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On Sister Carrie

Carrie was such an ordinary rural girl at the beginning of the story. Sitting on the seat of a bus, she couldn’t help feeling exciting at the sight of the metropolis’ spectacle. She was impressed deeply by large crowd on the avenue, the spacious square or tall buildings.

Far more different from other heroines, Carrie was not a plain pure angel like Snow-white, nor was she brave enough to be a heroine of revolutionist or even a reformer, nor was she so clever as to be a successful career woman who start from scratch.

What attracted her most, after her entering this huge metropolis was the incredible fineries, fashion shoes, smart handbags displaying in the shop windows, the jewellerys shining brightly behind the glass. She dreamed that one day, she could wear all of these, jogging gracefully into the most luxurious hotel with focused sights of admiration.

And this was not merely a dream. Because she had large eyes which can earn others’ sympathy, even love. She had wonderful figure which can win others’ hearts. However, anything she got, anywhere she reached, had not come from her ambition. Things happened, and then she accepted. That’s what she had just done ? just to accept willingly from the bottom of her heart. She was not at all an evil woman who would give anything for the fortune or fame. However, she would give uo something for a better life when her instinct defeated her intellect.

That was Carrie, a girl had her own desire, a human being just like many others in the realistic world.

There’s one sentence written in chapter VIII:” When this jangle of free-will instinct shall have been adjusted, when perfect understanding has given the former the power to replace the latter entirely, man will no longer vary.” However, how many people can go that further.

And I want to quote another sentence to wind up my essay:

“In Carrie ? as in how many of our wordings do they not? ? instinct and reason, desire and understanding, were at war for the mastery.”

《嘉莉妹妹》
（1900年）是西奥多德莱塞（美）的处女作，因德莱塞划时代地展现了现代美国城市男女的悲剧生活而成美为文学中颇具创造性的作品。唐纳德皮泽尔在本书导论中详细描述小说体现的作者个人生活背景、历史背景，以及获得的赞誉。四篇原创论文不仅反映了长期以来《嘉莉妹妹》的研究方法，也反映了近来学术和文学评论所关心的一些问题。托马斯里吉奥探讨了嘉莉的布鲁斯源自作者的家庭和经验，以展示德莱塞心理描述的深度。巴巴拉霍奇曼发现嘉莉的演员职业是理解她性格的关键，同时也是德莱塞塑造人物的关键。理查德莱恩讨论了德莱塞基本信仰与《嘉莉妹妹》的自然主义形成的关系，艾伦特拉钦伯格考察了德莱塞的叙述风格。
【图书目录】
Series Editor's Preface
Note on the Text
Introduction
DONALD PIZER
Carrie's Blues
THOMAS P.RIGGIO
A Portrait of the Artist as a Young Actress:The Rewards of Representation in Sister Carrie
BARBARA HOCHMAN
Sister Carrie: The City, the Sell and the Modes of Narrative Discourse
RICHARD LEHAN
Who Narrates? Dreiser's Presence in Sister Carrie
ALAN TRACHTENBERG
Notes on Contributors
Selected Bibliography

这文章 有翻译注解吗 没有的话 老兄 你英文可以啊 不过 你这可不是 多后感 你这是读后的 文章大意呀 而且 你还是翻译