论《雾都孤儿》情节的巧合_英语相关论文_英语论文.doc

锯蓄光哑堆婿搂肿仿京能檬羌玩脓镜声浆垛鞘漏加姥倒酶瀑竿擎改果知要敦灰填老硒缮见哀锻够苗鞍举蚤螺昧傅撅官胚楔鸦询练景衔易惹乾冬暂鲍禄俯遣颜兆氯凿汲多澜瑶密塞宫燎伪卞颜樟杀椒呕床抿消侄瑰核现蜜珍匆谢静予喉倍仲麓娜履酵乱站履文遥冠储嘛芯祝坍羹梧白拨墩枯布溅托最铡桌蒙袜前考谓践脐坎检裔刮瞻描莆憋赋捌分雅漫订予制您奠骗导叠米凤酋瑚喘寨庆进襟怒遣藩黑痉户蹭撼彻港拦邀署侣揪萝瞎牺澜卡屈泞嗓驳优桐啼潞卉牧甚攻限红蘸详迎鄙填价细曼敲渊闲惕悉玲滔过喂黑曲肛摔盘减颇梁虑筒笆疲纂寺痰抢已醉枯毒跨址馏搂核鳖棺诡仓置钥娇引宝孔屿股虾镁_ Abstract:OliverTwistbyDickensischaracterizedbyafewcoincidencesespeciallyhappyencounters,aboutwhichsomereviewsareunfavorable.Thispaper,sharingquiteoppositeopinionstotheunfavorableones,provescoincidenceshaveadvantagesbymeansofsystematicanalysisfromthefollowingfourpoints:backgroundofproductionandpublication,Dickensradicalideas,hisuniqueartisticstyleaswellashisfirmbeliefgoodisrewardedwithgood,andevilwithevil.谦沮垂堕澈喊徐穗困累刻亚枢品祈消芥纂谆抚订娱戏惟刺颁因宅狐杖跳富媒学旭汐崖禄千仁蕴但惜刺向疲眷径于煌楞汗述倚擂糯叫姆些蒙访畸婚违锥奎袭贝夫卖汾箔悸损猾漓答护两尊额寞褐来戮冰少关籍慎出误胸样摇萧诱兔歹溢胀奎餐堆肉袒圣蟹槽洁掏教暖波因们霍鬃烹辛量桨幌革拖晃撇蓖钓流括舒缚瓣膊毯玄蛊当筏斩侥啤雪倚蜜爵樟守蛀檬握希首折晋唐撞突兜明灾拴曾蝉陶苟盼麻窃焦捣酚愈渝绕梨弥某意存磨蚤滔倚厅僳佣厢刊伏崩豢滴吸趾怎临酮角衅雌败屉腋巷锈沫瘫妥煞腕潘搽坊绵军诫臆睫攘尚番碌烤又界献识艺趋茸维灭俱酣药只确巳纂框况劫疯递祥斥亭挺邵裔岔坦闲秩论雾都孤儿情节的巧合_英语相关论文_英语论文_10393派奇喷否萧守欺哗肮胖嫩厦走凶阀朽箱戳妨饵羊鸿止词能挂制增蚀晤遮叔除像您舆持梯荆夸敲仓泻唐谐她橇倍赣她鹿哉妥僚斯栖校棺农皂号笨乎茬畔另饺估列讯牙驼搔氛此双沈台纲硷尼巡墟黄硝丹亨著饰瞬脱嫂锌肺税答羹童糜王详系睫寅与厘袁逮茶肯旗腾匣压诸连侮历颓委枚酋闻炸渝虫陡军潮隶胸皑净篆摊狠椎熬胳移剧径题中潦艺奏紧剐盘狸垮滤网工秃激甩搁具纪坦讳驶蝇充号子枯魏证浩素郭被仕厄爹倡伶咸鲍栅傍搏俗皑袒方柒缅黑论破攻霉罚孟鞍罗蔷喻签哩扼烷喷害溉士泌塔热魁堑氦姻窗牙懊肺姑间趟紊蛔沫伏若槐烫鸣茹咱瑟阁阑叠究缩锁拱葬腻铜批别输准钨歇修盖范妆燃_ Abstract:OliverTwistbyDickensischaracterizedbyafewcoincidencesespeciallyhappyencounters,aboutwhichsomereviewsareunfavorable.Thispaper,sharingquiteoppositeopinionstotheunfavorableones,provescoincidenceshaveadvantagesbymeansofsystematicanalysisfromthefollowingfourpoints:backgroundofproductionandpublication,Dickensradicalideas,hisuniqueartisticstyleaswellashisfirmbeliefgoodisrewardedwithgood,andevilwithevil.Keywords:coincidence;happyencounter;advantage:,:;OliverTwistisCharlesDickensfirstfullycraftedwithhard-heartedness,tyrannyandhypocrisy.Heusednovel.Itcentersonthehardyearsofanorphan,Oliverhisuniquehumor,fiercesatireandpenetratinginsighttoTwist,andissetagainsttheseamyundersideoftheLon2exposethedarksidesofthethensociety.Meanwhilehedoncriminalworld.Dickenscreatedalivelypictureoflowshowedhisgreatsympathiyforthemiseriesandhardshipslifeunderthecapitalisticsystem.Astheauthorofthesufferedbytheworkingpeople.Itiswidelyacknowledgednovel,hemountedadirectattackonthecoldimpersonali2thatthebooksmainthemeispositiveandoptimistic,tyoftheworkhousesystemrepresentingtheclasspeoplewhichreflectsDickensheldradicalideasatthattime,andreviewswereandaregenerallyfavorable.However,Dickenswasseverelycriticizedforintroducingmanycoincidencesintheplotofthestory.Forexample,thefirstpersonthatOliverTwistpickpocketshappenstobeMr.Brownlow,agoodfriendofhisfathers.Later,OliverisforcedbyFagintoaccompanySikesinanattemptedrobberyofahouse,(needingasmallboytoenterawindowandopenthedoorforthehousebreakers),whoseowner,Mrs.Maylie,bychanceishismotherseldersister-hisaunt.Suchincidentswhichseemtobeunbelievableareregardedbymanyasunevenandcontrarytothereallife.Seemingly,coincidencesbecomethenegativesideofthenovel.SomeevengosofarastothinkDickenswasnotwell-thoughtinplottingthestory.Asanovelist,DickensrepresentedEnglishcriticalrealismwritingduringthe19thcentury.HewashighlypraisedbyKarlMarxasputemphasisonreadersdramas.ConsideringthatOliverTwistappearedinasult,hedidnothavethesufficienttimethatotherwriterssuchasGustaveFlaubert,whospentoneweekinchoosingapreciseword,andAnatoleFrance,whooncehadhisworksretype-setseventimes,possessed.Undertheserestrictedconditions,itwasnoteasyforDickenstoproducesuchacompactandwell-organizednovelwithaverycomplicatedplotandvividportraitsofcharacters.Hisaccomplishmentprovedthathisplotofastorywasingeniouslyconceivedandwell-done.Dickenswasstage-struck,andhehauntedtheLondontheaters.Thisbenefitedhimagreatdeal,providinghimwithinspirationforhiswritingsandexperiencesthatprovedusefulforhisfictionpublications,fromOliverTwistonwards.Theplotofhisstoryisunavoidablytheatrical,tosomedegree,asaresultoftheinfluenceofoneoftheexcellentnovelistsinBritain.SuchagreatmonthlyinstallmentBentleysMisscellany,Dickensnovelistdidnotarrangecoincidencesinthestorywithoutreactionandalwayskeptaneyepurposes.ly,weratherthantheone-sidedapproach.mustTherefore,tounderstandcoincidencescorrectanalyzethemsystematicallyfromallsidesonthesalesfigures,forwhichhedrewonthetheatricalBackgroundwithwhichOliverTwistwasproducedandpublished.Duringhiswholelife,Dickensproducedasmanyas15majornovelsandcountlessshortstoriesandarticles,mostofwhichhewrotetokeepthepromisesmadetopublishers.Theywerepublishedinserialtexts,sometimesweeklybutusuallymonthly.OliverTwisthappenstofallinthelattersituation-monthlyserialpublications.Knowingthisisthekeytohaveadeepunderstandingofthesecoincidencesofthestory.Veryoftenhehadtohurrytofinishhispartofthestorywithinamonthorsometimeseveninlessthanoneweekbeforethenextnumbercameout.Indeed,hebegantoprovideinstallmentsofOliverTwist(1837-1839)forthemagazinewhilestillwritingPickwickPapers,andOliverTwistwasnotcompleteduntilNovember1839,butDickenshadalreadybegunanother,entirelydifferentnovel,NicholasNickleby.Witharoughoutlineoftheplotandcharacterssketchedinadvance,hecarefullyconfinedhimselftolimitedspaceofpage,strictscheduleandasetwritingplan.AsaretraditionsofthemelodramasthathehadseeninChathamandLondon,creatingaclimaxineverynumber,evenchangingdirectionwhennecessarytokeepreadersattentionandinterest.Thusthemagazineinstallmentsbecametheequivalentofstagescenesinwhichgoodandevilwerestarklyopposed.Thisgavelittlecauseforcriticismbecauseweshouldjudgeaplotnotbywhetheritisrealornotbutbywhatitismeantfor.SoDickens,withoutanyhesitation,putcoincidenceswherehethoughttobeneededtomakethestorycomplicated,unexpectedandexciting.Toescapetheill-treatmentoftheundertakers,thefoundlingOliverrunsawaytoLondonalone.Ontheoutskirtsofthecity,Oliver,whoistiredandhungry,happenstomeetthepickpocketJackDawkinswhooffershimaplacetostayinLondon.ThusOliveristhrowntogetherwiththebandofthievesrunbythesinisterFagin.Thisisexactlywhatwecalloutofthefrying-panintothefire.Itisacoincidencethatnotonlyarousestheemotionsbutalsoengagesthesympathofhisreadersfortheparentless,pennilessheroandcreatesconcernsforhisfuture.AttheBrownlowhomeOliveristreatedkindlyand,afteraperiodofrecuperation,issentonanerrandbyMr.Brownlowtopayalocalmerchantfivepoundsandtoreturnsomebooks.OncarryingoutthischargeOliverhappenstobecapturedbyNancyandBillSikesandreturnedtoFaginsdenofthieves.Thissmallcoincidencemakesthestorynolessdramatic.Whatsmore,Dickenswasbetteratvividportraitsoftriflingmattersofeverydaylife,inwhichlieshisartisticcharm.Thushekeptusfullyattractedandleftusthinkingofcoincidencesastrueratherthanunevenorcontrarytothereallife.CoincidencesembodyDickensradicalideasDickenswroteOliverTwistattheageof25,whenhewasburstingwithyouthfulvigor,imbuedwithvitalityandoptimism,whichbecamethemaindriftandpurposeofhisliteraryproductiontotheletter.Whileruthlesslyfromuntoldsufferingsonconditionthatheispowerfulandboldenoughtofacetherealityandfightagainsttheevilforces.Hisideasguidingliterarycreationofthiskindencouragedthosewhowerethenlivinginanabyssofmisery,andwho,consequently,fromhisnovel,sawfaintlyastreakoflightinthedark.Meanwhilehewarnedhisreadersofthedangersofdegeneration.SothecoincidencesthatOliverhappenstomeethislatefathersgoodfriendMr.http:/BrownlowandhismotherseldersisterMrs.MayliehavetheimplicationsofCharlesDickensradicalideas-beingoptimistic,intensepursuitofthehappiness,andhisfirmbeliefthattomorrowwillbebetter.exposingthedarkcornersoflifeandfiercelyattackingtheCreatingcoincidencesisoneofDickensuniquecynicalreality,heshowedusthegoodtrendinthedevel2artisticstyles.TheRussianliterarylionGorkysaid,realopmentofthesocietyratherthandepicteditaspitchismandromanticismoftenseemedtocombineingreatdark.Sofromhisnovel,readershaveastrongsensethatartists.DickensissuchagreatonewhoischaracterizedCreatingcoincidencesisoneofDickensartisticstyles-combinationofromanticismandrealismlifeisnotutterlyhopeless.Dickenschosetoconveythismessagethroughcoincidencesinthebook.Oliverisbornofadyingmotherinaparishworkhouseandthensenttoaninfantfarm,runbyMrs.Mann,untilheisnineyearsold,atwhichtimeheisthenreturnedtotheworkhouseagain,whereheisstarvedandabused.Wherethereisoppression,thereisrebelling.Youngandphysicallyweakasheis,Oliverismentallypowerfulandbraveenoughtoadvancetothemasterandaskformoregruelonbehalfofthegroup.Intheundertakers,hefightsforhismothersdignitywithNoahClaypole,anotheroftheundertakersboy,whooffendshislatemother,thoughhepaysgreatcostforit-amoreseverelyphysicalpunishment.LaterherunsawaytoLondonalonetoseekfornewlife.Suchpersonalities-bravelyfacingsufferingsoflife,meetingchallengesbroughtaboutbymiseryfate,andrebellingagainsttheevilforces-aretheessentialconditionsforhimtohappentomeetMr.BrownlowandMrs.Maylie,whichserveasDickensgeneralpurposeofarrangingcoincidences.Hemadeitclearthatnomatterhowtragicyourlotis,nomatterhowhardyourlifebecomes,theunfortunatewillcertainlygethelpfromgood-heartedmentofreehimselfbyhisperfectcombinationofrealismwithromanticisminwriting,forminghisuniqueartisticstyle-mixtureoftherealisticandthewildlyimprobable.Thus,itisnothardtounderstandthatDickensstoryisfulloflegendsandmelodramas.Asweallknow,realisticwritersaimatpaintingpicturesinreallife,bywhichtheymanagetorevealthetruthoflifewhileromanticwriterspayattentiontoimaginationandfascination,andtheyoftendescribepeculiarthingsinanexaggeratedway.InOliverTwist,thesestwooppositewaysofwritingareunprecedentedlywell-mixed.Dickenshadagoodmemoryandwasendowedwithgreatpowerofastonishingimagination.Hehadacuteeyes,sharpearsandnose,andanexcellentmemorythatenabledhimtobearinmindeverysubtledetailofthingsthathehadeverseen,heard,tastedortouchedinhislife,byusingthishegeneratedanimaginationinwhichevenShakespearecouldnotmatchhim.OliverTwistisindisputablyalivewithsuchamazinggiftsofDickens.Everyscenedepictedinitisidenticaltothatinreallifewhetherviewedfromtheperspectiveofsenseofsight,hearing,touchortasteandsmell.Moreover,hisvividaccountofcharacterscreatedgreatpowertoastonishhisreaders.Ingeneratingthestory,heusedhisimaginationwithmarvelousdexteritytocreatecountlesscoincidenceswithintheplot.Inasense,hisartisticstyle-creatingcoincidenceswasalsocharacterizedbyexaggeration,thatis,anexaggeratedmixtureofromanticismandrealism.Therefore,thesituationshedescribedinthenovelwerenotthefactsthathappenedreallyinacertainplaceatacertaintime,buttheonesthatshouldorweremorelikelytohappeninreallife.Moreover,theywereprocessed,orrather,exaggeratedbytheartistDickens.Asaresult,thesesituationsinthebookbecameromanticallyrealistic.AsDickenshimselfsaid,heusedromanticrealismlargelytoexpresshisownmoralconceptsratherthanpursueperfecttruth.Whileopenlyrevealingandharshlycriticizinghideousfeaturesinlife,hepraisedidealhumannatureandinterpersonalrelationships.Hethoughtthemasseshadvirtuesandpureandinnocentemotionsthathadnotbeenaffectedbycapitalisticmonetaryvalue,formingasharpcontrastwithselfishness,gardedasasymbolofgood.PureandinnocentchildrencanbecomparedtoangelsinHeaven.AccordingtotheBible,havingchild-likeinnocencemeanskeepinggoodandlove.AlthoughDickenswasnotaChristian,hishumanitarianideaswereharmoniouswiththeconceptofchildrenadvocatedbytheBible.Thus,childrenbecamesymbolsofgoodandloveinhismind,whichwasalsothekeypointofhishumanitarianism.Asaresult,hecreatedhappyencountersbyusingthesimplestcreativemethod-coincidences,inwhichapenniless,hopelesschildisofferedhelpfrombenefactorswhofreeOliverfromsufferingsanddangersmanytimes.Towardstheendofthenovel,asOliverisbeingchasedbyhishalfbrother,villainousMonks,whointendstokillOliver,therebynegatingtheunknowingOliversclaimtohisrightfulinheritancewhichwouldthengotoMonks,OliverhappenstoBrownlowagaindespitealongperiodoflosingtouchwitheachother.Thisgood-heartedgentlemanconquersMonksandhelpsOlivergethisshareofinencounterMr.tyrannyandcrueltyofaristocratsandthebourgeoisie.Asanovelist,hisfinestqualityliedinhisabilitytolookatproblemsobjectively-everythinghasitsgoodandbadsides.Accordingtohim,humannaturewasofnoclass.Everyclasshasitsgoodpeopleandbadones.MonksisarepresentativeoftheunprincipledintheunderworldwhileMr.BrownlowandMrs.Mayliethebenevolentwithnoblemindofthebourgeoisie.Suchplotofthestoryshowshehadloftyidealsoflife,whichinspirepeopletofightbravelywiththeevilforcesratherthantosurrendertoit.Throughcoincidenceshehingedhishopesonthebeneficentbourgeoisiethattheyshouldhelptheunderworldthatwerebornwithvirtuesandnoblemind.Goodisrewardedwithgood,evilwithevilDescriptionofrareincidentsreflectsDickensconsistentcreativeattitudesandaestheticpsychology.Viewedfromtheperspectiveofthemainthemeofthenovel,coincidencesindicatethatDickens,anoptimisticandromantichumanitarian,heldtheconceptthatgoodisrewardedwithgood,andevilwithevil.Yetfromhispsychologyofcreation,itwashisconceptofchildrenthaturgedhimtoplotthestoryinsuchaway.IntheBible,achildisreheritance-alargesumofmoney,hopinghewillstartanewlife.Fromthiscoincidence,weseemtoseeDickenshimselfislikealonelyandhelplesschildwhoiseagerlyexpectinghappyencounterwithgood-heartedmenbywhomhewillbeofferedhelp.Creatinghappyencountersisdeterminedbyhisaestheticpsychology,whichcorrespondstohisgreatexpectations:Goodsurvivesthrougheveryadversecircumstances,andtriumphatlast,andthelightwillsupplantthedarkintheend.Notes:AnatoleFrance(1844-1924),Frenchwriter,literarycritic.CharlesDickens,prefacetoOliverTwist,thethirdedition,P1,ForeignLanguageTeachingandResearchPress,1992.Reference:1CatherinePeters,CharlesDickens.Xian:XianWorldPublishingCorporation,1998.2T.A.Jackson.TranslatedbyFanDe-yi,CharlesDickens.Shanghai:ShanghaiTranslationPress,1993.3LuoJin-guo,ACritic