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Novel Houses

机译:新的房子

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'Last night I dreamt I went to Manderley again. It seemed to me I stood by the iron gate leading to the drive, and for a while I could not enter, for the way was barred to me. There was a padlock and chain upon the gate…Then, like all dreamers, I was possessed of a sudden with supernatural powers, and passed like a spirit through the barrier before me. The drive wound away in front of me, twisting and turning as it had always done, but as I advanced I was aware that a change had come upon it...'. So runs the famous beginning of Daphne du Maurier's novel Rebecca. Most of the narrative is located in a fictional country house, Manderley, in Cornwall, sometimes claimed to be based on an actual house known to the author, Menabilly. The advantage of a fictional house over an actual one is that it has its own life, relating to an imagined story, it can take any form the author wishes. The beginning of Rebecca is so effective because the reader is already from the first words moving forwards on a dream of motion, as in a film, through the overgrown woods, into the central location for the narrative.
机译:“昨晚我梦见我再次去了Manderley。我似乎我站在铁门通向驱动器,而且一段时间我无法进入,因为禁止对我而言。门上有一个挂锁和链条......然后,像所有的梦想家一样,我突然拥有超自然的力量,并像我面前的障碍一样通过精神。当我始终完成时,扭曲和转动的驱动器会缠绕在一起,但随着我的推进,我知道改变了它......''。所以经营着着名的达芙妮·莫里尔小说丽贝卡的起点。大多数叙述都位于一个虚构的乡间别墅,Manderley,康沃尔郡,有时声称基于作者已知的实际房屋,Menabilly。一个虚构的房子的优势在一个实际的房子是它有自己的生活,与想象的故事有关,它可以采取作者希望的任何形式。 Rebecca的开始是如此有效,因为读者已经来自第一个在梦想中向前移动的一词,如在一部穿过长满的树林,进入叙事的中心位置。

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