标题可能是太固定了。一般来说，文学作品不可能有这种规定性的方法，然而，有确凿的证据表明，当矛盾的品质或概念接近时，情况的强度就会提高。密尔顿在《失乐园》中运用了这一技巧，它是一个完全由两极对立构成的清晰的宇宙，没有矛盾或道德的中间地带。因此，在密尔顿，每一个物质或精神的属性实际上都是由相反的对立面所产生和定义的。所以黑暗是光的完全缺失，而恶是善等狄更斯完全没有在他们的小说并置柯林斯使用比密尔顿更沉默寡言但有相似的意图和明显的立即在“双城记”的开头：“这是最好的时代，这是在很短的时间…最差的时期和现在是如此的相像，某些最喧嚣的权威坚持它被接受，善或恶，在最高级的。”这句话是也代表小说本身的性质的承认正是这“高级程度的比较，我们会得到很多的事件展开，和盘在过程中，没有固定的模式可以正确表达的人性，往往是模糊的或容易改变。都知道自己的小说被出版serialisations等有一个非常现实的需要保持读者的兴趣章节之间。或许正是这种关注，作者写他们温和的英雄到暴力和残忍可怕的令人震惊的题材描写自善与恶使刺耳的、总是令人震惊的是强大的。在狄更斯的小说《Collins》中，真正的戏剧张力是通过将善良和节制的女性冠军置于不道德和暴力的男性背景下创造出来的。除了无知与内疚、脆弱与野蛮、耐心与冲动之间的区别外，内在世界与外在世界之间也有细微的差别。一个灵魂的世界，它是内在的和内在的善，是一个外在或外在邪恶的身体或身体的世界。在这两部小说中，以类似的方式–向外图形和煽情的语言分开，但有微妙的和更强大的潜台词。这两部小说的文本都是建立在冲突和持久的紧张感的基础上的，所以我们很好地对短文进行细读，就像对整个文章的概述一样。
美国亚拉巴马论文代写:这种规定性的方法
The title quote is probably too fixed. Generally, there can be no such prescriptive methods for writing literature, however, there is certainly evidence to show that when contradicting qualities or concepts are presented in close proximity, the intensity of the situation is heightened. Milton used this technique in Paradise Lost – assembling a clear-cut universe comprised entirely of polar opposites and without ambivalence or moral middle ground. Hence in Milton, every physical or mental property is in effect generated and defined by the absence of its opposite counterpart. So darkness is the complete absence of light, and evil is the complete absence of good etc. Dickens’ and Collins’ use of juxtaposition in their novels is more reticent than Milton though with a similar intent and evident immediately in the opening passage of a ‘Tale of Two Cities’: “It was the best of times it was the worst of times… in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.” The quote is also an admission on behalf the nature of the novel itself and it is with this ‘superlative degree of comparison’ that we will be made to receive much of the events that unfold, and discover in the process that no such fixed model can properly express human nature which is too often ambiguous or prone to change.Both authors were aware that their novels were to be published as serialisations and so there was a very real need to maintain the reader’s interest between chapters. It is perhaps with this concern in mind that the authors penned their mild heroes into lurid depictions of violence and human brutality since the jarring of good and evil makes for shocking subject matter and invariably what is shocking is also powerful. With Dickens’ novel as with Collins’ the real dramatic tension is created by placing feminine champions of goodness and temperance within a masculine context of immorality and violence. As well as the perceived distinction between innocence and guilt, frailty and brutality, patience and impulsion, there is also a subtle contrast between an inner world and an outer one. A world of the soul, which is implicit and inherently good, and a world of the physical or the body which is explicit and outwardly evil. In both novels, the language separates in a similar way – outwardly graphic and sensational, yet with a subtle and often more powerful subtext. The texts of both novels are founded in conflict and perpetuate a sense of tension so it serves us well to do close readings of a short passage as much as an overview of the whole.
