海明威及其《老人与海》的文学批评.docx

海明威及其《老人与海》的文学批评.docx

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海明威及其《老人与海》的文学批评

BeingdistinguishedfrommanygreatestAmericanwriters,Hemingwayisnotedforhiswritingstyle.Amongallhisworks,TheOldManandtheSeaisatypicalonetohisuniquewritingstyleandtechnique.Thelanguageissimpleandnaturalonthesurface,butactuallydeliberateandartificial.Sometimesthe

simplestyleismadealittledifferent.Thedialogueiscombinedwiththerealisticandtheartificial.Thesimplicityishighlysuggestive,andoftenreflectsthestrongundercurrentofemotion.Occasionally,theauthorusessomefiguresofspeech.Hemingway'sstyleisrelatedtohisexperienceasajournalist,hislearningfrommanyfamouswriters,andmostimportantly,hisconscientiouseffortinlookingforastyleofhisown.Theinfluenceofhisstyleisgreatallovertheworld.

TheOldManandtheSeaisfulloffacts,mostofwhichcomesfromHemingway'sownexperience.Sothewaytousefactsisaveryimportantwritingtechniqueinthisnovel.Thefactsinthenovelareselectedandusedasadevicetomakethefictionalworldaccepted.Intheforepartofthenovel,theyareusedto

showthequalityofSantiago'slife,andarenarratedsimply

andnaturally;whileinthelatterpartofthenovel,theyareusedfrominsideSantiago'sownconsciousnessandformpartofawholeschemeofthenovel.

Keywords:

Facts;Simplicity;Artificial;IcebergTheory

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：

事实；简洁；加工；冰山理论

Hemingway'sWritingStyleandTechniquesinTheOldManandtheSea

Introduction

TheOldManandtheSea（1952）comesroundatthefinishof

Hemingway'swritingcareer.Withitsvividcharacterization,itssimplelanguage,andtheprofoundimplicatingitcarries,itstandsoutasoneoftheexcellentbooksHemingway'sformerstatureastheword'spreeminentnovelistafterHemingway's

unsuccessfulnovelAcrosstheRiverandintothetrees（1950）.TheOldManandtheSeaearneditsauthorthePulitzerPrizeinfictionfor1952,andwasinstrumentalinwinninghimtheNobelPrizeforLiteraturetwoyearslater.ItisashortnovelaboutSantiago,anoldCubanfishermanwhohasgonefor84dayswithoutcatch.Thereforetheboy,Mandolin,whousedtosailwithhim,isforcedtoleavehimandcatchinanothership.Theoldmaninsistsonfishingaloneandatlast,hehooksaneighteen-foot,giant marlin,thelargesthehaseverknown.Butthefishisverypowerfulanddisobedient.Ittowstheoldmanandhisboatouttoseafor48hours,withtheoldmanbearingthewholeweightofthefishthroughthelineonhisback.Theoldman,withlittlefoodandsleep,hastoenduremuchpainandfightsagainsthistreacheroushandcramp.Tohisgreatexcitement,onhisthirddayatsea,hesucceedsin

drawingtheweakenedmarlintothesurfaceandharpoonsit.Onhiswayhome,helashesmarlinalongsidehisboatbecauseitistoobigtobepulledintotheboat.But,unfortunately,thecomeacrosssharksindifferentnumbersforfourtimes.Theoldmanfightstokillthesharkswithasmuchmightandmanyweaponsashecansummon,butonlytofindagiantskeletonofhismarlinleftafterhisdesperatedefense.Atlast,Santiago,having

lostwhathefoughtfor,reachestheshoreandstrugglestohisshack.Hefallsintosoundsleep,dreamingofAfrica,andthelionsagain.Hisstrugglewinshimmuchrespect.

AmongmanygreatAmericanwriters,Hemingwayisfamousforhisobjectiveandterseprosestyle.AsthelastnovelHemingwaypublishedinhislife,TheOldManandtheSeatypicallyreflectshisuniquewritingstyle.ThispaperaimstodiscussthewritingstyleandtechniquesinTheOldManandtheSea.Ofcourse,Hemingwayhasusedmanytechniquesinthisnovel,suchasrealism,thecreationofsuspense,monologue,etc.Andthispaperfocusesespeciallyonthelanguagestyleandoneoftheimportanttechniques-thewaytousefactsinthisnovel.

Hemingwayisfamousforhislanguage.Withmuchcareandeffort,hecreatedaveryinfluentialandimmediatelyrecognizablestyle.“Thestylehecreatedinhisearlywork,suchasInOurTimeandTheSunalsoRises,wasalmosttoogood.Likethestyleofcertainpainters,ittendedtobecomeamanner,ratherthanaflexiblewayofrespondingtoexperienceandconveyingfreshinsightsthroughwords.”1Amongallhisworks,TheOldManandtheSeaisthemosttypicalonetohisuniquelanguagestyle.

Itslanguageissimpleandnatural,andhastheeffectof

directness,clarityandfreshness.ThisisbecauseHemingwayalwaysmanagestochoosewords“`concrete,specific,morecommonlyfound,moreAnglo-Saxon,casualandconversational.”2Heseldomusesadjectivesandabstractnouns,andavoidscomplicatedsyntax.Hemingway'sstrengthliesinhisshortsentencesandveryspecificdetails.Hisshortsentencesarepowerfullyloadedwiththetension,whichheseesinlife.Wherehedoesnotuseasimpleandshortsentence,heconnectsthevariouspartsofthesentenceinastraightforwardandsequentialway,oftenlinkedby“and”.

Inhistaskofcreatingrealpeople,Hemingwayusesdialogueasaneffectivedevice.Itispresentedinaform“asclose

tothedramaticaspossible,withaminimumofexplanatorycomment.”3HereisanexamplechosenfromTheOldManandtheSea:

Whatdoyouhavetoeat'theboyasked.

No,Iwilleatathome.Doyouwantmetomakethefire

‘No,Iwillmakeitlateron.OrImayeatthericecold.'

Herewecanseethatsuchinterpolationsas“hesaid”have

frequentlybeenomittedandthewordsareverycolloquial.Thusthespeechcomestothereaderasifhewerelistening.Hemingwayhascapturedtheimmediacyofdialogueskillfullyandhasmadetheeconomicalspeechconnotative.

ButitisgoodtonotethatHemingway'sstyleisdeliberate

andartificial,andisneverasnaturalasitseemstobe.Thereasonsareasfollows.Firstly,insomespecificmoments,inordertostandoutbycontrastandtodescribeanimportantturningpointorclimax, thestyleismadealittledifferent:

Hetookallhispainandwhatwasleftofhislonggoneprideandheputitagainstthefish'sagonyandthefishcameover

ontohissideandswamgentlyonhisside,hisbillalmosttouchingtheplankingoftheskiff,andstartedtopasstheboat,long,deep,wide,silverandbarredwithpurpleandinterminableinthe

Thelanguageinthisone-sentenceparagraphisdifferentfromotherpartsofthenovel.KennethGrahamhascommentedthatthesentencebuildsupitspartsinacarefullylaborioussequence-“allhispainandwhatwasleftofhisstrengthandhislonggonepride”.Itemulatesthemovementoftheexhaustedmarlinandthephysicalstrainoftheoldman.Anditmountstoaheavycrescendointheveryun-prosaicinversionofadjectives-“long,deep,wide”-endinginthevirtuallypoeticcadence,“interminableinthewater.”6

Thedialogue,too,iscombinedwiththerealisticandtheartificial.Usuallythecontentcontainsandtheexpressioncontainstheartificial.InTheOldManandtheSea,thelanguagestyleisverypeculiarfromHemingway'sotherwritings.ThisisbecausethenovelisanEnglishversionoftheSpanishthatSantiagoandMandolinwouldspeakinreallife.“SincewearemeanttorealizethatSantiagoandMandolincouldnotpossiblyspeaklikethis,sinceEnglishisnothistongueanyway,wearemorelikelytoacceptotherartificialitiesofthedialogue.Usingthedeviceofapretended‘translation',

whichwouldbeboundtostiltinanycase,Hemingwaycan‘poetize'thedialogueashewishes.”7Thespeakersare

distancedfromreaderstoacertaindegree.Andwhiletheirlanguagetakingonakindofepicdignity,itdoesnotloseitsconvincingness.Evenslightlystrangeexchangeslikethefollowingbecomefairlyacceptable.Forexample:

‘You'remy alarmclock',theboysaid.

‘Ageismyalarmclock',theoldmansaid.‘Whydooldman

wakesoearlyIsittohaveonelongerday'

‘Idon'tknow',theboysaid.‘AllIknowisthatyoungboyssleeplateandhard'.

‘Icanrememberit',theoldmansaid.‘I'llwakenyouin

time.'8

Thesimplesentencesandtherepeatedrhythmshitattheprofunditiesthatthesurfaceofthelanguagetriestoignore.Itssimplicityishighlysuggestiveandconnotative,andoftenreflectsthestrongundercurrentofemotion.Indeed,themorecloselythereaderwatches,thelessroughandsimplethecharactersappear.InDeathintheAfternoon,Hemingwayusesaneffectivemetaphortodescribehiswritingstyle:

Ifawriteroftheproseknowsenoughaboutwhatheiswritingabout,hemayomitthingsthatheknowsandthereader,ifthewriteriswritingtrulyenough,willhaveafeelingofthosethingsasstronglyasthoughthewriterhadstatedthem.Thedignityofmovementofanicebergisduetoonlyone-eighthofitbeingabove

AmongalltheworksofHemingway,thesagaofSantiagoisthoughtasthemosttypicalonetothisIcebergTheory.Theauthorseldomexpresseshisownfeelingsdirectly,nordoeshemakeanycommentsorexplanations.Onthecontrary,hetriestonarrateanddescribethingsobjectivelyandblendhisownfeelingsharmoniouslytothenaturalnarrationanddescriptionthisgivesreadersapicturescompression,fromwhich-the1/8oftheicebergabovewater,theycanlearntheimplyingmeaningandfeelingsoftheauthor-7/8oftheicebergunderwater.When