老人与海英文简介

老人与海英文简介（共7篇）

老人与海英文简介 篇1

For years, Santiago, living in a small fishing village in Cuba, has been fishing with a young boy named Manolin. Manolin started fishing with the old man when he was only 5 years old. Santiago is like Manolins second father, and has taught the young boy everything about fishing. Manolins parents, however, force the boy to leave Santiago and fish on a more lucrative fishing boat.

He feels the 85th day will be lucky for him. He sets out on his old, rickety skiff. Alone on the water, Santiago sets up his fishing lines with the utmost precision, a skill that other fisherman lack. Finally, a huge Marlin has found Santiagos bait and this sets off a very long struggle between the two. The Marlin is so huge that it drags Santiago beyond all other boats and people . His hands become badly cramped and he is cut and bruised from the force of the fish.Santiago and the Marlin become united out at sea. They are attached to each other physically, and in Santiagos case, emotionally. He sees the fish as his brother. Despite this, Santiago has to kill it. He feels guilty killing a brother, but after an intense struggle in which the fish drags the skiff around in circles, Santiago harpoons the very large fish and hangs it on the side of his boat.

For a while , a pack of sharks detects the blood in the water and follow the trail to Santiagos skiff. Santiago has to fend off each shark that goes after his prized catch. Each shark takes a huge bite out of the Marlin, but the old man fends them off, himself now bruised, but alive. He sails back to shore with the carcass of his Marlin. He is barely able to walk and slowly staggers back to his hut, where he falls into bed.

老人与海英文简介 篇2

Through the symbolism of the boy, the old man’s image will be strengthened;much more characters of the old man are known.

一、Symbol of successor of youth and hope

Santiago is already old, but the boy is young and there is a long way for him to go.The boy has been learning the fishing skills from the old man and the spirit of self-esteem and independence.The old man has less strength, while the boy as his pupil can continue the old man’s great career.To some extent, the little boy is the successor of the old man, all of the old man’s noble qualities and, more important, the lessons he draws from his experience, will be passed on to the boy, which means the fisherman’s life will continue on, in some form, even after his death.

The boy replaces the old man.That is why, when he is asleep, Santiago no longer dreams“of storms, nor of women, nor of great occurrences, nor of great fish, nor fights, nor contests of strength, nor of his wife.” (P17) For the most part, life’s challenges and adventures are no longer his.He never dreams about the boy, because the boy is part of a future Santiago can never know.The boy is an entrusted successor, “Now we fish together again.”…“I still have much to learn.” (P113) The boy is determined to fish with the old man in spite of his parents’disagreement.The old man is the hero in the boy’s mind.Therefore, the old man’s fishing skills can pass down and the boy can accept the spirit of the old man.Then all the essence of the fisherman can pass down, the society of the human beings can progress generation by generation.

二、Symbol of the old man’s past youth

The boy is one stage of the old man’s life, namely, the boy represents the young Santiago.

“He no longer dreamed of storms, nor of women, nor of great occurrences, nor of great fish, nor fights, nor contests of strength, nor of his wife.He only dreamed of places now and of the lions on the beach.They played like young cats in the dusk and he loved them as he loved the boy.” (P17)

Freud pointed out, dream can be interpreted as wish-fulfillment.The old man once desired great fish (food) , contests of strength (his honor) and his wife (love and companion) , so he fulfilled his wishes (food, honor and love) by the dreams;but now he only dreams of the young lions.That means in his deep mind, the old man desires for the braveness and encouragement, which the old Santiago once had.And“he loved them as he loved the boy”, to some extent, we can say the boy is the young Santiago.That is why he repeats so many times:“I wish I had the boy.” (P38.41.45) On the surface, Santiago needs the help of the boy when he is not able to deal with the hardship and the challenge;in deep sense, he desires his past youth and strength.The old man depends on“the boy”to have more strength to face the great fish.It turns out that‘the boy”helped the old man conquer the great fish-marlin and win the hard battle.

Conclusion

The Old Man and the Sea vividly depicts the strong old man Santiago.The boy is presented only in the beginning and at the end of The Old Man and the Sea, but his presence is important, he is the ideal successor of Santiago and symbolizes the young Santiago.He not only offers help to the everyday life of the old man but also provides spiritual support and inspiration.

摘要：《老人与海》是美国著名作家, 诺贝尔文学奖获得者海明威 (1899-1961) 的名作。作者以摄像机般的写实手法记录了一位老渔夫捕鱼的全过程, 而书中另一位形象-男孩马诺林的出现并非点缀, 对他的忽视也会影响我们对《老人与海》的理解与评论。本论文则揭示了男孩的象征主义及其对全书的影响。

关键词：男孩,老人,象征主义

参考文献

[1]Hemingway, The Old Man and the Sea, Charles Scribner’s Sons?New York World Publishing Corporation, Beijing, 1989

[2]Time magazine, December13, 1954, P.72

老人与海英文简介 篇3

关键词元话语 分类 交际元话语 互动元话语

中图分类号:H03文献标识码:A

1 引言

语言是交际的一种手段,而交际不仅涉及信息、物品或服务的交换,而且涉及交际双方的个性、态度和观点。而元话语则可以帮助我们了解说话人或作者对语篇内容和读者/听话者(以下合称“受众”)的态度。什么是元话语?元话语一词最早由Zellig Harris 提出, 早先常常被称作“关于话语的话语”和“关于谈话的谈话”(Hyland, 2005),到现在它被定义为“用来协商语篇互动意义的自我反省表达形式,能帮助作者/说话人表达观点,与作为社会成员的读者进行交际。(Hyland, 2008)”。

语言包含两个层面:基本话语 (primary discourse) 和元话语(metadiscourse)。Hyland和T se(2004: 157)认为,对元话语的理解有狭义和广义之分,狭义的观点是,强调话语的组织篇章的功能;广义的观点是,元话语体现了作者在篇章中所表现出来的运用语言和修辞的方法以及把话语组织和话语含义结合起来的方法。元话语的分类存在许多不同意见,使人莫衷一是,但大多数分类都是基于由Vande Kopple(1985)的分类上。目前,中国社会科学院语言所的徐赳赳将元话语分为了三大类词语元话语、标点元话语、视觉元话语。

笔者基于前人的研究成果对中英文学校简介的元话语使用情况进行比较,需要强调的是笔者谈的元话语是书面语。笔者分别考察了五个国外著名学府的英文简介和五个国内著名学府的中文简介,以此来进行比较。

2 元话语分类及讨论

元话语可以分为三大类:词语元话语、标点元话语、视觉元元话语。

2.1词语元话语

对元话语分类的讨论主要集中在词汇类,从目前研究来看,主要有三种分法: (1)篇章元话语(textual metadiscourse)和人际元话语( interpersonal metadiscourse); (2)交际元话语( interactive resources)和互动式元话语( interactional resources); (3)内部篇章元话语( intra-textual)和外部篇章元话语( inter-textual)。我们现就第二种分类来进行分析。

根据Hyland(2008)交际元话语包含:过渡语(transitions),框架标记(frame markers)回指标记(endophoric markers),言据标记(evidentials)、语码注释(code glosses);而互动元话语包含:模糊语(hedges)、增强语(boosters)、态度标记(ttitude markers)、自称语(self mentions)、介入标记(engagement markers)

英文学校简介中出现的框架标记回指标记言据标记语码注释比较少,过渡语的比例也不大。而中文学校简介中,交际元话语相对出现较多且尤以过渡语出现较多,也就是说,就交际元话语来说,中文学校简介比英文学校简介使用的频率较多。举例如下:

But it is not just longevity and global reach过渡语

However, you can ask students and professors about their research. Also, displays of various projects are posted on the walls of most departments. 过渡语

也是当时中国最高教育行政机关。过渡语

据不完全统计,北京大学的校友和教师有400多位两院院士 言据标记

并成为国家“211工程”重点建设的两所大学之一。过渡语

然而,在学校简介中,互动元话语的情况则相反。英文学校在简介中大量使用了介入标记、自称语等。例:

you are visiting for more detailed instructions 介入标记

we hope you have a day to spend in Cambridge 自称语、介入标记

There are labs you might not have heard of, activities that you might expect, and others that will surprise you. Let us show you around. 模糊语、介入标记

Caltech students are very friendly and approachable. They also are refreshingly honest. Most will be happy to tell you about their classes,增强语

we do not offer tours of or access to the labs.(自称语)

Perhaps the best way to get to know Caltech is to soak up(模糊语)

we are delighted that via this website you are joining that long tradition.态度标记

That is why we believe that the greater we can make Oxford, the greater its contribution to the well-being of the world you and I share. 自称语通过使用第二人称代词、评价性评语等互动话语能使作者(本文中即学校)参与到文本中从而更清晰地表达信息并激发读者参与的激情。然而,在中文学校简介中几乎很少看到有互动元话语。也这可能主要是因为中国人写文章讲求严谨,客观性,而少有考虑到与学生的互动。

2.2标点元话语

在书面文本中,各种各样的标点符号及版面排版等,例如:下划线、首字母大写等也能表明文本的重点和作者的态度。(Crismore et al 1993)Hyland和Tse (2004: 157)认为,通过使用元话语,作者就可以把单调的、零散的篇章组成相互关联的、读者所喜爱的篇章,元话语还可把篇章跟语境联系起来,表达作者的人际意义,提高篇章的可信度,提高读者的阅读兴趣。从这个角度看,元话语是属于功能的范畴,因此,有些标点、句子排列的次序等都可列入元话语的范畴。在中英文学校简介中有例:

They would love the challenge!

豫章故郡,旧邦维新,我们一起见证江西在中部的崛起!

斯文正印,继往开来,我们相与共建昌大在中华之腾飞!

形成了“前湖之风”周末讲坛

2.3视觉元话语

人们对元话语的研究都集中在篇章本身,给人的感觉好像篇章只是涉及词、句子和段落。其实,元话语还应包括篇章的视觉成分,如版面排版、颜色搭配等。

在中英文各大学的学校简介中我们可看到许多附上的彩图,从而在视觉上给读者以冲击力,以吸引更多的学生到校求学。

3 结语

从以上比较我们可看出英文学校简介更注重与学生的平等对话,且英语国家重视受教育的公平性人性化管理。英国的教育注重人本化,以人为本是教育的核心理念学校与学生没有教育方(老师)和受教育方(学生)尊严的隔阂,更多的是民主平等的师生关系,是人与人之间的平等沟通。在中国的学校似乎将学生永远放置在从属地位。对于学生而言,对老师的绝对服从就是尊师的体现——“尊师如尊父”。所以在中国的学校简介中,只是将大量的有关学校的信息灌输给学生,学生只是被动地接受信息。而没有注重与学生互动,以便引起学生积极性。

中国已经加入WTO多年,我们在经济和社会与国际接轨的同时,也要注重教育与国际的接轨,在面向各国宣传学校文化时,可以在元话语的使用上做适当调整,使我们的学校及教育更容易被全世界的大众所接受。相信随着中西文化交流的日益加深,人们之间的距离会逐渐变小,希望通过对中英教育文化中的几个非常具有代表性方面的略述,能够提供中西方文化交流、取长补短的方便。

参考文献

[1] yland,K.Metadiscourse:ExploringInteractioninWriting[M].London:Continuum,2005.

[2] Hyland,K.Metadiscourse.2008.

[3] 徐赳赳.关于元话语的范围和分类[J].当代语言学,2006(4):345～353.

老人与海 读后感 英文 篇4

The novel told a story about how the old fisherman Santiago struggled with the sea.Santiago gained a huge fish called Marlin after having drifted in the sea for 84 days.It was a fish that is 2 feet longer than the boat and that had dragged his boat for two days before being stabbed to death.It seemed that the old man wasn’t so successful, because he encountered a shark, struggled with the serious environments, even the only spoil——Marlin just left a skeleton.However, the most important thing is that Santiago had never given up for a moment.In this novel, I am deeply impressed by his persevering.I admire the old fisherman for his steel-like mind and persistence.I think there’s a real young man inside him, although he is at an old age and no longer goes back to his youth.From the strong comparison between the old look and the young heart, we can easily find that it is the positive firm spirits that make us hold our hopes and keep trying all the time and finally guide the roads towards success.Through the vivid description about the struggle between human and nature, Hemingway expresses his opinion that the courage inside human beings can help us face any failure and overcome any difficulty.In the book, the hero Santiago was beat by the shark, which we regard as a symbol of doom, but he chose to struggle with the fortune instead of losing faith in his life.Just the same as the hero Santiago, all of us will meet with various kinds of difficulties in our daily life, which is a rule of human’s fate.So how can we adjust our attitudes toward these and what should we do with so many problems? The old fisherman tell us the truth——“Man is not made for defeat.A man can be destroyed but not be defeated”.小说描写的是一个老渔夫桑地亚哥，他是一位孤独，而又英勇无畏、热爱生活、渴望胜利的老人。小说一开始，就奠定了其失败与孤独的命运基调——“他是个独自在湾流中一条平底小帆船上钓鱼的老人，这一回已去了八十四天，没逮上一条鱼”，“倒霉到了极点”。他的打了补丁的船帆，“像是一面标志着永远失败的旗子”。他曾有妻子，但已去世的妻子只成了画像，映照着他的孤独。他也有过年轻时的辉煌，并曾在角力中荣获过人人羡慕的“冠军”。但是现在，他却成了一面古老破败、伤痕累累的旗。“他不再梦见风暴，不再梦见女人，不再梦见伟迹，不再梦见大鱼，不再梦见搏斗，不再梦见角力，不再梦见他的老婆”。仿佛他已一无所有。在一次单身出海打鱼时，一条大鱼上了钩，却拉不上来。老渔夫同鱼周旋了几天后，才发现这是一条超过自己渔船数倍的大马林鱼，虽然明知很难取胜，但仍不放弃。他充分利用自己捕鱼的技巧，慢慢浪费大鱼的体力，当鱼不再够力气拉着渔船向前时，它开始绕着船

转，它越游越近，最后被渔夫用渔叉一下刺死了。后来又因大马林鱼伤口上的鱼腥味引来了几群鲨鱼抢食，但老人仍不愿就这样放弃，与一条又一条的鲨鱼搏斗，但是无奈武器都被鲨鱼破坏掉，鱼被吃掉了一大半，只剩下鱼头和鱼骨，渔夫此时亦筋疲力尽，无力继续保护鱼了，但他还是把残骸带回了渔港，让其他渔夫佩服不已。最后，小说以一个少年看到老渔夫在度量足有十八英尺长的大马林鱼，再次描写了这条鱼的巨大，说明老渔夫所克服的困难之大，非比寻常。仔细想想，人生中谁没有失败过，最重要的是在失败过后重新勇敢的站起来，积极的去面对，去寻找失败的根本原因，并改正。“人生能有几回搏”，我们要全力以赴，以全心的面貌去挑战，坚信成功将不再遥远。

《老人与海》的叙事艺术无疑是相当杰出的。一方面，它是海明威“冰山理论”的又一次极为成功的体现。他在谈到《老人与海》的创作时曾经说过：“《老人与海》本来可以写成一千多页那么长”，但他“总是根据冰山的原理去写它。关于显现出来的每一部分，八分之七是在水面的。你可以略去你所知道的任何东西，这只会使你的冰山深厚起来。这是并不显现出来的部分”。在它简单的故事情节背后，深藏着我们前面所阐述的那样丰富而又博大的世界；另一方面，它像诗篇，像是一曲交织着沉郁、苦难、昂扬与庄严，甚至也不无明丽与柔情的气魄宏伟的交响曲。

老人与海读后感英文 篇5

The novel narrates an old fisherman named Santiago didn’t catch a fish after 84 days on the sea. Finally, he made a decision that going fishing to the unfamiliar sea area. Luckily, he discovered a huge marlin. After fierce fighting, he conquered the marlin despite he was exhausted. Drawn the short straw, the smell of marlin’s blood attracted the sharks. Sharks raided the old man and bit the meat of marlin. The old man resisted the attack from the sharks desperately. However, when he went back the harbor, there was only the marlin’s skeleton left. And there were many discussions about the skeleton among people in harbor.

Although the old man failed again and again, he was never disappointed. His calm showed us a matchless strong heart. Despite Santiago is old and miserable, he would never like to quit. He persisted in struggling with the destiny. Sometimes our destiny can not be dominated by us. But we can confront the fate optimistically and accept it calmly.

A man can be destroyed but not defeated. Though our human body can be tormented, our determination can never be encroached. The marlin is a

symbol of our dreams. Meanwhile, the sharks represent the setback which we can not avoid. The unpredictable sea looks like our realistic society where a great many people pursue their dreams unremittingly and never give up.

When we pursue our dreams and conquered, whether the marlin is complete or incomplete is nothing, because our significance of life has been reflected in the process of chasing the marlin. On the one hand, the old man is a loser, because his marlin was eaten by sharks at last. He got nothing in the end. On the other hand, Santiago is a winner that he didn’t compromise and surrender to the sea, marlin and sharks even if he has used all his weapons up. The old man was a lonely traveler on the dream road, but he is also not alone, because his strong will accompanies with him. No matter what result the old man got, his spirit is esteemed by us, because he brings us the great confidence that a brave man has.

Our life is full of rough and misfortune, only if we have a confident mind to meet the challenges bravely and tenaciously can we be real winners. We are supposed to believe the faith that a man is not born to be defeated. Even though we are faced with the unconquerable nature, we could also obtain moral victory. Maybe the result is failure. We could witness the procedure that an ordinary person becomes an upright man. Whatever the adversity is, we have to be indomitable and not to capitulate. We are supposed to believe that we can be destroyed but not

老人与海中英文经典句子 篇6

2.I would rather be exact. Then when luck comes you are ready.

3.All my life the early sun has hurt my eyes, he thought. Yet they are still good. 生命中的旭阳刺痛了我的眼睛，他想。(据本人理解应为指早年初恋女友，那个护士的背叛)呵呵，还好这双眼睛现在还挺好。

4.My big fish must be somewhere. 一定有属於我的大鱼在什麽地方等著。

5.The water was a dark blue now, so dark that it was almost purple. 如今的海水是深蓝色的，深到几乎成了紫色。

6.Most people are heartless about turtles because a turtle’s heart will beat for hours after he has been cut up and butchered. But the old man thought, I have such a heart too and my feet and hands are like theirs. 大多数人对待(海龟、甲鱼之类的动物吧)很冷酷无情，因为海龟的心会在它身体被剖开和屠杀时，被时光打败。(此句照应“A man can be destroyed but not defeated ” “一个人可以被毁灭但是不能被打倒!”)

7.Now is no time to think of baseball, he thought. Now is the time to think of only one thing. That which I was born for. 现在没有时间考虑棒球了，他想。此刻是只能思考一件事情的时候。那是，我生来是为了什麽。

8.It was considered a virtue not to talk unnecessarily at sea and the old man had always considered it so and respected it. But now he said his thoughts aloud many times since there was no one that they could annoy. 可以想象品德在海里就不必要说起了，而老人以前却总是思考著，尊敬著它。可是现在，自从没有了一个可能打搅的人，他就把那些想法高声的说出来，好多次。

9.The tuna, the fishermen called all the fish of that species tuna and only distinguished among them by their proper names when they came to sell them or to trade them for bait, were down again. (金枪鱼，渔人在售卖它们或者交易他们用作诱饵时，……)

10.He felt no strain nor weight and he held the line lightly. Then it came again. This time it was a tentative pull, not-solid nor heavy, and he knew exactly what it was. 他感觉没有什麽拉力和重量，而轻轻的抓住鱼线。之后它(指大鱼)又来了。这次它仅仅拉了一会儿，不沉也不重，而他已经清楚的知道那是什麽鱼了.

11.If you said a good thing, it might not happen. 如果你说出了一件好的事情，那么那件好事可能就会不出现了。(大概可以理解为“天机不可泄露露”)

12.What I will do if he decides to go down, I don’t know. What I’ll do if he sounds and dies I don’t know. But I ‘ll do something. There are plenty of things I can do. 我不知道，如果他下来或者如果他倒地一声死了，我要怎么办。但是我知道，我会做一些事情。还有很多东西我可以做。

13.Then he looked behind him and saw that no land was visible. That makes no difference, he thought. 然后他望向背后，却发现，没有一块可以看见的陆地。他想，海洋没有制造什麽差异，跟之前没有什麽区别。

14.The position actually was only somewhat less intolerable; but he thought of it as almost comfortable. 实际上的方位只能稍微带给人少许无法忍受的感觉，但他几乎想象这是一件舒适的事情。

15.Then he thought, think of it always. Think of what you are doing. You must do nothing stupid. Then he said aloud, “I wish I had the boy. To help me and to see this.” 之后他总是想著，思考著这件事。思考你在干什麽。你不能做任何愚蠢的事情。然后他大声的说：“我希望身边有个男孩，可以帮助我，还有可以看到这。”

16.What a great fish he is and what he will bring in the market if the flesh is good. He took the bait like a male and he pulls like a male and his fight has no panic in it. I wonder if he has any plans or if he is just as desperate as I am? 这是一个多么庞大的鱼，如果到时候还新鲜的话，他就拿到市场卖了。他像一个男子汉那样，拿著诱饵还有拉著线，无畏的搏斗著。我想知道，他是否有任何的安排，或者，他只是像我一样，绝望了。

17.He was beautiful, the old man remembered, and he had stayed. 他很美丽，老人回忆著，还有他以前曾经逗留过。

18.Perhaps I should not have been a fisherman, he thought. But that was the thing that I was born for. 或许我不应该成为一个渔夫，他想。但是那是我生来的源由。

19.“ Fish,” he said softly, aloud, “ I ‘ll stay with you until I am dead.” “鱼，”他柔和地说著，却很响亮 ，“我会一直陪伴你直至我死去。”

20.He could feel the steady hard pull of the line and his left hand was cramped. It drew up tight on the heavy cord and he looked at it in disgust. “What kind of a hand is that,” he said. “Cramp then if you want. Make yourself into a claw. It will do you no good.” 他能感觉到支架艰难的拉著，但是他的左手却被夹住了。它被沉重的绳索卷住了，老人嫌恶的看著左手。

21.There is no sense in being anything but practical though, he thought. 著没有了任何知觉……

22.I wishI could feed the fish, he thought. He is my brother. But I must kill him and keep strong to do it. Slowly and conscientiously he ate all of the wedge-shaped strips of fish. 我希望可以饲养这些鱼儿，他想著。他是我的兄弟。但是我必须杀掉他，还有保证强壮的身体来处理它。凭良心，他慢慢的吃掉了所有楔形的细长的鱼。

23.He looked across the sea and knew how alone he was now. But he could see the prisms in the deep dark water and the line stretching ahead and the strange undulation of the calm. The clouds were building up now for the trade wind and he looked ahead and saw a flight of wild ducks etching themselves against the sky over the water, the blurring, then etching again and he knew no man was ever alone on the sea. 他眺望着海面，知道他此刻是多么孤单。但是他可以看见在黑暗的深水里的棱镜和鱼线往前和那平静的波动。云朵现在贸易风，他朝前望去，看到一个飞行的野鸭在水面上的天空，模糊，然后蚀刻再次和他知道没有人是独自在海上。

24.I hate a cramp, he thought. It is a treachery of one’s own body. It is humiliating before others to have a diarrhoea from ptomaine poisoning or to vomit from. But a cramp, he thought of it as a calambre, humiliates oneself especially when one is alone. 我恨抽筋，他想。这是对自己身体的背叛行为。它是在别人面前丢脸由于食物中毒而腹泻或者呕吐。但是抽筋，他认为这是一个calambre侮辱自己，尤其是当一个人是孤单的。

25.If I were him I would put in everything now and go until something broke. But, thank God, they are not as intelligent as we who kill them; although they are more noble and more able. 如果我是他，我会竭尽所能去直到事情发生。但是，感谢上帝，他们是不是我们谁杀了他们的智能;虽然他们更高贵、更能。

26.I wonder why he jumped, the old man thought. He jumped almost as though to show me how big he was. I know now, anyway, he thought. I wish I could show him what sort of man I am. But then he would see the cramped hand. Let him think I am more man than I am and I will be so. I wish I was the fish, he thought, with everything he has against only my will and my intelligence.

我想知道为什么他跳了，老人想。他就好像让我看看他有多大。现在我知道，无论如何，他认为。我希望我也能让他看看我是什么样的人。然后他会看到这只抽筋的手。让他觉得我比我的人，我会这样。我希望我的鱼，他认为，他所做的一切对我的意志和我的智慧。

27.He was comfortable but suffering, although he did not admit the suffering at all. 他是舒适而痛苦，虽然他根本不承认是痛苦。

28.He commenced to say his prayers mechanically. Sometimes he would be so tired that he could not remember the prayer and then he would say them fast so that they would come automatically. 他机械地念起祈祷文。有时他会很累很累，他不记得祈祷，然后他会说他们很快，它们会

29.I must save all my strength now. Christ, I did not know he was so big.

“I ‘ll kill him though,” he said. “ In all his greatness and his glory.

我眼下必须保存所有的精力。基督，我不知道他是如此之大。

“我会杀了他，”他说。“在他的伟大和荣耀。

30.Although it is unjust, he thought. But I will show him what a man can do and what a man endures. 然而这是不公平的，他想。但我会告诉他，什么可以做，什么人忍受。

31.The thousand times that he had proved it meant nothing. Now he was proving it again. Each time was a new time and he never thought about the past when he was doing it. 他证明了一千次这不意味着什么。现在他再次证明这。每一次都是一个新的时间，他从来没有想过去当他做了它。

32.Still I would rather be that beast down there in the darkness of the sea. 我还是情愿做那只待在黑暗的大海。

33.He did not truly feel good because the pain from the cord across his back had almost passed pain and gone into a dullness that he mistrusted. But I have had worse things than that, he thought. 他并不真的觉得好因为索勒在背上的疼痛几乎已经疼进入了一种使他不信任。但我有比这更糟糕的事情，他认为。

34.“The fish is my friend too,” he said aloud. “ I have never seen or heard of such a fish. But I must kill him. I am glad we do not have to try to kill the stars.” “这鱼是我的朋友，”他大声地说。“我从来没有见过或听说过这样的鱼。但我必须杀了他。我很高兴，我们不必去捕杀星星。”

35.Then he was sorry for the great fish that had nothing to eat and his determination to kill him never relaxed in his sorrow for him. How many people will he feed, he thought. But are they worthy to eat him? No, of course not. There is no one worthy of eating him from the manner of his behaviour and his great diginity. 然后他很同情那条大鱼，没有东西吃，他决心要杀死他从未放松他为他而悲伤。它能供多少人吃，他想。但他们配吃它吗?不，当然不是。没有人吃他从他的行为和他的伟大的尊严态度值得。

I do not understand these things, he thought. But it is good that we do not have to try to kill the sun or the moon or the stars. It is enough to live on the sea and kill our true brothers. 我不懂这些事，他认为。但它是好的，我们不必去弄死太阳或月亮或星星。它是足够的以海为生，杀死我们的真正的兄弟。

36. I’m clear enough in the head, he thought. Too clear. I am as clear as the stars that are my brothers. Still I must sleep. 我的头脑还足够能清醒，他想。我太清醒了，清晰到就像群星是我的兄弟。所以我仍然必须睡觉。

37. “ It is not bad,” he said. “ And pain does not matter to a man.” “那还不错，”他说，“并且，疼痛、伤痕对一个人来说不应该让其成为问题。”

38. Now I must convince him and then I must kill him. 此刻我必须使他信服，然后我定杀了他。

39. I must hold his pain where it is, he thought. Mine does not matter. I can control mine. But his pain could drive him mad. 我一定要把握住他伤口所在之处，他想。我的伤口不是问题，我可以控制住自己，但是他的伤口会让他发怒，失去理智。

40. Keep your head clear and know how to suffer like a man. 保持你头脑的清醒，并且懂得如何像一个男子汉那样承受痛苦。

老人与海英文简介 篇7

“She had pushed the light of English language a little furthe against darkness.”[1]She is claimed to be the most outstanding female fictionist after Jane Austin and George Eliot in the English literary history.She is considered not only the major pioneer of modernism bu also the forerunner of feminism.

Who can hold such a special position?Virginia Woolf.

2 Life of Virginia Woolf

Virginia Woolf(1882-1941)was born in an intellectually gifted family.Her father,Sir Leslie Stephen,was the editor of the Dictionary of National Biography.Although Virginia was given no schoo education,she educated herself under her father’s tutelage by reading in his extensive library.

Virginia was shadowed by series of emotional shocks tha punctuated her childhood and young adulthood.First,she was sexually abused by her half-brothers.Second,she experienced an unremitting series of family deaths.Her mother died when she was in her early teens,and her beloved half-sister died two years later in 1897.In1904,her father passed away,and only two years after that her favorite bother died.Virginia suffered psychological collapse after each of the deaths.Perhaps her later mental instability can be attributed to these horrors and bereavements.

After her father died,Virginia settled in the Bloomsbury district o London with her sister and brothers.Gradually,their house became a gathering place where friends came for discussions about philosophy art,music and literature.A network of friendship developed,and i became known as the Bloomsbury Group.The group eventually included Maynard Keynes,Clive Bell,Roger Fry,E.M.Forster Leonard Woolf(who became Virginia’s husband in 1912),etc.Through this group Virginia had access to many innovations in modern art and literature.

For most of her life,Woolf was troubled by the dangerous menta depression.In 1941,after completing her last novel,she suffered more from it.Fearing that her depression would turn to madness,she drowned herself in a river near her home.

3 Brief Introduction to Her Novels

Woolf is chiefly an outstanding novelist,and in particular for he contribution to the development of the modernist narrative technique Her fictions could be roughly classified into three phases.The first one includes her first two novels,The Voyage Out(1915)and Night and Day(1919).These two novels are conventional in technique.

Jacob’s Room(1922)initiates the second phase.In this novel,she minimized external action and illuminated her central character’s personalities through series of individual impressions.Mrs.Dalloway(1925)represents Woolf’s first successful attempt to produce a novel in her own distinctive narrative style.She rejected the boundaries of traditional narrative form which she believed had become too artificial and restrictive.The novel features her rich expression of the interior monologue as well as experiments in multiple points of view.Her experimental techniques“are extended and deepened until they reach a peak of virtuosity and dramatic art in To the Lighthouse”.[2]To the Lighthouse(1927)is“made from the passions and tragedies of her[Woolf’s]youth”.[3]It treats themes of marriage,time,life and death.In this novel,Woolf depicted the inner lives of her characters and weaved them together into a rich and complex texture.

However,in the novels of the last phase,Woolf did not totally follow the same artistic features laid down in her works of the second period.Orlando(1928)is a delightful fantasy which features a character who changes sex part and lives from the sixteenth to the twentieth century.In The Year(1937)and Between the Acts(1941),Woolf seemed to have abandoned her fascinating depiction of impressionistic interior monologues.Most critics tend to regard these two novels as a certain falling off from the accomplished works of the1920’s.Only in The Waves(1931),Woolf carried on the same artistic features she pursued in the 1920’s.It is her most experimental novel.She abandoned conventional narrative as well as setting,and showed the impressionistic interior monologues of six characters.The whole novel is“not only to be mystical…but also abstract”.[4]

4 Conclusion

Although the historical period when modernism acted as a main trend in literature has ended,the experimental techniques adopted by the modernist writers have further influence upon literary creation.Virginia Woolf’s distinctive art of fiction has offered significance in studying the modern fiction as well as in literary creation.

摘要：弗吉尼亚·伍尔夫是著名英国作家,她为现代主义小说的发展做出了杰出的贡献。伍尔夫倡导主观真实,她的现代主义小说追求心理探索的内倾性。伍尔夫别具特色的小说艺术对于研究现代主义小说,或把现代主义小说写作技巧运用到文学创作中,具有深远的意义。

关键词：现代主义小说,叙事技巧,主观真实

参考文献

[1]E.M.Forster.Virginia Woolf[M].Cambridge:Cambridge University Press,1942:28.

[2]John Batchelor.Virginia Woolf:the Major Novels[M].Cambridge: Cambridge University Press,1991:15.

[3]Quentin Bell.Virginia Woolf:A Biography[M].New York:Harcourt Brace Jovanovich Inc.1972:132.