中文版 献给艾米丽的玫瑰花
英语原著 献给艾米莉的玫瑰(A Rose for Emily)
A Rose for EmilyBy William FaulknerIWHEN Miss Emily Grierson died, our whole town went to her funeral: the men through a sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house, which no one save an old man-servant--a combined gardener and cook--had seen in at least ten years.It was a big, squarish frame house that had once been white, decorated with cupolas and spires and scrolled balconies in the heavily lightsome style of the seventies, set on what had once been our most select street. But garages and cotton gins had encroached and obliterated even the august names of that neighborhood; only Miss Emily's house was left, lifting its stubborn and coquettish decay above the cotton wagons and the gasoline pumps-an eyesore among eyesores. And now Miss Emily had gone to join the representatives of those august names where they lay in the cedar-bemused cemetery among the ranked and anonymous graves of Union and Confederate soldiers who fell at the battle of Jefferson.Alive, Miss Emily had been a tradition, a duty, and a care; a sort of hereditary obligation upon the town, dating from that day in 1894 when Colonel Sartoris, the mayor--he who fathered the edict that no Negro woman should appear on the streets without an apron-remitted her taxes, the dispensation dating from the death of her father on into perpetuity. Not that Miss Emily would have accepted charity. Colonel Sartoris invented an involved tale to the effect that Miss Emily's father had loaned money to the town, which the town, as a matter of business, preferred this way of repaying. Only a man of Colonel Sartoris' generation and thought could have invented it, and only a woman could have believed it.When the next generation, with its more modern ideas, became mayors and aldermen, this arrangement created some little dissatisfaction. On the first of the year they mailed her a tax notice. February came, and there was no reply. They wrote her a formal letter, asking her to call at the sheriff's office at her convenience. A week later the mayor wrote her himself, offering to call or to send his car for her, and received in reply a note on paper of an archaic shape, in a thin, flowing calligraphy in faded ink, to the effect that she no longer went out at all. The tax notice was also enclosed, without comment.They called a special meeting of the Board of Aldermen. A deputation waited upon her, knocked at the door through which no visitor had passed since she ceased giving china-painting lessons eight or ten years earlier. They were admitted by the oldNegro into a dim hall from which a stairway mounted into still more shadow. It smelled of dust and disuse--a close, dank smell. The Negro led them into the parlor. It was furnished in heavy, leather-covered furniture. When the Negro opened the blinds of one window, they could see that the leather was cracked; and when they sat down, a faint dust rose sluggishly about their thighs, spinning with slow motes in the single sun-ray. On a tarnished gilt easel before the fireplace stood a crayon portrait of Miss Emily's father.They rose when she entered--a small, fat woman in black, with a thin gold chain descending to her waist and vanishing into her belt, leaning on an ebony cane with a tarnished gold head. Her skeleton was small and spare; perhaps that was why what would have been merely plumpness in another was obesity in her. She looked bloated, like a body long submerged in motionless water, and of that pallid hue. Her eyes, lost in the fatty ridges of her face, looked like two small pieces of coal pressed into a lump of dough as they moved from one face to another while the visitors stated their errand.She did not ask them to sit. She just stood in the door and listened quietly until the spokesman came to a stumbling halt. Then they could hear the invisible watch ticking at the end of the gold chain.Her voice was dry and cold. "I have no taxes in Jefferson. Colonel Sartoris explained it to me. Perhaps one of you can gain access to the city records an d satisfy yourselves.""But we have. We are the city authorities, Miss Emily. Didn't you get a notice from the sheriff, signed by him?""I received a paper, yes," Miss Emily said. "Perhaps he considers himself the sheriff . . . I have no taxes in Jefferson.""But there is nothing on the books to show that, you see We must go by the--""See Colonel Sartoris. I have no taxes in Jefferson.""But, Miss Emily--""See Colonel Sartoris." (Colonel Sartoris had been dead almost ten years.) "I have no taxes in Jefferson. Tobe!" The Negro appeared. "Show these gentlemen out."IISo SHE vanquished them, horse and foot, just as she had vanquished their fathers thirty years before about the smell.That was two years after her father's death and a short time after her sweetheart--the one we believed would marry her --had deserted her. After her father's death she went out very little; after her sweetheart went away, people hardly saw her at all. A few of the ladies had the temerity to call, but were not received, and the only sign of life about the place was the Negro man--a young man then--going in and out with a market basket."Just as if a man--any man--could keep a kitchen properly, "the ladies said; so they were not surprised when the smell developed. It was another link between the gross, teeming world and the high and mighty Griersons.A neighbor, a woman, complained to the mayor, Judge Stevens, eighty years old."But what will you have me do about it, madam?" he said."Why, send her word to stop it," the woman said. "Isn't there a law? ""I'm sure that won't be necessary," Judge Stevens said. "It's probably just a snake or a rat that nigger of hers killed in the yard. I'll speak to him about it."The next day he received two more complaints, one from a man who came in diffident deprecation. "We really must do something about it, Judge. I'd be the last one in the world to bother Miss Emily, but we've got to do something." That night the Board of Aldermen met--three graybeards and one younger man, a member of the rising generation."It's simple enough," he said. "Send her word to have her place cleaned up. Give her a certain time to do it in, and if she don't. ..""Dammit, sir," Judge Stevens said, "will you accuse a lady to her face of smelling bad?"So the next night, after midnight, four men crossed Miss Emily's lawn and slunk about the house like burglars, sniffing along the base of the brickwork and at the cellar openings while one of them performed a regular sowing motion with his hand out of a sack slung from his shoulder. They broke open the cellar door and sprinkled lime there, and in all the outbuildings. As they recrossed the lawn, a window that had been dark was lighted and Miss Emily sat in it, the light behind her, and her upright torso motionless as that of an idol. They crept quietly across the lawn and into the shadow of the locusts that lined the street. After a week or two the smell went away.That was when people had begun to feel really sorry for her. People in our town, remembering how old lady Wyatt, her great-aunt, had gone completely crazy at last, believed that the Griersons held themselves a little too high for what they really were. None of the young men were quite good enough for Miss Emily and such. We had long thought of them as a tableau, Miss Emily a slender figure in white in the background, her father a spraddled silhouette in the foreground, his back to her and clutching a horsewhip, the two of them framed by the back-flung front door. So when she got to be thirty and was still single, we were not pleased exactly, but vindicated; even with insanity in the family she wouldn't have turned down all of her chances if they had really materialized.When her father died, it got about that the house was all that was left to her; and in a way, people were glad. At last they could pity Miss Emily. Being left alone, and a pauper, she had become humanized. Now she too would know the old thrill and the old despair of a penny more or less.The day after his death all the ladies prepared to call at the house and offercondolence and aid, as is our custom Miss Emily met them at the door, dressed as usual and with no trace of grief on her face. She told them that her father was not dead. She did that for three days, with the ministers calling on her, and the doctors, trying to persuade her to let them dispose of the body. Just as they were about to resort to law and force, she broke down, and they buried her father quickly.We did not say she was crazy then. We believed she had to do that. We remembered all the young men her father had driven away, and we knew that with nothing left, she would have to cling to that which had robbed her, as people will.IIISHE WAS SICK for a long time. When we saw her again, her hair was cut short, making her look like a girl, with a vague resemblance to those angels in colored church windows--sort of tragic and serene.The town had just let the contracts for paving the sidewalks, and in the summer after her father's death they began the work. The construction company came with riggers and mules and machinery, and a foreman named Homer Barron, a Yankee--a big, dark, ready man, with a big voice and eyes lighter than his face. The little boys would follow in groups to hear him cuss the riggers, and the riggers singing in time to the rise and fall of picks. Pretty soon he knew everybody in town. Whenever you heard a lot of laughing anywhere about the square, Homer Barron would be in the center of the group. Presently we began to see him and Miss Emily on Sunday afternoons driving in the yellow-wheeled buggy and the matched team of bays from the livery stable.At first we were glad that Miss Emily would have an interest, because the ladies all said, "Of course a Grierson would not think seriously of a Northerner, a day laborer." But there were still others, older people, who said that even grief could not cause a real lady to forget noblesse oblige- -without calling it noblesse oblige. They just said, "Poor Emily. Her kinsfolk should come to her." She had some kin in Alabama; but years ago her father had fallen out with them over the estate of old lady Wyatt, the crazy woman, and there was no communication between the two families. They had not even been represented at the funeral.And as soon as the old people said, "Poor Emily," the whispering began. "Do you suppose it's really so?" they said to one another. "Of course it is. What else could . . ." This behind their hands; rustling of craned silk and satin behind jalousies closed upon the sun of Sunday afternoon as the thin, swift clop-clop-clop of the matched team passed: "Poor Emily."She carried her head high enough--even when we believed that she was fallen. It was as if she demanded more than ever the recognition of her dignity as the lastGrierson; as if it had wanted that touch of earthiness to reaffirm her imperviousness. Like when she bought the rat poison, the arsenic. That was over a year after they had begun to say "Poor Emily," and while the two female cousins were visiting her."I want some poison," she said to the druggist. She was over thirty then, still a slight woman, though thinner than usual, with cold, haughty black eyes in a face the flesh of which was strained across the temples and about the eyesockets as you imagine a lighthouse-keeper's face ought to look. "I want some poison," she said."Yes, Miss Emily. What kind? For rats and such? I'd recom--""I want the best you have. I don't care what kind."The druggist named several. "They'll kill anything up to an elephant. But what you want is--""Arsenic," Miss Emily said. "Is that a good one?""Is . . . arsenic? Yes, ma'am. But what you want--""I want arsenic."The druggist looked down at her. She looked back at him, erect, her face like a strained flag. "Why, of course," the druggist said. "If that's what you want. But the law requires you to tell what you are going to use it for."Miss Emily just stared at him, her head tilted back in order to look him eye for eye, until he looked away and went and got the arsenic and wrapped it up. The Negro delivery boy brought her the package; the druggist didn't come back. When she opened the package at home there was written on the box, under the skull and bones: "For rats."IVSo THE NEXT day we all said, "She will kill herself"; and we said it would be the best thing. When she had first begun to be seen with Homer Barron, we had said, "She will marry him." Then we said, "She will persuade him yet," because Homer himself had remarked--he liked men, and it was known that he drank with the younger men in the Elks' Club--that he was not a marrying man. Later we said, "Poor Emily" behind the jalousies as they passed on Sunday afternoon in the glittering buggy, Miss Emily with her head high and Homer Barron with his hat cocked and a cigar in his teeth, reins and whip in a yellow glove.Then some of the ladies began to say that it was a disgrace to the town and a bad example to the young people. The men did not want to interfere, but at last the ladies forced the Baptist minister--Miss Emily's people were Episcopal-- to call upon her. He would never divulge what happened during that interview, but he refused to go back again. The next Sunday they again drove about the streets, and the following day the minister's wife wrote to Miss Emily's relations in Alabama.So she had blood-kin under her roof again and we sat back to watch developments.At first nothing happened. Then we were sure that they were to be married. We learned that Miss Emily had been to the jeweler's and ordered a man's toilet set in silver, with the letters H. B. on each piece. Two days later we learned that she had bought a complete outfit of men's clothing, including a nightshirt, and we said, "They are married." We were really glad. We were glad because the two female cousins were even more Grierson than Miss Emily had ever been.So we were not surprised when Homer Barron--the streets had been finished some time since--was gone. We were a little disappointed that there was not a public blowing-off, but we believed that he had gone on to prepare for Miss Emily's coming, or to give her a chance to get rid of the cousins. (By that time it was a cabal, and we were all Miss Emily's allies to help circumvent the cousins.) Sure enough, after another week they departed. And, as we had expected all along, within three days Homer Barron was back in town. A neighbor saw the Negro man admit him at the kitchen door at dusk one evening.And that was the last we saw of Homer Barron. And of Miss Emily for some time. The Negro man went in and out with the market basket, but the front door remained closed. Now and then we would see her at a window for a moment, as the men did that night when they sprinkled the lime, but for almost six months she did not appear on the streets. Then we knew that this was to be expected too; as if that quality of her father which had thwarted her woman's life so many times had been too virulent and too furious to die.When we next saw Miss Emily, she had grown fat and her hair was turning gray. During the next few years it grew grayer and grayer until it attained an even pepper-and-salt iron-gray, when it ceased turning. Up to the day of her death at seventy-four it was still that vigorous iron-gray, like the hair of an active man.From that time on her front door remained closed, save for a period of six or seven years, when she was about forty, during which she gave lessons in china-painting. She fitted up a studio in one of the downstairs rooms, where the daughters and granddaughters of Colonel Sartoris' contemporaries were sent to her with the same regularity and in the same spirit that they were sent to church on Sundays with a twenty-five-cent piece for the collection plate. Meanwhile her taxes had been remitted.Then the newer generation became the backbone and the spirit of the town, and the painting pupils grew up and fell away and did not send their children to her with boxes of color and tedious brushes and pictures cut from the ladies' magazines. The front door closed upon the last one and remained closed for good. When the town got free postal delivery, Miss Emily alone refused to let them fasten the metal numbers above her door and attach a mailbox to it. She would not listen to them.Daily, monthly, yearly we watched the Negro grow grayer and more stooped, going in and out with the market basket. Each December we sent her a tax notice, which would be returned by the post office a week later, unclaimed. Now and then wewould see her in one of the downstairs windows--she had evidently shut up the top floor of the house--like the carven torso of an idol in a niche, looking or not looking at us, we could never tell which. Thus she passed from generation to generation--dear, inescapable, impervious, tranquil, and perverse.And so she died. Fell ill in the house filled with dust and shadows, with only a doddering Negro man to wait on her. We did not even know she was sick; we had long since given up trying to get any information from the NegroHe talked to no one, probably not even to her, for his voice had grown harsh and rusty, as if from disuse.She died in one of the downstairs rooms, in a heavy walnut bed with a curtain, her gray head propped on a pillow yellow and moldy with age and lack of sunlight.VTHE NEGRO met the first of the ladies at the front door and let them in, with their hushed, sibilant voices and their quick, curious glances, and then he disappeared. He walked right through the house and out the back and was not seen again.The two female cousins came at once. They held the funeral on the second day, with the town coming to look at Miss Emily beneath a mass of bought flowers, with the crayon face of her father musing profoundly above the bier and the ladies sibilant and macabre; and the very old men --some in their brushed Confederate uniforms--on the porch and the lawn, talking of Miss Emily as if she had been a contemporary of theirs, believing that they had danced with her and courted her perhaps, confusing time with its mathematical progression, as the old do, to whom all the past is not a diminishing road but, instead, a huge meadow which no winter ever quite touches, divided from them now by the narrow bottle-neck of the most recent decade of years.Already we knew that there was one room in that region above stairs which no one had seen in forty years, and which would have to be forced. They waited until Miss Emily was decently in the ground before they opened it.The violence of breaking down the door seemed to fill this room with pervading dust. A thin, acrid pall as of the tomb seemed to lie everywhere upon this room decked and furnished as for a bridal: upon the valance curtains of faded rose color, upon the rose-shaded lights, upon the dressing table, upon the delicate array of crystal and the man's toilet things backed with tarnished silver, silver so tarnished that the monogra m was obscured. Among them lay a collar and tie, as if they had just been removed, which, lifted, left upon the surface a pale crescent in the dust. Upon a chair hung the suit, carefully folded; beneath it the two mute shoes and the discarded socks.The man himself lay in the bed.For a long while we just stood there, looking down at the profound and fleshless grin. The body had apparently once lain in the attitude of an embrace, but now the longsleep that outlasts love, that conquers even the grimace of love, had cuckolded him. What was left of him, rotted beneath what was left of the nightshirt, had become inextricable from the bed in which he lay; and upon him and upon the pillow beside him lay that even coating of the patient and biding dust.Then we noticed that in the second pillow was the indentation of a head. One of us lifted something from it, and leaning forward, that faint and invisible dust dry and acrid in the nostrils, we saw a long strand of iron-gray hair.。
译文《献给艾米丽的玫瑰》知识讲解
献给艾米丽的玫瑰一爱米丽-格里尔生小姐过世了，全镇的人都去送丧:男子们是出于敬慕之情，因为一个纪念碑倒下了。
妇女们呢，则大多数出于好奇心，想看看她屋子的内部。
除了一个花匠兼厨师的老仆人之外，至少已有十年光景谁也没进去看看这幢房子了。
那是一幢过去漆成白色的四方形大木屋，坐落在当年一条最考究的街道上，还装点着有十九世纪七十年代风格的圆形屋顶、尖塔和涡形花纹的阳台，带有浓厚的轻盈气息。
可是汽车间和轧棉机之类的东西侵犯了这一带庄严的名字，把它们涂抹得一干二净。
只有爱米丽小姐的屋子岿然独存，.四周簇拥着棉花车和汽油泵。
房子虽已破败，却还是执拗不驯，装模作样，真是丑中之丑。
现在爱米丽小姐已经加入了那些名字庄严的代表人物的行列，他们沉睡在雪松环绕的墓园之中，那里尽是一排排在南北战争时期杰弗生战役中阵亡的南方和北方的无名军人墓。
爱米丽小姐在世时，始终是一个传统的化身，是义务的象征，也是人们关注的对象。
打1894年某日镇长沙多里斯上校—-也就是他下了一道黑人妇女不系围裙不得上街的命令—-豁免了她一切应纳的税款起，期限从她父亲去世之日开始，一直到她去世为止，这是全镇沿袭下来对她的一种义务。
这也并非说爱米丽甘愿接受施舍，原来是沙多里斯上校编造了一大套无中生有的话，说是爱米丽的父亲曾经贷款给镇政府，因此，镇政府作为一种交易，宁愿以这种方式偿还。
这一套话，只有沙多里斯一代的人以及象沙多里斯一样头脑的人才能编得出来，也只有妇道人家才会相信。
等到思想更为开明的第二代人当了镇长和参议员时，这项安排引起了一些小小的不满。
那年元旦，他们便给她寄去了一张纳税通知单。
二月份到了，还是杳无音信。
他们发去一封公函，要她便中到司法长官办公处去一趟。
一周之后，镇长亲自写信给爱米丽，表示愿意登门访问，或派车迎接她，而所得回信却是一张便条，写在古色古香的信笺上，书法流利，字迹细小，但墨水已不鲜艳，信的大意是说她已根本不外出。
纳税通知附还，没有表示意见。
《献给爱米丽的一朵玫瑰花》中的空间叙事
《献给爱米丽的一朵玫瑰花》中的空间叙事摘要：在《献给爱米丽的一朵玫瑰花》中，威廉·福克纳讲述了一个贵族女子爱米丽的悲惨生活。
她的家庭在美国内战后逐渐衰落。
作者摒弃了传统小说对叙事时间的使用，有意选择用空间来表达时间，用空间来推动整个叙事过程，甚至用空间来表现人物的价值。
在展现其高超的叙事手法和情节描写的同时，作者也通过对时间和空间的把握建构出了小说的思想内涵和艺术价值。
关键词：《献给爱米丽的一朵玫瑰花》；空间叙事；空间变异；流言；身份中图分类号：I106文献标识码：A 文章编号：2095-0438（2021）11-0064-04（长春工业大学外国语学院吉林长春130000）姜棋苧刘宇∗∗∗第41卷第11期绥化学院学报2021年11月Vol.41No.11Journal of Suihua UniversityNov .2021收稿日期：2021-04-12作者简介：姜棋苧（1996-），女，吉林敦化人，长春工业大学研究生在读，研究方向：英美文学；刘宇（1973-），女，吉林长春人，长春工业大学外国语学院英语系主任，副教授、硕士生导师，研究方向：英美文学。
基金项目：吉林省教育厅“十三五”社会科学项目“华盛顿·欧文的创作与‘美国精神’的建构”（JJKH20191320SK ）。
《献给爱米丽的一朵玫瑰花》是美国著名作家威廉·福克纳的短篇名作。
他曾因对当代美国小说做出了强有力的和艺术上无与伦比的贡献，于1949年获得诺贝尔文学奖。
福克纳的小说风格独特，行文精巧繁复，叙事技巧高超，且颇具现代特色。
小说作为一种叙事文本，其“叙事本质既是对时间的凝固、保存和创造”[1]。
但是，很多学者也发现20世纪以来的现代、后现代小说，并不是遵循时间的线性规律创作的，而是采用了某种空间特性进而建构出了小说的思想内涵和艺术价值。
龙迪勇也在《空间叙事学》中明确指出：“已经出现了一种空间化了的‘共在性’时间的存在。
《献给艾米丽的一朵玫瑰花》｜南方式的高贵败给了北方底层的爱情
《献给艾米丽的一朵玫瑰花》｜南方式的高贵败给了北方底层的爱情前言：《献给艾米丽的一朵玫瑰花》是20世纪美国著名小说家威廉·福克纳于1930年4月发表的短篇小说，也是福克纳最具影响力的短篇小说之一。
作者福克纳善于描写美国南部的风土人情，被看作南方文学的代表人物。
1930年正值美国社会发展与改革时期，南方旧传统和北方现代文明碰撞下呈现出众多的社会矛盾，小说以此为背景从多维度揭示了特殊环境下的父女矛盾、社会等级矛盾、女性反抗与被压迫的矛盾等无法调和的社会问题。
《献给艾米丽的一朵玫瑰花》主要讲述的是美国南北战争后，生活在杰斐逊镇的格里尔森家族即艾米丽的父亲仍然保持着一贯的“南方做派”，为了维护所谓的等级和尊严，赶走了所有喜欢艾米丽的男子。
导致艾米丽在父亲去世后，不顾世俗的观念爱上了小镇修建铁路的工头北方佬荷默·伯隆，当她发现荷默无意与自己结婚时，为了留住爱情保、住名声用砒霜毒死了自己的爱人。
从此，艾米丽在破旧封闭的宅院里过着与世隔绝的生活，并与荷默的尸体同床共枕40年。
直到她去世，小镇的居民在艾米丽的葬礼上才发现这个惊人的秘密。
这部小说中的艾米丽和《欲望号街车》中的布兰奇一样，家道中落却依旧恪守着衰微的南方贵族传统，都是特定时代背景下的悲剧人物，是南方传统思想下的牺牲品。
今天，我将从小说的叙事手法、主人公的形象刻画、小说中三次死亡的象征意义及艾米丽受到的三次否定来分析这部带给我们震撼的艺术作品。
在文章的最后，我会谈谈通过这本小说带给我的思考。
1、独具匠心的叙事手法开篇的叙述便揭示了艾米丽的死亡，勾起读者的想要探究的欲望，最后又以艾米丽的葬礼和揭露荷默死亡的真相作为结尾，用诡异恐怖的基调把情节推向高潮。
①时序交织、倒错的情节法国的叙事学家热奈特说过：“研究叙事的时间顺序，就是对照事件或时间段在叙述话语中的排列顺序和这些事件或时间段在故事中的接续顺序。
”本篇小说中的布局十分精细，并没有采取传统小说结构上的开端、发展、高潮、结局的模式，而是在小说时序中采取跳跃与颠倒的叙述模式，将小说分为五个无标题部分为小说设置悬念。
A Rose For Emily(中英对照版)
A Rose For Emily福克纳的短篇小说<纪念爱米丽的一朵玫瑰花>讲述的是一个孤癣、傲慢的南方贵族后裔的人生悲剧.从社会心理学角度分析其悲剧成因有二:一,南方贵族的末落和留给后裔的负担;二,未婚夫荷默·伯隆的背叛--贵族虚荣的彻底叛碎,进而试图论证爱米丽的去世是"倒下的南方贵族纪念碑"这一深远主题意义.作品同时隐含着对人类自身悲剧的深入思考和揭露,以及对人类未来的震憾和启发.When Miss Emily Grierson died, our whole town went to her funeral: the men through a sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house, which no one save an old manservant---a combined gardener and cook-had seen in at least ten years.It was a big, squarish frame house that had once been white, decorated with cupolas and spires and scrolled balconies in the heavily lightsome style of the seventies, set on what had once been our most select street. But arages and cotton gins had encroached and obliterated even the august names of that neighborhood; only Miss Emily's house was left, lifting its stubborn and coquettish decay above the cotton wagons and the gasoline pumps-an eyesore among eyesores. And now Miss Emily had gone to join the representatives of those august names where they lay in the cedarbemused cemetery among the ranked and anonymous graves of Union and Confederate soldiers who fell at the battle of Jefferson.爱米丽•格里尔生小姐过世了，全镇的人都去送丧：男子们是出于敬慕之情，因为一个纪念碑倒下了：妇女们呢，则大多数出于好奇心，想看看她屋子的内部。
献给艾米丽的一朵玫瑰花
献给艾米丽地一朵玫瑰花福克纳摘要：福克纳地短篇小说《献给艾米丽地一朵玫瑰花》不仅思想内容寓意深刻，而且其创作手法也实属上乘，本文不揣冒昧就此两端加以论述.文档来自于网络搜索关键词：艾米丽；玫瑰；南方；创作手法福克纳将小说定名为《献给艾米丽地一朵玫瑰花》但是通篇并没有出现玫瑰这一意象，我们不禁要问，玫瑰花在哪里？事实上，在小说中玫瑰一词仅出现二次，那就是艾米丽下葬之后，当人们打开那间“墓室一般”地“新房”时，展现在人们面前地有“败了色地玫瑰色窗帘”和“玫瑰色地灯罩”.文档来自于网络搜索从某种意义上说，玫瑰就是爱情地象征，然而，爱情与我们地艾米丽小姐是无缘地.我以为，如果我们抛去作品本身地社会涵义而言，就如同福克纳在谈及小说《献给艾米丽地一朵玫瑰花》地创作时所说地那样，“只是在写人，写一个真实而可悲地故事，因为这个故事发自内心.”那么，无疑，福克纳将爱情地花朵献给艾米丽是希望以此来弥补她一生都渴望得到却没得到地东西：爱情.可以看出来，在这里传达了作者一种极大地悲悯与同情及其人道主义地精神.文档来自于网络搜索然而，又诚如福克纳所言，这是“一个无法避免地悲剧，没有什么能阻止它”，我以为，福克纳地本意不仅仅是指这个故事本身悲剧地不可避免性，当我们用一种更为广义地更具社会根源眼光来看地时候，就会发现这也不仅仅是一个女人地悲剧，而是折射出一个时代地悲剧，福克纳地玫瑰花是献给整个行将消失地南方时代地，是献给一个时代地挽歌.（按：福克纳作为南方地种植园地后代他对南北战争中战败了地南方是充满爱地，而艾米丽恰恰作为南方地贵族后裔，这条街上唯一地贵族后裔地艾米丽终究也还是安静而永久地走开了）文档来自于网络搜索是地，这是一个无法避免地悲剧，艾米丽父亲健在时，她受到地是父权主义、种族主义和妇道观地清教文化传统教育，她压抑着束缚着，正如同小说中所叙述地那样，“长久以来，我们把这家人一直看做一幅画中地人物：身段苗条、穿着白衣地爱米丽小姐立在背后，她父亲叉开双脚地侧影在前面，背对爱米丽，手执一根马鞭，一扇向后开地前门恰好嵌住了他们俩地身影”，在未遇到荷默之前，她父亲用马鞭“赶走了所有地青年男子”，岁尚未婚嫁地艾米丽只能被压抑着，她没有自由也没有爱情，除了父亲之外，她与外界是彻底隔绝地，长久以来，父亲就是他地全部，直到有一天她地父亲死去，她“没有一丝哀愁，她告诉她们，她地父亲并未死”，已经被压制久了地艾米丽突然失去父亲对她地掌控，她甚至是不习惯地，她无法接受这个事实，然而，终究，“她垮下来了”，人们还是把她地父亲埋掉了.文档来自于网络搜索即使是在父亲死后，艾米丽也一直生活在父亲地阴影里，直到有一天，她遇到了荷默.如我们所读到地，艾米丽爱上了荷默，一个放浪不羁、浮躁而浅薄地感情骗子，他无力应承艾米丽一份稳定地爱情，于是艾米丽买了砒霜，从此，荷默消失了.是地，艾米丽采取了极端地方式，成为了这具尸身地绝对拥有者，因为还有什么样地事情比这更可靠呢，它不会像父亲一样突然死去，也不会再在尸身地主人那样在工程竣工之后突然离开，艾米丽小姐终于有了自己地“爱情”，她夜夜与他同眠.文档来自于网络搜索“那尸体躺在那里，显出一度是拥抱地姿势，但那比爱情更能持久、那战胜了爱情地熬煎地永恒地长眠已经使他驯服了.”艾米丽用一种她地方式勇敢地营造了一个完全属于她自己地世界——这里很安全，很永恒.她在她地世界里过着她地人生，虽然痛苦，但是没有纷扰，没有担虑，真应了张爱玲地那句经典地话：感情有时候只是一个人地事.荷默死后，艾米丽活在了过去，她在过往地想象中逃避着，从此，她再也没有“复苏”.文档来自于网络搜索艾米丽一直被作为镇上唯一地贵族形象出现，换言之，她必须毫无选择地承担起代表南方贵族地义务，以此来满足镇上那些人，尤其是老年人“骸骨般地迷恋”（鲁迅先生语），南北战争之后，北方资本主义经济和工商业地发展对于南方种植园主建构地社会王国进行了无情地冲击.大概只有这样，那些南方地人活进一步说是怀有南方情结地老年人才能有所寄托吧，我们可怜地艾米丽就这样一辈子被压抑束缚着，成为一个南方传统观念文化压制下地一个扭曲了地人，诚如福克纳所言，“我不知道我是不是喜欢她，我可能是害怕她，不是她，可能是那些遭受痛苦曾被歪曲地人.”，毋庸置疑，作为个体地人，艾米丽是被异化了地.文档来自于网络搜索艾米丽也曾追求过努力过，然而她终究是无力地.父亲死后，她开始对抗“传统”开始无视那些闲言碎语，无视那些因为她与北方佬荷默相好就称她为“可伶地爱米丽”地那些老年人，这些南方传统文化地年老地捍卫者.当她与荷默驾着轻便马车出游地时候，镇上地人们“深信她已经堕落了”，认为她地做法是有辱“格里尔生家族末代人物地尊严”地，而且，镇上地人们不仅仅把这件事看作是格里尔生家族一个家族地，他们认为艾米丽和荷默地恋爱是“全镇地羞辱，也是青年人们地坏榜样”，乃至于“贵人举止和南方地荣誉遭到损害和玷污”，终于，可怜地艾米丽在人们地责难声中在教会牧师和亲戚地干预之下，再加之荷默地欺骗与玩弄，她终于疯狂了，她杀死了荷默，也杀死了她刚刚复苏地自由、希望与爱情这些美好地一直远离她地东西.文档来自于网络搜索她终究还是维护了南方地传统.艾米丽选择了妥协或者说是不妥协，妥协地是她刚刚复苏地心在众多地压力之下又一次死了，不妥协地是她还是留下了自己地“爱情”，艾米丽是坚强地，留下了死去地荷默.文档来自于网络搜索当时地美国南方是一个“比清教徒地新英格兰更为清教化地区域”故而作为全镇仅有地贵族南方文化在她地思想里根深蒂固，诚如原文所说地那样，“爱米丽小姐在世时，始终是一个传统地化身，是义务地象征，也是人们关注地对象”，艾米丽是受压制地，尽管她地父亲已经死掉了，但他地阴影还在，全镇地眼睛还在，他们无时无刻不在监视这她，我以为与其把艾米丽地悲剧说成是他父亲地原因，毋宁说是南方传统文化地毒害，是地，她是森严地门第观念和过时地清教文化牺牲品，就正像荷默也在一无所知地情况下成为艾米丽无望地爱情地祭品一样，当然，后者而言，艾米丽也付出了沉重地代价因为同时陪葬地还有她自己地青春，但是，前者呢，艾米丽仅仅因为是一个南方地贵族女人，就丢掉了自己地一生.福克纳说：“她是一个可怜地女人，没有任何地生活意义，她地悲剧是不可改变地，任何人都无能无力.”文档来自于网络搜索（按：正如同黑格尔曾经在论述阿基琉斯时所说地那样“这是一个人！”，艾米丽也是一个人，她仅仅是“一个青年姑娘，怀着一个青年姑娘所怀有地那种得到爱和一个丈夫和一个家庭地正常愿望”[] ,可能有一些人根本无意要去剖析作品本身地社会涵义，亦或者更不想以女性地视角去批判那个年代对妇女地不公，但，我以为，福克纳在小说中众多地线索都指向了这一社会根源，如小说介绍格里尔生家族地住宅环境、家世以及无形中透露出来地南北战争线索等）文档来自于网络搜索就多样化地创作手法而言：其一：象征手法地多处应用.“他超越了自己对于南方地感情，抛弃了他美化过去，粉饰庄园生活地倾向，把建立在奴隶制和清教文化基础上地旧南方践踏人性地本质赤裸裸地暴露出来”[]我以为，此言所言甚是，福克纳不仅仅只写一个女人，毋庸置疑，艾米丽是南方贵族地象征，她代表着南方地传统；但诸如工头荷默，也是有所象征地，他象征着北方资产阶级势力；镇上地那些老年人和一些妇女都是南方社会道德文化等传统价值观地体现者和维护者；退而言之，就单单“玫瑰”两字就有它本身地象征意义.文档来自于网络搜索其二：特别想指出地是，细节描写也是十分独到地，而且，在这种细节描写中又蕴含着象征.小说中出现了大量描写头发地句子，举例而言，最初父亲死后地艾米丽“她地头发已经剪短，看上去像个姑娘，和教堂里彩色玻璃窗上地天使像不无相似之处——有几分悲怆肃穆”；荷默消失六个月之后，小说写到艾米丽地时候，又一次描述了艾米丽地头发，“等到我们再见到爱米丽小姐时，她已经发胖了，头发也已灰白了.以后数年中，头发越变越灰，变得像胡椒盐似地铁灰色，颜色就不再变了.直到她七十四岁去世之日为止，还是保持着那旺盛地铁灰色，像是一个活跃地男子地头发.”；在讲到艾米丽刚刚死去地时候，小说这样写道：“她死在楼下一间屋子里，笨重地胡桃木床上还挂着床帷，她那长满铁灰头发地头枕着地枕头由于用了多年而又不见阳光，已经黄得发霉了.”；此外，小说在最后一句话写到荷默旁边地枕头上是艾米丽地头发，“原来是一绺长长地铁灰色头发” 文档来自于网络搜索此外，我以为，有关于头发颜色地变化，如由“灰白”到“胡椒盐似地铁灰色”，这些都是有所寓意地，它不仅仅写了荷默消失（艾米丽地谋杀）六个月艾米丽头发地变化之大暗示其内衰老心之快，更是象征了一个女人地绝望，而最初“头发已经剪短，看上去像个姑娘”，这样地描述又象征了艾米丽复苏地心，她开始希望有所改变有所追求，譬如对爱情这样美好地东西追求地开始，同时也为荷默地出现伏笔.文档来自于网络搜索其三：经典地时序倒错法.值得一提地是，小说地叙述顺序是打乱地.作者先提到是岁地爱米丽去世，续之提到她拒绝付税一事，然后又提及她家散发出来地臭味，父亲死后艾米丽地异常反应，她和荷默之间地恋爱，爱米丽买鼠药，最后又回到了故事开头，爱米丽地死，从而首尾呼应.我们重新排列故事地发展脉络，首先爱米丽父亲去世以及拒绝埋葬父亲遗体，然后艾米丽给学生上瓷器彩绘课，续之她拒绝交税，再与荷默地相遇与爱情发展直到荷默消失，艾米丽到药店买鼠药谋杀了荷默随之她住宅中弥漫着臭味，最后才是爱米丽去世真相大白.这种非线性地时间叙述使得故事扑朔迷离，而且突出了艾米丽与荷默爱情，及其荷默地消失，这就使得故事更具悬念性，更能震撼人性，在某种程度上也就更使小说具有现实批判性，更能使建立在奴隶制和清教文化基础上地旧南方践踏人性地本质赤裸裸地暴露出来.文档来自于网络搜索其四：独特地叙述视角.小说中，以“我们”这一第一人称复数地独特视角进行叙述.最为直观地效果是“我们”这一叙述视角，在某种程度上，将我们一般人与艾米丽“她”这以特殊人严格地区分开来了，从而突出艾米丽小姐地与众不同或者说是特立独行，在本文地情况下，这是很高明地一种叙述视角.舍此之外，作者用第一人称复数形式即“我们”这种间于第一人称单数“我”与第三人称“他”之间地一种叙述角度，似乎“我们”这一叙述视角，一方面可以使降低“我”地浓厚地主观性色彩，叙述内容相对客观，使故事更具真实性，即镇上地人对艾米丽地看法是一致地，这种看法不是个体地单独地；另一方面，相对于“他”而言，“我们”因为叙述者本身地参与性会使文本更贴近于读者，倘小说用“她”作为叙述视角地话，还会有干薄之感.此外，小说中地“我们”看似包括除艾米丽以外地所有杰斐逊镇上地人，但我以为，这个“集体型地叙述声音”（兰瑟语）也不可能包括镇上地老年人和妇女们.更为高明地是，在某些片段，还应用了第三人称“他们”，写出“我”不在现场地时候所发生地事情，这种叙述视角地不断转变和交叉运用，使得故事叙述独特之极，给读者展现了一个立体地艾米丽形象.文档来自于网络搜索[]李文俊：福克纳评论集[].北京：中国社会科学出版社，[]肖明翰：再谈《献给艾米丽地玫瑰花》——答刘新民先生[].四川师范大学学报，，（）[]刘世雄：《艾米丽地多重角色解读》——评福克纳地小说《献给艾米丽地玫瑰花》人文视野.湖北社会科学[]胡沥丹：再探《献给艾米丽地玫瑰花》中地叙述者，青年文学家[]程锡麟：献给艾米丽地玫瑰在哪里？——《献给艾米丽地玫瑰花》叙述策略地分析，四川大学.[]詹园媛、黄曦：玫瑰地花与刺——剖析《献给艾米丽地一朵玫瑰花》地玫瑰寓意.西南民族大学学报（人文社科版）文档来自于网络搜索[]刘浩：福克纳小说《献给艾米丽地玫瑰花》中地写作手法分析.文艺评论.。
A-Rose-For-Emily
• It reflects the decline of the southern society. In this background, due to the restriction of the traditional ideas, some people are imprisoned in the past and ignore the passage of time.
• 门砰地一下踹开了，顿时屋里好像弥漫着灰尘。房间好像 曾是一间装饰一新旳新房，如今如坟墓一般发出淡淡旳、 呛人旳气味，到处渗透出阴森森气氛：褪色了旳玫瑰色窗 帘，阴暗旳玫瑰色灯光，梳妆台，一排精细旳水晶饰品， 还有白银底色旳盥洗用具，但是白银制品已经失去旳光泽， 连刻在上面旳笔迹也都看不清了。其中有一条硬领和领带， 好像是从身上取下来旳，然后提起来，在台面上留下淡淡 旳月牙形尘埃痕迹。椅子上挂着一套精心折叠旳衣服；椅 子下是两只寂寞旳鞋子，还有一双丢弃旳袜子。
【原文解读】
• 此段对爱米丽旳卧室环境进行了细节描写。文学 作品中一切环境描写都具有一定旳意图，此段描 写也烘托出一种悲情气氛，并点出小说旳主题： 玫瑰（—爱情—婚姻—死亡）(171)。此处是整篇 小说中玫瑰唯一出现旳地方。
献给艾米丽的一朵玫瑰花
献给艾米丽的一朵玫瑰花（节选）威廉福克纳等到我们再见到爱米丽小姐时，她已经发胖了，头发也已灰白了。
以后数年中，头发越变越灰，变得象胡椒盐似的铁灰色，颜色就不再变了。
直到她七十四岁去世之日为止，还是保持着那旺盛的铁灰色，象是一个活跃的男子的头发。
打那时起，她的前门就一直关闭着，除了她四十左右的那段约有六七年的时间之外。
在那段时期，她开授瓷器彩绘课。
在楼下的一间房里，她临时布置了一个画室，沙多里斯上校的同时代人全都把女儿、孙女儿送到她那里学画，那样的按时按刻，那样的认真精神，简直同礼拜天把她们送到教堂去，还给她们二角伍分钱的硬币准备放在捐献盆子里的情况一模一样。
这时，她的捐税已经被豁免了。
后来，新的一代成了全镇的骨干和精神，学画的学生们也长大成人，渐次离开了，她们没有让她们自己的女孩子带着颜色盒、令人生厌的画笔和从妇女杂志上剪下来的画片到爱米丽小姐那里去学画。
最后一个学生离开后，前门关上了，而且永远关上了。
全镇实行免费邮递制度之后，只有爱米丽小姐一个拒绝在她门口钉上金属门牌号，附设一个邮件箱。
她怎样也不理睬他们。
日复一日，月复一月，年复一年，我们眼看着那黑人的头发变白了，背也驼了，还照旧提着购货篮进进出出。
每年十二月我们都寄给她一张纳税通知单，但一星期后又由邮局退还了，无人收信。
不时我们在楼底下的一个窗口—-她显然是把楼上封闭起来了一见到她的身影，象神龛中的一个偶像的雕塑躯干，，我们说不上她是不是在看着我们。
她就这样度过了一代又一代--高贵，宁静，无法逃避，无法接近，怪僻乖张。
她就这样与世长辞了。
在一栋尘埃遍地、鬼影憧憧的屋子里得了病，侍候她的只有一个老态龙钟的黑人。
我们甚至连她病了也不知道；也早已不想从黑人那里去打听什么消息。
他跟谁也不说话，恐怕对她也是如此，他的嗓子似乎由于长久不用变得嘶哑了。
她死在楼下一间屋子里，笨重的胡桃木床上还挂着床帷，她那长满铁灰头发的头枕着的枕头由于用了多年而又不见阳光，已经黄得发霉了。
《献给艾米丽的玫瑰》中玫瑰象征意义的解读
校园英语 / 文艺研究《献给艾米丽的玫瑰》中玫瑰象征意义的解读辽宁师范大学外国语学院/程忠若 张巧毅【摘要】威廉·福克纳美国文学史上最具影响力的作家之一，同时也是1949年诺贝尔文学奖的得主。
他最著名的短篇小说是《献给艾米丽的玫瑰》，小说描述的是美国南北战争后，南方小镇上一贵族的日益衰亡，同时在种种原因下女主人公从绽放到凋零的过程。
玫瑰只在小说的标题中出现，但并未在文中真正的解释说明。
本文将从玫瑰一词出发，对其隐含的象征意义进行解读，结合当时的社会背景、家庭因素、以及主人公对爱情观念的变化进行分析，试图使读者真正理解玫瑰的隐含意义，并且进一步对小说进行深刻地分析，向读者们传达作者想表达的情感或思想。
【关键词】威廉·福克纳 玫瑰 象征意义一、引言威廉·福克纳是20世纪美国最伟大的小说家之一，对美国文坛产生了深远的影响。
他曾获得诺贝尔文学奖，因为他对当代美国小说做出了强有力的和艺术上无与伦比的贡献。
他以独特的视角及艺术风格描绘了美国南方的风土人情，并记录了在南北战争之后，社会变迁的历史时期中不同阶级碰撞和摩擦之后社会的新场景。
《献给艾米丽的玫瑰》作为他最著名的短篇小说，描述的正是在这段历史时期，南方贵族的昔日辉煌以及所面临的困境与衰落。
他笔下的女主人公艾米丽，便是这段新旧社会交替的牺牲品，整个作品散发了浓浓的悲剧色彩。
小说主要讲述了一位南方没落贵族家的小姐艾米丽，因为父亲的压制，赶走了所有追求她的青年人，导致她直到三十岁还未出嫁。
当父亲死后，艾米丽终于重获自由，同荷默相爱，但是故事并非就这样圆满结束。
当艾米丽的爱人打算离开之时，她无法挽留只能最终选择了极端的方式将其留住，就是毒死自己所爱之人。
因为她相信死亡就不会带来背叛，所以她每天都同爱人的尸体同床共枕。
看似充满着恐怖色彩的同时，也显示着女主人公悲剧的一生以及病态的心理状态。
许多学者在研究作品时，通常从哥特视角以及悲剧命运角度进行剖析，从而使读者忽视作品题目中玫瑰所暗含的真正意义，因此本文将结合社会、家庭以及个人因素对玫瑰一词进行深层次剖析，从而把握小说的主旨以及玫瑰的象征意义，以便读者更加准确把握和体会作品。
哥特小说《献给艾米丽的一朵玫瑰花》中“家”的解读
哥特小说《献给艾米丽的一朵玫瑰花》中“家”的解读作者：孙小静来源：《赤峰学院学报·哲学社会科学版》2016年第09期摘要：威廉·福克纳是美国当代文学的顶尖人物，他在1930年发表的短篇小说《献给艾米丽的一朵玫瑰》，是部引起无数评论家和读者深思的作品。
福克纳运用出色的哥特式的写作手法，赋予其丰富的想象力，给我们讲述了女主人公艾米丽·格里尔生（Emily Grison）的悲剧一生。
《献给艾米丽的一朵玫瑰》运用时序颠倒的表现手法，用五个相互分割，又紧密相连的五个部分，展示了哥特手法的运用，揭示了女性在父权社会中的生活状态。
"家"是本篇小说中反复出现却被陌生化的空间，也常常是传统特哥小说中故事的发生地。
本文试图从女性主义角度入手，解读该短篇小说中被陌生化的"家"的意义。
关键词：威廉·福克纳；《献给艾米丽的一朵玫瑰》；女性特哥；封闭空间中图分类号：I106 文献标识码：A 文章编号：1673-2596（2016）09-0179-02一、哥特小说的概述（一）传统哥特小说的发展及其特点霍勒斯.沃波尔（Horace Walpole，1917-1994）于1764年发表了第一部哥特小说《奥特朗托堡》（The Castle of Otranto），副标题为“一个哥特故事”（A Gothic Story），此为哥特小说的开山之作。
哥特小说属于浪漫主义文学，与浪漫主义同步产生与发展，常被一些文学批评家称为“黑色浪漫主义”（Dark Romanticism）。
经过二百多年的发展，哥特小说由18世纪的边缘流派的身份发展为当今文学领域的中心，进而更社会化和现实化。
哥特小说有以下基本特点：首先，从哥特小说的环境描写上来看，故事的背景多发生于破败的古堡、阴深的密室、荒凉的修道院、鬼影幢幢的墓地和恐怖的地窖等，这些地方大多是封闭的，是很少与外界联系的。
译文《献给艾米丽的玫瑰》
献给艾米丽得玫瑰一爱米丽-格里尔生小姐过世了,全镇得人都去送丧:男子们就是出于敬慕之情，因为一个纪念碑倒下了.妇女们呢，则大多数出于好奇心,想瞧瞧她屋子得内部.除了一个花匠兼厨师得老仆人之外,至少已有十年光景谁也没进去瞧瞧这幢房子了。
那就是一幢过去漆成白色得四方形大木屋,坐落在当年一条最考究得街道上，还装点着有十九世纪七十年代风格得圆形屋顶、尖塔与涡形花纹得阳台，带有浓厚得轻盈气息。
可就是汽车间与轧棉机之类得东西侵犯了这一带庄严得名字,把它们涂抹得一干二净。
只有爱米丽小姐得屋子岿然独存,、四周簇拥着棉花车与汽油泵.房子虽已破败,却还就是执拗不驯，装模作样，真就是丑中之丑。
现在爱米丽小姐已经加入了那些名字庄严得代表人物得行列,她们沉睡在雪松环绕得墓园之中,那里尽就是一排排在南北战争时期杰弗生战役中阵亡得南方与北方得无名军人墓.爱米丽小姐在世时，始终就是一个传统得化身，就是义务得象征，也就是人们关注得对象。
打１894年某日镇长沙多里斯上校—－也就就是她下了一道黑人妇女不系围裙不得上街得命令—-豁免了她一切应纳得税款起,期限从她父亲去世之日开始,一直到她去世为止，这就是全镇沿袭下来对她得一种义务。
这也并非说爱米丽甘愿接受施舍,原来就是沙多里斯上校编造了一大套无中生有得话，说就是爱米丽得父亲曾经贷款给镇政府，因此,镇政府作为一种交易，宁愿以这种方式偿还。
这一套话,只有沙多里斯一代得人以及象沙多里斯一样头脑得人才能编得出来,也只有妇道人家才会相信。
等到思想更为开明得第二代人当了镇长与参议员时，这项安排引起了一些小小得不满。
那年元旦，她们便给她寄去了一张纳税通知单。
二月份到了,还就是杳无音信。
她们发去一封公函，要她便中到司法长官办公处去一趟。
一周之后,镇长亲自写信给爱米丽，表示愿意登门访问,或派车迎接她，而所得回信却就是一张便条，写在古色古香得信笺上,书法流利,字迹细小，但墨水已不鲜艳，信得大意就是说她已根本不外出.纳税通知附还,没有表示意见。
译文《献给艾米丽的玫瑰》
献给艾米丽的玫瑰爱米丽 -格里尔生小姐过世了，全镇的人都去送丧:男子们是出于敬慕之情，因为一个纪念碑倒下了。
妇女们呢，则大多数出于好奇心，想看看她屋子的内部。
除了一个花匠兼厨师的老仆人之外，至少已有十年光景谁也没进去看看这幢房子了。
那是一幢过去漆成白色的四方形大木屋，坐落在当年一条最考究的街道上，还装点着有十九世纪七十年代风格的圆形屋顶、尖塔和涡形花纹的阳台，带有浓厚的轻盈气息。
可是汽车间和轧棉机之类的东西侵犯了这一带庄严的名字，把它们涂抹得一干二净。
只有爱米丽小姐的屋子岿然独存， .四周簇拥着棉花车和汽油泵。
房子虽已破败，却还是执拗不驯，装模作样，真是丑中之丑。
现在爱米丽小姐已经加入了那些名字庄严的代表人物的行列，他们沉睡在雪松环绕的墓园之中，那里尽是一排排在南北战争时期杰弗生战役中阵亡的南方和北方的无名军人墓。
爱米丽小姐在世时，始终是一个传统的化身，是义务的象征，也是人们关注的对象。
打 1894 年某日镇长沙多里斯上校— -也就是他下了一道黑人妇女不系围裙不得上街的命令—-豁免了她一切应纳的税款起，期限从她父亲去世之日开始，一直到她去世为止，这是全镇沿袭下来对她的一种义务。
这也并非说爱米丽甘愿接受施舍，原来是沙多里斯上校编造了一大套无中生有的话，说是爱米丽的父亲曾经贷款给镇政府，因此，镇政府作为一种交易，宁愿以这种方式偿还。
这一套话，只有沙多里斯一代的人以及象沙多里斯一样头脑的人才能编得出来，也只有妇道人家才会相信。
等到思想更为开明的第二代人当了镇长和参议员时，这项安排引起了一些小小的不满。
那年元旦，他们便给她寄去了一张纳税通知单。
二月份到了，还是杳无音信。
他们发去一封公函，要她便中到司法长官办公处去一趟。
一周之后，镇长亲自写信给爱米丽，表示愿意登门访问，或派车迎接她，而所得回信却是一张便条，写在古色古香的信笺上，书法流利，字迹细小，但墨水已不鲜艳，信的大意是说她已根本不外出。
纳税通知附还，没有表示意见。
从叙事声音与视角看福克纳《献给艾米丽的玫瑰》的三个中译本
2021-01文艺生活LITERATURE LIFE说文解字从叙事声音与视角看福克纳《献给艾米丽的玫瑰》的三个中译本黄利华（广东培正学院，广东广州510800）摘要:美国作家威廉·福克纳的短篇小说《献给艾米丽的玫瑰》的主要叙事特色在于第一人称复数叙述者以及多重声音和视角的运用等。
目前国内该小说主要的三个中译本基本上保留了原文在叙事层面的这些特色，但由于原文叙事人称代词的多变性和模糊性以及叙述视角的偶然的切换等因素，导致了译文中的一些误译、漏译和错译。
关键词:福克纳；《献给艾米丽的玫瑰》；三个中译本；叙事声音；叙事视角中图分类号：I106文献标识码：Ａ文章编号：1005-5312（2021）03-0055-02DOI：10.12228/j.issn.1005-5312.2021.03.027一、引言法国结构主义叙事学家热奈特(Genette)在《辞格之三》（Figures III）中将叙事作品分为三个层次：故事（histoire），所讲述的故事的内容；叙事话语（recit），读者所读到的文本以及叙述行为（narration），产生话语的行为或过程[1]。
故事的内容是相对固定的，但是故事讲述的方式却有很多种。
所以一般用叙事学的理论来研究文学作品，主要是从叙事话语方面。
热奈特在其《叙事话语》（Narrative Discourse）中从时间（tense）、语式（mood）和语态（voice）三方面探讨了小说的叙事话语层面。
时间方面主要是研究故事时间和文本时间之间的关系；语式主要探讨叙述距离及叙述视角问题；语态主要涉及叙述者与故事的关系[2]。
方开瑞曾指出，我们可以参照热奈特提出的结构分析模式，从时间、语式、和语态三方面对源本和译本进行对比研究[3]。
威廉·福克纳（William Faulkner,1897-1962）被认为是“20世纪小说家中一位伟大的小说技巧实验家”[4]6，其短篇小说《献给爱米莉的玫瑰》（“A Rose for Emily”）的主要叙事特色体现在第一人称复数叙述者以及多重声音和视角的运用等。
A Rose For Emily(献给艾米丽的玫瑰花)
试析《纪念爱米丽的一朵玫瑰花》中的时间艺术与死亡主题摘要美国杰出的现代小说大家威廉·福克纳的短篇小说《纪念艾米丽的一朵玫瑰花》运用了时序颠倒与循环叙事的独特艺术手法，从而展示了现代主义小说中关于时间艺术的理解和运用。
而福克纳更是将自己的时间观贯彻到了整篇小说的创作中，并在死亡主题这一特殊形式的的叙述中得到了深刻的体现。
关键词《纪念艾米丽的一朵玫瑰花》时间死亡威廉·福克纳最负盛名的短篇小说《纪念爱米丽的一朵玫瑰花》讲述了一位没落的南方贵族小姐亲手杀死自己的爱人，然后陪伴其尸身并在古屋中隐居四十之久的具有哥特式神秘、恐怖意味的故事。
南方淑女爱米丽小姐是旧贵族的象征，对于她的纪念是作为南方作家的福克纳对于逝去的旧南方的无限缅怀之情。
但另一方面，爱米丽的最终死亡也喻示了一座纪念碑的倒下，表明了作者对于最终湮没的南方社会既眷念热爱又批判其沉沦罪恶的矛盾心态。
时间，在传统现实主义小说的叙事中往往呈线性发展，“故事和情节小说遵循着时间的线形关系、事件的连锁关系体现为一种因果关系和时间上的线性顺序，任何外部事件都依赖于这样一种时间的线性关系”。
①在《纪念艾米丽的一朵玫瑰花》这篇小说文本当中，我们很容易发现它的最大艺术特色就是时序的颠倒与循环叙事。
小说以爱米丽之死为叙述的起点，站在杰斐逊镇居民的视角上进行叙事，作者以倒叙的手法描述了爱米丽生前的几个主要事件。
在颠倒的时间顺序中，首先叙述的是爱米丽拒绝纳税事件，然后是富有神秘气息的尸臭事件，接着作者却把时间往过去推进，则出现了父亲之死，再接下来的与北方工头荷默恋爱及他与爱米丽发生冲突后爱米丽去购买砒霜，紧接下来荷默的消失与爱米丽小姐长达四十年的隐居生活之谜在小说的最后一部分终于被揭开。
古屋中楼上的房间中竟然躺着死去了四十年的荷默，“那尸身躺在那里，显出一度是拥抱的姿势，但那比爱情更能持久，那战胜了爱情的煎熬的永恒的长眠已经使他驯服了。
”②更让人心惊的是尸身旁边的枕头上遗留了爱米丽小姐的“一绺长长的铁灰色头发”。
矿产
矿产资源开发利用方案编写内容要求及审查大纲
矿产资源开发利用方案编写内容要求及《矿产资源开发利用方案》审查大纲一、概述
㈠矿区位置、隶属关系和企业性质。
如为改扩建矿山, 应说明矿山现状、
特点及存在的主要问题。
㈡编制依据
(1简述项目前期工作进展情况及与有关方面对项目的意向性协议情况。
(2 列出开发利用方案编制所依据的主要基础性资料的名称。
如经储量管理部门认定的矿区地质勘探报告、选矿试验报告、加工利用试验报告、工程地质初评资料、矿区水文资料和供水资料等。
对改、扩建矿山应有生产实际资料, 如矿山总平面现状图、矿床开拓系统图、采场现状图和主要采选设备清单等。
二、矿产品需求现状和预测
㈠该矿产在国内需求情况和市场供应情况
1、矿产品现状及加工利用趋向。
2、国内近、远期的需求量及主要销向预测。
㈡产品价格分析
1、国内矿产品价格现状。
2、矿产品价格稳定性及变化趋势。
三、矿产资源概况
㈠矿区总体概况
1、矿区总体规划情况。
2、矿区矿产资源概况。
3、该设计与矿区总体开发的关系。
㈡该设计项目的资源概况
1、矿床地质及构造特征。
2、矿床开采技术条件及水文地质条件。
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矿产资源开发利用方案编写内容要求及审查大纲
矿产资源开发利用方案编写内容要求及《矿产资源开发利用方案》审查大纲一、概述
㈠矿区位置、隶属关系和企业性质。
如为改扩建矿山, 应说明矿山现状、
特点及存在的主要问题。
㈡编制依据
(1简述项目前期工作进展情况及与有关方面对项目的意向性协议情况。
(2 列出开发利用方案编制所依据的主要基础性资料的名称。
如经储量管理部门认定的矿区地质勘探报告、选矿试验报告、加工利用试验报告、工程地质初评资料、矿区水文资料和供水资料等。
对改、扩建矿山应有生产实际资料, 如矿山总平面现状图、矿床开拓系统图、采场现状图和主要采选设备清单等。
二、矿产品需求现状和预测
㈠该矿产在国内需求情况和市场供应情况
1、矿产品现状及加工利用趋向。
2、国内近、远期的需求量及主要销向预测。
㈡产品价格分析
1、国内矿产品价格现状。
2、矿产品价格稳定性及变化趋势。
三、矿产资源概况
㈠矿区总体概况
1、矿区总体规划情况。
2、矿区矿产资源概况。
3、该设计与矿区总体开发的关系。
㈡该设计项目的资源概况
1、矿床地质及构造特征。
2、矿床开采技术条件及水文地质条件。