短篇小說英文
A. 求英語短篇小說
經典短篇小說好多呢！用詞比較簡單，但意義深刻！更重要的是每一篇都短小精悍！（符合你的要求哦）
1.《生火》傑克.倫敦 To Build a Fire (Jack LondonP
2.《厄謝爾府的倒塌》 愛倫.坡
The Fall of the House of Usher (Edgar Allan Poe)
3.《項鏈》莫泊桑 The Necklace (Guy de Maupassant)
4.《警察與贊美詩》歐.亨利 The Cop and the Anthem
(O Henry)
5.《麥琪的禮物》歐.亨利 Magi's gift (O Henry)
6.《最後一片藤葉》歐.亨利 The Last Leaf (O Henry)
7.《加利維拉縣有名的跳蛙》馬克.吐溫 The Notorious Jumping Frog of Calaveras County
（Mark Twain)
8.《人生的五種恩賜》馬克.吐溫
The Five Boons of Life （Mark Twain)
9.《三生客》 托馬斯.哈代 The Three Strangers
(Thomas Hardy)
10.《敞開的落地窗》薩基 The Open Window (Saki)
11.《末代佳人》菲茨傑拉德 The Last of the Belles
(F.S.Fitzgerald)
12.《手》舍伍德.安德森 Hands
13.《伊芙琳》詹姆斯.喬伊斯 Eveline
14.《教長的黑色面紗》納撒尼爾.霍桑
The Minister's Black Veil
B. 推薦一些英文短篇小說
相信你會喜歡這篇短小的小說的。
Appointment With Love －－By Sulamith Ish-Kishor
Six minutes to six, said the great round clock over the information booth in Grand Central Station. The tall young Army lieutenant who had just come from the direction of the tracks lifted his sunburned face, and his eyes narrowed to note the exact time. His heart was pounding with a beat that shocked him because he could not control it. In six minutes, he would see the woman who had filled such a special place in his life for the past 13 months, the woman he had never seen, yet whose written words had been with him and sustained him unfailingly.
He placed himself as close as he could to the information booth, just beyond the ring of people besieging the clerks...
Lieutenant Blandford remembered one night in particular, the worst of the fighting, when his plane had been caught in the midst of a pack of Zeros. He had seen the grinning face of one of the enemy pilots.
In one of his letters, he had confessed to her that he often felt fear, and only a few days before this battle, he had received her answer: "Of course you fear...all brave men do. Didn't King David know fear? That's why he wrote the 23rd Psalm. Next time you doubt yourself, I want you to hear my voice reciting to you: 'Yea, though I walk through the valley of the shadow of death, I shall fear no evil, for Thou art with me.'" And he had remembered; he had heard her imagined voice, and it had renewed his strength and skill.
Now he was going to hear her real voice. Four minutes to six. His face grew sharp.
Under the immense, starred roof, people were walking fast, like threads of color being woven into a gray web. A girl passed close to him, and Lieutenant Blandford started. She was wearing a red flower in her suit lapel, but it was a crimson sweet pea, not the little red rose they had agreed upon. Besides, this girl was too young, about 18, whereas Hollis Meynell had frankly told him she was 30. "Well, what of it?" he had answered. "I'm 32." He was 29.
His mind went back to that book - the book the Lord Himself must have put into his hands out of the hundreds of Army library books sent to the Florida training camp. Of Human Bondage, it was; and throughout the book were notes in a woman's writing. He had always hated that writing-in habit, but these remarks were different. He had never believed that a woman could see into a man's heart so tenderly, so understandingly. Her name was on the bookplate: Hollis Meynell. He had got hold of a New York City telephone book and found her address. He had written, she had answered. Next day he had been shipped out, but they had gone on writing.
For 13 months, she had faithfully replied, and more than replied. When his letters did not arrive she wrote anyway, and now he believed he loved her, and she loved him.
But she had refused all his pleas to send him her photograph. That seemed rather bad, of course. But she had explained: "If your feeling for me has any reality, any honest basis, what I look like won't matter. Suppose I'm beautiful. I'd always be haunted by the feeling that you had been taking a chance on just that, and that kind of love would disgust me. Suppose I'm plain (and you must admit that this is more likely). Then I'd always fear that you were going on writing to me only because you were lonely and had no one else. No, don't ask for my picture. When you come to New York, you shall see me and then you shall make your decision. Remember, both of us are free to stop or to go on after that - whichever we choose..."
One minute to six - Lieutenant Blandford's heart leaped higher than his plane had ever done.
A young woman was coming toward him. Her figure was long and slim; her blond hair lay back in curls from her delicate ears. Her eyes were blue as flowers, her lips and chin had a gentle firmness. In her pale green suit, she was like springtime come alive.
He started toward her, entirely forgetting to notice that she was wearing no rose, and as he moved, a small, provocative smile curved her lips.
"Going my way, soldier?" she murmured.
Uncontrollably, he made one step closer to her. Then he saw Hollis Meynell.
She was standing almost directly behind the girl, a woman well past 40, her graying hair tucked under a worn hat. She was more than plump; her thick-ankled feet were thrust into low-heeled shoes. But she wore a red rose in the rumpled lapel of her brown coat.
The girl in the green suit was walking quickly away.
Blandford felt as though he were being split in two, so keen was his desire to follow the girl, yet so deep was his longing for the woman whose spirit had truly companioned and upheld his own; and there she stood. Her pale, plump face was gentle and sensible; he could see that now. Her gray eyes had a warm, kindly twinkle.
Lieutenant Blandford did not hesitate. His fingers gripped the small worn, blue leather of Of Human Bondage, which was to identify him to her. This would not be love, but it would be something precious, something perhaps even rarer than love - a friendship for which he had been and must ever be grateful.
He squared his broad shoulders, saluted and held the book out toward the woman, although even while he spoke he felt shocked by the bitterness of his disappointment.
"I'm Lieutenant John Blandford, and you - you are Miss Meynell. I'm so glad you could meet me. May...may I take you to dinner?"
The woman's face broadened in a tolerant smile. "I don't know what this is all about, son," she answered. "That young lady in the green suit - the one who just went by - begged me to wear this rose on my coat. And she said that if you asked me to go out with you, I should tell you that she's waiting for you in that big restaurant across the street. She said it was some kind of a test. I've got two boys with Uncle Sam myself, so I didn't mind to oblige you."
C. 感人的英文短篇小說
第一節；在一個孤獨的小島上，葉子慌亂地奔跑著。 一個面目不清的男人在後面緊緊追著她，好幾次那男人似乎一伸手就能捉住她了。
葉子沒命地跑，然而總是跑不快，雙腳好象是灌滿了鉛一樣沉。
葉子想呼叫，卻叫不出聲。葉子已經跑不動了，而且在她面前是一片汪洋，她無處可逃。
葉子癱瘓在地上，她驚恐地回過頭，卻不見了那個男人。她剛吁了一口氣，卻發現一條渾身血紅的蛇正在向她爬來。
葉子掙扎著要逃，卻怎麼都站不起來。而且她發現，不知什麼時候她已經變得赤身裸體的了！
血紅的蛇昂著血紅的頭向她爬來，葉子絕望地閉上了眼睛。
然而，血紅的蛇並沒咬她，而是順著她的腳往上爬。她感到蛇身的圓潤滑爽，觸在她小腿的肌膚上，竟有一種莫名的快意。血紅的蛇還在往上爬，經過她的大腿時，她甚至感覺到了一種似曾相識的溫潤。
那高昂的血紅的蛇頭注視著她，似乎在做進攻前的准備。
葉子忽然想起什麼，急忙用雙手捂住下身。
那血紅的蛇頭猶豫了一下，突然迅猛地直插了過來，從她的手指間順利地進入了她的身體！
葉子失聲尖叫起來！
葉子終於從夢境中驚醒了過來，小夜燈粉色的光溫柔地充滿卧室的空間。她伸手開了床頭燈。這時，她感覺到了身體某個地方的濕潤。
她不明白最近為什麼總在做這些離奇古怪的夢，而每次做夢總和她的身體有關…… 一場突如其來的大雨，把這座城市籠罩在了昏暗的雨霧中。
葉子站在中天大廈最高一層的落地玻璃窗前，看著雨水順著玻璃不停地向下流淌，彷彿是千萬條懸空的小溪。
因為加班趕一份文案，葉子沒能按時下班趕在大雨到來之前回去。雖然，在下班前就已經預見這場大雨。所以當同事們尤其是那些女孩子在下班前幾分鍾，就在嚷嚷著呼朋喚友地准備逃離寫字樓時，葉子仍然埋頭在電腦前，不為所動。
葉子覺得下雨沒什麼可怕的，相反倒是給人一種清新的空氣。大雨洗滌過的城市特別干凈，就連樹木花草都顯得格外清新。怕下雨的不過是那些故作嬌柔的女孩子的一種作態罷了。
但當她終於把手頭的工作做完時，她才發現，這場大雨沒她想的那麼簡單。從下班前幾分鍾就一直下到現在，而且絲毫沒有要停下來的意思。
剛開始，葉子還心情很好地站在窗前居高臨下地欣賞雨景。然而，隨著時間的推移，她看到大雨一點也沒有變小，她開始有點心急了。而且，大廈管理員已經第三次敲她的門，示意她大廈要清場了。
葉子不得不離開寫字樓，下到樓底站在大廈的門廊，雨勢還是沒有減退。
大街上幾乎沒有行人，只有各種各樣的車輛在雨幕中穿梭，飛馳的車輪濺起兩扇白色的水花。
也許天黑這雨也停不了，葉子開始有點著急起來。她住在郊外的鳴泉山莊，過了八點就沒有專線車了。打計程車至少要花七、八十元錢，這是她一天的工資了。而且這大雨天，計程車也不是那麼好打的。一想到這，一向沉靜的葉子不由得也急躁起來，不時四處張望著，希望能有空的計程車從這里經過，但很快她就氣餒了，因為這么長的時間，她沒有看到一輛計程車是空的。
葉子心一急，就不停地原地踏步。恍惚中她感覺到好像有人在注意她。她回過頭，果然離她不遠的地方，站著一個四十歲左右的男人，正注視著她，而且那目光中分明含有一種輕薄的成分。
男人，尤其是這種年齡的男人，在看年輕漂亮的女孩子時，都用這種目光，那是一種恨不得馬上扒掉別人衣服的目光，陰郁曖昧而充滿慾望。
葉子厭惡地把臉轉過一邊，對這種男人，她心裡充滿了鄙視和厭惡。
一輛白色的別克轎車駛來，停在了門廊前。那男人走過來打開車門上了車，坐在車上，他朝葉子笑了笑，說：「小姐，要不要送你？你看這雨下得好大的！」
從發現他的那時起，葉子就知道他會這么說。葉子心裡冷笑了一下，不理他。
那男人自討沒趣，只好尷尬地笑了笑關上了車門，轎車無聲地向前滑了出去。看著遠去的車尾，葉子突然感到自已剛才有點過分了，不管怎麼樣，出於禮節也應該對他說聲謝謝，或許人家真的是出於好心。葉子感覺到自已有點失態了。
都是這該死的雨！
忽然，那車又回來了，不過是亮著倒車燈倒回來的，一直倒到葉子的身邊才停下，車門打開，那男人下車遞給葉子一把雨傘，說：「小姐，這傘您先用著吧，這雨怕是一時半時停不了的。」
「這？」葉子幾乎是沒有猶豫就接過了傘，並對他連聲道謝。他笑了笑轉身上了車，關上了車門。
「哎，先生，這傘我怎麼還給你呀？」葉子追上前問。
「不用還了，送你用吧。」他欲搖上車窗。
「那怎麼行，先生，這傘我是一定要還給你的。」葉子說。
他沉吟了一下，遞給葉子一張名片說：「如果要還，你就打電話給我罷。」說完關上車窗走了。
「謝謝！」葉子沖著遠去的車喊道。 葉子終於趕上了末班專線車，回到鳴泉山莊時，天已經完全黑了下來。葉子順便在山莊街市吃了一碗面，就算吃了晚餐了。她到超市買了些水果就上樓了。
這兩居室是以月租一千元人民幣從一個姓楊的香港人手裡租下來的。鳴泉山莊因為遠離市區，交通不是很方便。因此住在這里的大都是有私家車的業主，他們大多數都是住在掬水灣別墅區。高層住宅區主要是一些在廣州打工的白領階層購買的。也有一部分是像楊先生那樣的香港人買了作為回內地時的歇腳點，他們當中更多的是作為和內地情人幽會用的。因為他們知道在大陸租房子和情人幽會，風險極高。不但手續繁瑣，光是那些名目繁多的檢查就讓人心驚肉跳。所以有點錢的香港人都喜歡買一套房子放在內地讓情人居住，自已則在周末和節假日回來幽會。畢竟是業主，沒有人會來麻煩。而更多的則是象葉子這樣的租住戶，雖然他們也算是白領，但屬於那種還沒有在廣州站穩腳跟的白領，和那些四處漂泊的民工不同的是，他們從事的工作相對來說比較體面，收入也比較高並且相對穩定。
在廣州，擁有一套屬於自已的房產，就等於在廣州市有了合法的身份。否則，就永遠是盲流和「三無人員」，面臨著隨時被罰款、拘留、送進收容站的危險。
D. 短篇小說用英語怎麼說
短篇小說：
翻譯： short story;
雙語例句：
這本集子是由詩、散文和短篇小說三部分組合而成的。
This collection is made up of three parts: poems, essays and short stories.
E. 小說用英語怎麼說
1、Novel，英[ˈnɒvl]， 美[ˈnɑ:vl]。長篇小說，新法，附律。新奇的，異常的。
2、Novel近義詞fiction和story。
3、Sheldon writes every day of the week, dictating his novels in the morning.謝爾登一周七天都要寫作，每天上午口述小說讓別人記錄。
4、Both her novels won prizes.她的兩部小說都獲了獎。
5、Novel是長篇小說，story是短篇小說，fiction是小說的總稱。
(5)短篇小說英文擴展閱讀
1、Dickens 'novels have enriched English literature.狄更斯的小說豐富了英國文學。
2、She is a prolific writer of novels and short stories.她是一位多產的作家，寫了很多小說和短篇故事。
3、His works are included in this anthology of stories.這本小說集收錄了他的作品。
4、The novel portrays the growth of a fighter.這本小說描寫了一個戰士的成長。
5、Sara and I read the story and marveled.我和薩拉讀了這部小說後驚嘆不已。
6、This novel has been made into a film.這部小說已拍成電影了。
F. 介紹幾部經典英文短篇小說
（少年維特的煩惱)，我正在看，可能不算短篇吧。但是它的英文我覺得還比較容易好理解。
G. 長篇小說，中篇小說，短篇小說用英語怎麼說
字數的多少，是區別長篇、中篇、短篇小說的一個因素，但不是惟一的因素。人們通常把幾千字到兩萬字的小說稱為短篇小說，三萬字到十萬字的小說稱為中篇小說，十萬字以上的稱為長篇小說。這只是就字數而言的，其實，長、中、短篇小說的區別，主要是由作品反映生活的范圍、作品的容量來決定的。長篇小說容量最大，最廣闊，篇幅也比較長，具有比較復雜的結構，它一般是通過比較多的人物和紛繁的事件來表現社會生活的，如《紅樓夢》。中篇小說反映生活的范圍雖不像長篇那樣廣闊，但也能反映出一定廣度的生活面，它的人物的多寡、情節的繁簡介於長篇與短篇之間，如《人到中年》。短篇小說的特點是緊湊、短小精悍，它往往只寫了一個或很少幾個人物，描寫了生活的一個片斷或插曲。短篇小說所反映的生活雖不及長篇、中篇廣闊，但也同樣是完整的，有些還具有深刻、豐富的社會意義。
H. 任何一篇英美短篇小說的英語論文
《呼嘯山莊》人物關系結構
Title：
Catherine's dilemma between love and marriage in Wuthering Heights
——The Psychoanalysis of love triangle relationship with Freud』s theory of personality
Abstract：
Wuthering Heights tells a story of superhuman love and revenge enacted on the English moors. In this thesis, an attempt is made to analyze the love triangle relationship which leads to Catherine's dilemma between love and marriage in Wuthering Heights by virtue of Freud』s theory of personality.
Key words：
Wuthering Heights Freud』s theory of personality love triangle relationship
In Catherine's heart she knows what is right, but chooses what is wrong. It is her wrong decision that pushes her into the inextricable [LunWenJia.Com]dilemma between her love and marriage; it is her wrong choice that plunges the two families into chaos. In the mind, she is truly out of her way.
According to Sigmund Freud(1856—1939), the structure of the mind or personality consists three portions: the id, the ego, and the superego.「The id, which is the reservoir of biological impulses, constitutes the entire personality of the infant at birth. Its principle of operation, to guard the person from painful tension, is termed the pleasure principle. Inevitable frustrations of the id, together with what the child learns from his encounters with external reality, generate the ego, which is essentially a mechanism to minimize frustrations of the biological drives in the long run. It operates according to the reality principle … [LunWenNet.Com]The superego comprises the conscience, a partly conscious system of introjected moral inhibitions, and the ego-ideal, the source of the indivial's standards for his own behavior. Like external reality, from which it derives, the superego often presents obstacles to the satisfaction of biological drives.」「In the mentally healthy person, these three systems form a unified and harmon
ious organization. Conversely, when the three systems of personality are at odds with one another the person is said to be maladjusted.」 Here Catherine's tragic psychological process may be well illustrated by Freudian psychoanalysis.
「I cannot express it; but surely you and everybody have a notion that there is, or should be, an existence of yours beyond you. What were the use of my creation, if I were entirely contained here？」 Catherine's strange words reflect that the intelligent Emily Bronte had been earlier pondering over a same question in her work. What on earth is「the existence of Catherine's beyond Catherine」？
Here we may believe that Heathcliff stands for Catherine's instinctual nature and the strongest desire—her 「id」 in the depths of her soul; Edgar, her ideal 「superego」, represents another part of her personality: the well-bred gracefulness and the superiority of a wealthy family; and she, herself is the 「ego」 tortured by the friction between the two in the disharmonious situation.
In the light of Freud's theory of personality, 「the superego is the representation in the personality of the traditional values and ideals of society as they are handed down from parents to children.」 Catherine's choice of Edgar as her husband is to satisfy her ideal 「superego」 to get wealth and high social position, which are the symbol of her class, on the basis of the ecation by her family and reality from her early childhood. She is a Miss of a noble family with a long history of about three hundred years. Only the marriage well-matched in social and economic status could be a satisfaction for all: her family, the society and even her practical self. 「It would degrade me to many Heathcliff now ... if Heathcliff and I married, we should be beggars？」 This is her actual worry for her future. Catherine yields to the pressure from her brother, and alike, in truth, she is yielding to the moral rules of society, without the approval and identification of which, she could not live a better life or even exist i
n it at all.
However, Catherine underestimates what her other more intrinsic self would have effect on her. The most remarkable claim by Catherine herself may be the best convincing evidence to distinguish the different roles of Heathcliff and Edgar—her 「id」 and her 「superego」:
「My great miseries in this world have been Heathcliff's miseries, and I watched and felt each from the beginning: my great thought in living is himself. If all else perished, and he remained, I should still continue to be; and if all else perished, and he was annihilated, the universe would turn to a mighty stranger: I should not seem a part of it. My love for Linton is like foliage in the woods: time will change it. I'm well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I'm Heathcliff! He's always, always in my mind: not as a pleasure and more than I am always a pleasure to me, but as my own being. So don't talk of our separation again: it is impracticable.」
It was a happy thought to make her love the kind, wealthy, weak, elegant Edgar, yet in submission to her superego to oppose against her id, she would fall into a loss of the self. Since the id is the most primitive basis of personality, and the ego is formed out of the id, Catherine's life depends wholly on Heathcliff， as the whole connotation and truth of her life in the cosmic world, for its existence and further more for the significance of her existence. Heathcliff is the most necessary part of her being. She marries Edgar, but Heathcliff still clutches her soul in his passionate embrace. Although she is a bit ashamed of her early playmate, she loves him with a passionate abandonment that sets culture, ecation, the world at defiance. Catherine's wrong choice for marriage violates her inner desires. The choice is a victory for self-inlgence—a sacrifice of primary to secondary things. And she pays for it.
On one hand, Catherine doesn't find the heavenly happiness she was longing for. Though as a girl 「full of ambition」and 「to be the greatest woman of the neighborhood」 would be her pride, the enviable marriage could only flatter her vanity for a second. After her marriage, the comfortable and peaceful life in the Grange was just a monotonous and lifeless confinement of her soul. She feels chocked by the artificial and unnatural conditions in the closed Thrushcross Grange— a world in which the mind has hardened and become unalterable.「If I were in heaven, Nelly, I should be extremely miserable. 」 Catherine eventually knows that the Lintons' heaven is not her ideal heaven. She and Heathcliff really possess their common heaven. Just as Catherine says,「Whatever our souls are made of, his and mine are the same; and Linton's is as different as a moonbeam from lightning, or frost from fire.」
Catherine doesn't want to live in the Lintons' heaven; on the other hand, she has lost her own paradise that she ever had with Heathcliff on the bare hard moor in their childhood. The deepest bent of her nature announces her destiny—a wanderer between the two worlds. When she is alive, she occupies a position midway between the two. She belongs in a sense to both and is constantly drawn first in Heathcliff's direction, then in Edgar's, and then in Heathcliff's again and at last she loses herself completely. Her childish illusion to use her husband's money to aid Heatllcliff to rise out of her brother's power has vanished in thin air. And her constant struggle to reconcile two irreconcilable ways of life is in vain too, which only caused more disorder in the two worlds and in herself as well.
In Freudian principles, should the ego continually fail in its task of satisfying the demands of the id, these three factors together—the painful repression of the id's instinctual desires, the guilt conscience of revolt against the superego's wishes, and the frustration of failure in finding outlets in the external world- would contribute to ever-increasing anxiety. The anxiety piles up and finally overwhelms the person. When this happens, the person is said to leave hallucinatory wish-fulfillment, then a nervous radical breakdown, and in the end may finish the person off. Catherine is destroyed into psychic fragmentation by the friction between the two. At the height of her Edgan-Heathcliff torment, Catherine lies delirious on the floor at the Grange. She dreams that she is back in her own old bed at Wuthering Heights 「enclosed in the oak-paneled bed at home, and my heart ached with some great grief…my misery arose from the separation that Hindley had ordered between me and Heathcliff.」Still dreaming, she t
ries to push back the panels of the oak bed, only to find herself touching the table and the carpet at the Grange:「My late anguish was swallowed in a paroxysm of despair. I cannot say why I was so wildly wretched ... and my all in all, as Heathcliff was at that time, and been converted at a stroke into Mrs. Linton...the wife of a stranger: an exile, and outcast.」 She attempts to forget the lengthy days of years of life without her soul even in her temporary derangement.「Most strangely, the whole last seven years of my life grew a blank! I did not recall that they had been at all.」 Her mental and physical decay rapidly leads to the body's mortal end. She dies and seems to have none into perfect peace.
But even after her death, she is still a wandering ghost. In Chapter 3, Lockwood, the lodger in Catherine's oak-paneled bed at Wuthering Heights dreams about the little wailing ghost:
「The intense horror of nightmare came over me: I tried to draw back my arm, but the hand clung to it, and a most melancholy voice sobbed, 『Let me in-Let me in』.『 Who are you?』…『Catherine Linton』, it replied, shiveringly…『I'm come home: I'd lost my way on the moor!』…Terror made me cruel; and finding it useless to attempt shaking the creature off, I pulled its wrist on to the broken pane, and rubbed it to and fro till then blood ran down and soaked the bedclothes: still it wailed, 『Let me in!』…it is twenty years, twenty years. I've been a waif for twenty years!」
Catherine aspires to be back in her heaven even being a spirit. But leer self-deceptive decision has made her fall from her and Heathcliff's heaven full of demonic love and her never docile or submissive nature has drawn her out of her and Edgar's heaven filled with civilized emptiness in the meantime. She pushes herself into her tragedy, the endless dilemma between her love and marriage, which won't end up with her death.
Bibliography：
1.Bronte Emily，Wuthering Heights，Beijing：Foreign Language Teaching and Research Press，London：Oxford University Press 1995
2.Freud Sigmund，Interpretation of Dreams，Beijing：Foreign Language Teaching and Research Press 2001
3.Travis Trysh，Heathcliff and Cathy，the Dysfunctional Couple，The Chronicle of Higher Ecation，Washington，2001
4.Steinitz Rebecca，Diaries and Displacement in Wuthering Heights，Studies in the Novel，Denton，2000
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