tickets please!

Tickets, Please!

D. H. Lawrence

1919

There is in the Midlands a single-line system of tramcars which boldly leaves the county town and plunges off into the black, industrial countryside, up hill and down dale, through the long, ugly villages of workmen's houses, over canals and railways, past churches perched high and nobly over the smoke and shadows, through dark, grimy, cold little market-places, tilting away in a rush past cinemas and shops down to the hollow where the collieries are, then up again, past a little rural church under the ash-trees, on in a rush to the terminus, the last little ugly place of industry, the cold little town that shivers on the edge of the wild, gloomy country beyond. There the blue and creamy coloured tramcar seems to pause and purr with curious satisfaction. But in a few minutes—the clock on the turret of the Co-operative Wholesale Society's shops gives the time—away it starts once more on the adventure. Again there are the reckless swoops downhill, bouncing the loops; again the chilly wait in the hill-top market-place: again the breathless slithering round the precipitous drop under the church: again the patient halts at the loops, waiting for the outcoming car: so on and on, for two long hours, till at last the city looms beyond, the fat gasworks, the narrow factories draw near, we are in the sordid streets of the great town, once more we sidle to a standstill at our terminus, abashed by the great crimson and cream-coloured city cars, but still jerky, jaunty, somewhat daredevil, green as a jaunty sprig of parsley out of a black colliery garden.

To ride on these cars is always an adventure. The drivers are often men unfit for active service: cripples and hunchbacks. So they have the spirit of the devil in them. The ride becomes a steeplechase. Hurrah! we have leapt in a clean jump over the canal bridges—now for the four-lane corner! With a shriek and a trail of sparks we are clear again. To be sure a tram often leaps the rails—but what matter! It sits in a ditch till other trams come to haul it out. It is quite common for a car, packed with one solid mass of living people, to come to a dead halt in the midst of unbroken blackness, the heart of nowhere on a dark night, and for the driver and the girl-conductor to call: 'All get off—car's on fire.' Instead of rushing out in a panic, the passengers stolidly reply: 'Get on—get on. We're not coming out. We're stopping where we are. Push on, George.' So till flames actually appear.

The reason for this reluctance to dismount is that the nights are howlingly cold, black and windswept, and a car is a haven of refuge. From village to village the miners travel, for a change of cinema, of girl, of pub. The trams are desperately packed. Who is going to risk himself in the black gulf outside, to wait perhaps an hour for another tram, then to see the forlorn notice 'Depot Only'—because there is something wrong; or to greet

a unit of three bright cars all so tight with people that they sail past with a howl of derision? Trams that pass in the night!

This, the most dangerous tram-service in England, as the authorities themselves declare, with pride, is entirely conducted by girls, and driven by rash young men, a little crippled, or by delicate young men, who creep forward in terror. The girls are fearless young hussies. In their ugly blue uniforms, skirts up to their knees, shapeless old peaked caps on their heads, they have all the sangfroid of an old non-commissioned officer. With a tram packed with howling colliers, roaring hymns downstairs and a sort of antiphony of obscenities upstairs, the lasses are perfectly at their ease. They pounce on the youths who try to evade their ticket-machine. They push off the men at the end of their distance. They are not going to be done in the eye—not they. They fear nobody—and everybody fears them.

'Hello, Annie!'

'Hello, Ted!'

'Oh, mind my corn, Miss Stone! It's my belief you've got a heart of stone, for you've trod on it again.'

'You should keep it in your pocket,' replies Miss Stone, and she goes sturdily upstairs in her high boots.

'Tickets, please.'

She is peremptory, suspicious, and ready to hit first. She can hold her own against ten thousand. . The step-of that tram-car is her Thermopylae.

Therefore there is a certain wild romance aboard these cars—and in the sturdy bosom of Annie herself. The romantic time is in the morning, between ten o'clock and one, when things are rather slack: that is, except market-day and Saturday. Then Annie has time to look about her. Then she often hops off her car and into a shop where she has spied something, while her driver chats in the main road. There is very good feeling between the girls and the drivers. Are they not companions in peril, shipmates aboard this careering vessel of a tramcar, for ever rocking on the waves of a stony land?

Then, also, in the easy hours the inspectors are most in evidence. For some reason, everybody employed in this tram-service is young: there are no grey heads. It would not do. Therefore the inspectors are of the right age, and one, the chief, is also good-looking. See him stand on a wet, gloomy morning in his long oilskin, his peaked cap well down over his eyes, waiting to board a car. His face is ruddy, his small brown moustache is weathered, he has a faint, impudent smile. Fairly tall and agile, even in his waterproof, he springs aboard a car and greets Annie.

'Hello, Annie! Keeping the wet out?'

'Trying to.'

There are only two people in the car. Inspecting is soon over. Then for a long and impudent chat on the footboard—a good, easy, twelve-mile chat.

The inspector's name is John Thomas Raynor: always called John Thomas, except sometimes, in malice, Coddy. His face sets in fury when he is addressed, from a distance, with this abbreviation. There is considerable scandal about John Thomas in half-a-dozen villages. He flirts with the girl-conductors in the morning, and walks out with them in the dark night when they leave their tramcar at the depot. Of course, the girls quit the service frequently. Then he flirts and walks out with a newcomer: always providing she is sufficiently attractive, and that she will consent to walk. It is remarkable, however, that most of the girls are quite comely, they are all young, and this roving life aboard the car gives them a sailor's dash and recklessness. What matter how they behave when the ship is in port? Tomorrow they will be aboard again.

Annie, however, was something of a Tartar, and her sharp tongue had kept John Thomas at arm's length for many months. Perhaps, therefore, she liked him all the more; for he always came up smiling, with impudence. She watched him vanquish one girl, then another. She could tell by the movement of his mouth and eyes, when he flirted with her in the morning, that he had been walking out with this lass, or the other the night before. A fine cock-of-the-wall he was. She could sum him up pretty well.

In their subtle antagonism, they knew each other like old friends; they were as shrewd with one another almost as man and wife. But Annie had always kept him fully at arm's length. Besides, she had a boy of her own.

The Statutes fair, however, came in November, at Middleton. It happened that Annie had the Monday night off. It was a drizzling, ugly night, yet she dressed herself up and went to the fairground. She was alone, but she expected soon to find a pal of some sort.

The roundabouts were veering round and grinding out their music, the side-shows were making as much commotion as possible. In the coconut shies there were no coconuts, but artificial substitutes, which the lads declared were fastened into the irons. There was a sad decline in brilliance and luxury. None the less, the ground was muddy as ever, there was the same crush, the press of faces lighted up by the flares and the electric lights, the same smell of naphtha and fried potatoes and electricity.

Who should be the first to greet Miss Annie, on the show-ground, but John Thomas! He had a black overcoat buttoned up to his chin, and a tweed cap pulled down over his brows, his face between was ruddy and smiling and hardy as ever. She knew so well the way his mouth moved.

She was very glad to have a 'boy'. To be at the Statutes without a fellow was no fun. Instantly, like the gallant he was, he took her on the dragons, grim-toothed, round-about switchbacks. It was not nearly so exciting as a tramcar, actually. But then, to be seated in a shaking green dragon, uplifted above the sea of bubble faces, careering in a rickety fashion in the lower heavens, whilst John Thomas leaned over her, his

cigarette in his mouth, was, after all, the right style. She was a plump, quick, alive little creature. So she was quite excited and happy.

John Thomas made her stay on for the next round. And therefore she could hardly for shame to repulse him when he put his arm round her and drew her a little nearer to him, in a very warm and cuddly manner. Besides, he was fairly discreet, he kept his movement as hidden as possible. She looked down, and saw that his red, clean hand was out of sight of the crowd. And they knew each other so well. So they warmed up to the fair.

After the dragons they went on the horses. John Thomas paid each time, she could but be complaisant. He, of course, sat astride on the outer horse—named 'Black Bess'—and she sat sideways towards him, on the inner horse—named 'Wildfire'. But, of course, John Thomas was not going to sit discreetly on 'Black Bess', holding the brass bar. Round they spun and heaved, in the light. And round he swung on his wooden steed, flinging one leg across her mount, and perilously tipping up and down, across the space, half-lying back, laughing at her. He was perfectly happy; she was afraid her hat was on one side, but she was excited.

He threw quoits on a table, and won her two large, pale-blue hatpins. And then, hearing the noise of the cinema, announcing another performance, they climbed the boards and went in.

Of course, during these performances, pitch darkness falls from time to time, when the machine goes wrong. Then there is a wild whooping, and a loud smacking of simulated kisses. In these moments John Thomas drew Annie towards him. After all, he had a wonderfully warm, cosy way of holding a girl with his arm, he seemed to make such a nice fit. And, after all, it was pleasant to be so held; so very comforting and cosy and nice. He leaned over her and she felt his breath on her hair. She knew he wanted to kiss her on the lips. And, after all, he was so warm and she fitted in to him so softly. After all, she wanted him to touch her lips.

But the light sprang up, she also started electrically, and put her hat straight. He left his arm lying nonchalant behind her. Well, it was fun, it was exciting to be at the Statutes with John Thomas.

When the cinema was over they went for a walk across the dark, damp fields. He had all the arts of love-making. He was especially good at holding a girl, when he sat with her on a stile in the black, drizzling darkness. He seemed to be holding her in space, against his own warmth and gratification. And his kisses were soft and slow and searching.

So Annie walked out with John Thomas, though she kept her own boy dangling in the distance. Some of the tram-girls chose to be huffy. But there, you must take things as you find them, in this life.

There was no mistake about it, Annie liked John Thomas a good deal. She felt so pleasant and warm in herself, whenever he was near. And John Thomas really liked Annie, more than usual. The soft, melting way in

which she could flow into a fellow, as if she melted into his very bones, was something rare and good. He fully appreciated this.

But with a developing acquaintance there began a developing intimacy. Annie wanted to consider him a person, a man; she wanted to take an intelligent interest in him, and to have an intelligent response. She did not want a mere nocturnal presence— which was what he was so far. And she prided herself that he could not leave her.

Here she made a mistake. John Thomas intended to remain a nocturnal presence, he had no idea of becoming an all-round individual to her. When she started to take an intelligent interest in him and his life and his character, he sheered off. He hated intelligent interest. And he knew that the only way to stop it was to avoid it. The possessive female was aroused in Annie. So he left her.

It was no use saying she was not surprised. She was at first startled, thrown out of her count. For she had been so very sure of holding him. For a while she was staggered, and everything became uncertain to her. Then she wept with fury, indignation, desolation, and misery. Then she had a spasm of despair. And then, when he came, still impudently, on to her car, still familiar, but letting her see by the movement of his eyes that he had gone away to somebody else, for the time being, and was enjoying pastures new, then she determined to have her own back.

She had a very shrewd idea what girls John Thomas had taken out. She went to Nora Purdy. Nora was a tall, rather pale, but well-built girl, with beautiful yellow hair. She was somewhat secretive.

'Hey!' said Annie, accosting her; then, softly: 'Who's John Thomas on with now?'

'I don't know,' said Nora.

'Why tha does,' said Annie, ironically lapsing into dialect. 'Tha knows as well as I do.'

'Well, I do, then,' said Nora. 'It isn't me, so don't bother.'

'It's Cissy Meakin, isn't it?'

'It is for all I know.'

'Hasn't he got a face on him!' said Annie. 'I don't half like his cheek! I could knock him off the footboard when he comes round me!'

'He'll get dropped on one of these days,' said Nora.

'Ay, he will when somebody makes up their mind to drop it on him. I should like to see him taken down a peg or two, shouldn't you?' 'I shouldn't mind,' said Nora.

'You've got quite as much cause to as I have,' said Annie. 'But we'll drop on him one of these days, my girl. What! don't you want to?' 'I don't mind,' said Nora.

But as a matter of fact Nora was much more vindictive than Annie.

One by one Annie went the round of the old flames. It so happened that Cissy Meakin left the tramway service in quite a short time. Her

mother made her leave. Then John Thomas was on the qui vive. He cast his eyes over his old flock. And his eyes lighted on Annie. He thought she would be safe now. Besides, he liked her.

She arranged to walk home with him on Sunday night. It so happened that her car would be in the depot at half-past nine: the last car would come in at ten-fifteen. So John Thomas was to wait for her there.

At the depot the girls had a little waiting-room of their own. It was quite rough, but cosy, with a fire and an oven and a mirror and table and wooden chairs. The half-dozen girls who knew John Thomas only too well had arranged to take service this Sunday afternoon. So as the cars began to come in early, the girls dropped into the waiting-room. And instead of hurrying off home they sat round the fire and had a cup of tea. Outside was the darkness and lawlessness of war-timc.

John Thomas came on the car after Annie, at about a quarter to ten. He poked his head easily into the girls' waiting-room.

'Prayer meeting?' he asked.

'Ay,' said Laura Sharp. 'Ladies' effort.'

'That's me!' said John Thomas. It was one of his favourite exclamations.

'Shut the door, boy,' said Muriel Baggaley.

'On which side of me?' said John Thomas.

'Which tha likes,' said Polly Birken.

He had come in and closed the door behind him. The girls moved in their circle to make a place for him near the fire. He took off his greatcoat and pushed back his hat.

'Who handles the teapot?' he said.

Nora silently poured him out a cup of tea.

'Want a bit o' my bread and dripping?' said Muriel Baggaley to him.

'Ay, give us a bit.'

And he began to eat his piece of bread.

'There's no place like home, girls,' he said.

They all looked at him as he uttered this piece of impudence. He seemed to be sunning himself in the presence of so many damsels.

'Especially if you're not afraid to go home in the dark,' said Laura Sharp.

'Me? By myself I am!'

They sat till they heard the last tram come in. In a few minutes Emma Housely entered.

'Come on, my old duck!' cried Polly Birkin.

'It is perishing,' said Emma, holding her fingers to the fire.

'"But I'm afraid to go home in the dark,"' sang Laura Sharp, the tune having got into her mind.

'Who're you going with tonight, Mr Raynor?' asked Muriel Baggaley, coolly.

'Tonight?' said John Thomas. 'Oh, I'm going home by myself tonight—all on my lonely-o.'

'That's me!' said Nora Purdy, using his own ejaculation. The girls laughed shrilly.

'Me as well, Nora,' said John Thomas.

'Don't know what you mean,' said Laura.

'Yes, I'm toddling,' said he, rising and reaching for his coat.

'Nay,' said Polly. 'We're all here waiting for you.'

'We've got to be up in good time in the morning,' he said, in the benevolent official manner. They all laughed.

'Nay,' said Muriel. 'Don't disappoint us all.' 'I'll take the lot, if you like,' he responded, gallantly.

'That you won't, either,' said Muriel. 'Two's company; seven's too much of a good thing.'

'Nay, take one,' said Laura. 'Fair and square, all above board, say which one.'

'Ay!' cried Annie, speaking for the first time. 'Choose, John Thomas—let's hear thee.'

'Nay,' he said. 'I'm going home quiet tonight.' He frowned at the use of his double name.

'Whereabouts?' said Annie. '”Take a good un thwn, But that’s got to take one’ of us out!”

'Nay, how can I take one?' he said, laughing uneasily. 'I don't want to make enemies.'

'You'd only make one,' said Annie, grimly.

'The chosen one,' said Laura. A laugh went up.

'Oh, my! Who said girls!' exclaimed John Thomas, again turning as if to escape. 'Well, good-night!'

'Nay, you've got to take one,' said Muriel. 'Turn your face to the wall, and say which one touches you. Go on—we shall only just touch your back—one of us. Go on—turn your face to the wall, and don't look, and say which one touches you.'

He was uneasy, mistrusting them. Yet he had not the courage to break away. They pushed him to a wall and stood him there with his face to it. Behind his back they all grimaced, tittering. He looked so comical. He looked around uneasily.

'Go on!' he cried.

'You're looking—you're looking!' they shouted.

He turned his head away. And suddenly, with a movement like a swift cat, Annie went forward and fetched him a box on the side of the head that sent his cap flying and himself staggering. He started round.

But at Annie's signal they all flew at him, slapping him, pinching him, pulling his hair, though more in fun than in spite or anger. He, however, saw red. His blue eyes flamed with strange fear as well as fury, and he

butted through the girls to the door. It was locked. He wrenched at it. Roused, alert, the girls stood round and looked at him. He faced them, at bay. At that moment they were rather horrifying to him, as they stood in their short uniforms. He was distinctively afraid.

'Come on, John Thomas! Come on! Choose!' said Annie.

'What are you after? Open the door,' he said.

'We sha'n't—not till you've chosen,' said Muriel.

'Chosen what?' he said.

'Chosen the one you're to marry,' she replied.

He hesitated a moment:

'Open the blasted door,' he said, 'and get back to your senses.' He spoke with official authority.

'You've got to choose,' cried the girls.

'Come on! Come on!' cried Annie. Looking him in the eye. “Come on! Come on!”

He went forward, rather vaguely. She had taken off her belt and, swinging it, she fetched him a sharp blow over the head with the buckle end. He sprang and seized her. But immediately the other girls rushed upon him, pulling him and tearing and beating him. Their blood was now thoroughly up. He was their sport now. They were going to have their own back, out of him. Strange, wild creatures, they hung on him and rushed at him to bear him down. His tunic was torn right up the back. Nora had hold at the back of his collar, and was actually strangling him. Luckily the button-hole burst. He struggled in a wild frenzy of fury and terror, almost mad terror. His tunic was simply torn off his back, his shirt-sleeves were torn away, his arms were naked. The girls simply rushed at him, clenched their hands and pulled at him; or they rushed at him and pushed him, butted him with all their might: or they struck him wild blows. He ducked and cringed and struck sideways. They became more intense.

At last he was down. They rushed on him, kneeling on him. He had neither breath nor strength to move. His face was bleeding with a long scratch, his brow was bruised.

Annie knelt on him, the other girls knelt and hung on to him. Their faces were flushed, their hair wild, their eyes were all glittering strangely. He lay at last quite still, with face averted, as an animal lies when it is defeated and at the mercy of the captor. Sometimes his eye glance back at the wild faces of the girls. His breast rose heavily, his wrists were torn.

'Now then, my fellow!' gasped Annie at length.'Now then—now———' At the sound of her terrifying, cold triumph, he suddenly started to struggle as an animal might, but the girls threw themselves upon him with unnatural strength and power, forcing him down.

'Yes—now then!' gasped Annie at length.

And there was a dead silence, in which the thud of heart-beating was to be heard. It was a suspense of pure silence in every soul.

'Now you know where you are,' said Annie.

The sight of his white, bare arm maddened the girls. He lay in a kind of trance of fear and antagonism. They felt themselves filled with supernatural strength.

Suddenly Polly started to laugh—to giggle wildly—helplessly—and Emma and Muriel joined in. But Annie and Nora and Laura remained the same, tense, watchful, with gleaming eyes. He winced away from these eyes.

'Yes,' said Annie, in a curious low tone, secret and deadly. “Yes! You’ve got it now. You know what you’ve done, don’t you? You know what you’ve done.”

He made no sound nor sign, but lay with bright, averted eyes and averted, bleeding face.

'You ought to be killed, that's what you ought,' said Annie, tensely. “You ought to be killed.” And there was a terrifying lust in her voice.

Polly was ceasing to laugh, and giving long-drawn Oh-h-hs and sighs as she came to herself.

'He's got to choose,' she said, vaguely.

'Yes, he has,' said Laura, with vindictive decision.

'Do you hear—do you hear?' said Annie. And with a sharp movement, that made him wince, he turned his face to her.

'Do you hear?' she repeated, shaking him.

But he was quite dumb. She fetched him a sharp slap on the face. He started and his eyes widened. Then his face darkened with defiance, after all.

'Do you hear?' she repeated.

He only looked at her with hostile eyes.

“Speak!” She said, putting her face devilishly near his.

'What?' he said, almost overcome.

'You've got to choose,' she cried, as if it were some terrible menace, and as if it hurt her that she could not exact more.

'What?' he said, in fear.

'Choose your girl, Coddy. You’ve got to choose her now. And you’ll get your neck broken if you play any more of your tricks, my boy. You’re settled now.”

There was a pause. Again he averted his face. He was cunning in his overthrow. He did not give in to them really - no, not if they tore him to bits.

'All right then,' he said. 'I choose Annie.' His voice was strange and full of malice. Annie let go of him as if he had been a hot coal.

'He’s chosen Annie!” said the girls in chorus.

'Me!' cried Annie. She was still kneeling, but away from him. He was still lying prostrate, with averted face. The girls grouped, uneasily around.

'Me!' repeated Annie, with a terrible bitter accent.

Then she got up, pushing him away from her with a strange disgust and bitterness.

'I wouldn't touch him,' she said.

But her face quivered with a kind of agony, she seemed as if she would fall. The other girls turned aside. He remained lying on the floor, with his torn clothes and bleeding, averted face.

“Oh if he’s chosen --” said Polly.

'I don't want him—he can choose another,' said Annie, with the same rather bitter hopelessness.

'Get up,' said Polly, lifting his shoulder. 'Get up.'

He rose slowly, a strange, ragged, dazed creature. The girls eyed him from a distance, curiously, furtively, dangerously.

'Who wants him?' cried Laura, roughly.

'Nobody,' they answered, with contempt. Yet each one of them waited for him to look at her, hoped he would look at her. All except Annie, and something was broken in her.

He, however, kept his face closed and averted from them all. There was a silence of the end. He picked up the torn pieces of his tunic, without knowing what to do with them. The girls stood about uneasily, flushed, panting, tidying their hair and their dress unconsciously, and watching him. He looked at none of them. He espied his cap in a corner, and went and picked it up. He put it on his head, and one of the girls burst into a thrill, hysteric laugh at the sight he presented. He , however, took no heed, but went straight to where his overcoat hung on a peg. The girls moved away from contact with him as if he had been an electric wire. He put on his coat and buttoned it down. Then he rolled his tunic-rags into a bundle, and stood before the locked door, dumbly.

“Open the door, somebody,” said Laura.

“Annie’s got the key,” said one.

Annie silently offered the key to the girls. Nora unlocked the door.

“Tit for tat, old man,” she said. “Show yourself a man, and don’t bear a grudge.”

But without a word or sign he had opened the door and gone, his face closed, his head dropped.

“That’ll learn him,” said Laura.

“Shut up, for God’s sake!” cried Annie fiercely, as if in torture.

“Well, I’m about ready to go, Polly. Look sharp!” said Muriel.

The girls were all anxious to be off. They were tidying themselves hurriedly, with mute, stupefied faces.

关于欣赏的名人名言

关于欣赏的名人名言 本文是关于名人名言的，仅供参考，如果觉得很不错，欢迎点评和分享。 关于欣赏的名人名言 1、美貌常常比酒更坏，因为它能使持有者和欣赏者双方沉醉。——齐默尔曼 2、而你欣赏我因我本性不会改，别太认真，认真怎可放开自在。——林夕 3、人生犹如一本书，愚蠢者草草翻过，聪明人细细阅读。为何如此。因为他们只能读它一次。人生无益于人类，便是无价值的。 4、路是脚踏出来的，历史是人写出来的。人的每一步行动都在书写自己的历史。——吉鸿昌 5、一个不欣赏自己的人，是难以快乐的。——三毛 6、人生的价值，即以其人对于当代所做的工作为尺度。——徐玮 7、你要欣赏自己的价值，就得给世界增添价值。——歌德 8、人生天地之间，若白驹过隙，忽然而已。人生是最伟大的宝藏，我晓得从这个宝藏中选取最珍贵的珠宝。 9、春蚕到死丝方尽，人至期颐亦不休。一息尚存须努力，留作青年好范畴。——吴玉章 10、人生应该如蜡烛一样，从顶燃到底，一直都是光明的。——

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名言警句赏析

名言警句赏析 本文是关于名人名言的，仅供参考，如果觉得很不错，欢迎点评和分享。 名言警句赏析 1、高岸为谷，深谷为陵。--《诗经·十月之交》 赏析： 高地变成山谷，深谷变成山陵。据科学推测，喜马拉雅山这个地方在七千万年以前还是一片汪洋大海，沧海变桑田，比喻世事多变。也比喻事物在一定的条件下总是向它相反的方面转化。 2、工欲善其事，必先利其器。一一《论语·卫灵公》 赏析： 工匠要想做好自己的工作，必须事先磨快工具。由此可知，一个人要胜任工作，必须首先学好本领。今日读好书，来日才能大展鸿图。 3、躬自厚而薄责于人。一一《论语·卫灵公》 赏析： 多责备自己，而少责备别人。这句话说的是要严以律己，宽以待人。严格要求自己，进步就快；宽容别人，就会远离怨恨。躬自：自己。“厚”后省略了一个“责”字。责：责备，要求。 4、爱人者，人恒爱之；敬人者，人恒敬之。--《孟子。离娄下》 赏析： 爱人的人别人总是爱他，尊敬别的人别人总是尊敬他。你怎样对待别

人，别人也往往会用同样的态度对待你。要想受人敬爱，必须敬爱他人。恒：常常。 2、躬自厚而薄责于人。--《论语。卫灵公》 赏析： 多责备自己，而少责备别人。这句话说的是要严以律己，宽以待人。严格要求自己，进步就快；宽容别人，就会远离怨恨。躬自：自己。“厚”后省略了一个“责”字。责：责备，要求。 3、好而知其恶，恶而知其美。--《礼记。大学》 赏析： 对你所喜欢的人，要知道他的缺点，不可偏袒；对你所厌恶的人，要知道他的优点，不可抹杀。我们评价一个人要客观公正，不要感情用事，不要因为自己的好、恶而产生偏见。好hào：喜爱。前“恶”è：缺陷和丑恶。后“恶”wù：讨厌，憎恨。 4、人一能之，己百能之；人十能之，己千能之。--《礼记。中庸》 赏析： 别人花一分力气就能学好的，自己就花百分的力气学好它；人家花十分的力气能学好的，自己就花千分的力气学好它。这句话说明人要自强，不甘落后。有了自强的心态，必然会勤奋，“勤能补拙”，原本不够聪明的人也会聪明起来了。 5、为者常成，行者常至。--《晏子春秋内篇。杂下》 赏析：

曹操《短歌行》其二翻译及赏析

曹操《短歌行》其二翻译及赏析 引导语：曹操(155—220)，字孟德，小名阿瞒，《短歌行 二首》 是曹操以乐府古题创作的两首诗， 第一首诗表达了作者求贤若渴的心 态，第二首诗主要是曹操向内外臣僚及天下表明心迹。 短歌行 其二 曹操 周西伯昌，怀此圣德。 三分天下，而有其二。 修奉贡献，臣节不隆。 崇侯谗之，是以拘系。 后见赦原，赐之斧钺，得使征伐。 为仲尼所称，达及德行， 犹奉事殷，论叙其美。 齐桓之功，为霸之首。 九合诸侯，一匡天下。 一匡天下，不以兵车。 正而不谲，其德传称。 孔子所叹，并称夷吾，民受其恩。 赐与庙胙，命无下拜。 小白不敢尔，天威在颜咫尺。 晋文亦霸，躬奉天王。 受赐圭瓒，钜鬯彤弓， 卢弓矢千，虎贲三百人。 威服诸侯，师之所尊。 八方闻之，名亚齐桓。 翻译 姬昌受封为西伯，具有神智和美德。殷朝土地为三份，他有其中两分。 整治贡品来进奉，不失臣子的职责。只因为崇侯进谗言，而受冤拘禁。 后因为送礼而赦免， 受赐斧钺征伐的权利。 他被孔丘称赞， 品德高尚地位显。 始终臣服殷朝帝王，美名后世流传遍。齐桓公拥周建立功业，存亡继绝为霸 首。

聚合诸侯捍卫中原，匡正天下功业千秋。号令诸侯以匡周室，主要靠的不是 武力。 行为磊落不欺诈，美德流传于身后。孔子赞美齐桓公，也称赞管仲。 百姓深受恩惠，天子赐肉与桓公，命其无拜来接受。桓公称小白不敢，天子 威严就在咫尺前。 晋文公继承来称霸，亲身尊奉周天王。周天子赏赐丰厚，仪式隆重。 接受玉器和美酒，弓矢武士三百名。晋文公声望镇诸侯，从其风者受尊重。 威名八方全传遍，名声仅次于齐桓公。佯称周王巡狩，招其天子到河阳，因 此大众议论纷纷。 赏析 《短歌行》 (“周西伯昌”)主要是曹操向内外臣僚及天下表明心 迹，当他翦灭群凶之际，功高震主之时，正所谓“君子终日乾乾，夕惕若 厉”者，但东吴孙权却瞅准时机竟上表大说天命而称臣，意在促曹操代汉 而使其失去“挟天子以令诸侯”之号召， 故曹操机敏地认识到“ 是儿欲据吾著炉上郁!”故曹操运筹谋略而赋此《短歌行 ·周西伯 昌》。 西伯姬昌在纣朝三分天下有其二的大好形势下， 犹能奉事殷纣， 故孔子盛称 “周之德， 其可谓至德也已矣。 ”但纣王亲信崇侯虎仍不免在纣王前 还要谗毁文王，并拘系于羑里。曹操举此史实，意在表明自己正在克心效法先圣 西伯姬昌，并肯定他的所作所为，谨慎惕惧，向来无愧于献帝之所赏。 并大谈西伯姬昌、齐桓公、晋文公皆曾受命“专使征伐”。而当 今天下时势与当年的西伯、齐桓、晋文之际颇相类似，天子如命他“专使 征伐”以讨不臣，乃英明之举。但他亦效西伯之德，重齐桓之功，戒晋文 之诈。然故作谦恭之辞耳，又谁知岂无更讨封赏之意乎 ?不然建安十八年(公元 213 年)五月献帝下诏曰《册魏公九锡文》，其文曰“朕闻先王并建明德， 胙之以土，分之以民，崇其宠章，备其礼物，所以藩卫王室、左右厥世也。其在 周成，管、蔡不静，惩难念功，乃使邵康公赐齐太公履，东至于海，西至于河， 南至于穆陵，北至于无棣，五侯九伯，实得征之。 世祚太师，以表东海。爰及襄王，亦有楚人不供王职，又命晋文登为侯伯， 锡以二辂、虎贲、斧钺、禾巨 鬯、弓矢，大启南阳，世作盟主。故周室之不坏， 系二国是赖。”又“今以冀州之河东、河内、魏郡、赵国、中山、常 山，巨鹿、安平、甘陵、平原凡十郡，封君为魏公。锡君玄土，苴以白茅，爰契 尔龟。”又“加君九锡，其敬听朕命。” 观汉献帝下诏《册魏公九锡文》全篇，尽叙其功，以为其功高于伊、周，而 其奖却低于齐、晋，故赐爵赐土，又加九锡，奖励空前。但曹操被奖愈高，心内 愈忧。故曹操在曾早在五十六岁写的《让县自明本志令》中谓“或者人见 孤强盛， 又性不信天命之事， 恐私心相评， 言有不逊之志， 妄相忖度， 每用耿耿。

2008年浙师大《外国文学名著鉴赏》期末考试答案

（一）文学常识 一、古希腊罗马 1．（1）宙斯(罗马神话称为朱庇特)，希腊神话中最高的天神，掌管雷电云雨，是人和神的主宰。 （2）阿波罗，希腊神话中宙斯的儿子，主管光明、青春、音乐、诗歌等，常以手持弓箭的少年形象出现。 （3）雅典那，希腊神话中的智慧女神，雅典城邦的保护神。 （4）潘多拉，希腊神话中的第一个女人，貌美性诈。私自打开了宙斯送她的一只盒子，里面装的疾病、疯狂、罪恶、嫉妒等祸患，一齐飞出，只有希望留在盒底，人间因此充满灾难。“潘多拉的盒子”成为“祸灾的来源”的同义语。 （5）普罗米修斯，希腊神话中造福人间的神。盗取天火带到人间，并传授给人类多种手艺，触怒宙斯，被锁在高加索山崖，受神鹰啄食，是一个反抗强暴、不惜为人类牺牲一切的英雄。 （6）斯芬克司，希腊神话中的狮身女怪。常叫过路行人猜谜，猜不出即将行人杀害；后因谜底被俄底浦斯道破，即自杀。后常喻“谜”一样的人物。与埃及狮身人面像同名。 2．荷马，古希腊盲诗人。主要作品有《伊利亚特》和《奥德赛》，被称为荷马史诗。《伊利亚特》叙述十年特洛伊战争。《奥德赛》写特洛伊战争结束后，希腊英雄奥德赛历险回乡的故事。马克思称赞它“显示出永久的魅力”。 3．埃斯库罗斯，古希腊悲剧之父，代表作《被缚的普罗米修斯》。6．阿里斯托芬，古希腊“喜剧之父”代表作《阿卡奈人》。 4．索福克勒斯，古希腊重要悲剧作家，代表作《俄狄浦斯王》。5．欧里庇得斯，古希腊重要悲剧作家，代表作《美狄亚》。 二、中世纪文学 但丁，意大利人，伟大诗人，文艺复兴的先驱。恩格斯称他是“中世纪的最后一位诗人，同时又是新时代的最初一位诗人”。主要作品有叙事长诗《神曲》，由地狱、炼狱、天堂三部分组成。《神曲》以幻想形式，写但丁迷路，被人导引神游三界。在地狱中见到贪官污吏等受着惩罚，在净界中见到贪色贪财等较轻罪人，在天堂里见到殉道者等高贵的灵魂。 三、文艺复兴时期 1．薄迦丘意大利人短篇小说家，著有《十日谈》拉伯雷，法国人，著《巨人传》塞万提斯，西班牙人,著《堂?吉诃德》。 2．莎士比亚，16-17世纪文艺复兴时期英国伟大的剧作家和诗人，主要作品有四大悲剧——《哈姆雷特》、《奥赛罗》《麦克白》、《李尔王》，另有悲剧《罗密欧与朱丽叶》等，喜剧有《威尼斯商人》《第十二夜》《皆大欢喜》等，历史剧有《理查二世》、《亨利四世》等。马克思称之为“人类最伟大的戏剧天才”。 四、17世纪古典主义 9．笛福，17-18世纪英国著名小说家，被誉为“英国和欧洲小说之父”，主要作品《鲁滨逊漂流记》，是英国第一部现实主义长篇小说。10．弥尔顿，17世纪英国诗人，代表作：长诗《失乐园》，《失乐园》，表现了资产阶级清教徒的革命理想和英雄气概。 25．拉伯雷，16世纪法国作家，代表作：长篇小说《巨人传》。 26．莫里哀，法国17世纪古典主义文学最重要的作家，法国古典主义喜剧的创建者，主要作品为《伪君子》《悭吝人》（主人公叫阿巴公）等喜剧。 五、18世纪启蒙运动 1）歌德，德国文学最高成就的代表者。主要作品有书信体小说《少年维特之烦恼》，诗剧《浮士德》。 11．斯威夫特，18世纪英国作家，代表作：《格列佛游记》，以荒诞的情节讽刺了英国现实。 12．亨利·菲尔丁，18世纪英国作家，代表作：《汤姆·琼斯》。 六、19世纪浪漫主义 （1拜伦， 19世纪初期英国伟大的浪漫主义诗人，代表作为诗体小说《唐璜》通过青年贵族唐璜的种种经历，抨击欧洲反动的封建势力。《恰尔德。哈洛尔游记》 （2雨果，伟大作家，欧洲19世纪浪漫主义文学最卓越的代表。主要作品有长篇小说《巴黎圣母院》、《悲惨世界》、《笑面人》、《九三年》等。《悲惨世界》写的是失业短工冉阿让因偷吃一片面包被抓进监狱，后改名换姓，当上企业主和市长，但终不能摆脱迫害的故事。《巴黎圣母院》 弃儿伽西莫多，在一个偶然的场合被副主教克洛德.孚罗洛收养为义子，长大后有让他当上了巴黎圣母院的敲钟人。他虽然十分丑陋而且有多种残疾，心灵却异常高尚纯洁。 长年流浪街头的波希米亚姑娘拉.爱斯梅拉达，能歌善舞，天真貌美而心地淳厚。青年贫诗人尔比埃尔.甘果瓦偶然同她相遇，并在一个更偶然的场合成了她名义上的丈夫。很有名望的副教主本来一向专心于"圣职"，忽然有一天欣赏到波希米亚姑娘的歌舞，忧千方百计要把她据为己有，对她进行了种种威胁甚至陷害，同时还为此不惜玩弄卑鄙手段，去欺骗利用他的义子伽西莫多和学生甘果瓦。眼看无论如何也实现不了占有爱斯梅拉达的罪恶企图，最后竟亲手把那可爱的少女送上了绞刑架。 另一方面，伽西莫多私下也爱慕着波希米亚姑娘。她遭到陷害，被伽西莫多巧计救出，在圣母院一间密室里避难，敲钟人用十分纯朴和真诚的感情去安慰她，保护她。当她再次处于危急中时，敲钟人为了援助她，表现出非凡的英勇和机智。而当他无意中发现自己的"义父"和"恩人"远望着高挂在绞刑架上的波希米亚姑娘而发出恶魔般的狞笑时，伽西莫多立即对那个伪善者下了最后的判决，亲手把克洛德.孚罗洛从高耸入云的钟塔上推下，使他摔的粉身碎骨。 （3司汤达，批判现实主义作家。代表作《红与黑》，写的是不满封建制度的平民青年于连，千方百计向上爬，最终被送上断头台的故事。“红”是将军服色，指“入军界”的道路；“黑”是主教服色，指当神父、主教的道路。 14．雪莱，19世纪积极浪漫主义诗人，欧洲文学史上最早歌颂空想社会主义的诗人之一，主要作品为诗剧《解放了的普罗米修斯》，抒情诗《西风颂》等。 15．托马斯·哈代，19世纪英国作家，代表作：长篇小说《德伯家的苔丝》。 16．萨克雷，19世纪英国作家，代表作：《名利场》 17．盖斯凯尔夫人，19世纪英国作家，代表作：《玛丽·巴顿》。 18．夏洛蒂?勃朗特，19世纪英国女作家，代表作：长篇小说《简?爱》19艾米丽?勃朗特，19世纪英国女作家，夏洛蒂?勃朗特之妹，代表作：长篇小说《呼啸山庄》。 20．狄更斯，19世纪英国批判现实主义文学的重要代表，主要作品为长篇小说《大卫?科波菲尔》、《艰难时世》《双城记》《雾都孤儿》。21．柯南道尔，19世纪英国著名侦探小说家，代表作品侦探小说集《福尔摩斯探案》是世界上最著名的侦探小说。 七、19世纪现实主义 1、巴尔扎克，19世纪上半叶法国和欧洲批判现实主义文学的杰出代表。主要作品有《人间喜剧》，包括《高老头》、《欧也妮·葛朗台》、《贝姨》、《邦斯舅舅》等。《人间喜剧》是世界文学中规模最宏伟的创作之一，也是人类思维劳动最辉煌的成果之一。马克思称其“提供了一部法国社会特别是巴黎上流社会的卓越的现实主义历史”。

名人名言赏析

1、锲而不舍，金石可镂。 2、立志、工作、，是人类活动的三大要素。——巴斯德 3、有很多人是用青春的幸福作成功代价的。——莫扎特 4、我们手里的金钱是保持自由的一种工具。——卢梭 5、世上有很多好东西，是“带不走”的。 6、建筑在别人痛苦上的幸福不是真正的幸福。——阿·巴巴耶娃 7、一切幸福都并非没有烦恼，而一切逆境也绝非没有希望。——培根 8、灵感不过是“顽强的劳动而获得的奖赏”。——列宾 9、除了无法达成心愿之外，就数心愿达成了最伤感。 10、成功不是将来才有的，而是从决定去做的那一刻起，持续累积而成。 11、无论何时，不管怎样，我也绝不允许自己有一点点心丧气。——爱迪生 12、古往今来，凡成就事业，对人类有所作为的，无不是脚踏实地，艰苦登攀的结果。——钱三强 13、生活真象这杯浓酒，不经三番五次的提炼呵，就不会这样可口！——郭小川 14、失败是块磨刀石。 15、每一种或不利的突变，是带着同样或较大的有利的种子。——爱默生 16、我死国生，我死犹荣，身虽死精神长生，成功成仁，实现大同。——赵博生 17、一个人的价值，应该看他贡献什么，而不应当看他取得什么。——爱因斯坦 18、平凡的脚步也可以走完伟大的行程。 19、伟人之所以伟大，是因为他与别人共处逆境时，别人失去了信心，他却下决心实现自己的目标。 20、智慧源于勤奋，伟大出自平凡。——民谚 21、冬天已经到来，春天还会远吗？——雪莱

22、百败而其志不折。 23、如烟往事俱忘却，心底无私天地宽。——陶铸 24、沉沉的黑夜都是白天的前奏。——郭小川 25、世上最精明的糊涂便是“忘记”。 26、你明白，人的一生，既不是人们想象的那么好，也不是那么坏。——莫泊桑 27、爱，如呼吸。深爱，就是深呼吸。 28、莫找借口失败，只找理由成功。（不为失败找理由，要为成功找方法） 29、要做的事情总找得出时间和机会；不愿意做的事情也总能找得出借口。 30、壮志与毅力是事业的双翼--歌德大自然既然在人间造成不同程度的强弱，也常用破釜沉舟的斗争，使弱者不亚于强者。——孟德斯鸠 31、卓越的人一大优点是：在不利与艰难的遭遇里百折不饶。——贝多芬 32、天才就是这样，终身劳动，便成天才。——门捷列夫 33、天才就是无止境刻苦勤奋的能力。——卡莱尔 34、我以为挫折、磨难是锻炼意志、增强能力的好机会。——邹韬奋 35、首先是最崇高的思想，其次才是金钱；光有金钱而没有最崇高的思想的社会是会崩溃的。——陀思妥耶夫斯基 36、耐心之树，结黄金之果。 37、如果我们想要更多的玫瑰花，就必须种植更多的玫瑰树。 38、忍耐和是痛苦的，但它会逐给你好处。 39、骆驼走得慢，但终能走到目的地。 40、勤能补拙是良训，一分辛劳一分才。——华罗庚 41、严肃的人的幸福，并不在于风流、娱乐与欢笑这种种轻佻的伴侣，而在于坚忍与刚毅。——西塞罗 42、伟大的作品，不是靠力量而是靠坚持才完成的。

词性转换一览表

词性转换一览表 组别单词词性释义 1act v. n. 扮演；表演行动 active adj. 积极的；主动的 activity n. 活动 actor n. 男演员 actress n. 女演员 2able adj. 有能力的 ability n. 能力 3add v. 加上 addition n. 加；增加 4age n. 年龄 aged adj. 有……之年岁的5America n. 美国；美洲 American adj. n. 美国的；美洲的美国人 6angry adj. 生气的；愤怒的angrily adv. 生气地；愤怒地 7appear v. 出现 disappear v. 消失 8art n. 艺术 artist n. 艺术家；画家 9attract v. 吸引 attraction n. 吸引；吸引力；吸引物 attractive adj. 有吸引力的 10Australia n. 澳大利亚 Australian adj. n. 澳大利亚的澳大利亚人 11bad adj. 糟糕的；可惜的；坏的；严重的worse adj. 更糟糕的；更可惜的；更坏的；更严重的worst adj. 最糟糕的；最可惜的；最坏的；最严重的12beautiful adj. 美丽的 beautifully adv. 优美地 13begin v. 开始；着手 beginning n. 开始；开端 14bright adj. 明亮的；聪明的 brightly adv. 明亮地 15Britain n. 英国 British n. adj. 英国人英国的 16build v. 建造；建筑

外国名著赏析论文

题目：浅析从简爱到女性的尊严和爱 学院工商学院 专业新闻学3 学号 姓名闫万里 学科外国文学名着赏析 [摘要] 十九世纪中期，英国伟大的女性存在主义先驱，着名作家夏洛蒂勃朗特创作出了她的代表作--《简爱》，当时轰动了整个文坛,它是一部具有浓厚浪漫主义色彩的现实主义小说，被认为是作者"诗意的生平"的写照。它在问世后的一百多年里，它始终保持着历史不败的艺术感染力。直到现在它的影响还继续存在。在作品的序幕、发展、高潮和结尾中，女主人公的叛逆、自由、平等、自尊、纯洁的个性都是各个重点章节的主旨，而这些主旨则在女主人公的爱情观中被展露的淋漓尽致，它们如同乌云上方的星汉，灼灼闪耀着光芒，照亮着后来的女性者们追求爱情的道路。? [关键词] 自尊个性独特新女性主义自由独立平等 《简爱》是一部带有自转色彩的长篇小说，它阐释了这样一个主题：人的价值=尊严+爱。从小就成长在一个充满暴力的环境中的简爱，经历了同龄人没有的遭遇。她要面对的是舅妈的毫无人性的虐待，表兄的凶暴专横和表姐的傲慢冷漠，尽管她尽力想“竭力赢得别人的好感”，但是事实告诉她这都是白费力气的，因此她发出了“不公平啊！--不公平！”的近乎绝望的呼喊。不公平的生长环境，使得简爱从小就向往平等、自由和爱，这些愿望在她后来的成长过程中表现无疑，

譬如在她的爱情观中的种种体现。? 1.桑菲尔德府? 谭波儿小姐因为出嫁，离开了洛伍德学校，同时也离开了简爱，这使简爱感觉到了“一种稳定的感觉，一切使我觉得洛伍德学校有点像我家的联想，全都随着她消失了”，她意识到：真正的世界是广阔的，一个充满希望和忧虑、激动和兴奋的变化纷呈的天地，正等待着敢于闯入、甘冒风险寻求人生真谛的人们。意识形态的转变促使着简爱走向更广阔的社会，接受社会的挑战，尽管她才只有十八岁。于是，简爱来到了桑菲尔德府，当了一名在当时地位不高的家庭教师。?桑菲尔德府使简爱感受到“这儿有想象中的完美无缺的家庭安乐气氛”，事实证明了她的预感的正确性，。从和简爱相见、相识到相爱的过程当中，简爱的那种叛逆精神、自强自尊的品质深深地征服了罗切斯特，而罗切斯特的优雅风度和渊博知识同样也征服了简爱。最初开始，简爱一直以为罗切斯特会娶高贵漂亮的英格拉姆为妻，她在和罗切斯特谈到婚姻时，曾经义正言辞的对罗切斯特说：“你以为因为我穷，低微，不美，矮小，就没有灵魂了吗？你想错了！我跟你一样有灵魂—也同样有一颗心！我现在不是凭着肉体凡胎跟你说话，而是我的心灵在和你的心灵说话，就好像我们都已经离开人世，两人平等地站在上帝面前—因为我们本来就是平等的。”这充分表现出简爱的叛逆，她这种维护妇女独立人格、主张婚姻独立自主以及男女平等的主张可以看成是他对整个人类社会自由平等的向往追求，罗切斯特正是爱上了她这样的独特个性，同时他也同样重复道：我们本来就是平等的。罗切斯特自始自终爱的是简爱的心灵—有着意志的力量，美德和纯洁的心灵，正是基于如此，简爱才真正的爱着罗切斯特。因为爱情是来不得半点虚假的，一方为另一方付出了真情的爱，假如得到对方的是虚情假意，那么这份爱

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6、那脑袋里的智慧，就像打火石里的火花一样，不去打它是不肯出来的。 ——莎士比亚 7、多数人都拥有自己不了解的能力和机会，都有可能做到未曾梦想的事情。 ——戴尔·卡耐基 8、勿问成功的秘诀为何，且尽全力做你应该做的事吧。 ——美华纳 9、苦难有如乌云，远望去但见墨黑一片，然而身临其下时不过是灰色而已。 ——里希特 10、幸运并非没有恐惧和烦恼；厄运也决非没有安慰和希望。 ——培根

11、不幸可能成为通向幸福的桥梁。 ——日本谚语 12、苦难磨炼一些人，也毁灭另一些人。 ——富勒 13、烈火试真金，逆境试强者。 ——塞内加 14、人生犹如一本书，愚蠢者草草翻过，聪明人细细阅读。 为何如此 . 因为他们只能读它一次。 ——保罗 15、过去属于死神，未来属于你自己。 ——雪莱

16、不要慨叹生活的痛苦！慨叹是弱者。 ——高尔基 17、不应当急于求成，应当去熟悉自己的研究对象，锲而不舍，时间会成全一切。 凡事开始最难，然而更难的是何以善终。 ——莎士比亚 18、如烟往事俱忘却，心底无私天地宽。 ——陶铸 19、生活真象这杯浓酒，不经三番五次的提炼呵，就不会这样可口！——郭小川 20、人生的价值，即以其人对于当代所做的工作为尺度。 ——徐玮

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