110千伏苏庄输变电工程可行性研究报告1

OPINIONABOUT,ANDSTATEMENTOF,THETHEMEMORALINFERENCESDRAWNFROMMOSTSTORIESMORALINFERENCESMAYBEDRAWNFROMMOSTSTORIES,NODOUBT,EVENWHENANAUTHORDOESNOTINTENDHIS/HERSTORYTOBEREADTHISWAYIN“ACLEAN,WELLLIGHTEDPLACE”,WEFEELTHATHEMINGWAYISINDIRECTLYGIVINGUSADVICEFORPROPERLYREGARDINGANDSYMPATHIZINGTHELONELY,THEUNCERTAIN,ANDTHEOLDBUTOBVIOUSLYTHESTORYDOESNOTSETFORTHALESSONTHATWEARESUPPOSEDTOPUTINTOPRACTICEWECANSAYFORSURETHAT“ACLEAN,WELLLIGHTEDPLACE”CONTAINSSEVERALTHEMESANDOTHERSTATEMENTSCOULDBEMADETOTAKEINHEMINGWAYSVIEWOFLOVE,OFCOMMUNICATIONBETWEENPEOPLE,OFDIGNITYGREATSTORIES,LIKEGREATSYMPHONIES,FREQUENTLYHAVEMORETHANONETHEMEWHENWESAYTHATTHETITLEOFPRIDEANDPREJUDICECONVEYSTHETHEMEOFTHENOVELORTHATUNCLETOMSCABINANDTHEGRAPESOFWRATHTREATTHETHEMESOFSLAVERYANDMIGRATORYLABORRESPECTIVELY,THISISTOUSETHEMEINALARGERANDMOREABSTRACTSENSETHANITISINOURDISCUSSIONOFHEMINGWAYS“ACLEAN,WELLLIGHTEDPLACE”INTHISLARGERSENSEITISRELATIVELYEASYTOSAYTHATMARKTWAINSHUCKLEBERRYFINN,UPDIKESA2THEOCCUPATIONSANDDAILYMANNEROFLIVINGOFTHECHARACTERS3THETIMEORPERIODINWHICHTHEACTIONTAKESPLACE,FOREXAMPLE,THELATEEIGHTEENTHCENTURYINHISTORYORWINTEROFTHEYEAR4THEGENERALENVIRONMENTOFTHECHARACTERS,FOREXAMPLE,RELIGIOUS,MENTAL,MORAL,SOCIAL,ANDEMOTIONALCONDITIONSTHROUGHWHICHCHARACTERSINTHESTORYMOVEHOLMANANDHARMAN,AHANDBOOKTOLITERATURE,1986BUTOFTEN,INANEFFECTIVESTORY,SETTINGMAYFIGUREASMORETHANMEREBACKGROUNDITCANMAKETHINGSHAPPENITCANPROMPTCHARACTERSTOACT,BRINGTHEMTOREALIZATIONS,ORCAUSETHEMTOREVEALTHEIRINNERMOSTNATURES,ASWESHALLSEEINJOHNCHEEVERSSHORTSTORY“THESWIMMER”FIRST,ASWEHAVESAID,THEIDEAOFSETTINGINCLUDESTHEPHYSICALENVIRONMENTOFASTORYAREGION,ALANDSCAPE,ACITY,AVILLAGE,ASTREET,AHOUSEAPARTICULARPLACEORASERIESOFPLACESWHEREASTORYOCCURSWHEREASTORYTAKESPLACEISSOMETIMESCALLEDITSLOCALEPLACESINFICTIONNOTONLYPROVIDEALOCATIONFORANACTIONORANEVENTOFTHESTORYBUTALSOPROVOKEFEELINGSINUSASIGHTOFAGREENFIELDDOTTEDWITHFLUTTERINGDAFFODILSAFFECTSUSVERYDIFFERENTLYFROMASIGHTOFADINGYALLEY,ATROPICALJUNGLE,ORASMALLHOUSECROWDEDWITHFURNITUREINADDITIONTOASENSEOFBEAUTYORUGLINESS,WEUSUALLYBUILDUPCERTAINASSOCIATIONSWHENWEPUTOURSELVESINSUCHASCENEWEAREDEPRESSEDBYADINGYALLEY,NOTONLYBECAUSEITISUGLY,BUTBECAUSEITMAYAROUSEAFEELING,PERHAPSSOMETIMESUNCONSCIOUSLY,OFPOVERTY,MISERY,VIOLENCE,VICIOUSNESS,ANDTHESTRUGGLESOFHUMANBEINGSWHOHAVETOLIVEUNDERSUCHCONDITIONSATROPICALJUNGLE,FOREXAMPLE,INJOSEPHCONRADSHEARTOFDARKNESS,MIGHTINVOLVEACOMPLICATEDANALYSISTHEPLEASUREOFTHECOLOURSANDFORMSOFVEGETATION,THEDISCOMFORTOFHUMIDITY,HEAT,ANDINSECTS,ASENSEOFMYSTERY,HORROR,ETCTHEPOPULARITYOFSIRWALTERSCOTTS“WAVERLEY”NOVELSISDUEINPARTTOTHEIREVOCATIONOFAROMANTICMOODOFSCOTLANDTHEENGLISHNOVELISTGRAHAMGREENEAPPARENTLYNEEDEDTOVISITAFRESHSCENEINORDERTOWRITEAFRESHNOVELHISABILITYTOENCAPSULATETHEESSENCEOFANEXOTICSETTINGINASINGLEBOOKISEXEMPLIFIEDINTHEHEARTOFTHEMATTERHISCONTEMPORARYEVELYNWAUGHSTATEDTHATTHEWESTAFRICAOFTHATBOOKREPLACEDTHETRUEREMEMBEREDWESTAFRICAOFHISOWNEXPERIENCESUCHPOWERISNOTUNCOMMONTHEYORKSHIREMOORSHAVEBEENROMANTICIZEDBECAUSEEMILYBRONTEWROTEOFTHEMINWUTHERINGHEIGHTS,ANDLITERARYTOURISTSHAVEVISITEDSTOKEONTRENTINNORTHERNENGLANDBECAUSEITCOMPRISESTHE“FIVETOWNS”OFARNOLDBENNETSNOVELSOFTHEEARLYTWENTIETHCENTURYTHUS,AREADERSREACTIONTOAPLACEISNOTMERELYBASEDUPONTHEWAYITLOOKS,BUTUPONTHEPOTENTIALITIESOFACTIONSUGGESTEDBYITPLACESMATTERGREATLYTOMANYWRITERSFORINSTANCE,THEFRENCHNOVELISTBALZAC,BEFOREWRITINGASTORYSETINATOWN,HEWOULDGOANDVISITTHATTOWN,SELECTAFEWLANESANDHOUSES,ANDDESCRIBESTHEMINDETAIL,DOWNTOTHEIRVERYSMELLSINHISVIEWTHEPLACEINWHICHANEVENTOCCURSWASOFEQUALMOMENTWITHTHEEVENTITSELF,ANDITHASAPARTTOPLAYANOTHEREXAMPLEISTHOMASHARDY,UNDERWHOMTHEPRESENTATIONOFSETTINGASSUMESANUNUSUALIMPORTANCEHIS“WESSEX”VILLAGESCASTINTANGIBLYSUCHASSPELLUPONTHEVILLAGERSTHATONCETHEYLEAVETHEIRHOMETOWNSTHEYWILLINEVITABLYSUFFERFROMDISASTERS,ANDTHEFARTHERTHEYAREAWAYFROMTHEIRHOMETOWNS,THEMORE,TERRIBLETHEIRDISASTERSWILLBEFOREXAMPLE,INTHETESSOFTHEDURBERVILLES,THEVALEOFBLAKEMOREWASTHEPLACEWHERETESSWASBORNANDHERLIFEWASTOUNFOLDEVERYCONTOUROFTHESURROUNDINGHILLSWASASPERSONALTOHERASTHATOFHERRELATIVESFACESSHELOVEDTHEPLACEANDWASLOVEDINTHEPLACETHEVALE,FARFROMTHEMADDINGCROWDOFTHECIVILIZEDCITY,WASASSERENEANDPUREASTHEINHABITANTSTESS,IMBUEDDEEPLYWITHTHENATURALHUEOFTHEVALEANDBOUNDCLOSELYTOTHISWORLDOFSIMPLICITYANDSECLUSION,EXPERIENCEDHEROWNDELIGHTANDHAPPINESSTHOUGHHERFAMILYWASPOORITWAS,TOSOMEEXTENT,HERDEPARTUREFROMHERNATIVEPLACETHATLEDTOHERTRAGEDYINTHERETURNOFTHENATIVE,THEATMOSPHEREOFEGDONHEATHPREVAILSOVERTHEWHOLEBOOKASANENVIRONMENT,ITABSORBSSOMEANDREPELSOTHERSOFTHECHARACTERSTHOSEWHOAREABSORBEDACHIEVEASOMBERINTEGRATIONWITHIT,BUTTHOSEWHOAREREPELLEDANDREBELSUFFERDISASTERSOMETIMESANENVIRONMENTSERVESASMORETHANAMEREPLACETOSETTHESTORYOFTEN,ITISINEXTRICABLYENTANGLEDWITHTHEPROTAGONIST,ANDEVENCARRIESSTRONGSYMBOLICMEANINGSCATHYASANIMAGEOFTHEFEMININEPERSONALITY,FOREXAMPLE,INEMILYBRONTESWUTHERINGHEIGHTS,ISNOTSUPPOSEDTOPOSSESSTHE“WILDERNESS”CHARACTERISTICOFMASCULINITYANDSYMBOLIZEDBYTHELOCALESOFHEATHCLIFFANDWUTHERINGHEIGHTSINSOMEFICTION,SETTINGISCLOSELYBOUNDWITHTHEMEINTHESCARLETLETTER,EVENSMALLDETAILSAFFORDPOWERFULHINTSATTHETHEMEOFTHESTORYATTHESTARTOFTHESTORY,THENARRATORDESCRIBESACOLONIALJAILHOUSEBEFORETHISUGLYEDIFICE,ANDBETWEENITANDTHEWHEELTRACKOFTHESTREET,WASAGRASSPLOT,MUCHOVERGROWNWITHBURDOCK,PIGWEED,APPLEPERU,ANDSUCHUNSIGHTLYVEGETATION,WHICHEVIDENTLYFOUNDSOMETHINGCONGENIALINTHESOILTHATHADSOEARLYBORNETHEBLACKFLOWEROFCIVILIZEDSOCIETY,APRISONBUT,ONONESIDEOFTHEPORTAL,ANDROOTEDALMOSTATTHETHRESHOLD,WASAWILDROSEBUSH,COVERED,INTHISMONTHOFJUNE,WITHITSDELICATEGEMS,WHICHMIGHTBEIMAGINEDTOOFFERTHEIRFRAGRANCEANDFRAGILEBEAUTYTOTHEPRISONERASHEWENTIN,ANDTOTHECONDEMNEDCRIMINALASHECAMEFORTHTOHISDOOM,INTOKENTHATTHEDEEPHEARTOFNATURECOULDPITYANDBEKINDTOHIMAPPARENTLY,THEAUTHORMAKESACONTRASTBETWEENTHEUGLYJAILHOUSEWITHATANGLEDGRASSPLOTOVERGROWNWITHBURDOCKANDPIGWEEDANDSOMETHINGASBEAUTIFULASAWILDROSEASTHESTORYUNFOLDS,HEWILLFURTHERSUGGESTTHATSECRETSINANDAPRETTYCHILDMAYGOTOGETHERLIKEAPIGWEEDANDWILDROSESINTHISARTFULLYCRAFTEDNOVEL,SETTINGISINTIMATELYBLENDEDWITHCHARACTERS,SYMBOLISM,ANDTHEMEINADDITIONTOPLACE,SETTINGMAYCRUCIALLYINVOLVETHETIMEOFTHESTORYCENTURY,YEAR,OREVENSPECIFICHOURITMAYMATTERGREATLYTHATASTORYTAKESPLACESINTHEMORNINGORATNOONTHEMEDIEVALBACKGROUNDINFORMSUSDIFFERENTLYFROMTHETWENTIETHCENTURYKENNEDYANDGIOIANOTETHATINTHESCARLETLETTER,THENINETEENTHCENTURYAUTHORNATHANIELHAWTHRONE,UTILIZESALONGINTRODUCTIONANDAVIVIDDESCRIPTIONOFTHESCENEATAPRISONDOORTOINFORMUSTHATTHEEVENTSINTHESTORYTOOKPLACEINTHEPURITANCOMMUNITYOFBOSTONOFTHEEARLIERSEVENTEENTHCENTURYTHISSETTING,TOWHICHHAWTHORNEPAYSSOMUCHATTENTION,TOGETHERWITHOURSCHEMATACONCERNINGPURITANPRACTICE,HELPSUSUNDERSTANDWHATHAPPENSINTHENOVELWECANUNDERSTANDTOSOMEEXTENTTHEAGITATIONINTHETOWNWHENAWOMANISACCUSEDOFADULTERY,FORADULTERYWASAFLAGRANTDEFIANCEOFCHURCHFORTHEGODFEARINGNEWENGLANDPURITANCOMMUNITY,ANDANILLEGITIMATECHILDWASEVIDENCEOFSINWITHOUTINFORMATIONABOUTTHESEVENTEENTHCENTURYPURITANBACKGROUND,AREADERTODAYMAYBEPERPLEXEDATTHENOVELTHEFACTTHATTHESTORYINHAWTHORNESNOVELTOOKPLACEINATIMEREMOTEFROMOUROWNLEADSUSTOEXPECTDIFFERENTATTITUDESANDCUSTOMSOFTHECHARACTERS,ISSTRONGLYSUGGESTIVEOFTHEWHOLESOCIETY,WHICHISCRUCIALTOANESSENTIALUNDERSTANDINGOFTHESCARLETLETTERASAWHOLEBESIDESPLACEANDTIME,SETTINGMAYALSOINCLUDETHEWEATHER,WHICH,INDEED,MAYBECRUCIALINSOMESTORIES2LOCALCOLORWRITING/REGIONALISMANDTHEWRITER,AREGIONALWRITERWHENSETTINGDOMINATES,ORWHENAPIECEOFFICTIONISWRITTENLARGELYTOPRESENTTHEMANNERSANDCUSTOMSOFALOCALITY,THEWRITINGISOFTENCALLEDLOCALCOLORWRITINGORREGIONALISMANDTHEWRITER,AREGIONALWRITERAREGIONALWRITERUSUALLYSETSHIS/HERSTORIESINONEGEOGRAPHICAREAANDTRIESTOBRINGITALIVETOREADERSEVERYWHERETHOMASHARDY,INHISPORTRAYALOFLIFEINWESSEX,WROTEREGIONALNOVELSARNOLDBENNETTSNOVELSOFTHE“FIVETOWNS”AREMARKEDLYREGIONALWILLLIAMFAULKNER,KNOWNASADISTINGUISHEDREGIONALWRITER,ALMOSTALWAYSSETHISNOVELSANDSTORIESINHISNATIVEMISSISSIPPI3THESETTINGOFANOVELISNOTALWAYSDRAWNFROMAREALLIFELOCALETHESETTINGOFANOVELISNOTALWAYSDRAWNFROMAREALLIFELOCALELITERARYARTISTSSOMETIMESPREFERTOCREATETHETOTALITYOFTHEIRFICTIONTHESETTINGASWELLASCHARACTERSANDTHEIRACTIONSTHECREATIONOFSETTINGCANBEAMAGICALFICTIONALGIFTINANOVELISTORSTORYTELLERBUTWHATEVERTHESETTINGOFHIS/HERWORK,ATRUENOVELISTISCONCERNEDWITHMAKINGANENVIRONMENTCREDIBLEFORHIS/HERCHARACTERSANDTHEIRACTIONSANDINACCORDWITHTHEDEVELOPMENTOFTHEPLOTINSOMESTORIES,AWRITERSEEMSTODRAWASETTINGMAINLYTOEVOKEATMOSPHEREINSUCHASTORY,SETTINGSTARTSUSFEELINGWHATEVERTHESTORYTELLERWOULDHAVEUSFEELTHUSATMOSPHEREISAMETAPHORFORAFEELINGORANIMPRESSIONWHICHWECANNOTREADILYATTACHTOSOMETANGIBLECAUSEWESAYTHATANOLDFARMHOUSESETAMONGLARGEMAPLES,ONAGREENLAWN,HASANATMOSPHEREOFPEACEHEREWHATWEMEANISTHATTHEHOUSE,BYREASONOFTHELOOKOFQUIETNESSANDBYREASONOFANUMBEROFPLEASANTASSOCIATIONSWEHAVEWITHTHEKINDOFLIFELIVEDTHERE,STIRSACERTAINREACTIONINUSWHICHWEDONOTATTACHTOANYSINGLEINCIDENTOROBJECT,BUTGENERALLYTOTHEWHOLESCENEINTHESAMEWAYWEMAYSAYTHATTHESETTINGOFASTORYCONTRIBUTESTODEFININGITSATMOSPHEREFORINSTANCE,IN“THETELLTALEHEART,”POESSETTINGTHEACTIONINANOLD,DARK,LANTERNLITHOUSEGREATLYCONTRIBUTESTOTHEREADERSSENSEOFUNEASE,ANDSOHELPSTOBUILDTHESTORYSEFFECTIVENESSANOTHEREXAMPLEISLAWRENCES“THEHORSEDEALERSDAUGHTER,”THEDESCRIPTIONATTHEBEGINNINGOFWHICHCONTRIBUTESMUCHTOTHEATMOSPHEREOFTHESTORY4THEIMPORTANCEOFATMOSPHEREINCREATINGTHESETTINGBUTITISAMISTAKETOSAYTHATTHEATMOSPHEREOFAPIECEOFFICTIONDEPENDSONTHESETTINGALONEASILLUSTRATEDINSHAKESPEARESHAMLET,THEDIALOGUEATTHEVERYBEGINNINGOFTHEPLAYHELPSPOWERFULLYTOESTABLISHTHEATMOSPHEREOFUNCERTAINTY,INADDITIONTOTHESETTINGTHECOLDMIDNIGHTCASTLETHEVOCABULARY,THEFIGURESOFSPEECH,ANDTHERHYTHMOFTHESENTENCEALSOHELPDEFINETHEGENERALATMOSPHERE,FORBYTHESEFACTORSTHEWRITERMANAGESTOCONTROLTHEKINDOFASSOCIATIONSTHATCOMETOTHEREADERSMINDATMOSPHEREALSODEPENDSONCHARACTERANDACTIONINSHORT,WEMAYSAYTHATTHEATMOSPHEREOFFICTIONISTHEPERVASIVE,GENERALFEELING,GENERATEDBYANUMBEROFFACTORSSETTING,CHARACTER,ACTION,ANDSTYLETHATISOPINIONABOUT,ANDSTATEMENTOF,THETHEMEMORALINFERENCESDRAWNFROMMOSTSTORIESMORALINFERENCESMAYBEDRAWNFROMMOSTSTORIES,NODOUBT,EVENWHENANAUTHORDOESNOTINTENDHIS/HERSTORYTOBEREADTHISWAYIN“ACLEAN,WELLLIGHTEDPLACE”,WEFEELTHATHEMINGWAYISINDIRECTLYGIVINGUSADVICEFORPROPERLYREGARDINGANDSYMPATHIZINGTHELONELY,THEUNCERTAIN,ANDTHEOLDBUTOBVIOUSLYTHESTORYDOESNOTSETFORTHALESSONTHATWEARESUPPOSEDTOPUTINTOPRACTICEWECANSAYFORSURETHAT“ACLEAN,WELLLIGHTEDPLACE”CONTAINSSEVERALTHEMESANDOTHERSTATEMENTSCOULDBEMADETOTAKEINHEMINGWAYSVIEWOFLOVE,OFCOMMUNICATIONBETWEENPEOPLE,OFDIGNITYGREATSTORIES,LIKEGREATSYMPHONIES,FREQUENTLYHAVEMORETHANONETHEMEWHENWESAYTHATTHETITLEOFPRIDEANDPREJUDICECONVEYSTHETHEMEOFTHENOVELORTHATUNCLETOMSCABINANDTHEGRAPESOFWRATHTREATTHETHEMESOFSLAVERYANDMIGRATORYLABORRESPECTIVELY,THISISTOUSETHEMEINALARGERANDMOREABSTRACTSENSETHANITISINOURDISCUSSIONOFHEMINGWAYS“ACLEAN,WELLLIGHTEDPLACE”INTHISLARGERSENSEITISRELATIVELYEASYTOSAYTHATMARKTWAINSHUCKLEBERRYFINN,UPDIKESA2THEOCCUPATIONSANDDAILYMANNEROFLIVINGOFTHECHARACTERS3THETIMEORPERIODINWHICHTHEACTIONTAKESPLACE,FOREXAMPLE,THELATEEIGHTEENTHCENTURYINHISTORYORWINTEROFTHEYEAR4THEGENERALENVIRONMENTOFTHECHARACTERS,FOREXAMPLE,RELIGIOUS,MENTAL,MORAL,SOCIAL,ANDEMOTIONALCONDITIONSTHROUGHWHICHCHARACTERSINTHESTORYMOVEHOLMANANDHARMAN,AHANDBOOKTOLITERATURE,1986BUTOFTEN,INANEFFECTIVESTORY,SETTINGMAYFIGUREASMORETHANMEREBACKGROUNDITCANMAKETHINGSHAPPENITCANPROMPTCHARACTERSTOACT,BRINGTHEMTOREALIZATIONS,ORCAUSETHEMTOREVEALTHEIRINNERMOSTNATURES,ASWESHALLSEEINJOHNCHEEVERSSHORTSTORY“THESWIMMER”FIRST,ASWEHAVESAID,THEIDEAOFSETTINGINCLUDESTHEPHYSICALENVIRONMENTOFASTORYAREGION,ALANDSCAPE,ACITY,AVILLAGE,ASTREET,AHOUSEAPARTICULARPLACEORASERIESOFPLACESWHEREASTORYOCCURSWHEREASTORYTAKESPLACEISSOMETIMESCALLEDITSLOCALEPLACESINFICTIONNOTONLYPROVIDEALOCATIONFORANACTIONORANEVENTOFTHESTORYBUTALSOPROVOKEFEELINGSINUSASIGHTOFAGREENFIELDDOTTEDWITHFLUTTERINGDAFFODILSAFFECTSUSVERYDIFFERENTLYFROMASIGHTOFADINGYALLEY,ATROPICALJUNGLE,ORASMALLHOUSECROWDEDWITHFURNITUREINADDITIONTOASENSEOFBEAUTYORUGLINESS,WEUSUALLYBUILDUPCERTAINASSOCIATIONSWHENWEPUTOURSELVESINSUCHASCENEWEAREDEPRESSEDBYADINGYALLEY,NOTONLYBECAUSEITISUGLY,BUTBECAUSEITMAYAROUSEAFEELING,PERHAPSSOMETIMESUNCONSCIOUSLY,OFPOVERTY,MISERY,VIOLENCE,VICIOUSNESS,ANDTHESTRUGGLESOFHUMANBEINGSWHOHAVETOLIVEUNDERSUCHCONDITIONSATROPICALJUNGLE,FOREXAMPLE,INJOSEPHCONRADSHEARTOFDARKNESS,MIGHTINVOLVEACOMPLICATEDANALYSISTHEPLEASUREOFTHECOLOURSANDFORMSOFVEGETATION,THEDISCOMFORTOFHUMIDITY,HEAT,ANDINSECTS,ASENSEOFMYSTERY,HORROR,ETCTHEPOPULARITYOFSIRWALTERSCOTTS“WAVERLEY”NOVELSISDUEINPARTTOTHEIREVOCATIONOFAROMANTICMOODOFSCOTLANDTHEENGLISHNOVELISTGRAHAMGREENEAPPARENTLYNEEDEDTOVISITAFRESHSCENEINORDERTOWRITEAFRESHNOVELHISABILITYTOENCAPSULATETHEESSENCEOFANEXOTICSETTINGINASINGLEBOOKISEXEMPLIFIEDINTHEHEARTOFTHEMATTERHISCONTEMPORARYEVELYNWAUGHSTATEDTHATTHEWESTAFRICAOFTHATBOOKREPLACEDTHETRUEREMEMBEREDWESTAFRICAOFHISOWNEXPERIENCESUCHPOWERISNOTUNCOMMONTHEYORKSHIREMOORSHAVEBEENROMANTICIZEDBECAUSEEMILYBRONTEWROTEOFTHEMINWUTHERINGHEIGHTS,ANDLITERARYTOURISTSHAVEVISITEDSTOKEONTRENTINNORTHERNENGLANDBECAUSEITCOMPRISESTHE“FIVETOWNS”OFARNOLDBENNETSNOVELSOFTHEEARLYTWENTIETHCENTURYTHUS,AREADERSREACTIONTOAPLACEISNOTMERELYBASEDUPONTHEWAYITLOOKS,BUTUPONTHEPOTENTIALITIESOFACTIONSUGGESTEDBYITPLACESMATTERGREATLYTOMANYWRITERSFORINSTANCE,THEFRENCHNOVELISTBALZAC,BEFOREWRITINGASTORYSETINATOWN,HEWOULDGOANDVISITTHATTOWN,SELECTAFEWLANESANDHOUSES,ANDDESCRIBESTHEMINDETAIL,DOWNTOTHEIRVERYSMELLSINHISVIEWTHEPLACEINWHICHANEVENTOCCURSWASOFEQUALMOMENTWITHTHEEVENTITSELF,ANDITHASAPARTTOPLAYANOTHEREXAMPLEISTHOMASHARDY,UNDERWHOMTHEPRESENTATIONOFSETTINGASSUMESANUNUSUALIMPORTANCEHIS“WESSEX”VILLAGESCASTINTANGIBLYSUCHASSPELLUPONTHEVILLAGERSTHATONCETHEYLEAVETHEIRHOMETOWNSTHEYWILLINEVITABLYSUFFERFROMDISASTERS,ANDTHEFARTHERTHEYAREAWAYFROMTHEIRHOMETOWNS,THEMORE,TERRIBLETHEIRDISASTERSWILLBEFOREXAMPLE,INTHETESSOFTHEDURBERVILLES,THEVALEOFBLAKEMOREWASTHEPLACEWHERETESSWASBORNANDHERLIFEWASTOUNFOLDEVERYCONTOUROFTHESURROUNDINGHILLSWASASPERSONALTOHERASTHATOFHERRELATIVESFACESSHELOVEDTHEPLACEANDWASLOVEDINTHEPLACETHEVALE,FARFROMTHEMADDINGCROWDOFTHECIVILIZEDCITY,WASASSERENEANDPUREASTHEINHABITANTSTESS,IMBUEDDEEPLYWITHTHENATURALHUEOFTHEVALEANDBOUNDCLOSELYTOTHISWORLDOFSIMPLICITYANDSECLUSION,EXPERIENCEDHEROWNDELIGHTANDHAPPINESSTHOUGHHERFAMILYWASPOORITWAS,TOSOMEEXTENT,HERDEPARTUREFROMHERNATIVEPLACETHATLEDTOHERTRAGEDYINTHERETURNOFTHENATIVE,THEATMOSPHEREOFEGDONHEATHPREVAILSOVERTHEWHOLEBOOKASANENVIRONMENT,ITABSORBSSOMEANDREPELSOTHERSOFTHECHARACTERSTHOSEWHOAREABSORBEDACHIEVEASOMBERINTEGRATIONWITHIT,BUTTHOSEWHOAREREPELLEDANDREBELSUFFERDISASTERSOMETIMESANENVIRONMENTSERVESASMORETHANAMEREPLACETOSETTHESTORYOFTEN,ITISINEXTRICABLYENTANGLEDWITHTHEPROTAGONIST,ANDEVENCARRIESSTRONGSYMBOLICMEANINGSCATHYASANIMAGEOFTHEFEMININEPERSONALITY,FOREXAMPLE,INEMILYBRONTESWUTHERINGHEIGHTS,ISNOTSUPPOSEDTOPOSSESSTHE“WILDERNESS”CHARACTERISTICOFMASCULINITYANDSYMBOLIZEDBYTHELOCALESOFHEATHCLIFFANDWUTHERINGHEIGHTSINSOMEFICTION,SETTINGISCLOSELYBOUNDWITHTHEMEINTHESCARLETLETTER,EVENSMALLDETAILSAFFORDPOWERFULHINTSATTHETHEMEOFTHESTORYATTHESTARTOFTHESTORY,THENARRATORDESCRIBESACOLONIALJAILHOUSEBEFORETHISUGLYEDIFICE,ANDBETWEENITANDTHEWHEELTRACKOFTHESTREET,WASAGRASSPLOT,MUCHOVERGROWNWITHBURDOCK,PIGWEED,APPLEPERU,ANDSUCHUNSIGHTLYVEGETATION,WHICHEVIDENTLYFOUNDSOMETHINGCONGENIALINTHESOILTHATHADSOEARLYBORNETHEBLACKFLOWEROFCIVILIZEDSOCIETY,APRISONBUT,ONONESIDEOFTHEPORTAL,ANDROOTEDALMOSTATTHETHRESHOLD,WASAWILDROSEBUSH,COVERED,INTHISMONTHOFJUNE,WITHITSDELICATEGEMS,WHICHMIGHTBEIMAGINEDTOOFFERTHEIRFRAGRANCEANDFRAGILEBEAUTYTOTHEPRISONERASHEWENTIN,ANDTOTHECONDEMNEDCRIMINALASHECAMEFORTHTOHISDOOM,INTOKENTHATTHEDEEPHEARTOFNATURECOULDPITYANDBEKINDTOHIMAPPARENTLY,THEAUTHORMAKESACONTRASTBETWEENTHEUGLYJAILHOUSEWITHATANGLEDGRASSPLOTOVERGROWNWITHBURDOCKANDPIGWEEDANDSOMETHINGASBEAUTIFULASAWILDROSEASTHESTORYUNFOLDS,HEWILLFURTHERSUGGESTTHATSECRETSINANDAPRETTYCHILDMAYGOTOGETHERLIKEAPIGWEEDANDWILDROSESINTHISARTFULLYCRAFTEDNOVEL,SETTINGISINTIMATELYBLENDEDWITHCHARACTERS,SYMBOLISM,ANDTHEMEINADDITIONTOPLACE,SETTINGMAYCRUCIALLYINVOLVETHETIMEOFTHESTORYCENTURY,YEAR,OREVENSPECIFICHOURITMAYMATTERGREATLYTHATASTORYTAKESPLACESINTHEMORNINGORATNOONTHEMEDIEVALBACKGROUNDINFORMSUSDIFFERENTLYFROMTHETWENTIETHCENTURYKENNEDYANDGIOIANOTETHATINTHESCARLETLETTER,THENINETEENTHCENTURYAUTHORNATHANIELHAWTHRONE,UTILIZESALONGINTRODUCTIONANDAVIVIDDESCRIPTIONOFTHESCENEATAPRISONDOORTOINFORMUSTHATTHEEVENTSINTHESTORYTOOKPLACEINTHEPURITANCOMMUNITYOFBOSTONOFTHEEARLIERSEVENTEENTHCENTURYTHISSETTING,TOWHICHHAWTHORNEPAYSSOMUCHATTENTION,TOGETHERWITHOURSCHEMATACONCERNINGPURITANPRACTICE,HELPSUSUNDERSTANDWHATHAPPENSINTHENOVELWECANUNDERSTANDTOSOMEEXTENTTHEAGITATIONINTHETOWNWHENAWOMANISACCUSEDOFADULTERY,FORADULTERYWASAFLAGRANTDEFIANCEOFCHURCHFORTHEGODFEARINGNEWENGLANDPURITANCOMMUNITY,ANDANILLEGITIMATECHILDWASEVIDENCEOFSINWITHOUTINFORMATIONABOUTTHESEVENTEENTHCENTURYPURITANBACKGROUND,AREADERTODAYMAYBEPERPLEXEDATTHENOVELTHEFACTTHATTHESTORYINHAWTHORNESNOVELTOOKPLACEINATIMEREMOTEFROMOUROWNLEADSUSTOEXPECTDIFFERENTATTITUDESANDCUSTOMSOFTHECHARACTERS,ISSTRONGLYSUGGESTIVEOFTHEWHOLESOCIETY,WHICHISCRUCIALTOANESSENTIALUNDERSTANDINGOFTHESCARLETLETTERASAWHOLEBESIDESPLACEANDTIME,SETTINGMAYALSOINCLUDETHEWEATHER,WHICH,INDEED,MAYBECRUCIALINSOMESTORIES2LOCALCOLORWRITING/REGIONALISMANDTHEWRITER,AREGIONALWRITERWHENSETTINGDOMINATES,ORWHENAPIECEOFFICTIONISWRITTENLARGELYTOPRESENTTHEMANNERSANDCUSTOMSOFALOCALITY,THEWRITINGISOFTENCALLEDLOCALCOLORWRITINGORREGIONALISMANDTHEWRITER,AREGIONALWRITERAREGIONALWRITERUSUALLYSETSHIS/HERSTORIESINONEGEOGRAPHICAREAANDTRIESTOBRINGITALIVETOREADERSEVERYWHERETHOMASHARDY,INHISPORTRAYALOFLIFEINWESSEX,WROTEREGIONALNOVELSARNOLDBENNETTSNOVELSOFTHE“FIVETOWNS”AREMARKEDLYREGIONALWILLLIAMFAULKNER,KNOWNASADISTINGUISHEDREGIONALWRITER,ALMOSTALWAYSSETHISNOVELSANDSTORIESINHISNATIVEMISSISSIPPI3THESETTINGOFANOVELISNOTALWAYSDRAWNFROMAREALLIFELOCALETHESETTINGOFANOVELISNOTALWAYSDRAWNFROMAREALLIFELOCALELITERARYARTISTSSOMETIMESPREFERTOCREATETHETOTALITYOFTHEIRFICTIONTHESETTINGASWELLASCHARACTERSANDTHEIRACTIONSTHECREATIONOFSETTINGCANBEAMAGICALFICTIONALGIFTINANOVELISTORSTORYTELLERBUTWHATEVERTHESETTINGOFHIS/HERWORK,ATRUENOVELISTISCONCERNEDWITHMAKINGANENVIRONMENTCREDIBLEFORHIS/HERCHARACTERSANDTHEIRACTIONSANDINACCORDWITHTHEDEVELOPMENTOFTHEPLO