“GIÃ TỪ VŨ khí” CỦa tác giả ernest hemingway khóa luận cử nhân ngành khoa học quân sự Chuyên ngành: Tiếng Anh
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Vocab Questions
| d) Parataxis
The opening chapter mirrors the typical use of parataxis of the novel “A Farewell to Arms”. It is a generically rendered landscape with thousands of moving figures. It does much more than start the book. It helps to establish the dominant mood (which is one of doom), plants a series of important images for future symbolic cultivation, and subtly compels the reader into the position of detached observer. The first sentence here fixes the reader in a house in the village where he can take a long view across the river and the plain to the distant mountains. The autumnal tone of the language is important in establishing the autumnal mood of the chapter. The landscape itself has the further importance of serving as a general setting for the whole first part of the novel. Under these values, and of basic structural importance, are the elemental images which compose this remarkable introductory chapter. The second sentence, which draws attention from the mountainous background to the bed of the river in the middle distance, produces a sense of clearness, dryness, whiteness, and sunniness which is to grow very subtly under the artist's hands until it merges with one of the novel's two dominar symbols, the mountain-image. Throughout the substructure of the book, the plain is opposed to the mountain image. Down this plain the river flows. Across it, on the dusty road among the trees, pass the men-at-war, faceless and voiceless and unidentified against the background of the spreading plain. In the third and fourth sentences of this beautifully managed paragraph the march-past of troops and vehicles begins. From the reader's elevated vantage-point, looking down on the plain, the river, and the road, the continuously parading men are reduced in size and scale - made to seem smaller, more pitiful, more pathetic, more like wraiths blown down the wind, than would be true if the reader were brought close enough to overhear their conversation or see them as individualized personalities. Between the first and fourth sentences, moreover, Hemingway accomplishes the transition from late summer to autumn-an inexorability of sea sonal change which prepares the way for the study in doom on which he is embarked. Here again the natural elements take on symbolic function. In the late summer we have the dust, in the early autumn the dust and the leaves falling; and through them both the marching troops impersonally seen. The reminder, through the dust, of the words of the funeral service in the prayer book is fortified by the second natural symbol, the falling leaves. They dry out, fall, decay, and become part of the dust. Into the dust is where the troops are going some of them soon, all of them eventually. The short first chapter closes with winter, and the establishment of rain as a symbol of disaster. “At the start of the winter came the permanent rain and with the rain came the cholera. But it was checked and in the end only seven thousand died of it in the army.” Already, now in the winter, seven thousand of the wraiths have vanished underground. The permanent rain lays the dust and rots the leaves as if they had never existed. There is no excellent beauty, even in the country around Gorizia, that has not some sad ness to it. And there is hardly a natural beauty in the whole first chapter of “A Farewell to Arms” which has not some symbolic function in Hemingway's first study in doom. tải về 120.7 Kb. Chia sẻ với bạn bè của bạn:
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