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楼主: 海外逸士

【連載】提供《高級英語教程》

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 楼主| 发表于 2012-1-9 22:14:24 | 显示全部楼层
本帖最后由 雨荷风 于 2015-10-7 17:21 编辑

thanks.  the same to you.

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 楼主| 发表于 2012-1-14 21:32:44 | 显示全部楼层
高級英語教材第16課

先讀課文﹕
The Necklace項鏈
by Guy De Maupassant莫泊桑

She was one of those pretty and charming girls born, as though fate had
blundered over her, into a family of artisans. She had no marriage portion,
no expectations, no means of getting known, understood, loved, and wedded
by a man of wealth and distinction; and she let herself be married off to
a little clerk in the Ministry of Education. Her tastes were simple because
she had never been able to afford any other, but she was as unhappy as though
she had married beneath her; for women have no caste or class, their beauty,
grace, and charm serving them for birth or family, their natural delicacy,
their instinctive elegance, their nimbleness of wit, are their only mark
of rank, and put the slum girl on a level with the highest lady in the land.

     She suffered endlessly, feeling herself born for every delicacy and
luxury. She suffered from the poorness of her house, from its mean walls,
worn chairs, and ugly curtains. All these things, of which other women of
her class would not even have been aware, tormented and insulted her. The
sight of the little Breton girl who came to do the work in her little house
aroused heart-broken regrets and hopeless dreams in her mind. She imagined
silent antechambers, heavy with Oriental tapestries, lit by torches in lofty
bronze sockets, with two tall footmen in knee-breeches sleeping in large
arm-chairs, overcome by the heavy warmth of the stove. She imagined vast
saloons hung with antique silks, exquisite pieces of furniture supporting
priceless ornaments, and small, charming, perfumed rooms, created just for
little parties of intimate friends, men who were famous and sought after,
whose homage roused every other woman's envious longings.
     When she sat down for dinner at the round table covered with a three-days-
old cloth, opposite her husband, who took the cover off the soup-tureen,
exclaiming delightedly: "Aha! Scotch broth! What could be better?" she imagined
delicate meals, gleaming silver, tapestries peopling the walls with folk
of a past age and strange birds in faery forests; she imagined delicate
food served in marvellous dishes, murmured gallantries, listened to with
an inscrutable smile as one trifled with the rosy flesh of trout or wings
of asparagus chicken.
<  2  >
     She had no clothes, no jewels, nothing. And these were the only things
she loved; she felt that she was made for them. She had longed so eagerly
to charm, to be desired, to be wildly attractive and sought after.
     She had a rich friend, an old school friend whom she refused to visit,
because she suffered so keenly when she returned home. She would weep whole
days, with grief, regret, despair, and misery.
                *                *                *
One evening her husband came home with an exultant air, holding a large
envelope in his hand.
     "Here's something for you," he said.
     Swiftly she tore the paper and drew out a printed card on which were
these words:
     "The Minister of Education and Madame Ramponneau request the pleasure
of the company of Monsieur and Madame Loisel at the Ministry on the evening
of Monday, January the 18th."
     Instead of being delighted, as her husband hoped, she flung the invitation
petulantly across the table, murmuring:
     "What do you want me to do with this?"
     "Why, darling, I thought you'd be pleased. You never go out, and this
is a great occasion. I had tremendous trouble to get it. Every one wants
one; it's very select, and very few go to the clerks. You'll see all the
really big people there."
     She looked at him out of furious eyes, and said impatiently: "And what
do you suppose I am to wear at such an affair?"
     He had not thought about it; he stammered:
     "Why, the dress you go to the theatre in. It looks very nice, to me
. . ."
     He stopped, stupefied and utterly at a loss when he saw that his wife
was beginning to cry. Two large tears ran slowly down from the corners of
her eyes towards the corners of her mouth.
<  3  >
     "What's the matter with you? What's the matter with you?" he faltered.

     But with a violent effort she overcame her grief and replied in a calm
voice, wiping her wet cheeks:
     "Nothing. Only I haven't a dress and so I can't go to this party. Give
your invitation to some friend of yours whose wife will be turned out better
than I shall."
     He was heart-broken.
     "Look here, Mathilde," he persisted. "What would be the cost of a suitable
dress, which you could use on other occasions as well, something very simple?"

     She thought for several seconds, reckoning up prices and also wondering
for how large a sum she could ask without bringing upon herself an immediate
refusal and an exclamation of horror from the careful-minded clerk.
     At last she replied with some hesitation:
     "I don't know exactly, but I think I could do it on four hundred francs.
"
     He grew slightly pale, for this was exactly the amount he had been
saving for a gun, intending to get a little shooting next summer on the
plain of Nanterre with some friends who went lark-shooting there on Sundays.

     Nevertheless he said: "Very well. I'll give you four hundred francs.
But try and get a really nice dress with the money."
     The day of the party drew near, and Madame Loisel seemed sad, uneasy
and anxious. Her dress was ready, however. One evening her husband said
to her:
     "What's the matter with you? You've been very odd for the last three
days."
     "I'm utterly miserable at not having any jewels, not a single stone,
to wear," she replied. "I shall look absolutely no one. I would almost rather
not go to the party."
<  4  >
     "Wear flowers," he said. "They're very smart at this time of the year.
For ten francs you could get two or three gorgeous roses."
     She was not convinced.
     "No . . . there's nothing so humiliating as looking poor in the middle
of a lot of rich women."
     "How stupid you are!" exclaimed her husband. "Go and see Madame Forestier
and ask her to lend you some jewels. You know her quite well enough for
that."
     She uttered a cry of delight.
     "That's true. I never thought of it."
     Next day she went to see her friend and told her her trouble.
     Madame Forestier went to her dressing-table, took up a large box, brought
it to Madame Loisel, opened it, and said:
     "Choose, my dear."
     First she saw some bracelets, then a pearl necklace, then a Venetian
cross in gold and gems, of exquisite workmanship. She tried the effect of
the jewels before the mirror, hesitating, unable to make up her mind to
leave them, to give them up. She kept on asking:
     "Haven't you anything else?"
     "Yes. Look for yourself. I don't know what you would like best."
     Suddenly she discovered, in a black satin case, a superb diamond necklace;
her heart began to beat covetously. Her hands trembled as she lifted it.
She fastened it round her neck, upon her high dress, and remained in ecstasy
at sight of herself.
     Then, with hesitation, she asked in anguish:
     "Could you lend me this, just this alone?"
     "Yes, of course."
     She flung herself on her friend's breast, embraced her frenziedly,
and went away with her treasure. The day of the party arrived. Madame Loisel
was a success. She was the prettiest woman present, elegant, graceful, smiling,
and quite above herself with happiness. All the men stared at her, inquired
her name, and asked to be introduced to her. All the Under-Secretaries of
State were eager to waltz with her. The Minister noticed her.
<  5  >
     She danced madly, ecstatically, drunk with pleasure, with no thought
for anything, in the triumph of her beauty, in the pride of her success,
in a cloud of happiness made up of this universal homage and admiration,
of the desires she had aroused, of the completeness of a victory so dear
to her feminine heart.
     She left about four o'clock in the morning. Since midnight her husband
had been dozing in a deserted little room, in company with three other men
whose wives were having a good time. He threw over her shoulders the garments
he had brought for them to go home in, modest everyday clothes, whose poverty
clashed with the beauty of the ball-dress. She was conscious of this and
was anxious to hurry away, so that she should not be noticed by the other
women putting on their costly furs.
     Loisel restrained her.
     "Wait a little. You'll catch cold in the open. I'm going to fetch a
cab."
     But she did not listen to him and rapidly descended the staircase.
When they were out in the street they could not find a cab; they began to
look for one, shouting at the drivers whom they saw passing in the distance.

     They walked down towards the Seine, desperate and shivering. At last
they found on the quay one of those old nightprowling carriages which are
only to be seen in Paris after dark, as though they were ashamed of their
shabbiness in the daylight.
     It brought them to their door in the Rue des Martyrs, and sadly they
walked up to their own apartment. It was the end, for her. As for him, he
was thinking that he must be at the office at ten.
     She took off the garments in which she had wrapped her shoulders, so
as to see herself in all her glory before the mirror. But suddenly she uttered
a cry. The necklace was no longer round her neck!
<  6  >
     "What's the matter with you?" asked her husband, already half undressed.

     She turned towards him in the utmost distress.
     "I . . . I . . . I've no longer got Madame Forestier's necklace. .
. ."
     He started with astonishment.
     "What! . . . Impossible!"
     They searched in the folds of her dress, in the folds of the coat,
in the pockets, everywhere. They could not find it.
     "Are you sure that you still had it on when you came away from the
ball?" he asked.
     "Yes, I touched it in the hall at the Ministry."
     "But if you had lost it in the street, we should have heard it fall."

     "Yes. Probably we should. Did you take the number of the cab?"
     "No. You didn't notice it, did you?"
     "No."
     They stared at one another, dumbfounded. At last Loisel put on his
clothes again.
     "I'll go over all the ground we walked," he said, "and see if I can't
find it."
     And he went out. She remained in her evening clothes, lacking strength
to get into bed, huddled on a chair, without volition or power of thought.

     Her husband returned about seven. He had found nothing.
     He went to the police station, to the newspapers, to offer a reward,
to the cab companies, everywhere that a ray of hope impelled him.
     She waited all day long, in the same state of bewilderment at this
fearful catastrophe.
     Loisel came home at night, his face lined and pale; he had discovered
nothing.
<  7  >
     "You must write to your friend," he said, "and tell her that you've
broken the clasp of her necklace and are getting it mended. That will give
us time to look about us."
     She wrote at his dictation.

                *                *                *
By the end of a week they had lost all hope.
     Loisel, who had aged five years, declared:
     "We must see about replacing the diamonds."
     Next day they took the box which had held the necklace and went to
the jewellers whose name was inside. He consulted his books.
     "It was not I who sold this necklace, Madame; I must have merely supplied
the clasp."
     Then they went from jeweller to jeweller, searching for another necklace
like the first, consulting their memories, both ill with remorse and anguish
of mind.
     In a shop at the Palais-Royal they found a string of diamonds which
seemed to them exactly like the one they were looking for. It was worth
forty thousand francs. They were allowed to have it for thirty-six thousand.

     They begged the jeweller not to sell it for three days. And they arranged
matters on the understanding that it would be taken back for thirty-four
thousand francs, if the first one were found before the end of February.

     Loisel possessed eighteen thousand francs left to him by his father.
He intended to borrow the rest.
     He did borrow it, getting a thousand from one man, five hundred from
another, five louis here, three louis there. He gave notes of hand, entered
into ruinous agreements, did business with usurers and the whole tribe of
money-lenders. He mortgaged the whole remaining years of his existence,
risked his signature without even knowing if he could honour it, and, appalled
at the agonising face of the future, at the black misery about to fall upon
him, at the prospect of every possible physical privation and moral torture,
he went to get the new necklace and put down upon the jeweller's counter
thirty-six thousand francs.
<  8  >
     When Madame Loisel took back the necklace to Madame Forestier, the
latter said to her in a chilly voice:
     "You ought to have brought it back sooner; I might have needed it."

     She did not, as her friend had feared, open the case. If she had noticed
the substitution, what would she have thought? What would she have said?
Would she not have taken her for a thief?
                *                *                *
Madame Loisel came to know the ghastly life of abject poverty. From the
very first she played her part heroically. This fearful debt must be paid
off. She would pay it. The servant was dismissed. They changed their flat;
they took a garret under the roof.
     She came to know the heavy work of the house, the hateful duties of
the kitchen. She washed the plates, wearing out her pink nails on the coarse
pottery and the bottoms of pans. She washed the dirty linen, the shirts
and dish-cloths, and hung them out to dry on a string; every morning she
took the dustbin down into the street and carried up the water, stopping
on each landing to get her breath. And, clad like a poor woman, she went
to the fruiterer, to the grocer, to the butcher, a basket on her arm, haggling,
insulted, fighting for every wretched halfpenny of her money.
     Every month notes had to be paid off, others renewed, time gained.

     Her husband worked in the evenings at putting straight a merchant's
accounts, and often at night he did copying at twopence-halfpenny a page.

     And this life lasted ten years.
     At the end of ten years everything was paid off, everything, the usurer'
s charges and the accumulation of superimposed interest.
     Madame Loisel looked old now. She had become like all the other strong,
hard, coarse women of poor households. Her hair was badly done, her skirts
were awry, her hands were red. She spoke in a shrill voice, and the water
slopped all over the floor when she scrubbed it. But sometimes, when her
husband was at the office, she sat down by the window and thought of that
evening long ago, of the ball at which she had been so beautiful and so much
admired.
<  9  >
     What would have happened if she had never lost those jewels. Who knows?
Who knows? How strange life is, how fickle! How little is needed to ruin
or to save!
     One Sunday, as she had gone for a walk along the Champs-Elysees to
freshen herself after the labours of the week, she caught sight suddenly
of a woman who was taking a child out for a walk. It was Madame Forestier,
still young, still beautiful, still attractive.
     Madame Loisel was conscious of some emotion. Should she speak to her?
Yes, certainly. And now that she had paid, she would tell her all. Why not?

     She went up to her.
     "Good morning, Jeanne."
     The other did not recognise her, and was surprised at being thus familiarly
addressed by a poor woman.
     "But . . . Madame . . ." she stammered. "I don't know . . . you must
be making a mistake."
     "No . . . I am Mathilde Loisel."
     Her friend uttered a cry.
     "Oh! . . . my poor Mathilde, how you have changed! . . ."
     "Yes, I've had some hard times since I saw you last; and many sorrows
. . . and all on your account."
     "On my account! . . . How was that?"
     "You remember the diamond necklace you lent me for the ball at the
Ministry?"
     "Yes. Well?"
     "Well, I lost it."
     "How could you? Why, you brought it back."
     "I brought you another one just like it. And for the last ten years
we have been paying for it. You realise it wasn't easy for us; we had no
money. . . . Well, it's paid for at last, and I'm glad indeed."
<  10  >
     Madame Forestier had halted.
     "You say you bought a diamond necklace to replace mine?"
     "Yes. You hadn't noticed it? They were very much alike."
     And she smiled in proud and innocent happiness.
     Madame Forestier, deeply moved, took her two hands.
     "Oh, my poor Mathilde! But mine was imitation. It was worth at the
very most five hundred francs! . . . "

1) 生詞自查。
2) 作者介紹﹕Henri Rene Albert Guy de Maupassant (5 August 1850 -- 6 July
1893) was a popular 19th-century French writer, considered one of the fathers
of the modern short story and one of the form's finest exponents.
3) 這個短篇小說告訴讀者﹐不要追慕不自量力的虛榮﹐從而引來可悲的結局。作者
也給我們留下了一個懸念﹕如果女主角的朋友把那串真的鑽石項鏈還給她﹐她的生
活又會怎樣﹖她的人生觀念又會怎樣變化﹖
4) 莫泊桑也是中國讀者熟悉的法國小說作家。這篇項鏈是有名的小說﹐好些課本都
把它收入作為教材。英文的翻譯很通暢。懂法文的人可以找原著讀一下。
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发表于 2012-1-16 20:31:52 | 显示全部楼层
《项链》简写本编入了中国大陆的高中英语教材。谢谢提供!
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 楼主| 发表于 2012-1-21 21:55:15 | 显示全部楼层
高級英語教材第17課

先讀課文﹕
Pygmalion 賣花女
by George Bernard Shaw 蕭伯納
不想老從頭上選起﹐這次選了最後一幕。先看本課最後面的大致劇情介紹。

ACT V
  Mrs. Higgins's drawing-room. She is at her writing-table as before. The
parlor-maid comes in.  
  THE PARLOR-MAID [at the door] Mr. Henry, mam, is downstairs with Colonel
Pickering.   
  MRS. HIGGINS. Well, shew Mbshow} them up.   
  THE PARLOR-MAID. They're using the telephone, mam. Telephoning to the
police, I think.   
  MRS. HIGGINS. What!
  THE PARLOR-MAID [coming further in and lowering her voice] Mr. Henry's
in a state, 指情緒激動或發怒 mam. I thought I'd better tell you.
  MRS. HIGGINS. If you had told me that Mr. Henry was not in a state it
would have been more surprising. Tell them to come up when they've finished
with the police. I suppose he's lost something.   
  THE PARLOR-MAID. Yes, mam [going].   
  MRS. HIGGINS. Go upstairs and tell Miss Doolittle that Mr. Henry and the
Colonel are here. Ask her not to come down till I send for her.   
  THE PARLOR-MAID. Yes, mam.
  Higgins bursts in. He is, as the parlor-maid has said, in a state.
  HIGGINS. Look here, mother: here's a confounded thing!   
  MRS. HIGGINS. Yes, dear. Good-morning. [He checks his impatience and kisses
her, whilst the parlor-maid goes out]. What is it?   
  HIGGINS. Eliza's bolted.   
  MRS. HIGGINS [calmly continuing her writing] You must have frightened
her.   
  HIGGINS. Frightened her! nonsense! She was left last night, as usual,
to turn out the lights and all that; and instead of going to bed she changed
her clothes and went right off: her bed wasn't slept in. She came in a cab
for her things before seven this morning; and that fool Mrs. Pearce let
her have them without telling me a word about it. What am I to do?
  MRS. HIGGINS. Do without, I'm afraid, Henry. The girl has a perfect right
to leave if she chooses.   
  HIGGINS [wandering distractedly across the room] But I can't find anything.
I don't know what appointments I've got. I'm〞 [Pickering comes in. Mrs.
Higgins puts down her pen and turns away from the writing-table].   
  PICKERING [shaking hands] Good-morning, Mrs. Higgins. Has Henry told you?
[He sits down on the ottoman].   
  HIGGINS. What does that ass of an inspector say? Have you offered a reward?
  
  MRS. HIGGINS [rising in indignant amazement] You don't mean to say you
have set the police after Eliza?
  HIGGINS. Of course. What are the police for? What else could we do? [He
sits in the Elizabethan chair].   
  PICKERING. The inspector made a lot of difficulties. I really think he
suspected us of some improper purpose.   
  MRS. HIGGINS. Well, of course he did. What right have you to go to the
police and give the girl's name as if she were a thief, or a lost umbrella,
or something? Really! [She sits down again, deeply vexed].   
  HIGGINS. But we want to find her.   
  PICKERING. We can't let her go like this, you know, Mrs. Higgins. What
were we to do?  
  MRS. HIGGINS. You have no more sense, either of you, than two children.
Why〞
  The parlor-maid comes in and breaks off the conversation.   
  THE PARLOR-MAID. Mr. Henry: a gentleman wants to see you very particular.
He's been sent on from Wimpole Street.   
  HIGGINS. Oh, bother! I can't see anyone now. Who is it?   
  THE PARLOR-MAID. A Mr. Doolittle, sir.   
  PICKERING. Doolittle! Do you mean the dustman?
  THE PARLOR-MAID. Dustman! Oh no, sir: a gentleman.   
  HIGGINS [springing up excitedly] By George {=by God, 驚嘆語}, Pick, it's
some relative of hers that she's gone to. Somebody we know nothing about.
[To the parlor-maid] Send him up, quick.   
  THE PARLOR-MAID. Yes, sir. [She goes].   
  HIGGINS [eagerly, going to his mother] Genteel relatives! now we shall
hear something. [He sits down in the Chippendale chair].
  MRS. HIGGINS. Do you know any of her people?
  PICKERING. Only her father: the fellow we told you about.   
  THE PARLOR-MAID [announcing] Mr. Doolittle. [She withdraws].
  Doolittle enters. He is brilliantly dressed in a new fashionable frock-coat,
with white waistcoat and grey trousers. A flower in his buttonhole, a dazzling
silk hat, and patent leather shoes complete the effect. He is too concerned
with the business he has come on to notice Mrs. Higgins. He walks straight
to Higgins, and accosts him with vehement reproach.   
  DOOLITTLE [indicating his own person] See here! Do you see this? You done
this.   
  HIGGINS. Done what, man?   
  DOOLITTLE. This, I tell you. Look at it. Look at this hat. Look at this
coat.
  PICKERING. Has Eliza been buying you clothes?   
  DOOLITTLE. Eliza! not she. Not half. Why would she buy me clothes?   
  MRS. HIGGINS. Good-morning, Mr. Doolittle. Won't you sit down?   
  DOOLITTLE [taken aback as he becomes conscious that he has forgotten his
hostess] Asking your pardon, maam. [He approaches her and shakes her proffered
hand]. Thank you. [He sits down on the ottoman, on Pickering's right]. I
am that full of what has happened to me that I can't think of anything else.
  
  HIGGINS. What the dickens {=the hell, 驚嘆語} has happened to you?  
  DOOLITTLE. I shouldn't mind if it had only happened to me: anything might
happen to anybody and nobody to blame but Providence, as you might say.
But this is something that you done to me: yes, you, Henry Higgins.   
  HIGGINS. Have you found Eliza? That's the point.   
  DOOLITTLE. Have you lost her?   
  HIGGINS. Yes.   
  DOOLITTLE. You have all the luck, you have. I ain't found her; but she'll
find me quick enough now after what you done to me.
  MRS. HIGGINS. But what has my son done to you, Mr. Doolittle?   
  DOOLITTLE. Done to me! Ruined me. Destroyed my happiness. Tied me up and
delivered me into the hands of middle class morality.   
  HIGGINS [rising intolerantly and standing over Doolittle] You're raving.
You're drunk. You're mad. I gave you five pounds. After that I had two conversations
with you, at half-a-crown an hour. I've never seen you since.   
  DOOLITTLE. Oh! Drunk! am I? Mad! am I? Tell me this. Did you or did you
not write a letter to an old blighter in America that was giving five millions
to found Moral Reform Societies all over the world, and that wanted you
to invent a universal language for him?   
  HIGGINS. What! Ezra D. Wannafeller! He's dead. [He sits down again carelessly].

  DOOLITTLE. Yes: he's dead; and I'm done for. Now did you or did you not
write a letter to him to say that the most original moralist at present
in England, to the best of your knowledge, was Alfred Doolittle, a common
dustman.   
  HIGGINS. Oh, after your last visit I remember making some silly joke of
the kind.   
  DOOLITTLE. Ah! you may well call it a silly joke. It put the lid on me
right enough. Just give him the chance he wanted to shew that Americans
is not like us: that they recognize and respect merit in every class of
life, however humble. Them {their} words is in his blooming {a curse word}
will 遺囑, in which, Henry Higgins, thanks to your silly joking, he leaves
me a share in his Pre-digested Cheese Trust worth three thousand a year
on condition that I lecture for his Wannafeller Moral Reform World League
as often as they ask me up to six times a year.   
  HIGGINS. The devil he does! Whew! [Brightening suddenly] What a lark!
  
  PICKERING. A safe thing for you, Doolittle. They won't ask you twice.

  DOOLITTLE. It ain't the lecturing I mind. I'll lecture them blue in the
face, I will, and not turn a hair. It's making a gentleman of me that I
object to. Who asked him to make a gentleman of me? I was happy. I was free.
I touched pretty nigh everybody for money when I wanted it, same as I touched
you, Henry Higgins. Now I am worrited; tied neck and heels; and everybody
touches me for money. It's a fine thing for you, says my solicitor. Is it?
says I. You mean it's a good thing for you, I says. When I was a poor man
and had a solicitor once when they found a pram in the dust cart, he got
me off, and got shut of me and got me shut of him as quick as he could.
Same with the doctors: used to shove me out of the hospital before I could
hardly stand on my legs, and nothing to pay. Now they finds out that I'm
not a healthy man and can't live unless they looks after me twice a day.
In the house I'm not let do a hand's turn for myself: somebody else must
do it and touch me for it. A year ago I hadn't a relative in the world except
two or three that wouldn't speak to me. Now I've fifty, and not a decent
week's wages among the lot of them. I have to live for others and not for
myself: that's middle class morality. You talk of losing Eliza. Don't you
be anxious: I bet she's on my doorstep by this: she that could support herself
easy by selling flowers if I wasn't respectable. And the next one to touch
me will be you, Henry Higgins. I'll have to learn to speak middle class
language from you, instead of speaking proper English. That's where you'll
come in; and I daresay that's what you done it for.   
  MRS. HIGGINS. But, my dear Mr. Doolittle, you need not suffer all this
if you are really in earnest. Nobody can force you to accept this bequest.
You can repudiate it. Isn't that so, Colonel Pickering?   
  PICKERING. I believe so.   
  DOOLITTLE: [softening his manner in deference to her sex] That's the tragedy
of it, maam. It's easy to say chuck it; but I haven't the nerve. Which of
us has? We're all intimidated. Intimidated, maam: that's what we are. What
is there for me if I chuck it but the workhouse in my old age? I have to
dye my hair already to keep my job as a dustman. If I was one of the deserving
poor, and had put by a bit, I could chuck it; but then why should I, acause
{because} the deserving poor might as well be millionaires for all the happiness
they ever has. They don't know what happiness is. But I, as one of the undeserving
poor, have nothing between me and the pauper's uniform but this here blasted
three thousand a year that shoves me into the middle class. (Excuse the
expression, maam: you'd use it yourself if you had my provocation). They've
got you every way you turn: it's a choice between the Skilly of the workhouse
and the Char Bydis of the middle class; and I havn't the nerve for the workhouse.
Intimidated: that's what I am. Broke. Bought up. Happier men than me will
call for my dust, and touch me for their tip; and I'll look on helpless,
and envy them. And that's what your son has brought me to. [He is overcome
by emotion].   
  MRS. HIGGINS. Well, I'm very glad you're not going to do anything foolish,
Mr. Doolittle. For this solves the problem of Eliza's future. You can provide
for her now.
  DOOLITTLE [with melancholy resignation] Yes, maam: I'm expected to provide
for everyone now, out of three thousand a year.   
  HIGGINS [jumping up] Nonsense! he can't provide for her. He shan't provide
for her. She doesn't belong to him. I paid him five pounds for her. Doolittle:
either you're an honest man or a rogue.   
  DOOLITTLE [tolerantly] A little of both, Henry, like the rest of us: a
little of both.   
  HIGGINS. Well, you took that money for the girl; and you have no right
to take her as well.   
  MRS. HIGGINS. Henry: don't be absurd. If you really want to know where
Eliza is, she is upstairs.
  HIGGINS [amazed] Upstairs!!! Then I shall jolly soon fetch her downstairs.
[He makes resolutely for the door].   
  MRS. HIGGINS [rising and following him] Be quiet, Henry. Sit down.   
  HIGGINS.  I. . .
  MRS. HIGGINS. Sit down, dear; and listen to me.   
  HIGGINS. Oh very well, very well, very well. [He throws himself ungraciously
on the ottoman, with his face towards the windows]. But I think you might
have told me this half an hour ago.
  MRS. HIGGINS. Eliza came to me this morning. She passed the night partly
walking about in a rage, partly trying to throw herself into the river and
being afraid to, and partly in the Carlton Hotel. She told me of the brutal
way you two treated her.   
  HIGGINS [bounding up again] What!   
  PICKERING [rising also] My dear Mrs. Higgins, she's been telling you stories.
We didn't treat her brutally. We hardly said a word to her; and we parted
on particularly good terms. [Turning on Higgins]. Higgins, did you bully
her after I went to bed?   
  HIGGINS. Just the other way about. She threw my slippers in my face. She
behaved in the most outrageous way. I never gave her the slightest provocation.
The slippers came bang into my face the moment I entered the room before
I had uttered a word. And used perfectly awful language.   
  PICKERING [astonished] But why? What did we do to her?
  MRS. HIGGINS. I think I know pretty well what you did. The girl is naturally
rather affectionate, I think. Isn't she, Mr. Doolittle?   
  DOOLITTLE. Very tender-hearted, maam. Takes after me.   
  MRS. HIGGINS. Just so. She had become attached to you both. She worked
very hard for you, Henry! I don't think you quite realize what anything
in the nature of brain work means to a girl like that. Well, it seems that
when the great day of trial came, and she did this wonderful thing for you
without making a single mistake, you two sat there and never said a word
to her, but talked together of how glad you were that it was all over and
how you had been bored with the whole thing. And then you were surprised
because she threw your slippers at you! I should have thrown the fire-irons
at you.   
  HIGGINS. We said nothing except that we were tired and wanted to go to
bed. Did we, Pick?  
  PICKERING [shrugging his shoulders] That was all.
  MRS. HIGGINS [ironically] Quite sure?   
  PICKERING. Absolutely. Really, that was all.   
  MRS. HIGGINS. You didn't thank her, or pet her, or admire her, or tell
her how splendid she'd been.   
  HIGGINS [impatiently] But she knew all about that. We didn't make speeches
to her, if that's what you mean.   
  PICKERING [conscience stricken] Perhaps we were a little inconsiderate.
Is she very angry?
  MRS. HIGGINS [returning to her place at the writing-table] Well, I'm afraid
she won't go back to Wimpole Street, especially now that Mr. Doolittle is
able to keep up the position you have thrust on her; but she says she is
quite willing to meet you on friendly terms and to let bygones be bygones.
  
  HIGGINS [furious] Is she, by George? Ho!   
  MRS. HIGGINS. If you promise to behave yourself, Henry, I'll ask her to
come down. If not, go home; for you have taken up quite enough of my time.
  
  HIGGINS. Oh, all right. Very well. Pick: you behave yourself. Let us put
on our best Sunday manners for this creature that we picked out of the mud.
[He flings himself sulkily into the Elizabethan chair].   
  DOOLITTLE [remonstrating] Now, now, Henry Higgins! have some consideration
for my feelings as a middle class man.
  MRS. HIGGINS. Remember your promise, Henry. [She presses the bell-button
on the writing-table]. Mr. Doolittle: will you be so good as to step out
on the balcony for a moment. I don't want Eliza to have the shock of your
news until she has made it up with these two gentlemen. Would you mind?
  
  DOOLITTLE. As you wish, lady. Anything to help Henry to keep her off my
hands. [He disappears through the window].
  The parlor-maid answers the bell. Pickering sits down in Doolittle's place.
   
  MRS. HIGGINS. Ask Miss Doolittle to come down, please.   
  THE PARLOR-MAID. Yes, mam. [She goes out].   
  MRS. HIGGINS. Now, Henry: be good.
  HIGGINS. I am behaving myself perfectly.   
  PICKERING. He is doing his best, Mrs. Higgins.
  A pause. Higgins throws back his head; stretches out his legs; and begins
to whistle.   
  MRS. HIGGINS. Henry, dearest, you don't look at all nice in that attitude.
  
  HIGGINS [pulling himself together] I was not trying to look nice, mother.
  
  MRS. HIGGINS. It doesn't matter, dear. I only wanted to make you speak.

  HIGGINS. Why?   
  MRS. HIGGINS. Because you can't speak and whistle at the same time.
  Higgins groans. Another very trying pause.   
  HIGGINS [springing up, out of patience] Where the devil is that girl?
Are we to wait here all day?
  Eliza enters, sunny, self-possessed, and giving a staggeringly convincing
exhibition of ease of manner. She carries a little work-basket, and is very
much at home. Pickering is too much taken aback to rise.   
  LIZA. How do you do, Professor Higgins? Are you quite well?   
  HIGGINS [choking] Am I?  [He can say no more].
  LIZA. But of course you are: you are never ill. So glad to see you again,
Colonel Pickering. [He rises hastily; and they shake hands]. Quite chilly
this morning, isnt it? [She sits down on his left. He sits beside her].
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 楼主| 发表于 2012-1-21 21:56:32 | 显示全部楼层

  HIGGINS. Don't you dare try this game on me. I taught it to you; and it
doesn't take me in. Get up and come home; and don't be a fool.
  Eliza takes a piece of needlework from her basket, and begins to stitch
at it, without taking the least notice of this outburst.   
  MRS. HIGGINS. Very nicely put, indeed, Henry. No woman could resist such
an invitation.   
  HIGGINS. You let her alone, mother. Let her speak for herself. You will
jolly soon see whether she has an idea that I havn't put into her head or
a word that I havn't put into her mouth. I tell you I have created this
thing out of the squashed cabbage leaves of Covent Garden 倫敦地名。他在
那裡碰到賣花女; and now she pretends to play the fine lady with me.   
  MRS. HIGGINS [placidly] Yes, dear; but you'll sit down, won't you?
  Higgins sits down again, savagely.
  LIZA [to Pickering, taking no apparent notice of Higgins, and working
away deftly] Will you drop me altogether now that the experiment is over,
Colonel Pickering?   
  PICKERING. Oh don't. You mustn't think of it as an experiment. It shocks
me, somehow.   
  LIZA. Oh, I'm only a squashed cabbage leaf!   
  PICKERING [impulsively] No.   
  LIZA [continuing quietly] but I owe so much to you that I should be very
unhappy if you forgot me.
  PICKERING. It's very kind of you to say so, Miss Doolittle.   
  LIZA. It's not because you paid for my dresses. I know you are generous
to everybody with money. But it was from you that I learnt really nice manners;
and that is what makes one a lady, isn't it? You see it was so very difficult
for me with the example of Professor Higgins always before me. I was brought
up to be just like him, unable to control myself, and using bad language
on the slightest provocation. And I should never have known that ladies and
gentlemen didn't behave like that if you hadn't been there.   
  HIGGINS. Well!!   
  PICKERING. Oh, that's only his way, you know. He doesn't mean it.   
  LIZA. Oh, I didn't mean it either, when I was a flower girl. It was only
my way. But you see I did it; and that's what makes the difference after
all.
  PICKERING. No doubt. Still, he taught you to speak; and I couldn't have
done that, you know.
  LIZA [trivially] Of course: that is his profession.   
  HIGGINS. Damnation!   
  LIZA [continuing] It was just like learning to dance in the fashionable
way: there was nothing more than that in it. But do you know what began
my real education?   
  PICKERING. What?
  LIZA [stopping her work for a moment] Your calling me Miss Doolittle that
day when I first came to Wimpole Street. That was the beginning of self-respect
for me. [She resumes her stitching]. And there were a hundred little things
you never noticed, because they came naturally to you. Things about standing
up and taking off your hat and opening door.   
  PICKERING. Oh, that was nothing.   
  LIZA. Yes: things that shewed you thought and felt about me as if I were
something better than a scullery-maid; though of course I know you would
have been just the same to a scullery-maid if she had been let in the drawing-
room. You never took off your boots in the dining room when I was there.
  
  PICKERING. You mustn't mind that. Higgins takes off his boots all over
the place.   
  LIZA. I know. I am not blaming him. It is his way, isn't it? But it made
such a difference to me that you didn't do it. You see, really and truly,
apart from the things anyone can pick up (the dressing and the proper way
of speaking, and so on), the difference between a lady and a flower girl
is not how she behaves, but how she's treated. I shall always be a flower
girl to Professor Higgins, because he always treats me as a flower girl,
and always will; but I know I can be a lady to you, because you always treat
me as a lady, and always will.
  MRS. HIGGINS. Please don't grind your teeth, Henry.   
  PICKERING. Well, this is really very nice of you, Miss Doolittle.   
  LIZA. I should like you to call me Eliza, now, if you would.   
  PICKERING. Thank you. Eliza, of course.   
  LIZA. And I should like Professor Higgins to call me Miss Doolittle.  

  HIGGINS. I'll see you damned first.   
  MRS. HIGGINS. Henry! Henry!   
  PICKERING [laughing] Why don't you slang back at him? Don't stand it.
It would do him a lot of good.   
  LIZA. I can't. I could have done it once; but now I can't go back to it.
Last night, when I was wandering about, a girl spoke to me; and I tried
to get back into the old way with her; but it was no use. You told me, you
know, that when a child is brought to a foreign country, it picks up the
language in a few weeks, and forgets its own. Well, I am a child in your
country. I have forgotten my own language, and can speak nothing but yours.
That's the real break-off with the corner of Tottenham Court Road. Leaving
Wimpole Street finishes it.   
  PICKERING [much alarmed] Oh! but you're coming back to Wimpole Street,
arn't you? You'll forgive Higgins?
  HIGGINS [rising] Forgive! Will she, by George! Let her go. Let her find
out how she can get on without us. She will relapse into the gutter in three
weeks without me at her elbow.
  Doolittle appears at the centre window. With a look of dignified reproach
at Higgins, he comes slowly and silently to his daughter, who, with her
back to the window, is unconscious of his approach.   
  PICKERING. He's incorrigible, Eliza. You won't relapse, will you?   
  LIZA. No: Not now. Never again. I have learnt my lesson. I don't believe
I could utter one of the old sounds if I tried. [Doolittle touches her on
her left shoulder. She drops her work, losing her self-possession utterly
at the spectacle of her father's splendor] A-a-a-a-a-ah-ow-ooh!   
  HIGGINS [with a crow of triumph] Aha! Just so. A-a-a-a-ah-ow-ooh! A-a-a-a-ah-
ow-ooh! A-a-a-a-ah-ow-ooh! Victory! Victory! [He throws himself on the divan,
folding his arms, and spraddling arrogantly].   
  DOOLITTLE. Can you blame the girl? Don't look at me like that, Eliza.
It ain't my fault. I've come into some money.
  LIZA. You must have touched a millionaire this time, dad.   
  DOOLITTLE. I have. But I'm dressed something special today. I'm going
to St. George's, Hanover Square. Your stepmother is going to marry me.  

  LIZA [angrily] You're going to let yourself down to marry that low common
woman!   
  PICKERING [quietly] He ought to, Eliza. [To Doolittle] Why has she changed
her mind?   
  DOOLITTLE [sadly] Intimidated, Governor. Intimidated. Middle class morality
claims its victim. Won't you put on your hat, Liza, and come and see me
turned off?
  LIZA. If the Colonel says I must, I -- I'll [almost sobbing] I'll demean
myself. And get insulted for my pains, like enough.
  DOOLITTLE. Don't be afraid: she never comes to words with anyone now,
poor woman! Respectability has broke all the spirit out of her.   
  PICKERING [squeezing Eliza's elbow gently] Be kind to them, Eliza. Make
the best of it.   
  LIZA [forcing a little smile for him through her vexation] Oh well, just
to shew there's no ill feeling. I'll be back in a moment. [She goes out].
  
  DOOLITTLE [sitting down beside Pickering] I feel uncommon nervous about
the ceremony, Colonel. I wish you'd come and see me through it.  
  PICKERING. But you've been through it before, man. You were married to
Eliza's mother.   
  DOOLITTLE. Who told you that, Colonel?   
  PICKERING. Well, nobody told me. But I concluded naturally.  
  DOOLITTLE. No: that ain't the natural way, Colonel: it's only the middle
class way. My way was always the undeserving way. But don't say nothing
to Eliza. She don't know: I always had a delicacy about telling her.   
  PICKERING. Quite right. We'll leave it so, if you don't mind.
  DOOLITTLE. And you'll come to the church, Colonel, and put me through
straight?   
  PICKERING. With pleasure. As far as a bachelor can.   
  MRS. HIGGINS. May I come, Mr. Doolittle? I should be very sorry to miss
your wedding.   
  DOOLITTLE. I should indeed be honored by your condescension, maam; and
my poor old woman would take it as a tremenjous compliment. She's been very
low, thinking of the happy days that are no more.   
  MRS. HIGGINS [rising] I'll order the carriage and get ready. [The men
rise, except Higgins]. I shan't be more than fifteen minutes. [As she goes
to the door Eliza comes in, hatted and buttoning her gloves]. I'm going
to the church to see your father married, Eliza. You had better come in
the brougham with me. Colonel Pickering can go on with the bridegroom.
  Mrs. Higgins goes out. Eliza comes to the middle of the room between the
centre window and the ottoman. Pickering joins her.
  DOOLITTLE. Bridegroom! What a word! It makes a man realize his position,
somehow. [He takes up his hat and goes towards the door].   
  PICKERING. Before I go, Eliza, do forgive him and come back to us.   
  LIZA. I don't think papa would allow me. Would you, dad?   
  DOOLITTLE [sad but magnanimous] They played you off very cunning, Eliza,
them two sportsmen. If it had been only one of them, you could have nailed
him. But you see, there was two; and one of them chaperoned the other, as
you might say. [To Pickering] It was artful of you, Colonel; but I bear
no malice: I should have done the same myself. I been the victim of one
woman after another all my life; and I don't grudge you two getting the better
of Eliza. I shan't interfere. It's time for us to go, Colonel. So long,
Henry. See you in St. George's, Eliza. [He goes out].   
  PICKERING [coaxing] Do stay with us, Eliza. [He follows Doolittle].
  Eliza goes out on the balcony to avoid being alone with Higgins. He rises
and joins her there. She immediately comes back into the room and makes
for the door; but he goes along the balcony quickly and gets his back to
the door before she reaches it.
  HIGGINS. Well, Eliza, you've had a bit of your own back, as you call it.
Have you had enough? And are you going to be reasonable? Or do you want
any more?   
  LIZA. You want me back only to pick up your slippers and put up with your
tempers and fetch and carry for you.   
  HIGGINS. I havn't said I wanted you back at all.   
  LIZA. Oh, indeed. Then what are we talking about?   
  HIGGINS. About you, not about me. If you come back I shall treat you just
as I have always treated you. I can't change my nature; and I don't intend
to change my manners. My manners are exactly the same as Colonel Pickering's.

  LIZA. That's not true. He treats a flower girl as if she was a duchess.
  
  HIGGINS. And I treat a duchess as if she was a flower girl.   
  LIZA. I see. [She turns away composedly, and sits on the ottoman, facing
the window]. The same to everybody.   
  HIGGINS. Just so.   
  LIZA. Like father.
  HIGGINS [grinning, a little taken down] Without accepting the comparison
at all points, Eliza, it's quite true that your father is not a snob, and
that he will be quite at home in any station of life to which his eccentric
destiny may call him. [Seriously] The great secret, Eliza, is not having
bad manners or good manners or any other particular sort of manners, but
having the same manner for all human souls: in short, behaving as if you
were in Heaven, where there are no third-class carriages, and one soul is
as good as another.   
  LIZA. Amen. You are a born preacher.   
  HIGGINS [irritated] The question is not whether I treat you rudely, but
whether you ever heard me treat anyone else better.   
  LIZA [with sudden sincerity] I don't care how you treat me. I don't mind
your swearing at me. I don't mind a black eye: I've had one before this.
But [standing up and facing him] I won't be passed over.
  HIGGINS. Then get out of my way; for I won't stop for you. You talk about
me as if I were a motor bus.
  LIZA. So you are a motor bus: all bounce and go, and no consideration
for anyone. But I can do without you: don't think I can't.   
  HIGGINS. I know you can. I told you you could.   
  LIZA [wounded, getting away from him to the other side of the ottoman
with her face to the hearth] I know you did, you brute. You wanted to get
rid of me.   
  HIGGINS. Liar.   
  LIZA. Thank you. [She sits down with dignity].
  HIGGINS. You never asked yourself, I suppose, whether I could do without
you.   
  LIZA [earnestly] Don't you try to get round me. You'll have to do without
me.   
  HIGGINS [arrogant] I can do without anybody. I have my own soul: my own
spark of divine fire. But [with sudden humility] I shall miss you, Eliza.
[He sits down near her on the ottoman]. I have learnt something from your
idiotic notions: I confess that humbly and gratefully. And I have grown
accustomed to your voice and appearance. I like them, rather.   
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 楼主| 发表于 2012-1-21 21:57:01 | 显示全部楼层
LIZA. Well, you have both of them on your gramophone and in your book
of photographs. When you feel lonely without me, you can turn the machine
on. It's got no feelings to hurt.   
  HIGGINS. I can't turn your soul on. Leave me those feelings; and you can
take away the voice and the face. They are not you.
  LIZA. Oh, you are a devil. You can twist the heart in a girl as easy as
some could twist her arms to hurt her. Mrs. Pearce warned me. Time and again
she has wanted to leave you; and you always got round her at the last minute.
And you don't care a bit for her. And you don't care a bit for me.   
  HIGGINS. I care for life, for humanity; and you are a part of it that
has come my way and been built into my house. What more can you or anyone
ask?   
  LIZA. I won't care for anybody that doesn't care for me.   
  HIGGINS. Commercial principles, Eliza. Like [reproducing her Covent Garden
pronunciation with professional exactness] s'yollin voylets [selling violets],
isnt it?   
  LIZA. Don't sneer at me. It's mean to sneer at me.
  HIGGINS. I have never sneered in my life. Sneering doesn't become either
the human face or the human soul. I am expressing my righteous contempt
for Commercialism. I don't and won't trade in affection. You call me a brute
because you couldn't buy a claim on me by fetching my slippers and finding
my spectacles. You were a fool: I think a woman fetching a man's slippers
is a disgusting sight: did I ever fetch your slippers? I think a good deal
more of you for throwing them in my face. No use slaving for me and then
saying you want to be cared for: who cares for a slave? If you come back,
come back for the sake of good fellowship; for you'll get nothing else.
You've had a thousand times as much out of me as I have out of you; and if
you dare to set up your little dog's tricks of fetching and carrying slippers
against my creation of a Duchess, Eliza, I'll slam the door in your silly
face.   
  LIZA. What did you do it for if you didn't care for me?   
  HIGGINS [heartily] Why, because it was my job.   
  LIZA. You never thought of the trouble it would make for me.   
  HIGGINS. Would the world ever have been made if its maker had been afraid
of making trouble? Making life means making trouble. There's only one way
of escaping trouble; and that's killing things. Cowards, you notice, are
always shrieking to have troublesome people killed.
  LIZA. I'm no preacher: I don't notice things like that. I notice that
you don't notice me.   
  HIGGINS [jumping up and walking about intolerantly] Eliza: you're an idiot.
I waste the treasures of my Miltonic mind by spreading them before you.
Once for all, understand that I go my way and do my work without caring
twopence what happens to either of us. I am not intimidated, like your father
and your stepmother. So you can come back or go to the devil: which you
please.   
  LIZA. What am I to come back for?   
  HIGGINS [bouncing up on his knees on the ottoman and leaning over it to
her] For the fun of it. That's why I took you on.   
  LIZA [with averted face] And you may throw me out tomorrow if I don't
do everything you want me to?
  HIGGINS. Yes; and you may walk out tomorrow if I don't do everything you
want me to.   
  LIZA. And live with my stepmother?   
  HIGGINS. Yes, or sell flowers.   
  LIZA. Oh! if I only could go back to my flower basket! I should be independent
of both you and father and all the world! Why did you take my independence
from me? Why did I give it up? I'm a slave now, for all my fine clothes.
  
  HIGGINS. Not a bit. I'll adopt you as my daughter and settle money on
you if you like. Or would you rather marry Pickering?
  LIZA [looking fiercely round at him] I wouldn't marry you if you asked
me; and you're nearer my age than what he is.   
  HIGGINS [gently] Than he is: not "than what he is."   
  LIZA [losing her temper and rising] I'll talk as I like. You're not my
teacher now.   
  HIGGINS [reflectively] I don't suppose Pickering would, though. He's as
confirmed an old bachelor as I am.   
  LIZA. That's not what I want; and don't you think it. I've always had
chaps enough wanting me that way. Freddy Hill writes to me twice and three
times a day, sheets and sheets.
  HIGGINS [disagreeably surprised] Damn his impudence! [He recoils and finds
himself sitting on his heels].   
  LIZA. He has a right to if he likes, poor lad. And he does love me.   

  HIGGINS [getting off the ottoman] You have no right to encourage him.
  
  LIZA. Every girl has a right to be loved.   
  HIGGINS. What! By fools like that?
  LIZA. Freddy's not a fool. And if he's weak and poor and wants me, may
be he'd make me happier than my betters that bully me and don't want me.
  
  HIGGINS. Can he make anything of you? That's the point.   
  LIZA. Perhaps I could make something of him. But I never thought of us
making anything of one another; and you never think of anything else. I
only want to be natural.   
  HIGGINS. In short, you want me to be as infatuated about you as Freddy?
Is that it?   
  LIZA. No I don't. That's not the sort of feeling I want from you. And
don't you be too sure of yourself or of me. I could have been a bad girl
if I'd liked. I've seen more of some things than you, for all your learning.
Girls like me can drag gentlemen down to make love to them easy enough.
And they wish each other dead the next minute.
  HIGGINS. Of course they do. Then what in thunder are we quarrelling about?
  
  LIZA [much troubled] I want a little kindness. I know I'm a common ignorant
girl, and you a book-learned gentleman; but I'm not dirt under your feet.
What I done [correcting herself] what I did was not for the dresses and
the taxis: I did it because we were pleasant together and I come -- came
-- to care for you; not to want you to make love to me, and not forgetting
the difference between us, but more friendly like.   
  HIGGINS. Well, of course. That's just how I feel. And how Pickering feels.
Eliza: you're a fool.
  LIZA. That's not a proper answer to give me [she sinks on the chair at
the writing-table in tears].   
  HIGGINS. It's all you'll get until you stop being a common idiot. If you're
going to be a lady, you'll have to give up feeling neglected if the men
you know don't spend half their time snivelling over you and the other half
giving you black eyes. If you can't stand the coldness of my sort of life,
and the strain of it, go back to the gutter. Work till you are more a brute
than a human being; and then cuddle and squabble and drink till you fall
asleep. Oh, it's a fine life, the life of the gutter. It's real: it's warm:
it's violent: you can feel it through the thickest skin: you can taste it
and smell it without any training or any work. Not like Science and Literature
and Classical Music and Philosophy and Art. You find me cold, unfeeling,
selfish, don't you? Very well: be off with you to the sort of people you
like. Marry some sentimental hog or other with lots of money, and a thick
pair of lips to kiss you with and a thick pair of boots to kick you with.
If you can't appreciate what you've got, you'd better get what you can appreciate.

  LIZA [desperate] Oh, you are a cruel tyrant. I can't talk to you: you
turn everything against me: I'm always in the wrong. But you know very well
all the time that you're nothing but a bully. You know I can't go back to
the gutter, as you call it, and that I have no real friends in the world
but you and the Colonel. You know well I couldn't bear to live with a low
common man after you two; and it's wicked and cruel of you to insult me
by pretending I could. You think I must go back to Wimpole Street because
I have nowhere else to go but father's. But don't you be too sure that you
have me under your feet to be trampled on and talked down. I'll marry Freddy,
I will, as soon as he's able to support me.   
  HIGGINS [sitting down beside her] Rubbish! you shall marry an ambassador.
You shall marry the Governor-General of India or the Lord-Lieutenant of
Ireland, or somebody who wants a deputy-queen. I'm not going to have my
masterpiece thrown away on Freddy.   
  LIZA. You think I like you to say that. But I havn't forgot what you said
a minute ago; and I won't be coaxed round as if I was a baby or a puppy.
If I can't have kindness, I'll have independence.   
  HIGGINS. Independence? That's middle class blasphemy. We are all dependent
on one another, every soul of us on earth.   
  LIZA [rising determinedly] I'll let you see whether I'm dependent on you.
If you can preach, I can teach. I'll go and be a teacher.
  HIGGINS. Whatll you teach, in heaven's name?   
  LIZA. What you taught me. I'll teach phonetics.   
  HIGGINS. Ha! Ha! Ha!   
  LIZA. I'll offer myself as an assistant to Professor Nepean.   
  HIGGINS [rising in a fury] What! That impostor! that humbug! that toadying
ignoramus! Teach him my methods! my discoveries! You take one step in his
direction and I'll wring your neck. [He lays hands on her]. Do you hear?

  LIZA [defiantly non-resistant] Wring away. What do I care? I knew you'd
strike me some day. [He lets her go, stamping with rage at having forgotten
himself, and recoils so hastily that he stumbles back into his seat on the
ottoman]. Aha! Now I know how to deal with you. What a fool I was not to
think of it before! You can't take away the knowledge you gave me. You said
I had a finer ear than you. And I can be civil and kind to people, which
is more than you can. Aha! That's done you, Henry Higgins, it has. Now I
don't care that [snapping her fingers] for your bullying and your big talk.
I'll advertize it in the papers that your duchess is only a flower girl
that you taught, and that she'll teach anybody to be a duchess just the same
in six months for a thousand guineas. Oh, when I think of myself crawling
under your feet and being trampled on and called names, when all the time
I had only to lift up my finger to be as good as you, I could just kick
myself.   
  HIGGINS [wondering at her] You damned impudent slut, you! But it's better
than snivelling; better than fetching slippers and finding spectacles, isnt
it? [Rising] By George, Eliza, I said I'd make a woman of you; and I have.
I like you like this.   
  LIZA. Yes: you turn round and make up to me now that I'm not afraid of
you, and can do without you.   
  HIGGINS. Of course I do, you little fool. Five minutes ago you were like
a millstone round my neck. Now you're a tower of strength: a consort battleship.
You and I and Pickering will be three old bachelors together instead of
only two men and a silly girl.
  Mrs. Higgins returns, dressed for the wedding. Eliza instantly becomes
cool and elegant.   
  MRS. HIGGINS. The carriage is waiting, Eliza. Are you ready?
  LIZA. Quite. Is the Professor coming?   
  MRS. HIGGINS. Certainly not. He can't behave himself in church. He makes
remarks out loud all the time on the clergyman's pronunciation.   
  LIZA. Then I shall not see you again, Professor. Good-bye. [She goes to
the door].   
  MRS. HIGGINS [coming to Higgins] Good-bye, dear.   
  HIGGINS. Good-bye, mother. [He is about to kiss her, when he recollects
something]. Oh, by the way, Eliza, order a ham and a Stilton cheese, will
you? And buy me a pair of reindeer gloves, number eights, and a tie to match
that new suit of mine, at Eale & Binman's. You can choose the color. [His
cheerful, careless, vigorous voice shows that he is incorrigible].
  LIZA [disdainfully] Buy them yourself. [She sweeps out].   
  MRS. HIGGINS. I'm afraid you've spoiled that girl, Henry. But never mind,
dear: I'll buy you the tie and gloves.   
  HIGGINS [sunnily] Oh, don't bother. She'll buy em all right enough. Good-bye.

  They kiss. Mrs. Higgins runs out. Higgins, left alone, rattles his cash
in his pocket; chuckles; and disports himself in a highly self-satisfied
manner.   

1) 生詞自查。
2) 作者介紹﹕George Bernard Shaw  (26 July 1856 -- 2 November 1950) was
an Irish playwright and a co-founder of the London School of Economics.
He began his writing career as a critic. First, he reviewed music. Then,
he branched out and became a theater critic. He must have been disappointed
with his contemporary playwrights because he began writing his own dramatic
works in the late 1800s. Many consider Shaw's body of work to be second only
to Shakespeare. Shaw possesses a deep love of language, high comedy, and
social consciousness. George Bernard Shaw's Pygmalion has become the playwright'
s most famous comedy. It illustrates the comical clash between two different
worlds.
3) 劇情介紹﹕Based on classical myth, Bernard Shaw's Pygmalion plays on
the complex business of human relationships in a social world. Phonetics
Professor Henry Higgins tutors the very Cockney [地名﹐指帶有該地語音聲調
的] Eliza Doolittle, not only in the refinement of speech, but also in the
refinement of her manner. When the end result produces a very ladylike Miss
Doolittle, the lessons learned become much more far reaching. The successful
musical My Fair Lady was based on this Bernard Shaw classic.
4) 蕭伯納的“賣花女”是一齣名劇。看看劇本是怎麼寫的。要讀全劇可以在網上找
到。
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 楼主| 发表于 2012-1-28 22:37:01 | 显示全部楼层
高級英語教材第18課

先讀課文﹕
Ode to a Nightingale 夜鶯頌
by John Keats

My heart aches, and a drowsy numbness pains
    My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
    One minute past, and Lethe-wards [1] had sunk:
'Tis not through envy of thy happy lot,
    But being too happy in thine happiness, -
        That thou, light-winged Dryad [2] of the trees,
                In some melodious plot
    Of beechen green and shadows numberless,
        Singest of summer in full-throated ease.

O, for a draught of vintage! that hath been
    Cool'd a long age in the deep-delved earth,
Tasting of Flora [3] and the country green,
    Dance, and Provencal song, and sunburnt mirth!
O for a beaker full of the warm South,
    Full of the true, the blushful Hippocrene [4],
        With beaded bubbles winking at the brim,
                And purple-stained mouth;
    That I might drink, and leave the world unseen,
        And with thee fade away into the forest dim:

Fade far away, dissolve, and quite forget
    What thou among the leaves hast never known,
The weariness, the fever, and the fret
    Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last gray hairs,
    Where youth grows pale, and spectre-thin, and dies;
        Where but to think is to be full of sorrow
                And leaden-eyed despairs,
    Where Beauty cannot keep her lustrous eyes,
        Or new Love pine at them beyond to-morrow.

Away! away! for I will fly to thee,
    Not charioted by Bacchus [5] and his pards,
But on the viewless wings of poesy,
    Though the dull brain perplexes and retards:
Already with thee! tender is the night,
    And haply the Queen-Moon is on her throne,
        Cluster'd around by all her starry Fays [6];
                But here there is no light,
    Save what from heaven is with the breezes blown
        Through verdurous glooms and winding mossy ways.

I cannot see what flowers are at my feet,
    Nor what soft incense hangs upon the boughs,
But, in embalmed darkness, guess each sweet
    Wherewith the seasonable month endows
The grass, the thicket, and the fruit-tree wild;
    White hawthorn, and the pastoral eglantine;
        Fast fading violets cover'd up in leaves;
                And mid-May's eldest child,
    The coming musk-rose, full of dewy wine,
        The murmurous haunt of flies on summer eves.

Darkling I listen; and, for many a time
    I have been half in love with easeful Death,
Call'd him soft names in many a mused rhyme,
    To take into the air my quiet breath;
Now more than ever seems it rich to die,
    To cease upon the midnight with no pain,
        While thou art pouring forth thy soul abroad
                In such an ecstasy!
    Still wouldst thou sing, and I have ears in vain -
        To thy high requiem become a sod.

Thou wast not born for death, immortal Bird!
    No hungry generations tread thee down;
The voice I hear this passing night was heard
    In ancient days by emperor and clown:
Perhaps the self-same song that found a path
    Through the sad heart of Ruth [7], when, sick for home,
        She stood in tears amid the alien corn;
                The same that oft-times hath
    Charm'd magic casements, opening on the foam
        Of perilous seas, in faery lands forlorn.

Forlorn! the very word is like a bell
    To toll me back from thee to my sole self!
Adieu! the fancy cannot cheat so well
    As she is fam'd to do, deceiving elf.
Adieu! adieu! thy plaintive anthem fades
    Past the near meadows, over the still stream,
        Up the hill-side; and now 'tis buried deep
                In the next valley-glades:
    Was it a vision, or a waking dream?
        Fled is that music: - Do I wake or sleep?

1) 生詞自查。
2) 詩人介紹﹕John Keats (31 October 1795 -- 23 February 1821) was an English
Romantic poet. Along with Lord Byron and Percy Bysshe Shelley, he was one
of the key figures in the second generation of the Romantic movement, despite
the fact that his work had been in publication for only four years before
his death.
3) 寫作背景﹕“In the spring of 1819 a nightingale had built her nest near
my house.  Keats felt a tranquil and continual joy in her song; and one
morning he took his chair from the breakfast-table to the grass plot under
a plum-tree, where he sat for two or three hours.  When he came into the
house, I perceived he had some scraps of paper in his hand, and these he
was quietly thrusting behind the books.  On inquiry, I found these scraps,
four or five in number, contained his poetic feeling on the song of our
nightingale.”以上介紹是詩人朋友Charles Brown所寫。This ode was written
in May 1819 and first published in the Annals of the Fine Arts in July 1819.
Critics generally agree that Nightingale was the second of the five 'great
odes' of 1819.
4) 註解﹕[1] In Greek mythology, Lethe was one of the five rivers of Hades.
Also known as the Ameles potamos (river of unmindfulness), the Lethe flowed
around the cave of Hypnos and through the Underworld, where all those who
drank from it experienced complete forgetfulness. [2] Dryads are tree nymphs
in Greek mythology. [3] Flora is the goddess of flower in Greek mythology.
[4] In Greek mythology, Hippocrene was the name of a fountain on Mt. Helicon.
It was sacred to the Muses and was formed by the hooves of Pegasus. Its
name literally translates as "Horse's Fountain" and the water was supposed
to bring forth poetic inspiration when imbibed. [5] Bacchus is the god of
wine in Roman mythology, corresponding to Dionysus in Greek mythology. [6]
Fay: fairy, elf. [7] In the Bible, a Moabite widow who left home with her
mother-in-law and went to Bethlehem, where she later married Boaz.
5) John Keats的“夜鶯頌”也是英詩中的名篇。每小節十行﹐五音步抑揚格。押韻
模式是 ABABCDECDE。
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发表于 2012-1-30 17:03:59 | 显示全部楼层
老师好!新春快乐!
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 楼主| 发表于 2012-1-30 22:20:10 | 显示全部楼层
thanks, the same to you.
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 楼主| 发表于 2012-2-4 21:54:25 | 显示全部楼层
高級英語教材第19課

先讀課文﹕
Treasure Island 金銀島
by Robert Louis Stevenson

Chapter 1 The Old Sea-dog 指一個老水手at the Admiral Benbow 旅館名
Squire Trelawney, Dr. Livesey, and the rest of these gentlemen having asked
me to write down the whole particulars about Treasure Island, from the beginning
to the end, keeping nothing back, but the bearings of the island, and that
only because there is still treasure not yet lifted, I take up my pen in
the year of grace 17__ and go back to the time when my father kept the Admiral
Benbow inn and the brown old seaman with the sabre cut first took up his
lodging under our roof.
I remember him as if it were yesterday, as he came plodding to the inn door,
his sea-chest following behind him in a hand-barrow--a tall, strong, heavy,
nut-brown man, his tarry pigtail falling over the shoulder of his soiled
blue coat, his hands ragged and scarred, with black, broken nails, and the
sabre cut across one cheek, a dirty, livid white. I remember him looking
round the cover and whistling to himself as he did so, and then breaking
out in that old sea-song that he sang so often afterwards:
"Fifteen men on the dead man's chest [1]-- Yo-ho-ho, and a bottle of rum!"
in the high, old tottering voice that seemed to have been tuned and broken
at the capstan bars. Then he rapped on the door with a bit of stick like
a handspike that he carried, and when my father appeared, called roughly
for a glass of rum. This, when it was brought to him, he drank slowly, like
a connoisseur, lingering on the taste and still looking about him at the
cliffs and up at our signboard.
"This is a handy cove," says he at length; "and a pleasant sittyated grog-shop.
Much company, mate?"
My father told him no, very little company, the more was the pity.
"Well, then," said he, "this is the berth for me. Here you, matey," he cried
to the man who trundled the barrow; "bring up alongside and help up my chest.
I'll stay here a bit," he continued. "I'm a plain man; rum and bacon and
eggs is what I want, and that head up there for to watch ships off. What
you mought [might] call me? You mought call me captain. Oh, I see what you're
at-- there"; and he threw down three or four gold pieces on the threshold.
"You can tell me when I've worked through that," says he, looking as fierce
as a commander.
And indeed bad as his clothes were and coarsely as he spoke, he had none
of the appearance of a man who sailed before the mast, but seemed like a
mate or skipper accustomed to be obeyed or to strike. The man who came with
the barrow told us the mail [郵車﹐兼搭客] had set him down the morning
before at the Royal George [地名], that he had inquired what inns there
were along the coast, and hearing ours well spoken of, I suppose, and described
as lonely, had chosen it from the others for his place of residence. And
that was all we could learn of our guest.
He was a very silent man by custom. All day he hung round the cove or upon
the cliffs with a brass telescope; all evening he sat in a corner of the
parlour next the fire and drank rum and water very strong. Mostly he would
not speak when spoken to, only look up sudden and fierce and blow through
his nose like a fog-horn; and we and the people who came about our house
soon learned to let him be [alone]. Every day when he came back from his
stroll he would ask if any seafaring men had gone by along the road. At
first we thought it was the want of company of his own kind that made him
ask this question, but at last we began to see he was desirous to avoid
them. When a seaman did put up at the Admiral Benbow (as now and then some
did, making by the coast road for Bristol) he would look in at him through
the curtained door before he entered the parlour; and he was always sure
to be as silent as a mouse when any such was present. For me, at least,
there was no secret about the matter, for I was, in a way, a sharer in his
alarms. He had taken me aside one day and promised me a silver fourpenny
on the first of every month if I would only keep my "weather-eye open for
a seafaring man with one leg" and let him know the moment he appeared. Often
enough when the first of the month came round and I applied to him for my
wage, he would only blow through his nose at me and stare me down [瞪著我
看得我不敢抬頭], but before the week was out he was sure to think better
of it, bring me my four-penny piece, and repeat his orders to look out for
"the seafaring man with one leg."
How that personage haunted my dreams, I need scarcely tell you. On stormy
nights, when the wind shook the four corners of the house and the surf roared
along the cove and up the cliffs, I would see him in a thousand forms, and
with a thousand diabolical expressions. Now the leg would be cut off at
the knee, now at the hip; now he was a monstrous kind of a creature who had
never had but the one leg, and that in the middle of his body. To see him
leap and run and pursue me over hedge and ditch was the worst of nightmares.
And altogether I paid pretty dear for my monthly fourpenny piece, in the
shape of these abominable fancies.
But though I was so terrified by the idea of the seafaring man with one
leg, I was far less afraid of the captain himself than anybody else who
knew him. There were nights when he took a deal more rum and water than
his head would carry; and then he would sometimes sit and sing his wicked,
old, wild sea-songs, minding nobody; but sometimes he would call for glasses
round and force all the trembling company to listen to his stories or bear
a chorus to his singing. Often I have heard the house shaking with "Yo-ho-ho,
and a bottle of rum," all the neighbours joining in for dear life, with
the fear of death upon them, and each singing louder than the other to avoid
remark. For in these fits he was the most overriding companion ever known;
he would slap his hand on the table for silence all round; he would fly up
in a passion of anger at a question, or sometimes because none was put,
and so he judged the company was not following his story. Nor would he allow
anyone to leave the inn till he had drunk himself sleepy and reeled off
to bed.
His stories were what frightened people worst of all. Dreadful stories they
were--about hanging, and walking the plank [2], and storms at sea, and the
Dry Tortugas [3], and wild deeds and places on the Spanish Main. By his
own account he must have lived his life among some of the wickedest men
that God ever allowed upon the sea, and the language in which he told these
stories shocked our plain country people almost as much as the crimes that
he described. My father was always saying the inn would be ruined, for people
would soon cease coming there to be tyrannized over and put down, and sent
shivering to their beds; but I really believe his presence did us good.
People were frightened at the time, but on looking back they rather liked
it; it was a fine excitement in a quiet country life, and there was even
a party of the younger men who pretended to admire him, calling him a "true
sea-dog" and a "real old salt" and such like names, and saying there was
the sort of man that made England terrible at sea.
In one way, indeed, he bade fair to ruin us, for he kept on staying week
after week, and at last month after month, so that all the money had been
long exhausted, and still my father never plucked up the heart to insist
on having more. If ever he mentioned it, the captain blew through his nose
so loudly that you might say he roared, and stared my poor father out of
the room. I have seen him wringing his hands after such a rebuff, and I
am sure the annoyance and the terror he lived in must have greatly hastened
his early and unhappy death.
All the time he lived with us the captain made no change whatever in his
dress but to buy some stockings from a hawker. One of the cocks of his hat
having fallen down, he let it hang from that day forth, though it was a
great annoyance when it blew. I remember the appearance of his coat, which
he patched himself upstairs in his room, and which, before the end, was nothing
but patches. He never wrote or received a letter, and he never spoke with
any but the neighbours, and with these, for the most part, only when drunk
on rum. The great sea-chest none of us had ever seen open.
He was only once crossed, and that was towards the end, when my poor father
was far gone in a decline that took him off. Dr. Livesey came late one afternoon
to see the patient, took a bit of dinner from my mother, and went into the
parlour to smoke a pipe until his horse should come down from the hamlet,
for we had no stabling at the old Benbow. I followed him in, and I remember
observing the contrast the neat, bright doctor, with his powder as white
as snow and his bright, black eyes and pleasant manners, made with the coltish
country folk, and above all, with that filthy, heavy, bleared scarecrow
of a pirate of ours, sitting, far gone in rum, with his arms on the table.
Suddenly he--the captain, that is--began to pipe up his eternal song:
"Fifteen men on the dead man's chest-- Yo-ho-ho, and a bottle of rum! Drink
and the devil had done for the rest-- Yo-ho-ho, and a bottle of rum!"
At first I had supposed "the dead man's chest" to be that identical big
box of his upstairs in the front room, and the thought had been mingled
in my nightmares with that of the one-legged seafaring man. But by this
time we had all long ceased to pay any particular notice to the song; it
was new, that night, to nobody but Dr. Livesey, and on him I observed it
did not produce an agreeable effect, for he looked up for a moment quite
angrily before he went on with his talk to old Taylor, the gardener, on
a new cure for the rheumatics. In the meantime, the captain gradually brightened
up at his own music, and at last flapped his hand upon the table before him
in a way we all knew to mean silence. The voices stopped at once, all but
Dr. Livesey's; he went on as before speaking clear and kind and drawing
briskly at his pipe between every word or two. The captain glared at him
for a while, flapped his hand again, glared still harder, and at last broke
out with a villainous, low oath, "Silence, there, between decks [curse words]!
"
"Were you addressing me, sir?" says the doctor; and when the ruffian had
told him, with another oath, that this was so, "I have only one thing to
say to you, sir," replies the doctor, "that if you keep on drinking rum,
the world will soon be quit of a very dirty scoundrel!"
The old fellow's fury was awful. He sprang to his feet, drew and opened
a sailor's clasp-knife, and balancing it open on the palm of his hand, threatened
to pin the doctor to the wall.
The doctor never so much as moved. He spoke to him as before, over his shoulder
and in the same tone of voice, rather high, so that all the room might hear,
but perfectly calm and steady: "If you do not put that knife this instant
in your pocket, I promise, upon my honour, you shall hang at the next assizes.
"
Then followed a battle of looks between them, but the captain soon knuckled
under, put up his weapon, and resumed his seat, grumbling like a beaten
dog.
"And now, sir," continued the doctor, "since I now know there's such a fellow
in my district, you may count I'll have an eye upon you day and night. I'm
not a doctor only; I'm a magistrate; and if I catch a breath of complaint
against you, if it's only for a piece of incivility like tonight's, I'll
take effectual means to have you hunted down and routed out of this. Let
that suffice."
Soon after, Dr. Livesey's horse came to the door and he rode away, but the
captain held his peace that evening, and for many evenings to come

1) 生詞自查。
2) 作者介紹﹕Robert Louis Balfour Stevenson (13 November 1850 -- 3 December
1894) was a Scottish novelist, poet, essayist and travel writer. His best-known
books include Treasure Island (1883), Kidnapped, and Strange Case of Dr
Jekyll and Mr Hyde.
3) 註解﹕[1] Stevenson found the name "Dead Man's Chest" among a list of
island names in a book by Charles Kingsley in reference to the Dead Chest
Island in the British Virgin Islands.  As Stevenson once said, "Treasure
Island came out of Kingsley's At Last: A Christmas in the West Indies (1871);
where I got the 'Dead Man's Chest' - that was the seed". That is, Stevenson
saw the three words "Dead Man's Chest" in Kingsley's book among a list of
names, germinating in Stevenson's mind it was the "seed" which then grew
into the novel.
In Treasure Island Stevenson only wrote the chorus, leaving the remainder
of the song unwritten, and to the reader's imagination:
"Fifteen men on the dead man's chest--
...Yo-ho-ho, and a bottle of rum!
Drink and the devil had done for the rest--
...Yo-ho-ho, and a bottle of rum!"
[2] Walking the plank was a form of murder or torture thought to have been
practiced by pirates, mutineers and other rogue seafarers. The victim was
forced to walk off the end of a wooden plank or beam, the final six feet
of which extended over the side of a ship. The victim, sometimes with hands
bound or weighed down, then drowns in the water or is killed by sharks (which
would often follow ships). [3] The Dry Tortugas are a small group of islands,
located at the end of the Florida Keys, USA, about 70 miles (113 km) west
of Key West, and 37 miles (60 km) west of the Marquesas Keys, the closest
islands. Still further west is the Tortugas Bank, which is completely submerged.
The first Europeans to discover the islands were the Spanish in 1513 by
explorer Juan Ponce de Leon.
4) 史蒂文森的“金銀島”也是本世界名著。島上有海盜埋藏的財寶。第一人稱的人
是個小孩﹐跟隨那裡的紳士們一起乘船去找寶。船上水手中混進了海盜﹐到達島上
後就打了起來。欲知結果﹐請網上找書一讀。
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