评《老人与海》中海明威写作风格和手法
Abstract
Being distinguished from many greatest American writers, Hemingway is noted for his writing style. Among all his works, The Old Man and the Sea is a typical one to his unique writing style and technique. The language is simple and natural on the surface, but actually deliberate and artificial. Sometimes the simple style is made a little different. The dialogue is combined with the realistic and the artificial. The simplicity is highly suggestive, and often reflects the strong undercurrent of emotion. Occasionally, the author us some figures of speech. Hemingway’s style is related to his experience as a journalist, his learning from many famous writers, and most importantly, his conscientious effort in looking for a style of his own. The influence of his style is great all over the world.
The Old Man and the Sea is full of facts, most of which comes from Hemingway’s own experience. So the way to u facts is a very important writing technique in this novel. The facts in the novel are lected and ud as a device to make the fictional world accepted. In the forepart of the novel, they are ud to show the quality of Santiago’s life, and are narrat
简笔画马ed simply and naturally; while in the latter part of the novel, they are ud from inside Santiago’s own consciousness and form part of a whole scheme of the novel.
Keywords: Facts; Simplicity; Artificial; Iceberg Theory
中文摘要
在众伟大的美国作家中，海明威以独特的写作风格而著称。在他所有的作品中，《老人与海》最能体现他独特的写作风格和手法。这部小说语言看似简洁自然，其实包含了作者的精心揣摩和润色加工。有时为了突出某一部分，作者会采用长句代替短句。文中的对话内容真实、贴近生活，而表达形式则经过了艺术加工。小说简洁自然的语言背后隐藏了深刻的意义和感情。文中还运用了比喻、拟人等修辞手法.还名位的这种独特风格与他当过新闻记者的经历有关,同时他兼菜各家之长,自成一体,形成了自己独特的创作方法和艺术风格。这种风格对整个世界文坛产生了重要的影响。
《老人与海》这部小说中运用了大量的事实,他们大多来自于作者亲身经历。海明威对这些事实精心选择,从而吸引读者的兴趣并使读者有一种身临其境的感觉。小说一开始用大量事实描写了主人公生活的环境,叙述风格简洁自然,未加任何感情色彩。随着情节的发展,大量呼酸>got2pee
的事实主要被运用于主人公的心理活动之中,而不是主要由作者来叙述。同时,这些事实构成了整个小说体系中不可缺少的一部分。
关键词： 怎么连接蓝牙耳机
事实；简洁；加工；冰山理论
Hemingway’s Writing Style and Techniques in The Old Man and the Sea
Introduction
The Old Man and the Sea (1952) comes round at the finish of Hemingway’s writing career. With its vivid characterization, its simple language, and the profound implicating it carries, it stands out as one of the excellent books Hemingway’s former stature as the word’s preeminent novelist after Hemingway’s unsuccessful novel Across the River and into the trees (1950). The Old Man and the Sea earned its author the Pulitzer Prize in fiction for 1952, and was instrumental in winning him the Nobel Prize for Literature two ye
民主评议党员比例ars later. It is a short novel about Santiago, an old Cuban fisherman who has gone for 84 days without catch. Therefore the boy, Mandolin, who ud to sail with him, is forced to leave him and catch in another ship. The old man insists on fishing alone and at last, he hooks an eighteen-foot, giant marlin, the largest he has ever known. But the fish is very powerful and disobedient. It tows the old man and his boat out to a for 48 hours, with the old man bearing the whole weight of the fish through the line on his back. The old man, with little food and sleep, has to endure much pain and fights against his treacherous hand cramp. To his great excitement, on his third day at a, he succeeds in drawing the weakened marlin to the surface and harpoons it. On his way home, he lashes marlin alongside his boat becau it is too big to be pulled into the boat. But, unfortunately, the come across sharks in different numbers for four times. The old man fights to kill the sharks with as much might and many weapons as he can summon, but only to find a giant skeleton of his marlin left after his desperate defen. At last, Santiago, having lost what he fought for, reaches the shore and struggles to his shack. He falls into sound sleep, dreaming of Africa, and the lions again. His struggle wins him m
uch respect.
Among many great American writers, Hemingway is famous for his objective and ter pro style. As the last novel Hemingway published in his life, The Old Man and the Sea typically reflects his unique writing style. This paper aims to discuss the writing style and techniques in The Old Man and the Sea. Of cour, Hemingway has ud many techniques in this novel, such as realism, the creation of suspen, monologue, etc. And this paper focus especially on the language style and one of the important techniques-the way to u facts in this novel.
Hemingway is famous for his language. With much care and effort, he created a very influential and immediately recognizable style. “The style he created in his early work, such as In Our Time and The Sun also Ris, was almost too good. Like the style of certain painters, it tended to become a manner, rather than a flexible way of responding to experience and conveying fresh insights through words.”1 Among all his works, The Old Man and the Sea is the most typical one to his unique language style. Its language is simple and natural, and has the effect of directness, clarity and freshness. This is becaus
e Hemingway always manages to choo words “`concrete, specific, more commonly found, more Anglo-Saxon, casual and conversational.” 2 He ldom us adjectives and abstract nouns, and avoids complicated syntax. Hemingway’s strength lies in his short ntences and very specific details. His short ntences are powerfully loaded with the tension, which he es in life. Where he does not u a simple and short ntence, he connects the various parts of the ntence in a straightforward and quential way, often linked by “and”.
In his task of creating real people, Hemingway us dialogue as an effective device. It is prented in a form “as clo to the dramatic as possible, with a minimum of explanatory comment.”3 Here is an example chon from The Old Man and the Sea:
‘What do you have to eat?’ the boy asked.
‘No, I will eat at home. Do you want me to make the fire?’
‘No, I will make it later on. Or I may eat the rice cold.’
Here we can e that such interpolations as “he said” have frequently been omitted and the words are very colloquial. Thus the speech comes to the reader as if he were listenin
g. Hemingway has captured the immediacy of dialogue skillfully and has made the economical speech connotative.
But it is good to note that Hemingway’s style is deliberate and artificial, and is never as natural as it ems to be. The reasons are as follows. Firstly, in some specific moments, in order to stand out by contrast and to describe an important turning point or climax, the style is made a little different:
He took all his pain and what was left of his long gone pride and he put it against the fish’s agony and the fish came over on to his side and swam gently on his side, his bill almost touching the planking of the skiff, and started to pass the boat, long, deep, wide, silver and barred with purple and interminable in the water.5
形容生气的词语The language in this one-ntence paragraph is different from other parts of the novel. Kenneth Graham has commented that the ntence builds up its parts in a carefully laborious quence-“all his pain and what was left of his strength and his long gone pride”. It emulates the movement of the exhausted marlin and the physical strain of the old man. And it mounts to a heavy crescendo in the very un-prosaic inversion of adjective
红轴和黑轴s-“long, deep, wide”-ending in the virtually poetic cadence, “interminable in the water.”6
The dialogue, too, is combined with the realistic and the artificial. Usually the content contains and the expression contains the artificial. In The Old Man and the Sea, the language style is very peculiar from Hemingway’s other writings. This is becau the novel is an English version of the Spanish that Santiago and Mandolin would speak in real life. “Since we are meant to realize that Santiago and Mandolin could not possibly speak like this, since English is not his tongue anyway, we are more likely to accept other artificialities of the dialogue. Using the device of a pretended ‘translation’, which would be bound to stilt in any ca, Hemingway can ‘poetize’ the dialogue as he wishes.”7 The speakers are distanced from readers to a certain degree. And while their language taking on a kind of epic dignity, it does not lo its convincingness. Even slightly strange exchanges like the following become fairly acceptable. For example:
‘You’re my alarm clock’, the boy said.
‘Age is my alarm clock’, the old man said. ‘Why do old man wake so early? Is it to have one longer day?’
‘I don’t know’, the boy said. ‘All I know is that young boys sleep late and hard’.
‘I can remember it’, the old man said. ‘ I’ll waken you in time.’8
