第一篇：(英语毕业论文)《双城记》中的罪恶主题分析
英语专业全英原创毕业论文，是近期写作，公布的题目可以用于免费参考（贡献者ID 有提示）
最新英语专业全英原创毕业论文，都是近期写作
浅析嘉莉妹妹成功的原因
论《野性的呼唤》中对人和自然和谐的呼唤 《第二十二条军规》中的黑色幽默 从《在路上》看“垮掉的一代”
从目的论角度浅析《阿甘正传》字幕翻译 The Darkness in Oscar Wilde’s Fairy Tales 《献给艾米丽的玫瑰》中艾米丽的命运分析 约翰.斯坦贝克女性观流变初探 如何提高小学生对英语学习的兴趣 McDonald’s Success
交际教学法在当前高中外语教学过程中的实效性 Puritanism in The Scarlet Letter 非英语专业大学生英语学习动机调查 从文化内涵的角度看汉语动物习语的英译
On China English as A Localized Variety of English and its Implications for ELT 英汉委婉语中体现的文化异同
从关联翻译理论看《圣经》汉译过程中的关联缺失 维多利亚时期的艺术对文学的影响——以白衣女人为例 《呼啸山庄》的哥特式传统
美国战争电影的人性和文化透视－－以《拯救大兵瑞恩》为例 中西方送礼文化差异分析
从《绝望主妇》看美国人的婚姻观
女性意识的觉醒——评《雨中的猫》中的人物对比描写 从功能对等理论看汉语文化负载词的英译
The Similarities and the Differences between Gu Hongming and Lin Yutang 中国英语学习者道歉言语行为的中介语石化现象 文化视角下的英汉习语对译 分析《雾都孤儿》中的讽刺手法
从接受美学角度看中英旅游文本的翻译 从《红楼梦》和《简爱》看中西方女性主义 《围城》英译文本中隐喻的翻译策略 《圣经》对英语习语的影响
The Revival of Benevolence Through Pip's Eyes in Great Expectations 评析艾米莉狄更生及其诗歌
论小学英语教学中的词汇教学策略
中西方文化差异在初中英语词汇教学中的体现 流行语的翻译
中西方饮食文化对比
文化差异对中美商务谈判的影响
从《卡斯特桥市长》看哈代作品中的宿命论色彩 言语幽默的功能对等翻译
功能对等视角下记者招待会古诗词翻译策略研究 英语专业全英原创毕业论文，是近期写作，公布的题目可以用于免费参考（贡献者ID 有提示）
中英姓名文化内涵的探究
从《夜莺与玫瑰》看王尔德唯美主义的道德观 45 浅析哈克贝利的叛逆精神
The Changes of Women’s Status in China and Western Countries 47 论《爱玛》中的反讽
浅析《麦田守望者》主人公霍尔顿 49 伍尔芙的人生经历对其小说创作的影响 50 浅析《还乡》中爱格敦荒原的象征意义
An Application of Schema Theory in Interpreting 52 商务英语合同的翻译特点及策略研究 53 浅析《了不起的盖茨比》中的象征 54 论《第二十二条军规》的写作手法
A Study of Stylistic Features and Translation of Journalistic English 56 论双性同体理论下的《达洛卫夫人》 57 解析名词化与商务语篇的汉英翻译 58 交际法在中学英语教学中的运用 59 试析《傲慢与偏见》中的书信 60 《玻璃动物园》中的逃避主义解读 61 从关联理论看商务信函的礼貌策略
英汉基本色彩词的种类、特点与其文化映现对比 63 论《白象似的群山》中海明威独特的写作风格 64 解析凯瑟琳的爱情与婚姻之分离 65 科技英语中被动句的语篇功能探析
English Teaching and Learning in China's Middle School 67 论科技英语新词的翻译
教师身势语在英语口语教学中的应用
从《远离尘嚣》看托马斯哈代的生态自然观 70 英语专业学生词汇附带习得 71 凝视与对抗：《屋顶丽人》中的两性战争
从目的论角度看英语电影片名翻译——以基本颜色词为例 73 《无名的裘德》中哈代的宗教思想探讨 74 论《红字》中的奇异情景
英语新闻中批评性语篇的对比分析
浅谈英汉谚语的翻译——从跨文化角度出发 77 论小说《看不见的人》中的象征主义
The Victims of Upper Class: A Comparative Study on the Two Heroes of The Great Gatsby and Tender Is the Night 79 中西文化心理差异分析—以饮食习俗为视角 80 浅谈一些英美文学作品中的猫形象
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 《小妇人》中教养方式的分析 85 论中西方零售业企业文化的对比 英语专业全英原创毕业论文，是近期写作，公布的题目可以用于免费参考（贡献者ID 有提示）
从《徳伯家的苔丝》看哈代的贞操观和道德观 87 衔接理论在科技语篇英译汉中的应用
Difference between Chinese Buddhism and American Christianity 89 浅析《德伯维尔家的苔丝》中造成苔丝悲剧的因素
从《好事一小件》和《洗澡》的对话对比分析看人物形象塑造的差异 91 中介语对二语习得的影响探究
An Analysis of Gothic Features in Poe’s The Cask of Amontillado 93 高中英语新课标在xx中实施情况调查与分析 94 论《傲慢与偏见》中简奥斯丁的女性意识 95 学习策略与听力理解
探寻《呼啸山庄》的道德意义
形成性评价在培养学生英语学习自主性中的作用 98 论小说与电影《最后的大亨》的叙事特征 99 英语广告的批评性话语分析
论《太阳照常升起》中“迷惘一代”的反叛与抗争 101 挣扎与妥协——浅析达洛维夫人的内心矛盾 102 浅析《老人与海》中的悲剧色彩
论西尔维娅.普拉斯诗歌中的死亡意象 104 美国影视剧中的俚语翻译
论《红字》中海斯特的女性主义
The Function of Symbols in the Feminist Novel Possession 107 《汤姆索亚历险记》的艺术魅力 108 《追风筝的人》中阿米尔的性格分析
通过对比研究看电影《小红帽》对经典童话小红帽的颠覆 110 英语词汇学习存在的问题及对策研究 111 《喜福会》体现的中美家庭观念冲突解析 112 论网络英语的特征
论《麦田里的守望者》中的象征体系及霍尔顿的精神世界 114 美国电影文学中种族歧视现象研究 115 试析《老人与海》的悲喜色彩
论色彩在《红字》中的运用与艺术效果 117 企业行为管理的共同价值观浅析
The Impact of Loan Words on English Vocabulary 119 凝视与对抗：《屋顶丽人》中的两性战争 120 解读杰克.伦敦的《热爱生命》
《哈姆雷特》中不言而喻的隐喻魅力(开题报告+论文+文献综述)122 从语用学角度看广告英语中的模糊表达 123 语法翻译法视角下的中学生英语家教辅导 124 清明节与万圣节的比较
论《芒果街上的小屋》汉译本中的异化策略()126 探析《蝴蝶梦》中的悬念写作手法 127 英语中常用修辞格
论《白鲸》主角的悲剧实质 129 中美幽默的比较 英语专业全英原创毕业论文，是近期写作，公布的题目可以用于免费参考（贡献者ID 有提示）
从象征主义手法的运用浅析弗图纳多之死
A Diachronic Study on Sexism in English Lexicon 132 毕业论文]比较《荆棘鸟》和《金锁记》小说中女性婚姻爱情悲剧原因 133 An Embodiment of Virtue－－-A Moral Insight into the Image of Tess 134 论《呼啸山庄》中人性的转变
修辞在政治演讲中的作用－－以奥巴马获胜演讲为例 136 从女性主义角度解读惠特曼的《草叶集》
On Translation Strategies of Online Subtitle Translation Group 138 《了不起的盖茨比》中黛西的女性主义分析 139 Analysis of The sound and the Fury 140 Pronunciation Problems in English Language Teaching 141
探究马克吐温的反奴隶制观—对《哈克贝利费恩历险记》中吉姆的分析 143 《智血》中主要人物生命历程解读（开题报告+论）144 论《推销员之死》基于传统希腊悲剧的发展
对比评析《了不起的盖茨比》中尼克和盖茨比的梦想 146 从合作原则看《傲慢与偏见》中的会话含义 147 凯特.肖邦《觉醒》中女主人公女性意识的觉醒 148 试论提高初中英语作业的效果
Characteristics of English Slang and Their Social Functions 150 A Study of Narrative Voice in Jodi Picoult’s My Sister’s Keeper 151 论中美广告中所反映的文化价值观差异 152 从《远大前程》看狄更斯的家庭理想
153 高中英语新课标在xx中实施情况调查与分析 154 《人鼠之间》中两主人公乔治和雷尼的对比分析 155 对罗伯特.弗罗斯特自然诗的尝试性研究 156 从跨文化角度看导游词翻译的词汇空缺现象 157 海明威文学作品中青年和老年人物关系对比探究
158 Cultural Differences between English and Chinese Proverbs and Their Translation Strategies 159 《呼啸山庄》的悲剧分析
160 英汉基本颜色词的文化内涵对比研究 161 从关联理论看中国电影名称的翻译 162 电影片名翻译的研究
163 从功能理论角度分析电影《点球成金》字幕翻译 164 从追求走向幻灭与死亡——谈马丁.伊登的美国梦 165 嘉莉悲剧的原因探析 166 商务英语谈判的语言技巧
167 以《老友记》为例浅析美式幽默 168 人性，社会结构与格列佛游记 169 高中英语词汇教学策略
170 解析斯嘉丽的性格及其对现代社会女性的借鉴意义 171 从归化与异化的角度研究《金锁记》的翻译策略 172 浅析《看不见的人》中的第一人称叙述策略 173 徒劳的追求——对《宠儿》中黑尔的悲剧分析 英语专业全英原创毕业论文，是近期写作，公布的题目可以用于免费参考（贡献者ID 有提示）
174 《吉檀迦利》中的泛神论思想 175 A Tragedy of Ambition on Macbeth 176 对文化差异引起的误译的研究
177 On the Combination of Romanticism and Realism in John Keats’s Poems 178 理智的动人诗篇——《马语者》
179 从康妮的视角分析《查特莱夫人的情人》中劳伦斯的性爱观 180 外贸英文函电中委婉语的特点及应用研究 181 广告英语的语言特色
182 Cultural Differences in Sino-US Business Negotiation 183 浅析奥斯卡王尔德童话作品中的唯美主义思想 184 论海明威的《老人与海》
185 A Comparative Study of the Character of Tess and Jane Eyre 186 从合作原则违反角度分析《破产姐妹》中的幽默话语
187 When Chinese Tradition Meets Western Culture: Comparison between Qi Xi and Valentine’s Day 188 《雾都孤儿》中的反犹主义
189 浅析马拉默德小说《店员》中的“犹太性” 190 关于中美大学生消费观异同的文化分析 191 如何有效做好交替传译笔记
192 《红楼梦》英译中双关语文化成分的翻译策略研究 193 论苹果手机在中国的市场战略 194 从女性主义解读《威尼斯商人》 195 浅谈汉英时间隐喻的文化异同 196 从中西文化差异角度谈品牌翻译
197 从美学角度分析英文电影《阿凡达》的汉语翻译 198 删译在中英诗歌翻译中的应用 199 爱伦坡《泄密的心》的恐怖效果
200 非英语专业学生学习英语的动机和策略调查
第二篇：《双城记》英语读后感
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 —— “love”.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：双城记英语读后感
双城记英语读后感-双城记读后感-英语论文
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：双城记英语读后感-双城记读后感
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：《双城记》分析
医生为什么会“发病”
——简评《双城记》里马内特医生的“病态”形象
【摘要】《双城记》里马内特医生是一个正直善良的人，在巴士底狱的经历使他神经错乱，在与女儿相认后还发作了两次；马内特医生的这一“发病”的细节是作者狄更斯有意安排而不是纯粹的精神病；作者借此批判封建贵族，表达自己家庭幸福、家庭至上的思想，并一如既往地对人性进行探讨。
【关键词】双城记
马内特医生
病态形象
“狄更斯是一位塑造怪人的巨匠。”①从最早的成名之作《匹克威克外传》里的匹克威克到后期《远大前程》里的斯巴塞太太，狄更斯描绘了一个庞大的“怪人”家族。这些“怪人”可分为多类，有生理上的怪，如《大卫·科波菲尔》中希普又粘又湿的手像青蛙一样，让人厌恶；《老古玩店》中的奎尔普长相丑陋，像一条伸出舌头的狗，而且他能吃带壳的鸡蛋、喝滚烫的茶。也有是性格、行动具有某种突出的怪癖，如《老古玩店》里的吐伦特老头，奎尔普的小厮等。
在《双城记》里面也存在着这么一些“怪人”。首先是马内特家的仆人普洛斯小姐，她粗鲁无知而又瞧不起人。在她看来无人配得起美丽高贵的马内特小姐，除了她的弟弟所罗门。但实际上所罗门却是一个逃亡到法国、为法国革命派获取情报的街头小混混。其次是无私的西德尼·卡顿，他满腹才华，但却与世格格不入，因此自甘堕落，终日在酗酒和慵懒中度过。他率性任为，但却可以为了爱情放弃一切，包括自己的生命。
值得一提的是马内特医生。他善良、正直、富于正义感。年轻时他目睹了厄弗里蒙地侯爵兄弟虐杀农民的惨象，并不惧侯爵的强大势力勇于写信向朝廷告发，因此而被捕入狱。在狱中他受尽折磨并失去了理智，只能借助做鞋——“一套有规律的两手倒来倒去的动作”②来麻痹自己。即使是出狱后，医生仍然带上 ①②任明耀《狄更斯作品中的“怪人”形象》，《外国文学研究》1981年第四期
狄更斯（英）：《双城记》.石永礼，赵文娟译.—北京：人民文学出版社，1993.10 他做鞋时坐的板凳和那双永远做不完的女式鞋子，并在之后的多个场合痴痴地重复做鞋，仿佛回到了在巴士底狱的日子。小说就描绘了这样一个被崇高精神包裹的“怪人”形象，与普洛斯小姐和卡顿不同的是，医生的怪是带有“病态”性质的，是经受多年压抑而生成的精神病。但对于注重细节和象征意义的狄更斯来说，这又绝对不仅仅是一种精神病，与“板凳”、“做鞋”结合在一起的“病态”形象含义是深刻的。
医生在小说当中“发病”共出现了三次：在医生未与女儿相认前，他一直处于迷糊非理智的状态，这可归为一；二是马内特小姐蜜月离开期间的九天；三是达奈离开英国后第二次被捕，医生求救无门的那天晚上，医生像疯了一般呜咽着找板凳和未做完的鞋。在这期间连马内特小姐“有几次她的魔力也失效”，③来到法国前，医生一直把板凳和鞋这些会勾起痛苦回忆的东西放在身边，“有时，他在夜深人静时起床，我们在楼上听到他在卧室里走来走去，走来走去。”④
赵炎秋先生在《多元整一：狄更斯长篇小说的结构特点》⑤一文中提到：“狄更斯长篇小说结构的典型模式是多元整一。”在《双城记》里有五个整齐的结构单元，马内特医生的经历被放在突出的位置并贯穿起作品的五个结构单元，而医生的“病态”形象又始终伴随着马内特医生。为什么作者要把让人爱怜仰望的医生放在近乎癫狂的状态中并贯穿始终呢？我想这不能用简单的“精神病”来解释，而是寄托着作者深刻的思想的。
一、对骄奢跋扈的封建贵族的批判。
马内特医生在巴士底狱备受折磨，此时他的心中充满了恨意。这既有对厄弗里蒙地侯爵扭曲人性的恨，又有自己不能保护怀孕的妻子的恨。有一段时期他想妻子肚子里未出生的孩子“是不是个儿子，有一天能为他的父亲报仇”⑥，他在信里悲愤地写道：“我相信那血红的十字会要他们（厄弗里蒙地侯爵兄弟）偿命了，他们也得不到上帝的宽恕。„„我向上天，向人间控告他们。”⑦
正义、对妻子和未出生的孩子的爱恋、仇恨——不同的情感在马内特医生 ③④狄更斯（英）：《双城记》.石永礼，赵文娟译.—北京：人民文学出版社，1993.10，78页 狄更斯（英）：《双城记》.石永礼，赵文娟译.—北京：人民文学出版社，1993.10，98页 ⑤ 赵炎秋：狄更斯长篇小说研究，社会科学文献出版社，1996.2,289页 ⑥狄更斯（英）：《双城记》.石永礼，赵文娟译.—北京：人民文学出版社，1993.10，192页 ⑦狄更斯（英）：《双城记》.石永礼，赵文娟译.—北京：人民文学出版社，1993.10，341页 的心底交错冲击。医生不停地做一双女式鞋，身体的忙碌可以麻痹身心，可以借此慰藉对妻子的思念，同时作者更是以这种扭曲的变态行为引起人们对善良品性的同情和热爱，进一步揭示了以厄弗里蒙地侯爵为代表的封建贵族的残忍。善良的品性却招致如此厄运，美与丑形成二元对立，更具批判意义。
二、家庭和爱的力量。
狄更斯的家庭生活并不十分幸福，他的父亲挥霍无度，母亲也不善管理家务，因此整个家庭经常陷入贫困的深渊。狄更斯12岁被送入皮鞋油厂当童工，尝尽屈辱和酸辛。结婚的妻子与狄更斯性格思想不和，这对狄更斯来说又是一个打击。在现实生活得不到家庭的温暖和稳定，作者便在作品中表达自己对幸福家庭的追求与渴望。
马内特医生在女儿到来之前一直待在仆人德法日的楼阁上，日以继夜地做鞋，他重复做的不是男鞋，不是儿童鞋，而是女鞋，这表现马内特医生对妻子的思念，于此医生的“病态”可看成是美好爱情的寄托，同时也是作者对纯真幸福爱情的向往。狄更斯思想的核心是资产阶级人道主义，他认为决定人的价值的是心灵的善恶。如《双城记》的卡顿，他为了自己所爱的人马内特小姐的爱人查尔斯·达奈，牺牲了自己的生命，被作者奉为献身精神的典范；而德法日夫妇要求杀人，则被作为反面的典型，最后也只能是以死告终。爱在狄更斯的小说当中是富有力量的。女儿（家庭的爱的化身）的到来使他慢慢地恢复理智并幸福地生活在一起，这也是家庭的爱的体现之一。其次，当知道自己的女婿达奈的真实身份后，医生对女儿的爱与对厄弗里蒙地家族的恨交织在一起，使得他再度精神失控，旧病复发，连续做了九天的鞋。在这里不停地做鞋子的“病态”象征着爱与恨的斗争过程，最后的结果是女儿和家庭的爱占了上风，医生在女儿蜜月度假归来时内心得到了平静，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“旧病复发”也可体现这一点，医生因无力帮助到女儿而差点下跪，大声疾呼：“别折磨一个孤苦的可怜人了，„„把我的那些东西还给我！那双鞋要是今晚上做不完，我们怎么办呢？”⑧女儿心爱的丈夫达奈将永远地死去，那就意味着一个幸福家庭的瓦解、爱的破灭。医生意识到这一点，做 ⑧狄更斯（英）：《双城记》.石永礼，赵文娟译.—北京：人民文学出版社，1993.10，352页 鞋的“病态”再一次成了幸福家庭的象征，马内特医生在幸福的家庭即将失去之际疯狂地疾呼、寻找。
由此看来，马内特医生的“病态”形象象征着作者对家庭的爱的追求，体现了狄更斯的思想核心。
三、对人性的关注和探索。
高尔基曾经指出，狄更斯“出奇的精通最难的艺术——热爱人类的艺术”。⑨人是狄更斯一直关注的中心，也是其小说的中心。即便从马内特医生这一不起眼的“病态”形象我们也能看出作者在人性探讨方面所做的努力。
1、人的渺小与无能为感。
这主要是由人和自己的创造物之间关系的异化造成的。仁慈、正直是人类的美好品性，我们赞美它、称颂它，但马内特医生就是因为未泯的仁慈和正直的天性把自己送进了巴士底狱。医生在巴士底狱写下控诉厄弗里蒙地家族的血泪书，最终这封信却成了毁灭家庭幸福的有力工具。
在强大的体制和封建势力面前，个人仿佛是蛛网中的小虫，越是挣扎，越是欲罢不能。马内特医生在女儿结婚时“发病”，在得不到革命派的承认而无力救达奈时“发病”，一旦病症发作就嚷着要做鞋。医生已经搞不清楚自己和创造物之间的关系为什么会如此的错乱，唯有做鞋是明确的，有规律的重复能缓解由错乱引起的痛苦。
2、自我欲望的宣泄。
人是具有灵性、有情欲的动物。马内特医生在巴士底狱里备受压抑，身体上难以自由，精神上也备受苦恨和思念的折磨，自我处于失落的状态。马内特医生说他害怕看到阳光，热烈的太阳代表着光明，代表着欲望，这与他的生存环境是格格不入的。因此他终日在黑暗中不停地有规律地重复做鞋、做鞋，“鞋”在这里成了欲望的象征，做鞋就是自我欲望的无意识宣泄。
人性是超越时空的，在1940年的中国，伟大作家萧红在《后花园》塑造的冯二成子形象唱响了封建侵蚀下人性失落的哀歌。后花园一 ⑨ 高尔基：《在人间》 片生机，那是冯二成子情欲的衬托。冯二成子不但不能选择自己的人生道路，连人人共有的情欲也受到外界的压抑。在没见到姑娘前，他的人生是不完整的，他的欲望也得不到满足，冯二成子选择深夜打梆子正是人的欲望的宣泄。不同国度不同时代的伟大作家在揭露人性上实现了共鸣。
3、自我力量的肯定。
人不仅具有情欲，也有追求自由的意识，希望自己支配、控制自己。但在马内特医生身上，我们看到的却是自由意识的失落和自我力量的淹没。黑夜是寂静的，重复的做鞋动作是动态的，马内特医生在绝对的动态中才能感受到自我的存在。
医生无力救达奈时他又“发病”了，这是因为面对着无序黑暗的社会，他像在巴士底狱一样再次发现了自身的无能为力，因此发疯地寻找板凳和鞋子，把对自我力量的肯定寄托在鞋子上，做鞋在此成了对肯定自我的象征。
狄更斯对人性的探讨是具有深刻意义的，从马内特医生身上我们便可洞察19世纪后期刚完成资本原始积累的英国社会民众心灵的渴望与困惑。
中国古语云：“情动于中，则形于外”，内心世界不容易被人直接感知，但它却可以通过人的外部世界如言论、行动、表情等间接地反映出来。不得不说狄更斯是善于通过外部形象展示人物的内心世界的，从表面看我们只知道马内特医生是一个正直、仁慈、善良的大好人，但作者描绘的这一“病态”的形象（具体表现为丧失理智般疯狂地做鞋）则使马内特医生的形象得到很大的丰富，以小见大，颇具玩味。
参考文献：1、2、3、赵炎秋：狄更斯长篇小说研究，社会科学文献出版社 郑克鲁：外国文学史，北京—高等教育出版社，2006.6 王治国：狄更斯传略，上海文艺出版社，1991.11
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