【正文】 t heme。 charact er 。 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。 五、投資使用計劃 本項目固定資產(chǎn)投資 萬元，其中土建工程投資 萬元，設備購置及安裝投資 萬元，牧草種子引進及繁育試驗費用15萬元，工程建設其它費用 ；項目技術培訓和技術推廣費用，基本預備費用 。 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、項目名稱和建設單位 ： 省 市隴中苜蓿良種繁育基地建設項目 ：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、建設內容與規(guī)模 本項目總投資規(guī)模為 萬元，包括固定資產(chǎn)投資 萬元 ,技術培訓及技術推廣費 萬元，基本預備費用 。 theme。 char acter。 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。 st yl e 3. What is Ficti on? Fi ct ion, t he general t erm f or i nvent ed stori es, now usual ly appli ed t o novel s, short st or ies, novel a, rom ances, f abl es, and ot her nar at ive wor ks i n pr ose, even t hough most plays and nar at ive poem s ar e also fi ct ional. ( P. 83. Conci se Di ct ionar y of Lit er ar y Terms) 4. The St or y and the Novel To r ead novel s for st or y i s not hi ng wr ong, but not hi ng pr of essi onal eit her. ―One mar k of a second rate mi nd i s t o be al ways t el li ng stori es.‖ The r em ar k by t he Fr ench wr it er jean de La Bruyer e ( 1645~1696) is al so t rue of t he r eader. I f t he purpose of t he novel i s onl y t o tel st or ies, it coul d as wel l rem ai n unbor n, f or newspaper s and hi st or y books ar e suf fi ci ent to sati sf y peopl e‘ s desi re f or stori es about bot h present and past, and even about future. I n f act , m any newapaperm en have been dissati sfi ed wi th t heir job of r eporti ng and e i nt o t he f ield of novel wri ti ng. Def oe, Di ckens, Joyce, Hem ingway and Cam us wer e among t he m ost f amous and the m ost succesful convert s. Even hi st or ians may feel obl i ged t o do m or e than mer e stori es or fact s. Edwar d Gi bborn‘s Decl ine and Fal of the Roman Em pi re i s pr aised not only f or it s m ul ti udi nous f act s and rati onal ist ic anal ysis, but m or e f or i ts beaut y of nar rati ve style. In t el ing st ori es, t he noveli st aims at som et hing hi gher or he i nt ends t o add som et hi ng to t he mere “f acts.” As indicat ed i n t he def init ion of t he novel, what m akes a novel i s t he novel ist?s st yl e ( personal ized present at ion of t he st ory) and i nterpret at ion of t he st ory. Chapter One Plot I. What i s Pl ot ? 1. Acording to Ari st ot le what are t he si x el em ents of t he str uctur e of tr agedy? Tragedy as a whol e has j ust si x consti tuent el em ents… and t hey are plot, characters, verbal expresion, t hought , visual adornm ent, and song— posit on. For t he elem ents by whi ch t hey imi tate are t wo ( ver bal expr esi on and song— posit on) , t he m anner in which they im it at e i s one (visual adornm ent) , t he t hi ngs t hey imit at e ar e three (plot, charact er s, t hought), and t her e i s not hi ng more beyond t hese. 2. What is Pl ot under t he pens of moder n novel ist s and st orytel er s? And how t o under st and ―Pl ot ‖ i n a st or y? ( ―‖ ppt : ? The queen di ed, no one knew why, unti l i t was discover ed t hat i t was thr ough gri ef at he deat h of t he king. ‘… P. 6 It suspends t he tim e sequence, i t m oves as far away fr om the st or y as it s limi tati ons wil al ow.) The st or y and the charact er al one can not m ake a novel ye. To m ake a novel, a plot is pr erequisit e. A l ook at t he exam pl e suggest ed by . For st er wil l help t o di sti nguish bet wen the st or y and the pl ot . ―The ki ng died and t hen the queen died‖ i s not a pl ot , but a story. If we m ake it ―The king di ed and then t he queen di ed of gr ief, ‘ we have a plot. Thi s causal phr ase ―of gri ef ‖ i ndi cates our i nterpretati on and t hus ar r angem ent of t he happeni ngs. In t he worl d of r ealit y event s t ake place one aft er anot her i n t he nat ur al tem por al order , but i n the wor ld of fi ct