小流域水保方案(编辑修改稿)

小流域水保方案(编辑修改稿)内容摘要：

asi er to pr opose a t hing t han t o car y it out. ” I n som e novel s, t he ti tl e m ay off er a suggest i on about t he m ai n t heme. For exampl e, Jane Aust en’ s Pri de and Prej udi ce is named af ter it s t heme, and the whol e st ory unf olds it sel f around t hat t heme. I n som e novels, the t it le i s not so named but t he pl ot exist s pr im ar il y t o il l ustr at e t he them e and it i s not ver y dif fi cul t f or us t o i nf er what it i s. For exam ple, Uncle Tom’s Cabi n by H. B. St owe and The Grapes of Wrat h by John Stei nbeck voi ce t he t hem es of sl aver y and m igr at ory l abor r espect i vel y. The t itl e of The Grapes of Wrat h es fr om a l i ne i n an extr em el y f am ous Ci vil War song, “The Bat tl e Hymn of t he Republi c.” The l i ne i s, “He i s t rampli ng out t he vi nt age wher e t he Grapes of wrat h ar e stor ed, ” which m eans “an unj ust or oppressi ve si t uati on, acti on or pol icy t hat m ay i nfl am e desi re f or vengeance: an expl osi ve condit i on. ” The song was wr it t en by a fam ous and i nf luenti al soci al acti vist, Juli a War d Howe. Unobvi ous t hem e: But i n m ost l it erar y wor ks of fi cti on, t he them e i s sel dom so obvi ous. That is, general y a t hem e i s not a m or al nor a m esage, nei t her i s it clearl y conveyed i n t he ti tl e. When we f i ni sh readi ng a f inely wr ought st or y, i t i s easier t o sum up t he pl ot—t o say what happens—t han t o descri be t he m ai n i dea. To say of James Joyce’s “Araby” t hat i t i s about a boy who goes t o a bazaar to buy a gi ft f or a young wom an but ar ri ves t oo lat e is t o summ ari ze pl ot, not them e. In m any f i ne short st or ies, t hem e is t he cent er , the m ovi ng f or ce, t he pr i nci pl e of uni ty. Cl earl y, such a t hem e i s som et hi ng m ore t han t he char act ers and event s of t he stor y. Most of the shor t st ori es chal enge an easy e t hem e. I n Hem i ngway’s “A Clean, Wel Li ght ed Place, ” as obser ved by Kennedy and Gioi a, t he events ar e rat her sim pl e—a young wait er m anages to get ri d of t he ol d man f r om t he caf 233。 and t he older wait er st ops at a cof f e bar on hi s way hom e—but whil e the event s t hemselves sem relati vel y sli ght , t he st or y as a whol e i s f ul l of m eani ng. For a deep under st andi ng of t he meani ng, we have t o l ook t o ot her elements of t he st ory besi des what happe ns i n it : nar r at ive, sym bol s, t one, the di al ogue bet wen t he t wo wai t er s, t he m onol ogue of t he older wait er , et c. Evi dent ly t he aut hor i ntends us to pay m ore at ent i on t o t he thought s and feeli ngs of t he ol der wai t er, t he char act er whose wor ds echo t he aut hor ’s voi ce. One t ry on t he t heme m ay be: “The older wait er understands the ol d m an and sym pat hi zes wit h his need f or a cl ean, wel li ghted pl ace.” But here we ar e sti l t al king about what happens i n t he stor y, t hough we ar e not summi ng up t he pl ot. A them e i s usual y st ated i n gener al wor ds. Anot her t ry sounds l i ke t his: “Soli t ar y peopl e need a or derl y place where t hey can dr ink wi t h di gnit y. ” That i s a li t l e bet er. We have i ndi cat ed that Hem i ngway’s st or y i s m ore t han m er el y about an old m an and t wo wai t er s. We rem em ber t hat at he end t he st or y i s enti r el y conf i ned t o t he ol der wai ter’s t houghts and percept i ons. How do we under st and hi s mediati on on “nada,” not hi ngness, whi ch bear s so m uch em phasis? No good st at em ent of t he t hem e of the stor y can leave i t out . Then we have st il l anot her tr y: “Sol it ar y peopl e need a pl ace of r ef uge f r om t heir t er ibl e awar eness t hat their l if e ( or per haps, human l if e) i s esent i al ly m eani ngl es.” Nei t her t hi s nor any ot her st atement of t he stor y’ s t heme i s unar guabl y appr opr i at e, but the stat em ent at l east t ouches one pr im ar y i dea t hat Hemi ngway sems t o be dri ving at. Af t er we read “A Cl ean, Wel Li ghted Pl ace,” we feel t hat t her e i s such a t hem e, a uni fyi ng vi si on, even t hough we cannot r educe it t o a t ag and we may sti l var y i n our opi ni on about, and st atement of , t he t hem e. Moral i nferences drawn f rom m ost st ori es: Mor al i nf er ences m ay be dr awn fr om m ost st ori es, no doubt , even when an aut hor does not i nt end hi s /her st ory t o be r ead t his way. I n “A Cl ean, Wel Li ght ed Place”, we f eel t hat Hemi ngway is i ndi r ectl y gi vi ng us advi ce f or properl y r egar di ng and sym pat hi zi ng t he l onel y, t he uncert ai n, and t he ol d. But obvi ousl y the st or y does not set f ort h a l esson that we are supposed t o put i nt o pr act ice. We can say f or sur e t hat “A Cl ean, Wel Li ghted Pl ace” cont ai ns sever al t hemes and other st atements could be m ade t o t ake i n Hemi ngway’ s vi ew of l ove, of m uni cat i on bet ween peopl e, of digni ty. Great st ori es, li ke great symphonies, f requent ly have mor e than one t heme. When we say t hat t he ti le of Pr ide and Pr ej udi ce conveys the t heme of t he novel or that Uncl e Tom’ s Cabi n and The Gr apes of Wr ath t reat the t hemes of slaver y and mi grator y l abor respect ively, this is to use t hem e in a larger and mor e abstr a ct sense t han it is i n our discussion of case t he noveli st i ntends to point out the profound cause of Gatsby’s tragedy. Dr. Wat son i n t he st ori es of Sherl ock Holmes serves as a foi l t o t he her o, r ender ing t he det ect ive smart er t han he would ot her wise appear t o the r eader. By t he degr ee of their devel opm ent , charact ers can be grouped as round charact ers and f lat characters. Thi s division is proposed by Forster . Round charact ers ar e f ul ly developed whil e f la。