first example, we know that the Great Dane isn't really a vacuum. Both the metaphor and simile, however, imply that the dog consumes a large amount. The main difference is that the metaphor creates a stronger comparison. However, in the last example, only the context will tell you that the metaphor is not talking about a real cheetah. If we were talking about a runner, saying “she is a cheetah” would carry the denotations of speed, grace, agility, litheness, etc. But if we are looking at the simile, we only see that the runner is fast.
::在第一个例子中,我们知道伟大的丹麦人并不是一个真正的真空。但是,隐喻和仿真都暗示着狗的消费量很大。主要区别在于这个隐喻能产生更强大的比较。然而,在最后一个例子中,只有上下文才能告诉你这个隐喻不是在谈论真正的猎豹。如果我们谈论一个跑者,那么说“她是一只猎豹 ” , 将带有速度、优雅、敏捷性、柔软等等的记号。但是,如果我们看这个隐喻,我们只能看到跑者的速度很快。Repetition
::再续Repetition is another powerful rhetorical device. When you read, you should always keep your eyes open for repeated words and phrases. This can be tricky, as sometimes the repeated words appear close together and other times they are spread out in a text as a motif. For instance, in F. Scott Fitzgerald's The Great Gatsby, a green light is mentioned repeatedly; however, these references are spread throughout the text, never appearing more than once or twice per chapter. Therefore, you will need to keep your eyes open for repetition while reading a story. If you see a word or phrase appear more than once, make a note of it--it is likely that the author included the repetition intentionally.
::重复是另一个强大的口头工具。 当您阅读时, 您应该总是对重复的文字和短语保持警觉。 这可能会很棘手, 因为有时重复的文字会紧密地放在一起, 而有时它们会以某种方式散布在文本中。 例如, 在F. Scott Fitzgerald的《大盖茨比》中, 反复提到绿灯; 但是, 这些引用在文本中是分散的, 从来没有在每章中出现过一次或两次。 因此, 您在阅读一个故事时, 您需要睁开眼睛重复。 如果您看到一个单词或单词不止一次出现, 请注意它 -- 作者可能会有意地包含重复内容 。Imagery
::图像Imagery is language that makes an appeal to the senses. It can apply to any of the five senses or a combination of multiple senses. Although imagery often comes in phrases or complete sentences, a word can evoke the senses. Here are some examples.
::图像是吸引感官的语言。 它可以适用于五个感官中的任何一种感官或多种感官的组合。 虽然图像通常以短语或完整句子形式出现, 但一个词可以唤起感官。 以下是一些例子。Touch The dog's fur was smooth and silky, as though it had just been brushed. Smell The delicious scent of freshly-baked cookies wafted out of the window. Taste Dinner was mouthwatering! We ate buttery rolls, and a savory chicken dish with a side of rich gravy. Sound 1st Street was a cacophony of car horns, people on cell phones, and police sirens. Sight The apple was a deep red, like the sky moments before the sun comes up. Every time you find imagery in a text, it brings up a set of connotations. For instance, the scent of freshly-baked cookies might bring up connotations of childhood, comfort, or home. When you see a particularly striking image in a text, think of what it denotes to you. Ask yourself, “Why describe this thing in detail instead of describing something else?” An author often uses imagery to call attention to a particular idea, character, setting, or plot point. Imagery can also be used to create the mood of a text. For instance, a story that includes a great deal of rain imagery might have a very dark, dreary mood.
::每次在文本中找到图像时,它就会产生一系列的内涵。例如,新鲜饼干的气味可能会带来童年、舒适或家居的内涵。当你在文本中看到一个特别惊人的图像时,想想它意味着什么。问问你自己,“为什么详细描述这件事,而不是描述别的东西?”作者经常使用图像来吸引人们注意某个特定的想法、性格、设置或绘图点。图像也可以用来创造文字的情绪。例如,包含大量雨景的故事可能有非常黑暗、沉闷的情绪。Vocabulary
::词汇表- Prose
- Writing without rhyme or meter. Prose writing is usually grouped into paragraphs.
- Denotation
- The literal meaning of a word.
- Connotation
- The meanings a reader associates with a word based on the reader’s own background and experiences.
- Metaphor
- Language comparing two things by saying they are the same.
- Simile
- Language comparing two things using the words “like” or “as.”
- Repetition
- The reoccurrence of words or phrases throughout a text.
Narration
When doing a close reading, you also need to keep the big picture in mind. You already know how to look for major plot points, identify the setting, and list possible themes, but you should also keep in mind who is telling you the story. The narrator , or the person telling the story, is one of the most important aspects of a text. A narrator can be a character in the story, or he or she might not appear in the story at all. In addition, a text can have multiple narrators, providing the reader with a variety of viewpoints on the text. And finally, a story can be related by an unreliable narrator --a narrator the reader cannot trust to tell the facts of a story correctly or in an unbiased manner.
::当仔细阅读时,你也需要记住大局。你已经知道如何寻找主要情节点、确定设置和列出可能的主题,但你也应该记住谁在告诉你故事。旁白者或讲故事的人是文本最重要的方面之一。旁白者可以是故事中的一个人物,或者说他或她可能根本不出现在故事中。此外,文字可以有多个旁白者,为读者提供文本上的各种观点。最后,一个故事可以由不可靠的旁白者 -- -- 一个读者无法信任的旁白者来正确或公正地讲述故事的事实。Note: One thing you should always keep in mind is that the narrator and author are different. The narrator exists within the context of the text and only exists in the story. However, in most non-fiction and some fiction, the author can model the narrator after him or her self; in this case, the author and narrator are different people sharing the same viewpoint.
::注意:你应该永远记住的一件事是,旁白者和作者是不同的。旁白者存在于文本中,只存在于故事中。然而,在大多数非小说和一些小说中,作者可以仿照自己来模拟旁白者;在这种情况下,旁白者和旁白者是有着相同观点的不同民族。Points of View
::观点All prose is written in one of three points-of-view: first-person narration, third-person limited narration, and third-person omniscient narration.
::所有文章都写在三种观点之一中:第一人叙述、第三人有限叙述和第三人无所不知的叙述。First Person
::第一人First-person narration is written in the first person mode, meaning that that story is told from the viewpoint of one person who often uses language like “I,” “you,” or “we.” A first-person narrator can even be a character in the story she is narrating. Furthermore, the narrator will have a limited perspective; he cannot tell what the other characters are thinking or doing, and his telling of the story is influenced by his feelings about the other characters, the setting of the story, and the plot. When you read prose related by a first-person narrator, pay attention to the narrator's biases--they can tell you a great deal about the other elements of the story. For instance, here's an example of first person narration:
::第一人叙述用第一人模式写,意思是,这个故事是从经常使用“我”、“你”、“你”或“我们”等语言的人的角度讲出来的。 第一人叙述者甚至可以在她讲述的故事中扮演一个角色。 此外,第一个人叙述者将有一个有限的视角;他无法说出其他人物在想什么或正在做什么,而他对故事的讲述则受他对其他人物、故事的设置和情节的感受的影响。当你读到第一人叙述者所讲的与第一人叙述者有关的作品时,你应注意那个讲者所讲的偏见,他们可以告诉你关于故事中其他要素的大量内容。例如,这里是第一个人叙述的例子:As I walked home from the store, I could feel the cool spring breeze stir my hair. It was getting warm, and I had been looking forward to the end of snow, sleet, and rain for the past few months. I saw Charley coming down the sidewalk towards me. He was a nice guy, that Charley, but I always thought he was a few bulbs short of a chandelier. He waved at me, and I nodded in return.
::当我从商店走回家时,我感觉到寒冷的春天微风使我的头发发抖,它变暖了,在过去几个月里,我一直期待着雪、羊水和雨的尽头。我看到查理从人行道上向我走来。他是个好人,就是查理,但我一直认为他只是几根灯泡,少了个吊灯。他向我挥手,我点头作为回报。As you can see, in the first-person mode, the narrator tells the story directly from his point-of-view. He has the ability to influence the reader's opinions of characters through his narration-- here the narrator explains Charley is not a very intelligent person. However, for all the reader knows, this could just be the narrator's bias, not fact. Thus, when you read a story written in the first-person mode, look for evidence to support the narrator's claims.
::正如你所看到的,在第一人模式中,旁白人直接从他的观点出发讲述故事。他有能力通过他的叙事影响读者对人物的看法——这里旁白人解释查理不是一个非常聪明的人。然而,据所有读者所知,这可能只是旁白人的偏向,而不是事实。因此,当你阅读以第一人模式撰写的故事时,他可以寻找支持旁白人主张的证据。Third-Person Limited and Omniscient
::第三人有限公司和全貌Third-person narration is related by someone who does not refer to him or her self and does not use “I,” “you,” or “we” when addressing the reader. Here's the same story as above, told in third-person narration:
::“第三人叙述”是由一个不提及其本人、在向读者讲话时不使用“I”、“you”或“We”的人联系在一起的。As Bill walked home from the store, he could feel the cool spring breeze stir his hair. It was getting warm, and he had been looking forward to the end of snow, sleet, and rain for the past few months. He saw Charley coming down the sidewalk towards him. Charley was a nice guy, but he was a few bulbs short of a chandelier. Charley waved at Bill, and he nodded in return.
::当比尔从商店走回家时,他可以感觉到寒冷的春天微风激起他的头发。它正在变暖,他在过去几个月里一直期盼着雪、水里和雨的尽头。他看到查理从人行道向他走来。查理是个好人,但除了吊灯之外,他还是几个灯泡。查理向比尔挥手,他点头作为回报。In this example, the story is told by someone looking at the characters from an outside perspective. A third-person narrator will not be a character in a story, but an outside entity relating the story's events. Third-person narrators rarely give biased accounts of events, but sometimes you will encounter an unreliable third-person narrator.
::在这个例子中,故事是由从外部角度看待人物的人讲述的。 第三人讲解者不是一个故事中的人物,而是一个讲述故事事件的外部实体。 第三人讲解者很少对事件作出偏颇的描述,但有时你会遇到一个不可靠的第三人讲解者。Some third-person narrators tell from a limited perspective. These narrators relate a story from one point of view, which is often the main character's point of view. Because readers can only tell what that character is thinking and feeling, they have a limited perspective of what other characters are thinking and feeling. In addition, since only one character's perspective is narrated, the audience gets to see the world through that character's eyes; this can be good for revealing certain facts about setting and character, but it can also present a slightly biased story.
::某些第三人的旁白者从一个有限的角度讲解。 这些旁白者从一个角度讲故事,这往往是主要人物的观点。 因为读者只能知道这个角色在思考和感受中是什么,他们对其他人物在思考和感受中是什么有着有限的视角。 此外,由于只有一个角色的观点被描述,观众才能从这个角色的眼中看到世界;这可以很好地揭示关于设置和性格的某些事实,但是它也可以提出一个略为偏颇的故事。The other type of third-person narration is told from an omniscient perspective. This means that the narrator relates the story in third person but has access to all information in the story. The third-person omniscient mode is often used when an author wants to relate a text through the viewpoints of several characters. Third-person omniscient narrators tend to be the most reliable narrators, as they can present all the facts of a story.
::另一种第三人叙述方式是从无所不知的角度讲述的。 这意味着旁白者将故事用第三人来描述,但可以获取故事中的所有信息。 当作者想通过几个字符的观点来描述文本时,经常使用第三人无所不知的模式。 第三人无所不知的旁白者往往是最可靠的旁白者,因为他们可以展示故事中的所有事实。Finally, you will sometimes encounter a story that is told in first-person narration by multiple narrators. When reading a multi-narrator text, you must always be aware of who is speaking. Multi-narrator prose provides the reader with as much insight about the characters as third-person omniscient narration does. However, because the reader only receives first-person accounts from each character, this kind of narration tends to be very biased. Thus, it is up to the reader to analyze the information provided by the narrators to reach conclusions about the story.
::最后,你有时会遇到一个由多个旁白者在第一人叙述中讲述的故事。在阅读多人叙述的文字时,你必须始终知道是谁在说话。多人叙述会像第三人无所不知的叙事一样向读者提供关于人物的洞察力。然而,由于读者只从每个字符中收到第一人叙述,这种叙述往往很偏颇。因此,读者必须分析由讲者提供的信息,才能得出关于故事的结论。Narrative Organization
::叙述式组织The way a story unfolds is as important as who tells it. Even though prose is just “regular writing,” there are many different kinds of prose. Some prose is written as short-stories, while other prose is written as novels and novellas. Each type of prose has its own organizational scheme as well. For instance, some stories are organized into large sections, while others are organized into chapters. Some prose is even organized into sections of journal entries or letters between characters.
::故事的展开方式与谁讲的故事一样重要。 尽管文章只是“ 定期写作 ” , 但也有许多不同的写作。 有些是短小的写作,而其他的则写成小说和小说。 每一种小说都有自己的组织计划。 比如,有些故事分为大部分,而另一些故事则分为章节。 有些小说甚至被编成小说条目或字符之间的字母。It is important to note how an author divides a story. Ask yourself why a chapter ends where it does. Does the chapter ending add suspense to the story, or does it just provide a place to transition to another character's point of view? Does each section of a story have its own theme, or is there only one overarching theme? If you are reading an epistolary novel, why do you think one character chose to reveal certain information to another? Paying attention to how a text is organized, divided, and sub-divided, will provide you insight into the plot and theme.
::重要的是要指出作者如何分割故事。 问自己为什么一章会结束它。 结尾的一章会给故事添加悬念, 还是它只是提供了一个向另一个字符观点过渡的地方? 故事的每个部分都有自己的主题, 还是只有一个总括主题? 如果你在读一本迷你小说, 为什么你认为一个字符会选择向另一个字符披露某些信息? 注意文本是如何组织、 分割和细分的, 将会为您提供对剧本和主题的洞察力 。Reading Exercise
::阅读练习Read the following short story, and then do the practice exercises at the end of the lesson.
::阅读以下短故事,然后在课结束时练习练习。The Cask of Amontillado
::阿蒙提拉多的石石礁by Edgar Allan Poe
::由埃德加·艾伦·坡(Edgar Allan Poe)撰写THE thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult, I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat. At length I would be avenged; this was a point definitely settled—but the very definitiveness with which it was resolved, precluded the idea of risk. I must not only punish, but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.
::我已尽我所能承受福图纳托的千名伤员,当他冒昧地侮辱我的时候,我发誓要报仇。你那深知我灵魂的本质的人,猜想我对一个威胁说几句话,我将获得报应;这是已经解决的,但解决了这个问题的确定性排除了危险的概念。我不仅必须惩罚,而且必须惩罚不受惩罚。当惩罚超过纠正者的时候,一个错误是无可挽回的。复仇者对不义者没有感觉的时候,同样没有受到纠正。It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation.
::必须理解的是,无论是言行上,我都没有让福图纳托怀疑我的善意。 我一如既往地继续微笑在他脸上,而他并不认为我现在的笑容是被他烧死的想法所左右的。He had a weak point—this Fortunato—although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity—to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack—but in the matter of old wines he was sincere. In this respect I did not differ from him materially: I was skilful in the Italian vintages myself, and bought largely whenever I could.
::他有一个弱点——这个福图纳托——虽然在其他方面,他是一个值得尊重甚至恐惧的人,他为自己的葡萄酒秘诀而自豪,很少有意大利人有真正的巫术精神,他们大多热衷于适应时间和机会,对英国和奥地利的百万富翁进行洗礼,在绘画和宝石方面,福图纳托像他的同胞一样,是一个庸人,但在古老的葡萄酒方面,他很真诚。在这方面,我与他没有实质性的区别:我本人在意大利的葡萄酒里很熟练,只要我能买,就买很多东西。It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him, that I thought I should never have done wringing his hand.
::在狂欢节最疯狂的夜晚,一个晚上黄昏的时候,我遇见了我的朋友,他使我感到温暖,因为他喝得太多,他穿著摩特利,穿着紧身的合身礼服,头部被花冠和铃铃打得满地都是。我很高兴见到他,我以为我不该动他的手。I said to him: “My dear Fortunato, you are luckily met. How remarkably well you are looking to-day! But I have received a pipe of what passes for Amontillado, and I have my doubts.”
::我对他说:我亲爱的福图纳托啊!你确已相遇了,你今天的眼光真优美!我曾为阿蒙提拉多获得一丝聘仪,我对于这件事有怀疑。“How?” said he. “Amontillado? A pipe? Impossible! And in the middle of the carnival!”
::他说:“怎么做到的?”他说,“Amonyillado?管子?不可能!在狂欢节中间!”“I have my doubts,” I replied; “and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain.”
::我说:我有我的疑虑。我说:我愚蠢到可以不征求你们的意见而支付全价的阿蒙提拉多。你们没有被找到,我怕输掉一笔交易。“Amontillado!”
::" 蒙提拉多! "“I have my doubts.”
::我确有我的疑虑。“Amontillado!”
::" 蒙提拉多! "“And I must satisfy them.”
::我必须满足他们。“Amontillado!”
::" 蒙提拉多! "“As you are engaged, I am on my way to Luchesi. If any one has a critical turn, it is he. He will tell me—”
::“你们订婚的时候,我正在前往卢切西的路上,如果任何人有一个重大转折,那就是他。他将告诉我——“Luchesi cannot tell Amontillado from Sherry.”
::Luchesi不能告诉雪利的Amonyillado。“And yet some fools will have it that his taste is a match for your own.”
::然而,有些愚人却认为他的品味是配你的。“Come, let us go.”
::“来吧,让我们走吧。”“Whither?”
::“何去何从?”“To your vaults.”
::至於你们的保险库,“My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchesi—”
::我的朋友啊!我绝不以你的善良为强加物,我的确认为你与众人有约,鲁切西--“I have no engagement;—come.”
::"我没有订婚,来。"“My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are encrusted with nitre.”
::我的朋友啊!不是交接,而是我看你所遭遇的严寒。保险库里有极难忍受的潮湿,他们确是坚忍的。“Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been imposed upon. And as for Luchesi, he cannot distinguish Sherry from Amontillado.”
::“尽管如此,让我们去吧!寒冷只是虚无的。阿蒙太拉多啊!你已被束缚了。鲁切西啊!他不能区分雪莉和阿蒙太拉多。Thus speaking, Fortunato possessed himself of my arm. Putting on a mask of black silk, and drawing a roquelaire closely about my person, I suffered him to hurry me to my palazzo.
::因此,福图纳托控制了我的手臂。 戴上黑色丝绸的面具,贴近我的人的罗克莱尔,我受了折磨,让他催促我到我的巴拉佐。There were no attendants at home; they had absconded to make merry in honor of the time. I had told them that I should not return until the morning, and had given them explicit orders not to stir from the house. These orders were sufficient, I well knew, to insure their immediate disappearance, one and all, as soon as my back was turned.
::家里没有侍从,他们为纪念那个时候而潜逃。我确已对他们说:我到早晨才回来,我已命令他们不要离家出走。我知道,这些命令足以保证他们的立即失踪,我一转身就立刻消失。I took from their sconces two flambeaux, and giving one to Fortunato, bowed him through several suites of rooms to the archway that led into the vaults. I passed down a long and winding staircase, requesting him to be cautious as he followed. We came at length to the foot of the descent, and stood together on the damp ground of the catacombs of the Montresors.
::我从他们身上拿了两杯火烈酒,一个给了福图纳托,他从几套房间中鞠躬到通往保险库的拱门。我从一个长长的、摇摇晃的楼梯上走下来,要求他小心地走下去。我们从脚下长到脚下,在蒙特里索人墓穴的潮湿地上站在一起。The gait of my friend was unsteady, and the bells upon his cap jingled as he strode.
::我朋友的步调不稳 帽子上的铃声在摇晃时响起“The pipe?” said he.
::他说,“管子?”“It is farther on,” said I; “but observe the white web-work which gleams from these cavern walls.”
::我说:那确是更远的。我说:你们观察那从这些洞穴中射出的白色的网络工作吧!He turned towards me, and looked into my eyes with two filmy orbs that distilled the rheum of intoxication.
::他朝我转过身来,看着我的眼睛,他用两只毛毛的金刚鹦鹉,使我精疲力尽。“Nitre?” he asked, at length.
::“Nitre?”他问了很长的时间。“Nitre,” I replied. “How long have you had that cough?”
::“Nitre,”我回答说,“你咳嗽多久了?”“Ugh! ugh! ugh!—ugh! ugh! ugh!—ugh! ugh! ugh!—ugh! ugh! ugh!—ugh! ugh! ugh!”
::“啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊My poor friend found it impossible to reply for many minutes.
::我可怜的朋友发现许多分钟无法回信“It is nothing,” he said, at last.
::他说,最后“这不算什么”。“Come,” I said, with decision, “we will go back; your health is precious. You are rich, respected, admired, beloved; you are happy, as once I was. You are a man to be missed. For me it is no matter. We will go back; you will be ill, and I cannot be responsible. Besides, there is Luchesi-”
::我说:你们来吧!我们回去吧!你们的健康是宝贵的,你们是富足的,是受尊敬的,是受敬重的,是受敬重的,是受敬重的,是受敬重的,是受敬重的,是受优待的;你们是快乐的,像我过去一样,你们是快乐的,你们是被人迷惑的,对于我是无妨的。我们回去吧,你们病故,我不能负责。此外,鲁谢是有的。“Enough,” he said; “the cough is a mere nothing; it will not kill me. I shall not die of a cough.”
::他说:够了。他说:咳嗽只是一纸空文,不能杀我,我绝不因咳嗽而死。“True—true,” I replied; “and, indeed, I had no intention of alarming you unnecessarily; but you should use all proper caution. A draught of this Medoc will defend us from the damps.”
::我回答说:“真的,我的确无意不必要地使你惊恐,但你应当小心谨慎。这个麦多的神明将保护我们免遭灾祸的侵扰。”Here I knocked off the neck of a bottle which I drew from a long row of its fellows that lay upon the mould.
::我在这里敲掉了一瓶瓶子的脖子, 我从一排长长的球员身上画出来, 躺在铸模上。“Drink,” I said, presenting him the wine.
::我说,“饮酒”,向他展示酒。He raised it to his lips with a leer. He paused and nodded to me familiarly, while his bells jingled.
::他 用 子 抬 到 嘴 唇 上 、 他 歇 息 、 向 我 点 头 、 他 的 钟 鸣 、 心 默 默 默 地 向 我 点 头“I drink,” he said, “to the buried that repose around us.”
::他说:我饮酒,至於安息在我们周围的被葬者。“And I to your long life.”
::我誓以你的长寿。He again took my arm, and we proceeded.
::他再次抓住我的手臂,我们继续前进。“These vaults,” he said, “are extensive.”
::他说:这些宝库是宽阔的。“The Montresors,” I replied, “were a great and numerous family.”
::我回答说,“蒙特勒斯人”“我们是一个庞大和众多的家庭。”“I forget your arms.”
::“我忘记了你的武器。”“A huge human foot d’or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel.”
::" 一只巨大的人类脚,在一片大雪中;一只脚粉碎了一条肆虐的蛇,它的尖牙嵌在脚后跟中。“And the motto?”
::“格言呢?”“Nemo me impune lacessit.”
::你说:你们告诉我吧!我确是薄命的,“Good!” he said.
::他说,“很好!”The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the Medoc. We had passed through walls of piled bones, with casks and puncheons intermingling, into the inmost recesses of the catacombs. I paused again, and this time I made bold to seize Fortunato by an arm above the elbow.
::酒在他眼里闪烁着,钟声响起。我自己的花哨随着麦多而变暖。我们穿过堆积的骨头的墙壁,用桶子和拳头混在一起,进入墓穴的最深处。我又停了下来,这次我大胆地用手肘上的手臂抓住福图纳托。“The nitre!” I said; “see, it increases. It hangs like moss upon the vaults. We are below the river’s bed. The drops of moisture trickle among the bones. Come, we will go back ere it is too late. Your cough—”
::我说:铁洞啊!它会增加,它象苔一样挂在金库里,我们是在河床下面的。骨骼中潮湿的滴水。来吧,我们将在太迟的时候回去,因为太迟了。你的咳嗽——“It is nothing,” he said; “let us go on. But first, another draught of the Medoc.”
::他说:这没什么,让我们继续吧。首先,这是又一剂麦多的毒液。I broke and reached him a flagon of De Grâve. He emptied it at a breath. His eyes flashed with a fierce light. He laughed and threw the bottle upwards with a gesticulation I did not understand.
::我打碎了De Grave的旗子,就把他的旗子拿给他,他一口气就把那旗子掏空,他的双眼用烈光照亮了,他笑了起来,把瓶子朝上扔了出来,我不明白。I looked at him in surprise. He repeated the movement—a grotesque one.
::我惊讶地看着他,他重复了这个运动——一个奇怪的运动。“You do not comprehend?” he said.
::他说:“你不明白吗?”“Not I,” I replied.
::“不是我,”我回答。“Then you are not of the brotherhood.”
::那末,你们绝不是同教的。“How?”
::“如何”“You are not of the masons.”
::你不是泥瓦匠,“Yes, yes,” I said; “yes, yes.”
::“是的,是的,”我说;“是的,是的。”“You? Impossible! A mason?”
::“你?不可能,泥瓦匠?”“A mason,” I replied.
::“泥瓦匠”,我回答说。“A sign,” he said.
::他说,“一个迹象”。“It is this,” I answered, producing a trowel from beneath the folds of my roquelaire.
::我 回答 說 、 我 的 罗克 拉伊 、 在 我 的 十字架 下 、 生出 一 块“You jest,” he exclaimed, recoiling a few paces. “But let us proceed to the Amontillado.”
::他说:你嘲笑吗?他说:你退避了几步。他说:但让我们去阿蒙提拉多吧。“Be it so,” I said, replacing the tool beneath the cloak, and again offering him my arm. He leaned upon it heavily. We continued our route in search of the Amontillado. We passed through a range of low arches, descended, passed on, and descending again, arrived at a deep crypt, in which the foulness of the air caused our flambeaux rather to glow than flame.
::我说:你们这样做吧!你们把斗篷下面的工具换掉,然后把他拿来给我的胳膊,他使我的胳膊紧紧地靠在下面。我们继续我们的路线,以便搜索Amonyillado。我们经过许多低端的拱门,从下方下来,从上而下,又从下而上,来到一个深密的洞穴。在洞穴里,空气的污秽使我们的火把光光光光照而不是火焰。At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains, piled to the vault overhead, in the fashion of the great catacombs of Paris. Three sides of this interior crypt were still ornamented in this manner. From the fourth the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size. Within the wall thus exposed by the displacing of the bones, we perceived a still interior recess, in depth about four feet, in width three, in height six or seven. It seemed to have been constructed for no especial use within itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite.
::在地窖的最偏远的一端,又出现了另一个不那么宽大的情况:墙壁与人的遗骸连在一起,堆积在地窖的顶部,以巴黎大墓穴的形式,这个内部地窖的三面仍然以这种方式装饰着。从第四层开始,骨头被扔下,在地上乱交,在某一点形成一个一定大小的洞穴。在因骨头变形而暴露的墙内,我们看到一个静居的内部,深约四英尺,宽约三英尺,高度六或七高。它似乎在建造时本身没有特别的用途,而只是形成墓穴屋顶两块巨大支撑物之间的间隔,并被一块坚固的花岗墙所支撑。It was in vain that Fortunato, uplifting his dull torch, endeavoured to pry into the depth of the recess. Its termination the feeble light did not enable us to see.
::福图纳托抬起他的枯燥火炬,试图探探入休庭的深度,却徒劳无功。 光线微弱的终止令我们看不到。“Proceed,” I said; “herein is the Amontillado. As for Luchesi—”
::我说,“已继承了”,“这里有阿蒙提拉多,至于卢切西——”“He is an ignoramus,” interrupted my friend, as he stepped unsteadily forward, while I followed immediately at his heels. In an instant he had reached the extremity of the niche, and finding his progress arrested by the rock, stood stupidly bewildered. A moment more and I had fettered him to the granite. In its surface were two iron staples, distant from each other about two feet, horizontally. From one of these depended a short chain, from the other a padlock. Throwing the links about his waist, it was but the work of a few seconds to secure it. He was too much astounded to resist. Withdrawing the key I stepped back from the recess.
::我的朋友,当他不稳地向前走的时候,当他拦住他的时候,他忽然拦住他。我紧紧跟在他脚后,他立刻到达了最深处,发现他的进展被岩石截住了,他愚蠢地站立不稳。再稍稍稍地,我就把他绑在花岗岩上。在花岗岩表面,有两根铁钉,彼此相距约两英尺,水平上两英尺。其中一根铁钉依赖一条短链,另一根垫锁。在他腰上抛下铁链,只是几秒钟的工夫才能保证它的安全。他不敢抗拒,我从休眠时把钥匙拿回来。“Pass your hand,” I said, “over the wall; you cannot help feeling the nitre. Indeed, it is very damp. Once more let me implore you to return. No? Then I must positively leave you. But I must first render you all the little attentions in my power.”
::我说:你们把你的手伸出墙上吧!你们不能感觉它。它确是潮湿的,我再次恳求你们再回来。难道吗?我必定要离开你们,但我必须首先使你们获得我所能关心的微薄的注意吗?“The Amontillado!” ejaculated my friend, not yet recovered from his astonishment.
::“Amonyillado!” 射出我的朋友,“True,” I replied; “the Amontillado.”
::“真的”,我回答说,“Amonyillado”。As I said these words I busied myself among the pile of bones of which I have before spoken. Throwing them aside, I soon uncovered a quantity of building stone and mortar. With these materials and with the aid of my trowel, I began vigorously to wall up the entrance of the niche.
::当我说这些话的时候,我忙着跳进我以前说过的一堆骨头中,抛开它们,不久就发现了一些建筑石头和迫击炮,用这些材料和我的腰带帮助,我开始积极地把缝隙的入口围起来。I had scarcely laid the first tier of the masonry when I discovered that the intoxication of Fortunato had in a great measure worn off. The earliest indication I had of this was a low moaning cry from the depth of the recess. It was not the cry of a drunken man. There was then a long and obstinate silence. I laid the second tier, and the third, and the fourth; and then I heard the furious vibrations of the chain. The noise lasted for several minutes, during which, that I might hearken to it with the more satisfaction, I ceased my labors and sat down upon the bones.
::当我发现Fortunato的醉酒已严重磨损的时候,我几乎没有铺设第一层砖瓦。我最早的迹象表明,这是从休眠的深处发出低声喊叫,不是醉酒者的呼喊,当时,我曾静默不下,我曾使第二层和第三层和第四层静默,然后,我听见了铁链的震动。噪音持续了几分钟,使我更满意地听到它,我停止了劳作,坐在骨头上。When at last the clanking subsided, I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with my breast. I again paused, and holding the flambeaux over the mason-work, threw a few feeble rays upon the figure within.
::最终,当叮当平息时,我恢复了,并不间断地完成了第五、第六和第七层。 墙壁与我的乳房几乎接近了一层。我再次停下来,把火光束住泥瓦工事,向里面的图层扔了几颗微弱的光线。A succession of loud and shrill screams, bursting suddenly from the throat of the chained form, seemed to thrust me violently back. For a brief moment I hesitated—I trembled. Unsheathing my rapier, I began to grope with it about the recess; but the thought of an instant reassured me. I placed my hand upon the solid fabric of the catacombs, and felt satisfied. I reapproached the wall. I replied to the yells of him who clamored. I re-echoed—I aided—I surpassed them in volume and in strength. I did this, and the clamorer grew still.
::一连串的叫喊声和尖叫声,突然从锁链状的喉咙中抽出,似乎把我狠狠地推倒。一瞬间,我犹豫不决,我颤抖,我发狂,我开始为禁闭而发牢骚,但一瞬间,我感到宽慰。我把手放在墓穴的坚固结构上,我感到满足。我重新攻破了墙,我响应了喊叫者的喊叫。我再次喊叫——我扶助——我用体积和力量战胜了它。我这样做了,大声的喊叫声继续增长。It was now midnight, and my task was drawing to a close. I had completed the eighth, the ninth, and the tenth tier. I had finished a portion of the last and the eleventh; there remained but a single stone to be fitted and plastered in. I struggled with its weight; I placed it partially in its destined position. But now there came from out the niche a low laugh that erected the hairs upon my head. It was succeeded by a sad voice, which I had difficulty in recognizing as that of the noble Fortunato. The voice said—
::当时是午夜,我的任务即将结束,我完成了第八、第九和第十一级的工作,我完成了最后和第十一级的工作;我完成了最后和第十一级的工作;我只留下一块石头,要装饰和涂上石膏。我用它的重量挣扎,我把它部分地放在它预定的位置上。但现在,从这个位置上出现了一个低笑声,把头发印在我的头上。后来又出现了一个悲哀的声音,我很难认出它是高贵的福图纳托的。“Ha! ha! ha!—he! he!—a very good joke indeed—an excellent jest. We shall have many a rich laugh about it at the palazzo—he! he! he!—over our wine—he! he! he!”
::他说:哈哈!哈哈!他--一个极好的笑柄--是一个极美的笑柄。我们必为那笑柄而以他为笑柄--他--为我们所饮的酒而欢笑--他,他。“The Amontillado!” I said.
::我说了“Amonyillado!”“He! he! he!—he! he! he!—yes, the Amontillado. But is it not getting late? Will not they be awaiting us at the palazzo, the Lady Fortunato and the rest? Let us be gone.”
::他,他,他,他,他,他,他,他。是的,阿蒙太拉多,难道还不算迟到吗?难道他们没有在帕拉佐、福图纳托夫人和其他的人那里等我们吗?让我们离开吧!“Yes,” I said, “let us be gone.”
::我说:是的,“让我们离开吧。”“For the love of God, Montresor!”
::"为了上帝的爱,蒙特瑞索!"“Yes,” I said, “for the love of God!”
::我说,“是的,”我说,“为了上帝的爱!”But to these words I hearkened in vain for a reply. I grew impatient. I called aloud:
::然 而 我 聽 著 這 些 話 、 是 徒 然 的 回 答 . 我 急 忙 的 、 大声 呼 喊“Fortunato!”
::“堡垒!”No answer. I called again:
::不回答,我再次呼吁:“Fortunato!” No answer still. I thrust a torch through the remaining aperture and let it fall within. There came forth in reply only a jingling of the bells. My heart grew sick—on account of the dampness of the catacombs. I hastened to make an end of my labor. I forced the last stone into its position; I plastered it up. Against the new masonry I re-erected the old rampart of bones. For the half of a century no mortal has disturbed them. In pace requiescat!
::“走!”还是没有回答。我把火把插进剩下的光圈，让它落进去。回答他的只有叮叮当当的钟声。由于地下墓穴的潮湿，我的心越来越难受。我赶紧结束我的劳动。我把最后一块石头推到它的位置上；我把它糊上了。我在新砌筑的砖石上重新筑起了古老的骨墙。半个世纪以来，没有人打扰过他们。步调一致！Review Questions
::回顾问题-
1a. What narrative mode was “The Cask of Amontillado” written in? 1b. Do you think the narrator was reliable or unreliable? Explain why or why not.
::1.a. " Amonyillado的卡斯克 " 写在什么叙述模式中?1b. 你认为旁白人可靠或不可靠吗?解释原因或原因。 -
2a. List three instances in the story where a word stood out to you because of its connotations. After each word, list the connotations you thought of. 2b. Do any of those connotations contribute to the mood of the story? Why or why not?
::2.a. 列举故事中三个例子,其中有一个字因其含义而突出地出现在你面前,在每个字之后,列出你所想到的内涵。 2b. 这些内涵中是否有任何内涵有助于故事的情绪?为什么或为什么没有? -
In a 20-minute free write, pick an instance of imagery in “The Cask of Amontillado.” Tell what the imagery was and explain how it affected your reading of the story. Did it contribute to the mood of the story, or tell you something about the theme? Did it change or reinforce what you thought about one of the characters? Quote specific words and phrases to support your argument.
::在20分钟的自由写作中,请在“Amonyillado的卡斯克”中选取一个图像实例。 告诉图像是什么,并解释图像如何影响你对故事的阅读。 它是否有助于故事的情绪,还是告诉你主题? 它是否改变了或强化了你对其中一个人物的想法? 引用具体的文字和词句来支持你的论点。
Vocabulary
::词汇表- Narrator
- The character telling the story.
- Unreliable narrator
- A narrator who the reader cannot trust to tell the facts of the story correctly.
- First-person narration
- Narration told through the viewpoint of a single character who uses “I,” “you,” and “we.” This character may or may not be involved in the event of the story.
- Third-person limited narration
- Narration told by a character outside of the story who does not refer to him- or herself as “I,” “you,” or “we.”
- Third-person omniscient narration
- Narration written by a character outside of the story who has access to all information in the story. This mode of narration does not use “I,” “you,” or “we.”
Sources
::来源Edgar Allan Poe, “The Cask of Amontillado.” From “First Project Gutenberg Collection of Edgar Allan Poe,”
::Edgar Allan Poe,“Amontiillado的卡斯克”。Edgar Allan Poe, excerpt from “The Fall of the House of Usher.” From “The Works of Edgar Allan Poe — Volume 2,” .
::Edgar Allan Poe,“Usher家族的倒台”摘录。 “Edgar Allan Poe的作品——第二卷”摘录。
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Understand the difference between connotation and denotation.
