第一篇：(英語畢業(yè)論文)《雙城記》中的罪惡主題分析

英語專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫作，公布的題目可以用于免費參考（貢獻者ID 有提示）

最新英語專業(yè)全英原創(chuàng)畢業(yè)論文，都是近期寫作

淺析嘉莉妹妹成功的原因

論《野性的呼喚》中對人和自然和諧的呼喚 《第二十二條軍規(guī)》中的黑色幽默 從《在路上》看“垮掉的一代”

從目的論角度淺析《阿甘正傳》字幕翻譯 The Darkness in Oscar Wilde’s Fairy Tales 《獻給艾米麗的玫瑰》中艾米麗的命運分析 約翰.斯坦貝克女性觀流變初探 如何提高小學生對英語學習的興趣 McDonald’s Success

交際教學法在當前高中外語教學過程中的實效性 Puritanism in The Scarlet Letter 非英語專業(yè)大學生英語學習動機調查 從文化內涵的角度看漢語動物習語的英譯

On China English as A Localized Variety of English and its Implications for ELT 英漢委婉語中體現(xiàn)的文化異同

從關聯(lián)翻譯理論看《圣經(jīng)》漢譯過程中的關聯(lián)缺失 維多利亞時期的藝術對文學的影響——以白衣女人為例 《呼嘯山莊》的哥特式傳統(tǒng)

美國戰(zhàn)爭電影的人性和文化透視－－以《拯救大兵瑞恩》為例 中西方送禮文化差異分析

從《絕望主婦》看美國人的婚姻觀

女性意識的覺醒——評《雨中的貓》中的人物對比描寫 從功能對等理論看漢語文化負載詞的英譯

The Similarities and the Differences between Gu Hongming and Lin Yutang 中國英語學習者道歉言語行為的中介語石化現(xiàn)象 文化視角下的英漢習語對譯 分析《霧都孤兒》中的諷刺手法

從接受美學角度看中英旅游文本的翻譯 從《紅樓夢》和《簡愛》看中西方女性主義 《圍城》英譯文本中隱喻的翻譯策略 《圣經(jīng)》對英語習語的影響

The Revival of Benevolence Through Pip's Eyes in Great Expectations 評析艾米莉狄更生及其詩歌

論小學英語教學中的詞匯教學策略

中西方文化差異在初中英語詞匯教學中的體現(xiàn) 流行語的翻譯

中西方飲食文化對比

文化差異對中美商務談判的影響

從《卡斯特橋市長》看哈代作品中的宿命論色彩 言語幽默的功能對等翻譯

功能對等視角下記者招待會古詩詞翻譯策略研究 英語專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫作，公布的題目可以用于免費參考（貢獻者ID 有提示）

中英姓名文化內涵的探究

從《夜鶯與玫瑰》看王爾德唯美主義的道德觀 45 淺析哈克貝利的叛逆精神

The Changes of Women’s Status in China and Western Countries 47 論《愛瑪》中的反諷

淺析《麥田守望者》主人公霍爾頓 49 伍爾芙的人生經(jīng)歷對其小說創(chuàng)作的影響 50 淺析《還鄉(xiāng)》中愛格敦荒原的象征意義

An Application of Schema Theory in Interpreting 52 商務英語合同的翻譯特點及策略研究 53 淺析《了不起的蓋茨比》中的象征 54 論《第二十二條軍規(guī)》的寫作手法

A Study of Stylistic Features and Translation of Journalistic English 56 論雙性同體理論下的《達洛衛(wèi)夫人》 57 解析名詞化與商務語篇的漢英翻譯 58 交際法在中學英語教學中的運用 59 試析《傲慢與偏見》中的書信 60 《玻璃動物園》中的逃避主義解讀 61 從關聯(lián)理論看商務信函的禮貌策略

英漢基本色彩詞的種類、特點與其文化映現(xiàn)對比 63 論《白象似的群山》中海明威獨特的寫作風格 64 解析凱瑟琳的愛情與婚姻之分離 65 科技英語中被動句的語篇功能探析

English Teaching and Learning in China's Middle School 67 論科技英語新詞的翻譯

教師身勢語在英語口語教學中的應用

從《遠離塵囂》看托馬斯哈代的生態(tài)自然觀 70 英語專業(yè)學生詞匯附帶習得 71 凝視與對抗：《屋頂麗人》中的兩性戰(zhàn)爭

從目的論角度看英語電影片名翻譯——以基本顏色詞為例 73 《無名的裘德》中哈代的宗教思想探討 74 論《紅字》中的奇異情景

英語新聞中批評性語篇的對比分析

淺談英漢諺語的翻譯——從跨文化角度出發(fā) 77 論小說《看不見的人》中的象征主義

The Victims of Upper Class: A Comparative Study on the Two Heroes of The Great Gatsby and Tender Is the Night 79 中西文化心理差異分析—以飲食習俗為視角 80 淺談一些英美文學作品中的貓形象

On the Conceptual Blending of Business English Word Chunks and Their Translation 82 A Study on Humanity——Based on the Analysis of David Copperfield 83 Cultural Connotation of “Red” in Chinese and English 84 《小婦人》中教養(yǎng)方式的分析 85 論中西方零售業(yè)企業(yè)文化的對比 英語專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫作，公布的題目可以用于免費參考（貢獻者ID 有提示）

從《徳伯家的苔絲》看哈代的貞操觀和道德觀 87 銜接理論在科技語篇英譯漢中的應用

Difference between Chinese Buddhism and American Christianity 89 淺析《德伯維爾家的苔絲》中造成苔絲悲劇的因素

從《好事一小件》和《洗澡》的對話對比分析看人物形象塑造的差異 91 中介語對二語習得的影響探究

An Analysis of Gothic Features in Poe’s The Cask of Amontillado 93 高中英語新課標在xx中實施情況調查與分析 94 論《傲慢與偏見》中簡奧斯丁的女性意識 95 學習策略與聽力理解

探尋《呼嘯山莊》的道德意義

形成性評價在培養(yǎng)學生英語學習自主性中的作用 98 論小說與電影《最后的大亨》的敘事特征 99 英語廣告的批評性話語分析

論《太陽照常升起》中“迷惘一代”的反叛與抗爭 101 掙扎與妥協(xié)——淺析達洛維夫人的內心矛盾 102 淺析《老人與海》中的悲劇色彩

論西爾維婭.普拉斯詩歌中的死亡意象 104 美國影視劇中的俚語翻譯

論《紅字》中海斯特的女性主義

The Function of Symbols in the Feminist Novel Possession 107 《湯姆索亞歷險記》的藝術魅力 108 《追風箏的人》中阿米爾的性格分析

通過對比研究看電影《小紅帽》對經(jīng)典童話小紅帽的顛覆 110 英語詞匯學習存在的問題及對策研究 111 《喜福會》體現(xiàn)的中美家庭觀念沖突解析 112 論網(wǎng)絡英語的特征

論《麥田里的守望者》中的象征體系及霍爾頓的精神世界 114 美國電影文學中種族歧視現(xiàn)象研究 115 試析《老人與?！返谋采?/p>

論色彩在《紅字》中的運用與藝術效果 117 企業(yè)行為管理的共同價值觀淺析

The Impact of Loan Words on English Vocabulary 119 凝視與對抗：《屋頂麗人》中的兩性戰(zhàn)爭 120 解讀杰克.倫敦的《熱愛生命》

《哈姆雷特》中不言而喻的隱喻魅力(開題報告+論文+文獻綜述)122 從語用學角度看廣告英語中的模糊表達 123 語法翻譯法視角下的中學生英語家教輔導 124 清明節(jié)與萬圣節(jié)的比較

論《芒果街上的小屋》漢譯本中的異化策略()126 探析《蝴蝶夢》中的懸念寫作手法 127 英語中常用修辭格

論《白鯨》主角的悲劇實質 129 中美幽默的比較 英語專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫作，公布的題目可以用于免費參考（貢獻者ID 有提示）

從象征主義手法的運用淺析弗圖納多之死

A Diachronic Study on Sexism in English Lexicon 132 畢業(yè)論文]比較《荊棘鳥》和《金鎖記》小說中女性婚姻愛情悲劇原因 133 An Embodiment of Virtue－－-A Moral Insight into the Image of Tess 134 論《呼嘯山莊》中人性的轉變

修辭在政治演講中的作用－－以奧巴馬獲勝演講為例 136 從女性主義角度解讀惠特曼的《草葉集》

On Translation Strategies of Online Subtitle Translation Group 138 《了不起的蓋茨比》中黛西的女性主義分析 139 Analysis of The sound and the Fury 140 Pronunciation Problems in English Language Teaching 141

探究馬克吐溫的反奴隸制觀—對《哈克貝利費恩歷險記》中吉姆的分析 143 《智血》中主要人物生命歷程解讀（開題報告+論）144 論《推銷員之死》基于傳統(tǒng)希臘悲劇的發(fā)展

對比評析《了不起的蓋茨比》中尼克和蓋茨比的夢想 146 從合作原則看《傲慢與偏見》中的會話含義 147 凱特.肖邦《覺醒》中女主人公女性意識的覺醒 148 試論提高初中英語作業(yè)的效果

Characteristics of English Slang and Their Social Functions 150 A Study of Narrative Voice in Jodi Picoult’s My Sister’s Keeper 151 論中美廣告中所反映的文化價值觀差異 152 從《遠大前程》看狄更斯的家庭理想

153 高中英語新課標在xx中實施情況調查與分析 154 《人鼠之間》中兩主人公喬治和雷尼的對比分析 155 對羅伯特.弗羅斯特自然詩的嘗試性研究 156 從跨文化角度看導游詞翻譯的詞匯空缺現(xiàn)象 157 海明威文學作品中青年和老年人物關系對比探究

158 Cultural Differences between English and Chinese Proverbs and Their Translation Strategies 159 《呼嘯山莊》的悲劇分析

160 英漢基本顏色詞的文化內涵對比研究 161 從關聯(lián)理論看中國電影名稱的翻譯 162 電影片名翻譯的研究

163 從功能理論角度分析電影《點球成金》字幕翻譯 164 從追求走向幻滅與死亡——談馬丁.伊登的美國夢 165 嘉莉悲劇的原因探析 166 商務英語談判的語言技巧

167 以《老友記》為例淺析美式幽默 168 人性，社會結構與格列佛游記 169 高中英語詞匯教學策略

170 解析斯嘉麗的性格及其對現(xiàn)代社會女性的借鑒意義 171 從歸化與異化的角度研究《金鎖記》的翻譯策略 172 淺析《看不見的人》中的第一人稱敘述策略 173 徒勞的追求——對《寵兒》中黑爾的悲劇分析 英語專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫作，公布的題目可以用于免費參考（貢獻者ID 有提示）

174 《吉檀迦利》中的泛神論思想 175 A Tragedy of Ambition on Macbeth 176 對文化差異引起的誤譯的研究

177 On the Combination of Romanticism and Realism in John Keats’s Poems 178 理智的動人詩篇——《馬語者》

179 從康妮的視角分析《查特萊夫人的情人》中勞倫斯的性愛觀 180 外貿(mào)英文函電中委婉語的特點及應用研究 181 廣告英語的語言特色

182 Cultural Differences in Sino-US Business Negotiation 183 淺析奧斯卡王爾德童話作品中的唯美主義思想 184 論海明威的《老人與?！?/p>

185 A Comparative Study of the Character of Tess and Jane Eyre 186 從合作原則違反角度分析《破產(chǎn)姐妹》中的幽默話語

187 When Chinese Tradition Meets Western Culture: Comparison between Qi Xi and Valentine’s Day 188 《霧都孤兒》中的反猶主義

189 淺析馬拉默德小說《店員》中的“猶太性” 190 關于中美大學生消費觀異同的文化分析 191 如何有效做好交替?zhèn)髯g筆記

192 《紅樓夢》英譯中雙關語文化成分的翻譯策略研究 193 論蘋果手機在中國的市場戰(zhàn)略 194 從女性主義解讀《威尼斯商人》 195 淺談漢英時間隱喻的文化異同 196 從中西文化差異角度談品牌翻譯

197 從美學角度分析英文電影《阿凡達》的漢語翻譯 198 刪譯在中英詩歌翻譯中的應用 199 愛倫坡《泄密的心》的恐怖效果

200 非英語專業(yè)學生學習英語的動機和策略調查

第二篇：《雙城記》英語讀后感

A Tale of Two cities

“A Tale of Two cities” is one of the most important works of Dickens.The tale was based on the French Revolution in 1789, it described the story about Manette’s family and Defarge’s family.At the beginning of reading this book, I found it horrible and boring.But gradually, I couldn’t put down the book.In the end , I was moved by the book.Of all the characters in the story, my favourite is Sydney Carton.Sydney Carton, who was a lazy man and didn’t care for others.Really? In fact, he was an excellent and hard-working lawyer.He loved Lucie Manette all the time.But she hadn’t ever taken to him.When Carton heard the news that Lucie’s husband Charles Darnay would be killed in prison, he made a great decision: replace Darnay with himself.Sydney Carton, who sacrifice himself, for what? A person he loved and her happiness? That is —— “l(fā)ove”.I understand something from Carton: Love maybe a kind of power and dependence in our heart.Most importantly, after helping people we love, we will be very satisfied and feel very happy.I believe one thing: Carton’s world will come true in the future.After reading this book, I have new recognition of love.Trust me,you will learn something important in this book.Why not open “A Tale ofTwo cities” now?

第三篇：雙城記英語讀后感

雙城記英語讀后感-雙城記讀后感-英語論文

Love and Hate in A Tale of Two Cities

“A tale of two cities” is one of Dickens's most important representative works．The novel profoundly exposed the society contradiction before the French Revolution，intensely attacks the aristocratic social class is dissolute and cruel，and sincerely sympathizes with the depressed classes．The novel also described many magnificent scenes like the revolt people attacked Bastille and so on，which displayed people's great strength．

The novel has portrayed many different people． Doctor Manette is honest and kind but suffers the persecution actually，Lucie is beautiful and gentle，Charles is graceful and noble，Lorry is upright and honest，Sydney is semblance of indifferent，innermost feelings of warm，unconventional but also selfless and lofty，Miss Pross is straightforward and loyal，Evremonde brothers are cruel and sinister．．．．．．The complex hatred is hard to solve，the cruel revenge has made more hatreds，loves rebirth in the hell edge，but take the life as the price．

Many have grown fond of the tale involving the noble, former French aristocrat, who had virtually unmatched(except maybe in books)good fortune.First, his life was saved by the pitiful testimony of a beautiful young woman.Anyone would gladly have married this beautiful too-good-to-be-true-woman he wedded.It is later seen, however, that this man should have married her even if she were ugly as sin.This was not the case though, and he married a beautiful woman, who had an admirer who was a dead ringer for her husband, was a loser, and would give his life to keep her from pain, all of which really comes in handy when her hubby is on his way to the guillotine.This is not the story of a man with multiple guardian angels, but rather that of a character in Charles Dickens' novel A Tale of Two Cities.A skeptic could easily see this as an unbelievable, idealistic and overrated novel that is too far-fetched.An unbiased reader, however, can see that this is a story of love and hate, each making up the bare-bones of the novel so that one must look closely to see Dickens' biases, attempts at persuasion, and unbelievable plot-lines, some of which are spawned from Dickens' love and hate, and some of which love and hate are used to develop.The more lifeless of the characters we are supposed to like--the Manettes, Darnay, Lorry--play their parts in the idyllic fashion Dickens and like-minded readers want, a fashion made inflexible by circumstances and purposes.“Circumstances and purposes” refers in large part to Dickens' state of mind and objective.Dickens' intrusive, unusually editorial point of view, with references to “I” and deviations from narration for monologue, reveals the novel's slavery to the teachings of his morals--or perhaps his own slavery to the morals of his time and Protestantism.Therefore, can Lucie be any different from the supportive, wholly feminine wife and mother she is? Not if Dickens' is to stick to his obligation, or perhaps obstinate purpose, of moral teachings.With that aside, what is to be said of Dickens' teaching, his presentation of love and hate? They both have one thing in common: the characters representing each are unmistakable at a mile away.The moment Lucie Manette is put before the reader's eyes, her tumbling blond locks, her bright blue eyes, her seventeen-year-old, slight, pretty(but not sexy!)figure and all, he knows that, not only will she not be a villainous, unlikable character, but she will be the epitome of the good, beautiful woman(and later housewife), the one Dickens thought every women should be.At this young woman's introduction with Mr.Lorry, she curtseys to him, and Dickens wastes no time in pointing out that “young ladies made curtseys in those days”.The introductory scene climaxes at fair Lucie's fainting, one that, to some, puts her unflawed position into question, although to Dickens, it reinforces it.At the other side of this moral lecture are the Defarges.Call Dickens a master for embodying qualities, but here are another flawless pair--flawlessly evil, and sentenced to evil from the moment we see Madame Defarge's “watchful eye that seldom seemed to look at anything, a large hand heavily ringed, a steady face, strong features, and great composure of manner”, a stark contrast to the slight, fainting figure of Mada--or rather, Miss Manette.To further turn us against good old Madame Defarge, Dickens has her using a toothpick publicly in her opening scene, an activity dainty Miss Manette wouldn't dream of.Finally, we mustn't forget the setting.Lucie may have been born in France, but she defected to England, and traveled from London to meet Mr.Lorry.Madame Defarge was a Frenchwoman, born and living amongst peasants who drank wine scooped off of mud.She probably was not taught Dickens'(and his primary English audience's)Protestant morals in her Catholic nation, and certainly did not manifest them.In arguably the book's first touching scene(some say it's the one where Carton is on his way to the guillotine), Lucie goes through much trouble to coax her father from his insanity, laying her head on his shoulder, and trusting a man she had never met.When Madame Defarge sought vengeance for the cruel injustice committed against her kin, she looked to

destroy not only the innocent descendent of the culprit, but his family--an old man, a young woman, and a little girl.These two characters' love and hate are unconditional and total.Did this have to be so? Could not Madame Defarge have showed one bit of femininity, of human kindness? Could Lucie not have stolen a contemptuous glance at her persecutors? Not with Dickens at the helm.Lucie and Defarge are created with a conviction, and once Dickens' plot was laid, the blinders he put on his characters allowed only one route.Perhaps it was a primitive style, but modern characters are painted more realistically, with human weaknesses and more variability.Did it have to be so? Could Dickens have captured more readers, especially in the long run, if he had pursued more varying actions in his characters, as well as more humanness and believability? Does this point to Dickens as a flawed writer, with little imagination and ability?

Another factor that must be considered is our inability to criticize an English--or English-living--character, or to find a modicum of respectability in a French one, with two exceptions.One is the young woman who is beheaded just before Sydney Carton.She is the enemy of an enemy, she is going to be killed, and she allows Dickens to teach another moral using Sydney Carton.Why not have her happy to die for the benefit of her countrymen, while not trembling as she ascends to her death, thereby depriving the common enemy of a small victory? With the modern trend of political correctness and anti-racism, a Tale of Two Cities written today would never leave the word processor.Jerry Cruncher is about the most sinful of the English(aside from a spy but, remember, he defected to France), and he repents by the end, which counts for another moral from Dickens.In Dickens' time, racism was not regarded as it is today, and so if he wanted to use the French Revolution to send a message to the population, it was his right, but he may have taken this too far for some.Today, Lucie Manette would by no means be taken seriously as a believable, even likable character.She persists in fainting at particularly stressful moments, but when her husband is before a heartless, bloodthirsty jury, she looks brave and strong just for him.In context, this was a screaming contradiction, but one that Dickens required to portray his Eve.It is much easier to believe Madame Defarge's hate than her opposition's love.Defarge's sister was raped and murdered mercilessly and her brother was killed by a pair heartless “noblemen”.It is much easier to understand Defarge's taste for blood than the condition of Manette, who, after practicing as a competent doctor and acting normally for years, experiences a recurrence of his mental condition simply because his wonderful daughter has left for two weeks, although he has two dear friends nearby.Charles Dickens has built an enduring story enjoyed by millions, which is loved by experts and critics today although it would be immediately butchered if written by a modern author.It is a love story loved by its creator, but wholly unbelievable.It is actually doomed by its own idealism and unrealistic characters.As a hate story, it is much more competent, although also using this for its own purposes.One can draw one's own conclusions and ideas from such a book, but facts are facts.

第四篇：雙城記英語讀后感-雙城記讀后感

A Love and Hate in A Tale of Two Cities

Many have grown fond of the tale involving the noble, former French aristocrat, who had virtually unmatched(except maybe in books)good fortune.First, his life was saved by the pitiful testimony of a beautiful young woman.Anyone would gladly have married this beautiful too-good-to-be-true-woman he wedded.It is later seen, however, that this man should have married her even if she were ugly as sin.This was not the case though, and he married a beautiful woman, who had an admirer who was a dead ringer for her husband, was a loser, and would give his life to keep her from pain, all of which really comes in handy when her hubby is on his way to the guillotine.This is not the story of a man with multiple guardian angels, but rather that of a character in Charles Dickens' novel A Tale of Two Cities.A skeptic could easily see this as an unbelievable, idealistic and overrated novel that is too far-fetched.An unbiased reader, however, can see that this is a story of love and hate, each making up the bare-bones of the novel so that one must look closely to see Dickens' biases, attempts at persuasion, and unbelievable plot-lines, some of which are spawned from Dickens' love and hate, and some of which love and hate are used to develop.The more lifeless of the characters we are supposed to like--the Manettes, Darnay, Lorry--play their parts in the idyllic fashion Dickens and like-minded readers want, a fashion made inflexible by circumstances and purposes.“Circumstances and purposes” refers in large part to Dickens' state of mind and objective.Dickens' intrusive, unusually editorial point of view, with references to “I” and deviations from narration for monologue, reveals the novel's slavery to the teachings of his morals--or perhaps his own slavery to the morals of his time and Protestantism.Therefore, can Lucie be any different from the supportive, wholly feminine wife and mother she is? Not if Dickens' is to stick to his obligation, or perhaps obstinate purpose, of moral teachings.With that aside, what is to be said of Dickens' teaching, his presentation of love and hate? They both have one thing in common: the characters representing each are unmistakable at a mile away.The moment Lucie Manette is put before the reader's eyes, her tumbling blond locks, her bright blue eyes, her seventeen-year-old, slight, pretty(but not sexy!)figure and all, he knows that, not only will she not be a villainous, unlikable character, but she will be the epitome of the good, beautiful woman(and later housewife), the one Dickens thought every women should be.At this young woman's introduction with Mr.Lorry, she curtseys to him, and Dickens wastes no time in pointing out that “young ladies made curtseys in those days”.The introductory scene climaxes at fair Lucie's fainting, one that, to some, puts her unflawed position into question, although to Dickens, it reinforces it.At the other side of this moral lecture are the Defarges.Call Dickens a master for embodying qualities, but here are another flawless pair--flawlessly evil, and sentenced to evil from the moment we see Madame Defarge's “watchful eye that seldom seemed to look at anything, a large hand heavily ringed, a steady face, strong features, and great composure of manner”, a stark contrast to the slight, fainting figure of Mada--or rather, Miss Manette.To further turn us against good old Madame Defarge, Dickens has her using a toothpick publicly in her opening scene, an activity dainty Miss Manette wouldn't dream of.Finally, we mustn't forget the setting.Lucie may have been born in France, but she defected to England, and traveled from London to meet Mr.Lorry.Madame Defarge was a Frenchwoman, born and living amongst peasants who drank wine scooped off of mud.She probably was not taught Dickens'(and his primary English audience's)Protestant morals in her Catholic nation, and certainly did not manifest them.In arguably the book's first touching scene(some say it's the one where Carton is on his way to the guillotine), Lucie goes through much trouble to coax her father from his insanity, laying her head on his shoulder, and trusting a man she had never met.When Madame Defarge sought vengeance for the cruel injustice committed against her kin, she looked to destroy not only the innocent descendent of the culprit, but his family--an old man, a young woman, and a little girl.These two characters' love and hate are unconditional and total.Did this have to be so? Could not Madame Defarge have showed one bit of femininity, of human kindness? Could Lucie not have stolen a contemptuous glance at her persecutors? Not with Dickens at the helm.Lucie and Defarge are created with a conviction, and once Dickens' plot was laid, the blinders he put on his characters allowed only one route.Perhaps it was a primitive style, but modern characters are painted more realistically, with human weaknesses and more variability.Did it have to be so? Could Dickens have captured more readers, especially in the long run, if he had pursued more varying actions in his characters, as well as more humanness and believability? Does this point to Dickens as a flawed writer, with little imagination and ability?

Another factor that must be considered is our inability to criticize an English--or English-living--character, or to find a modicum of respectability in a French one, with two exceptions.One is the young woman who is beheaded just before Sydney Carton.She is the enemy of an enemy, she is going to be killed, and she allows Dickens to teach another moral using Sydney Carton.Why not have her happy to die for the benefit of her countrymen, while not trembling as she ascends to her death, thereby depriving the common enemy of a small victory? With the modern trend of political correctness and anti-racism, a Tale of Two Cities written today would never leave the word processor.Jerry Cruncher is about the most sinful of the English(aside from a spy but, remember, he defected to France), and he repents by the end, which counts for another moral from Dickens.In Dickens' time, racism was not regarded as it is today, and so if he wanted to use the French Revolution to send a message to the population, it was his right, but he may have taken this too far for some.Today, Lucie Manette would by no means be taken seriously as a believable, even likable character.She persists in fainting at particularly stressful moments, but when her husband is before a heartless, bloodthirsty jury, she looks brave and strong just for him.In context, this was a screaming contradiction, but one that Dickens required to portray his Eve.It is much easier to believe Madame Defarge's hate than her opposition's love.Defarge's sister was raped and murdered mercilessly and her brother was killed by a pair heartless “noblemen”.It is much easier to understand Defarge's taste for blood than the condition of Manette, who, after practicing as a competent doctor and acting normally for years, experiences a recurrence of his mental condition simply because his wonderful daughter has left for two weeks, although he has two dear friends nearby.Charles Dickens has built an enduring story enjoyed by millions, which is loved by experts and critics today although it would be immediately butchered if written by a modern author.It is a love story loved by its creator, but wholly unbelievable.It is actually doomed by its own idealism and unrealistic characters.As a hate story, it is much more competent, although also using this for its own purposes.One can draw one's own conclusions and ideas from such a book, but facts are facts

第五篇：《雙城記》分析

醫(yī)生為什么會“發(fā)病”

——簡評《雙城記》里馬內特醫(yī)生的“病態(tài)”形象

【摘要】《雙城記》里馬內特醫(yī)生是一個正直善良的人，在巴士底獄的經(jīng)歷使他神經(jīng)錯亂，在與女兒相認后還發(fā)作了兩次；馬內特醫(yī)生的這一“發(fā)病”的細節(jié)是作者狄更斯有意安排而不是純粹的精神?。蛔髡呓璐伺蟹饨ㄙF族，表達自己家庭幸福、家庭至上的思想，并一如既往地對人性進行探討。

【關鍵詞】雙城記

馬內特醫(yī)生

病態(tài)形象

“狄更斯是一位塑造怪人的巨匠?！雹購淖钤绲某擅鳌镀タ送送鈧鳌防锏钠タ送说胶笃凇哆h大前程》里的斯巴塞太太，狄更斯描繪了一個龐大的“怪人”家族。這些“怪人”可分為多類，有生理上的怪，如《大衛(wèi)·科波菲爾》中希普又粘又濕的手像青蛙一樣，讓人厭惡；《老古玩店》中的奎爾普長相丑陋，像一條伸出舌頭的狗，而且他能吃帶殼的雞蛋、喝滾燙的茶。也有是性格、行動具有某種突出的怪癖，如《老古玩店》里的吐倫特老頭，奎爾普的小廝等。

在《雙城記》里面也存在著這么一些“怪人”。首先是馬內特家的仆人普洛斯小姐，她粗魯無知而又瞧不起人。在她看來無人配得起美麗高貴的馬內特小姐，除了她的弟弟所羅門。但實際上所羅門卻是一個逃亡到法國、為法國革命派獲取情報的街頭小混混。其次是無私的西德尼·卡頓，他滿腹才華，但卻與世格格不入，因此自甘墮落，終日在酗酒和慵懶中度過。他率性任為，但卻可以為了愛情放棄一切，包括自己的生命。

值得一提的是馬內特醫(yī)生。他善良、正直、富于正義感。年輕時他目睹了厄弗里蒙地侯爵兄弟虐殺農(nóng)民的慘象，并不懼侯爵的強大勢力勇于寫信向朝廷告發(fā)，因此而被捕入獄。在獄中他受盡折磨并失去了理智，只能借助做鞋——“一套有規(guī)律的兩手倒來倒去的動作”②來麻痹自己。即使是出獄后，醫(yī)生仍然帶上 ①②任明耀《狄更斯作品中的“怪人”形象》，《外國文學研究》1981年第四期

狄更斯（英）：《雙城記》.石永禮，趙文娟譯.—北京：人民文學出版社，1993.10 他做鞋時坐的板凳和那雙永遠做不完的女式鞋子，并在之后的多個場合癡癡地重復做鞋，仿佛回到了在巴士底獄的日子。小說就描繪了這樣一個被崇高精神包裹的“怪人”形象，與普洛斯小姐和卡頓不同的是，醫(yī)生的怪是帶有“病態(tài)”性質的，是經(jīng)受多年壓抑而生成的精神病。但對于注重細節(jié)和象征意義的狄更斯來說，這又絕對不僅僅是一種精神病，與“板凳”、“做鞋”結合在一起的“病態(tài)”形象含義是深刻的。

醫(yī)生在小說當中“發(fā)病”共出現(xiàn)了三次：在醫(yī)生未與女兒相認前，他一直處于迷糊非理智的狀態(tài)，這可歸為一；二是馬內特小姐蜜月離開期間的九天；三是達奈離開英國后第二次被捕，醫(yī)生求救無門的那天晚上，醫(yī)生像瘋了一般嗚咽著找板凳和未做完的鞋。在這期間連馬內特小姐“有幾次她的魔力也失效”，③來到法國前，醫(yī)生一直把板凳和鞋這些會勾起痛苦回憶的東西放在身邊，“有時，他在夜深人靜時起床，我們在樓上聽到他在臥室里走來走去，走來走去?！雹?/p>

趙炎秋先生在《多元整一：狄更斯長篇小說的結構特點》⑤一文中提到：“狄更斯長篇小說結構的典型模式是多元整一。”在《雙城記》里有五個整齊的結構單元，馬內特醫(yī)生的經(jīng)歷被放在突出的位置并貫穿起作品的五個結構單元，而醫(yī)生的“病態(tài)”形象又始終伴隨著馬內特醫(yī)生。為什么作者要把讓人愛憐仰望的醫(yī)生放在近乎癲狂的狀態(tài)中并貫穿始終呢？我想這不能用簡單的“精神病”來解釋，而是寄托著作者深刻的思想的。

一、對驕奢跋扈的封建貴族的批判。

馬內特醫(yī)生在巴士底獄備受折磨，此時他的心中充滿了恨意。這既有對厄弗里蒙地侯爵扭曲人性的恨，又有自己不能保護懷孕的妻子的恨。有一段時期他想妻子肚子里未出生的孩子“是不是個兒子，有一天能為他的父親報仇”⑥，他在信里悲憤地寫道：“我相信那血紅的十字會要他們（厄弗里蒙地侯爵兄弟）償命了，他們也得不到上帝的寬恕。??我向上天，向人間控告他們。”⑦

正義、對妻子和未出生的孩子的愛戀、仇恨——不同的情感在馬內特醫(yī)生 ③④狄更斯（英）：《雙城記》.石永禮，趙文娟譯.—北京：人民文學出版社，1993.10，78頁 狄更斯（英）：《雙城記》.石永禮，趙文娟譯.—北京：人民文學出版社，1993.10，98頁 ⑤ 趙炎秋：狄更斯長篇小說研究，社會科學文獻出版社，1996.2,289頁 ⑥狄更斯（英）：《雙城記》.石永禮，趙文娟譯.—北京：人民文學出版社，1993.10，192頁 ⑦狄更斯（英）：《雙城記》.石永禮，趙文娟譯.—北京：人民文學出版社，1993.10，341頁 的心底交錯沖擊。醫(yī)生不停地做一雙女式鞋，身體的忙碌可以麻痹身心，可以借此慰藉對妻子的思念，同時作者更是以這種扭曲的變態(tài)行為引起人們對善良品性的同情和熱愛，進一步揭示了以厄弗里蒙地侯爵為代表的封建貴族的殘忍。善良的品性卻招致如此厄運，美與丑形成二元對立，更具批判意義。

二、家庭和愛的力量。

狄更斯的家庭生活并不十分幸福，他的父親揮霍無度，母親也不善管理家務，因此整個家庭經(jīng)常陷入貧困的深淵。狄更斯12歲被送入皮鞋油廠當童工，嘗盡屈辱和酸辛。結婚的妻子與狄更斯性格思想不和，這對狄更斯來說又是一個打擊。在現(xiàn)實生活得不到家庭的溫暖和穩(wěn)定，作者便在作品中表達自己對幸福家庭的追求與渴望。

馬內特醫(yī)生在女兒到來之前一直待在仆人德法日的樓閣上，日以繼夜地做鞋，他重復做的不是男鞋，不是兒童鞋，而是女鞋，這表現(xiàn)馬內特醫(yī)生對妻子的思念，于此醫(yī)生的“病態(tài)”可看成是美好愛情的寄托，同時也是作者對純真幸福愛情的向往。狄更斯思想的核心是資產(chǎn)階級人道主義，他認為決定人的價值的是心靈的善惡。如《雙城記》的卡頓，他為了自己所愛的人馬內特小姐的愛人查爾斯·達奈，犧牲了自己的生命，被作者奉為獻身精神的典范；而德法日夫婦要求殺人，則被作為反面的典型，最后也只能是以死告終。愛在狄更斯的小說當中是富有力量的。女兒（家庭的愛的化身）的到來使他慢慢地恢復理智并幸福地生活在一起，這也是家庭的愛的體現(xiàn)之一。其次，當知道自己的女婿達奈的真實身份后，醫(yī)生對女兒的愛與對厄弗里蒙地家族的恨交織在一起，使得他再度精神失控，舊病復發(fā)，連續(xù)做了九天的鞋。在這里不停地做鞋子的“病態(tài)”象征著愛與恨的斗爭過程，最后的結果是女兒和家庭的愛占了上風，醫(yī)生在女兒蜜月度假歸來時內心得到了平靜，一家三口又幸福地住在一起，反映了作者不惜一切追求幸福家庭的愿望。最后一次“舊病復發(fā)”也可體現(xiàn)這一點，醫(yī)生因無力幫助到女兒而差點下跪，大聲疾呼：“別折磨一個孤苦的可憐人了，??把我的那些東西還給我！那雙鞋要是今晚上做不完，我們怎么辦呢？”⑧女兒心愛的丈夫達奈將永遠地死去，那就意味著一個幸福家庭的瓦解、愛的破滅。醫(yī)生意識到這一點，做 ⑧狄更斯（英）：《雙城記》.石永禮，趙文娟譯.—北京：人民文學出版社，1993.10，352頁 鞋的“病態(tài)”再一次成了幸福家庭的象征，馬內特醫(yī)生在幸福的家庭即將失去之際瘋狂地疾呼、尋找。

由此看來，馬內特醫(yī)生的“病態(tài)”形象象征著作者對家庭的愛的追求，體現(xiàn)了狄更斯的思想核心。

三、對人性的關注和探索。

高爾基曾經(jīng)指出，狄更斯“出奇的精通最難的藝術——熱愛人類的藝術”。⑨人是狄更斯一直關注的中心，也是其小說的中心。即便從馬內特醫(yī)生這一不起眼的“病態(tài)”形象我們也能看出作者在人性探討方面所做的努力。

1、人的渺小與無能為感。

這主要是由人和自己的創(chuàng)造物之間關系的異化造成的。仁慈、正直是人類的美好品性，我們贊美它、稱頌它，但馬內特醫(yī)生就是因為未泯的仁慈和正直的天性把自己送進了巴士底獄。醫(yī)生在巴士底獄寫下控訴厄弗里蒙地家族的血淚書，最終這封信卻成了毀滅家庭幸福的有力工具。

在強大的體制和封建勢力面前，個人仿佛是蛛網(wǎng)中的小蟲，越是掙扎，越是欲罷不能。馬內特醫(yī)生在女兒結婚時“發(fā)病”，在得不到革命派的承認而無力救達奈時“發(fā)病”，一旦病癥發(fā)作就嚷著要做鞋。醫(yī)生已經(jīng)搞不清楚自己和創(chuàng)造物之間的關系為什么會如此的錯亂，唯有做鞋是明確的，有規(guī)律的重復能緩解由錯亂引起的痛苦。

2、自我欲望的宣泄。

人是具有靈性、有情欲的動物。馬內特醫(yī)生在巴士底獄里備受壓抑，身體上難以自由，精神上也備受苦恨和思念的折磨，自我處于失落的狀態(tài)。馬內特醫(yī)生說他害怕看到陽光，熱烈的太陽代表著光明，代表著欲望，這與他的生存環(huán)境是格格不入的。因此他終日在黑暗中不停地有規(guī)律地重復做鞋、做鞋，“鞋”在這里成了欲望的象征，做鞋就是自我欲望的無意識宣泄。

人性是超越時空的，在1940年的中國，偉大作家蕭紅在《后花園》塑造的馮二成子形象唱響了封建侵蝕下人性失落的哀歌。后花園一 ⑨ 高爾基：《在人間》 片生機，那是馮二成子情欲的襯托。馮二成子不但不能選擇自己的人生道路，連人人共有的情欲也受到外界的壓抑。在沒見到姑娘前，他的人生是不完整的，他的欲望也得不到滿足，馮二成子選擇深夜打梆子正是人的欲望的宣泄。不同國度不同時代的偉大作家在揭露人性上實現(xiàn)了共鳴。

3、自我力量的肯定。

人不僅具有情欲，也有追求自由的意識，希望自己支配、控制自己。但在馬內特醫(yī)生身上，我們看到的卻是自由意識的失落和自我力量的淹沒。黑夜是寂靜的，重復的做鞋動作是動態(tài)的，馬內特醫(yī)生在絕對的動態(tài)中才能感受到自我的存在。

醫(yī)生無力救達奈時他又“發(fā)病”了，這是因為面對著無序黑暗的社會，他像在巴士底獄一樣再次發(fā)現(xiàn)了自身的無能為力，因此發(fā)瘋地尋找板凳和鞋子，把對自我力量的肯定寄托在鞋子上，做鞋在此成了對肯定自我的象征。

狄更斯對人性的探討是具有深刻意義的，從馬內特醫(yī)生身上我們便可洞察19世紀后期剛完成資本原始積累的英國社會民眾心靈的渴望與困惑。

中國古語云：“情動于中，則形于外”，內心世界不容易被人直接感知，但它卻可以通過人的外部世界如言論、行動、表情等間接地反映出來。不得不說狄更斯是善于通過外部形象展示人物的內心世界的，從表面看我們只知道馬內特醫(yī)生是一個正直、仁慈、善良的大好人，但作者描繪的這一“病態(tài)”的形象（具體表現(xiàn)為喪失理智般瘋狂地做鞋）則使馬內特醫(yī)生的形象得到很大的豐富，以小見大，頗具玩味。

參考文獻：1、2、3、趙炎秋：狄更斯長篇小說研究，社會科學文獻出版社 鄭克魯：外國文學史，北京—高等教育出版社，2006.6 王治國：狄更斯傳略，上海文藝出版社，1991.11