复旦大学：《英美短篇小说 British and American Short Stories》期末样卷_2010-2011第一学期短篇小说B卷（答案）.doc_大学文库

Delphin and me wished to annihilate the tedious intervening days. (from"Araby" by James Joyce My days and nights were wasted be cause I had been thinking about hundreds of inexplicable things ever since that evening. It was my ardent dream to put an end to the monotony of life 5. Sometimes I' m so mad about it I want to fight someone. It gives me the fantods what did he do it for? I want to know why. ( from "I Want to Know Why"by Sherwood Anderson) I get so agitated by it from time to time that I feel like beating somebody up. I am extremely restless with anxiety Il. Briefly define three of the following terms 30% 1. allegory A story or visual image with a second distinct meaning partially hidden behind its literal or visible meaning. The principal technique of allegory is personification, whereby abstract qualities are given human shape-as in public statues of Liberty or Justice. An allegory may be conceived as a metaphor that is extended into a structured system. In written narrative, allegory involves a continuous parallel between two(or more) levels of meaning in a story so that its persons and events correspond to their equivalents in a system of ideas or a chain of events external to the tale each character and episode in John Bunyan The Pilgrims Progress (1678, for example, embodies an idea within a pre-existing Puritan doctrine of salvation A subtle humorous perception of inconsistency in which an apparently straightforward statement or event is undermined by its context so as to give it a very different significance. In various forms, irony appears in many kinds of literature, fiom the tragedy of Sophocles to the novels of Jane Austen and Henry James, but is especially important in satire, as in Voltaire and Swifi. At its simplest, in verbal imny it involves a discrepancy between what is said and what is really mean s in its crude form, sarcasm; for the figures of speech exploiting this discrepancy. The more sustained structural immy in literature involves the use of a naive or deluded hep or unreliable narrator; whose view of the world differs widely from the true circumstances recognized by the author and readers; literary immy thus flatters its readers 'intelligence at the expense of character(or fictional narrator) It is in the simplest sense anything that stands for or represents something else beyond it-1sually an idea conventionally associated with it. Objects like flags and crosses can function symbolically and words are also symbols. In the semiotics of C.S. Peirce, the term denotes a kind of sign that

2 Delphin and me. 4. What innumerable follies laid waste my waking and sleeping thoughts after the evening! I wished to annihilate the tedious intervening days. (from “Araby” by James Joyce) My days and nights were wasted because I had been thinking about hundreds of inexplicable things ever since that evening. It was my ardent dream to put an end to the monotony of life. 5. Sometimes I’m so mad about it I want to fight someone. It gives me the fantods. What did he do it for? I want to know why. (from “I Want to Know Why” by Sherwood Anderson) I get so agitated by it from time to time that I feel like beating somebody up. I am extremely restless with anxiety. II. Briefly define THREE of the following terms. 30% 1. allegory A story or visual image with a second distinct meaning partially hidden behind its literal or visible meaning. The principal technique of allegory is personification, whereby abstract qualities are given human shape—as in public statues of Liberty or Justice. An allegory may be conceived as a metaphor that is extended into a structured system. In written narrative, allegory involves a continuous parallel between two (or more) levels of meaning in a story, so that its persons and events correspond to their equivalents in a system of ideas or a chain of events external to the tale: each character and episode in John Bunyan’s The Pilgrim’s Progress (1678), for example, embodies an idea within a pre-existing Puritan doctrine of salvation. 2. irony A subtle humorous perception of inconsistency, in which an apparently straightforward statement or event is undermined by its context so as to give it a very different significance. In various forms, irony appears in many kinds of literature, from the tragedy of Sophocles to the novels of Jane Austen and Henry James, but is especially important in satire, as in Voltaire and Swift. At its simplest, in verbal irony, it involves a discrepancy between what is said and what is really meant, as in its crude form, sarcasm; for the figures of speech exploiting this discrepancy. The more sustained structural irony in literature involves the use of a naive or deluded hero or unreliable narrator, whose view of the world differs widely from the true circumstances recognized by the author and readers; literary irony thus flatters its readers’ intelligence at the expense of a character (or fictional narrator). 3. symbol It is in the simplest sense anything that stands for or represents something else beyond it—usually an idea conventionally associated with it. Objects like flags and crosses can function symbolically; and words are also symbols. In the semiotics of C.S. Peirce, the term denotes a kind of sign that

as no natural or resembling connection with its referent, only a comventional one: this is the case with words. In literary usage. however, a symbol is a specially evocative kind of image, that is, a word or phrase referring to a concrete object, scene, or action which also has some further significance associated with it: mses, mountains, birds, and voyages have all been used as common literary symbols. 4 far A general term for any kind of fictional work that is not primarily devoted to realistic representation of the known world. The category includes several literary genres (e.g. dream vision, fable, fairy tale, mance, science fiction) describing imagined worlds in which magical powers and other impossibilities are accepted. Recent theorists of fantasy have attempted to distinguish more precisely between the self-contained magical realms of the marvellous, the psychologically explicable delusions of the uncanny and the inexplicable meeting of both in the fantastic. Ill. Read the following short story, and then write a short comment on it. 40% (答案略) The man with the scar by william Somerset Maugham It was on account of the scar that i first noticed him for it ran broad and red in a great crescent from his temple to his chin. It must have been due to a formidable wound and i wondered whether this had been ca used by a sabre or by a fragment of shell. It was unexpected on that round fat and good-humoured face He had small and undistinguished features, and his expression was artless. His face went oddly with his corpu lent body. He was a powerful man of more than common height i never saw him in anything but a very sha bby grey suit a khaki shirt and a battered sombrero he was far from clean he used to come into the palace hote l at Guatema la City every day at cocktail time and strolling le surely round the bar offered lottery tickets for sale. If this was the way he made his living it must have been a poor one for i never saw anyone buy but now and the n i saw him offered a drink. He never ref used it. He threaded his way among the ta bles w ith a sort of rolling walk as though he were accustomed to traverse long distances on foot paused at each table, with a little smile mentioned the numbers he had for sale and then, when no notice was taken of him, with the same smile passed on i think he as for the most part a trif le the worse for liquor. I was standing at the bar one evening my foot on the rail, with an acquaint nce they make a very good dry martini at the palace Hotel in Guatema la City -when the man with the scar came up. i shook my head as for the twentieth time since my arrival he held out for inspection his lottery tickets. But my companion nodded aff bl

3 has no natural or resembling connection with its referent, only a conventional one: this is the case with words. In literary usage, however, a symbol is a specially evocative kind of image; that is, a word or phrase referring to a concrete object, scene, or action which also has some further significance associated with it: roses, mountains, birds, and voyages have all been used as common literary symbols. 4. fantasy A general term for any kind of fictional work that is not primarily devoted to realistic representation of the known world. The category includes several literary genres (e.g. dream vision, fable, fairy tale, romance, science fiction) describing imagined worlds in which magical powers and other impossibilities are accepted. Recent theorists of fantasy have attempted to distinguish more precisely between the self-contained magical realms of the marvellous, the psychologically explicable delusions of the uncanny, and the inexplicable meeting of both in the fantastic. III. Read the following short story, and then write a short comment on it. 40% （答案略） The Man with the Scar by William Somerset Maugham It was on account of the scar that I first noticed him, for it ran, broad and red, in a great crescent f rom his temple to his chin. It must have been due to a formidable wound and I wondered whether this had been caused by a sabre or by a fragment of shell. It was unexpected on that round, fat and good-humoured face. He had small and undistinguished features, and his expression was artless. His face went oddly with his corpulent body. He was a powerful man of more than common height. I never saw him in anything but a very shabby grey suit, a khaki shirt and a battered sombrero. He was far from clean. He used to come into the Palace Hotel at Guatemala City every day at cocktail time and strolling leisurely round the bar offered lottery tickets for sale. If this was the way he made his living it must have been a poor one, for I never saw anyone buy, but now and then I saw him offered a drink. He never refused it. He threaded his way among the tables with a sort of rolling walk as though he were accustomed to traverse long distances on foot, paused at each table, with a little smile mentioned the numbers he had for sale and then, when no notice was taken of him, with the same smile passed on. I think he was for the most part a trifle the worse for liquor. I was standing at the bar one evening, my foot on the rail, with an acquaintance – they make a very good dry martini at the Palace Hotel in Guatemala City - when the man with the scar came up. I shook my head as for the twentieth time since my arrival he held out for inspection his lottery tickets. But my companion nodded af fably

Que ta/, genera/? How is life? 'Not so bad. Business is none too good, but it might be worse. hat will you have, general? a brandy. He tossed it down and put the glass back on the bar. He nodded to my acquaintance. Then he turned away and offered tickets to the men who were standing next to Who is your friend? ' I asked. That's a terrif ic scar on his face. It doesnt add to his beauty does it? He's an exile from Nicaragua. He's a ruff ian of course and a bandit but not a bad fellow. i give him a few pesos now and then He was a revolutionary general and if his ammunition hadnt given out hed have upset the government and be minister of war now instead of selling lottery tickets in Guatema la. They captured him, along with his staff, such as it was, and tried him by court-martia I. Such things are rather summary in those countries, you know and he as sentenced to be shot at dawn i guess he knew what was coming to him when he was caught. He spent the night in gaol and he and the others there were five of them altogether, passed the time play ing poker. They used matches for chips. He told me he'd never had such a run of bad luck in his life When day broke and the soldiers came into the cell to fetch them for execution he had lost more matches than a reasonable man could use in a life time They were led into the patio of the gaol and placed aga inst a wall, the five of them side by side with the firing party facing them. There was a pause and our friend asked the of ficer in charge of them what the devil they were keeping him waiting for. The off icer said that the general command ing the government troops wished to attend the execution and they awaited his arrival Then i have time to smoke another cigarette said our friend. He was always unpunctual But he had barely lit it when the general it was san Ignacio, by the way: I dont know whether you ever met him -followed by his A D. C. came into the patio. the usual formalities were performed and san Ignacio asked the condemned men whether there was anything they wished before the execution took place. Four of the five shook their heads but our friend spoke Yes, I should like to say goodbye to my wif e Bueno, said the general, "I have no objection to that. Where is she? She is waiting at the prison door. Then it will not cause a delay of more than five minutes Hardly that, Senor Genera Have him placed on one sid Two sold iers advanced and between them the co ndem ned rebel walked to the spot indicated The off icer in command of the firing squad on a nod from the general gave an order there was a ragged report and the four men fell. they fell strangely, not together, but one af ter the other with movements that were almost grotesque as though they were puppets in a toy theatre. the off icer went up to them and into

4 ‘Qué tal, general? How is life?’ ‘Not so bad. Business is none too good, but it might be worse.’ ‘What will you have, general?’ ‘A brandy.’ He tossed it down and put the glass back on the bar. He nodded to my acquaintance. ‘Gracias. Hasta Luego.’ Then he turned away and offered tickets to the men who were standing next to us. ‘Who is your f riend?’ I asked. ‘That’s a terrific scar on his face.’ ‘It doesn’t add to his beauty, does it? He’s an exile f rom Nicaragua. He’s a ruffian of course and a bandit, but not a bad fellow. I give him a few pesos now and then. He was a revolutionary general and if his ammunition hadn’t given out he’d have upset the government and be minister of war now instead of selling lottery tickets in Guatemala. They captured him, along with his staff, such as it was, and tried him by court-martial. Such things are rather summary in those countries, you know, and he was sentenced to be shot at dawn. I guess he knew what was coming to him when he was caught. He spent the night in gaol and he and the others, there were five of them altogether, passed the time playing poker. They used matches for chips. He told me he’d never had such a run of bad luck in his life. When day broke and the soldiers came into the cell to fetch them for execution he had lost more matches than a reasonable man could use in a life time. They were led into the patio of the gaol and placed against a wall, the five of them side by side, with the firing party facing them. There was a pause and our friend asked the of ficer in charge of them what the devil they were keeping him waiting for. The officer said that the general commanding the government troops wished to attend the execution and they awaited his arrival. “Then I have time to smoke another cigarette,” said our friend. “He was always unpunctual.” But he had barely lit it when the general – it was San Ignacio, by the way: I don’t know whether you ever met him – followed by his A.D.C. came into the patio. The usual formalities were performed and San Ignacio asked the condemned men whether there was anything they wished before the execution took place. Four of the five shook their heads, but our f riend spoke. “Yes, I should like to say goodbye to my wife.” “Bueno,” said the general, “I have no objection to that. Where is she?” “She is waiting at the prison door.” “Then it will not cause a delay of more than five minutes.” “Hardly that, Señor General.” “Have him placed on one side.” Two soldiers advanced and between them the condemned rebel walked to the spot indicated. The officer in command of the firing squad on a nod f rom the general gave an order, there was a ragged report, and the four men fell. They fell strangely, not together, but one af ter the other, with movements that were almost grotesque, as though they were puppets in a toy theatre. The officer went up to them and into

one who was still alive emptied two chambers of his revolver. Our friend finished his cigarette and threw away the stub There was a little stir at the gateway. a woman came into the patio, with quick steps, and then, her hand on her heart stopped suddenly. she gave a cry and with outstretched arms ran forward Caramba," said the general She was in black with a veil over her hair and her face was dead white she was hardly more than a girl, a slim creature, with little regular features and enormous eyes. But they were distraught with angu ish. Her loveliness was such that as she ran, her mouth slig htly open and the agony of her face beautif ul a gasp of surprise was wrung from those indif ferent soldiers who looked at her. The rebel advanced a ste p or two to meet her. she flung herself into his arms and with a hoarse cry of passion: alma de mi corazon soul of my heart he pressed his lips to hers. And at the same moment he drew a knife from his ragged shirt -I havent a notion how he had mana ged to reta in possession of it -and stabbed her in the neck. The blood spurted from the cut vein and dyed his shirt. Then he flung his arms round her and once more pressed his lips to hers It happe ned so quickly that many didnt know what had occurred, but from the others burst a cry of horror; they sprang forward and seized him. they loosened his grasp and the girl would have fallen if the A D. C. hadn't caught her. She was unconscious. They la id her on the ground and with dismay on the ir faces stood round watching her. The rebel knew where he was striking and it was impossible to staunch the blood. In a moment the A.D.C. who had been knee ling by her side rose The rebel crossed himself Why did you do it? asked the general I loved her. A sort of sigh passed through those men crowded together and they looked w strange faces at the murderer The general stared at him for a while in silence It was a noble gesture, he said at last. I cannot execute this man. Take my car and have him led to the frontier Senor, i offer you the homage which is due from one brave man to another A murmur of approbation broke from those who listened the A D. C tapped the ebel on the shoulder and betwee n the two sold iers w itho ut a word he marched to the waiting car. My friend stopped and for a time I was silent. I must explain that he was a Guatemallecan and spoke to me in Spanish. I have trans lated w hat he told me as well as I could, but i have made no attempts to tone dow n his rather high -f lown language. To tell the truth i think it suits the story. But how did he get the scar? I asked at length Oh, that was due to a bottle that burst w hen he was opening it a bottle of ginger ale "i never liked it said I

5 one who was still alive emptied two chambers of his revolver. Our f riend finished his cigarette and threw away the stub. There was a little stir at the gateway. A woman came into the patio, with quick steps, and then, her hand on her heart, stopped suddenly. She gave a cry and with outstretched arms ran forward. “Caramba,” said the general. She was in black, with a veil over her hair, and her face was dead white. She was hardly more than a girl, a slim creature, with little regular features and enormous eyes. But they were distraught with anguish. Her loveliness was such that as she ran, her mouth slightly open and the agony of her face beautiful, a gasp of surprise was wrung f rom those indif ferent soldiers who looked at her. The rebel advanced a step or two to meet her. She flung herself into his arms and with a hoarse cry of passion: alma de mi corazón, soul of my heart, he pressed his lips to hers. And at the same moment he drew a knife f rom his ragged shirt – I haven’t a notion how he had managed to retain possession of it – and stabbed her in the neck. The blood spurted f rom the cut vein and dyed his shirt. Then he flung his arms round her and once more pressed his lips to hers. It happened so quickly that many didn’t know what had occurred, but from the others burst a cry of horror; they sprang forward and seized him. They loosened his grasp and the girl would have fallen if the A.D.C. hadn’t caught her. She was unconscious. They laid her on the ground and with dismay on their faces stood round watching her. The rebel knew where he was striking and it was impossible to staunch the blood. In a moment the A.D.C. who had been kneeling by her side rose. “She’s dead,” he whispered. The rebel crossed himself. “Why did you do it?” asked the general. “I loved her.” A sort of sigh passed through those men crowded together and they looked with strange faces at the murderer. The general stared at him for a while in silence. “It was a noble gesture,” he said at last. “I cannot execute this man. Take my car and have him led to the f rontier. Señor, I offer you the homage which is due f rom one brave man to another.” A murmur of approbation broke from those who listened. The A.D.C. tapped the rebel on the shoulder, and between the two soldiers without a word he marched to the waiting car.’ My f riend stopped and for a time I was silent. I must explain that he was a Guatemallecan and spoke to me in Spanish. I have translated what he told me as well as I could, but I have made no attempts to tone down his rather high-flown language. To tell the truth I think it suits the story. ‘But how did he get the scar?’ I asked at length. ‘Oh, that was due to a bottle that burst when he was opening it. A bottle of ginger ale.’ ‘I never liked it,’ said I