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Introduction ? ,,suchcourseshelpthem/youalotintheir/,astudentshouldhavethepowertodiscernhowhumanbeingstranslatetheirexperienceintoartisticexpressionandrepresentation;howwriters,throughtheircreativeimpulses,conveytoustheirinsightsintohumandestinyandhumanlife;,studentsshouldelevatetothelevelofcultivatingacuriosityfortheunknown,thinkingcogentlyandlogically,expressingthemselvesclearlyandconcisely,“protagonist,”“antagonist.” 
Introduction ? ,,suchcourseshelpthem/youalotintheir/,astudentshouldhavethepowertodiscernhowhumanbeingstranslatetheirexperienceintoartisticexpressionandrepresentation;howwriters,throughtheircreativeimpulses,conveytoustheirinsightsintohumandestinyandhumanlife;,studentsshouldelevatetothelevelofcultivatingacuriosityfortheunknown,thinkingcogentlyandlogically,expressingthemselvesclearlyandconcisely,,,howtheplotdevelopsandcomestoresolution,inwhatwaypointofviewdeterminesareader’sunderstandingofthestory,,wehavesuchcoursewiththeintentionofcultivatingbothstudents’literarysensibilitiesandtheir/yourcriticalpowerwhenreadingEnglishshortstoriesandnovels.  ? “Yes–oh,dear,yes—thenoveltellsastory.”ThisisForster’sremark,whichisworthspecialattention,“story”“whathappenednext?”and“and”whatwouldhedonext?”,andindeedthebasisofnarrativeworksofallkinds.  Plot;character;pointofview;theme;style ? Fiction,thegeneraltermforinventedstories,nowusuallyappliedtonovels,shortstories,novella,romances,fables,andothernarrativeworksinprose,eventhoughmostplaysandnarrativepoemsarealsofictional.()  Toreadnovelsforstoryisnothingwrong,butnothingprofessionaleither.“Onemarkofasecond-ratemindistobealwaystellingstories.”TheremarkbytheFrenchwriterjeandeLaBruyere(1645~1696),itcouldaswellremainunborn,fornewspapersandhistorybooksaresufficienttosatisfypeople’sdesireforstoriesaboutbothpresentandpast,,,Dickens,Joyce,’sDeclineandFalloftheRomanEmpireispraisednotonlyforitsmultitudinousfactsandrationalisticanalysis,,thenovelistaimsatsomethinghigherorheintendstoaddsomethingtothemere“facts.”Asindicatedinthedefinitionofthenovel,whatmakesanovelisthenovelist’sstyle(personalizedpresentationofthestory)andinterpretationofthestory. ChapterOnePlot ? ? Tragedyasawholehasjustsixconstituentelements…andtheyareplot,characters,verbalexpression,thought,visualadornment,andsong—(verbalexpressionandsong—composition),themannerinwhichtheyimitateisone(visualadornment),thethingstheyimitatearethree(plot,characters,thought),andthereisnothingmorebeyondthese. ?Andhowtounderstand“Plot”inastory?(“”ppt:‘Thequeendied,nooneknewwhy,untilitwasdiscoveredthatitwasthroughgriefatthedeathoftheking.’…-sequence,itmovesasfarawayfromthestoryasitslimitationswillallow.) ,.“Thekingdiedandthenthequeendied”isnotaplot,“Thekingdiedandthenthequeendiedofgrief,’“ofgrief”indicatesourinterpretationandthusarrangementofthehappenings. Intheworldofrealityeventstakeplaceoneafteranotherinthenaturaltemporalorder,butintheworldoffictionitisthenovelist’“plot”impliesthenovelist’srebellionagainstthenaturallawandhisendeavortomakemeaningsoutofthehappeningsthatmayotherwisebemeaningless.“Thehappenings”mayormaynotberealhappenings.(Sowhatplotis--)Aplotisaparticulararrangementofhappeningsinanovelthatisaimedatrevealingtheircausalrelationshipsoratconveyingthenovelist’,thatis,somethingwithabeginning,amiddle,andanend. . :abeginning(exposition),amiddle(suspenseoraseriesofsuspense….foreshadowing…crisis–amomentofhightension),andanend(aclimax,themomentofgreatesttension…theconclusion—fallingaction,resolutionordenouement). Plot  abeginningamiddleanend   expositionsomeothereventsclimax(themoment (suspense,aseriesofsuspense,ofgreatesttension, foreshadowing,crisis)theconclusion-falling action,resolutionordenouement) ‘RipVanWinkle’(WashingtonIrving)and‘DavidSwan’(NathanielHawthorne) :(Finishreadingthetwostoriesandpointouttheplotsofthetwostories,thedescriptivedetails,theexposition,characters) RipVanWinkle :theplotofthestory? ? ? ? DavidSwan ? ?(Charactertraitsarethequalitiesofacharacter’’sactionsandwordsandthroughdescription). :somethingaboutthewritersofthetwostories. ChapterTwoCharacter Intheintroductionwehavesaidthatfictionisanimageofpeopleinaction,,:he/shehassufficientreasonstoactorbehaveashe/“why”aswellasthe“what”oftheaffairs.(Sometimesacharacter’smotiveforanactionisnotexplainedonacceptablegrounds,forexample,thevillaininAdgarAllanPoe’story“TheTell-TaleHeart,”,thewriterofdetectivefictionwhomakesthecriminalamerelunatichascheatedthereaderbyavoidingtheproblemofmotive.)Andgenerally,theactionitselfishumanlysignificantanditendsusuallyinashiftinorclarificationofhumanvalues,asdisplayedinJohnUpdike’s“A&P,”andthemotivationofacharacterinastory—oneoftheanswerstothequestion“why”—isoffundamentalimportance. ? ,“Whatischaracterbutthe determinationofincident?Whatisincidentbuttheillustrationofcharacter?”(TheArtofFiction”)Whenwereadanovel,wereadaboutourfellowbeings,“fellowbeings”“fellowbeings”ismeantnotonly“humanbeings”butalso“otherbeings,”’sAdventuresinWonderlandthatappealtobothchildrenandadults. Orwelldoesnotintendtoconvincethereaderthatanimalscanspeakhumanlanguageorthat ,afterreadingOrwell’sAnimalFarm,-,acharacterisaninventedpersonalitytoresemblebutnevertoequalarealpersoninlife. Itisnotdifficulttoseethatcharactersinnovelsresemblepeopleinreallifeinmanyways. Theyhavenamesusedinthesamewayoursareused,theyhavehatredandlove,,theyactthewayweactorthewaywecanunderstand(likeordislike). Butwemustbearinmindthatthecharactersarenotrealpersons,butmerelyinventions, ’scallseveraltimesaday,butcharactersseldomdothis,,,andareabletoskipoverperiodsontenmonthsortwentyyearswithoutseemingweird,,’,,,butheisfriendtothereader,beforewhomhecanthinkaloud,toborrowEmerson’,,.  Usually, ,thecharacterscanbegroupedasheroes,maincharactersandminorcharacters,andfoils. Thecharacteronwhomanoveliscalledtheheroorheroinewhenitisafemale “hero”originallyreferstoaman,inmythologyandlegend,oftenofdivineancestry,whoisendowedwithgreatcourageandstrength,celebratedforhisholdexploits,,theword“hero”,,annoyedbytheconnotationof“hero,”prefertheword“protagonist,”“antagonist.” 
Introduction ? ,,suchcourseshelpthem/youalotintheir/