How to Read Fiction
1. Narrative genre叙述
A narrative is a story, whether told in prose or verse, involving events, characters, and what the characters say and do. （叙述一个故事，无论是散文或诗歌，涉及的事件，人物，和什么样的人物说的和做的。）
Some literary forms such as the novel and short story in prose, and the epic and romance in verse, are explicit narratives that are told by a narrator.(一些文学形式如小说和短篇故事和散文，史诗和浪漫的诗句，是显式的叙述，叙述者讲述者告诉。)
In drama, the narrative is not told, but evolves by means of the direct presentation on the stage of the actions and speeches of the characters. (在电视剧，叙事不告诉，但进化的直接表现在人物的行动和言语的阶段。)
A. Fiction 小说，虚构的文学作品
In an inclusive sense广义, fiction is any literary narrative, whether in prose or verse, which is invented instead of being an account of events that in fact happened.(在一个包容感广义，小说是文学叙事，无论散文或诗歌，这是发明而不是一个帐户，事实上发生的事件)
In a narrower sense狭义, however, fiction denotes only narratives that are written in prose (the novel and short story), and sometimes is used simply as a synonym for the novel.(然而在狭义狭义，只表示，小说，散文书写叙事（长篇小说和短篇故事），有时只是作为小说的同义词。)
Literary prose narratives in which the fiction is to a prominent degree based on biographical, historical or contemporary facts are often referred to by compound names such as “fictional biography”“虚构的传记”, the historical novel, and the nonfiction novel.(文学散文叙事在小说中是基于传记的突出程度，历史或当代的事实通常称为复合名字如“虚构的传记”虚构的传记”，历史小说，小说和非小说。)
B. Story故事
A story is the mere sequence of events in time.（一个故事，仅仅是事件在时间序列。）
C. Third-person points of view第三个人称
The omniscient 无所不知的point of view: the narrator knows everything that need to be known about the agents, actions, and events, and has privileged access to the characters’ thoughts, feelings, and motives; also that the narrator is free to move at will in time and place, to shift from character to character, and to report their speech, doings, and states of consciousness.  (intrusive narrator & unintrusive narrator)(出发点：叙述者全知无所不知的知道一切需要的药物，已知的行动，事件，和有特权访问人物的思想，感情，和动机；同时，叙述者是自由随意移动的时间和地点，转变角，并报告他们的言语，行为，和意识状态。（侵入者与不介入的叙述者）)
The limited有限的 point of view: the narrator tells the story in the third person, but stays inside the confines of what is perceived, thought, remembered and felt by a single character (or at most by very few characters) within the story. （有限的一点看法:“讲述人”的故事,告诉第三个人,但仍范围内被认为是什么,思想、记忆和感觉到的一个字符(或最大的很少的字符)的故事中。）
Later writers developed this technique into stream-of-consciousness narration. （最新作家开发了这个技术成意识之流的叙述。）
D. Stream-of-consciousness意识流的
Stream of consciousness was a phrase used by William James in his Principles of Psychology (1890) to describe the unbroken flow of perceptions, thoughts, and feelings in the waking mind. It has since been adopted to describe a narrative method in modern fiction.( 意识流是由威廉·詹姆斯在他的心理学原理（1890）使用一个短语来形容不间断的流动的看法，想法和感情在清醒的头脑。它已经被采用来形容现代小说中的叙事方法。)
As it has been refined since 1920s, stream of consciousness is the name applied specifically to a mode of narration 叙述that undertakes to reproduce, without a narrator’s intervention介入, the full spectrum and continuous flow of a character’s mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations.( 因为它从20年代被提炼了，意识之流是名字具体地被运用于的叙述叙述方式同意再生产，不用解说员的干预介入，字符的精神过程充
分的光谱和持续流，感觉悟性混合以神志清楚和讲究一半想法、记忆、期望、感觉和任意协会。)
E. First-person points of view第一个人称
This mode limits the matter of the narrative to what the first-person narrator knows, experiences, infers, or can find out by talking to other characters. 这种模式下限制叙事到第一人称讲述者知道，经验、 推断，或可以通过说话其他字符查的问题。
F. Second-person points of view第二个人称
In this mode the story gets told solely, or at least primarily, as an address by the narrator to someone he calls by the second-person pronoun “you”. 在此模式中的故事完全是或至少主要，作为向某人讲述者的讲话他电话的第二人称代词"你"。
2. Character角
Characters are the persons represented in a dramatic or narrative work, who are interprete
d by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from what the persons say and their distinctive ways of saying it —the dialogue, and from what they do— the action. 字符代表的人在一个戏剧性的叙事作品中，读者被赋予了特定的道德，智力和情感素质的推论，从什么人说，他们独特的方式，说它的对话解释，并从他们做了什么动作。
The grounds in the characters’ temperament, desires, and moral nature for their speech and actions are called their motivation. 在人物的气质和欲望，道德自然为自己的言论和行动的理由被称为他们的动机。
A character may remain essentially “stable”, or unchanged in outlook and disposition, from beginning to end of a work (Micawber in David Copperfield) 一个字符可能基本上保持“稳定”，或不变，前景和处置，从开始到结束的工作
A character may undergo a radical change, either through a gradual process of development or as the result of a crisis (Pip in Great Expectation). 一个字符可能会经历彻底的改变，要么通过一个渐进的过程，或作为危机导致的发展
A. Flat Character单一角
Forster says a flat character is built around “a single idea or quality” and is presented without much individualizing detail, and therefore can be fairly adequately described in a single phrase or sentence. 福斯特说，平坦的字符围绕一个单一的想法或高质量的，没有太多的个性化的细节，因此可以相当充分地描述在一个单一的短语或句子。