著名短篇故事集

內(nèi)容概要

　　本書是“朗文英漢對(duì)照世界文學(xué)叢書”中的《著名短篇故事集》分冊(cè)。書中收錄了大量的偵探推理故事，并由英美國(guó)家從事英語(yǔ)教學(xué)研究的專家用2000個(gè)英語(yǔ)基本詞匯進(jìn)行簡(jiǎn)寫，并以中英文對(duì)照的形式編排。　　本書形式新穎，具有較強(qiáng)的針對(duì)性及可讀性，它可使您在閱讀這些世界文學(xué)作品的同時(shí)，提高外語(yǔ)水平和文學(xué)的鑒賞能力。

作者簡(jiǎn)介

　　H.G.威爾斯（1866--1946），英國(guó)小說(shuō)家，曾受過(guò)科學(xué)教育，早年生活艱苦，主要靠教書維持學(xué)業(yè)。著述極其豐富，代表作有科幻小說(shuō)《隱身人》，《莫洛醫(yī)生的島嶼》，短篇小說(shuō)《盲人鄉(xiāng)》，嚴(yán)肅作品《波里先生的歷史》等?！　W斯卡·王爾德（1854--1900）為劇作家、詩(shī)人、散文家，19世紀(jì)與蕭伯納齊名的英國(guó)才子。他的戲劇、詩(shī)作、小說(shuō)則留給后人許多慣用語(yǔ)。1854年出生于都柏林，在都柏林的三圣大學(xué)研讀古典文學(xué)作品，后來(lái)又前往牛津的馬達(dá)蘭大學(xué)，作品有：《格雷的畫像》，《溫夫人的扇子》、《微不足道的女人》、《理想丈夫》、《快樂王子童話集》與杰作《不可兒戲》，最后一部劇本《莎樂美》是以法文寫作。在1894年因同性戀行為而入獄，后去法國(guó)定居，還改名為西巴斯金．梅莫斯（Sebastian Melmoth）；居住法國(guó)期間，他寫出最為聞名的詩(shī)作：《里丁監(jiān)禁之歌》。1890年，王爾德死于異鄉(xiāng)法國(guó)。他在獄中寫給阿弗列特的信件于1905年出版，書名為《獄中信》。

書籍目錄

前言奇跡創(chuàng)造者（H·G·威爾斯）百萬(wàn)富翁模特（奧斯卡·王爾德）埃姆斯伍斯老爺和女朋友（P·G·沃德豪斯）洋娃娃的房子（凱瑟琳·曼斯菲爾德）通篇都是X（埃德加·愛倫·坡）蘇珊·貝爾的愛情（安東尼·特羅洛普）蒙特拉格大臣（W·薩默特塞特·毛姆）詞匯表

章節(jié)摘錄

　　一天上午，在去勞拉家所在的荷蘭公園的路上，他順道看望了一下好朋友艾倫·特雷沃爾。特雷沃爾是個(gè)畫家。是啊，現(xiàn)在人人都自稱畫家。不過(guò)，他還真算得上是藝術(shù)家，藝術(shù)家還是比較少見的吧。他這個(gè)人滿臉雀斑，留著粗硬的紅胡子，性格怪異粗魯?？墒?，一旦拿起畫筆，就成了一位大師。他的畫往往很快就會(huì)被人看中，買走。應(yīng)該承認(rèn)，當(dāng)初，休吉正是因?yàn)樗倪@種個(gè)人魅力而深受吸引?！爱嫾颐矗蛻?yīng)該結(jié)識(shí)那些長(zhǎng)得漂亮，看上去有藝術(shù)性愉悅的人，”特雷沃爾一直說(shuō)，“還有那些交談起來(lái)讓人感覺悠閑的人。世界的主宰是那些穿著體面的男人和長(zhǎng)相可愛的女人—至少，應(yīng)該是這樣的人?！彪S著他對(duì)休吉的了解不斷加深，他喜歡上了他明朗、快活的脾性，和那種慷慨大度、粗枝大葉的性格，以致于隨時(shí)歡迎休吉的來(lái)訪?！　⌒菁贿M(jìn)門，就發(fā)現(xiàn)特雷沃爾的新作已接近尾聲。那是一幅真人大小的作品，畫的是一個(gè)乞丐。乞丐本人正站在房間角落一個(gè)凸起的類似舞臺(tái)一樣的地方。那是一個(gè)干癟的滿臉皺紋的老頭兒，神情悲哀。肩上搭著一件粗劣的棕色上衣，千瘡百孔，他的那雙大靴子也是舊得補(bǔ)了又補(bǔ)。老頭兒一手拄著一根粗糙蹩腳的手杖，一手捏著一頂舊得不成樣子的帽子，向前伸著討錢?！　　昂靡粋€(gè)叫人驚嘆的模特兒??！”休吉一邊跟他的朋友握手，一邊小聲感嘆。　　“一個(gè)叫人驚嘆的模特兒！”特雷沃爾大聲地說(shuō)，“我真應(yīng)該這么想。這樣的乞丐可不是每天都碰得上的。天哪！倫勃朗會(huì)為他作幅什么樣的畫呢！”　　“可憐的老頭兒！”休吉說(shuō)，“他的臉多么愁苦！不過(guò)，我估計(jì)，對(duì)你們這些畫家來(lái)說(shuō)，這張臉很有價(jià)值！”　　One morning, as he was on his way to Holland Park, where the Mertons lived, he went in to see a great friend of his, Alan Trevor. Trevor was a painter. Indeed, few people are not nowadays. But he was also an artist, and artists are rather　rare. Personally he was a strange, rough fellow, with a spotted face and red, rough beard. However, when he took up the brush he was a real master, and his pictures were eagerly sought after. He had been very much attracted by Hughie at　　first, it must be admitted, entirely because of his personal charm. "The only people a painter should know," he used to say, "are people who are beautiful, people who are an artistic pleasure to look at, and restful to talk to. Men who are welldressed and women who are lovely rule the world - at least they should do so." However, after he got to know Hughie better, he liked him quite as much for his bright, cheerful spirits, and his generous, careless nature, and had asked him to come to see him whenever he liked.　　When Hughie came in he found Trevor putting the finishing touches to a wonderful life-size picture of a beggar-man. The beggar himself was standing on a raised part of the floor like a stage in a corner of the room. He was a dried-up old man　　with a lined face and a sad expression. Over his shoulder was thrown a rough brown coat, all torn and full of holes; his thick boots were old and mended, and with one hand he leant on a rough stick, while with the other he held out his ancient hat for money.　　"What an astonishing model!" whispered Hughie, as he shook hands with his friend.　　"An astonishing model!" shouted Trevor at the top of his voice; "I should think so! Such beggars are not met with every day. Good heavens! What a picture Rembrandt would have made of him!"　　"Poor old fellow!" said Hughie, "how miserable he looks! But I suppose, to you painters, his face is valuable."　　　　越過(guò)破籬笆，他看見這倒是一個(gè)很不錯(cuò)的小園子，需要更進(jìn)一步的觀察。他打開院門踱了進(jìn)去。正躺在水桶后面的一條狗睜開一只眼睛看著他。那是一條卷毛狗，神情冷漠而多疑，就像一個(gè)生意人正看著一個(gè)想要算計(jì)他的人一樣。　　埃姆斯伍斯老爺不去看那條狗。他走到幾株花面前，彎下腰，聞聞花?！　∧菞l狗似乎認(rèn)為這個(gè)動(dòng)作是犯罪行為。它閃電般地竄起來(lái)。剎那間，滿世界都是它的狂吠聲，而埃姆斯伍斯老爺?shù)哪X子一片空白，只想著要保住自己的兩條腿免遭傷害?！　∷恢涝趺锤吧墓反蚪坏?，除了對(duì)它說(shuō)“走開，先生”，并以和他這么老的年紀(jì)所不相稱的動(dòng)作四處蹦跳之外，他沒有采取任何自我保護(hù)措施，而這時(shí)小屋的門開了，一個(gè)姑娘走了出來(lái)?！　　班腊?！”小姑娘叫了一聲?！　×⒖蹋S著她的這聲輕喚，那條狗停止了攻擊行為，撲向小姑娘，四腳朝天仰臥在她腳邊。這情形，讓埃姆斯伍斯老爺聯(lián)想起自己在安格思·麥卡利斯特面前的表現(xiàn)?！　his, he saw, looking over its broken fence, was not at all a bad little garden. It demanded closer examination. He opened the gate and wandered in. And a dog, sleeping behind a water barrel, opened one eye and looked at him. It was one of those hairy dogs, and its look was cold and distrustful, like that of a businessman who thinks someone is going to play a trick on him.　　Lord Emsworth did not see the animal. He had wandered to some flowers and now, bending down, he smelt them.　　The dog for some reason appeared to think that this action was criminal. He was up in a flash. The next moment the world had become full of noise, and Lord Emsworths thoughts were swept away in a deep desire to save his legs from harm.　　He was not good with strange dogs. Except for saying "Go away, sir," and jumping about with an activity surprising in a man so old, he had done little to defend himself when the cottage door opened and a girl came out.　　"Hoy!" cried the girl.　　And at once, at just the sound of her voice, the dog, stopping the attack, jumped on the newcomer and lay on his back at her feet with all four legs in the air. The sight reminded Lord Emsworth of his own behaviour when in the presence of Angus McAllister.　　　　勃蘭丁斯帕瓦的小孩子們總體說(shuō)來(lái)都還是比較順從而不是很調(diào)皮的。當(dāng)然，每一個(gè)村里總會(huì)有一些搗蛋分子—在勃蘭丁斯帕瓦，人們首先想到的搗蛋分子就是威利·德雷克和托馬斯·布倫克倫—不過(guò)，絕大多數(shù)本地孩子都還能管得住。讓本次游樂會(huì)如此混亂的實(shí)在是因?yàn)槟切﹤惗睾⒆拥募尤??！　∧切﹤惗睾⒆佑兄麄兊泥l(xiāng)下表親所沒有的粗枝大葉的稟性。多年以來(lái)與他們易怒的父母的緊張關(guān)系以及因此訓(xùn)練出來(lái)的敏捷反應(yīng)使得他們?cè)缫芽朔讼忍斓莫q疑不決。造成的后果就是：一旦當(dāng)他看中什么東西，馬上就伸手去拿；當(dāng)他覺得領(lǐng)導(dǎo)階層的成員外表上有什么好笑的時(shí)候，他也會(huì)毫無(wú)顧忌地直接了當(dāng)說(shuō)出來(lái)。他們?cè)陂L(zhǎng)條餐桌上上竄下跳，大聲議論著某一個(gè)老師的門牙。埃姆斯伍斯老爺通常并不是一個(gè)思路敏捷的人，不過(guò)此刻，他似乎也已經(jīng)意識(shí)到：在這些小客人注意到他那頂大禮帽之前，還是先把它摘下來(lái)比較明智?！　〔贿^(guò)，這個(gè)動(dòng)作已經(jīng)是多余的了。就在他抬手要把帽子摘下的時(shí)候，一塊蛋糕臨空飛來(lái)，替他把帽子弄下來(lái)了。　　埃姆斯伍斯老爺實(shí)在受夠了。甚至連不通情理的康斯坦絲也不指望他在這樣的情形之下繼續(xù)微笑著留在原地了。一切的文明規(guī)矩都統(tǒng)統(tǒng)忘光了。埃姆斯伍斯老爺慢慢地踱出去，走了?！　he young people of Blandings Parva were usually more cow-like than active. In all villages, of course, there must be violent characters—in Blandings Parva the names of Willie Drake and Thomas Blenkiron come immediately into the mind —but most of the local youth could be controlled. It was the additional mixture of the young London visitors、which gave the present meeting its violent nature.　　The London child has a sort of carelessness which his country cousin lacks. Years of sharp replies to angry parents and relations have cured him of any natural hesitations. The results are that when he wants anything he takes it, and when he is amused by any small oddity in the personal appearance of members of the governing classes, he finds no difficulty in saying so openly. Already, up and down the long tables, the front teeth of one of the schoolteachers were being loudlv discussed. Lora Emswortti was not usually a man of quick thought, but it　　seemed to him at this moment that it would be wise to take off his top hat before his little guests noticed it.　　The action was not, however, necessary. As he raised his hand to take it off, a cake, flying through the air, took it off for him.　　Lord Emsworth had had enough. Even Constance, though she was unreasonable, could not expect him to stay and smile in conditions like these. All civilised laws were clearly forgotten. Lord Emsworth went slowly towards the wav out, and left　　……

媒體關(guān)注與評(píng)論

　　前言　　這部由出生在19世紀(jì)的作家所寫的短篇小說(shuō)集展現(xiàn)了現(xiàn)代短篇小說(shuō)在主題內(nèi)容及風(fēng)格形式方面的多樣性。雖然短篇小說(shuō)無(wú)法像長(zhǎng)篇小說(shuō)那樣描寫人物和社會(huì)的復(fù)雜性，但它們向我們表明了：通過(guò)對(duì)特定的經(jīng)歷或者事件的探究，短篇小說(shuō)可以喚起人們的同情和理解，讓人感到意外，同時(shí)激發(fā)人們的想象力。其中，頗具幽默感的幻想作品《奇跡創(chuàng)造者》就完全不同于那篇　　探索人類行為的《蒙特拉格大臣》；《洋娃娃的房子》中對(duì)孩提世界的細(xì)致描述也同《埃姆斯伍斯老爺和女朋友》中對(duì)埃姆斯伍斯老爺跟一個(gè)孩子的遭遇的逗人的敘述形成對(duì)比；《百萬(wàn)富翁模特》中對(duì)愛情故事的詼諧的奇聞?shì)W事似的描寫跟《蘇珊·貝爾的愛情》中的娓娓敘述也迥然不同?！　．C．威爾斯(1866--1946)學(xué)的是理工科，在他從事寫作之前曾當(dāng)過(guò)幾年理工科教師。在他寫作生涯的初始階段，他寫了諸如《隱身人》(1897)這樣的科幻小說(shuō)。隨后，他寫了幾部像《波里先生的歷史》(1910)這樣的嚴(yán)肅作品。到他寫作生涯的最后階段，他已經(jīng)成為一個(gè)著名的引起爭(zhēng)議的人物了。那時(shí)，他致力于撰寫有關(guān)現(xiàn)代社會(huì)弊病的作品，例如《人類的勞動(dòng)、財(cái)富和幸福》(1932)。　　《奇跡創(chuàng)造者》(1927)結(jié)合了作者對(duì)于時(shí)空的興趣以及對(duì)城市工人的關(guān)切。福瑟林格先生“并不是一個(gè)不同凡響的人”，起初，對(duì)他自己制造奇跡的能力的這一發(fā)現(xiàn)，他謹(jǐn)慎處之，漸漸地他越來(lái)越有自信心，直到最后，“對(duì)于自己的過(guò)人之處再無(wú)恐懼?！比欢适伦罱K還是讓福瑟林格先生重新回到無(wú)足輕重的平凡生活。福瑟林格先生這一性格是H．C．威爾斯對(duì)普通人身上的喜劇性與英雄性相結(jié)合這一信念的一種肯定。　　與此相反，《蒙特拉格大臣》的中心人物是一個(gè)有著貴族派頭的人，并且在他的政黨內(nèi)部又是最為優(yōu)秀的。在他的夢(mèng)里，他總和威爾士議員歐文·格里菲斯——“一個(gè)完全算不上是貴族的很平常的人”糾纏在一起。蒙特拉格大臣的可怕夢(mèng)境迫使他不得不找著名的心理醫(yī)生奧德林大夫?qū)で髱椭笳叩某粦B(tài)度受到了蒙特拉格大臣本身的驕傲所引發(fā)的結(jié)果的影響，故事的結(jié)局是憂郁的?！　∵@個(gè)故事足以顯示薩默塞特·毛姆作為短篇小說(shuō)家的功力。毛姆(1874—1965)生于巴黎，十歲就成了孤兒，被送往英國(guó)跟伯父生活。他在小說(shuō)《人生的枷鎖》(1915)中敘述了不幸的童年。他學(xué)醫(yī)出身，而他的第一部小說(shuō)《蘭貝斯的麗莎》(1897)就是基于他在倫敦貧民區(qū)的從醫(yī)經(jīng)歷。他最為著名的是那些短篇小說(shuō)，所有這些小說(shuō)構(gòu)思精巧，以滿足讀者想知道“最終結(jié)局究竟如何”的愿望。“我喜歡這種形式，”關(guān)于短篇小說(shuō)他這樣寫道，“跟我想象中的人物共處兩、三個(gè)星期直到寫完分手，實(shí)在是件很高興的事?！薄　『退_默塞特·毛姆不同，安東尼·特羅洛普主要是個(gè)長(zhǎng)篇小說(shuō)家，寫了五十多部長(zhǎng)篇小說(shuō)。他認(rèn)為作家應(yīng)該“使得讀者們對(duì)小說(shuō)人物非常地熟悉、了解，而他頭腦中的那些人物對(duì)于讀者來(lái)說(shuō)應(yīng)該是活生生的人?！倍凇短K珊·貝爾的愛情》中，人物才是作品的中心。情節(jié)很簡(jiǎn)單、很平淡（“我從不在情節(jié)的安排方面跟自己過(guò)不去，”特羅洛普在1883年發(fā)表的《自傳》中寫道），一個(gè)膽怯的寡婦、他聰明的女兒赫胥、單純的蘇珊及她堅(jiān)定的戀人阿倫給人們留下了深刻的印象?！　　?/pre>


編輯推薦
　　"一沙一世界，一花一天堂。"這本薄薄的集子，收錄了十九世紀(jì)諸位著名作家的短篇小說(shuō)，可謂濃縮的精華。這些精心挑出的短篇小說(shuō)雖然無(wú)法像長(zhǎng)篇小說(shuō)那樣描寫人物和社會(huì)的復(fù)雜性，但幽默與奇想并存，以諧謔逗人、激勵(lì)時(shí)尚見長(zhǎng)。本書喚起了人們的同情和理解，讓人意外的同時(shí)，激發(fā)了人的想象力。





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