评老人与海中海明写作风格和手法

　　Contents
　　Abstract
　　Abstract（Chinese）。
　　Outline编辑。
　　Topic：ThroughTheOldManandtheSeadisplayHemingwayuniquewritingstyleandtechnique。
　　lt；gt；Introduction
　　lt；gt；LanguageStyle
　　1。AnalysesofthelanguageStyle
　　2。TheformingoftheLanguageStyle
　　3。TheinfluenceoftheLanguageStyle
　　lt；gt；TheWaytoUseFacts
　　lt；gt；Conclusion
　　Note
　　Bibliography
　　Abstract
　　BEingdistinguishedfrommanygreatestAmericanwriters，Hemingwayisnotedforhiswritingstyle。Amongallhisworks，TheOldManandtheSeaisatypicalonetohisuniquewritingstyleandtechnique。Thelanguageissimpleandnaturalonthesurface，butactuallydeliberateandartificial。Sometimesthesimplestyleismadealittledifferent。Thedialogueiscombinedwiththerealisticandtheartificial。Thesimplicityishighlysuggestive，andoftenreflectsthestrongundercurrentofemotion。Occasionally，theauthorusessomefiguresofspeech。Hemingway’sstyleisrelatedtohisexperienceasajournalist，hislearningfrommanyfamouswriters，andmostimportantly，hisconscientiouseffortinlookingforastyleofhisown。Theinfluenceofhisstyleisgreatallovertheworld。
　　TheOldManandtheSeaisfulloffacts，mostofwhichcomesfromHemingway’sownexperience。Sothewaytousefactsisaveryimportantwritingtechniqueinthisnovel。Thefactsinthenovelareselectedandusedasadevicetomakethefictionalworldaccepted。Intheforepartofthenovel，theyareusedtoshowthequalityofSantiago’slife，andarenarratedsimplyandnaturally；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
　　AmongmanygreatAmericanwriters，Hemingwayisfamousforhisobjectiveandterseprosestyle。AsthelastnovelHemingwaypublishedinhislife，TheOldManandtheSeatypicallyreflectshisuniquewritingstyle。ThispaperaimstodiscussthewritingstyleandtechniquesinTheOldManandtheSea。Ofcourse，Hemingwayhasusedmanytechniquesinthisnovel，suchasrealism，thecreationofsuspense，monologue，etc。Andthispaperfocusesespeciallyonthelanguagestyleandoneoftheimportanttechniquesthewaytousefactsinthisnovel。
　　Inhistaskofcreatingrealpeople，Hemingwayusesdialogueasaneffectivedevice。Itispresentedinaformasclosetothedramaticaspossible，withaminimumofexplanatorycomment。3HereisanexamplechosenfromTheOldManandtheSea：
　　‘Whatdoyouhavetoeat？’theboyasked。
　　‘No，Iwilleatathome。Doyouwantmetomakethefire？’
　　‘No，Iwillmakeitlateron。OrImayeatthericecold。’
　　Herewecanseethatsuchinterpolationsashesaidhavefrequentlybeenomittedandthewordsareverycolloquial。Thusthespeechcomestothereaderasifhewerelistening。Hemingwayhascapturedtheimmediacyofdialogueskillfullyandhasmadetheeconomicalspeechconnotative。
　　ButitisgoodtonotethatHemingway’sstyleisdeliberateandartificial，andisneverasnaturalasitseemstobe。Thereasonsareasfollows。Firstly，insomespecificmoments，inordertostandoutbycontrastandtodescribeanimportantturningpointorclimax，thestyleismadealittledifferent：
　　Hetookallhispainandwhatwasleftofhislonggoneprideandheputitagainstthefish’sagonyandthefishcameoverontohissideandswamgentlyonhisside，hisbillalmosttouchingtheplankingoftheskiff，andstartedtopasstheboat，long，deep，wide，silverandbarredwithpurpleandinterminableinthewater。5
　　Thelanguageinthisonesentenceparagraphisdifferentfromotherpartsofthenovel。KennethGrahamhascommentedthatthesentencebuildsupitspartsinacarefullylaborioussequenceallhispainandwhatwasleftofhisstrengthandhislonggonepride。Itemulatesthemovementoftheexhaustedmarlinandthephysicalstrainoftheoldman。Anditmountstoaheavycrescendointheveryunprosaicinversionofadjectiveslong，deep，wideendinginthevirtuallypoeticcadence，interminableinthewater。6
　　Thedialogue，too，iscombinedwiththerealisticandtheartificial。Usuallythecontentcontainsandtheexpressioncontainstheartificial。InTheOldManandtheSea，thelanguagestyleisverypeculiarfromHemingway’sotherwritings。ThisisbecausethenovelisanEnglishversionoftheSpanishthatSantiagoandMandolinwouldspeakinreallife。SincewearemeanttorealizethatSantiagoandMandolincouldnotpossiblyspeaklikethis，sinceEnglishisnothistongueanyway，wearemorelikelytoacceptotherartificialitiesofthedialogue。Usingthedeviceofapretended‘translation’，whichwouldbeboundtostiltinanycase，Hemingwaycan‘poetize’thedialogueashewishes。7Thespeakersaredistancedfromreaderstoacertaindegree。AndwhilethEirlanguagetakingonakindofepicdignity，itdoesnotloseitsconvincingness。Evenslightlystrangeexchangeslikethefollowingbecomefairlyacceptable。Forexample：
　　‘You’remyalarmclock’，theboysaid。
　　‘Ageismyalarmclock’，theoldmansaid。‘Whydooldmanwakesoearly？Isittohaveonelongerday？’
　　‘Idon’tknow’，theboysaid。‘AllIknowisthatyoungboyssleeplateandhard’。
　　‘Icanrememberit’，theoldmansaid。‘I’llwakenyouintime。’8
　　Thesimplesentencesandtherepeatedrhythmshitattheprofunditiesthatthesurfaceofthelanguagetriestoignore。Itssimplicityishighlysuggestiveandconnotative，andoftenreflectsthestrongundercurrentofemotion。Indeed，themorecloselythereaderwatches，thelessroughandsimplethecharactersappear。InDeathintheAfternoon，Hemingwayusesaneffectivemetaphortodescribehiswritingstyle：
　　Ifawriteroftheproseknowsenoughaboutwhatheiswritingabout，hemayomitthingsthatheknowsandthereader，ifthewriteriswritingtrulyenough，willhaveafeelingofthosethingsasstronglyasthoughthewriterhadstatedthem。ThedignityofmovementofanicebergisduetoonlyoneEighthofitbEIngabovewater。9
　　AmongalltheworksofHemingway，thesagaofSantiagoisthoughtasthemosttypicalonetothisIcebergTheory。Theauthorseldomexpresseshisownfeelingsdirectly，nordoeshemakeanycommentsorexplanations。Onthecontrary，hetriestonarrateanddescribethingsobjectivelyandblendhisownfeelingsharmoniouslytothenaturalnarrationanddescriptionthisgivesreadersapicturescompression，fromwhichthe18oftheicebergabovewater，theycanlearntheimplyingmeaningandfeelingsoftheauthor78oftheicebergunderwater。WhenHemingwaysaidofthisstory，Itriedtomakearealoldman，arealseaandrealsharks，hethenwentontosay，ButifImadethemgoodandtrueenoughtheywouldmeanmanythings。10Sothisnovelhasagreatandsignificanceconveyedbyacompressedaction。Thecoreofthenovel’sactionisfishing。Tothehero，fishingisnotsimplyofcontestinlife。Itcontainsprofoundphilosophicmeaning。Inaddition，twodetailsthebaseballmatchandthehandwrestingwiththeNegro，likefishing，symbolizethecontentioninlife。Theycompensateandenrichtheinnermeaningofthemainplotoffishing。Sothesimplicityofthenovelishighlysuggestive。
　　SoHemingwayhasformedofnarrativeanddialogue，thoughnaturalandsimpleonthesurface，isactuallydeliberatedandartificial。ItcombineselementsthatarerealisticwithelementsthatarestylizedandhEightened。
　　HowHemingwayhasformedsuchawritingstyle？Thereasonisrelatedtohisownexperiences。Hisuseofshortsentencesandparagraphsandvigorousandpositivelanguage，andthedeliberateavoidanceofgorgeousadjectivesaresomeofthetracesofhisearlyjournalisticpractices。13Afterleavingschoolat17，hewenttotheKansasCityStar，whichwasoneofthebestnewspapersinAmericaatthattime。Heservedasitseagerandenergeticreporter。Asajournalist，Hemingwaytrainedhimselfintheeconomyofexpression。Heoncesaidthat，duringhisworkinginStar，hehadtolearntousesimplesentences，whichisveryusefultohim；andthattheexperienceofworkingasajournalistwouldnotdoharmtoayoungwriter，insteaditisveryhelpfulifhecouldcastitofftimely。Helaidstressonspeakingwithfactsandobjectedgroundlessconcoctioninwriting。Hisdescriptionsofdetailsarefulloffactuality，andareaspreciseasnewsreports。
　　TheinfluenceofHemingway’slanguagestyleisgreat。Inthelatterpartofhislife，HemingwaywasknownasPapaHemingway。14ItrefersmainlytohiscontributiontothedevelopmentofanewwritingstyleinAmericathecolloquialstyle。Hissimpleword，shortsentencesandvividlycolloquiallanguagepurityAmericannovel。InEngland，whichMissStormJamesondiscussingTheCraftoftheNovelistintheJanuary1934issueofTheEnglishReview，sheadvancedanexplanationofHemingway’spopularity：
　　Itisthissimplicity，thisappealtoourcrudestinterests，whichexplainsHemingway’ssuccessInEnglishatleasthissuccesshasbeenlargelywiththeintellectuals。Thyhavepraisedhissimplicity，hisdirectness15
　　WhenHemingway’sdeathwasreportedon3July1961，theobituaryinTheTinespronouncedpontifically：
　　Nohistoryoftheliteratureofourtimewillbeabletoignorehisachievementorhisfarreachinginfluencehislastmasterpiece，TheOldManandTheSea，heremainedasolitarybothinachievementandstyle16
　　AndHemingway’sinfluenceasastylistwasneatlyexpressedinthepraiseoftheNoblePrizeCommitteeabout‘hispowerfulstyleformingmasteryoftheart’ofwritingmodernfiction。17
　　Apartfromthelanguagestyle，whichTheOldManandtheSeaisfamousfor，thewritingtechniquesinthisnovelarealsoworthpayingcloseattentionto。Averyimportantoneofthemisthewaytousefacts。Themaineventsofthestoryseemtobebasedonarealincident，whichisdescribedbyHemingwayinanarticleaboutfishingintheGulfStreaminEsquireforApril1936。Sothenoveloffullfacts，suchasthehabitoffish，thetechniqueofcatchingmarlin，theweather，thesea，andsoon。Butthepowerofthenovelliesinthewaytousethesefacts。
　　Firstlythefactsareselected。Hemingway’soldman，boy，sea，fish，andsharksarenotsomuchbuiltupinourminds，detailbydetail，factsbyfacts，asdriveintoourmindbytheforceandthesympathywithwhichtheauthorhimselfsharesinthEirimaginaryexistence。18Likeanyrealist，hereliesonselection。Whenthegiantmarlinfinallysurfaces，histailwashigherthanabigscythebladeandaverypalelavenderabovethedarkbluewater。19Sargassoweedisbleachedandyellowbyday；Tunaaresilverwhentheyjumpoutifthewater，butbluebackedandgoldsideswhenswimming。Hemingwayneverdescribedthemwithexcessively，butchoosesomeeffectiveones。HeusesthemwithasenseofhowcolorsshiftandchangeinthEIrrelationship。Withoutselection，therecanbenointensity，andcompression。
　　Secondly，thefactsareusedasadevicetomakethefictionalwordaccepted。Thenovelisnotsimplyamanualforustostudythetechniquetocatchafishorhowtosurviveinaboat。Theauthortriestoimplicatepeople’simaginationinwhatishappeningbyappealingtoourloveofpracticalknowledge。Thisshowsthefactsarefundamentallyadevice，atechniqueofreassuringoursenseofeverydayvalues。20Sotheycanhelptomakeusacceptmorereadilywhattheauthorhasinventedandmademoredramaticthanineverydaylife。Stilltaketheuseofcolorasexample：
　　Thecloudsoverthelandnowroselikemountainsandthecoastwasonlyalonggreenlinewiththegraybluehillsbehindit。Thewaterwasadarkbluenow，sodarkthatitwasalmostpurple。Ashelookeddownintoithesawtheredsiftingoftheplanktoninthedarkwaterandthestrangelightthesunmadenow。21
　　Thesefactsshowreaderstheprocessoffishing，whichmostlycomesfromtheauthor’sownexperience。Fromthesefacts，whicharevivid，preciseandterse，readerscanlearnalotabouthowtocatchafishandcanalsofeelasiftheythemselveswerecatchingafish。Thentheywillhavethesensethatwhattheauthordescribesisrealandbelievable。Therefore，asKennethGrahamhassaid，manyfactsinthenovelaboutfishingandabouttheseahaveadoublefunction：theysatisfypeople’ssenseoftherealword。AndthisiswhatunderliesHemingway’sfamousstatementthathisintentionwasalwaystoconveytothereaderthewayitwas。22
　　Allinall，Hemingway’slanguageinTheOldManandtheSeaissimpleandnaturalonthesurface，butactuallydeliberateandartificial。Thelanguageisrarelyemotional。Rather，itcontrolsemotions：itholdsthemin。23TheformingofthisdistinctstyleisrelatedtoHemingway’sownexperience。AndtheinfluenceofthisstyleisnotonlywithinAmericabutalsoallovertheworld。Thefactsinthenovelareselectedandusedasadevicetomakethefictionalworldaccepted。UnlikeothernovelistswhoaddallegoricalmeaningstothEirfacts，Hemingwayusesthefactssimplyandnaturally，withoutanyemotion。Inthelatterpartofthenovel，insteadofbEIngnarratedbytheauthor，thefactsareusedfrominsideSantiago’sownconsciousness，andformpartofawholeschemeofthenovel。Besideswhathavebeenmentionedabove，othertechniquesinTheOldManandtheSea，suchasrealism，monologue，thecreationofsuspenseandsoon，arealsoverysuccessful。AlltheseshowHemingway’ssuperbartisticattainmentsasaNobelPrizewinner。21。ErnestHemingway，TheOldManandtheSea，（BEIjing：worldPublishingCorporation，19
　　9hr8），p2623。PeterB。High，Chapter11inAnOutlineofAmericanLiterature，（NewYork：LongmanInc。，19
　　8hr6），p147
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　　3。ErnestHemingway，TheOldManandtheSea。Beijing：worldPublishingCorporation，1998
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　　6。傅景川。《二十世纪美国小说史》。吉林教育出版社，1996