复旦大学外国语言文学学院 2010~2011学年第一学期期末考试试卷 (附参考答案) A卷口B卷 课程名称:英美短篇小说课程代码:FORE130205.01 开课院系:外文学院英文系考试形式:开卷/闭卷/课程论文/ 姓名 学号 专业 题号1 3 6 8|总分 得分 (以下为试卷正文) . Paraphrase the underlined parts in the following sentences. 30% 1. " Whoever will break it to the poor child? I couldn't for the life of me! exclaimed a shrill voice And while they debated the matter among themselves, Conradin made himself another piece of toast. ( from "Sredni Vashtar"by Saki) Who can inform the child of the terrible news? It is impossible for me to tell him! 2. He did not fancy the notion of going back to domestic service; after being his own master for so many years, for the vicar and churchwardens could say what they liked, it was he that had run St Peters ( from"The Verger"by W. Somerset Maugham) He was reluctant to leave his current office for the daily routine of family life 3.. and all the long afternoon I bore her in my arms, miles upon miles, and it never occurred to bundle around half a day without some sense of fatigue or need of rest. There are many dream-worlds, but none is so rightly and reasonably and pleasantly arranged as that one.(from My Platonic Sweetheart "by Mark Twain) Everything felt so natural for both of us, and even though I walked for half a day carrying her on
1 复旦大学外国语言文学学院 2010～2011 学年第一学期期末考试试卷 （附参考答案） ■A 卷 □B 卷 课程名称：_英美短篇小说___ 课程代码： FORE130205.01 开课院系：_外文学院英文系___ 考试形式：开卷/闭卷/课程论文/ 姓 名： 学 号： 专 业： 题 号 1 2 3 4 5 6 7 8 总 分 得 分 (以下为试卷正文) I. Paraphrase the underlined parts in the following sentences. 30% 1. “Whoever will break it to the poor child? I couldn’t for the life of me!” exclaimed a shrill voice. And while they debated the matter among themselves, Conradin made himself another piece of toast. (from “Sredni Vashtar” by Saki) Who can inform the child of the terrible news? It is impossible for me to tell him! 2. He did not fancy the notion of going back to domestic service; after being his own master for so many years, for the vicar and churchwardens could say what they liked, it was he that had run St. Peter’s. (from “The Verger” by W. Somerset Maugham) He was reluctant to leave his current office for the daily routine of family life. 3. …and all the long afternoon I bore her in my arms, miles upon miles, and it never occurred to either of us that there was anything remarkable in a youth like me being able to carry that sweet bundle around half a day without some sense of fatigue or need of rest. There are many dream-worlds, but none is so rightly and reasonably and pleasantly arranged as that one. (from “My Platonic Sweetheart” by Mark Twain) Everything felt so natural for both of us, and even though I walked for half a day carrying her on
my back, I did not feel tired at all because of the sweetness of being with her 4. Her skeleton was small and spare, perhaps that was why what would lumpness in another was obesity in her. (from"A Rose for Emily by William Faulkner Maybe that explained why she loo ked obese while in the case of another; the person would simply lump in the eight 5. As soon as you could get out of bed your mother rushed you off to Florence and married you People were rather surprised-they wondered at its being done so quickly; but I thought I knew. I le to say you'd ead of Delphin and me(from Roman Fever"by Edith Wharton) I guessed that you did it because you had a spite against me and wanted to get married before Delphin and me Il. Briefly define three of the following terms. 30% 1. magic realism a kind of modern fiction in which fabulous and fantastical events are included in a narrative that otherwise maintains the 'reliable tone of objective realistic report The term was once applied to a trend in German fiction of the early 1950s, but is now associated chiefly with certain leading novelists of Central and South America, notably Miguel Angel Asturias, Alejo Carpentier, and Gabriel Garcia Marquez. The term has also been extended to works from very different cultures, designating a tendency of the modern novel to reach beyond the confines of realism and draw upon the energies of fable, folktale and myth while retaining a strong contemporary social vance of view The position or vantage-point from which the events of a story seem to be observed and presented to us. The chief distinction usually made between points of view is that between third-person narratives and first-person narratives. A third-person narrator may be omniscient, and therefore show an unrestricted knowledge of the story s events from outside or them; but another kind of third-person narrator may confine our knowledge of events to whatever is observed by a single character or small group of characters, this method being known as "limited point of view. A first-person narrators point of view will normally be restricted to his or her partial knowledge and experience, and therefore will not give us access to other characters'hidden thoughts. Many modern authors have also used multiple point of view, in which we are shown the events from the positions of two or more different characters The intense feeling that an audience goes through while waiting for the outcome of certain events. It basically leaves the reader holding their breath and wanting more information. The
2 my back, I did not feel tired at all because of the sweetness of being with her. 4. Her skeleton was small and spare; perhaps that was why what would have been merely plumpness in another was obesity in her. (from “A Rose for Emily” by William Faulkner) Maybe that explained why she looked obese while in the case of another, the person would simply appear plump in the same weight. 5. As soon as you could get out of bed your mother rushed you off to Florence and married you. People were rather surprised – they wondered at its being done so quickly; but I thought I knew. I had an idea you did it out of pique – to be able to say you’d got ahead of Delphin and me. (from “Roman Fever” by Edith Wharton) I guessed that you did it because you had a spite against me and wanted to get married before Delphin and me. II. Briefly define THREE of the following terms. 30% 1. magic realism A kind of modern fiction in which fabulous and fantastical events are included in a narrative that otherwise maintains the ‘reliable’ tone of objective realistic report. The term was once applied to a trend in German fiction of the early 1950s, but is now associated chiefly with certain leading novelists of Central and South America, notably Miguel Angel Asturias, Alejo Carpentier, and Gabriel García Márquez. The term has also been extended to works from very different cultures, designating a tendency of the modern novel to reach beyond the confines of realism and draw upon the energies of fable, folktale and myth while retaining a strong contemporary social relevance. 2. point of view The position or vantage-point from which the events of a story seem to be observed and presented to us. The chief distinction usually made between points of view is that between third-person narratives and first-person narratives. A third-person narrator may be omniscient, and therefore show an unrestricted knowledge of the story’s events from outside or ‘above’ them; but another kind of third-person narrator may confine our knowledge of events to whatever is observed by a single character or small group of characters, this method being known as ‘limited point of view’. A first-person narrator’s point of view will normally be restricted to his or her partial knowledge and experience, and therefore will not give us access to other characters’ hidden thoughts. Many modern authors have also used ‘multiple point of view’, in which we are shown the events from the positions of two or more different characters. 3. suspense The intense feeling that an audience goes through while waiting for the outcome of certain events. It basically leaves the reader holding their breath and wanting more information. The
amount of intensity in a suspenseful moment is why it is hard to put a book down Without suspense, a reader would lose interest quickly in any story because there is nothing that is making the reader ask, " What's going to happen next? "In writing, there has to be a series of events that leads to a climax that captivates the audience and makes them tense and anxious to know what is oing to 4. stream of consciousness The continuous flow of sense-perceptions, thoughts, feelings, and memories in the human mind; or a literary method of representing such a blending of mental processes in fictional characters, usually in an unpunctuated or disjointed form of interior monologue. The term is often ed as a synonym for interior monologue, but they can also be distinguished, in two ways. In the first(psychological) sense, the stream of consciousness is the subject-matter while interior monologue is the technique for presenting it. In the second (literary) sense, stream of consciousness is a special style of interior monologue: while an interior monologue always presents a characters thoughts 'directly,, without the apparent intervention of a summarizing and selecting narrator, it does not necessarily mingle them with impressions and perceptions, nor does it necessarily violate the norms of grammar, syntax, and logic; but the stream-of-consciousness technique also does one or both of these things. An important device of modernist fiction and its later imitators, the technique was pioneered by Dorothy Richardson in Pilgrimage(1915-35)and by James Joyce in Ulysses(1922), and further developed by Virginia Woolf in Mrs Dalloway(1925)and William Faulkner in The Sound and the Fury(1928) 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 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 gent 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 su it, 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 then i saw him offered a drink. He never ref used it. He threaded his way among the ta bles w ith a sort of
3 amount of intensity in a suspenseful moment is why it is hard to put a book down. Without suspense, a reader would lose interest quickly in any story because there is nothing that is making the reader ask, “What’s going to happen next?” In writing, there has to be a series of events that leads to a climax that captivates the audience and makes them tense and anxious to know what is going to happen. 4. stream of consciousness The continuous flow of sense-perceptions, thoughts, feelings, and memories in the human mind; or a literary method of representing such a blending of mental processes in fictional characters, usually in an unpunctuated or disjointed form of interior monologue. The term is often used as a synonym for interior monologue, but they can also be distinguished, in two ways. In the first (psychological) sense, the stream of consciousness is the subject-matter while interior monologue is the technique for presenting it. In the second (literary) sense, stream of consciousness is a special style of interior monologue: while an interior monologue always presents a character’s thoughts ‘directly’, without the apparent intervention of a summarizing and selecting narrator, it does not necessarily mingle them with impressions and perceptions, nor does it necessarily violate the norms of grammar, syntax, and logic; but the stream-of-consciousness technique also does one or both of these things. An important device of modernist fiction and its later imitators, the technique was pioneered by Dorothy Richardson in Pilgrimage (1915-35) and by James Joyce in Ulysses (1922), and further developed by Virginia Woolf in Mrs Dalloway (1925) and William Faulkner in The Sound and the Fury (1928). 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 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 ably 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. Gracias Hasta luego 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 ammun ition 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-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 play ing poker. They used matches for chips. He told me he'd 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 f iring party facing them there was a pause and our friend asked the officer in charge of them what the devil they were keeping him aiting for. The off icer said that the general command ing the government troops ished to attend the execution and they awaited his arrival Then I have time to smoke another cigarette said our friend. He was alway 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?
4 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. ‘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?
he is waiting at the prison doo Then it will not cause a delay of more than five minutes m placed 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, out one after the other, with movements that were almost grotesqu 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 f inished his cigarette and threw 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 regu lar 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 beautif ul, a gasp of surprise was wrung from those indif ferent soldiers who looked at her. The rebel advanced a step or two to meet her. she f lung 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 retain possession of it- and stabbed her in the neck. The blood spurted from the cut vein and dyed his shirt. Then he flung hi 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. hadnt 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 impossi ble to staunch the blood. In a moment the A D. C. who had been knee ling by her side rose Shes 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 w ith 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 rebel on the shoulder and between the two sold iers w ithout a word he marched to the waiting car
5 “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 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 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 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 w hen he was opening it. a bottle of "I never liked it said I 6
6 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
