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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
25、lly crafted novel, setting is intimately blended with characters, symbolism, and theme. In addition to place, setting may crucially involve the time of the storycentury, year, or even specific hour. It may matter greatly that a story takes places in the morning or at noon. The medieval background in
26、forms us differently from the twentieth century. Kennedy and Gioia note that in The Scarlet Letter, the nineteenth-century author Nathaniel Hawthrone, utilizes a long introduction and a vivid description of the scene at a prison door to inform us that the events in the story took place in the Purita
27、n community of Boston of the earlier seventeenth century. This setting, to which Hawthorne pays so much attention, together with our schemata concerning Puritan practice, helps us understand what happens in the novel. We can understand to some extent the agitation in the town when a woman is accused
28、 of adultery, for adultery was a flagrant defiance of church for the God-fearing New England Puritan community, and an illegitimate child was evidence of sin. Without information about the seventeenth-century Puritan background, a reader today may be perplexed at the novel. The fact that the story i
29、n Hawthornes novel took place in a time remote from our own leads us to expect different attitudes and customs of the characters, is strongly suggestive of the whole society, which is crucial to an essential understanding of The Scarlet Letter as a whole. Besides place and time, setting may also inc
30、lude the weather, which, indeed, may be crucial in some stories. 2. Local color writing /regionalism and the writer, a regional writer. When setting dominates, or when a piece of fiction is written largely to present the manners and customs of a locality, the writing is often called local color writ
31、ing or regionalism and the writer, a regional writer. A regional writer usually sets his/her stories in one geographic area and tries to bring it alive to readers everywhere. Thomas Hardy, in his portrayal of life in Wessex, wrote regional novels. Arnold Bennetts novels of the “Five Towns” are marke
32、dly regional. Willliam Faulkner, known as a distinguished regional writer, almost always set his novels and stories in his native Mississippi. 3. The setting of a novel is not always drawn from a real-life locale. The setting of a novel is not always drawn from a real-life locale. Literary artists s
33、ometimes prefer to create the totality of their fictionthe setting as well as characters and their actions. The creation of setting can be a magical fictional gift in a novelist or storyteller. But whatever the setting of his/her work, a true novelist is concerned with making an environment credible
34、 for his/ her characters and their actions and in accord with the development of the plot. In some stories, a writer seems to draw a setting mainly to evoke atmosphere. In such a story, setting starts us feeling whatever the storyteller would have us feel. Thus atmosphere is a metaphor for a feeling
35、 or an impression which we cannot readily attach to some tangible cause. We say that an old farmhouse set among large maples, on a green lawn, has an atmosphere of peace. Here what we mean is that the house, by reason of the look of quietness and by reason of a number of pleasant associations we hav
36、e with the kind of life lived there, stirs a certain reaction in us which we do not attach to any single incident or object, but generally to the whole scene. In the same way we may say that the setting of a story contributes to defining its atmosphere. For instance, in “The Tell-Tale Heart,” Poes s
37、etting the action in an old, dark, lantern-lit house greatly contributes to the readers sense of unease, and so helps to build the storys effectiveness. Another example is Lawrences “The Horse Dealers Daughter,” the description at the beginning of which contributes much to the atmosphere of the stor
38、y. 4. The importance of atmosphere in creating the setting But it is a mistake to say that the atmosphere of a piece of fiction depends on the setting alone. (As illustrated in Shakespeares Hamlet, the dialogue at the very beginning of the play helps powerfully to establish the atmosphere of uncerta
39、inty, in addition to the settingthe cold midnight castle.) The vocabulary, the figures of speech, and the rhythm of the sentence also help define the general atmosphere, for by these factors the writer manages to control the kind of associations that come to the readers mind. Atmosphere also depends
40、 on character and action. In short, we may say that the atmosphere of fiction is the pervasive, general feeling, generated by a number of factors (setting, character, action, and style) that is opinion about, and statement of, the theme. Moral inferences drawn from most stories: Moral inferences may
41、 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 advice for properly regarding and sympathizing the lonely, the uncertain, and the old. But obviously the stor
42、y 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 in Hemingways view of love, of communication between people, of dignity. Great stories, like great sympho
43、nies, 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 slavery and migratory labor respectively, this is to use theme in a larger and more abstract sense than it
44、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 manner of living of the characters; (3) the time or period in which the action takes place, for example, the
45、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 characters in the story move. (Holman and Harman, A Handbook to literature, 1986) But often, in an effective
46、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, as we shall see in John Cheevers short story “The Swimmer”. First, as we have said, the idea of setting inc
47、ludes 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 sometimes called its locale.) Places in fiction not only provide a location for an action or an event of
48、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 house crowded with furniture. In addition to a sense of beauty or ugliness, we usually build up certain associ
49、ations 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, misery, 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 insects, a sense of mystery, horror, etc. The pop