ōu · hēng 
mùlù
ōu · hēng O. Henry (1862~1910) 

xiǎo shuō xuǎn novel anthologyōu · hēng xiǎo shuō xuǎn
duǎn piān xiǎo shuō novellamài de The Gift of the Magi》

欧·亨利
  ōu . hēng , O.Henry, 1862--1910, měi guó duǎn piān xiǎo shuō jiā
  
   ōu . hēng yuán míng wēi lián . . chū shēng měi guó nán běi luó lái zhōu xiāng zhèn shī jiā 3 suì sàng qīn yǎng tóng nián shí zhǐ rén xià dāng guò tóngxué hòu yòu zuò guò bàn shì yuánzhì yuánkuàijìchū děng zhǒng gōng zuòbǎo shòu shìbiàn cháng jiān xīn。 1898 nián bèi kòng nuó yòng yínhángpàn xíng 5 nián zài zhōng yīn biǎo xiàn liáng hǎodān rèn yào shīhòu lái qián 2 nián huò shì), yīn 'ér yòu huì tīng dào fàn rén jiǎng de zhǒng yàng guài de shìzhè fēng liǎo de chuàng zuò cái
  
   ōu . hēng shēng xiě liǎo 300 duō piān duǎn piān xiǎo shuō fēn fǎn yìng liǎo xià céng rén xīn suān 'ér yòu huá de shēng huózhè xiē zuò pǐn yōu de shēng huó qíng hán lèi wēi xiào de fēng bèi wéiměi guó shēng huó de yōu bǎi quán shū”。 de zuò pǐn wǎng wǎng yòu chū de shù diǎn chū rén liào de jié shì yòu nài rén xún wèiqíng jié dòng rén 'ér chù yán fēng yòu shí hán zhè xiē diǎn shǐ de duō zuò pǐnyóu xiàng zàn měi shī》、《 mài de 》、《 zuì hòu de piàn 》、《 méi yòu wán de shì》、《 huáng què zài hòuděng dài biǎo zuòliè liǎo shì jiè yōu xiù duǎn piān xiǎo shuō zhī línjìn bǎi nián lái zhí yōng yòu guǎng de zhě běn rén wèicǐ chéng wéi xiǎng yòu shì jiè shēng de měi guó xiàn dài duǎn piān xiǎo shuō de chuàng shǐ rén
  
   měi guó 1918 nián kāi shǐ shè ōu . hēng niàn jiǎng”, zhuān mén jiǎng měi nián de zuì jiā duǎn piān xiǎo shuōbìng yǒng yuǎn niàn zhè wèi duì duǎn piān xiǎo shuō de chuàng zuò zuò chū chū gòng xiàn de wén xué jiàng


  O. Henry was the pseudonym of the American writer William Sydney Porter (September 11, 1862 – June 5, 1910). O. Henry's short stories are well known for their wit, wordplay, warm characterization and clever twist endings.
  
  Early life
  
  William Sidney Porter was born on September 11, 1862, in Greensboro, North Carolina. His middle name at birth was Sidney; he changed the spelling to Sydney in 1898. His parents were Dr. Algernon Sidney Porter (1825–1888), a physician, and Mary Jane Virginia Swaim Porter (1833–1865). They were married April 20, 1858. When William was three, his mother died from tuberculosis, and he and his father moved into the home of his paternal grandmother. As a child, Porter was always reading, everything from classics to dime novels; his favorite work was One Thousand and One Nights. [citation needed]
  
  Porter graduated from his aunt Evelina Maria Porter's elementary school in 1876. He then enrolled at the Lindsey Street High School. His aunt continued to tutor him until he was fifteen. In 1879, he started working in his uncle's drugstore and in 1881, at the age of nineteen, he was licensed as a pharmacist. At the drugstore, he also showed off his natural artistic talents by sketching the townsfolk.
  Move to Texas
  Porter in Austin as a young man
  
  Porter traveled with Dr. James K. Hall to Texas in March 1882, hoping that a change of air would help alleviate a persistent cough he had developed. He took up residence on the sheep ranch of Richard Hall, James' son, in La Salle County and helped out as a shepherd, ranch hand, cook and baby-sitter. While on the ranch, he learned bits of Spanish and German from the mix of immigrant ranch hands. He also spent time reading classic literature. Porter's health did improve and he traveled with Richard to Austin in 1884, where he decided to remain and was welcomed into the home of the Harrells, who were friends of Richard's. Porter took a number of different jobs over the next several years, first as pharmacist then as a draftsman, bank teller and journalist. He also began writing as a sideline.
  
  Porter led an active social life in Austin, including membership in singing and drama groups. Porter was a good singer and musician. He played both the guitar and mandolin. He became a member of the "Hill City Quartet," a group of young men who sang at gatherings and serenaded young women of the town. Porter met and began courting Athol Estes, then seventeen years old and from a wealthy family. Her mother objected to the match because Athol was ill, suffering from tuberculosis. On July 1, 1887, Porter eloped with Athol to the home of Reverend R. K. Smoot, where they were married.
  Porter family in early 1890s — Athol, daughter Margaret, William
  
  The couple continued to participate in musical and theater groups, and Athol encouraged her husband to pursue his writing. Athol gave birth to a son in 1888, who died hours after birth, and then a daughter, Margaret Worth Porter, in September 1889. Porter's friend Richard Hall became Texas Land Commissioner and offered Porter a job. Porter started as a draftsman at the Texas General Land Office (GLO) in 1887 at a salary of $100 a month, drawing maps from surveys and field notes. The salary was enough to support his family, but he continued his contributions to magazines and newspapers.
  Porter as a clerk at the First National Bank, Austin
  
  In the GLO building, he began developing characters and plots for such stories as "Georgia's Ruling" (1900), and "Buried Treasure" (1908). The castle-like building he worked in was even woven into some of his tales such as "Bexar Scrip No. 2692" (1894). His job at the GLO was a political appointment by Hall. Hall ran for governor in the election of 1890 but lost. Porter resigned in early 1891 when the new governor was sworn in. The same year, Porter began working at the First National Bank of Austin as a teller and bookkeeper at the same salary he had made at the GLO. The bank was operated informally and Porter had trouble keeping track of his books. In 1894, he was accused by the bank of embezzlement and lost his job but was not indicted. He now worked full time on his humorous weekly called The Rolling Stone, which he started while working at the bank. The Rolling Stone featured satire on life, people and politics and included Porter's short stories and sketches. Although eventually reaching a top circulation of 1500, The Rolling Stone failed in April 1895, perhaps because of Porter's poking fun at powerful people. Porter also may have ceased publication as the paper never provided the money he needed to support his family. By then, his writing and drawings caught the attention of the editor at the Houston Post.
  
  Porter and his family moved to Houston in 1895, where he started writing for the Post. His salary was only $25 a month, but it rose steadily as his popularity increased. Porter gathered ideas for his column by hanging out in hotel lobbies and observing and talking to people there. This was a technique he used throughout his writing career. While he was in Houston, the First National Bank of Austin was audited and the federal auditors found several discrepancies. They managed to get a federal indictment against Porter. Porter was subsequently arrested on charges of embezzlement, charges which he denied, in connection with his employment at the bank.
  Flight and return
  Porter in his 30s
  
  Porter's father-in-law posted bail to keep Porter out of jail, but the day before Porter was due to stand trial on July 7, 1896, he fled, first to New Orleans and later to Honduras. While holed up in a Tegucigalpa hotel for several months, he wrote Cabbages and Kings, in which he coined the term "banana republic" to describe the country, subsequently used to describe almost any small, unstable tropical nation in Latin America. Porter had sent Athol and Margaret back to Austin to live with Athol's parents. Unfortunately, Athol became too ill to meet Porter in Honduras as Porter planned. When he learned that his wife was dying, Porter returned to Austin in February 1897 and surrendered to the court, pending an appeal. Once again, Porter's father-in-law posted bail so Porter could stay with Athol and Margaret.
  
  Athol Estes Porter died on July 25, 1897 from tuberculosis (then known as consumption). Porter, having little to say in his own defense, was found guilty of embezzlement in February 1898, sentenced to five years jail, and imprisoned on March 25, 1898, as federal prisoner 30664 at the Ohio Penitentiary in Columbus, Ohio. While in prison, Porter, as a licensed pharmacist, worked in the prison hospital as the night druggist. Porter was given his own room in the hospital wing, and there is no record that he actually spent time in the cell block of the prison. He had fourteen stories published under various pseudonyms while he was in prison, but was becoming best known as "O. Henry", a pseudonym that first appeared over the story "Whistling Dick's Christmas Stocking" in the December 1899 issue of McClure's Magazine. A friend of his in New Orleans would forward his stories to publishers, so they had no idea the writer was imprisoned. Porter was released on July 24, 1901, for good behavior after serving three years. Porter reunited with his daughter Margaret, now age 11, in Pittsburgh, Pennsylvania, where Athol's parents had moved after Porter's conviction. Margaret was never told that her father had been in prison - just that he had been away on business.
  Later life
  
  Porter's most prolific writing period started in 1902, when he moved to New York City to be near his publishers. While there, he wrote 381 short stories. He wrote a story a week for over a year for the New York World Sunday Magazine. His wit, characterization and plot twists were adored by his readers, but often panned by critics. Porter married again in 1907, to childhood sweetheart Sarah (Sallie) Lindsey Coleman, whom he met again after revisiting his native state of North Carolina. However, despite the success of his short stories being published in magazines and collections (or perhaps because of the attendant pressure that success brought), Porter drank heavily.
  
  His health began to deteriorate in 1908, which affected his writing. Sarah left him in 1909, and Porter died on June 5, 1910, of cirrhosis of the liver, complications of diabetes and an enlarged heart. After funeral services in New York City, he was buried in the Riverside Cemetery in Asheville, North Carolina. His daughter, Margaret Worth Porter, died in 1927 and was buried with her father.
  Stories
  Portrait of Porter from frontispiece in his collection of short stories Waifs and Strays
  
  O. Henry's stories are famous for their surprise endings, to the point that such an ending is often referred to as an "O. Henry ending." He was called the American answer to Guy de Maupassant. Both authors wrote twist endings, but O. Henry stories were much more playful and optimistic. His stories are also well known for witty narration. Most of O. Henry's stories are set in his own time, the early years of the 20th century. Many take place in New York City, and deal for the most part with ordinary people: clerks, policemen, waitresses.
  
  Fundamentally a product of his time, O. Henry's work provides one of the best examples of catching the entire flavor of an age written in the English language. Whether roaming the cattle-lands of Texas, exploring the art of the "gentle grafter," or investigating the tensions of class and wealth in turn-of-the-century New York, O. Henry had an inimitable hand for isolating some element of society and describing it with an incredible economy and grace of language. Some of his best and least-known work resides in the collection Cabbages and Kings, a series of stories which each explore some individual aspect of life in a paralytically sleepy Central American town while each advancing some aspect of the larger plot and relating back one to another in a complex structure which slowly explicates its own background even as it painstakingly erects a town which is one of the most detailed literary creations of the period.
  
  The Four Million was his first collection of stories. It opens with a reference to Ward McAllister's "assertion that there were only 'Four Hundred' people in New York City who were really worth noticing. But a wiser man has arisen—the census taker—and his larger estimate of human interest has been preferred in marking out the field of these little stories of the 'Four Million.'" To O. Henry, everyone in New York counted. He had an obvious affection for the city, which he called "Bagdad-on-the-Subway," and many of his stories are set there—but others are set in small towns and in other cities.
  
  Among his most famous stories are:
  
   * "The Gift of the Magi" about a young couple who are short of money but desperately want to buy each other Christmas gifts. Unbeknownst to Jim, Della sells her most valuable possession, her beautiful hair, in order to buy a platinum fob chain for Jim's watch; while unbeknownst to Della, Jim sells his own most valuable possession, his watch, to buy jeweled combs for Della's hair. The essential premise of this story has been copied, re-worked, parodied, and otherwise re-told countless times in the century since it was written.
   * "The Ransom of Red Chief", in which two men kidnap a boy of ten. The boy turns out to be so bratty and obnoxious that the desperate men ultimately pay the boy's father $250 to take him back.
   * "The Cop and the Anthem" about a New York City hobo named Soapy, who sets out to get arrested so he can avoid sleeping in the cold winter as a guest of the city jail. Despite efforts at petty theft, vandalism, disorderly conduct, and "mashing" with a young prostitute, Soapy fails to draw the attention of the police. Disconsolate, he pauses in front of a church, where an organ anthem inspires him to clean up his life — and is ironically charged for loitering and sentenced to three months in prison.
   * "A Retrieved Reformation", which tells the tale of safecracker Jimmy Valentine, recently freed from prison. He goes to a town bank to case it before he robs it. As he walks to the door, he catches the eye of the banker's beautiful daughter. They immediately fall in love and Valentine decides to give up his criminal career. He moves into the town, taking up the identity of Ralph Spencer, a shoemaker. Just as he is about to leave to deliver his specialized tools to an old associate, a lawman who recognizes him arrives at the bank. Jimmy and his fiancée and her family are at the bank, inspecting a new safe, when a child accidentally gets locked inside the airtight vault. Knowing it will seal his fate, Valentine opens the safe to rescue the child. However, the lawman lets him go.
  
  Pen name
  
  Porter gave various explanations for the origin of his pen name. In 1909 he gave an interview to The New York Times, in which he gave an account of it:
  
   It was during these New Orleans days that I adopted my pen name of O. Henry. I said to a friend: "I'm going to send out some stuff. I don't know if it amounts to much, so I want to get a literary alias. Help me pick out a good one." He suggested that we get a newspaper and pick a name from the first list of notables that we found in it. In the society columns we found the account of a fashionable ball. "Here we have our notables," said he. We looked down the list and my eye lighted on the name Henry, "That'll do for a last name," said I. "Now for a first name. I want something short. None of your three-syllable names for me." "Why don’t you use a plain initial letter, then?" asked my friend. "Good," said I, "O is about the easiest letter written, and O it is."
  
   A newspaper once wrote and asked me what the O stands for. I replied, "O stands for Olivier the French for Oliver." And several of my stories accordingly appeared in that paper under the name Olivier Henry.
  
  Writer and scholar Guy Davenport offers another explanation: "[T]he pseudonym that he began to write under in prison is constructed from the first two letters of Ohio and the second and last two of penitentiary." (bold added)
  Legacy
  
  The O. Henry Award is a prestigious annual prize given to outstanding short stories, and named after Porter. Several schools around the country bear Porter's pseudonym.
  
  In 1952, a film featuring five stories, called O. Henry's Full House, was made. The episode garnering the most critical acclaim [citation needed] was "The Cop and the Anthem", starring Charles Laughton and Marilyn Monroe. The other stories are "The Clarion Call", "The Last Leaf", "The Ransom of Red Chief" (starring Fred Allen and Oscar Levant), and "The Gift of the Magi".
  
  The O. Henry House and O. Henry Hall, both in Austin, Texas, are named for him. O. Henry Hall, now owned by the University of Texas, previously served as the federal courthouse in which O. Henry was convicted of embezzlement.
shēng píng :
  1862 nián 9 yuè 11 měi guó zuì zhù míng de duǎn piān xiǎo shuō jiā zhī ōu · hēng ( O.Henry) chū shēng měi guó běi luó lái zhōu yòu míng jiào lín luó de xiǎo zhèncéng bèi píng lùn jiè wéi màn dùn guì guān sǎnwén zuò jiā měi guó xiàn dài duǎn piān xiǎo shuō zhī 。 1862 nián chū shēn měi guó běi luó lái zhōu lín luó zhèn shī jiā tíng qīn shì shēng yuán míng wēi lián · · (WilliamSydneyPorter)。 suǒ shòu jiào duō, 15 suì biàn kāi shǐ zài yào fáng dāng xué , 20 suì shí yóu jiàn kāng yuán yīn zhōu de chǎng dāng liǎo liǎng nián niú rén lěi liǎo duì shēng huó de qīn shēn jīng yàn。 1884 nián hòu zuò guò kuàijì yuán bàn shì yuánxīn wén zhě hòu zài zuò guò tóng de gōng zuòbāo kuò zài 'ào tīng yínháng dāng chū yuán hái bàn guò fèn míng wéigǔn shíde yōu zhōu kānbìng zài xiū dūn jiā bào shàng biǎo yōu xiǎo shuō wén shì。 1887 niánhēng jié hūn bìng shēng liǎo 'érzhèng dāng de shēng huó wéi 'ān dìng zhī shíquè shēng liǎo jiàn gǎi biàn mìng yùn de shì qíng。 1896 niánào tīng yínháng zhǐ kòng zài rèn zhí jiān dào yòng jīn wèile duǒ shòu shěntáo wǎng hóng 。 1897 niánhòu yīn huí jiā tàn shì bìng wēi de bèi pàn chù 5 nián xíngzài zhōng céng dān rèn yào shī chuàng zuò zuò pǐn de yīn shì wèile gěi 'ér mǎi shèng dàn dàn fàn rén de shēn fèn gǎn shǐ yòng zhēn míngnǎi yòng guó yào diǎn de biān zhě de míng zuò wéi míngzàimài 'ěr zhì biǎo。 1901 niányīnxíng wéi liáng hǎo qián huò shìlái dào niǔ yuē zhuān shì xiě zuòzhèng dāng de chuàng zuò zuì wàng shèng de shí hòujiàn kāng zhuàng kuàng què kāi shǐ 'è huà 1910 nián bìng shì
   ōu · hēng zài gài shí nián de shí jiān nèi chuàng zuò liǎo duǎn piān xiǎo shuō gòng yòu 300 duō piānshōu bái cài guó wáng》 (1904)[ wéi cháng piānzuò zhě tōng guò tiáo bìng xíng de xiàn suǒshì miáo huì chū guǎng kuò de huà miànzài xiě shàng yòu de bié zhì zhī chù guò cóng lìng fāng miàn kànxiǎo shuō zhāng zhāng zhī jiān de nèi zài lián gòu jǐn yòu de nèi róng ]、《 bǎi wàn》 (1906)、《 zhī xīn》 (1907)、《 shì shēng》 (1908)、《 gǔn shí》 (1913) děng zhōng miáo xiě niǔ yuē màn dùn shì mín shēng huó de zuò pǐn wéi zuì zhù míng 'ér de jiē dàoxiǎo fàn guǎn jiù de gōng de fēn xuàn rǎn shí fēn zhēn yòumàn dùn de guì guān shī rénzhī chēng céng piàn de shēng huó wéi cáixiě liǎo shǎo duǎn piān xiǎo shuōzuò zhě biǎo míng dào mào 'àn rán de shàng liú shè huì yòu shǎo rén jiù shì gāo de piàn chéng gōng de piàn ōu · hēng duì shè huì rén shēng de guān chá fēn bìng shēn yòu xiē zuò pǐn jiào qiǎn dàn shēng kùn dùncháng shī luò de xiǎo rén tóng gān gòng yòu néng bié chū xīn cái de shù shǒu biǎo xiàn men de gǎn qíng de zuò pǐn gòu xīn yíng yán huī xiéjié cháng cháng chū rén wàiyòu yīn miáo xiě liǎo zhòng duō de rén shēng huó qíng bèi wéiměi guó shēng huó de yōu bǎi quán shū”。 yīn zuì chū de duǎn piān xiǎo shuō ài de shēng》 (AServiceofLove)、《 jǐng chá zàn měi shī》 (TheCopandtheAnthem)、《 dài jiā chū de fáng jiān》 (TheFurnishedRoom)、《 mài de 》 (TheGiftoftheMagi)、《 zuì hòu de cháng chūn téng 》( TheLastLeaf) děngdōu liè shì jiè yōu xiù duǎn piān xiǎo shuō zhī zhōng
   de wén shēng dòng huó shàn yòng shuāng guān é yīnxié yīn jiù diǎn xīn miào héng shēng , bèi wéi [ hán lèi de wēi xiào ]。 hái zhǔn què de jié miáo xiězhì zào zài xiàn fēn bié shì huì shēng huó de fēn
   ōu · hēng hái shàn cháng jié wěi wén míng xiá 'ěrměi guó wén xué jiè chēng zhī wéi ōu · hēng shì de jié wěi shàn xìng shè qíng jiémái xià zuò hǎo diàngòu máo dùnzuì hòu zài jié wěi chù rán ràng rén de xīn qíng jìng shēng chū rén liào de biàn huàhuò shǐ zhù rén gōng mìng yùn dǒu rán zhuǎnshǐ zhě gǎn dào huò rán kāi lǎngliǔ 'àn huā míng zài liào zhī wàiyòu zài qíng zhī zhōng jìn pāi 'àn chēng cóng 'ér zào chéng de shù mèi yòu zhǒng bèi chēng wéihán lèi de wēi xiàode shù fēng ōu · hēng xiǎo shuō de líng hún quándōu níng zài jié wěi fēnràng zhě zài qián de shì píng dàn de 'ér yòu shì huī xié fēng de wěi wěi dòng tīng de miáo shù zhōng zhī jué jìn zuò zhě jīng xīn shè zhì de gōngzhí dào zuì hòu diàn guāng shǎncái zhào liàng liǎo xiān qián yǐn cáng zhe de qiēfǎng zài zhě zhuō cánghuò zhě zài wán nòng zhàng yǎn gěi zhě zuì hòu jīng zài ōu · hēng zhī qián duǎn piān xiǎo shuō jiā jīng zhè yàng cháng shì guò zhè zhǒng chū liào de jié dàn shì ōu · hēng duì yùn yòng gèng wéi jīng chánggèng wéi rán gèng wéi chún shú lǎo dào
   miáo xiě xiǎo rén shì ōu · hēng de duǎn piān xiǎo shuō zuì yǐn rén zhǔ mùdì nèi róng zhōng bāo hán liǎo shēn hòu de rén dào zhù jīng shén ōu · hēng cháng shēng huó zài shè huì céngshēn 'ān xià céng rén mín de nán shēng huótóng shí qièshēn gǎn shòu guò tǒng zhì jiē céng zhì dìng de duì qióng rén shì qíngyīn xiàn de tóng qíng fàng zài qióng rén biānzài de xiàqióng rén yòu zhe chún jié měi hǎo de xīn língrén shàn liáng de pǐn zhēn zhì shēn chén de 'ài qíngdàn shì men què mìng yùn duō kǎnruò xiǎo lián yuánshí guǒ shēn suǒgǒu yán cán chuǎnwǎng wǎng bèi shè huì qíng tūn shìzhè zhǒng gōng píng de xiàn xiàng fán huá dǐng shèng de shè huì jǐng xiàng xiāng yìng zhàoxiǎn wài zhōng yǐn hán liǎo zuò zhě de fèn fèn píng
   ōu · hēng gěi měi guó de duǎn piān xiǎo shuō dài lái xīn de zuò pǐn yīn 'ér jiǔ xiǎng shèng míngbìng yòu shì jiè yǐng xiǎngměi guó 1918 nián ōu · hēng niàn jiǎng”, jiǎng měi nián de zuì jiā duǎn piān xiǎo shuōyóu jiàn shēng wàng zhī zhuó zhù
   zài niǔ yuēyóu liàng jiā zuò chū bǎn míng shuāng shōu jǐn huī huò ér qiě hǎo hǎo jiǔ tān bēixiě zuò de láolèi shēng huó de jié zhì shǐ de shēn shòu dào yán zhòng sǔn shāng。 1907 nián ōu · hēng zài hūn 'èr hūn yīn duì lái shuō bìng méi yòu shénme xìng yán。 1910 nián yuè bìng dǎo liǎoliǎng tiān hòuyuè shì cháng gān yìng huànián jǐn 48 suì
   cóng cái de xìng zhì lái kàn ōu · hēng de zuò pǐn zhì fēn wéi sān lèi lèi miáo xiě měi guó shēng huó wéi zhù lèi xiě de shì měi guó xiē chéng shì de shēng huó lèi dīng měi zhōu shēng huó wéi duì xiàngzhè xiē tóng de cáixiǎn rán zuò zhě shēng zhōng zhù yào shēng huó shí de tóng jīng yòu zhe mìqiè de guān ér sān lèi zuò pǐn dāng zhōng yòu miáo xiě chéng shì shēng huó de zuò pǐn shù liàng zuì duō zuì
   ōu · hēng xiǎng de máo dùn zuò pǐn de ruò diǎn de chuàng zuò huán jìng yòu guān shǐ zài jīng chéng míngshòu dào zhě guǎng fàn huān yíng de shí hòu de shēng huó rán jīng cháng chǔyú jié zhuàng tài céng jīng zhí yán huì shuō shì wéi miàn bāo 'ér xiě zuò de”。
zuò pǐn míng ( fēn ):
  "Girl" “ niàn
  “ Next To Reading Matter”“ zuì wēng zhī
  "What You Want" “ jūn qiú
  AnAdjustmentofNature rán zhī xiū zhèng
  AfterTwentyYears 'èr shí nián hòu
  AnAfternoonMiracle hòu de
  TheAtavismOfJohnTomLittleBear xiǎo xióng yuē hàn · tānɡ de fǎn xiàn xiàng
  BabesInTheJungle cóng lín zhōng de hái
  Best-Seller chàng xiāo pǐn
  BetweenRounds nào
  ABirdOfBagdad de niǎo
  ABlackjackBargainer shǎn xīn kuàng de jiǎng jià zhě
  BlindMan'sHoliday máng rén de jié
  TheBriefDebutofTildy 'ěr de dēng chǎng
  BuriedTreasure mái cáng de zhēn bǎo
  ByCourier yóuchāi
  TheCaballero'sWay shēn shì zhī dào
  TheCactus xiān rén zhǎng
  Caliph
  TheCupidandtheClock qiū zhōng
  ACallLoan diàn huà dài kuǎn
  TheCallOfTheTame xùn de hào zhào
  Calloway'sCode luó wēi
  TheChairOfPhilanthromathematics shàn shì shù xué jiǎng zuò
  AChaparralChristmasGift
  AChaparralPrince
  ChristmasbyInjunction
  TheComing-OutofMaggie
  ComplimentsOfTheSeason
  ConfessionsofaHumorist yōu jiā de gào bái
  ConscienceInArt shù liáng xīn
  TheCopandtheAnthem jǐng chá zàn měi shī
  ACosmopoliteinaCafe fēi guǎn de shì jiè gōng mín
  CupidalaCarte
  TheDayResurgent huó
  TheDetectiveDetector wèi zhēn tàn
  TheDogandthePlaylet
  ADouble-dyedDeceiver shuāng liào piàn
  TheDuel jué dǒu
  TheDuplicityofHargraves de liǎng miàn xìng
  TheFifthWheel lún
  FromtheCabby'sSeat
  TheFurnishedRoom dài jiā chū de fáng jiān
  Georgia'sRuling qiáo zhì de tǒng zhì
  TheGiftoftheMagi mài de yòu rén wéixián rén de 》)
  TheGirlAndTheGraft hái tān
  TheGirlAndTheHabit hái guàn
  TheGoldThatGlittered shǎn liàng de jīn
  TheGreenDoor de mén
  TheHandbookofHymen hūn yīn shǒu
  HeAlsoServes
  TheHead-Hunter liè tóu zhě
  HeartsandCrosses xīn shí jià
  HeartsandHands xīn shǒu
  TheHidingofBlackBill lāi · 'ěr cáng shēn
  TheHigherAbdication tuì wèi
  TheHigherPragmatism shí yòng zhù
  HygeiaattheSolito suǒ tuō chǎng de wèi shēng xué
  TheHypothesesofFailure shī bài de jiǎ shè
  TheIndianSummerofDryValleyJohnson gān zào xiá yuē hàn xùn de yìn 'ān xià
  JimmyHayesAndMuriel · hǎi miù 'ěr
  JeffPetersAsAPersonalMagnet cuī mián shù jiā jié ·
  TheLastLeaf zuì hòu piàn
  ALittleLocalColour fāng
  ALittleTalkAboutMobs xiǎo tán bào
  LostonDressParade huá 'ér shí
  TheLove-PhiltreofIkeySchoenstein
  MadameBo-peepoftheRanches chǎng zhù
  MammonandtheArcher 'ài shén cái shén
  ManAboutTown chéng zhōng nán
  TheManHigherUp huáng què zài hòu
  TheMarionettes xiàn 'ǒu
  TheMarryMonthofMay yuè shì jié hūn yuè
  AMatterofMeanElevation
  MemoirsofaYellowDog huáng gǒu zhuī
  TheMissingChord duàn liǎo de xián
  TheMomentofVictory shèng shí
  AMunicipalReport shì zhèng bào gào
  ANewspaperStory bào zhǐ de shì
  ANightInNewArabia xīn 'ā
  NoStory méi yòu shì
  OneDollar'sWorth yuán qián de jià zhí
  OutofNazareth zhī wài
  PastOneAtRodney's
  ThePimientaPancakes mián báobǐng
  ThePoetAndThePeasant shī rén nóng
  APoorRule mèi de guī dìng
  ThePrincessandthePuma gōng zhù měi zhōu shī
  ProofOfThePudding dīng de zhèng míng
  PsycheAndThePskyscraper xīn fēn tiān lóu
  ARambleInAphasia xiǎo tán shī zhèng
  TheRansomofMack de jiù shú
  TheRansomofRedChief hóng qiú cháng de jiù shú
  TheRedRosesofTonia tuō de hóng méi guī
  TheReformationofCalliope xióng biàn shén de gǎi biàn
  TheRoadsWeTake men xuǎn de dào
  TheRobeOfPeace píng zhī cháng páo
  TheRomanceofaBusyBroker zhèng quàn jīng rén de làng màn shì
  TheRoseofDixie nán zhī huā
  RoundTheCircle
  TheRubberPlant'sStory xiàng jiāo shù de shì
  RusinUrbe
  ASacrificeHit chōng
  SchoolsandSchools xué xiào
  SeatsoftheHaughty 'ào màn zhī wèi
  AServiceofLove 'ài de shēng
  ShearingTheWolf kǒu
  SistersoftheGoldenCircle
  TheSkylightRoom dài tiān chuāng de fáng jiān
  TheSnowMan xuě rén
  SociologyinSergeandStraw
  TheSongandtheSergeant gēqǔ jǐng guān
  TheSparrowsinMadisonSquare mài xùn guǎng chǎng de què
  TheSphinxApple fēn píng guǒ
  SpringtimealaCarte
  StrictlyBusiness
  SuiteHomesandtheirRomance tào jiān de làng màn
  SupplyandDemand gōng
  ATechnicalError shù xìng shī
  Telemachus,Friend wěn jǐng zhī jiāo
  TheTheoryandtheHound lùn liè quǎn
  ThimbleThimble dǐng zhēn
  TheThingsThePlay
  TheThirdIngredient sān zhǒng chéngfèn
  ToHimWhoWaits gěi děng dài de rén
  Tobin'sPalm tuō bīn de shǒu zhǎng
  Tommy'sBurglar tānɡ de qiè zéi
  TwoThanksgivingDayGentlemen liǎng wèi gǎn 'ēn jié de shēn shì
  AnUnfinishedStory méi shuō wán de shì
  TheUnknownQuantity wèi zhī shù liàng
  TheVenturers tóu zhě
  WhileTheAutoWaits chē děng dài de shí hòu
  TheWhirligigofLife shēng huó de zhé
  Withes'Loaves de miàn bāo
  TheWorldandtheDoor shì jiè mén
běn jiǎn jiè
  zhēn shí xìng míngwēi lián · · (WilliamSydneyPorter)
     míng ōu · hēng (O.Henry)
   shēng nián dài: 1862.9.11-1910.6.5
   měi guó zhù míng pàn xiàn shí zhù zuò jiāshì jiè sān duǎn piān xiǎo shuō shī zhī 。( ōu · hēng sāng
   yuán míng wēi lián · · ( WilliamSydneyPorter), shì měi guó zuì zhù míng de duǎn piān xiǎo shuō jiā zhī céng bèi píng lùn jiè wéi màn dùn guì guān sǎnwén zuò jiā měi guó xiàn dài duǎn piān xiǎo shuō zhī chū shēng měi guó běi luó lái zhōu lín luó zhèn shī jiā tíng
   de shēng chuán xìngdāng guò yào fáng xué niú rénkuàijì yuán bàn shì yuánxīn wén zhěyínháng chū yuándāng yínháng chū yuán shíyīn yínháng duǎn quē liǎo xiàn jīnwéi miǎn shěn xùn jiā liú wáng zhōng měi de hóng hòu yīn huí jiā tàn shì bìng wēi de bèi bìng zài jiān shì rèn yào shī chuàng zuò zuò pǐn de yīn shì wèile gěi 'ér mǎi shèng dàn dàn fàn rén de shēn fèn gǎn shǐ yòng zhēn míngnǎi yòng guó yào diǎn de biān zhě de míng zuò wéi míng。 1901 nián qián huò shì hòuqiān niǔ yuēzhuān mén cóng shì xiě zuò
   ōu · hēng shàn miáo xiě měi guó shè huì yóu shì niǔ yuē bǎi xìng de shēng huó de zuò pǐn gòu xīn yíng yán huī xiéjié zǒng shǐ réngǎn dào zài qíng zhī zhōngyòu zài liào zhī wài”; yòu yīn miáo xiě liǎo zhòng duō de rén shēng huó qíng bèi wéiměi guó shēng huó de yōu bǎi quán shū”。 dài biǎo zuò yòu xiǎo shuō bái cài guó wáng》、《 bǎi wàn》、《 mìng yùn zhī děng zhōng xiē míng piān ài de shēng》、《 jǐng chá zàn měi shī》、《 mài de 》( chēng zuòxián rén de 》)、《 dài jiā chū de fáng jiān》、《 zuì hòu piàn cháng chūn téng děng shǐ huò liǎo shì jiè shēng duǎn piān xiǎo shuōmài de èr shí nián hòubèi biān shàng hǎi chū zhōng nián wén běn。《 zuì hòu piàn cháng chūn téng bèi biān shàng hǎi jiǔ nián wén běn
   míng :“ zhè shí zhǒng jīng shén shàng de gǎn kǎi yóu rán 'ér shēngrèn wéi rén shēng shì yóu chuò chōu shā wēi xiào chéng deér chōu shā zhàn liǎo zhōng jué fēn。” (《 ōu · hēng duǎn piān xiǎo shuō xuǎn》 )
shēng píng jiǎn jiè :
  1862 nián 9 yuè 11 měi guó zuì zhù míng de duǎn piān xiǎo shuō jiā zhī héng héng ōu · hēng ( O.Henry) chū shēng měi guó běi luó lái zhōu yòu míng jiào lín luó de xiǎo zhèncéng bèi píng lùn jiè wéi màn dùn guì guān sǎnwén zuò jiā měi guó xiàn dài duǎn piān xiǎo shuō zhī 。 1862 nián chū shēn měi guó běi luó lái zhōu lín luó zhèn shī jiā tíng qīn shì shēng yuán míng wēi lián · · (WilliamSydneyPorter)。 suǒ shòu jiào duō, 15 suì biàn kāi shǐ zài yào fáng dāng xué , 20 suì shí yóu jiàn kāng yuán yīn zhōu de chǎng dāng liǎo liǎng nián niú rén lěi liǎo duì shēng huó de qīn shēn jīng yàn。 1884 nián hòu zuò guò kuàijì yuán bàn shì yuánxīn wén zhě hòu zài zuò guò tóng de gōng zuòbāo kuò zài 'ào tīng yínháng dāng chū yuán hái bàn guò fèn míng wéigǔn shíde yōu zhōu kānbìng zài xiū dūn jiā bào shàng biǎo yōu xiǎo shuō wén shì。 1887 niánhēng jié hūn bìng shēng liǎo 'érzhèng dāng de shēng huó wéi 'ān dìng zhī shíquè shēng liǎo jiàn gǎi biàn mìng yùn de shì qíng。 1896 niánào tīng yínháng zhǐ kòng zài rèn zhí jiān dào yòng jīn wèile duǒ shòu shěntáo wǎng hóng 。 1897 niánhòu yīn huí jiā tàn shì bìng wēi de bèi pàn chù 5 nián xíngzài zhōng céng dān rèn yào shī chuàng zuò zuò pǐn de yīn shì wèile gěi 'ér mǎi shèng dàn dàn fàn rén de shēn fèn gǎn shǐ yòng zhēn míngnǎi yòng guó yào diǎn de biān zhě de míng zuò wéi míngzàimài 'ěr zhì biǎo。 1901 niányīnxíng wéi liáng hǎo qián huò shìlái dào niǔ yuē zhuān shì xiě zuòzhèng dāng de chuàng zuò zuì wàng shèng de shí hòujiàn kāng zhuàng kuàng què kāi shǐ 'è huà 1910 nián bìng shì
   ōu · hēng zài gài shí nián de shí jiān nèi chuàng zuò liǎo duǎn piān xiǎo shuō gòng yòu 300 duō piānshōu bái cài guó wáng》 (1904)[ wéi cháng piānzuò zhě tōng guò tiáo bìng xíng de xiàn suǒshì miáo huì chū guǎng kuò de huà miànzài xiě shàng yòu de bié zhì zhī chù guò cóng lìng fāng miàn kànxiǎo shuō zhāng zhāng zhī jiān de nèi zài lián gòu jǐn yòu de nèi róng ]、《 bǎi wàn》 (1906)、《 zhī xīn》 (1907)、《 shì shēng》 (1908)、《 gǔn shí》 (1913) děng zhōng miáo xiě niǔ yuē màn dùn shì mín shēng huó de zuò pǐn wéi zuì zhù míng 'ér de jiē dàoxiǎo fàn guǎn jiù de gōng de fēn xuàn rǎn shí fēn zhēn yòumàn dùn de guì guān shī rénzhī chēng céng piàn de shēng huó wéi cáixiě liǎo shǎo duǎn piān xiǎo shuōzuò zhě biǎo míng dào mào 'àn rán de shàng liú shè huì yòu shǎo rén jiù shì gāo de piàn chéng gōng de piàn ōu · hēng duì shè huì rén shēng de guān chá fēn bìng shēn yòu xiē zuò pǐn jiào qiǎn dàn shēng kùn dùncháng shī luò de xiǎo rén tóng gān gòng yòu néng bié chū xīn cái de shù shǒu biǎo xiàn men de gǎn qíng de zuò pǐn gòu xīn yíng yán huī xiéjié cháng cháng chū rén wàiyòu yīn miáo xiě liǎo zhòng duō de rén shēng huó qíng bèi wéiměi guó shēng huó de yōu bǎi quán shū”。 yīn zuì chū de duǎn piān xiǎo shuō ài de shēng》 (AServiceofLove)、《 jǐng chá zàn měi shī》 (TheCopandtheAnthem)、《 dài jiā chū de fáng jiān》 (TheFurnishedRoom)、《 mài de 》 (TheGiftoftheMagi)、《 zuì hòu piàn cháng chūn téng 》( TheLastLeaf) děngdōu liè shì jiè yōu xiù duǎn piān xiǎo shuō zhī zhōng
   de wén shēng dòng huó shàn yòng shuāng guān é yīnxié yīn jiù diǎn xīn miào héng shēng , bèi wéi [ hán lèi de wēi xiào ]。 hái zhǔn què de jié miáo xiězhì zào zài xiàn fēn bié shì huì shēng huó de fēn
   ōu · hēng hái shàn cháng jié wěi wén míng xiá 'ěrměi guó wén xué jiè chēng zhī wéi ōu · hēng shì de jié wěi shàn xìng shè qíng jiémái xià zuò hǎo diàngòu máo dùnzuì hòu zài jié wěi chù rán ràng rén de xīn qíng jìng shēng chū rén liào de biàn huàhuò shǐ zhù rén gōng mìng yùn dǒu rán zhuǎnshǐ zhě gǎn dào huò rán kāi lǎngliǔ 'àn huā míng zài liào zhī wàiyòu zài qíng zhī zhōng jìn pāi 'àn chēng cóng 'ér zào chéng de shù mèi yòu zhǒng bèi chēng wéihán lèi de wēi xiàode shù fēng ōu · hēng xiǎo shuō de líng hún quándōu níng zài jié wěi fēnràng zhě zài qián de shì píng dàn de 'ér yòu shì huī xié fēng de wěi wěi dòng tīng de miáo shù zhōng zhī jué jìn zuò zhě jīng xīn shè zhì de gōngzhí dào zuì hòu diàn guāng shǎncái zhào liàng liǎo xiān qián yǐn cáng zhe de qiēfǎng zài zhě zhuō cánghuò zhě zài wán nòng zhàng yǎn gěi zhě zuì hòu jīng zài ōu · hēng zhī qián duǎn piān xiǎo shuō jiā jīng zhè yàng cháng shì guò zhè zhǒng chū liào de jié dàn shì ōu · hēng duì yùn yòng gèng wéi jīng chánggèng wéi rán gèng wéi chún shú lǎo dào
   miáo xiě xiǎo rén shì ōu · hēng de duǎn piān xiǎo shuō zuì yǐn rén zhǔ mùdì nèi róng zhōng bāo hán liǎo shēn hòu de rén dào zhù jīng shén ōu · hēng cháng shēng huó zài shè huì céngshēn 'ān xià céng rén mín de nán shēng huótóng shí qièshēn gǎn shòu guò tǒng zhì jiē céng zhì dìng de duì qióng rén shì qíngyīn xiàn de tóng qíng fàng zài qióng rén biānzài de xiàqióng rén yòu zhe chún jié měi hǎo de xīn língrén shàn liáng de pǐn zhēn zhì shēn chén de 'ài qíngdàn shì men què mìng yùn duō kǎnruò xiǎo lián yuánshí guǒ shēn suǒgǒu yán cán chuǎnwǎng wǎng bèi shè huì qíng tūn shìzhè zhǒng gōng píng de xiàn xiàng fán huá dǐng shèng de shè huì jǐng xiàng xiāng yìng zhàoxiǎn wài zhōng yǐn hán liǎo zuò zhě de fèn fèn píng
   ōu · hēng gěi měi guó de duǎn piān xiǎo shuō dài lái xīn de zuò pǐn yīn 'ér jiǔ xiǎng shèng míngbìng yòu shì jiè yǐng xiǎngměi guó 1918 nián ōu · hēng niàn jiǎng”, jiǎng měi nián de zuì jiā duǎn piān xiǎo shuōyóu jiàn shēng wàng zhī zhuó zhù
   zài niǔ yuēyóu liàng jiā zuò chū bǎn míng shuāng shōu jǐn huī huò ér qiě hǎo hǎo jiǔ tān bēixiě zuò de láolèi shēng huó de jié zhì shǐ de shēn shòu dào yán zhòng sǔn shāng。 1907 nián ōu · hēng zài hūn 'èr hūn yīn duì lái shuō bìng méi yòu shénme xìng yán。 1910 niányuè bìng dǎo liǎoliǎng tiān hòuyuè shì cháng gān yìng huànián jǐn 48 suì
chuàng zuò
  cóng cái de xìng zhì lái kànōuhēng de zuò pǐn zhì fēn wéi sān lèi lèi miáo xiě měi guó shēng huó wéi zhù lèi xiě de shì měi guó xiē chéng shì de shēng huó lèi dīng měi zhōu shēng huó wéi duì xiàngzhè xiē tóng de cáixiǎn rán zuò zhě shēng zhōng zhù yào shēng huó shí de tóng jīng yòu zhe mìqiè de guān ér sān lèi zuò pǐn dāng zhōng yòu miáo xiě chéng shì shēng huó de zuò pǐn shù liàng zuì duō zuì
   ōuhēng xiǎng de máo dùn zuò pǐn de ruò diǎn de chuàng zuò huán jìng yòu guān shǐ zài jīng chéng míngshòu dào zhě guǎng fàn huān yíng de shí hòu de shēng huó rán jīng cháng chǔyú jié zhuàng tài céng jīng zhí yán huì shuō shì wéi miàn bāo 'ér xiě zuò de”。
   ōuhēng yīn wéi běn shēn shì qióng de rényīn de wén zhāng zhù rén gōng duō shì xiē pín qióng de láo dòng rén mínchōng mǎn liǎo duì láo dòng rén mín de tóng qíng rèn wéiōuhēng de xiǎo shuō zhī suǒ ràng huānshì yīn wéi de xiǎo shuō men wǎng wǎng cāi chū jiēguǒ shì shénmeér zhēn zhèng de jiēguǒ huì ràng men nán zhì xìnzhè shuō míng liǎo fēng de xiǎng xiàng ōuhēng de xiǎo shuō yán hěn shēng dòng 'ér qiě hěn jīng liàn de duǎn piān xiǎo shuō kāi shǐ jiù zhuā zhù liǎo men de xīng zhù xiǎo shuō zhōng chú liǎo wén de yōu huī xié zhī wàizǒng yòu xiē ràng fèi rén cāi de fāng cháng cháng ràng men wéi luó ji wéi jiù cāi dào de jié què wǎng wǎng qíng jié zhuǎnshǐ shì de jié wěi biàn de chū rén liào què yòu qíng , cóng 'ér zào chéng de shù mèi , yīn bèi wéi ōu · hēng shì jié wěi”, zhè shì ōu · hēng zuì wéi chū míng de fāng miàn。《 ōuhēng de duǎn piān xiǎo shuō nèi róng hěn duō zhōng duō wéi miáo xiě xiē xiǎo rén miáo xiě měi guó chǎngmiáo xiě xiē yào miàn chéng tiān zuò bái mèng de xiǎo zhí yuán xiē chéng shì de piàn duì bài jīn zhù zhě de cháo fěngjìn guǎn 'ōuhēng duì shè huì xiàn zhuàng zǒng yòu mǎn méi yòu fàng wàngyīn bēi cǎn de shì rén zǒng huì yòu xiāng duì jiào hǎo de jié ràng men shēn shēn de huì dào wēi xiào de xīn suānfěng de bēi 'āi nài
yīngwénjièshì
  1. n.:  O. Henry
xiàngguāncí
duǎn piān xiǎo shuō wén xué zuì hòu de cháng qīng téng wài guó wén xué chéng shì fēng cǎi míng zhù wén xué jiǎng
sāng