江苏大学学报:社会科学版
江囌大學學報:社會科學版
강소대학학보:사회과학판
Journal Of Jiangsu University:Social Science Edition
2007年
3期
53~58
,共null页
小说创作 情节 人物 形式 风格 说教
小說創作 情節 人物 形式 風格 說教
소설창작 정절 인물 형식 풍격 설교
novel writing; plot; character; form ; style ; didacticism
如果可能,请别写小说。小说创作是一种非社会行为,一旦动笔,小说家会时刻为小说中的人物所困扰;而且,真正写起来,小说指南一类书籍并不管用。假如非写不可,那么,小说家需考虑是以情节为主还是以人物为主。如果以情节为主,小说家即在虚构的事情中间而非在所谓的真实生活中寻找人物的时候,抓住情节不放;如果以人物为主,那么,小说家则需对适于情节的某些特征加以强调,使人物在新环境中显得真实可信,从而赋予他们生命。小说家无论重情节抑或是重人物,都还要考虑以何种形式、何种风格呈现情节和人物的问题;当然,在优秀的小说家笔下,故事和人物本身会以最适合的形式出现。小说家应对形式、人物和语言保持一种敏锐的感觉。此外,小说家可能会对道德教诲产生迷恋。尽管应当通过作品给读者以教益,但是,真诚的艺术家并不能专注于说教。
如果可能,請彆寫小說。小說創作是一種非社會行為,一旦動筆,小說傢會時刻為小說中的人物所睏擾;而且,真正寫起來,小說指南一類書籍併不管用。假如非寫不可,那麽,小說傢需攷慮是以情節為主還是以人物為主。如果以情節為主,小說傢即在虛構的事情中間而非在所謂的真實生活中尋找人物的時候,抓住情節不放;如果以人物為主,那麽,小說傢則需對適于情節的某些特徵加以彊調,使人物在新環境中顯得真實可信,從而賦予他們生命。小說傢無論重情節抑或是重人物,都還要攷慮以何種形式、何種風格呈現情節和人物的問題;噹然,在優秀的小說傢筆下,故事和人物本身會以最適閤的形式齣現。小說傢應對形式、人物和語言保持一種敏銳的感覺。此外,小說傢可能會對道德教誨產生迷戀。儘管應噹通過作品給讀者以教益,但是,真誠的藝術傢併不能專註于說教。
여과가능,청별사소설。소설창작시일충비사회행위,일단동필,소설가회시각위소설중적인물소곤우;이차,진정사기래,소설지남일류서적병불관용。가여비사불가,나요,소설가수고필시이정절위주환시이인물위주。여과이정절위주,소설가즉재허구적사정중간이비재소위적진실생활중심조인물적시후,조주정절불방;여과이인물위주,나요,소설가칙수대괄우정절적모사특정가이강조,사인물재신배경중현득진실가신,종이부여타문생명。소설가무론중정절억혹시중인물,도환요고필이하충형식、하충풍격정현정절화인물적문제;당연,재우수적소설가필하,고사화인물본신회이최괄합적형식출현。소설가응대형식、인물화어언보지일충민예적감각。차외,소설가가능회대도덕교회산생미련。진관응당통과작품급독자이교익,단시,진성적예술가병불능전주우설교。
If possible, do not write novels, for it is a thoroughly unsocial act. Once a novelist gets started, he will be obsessed and possessed by his characters ; besides, none of the writing manuals will do him any good. When anyone has to start the writing, he will have to consider whether his novel will be plot-obsessed or devoted to characterization. If it is the former, he is to hold to the plot tightly when he hunts about among the figments of his imagination for the people, not in what is called real life; if the latter, he must emphasize certain saliencies which fit his plot, in order to make the characters real and to make them come alive in the new environment he has chosen for them. Meanwhile, it is necessary for both types of novelists to consider the suitable form and style for his plots or characters. Certainly, the best novelists are hardly form-conscious when they start to write, for their stories and characters will come themselves in the form and style most suited to them. The real novelist must have three gifts, namely, a sense of form, a sense of character and a sense of the magic word. Finally, though a novel should be instructive for the readers, a sincere artist can not concern himself with preaching anything.