论文部分内容阅读
E. M. 福斯特
Summary: First published in 1908, A Room with A View portrays the love of a British woman for an expatriate [国外旅游者] living in Italy, a country which to Forster represents the forces of true passion. Caught up in a world of social snobbery[势利], Lucy Honeychurch, finds herself constrained [被强迫] by the claustrophobic [幽闭恐怖症的] influence of her British guardians, who encourage her to take up with [与……亲密交往] a well-connected [出身名门的] boor [愚钝的人]. When she regrets that her hotel room has no view, a member of the lower class offers to trade rooms with her. Lucy becomes caught in a struggle between her own emotions and social conventions. In the end, however, Lucy takes control of her own fate and finds love with a man whose free spirit reminds her of a “room with a view”.
露西的命运在遇见乔治的那一刻就被改变了；但在她最后冲破传统束缚之前的每一分挣扎，都是痛苦的。而最痛苦，也是最能令她彻底醒过来的是乔治的父亲——艾默森先生以下这番话。
Excerpt from Chapter XIX: Lying to Mr. Emerson
节选自第19章：对艾默森先生说谎
He, lifting his eyes, said: “You are leaving him? You are leaving the man you love?”
“I—I had to.”
“Why, Miss Honeychurch, why?”
Terror came over her, and she lied again. She made the long, convincing speech that she had made to Mr. Beebe, and intended to make to the world when she announced that her engagement was no more. He heard her in silence, and then said: “My dear, I am worried about you. It seems to me” —dreamily; she was not alarmed—“that you are in a muddle.”
She shook her head.
“Take an old man’s word; there’s nothing worse than a muddle in all the world. It is easy to face Death and Fate, and the things that sound so dreadful. It is on my muddles that I look back with horror—on the things that I might have avoided. We can help one another but little. I used to think I could teach young people a whole of life, but I know better now, and all my teaching of George has come down to this: beware of muddle. Do you remember in that church, when you pretended to be annoyed with me and weren’t? Do you remember before, when you refused the room with the view? Those were muddles—little, but 1)ominous—and I am fearing that you are in one now.” She was silent. “2)Don’t trust me, Miss Honeychurch. Though life is very glorious, it is difficult.” She was still silent. “‘Life’ wrote a friend of mine, ‘is a public performance on the violin, in which you must learn the instrument as you go along.’ I think he puts it well. Man has to pick up the use of his functions as he goes along—especially the function of Love.” Then he burst out excitedly, “That’s it; that’s what I mean. You love George!” And after his long 3)preamble, the three words burst against Lucy like waves from the open sea.
“But you do,” he went on, not waiting for 4)contradiction. “You love the boy body and soul, plainly, directly, as he loves you, and no other word expresses it. You won’t marry the other man for his sake.”
“How dare you!” gasped Lucy, with the roaring of waters in her ears. “Oh, how like a man!—I mean, to suppose that a woman is always thinking about a man.”
Summary: First published in 1908, A Room with A View portrays the love of a British woman for an expatriate [国外旅游者] living in Italy, a country which to Forster represents the forces of true passion. Caught up in a world of social snobbery[势利], Lucy Honeychurch, finds herself constrained [被强迫] by the claustrophobic [幽闭恐怖症的] influence of her British guardians, who encourage her to take up with [与……亲密交往] a well-connected [出身名门的] boor [愚钝的人]. When she regrets that her hotel room has no view, a member of the lower class offers to trade rooms with her. Lucy becomes caught in a struggle between her own emotions and social conventions. In the end, however, Lucy takes control of her own fate and finds love with a man whose free spirit reminds her of a “room with a view”.
露西的命运在遇见乔治的那一刻就被改变了；但在她最后冲破传统束缚之前的每一分挣扎，都是痛苦的。而最痛苦，也是最能令她彻底醒过来的是乔治的父亲——艾默森先生以下这番话。
Excerpt from Chapter XIX: Lying to Mr. Emerson
节选自第19章：对艾默森先生说谎
He, lifting his eyes, said: “You are leaving him? You are leaving the man you love?”
“I—I had to.”
“Why, Miss Honeychurch, why?”
Terror came over her, and she lied again. She made the long, convincing speech that she had made to Mr. Beebe, and intended to make to the world when she announced that her engagement was no more. He heard her in silence, and then said: “My dear, I am worried about you. It seems to me” —dreamily; she was not alarmed—“that you are in a muddle.”
She shook her head.
“Take an old man’s word; there’s nothing worse than a muddle in all the world. It is easy to face Death and Fate, and the things that sound so dreadful. It is on my muddles that I look back with horror—on the things that I might have avoided. We can help one another but little. I used to think I could teach young people a whole of life, but I know better now, and all my teaching of George has come down to this: beware of muddle. Do you remember in that church, when you pretended to be annoyed with me and weren’t? Do you remember before, when you refused the room with the view? Those were muddles—little, but 1)ominous—and I am fearing that you are in one now.” She was silent. “2)Don’t trust me, Miss Honeychurch. Though life is very glorious, it is difficult.” She was still silent. “‘Life’ wrote a friend of mine, ‘is a public performance on the violin, in which you must learn the instrument as you go along.’ I think he puts it well. Man has to pick up the use of his functions as he goes along—especially the function of Love.” Then he burst out excitedly, “That’s it; that’s what I mean. You love George!” And after his long 3)preamble, the three words burst against Lucy like waves from the open sea.
“But you do,” he went on, not waiting for 4)contradiction. “You love the boy body and soul, plainly, directly, as he loves you, and no other word expresses it. You won’t marry the other man for his sake.”
“How dare you!” gasped Lucy, with the roaring of waters in her ears. “Oh, how like a man!—I mean, to suppose that a woman is always thinking about a man.”