A Rose For Emily(中英对照版)Word文档下载推荐.docx

1、二,未婚夫荷默伯隆的背叛-贵族虚荣的彻底叛碎,进而试图论证爱米丽的去世是倒下的南方贵族纪念碑这一深远主题意义.作品同时隐含着对人类自身悲剧的深入思考和揭露,以及对人类未来的震憾和启发.When Miss Emily Grierson died, our whole town went to her funeral: the men through a sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house, which

2、 no one save an old manservant-a combined gardener and cook-had seen in at least ten years.It was a big, squarish frame house that had once been white, decorated with cupolas and spires and scrolled balconies in the heavily lightsome style of the seventies, set on what had once been our most select

3、street. But arages and cotton gins had encroached and obliterated even the august names of that neighborhood; only Miss Emilys house was left, lifting its stubborn and coquettish decay above the cotton wagons and the gasoline pumps-an eyesore among eyesores. And now Miss Emily had gone to join the r

4、epresentatives of those august names where they lay in the cedarbemused cemetery among the ranked and anonymous graves of Union and Confederate soldiers who fell at the battle of Jefferson.爱米丽格里尔生小姐过世了，全镇的人都去送丧：男子们是出于敬慕之情，因为一个纪念碑倒下了：妇女们呢，则大多数出于好奇心，想看看她屋子的内部。除了一个花匠兼厨师的老仆人之外，至少已有十年光景谁也没进去看看这幢房子了。那是一幢过

5、去漆成白色的四方形大木屋，坐落在当年一条最考究的街道上，还装点着有十九世纪七十年代风味的圆形屋顶、尖塔和涡形花纹的阳台，带有浓厚的轻盈气息。可是汽车间和轧棉机之类的东西侵犯了这一带庄严的名字，把它们涂抹得一干二净。只有爱 米丽小姐的屋子岿然独存，四周簇拥着棉花车和汽油泵。房子虽已破败，却还是执拗不驯， 装模作样，真是丑中之丑。现在爱米丽小姐已经加入了那些名字庄严的代表人物的行列， 他们沉睡在雪松环绕的墓园之中，那里尽是一排排在南北战争时期杰斐逊战役中阵亡的南 方和北方的无名军人墓。Alive, Miss Emily had been a tradition, a duty, and a car

6、e; a sort of hereditary obligation upon the town, dating from that day in 1894 when Colonel Sartoris, the mayor-he who fathered the edict that no Negro woman should appear on the streets without an apron- remitted her taxes, the dispensation dating from the death of her father on into perpetuity. No

7、t that Miss Emily would have accepted charity. Colonel Sartoris invented an involved tale to the effect that Miss Emilys father had loaned money to the town, which the town, as a matter of business, preferred this way of repaying. Only a man of Colonel Sartoris generation and thought could have inve

8、nted it, and only a woman could have believed it.When the next generation, with its more modem ideas, became mayors and aldermen, this arrangement created some little dissatisfaction. On the first of the year they mailed her a tax notice. February came, and here was no reply. They wrote her a formal

9、 letter, asking her to call at the sheriff s office at her convenience. A week later the mayor wrote her himself, offering to call or to send his car for her, and received in reply a note on paper of an archaic shape, in a thin, flowing calligraphy in faded ink, to the effect that she no longer went

10、 out at all.The tax notice was also enclosed, without comment.They called a special meeting of the Board of Aldermen. A deputation waited upon her, knocked at the door through which no visitor had passed since she ceased giving china- painting lessons eight or ten years earlier. They were admitted b

11、y the old Negro into a dim hall from which a staircase mounted into still more shadow. It smelled of dust and disuse-a close, dank smell. The Negro led them into the parlor. It was furnished in heavy, leather-covered furniture. Then the Negro opened the blinds of one window, they could see that the

12、leather was cracked; and when they sat down, a faint dust rose sluggisl7dv about their thighs, spinning with slow motes in the single sunray. On a tarnished gilt easel before the fireplace stood a crayon portrait of Miss Emilys father.爱米丽小姐在世时，始终是一个传统的化身，是义务的象征，也是人们关注的对象。打一八九四年某日镇长沙多里斯上校也就是他下了一道黑人妇女

13、不系围裙不得上街的命令豁免了她一切应纳的税款起，期限从她父亲去世之日开始，一直到她去世为止， 这是全镇沿袭下来对她的一种义务。这也并非说爱米丽甘愿接受施舍，原来是沙多里斯上校编造了一大套无中生有的话，说是爱米丽的父亲曾经贷款给镇政府，因此，镇政府作为一种交易，宁愿以这种方式偿还。这一套话，只有沙多里斯一代的人以及像沙多里斯一样头脑的人才能编得出来，也只有妇道人家才会相信。等到思想更为开明的第二代人当了镇长和参议员时，这项安排引起了一些小小的不满。那年元旦，他们便给她寄去了一张纳税通知单。二月份到了，还是杳无音信。他们发去一 封公函，要她便中到司法长官办公处去一趟。一周之后，镇长亲自写信给爱米丽

14、，表示愿 意登门访问，或派车迎接她，而所得回信却是一张便条，写在古色古香的信笺上，书法流 利，字迹细小，但墨水已不鲜艳，信的大意是说她已根本不外出。纳税通知附还，没有表 示意见。参议员们开了个特别会议，派出一个代表团对她进行了访问。他们敲敲门，自从八年或者十年前她停止开授瓷器彩绘课以来，谁也没有从这大门出入过。那个上了年纪的黑人男仆把他们接待进阴暗的门厅，从那里再由楼梯上去，光线就更暗了。一股尘封的气味扑 鼻而来，空气阴湿而又不透气，这屋子长久没有人住了。黑人领他们到客厅里，里面摆设 的笨重家具全都包着皮套子。黑人打开了一扇百叶窗，这时，便更可看出皮套子已经坼裂； 等他们坐了下来，大腿两边就有

15、一阵灰尘冉冉上升，尘粒在那一缕阳光中缓缓旋转。壁炉 前已经失去金色光泽的画架上面放着爱米丽父亲的炭笔画像。They rose when she entered-a small, fat woman in black, with a thin gold chain descending to her waist and vanishing into her belt, leaning on an ebony cane with a tarnished gold head. Her skeleton was small and spare; perhaps that was why what wo

16、uld have been merely plumpness in another was obesity in her. She looked bloated, like a body long submerged in motionless water, and of that pallid hue. Her eyes, lost in the fatty ridges of her face, looked like two small pieces of coal pressed into a lump of dough as they moved from one face to another while the visitors stated