Alevel/ IGCSE/ KS 英国文学鉴赏-讲故事的人

Alevel/ IGCSE/ KS 英国文学鉴赏

 
短篇小说 《说故事的人》 英国文学家Munro
The Storyteller (Saki) by H.H. Munro (Saki)(1870-1916)
Word Count:2109
 
It was a hot afternoon, and the railway carriage was correspondingly sultry, and the next
stop was at Templecombe, nearly an hour ahead. The occupants of the carriage were a
small girl, and a smaller girl, and a small boy. An aunt belonging to the children occupied
one corner seat, and the further corner seat on the opposite side was occupied by a
bachelor who was a stranger to their party, but the small girls and the small boy
emphatically occupied the compartment. Both the aunt and the children were conversational
in a limited, persistent way, reminding one of the attentions of a housefly that refuses to be
discouraged. Most of the aunt's remarks seemed to begin with "Don't," and nearly all of the
children's remarks began with "Why?" The bachelor said nothing out loud. "Don't, Cyril,
don't," exclaimed the aunt, as the small boy began smacking the cushions of the seat,
producing a cloud of dust at each blow.
"Come and look out of the window," she added.
The child moved reluctantly to the window.  "Why are those sheep being driven out of that
field?" he asked.
"I expect they are being driven to another field where there is more grass," said the aunt
weakly.
"But there is lots of grass in that field," protested the boy; "there's nothing else but grass
there. Aunt, there's lots of grass in that field."
"Perhaps the grass in the other field is better," suggested the aunt fatuously.
"Why is it better?" came the swift, inevitable question.
"Oh, look at those cows!" exclaimed the aunt. Nearly every field along the line had
contained cows or bullocks, but she spoke as though she were drawing attention to a rarity.
"Why is the grass in the other field better?"persisted Cyril.
The frown on the bachelor's face was deepening to a scowl. He was a hard, unsympathetic
man, the aunt decided in her mind. She was utterly unable to come to any satisfactory
decision about the grass in the other field.
The smaller girl created a diversion by beginning to recite "On the Road to Mandalay." She
only knew the first line, but she put her limited knowledge to the fullest possible use. She
repeated the line over and over again in a dreamy but resolute and very audible voice; it
seemed to the bachelor as though some one had had a bet with her that she could not
repeat the line aloud two thousand times without stopping. Whoever it was who had made
the wager was likely to lose his bet.
"Come over here and listen to a story," said the aunt, when the bachelor had looked twice at
her and once at the communication cord.
The children moved listlessly towards the aunt's end of the carriage. Evidently her reputation as a story- teller did not rank high in their estimation.
In a low, confidential voice, interrupted at frequent intervals by loud, petulant questionings
from her listeners, she began an unenterprising and deplorably uninteresting story about a
little girl who was good, and made friends with every one on account of her goodness, and
was finally saved from a mad bull by a number of rescuers who admired her moral
character.
"Wouldn't they have saved her if she hadn't been good?" demanded the bigger of the small
girls. It was exactly the question that the bachelor had wanted to ask.
"Well, yes," admitted the aunt lamely, "but I don't think they would have run quite so fast to
her help if they had not liked her so much."
"It's the stupidest story I've ever heard," said the bigger of the small girls, with immense
conviction.
"I didn't listen after the first bit, it was so stupid," said Cyril.
The smaller girl made no actual comment on the story, but she had long ago recommenced
a murmured repetition of her favourite line.
"You don't seem to be a success as a story-teller," said the bachelor suddenly from his
corner.
The aunt bristled in instant defence at this unexpected attack.
"It's a very difficult thing to tell stories that children can both understand and appreciate,"
she said stiffly,
"I don't agree with you," said the bachelor.
"Perhaps you would like to tell them a story," was the aunt's retort.
"Tell us a story," demanded the bigger of the small girls,
"Once upon a time," began the bachelor, "there was a little girl called Bertha, who was
extra-ordinarily good."


The children's momentarily-aroused interest began at once to flicker; all stories seemed
dreadfully alike, no matter who told them.
"She did all that she was told, she was always truthful, she kept her clothes clean, ate milk
puddings as though they were jam tarts, learned her lessons perfectly, and was polite in her
manners."
"Was she pretty?" asked the bigger of the small girls.
"Not as pretty as any of you," said the bachelor, "but she was horribly good."
There was a wave of reaction in favour of the story; the word horrible in connection with goodness was a novelty that commended itself. It seemed to introduce a ring of truth that
was absent from the aunt's tales of infant life.
"She was so good," continued the bachelor, "that she won several medals for goodness,
which she always wore, pinned on to her dress. There was a medal for obedience, another
medal for punctuality, and a third for good behaviour. They were large metal medals and
they clicked against one another as she walked. No other child in the town where she lived
had as many as three medals, so everybody knew that she must be an extra good child."
"Horribly good," quoted Cyril.
"Everybody talked about her goodness, and the Prince of the country got to hear about it,
and he said that as she was so very good she might be allowed once a week to walk in his
park, which was just outside the town. It was a beautiful park, and no children were ever
allowed in it, so it was a great honour for Bertha to be allowed to go there."
"Were there any sheep in the park?" demanded Cyril.
"No;" said the bachelor, "there were no sheep."
"Why weren't there any sheep?" came the inevitable question arising out of that answer.
The aunt permitted herself a smile, which might almost have been described as a grin.
"There were no sheep in the park," said the bachelor, "because the Prince's mother had
once had a dream that her son would either be killed by a sheep or else by a clock falling on
him. For that reason the Prince never kept a sheep in his park or a clock in his palace."
The aunt suppressed a gasp of admiration,
"Was the Prince killed by a sheep or by a clock?" asked Cyril.
"He is still alive, so we can't tell whether the dream will come true," said the bachelor
unconcernedly; "anyway, there were no sheep in the park, but there were lots of little pigs
running all over the place."
"What colour were they?"
"Black with white faces, white with black spots, black all over, grey with white patches, and
some were white all over."
The storyteller paused to let a full idea of the park's treasures sink into the children's
imaginations; then he resumed:

"Bertha was rather sorry to find that there were no flowers in the park. She had promised
her aunts, with tears in her eyes, that she would not pick any of the kind Prince's flowers,
and she had meant to keep her promise, so of course it made her feel silly to find that there
were no flowers to pick."
"Why weren't there any flowers?"
"Because the pigs had eaten them all," said the bachelor promptly. "The gardeners had told
the Prince that you couldn't have pigs and flowers, so he decided to have pigs and no
flowers."
There was a murmur of approval at the excellence of the Prince's decision; so many people
would have decided the other way.
"There were lots of other delightful things in the park. There were ponds with gold and blue
and green fish in them, and trees with beautiful parrots that said clever things at a
moment's notice, and humming birds that hummed all the popular tunes of the day. Bertha
walked up and down and enjoyed herself immensely, and thought to herself: 'If I were not
so extraordinarily good I should not have been allowed to come into this beautiful park and
enjoy all that there is to be seen in it,' and her three medals clinked against one another as
she walked and helped to remind her how very good she really was. Just then an enormous
wolf came prowling into the park to see if it could catch a fat little pig for its supper."
"What colour was it?" asked the children, amid an immediate quickening of interest,
"Mud-colour all over, with a black tongue and pale grey eyes that gleamed with unspeakable
ferocity. The first thing that it saw in the park was Bertha; her pinafore was so spotlessly
white and clean that it could be seen from a great distance. Bertha saw the wolf and saw
that it was stealing towards her, and she began to wish that she had never been allowed to
come into the park. She ran as hard as she could, and the wolf came after her with huge
leaps and bounds. She managed to reach a shrubbery of myrtle bushes and she hid herself
in one of the thickest of the bushes. The wolf came sniffing among the branches, its black
tongue lolling out of its mouth and its pale grey eyes glaring with rage. Bertha was terribly
frightened, and thought to herself; 'If I had not been so extraordinarily good I should have
been safe in the town at this moment.' However, the scent of the myrtle was so strong that
the wolf could not sniff out where Bertha was hiding, and the bushes were so thick that he
might have hunted about in them for a long time without catching sight of her, so he
thought he might as well go off and catch a little pig instead. Bertha was trembling very
much at having the wolf prowling and sniffing so near her, and as she trembled the medal
for obedience clinked against the medals for good conduct and punctuality. The wolf was
just moving away when he heard the sound of the medals clinking and stopped to listen;
they clinked again in a bush quite near him. He dashed into the bush, his pale grey eyes
gleaming with ferocity and triumph, and dragged Bertha out and devoured her to the last
morsel. All that was left of her were her shoes, bits of clothing, and the three medals for
goodness."


"Were any of the little pigs killed?"
"No, they all escaped."
"The story began badly," said the smaller of the small girls, "but it had a beautiful ending."
"It is the most beautiful story that I ever heard," said the bigger of the small girls, with
immense decision.
"It is the only beautiful story I have ever heard," said Cyril.
A dissentient opinion came from the aunt.
 
"A most improper story to tell to young children! You have undermined the effect of years of
careful teaching."
"At any rate," said the bachelor, collecting his belongings preparatory to leaving the
carriage, "I kept them quiet for ten minutes, which was more than you were able to do."
"Unhappy woman!" he observed to himself as he walked down the platform of Templecombe
station; "for the next six months or so those children will assail her in public with demands
for an improper story!"
 
 
 
 

单词	词性	字根	字根意义	定义
sultry	形容词	sul- (拉丁语)	热，潮湿	闷热的，潮湿的
emphatically	副词	emphat- (希腊语)	强调，表现	强调地，明确地
fatuously	副词	fatu- (拉丁语)	愚蠢的，自满的	愚蠢地，自满地
deplorably	副词	deplor- (拉丁语)	哀悼，悲叹	可悲地，令人遗憾地
unenterprising	形容词	enterpris- (拉丁语)	进取，企业	缺乏进取心的，无创意的
uninteresting	形容词	interest- (拉丁语)	兴趣，吸引	无趣的，不感兴趣的
pinafore	名词	pinaf- (法语)	围裙，罩衣	女童穿的围裙
prowling	动词	prow- (古英语)	徘徊，游荡	徘徊，游荡
ferocity	名词	feroc- (拉丁语)	凶猛，暴力	凶猛，猛烈
glaring	形容词	glare- (古英语)	刺眼的，明亮的	发出刺眼光芒的，明晃晃的
unconcernedly	副词	concern- (拉丁语)	关心，挂念	不关心地，漠不关心地
dissentient	形容词	diss- (拉丁语)	不同，异议	持不同意见的，表示异议的
resolute	形容词	resolut- (拉丁语)	决定，坚定	坚决的，果断的
lamentably	副词	lament- (拉丁语)	哀悼，悲叹	可悲地，令人遗憾地
obtrusive	形容词	obtrud- (拉丁语)	突出，干扰	冒犯的，突出的
inconvenience	名词	conven- (拉丁语)	便利，适合	不便，麻烦
discrepancy	名词	discrep- (拉丁语)	不一致，差异	不一致，差异
irritation	名词	irrit- (拉丁语)	刺激，发炎	刺激，愤怒
unsettling	形容词	settle- (古英语)	安排，安定	令人不安的，困扰的
cynical	形容词	cyn- (希腊语)	犬，怀疑	愤世嫉俗的，怀疑的
illuminated	形容词	illumin- (拉丁语)	照明，启发	照亮的，启发的
malicious	形容词	malic- (拉丁语)	恶意，坏	恶意的，有害的
insipid	形容词	sipid- (拉丁语)	味道，无趣	枯燥乏味的，乏味的
unassailable	形容词	assail- (拉丁语)	攻击，不可攻击	不可攻陷的，不可攻击的
disdainful	形容词	disdain- (拉丁语)	轻蔑，不屑	轻蔑的，不屑一顾的
strident	形容词	strid- (拉丁语)	尖锐，刺耳	刺耳的，尖锐的
unperturbed	形容词	perturb- (拉丁语)	扰乱，困扰	镇静的，未受干扰的
miscreant	名词	mis- (拉丁语)	错误，坏	恶棍，罪犯
provocative	形容词	provoc- (拉丁语)	挑衅，刺激	挑衅的，刺激的
adroit	形容词	adro- (法语)	灵巧，熟练	熟练的，灵巧的
unobtrusive	形容词	obtrus- (拉丁语)	干扰，突出	不显眼的，不打扰的
transient	形容词	transi- (拉丁语)	短暂，过渡	短暂的，瞬间的
vivid	形容词	viv- (拉丁语)	活着，生命	生动的，鲜艳的
provincial	形容词	provinc- (拉丁语)	省，地方	乡村的，地方的
insensitive	形容词	sens- (拉丁语)	感觉，无感觉	不敏感的，无感觉的
disenchanted	形容词	enchant- (法语)	魔法，迷惑	幻想破灭的，失望的
irrelevant	形容词	relev- (拉丁语)	相关，重要	不相关的，不相干的
intrepid	形容词	trepid- (拉丁语)	恐惧，胆怯	勇敢的，无畏的
melancholy	名词	melanchol- (希腊语)	忧郁，悲伤	忧郁，悲伤
articulate	动词	articul- (拉丁语)	关节，清晰表达	表达清晰的，能说会道的
tenacious	形容词	tenac- (拉丁语)	固执，粘附	顽强的，坚定的

 
 
 
 
 
 
 
直接引用问题（quotation）：
 
"What does the aunt say to Cyril when he begins smacking the cushions of the seat?"
 
 
 
 
 
 
 
 
 
 
直接引用问题（quotation）：
 
"How does the bachelor describe the medals Bertha won for her goodness?"
 
 
 
 
 
释义问题：
 
"What does 'sultry' mean in the context of the railway carriage?"
 
 
 
 
 
 
 
释义问题：
 
"What does 'deplorably' mean as used to describe the aunt's story?"
 
 
 
 
 
 
 
 
PPE问题（point, evidence, explain）：
 
"What is the significance of the wolf's color and behavior in the story told by the bachelor? (Provide evidence from the text and explain its impact.)"
 
 
 
 
 
 
 
直接引用问题（quotation）：
 
"What is Cyril's reaction to the aunt's story, and how does he express his opinion?"
 
 
 
 
 
 
 
释义问题：
 
"What does the term 'unconcernedly' imply about the bachelor's attitude towards the Prince's dream?"
 
 
 
 
 
 
 
PPE问题（point, evidence, explain）：
 
"Discuss the role of the Prince's dream in the bachelor’s story. How does it affect the narrative? (Include textual evidence and explain its effect.)"
 
 
 
 
 
Paraphrasing问题：
 
"How does the bachelor’s story challenge the traditional notion of goodness, according to the children’s reactions?"
 
 
 
 
 
PPE问题（point, evidence, explain）：
 
"How does the bachelor’s story contrast with the aunt's storytelling? Discuss using specific examples from the text. (Provide evidence and explain the differences.)"
 
 
 
 

Answers

·  直接引用问题（quotation）：
· ·  Question: "What does the aunt say to Cyril when he begins smacking the cushions of the seat?"
· Answer: The aunt says, "Don't, Cyril, don't," as Cyril starts smacking the cushions of the seat. This indicates her frustration and attempts to stop his disruptive behavior.
·  直接引用问题（quotation）：
· ·  Question: "How does the bachelor describe the medals Bertha won for her goodness?"
· Answer: The bachelor describes Bertha's medals by saying, "There was a medal for obedience, another medal for punctuality, and a third for good behaviour. They were large metal medals and they clicked against one another as she walked."
·  释义问题：
· ·  Question: "What does 'sultry' mean in the context of the railway carriage?"
· Answer: In this context, 'sultry' means hot and humid, creating an uncomfortable and oppressive atmosphere inside the railway carriage.
·  释义问题：
· ·  Question: "What does 'deplorably' mean as used to describe the aunt's story?"
· Answer: 'Deplorably' means that the story is regrettably bad or disappointing. It suggests that the story is extremely uninteresting and poorly told.
·  PPE问题（point, evidence, explain）：
· ·  Question: "What is the significance of the wolf's color and behavior in the story told by the bachelor? (Provide evidence from the text and explain its impact.)"
· Answer:
o Point: The wolf's color and behavior highlight the story's dramatic tension and contrast with Bertha's innocence.
o Evidence: The bachelor describes the wolf as "mud-colour all over, with a black tongue and pale grey eyes that gleamed with unspeakable ferocity."
o Explain: This description enhances the sense of danger and creates a vivid image of threat, which increases the suspense in the story and emphasizes the stark contrast between Bertha's perceived goodness and the wolf's malevolence.
·  直接引用问题（quotation）：
· ·  Question: "What is Cyril's reaction to the aunt's story, and how does he express his opinion?"
· Answer: Cyril reacts negatively to the aunt's story by saying, "It's the stupidest story I've ever heard," indicating his clear disapproval and lack of interest in the narrative.
·  释义问题：
· ·  Question: "What does the term 'unconcernedly' imply about the bachelor's attitude towards the Prince's dream?"
· Answer: 'Unconcernedly' implies that the bachelor is indifferent or casual about the Prince's dream. He presents it without any apparent worry or seriousness, reflecting his nonchalant attitude towards the fantastical elements of the story.
·  PPE问题（point, evidence, explain）：
· ·  Question: "Discuss the role of the Prince's dream in the bachelor’s story. How does it affect the narrative? (Include textual evidence and explain its effect.)"
· Answer:
o Point: The Prince's dream serves as a whimsical plot device that influences the setting and rules of the story.
o Evidence: The bachelor explains, "The Prince's mother had once had a dream that her son would either be killed by a sheep or else by a clock falling on him," leading to the absence of sheep and clocks.
o Explain: This fantastical explanation adds a layer of absurdity and humor to the narrative, setting the stage for the bizarre and imaginative elements that follow. It contrasts with the more mundane and moralistic stories told by the aunt.
·  Paraphrasing问题：
· ·  Question: "How does the bachelor’s story challenge the traditional notion of goodness, according to the children’s reactions?"
· Answer: The bachelor’s story challenges the traditional notion of goodness by depicting Bertha’s excessive goodness as ultimately leading to her demise. The children’s reactions, which include finding the story "beautiful" due to its unexpected ending, reflect their appreciation for the subversion of conventional moral tales where goodness typically results in a positive outcome.
·  PPE问题（point, evidence, explain）：
· ·  Question: "How does the bachelor’s story contrast with the aunt's storytelling? Discuss using specific examples from the text. (Provide evidence and explain the differences.)"
· Answer:
o Point: The bachelor’s story contrasts with the aunt's storytelling by being more imaginative and engaging, while the aunt’s stories are portrayed as dull and unoriginal.
o Evidence: The bachelor’s story includes fantastical elements like a Prince's dream influencing the park’s contents and a wolf with a dramatic appearance, whereas the aunt’s story is described as "unenterprising and deplorably uninteresting."
o Explain: The bachelor’s use of creativity and dark humor provides a more engaging and memorable narrative, which resonates with the children and ultimately garners their approval. This contrasts sharply with the aunt's mundane moral tales, which fail to captivate the children’s interest.