英美文學(xué)名詞解釋

1、英美文學(xué)名詞解釋英美文學(xué)名詞解釋11. Allegory: A tale in verse or prose in which characters, actions, or settings represent abstract ideas or moral qualities. An allegory is a story with two meanings, a literal meaning and a symbolic meaning.寓言：用詩歌或散文講的故事，在這個(gè)故事中人物、事件或背景往往代表抽象的概念或道德品質(zhì)。所有的寓言都是一個(gè)具有雙重意義、文學(xué)內(nèi)涵或象征意義的故事。2.

2、Alliteration: The repetition of the initial consonant sounds in poetry.頭韻：詩歌中單詞開頭讀音的重復(fù)。3. Allusion: A reference to a person, a place, an event, or a literary work that a writer expects the reader to recognize and respond to. An allusion may be drawn from history, geography, literature, or religion.典

3、故：文學(xué)作品中作家希望讀者能夠認(rèn)識(shí)或做出反應(yīng)的一個(gè)人物、地點(diǎn)、事件或文學(xué)作品。典故或來自歷史、地理、文學(xué)或宗教。4. American Naturalism: American naturalism was a new and harsher realism. American naturalism had been shaped by the war; by the social upheavals that undermined the comforting faith of an earlier age. Americas literary naturalists dismissed t

4、he validity of comforting moral truths. They attempted to achieve extreme objectivity and frankness, presenting characters of low social and economic classes who were determined by their environment and heredity. In presenting the extremes of life, the naturalists sometimes displayed an affinity to

5、the sensationalism of early romanticism, but unlike their romantic predecessors, the naturalists emphasized that the world was amoral, that men and women had no free will, that lives were controlled by heredity and environment, that the destiny of humanity was misery in life and oblivion in death. A

6、lthough naturalist literature described the world with sometimes brutal realism, it sometimes also aimed at bettering the world through social reform.美國(guó)自然主義：美國(guó)自然主義是一種新的、更具批判性的現(xiàn)實(shí)主義。美國(guó)自然主義是在戰(zhàn)爭(zhēng)和影響人們?cè)缙谛拍畹纳鐣?huì)動(dòng)亂的影響之下形成的。美國(guó)的自然主義者往往否定了廣為接受的道德真理的正確性，他們想達(dá)到極端的客觀與直率，他們所展現(xiàn)的人物往往都是下層社會(huì)的人，他們的命運(yùn)受到環(huán)境和遺傳的制約。在反應(yīng)生活方面，自然主

7、義作家往往表現(xiàn)出早期浪漫主義中感傷主義特征，但和浪漫主義不同的是，自然主義者認(rèn)為，世界缺乏道德，人不論男女都沒有自由的意愿，他們的生活都受到遺傳和環(huán)境的控制，人在生前過著悲慘的生活，死后便被人所遺忘。雖然自然主義文學(xué)通過更為苛刻的現(xiàn)實(shí)主義手法來展現(xiàn)這個(gè)世界，但是他有時(shí)也是為了通過社會(huì)改革來改善這個(gè)世界。5. American Puritanism: Puritanism is the practices and beliefs of the Puritans. The Puritans were originally members of a division of the Protestan

8、t Church. The first settlers who became the founding fathers of the American nation were quite a few of them. They were a group of serious, religious people, advocating highly religious and moral principles. As the word itself hints, Puritans wanted to purity their religious beliefs and practices. T

9、hey accepted the doctrine of predestination, original sin and total depravity, and limited atonement through a special infusion of grace from God. As a culture heritage, Puritanism did have a profound influence on the early American mind. American Puritanism also had an enduring influence on America

10、n literature.美國(guó)清教主義：清教主義是新教徒的原來的一個(gè)分支清教徒的行為和信仰。在美國(guó)的第一批居民中有很多就是清教徒，他們有著嚴(yán)格的宗教信仰和道德準(zhǔn)則。就像這個(gè)詞所暗指的那樣，清教徒們想“清化”他們的宗教信仰和行為習(xí)慣。他們相信宿命論、原罪說、全體墮落和有限的贖罪。作為一種文化遺產(chǎn)，美國(guó)清教主義在早期美國(guó)人的思想上有著深刻的影響，他對(duì)美國(guó)文學(xué)的影響也是頗為持久的。6. American Realism: In American literature, the Civil War brought the Romantic Period to an end. The Age of Re

11、alism came into existence. It came as a reaction against the lie of romanticism and sentimentalism. Realism turned from an emphasis on the strange toward a faithful rendering of the ordinary, a slice of life as it is really lived. It expresses the concern for commonplace and the low, and it offers a

12、n objective rather than an idealistic view of human nature and human experience.美國(guó)現(xiàn)實(shí)主義：在美國(guó)文學(xué)史上，內(nèi)戰(zhàn)宣告了浪漫主義的終結(jié)和現(xiàn)實(shí)主義的開始?，F(xiàn)實(shí)主義反對(duì)浪漫主義和感傷主義的謊言，它從一個(gè)陌生的世界轉(zhuǎn)向了普通人的真實(shí)生活的描寫。它所關(guān)心的是普通的下層勞動(dòng)人民而非理想中的人類本性和現(xiàn)實(shí)經(jīng)歷。7. American Romanticism: The Romantic Period covers the first half of the 19th century. A rising America with

13、its ideals of democracy and equality, its industrialization, its westward expansion, and a variety of foreign influences were among the important factors which made literary expansion and expression not only possible but also inevitable in the period immediately following the nations political indep

14、endence. Yet, romantics frequently shared certain general characteristics: moral enthusiasm, faith in value of individualism and intuitive perception, and a presumption that the natural world was a source of goodness and mans societies a source of corruption. Romantic values were prominent in Americ

15、an politics, art, and philosophy until the Civil War. The romantic exaltation of the individual suited the nations revolutionary heritage and its frontier egalitarianism.美國(guó)浪漫主義：浪漫主義階段涵蓋了19世紀(jì)前半頁。美國(guó)的不斷壯大和發(fā)展以及隨之而來的明珠和平等的思想、工業(yè)化的發(fā)展、西北邊疆的不斷擴(kuò)展和國(guó)外的各種影響使浪漫主義作家文學(xué)不但成為一種可能，而且使它成為美國(guó)政治獨(dú)立后的一種必然。然而，浪漫主義文學(xué)往往有很多共性：他們

16、熱心于道德、相信個(gè)人主義價(jià)值觀和對(duì)世界的直觀感受，并且他們認(rèn)為自然世界是真、善、美的源泉而人類社會(huì)則是墮落的根源。在內(nèi)戰(zhàn)以前，浪漫主義價(jià)值觀占據(jù)是政治、藝術(shù)、和哲學(xué)等領(lǐng)域，浪漫主義者對(duì)個(gè)人的贊揚(yáng)正好迎合了美國(guó)的革命遺風(fēng)和邊疆開拓者的品均主義。8. American Transcendentalism: the emergence of the Transcendentalists as an identifiable movement took place during the late 1820s and 1830s, but the roots of their religious phi

17、losophy extended much farther back into American religious history. Transcendentalism and evangelical Protestantism followed separate evolutionary branches from American Puritanism, taking as their common ancestor the Calvinism of the seventeenth and eighteenth centuries. They spoke for cultural rej

18、uvenation and against the materialism of American spirit, or the Oversoul, as the most important thing in the Universe. They stressed the importance of the individual. To them, the individual was the most important element of society. They offered a fresh perception of nature as symbolic of the Spir

19、it or God. Nature was, to them, alive, filled with Gods overwhelming presence. Transcendentalism is based on the belief that the most fundamental truths about life and death can be reached only by going beyond the world of the senses. Emersons Nature has been called the “Manifesto of American Transc

20、endentalism” and his The American Scholar has been rightly regarded as Americas “Declaration of Intellectual Independence”.美國(guó)超驗(yàn)主義：美國(guó)超驗(yàn)主義出現(xiàn)的19世紀(jì)20年代末期到三十年代，但是它的根源在宗教史上要遠(yuǎn)得多。超驗(yàn)主義和福音派新教分別是美國(guó)清教主義的兩個(gè)分支，他們的祖先是17世紀(jì)和18世紀(jì)的加爾文神教。超驗(yàn)主義者主張文化的復(fù)興，認(rèn)為“超靈”是宇宙中最重要的事物。他們強(qiáng)調(diào)個(gè)人的重要性，反對(duì)精神上的物質(zhì)主義。對(duì)他們來說，個(gè)人是一個(gè)社會(huì)最重要的元素。他們認(rèn)為自然就是“精

21、神”或“上帝”的象征，它是有生命的，而上帝又無處不在。他們認(rèn)為生與死最基本的真理可以超越感官的世界而獲得。艾默生的自然被稱為是“美國(guó)超驗(yàn)主義的宣言”，他的美國(guó)學(xué)者則被認(rèn)為是美國(guó)的“文化獨(dú)立宣言書”。9. Analogy: (a figure of speech) A comparison made between two things to show the similarities between them. Analogies are often used for illustration or for argument.類比：（修辭）把兩種事物放在一起進(jìn)行對(duì)比從而發(fā)現(xiàn)他們的相同點(diǎn)，類比一

22、般用于說明或論述。10. Anapest: Its made up of two unstressed and one stressed syllables, with the two unstressed ones in front.抑抑揚(yáng)格：抑抑揚(yáng)格由兩個(gè)非重度音節(jié)和一個(gè)重讀音節(jié)組成，兩個(gè)非重度音節(jié)在前。11. Antagonist: A person or force opposing the protagonist in a narrative; a rival of the hero or heroine.反面人物：一個(gè)故事中和主人公相對(duì)立的人物或一種力量，是男女主人公的對(duì)手。12.

23、 Antithesis: (a figure of speech) The balancing of two contrasting ideas, words phrases, or sentences. An antithesis is often expressed in a balanced sentence, that is, a sentence in which identical or similar grammatical structure is used to express contrasting ideas.對(duì)偶：（修辭）相互對(duì)稱的兩個(gè)短語、句子或思想。對(duì)偶往往用一個(gè)對(duì)

24、稱的句子來表達(dá)，也就是，一句話中使用相同或相似的語法結(jié)構(gòu)來表達(dá)相互對(duì)照的兩種事物。13. Aphorism: A concise, pointed statement expressing a wise or clever observation about life.警句：用一種簡(jiǎn)練、準(zhǔn)確的方式來表達(dá)對(duì)生活充滿智慧的觀點(diǎn)。14. Apostrophe: A figure of speech in which an absent or a dead person, an abstract quality, or something nonhuman is addressed directly.

25、頓呼：演說或詩歌等中對(duì)某人, 常為死者或不在場(chǎng)者, 或?qū)M人的事物所說的話。15. Argument: A form of discourse in which reason is used to influence or change peoples idea or actions. Writers practice argument most often when writing nonfiction, particularly essays or speeches.議論：用講道理的方法來影響人們的思想或行動(dòng)的一種文本形式。作家往往是在寫非小說文體，尤其是散文或演講的時(shí)候用這種方法。16.

26、 Aside: In drama, lines spoken by a character in an undertone or directly to the audience. An aside is meant to be unheard by the other characters on stage.旁白：在戲劇中低聲說出或直接說給觀眾的臺(tái)詞。旁白在舞臺(tái)上其他人物是聽不到的。17. Assonance: The repetition of similar vowel sounds, especially in poetry. Assonance is often employed t

27、o please the ear or emphasize certain sounds.類韻：在詩歌中相同或相似元音的重復(fù)，它的目的主要是用來使句子悅耳動(dòng)聽或用來強(qiáng)調(diào)某個(gè)音。18. Atmosphere: The prevailing mood or feeling of a literary work. Atmosphere is often developed, at least in part, through descriptions of setting. Such descriptions help to create an emotional climate for the w

28、riters to establish the readers expectations and attitudes.氣氛：文學(xué)作品中主要的基調(diào)或感覺。氣氛的渲染主要是通過對(duì)環(huán)境的描寫來展開的，這種描寫有助于作家創(chuàng)造一種情緒氣氛來時(shí)感染讀者19. Autobiography: A persons account of his or her own life. An autobiography is generally written in narrative form and includes some introspection.自傳：一個(gè)人對(duì)他或她自己生活的描述，自傳是一種敘述性的文體，多

29、包含回憶性的描寫。20. Ballad: A story told in verse and usually meant to be sung. In many countries, the folk ballad was one of the earliest forms of literature. Folk ballads have no known authors. They were transmitted orally from generation to generation and were not set down in writing until centuries aft

30、er they were first sung. The subject matter of folk ballads stems from the everyday life of the common people. Devices commonly used in ballads are the refrain, incremental repetition, and code language. A later form of ballad is the literary ballad, which imitates the style of the folk ballad.民謠：民謠

31、是一種做詩配唱的故事。在很多國(guó)家，民謠是最早的文學(xué)形式之一，都是無名作家所寫，它們從開始傳唱到真正寫下來要在口頭流傳好幾代人。民謠中所采用的手法多為疊句、重復(fù)和暗語。后來民謠就變成了有文字的歌謠，其風(fēng)格模仿民間歌謠。21. Ballad stanza: A type of four-line stanza. The first and third lines have four stressed words or syllables; the second and fourth lines have three stresses. Ballad meter is usually iambic.

32、 The number of unstressed syllables in each line may vary. The second and fourth lines rhyme.民謠體詩節(jié)：一種四行詩節(jié)，第一、三行由四個(gè)重讀單詞或音節(jié)組成，二、四行由三個(gè)重音組成。民謠的韻腳往往采用抑揚(yáng)格的形式，每一行中非重度音節(jié)的數(shù)目不等，二、四行押韻。22. Biography: A detailed account of a persons life written by another person.23. Blank verse: Verse written in unrhymed iambi

33、c pentameter.素體詩：用五音步抑揚(yáng)格寫的無韻詩。24. Caesura: A break or pause in a line of poetry.休止：一行詩中的間斷或停頓。25. Canto: A section or division of a long poem.詩章：長(zhǎng)詩的一部分。26. Caricature: The use of exaggeration or distortion to make a figure appear comic or ridiculous. A physical characteristic, an eccentricity, a per

34、sonality trait, or an act may be exaggerated.漫畫：用夸張或扭曲的手法來描寫一個(gè)人物的外貌特征、怪癖、個(gè)性或某個(gè)動(dòng)作來產(chǎn)生滑稽可笑的效果。27. Character: In appreciating a short story, characters are an indispensable element. Characters are the persons presented in a dramatic or narrative work. Forst divides characters into two types: flat charac

35、ter, which is presented without much individualizing detail; and round character, which is complex in temperament and motivation and is represented with subtle particularity.人物：在短篇小說的欣賞中，人物是必不可少一個(gè)元素。人物是喜劇或小說中所描寫的人。福斯特把人物劃分為兩類，扁平型人物和圓型人物。扁平型人物往往缺乏個(gè)人化的細(xì)節(jié)描寫而圓型人物則在性格和行為動(dòng)機(jī)上較為復(fù)雜。28. Characterization：the m

36、eans by which a writer reveals that personality.人物描寫：一個(gè)作家描寫某個(gè)人物的方法。29. Classicism: A movement or tendency in art, literature, or music that reflects the principles manifested in the art of ancient Greece and Rome. Classicism emphasizes the traditional and the universal, and places value on reason, c

37、larity, balance, and order. Classicism, with its concern for reason and universal themes, is traditionally opposed to Romanticism, which is concerned with emotions and personal themes.古典主義：在藝術(shù)、文學(xué)或音樂方面反映古希臘、羅馬文學(xué)原理的運(yùn)動(dòng)。古典主義強(qiáng)調(diào)傳統(tǒng)，追求理性、明晰、平衡和秩序。因?yàn)楣诺渲髁x強(qiáng)調(diào)理性和普遍主題，在傳統(tǒng)上反對(duì)強(qiáng)調(diào)感情和個(gè)人主題的浪漫主義。30. Climax: The point of

38、 greatest intensity, interest, or suspense in a storys turning point. The action leading to the climax and the simultaneous increase of tension in the plot are known as the rising action. All action after the climax is referred to as the falling action, or resolution. The term crisis is sometimes us

39、ed interchangeably with climax.高潮：小說中最緊張、最有趣或最具懸念的轉(zhuǎn)折點(diǎn)。情節(jié)中引起高潮的動(dòng)作和情節(jié)緊張度的增加稱作“上升”，高潮后的動(dòng)作稱為“回落”或“結(jié)局”。有時(shí)候高潮又稱作“轉(zhuǎn)折點(diǎn)”。31. Conceit: A kind of metaphor that makes a comparison between two startlingly different things. A conceit may be a brief metaphor, but it usually provides the framework for an entire poe

40、m. An especially unusual and intellectual kind of conceit is the metaphysical conceit.新奇的比喻：將兩種截然不同的事物進(jìn)行對(duì)比的一種隱喻。它雖被視為是一種隱喻，但是它往往構(gòu)建了整首詩的框架，最為奇特的應(yīng)屬玄學(xué)詩里面的。32. Conflict: A struggle between two opposing forces or characters in a short story, novel, play, or narrative poem. Usually the events of the story

41、 are all related to the conflict, and the conflict is resolved in some way by the storys end.矛盾：在小說、短篇小說、戲劇或敘事詩中相互對(duì)立的兩種力量。故事中的事件往往都和矛盾有關(guān)，并且在故事的結(jié)尾矛盾都會(huì)得以解決。33. Connotation: All the emotions and associations that a word or phrase may arouse. Connotation is distinct from denotation, which is the literal

42、 or “ dictionary” meaning of a word or phrase.內(nèi)涵：一個(gè)詞或短語所指的所有的情感和聯(lián)系。與外延不同，外延則是指一個(gè)詞的字面意思或詞典上的解釋。34. Consonance: The repetition of similar consonant sounds in the middle or at the end of words.諧音：?jiǎn)卧~詞尾或中間相似輔音的重復(fù)。35. Couplet: Two consecutive lines of poetry that rhyme. A heroic couplet is an iambic penta

43、meter couplet.對(duì)句：兩個(gè)連續(xù)押韻的詩行。英雄雙行體的對(duì)句一般都為抑揚(yáng)格五音步。36. Critical Realism: The critical realism of the 19th century flourished in the forties and in the beginning of fifties. The realists first and foremost set themselves the task of criticizing capitalist society from a democratic viewpoint and delineated

44、 the crying contradictions of bourgeois reality. But they did not find a way to eradicate social evils.批判現(xiàn)實(shí)主義：批判現(xiàn)實(shí)主義在19世紀(jì)40年代達(dá)到高潮。批判現(xiàn)實(shí)主義作家們往往把從民主的角度批評(píng)和揭露資本主義社會(huì)的丑惡視為己任，但他們并沒有找到治療社會(huì)弊病的良方。37. Dactyl: Its made up of one stressed and two unstressed syllables, with the stressed in front.揚(yáng)抑抑格：揚(yáng)抑抑格由一個(gè)重度音節(jié)和兩

45、個(gè)非重度音節(jié)組成，重讀音節(jié)在前。38. Denotation: The literal or “dictionary” meaning of a word.外延：?jiǎn)卧~的字面意義或“詞典”解釋。39. Denouement: The outcome of a plot. The denouement is that part of a play, short story, novel, or narrative poem in which conflicts are resolved or unraveled, and mysteries and secrets connected with t

46、he plot are explained.結(jié)局：情節(jié)的結(jié)尾部分。在戲劇、小說、短篇小說的結(jié)尾部分，矛盾得以解決，和情節(jié)相關(guān)的秘密都得以揭露。40. Diction: A writers choice of words, particularly for clarity, effectiveness, and precision.措辭：一個(gè)作家用詞的選擇，主要是為了清楚、有效和簡(jiǎn)練等目的。41. Dissonance: A harsh or disagreeable combination of sounds; discord.不和諧音：刺耳或無法融洽的音的組合，噪音。42. Dramatic

47、 monologue: A kind of narrative poem in which one character speaks to one or more listeners whose replies are not given in the poem. The occasion is usually a crucial one in the speakers personality as well as the incident that is the subject of the poem.戲劇獨(dú)白：在一種敘事詩里面，一個(gè)人物對(duì)其他的人物講話但并沒有交代他們的回答，這種場(chǎng)合往往對(duì)

48、反映說話人的性格特征和詩歌的主題是至關(guān)重要的。43. Elegy: A poem of mourning, usually over the death of an individual. An elegy is a type of lyric poem, usually formal in language and structure, and solemn or even melancholy in tone.挽歌：為某個(gè)死去的人所做的詩，挽歌往往屬于抒情詩，在語言和機(jī)構(gòu)上比較正式，語氣上比較莊重甚至是哀傷的。44. Emblematic image: A verbal picture o

49、r figure with a long tradition of moral or religious meaning attached to it.象征性意象：蘊(yùn)含道德或宗教意義的文字描述或人物。45. Enlightenment: With the advent of the 18th century, in England, as in other European countries, there sprang into life a public movement known as the Enlightenment. The Enlightenment on the whole,

50、 was an expression of struggle of the then progressive class of bourgeois against feudalism，The social inequality, stagnation, prejudices and other survivals of feudalism. They attempted to place all branches of science at the service of mankind by connecting them with the actual deeds and requireme

51、nts of the people.啟蒙主義：?jiǎn)⒚芍髁x是在18世紀(jì)在英國(guó)發(fā)生的。總體上，啟蒙主義是當(dāng)時(shí)的資產(chǎn)階級(jí)對(duì)封建主義，社會(huì)的不平等、死寂、偏見和其他的封建殘余的一種反對(duì)。通過將科學(xué)的各個(gè)分支與人民的日常生活和需要聯(lián)系起來，啟蒙主義者們努力將他們變成為人民大眾服務(wù)的工具46. Epic: A long narrative poem telling about the deeds of a great hero and reflecting the values of the society from which it originated. Many epics were drawn fr

52、om an oral tradition and were transmitted by song and recitation before they were written down.史詩：講述英雄事跡并反映出這些英雄事跡的社會(huì)價(jià)值觀的長(zhǎng)篇敘事詩。在成為之前，很多史詩都來自于口頭傳統(tǒng)并通過歌唱和背誦流傳。47. Epigram: A short, witty, pointed statement often in the form of a poem.警句詩：一種簡(jiǎn)短、智慧、蘊(yùn)含深刻的詩。48. Epigraph: A quotation or motto at the beginnin

53、g of a chapter, book, short story, or poem that makes some point about the work.題詞：在一章、一本書、短篇小說或詩歌的開頭指涉作品內(nèi)容的引文或銘文。49. Epilogue: A short addition or conclusion at the end of a literary work.收?qǐng)霭祝何膶W(xué)作品末尾簡(jiǎn)短的補(bǔ)充或結(jié)論。50. Epiphany: A moment of illumination, usually occurring at or near the end of a work.頓悟：事實(shí)

54、得以揭示的時(shí)刻，往往發(fā)生在作品的結(jié)尾或?qū)⒔瘴膊糠帧?1. Epitaph: An inscription on a gravestone or a short poem written in memory of someone who has died.52. Epithet: A descriptive name or phrase used to characterize someone or something.稱號(hào)：用來描述一個(gè)人或事物的描寫性詞或短語。53. Era of Modernism: The years from 1910 to 1930 are often called

55、 the Era of Modernism, for there seems to have been in both Europe and America a strong awareness of some sort of “break” with the past. The new artists shared a desire to capture the complexity of modern life, to focus on the variety and confusion of the 20th century by reshaping and sometimes disc

56、arding the ideas and habits of the 19th century. The Era of Modernism was indeed the era of the New.現(xiàn)代主義時(shí)期：從1910到1930年這一段時(shí)間被稱作現(xiàn)代主義時(shí)期，因?yàn)樵谶@一時(shí)期，不論是在美國(guó)還是在歐洲人們都認(rèn)識(shí)到一種強(qiáng)烈的與過去的“決裂”，新藝術(shù)家們都渴望反映現(xiàn)代生活的復(fù)雜性，都渴望通過重新構(gòu)建，有時(shí)候甚至放棄19世紀(jì)的思想和習(xí)慣來聚焦于20世紀(jì)的多樣性和困惑之上。54. Essay: A piece of prose writing, usually short, that deals w

57、ith a subject in a limited way and expresses a particular point or view. An essay may be serious or humorous, tightly organized or rambling, restrained or emotional. The two general classifications of essay are the informal essay and the formal essay. An informal essay is usually brief and is writte

58、n as if the writer is talking informally to the reader about some topic, using a conversational style and a personal or humorous tone. By contrast, a formal essay is tightly organized, dignified in style, and serious in tone.小品文：小品文一般都是簡(jiǎn)短的散文，作家通過有線的篇幅發(fā)表自己獨(dú)特的看法。小品文的風(fēng)格要么嚴(yán)肅要么幽默，組織或嚴(yán)謹(jǐn)或松散，情感或抒發(fā)或藏而不露。小品文大

59、體上又分為正式的和非正式的兩種。非正式的小品文一般比較短，使用對(duì)話的風(fēng)格和個(gè)人化或幽默的語氣，似乎在給讀者針對(duì)一個(gè)話題侃侃而談。相比之下，正式的小品文則組織嚴(yán)謹(jǐn)，風(fēng)格高雅，語氣嚴(yán)肅。55. Exemplum說教故事: A tale, usually inserted into the text of a sermon that illustrates a moral principle.勸喻故事：穿插在步道中間來闡述一種道德原則的故事。56. Fable: A fable is a short story, often with animals as its characters, which illustrate a moral.寓言：以動(dòng)物為主人公來寫的短小的故事。57.