【導讀】next?‖and―and‖whatwouldhedonext?

　　

【正文】 on it self i s humanl y signif icant and i t ends usual ly in a shif t in or clar if icati on of hum an val ues, as di spl ayed i n John Updi ke‘ s ―A amp。 P,‖ and the m oti vat ion of a char act er in a st or y—one of t he answers t o the question ―why‖—is of fundamental impor tance. I. What is Character? Closely r elated wi th the stor y is t he char act er . Henry James sai d, “What is character but the det erminati on of inci dent ? What i s incident but the i l ust rati on of charact er?‖ (The Art of Fi ct ion‖) When we read a novel , we read about our fel low beings, and t hat i s one of the mot ives in readi ng at al l. The “fel ow bei ngs” i n the novel i s ter med char act ers. By “fel low bei ngs” i s meant not onl y “human beings” but also “other beings, ” such as ani m al s. Geor ge Orwel l uses ani mals to r epr esent hum an bei ngs i n his novel Ani mal Farm. Lewi s Car ol cr eat es many lovely anim al s in hi s Ali ce’s Adventures in Wonderl and that appeal t o both chi ldren and adult s. Or wel does not i nt end to convince the r eader that ani mals can speak human l anguage or that he i s a transl at or bet ween ani mals and humans. No sensi ble reader, after reading Orwel ‘s Ani mal Farm, would go to t he pigsty t o l ook f or a tal ki ng boar . This proves the agreedon f ict ionalit y of char act ers i n novel s. So br oadly, a charact er i s an i nvent ed personal it y t o resembl e but never to equal a real person in l if e. I t is not dif fi cul t to see that char act er s in novels r esembl e peopl e in r eal l if e in many ways. They have names used i n t he same way our s are used, t hey have hatr ed and l ove, and they have desir es and fears. Above al l, they act the way we act or the way we can understand ( li ke or di sl ike) . But we must bear i n mind t hat the character s ar e not real per sons, but mer el y inventi ons, however ingeni ous. Com pare t he physi cal li fe and spirit ual l ife of the characters and ours. We have to answer the nature‘s cal l several ti mes a day, but char act er s sel dom do t his, even i n the m ost reali stic or natur alist ic novel s. We have to l ive our li fe hour by hour and day by day, but char act er s never do t his. They choose t o li ve som e ti me m or e f ul ly than others, and ar e able t o ski p over per iods on ten m ont hs or twenty years wi t hout semi ng weir d, a feat which we can never at tempt. I n our li fe , our m inds are a gray mat er even to sci ent ists. We can not know what i s goi ng on i n other‘s mi nd. But in novels, the m inds of the char act ers are open or can be made open t o t he reader i f the novel ist so chooses. The reader does not only see t hei r cl othes, but also se t hei r mi nds. One char act er may be enemy to ot her characters, but he i s fr iend t o the r eader , befor e whom he can t hink aloud, to borrow Emerson‘s words. Characters do not l ive, but act. When we wat ch act ors speak al oud to t hemsel ves on t he st age as i f they wer e al one, we know they are acti ng and t hey are di f erent fr om what they r epr esent in real if e. The character s in novels exist in a si mil ar manner. II. K inds of Charact ers Usual y, a novel has mor e than one char act er. They inter act wi th each other and make up the stor y. But they are not equal ly import ant or have the same f uncti on to the novel ist. By their r oles in t he novel , t he char act er s can be grouped as her oes, main character s and minor char act er s, and f oil s. The charact er on whom a novel is call ed t he hero or heroi ne when i t is a f emale charact er. The word ―hero‖ ori gi naly refers to a man, i n myt hol ogy and legend, oft en of di vine ancestry, who is endowed wit h great courage and strengt h, celebr at ed for his hol d expl oits, and favored by t he gods. In the novel, the word “hero” i s freed of such noble requirements and any central characters can be labeled as heroes. Jonathan Wi ld is t he her o in the novel of t he same name by Henr y Fiel di ng, t hough he i s a notor ious highwayman. Some cri ti cs, annoyed by the connotati on of “hero,” prefer the word “protagoni st,” which sounds neutral . The enemy or rival of the prot agonist is cal ed ―ant agoni st.‖ The mai n or maj or charact ers are t hose i n close and dynamic relat ion wit h t he hero or heroine. Cl ose rel ati on does not mean good relati on. Pablo in For Whom t he Bel l Tol ls i s constant ly f inding 吉林省樺甸市優(yōu)質(zhì)高油大豆種子繁育基地建設項目 可行性研究報告 一、項目概況 （一）項目名稱：吉林省樺甸市優(yōu)質(zhì)高油大豆良種繁育基地 （二）建設性質(zhì)：新建 （三）建設單位：樺甸市良種繁殖場 （四）法人代表：段維啟 （五）主管單位：吉林省樺甸市農(nóng)業(yè)局 （六）建設地點：樺甸市所屬 17個鄉(xiāng)鎮(zhèn) （七）建設年限： 2020 年 1 月 —— 2020 年 12月 （八）建設內(nèi)容及規(guī)模：生產(chǎn)繁育、精選加工優(yōu)質(zhì)高油大豆種子。生產(chǎn)繁育面積 4 萬公頃，預計種子產(chǎn)量 8 萬噸，大豆種子精選加工能力7 萬噸。 （九）投資估算：總投資 1500 萬元。 （十）效益分析：項目建成后，可提供優(yōu)質(zhì)高油大豆種子 7 萬噸，可供 140 萬公頃耕地生產(chǎn)用種。 140 萬公頃耕地可生產(chǎn)商品大豆 280萬噸，預計實現(xiàn)產(chǎn)值 70 億元。 二、項目背景 （一）可行性研究報告編制依據(jù) 國家政策的支持和地方政府的發(fā)展目標相統(tǒng)一。 從政策導向看，按照“十六”提出的全面建設小康社會的宏偉目標和I nt r oduct i on I. Why do we have such course? Engl ish l it er atur e is one of the pulsory and m ost i mpor t ant cour ses. However , the Engli sh li terat ur e cour ses of fer ed ar e mer el y t aught at t he level of l ear ning gener al i nfor mati on and developing l it eral underst anding. Admi t edl y, such cour ses help t hem/you a l ot i n t hei r/ your acqui si ti on of the Engli sh language. But t he functi on of Engl ish li ter at ure r eaches far beyond t hat . In readi ng Engli sh l it eratur e, a st udent should have t he power t o discer n how human beings t ransl ate t hei r experi ence i nto ar tist ic expressi on and represent at ion。 how wr it ers, through t hei r cr eat ive i mpulses, convey t o us their i nsi ghts i nt o human dest iny and human li fe。 and how soci al concer n i s involved in a specif ic f orm of human imagi nat ion. In addit ion, st udent s should el evate to t he level of cu