雾都孤儿英文介绍，雾都孤儿的英文名字

英语单词
2024-01-16

雾都孤儿英文介绍？brother who does not want to split his inheritance with the bastard child.He destroys the evidence of Oliver’s mother,and is a cohort of Fagin and his gang,3,作者的详细介绍（英文的），Thank you！那么，雾都孤儿英文介绍？一起来了解一下吧。

雾都孤儿英文梗概150字

Oliver Twist is born in a workhouse in a provincial town. His mother has been found very sick in the street, and she gives birth to Oliver just before she dies. Oliver is raised un

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Oliver Twist, a novel by Charles Dickens, is a classic of English literature. The main character, Oliver, is a young boy who experiences poverty, hunger, and abuse. He embarks on a journey of self-discovery and ultimately finds his true family.

Oliver Twist is the orphaned son of a young woman who died giving birth to him. He is raised in a workhouse where he endures hardships and is sold into apprenticeship to an elderly undertaker. Oliver's life takes a turn for the worse when he is kidnapped and sold to a gang of thieves. He learns the art of thievery and is introduced to Fagin, the leader of the gang.

Through a series of events, Oliver is rescued and taken in by the rich Mr. Brownlow. He befriends and is protected by the kindly Mr. Brownlow and his housekeeper, Mrs. Bedwin. Oliver's past catches up with him when Fagin tries to kidnap him and he is saved by the timely intervention of a young pickpocket named Nancy.

Nancy is a former prostitute who has fallen in with Fagin and his gang. She feels remorse for her actions and tries to help Oliver escape from the thieves. Nancy's kindness towards Oliver angers Fagin, who punishes her by ordering her death. Oliver exacts revenge on Fagin and his gang and is eventually reunited with his birth parents, whom he had never met before.

The novel is set in Victorian England and explores themes of poverty, class divide, social injustice, and family. Oliver Twist remains a timeless classic that continues to captivate readers with its engaging characters and powerful message.

雾都孤儿英文总结

Jean Valjean was an honest man who, through force of desperate circumstance committed the relatively minor crime of stealing a loaf of bread to feed his family, and paid a price out of all proportion with the severity of his crime.

Captured and sentenced to a term of five years’ imprisonment, Valjean spends nineteen years doing hard labour as a result of four failed escape attempts. He emerges from prison on parole, a hardened and bitter man, having encountered little kindness in the course of these nineteen years, and having adapted to the company he was forced to keep.

Because of his criminal record he encounters problems in finding employment, lodgings, and indeed any place in society. Exhausted and demoralised, he finds comfort and accommodation at the home of the Bishop of Digne who shows Valjean kindness and compassion. However, during the night Valjean surrenders to his experience and degradation of the previous nineteen years which, combined with a sense of hopelessness and worthlessness he has felt since his release, lead him to behave as he has been condemned to do – he steals the Bishop’s silverware.

He is captured and returned to the Bishop who, contrary to Valjean’s expectations, not only tells the police that he gave Valjean the silverware, but insists that Valjean should take two silver candlesticks as well.

This is the first act of kindness and generosity Valjean has encountered in all those nineteen years. Accustomed to having to fight for his very survival, this act of compassion and understanding (whose existence he has long since abandoned and then forgotten) causes him confusion and bewilderment.

While still dazed by his meeting with the Bishop, Valjean reacts once again in an animal-like fashion, doing what he feels he has to do in order to survive, when he steals a coin from a passing young chimney sweep.

This act, contrasting violently with the kindness he has just been shown, brings home to him just what he has become and how far he has fallen.

With a clarity missing for some nineteen years, he sees he has a choice to make – continue upon the path of petty crime and self destruction upon which he is set, or start afresh and follow the example set by the Bishop. He can view people as a means to an end, as potential victims in his quest for survival, or he can live by compassion and understanding, offering help to others, just as he received help from the Bishop.

He determines to start a new life, adopting a new identity and a new mentality in the process.

While Valjean is clearly the principal character and our tale is largely concerned with his efforts to lead a worthwhile life, his destiny is inextricably linked with a whole gamut of characters whose lives become intertwined. This is equally the story of, among many others, Javert (the policeman who pursues Valjean in order to protect society from someone he regards as a dangerous criminal), Fantine (the tragic factory girl who sacrifices herself for the upkeep of her daughter), Cosette (the daughter of Fantine used and abused by the innkeepers into whose care her mother entrusted her), the Thénardiers (the self-centred innkeepers and petty criminals), Eponine (the daughter of the Thénardiers and victim of unrequited love), Marius (an idealistic student who falls in love with the adult Cosette), and the revolutionary students (who seek to incite rebellion against a heartless and uncaring government).

雾都孤儿作者简介英文

In considering Dickens, as we almost always must consider him, as a man of rich originality, we may possibly miss the forces from which he drew even his original energy. It is not well for man to be alone. We, in the modern world, are ready enough to admit that when it is applied to some problem of monasticism or of an ecstatic life. But we will not admit that our modern artistic claim to absolute originality is really a claim to absolute unsociability; a claim to absolute loneliness. The anarchist is at least as solitary as the ascetic. And the men of very vivid vigour in literature, the men such as Dickens, have generally displayed a large sociability towards the society of letters, always expressed in the happy pursuit of pre-existent themes, sometimes expressed, as in the case of Molière or Sterne, in downright plagiarism. For even theft is a confession of our dependence on society. In Dickens, however, this element of the original foundations on which he worked is quite especially difficult to determine. This is partly due to the fact that for the present reading public he is practically the only one of his long line that is read at all. He sums up Smollett and Goldsmith, but he also destroys them. This one giant, being closest to us, cuts off from our view even the giants that begat him. But much more is this difficulty due to the fact that Dickens mixed up with the old material, materials so subtly modern, so made of the French Revolution, that the whole is transformed. If we want the best example of this, the best example is Oliver Twist.

Relatively to the other works of Dickens Oliver Twist is not of great value, but it is of great importance. Some parts of it are so crude and of so clumsy a melodrama, that one is almost tempted to say that Dickens would have been greater without it. But even if be had been greater without it he would still have been incomplete without it. With the exception of some gorgeous passages, both of humour and horror, the interest of the book lies not so much in its revelation of Dickens's literary genius as in its revelation of those moral, personal, and political instincts which were the make-up of his character and the permanent support of that literary genius. It is by far the most depressing of all his books; it is in some ways the most irritating; yet its ugliness gives the last touch of honesty to all that spontaneous and splendid output. Without this one discordant note all his merriment might have seemed like levity.

Dickens had just appeared upon the stage and set the whole world laughing with his first great story Pickwick. Oliver Twist was his encore. It was the second opportunity given to him by those who ha rolled about with laughter over Tupman and Jingle, Weller and Dowler. Under such circumstances a stagey reciter will sometimes take care to give a pathetic piece after his humorous one; and with all his many moral merits, there was much that was stagey about Dickens. But this explanation alone is altogether inadequate and unworthy. There was in Dickens this other kind of energy, horrible, uncanny, barbaric, capable in another age of coarseness, greedy for the emblems of established ugliness, the coffin, the gibbet, the bones, the bloody knife. Dickens liked these things and he was all the more of a man for liking them; especially he was all the more of a boy. We can all recall with pleasure the fact that Miss Petowker (afterwards Mrs. Lillyvick) was in the habit of reciting a poem called "The Blood Drinker's Burial." I cannot express my regret that the words of this poem are not given; for Dickens would have been quite as capable of writing "The Blood Drinker's Burial" as Miss Petowker was of reciting it. This strain existed in Dickens alongside of his happy laughter; both were allied to the same robust romance. Here as elsewhere Dickens is close to all the permanent human things. He is close to religion, which has never allowed the thousand devils on its churches to stop the dancing of its bells. He is allied to the people, to the real poor, who love nothing so much as to take a cheerful glass and to talk about funerals. The extremes of his gloom and gaiety are the mark of religion and democracy; they mark him off from the moderate happiness of philosophers, and from that stoicism which is the virtue and the creed of aristocrats. There is nothing odd in the fact that the same man who conceived the humane hospitalities of Pickwick should also have imagined the inhuman laughter of Fagin's den. They are both genuine and they are both exaggerated. And the whole human tradition has tied up together in a strange knot these strands of festivity and fear. It is over the cups of Christmas Eve that men have always competed in telling ghost stories.