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1、opinion about, and statement of, the theme. Moral inferences drawn from most stories: Moral inferences may be drawn from most stories, no doubt, even when an author does not intend his/her story to be read this way. In “A Clean, Well-Lighted Place”, we feel that Hemingway is indirectly giving us adv
2、ice for properly regarding and sympathizing the lonely, the uncertain, and the old. But obviously the story does not set forth a lesson that we are supposed to put into practice. We can say for sure that “A Clean, Well-Lighted Place” contains several themes and other statements could be made to take
3、 in Hemingways view of love, of communication between people, of dignity. Great stories, like great symphonies, frequently have more than one theme. When we say that the title of Pride and Prejudice conveys the theme of the novel or that Uncle Toms Cabin and The Grapes of Wrath treat the themes of s
4、lavery and migratory labor respectively, this is to use theme in a larger and more abstract sense than it is in our discussion of Hemingways “A Clean, Well-Lighted Place.” In this larger sense it is relatively easy to say that Mark Twains Huckleberry Finn, Updikes A (2) the occupations and daily man
5、ner of living of the characters; (3) the time or period in which the action takes place, for example, the late eighteenth century in history or winter of the year; (4) the general environment of the characters, for example, religious, mental, moral, social, and emotional conditions through which cha
6、racters in the story move. (Holman and Harman, A Handbook to literature, 1986) But often, in an effective story, setting may figure as more than mere background. It can make things happen. It can prompt characters to act, bring them to realizations, or cause them to reveal their innermost natures, a
7、s we shall see in John Cheevers short story “The Swimmer”. First, as we have said, the idea of setting includes the physical environment of a story: a region, a landscape, a city, a village, a street, a housea particular place or a series of places where a story occurs. (Where a story takes place is
8、 sometimes called its locale.) Places in fiction not only provide a location for an action or an event of the story but also provoke feelings in us. A sight of a green field dotted with fluttering daffodils affects us very differently from a sight of a dingy alley, a tropical jungle, or a small hous
9、e crowded with furniture. In addition to a sense of beauty or ugliness, we usually build up certain associations when we put ourselves in such a scene. We are depressed by a dingy alley, not only because it is ugly, but because it may arouse a feeling, perhaps sometimes unconsciously, of poverty, mi
10、sery, violence, viciousness, and the struggles of human beings who have to live under such conditions. A tropical jungle, for example, in Joseph Conrads Heart of Darkness, might involve a complicated analysis: the pleasure of the colours and forms of vegetation, the discomfort of humidity, heat, and
11、 insects, a sense of mystery, horror, etc. The popularity of Sir Walter Scotts “Waverley” novels is due in part to their evocation of a romantic mood of Scotland. The English novelist Graham Greene apparently needed to visit a fresh scene in order to write a fresh novel. His ability to encapsulate t
12、he essence of an exotic setting in a single book is exemplified in The Heart of the Matter; his contemporary Evelyn Waugh stated that the West Africa of that book replaced the true remembered West Africa of his own experience. Such power is not uncommon: the Yorkshire moors have been romanticized be
13、cause Emily Bronte wrote of them in Wuthering Heights, and literary tourists have visited Stoke-on-Trent in northern England because it comprises the “Five Towns” of Arnold Bennets novels of the early twentieth century. Thus, a readers reaction to a place is not merely based upon the way it looks, b
14、ut upon the potentialities of action suggested by it. Places matter greatly to many writers. For instance, the French novelist Balzac, before writing a story set in a town, he would go and visit that town, select a few lanes and houses, and describes them in detail, down to their very smells. In his
15、 view the place in which an event occurs was of equal moment with the event itself, and it has a part to play. Another example is Thomas Hardy, under whom the presentation of setting assumes an unusual importance. His “Wessex” villages cast intangibly such as spell upon the villagers that once they
16、leave their hometowns they will inevitably suffer from disasters, and the farther they are away from their hometowns, the more, terrible their disasters will be. For example, in the Tess of the DUrbervilles, the Vale of Blakemore was the place where Tess was born and her life was to unfold. Every co
17、ntour of the surrounding hills was as personal to her as that of her relatives faces; she loved the place and was loved in the place. The vale, far from the madding crowd of the civilized city, was as serene and pure as the inhabitants. Tess, imbued deeply with the natural hue of the vale and bound
18、closely to this world of simplicity and seclusion, experienced her own delight and happiness though her family was poor. It was, to some extent, her departure from her native place that led to her tragedy. In The Return of the Native, the atmosphere of Egdon Heath prevails over the whole book; as an
19、 environment, it absorbs some and repels others of the characters: those who are absorbed achieve a somber integration with it, but those who are repelled and rebel suffer disaster. Sometimes an environment serves as more than a mere place to set the story. Often, it is inextricably entangled with t
20、he protagonist, and even carries strong symbolic meanings. Cathy as an image of the feminine personality, for example, in Emily Brontes Wuthering Heights, is not supposed to possess the “wilderness” characteristic of masculinity and symbolized by the locales of Heathcliff and Wuthering Heights. In s
21、ome fiction, setting is closely bound with theme. In The Scarlet Letter, even small details afford powerful hints at the theme of the story. At the start of the story, the narrator describes a colonial jailhouse: Before this ugly edifice, and between it and the wheeltrack of the street, was a grass-
22、plot, much overgrown with burdock, pigweed, apple-peru, and such unsightly vegetation, which evidently found something congenial in the soil that had so early borne the black flower of civilized society, a prison. But, on one side of the portal, and rooted almost at the threshold, was a wild rosebus
23、h, covered, in this month of June, with its delicate gems, which might be imagined to offer their fragrance and fragile beauty to the prisoner as he went in, and to the condemned criminal as he came forth to his doom, in token that the deep heart of Nature could pity and be kind to him. Apparently,
24、the author makes a contrast between the ugly jailhouse with a tangled grass-plot overgrown with burdock and pigweed and something as beautiful as a wild rose. As the story unfolds, he will further suggest that secret sin and a pretty child may go together like a pigweed and wild roses. In this artfu
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