合得来婚庆公司策划书(编辑修改稿)

合得来婚庆公司策划书(编辑修改稿)内容摘要：

di sli ke). But we m ust bear i n mi nd that the char act ers ar e not r eal persons, but m er el y i nvent i ons, however i ngeni ous. Com pare t he physical ife and spi ri t ual li fe of t he charact ers and ours. We have to answer t he nat ure‘s cal l several tim es a day, but char act er s sel dom do t hi s, even i n t he m ost reali st ic or natur al isti c novel s. We have t o li ve our li fe hour by hour and day by day, but char act er s never do t hi s. They choose t o li ve som e ti me m or e f ul l y than ot hers, and ar e able t o ski p over per i ods on t en m ont hs or t went y year s wit hout seemi ng weir d, a f eat which we can never at tempt. I n our li fe, our m i nds are a gr ay mat er even t o sci ent ists. We can not know what i s going on i n ot her‘s mi nd. But i n novel s, t he m i nds of t he characters are open or can be m ade open t o the r eader if t he noveli st so chooses. The r eader does not onl y see t heir cl ot hes, but al so see t hei r m i nds. One char act er m ay be enemy t o ot her charact ers, but he i s friend t o the reader, before whom he can t hi nk aloud, t o borrow Em erson‘s words. Char act ers do not li ve, but act . When we wat ch act ors speak al oud t o t hem sel ves on t he st age as i f they wer e al one, we know they a re acti ng and t hey ar e dif f er ent f r om what hey r epr esent i n r eal li f e. The char act ers i n novel s exi st i n a sim il ar m anner. II. Ki nds of Charact ers Usual l y, a novel has mor e than one char act er . They i nter act wi th each other and m ake up the st or y. But t hey ar e not equal ly i mport ant or have the sam e f uncti on t o the novel ist. By their r ol es i n t he novel , t he char act ers can be gr ouped as her oes, mai n char act er s and m i nor char act er s, and f oil s. The charact er on whom a novel i s cal led t he hero or heroine when i t is a fem al e charact er. The word ―hero‖ ori gi nal y refers t o a m an, i n m ythol ogy and l egend, often of di vi ne ancest ry, who i s endowed wi t h gr eat courage and st r engt h, cel ebr ated f or hi s hold expl oit s, and f avor ed by t he gods. In the novel , the word “hero” is fred of such nobl e requi rements and any central characters can be l abel ed as heroes. Jonat han Wi ld i s t he her o i n t he novel of t he same name by Henr y Fi el di ng, t hough he i s a notor ious highwaym an. Some cri ti cs, annoyed by the connotati on of “hero,” prefer the word “protagoni st, ” whi ch sounds neutral. The enem y or rival of t he prot agonist is cal ed ―ant agoni st .‖ The m ai n or m aj or charact ers are t hose i n close and dynam ic rel at ion wi t h t he hero or heroi ne. Close rel at i on does not m ean good relati on. Pabl o in For Whom t he Bel l Tol l s i s const ant ly f i ndi ng t r oubl e wit h t he her o Jor dan, yet he is a m ai n char act er as hi s wi fe Pi lar is. Mi nor character s ar e t hose i n rem ot e and st at i c r elati on wi th t he her o. It i s wr ong t o t hi nk t hat mi nor charact ers ar e al l unim port ant. I n som e novels, one or some of t he m i nor char act ers m ay ser ve a cr it i cal r ol e, str uct ural y or i nt erpr et at i onal y. Foil charact ers are ones t hat hel p enhance t he i ntensi t y of t he hero by strengtheni ng or contrast i ng. They m ay be m ai n characters or m i nor charact ers. I n a wor d, t hey serve as f oi ls t o t he her o or her oine. Cohn in The Sun Al so Ri ses i s a good exam pl e. He i s one of t he mai n charact ers. Li ke Jake, he i s also ―l ost, ‖ tryi ng vai nl y t o escape t he past by courti ng wom en and drinki ng. But dur i ng t hei r st ay in Spai n, Cohn di spl ays qual it ies i n cont rast o t hose cheri shed by Jake, whi ch m akes Jake reali ze hi s own pr obl em s and fi nal ly f i nd a sol ut i on, t hough t em por aril y. Cohn wor ks m ai nl y by contr ast. Wil son in The Great Gat sby wor ks by pr esenti ng. Gat sby l ost hi s l over t o Tom and Wil son lost hi s wi fe t o Tom . By presenti ng Wi lson‘s case t he noveli st i ntends to poi nt out t he profound cause of Gatsby‘s t ragedy. Dr. Wat son i n t he stori es of Sherlock Holm es serves as a foil t o the hero, renderi ng t he det ecti ve sm ar t er t han he woul d ot her wise appear t o the r eader. By t he degr ee of their devel opm ent , charact ers can be grouped as round charact ers and f l at charact ers. Thi s di vi si on is pr oposed by For st er. Round charact ers ar e full y devel oped whi l e fl at charact ers ar e not . Or we can say t hat round charact ers gr ow whi l e fl at charact ers do not. Usual y t he reader i s al l owed access t o t he i nner l if e of the r ound char acter and per mi t ed to l ear n about m any si des of t he round char act er . The fl at character i s a ―cl osed‖ char act er t o whose i nner t houghts t he r eader i s deni ed access. Usual l y one si de of t he fl at character is shown i n t he novel . Most heroes are round charact ers who gr ow em oti onal l y or spir it ual ly. Chapt er Three Theme Ari st ot l e in Poeti cs li st s si x basi c elements of t ragedy. Mel ody ( song) and dicti on (l anguage) f al i n the gener al cat egor y of st yl e, and spect acl e is r elevant t o set ti ng in our discussi on of f icti on. The ot her t hree aspects ar e m yt hos or plot, et hos or char act er , and di anoi a, whi ch we gener al y tr ansl at e i nt o ―thought ‖ i n Engl ish. Accor di ng t o Ari st otl e, pl ot i s t he ―soul ‖ or shapi ng pr i nci pl e or fi ct i on, and char act er s exi st pr im ar il y as f uncti ons of t he pl ot. I n most of t he st ori es, pl ot plays t he r ole of pri nci pal st ructur e of t he stor y. But, as Nor thr op Frye point s out , besides t he i nt er nal fi ct i on of t he char act er and hi s/ her soci et y, t here i s an ext ernal fi ct i on consi st i ng of a r elati on bet ween t he wri。