【正文】 act er is doi ng som et hi ng and the reader whil e readi ng fi ct ion wants t o know t he ―why‖ as wel as t he ―what ‖ of the af fair s. ( Som et imes a char act er‘ s mot ive for an acti on is not expl ai ned on accept abl e gr ounds, f or example, t he vil lain i n Adgar Al lan Poe‘ st or y ―The Tel l Tale Hear t,‖ and t hus t he r eader feel s cheat ed. I n this case, t he wri ter of det ecti ve fi ct ion who m akes t he crim inal am ere lunati c has cheat ed t he r eader by avoiding the pr obl em of m oti ve. ) And general y, the acti on i tsel f i s humanl y si gnif icant and it ends usual y i n a shi ft i n or cl ar if cati on of human val ues, as di splayed i n John Updi ke‘ s ―A amp。 char acter。 P, ‖ and the mot ivat ion of a char acter i n a st or y—one of t he answers to t he questi on ―why‖—is of fundamental impor tance. I. What is Character? Closel y related with t he story i s t he char acter. Henr y James sai d, “What i s character but he determi nat ion of incident ? What i s i ncident but the il ust rati on of character?‖ (The Art of Ficti on‖) When we read a novel, we read about our fel ow beings, and that i s one of t he moti ves in readi ng at al l. The “fel ow beings” i n the novel is termed characters. By “felow beings” is meant not only “human bei ngs” but also “other beings, ” such as ani mals. Geor ge Or wel l uses ani mal s to represent human bei ngs in his novel Animal Farm. Lewis Car rol cr eates many lovel y animals i n hi s Ali ce’s Advent ures i n Wonderland that appeal to bot h chil dr en and adults. Orwel does not i nt end to convince the reader t hat animals can speak human language or t hat he is a tr anslat or betwen ani mal s and humans. No sensible r eader , aft er readi ng Orwel l‘s Animal Farm, woul d go t o the pi gsty t o look f or a t al ki ng boar . This proves the agreed on f icti onal it y of charact er s in novels. So broadly, a character i s an i nvented personal ity t o resemble but never to equal a real person in li fe. I t i s not di fi cult t o see that charact er s in novels resemble people in r eal lif e in many ways. They have names used in t he same way our s are used, they have hat red and love, and t hey have desi res and fears. Above al, they act the way we act or t he way we can under st and (l ike or disli ke). But we must bear in mind that he char acters are not r eal persons, but merely i nvent ions, however ingenious. Compare t he physical li fe and spi ri tual li fe of the characters and ours. We have t o answer the nature‘s cal several tim es a day, but char acters sel dom do this, even i n the most real istic or naturali st ic novels. We have to l ive our li fe hour by hour and day by day, but 第一章 總 論 一、項(xiàng)目名稱和建設(shè)單位 ： 省 市隴中苜蓿良種繁育基地建設(shè)項(xiàng)目 ：新 建 ： 市 鎮(zhèn)原黃花農(nóng)場 ： 大禹農(nóng)牧科技發(fā)展有限公司 ： ： ： 省農(nóng)牧廳 二、建設(shè)內(nèi)容與規(guī)模 本項(xiàng)目總投資規(guī)模為 萬元，包括固定資產(chǎn)投資 萬元 ,技術(shù)培訓(xùn)及技術(shù)推廣費(fèi) 萬元，基本預(yù)備費(fèi)用 。 how wr it er s, through t heir creat ive impul ses, convey t o us t heir insi ght s i nt o human dest iny and hum an li fe。 t heme。 charact er 。 五、投資使用計(jì)劃 本項(xiàng)目固定資產(chǎn)投資 萬元，其中土建工程投資 萬元，設(shè)備購置及安裝投資 萬元，牧草種子引進(jìn)及繁育試驗(yàn)費(fèi)用15萬元，工程建設(shè)其它費(fèi)用 ；項(xiàng)目技術(shù)培訓(xùn)和技術(shù)推廣費(fèi)用，基本預(yù)備費(fèi)用 。 theme。 how wri ters, t hr ough thei r creative impulses, c onvey to us t heir i nsights into human desti ny and human lif e。 poi nt of view。I nt r oducti on I. Why do we have such course? Engli sh l it er at ur e i s one of t he pulsory and m ost im port ant courses. However, the Engli sh l it er at ur e cour ses of fered ar e m er el y taught at the level of l earning gener al i nf orm at ion and devel opi ng l it er al under st anding. Adm it edl y, such cour ses hel p t hem/ you a lot i n thei r/ your acquisit on of t he Engli sh l anguage. But t he f unct ion of Engl ish lit er at ure reaches f ar beyond t hat. I n r eading Engli sh li teratur e, a st udent shoul d have t he power t o di scer n how hum an bei ngs tr anslate t hei r exper ience into art ist ic expr essi on and repr esent ati on。 charact er 。 P, ‖ and the m ot ivat ion of a charact er i n a st or y—one of t he answers to t he questi on ―why‖—is of fundam ental i mpor tance. I. What is Charact er? Closel y r el at ed wi th t he story i s t he char acter. Henr y Jam es sai d, “What is character but he det ermi nati on of i ncident ? What i s i nci dent but he il ust rati on of character?‖ (The Art of Ficti on‖) When we read a novel, we read about our fel ow beings, and t hat i s one of t he m oti ves in r eadi ng at al l. The “fel ow bei ngs” i n the novel is t erm ed char acters. By “fel ow bei ngs” i s meant not only “human beings” but also “other bei ngs, ” such as animals . Gee Orwel l uses anim al s to r epresent hum an bei ngs i n hi s novel Ani mal Farm. Lewis Car ol cr eat es m any l ovel y animal s i n hi s Ali ce’s Advent ures i n Wonderland that appeal to bot h chil dr en and adults. Orwel does not i nt end to convince the reader t hat animals can s peak human language or t hat he is a translat or betwen ani mal s and humans. No sensible reader, aft er readi ng Orwel l‘s Animal Farm, woul d go t o the pi gsty t o look f or a t al ki ng boar . This proves the agreed on f icti onal it y of charact er s in novels. So broadly, a character i s an i nvented personal ity t o resemble but never to equal a real person in li fe. I t i s not di fi cult t o see that charact er s in novels resemble people in r eal lif e in many ways. They have names used in t he same way our s are used, they have hat red and love, and t hey have desi res and fears. Above al, they act the way we act or t he way we can under st and (l ike or disli ke). But we must bear in mind that he char acters are not r eal persons, but merely i nvent ions, however ingenious. Compare t he physical li fe and spi ri tual li fe of the characters and ours. We have t o answer the nature‘s cal several tim es a day, but char acters sel dom do this, even i n the