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A Tale of Two Cities 双城记狄更斯

A Tale of Two Cities

Charles Dickens

Context

C HARLES

D ICKENS WAS BORN IN P ORTSMOUTH, England in 1812. As the second of eight children in a very poor family, he lived a difficult childhood. Eventually, his father was sent to debtor’s prison, and Dickens himself went to work at the age of twelve to help pay off the family’s debt. This troublesome time scarred Dickens deeply and provided him with substantial material for such stories as Great Expectations, Oliver Twist, and David Copperfield.Steeped in social criticism, Dickens’s writing provides a keen, sympathetic chronicle of the plight of the urban poor in nineteenth-century England. During his lifetime, Dickens enjoyed immense popularity, in part because of his vivid characterizations, and in part because he published his novels in installments, making them readily affordable to a greater number of people.

The Industrial Revolution, which swept through Europe in the late eighteenth century, originated in England. The rapid modernization of the English economy involved a shift from rural handicraft to large-scale factory labor. Technological innovations facilitated unprecedented heights of manufacture and trade, and England left behind its localized, cottage-industry economy to become a centralized, hyper-capitalist juggernaut of mass production. In tandem with this transformation came a significant shift in the nation’s demographics. English cities swelled as a growing and impoverished working class flocked to them in search of work. As this influx of workers into urban centers continued, the bourgeoisie took advantage of the surplus of labor by keeping wages low. The poor thus remained poor, and often lived cramped in squalor. In many of his novels, Dickens chronicles his protagonists’ attempts to fight their way out of such poverty and despair.

A Tale of Two Cities, originally published from April through November of 1859, appeared in a new magazine that Dickens had created called All the Year Round. Dickens started this venture after a falling-out with his regular publishers. Indeed, this period in Dickens’s life saw many changes. While starring in a play by Wilkie Collins entitled The Frozen Deep, Dickens fell in love with a young actress named Elle n Ternan. Dickens’s twenty-three-year marriage to Catherine Hogarth had become a source of unhappiness in recent years, and, by 1858, Hogarth had moved out of Dickens’s home. The author arranged to keep Ternan in a separate residence.

Dickens’s participation in Collins’s play led not only to a shift in his personal life, but also to a career development, for it was this play that first inspired him to write A Tale of Two Cities. In the play, Dickens played the part of a man who sacrifices his own life so that his rival may have the woman they both love; the love triangle in the play became the basis for the complex relations between Charles Darnay, Lucie Manette, and Sydney Carton in A Tale of Two Cities. Moreover, Dickens appreciated the play for its treatment of redemption and rebirth, love and violence. He decided to transpose these themes onto the French Revolution, an event that embodied the same issues on a historical level. In order to make his novel historically accurate, Dickens turned to Thomas Carl yle’s account of the revolution. Contemporaries had considered Carlyle’s version to be the first and last word on the French peasants’ fight for freedom.

Dickens had forayed into historical fiction only once before, with Barnaby Rudge (1841), and the project proved a difficult undertaking. The vast scope and somewhat grim aspects of his historical

subject forced Dickens largely to abandon the outlandish and often comic characters that had come to define his writing. Although Jerry Cruncher and Miss Pross embody some typically Dickensian quirks—exaggerated mannerisms, idiosyncratic speech—they play only minor roles in the novel. While critics continue to debate the literary merits of the novel, no one denies the light that the novel sheds on Dickens’s develop ment as a novelist. More experimental than the novels that precede it, A Tale of Two Cities shows its author in transition. Dickens would emerge from this transition as a mature artist, ready to write Great Expectations (1860–1861) and Our Mutual Friend (1864–1865).

Plot Overview

T HE YEAR IS 1775, and social ills plague both France and England. Jerry Cruncher, an odd-job man who works for Tellson’s Bank, stops the Dover mail-coach with an urgent message for Jarvis Lorry. The message instructs Lorry to wait at Dover for a young woman, and Lorry responds with the cryptic words, ―Recalled to Life.‖ At Dover, Lorry is met by Lucie Manette, a young orphan whose father, a once-eminent doctor whom she supposed dead, has been discovered in France. Lorry escorts Lucie to Paris, where they meet Defarge, a former servant of Doctor Manette, who has kept Manette safe in a garret. Driven mad by eighteen years in the Bastille, Manette spends all of his time making shoes, a hobby he learned while in prison. Lorry assures Lucie that her love and devotion can recall her father to life, and indeed they do.

The year is now 1780. Charles Darnay stands accused of treason against the English crown. A bombastic lawyer named Stryver pleads Darnay’s case, but it is not until his drunk, good-for-nothing colleague, Sydney Carton, assists him that the court acquits Darnay. Carton clinches his argument by pointing out that he himself bears an uncanny resemblance to the defendant, which undermines the prosecution’s case for unmistakably identifying Darnay as the spy the authorities spotted. Lucie and Doctor Manette watched the court proceedings, and that night, Carton escorts Darnay to a tavern and asks how it feels to receive the sympathy of a woman like Lucie. Carton despises and resents Darnay because he reminds him of all that he himself has given up and might have been.

In France, the cruel Marquis Evrémonde runs down a plebian child with his carriage. Manifesting an attitude typical of the aristocracy in regard to the poor at that time, the Marquis shows no regret, but instead curses the peasantry and hurries home to his chateau, where he awaits the arrival of his nephew, Darnay, from England. Arriving later that night, Darnay curses his uncle and the French aristocracy for its abominable treatment of the people. He renounces his identity as an Evrémonde and announces his intention to return to England. That night, the Marquis is murdered; the murderer has left a note signed with the nickname adopted by French revolutionaries: ―Jacques.‖

A year passes, and Darnay asks Manette for permission to marry Lucie. He says that, if Lucie accepts, he will reveal his true identity to Manette. Carton, meanwhile, also pledges his love to Lucie, admitting that, though his life is worthless, she has helped him dream of a better, more valuable existence. On the streets of London, Jerry Cruncher gets swept up in the funeral procession for a spy named Roger Cly. Later that night, he demonstrates his talents as a

―Resurrection-Man,‖ sneaking into the cemetery to steal and sell Cly’s body. In Paris, meanwhile, another English spy known as John Barsad drops into Defarge’s wine shop. Barsad hopes to turn

up evidence concerning the mounting revolution, which is still in its covert stages. Madame Defarge sits in the shop knitting a secret registry of those whom the revolution seeks to execute. Back in London, Darnay, on the morning of his wedding, keeps his promise to Manette; he reveals his true identity and, that night, Manette relapses into his old prison habit of making shoes. After nine days, Manette regains his presence of mind, and soon joins the newlyweds on their honeymoon. Upon Darnay’s return, Carton pays him a visit an d asks for his friendship. Darnay assures Carton that he is always welcome in their home.

The year is now 1789. The peasants in Paris storm the Bastille and the French Revolution begins. The revolutionaries murder aristocrats in the streets, and Gabelle, a man charged with the maintenance of the Evrémonde estate, is imprisoned. Three years later, he writes to Darnay, asking to be rescued. Despite the threat of great danger to his person, Darnay departs immediately for France.

As soon as Darnay arrives in Paris, the French revolutionaries arrest him as an emigrant. Lucie and Manette make their way to Paris in hopes of saving him. Darnay remains in prison for a year and three months before receiving a trial. In order to help free him, Manette uses his considerable influence with the revolutionaries, who sympathize with him for having served time in the Bastille. Darnay receives an acquittal, but that same night he is arrested again. The charges, this time, come from Defarge and his vengeful wife. Carton arrives in Paris with a plan to rescue Darnay and obtains the help of John Barsad, who turns out to be Solomon Pross, the long-lost brother of Miss Pross, Lucie’s loyal servant.

At Darnay’s trial, Defarge produces a letter that he discovered in Manette’s old jai l cell in the Bastille. The letter explains the cause of Manette’s imprisonment. Years ago, the brothers Evrémonde (Darnay’s father and uncle) enlisted Manette’s medical assistance. They asked him to tend to a woman, whom one of the brothers had raped, and her brother, whom the same brother had stabbed fatally. Fearing that Manette might report their misdeeds, the Evrémondes had him arrested. Upon hearing this story, the jury condemns Darnay for the crimes of his ancestors and sentences him to die within twenty-four hours. That night, at the Defarge’s wine shop, Carton overhears Madame Defarge plotting to have Lucie and her daughter (also Darnay’s daughter) executed as well; Madame Defarge, it turns out, is the surviving sibling of the man and woman killed by the

Evrémondes. Carton arranges for the Manettes’ immediate departure from France. He then visits Darnay in prison, tricks him into changing clothes with him, and, after dictating a letter of explanation, drugs his friend unconscious. Barsad carries Darnay, now disguised as Carton, to an awaiting coach, while Carton, disguised as Darnay, awaits execution. As Darnay, Lucie, their child, and Dr. Manette speed away from Paris, Madame Defarge arrives at Lucie’s apartment, hoping to arrest her. There she finds the supremely protective Miss Pross. A scuffle ensues, and Madame Defarge dies by the bullet of her own gun. Sydney Carton meets his death at the guillotine, and the narrator confidently asserts that Carton dies with the knowledge that he has finally imbued his life with meaning.

Character List

Charles Darnay - A French aristocrat by birth, Darnay chooses to live in England because he cannot bear to be associated with the cruel injustices of the French social system. Darnay displays great virtue in his rejection of the snobbish and cruel values of his uncle, the Marquis Evrémonde. He exhibits an admirable honesty in his decision to reveal to Doctor Manette his true identity as a member of the infamous Evrémonde family. So, too, does he prove his courage in his decision to return to Paris at great personal risk to save the imprisoned Gabelle.

Read an in-depth analysis of Charles Darnay.

Sydney Carton - An insolent, indifferent, and alcoholic attorney who works with Stryver. Carton has no real prospects in life and doesn’t seem to be in p ursuit of any. He does, however, love Lucie, and his feelings for her eventually transform him into a man of profound merit. At first the polar opposite of Darnay, in the end Carton morally surpasses the man to whom he bears a striking physical resemblance.

Read an in-depth analysis of Sydney Carton.

Doctor Manette - Lucie’s father and a brilliant physician, Doctor Manette spent eighteen years as a prisoner in the Bastille. At the start of the novel, Manette does nothing but make shoes, a hobby that he adopted to distract himself from the tortures of prison. As he overcomes his past as a prisoner, however, he proves to be a kind, loving father who prizes his daughter’s happiness above all things.

Read an in-depth analysis of Doctor Manette.

Lucie Manette - A young French woman who grew up in England, Lucie was raised as a ward of Tellson’s Bank because her parents were assumed dead. Dickens depicts Lucie as an archetype of compassion. Her love has the power to bind her family together—the text often refers to her as the ―golden thread.‖ Furthermore, her love has the power to transform those around her. It enables her father to be ―recalled to life,‖ and it sparks Sydney Carton’s development from a ―jackal‖ into a hero.

Read an in-depth analysis of Lucie Manette.

Monsieur Defarge - A wine shop owner and revolutionary in the poor Saint Antoine section of Paris, Monsieur Defarge formerly worked as a servant for Doctor Manette. Defarge proves an intelligent and committed revolutionary, a natural leader. Although he remains dedicated to bringing about a better society at any cost, he does demonstrate a kindness toward Manette. His wife, Madame Defarge, views this consideration for Manette as a weakness.

Madame Defarge - A cruel revolutionary whose hatred of the aristocracy fuels her tireless crusade, Madame Defarge spends a good deal of the novel knitting a register of everyone who must die for the revolutionary cause. Unlike her husband, she proves unrelentingly blood-thirsty, and her lust for vengeance knows no bounds.

Read an in-depth analysis of Madame Defarge.

Jarvis Lorry - An elderly businessman who works for Tellson’s Ba nk, Mr. Lorry is a very business-oriented bachelor with a strong moral sense and a good, honest heart. He proves trustworthy and loyal, and Doctor Manette and Lucie come to value him as a personal friend.

Jerry Cruncher - An odd-job man for Tellson’s Ban k, Cruncher is gruff, short-tempered, superstitious, and uneducated. He supplements his income by working as a ―Resurrection-Man,‖ one who digs up dead bodies and sells them to scientists.

Miss Pross - The servant who raised Lucie, Miss Pross is brusque, tough, and fiercely loyal to her mistress. Because she personifies order and loyalty, she provides the perfect foil to Madame Defarge, who epitomizes the violent chaos of the revolution.

Marquis Evrémonde - Charles Darnay’s uncle, the Marquis Evrémonde is a French aristocrat who embodies an inhumanly cruel caste system. He shows absolutely no regard for human life and wishes that the peasants of the world would be exterminated.

Mr. Stryver - An ambitious lawyer, Stryver dreams of climbing the social ladder. Unlike his associate, Sydney Carton, Stryver is bombastic, proud, and foolish.

John Barsad - Like Roger Cly, John Barsad is a British spy who swears that patriotism is his only motive. Barsad falsely claims to be a virtuous man of upstanding reputation.

Roger Cly - Like John Barsad, Roger Cly is a British spy who swears that patriotism alone inspires all of his actions. Cly feigns honesty but in fact constantly participates in conniving schemes. Gabelle - The man charged with keeping up the Evrémonde estate after the Marquis’ death, Gabelle is imprisoned by the revolutionaries. News of his internment prompts Darnay to travel to France to save him.

Analysis of Major Characters

Sydney Carton

Sydney Carton proves the most dynamic character in A Tale of Two Cities. He first appears as a lazy, alcoholic attorney who cannot muster even the smallest amount of interest in his own life. He describes his existence as a supreme waste of life and takes every opportunity to declare that he cares for nothing and no one. But the reader senses, even in the initial chapters of the novel, that Carton in fact feels something that he perhaps cannot articulate. In his conversation with the recently acquitted Charles Darnay, Carton’s comments about Lucie Manette, wh ile bitter and sardonic, betray his interest in, and budding feelings for, the gentle girl. Eventually, Carton reaches a point where he can admit his feelings to Lucie herself. Before Lucie weds Darnay, Carton professes his love to her, though he still persists in seeing himself as essentially worthless. This scene marks a vital transition for Carton and lays the foundation for the supreme sacrifice that he makes at the novel’s end.

Carton’s death has provided much material for scholars and critics of Dickens’s novel. Some readers consider it the inevitable conclusion to a work obsessed with the themes of redemption and resurrection. According to this interpretation, Carton becomes a Christ-like figure, a selfless martyr whose death enables the happiness of his beloved and ensures his own immortality. Other readers, however, question the ultimate significance of Carton’s final act. They argue that since Carton initially places little value on his existence, the sacrifice of his life proves relatively easy. However, Dickens’s frequent use in his text of other resurrection imagery—his motifs of wine and blood, for example—suggests that he did intend for Carton’s death to be redemptive, whether or not it

ultimately appears so to the reader. As Carton goes to the guillotine, the narrator tells us that he envisions a beautiful, idyllic Paris ―rising from the abyss‖ and sees ―the evil of this time and of the previous time of which this is the natural birth, gradually making expiation for itself and wearing out.‖ Just as the apocalyptic violence of the revolution precedes a new society’s birth, perhaps it is only in the sacrifice of his life that Carton can establish his life’s great worth.

Madame Defarge

Possessing a remorseless bloodlust, Madame Defarge embodies the chaos of the French Revolution. The initial chapters of the novel find her sitting quietly and knitting in the wine shop. However, her apparent passivity belies her relentless thirst for vengeance. With her stitches, she secretly knits a register of the na mes of the revolution’s intended victims. As the revolution breaks into full force, Madame Defarge reveals her true viciousness. She turns on Lucie in particular, and, as violence sweeps Paris, she invades Lucie’s physical and psychological space. She effe cts this invasion first by committing the faces of Lucie and her family to memory, in order to add them to her mental ―register‖ of those slated to die in the revolution. Later, she bursts into the young woman’s apartment in an attempt to catch Lucie mourn ing Darnay’s imminent execution.

Dickens notes that Madame Defarge’s hatefulness does not reflect any inherent flaw, but rather results from the oppression and personal tragedy that she has suffered at the hands of the aristocracy, specifically the Evrémondes, to whom Darnay is related by blood, and Lucie by marriage. However, the author refrains from justifying Madame Defarge’s policy of retributive justice. For just as the aristocracy’s oppression has made an oppressor of Madame Defarge herself, so will h er oppression, in turn, make oppressors of her victims. Madame Defarge’s death by a bullet from her own gun—she dies in a scuffle with Miss Pross—symbolizes Dickens’s belief that the sort of vengeful attitude embodied by Madame Defarge ultimately proves a self-damning one.

Doctor Manette

Dickens uses Doctor Manette to illustrate one of the dominant motifs of the novel: the essential mystery that surrounds every human being. As Jarvis Lorry makes his way toward France to recover Manette, the narrator reflect s that ―every human creature is constituted to be that profound secret and mystery to every other.‖ For much of the novel, the cause of Manette’s incarceration remains a mystery both to the other characters and to the reader. Even when the story concerning the evil Marquis Evrémonde comes to light, the conditions of Manette’s imprisonment remain hidden. Though the reader never learns exactly how Manette suffered, his relapses into trembling sessions of shoemaking evidence the depth of his misery.

Like Carton, Manette undergoes a drastic change over the course of the novel. He is transformed from an insensate prisoner who mindlessly cobbles shoes into a man of distinction. The contemporary reader tends to understand human individuals not as fixed entities but rather as impressionable and reactive beings, affected and influenced by their surroundings and by the people with whom they interact. In Dickens’s age, however, this notion was rather revolutionary. Manette’s transformation testifies to the tremendous im pact of relationships and experience on life. The strength that he displays while dedicating himself to rescuing Darnay seems to confirm the lesson that Carton learns by the end of the novel—that not only does one’s treatment of others play

an important ro le in others’ personal development, but also that the very worth of one’s life is determined by its impact on the lives of others.

Charles Darnay and Lucie Manette

Novelist E. M. Forster famously criticized Dickens’s characters as ―flat,‖ lamenting that th ey seem to lack the depth and complexity that make literary characters realistic and believable. Charles Darnay and Lucie Manette certainly fit this description. A man of honor, respect, and courage, Darnay conforms to the archetype of the hero but never exhibits the kind of inner struggle that Carton and Doctor Manette undergo. His opposition to the Marquis’ snobbish and cruel aristocratic values is admirable, but, ultimately, his virtue proves too uniform, and he fails to exert any compelling force on the imagination.

Along similar lines, Lucie likely seems to modern readers as uninteresting and two-dimensional as Darnay. In every detail of her being, she embodies compassion, love, and virtue; the indelible image of her cradling her father’s head delicatel y on her breast encapsulates her role as the

―golden thread‖ that holds her family together. She manifests her purity of devotion to Darnay in her unquestioning willingness to wait at a street corner for two hours each day, on the off chance that he will catch sight of her from his prison window. In a letter to Dickens, a contemporary criticized such simplistic characterizations:

The tenacity of your imagination, the vehe-mence and fixity with which you impress your thought into the detail you wish to grasp, limit your knowledge, arrest you in a single feature, prevent you from reaching all the parts of the soul, and from sounding its depths.

While Darnay and Lucie may not act as windows into the gritty essence of humanity, in combination with other characters they contribute to a more detailed picture of human nature. First, they provide the light that counters the vengeful Madame Defarge’s darkness, revealing the moral aspects of the human soul so noticeably absent from Madame Defarge. Second, throughout the novel they manifest a virtuousness that Carton strives to attain and that inspires his very real and believable struggles to become a better person.

Themes, Motifs & Symbols

Themes

Themes are the fundamental and often universal ideas explored in a literary work.

The Ever-Present Possibility of Resurrection

With A Tale of Two Cities, Dickens asserts his belief in the possibility of resurrection and transformation, both on a personal level and on a societal level. The narrative suggests that Sydney Carton’s death secures a new, peaceful life for Lucie Manette, Charles Darnay, and even Carton himself. By delivering himself to the guillotine, Carton ascends to the plane of heroism, becoming a Christ-like figure whose death serves to save the lives of others. His own life thus gains meaning and value. Moreover, the final pages of the novel suggest that, like Christ, Carton will be resurrected—Carton is reborn in the hearts of those he has died to save. Similarly, the text implies

that the death of the old regime in France prepares the way for the beautiful and renewed Paris that Carton supposedly envisions from the guillotine. Although Carton spends most of the novel in a life of indolence and apathy, the supreme selflessness of his final act speaks to a human capacity for change. Although the novel dedicates much time to describing the atrocities committed both by the aristocracy and by the outraged peasants, it ultimately expresses the belief that this violence will give way to a new and better society.

Dickens elaborates his theme with the character of Doctor Manette. Early on in the novel, Lorry holds an imaginary conversation with him in which he says that Manette has been ―recalled to life.‖ As this statement implies, the doctor’s eighteen-year imprisonment has constituted a death of sorts. Lucie’s love enables Manette’s spiritual renewa l, and her maternal cradling of him on her breast reinforces this notion of rebirth.

The Necessity of Sacrifice

Connected to the theme of the possibility of resurrection is the notion that sacrifice is necessary to achieve happiness. Dickens examines this second theme, again, on both a national and personal level. For example, the revolutionaries prove that a new, egalitarian French republic can come about only with a heavy and terrible cost—personal loves and loyalties must be sacrificed for the good of the nation. Also, when Darnay is arrested for the second time, in Book the Third, Chapter 7, the guard who seizes him reminds Manette of the primacy of state interests over personal loyalties. Moreover, Madame Defarge gives her husband a similar lesson when she chastises him for his devotion to Manette—an emotion that, in her opinion, only clouds his obligation to the revolutionary cause. Most important, Carton’s transformation into a man of moral worth depends upon his sacrificing of his former self. In choosing to die for his friends, Carton not only enables their happiness but also ensures his spiritual rebirth.

The Tendency Toward Violence and Oppression in Revolutionaries

Throughout the novel, Dickens approaches his historical subject with some ambivalence. While he supports the revolutionary cause, he often points to the evil of the revolutionaries themselves. Dickens deeply sympathizes with the plight of the French peasantry and emphasizes their need for liberation. The several chapters that deal with the Marquis Evrémonde successfully paint a picture of a vicious aristocracy that shamelessly exploits and oppresses the nation’s poor. Although Dickens condemns this oppression, however, he also condemns the peasants’ strategies in overcoming it. For in fighting cruelty with cruelty, the peasants effect no true revolution; rather, they only perpetuate the violence that they themselves have suffered. Dickens makes his stance clear in his suspicious and cautionary depictions of the mobs. The scenes in which the people sharpen their weapons at the grindstone and dance the grisly Carmagnole come across as deeply macabre. Dickens’s most concise and relevant view of revolution comes in the final chapter, in which he notes the slippery slope down from the oppressed t o the oppressor: ―Sow the same seed of rapacious license and oppression over again, and it will surely yield the same fruit according to its kind.‖ Though Dickens sees the French Revolution as a great symbol of transformation and resurrection, he emphasizes that its violent means were ultimately antithetical to its end.

Motifs

Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes.

Doubles

The novel’s opening words (―It was the best of times, it was the worst of times. . . .‖) immediately establish the centrality of doubles to the narrative. The story’s action divides itself between two locales, the two cities of the title. Dickens positions various characters as doubles as well, thus heightening the various themes within the novel. The two most important females in the text function as diametrically opposed doubles: Lucie is as loving and nurturing as Madame Defarge is hateful and bloodthirsty. Dickens then uses this opposition to make judgments and thematic assertions. Thus, for example, while Lucie’s love initiates her father’s spiritual transformation and renewal, proving the possibility of resurrection, Madame Defarge’s vengefulness only propagates an infinite cycle of oppression, showing violence to be self-perpetuating.

Dickens’s doubling technique functions not only to draw oppositions, but to reveal hidden parallels. Carton, for example, initially seems a foil to Darnay; Darnay as a figure reminds him of what he could have been but has failed to become. By the end of the novel, however, Carton transforms himself from a good-for-nothing to a hero whose goodness equals or even surpasses that of the honorable Darnay. While the two men’s physical resemblance initially serves only to und erscore Carton’s moral inferiority to Darnay, it ultimately enables Carton’s supremely self-elevating deed, allowing him to disguise himself as the condemned Darnay and die in his place. As Carton goes to the guillotine in his double’s stead, he raises himself up to, or above, Darnay’s virtuous status.

Shadows and Darkness

Shadows dominate the novel, creating a mood of thick obscurity and grave foreboding. An aura of gloom and apprehension surrounds the first images of the actual story—the mail coach’s jour ney in the dark and Jerry Cruncher’s emergence from the mist. The introduction of Lucie Manette to Jarvis Lorry furthers this motif, as Lucie stands in a room so darkened and awash with shadows that the candlelight seems buried in the dark panels of the walls. This atmosphere contributes to the mystery surrounding Lorry’s mission to Paris and Manette’s imprisonment. It also manifests Dickens’s observations about the shadowy depths of the human heart. As illustrated in the chapter with the appropriate subhea ding ―The Night Shadows,‖ every living person carries profound secrets and mysteries that will never see the light of day. Shadows continue to fall across the entire novel. The vengeful Madame Defarge casts a shadow on Lucie and all of her hopes, as emphasized in Book the Third, Chapter 5. As Lucie stands in the pure, fresh snow, Madame Defarge passes by

―like a shadow over the white road.‖ In addition, the letter that Defarge uses to condemn Darnay to death throws a crippling shadow over the entire family; fittingly, the chapter that reveals the letter’s contents bears the subheading ―The Substance of the Shadow.‖

Imprisonment

Almost all of the characters in A Tale of Two Cities fight against some form of imprisonment. For Darnay and Manette, this struggle is quite literal. Both serve significant sentences in French jails. Still, as the novel demonstrates, the memories of what one has experienced prove no less confining than the walls of prison. Manette, for example, finds himself trapped, at times, by the recollection of life in the Bastille and can do nothing but revert, trembling, to his pathetic shoemaking compulsion.

Similarly, Carton spends much of the novel struggling against the confines of his own personality, dissatisfied with a life that he regards as worthless.

Symbols

Symbols are objects, characters, figures, and colors used to represent abstract ideas or concepts. The Broken Wine Cask

With his depiction of a broken wine cask outside Defarge’s wine shop, and with his portrayal of the passing peas ants’ scrambles to lap up the spilling wine, Dickens creates a symbol for the desperate quality of the people’s hunger. This hunger is both the literal hunger for food—the French peasants were starving in their poverty—and the metaphorical hunger for political freedoms. On the surface, the scene shows the peasants in their desperation to satiate the first of these hungers. But it also evokes the violent measures that the peasants take in striving to satisfy their more metaphorical cravings. For instance, the narrative directly associates the wine with blood, noting that some of the peasants have acquired ―a tigerish smear about the mouth‖ and portraying a drunken figure scrawling the word ―blood‖ on the wall with a wine-dipped finger. Indeed, the blood of aristocrats later spills at the hands of a mob in these same streets.

Throughout the novel, Dickens sharply criticizes this mob mentality, which he condemns for perpetrating the very cruelty and oppression from which the revolutionaries hope to free themselves. The scene surrounding the wine cask is the novel’s first tableau of the mob in action. The mindless frenzy with which these peasants scoop up the fallen liquid prefigures the scene at the grindstone, where the revolutionaries sharpen their weapons (Book the Third, Chapter 2), as well as the dancing of the macabre Carmagnole (Book the Third, Chapter 5).

Madame Defarge’s Knitting

Even on a literal level, Madame Defarge’s knitting constitutes a whole network of symbols. Into her needlework she stitches a registry, or list of names, of all those condemned to die in the name of a new republic. But on a metaphoric level, the knitting constitutes a symbol in itself, representing the stealthy, cold-blooded vengefulness of the revolutionaries. As Madame Defarge sits quietly knitting, she appears harmless and quaint. In fact, however, she sentences her victims to death. Similarly, the French peasants may appear simple and humble figures, but they eventually rise up to massacre their oppressors.

Dickens’s knitting i magery also emphasizes an association between vengefulness and fate, which, in Greek mythology, is traditionally linked to knitting or weaving. The Fates, three sisters who control human life, busy themselves with the tasks of weavers or seamstresses: one sister spins the web of life, another measures it, and the last cuts it. Madame Defarge’s knitting thus becomes a symbol of her victims’ fate—death at the hands of a wrathful peasantry.

The Marquis

The Marquis Evrémonde is less a believable character than an archetype of an evil and corrupt social order. He is completely indifferent to the lives of the peasants whom he exploits, as evidenced by his lack of sympathy for the father of the child whom his carriage tramples to death.

As such, the Marquis stands as a symbol of the ruthless aristocratic cruelty that the French Revolution seeks to overcome.

Important Quotations Explained

1. It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way. . . .

Explanation for Quotation 1 >>

These famous lines, which open A Tale of Two Cities, hint at the novel’s central tension between love and family, on the one hand, and oppression and hatred, on the other. The passage makes marked use of anaphora, the repetition of a phrase at the beginning of consecutive clauses—for example, ―it was the age . . . it was the age‖ and ―it was the epoch . . . it was the epoch. . . .‖ This technique, along with the passage’s steady rhythm, suggests that good and evil, wisdom and folly, and light and darkness stand equally matched in their struggle. The opposing pairs in this passage also initiate one of the novel’s most prominent motifs and structural figures—that of doubles, including London and Paris, Sydney Carton and Charles Darnay, Miss Pross and Madame Defarge, and Lucie and Madame Defarge.

2. A wonderful fact to reflect upon, that every human creature is constituted to be that profound secret and mystery to every other. A solemn consideration, when I enter a great city by night, that every one of those darkly clustered houses encloses its own secret; that every room in every one of them encloses its own secret; that every beating heart in the hundreds of thousands of breasts there, is, in some of its imagin-ings, a secret to the heart nearest it! Something of the awfulness, even of Death itself, is referable to this.

Explanation for Quotation 2 >>

The narrator makes this reflection at the beginning of Book the First, Chapter 3, after Jerry Cruncher delivers a cryptic message to Jarvis Lorry in the darkened mail coach. Lorry’s mission—to recover the long-imprisoned Doctor Manette and ―recall‖ him to life—establishes the essential dilemma that he and other characters face: namely, that human beings constitute perpetual mysteries to one another and always remain somewhat locked away, never fully reachable by outside minds. This fundamental inscrutability proves most evident in the case of Manette, whose private sufferings force him to relapse throughout the novel into bouts of cobbling, an occupation that he first took up in prison. Throughout the novel, Manette mentally returns to his prison, bound more by his own recollections than by any attempt of the other characters to ―recall‖ him into the present. This passage’s reference to death also evokes the deep secret revealed in Carton’s

self-sacrifice at the end of the novel. The exact profundity of his love and devotion for Lucie remains obscure until he commits to dying for her; the selflessness of his death leaves the reader to wonder

at the ways in which he might have manifested this great love in life.

3. The wine was red wine, and had stained the ground of the narrow street in the suburb of Saint Antoine, in Paris, where it was spilled. It had stained many hands, too, and many faces, and many naked feet, and many wooden shoes. The hands of the man who sawed the wood, left red marks on the billets; and the forehead of the woman who nursed her baby, was stained with the stain of the old rag she wound about her head again. Those who had been greedy with the staves of the cask, had acquired a tigerish smear about the mouth; and one tall joker so besmirched, his head more out of a long squalid bag of a night-cap than in it, scrawled upon a wall with his finger dipped in muddy wine-lees—blood.

Explanation for Quotation 3 >>

This passage, taken from Book the First, Chapter 5, describes the scramble after a wine cask breaks outside Defarge’s wine shop. This episode opens the novel’s examination of Paris and acts as a potent depiction of the peasants’ hunger. These oppressed individuals are not only physically starved—and thus willing to slurp wine from the city streets—but are also hungry for a new world order, for justice and freedom from misery. In this passage, Dickens foreshadows the lengths to which the peasants’ desperation will take them. This scene is echoed later in the novel when the revolutionaries—now similarly smeared with red, but the red of blood—gather around the grindstone to sharpen their weapons. The emphasis here on the idea of staining, as well as the scrawling of the word blood, furthers this connection, as does the appearance of the wood-sawyer, who later scares Lucie with his mock guillotine in Book the Third, Chapter 5. Additionally, the image of the wine lapping against naked feet anticipates the final showdown between Miss Pross and Madame Defarge in Book the Third, Chapter 14: ―The basin fell to the ground broken, and the water flowed to the feet of Madame Defarge. By strange stern ways, and through much staining of blood, those feet had come to meet that water.‖

4. Along the Paris streets, the death-carts rumble, hollow and harsh. Six tumbrels carry the day’s wine to La Guillotine. All the devouring and insatiate Monsters imagined since imagination could record itself, are fused in one realization, Guillotine. And yet there is not in France, with its rich variety of soil and climate, a blade, a leaf, a root, a sprig, a peppercorn, which will grow to maturity under conditions more certain than those that have produced this horror. Crush humanity out of shape once more, under similar hammers, and it will twist itself into the same tortured forms. Sow the same seed of rapacious license and oppression over again, and it will surely yield the same fruit according to its kind.

Explanation for Quotation 4 >>

In this concise and beautiful passage, which occurs in the final chapter of the novel, Dickens summarizes his ambivalent attitude toward the French Revolution. The author stops decidedly short of justifying the violence that the pe asants use to overturn the social order, personifying ―La Guillotine‖ as a sort of drunken lord who consumes human lives—―the day’s wine.‖ Nevertheless, Dickens shows a thorough understanding of how such violence and bloodlust can come about. The cruel ari stocracy’s oppression of the poor ―sow[s] the same seed of rapacious license‖ in the poor

and compels them to persecute the aristocracy and other enemies of the revolution with equal brutality. Dickens perceives these revolutionaries as ―[c]rush[ed] . . . out of shape‖ and having been ―hammer[ed] . . . into . . . tortured forms.‖ These depictions evidence his belief that the lower classes’ fundamental goodness has been perverted by the terrible conditions under which the aristocracy has forced them to live.

5. I see a beautiful city and a brilliant people rising from this abyss, and, in their struggles to be truly free, in their triumphs and defeats, through long years to come, I see the evil of this time and of the previous time of which this is the natural birth, gradually making expiation for itself and wearing out. . . .

I see that child who lay upon her bosom and who bore my name, a man winning his way up in that path of life which once was mine. I see him winning it so well, that my name is made illustrious there by the light of his. . . .

It is a far, far better thing that I do, than I have ever done; it is a far, far better rest I go to than I have ever known.

Explanation for Quotation 5 >>

Though much debate has arisen regarding the value and meaning of Sydney Carton’s sacrifice at the end of the novel, the surest key to interpretation rests in the thoughts contained in this passage, which the narrator attributes to Carton as he awaits his sacrificial death. This passage, which occurs in the final chapter, prophesies two resurrections: one personal, the other national. In a novel that seeks to examine the nature of revolution—the overturning of one way of life for another—the struggles of France and of Sydney Carton mirror each other. Here, Dickens articulates the outcome of those struggles: just as Paris will ―ris[e] from [the] abyss‖ of the French Revolution’s chaotic and bloody violence, so too will Carton be reborn into glory after a virtu ally wasted life. In the prophecy that Paris will become ―a beautiful city‖ and that Carton’s name will be ―made illustrious,‖ the reader sees evidence of Dickens’s faith in the essential goodness of humankind. The very last thoughts attributed to Carton, in their poetic use of repetition, register this faith as a calm and soothing certainty.

Key Facts

FULL TITLE ·A Tale of Two Cities

AUTHOR · Charles Dickens

TYPE OF WORK · Novel

GENRE · Historical fiction

LANGUAGE · English

TIME AND PLACE WRITTEN ·1859, London

DATE OF FIRST PUBLICATION · Published in weekly serial form between April 20, 1859, and November 26, 1859

PUBLISHER · Chapman and Hall

NARRATOR · The narrator is anonymous and can be thought of as Dickens himself. The narrator maintains a clear sympathy for the story’s morally good characters, including Sydney Carton, Charles Darnay, Doctor Manette, and Lucie Manette. Though he criti-cizes ruthless and hateful figures such as Madame Defarge, who cannot appreciate love, he understands that oppression has made these characters the bloodthirsty creatures they have become.

POINT OF VIEW · The narrator speaks in the third person, deftly switching his focus between cities and among several characters. The narrator is also omniscient—not only revealing the thoughts, emotions, and motives of the characters, but also supplying historical context to the events that occur, commenting confidently upon them.

TONE · Sentimental, sympathetic, sarcastic, horrified, grotesque, grim

TENSE · Past

SETTING (TIME) ·1775–1793

SETTING (PLACE) · London and its outskirts; Paris and its outskirts

PROTAGONIST · Charles Darnay or Sydney Carton

MAJOR CONFLICT · Madame Defarge seeks revenge against Darnay for his relation to the odious Marquis Evrémonde; Carton, Manette, Lucie, and Jarvis Lorry strive to protect Darnay from the bloodthirsty revolutionaries’ guillotine.

RISING ACTION ·The ongoing murder of aristocrats after the storming of the Bastille; Darnay’s decision to go to Paris to save Gabelle; the Defarges’ demand that Darnay be arrested

CLIMAX · During a court trial, Defarge reads aloud a letter that he has discovered, which Manette wrote during his imprisonment in the Bastille and which indicts Darnay as a member of the cruel aristocratic lineage of Evrémonde (Book the Third, Chapter 10). In this climactic moment, it becomes clear that Madame Defarge’s overzealous hatred of Darnay can end only in death—either his or hers.

FALLING ACTION ·The jury’s sentencing of Darnay to death; Darnay’s wish that Manette not blame himself; Carton’s decision to sacrifice his life to save Darnay

THEMES · The ever-present possibility of resurrection; the necessity of sacrifice; the tendency toward violence and oppression in revolutionaries

MOTIFS · Doubles; shadows and darkness; imprisonment

SYMBOLS · The wine that spills out of the cask in Book the First, Chapter 5, symbolizes the peasants’ hunger and the blood that will be let when the revolution comes into full swing; Madame Defarge’s knitting symbolizes the vengefulness of the common people; the Marquis is a symbol of pure evil—the Gorgon’s head symbolizes his absolute coldness toward the suffering of the poor.

FORESHADOWING ·The wine cask breaking outside Defarge’s wine shop; the echoing footsteps in the Manettes’ sitting room; the resemblance between Carton and Darnay; Carton’s indication of this resemblance in a London court, which results in Darnay’s acquittal; Doctor Manette’s reaction after learning Darnay’s true identity

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《双城记》双城：伦敦、巴黎《双城记》是狄更斯的代表作，是一部以法国大革命为背景的长篇小说。 “我相信，不满情绪像这样冒烟比火烧起来还要坏得多，这特别像法国在第一次革命爆发前的公众心理，这就有危险，由于千百种原因——如收成不好、贵族阶级的专横与无能把已经紧张的局面最后一次加紧、海外战争的失利、国内偶发事件等等——变成那次从未见过的一场可怕的大火。” 狄更斯：爱比恨要有力得多。但在《双城记》中，爱只能让梅尼特医生一家成功逃离，这并不代表爱的全面胜利，但爱与善良在小说中表现得强劲而饱满。《双城记》中的主要人物及形象：梅尼特医生代尔那露西得伐石太太卡尔登梅尼特医生：前半生主要表现为充满正义感；后半生是仁慈的长者、人道主义者，既可以表现为挺身抗暴，也可以表现为对仇人之子的保护。代尔那：理想化的人物，英俊，品德高尚，放弃了爵位、财产，具有一切美好的品质。露西：美丽、善良、温顺，充满伤感的温情的化身。得伐石太太：复仇的精神，被复仇欲望主宰而失去了理智。卡尔登：小说中塑造最为成功的人物，有的将其看作高尚的人道主义者，基督精神的体现。有的将其看作难以解释的怪人，“狄更斯式的怪诞艺术”。这个形象将在人们心中不朽。”——狄更斯有才华，有头脑，有个性的失败型人物，酗酒，自暴自弃，对人生感到失望，没有生活目标。他代替代尔那死不仅是牺牲，还带有自杀的性质，紧紧抓住死亡的机会，从而赋予自己的生命以价值，以此来实现肉体死亡和精神复活的统一，既毁灭了自我，又实现了自我。代替另一个人死亡，另一个人代替他去爱，卡尔登伴着这种感觉走向死亡，这是狄更斯所倾向的浪漫。借此，小说也树立了一个人道主义的典型，充满着爱和高度的伦理道德意义。

语文名言名句_国外名人名言

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13.志气太大，理想过多，事实迎不上头来，结果自然是失望烦闷;志气太小，因循苟且，麻木消沉，结果就必至于堕落。——朱光潜14.当我们还买不起幸福的时候，我们绝不应该走得离橱窗太近，盯着幸福出神 15.我要做的事，不过是伸手去收割旁人替我播种的庄稼而已。——歌德 16.每个生命的方式是自然界一种力的方式。有些人的生命像沉静的湖，有些像白云飘荡的一望无际的天空，有些像丰腴富饶的平原，有些像断断续续的山峰。我觉得约翰?克利斯朵夫的生命像一条河。——罗曼?罗兰《约翰?克利斯朵夫》 17.沉沉的黑夜都是白天的前奏。——郭小川 18.抛弃时间的人，时间也抛弃他。_____莎士比亚 19.我们要消除这个暗礁，就必须等待时间机会和有利条件。——狄更斯《荒凉山庄》生活中唯一乐趣就是忘却。——托尔斯泰 20.谁要在世界上遇到过一次友爱的心，体会过肝胆相照的境界，就是尝到了天上人间的欢乐。——罗曼?罗兰《约翰?克利斯朵夫》) 21.忍耐和坚持虽是痛苦的事情，但却能渐渐地为你带来好处。——奥维德 22.人类所有的力量，只是耐心加上时间的混合，所谓强者，是既有意志，又能等待时机。——巴尔扎克《人间喜剧》 23.只要我们能善用时间,就永远不愁时间不够用。---德国诗人歌德 24.芸芸众生，孰不爱生?爱生之极，进而爱群。——秋瑾

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精选耶鲁大学励志名言一遇挫折就灰心丧气的人，永远是个失败者。而一向努力奋斗，坚韧不拔的人会走向成功。下面由小编与大家分享耶鲁大学励志名言，希望你们喜欢!欢迎阅读! 耶鲁大学励志名言 1、永远都不要抱怨什么。抱怨只会暴露你的无能。 2、我们都会害怕失败，我们也怕被人嘲笑，可是，你不向前走，一直在原地，又能得到什么? 3、每天都是新的，烦恼痛苦不过夜。 4、永远不要忘记合作学习，相互学习，在大学，没有高考的压力，这种单纯的向学精神更是难能可贵的。 5、不要跟偏执狂、做事极端的人谈恋爱。 6、对自己要有高层次的要求，不要不挂就呼万岁。 7、敢于尝试，敢于丢脸。 8、要有自己的计划，考试都要靠自己在平常默默努力，的确，这个也需要突击，但仅凭突击，风险也忒大了点。 9、不要因为寂寞空虚而谈恋爱。 10、真诚的主动帮助别人，不求回报。做每件事都想要别人感激，那是注定要失望的。 11、做人最高境界不是一味低调，也不是一味张扬，而是不卑不亢。 12、寂寞空虚无聊的时候看点杂志，听听音乐，没事给自己找事干，可以无益，但不能有害。 13、要自信，绝对自信，无条件自信，时刻自信，即使在做错的时候。 14、情人眼里出西施，但也别把周围的人当成烂狗尾巴草。 15、学会忘记一些东西，那些痛苦的、尴尬的、懊悔的记忆，为阳光的记忆腾出空间。 16、可以喜欢很多人，但别轻易爱上谁。 17、一定要即时完成老师的作业，的确，大学作业是可以拖的，但那不是你

懈怠的理由。 18、学会忘记痛苦，为阳光记忆腾出空间。 19、做人的最高境界不是一味低调，也不是一味张扬，而是始终如一的不卑不亢。 20、不要想太多，定时清除消极思想。 21、无论什么情况下都要保持自己的独立性，不要丧失自我。 22、不要想太多，尤其是负面的想法，定时清除消极思想。 23、该知道的知道，不该知道的甭打听。 24、有些事情，看破但不要说破。 25、学会说不，不要让友情成为一种负担。 26、在没了解之前，假定一切人都是善的，真心对待身边的每个人。 27、当成功时，以前的那些，又算得了什么? 28、赚钱不如省钱。适度节省比赚钱更能省钱。 29、学习永远是第一位的，不能舍本逐末。 30、顺其自然，缘分不可强求。 31、把自己的东西收拾整洁，物归其位。 32、上课跟上老师的思维，能坐第一排就做第一排。 33、承认自己的不聪明，不勇敢，这样在面对别人的优秀时，可以坦然，并给予发自内心赞美。 34、懂得配合，课堂上活跃一些，不是作给别人看，是做给自己看。 35、要无条件自信，即使在做错的时候。 36、所以尝试，必须是我们这一生学会的，丢脸，怕什么，难道一辈子都会这么不顺? 37、面对别人的优秀时，发自内心地赞美。国外励志名言 1、伟大的目标形成伟大的人物。——埃蒙斯 2、成功的奥秘在于目标的坚定。——迪斯雷利 3、停止奋斗，生命也就停止了。——卡莱尔 4、死的伟大的人，永远没有失败。——拜伦

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狄更斯名言大全 1、如果我的世界不能成为你的世界，那么我愿将你的世界变成我的世界。 2、如果过了若干岁月以后，我能使自己相信我的凋零的命运，做了你的前车之鉴，我就会觉得我不是完全白做了一世人了。 3、大量的善和大量的恶，总是混合在一起，交互错综着的。 4、我希望你总得先从平凡的学者做起，这样你才能成为一个不平凡的学者！ 5、一个真正的爱人不可能有冷漠、厌恶、怀疑、薄情以及一半是火一半是冰的心情。 6、在社交场合，干起杯来可不能太认真，不必那么一丝不苟的，杯底朝天翻过来往嘴里倒，酒杯边儿都压到了鼻子上。 7、你不能指望我会变得跟你差不多。你总是在身心两方面锻炼自己，使自己象水晶一样透明，并且你始终如一，坚定不移。我呢，可是又糊涂，又孤独，象一根萎靡不振的小草。 8、把愚昧当作好友的人，是最难受、最危险的。 9、只有真正的和持久的爱情，只有当爱情使他们产生了一种坚

定的决心，使他们本着忠贞不渝、坚韧不拔和始终如一的精神来履行彼此的职责，总之，只有他们处处为对方着想，爱情才会带来幸福。 10、马换了一次又一次，路愈赶越远，再要回去已经来不及了，于是我只得继续往前赶。朝雾早已在一篇肃穆中消散净尽，那花花世界就展现在我的面前。 11、任何人，都有权把互相启迪、力求前进和寻求合理娱乐的活动据为己有。 12、人总是在离开一个地方后开始原谅它。 13、像杜蛎一样，神秘，自给自足，而且孤独。 14、想想看，我们是因为很幸福才如此坚强；而他是因为很不幸才如此脆弱！ 15、眼泪并不是困苦的唯一的证据，也不是最好的证据。真的，有人永远把它们预先装好，在愿意用的时候随时可以把塞子拔开。 16、今天能做的事，决不要留到明天。拖延乃光阴之窃贼。要抓住他！ 17、天然尊贵的人彼此都是痛痒相关的，四海之内真正伟大的人物也都是惺惺相惜的。 18、辨是非，重证据，用冷静的头脑去比较。

亲情的名人名言

亲情的名人名言关于亲情的名人名言大全关于亲情的名人名言大全1 1、母亲对我的爱之伟大让我不得不用我的努力工作去验证这种爱是值得的。——夏加尔、绘画大师 2、全世界的母亲多么的相像！他们的心始终一样。每一个母亲都有一颗极为纯真的赤子之心。——惠特曼 3、慈母爱子，非为报也。——刘安 4、成功的时候，谁都是朋友。但只有母亲——她是失败时的伴侣。——郑振铎 5、母爱是世间最伟大的力量。——米尔 6、记忆中的母亲啊！最心爱的恋人啊，您是我所有的欢乐，所有的情谊。——法国 7、我的第一个启蒙老师是我的母亲。——茅盾 8、妈妈你在哪儿，哪儿就是最快乐的地方——英国 9、母爱是多么强烈、自私、狂热地占据我们整个心灵的感情。——邓肯 10、慈母的胳膊是慈爱构成的，孩子睡在里面怎能不甜？——雨果 11、母亲们的美德就像父亲们的罪孽一样，都会体现在

他们的孩子身上。——查尔斯·狄更斯 12、一位好母亲抵得上一百个教师。——乔治·赫伯特 13、母亲的责任之一，是从孩子的童年时代起，就善于发现他们的才能、性格和志向，这一点是任何一位教育家都难以做到的。——巴尔扎克 14、世界上有一种最美丽的声音，那便是母亲的呼唤。——但丁 15、母爱是人类情绪中最美丽的，因为这种情绪没有利禄之心掺杂其间。——法国 16、我的生命是从睁开眼睛，爱上我母亲的面孔开始的。——乔治·艾略特 17、世界上的一切光荣和骄傲，都来自母亲。——高尔基 18、母爱是世间最伟大的力量。没有无私的，自我牺牲的母爱的帮助，孩子的心灵将是一片荒漠。——高尔基 19、世界上无论什么名誉，什么地位，什么幸福，什么尊荣，都比不上待在母亲身边，即使她一个字也不识，即使整天吃‘红的’——注：指高粱饼子）。——季羡林 20、当母亲逝世时，我身心交瘁，简直要垮掉，我几乎不知道如何生活下去。——希思——英国前首相关于亲情的名人名言大全2 一、名人名言

《双城记》中狄更斯对法国大革命态度的体现 The French Revolution in A Ta

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人总是憋不住心里的感情的。——《远大前程》人在世上走南闯北，带着情感这宗货物可真是不方便呢。——《马丁·瞿述伟》如果家庭的感情和慈爱全是些优美的事物，那么它们在穷人家里才真够得上优美。富人和阔人同家庭的关系可以在尘世上制造出来，但是穷人同他那破锅破灶连结的链子才是一种更道地金属，上面还盖有天国的印鉴。——《老古玩店》人们简直不懂，他们把穷人丧失亲属冷冷淡淡地说成是死者脱离苦海，生者减轻负担——我说他们简直不懂这种丧亡是何等的惨痛。——《匹克威克外传》不会有不曾犯过罪或者做过好事的人，死后被人遗忘了的。……一个在襁褓中的婴儿，一个话说不全的娃娃，一旦火殇了，仍然活在他们亲人的心里，并且还要通过亲人在世上做出些赎罪的事情，虽然他们的身体已经烧成灰烬或者丢在大海里沉没了。——《老古玩店》我恨当穷人，因为我们穷，人家就看不起我们，讨厌我们，可怜我们，羞辱我们，把我们当牲畜一样对待。——《狄更斯传》

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9、顽强的毅力可以征服世界上任何一座高峰！——狄更斯 10、不论前途如何，不管发生什么事情，我们都不失去希望：希望是一种美德。——《雨果传》 11、生与死只是脚下的奴仆。——泰戈尔《被俘的英雄》 12、使生命变得麻木，这决不是享受。——《雨果传》 13、即使渴望落空，感觉到渴望的痛苦依然是甜蜜的。——泰戈尔《情人的礼物》 14、不要将过去看成是寂寞的，因为这是再也不会回头的。应想办法改善现在，因为那就是你，毫不畏惧地鼓起勇气向着未来前进。——朗费罗 15、黄金诚然是宝贵的，但是生气蓬勃、勇敢的爱国者却比黄金更为宝贵。——林肯 16、理想是指路明灯。没有理想，就没有坚定的方向，而没有方向，就没有生活。——托尔斯泰 17、我创造，所以我生存。——罗曼〃罗兰《约翰〃克利斯朵夫》 18、社会是一个泥坑，我们得站在高地上。——巴尔扎克《高老头》 19、我始终认为，任何天生的或后生的天才，若不与坚忍不拔、谦虚踏实和埋头若干的品质相结合，就不可能有所成就。——《狄更斯传》

狄更斯《双城记》经典名言

狄更斯《双城记》经典名言 iloveyounotbecauseofwhoyouare,butbecauseofwhoiamwheniamw ithyou. 我爱你,不是因为你是一个怎样的人,而是因为我喜欢与你在一起时的感觉. nomanorwomanisworthyourtears,andtheonewhois,won‘tmakeyo ucry. 没有人值得你流泪,值得让你这么做的人不会让你哭泣. theworstwaytomisssomeoneistobesittingrightbesidethemknow ingyoucan‘thavethem. 失去某人,最糟糕的莫过于,他近在身旁,却犹如远在天边. neverfrown,evenwhenyouaresad,becauseyouneverknowwhoisfal linginlovewithyoursmile. 纵然伤心,也不要愁眉不展,因为你不知是谁会爱上你的笑容. totheworldyoumaybeoneperson,buttoonepersonyoumaybethewor ld. 对于世界而言,你是一个人；但是对于某个人,你是他的整个世界. don‘twasteyourtimeonaman/woman,whoisn‘twillingtowastet heirtimeonyou. 不要为那些不愿在你身上花费时间的人而浪费你的时间. justbecausesomeonedoesn‘tloveyouthewayyouwantthemto,doe sn‘tmeantheydon‘tloveyouwithalltheyhave. 爱你的人如果没有按你所希望的方式来爱你,那并不代表他们没有全心全意地爱你.

查尔斯狄更斯的名言

查尔斯狄更斯的名言 1、饱知人饥，温知人寒。 2、不是不平凡，只是少有。 3、民众心有爱憎，性原和善。 4、心灵的漆黑一团，能使人变为野兽。 5、宝贵的光阴，总是像箭一样地飞逝着。 6、这是最黑暗的时代，也是最光明的时代。 7、既然你从没对过，先生，你怎么会不输？ 8、你要把应该走的路走得漂亮，才可以走想走的路。 9、人对人的情意，是会用在那活生生的本人身上的。 10、即便天才一如浑金璞玉，其中有时也不无杂质。 11、把愚昧当作好友的人，是最难受、最危险的。 12、傲慢的人最不能容忍的，就是别人的傲慢。 13、当我们误用生命的时候，生命并无价值。 14、凡可以献上我的全身的事，决不献上一只手。 15、把自己的弱点都暴露出来了，让敌人攻打起来可以大占优势。 16、人在精神方面受到了最可怕的打击，往往会丧失神志。

17、剧烈的**斗争，能引起最使人难于置信的可耻后果。 18、强使土地多产而却不给土地上肥料，只会把土壤弄得枯竭。 19、你的判断力出去玩的时候，倒是需要什么人照应你才好。 20、人在世上走南闯北，带着情感这宗货物可真是不方便呢。 21、我的生活单调沉闷，正在一点一滴的消耗着我的生命。 22、应该提倡克己自制和乐天知足的习惯，教导人开扩仁爱的领域。 23、知足的茅草屋要胜过冰冷华丽的宫殿。有了爱，就有了一切！ 24、我远在海外的时候，眼睛老是望着家乡。我在那边虽然发了财，日子过的可乏味了。 25、穷人宣讲道德会比富人少得多，而穷人的懿德嘉行，则比富人更鲜明。 26、所谓奇怪，不是因为狂妄和难以置信，而因为是真实的生活故事中的一页。 27、自从我见到你以后，我才为一种原以为不会再谴责我的悔恨所苦恼。 28、对于最愚昧无知的入，大自然的甜蜜的脸孔是欢乐的永不枯竭的源泉。

狄更斯名言语录

1.那是最美好的时代，那是最糟糕的时代；那是智慧的年头，那是愚昧的年头；那是信仰的时期，那是怀疑的时期；那是光明的季节，那是黑暗的季节；那是希望的春天，那是失望的冬天；我们全都在直奔天堂，我们全都在直奔相反的方向--简而言之，那时跟现在非常相象，某些最喧嚣的权威坚持要用形容词的最高级来形容它。说它好，是最高级的；说它不好，也是最高级的。——《双城记》 2.世界上的成功者没有一个比我更不重视有钱，也没有一个比我更不轻视缺钱世界上的成功者没有一个比我更不重视有钱，也没有一个比我更不轻视缺钱。——《狄更斯评传》3.我一生从我这笔金钱得到的只有忧虑和苦恼，而我死了以后，这笔金钱会制造出更多的纠纷与仇恨……上天救救我们吧，我们造下了多少孽呀！啊，自私！自私！自私！人人为自己，却没有人为我！——《狄更斯评传》 4.说老实话，他们的谈话十分枯燥无味，而且谈话大都分的内容可以归结为两个字：金元。所有他们的忧虑、希望、欢乐、感情、道德以及友谊，全部都似乎熔化为金元了。他们的谈话象在慢火上烤着的一个锅，不管你往这锅里投入些什么偶然的话，他们总会把锅内的液体煮成浊浆，铸成金元。他们是用金元来评价人，用金元来衡量人的。生命的拍卖、估价、加价、减价也全以金元为依据。——《狄更斯评传》 5.除了金元本身以外，最令人尊敬的便是以获取金元为目的冒险行为。一个人把自己的名誉与良心之船中的无价值的压舱货——荣誉与正直——抛弃在大洋中，抛得越多，船中能装载金元的舱位也就越多。——《狄更斯评传》6.靠大谎言与大骗局来做生意，把国家的旗帜当作破布来作践，把旗上的星星一颗一颗地涂污，横纹一道一道地撕去，就象从一个被贬黜的军人的臂膀上撕下勋章一样，一切为了金元。对他们说来，一面旗子算得了什么！——《狄更斯评传》 7.钱倒是也曾经让人拿它来耀武扬威，可以理直气壮地夸它是个如意钥匙，要去追求人间的富贵，享受世上的荣华，哪怕得过千万重铁郭铜关，也都可以毫无阻拦。 ——《马丁·瞿述伟》 8.葛雷德格来恩哲学的一个基本原则，就是什么都得出钱来买。不通过买卖关系，谁也决不应该给谁什么东西或者给谁帮忙。感谢之事应该废除，由于感谢而产生的德行是不应该有的。人从生到死步步生活都得是一种柜台上的现钱买卖关系。——《狄更斯评传》9.背信弃义，欺骗，阴谋；为了想得宠于我，对一切实在的或想象中的竞争者都憎恨；卑鄙、虚伪、下流、奴颜婢膝；或者……几乎比这一切更坏的是：装出一副诚实的独立的样子——这些就是我的财产所揭露出来的美德了。互相仇视的兄弟，互相倾轧的父子，互相践踏的朋友，这些就是我在人生路途上的旅伴。——《狄更斯评传》 10.侯爵说：“压制是唯一不朽的哲学。”压制是唯一不朽的哲学，侯爵说. ——《双城记》 11.地和地上所有的都是我的，爵爷说。——《双城记》 12.为了要使我赖以生活的制度得以永存，我愿意死。——《双城记》 13.对于特殊公事，爵爷却有另一种确实高明的意见；一切必须遵行他的道理——他自己的权力和钱包的道理。——《双城记》 14.除了尽力掠夺和剥削而外好象什么也不干的人，监督。——《双城记》 15.不让下层阶级享受同样的福利……要不这样，我们的特权表现在哪里呢？—《狄更斯评传》 16.压榨别人，免得自己受别人压榨。——《狄更斯评传》 17.假如人人都同样饱暖，我们就会失去一种满足感，这种满足感是当我们对某些阶级的人们忍受饥寒那种坚忍力觉得钦佩时所感到的。又假如我们不比别人过得好，我们又怎会产生感恩之情呢？——《狄更斯评传》 18.衣冠是当作保持品位和秩序的一种万应灵符的。——《双城记》 19.豪华的房间。在光天化日之下看来，它总不过是一座由浪费、糊涂、勒索、放债、典当、

A Tale of Two Cities 双城记 狄更斯