第八种艺术夸张
The eighth form of artistic exaggeration
狄更斯就善于用艺术夸张来突出人物的某些特征。茨威格在《三大师传》中评论说：“狄更斯总是强调他的人物的特征，他从物镜里把特征转变成增强的特征、漫画的特征。”在描写米考伯夫妇时，作者捕捉到他们特有的外部特征，如习惯动作、姿势、用语等，经过夸张增强、漫画式折射，反映出其性格特点。先看米考伯先生的初次亮相：“衣服破旧，但装了一条颇为神气的衬衣硬领”，“拿着一根很有气派的手杖”，“外套的前襟上还挂着一副有柄的单片眼镜”。三言两语，一个经济拮据，却喜欢装成“文雅的气派”的米考伯先生形象便跃然纸上。之后的描写中，作者重复突出此类特征，如“把下巴架在了衬衣的硬领上”“腋下夹着手杖，腰杆儿笔挺地走出来”“他又带着先前那种文雅的气派”等。人物爱慕虚荣的心理在反复强化中得到了很好的折射。而米考伯先生的性格特点，则是在其一悲一乐的迅速转换中展开描写的：当债主上门追债时，他“真是又伤心，又羞愧，甚至悲惨得不能自制，用一把剃刀做出抹脖子的动作来”，可是“还不到半个小时”，“他就特别用心地擦亮自己的皮鞋，然后哼着一支曲子，摆出比平时更加高贵的架势，走出门去了”；星期六晚上谈起债务负担时，他“泣不成声”，可是“到了快结束时，他竟又唱起‘杰克爱的是他可爱的南’来”，到上床睡觉时“又计算起来，有朝一日，时来运转(这是他的一句口头禅)，给房子装上凸肚窗得花多少钱”；在监狱里大哭一场，刚说完“一个人要是每年收入二十镑，花掉十九镑十九先令六便士，那他会过得很快活，但要是他花掉二十镑一先令，那他就惨了”的至理名言，又马上“向我借了一先令买黑啤酒喝”，随后就“变得高兴起来”……相反相成的滑稽表现，极具夸张的前后对比，凸显了人物喜欢享受，缺乏责任心，但面对困难时乐观自在的性格特征。
Dickens was skilled at using artistic exaggeration to highlight certain characteristics of characters. Zweig commented in "The Three Masters" that "Dickens always emphasized the characteristics of his characters, transforming them from the objective lens into enhanced and cartoonish features." When describing the Micawbers, the author captured their unique external features, such as habitual movements, postures, language, etc., and through exaggerated enhancement and cartoonish reflection, reflected their personality traits. First, let's take a look at Mr. Micawber's debut: 'His clothes were worn out, but he wore a rather stylish shirt with a hard collar,' 'he was holding a very imposing cane,' and 'he had a pair of single pane glasses with handles hanging from the front of his coat.'. In just a few words, the image of Mr. Micawber, who is financially strapped but likes to pretend to be "elegant and sophisticated", came to life on paper. In the subsequent descriptions, the author repeatedly highlights such features, such as "placing his chin on the collar of his shirt", "carrying a cane under his armpit and walking out with a straight waist", "he also carries the elegant demeanor of before", and so on. The character's vanity mentality is well reflected through repeated reinforcement. Mr. Micawber's personality traits are described in his rapid transition from sadness to joy: when creditors come to collect their debts, he is "really sad, ashamed, and even so miserable that he cannot control himself. He uses a razor to make a motion to wipe his neck," but "in less than half an hour," "he carefully polishes his leather shoes, then hums a song, puts on a more noble posture than usual, and walks out the door; On Saturday night, when he talked about his debt burden, he "cried uncontrollably", but "towards the end, he even sang" Jack loves his lovely South "again", and by the time he went to bed, he "calculated again how much it would cost to install protruding windows in the house someday (this is his catchphrase); Crying loudly in prison, just after saying the wise saying "If a person earns twenty pounds a year and spends nineteen pounds, nineteen shillings, and sixpence, he will live happily, but if he spends twenty pounds and one shilling, he will be miserable", he immediately "borrowed a shilling from me to buy black beer to drink", and then "became happy"... The comical contrast between the two highlights the character's personality traits of liking enjoyment, lacking responsibility, but being optimistic and comfortable when facing difficulties.
再来看米考伯太太。“跟她丈夫完全一样”，同样爱慕虚荣，同样“能屈能伸”。她的每一次出场都很戏剧化：她将娘家的辉煌成天挂在嘴边，“跟我爸爸妈妈住在一起，当时我从来没有想到，有一天我不得不招个房客来住”，“当我跟爸爸妈妈一起过日子时我真的不懂，我现在用的‘困难’这两个字是什么意思”；她不懂持家，用典当餐具的钱大吃大喝，“在3点钟时为缴税的事急得死去活来，可是到了4点钟，她就吃起炸羊排，喝起热麦酒来了”。“债多不愁、乐知天命”的米考伯夫妇已成了文学中的典型，他们的性格被称作“米考伯主义”。“米考伯”一词也被收入英语词典，意思是“没有远虑，幻想走运的乐天派”。
Let's take a look at Mrs. Micawber again. Just like her husband, equally vain, and equally adaptable. Her every appearance is very dramatic: she talks about the glory of her family all day long, "Living with my parents, I never thought that one day I would have to hire a tenant to live with", "When I live with my parents, I really don't understand what the word 'difficult' means now"; She didn't know how to manage the household and used the money from pawning utensils to eat and drink. "At 3 o'clock, she was so anxious about paying taxes, but by 4 o'clock, she started eating fried lamb chops and drinking hot wheat wine. The Micawber couple, who were known for their debt and happiness in knowing fate, have become typical figures in literature, and their personalities are referred to as' Micawber ism '. The term 'Micawber' has also been included in English dictionaries, meaning 'optimistic person who has no foresight and dreams of luck'.
关于狄更斯的艺术夸张，评论家们褒贬不一。有的认为，狄更斯运用夸张手法塑造人物是一”、英国诗人艾略特就认为狄更斯所塑造的人物“比人们本身更为深刻”。有的则认为，上的某一特点加以夸张，使人物失去了真实感。英国小说家福斯特在《小说面称作“扁平人物”，认为“扁平人物”可以用一句话来概述人物特性，具有狄更斯笔下的人物大都个性鲜明，人物特定的一句话、一个神情或一个动作，就能把社会内容鲜明地表现出来。他善于用艺术夸张来突出人物的某些特征。茨威格在《三大师传》中评论说：“狄更斯总是强调他的人物的特征，他从物镜里把特征转变成增强的特征、漫画的特征。”在描写米考伯夫妇时，作者捕捉到他们特有的外部特征，如习惯动作、姿势、用语等，经过夸张增强、漫画式折射，反映出其性格特点。先看米考伯先生的初次亮相：“衣服破旧，但装了一条颇为神气的衬衣硬领”，“拿着一根很有气派的手杖”，“外套的前襟上还挂着一副有柄的单片眼镜”。三言两语，一个经济拮据，却喜欢装成“文雅的气派”的米考伯先生形象便跃然纸上。之后的描写中，作者重复突出此类特征，如“把下巴架在了衬衣的硬领上”“腋下夹着手杖，腰杆儿笔挺地走出来”“他又带着先前那种文雅的气派”等。人物爱慕虚荣的心理在反复强化中得到了很好的折射。而米考伯先生的性格特点，则是在其一悲一乐的迅速转换中展开描写的：当债主上门追债时，他“真是又伤心，又羞愧，甚至悲惨得不能自制，用一把剃刀做出抹脖子的动作来”，可是“还不到半个小时”，“他就特别用心地擦亮自己的皮鞋，然后哼着一支曲子，摆出比平时更加高贵的架势，走出门去了”；星期六晚上谈起债务负担时，他“泣不成声”，可是“到了快结束时，他竟又唱起‘杰克爱的是他可爱的南’来”，到上床睡觉时“又计算起来，有朝一日，时来运转(这是他的一句口头禅)，给房子装上凸肚窗得花多少钱”；在监狱里大哭一场，刚说完“一个人要是每年收入二十镑，花掉十九镑十九先令六便士，那他会过得很快活，但要是他花掉二十镑一先令，那他就惨了”的至理名言，又马上“向我借了一先令买黑啤酒喝”，随后就“变得高兴起来”……相反相成的滑稽表现，极具夸张的前后对比，凸显了人物喜欢享受，缺乏责任心，但面对困难时乐观自在的性格特征。
Critics have mixed opinions on Dickens' artistic exaggeration. Some people believe that Dickens' use of exaggeration to shape characters is one, while British poet Eliot believed that the characters created by Dickens are "more profound than people themselves. Some people believe that exaggerating a certain characteristic on the screen makes the characters lose their sense of reality. British novelist Foster referred to "flat characters" in his novel "The Three Masters", believing that "flat characters" can be summarized in one sentence to outline the characteristics of characters. Most of the characters in Dickens' works have distinct personalities, and a specific sentence, expression, or action can vividly express social content. He is good at using artistic exaggeration to highlight certain characteristics of characters. Zweig commented in "The Three Masters" that "Dickens always emphasized the characteristics of his characters, transforming them from the objective lens into enhanced features, comic features." When describing the Micawbers, the author captured their unique external characteristics, such as habitual movements, postures, language, etc., and through exaggeration enhancement and comic style reflection, reflected them. His personality traits. First, let's take a look at Mr. Micawber's debut: 'His clothes were worn out, but he wore a rather stylish shirt with a hard collar,' 'he was holding a very imposing cane,' and 'he had a pair of single pane glasses with handles hanging from the front of his coat.'. In just a few words, the image of Mr. Micawber, who is financially strapped but likes to pretend to be "elegant and sophisticated", came to life on paper. In the subsequent descriptions, the author repeatedly highlights such features, such as "placing his chin on the collar of his shirt", "carrying a cane under his armpit and walking out with a straight waist", "he also carries the elegant demeanor of before", and so on. The character's vanity mentality is well reflected through repeated reinforcement. Mr. Micawber's personality traits are described in his rapid transition from sadness to joy: when creditors come to collect their debts, he is "really sad, ashamed, and even so miserable that he cannot control himself. He uses a razor to make a motion to wipe his neck," but "in less than half an hour," "he carefully polishes his leather shoes, then hums a song, puts on a more noble posture than usual, and walks out the door; On Saturday night, when he talked about his debt burden, he "cried uncontrollably", but "towards the end, he even sang" Jack loves his lovely South "again", and by the time he went to bed, he "calculated again how much it would cost to install protruding windows in the house someday (this is his catchphrase); Crying loudly in prison, just after saying the wise saying "If a person earns twenty pounds a year and spends nineteen pounds, nineteen shillings, and sixpence, he will live happily, but if he spends twenty pounds and one shilling, he will be miserable", he immediately "borrowed a shilling from me to buy black beer to drink", and then "became happy"... The comical contrast between the two highlights the character's personality traits of liking enjoyment, lacking responsibility, but being optimistic and comfortable when facing difficulties.
再来看米考伯太太。“跟她丈夫完全一样”，同样爱慕虚荣，同样“能屈能伸”。她的每一次出场都很戏剧化：她将娘家的辉煌成天挂在嘴边，“跟我爸爸妈妈住在一起，当时我从来没有想到，有一天我不得不招个房客来住”，“当我跟爸爸妈妈一起过日子时我真的不懂，我现在用的‘困难’这两个字是什么意思”；她不懂持家，用典当餐具的钱大吃大喝，“在3点钟时为缴税的事急得死去活来，可是到了4点钟，她就吃起炸羊排，喝起热麦酒来了”。“债多不愁、乐知天命”的米考伯夫妇已成了文学中的典型，他们的性格被称作“米考伯主义”。“米考伯”一词也被收入英语词典，意思是“没有远虑，幻想走运的乐天派”。
Let's take a look at Mrs. Micawber again. Just like her husband, equally vain, and equally adaptable. Her every appearance is very dramatic: she talks about the glory of her family all day long, "Living with my parents, I never thought that one day I would have to hire a tenant to live with", "When I live with my parents, I really don't understand what the word 'difficult' means now"; She didn't know how to manage the household and used the money from pawning utensils to eat and drink. "At 3 o'clock, she was so anxious about paying taxes, but by 4 o'clock, she started eating fried lamb chops and drinking hot wheat wine. The Micawber couple, who were known for their debt and happiness in knowing fate, have become typical figures in literature, and their personalities are referred to as' Micawber ism '. The term 'Micawber' has also been included in English dictionaries, meaning 'optimistic person who has no foresight and dreams of luck'.
关于狄更斯的艺术夸张，评论家们褒贬不一。有的认为，狄更斯运用夸张手法塑造人物是一种“创造”，英国诗人艾略特就认为狄更斯所塑造的人物“比人们本身更为深刻”。有的则认为，狄更斯抓住人物身上的某一特点加以夸张，使人物失去了真实感。英国小说家福斯特在《小说面面观》中将这类人物称作“扁平人物”，认为“扁平人物”可以用一句话来概述人物特性，具有十分明显的类型化特点，有利于读者认出他们，记住他们，但只适合扮演喜剧角色。
Critics have mixed opinions on Dickens' artistic exaggeration. Some people believe that Dickens' use of exaggeration to shape characters is a form of "creation", and the British poet Eliot believed that the characters created by Dickens are "more profound than people themselves". Some believe that Dickens exaggerated a certain characteristic of a character, causing them to lose their sense of reality. British novelist Foster referred to these characters as "flat characters" in his book "Aspects of Fiction", believing that "flat characters" can be summarized in one sentence to outline their characteristics and have very obvious typological features, which are conducive to readers recognizing and remembering them, but are only suitable for playing comedic roles.
第九种内心独白
The ninth kind of inner monologue
内心独白可以凭借第三人称全知视角的优势，深入人物内心世界，详尽描述、分析了他此时的所思所想。《复活》中通过内心独白，我们看到聂赫留朵夫内心“兽性的我”与“精神的我”展开了激烈的对话：“再也不能做什么对别人有益的事了”，魔鬼的声音在阻止他行动，让他同她分手，从此一刀两断。同时，作者用他的“分析”直接告诉我们：“他的精神世界这会儿仿佛搁在不稳定的天平上，只要稍稍加一点儿力气，就会向这边或者那边倾斜。”通过人物内心的对话，结合作者的直接分析，充分展示了聂赫留朵夫在矛盾中挣扎的艰难。
The inner monologue can leverage the advantage of the third person omniscient perspective to delve into the character's inner world, providing a detailed description and analysis of their thoughts and feelings at that moment. In "Resurrection", through his inner monologue, we see Nekhlyudov engage in a heated dialogue between his "animalistic self" and "spiritual self": "I can no longer do anything beneficial to others." The voice of the devil is preventing him from taking action and causing him to break up with her, thus severing ties. At the same time, the author uses his "analysis" to directly tell us: "His spiritual world seems to be resting on an unstable balance at this moment, and with just a little bit of force, it will tilt towards one side or another." Through the dialogue in the characters' hearts, combined with the author's direct analysis, it fully demonstrates the difficulties of Nekhlyudov's struggle in contradictions.
海明威也擅长用大量人物的内心独白，来表现人的精神状态和情感世界。在《老人与海》面对接踵而至的残酷搏击，老人的内心活动是丰富而复杂的。他感到过厌倦，“真希望这是一场梦，希望根本没有钓上这条鱼”，“真希望不用再搏斗了”；产生过焦虑，“要是夜里来了鲨鱼，该怎么办？能有什么办法？”；甚至有过失望，“好景不长啊”，“我不能指望干掉它们了”，“天知道最后那条鲨鱼咬掉了多少鱼肉”。可是，每当这些想法出现时，他总会阻止自己想下去，大声对自己说“你想得太多了”，“别想啦”，“想点儿高兴的事儿吧”。他不断给予自己信心、希望、激情：“兴许你还能交上好大的运气呢”，“我要跟它们一直斗到死”。老人的内心独白，主要有两种形式，一种是无声的各种想法，一种是有声的自言自语。而有声的自言自语，更多的是否定自己的犹豫，不断激励自己。在茫茫大海上，老人这样的自言自语，给他带来了不少力量和勇气。
Hemingway was also skilled at using a large number of characters' inner monologues to depict people's mental states and emotional worlds. In "The Old Man and the Sea," facing a series of brutal battles, the old man's inner activities are rich and complex. He felt tired, 'I really wish this was a dream, I wish I hadn't caught this fish at all,' 'I really wish I didn't have to fight anymore.'; I have experienced anxiety, 'What should I do if a shark comes at night? What can I do?'; I have even experienced disappointment, such as' the good times don't last long ',' I can't expect to kill them anymore ', and' God knows how much fish that shark bit off in the end '. But whenever these thoughts arise, he always stops himself from thinking and loudly says to himself, 'You're overthinking it,' 'Don't think about it,' 'Think about something happy.'. He constantly gave himself confidence, hope, and passion: 'Maybe you can still have great luck,' 'I want to fight them until death.'. The inner monologue of the elderly mainly takes two forms, one is silent thoughts and the other is verbal self talk. And the sound of self talk, more of denying one's own hesitation, constantly motivating oneself. On the vast sea, the old man's soliloquy brought him a lot of strength and courage.
有时他的思绪也会自由联想，想起那个棒球员：“不知道了不起的迪马吉奥会不会欣赏我一举击中鲨鱼的脑袋。”想起小男孩、镇子里的人：“我相信他会对我有信心。好多上了岁数的渔夫也会为我担心，还有不少别的人也会的……”每一次的联想，都是对自我的一次积极肯定。老人通过这样的方式，不断唤起强烈的意志，激发继续战斗的勇气。老人的自我对话和自由联想，让他在绝境中一次又一次燃起希望，增添必胜的信心，从而更加坚定地进行这场力量悬殊的孤独的斗争。
Sometimes his thoughts also freely associate, thinking of the baseball player: "I don't know if the amazing DiMaggio would appreciate me hitting the shark's head in one fell swoop." Thinking of the little boy and the people in the town: "I believe he will have confidence in me. Many elderly fishermen also worry about me, and many others do..." Every association is a positive affirmation of oneself. In this way, the elderly constantly awaken strong will and inspire the courage to continue fighting. The old man's self dialogue and free association have ignited hope again and again in desperate situations, increasing his confidence in victory and making him more determined to fight this lonely struggle of power disparity.
从总体上看，老人的内心活动以摇摆的方式推进，是有条理、有秩序的，但其间也会不断出现一些纷乱的意识，比如想到罪过，想到大马林鱼、大海和风。这些旁逸斜出的意识描写，表现了老人对生命、对大海、对人与自然关系的思考，进一步丰富了文章的意蕴。
Overall, the inner activities of the elderly move forward in a swinging manner, which is organized and orderly. However, there may also be some chaotic consciousness constantly emerging during this process, such as thinking of sins, the marlin, the sea, and the wind. These oblique descriptions of consciousness express the elderly's thoughts on life, the sea, and the relationship between humans and nature, further enriching the meaning of the article.
大量的内心独白，真实地记录了老人寻求勇气、激发斗志、维护自尊的过程，也闪烁出深邃丰富的哲理光彩。海明威说：“我试图描写一个真正的老人，一片真正的大海，一群真正的鲨鱼……如果我的描写足够精彩和真实，那么他们将意味着许多东西。”在他笔下，老人是真实的，大海是真实的，鲨鱼也是真实的，我们可以从这场真实的搏斗中领悟到“许多东西”。
A large number of inner monologues truthfully record the process of the elderly seeking courage, inspiring fighting spirit, and maintaining self-esteem, and also shine with profound and rich philosophical brilliance. Hemingway said, "I am trying to depict a real old man, a real sea, a group of real sharks... If my description is exciting and realistic enough, then they will mean many things." In his writings, the old man is real, the sea is real, and the sharks are real, and we can learn "many things" from this real struggle.