请买票 Tickets, please

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请买票Tickets,please

• An English novelist, poet, playwright, essayist, literary critic and painter who published as D. H. Lawrence.
Life and career
• born in Eastwood, Nottinghamshire, England, in 1885. • The fourth child of Arthur John Lawrence, a barely
• In Taos, New Mexico, he became the center of a group of female admirers who considered themselves his disciples, and whose quarrels for his attention became a literary legend.
• B. Characters
• --Annie: the chief among
the women conductors due to her roughness and intelligence
• --John Thomas:
representative of phallic power • --In a world deprived of fit suitors, John represents
• A lifelong sufferer from tuberculosis, Lawrence died in 1930 in France, at the age of 44.
Viewpoints in Lawrence’s Writings
• Social criticism: Dehumanization

新概念第一册词汇语法第95课：Tickets, please

新概念第一册词汇语法第95课：Tickets, please Lesson 95 Tickets, please请把车票拿出来GEORGE： Two return tickets to London,please.What time will the next train leave?ATTENDANT： At nineteen minutes past eight.GEORGE： Which platform?ATTENDANT： Platform Two.Over the bridge.KEN： What time will the next train leave?GEORGE： At eight nineteen.KEN： We've got plenty of time.GEORGE： It's only three minutes to eight.KEN： Let's go and have a drink.There's a bar next door to the station.GEORGE： We had better go back to the station now, Ken.PORTER： Tickets, please.GEORGE： We want to catch the eight nineteen to London. PORTER： You've just missed it!GEORGE： What!It's only eight fifteen.PORTER： I'm sorry, sir.That clock's ten minutes slow. GEORGE： When's the next train? PORTER： In five hours' time!乔治：买两张到伦敦的往返票。

英文绘本The Wheels on the Bus(中英文翻译)

The Wheels on the Bus 公交车上的轮子The wheels on the bus go round and round,Round and round,round and round公交车的轮子转啊转，转啊转，转啊转。

The wheels on the bus go round and round All day long公车的轮子转啊转，一整天。

The wipers on the glass go swish,swish,swish，Swish,swish,swish,swish,swish,swish 公交车上的雨雪刷嗖嗖嗖，嗖嗖嗖，嗖嗖嗖。

The wiper on the glass goesswish,swish,swish，All day long公车上的雨雪刷嗖嗖嗖，一整天。

The hornon the bus goes beep,beep,beep，beep,beep,beep,beep,beep,beep公交车上的喇叭嘟嘟响，嘟嘟响，嘟嘟响。

The horn on the bus goes beep, beep, beep ,All day long公交车上的喇叭嘟嘟响，一整天。

The driver on the bus says,“Tickets,please!Tickets,please!Tickets,please!”公交车上的司机说“请买票！请买票！请买票！”The driver on the bus says,“Tickets,please!”Alldaylong公交车上的司机说“请买票！”一整天！The parents on the bus go chat chat chat,chat chat chat,chat chat chat.公交车上的父母聊啊聊，聊啊聊，聊啊聊TThe parents on the bus go chat chat chat,All day long!公交车上的父母聊啊聊，一整天！The baby on the bus goes wah,wah,wah.wah,wah,wah,wah,wah,wah.公交车上的婴儿哇哇哭，哇哇哭，哇哇哭。

tickets please读课文

tickets please读课文《Tickets Please》是英国作家D·H·劳伦斯的一篇短篇小说。

小说以第一人称叙述者的视角展开，故事发生在一战后的英国。

文中描写了一群女性车掌员与一个战士的复杂情感纠葛，展示了劳伦斯对爱情、性别和战争的思考。

故事背景设定在伯明翰，铁路公司招募了一批女性车掌员，她们全都年轻、自信、独立，并且身怀绝技。

她们受训期为六周，经过专业培训后，她们每天都要穿着工作制服，乘坐小型电车巡回售票。

这些女性车掌员背负着割断男人身体中象征他们男权地位的东西的使命。

然而，故事的主线却是一个战士约翰和其中一位女性车掌员乔琳之间的情感纠葛。

约翰曾是一位军官，被迫离开战场后，成了一名平凡的车掌员。

他英俊潇洒，引起了许多女性车掌员的注意，而其中乔琳也对他一见钟情。

乔琳是一个具有强烈个性的女性，独立自主，她对约翰有着特别的吸引力。

然而，在乔琳内心深处，她对男性身上所体现的权威和控制力抱有强烈的敌意。

她对待约翰的态度复杂而矛盾，一方面期望约翰的注意和喜欢，另一方面却想要剥夺约翰所具有的男性权威。

故事以自然界的叙述来展示乔琳与约翰之间的关系。

劳伦斯描绘了大自然中的鸟类繁殖行为，以此来比喻约翰与乔琳之间的情感纠葛。

文中描述了一群鸟儿为争夺地盘而残忍互斗的情景，暗示了乔琳内心的冲突。

在故事的高潮部分，乔琳暗中与其他女性车掌员密谋，将约翰绑在电车上。

她们采取这种极端方式，割断了约翰的象征性部位，象征着剥夺了他男性的权力和权威。

然而，在这一过程中，乔琳的心情逐渐发生了变化，她突然间对约翰感到了同情和怜悯。

最后，故事以一次女性车掌员和约翰之间亲昵的镜头作为结尾。

乔琳抚摸着约翰的脸颊，表达了她对约翰的怜悯和爱意。

这一结局使得故事更加复杂，反映了作者对于爱情和性别的看法。

通过《Tickets Please》我们可以看到，劳伦斯通过描写女性车掌员与约翰之间的情感纠葛，探讨了爱情、性别和战争等主题。

the tickets,please的人物分析

the tickets,please的人物分析1.丰满灵巧活泼首先我们从外貌上来看，《请买票》这篇小说对安妮的外貌并没有很直接的描述，但在p24三段最后一句中概括道，“那是个丰满，灵巧，活泼的姑娘。

”从这儿可以看出安妮充满生机，她活泼靓丽，俨然是个妙龄女郎。

这在p23第五自然段也有印证，“值得一提的是，这儿的大部分姑娘非常年轻标致。

”安妮作为这个群体中的一员，极大可能也是很好看的。

还有在这段的上面一句，“于是他又与新来的姑娘故伎重演，不过也总得相当漂亮。

”作为一个花心大萝卜，游戏人间的情场浪荡子，托马斯俨然不会委屈自己，所以作为他狩猎名单里占了很长时间的安妮自然长相也不会差的。

此外，p25到数第四段中，“安妮能使男人筋酥骨软，神魂颠倒”，这段貌似情事的描写也为其提供印证，安妮是年轻貌美有魅力的姑娘，无疑问了。

2.安妮坚毅专横，疑心很重时刻准备着主动出击，就像一位女战士。

安妮工作的单轨列车行驶在工业区与城区之间，经过死气沉沉，肮脏阴冷的小集市区，前往倚在黑暗的荒野边不断颤抖颤抖的寒冷小镇，p21页文章第一段对车外的环境做了蛮细致的描写，我们可以看出这环境的恶劣。

大同小异的是，车内的环境也不容乐观，在p21第二段中，那些男性工作人员们，他们大多是具有某方面弱势的男人，他们身上都具有一种魔鬼的精神，坐车变成了障碍越野赛。

我们也可以看到还有乘客们，大多是贫穷粗鲁满嘴跑火车的旷工。

车箱里此起彼伏地哼着淫荡小曲儿的旷工们，充斥着男女们压抑的欲望。

其中，p22页中，安妮与乘客特得的对话，特得的态度是轻慢的挑衅的又带着点儿调情的，“哦，我有鸡眼，斯通小姐……”而安妮的回应是，““你该把你的脚丫子装进兜儿里。

”可以说，是辛辣讽刺的，这个也可以看出安妮性格里面泼辣的一面。

我认为，安妮养成这样的“铁石心肠”的性格，是与周围环境分不开的。

她“不假辞色”地反击，没有一丝留余地，除了她对这些旷工的看不起外，还有一点便是武装后的她过人的胆量，绝不叫人占一点便宜，心中对男权是有鄙夷的。

请买票 Tickets, please

• By presenting the psychological experience of individual human life , and human relationships, Lawrence has opened up a wide territory to novel.
• He declared that any repression of the sexual impulse based on social, religious, or moral values of the civilized would cause severe damages to the harmony of human relationships and the psychic health of individual’s personality.
• The healthy way of the individual psychological development lay in the primary of the life impulse, or the sexual impulse. • Human sexuality was a symbol of Life Force.
• Under this mechanical control, human beings were turned into inanimated being
Human Sexuality
• It is this agonized concern about the dehumanizing effect of mechanical civilization on the sensual tenderness of human nature that haunts Lawrence’s writings.

Tickets-please《请买票》赏析

Tickets, Please （中英结合带分析）by D. H. LAWRENCEThere is in the Midlands a single-line tramway system which boldly leaves the county town and plunges off into the black, industrial countryside, up hill and down dale, through the long ugly villages of workmen's houses, over canals and railways, past churches perched high and nobly over the smoke and shadows, through stark, grimy cold little market-places, tilting away in a rush past cinemas and shops down to the hollow where the collieries are, then up again, past a little rural church, under the ash trees, on in a rush to the terminus, the last little ugly place of industry, the cold little town that shivers on the edge of the wild, gloomy country beyond. There the green and creamy coloured tram-car seems to pause and purr with curious satisfaction. But in a few minutes—the clock on the turret of the Co-operative Wholesale Society's Shops gives the time—away it starts once more on the adventure. Again there are the reckless swoops downhill, bouncing the loops: again the chilly wait in the hill-top market-place: again the breathless slithering round the precipitous drop under the church: again the patient halts at the loops, waiting for the outcoming car: so on and on, for two long hours, till at last the city looms beyond the fatgas-works, the narrow factories draw near, we are in the sordid streets of the great town, once more we sidle to a standstil l at our terminus, abashed by the great crimson and cream-coloured city cars, but still perky, jaunty, somewhat dare-devil, green as a jaunty sprig of parsley out of a black colliery garden.在英国中部有一路单轨车。

Tickets-please《请买票》赏析

Dubious progress in D.H.Lawrence's Ticket Please

Dubious progress in D. H. Lawrence's "Tickets, Please"Bernard-Jean Ramadier1"Tickets, Please" is one of the short stories in the collection England My England, published in 1922. It is a simple anecdote told in deceptively simple language; a young inspector of the tramway system seduces all the conductresses on the Midlands line. One of them, Annie, eventually falls for him on a special occasion, but she wants more than a flirtation. As she becomes more and more possessive, the young man lets her down and picks up another girl: Annie then decides to take revenge. As all the other conductresses more or less consciously bear a grudge against the seducer, they set a trap for him; one evening they manage to attract him into their waiting-room at the depot where they molest him. The girls' pretext for harassing him is to make him choose one of them for his wife: eventually he spitefully chooses Annie who, far from being proud and contented, falls prey to conflicting feelings. Freed at last, the inspector walks away alone in the night while the girls leave the depot one by one "with mute, stupefied faces" (346)1• 2 Women's struggle for their rights and a real social status was at times very violent; in August an(...)2Yet, for all its apparent simplicity, the plot is as baffling for the reader as their newly-acquired identity is for the girls. There is more than meets the eye in the story: it was written during the First World War and it uses the moral and social upheaval brought about by the conflict, insisting on the psychological consequences of the change in women's status resulting from employment and following their fight to be given social recognition and the vote.2 At the time, that new social role of women was regarded as a form of progress by the male-dominated society and by some women, as Lawrence makes critically clear. The girl conductors benefit from their new status in the microcosm of the tram system before becoming aware of their real second-rate status when it comes to direct human relationship. Living under the delusion of being real actors recognised as fully responsible human beings, they are brutally shown by the chief inspector's offhand attitude how wrong they have been. Theirsubsequent violent reaction reveals their deep frustration and the ambiguous relationships between the sexes, marred and warped by progress.3Like the girls, the miners are both beneficiaries and victims of progress; they form the social background of the story, at the same time realistic and symbolical as the introduction of the short story shows. The miners' economic function is laden with an implicit symbolical value; extracting coal to fuel the industry is like raping the earth by plundering its riches, which has far-reaching consequences for human beings. German mythology provides a similar image of agression when dwarves wrest gold from the earth, turning the latter into a wasteland where spirituality and transcendentalism are dead. In "Tickets, Please",the incidental effects of progress on humanity are shown through the Lawrentian central theme of the relationship between men and women. Here, the weaker sex and the stronger sex are respectively and ironically embodied by Annie Stone and John Thomas Raynor.4The girl conductors are "fearless young hussies" (335) who bravely face the dangers of the tram journeys and the male passengers' advances; as such, they belong to a different class of women whose job is exceptional: "This, the most dangerous tram-service in England, as the authorities themselves declare, with pride, is entirely conducted by girls". (335) Such a positive and indirectly self-congratulatory statement is immediately tempered with the grimly humorous description of the girls, tranformed into hybrids:In their ugly blue uniform, skirts up to their knees, shapeless old peaked caps on their heads, they have all the sang-froid of an oldnon-commissioned officer. (335)• 3 In the description of Tavershall, "all went by ugly, ugly, ugly".Lady Chatterley's Love(...)5One of Lawrence's key-words—ugly3—is used here to describe the devalued official uniform worn by the girls, just as the word is repeated to stigmatise the industrial landscape crossed by the tram in alliterative phrases ("long ugly villages," "last little ugly place of industry," 334). Resembling transvestites in their ugly uniforms, the conductors retain only a bawdy sort of feminity with their "skirts up to their knees." They are the drivers' fit counterparts; the latter are "men unfit for active service: cripples and hunchbacks" (334) who compensate for their physical deficiencies by taking foolish risks while others, effeminate, "creep forward in terror." (335) Excessive prudence or rashness betrays their deep imbalance, a defect reinforced by the chaotic rhythm of the syntax in the long opening paragraphs of the short story. They lack the"sang-froid" which characterizes the girls, as if they might just as well swap jobs with them. A parallel can be drawn between the drivers' loss of manhood and the conductresses' loss of womanhood. Lawrence makes it clear that the price to pay for social progress is the loss of gender differentiation: the girls assume a new authority, which turns them into sham soldiers ("non-commisioned officer," 335) with a masculine,sailor-like behaviour:this roving life aboard the car gives them a sailor's dash and recklessness. What matter how they behave when the ship is in port? Tomorrow they will be aboard again. (336)6Annie Stone is one of them and her name, which is evocative of a hard, mineral substance, is in keeping with her inflexible, adamant way of asserting her brand new soldier-like authority. Lawrence ironically insists on the girl's commitment to her job through tapinosis, referring to the Greek battle of the "hot gates": "The step of that tram-car is her Thermopylae." (335) In order to show the ambiguity of the relationship between men and women, the young inspector John Thomas Raynor is introduced as a central device to the meaningful melodrama that gradually develops. "A fine cock-of-the-walk he was": the young man's numerous conquests make him an object for scandal; always on the lookout for "pastures new," he considers himself as the proprietor of the girl conductors ("his old flock," 340). This vocabulary aims at revealing his simplistic approach to his relationship with his subordinates; he is reduced to a shallow figure of a man, meant to embody a male-dominated system that gives women the outward attributes of authority within the limits of the tram car and under man's supervision. Annie's personality is more complex; she has two faces, a superficial one on board the tram and a deep, instinctive one outside the system. Impervious to one another in the first half of the short story, the two identities then begin to overlap. As a conductor she takes her job seriously, which increases her natural shrewishness and consequently she first adopts the same attitude with John Thomas Raynor as with the other male passengers: "Annie [...] was something of a Tartar, and her sharp tongue had kept John Thomas at arm's length for many months" (336), before allowing a gradual complicity, both intimate and distant to develop between them:In this subtle antagonism they knew each other like old friends, they were as shrewd with one another almost as man and wife. (337)• 4 See the use of "impudent", 336 and 341, which echoes "hussies", p. 3357Each of them knows the rules of the game and plays them on board the tram within the frame of a relationship superficially liberalised by their respective functions and their young age4; however, Annie's feminine instincts and impulse are still there, to be given full play on a fit occasion.• 5 Italics mine.8There is a drastic change of attitude between Annie-the-conductor and the girl who has a night off and goes alone to the November fun fair. Despite the "sad decline in brilliance and luxury," (337) many people are there for entertainment, and the general illusory, transient atmosphere of the event is indicated by the expression "artificial wartime substitutes" (337), describing ersatz coconuts. In an environment whose hostility is suggested by the expressions "drizzling ugly night" (337) and "black, drizzling darkness" (338) introducing and closing the fun fair scene, the place, for all its shabbiness, is a fit place for a love encounter; furthermore, "To be at the Statutes without a fellow was no fun." Lawrence explicitly links the change of place with the change of rules which at the fun fair define the status of men and women; the latter resume their traditional passive attitude, whereas men assert their long-established economic superiority. Annie is no longer the woman in charge; she has left her uniform to don her best clothes, more appropriate in this place where it is advisable to observe a ritualistic form of behaviour to be in "the right style" (337), which is in fact an intimation of submissiveness. The new quality of the relationship between Annie and John Thomas is emphasized by the repetition of "round"; like the world, "The roundabouts were veering round"5, and the fair, despite its sham, allows a re-enactment of the real positions of men and women in society:John Thomas made her stay on for the next round. And therefore she could hardly for shame repulse him when he put his arm round her and drew her a little nearer to him, in a very warm and cuddly manner. (337)• 6 J. Chevalier et A. Gheerbrant, Dictionnaire des symboles,Paris: Laffont, 1995, p. 962.9John Thomas's permissive attitude, accepted by Annie as a matter of course, is an implicit denial of the reality of the social progress giving women authority and autonomy. The conformist rules at the Statutes Fair are those of the society of that time: men pay for women, thus resuming in civil activities the domination temporarily handed over to women in the tram service. In their Dictionnaire des symboles, Chevalier and Gheerbrandt see the conductor as a figure of the impersonal self, both a judge and a sanction whose function evokes strictness and clockworkprecision, while the ticket suggests a give and take deal.6 In that symbolical reading, the title "Tickets, Please" announces the girls' deep desire for real reciprocity in their relationship with men; in the reality of their daily routine aboard the tram, because they embody regulation, the conductors' "peremptory" request is their "ticket" to respect and consideration. As a conductor, you are handed the ticket whereas as a merry-go-round rider you have to hand over the ticket or token. On the Dragons, Annie is completely passive because she has no direct part in the exchange; her partner pays for the round and hands the ticket over, thus buying the girl's complaisance: "John Thomas paid each time, so she could but be complaisant."•7 L'Eau et les rêves,Paris: José Corti, 1974, p. 159.10In this budding affair, both of them find what they were looking for in an egocentric way; their flirtation does not imply love as hinted by the use of "liked"; it remains foreplay, as superficial as the setting, the contacts remain shallow and go no further than kisses on the lips, that "terrain de la sensualité permise" as Bachelard has it.7Their attraction for one another is genuine and uncomplicated at first: "Annie liked John Thomas a good deal. She felt so rich and warm in herself whenever he was near", "And John Thomas really liked Annie, more than usual. The soft, melting way in which she could flow into a fellow, as if she melted into his very bones, was something rare and good," (339) but that sensual convergence, which seems to announce a future harmonious development, is only momentary. John Thomas and Annie, although momentarily brought together, remain poles apart; their affair is doomed as their symbolical positions on the wooden horses makes clear. That merry-go-round (open and lit, contrary to the dragons and the cinema) is a mechanistic representation of the world and society; on it each one instinctively finds his or her place: "she sat sideways, towards him, on the inner horse", "He [...] sat astride on the outer horse" (338); they share the same circular movement ("round" comes again twice), but while Annie sits near the centre, John Thomas chooses a horse on the outer edge of the platform, to perform eccentric antics on it:Round they spun and heaved, in the light. And round he swung on his wooden steed, flinging one leg across her mount, and perilously tipping up and down, across the space, half lying back, laughing at her. (338)11Spatial position and behaviour are directly linked: Annie's quiet side-saddle riding contrasts sharply with the man's eccentricity. The girl is concerned about her appearance, ("she was afraid her hat was on one side") and John Thomas plays his part as a perfect suitor, winning hat-pins for her, thus re-enacting primitive man's gift-giving to hisfemale companion. This is only, however, superficial behaviour, for he intends to preserve his marginality. He does not want to enter the circle of a complete sentimental relationship, characterised by possession and mechanical circularity: "he had no idea of becoming an all-round individual to her". (339)•8 Cf. Lady Chatterley's Lover, op. cit., ch. XIV, p. 219.•9 Women in Love, op. cit., chapitre III, p. 46.12The lovers are not mere anecdotal characters: they are given significance by Lawrence's irony and use of onomastics. Like Annie, the inspector's function and name mark him out; he has authority over the girl conductors, he has "clean hand[s]" (337) unlike the miners, and he is neither a cripple nor a hunchback, unlike the drivers, which makes him desirable. As for his name —John Thomas Raynor—the reader's attention is attracted by the first part of it with reference to Lady Chatterley's Lover,8where the same "John Thomas" is used by Mellors to designate his penis. Fully exploited in the novel, the sexual connotation of the name is used here to suggest that the young inspector is only a regressed predecessor of the game-keeper and his natural, blooming phallus, which is confirmed by the author's spelling out that the young man is "always called John Thomas, except sometimes, in malice, Coddy" (336). The explicit nickname given to the ladykiller is a diminishing alteration of "codpiece" in order to minimize the phallic identity of the character. Yet, John Thomas wants to keep his status of object of desire and as Annie becomes more and more possessive, he shies away from further involvment in a love story; after the parallelism of the first feelings ("Annie liked John Thomas," "John Thomas really liked Annie") comes divergence: "She did not want a mere nocturnal presence," "John Thomas intended to remain a nocturnal presence" (339). The girl wants to go beyond superficial sexual gratification to reach a complete relationship reconciling the diurnal and nocturnal phases of human personality: "Annie wanted to consider him a person, a man; she wanted to take an intelligent interest in him, and to have an intelligent response." To use Lawrentian terminology, Annie is then developing her "knowing-self," i.e., her conscious ego, and by developing the latter, she causes her instinct for possession to grow: "The possessive female was aroused in Annie". That desire is similar to that of Hermione in Women in Love, as Birkin has it: "You want to clutch things and have them in your power"9and it is linked with the repetition of the name of the fair in which the norm refused by John Thomas is inscribed; "The Statutes" connotes law, regulation, code, and more precisely marriage, which remains unspoken up to the dialogue between the man, Annie, and Muriel Baggaley:“Come on, John Thomas! Come on! Choose!” said Annie.“What are you after? Open the door,” he said.“We shan't—not till you've chosen!” said Muriel.“Chosen what?” he said.“Chosen the one you're going to marry,” she replied. (342)•10 Highwayman and horsestealer, Dick Turpin was born in 1706 in Essex and was hanged in York in 1739.(...)•11 In 1913-1914, the « Cat and Mouse » Act was promulgated, enabling the release of hunger-strikers s(...)•12 Lawrence was himself aggressed by women: at sixteen, he was working at a Nottingham artificial lim(...)13In the central scene at the Statutes, Lawrence gives John Thomas enough rope to hang himself: on the horses, the inspector's mount bears the name of "Black Bess," the mare that carried Dick Turpin10 to York, where he was hanged, and in English as in French, hanging evokes marriage. On the other hand, by entering the girls' room, he unconsciously walks into the lion's mouth and becomes the conductresses' plaything ("he was their sport," 343) and their prey: in that scene, the parts of the cat and the mouse, as portrayed in a famous poster of the time11 are reversed: first "at bay", the man is compared to an animal: "He lay [...] as an animal lies when it is defeated" / "he started to struggle as an animal might." (343) Their will for revenge sets free deep forces in the girls: "Wildfire", evoking the final burst of violence, was the name of Annie's horse. The adjective "wild" is repeated five times in the short sentences used to describe the physical assault against John Thomas ("wild creatures," "in a wild frenzy of fury," "wild blows," "their hair wild," "the wild faces of the girls," 343) to stress the young women's metamorphosis and to throw a different light on the scene. In the physical assault against John Thomas, staged like a hunt, a dream scene can be read between the lines, the Freudian Other Scene, in which the girls' unconscious desire to own the man, to "hold" him12, emerges. Annie's desire has been frustrated ("she had been so very sure of holding him," 339) and changed into manifest aggressivity. What the text shows us really is an aggravated date rape: an over-confident victim willingly walking into a self-set trap, a gang of aggressors, mounting tension in the dialogues and the final breaking loose of instincts.14Blinded by conceit, John Thomas behaves boorishly, declaring: “There's no place like home, girls” (341); his personal system of references is superficial and simplistic; he is unable to understand the change in the girls' attitude, motivated by frustration and anger. Still clinging to his position as a male and an inspector, he does not perceive that despite their uniforms marking them out as guardians of order and discipline, theconductors are about to yield to instinct and give vent to their animus. The words he uses reveal his misunderstanding of the real situation, as he first tries to place his gaolers back into the context of service and reality ("“We've got to be up in good time in the morning,” he said, in the benevolent official manner," (341) before assuming his inspector's status ("“get back to your senses.” He spoke with official authority." 343). Both attempts are ineffectual because by appealing to the girls' reason, he uses a system of references ("intelligent response," 339) which he has himself refused to endorse ("He hated intelligent interest," 339). Similarly, the huntresses no longer recognize his social identity and authority, inseparable as they are from his uniform: he has taken off his coat, his cap has been slapped away and his jacket and shirt have been torn. Progressively down-graded from his rank, held to the floor, John Thomas falls silent and his half-nakedness, his forced immobility and muteness eventually change the scene into a metonymy of impotence.•13 Representing six antinomic and complementary emotions, anger, joy, desire, pain, hatred, love. The(...)•14 This is implied by the narrator's commentary: "In this subtle antagonism they knew each other(...)15Symbolically, there are five girls13besides Annie (six is a number also evoking union and revolt) who outnumber the man inspector and relish their revenge; but they dominate John Thomas by force of numbers and paradoxically it is Annie who breaks the unity of their group --thus allowing their victim to regain control, to have the last word-- by forcing him to answer the obsessive question. Having regained his status as subject, the man chooses Annie and so marks her out as his favourite enemy, as if the relationship of a man and woman in a couple could only end in struggle, as if the only fit rhyme for wife were strife.14 Thus the dialogue between Annie, John Thomas and Laura Sharp finds a justification:“tha's got to take one of us!”“Nay [...] ” he said [...] “I don't want to make enemies.”“You'd only make one,” said Annie.“The chosen one,” added Laura. (342)•15 A. Beal's judgement on Lawrence's stories perfectly suits "Tickets, Please": "As in(...)16The brutal ending of the short story is the result of the combined effects of the environment and dubious progress: the conductors reenact the mechanical violence that surrounds them; John Thomas crystallises men's social domination and by aggressing him, the young women compensate for the frustration they experience from the passive role society confinesthem to in spite of the apparent emancipation it bestows on them by giving them jobs. In its excess, their violent assault against John Thomas is similar to the tram drivers' erratic behaviour; in Lawrence's symbol system,15it has the same significance as Gudrun's reaction before Gerald Crich's mare, opposing a violent movement with a similarly violent movement.17The war emphasizes the dubious quality of the technical and social progress that the story exposes; the first world war sets the background of the three main scenes, denouncing and amplifying man's inability to find an agreement in a pacific way and to use technical progress for the benefit of mankind. The backlash or after shock of the event is to give rights to the weak which had hitherto been refused to them; for Lawrence, this social progress is dubious: instead of promoting order and harmony, it causes degeneration and regression by altering natural relationships between people. The girl conductors have been contaminated by the superficial order of social progress and the disorder it finally brings about; socially promoted by their job, Annie and her likes are only able to play their part fully while on the tram; in the general outside movement of society, men remain in control, as the scene at the Statutes shows. Because she is more proud, more possessive and also harsher than the other girls, Annie Stone inspires them to revolt against John Thomas, both the emblem and instrument of alienating progress.18By allowing the obscure, unbridled forces that characterize the outside ("Outside was the darkness and lawlessness of wartime," 340) into their well-protected, "cosy" world, the women, who have already lost their natural specificity through their uniforms and function, lose it now through violence. Changing genders is a regression underlined by Lawrence through the use of "strange" (343) and "strangely" (343) to describe the girl conductors and the glare in their eyes, and the use of "unnatural" and "supernatural" to qualify the strength they derive from their number.•16 B. Brugière, "Lecture critique d'un passage de Women in Love", Les Langues Modernes, N°2(...)•17 The desperate exclamation is repeated in Lady Chatterley's Lover, op. cit., chapitre XI, p. 162.•18 Women in Love,op. cit., chapitre XIV, p. 187.•19 Psychoanalysis and the Unconscious, Melbourne, London, Toronto: William Heinemann Ltd., 1961, p. 24(...)19In his great novels, Lawrence "vise à établir une éthique à rebours du conditionnement socio-historique"16 and in "Tickets, Please" he clings to the cultural primitivism that informs his works, showing through the story of Annie and John Thomas Raynor the authentic sadness he deeply feltas he witnessed the disfigurement of his country—England my England17—and the perverted relationships between people as a consequence of misused progress. The unbridgeable gap between the protagonists is eventually described through their walking out in the night, one at a time, imprisoned in his or her egoism and oblivious to the rest. Before this final definitive divorce, two images give a palpable reality to the opposition between men and women's aspirations, reducing them to physical phenomena of attraction and repulsion caused by an excessive temperature ("Annie let go of [John Thomas] as if he had been a hot coal," 344) or by incompatible polarities ("The girls moved away from contact with him as if he had been an electric wire." 345). Coal and electricity thus reappear in the text to remind us that for Lawrence, life is aself-regenerating movement, as natural as Gudrun's love-dance18, and opposed to the "self exhaustive motion" of a society spiritually bled dry by mechanical progress. "Tickets, Please" reads like an illustration of the criticism in Psychoanalysis and the Unconscious,in which the novelist sharply judges the outcome of progress: "the whole of modern life is a shrieking failure. It is our own fault."19.Notes1 D. H. Lawrence, The Complete Short Stories, The Phoenix Edition, London: Heinemann, 1968, 3 vols, vol 2, pp. 334-346.2Women's struggle for their rights and a real social status was at times very violent; in August and November 1913, as he visited Scotland, Asquith was twice molested by suffragettes; arson developed: letters were set alight in pillar-boxes and buildings were burnt. The same year, Mrs Pankhurst was tried after a bomb attack on the Surrey home of chancellor David Lloyd George.3In the description of Tavershall, "all went by ugly, ugly, ugly". Lady Chatterley's Lover, Harmondsworth: Penguin Books, 1961, chapter xi, p. 158.4See the use of "impudent", 336 and 341, which echoes "hussies", p. 3355Italics mine.6J. Chevalier et A. Gheerbrant, Dictionnaire des symboles, Paris: Laffont, 1995, p. 962.7L'Eau et les rêves,Paris: José Corti, 1974, p. 159.8Cf. Lady Chatterley's Lover, op. cit., ch. XIV, p. 219.9Women in Love, op. cit., chapitre III, p. 46.10Highwayman and horsestealer, Dick Turpin was born in 1706 in Essex and was hanged in York in 1739. Cf. Chronicle of Britain, editor: Henrietta Heald, Farnborough, Hampshire: Chronicle Communications Ltd., 1992, p. 685.11In 1913-1914, the « Cat and Mouse » Act was promulgated, enabling the release of hunger-strikers so that they did not die in prison but leaving them liable to be rearrested later for the same offenses. A poster was issued, denouncing the cruelty of the Liberal government; it showed a huge Tom-cat holding in its fangs a tiny woman girt with a WSPU banner.12Lawrence was himself aggressed by women: at sixteen, he was working at a Nottingham artificial limb factory when his women fellow workers, excited by his feminine looks, physically assaulted him to check his sex. Cf. F. J. Temple, David Herbert Lawrence, Paris: Seghers, 1960, p. 37.13Representing six antinomic and complementary emotions, anger, joy, desire, pain, hatred, love. The girls' names, like Annie's (Muriel Baggaley, Nora Purdy, Laura Sharp, Polly Birkin and Emma Houselay) are not chosen at random by Lawrence. Another girl is mentioned, Cissy Meakin, but she has left the service.14This is implied by the narrator's commentary: "In this subtle antagonism they knew each other like old friends, they were as shrewd with one another almost as man and wife. p. 337.15 A. Beal's judgement on Lawrence's stories perfectly suits "Tickets, Please": "As in the novels, unconscious forces often motivate the characters." A. Beal, D. H. Lawrence, Edingurh and London: Oliver and Boyd, 1968, p. 100.16 B. Brugière, "Lecture critique d'un passage de Women in Love", Les Langues Modernes, N°2, mars-avril 1968, p. 63.17The desperate exclamation is repeated in Lady Chatterley's Lover, op. cit., chapitre XI, p. 162.18Women in Love,op. cit., chapitre XIV, p. 187.。

新概念册 Tickets, please ppt课件

❖I’m waiting for you at platform 5. ❖我正在第5站台等你呢。
❖2）n.讲台，讲坛
❖The teacher is standing on the platform and looking at the students.
❖老师站在讲台上看着学生们。
GEORGE: Two return tickets to London, please. What time will the next train leave?
China.他们想从美国会中国。
❖ return sth to sb = return sb sth 把…归还某人
❖ I return a book to him. ❖ 我把书归还给他。
★ platform ['plæ tfɔ:m] n. 站台
❖1) n. 站台，月台
❖platform No.2 = platform 2 ❖第二站台
❖Three return tickets to New York, please.
❖三张去纽约的往返车票。
❖2.What time (=When) will the next train leave (the station)?
= When is the next train/ fight/ bus?
❖You sent me a postcard, in return, I sent you a postcard too.
❖你给我寄来明信片，我也回寄一张明信片。
❖3）v. 返回；归还 ❖ return from…to…
从…回到… ❖ They want to go from American to
员
n. 站台 n. 大量 n. 火车 n. 车站，火车站 n. 酒吧 v. 赶上 n. 往返 v. 错过 n. 收票员，乘务

ticket please故事梗概

ticket please故事梗概请对机票进行深入思考最近，我读了一部短篇小说，名叫《请买票》，作者是戴维·赫伯特·劳伦斯。

这是一个关于一个男人和一些女人的故事。

这发生在第一次世界大战期间，当时所有身体健康的男人都去了前线，那些不适合服役的男人留在国内做一些工作，同时妇女也做一些工作。

约翰·托马斯是男主角，他是一个多情而不负责任的男人。

在这部小说中，它描述了在早上与女售票员调情，并在黑夜中与他们一起外出，当他们在车站离开他们的电车时。

当然，女孩们经常退出这项服务。

然后他和新来的决定离开她。

感到如此悲伤和受伤，她决定有自己的回来了。

她和其他被他伤害过的女孩在一起。

他们用诡计把他留在候诊室，并毒打他。

他们要求他只选择一个女孩。

当然，他疯狂地反抗他们。

最后，他选择了安妮，用奇怪而轻蔑的声音。

到了这个故事的结尾，因为那些女生除了打他，对他什么都做不了，所以别无选择，只能放他走。

表面上看，这只是一个男人出轨玩弄女人感情的故事。

但是，在更深的层面上，结合当时的时代背景和作者的人生经历，我们可以发现很多表面之下的东西，那就是性和平等调情散步，从中我们很容易知道他是个什么样的人。

虽然他不是一个好人，但他很有魅力。

就连安妮这个刺头最后也被他吸引住了。

起初安妮对他感兴趣，故意与他保持一定距离。

但是在他对她的狡猾追求之后，她爱上了他。

然而，当她想对他感兴趣时，他只是想保持夜间的存在劳伦斯出生于一个贫困的家庭，他的一生都生活在巨大的社会和政治动荡中。

还有，他经历了第一次世界大战。

他的许多小说都有忧郁的基调，其中许多是关于性的。

这部小说也是关于性和平等的。

探长约翰·托马斯在某种程度上是男性的代表。

而那些指挥，包括安妮，就是女性的代表。

一方面，从这个故事中，我们可以看到男性有绝对的优势。

尽管那些女孩被约翰伤害了，她们想报复他，但最终她们不得不屈服。

我认为这些句子写得很好:“但是，虽然他们可以诋毁他，剥光他的衣服，殴打他，他们不能强加最后的羞辱和强奸他。

ticketsplease情节概括

ticketsplease情节概括
《请买票》是D.H.劳伦斯(1885-1930)的小说作品｡
这篇小说的故事很简单｡一个名叫约翰•托马斯的年轻电车线路监票员勾搭上了一个名叫安妮的年轻女售票员,而当他知道安妮在认真对待他的好感时,他又抛弃了她｡安妮纠合了一些曾受过约翰•托马斯同样对待的姑娘一起商定给他点厉害瞧瞧｡她们虽然揍了他几下而且还撕破了他的短上衣,但并没有伤得他很厉害｡约翰•托马斯走了,姑娘们呢,却对自己的所作所为感到惶惑不解,有点昏昏然,甚至有点惧怕｡
这篇小说虽然安置了许多情节,甚至有剧烈的情节,却没有什么结局｡约翰•托马斯和安妮可以推知会各走各的路｡小说也确是用一句悬而未决的话来结束的｡粗心的读者很可能会因小说的这种结尾感到茫然,从而对它不加理会｡。

Tickets, please

Tickets, Please!D. H. Lawrence1919There is in the North a single-line system of tramcars which boldly leaves the county town and plunges off into the black, industrial countryside, up hill and down dale, through the long, ugly villages of workmen's houses, over canals and railways, past churches perched high and nobly over the smoke and shadows, through dark, grimy, cold little market-places, tilting away in a rush past cinemas and shops down to the hollow where the collieries are, then up again, past a little rural church under theash-trees, on in a bolt to the terminus, the last little ugly place of industry, the cold little town that shivers on the edge of the wild, gloomy country beyond. There the blue and creamy coloured tramcar seems to pause and purr with curious satisfaction. But in a few minutes—the clock on the turret of the Co-operative Wholesale Society's shops gives the time—away it starts once more on the adventure. Again there are the reckless swoops downhill, bouncing the loops; again the chilly wait in the hill-top market-place: again the breathless slithering round the precipitous drop under the church: again the patient halts at the loops, waiting for the outcoming car: so on and on, for two long hours, till at last the city looms beyond, the fat gasworks, the narrow factories draw near, we are in the sordid streets of the great town, once more we sidle to a standstill at our terminus, abashed by the great crimson and cream-coloured city cars, but still jerky, jaunty, somewhat daredevil, pert as a blue-tit out of a black colliery garden.To ride on these cars is always an adventure. The drivers are often men unfit for active service: cripples and hunchbacks. So they have the spirit of the devil in them. The ride becomes a steeplechase. Hurrah! we have leapt in a clean jump over the canal bridges—now for the four-lane corner! With a shriek and a trail of sparks we are clear again. To be sure a tram often leaps the rails—but what matter! It sits in a ditch till other trams come to haul it out. It is quite common for a car, packed with one solid mass of living people, to come to a dead halt in the midst of unbroken blackness, the heart of nowhere on a dark night, and for the driver and the girl-conductor to call: 'All get off—car's on fire.' Instead of rushing out in a panic, the passengers stolidly reply: 'Get on—get on. We're not coming out. We're stopping where we are. Push on, George.' So till flames actually appear.The reason for this reluctance to dismount is that the nights are howlingly cold, black and windswept, and a car is a haven of refuge. From village to village the miners travel, for a change of cinema, of girl, of pub. The trams are desperately packed. Who is going to risk himself in the black gulf outside, to wait perhaps an hour for another tram, then to see the forlorn notice 'Depot Only'—because there is something wrong;or to greet a unit of three bright cars all so tight with people that they sail past with a howl of derision? Trams that pass in the night!This, the most dangerous tram-service in England, as the authorities themselves declare, with pride, is entirely conducted by girls, and driven by rash young men, or else by invalids who creep forward in terror. The girls are fearless young hussies. In their ugly blue uniforms, skirts up to their knees, shapeless old peaked caps on their heads, they have all the sang-froid of an old non-commissioned officer. With a tram packed with howling colliers, roaring hymns downstairs and a sort of antiphony of obscenities upstairs, the lasses are perfectly at their ease. They pounce on the youths who try to evade their ticket-machine. They push off the men at the end of their distance. They are not going to be done in the eye—not they. They fear nobody—and everybody fears them.'Halloa, Annie!''Halloa, Ted!' 'Oh, mind my corn, Miss Stone! It's my belief you've got a heart of stone, for you've trod on it again.''You should keep it in your pocket,' replies Miss Stone, and she goes sturdily upstairs in her high boots.'Tickets, please.'She is peremptory, suspicious, and ready to hit first. She can hold her own against ten thousand.Therefore there is a certain wild romance aboard these cars—and in the sturdy bosom of Annie herself. The romantic time is in the morning, between ten o'clock and one, when things are rather slack: that is, except market-day and Saturday. Then Annie has time to look about her. Then she often hops off her car and into a shop where she has spied something, while her driver chats in the main road. There is very good feeling between the girls and the drivers. Are they not companions in peril, shipmates aboard this careering vessel of a tramcar, for ever rocking on the waves of a hilly land? Then, also, in the easy hours the inspectors are most in evidence. For some reason, everybody employed in this tram-service is young: there are no grey heads. It would not do. Therefore the inspectors are of the right age, and one, the chief, is alsogood-looking. See him stand on a wet, gloomy morning in his long oilskin, his peaked cap well down over his eyes, waiting to board a car. His face is ruddy, his small brown moustache is weathered, he has a faint, impudent smile. Fairly tall and agile, even in his waterproof, he springs aboard a car and greets Annie.'Halloa, Annie! Keeping the wet out?''Trying to.'There are only two people in the car. Inspecting is soon over. Then for a long and impudent chat on the footboard—a good, easy, twelve-mile chat.The inspector's name is John Joseph Raynor: always called John Joseph. His face sets in fury when he is addressed, from a distance, with this abbreviation. There is considerable scandal about John Joseph in half-a-dozen villages. He flirts with thegirl-conductors in the morning, and walks out with them in the dark night when they leave their tramcar at the depot. Of course, the girls quit the service frequently. Then he flirts and walks out with a newcomer: always providing she is sufficiently attractive, and that she will consent to walk. It is remarkable, however, that most of the girls are quite comely, they are all young, and this roving life aboard the car gives them a sailor's dash and recklessness. What matter how they behave when the ship is in port? Tomorrow they will be aboard again.Annie, however, was something of a tartar, and her sharp tongue had kept John Joseph at arm's length for many months. Perhaps, therefore, she liked him all the more; for he always came up smiling, with impudence. She watched him vanquish one girl, then another. She could tell by the movement of his mouth and eyes, when he flirted with her in the morning, that he had been walking out with this lass, or the other the night before. She could sum him up pretty well.In their subtle antagonism, they knew each other like old friends; they were as shrewd with one another almost as man and wife. But Annie had always kept him fully atarm's length. Besides, she had a boy of her own.The Statutes fair, however, came in November, at Middleton. It happened that Annie had the Monday night off. It was a drizzling, ugly night, yet she dressed herself up and went to the fairground. She was alone, but she expected soon to find a pal of some sort.The roundabouts were veering round and grinding out their music, the side-shows were making as much commotion as possible. In the coconut shies there were no coconuts, but artificial substitutes, which the lads declared were fastened into the irons. There was a sad decline in brilliance and luxury. None the less, the ground was muddy as ever, there was the same crush, the press of faces lighted up by the flares and the electric lights, the same smell of naphtha and fried potatoes and electricity. Who should be the first to greet Miss Annie, on the show-ground, but John Joseph! He had a black overcoat buttoned up to his chin, and a tweed cap pulled down over his brows, his face between was ruddy and smiling and hardy as ever. She knew so well the way his mouth moved.She was very glad to have a 'boy'. To be at the Statutes without a fellow was no fun. Instantly, like the gallant he was, he took her on the dragons, grim-toothed,round-about switchbacks. It was not nearly so exciting as a tramcar, actually. But then, to be seated in a shaking green dragon, uplifted above the sea of bubble faces, careering in a rickety fashion in the lower heavens, whilst John Joseph leaned over her, his cigarette in his mouth, was, after all, the right style. She was a plump, quick, alive little creature. So she was quite excited and happy.John Joseph made her stay on for the next round. And therefore she could hardly for shame to repulse him when he put his arm round her and drew her a little nearer to him, in a very warm and cuddly manner. Besides, he was fairly discreet, he kept his movement as hidden as possible. She looked down, and saw that his red, clean hand was out of sight of the crowd. And they knew each other so well. So they warmed up to the fair.After the dragons they went on the horses. John Joseph paid each time, she could but be complaisant. He, of course, sat astride on the outer horse—named 'BlackBess'—and she sat sideways towards him, on the inner horse—named 'Wildfire'. But, of course, John Joseph was not going to sit discreetly on 'Black Bess', holding the brass bar. Round they spun and heaved, in the light. And round he swung on his wooden steed, flinging one leg across her mount, and perilously tipping up and down, across the space, half-lying back, laughing at her. He was perfectly happy; she was afraid her hat was on one side, but she was excited.He threw quoits on a table, and won her two large, pale-blue hatpins. And then, hearing the noise of the cinema, announcing another performance, they climbed the boards and went in.Of course, during these performances, pitch darkness falls from time to time, when the machine goes wrong. Then there is a wild whooping, and a loud smacking of simulated kisses. In these moments John Joseph drew Annie towards him. After all, he had a wonderfully warm, cosy way of holding a girl with his arm, he seemed to make such a nice fit. And, after all, it was pleasant to be so held; so very comforting and cosy and nice. He leaned over her and she felt his breath on her hair. She knew he wanted to kiss her on the lips. And, after all, he was so warm and she fitted in to him so softly. After all, she wanted him to touch her lips.But the light sprang up, she also started electrically, and put her hat straight. He left his arm lying nonchalant behind her. Well, it was fun, it was exciting to be at the Statutes with John Joseph.When the cinema was over they went for a walk across the dark, damp fields. He had all the arts of love-making. He was especially good at holding a girl, when he sat with her on a stile in the black, drizzling darkness. He seemed to be holding her in space,against his own warmth and gratification. And his kisses were soft and slow and searching.So Annie walked out with John Joseph, though she kept her own boy dangling in the distance. Some of the tram-girls chose to be huffy. But there, you must take things as you find them, in this life.There was no mistake about it, Annie liked John Joseph a good deal. She felt so pleasant and warm in herself, whenever he was near. And John Joseph really liked Annie, more than usual. The soft, melting way in which she could flow into a fellow, as if she melted into his very bones, was something rare and gratifying. He fully appreciated this.But with a developing acquaintance there began a developing intimacy. Annie wanted to consider him a person, a man; she wanted to take an intelligent interest in him, and to have an intelligent response. She did not want a mere nocturnal presence— which was what he was so far. And she prided herself that he could not leave her.Here she made a mistake. John Joseph intended to remain a nocturnal presence, he had no idea of becoming an all-round individual to her. When she started to take an intelligent interest in him and his life and his character, he sheered off. He hated intelligent interest. And he knew that the only way to stop it was to avoid it. The possessive female was aroused in Annie. So he left her.It was no use saying she was not surprised. She was at first startled, thrown out of her count. For she had been so very sure of holding him. For a while she was staggered, and everything became uncertain to her. Then she wept with fury, indignation, desolation, and misery. Then she had a spasm of despair. And then, when he came, still impudently, on to her car, still familiar, but letting her see by the movement of his eyes that he had gone away to somebody else, for the time being, and was enjoying pastures new, then she determined to have her own back.She had a very shrewd idea what girls John Joseph had taken out. She went to Nora Purdy. Nora was a tall, rather pale, but well-built girl, with beautiful yellow hair. She was somewhat secretive.'Hey!' said Annie, accosting her; then, softly: 'Who's John Joseph on with now?''I don't know,' said Nora.'Why tha does,' said Annie, ironically lapsing into dialect. 'Tha knows as well as I do.' 'Well, I do, then,' said Nora. 'It isn't me, so don't bother.''It's Cissy Meakin, isn't it?''It is for all I know.''Hasn't he got a face on him!' said Annie. 'I don't half like his cheek! I could knock him off the footboard when he comes round me!''He'll get dropped on one of these days,' said Nora.'Ay, he will when somebody makes up their mind to drop it on him. I should like to see him taken down a peg or two, shouldn't you?''I shouldn't mind,' said Nora.'You've got quite as much cause to as I have,' said Annie. 'But we'll drop on him one of these days, my girl. What! don't you want to?''I don't mind,' said Nora.But as a matter of fact Nora was much more vindictive than Annie.One by one Annie went the round of the old flames. It so happened that Cissy Meakin left the tramway service in quite a short time. Her mother made her leave. Then John Joseph was on the qui vive. He cast his eyes over his old flock. And his eyes lighted on Annie. He thought she would be safe now. Besides, he liked her.She arranged to walk home with him on Sunday night. It so happened that her car would be in the depot at half-past nine: the last car would come in at ten-fifteen. So John Joseph was to wait for her there.At the depot the girls had a little waiting-room of their own. It was quite rough, but cosy, with a fire and an oven and a mirror and table and wooden chairs. Thehalf-dozen girls who knew John Joseph only too well had arranged to take service this Sunday afternoon. So as the cars began to come in early, the girls dropped into the waiting-room. And instead of hurrying off home they sat round the fire and had a cup of tea.John Joseph came on the car after Annie, at about a quarter to ten. He poked his head easily into the girls' waiting-room.'Prayer meeting?' he asked.'Ay,' said Laura Sharp. 'Ladies' effort.''That's me!' said John Joseph. It was one of his favourite exclamations.'Shut the door, boy,' said Muriel Baggaley.'On which side of me?' said John Joseph.'Which tha likes,' said Polly Birken.He had come in and closed the door behind him. The girls moved in their circle to make a place for him near the fire. He took off his greatcoat and pushed back his hat. 'Who handles the teapot?' he said.Nora silently poured him out a cup of tea.'Want a bit o' my bread and dripping?' said Muriel Baggaley to him.'Ay, all's welcome.'And he began to eat his piece of bread.'There's no place like home, girls,' he said.They all looked at him as he uttered this piece of impudence. He seemed to be sunning himself in the presence of so many damsels.'Especially if you're not afraid to go home in the dark,' said Laura Sharp.'Me? By myself I am!'They sat till they heard the last tram come in. In a few minutes Emma Housely entered.'Come on, my old duck!' cried Polly Birkin.'It is perishing,' said Emma, holding her fingers to the fire.'"But I'm afraid to go home in the dark,"' sang Laura Sharp, the tune having got into her mind.'Who're you going with tonight, Mr Raynor?' asked Muriel Baggaley, coolly.'Tonight?' said John Joseph. 'Oh, I'm going home by myself tonight—all on my lonely-o.''That's me!' said Nora Purdy, using his own ejaculation. The girls laughed shrilly.'Me as well, Nora,' said John Joseph.'Don't know what you mean,' said Laura.'Yes, I'm toddling,' said he, rising and reaching for his coat.'Nay,' said Polly. 'We're all here waiting for you.''We've got to be up in good time in the morning,' he said, in the benevolent official manner. They all laughed.'Nay,' said Muriel. 'Don't disappoint us all.' 'I'll take the lot, if you like,' he responded, gallantly.'That you won't, either,' said Muriel. 'Two's company; seven's too much of a good thing.''Nay, take one,' said Laura. 'Fair and square, all above board, say which one.''Ay!' cried Annie, speaking for the first time. 'Choose, John Joseph—let's hear thee.' 'Nay,' he said. 'I'm going home quiet tonight.' He frowned at the use of his double name.'Who says?' said Annie. 'Tha's got to ta'e one.''Nay, how can I take one?' he said, laughing uneasily. 'I don't want to make enemies.' 'You'd only make one,' said Annie, grimly.'The chosen one,' said Laura. A laugh went up.'Oh, ay! Who said girls!' exclaimed John Joseph, again turning as if to escape. 'Well, good-night!''Nay, you've got to take one,' said Muriel. 'Turn your face to the wall, and say which one touches you. Go on—we shall only just touch your back—one of us. Go on—turn your face to the wall, and don't look, and say which one touches you.'They pushed him to a wall and stood him there with his face to it. Behind his back they all grimaced, tittering. He looked so comical.'Go on!' he cried.'You're looking—you're looking!' they shouted.He turned his head away. And suddenly, with a movement like a swift cat, Annie went forward and fetched him a box on the side of the head that sent his cap flying. He started round.But at Annie's signal they all flew at him, slapping him, pinching him, pulling his hair, though more in fun than in spite or anger. He, however, saw red. His blue eyes flamed with strange fear as well as fury, and he butted through the girls to the door. It was locked. He wrenched at it. Roused, alert, the girls stood round and looked at him. He faced them, at bay. At that moment they were rather horrifying to him, as they stoodin their short uniforms. He became suddenly pale.'Come on, John Joseph! Come on! Choose!' said Annie.'What are you after? Open the door,' he said.'We sha'n't—not till you've chosen,' said Muriel.'Chosen what?' he said.'Chosen the one you're to marry,' she replied. The girls stood back in a silent, attentive group.He hesitated a moment:'Open the confounded door,' he said, 'and get back to your senses.' He spoke with official authority.'You've got to choose,' cried the girls.He hung a moment; then he went suddenly red, and his eyes flashed.'Come on! Come on!' cried Annie.He went forward, threatening. She had taken off her belt and, swinging it, she fetched him a sharp blow over the head with the buckle end. He rushed with lifted hand. But immediately the other girls flew at him, pulling him and pushing and beating him. Their blood was now up. He was their sport now. They were going to have their own back, out of him. Strange, wild creatures, they hung on him and rushed at him to bear him down. His tunic was torn right up the back. Nora had hold at the back of his collar, and was actually strangling him. Luckily the button-hole burst. He struggled in a wild frenzy of fury and terror, almost mad terror. His tunic was torn off his back as they dragged him, his shirt-sleeves were torn away, one arm was naked. The girls simply rushed at him, clenched their hands and pulled at him; or they rushed at him and pushed him, butted him with all their might.At last he was down. They rushed him, kneeling on him. He had neither breath nor strength to move. His face was bleeding with a long scratch.Annie knelt on him, the other girls knelt and hung on to him. Their faces were flushed, their hair wild, their eyes were all glittering strangely. He lay at last quite still, with face averted, as an animal lies when it is defeated and at the mercy of the captor.Sometimes his eye glanced back at the wild faces of the girls. His breast rose heavily, his wrists were scratched and bleeding.'Now then, my fellow!' gasped Annie at length.'Now then—now———'At the sound of her terrifying, cold triumph, he suddenly started to struggle as an animal might, but the girls threw themselves upon him with unnatural strength and power, forcing him down.'Yes—now then!' gasped Annie at length. And there was a dead silence, in which the thud of heartbeating was to be heard. It was a suspense of pure silence in every soul. 'Now you know where you are,' said Annie.The sight of his white, bare arm maddened the girls. He lay in a kind of trance of fear and antagonism. They felt themselves filled with supernatural strength.Suddenly Polly started to laugh—to giggle wildly—helplessly— and Emma and Muriel joined in. But Annie and Nora and Laura remained the same, tense, watchful, with gleaming eyes. He winced away from these eyes.'Yes,' said Annie, recovering her senses a little.'Yes, you may well lie there! You know what you've done, don't you? You know what you've done.'He made no sound nor sign, but lay with bright, averted eyes and averted, bleeding face.'You ought to be killed, that's what you ought,' said Annie, tensely.Polly was ceasing to laugh, and giving long-drawn oh-h-h's and sighs as she came to herself.'He's got to choose,' she said, vaguely.'Yes, he has,' said Laura, with vindictive decision.'Do you hear—do you hear?' said Annie. And with a sharp movement, that made him wince, he turned his face to her.'Do you hear?' she repeated, shaking him. But he was dumb. She fetched him a sharp slap on the face. He started and his eyes widened.'Do you hear?' she repeated.'What?' he said, bewildered, almost overcome.'You've got to choose,' she cried, as if it were some terrible menace.'What?' he said, in fear.'Choose which of us you'll have, do you hear, and stop your little games. We'll settle you.'There was a pause. Again he averted his face. He was cunning in his overthrow.'All right then,' he said. 'I choose Annie.''Three cheers for Annie!' cried Laura.'Me!' cried Annie. Her face was very white, her eyes like coal. 'Me———!'Then she got up, pushing him away from her with a strange disgust.'I wouldn't touch him,' she said.But her face quivered with a kind of agony, she seemed as if she would fall. The other girls rose also. He remained lying on the floor, with his torn clothes and bleeding, averted face.'I don't want him—he can choose another,' said Annie, with the same rather bitter disgust.'Get up,' said Polly, lifting his shoulder. 'Get up.'He rose slowly, a strange, ragged, dazed creature. The girls eyed him from a distance, curiously, furtively, dangerously.'Who wants him?' cried Laura, roughly.'Nobody,' they answered, with derision. Yet each one of them waited for him to look at her, hoped he would look at her. All except Annie, and something was broken in her.He, however, keep his face closed and averted from them all. There was a silence of the end. He picked up the torn pieces of his tunic, without knowing what to do withthem. The girls stood about uneasily, flushed, panting, tidying their hair and their dress unconsciously, and watching him. He looked at none of them. He espied his cap in a corner, and went and picked it up. He put it on his head, and one of the girls burst into a shrill, hysteric laugh at the sight he presented. He, however, took no heed, but went straight to where his overcoat hung on a peg. The girls moved away from contact with him as if he had been an electric wire. He put on his coat and buttoned it down. Then he rolled his tunic-rags into a bundle, and stood before the locked door, dumbly.“Open the door, somebody,” said Laura.“Annie’s got the key”, said one.Annie silently offered the key to the girls. Nora unlocked the door.“Tit for tat, old man,” she said. “Show yourself a man, and don’t bear a grudge.”But without a word or sign he had opened the door and gone, his face closed, his head dropped.“That’ll learn him,” said Laura.“Coddy!” said Nora.“Shut up, for God’s sake!” cried Annie fiercely, as if in torture.“Well, I’m about ready to go, Polly. Look sharp!” said Muriel.The girls were anxious to be off. They were tidying themselves hurriedly, with mute, stupefied faces.。

tickets,please

Tickets, Pleaseby D. H. LAWRENCEThere is in the Midlands a single-line tramway system which boldly leaves the county town and plunges off into the black, industrial countryside, up hill and down dale, through the long ugly villages of workmen's houses, over canals and railways, past churches perched high and nobly over the smoke and shadows, through stark, grimy cold little market-places, tilting away in a rush past cinemas and shops down to the hollow where the collieries are, then up again, past a little rural church, under the ash trees, on in a rush to the terminus, the last little ugly place of industry, the cold little town that shivers on the edge of the wild, gloomy country beyond. There the green and creamy coloured tram-car seems to pause and purr with curious satisfaction. But in a few minutes—the clock on the turret of the Co-operative Wholesale Society's Shops gives the time—away it starts once more on the adventure. Again there are the reckless swoops downhill, bouncing the loops: again the chilly wait in the hill-top market-place: again the breathless slithering round the precipitous drop under the church: again the patient halts at the loops, waiting for the outcoming car: so on and on, for two long hours, till at last the city looms beyond the fat gas-works, the narrow factories draw near, we are in the sordid streets of the great town, once more we sidle to a standstill at our terminus, abashed by the great crimson and cream-coloured city cars, but still perky, jaunty, somewhat dare-devil, green as a jaunty sprig of parsley out of a black colliery garden.To ride on these cars is always an adventure. Since we are in war-time, the drivers are men unfit for active service: cripples and hunchbacks. So they have the spirit of the devil in them. The ride becomes a steeple-chase. Hurray! we have leapt in a clear jump over the canal bridges—now for the four-lane corner. With a shriek and a trail of sparks we are clear again. To be sure, a tram often leaps the rails—but what matter! It sits in a ditch till other trams come to haul it out. It is quite common for a car, packed with one solid mass of living people, to come to a dead halt in the midst of unbroken blackness, the heart of nowhere on a dark night, and for the driver and the girl conductor to call, 'All get off—car's on fire!' Instead, however, of rushing out in a panic, the passengers stolidly reply: 'Get on—get on! We're not coming out. We're stopping where we are. Push on, George.' So till flames actually appear.The reason for this reluctance to dismount is that the nights are howlingly cold, black, and windswept, and a car is a haven of refuge. From village to village the miners travel, for a change of cinema, of girl, of pub. The trams are desperately packed. Who is going to risk himself in the black gulf outside, to wait perhaps an hour for another tram, then to see the forlorn notice 'Depot Only', because there is something wrong! Or to greet a unit of three bright cars all so tight with people that they sail past with a howl of derision. Trams that pass in the night.This, the most dangerous tram-service in England, as the authoritiesthemselves declare, with pride, is entirely conducted by girls, and driven by rash young men, a little crippled, or by delicate young men, who creep forward in terror. The girls are fearless young hussies. In their ugly blue uniform, skirts up to their knees, shapeless old peaked caps on their heads, they have all the sang-froid of an old non-commissioned officer. With a tram packed with howling colliers, roaring hymns downstairs and a sort of antiphony of obscenities upstairs, the lasses are perfectly at their ease. They pounce on the youths who try to evade their ticket-machine. They push off the men at the end of their distance. They are not going to be done in the eye—not they. They fear nobody—and everybody fears them.'Hello, Annie!''Hello, Ted!''Oh, mind my corn, Miss Stone. It's my belief you've got a heart of stone, for you've trod on it again.''You should keep it in your pocket,' replies Miss Stone, and she goes sturdily upstairs in her high boots.'Tickets, please.'She is peremptory, suspicious, and ready to hit first. She can hold her own against ten thousand. The step of that tram-car is her Thermopylae.Therefore, there is a certain wild romance aboard these cars—and in the sturdy bosom of Annie herself. The time for soft romance is in the morning, between ten o'clock and one, when things are rather slack: that is, except market-day and Saturday. Thus Annie has time to look about her. Then she often hops off her car and into a shop where she has spied something, while the driver chats in the main road. There is very good feeling between the girls and the drivers. Are they not companions in peril, shipments aboard this careering vessel of a tram-car, for ever rocking on the waves of a stormy land?Then, also, during the easy hours, the inspectors are most in evidence. For some reason, everybody employed in this tram-service is young: there are no grey heads. It would not do. Therefore the inspectors are of the right age, and one, the chief, is also good-looking. See him stand on a wet, gloomy morning, in his long oil-skin, his peaked cap well down over his eyes, waiting to board a car. His face is ruddy, his small brown moustache is weathered, he has a faint impudent smile. Fairly tall and agile, even in his waterproof, he springs aboard a car and greets Annie.'Hello, Annie! Keeping the wet out?''Trying to.'There are only two people in the car. Inspecting is soon over. Then for a long and impudent chat on the foot-board, a good, easy, twelve-mile chat.The inspector's name is John Thomas Raynor—always called John Thomas, except sometimes, in malice, Coddy. His face sets in fury when he is addressed, from a distance, with this abbreviation. There is considerable scandal about John Thomas in half a dozen villages. He flirts with the girl conductors in the morning, and walks out with them in the dark night, when they leave their tram-car at thedepot. Of course, the girls quit the service frequently. Then he flirts and walks out with the newcomer: always providing she is sufficiently attractive, and that she will consent to walk. It is remarkable, however, that most of the girls are quite comely, they are all young, and this roving life aboard the car gives them a sailor's dash and recklessness. What matter how they behave when the ship is in port. Tomorrow they will be aboard again.Annie, however, was something of a Tartar, and her sharp tongue had kept John Thomas at arm's length for many months. Perhaps, therefore, she liked him all the more: for he always came up smiling, with impudence. She watched him vanquish one girl, then another. She could tell by the movement of his mouth and eyes, when he flirted with her in the morning, that he had been walking out with this lass, or the other, the night before. A fine cock-of-the-walk he was. She could sum him up pretty well.In this subtle antagonism they knew each other like old friends, they were as shrewd with one another almost as man and wife. But Annie had always kept him sufficiently at arm's length. Besides, she had a boy of her own.The Statutes fair, however, came in November, at Bestwood. It happened that Annie had the Monday night off. It was a drizzling ugly night, yet she dressed herself up and went to the fair ground. She was alone, but she expected soon to find a pal of some sort.The roundabouts were veering round and grinding out their music, the side shows were making as much commotion as possible. In the coco-nut shies there were no coco-nuts, but artificial war-time substitutes, which the lads declared were fastened into the irons. There was a sad decline in brilliance and luxury. None the less, the ground was muddy as ever, there was the same crush, the press of faces lighted up by the flares and the electric lights, the same smell of naphtha and a few fried potatoes, and of electricity.Who should be the first to greet Miss Annie on the showground but John Thomas? He had a black overcoat buttoned up to his chin, and a tweed cap pulled down over his brows, his face between was ruddy and smiling and handy as ever. She knew so well the way his mouth moved.She was very glad to have a 'boy'. To be at the Statutes without a fellow was no fun. Instantly, like the gallant he was, he took her on the dragons, grim-toothed, round-about switchbacks. It was not nearly so exciting as a tram-car actually. But, then, to be seated in a shaking, green dragon, uplifted above the sea of bubble faces, careering in a rickety fashion in the lower heavens, whilst John Thomas leaned over her, his cigarette in his mouth, was after all the right style. She was a plump, quick, alive little creature. So she was quite excited and happy.John Thomas made her stay on for the next round. And therefore she could hardly for shame repulse him when he put his arm round her and drew her a little nearer to him, in a very warm and cuddly manner. Besides, he was fairly discreet, he kept his movement as hidden as possible. She looked down, and saw that his red, clean hand was out of sight of the crowd. And they knew each other so well. So they warmed up to the fair.After the dragons they went on the horses. John Thomas paid each time, so she could but be complaisant. He, of course, sat astride on the outer horse—named 'Black Bess'—and she sat sideways, towards him, on the inner horse—named 'Wildfire'. But of course John Thomas was not going to sit discreetly on 'Black Bess', holding the brass bar. Round they spun and heaved, in the light. And round he swung on his wooden steed, flinging one leg across her mount, and perilously tipping up and down, across the space, half lying back, laughing at her. He was perfectly happy; she was afraid her hat was on one side, but she was excited.He threw quoits on a table, and won for her two large, pale-blue hat-pins. And then, hearing the noise of the cinemas, announcing another performance, they climbed the boards and went in.Of course, during these performances pitch darkness falls from time to time, when the machine goes wrong. Then there is a wild whooping, and a loud smacking of simulated kisses. In these moments John Thomas drew Annie towards him. After all, he had a wonderfully warm, cosy way of holding a girl with his arm, he seemed to make such a nice fit. And, after all, it was pleasant to be so held: so very comforting and cosy and nice. He leaned over her and she felt his breath on her hair; she knew he wanted to kiss her on the lips. And, after all, he was so warm and she fitted in to him so softly. After all, she wanted him to touch her lips.But the light sprang up; she also started electrically, and put her hat straight. He left his arm lying nonchalantly behind her. Well, it was fun, it was exciting to be at the Statutes with John Thomas.When the cinema was over they went for a walk across the dark, damp fields. He had all the arts of love-making. He was especially good at holding a girl, when he sat with her on a stile in the black, drizzling darkness. He seemed to be holding her in space, against his own warmth and gratification. And his kisses were soft and slow and searching.So Annie walked out with John Thomas, though she kept her own boy dangling in the distance. Some of the tram-girls chose to be huffy. But there, you must take things as you find them, in this life.There was no mistake about it, Annie liked John Thomas a good deal. She felt so rich and warm in herself whenever he was near. And John Thomas really liked Annie, more than usual. The soft, melting way in which she could flow into a fellow, as if she melted into his very bones, was something rare and good. He fully appreciated this.But with a developing acquaintance there began a developing intimacy. Annie wanted to consider him a person, a man; she wanted to take an intelligent interest in him, and to have an intelligent response. She did not want a mere nocturnal presence, which was what he was so far. And she prided herself that he could not leave her.Here she made a mistake. John Thomas intended to remain a nocturnal presence; he had no idea of becoming an all-round individual to her. When she started to take an intelligent interest in him and his life and his character, he sheered off. He hated intelligent interest. And he knew that the only way to stop itwas to avoid it. The possessive female was aroused in Annie. So he left her.It is no use saying she was not surprised. She was at first startled, thrown out of her count. For she had been so very sure of holding him. For a while she was staggered, and everything became uncertain to her. Then she wept with fury, indignation, desolation, and misery. Then she had a spasm of despair. And then, when he came, still impudently, on to her car, still familiar, but letting her see by the movement of his head that he had gone away to somebody else for the time being, and was enjoying pastures new, then she determined to have her own back.She had a very shrewd idea what girls John Thomas had taken out. She went to Nora Purdy. Nora was a tall, rather pale, but well-built girl, with beautiful yellow hair. She was rather secretive.'Hey!' said Annie, accosting her; then softly, 'Who's John Thomas on with now?''I don't know,' said Nora.'Why tha does,' said Annie, ironically lapsing into dialect. 'Tha knows as well as I do.''Well, I do, then,' said Nora. 'It isn't me, so don't bother.''It's Cissy Meakin, isn't it?''It is, for all I know.''Hasn't he got a face on him!' said Annie. 'I don't half like his cheek. I could knock him off the foot-board when he comes round at me.''He'll get dropped-on one of these days,' said Nora.'Ay, he will, when somebody makes up their mind to drop it on him. I should like to see him taken down a peg or two, shouldn't you?''I shouldn't mind,' said Nora.'You've got quite as much cause to as I have,' said Annie. 'But we'll drop on him one of these days, my girl. What? Don't you want to?''I don't mind,' said Nora.But as a matter of fact, Nora was much more vindictive than Annie.One by one Annie went the round of the old flames. It so happened that Cissy Meakin left the tramway service in quite a short time. Her mother made her leave. Then John Thomas was on the qui-vive. He cast his eyes over his old flock. And his eyes lighted on Annie. He thought she would be safe now. Besides, he liked her.She arranged to walk home with him on Sunday night. It so happened that her car would be in the depot at half past nine: the last car would come in at 10:15. So John Thomas was to wait for her there.At the depot the girls had a little waiting-room of their own. It was quite rough, but cosy, with a fire and an oven and a mirror, and table and wooden chairs. The half dozen girls who knew John Thomas only too well had arranged to take service this Sunday afternoon. So, as the cars began to come in, early, the girls dropped into the waiting-room. And instead of hurrying off home, they sat around the fire and had a cup of tea. Outside was the darkness and lawlessness of wartime.John Thomas came on the car after Annie, at about a quarter to ten. He poked his head easily into the girls' waiting-room.'Prayer-meeting?' he asked.'Ay,' said Laura Sharp. 'Ladies only.''That's me!' said John Thomas. It was one of his favourite exclamations.'Shut the door, boy,' said Muriel Baggaley.'On which side of me?' said John Thomas.'Which tha likes,' said Polly Birkin.He had come in and closed the door behind him. The girls moved in their circle, to make a place for him near the fire. He took off his great-coat and pushed back his hat.'Who handles the teapot?' he said.Nora Purdy silently poured him out a cup of tea.'Want a bit o' my bread and drippin'?' said Muriel Baggaley to him.'Ay, give us a bit.'And he began to eat his piece of bread.'There's no place like home, girls,' he said.They all looked at him as he uttered this piece of impudence. He seemed to be sunning himself in the presence of so many damsels.'Especially if you're not afraid to go home in the dark,' said Laura Sharp.'Me! By myself I am.'They sat till they heard the last tram come in. In a few minutes Emma Houselay entered.'Come on, my old duck!' cried Polly Birkin.'It is perishing,' said Emma, holding her fingers to the fire.'But—I'm afraid to, go home in, the dark,' sang Laura Sharp, the tune having got into her mind.'Who're you going with tonight, John Thomas?' asked Muriel Baggaley, coolly.'Tonight?' said John Thomas. 'Oh, I'm going home by myself tonight—all on my lonely-O.''That's me!' said Nora Purdy, using his own ejaculation.The girls laughed shrilly.'Me as well, Nora,' said John Thomas.'Don't know what you mean,' said Laura.'Yes, I'm toddling,' said he, rising and reaching for his overcoat.'Nay,' said Polly. 'We're all here waiting for you.''We've got to be up in good time in the morning,' he said, in the benevolent official manner.They all laughed.'Nay,' said Muriel. 'Don't leave us all lonely, John Thomas. Take one!''I'll take the lot, if you like,' he responded gallantly.'That you won't either,' said Muriel, 'Two's company; seven's too much of a good thing.''Nay—take one,' said Laura. 'Fair and square, all above board, and say which.''Ay,' cried Annie, speaking for the first time. 'Pick, John Thomas; let's hear thee.''Nay,' he said. 'I'm going home quiet tonight. Feeling good, for once.''Whereabouts?' said Annie. 'Take a good 'un, then. But tha's got to take one of us!''Nay, how can I take one,' he said, laughing uneasily. 'I don't want to make enemies.''You'd only make one' said Annie.'The chosen one,' added Laura.'Oh, my! Who said girls!' exclaimed John Thomas, again turning, as if to escape. 'Well—good-night.''Nay, you've got to make your pick,' said Muriel. 'Turn your face to the wall, and say which one touches you. Go on—we shall only just touch your back—one of us. Go on—turn your face to the wall, and don't look, and say which one touches you.'He was uneasy, mistrusting them. Yet he had not the courage to break away. They pushed him to a wall and stood him there with his face to it. Behind his back they all grimaced, tittering. He looked so comical. He looked around uneasily.'Go on!' he cried.'You're looking—you're looking!' they shouted.He turned his head away. And suddenly, with a movement like a swift cat, Annie went forward and fetched him a box on the side of the head that sent his cap flying and himself staggering. He started round.But at Annie's signal they all flew at him, slapping him, pinching him, pulling his hair, though more in fun than in spite or anger. He, however, saw red. His blue eyes flamed with strange fear as well as fury, and he butted through the girls to the door. It was locked. He wrenched at it. Roused, alert, the girls stood round and looked at him. He faced them, at bay. At that moment they were rather horrifying to him, as they stood in their short uniforms. He was distinctly afraid.'Come on, John Thomas! Come on! Choose!' said Annie.'What are you after? Open the door,' he said.'We shan't—not till you've chosen!' said Muriel.'Chosen what?' he said.'Chosen the one you're going to marry,' she replied.He hesitated a moment.'Open the blasted door,' he said, 'and get back to your senses.' He spoke with official authority.'You've got to choose!' cried the girls.'Come on!' cried Annie, looking him in the eye.' Come on! Come on!'He went forward, rather vaguely. She had taken off her belt, and swinging it, she fetched him a sharp blow over the head with the buckle end. He sprang and seized her. But immediately the other girls rushed upon him, pulling and tearingand beating him. Their blood was now thoroughly up. He was their sport now. They were going to have their own back, out of him. Strange, wild creatures, they hung on him and rushed at him to bear him down. His tunic was torn right up the back, Nora had hold at the back of his collar, and was actually strangling him. Luckily the button burst. He struggled in a wild frenzy of fury and terror, almost mad terror. His tunic was simply torn off his back, his shirt-sleeves were torn away, his arms were naked. The girls rushed at him, clenched their hands on him and pulled at him: or they rushed at him and pushed him, butted him with all their might: or they struck him wild blows. He ducked and cringed and struck sideways. They became more intense.At last he was down. They rushed on him, kneeling on him. He had neither breath nor strength to move. His face was bleeding with a long scratch, his brow was bruised.Annie knelt on him, the other girls knelt and hung on to him. Their faces were flushed, their hair wild, their eyes were all glittering strangely. He lay at last quite still, with face averted, as an animal lies when it is defeated and at the mercy of the captor. Sometimes his eye glanced back at the wild faces of the girls. His breast rose heavily, his wrists were torn.'Now, then, my fellow!' gasped Annie at length. 'Now then—now—'At the sound of her terrifying, cold triumph, he suddenly started to struggle as an animal might, but the girls threw themselves upon him with unnatural strength and power, forcing him down.'Yes—now, then!' gasped Annie at length.And there was a dead silence, in which the thud of heart-beating was to be heard. It was a suspense of pure silence in every soul.'Now you know where you are,' said Annie.The sight of his white, bare arm maddened the girls. He lay in a kind of trance of fear and antagonism. They felt themselves filled with supernatural strength.Suddenly Polly started to laugh—to giggle wildly—helplessly—and Emma and Muriel joined in. But Annie and Nora and Laura remained the same, tense, watchful, with gleaming eyes. He winced away from these eyes.'Yes,' said Annie, in a curious low tone, secret and deadly. 'Yes! You've got it now! You know what you've done, don't you? You know what you've done.' He made no sound nor sign, but lay with bright, averted eyes, and averted, bleeding face.'You ought to be killed, that's what you ought,' said Annie, tensely. 'You ought to be killed.' And there was a terrifying lust in her voice.Polly was ceasing to laugh, and giving long-drawn Oh-h-hs and sighs as she came to herself.'He's got to choose,' she said vaguely.'Oh, yes, he has,' said Laura, with vindictive decision.'Do you hear—do you hear?' said Annie. And with a sharp movement, that made him wince, she turned his face to her.'Do you hear?' she repeated, shaking him.But he was quite dumb. She fetched him a sharp slap on the face. He started, and his eyes widened. Then his face darkened with defiance, after all.'Do you hear?' she repeated.He only looked at her with hostile eyes.'Speak!' she said, putting her face devilishly near his.'What?' he said, almost overcome.'You've got to choose!' she cried, as if it were some terrible menace, and as if it hurt her that she could not exact more.'What?' he said, in fear.'Choose your girl, Coddy. You've got to choose her now. And you'll get your neck broken if you play any more of your tricks, my boy. You're settled now.' There was a pause. Again he averted his face. He was cunning in his overthrow. He did not give in to them really—no, not if they tore him to bits.'All right, then,' he said, 'I choose Annie.' His voice was strange and full of malice. Annie let go of him as if he had been a hot coal.'He's chosen Annie!' said the girls in chorus.'Me!' cried Annie. She was still kneeling, but away from him. He was still lying prostrate, with averted face. The girls grouped uneasily around.'Me!' repeated Annie, with a terrible bitter accent.Then she got up, drawing away from him with strange disgust and bitterness.'I wouldn't touch him,' she said.But her face quivered with a kind of agony, she seemed as if she would fall. The other girls turned aside. He remained lying on the floor, with his torn clothes and bleeding, averted face.'Oh, if he's chosen—' said Polly.'I don't want him—he can choose again,' said Annie, with the same rather bitter hopelessness.'Get up,' said Polly, lifting his shoulder. 'Get up.'He rose slowly, a strange, ragged, dazed creature. The girls eyed him from a distance, curiously, furtively, dangerously.'Who wants him?' cried Laura, roughly.'Nobody,' they answered, with contempt. Yet each one of them waited for him to look at her, hoped he would look at her. All except Annie, and something was broken in her.He, however, kept his face closed and averted from them all. There was a silence of the end. He picked up the torn pieces of his tunic, without knowing what to do with them. The girls stood about uneasily, flushed, panting, tidying their hair and their dress unconsciously, and watching him. He looked at none of them. He espied his cap in a corner, and went and picked it up. He put it on his head, and one of the girls burst into a shrill, hysteric laugh at the sight he presented. He, however, took no heed, but went straight to where his overcoat hung on a peg. The girls moved away from contact with him as if he had been an electric wire. He put on his coat and buttoned it down. Then he rolled his tunic-rags into a bundle, andstood before the locked door, dumbly.'Open the door, somebody,' said Laura.'Annie's got the key,' said one.Annie silently offered the key to the girls. Nora unlocked the door.'Tit for tat, old man,' she said. 'Show yourself a man, and don't bear a grudge.' But without a word or sign he had opened the door and gone, his face closed, his head dropped.'That'll learn him,' said Laura.'Coddy!' said Nora.'Shut up, for God's sake!' cried Annie fiercely, as if in torture.'Well, I'm about ready to go, Polly. Look sharp!' said Muriel.The girls were all anxious to be off. They were tidying themselves hurriedly, with mute, stupefied faces.questions:1. Discuss the significance of the wartime setting and its effect on the roles and attitudes of women.2. What is the tone of the story? What devices contribute to the tone?3. What are the probabilities that Annie and John Thomas would have become intimate if they had not met by accident at the Fair?4. We are tol d that John Thomas “hated intelligent interest.” Does such interest necessarily equate with “possessiveness” ?5. Dose Annie get what she wants? Dose she get what she deserves?。

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• Besides his troubles with the censors, Lawrence was persecuted as well during World War I, for the supposed pro-German sympathies of his wife, Frieda.
• His working-class background and the tensions between his parents provided the raw material for a number of his early works.
• Lawrence would return to this locality and often wrote about nearby Underwood, calling it; "the country of my heart,“ as a setting for much of his fiction.
• The young Lawrence attended Beauvale Board School (1891 -1898), later Nottingham High School.
• He left in 1901, working for three months as a junior clerk at Haywood's surgical appliances factory, but a severe bout of pneumonia, reportedly the result of being accosted by a group of factory girls, ended this career.

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• Besides his troubles with the censors, Lawrence was persecuted as well during World War I, for the supposed pro-German sympathies of his wife, Frieda.
• As a consequence, the Lawrences left England and traveled restlessly to Italy, Germany, Ceylon, Australia, New Zealand, Tahiti, the French Riviera, Mexico and the United States, unsuccessfully searching for a new homeland.
• An English novelist, poet, playwright, essayist, literary critic and painter who published as D. H. Lawrence.
Life and career
• born in Eastwood, Nottinghamshire, England, in 1885. • The fourth child of Arthur John Lawrence, a barely
• Tremendously prolific, his work was often uneven in quality, and he was a continual source of controversy, often involved in widely-publicized censorship cases, most famously for his novel Lady Chatterley's Lover (1928).

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'Tickets, Please!'D. H. Lawrence1919There is in the North a single-line system of tramcars which boldly leaves the county town and plunges off into the black, industrial countryside, up hill and down dale, through the long, ugly villages of workmen's houses, over canals and railways, past churches perched high and nobly over the smoke and shadows, through dark, grimy, cold little market-places, tilting away in a rush past cinemas and shops down to the hollow where the collieries are, then up again, past a little rural church under the ash-trees, on in a bolt to the terminus, the last little ugly place of industry, the cold little town that shivers on the edge of the wild, gloomy country beyond. There the blue and creamy coloured tramcar seems to pause and purr with curious satisfaction. But in a few minutes—the clock on the turret of the Co-operative Wholesale Society's shops gives the time—away it starts once more on the adventure. Again there are the reckless swoops downhill, bouncing the loops; again the chilly wait in the hill-top market-place: again the breathless slithering round the precipitous drop under the church: again the patient halts at the loops, waiting for the outcoming car: so on and on, for two long hours, till at last the city looms beyond, the fat gasworks, the narrow factories draw near, we are in the sordid streets of the great town, once more we sidle to a standstill at our terminus, abashed by the great crimson and cream-coloured city cars, but still jerky, jaunty, somewhat daredevil, pert as a blue-tit out of a black colliery garden.To ride on these cars is always an adventure. The drivers are often men unfit for active service: cripples and hunchbacks. So they have the spirit of the devil in them. The ride becomes a steeplechase. Hurrah! we have leapt in a clean jump over the canal bridges—now for the four-lane corner! With a shriek and a trail of sparks we are clear again. To be sure a tram often leaps the rails—but what matter! It sits in a ditch till other trams come to haul it out. It is quite common for a car, packed with one solid mass of living people, to come to a dead halt in the midst of unbroken blackness, the heart of nowhere on a dark night, and for the driver and the girl-conductor to call: 'All get off—car's on fire.' Instead of rushing out in a panic, the passengers stolidly reply: 'Get on—get on. We're not coming out. We're stopping where we are. Push on, George.' So till flames actually appear.The reason for this reluctance to dismount is that the nights are howlingly cold, black and windswept, and a car is a haven of refuge. From villageto village the miners travel, for a change of cinema, of girl, of pub. The trams are desperately packed. Who is going to risk himself in the black gulf outside, to wait perhaps an hour for another tram, then to see the forlorn notice 'Depot Only'—because there is something wrong; or to greet a unit of three bright cars all so tight with people that they sail past with a howl of derision? Trams that pass in the night!This, the most dangerous tram-service in England, as the authorities themselves declare, with pride, is entirely conducted by girls, and driven by rash young men, or else by invalids who creep forward in terror. The girls are fearless young hussies. In their ugly blue uniforms, skirts up to their knees, shapeless old peaked caps on their heads, they have all the sang-froid of an old non-commissioned officer. With a tram packed with howling colliers, roaring hymns downstairs and a sort of antiphony of obscenities upstairs, the lasses are perfectly at their ease. They pounce on the youths who try to evade their ticket-machine. They push off the men at the end of their distance. They are not going to be done in the eye—not they. They fear nobody—and everybody fears them.'Halloa, Annie!''Halloa, Ted!' 'Oh, mind my corn, Miss Stone! It's my belief you've got a heart of stone, for you've trod on it again.''You should keep it in your pocket,' replies Miss Stone, and she goes sturdily upstairs in her high boots.'Tickets, please.'She is peremptory, suspicious, and ready to hit first. She can hold her own against ten thousand.Therefore there is a certain wild romance aboard these cars—and in the sturdy bosom of Annie herself. The romantic time is in the morning, between ten o'clock and one, when things are rather slack: that is, except market-day and Saturday. Then Annie has time to look about her. Then she often hops off her car and into a shop where she has spied something, while her driver chats in the main road. There is very good feeling between the girls and the drivers. Are they not companions in peril, shipmates aboard this careering vessel of a tramcar, for ever rocking on the waves of a hilly land?Then, also, in the easy hours the inspectors are most in evidence. For some reason, everybody employed in this tram-service is young: there are no grey heads. It would not do. Therefore the inspectors are of the right age, and one, the chief, is also good-looking. See him stand on a wet, gloomy morning in his long oilskin, his peaked cap well down over his eyes, waiting to board a car. His face is ruddy, his small brown moustache is weathered, he has a faint, impudent smile. Fairly tall and agile, even in his waterproof, he springs aboard a car and greets Annie.'Halloa, Annie! Keeping the wet out?''Trying to.'There are only two people in the car. Inspecting is soon over. Then for a long and impudent chat on the footboard—a good, easy, twelve-mile chat.The inspector's name is John Joseph Raynor: always called John Joseph. His face sets in fury when he is addressed, from a distance, with this abbreviation. There is considerable scandal about John Joseph in half-a-dozen villages. He flirts with the girl-conductors in the morning, and walks out with them in the dark night when they leave their tramcar at the depot. Of course, the girls quit the service frequently. Then he flirts and walks out with a newcomer: always providing she is sufficiently attractive, and that she will consent to walk. It is remarkable, however, that most of the girls are quite comely, they are all young, and this roving life aboard the car gives them a sailor's dash and recklessness. What matter how they behave when the ship is in port? Tomorrow they will be aboard again.Annie, however, was something of a tartar, and her sharp tongue had kept John Joseph at arm's length for many months. Perhaps, therefore, she liked him all the more; for he always came up smiling, with impudence. She watched him vanquish one girl, then another. She could tell by the movement of his mouth and eyes, when he flirted with her in the morning, that he had been walking out with this lass, or the other the night before. She could sum him up pretty well.In their subtle antagonism, they knew each other like old friends; they were as shrewd with one another almost as man and wife. But Annie had always kept him fully at arm's length. Besides, she had a boy of her own.The Statutes fair, however, came in November, at Middleton. It happened that Annie had the Monday night off. It was a drizzling, ugly night, yet she dressed herself up and went to the fairground. She was alone, but she expected soon to find a pal of some sort.The roundabouts were veering round and grinding out their music, the side-shows were making as much commotion as possible. In the coconut shies there were no coconuts, but artificial substitutes, which the lads declared were fastened into the irons. There was a sad decline in brilliance and luxury. None the less, the ground was muddy as ever, there was the same crush, the press of faces lighted up by the flares and the electric lights, the same smell of naphtha and fried potatoes and electricity.Who should be the first to greet Miss Annie, on the show-ground, but John Joseph! He had a black overcoat buttoned up to his chin, and a tweed cap pulled down over his brows, his face between was ruddy and smiling and hardy as ever. She knew so well the way his mouth moved.She was very glad to have a 'boy'. To be at the Statutes without a fellow was no fun. Instantly, like the gallant he was, he took her on the dragons, grim-toothed, round-about switchbacks. It was not nearly so exciting as a tramcar, actually. But then, to be seated in a shaking green dragon, uplifted above the sea of bubble faces, careering in a rickety fashion in the lower heavens, whilst John Joseph leaned over her, his cigarette in his mouth, was, after all, the right style. She was a plump, quick, alive little creature. So she was quite excited and happy.John Joseph made her stay on for the next round. And therefore she could hardly for shame to repulse him when he put his arm round her and drew her a little nearer to him, in a very warm and cuddly manner. Besides, he was fairly discreet, he kept his movement as hidden as possible. She looked down, and saw that his red, clean hand was out of sight of the crowd. And they knew each other so well. So they warmed up to the fair.After the dragons they went on the horses. John Joseph paid each time, she could but be complaisant. He, of course, sat astride on the outer horse—named 'Black Bess'—and she sat sideways towards him, on the inner horse—named 'Wildfire'. But, of course, John Joseph was not going to sit discreetly on 'Black Bess', holding the brass bar. Round they spun and heaved, in the light. And round he swung on his wooden steed, flinging one leg across her mount, and perilously tipping up and down, across the space, half-lying back, laughing at her. He was perfectly happy; she was afraid her hat was on one side, but she was excited.He threw quoits on a table, and won her two large, pale-blue hatpins. And then, hearing the noise of the cinema, announcing another performance, they climbed the boards and went in.Of course, during these performances, pitch darkness falls from time to time, when the machine goes wrong. Then there is a wild whooping, and a loud smacking of simulated kisses. In these moments John Joseph drew Annie towards him. After all, he had a wonderfully warm, cosy way of holding a girl with his arm, he seemed to make such a nice fit. And, after all, it was pleasant to be so held; so very comforting and cosy and nice. He leaned over her and she felt his breath on her hair. She knew he wanted to kiss her on the lips. And, after all, he was so warm and she fitted in to him so softly. After all, she wanted him to touch her lips.But the light sprang up, she also started electrically, and put her hat straight. He left his arm lying nonchalant behind her. Well, it was fun, it was exciting to be at the Statutes with John Joseph.When the cinema was over they went for a walk across the dark, damp fields. He had all the arts of love-making. He was especially good at holding a girl, when he sat with her on a stile in the black, drizzling darkness. He seemed to be holding her in space, against his own warmth and gratification. And his kisses were soft and slow and searching.So Annie walked out with John Joseph, though she kept her own boy dangling in the distance. Some of the tram-girls chose to be huffy. But there, you must take things as you find them, in this life.There was no mistake about it, Annie liked John Joseph a good deal. She felt so pleasant and warm in herself, whenever he was near. And John Joseph really liked Annie, more than usual. The soft, melting way in which she could flow into a fellow, as if she melted into his very bones, was something rare and gratifying. He fully appreciated this.But with a developing acquaintance there began a developing intimacy. Annie wanted to consider him a person, a man; she wanted to take an intelligent interest in him, and to have an intelligent response. She did not want a mere nocturnal presence— which was what he was so far. And she prided herself that he could not leave her.Here she made a mistake. John Joseph intended to remain a nocturnal presence, he had no idea of becoming an all-round individual to her. When she started to take an intelligent interest in him and his life and his character, he sheered off. He hated intelligent interest. And he knew that the only way to stop it was to avoid it. The possessive female was aroused in Annie. So he left her.It was no use saying she was not surprised. She was at first startled, thrown out of her count. For she had been so very sure of holding him. For a while she was staggered, and everything became uncertain to her. Then she wept with fury, indignation, desolation, and misery. Then she had a spasm of despair. And then, when he came, still impudently, on to her car, still familiar, but letting her see by the movement of his eyes that he had gone away to somebody else, for the time being, and was enjoying pastures new, then she determined to have her own back.She had a very shrewd idea what girls John Joseph had taken out. She went to Nora Purdy. Nora was a tall, rather pale, but well-built girl, with beautiful yellow hair. She was somewhat secretive.'Hey!' said Annie, accosting her; then, softly: 'Who's John Joseph on with now?''I don't know,' said Nora.'Why tha does,' said Annie, ironically lapsing into dialect. 'Tha knows as well as I do.''Well, I do, then,' said Nora. 'It isn't me, so don't bother.''It's Cissy Meakin, isn't it?''It is for all I know.''Hasn't he got a face on him!' said Annie. 'I don't half like his cheek!I could knock him off the footboard when he comes round me!''He'll get dropped on one of these days,' said Nora.'Ay, he will when somebody makes up their mind to drop it on him. I should like to see him taken down a peg or two, shouldn't you?''I shouldn't mind,' said Nora.'You've got quite as much cause to as I have,' said Annie. 'But we'll drop on him one of these days, my girl. What! don't you want to?''I don't mind,' said Nora.But as a matter of fact Nora was much more vindictive than Annie.One by one Annie went the round of the old flames. It so happened that Cissy Meakin left the tramway service in quite a short time. Her mother made her leave. Then John Joseph was on the qui vive. He cast his eyes over his old flock. And his eyes lighted on Annie. He thought she would be safe now. Besides, he liked her.She arranged to walk home with him on Sunday night. It so happened that her car would be in the depot at half-past nine: the last car would come in at ten-fifteen. So John Joseph was to wait for her there.At the depot the girls had a little waiting-room of their own. It was quite rough, but cosy, with a fire and an oven and a mirror and table and wooden chairs. The half-dozen girls who knew John Joseph only too well had arranged to take service this Sunday afternoon. So as the cars began to come in early, the girls dropped into the waiting-room. And instead of hurrying off home they sat round the fire and had a cup of tea.John Joseph came on the car after Annie, at about a quarter to ten. He poked his head easily into the girls' waiting-room.'Prayer meeting?' he asked.'Ay,' said Laura Sharp. 'Ladies' effort.''That's me!' said John Joseph. It was one of his favourite exclamations.'Shut the door, boy,' said Muriel Baggaley.'On which side of me?' said John Joseph.'Which tha likes,' said Polly Birken.He had come in and closed the door behind him. The girls moved in their circle to make a place for him near the fire. He took off his greatcoat and pushed back his hat.'Who handles the teapot?' he said.Nora silently poured him out a cup of tea.'Want a bit o' my bread and dripping?' said Muriel Baggaley to him.'Ay, all's welcome.'And he began to eat his piece of bread.'There's no place like home, girls,' he said.They all looked at him as he uttered this piece of impudence. He seemed to be sunning himself in the presence of so many damsels.'Especially if you're not afraid to go home in the dark,' said Laura Sharp.'Me? By myself I am!'They sat till they heard the last tram come in. In a few minutes Emma Housely entered.'Come on, my old duck!' cried Polly Birkin.'It is perishing,' said Emma, holding her fingers to the fire.'"But I'm afraid to go home in the dark,"' sang Laura Sharp, the tune having got into her mind.'Who're you going with tonight, Mr Raynor?' asked Muriel Baggaley, coolly.'Tonight?' said John Joseph. 'Oh, I'm going home by myself tonight—all on my lonely-o.''That's me!' said Nora Purdy, using his own ejaculation. The girls laughed shrilly.'Me as well, Nora,' said John Joseph.'Don't know what you mean,' said Laura.'Yes, I'm toddling,' said he, rising and reaching for his coat.'Nay,' said Polly. 'We're all here waiting for you.''We've got to be up in good time in the morning,' he said, in the benevolent official manner. They all laughed.'Nay,' said Muriel. 'Don't disappoint us all.' 'I'll take the lot, if you like,' he responded, gallantly.'That you won't, either,' said Muriel. 'Two's company; seven's too much of a good thing.''Nay, take one,' said Laura. 'Fair and square, all above board, say which one.''Ay!' cried Annie, speaking for the first time. 'Choose, John Joseph—let's hear thee.''Nay,' he said. 'I'm going home quiet tonight.' He frowned at the use of his double name.'Who says?' said Annie. 'Tha's got to ta'e one.''Nay, how can I take one?' he said, laughing uneasily. 'I don't want to make enemies.''You'd only make one,' said Annie, grimly.'The chosen one,' said Laura. A laugh went up.'Oh, ay! Who said girls!' exclaimed John Joseph, again turning as if to escape. 'Well, good-night!''Nay, you've got to take one,' said Muriel. 'Turn your face to the wall, and say which one touches you. Go on—we shall only just touch your back—one of us. Go on—turn your face to the wall, and don't look, and say which one touches you.'They pushed him to a wall and stood him there with his face to it. Behind his back they all grimaced, tittering. He looked so comical.'Go on!' he cried.'You're looking—you're looking!' they shouted.He turned his head away. And suddenly, with a movement like a swift cat, Annie went forward and fetched him a box on the side of the head that sent his cap flying. He started round.But at Annie's signal they all flew at him, slapping him, pinching him, pulling his hair, though more in fun than in spite or anger. He, however, saw red. His blue eyes flamed with strange fear as well as fury, and he butted through the girls to the door. It was locked. He wrenched at it. Roused, alert, the girls stood round and looked at him. He faced them, at bay. At that moment they were rather horrifying to him, as they stood in their short uniforms. He became suddenly pale.'Come on, John Joseph! Come on! Choose!' said Annie.'What are you after? Open the door,' he said.'We sha'n't—not till you've chosen,' said Muriel.'Chosen what?' he said.'Chosen the one you're to marry,' she replied. The girls stood back in a silent, attentive group.He hesitated a moment:'Open the confounded door,' he said, 'and get back to your senses.' He spoke with official authority.'You've got to choose,' cried the girls.He hung a moment; then he went suddenly red, and his eyes flashed.'Come on! Come on!' cried Annie.He went forward, threatening. She had taken off her belt and, swinging it, she fetched him a sharp blow over the head with the buckle end. He rushed with lifted hand. But immediately the other girls flew at him, pulling him and pushing and beating him. Their blood was now up. He was their sport now. They were going to have their own back, out of him. Strange, wild creatures, they hung on him and rushed at him to bear him down. His tunic was torn right up the back. Nora had hold at the back of his collar, and was actually strangling him. Luckily the button-hole burst. He struggled in a wild frenzy of fury and terror, almost mad terror. His tunic was torn off his back as they dragged him, his shirt-sleeves were torn away, one arm was naked. The girls simply rushed at him, clenched their hands and pulled at him; or they rushed at him and pushed him, butted him with all their might.At last he was down. They rushed him, kneeling on him. He had neither breath nor strength to move. His face was bleeding with a long scratch.Annie knelt on him, the other girls knelt and hung on to him. Their faces were flushed, their hair wild, their eyes were all glittering strangely. He lay at last quite still, with face averted, as an animal lies when it is defeated and at the mercy of the captor.Sometimes his eye glanced back at the wild faces of the girls. His breast rose heavily, his wrists were scratched and bleeding.'Now then, my fellow!' gasped Annie at length.'Now then—now———'At the sound of her terrifying, cold triumph, he suddenly started to struggle as an animal might, but the girls threw themselves upon him with unnatural strength and power, forcing him down.'Yes—now then!' gasped Annie at length. And there was a dead silence, in which the thud of heartbeating was to be heard. It was a suspense of pure silence in every soul.'Now you know where you are,' said Annie.The sight of his white, bare arm maddened the girls. He lay in a kind of trance of fear and antagonism. They felt themselves filled with supernatural strength.Suddenly Polly started to laugh—to giggle wildly—helplessly—and Emma and Muriel joined in. But Annie and Nora and Laura remained the same, tense, watchful, with gleaming eyes. He winced away from these eyes.'Yes,' said Annie, recovering her senses a little.'Yes, you may well lie there! You know what you've done, don't you? You know what you've done.'He made no sound nor sign, but lay with bright, averted eyes and averted, bleeding face.'You ought to be killed, that's what you ought,' said Annie, tensely.Polly was ceasing to laugh, and giving long-drawn oh-h-h's and sighs as she came to herself.'He's got to choose,' she said, vaguely.'Yes, he has,' said Laura, with vindictive decision.'Do you hear—do you hear?' said Annie. And with a sharp movement, that made him wince, he turned his face to her.'Do you hear?' she repeated, shaking him. But he was dumb. She fetched him a sharp slap on the face. He started and his eyes widened.'Do you hear?' she repeated.'What?' he said, bewildered, almost overcome.'You've got to choose,' she cried, as if it were some terrible menace.'What?' he said, in fear.'Choose which of us you'll have, do you hear, and stop your little games. We'll settle you.'There was a pause. Again he averted his face. He was cunning in his overthrow.'All right then,' he said. 'I choose Annie.''Three cheers for Annie!' cried Laura.'Me!' cried Annie. Her face was very white, her eyes like coal. 'Me———!'Then she got up, pushing him away from her with a strange disgust.'I wouldn't touch him,' she said.The other girls rose also. He remained lying on the floor.'I don't want him—he can choose another,' said Annie, with the same rather bitter disgust.'Get up,' said Polly, lifting his shoulder. 'Get up.'He rose slowly, a strange, ragged, dazed creature. The girls eyed him from a distance, curiously, furtively, dangerously.'Who wants him?' cried Laura, roughly.'Nobody,' they answered, with derision.And they began to put themselves tidy, taking down their hair, and arranging it. Annie unlocked the door. John Joseph looked round for his things. He picked up the tatters, and did not quite know what to do with them. Then he found his cap, and put it on, and then his overcoat. He rolled his ragged tunic into a bundle. And he went silently out of the room, into the night.The girls continued in silence to dress their hair and adjust their clothing, as if he had never existed.（注：可编辑下载，若有不当之处，请指正，谢谢!）。

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2. Complications
individual’s personality.
Artistic features
Mainly realism, which combines dramatic scenes with an authoritative commentary.
Symbolism + poetic imagination Traditional realism + psychical meaning
B. Characters --Annie: the chief among the women conductors due to her roughness and intelligence
--John Thomas: representative of phallic power --In a world deprived of fit suitors, John represents the rare presence of sensual power.
During these early years he was working on his first poems, some short stories, and a draft of a novel.
At the end of 1907 he won a short story competition in the Nottingham Guardian, the first time that he had gained any wider recognition for his litbles with the censors, Lawrence was persecuted as well during World War I, for the supposed pro-German sympathies of his wife, Frieda.
Lawrence spent his formative years in the coal mining town of Eastwood.
His working-class background and the tensions between his parents provided the raw material for a number of his early works.
-- All able-bodied men depart for the trenches, only crippled and delicate men left at home (declining masculinity)
--a group of fearless young hussies, empowered women conductors on a tram line , assuming jobs and prerogatives of the departed soldiers. (masculinized girls)
Psychological exploration: 1) Human sexuality 2) Oedipus complex
Dehumanization
Lawrence has expressed a strong reaction against a mechanical civilization.
Lawrence would return to this locality and often wrote about nearby Underwood, calling it; "the country of my heart,“ as a setting for much of his fiction.
As a consequence, the Lawrences left England and traveled restlessly to Italy, Germany, Ceylon, Australia, New Zealand, Tahiti, the French Riviera, Mexico and the United States, unsuccessfully searching for a new homeland.
In his opinion, the bourgeois industrial revolution , which made its realization at the cost of ravishing the land, had started the catastrophic uprooting of man from nature.
1902 to 1906, Lawrence served as a pupil teacher at the British School, Eastwood.
He went on to become a full-time student and received a teaching certificate from University College, Nottingham, in 1908.
An English novelist, poet, playwright, essayist, literary critic and painter who published as D. H. Lawrence.
Life and career
born in Eastwood, Nottinghamshire, England, in 1885. The fourth child of Arthur John Lawrence, a barely literate miner, and Lydia a former pupil teacher who, owing to her family's financial difficulties, had to do manual work in a lace factory.
Under this mechanical control, human beings were turned into inanimated being
Human Sexuality
It is this agonized concern about the dehumanizing effect of mechanical civilization on the sensual tenderness of human nature that haunts Lawrence’s writings.
Case Study One
“Tickets, please” by D. H. Lawrence
A Brief Introduction to D. H. Lawrence Plot and its elements An Analysis of “Tickets, please”
David Herbert Lawrence (11 September 1885 – 2 March 1930)
A lifelong sufferer from tuberculosis, Lawrence died in 1930 in France, at the age of 44.
Viewpoints in Lawrence’s Writings
Social criticism: Dehumanization
In Taos, New Mexico, he became the center of a group of female admirers who considered themselves his disciples, and whose quarrels for his attention became a literary legend.
The young Lawrence attended Beauvale Board School (1891 1898), later Nottingham High School.
He left in 1901, working for three months as a junior clerk at Haywood's surgical appliances factory, but a severe bout of pneumonia, reportedly the result of being accosted by a group of factory girls, ended this career.
Plot of “Tickets, please”
1. Exposition--setting and introduction to the main characters
A. Setting: sterile industrial countryside of central England during the WWI.
Tremendously prolific, his work was often uneven in quality, and he was a continual source of controversy, often involved in widely-publicized censorship cases, most famously for his novel Lady Chatterley's Lover (1928).
Structure of Plot Climax
Complications
Falling Action
Exposition
Resolution
“Tickets, please”
"Tickets, Please" is one of the short stories in the collection England My England, published in 1922.

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