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短篇小说论理性和感性视频

发布时间: 2024-12-02 07:45:23

Ⅰ 归在语言 异在文化 ——关于欧亨利两篇短篇小说译文的评析和对比

一. 析归异之偏爱,求归异之平衡

归化与异化的说法最早来源于1813年6月24日德国早期思想家斯莱尔马赫(Schleiermacher)在柏林皇家科学院所作的题为《论翻译的方法》的演讲,他认为翻译不是尽可能让读者靠拢作者,就是让作者靠拢读者。归化与异化主要包含两大类,一是语言层面,一是文化层面。然而归化异化各自倾向于哪个层面,孙致礼教授认为:“翻译的根本任务是忠实再现原作的思想和风格,而原作的思想和风格都带有浓厚的异国情调,翻译中不采用异化的方法,很难完成这一使命。与此同时,为了达到译文像原作一样通顺的要求,译者在语言表达中,又不得不作出必要的归化。”由此可知,在翻译过程中,异化侧重于思想文化的处理,归化侧重于语言表达的处理。然而具体翻译中,通常同时涉及到文化和语言的处理,因此析归异之偏爱后,应该求归化与异化的平衡,归化异化互为补充。

二. 译海拾贝:小说《婚》和《没》的译本赏析和对比

1. 译文和译者简介

欧亨利小说以其出人意料而又合乎情理的结尾情节设计深受读者喜爱。本文选取的两篇小说《婚》和《没》都体现了欧亨利对小人物的命运的同情和关心,同时也对他们自身的劣根性提出了辛辣的嘲讽和批评,是典型的欧亨利式小说。同时选择的译本分别是2010年中国对外翻译出版社出版的张经浩先生的译本和2010年人民文学出版社出版的王永年先生的译本。选择这两种译本的原因有三,第一是这两种译本在各大网上书店销售量大;第二是这两种译本各有千秋,但是都能体现语言层面归化和文化层面异化的杂糅;第三,同是采取归化策略,张译本和王译本在表达方式上有所不同,可以作出比较,各取其长,各补其短。

2. 归化的具体体现

“欣赏翻译的艺术就是要看译者如何利用目标语的语言资源去克服翻译困难。”汉语特有的语言资源有主要有量词,叠字和四字格以及古体语。这四种处理方法,实际上是撇开了原语中的词语和句法转而迎合目的语的表达方式,尽量照顾目的语读者的需要,是归化的处理方法。

从张译《婚》版本中,我们可以看到归化的具体表现如下:

量词:一卷钞票;一大叠钞票

叠词:醉醺醺;

四字格:当之无愧;拼死拼活;笨手笨脚;胡子拉碴;应接不暇;兴师动众;怀才不遇;不三不四;十有八九;财源滚滚;滑头滑脑;天衣无缝;络绎不绝;两厢情愿

古体语:见下文例3

王译《婚》版本中:

量词:一幢房子;一条人鱼;一张五元钞票;一支雪茄;一则广告;一封回信;一卷大额钞票

叠词:冷冷地;咕噜噜;

四字格:酩酊大醉;游手好闲;唯利是图;嬉皮涎脸;不可开交;无懈可击;难分难舍;和盘托出

古体语:见下文例3

下面我们来对上述方法在译文中的具体运用做简要分析和对比:

例1:An old friend of mine, Zeke Trotter, had made his wife a widow a year before drinking some dyspepsia cure of the old doctor’s instead of the liniment that he always got boozed up on.  (斜体部分为本文作者所加,下同)

张译:我有位老朋友,叫齐克特罗特。平常他总是灌黄汤灌得醉醺醺,一年前有次没灌好,吃了老医生治消化不良的药,让老婆成了寡妇。 

王译:我有个老朋友,齐克特罗特,去年喝了一个老医生的消化药,而没有喝那种老是使他酩酊大醉的万应药,结果害的老婆当了寡妇。

此处,张译版本在翻译”got boozed up”时采用了ABB叠词处理方法。叠词能够增强语言音律美和节奏感,使得译出的汉语更有表现力,更易使读者接受。如果此处不使用叠词,而是直译为”他总是灌黄汤灌醉”,意思表达依然完整,但是表现力大打折扣。而此处王译版本将其处理为四字格亦可,表达力也较强。两种处理办法均可。

例2:Out of that number something like thirty hundred will expect to give you in exchange, if they should win you, the carcass of a lazy and mercenary loafer, a failure in life, a swindler and contemptible fortune seeker.(206)

张译:你等着瞧吧,这三千人里有三千零一或者是懒汉,或者是见钱眼开的人,或者是倒霉鬼,骗子,存心不良搞钱财的家伙。(张经浩,第48页)

王译:在那批人中间,假如他们侥幸赢得了你的心,约莫就有三千人准备给你一个游手好闲,唯利是图的臭皮囊,一个生活的失意人,一个骗子手和可鄙的淘金者作为交换。(王永年,第161页)

此处张译本将”thirty hundred”归化翻译为汉语中的特有句式”三千人里有三千零一个”,从中可以看出译者对原文的深刻理解和在表达上的匠心独运。原文所对应的名词直译应该为”三千人”,但是此处译者加入了自己的理解:就译者看来,这些居心不良的求婚者不在少数,甚至人人都各怀鬼胎,因此译者大胆使用汉语特有的夸张句式”三千人里有三千零一个”,使得读者能充分感受到当时整个社会人们道德水平普遍低下的境况的言外之意,不失为一种归化的妙译。反观王译本当中直译成“三千人”就缺乏夸张的效果。并且从句式上看,王译本对原文几乎是直接直译过来,显得拖沓生硬,而张译本更符合汉语的表达。因此,该处张译本采取归化的方法处理更为恰当。

例3:Would prefer a poor man with affectionate disposition to one with means as she realizes that the solid virtues are oftenest to be found in the humble walks of life.(205)

张译:念卑贱者往往忠厚,故宁择贫而情笃者。(张经浩,第47页)

王译:……然性情必须温良,因微贱之人多具美德。(王永年,第159页到160页)

此处,两种译本都采取归化的方法将原文翻译成汉语味道浓郁的偏古体句,巧妙的将英语中的长难句简化成符合汉语习惯的短句,赢得了汉语读者的好感。两种译本均可,然而张译本更是运用了对偶句,加强了译本的文学性和节奏感,因此略胜一筹。

3. 异化的具体体现

翻译的根本任务是忠实再现原作的思想和风格。然而有时候原作的思想和风格都带有浓郁的异国色彩,或者说蕴含非常强烈的文化内涵,归化的译法无法传达出其意义,此时就应该采用异化的方法。具体来说是就是直译和解注文化负载词。即,特意使用“不地道”的汉语,目的是保留原作的文化内涵。

据统计,张译《没》总共有注解11处,其中属于文化负载词的注解有6处;王译《没》总共有注解10处,其中属于文化负载词的注解有5处。以下举例分析异化的具体表现以及对比:

例4:Dulcie went up to her room—the third floor back in a West Side brownstone-front.

张译:达尔西走进西区一所正面用褐色石头建造的房子三楼的一间后房,这儿是她的住房。

王译:达尔西上楼到她的房间里去——西区一座褐石房屋的三楼后房。

此处,张译本和王译本最大的不同在于,张译本对“褐色石头建造的房子”加入了注解“19世纪时房子正面用褐色石头建造表示房主人富有”,欧亨利将一个贫困的女售货员的住处设计成代表富有的“褐色石头房子”实际上是一种讽刺,既讽刺了社会贫富差距大,也暗指了女售货员的虚荣心,她的生活和她幻想中的生活存在极大的落差,就如同褐色房子表面的富有和内在的贫困一样。因此此处的注解对读者正确理解原文作者意图是不可或缺的。张译使用异化的处理策略十分恰当。

例5:So, we began to insert our advertisement in newspapers covering the country far and wide. One ad was all we used. We couldn’t have used more without hiring so many clerks and marcelled paraphernalia that the sound of the gum chewing would have disturbed the Postmaster-General.(207)

张译:“我们立即在全国各地报纸登征婚启事,只登了一次,多登非应接不暇,闹得兴师动众,露出马脚不可。”(张经浩,第49页)

王译:我们在全国各地的报纸上刊登了广告。我们只登一次。事实上也不能多登,不然就得雇用许多办事员和女秘书,而她们嚼口香糖的声音可能会惊动邮政总长。(王永年,第162页)

此处,张译连用“应接不暇”“兴师动众”“露出马脚”三个四字短语,优点是其形式简洁明快,且具有模糊性和概况性,适宜用于处理冗长复杂的英文句子。并且易于被汉语读者接受。但是此处欧亨利在原文中设计了“办事员和女秘书嚼口香糖”的情节实际上是一种反讽,讽刺了当时社会行政人员工作态度的怠惰和工作效率的低下,换句话说,此处涉及到特殊的文化内涵。如果略去而是直接用四字短语替代,则不能体现原作者在此处的良苦用心,也没有做到忠实。因此,该处应该采取异化当中直译的方法处理。王译的处理更为恰当。

例6:We no longer groan and heap ashes upon our heads when the flames of Tophet are mentioned.(60)

张译:如今人们谈起地狱的火焰时,不再边哼呀咳呀边往头上倒灰了。(张经浩,第84页)

王译:如今人们提到地狱的火焰时,我们不再唉声叹气,把灰涂在自己头上了。(王永年,第33页)

此处,在翻译”heap ashes upon our heads”的时候,张译和王译都采取异化的方法,加注解释“往头上倒灰”是一种犹太的风俗,悲切忏悔时,身穿麻衣,须发涂灰。这种做法较好地保护了源语文化,同时让读者享受到异域特色。

三. 译语喃喃:归化异化 相得益彰 归异同心

通过作者的亲身翻译实践和对以上译本的对比分析后发现,归化多用于处理语言层面,异化多用于处理涉及文化的层面,虽然各有偏爱但是不完全分开,即归化异化是相得益彰的;归异同心,这里的心就是指读者能喜爱和接受的翻译文本。无论是归化的策略还是异化策略,不能一味采用一种翻译策略,而是应该从实际出发,归异相糅,才能是好的翻译。

Ⅱ 虐心短篇小说(一部超短篇的虐心小说)

一直以来,我都不喜欢看短篇小说,因为故事情节太短,看不出感觉。

很多故事才刚刚讲起,转瞬之间,就写到了结局。

看完之后,甚至不清楚小说到底在讲些什么。

所以一般而言,我都是看长篇小说,无论言情也好、玄幻也罢,故事长些看起来才会有意思。

《割爱》 却是一部例外,它虽然是一部短篇言情,但 故事却非常完整

虽然已经过去好多年了,我却对书中的故事依旧念念不忘!

正值感慨,遂将这部书再次推荐给大家,喜欢的读者可以看下。

这部书无论脉络结构、还是文笔文风都很不错,而且不到一个小时就能全部看完!

以下就跟随笔者的视野,来看一看这部超短篇的言情小说……

小说开头,是兵荒马乱的战国时期。

男主庄少衾是落魄的道士

女主苗苗,是后山里的小蛇妖。

他们相识于兵荒马乱的年代,一起走过动荡岁月。

那时候日子艰苦,苗苗饥饿的时候,庄少衾会 摸着她的头对她说:苗苗乖……

后来,在一个雨夜, 苗苗化身成一个身姿曼妙的女子,与庄少衾稀里糊涂地发生了关系。

庄少衾承诺,以后会带她去昆仑山,会一辈子陪着她,于是带她走出了后山。

时光荏苒,沧海横流,时间一转眼走过了800年!

800年后,庄少衾成了德高望重的九御真人,创建了自己的宗派。

苗苗成了宗门里的妖兽,守护着宗门……

800年后,所有的一切都发生了翻天覆地的变化,德高望重的九御真人,再也不是当年的那个落魄道士了!

请点击输入图片描述

他心心念念着得道修仙,与苗苗相见的次数越来越短。

在宗门里,他是德高望重的宗主,生气时会挥起鞭子抽在苗苗身上。

苗苗被宗门弟子调戏,反过来要跪在山门前整整三个月,被烈日灼伤了至化为蛇身。

为了抹掉苗苗不开心的记忆,庄少衾一次又一次地喂她 疗愁药

后来,为了得到飞升的灵药,他强迫苗苗嫁给狼妖。婚礼当天,他才知道对方是为了苗苗身上的千年蛇胆!

庄少衾发了疯的救苗苗,看到的却是苗苗奄奄一息的样子。

都说蛇是没有眼泪的,可是苗苗却留下了眼泪。

那一滴泪,穿越了800年的时光,从战国到大唐,然后缓缓落下……

小说结局,苗苗忘记了一切,又回到了那个小后山,只是此生她再也遇不到800年前的那个落魄道士了。

而自始至终,她都不曾去过昆仑山……

我还很乖,可是我爱的那个人,却不爱我了……

Ⅲ 莫泊桑欧亨利契科夫的短篇小说各自特点以及风格是什么

1、莫泊桑

特点:(1)在对人物的描绘上,莫泊桑并不追求色彩浓重的形象、表情夸张的面目、夸张的生平与难以置信的遭遇,而是致力于描写“处于常态的感情、灵魂和理智的发展”(《论小说》),表现人物内心的真实与本性的自然,通过人物在日常生活中的自然状态与在一定情势下必然有的最合情理的行动、举止、反应、表情,来揭示出其内在心理与性格的真实。

(2)莫泊桑擅长从平凡琐屑的事物中截取富有典型意义的片断,以小见大地概括出生活的真实。

风格:现实主义小说艺术。

2、欧亨利

特点:欧·亨利的小说在艺术处理上的最大特点就是它们的“意外结局”,只有到了最后一刻,“谜底”才最终解开,情节的发展似乎明明朝着一个方向在发展,结果却来个出其不意。这意外的结局一般说来是比较令人宽慰的,即便是悲哀的结局,也常包含着某种光明之处,这就是所谓“带泪的微笑”,即“欧·亨利式结尾”。

风格:世态人情,并且易有浓郁的美国风味。

3、契科夫

特点:不追求离奇曲折的情节,他描写平凡的日常生活和人物,从中揭示社会生活的重要方面。在契诃夫的剧作中有丰富的潜台词和浓郁的抒情味。

风格:现实主义。

契科夫:

(3)短篇小说论理性和感性视频扩展阅读:

三人的短篇小说:

1、莫泊桑

《羊脂球》《俊友》《项链》《一生》《温泉》《归来》《我的叔叔于勒》等。

2、欧亨利

《麦琪的礼物》(一作贤人的礼物)《最后一片叶子》《带家具出租的房间》《爱的牺牲》《心与手》《二十年后》等。

《感恩节的先生们》

3、契科夫:

《给博学的邻居的一封信》《皮靴》《马姓》《凡卡》《迷路的人》《预谋犯》《未婚夫和爸爸(现代小品)》《客人(一个场景)》《名贵的狗》《纸里包不住火》《哼,这些乘客们!》《普里什别叶夫中士》《猎人》《哀伤》《胖子和瘦子》、《喜事》《在钉子上》《胜利者的得意洋洋》《小公务员之死》《不平的镜子》等。

Ⅳ 求劳伦斯的短篇小说《马贩子的女儿》全文,中英不限

The Horse Dealer's Daughter

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贩马者的女儿

By DH Lawrence

'Well, Mabel, and what are you going to do with yourself?' asked Joe, with foolish flippancy. He felt quite safe himself. Without listening for an answer, he turned aside, worked a grain of tobacco to the tip of his tongue, and spat it out. He did not care about anything, since he felt safe himself.

“好啦,玛贝尔,你怎么打算?”乔的问话愚蠢又刻薄。他感觉良好,等不及回答,他就转过脸去,吐掉了舌尖上的一丝烟叶。他对一切都无所谓,什么都不必担心。

The three brothers and the sister sat round the desolate breakfast table, attempting some sort of desultory consultation. The morning's post had given the final tap to the family fortunes, and all was over. The dreary dining-room itself, with its heavy mahogany furniture, looked as if it were waiting to be done away with.

兄弟三个和妹妹围坐在黯淡凄凉的早餐桌前,扯着些没有边际的话题。早晨的邮件将这个家庭的命运推向了边缘,再也没有希望了。阴沉的饭厅以及笨重的桃花心木家具,似乎在等待着死神的降临。

But the consultation amounted to nothing. There was a strange air of ineffectuality about the three men, as they sprawled at table, smoking and reflecting vaguely on their own condition. The girl was alone, a rather short, sullen-looking young woman of twenty-seven. She did not share the same life as her brothers. She would have been good-looking, save for the impassive fixity of her face, 'bull-dog', as her brothers called it.

遗憾的是,家庭会议毫无结果。一种挫败的生疏的气氛萦绕在这三个男人间,他们懒散的围坐在餐桌周围,吃烟,心不在焉的想着各自的处境。屋子里的姑娘她相当瘦小,脸色阴郁,已是27岁的成年女子。她独自一人,过着与她兄弟们完全全不同的生活,她本有着姣好的容貌,但由于她脸上一成不变的表情令人望而生畏,“斗牛犬”,正如她兄弟们叫她的那样。

There was a confused tramping of horses' feet outside. The three men all sprawled round in their chairs to watch. Beyond the dark holly-bushes that separated the strip of lawn from the highroad, they could see a cavalcade of shire horses swinging out of their own yard, being taken for exercise. This was the last time. These were the last horses that would go through their hands. The young men watched with critical, callous look. They were all frightened at the collapse of their lives, and the sense of disaster in which they were involved left them no inner freedom.

远远的,外面传来模糊的沉重的马蹄声,男人们瘫坐的椅子里往外张望。越过将狭长的草坪从大路分开的冬青灌木丛,可以看见一大群夏尔马摇晃着走出马厩,这是最后一次训练了,这也是最后一批经手的马匹了。三个年轻人带着挑剔冷漠的表情望着这一切,生活的崩塌令他们不知所措,陷进失败的沼泽的感觉没有留给他们选择的自由。

Yet they were three fine, well-set fellows enough. Joe, the eldest, was a man of thirty-three, broad and handsome in a hot, flushed way. His face was red, he twisted his black moustache over a thick finger, his eyes were shallow and restless. He had a sensual way of uncovering his teeth when he laughed, and his bearing was stupid. Now he watched the horses with a glazed look of helplessness in his eyes, a certain stupor of downfall.

但是,兄弟三个关系不错,手足之情牢不可破。乔,年龄最大,红脸膛,33岁的他高大魁梧,帅气,热烈奔放,易激动。他肥厚的手指拧着他那黑漆漆的髭须,淡蓝色的眼睛显得焦躁不安。当他露齿而笑时显出他性感的一面,但他的举止风度却令人不敢恭维。现在,他为某种幻灭感所携裹,正凝望着马队,他目光呆滞,无能为力。

The great draught-horses swung past. They were tied head to tail, four of them, and they heaved along to where a lane branched off from the highroad, planting their great hoofs floutingly in the fine black mud, swinging their great rounded haunches sumptuously, and trotting a few sudden steps as they were led into the lane, round the corner. Every movement showed a massive, slumbrous strength, and a stupidity which held them in subjection. The groom at the head looked back, jerking the leading rope. And the cavalcade moved out of sight up the lane, the tail of the last horse, bobbed up tight and stiff, held out taut from the swinging great haunches as they rocked behind the hedges in a motionlike sleep.

大队的役马过去了。四个一组,从头到尾被栓在一起,在一条从大路岔开去的小路前,它们停下来无所顾忌地踢踏着脚下细黑的污泥,剧烈地摇晃着它们巨大浑圆的臀部,当它们被赶往拐角处的小路时,又疾走几步。每一次一动都显得困难重重,试图使这些马匹顺从的努力看起来也愚不可及。走在前面的马夫转过头来,猛扯缰绳。不一会功夫,马队上了小路,从视线中消失了,突然,最后一匹马的尾巴翘地老高,僵直紧绷,与那些摇晃着它们那巨大浑圆的臀部的昏昏欲睡的挡在树篱后的马队形成了鲜明的对比。

Joe watched with glazed hopeless eyes. The horses were almost like his own body to him. He felt he was done for now. Luckily he was engaged to a woman as old as himself, and therefore her father, who was steward of a neighbouring estate, would provide him with a job. He would marry and go into harness. His life was over, he would be a subject animal now.

乔无助地,目光呆滞地凝望着。他想象着自己的身体就如同那些马匹一样,他觉得自己已经完了。值得庆幸的是,他和一个跟他一般年龄的姑娘订了婚,姑娘的父亲是附近一个农庄的管理者,也许能给他一个工作。他将结婚,受人奴役。人生结束了,从此将过着与受人支配的动物并无二致的生活。

He turned uneasily aside, the retreating steps of the horses echoing in his ears. Then, with foolish restlessness, he reached for the scraps of bacon-rind from the plates, and making a faint whistling sound, flung them to the terrier that lay against the fender. He watched the dog swallow them, and waited till the creature looked into his eyes. Then a faint grin came on his face, and in a high, foolish voice he said:

'You won't get much more bacon, shall you, you little b----?'

The dog faintly and dismally wagged its tail, then lowered his haunches, circled round, and lay down again.

他不安地转向一边,可是马匹退却的脚步声仍萦绕于耳际,挥之不去。然后,带着笨拙有焦躁不安的心情,他伸手去拿碟子里小片的咸猪肉皮,同时发出一声虚弱的哨音,猛地扔给了靠在壁炉挡板边的小猎狗。他注视着小猎狗吞下猪肉皮,直至这小家伙抬头看他的眼睛。这时,他脸上浮现出一丝笑意,然后以高昂却笨拙的声音说:

“没有了,是吧,你这小----”

小猎狗闷闷地微微摇了摇尾巴,然后垂下狗屁股,将身子蜷成一团,重又躺下了。
The Horse Dealer's Daughter(two)(2008-09-09 17:41:54)标签:杂谈

There was another helpless silence at the table. Joe sprawled uneasily in his seat, not willing to go till the family conclave was dissolved. Fred Henry, the second brother, was erect, clean-limbed, alert. He had watched the passing of the horses with more sang-froid. If he was an animal, like Joe, he was an animal which controls, not one which is controlled. He was master of any horse, and he carried himself with a well-tempered air of mastery. But he was not master of the situations of life. He pushed his coarse brown moustache upwards, off his lip, and glanced irritably at his sister, who sat impassive and inscrutable.

餐桌周围也是一片无助的沉默。乔瘫坐在椅子上,在家庭会议结束之前,他不想离开。第二个兄弟佛瑞德.亨利,他身材挺拔,手足匀称,机灵敏捷。望着马队走过,他显得更加镇静自若。如果他是个动物,像乔一样,他也是个动物的领导者,而不是被领导的动物。他熟悉每一匹马的习性,并能恰当合理控制自己的脾性。然而他也不是生活角逐中的胜利者,推了推唇上的棕色胡子,不无恼火地看了他妹妹一眼。她坐在那里,面无表情,令人难以捉摸。

'You'll go and stop with Lucy for a bit, shan't you?' he asked. The girl did not answer.

'I don't see what else you can do,' persisted Fred Henry.

'Go as a skivvy,' Joe interpolated laconically.

The girl did not move a muscle.

'If I was her, I should go in for training for a nurse,' said Malcolm, the youngest of them all. He was the baby of the family, a young man of twenty-two, with a fresh, jaunty museau.

“你将去和露西暂住一起,是吧?”他问到,但却没有得到回答。

“我觉得你什么都做不了。”佛瑞德.亨利不肯善罢甘休。

“去做女佣得了。”乔横插一杠。

“我是她啊,干脆做个看护得了。”马尔科姆也不甘寂寞,一副不通世故,洋洋得意的嘴脸。他是这个家里最小的一个,只有22岁。

But Mabel did not take any notice of him. They had talked at her and round her for so many years, that she hardly heard them at all.

但玛贝尔对他置若罔闻。他们在她周围喋喋不休了这么多年,她压根儿就没当回事儿。

The marble clock on the mantel-piece softly chimed the half-hour, the dog rose uneasily from the hearthrug and looked at the party at the breakfast table. But still they sat on in ineffectual conclave.

'Oh, all right,' said Joe suddenly, a propos of nothing. 'I'll get a move on.'

半小时过去了,壁炉台上的大理石锺轻轻地响了起来,炉前小地毯上的小猎狗不安的站了起来,张望着餐桌周围的所有人。但他们仍坐在那里,进行着那毫无进展的家庭会议。

“噢,好吧,”乔突然说道,a propos of nothing “我活动活动。”

He pushed back his chair, straddled his knees with a downward jerk, to get them free, in horsy fashion, and went to the fire. Still he did not go out of the room; he was curious to know what the others would do or say. He began to charge his pipe, looking down at the dog and saying, in a high, affected voice:

'Going wi' me? Going wi' me are ter? Tha'rt goin' further than tha counts on just now, dost hear?'

他向后推了推椅子,为了舒活筋骨,他以马步的姿势叉开两膝迅速蹲了下去,然后朝着壁炉走去。但他没有离开这间屋子,他很想知道其他人会做些什么或者说些什么。他开始装他的烟斗,低头看着那条狗,以一种高昂却又装模作样的声音问到:

“跟我?还是跟他们?必须马上作出决定,听到没有?”
The Horse Dealer's Daughter(three)(2008-09-09 17:49:04)标签:杂谈

The dog faintly wagged its tail, the man stuck out his jaw and covered his pipe with his hands, and puffed intently, losing himself in the tobacco, looking down all the while at the dog with an absent brown eye. The dog looked up at him in mournful distrust. Joe stood with his knees stuck out, in real horsy fashion.

小狗微微晃了晃尾巴。乔伸长下巴,用手盖住了他的烟斗,狠狠的吸了一口,一直盯着小狗那迷离恍惚的眼神,他在烟雾中完全迷失了。小猎狗抬头望着他,眼神里满是令人神伤的疑惑。乔站在那里,伸长的两膝像极了马的姿势。

'Have you had a letter from Lucy?' Fred Henry asked of his sister.

“你收到露西的信了吗?”佛瑞德.亨利问他妹妹。

'Last week,' came the neutral reply.

“上周收到的。”淡淡的回答。

'And what does she say?'

“她怎么说?”

There was no answer.

没有回答。

'Does she ask you to go and stop there?' persisted Fred Henry.

“她邀请你跟她一起住?”佛瑞德.亨利打破砂锅问到底。

'She says I can if I like.'

“只要我愿意。”

'Well, then, you'd better. Tell her you'll come on Monday.'

“那么,这样最好了。告诉他你星期一就去。”

This was received in silence.

没有声息。

'That's what you'll do then, is it?' said Fred Henry, in some exasperation.

“你就这种态度?”佛瑞德.亨利有些火了。

But she made no answer. There was a silence of futility and irritation in the room. Malcolm grinned fatuously.

仍然没有回答。屋子里安静极了,充满了徒劳无益和愤怒。马尔科姆在那里傻笑。

'You'll have to make up your mind between now and next Wednesday,' said Joe loudly, 'or else find yourself lodgings on the kerbstone.'

“从现在到下周三你必须作出决定。”乔大声说到,“否则,自己露宿街头。”

The face of the young woman darkened, but she sat on immutable.

霎时,玛贝尔脸色阴沉,但她仍无动于衷。

'Here's Jack Fergusson!' exclaimed Malcolm, who was looking aimlessly out of the window.

“杰克.菲尔古森来了。”马尔科姆叫了起来,他的望着窗外游移不定。

'Where?' exclaimed Joe, loudly.

“在哪?”乔大声问道。

The Horse Dealer's Daughter(four)(2008-09-09 17:51:32)标签:杂谈

'Just gone past.'

“刚刚过去。”

'Coming in?'

“进来了?”

Malcolm craned his neck to see the gate.

马尔科姆伸长脖子望着门口。

'Yes,' he said.

“嗯。”他答道。

There was a silence. Mabel sat on like one condemned, at the head of the table. Then a whistle was heard from the kitchen. The dog got up and barked sharply. Joe opened the door and shouted:

'Come on.'

又没有声息了。玛贝尔坐在餐桌最前方,像个被审判者。不一会儿功夫,口哨声在厨房那边响起,小猎狗跳起来尖声狂吠。乔打开门叫道:

“进来吧。”

After a moment a young man entered. He was muffled up in overcoat and a purple woollen scarf, and his tweed cap, which he did not remove, was pulled down on his head. He was of medium height, his face was rather long and pale, his eyes looked tired.

不一会儿一个年轻人进来了,厚厚的大衣将他包裹的严严实实,一条紫色羊毛披肩,一顶软尼斜纹便帽罩在他头上。他中等身材,相当长的面孔,苍白的脸色,眼神看起来疲惫不堪。

'Hello, Jack! Well, Jack!' exclaimed Malcolm and Joe. Fred Henry merely said, 'Jack.'

“你好,杰克。”马尔科姆和乔打了招呼。佛瑞德.亨利只是淡淡叫了声“杰克”。

'What's doing?' asked the newcomer, evidently addressing Fred Henry.

“怎么样?”很明显,杰克在问佛瑞德.亨利。

'Same. We've got to be out by Wednesday.--Got a cold?'

“老样子,下周三我们就要滚蛋了。感冒了?”

'I have--got it bad, too.'

“嗯,糟透了。”

'Why don't you stop in?'

“怎么不呆在家里?”

'Me stop in? When I can't stand on my legs, perhaps I shall have a chance.' The young man spoke huskily. He had a slight Scotch accent.

“家里?我的碰碰运气,总得自食其力啊!”这个年轻人声音沙哑,有点苏格兰口音。

'It's a knock-out, isn't it,' said Joe, boisterously, 'if a doctor goes round croaking with a cold. Looks bad for the patients, doesn't it?'

“优胜劣汰,是吧?”乔有点不着边际,“一个医生感冒了,到处传染嘶哑的嗓音,这对病人来说可不大好,对吧?”

The young doctor looked at him slowly.

年轻医生慢慢转向他。

'Anything the matter with you, then?' he asked sarcastically.

“关你什么事?”医生语带讽刺。

'Not as I know of. Damn your eyes, I hope not. Why?'

“当然不。狗咬吕洞宾,不识好人心,我可不想这样,为何?”

'I thought you were very concerned about the patients, wondered if you might be one yourself.'

“我还以为你高尚无比呢,却不知你只在乎你自己。”

'Damn it, no, I've never been patient to no flaming doctor, and hope I never shall be,' returned Joe.

“该死,不,我可从来不是冷漠医生的病人,恐怕永远不会。”乔反唇相讥。

At this point Mabel rose from the table, and they all seemed to become aware of her existence. She began putting the dishes together. The young doctor looked at her, but did not address her. He had not greeted her. She went out of the room with the tray, her face impassive and unchanged.

这是玛贝尔站了起来,他们似乎到现在才意识到她的存在。她开始收拾桌上的餐具。年轻医生看着她,但并没有和她说话,他从来没有和她说过话。她端着托盘离开了房间,脸上的表情一如既往。

'When are you off then, all of you?' asked the doctor.

“你们什么时候离开,所有人?”医生问道。

Ⅳ 长篇小说、短篇小说和微型小说有哪些主要区别

短篇小说则从几千字到几万字。

长、中、短篇小说是以篇幅的饥物亩区分的,但是文学理论界却从来没有严格而统一的标准。以字数来说,长篇小说一般在几十万字以上,多的达几百万字;中篇小说则几万字到十几万字不等,有的达二十几万字;短篇小说则从几千字到几万字,长的也会达到十几万字。

具体介绍

小说一般是根据作品的篇幅字数来区分长篇、中篇、短篇和微型小说。篇幅字数在一千字左右,两千字以内的是微小说。在魏晋时期就有了篇幅短小类似于小说的名士轶闻。如今电子文化又催生了这烂森一体裁的普及化和大众化,阅读者的审美趣味也更加趋向于精短的短片阅读。

微小说的写作要求选材精粹,用一蚂毕个场面、一件事情,或者是不同场面由一个物品或细节关联。微小说讲究高质量的写人细节,生动地刻画出人物的性格特征。叙述上,要用简洁的语言来叙述出一个完整并且有变化的故事。一般在结尾处制造意外结局,使作品的立意在读者的顿悟中得到体味。

短篇小说在两千字以上,三万字以内。同样取材于生活的横截面,但相对于微小说,事件叙述的时空形态要复杂和丰满。它要求在人物刻画中集中艺术笔墨塑造一个性格侧面相对完整的人物个性。叙述语言比较从容丰富,可有具体细致的人物生活环境描写。

中篇小说在三万字到十万字之间,介于短篇和长篇之间,也兼有长短篇的长处。它可以描写有一定历史长度的纵横断面生活,也就是说,从多角度描写一个典型性形象的系统性格,全方位的叙述一个小说人物的命运。它有长篇小说全景式和大容量,比长篇精炼、单纯。所以在中篇小说里既有从容细致地描写叙述,也要像短篇小说那样进行简洁巧妙的构思和布局。

篇幅在十万字以上就是长篇了,它反映的纵断面生活更加厚实。成功的长篇小说,不仅可以塑造一个、而且可以塑造多个典型人物。情节可以诡异多变,跌宕起伏,有着足够篇章去描绘动人心扉的艺术力量。长篇可以有大段文字去写特定的区域景物,也可以描述由复杂的人际关系构成的社会环境。

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