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德伯家的苔丝英文赏析篇一
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Tess of the d’Urbervilles Thomas Hardy
Important Quotations Explained
1. “Don't you really know, Durbeyfield, that you are the lineal representative of the ancient and knightly family of the d'Urbervilles, who derive their descent from Sir Pagan d'Urberville, that renowned knight who came from Normandy with William the Conqueror, as appears by Battle Abbey Roll?” “Never heard it before, sir!”
In this passage, from Chapter I, the local parson informs Mr. Durbeyfield of his grand lineage, thus setting in motion the events that change the fate of Tess Durbeyfield forever. Interestingly, the parson's tone is casual, as if he is unable even to conceive of how his news might lead to tragedy later. For the parson it is genealogical trivia, but for Durbeyfield it feels like fate—the deepest truth about himself, like Oedipus's discovery of his own identity. The fact that this prophetic news is delivered on the road, in an open field, right at the beginning of the work is reminiscent of the opening of Macbeth. There, the witches address Macbeth as “Thane of Cawdor” and “King of Scotland,” just as the parson addresses Durbeyfield as “Sir John.” As in Macbeth's case, the noble address leads to disaster and death—in this case, the death of the “rightful” d'Urberville, Alec.
Hardy emphasizes the irony of Durbeyfield's situation not only by contrasting the common peddler on the road with the image of the “renowned knight” who was his forebear, but also by contrasting the modes of address of Durbeyfield and the parson. The parson has just addressed him as “Sir John,” which sets the whole conversation in motion, but we see here that the parson soon lapses back into the familiar tone more appropriate to one addressing a social inferior: “Don't you really know, Durbeyfield. . . . “ Durbeyfield does the same: despite his discovery that he is Sir John, it is he who calls the parson “sir” here. The ironies multiply, making questions of class and identity complex and unstable, as Hardy intends to depict them.
2. Clare came close, and bent over her. “Dead, dead, dead!” he murmured. After fixedly regarding her for some moments with the same gaze of
unmeasurable woe he bent lower, enclosed her in his arms, and rolled her in the sheet as in a shroud. Then lifting her from the bed with as much respect as one would show to a dead body, he carried her across the room, murmuring, “My poor poor Tess, my dearest darling Tess! So sweet, so good, so true!” The words of endearment, withheld so severely in his waking hours, were
inexpressibly sweet to her forlorn and hungry heart. If it had been to save her weary life she would not, by moving or struggling, have put an end to the position she found herself in. Thus she lay in absolute stillness, scarcely venturing to breathe, and, wondering what he was going to do with her,
suffered herself to be borne out upon the landing. “My wife—dead, dead!” he said.
In Chapter XXXVII, Angel Clare begins to sleepwalk on the third night of his estrangement from Tess, having rejected her as his wife because of her earlier disgrace. Like Lady Macbeth's sleepwalking scene, Angel's nighttime
somnambulism reveals an inner conflict within a character who earlier seems convinced of a moral idea, in control, and inflexible. For Lady Macbeth, her earlier cold protestations that killing a king is justifiable are belied by her unconscious fixation on being bloodstained. For Angel, the situation is
reversed. He consciously maintains a conviction that Tess is bad, corrupt, and cannot be forgiven, but his unconscious sleepwalking self reveals the tender love and moral respect for her (“so good, so true!”) that he feels somewhere inside him. This revelation foreshadows his final realization, too late, that his condemnation of Tess was wrongheaded. Angel's words “dead, dead, dead” hint at Tess's future death, but they also signal Angel's conception of Tess. She is alive physically, but for him she is dead morally, as dead as an idea of purity that he once revered.
Important Quotations Explained
Key Facts
Study Questions & Essay Topics
Quiz
Suggestions for Further Reading
德伯家的苔丝英文赏析篇二
《德伯家的苔丝(英文版) 英语专业电影赏析》
德伯家的苔丝英文赏析篇三
《关于_德伯家的苔丝_悲剧的分析_英文_》
德伯家的苔丝英文赏析篇四
《关于_德伯家的苔丝_悲剧的分析_英文_》
德伯家的苔丝英文赏析篇五
《《德伯家的苔丝》影评中英文版》
可怜的苔丝，为爱而生存，因爱而毁灭。
Tess很美。她的姣好与玲珑映衬在一身的洁白下。她很白，白的那么纯，不可亵渎；白的那么美，无与伦比；白得那般艳，令人惊羡。那般白，曾盛开在灿烂的日光下，奔放在原野绿丛中，舞动在庄园秋色里。那般白，曾如此的出奇夺目、娇艳动人。当火红的玫瑰戳伤了手，鲜血沾染了洁白，Tess的白，开始让人怜惜。 关于苔丝的评价已有许多，我却想说说哈代的女性主义情结，在他的笔下，苔丝的几个女性工友，她们都被哈代完全神圣化了。她们也是如此美丽，她们善良勤劳，是女性的完美形象。
令我惊诧的，还有剧中反复奏响的乐曲，那淡淡的忧伤。那乐曲多么美妙动听，让人如痴如醉，百听不厌。《德伯家的苔丝》的插曲与故事情节如此吻合，激起了我心底万般柔情。故事的情节不失浪漫，浪漫之余却散发着忧伤，弥漫着宿命。情节与画面交织的天衣无缝，影音与命运的双重奏，给纯洁的Tess蒙上了宿命的色彩。主旋律、背景音乐与掺和的曲调穿插于剧情中，诉说着淡淡的忧伤、绵绵哀怨、柔弱、孤苦与无助，预示着冥冥中的命运。
Poor Tess, she is survived because of love, and is also destroyed because of love.
Tess is a very beautiful girl . Her beauty and elegance is prominented under her white appearencce and clear soul. Yes ! I want to say that she is so white and pure, and this white can not be profaned by dirt; she is very
white, brilliant and amazing, and this white can change this world into happiness; she is pretty white, delicate and charming , and this white can even make flowers feel shy !
Of course ,there are already many evaluations of Tess , so I just want to talk about the writer's feminism. Under his pen, Tess's female workers, are also very kind and warmhearted . They have the heart of sympathy to Tess , and do what they can to help Tess. They completely became holy and perfect under the writer's description. I think they are not only pretty beautiful, but also the model of feminism.
To my surprise, I really like the repeated played music in this film. The music is so wonderful, and can let us feel a deep touch of sadness. Although the plots of the story is romantic, I still smell the sorrow, which controlled by fate. The plots and the pictures were seamlessly matched up , the audio and video with the fate of the duet, also painted Tess a fatalistic color. Generally speaking , the main melody, the background music and the blending melody are interspersed in this story, and run with a touch of sadness,loneliness, continuous weak and helplessness, indicates that the dark fate.
德伯家的苔丝英文赏析篇六
《德伯家的苔丝英文》
XX学院
英国文学史及选读课程论文
论文题目 To what extent is Tess a victim? 姓 名 XX 学 号 XX
专 业 XX 年 级 XX
院 、 系 XX 年 月 日 XX
课程论文评价标准
To what extent is Tess a victim?
Abstract:In the novel,Tess is a pure woman,there is no shortage on her character that can make herself a victim.She was seduced when she was innocent.As a victim,what is waiting for her is not the sympasy or mercy,but be cast aside by the people,soTess began to fight for her fate. She tried her best to leave aside those bad memories,and pursue her own happiness.But all the things seemed to against her wish,when Alec did whatever he like,Tess was the only one who bear all the burden,all the injustice.Finally,Tess killed Alex in desperate and sacrificed her own life for that.
Key Words:victim,family,marrage,society.
ⅠA victim of her family.
We all know that the poor family was the direct reason that make her a victim. 1. “Yes, that's the d'Urberville nose and chin - a little debased. Your ancestor was one of the twelve knights who assisted the Lord of Estremavilla in Normandy in his conquest of Glamorganshire. Branches of your family held manors over all this part of England; their names appear in the Pipe Rolls in the time of King Stephen.”This is what the parson said to Tess’s father, a peddler,lasy ,follish and vain.When he heard the news about his nobel family history,he drunk and couldn’t work,Tess had to deliver the beehive at night.During this jurney,Tess slept on the way,and her horse collided with a post horse,and this made her horse died.Tess was the only one who exactly know what is the meaning of loosing a horse, she was regret and decided to go to work for their rich relatives to save her family.
2.When Angel left for Brazil,Tess had to go back to her own family to support her family members.Because of the poverty,she suffered a lot during her work and what’s more,Alec came to find her and she had to obey him.
3.The parents were also the reason that made Tess a victim.First,Tess’s father drunk after the “good news” made Tess went to deliver the beehive,and lost the lorse.Tess’s mother often putting pressure on Tess,and demanded her to find their relatives，and to marry a rich man there,hoping this can change their life conditions.She was a mother who didn’t care much about her daughter,who complained a lot in her life.
Ⅱ A victim of her marrage.
When comes to Tess’s marrage,the two men named Angel and Alec will appear，these two men changed Tess’s life completely.
1. Alec thought that women are the playthings of the men,he had more desire on Tess’s body more than her spirit’boring Tess wherever she was.When he first met Tess and after Tess left for home,he said”Well, I'm damned! What a funny thing! Ha-ha-ha! And what a crumby girl!” The first time they met,Alec fell in love with her.
2. Angel is quite different from Alec,he regarded Tess as his god,so pure,so ideal,but not on the reality. “It is not me, but another woman like me that he loved, he says. ”That is the reason why Angel felt that he didn’t love Tess,but a kind of image when Tess told her past and begged for his forgive after their marriage.
3.When Angel came back from Brazil and wanted to find Tess,he found that Tess was merried with Alec,at last,When she quarreled with each other,Tess killed Alec ,ran away and had several happy days with Angel,then she was punished to death.
Ⅲ A victim of the society
All the hardships happened to Tess had deep relationship with the society.Peoples’ believe,the law and so on.
1.After the Industry Revolution,the modes of business operation of capitalism appeared in the countryside，the introduce of the new machines made the peasant had no place to earn money,rich people exploit poor people.In the novel that Tess’s workplace—dairy is one of the portrayal of that time.
2.Tess’s father’s death made their condition worse,they inherit nothing from their father except poverty.
3.The dark of the society making women at a lower place,so they were easily to be bait by others.
Reference:
1. Thomas Hardy. Tess of the D’Urbervilles［M］.Beijing: Central
Compilation & Translation Press,2004.
Li Jian, Yuanjing. The Reasons of the Tragedy of Tess［J］. Journal of
Daqing Teachers’ College, 2005. 2.
德伯家的苔丝英文赏析篇七
《_德伯家的苔丝_中苔丝的英雄主义形象浅析_英文_》
第12卷第4期
2002年12月
湖南工程学院学报Vo1.12.No.4
Dec.2002
JournalofHunanInstituteofEngineering
HeroismofTessinHardy’sTESSOFTHED’URBERVILLES
YANGYong-he1,ZHANGXiao-yan2
Ξ
(1.Dept.ofForeignLanguageandInternationalTrade,HunanInstituteofEngineering,Xiangtan411101,China;
2.HunanPolytechnicVocationalCollege,Changsha410001,China)
Abstract:Introducedinthisresearchpaperisavitalaspect———HeroismofTessinHardy’snovelTESS
OFTHED’URBERVILLES.Theauthorstudiesthistopicthroughitsdefinitionandstandard,togetherwithcriticismofKing.Besides,byanalyzingdifferentexamplesofTess’sheroicactions,theauthordiscussestherelationshipbetweenTess’sheroismandtragedy.Keywords:heroism;Tess;tragedy
Heroism,accordingtoWebster’sThirdNewIn2
ternationalDictionary,is“heroicconduct”and“thequality(ascourage,bravery,self-sacrifice,unselfish2ness)ofahero”.AstothemaincharacterTHardy’sTESSOFissolutelysomethingendurance,
what’smore,hemakeshislastpursuit.Angel,thero2mantic,Heseenawoman’smindwithsuchsimileofroses
(Hardy,P.209).Heconfessesthatsnow”
heisdevotedtoherinallsincerityandasksforloveandmarriage.EvenTess’sworkmatesfeeljealousofher———Izz,oneofthedairymaidshavingfailedtoget
(Hardy,Angel’skiss,murmurs“Ishallgohwome!”P.204)Morethanthat,Tess“,awomanwithastrongconsciencewhichisactiveinthestoryfromthevery
(HeilmanP.XI),thenturnstobediffer2beginning”
entfromordinarywoman.SheunexpecedlygoestoTrantrige,desertstheevilseduceranbeginsherhero2icstruggle.AlthoughshelovesAngel,Tessdoesnotexpressfirstandtriestorefusethemarriageandtell
Angelhermisfortune(ItisAngelwhostopsit).Ontheweddingnight,Tess,whofirstforgivesAngel’swrongdoing,confesseseverything.FacingAngel’s
“Tess’sacutesense,whichmaylead
totheassumptionoftasks,tobedoneortothesenseofguiltforthingsdoneorleftundone,isastronguni2
(Heilman,P.XX).Letaloneherwom2fyingelement”anlinessandbeauty.
JeannetteKing,inherTragedyintheVictorian
Novel,says“Hardytreatsthis(theseduction)asthemomentfromwhichTess’sheroismbegins(P.113)”.Idon’tthinkthisisaccurate.Sheneglectsonething:thoughquiteyoung,Tessisnotasvulnerableasthegirlsinherage.FacingAlec’sbad-treatmentandcursing,thecountrygirl“criedwithspirit:Yououghttobeashamedofyourself…Ihateyouandde2
(Hardy,P.98).Can’testyou!”titbeagoodevidenceofherheroicbehavior?
Ineffect,Tess’sheroismrunsthroughthewholenovel,fromtheverybeginningtotheend.HardygoesouthiswaytoestablishTess’sbeautyandwomanli2ness.Tessisofcourseattractivephysically———Aleccan’thelpoccupyingher(hencetheseduction);
“disillusionment”,Tessjustsaysthathecangetridofherbydivorcingherinsteadofburstingoutquar2rellingorbegging.
Tess’sstoicalenduranceandcouragearenomatchforothers.“Sheisill-treatedbyAlecandAn2gel,byFarmerGroby,bythetimingofevents,byweatherandjobsituation,byaccidentsanddeath…”
Ξ收稿日期:2002-10-15
作者简介:杨永和(
1966-),男,硕士研究生,副教授,研究方向:语用翻译和英语教学。
(Heilman,P.XI).However,Tesssees“Pastispast,whateverithadbeenitwasnomoreathand;whatev2eritsconsequences,timewouldcloseoverthem”(Hardy,P.141)—Shecaresaboutthepastnomore.Tessbaptizesthedyingchild,triesherbesttoper2suadethevicartoadmitheractionandburiestheba2byinthechurchyardwitha“ceremony”.Undersuchgreatsuffering,sheremainscalmandgoestoworkatTalbothays.Inthethreshingmachinescene,TesspreferstoremainworkinghardwithitratherthanmeetAlecwhoiswaitingforher.Sheclearlypaysnoattentiontohismolestations.TessusesherglovestohitAlec’smouthwhenhesneersatAngel…Shere2gardstheseperationasherownfault.Tesslivesen2tirelyforAngelandneversaysawordofstingorbit2terness.Shecanevenbesatisfiedataglimpseofhim.Indeed“,Angelistoomuchtoseehowheishurting
(Heilman,P.X).Tess”
Duringhertwomainheroicfreedom,andthenTessstronglybyself-sacri2fice,unselfishnessindependence.Whenthebabyisdying,Tessaskspityforherchild,notherself—
request.Shehesitatinglyagreesthemarriageandtrieshardtoconfesstheseduction.Becauseofhergreatre2sponsibilityforherhusband,TessmakesalonganddesperateappealtoAngeldespiteAlec’smolesta2tions.Andagain,justbecauseofherresponsibilityforthefamily,poorTessisforcedtobeAlec’smistress.
BraveryisanotheraspectofTess’sheroismwhichshouldnotbeneglected.Whenherfatherisdrunk,Tessdrivesthewagononanall-nighttrip;TesskillsAlecandstartswanderingtoStonehengewithAngel.Evenwhenshewakesuponlytofindthearrest,Tesscalmlysays“:Iamalmostglad-yesglad!
…Itwastoomuch—Ihavehadenough.”Andfinal2
(Hardy,P.487),quietlyly,shealsosays“Iamready”
makingherdyingspeech.
Whateverhappens,Tessisnoneotherandaheroictragedybeconnectedthatheroismisal2tragedy?
ofall,wecannotdenythatTessisflawed.Herpassivityandpowerlessnessresultinhergreatsuffering:“TessinClare’sarmsashesleepwalks;Tessintheclutchofthethreshingmachine;Tessbe2
(Brown,P.163)andherdeal2foreAlecD’Urbevilles”ingwiththefalseromanticheroandtheconvert,Tessmakesnoefforttoalterthecourseoftheseevents.Thuswecanseethatsheisinevitablycarriedtoburi2al.Moreover,itisjustTess’sheroismthatrevengesher.“Tess’sphysicalandemotionalwomanlinessarethequalitiesforwhichsheisloved,butalsothequali2tiesforwhichshesuffers”.Therefore“,herresearch
(aftertheseduction)forabetterfutureleadsheronlytotheawarenessthatherfutureisinseparablefrom
(King,P.113).Beingthepastsheistryingtoescape”
soresponsible“,twicetheyieldstoAlec,sotwiceshe(Heilman,P.XX).Alsobeingsocoura2losesAngel”
geous,Tess“knowswhatshemustdo”,unfortunate2(Morrell,P.32)—ly“,failstoactintime”Shecon2fessestheseductionontheweddingnightandsuffersthegreatpainofbeingcastoff.Althoughheren2duranceandself-sacrificefinallyleadtothereturnofAngel,Tess“hasidealizedAngel,thusshehadatleast
(HeilmanP.XXIV).intensifiedherownsuffering”
What’smore,themurderofAlecbecomesinevitable
“O,mercifulGod,havepityonmypoorbaby!Heap
asmuchangerasyouwanttouponme,andwelcome;
(Hardy,P.144).Facedwiththebutpitythechild”
cruellover’scastingheroff,Tessdoesnotworryabouthisdesertion.Onthecontrary,shedoesherbesttocalmhim,shestillcherishesthehopeandkeepswaitingforhisreturn.Sheis“neverembattledor(Alvarez,P.21).shrillself-pityingorvengeful”
ItisTess’sindependencethatcontributesgreat2lytoherheroism.Firstofall,TessbreaksawayfromAlecwhomastersherbodyandfacestherealitybravely.Inaddition,Tessbuildsastoicismoutofde2spair—shereturnshomeandagainworksatFlint2combAsh.Besides,althoughshehassufferedmuchprivation,TessneverappliestoAngel’sfatherforanymoneyduringAngel’sabsence.
Tess’sacutesenseofresponsibilityisalsoastronglyunifyingelement.Becauseofthis,Tessun2willinglyvisitstheD’Urbervillesinthehopeofim2provingthefamilyfortunes.Becauseofherresponsi2bilityforlove,ShedesertsAlecandacceptsAngel’s
andconsequentlyruinsherself—TessalsolosesAn2gel.
Thereisnodoubtthatthemostessentialandfundamentalcausefortheheroicgirl’stragedyliesinthesociety—theVictorianconvention.Tessisborntobeassociatedwiththeoldcustomsandtheruralsoci2etyatthattime.Sosheissuretobemoreorlessin2
fluenced(suchasherpowerlessness,passivityandtheso-calledweakness).ThecruelNature’sLaw—
portantthatthose,itisatragedyoftheVictoriancon2vention.
Allinall,wecandrawaconclusionthatheroismrunsallthroughThomasHardy’sTESSOFTHED’URBERVILLES.Itisthischaracteristic,togetherwithsomeothers,thathelpsustoknowthesocietyatthattime.ItistheheroicTessthathasfaithfullypre2sentedThomasHardy!Therefore,Tess,arebela2gainstAlec,arebelagainstconventionandarebela2gainsttheevilsociety,isabsolutelyaheroicandglori2ousfemalefigureintheEnglishliteratureorevenintheworldliterature.
References
[1] A.Alvarez.IntroductiontoTess.PenguimBook.1954.[2] DouglasBrown.ANovelofCharacterandEnvironment.
LondonFaber,1954.
[3]KVictorianNovel.London
4PapersonLanguageandLiterature.
Broghton:HavesterPress,1974.
[5] RobertHeilman,’GulliverandHardy’sTess:Houyhnhn2
ms,Yahoos,Ambiguities’.SouthernReview,1970.[6] ThomasHardy.Tessofthed’Urbervilles.London:Ox2
fordUniversityPress,1994.
[7] RoyMorrel.TheWillandTheWay.StudiesinEnglish
Literature,1965.
[8] ChenJia.AHistoryofEnglishLiterature(Volume3).
Beijing:TheCommercialPress,1986.
[9] YiShuqianetal.500QuestionsforForeignLiterature.
Shenyang;LiaoningPeople’sPress,1987.
“oncevictim,alwaysvictim”isrootedinpeople’smind;Manbelongstotheactive,changingsocialor2der,womanisincontrast.Therefore“womanisalways
(King,P.120).Thesameisquitethefinalvictim”
trueofTess.Shecannotbutsuffertheman-madelaw.Shecanonlyaskherself“Wasoncelostalways(Hardy,P.150).Angelislostreallytrueofchastity?”
frustratedbytheVictorianconventionandthenbe2comesitsagent.He“desirestheuntouchedphysical
(ing,beingthatTesswasbeforesheAlec114).However,withwoman.Nowreplacedby
(K,P.11).Thuscomeshisdisil2themanofspirit”
lusionmentoverTess—“Thedevotedloverturnstobe
(Kozicki,P.58).awithereddestroyer”
TESSOFTHED’URBERUILLESis,there2fore,atragedyofTess’sheroism.Itisatragedyofherwomanhoodandendurance;of“rebellionandaspi2
(King,P.120);ofdesiretokeepintegrity;ofration”
self-sacrificeandunselfishness.However,moreim2
《德伯家的苔丝》中苔丝的英雄主义形象浅析
杨永和1,张小燕2
(1.湖南工程学院外语外贸系,湖南湘潭411101;2.湖南工业职业技术学院,湖南长沙410001)
摘 要:从英雄主义的定义和标准着手,结合对金的批评,探讨了哈代的小说《德伯家的苔丝》中苔丝人
物形象分析的一个重要方面,即苔丝的英雄主义形象。通过对苔丝不同阶段的英雄主义行为的实证分析,探讨了苔丝的英雄主义行为和其悲剧的关系。关键词:英雄主义;苔丝;悲剧中图分类号:I106.4 文献标识码:A 文章编号:1671-1181(2002)04-0070-03
德伯家的苔丝英文赏析篇八
《德伯家的苔丝之苔丝的性格分析》
The Characteristic of Tess
Abstract : Tess, the protagnist of Hardy′s Tess of D′Urbervilles, an innocent country girl brought up with the traditional idea of womanly virtues, suffers the poverty and denunciation of the society. In most people ′eyes, Tess is a bad woman without morality, she is a mistress, a criminal. Maybe the whole life of Tess is ended up with tragidy, but her brave to the evil, persistent to the truth ， pursue to her love represent she is the model of modern time. To Hardy, Tess is the daughter of nature, she mixes the pure with resolute. Although Tess is hanged at the end, she is lucky because she is free from this earthly world. No one can be the perfect one, the weakness of Tess makes her a real person, which is showed vividly before us.
Key words : nature, pure, brave, weakness, rebell
[摘要]苔丝，哈代所著《德伯家的苔丝》中的主人翁，一个天真的乡村姑娘。她有着传统妇女的美德，但却承受着家庭的贫穷与社会的谴责。 在大部分人眼中， 苔丝是个没有道德的坏女人，她的身份是一个情妇，一个杀人犯。也许苔丝的整个生命以悲剧而告终，但她对邪恶的勇敢，对真理的坚持，对真爱的追求使得她成为时代的典范。对哈代来说，苔丝是大自然的女儿，她纯洁且坚毅。尽管最后被绞死，她是幸运的，因为她远离了尘世。人无完人，正是苔丝身上的缺点让我们看到一个活生生的真正意义上的人。
关键词：本质（自然），纯洁，勇敢，弱点，反叛
I. Introduction
Tess is a poor girl, whose life is linked with two men, who pulled her to the verge of death. Tess is a kind woman, but not a perfect one. She has some sympathetic and admirable qualities as well as lots of inevitable weakness. Tess is a real person, in my eyes. Her lifestyle, feelings and thoughts as well as the tragedy ending all symbolize the reality of that time and earn our sympathy. Tess falls down during the fight against the fate, the society and herself. God teases his play with Tess, who wins finally ? It seems that God is the winner, because he took the life of her. But what Tess left is more valuble than herself. She really did what nobody at that time dares to do.
II The character of Tess
A. The daughter of Nature
There are two meanings of “Nature”. First, it means “the physical power causing all the phenomena of the material world”, it refers to the environment in which Tess grows up. Tess is a lily in the wild. She grows up in a beautiful and pictuesque country. She loves life and all the live things in the nature. After the death of the only horse in her family, Tess claimed that it was her fault, she needed to do something to support the whole family. Tess is a child full of responsibility.
The other is “a thing′s or a person′s innate of essential qualities or character”, this one is related to Tess′beauty and some good qualities when she was born. Although life is hard, the inner of Tess is bright and jolly. Her face is always wearing a smile. So, truly, she is the daughter of her surrounding envirenment. 169In the end of the novel, after Tess killed Alec, she escaped with Angle, they came into an alter that is a stonehenge near Salisbury in the plain, dating back to the pre-history time. The center of it is a big “altar”, where is used to put sacrificial offerings in some ceremonies. It was here that Tess had a rest because of tireness and it was also here that Tess was arrested. In the Bible, aler is used for giving sacrificals to the God and doing prey. It is viewed as a holy place. Anything put on it must be pure, such as the lamb, little child. That Tess lies on it means she gives her life to the God and she assures that she is pure and innocent.
B. Brave warrior
Tess doesn’t go for looks, doesn’t go for wealth, but she goes for someone who makes her smile because it takes only a smile to make a dark day seem bright. This is the portrayal of Tess. Alec is rich, but she hates him from beginning to end. Angle wants to be a farmer; she falls in love with him and suffers the ugliest things on her own. She is a murderer, what’s more, a warrior.
(1) The warrior of herself
She is independent and doesn’t want to be the slave of wealth. She prefers working to selling her soul to make money. When her stupid mom told her to wear her beautiful dress, she refused. On their way to Alec′s house, Alec showed his dandy nature. Tess, a tender girl, would rather walk than sit on the carriage to express her angry. Staying a whole night with Alec, Tess realized that Alec is a rat. She went home after Alec impregnated her. An unmarried mother with a child is not received by her neighbors. Tess, the stanch young woman, bore all the gossips. After the baby died, she didn′t indulge in the sadness, she decised to turn a new leaf of her life. She sets out confidently. She killed the evil in her deep heart. Tess also has a hidden nature — the longing for living. It is the intense desire that forces her to live and work after tremendous disasters, such as her son′s death, Angel′s abandonment. She preferred to work on a farm rather than asking Angel′s parents for help. She loved Angel so deeply that she wrote to him to beg his forgive.
(2) Brave fight against Alec
Although Tess was in trouble, she didn′t desert her conscience. As an impure woman, she didn′t surrender to the wealth and power of Alec. After Alec impregnatee her, Tess left the big mansion resolutely. A long time later, she met Alec,now a parson. her hatred to him never reduced. She despised him and condemned his hypocrisy.
Finally, Alec deceived Tess that Angel would never come back. This action builded up Tess′s hatred when she saw Angel. Tess was so despirated that she killed the rat. Tess is not strong enough to fight against Alec. She has no money, her father died, her noble background has become the history. Comparing Alec, she is too small in every aspect. But the potential hidden in her soul is great. She can′t beat Alec, but she can take away his life. Without life, what he owns is nothing. Although Tess was hanged, she won the game between them.
(3) rebell to the social environment
Tess didn′t want to be driven by secular, she choose her road under her willing and let others gossip. As one of the most rebellous females in Victorian, Tess disdains and denies the religion. A serials things happen to her made her doubt the nature of the material world. She asked herself : Woman's chastity, really time has lost, forever has lost? All organisms have the ability to restore the source, why shouldn't the sole maiden's chastity have this kind of ability?” (Thomas Hardy, 164)“why the sun do shine on the just and the unjust alike？”（Thomas Hardy, 184） After her father died, her family is poorer. Turning back to the discrimination around her, Tess became Alec′s mistress. Angel′s back showed his forgive, the burden didn′t relieve, Tess′s spirit callapse, she killed Alec, which broke the law,and escaped with her true husband. This action was condemned by the society. Tess killed the rat, she should compensate her life. What about Alec′s rat action. No respond. Alec is a parson, a good man. Tess scoffed the fools who believe they are just and correct. C. Foolish coward
Everyone has his own weakness. Tess′s compromise leads to her tragedy.She first came to Alec′s house, the rat showed her around. Tess ate the strawberry given to her mouth by Alec. At the end, she lived with Alec as his mistress.
Tess ′s deep love to Angel also makes her a fool.Just as the saying goes “Women in Love is a Fool”. Tess adopts completely another kind of manner treating Clare. The relationship between lovers should be equal, but Tess constantly disparages herself and raises Clare. At the beginning of their love affairs, “she loves him extremely, she looks him as the god.”(Thomas Hard, 261) “To her sublime trustfulness he was all that goodness could be - knew all that a guide, philosopher, and friend should know. She thought every line in the contour of his person the perfection of masculine beauty, his soul the soul of a saint, his intellect that of a seer……The compassion of his love for her, as she saw it, made her lift up her heart to him in devotion.”(Thomas Hard, 276) In front of love, Tess has lost herself, has lost the dignity. Just this kind of blind, unequal love make Tess drop the happy right as a wife, deepened her tragedy. At the night, Angel sleepwalked, wrapped Tess with a sheet, lifted her up from the bed and put her into a sarcophagus, as if she was a corpse. At that time, Tess should have waked him up, but she believed that it was her fault and she must get the punishment. Even though after Alec abandonted her, she still thought that it was her fault that made Angel′s leaving. She wrote to Angel, begging his forgive. Finally, Angel came back, she said nothing but “it is too late, it′s too late.” She forgived Angel easily. To go with Angel, she killed Alec, making herself a murderer. In view of this, in front of love, Tess just as a pupper losing her soul. Why didn′t she rebell Angel like Alec ? Why not leave Angel resolutely and have a new life ? Why didn′t she rise up to protect her rights ? Because her love. She lost the game between Angel, at the cost of her nature, her good qualities. Her timid makes her surrender to the fate and lose her direction.
III. Conclusion
People often say “Everything in life is a trade-off”. What does Tess get though her life? Her life is full of bumps and detours. She seems to escape from a tomb, but jumped into another abyss. The God gives Tess the highest soul of the women in Victorian time, she is noble and pure, but the reality actually gives her a humble blood. The unharmonious between the soul and the fresh caused Tess’s tragic fate. What impressed us is not Tess’s tragic destiny, it also include something nobel, worth and purity coming along. No matter how fate goes, the nobel and purity lies in the human nature will nerve fade. Although Tess bears so much, she gets eternal charm as soon as she comes out of Hardy’s Wesses novels. We love Tess, we praise Tess, we sympathize Tess. Tender is her and determinal, rebellous, sincere and brave nature touches us, purifies us. Tess is dead, but her image will remain in the heart of the readers without fading.
IV. References
［1］Thomas Hardy. Tess of the D’Urbervilles［M］. Beijing : Central Compilation & Translation Press,2004.
［2］Chenxia. Analysis of the Tragic Mood in “Tess of the D’Urbervilles” ［J］.Journal of Renmin University of China (social societies), 1998.
［3］Li Jian, Yuanjing. The Reasons of the Tragedy of Tess［J］. Journal of Daqing Teachers’ College, 2005.
[4]YuYang. From the Spirit of Revolt of the Tragic View Tess. Beijing: ShangWu Press, 1971.
[5] 英美文学选读：英文/张伯香主编。北京：外语教学与研究出版社，1998。
[6] 《德伯家的苔丝》中苔丝悲剧性格分析--《时代文学(下半月)》2008年02期。
［7］霍恩比著.李北达译：《牛津高阶汉英双解词典》，北京：商务出版社，2002。
［8］张世君，《<德伯家的苔丝>鉴赏》,重庆出版社, 1986。
［9］秦玲. 苔丝悲剧的形成原因. 南阳师范学院. 2005。
［10］姚佩芝，董俊峰.《德伯家的苔丝》——哈代综合悲剧观的完美体现. 湖南师范大学社会科学学报. 2003。
德伯家的苔丝英文赏析篇九
《从自然主义角度分析《德伯家的苔丝》》
最新英语专业全英原创毕业论文，都是近期写作
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5 中英日委婉语语言特征
6 论《睡谷传奇》中的幽默元素
7 从《蝴蝶夫人》到《蝴蝶君》的蜕变
8 中医文化翻译中的归化和异化
9 译者主体性观照下的中文菜名英译
10 从产品说明书的英译错误分析探讨其翻译策略
11 《哈姆雷特》与《夜宴》中人物塑造的比较研究
12 高低语境交流模式对国际商务谈判模式的影响
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14 英语幽默中会话含义的语用分析
15 《喧嚣与骚动》的创作技巧研究
16 《汤姆叔叔的小屋》中汤姆的性格分析
17 A Study of Nonverbal Communication
18 从目的论角度研究中式菜名英译(开题报告+论文 )
19 《蝇王》中神话元素的象征意义
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21 口译中的停顿原因分析及处理
22 《大学英语》听力理解中的石化现象与对策
23 Pragmatic Differences of Politeness in Intercultural Communication Between English and Chinese
24 《圣经<箴言>》的修辞分析
25 论英语自然地理术语的汉译
26 苔丝形象浅析
27 《了不起的盖茨比》中象征主义的研究
28 构建和谐社会——以美籍黑人的种族歧视为例
29 论《呼啸山庄》中两代人之间不同的爱情观
30 新闻报道的倾向性分析——语言学视角
31 论海勒《第二十二条军规》小人物生存模式
32 An Analysis of Key Elements of Cross-cultural Business Negotiation
33 解析《宠儿》的象征意义
34 论奥斯卡王尔德唯美主义童话中的批判精神
35 论中学英语学习策略
36 论世纪年代以来美国文化冲击对中国青少年的影响及教育策略改革的应对措施 37 论《麦田里的守望者》中霍尔顿的自我矛盾及其成因
38 A Comparative Analysis of English Vocabulary Teaching between China and America at the Primary and Secondary School Level
39 谈中国唐诗中数字的翻译
40 浅谈中西方价值观差异及对商务谈判的影响
41 A Comparison of the English Color Terms
42 图式理论在高中英语阅读中的运用
43 Elements on the Growth of Mary in The Secret Garden
44
45 A Comparison of the English Color Terms
46 狄更斯小说《远大前程》中的批判现实主义特点解读
47 《宠儿》中的女性形象分析
48 行为因素对翻译质量的影响——张召忠教授译著病因浅析
49 英文电影对白中俚语的翻译
50 素质教育下农村小学英语现状初探－－以某县为例
51 许渊冲的诗歌翻译理论与实践
52 英语体育新闻的翻译
53 从《喜福会》中西文化的冲突与融合中看身份的寻求
54 浅析肯德基在中国的本土化策略
55 浅析霍桑罪恶观在《拉帕西尼的女儿》中的体现
56 埃德加•爱伦•坡短篇小说的语言特色分析
57 从心理学角度试析简爱性格的对立性
58 A Comparative Study of “Two Roses” in Wuthering Heights－－Catherine Earnshaw and Catherine Linton
59 新闻标题中的对话性
60 从违反合作原则看英语广告语言
61 解析《宠儿》的象征意义
62 从《简•爱》与《藻海无边》看女性话语权的缺失
63 A Study on the Translation of News Headlines from English Into Chinese
64 从生态批评的视角看《远离尘嚣》的生态悖论
65 A Comparison of the English Color Terms
66 解析《喜福会》中的母女关系
67 On Nabokov’s “Lolita” and Its Adaptation into the Movie by Stanley Kubrick
68 英语委婉语的认知分析
69 A Cognitive Analysis of Container Metaphors
70 探讨发现式学习理论在高中任务型英语听力教学中的运用
71 与身体器官有关的中英文习语对比研究
72 观电影《刮痧》简析中西文化价值冲突
73 政府工作报告中衔接手段对比及翻译
74 浅析田纳西•威廉斯剧作《欲望号街车》的同性恋倾向
75 从功能对等理论角度看校训的汉英翻译原则
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78 论《简爱》中伯莎﹒梅森的象征意蕴和影响
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82 浅析汉英翻译中中式英语的现象
83 关于战争对英语习语的影响的研究
84 功能对等理论视角下《越狱》字幕翻译的研究
85 词义的选择和商务英语的汉译
86 以《最后一片叶子》为例论欧亨利的创作风格
87 从玛丽沃斯通克拉夫特的女性主义观点看《傲慢与偏见》的女性形象塑造
88 裘德悲剧成因的分析
89 《飘》中斯嘉丽的生活态度
90 不同英汉颜色词的象征意义及其翻译
91 从《罗密欧与朱丽叶》和《牡丹亭》看中西方古典文学中的性别歧视
92 从中西文化差异对英语口语教学的探讨
93 目的论下的修辞手法翻译：以《爱丽丝漫游奇境记》两个汉语译本为例
94 从《阿甘正传》看美国梦的追求和幻灭
95 山寨文化的反思——发展与创新
96 The Analysis of Feminism in Jane Eyre and Wuthering Heights
97 On the Disposal of Cultural Differences in the Translation
98 托尼•莫里森《最蓝的眼睛》佩克拉的悲剧成因研究
99 论《苔丝》中女性意识与社会现实之间的冲突
100 浅析《了不起的盖茨比》的主要人物性格
101 非言语交际对演讲的影响
102 从中美文化看家庭教育的差异
103 冰与火具有毁灭生命的同等威力——《呼啸山庄》主题探讨
104 A Brief Study of the Impact of Affective Factors on English Teaching in Middle School 105 导入艺术在培养初中生英语学习兴趣中的运用
106 从跨文化交际层面谈口译译者能力的提高
107 <<罗伯特家的苔丝>>中动植物的作用
108 Modern Views on Marriages in Wuthering Heights
109 《雾都孤儿》中的批判现实主义
110 论非言语交际行为与外语教师素质的关系
111 《哈克贝利•费恩历险记》：哈克和吉姆的性格对他们关系的影响分析
112 A Brief Analysis of the Auspicious Culture in the Wedding Custom Between China and Western Countries
113 小议非英语专业大学生英语口语能力的培养
114 交际法在初中英语教学中的运用
115 场独立和场依存对不同主题阅读材料的影响研究
116 从接受美学角度看中英旅游文本的翻译
117 八十年代以来汉语中英语外来语及翻译
118 英语委婉语的表达模式和应用
119 浅析唐诗翻译的难点和策略
120 英文商业广告中的常用修辞格－－以《商业周刊》为例
121 英汉称谓语中的文化差异
122 商业意识对美国电影片名翻译的影响
123 试论商务英语与普通英语的异同——商务英语书面语的特点
124 浅析好莱坞英雄主义中的传统英雄和反英雄形象
125 从禁忌语看中西方文化异同
126 论色彩在《红字》中的运用与艺术效果
127 浅谈来自《圣经》的英语习语
128 《荆棘鸟》中主要女主人公爱情观比较
129 合作学习理论在中学英语课堂中的应用
130 跨文化交际下的中英文禁忌语的对比研究
131 简析比喻在《围城》中的运用
132 叶芝诗歌中的象征主义手法
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135 从电影《七宗罪》看‘七宗罪’与基督教传统的关系
136 英汉动物习语内涵意义的文化差异
137 从《嘉莉妹妹》看本性与理性的斗争
138 从《简•爱》与《藻海无边》看女性话语权的缺失
139 中美文学作品中乌鸦意象的对比——以爱伦坡“乌鸦”与唐诗宋词为例
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142 论《隐形人》中的象征主义
143 浅析《贫民窟的百万富翁》中的宿命论色彩
144 从礼貌原则看英语委婉语的构成和社会功能
145 The Environmental Influence on Emily Brontë and "Wuthering Heights"
146 A Comparative Study of the Translation of Puns in Alice’s Adventures in Wonderland 147 浅析凯特肖邦短篇小说中的女性意识
148 《德拉库拉》中病态感情和正常感情的对比和碰撞
149 用言语行为理论分析奥巴马推定总统候选人演讲
150 A Comparative Study of Refusal in Chinese and American Cultures
151 《希腊古瓮颂》中的艺术和永恒之美
152 Feminine Consciousness in Wives and Daughters and North and South by Elizabeth Gaskell 153 美国黑人英语的句法特征
154 论密西西比河对马克吐温和《哈克贝利费恩历险记》的影响
155 An Analysis of Racism in Of Mice and Men
156 《吉檀迦利》中的泛神论思想
157 Contrariety of William Blake－－Image Analysis of Songs of Innocence and of Experience 158 肢体语言在商务谈判中的应用与作用
159 初中英语课堂教学的任务型活动设计
160 莎士比亚《仲夏夜之梦》中的女性人物性格分析
161 浅析科技英语翻译中的逻辑错误
162 A Glimpse of Intercultural Marriage between China and Western Countries
163 试析《啊，拓荒者》中的生态伦理观
164 从《马拉喀什》和《射象》看乔治•奥威尔散文的艺术风格
165 《林湖重游》中的静态美分析
166 显现的被动•隐现的自我——《看不见的人》中被动语态的身份建构功能研究 167 浅析《雾都孤儿》中的现实主义
168 Irony Art in Orwell’s Animal Farm
169 中法餐桌文化对比
170 丧钟为谁而鸣中的罗伯特形象
171 对《愤怒的葡萄》中圣经原型的分析
172 希腊神话对英语词汇的影响
173 弗吉尼亚•伍尔夫《海浪》的叙事技巧分析
174 从古至今的吸血鬼文化
175 斯嘉丽与艾米丽不同人生态度与命运－－从父亲形象角度分析《飘》和《献给艾米丽的一朵玫瑰》
176 英语课堂中的教师提问策略
177 《傲慢与偏见》中话语标记语的语用推理研究
178 网络微博语言特征
179 《织工马南》中的因果关系说
180 Charlotte Bronte’s Concept of Marriage－－Comment on Jane Eyre from angle of true love 181 从生态女性主义的角度解读《喜福会》
182 《最蓝的眼睛》和《宠儿》中黑人女性的悲剧根源
183 A Comparison of the English Color Terms
184 从跨文化交际视角看幽默的言语机制和翻译
185 被忽视的主人公——析《简爱》中的疯女人
186 从《爱玛》看简•奥斯丁的爱情观
187 英语电影对白汉译
188 A Comparative Study of Politeness Expressions in English and Chinese
189 不伦，还是不朽？－－从柏拉图的哲学理论视角解读《洛丽塔》
190 老纽约下的女性悲剧——对《纯真年代》中两位女性的分析
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德伯家的苔丝英文赏析篇十
《《德伯家的苔丝》的悲剧分析》
科技蕾■ｏ高校讲坛ｏ２００８年第３５期
《德伯家的苔丝》的悲剧分析
王菲菲
（泰山学院大学外语教学部山东
泰安２７１０２１）
【摘要】英国作家哈代创作的《德伯家的苔丝）中的苔丝是英国批判现实注意作品中悲剧人物的典型代表，本文从社会环境和个人性格因素两个方面深层分析了哈代创作＜德伯家的苔丝》中苔丝的悲剧命运出现的原因。
【关镌词】悲剧命运；宿命论；牺牲品
一、前言
托马斯・哈代是】９世纪未英国杰出的批判现文主义作家。他的作品《德伯家的苔丝＞真实地反映了资本主义入侵下英国农村发生的变化和人民的遭遇，揭示了在维多利亚盛世掩盖下深刻的社会危机。在这都作品中存在着浓厚的悲剧命运意识．以下将从两方面予以详细分析。
洁无暇却对社会缺乏足够的认识，尤其是对“恶”的一面缺乏斗争的智慧。加之环境的残酷，恶人的狡猾毒辣，以及命运的戏弄，终于酿成悲剧的发生，最终走向毁火。苔丝被亚营诱奸，就有其不可避免的因素。．从开始踏入德伯家，亚雷给她ｕ中放草莓到给她胸前带上攻瑰花．从亚雷接她时在车上接吻戏弄，到后来的百般调戏，苔丝本应该出于一个姑娘的敏感以及防卫的本能而认清这个好色之徒的面目，但她竟然认为：“这一次的殷勤，刚好是在特别关头，只要接受了，两脚一跳。就可以把对这些敌人的恐惧和愤怒化为胜利，所以她就听凭了自己的冲
二、社会环境因素
托马斯一哈代出生于多塞特郡的乡村．白小受祖母和母亲的影响很深。她们俩都是在英国乡下长大。在那里弥漫着宿命论色彩。所以这种宿命论的观点直接影响了哈代的刨作。在他的作品中，往往人物的悲剧都被他自觉不自觉的归为“命中注定”。在他的观念中，在其冥之中有一种凌驾于一切之上的力量。“他掌握着我们的命运”。这种不可捉摸的神秘力量在控制着宇宙的一切。正是这种力缝掌握着人们的命运。无论你如何的挣扎，最终都逃脱不了。所以，在他的作品的人物遭受不幸时，他总是要对命运发出抗议。在苔丝死后，哈代就把苔丝的死归为命运的捉弄和不公，认为是命运的捉弄才让一个“纯沽的女人”遭受如此的不幸。
当时的社会现状使他产生了一种极度悲观失望的情绪。他既不能够认识到社会变化的真正根源，也找不到社会未来的真正道路。于是，他不徭不求助于充满神秘色彩的古希腊命运观念。把这种状况归为命运的安排。
苔丝的命远悲剧．来自哈代的悲观主义世界观。处于１９世纪末的哈代．由于维多利皿后期大英帝国开始衰落．萌芽的资本主义摧毁了小农经济，农民的生活普遍陷入困顿之中。作为现实主义者，哈代可以复制出生动的现实图画，而作为思想家。哈代并不了解社会发展的规律。他认为现实的危机与不可克服的矛盾。是神秘而不可预测的宇宙意志在敌视作恶多端的人类，哈代认为人在同环境的斗争当中，软弱无力，受着命远的支配。于足这种社会危机的认识却导致ｒ哈代思想上的悲观主义和宿命论。正如哈代其它小说巾的主人公常常在接近幸福的时刻，突然由命运或宇宙意志支配着．偶然的不幸就降临到而Ｊ；｛『一样，苔丝的悲剧也是由于一系列的不幸事件一步一步促成。首先是德伯家因为偶然因素失去了赖以生存的老马而导致苔丝去远亲家打』＝；苔丝本来对好色的亚力克处处设防。却因为一次偶然事件失身，导致斧丝整个悲剧的不可逆转性；在婚前向安吉尔坦诚自己的过去却因为信塞到了地毯下，致使苔丝新婚之际被抛弃；在牛存困难时本来欲向丈夫家人求助。却因偶尔听到了兄弟的对话而放弃；一直自强自立的苔丝因为失去住所．一家老小生存出现危机向不得小听任亚力克的摆布；最后看到安吉尔回心转意自己却又已经无法挽ｌｕＩ失去的幸福，绝望的苔丝愤而杀人。最后自己也毁灭了。苔丝的一，扛充满丁戏剧性，仿佛在她人生命运的每一个时期，都因为偶然的因素，由命运作祟，一步步把她推向了悲惨的结局。苔丝没有被艰苦的体力劳动和困顿的生活击倒。却在精神Ｊ：和感情上一次次遭遇重刨。坚韧的苔丝对生活和命运进行了反抗却一次次被击倒，直到最后导致灭亡。哈代彳Ｅ作品中暗示了苔丝的悲剧也许就是上天对于她祖先犯下的罪行的惩罚，苔丝最后被不幸被处死则是众神结束了对于这个可怜少女的嘲弄。
动，不假思索，攀上栅栏门，把脚失放到他的脚背卜，爬上了他身后的
马鞍子。”她为自己的胜利冲昏了头，“他们两个，骑着马往前跑了一阵，都没说话，苔丝一路上抱着德伯，仍旧在胜利中喜得心砰砰乱跳”．进而对亚雷这只恶狼失去了防备，埋下了悲剧的隐患。由于她生长的环境、家庭、时代以及她本身就有严重的封建贞操观念和世俗观念．而又缺乏顽强的反抗精神，造就了她必定是一个悲剧人物。茫茫世界，同命运的女人又何止她一个？这些都显示了她性格中软弱的一面。她在生活巾始终处于被动的地位，她没有“欺骗”生活，而生活“欺骗”ｒ她，她真的太纯真了。证如越是纯洁的东西越是容易被玷污一样。当克莱向她求婚时．她拿不定主意失去了对人的清醒认识，只看表面小顾及本质。她无法跨越贞操的障碍，也就无法避免悲剧的发生，“只凭经验，我们得经过长久的游荡才能得到捷径。”“但是世界ｌ：的人总是苦到这种金石之育再不能于他们有益了的时候，才能够觉悟其中的道理。”这是环境与性格的冲突所在，尽管克莱斥责苔丝不足“大自然的新生女儿”，但苔丝对克莱还屉一往情深。忠贞不渝，她表示：“我只要已经爱上你，那我就要爱你到底儿。”在给克莱的信中，她写到：“你给我的这种惩罚，本是我应该受的，你对我发怒，很公正。”这显示了苔丝对命运的完全屈从，也反映出苔丝性格软弱的一面。亚雷对她采取了各种攻势，威胁她说：“你记住了，我的夫人，你从前没有逃出我的手心去！你这回还是逃不出我的手心儿去．你只要作太太。就得作我的太太！”在这种情况下，替丝已不知／ｆ；觉地在心理上发生了变异。她终于承认：“我本米认为你是个坏人，其实你也许比我所认识的那个克莱好些。在给克莱的信中她写到：“安讥啊，我现在受得诱惑太大了”。这就表明本身有主见的苔丝却在“重大事件”上失去了立场。
四、结束语
从《德伯家的苔丝》这部作品我们可以看出悲剧命运色彩始终贯穿其中。因为如此也使他的作品拥有更加丰富的内涵。在哈代看来，苔丝是命运的牺牲品。她的悲剧是由于“弥漫着宇宙的意志”即我们所说的命运造成的。纵使她进行反抗也是枉然。所以在作品中哈代时时发出了悲天悯人的慨叹，流露出一种对人类永远无法解脱悲剧命运的无
可奈何的悲哀，这正是他悲剧命运意识在作品中最充分的体现。位１一
１９８７．
【参考文献】
［１］张中载．托马斯・哈代——思想和创作［Ｍ¨Ｅ京：外语教学与研究出版社。［２］陈焘宇．哈代创作文集ｍ１北京：中国社会科学出版社，１９９２．
【３］Ｉ英】哈代著，张谷若译．德伯家的苔丝㈣北京：人民文学出版社。１９５１．
［４Ｊ朱维之．外围文学史ｆＭｌ天津：南开大学出版社。１９９４．
三、个人性格因素
苔丝性格中也具有发生悲剧的可能性，就是说她性格Ｅ的弱点。她出身于偏僻落后的一个小乡村一个贫穷的小乡贩家庭，加之她聪明美貌，决定了她生性清高，却忍辱负重，屈从父母的虚荣；性格坚强却又优柔寡断，在爱情面前踟蹰徘徊；渴望幸福却又拘于世俗陋习；能够忍受困难却又充满冲动。绝望之时终于举起了复仇的尖刀；她自身纯
ｆ５］侯维瑞．英国文学通史ｆＭ】上海：上海外语教育出版社，１９９９．
［６】颜学军．哈代与悲观主义Ｌ玎北京：国外文学（季刊），２００４（３）．
［责任缩辑：张艳芳】
万方数据
《德伯家的苔丝》的悲剧分析
作者：作者单位：刊名：英文刊名：年，卷(期)：引用次数：
王菲菲
泰山学院大学外语教学部,山东,泰安,271021科技信息
SCIENCE & TECHNOLOGY INFORMATION2008，(35)0次
参考文献(6条)
1.张中载 托马斯·哈代--思想和创作 19872.陈焘宇 哈代创作文集 19923.哈代.张谷若 德伯家的苔丝 19574.朱维之 外围文学史 19945.侯维瑞 英国文学通史 1999
6.颜学军 哈代与悲观主义[期刊论文]-国外文学 2004(3)
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9.学位论文 陈茂旺 通俗中的不俗——论李碧华小说的新女性主义色彩 2008
近年来，尽管大陆学者对于香港文学的研究不断深入，但对香港文学存在着一定程度的忽略与漠视的状况尚未得到根本改观，香港文学研究的潜力尚未得到充分发挥。另一方面，女性主义自诞生并传入我国发展至今，正面临着种种隐忧，包括部分女性主义作品质量良莠不齐、鱼龙混珠，人们对于女性主义的认识存在着某种误解或偏见等等。因此，本论文以李碧华小说创作的新女性主义艺术风格为写作对象，试图抛砖引玉般地展示香港文学的艺术世界，同时也推动新时期女性主义的健康发展。 论文在简要阐释女性主义的基本内涵、发展历程及其主要特征的基础上，从个人身世、社会环境、宿命思想等角度探讨了影响李碧华新女性主义创作思想形成的背景因素，并剖析了李碧华小说的新女性主义书写策略，即通过对男性形象的“去势模拟”和对具有独立自我意识的成长女性的赞誉，重塑了与传统文学作品大相径庭的男女形象；通过对男性权力退场的描写和对女性主导位置的凸显，对男女两性关系予以审视，并力图实现颠覆与重构；通过对女性关于爱情和自在生活的不断追求与最终幻灭的哀叹，表达了对女性悲剧命运的怜悯与反思．同时，结合李碧华小说不乏通俗色彩的主题指向、创作模式和堪称不俗的话语叙事方式、女性主义研究角度，对她所展示的新女性主义的文学魅力进行解读。论文共分五部分。 前言部分简要回顾了大陆内地关于香港文学研究的发展脉络，并探讨了开展李碧华小说创作的新女性主义风格研究的意义．大陆内地的香港文学研究大致经历了三个阶段：带有政治意识形态的殖民批判—中原视野下的国族认同——艺术多元的审美评价，逐渐走向公正、客观学术语境下的探讨与研究．在香港纯文学和商业文学的界限之间，李碧华以其独具个性的创作风格，走出了一条边缘化创作的道路，在多重
话语下，李碧华甚至成了“香港文学”的坐标，被内化为一种叙述形式，一种独特的香港景观．当前在李碧华小说创作研究领域，存在着两种研究倾向，即“多视角——多文本”模式与“单文本——多视角”模式．论文试图采取“单视角——多文本”模式，对她所展示的新女性主义的文学魅力进行解读． 第一章介绍了李碧华小说创作与女性主义的概况。 “女性主义”这一术语首次出现在19世纪80年代。女性主义与女权主义都是对于源自法语Femme(女人)的feminism一词的意译。直到20世纪60年代第二次女权主义运动兴起后，女性主义文学才真正地诞生。女性主义更注重“性别意识”及文化建构，从女性的角度出发，以独特的眼光来审视这个由男女两性既对立又统一而组成的社会整体及思想观念，在习以为常的现象下深入挖掘着令人震惊的不平等，展现着父权统治下女性所遭受的无形压迫与凌辱，从而在思想文化的层面上改造人的思想，力求能够建立一个男女平等、提高女性地位的公平而自由的世界。并不是所有的女性创作都是女性主义创作，只有带着强烈女性主义色彩的创作才能称为女性主义创作．女性主义主要表现为：反男权、以打破男性期待为目标、女性欲望的张扬。 李碧华由一个剧作家跨入小说创作，是香港文坛大名鼎鼎的才女、金牌编剧和畅销作家，有“奇情才女”和“天下言情第一人”之称．影响其创作心理的若干主要因素包括：个人身世——成长的家庭环境使她对女性命运有了更多的关注，幼时生长的封建大家庭的环境和残余的记忆为李碧华提供了创作的素材和灵感；社会环境——香港的商业文化环境导致了其小说通俗性的形成，使其真正实现了“消费的文学”与“文学的消费”的共融共生；宿命思想——传统文化成为其笔下女性悲剧命运的思想基础，“生死轮回、因果报应”这些传统宿命论在她的很多作品中都有所体现，形成了其特有的凄艳、诡谲的风格。 第二章重点剖析了李碧华小说的新女性主义书写策略。 李碧华的小说具有浓郁的新女性主义色彩。一是通过对男性形象的“去势模拟”和对具有独立自我意识的成长女性的赞誉这一性别视角的转换，重塑了一系列与传统文学作品大相径庭的“劣男”、“优女”形象，打破了男强女弱的性别刻板印象。在李碧华的小说中，被“阉割”的男性遭受到了无情的塑造，他们大多阴柔懦弱、自私贪婪，甚至无法自食其力而需依附女性的“经济支援”维系生存，与传统男性高高在上的“坚毅”形象背道而驰。李碧华笔下女性角色最鲜明的形象特征便是她们无畏的抗争意识，这使她们少了传统女性那种楚楚可怜、惹人疼惜的柔弱，多了一份坚强与独立的男子气概。她们以独特的追求和叛逆书写了自己不屈不挠、有血有肉的奇异人生，给读者带来一种全新的生命感悟和审美经验。 二是通过对男性权力退场的描写和对女性主导位置的凸显，对男女两性关系予以审视，并力图实现颠覆与重构。通过贬抑男性形象的书写策略，男性话语的权威在李碧华的文学想象的世界里不复存在，男性作为独立的性别个体，开始退场，出现了“女人出击、男人退场”的独特风景。李碧华以清醒独立的女性意识深入地剖析了男性的劣根性，表现出她对男性无以复加的深深失望、鄙夷和对整个男权社会的有力质疑；并以女作家的本位，赋予女性以积极的，独立的品格，借此来冲击和颠覆既有的男性中心和男女两性的二元性别意识．虽然李碧华的小说仍没有摆脱传统的爱情主题的巢臼，但是她却敢于打破惯常的叙述模式，创造了自己独特的女性话语。一群旧式女子在这一当今新女性的笔尖上傲妙地舞蹈，在现代的文化语境中追逐着自己的爱情． 三是通过对女性关于自我和爱情的不断追求与最终幻灭的哀叹，表达了对女性悲剧命运的怜悯与反思。一方面，那些在李碧华笔下复活的古代女子们，总是以其不顾一切的生命追求演绎了一出出“惊天地，泣鬼神”的爱情悲剧，让人看了血脉喷张、心潮奔涌．李碧华用现代的笔法与中国传统的文学相结合，写出了在中国传统道德与政治权力机制下女人的独立人格，使女人在男权统治中不再是男人的精神附庸，不再是逆来顺受的弱势群体，努力建构一个独立自主的女性世界。另一方面，李碧华敏感地意识到，女性的命运虽历经漫长的时光却并没有得到质的改变，她们无一例外地成为男权中心的牺牲品。李碧华在考察女性命运时，着眼于从文化传承的角度透视女性自身的个性与人格缺陷，她清楚地看到了女性的抗争在与强悍的男权文化较量中所暴露出的软弱、无力．男性依然处在统治和支配的位置上，女性总是无法摆脱男权主义的桎梏困境，这也许就是李碧华笔下的女性最终悲剧结局的根源所在。 第三章通过对李碧华小说中“通俗”与“不俗”的解读，指出了她新女性主义小说的创新意义。 从某种意义上说，李碧华小说具有通俗小说的审美特征。一是小说的主题指向多是对传统情爱故事的别样演绎。她的小说并非一般意义上的言情作品，其中有超出情爱的更加丰富的内涵，往往在历史、社会、美学、哲学等层面上给人深层次的思索．二是身处香港商业环境下的李碧华，通过文学—电影—文学的创作模式，走出了一条文学与市场相结合的商业化的道路，实现了文学的文化消费与市场消费的有机统一，在雅与俗之间找到了一个相对平衡的支点。 同时，独特的女性视角成就了李碧华小说的不俗之处．一是她书写女性问题的手法新颖．她擅长旧曲新唱，通过对古老故事或者传奇的重新构建，书写现代，戏谑古今，以另类的视角解读当下。在文本与文本、文本与历史文化的多重互涉下，李碧华小说中的新文本常常是对旧文本的颠覆和改写，从而达到一种新鲜的、陌生的、类戏剧化的戏仿与反讽的艺术效果，在她的笔下，原本被压抑的一切都可以获得一种精神上的话语狂欢，形成了一种无形的艺术张力．二是她思考女性问题的角度独特．首先，她通过凄丽华美的小说世界，诉说了以男性为本位的传统文化对女性的束缚和戕害。李碧华在对中国传统的主体性文化的选择与诘问中，既有着智者的质疑，亦有着宿命的感叹，既有一种深沉的哲学反思，同时掺进了传统文化的阴影侵入，从而对传统文化的主体性构成了一种联合的围剿。其次，她在小说中不仅张扬了女性的主体精神，同时也对女性的人格进行了更深层次的挖掘和自我审视，指出了长期男权主义桎梏下的女性历史局限性．李碧华清醒地意识到，女性尚未具备成熟的现代独立人格，显在为刚强对抗与隐在为奴性依附的双重人格使女性一直走不出追求—幻灭—沉沦的悖论怪圈与历史阴影。 可以说，李碧华在小说中已开始走出单一的社会批判以及一般意义悲剧性格的批判，而从历史、文化的层面探寻女性命运的变迁，解构着传统的伦理道德和审美观念，表现出对女性生命价值的肯定，弘扬一种永恒的女性美德。其批判的触须不仅指向现实中的男人，而更多地指向传统文化观念对女性的压抑以及女性自身的心理缺陷，从而开辟了一个女性自我寻找、自我审视与反思的领域，使女性文学走出了男女两性单一的性别对抗，更深刻地透视了以男性为本位的传统文化，最终力图构建一种平等和谐的新型两性关系，体现了她新女性主义的文学视角。 结语部分探讨了李碧华新女性主义色彩的小说创作研究给予我们的启示与反思。一是印证了“严肃文学”与“通俗文学”二元对立的非科学性；二是驳斥了香港是“文化沙漠”的质疑；三是丰富了女性主义的文学内涵，彰显了她小说创作的社会意义和审美价值。
10.学位论文 陈瑞红 论《法国中尉的女人》与《德伯家的苔丝》的互文关系 2007
约翰·福尔斯(1926-2005)被认为是英国二十世纪最伟大的小说家之一. 他的小说以其现实主义与存在主义神秘色彩的完美结合而著称.在福尔斯的作品中,《法国中尉的女人》是最受欢迎的小说.这部小说可以让我们同时领略到英国传统小说和常以互文为特点的后现代小说的魅力.到目前为止,评论家们已采用了多种文学理论来研究蕴含在这部小说中的丰富含义,写出了大量的文学评论专著和文章.早期的评论者们对作品的女性主义思想和追求真实人性的主题已做过探讨,但几乎没有人应用互文理论来全面研究它与哈代威塞克斯小说的代表作《德伯家的苔丝》的互文关系,进而研究不同作家对同一历史时期背景(维多利亚时期)下对存在主义主题的不同纪录.本文的目的在于探讨先前对两部作品中的研究中被完全忽视或部分忽视的互文关系.
本文共有五部分.第一章简单介绍了作家约翰·福尔斯和他的代表作《法国中尉的女人》.说明尽管已存在众多有价值的评论文章,但从互文理论的观点来看,对《法国中尉的女人》的解释仍然是开放的.第二章概述了互文理论并在此基础上研究了两部作品中故事情节和人物模式上的互文关系,为进一步阐述做了准备.第三章追溯了两位作家体现在各自作品中的世界观,即福尔斯的存在主义和哈代的宿命论.基于不同的历史时期和对社会的不同看法,哈代给自己的作品蒙上了一层悲观主义的色彩,而福尔斯的存在主义是比较乐观的.福尔斯正是利用这个区别使《德伯家的苔丝》成为福尔斯的潜文本来凸显存在主义的自由和选择的主题.为了研究《德伯家的苔丝》作为潜文本的意义,第四章和第五章对比研究了苔丝和萨拉这两位女主人公.因为这两个人物分别是两位作家思想的代言人.第四章详细对比两位女主人公不同的达尔文主义的命运:萨拉是一个新物种和幸存者,苔丝是被淘汰者.第五章分析萨拉摒弃维多利亚时期的传统道德观众提倡自由和独立的新女性形象,挑战了苔丝作为男权社会传统道德的牺牲品命运.因此,本文结论是通过挑战哈代悲观的宿命论和《德伯家的苔丝》中人物的悲剧命运,福尔斯在《法国中尉的女人》中传达了存在主义自由和选择的主题。
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下载时间：2009年12月13日