zuòzhě: wēi lián · fú kè nà William Faulkner
xiǎo shuō de gù shì fā shēng zài jié fú shēng zhèn shàng de kāng pǔ shēng jiā。 zhè shì yī gè céng jīng xiǎn hè yī shí de wàng zú， zǔ shàng chū guò yī wèi zhōu cháng、 yī wèi jiāng jūn。 jiā zhōng yuán lái guǎng yòu tián dì， hēi nú chéng qún。 rú jīn zhǐ shèng xià yīzhuàng pò bài de zhái zǐ， hēi yōng rén yě zhǐ shèng xià lǎo pó pó dí 'ěr xī hé tā de xiǎo wài sūn lè sī tè liǎo。 yī jiā zhī cháng kāng pǔ shēng xiān shēng shì yī jiǔ yī 'èr nián bìng shì de。 tā zài shì shí suàn shì yī gè lǜ shī， dàn cóng bù jiàn tā jiē qià yè wù。 tā zhěng tiān zuì xūn xūn， láo láo dāo dāo dì fā xiē fèn shì jí sú de kōng lùn， bǎ bēi guān shī wàng de qíng xù chuán rǎn gěi 'ér zǐ kūn dīng。
kāng pǔ tài tài zì sī lěng kù， wú bìng shēn yín， zǒng gǎn dào zì jǐ shòu qì chī kuī， shí jì shàng shì tā zài tuō lěi、 zhé mó quán jiā rén。 tā niàn niàn bù wàng nán fāng dà jiā guī xiù de shēn fèn， yǐ zhì jǐn jǐn chéng liǎo yī zhǒng “ shēn fèn ” de huà shēn， ér wán quán bù jù yòu zuò wéi mǔ qīn yǔ qī zǐ yīngyǒu de wēn qíng， jiā zhōng méi yòu yī gè rén néng cóng tā nà lǐ dé dào 'ài yǔ wēn nuǎn。
nǚ 'ér kǎi dì kě yǐ shuō shì quán shū de zhōng xīn， suī rán méi yòu yǐ tā de guān diǎn wéi zhōng xīn de dān dú de yī zhāng， dàn shū zhōng yī qiē rén wù de suǒ zuò suǒ wéi dū yǔ tā xī xī xiāng guān。 wù jí bì fǎn， cóng gǔ bǎn gāo 'ào、 guīju jí duō de jiù shì jiā lǐ piān piān huì chū xiàn làng dàng zǐ nǚ。 yòng yī wèi wài guó pī píng jiā de huà lái shuō， shì：“ tài duō de zé rèn dǎo zhì liǎo bù fù zé rèn。” kǎi dì cóng“ nán fāng nǚ” de guī yuē xià chōng chū lái， zǒu guò liǎo tóu， chéng liǎo yī gè qīng tiāo fàng dàng de nǚ zǐ。 tā yǔ nán zǐ yōu huì， yòu liǎo shēn yùn， bù dé bù yǔ lìng yī nán zǐ jié hūn。 hūn hòu zhàng fū fā xiàn yǐn qíng， pāo qì liǎo tā。 zhǐ dé bǎ sī shēng nǚ（ yě jiào kūn dīng） jì yǎng zài mǔ qìngjiā， zì jǐ dào dà chéng shì qù chuǎng dàng。
gē gē kūn dīng hé kǎi dì 'ér shí gǎn qíng hěn hǎo。 zuò wéi mòluò de zhuāng yuán zhù jiē jí de zuì hòu yī dài de dài biǎo zhě， yī zhǒng mòluò gǎn shǐ zhōng zhuī suí zhe kūn dīng。 zhè gè“ zān yīng zhī jiā” de jié yí jí qí jiāo 'ào， jí qí mǐn gǎn， què yòu jí qí càn ruò（ jīng shén shàng、 ròu tǐ shàng dōushì rú cǐ）。 tā piān piān yòu guòfèn zhòng shì mèi mèi de zhēn cāo bǎ tā yǔ mén dì de róng yù shèn zhì zì jǐ shēng yǔ sǐ de wèn tí lián xì zài yī qǐ。 kǎi dì de zāo yù yī xià zǐ shǐ tā shī qù liǎo jīng shén píng héng。 jiù zài mèi mèi jié hūn yī gè duō yuè hòu， tā tóu hé zì jìn liǎo。
jié shēng shì kǎi dì de dà dì。 tā hé kūn dīng xiāng fǎn， suí zhe jīn qián shì lì zài nán fāng shàng shēng， tā yǐ shùn yìng cháo liú， chéng wéi yī gè shí lì zhù yì zhě， chóu hèn yǔ jué wàng yòu shí yòu shǐ tā chéng wéi yī gè méi yòu lǐ xìng、 bùqiè shí jì de fù chóu kuáng yǔ nüè dài kuáng。 yóu yú tā yī wú zī běn， èr wú cáigàn， zhǐ néng zài zá huò pū lǐ zuò yī gè xiǎo huǒ jì。 kūn dīng duì kǎi dì de gǎn qíng shì 'ài， jié shēng tā de gǎn qíng què zhǐ yòu hèn。 yīn wéi tā rèn wéi kǎi dì de xíng wéi shǐ tā shī qù liǎo běn yìng dé dào de yínháng lǐ de zhí wèi。 tā hèn kǎi dì， yě lián dài zhe hèn tā de sī shēng nǚ xiǎo kūn dīng， hèn guān xīn kǎi dì mǔ nǚ de hēi nǚ yōng dí 'ěr xī。 zǒng zhī， tā hèn zhōu wéi de yī qiē， cóng tā zuǐ lǐ tù chū lái de měi yī gè zì fǎng fó dū hán yòu suān yè， shǐ rén tīng liǎo gǎn dào fā zuò bìng bù zhí dé， qiáng rěn xià qù yòu bàn tiān bù shū fú。 chú liǎo qián， tā shénme dōubù 'ài。 lián zì jǐ de qíng fù， yě shì jiè bèi sēn yán， jǐn jǐn kàn zuò shì zuò mǎi mài jiāo yì de duì shǒu。 tā háo wú xīn gān， chù zhàn rén piányí， què zǒng shì zuò chū yī fù shòu hài zhě de yàng zǐ。 tā wán nòng liǎo yī xì liè huā zhāo， bǎ jiě jiě lì nián jì lái de shàn yǎng fèi jù wéi jǐ yòu， bìng cóng zhōng shǔn xī fù chóu de xǐ yuè。 shū zhōng miáo xiěde zuì lìng rén nán wàng de yī gè xì jié， shì kāng pǔ shēng xiān shēng bìn zàng nà tiān， kǎi dì cóng wài dì gǎn huí lái， chéng jī xiǎng jiàn qīn shēng nǚ 'ér yī miàn de nà yī duàn。 kǎi dì sàng hún shī bó dì zhuī gǎn zài yòu xiǎo kūn dīng de mǎ chē nà yī qíng jǐng， gǎn rǎn lì jí qiáng， shǐ rén rèn shí kǎi dì jìn guǎn yòu zhǒng zhǒng bù néng lìng rén mǎn yì de xíng wéi， běn zhì shàng hái shì yī gè shàn liáng de nǚ zǐ。 ér duì bǐ zhī xià， jié shēng de xíng xiàng yù yì lìng rén zēng yàn。 lìng wài， tā yòng miǎn fèi de zhāo dài quàn zuò nòng hēi xiǎo sī lè sī tè， duì wài shēng nǚ xiǎo kūn dīng de niǔ dǎ（ bù wú sè qíng dòng jī de） yǔ“ jiào yù”， yědōu shì shǐ rén wù xìng gé xiǎn dé gèng jiā tū chū de jīng cǎi de xì jié。 jié shēng shì fú kè nà bǐ xià zuì xiān míng、 tū chū de xíng xiàng zhī yī。 zuò wéi 'è rén de diǎn xíng， qí xiān míng bǎo mǎn， dá dào liǎo suō shì bǐ yà bǐ xià jīng diǎn shì 'è rén（ rú 'āi gǔ、 mài kè bái fū rén） de dì bù。 rán 'ér， duì jié shēng de jiē lù， què piān piān shì tōng guò jié shēng de zì wǒ biǎo bái yǔ zì wǒ biàn jiě lái wán chéng de。 zhè zhèng shì fú nà yì shù gōng lì shēn hòu de biǎo xiàn。 jié shēng hé“ sī pǔ sī” sān bù qū zhōng de fú lāi mǔ sī nuò pǔ sī yī yàng， dōushì zī běn zhù yì huà de“ xīn nán fāng” de chǎn wù。 rú guǒ shuō， tōng guò duì kāng pǔ shēng yī jiā qí tā rén de miáo xiě， fú kè nà biǎo dá liǎo tā duì nán fāng jiù zhì dù de jué wàng， nà me， tōng guò duì jié shēng de màn huà shì de kè huá， fú kè nà yòu xiān míng dì biǎo shì liǎo tā duì“ xīn zhì xù” de zēng yàn。 fú kè nà shuō guò，“ duì wǒ shuō， jié shēng chún cuì shì 'è de dài biǎo。 yǐ wǒ kàn， cóng wǒ de xiǎng xiàng lǐ chǎn shēng chū lái de xiàng lǐ， tā shì zuì zuì xié 'è de yī gè。”
bān jí shì kǎi dì de xiǎo dì dì， tā shì gè xiān tiān xìng bái chī。 yī jiǔ 'èr bā nián， tā sān shí sān suì liǎo， dàn shì zhì lì shuǐ píng zhǐ xiāng dāng yú yī gè sān suì de xiǎo hái。 tā méi yòu sī wéi néng lì， nǎo zǐ lǐ zhǐ yòu gǎn jué hé yìn xiàng， ér qiě hái fēn bù qīng tā men de xiān hòu， guò qù de shì yǔ dāng qián de shìdōu yī qǐ yǒng xiàn zài tā de nǎo hǎi lǐ tōng guò tā de yì shí liú， wǒ men néng gòu tǐ huì dào： tā shī qù liǎo jiě jiě de guān huái， fēi cháng bēi 'āi。 xiàn zài jiā zhōng wéi yī guān xīn bìng zhào gù tā de， zhǐ yòu hēi nǚ yōng dí 'ěr xī liǎo。 suī rán 'àn shū míng de chū diǎn lǐ jiě， bān zhè yī zhāng kě yǐ shuō shì“ yī gè bái chī jiǎng de gù shì”， shì shí shàng fú kè nà hái shì tōng guò zhè gè zá luàn de gù shì yòu yì shí dì dá liǎo tā xiǎng gào sù dú zhě de yī xì liè de xìn xī： jiā tíng tuí bài de qì fēn、 rén wù、 huán jìng ……。 àn zhào pī píng jiā kè lín sī bù lǔ kè sī de shuō fǎ， zhè yī zhāng shì“ yī zhǒng fù gé qū shì de pái liè yǔ zǔ hé， yóu suǒ jiàn suǒ wén suǒ xiù dào de yǔ xíng dòng zǔ chéng， tā men yòu xǔ duō běn shēn méi yòu yì yì， dàn shì pīn zài yī qǐ jiù chéng liǎo mǒu zhǒng shí zì huā cì xiù bān de tú xíng”。
xiǎo kūn dīng shì kǎi dì jì yǎng zài mǔ qìngjiā de sī shēng nǚ。 kāng pǔ shēng tài tài de lěng mò yǔ jié shēng de cán kù（ nüè dài kuáng zhě de cán kù） shǐ kūn dīng zài zhè gè jiā lǐ zài yě dāi bù xià qù。 yī jiǔ 'èr bā nián fù huó jié zhè yī tiān， kāng pǔ shēng jiā fā xiàn， xiǎo kūn dīng qǔ zǒu liǎo jié shēng de bù yì zhī cái， yǔ yī liú làng yì rén sī bēn liǎo。 zhè zì rán jī qǐ liǎo jié de“ kuáng nù”（ shū míng zhōng de“ sāo dòng” yuán yì jí wéi kuáng nù）。 jié shēng qū chē zhuī xún xiǎo kūn dīng， xiǎng zhuī huí tā tōu lái de nà bǐ qián， tā zài huǒ chē shàng rě chū luàn zǐ， chā yī diǎn sòng liǎo mìng。
《 xuān huá yǔ sāo dòng 》 - zuò pǐn zhù tí
《 xuān huá yǔ sāo dòng 》 de zhù tí shì shì jiè wén xué yī gè héng cháng de zhù tí， tā jù tǐ biǎo xiàn zài yī gè dà jiā zú héng héng kāng pǔ shēng jiā zú de mòluò。 zhè zhǒng jiā zú mòluò de zhù tí yě shì zhěng gè shì jiè cóng chuán tǒng xiàng xiàn dài zhuǎn xíng suǒ bì rán chǎn shēng de yī gè zhù tí。 fú kè nà duì“ jiā zú de mòluò” zhè yī kě chēng wéi xiàn dài xiǎo shuō de hóng dà xù shì de jù tǐ chǔlǐ fāng shì gèng wéi fù zá。 jiù shì shuō， tóng yàng shì chù lǐ“ jiā zú de mòluò” zhè gè shì jiè jí de dà zhù tí， fú kè nà de jù tǐ zhuóyǎn diǎn shì tā zì jǐ de， shì dǎ shàng liǎo fú kè nà de zhù cè shāng biāo de yìn jì de， suǒ yǐ kě néng jiù shì bié rén wú fǎ tì dài de。 bǐ rú， fú kè nà zì jǐ jiù céng shuō guò《 xuān huá yǔ sāo dòng 》 shì yī gè guān yú“ shī luò de tiān zhēn” de gù shì。 zhè zhù yào shì zhǐ xiǎo shuō zhōng zuì hé xīn de rén wù， jiā zú de nǚ 'ér kǎi dì de duò luò de gù shì。 yòng xiǎo shuō de yì zhě lǐ wén jùn xiān shēng de shuō fǎ，“ nǚ 'ér kǎi dì kě yǐ shuō shì quán shū de zhōng xīn， suī rán méi yòu yǐ tā de guān diǎn wéi zhōng xīn de dān dú de yī zhāng， dàn shū zhōng yī qiē rén wù de suǒ zuò suǒ wéi dū yǔ tā xī xī xiāng guān。 wù jí bì fǎn， cóng gǔ bǎn gāo 'ào、 guīju jí duō de jiù shì jiā lǐ piān piān huì chū xiàn làng dàng de zǐ nǚ。 yòng yī wèi wài guó pī píng jiā de huà lái shuō， shì： ‘ tài duō de zé rèn dǎo zhì liǎo bù fù zé rèn。 ’ kǎi dì cóng‘ nán fāng shū nǚ’ de guī yuē xià chōng chū lái， zǒu guò liǎo tóu， chéng liǎo yī gè qīng tiāo fàng dàng de nǚ zǐ。 tā yǔ nán zǐ yōu huì， yòu liǎo shēn yùn， bù dé bù yǔ lìng yī nán zǐ jié hūn。 hūn hòu zhàng fū fā xiàn yǐn qíng， pāo qì liǎo tā。 tā zhǐ dé bǎ sī shēng nǚ jì yǎng zài mǔ qìngjiā， zì jǐ dào dà chéng shì qù chuǎng dàng”， suǒ yǐ fú kè nà shuō： zhè běn xiǎo shuō shì“ liǎng gè duò luò de nǚ rén， kǎi dì hé tā de nǚ 'ér de yī chū bēi jù”。 zài zhè chū bēi jù zhōng， fú kè nà gèng guān zhù de shì jiā zú， huò zhě tā de xiǎo shuō rén wù jiū jìng jù tǐ“ shī luò liǎo shénme”。 ér suǒ wèi de“ tiān zhēn”， zhèng shì tā jù tǐ guān xīn de mǔ tí。 yě zhèng shì zài zhè yī diǎn shàng， fú kè nà huì rù de， qí shí shì měi guó wén xué zì jǐ de chuán tǒng。 ér fú kè nà guān huái“ shī luò de tiān zhēn” de zhù tí， yě zhèng shì cóng chuán tǒng de dào dé fǎ zé hé zhì xù de jiǎo dù kàn wèn tí de， zhè biǎo míng liǎo fú kè nà de chuán tǒng de yī miàn。
dàn shì fú kè nà suǒ shuō de“ shī luò de tiān zhēn” bìng bù néng gài kuò《 xuān huá yǔ sāo dòng 》 de quán bù zhù tí。 měi guó xué zhě yī gè jiào 'é kāng nà de xué zhě tóng shí bǎ zhè bù xiǎo shuō dāng zuò“ yī gè jiā zú wēn nuǎn xiāo shì， zì zūn hé tǐ liàng dàng rán wú cún de miáo huì lái dú”。 ér jìn yī bù yǐn shēn xià qù，《 xuān huá yǔ sāo dòng 》 yòu shì yī gè nán fāng de gù shì， yī gè 'èr shí shì jì de gù shì。 tóng shí yě shì yī gè guān yú“ xiàn dài” de gù shì。 qián miàn wǒ men shì bǎ xiǎo shuō zhōng de nǚ 'ér kǎi dì dāng zuò zhùjué， wǒ men kě yǐ shuō tā shì guān yú“ shī luò de tiān zhēn” de gù shì， rú guǒ bǎ《 xuān huá yǔ sāo dòng 》 dāng zuò yī gè yǐ kūn dīng（ kǎi dì de gē gē、 hā fó dà xué de xué shēng， shì gè zì shā shēn wáng de rén wù） wéi zhùjué de gù shì lái kàn，《 xuān huá yǔ sāo dòng 》 jiù chéng wéi yī gè duì yú xiàn dài zhùjué de tàn tǎo de xiǎo shuō， tōng guò duì kūn dīng nèi xīn liú chéng de wā jué， lái biǎo dá mǒu zhǒng xiàn dài yì shí， yīn cǐ， měi guó yī píng lùn jiā chēng fú kè nà shì“ mí lù de xiàn dài rén de shén huà” de fā míng zhě。 zài zhè gè yì yì shàng， fú kè nà fēng fù liǎo 'èr shí shì jì xiàn dài xiǎo shuō guān yú“ xiàn dài” de gòu chéng tú jǐng。 zhè gè xiàn dài shì kǎ fū kǎ de xiàn dài， shì pǔ lǔ sī tè de xiàn dài， shì qiáo yī sī de xiàn dài， yě shì fú kè nà de xiàn dài。 měi gè rén de xiàn dài jǐng guān qí shí dōubù jìn xiāng tóng， dàn qǐ mǎ yòu yī diǎn shì gòng tóng de， jiù shì zhè xiē dà shī dū biǎo xiàn liǎo xiàn dài rén de xī wàng yǔ kǒng jù， yōu huàn hé máo dùn。 ér fú kè nà de máo dùn sì hū bǐ qí tā rén lái dé gèng fù zá。 ér qiě， dú fú kè nà zǒng dài gěi rén yī zhǒng yīn yù shèn zhì tòng kǔ de gǎn shòu。 tā zài nuò bèi 'ěr shòu jiǎng yǎn shuō de dì yī jù jiù shuō：“ nuò bèi 'ěr wén xué jiǎng bù shì shòu yú wǒ gè rén， ér shì shòu yú wǒ de láo dòng héng héng yī bèi zǐ chù zài rén lèi jīng shén de tòng kǔ hé fán nǎo zhōng de láo dòng。” zhè zhǒng láo dòng de chǎn pǐn kě yǐ xiǎng xiàng shì zěn yàng yī zhǒng zhé mó dú zhě de dōng xī。 yě xǔ zhèng shì zài zhè gè yì yì shàng， lìng yī nuò bèi 'ěr wén xué jiǎng huò dé zhě jiā miù zài 1955 nián chēng zàn fú kè nà shì“ shì jiè shàng zuì wěi dà de zuò jiā”，“ shì wǒ men shí dài wéi yī zhēn zhèng de bēi jù zuò jiā。…… tā tí gōngjǐ wǒ men yī gè gǔ lǎo de dàn yǒng yuǎn shì xīn xiān de zhù tí： máng rén zài tā de mìng yùn yǔ tā de zé rèn zhī jiān diē diē zhuàng zhuàng dì cháo qián zǒu， zhè yě shì shì jiè shàng wéi yī de bēi jù zhù tí”。
《 xuān huá yǔ sāo dòng 》 - xiě zuò shǒu fǎ
zài yì shù biǎo xiàn fāng miàn， fú kè nà xiě《 xuān huá yǔ sāo dòng 》 shí yòng liǎo yī xiē tè shū de shǒu fǎ， zhè lǐ bù fáng zuò xiē jiǎn lüè de jiè shào。
《 xuān huá yǔ sāo dòng 》 kāng lā dé
shǒu xiān， fú kè nà cǎi yòng liǎo duō jiǎo dù de xù shù fāng fǎ。 chuán tǒng de xiǎo shuō jiā yī bān huò yòng“ quán néng jiǎo dù” yì jí zuò jiā wú suǒ bù zài、 wú suǒ bù zhī de jiǎo dù lái xù shù， huò yòng shū zhōng zhù rén gōng zì shù de kǒu wěn lái xù shù。 fā zhǎn dào hēng lì zhān mǔ shì yǔ kāng lā dé， tā men rèn wéi“ quán néng jiǎo dù” nán yǐ shǐ dú zhě xìn fú， biàn cǎi yòng shū zhōng zhù rén gōng zhī wài de yī gè rén wù de yǎn jīng lái guān chá， tōng guò tā（ huò tā） de huà huò sī xiǎng lái shù。 fú kè nà yòu jìn liǎo yī bù， fēn bié yòng jǐ gè rén shèn zhì shí jǐ gè rén（ rú zài《 wǒ liú zhī jì》 zhōng） de jiǎo dù， ràng měi yī gè rén jiǎng tā zhè fāng miàn de gù shì。 zhè zhèng rú fā shēng yī gè shì jiàn hòu， xīn wén jì zhě bù cǎi qǔ zì jǐ bào dào de fāng shì， què fēn bié cǎi fǎng xǔ duō dāng shì rén yǔ jiàn zhèng rén， ràng tā men zì jǐ duì zhe huà tǒng jiǎng zì jǐ de suǒ zhī。 yī bān dì shuō， zhè yàng zuò yào bǐ jì zhě zì jǐ de xù shù xiǎn dé gèng jiā zhēn shí kě xìn。
zài《 xuān huá yǔ sāo dòng 》 zhōng， fú kè nà ràng sān xiōng dì， bān jí、 kūn dīng yǔ jié shēng gè zì jiǎng yī biàn zì jǐ de gù shì， suí hòu yòu zì jǐ yòng“ quán néng jiǎo dù”， yǐ dí 'ěr xī wéi zhù xiàn， jiǎng shèng xià de gù shì， xiǎo shuō chū bǎn shí wǔ nián zhī hòu， fú kè nà wéi mǎ 'ěr kē mǔ kǎo lì biān de《 xiù zhēn běn fú kè nà wén jí》 xiě liǎo yī gè fù lù， bǎ kāng pǔ shēng jiā de gù shì yòu zuò liǎo yī xiē bǔ chōng。 yīn cǐ， fú kè nà cháng cháng duì rén shuō， tā bǎ zhè gè gù shì xiě liǎo wǔ biàn。 dāng rán， zhè wǔ gè bù fēn bìng bù shì chóngfù、 léi tóng de， jí shǐ yòu xiāng chóngdié zhī chù， yě shì yòu yì de。 zhè wǔ gè bù fēn xiàng wǔ piàn yán sè、 dà xiǎo bù tóng de bō lí， zá tà dì fàng zài yī qǐ， cóng 'ér gòu chéng liǎo yī fú yóu dān sè yǔ fù sè pīn chéng de xuàn làn de tú 'àn。
“ bān jí de bù fēn” fā shēng de shí shì yī jiǔ 'èr bā nián sì yuè qī rì。 tōng guò tā， fú kè nà xuàn rǎn liǎo kāng pǔ shēng jiā tuí bài de qì fēn。 lìng yī fāng miàn， tōng guò bān jí nǎo zhōng de yìn xiàng， fǎn yìng liǎo kāng pǔ shēng jiā nà xiē hái zǐ de tóng nián。“ kūn dīng de bù fēn” fā shēng zài yī jiǔ yī líng nián liù yuè 'èr rì， zhè bù fēn yī fāng miàn jiāo kūn dīng dāng tiān de suǒ jiàn suǒ wén hé tā de huó dòng， tóng shí yòu tōng guò tā de sī xiǎng huó dòng， xiě kǎi dì de chén lún yǔ kūn dīng zì jǐ de jué wàng。“ jié shēng de bù fēn” fā shēng zài yī jiǔ 'èr bā nián sì yuè liù rì， zhè bù fēn xiě jié shēng dāng jiā hòu kāng pǔ shēng jiā de qíng kuàng， tóng shí yǐn jìn kǎi dì de hòu dài héng héng xiǎo kūn dīng。 zhì yú“ dí 'ěr xī de bù fēn”， zé shì fā shēng zài yī jiǔ 'èr bā nián sì yuè bā rì（ fù huó jié）， tā chún cuì xiě dāng qián de shì： xiǎo kūn dīng de chū zǒu、 jié shēng de kuáng nù yǔ zhuī xún yǐ jí xiàng zhēng zhe dí zuì yǔ jìng huà de hēi rén jiào táng lǐ de zōng jiào huó dòng。 zhè yàng kàn lái， sì gè bù fēn de xù shù zhě chū xiàn de shí xù gù rán shì cuò luàn de， bù shì yóu yīnggāi zuì zǎo chū chǎng de dīng xiān jiǎng， ér shì cǎi yòng liǎo“ CABD” zhè yàng de fāng shì， dàn shì tā men suǒ jiǎng de shì dǎo shì shùn zhe zhèng cháng de shí xù， ér qiě xián jiē dé pō wéi jǐn mì de。 nán guài měi guó shī rén jiān xiǎo shuō jiā kāng lā dé ài kěn duì《 xuān huá yǔ sāo dòng 》 zàn tàn dào：“ zhè běn xiǎo shuō yòu jiān shí de sì gè yuèzhāng de jiāo xiǎng lè jié gòu， yě xǔ yào suàn fú kè nà quán bù zuò pǐn zhōng zhì zuò dé zuì jīng měi de yī běn， shì yī běn zhān mǔ shì xǐ huān chēng wéi‘ chuàng zuò yì shù’ de wú yōng zhì yí de jié zuò。 cuò zōng fù zá de jié gòu xián jiē dé tiān yī wúfèng， zhè shì xiǎo shuō jiā fèng wéi guī niè de xiǎo shuō héng héng tā běn shēn jiù shì yī bù wán zhěng de chuàng zuò jì qiǎo de jiào kē shū……”
“ yì shí liú” shì fú kè nà cǎi yòng de lìng yī zhǒng shǒu fǎ。 chuán tǒng de xiàn shí zhù yì xiǎo shuō zhōng yě cháng xiě rén wù de nèi xīn huó dòng， yì shí liú yǔ zhī bù tóng zhī chù shì： yī、 tā men fǎng fó cóng rén wù tóu nǎo lǐ yǒng liú 'ér chū zhí jiē bèi zuò zhě lù xià lái， qián miàn bù guànyǐ“ tā xiǎng”、“ tā zì cǔn” zhī lèi de yǐn dǎo yǔ； èr、 tā men kě yǐ cóng zhè yī sī xiǎng huó dòng tiào dào lìng yī sī xiǎng huó dòng， bù bì yòu luó ji， yě bù bì shùn shí xù； sān、 chú liǎo zhèng cháng de sī xiǎng huó dòng zhī wài， tā men yě bāo kuò qián yì shí、 xià yì shí zhè yī lèi de yì shí huó dòng。 zài《 xuān huá yǔ sāo dòng 》 zhōng， qián sān zhāng jiù shì yòng yī gè yòu yī gè de yì shí， lái xù shù gù shì yǔ kè huá rén wù de。 zài xù shù zhě de tóu nǎo lǐ， cóng yī gè sī xù tiào dào lìng yī gè sī xù， yòu shí zuò zhě biàn huàn zì tǐ yǐ tí xǐng dú zhě， yòu shí lián zì tǐ yě bù biàn。 dàn shì rú guǒ xì xīn yuè dú， dú zhě hái shì néng biàn bié lái de， yīn wéi měi yī duàn lǐ dū bāo hán zhe mǒu zhǒng xiàn suǒ。 lìng wài， sī xù de biàn huàn， yě zǒng yòu yī xiē gēn jù， rú kàn dào yī yàng dōng xī， tīng dào yī jù huà， wén dào yī zhǒng xiāng wèi děng děng。 jù tǒng jì， zài“ kūn dīng de bù fēn” lǐ， zhè yàng de“ chǎng jǐng zhuǎn yí” fā shēng dé zuì duō， chāo guò 'èr bǎi cì；“ bān jí de bù fēn” lǐ yě yòu yī bǎi duō cì。 chuán tǒng de xiàn shí zhù yì yì shù， yī bān dōushì tōng guò wài biǎo（ shè huì、 huán jìng、 jiā tíng、 jū shì、 jiā jù、 yī shì…… ) de miáo xiě， zhú jiàn shēn rù dào rén wù de nèi shì jiè。 fú kè nà yǔ bié de yī xiē zuò jiā què cǎi qǔ liǎo diān dǎo de chéng xù。 tā shǒu xiān tí gěi dú zhě hùn dùn mí luàn de nèi xīn shì jiè de méi yòu guī lǜ、 luó ji de huó dòng， rán hòu zhú bù dài yǐn dú zhě chuān guò céng céng mí wù， zuì zhōng zǒu dào yáng guāng dǐ xià míng lǎng、 qīng xī de kè guān shì jiè lǐ lái。 zhè shí， dú zhě zài huí guò tóu lái yī kàn， yě xǔ huì duì zhěng fú tú jǐng jù yòu gēngshēn kè de yìn xiàng yǔ lǐ jiě。
fú kè nà zhī suǒ yǐ rú cǐ pín fán dì biǎo xiàn yì shí liú， chú liǎo tā rèn wéi zhè yàng zhí jiē xiàng dú zhě tí gōng shēng huó de piàn duàn néng gèng jiā jiē jìn zhēn shí zhī wài， hái yòu yī gè gèng zhù yào de yuán yīn， zhè jiù shì： fú cóng kè huà tè shū rén wù de xū yào。 qián sān zhāng de xù shù zhě dōushì xīn zhì bù jiàn quán de rén。 bān jí shì gè bái chī， tā de sī xiǎng rú guǒ yòu luó ji、 yòu lǐ xìng fǎn dǎo shì bù zhēn shí、 bù hé luó ji de。 kūn dīng liù yuè 'èr rì nà yī tiān jué dìng zì shā。 tā de jīng shén zhuàng tài chǔyú jí dù kàng fèn zhī zhōng。 dào gāi zhāng de zuì hòu yī duàn， tā de sī xù yǐ jīng jì jìn yī gè fā gāo shāo bìng rén de zhān yǔ liǎo。 jié shēng yě duō shǎo yòu xiē bù zhèng cháng， tā shì gè piān zhí kuáng， yòu shì yī gè nüè dài kuáng， hé kuàng hái yòu tóu tòng bìng。 fú kè nà yòu xǔ duō zuò pǐn shǒu fǎ shàng yǔ chuán tǒng de xiàn shí zhù yì zuò pǐn bìng wú tài dà qū bié。 tā de bié de zuò pǐn ruò shì yòng yì shí liú， yě zǒng yòu qí tè shū yuán yīn。 rú《 cūn zǐ》 zhōng xiě I.O. sī nuò pǔ sī duì yī tóu mǔ niú de gǎn qíng， nà shì yīn wéi zhè gè I.O. sī nuò pǔ sī shì yī gè bàn bái chī。 dú zhě men rú guǒ yòu diǎn nài xīn， zài zuì chū de bù xí guàn zhī hòu， dìng rán huì tōng guò zhè xiē bù píng cháng de sī xù huó dòng zhú jiàn kàn qīng yī xì liè xiāng dāng xiān míng、 fēng mǎn de rén wù xíng xiàng。 zhè xiē xíng xiàng de wài mào wǒ men bù yī dìng shuō dé qīng ( zhí dào dú liǎo“ dí 'ěr xī de bù fēn” wǒ men cái zhī dào bān jí de múyàng )， dàn shì wǒ men què néng dāng zhǔn què dì bǎ wò tā men de jīng shén zhuàng tài。 shū zhōng de zhù yào rén wù rú cǐ， yī xiē cì yào rén wù xíng xiàng yě mò bù rú cǐ。 rú hè bó tè hǎi dé， chū xiàn zài kūn dīng de jǐ cì yì shí liú lǐ， dàn shì nà yī fù yōng sú、 wú chǐ de zuǐ liǎn biàn yǐ yuè rán zhǐ shàng。 qí tā rú jié lā dé tài tài、 máo lāi jiù jiù， xíng xiàng yědōu xiāng dāng xiān míng tū chū。 jí shǐ xiàng lè sī tè zhè yàng yī gè hēi rén xiǎo sī， wǒ yǎn juàn zhī hòu， yě bù róng yì bǎ tā nà jì tiáopí yòu kě lián bā bā de xíng xiàng cóng wǒ men de nǎo zǐ lǐ pái chú chū qù。
“ shén huà mó shì” shì fú kè nà zài chuàng zuò《 xuān huá yǔ sāo dòng 》 shí suǒ yòng de lìng yī zhǒng shǒu fǎ。 suǒ wèi“ shén huà mó shì”， jiù shì zài chuàng zuò yī bù wén zuò pǐn shí， yòu yì shí dì shǐ qí gù shì、 rén wù、 jié gòu， dà zhì yǔ rén men shú zhī de yī gè shén huà gù shì píng xíng。 rú qiáo yī sī de《 yóu lì xī sī》， jiù tào yòng liǎo hé mǎ shǐ shī《 ào dé xiū jì》 de shén huà mó shì， ài lüè tè de《 huāng yuán》 zé tào yòng liǎo yà sè wáng chuán shuō zhōng xún zhǎo shèng bēi de shì。 zài《 huá yǔ sāo dòng》 zhōng， sān、 yī、 sì zhāng de biāo tí fēn bié wéi yī jiǔ 'èr bā nián sì yuè liù rì zhì bā rì， zhè sān tiān qià hǎo shì jī dū shòu nán rì dào fù huó jié。 ér dì 'èr zhāng de yī jiǔ yī líng nián liù yuè 'èr rì zài nà yī nián yòu zhèng hǎo shì jī dū shèng tǐ jié de dì bā tiān。 yīn cǐ， kāng pǔ shēng jiā lì shǐ zhōng de zhè sì tiān dū yǔ jī dū shòu nán de sì gè zhù yào rì zǐ yòu guān lián。 bù jǐn rú cǐ， cóng měi yī zhāng de nèi róng lǐ， yědōu yuē kě yǐ zhǎo dào yǔ《 shèng jīng》 zhōng suǒ jì jī dū de yù dà zhì píng xíng zhī chù。 dàn shì， zhèng rú qiáo yī sī yòng 'ào dé xiū de yīng xióng yè jì fǎn chèn sī dì fēn dé dí lè sī de ruǎn ruò wú néng yī yàng， fú kè nà yě shì yào yǐ jī dū de zhuāng yán yǔ shén shèng shǐ kāng pǔ shēng jiā de zǐ sūn xiǎn dé gèng jiā wěi suǒ， ér tā men de zì sī、 dé bù dào、 shòu cuò、 shī bài、 hù xiāng chóu shì， yě shuō míng liǎo“ xiàn dài rén” wéi fǎn liǎo jī dū sǐ qián duì mén tú suǒ zuò de“ yào nǐ men bǐ cǐ xiāng 'ài” de jiào dǎo。
fú kè nà yùn yòng zhè yàng de shén huà mó， chú liǎo gěi tā de zuò pǐn zēng tiān yī céng fǎn fěng sè cǎi wài， yě yòu shǐ tā de gù shì cóng miáo xiě nán fāng yī gè jiā tíng de rì cháng suǒ shì zhōng tū pò chū lái， chéng wéi yī gè tàn tǎo rén lèi mìng yùn wèn tí de yù yán de yì sī。 zhè gè wèn tí lí tí jiào yuǎn， zhè lǐ jiù bù duō zhuì shù liǎo。
《 xuān huá yǔ sāo dòng 》 - zuò pǐn shǎng xī
《 xuān huá yǔ sāo dòng 》 yī gè yòu yì sī de huà tí jiù shì xiǎo shuō de xù shì zhě de xuǎn zé hé tā de yì shí liú de xù shì jié gòu。 xiǎo shuō yòu sì gè bù fēn， měi gè bù fēn dū yóu bù tóng de xù shì zhě jiǎng shù。 dì yī bù fēn de xù shì zhě de xuǎn zé zài shì jiè xiàn dài xiǎo shuō shǐ shàng kě néng shì kōng qián jué hòu de， jiù shì yīn wéi xù shì zhě bān jí shì yī gè bái chī。 bān jí de xù shì fā shēng de shí jiān shì 1928 nián 4 yuè 7 rì， zhè yě shì dì yī bù fēn de shí jiān。 zhè shí de bān jí yǐ jīng sān shí sān suì liǎo， dàn zhì lì shuǐ píng zhǐ xiāng dāng yú yī gè sān suì xiǎo hái。 zhěng gè dì yī bù fēn， jiù shì bān jí de dì yī rén chēng de yì shí liú de chéng xiàn。 zhè duì fú kè nà shì yī gè jù dà de kǎo yàn， yīn wéi tā bì xū mó fǎng yī gè bái chī de sī wéi hé yǔ yán lái jìn xíng xù shì。 wǒ men xiān lái jù tǐ kàn kàn bái chī shì zěn yàng jiǎng gù shì de。
《 xuān huá yǔ sāo dòng 》 de kāi tóu， yě xǔ shì fú kè nà xiǎo shuō zhōng míng qì zuì dà de yī gè xì jié， yīn wéi jīng cháng bèi yán jiū zhě hé xiǎo shuō jiā yǐn yòng： tòu guò shān lán， chuān guò pān rào de huā zhī de kōng dàng， wǒ kàn jiàn tā men zài dǎ qiú。 tā men cháo chā zhe xiǎo qí de dì fāng zǒu guò lái， wǒ shùn zhe shān lán cháo qián zǒu。 lè sī tè zài nà kē kāi huā de shù bàng cǎo dì lǐ zhǎo dōng xī。 tā men bǎ xiǎo qí bá chū lái， dǎ qiú liǎo。 jiē zhe tā men yòu bǎ xiǎo qí chā huí qù， lái dào gāo dì shàng， zhè rén dǎ liǎo yī xià， lìng wài nà rén yě dǎ liǎo yī xià。 tā men jiē zhe cháo qián zǒu， wǒ yě shùn zhe shān lán cháo qián zǒu。 lè sī tè lí kāi liǎo nà kē kāi huā de shù， wǒ men yán zhe shān lán yī qǐ zǒu， zhè shí hòu tā men zhàn zhù liǎo， wǒ men yě zhàn zhù liǎo。 wǒ tòu guò shān lán zhāng wàng， lè sī tè zài cǎo cóng lǐ zhǎo dōng xī。“ qiú zài zhè 'ér， kāi dì。” nà rén dǎ liǎo yī xià。 tā men chuān guò cǎo dì wǎng yuǎn chù zǒu qù。 wǒ tiē jǐn shān lán， qiáo zhe tā men zǒu kāi。“ tīng tīng， nǐ hēng hēng dé duō nán tīng。” lè sī tè shuō。
zài zhè lǐ， fú kè nà kāi mén jiàn shān dì gào sù liǎo zì jǐ， tā jiē xià qù yào miáo shù de shì yī gè kòngbái de líng hún， zài zhè líng hún shàng miàn méi yòu rèn hé zá zhì， zhǐ yòu jǐ dào shēn qiǎn bù yī de zhòu wén， yòu shí hòu huì xiàng hú shuǐ yī yàng bō dòng qǐ lái。 yú shì zài hěn duō nián yǐ hòu， yě jiù shì fú kè nà lí kāi rén shì zhī hòu， wǒ yòu xìng dú dào liǎo zhè bù wěi dà de zuò pǐn zhōng yì běn， rèn shí liǎo yī gè wěi dà de bái chī héng héng bān jí。
“ wěi dà de bái chī” de shuō fǎ bù shì yī zhǒng sǒng rén tīng wén de xiū cí fāng shì， yīn wéi zhè gè bái chī xíng xiàng shēn shàng díquè jì tuō liǎo fú kè nà de duō zhǒng zhuī qiú。 qǐ mǎ wán quán zūn xún bái chī de gǎn zhī fāng shì， chéng xiàn bái chī de tè yòu de“ zhì xù” hé“ luó ji”， běn shēn jiù shì yī jiàn wěi dà de cháng shì。
yòu yán jiū zhě xiáng xì fēn xī guò bān jí de gǎn zhī shì jiè de luó ji fāng shì。 tā rèn wéi， bān jí de“ luó ji” wán quán jiàn lì zài yī zhí wù zhì yǔ míng chēng xiāng duì yìng de kè bǎn de rèn tóng yuán zé zhī shàng。 zài bān jí yǎn lǐ， yī gè míng chēng zhǐ néng dài biǎo yī zhǒng wù zhì， ér bù néng jù yòu bié de hán yì。 bān jí bù jǐn wú fǎ qū fēn fù zá de jiā tíng yǔ shè huì guān xì， ér qiě yě bù jù yòu bái rén、 hēi rén、 zhù rén、 pú rén zhè yàng de jī běn gài niàn hé huàfēn。 suǒ yǐ tā de nèi xīn dú bái hé xù shì zhōng fǎn fù chū xiàn“ kūn dīng”、“ kǎi dì”、“ lè sī tè” zhè xiē míng zì， ér bù cún zài gē gē、 jiě jiě、 yōng rén zhè yàng de chēng hū。 jí shǐ lián“ tā” zhè yàng de cháng yòng rén chēng dài cí yě yòng dé hěn shǎo。 huò zhě shuō， zài bān jí de gài niàn shì jiè zhōng， chōu xiàng huà chéng dù bù gāo。“ tā” qí shí shì yī gè gài kuò xìng de， chōu xiàng huà chéng dù jiào gāo de fàn chóu。
wèishénme《 xuān huá yǔ sāo dòng 》 yī kāi tóu shǒu xiān ràng yī gè bái chī lái jiǎng shù？
1、 jù tǐ xìng hé yuán chū xìng
wèishénme《 xuān huá yǔ sāo dòng 》 yī kāi tóu jiù ràng bái chī lái jiǎng shù？ dì yī gè xiào guǒ jiù shì qián miàn jiǎng de wén xué gǎn xìng de jù tǐ xìng hé yuán chū xìng。 bái chī xù shù chū lái jǐng xiàng gèng yòu yī zhǒng zhì gǎn， yī zhǒng shì jiè bù jiā yì shí xíng tài huà hé chōu xiàng huà de yuán chū jǐng xiàng， jiù hǎo xiàng shàng dì zài xù shù yī yàng， bù jiǎ sī suǒ， méi yòu yóu yí， yī qiēdōu shì bù yōng zhì yí de。 jiù xiàng shàng dì shuō， yào yòu guāng， yú shì jiù yòu liǎo guāng。 tōng guò bái chī de jiǎng shù， àn bā léi tè zài《 fēi lǐ xìng de rén》 zhōng de shuō fǎ，“ fú kè nà gěi wǒ men zhǎn shì liǎo yī gè bù tòu míng de、 mì shí de hé fēi lǐ xìng de shì jiè”。 suǒ wèi“ mì shí” de， shì yīn wéi tā chōng chì dedōu shì yī xiē jù tǐ de、 gǎn xìng de、 shí tǐ huà de yì xiàng hé chǎng jǐng。 ér dāng yī zhǒng xù shù wán quán yóu zhè zhǒng mì bù tòu fēng de jù tǐ shì wù gòu chéng， quē fá yī zhǒng lǐ xìng hé guān niàn zhī guāng de zhào yào， tā fǎn 'ér shì wú fǎ lǐ jiě de， jí bù tòu míng de、 fēi lǐ xìng de。 yòu yī gè xī fāng lǐ lùn jiā rèn wéi， wǒ men zài yī zhǒng xù shù zhōng duì bù tóng lèi xíng de cí huì de xuǎn zé jué dìng liǎo xù shù bèi lǐ jiě de nán yì chéng dù。 yī piān xù shù zhōng quán yóu chōu xiàng de cí gòu chéng， rú“ xíng 'ér shàng”、“ běn tǐ”、“ lǐ niàn”、“ èr lǜ bèi fǎn” yī lèi de cí huì zǔ chéng de， nà zhè piān xù shù kěn dìng shì yī bān dú zhě hěn nán dú dǒng de。 dàn shì， fǎn guò lái yī piān xù shù quán yóu jù xiàng de jù tǐ de cí huì gòu chéng， quándōu shì“ zhuō zǐ”、“ yǐ zǐ”、“ bǎn dèng” yī lèi de cí， yě shì tóng yàng bù róng yì bèi lǐ jiě de。 bān jí de xù shù de bù tòu míng xìng zài hěn dà chéng dù shàng jiù jué dìng yú zhè zhǒng“ mì shí” de jù tǐ xìng。
2、 yòng bái chī biǎo xiàn de yì shí liú chéng
xuǎn zé bái chī zuò xù shì zhě gèng yòu lì yú fú kè nà chéng xiàn tā de yì shí liú de xiǎo shuō xíng shì hé shí xiàn tā de zhuī qiú。 fú kè nà zhī suǒ yǐ rú cǐ pín fán dì biǎo xiàn yì shí liú， chú liǎo tā rèn wéi zhè yàng zhí jiē xiàng dú zhě tí gōng shēng huó de piàn duàn néng gèng jiā jiē jìn zhēn shí zhī wài， hái yòu yī gè gèng zhù yào de yuán yīn， zhè jiù shì： fú cóng kè huà tè shū rén wù de xū yào。 qián sān zhāng de xù shù zhě dōushì xīn zhì bù jiàn quán de rén。 bān jí shì gè bái chī， tā de sī xiǎng rú guǒ yòu luó ji、 yòu lǐ xìng fǎn dǎo shì bù zhēn shí、 bù hé luó ji de。 dàn cóng yì shí liú de xiǎo shuō xíng shì de jiǎo dù zhuóyǎn， fú kè nà bù jǐn shì yīn wéi fú cóng kè huà tè shū rén wù de xū yào cái pín fán biǎo xiàn yì shí liú， ér yě xǔ qià qià xiāng fǎn， tā wèile yíng zào yì shí liú de xiǎo shuō xíng shì cái gèng xū yào bái chī zhè gè tè shū rén wù。 zhè bìng bù shì dī gū liǎo bái chī bān jí zhè gè xíng xiàng duì shì jiè xiǎo shuō rén wù xíng xiàng cháng láng de dú tè gòng xiàn， ér shì shuō zhì shǎo zài yì shí liú zhè gè céng miàn， bái chī shì fú cóng yú xiǎo shuō xíng shì de xū yào de。 bān jí xù shù de tū chū tè zhēng， zhǐ néng yòng“ hùn luàn” liǎng zì xíng róng。 zài tā de xù shù zhōng， bù tóng shí jiān hé kōng jiān de chǎng jǐng、 rén wù suí shí qiē huàn， shí kōng kuà dù zhī dà， zhuǎn huàn sù dù zhī kuài shì jīng rén de， ér qiě cóng lái méi yòu shí jiān biāo zhì， nǐ fēn bù qīng shì nǎ yī duàn gù shì shí jiān， biǎo xiàn chū de shì guò qù yǔ xiàn zài gòng shí cún zài de gòng shí xìng tè zhēng。
bān jí de xù shì tū chū biǎo xiàn liǎo yì shí liú de tè zhēng， yī shì shí kōng hé jì yì de chǎng jǐng qiē huàn， èr shì suǒ yòu de liú chéng dū yóu dāng xià de mǒu zhǒng gǎn jué hé shì wù chù dòng。 ér zài bái chī de xù shì liú chéng zhōng， fú kè nà zuì xiǎng qiáng diào de sì hū shì“ gòng shí xìng” hé“ xiàn shí xìng” de lǐ niàn。 bān jí de xù shì zhōng chuān chā liǎo dà liàng guò qù de huí yì hé xì jié。 dàn dú zhě zhǐ dú bān jí de jiǎng shù jiù gēn běn gǎo bù qīng nǎ xiē shì guò qù de huí yì， gèng gǎo bù qīng zhè xiē huí yì shì guò qù de nǎ gè shí jiān duàn de。 zài bān jí de jiǎng shù zhōng， hùn dùn yī piàn， zhǐ jù yòu dāng xià xìng hé xiàn shí xìng。 zhè sì hū dū yìn zhèng liǎo jié mǔ xùn guān yú jīng shén fēn liè huàn zhě de miáo shù。 jié mǔ xùn zài《 hòu xiàn dài zhù yì yǔ wén huà lǐ lùn》 zhōng rèn wéi， jīng shén fēn liè shì yī gè mó shì， biǎo xiàn zài shí jiān tǐ yàn shàng， jiù shì jīng shén fēn liè huàn zhě zhǐ cún zài yú xiàn shí， nà zhǒng cóng guò qù tōng xiàng wèi lái de lián xù xìng gǎn jué yǐ jīng bēng kuì liǎo， chú liǎo“ xiàn shí” yǐ wài， shénme dōuméi yòu。 zhè zhǒng shí jiān tǐ yàn de tè diǎn jié mǔ xùn yě gài kuò wéi yī zhǒng xī dú dài lái de kuài gǎn。 àn jié mǔ xùn de shuō fǎ， xī dú de tǐ yàn zhèng shì jí zhōng zài“ xiàn shí” shàng。 yīn cǐ， jié mǔ xùn shuō：“ jīng shén fēn liè jiù chéng liǎo shī qù lì shǐ gǎn de yī gè qiáng liè 'ér jí zhōng de biǎo xiàn， tóng shí yě shī qù liǎo zì jǐ de shí jiān hé shēn fèn。” bái chī bān jí kě néng méi yòu sàng shī zì jǐ de shēn fèn gǎn， bié rén jiào tā“ bān jí” de shí hòu， tā yě zhī dào shì hǎn zì jǐ， yòng shēn 'ào de shuō fǎ， tā hái méi yòu wán quán sàng shī zhù tǐ xìng。 dàn bān jí duì shí jiān de lì shí xìng de gǎn zhī jiù bù nà me líng liǎo。 shí jiān zài tā nà lǐ zhǐ chéng xiàn wéi“ gòng shí” hé“ yǎn qián”。 zhè zhǒng shí jiān gǎn shòu yě zhèng shì fú kè nà kè yì qiáng diào de。 zài fǎng tán lù zhōng， fú kè nà shuō：“ wǒ de lǐ lùn， jí shí jiān nǎi shì yī zhǒng liú dòng zhuàng tài， chú zài gè rén shēn shàng yòu duǎn zàn de tǐ xiàn wài， zài wú qí tā xíng shì de cún zài。 suǒ wèi‘ běn lái’， qí shí shì méi yòu de héng héng zhǐ yòu‘ yǎn qián’。” yì shí liú xíng shì qí shí zhèng yìn zhèng liǎo shí jiān de dāng xià xìng， jí yī qiē shí jiān dū cháo dāng xià zhè gè wéi dù liú yǒng。
3、 bái chī xù shì de chāo yuè yì yùn
《 xuān huá yǔ sāo dòng 》 de xiǎo shuō míng zì lái zì suō shì bǐ yà de bēi jù《 mài kè bái》 dì wǔ mù dì wǔ chǎng mài kè bái de tái cí：“ rén shēng jiù shì yī piān huāng táng de gù shì， yóu bái chī jiǎng shù， chōng mǎn zhe xuān huá yǔ sāo dòng ， què méi yòu rèn hé yì yì。” cóng xiǎo shuō míng zì de chū chù kě yǐ kàn chū， fú kè nà xuǎn zé bái chī bān jí zuò wéi dì yī gè xù shì zhě， yòu yī zhǒng jī yú zhù tí de kǎo lǜ de bì rán xìng。 rén shēng jiù shì yóu bái chī jiǎng shù de huāng táng de gù shì， zhè jiù shì tā xiǎng chuán dá de tí zhǐ。 zhè zài suō shì bǐ yà nà lǐ hái shì yī gè bǐ yù， dào liǎo fú kè nà zhè lǐ jiù biàn chéng liǎo xiàn shí。 qí zhōng yǐn hán liǎo fú kè nà xuǎn zé bái chī xù shì de chāo yuè de yì yùn。 bái chī xù shì zài zhè lǐ qí shí biǎo dá de shì yī zhǒng shì jiè de xiàn shí tú jǐng， jí wú xù、 hùn luàn yǔ gòng shí。 hái yòu shénme yàng de xù shì zhě bǐ bái chī gèng néng biǎo dá shì jiè de hùn luàn ní？ yú huá chēng tā shì gè“ wěi dà de bái chī”， zhèng yīn wéi bān jí qīng 'ér yì jǔ、 háo bù fèi lì dì jiù bǎ rén shēng yǔ shì jiè de běn xiāng jiē shì liǎo chū lái， huò zhě shuō， tā de jiǎng shù yǔ shì jiè de hùn luàn běn zhì shì yìqǔ tóng gōng de， shì tóng gòu de， tā běn rén jiù chéng liǎo yī gè hùn luàn shì jiè de xiàng zhēng。 suǒ yǐ xiàng zhēng fàn zǐ men zài bān jí de shēn shàng fā xiàn liǎo yīng xióng yòng wǔ zhī dì。 píng lùn jiā men zuì kù 'ài de， zhèng shì bān jí zhè zhǒng wěi dà de bái chī xíng xiàng。
The Sound and the Fury is a novel written by the American author William Faulkner. It employs a number of narrative styles, including the technique known as stream of consciousness, pioneered by 20th century European novelists such as James Joyce and Virginia Woolf. Published in 1929, The Sound and the Fury was Faulkner's fourth novel, and was not immediately successful. In 1931, however, when Faulkner's sixth novel, Sanctuary, was published — a sensationalist story which Faulkner later claimed was written only for money — The Sound and the Fury also became commercially successful, and Faulkner began to receive critical attention.
Plot introduction
The Sound and the Fury is set in the fictional Yoknapatawpha County. The novel centers on the Compson family, former Southern aristocrats who are struggling to deal with the dissolution of their family and its reputation. The novel is separated into four distinct sections. The first, April 7, 1928, is written from the perspective of Benjamin "Benjy" Compson, a 33-year-old man with severe mental handicaps. Benjy's section is characterized by a highly disjointed narrative style with frequent chronological leaps. The second section, June 2, 1910, focuses on Quentin Compson, Benjy's older brother, and the events leading up to his suicide. In the third section, April 6, 1928, Faulkner writes from the point of view of Jason, Quentin's cynical younger brother. In the fourth and final section, set a day after the first, on April 8, 1928, Faulkner introduces a third person omniscient point of view. The last section primarily focuses on Dilsey, one of the Compson's black servants. Jason is also a focus in the section, but Faulkner presents glimpses of the thoughts and deeds of everyone in the family. A simple plot summary cannot adequately describe this novel, as much of the novel's strength lies in its technical achievements and lyrical prose.
Explanation of the novel's title
The title of the novel is taken from Macbeth's soliloquy in act 5, scene 5 of William Shakespeare's Macbeth:
"Tomorrow and tomorrow and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing."
Immediately obvious is the notion of a "tale told by an idiot", in this case Benjy, whose view of the Compsons' story opens the novel. The idea can be extended also to Quentin and Jason, whose narratives display their own varieties of idiocy. More to the point, the novel recounts the decline and death of a traditional upper-class Southern family, "the way to dusty death". The last line is, perhaps, the most meaningful; Faulkner said in his speech upon being awarded the Nobel Prize in Literature that people must write about things that come from the heart, "universal truths". Otherwise they signify nothing.
Plot summary
The four parts of the novel relate many of the same episodes, each from a different point of view and therefore with emphasis on different themes and events. This interweaving and nonlinear structure makes any true synopsis of the novel difficult, especially since the narrators are all unreliable in their own way, making their accounts not necessarily trustworthy at all times. Also in this novel, Faulkner uses italics to indicate points in each section where the narrative is moving into a significant moment in the past. The use of these italics can be confusing, however, as time shifts are not always marked by the use of italics, and periods of different time in each section do not necessarily stay in italics for the duration of the flashback. Thus, these time shifts can often be jarring and confusing, and require particularly close reading.
The general outline of the story is the decline of the Compson family, a once noble Southern family descended from U.S. Civil War hero General Compson. The family falls victim to those vices which Faulkner believed were responsible for the problems in the reconstructed South: racism, avarice, selfishness, and the psychological inability of individuals to become determinants. Over the course of the thirty years or so related in the novel, the family falls into financial ruin, loses its religious faith and the respect of the town of Jefferson, and many of them die tragically.
The reader may also wish to look in The Portable Faulkner for a four-page history of the Compson family. Faulkner said afterwards that he wished he had written the history at the same time he wrote The Sound and the Fury.
Part 1: April 7, 1928
The first section of the novel is narrated by Benjamin "Benjy" Compson, a source of shame to the family due to his mental retardation; the only characters who evidence a genuine care for him are Caddy, his older sister; and Dilsey, a matriarchal servant. His narrative voice is characterized predominantly by its nonlinearity: spanning the period 1898–1928, Benjy's narrative is a pastiche of events presented in a seamless stream of consciousness. The presence of italics in Benjy's section is meant to indicate significant shifts in the narrative. Originally Faulkner meant to use different colored inks to signify chronological breaks. This nonlinearity makes the style of this section particularly challenging, but Benjy's style develops a cadence that, while not chronologically coherent, provides unbiased insight into many characters' true motivations. Moreover, Benjy's caretaker changes to indicate the time period: Luster in the present, T.P. in Benjy's teenage years, and Versh during Benjy's infancy and childhood.
In this section we see Benjy's three passions: fire, the golf course on land that used to belong to the Compson family, and his sister Caddy. But by 1928 Caddy has been banished from the Compson home after her husband divorced her because her child was not his, and the family has sold his favorite pasture to a local golf club in order to finance Quentin's Harvard education. In the opening scene, Benjy, accompanied by Luster, a servant boy, watches golfers on the nearby golf course as he waits to hear them call "caddie"—the name of his favorite sibling. When one of them calls for his golf caddie, Benjy's mind embarks on a whirlwind course of memories of his sister, Caddy, focusing on one critical scene. In 1898 when their grandmother died, the four Compson children were forced to play outside during the funeral. In order to see what was going on inside, Caddy climbed a tree in the yard, and while looking inside, her brothers—Quentin, Jason and Benjy—looked up and noticed that her underwear was muddy. How each of them reacts to this is the first insight the reader has into the trends that will shape the lives of these boys: Jason is disgusted, Quentin is appalled, and Benjy seems to have a "sixth-sense" in that he moans (he is unable to speak using words), as if sensing the symbolic nature of Caddy's dirtiness, which hints at her later sexual promiscuity. At the time the children were aged 9 (Quentin), 7 (Caddy), 5 (Jason) and 3 (Benjy). Other crucial memories in this section are Benjy's change of name (from Maury, after his uncle) in 1900 upon the discovery of his disability; the marriage and divorce of Caddy (1910), and Benjy's castration, resulting from an attack on a girl that is alluded to briefly within this chapter when a gate is left unlatched and Benjy is out unsupervised. Readers often report trouble understanding this portion of the novel due to its impressionistic language, necessitated by Benjamin's retardation, and its frequent shifts in time and setting.
Part 2: June 2, 1910
Quentin, the most intelligent and tormented of the Compson children, gives the novel's best example of Faulkner's narrative technique. We see him as a freshman at Harvard, wandering the streets of Cambridge, contemplating death, and remembering his family's estrangement from his sister Caddy. Like the first section, its narrative is not strictly linear, though the two interweaving threads, of Quentin at Harvard on the one hand, and of his memories on the other, are clearly discernible.
Quentin's main obsession is Caddy's virginity and purity. He is obsessed with Southern ideals of chivalry and is strongly protective of women, especially his sister. When Caddy engages in sexual promiscuity, Quentin is horrified. He turns to his father for help and counsel, but the cynical Mr. Compson tells him that virginity is invented by men and should not be taken seriously. He also tells Quentin that time will heal all. Quentin spends much of his time trying to prove his father wrong, but is unable to. Shortly before Quentin leaves for Harvard in the fall of 1909, Caddy becomes pregnant with the child of Dalton Ames, whom Quentin confronts. The two fight, with Quentin losing horribly and Caddy vowing, for Quentin's sake, never to speak to Dalton again. Quentin tells his father that they have committed incest, but his father knows that he is lying: "and he did you try to make her do it and i i was afraid to i was afraid she might and then it wouldn't do any good" (112). Quentin's idea of incest is shaped by the idea that, if they "could just have done something so dreadful that they would have fled hell except us" (51), he could protect his sister by joining her in whatever punishment she might have to endure. In his mind, he feels a need to take responsibility for Caddy's sin. Pregnant and alone, Caddy then marries Herbert Head, whom Quentin finds repulsive, but Caddy is resolute: she must marry before the birth of her child. Herbert finds out that the child is not his and sends mother and daughter away in shame. Quentin's wanderings through Harvard, as he cuts classes, follow the pattern of his heartbreak over losing Caddy. For instance, he meets a small Italian immigrant girl who speaks no English. Significantly, he calls her "sister" and spends much of the day trying to communicate with her, and to care for her by finding her home, to no avail. He thinks sadly of the downfall and squalor of the South after the American Civil War. Ultimately, unable to cope with the amorality of the world around him, he commits suicide by jumping off a bridge into the Charles River, having weighted his jacket with flat-irons.
While many first-time readers report Benjy's section as being difficult to understand, these same readers often find Quentin's section to be near impossible. Not only do chronological events mesh together regularly, but often (especially at the end) Faulkner completely disregards any semblance of grammar, spelling, or punctuation, instead writing in a rambling series of words, phrases, and sentences that have no separation to indicate where one thought ends and another begins. This confusion is due to Quentin's severe depression and deteriorating state of mind. The section is therefore ironic in that Quentin is an even more unreliable narrator than his brother Benjy was. Because of the staggering complexity of this section, it is often the one most extensively studied by scholars of the novel.
Part 3: April 6, 1928
The third section is narrated by Jason, the third son and Caroline's favorite. It takes place the day before Benjy's section, on Good Friday. Of the three brothers' sections, Jason's is the most straightforward, reflecting his single-minded desire for material wealth. By 1928, Jason is the economic foundation of the family after his father's death. He supports his mother, Benjy, and Miss Quentin (Caddy's daughter), as well as the family's servants. His role makes him bitter and cynical, with little of the passionate sensitivity that mark his older brother and sister. He goes so far as to blackmail Caddy into making him Miss Quentin's sole guardian, then uses that role to steal the support payments that Caddy sends for her daughter.
This is the first section that is narrated in a linear fashion. It follows the course of Good Friday, a day in which Jason decides to leave work to search for Miss Quentin (Caddy's daughter), who has run away again, seemingly in pursuit of mischief. Here we see most immediately the conflict between the two predominant traits of the Compson family, which Jason's mother Caroline attributes to the difference between her blood and her husband's: on the one hand, Miss Quentin's recklessness and passion, inherited from her grandfather and, ultimately, the Compson side; on the other, Jason's ruthless cynicism, drawn from his mother's side. This section also gives us the clearest image of domestic life in the Compson household, which for Jason and the servants means the care of the hypochondriac Caroline and of Benjy.
Part 4: April 8, 1928
April 8, 1928, is Easter Sunday. This section, the only one without a single first person narrator, focuses on Dilsey, the powerful matriarch of the black servant family. She, in contrast to the declining Compsons, draws a great deal of strength from her faith, standing as a proud figure amid a dying family. It can be said that Dilsey gains her strength by looking outward (i.e. outside of one's self for support) while the Compsons grow weak by looking inward.
On this Easter Sunday, Dilsey takes her family and Benjy to the 'colored' church. Through her we sense the consequences of the decadence and depravity in which the Compsons have lived for decades. Dilsey is mistreated and abused, but nevertheless remains loyal. She, with the help of her grandson Luster, cares for Benjy, as she takes him to church and tries to bring him to salvation. The preacher's sermon inspires her to weep for the Compson family, reminding her that she's seen the family through its destruction, which she is now witnessing.
Meanwhile, the tension between Jason and Miss Quentin reaches its inevitable conclusion. The family discovers that Miss Quentin has run away in the middle of the night with a carnival worker, having found the hidden collection of cash in Jason's closet and taken both her money (the support from Caddy, which Jason had stolen) and her money-obsessed uncle's life savings. Jason calls the police and tells them that his money has been stolen, but since it would mean admitting embezzling Quentin's money he doesn't press the issue. He therefore sets off once again to find her on his own, but loses her trail in nearby Mottson, and gives her up as gone for good.
The novel ends with a very powerful and unsettling image. After church, Dilsey allows her grandson Luster to drive Benjy in the family's decrepit horse and carriage (another sign of decay) to the graveyard. Luster, not caring that Benjy is so entrenched in the routine of his life that even the slightest change in route will enrage him, drives the wrong way around a monument. Benjy's hysterical sobbing and violent outburst can only be quieted by Jason, of all people, who understands how best to placate his brother. Jason slaps Luster, turns the carriage around, and Benjy suddenly becomes silent. Luster turns around to look at Benjy and sees Benjy drop his flower. Benjy's eyes are "...empty and blue and serene again."
Appendix: Compson, 1799–1945
In 1945, Faulkner wrote an appendix to the novel to be published in the then-forthcoming anthology The Portable Faulkner. At Faulkner's behest, however, subsequent printings of The Sound and the Fury frequently contain the appendix at the end of the book; it is sometimes referred to as the fifth part. Having been written sixteen years after The Sound and the Fury, the appendix presents some textual differences from the novel, but serves to clarify the novel's opaque story.
The appendix is presented as a complete history of the Compson family lineage, beginning with the arrival of their ancestor Quentin Maclachlan in America in 1779 and continuing through 1945, including events that transpired after the novel (which took place in 1928). In particular, the appendix reveals that Caroline Compson died in 1933, upon which Jason had Benjy committed to the state asylum; fired the black servants; sold the last of the Compson land; and moved into an apartment above his farming supply store. It is also revealed that Jason had himself declared Benjy's legal guardian many years ago, without their mother's knowledge, and used this status to have Benjy castrated.
The appendix also reveals the fate of Caddy, last seen in the novel when her daughter Quentin is still a baby. After marrying and divorcing a second time, Caddy moved to Paris, where she lived at the time of the German occuption. In 1943 the librarian of Yoknapatawpha County discovered a magazine photograph of Caddy in the company of a German staff general and attempted separately to recruit both Jason and Dilsey to save her; Jason, at first acknowledging that the photo was of his sister, denied it was her after realizing the librarian wanted his help, while Dilsey pretended to be unable to see the picture at all. The librarian later realizes that while Jason remains cold and unsympathetic towards Caddy, Dilsey simply understands that Caddy neither wants nor needs salvation from the Germans, because nothing else remains for her.
The appendix concludes with an accounting for the black family who worked as servants to the Compsons. Unlike the entries for the Compsons themselves, which are lengthy, detailed, and told with an omniscient narrative perspective, the servants' entries are simple and succinct. Dilsey's entry, the final in the appendix, consists of two words: "They endured."
Characters in The Sound and the Fury
See also: Compson Family
The genealogy of the Compson Family
* Jason Compson III (?–1912) — father of the Compson family, a lawyer who attended the University of the South — a nihilistic thinker and alcoholic, with cynical opinions that torment his son, Quentin. He also narrates several chapters of Absalom, Absalom!.
* Caroline Bascomb Compson (?–1933) — wife of Jason Compson III — a self-absorbed neurotic who has never shown affection for any of her children except Jason, whom she seems to like only because he takes after her side of the family. In her old age she has become an abusive hypochondriac.
* Quentin Compson III (1890–1910) — the oldest Compson child — passionate and neurotic, he commits suicide as the tragic culmination of the damaging influence of his father's nihilistic philosophy and his inability to cope with his sister's sexual promiscuity. He is also a character in Absalom, Absalom!. The bridge over the Charles River, where he commits suicide in the novel, bears a plaque to commemorate the character's life and death.
* Candace "Caddy" Compson (1892–?) — the second Compson child, strong-willed yet caring. Benjy's only real caregiver and Quentin's best friend. According to Faulkner, the true hero of the novel. Caddy never develops a voice, but rather allows her brothers' emotions towards her to develop her character.
* Jason Compson IV (1894–?) — the bitter, racist third child who is troubled by monetary debt and sexual frustration. He works at a farming goods store owned by a man named Earl and becomes head of the household in 1912. Has been embezzling Miss Quentin's support payments for years.
* Benjamin ("Benjy", born Maury) Compson (1895–?) — the mentally retarded fourth child, who is a constant source of shame and grief for his family, especially his mother, who insisted on his name change to Benjamin. Caddy is the only family member who shows any genuine love towards him. Has an almost animal-like "sixth sense" about people, as he was able to tell that Caddy had lost her virginity just from her smell. The model for Benjy's character may have had its beginning in the 1925 New Orleans Times Picayune sketch by Faulkner entitled "The Kingdom of God".
* Dilsey Gibson (?) — the matriarch of the servant family, which includes her three children — Versh, Frony, and T.P. — and her grandchild Luster (Frony's son); they serve as Benjamin's caretakers throughout his life. An observer of the Compson family's destruction.
* Miss Quentin Compson (1911?–?) — daughter of Caddy who goes to live with the Compsons under Jason IV's care when Herbert divorces Caddy. She is very wild and promiscuous, and eventually runs away from home. Often referred to as Quentin II or Miss Quentin by readers to distinguish her from her uncle, for whom she was named.
Literary significance and reception
The novel has achieved great critical success and a prominent place among the greatest of American novels. It played a role in William Faulkner's receiving the 1949 Nobel Prize in Literature.
The novel's appreciation has in large part been due to the technique of its construction, Faulkner's ability to recreate the thought patterns of the human mind. It was an essential development in the stream-of-consciousness narrative technique.
Like much of Faulkner's work, The Sound and the Fury has been read as typifying the South as a whole. Faulkner was very much preoccupied with the question of how the ideals of the old South could be maintained or preserved in the post-Civil War era. Seen in this light, the decline of the Compson family might be interpreted as an examination of the corrosion of traditional morality, only to be replaced by a modern helplessness. The most compelling characters are also the most tragic, as Caddy and Quentin cannot survive within the context of the society whose values they reject as best they can, and it is left to Jason, unappealing but competently pragmatic, to maintain the status quo, as illustrated by the novel's ending.
There are also echoes of existential themes in the novel, as Sartre argued in his famous essay on Faulkner. Many of the characters also draw upon classical, Biblical and literary sources: Some believe Quentin (like Darl in As I Lay Dying) to have been inspired by Hamlet and Caddy by Ophelia. Benjamin may derive his name from the brother of Joseph in the Book of Genesis.
Movie adaptations
* A film adaptation was released in 1959 directed by Martin Ritt and starring Yul Brynner, Joanne Woodward, Margaret Leighton, Stuart Whitman, Ethel Waters, Jack Warden, and Albert Dekker. The movie bears little resemblance to the novel. |