蝴蝶梦Rebecca
电影欣赏系列之蝴蝶梦
《蝴蝶梦》（原名《瑞贝卡REBECCA》美国）——悬念大师希区柯克的著名悬念惊悚片出品：塞而兹尼克——联美公司1940年摄制出品导演：阿尔弗雷德·希区柯克主演：劳伦斯·奥利佛、琼·芳登影评《蝴蝶梦》是根据英国女作家黛芙妮．杜莫里叶的小说《丽贝卡》改编。
全片以女主角“我”的第一身份观点描写年轻姑娘嫁入豪门之后，发现丈夫德文特的前妻丽贝卡的阴魂笼罩着整座曼德丽大厦，神秘的女管家丹佛丝也像幽灵般在她身旁出没。
为了讨好丈夫德文特，女主角故意在盛大舞会上穿了丽贝卡画像上的衣服亮相，不料因而揭发了多年前的一宗谜离命案。
全片气氛诡异迷人，是悬疑手法十分高明的心理文艺片，劳伦斯．奥立弗与琼．方丹都演得出色，扮演女管家的朱迪思．安迪生尤其创造了同类角色的一个原型，日后不少影片阴险的女管家的身上都可以看到她的影子。
该影片是英国导演希区柯克赴美后拍摄的第一部影片，以其精湛而独特的技巧征服了美国观众，是他向好莱坞显示自己独特才能的见面礼。
希区柯克善于制造悬念效果。
在《蝴蝶梦》中，他放弃了惯用的充满紧张感的惊险式样和剪辑技巧，着力刻画人物的相互关系，通过运用摄影、小道具、画外音及反应镜头制造神秘的心理效果。
整个故事以缓缓的节奏开展，但常常插入奇笔，在场面调度上出其不意，吓人一跳。
如丹佛斯太太的出场就是这样处理，她所经过的路线从不让人看到，常常不期而至，她令人害怕就害怕在这里。
影片导演及大部分演员都是英国人，而且故事以20世纪初英国的庄园为舞台，因此影片充满浓厚的英国色彩，风格典雅、庄重。
希区柯克以后的创作以悬念片为主，《蝴蝶梦》正是他从英国风格转向美国风格的作品。
（以后他拍摄的影片有大家熟知的《爱德华大夫》（1945年）、《美人计》（1946年）、《后窗》（1954年）、《西北偏北》（1959年）、《精神病患者》（1960年）、《鸟（1964年）还有《眩晕》》等）女主角琼·芳登极其敏感而微妙的表演博得很高评价，为该片增色不少。
《蝴蝶梦》中吕蓓卡的反异化行为解读
World Literature Studies 世界文学研究, 2023, 11(4), 251-255 Published Online August 2023 in Hans. https:///journal/wls https:///10.12677/wls.2023.114044《蝴蝶梦》中吕蓓卡的反异化行为解读柴喜宁上海海事大学外国语学院，上海收稿日期：2023年5月18日；录用日期：2023年8月2日；发布日期：2023年8月15日摘要 《蝴蝶梦》是20世纪英国作家达芙妮·杜穆里埃的代表作，该小说体现了资本主义社会中父权制对女性的压迫。
异化是女性主义者分析女性问题的重要理论之一，可以用来分析女性在父权制中受到的压迫。
文章基于社会主义女性主义的异化理论，分析吕蓓卡对父权制中女性的性异化、生育异化以及知识能力异化的反抗，从而看出作者对男女两性平等关系的追求，为探索女性的解放路径提供一定的帮助。
关键词吕蓓卡，异化，反抗，女性主义An Interpretation of Rebecca’s Behavior against Alienation in RebeccaXining ChaiSchool of Foreign Languages, Shanghai Maritime University, Shanghai Received: May 18th , 2023; accepted: Aug. 2nd , 2023; published: Aug. 15th , 2023AbstractRebecca is a famous English novel written by Daphne Du Maurier in the 20th century, it shows the oppression of the patriarchy on women in the capitalist society. As one important theory used by feminists, alienation is often adopted to analyze the oppression of women in patriarchy. Based on the alienation theory of socialist feminism, this paper analyzes Rebecca’s resistance to the aliena-tion that women have been suffering in sex, fertility, knowledge and ability, and concludes that Du Maurier’s pursuit of gender equality, which can provide some help for exploring the path of female liberation.柴喜宁KeywordsRebecca, Alienation, Resistance, FeminismCopyright © 2023 by author(s) and Hans Publishers Inc.This work is licensed under the Creative Commons Attribution International License (CC BY 4.0)./licenses/by/4.0/1. 引言英国女作家达夫妮·杜穆里埃(Daphne Du Maurier)出生于伦敦的文艺世家，她一生共发表了18部长篇小说，也发表过戏剧剧本、学术传记、散文和旅游书籍。
英语学习资料：《蝴蝶梦Rebecca》经典英文电影台词
英语学习资料：《蝴蝶梦Rebecca》经典英文电影台词《蝴蝶梦Rebecca》经典英文电影台词《蝴蝶梦》是1940年根据英国当代著名女作家达夫尼·杜·莫丽叶的畅销悬疑小说《丽贝卡》改编而成的电影。
导演是英国阿尔弗莱德·希区柯克。
全片气氛诡异迷人，是悬疑手法十分高明的心理文艺片，片中希区柯克出色地营造了阴暗压抑的曼德利庄园景象，古堡废墟一般荒寂的建筑、开阔大厅里的一条狗、幽灵般出没面无表情的女管家，都成了世界电影史上永恒的记忆。
以下是《蝴蝶梦》的经典英文台词。
1.I knew where Rebecca's body was!我知道吕蓓卡的尸体在哪儿。
Lying on that cabin floor,就躺在那船舱的地板上，on the bottom of the sea.沉在海底。
How did you know,Maxim?你怎麽知道的，迈克西姆？Because I put it there!因为，是我把它放在那里的。
2.Would you look into my eyes现在你还能看着我的眼睛and tell me that you love me now?说你爱我吗？You see,I was right.你看，我说对了吧，It's too late.太晚了。
No,it's not too late!不，还不算晚！You're not to say that!不要这样说！I love you more than anything in the world... 我爱你胜过这世上的一切。
Please,Maxim,迈克西姆kiss me,please!吻我吧，求求你1No.It's no use.不，没有用，It's too late.太晚了。
3.We can't lose each other now!现在我们不能再失去对方，We must be together always!我们应该在一起--永远！With no secrets,no shadows...没有秘密，没有隔阂。
蝴蝶梦.Rebecca.1940-1
[06:13.10]Your valet has unpacked for you, I suppose ?
[06:15.50]
[06:15.50]I'm afraid I don't possess one. Perhaps you'd like to do it for me ?
[02:43.40]
[02:43.30]and suddenly it seemed to me that light came from the windows.
[02:47.80]
[02:50.50]And then a cloud came upon the moon...
[02:53.20]
[04:54.60]
[04:54.60]Why, it's Max de Winter. How do you do ?
[04:59.90]
[05:03.70]- How do you do ? - I'm Edith Van Hopper.
[05:06.00]
[05:06.00]It's so nice to run into you here,
[05:49.20]
[05:49.10]What do you think of Monte Carlo ? Or don't you think of it at all ?
[05:52.70]
[05:52.60]Oh, well, I think it's rather artifiicial.
[04:12.90]
[04:12.90]I was only walking.
蝴蝶梦Rebecca观后感(英语)
RebeccaI like this story’s heroine, the second Mrs. de Winter. Although she is so poor and doesn’t have an extremely pretty face, she has a very pure heart and she is also very kind-hearted. When she meets Mr. de Winter, her gentle and purity moves his heart deeply. Soon they fall in love with each other and even get married. Then they return to Mandalay, his large country estate. She is very sincere and kind to every servant. Mrs. Danvers, the housekeeper of Mandalay, resents her having taken the place of Rebecca, the former hostess. But the heroine politely says to her“I do hope we’ll be friends. You must be patient with me. This sort of life is new to me, and I do want to make a success of it. ”And the heroine loves his husband very deeply, even though there are many troubles in their lives, her love doesn’t change all the time. I really like her goodness.I don’t like Mrs. Danvers, the housekeeper. She admires Rebecca the former hostess morbidly and even tries to make troubles to divide Mr. de Winter and the heroine. At last, she perishes together withher cherished Rebecca myth. I think her action is very stupid.。
蝴蝶梦（Rebecca）---世界文学名著全英文读本
【世界文学名著全英文读本1】蝴蝶梦（附难词注解，图片）首发于百度贴吧，此为作者完整修正版原文链接：/p/2170550740?pn=1个人觉得读英文名著(特别是原著)，可以了解外国人的思想和文化，还可以学习英文，更是一种娱乐，希望大家可以伴随我一起更完这本名著，每天学一点英语。
注：每章之后会有详细的词语音标，释义与图片。
Rebecca蝴蝶梦Daphne Du Maurier达夫妮·杜穆里埃Chapter oneLast night I dreamt I went to Manderley again. It seemed to me I stood by the iron gate leading to the drive (指从街道通向住宅的宽阔或私人的车道）and for a while I could not enter, for the way was barred（bar 阻挡，拦住）to me. There was a padlock (挂锁) and a chain upon the gate. I called in my dream to the lodge(公园或宅第的门口小屋，门房) keeper and had no answer, and peering (peer 仔细看，端详) closer through the rusted (rusted生锈的) spokes (辐条，轮辐) of the gate I saw that the lodge was uninhabited (无人居住的，无人烟的；荒凉的).No smoke came from the chimney, and the little lattice windows (lattice window 花格窗；斜条结构窗) gaped (gape 张开，裂开，豁开) forlorn (凄凉的，荒凉的). Then, like all the dreamers, I was possessed of a sudden with supernatural powers and passed like a spirit (这里指灵魂) through the barrier before me. The drive wound (wind的过去式蜿蜒，曲折而行；迂回) away in front of me, twisting and turning as it had always done, but as I advanced I was aware that a change had come upon it; It was narrow and unkept, not the drive that we had known. At first I was puzzled and did not understand, and it was only when I bent my head to avoid the low swinging branch of a tree that I realized what had happened. Nature had come into her own again and, little by little, in her stealthy (偷偷摸摸的；不声张的的；秘密的) insidious (潜伏的；隐袭的；隐伏的)way had encroached (侵蚀，蚕食) upon the drive with long, tenacious (顽强的；坚忍的) fingers. The woods, always a menace even in the past, had triumphed in the end. They crowded, dark and uncontrolled, to the borders of the drive. The beeches (植物山毛榉) with white, naked limbs leant close to one another, their branches intermingled (intermingle混合) in a strange embrace, making a vault (拱顶；穹窿) above my head like the archway of a church. And there were other trees as well, trees that I did not recognize, squat（矮胖的）oaks and tortured elms（植物榆树）that straggled（蔓生；杂乱地蔓延；散布）cheek by jowl（并肩地，紧密的）with beeches, and had thrust themselves out of the quiet earth, along with monster shrubs and plants, none of which I remembered.The drive was a ribbon now, a thread（线状物，细细的一条）of former self, with gravel （沙砾，砾石，石子）surface gone, and choked with grass and moss（苔藓，地衣）. The trees had thrown out low branches, making an impediment（妨碍，阻碍，障碍）to progress; the gnarled （扭曲的；多节瘤的；疙疙瘩瘩的）roots looked like skeleton claws. Scattered here and again amongst this jungle growth I would recognize shrubs that had been landmarks in our time, things of culture and grace, hydrangeas（绣球花）whose blue heads had been famous. No hand had checked their progress, and they had gone native now, rearing（高耸）to monster height without a bloom, black and ugly as the nameless parasites（寄生生物；寄生虫；寄生植物）that grew beside them.On and on, now east now west, wound the poor thread that once had been our drive. Sometimes I thought it lost, but it appeared again, beneath a fallen tree perhaps, or struggling on the other side of a muddied（泥泞的；多泥的）ditch（沟，渠）created by the winter rains. I had not thought that way so long. Surely the miles had multiplied, even as the trees had done, and this path led but to a labyrinth（迷宫；曲径）, some choked wilderness, and not to the house at all. I came upon it suddenly; the approach masked（掩饰；掩藏）by the unnatural growth of a vast shrub that spread in all directions, and I stood, my heart thumping（强有力地跳动；怦怦地跳动）in my breast, the strange prick（刺痛感；针刺感）of tears behind my eyes.There was Manderley, our Manderley, secretive and silent as it had always been, the grey stone shining in the moonlight of my dream, the mullioned windows （mullioned window窗扇间用竖框隔开的窗户）reflecting the green lawns and the terrace（阳台）. Time could not wreck the perfect symmetry of those walls, nor the site itself, a jewel in the hollow of a hand.The terrace sloped to the lawns, and the lawns stretched to the sea, and turning I could see the sheet of silver placid (平静的；安静的；宁静的) under the moon, like a lake undisturbed by wind or storm. No waves would come to ruffle (弄皱；弄乱；使不平) this dream water, and no bulk of cloud, wind-driven from the west, obscure the clarity of this pale sky. I turned again to the house, and though it stood inviolate, untouched, as though we ourselves had left but yesterday, I saw that the garden had obeyed the jungle law, even as the woods had done. The rhododendrons (杜鹃花)stood fifty feet high, twisted and entwined(盘绕；缠绕) with bracken(欧洲蕨), and they had entered into alien marriage with a host of nameless shrubs, poor, bastard things that clung(紧抓；紧握；紧抱) about their roots as though conscious of their spurious(私生的) origin.A lilac(丁香) had mated with a copper beech(copper beech紫叶欧洲山毛榉), and to bind them yet closely to one another the malevolent(有恶意的；有坏心肠的) ivy, always an enemy to grace, had thrown her tendrils(卷须) about the pair and made them prisoners. Ivy held prior place in this lost garden, the long strands(股；缕) crept across the lawns, and soon would encroach upon the house itself. There was another plant too, some half-breed from the woods, whose seed had been scattered long ago beneath the trees and then forgotten, and now, marching in unison(in unison一致地；和谐地；齐声) with the ivy, thrust its ugly form like a giant rhubarb(大黄；大黄茎；馅饼菜) towards the soft grass where the daffodils(黄水仙) had blown.Nettles (荨麻) were everywhere, the vanguard (先头部队，尖兵) of the army. They choked the terrace, they sprawled (伸开四肢坐着) about the paths, they leant, vulgar (粗俗的；庸俗的；俗气的；不雅的) and lanky (瘦高挑的), against the very windows of the house. They madeindifferent sentinel (岗哨；哨), for in many places their ranks had been broken by the rhubarb plants, and they lay with crumpled (压皱；起皱) heads and listless (无精打采的；倦怠的) stems, making a pathway for the rabbits. I left the drive and went on to the terrace, for the nettles were no barrier to me, a dreamer. I walked enchanted (使狂喜；使陶醉；使入迷), and nothing held me back.Moonlight can play odd tricks upon the fancy, even upon a dreamer’s fancy. As I stood there, hushed (安静下来) and still, I could swear that the house was not an empty shell but lived and breathed as it had lived before.Light came from the windows, the curtains blew softly in the night air, and there, in the library, the door would stand half open as we had left it, with my handkerchief on the table beside the bowl of autumn roses.The room would bear witness to our presence. The little heap (一堆) of library books marked ready to return, and the discarded copy of The Times. Ash-trays, with the stub (残根；残端) of a cigarette; cushions, with the imprint of our heads upon then, lolling (懒洋洋地坐或躺) in the chairs; the charred (焦黑的；烧焦的) embers (余火；余烬) of our log fire still smouldering (闷烧，阴燃) against the morning. And Jasper, dear Jasper, with his soulful (感情真切的；情真意切的)eyes and great, sagging (下垂；下弯) jowl (下垂；下弯), would be stretched upon the floor, his tail a-thump when he heard his master’s footsteps.A cloud, hitherto (迄今；到目前为止) unseen, came upon the moon, and hovered (悬浮) an instant like a dark hand before a face. The illusion (幻觉；错觉) went with it, and the lights in the windows were extinguished. I looked upon a desolate(荒芜的;荒无人烟的) shell, soulless(冷漠无情的；无生气的) at last, unhaunted, with no whisper of the past about its staring walls.The house was a sepulcher(坟墓；墓穴), our fear and suffering lay buried in the ruins. There would be no resurrection(复活). When I thought of Manderley in my waking hours I would not be bitter. I should think of it as it might have been, could I have lived there without fear. I should remember the rose-garden in the summer, and the birds that sang at dawn. Tea under the chestnut(栗子，栗树) tree, and the murmur(低语；咕哝) of the sea coming up to us from the lawns below.I would think of the blown lilac, and the Happy Valley. These things were permanent, they could not be dissolved. They were memories that cannot hurt. All this I resolved in my dream, while the clouds lay across the face of the moon, for like most sleepers I knew that I dreamed. In reality I lay many hundred miles away in an alien land, would wake, before many seconds had passed, in the bare little hotel bedroom, comforting in its very lack of atmosphere. I would sigh a moment, stretch myself and turn, and opening my eyes, be bewildered at that glittering sun, that hard, clean sky, so different from the soft moonlight of my dream. The day would lie before us both, long no doubt, and uneventful(平静的；平凡的) , but fraught(充满……的) with a certain stillness, a dear tranquility(平静；安静) we had not known before. We would not talk Manderley, I would not tell my dream. For Manderley was not ours no longer. Manderley was no more.刚开始难词注释会注释较多单词，其后等大家慢慢熟悉了该作者常用的词汇后，注释会减少，希望大家可以试着记忆下，之后内容不会重复注释已注释过的单词。
_蝴蝶梦_女性意识探析
个 人 ， 一 个 更 年 长 ， 更 成 熟 的 梦 》 (Rebecca)就 是 这 一 变 迁 的
人”。[11]（P037） 虽然，女性意 “见证”。因此，作品得以从独特
识觉醒经历了一个漫长的过程， 的视角解读女性，表达了女性自
但收获很大，“成果”是可喜 我意识的觉醒以及女性成长的过
的许多作品都是以此郡的风土人 种自觉。但本文想更多地关注另 他甚至可以说出“你简直和范·
情与社会习俗为主题或是背景， 外一个女主人公—— —“我”。
霍 珀 夫 人 一 样 无 知 ， 愚 蠢 ” [8]
但也只不过借这个“点”来揭露
首先，“我”的精神奴役。 （ P043） 这 样 的 话 。 通 过 小 说 ，
019
2009.03文学教育
淘 研 金 究 者
有权和控制权的唯一价值进行仔 好地了解了当时英国社会的文化 来者一样拘谨，不自在，更谈不
细观察、要求承认和表示崇拜。” 历史景观。实际上，这本小说带 上有一个女主人的威严；更加可
ቤተ መጻሕፍቲ ባይዱ
[2](P412)这段话在表明当时妇女 有 明 显 的 女 权 主 义 特 征 ： 女 作 怕的是，她更要受到来自吕蓓卡
便是时代孕育的幸运儿。她出身 主权、对命运的抉择等等都已经 对她说：“在你还是个小姑娘的
书香门第、艺术世家。祖父乔 发生了变化，她们不再是男性的 时候，大人是不是不许你看某些
治·杜穆里埃是英国著名的艺术 附属品，不再为了男性或者作为 禁书？丈夫毕竟和父亲差不了多
家和小说家，父亲杰拉德·杜穆 男性的陪衬品而做出一些缺乏自 少。对于某种事理，我宁可不让
020
淘 研 金 究 者
文学教育2009.03
其次，“我”的觉醒与成
奥斯卡经典电影Rebecca蝴蝶梦的英文台词
Last night I dreamt I went to Manderley again.It seemed to me I stood by the iron gate leading to the drive,and for a while I could not enter,for the way was barred to me.Then,like all dreamers,I was possessed of asudden with supernatural powers and passed like a spirit through the barrier before me.The drive wound away in front of me,twisting and turning as I advanced I was aware that a change had come upon it.Nature had come into her own again,and,little by little,had encroached upon the drive with long,tenacious fingers.On and on wound the poor thread that had once been our drive,and finally there was Manderley-Manderley,secretive and silent.Time could not mar the perfect symmetry of those walls.Moonlight can play odd tricks upon the fancy-and suddenly it seemed to me that light came from the windows.And then a cloud came upon the moon and hovered an instant like a dark hand before a face.The illusion went with it.I looked upon a desolate shell--with no whisper of the past about its staring walls.We can never go back to Manderley again.That much is certain.But sometimes in my dreams I do go back-to the strange days of my life-which began for me in the South of France.No! Stop!What the devil are you shouting about ?Who are you ?What are you staring at ?I'm sorry. I didn't mean to stare.But I, I only thought--Oh, you did, did you ?Well, what are you doing here ?I was only walking.Well, get on with your walking.Don't hang about here screaming.I'll never come to Monte Carloout of season again.Not a single well-knownpersonality in the hotel.Stone cold ! Waiter.Gar?on. Call him.Tell him to get me some--Why, it's Max de Winter.How do you do ?- How do you do ?- I'm Edith Van Hopper.It's so niceto run into you here,just when I was beginning to despair offinding any old friends here in Monte.But do sit downand have some coffee.Mr. de Winter is having coffee with me.Ask that stupid waiter for another cup.I'm afraid I must contradict you.You shall both have coffee with me- Gar?on. Coffee, please.- Oui, monsieur.- A cigarette ?- No, thank you.You know, I recognized youjust as soon as you came in,though I haven't seen you sincethat night at the casino at Palm Beach.Perhaps you don't remember an old woman like me. Are you playing the tables much here at Monte? No, I'm afraid that sort of thingceased to amuse me years ago.I can well understand that.As for me,if I had a home like Manderley,I should certainly never come to Monte.It's one of the biggest places in that part of the country, and you can't just beat it for beauty.What do you think of Monte Carlo ?Or don't you think of it at all ?Oh, well,I think it's rather artificialzShe's spoiled, Mr. de Winter. That's her trouble.Most girls would give their eyesfor a chance to see Monte.Wouldn't that ratherdefeat the purpose ?Now that we've found each other again,I hope I shall see something of you.You must come and have a drink in my suite.I hope they've given you a good room.The place is empty. So if you'reuncomfortable, mind you, make a fuss.Your valet has unpacked for you,I suppose ?I'm afraid I don't possess one.Perhaps you'd like to do it for me ?Well, I, I hardly think--Perhaps you could make yourself useful toMr. de Winter if he wants anything done.You're a capable child in many ways.That's a charming suggestion,but I'm afraid I cling to the old motto:'' He travels fastest who travels alone.''Perhaps you've not heard of it. Good night.What do you make of that ?Do you suppose that sudden departurewas intended to be funny?Come, don't sit there gawking.Let's go upstairs.- Have you got the key ?- Yes, Mrs. Van Hopper.I remember when I was youngerthere was a well-known writer...who used to dart down the backway whenever he saw me coming.I suppose he was in love with meand wasn't quite sure of himself. Well, c'est la vie.By the way, my dear,don't think that I mean to be unkind, but you were just a teeny, weeny bit forward with Mr. de Winter.Your effort to enter the conversation... quite embarrassed me,and I'm sure it did him.Men loathe that sort of thing.Oh, come. Don't sulk.After all, I am responsiblefor your behavior here.Perhaps he didn't notice it. Poor thing !I suppose he just can'tget over his wife's death.They say he simply adored her.Oh ! How awkward of me.What a stupid thing to do.Oh, I'm so sorry.Please don't bother.It doesn't really matter.Leave that. Leave that.Go and lay another place at my table. - Mademoiselle will have lunch with me. - Oh, but I couldn't possibly.- Why not ?- Oh, please don't be polite.- It's very kind of you, but I'll beall right if they just change the cloth.I wasn't being polite.I should have asked youto have lunch with me even ifyou hadn't upset the vase so clumsily. Come along. We needn't talk toeach other if we don't feel like it. Thank you very much.Oh, I'll just ha-haves-some scrambled eggs.Oui, mademoiselle.What's happened to your friend ?Oh, she's ill in bed with a cold.I'm sorryI was so rude to you yesterday.The only excuse I can offer is that I've become boorish through living alone.You weren't really.You simply wanted to be alone, and--Tell me, is Mrs. Van Hoppera friend of yours or just a relation ?No, she's my employer.I'm what is known as a paid companion.I didn't know companionshipcould be bought.I looked up the word ''companion''in the dictionary once.It said,''a friend of the bosom.''I don't envy you the privilege.Oh, she's very kind, really,and I have to earn my living.-Haven't you any family ?-No, my mother died years and years ago, and then there was only my father.And he died last summer,and then I took this job.- How rotten for you.- Yes, it was rather,because, you see,we got on so well together.You and your father ?Yes. He was a lovely person--very unusual.- What was he ?- A painter.- Ah. Was he a good one ?- Well, I thought so.124 But people didn't understand him.125 Yes, that's often the trouble.126 He painted trees.At least it was one tree.127 You mean he painted the sametree over and over again ?128 Yes. You see, he had a theory thatif you should find one perfect thing...129 or place or person, you should stick to it.130 Do you think that's very silly ?131 Not at all.I'm a firm believer in that myself.132 And what did you find to do withyourself while he was painting his tree ?133 Oh, I sat with him and I sketcheda little. I don't do it well, though.134 -You're going sketching this afternoon ?-Yes.135- Where ? - I haven't made up my mind.136- I'll drive you somewhere in the car.- Oh, no, please. I didn't mean--137 Oh, nonsense.Finish up that mess and we'll get along.138 Thank you. It's very kind of you,but I'm not very hungry.139 Oh, come on.Eat it up like a good girl.140 You're taking long enough for that sketch.I expect a really fine work of art.141 Oh, no, don't look at it.It's not nearly good enough.142 But it can't be as bad as all that.143 Now, don't rub it all out. Let me look at it first.144 - It's the perspective. I never can get it right.- Let me see.145 Oh, dear. Tell me, is it the perspective...146 that gives my nose that curious twist in the middle ? 147- Well, you're not a very easy subject to sketch.- No ?148- Your expression keeps changing all the time.- Does it ?149 Well, I'd concentrate on the viewinstead if I were you.150 Much more worthwhile.151 It rather reminds me of our coastlineat home. Do you know Cornwall at all ?152Yes. I went there oncewith my father on holiday.153I was in a shop once,and I saw a postcard...154with a beautiful house on it,right by the sea.155And I asked whose house it was, andthe old lady said, ''That's Manderley.'' 156- I felt ashamed for not knowing.- Manderley is beautiful.157To me, it's just the placewhere I was born...158and have lived in all my life.159But now, I don't supposeI shall ever see it again.160We're lucky not to be homeduring the bad weather, aren't we ?161Hmm.162I can't ever remember enjoying swimming in England until June, can you ?163The water's so warm herethat I could stay in all day.164There's a dangerous undertow, and there was a man drowned here last year. 165I never have any fearof drowning, have you ?166Come, I'll take you home.167Oh, yes. I know Mr. de Winter well.I knew his wife too.168Before she married, she was the beautiful Rebecca Hildreth, you know. 169She was drowned, poor dear,while she was sailing near Manderley. 170He never talks about it,of course, but he's a broken man.171I suppose I'd better have it.Wretched stuff!172Give me a chocolate, quick !173Oh, there you are.It's about time.174Hurry up.I want to play some rummy.175She was the beautifulRebecca Hildreth, you know.176They say he simply adored her.177She was the beautifulRebecca Hildreth, you know.178I suppose he just can'tget over his wife's death.179She was the beautifulRebecca Hildreth, you know.180But he's a broken man.181- Bonjour.- Well, where are you going ?182-Oh, I thought I'd take a tennis lesson.-I see.183I suppose you've had a look at the pro,and he's desperately handsome...184and you've conceiveda schoolgirl crush on him.185All right, go ahead.Make the most of it.186- Off duty?- Oh, yes.187Mrs. Van Hopper's cold has turnedinto flu, so she's got a trained nurse.188- I'm sorry for the nurse. You keen on tennis? - No, not particularly.189That's good.We'll go for a drive.190Good afternoon, Mrs. Van Hopper. How are you feeling ?191You got on rather well with him,didn't you ?192That pro must have beenteaching you other things than tennis. 193Hurry up.I want you to make some calls.194I wonder if Mr. de Winteris still in the hotel.195May I go now ?196For the number of lessons you've had, you ought to be ready for Wimbledon. 197But this will be your last,so make the most of it.198The trouble is, with me laid uplike this, you haven't had enough to do. 199But I'm getting rid of that nurse today, 200and from now onyou'll stick to your job.201Yes, Mrs. Van Hopper.202- Nurse !- Yes, Mrs. Van Hopper?203Are you absolutely sure you leftthose messages for Mr. de Winter ? 204- Why, yes, madame.- I simply can't believe it.205He would most certainlyhave called me back.206Oh, well. Poor boy.I simply hate to see him so alone.207You know, I, I wish therecould be an invention...208that bottled up the memorylike perfume.209And it never faded,never got stale.210Then whenever I wanted to,I could uncork the bottle...211and live the memoryall over again.212And what particular moment in your young life would you want to keep ?213Oh, all of them,all these last few days.214I feel as though I'd, I'd collecteda whole shelf full of bottles.215Sometimes, you know, thoselittle bottles contain demons...216that have a wayof popping out at you...217just as you're tryingmost desperately to forget.218Stop biting your nails.219Oh, I wish I were a woman of 36,220dressed in black satin,with a string of pearls.221You wouldn't be herewith me if you were.222Would you please tell me, Mr. de Winter, why you asked me to come out with you ? 223Oh, it's obviousthat you want to be kind,224but why do you choose mefor your charity ?225I asked you to come out with me because I wanted your company.226You've blotted outthe past for me more...227than all the brightlights of Monte Carlo.228But if you think I just askedyou out of kindness or charity,229you can leave the car nowand find your own way home.230Go on, open the door and get out. 231Better blow your nose.232Please don't call me Mr. de Winter. 233I have a very impressivearray of first names.234George Fortescue Maximilian. But you needn't bother with them all at once. 235My family call me Maxim.236And another thing.237Please promise me neverto wear black satin or pearls...238or to be 36 years old.239Yes, Maxim.240For the love of Pete!Come here.241What do you think ?My daughter's engaged to be married. 242- Oh, really ? How nice.- We must leave for New York at once. 243Get reservations on the Aquitania, and we'll take the 12..30 train for Cherbourg. 244Hurry up and get a maid to help with the packing. We've no time to waste. 245Go on and don't dawdle !246Mr. de Winter, please.247Oh, he's gone out riding ?248He won't be back till noon ?249Oh... well...give me the porter, please.250I'll go and see if there'sanything left in my room.251Has Mr. de Winter come in yet ?252Oh, he has ?Would you connect me, please ?253Oh, I-I was looking for my book.I-I suppose I've packed it.254Well, come on.The car's waiting at the door.255I'd like to leave a forwarding addressif they happen to find that book.256Would you ringMr. de Winter, please ?257Yes, madam.Cent quatrevingt-deux.258There isn't any answer.259Thank you.- Tell her to hurry up !- Yes, madam.261I was looking for Mr. de Winter.262Mr. de Winter just orderedbreakfast in his room, mademoiselle. 263- Come in.264Hello. What are you doing here ? Anything the matter ?265I've come to say good-bye.We're going away.266- What on earth are you talking about ? - It's true.267We're going now, andI was afraid I wouldn't see you again. 268Where is she taking you to ?269New York. I don't want to go.270I shall hate it.I shall be miserable.271I'll dress in here.I shan't be long272Which would you prefer,New York or Manderley?273Oh, please don't joke about it.Mrs. Van Hopper's waiting...274and I-I'd better say good-bye now.275I repeat what I said.276Either you go to Americawith Mrs. Van Hopper,277or you come hometo Manderley with me.You mean you wanta secretary or something ?279I'm asking you to marry me,you little fool.280- Come in.281Is that my food? I'm famished.I didn't have any breakfast.282Ah, my suggestion didn't seemto go at all well. I'm sorry.283Oh, but you don't understand. It's that I'm not the sort of person men marry. 284What on earth do you mean ?285I don't belong in yoursort of world, for one thing.286What is my sort of world ?287Oh, well, Manderley.You know what I mean.288Well, I'm the best judgeof whether you belong there or not. 289Of course, if you don't love me,then it's a different thing.290Fine blow to my conceit,that's all.291Oh, I do love you.I love you most dreadfully.292I've been crying all morning because I thought I'd never see you again. 293Bless you for that.294I'll remind you of this one day,and you won't believe me.295It's a pity you have to grow up. 296Well, now that's settled,you may pour me out some coffee. 297Two lumps of sugarand some milk, please.298Same with my tea.Don't forget.299Who's going to break the newsto Mrs. Van Hopper ?300Oh, you tell her.She'll be so angry.301What's the number of her room ? 302Oh, she's not there.She's downstairs in the car.303Hello. Give me the desk, please. 304Hello. You'll find Mrs. Van Hopper waiting outside in her car.305Would you ask her,with my compliments,306if she'd very kindly come upand see me in my room ?307Yes, in my room.308Mr. de Winter says pleasefor you to come up to his room. 309Mr. de Winter ?Why, certainly.310This isn't at allyour idea of a proposal, is it ?311It should be in a conservatory,312you in a white frockwith a red rose in your hand...313and a violin playing in the distance, 314and I should be making violentlove to you behind a palm tree.315Poor darling. Never mind.316- Oh, I don't mind.317Don't worry. Don't worry.You won't have to say a word.318I'm so glad you called me,Mr. de Winter.319I was making a hasty departure. It was so rude of me not to let you know. 320But a cable camethis morning announcing...321that my daughteris engaged to be married.322That's rather a coincidence,Mrs. Van Hopper.323I asked you up here in orderto tell you of my engagement.324You don't mean it !Oh, how perfectly wonderful !325How romantic.Who is the lucky lady ?326I apologize for depriving youof your companion in this abrupt way. 327I do hope it won'tinconvenience you too greatly.328When did all this happen ?329Just now, Mrs. Van Hopper.Just a few minutes ago.330I simply can't believe it.331I suppose I oughtto scold you for not...332having breathed a wordof all this to me.333What am I thinking of?334I shall give you both mycongratulations and blessings.335I'm very happy for you both.When and where is the wedding to be ?336- Here, as soon as possible.- A whirlwind romance !337Splendid ! I could easilypostpone my sailing for a week.338This poor child has no mother,339so I shall take responsibilityfor all the arrangements--340trousseau, reception and everything.341And I'll give the bride away. But our luggage! Go down and tell the porter...342- ... to take everything out of the car.-Just a minute.343We're most grateful,but I think we'd both...344prefer to have it as quiet as possible.- I couldn't possibly allow you345to change your sailing plans.- Oh, but--346No, no, no. Dear, I'll go down andsee that your luggage is brought back.347Thank you, Maxim.So this is what's been happening during my illness.349Tennis lessons, my foot !350I suppose I have to hand itto you for a fast worker.351How did you manage it ?Still waters certainly run deep.352Tell me, have you been doinganything you shouldn't ?353I don't know what you mean.354Oh, well, never mind. I always did say that Englishmen have strange tastes. 355But you certainly have your work cut out as mistress of Manderley.356To be perfectly frank with you, my dear, I can't see you doing it.357You haven't the experience.358You haven't the faintest ideawhat it means to be a great lady.359Of course, you know whyhe's marrying you, don't you ?360You haven't flattered yourselfthat he's in love with you.361The fact is, that empty housegot on his nerves to such an extent (362)he nearly went off his head.363He just couldn't go on living alone.364You'd better leave, Mrs. Van Hopper. You'll miss your train.365Hmm. Mrs. de Winter.Good-bye, my dear, and good luck ! 367Monsieur ! Vous avez oubliezvotre carnet de mariage.368- What he says?- He says I've forgotten369- ...the proof that we're married.- Good heavens !370Ah, somebody else had the same idea. 371- Isn't she sweet ?- Yes.372You'd have likeda bridal veil, wouldn't you ?373Or at least--374Madame, madame, combienc'a fait ? Tout de tout.375Je vous remercie mille fois, madame. Merci.376Oh, Maxim, how lovely.377Oh, how perfectly lovely.378Ah... oh... perfectly lovely.379- Welcome home, Mr. de Winter.- Thank you, Smith.380- Cold, darling ?- Yes, just a little bit.381There's no needto be frightened, you know.382Just be yourself,and they'll all adore you.383You don't have to worryabout the house at all.Mrs. Danvers is the housekeeper. Just leave it to her.385Hello. Starting to rain.We'd better hurry up.386Here, have this.Put it over your head.387Thank you388That's it.That's Manderley.389Here we are, Frith.Everybody well ?390Yes, thank you, sir.Glad to see you home, sir.391- This is Mrs. de Winter, Frith.- How do you do ?392I didn't expect the whole staffto be in attendance.393Mrs. Danvers' orders, sir.394Oh. Sorry about this.Won't take long.395This is Mrs. Danvers.396How do you do ?397How do you do ?398I have everythingin readiness for you.399That's very good of you.I didn't expect anything.400I think we'd like some tea, Frith. 401It's ready in the library, sir.402Come along, darling.403Oh, Maxim ! Come in !404Oh, good evening, Mrs. Danvers.405Good evening, madam.406- I hope Alice was satisfactory, madam. 407- Oh, yes, thank you. Perfectly.- She's the parlor maid.408She'll have to look after youuntil your own maid arrives.409Oh, but I haven't a maid.I'm sure Alice will do very nicely.410I'm afraid that would not dofor very long, madam.411It's usual for ladies in yourposition to have a personal maid.412I hope you approve the new decoration of these rooms, madam.413Oh, I didn't knowit had been changed.414I hope you haven't beento too much trouble.415I only followed outMr. de Winter's instructions.416Oh, well, whatdid it look like before ?417It had an old paperand different hangings.418It was never used much,except for occasional visitors.419Oh, then it wasn'tMr. de Winter's room originally ?420No, madam. He's never usedthe east wing before.421Of course, there's no viewof the sea from here.422The only good view of the seais from the west wing.423The room's very charming,and I'm sure I'll be comfortable.424If there's anything you want done, madam, you have only to tell me.425I suppose you've been at Manderleyfor many years, longer than anyone else. 426Not so long as Frith. He was herewhen the old gentleman was living,427when Mr. de Winter was a boy.428Oh, I see.And you didn't come until after that ? 429I came here whenthe first Mrs. de Winter was a bride.430Mrs. Danvers,I do hope we'll be friends.431You must be patient with me.This sort of life is new to me,432and I do want to makea success of it...433and make Mr. de Winter happy.434So I know I can leave allthe household arrangements to you.435Very well. I hope I shall do everythingto your satisfaction, madam.436Mrs. de Winter's death,437and Mr. de Winterhas never complained.438I think I'll go downstairs now.439That room in the west wing I was tellingyou about is there through that door.440It's not used now.441It's the most beautifulroom in the house--442the only one that looks downacross the lawns to the sea.443It was Mrs. de Winter's room.444- Good morning.- Good morning.445You're Mrs. de Winter, aren't you ?446- Yes.- My name's Crawley.447I-I manage the estate for Maxim.448Awfully glad to meet you.449Fearful lot of stuffpiled up while Maxim was away.450Yes, I'm sure there must have been.451I, I do wish I could helpwith some of it.452Oh, no. Frank never allowsanybody to help him.453He's like an old mother henwith his bills and rents and taxes.454- Come on, Frank. We must go over these estimates.455You'll find quantitiesof breakfast over there.456- You must eat it all, or cook will be offended. - I'll do my best, Maxim.457I have to go over the place with Frankto make sure he hasn't lost any of it.458- But you'll be all right, won't you ?- Mm-hmm.459Getting acquaintedwith your new home ?460Have a look at The Times.There's a thrilling article...461on what's the matterwith English cricket.462Oh, uh, yes, um--463My sister Beatrice and her husband Giles Lacy have invited themselves for lunch.464- Today ?- Yes.465I suppose the old girlcan't wait to look you over.466You'll find her very direct.467If she doesn't like you,she'll tell you so to your face.468Don't worry, darling. I'll be backin time to protect you from her.469- Good-bye, darling.- Good-bye, Maxim.470- Good-bye.- Good-bye.471- Good morning, Frith.472Isn't there anythingI could get for you, madam ?473Oh, no, thank you, Frith.I'm really not very hungry.474Thank you.475- The paper, madam.- Oh, yes. Thank you, Frith.476- Madam.- I slipped.477Oh, thank you, Frith.478- It's big, isn't it ?- Yes, madam. Manderley is a big place. 479This was the banquet hallin the old days.480It's still used on great occasions,such as a big dinner or a ball,481and the public is admitted here,you know, once a week.482That's nice.483I beg pardon, madam.484I'm afraid the fire is not usuallylit in the library until the afternoon.485But you'll find onein the morning room.486Of course, if you wishthis fire lit now, madam--487Oh, no, Frith.I wouldn't dream of it.488I mean, the late Mrs. de Winter。
Rebecca 蝴蝶梦 论文
英美文学课程论文论文题目：《蝴蝶梦》的人物分析和写作特色The analysis of Rebecca and writing techniques学生姓名：XX XX XX学号：XXXXXXXXX班级：英语1001班完成日期：2012年11月20日The analysis of Rebecca and writing techniquesAbstractRebecca is the typical characteristics of gothic, developing with the leading lady’s personal experience in Manderley. she faces to challenge, defeats bravely, and challenging herself in the end.. And au thor’s unique arrangement and writing techniques has added c olor to the creation of suspense in the novel.Many famous scholars think that the use of gothic, the description of the environment and characters, the fusion of feelings with natural settings and suspense all play an important role in creating success.Through this book, author criticize inequality in the society of man control and expound her view of marriage, her think marriage should base on love, and needs caring of both side.Key words: character, gothic, suspense, lateral description, feminism《蝴蝶梦》的人物分析和写作特色内容摘要《蝴蝶梦》是一部典型的哥特式小说，情节围绕着女主角在曼德拉的私人生活展开。
蝴蝶梦
剧情简介《蝴蝶梦》13届奥斯卡最佳影片蝴蝶梦（原名《丽贝卡》）（REBECCA）塞尔兹尼克、联美公司一九四○年摄制出品制片：士卫.Ｏ.塞尔兹尼克改编：罗伯特.舍伍德、约翰.哈里逊【导演】：阿尔弗雷德.希西柯克【主要演员】：劳伦斯.奥立佛（饰麦克西姆.德文特）琼.芳登（饰"我"，即德文特夫人）第十三届(40年)奥斯卡最佳影片根据达夫妮.杜.莫里叶的畅销小说《丽贝卡》改编获十一项提名《蝴蝶梦》荣获了1940年第13届奥斯卡最佳影片、最佳摄影两项奖。
谢尔兹尼克国际影片公司出品影片从梦中的女主人公---第一人称的'我'回忆往事开始。
夜里，我又梦回曼陀丽。
面对这堆被焚的中世纪建筑废墟，我又想起很多过去……那是从法国开始的。
做为'陪伴'的我随范霍夫太太来到蒙特卡洛。
一天，在海边我看到一个在陡崖边徘徊的男子。
我以为他要投海，就叫出了声。
他向我投来愤怒的一瞥。
我知道我想错了，他可真是一个怪人。
很巧，他竟同我们住在同一个饭店里。
从范霍夫太太那里，我知道他是著名的曼陀丽庄园的主人德温特先生。
他的妻子——美丽的吕蓓卡去年划船淹死了。
也许这就是他这样怪的原因吧。
因为感冒，范霍夫太太又请了一位护士。
我自由了，同德温特先生见面也就多了。
我们共进午餐，一起散步、跳舞。
我告诉他我的一切，他却淡淡地提起他的曼陀丽……多次的见面，多次的交谈，我们彼此吸引着。
爱就这样萌发了！可是，范霍夫太太却要赶着去参加女儿的订婚仪式。
我立刻去找德温特。
当我告诉他我是来告别的时候，他久久地望着我，向我求婚。
就在我不知所措之中，我们离开了法国，作为德温特夫人回到曼德利庄园。
一进庄园，我好像处处看见吕蓓卡的身影。
无论是屋里的摆设还是家具上，都留下了'吕蓓卡'的名字。
管家丹佛斯太太又是那样令人厌恶。
冰冷的脸，冷酷的心，对于吕蓓卡她有一种可怕的崇敬，她每天整理吕蓓卡的房间，布置得和其生前一样。
《蝴蝶梦》(Rebecca)中身势语的归类及其翻译
ｈ ａｄ ｗ ｙｆ ｍ ｈｓ ａｅａｄｌ ｋｄｉｏｈｓ ｙｓ ”我 走 ｉｈ ｎ ｓ ａ ｏ ｉｆ ｎ ｏｅ ｔ ｉｅｅ… （ ｓ ａ ｒ ｃ ｏ ｎ
在依据， 因为 人的动作 比理性更 能体 现人 的真实情 感和 欲
到他 身边 跪下 ， 他却一动也不动 。我把 他遮脸 的双手扳开 ，
望。研 究身势语 可以帮助我们 消除人际 间的隔阂， 进人际 促
交流， 改善人际关系。 美 国学 者莱杰 ・ 布罗纳 安指 出：人类 交 际一般 分为 书 “
ｓｅ ａｄ‘ｏ ｕｒｍｅ ， ｏｄ ｒ ｌ ｎ ｙ……ｆ ｈ ｉ，ｈｗｓｐｅ ｌ ｗ ｎ ｅ ｕｌｆ ｎ！ 她开始放声大 ｓ ｙ ｆ ｙｕ
笑， 哈哈地笑个不停 。 天哪 ， “ 多有趣 ！ 她说 ，真是有趣到极 ” “
点， 妙不 可言…… ”Ｒ ｂｃａ的这种 身势语正是对她所 说的 ） ｅｅｃ
的说 明性 ， 如 ， 手 抱 头 说 ：我 害 怕 。 表 示 恐 惧 的心 情 。 例 双 “ ”
则是排列最后 的。然而， 是从 不断进化 的整个人类还 是 无论
从 个人角度看， 这些技能 的习得次序 、 出现频率及其 平常所 提供 的信息量， 明三者之 间的重要 地位正好相反 。” 布 都表 （
深 层 心 理 。人 的 动作 、 情 才 是 了解 人 本 身 的非 常 可 靠 的 外 表
着直 接的对立关系 ， 如一个人对你跷 起大拇指 ， 用相应 的语
言表 达就是 ： 你真 了不起 。在《 蝴蝶 梦》 中就有许多代表人物 思想 的象征性身势语 ， 例如在原 著第 ２ ９页 ， 中有这 么一 ６ 其
蝴蝶梦介绍 幻灯片
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德文特夫人：你知道的！你知道她穿过这件衣服，故意建议我穿。你为什么你那么恨我，我对 你做了什么让你那么恨我？
Mrs. Danvers: You tried to take her place. You let him marry you. I've seen his face - his eyes. They're the same as those first weeks after she died. I used to listen to him, walking up and down, up and down, all night long, night after night, thinking of her, suffering torture because he lost her!
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文段1
• 昨晚，我梦见自己又回到了曼陀丽庄园。恍惚中，我站在那扇通往车 道的大铁门前，好一会儿被挡在门外进不去。铁门上挂着把大锁，还 系了根铁链。我在梦里大声叫唤看门人，却没人答应。于是我就凑近 身子，隔着门上生锈的铁条朝里张望，这才明白曼陀丽已是座阒寂无 人的空宅。 • 烟囱不再飘起袅袅青烟。一扇扇小花格窗凄凉地洞开着。这时， 我突然像所有的梦中人一样，不知从哪儿获得了超自然的神力，幽灵 般飘过面前的障碍物。车道在我眼前伸展开去，婉蜒曲折，依稀如旧。 但是待我向前走去，就觉察到车道已起了变化：它显得又狭窄又荒僻， 不再是我们熟悉的那个模样。我一时感到迷惑不解，但当我低下头去 避开一根低垂摇曳的树枝时，才发现了变化的来由。原来自然界已恢 复了本来的面目，渐渐把她细长的手指顽强而偷偷摸摸地伸到车道上 来了。即使在过去，树林对车道来说，也始终是个威胁，如今则终于 赢得胜利，黑压压势不可挡地向着车道两侧边沿逼近。榉树伸开赤裸 的白色肢体，互相紧紧偎依，枝条交叉错杂，形成奇特的拥抱，在我 头顶构成一个形似教堂拱道的穹隆。这里还长有许多别的树木，有些 我叫不出名字，还有些低矮的橡树和翘曲的榆树，都同榉树盘根错节 地纠结在一起。橡树、榆树，还有巨怪似的灌木丛以及其他一些草木， 就这么纷列在这块静谧的土地上，全然不是我记忆中的景象。
赏析蝴蝶梦翻译
赏析《蝴蝶梦》（Rebecca）简写本景色描写翻译《蝴蝶梦》（Rebecca）是英国女作家达夫妮·杜穆里埃(Daphne du Maurier)的成名作品，甚至被视为与《简爱》齐名。
我手中的这一版为：原著：Daphne du Maurier改写：A.S.M.Ronaldson翻译：刘保山中英对照中，可以看出译者对于原稿的把握与揣摩。
对于中文阅读者来说，景物描写的理解一直是英语作品的难点。
在阅读英语作品中，我感到最易理解的是一些专业文章，因为在解决专业词汇后就可以大体把握文章要义。
其次是新闻，除了词汇和句式外，往往作者态度和大义不难把握。
作者的意图重在从中给予读者信息和观点。
最难以理解的是小说，除了多种变化的形式外，作者往往有深意在其中，常常暗示给出，以不同的意向引领读者，给予读者一定的情感或情绪体验，对于非英语母语以及非英语文化下成长的中文阅读者，我觉得很难。
而《蝴蝶梦》是一起悬疑的气氛著名。
读这个故事，会明显感受到那种作者所描绘的阴霾，压抑的气氛。
而这些气氛的展现，除了主角的心理变化，或者少之又少的直接描写外，剩下的就是大量的侧面烘托，其中，最为重要的，也是给我印象最深的，就是景物的描写。
读这本故事时年纪还比较小，但读过之后仿佛亲身经历过曼德利庄园的美景或者是最压抑的环境一般。
可见刘保山先生的考究和传神。
1. Last night I dreamt that I went to Manderley again. It seemed to that I was going in by the iron entrance gates. The private road was just a narrow ribbon now, its stony surface covered with grass and weeds. Sometimes, when I thought it lost, it would appear again, beneath a fallen tree or beyond a muddy ditch made by the winter rains, the trees had thrown out new branches which stretched across my way. I came upon the house suddenly, and stood there with my heart beating fast and tears coming to my eyes.（翻译：昨天夜里，我梦见又回到了曼德利。
Rebecca蝴蝶梦名著介绍
• Was born in an art family • English novelist and playwright • Was good at Gothic (哥特式)literature and her works were full of suspense(悬 念) • One of the great shapers of popular culture and the modern imagination • Was made a Dame Commander in the Order of the British Empire(大英帝国贵妇 勋章） in 1969
•
Frank
• Helped the hero manage his property affairs Was seduced by Rebecca before and felt very upset Kind-hearted and help the Danvers
A young, naive woman • Just a kid, feeling confused about love • Full of imaginations • Compared herself to Rebecca • Tried to change things and people’s expression of her
Rebecca
• The dark queen of Manderley • She never shows up, was said to be very beautiful
• Has been died for 10 months, but seems to be everywhere
The unnamed heroine
Rebecca电影蝴蝶梦
Content
Based on the novel by Daphne du Maurier, the classic psychological thriller Rebecca was Alfred Hitchcock„s first American film. Joan Fontaine plays the unnamed narrator, a young woman who works as a companion to the well-to-do Mrs. Van Hopper (Florence Bates). She meets the wealthy widower Maxim de Winter (Laurence Olivier) in Monte Carlo, where they fall in love and get married. Maxim takes his new bride to Manderlay, a large country estate in Cornwall. However, the mansion‟s(宽敞的房子) many servants refuse to accept her as the new lady of the house. They seem to be loyal to Maxim„s first wife, Rebecca, who died under mysterious circumstances. Particularly cruel to her is the prim（一本正经的） housekeeper Mrs. Danvers (Judith Anderson), who is obsessed with Rebecca. She continually attests（宣 称） to her beauty and virtues (referring to her as “the real Mrs. de Winter”) and even preserves her former bedroom as a shrine（圣物）. The new Mrs. de Winter is nearly driven to madness as she begins to doubt her relationship with her husband and the presence of Rebecca starts to haunt her. Eventually, an investigation leads to the revelation about Rebecca's true nature.
Rebecca (by Daphne Du Maurier) 蝴
3 Gothic fiction
• Du Maurier employs numerous Gothic elements in Rebecca . Once the narrator is at Manderley, Du Maurier invokes classic aspects of the Gothic, including a haunted mansion with ancestral heritage, an atmosphere of suspense, a story about a mysterious death, ominous foreshadowing, and ghostly presence. Du Maurier also incorporates Maxim as a stereotypical Byronic hero who is tormented by his past and is associated with gloomy weather that corresponds with the direction of the narrative. She ends the novel as a continuation of the Gothic tone by allowing Maxim and the narrator to escape the memory of Rebecca only after the destruction of their home.
4 Love vs. hate
• Love and hate serve as crucial motivational tools for the primary characters in Rebecca. For the majority of the text, Maxim is motivated by his love for the narrator and Manderley, as well as his hatred for Rebecca and her memory. Mrs. Danvers and Jack Favell, as the seeming “villains” of the piece, are both prompted by their love for Rebecca and hatred for those who seem to have forgotten her.As the object of both love and hate, Rebecca is the only character who seems to be motivated purely by self-love in her behavior.
赏析蝴蝶梦翻译
赏析《蝴蝶梦》（Rebecca）简写本景色描写翻译《蝴蝶梦》（Rebecca）是英国女作家达夫妮·杜穆里埃(Daphne du Maurier)的成名作品，甚至被视为与《简爱》齐名。
我手中的这一版为：原著：Daphne du Maurier改写：A.S.M.Ronaldson翻译：刘保山中英对照中，可以看出译者对于原稿的把握与揣摩。
对于中文阅读者来说，景物描写的理解一直是英语作品的难点。
在阅读英语作品中，我感到最易理解的是一些专业文章，因为在解决专业词汇后就可以大体把握文章要义。
其次是新闻，除了词汇和句式外，往往作者态度和大义不难把握。
作者的意图重在从中给予读者信息和观点。
最难以理解的是小说，除了多种变化的形式外，作者往往有深意在其中，常常暗示给出，以不同的意向引领读者，给予读者一定的情感或情绪体验，对于非英语母语以及非英语文化下成长的中文阅读者，我觉得很难。
而《蝴蝶梦》是一起悬疑的气氛著名。
读这个故事，会明显感受到那种作者所描绘的阴霾，压抑的气氛。
而这些气氛的展现，除了主角的心理变化，或者少之又少的直接描写外，剩下的就是大量的侧面烘托，其中，最为重要的，也是给我印象最深的，就是景物的描写。
读这本故事时年纪还比较小，但读过之后仿佛亲身经历过曼德利庄园的美景或者是最压抑的环境一般。
可见刘保山先生的考究和传神。
1. Last night I dreamt that I went to Manderley again. It seemed to that I was going in by the iron entrance gates. The private road was just a narrow ribbon now, its stony surface covered with grass and weeds. Sometimes, when I thought it lost, it would appear again, beneath a fallen tree or beyond a muddy ditch made by the winter rains, the trees had thrown out new branches which stretched across my way. I came upon the house suddenly, and stood there with my heart beating fast and tears coming to my eyes.（翻译：昨天夜里，我梦见又回到了曼德利。
经典老电影《蝴蝶梦》高清版超清版
经典老电影《蝴蝶梦》高清版超清版
电影《蝴蝶梦》（长影配音）
中文名: 蝴蝶梦
英文名:Rebecca
导演:阿尔弗雷德·希区柯克
主演:劳伦斯·奥立弗琼·芳登乔治·桑德斯(I)
朱迪思·安迪生奈杰尔·布鲁斯雷杰纳德·丹尼(I)
类型:电影剧情悬疑爱情惊悚
片长:130分钟
上映:1940 美国
剧情概要:
影片开始是一段回忆的画外音,配合幽暗的画面,营造出散发着恐怖气氛的效果.
在法国南部海滨的一座悬崖上,一个古怪、忧伤,精神恍惚但是很有魅力的男人来回徘徊着.一声惊叫打断了他的沉思,来到附近画画的一个年轻女子怀疑这位先生有自杀的倾向而上前喝止.这个鲁莽的举动倒让两人很快结识,甚至很快成为一对亲密的恋人.这位英俊潇洒的贵族富豪叫梅西·文德斯,几年前的丧妻令他沉痛不已,而那个年轻女子只是一个贴身使女.他们开始在外面约会,但每次年轻的姑娘问起德文特久负盛名的曼德利庄园时,文德斯先生总是显得忧郁而沉默.文德斯先生逐渐爱上了这个天真、善良的姑娘,就在她要随主人离去的时候,他向她正式求婚.很快,梅西·文德斯带着他新婚的妻子回到了自己在英国的庄园......
《蝴蝶梦》.英语中文字幕超清。
蝴蝶梦影评
movie?
废墟下面,再也无法困扰“我”了。我和丈夫开始了全新的
生活,并开始真正成为他心目中一个可以同甘共苦的妻子。 可见,正是吕蓓卡的不幸给我带来了幸运,而代表“正义” 的 我战胜了代表“邪恶”的吕蓓卡,也是二人必然的结局。
她 不畏男性强权，敢于同男权制作斗争!她利用自己 的 聪明才干，撑起了自己的一片天地!她前卫的女性 主 义思想是令人赞叹的!吕贝卡同时还是一个早期的
Mr.DeWinter
Mrs.DeWinter
self-abasement/ companion
Rebecca
treacherous/ Favell adulterer
Dr.Baker
fair/ doctor
Rebacca
“She was the beautiful Rebecca Hildreth，you know.They say A he simply adored her.”
性天真、善良。在法国南部的蒙特卡洛跟英国 富家梅西· 文德斯邂逅并相爱。在结束密月旅行 后，她随丈夫来到曼德利庄园。成为曼德利庄 园的女主人之后，文德斯夫人柔弱的性格使她 无所适从。她感到生活中到处都有文德斯前妻 的影子，并怀疑丈夫还爱着丽贝卡。
丹佛斯夫人，曼德利庄园的管家，性格严苛，
对文德斯夫人表现出厌恶的态度。由于她念念 不忘前女主人丽贝卡，因此对文德斯夫人百般 刁难，像幽灵似的处处跟随着文德斯夫人，不 让文德斯夫人越雷池一步。后来出于妒恨，她 放火烧了曼德利庄园。
1
“It was all a lie.I knew where Rebecca‟s body was. Lying on the cabin floor on the bottom of the sea.”“Because I put it there.”
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Daphne du Maurier
Early life
Major works & Appraise Personal life
Death
Background
作者受十九世纪以神秘、恐怖等为主要特点的哥 特派小说影响较深，同时研究并刻仿勃朗特姐妹 的小说创作手法，她擅长刻画细腻的人物和布局 曲折的情节。 Influenced by Gothic novels in the nineteenth century, which are full of mystery and horror color , and studying and imitating Bronte sisters‘ creation technique. The author was good at depicting exquisite people and the devious layout of plots.
He told her the secret
Rebecca’ s corpse（尸体） was found and her doctor told the truth
Mrs.Danvers burnt Manderley and killed herself
.
Achievement
Awards In the US, Du Maurier won the National Book Award for favourite novel of 1938, voted by members of the American Booksellers Association. In 2003, the novel was listed at number 14 on the UK survey The Big Read.
Major works & Appraise
Literary critics have sometimes berated du Maurier's works for not being "intellectually heavyweight" like those of George Eliot or Iris Murdoch. By the 1950s, when the socially and politically critical "angry young men" were in vogue, her writing was felt by some to belong to a bygone age.
Early life
Daphne du Maurier , Lady Browning DBE （13 May 1907 – 19 April 1989) was an English author and playwright. Her grandfather was the artist and writer and her father is the actor. Her elder sister also became a writer and her younger sister was a painter. she always lived a place called Cornwall in southwest England.
Early life
Cornwall
Major works & Appraise Rebecca 《蝴蝶梦》
Major works & Appraise Jamaica Inn My Cousin Rachel The King's General Mary Anne The Scapegoat Rule Britannia 《牙买加旅店》 《浮生梦》 《征西大将军》 《玛丽.安妮 》 《替罪羊》 《统治吧，不列颠
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Kept a secret and felt painful
The hero： Maxim
• • An elder, handsome widower Owner of Manderley
•
•
Troubled by the of his wife Rebecca
Loved his new wife very much but didn’t appear obviously
The most successful vision of movies adapted from Rebecca (Hitchcock, 1940)
Thank you
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Characters Analysis
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Character Relations
（敌视）
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Rebecca
• The dark queen of Manderley • She never shows up, was said to be very beautiful • Has been died for 10 months, but seems to be everywhere
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The unnamed heroine
A young, naive woman
• Just a kid, feeling confused about love • Full of imaginations • Compared herself to Rebecca • Tried to change things and people’s expression of her
•
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Mrs. Danvers
•
•
The house keeper
A crazy fan of Rebecca Wanted to drive the heroine away and keep Rebecca’s status forever
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Writing style: suspense
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The main plot
First meet awkwardly
Meet again occasionally
Fall in love
Went to Manderley after marriage
Mrs.Danvers threatened the heroine
Realized Rebecca existed everywhere and everybody liked her ,she was very sad
《蝴蝶梦》R e be cca
——Daphne du Maurier
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By：Vivi Lemon jennifer
content Author s
Background Characters Analysis
Writing style
The main plot
Achievement
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Frank
• Helped the hero manage his property affairs
Was seduced by Rebecca before and felt very upset Kind-hearted and help the heroine a lot
•
• S u s p e n s e is a n im p o rta n t e le m e n t o f w ritin g . Its sp e c ia l fe a tu re , a s th e E n g lis h d ra m a tis t , W illia m A rc h ill sa id , “to p re d ic t a ve ry attr a cti v e st at e of aff air s wi t h o ut telli n g it o ut . ” O n su s p e n s e ’s fo rm in g , th e E n g lis h critic , D a v id L o d g e h a s in c is iv e re c a p itu la tio n ,” T o se t fo rth a q u e s tio n a n d p o s tp o n e th e a n s w e r .” T o b e e x a c tly , th a t is , to stre s s a m a in , u n u s u a l situ a tio n . A n d th e re is e n o u g h tim e a n d sp a c e le ft fo r re a d e rs to im a g in e . • 悬念是一种独特的文学结构形式,其重要特征,用英国戏剧 理论家威廉·阿契尔的话说,就是“预示出一种十分吸引 人的事态,却不把它预叙出来.”对于悬念的形成,英国当 代小说批评家戴维·洛奇曾作过精辟的概括,即“提出问 题，延缓提供答案”.具体而言,就是突出不同寻常的情境 并延缓批露底细,使其呈明显的悬而未决的状态 .