教长的黑面纱
牧师的黑面英文解析纱
Hawthorne‟s “The Minister‟s Black Veil” is regarded as one of the earliest and greatest American short stories. Like many of Hawthorne‟s stories, this story i s developed around a single symbol: the black veil that the Reverend Mr. Hoo per wears to hide his face from the world. The nature of secret sin and huma ns‟ fallen nature are the main theme. Hawthorne‟s intended meaning with the t ale has been the subject of considerable debate.. Some critics note that “Mr. H ooper is the type of the abnormal, who has lost the power of seeing life stead ily and whole”.They think the sin - crazed Hooper himself is “to outward gaze the gentlest si nful of men” and “his mistaken notion about the nature of evil prompt him to attempt the salvation of his fellow men by a method which seriously endange rs his own salvation.” Critic William Bysshe Stein in 1955 even considered H ooper an antichrist. As to such kind of claims, I find it hard to agree. Even t hough Mr. Hooper fails to fulfill his responsibilities as a minister well, there i s no evidence to show he deserves to be called an antichrist for he hasn‟t don e anything against the will of the holy Jesus. It‟s true that Hooper fixes his e yes on the townspeople, hoping to help them expose their sins. But he cannot be defined as sin - crazed for this reason. The American author Nathaniel Ha wthorne had an intricate relationship with the tradition of American Puritanism, with which both he and his Puritan ancestors were imbued in character and i n belief, and yet his representative work The Scarlet Letter has always receive d an all-too-simple, one-dimensional critical response from most Chinese reader s and critics, rendering it a bitter demonstration of and outright protest against the dehumanizing role of Puritan ethics and, by extension, that of Christian et hics in general. This paper attempts at a new reading of this much-misinterpreted work. By analyzing the novel‟s dominant themes, the development of its m ajor characters, the narrative voice, and even its honest criticism of the Puritan community, this paper is intended to reveal that, instead of assailing the Chris tian ethics, the novel expresses what is central to the ethical values based on t he Christian Scripture: the universality of sin and guilt in spite of their various disguise, and the pity on and redemption of the human individuals as well as communities equally enslaved by sin.The sin Mr. Hooper committedMr.Hooper‟s deathbed remarks show that he intends the black veilto symbolize the secret sin which all men “loathsomely treasure up”in their he arts. That he intended himself to typify mankind‟s evil nature is clear enough, but the reason why he thought himself evil is not so clear.We may infer from Hooper‟s presence at the funeral on that Sunday that perhaps he is responsi ble for the death of the young lady, because “at the inst ant when the clergyman‟s features were disclosed, the corpse hadslightly shuddered”. But in fact,“a superstitious old woman was the only witnes s of this prodigy”. A couple of people said they saw “t he ministerand the maiden‟s spirit were walking hand in hand.”But this is justtheir fantasy and no other evidence can support it. It‟s reasonable tothink these words are used to add a little bit of mystery which is typicalof Hawthorne‟s writing feature. Provided Hooper‟s hidden sin is true, his action of still coming to this funeral reflects his sufficient courage and a since re wish of repentance. He is so repentant that this incident becomes a turning point of his destiny forcing him to wear a black veil to confess his previous s in for the rest of life. His firm resolution shows his valuable honesty which ahypocrite does not possess. Everyone has a secret sin or sorrow of one type or other. Mr. Hooper has chosen to make his black veil visible while others h ave kept their secrets in their own hearts. His quick response to mend what h e had done is admirable and as a faithful messenger of God.II. Unity of the hero‟s personalityWhile many readers may view Mr. Hooper as a weak coward with asense of superiority and imbalance of mind, I prefer to see him as a remarkable man of integrity, bravery, responsibility and dignity. Prior to and af ter his wearing the black veil, his individuality does not change.Firstly he is a minister with good appearance. He is consistently gentleand neatly dressed as if taken care of by a careful wife. Secondly, hetakes a stable responsibility for his religious faith and he is competent for his job. He achieves success in both his career and his life: “He acquired a name throughout the New- England churches, and they called himFather Hooper ⋯he had one congregation in the church, and a more crowded one in the church- yard.”Mr. Hooper has gained true love from Elizabeth as w ell as a good or even true friend, Reverend Mr. Clark who cares about Hoope r and rides in haste to pray by the bed - side of the expiring Hooper. Mr. Ho oper is a revolutionary man. He does not yield to hardships regardless of the bitter misunderstanding from the multitude nor did he submit to fate. As Hoop e r lies dying, he still refuses to lift the black veil: “On Earth, never! ”I view this utterance as the maintenance of fulfilling his ministerial duties till the last breath.On the contrary, it is motivated by his hope for peace of mind in the after - life: “It is but a mortalveil—it is not for eternity! ”We must take special notice of Mr.Hooper‟s smile. The minister‟s smile is mentioned eight times and is associated with the light image. In four passages it is described as glimmering or gleaming. From the smile - light association, we can infer that the smile betokens Hooper…s ties with his fellow men and his hold on his own sanity. It indicates that he has not been completely enveloped by the terrifying black veil which has multiplied his doubts about his own salvation.教长的黑面纱一：作者纳撒尼尔·霍桑（NathanieIHawthorne，1804－1864），美国浪漫主义小说家。
The Minister's Black Veil
THE MINISTER’S BLACK VEILA ParableNathaniel HawthorneTHE sexton stood in the porch of Milford meeting-house, pulling busily at the bell-rope. The old people of the village came stooping along the street. Children, with bright faces, tripped merrily beside their parents, or mimicked a graver gait, in the conscious dignity of their Sunday clothes. Spruce bachelors looked sidelong at the pretty maidens, and fancied that the Sabbath sunshine made them prettier than on week days. When the throng had mostly streamed into the porch, the sexton began to toll the bell, keeping his eye on the Reverend Mr. Hooper's door. The first glimpse of the clergyman's figure was the signal for the bell to cease its summons.“But what has good Parson Hooper got upon his face?” cried the sexton in astonishment.All within hearing immediately turned about, and beheld the semblance of Mr. Hooper, pacing slowly his meditative way towards the meeting-house. With one accord they started, expressing more wonder than if some strange minister were coming to dust the cushions of Mr. Hooper's pulpit.“Are you sure it is our parson?” inquired Goodman Gray of the sexton.“Of a certainty it is good Mr. Hooper,”' replied the sexton.“He was to have exchanged pulpits with Parson Shute, of Westbury; but Parson Shute sent to excuse himself yesterday, being to preach a funeral sermon.”The cause of so much amazement may appear sufficiently slight. Mr. Hooper, a gentlemanly person, of about thirty, though still a bachelor, was dressed with due clerical neatness, as if a careful wife had starched his band, and brushed the weekly dust from his Sunday's garb. There was but one thing remarkable in his appearance. Swathed about his forehead, and hanging down over his face, so low as to be shaken by his breath, Mr. Hooper had on a black veil. On a nearer view it seemed to consist of two folds of crape, which entirely concealed his features, except the mouth and chin, but probably did not intercept his sight, further than to give a darkened aspect to all living and inanimate things. With this gloomy shade before him, good Mr. Hooper walked onward, at a slow and quiet pace, stooping somewhat, and looking on the ground, as is customary with abstracted men, yet nodding kindly to those of his parishioners who still waited on the meeting-house steps. But so wonder-struck were they that his greeting hardly met with a return.“I can't really feel as if good Mr. Hooper's face was behind that piece of crape,” said the sex ton.“I don't like it,” muttered an old woman, as she hobbled into themeeting-house. “He has changed himself into something awful, only by hiding his face.”“Our parson has gone mad!” cried Goodman Gray, following him across the threshold.A rumor of some unaccountable phenomenon had preceded Mr. Hooper into the meeting-house, and set all the congregation astir. Few could refrain from twisting their heads towards the door; many stood upright, and turned directly about; while several little boys clambered upon the seats, and came down again with a terrible racket. There was a general bustle, a rustling of the women's gowns and shuffling of the men's feet, greatly at variance with that hushed repose which should attend the entrance of the minister. But Mr. Hooper appeared not to notice the perturbation of his people. He entered with an almost noiseless step, bent his head mildly to the pews on each side, and bowed as he passed his oldest parishioner, a white-haired great grandsire, who occupied an arm-chair in the center of the aisle. It was strange to observe how slowly this venerable man became conscious of something singular in the appearance of his pastor. He seemed not fully to partake of the prevailing wonder, till Mr. Hooper had ascended the stairs, and showed himself in the pulpit, face to face with his congregation, except for the black veil. That mysterious emblem was never once withdrawn. It shook with his measured breath, as he gave out the psalm; it threw its obscurity between him and the holy page, as he read the Scriptures; and while he prayed, the veil lay heavily on his uplifted countenance. Did he seek to hide it from the dread Being whom he was addressing?Such was the effect of this simple piece of crape, that more than one woman of delicate nerves was forced to leave the meeting-house. Yet perhaps thepale-faced congregation was almost as fearful a sight to the minister, as his black veil to them.Mr. Hooper had the reputation of a good preacher, but not an energetic one: he strove to win his people heavenward by mild, persuasive influences, rather than to drive them thither by the thunders of the Word. The sermon which he now delivered was marked by the same characteristics of style and manner as the general series of his pulpit oratory. But there was something, either in the sentiment of the discourse itself, or in the imagination of the auditors, which made it greatly the most powerful effort that they had ever heard from their pastor's lips. It was tinged, rather more darkly than usual, with the gentle gloom of Mr. Hooper's temperament. The subject had reference to secret sin,and those sad mysteries which we hide from our nearest and dearest, and would fain conceal from our own consciousness, even forgetting that the Omniscient can detect them. A subtle power was breathed into his words. Each member of the congregation, the most innocent girl, and the man of hardened breast, felt as if the preacher had crept upon them, behind his awful veil, and discovered their hoarded iniquity of deed or thought. Many spread their clasped hands on their bosoms. There was nothing terrible in what Mr. Hooper said, at least, no violence; and yet, with every tremor of his melancholy voice, the hearers quaked. An unsought pathos came hand in hand with awe. So sensible were the audience of some unwonted attribute in their minister, that they longed for a breath of wind to blow aside the veil, almost believing that a stranger's visage would be discovered, though the form, gesture, and voice were those of Mr. Hooper.At the close of the services, the people hurried out with indecorous confusion, eager to communicate their pent-up amazement, and conscious of lighter spirits the moment they lost sight of the black veil. Some gathered in little circles, huddled closely together, with their mouths all whispering in the center; some went homeward alone, wrapt in silent meditation; some talked loudly, and profaned the Sabbath day with ostentatious laughter. A few shook their sagacious heads, intimating that they could penetrate the mystery; while one or two affirmed that there was no mystery at all, but only that Mr. Hooper's eyes were so weakened by the midnight lamp, as to require a shade. After a brief interval, forth came good Mr. Hooper also, in the rear of his flock. Turning his veiled face from one group to another, he paid due reverence to the hoary heads, saluted the middle aged with kind dignity as their friend and spiritual guide, greeted the young with mingled authority and love, and laid his hands on the little children's heads to bless them. Such was always his custom on the Sabbath day. Strange and bewildered looks repaid him for his courtesy. None; as on former occasions, aspired to the honor of walking by their pastor's side. Old Squire Saunders, doubtless by an accidental lapse of memory, neglected to invite Mr. Hooper to his table, where the good clergyman had been wont to bless the food, almost every Sunday since his settlement. He returned, therefore, to the parsonage, and, at the moment of closing the door, was observed to look back upon the people, all of whom had their eyes fixed upon the minister. A sad smile gleamed faintly from beneath the black veil, and flickered about his mouth, glimmering as he disappeared.“How strange,” said a lady, “that a simple black veil, such as any woman might wear on her bonnet, should become such a terrible thing on Mr. Hooper's face!”“Something must surely be amiss with Mr. Hooper's intellects,” observed her husband, the physician of the village. “But the stranges t part of the affair is the effect of this vagary, even on a sober-minded man like myself. The black veil,though it covers only our pastor's face, throws its influence over his whole person, and makes him ghostlike from head to foot. Do you not feel it so?”“Truly do I,” replied the lady; “and I would not be alone with him for the world. I wonder he is not afraid to be alone with himself!”“Men sometimes are so,” said her husband.“The afternoon service was attended with similar circumstances. At its conclusion, the bell tolled for the funeral of a young lady. The relatives and friends were assembled in the house, and the more distant acquaintances stood about the door, speaking of the good qualities of the deceased, when their talk was interrupted by the appearance of Mr. Hooper, still covered with his black veil. It was now an appropriate emblem. The clergyman stepped into the room where the corpse was laid, and bent over the coffin, to take a last farewell of his deceased parishioner. As he stooped, the veil hung straight down from his forehead, so that, if her eye-lids had not been closed forever, the dead maiden might have seen his face. Could Mr. Hooper be fearful of her glance, that he so hastily caught back the black veil? A person who watched the interview between the dead and living, scrupled not to affirm, that, at the instant when the clergyman's features were disclosed, the corpse had slightly shuddered, rustling the shroud and muslin cap, though the countenance retained the composure of death. A superstitious old woman was the only witness of this prodigy. From the coffin Mr. Hooper passed into the chamber of the mourners, and thence to the head of the staircase, to make the funeral prayer. It was a tender and heart-dissolving prayer, full of sorrow, yet so imbued with celestial hopes, that the music of a heavenly harp, swept by the fingers of the dead, seemed faintly to be heard among the saddest accents of the minister. The people trembled, though they but darkly understood him when he prayed that they, and himself, and all of mortal race, might be ready, as he trusted this young maiden had been, for the dreadful hour that should snatch the veil from their faces. The bearers went heavily forth, and the mourners followed, saddening all the street, with the dead before them, and Mr. Hooper in his black veil behind.“Why do you look back?” said one in the procession to his partner.“I had a fancy,” replied she, “that the minister and the maiden's spirit were walking hand in hand.”“And so had I,at the same moment,” said the other.That night, the handsomest couple in Milford village were to be joined in wedlock. Though reckoned a melancholy man, Mr. Hooper had a placid cheerfulness for such occasions, which often excited a sympathetic smilewhere livelier merriment would have been thrown away. There was no quality of his disposition which made him more beloved than this. The company at the wedding awaited his arrival with impatience, trusting that the strange awe, which had gathered over him throughout the day, would now be dispelled. But such was not the result. When Mr. Hooper came, the first thing that their eyes rested on was the same horrible black veil, which had added deeper gloom to the funeral, and could portend nothing but evil to the wedding. Such was its immediate effect on the guests that a cloud seemed to have rolled duskily from beneath the black crape, and dimmed the light of the candles. The bridal pair stood up before the minister. But the bride's cold fingers quivered in the tremulous hand of the bridegroom, and her deathlike paleness caused a whisper that the maiden who had been buried a few hours before was come from her grave to be married. If ever another wedding were so dismal, it was that famous one where they tolled the wedding knell. After performing the ceremony, Mr. Hooper raised a glass of wine to his lips, wishing happiness to the new-married couple in a strain of mild pleasantry that ought to have brightened the features of the guests, like a cheerful gleam from the hearth. At that instant, catching a glimpse of his figure in the looking-glass, the black veil involved his own spirit in the horror with which it overwhelmed all others. His frame shuddered, his lips grew white, he spilt the untasted wine upon the carpet, and rushed forth into the darkness. For the Earth, too, had on her Black Veil.The next day, the whole village of Milford talked of little else than Parson Hooper's black veil. That, and the mystery concealed behind it, supplied a topic for discussion between acquaintances meeting in the street, and good women gossiping at their open windows. It was the first item of news that the tavern-keeper told to his guests. The children babbled of it on their way to school. One imitative little imp covered his face with an old black handkerchief, thereby so affrighting his playmates that the panic seized himself, and he well-nigh lost his wits by his own waggery.It was remarkable that all of the busybodies and impertinent people in the parish, not one ventured to put the plain question to Mr. Hooper, wherefore he did this thing. Hitherto, whenever there appeared the slightest call for such interference, he had never lacked advisers, nor shown himself averse to be guided by their judgment. If he erred at all, it was by so painful a degree of self-distrust, that even the mildest censure would lead him to consider an indifferent action as a crime. Yet, though so well acquainted with this amiable weakness, no individual among his parishioners chose to make the black veil a subject of friendly remonstrance. There was a feeling of dread, neither plainly confessed nor carefully concealed, which caused each to shift the responsibility upon another, till at length it was found expedient to send adeputation of the church, in order to deal with Mr. Hooper about the mystery, before it should grow into a scandal. Never did an embassy so ill discharge its duties. The minister received then with friendly courtesy, but became silent, after they were seated, leaving to his visitors the whole burden of introducing their important business. The topic, it might be supposed, was obvious enough. There was the black veil swathed round Mr. Hooper's forehead, and concealing every feature above his placid mouth, on which, at times, they could perceive the glimmering of a melancholy smile. But that piece of crape, to their imagination, seemed to hang down before his heart, the symbol of a fearful secret between him and them. Were the veil but cast aside, they might speak freely of it, but not till then. Thus they sat a considerable time, speechless, confused, and shrinking uneasily from Mr. Hooper's eye, which they felt to be fixed upon them with an invisible glance. Finally, the deputies returned abashed to their constituents, pronouncing the matter too weighty to be handled, except by a council of the churches, if, indeed, it might not require a general synod.But there was one person in the village unappalled by the awe with which the black veil had impressed all beside herself. When the deputies returned without an explanation, or even venturing to demand one, she, with the calm energy of her character, determined to chase away the strange cloud that appeared to be settling round Mr. Hooper, every moment more darkly than before. As his plighted wife, it should be her privilege to know what the black veil concealed. At the minister's first visit, therefore, she entered upon the subject with a direct simplicity, which made the task easier both for him and her. After he had seated himself, she fixed her eyes steadfastly upon the veil, but could discern nothing of the dreadful gloom that had so overawed the multitude: it was but a double fold of crape, hanging down from his forehead to his mouth, and slightly stirring with his breath.“No,” said she aloud, and smiling, “there is nothing terrible in this piece of crape, except that it hides a face which I am always glad to look upon. Come, good sir, let the sun shine from behind the cloud. First lay-aside your black veil: then tell me why you put it on.”Mr. Hooper's smile glimmered faintly.“There is an hour to come,” said he, “when all of us shall cast aside our veils. Take it not amiss, beloved friend, if I wear this piece of crape till then.”“Your words are a mystery, too,” returned the young lady. “Take away the veil from them, at least.”“Elizabeth, I will,” said he, “so far as my vow may suffer me. Know, then, this veil is a type and a symbol, and I am bound to wear it ever, both in light anddarkness, in solitude and before the gaze of multitudes, and as with strangers, so with my familiar friends. No mortal eye will see it withdrawn. This dismal shade must separate me from the world: even you, Elizabeth, can never come behind it!”“What grievous affliction hath befallen you,'' she earnest ly inquired, ``that you should thus darken your eyes forever?”“If it be a sign of mourning,” replied Mr. Hooper, “I, perhaps, like most other mortals, have sorrows dark enough to be typified by a black veil.”“But what if the world will not believe that it is the type of an innocent sorrow?” urged Elizabeth. “Beloved and respected as you are, there may be whispers that you hide your face under the consciousness of secret sin. For the sake of your holy office, do away this scandal!”The color rose into her cheeks as she intimated the nature of the rumors that were already abroad in the village. But Mr. Hooper's mildness did not forsake him. He even smiled again -- that same sad smile, which always appeared like a faint glimmering of light, proceeding from the obscurity beneath the veil.“If I hide my face for sorrow, there is cause enough,” he merely replied; “and if I cover it for secret sin, what mortal might not do the same?”And with this gentle, but unconquerable obstinacy did he resist all her entreaties. At length Elizabeth sat silent. For a few moments she appeared lost in thought, considering, probably, what new methods might be tried to withdraw her lover from so dark a fantasy, which, if it had no other meaning, was perhaps a symptom of mental disease. Though of a firmer character than his own, the tears rolled down her cheeks. But, in an instant, as it were, a new feeling took the place of sorrow: her eyes were fixed insensibly on the black veil, when, like a sudden twilight in the air, its terrors fell around her. She arose, and stood trembling before him.“And do you feel it then, at last?” said he mournfully.She made no reply, but covered her eyes with her hand, and turned to leave the room. He rushed forward and caught her arm.“Have patience with me, Elizabeth!” cried he, passionately. “Do not desert me, though this veil must be between us here on earth. Be mine, and hereafter there shall be no veil over my face, no darkness between our souls! It is but a mortal veil -- it is not for eternity! O! you know not how lonely I am, and how frightened, to be alone behind my black veil. Do not leave me in this miserable obscurity forever!”“Lift the veil but once, and look me in the face,” said she.“Never! It cannot be!” replied Mr. Hooper.“Then farewell!” said Elizabeth.She withdrew her arm from his grasp, and slowly departed, pausing at the door, to give one long shuddering gaze, that seemed almost to penetrate the mystery of the black veil. But, even amid his grief, Mr. Hooper smiled to think that only a material emblem had separated him from happiness, though the horrors, which it shadowed forth, must be drawn darkly between the fondest of lovers. From that time no attempts were made to remove Mr. Hooper's black veil, or, by a direct appeal, to discover the secret which it was supposed to hide. By persons who claimed a superiority to popular prejudice, it was reckoned merely an eccentric whim, such as often mingles with the sober actions of men otherwise rational, and tinges them all with its own semblance of insanity. But with the multitude, good Mr. Hooper was irreparably a bugbear. He could not walk the street with any peace of mind, so conscious was he that the gentle and timid would turn aside to avoid him, and that others would make it a point of hardihood to throw themselves in his way. The impertinence of the latter class compelled him to give up his customary walk at sunset to the burial ground; for when he leaned pensively over the gate, there would always be faces behind the gravestones, peeping at his black veil. A fable went the rounds that the stare of the dead people drove him thence. It grieved him, to the very depth of his kind heart, to observe how the children fled from his approach, breaking up their merriest sports, while his melancholy figure was yet afar off. Their instinctive dread caused him to feel more strongly than aught else, that a preternatural horror was interwoven with the threads of the black crape. In truth, his own antipathy to the veil was known to be so great, that he never willingly passed before a mirror, nor stooped to drink at a still fountain, lest, in its peaceful bosom, he should be affrighted by himself. This was what gave plausibility to the whispers, that Mr. Hooper's conscience tortured him for some great crime too horrible to be entirely concealed, or otherwise than so obscurely intimated. Thus, from beneath the black veil, there rolled a cloud into the sunshine, an ambiguity of sin or sorrow, which enveloped the poor minister, so that love or sympathy could never reach him. It was said that ghost and fiend consorted with him there. Withself-shudderings and outward terrors, he walked continually in its shadow, groping darkly within his own soul, or gazing through a medium that saddened the whole world. Even the lawless wind, it was believed, respected his dreadful secret, and never blew aside the veil. But still good Mr. Hooper sadly smiled at the pale visages of the worldly throng as he passed by.Among all its bad influences, the black veil had the one desirable effect, of making its wearer a very efficient clergyman. By the aid of his mysterious emblem -- for there was no other apparent cause -- he became a man of awful power over souls that were in agony for sin. His converts always regarded him with a dread peculiar to themselves, affirming, though but figuratively, that, before he brought them to celestial light, they had been with him behind the black veil. Its gloom, indeed, enabled him to sympathize with all dark affections. Dying sinners cried aloud for Mr. Hooper, and would not yield their breath till he appeared; though ever, as he stooped to whisper consolation, they shuddered at the veiled face so near their own. Such were the terrors of the black veil, even when Death had bared his visage! Strangers came long distances to attend service at his church, with the mere idle purpose of gazing at his figure, because it was forbidden them to behold his face. But many were made to quake ere they departed! Once, during Governor Belcher's administration, Mr. Hooper was appointed to preach the election sermon. Covered with his black veil, he stood before the chief magistrate, the council, and the representatives, and wrought so deep an impression, that the legislative measures of that year were characterized by all the gloom and piety of our earliest ancestral sway.In this manner Mr. Hooper spent a long life, irreproachable in outward act, yet shrouded in dismal suspicions; kind and loving, though unloved, and dimly feared; a man apart from men, shunned in their health and joy, but ever summoned to their aid in mortal anguish. As years wore on, shedding their snows above his sable veil, he acquired a name throughout the New England churches, and they called him Father Hooper. Nearly all his parishioners, who were of mature age when he was settled, had been borne away by many a funeral: he had one congregation in the church, and a more crowded one in the churchyard; and having wrought so late into the evening, and done his work so well, it was now good Father Hooper's turn to rest.Several persons were visible by the shaded candlelight, in the death chamberof the old clergyman. Natural connections he had none. But there was the decorously grave, though unmoved physician, seeking only to mitigate the last pangs of the patient whom he could not save. There were the deacons, and other eminently pious members of his church. There, also, was the Reverend Mr. Clark, of Westbury, a young and zealous divine, who had ridden in haste to pray by the bedside of the expiring minister. There was the nurse, no hired handmaiden of death, but one whose calm affection had endured thus long in secrecy, in solitude, amid the chill of age, and would not perish, even at the dying hour. Who, but Elizabeth! And there lay the hoary head of good Father Hooper upon the death pillow, with the black veil still swathed about his brow, and reaching down over his face, so that each more difficult gasp of his faint breath caused it to stir. All through life that piece of crape had hung between him and the world: it had separated him from cheerful brotherhood andwoman's love, and kept him in that saddest of all prisons, his own heart; and still it lay upon his face, as if to deepen the gloom of his darksome chamber, and shade him from the sunshine of eternity.For some time previous, his mind had been confused, wavering doubtfully between the past and the present, and hovering forward, as it were, at intervals, into the indistinctness of the world to come. There had been feverish turns, which tossed him from side to side, and wore away what little strength he had. But in his most convulsive struggles, and in the wildest vagaries of his intellect, when no other thought retained its sober influence, he still showed an awful solicitude lest the black veil should slip aside. Even if his bewildered soul could have forgotten, there was a faithful woman at this pillow, who, with averted eyes, would have covered that aged face, which she had last beheld in the comeliness of manhood. At length the death-stricken old man lay quietlyin the torpor of mental and bodily exhaustion, with an imperceptible pulse, and breath that grew fainter and fainter, except when a long, deep, and irregular inspiration seemed to prelude the flight of his spirit.The minister of Westbury approached the bedside.“Venerable Father Hooper,” said he, “the moment of your release is at hand. Are you ready for the lifting of the veil that shuts in time from eternity?”Father Hooper at first replied merely by a feeble motion of his head; then, apprehensive, perhaps, that his meaning might be doubted, he exerted himself to speak.“Yea,” said he, in faint accents, “my soul hath a patient weariness until that veil be lifted.”“And is it fitting,” resumed the Reverend Mr. Clark, “that a man so given to prayer, of such a blameless example, holy in deed and thought, so far as mortal judgment may pronounce; is it fitting that a father in the church should leave a shadow on his memory, that may seem to blacken a life so pure? I pray you, my venerable brother, let not this thing be! Suffer us to be gladdened by your triumphant aspect as you go to your reward. Before the veil of eternity be lifted, let me cast aside this black veil from your face!”And thus speaking, the Reverend Mr. Clark bent forward to reveal the mystery of so many years. But, exerting a sudden energy, that made all the beholders stand aghast, Father Hooper snatched both his hands from beneath the bedclothes, and pressed them strongly on the black veil, resolute to struggle, if the minister of Westbury would contend with a dying man.“Never!” cried the veiled clergyman. “On earth, never!”。
牧师的黑面纱
牧师的黑面纱《牧师的黑面纱》写于1863年，是美国十九世纪杰出浪漫主义作家纳撒尼尔·霍桑(1804-1864)的最重要短篇小说之一。
小说最初发表在《Token》杂志上，随之见于1837年出版的霍桑短篇小说集《故事重述》(Twice-Told Tales)中。
《牧师的黑面纱》可谓上乘之作，作者以其独特娴熟的艺术技巧表达了深邃的内涵，从而奠定了它在美国文学史上的不朽地位。
《牧师的黑面纱》讲述了年轻而令人尊重的胡波(Mr. Hooper)牧师戴上黑面纱布道直至死亡也不肯摘下来的故事。
故事中我们见到的是一位孤独的牧师，由于这块遮在脸上的面纱，引起人的猜测、反感，甚至恐惧，无人与他或敢与他进行面对面地交流。
正如那位老妇人所说的:I don’t like it … He has changed himself into something awful, only by hiding his face.”(P30)(我不喜欢这块头纱……他把脸这么一遮，整个的人就成了一个可怕的怪物)。
就连他的女友伊利莎白在无法劝说他摘下面纱后也只得弃他而去。
难怪他感叹到:“Oh! You know not how lonely I am, and how frightened, to be alone behind my black veil. Do not leave me in this miserable obscurity forever.”(p35; 啊，我一个人在黑纱后是多么孤独，多么害怕!不要让我永远留在这悲惨的黑暗中呢!)。
牧师的孤独显然是与他所带的黑纱是有联系的。
他为什么总是要带着它而忍受孤独呢?小说的背景是清教的新英格兰，这不能不使读者联想到作者的家庭背景及清教传说对当时人们的影响。
霍桑于1804年7月出生于马萨诸塞州塞勒姆市,一个富有的清教世家。
他的祖辈中第一位来到美国的叫做William Hathorne，1630年来到新英格兰，后来卷入了对震颤派教徒(Shakers)的迫害。
_Nathaniel_Hawthorne
Much of Hawthorne’s work is set in colonial New England, and many of his short stories have been read as moral allegories influenced by his Puritan background.
(塞勒姆女巫审判案)
Hawthorne’s place of birth
College 1821 - 1825
• Attended Bowdoin College in 1821; • Friends: - future poet Henry Wadsworth Longfellow - Franklin Pierce who became the 14th President of The United States.
In the manner that Hawthorne describes it, the prison embodies the unyielding severity of puritan law: old, rusted, yet strong with an "ironclamped oaken door." Puritan law is coated in the rust of tradition and obsolete purpose. But despite the evolution of society, the laws have not kept up. As a result, the door remains tightly shut and iron-clamped. It seems it will take a superhuman force to somehow weaken the mores that control the society in which the story will take place.
Lecture 8
The Scarlet Letter
Summary: An aging scholar, Chillingworth sends his beautiful young wife (being born into a poor country family, marrying the scholar to survive) Hester Prynne to make their new home in New England. Two years later. He comes to New England, he wife has given birth to a baby girl. As a punishment for her sin of adultery, she is made to wear the letter “A” on her dress over her bosom. It is a sign of shame. As Prynne refuses to name the father of her child, in order to find who her lover is, her husband disguises himself as a physician, changes his name to Roger Chillingworth. Gradually, he discovers that her lover is the much-admired brilliant young clergyman, Arthur Dimmesdale. Without telling Dimmesdale who he is and what he has found out, he begins to torture him in a cruel way, though there had never been love between he and his wife.The Clergyman suffered horribly from guilt because he does not confess his sin. The weight of his guity seems to destroy both his body and his spirit. In the end, he dies in the arm of Prynne while confessing his sin at a public gathering. Chillingworth also dies.
The Minister’s Black Veil
黑色面纱象征着人们所信奉的陌生事物就是邪恶观念的消亡。 在戴上面纱之前，胡珀先生是公认的“好教士”，因为“他不 以雄辩有力取胜，而是尽量通过温和的劝导作用来引得教民们心 向天国”。而当面纱招来教徒们的谣言时，霍桑这样描述牧师胡 珀的：“他向白发长者表示应有的敬意，又以和蔼的庄重态度向 中年人致意，犹如他们的朋友与精神导师。他也带着爱护与威严 招呼那些年轻人，并把手放到孩子们的头上，为他们祝福”。胡 珀先生就像“度过了漫长的一生，他的行为固然无可指责”。显 然，面纱并没有给牧师的人品带来任何影响，他对教友们的态度 仍然像以前一样温和，对工作的态度一样认真投入。可见，被认 为象征着邪恶力量的黑色面纱并没有给牧师的思想和行为罩上任 何阴影。因此,人们对胡珀先生的邪恶本性的猜想显然是站不住 脚。通过黑色面纱的运用，作者颠覆了以往不同的就是邪恶的信 仰。由此可见，文中的黑色面纱也象征着这样偏见的破灭。
Mr. Hooper, a young Puritan clergyman, shocks his congregation by appearing at the church one Sunday in a black veil.
• Swathed about his forehead, and hanging down over his face, so low as to be shaken by his breath, Mr. Hooper had on a black veil. On a nearer view it seemed to consist of two folds of crape, which entirely concealed his features…
黑色面纱也是勇于揭露内心罪恶的表现。 事实上，胡珀先生认为每一个人都是有罪的想法从他对伊丽莎 白所说的话语中便已流露出来： “如果我遮住面孔是因为有不 可告人的罪，那么世人谁不可以这样做呢？”通过戴上面纱，胡 珀先生似乎向世人宣告罪恶就在于每个人心中。作为牧师，他试 图带头揭露自己内心的丑恶，进而引起人们对自身罪恶的关注。 当教徒们“觉得躲在可怕面纱后面的牧师似乎对自己头偷偷逼近， 探到了他们的思想与行为中隐藏的罪恶”，黑色面纱的效力便得 到了印证。可见，黑色面纱的可怕已使人们开始意识到自己的罪 恶。面纱所引发的恐惧是人们关注他们内心邪恶的一面并勇敢地 面对它。
从解构主义视角读《教长的黑面纱》
从解构主义视角读《教长的黑面纱》裴云雁 沈阳师范大学外国语学院摘 要：《教长的黑面纱》被视为霍桑最有影响力的小说之一。
长久以来，许多人都从传统的角度去试图给黑面纱一个确定的象征意义。
然而，从解构主义的角度来看，通过增补和延异，黑面的纱所指必然具有不确定性。
因此，那些任何试图给黑面纱作出具体解释的都是徒劳。
关键词：黑面纱；增补；延异；不确定性作者简介：裴云雁（1992-），女，汉族，山西吕梁人，沈阳师范大学外国语学院15级在读研究生。
[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139(2016)-33-105-02雅克•德里达是解构主义的主要代表。
1966年，在约翰霍普金斯大学研讨会上，德里达在《人文科学话语中的结构，符号和游戏》的报告中，质疑并批判了结构主义的一些原则，消解了结构主义的中心观点，解构主义声称破坏或削弱了系统语言为整体一致性提供了坚实的基础这一假设。
这就消解了西方传统结构主义观点：文学文本具有中心意义，它旨在揭示语言固有的不稳定性，最终文本意义也不具稳定性。
《教长的黑面纱》是纳撒尼尔•霍桑写的一篇短篇小说，一直以来人们都试图探究黑面纱得特定意义，但从解构主义的角度来说这都是徒劳。
一、《教长的黑面纱》中的增补增补是德里达解构主义的主要概念之一。
西方传统意义上的二元对立观点认为，在二元对立中，前者是主体而后者只是对主体的补充，因此德里达认为前者之所以需要后者来补充是因为补充的东西实际上是被补充东西的基本要素。
至此，二元对立中的界限也被完全解构。
文本中的东西涌出而文本外的东西涌入，使文本具有不确定的意义。
《教长的黑面纱》主要讲在周日早上教长胡珀先生戴着黑色面纱引起许多人的猜疑，从此之后再没接下黑面纱，没有人知道原因，因此黑面纱不仅使他被别人疏远也使他永远失去自己的情人直到他去世。
当我们读完《教长的黑面纱》时，我们对黑面纱的意义感到困惑，因为小说本身留给我们留下许多填充的空白，它让我们的猜测涌入文本填充着文本中的空白。
对教长的黑面纱的解读
Interpretation of the Symbolization of the Black VeilI think the black veil symbolized the dark and evil nature of human’s character, which hides in the deepest part of their soul. Actually, the black veil is an object which can reflects every parishioner’s demon inside. Just like a mirror, when they see the black veil, a strong feeling of darkness and evil will seize them and make them frightened. For some people who have their own secrets, the black veil reminds them of what bad they have done; for the innocent, such as child, the black veil can arouse their evil and bad character inside of their heart. So when they see it, as a decent Puritan, they see something like Satan inside themselves. There’s no wonder that they would evade it.When Elizabeth goes to persuade Hooper to take the veil off, there’s a narration after a silence between them: “But, in an instant, as it were, a new feeling took the place of sorrow: her eyes were fixed insensibly on the black veil, when, like a sudden twilight in the air, its terrors fell around her”. When Elizabeth comes to Hooper’s house at the very first, she’s not afraid of the black veil and doesn’t understand why the villagers are so scared of it. However, after a while, after she talks to her fiancé, she was struck by the darkness and evilness the black veil brings. Why would that happen? Elizabeth is a calm, kind and good person. But after she talks to Hooper, she approximately understands the meaning of the veil suddenly; she can see the darkness inside her heart, too. So she runs away.。
《牧师的黑面纱》的新批评解读
《牧师的黑面纱》的新批评解读针对著名小说家霍桑而言，他的作品给人们的直观感受便是带有浓厚的心理描写特点，在饱含浪漫主义的同时，又带有惊悚和恐惧的气息，目的是为了通过这种带有黑暗气氛的描写手法，表达出深层次的批评心理。
《牧师的黑面纱》创作于1837年，自正式出版之后得到了众多人们的追崇和喜爱。
人们喜欢《牧师的黑面纱》的原因能够从当时所处的时代背景和社会现实捕捉出来，十九世纪三四十年代时期的美国，被悲观主义笼罩着，人们的心理特点和精神状态都偏向于枯燥和萎靡，而霍桑的这部《牧师的黑面纱》带有非常浓厚的批评色彩，满足了人们对罪恶的批判和对现实的不满，所以引起了很多读者的追崇。
本文以新批评的观点来深入解读霍桑的《牧师的黑面纱》这部作品，并结合当时盛行的清教主义，勾勒了当时美国人民对宗教理想的追求与精神世界的渴望，同时又从侧面描述出人们对于当时英国殖民地沉痛生活的批判，渴望构造属于自己的乌托邦世界，其中这种鲜明的对比非常完美地表达了新批评主义的观点。
一、关于《牧师的黑面纱》的简介霍桑的小说风格多为建立在对浪漫主义的追求结合批判主义的现实观点。
在《牧师的黑面纱》这部小说中，首先文章的开场是一个格外晴朗的早上，在平常且安逸的氛围中，小说的主人公牧师（或者被称作为教长）MR.Hooper出现在非常寂静的教堂中。
这位MR.Hooper牧师头戴着黑色的面纱，在与人们说话和交谈的过程中也不会掀起头上的黑色面纱。
MR.Hooper这种异于常人的举动和行为引起了当地教民和居民的揣测，对于MR.Hooper这种怪异的做法，也使得人们开始恐慌和猜忌起来。
作为MR.Hooper牧师的未婚妻Elizabeth也会因为MR.Hooper牧师不讲黑面纱揭下来以真面目示人的做法感到费解，在要求的MR.Hooper牧师将面纱脱掉的要求被拒绝之后，MR.Hooper牧师的未婚妻提出了解除婚约，从此离开了他。
在未婚妻离开之后，MR.Hooper牧师生活在一个人的世界中，面对着一个人的痛苦和孤单，直到最后，也始终是MR.Hooper牧师独自走完了人生的轨迹。
从解构主义视角读《教长的黑面纱》
从解构主义视角读《教长的黑面纱》作者：裴云雁来源：《青年文学家》2016年第33期摘要：《教长的黑面纱》被视为霍桑最有影响力的小说之一。
长久以来，许多人都从传统的角度去试图给黑面纱一个确定的象征意义。
然而，从解构主义的角度来看，通过增补和延异，黑面的纱所指必然具有不确定性。
因此，那些任何试图给黑面纱作出具体解释的都是徒劳。
关键词：黑面纱；增补；延异；不确定性雅克·德里达是解构主义的主要代表。
1966年，在约翰霍普金斯大学研讨会上，德里达在《人文科学话语中的结构，符号和游戏》的报告中，质疑并批判了结构主义的一些原则，消解了结构主义的中心观点，解构主义声称破坏或削弱了系统语言为整体一致性提供了坚实的基础这一假设。
这就消解了西方传统结构主义观点：文学文本具有中心意义，它旨在揭示语言固有的不稳定性，最终文本意义也不具稳定性。
《教长的黑面纱》是纳撒尼尔·霍桑写的一篇短篇小说，一直以来人们都试图探究黑面纱得特定意义，但从解构主义的角度来说这都是徒劳。
一、《教长的黑面纱》中的增补增补是德里达解构主义的主要概念之一。
西方传统意义上的二元对立观点认为，在二元对立中，前者是主体而后者只是对主体的补充，因此德里达认为前者之所以需要后者来补充是因为补充的东西实际上是被补充东西的基本要素。
至此，二元对立中的界限也被完全解构。
文本中的东西涌出而文本外的东西涌入，使文本具有不确定的意义。
《教长的黑面纱》主要讲在周日早上教长胡珀先生戴着黑色面纱引起许多人的猜疑，从此之后再没接下黑面纱，没有人知道原因，因此黑面纱不仅使他被别人疏远也使他永远失去自己的情人直到他去世。
当我们读完《教长的黑面纱》时，我们对黑面纱的意义感到困惑，因为小说本身留给我们留下许多填充的空白，它让我们的猜测涌入文本填充着文本中的空白。
周日早晨胡珀先生带着黑面纱走进礼拜堂，就这么个简单的黑纱，却引起多人对它的揣测和议论。
“我不喜欢他脸上的黑面纱”一位老太太咕哝着。
论教长的黑面纱中的象征手法
论教长的黑面纱中的象征手法在文学作品中，象征手法是一种常见的表现手段。
通过比喻、隐喻等手法，引导读者去捕捉某种意义深层次的含义。
而在小说《教长》中，作者马尔克斯运用了黑面纱这一象征手法，将故事中的人物与事件联系了起来，并传递出强烈的象征意义。
本文将就《教长》中教长所戴的黑面纱，从多角度展开论述，探索其所蕴含的深层含义。
在《教长》中，教长所戴的黑面纱，代表了多方面的象征意义。
首先，黑色是一种代表着悲痛、神秘、不可知和死亡等含义的颜色。
而教长所戴的黑面纱，则暗示着他内心深处的痛苦和不幸。
教长的妻子去世后，他变得沉默、孤独、封闭，故事的导读者几乎无法通过教长的行为和情绪直接了解他的内心，而黑面纱则成为了教长心理状态的一种体现，他用黑色面纱来掩饰自己的痛苦和悲伤。
黑面纱象征着教长在内心深处的苦恼，这种苦恼无法通过任何话语表达出来，只能通过黑面纱这一视觉符号来传递。
其次，教长所戴的黑面纱还代表着他所担负的责任和使命。
教长是一位牧师，他的职责是传授教义、引导信仰，管理教会；而象征着悲痛和神秘的黑面纱，则包含着教长所要面对的种种困难和矛盾。
教长通过戴上黑面纱，让自己看起来更加神秘和威严，让信徒对他抱有更深的信仰。
黑面纱成为教长的符号，它象征着教长所担负的责任，也让人更加看重教长所传达的信仰内涵。
此外，黑面纱还代表着教长与世俗之间的隔阂和冲突。
在小说中，教长被人称之为“教士”，他的身份和地位与常人有所不同，这种不同使得他很难同常人沟通和交流。
由于戴上黑面纱的缘由，教长被视为与常人有所不同的存在，他常常被隔绝于世俗之外。
而黑面纱象征着教长内心的分裂和冲突，他不得不在教会和现实之间权衡利弊，承受着来自两方的压力和冲击。
最后，黑面纱还象征着教长对外界的保护和自我防御。
在教长妻子去世后，教长变得非常沉默、内向，他不愿意跟别人交流，甚至很少能够深刻地与自己的内心交流。
教长戴上黑面纱，这可以让他更深地掩饰自己的内心，避免受到外界干扰。
《教长的黑面纱》的寓意解读
教长的黑面纱》的寓意解读0 引言纳桑尼尔？霍桑(1804―― 1864)是美国最伟大的浪漫主义作家之一，其作品关注清教徒思想和象征手法，其短篇小说《教长的黑面纱》就是一个很好的例证。
作者在故事中运用象征手法，以黑面纱为核心象征，通过对胡珀教长形象的着重描写，表达了一个深刻的道德主题，即“人生来有罪”(纽曼，1979：204)。
对这篇小说，目前国内外大多数研究都把重点放在黑面纱及其寓意上。
然而，这些研究都是从故事本身或霍桑的清教徒思想着手的，而非寓言层面。
本文通过对黑面纱寓意的分析和解读，展现霍桑如何借助象征主义手法来展现原罪主题。
1 “黑色”的寓意解读故事中，胡珀教长所戴的面纱是核心象征。
它的颜色――黑色是霍桑赋予它的特殊颜色，具有深厚的寓意。
通读全文后，读者不禁会想：牧师为什么戴面纱呢？为什么带黑色面纱，而不是其他颜色的，比如白色的？这是由于黑色有着其他颜色所代替不了的特殊寓意，在展露人性罪恶、表现小说主题方面有着重要的作用。
黑色在象征学中是一种绝对性的颜色。
“在西方国家，黑色是不祥之色：穿黑衣的人、阴影中的房屋、黑蛇等都会给人带来不好的征兆；同时它也是教士服装的颜色，推而广之，就渐渐成为保守的（以宗教为核心的）政治党派特有的颜色” （汉斯，2000：28）。
而在哥特式小说一一黑色浪漫主义小说中，“黑”主要表现在两方面：情节方面浓重地渲染暴力和恐怖；主题思想方面通过揭示社会、政治、教会和道德的邪恶以及人性的阴暗面进行深入探索。
霍桑等其他作家将哥特式小说的手法运用于创作中，取得了很高的艺术成就。
哥特式小说的“黑色”性质使得作家赋予“黑色”或“黑暗”无限生命力，有时甚至直接在题目上呈现作品的“黑色”主题，如霍桑的《教长的黑面纱》、奥康纳的《黑暗的心》等。
霍桑在故事中赋予了黑色两种寓意，将黑色的魅力发挥到极致。
首先，黑色代表神秘和恐惧。
“神秘感”是艺术固有的魅力和特征之一，哥特式小说的心理基础就是人生而有之的恐惧感。
黑面纱的象征意义——评霍桑《教长的黑面纱》
·教育广角·教长的形象无疑是离经叛道的。
一个神职人员，竟然用一面黑面纱遮住了自己的面孔，难道他是想把自己在全能的上帝面前隐藏起来？在小说开头，故事一个不起眼的注脚似乎提醒着，它并非我们容易联想到的原罪的代言，而是另有隐秘。
与其先入为主与村民一起地去评判面纱的好坏，不如试图去理解胡伯牧师这个离奇的人物形象。
在小说主人公与情人伊丽莎白之间的一段对话中，我们似乎可以窥探胡伯面纱后的一些秘密。
原文这样写道：胡柏牧师微微一笑“时候会到的，”他说，“到时候咱们全都得摘下面纱。
在那之前，我要是一直戴着它的话，亲爱的教友，请别见怪。
” 而在另外一个场合，当湖伯牧师为一个死去的姑娘祈祷时，我们也听到了类似的话：牧师祈祷说：“但愿他们和他自己，以及芸芸众生，都能像这位姑娘一样，泰然面对被撕去面纱的那一刻。
”原来，在牧师看来，不仅仅是他一个人，而是所有众生与他一样，都无一例外地戴着一副面纱，而这副面纱不是别物，正是死亡本身。
在生时，这死亡的黑面纱与我们相伴相随，离开这个世界时，我们又要无一例外地将它交付给死神。
这副黑面纱，安详地在棺木里覆盖着逝去姑娘的面庞，又隐秘地隐藏在在世者的每一个面庞后，不论我们承认与否，它都是我们的一部分。
或许，用另一个词“哀伤”更能解释牧师这看似怪异的行为。
正如牧师自己所言：“它（黑面纱）要是哀悼标记的话，也许我跟多数世人一样，也有足够的悲伤，得用它来做个记号。
”这种哀伤，让我想起佛所说的无常，也让我想起千千万文人用诗歌、文学表达了自己对人生苦短的哀叹。
也许，哀伤本来就是人生中的一个面向，而黑面纱是它最强烈、最离经叛道的表达。
读到这里，我们再来看霍桑塑造牧师这样一个奇怪的形象，便不难理解他的主旨所在。
一方面，作者想借用黑面纱这种强烈甚至令人不适的文学形象来表达死亡、无常以及其内在关系的主题，另一方面，醉翁之意不在酒，作者也许只是想通过黑面纱这根探测针，来试探一下人心。
村民的反应，在这里也悲哀地表达了人类千百年来对于死亡几乎是与生俱来的恐惧、无知、暴力与疏离感。
美国文学作家及其作品
美国文学作家及其作品殖民时期Jonathan Edwards:乔纳森爱德华兹Freedom of the Will《意志的自由》The Doctrine of Original Sin Defend《原罪说辩》Images or Shadows of Divine Things《神灵的形影》Personal Narrative《自述》Hector ST. John de Crevecoeur 赫克托圣约翰戴克里夫古尔(travels writer, social historian)Letter from an American farmer《来自一个美国农夫的信》Voyage dans La haute pennsylvanie et dans l’etat de New Y ork《宾西尼亚洲北部与纽约州游记》Sketches of Eighteenth Century American《十八世纪美国见闻》启蒙和革命时期Benjamin Franklin本杰明富兰克林(politician, scientist, man of letters, essayist)The Autobiography 《自传》Poor Richard’s Almanack《格言历书》他是唯一在以下四个文件上都签过字的人The Declaration of Independence《独立宣言》The Treaty of Alliance with France《法美同盟》The Constitution of the United State s《巴黎和约》The Treaty of Peace with England《宪法》Philip Freneau菲利普．弗瑞诺（poet）The Rising Glory of America《美洲光辉的兴起》The Jamaica funeral《牙买加葬礼》The beauties of Santa Cruz《圣克鲁斯的美丽风光》The House of Night《夜之屋》The British Prisonship《美国囚船》National Gazette《民族之声》The Wild Honey Suckle《野金银花》The Indian Burying Ground《印第安人墓地》The Dying Indian: Tomo Chequi《奄奄一息的印第安人：托母柴吉》浪漫主义初期Washington Irving华盛顿欧文（prose stylist）美国文学，短篇小说之父，imaginative literatureBracebridge Hall《布雷斯布里奇庄园》The Conquest of Granada《征服格拉纳达》The Legend of the Alhambra《阿尔罕伯拉传奇》History of New Y ork《纽约外史》Oliver Goldsmith《哥尔德斯密斯》Life of George Washington《华盛顿传》The Sketch Book《见礼扎记》Rip Van Winkle《里普凡温克尔》The legend of Sleepy Hollow《睡谷的传说》The Auther’s Account of Himself《作者的自述》James Fenimore Cooper詹姆斯费尼莫库伯（novelist）The spy《间谍》The Leather-Stocking T ales《皮袜子五部曲》1.The Pioneers《开拓者》2.The last of the Mohicans《最后的莫希干人》3.The prairie《草原》4.The Pathfinder《探路者》5.The Deer slayer《杀鹿者》第一个开拓边疆小说的人Henry Wadsworth Longfellow亨利华兹渥斯郎费罗（poet）Voice of the Night《夜籁集》Ballads and Other Poems《歌谣及其他》Evangeline《伊凡吉林》Hiawatha《海华沙之歌》The Courtship of Miles Standish《麦尔斯斯丹狄士的求婚》Tales of a Wayside Inn《路边酒肆的故事》Poems on Slavery《奴隶篇》选读A Psalm of Life《人生礼赞》The Tide Rises , The Tide Falls《潮水涨，潮水落》The Slave’s Dream《奴隶之梦》过度Edgar Allan Poe埃德加爱伦坡（poet, novelist, critic）MS.Found in a Bottle《在瓶子里发现的手稿》The Purloined Letter《被盗的信》The Murders in the Rue Morgu e《莫格路上的暗杀案》The Oval Portrait《椭圆形的画像》The Imp of the Perverse《反常的小鬼》William Wilson《威廉威尔逊》The Fall of the House of Usher《厄舍古屋的倒塌》The Masque of the Red Death《红色死亡的化妆舞会》The Cask of Amontillado《一桶酒的故事》Ligeia《莉吉娅》To Helen《献给海伦》The Raven《乌鸦》Israfel 《伊斯拉菲尔》The Poetic Principle《诗歌原理》The Philosophy of Compositio n《创作哲学》Review of Twice-Told Tales《故事重述》现代短篇小说之父侦探小说之父超验主义Ralph Waldo Emerson拉尔夫瓦尔多爱默生（philosopher poet essayist）Nature《论自然》超验主义的宣言Essays: First Series《散文选:第一集》Second Series《第二集》Representative Men《代表性人物》The Conduct of Life《论处事为人》The American Scholar《论美国学者》美国思想独立宣言Henry David Thoreau亨利大卫梭罗（essayist, poet）Walden ,or Life in the Woods《华尔腾，或林中生活》Civil Disobedience《非暴力反抗》The Maine Woods 《缅因森林》Cape Cod 《科德角》A Week on the Concord and Merimack Rivers《康科德和梅里马科河上的一周》Slavery in Massachusetts 《马萨诸塞省的奴隶制》A Plea for Captain John Brown 《为约翰布朗请命》letter to Various Persons《书信集》选读Where I Lived ,and What I Lived for《我居住过的地方，我的生活目的》高峰Nathaniel Hawthorne纳撒尼尔霍桑(novelist)Twice-Told Tales《故事重述》Mosses from an Old Manse《古宅青苔》The Scarlet Letter 《红字》The House of the Seven Gables《七个尖角阁的房子》The Blithedale Romance《福谷传奇》The Marble Faun《大理石雕像》Yong Goodman Brown《年轻小伙子布朗》The Minister’s Black Veil《教长的黑面纱》Dr. Rappacini’s Daughter《拉普齐尼博士的女儿》Walt Whitman沃尔特惠特曼（poet）Leaves of Grass《草叶集》Drum-taps《桴鼓集》O Star o France 《啊，法兰西之星》Democratic Vistas《民主远景》选读Song of Myself《自我之歌》代表作I Hear America Singing《我听见美国人在歌唱》I Sit and Look out《我坐而眺望》O Captain , My Captain《啊，我的船长》鼎盛Herman Melville赫尔曼梅尔维尔（novelist ,poet）Redburn《莱德勃恩》Typee《泰比》Omoo《欧穆》Mardi《玛地》White Jacket《白外套》Pierre《皮埃尔》Billy Budd 《比利巴德》Moby-Dick《白鲸》Battle pieces《战争诗集》Clarel《克拉勒尔》Emily Dickinson艾米莉迪金森（poet）Because I Could Not Stop for Death《我不能为了死而停下脚步》I Heard a Fly Buzz-When I Died《我死时听到了苍蝇的嗡嗡声》My Life Closed Twice before Its Close《我的生命消失了两次》As Imperceptibly as Grief《夏之逃逸》Mine-by the Right of the White Election《我的丈夫》Wild Nights-Wild Nights《暴风雨夜》A Narrow Fellow in the GrassApparently with No SurpriseI Died for Beauty –but Was Scarce《我为美而死》Tell All the Truth but Tell It Slant《要说出全部真理，但不能直说》I like to See It Lap the MilesThe Brain –Is Wider than the Sky现实主义Harriet Beecher Stowe哈理特比彻斯托夫人（novelist）地方特色Uncle Tom’s Cabin《汤姆叔叔的小屋》Dred, a Tale of the Great Dismal Swamp《德雷德，阴暗的大沼泽地的故事》Mark Twain马克吐温（humorist, narrator social observer）地方特色Roughing It 《艰苦岁月》The Gilded Age《镀金时代》The Adventure of Tom Sawyer《汤姆索耶历险记》The Adventure of Huckleberry Finn《哈克贝利费恩历险记》The Prince and the Prayer《王子与贫儿》Connecticut Yankee in King Arthur’s Court《在亚瑟王朝廷里的康涅狄格州美国人》Pud’nhead Wilson 《傻瓜威尔逊》Personal Recollections of Joan of Arc《冉达克-圣女贞德》Following the Equator《赤道旅行记》The Man That Corrupted Hadleydburg《败坏了好德莱堡的人》What Is Man《人是怎么回事》The Mysterious Stranger 《神秘的来客》Autobiography《自传》William Dean Howells威廉狄恩豪威尔斯（novelist literary critics playwright）A Modern Instance《现代婚姻》The Rise of Silas Lapham《赛拉斯拉帕姆的发迹》Criticism and Fiction 《批评和散文》Literature and Life《文学与生活》Henry James亨利詹姆斯（novelist，literary critics，playwright，essayist）Daisy Miller 《苔瑟密勒》The American《美国人》The portrait of a Lady《贵夫人的画像》The Bostonians 《波士顿人》The Princess Casamassima《卡萨玛西玛公主》What Maisie Knew 《梅吉的见闻》The Wings of the Dove《鸽翼》The Golden Bowl《金碗》A Passionate Pilgrim and Other Tales《虔诚的朝圣者及其他》Transatlantic Sketches《大洋彼岸见闻随笔》Roderick Hudson《罗德里克哈德孙》The Europeans《欧洲人》Washington Square《华盛顿广场》The Tragic Muse《悲惨的缪斯》The Spoils of Poynton《波英顿的珍藏品》The Turn of a Screw 《步步加紧》The Art of Fiction《小说的艺术》The Ambassadors《使节》The Sacred Fount《神圣的源泉》The American Scene《美国见闻》Hawthorne 《霍桑》A Small Boy and Others《少年及其他》The Middle Years《中年》Bret Harte布雷特哈特（novelist poet）The Luck of Roaring Camp《喧腾露营地的拉克》The Outcasts of Poker Flat 《波克弗拉特的零落人》Plain Language from Truthful James《老实人詹姆斯的老实话》Tennessee’s Partner《田纳西的伙伴》Ah Sin《阿辛》The Luck of Roaring Camp and Others《喧腾露营地的拉克》Truthful James and Other Poems《老实人詹姆斯及其他》Mrs Skaggs’ Husbands 《斯卡格斯夫人的丈夫们》An Heiress of Red Dog《红犬镇的女继承人》Twins of Table Mountain《桌山的孪生儿》Hamlin Garland哈姆林加兰（writer）Main-Travelled Roads《大路》Crumbling Idols 《摇摇欲坠的偶像》A Son of the Middle Border《中部边地农家子》选读Mrs. Ripley’s Trip《里普利的老伴回老家》自然主义Stephen Crane斯蒂芬克兰（novelist poet）The Open Boat《海上汴州》当代Maggie, A Girl of the Street 《街头女郎玛琪》The Red Badge of Courage《红色的英勇勋章》George’s Mother《乔治的母亲》Active Service《服现役》The Black Riders and Other Lines 《黑衣骑士及其他》War Is Kind《战争是仁慈的》The Bride Comes to Yellow Sky《新娘来到黄天镇》The Blue Hotel《蓝色旅馆》当代Frank Norris弗兰克诺里斯（novelist）McTeaque《麦克提格》自然主义的宣言Vandover and the Brute《凡陀弗与兽性》三部曲The Octopus《章鱼》The Pit《粮食交易所》The Wolf《狼》The Responsibilities of the Novelist《小说家的责任》The Literary Criticism of Frank Norris《弗兰克诺里斯的文学批评》Theodore Dreiser 西奥多德莱塞(writer)Sister carrie《嘉莉妹妹》Jennie Gerhardt《珍妮姑娘》Trilogy of Desire欲望三部曲The Financier《金融家》The Titan《巨人》The Stoic《斯多葛》The Genius《天才》An American Tragedy《美国的悲剧》Dreiser Looks at Russia《德莱塞对俄罗斯的观感》Jack London杰克伦敦（novelist）Martin Eden《马丁伊登》The People of the Abyss《深渊中的人们》The War of the Classes《阶级间的战争》The Iron Heel《铁蹄》The Call of the Wild《野性的呼唤》White Fang《白牙》The Law of Life《生活的法则》新英格兰Robert Frost罗伯特弗罗斯特（poet）A Boy’s Will《少年的意志》Mountain Interval《山间》New Hampshire《新罕布什尔》West-running Brook《向西流去的小溪》A Further Range《又一片牧场》A Witness Tree《见证树》Steeple Bush 《尖塔丛》A Masque of Mercy《假慈悲》Collected Poems 《诗选》Complete Poems《诗歌全集》In the Clearing《林间空地》选读Stopping by Woods on a Snow Evening《雪夜停在林边》Mending Wall《补墙》The Road Not TakenDesignAfter Apple-Picking意象派Wallace Stevens华莱士史蒂文斯（poet）Harmonium《风琴》The Idea of Order《关于秩序的思想》The Man With the Blue Guitar《携蓝色吉他的人》Parts of a World《一个世界的某些部分》Transport to Summer《转入夏季》The Auroras of Autumn《秋天的晨曦》Collected Poems《诗集》Opus Posthumous《遗作集》The Necessary Angel《必不可少的安琪儿》选读Anecdote of the JarThe Idea of Order at Key West《在基韦斯特的秩序的思考》The Emperor of Ice-CreamSunday MorningWillam Carlos Williams威廉卡洛斯威廉斯（poet）Poems 《诗》The Tempers《气质》Spring and All《春天的一切》A Novelette and Other Prose《一篇中篇小说及其他散文作品》Kora in Hell《柯拉在地狱中》Collected Earlier Poems《早期诗集》Collected Later poems《晚期诗集》The Desert Music《沙漠音乐》Journey to Love《爱的旅程》The Red Wheelbarrow《红色的手推车》Paterson《佩特森》White Mule《白骡》Many Loves and Others Play《爱情的梦及其他作品》In the American Grain《美国性格》Autobiography 《自传》Selected Essays《散文选》Selected Letters《书信选》Ezra Pound埃兹拉庞德（poet）A Lume Spento《灯光熄灭之时》Personae《人物》Exultations《狂喜》Homage to Sextus Propertius《向赛克斯特斯普罗波蒂斯致敬》Hugh Selwyn Mauberley《休赛尔温莫伯利》The Pisan Cantos《比萨诗章》The Spirit of Romance《罗曼司精神》Make It New《革新》ABC of Reading《阅读入门》Guide to Kulchur《文化之南》Impact: Essays on Ignorance and the Decline of American Civilization 《影响：论愚昧和美国文明的衰落》The Literary Essays of Ezra Pound《埃兹拉庞德的文学论文集》A Pact《协约》In a Station of the Metro《在地铁站里》The River –Merchant’s Wife: A Letter《船商的妻子：一封信》Cantos《诗章》选读OreadHeate· e Cummings卡明斯（poet）Tulips and Chimneys《郁金香和烟囱》XLI Poems《诗四十一首》Is5《是5》No Thanks《不谢》Complete Poems《全集》Him《他》Santa Claus《圣诞老人》The Enormous Room《巨大的房间》Eimi 《艾米》Six Nonlectures《六个非讲座》选读in justiceO sweet spontaneousHilda Doolitttle希尔达杜利特尔（poet）The Wall Do Not Fall《不倒的强》Tribute to Angels《向天使献礼》The Flowering of the Rod《枝干开花》Trilogy《三部曲》Hymen《海门》Heliodora and Other Poems《赫里奥多拉及其他》Collected Poems《诗集》Helen in Egypt《海伦在埃及》Hedylus《赫迪拉斯》Bid Me to Live《叫我活着》Oread 《山林女神》HeatT. S. Eliot艾洛特（poet playwright critic）The Love Song of J. Alfred Prufrock《阿尔弗雷德普鲁夫洛克的情歌》Gerontion《小老头》The Waste Land《荒原》The Hollow Men《空心人》The Egoist《自我主义者》The Criterion《标准》Ash-Wednesday《圣灰节》Four Quartets《四个四重奏》Sweeney Agonistes《力士斯维尼》Murder in the Cathedral《大教堂凶杀案》The Cocktail Party《鸡尾酒会》The Confidential Clerk《机要秘书》The Sacred Wood《神木》Essays on Style and Order《风格及秩序论文集》Elizabethan Essays《伊丽莎白论文集》Essays Ancient and Modern《古今文集》The Use of Poetry and the Use of Criticism《诗歌的用途和评论的用途》After Strange Gods《拜异教之神》Carl Sandburg卡尔桑德堡(poet)In Reckless Ecstasy《心醉神迷》Chicago Poems《芝加哥诗集》Fog 《雾》Lost《失落》The Harbour《港口》Cool Tombs《清冷的墓》I Am the People ,the Mob《我是人民群众》The People ,Yes《人民，是的》Cornhuskers 《剥玉米机》Smoke and Steele 《烟与钢》Good Morning ,America《早安，美国》Collected Poems 《诗集》迷失派F .Scott Fitzgerald弗司各特菲茨杰拉德（novelist）The Romantic Egoist《浪漫的利己主义者》This Side of Paradise《人间天堂》Flappers and Philosophers《轻佻女郎和哲学家》Tales of the Jazz Age《爵士乐时代的故事》The Beautiful and Damned《漂亮冤家》The Diamond as the Ritz《大如里兹饭店的钻石》The Great Gatsby《大人物比尔盖茨》All the Sad Yong Men《一代悲哀的年轻人》Tender of the Nigh t《夜色温柔》The Last Tycoon《最后的一个巨头》Earnest Hemingway (novelist)The Sun Also Rises《太阳照样升起》A Farewell to Arms《永别了，武器》Three Stories and Ten Poems《三篇短篇小说和十首诗》In Our Times《在我们的时代里》Death in the Afternoon《午后之死》Green Hills of Africa《非洲的青山》Winner Take Nothing《胜者无所得》To Have and Have Not《富有与贫穷》For Whom the Bell Tolls《丧钟为谁而鸣》The Old Man and the Sea《老人与海》Moveable Feast《流动的节》Islands in the Stream《海流中的岛屿》Garden of Eden《伊甸园》经济大萧条John Dos Passos约翰多斯帕索斯（novelist）Three Soldiers《三个士兵》Manhattan Transfer《曼哈顿中转站》U.S.A三部曲The Forty-Second Parallel《北纬四十二度》The Big Money《赚大钱》一九一九《1919》District of Columbia《哥伦比亚三部曲》The Adventures of a Young Man《一个年轻人的冒险》Number One《第一号》The Grand Design《伟大的计划》The Head and Heart of Thomas Jefferson《托马斯杰佛逊的思想和感情》The Best Times《最美好的年代》John Steinbeck约翰斯坦贝克（novelist）Cup of Gold《金杯》The Winter of Our Discontent《我们不满的冬天》In Dubious Battle《胜负未觉的战斗》Of Mice and Men《鼠与人》The Grapes of Wrath《愤怒的葡萄》The Red Pony《红马驹》The Leader of the People《人民的领袖》The Moon Is Down《月落》The Pastures of Heaven 《天堂的牧场》Tortilla Flat 《托蒂亚平地》The Long Valley《长谷地》Cannery Row《罐头厂街》The Pearl 《珍珠》The Wayward Bus《任性的公共汽车》East of Eden《伊甸园以东》逃亡者派Allen tate爱伦塔特（writer）Mr. Pope and Other Poems《蒲柏先生及其他诗篇》Poems《诗集》The Mediterranean and Other Poems《地中海及其他诗篇》Winter Sea《冬海》Reactionary Essays on Poetry and Ideas《关于诗及其思想的反动文章》Reason in Madness《疯狂中的理性》The Fathers《先辈》选读Ode to the Confederate Dead《南方同盟烈士颂》南方作家Katherine Anne Porter凯瑟琳安波特（novelist）女性The days Before《过去的日子》Ship of Fools《愚人船》Flowering Judas《开花的犹大树》The leaning Tower and Other Stories《斜塔及其他》Pale Horse ,Pale Rider《灰色骑士灰色马》The Never-Ending Wrong《千古奇冤》》Eudora Welty尤多拉韦尔蒂（novelist）Death of a Travelling Salesman《旅行推销员之死》Place in Fiction《小说中的地点》A Curtain of Green 《绿窗帘》The Wide Net 《宽网》The Golden Apples《金苹果》The Collected Stories of Eudora Welty《韦尔蒂短篇小说集》The Ponder Heart 《庞德的心》Delta Wedding《三角洲婚礼》Losing Battles《败局》The Optimist’s Daughter《乐观者的女儿》The Eye of the Story 《发觉小说的眼力》One Writer’s Beginnings《一个作家的开始》Flannery O’Connor弗兰纳里奥康纳(writer)Wise Blood《智慧的血》A Good Man Is Hard to Find《好人难寻》The Violent Bear It Away《强暴者抢走了它》Everything That Rises Must Converge《发生的一切都会汇合在一起》The Complete Stories《奥康纳全集》荒诞派T ennessee Williams田纳西威廉斯（playwright）A Streetcar Named Desire《欲望号街车》Cat on a Hot Tin Roof《热铁皮屋顶上的猫》Suddenly Last Summer《去年夏天突然来到》Sweet Bird of Youth《可爱的青春小鸟》Night of the Iguana《鬣蜥之夜》The Rose Tatoo《玫瑰之花》Camino Real 《大路》Orpheus Descending《琴神下凡》A Perfect Analysis Given by a Parrot《一只鹦鹉的精确分析》The Milk Train Doesn’t Stop Here Anymore《牛奶车不在此停留》The Gnadiges Fraulein《姑娘》The Two Character Play《双人剧》Kingdom of Earth《世欲王国》In The Bar of a Tokyo Hotel《在东京旅店酒吧里》Small Craft Warnings 《小手艺的警告》Red Devil Battery Sign《红鬼炮兵连的信号》Vieux Carre《维厄卡雷》A Lovely Sunday for Creve Coeur《失恋者的一个愉快的星期天》Baby Dol l《小娃娃》Period of Adjustment《适应阶段》Battle of Angels《天使之战》The Glass Menagerie《玻璃动物园》Edward Albee爱德华阿尔比（playwright）The Zoo Story 《动物园故事》The Sandbox《沙盒》The Death of Bessie Smith《美国著名作家和美国青年剧作家》The American Dream《美国梦》Who’s Afraid of Virginia Woolf《谁害怕弗吉尼亚沃尔夫》Tiny Alice《小艾丽丝》The Ballad of the Sad Café《伤心咖啡馆之歌》Malcolm《马尔科姆》A Delicate Balance《脆弱的平衡》Everything in the Garden《花园中的一切》Box –Mao –Box《箱子-毛-箱子》All over 《一切皆已过去》Sea scape《海景》Listening《听》Counting the Ways《列数途经》The Lady from Dubugue《杜布克的女人》Lolita《罗莉塔》黑山派Charles Olson查理斯奥尔森（poet , critic）Project Verse《投射体诗》“黑山诗派宣言书”The Maximus Poems《麦克西姆诗集》Call me Ishamael《叫我伊斯梅尔》Maximus, to Gloucester,Sunday,July.19自白体Robert Lowell洛威尔（poet）Land of Unlikeness《异地》Lord Weary’s Castle《威尔爵爷的城堡》The Mill of The Kavanaughs《卡瓦纳家庭的磨坊》Life Studies《人生写照》Day by Day《日复一日》Phaedre《菲德拉》Old Glory《过去的光荣》For the Union Dead《献给为联邦阵亡的将士》Skunk Hour《臭鼬出没的时候》犹太作家Saul Bellow索尔贝洛（novelist）Dangling Man《摇来晃去的人》The Adventure s of Augie March《奥吉玛琪历险记》The Dean’s December《院长的十二月》Seize the Day《只争朝夕》Handerson the rain King《降雨大王汉德林》The Victim 《牺牲者》Herzog《赫尔索格》Writer as Moralist《作为道德家的作家》Mr. Samler’s Planet《赛姆勒先生的行星》Humbold’s Gift《洪堡的礼物》More Die of Heartbreak《心碎人亡者更多》Norman Mailer诺曼梅勒（novelist）The Naked and the Dead《裸着与死者》Barbary Shore《北非海岸》The Deer Park《鹿园》The Armies of the Night《夜里的军队》The Executioner’s Song《侩子手之歌》Ancient Evenings《古代的黄昏》Advertisements for Myself《我自己的广告》The Presidential Papers《总统文件》An American Dream《一场美国梦》Cannibals and Christians《食人者与基督徒》Why Are We in Viet Nam《我们为什么在越南》Miami and the Siege of Chicago《迈阿密和芝加哥之围》Of a Fire on the Moon《月球上火光》The Prisoner of Sex《性的俘虏》Existential Errands《存在主义的使命》St.George and the Godfather《圣乔治与教父》Marilyn《玛莉琳》Genius and Lust《天才与欲望》J. D. Salinger塞林杰（novelist）The Cather in the Rye《麦田里的守望者》Story 《故事》The Young Folks 《年轻人》Collier’s《柯里尔》Esguire《老爷》The New Yorker《纽约客》Slight Rebellion off Madison《麦迪逊街边的小乱子》Nine Stories《九篇故事》Franny and Zooey《弗拉尼和佐依》Raise High the Roof Beam ,Carpenters; and Seymour: An Introduction《木工们，升高顶梁;及摩西介绍》Bernard Malamud伯纳德马拉默德（novelist）The Natural《天生有才》The Magic Barrel《魔桶》A New Life《新生活》Idiots First《白痴第一》The Fixer《基辅怨》Pictures of Fidelman《费尔德曼写照》The Tenants 《房客》Dubin’s Lives《杜宾的生活》The Grace of God《上帝的恩惠》Rembrandt’s Hat《拉姆布兰特的帽子》The assistant《店员》新现实主义John Updike约翰厄普代克（poet, novelist）Poorhouse Fair《贫民收容所的集市》Rabbit , Run 《兔子，跑》Centaur《半人斑马怪》Of the Farm《农场》Couples 《夫妻们》Rabbit Redux《兔子回来了》A Month of Sundays《全是星期天的一个月》Rabbit Is Rich《兔子阔了》Bech Is Back《比奇回来了》The Witches of Eastwich《斯特威克的女巫》Ego and Art in Walt Whitman《惠特曼的自我与艺术》Hawthorne’s Creed《霍桑的信条》Hugging the Shore : and Criticism《拥抱海岸：文论集》Marry me《跟我结婚吧》Pigeon Feather and Other Stories《鸽子的羽毛及其他》The Music School 《音乐学校》后现代Kurt Vonnegut库尔特冯纳古特(novelist)Slaughterhouse –Five《第五号屠场》Player Piano《自动钢琴》The Sirens of Titan 《泰坦的妖女》Mother Night 《夜母》God Bless you , Mr. Rosewater《上帝保佑你，罗斯沃特先生》Breakfast for Champions《胜利者的早餐》Slapstick《滑稽剧》Jailbird《囚犯》Cat’s Cradle《挑绷子》Joseph Heller约瑟夫海勒（novelist）I Don’t Love You Anymore《我不在爱你》Castle of Snow 《白雪城堡》Girl from Greenwich《来自格林尼治的女孩》Catch-18改名为Catch -22《第十八条军规-第二十二条军规》New World Writing《新大陆作品》Something Happened《出了毛病》Good as Gold《好的不得了》We Bombed New Haven 《我们轰炸纽黑文》Clevenger’s Trial《克莱文杰的考验》John Barth约翰巴思（novelist）The Floating Opera《流动的歌剧》The End of the Road《路的尽头》The Sot-Weed Factor《烟草代理商》Giles Goat-Boy《牧羊童子贾尔斯》Lost in the Funhouse: Fiction of Print ,Tape, Live Voice,《迷失在娱乐场中》Chimera《妄想》Letters 《书信集》垮掉派Ken Kesey肯凯西（novelist）End of Autumn《秋末》One flew over the Cuckoo’s Nest《飞越杜鹃巢》Something a Great Notion《异想天开》Over the Border《超越边界》Garage Sale《门前小市》The Search for the Secret Pyramid《寻找秘密的金字塔》The Demon Box《鬼盒》Seven Prayers by Grandma Whittier《惠蒂埃老太太的第七次祈祷》Spit in the Ocean《在大洋里唾吐》Allen Ginsberg爱伦金斯堡(poet)Howl and Other Poems《嚎叫及其他》Kaddish and Other Poems《凯地及其他》Empty Mirror《空镜子》Reality Sandwiches 《现实的三明治》Planet News 《行星消息》The Fall of America《美国的衰亡》Mind Breathes《精神的呼吸》Howl《嚎叫》黑人作家Langston Hughes兰斯顿休斯（poet,novelist,playwright）harlen renaissanceThe Weary Blues《委靡的布鲁斯》Fine Clothes to the Jew《献给狄太人的好衣裳》Not Without Laughter《不是没有笑声》The Ways of White Folks《白人的行经》讽刺小品集三部曲Simple Speak of His Mind《辛普尔倾吐衷情》The Best of Simple《辛普尔的高明》Simple’s of Uncle Tom《辛普尔的山姆叔叔》The Big Sea《大海》I Wander as I Wonder《我徘徊，我彷徨》The Negro Speaks of Rivers《黑人谈河》As I Grow Older《我长大的时候》Ballad of the landlord《房东小调》James Baldwin詹姆斯鲍德温（novelist, essayist, playwright）Go Tell It on the Mountain《向苍天呼吁》Notes of a Native Son《土生子的札记》Giovanni’s Room《乔万尼的房间》Nobody Knows My Name《没有人知道我的名字》More Notes of a Native Son《土生子札记续》The Fire Next Time《下一次将是烈火》Another Country《另一个国家》Going to Meet the Man《去见那个人》Tell Me H ow Long the T rain’s Been Gone《告诉我火车开走多久了》A Rap on Race《论种族》No Name in the Street《街上没有名字》If Beale Street Could Talk《假如比尔能够讲话》Blues for Mister Charlie《查理先生的布鲁斯》T oni Morrison托尼莫瑞森（writer）第二个获诺贝尔奖的作家The Bluest Eye《最蓝的眼睛》Sula《秀拉》Song of Solomon《所罗门之歌》Tar Baby《柏油孩子》Beloved《带女》Richard Wright理查德赖特(writer)Uncle T om’s Children《汤姆叔叔的孩子们》Native Son《土生子》Black Children《很孩子》The Outsider《局外人》Savage Holiday《野蛮的假日》Black Power 《黑人》Eight Men《八个男人》Ralph Ellison拉尔夫艾里森（novelist）Shadow and Act《影子和行动》Notes From the Underground《例子底下的笔记》Invisible Man《隐形人》Going to the Territory《走向领域》南方文艺复兴William Faulkner（novelist）意识流代表The Marble Faun《玉石收神》Soldier’s Pay《士兵的报酬》Mosquitoes《蚊群》Sartoris《沙特里斯》The Sound and the Fury《喧哗与骚动》As I Lay Dying《我弥留之际》Sanctuary《圣殿》Light in August《八月之光》Absalom, Absalom《押沙龙，押沙龙》Go Down ,Moses《去吧，摩西》A Fable《语言》The Unvanquished《不可征服》Knight’s Gambit《骑士的一着》The Wild Palms《野棕榈》二十年代Sherwood Anderson舍伍德安德森（novelist）Windy McPh erson’s Son《饶舌的麦克逊的儿子》Winesburg ,Ohio《小城奇人》The Triumph of the Egg and Other Stories《鸡蛋的胜利及其他》Death in the Woods and Other Stories 《林中之死及其他》A Story-Teller Story《讲故事人的故事》三十年代Sinclair Lewis辛克莱刘易斯（novelist）第一个诺贝尔文学奖Our Mr. Wrenn《我们的雷恩先生》Babbit《巴比特》Main Street 《大街》Arrowsmith《阿罗史密斯》It Can’t Happen Here《这不可能发生在这里》Elmer Gantry《埃尔默甘特利》Dodsworth《多滋沃思》Eugene O’Neill尤金奥尼尔（playwright）诺贝尔奖第一剧作家Beyond the Horizon《天边外》Emperor Jones《琼斯皇》Chris Christopherson=Anna Christie《安娜克里斯蒂》The Hairy Ape《毛猿》Desire under the Elms 《榆树下的欲望》The Great God Brown《大神布朗》Lazarus Laughed《拉散笑了》Mouring Becomes Electra《悲悼》Ah ,Wilderness《啊，荒野》The Iceman Cometh《卖冰的人来了》Long Day’s Journey into Night《进入黑夜的漫长旅程》其他Joyce Carol Oates乔伊斯卡罗尔欧茨（novelist）In the Old World《在过去的世界里》Them 《他们》Wonderland《奇境》Do With Me What You Will《随你拿我怎么办》Edwin Arlington Robinson埃德温阿灵顿罗宾逊（poet）The Torrent and the Night Before《急流与昨夜》The town down the Rive r《河下游的城镇》Miniver Cheevy《米尼弗契维》The Man Against the Sky《天边人影》Richard Cory 《理查德科里》Mr. Flood’s Party《弗罗德先生的酒会》Amy Lowell 艾米落威尔（poet ,critic）John Keats 《约翰济慈传》A Dome of Many Colored Glass《彩色玻璃大厦》Sward Blades and Poppy Seed《剑刃与罂粟花籽》Men ,Woman and Ghosts《男人女人幽灵》Pictures of the Floating World 《浮世图》Legends《传奇》选读：patternsHart Crane哈特克兰（poet）Little Review《小杂志》White Building《白色的房屋》For the Marriage of Faustus and Helen《为浮士德和海伦的婚姻而作》Faust《浮士德》Voyages《旅行》At Melville’s Tomb《凭吊梅尔维尔》Collected Poems《诗集》The Bridge《桥》To Brooklyn Bridge《献给布鲁克林桥》1 -Ave Maria《万福玛利亚》2 -Powhatan’s Daughter《坡哈坦的女儿》The Harbor Dawn《海港的黎明》Van Winkle《凡·温克尔》The River《河》The Dance《舞蹈》Indiana《印第安纳》3 -Cutty Sark《卡蒂沙克》4 -Cape Hatteras《哈特斯拉角》5 –Three Songs《三支歌》Southern Cross《男方的混血女人》National Winter Garden《国家冬季花园》Virginia《维吉尼亚》6 –Quaker Hill《贵格山》7- the Tunnel《隧道》Atlantis《亚特兰提斯》Thomas Wolfe托马斯沃尔夫（novelist）Look Homeward, Angel《天使望故乡》Of Time and the River《时间与河流》The Web and the Rock《网与石》You Can’t Go Home Again《你再也不能回家》The Hills Beyond《远山》The Story of a Novel《一部小说的故事》选读The Lost Boy《迷失的孩子》Arthur Miller阿瑟米勒（playwright）The Man Who Had All the Luck《鸿运高照的人》Focus《焦点》All My Sons《全是我儿子》Death of a Sales Man《推销员之死》The Crucible《炼狱》After the Fall《堕落之后》Incident at Vichy《维希时间》The Price《代价》The Creation of the World and Other Business《创世纪及其他》The American Clock《美国时钟》A Memory of Two Mondays《两个星期一的回忆》A View from the Bridge 《桥头眺望》Collected Plays 《戏剧集》The Misfits《不合适宜的人》The Archbishop’s Ceiling《大主教的天花板》Playing for Time《用来演奏延宕时间》Tragedy and the Common Man《悲剧与普通人》The Theatre Essays of Miller《米勒戏剧论文集》Sylvia Plath西亚维亚普拉斯（novelist）笔名：Victoria Lucas维多利亚普卡斯The bell Jar《钟形坛》The Colossus《巨人》Uncollected Poems《没有结集起的诗》Crossing the Water 《渡河》Winter trees《冬天的树》Lady Lazarus《拉撒路女士》Daddy 《爸爸》Willa Cather威拉凯瑟(novelist poet)April Twilight《四月的黄昏》The Sculpture’s Funeral《雕刻家的葬礼》McClure’s Magazine《麦克卢尔的杂志》Alexander’s Bridge《亚历山大的桥》O Pioneers《啊，拓荒者》My Antonia《我的安东妮亚》The Song of the Lark《百灵鸟之歌》One of Ours 《我们自己人》A Lost Lady《迷失的女人》The Professor’s House《教授的住宅》Death Comes For the Archbishop《大主教之死》选读：Neighbor Rosicky《邻居罗西基》。
教长的黑面纱_(The_minister's_black_veil译文)
新英格兰缅因州约克县有位约瑟夫·穆迪牧师，约摸八十年前去世。
他与这里所讲的胡珀牧师有相同的怪癖，引人注目。
不过，他的面纱含义不同。
年轻时，他因失手杀死一位好友，于是从那天直到死，都戴着面纱，不让人看到他面孔。
——作者注牧师的黑面纱米尔福礼拜堂的门廊上，司事正忙着扯开钟绳。
村里的老人们弯腰驼背顺街走来，孩子们喜笑颜开，活蹦乱跳地跟着父母，要不就一本正经地迈步，浑身礼拜天打扮的神气。
衣冠楚楚的小伙子们侧目偷看好看的姑娘，觉得安息日的阳光使她们比平日更漂亮啦。
人流大都涌进门廊，司事开始打钟，一面盯着胡珀牧师的门口。
牧师一露头，他就该停打召唤的钟声了。
“牧师脸上这是啥呀？”司事失惊大叫。
听到的人都立刻回过身来，只见一位貌似胡珀先生的人，正若有所思地缓步朝礼拜堂走来。
人们全呆了，即算来了位生人到胡珀牧师布道坛上动手给垫子掸灰尘，他们也不至于如此大惊小怪。
“你敢肯定这是俺们那位牧师？”古德曼·格雷问司事。
“错不了，是胡珀先生。
”司事应道，“今儿他本该跟韦斯特伯雷的舒特牧师对换的，可昨天舒特牧师捎信儿说不来了，得去给一场丧事做祈祷。
”如此大惊小怪的理由好像并不充分。
胡珀牧师年届三十，一派绅士风度，仍未成家，却不失牧师该有的整洁干净。
仿佛有位周到的妻子已为他浆洗过领箍，刷净了一周来落在礼拜天这身法衣上的灰尘。
浑身上下只有一样东西刺眼，这就是箍住额头，低垂盖脸，随呼吸颤动的一块黑面纱。
近些看，面纱似有两层，除了嘴和下巴，一张脸给遮得严严实实。
不过，也许并没挡住他的视线，只给看到的一切有生命无生命的东西蒙上了一层黑影。
带着这片黑影，善良的胡珀先生朝前走着，步子缓慢沉静，像心不在焉的人惯常那样，微微驼背，两眼看地，但对等候在礼拜堂台阶上的教友们仍和气地点头致意，然而众人只顾吃惊打怪，竟忘了还礼。
“俺真不敢相信那面纱后头就是胡珀先生的脸。
”司事道。
“俺可不喜欢那玩意儿。
”一位老妪蹒跚而入，嘀嘀咕咕地说，“把脸一蒙，他就变得让人害怕啦。
The Minister's Black Veil 中英文对照
The Minister’s Black Veil 牧师的黑面纱（中英文对照）The sexton stood in the porch of Milford meeting-house, pulling busily at the bell-rope. The old people of the village came stooping along the street. Children, with bright faces, tripped merrily beside their parents, or mimicked a graver gait, in the conscious dignity of their Sunday clothes. Spruce bachelors looked sidelong at the pretty maidens, and fancied that the Sabbath sunshine made them prettier than on week days. When the throng had mostly streamed into the porch, the sexton began to toll the bell, keeping his eye on the Reverend Mr. Hooper's door. The first glimpse of the clergyman's figure was the signal for the bell to cease its summons.米尔福礼拜堂的门廊上，司事正忙着扯开钟绳。
村里的老人们弯腰驼背顺街走来，孩子们喜笑颜开，活蹦乱跳地跟着父母，要不就一本正经地迈步，浑身礼拜天打扮的神气。
衣冠楚楚的小伙子们侧目偷看好看的姑娘，觉得安息日的阳光使她们比平日更漂亮啦。
外国文学史名家作品整理
外国文学史名家作品整理第一章古代文学赫西俄德《神谱》、维吉尔《埃涅阿斯纪》、奥维德《变形记》、寓言：《伊索寓言》古希腊文艺理论：柏拉图《理想国》、亚里士多德《诗学》、新喜剧：米南德《恨世者》、《萨摩斯女子》荷马史诗：《伊利昂纪》、《奥德修纪》（一直被看做是欧洲叙事诗的典范）古希腊悲剧：古希腊三大悲剧家埃斯库罗斯：《波斯人》、《七将攻忒拜》、《祈援人》、《俄瑞斯忒亚》（包括《阿伽门农》、《祭酒人》《报仇神》）、《被缚的普罗米修斯》索福克勒斯：《埃阿斯》、《安提戈涅》、《俄狄浦斯王》、《特拉基斯妇女》、《厄勒克特拉》、《菲洛克忒忒斯》、《俄狄浦斯在克罗诺斯》、欧里庇得斯：《美狄亚》第二章中世纪文学教会文学《圣经》史诗与谣曲：早期史诗：盎格鲁-萨克逊人《贝奥武甫》（流传迄今的欧洲最早而又最完整的一部史诗）、日耳曼人《希尔德兰布特之歌》、芬兰人《卡勒瓦拉》、中期史诗：法国《罗兰之歌》、西班牙《熙德之歌》、德国《尼伯农根之歌》、俄国《伊戈尔远征记》----中世纪四大英雄史诗骑士文学：南方骑士抒情诗：普罗旺斯情歌《破晓歌》北方骑士传奇：《压力山大传奇》、《特洛伊传奇》、《埃涅阿斯传奇》、韵文故事（或称故事诗）长篇叙事诗：法国《列那狐传奇》、《玫瑰传奇》、《驴的遗嘱》、《吃桑葚的教士》、《农民医生》；英国《赛丽斯太太》；德国《神父阿米斯》市民抒情诗：维庸《小遗言集》、《大遗言集》；吕特勃夫（法）《吕特勃夫的贫困》、《吕特勃夫的婚姻》市民戏剧：法国《巴特兰律师》但丁：《神曲》、《新生》、《论俗语》、《飨宴》、《帝制论》《神曲》共分为《地狱》、《炼狱》、《天堂》三部第三章文艺复兴时期文学意大利文学：彼特拉克（“人文主义之父”）：《歌集》法国文学：龙沙：七星诗社（具有浓重的贵族倾向，肯定自然，歌颂爱情，轻视民间语言和民间文学）拉伯雷《巨人传》（平民倾向的杰出代表）蒙田《随笔集》西班牙文学：无名氏《小癞子》；洛卜·德·维加《羊泉村》英国文学：乔叟《坎特伯雷故事集》；托马斯·莫尔《乌托邦》；埃德蒙·斯宾赛《仙后》克里斯托弗·马洛（大学才子派）《帖木儿》、《马尔他岛的犹太人》、《浮士德博士的悲剧》薄伽丘：《十日谈》、传奇小说《菲洛柯洛》、叙事长诗《菲洛斯特拉托》、牧歌式传奇《亚美托的女神们》、长诗《爱情的幻影》《菲埃索拉的女神》、《菲娅美塔的哀歌》、《异教诸神谱系》、《但丁传》塞万提斯：《堂吉诃德》、《喜剧和幕间短剧》、《迦拉泰》、《巴拿索神山瞻礼记》、《努曼西亚》《佩尔西雷斯和塞西斯蒙达》、《训诫小说集》第四章17世纪文学（古典主义文学、巴罗克文学、清教徒文学）古典主义文学：勒内·笛卡尔《方法论》、《心灵情感论》、弗朗索瓦·德·马莱布（古典主义文学的开创者）：《劝慰杜佩里埃先生》皮埃尔·高乃依（古典主义悲剧的创始人）：《熙德》、《贺拉斯》、《西拿》、《波里厄克特》让·拉辛：《安德洛玛克》、《费德尔》、《爱丝苔尔》、《阿塔莉》让·德·拉封丹：《寓言诗》（《拉封丹寓言》、《伊索寓言》、《克雷洛夫寓言》共称“世界三大寓言”）尼古拉·布瓦洛：《诗的艺术》布莱兹·帕斯卡尔：《致外省人书简》、《思想录》拉法耶特夫人（法）：《克莱芙王妃》（欧洲第一部较有成就的心理小说）让·德·拉布吕耶尔（法）：《品性论》弗朗索瓦·德·费纳龙（法）：《忒勒马科斯历险记》约翰·德莱顿（英）：《论戏剧体诗》》、《押沙龙与阿奇托菲尔》亚历山大·蒲柏（英）：《夺发记》、《批评短论》、《致阿巴思诺特医生书》约翰·克里斯托弗·高特舍特（德）：《批评诗学试论》、亚历山大·彼得罗维奇·苏马罗科夫：《霍烈夫》、《西纳夫和特鲁沃尔》、罗蒙诺索夫：《俄文语法》、《论俄文宗教书籍的裨益》、《伊丽莎白女皇登基颂》巴罗克文学和清教徒文学：贾姆巴蒂斯塔·马里诺（意大利）：《阿多尼斯》、贡戈拉·伊·阿尔戈特（西班牙）：《莱尔马公爵颂》、《波吕斐摩斯和加拉特亚的寓言》、《孤独》佩特罗·卡尔耐隆（西班牙）：《人生如梦》格里美尔豪森（德）：《痴儿西木传》奥诺雷·德·于尔菲（法）：《阿丝特蕾》阿格里帕·多比涅（法）：《惨景集》马莱布（法）：《圣彼得的眼泪》清教徒文学（17世纪的英国文学以体现清教徒思想的作品最为出色）约翰·弥尔顿：《失乐园》、《复乐园》、《力士参孙》（这三部长诗表现了诗人对复辟时期现实的不满，以及对清教徒思想的赞颂。
教长的黑面纱
10301129 李豪横2013/09/20 在《教长的黑面纱》中，通过“黑面纱”这一意象，霍桑揭露出每个人内心都有阴暗的一面。
一天早晨，米尔福德议事厅的人们很惊奇地发现胡珀牧师去讲坛布道时戴起了黑面纱。
这面纱在他的额头边裹住，除去嘴巴和下颚外，其他部分严严地遮起来了。
“这一次的布道染上了比他平时那种忧郁更加浓黑的色彩。
”礼拜结束时，人们匆匆退场，并迫不及待地交流他们压抑着的惊奇。
那天之后胡珀牧师再也没有摘下黑纱，直至临终。
他拒绝未婚妻要求摘下面纱的要求，并告诉她到所有人都把他们的面纱摘下时才摘掉自己的黑纱。
教长从此在孤独和痛苦中度过余生。
胡珀牧师黑纱的那种阴暗使他与教民之间关系疏远了，但同时赋予他对那些受着罪孽折磨的灵魂具有可怕的力量。
霍桑在写这篇短篇小说时，曾提及以缅因州约克镇的一位牧师失手杀死一位挚友后，直至辞世终以纱遮面的事作为创作题材，但同时表明胡珀牧师所戴的面纱具有不同的含义。
确实，那副面纱可以理解成胡珀牧师向人们隐藏的一桩可怕的秘密的象征；也可以当作他对世界上所有罪恶的一种谴责和抗议；也可以理解成，正如胡珀牧师临死前所表明的，黑纱代表了每况愈下的社会道德的沦丧和人性的泯灭。
他说道：你们为什么只对我一个颤抖？……你们也互相颤抖吧！——我环顾四周，看啊，在每一张脸上都有一幅黑色的纱。
这段话形象生动地点明了作者的主旨：每个人都有罪恶，罪恶存在于人的内心深处，罪恶来自人们心中潜在的劣根性。
因此霍桑认为改造社会是徒劳的，
必须从改变人心做起。
由此可见其深受加尔文教“内在的堕落”的影响，也就难怪这篇短篇小说的副标题定为《道德寓言》。
霍桑 传记 作品分析
What we will discuss today?
Biography Major works The analysis of The Scarlet Letter The analysis of the characters The discussion of the theme Crafts in The Scarlet Letter Conclusion
The Reverand Dimmesdale Reverand Dimmesdale, like Hester Prynne, is an individual whose identity owes more to external circumstances than to his innate nature. His past suggests that he is probably somewhat aloof, the kind of man who would not have much natural sympathy for ordinary men and women. However, Dimmesdale has an unusually active conscience. The fact that Hester takes all of the blame for their shared sin goads his conscience, and his resultant mental anguish and physical weakness open up his mind and allow him to empathize with others. Consequently, he becomes an eloquent and emotionally powerful speaker and a compassionate leader, and his congregation is able to receive meaningful spiritual guidance from him.
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10301129 李豪横2013/09/20 在《教长的黑面纱》中，通过“黑面纱”这一意象，霍桑揭露出每个人内心都有阴暗的一面。
一天早晨，米尔福德议事厅的人们很惊奇地发现胡珀牧师去讲坛布道时戴起了黑面纱。
这面纱在他的额头边裹住，除去嘴巴和下颚外，其他部分严严地遮起来了。
“这一次的布道染上了比他平时那种忧郁更加浓黑的色彩。
”礼拜结束时，人们匆匆退场，并迫不及待地交流他们压抑着的惊奇。
那天之后胡珀牧师再也没有摘下黑纱，直至临终。
他拒绝未婚妻要求摘下面纱的要求，并告诉她到所有人都把他们的面纱摘下时才摘掉自己的黑纱。
教长从此在孤独和痛苦中度过余生。
胡珀牧师黑纱的那种阴暗使他与教民之间关系疏远了，但同时赋予他对那些受着罪孽折磨的灵魂具有可怕的力量。
霍桑在写这篇短篇小说时，曾提及以缅因州约克镇的一位牧师失手杀死一位挚友后，直至辞世终以纱遮面的事作为创作题材，但同时表明胡珀牧师所戴的面纱具有不同的含义。
确实，那副面纱可以理解成胡珀牧师向人们隐藏的一桩可怕的秘密的象征；也可以当作他对世界上所有罪恶的一种谴责和抗议；也可以理解成，正如胡珀牧师临死前所表明的，黑纱代表了每况愈下的社会道德的沦丧和人性的泯灭。
他说道：你们为什么只对我一个颤抖？……你们也互相颤抖吧！——我环顾四周，看啊，在每一张脸上都有一幅黑色的纱。
这段话形象生动地点明了作者的主旨：每个人都有罪恶，罪恶存在于人的内心深处，罪恶来自人们心中潜在的劣根性。
因此霍桑认为改造社会是徒劳的，
必须从改变人心做起。
由此可见其深受加尔文教“内在的堕落”的影响，也就难怪这篇短篇小说的副标题定为《道德寓言》。