On the Narrative Mode of Don Quixote

? Cervantes' Don Quixote successfully created a knight image "Don Quixote" in the history of world literature, which is still praised by people today. Therefore, the descriptive skills and narrative patterns in Cervantes' books deserve our in-depth study and discussion. This paper compares and describes the narrative mode of Don Quixote with the traditional narrative mode of China in order to further understand the book.

Miguel de Cervantes Saavedra is regarded as the greatest writer in Spanish literature. His work Don Quixote reached the pinnacle of Spanish classical art, which is one of the treasures of world literature and the first realistic work in literary history. It marks that the creation of modern realistic novels in Europe has entered a new stage. As a masterpiece of realism, there is no doubt that this work is interspersed with a large number of novel narrative modes and descriptive techniques. Since the 17th century, this book has attracted much attention and been widely welcomed by the masses. For example, fragmented narrative is different from the traditional narrative mode in China, and there is also a narrative mode of "ending in the song" which has the same narrative purpose as Han Fu and even many novels in China. Understanding these similarities or differences is of far-reaching significance to us.

? First, the fragmented narrative mode.

The narrative mode of Don Quixote is different from our traditional narrative mode, and even has a different flavor. Because our country has always had the habit of compiling history, our narrative mode is generally related to time, and there are few insertions and flashbacks. This is more obvious in history books. Even the Water Margin, as a chapter-by-chapter novel, rarely has such a fragmented narrative. However, in Don Quixote, this fragmented narrative becomes very obvious. Almost every chapter can be classified as a new story, which is not conducive to systematic acceptance and interpretation. This is my first feeling when I read Don Quixote. Even in the process of reading, I have a feeling that it is difficult to continue. This narrative mode, which is different from tradition and the past, deserves our consideration and study.

? This fragmented narrative can give writers full play and think skillfully in fragmented stories. At the same time, the short space can meet the fragmented reading needs of readers. As the Spanish emperor saw, people can improvise reading on street corners and alleys. This fragmented narrative can also be seen in the works of Japanese writer Keigo Higashino. In his "New Participant", it is a piecemeal event that constitutes the whole story. The story about Cardinius and Lucinda in Don Quixote, and the story about anselmo and Rotaxiu in Why Get to the Bottom of the Matter, all clearly show this feature.

? Moreover, the expression of Don Quixote in this paper is similar to the traditional biography in a sense. Excluding the differences in language organization and expression between the two sides, the fundamental reason is the same. Because when writing a biography, it will be deleted because of the author's own wishes and the loss of historical materials, and it will also be in a fragmented state. Here we take Wei, the founding emperor of the Three Kingdoms, as an example: "At the end of Guangxu, the Yellow Scarf Uprising, worshiping a captain and begging thieves in Yingchuan ... In December of winter, we began to fight for ourselves, and we were already six years old." Here we can see that the fragmented narrative mode is a necessary choice when describing an event. In other words, Cervantes' idea is to write it as a biography, so he will use this scattered narrative. At this point, the two sides reached a tacit understanding. This is considered to be the common ground of literature.

? Second, "Song Ya"

There is a description technique in China's "Han Fu" which is called "elegance of people scattered at the end of the song". From "The Biography of Han Sima Xiangru": "Yang Xiong thought it was a magnificent gift, with a hundred counselors and one satirist, which was better than the voice of Zhengwei, and the song ended in elegance. Is it ridiculous? " The words of Da Fu in Han Dynasty are extravagant, with many descriptions of life details, which are extremely extravagant. At the end, Fu explained the harm of such a life with the mouth of the characters and advised people not to do so. It's like Zheng's voice, often decadent, but suddenly elegant at the end of a song. This is called "the end of the song", but according to the research of relevant scholars, there are many such descriptions in classical novels. This description technique also appears in Cervantes' works:

In the text of Don Quixote, Don Quixote considers himself a knight because of his obsession with knight novels, and chooses to travel abroad. Cervantes focused on all kinds of strange faces he met: the tricks played by the shopkeeper-the ridiculous "sealing ceremony";

"The leader of the fortress was so anxious at his words that he went to get an account book to supply fodder for the mule driver, and told a boy to follow the candle head and the two girls mentioned above to come to Don Quixote ... If it weren't for being so serious and calm, the ceremony didn't guarantee to laugh ..."

? This description is full of ridicule and disdain. The original solemn seal ceremony is neither fish nor fowl, and the person who seals it is a manager with low status. This is a mockery of the old knight class. In the text, such expressions are very common, such as the plot in which the priest decides whether to say the knight novel or not, and the plot in which the earl and his wife play tricks on Sancho and Don Quixote. For such a description interspersed in the text, we can think that Don Quixote wrote a knight's life, trying to achieve his goal of punishing evil and promoting good, and finally ended in countless sad taunts. Cervantes sympathized with Don Quixote. At the end of the article, when Don Quixote was dying, he regained consciousness and recalled that he was a good man, Jihana. And expressed his hatred of knight novels, which is undoubtedly a fundamental denial of the knight class. This description is similar to the description of Da Fu in Han Dynasty. This paper describes Don Quixote's journey and ridicule in great detail, and finally expresses his denial of the knight through his mouth.

Third, boring: silence

Li Zijian once said: "Art is the pain nerve of society, and we should face the real pain nerve directly. If there is no sensitive nerve, the tooth will rot innocently until the entire gum collapses. " This statement is correct. As a kind of literature and art, so is novel. Therefore, novel writing should be like a blade, which makes people feel the pain of the skin, so that they can have the courage to face the dripping reality. However, this is not the case. More often, what we see is a kind of insensitive force that "moistens things silently".

? However, the use of the word "insipid" is really confusing and even difficult to understand. This is often not always the case. In the limited narrative space, the word dullness appears very frequently. In the same context, dullness, as a feeling, or emotion, has a huge space. The dullness here refers to the speed at which readers feel the author's emotions and express them. In Don Quixote, this kind of emotion is often more insensitive.

Don Quixote can be called a satirical novel or a farce, which satirizes reality. It is a farce because it can make readers laugh and leave unspeakable tears at the same time. At first glance, it seems absurd, but in fact it implies the author's profound understanding of the reality in Spain. The author uses satirical and exaggerated artistic techniques to combine reality with fantasy to express his views on the times. Readers are "insensitive" to accepting such thoughts and feelings. As readers, what they see is that Sir Don Quixote's absurd behavior is ridiculed by the times and the crowd, which makes them laugh, because readers also stand on the position of cynics. Only when this laughter dissipates and leaves a aftertaste can we accept the artistic conception of this work "semi-sensitively and semi-insipid" and echo it.

? For China readers, they can understand and sympathize with this absurd behavior better than westerners. At that time, Don Quixote was bent on realizing the desire of punishing evil and promoting good, but the times gave him the deepest harm. Don Quixote's behavior has the great spirit of "knowing what he can't do" in our tradition. For their own ideals, and reality to do a struggle and struggle. And this kind of sympathy and pity also comes from dullness. At first reading, it was incomprehensible. Only in the late "slow stew" can such a taste be cooked. This is the charm of insensitive narration, which can form its own context outside the context. The plain narrative mode is a new way, which is different from the story that exposes reality in depth to stimulate, and also different from the novel that simply expresses emotion with sympathy. Using this insensitive narrative mode can give researchers more space and time to study the works. The breadth of the work has been extended to a certain extent, which makes the original context infinitely enlarged in the "insipid" of the latecomers.

? Four. Concluding remarks

? To sum up, we can see that Cervantes' Don Quixote has a lot of novel descriptive techniques and patterns. Not just the above three. Many of them are similar or different from China's traditional novel narrative mode, which has profound reference significance for our realistic novel writing. At the same time, with the help of the similarities and differences of these narrative methods, we can also understand the connotation of Don Quixote from another angle. "There are all kinds of roads, not a path." Great works are universal and can give deep comfort to everyone. And we are on the side of the road, feeling the warmth of passing by occasionally.