哥哥小说范文第1篇

幺哥打麻将输了钱，还接到了一张50元假币，心情糟得很。路过街边一小卖部，幺哥想借买烟把这张假币花出去，“老板，来一包20的红双喜”，店老板正在通电话，满脸的笑容看起来聊得很开心的样子。一边说笑着一边从玻璃柜里拿出一包烟放在柜台上，幺哥把那张50的给了店老板，店老板看都没看就塞进了抽屉里，随手找了幺哥40，幺哥揣进兜就走。没走多远，店老板喊：“哎，你的烟忘拿了”，幺哥心里一热，很是感动，世上还是有讲良心的人。忸怩不安地拿出十块钱给店老板：“老板，你多找了我十块钱”。店老板心里一热，也很感动。“小伙子，把烟拿来，我给你换一包”幺哥抽着店老板新换的烟，那纯正的味道不禁让幺哥再次感动。“老板，把刚才我给你的那张50的拿来，我给你换一张吧”。店老板满脸惊愕，之后有些不好意思的对幺哥说：“小伙子，把找给你的另三张拿来吧，我也给你换换”。幺哥目瞪口呆。真是山外有山，棋逢对手，双方尴尬了一会，随之相视一笑，各自把那几张假钞撕成了碎片。

感动能融化人的私欲，诚信能唤醒人的良知。

哥哥小说范文第2篇

关键词：霍桑;黑色;哥特小说

Abstract：Nathaniel Hawthorne is one of the most important novelists in American literature.He is deeply impressed by the style of gothic novel.Readers can have the sense of mystery and dreariness of gothic novel from his writing.By researching and analyzing two of Hawthornes most representative novels，this thesis is to analyze the art of black in Hawthornes works and to expose the hidden evil of human beings and then to discuss the hidden philosophy which Hawthorne wants to reveal to the readers.

Key Words：Hawthorne black gothic novel

美国作家纳撒尼尔・霍桑是美国文学最具影响力的作家之一，是浪漫主义小说的杰出代表。他的大部分作品产生于19世纪中叶，他深深地被哥特小说吸引，所谓哥特小说就是诞生于18世纪中期的一种特殊浪漫主义文学流派，即“黑色浪漫主义”。其黑主要体现在两个方面：一是在情节上大力渲染恐怖和暴力;二是在主题上通过揭露社会、政治、教会和道德上的邪恶探索人类心灵的阴暗。霍桑作品中的黑色内涵深刻，在美国文学流派中被誉为“黑色浪漫主义”的代言人。本文以他的两部短篇小说―《牧师的黑面纱》和《年轻的古德曼布朗》为例，以黑色为切入点，探析霍桑作品中的黑色艺术。

一、黑色的象征意义

在西方国家黑色是基本的禁忌色，它意味着灾难，毁灭和死亡。根据《英汉辞海》[1]的解释，黑色除了“神秘、邪恶、隐晦、忧郁、悲哀”等意之外，它“还与超自然物（尤指魔鬼）有害的一方面有关的”;“有时通过黑色物体来象征不光彩，无名誉，丢脸或罪恶”。

二、《牧师的黑面纱》中的黑色艺术探析

胡珀是一位受到教民尊重爱戴的牧师，某星期天早晨，他突然用一块黑面纱将自己的脸罩住。教民们因此感到不安，开始疏远他，怀疑他犯了不为人知的罪，从此他陷入孤独与痛苦之中。人们多次劝说他将黑面纱摘下，包括他的未婚妻，但都失败了。他不光失去了教民的拥戴，同时失去了他挚爱的未婚妻。而事实上，胡珀自己也对黑面纱极为厌恶。他除非不得已，否则绝不从镜子前走过，也不肯俯身去饮泉水，他怕被自己的形象吓到。他一直戴着这块黑面纱，即使在临终时也没有把它摘下。

读过此文，我们不免会思考，胡珀牧师虽然戴上了黑面纱但却表现得如往常一样平静，可是为什么在做礼拜时，妇女因为害怕而提前离开;在去主持婚礼时，为什么给本该喜庆的气氛笼罩上了一层凶兆;为什么教民们选举了几个人去劝说他摘掉黑面纱，结果无人敢在胡珀面前提起此事？人们为什么会感到如此恐惧与不安？这是因为，黑色的面纱象征着黑暗和隐匿，会让人不禁毛骨悚然，会使他们内心的某个邪恶念头不敢暴露;会使他们想到了他们曾经犯过的罪。霍桑成功地创造出一种悲怆凄惨的美感和震撼人心的“心灵的恐惧”，就如同美国现代著名哥特小说作家伏克拉夫特说“人类最古老最强烈的情感是恐惧。”[2]

三、《年轻的古德曼布朗》中的黑色艺术探析

故事讲述的是年轻的古德曼布朗在新婚三个月后与新婚妻子告别，偷偷地去参加魔鬼举办的一次集会的故事。在途中一次次的犹豫又一次次的被魔鬼说服，当他看见教他教义问答的古德克洛伊丝接着又听见教会牧师和古今执事的谈话时，他的精神开始坍塌。那些平日里虔诚的清教徒不过是些道貌岸然的伪君子。集会上，他在火光中看到了平日里尊贵的人，如州长夫人，高贵太太等，他备受打击。当他在火光中发现自己的新婚妻子费斯居然也在时，他的信仰彻底崩塌。他歇斯底里―“人世还有什么善！罪孽不过空名罢了。来吧，魔鬼，这世界全是你的啦。”[3]在他参加完魔鬼的集会后，他开始怀疑周围的任何人，包括他的妻子费斯，他拒绝与任何人交流，从此忧伤多疑、郁郁寡欢，孤独地过完一生。

如上文所说，黑色，带给人一种恐惧、压抑的感觉。作为一个色彩的极端，黑色被看作是“恐怖、静寂、悲哀、绝望、沉默、严肃、死灭”的象征。[4]霍桑恰恰是运用黑色带给人的神秘效果将哥特小说的特征展现的淋漓尽致。上文短短几行字的景色描写，烘托出阴森的气氛，读者在感到恐怖的同时疑问不禁会闪现心头：这阴暗的森林里隐藏着什么神秘而又不为人知的东西？布朗为什么要赴魔鬼的约？在这片森林里究竟会有什么恐怖的事情发生呢？这无疑给故事增添了神秘感。在布朗赴会的途中他遇见了手持手杖的魔鬼，这个手杖是那么的特别而又极具恐怖色彩，霍桑这样写道：但他身上最引人注目的却是一件东西，即一根酷似黑蛇的手杖，精雕细刻，活脱一条扭来扭去的大蛇。[5]在《圣经》的《创世纪》中魔鬼撒旦化身为蛇，引诱夏娃吃了智慧果，犯下了原罪，而后夏娃和亚当被逐出伊甸园。在西方文化中，蛇本身就是邪恶的魔鬼撒旦的化身，而黑色更增加了罪恶感。黑色一直萦绕着他，直到最终他跟随那个拿拐杖的魔鬼一步步走向罪恶的深渊。[6]

霍桑的这两部作品是典型的哥特式小说的代表。霍桑深受哥特风格影响，在《牧师的黑面纱》中，一块小小的黑面纱却营造出如此大的恐怖感，使读者感到黑暗无处不在，将读者带入到一个阴郁、神秘，充满恐惧的世界中。《年轻的古德曼布朗》中，黑色更是随处可见，黑夜，幽暗的森林，还有提到多达14次的黑色蛇杖，使得故事虽简单却诡异，充满了神秘感。故事直至结尾作者也没有告诉读者究竟森林之旅是确有此事还是布朗的一个梦，这种亦真亦幻，虚虚实实的描写，更增加了黑色的神秘性，给读者留下了黑色印象。

四、结语

《牧师的黑面纱》和《年轻的古德曼布朗》被认为是霍桑哥特小说最具代表性的两篇。纵观以往学者的研究，霍桑在《牧师的黑面纱》中揭示了原罪的永恒性;《年轻的古德曼布朗》中，揭示了人性罪恶虚伪的一面。这些主题都是通过黑色来表现的。霍桑正是运用黑色巨大的魅力，赋予黑色极其深刻的含义，吸引读者去探究人物深藏的心理和隐藏于主题背后的深层哲理。（作者单位：辽宁师范大学外国语学院）

参考文献：

[1]蒋桂红，蓝振华.“黑色”的魅力―《黑猫》和《教长的黑面纱》比较[J].柳州师专学报，2005，（3）.

[2]杨惠英.面纱背后的“神秘”与“浪漫”―浅析霍桑的“黑色面纱”与黑色浪漫主义[J].西北大学学报，2012，（1）.

[3][5]纳撒尼尔・霍桑.世界短篇小说精华―霍桑短篇小说选[M].黄建人，译.长沙：湖南文艺出版社，1996.

[4]许天治.艺术感通之研究[M].台湾省立博物管印行，1987，6.

[6]宋丽.谈《小伙子古德曼・布朗》中色彩象征的运用[J].铜陵职业技术学院学报，2013，（2）

哥哥小说范文第3篇

    [Key Words] Wuthering Heights; Female Gothic novel; devilish characters; nightmares

    【摘 要】 《呼啸山庄》是19世纪英国女作家艾米莉·勃朗特的惟一的一部小说,也是世界文学园地中的一朵奇葩,其中展现了大量的哥特色彩。本文立足于欧美文学中的哥特传统研究《呼啸山庄》的创作,作家艾米莉在人物形象和意象等方面都借鉴了哥特传统并有所突破;她凭借超乎寻常的想象力,将现实与象征、恐怖、神秘等哥特手法完美地结合在一起,给陈旧的形式注入了激烈情感和活力,达到哥特形式与激情内容的完美统一。笔者试图从一个新的角度——女性哥特来挖掘出《呼啸山庄》中尚未被挖掘出的一些新的意蕴和内涵。同时也希望通过展示魔鬼式人物和梦魇的超现实主义描写,使我们能够从女性哥特的角度解读这部小说。

    【关键词】 《呼啸山庄》;女性哥特小说;魔鬼式人物;梦魇

    1.  Introduction 

    Emily Bront? is an English woman writer of superb talent during the Victorian Age. She is well known for her only novel Wuthering Heights, a strange and powerful book, said by many to be the finest novel in the English language. Yet shortly after the desolate and shocking masterpiece comes out, it is attacked and blamed to be flooded with morbid psychology and paganism. “Anyone who did read it was repulsed by the brutality and violence of the characters”[1] and by the fact that it differed so much from the romantic novels of the day. They do not want realism as Emily depicts it, and they do not want wild, fierce antiheroes like Heathcliff-who is more like a villain-or willful, passionate heroines like Catherine Earnshaw. And that is the reason why she is kept away from the mainstream of the nineteenth century literature, and do not receive her fair fame until the coming of the twentieth century. Both Emily and her works are mysterious and unique. There are various approaches applied by the critics to study Wuthering Heights from the aspects of the theme, the writing technique, love and revenge, and so on. However, there is hardly any attempt to research Wuthering Heights by combining its Gothic context with the feminist viewpoint. In view of this blank, the author is trying to reread this work as a Female Gothic novel mainly based on the following three faCETs: Firstly, in the history of English literature the early Gothic novels originated in the latter half of the eighteenth century. It was opportune that the whole story happened, developed, and ended in the period from 1771 to 1802. At that time, the English Gothic novels were catching on like fire throughout the country. With the development of Gothic novels people gradually forgot the early Gothic novels. Yet from the Bront? sisters’ Jane Eyre and Wuthering Heights we can still find the Gothic features evidently. Secondly, since the Industrial Revolution in the second half of the eighteenth century, the class structure and people’s way of living in English society had undergone radical changes. People then were tired of the old living mode and expected something novel and pleasing, which formed the social basis for the production of Gothic novels. Finally, there are countless cultural ties between Wuthering Heights and its author. “Stronger than a man, simpler than a child.”[2] Charlotte Bront? uses these words to describe her. Emily is the truly free spirit of the family, one who could not live away from her beloved extensive though dangerous and bleak moors-Haworth. Her father is of Irish stock and famous for his fluent speech and imagination. He plays a very important role in shaping Emily’s character and genius - “the temperament of the Irish - melancholy, passionate, proud, restless, eloquent, and witty – and the Methodist religious fervor and enthusiasm shown by the followers of John Wesley.”[3] Besides “environment also played its part in creating the uniqueness of Emily Bront?. The village of Haworth was very isolated and intensely Yorkshire and the people living there were in strong contrast to the Celtic temperament. They were blunt, practical, stubborn, sparing of speech, vigorous, and harsh to the point of brutality.”[4] The product of the moors exalts the spirit of Emily and fills her soul with the love of liberty. Another factor that influences Emily’s character is her brother, Branwell, the one to whom Emily has always been closest. Branwell’s falling prey to drink and drugs almost makes Emily’s heart broken. Because of his death, Emily never leaves the house again and insists on keeping up her regular round of duties. A few months after Branwell’s death, Emily dies at the age of thirty.

    In conclusion, Emily Bront? “used the stark Yorkshire setting, not to create suspense and horror, as in the typical Gothic novel, but as a natural part of her story.”[5] On one hand, she carries on the Gothic tradition in her creation of the novel. On the other hand, she has not just employed the mode but promotes some improvements in this old tradition. She used the skill of Female Gothic in her writing of the novel. In the following, the author is trying to make a study on Wuthering Heights from the aspects of the devilish characters and the terrifying nightmares.

    2.   From Gothic novel to Female Gothic novel

    In studying Wuthering Heights from the aspect of a Female Gothic novel, no one can ignore the definition of this term Gothic. To do so, however, one is likely to fall into the trap of ambiguity, for there is no definite and comprehensive way to expound it. As time goes by, the connotation of this term gradually expands from its original meaning into broader sense.

    “The word Gothic originally referred to the Goths, an early Germanic tribe, then came to signify ‘Germanic’, then ‘medieval’.”[6] And the members of this tribe win fame because of their valiance and truculence during the battle with Romans. Although after around 7A.D.the Goths vanishes from history, they had indirectly added new meaning to the word Gothic that is then used to denote a style of architecture that originates in France and flourishes during the Medieval Period. The major characteristics of Gothic buildings are embodied by “the use of the high pointed arch and vault, flying buttresses and intricate recesses, which spread through Western Europe between the twelfth and sixteenth centuries”. [7] As a result, the Gothic architecture is usually deemed to be mysterious and frightening, representing the inhumane and the Dark Ages. Today Gothic is erroneously considered crude and barbaric. 

    With the passing of time, Gothic is endowed with a new connotation. Around the early eighteenth century, Gothic develops into a genre in literary realm. In particular, “the term Gothic has also been extended to a type of fiction which lacks the exotic setting of the earlier romances, but develops a brooding atmosphere of gloom and terror, represents events that are uncanny or macabre or melodramatically violent, and often deals with aberrant psychological states.”[8] The attempt to define Gothic writings usually follows the method named by Eugenia DeLamotte in Monthly published in 1801. In such kind of works, “some writers set their stories in the medieval period; others set them in a Catholic country, especially Italy or Spain. The locale was often a gloomy castle furnished with dungeons, subterranean passages, and sliding panels; the typical story focused on the sufferings imposed on an innocent ghosts, mysterious disappearances, and other sensational and supernatural occurrences.”[9] Though the plots and themes of Gothic writings are different specifically, they focus on the depiction of a series of weird and simulative events such as murder, revenge, violence, rape and incest, thus endowing the whole work with an atmosphere of suspense, mystery and sense of fear. With its artificial over-ornamentation, its unbridled imagination, its notorious fame of seducing degeneration and corruption, Gothic writings are severely criticized and rejected by mainstream literary genres. “In the history of western literature, there are seas of schools of fiction having made strong impacts. Flourished during the end of the eighteenth and early nineteenth century, the English Gothic novel is one of the schools that exerts a tremendous influence and owns considerable uniqueness.”[10]

    The trend of begetting moral degeneration and emotional over-indulgence brings Gothic novels an alternative name “black novel”[11] which has been keeping Gothic novels on the border zone of the development history of the world fiction. Receiving general disapproval, Gothic novels are treated with indifference and left out in the cold in both western and Chinese literary criticism circles. People have been inclined to pay attention to the negative faCET of Gothic novels while fail to notice their moral instruction as the positive side. Although in Gothic novels the thick black atmosphere spread all over the place; and although “the principal aim of such novels was to evoke chilling terror by exploiting mystery and a variety of horrors”, [12] behind the seemingly deliberate black and irrational content there hides inside the substantial and profound rational content. Gothic novels never cease portraying combats between the bright and the black, the good and the beautiful. By advocating and seeking the essence of human natures, Gothic novels rightly shock and awaken people by its unique description of complicated and eccentric plots, the mysterious atmosphere and the bloody scenes.

    In 1764,the English writer Horace Walpole inaugurates the Gothic novels with his The Castle of Otranto: A Gothic Story in his Gothic castle under the setting of Middle Ages. The novel is flooded with evil, violence, and murder in cold blood. And it becomes the forerunner of the English and western Gothic novels. Set in medieval Italy, The Castle of Otranto tells a story about usurpation, conspiracy and morality. The story ends with the good promoted while the evil punished. The novel paves the way for the developing of the Gothic novels: there are secret passages and mysterious abbey, the villainous usurper and the virginal heroine, the upright hero, the display of sadistic and masochistic emotions and the unbridled sexuality and sensuality. It exhibits its rebellious and excessive qualities. The portrayal of unanimated characters and brash plots, the eerie and horrible settings and scenery, the depiction of the institution of cavalier, however, brought it long-term criticism. With the publication of The Castle of Otranto the real history of the word Gothic begins from eighteenth century. And it mainly refers to the following three meanings: barbarous, medieval, and supernatural.

    From then on, a large number of Gothic novels come out with the theme sticking to the exploration of human nature and passions in forms of indulgence and irrational excess around 1790s. Examples of Gothic novels are William Beckford’s Vathek (1786), Ann Radcliffe’s The Mysteries of Udolpho (1794), and Matthew Gregory Lewis’ The Monk (1796). The latter two works are considered to be the most outstanding and influential works among the large number of the Gothic novels during Gothic decade. Ann Radcliffe is one of the most famous female novelists whose works touch upon the typical Gothic traditions. By inheriting and developing major features of her predecessors, she attaches much importance to female figures in Gothic novels, endowing her works with new characteristics and preserving their distinct ingredients. Therefore, she is highly praised for the initiatory emphasis on women and their situations within Gothic context besides her great contribution to Gothic traditions. There are typical gothic features, such as ruined castles and abbeys, isolated passageways and dark forests in her novel, as well as some unique features, which cannot be found in male Gothic novels. To some extent, she starts the tradition of the so-called Female Gothic.

    Female Gothic, the variant of modern Gothic, first comes out from Ellen Moers’ Literary Women. She defines Female Gothic as “the work that women writers have done in the literary mode”.[13] Getting flourished in the late eighteenth and early nineteenth century, Female Gothic novels usually focus on a female protagonist who is chased and tormented by villainous gothic figures with unfamiliar settings and horrible landscape as the background. “No Gothic novel is without its suffering heroine, who is both ‘sexualized’ as an object of desire and ‘victimized’ by a powerful aggressor who is also a potential rapist. The first task of feminist criticism was to articulate the problem of the abuse of the female in Gothic fiction and to explore the ways in which female novelists subverted or reinscribed the cultural norms of female sexualization and victimization. ”[14] The Female Gothic aims to socialize and educate its female readers by criticizing patriarchal dominion and serves as an expression of female independence. It “not only marks the introduction of gendered perspective into Gothic studies, but also opens up a new space for feminist literary studies.”[15] In a word, Female Gothic is a form of literature, which expresses the inner secret resistance, fantasy, and terror of the female. Women are under the oppression of men for a long time, and it is high time that women writers should subvert male dominated literary discourse and establish their own writing tradition.

    Applying Gothic genre as a platform, the Female Gothic writers are inclined to express their own understanding on women’s conditions and communicate with readers, especially the female. The prominent representatives of Female Gothic novels include Jane Austin’s Northanger Abbey (1818), Mary Shelley’s Frankenstein (1817), and Charlotte Bront?’s Jane Eyre. Emily Bront?’s employing of Female Gothic “should have an air of being infected by Hoffmann too is not surprising in a contemporary of Poe’s; Emily is likely to have read Hoffmann when studying German at the Brussels’s boarding school and certainly read the ghastly supernatural stories by James Hogg and others in the magazines at home.”[16] Emily “grows up by reading Mary Shelley, Hoffmann, and James Hogg’s Gothic novels.”[17] In Emily’s Wuthering Heights there can be found here and there the influence of the Gothic tradition. In the following, this thesis will analyze Wuthering Heights from Female Gothic perspectives, basically focusing on its devilish characters and terrifying nightmares.

    3.  Analysis on the embodiment of Female Gothic in Wuthering Heights

    3.1 Devilish characters of Female Gothic 

    3.1.1 Heathcliff: a poor inhuman monster

    3.1.1.1 Tenant Mr. Lockwood’s impression on Heathcliff

    In Gothic novels, the shaping of the characters is a commonly used vehicle for giving expression to the gothic ingredient. This is particularly true of Emily’s Wuthering Heights. When we open this book, we can see various terrifying characters. The first character is the hero Heathcliff. He seems to be an inhuman monster. Being a son of the storm, his behavior is flooded with Gothic color: cruel, imperious, and he stoops to anything to get what he wants. What’s more, the love between Catherine and him goes beyond the common limit and is quite abnormal compared with love in other works of her age. The entire action of the story takes place within the two houses-Wuthering Heights and Thrushcross Grange and on the moors lie between. The principal character, Heathcliff, around whom all the action revolves, emerges as starkly as Wuthering Heights. He may be thought of as the personification of the house. There is an analogy between his appearance and his character and that of the Heights itself. 

    When Mr. Lockwood, the tenant of Thrushcross Grange, pays his visit to Wuthering Heights, curious about the brooding quality and crumbing, menacing appearance of the Heights and the inscription over the door- the date ‘1500’and the name ‘Hareton Earnshaw’, Mr. Lockwood would like to ask his landlord about this, but Heathcliff proves to be unsociable, inhospitable, and brusque. 

    “The ‘walk in’ was uttered with closed teeth, and expressed the sentiment, ‘Go to the deuce’: even the gate over which he leant manifested no sympathizing movement to the words; and I think that circumstance determined me to accept the invitation: I felt interested in a man who seemed more exaggeratedly reserved than myself.”[18]

    This is the first appearance that Emily displayed to us. And the first impression of the hero Heathcliff adds the color of mystery and implies to the readers that the man is bound to have a long story. By the brief portrayal of the hero, she creates suspense for the whole story, which embodies the Gothic tradition.

    During Mr. Lockwood’s staying at the Heights, he found a diary. The entry regarding the degrading life Heathcliff was forced to lead by Hindley throws some light on the character of Heathcliff as Mr. Lockwood now finds him. For the first time we sympathize with Heathcliff in his anguish, although we are still ignorant as to its cause. Heathcliff has been revealed as a man capable of great emotion, as well as cruelty. The scene still is in the Heights. Declaring that the room is haunted, Mr. Lockwood decides to spend the rest of the night elsewhere. As he is about to leave the room, the odd and horrible thing happens:

    “I obeyed, so far as to quit the chamber; when ignorant where the narrow lobbies led, I stood still, and was witness, involuntarily, to a piece of superstition on the part of my landlord which belied, oddly, his apparent sense. He got on to the bed and wrenched open the lattice, bursting, as he pulled at it, into an uncontrollable passion of tears. ‘Come in! Come in!’ he sobbed. ‘Cathy, do come. Oh, do-once more! Oh! My heart’s darling! Hear me this time, Catherine, at last!’ The specter showed a specter’s ordinary caprice: it gave no sign of being; but the snow and wind whirled wilding through, even reaching my station, and blowing out the light.”[19] Heathcliff is alarmed when he hears that Catherine has appeared to Mr. Lockwood; obviously, he believes that her spirit haunts Wuthering Heights and is trying to come to him from beyond the grave. This element arouses the interest and curiosity of the reader and embodies Gothic color a step forward.

    3.1.1.2 Crazy revenge on his enemies

    With the birth of his son Hareton and the death of his wife Frances Hindley’s final disintegration commerces. This is consistent with the moral weakness he has shown previously. He concentrates his venom on Heathcliff, whom he brutalizes and in whom he tries to stamp out the feeling of worthiness that old Mr. Earnshaw had engendered. Heathcliff, in turn, delights in seeing his enemy destroy himself. It is consistent with Heathcliff’s nature that he encourages his enemies to destroy themselves by their won inner flaws. And readers anticipate conflicts and trouble in the future. From this point of view, he behaves quite cruel and revengeful. To fulfill his revenge on Hindley, he turns little Hareton into a brute with no love or respect for his father, and he has ended his education – just as Hindley did to him. When Heathcliff reappears after Catherine’s marriage, thinking she might show him where his evil ways are leading him, Nelly pays a visit to the Heights. Seeing little Hareton outside the gates, she identifies herself and says she has called to see his father, Hindley. Hareton does not recognize her as his former nurse and greets her with a hail of stones and curses. Nelly asks him who taught him such things and he answers “Devil daddy.”[20] He says his father cannot abide him because he swears at him. He says the curate no longer comes to teach him and it is Heathcliff, whom he loves, who has taught him to swear. Furthermore, he is determined to brutalize Hareton as himself was brutalized. This is evidented by the incident of Hareton’s hanging the puppies. So far, Heathcliff has succeeded in revenging Hindley’s insult on the next generation. His cruelty is easy to feel. 

    What’s more, his attitude towards Isabella is not only very cruel but also very imperious. Edgar is his enemy, too. Once he declares he will “crush his ribs in like a rotten-hazel-nut”.[21] Because of his hatred for Edgar, he takes advantage of Edgar’s sister, Isabella. When he finds Isabella has fallen in love with him, he encourages her to run off with him even though he does not love her at all. He does so only for the Linton property and the revenge on Edgar. But after her marriage to him, she receives no love or pity from him, but indifference and distain. The desperately unhappy Isabella sends a letter to Nelly saying “Is Mr. Heathcliff a man? If so, is he mad? And if not, is he a devil?”[22] Emily Bront? uses Isabella’s letter to let us know about the state of affairs at Wuthering Heights and about Heathcliff’s abusive treatment of Isabella. When she defends her brother, Heathcliff retorts that she looks like a slut. He hints that she is losing her mind and says he will not let her outside the house for fear she would disgrace him. He has become more and more imperious to her. “You’re not fit to be your own guardian, Isabella, now; and I, being your legal protector, must retain you in my custody, however, distasteful the obligation may be. Go upstairs, I have something to say to Ellen Dean in private. That’s not the way: upstairs, I tell you! Why, this is the road upstairs, child!”[23] He reveals how he has humiliated her and that she ran off with him even after he hanged her little dog. He declares Isabella will never leave him, even if he were to set her free. Isabella denies this and says Heathcliff would never allow her to leave. Her only wish is to see him die. Heathcliff says she is raving and pushes her out of the room. After Catherine’s death, in Heathcliff’s presence, Isabella reminded Hindley that Heathcliff was responsible for all their miseries, and that but for him, Catherine would still be alive. As she spoke slightly of Catherine, Heathcliff threw a dinner knife at her, which leaves a wound under her ear. She would no longer take him as a human being. Heathcliff succeeds in the major part of his plan for vengeance: he is in possession of the Heights and Hareton, formerly belonging to his enemy, Hindley. Once again playing on the weakness of his enemy, Heathcliff appeals to the pity and sensitivity he senses in Cathy, Catherine’s daughter, and wrings her heart about Linton’s deteriorating condition. He stoops to anything to get what he wants. Making use of Cathy’s loyalty to her weakling cousin Linton, Heathcliff’s son, he baits the trap for her marrying to his son so as to master the property of Thrushcross Grange. Heathcliff is a real monster. He disowns his son and tortures him in defiance of his poor health. To have Cathy married to Linton as quickly as possible, he always find all sorts of excuses to leave the house leaving the young couple stay alone so as to create more time to live together. Eventually, Cathy gets doubted about the meetings while Linton insists not telling her the reason. When Cathy decides to leave, Linton stops her and begs her to save him. “But leave me, and I shall be killed.”[24] He hints she can do this by consenting to something, what, he will not reveal. He dares not because he dreads his father. The villainy of Heathcliff, culminating in the illegal act of kidnapping Cathy and Nelly, would be sheer melodrama, if it were not for the genius of Emily Bront? in creating wholly consistent characters. We believe Heathcliff would act in this manner. He has reached a point of crisis. Even when Edgar is dying, Heathcliff refuses to let Cathy go back home to see him for the last time. To get his property, he bribes the lawyer and succeeds putting the property into his own picket.

    3.1.1.3 Feminized Female Gothic hero

    Although the hero Heathcliff is depicted to be a typical devilish character in Gothic novel, he is not the same as those in traditional ones. His nature is softened by his endless love to Catherine and his giving in at last.

    Heathcliff comes back to avenge himself on Hindley and then kills himself after three years disappearance. However, having seen her again, he knows he can do nothing to hurt Catherine and is abandoning his vow of revenge. Encounts Catherine he becomes full of tenderness. In particular on the spot of Catherine’s deathbed, though still a monster-like man, his affection to Catherine is engraved on his bones and heart.

    “On my approaching hurriedly to ascertain if she had fainted, he gnashed at me, and foamed like a mad dog, and gathered her to him with greedy jealousy. I did not feel as if I were in the company of a creature of my own species: it appears that he would not understand, though I spoke to him; so I stood off, and held my tongue, in great perplexity.”[25] Here Emily uses the rhetoric of hyperbole to describe the soul-stirring scene, displaying the crazy, brutal, mysterious, and terrifying love between the hero and heroine.

    At the end of the story, on the surface it would appear that the old tragedy might be reenacted by the young people of the second generation at Wuthering Heights and Thrushcross Grange. However, while Cathy, Linton, and Hareton show some of the characteristics of their parents, these traits have been modified, and there is hope for a happier solution to the problems presented. Emily has ingeniously designed Hareton, another Heathcliff, whose life is much luckier than Heathcliff; and the same relationship that existed between Heathcliff, Catherine, and Edgar is being repeated between Hareton, Cathy, and Linton. However, the new generation receives a much better ending, and to some extent, a happy one.

    Heathcliff is a feminized Female Gothic hero who deserves our sympathy. He has a gloomy childhood, spends most of his life in the dark of revenge, and thus never leads a relaxed life, especially after Catherine’s death. He has been obsessed by the feelings of Catherine’s presence night and day. He feels haunted and thaws himself. His revenge has turned to ashes. After his death, there are changes at Wuthering Heights. The gate is open and flowers fill the yard. The sun is setting and the moon rising symbols of a new regime. The flowers that Cathy and Hareton plant after uprooting Joseph’s blackcurrant bushes are blooming. The old order of vengeance and retribution as represented by Heathcliff and old Joseph, has passed and has been replaced by the spirit of love. All these are the bright sides of this novel and evidently embody Emily’s making use of Female Gothic.

    3.1.2 Catherine Earnshaw’s split personality

    Another key character in Wuthering Heights is the heroine, Catherine Earnshaw. The free spirit of Emily Bront? is epitomized in Catherine, who, as a child, could ride any horse in the stable, and in later years rides roughshod over everyone who tries to stand in her way. Beautiful, wild, arrogant, and willful, Catherine is a fitting companion for the arrogant and vindictive Heathcliff. Her love for him and the moors is the ruling passion of her life. While she may appear heartless when she chooses to marry Edgar Linton, she is na?ve enough to think that by so doing she will be able to lift him from the degradation into which he has been thrust by Hindley.

    There is one occasion showing Catherine’s wildness. When Nelly refuses to leave her and Edgar in the room alone, Catherine tries to push her out of the room and pinches her arm, leaving an ugly mark. When the baby Hareton complains about “wicked Aunt Cathy”,[26] she shakes him until his teeth rattle, and Edgar tries to intervene. She denies she pinched Nelly, but Nelly shows Edgar the mark. Livid with fury, Catherine boxes Edgar’ ears. Edgar is horrified to see this other side of Catherine, capable of telling lies and becoming violent. Emily uses the description of Female Gothic to show that the nature of human beings has two sides. No one is perfect and one is bound to have his or her ugly side. Although she is married to Edgar, she is clear that her love for Heathcliff is remembered with deep gratitude. “if the wicked man in there had not brought Heathcliff so low, I shouldn’t have thought of it. It would degrade me to marry Heathcliff now; so he shall never know how I love him; and that not because he’s handsome, Nelly, but because he’s more myself than I am. Whatever our souls are made of, his and mine are the same; and Linton’s is as different as a moonbeam from lightning, or frost from fire.”[27] Here Emily employs the image of the Nature to symbolize the differences between Heathcliff, Catherine, and Edgar’s nature. In the world of Emily, there is no distinction between the good and the evil. Catherine’s love for Heathcliff is unparalleled. “My love for Linton is like the foliage in the woods: time will change it, I’m well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I am Heathcliff! He’s always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being.”[28] The extraordinary love hardly appears in any Gothic novels, in which the love is always condensed or mentioned casually. Compared with the ordinary Gothic characters, the hero and heroine in Emily’s Wuthering Heights own more true feelings and fresh vigor. Catherine’s mixed and conflicted attitude towards her marriage splits and tears her. The anguish verging on collapse and the ravings in morbid state differ from the old Gothic tradition and pave the way for Gothic novels. Emily Bront? observes people from the angle of the feminist portrays her characters from the aspects of Female Gothic, and therefore brings us the shock of supernatural strength as well as the vivid portrayal of the hero and the heroines. The further research for the psychology of the Gothic characters develops the shallow horror-making technique in the old Gothic novels and so softens the primitive, pure terror to some extent. It leaves the readers more room to develop their own thought and enhances the depth of thought and the aesthetic awareness in Gothic novels. 

    3.2 Terrifying nightmares

    The terrifying and mysterious atmosphere forms in the nightmare of Mr. Lockwood. Nowhere else in the book is Emily Bront?’s genius so vividly revealed as in this part. Here, past and present, dream and reality, are melded into a coherent whole. All references tie in together: the books Lockwood finds and reads in the bedroom, the names that are mentioned, and finally, Lockwood’s unbelievably vivid dreams.

    “I muttered, knocking my knuckles through the glass, and stretching an arm out to seize the importunate branch; instead of which, my fingers closed on the fingers of a little, ice-cold hand! The intense horror of nightmare came over me: I tried to drawback my arm, but the hand clung to it, and a most melancholy voice sobbed, ‘Let me in-Let me in!’ … Terror made me cruel; and finding it useless to attempt shaking the creature off, I pulled its waist on to the broken pane, and rubbed it to and fro till the blood ran down and soaked the bedclothes; still it wailed, ‘Let me in!’ and maintained its tenacious grip, almost maddening me with fear.”[29] It is here that Emily introduces the supernatural into the story. Catherine is the only ghost in Mr. Lockwood’s nightmare. The nightmare is a masterpiece of suspense. 

    Nightmare is the common vehicle used in Gothic novels. Most Gothic novels are inspired by dreams. This is particularly true of Emily’s Wuthering Heights. There is one occasion when Edgar confronts Catherine and tells her she must choose between him and Heathcliff, she flies into a rage, locks the door and for two days she remains there, touching no food. Her psychic conflicts rise to the climax. “Tossing about, she increased her feverish bewilderment to madness, and tore the pillow with her teeth … ‘That’s a turkey’s,’ she murmured to herself; ‘and this is a wild duck’s; and this is a pigeon’s’…Bonny bird; wheeling ever our heads in the middle of the moor …This feather was picked up from the heath, the bird was not shot; we saw its nest in the winter, full of little skeletons. Heathcliff set a trap over it, and the old one dare not come.”[30] Catherine’s appalling hysteria and these ravings seem to show that she is in the state of delirium. Actually, the daydream-like surrealistic description unfolds her psychic state of struggle against anguish and fantasy. Her heart has drifted away to the old good days when she and Heathcliff are together. This passage of Catherine’s disordered ravings suggests the heroine has suffered severely from the anguish just right for the occasion. By applying this vehicle, what Emily Bront? feels like expressing is not only to create an atmosphere of terror but also to establish the emotion suspense, and then set up a unique structure for the whole story, which embodies the color of Female Gothic at the same time. 

    4.  Conclusion  

    It is common that many critics take Gothic novels as black novels. In particular, they hold high prejudice to those who write in this style. There is no doubt that Emily Bront? is regarded as a writer out of the mainstream of the novels in the 19th century. Her style is clear and simple but charged with tremendous vitality. She does not write for moral and social effect as Charles Dickens does. She writes for the rhythm of her sentences and the exact choice of word conveys her meaning explicitly. The style is so condensed, like that of a poet that every word must be read, or some vital point will be missed. The smaller object or snatch of conversation has some part in the whole structure. For her, the use of Gothic is not just to produce a terrifying atmosphere and make readers sick like the Gothic novels, but set up a more perfect structure and then show us the complicated psychology of the characters. By portraying the devilish characters and the terrifying nightmare, Emily Bront? finds a new way to express feelings—Female Gothic. She pays more attention to the nature of protagonists and holds that there is no definite borderline between the good and the evil. Her boundless imagination and realistic depiction serve better for the portrayal of the characters. Inheriting Gothic tradition in her writing, she develops it from her own angle. Her only novel Wuthering Heights is a good embodiment of her Female Gothic technique. The novel may be considered as a great lyric poem for it abounds in imagery. Emily Bront?’s writing is also most effective when depicting the passionate and violent characters of Heathcliff and Catherine, for she has uncanny ability to translate feelings into words. In her descriptive passages she paints a vivid picture of the wild bleakness of the Heights, and the cloying ease and luxury of Thrushcross Grange. Emily Bront? has input the lively energy into the English Gothic novel and therefore speeded the development of the English novels.

    References

    [1]Janet C.James. Cliffs Notes on Bronte’s Wuthering Heights[M]. Lincoln: Cliffs Notes, Inc.,1979 P7

    [2]Charlotte Bront?. 《埃利斯·贝尔与阿克顿·贝尔生平纪略》. 转引自杨静远 勃朗特姐妹研究[M]. 北京:中国社会科学出版社,1983 P21

    [3]同[1]P6

    [4]同[1]P6

    [5]同[1]P7 

    [6]Abrams.M.H.  A Glossary of Literary Terms[M]. 北京:外语教学与研究出版社,2004 P110

    [7]同[6]P110

    [8]同[6]P111

    [9]同[6]P111

    [10]李伟昉. 黑色经典英国哥特小说论[M]. 北京:中国社会科学出版社,2005 P1

    [11]P.Brunel, Cl.Pichois, A.M.Rousseau. 什么是比较文学[M]. 北京:北京大学出版社,1989 P126

    [12]同[6]P111

    [13]Ellen Moers. Literary Women[M]. 转引自林斌. 西方女性哥特研究——兼论女性主义性别与体裁理论[J]. 外国语,2005(2) P72

    [14]John Richetti. Columbia History of the British Novel[M]. 北京:外语教学与研究出版社,2005 P225

    [15]林斌. 西方女性哥特研究——兼论女性主义性别与体裁理论[J]. 外国语,2005(2) P71

    [16]Q.D.Leavis. Collected Essays[A]. Ed. G.Singh. Great Britain:Cambridge University Press,1983,Vol.I P232

    [17]Gerin, Winifred. Emily Bront?[M]. 转引自邓颖玲. 论艾米莉勃朗特对哥特传统的发展[J]. 外语教学,2005(4) P85

    [18]Emily Bront?. Wuthering Heights[M]. Columbus: The McGraw-Hill Companies, Inc., 2000 P1 

    [19]同[18]P21

    [20]同[18]P81

    [21]同[18]P85

    [22]同[18]P100

    [23]同[18]P112

    [24]同[18]P198

    [25]同[18]P119

    [26]同[18]P52

    [27]同[18]P59

    [28]同[18]P60

哥哥小说范文第4篇

一.富有异国情调和地方特点的题材

19世纪的法国小说家，大多从本民族历史事件和社会现实中汲取题材。像雨果的《巴黎圣母院》，司汤达的《红与黑》，巴尔扎克的《人间喜剧》以及欧仁·苏、福楼拜、仲马父子等等，不一而足，虽然各有特色，但眼光大多都局限于本国本事。梅里美初登文坛时也是如此。1929年《马铁奥》的成功，让年轻的梅里美找到了适合自己的创作道路，得以把他的才情尽情地发挥出来。

《马铁奥》的故事情节发生在地中海的科西嘉岛，此岛虽属法国，但岛上的居民并没有把自己看作是法国人，在心理上与法国政府保持一定距离，依然沿袭着岛上的风俗习性。岛上民风强悍，不畏强权，有自己的是非标准和好恶原则。与当局有过节的人被视为“强盗”（强盗在这里同被追捕的人是同义词。——原注），为逃避官府追捕不得不躲进山里。这些所谓的强盗或许并非十恶不赦，他们与山民们相处得很好，往往也为山民提供保护。同时，这里的山民也淳朴好客、义字当先，把江湖道义看得很重。如果一个人不守信义，见利忘义，那他在这里是会受到唾弃甚至驱逐的。小说中，马铁奥的儿子福尔图纳托因为不守信义，为了一块银表而把被他隐藏起来的逃犯出卖给官府，马铁奥知道真相后毅然决然地亲手枪决了儿子，让我们看到了信义的力量。

作为故事背景的科西嘉岛，在法国文学史上几乎没有涉及，这里的居民是法国的“化外之民”，他们远处于欧洲文明之外，实在称得上是原始初民。与“文明鼎盛”的欧洲大陆文明相比，这里极富异国情调和地方特点。梅里美似乎一下子发现了创作成功的秘密，此后以非洲黑人在贩奴船上反抗奴隶贩子的《塔芒戈》；以西班牙波西米亚女郎嘉尔曼为中心、描写这个群体别样生活的《嘉尔曼》；仍然以科西嘉到为背景，以家族复仇为主题的《高隆巴》等相继问世，给当时的法国文坛带来一股清新之风，虽然作品数量不多，但多为精品，让他在法国文学史上占有一席之地。

二.塑造粗犷强悍、野性十足的人物

在梅里美的笔下，塑造过多种性格的人物形象,有虚伪昏庸的国王查理十四,有虚度光阴、游戏人生的贵族男女,有嘲弄神圣、讽刺宗教的费德里戈和唐璜,更有身处下层性格强悍、富有原始气息的江湖义士。其中,最受好评的也最具有特色的就是最后一类人物形象,而马铁奥则开此类人物之先河。

文中并没有对马铁奥进行过多的描写，而是采用白描手法，寥寥数笔就刻画了一个江湖好汉的形象。他身材不高却很健壮，浑身透出一股桀骜之气，凌然不可侵犯。他“身材矮小而壮健，头发卷曲，发色象黑玉那么黑，钩鼻子，薄嘴唇，眼睛大而奕奕有神，面色象皮靴的里子那种颜色。”他的枪法很好，是当地闻名的神，有百步穿杨的好名声。“在120步远的地方，他可以一枪打倒一只野羊，随他高兴打在头部，或者肩部。”他能够在夜间使用武器跟白天一样熟练自如，凭着这样卓越的本领，马铁奥获得了很大的名声。他爱憎分明，对朋友热情豪爽，对敌人不留情面。“人们说他既是和善的朋友也是危险的敌人”，他对人乐于相助，也肯做好事，因此和当地的人都能和睦相处。但是最好不要得罪他，否则他可是凶狠的敌人了。据说他“曾经十分有力地扫除过一个情敌，这个情敌无论在战场上或是在情场上都令人害怕。”某天这个情敌正在窗口刮胡子时，被一颗子弹当场打死，人们都怀疑这颗子弹就是马铁奥打的。

马铁奥形象中最鲜明的特点是重义轻利，信守承诺，把信义看得高于一切，任何背信弃义的行为都决不见容。小说特意前后对比了马铁奥对独子福尔图纳托的深爱与亲手枪杀儿子的“残忍”。“他的妻子朱瑟芭最初给他生了3个女儿（他气得发疯），后来生了一个儿子，取名为福尔图纳托，是他家庭的希望，姓氏的继承人。”从这两三句话之中，我们看到马铁奥把家庭的全部希望都寄托在独子身上，流露出一个父亲对儿子的深切期待。但当他知道儿子背信弃义出卖被保护者之后，他不顾老妻朱瑟芭的绝望哭泣，无视儿子惊恐哀求的眼泪（尽管他不到10岁），更断绝家庭最后唯一的希望，毅然决然地处死儿子，以洗脱因儿子的不义而玷污在家庭上面的名声。马铁奥置官府的法律于不顾，用自己内心的法律宣判了儿子的“罪行”，凸显了信义大于天的道德追求。

无疑，马铁奥是一个独特的形象，特立独行，有自己的行为准则和道德标准，给读者留下了深刻的印象。之后塑造的以算命、美色、走私为手段，在刀尖上讨生活的波西米亚女郎嘉尔曼；以机智、倔强、凶狠著称，引导哥哥杀死仇人，终报父仇的科西嘉少女高隆巴等形象大放异彩，都是在马铁奥这一形象基础之上结出的硕果。

三.运用简洁明快、冷峻客观的语言

虽然梅里美受浪漫主义潮流的影响，也具有浪漫情怀，但他与公认的浪漫主义者（雨果、大仲马等）相比有很大不同。浪漫主义作家是主情主义者，往往笔端饱蘸感情，情绪浓烈，或者在文中抛头露面，直抒胸臆，其在作品中的态度褒贬立见。梅里美在处理故事情节时，往往删繁就简，不作累赘的交代，给出一个准确清晰的背景，从不展开叙述，不让次要的部分占了主角的风头。“他善于抓住事件的关键和主要方面，紧凑地展开，简繁得当，结构严谨。他是一个高明的故事讲述者，明快流畅是他的叙述特点。”[1]他对故事中的人物也很少表露出褒贬态度，把自己情感隐藏在冷峻而略带嘲弄的面目之下，像卢那察尔斯基所说：“他在冷静的头脑这副假面具底下，细心隐藏着自己的感情。”[2]这是梅里美短篇小说的又一大特色。

这篇8000字的小说可分为三个部分，第一部分是背景介绍，梅里美只用了1200字对马铁奥的生存环境、人生经历、人际关系等方面，作了必要的简要描述，为后面处理父子冲突进行铺垫，实在是简略精当。第二部分是故事的起因和发展，写福尔图纳托向官府出卖被保护者的过程。第三部分则是高潮部分，描写马铁奥得知真相后亲手处决了儿子。梅里美通过对马铁奥动作和语言的描写，塑造了一个维护信义传统、大义灭亲的好汉形象。当知道是儿子出卖了“逃犯”时，他大感惊讶，接着低声自语“真倒霉！”。倒霉什么呢？早晨出门时不该把孩子一人留在家里？逃犯不该来到他家寻求庇护？还是儿子经不住诱惑，为了一块银表出卖了逃犯？我们不得而知，但我们可以感受到他内心情绪的变化。逃犯齐亚尼托对他的侮辱并没有激起他的愤怒，而是“一手按着脑门，像一个心情沉重的人那样，并没有别的举动。”他从儿子那里“一手抢过那只表，用力把它向一块石头上掷去，把那表砸得粉碎”，宣布儿子“是他家族中第一个有背信弃义行为的人”。一种可怕的决定在脑海中形成，他要亲手处死儿子，惩罚这种背信弃义的行为。尤其是结尾他与妻子的对话：

“你干了什么？”她喊道。

“伸张正义。”

“他在哪儿？”

“在洼地里。我马上就来埋葬他。他是祈祷以后才死的,我要献一台弥撒给他。通知我的女婿蒂奥多罗·贝昂基,叫他来和我们一起住。”

小说在这里戛然而止，给读者留下了巨大的想象空间。从这些简短的对话中我们看到一个严厉苛刻、铁面无私的父亲形象，我们似乎感受不到父爱的温情，但有谁能理解一个风烛残年的父亲处死背信弃义的儿子时所做的艰难而痛苦的决定？有谁能从一台弥撒中感受到父亲心中的爱与恨？梅里美把自己的情感深深地隐匿了起来，让你无法看透。有论者断言：“他无动于衷地躲蔽在人物后面，从不对他们的行为表示自己的意见。他很会自我控制，决不允许同情和感动超越艺术节制的限度。他的原则是‘切勿过分’，他的窍门是使别人激动而自己却不动声色。他用作家的冷换取读者的热。”[3]我认为所言极是，它道出了梅里美独有的语言风格和叙事策略。

与梅里美同时代的大作家中，司汤达的小说政治色彩浓厚，擅长把主人公的政治欲望和爱情追求纠结在一起，描写其轰轰烈烈的一生；巴尔扎克的小说展示了上流社会的纸醉金迷和人情冷暖，揭示出金钱的罪恶史；雨果高扬人道主义旗帜，揭露黑暗和不公，塑造理想人物，突出“仁爱万能”主题。他们凭借自己的独特性而在当时的法国文坛上叱咤风云。梅里美仅以区区十几篇短篇小说，能够跻身其中，自然是凭借其创作的独特性。他的成功告诉我们，独创性是创作者能否获得成功的重要因素。

 

参考文献

[1]张冠尧.梅里美中短篇小说集·序[M].北京：人民文学出版社，1997：57.

[2]卢那恰尔斯基.论文学[M].蒋路译.北京：人民文学出版社，2016：503.

[3]薛迪之.《卡门》的梅里美风格[J].西北大学学报，1985（4）：42.

 

本论文是湖北省教育厅人文社科项目“生态批评视域下梅里美小说研究”的阶段性成果，项目编号15Y136。

哥哥小说范文第5篇

“涵哥哥，这个是送给你的，”小诺说着，从背包里拿出一个包装很精美的盒子。

“这是什么？”明润涵接过盒子问道。

“你回家看吧！”小诺回答道，“涵哥哥......”

“怎么了，小诺？”明润涵轻切地问道，“有什么心事么？”

“涵哥哥，我......我明天要走了”小诺淡淡地说。

“走？你要走到哪里去啊？”明润涵疑惑地看着她。

“我在中国的治疗时间已过，可还是没有用，爸爸妈妈说，要带我回美国去才能治好我的病，飞机票已经买下来了，就是明天的飞机，涵哥哥......我真的舍不得你～”小诺说完，便抱住了明润涵，痛哭起来。

明润涵怔怔地望着痛哭的小诺，轻轻拍了拍小诺的头，说，“小诺乖......不哭啊。”

“涵哥哥，对不起，我失态了......”小诺放开了抱住他的手，用手试着擦去眼角的泪水。

“没关系的......小诺，开心点吧......你总要一个人学着长大的，想哥哥的话，你就打个电话给哥哥吧～”明润涵说。

“涵哥哥，你，可不可以答应我一件事，”小诺说。

“什么事？我答应你，”明润涵说。

“明天......你可不可以来送我......?”小诺支支吾吾的说。

“好的。”他毫不犹豫地回答道。

“谢谢你，涵哥哥，”她的脸上突然暂放出一阵淡笑，接着就跑开了。

＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊

飞机场。

“小诺，走吧！飞机就快开了 ，润涵不会来了，他要上学的。”小诺的妈妈对这到处张望的小诺说 。

“不要！”小诺用最幼稚的声音拒绝道。“涵哥哥答应过我，他一定会来送我的。我要等他。”

“小诺......他不会来的......”妈妈再次告诉她。

“说过了－不－要！”小诺推开了妈妈，小声地嘀咕着，“涵哥哥会来的，他会的......”

“小诺，小诺......”从那拥挤的人群中传出一个人的声音。

“是涵哥哥来了，是涵哥哥来了！”小诺欢喜的向那人群中跑去，“涵哥哥，涵哥哥。”

“小诺，”明润涵跑到小诺面前，对她说，“小诺，我来了”

“恩，涵哥哥，我就知道你会来，”小诺说。

“小诺，哥哥没给你买什么东西，但是，我有给你带礼物，只不过那是准备在你生日的时候送给你的，”明润涵说着说着，脸就红了。

“涵哥哥，其实我不用礼物的，真的......”小诺说，“你能够来，就是给我的最好礼物。”

可他还是将礼物塞到了小诺的手里，“小诺，对不起，我要走了，我可是逃课出来送你的。”

“涵哥哥.....”小诺拉住了他的手腕。

明润涵挣脱开了她的手，向外面跑去，“小诺，记得啊，到了给我打电话！”他大声的喊道。