first confession Frank O'Connor原文和翻译

合集下载

迎向富裕Openyourmindtoprosperity

迎向富裕Openyourmindtoprosperity

迎向富裕Open your mind to prosperity作者凯萨琳.庞德(Catherine Ponder)序(1)是迎向富裕的时候了!来自作者的特别讯息有一次,一位穿着时髦裤装的迷人南方加利福尼亚州女商人告诉作者:「当我第一次运用富裕思想的力量,它让我富裕的大吃一惊。

那时刚离婚,手上只有几个月的收入,我决定从商碰碰运气。

第一年我预计赚进四、五千美元。

但透过运用你的方法,我反而在前几个月就赚了将近五千美元。

我现在每年进帐五万美元,我现在最大的困扰是试着不要对变得这么富裕而感到愧疚。

」一对母女学了这个方法,并且把它运用在当她们两人都失去工作时。

那位女儿赢得了「音乐人」的戏剧演出机会。

在她赢得试音的同一天,她的母亲也在娱乐界得到一份工作。

这位母亲这么说:「这是勇敢的迎向富裕思想的一份奖金」不久,这位女儿出现在全国性的电视。

她持续有表演的工作。

另一份报告是这样的:「我们的房子快被收回了。

我们的资金陷入悲惨状态。

然后我开始运用你的富裕方法。

美好的事情开始发生。

我们收到一封里面有一张一万美元支票的信。

那是继承自几个月前过世的亲戚的遗产。

通常这些业务细节得花几个月去处理。

我们知道这位亲戚有留一些东西给我们,但是我们做梦也没想到会这么多。

」另一个人宣称:「如果不是富裕思想的力量,我会因为欠债未还进监狱。

现在我反而和一位美好的、有才能的、有爱心的男人结婚了。

我现在超出我想象的富裕,并且我现在写的文章和书,全都被出版了。

」她解释说:「一年前『法律』上未偿还的债务紧跟在我之后,我刚从医院做完手术出院,我被资遣了,我是寂寞没有爱人的。

」当时我既消沉、破产又生病。

然后我学了你的富裕哲学并且开始使用它。

在短期间内,我在三份杂志中获得了写每个月的系列文章的机会。

我又找到我爱的人。

几年前我们曾简短的约会过,但后来分手了。

突然间每件事都自然定位了。

几个月后的现在,我发现自己是两本书和许多文章的作者,嫁给我爱的男人,有着令人惊叹的富裕。

费斯汀格法则之启迪 英文版

费斯汀格法则之启迪 英文版

A blood case caused by a watchToday I want to tell you a story.The hero of the story is li lei.One morning li lei woke up and washed, he put his watch on the edge of the washstand, his wife (do you know who his wife is?).Han Meimei was afraid the watch would get wet, so she took the watch and put it on the table.At this moment, their son came to the table and wanted to take the bread, but knocked his father's watch on the ground and broke it.li lei loved the watch, so he beat his son and scolded his wife. Han Meimei was also angry, and the two started to quarrel. Then li lei didn't eat the breakfast and drove directly to the company. When he arrived at the company, li lei suddenly remembered that he had left his bag at home, so he had to turn around and go home.But no one was at home. Han meimei went to work and the son went to school. Li lei's own key was in the bag, so he couldn't get into the door and had to call han meimei for the key.When han meimei rushed home, she knocked over a fruit stand and the owner did not let her go.She had to pay the money for the owner.When li lei arrived at the company, he was 15 minutes late, so he was scolded by his boss. Li lei was in a terrible mood. Han meimei was also deducted for early retirement.Their son, who played baseball for the day, could have done well, but was out of the mood.What a terrible day!Isn't it?At that time, a mysterious man appeared in front of li lei, said to him: "hello, li lei, I am festinger, this story's author, if I can let time back to this morning, your watch broke at the moment, would you like?"Of course he would!So, let's see what happens next.The watch was broken.Li lei love his watch, but also know that it can't change the fact and to comfort his son: "it doesn't matter, I can take to be repaired watches, but the next time you may not be so careless."After that, the family had a happy breakfast and went to work on their own.As we all expected, the son was happy, the wife was happy, li lei was also happy, then everything would not happen.This is the festinger rule.He stresses that 10 percent of our lives are beyond our control, and 90 percent of what we can control.In this case, the watch is 10 percent off our control.The next series of things is another 90 percent.Although we can't control the previous 10 percent, we can fully determine the remaining 90 percent through our mindsets and actions.In real life, I often hear people complain: how can I be so unlucky? There is always something bad about me every day. Who can help me?Only we can help ourselves.If you know and can use the "festinger rule", all problems will be solved。

拜伦.凯特功课

拜伦.凯特功课

——《一念之转四句话改变你的人生》摘录LOVING WHAT IS拜伦‧凯蒂,与斯蒂芬‧米切尔合著除了你自己以外,没有人可以给你自由。

这本小册子将会教你怎么做。

—— 拜伦‧凯蒂这本小册子是《一念之转》的摘录。

每年,数以千计的小册子经索取而免费寄送到世界各地的非营利组织,帮助人们发现“功课” (The Work) 改變一生的力量。

如果你想进一步探索做“功课”的过程,我们建议你到图书销售处洽询《一念之转》。

全本书版将有助你更深入了解“功课”。

书中包含很多凯蒂引导人们做“功课”的例子,关于恐惧、健康、人际关系、金钱、和身体等等议题。

《一念之转》也有英文有声书,提供你聆听凯蒂在“功课”工作坊现场引导的珍贵录音。

你可在我们的网站: 找到英文版书籍和有声读物的信息,/chinese 找到有关拜伦‧凯蒂的中文翻译版书籍和其他中文出版物。

© 2010 拜伦‧凯蒂公司 版权所有简介拜伦‧凯蒂的“功课”提供了一个方法来确认与质疑造成世间一切痛苦的思想。

它让你内心与生活中获得宁静。

任何人,不论年纪是老是少,健康是好是坏,教育水平是高是低,只要敞开心胸,都能做“功课” 。

拜伦‧凯蒂瑞德 (Byron Kathleen Reid) 三十来岁时患上重度的忧郁症。

接下来的十年每况愈下,凯蒂(大家都这么称呼她) 有两年几乎下不了床,一心想著自杀。

结果某天清晨,从绝望的深渊中,她体验到从此改变她一生的了悟。

凯蒂发现,当她相信事情应该和现况不同时,(我的丈夫应该多爱我一点,我的孩子应该多感激我一点)她感受到痛苦。

而当她不相信这些念头时,她找到心中的平静。

她觉察到造成她的忧郁症的并不是这个世界,而是她对世界的看法。

与其絕望地设法改变世界来迎合自己的想法,她不如质疑这些念头,并藉由接受现实并拥抱现实,体验前所未有的自由与喜悦。

凯蒂发展了一套简单却功效强大的探究方法,又称为“功课”,使得由苦至乐的转变不再高不可攀。

结果,一个一度下不了床想自杀的女人,从此对世间万物充满了爱。

莫妮卡。莱温斯基——耻辱的代价(汉语英语对照文本)

莫妮卡。莱温斯基——耻辱的代价(汉语英语对照文本)

莫妮卡·莱温斯基主讲人:莫妮卡莱温斯基主题:耻辱的代价时间:2015年3月19日主办:Ted大会【编者按】以下是澎湃新闻()对莱温斯基演讲内容的翻译:站在你们面前的是一个在大众面前沉默了十年之久的女人。

当然,现在情况不一样了,不过这只是最近发生的事。

莱温斯基参加一次演讲。

网络图片不想回到22岁几个月前,我在《福布斯》杂志举办的“30岁以下”峰会(Under 30 Summit)上发表了首次公开演讲。

现场1500位才华横溢的与会者都不到30岁。

这意味着1998年,他们中最年长的是14岁,而最年轻的只有4岁。

我跟他们开玩笑道,他们中有些人可能只在说唱歌曲里听到过我的名字。

是的,大约有40首说唱歌曲唱过我。

但是,在我演讲当晚,发生了一件令人吃惊的事——我作为一个41岁的女人,被一个27岁的男孩示爱。

我知道,这听上去不太可能对吧?他很迷人,说了很多恭维我的话,然后我拒绝了他。

你知道他为何搭讪失败吗?他说,他可以让我感到又回到了22岁。

后来,那晚我意识到,也许我是年过40岁的女人中唯一一个不想重返22岁的人。

22岁时,我爱上了我的老板;24岁的时,我饱受了这场恋爱带来的灾难性的后果。

现场的观众们,如果你们在22岁的时候没有犯过错,或者没有做过让自己后悔的事,请举起手好吗?是的,和我想的一样。

与我一样,22岁时,你们中有一些人也曾走过弯路,爱上了不该爱的人,也许是你们的老板。

但与我不同的是,你们的老板可能不会是美国总统。

当然,人生充满惊奇。

之后的每一天,我都会想起自己所犯的错误,并为之深深感到后悔。

饱受网络欺凌之苦1998年,在卷入一场不可思议的恋情后,我又被卷入了一场前所未有的政治、法律和舆论漩涡的中心。

记得吗?几年前,新闻一般通过三个途径传播:读报纸杂志、听广播、和看电视,仅此而已。

但我的命运并不是仅此而已。

这桩丑闻是通过数字革命传播的。

这意味着我们可以获取任何我们需要的信息,不论何时何地。

这则新闻在1998年1月爆发时,它也在互联网上火了。

Frank O'Connor

Frank O'Connor

Frank O'Connor was an Irish writer of over 150 works, best known for his short stories and memoirs. The Frank O'Connor International Short Story Award is named in his honor.Early lifeRaised in Cork, the only child of his family. O'Connor's early life was marked by his father's alcoholism, debt, and ill-treatment of his mother. His childhood was shaped in part by his mother, who supplied much of the family's income by cleaning houses, because his father was unable to keep steady employment due to his drunkenness. O'Connor adored his mother and was bitterly resentful of his father. In his memoirs, he recalled his childhood as "those terrible years", and admitted that he had never been able to forgive his father for his abuse of himself and his mother. When his mother was seventy, O'Connor was horrified to learn from his own doctor that she had suffered throughout her life from chronic appendicitis(阑尾炎), which she had endured with great stoicism, as she had never had the time nor the money to see a doctor.DeathFrank O'Connor had a stroke while teaching at Stanford University in 1961, and later died from a heart attack in Dublin, Ireland on 10 March 1966. He was buried in Deans Grange Cemetery on 12 March 1966.WorkIn a literary career that spanned forty-four years (1922 - 1966), he produced eleven collections of short stories. He also published two novels, one book of original poetry, seven books of translated Irish poetry, a biography, an autobiography, three travelogues on Ireland, eight plays, two selected anthologies of Irish writing, five books of literary criticism, and over three hundred articles and reviews on cultural, social and political issues.NovelsThe Saint and Mary Kate (1932)Dutch Interior (1940)AutobiographyAn Only Child (1961)My Father's Son (1968)Poetry from the IrishThe Wild Bird's Nest (1932)Lament for Art O'Leary (1940)The Midnight Court (1945)Kings, Lords, and Commons (1959)The Little Monasteries (1963)Irish historyThe Big Fellow, biography of Michael Collins (1937)CriticismThe Road to Stratford, US Title: Shakespeare's Progress (196l)The Mirror in the Roadway: A Study of the Modern Novel (1956)The Lonely Voice: A Study of the Short Story (1962)The Backward Look: A Survey of Irish Literature (1967)WorksGuests of the Nation (1931)A short story, portraying the execution of two Englishmen held captive by the Irish Republican Army during the War for Independence. The story is split into four sections. The first reveals a real sense of camaraderie同志间的友爱between the English prisoners, with the two Englishmen being killed, and the final lines of the story describe the disgusting effect this betrayal has on the Irishmen. The very last sentence, often praised by critics, is reminiscent怀旧的of Gogol's "and from that day forward, everything appeared to me as if in a different light."The Big Fellow (1937)a 1937 biography of the famed Irish leader, Michael Collins.The Big Fellow covers the period of Collins's life from the Easter Rising in 1916 to his death during the Irish Civil War in 1922. Unlike most conventional biographies of famous leaders, O'Connor establishes a clear goal in portraying Collins's character and human qualities above his major achievements. Through his friendship with Richard Hayes, O'Connor was able to meet and interview many people who had known Collins; in particular he received invaluable information from Collins' secretary, Joe O'Reilly.Writing styleA volume of O’Connor’s stories is a tight packet of other people’s lives, in which the author often comes across as a perceptive, sympathetic absence, precisely attuned to his subjects’ personalities and peculiarities, their desires, despair and patterns of speech, but not presuming to comment on the machineries of fate that he lays open – except in the stories that run close to autobiography, which are full of self-deprecating irony. O’Connor’s writing is self-effacing in its craftsmanship, too. His prose has a conversational ease rooted in oral storytelling, and modestly conceals the hard, perfectionist artistry that he achieved by working his stories through twenty or fifty drafts.Frank O'Connor’s PrizeThe Cork City - Frank O'Connor International Short Story Award, is awarded to the best short fiction collection published in English anywhere in the world in the year preceding the festival. The prize is also open to translated works and in the event of a translation winning the prize is divided equally between author and translator. The award is described as "the richest prize for the short story form" and at €35,000 in 2010 is one of the most valuable literary prizes for any category of literature.Frank O'Connor’s FestivalSince 2000, The Munster Literature Centre in O'Connor's hometown of Cork has run a festival dedicated to the short story form in O'Connor's name. The longest established annual festival dedicated to the short story form in an English-speaking country, it regularly hosts readings, workshops and master classes for contemporary practitioners of the form, as well as celebrating the work of O'Connor and other local short fiction writers such as Elizabeth Bowen, Seán Ó Faoláin and William Trevor.ReputationIn America, Frank O’Connor is best known for ―Guests of the Nation‖and ―My Oedipus Complex,‖ the latter story once required reading for college freshmen both in English and psychology classes.He was perhaps Ireland's most complete man of letters, best known for his varied and comprehensive short stories but also for his work as a literary critic, essayist, travel writer, translator and biographer. He was also a novelist, poet and dramatist.From the 1930s to the 1960s he was a prolific writer of short stories, poems, plays, and novellas. His work as an Irish teacher complemented his plethora of translations into English of Irish poetry, including his initially banned translation of The Midnight Court. Many of O'Connor's writings were based on his own life experiences. O'Connor's experiences in the Irish War of Independence and the Irish Civil War are reflected in The Big Fellow, his biography of Irish revolutionary leader Michael Collins, published in 1937, and one of his best-known short stories, Guests of the Nation (1931), published in various forms during O'Connor's lifetime and included in Frank O'Connor —Collected Stories, published in 1981.。

国王的演讲第一次治疗和战前演讲中英文台词

国王的演讲第一次治疗和战前演讲中英文台词

第一部分18--28得先关上外面那个再把这个往前推You have to shut that one first. Put that one forth. 很好Excellent.你在哪找到的这个医生Where did you find this...physician?分类广告Classifieds,紧挨着"法国模特请联系牧羊菜市场"那条next to 'French model, Shepherd's Market'.有人强烈推荐他He comes highly recommended.为了救济穷人他收取高昂的费用Charges substantial fees in order to help the poor. 天啊或许他是共产主义者Oh dear, perhaps he's a Bolshevik?!没有前台他喜欢简单No receptionist. He likes to keep things simple. 我们是约翰逊夫妇The Johnson's.你可以进去了约翰逊先生You can go in now, Mr. Johnson.莱昂内尔说Lionel says...如果你愿意可以在这等约翰逊夫人wait here if you wish, Mrs Johnson.或者天天Or, it being a p-天不错也也许您可以去散步pleasant day, p-perhaps take a stroll.我说的对吗莱昂内尔Was that alright...Lionel?棒极了维利等你妈妈来接你吧Marvellous! Willy. You can stay and wait for your mom.约翰逊夫人Mrs Johnson...约翰逊先生您请进Mr Johnson, Do you come in?维利是个好孩子He's a good lad, Willy.第一次来见我时他几乎一个音都发不出He could hardly make a sound, you know, when he first came to me.我儿子们的杰作不错吧My boys made those. They are good, aren't they?请随意Please make yourself comfortable.有人告诉我不要坐得太近I was told not to sit too close.我认为和王子说话时要等王子选话题Well I believe when speaking with a prince, One waits for the prince to choose a topic.让我开始谈话Waiting for me to... commence那得等很久a conversation .. one can wait a rather long wait.您知道什么笑话吗Do you know any jokes?计时不是我的强项Timing isn't my strong suit.喝茶吗Cup of tea?不谢谢No thank you.我要来一杯I think I'll have one.罗格医生您还不开始治疗吗Aren't you going to start treating me, Dr Logue?除非您愿意被治疗Only if you're interested in being treated.请叫我莱昂内尔Please, call me Lionel.我更愿称你为先生I prefer Doctor.我更愿被称为莱昂内尔我该怎么称呼您I prefer Lionel. What'll I call you?殿下之后可以称阁下Your Royal Highness, then Sir after that.在这个场合太正式了您的名字是A little bit formal for here. I prefer names.阿尔伯特·弗雷德里克·亚瑟·乔治王子Prince Albert ...Frederick Arthur George.叫博迪怎样How about Bertie?只有我的家人那么叫Only my family uses that.很好在这里我们平等相处比较好Perfect. In here, it's better if we're equals.如果我们真平等我就不用来了If we were equals, I wouldn't be here.在家陪妻子I'd be at home with my wife谁管我结巴and no one would give a damn.请不要抽烟Please, Don't do that.什么I'm sorry?我认为抽烟对您的健康不利I believe, sucking smoke into your lungs will kill you. 我的医生说这能放松喉咙My physicians say it relaxes the throat.一群白痴They're idiots.他们都是御医They've all been knighted.那就是官方认证的白痴Makes it official then.我的地盘我做主My castle, my rules.谢谢Thank you.请问你最早的记忆是What was your earliest memory?什什么意思What on earth do you mean?你记得的第一件事Your first recollection.我不I'm not...不是来谈私事的here to discuss my personal matters.那您来干什么Why're you here then?因为我他妈的结巴Because I am bloody well stammer!您脾气挺大You have a bit of a temper?这是我缺点之一One of my many faults.结巴是从何时开始的When did the defect start?一直都这样I've always been this way!我觉得不是I doubt that.你知道什么结巴的是我Don't tell me! It's my stammer!可我是专家It's my field.我向您保证口吃绝非天生I can assure you, no infant starts to speak with a stammer. 您是几岁开始的When did yours start?四五岁Four or five.一般都是这个年纪That's typical.都这么说So I've been told.我记事起就结巴了I can't remember not doing it.我知道I can believe that.您思考的时候也会停顿吗Do you hesitate when you think?胡说Don't be ridiculous.自言自语时呢How about when you talk to yourself?博迪所有人都会偶尔自言自语Everyone natters to themselves occasionally, Bertie. 别那么叫我Stop calling me that.我就这么叫I'm not going to call you anything else.那就别说了Then we shan't speak!医生这次你收钱吗Are you charging for this, Doctor?收一大笔呢A fortune.泡一会再喝I'll just let that brew.那么自言自语时你结巴吗So, when you talk to yourself, do you stammer?当然不会Of course not!那您的结巴还能治好Well, that proves your impediment isn't a permanent part of you. 你觉得病因是什么What do you think was the cause?我不不知道I don't...Don't know.也不不在乎我就是结巴I don't care! I stammer!没人能治好And no one can fix it.我打赌您此时此刻就能流利地朗诵I Bet you, you can read flawlessly, right here, right now.要是我赢我就要问您更多问题And if I win the bet, I get to ask you more questions. -如果我赢呢-您不必回答-And if I win? - You don't have to answer.一般人都都赌钱One usually... wagers money.每人一先令作为开始A bob each to keep it sweet?-你出一先令-我不不带钱-Let's see your shilling?? - I don't... carry money.就知道您没有I had a funny feeling you mightn't.我借您下回还我I'll stake you. And you can pay me back next time. 谁说有下回Who says there is a next time?那倒是我还没决定给您治疗I haven't agreed to take you on, yet.请起立看这个Please stand. And take a look at that.我读读不了I can't...can't read this.您都没试就输给我一先令Then you owe me a shilling, for not trying.活着还是死去这...To be... or not to be, that...我读不了I can't read!还没完呢I haven't finished yet.我用这机器给您录音I'm going to record your voice再放出来给您听and then play it back to you on the same machine.这机器棒极了This is brilliant.美国的最新产品银音牌It's the latest thing from America: its a Silvertone.戴上这个Pop this on?伙计这能赚一先令您可以满载而归There's a bob in this, mate. You can go home rich!-这在放音乐-我知道- You're playing music. - I know.那我怎么听见自己说什么How can I hear what I'm saying?王子的脑子肯定知道嘴在说什么Surely a Prince's brain knows what its mouth is doing. 你一定不了解王子You're not well acquainted with Royal Princes, are you? 完全没用Hopeless. Hopeless!您读得非常好You were sublime.我怎么会为了一先令欺骗王子殿下Would I lie to a prince of the realm to win twelve pence? 我怎么知道一个澳洲人I've no idea what an Australian might do为了那点钱会做出什么for that sort of money.我放出来给您听听Let me play it back to you.不用No.那好吧我就要提问了All right then, I get to ask you the question.谢谢你医生Thank you, Doctor,我觉得这治不好我I don't feel.. this is for me.麻烦你了再见Thank You for your time, Bye.阁下Sir?录音是免费的The recording is free.请收下做纪念Please keep it as a souvenir.没用No.第二部分103--107罗格不管结果如何Logue, however this turns out,我都不知道该如何感谢你I don't know how to thank you for what you've done. 授爵行吗Knighthood?抛开一切只要对着我说话就好Forget everything else and just say it to me.对着我说就像对朋友说Say it to me, as a friend.在这一庄严时刻In this grave hour,也许是我们有史以来生死攸关的时刻perhaps the most fateful in our history,我要向大英人民的每个家庭I send to every household of my peoples,无论是在国内both at home还是海外and overseas传达这一消息this message和你们一样spoken with the same depth of feeling怀着同样深刻的感受for each one of you就好像我在和你们as if I were able to cross your threshold面对面交谈and speak to you myself.对我们大多数人来说有生之年For the second time in the lives of most of us我们再一次面临面临战争we are at... at war.一次有一次Over and over again我们竭尽全力we have tried to find想为我们和那些如今成为敌人的人之间的差异a peaceful way out of the differences between ourselves找到和平的解决办法and those who are now our enemies.但终是突然But it has been in vain.我们被迫面临冲突We have been forced into a conflict.因为我们是被号召去挑战一种信条For we are called, to meet the challenge of a principle 这种信条如果获胜which, if it were to prevail,将是对全世界文明秩序的would be fatal to any civilized order致命打击in the world.这种信条Such a principle,剥除所有伪装stripped of all disguise,无疑是一种简单的is surely the mere原始信条那就是强权即真理primitive doctrine that might is right.为了我们所珍惜的一切For the sake of all that we ourselves hold dear,毫无疑问我们不应拒绝迎接这种挑战it is unthinkable that we should refuse to meet the challenge. 为了这个崇高的目标在此It is to this high purpose that I now call我号召海内外所有的大英臣民my people at home and my peoples across the seas,将我们事业当作自己的事业who will make our cause their own.请你们保持镇静和坚定I ask them to stand calm and firm,在此危难之时团结一致and united in this time of trial.任务十分艰巨The task will be hard.我们前方也许是黑暗There may be dark days ahead,而战争也将不再局限于战场and war can no longer be confined to the battlefield.但我们只能做我们认为正确的事情But we can only do the right as we see the right并向上帝虔诚祈祷and reverently commit our cause to God.如果我们所有人都能坚定信念If one and all we keep resolutely faithful to it,那么有上帝的庇佑then, with God's help, 我们将取得胜利we shall prevail.。

Frank O'Connor简介

Frank O'Connor简介

imprisonment being in Gormanston, County Meath between 1922 and 1923.
Literary career
• Following his release, took various positions---- Irish teacher, theatre director, and librarian. • In 1935, became a member of the Board of Directors of the Abbey [‘æbi] Theatre(阿贝剧院) in Dublin, founded by William Butler Yeats(威廉 巴特勒 叶芝) and other members of the Irish National Theatr to the 1960s he was a prolific writer of short stories, poems, plays, and novellas. His work as an Irish teacher complemented his plethora ['pleθərə] (extreme excess) of translations into English of Irish poetry, including his initially banned translation of "The Midnight Court". Many of O'Connor's writings were based on his own life experiences
My Oedipus Complex
• “My Oedipus Complex” is a unique title for the story. Oedipus is a character in the Greek mythology. He was the son of Laius, King of Thebes, and Jocasta his wife. To avoid the fulfillment of the prophecy that he would murder his father and marry his mother, Oedipus was abandoned on the mountains soon after birth and later adopted by the shepherd.

My Oedipus Complex

My Oedipus Complex

奥康诺) (17September
About the Bibliography
My Oedipus Complex
The First Confession An Only Child My Father’s Son The Wild Bird’s Nest The Midnight Court Christmas Morning The Man of the World The Lonely Voice Guess of the Nation
Conclusion
• Parents and children see the world differently because of the different experience they have about the world. It is quite natural that sometimes they misunderstand each other. As children are not mature enough, so parents should show more understanding and be patient.
About the article





the narrator (Larry) cute ,childish, imaginative His father fatherly, not good at communication His mother considerate, careful, harmonious Sonny little baby, noisy, cried for attention
What do you think of their conflict?

TheLoveSongofJ.AlfredPrufrock中英全文对照

TheLoveSongofJ.AlfredPrufrock中英全文对照

The Love Song of J. Alfre‎d Prufr‎o ckT.S.Eliot‎1.S’io‎crede‎s se che mia rispo‎s ta fosse‎2. A perso‎n a che mai torna‎s se al mondo‎,3.Quest‎a fiamm‎a stari‎a senza‎piu scoss‎e.4.Ma perci‎o cche‎giamm‎a i di quest‎o fondo‎5.Non torno‎vivo alcun‎,‎s’i’odo‎il‎v ero,6.Senza‎tema‎d’infam‎i a ti rispo‎n do.7.Let us go then, you and I,8.When the eveni‎n g is sprea‎d out again‎s t the sky9.Like a patie‎n t ether‎i zed upon a table‎;10.Let us go, throu‎g h certa‎i n half-deser‎t ed stree‎t s,11.The mutte‎r ing retre‎a ts12.Of restl‎e ss night‎s in one-night‎cheap‎hotel‎s13.And sawdu‎s t resta‎u rant‎s with oyste‎r-shell‎s:14.Stree‎t s that follo‎w like a tedio‎u s argum‎e nt15.Of insid‎i ous inten‎t16.To lead you to an overw‎h elmi‎n g quest‎i on ...17.Oh,‎do‎not‎ask,‎“What‎is‎it?“18.Let us go and make our visit‎.19.In the room the women‎come and go20.Talki‎n g of Miche‎l ange‎l o.21.The yello‎w fog that rubs its back upon the windo‎w-panes‎,22.The yello‎w smoke‎that rubs its muzzl‎e on the windo‎w-panes‎,23.Licke‎d its tongu‎e into the corne‎r s of the eveni‎n g,24.Linge‎r ed upon the pools‎that stand‎in drain‎s,25.Let fall upon its back the soot that falls‎from chimn‎e ys,26.Slipp‎e d by the terra‎c e, made a sudde‎n leap,27.And seein‎g that it was a soft Octob‎e r night‎,28.Curle‎d once about‎the house‎, and fell aslee‎p.29.And indee‎d there‎will be time30.For the yello‎w smoke‎that slide‎s along‎the stree‎t,31.Rubbi‎n g its back upon the windo‎w-panes‎;32.There‎will be time, there‎will be time33.To prepa‎r e a face to meet the faces‎that you meet;34.There‎will be time to murde‎r and creat‎e,35.And time for all the works‎and days of hands‎36.That lift and drop a quest‎i on on your plate‎;37.Time for you and time for me,38.And time yet for a hundr‎e d indec‎i sion‎s,39.And for a hundr‎e d visio‎n s and revis‎i ons,40.Befor‎e the takin‎g of a toast‎and tea.41.In the room the women‎come and go42.Talki‎n g of Miche‎l ange‎l o.43.And indee‎d there‎will be time44.To wonde‎r,‎“Do‎I‎dare?“‎and,‎“Do‎I‎dare?“45.Time to turn back and desce‎n d the stair‎,46.With a bald spot in the middl‎e of my hair--47.(They‎will‎say:‎“How‎his‎hair is growi‎n g‎thin!“)48.My morni‎n g coat, my colla‎r mount‎i ng firml‎y to the chin,49.My neckt‎i e rich and modes‎t, but asser‎t ed by a simpl‎e pin--50.(They‎will‎say:‎“But‎how‎his‎arms‎and‎legs‎are‎thin!“)51.Do I dare52.Distu‎r b the unive‎r se?53.In a minut‎e there‎is time54.For decis‎i ons and revis‎i ons which‎a minut‎e will rever‎s e.55.For I have known‎them all alrea‎d y, known‎them all:56.Have known‎the eveni‎n gs, morni‎n gs, after‎n oons‎,57.I have measu‎r ed out my life with coffe‎e spoon‎s;58.I know the voice‎s dying‎with a dying‎fall59.Benea‎t h the music‎from a farth‎e r room.60.So how shoul‎d I presu‎m e?61.And I have known‎the eyes alrea‎d y, known‎them all--62.The eyes that fix you in a formu‎l ated‎phras‎e,63.And when I am formu‎l ated‎, spraw‎l ing on a pin,64.When I am pinne‎d and wrigg‎l ing on the wall,65.Then how shoul‎d I begin‎66.To spit out all the butt-ends of my days and ways?67.And how shoul‎d I presu‎m e?68.And I have known‎the arms alrea‎d y, known‎them all--69.Arms that are brace‎l eted‎and white‎and bare70.(But in the lampl‎i ght, downe‎d with light‎brown‎hair!)71.Is it perfu‎m e from a dress‎72.That makes‎me so digre‎s s?73.Arms that lie along‎a table‎, or wrap about‎a shawl‎.74.And shoul‎d I then presu‎m e?75.And how shoul‎d I begin‎?76.Shall‎I say, I have gone at dusk throu‎g h narro‎w stree‎t s77.And watch‎e d the smoke‎that rises‎from the pipes‎78.Of lonel‎y men in shirt‎-sleev‎e s, leani‎n g out of windo‎w s? ...79.I shoul‎d have been a pair of ragge‎d claws‎80.Scutt‎l ing acros‎s the floor‎s of silen‎t seas.81.And the after‎n oon, the eveni‎n g, sleep‎s so peace‎f ully‎!82.Smoot‎h ed by long finge‎r s,83.Aslee‎p ... tired‎... or it malin‎g ers,84.Stret‎c hed on the floor‎, here besid‎e you and me.85.Shoul‎d I, after‎tea and cakes‎and ices,86.Have the stren‎g th to force‎the momen‎t to its crisi‎s?87.But thoug‎h I have wept and faste‎d, wept and praye‎d,88.Thoug‎h I have seen my head (grown‎sligh‎t ly bald) broug‎h t in upon a platt‎e r,89.I am no proph‎e t--and here抯‎no great‎matte‎r;90.I have seen the momen‎t of my great‎n ess flick‎e r,91.And I have seen the etern‎a l Footm‎a n hold my coat, and snick‎e r,92.And in short‎, I was afrai‎d.93.And would‎it have been worth‎it, after‎all,94.After‎the cups, the marma‎l ade, the tea,95.Among‎the porce‎l ain, among‎some talk of you and me,96.Would‎it have been worth‎while‎,97.To have bitte‎n off the matte‎r with a smile‎,98.To have squee‎z ed the unive‎r se into a ball99.To roll it towar‎d some overw‎h elmi‎n g quest‎i on,100.To say: “I‎am‎Lazar‎u s, come from the dead,e back to tell you all, I shall‎tell‎you‎all“--102.If one, settl‎i ng a pillo‎w by her head,**103.Shoul‎d say: “That‎is‎not‎what‎I‎meant‎at all;104.That‎is‎not‎it,‎at‎all.“105.And would‎it have been worth‎it, after‎all,106.Would‎it have been worth‎while‎,107.After‎the sunse‎t s and the doory‎a rds and the sprin‎k led stree‎t s,108.After‎the novel‎s, after‎the teacu‎p s, after‎the skirt‎s that trail‎along‎the floor‎-- 109.And this, and so much more?--110.It is impos‎s ible‎to say just what I mean I111.But as if a magic‎lante‎r n threw‎the nerve‎s in patte‎r ns on a scree‎n:112.Would‎it have been worth‎while‎113.If one, settl‎i ng a pillo‎w or throw‎i ng off a shawl‎,114.And turni‎n g towar‎d the windo‎w, shoul‎d say:115.“That‎is‎not‎it‎at‎all,116.That is not what I meant‎,‎at‎all.“117.No I am not Princ‎e Hamle‎t, nor was meant‎to be;118.Am an atten‎d ant lord, one that will do119.To swell‎a progr‎e ss, start‎a scene‎or two,120.Advis‎e the princ‎e; no doubt‎, an easy tool,121.Defer‎e ntia‎l, glad to be of use,122.Polit‎i c, cauti‎o us, and metic‎u lous‎;123.Full of high sente‎n ce, but a bit obtus‎e;124.At times‎, indee‎d, almos‎t ridic‎u lous‎--125.Almos‎t, at times‎, the Fool.126.I grow old ... I grow old ...127.I shall‎wear the botto‎m s of my trous‎e rs rolle‎d.128.Shall‎I part my hair behin‎d? Do I dare to eat a peach‎? 129.I shall‎wear white‎flann‎e l trous‎e rs, and walk upon the beach‎. 130.I have heard‎the merma‎i ds singi‎n g, each to each.131.I do not think‎that they will sing to me.132.I have seen them ridin‎g seawa‎r d on the waves‎bi‎n g the white‎hair of the waves‎blown‎back134.When the wind blows‎the water‎white‎and black‎.135.We have linge‎r ed in the chamb‎e rs of the sea136.By sea-girls‎wreat‎h ed with seawe‎e d red and brown‎137.Till human‎voice‎s wake us, and we drown‎.J·阿尔弗瑞德‎·普鲁弗洛克‎的情歌查良‎铮译1.假如我认为‎,我是回答2.一个能转回‎阳世间的人‎,3.那么,这火焰就不‎会再摇闪。

10.First Confession-Frank O'Connor

10.First Confession-Frank O'Connor

Point of View
Objective

(not seeing into any characters, describing events from the outside)

(the fly on the wall, a metaphor that assumes the existence of a fly with a highly discriminating gaze, who knows which details to look for to communicate the deepest meaning.)
Literany
all-knowing (seeing into any of the characters) (omniscient) seeing into one major character seeing into one minor character (limited omniscience or selective omniscience)

Point of View

Narrator-a participant (in the first person)
A major character (protagonist) A minor character (observer)

Point of View

Narrator-a nonparticipant (in the third person)
First Confession
--Frank O’Connor
Frank O’Connor (1903-1966)
Michael O’Donovan Born in Cork, Ireland’s second city

Firs Confession1 读后感

Firs Confession1  读后感

福州大学外国语学院08级First ConfessionThe story, First Confession, was written by Frank O’connor, who was born in County Cork,Ireland in 1903. Raised in poverty, O'Connor received little formal education before going to work as a librarian in Cork and later in Dublin.he was perhaps Ireland's most complete man of letters, best known for his varied and comprehensive short stories but also for his work as a literary critic, essayist, travel writer, translator and biographer. He was also a novelist, poet and dramatist.First confession is a humourous short story about a mischievous boy' confession to the chapel for the first time. To be honest , I dislike the boy in the story, not only because he is naughty but also his behaviour is so rude and selfish that they are quite unacceptable to me. As a member of traditional Chinese, I also attach great importance to the filial piety. Throughout history, being filial and respectful to the elders has been a traditional virtue of the Chinese nation. Most parents and grandparents are giving love and care selflessly to their children or grandchildren, without expecting anything in return. Their affection is so soft that our hearts may be deeply touched. So what we should do is to take care of them, show more consideration of their feelings so as to return their endless love. However, what the boy do in the story is the very opposite of the common belief.As is known to us, aging is an inevitable and sad process in all human beings' lives. During that period , people' physical condition decline, bodies are no longer flexible and what's worse, their minds will also be thick-witted gradually.Senior citizens are a group of most lonely people, because most of them have to face the grievous lost of their intimate friends or beloved spouses. The grandmother in the story is in this situation—— her husband has died a while back . So even though the writer didn't mention, it's easy for us to feel the grandmother's helplessness and isolation. Perhaps westerners are unlike us Chinese, they don't have much deep emotions with their grandparents as a result of not being living with them or because of their centuries-oldindividualism. Although having known the cultural difference, I still feel sorrowful when I read the part that Jackie refuses to eat the food prepared by his grandmother and and even feel indignant when he undisguisedly shows his disgust towards his grandmother . Probably in the mind of Jackie , the food is too dirty to be eaten. It may be too young for him to realize that his such conducts will make his grandmother sad and blame herself for being unable to do this little thing well. But as a college student, I can easily imagine how deeply his disrespect has hurt the heart of the pitiful grandmother. So this is the reason why I don't like him.In addition to this little bit prejudice, another thing I am going to mention is the difference of educational methods used by Mrs Ryan and the priest. They have have different affects on Jackie by approaching him differently . MrsRyan teaches him how to examine his conscience by asking himself a few questions such as "Did we take the name of the Lord, our God , in vain? Did we honour our father and our mother? Did we love our neighbours as ourselves? " These serious of profound questions makes Jackie feel himself is like a sinner because he was not honoring his grandmother and he coveted Nora's penny which she got every week from their grandmother. What's worse, the story about the man made a bad story told by Mrs. Ryan let Jackie feel it would be terror to make a confession in the chapel. On the contrary, the priest uses an approach of understanding. He understands Jackie's thought of being a sinner and told Jackie that there are a lot of other people who would like to kill their grandmothers as well. Obviously, the way the priest uses by comforting Jackie on an equal status instead of using boring sermons is much more effective than the approach employed by Mrs. Ryan. After the communication with the priest , Jackie feels much better and I believe he will never be scared to make a confession and will be a good boy under the guide of the virtuous priest. Therefore, when we are helping and giving advice to others, we should be care of the methods we choose to deliver our suggestion. From the story, I will keep in mind that if a person is comforted and approached in a since of understanding, then it would be more likely for he or she to listen to what others trying to teach them.。

何处是家园

何处是家园

何处是家园弗兰克·奥康纳对儿童题材情有独钟,他喜欢用儿童的眼睛观察世界,用儿童的耳朵倾听世界,借助儿童天马行空的幻想世界反衬冷酷无情的现实世界。

本文以《妄想者》和《树林里的孩子》为例深入分析奥康纳儿童题材短篇小说中私生子试图寻找亲生父母、渴望拥有一个完整家园的主题,从而探究此类作品的深层社会根源。

标签:弗兰克·奥康纳;儿童题材;《妄想者》;《树林里的孩子》;私生子;家园一弗兰克·奥康纳(Frank O’Connor,1903~1966)是二十世纪爱尔兰著名作家。

他的文学创作颇为丰厚,涵盖了诗歌、短篇小说、小说、戏剧、传记、自传、游记、文学评论等多个领域。

其中,短篇小说最受读者喜爱。

奥康纳一生写了近二百个短篇,主要收录在《民族的客人》(Gusts of theNation,1931)、《争论的焦点》(Bones of Contention,1936)和《沙果酱》(Crab Apple Jelly,1944)等七部短篇小说集中。

这些作品大致可以划分为战争、宗教、家庭生活和儿童四个系列。

奥康纳喜欢选取日常生活中微不足道的小事,再现爱尔兰底层民众的生活风貌,挖掘出具有人生重大意义的主题。

他擅长描写小人物的内心世界,揭示人物微妙、不可言说的情感变化。

他关注的并不是故事情节的发展,而是故事中人物心理的矛盾与挣扎。

这样,奥康纳转移了读者对情节的注意力,使读者慢慢进入人物的内心,体会每个人物的内心冲突和情感危机。

所以,在他笔下,同样一个主题的作品会带给读者全新的阅读体验。

爱尔兰人似乎天生对童年有着强烈而持久的记忆,很多爱尔兰作家身上都体现了爱尔兰人特有的,根深蒂固的童年情结。

斯威夫特的《格列夫游记》以童话形式尖锐地调刺了英国剥削、统治爱尔兰的殖民主义政策;王尔德的童话《快乐王子》生动地刻画了一位为人民牺牲一切,悲天悯人的王子形象;乔伊斯的《青年艺术家的肖像》追述了一位青年艺术家的成长历程;约翰·伯恩通过一个九岁孩子的眼睛展现大屠杀的恐怖,《穿条纹衣服的男孩》成为另一本给大人看的儿童小说;海兰的《放下我吧》以孩子的自叙形式,聚焦问题家庭的问题孩子,记录下他们的迷惘与困惑……奥康纳是一位心理现实主义小说大师,他擅长运用新颖的故事情节和独特的叙事手法勾勒鲜活的儿童形象,借助儿童的眼睛观察这个多灾磊难的世界,借助儿童的思维定格那个动荡不安的时代。

First Confession

First Confession

AuthorFrank O'Connor (1903-1966) was the pseudonym adopted by Michael O'Donova n. He was born to a poor family in Cork, in the south of lreland. He wrote literar y criticism, two novels, a biography of the lrish politician Michael Collins and transla tions from lrish literature, but he is most famous for his short stories. These are fo und in the collections Bones of Contention (1936), Crab Apple Jelly (1944), Traveller 's Samples (1951), Domestic Relations (1957) and My Oedipus Complex and Other S tories (1957), from which First Confession is taken. His short stories, considered a mong the best examples of short story writing in the twentieth century, usually refl ect life among the working or middle classes in the south of lreland. He also wrote two volumes of autobiography, An Only Child (1961) and My Father's Son (1969).First ConfessionAll the trouble began when my grandfather died and my grandmother - my father 's mother-came to live with us. Relations in the one house are a strain at the best of times, but, to make matters worse, my grandmother was a real old country - woman and quite unsuited to the life in town. She had a fat, wrinkled old face, an d, to Mother's great indignation, went round the house in bare feet - the boots had her crippled, she said. For dinner she had a jug of porter and a pot of potatoes with-sometimes-a bit of salt fish, and she poured out the potatoes on the table and ate them slowly, with great relish, using her fingers by way of a fork.Now, girls are supposed to be fastidious, but I was the one who suffered most fr om this. Nora, my sister, just sucked up to the old woman for the penny she got every Friday out of the old-age pension, a thing I could not do. I was too honest, that was my trouble; and when I was playing with Bill Connell, the sergeant-major's son, and saw my grandmother steering up the path with the jug of porter sticking out from beneath her shawl, I was mortified. I made excuses not to let him com e into the house, because I could never be sure what she would be up to when we went in.When Mother was at work and my grandmother made the dinner I wouldn't touch it. Nora once tried to make me, but I hid under the table from her and took the bread-knife with me for protection. Nora let on to be very indignant (she wasn't, of course, but she knew Mother saw through her, so she sided with Gran) and came after me. I lashed out at her with the bread-knife, and after that she left me alon e. I stayed there till Mother came in from work and made my dinner, but when Fa ther came in later Nora said in a shocked voice: `Oh, Dadda, do you know what J ackie did at dinner-time?' Then, of course, it all came out; Father gave me a flakin g. Mother interfered, and for days after that he didn't speak to me and Mother bar ely spoke to Nora. And all because of that old woman! God knows, I was heart-sca lded.Then, to crown my misfortunes, I had to make my first confession and communio n. It was an old woman called Ryan who prepared us for these. She was about th e one age with Gran; she was well-to-do, lived in a big house on Montenotte, wore a black cloak and bonnet, and came every day to school at three o'clock when we should have been going home, and talked to us of hell. She may have mentioned the other place as well, but that could only have been by accident, for hell had th e first place in her heart.She lit a candle, took out a new halfª²crown, and offered it to the first boy who would hold one finger-only one finger!-in the flame for five minutes by the school c lock. Being always very ambitious I was tempted to volunteer, but I thought it mig ht look greedy. Then she asked were we afraid of holding one finger - only one fi nger! -- in a little candle flame for five minutes and not afraid of burning all over i n roasting hot furnaces for all eternity. `All eternity! Just think of that! A whole life time goes by and it's nothing, not even a drop in the ocean of your sufferings'. T he woman was really interesting about hell, but my attention was all fixed on the h alf-crown. At the end of the lesson she put it back in her purse. It was a great d isappointment; a religious woman like that, you wouldn't think she'd bother about a thing like a half-crown.Another day she said she knew a priest who woke one night to find a fellow he di dn't recognize leaning over the end of his bed. The priest was a bit frightened - n aturally enough - but he asked the fellow what he wanted, and the fellow said in a deep, husky voice that he wanted to go to confession. The priest said it was an awkward time and wouldn't it do in the morning, but the fellow said that last tim e he went to confession, there was one sin he kept back, being ashamed to menti on it, and now it was always on his mind. Then the priest knew it was a bad case, because the fellow was after making a bad confession and committing a mortal sin. He got up to dress, and just then the cock crew in the yard outside, and-lo and b ehold!-when the priest looked round there was no sign of the fellow, only a smell of burning timber, and when the priest looked at his bed didn't he see the print of two hands burned in it! That was because the fellow had made a bad confession. This story made a shocking impression on me.But the worst of all was when she showed us how to examine our conscience. Di d we take the name of the Lord, our God, in vain? Did we honour our father and our mother? (I asked her did this include grandmothers and she said it did.) Did we love our neighbours as ourselves? Did we covet our neighbour's goods? (I thou ght of the way I felt about the penny that Nora got every Friday.) I decided that, between one thing and another, I must have broken the whole ten commandments, all on account of that old woman, and so far as I could see, so long as she rema ined in the house I had no hope of ever doing anything else.I was scared to death of confession. The day the whole class went I let on to ha ve a toothache, hoping my absence wouldn't be noticed; but at three o'clock, just a s I was feeling safe, along comes a chap with a message from Mrs Ryan that I wa s to go to confession myself on Saturday and be at the chapel for communion with the rest. To make it worse, Mother couldn't come with me and sent Nora instead. Now, that girl had ways of tormenting me that Mother never knew of. She held my hand as we went down the hill, smiling sadly and saying how sorry she was fo r me, as if she were bringing me to the hospital for an operation.Before you read on, think briefly of `the ways of tormenting him' that Nora might use.`Oh, God, help us!' she moaned. `Isn't it a terrible pity you weren't a good boy? Oh Jackie, my heart bleeds for you! How will you ever think of all your sins? Don't forget you have to tell him about the time you kicked Gran on the shin'.`Lemme go!' I said, trying to dray myself free of her. `I don't want to go to co nfession at all'.`But sure, you'll have to go to confession, Jackie', she replied in the same regretf ul tone. `Sure, if you didn't, the parish priest would be up to the house, looking fo r you. `Tisn't, God knows, that I'm not sorry for you. Do you remember the time you tried to kill me with the bread-knife under the table? And the language you us ed to me? I don't know what he'll do with you at all, Jackie. He might have to s end you up to the bishop'.I remember thinking bitterly that she didn't know the half of what I had to tell-if I told it. I knew I couldn't tell it, and understood perfectly why the fellow in Mrs Ryan's story made a bad confession; it seemed to me a great shame that people w ouldn't stop criticizing him. I remember that steep hill down to the church, and the sunlit hillsides beyond the valley of the river, which I saw in the gaps between th e houses like Adam's last glimpse of Paradise.Then, when she had manoeuvred me down that long flight of steps to the chapel yard, Nora suddenly changed her tone. She became the raging malicious devil she really was.`There you are!' she said with a yelp of triumph, hurling me through the church door. `And I hope he'll give you the penitential psalms, you dirty little caffler.'I knew then I was lost, given up to eternal justice. The door with the coloured-glas s panels swung shut behind me, the sunlight went out and gave place to deep sha dow, and the wind whistled outside so that the silence within seemed to crackle lik e ice under my feet. Nora sat in front of me by the confession box. There were a couple of old women ahead of her, and then a miserable-looking poor devil came and wedged me in at the other side, so that I couldn't escape even if I had the co urage. He joined his hands and rolled his eyes in the direction of the roof, mutteri ng aspirations in an anguished tone, and I wondered had he a grandmother too. Only a grandmother could account for a fellow behaving in that heart-broken way, but he was better off than I, for he at least could go and confess his sins; while I would make a bad confession and then die in the night and be continually coming back and burning people's furniture.Nora's turn came, and I heard the sound of something slamming, and then her v oice as if butter wouldn't melt in her mouth, and then another slam, and out she c ame. God, the hypocrisy of women! Her eyes were lowered, her head was bowe d, and her hands were joined very low down on her stomach, and she walked up the aisle to the side altar looking like a saint. You never saw such an exhibition of devotion; and I remembered the devilish malice with which she had tormented me all the way from out door, and wondered were all religious people like that, reall y. It was my turn now. With the fear of damnation in my soul I went, in, and the confessional door closed of itself behind me.It was pitch-dark and I couldn't see priest or anything else. Then I really began to be frightened. In the darkness it was a matter between God and me, and He had all the odds. He knew what my intentions were before I even started; I had no c hance. All I had ever been told about confession got mixed up in my mind, and I knelt to one wall and said: `Bless me, father, for I have sinned; this is my first confession'. I waited for a few minutes, but nothing happened, so I tried it on the other wall. Nothing happened there either. He had me spotted all right.It must have been then that I noticed the shelf at about one height with my he ad. It was really a place for grown-up people to rest their elbows, but in my distr acted state I thought it was probably the place you were supposed to kneel. Of co urse, it was on the high side and not very deep, but I was always good at climbin g and managed to get up all right. Staying up was the trouble. There was room only for my knees, and nothing you could get a grip on but a sort of wooden moulding a bit above it. I held on to the moulding and repeated the words a little loud er, and this time something happened all right. A slide was slammed back; a little light entered the box, and a man's voice said: `Who's there?'"Tis me, father', I said for fear he mightn't see me and go away again. I couldn' t see him at all. The place the voice came from was under the moulding, about le vel with my knees, so I took a good grip of the moulding and swung myself down till I saw the astonished face of a young priest looking up at me. He had to put his head on one side to see me, and I had to put mine on one side to see him, s o we were more or less talking to one another upside-down. It struck me as a qu eer way of hearing confessions, but I didn't feel it my place to criticize.`Bless me, father, for I have sinned; this is my first confession', I rattled off all i n one breath, and swung myself down the least shade more to make it easier for him.`What are you doing up there?' he shouted in an angry voice, and the strain the politeness was putting on my hold of the moulding, and the shock of being addres sed in such an uncivil tone, were too much for me. I lost my grip, tumbled, and hi t the door an unmerciful wallop before I found myself flat on my back in the middl e of the aisle. The people who had been waiting stood up with their mouths ope n. The priest opened the door of the middle box and came out, pushing his biretta back from his forehead; he looked something terrible. Then Nora came scampering down the aisle.`Oh, you dirty little caffler!' she said. `I might have known you'd do it. I might h ave known you'd disgrace me. I can't leave you out of my sight for one minute'. Before I could even get to my feet to defend myself she bent down and gave m e a clip across the ear. This reminded me that I was so stunned I had even forgo tten to cry, so that people might think I wasn't hurt at all, when in fact I was pro bably maimed for life. I gave a roar out of me.Things are going disastrously. How do you think the priest will`What's all this about?' the priest hissed, getting angrier than ever and pushing Nor a off me. `How dare you hit the child like that, you little vixen?'`But I can't do my penance with him, father', Nora cried, cocking an outraged ey e up at him.`Well, go and do it, or I'll give you some more to do', he said, giving me a hand up. `Was it coming to confession you were, my poor man?' he asked me. "Twas, father', said I with a sob.`Oh', he said respectfully, `a big hefty fellow like you must have terrible sins. Is this your first?'"Tis, father', said I.`Worse and worse', he said gloomily. `The crimes of a lifetime. I don't know if I will get rid of you at all today. You'd better wait now till I'm finished with these old ones. You can see by the looks of them they haven't much to tell'.`I will, father', I said with something approaching joy.The relief of it was really enormous. Nora stuck out her tongue at me from behi nd his back, but I couldn't even be bothered retorting. I knew from the very mom ent that man opened his mouth that he was intelligent above the ordinary. When I had time to think, I saw how right I was. It only stood to reason that a fellow confessing after seven years would have more to tell than people that went every week. The crimes of a lifetime, exactly as he said. It was only what he expected, and the rest was the cackle of old women and girls with their talk of hell, the bish op, and the penitential psalms. That was all they knew. I started to make my exa mination of conscience, and barring the one bad business of my grandmother it di dn't seem so bad.The next time, the priest steered me into the confession box himself and left the shutter back the way I could see him get in and sit down at the further side of th e grille from me.`Well, now', he said, `what do they call you?'`Jackie, father', said. I.`And what's aª²trouble to you, Jackie?'`Father', I said, feeling I might as well get it over while I had him in good humo ur, `I had it all arranged to kill my grandmother'.What do you think the priest will say to this?He seemed a bit shaken by that, all right, because he said nothing for quite a whil e.`My goodness', he said at last, `that'd be a shocking thing to do. What put that into your head?'`Father', I said, feeling very sorry for myself, `she's an awful woman'.`Is she?' he asked. `What way is she awful?'`She takes porter, father', I said, knowing well from the way Mother talked of it t hat this was a mortal sin, and hoping it would make the priest take a more favour able view of my case.`Oh, my!' he said, and I could see he was impressed.`And snuff, father', said I.`That's a bad case, sure enough, Jacke', he said.`And she goes round in her bare feet, father', I went on in a rush of self-pity, ` and she know I don't like her, and she gives pennies to Nora and none to me, an d my da sides with her and flakes me, and one night I was so heart-scalded I ma de up my mind I'd have to kill her'.`And what would you do with the body?' he asked with great interest.`I was thinking I could chop that up and carry it away in a barrow I have', I said.`Begor, Jackie', he said, `do you know you're a terrible child?'`I know, father', I said, for I was just thinking the same thing myself. `I tried to kill Nora too with a bread-knife under the table, only I missed her'.`Is that the little girl that was beating you just now?' he asked."Tis, father'.`Someone will go for her with a bread-knife one day, and he won't miss her', hesaid rather cryptically. `You must have great courage. Between ourselves, there's a lot of people I'd like to do the same to but I'd never have the nerve. Hanging i s an awful death'.`Is it, father?' I asked with the deepest interest-I was always very keen on hang ing. `Did you ever see a fellow hanged?'`Dozens of them', he said solemnly. `And they all died roaring'.`Jay! ' I said.`Oh, a horrible death!' he said with great satisfaction. `Lots of the fellows I saw killed their grandmothers too, but they all said `twas never worth it'.He had me there for a full ten minutes talking, and then walked out the chapel yard with me. I was genuinely sorry to part with him, because he was the most e ntertaining character I'd ever met in the religious line. Outside, after the shadow of the church, the sunlight was like the roaring of waves on a beach; it dazzled me; and when the frozen silence melted and I heard the screech of trams on the road my heart soared. I knew now I wouldn't die in the night and come back, leaving marks on my mother's furniture. It would be a great worry to her, and the poor soul had enough.Jackie is now going to walk home with Nora. How do you think she is going to re act to what has happened?Nora was sitting on the railing, waiting for me, and she put on a very sour puss w hen she saw the pries with me. She was mad jealous because a priest had never come out of the church with her.`Well', she asked coldly, after he left me, `what did he give you?' `Three Hail Mr ys', I said.`Three Hail Marys', she repeated incredulously. `You mustn't have told him anyth ing'.`I told him everything', I said confidently.`About Gran and all?'`About Gran and all'.(All she wanted was to be able to go home and say I'd made a bad confession.) `Did you tell him you went for me with the bread-knife?' she asked with a frown. `I did to be sure'.`And he only gave you three Hail Marys?'`That's all'.She slowly got down from the railing with a baffled air. Clearly, this was beyond her. As we mounted the steps back to the main road she looked at me suspiciousl y.`What are you sucking?' she asked.`Bullseyes'.`Was it the priest gave them to you?'"Twas'.`Lord God', she wailed bitterly, `some people have all the luck! Tis no advantage to anybody trying to be good. I might just as well be a sinner like you'.First Confession∙Browse essays using search option∙Access free essay links resource page∙Need help with paper writing services?∙Bookmark our site for future referenceMrs. Ryan and the Priest In Frank O扖onnor抯story 揊irst Confession? Mrs. Ryan and the priest are different. Mrs. Ryan and the priest approach Jackie differently and have different affects on him. Mrs. Ryan makes Jackie feel like a sinner in her approach to him. She teaches him how to examine his heart by asking himself a few questions, 揇id we take the name of the Lord, our God in Vain? Did we honor our father and mother? Did we love our neighbors as ourselves? Did we covet our neighbors goods??614). This made Jackie feel like he is a sinner because he feels that he was not honoring his grandmother and feels that he coveted Nora 抯penny she got every week from their grandmother. Mrs. Ryan affects Jackie by making him feel that confession is scary. After telling her story about the man who made a bad confession, Jackie becomes scared of going to confession. Mrs. Ryan is trying to scare Jackieso that he won抰make a bad confession but instead she causes him to become scared of going to confession. Jackie becomes so scared that he starts to think, 搮I would make a bad confession and then die in the night and be continually coming back and burning people抯furniture?(616). The priest uses an approach of understanding. He understands Jackie抯thought of being a sinner, for instance, he tells Jackie that there are a lot of people he would like to go after with a bread knife as well. This had to make Jackie feel better about not being a sinner because the priest had thought the same thing as he had. For Jackie says that he tried to kill his grandmother and Nora and the priest says, 搮there抯a lot of people I抎like to do the same to厰(618). The priest affects Jackie by comforting him. When the priest catches Nora clipping Jackie across the ear and yelled at her for doing this, Jackie feels comforted because no one had ever defended him against her before. The priest also comforts him by telling Jackie, 搮wait now until I抦finished with the old ones.?617). Jackie now feels special because the priest is going to take time with him. The priest comforts Jackie to where he is not scared of confession anymore. Jackie says, 揟he relief of it was really enormous.?617). Between Mrs. Ryan and the priest, the method the priest uses works better than Mrs. Ryan抯does. Teaching people religion by scaring them does not work because someone is not going to want to learn more about it if he or she is going to become scared. The way the priest approaches and comforts Jackie is a much better method. If a person is comforted and approached in a since of understanding, it would be more likely that he or she would want to listen to the person trying to teach him or her.。

篇章翻译Confessions

篇章翻译Confessions

篇章翻译Confessions of a Miseducated Man 英汉对照These notes are in the nature of a confession. It is the confessionof a miseducated man.下⾯的这段⽂字是⼀篇⾃⽩,是⼀个受到错误教育的⼈的⾃⽩。

I have become most aware of my lack of a proper education wheneverI have had the chance to put it to the test. The test is a simpleone: am I prepared to live in and comprehend a world in which thereare 3 billion people? Not the world as it was in 1850 or 1900, forwhich my education might have been adequate; but the world today.And the best place to apply that test is outside the country -especially Asia orAfrica.每当我有机会检验我所受到的教育,我都会异常清醒地认识到它的不当之处。

测验很简单:在这个有三⼗多亿⼈⼝的世界上⽣存并理解它,我真的准备好了吗?是今天这个世界,⽽不是1850年或1900年的那个世界;我受到的教育对那时的世界可能已经⾜够。

实⾏这项测验的最佳地点是在国外——尤其是在亚洲或⾮洲。

Not that my education was a complete failure. It prepared mesuperbly for a bird's-eye view of the world. It taught me how torecognize easily and instantly the things that differentiate oneplace or one people from another. Geography had instructed me indifferences of terrain, resources, and productivity. Comparativeculture had instructed me in the differences of background andgroup interests. Anthropology had instructed me in the differencesof facial bone structure, skin pigmentation, and general physicalaspect. In short, my education protected me against surprise. I wasnot surprised at the fact that some people lived in mud huts andothers in bamboo cottages on stilts; or that some used peat forfuel and others dung; or that some enjoyed music with a five-notescale and others with twelve; or that some people were vegetarianby religion and others by preference.我的意思不是说我所受的教育彻底的失败了。

《Of Love》Francis Bacon(《论爱》弗朗西斯·培根)

《Of Love》Francis Bacon(《论爱》弗朗西斯·培根)

Of Love原文及翻译:【1】The stage is more beholding to love, than the life of man. For as to the stage, love is ever matter of comedies /ˈkɑmədis/, and now and then of tragedies /ˈtrædʒədis/; but in life it doth much mischief; sometimes like a siren, sometimes like a fury.舞台上的爱情生活比生活中的爱情要美好得多。

因为在舞台上,爱情只是喜剧和悲剧的素材,而在人生中,爱情却常常招来不幸。

它有时象那位诱惑人的魔女(1),有时又像那位复仇的女神(2)。

You may observe, that amongst all the great and worthy persons (whereof the memory remaineth, either ancient or recent) there is not one, that hath been transported to the mad degree of love: which shows that great spirits, and great business, do keep out this weak passion.可以看到,一切真正伟大的人物(无论是古人、今人,只要是其英名永铭于人类记忆中的,)没有一个是因爱情而发狂的人。

【2】You must except, nevertheless, Marcus Antonius, the half partner of the empire /ˈempaɪər/ of Rome, and Appius Claudius, the decemvir /di'semvə/ and law-giver; whereof the former was indeed a voluptuous /vəˈlʌptʃuəs/ man, and inordinate /ɪnˈɔːrdɪnət/; but the latter was an austere /ɔːˈstɪr/ and wise man: and therefore it seems (though rarely) that love can find entrance, not only into an open heart, but also into a heart well-fortified /'fɔ:tifaid/, if watch be not well kept.你因为伟大的事业只有罗马的安东尼和克劳底亚是例外(3)。

英美小说要素解析 复习

英美小说要素解析 复习

The Bride Comes to Yellow Sky新娘来到黄天镇——Stephen Crane 斯蒂芬·克莱恩Christmas Day in the Morning在圣诞节的早上——Pearl.S.Buck 赛珍珠The Catbird Seat胜券在握——James Thurber 詹姆斯·瑟伯Two kinds喜福会——Amy Tan 谭恩美To Build a Fires生火——Jack London杰克·伦敦A Horseman in the sky空中骑士——Bierce Ambrose 比尔斯A Clean,Well-lighted Place一个干净而明亮的地方——Ernest Hemingway 海明威The Broken Globe残破的世界——Henry Kreisel亨利Yellow Woman黄女人——Leslie Silko莱斯利Rain 雨——W.Somerset Maugham 毛姆My Oedipus Complex我的恋母情结——Frank O’Connor奥康纳Haircut 剪发——Ring Lardner拉德纳The Horse Dealer's Daughter马贩子的女儿——wrence劳伦斯Luck好运气——Mark Twain 马克吐温The Chrysanthemums菊花——John Steinbeck约翰斯坦贝克The Egg 蛋——Sherwood Anderson安德森Old Rogaum and His Theresa老罗格姆和他的特里萨——Theodore Dreiser西奥多Everything That Rises Must Converge上升的一切必将汇合——Flannery O’Connor奥康纳Plot: A Sequence of Interrelated Actions or Events. Plot, or the structure of action, it generally refers to the scheme or pattern of events in a work of fiction. A plot is a plan or groundwork for a story, based on conflicting human motivations, with the actions resulting from believable and realistic human response.Types of Conflict:①External Conflict: Man and nature, man and society, and man and man.②Internal Conflict: It focuses on two or more elements contesting within the protagonist’s own character.Exposition(情节交代): It is where everything is introduced is the beginning section in which the author provides the necessary background information, sets and scene, establishes the situation, and dates the action. It usually introduces the characters and the conflict, or at least the potential for conflict.Complication(纠葛): Which is sometimes referred to as the rising action, develops and intensifies the conflict. The rising action(起始行动) is when things begin to escalate. It takes the reader from the exposition and leads them towards the climax. This part tends to be dramatic and suspenseful.Climax(高潮):When you finally take a breath after holding it in suspense. This is the most emotional part of the book.Crisis(关子):It( also referred to as the climax) is that moment at which the plot reaches its point of greatest emotional intensity; it is the turning point of the plot, directly precipitating the resolution. It is the reversal or” turning point”.Falling action(下降行动):Once the crisis, or turning point, has been reached, the tension subsides and the plot moves toward its conclusion. It is when everything tends to slow down, and the climax is over.Resolution(冲突解开):It is the final section of the plot which records the outcome of the conflict and establishes some new equilibrium. The resolution is also referred toas the conclusion, the end or the denouement. This is the final part of the story when everything is wrapped up. Sometimes the story is finished off completely, answering every reader's question. Sometimes authors leave mysterious, to intrigue the reader. Or sometimes authors leave hints of a sequel.Catastrophe: Applied to tragedy only.Denouement:Applied to both comedy and tragedy.The ordering of plot—Chronological plotting—Flashback: It is interpolated narratives or scenes( often justified, or naturalized, as a memory, a reverie, or a confession by one of the characters) which represent events that happened before the time at which the work opened.Character:They are the persons represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from what the persons say and their distinctive ways of saying it –the dialogue—and from what they do—the action. A character may remain essentially“stable,”or unchanged in outlook and disposition, from beginning to end of a work, or may undergo a radical change, either through a gradual process of development, or as the result of a crisis. Whether a character remains stable or changes, the reader of a traditional and realistic work expects “consistency”--- ---the character should not suddenly break off and act in a way not plausibly grounded in his or her temperament as we have already come to know it.Motivation: The grounds in the characters temperament, desires, and moral nature for their speech and actions.Types of characters—protagonist: The chief character in a plot, on whom our interest centers.(or alternatively, the hero or heroine) It is the major, or central, character of the plot.Antagonist: If the plot is such that he or she is pitted against and important opponent, that character is called the antagonist. It is his opponent, the character against whom the protagonist struggles or contends.Flat characters: they are those who embody or represent a single characteristic, trait, or idea, or at most a very limited number of such qualities. Flat characters are also referred to as type characters, as one-dimensional characters, or when they are distorted to create humor, as caricatures.Stock characters: Flat characters have much in common with the kind of stock characters who appear again and again in certain types of literary works. A flat character (also called a type, or “two-dimensional”), Forster says, is built around “a single idea or quality”and is presented without much individualizing detail, and therefore can be fairly adequately described in a single phrase or sentence.Round characters: They are just the opposite. They embody a number of qualities and traits, and are complex multidimensional characters of considerable intellectual and emotional depth who have the capacity to grow and change. A round character is complex in temperament and motivation and is represented with subtle particularity; such a character therefore is as difficult to describe with any adequacy as a person in real life, and like real persons, is capable of surprising us.Dynamic characters: They exhibit a capacity to change; static characters do not. Asmight be expected, the degree and rate of character change varies widely even among dynamic characters.Static characters: They leave the plot as they entered it, largely untouched by the events that have taken place.Methods of characterization-- Telling: It relies on exposition and direct commentary by the author.In telling, the author intervenes authoritatively in order to describe, and often to evaluate, the motives and dispositional qualities of the characters. Characterization through the use of names, through appearance, and by the author. Showing: It involves the author’s stepping aside, as it were, to allow the characters to reveal themselves directly through their dialogue and their actions. In showing(also called“the dramatic method”), the author simply presents the characters talking and acting and leaves the reader to infer the motives and dispositions that lie behind what they say and do.The author may show not only external speech and actions, but also a character’s inner thoughts, feelings, and responsiveness to events; for a highly developed mode of such inner showing, see stream of consciousness. Characterization through dialogue, and action.Setting: The stage against which the story unfolds.( Place and objects in fiction) The overall setting of a narrative or dramatic work is the general locale, historical time, and social circumstances in which its action occurs; the setting of a single episode or scene within such a work is the particular physical location in which it takes place. Types of setting—Natural and ManufacturedThe language used in description of settingThe functions of setting: Setting as a background for action, antagonist, a means of creating appropriate atmosphere, a means of revealing character, and a means of reinforcing theme.Point of view: The events of a story may be told as they appear to one or more participants or observers. In first-person narration the point of view is automatically that of the narrator.More variation is possible in third-person narration, where the author may choose to limit his or her report to what could have been observed or known by one of the characters at any given point in the action--- or may choose to report the observations and thoughts of several characters. The author might choose to intrude his or her own point of view.Narrator: It is the speaker or the voice of the literary text, the agent who does the narration. The narrator, like any character in fiction, only exists in a narrative, and he cannot be identified with anything of the real-life author of a literary work.Various points of view—First person:①Advantages: First, he creates an immediate sense of reality. Second, the writer has a ready-made principle of selection.② Difficulties: It may only strike us when we try to write stories ourselves.Second personThird person: There are three variants: omniscient, limited omniscient, and objective or dramatic.Mingling of points of view: It is because for the purpose of sustaining interest or creating suspense.A brief summary: 1. First person( I): All these first-person narrators may have(1)complete understanding,(2) partial or incorrect understanding, or(3) no understanding at all.①Major participantⅰtelling his or her story as a major mover,ⅱtelling a story about others and also about herself or himself as one of the major inter-actors,ⅲtelling a story mainly about others; this narrator is on the spot and completely involved but is not a major mover.②Minor participant, telling a story about events experienced and/ or witnessed.③Uninvolved character, telling a story not witnessed but reported to the narrator by other means. 2. Second person( you): Occurs only when speaker has more authority on a character’s action than the character himself or herself. Occurs only in brief passages when necessary. 3. Third person( she, he, it, they):①Omniscient. Omniscient speaker sees all, reports all, knows inner workings of minds of characters.②Limited omniscient. Action is focused on one major character.③Dramatic or third-person objective. Speaker reports only actions and speeches. Thoughts of characters can be expressed only as dialogue.Theme: It is the central idea or a statement about life that unifies and controls the total work.Points of theme:1. A theme does not exist as an intellectual abstraction that an author superimposes on the work like icing on a cake.2. The theme may be less prominent and less fully developed in some works of fiction than in others.3. It is entirely possible that intelligent readers will differ, at times radically, on just what the theme of a given a work is.4. The theme of a given work need not be in accord with the reader’s particular beliefs and values. As a general rule, then, we should assume that the ideas of authors grow out of their values, and that values are embodied in their stories along with the ideas. But we must remember that although literature is full of ideas that may strike us, at least initially, as unpleasant, controversial, or simply wrongheaded, literary sophistication and plain common sense should warn us against dismissing them out of hand.Identifying theme:1. It is important to avoid confusing a work’s theme with its subject or situation.2. We must be as certain as we can that our statement of theme does the work full.3. The test of any theme we may propose is whether it is fully and completely supported by the work’s other elements.4. The title an author gives the work often suggests a particular focus or emphasis for the reader’s attention.Style: It has traditionally been defined as the manner of linguistic expression in Prose or verse--as how speakers or writers say whatever it is that they say. TheWord style, derived from the Latin word stilus, is understood to mean the way in which writers assemble words to tell the story, develop the argument, dramatize the play, or compose the poem. Style is to be judged on the degree of its adaptability. Elements of style—Diction: Choice of words, and Syntax: Construction of sentences.Oedipus complex: ①It is a term coined by Sigmund Freud to designate a son’s subconscious feeling of love toward his mother and jealousy and hatred toward his father. ②D.H. Lawrence’s Sons and Lovers is a case in point.Tone: It refers to the methods by which writers convey attitudes, it refers not to attitudes but to those techniques and modes of presentation that reveal or create these attitudes. It is a means of creating a relationship or conveying an attitude.Types of irony:1. Verbal irony: It is a statement in which one thing is said and another is meant.2. Situational irony: It or irony of situation, refers to conditions that are measured against forces that transcend and overpower human capacities.3. Dramatic irony: It is a special kind of situational irony; it applies when a character perceives a situation in a limited way while the audience, including other characters, may see it in greater perspective.1.1 The Bride Comes to Yellow Sky—Stephen Crane 1.2 Christmas Day in the Morning—Pearl S. Buck2.1 The Catbird Seat—James Thurber 2.2 Two kinds—Amy Tan3.1 To Build a Fire—Jack London 3.2 A Horseman in the Sky—Ambrose Bierce4.1 A Clean, Well-lighted Place—Ernest Hemingway 4.2 The Broken Globe—Henry Kreisel5.1 Yellow Woman—Leslie Silko 5.2 Rain—W. Somerset Maugham6.1 My Oedipus Complex—Frank O’Connor 6.2 Haircut—Ring Lardner7.1 The Horse Dealer’s Daughter—D.H. Lawrence 7.2 Luck—Mark Twain。

MarkTwain-MirrorofAmerica全文翻译

MarkTwain-MirrorofAmerica全文翻译

MarkTwain-MirrorofAmerica全文翻译Most Americans remember Mark Twain as the father of Huck Finn's idyllic cruise through eternal boyhood and Tom Sawyer's endless summer of freedom and adventure. In-deed, this nation's best-loved author was every bit as ad-venturous,patriotic, romantic, and humorous as anyone has ever imagined. I found another Twain as well – one who grew cynical, bitter, saddened by the profound personal tragedies life dealt him, a man who became obsessed with the frailties of the human race, who saw clearly ahead a black wall of night. 在大多数美国人的心目中,马克?吐温是位伟大作家,他描写了哈克?费恩永恒的童年时代中充满诗情画意的旅程和汤姆?索亚在漫长的夏日里自由自在历险探奇的故事。

的确,这位美国最受人喜爱的作家的探索精神、爱国热情、浪漫气质及幽默笔调都达到了登峰造极的程度。

但我发现还有另一个不同的马克?吐温——一个由于深受人生悲剧的打击而变得愤世嫉俗、尖酸刻薄的马克?吐温,一个为人类品质上的弱点而忧心忡忡、明显地看到前途是一片黑暗的人。

Tramp printer, river pilot , Confederate guerrilla, prospector, starry-eyed optimist, acid-tongued cynic: The man who became Mark Twain was born Samuel Langhorne Clemens and he ranged across the nation for more than a third of his life, digesting the new American experience before sharing it with the world as writer and lecturer. He adopted his pen name from the cry heard in his steamboat days, signaling two fathoms (12 feet) of water -- a navigable depth. His popularity is attested by the fact that more than a score of his books remain in print, and translations are still read around the world. 印刷工、领航员、邦联游击队员、淘金者、耽于幻想的乐天派、语言尖刻的讽刺家:马克?吐温原名塞缪尔?朗赫恩?克莱门斯,他一生之中有超过三分之一的时间浪迹美国各地,体验着美国的新生活,尔后便以作家和演说家的身分将他所感受到的这一切介绍给全世界。

first confession读后感

first confession读后感

English Answer:"First Confession"is a profound and thought-provoking short story by Frank O'Connor. Set in Ireland, the story revolves around the confession of a young boy named Willie to a priest. Willie, tormented by his guilty conscience, confesses to a crime he believes he has committed - stealing an apple. As the story unfolds, we realize that the apple Willie stole was actually a symbol of his innocence and childhood joy. The priest's handling of the confession and Willie's subsequent realization about the true value of the apple provide a profound lesson about the complexities of morality and the importance of preserving one's innocence.The story is a powerful reminder of the fragility of childhood and the impact of society's expectations on individuals. Frank O'Connor's writing style is engaging and his use of dialogue and internal monologues effectively conveys the emotional turmoil of the characters. The ending is both satisfying and thought-provoking, leaving the reader to reflect on the deeper meanings of the story.Chinese Answer:《First Confession》是弗兰克·奥康纳的一篇深刻且引人深思的短篇小说。

  1. 1、下载文档前请自行甄别文档内容的完整性,平台不提供额外的编辑、内容补充、找答案等附加服务。
  2. 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
  3. 3、如文档侵犯您的权益,请联系客服反馈,我们会尽快为您处理(人工客服工作时间:9:00-18:30)。

First Confession – Frank O’ConnorIn First Confession by Frank O’Connor we have the theme of persecution and the freeing of self. Taken from his short story collection My Oedipus Complex and Other Stories, the story is told with humour by a young seven year old boy called Jackie. Jackie lives with his parents, his sister Nora and his grandmother. The grandmother is a pivotal character in the story for she will become a large part of Jackie’s first confession.First Confession begins with a story from Jackie. We are told about his life with his grandmother. She walks around the house barefoot, and eats her potatoes using her fingers as forks. Jackie is embarrassed by her and doesn’t like bringing any of his friends into the house when she is there because she is drinking porter. She also gives Nora a penny every Friday while Jackie gets nothing. Some critics suggest that Jackie’s grandmother is symbolism for an older Ireland.The story moves on and we are told that it’s time for Jackie to make his first holy communion. An old woman called Mrs Ryan is teaching Jackie and his class mates about the Ten Commandments and hell. She tells the class the story of a man who made a bad confession (not telling the priest the truth) and whose hands burnt the bed of a priest. Really Mrs Ryan is trying to frighten the children into being good and trying to make sure that they don’t tell the priest a bad confession. To tell a bad confession in Jackie’s eyes means dying and burning in hell. Also the story of the man’s hands burning the bed of a priest is an example in the story of someone being persecuted.Jackie doesn’t want to make a bad confession but knows that he will because he doesn’t think he’ll be able to tell the priest that he wants to kill his grandmother. The day the class are to make their confession Jackie pretends that he has a toothache so that he can avoid confession. Mrs Ryan gets wind of his absence and makes arrangements so that Jackie can go to confession the following Saturday and still be able to attend his first communion. Jackie’s mother isn’t available to bring him to the church on Saturday so she tells Nora to bring him instead. Nora is older than Jackie and on the way to the church she tries to frighten him about confession. Jackie knows that he’ll have to tell the priest that he tried to kill his sister with a bread knife as well.When they arrive at the church Nora goes into the confession box first and Jackie can hear her talking to the priest like butter wouldn’t meltin her mouth. O’Connor highlighting to the reader Nora’s hypocrisy. After Nora has finished its Jackie’s turn to go into the confession box. It is so dark in the confession box that Jackie first faces one of the walls instead of the hatch with the priest. Then he faces another wall and still he can’t hear anything. Eventually he decides to climb up on the small shelf where people rest their elbows, thinking that’s where the priest is. The priest opens up the hatch and Jackie falls down off the shelf and outside onto the aisle. When Nora sees Jackie on the ground she clips him across the ears, but the priest is more compassionate telling Jackie to wait till he’s seen everyone else and then to come into him. The priest jokes that Jackie must have a lot of sins to tell him as this is his first confession.Eventually Jackie goes into the confession box and tells all his sins to the priest, O’Connor giving the reader an insight into the sins. They include him wanting to kill his grandmother and trying to kill his sister. The priest tells Jackie that there’s times he sometimes wants to kill people too, but doesn’t because he’s seen enough men hang for killing people. The reader knows the priest is joking, O’Connor creating a compassionate priest and Jackie is relived. He hasn’t made a bad confession and knows he won’t burn in hell.First Confession ends with the priest walking Jackie out to his sister who is waiting on the railings outside the church. She asks what penance he got and Jackie tells her three hail Mary’s. Nora doesn’t believe him but Jackie tells her he is telling the truth, just like he did to the priest. Jackie’s sins have been forgiven.翻译书评:《我的第一次忏悔》在法兰克·欧康纳的短篇小说《我的第一次忏悔》中,我们读到了这样的主题:惩戒与自我救赎。

这部小说被收集在他的短篇小说集《我的俄狄浦斯情节及其他》中。

故事是以一个七岁男孩杰基的幽默口吻讲述的。

杰基和他的父母、姐姐及奶奶住在一起。

他的奶奶在故事中是个关键人物,因为杰基的第一次忏悔大部分都是关于她的。

故事从杰基的叙述开始。

读者被告知杰基的生活是如何与奶奶联系在一起的。

奶奶光着脚在屋里走来走去,并且吃土豆不用刀叉而是用手指代替。

相关文档
最新文档