分析小說的幾項重要因素

SOME MA拍R ELEMENTS 肝 ANALYZING FICTION

A Survey Report of Nathaniel Hawthorne's

liMy Kinsman, Major Molineux"

PREFACE

2L7

Chen.Chung Yang

楊振中

Generally people like to spend a part or even the most parts of their leisure time

reading a short story or a novel as their favorite recreation , for they can temporarily

enjoy themselves by mixing with those imaginary characters in the fictitious world. After

reading a good story , we usually.have a certain kind of feelings in our mind 一- satisfied

with what has happened in the story , sorry about the great di回到er the character en­

counters, smiling or even crying unconsciously along with the spread of the lucky or

unlucky affairs. A literary work is a kind of reflection of human life, through which we can

see how life functions. “ In our daily experiences we are lost in largeness of all around us.

We cannot understand all that is going on. But a good book catches a part of what is

going on and holds it for us , and we can see relationships there , and causes and effects

which escape us in the flying by a actual time and events."1

Besides the enjoyment of general story-reading, however , a student of literature has to

understand something deeper about the basic function of the specialliterary from , Fiction ,

that combines structural arrangement of daily affairs , logical actions of proper characters,

and technically story-tellingability with literary artistry and rhetorical skill. He must ,

therefore, always bear in mind that the readings he usually meets at college present a

challenge of unusual magnitude, and he has to get into the story by analyzing its major

elements in order to the full understanding of the literary work as a unified artistic work.

To simplify the procedures of literary analysis and reduce the artificial drudgery、， I

have decided to approach the problems of developing a reader's understanding and

1. Pear S. Buck, Literature And Life (Selected English Readings, NTNU, 1960) p. 57.

218 教學與研究第入期

appreciation of fiction by providing an example of analyzing a short story which, I hope,

will enble him to gain greater enjoyment as well as deeper understanding, and , above all,

to build up the habit of analyzing a piece of literary work on his own.

Some of the Major Elements of Analyzing a Short Story

The elements listed below (which may be listed as many as more than twenty in

number) are intended to suggest only some of the most basic ones for those who begin to

learn the procedures of analyzing a story as to give a complete review of the technique. In

the way of analysis, one should become aware of avoiding an application so literal as to

deaden the interest in thestory itself. If a written report is attempted , these elements

should be used as topics for passages or paragraphs, not mere question-and-answer re­

sponses like a court cross-examination. The whole report when complete should be in the

form of a paper such as one would be willing to present as a part of program in a literary

club or symposium.

At this point, we will look briefly at some of the more important elements of fiction

as character, ac1ion, conflict , setting, point of view , theme and ideas, symbolism , and so

forth , for these represent the extremely useful 恤erary concepts, and indicate their re­

leyance to such Vaditional critical factors.

1. Character

Of all the factors which critics use in analyzing stories, character is the most familiar

one. What we call “ character" is an imaginative construction based on the words and the

forms \wich the author has put together; therefore, we mllst be careful not to let “ char­

acter" take us in too much and be aware of the fact that the character in the story you are

studying is only a fictitious person. In discussing the characters, we may make a list of

them 一- which is the principal character , the protagonist; those of secondery importance,

the 、supporting roles or deuteragonists; and those used merely as background or foil , if

there are any such. Which of them have distinct individuality? Are any merely personified

types of some quality or passion, such as greed , jealousY, hate, etc.? And are there any

merely impersonal figures?

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222 教學與研究第入期

thus midway between the first person and the third person points of view. This is the

technique used in Hemingway's “ Big Two-Hearted River" and in James Joyce's “Counter­

parts".6

(4) The dramatic point of view 一- The author of the story , using the dramatic point

of view , often restricts his writing mainly to quotations and descriptions of actions. He

avoids telling the reader that his characters thought this or felt that , but instead allows the

characters themselves to voice their thoughts and feelings. Moreover, he even allows certain

characters to interpret the thoughts and feelings of other characters. Generally the key to

the dramatic point of view is that the author presents the reader with action and speech of

the characters, but he should not openly lead the reader toward any conclusion. This is the

technique used in Hemingway's "The Killers" .7

6. Theme and Ideas

The term “ Theme" is used in several different ways in literary criticism. It may mean

“ subject" of the work , or what it is “ about". More often it refers to some central proposi­

tion, or set of ideas, which the writer presumably has in his mind and around which he will

build his story. The theme of a story may be stated very briefly or at greater length. With

a simple or very brief story , we may be satisfied to sum up the theme in a single sentence.

With a mor.e complex story , we may still state the theme in a single sentence , or a short

paragraph (or occasionally even an essay) if it is stated adequately. A rich story will give us

many and complex insights into life. In stating the theme in a sentence we must pick the

central it .sights, the one which explains the greater number of elements in the story and

relates them to each other. For the theme is what gives a good story its unity. Besides, we

must never think, once we have stated the theme of the story, that the whole purpose of

the story has been to yield up this abstract statement. The writer wishes to deliver it not

simply to our intellects, but to our emotions, our senses, and our imaginations. Sometimes

the theme of a story is explicitly stated somewhere in the story, either by the author or by

one of the characters. It may be little or nothing except as it is embodied and vitalized by

the story.

6. Wentworth K. Brown & Sterling P. 01訂叫“， Language and Literature (New York: Harcourt , Brace& World, Inc. 1963), p. 25 1.

7. Edgar V. Roberts, Writing Themes About Literature, 4th ed. (New Jersey: Prentice-Hall, Inc. 1977),p.68.

分析小說的幾項重要因素 223

“ Ideas, of course, have place in fiction , and any writer of fiction needs a mind. But

ideas are not the best subject matter for fiction. . . . Creative writers一-like other artists

一-are not, generally speaking, particularly intellectual. That is, they are not by nature the

sort of people who care passionately about ideas, theories, intellectual abstractions of any

kind. In short , their strong point is more likely to be experiential knowledge than con­

ceptual knowledge."s

Generally every creative writer creates characters, and most characters naturally

express ideas, which do appear as one element in almost all fiction. Whether the ideas are

important or not, they operate as do the other elements in creative writing. The various

ideas aremade to parallel and contrast with each other, just as characters and actions do ,

and to assist in the creation of the other elements.

7. Symbolism

A literary symbol is something which means more than what it is. It is an object , a

person, a situation, an action, or some other item , which has a literaLmeaning in the story

but suggests or represents other meanings as well. A very simple illustration is to be found

in name一-symbolism. Most names are simply labels. In a sotry, however, the author may

choose names for his characters which serve not only to label them but alωto suggest

something about them. In the fictional trilogy “ The Forsyte Saga," John Galsworthy

(1 867-1933) chooses Forsyte as the family name of his principal character to indicate

their practical foresightedness.9

Thus symbols may be also be either traditional or personal. When Hemingway , in

“ The Old Man and the Sea" , introduces the images of the Christian cross and the scarred

hands (suggesting stigmata , marks representing Christ's wounds), he is employing tradi­

tional symbols. lO

8. S甘ucture

In literary studies, we may figuratively analyze the formation of a story as a Structurf

of a building, so the structure of a literary work may be treated as its organization in­

fhienced by its plot (action) or emtions. Edgar V. Roberts indicates,“In imaginative

8. Brown & Olmsted, pp. 222-223.9. Laurence Perrine, Story and Structure, 2nd. ed. (Southern Methodist University, 1979), pp. 220一

221.10. Brown & Olmsted , p. 226.

-

224 。 教學與研究第入期

works, structure refers to chronolgical position of parts, scenes, episodes, chapters, and

acts, it also refers to logical or associational relationships among stanzas, ideas, images, or

other divisions. ,,11

The structure of a creative work generally refers to the arrangement and development

of ideas, or the relationships among parts that are usually described in terms of cause and

effect , position in time , association of ideas, symmetry in development , and balance and

proportion with the artistic technique. As Roberts points,“Literary artists universally aim

at a unified impression in their works, and because literature is a time art (it cannot be

comprehended as a whole in one moment , as can a painting or a work of sculpture), the

study of structure attempts to demonstrate that the idea and the resulting arrangement of

parts produce a total impression. You can see , therefore , that a study of structure is one

avenue to the evaluation of literature, because such a study would bring out any lack of

unity in a work and make that work subject to adverse criticism.,,12

In order to demonstrate the relationships of well-balanced parts of arrangement as

well as the development of ideas of a good literary work , let us take Shakespeare's Sonnet

No. 73 (quoted below) for example to study its structure by analyzing its connection links

in each of the three quatrains and the concluding rhymed couplet:

Stanza I

Stanza 'II

Stanza III

That time of year thou myst in me behold ,

When yellow leaves, or none , or few do hang

Upon those boughs which shake against the cold ,

Bare ruined choirs , where late the sweet birds sang.

In me thou seest the twilight of such day,

As after sunset fadeth in the West ,

Which by and by black night doth take away ,

Death's second self that seals up all in rest.

In me thou seest the glowing of such fire ,

That on the ashes of his youth doth lie,

As the death bed , whereon it must expire,

Consumed with that which it was nourished by.

11. Edgar V. Roberts, Writing Themes About Literature, 2nd. ed. (New Jersey: Prentice.Hall, Inc.1969), p. 79.

12. Ibid. , p. 79.

分析小說的幾項重要因素

This thou perceiv'哎， which makes thy love more strong.

To love that well, which thou must leave ere 10ng)3

225

』

Suppose that each part of the Sonnet must be unique as well as connected , an ideal

plan of this distinctness and connection might be graphed with the use of four overlapping

triangles, with the areas of overlap representing the subject matter common to the three

quatrains and also to the concluding couplet. “ In each quatrain the phrase “ in me" appears

with the phrases “ thou mayest behold,"“thou seest ," and “ thou seest" again. In the

couplet the phrase "thou perceiv'st" and the word “ that" as a pronoun referring to the

speaker, so that each major unit contains references to the speaker and his listener. In

addition , a common subject of the three quatrains might be various stages of light or

conditions affecting light; in quatrain one , referring to late autumn , the sun would be low

in the sky, just as in quatrain two the sun has set and in the third the coals retain only a

dull glow. Similarly , in quatrains two and three , death is mentioned specifically, and

quatrain one refers to barren branches from which dead leaves have fallen. All three

quatrains either imply or refer to something that has passed , namely summer(l), daylight

(II), and a bright fire (III), and all these are analogous to the speaker, so that the state­

ment “To love that well, which thou must leave ere long" in the concluding couplet is a

fitting resume of the poem. With all these connecting links supplied , the drawing may be

filled in, with the list of common elements placed next to it as a “ key":

13. Shakespeare (ed. by G B Harrison), The Complete Works of Shakespeare (Taipei: Lunan, 1977),p. 1608.

14. Roberts, Writing Themes about Literature, 2nd. ed. 1969, pp. 83~.84.

教學與研究第入期

Connecting links:

(l) in me; thou. . .st.

(2) time of low or absent light:

autumn, twilight, dying fire; leaving.

(3) death or something dead; the speaker.

(4) things that have passed or will pass; the speaker. 14

III

(1) in me, thou seest.(2) dying fire, ashes of youth.(3) death b甜， dying fire light.(4) fire , the speaker.

Couplet

(1) that, thou perceiv' st.(2) leaving ere long(3) the speaker.(4) the speaker.

(1)組 me， thou mayst behold.(2) autumn, leaves gone.(3) dead leaves, dying ye缸.

(4) summer, the speaker.

Theme: A lifetime.

II

(1) in. me, thou se臼L

(2) twilight, sunset in the West.(3) death's se∞nd self, dy油E

day.(4) daylight, the speaker.

226

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LU華回童車:!!d海關程中YH5

228 教學與研究第入期

Molineux." 的ee the Appendix 1)16 as an example of study. It will be followed by a Study

Report completed partly with reference to some of the reports prepared by juniors of the

Course of Fiction in the Department of English, Night Division , NTNU , Taipei.

A Report on Nataniel Hawthorne's “My Kinsman, Major Molineux"

I. Getting into the Story

Nathaniel Hawthorne (1 804-64), a well-known American novelist and short story

writer, occupies an important plac~ in American literature. Generally his works blend

realism , melodrama , and the Gothic conventions; and his themes characteristically center

on the mysteries of the human heart, the nature of sin , and the meaning of “darkness".

The short story,“My Kinsman, Major Molineux", was first published in 1832 in the

Boston Token. Hawthore drew his information from Thomas Hutchinson's" The History

of the Colony of Massachusetts-Bay" (1 764-67). It is collected and edited by David

Thorburn in Initiation, Stories and Short Novels on Three Themes (2nd ed. Yale Uni­

versity, 1976). It is the sort of creative writing that most people who care about litera­

ture will read more than once , npt because the story has complex plot and complicated

characters but because , it is vividly presented with a lot of mysterious events.

The first item to catch a reader's eye should have been the title,“My Kinsman,

Major Molineux". It is apt to attract his attention eagerly to know what kind of close

relationship is between Robin and Major Molineux , and what happens to them. The

story opens witha paragraph of social and historical background , which is not only pro­

perly part of the story itself, but also a brief introduction to lead the reader to get into it.

II. Summary of the Story

After the king of Great Britain has assumed the right of appointing the colonial

governors, it becomes worse day after day that the people of the colonial province take

various violent actions to reject government instructions, rise a popular insurrection, and

even start the revolution.

Under such a political situation about a hundred years ago , Robin, a country youth

of barely eighteen , leaves his home for the little metropolis of a New England colony

by a ferry boat at about nine o'clock of a moolight summer evening to seek the protection

16. Nathaniel Hawthorne, initiation, Stories and Short Novels on Th ree Themes, 2nd. ed.; ed. byDavid Thorbu阻(New York: Yale University, 1976), p. 13.

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234

V. The Conflicts

教學與研究第入期

We may find various waysof conflicts in this story. First, in the beginning of the

story, we can see the picture of the man-against-society conflict, that is, the ruler, British

Royal Court , against the ruled , colonists of the New England. In other words, the freedom

fighters try every possible means to strive for their independence from the British govern­

ment control.

Second, we can obviously find several epidodes to show the conflict between man

against man, such as innocent Robin's being threatened by the old man to put his feet in

the stocks, being sneered by the innkeeper, other guests as well as the barbers, and being

cheated by the woman in scarlet petticoat and chased out of the house by the watchman.

Third, we can read this story as a picture of man-against-himself conflict. Robin has

to estalblish his self-independence by giving up his original intention of obtaining assistance

from his uncle.

Finally, we can also find a man-against-supernature conflict in the story. Because

timing, opportunity, or fate fails Robin at the trip for visiting his kinsman in the city,

though he has tried his best , and his uncle as well as his father has already promised to give

the shr臥N'd country boy a hand to stand up in the world. That is what the proverb says,

“ Man proposes, God disposes." It is really hard for one to knew where and when he can

possibly meet the so-called “ good luck". On the other hand , it is not just a bad time for

Robin to have learned the lesson from the gentleman,“You may rise in the world without

the helf of your kinsman , Major Molineux."

VI. The Setting

In the first paragraph of the story, Hawthorne's remarks on the ill relat Jnship among

the colonialpeople , the kings of Great Britain and their appointed governors in the New

England Colony in America, serves as the social and historical setting. From the late 17th

centry to about the early part of the 19th centry, the colonial governors seldom met with

the ready and generous approbationof the colonists. Not only they were rewarded by their

people with slender gratitude, but some of them were imprisoned , driven away, or

hastened to their graves.

Hawthorne spends relatively few words on the natural setting, yet he successfully

from a kind of str:an阱， fearful and mysterious mood by pointing that when Robin arrives

at the town at about 9 o'clock in the moonlight enening. The obscure sights under the

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236 教學與研究第入期

the colonists basedon the very first paragraph, yet Robin does not understand it at all.

On the contrary, he thinks his kinsman is powerful, authoritive, and respectable. In the

final scene, he becomes awake from a dreamy state, and he is affected by a sort of mental

inebriety. Hawthorne strips him of his innocence and exhibits him as a mature young man.

VIII. Theme and Ideas

The theme of this story obviously shows that one's innocence will be lost when his

maturity can be gained , and that one's future is often influenced by the times and cir­

cumstances that one encounters, yet one may rise in the world without the help or in­

fluence from others. One's fate is certainly managed by oneself.

It is necessary for a reader to make a study on Robin's ideas in reflecting those set­

backs. Robin often has an impulse of attacking his opponents with his cudgel whenever he

meets people who make sport of him. Nevertheless, he calms down after all because of his

good nature and the Puritan -influence of his family. Robin is shrewd and ∞nfident in

getting his kinsman's help until he sees Major Molineux in tar and feather. Therefore he

becomes desperate and grows weary of a town life.

Robin's actions also imply that one must have faith and courage to meet the evil

challenges of the world. Robin can resist the temptation of the dainty little figure. When

he comes to the church where he waits to see Major Molineux's passing by, he thinks,

perhaps, this isthe very house he has been seeking. When he think of his family, he sees

his father leading people to pray , holding the Bible in golden light that ∞mes from the

western clouds. All these suggest Robin's firm faith and courage. So when he ∞mes to

understand the whole fact , he does not collapse , and he may try to rise in the world with-'

out the help of some influential relationship.

IX. Some Symbols

“My Kinsman, Major Molineux" combines historical, mythical, and psychological

aspects with its primarily sociological treatment. When a reader reads it very carefully, he

will find that the story ∞ntains several important though not especially obtrusive bits of

symbolism.

One of the symbols in the story involves “ the moon" , by which Hawthorne implies

the “darkness" because “night" may be treated as a synonym of “darkness" , and “dark­

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臨Y第2至過崗宮發Ofrl

分析小說的幾項重要因素 241

∞ncludes that Robin is facing the turning point of his life一-to go home still to be an

innocent country lad or to stay in the town to be a sophiticated youth who can rise in the

world without the help of his kinsman.

As the structure of each work should be composed of all its intrinsic elements (char­

act缸， action , conflict , diction, and so on) that go to make up the whole. And the basic

assumption of literary structure should be a complete and symmetrical unity of artistry. If,

in a work, there are nonfunctional parts, or irrelevant incidents or characters, or inappro­

priate language, or imconsistencies of any kind , the work is obviously demonstrating a lack

of unity of artistry. Injudging the value of a work or analyzing the elements of its struc­

tu間" we ought not to involve individual preference in its moral, ethical, religious, or

political aspects, but to be able to βay objectively that , as a work of art and in purely

artistic terms, it is a good (or poor) work based upon tis complete and symmetrical unity.

Since “ My kinsman , Major Molineux" is a story with richly complex contents, we

may select its certain element or elements as the frame of structure if it is the logically

dominate element of this story. Let us take, for example, the characters' respective re­

sponses to Robin's adventures in the town as the framework to combine them irito a

unity to a closely related structure by putting the protagonist , Robin, in the center of a

circle and all the m句or supporting charters around him to form a complete, symmetrical

unity shown as the diagram below:

TheDragram of Structure of Hawthorne's

My Kinsman, Major Molineux"

Based on the Characters' Responses' to Robin's Adventures

Central idea: 'Robin's mental transformation from an innocent ∞untryside

boy into a mature youth of the town.

Connecting links:

(I) The metaphorical senses of the characters Robin meets

in the town.

(2) The various events and responses to Robin's trip to the

town.

(3) Robin's mental state in different stage.

242 教學與研究第入期

1. Anger.2. Blaming Robin as

a fool and leadingthemob.

3. Losing ∞nfidence

in waiting to s田 his

kinsman fearfully.

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間Y揖d.'瞌睡窗草書ttZ

分析小說的幾項重要因素 245

Above all,“My Kinsman, Major Molineux" is a story with rich, complex contents,

and vivid protrayal of details, and indeed.appreciated as one of Hawthorne's masterpieces.

The story is bound to attract readers of literature on account of its well-wrought atmos­

phere and plot, and it will surely satisfy those who intend to examine it because of its

multiple meanings and built-in structure. Especially at the end of this story, Hawthorne,

with a few touches, successfully ∞mplete the process of Robin's mental transformation

and shows the theme as a commonly essential truth to almost every youth in the world.

A reading of this story will reveal how carefully Hawthorne has prepared his readers for it.

Although the conclusion of this story indicates that the world is, in one sense, too rigid

or too eccentric to the youth, yet it is also coldly logical.

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好析小說的幾項重要因素

Appendix I.

My Kinsman, Major Molineux

Nathaniel Hawthorne

247

1. After the kings of Great Britain had assumed the right of appointing the colonial

governors, the measures of the latter seldom met with the ready and generous approbation

which had been paid to those of their predecessors, under the original charters. The people

looked with most jealous scrutiny to the exercise of power which did not emanate from

themselves, and they usually rewarded their rulers with slender gratitude for the comp1i­

ances by which, in softening their instructions from beyond the sea , they had incurred the

reprehension of those who gave them. The annals of Massachusetts Bay will inform us, that

of six governors in the space of about forty years' from the surrender of the old charter,

under James II, two were imprisoned by a popular insurrection; a third , as Hutchinson

inclines to believe , was driven from the province by the whizzing of a musket ball; a

fourth , in the opinion of the same historian, was hastened to his grave by continual bicker­

ings with the House of Representatives; and the remaining two , as well as their successors ,

till the revolution, were favored with few and brief intervals of peaceful sway. The in­

ferior members of the court party, in times of high political excitement , led scarcely a

more desirable life. Theie remarks may serve as a preface to the following adventures,

which chanced upon a summer night , not far from a hundred years ago. The reader , in

order to avoid a long and dry detail of colonial affairs, is requested to dispense with an

account of the train of circumstances that had caused much tempora.ry inflammation of

the popular mind.

2. It was near nine o'clock ofa moonlight evening, when a boat crossed the ferry with a

single passenger, who had obtained his conveyance at that unusual hour by the promise o f.

an extra fare. While he stood on the landing place, searching in either pocket for the means

of fulfilling his agreement , the ferryman lifted a lantern, by the aid of which , and the

newly risen moon, he took a very accurate survey of the stranger's figure. He was a youth

of barely eighteen years, e~ident1y country-bred , and now , as it should seem , upon his first

visit to town. He was clad in a coarse gray coat , well worn, but in excellent repair; his

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