高產油茶示范林基地建設項目(已改無錯字)

　　

【正文】 rs gr ow whil e f lat characters do not . Usual ly t he r eader i s al owed aces t o t he i nner l if e of t he round charact er and permi t ed to l earn about m any si des of t he round charact er. The fl at charact er is a “cl osed” char act er t o whose i nner t hought s t he r eader i s deni ed access. Usual l y one si de of t he fl at character is shown i n t he novel. Mos t heroes are round charact ers who gr ow em ot ional l y or spir it ual l y. Chapt er Three Them e Ari st otl e in Poeti cs li st s si x basi c elements of t ragedy. M el ody ( song) and dicti on (l anguage) f al l i n t he gener al categor y of style, and spectacle i s r el evant to set ing i n our discussion of fi cti on. The other thr e aspect s are myt hos or pl ot, ethos or character , and di anoia, whi ch we gener al ly t r anslate into “t hought” in Engli sh. According to Ar istot le, plot is t he “soul” or shapi ng pri nci ple or f icti on, and char act ers exist pri mari ly as f unct ions of the plot . I n most of the stor ies, pl ot pl ays t he rol e of pr incipal str uct ur e of the st or y. But , as Nort hr op Fr ye poi nt s out, besi des t he inter nal f icti on of the character and hi s/her society, ther e is an exter nal f icti on consisti ng of a rel at ion between t he wr it er and t he wri ter ’s soci ety. We i ndeed have lit erar y works by t he li kes of Shakespear e and Homer in whi ch art istr y i s pl etely absor bed in their i nt ernal character s and we can har dly perceive t he exi st ence of t he aut hor . However , as soon as the author’ s personal it y appears on t he hori zon, a r el at ion wi t h the r eader is establi shed, and someti mes ther e seems no stor y at al l apar t fr om what the author is conveyi ng to hi s/ her eader . I n t hi s case, t he pr i m ar y i nt erest i n dianoia, the i dea or t hought that reader gets f r om t he wri ter, whi ch in moder n cri ti ci sm we general ly cal “theme”. I. What Is Theme? One of t he saf est ments t o make about novel s is on t he theme. Ever yone i s entit led t o extr act a t hem e based upon hi s under st andi ng of the novel . Theme may be the m ost democr ati c elements i n li ter at ure, because i ts def init ion i s the l east restr icti ve. The t hem e of a novel is i ts contr oll ing i dea or i ts cent ral insight . Bei ng an idea or an insight, t he theme shoul d be abst ract and i t should generali ze about li fe. Label ed as contr oll ing or cent ral , t he theme should be capabl e of uni fying the whole novel. So t he theme of a story, then, is whatever general i dea or i nsight the ent ir e st ory r eveal s. I . Clar if icati on about Them e Common as i t i s, t hem e suf fer s som e mi sunder standi ngs. One m isconcept ion about t hem e is t hat each novel has a theme or themes, or t hem e is i mport ant t o al novel s. I n f act , some novels, i nter esti ng ones t hough, do not pr ovide any insight int o li fe. For exam pl e, m any novels of r at iocinati on and novel s of hor ror. These novels ar e aimed at entert aining t he reader , not at im pr oving hi s underst anding of l if e. They may someti mes touch upon the human natur e or social problems, but these i sues ar e only used t o push t he plot for ward and t hey ar e not ment ioned f or t hei r own value. Theme exi st s onl y i n the novel t hat seri ousl y atem pt s to refl ect l if e fai thful ly or i ntends to r eveal tr uth about l if e, or i n the novels t hat are based on ideas or t heor ies of li fe. ( for exam pl e, novels of ideas) . Another misconcepti on about theme i s that the t hem e is l ar gely what the novel i s. Some people di scard the novel when t hey t hink t hat t hey have got the t heme. It should be m ade clear that the novel i s not wr i t en to convey an idea but t o convey an i dea ar ti st ical y. The novel i s a wor k of ar t whereas the t heme is only an abstr act i dea. An anal ogy fr om dail y l if e may help cl ar if y t hi s questi on. People al l need vit amins and get hem f rom var ious kinds of veget abl es and f rui ts. Only t hose wi th def iciency of one ki nd or anot her have to take vit am in pi l s to get the r equi red amount. The dif fer ence between t he theme and the novel i s much l ike t hat between the vi tami ns and t he vegetables. The reader someti mes fi nds that he theme of a novel i s simi lar to or even t he same as what he has al ready known about li fe and t hat he i s st il l fasci nat ed by the novel. Them e appeals solely to t he int el lectual level of r eadi ng whil e the novel as a whol e mainl y appeals t o the emot ional evel . Anot her pi tf al l concerning t he theme i s to conf use a t hem e wi th m or al or l eson. Usual y, a m oral or a lesson i s the advice stated or i mpli ed in a par abl e or fable. It i s som et hing of a r ul e by whi ch one can r egul at e his behavi or. For exampl e, “Be kind to your nei ghbor s, ” or “Honesty i s the best pol icy.” But a t heme is mor e pli cated t han thi s as a novel is t o enhance one’s awar eness of li fe r ather than simpl y to tel him how t o behave. A novel i s a pli cat ed mat er and dif fer ent r eaders m ay have di f er ent i nterpr etati ons of t he same novel, so it i s incorr ect t o pr esum e t hat one novel has onl y one theme. In some cases, there ar e several subt hem es to t he main t hem e. I n r eal it y, some novel s are appreciated f or their t hem at ic ambi gui ty. For example, Moby Di ck can be inter preted i n mor e ways than one. Fi nal ly, the t heme is not to be confused wi th t he subject. The t hem e is an i dea whi le the subj ect i s a mat er or an af fair . “Love i s invincibl e” m ay be a theme, but “l ove” i s onl y a subject . A subject m ay be uni ver sal . The subjects of The Scarl et Let ter, The Great Gatsby, and Wom en in Love are al l “l ove. ” But these nov