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Charles Dickens and Oliver Charles Dickens and Oliver TwistTwist英语12-03徐潇潇541208010323CharlesDickensandOliverTwi1CharlesDickens（1812-1870）CharlesDickensisthegreatestnovelistoftheVictorianAge,amasterstory-teller,alsoahumoristthathealsoahumoristthatheissuretoproduceroaringissuretoproduceroaringlaughterorlaughteror understandingunderstandingsmilessmiles.CharlesDickens（1812-1870）C2PersonalLifeCharlesDickens（1812-1870）wasbornatPortsmouth.Hisfather，apoorclerkintheNavyPayoffice，wasputintotheMarshalsea(马歇尔希）PrisonfordebtwhenyoungCharleswasonly11yearsold.Thesonhadtogiveupschoolingtoworkinanundergroundcellaratashoe-blackingfactoryapositionheconsideredmosthumiliating(羞耻的）.The11-year-oldDickenshadtoworktenhourseachdayinthefactory,andearnedsixshillingsaweek,pastinglabelsonthejarsofthickpolish.WefindthebitterexperiencesofthatsufferingchildreflectedinmanyofDickenssnovels.PersonalLife3In1827,Charlesenteredalawyersoffice，andtwoyearslaterhebecameaParliamentaryreporterfornewspapers.From1833DickensbegantowriteoccasionalsketchesofLondonlife，whichwerelatercollectedandpublishedunderthetitleSketches by Boz(笔名）(1836).SoonThe Posthumous（作者死后出版的）Papers of the Pickwick（匹克威客传主角）Club(1836-1837)appearedinmonthlyinstallments.Andsincethen,hislifebecameoneofendlesshardwork.Inhislateryears，hegavehimselftopublicreadingsofhisworks，whichbroughtplaudits(喝彩，赞扬)andcomfortbutalsoexhaustedhim.In1870，thismanofgreatheartandvitalitydiedofoverwork，leavinghislastnovelunfinished.In1827,Charlesenteredalaw4ContributiontoEnglishliteratureHewasoneofthegreatestcriticalrealistwritersoftheVictorianAgeandaccomplishedovertwentynovels.Greatlywithhiseffortsandaccomplishments,CriticalRealistictraditionwasfirmlyestablished.Hesuccessfullyportrayedanumberofcharactersbypresentingalotofexactactionsandwordsthatfitthesecharactersintheirpositionsandintheirenvironments.ContributiontoEnglishliter5Hisworks博兹札记（SketchesbyBoz）1836年匹克威克外传（ThePickwickPapers）1836年雾都孤儿（OliverTwist）1837年-1839年尼古拉斯尼克贝（NicholasNickleby）1838年-1839年老古玩店（TheOldCuriocityShop）1840年-1841年巴纳比拉奇（BarnabyRudge）1841年美国纪行（AmericanNotes）1842年圣诞颂歌（AChristmasCarol）1843年Hisworks博兹札记（SketchesbyB6马丁翟述伟（MartinChuzzlewit）1843年-1844年董贝父子（DombeyandSon）1846年-1848年大卫科波菲尔（DavidCopperfield）1849年-1850年写给孩子看的英国历史（AChildsHistoryofEngland）1851年-1853年荒凉山庄（BleakHouse）1852年-1853年艰难时世（HardTimes）1854年小杜丽（LittleDorrit）1855年-1857年双城记（ATaleofTwoCities）1859年远大前程（GreatExpectations）1860年-1861年我们共同的朋友（OurMutualFriend）1864年-1865年艾德温德鲁德之谜（TheMysteryofEdwinDrood）未完成，1870年马丁翟述伟（MartinChuzzlewit）7OliverTwistOliverTwistwasDickenssecondnovel,whichmarkedthebeginningofDickensliterarylife.Itbegantoappearinamonthlymagazine.“IhadperhapsthebestsubjectIhaveeverthoughtof,IhavethrownmywholeheartandsoulintoOliver.”OliverTwistOliverTwistwasD8PurposeofthisbookThatitsgeneralpurposewasclearinhismindwasevidentfromhislater-writtenpreface.Iwishedtoshow,inlittleOliver,theprincipleofGoodSurvivingthrougheveryadversecircumstanceandtriumphingatlast.ThecompanionsamongwhomhewastobetriedwerethecriminalsofLondonsunder-world.Theauthordepicteditnotinaromanticmoodjustashiscontemporarynovels,butshowedmuchmiserablereality.Thatrealitywasthegreatandenduringstrengthofthebook.Dickensknewitalotbycloseobservation,whichhehadalreadydemonstratedin,hadnewspapersketchesofLondonstreetsandcriminalcourt.PurposeofthisbookThatits9Also,therewasanotherreason,thatis,heknewitbyhisownexperience.Hewasborninaprovidentwaysoevenwhenhewasveryyoung,hesufferedalot.Heknewthosekindsoffeelingandofcoursehecouldsharethesolitarychildspain,forhebewilderedinthoseyearswhenhehandlaboredhopelesslyintheblacking-warehouse.Ashesaidmuchlater,himselfmighthavebecomealittlerobberoralittlevagabond.Thatperiodoftimewassobitterandgallingtothissensitiveboythatmanyyearslater,whenhewasverysuccessful,hecouldnotlookbackuponitwithouttearsinhiseyes.Maybeitwasthemainreasonthatwhyhetookmuchmoreattentiontocommonpeopleslivesandtheirfeelings.Also,therewasanotherreaso10Olivertwist(hero)Fagin(badman)Nancy(kindness)Mr.brownlow(nice)happylifeadoptedsavedtaughthimtostealworksBillsikes(badman)partnersOlivertwistFaginNancyMr.brow11MaincharactersOliverTwist,thetitularheroofthenovel,OliveristhenaturalsonofEdwinLeefordandAgnesFleming.Heisapallid,unrealizedfigure.Authorialassertion,insteadofhisownbehaviour,decidesuponhischaracter.Heisshowntobequiet,yielding,conciliatoryandnaturallygood,quitedefenselessagainstthecruelandunscrupulous.Oliverlacksthecapacitiesordinarilyexpecteinaprotaganist,whoseactsanddecisionsusu.havesomeinfluenceonthecourseofevents.Insteadofbeinganactiveparticipantintheshapingofhisowndestiny,Oliverbecomestheprizeforwhichtheopposingforcescontend.Heismoreacteduponthanacting.MaincharactersOliverTwist,t12Fagin,aconnivingcareercriminal.Fagintakesinhomelesschildrenandtrainsthemtopickpocketsforhim.Heisalsoabuyerofotherpeoplesstolengoods.Herarelycommitscrimeshimself,preferringtoemployotherstocommitthemandoftensufferlegalretributioninhisplace.DickenssportraitofFagindisplaystheinfluenceofanti-Semiticstereotypes.BillSikes,abrutalprofessionalburglarbroughtupinFaginsgang.SikesandNancyarelovers,andhetreatsbothherandhisdogBulls-eyewithanoddcombinationofcrueltyandgrudgingfamiliarity.HismurderofNancyisthemostheinousofthemanycrimesthatoccurinthenovel.Monks,Oliversbrother,didbadthingstohurtOliver.Hewantedtogetthelegacies（遗产）leftbyhisfatheralone.HepaidFagintotrapOliverintoalifeofcrime.Infact,theywereallafraidofbeingputintoprisonandbeinghanged.Theycantlivehappily.Fagin,aconnivingcareercr13Nancy,apoorgirl,lovedabadman.ShehadtohelpBillSikesperpetrate（作（作恶）,becauseshelovedhim.Shehadtobeloyaltothecriminalgroup,becauseshelovedhim.Actually,shewaskind.ShehelpedOliverattheriskofherlife.IfshehadntfellinlovewithSikes,shewouldhaveahappyending.Mr.Brownlow,anoldfriendofOliversfather,tookgoodcareofOliver.Intheend,heandOliverhadahappylife.Nancy,apoorgirl,lovedaba14 Plotandstructurea.Oliver TwistatypicalDickensnovel:thenoveldevelopsaroundacoreoftangledintriguethatbringstogetheralargenumberofpeople(thoughonthesurfacetheirpathsdonotseemlikelytocross)theinterrelatednessofthepeople.Theattendantcomplicationsandtheirunravelingcontributealargemeasureofmysteryandsuspense.Plotandstructurea.Oliver15b.Characteristicconflictandresolutioninthenovel:dualconflictsinthenoveltheonebetweenMonksandOliver;theonebetweenFaginandSikes.ThroughhisconspiracywithMonks,Faginisinvolvedinbothconflictsandconvergesthetwolinesoftumultuousactions.b.Characteristicconflicta16c.TheclimaxofOliverstrials:TheabortiveChertseyburglaryaturningpointforOliverwhosefortunessteadilyimprovethereafter.(thecrisisismoreofFaginsdecisionthanofOliversownvolition).d.ThecrisisoftheconflictbetweenFaginandSikes:FaginsstepofhavingNancyspieduponleadsdirectlytotheclimaxofgirlsmurder.Withthebloodydeedtheentiregangofcriminalswasdestroyed.e.Liberaluseofaccidentsandcoincidencetodrawthenumerouspersonsintothecurrentofevents.c.TheclimaxofOliverstria17f.Characteristicsofmelodrama:thefreeinjectionofthequalityofpathos(asinthecaseof“littleDick”);theportraitofOliversmotherandMonksscarsignsasrecognitiondevices;evilbrother,adestroyedwill,assumednames,andthediscoveryofunknownrelatives.g.Theromanticsubplotmelodrama:Inthecontestbetweenthedarkandlightforcesofthebook,themaidenstandsoutindazzlingwhitepurity.Thewooersnoblerenunciationoffameandfortuneforthesakeoftrueloveisaloftytributetovirtuoussentiment.Althoughtheromanceishardlyintegraltotheplot,itdoesdefertoestablishedliterarytraditionandprovidesacenterofinterestforbringingthebooktoaconclusion.f.Characteristicsofmelodram18ThemesTheprimarythemeinOliverTwististheage-oldbattlebetweengoodandevil.AsquotedinEnotes,Dickensoncewrotethathewishedtoshow,inlittleOliver,theprincipleofgoodsurvivingthrougheveryadversecircumstance,andtriumphingatlast.Tothisend,thecharactersinthestorytendtoberathersingle-dimensional,withafewexceptions,theyareeitherverygoodorverybad.CharacterslikeOliver,Mr.Brownlow,andtheMayliesarevirtuous,andthoselikeFagin,Monks,andSikesareevil.ThemesTheprimarythemeinOl19AsecondthemeinthebookistheeffectofBritishlawsduringthefirsthalfofthe1800sonthepoor.ReasoningthattheenactmentofPoorLawswouldsavemuchmoneyonthecareoftheindigent,thegovernmentconfinedthosemiredinpovertyinworkhouses,wheretheywerestarvedandmistreatedwithnoavenueofredemption.Theselawsparadoxicallyresultedinthedevelopmentofaseedyundergroundofcrime,andratesoflawlessnesssoared.Asecondthemeinthebookis20Alienationisanotherthemethatthestoryexploresindepth.Eachofthecharactersarealienatedbothfromeachotherandsociety.Asanorphan,Oliveristhestereotypicaloutcast,and,withthepossibleexceptionofDick,thepeopleinhislifeareonlyoutforthemselves.Althoughthegoodpeopleinthestorydosharemomentsofcommunityandtrust,theirnumbersaresmall,andtheyarefaroutnumberedbytheirunscrupulouscounterparts.Alienationisanotherthemeth21FeaturesofDickensNovelsa.Charactersketches&exaggeration-vividoutwardportrayal(1,900charactersinhisnovels);b.Broadhumour&penetratingsatire(QianZhongshulearnedfromhiminthis);c.Complicated&fascinatingplot-majorplots+minorplots/parallelmajorplots,suspense&mystery,happyending(esp.earlierworks);FeaturesofDickensNovelsa.22d.ThepowerofexposureNovels:instrumentofmoralityandjustice(Trollope:“Anauthormustentertainhisreaders,otherwisehewillbeworthless;meanwhileheshouldinstructthem,whetherhelikesitornot.”Thepublicationof Oliver TwisthelpedimprovethelivingconditionsoftheworkersinLondon);e.Advocationofhumanism(love,tolerance,mercyandromanticrealism.).d.ThepowerofexposureNove23Dickensartistictechniquecanbesummarizedasbelow:1.Dickenshasatendencytodepictthegrotesque(veryoddorunusual,fantasticallyuglyorabsurd)charactersorevents.Thisistrueinhischaracterizationandinhisdescriptionofscenes.MostofDickenscharactershaveapeculiarhabit,manner,behavior,dress,andcatchphraseofhisorherown.Evidentlyinthisrespect,DickenswasundertheinfluenceofBenJonsonscomediesofhumours,inwhicheachcharacterhashisorherownpeculiarhumour.Dickensartistictechniqueca242.Dickenslovestoinstilllifeintoinanimatethingsandtocompareanimatebeingstoinanimatethings.Forexample,inHard Times,hecomparestheupanddownmovementofenginesinafactorytotheheadofanelephantinastateofmelancholymadness,andthesmokeintheairabovetosnakestrailingthemselvesforeverandever.InMartin ChuzzlewithecomparesthehypocriticalPecksnifftoadirectionpost,whichalwayspointsoutthedirectionforotherpeopletogobutitnevermovesaninchtowardsthedirectionitispointing.2.Dickenslovestoinstillli253.Dickensisnotedforhisdescriptionofpatheticscenesthataimtoarousepeoplessympathy.PathosisadistinctivequalityinDickenswritings.Thoughwemayfeelitaffected,thereadersofDickenstimehadgreatloveofpatheticscenesastheywerefondofmelodramas(传奇剧)whichwereverypopularintheirtimeandwhichareakindofnaivelysensationalentertainmentwiththemaincharactereitherexcessivelyvirtuousorexcessivelyevil.Dickensknewwhathisreadersliked,andhelovedtoavailhimselfofeveryopportunitytoappealtotheemotionsofhisreaders.3.Dickensisnotedforhisde26 Symbolism(multi-layer symbolism in the novel)a.SettingassymbolsTheexternalevidenceofneglectanddecaytheircounterpartsinsocietyandintheheartsofmen;thedarkdeedsandpassionsdimrooms,smoke,fog,anddarknights;themoodofterrorandbrutality-frequentrainandcoldweather.b.CharactersassymbolsThechimneysweepGamfieldcruelty(purelysymbolicfigurewithnoplotfunction);Symbolism(multi-layersymbo27Brownlowthesymbolofbenevolence.c.Gesturesofpersonsassymbols:Bumblesfondnessforhisthree-corneredhatdevotiontoanemptyauthoritarianism.d.Allusiontoobesity:symbolforhungerinaninversefashion(bycallingattentiontoitsabsence)Manypeopleinthenovelaredescribedas“fat”.Brownlowthesymbolofb28Stylea.luxuriantstyleverboserhetoric(冗长的修辞）.Itmightbedispleasingtosomeofthemoderntastes,butquitesuitedthetastesofhiscontemporaryreaders(markedwithslowpaceoflife,publicationbyinstallmentwhichmeanstheneedtomakescenesunforgettableinordertokeepreadersinterest);b.(sardonic)讽刺的humourStyle29
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