第一篇：(英語(yǔ)畢業(yè)論文)《雙城記》中的罪惡主題分析

英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

最新英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，都是近期寫(xiě)作

淺析嘉莉妹妹成功的原因

論《野性的呼喚》中對(duì)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(xiàn)給艾米麗的玫瑰》中艾米麗的命運(yùn)分析 約翰.斯坦貝克女性觀流變初探 如何提高小學(xué)生對(duì)英語(yǔ)學(xué)習(xí)的興趣 McDonald’s Success

交際教學(xué)法在當(dāng)前高中外語(yǔ)教學(xué)過(guò)程中的實(shí)效性 Puritanism in The Scarlet Letter 非英語(yǔ)專(zhuān)業(yè)大學(xué)生英語(yǔ)學(xué)習(xí)動(dòng)機(jī)調(diào)查 從文化內(nèi)涵的角度看漢語(yǔ)動(dòng)物習(xí)語(yǔ)的英譯

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

從關(guān)聯(lián)翻譯理論看《圣經(jīng)》漢譯過(guò)程中的關(guān)聯(lián)缺失 維多利亞時(shí)期的藝術(shù)對(duì)文學(xué)的影響——以白衣女人為例 《呼嘯山莊》的哥特式傳統(tǒng)

美國(guó)戰(zhàn)爭(zhēng)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(guó)人的婚姻觀

女性意識(shí)的覺(jué)醒——評(píng)《雨中的貓》中的人物對(duì)比描寫(xiě) 從功能對(duì)等理論看漢語(yǔ)文化負(fù)載詞的英譯

The Similarities and the Differences between Gu Hongming and Lin Yutang 中國(guó)英語(yǔ)學(xué)習(xí)者道歉言語(yǔ)行為的中介語(yǔ)石化現(xiàn)象 文化視角下的英漢習(xí)語(yǔ)對(duì)譯 分析《霧都孤兒》中的諷刺手法

從接受美學(xué)角度看中英旅游文本的翻譯 從《紅樓夢(mèng)》和《簡(jiǎn)愛(ài)》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(duì)英語(yǔ)習(xí)語(yǔ)的影響

The Revival of Benevolence Through Pip's Eyes in Great Expectations 評(píng)析艾米莉狄更生及其詩(shī)歌

論小學(xué)英語(yǔ)教學(xué)中的詞匯教學(xué)策略

中西方文化差異在初中英語(yǔ)詞匯教學(xué)中的體現(xiàn) 流行語(yǔ)的翻譯

中西方飲食文化對(duì)比

文化差異對(duì)中美商務(wù)談判的影響

從《卡斯特橋市長(zhǎng)》看哈代作品中的宿命論色彩 言語(yǔ)幽默的功能對(duì)等翻譯

功能對(duì)等視角下記者招待會(huì)古詩(shī)詞翻譯策略研究 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

中英姓名文化內(nèi)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(ài)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(duì)其小說(shuō)創(chuàng)作的影響 50 淺析《還鄉(xiāng)》中愛(ài)格敦荒原的象征意義

An Application of Schema Theory in Interpreting 52 商務(wù)英語(yǔ)合同的翻譯特點(diǎn)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(xiě)作手法

A Study of Stylistic Features and Translation of Journalistic English 56 論雙性同體理論下的《達(dá)洛衛(wèi)夫人》 57 解析名詞化與商務(wù)語(yǔ)篇的漢英翻譯 58 交際法在中學(xué)英語(yǔ)教學(xué)中的運(yùn)用 59 試析《傲慢與偏見(jiàn)》中的書(shū)信 60 《玻璃動(dòng)物園》中的逃避主義解讀 61 從關(guān)聯(lián)理論看商務(wù)信函的禮貌策略

英漢基本色彩詞的種類(lèi)、特點(diǎn)與其文化映現(xiàn)對(duì)比 63 論《白象似的群山》中海明威獨(dú)特的寫(xiě)作風(fēng)格 64 解析凱瑟琳的愛(ài)情與婚姻之分離 65 科技英語(yǔ)中被動(dòng)句的語(yǔ)篇功能探析

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

教師身勢(shì)語(yǔ)在英語(yǔ)口語(yǔ)教學(xué)中的應(yīng)用

從《遠(yuǎn)離塵囂》看托馬斯哈代的生態(tài)自然觀 70 英語(yǔ)專(zhuān)業(yè)學(xué)生詞匯附帶習(xí)得 71 凝視與對(duì)抗：《屋頂麗人》中的兩性戰(zhàn)爭(zhēng)

從目的論角度看英語(yǔ)電影片名翻譯——以基本顏色詞為例 73 《無(wú)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(yǔ)新聞中批評(píng)性語(yǔ)篇的對(duì)比分析

淺談?dòng)h諺語(yǔ)的翻譯——從跨文化角度出發(fā) 77 論小說(shuō)《看不見(jiàn)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(xí)俗為視角 80 淺談一些英美文學(xué)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(duì)比 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)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(yǔ)篇英譯漢中的應(yīng)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(duì)話(huà)對(duì)比分析看人物形象塑造的差異 91 中介語(yǔ)對(duì)二語(yǔ)習(xí)得的影響探究

An Analysis of Gothic Features in Poe’s The Cask of Amontillado 93 高中英語(yǔ)新課標(biāo)在xx中實(shí)施情況調(diào)查與分析 94 論《傲慢與偏見(jiàn)》中簡(jiǎn)奧斯丁的女性意識(shí) 95 學(xué)習(xí)策略與聽(tīng)力理解

探尋《呼嘯山莊》的道德意義

形成性評(píng)價(jià)在培養(yǎng)學(xué)生英語(yǔ)學(xué)習(xí)自主性中的作用 98 論小說(shuō)與電影《最后的大亨》的敘事特征 99 英語(yǔ)廣告的批評(píng)性話(huà)語(yǔ)分析

論《太陽(yáng)照常升起》中“迷惘一代”的反叛與抗?fàn)?101 掙扎與妥協(xié)——淺析達(dá)洛維夫人的內(nèi)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(shī)歌中的死亡意象 104 美國(guó)影視劇中的俚語(yǔ)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(xiǎn)記》的藝術(shù)魅力 108 《追風(fēng)箏的人》中阿米爾的性格分析

通過(guò)對(duì)比研究看電影《小紅帽》對(duì)經(jīng)典童話(huà)小紅帽的顛覆 110 英語(yǔ)詞匯學(xué)習(xí)存在的問(wèn)題及對(duì)策研究 111 《喜福會(huì)》體現(xiàn)的中美家庭觀念沖突解析 112 論網(wǎng)絡(luò)英語(yǔ)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(guó)電影文學(xué)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(yùn)用與藝術(shù)效果 117 企業(yè)行為管理的共同價(jià)值觀淺析

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

《哈姆雷特》中不言而喻的隱喻魅力(開(kāi)題報(bào)告+論文+文獻(xiàn)綜述)122 從語(yǔ)用學(xué)角度看廣告英語(yǔ)中的模糊表達(dá) 123 語(yǔ)法翻譯法視角下的中學(xué)生英語(yǔ)家教輔導(dǎo) 124 清明節(jié)與萬(wàn)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(mèng)》中的懸念寫(xiě)作手法 127 英語(yǔ)中常用修辭格

論《白鯨》主角的悲劇實(shí)質(zhì) 129 中美幽默的比較 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

從象征主義手法的運(yùn)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(niǎo)》和《金鎖記》小說(shuō)中女性婚姻愛(ài)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(zhuǎn)變

修辭在政治演講中的作用－－以?shī)W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(duì)《哈克貝利費(fèi)恩歷險(xiǎn)記》中吉姆的分析 143 《智血》中主要人物生命歷程解讀（開(kāi)題報(bào)告+論）144 論《推銷(xiāo)員之死》基于傳統(tǒng)希臘悲劇的發(fā)展

對(duì)比評(píng)析《了不起的蓋茨比》中尼克和蓋茨比的夢(mèng)想 146 從合作原則看《傲慢與偏見(jiàn)》中的會(huì)話(huà)含義 147 凱特.肖邦《覺(jué)醒》中女主人公女性意識(shí)的覺(jué)醒 148 試論提高初中英語(yǔ)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(jià)值觀差異 152 從《遠(yuǎn)大前程》看狄更斯的家庭理想

153 高中英語(yǔ)新課標(biāo)在xx中實(shí)施情況調(diào)查與分析 154 《人鼠之間》中兩主人公喬治和雷尼的對(duì)比分析 155 對(duì)羅伯特.弗羅斯特自然詩(shī)的嘗試性研究 156 從跨文化角度看導(dǎo)游詞翻譯的詞匯空缺現(xiàn)象 157 海明威文學(xué)作品中青年和老年人物關(guān)系對(duì)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(nèi)涵對(duì)比研究 161 從關(guān)聯(lián)理論看中國(guó)電影名稱(chēng)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(diǎn)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(guó)夢(mèng) 165 嘉莉悲劇的原因探析 166 商務(wù)英語(yǔ)談判的語(yǔ)言技巧

167 以《老友記》為例淺析美式幽默 168 人性，社會(huì)結(jié)構(gòu)與格列佛游記 169 高中英語(yǔ)詞匯教學(xué)策略

170 解析斯嘉麗的性格及其對(duì)現(xiàn)代社會(huì)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(jiàn)的人》中的第一人稱(chēng)敘述策略 173 徒勞的追求——對(duì)《寵兒》中黑爾的悲劇分析 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)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(duì)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(dòng)人詩(shī)篇——《馬語(yǔ)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(ài)觀 180 外貿(mào)英文函電中委婉語(yǔ)的特點(diǎn)及應(yīng)用研究 181 廣告英語(yǔ)的語(yǔ)言特色

182 Cultural Differences in Sino-US Business Negotiation 183 淺析奧斯卡王爾德童話(huà)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(huà)語(yǔ)

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(shuō)《店員》中的“猶太性” 190 關(guān)于中美大學(xué)生消費(fèi)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(mèng)》英譯中雙關(guān)語(yǔ)文化成分的翻譯策略研究 193 論蘋(píng)果手機(jī)在中國(guó)的市場(chǎng)戰(zhàn)略 194 從女性主義解讀《威尼斯商人》 195 淺談漢英時(shí)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(xué)角度分析英文電影《阿凡達(dá)》的漢語(yǔ)翻譯 198 刪譯在中英詩(shī)歌翻譯中的應(yīng)用 199 愛(ài)倫坡《泄密的心》的恐怖效果

200 非英語(yǔ)專(zhuān)業(yè)學(xué)生學(xué)習(xí)英語(yǔ)的動(dòng)機(jī)和策略調(diào)查

第二篇：《雙城記》英語(yǔ)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(yǔ)讀后感

雙城記英語(yǔ)讀后感-雙城記讀后感-英語(yǔ)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(yǔ)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(huì)“發(fā)病”

——簡(jiǎn)評(píng)《雙城記》里馬內(nèi)特醫(yī)生的“病態(tài)”形象

【摘要】《雙城記》里馬內(nèi)特醫(yī)生是一個(gè)正直善良的人，在巴士底獄的經(jīng)歷使他神經(jīng)錯(cuò)亂，在與女兒相認(rèn)后還發(fā)作了兩次；馬內(nèi)特醫(yī)生的這一“發(fā)病”的細(xì)節(jié)是作者狄更斯有意安排而不是純粹的精神??；作者借此批判封建貴族，表達(dá)自己家庭幸福、家庭至上的思想，并一如既往地對(duì)人性進(jìn)行探討。

【關(guān)鍵詞】雙城記

馬內(nèi)特醫(yī)生

病態(tài)形象

“狄更斯是一位塑造怪人的巨匠。”①?gòu)淖钤绲某擅鳌镀タ送送鈧鳌防锏钠タ送说胶笃凇哆h(yuǎn)大前程》里的斯巴塞太太，狄更斯描繪了一個(gè)龐大的“怪人”家族。這些“怪人”可分為多類(lèi)，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(zhǎng)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(dòng)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(nèi)特家的仆人普洛斯小姐，她粗魯無(wú)知而又瞧不起人。在她看來(lái)無(wú)人配得起美麗高貴的馬內(nèi)特小姐，除了她的弟弟所羅門(mén)。但實(shí)際上所羅門(mén)卻是一個(gè)逃亡到法國(guó)、為法國(guó)革命派獲取情報(bào)的街頭小混混。其次是無(wú)私的西德尼·卡頓，他滿(mǎn)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(guò)。他率性任為，但卻可以為了愛(ài)情放棄一切，包括自己的生命。

值得一提的是馬內(nèi)特醫(yī)生。他善良、正直、富于正義感。年輕時(shí)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(qiáng)大勢(shì)力勇于寫(xiě)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(lái)倒去的動(dòng)作”②來(lái)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(guó)文學(xué)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(xué)出版社，1993.10 他做鞋時(shí)坐的板凳和那雙永遠(yuǎn)做不完的女式鞋子，并在之后的多個(gè)場(chǎng)合癡癡地重復(fù)做鞋，仿佛回到了在巴士底獄的日子。小說(shuō)就描繪了這樣一個(gè)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(zhì)的，是經(jīng)受多年壓抑而生成的精神病。但對(duì)于注重細(xì)節(jié)和象征意義的狄更斯來(lái)說(shuō)，這又絕對(duì)不僅僅是一種精神病，與“板凳”、“做鞋”結(jié)合在一起的“病態(tài)”形象含義是深刻的。

醫(yī)生在小說(shuō)當(dāng)中“發(fā)病”共出現(xiàn)了三次：在醫(yī)生未與女兒相認(rèn)前，他一直處于迷糊非理智的狀態(tài)，這可歸為一；二是馬內(nèi)特小姐蜜月離開(kāi)期間的九天；三是達(dá)奈離開(kāi)英國(guó)后第二次被捕，醫(yī)生求救無(wú)門(mén)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(nèi)特小姐“有幾次她的魔力也失效”，③來(lái)到法國(guó)前，醫(yī)生一直把板凳和鞋這些會(huì)勾起痛苦回憶的東西放在身邊，“有時(shí)，他在夜深人靜時(shí)起床，我們?cè)跇巧下?tīng)到他在臥室里走來(lái)走去，走來(lái)走去。”④

趙炎秋先生在《多元整一：狄更斯長(zhǎng)篇小說(shuō)的結(jié)構(gòu)特點(diǎn)》⑤一文中提到：“狄更斯長(zhǎng)篇小說(shuō)結(jié)構(gòu)的典型模式是多元整一?！痹凇峨p城記》里有五個(gè)整齊的結(jié)構(gòu)單元，馬內(nèi)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(gè)結(jié)構(gòu)單元，而醫(yī)生的“病態(tài)”形象又始終伴隨著馬內(nèi)特醫(yī)生。為什么作者要把讓人愛(ài)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(jiǎn)單的“精神病”來(lái)解釋?zhuān)羌耐兄髡呱羁痰乃枷氲摹?/p>

一、對(duì)驕奢跋扈的封建貴族的批判。

馬內(nèi)特醫(yī)生在巴士底獄備受折磨，此時(shí)他的心中充滿(mǎn)了恨意。這既有對(duì)厄弗里蒙地侯爵扭曲人性的恨，又有自己不能保護(hù)懷孕的妻子的恨。有一段時(shí)期他想妻子肚子里未出生的孩子“是不是個(gè)兒子，有一天能為他的父親報(bào)仇”⑥，他在信里悲憤地寫(xiě)道：“我相信那血紅的十字會(huì)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(duì)妻子和未出生的孩子的愛(ài)戀、仇恨——不同的情感在馬內(nèi)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(xué)出版社，1993.10，78頁(yè) 狄更斯（英）：《雙城記》.石永禮，趙文娟譯.—北京：人民文學(xué)出版社，1993.10，98頁(yè) ⑤ 趙炎秋：狄更斯長(zhǎng)篇小說(shuō)研究，社會(huì)科學(xué)文獻(xiàn)出版社，1996.2,289頁(yè) ⑥狄更斯（英）：《雙城記》.石永禮，趙文娟譯.—北京：人民文學(xué)出版社，1993.10，192頁(yè) ⑦狄更斯（英）：《雙城記》.石永禮，趙文娟譯.—北京：人民文學(xué)出版社，1993.10，341頁(yè) 的心底交錯(cuò)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(duì)妻子的思念，同時(shí)作者更是以這種扭曲的變態(tài)行為引起人們對(duì)善良品性的同情和熱愛(ài)，進(jìn)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(yùn)，美與丑形成二元對(duì)立，更具批判意義。

二、家庭和愛(ài)的力量。

狄更斯的家庭生活并不十分幸福，他的父親揮霍無(wú)度，母親也不善管理家務(wù)，因此整個(gè)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(dāng)童工，嘗盡屈辱和酸辛。結(jié)婚的妻子與狄更斯性格思想不和，這對(duì)狄更斯來(lái)說(shuō)又是一個(gè)打擊。在現(xiàn)實(shí)生活得不到家庭的溫暖和穩(wěn)定，作者便在作品中表達(dá)自己對(duì)幸福家庭的追求與渴望。

馬內(nèi)特醫(yī)生在女兒到來(lái)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(fù)做的不是男鞋，不是兒童鞋，而是女鞋，這表現(xiàn)馬內(nèi)特醫(yī)生對(duì)妻子的思念，于此醫(yī)生的“病態(tài)”可看成是美好愛(ài)情的寄托，同時(shí)也是作者對(duì)純真幸福愛(ài)情的向往。狄更斯思想的核心是資產(chǎn)階級(jí)人道主義，他認(rèn)為決定人的價(jià)值的是心靈的善惡。如《雙城記》的卡頓，他為了自己所愛(ài)的人馬內(nèi)特小姐的愛(ài)人查爾斯·達(dá)奈，犧牲了自己的生命，被作者奉為獻(xiàn)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(ài)在狄更斯的小說(shuō)當(dāng)中是富有力量的。女兒（家庭的愛(ài)的化身）的到來(lái)使他慢慢地恢復(fù)理智并幸福地生活在一起，這也是家庭的愛(ài)的體現(xiàn)之一。其次，當(dāng)知道自己的女婿達(dá)奈的真實(shí)身份后，醫(yī)生對(duì)女兒的愛(ài)與對(duì)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(fù)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(ài)與恨的斗爭(zhēng)過(guò)程，最后的結(jié)果是女兒和家庭的愛(ài)占了上風(fēng)，醫(yī)生在女兒蜜月度假歸來(lái)時(shí)內(nèi)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(fù)發(fā)”也可體現(xiàn)這一點(diǎn)，醫(yī)生因無(wú)力幫助到女兒而差點(diǎn)下跪，大聲疾呼：“別折磨一個(gè)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?cè)趺崔k呢？”⑧女兒心愛(ài)的丈夫達(dá)奈將永遠(yuǎn)地死去，那就意味著一個(gè)幸福家庭的瓦解、愛(ài)的破滅。醫(yī)生意識(shí)到這一點(diǎn)，做 ⑧狄更斯（英）：《雙城記》.石永禮，趙文娟譯.—北京：人民文學(xué)出版社，1993.10，352頁(yè) 鞋的“病態(tài)”再一次成了幸福家庭的象征，馬內(nèi)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(lái)，馬內(nèi)特醫(yī)生的“病態(tài)”形象象征著作者對(duì)家庭的愛(ài)的追求，體現(xiàn)了狄更斯的思想核心。

三、對(duì)人性的關(guān)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(shù)——熱愛(ài)人類(lèi)的藝術(shù)”。⑨人是狄更斯一直關(guān)注的中心，也是其小說(shuō)的中心。即便從馬內(nèi)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(wú)能為感。

這主要是由人和自己的創(chuàng)造物之間關(guān)系的異化造成的。仁慈、正直是人類(lèi)的美好品性，我們贊美它、稱(chēng)頌它，但馬內(nèi)特醫(yī)生就是因?yàn)槲淬娜蚀群驼钡奶煨园炎约核瓦M(jìn)了巴士底獄。醫(yī)生在巴士底獄寫(xiě)下控訴厄弗里蒙地家族的血淚書(shū)，最終這封信卻成了毀滅家庭幸福的有力工具。

在強(qiáng)大的體制和封建勢(shì)力面前，個(gè)人仿佛是蛛網(wǎng)中的小蟲(chóng)，越是掙扎，越是欲罷不能。馬內(nèi)特醫(yī)生在女兒結(jié)婚時(shí)“發(fā)病”，在得不到革命派的承認(rèn)而無(wú)力救達(dá)奈時(shí)“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(guān)系為什么會(huì)如此的錯(cuò)亂，唯有做鞋是明確的，有規(guī)律的重復(fù)能緩解由錯(cuò)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(dòng)物。馬內(nèi)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(nèi)特醫(yī)生說(shuō)他害怕看到陽(yáng)光，熱烈的太陽(yáng)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(fù)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(wú)意識(shí)宣泄。

人性是超越時(shí)空的，在1940年的中國(guó)，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(jī)，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(méi)見(jiàn)到姑娘前，他的人生是不完整的，他的欲望也得不到滿(mǎn)足，馮二成子選擇深夜打梆子正是人的欲望的宣泄。不同國(guó)度不同時(shí)代的偉大作家在揭露人性上實(shí)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(shí)，希望自己支配、控制自己。但在馬內(nèi)特醫(yī)生身上，我們看到的卻是自由意識(shí)的失落和自我力量的淹沒(méi)。黑夜是寂靜的，重復(fù)的做鞋動(dòng)作是動(dòng)態(tài)的，馬內(nèi)特醫(yī)生在絕對(duì)的動(dòng)態(tài)中才能感受到自我的存在。

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

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

中國(guó)古語(yǔ)云：“情動(dòng)于中，則形于外”，內(nèi)心世界不容易被人直接感知，但它卻可以通過(guò)人的外部世界如言論、行動(dòng)、表情等間接地反映出來(lái)。不得不說(shuō)狄更斯是善于通過(guò)外部形象展示人物的內(nèi)心世界的，從表面看我們只知道馬內(nèi)特醫(yī)生是一個(gè)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(nèi)特醫(yī)生的形象得到很大的豐富，以小見(jiàn)大，頗具玩味。

參考文獻(xiàn)：1、2、3、趙炎秋：狄更斯長(zhǎng)篇小說(shuō)研究，社會(huì)科學(xué)文獻(xiàn)出版社 鄭克魯：外國(guó)文學(xué)史，北京—高等教育出版社，2006.6 王治國(guó)：狄更斯傳略，上海文藝出版社，1991.11