2017-03-04 10:30

简单地叙述,故事似乎可以提供必然性的空气几乎从一开始,在与达尔的措辞包封家对比利的悲剧的必然性,“强迫他,强迫他呆在原地别动,”和重复的“床上早餐[ 4 ]”一遍又一遍,他试图化妆的主意。事实上,他似乎已略有洗脑,他立即下意识的老房东为主,他立即似乎很奇怪,在她快开门,她开口谩骂的熟悉是的我知道…这一切都为你准备好,我亲爱的[ 5 ]。当然,对这个故事的美在于达尔从未显示谋杀即将发生的任何物理证据,比其他的气味也许毛绒动物巧妙地说明在他的饮料和最终的毒药(暗示)标本的命运。这的确是缺乏实际的暴力本身,尽管这个故事真的建立正是造成痛苦的张力事实担心固有的在这个故事中,我承认了鸡皮疙瘩出现在我的怀抱时我读片的结论,特别是最后一行,粉碎任何暗示,这是真的一个宾馆,引起读者的怀疑都可以证实。“亲爱的,只有你。”


Simply and subtly narrated, the story seems to be structured to offer an air of inevitability almost from the start, of the certainty of Billy’s tragic downfall within the house of entrapment with Dahl’s turn of phrase, ‘compelling him, forcing him to stay where he was,’ and the repetition of the words ‘Bed and Breakfast[4]’ over and over again as he tries to makeup his mind. Indeed, he almost seems to have been slightly brainwashed and as he is immediately subconsciously dominated by the old landlady, who immediately seems odd, in her swiftness in answering the door and familiarity of her opening diatribe ‘Yes I know… it’s all ready for you, my dear[5].’ Of course, part of the beauty of this story is that Dahl never actually displays any physical evidence of the murder that is about to take place, other than the smells and perhaps the stuffed animals that subtly illustrate the poison within his drink and eventual (implied) taxidermy fate. It is indeed this lack of actual violence itself, despite the fact that the story really builds up the tension that precisely causes the heart wrenching worry inherent in this story, and I admittedly had goose-pimples rising on my arms when I read the conclusion of the piece and especially the final line that really shatters any allusion that this was a guesthouse, causing the readers suspicions to be all but confirmed. ‘No dear, only you.’