欧亨利小说的修辞手法

TheartcharacteristicsofTheCopAndAnthemAbstract:O.Henry(1862-1910)一pseudonymofWilliamSydneyPorter,isoneofmostfamouscriticalrealisticnovelistsinAmerica.HeisknownwithMaupassantandasthethreegreatestshortstorymastersintheworldandishailedasthe“FatherofModernAmericanShortStory”bysomecritics.Hishumorousdepiction,surprisingdenouement,themesofhumanworldhavebeenstudiedbycriticsandliteraturefansathomeandabroadfromtheperspectiveofcriticalrealismorstruchiralism.ManyshortstoriesofO.Henryfeatureunimportantpeoplewholiveatthebottomofthesocietymainlywiththethemeofpeopledoinggooddeedsthoughtheplotsaredifferent.ItisnotdifficulttofindoutthearchetypesofthesecharactersunderO.Henry'spenbycarefulstudy.JiminTheGiftoftheMagiwhoisyoungandalotinhislifeembodiesthepassionofJesusChrist.RaidlerinthestoryhygeiaattheSolitocouldrepresentthecharityofJesus.TheoldartistBehrmanintheLastLeafepitomesthesacrificeofJesus.Fromthemarshal'swordsandactsinHeartsandHands,wefindthearchetypeofscapegoat.InthestoryofRoadsofDestiny,threedifferentroadsleadtothesamedestination,presentsustworelevantbiblicalthemes-deathandparadiselost.JamesinTheMarionettesisadoctormeanwhileathief,thenarrativestructureofhisexperiencefromdegenerationtorepentancethentoredemption,isthetypicalBiblicalU-shapednarration.FromthetitleoftheshortstoryTheCopandtheAnthem,wecanfindtheelementoftheBible,and0.Henry'sappreciationofChristianityandhiswishesthatreligionmaysavepeoplecouldalsobetracedbetweenthelines.TheCopandtheAnthemsistherepresentativenovelwhichcreatedbythetwentiethcenturyfamousshortstorywriterO.Henry’s,andthisnovelistheimportantofitsoverallstyle.Inthisshortstory,theauthoruseshumorandironyofthecomedytechniquelossrevealstheabsurdityofhumansocietytothepeople’spowdergodofpainfromthetragictheme.TherehavebeenmanystudiesaboutTheCopandtheAnthems.TheresearchchoosesoneofO.Henry’snovelsTheCopandtheAnthemasanexample.Themajorfindingsareasfollows:Thestylisticscharacteristicsinselectednovelaremetaphorofverbs,tenseandaspect,andrhetoricdevices,whichmakeO.Henry’sexpressionsmorevividandbeeasiertounderstand.Fromtheaspectofinterpersonalfunction,therearetwopropertiesintheselectednovel,includingmoodandmodality,whichcanputanemphasisontheobjectivefactsSoapyhasexperienced.Furthermore,stylisticspropertiesinTheCopandtheAnthemarethematicstructureandrhetoricaldevicesascohesivemeans.Thedevicescannotrealizethecohesionofthewhole16 novelbutalsoimprovethemusicalrhythmoftheonlytext.摘要：欧·亨利，原名威廉·西德尼·波特(WilliamSydneyPorter,1862-1910)是美国著名的批判现实主义作家，与莫泊桑、契诃夫并称为世界三大短篇小说家，更被评论界誉为美国现代短篇小说之父。对于其作品幽默风趣的语言，出人意表的结局，透视人间百态的主题等，国内外的评论家及文学爱好者们从批判现实主义、结构主义等角度都做了比较全面的分析。欧。亨利的短篇小说多以生活在社会底层的小人物为主角，虽然故事迥异，但大都表现了人物的“人心向善”。细细推敲一下，我们不难发现这些人物背后都有其原型。《麦琪的礼物》中身负家庭重担的吉姆就是受难中的耶稣基督的化身;《索利托牧场的卫生学》中的雷德勒可称之为仁爱耶稣的代表;《最后的常青藤》中的老画家贝尔曼集中体现了耶稣的牺牲精神。而从《心与手》当中警官的言行，我们可以挖掘出替罪羊的原型;《命运之路》中三条不同的道路殊途同归，则向我们讲述了“死亡”和“失乐园”这两个永恒的圣经文学主题;《提线木偶》中既是医生又是小偷的詹姆斯，从堕落到悔悟到救赅，其故事叙述结构的原型恰是圣经的U型叙事结构。《警察与赞美诗》更是从题目本身就有圣经的痕迹。从小说的字里行间我们可以看出欧·亨利对于基督教的赞美和希望宗教拯救世人的美好愿望《警察与赞美诗》是美国二十世纪著名短篇小说家欧·享利的代表性作品，是其总体创作风格的重要体现。在这部短篇小说中，作者以其幽默、讽刺的喜剧性创作手法揭示出丧失人性的荒诞社会给人民带来的粉神痛苦这一悲剧性主题。历代学者对《警察与赞美诗》研究探讨举不胜举。本文选取了美国著名小说家欧·亨利的一部经典代表作《警察与赞美诗》作为材料进行研究。通过分析，本论文得出以下结论:文中所选小说《警察与赞美诗》的文体特征主要有动词隐喻，时态和修辞方面的特征，这些特征使该欧·亨利的语一言表达生动活泼，便于读者理解;而且，受语境中语旨的影响，文中所选小说突出的文体特征有语气和语态，用来强调客观事实;在《警察与赞美诗》中主要文体特征有标志性主位和修辞手段的衔接方式，如排比，词语重复，层进，对比。这些手段不仅有衔接文中所选小说内容连贯的功能而且能增加该小说音律美。16 Keywords:O.Henry;TheCopandtheAnthems;Artcharacteristics;Humor.关键词:欧·亨利;警察与赞美诗;艺术特点;幽默。ContentsTheartcharacteristicsofTheCopAndAnthem1Abstract1摘要2Contents3Chapter1:Introduction41.1O.Henry’slifeandwork416 1.2literaturereview51.3thereasonwhyichosethisnovel6Chapter2:TheartcharacteristicsofTheCopAndAnthem62.1thestoryofTheCopandtheAnthems62.2Humorfiguresofspeech72.3Metaphorfiguresofspeech82.4ironyfiguresofspeech92.5FunctionalStylisticsAnalysis10Chapter3:Conclusion113.1Thesignificanceofthiswork113.2ViewsonTheCopandtheAnthem113.2.1Functionalstylistics113.2.2Archetypecriticism123.3summary12Bibliography1216 Chapter1:Introduction1.1O.Henry’slifeandworkAmericanwriterinthehistoryofAmericanliteratureattheturnofthe19thcenturyand20thcentury.Heshowsgreatsympathytopeopleatthebottomofsociety,whichistightlyrelatedtotheauthor’sownlifeexperiences.BorninSeptember,1862,hewasbroughtupbyhisauntinAmerica.Hisauntranasmallprivateschoolandsupervisedhiseducation,whichgavehimawiderangeofreadingonclassicalliteratureandhadgreatinfluenceonhisinterestintheEnglishlanguageallhislife.FortunatelyhehadthechancetoreadlotsofancientGreek,RomanandBritishliteratureworksunderhisaunt’sinfluence.Since1884,hebegantoworkasbookkeeper,pharmacists,scribe,andbank-tellerandsoon.Theselifeexperiencesfromsocietyproviderichmaterialsforhislatercreationinwriting.In1896,thebankheworkedencounteredacashshortage,thenthepoorO.Henrywasarrestedandjailedin1898.Hewaschargedunfairlywithembezzlement.Thoughinprison,hebegantowriteandpublishedshortstoriesinordertosupporthisdaughter.Onhisreleasefromprison,helandedinNewYork,wherehewrotedistinctiveshortfictionswhichhavemadehisnamesynonymouswiththesunrise-endingstory.Duringelevenyearsbeforehedied,hepublishedalmostoverthreehundredarticles.O.HenrymovedtoNewYorkCityin1902.AndfromDecember1903toJanuary1906,hewroteastoryaweekforfirsttheNewYorkWorldandandwasalsopublishedinothermagazines.Henry’sfirstcollection,“CabbagesKings”appearedin1904.Then“TheFourMillion”waspublishedtwoyearslater,whichincludedhiswell-knownstoriesTheGiftoftheMagiandTheFurnishedRoom.In1907hecreatedTheTrimmedLamp,whichexploredthelivesofNewYork’sand‘TheLastLeaf’.[1]O.Henry’sliteratureachievementsaremainlyresultedfromhisshortstories.Accordingtothethemesofshortnovels,theycanbedividedintothreecategories:thefirstkindisaboutcommonpeoplelivinginbigcities.Thesepeopleareusuallyordinarypoorpeoplewhofightwithhardshipsanddeathbutarereallykind-heartedandhadthegenuineloveandfriendship.Forexample,‘AServiceofLove’,‘TheCopandtheAnthem’,and‘TheGiftofMaggie’andsoon.Thesecondcategoryisaboutpeopleonthebroadwest.Duringtheseveralyearsinthewest,Hehadshowedapreferencetothewest.Hebelievesthatitismoresuitableandmuchhappierforpeopletoliveinthewestduetoitsfreshairandharmonioushumanrelations.Thelastoneisaboutrobbersandcheats.MostrobbersinO.Henry’sshortstoriesarekindandfriendlybeyondourexpectations.WecanfindthiskindofstoriesincollectionofGreatCrafterandRoadsofDestiny.O.Henrybecamealcoholicinhisoldyears,whichmadehishealthdeterioratedgradually.In16 1907hegotmarriedagain,butwasdivorcedbecauseofdisharmony.He’snotinagoodeconomicsituation,sohehadtowritenovelsinexchangeformoneyinordertoeasethepressure.Thisalsoledtohisworksofunevenquality.1910O.HenrydiedandthentheO.HenryAwardwassetupforpraisingsomeonewhocreatedoutstandingshortstoriesonceayearsince1919.1.2literaturereviewo.Henry’sliteratureachievementsarousecriticsinterestsathomeandabroad．Thisshortstorywaspublishedin“FourHundredMillion”in1906.ThenoveldescribesatrampSoapy,whohasahomelesslifeinNewYork.Itreflectssomeaspectsofsociallifeatthattime,andcriticizesthesocietyinthedark.Inordertoescapefromthecoldwinter,hedecidedtomakeeveryefforttobeputinprison.TheCopandtheAnthemisoneoftherepresentativeworkswrittenbyO.Henry.TherearealargenumberofpapersanalyzingthestoryinChina.InCNKImanypapersnamedwithTheCopandtheAnthem,andmorepaperscomprehensivestudyontheanalysisofthestory.Forinstance,ChiXiuxiang(2011:23-24)analyzestheblackhumorin“TheCopandtheAnthem”and“thegiftsofMagy”;TanXianghua(2008:95-96)exploresthephilosophyfromTheCopandtheAnthem;GuXianfengstudiestheartofhumorinTheCopandtheAnthem(2009:126);WangWenyuanuseslotsofhumorouslanguages,unexpectedplotsandironiestodepictthehomelessSoapy,whichillustratesthetragedyfateinthatsocietyinhisarticleThemesandtheArtsTheCopandtheAnthem(2009:233-234).YangJianzheng(2002:56-59)hasanalyzedfromthepointofCorpusLinguistics;XuLijuan(2001:61-62)analyzesitfromtheperspectiveofSemanticLinguistics.WangXiagivesatentativeapproachtounderstandingTheCopandtheAnthemfromlinguisticperspective,andpresentsananalysisfromthreeaspectsincludingcontext,experientialmeaningandinterpersonalmeaning,patterninganddeviationtoapproachthethemeofTheCopandtheAntheminhisarticle“FunctionalLinguisticAnalysisofTheCopandtheAnthem”(2005:109-112).WangQiaoshanandWangFengmakeapreliminarystudyofthepatternsofthelexisinTheCopandtheAnthemaccordingtoHalliday’stheoryoflexicalpatterns,andanalyzesthesignificanceofthelexicalpatternsinrevealingthethemeofthediscourseandthepersonalitiesofthecharactersofitintheirarticle“PatternofLexisinTheCopandtheAnthem”(2006:192-196).Aswecanseefromtheabove,therearemanypapersfocusingonthenovel,butfewarefromtheperspectiveoffunctionalstylistics.Thethesistriestodoafurtherdiscussiononfunctionalstylistics.Soitisworthwhiletoprobeintonovelfromtheperspectiveoffunctionalstylistics.AmericanwriterandliteratureHenryJamesFormanthinksO．HenryhasthewritingskilllikeMaupassantmeanwhilewithahumorMaupassanthasneverexceeded．InForman’s16 eyes，0．HenryisGiftedasheiswithaflashingwit,abundanthumor,andquickobservation，nosubjecthasterrorsforhim．Ifitbetoomuchtosay,intheoldphrase，thatnothinghumanisalientohim,atleastthelargerpartofhumanityishisdomain．TherearemanyChinesescholarswhohavetranslatedhisworks.However,thescholarswhohavestudiedthetranslationsamongdifferentversionsarefartooenough.InCNKIthereareonlyseveralpapersnamedwith“translationsofO.Henry’sworks”.Forinstance,LiangQithinksthatthehighlightsandessenceofliteraryworksliesinexoticlanguage,whichisbestillustratedinO.Henry’sworksnotedforitsuniquestyleofhumorandanendtypifiedinEuropeanliterature,andheendeavorstodiscussthedefamiliarizationstrategyemployedintheshortstorytranslationwithaviewtorepresentingthedefamiliarizationtechniquesinliterarytranslationpracticeinhisarticleOnDefamiliarizationTechniqueAdoptedinSomeTranslationVersionsofTheCopandtheAnthem(2011:202-203).FenYanhasanalyzedZhangJinhao’stranslationstrategiesofO.HenrysshortnovelsfromtheperspectiveofSkoposTheory.LiuHuiandLiYuying(2011:130-131)thinksthatthetranslationstudyhasstartedtoshiftfromtraditionalauthor-orientedviewtotranslator’ssubjectivity,andanalyzestheselectivetranslationofO.Henry’sstoriesfromtheperspectiveoftranslator’ssubjectivity,whichprovesthesignificantimportanceofgivingafullplaytotranslator’ssubjectivity.LiJinyuan(2013:17-18)hasstudiedanddiscussedthetranslationskilltoO.Henry’sworks,andcomparedthetranslationbetweentranslatorLiWenjunandanEnglishlearnerinherarticle.ChangXiali(2010:171一172)hasstudiedthetranslationsofzeugmaandsyllepsisonO.Henry’sworksthroughcomparingWangYongnian’sandLiWenjun’stranslationsofTheCopandtheAnthem.ItisobviousthatpapersdealingwithtranslationsofO.Henry’snovelsarenotenoughfromtheperspectiveoffunctionalstylistics.Anditisstillaweakpointintermsofthetranslationanalysisfromtheperspectiveoffunctionalstylistics.Thus,itisnecessarythatthepaperwillbeanalyzedmainlyaccordingtoHalliday’sthreemetafunctions.1.3thereasonwhyichosethisnovelTheshortnovelTheCopandtheAnthemisoneofthemasterpiecesofAmericancriticalrealistwriterO.Henry,oneofthethreemostcelebratedshortstorywriters.HeexcelsindescribingAmericansociety,especiallythelifeofNewYorkerswithhumorouslanguage,whichmadehisworkseminentasthehumorousencyclopediaofAmericanlife.Also,hisworkersarewell-knownfornovelconceptionsandtwistendingwhichmakesreadersfeeloutofexpectationbutwithinunderstanding.Accordingly,peoplecredithimas“thefatherofAmericanshortstories”.Theapplicationofpresuppositiontheoryinliterature一O.Henry’sfamousshortstoryTheCopandtheAnthem.ThecombinationofpresuppositionandtheshortstoryTheCopandtheAnthemgivesreadersabetterunderstandingofforeignliterature.O.Henry’slanguageisartistic.16 ThegenerationofO.Henry’slanguagehumorisrelatedtopresuppositiontheoryfromtheperspectiveofpragmatics.Withpresuppositiontheory,readersknowhowthehumoremergesthroughlanguage.Thisisalsobeneficialtotheirownwritingskill.o.herny’sworksalwaysgiveusthefeelingthatjoytemperedwithsorrow.Itmakesusfellingsadwhenwearesmiling.Thereisanothermoreprominentfeature,istheending.TheCopandtheAnthemhasthetworepresentativecharacteristics.Chapter2:TheartcharacteristicsofTheCopAndAnthem2.1thestoryofTheCopandtheAnthemsHefirstcametoamagnificentrestaurantinBroadway,whereheattemptedtohaveamealforfreesothathecanbearrestedbythepolice.Buthefailed.ThenSoapycametotheSixthAvenuearoundthecorner,andpickedupacobblestonetodashitthroughtheglass.Hestoodstill,waitingforthepolicemantoarresthimself.However,thepolicerefusedtoacceptthatSoapywastheprisoner.Andthenhewentintoarestaurant.However,thewaiterofthishotelputSoapyoutofthehotel,andthrewSoapytotheFifthStreet.Andthenbeforethewindowofastore,hesawagraceful,pleasantyoungwoman,Soapydecidedtotakelibertieswiththewoman.Tohissurprise,thepolicemanturnedablindeyetothisscene.ThenSoapybegantoyelldrunkenjibbedatthetopofhisharshvoiceonthesidewalk.ButthepolicemantooknonoticeofSoapy.AndthenSoapycametoacigarstoreandstoleasilkumbrella.Buttheumbrellaownerhadtoadmitthathepickedupitthismorninginarestaurant.AtlastSoapywenttoanoldchurch.Familiarsongsbroughtbackhismemoriesofthepast.Hewasfilledwithemotion,anddeterminedtoturnoveranewleaf.However,hewasunprovokedarrestedbypoliceman,andwassentencedtoimprisonmentforthreemonths.ThisstorymockstheAmericansocietyandAmericanpolice.Inthatstage,thepolicecannotdistinguishrightfromwrong.Theytookthepeoplewhoareinnocentandletthetruecriminalgo.2.2HumorfiguresofspeechHumorisanormallanguagephenomenon.Therearevariouswaystoexpresshumor.Theconversationalhumorcanbeusedtosolvecontradiction,persuadeanddealwithawkwardoccasions.Themainexpressivewayofconversationalhumorisspeechact.Verbalhumoris16 essenceoflanguageandreflectionofhumanintelligence.Withthedevelopmentofpragmatics,moreandmoreresearchersstudyhumorfromperspectiveofpragmatics.Theybelievethatthelanguagestudyofhumorisinfacttheproblemofpragmatics.Thecombinationofpragmaticpresuppositionandhumorstudywouldbringanewperspectiveforhumorlanguagestudy.Presuppositionisrelativetothecontextandspeaker.Pragmaticpresuppositionisinfactthepropositionattitudeofspeaker.Thepropositionissupposedorregardedasrealbyspeakerandwouldalsobesupposedbyhearer.Presuppositioncanbeseenastheknowninformationofbothsides.Inpracticalverbalconversation,toachievesomespecificgoalandproducehumorouseffect,conversationalparticipantsmaynotobservepresuppositionandviolatepresuppositionconsciouslyorunconsciously.Commongroundappropriatenessandrevocabilityarethreecharacteristicsofpragmaticpresupposition.Therevocabilityandtheviolationofcommongroundandappropriatenesswouldbringthedisharmonyphenomenon.Thesearealsothewaysthroughthatthehumorcomesout.Butthisdisharmonyisjustsuperficial.Undertheface,therestillexistssomeconnection.Thedisharmonycanstillbeunderstoodbyheareroraddressee.Thisistherealwaythehumorcomesfrom.1.“..…UpBroadwayheturned,andhaltedataglitteringcafe,wherearegatheredtogethernightlythechoicestproductsofthegrape,thesilkwormandtheprotoplasm.”“......Aroastedmallardduck,thoughtSoapy,wouldbeaboutthething-withabottleofChablis,andthenCamembert,ademi-tasseandacigar......Thetotalwouldnotbesohighastocallforthanysuprememanifestationofrevengefromthecafemanagement.....”“ButasSoapysetfootinsidetherestaurantdoor……”Inthefirstparagraph,Soapywalkedtoaglitteringcafe.The“glitteringcafe”presupposedtheChablis,theCamembert,demi-tasse,cigarandrestaurantdoorofnextfollowing.ReadersknowSoapywantedtoenjoytheChablis,theCamembert,demi-tasseandcigarintheglitteringcafe.Therestaurantdoorisalsothedoorofthatglitteringcafe.Thesebecomereaders’presuppositionofthecontext.Theassertinginformation“Soapywantedtogetintotheglitteringcafe”.“istriggered”.“aglitteringcafe”isacohesivetiethatmakestherelationshipofcontextmorecompact.Thedevelopmentofplotinshortstorybecomesreasonable[2].Soapymadeasufficientplan.Hewasconfidentinhisappearanceofupperportion.Heplannedtohavearoastedmallardduck,abottleofChablis,Camembert,ademi-tasseandacigar.Heeventhoughtthatonedollarforthecigarisenough.Thewholeshouldnotbetooexpensiveincaseoftherevengefromthecafemanagement.Soapywassothoughtfulandtheplanwassoperfectthathebelievedhewouldsuccessdefinitely.TheauthorgivesmuchdetailaboutSoapy’sthoughtandplan.Fromthedescription,wecangetpresuppositionthattheSoapycansuccessandbearrestedfinallyButwhenSoapysteppedintothedoorofrestaurant,hewasfoundandthrownout.Thisissounexpected.Soapy’sthoughtfulplanhasnotbegun.Reader’sexpectationisbrokenandfeelshumoroustoSoapy’sexperience.Authorwritessodetailedthatleadustoa16 presuppositionthatSoapy`splanisperfectandhecansuccess.Butaccordingtotheresult,thepresuppositionisrevoked.Therevocabilityofpresuppositionbringsthehumor.Inthethirdcaseofthisshortstory,Soapysteppedintoarestaurantofnogreatpretensions.Hesuccessfullyhadadinneranddidnotpayforthedinner.Soapytoldthewaitertocallacop.Butthewaiterrespondedwith“Nocopforyouse”.Soapyfailedagain.Readersarealsounexpectedandfeelhumorous.Beingarrestedissuchaneasything.ButforSoapy,itseemstobeaveryhardthing.Thelifeplayedabigjokeonhim.TheinstancesaremainlycomingfromO.Henry’sshortstoryTheCopandtheAnthem.Therearemanytypesofhumor.“Blackhumor”isaaestheticformwhichbelongstocomedycategory.Theproductionof“Blackhumor”isrelatedwiththeturbulentsocietyofAmerica.Authorattackstheauthoritybutalsostressesthatthesocialenvironmentishardtochange.Sothereisalwaystragicmoodintheseliteraryworks.O.Henry’swritingstyleissimilartoMark.Twain’s.O.HenryisgoodatdescribingthelifeofAmericansocietyespeciallytheNewYorks’life.Hecombinedironywithhumortomaketheplotinteresting.ThroughtheanalysisofinstancesfromTheCopandtheAnthem,theknowingofpragmaticpresuppositionwouldbecomeclearandeasy.2.3MetaphorfiguresofspeechIn0’Henry’swritings,metaphorisanfeaturewhichisworthmention.Asymboldiffersfromametaphorinthatitsapplicationisleftopenasanunstatedsuggestion,whereasthemetaphortiesaconcreteimagetoanidentifiableabstractquality.Theimageinmetaphorrepresentsspecificmeaning.Butthesymbolicimageremainsindeterminateinitspossiblemeanings，itisusuallyasubstantialimageinitsownright,aroundwhichfurthersignificancesmapgatheraccordingtodifferinginterpretations.Themetaphorunderdiscussionheredoesnotmeanthatasarhetoricaldeviceorfigureofspeech,thoughthemetaphoricalsentencesaswonderfulastheone“Manhattan,thenight-bloomingcereus,wasbeginningtounfolditsdead-white,heavy-odoredpetals”teemin0’Henry’sshortstories.Whatistobeprobedisthemetaphorexploitedasaskillinstory-writing.InthethirdbranchofRoadsofDestiny,theheroDavidMignotisashepherd,butheistooindulgedinwritingpoemstotakeenoughcareofhissheep.Theflocksteadilygrowssmallerandhiswifekeepsoncomplaining.ThenoneofhisfriendsintroduceshimtoalearnedmancalledGeorgesBril,DavidasksMonsieurBriltoreadhispoems,becausehewantstoknowifheshallwritemoreorgivehisattentiontohissheep.WhenMonsieurBrilhasreadalltheverses,heconcludesthatDavidhasnotalentforpoem-writing[3].Inordertotelltheharshtruthin16 amildway,heasksDavidtolookatthecrowinthetree.Insteadofcommentingonthepoemsdirectly,MonsleurBrilpraisesthecrowthatiscontentwithhislot.InthismetaphoricalwayheadvisesDavidtactfullynottotrytowritepoemsanymore.Davidseesthepointandfeelsdiscouraged.Hegoesbackhomeandthrustshispoemsintothestove.Hearingtherustleoftheburningpaper,Davidmoansthatitis“thesongofthecrow”,andhecommitssuicideinfrustration.2.Hescornedtheprovisionsmadeinthenameofcharityforthecity’sdependents.InSoapy’sopiniontheLawwasmorebenignthanPhilanthropy.Therewasanendlessroundofinstitutions,municipalandeleemosynary,onwhichhemightsetoutandreceivelodgingandfoodaccordantwiththesimplelife.ButtooneofSoapy’sproudspiritthegiftsofcharityareencumbered.Thisparagraphtellsusthatwhencitizendistrustthegovernmentandpublicsector,theyprefertasktheirmindtofindsomewaystosolveproblemthanbelievecharityorganization.Therearemanypoorpeopleliveinthebottomofsociety,maybetheydonotneedliveassoapy,butasthearticlesaysthatLawwasmorebenignthanPhilanthropy.Philanthropymaylaughatyou,butlawwillnot.Inouropinion,wedon’tfearwinteratall,insoapy’sstage,heshouldfindsomewaytolive.Seefromtheoutside,thisparagraphjustdescribethatsoapybecastout,butinthefundamental,thewriterismetaphorforthesocialstatus.3.Hescornedtheprovisionsmadeinthenameofcharityforthecity’sdependents.InSoapy’sopiniontheLawwasmorebenignthanPhilanthropy.Therewasanendlessroundofinstitutions,municipalandeleemosynary,onwhichhemightsetoutandreceivelodgingandfoodaccordantwiththesimplelife.ButtooneofSoapy’sproudspiritthegiftsofcharityareencumbered.Thisparagraphtellusthatwhencitizendistrustthegovernmentandpublicsector,theyprefertasktheirmindtofindsomewaystosolveproblemthanbelievecharityorganization.Therearemanypoorpeopleliveinthebottomofsociety,maybetheydonotneedliveassoapy,butasthearticlesaysthatLawwasmorebenignthanPhilanthropy.Philanthropymaylaughatyou,butlawwillnot.Inouropinion,wedon’tfearwinteratall,insoapy’sstage,heshouldfindsomewaytolive.2.4ironyfiguresofspeech0’HenryusesSoapyasthetypicalfigureinthenovelTheCopandtheAnthemandtakesAmericanNewYorkasanexamplereflectstrulythepoorpeople’shardlifeatthattimeandusesironicmannertocriticizetheunfairofsocietyandshowsthestrongcontrastbetweenmaterialcivilizationandspiritualcivilizationandpoliticalcivilization[4].“Soapyhadconfidenceinhimselffromthelowestbuttonofhisvestupward.”Thissentence16 seemsanobversedescription,butasamatteroffact,itisacontrastforSoapy.Becauseamanwholivesahappyandcomfortablelife,heisunabletodresslikethat.“HesethisfacedowntowardMadisoSquare,forthehousinginstinctsurvivesevenwhenthehomeisaparkbench.“Homeshouldbeaplacewhereisacomfortableplaceandashelter.”ButSoapy’shomeisabenchinaparkinstead.Ifwesupposeitishishome,thentheironyisthispartisveryvividlyandvisually.4.AsCaesarhadhisBrutus,everybedofcharitymusthaveitstollofabath,everyloafofbreaditscompensationofaprivateandpersonalinquisition.Whereforeitisbettertobeaguestofthelaw,whichthoughconductedbyrules,doesnotmeddleundulywithagentleman’sprivateaffairs.Inthosedays,inthatsociety,poorpeoplecannotkeeptheirdignity,theycannotliveastheotherswhohavemoney.InthemtherewerenoconsiderationsofMediterraneancruises,ofsoporificSouthernskiesdriftingintheVesuvianBay.ThreemonthsontheIslandwaswhathissoulcraved.Threemonthsofassuredboardandbedandcongenialcompany,safefromBoreasandbluecoats,seemedtoSoapytheessenceofthingsdesirable.5.AsSoapyenteredtherestaurantdoor,theheadwaiter’seyefelluponhisshabbytrousersandoldshoes.Stronghandsturnedhimaboutandpushedhiminsilenceandhasteoutintothestreet.Thisparagraphdescribethewaiter’sreactionwhensoapyentertherestaurant.Inthewriter’smind,soapyhasnomoney,sohacannotenterintotherestaurant.Hemaybefearssoapywoulddisturbothercustomersormakessometroubles.accordingtothewaysoapy’slook,writerknowssocpyhasnomoney.2.5FunctionalStylisticsAnalysisTheeconomicfunctionofpragmaticpresuppositioncanalsobeseenasLanguage’seconomicprinciple．Language’seconomicprincipleexistsineverygradeoflanguagedevelopmentandeveryleveloflanguage．Duringthelanguageusing，people1ikeeconomicandlaborsavingprinciple．Peop1edon’t1ike1engthhy1anguagewhichiscomplexandhardtounderstand．Therefore，authorusuallyusestheminimallinguisticunitetoexpressthemaximalinformation．Theprincipleofeconomycanalsobecalledtheprincipleofleasteffort．Thatistosay，theleastinvestment，themosteffective.intheconstructionofliterarycontext，writersalwaysarrangeinformationfromperspective[5]．Nomatterfromwhichperspective，thearrangementshouldreflectthenarratingperspectiveandoutstandthemaininformationinthedevelopmentofstoryplot．Tooutstandthemaininformation，thesubordinateinformationwouldbe1nset1nthecontext．Theprincipleofeconomyisanimportantprincipleinthecontextorganization．In16 literatureworks，muchinformationcouldbeexpressedthroughpresupposition，especiallygeneralknowledge．Evensomeinformationisnotknownbyreaders，itcanstillbeinsetinthecontextthroughpresuppositionasifreadershaveknowntheinformation．Forexample，thefirstsentenceofthefirstparagraphinTheCopandtheAnthem，6.“OnhisbenchinMadisonSquareSoapymoveduneasily”．“0nhisbenchinMadisonSquare”，and“moveduneasily’’presupposeseveralpossiblescenes：first，Soapyhavenohome；second，Soapyquarreledwithhisrelativesandrunawayfromhome；third，becausetheweatheriscoldorthewindisstrongandotherweatherreasonssoon，SoapyfeltuneasilywhenheisonthebenchofMadisonSquare；forth，Soapyhassomethingonhischest……readerscouldproducemanypresuppositions.Next,authorwritesabout“wildgeesehonkhighofnights’’and“womenwithoutsealskincoatsgrowkindtotheirhusbands’’totellreadersthewinteriscomingandthereasonSoapymoveduneasilyisthecoldweather．WriterdosenotdescribetoomuchabouthowcoldtheweatherisanditmakesSoapyuneasily．Thecontextbecomessimple，artfulandnot1engthy．Chapter3:Conclusion3.1Thesignificanceofthiswork0.Henryisanoutstanding,prolificAmericanshortstorywriterwhogainstremendousreputationfromhisworks.Hewascalled“thethreeshortfictionmasters”withMaupassantinFranceandChekhovinRussia.Hishumorouswords,delicateconception,surpriseendinghavebeenstudiedbymanycriticsandliteratureenthusiasts.Thestylisticscharacteristicsinselectednovelaremetaphorofverbs,tenseandaspect,andrhetoricdevices,whichmakeO.Henry’sexpressionsmorevividandbeeasiertounderstand.Fromtheaspectofinterpersonalfunction,therearetwopropertiesintheselectednovel,includingmoodandmodality,whichcanputanemphasisontheobjectivefactsSoapyhasexperienced.Furthermore,stylisticspropertiesinTheCopandtheAnthemarethematicstructureandrhetoricaldevicesascohesivemeans.Thedevicescannotrealizethecohesionofthewholenovelbutalsoimprovethemusicalrhythmoftheonlytext.16 3.2ViewsonTheCopandtheAnthem3.2.1FunctionalstylisticsFunctionalstylistics,asacontemporarylinguistictheory,providesanewandfreshapproachtostylisticanalysis.Manyscholarshavemadeconspicuousstudiesontheliterarylanguagesbymeansofthefunctionalstylistics,andhaveachievedagreatsuccess.Itisalsovalidandmeaningfulforustoapplythetheorytothetranslationsofnovels.FunctionalstylisticsanalyzeslanguageintermsofHalliday'sthreemeta-functions:ideationalfunction,interpersonalfunctionandtextualfunction.Byadoptingthesystemicfunctionallinguisticstheanalysisinthethesiscouldachievetwopurposes:oneistobetterunderstandandevaluatethetext,whichcanhelptopicktheconnotationofanovel;theotheristorevealwhetherthetranslationcanconveyitsoriginalmeaningbycomparingofthesourcetextanditstranslation.[6]Functionalstylisticsprovidesanewandfreshtheoryforus.ThroughtheanalysisoftheshortstoryTheCopandtheAnthem,theresearchfurtherproofsthattheanalysiscangiveinsightintothefeaturesoflanguageandrevealthethemeofthetext,becausefunctionalstylisticscanprovideobjectivemeasurementsandofferreaderssubjectivecomprehensiontowardsliteraryworksonlinguisticallyconcreteandobjectivebasis.3.2.2ArchetypecriticismArchetypecriticismisoneofimportantliteraturegenreswhichwaspopularin1950sand1960s.Its'~founderisCanadiancriticNorthropFrye(1912-1991).In1957,FryepublishedhismasterpieceAnatomyofCriticisminwhichheelaboratedmythos-archetypicalcriticismandlaidthefoundationofhisfameincritics.Hepointsoutthatallliterarygenresareinitiallyderivedfrommythsinwhichtherearevariousformsandthemesofoffspringliteraturedevelopment.Fryeregardsthewholewesternliteraturehistoryasagradualprocessofdisplacementsofarchetypes.AccordingtoFrye,archetypesareindependentstablestructureunitsinliterature,theyoccurrepeatedlyinliteratureworksintheformofimages,themes,characters,etc.[7]3.3summary0’Henry,asagreatmasteroftheartoffiction,hasbeenpopularmainlyforhisshortstories.TheyaretypicallyAmerican,portrayingvarioustypesofpeopleintheUnitedStates.Hisstoriesusuallydealwithsomeself-sacrificingmembersofafamilywhoisundergoinghardshiptohelpacloserelative.Althoughhisplotisfullofcoincidence,thesurpriseendingishisspecialtyandappealsverymuchtothereader.HisstoriesillustrateHenry’sstyleinvariousaspects:originalconceptionexaggeration,simileandmetaphor,humor,andsurpriseending.Hisstories16 characteristicallyexpressedtheeffectofcoincidenceoncharactersthroughhumor,grimorirony,andoftenhadsurpriseendings,adevicethatwouldbecomeidentifiedwithhisname.Wit,irony,cleverness,individualityandlocalcolorarealsotraditionalearmarksofthetypicalo'Henrystory.Inaddition,hiswarmthofhumanunderstandingandsympathywiththe"underdog”givemanyofhisstoriespoignancy.InmemoryofhisgreatcontributiontoAmericanliterature,AmericanliterarycirclessetupHenryAwardin1918.Bibliography[1]郭利莹.从《警察与赞美诗》中分析欧亨利的写作风格[J].青春岁月,2015,19:10-11.[2]张明洋,刘映雪.欧亨利短篇小说的主题思想和语言特点(英文)[J].大众文艺(理论),2009,01:58-59.[3]马军.论欧·亨利的创作风格——以《警察与赞美诗》为例[J].沈阳师范大学学报(社会科学版),2005,03:114-116.[4]孔韶辉.从《警察与赞美诗》看欧·亨利短篇小说的艺术特色[J].时代文学(双月上半月),2010,01:107-108.[5]李子春,杨剑.《警察与赞美诗》的功能文体分析[J].海外英语,2015,06:223-224.[6]冀平丽.对小说《警察与赞美诗》的系统功能文体分析[D].河北师范大学,2006[7]卢玫.原型批评视角下的欧·亨利短篇小说研究[D].安徽大学,2011.16 16