论《还乡》中自然环境描写的地位与作用

1、The role of The Natural Environment Description in The Return of The Native论还乡中自然环境描写的角色与地位Made by Yi ZiweiWhats the relationship between the natural description and the novel? The Natural description The novel Hardy describes the artistic images and promotes the development of the plot through the

2、natural enviornment description.ContentsWeather HeathThe Great Atomsphere of All The TragediesQuota 1:(灰暗，荒凉的荒原) Overhead the hollow stretch of whitish cloud shutting out the sky was as a tent which had the whole heath for its floor. Quota 2:（几百年未变，等待最终危机来临的旁观者） The place became full of a watchful i

3、ntentness now; for when other things sank blooding to sleep the heath appeared slowly to awake and listen. Every night its Titanic form seemed to await something; but it had waited thus, unmoved, during so many centuries, through the crises of so many things, that it could only be imagined to await

4、one last crisis the final overthrow.HeathThe Great Atomsphere of All The TragediesQuota 3: (喜爱荒原的人眼中的荒原) Twilight combined with the scenery of Egdon Heath to evolve a thing majestic without severity, impressive without showiness, emphatic in its admonitions, grand in its simplicity. 庄重而不严峻，动人而不艳丽，它的

5、警诫缓慢有力，它的简朴宏大壮观。Weather-The Signal of The Tragedies Quota 1：（山雨欲来风满楼，游苔莎出逃前沉闷压抑的天气） The scene without grew darker; mud-coloured clouds bellied downwards from the sky like vast hammocks slung across it, and with the increase of night a stormy wind arose; but as yet there was no rain.Weather-The Signa

6、l of The Tragedies Quota 2:(暴风雨来临) The gloom of the night was funereal; all nature seemed clothed in crape. The spiky points of the fir trees behind the house rose into the sky like the turrets and pinnacles of an abbey. Quota 3：（游苔莎同暴风雨斗争） .and the tearfulness of the outer scene was repeated upon h

7、er face. The wings of her soul were broken by the cruel obstructiveness of all about her. The Change of The Plants-Promoter of The Plots DevelopmentQuota 1:(游苔莎离开荒原路上的植物描写) Skirting the pool, she followed the path towards Rainbarrow, occasionally stumbling over twisted furze roots, tufts of rushes,

8、or oozing lumps of fleshy fungi, which at this season lay scattered about the heath like the rotten liver and lungs of some colossal animal.The Change of The Plants-Promoter of The Plots Development Quota 2：（姚伯太太穿越荒原去看望儿子前自家花园里的植物变化） In Mrs. Yeobrights garden large-leaved plants of a tender kind fla

9、gged by ten oclock in the morning; rhubarb bent downward at eleven; and even stiff cabbages were limp by noon. Quota 3：（阳光下的荒原植物） The sun had branded the whole heath with its mark, even the purple heath-flowers having put on a brownness under the dry blazes of the few preceding days.Animals-The Refl

10、ection of Peoples EmotionsQuota 1:(克莱半盲后与荒原动物和谐相处) Bees hummed around his ears with an intimate air, and tugged at the heath and furze-flowers at his side in such numbers as to weigh them down to the sod. The strange amber-coloured butterflies which Egdon produced, and which were never seen elsewher

11、e.None of them feared him.Animals-The Reflection of Peoples EmotionsQuota 2:(姚伯太太在路途中遇到的蚂蚁群) In front of her a colony of ants had established a thoroughfare across the way, where they toiled a never-ending and heavy-laden throng.Quota 3:(姚伯太太看到天空中飞舞的苍鹭，最终生命被一条小毒蛇终结) She leant back to obtain more tho

12、rough rest, and the soft eastern portion of the sky was as great a relief to her eyes as the thyme was to her head. While she looked a heron arose on that side of the sky and flew on with his face towards the sun.Fire-The Major Image of The Tragic Plots Quota 1：（荒原人们点祝火的习俗） The first tall flame from

13、 Rainbarrow sprang into the sky, attracting all eyes that had been fixed on the distant conflagrations back to their own attempt in the same kind. The cheerful blaze streaked the inner surface of the human circle now increased by other stragglers, male and female. Fire-The Major Image of The Tragic Plots Quota 2:(韦迪和游苔莎点篝火相会) Wildeve was before her. He had come forward after throwing the last pebble, and the fire now shone into each of their faces from the bank stretching breast-high between them. Quota 3：（苏珊做了一个形似游苔莎的蜡人并投入火中） As the wax dropped into the fire