高產油茶示范林基地建設項目(編輯修改稿)

　

【文章內容簡介】 deal s wit h a m on subject. Of t en t he noveli st has t o i ncl ude i n his wor k som e m on subjects, but i f he tr eat s the m on subjects i n an unm on way, i t shows t hat he i s t r yi ng t o convey som et hing new or im port ant i n t he novel. Maybe it i s t he t hem e t hat dem ands him t o do so. Im port ant sym bols. Sym bol s are l oaded wi t h i m port ant m eani ngs. So if a sym bol appears r epeat edl y or at im port ant m om ent s, it m ay poi nt t o t he them e of t he novel. A good exam ple i s t he l et t er “A” i n The Scarl et Let er. Im port ant speeches. Character s t alk and i n t heir t alk ar e r eveal ed t heir j udgm ent s of t he ot her char act er s or event. The character s’ j udgments m ay gi ve im por tant cl ues to t he t heme. V. Obvi ous and unobvi ous theme O bvi ous t heme: The t heme of a st or y, si nce we know, i s what ever gener al i dea or i nsi ght t he ent ir e st or y r eveal s. I n som e st or ies, t he t heme i s r at her obvious. For exam pl e, i n Aesop’s f abl e about t he counci l of t he mi ce that cannot deci de who wil l bel l t he cat , the t hem e is st at ed i n t he m or al at the end: “I t i s easi er t o pr opose a t hi ng t han t o car r y it out. ” I n som e novels, the t itl e m ay of f er a suggesti on about t he m ai n t hem e. For exam pl e, Jane Aust en’ s Pri de and Prej udice i s nam ed af ter i t s t hem e, and t he whole st or y unfol ds i tself ar ound t hat t hem e. I n som e novel s, t he t it le i s not so named but the pl ot exists pr im ar il y t o il lustr at e t he t hem e and it i s not ver y di f i cult f or us t o i nfer what i t is. For exampl e, Uncle Tom’s Cabi n by H. B. Stowe and The Grapes of Wrat h by John St ei nbeck voi ce the t hem es of slaver y and mi grat or y l abor r espect ively. The ti tl e of The Grapes of Wrat h es f rom a li ne in an extr em ely f am ous Ci vi l War song, “The Bat tl e Hymn of t he Republi c.” The l ine i s, “He i s tr am pli ng out t he vi ntage where t he Gr apes of wr at h are st or ed, ” whi ch m eans “an unjust or oppr essi ve si t uati on, acti on or pol icy t hat m ay i nfl am e desi re f or vengeance: an expl osi ve condit ion.” The song was wr it en by a f am ous and i nfl uenti al soci al act i vi st , Juli a War d Howe. Unobvi ous t heme: But i n m ost lit er ar y wor ks of f icti on, t he t heme i s sel dom so obvi ous. That i s, general y a t hem e is not a m or al nor a m essage, neit her i s it cl ear ly conveyed i n t he t it le. When we fi ni sh reading a f i nel y wr ought st ory, it i s easi er t o sum up t he plot —t o say what happens—t han t o descr i be t he m ai n i dea. To say of Jam es Joyce’ s “Araby” that i t is about a boy who goes t o a bazaar t o buy a gif t for a young woman but ar ri ves too l at e i s t o sum mar ize pl ot, not t heme. I n m any fi ne shor t st ori es, t heme i s t he cent er, t he m ovi ng f or ce, t he pri nci pl e of unit y. Cl ear ly, such a t hem e is somet hi ng mor e than t he character s and event s of t he st or y. Most of t he short st or ies chal l enge an easy e t hem e. I n Hemi ngway’ s “A Cl ean, Wel Li ghted Pl ace,” as obser ved by Kennedy and Gi oi a, t he event s ar e r at her sim ple—a young wai ter manages t o get r i d of t he old m an fr om t he caf 233。 and t he ol der wait er st ops at a coff ee bar on hi s way home—but whil e t he events t hem sel ves seem r el at i vel y sl i ght, t he st or y as a whol e i s full of m eaning. For a deep under st andi ng of t he m eani ng, we have t o l ook t o ot her el em ent s of the stor y besi des what happens in i t: nar ati ve, sym bol s, t one, t he di alogue bet ween the t wo wait ers, the m onol ogue of t he ol der wai ter, et c. Evi dentl y t he aut hor i nt ends us t o pay more at tenti on to the thoughts and f el ings of the older wait er , the char acter whose wor ds echo t he aut hor’ s voi ce. One t ry on the t heme may be: “The older wait er understands the ol d man and sympat hizes wit h his need f or a cl ean, wel l ighted pl ace.” But here we are sti l t al king about what happens in the stor y, t hough we ar e not t r oubl e wi th the hero Jordan, yet he i s a main character as his wi fe Pi lar i s. Minor char acter s are t hose i n remot e and st ati c relat ion wi th the hero. It i s wr ong t o t hi nk that mi nor characters ar e al unimpor tant. I n som e novels, one or some of t he minor char act ers m ay ser ve a cr it ical rol e, str uct ural y or int er pret at ional y. Foil charact ers are ones that hel p enhance the i ntensi ty of t he hero by strengt heni ng or cont rast ing. They may be m ain charact ers or m inor characters. I n a wor d, they ser ve as foil s to the hero or heroi ne. Cohn i n The Sun Also Ri ses i s a good exampl e. He is one of the mai n char act ers. Like Jake, he is al so “l ost ,” t rying vai nl y t o escape the past by court ing wom en and drinking. But during t heir stay i n Spai n, Cohn di spl ays quali ti es i n cont rast to t hose cheri shed by Jake, whi ch makes Jake reali ze hi s own pr obl ems and fi nal ly f ind a sol ut ion, though tempor ar il y. Cohn wor ks mainl y by cont rast. Wilson i n The Gr eat Gatsby wor ks by present ing. Gat sby lost hi s lover to Tom and Wi lson lost hi s wi fe t o Tom. By presenti ng Wil son’s case the novel ist i nt ends t o poi nt out t he profound cause of Gat sby’s t ragedy. Dr. Watson i n the stori es of Sherlock Holm es serves as a foi l t o t he hero, renderi ng the detect i ve sm arter t han he woul d other wi se appear t o t he reader . By t he degr e of t hei r development, charact ers can be grouped as round characters and fl at charact ers. This di vi si on i s pr oposed by E. M For st er. Round charact ers ar e full y devel oped whi l e f l at charact ers ar e not . Or we can say t hat round charact e