论文部分内容阅读
Jon： Charles Dickens had a turbulent childhood， which rose and fell with the fortunes of his father. This constant 1）flux meant that Charles was 2）barometrically sensitive， not just to the standards of accommodation but also to its location.
I’m Jon Henley， and in this walk we’ll take you ’round the house in which he was born 200 years ago. It’s now the Charles Dickens Birthplace Museum in 3）Portsmouth. And I’m here with the journalist Veronica Hallwell.
Veronica： John Dickens， Charles’ father， had rented in this area when he married in his midtwenties.
Jon： And...and he did what for...for a living？
Veronica： He worked for the Navy Pay Office， an accountant， we’d call him.
Just five months after Charles was born， the family had to trade down to a much smaller house in a meaner area—no more front garden， no more blossom view—then they went up another 4）notch as the family expanded. All Charles’childhood was like that， up a bit， down a lot， a house with a parlour among hay meadows， then...crash， the boy， alone in a garage in a slum. By the time he was a teen， he could evaluate exactly the social degree and likely income， not just for any street， but for each house， each 5）sublet room within it.
Jon： Hmm. Pretty precious asset for a sort of socially aware novelist then. Dickens was very 6）exacting in the way he would arrange his living quarters， wasn’t he？
Veronica： He chose his own furniture and furnishings. I don’t think his wife got much of a 7）look-in， and he was so exacting a tenant that the moment he got into a hotel room or a hired holiday lodging， he’d rearrange all the furniture.
One side effect of living in and visiting such different houses and ways of life， when he was just an observant child， was that he enjoyed imagining fantasy interiors in minute detail. It was almost like making a model inside his head， and， of course， he exactly reported those that revealed the characters he wrote about.
Jon： Hmm， and...and tell us how this obsession with all things domestic sort of manifested itself through his characters then.
Veronica： He wasn’t prejudiced in favour of the neat doll’s house for a 8）nuclear family， like this one. He had a very strong conviction that， with love and care and cleanliness， any combination of unlikely people on even unlikelier premises could be a happy home. Think of the romantic idea of the 9）Peggotty home in 10）Yarmouth， which was a recycled 11）barge on dry land. He imagined David Copperfield having this boyhood dream of a cabin， right down to oyster shells framing the mirror and a 12）nosegay of seaweed in a blue mug. He could be really world of interiors sometimes. Jon： Extraordinary！
乔恩：查尔斯·狄更斯的童年极为动荡，随着他父亲财产的增减而时起时落。家中境况的不断变迁使得查尔斯对住宅的水平及其坐落的地段都极度敏感。
我是乔恩·亨利，这次我们将会带你参观二百年前狄更斯出生的房子。这座房子位于朴茨茅斯，现在是查尔斯·狄更斯出生地博物馆。记者维罗妮卡·豪尔维尔和我一起来到这里。
维罗妮卡：查尔斯的父亲约翰·狄更斯二十多岁结婚时在这一带租了房子。
乔恩：他是做什么谋生的？
维罗妮卡：他在海军出纳室做事，就是我们现在说的会计。
查尔斯出生才五个月，他们家就不得不搬到一个条件更差的地区，租了一所比这小得多的房子——前花园没有了，繁花盛开的美景也看不到了——然后家里人多起来，他们又搬到稍好一点的住所。查尔斯的整个童年都是这样，家里的境况一会儿有点起色，一会儿又急转直下，这段时间住上了芳草绕室的好房子，不久又……哗啦一下跌落谷底，查尔斯孤零零一人待在贫民区的车库里。到了少年时期，对于任何一条街，甚至街上的每一座屋子、每一间转租房的居住者所属的社会层次及收入水平，他都可以准确估算出来。
乔恩：唔，这对于一位比较关注社会问题的小说家来说确实是一笔很宝贵的财富。狄更斯对自己住所的布置要求挺苛刻的，对吧？
维罗妮卡：他的家具和家居用品都是自己亲手挑选的，我想他的妻子都不怎么插得上手。他是个要求非常苛刻的租客，他住进旅馆或者度假宿地的第一件事就是把里面的所有家具都重新摆放一遍。
在狄更斯还是个爱观察的小孩子时，他就住过，也见过反差巨大的各种房子和各种生活方式，这些经历带来的副作用就是，他很喜欢去幻想房子的内部布置，想象每一个微小的细节，几乎像是在脑海里构建一个模型那样。自然，他还仔细地描写了能够反映他书中人物特点的那些房子细节。
乔恩：唔，能不能跟我们说一下，他对家居的这种迷恋是如何在他那些人物的身上表现出来的呢？
维罗妮卡：他并不会偏爱小家庭那些装饰精致的房子，就像这座一样。他坚信，只要家中干净整洁，充满爱和关怀，就算是和意想不到的人住在一个更加意想不到的地方，也可以是一个幸福的家。你想想，雅茅斯的佩格提一家住的是一艘停在陆地上的、回收再用的驳船，这多么浪漫啊！他想象大卫·科波菲尔的童年梦想就是拥有一间小木屋，还细化到了牡蛎壳镶边的镜子和蓝色杯子里的一束海草。他对室内摆设有时真的迷恋到了执着的地步。乔恩：真是不一般哪！
I’m Jon Henley， and in this walk we’ll take you ’round the house in which he was born 200 years ago. It’s now the Charles Dickens Birthplace Museum in 3）Portsmouth. And I’m here with the journalist Veronica Hallwell.
Veronica： John Dickens， Charles’ father， had rented in this area when he married in his midtwenties.
Jon： And...and he did what for...for a living？
Veronica： He worked for the Navy Pay Office， an accountant， we’d call him.
Just five months after Charles was born， the family had to trade down to a much smaller house in a meaner area—no more front garden， no more blossom view—then they went up another 4）notch as the family expanded. All Charles’childhood was like that， up a bit， down a lot， a house with a parlour among hay meadows， then...crash， the boy， alone in a garage in a slum. By the time he was a teen， he could evaluate exactly the social degree and likely income， not just for any street， but for each house， each 5）sublet room within it.
Jon： Hmm. Pretty precious asset for a sort of socially aware novelist then. Dickens was very 6）exacting in the way he would arrange his living quarters， wasn’t he？
Veronica： He chose his own furniture and furnishings. I don’t think his wife got much of a 7）look-in， and he was so exacting a tenant that the moment he got into a hotel room or a hired holiday lodging， he’d rearrange all the furniture.
One side effect of living in and visiting such different houses and ways of life， when he was just an observant child， was that he enjoyed imagining fantasy interiors in minute detail. It was almost like making a model inside his head， and， of course， he exactly reported those that revealed the characters he wrote about.
Jon： Hmm， and...and tell us how this obsession with all things domestic sort of manifested itself through his characters then.
Veronica： He wasn’t prejudiced in favour of the neat doll’s house for a 8）nuclear family， like this one. He had a very strong conviction that， with love and care and cleanliness， any combination of unlikely people on even unlikelier premises could be a happy home. Think of the romantic idea of the 9）Peggotty home in 10）Yarmouth， which was a recycled 11）barge on dry land. He imagined David Copperfield having this boyhood dream of a cabin， right down to oyster shells framing the mirror and a 12）nosegay of seaweed in a blue mug. He could be really world of interiors sometimes. Jon： Extraordinary！
乔恩：查尔斯·狄更斯的童年极为动荡，随着他父亲财产的增减而时起时落。家中境况的不断变迁使得查尔斯对住宅的水平及其坐落的地段都极度敏感。
我是乔恩·亨利，这次我们将会带你参观二百年前狄更斯出生的房子。这座房子位于朴茨茅斯，现在是查尔斯·狄更斯出生地博物馆。记者维罗妮卡·豪尔维尔和我一起来到这里。
维罗妮卡：查尔斯的父亲约翰·狄更斯二十多岁结婚时在这一带租了房子。
乔恩：他是做什么谋生的？
维罗妮卡：他在海军出纳室做事，就是我们现在说的会计。
查尔斯出生才五个月，他们家就不得不搬到一个条件更差的地区，租了一所比这小得多的房子——前花园没有了，繁花盛开的美景也看不到了——然后家里人多起来，他们又搬到稍好一点的住所。查尔斯的整个童年都是这样，家里的境况一会儿有点起色，一会儿又急转直下，这段时间住上了芳草绕室的好房子，不久又……哗啦一下跌落谷底，查尔斯孤零零一人待在贫民区的车库里。到了少年时期，对于任何一条街，甚至街上的每一座屋子、每一间转租房的居住者所属的社会层次及收入水平，他都可以准确估算出来。
乔恩：唔，这对于一位比较关注社会问题的小说家来说确实是一笔很宝贵的财富。狄更斯对自己住所的布置要求挺苛刻的，对吧？
维罗妮卡：他的家具和家居用品都是自己亲手挑选的，我想他的妻子都不怎么插得上手。他是个要求非常苛刻的租客，他住进旅馆或者度假宿地的第一件事就是把里面的所有家具都重新摆放一遍。
在狄更斯还是个爱观察的小孩子时，他就住过，也见过反差巨大的各种房子和各种生活方式，这些经历带来的副作用就是，他很喜欢去幻想房子的内部布置，想象每一个微小的细节，几乎像是在脑海里构建一个模型那样。自然，他还仔细地描写了能够反映他书中人物特点的那些房子细节。
乔恩：唔，能不能跟我们说一下，他对家居的这种迷恋是如何在他那些人物的身上表现出来的呢？
维罗妮卡：他并不会偏爱小家庭那些装饰精致的房子，就像这座一样。他坚信，只要家中干净整洁，充满爱和关怀，就算是和意想不到的人住在一个更加意想不到的地方，也可以是一个幸福的家。你想想，雅茅斯的佩格提一家住的是一艘停在陆地上的、回收再用的驳船，这多么浪漫啊！他想象大卫·科波菲尔的童年梦想就是拥有一间小木屋，还细化到了牡蛎壳镶边的镜子和蓝色杯子里的一束海草。他对室内摆设有时真的迷恋到了执着的地步。乔恩：真是不一般哪！