system: [SYSTEM]

user: 4. 《老人与海》中思想表述的特点 老人桑提亚哥独自漂流在茫茫的大海上，没有其它人的陪伴，周围只有空中的小鸟、水中的海龟等动物，寂寞、孤独无时无刻不在包围、侵袭着他。因此，他很难有理由不对周围的环境产生种种意念与想法。海明威用简练、生动的语言对老人的思想进行了表述，使读者领略了老人那简单、质朴而又深邃的思想，其思想表述特点如下： 4.1. 直接思想表述 在《老人与海》中，作者表述直接思想的例子不多，但其在作品中的文体功能是不可忽视的。如2.2所示，直接思想的表述不同于直接言语的表述，直接言语是对言语的忠实的、逐字的记录，而言语是可以听得见的，因此直接言语的表述是实际发生的言语行为的记录。而直接思想的表述则有所不同，思想行为(thought act)是人们听不到、看不见的，因此人们无法准确、逐字的记录别人的思想内容，所谓的直接思想表述其实并不是思想主体的一种真实的、原始的思想记录，而是作者根据自己的经验、环境的需求、人物的特点等人为加工出来的 [ 6 ]。但作者在表述直接思想时，往往和直接言语的表述形式一样，用一个表述子句引导，被表述的内容用引号标注，这使得在直接思想表述中显得表述者的干预程度减少，因此表述也显得更具有原始性和可信性。这种形式上的表述者干预程度减少与本质上的人为性相结合，便是直接思想表述的艺术性所在，也使其具有独特的文体功能。它能使读者直接进入思想行为主体的内心，从思想行为主体的视角进行体验，更加直接的体会思想行为主体的所想、所感，从而发生心理、精神上的共鸣。如下段老人面对大海、小鸟时的思想表述： In the dark the old man could feel the morning coming and as he rowed he heard the trembling sound as flying fish left the water and the hissing that their stiff set wings made as they soared away in the darkness. He was very fond of flying fish as they were his principal friends on the ocean. He was sorry for the birds， especially the small delicate dark terns that were always flying and looking and almost never finding， and he thought， “The birds have a harder life than we do except for the robber birds and the heavy strong ones. Why did they make birds so delicate and fine as those sea swallows when the ocean can be so cruel? She is kind and very beautiful. But she can be so cruel and it comes so suddenly and such birds that fly， dipping and hunting， with their small sad voices are made too delicately for the sea.” 在本段描写中，海明威首先用了could feel，was very fond of，was sorry for等词汇及短语进行了人物心理状态与态度的描写，并使用了过去时，很显然这是从作者的视角进行的表述，而后作者用了叙述子句he thought与引号进行了直接思想的表述。这种直接思想的表述从老人的视角出发，在时态上用一般现在时，并使用了人称代词“we”、指向性动词“comes”等，这些语法手段的运用使得读者将视角转换到了老人的身上，但这难道是老人思想的逐字逐句的记录吗？显然不是，这种直接思想表述其实是作者对老人思想行为进行的人为加工，但这种人为加工很自然、不留痕迹，使读者自然、忘我地进入到老人的内心世界中，达到了作者、读者、人物三者合一的境界。 4.2. 作者对思想行为的表述 + 自由直接思想 海明威在进行思想表述时，有时用“作者对思想行为的表述 + 自由直接言语”这种表述方法。这种表述方法产生变换视角、跨越时空的文体效果，如下面这段话： ① He always thought of the sea as la mar which is what people call her in Spanish when they love her. ② Sometimes those who love her say bad things of her but they are always said as though she were a woman. ③ Some of the younger fishermen， those who used buoys as floats for their lines and had motorboats， bought when the shark livers had brought much money， spoke of her as el mar which is masculine. ④ They spoke of her as a contestant or a place or even an enemy. ⑤ But the old man always thought of her as feminine and as something that gave or withheld great favors， and if she did wild or wicked things it was because she could not help them. ⑥ The moon affects her as it does a woman， he thought. 这一段关于桑提亚哥心理的表述虽然只有六个句子，但表述方式可谓是丰富多彩、精妙至极。作者利用时态、连接词等手段，不断地变换视角，因而小说的反射体(reflector of the fiction)在作者与老人之间交叉变换。在句子①中，He always thought of the sea as la mar这半句话属于叙述者(作者)对老人的思想行为的表述，而后半句的定语从句则用了一般现在时，表述方式则是老人的自由直接思想。句子②延续句子①的表述方式，属于老人的自由直接思想。句子③中虽然没有he thought这类标识语，但在句子⑤中出现的But the old man always thought of说明句子③和④两句话中平行出现的谓语spoke of其实隐含着Some of the younger fishermen thought的含义，这似乎是作者对年轻渔夫们的思想行为的表述。但句子③中的定语从句which is masculine的时态表明这是老人的自由直接思想，而且在主句中用了el mar这个老人独特的对大海的西班牙语称呼。因此很难区分句子③和句子④到底是作者对年轻渔夫的思想行为的表述还是老人的自由间接思想。在这两句话中，似乎作者与老人合二为一，作者完全从老人的视角在思考、回忆往事。句子⑤使用了标识语the old man thought of，且主句与定语从句都使用了过去时，因此整句话都属于作者对老人思想行为的表述。句子⑥则是自由直接思想的表述与倒置语相结合。 基于以上分析，此段有关思想表述方式为：作者对思想行为的表述–自由直接思想–作者对思想行为的表述–自由直接思想。这种渐进、交错、回复的思想表述方式使视角在作者与小说人物之间时而变换、时而重合，即产生了语言的错落感，又产生了时空的位移感。 4.3. 景物描写 + 自由直接思想与倒置语相结合 + 多个自由直接思想 在表述老人的思想时，海明威用了大量的“自由直接思想与倒置相结合 + 自由直接思想”这种表述方式。老人独自在海上航行，他身处两个世界中，一个是缥缈无垠、时而平静时而凶暴的大海，一个是自己的内心世界。作者运用这种思想表述方式，使读者从作者对环境的叙述中自然而直接地进入到人物的内心世界。在整个表述过程中，作者对思想表述的干预程度越来越低。景生情，情化景，读者的思维在景与情之间跳跃、在物与人之间驰骋、在无情的大海与生动活泼的人之间游移、在无意识与有意识之间穿梭。这使得作者的叙述情景交融、不显单调。在这种表述方式中，倒置只是起到提示作用，表明思想行为的主体，后面作者就不再使用倒置语，因为读者已经有了自由直接思想的意识(consciousness)。如： The sun was two hour higher now and it did not hurt his eyes so much to look into the east. There were only three boats in sight now and they showed very low and far inshore. All my life the early sun has hurt my eyes， he thought. Yet they are still good. In the evening I can look straight into it without getting the blackness. It has more force in the evening too. But in the morning it is painful. 作者在第一段叙述了周围的环境(the sun， only three boats， low and far inshore)。然后，作者对环境因素the sun以及它的影响以自由直接思想的形式表述出来。人物的自由直接思想不是凭空而来的，也不是人物的无病呻吟，而是对现实世界的反映。因此，景与情相互交融，过渡自然而直接。 4.4. 人物心理状态表述 + 自由直接思想 作者有时在叙述人物周围的环境后，对人物的心理状态进行叙述，然后再进行人物自由直接思想的表述。这种方式使景、心理、思想步步衔接，使读者从外部世界进入人物的内心世界，既能体验人物长期形成的世界观、态度等，又能体验即时的思想行为。如： He had no mysticism about turtles although he had gone in turtle boats for many years. He was sorry for them all， even the great trunk backs that were as long as the skiff and weighed a ton. Most people are heartless about turtles because a turtle’s heart will beat for hours after he has been cut up and butchered. But the old man thought， I have such a heart too and my feet and hands are like theirs. 在本段叙述中，作者先是用了mysticism， sorry等词叙述了人物的心理状态，然后便使用现在时态与将来时态，表述了人物的自由直接思想。人物的世界观、态度与思想行为其实都属于心理上的范畴，前者是从作者的视角进行的叙述，后者是具体的例证，二者融合在一起，读者感知人物的心理更加具体、翔实。 4.5. 直接言语 + 自由直接思想 + 间接思想 + 作者的叙述 这种表述方式使视角从小说中的人物转向作者，如： ① “He’s headed north，” the old man said. ② The current will have set us far to the westward， he thought. ③ I wish he would turn with the current. ④ That would show that he was tiring. ⑤ When the sun had risen further the old man realized that the fish was not tiring. ⑥ There was only one favorable sign. ⑦ The slant of the line showed he was swimming at a lesser depth. ⑧ That did not necessarily mean that he would jump. ⑨ But he might. 句子①是直接言语，句子②和③属于自由直接思想，句子④从主句的意义上看包含着If he turned with the current， that would show…的含义，这似乎是句子③中自由直接思想的延续，但其从句that he was tiring中的过去时又似乎表明了这是作者的叙述。句子⑤是间接思想，而句子⑥至⑨是作者的叙述。这种“直接言语 + 自由直接思想 + 间接思想 + 作者的叙述”的表述方式就是从人物的言语到人物的思想再到作者的叙述，视角从小说中的人物位移到作者身上，从具体化的语言到理性的思维，再到作者的结论性的叙述与解释，将老人的思想的发展一步步提高到新的高度。 4.6. 间接思想 + 叙述者对思想行为的表述 海明威有时将间接思想或者叙述者对思想行为的表述与人物的心理状态或者情景描写融合在一起，使整个表述都出自作者这同一个视角，读者感到思想表述与情景叙述自然、和谐。如： There was yellow weed on the line but ① the old man knew that only made an added drag and ② he was pleased. ③ It was the yellow Gulf weed that had made so much phosphorescence in the night.(间接思想① + 心理状态② + 情景描写③) ① He thought of how some men feared being out of sight of land in a small boat and ② knew they were right in the months of sudden bad weather. ③ But now they were in hurricane months and， when there are no hurricanes， the weather of hurricane months is the best of all the year.(叙述者对思想行为的表述① + 间接思想② + 情景描述③) ① He felt very tired now and ② he knew the night would come soon and ③ he tried to think of other things.④ He thought of the Big Leagues， to him they were the Gran Ligas， and ⑤ he knew that the Yankees of New York were playing the Tigres of Detroit.(心理状态① + 间接思想② + 叙述者对思想行为的表述③④ + 间接思想⑤) 4.7. 作者的叙述与自由直接思想的突然变换 ① He did not need a compass to tell him where southwest was. ② He only needed the feel of the trade wind and the drawing of the sail.③ I better put a small line out with a spoon on it and try and get something to eat and drink for the moisture. ④ But he could not find a spoon and his sardines were rotten. 这段话中句子①和②和④是作者的叙述，但在叙述中插入了人物的自由直接思想(句子③)，而且自由直接思想表述没有任何的标识语，只能从代词I可以判断这是人物的自由直接思想。这个自由直接思想的主题与叙述的主题相契合，作者的叙述与人物的自由直接思想转换突然而又不牵强，这无不显示了作者高超的写作艺术，也使读者感到一种视角跳动的美感。