高级英语课程教案 第二册(项目)第五课
-
高级英语课程教案
第二册（项目）第五课
Text
Book
《高级英语》由张汉熙主编
,
外语教学与研究出版社
Title
Unit 5
1. Improving Reading Skills of
understanding a light humorous satire
Teaching Aims
2. Enriching
Vocabulary in academic field and logic
3. Improving Writing skills of applying
rhetoric in a speech
Vocabulary 1 hour
Text Analysis 6 hours
Teaching
Activities
Discussion 0. 5 hour
Practice 3 hours
I .Warming up
II
．
Introduction
to Additional Background Knowledge
III. Text Analysis
1.
Introduction to the Passage Teaching 2. Effective
Writing Skills
Process 3. Rhetorical
Devices
4. Special Difficulties
IV. Questions
Write a
composition of classification. Assignment
1. Walker?s Rhyming Dictionary
2. Any Standard Encyclopedia Reference
3. Any Book on the History of
the
English literature Books 4. Oxford Companion to
English literature
5. Any book on Lexicology or word
Building
1
附页
Text Book
《高级英语》由张汉熙主编
,
外语教学与研究出版社
Title
Unit 5
Teaching Activities
1. Pay attention to words and
expressions in the following aspects
Vocabulary
respectively:
, Spelling and Pronunciation
, synonyms
, Opposites
, Similar words and expressions
, Settled or habitual usage
2. Word building knowledge
附页
Text Book
《高级英语》由张汉熙主编
,
外语教学与研究出版社
Title
Unit 5
Teaching Process g up Question
1 What is love?
What is logic?
Question 2
Love is blind? Question 3
Question 4 Love is reason?
2
1. The meaning
of Logical
fallacies
2. Logical
fallacies:
--Dicto
Simpliciter
--Hasty
Generalization
--Poisoning
the Well
--Ad
Misericordiam
Text Analysis
Introduction to the 1. Type of literature: a piece
of
narrative Passage writing
--protagonist/antagonists
--climax
--denouement
2. The main theme
3. Well
chosen title and words
4. Style
--a very fast pace with a racy dialogue
full of American
colloquialism and
slang
--employing a variety of writing
techniques to make the
3
story vivid, dramatic and
colorful
Effective Writing 1.
Employing colorful lexical spectrum, from the
Skills ultra learned terms to the infra
clipped vulgar
forms
2.
Too much figurative language and ungrammatical
inversion for specific purposes
3. The using of short sentences,
elliptical
sentences and dashes to
maintain the speed of
narration
Rhetorical Devices 1. metaphor
3. antithesis
4.
transferred epithet
4. hyperbole
5. metonymy
6. litotes
7. ellipsis
8. synecdoche
9. inversion
10. simile
11. mixed metaphor
12.
rhetorical questions
Special 1.
Analyzing the logical fallacies Difficulties
2. Using inverted sentences to achieve
emphasis
1. Effectively using many
figures of speech
4
2. Understanding
colloquial expressions and slang
3.
Allusions:
--Frankenstein
--Pygmalion
4. Paraphrasing
some sentences
5. Identifying figures
of speech
Questions Define and give an
example of each of the logical 1.
fallacies discussed in this essay.
Can you find any evidence to support
the view that the 2.
writer is
satirizing a bright but self-satisfied young
man?
Comment on the
language used by Polly. What effect 3.
does her language create?
Why does the writer refer to Pygmalion
and 4.
Frankenstein? Are these
allusions aptly chosen?
In what sense
is the conclusion ironic? 5.
附页
3
Text Book
《高级英语》由张汉熙主编
,
外语教学与研究出版社
Title
Unit 1
Teaching Process 2.
Introduction to Additional Background Knowledge.
Logical 1. An argument in logic
presents evidence in support of some
thesis or
fallacy:
conclusion. An
argument has two components: a conclusion, the
5
thesis argued for; and
certain premises, the considerations adduced
on behalf of the conclusion. The
conclusion is said to be drawn, or
inferred, from the premises. An
argument is deductively valid when
its
premises provide conclusive evidence for the
conclusion. An
argument that fails to
be conclusively deduced is invalid; it is
said
to be fallacious.
An argument may be fallacious in three
ways: in its material
content, through
a misstatement of the facts; in its wording,
through
an incorrect use of
terms; or in its structure (or form), through
the
use of an improper
process of inference. Fallacies are, therefore,
divided into three groups and
classified as (1) material, (2) verbal
and (3) formal. The material fallacies
are also known as fallacies
of
presumption, because the premises
presume too much-- they either
covertly
assume the conclusion or avoid the issue in view.
The
verbal fallacies, called fallacies
of ambiguity, arise when the
conclusion is achieved through an
improper use of words. Strictly
logical, or formal, fallacies arise not
from the specific matter of
the
argument but
from a structural pattern of reasoning that is
generically incorrect.
The
fallacies(
谬误、谬论
) mentioned
in the text belong to the
first group,
i.e. they are material fallacies. Some of the
important
fallacies in this category
may be stated as follows: (1) the fallacy
of
accident is committed by
an argument that applies a general rule to
a particular case in which some special
circumstances (“accident”)
makes the
rule inapplicable. This is the “Dicto Simpliciter”
fallacy
in the text. (2) The converse
fallacy of accident argues improperly from
a special case to a general rule. The
fact that a certain drug is
beneficial
to some sick persons does not imply that it is
beneficial
to
all men. This
is the fallacy of “Hasty Generalization” in the
text.
(3)
6
The
fallacy of irrelevant conclusion is committed when
the
conclusion changes the point that
is at issue in the premises.
Special
cases of irrelevant conclusion are
presented by the so-called
fallacies of
relevance. These include: (a) the argument ad
hominem
(speaking “against the man”
rather than to the issue, or the fallacy
of “Poisoning the Well”
mentioned in the text) in which the
premises may only make a personal
attack on a person who holds
some thesis, instead of
offering grounds showing why what he says
is false; (b) the argument ad
misericordiam (an appeal to “pity”),
as
when a trial lawyer, rather than arguing for his
Client?s innocence,
tries to move the
jury to sympathy for him. (4) The fallacy of
circular argument or “begging the
question” oc
curs when the
premises presume, openly or covertly,
the very conclusion that is to
be
demonstrated (example: “Gregory always votes
wisely.” “But how
do you know?”
“Because he always votes Libertarian.”) (5) The
fallacy
of false cause dislocates the
cause of one phenomenon
in another
that is only seemingly related. The most common
version
of this fallacy, called post
hoc ergo propter hoc, mistakes temporal
sequence for causal connection--as when
a misfortune is attributed
to a
“malign event”, like the d
ropping of a
mirror. (6) The
fallacy of many
questions consists in demanding or giving a single
answer to
a question when
this answer could either be divided (example: “Do
you like the twins?” “Neither yes nor
no; but Ann yes and Mary
no.”) or refused al
together,
because a mistaken presupposition is
involved (example: “Have you stopped
beating your wife?”). (7) The
fallacy
of non sequitur (“it does not follow”„), still
more drastic
than the preceding, occurs
when there is not even a deceptively
plausible appearance of valid
reasoning, because there is a
virtually
complete lack of connection between the given
premises and the
7
conclusion drawn from them.
2See Lesson 3, Pub Talk and the King’s
English, point 7. . Charles
Lamb:
3See Lesson 3, Pub
Talk
and the King’s English, point 6. .
Carlyle:
4John Ruskin
(1819-1900), English critic and social theorist,
was
the
. Ruskin:
virtual dictator of artistic opinion in
England during the mid-19th
century.
Ruskin attended Oxford from 1836-40 and won the
Newdigate Prize for poetry. In 1843
appeared the first volume of
Modem
Painters. This work elaborates the principles that
art is
based
on national
and individual integrity and morality and also
that art
is a
“universal
language”. The Seven tamps of
Archit
ecture applied
these
same theories to architecture. About
1857, Ruskin?s art criticism
became
more broadly social and political. In his works he
attacked
bourgeois England and charged
that modern art reflected the ugliness
and waste of modern industry. Ruskin?s
positive program for social
reform
appeared in Sesame and Lilies (1865), The Crown of
Wild
Olive (1866), Time and Tide
(1867), and Fors Clavigera (8 vols.
1871-84). Many of his suggested
programs -- old age pensions,
nationalization of education, and
organization of labor---have
become accepted doctrine.
附页
3
Text Book
《高级英语》由张汉熙主编
,
外语教学与研究出版社
Title
Unit 1
8
Text Analysis
(English Version)
1. This text is a
piece of narrative writing, a story. The narrator
of the story, Dobie
Gillis,
a freshman in a law school, is the hero or
protagonist. He
struggles against
two antagonists
(
敌手、对手
): Petey Burch, his
roommate whose girl
friend he plans
to steal; and Polly Espy, the girl he
intends to marry after
suitable re-
education. The climax of the story is reached in
paras 147-
150 when Polly refuses to go
steady
with the narrator because she
had already promised to go steady with
Petey Burch.
The denouement
follows rapidly and ends on a very ironic note.
The
raccoon coat
which he
gave to Petey Burch for the privilege of dating
his girl,
the raccoon coat
which the narrator disliked and
abhorred, was the instrument of his
undoing. Polly
Espy promised to go steady with Petey
Burch because he owned a
raccoon coat,
a
coat that all fashionable people on
campus were wearing. The main
theme of
the
story, however, is stated by the
writer in the title of the story:
“Love
is a fallacy”.
The whole
story is a piece of light, humorous satire. The
writer,
Max
Shulman, is
satirizing or making fun of a smug, self-conceited
freshman in a law school. The freshman
is made the narrator of the story
who
goes on smugly boasting
and singing
praises of himself at every conceivable
opportunity.
From the very
beginning, in paragraph 4, he begins to
heap on himself all the
beautiful words
of praise he can think of -- cool, logical, keen,
calculating, perspicacious, acute,
astute,
powerful, precise and
penetrating. This exaggerated self-praise and
the profuse use of similes and
metaphors help to make the satire
humorous. At the same time the narrator
takes every opportunity to down-
grade
Petey Burch. For example, he calls
him: dumb, nothing upstairs, unstable,
impressionable and a faddist.
And as
for
Polly Espy, she is “a beautiful
dumb girl”, who would smarten up
under
his
guidance.
In order to smarten her up, the narrator decides
to give
her a course in
logic. He teaches her how to recognize
the common fallacies of logic.
He
succeeds
too well because the whole
thing backfires on him when Polly refutes
all his
arguments as
logical fallacies before finally rejecting him. In
desperation the
narrator
argues that “the things you learn in school don?t
have
anything to do in
9
life.” The appeal does not move Polly
because she does not reject
him on
logical
grounds. She rejects him
because he does not own a raccoon coat as
Petey Burch
does. At the
end of the story, the reader feels the narrator
has got
what he deserved.
He has been too clever for his own
good.
The title of the story is
humorous and well chosen. It has two
meanings.
When “fallacy” is
taken in its ordinary sense, the title means:
“there is a deceptive or delusive
quality about love.” When taken as a
specific term in logic the title
means: “love
cannot be deduced from a set of given premises.”
Perhaps Max Shulman wants the reader,
after reading the story, to
conclude
that “love” is an error, a deception and an
emotion that does
not follow the
principles of logic. But the
writer,
through this story has succeeded perhaps
unwittingly in
revealing what love
may sometimes mean in the affluent
society. Girls do not want
brilliant,
gifted or
educated husbands, but want
husbands who are rich and wealthy enough
to provide
all the things
necessary for keeping up with the Joneses- home,
clothes, cars, etc.
Max
Shulman has a style quite his own. The story goes
forward at a
very fast
pace
with a racy dialogue full of American
colloquialism and slang.
He employs a
whole variety of writing techniques to
make his story vivid,
dramatic and
colorful.
The lexical spectrum is
colorful -- from the ultra learned terms
used by the conceited narrator to the
infra clipped vulgar forms of
Polly
Espy. He uses
figurative language
profusely and also grammatical inversion for
special emphasis.
The speed of the narration
is maintained by the use of short
sentences, elliptical sentences and
dashes throughout the story. This
mix
adds to the realism of the story.
One
would expect a freshman to talk like this.
2. Love is a Fallacy: This piece is
taken from Max Shulman?s The
Many Loves
of Dobie Gillis, 1951. The narrator is Dobie.
3. Charles Lamb: See Lesson 3 Pub Talk
and the King’s English,
Additional
Background Material for Teachers’ Reference, point
7.
4. Charles Lamb ...
Dream’s Children: a metaphor. Charles Lamb...,
with
his essays Old China
and Dream’s Children, set free (loosened the
chains that bound) the
10
informal essay.
as ... as:
a correlative construction used to indicate the
equality
or sameness of two
things
month of Sundays:
(colloquial) long time
Old
Chi
na and Dream’s Children: Title of
two essays written by
Charles Lamb.
Charles Lamb is a very merry and enterprising
person.
You?ll meet such a person only
after a long time. He wrote the essays,
Old China and Dream’s Children, which
set free the informal e
ssay.
(Note: the word “and” in the phrase
“Old China and Dream’s
Children” in the
text should not be in italics.)
5. There
follows ... frontier: metaphor, comparing the
limitations
set by Lamb to a
frontier. The informal essay that
follows here is freer than the one
Charles Lamb
wrote.
6. “limp”... appropriate: It would
perhaps be more correct to call
this
essay a limp,
flaccid or a spongy
essay.
limp(
柔软的、易曲的
):
drooping; lacking firmness
flaccid(
软弱的、无力的
):
soft, flabby; hanging in loose folds
spongy(
柔软、富有弹性的
):
like a sponge; soft and porous
7.
Vague ... category: inversion to emphasize “vague”
8. Could Carlyle ...
Ruskin? two rhetorical questions also for the
sake of emphasis Carlyle: See Lesson 3,
Pub Talk and the King’ s
English,
Additional Background
Material for
Teachers’ Reference, point 6
Ruskin: See Additional Background
Material for Teachers’ Reference,
point
4. 9. logic, far from …and trauma: metaphor and
hyperbole (夸张
法
). It is a
metaphor
comparing logic to a living
human being. It is a hyperbole because
it exaggerates
for the sake
of effect. Logic is not at all a dry, learned
branch of
learning. It is like
a living human
being, full of beauty, passion and painful
emotional
shocks.
far from
( it ): not at all
discipline: a
branch of knowledge or learning
11
trauma(
损伤
): a
term in psychiatry meaning a painful emotional
experience or
shock, often
producing a lasting psychic effect
10.
Cool... logical: inversion for emphasizing “cool”
11. Keen ... these: Notice
the use of the dash. Ordinarily one would
say: “I was also
keen ... and astute.”
12. My brain…scalpel: simile, comparing
his brain to three
different things;
also
hyperbole, exaggerating for
effect
dynamo(
发电机
): an
earlier form for generator, a machine that
converts
mechanical energy
into electrical energy
chemist’s
scales: Such scales are more precise and accurate
for
they have to weigh
small quantifies of powder or other
medicine.
Scalpel(
解剖刀
): a
surgeon? s sharp knife used in operations 13.
And-- think of it! ---eighteen: Notice
the use of dashes.
think of it: an exclamatory phrase to
intensify that which follows.
Some
other
such phrases are “only think!”
and “you can?t think!” 14. It is
not
often ... a giant intellect: hyperbole for effect
giant intellect: great mind or
intelligence
15. Same age…ox: ellipsis
(省略
). He is of the same age and has the
same
background but he is
dumb as an ox.
dumb as an ox: simile,
as stupid as an ox; very stupid
dumb:
(American colloquialism or slang) stupid; moronic;
unintelligent 16. A nice ... upstairs:
ellipsis. He is a nice enough
young
fellow, you understand, but
there is
nothing upstairs.
nothing upstairs:
(American slang) empty-headed; a
nitwit(
笨人、傻
子
).
The
corresponding British slang is
“unfurnished in the upper storey.”
17.
Emotional ... faddist
(
趋于时尚者
): All four sentences
are
elliptical. The subject
and verb “he is” is left out.
faddist: a person who
follows fads (a passing fashion or craze) 18.
Fads ... reason: Fads (a passing
fashion or craze), in my opinion, show
a
12
complete
lack of reason.
submit: to offer as an opinion;
suggest, propose
very negation:
complete (absolute) lack
19. To be
swept up in… acme of mindlessness: Notice the
grammar
construction
used
here. The long infinitive subject (the real
subject) is first
stated followed by a
dash and then a pronoun “this” (the
grammatical subject) is used
to
represent it in
the sentence that
follows. Compare sentence 2 in paragraph 4, where
the
predicative is dealt
with in the same manner.
to be swept
up in: to be carried away by; to follow
enthusiastically
craze: something that
is currently the fashion: fad
to
surrender yourself: to yield; to indulge (in)
(
纵容
)
acme of
mindlessness: the height of stupidity; the
greatest lack of
intelligence 20. Not
... Petey: ellipsis. This was not the acme of
mindlessness, however, to Petey. 21.
Don’t …laxative: It?s dangerous
for
people suffering from appendicitis
(
阑尾炎
)
to take
any kind of laxative (
放松的
).
22. “Raccoon?” I said…my flight: The
narrator repeats “raccoon”
as a
question
to show that he was surprised
and didn?t understand why Petey
mumbled
this
word.
flight: fleeing or running away from.
Here it means “stopped
rushing out” (to
get
a doctor).
23. I should have ... came back:
“Should” is an auxiliary used to
express expectation
or
probability, equivalent to “ought to” and not
replaceable by
“would”. “They”
stands for raccoon coats.
Charleston: a lively dance in 4/4 time,
characterized by a twisting
step and
popular during the 1920?s
24. where’ve you been: n
ot
to be taken literally. It implies that
the person is rather
ignorant and does not know what
everybody knows.
25. In the library:
ellipsis. I?ve been in the library. This is a
deliberate retort by the
narrator. He takes Petey?s words
literally, pretending not to
understand
his implied
13
criticism.
26. Petey, why: ellipsis. Petey, why
must you have a raccoon coat?
27. Look
at it rationally (
理性地): “It” is a
rather vague pronoun
here. It stands
for
the whole question of owning and
wearing a raccoon coat.
28. They shed: The raccoon
(
浣熊
) coats (the fur of the
coats) cast
off or lose hair (all
the time).
29. It’s the
thing to do: It?s the right, proper or fashionable
thing to do. 30. Don’t you … in the
swim: Don?t you want to follow the
current fashions? Don?t
you
want to be doing what everyone else is doing?
in the swim: conforming to the current
fashions, or active in the
main current
of
affairs
31. my brain
... high gear: mixed metaphor, comparing at the
same
time the narrators
brain to a precision instrument and
also to a machine (like a car)
that has
gears
slipped into high gear: began to
work at high speed or efficiency. A
machine is in
high gear
when the arrangement of gears provides the
greatest speed
but little
power.
slip: to pass, move,
etc. smoothly, quickly, or easily
32.
Anything: ellipsis. Will you really give anything
for a raccoon
coat? Are you
indeed willing to give anything for a
raccoon coat?
33. Anything: ellipsis. Yes, I?m
willing to give anything for a
raccoon
coat. This kind
of elliptical question
and answer is very common in English speech.
34. It so happened ... a raccoon coat:
Luckily by chance I knew where I
could
get
hold of a raccoon coat.
35. He didn’t have ... on it: He didn?t
really own Polly Espy, or
Polly Espy
didn?t
really belong to him. He meant
they were not married or going steady.
But they
were friends so
Petey had the first claim or the privilege of
first
asking Polly Espy
to
be his wife. Notice the deliberate use of “it”,
showing the
narrator?s attitude
towards Polly.
36. Polly
Espy: The writer may have deliberately chosen the
name
“Espy”, meaning
14
to catch sight of, to
make out.
37. Let me emphasize ...
nature: The narrator is honest about his
feelings. He did not
love
Polly. He wanted to marry Polly because he thought
she would
help to further
his career as a lawyer.
38. She was ... my head:
She was beautiful and attractive enough to
arouse the
desires and
passions of men, but the narrator didn?t pick her
out
for this. He chose
her
after coldly analyzing her merits and demerits,
after concluding
that she would
be able to further his career.
to let my heart rule my head: metonymy.
“Heart” stands for
“feelings and
emotions” and “head” for
“reason and good sense”. I do not let
feelings or
emotions get
the upper hand of reason or good sense. I? m
guided in
my actions by
reason and good sense and not by
feelings and emotions. 39. I wanted
Polly ... cerebral reason: I wanted
Polly for a cleverly thought out and
an entirely intellectual reason.
cerebral: conceived by the intellect
rather than the emotions 40. In
a few
years ... in practice: In a few years I would be
out of school and
working as a lawyer.
practice: the exercise of a profession
or occupation
41. I was well aware...
career: I knew very well how important it
was for a lawyer to
have
the right kind of wife. The right kind of wife
would help to
promote his
career.
42.
With one omission ... perfectly: Except for one
thing
(intelligence) Polly had all
the other requirements (beauty, and
grace).
43. Beautiful she was:
inversion to emphasize “beautiful” 44. She
was not ... lack: She was not yet as
beautiful as a pin-up girl but I
felt
sure
she would become beautiful enough
after some time.
pin-up: ( American
colloquialism) designating a girl whose sexual
attractiveness
makes her a
subject for the kind of pictures often pinned up
on
walls
proportions:
lines, shape of the body
15
supply the lack: supply what is wanting
45. She already ... makings: She
already had all the physical
qualities
needed for
developing into a very
beautiful woman.
makings: the material
or qualities needed for the making or
development of
something
46. Gracious she was: See point 43.
47. She had an erectness... best of
breeding: She walked with her
head and
body
erect and
moved in a natural and dignified manner--- all
this showed
she was well
educated and trained in manners and
social behaviour.
carriage: manner of
carrying the head and body; physical posture
bearing: way of carrying oneself;
manner
These two words are synonymous.
“Bearing”, in this comparison,
denotes
manner of carrying or conducting
oneself and refers to
characteristic
physical and
mental posture.
“Carriage”, also applied to posture, specifically
stresses the
physical
aspects of a person?s bearing, e.g. and erect
carriage.
erectness of carriage: using
a noun plus an “of” phrase instead of
an adjective
plus noun
phrase (erect carriage) helps to emphasize the
noun
erectness . So also:
“ease of bearing” and “best of
breeding”.
48. I had seen
her at ... her fingers moist: a concrete example
to
show Polly?s good
table
manners, her good breeding
Kozy Kampus
Korner: for “Cosy Campus Corner”, name of a campus
restaurant
or cafeteria
specialty of
the house: the special dish which the restaurant
or
cafeteria sells
pot
roast: meat, usually a large cut of beef, cooked
in one piece by
braising
a
dipper of sauerkraut: a small cupful of pickled
chopped cabbage
without even getting
her fingers moist: (showing her dainty and
refined table
manners) Her
fingers didn?t even get slightly wet.
49. Intelligent she was not: See point
43.
50. In fact ... opposite
direction: In fact, she went in the
opposite direction. This is a
16
roundabout
(
转弯抹角的、迂回的
) way of saying
that she was not
intelligent, that
she was rather stupid.
51.
It is, after all ... girl beautiful: antithesis,
“beautiful,
dumb and smart” are
balanced against “ugly,
smart and beautiful”.
dumb:
(American colloquialism or slang) stupid, moronic
(
低能的、愚
钝的
);
unintelligent
52. I think;
... kid: I think she?s a nice girl.
keen: (American slang) good, fine,
excellent, etc.: a general term
of
approval
kid:
(American colloquialism) a young person
53. I mean are ... steady: I mean are
you two sweethearts?
go steady:
(American colloquialism) to date someone of the
opposite
sex
regularly and
exclusively; be sweethearts
54. we
both have ... dates: We both go out with other
friends.
date: (American
colloquialism) a person of the opposite sex with
whom one has a
social
engagement
55. In other words ...
would be open: metaphor. If you?re no-longer
involved with
her (if you
stop dating her) others would be free to compete
for her
friendship.
out of
the picture: not considered as involved in a
situation
field: an area where games
or athletic events are held
open: free
to take part or compete in (games being held in
the field)
56. What are you getting at:
What are you trying to say (implying or
suggesting)? 57. nothing: ellipsis. I?m
implying or suggesting nothing.
58.
wh
ile you’re home ... raccoon coat:
Notice the form of the
question “you
couldn?t ... could you”,
which expresses a strong wish that is
quite uncertain of
being
accepted.
so I can buy: generally
expressed as: so that I can buy...
59. I may do... that: I may
do better than lending you some money to
buy a raccoon
coat. The
narrator hopes to get him a raccoon coat.
60. I said ... wink: a transferred
epithet (
绰号
). He said
mysteriously with a wink (the
17
wink was not
mysterious).
61. gamy object: the
raccoon fur coat which had a strong tainted
(
难
闻的
)smell 62.
Would you like it: Would you like to have it?
63. Oh yes ... to him: “Oh yes, I would
like to have it.” he cried,
as he
tightly
clutched the oily fur coat.
64. Then a canny ... eyes: Then a
cautious look came into his eyes.
He
suddenly
became alert and cautious.
65. you girl ... words: I said directly
and forcefully, “I want
your girl.”
mince: to lessen the force
of; weaken, as by euphemism 66. never: I
will never give you Polly.
67. He was a torn man: He was agitated
(
激动不安的
) and tormented
(
痛苦的
), not
knowing what was the right thing to do.
tear: to divide
with doubt, uncertainty, etc.: agitate; torment
68.
First he looked ... bakery window:
simile, comparing his torn expression
with
the expression of a
hungry homeless child looking longingly at the
bread at a
bakery window
69. set his jaw: He put his jaw in a
fixed or rigid position. This
action
shows fixed,
unyielding determination.
70. Back and forth... waning:
antithesis. “Desire waxing
(
盈)” is
balanced
against
“resolution waning (亏)”. His
head turned back and forth (looking
at
the coat then
looking away from the
coat). Every time he looked his desire for the
coat grew
stronger and his
resolution not to give away Polly became weaker.
74.
he just stood …at the coat:
hyperbole. It?s an exaggeration to describe
his great
longing for the
coat as “mad lust”. He just stood there, looking
with great longing
at the
coat.
mad lust: frantic
(
疯狂
) insane, overmastering
(
征服
) desire 72. It
isn’t a
s though ... like
that: Petey Burch is trying to rationalize his
action. He
is trying to find an excuse to justify
his action. In his mind he
has decided
to
accept the coat and give up Polly.
Since he was neither in love nor
going
steady
18
with Polly, it
wouldn?t be wrong to give her up to his roommate
in
exchange for
the coat.
73. what’s Polly… to Polly: See notes
to the text, point 5. He has
no reason
to weep
over losing Polly. Peter goes
on rationalizing.
74. Not a thing:
ellipsis, Polly means not a thing to you.
75. It’s just been ... that’s all: A
final reason that eases
Petey?s
conscience. We
occasionally went out
just for a bit of fun or pleasure, that?s all.
casual kick: (American colloquialism or
slang) an occasional
pleasure
laughs: (American colloquialism or
slang) mere diversion
(
解闷、娱乐
)
or
pleasure 76. The coat…shoe tops: The coat was
rather long but suited
Petey?s height.
The fur
of the collar covered his ears
and the long coat reached his shoe
tops. 77. Is it a deal: Is it a
bargain?
deal: (American slang) an
unethical (
不道德的
) transaction
(
交易
) or
agreement
from which both
parties benefit, specifically, the securing of
favored treatment by
extortion
(
敲诈勒索
)or bribery
78. I had ... following evening: I had
my first social engagement
(outing)
with Polly
the next evening.
79. This was ... survey: The aim of
this date was to find out how
stupid
(or
intelligent) Polly was (so that he
would have an idea of how much
work he
had to
do to make her intelligent
enough to be his wife).
80. Gee, that
was a delish dinner: The writer deliberately makes
Polly Espy use a lot
of
exclamatory words like: “Gee, Oo,
wow
-
dow” and clipped vulgar
(
通俗的、粗俗
的) forms like: “delish, marry,
sensaysh, etc.” to create the
impression of a simple
and
rather stupid girl. This contrasts strongly with
the boasting of
the narrator and
thus helps to increase the force of
satire and irony.
gee: an exclamation
of surprise, wonder, etc.
delish:
clipped vulgar form for “delicious”
81. Gee ...
movie: Oh! That was a marvelous movie (see point
80). 82.
Gee ... a sensaysh time: Oh! I
had a sensational
(
使人感动的、非常好的
)
time.
19
83. I
went back ... heart: I went back to my room
feeling sad and
depressed.
heavy heart: depressed, sorrowful
(feeling)
84. This girl’s lack ...
t
errifying: Polly?s lack of knowledge
(her
ignorance) was
dreadful (frightening).
85.
This loomed ... dimensions: To teach her to think
appeared to be
a rather big task.
no small dimensions: understatement or
litotes (
反语法
), in which
something is
express
ed by a negation of
the contrary, for example, “no small”
for “great” or
“not a few regrets” for “many regrets”,
etc.
86. But then I got to
... and fork: The narrator recapitulates
(
概
括、重述要点
) Polly?s
good points or those qualities which
made the narrator choose Polly
as his
future
wife.
got to:
(Americanism) began to, started to
physical charms: beautiful face and
figure
way she
entered a room: carriage and poise of bearing
way she handled a knife and fork:
refined table manners
87. I gave ...
logic: I taught her logic systematically.
88. I had all ... tips: I was
completely familiar with all the facts.
have at one’s finger tips: to be
completely familiar with; to have
available for
instant use
89. I picked ... next date: On our next
social engagement day I
called on her
to take
her along with me.
pick up: to stop for (to call on) and
take or bring along
90. Oo, terrif:
Oh, terrific. Oh! It?s wonderful.
terrific: (colloquial) unusually fine,
admirable, enjoyable, etc. 91.
you
would go far ... agreeable: You would achieve much
success if you
could
find
another girl who was so agreeable. It isn?t easy
to find a girl
so agreeable.
go far: to accomplish much; achieve
much success
92. We went to the Knoll
... old oak: an implied allusion to Robin
Hood, whose
trysting
(meeting) place was under a huge oak tree in
Sherwood
forest. Robin
20
Hood, in
English legend, is an outlaw of the 12th century
who lived
with his
followers in Sherwood Forest and robbed
the rich to help the poor.
Knoll: the
name of the campus meeting place. Perhaps it was
given
this name
because it
was a small mound or hillock
(
小丘
).
Trysting
(
约会、幽会
) place: meeting
place, especially where lovers
meet
secretly 93. Magnif: magnificent. Logic would be a
very nice
subject to talk about.
magnificent:
(colloquialism)exceptionally good, excellent
94. Wow-dow: interjection; an
exclamation of surprise, wonder,
pleasure, etc. 95. By all means: of
course; certainly, expressing her
approval
96. batting her
lashes: blinking or fluttering her eye-lashes
rapidly to show
pleasurable
excitement
97. I mean ... and
everything: “And everything” is more or less a
meaningless
phrase here.
It?s a weak, vague way of ending a sentence when
the
speaker fails to
find
something important to say. A si
milar
phrase is “or anything
like that” (see
paras 30 and 51).
98. Otherwise
you have ... Simpliciter: metonymy. Otherwise you
have
committed a
logical
fallacy called “a dicto simpliciter ad dictum
secundum
quid” (see notes to
the text, 7).
99. But th
is … marry: But
this is marvellous (wonderful).
100. Do more: Explain more logical
fallacies.
101. It will be ... my
sleeve: Polly, in her excitement, was tugging
(
牵引
) the
narrator?s sleeve and asking him to
explain more logical fallacies.
The
narrator
tells Polly rather brusquely
to stop tugging his sleeve.
it will be
better: a request showing displeasure
102. Really ... nobody: two elliptical
rhetorical questions. Is it
really true
that nobody
at the University of
Minnesota can speak French?
103. I hid
my exasperation (
恼怒
): The
narrator was greatly
irritated or
annoyed by
Polly?s stupidity. He
controlled his voice and temper to hide his
true feelings. 104. Know ... fallacies:
ellipsis. Do you know any more
fallacies? In American
21
English, this elliptical form is rather
common.
105.
This is ... even: The regular word order would be:
“This is
more fun than even
dancing.
106. I fought ...
despair: I struggled to keep away the feeling of
despair. 107. I was getting ... girl: I
was making no progress with this
girl
get nowhere: to make no progress;
accomplish nothing
108. I am nothing
... persistent: a case of a double negative making
a positive. I am
very
persistent.
109. Next comes Post Hoc:
Next comes the logical fallacy called Post
Hoc. 110. Eula Becker. . . is:
inversion to emphasize the name of the
girl 111. It never fails: This sentence
should come after the next one
for “it”
stands for the
fact
mentioned in that sentence.
112. Every
single ... picnic: Every single time we take her
on a
picnic it rains. 113. You are
guilty ... Hoc: metonymy
(
转喻
). You have
committed the logical fallacy
called post hoc, (ergo propter hoc).
114. Are you ... at me: Are you very
angry with me?
mad: (American
colloquialism) angry
115. Yes, let’ s:
Polly i
s trying to be as agreeable as
possible,
so she repeats what he
says: “Yes, let?s (try Contradictory
Premises 前提).”
116. If there is... force: antithesis,
“irresistible” and
“immovable” are
balanced
against each
other. 117. Get it: (Americanism) Do you
understand?
118. Tell me... keen stuff:
Tell me some more of this excellent stuff
(see point 52). 119. I consulted my
watch: I looked at my watch to see
what
time it was.
consult: to refer to or
turn to, especially for information
120. I think ... a night: Let?s stop
our talk for the night here.
call it a
night: (colloquial) to stop working for the night;
also
“call it a day” 121. I deposited
... dormitory: I took her back and
left
her at the girls? dormitory.
deposit:
(facetious
幽默的、滑稽的
) to put,
lay or set down
122. the raccoon coat
... at his feet: simile. The coat looked like
a hairy animal
22
sitting at the foot of Petey?s bed.
123. The girl simply ... head: Polly
had a head that was resistant
to (would
not be
affected by) logic.
proof: resistant to, unaffected by --
fireproof, waterproof, etc.
124. Who
knew: a rhetorical question, expressing some doubt
or some hope.
He
might
still succeed in teaching Polly some logic. Nobody
knew
whether he would
be able to teach Polly some
logic or not.
125. Maybe somewhere ...
into flame: metaphor, comparing Polly?s
mind to the
extinct crater
(
坑) of a volcano, and “embers(灰烬、余烬)”
to some
spark of
intelligence. Perhaps there is still
some intelligence left in
Polly?s empty
(or
stupid) mind.
126.
Maybe somehow ... into flame: The metaphor is
carried through.
“Them”
stands for “embers(灰烬、余烬)”. Perhaps I
could develop the
little intelligence
still
existing in Polly?s mind.
127. Admittedly ... hope: One must
admit the outcome does not look
very
hopeful.
Admittedly
(
公认地、诚然
): (adv.) by
admission or general agreement;
confessedly
prospect:
something hoped for or expected; anticipated
outcome
fraught: filled, charged, or
loaded (with)
128. When the boss ...
is coming: a long loose sentence, which
ordinarily would be
broken
up into two or three separate sentences. In
conversation such
loose
sentences are quite common.
129. Have
you... handkerchief: Polly is moved to tears by
the
poverty and misery of
the worker. She asks for a handkerchief
to wipe her tears. The
writer manages
quite successfully to make the readers
like or at least sympathize
with Polly
by
describing her as a simple, nice
girl with the right feminine
emotions.
On the other
hand he succeeds in
making the readers dislike the shrewd, conceited
and
calculating freshman.
130. I said ... controlled tone: He had
to control his tone to keep
himself
from
screaming.
23
131. surgeons ... an operation:
metonymy (
转喻
). Surgeons use
X-ray
photographs to
guide
them during an operation. It is seldom considered
a
“metonymy” now
because X-
rays are now
commonly taken to mean “photographs made by
means
of X-rays.
132. lawyers have ... a trial: Lawyers
have a written summary of the
main
points of a