摘 要
海明威是二十世纪美国知名作家，他精通现代叙事艺术，于1954年获得诺贝尔文学奖。《永别了，武器》是海明威根据自己的战争经历，描写了战争以及战争给青年一代在肉体和心灵上留下的无法弥补的创伤长篇小说。
小说自问世以来，受到很大评论家的关注，对小说研究和评论很多。研究者们对小说的悲剧意识、虚无思想等进行了深入的研究, 但是从叙事学的视角对对海明威的叙事艺术进行解读仍存在空缺。本文从叙事学的角度，对海明威的《永别了，武器》的叙事策略做了分析。首先，探讨叙事人称在小说中的运用。海明威在《永别了,武器》中大量地使用对话,以第一人称叙事情,巧妙地在第一人称、第二人称和人物叙事情境之间进行转换,使小说达到了“展示”的艺术效果,更加贴近现实。其次，探讨叙事顺序在《永别了,武器》中的运用。海明威巧妙地穿插倒叙和预叙,通过变换叙事频率,很好地调控了叙事时间和故事时间,使小说的节奏错落有致,传达了极强的叙事效果。再次，探讨叙事声音和距离在小说中的运用。主要论述海明威是如何运用缺席的叙述者及多重叙事声音增加小说感染力,深化小说主题。最后，探讨了小说的五幕剧式的形式结构，这种结构使整部小说情节上有起有伏，在结构划分方面具有明显的规律性。
论文力图说明海明威的卓越的叙事艺术特色，和其叙事艺术魅力和对欧美文学乃至世界文学的巨大影响。
关键词：海明威；《永别了 武器》；叙事策略
Abstract
As a famous American writer in the 20th century, Hemingway is proficient in modern narrative art and won the Nobel Prize for literature in 1954.A Farewell to Arms is a novel written by Hemingway according to his own war experience. It describes the war and the irreparable physical and mental trauma left by the war to the young generation.
Since the novel came out, it has received great attention from critics, and there are many related researches and comments. Researchers have conducted in-depth research on the tragic consciousness and nihilism of the novel, but there are still gaps in the interpretation of the narrative art of the novel from the perspective of narratology. This paper analyzes the narrative strategy of Hemingway's A Farewell to Arms from the perspective of narratology. First, it discusses the use of narrative perspective in the novel. Hemingway uses a lot of dialogues in A Farewell to Arms, narrates things in the first person, and skillfully switches between the first person, the second person and the narrative situation of the characters, which makes the novel achieve the artistic effect of "display" and closer to reality. Secondly, it discusses the application of narrative order in A Farewell to Arms. Hemingway skillfully inserted flashback and pre narration in the narration to adjust the narrative time and story time by changing the narrative frequency, so as to make the rhythm of the novel well arranged and convey a strong narrative effect. Thirdly, it discusses the application of narrative voice and distance in the novel. This paper discusses how Hemingway uses the absent narrator and multiple narrative voices to increase the appeal of the novel and deepen the theme of the novel. Finally, it illustrates how Hemingway uses the narrative structure of five act drama to make the plot of the whole novel ups and downs, and has obvious regularity in the structure division
This paper tries to explain Hemingway's outstanding narrative art characteristics and its great influence on European and American literature and even the world literature.
Key words: Hemingway；A Farewell to Arms; Narrative strategy
Introduction
As a literary giant, Hemingway has been highly valued by the literary world for more than 100 years. As a leading writer of the "lost generation", Hemingway shows us not only the reflection on war, but also the interpretation of life belief and courage, as well as a kind of philosophical thinking full of life in the universe. A Farewell to Arms is one of Hemingway's works, which combines the author's personal war experience and has a strong autobiographical color. In A Farewell to Arms, Hemingway presents readers a story of irreparable physical and mental trauma to the young generation. Scholars at home and abroad have been studying Hemingway and A Farewell to Arms for a long time, and the research has a considerable scale, and the discussion is quite thorough. The consciousness of tragedy has been widely and deeply discussed, but the research from the perspective of narratology is still insufficient, and the research from the perspective of narrative strategy is even less. In fact, he won the Nobel Prize for literature in 1954 for his mastery of modern narrative art. His narrative style is famous for its simplicity. His unique writing characteristics make him different from his predecessors and contemporaries and create a new generation of writing style. Therefore, in this paper, the author makes an in-depth study of the narrative strategy of the work.
1.Research Status, Value and Method
Based on different theories and methods, researchers of farewell to arms have carried out various researches. The following is the theory and method of combing and using the relevant research literature.
1.1. Literature Review
There are many researches on Hemingway's A Farewell to Arms at home and abroad.
1.1.1.Foreign Research
Jerald Robinson. J believes that A Farewell to Arms combines the author's own war experience and expresses his denial of war. The obvious anti war emotion and self-consciousness in the novel reveal the humanitarianism thought, which represents the humanitarianism thought in American literature at that time. In this regard, the author takes a farewell to arms as the breakthrough point, expounds the connotation of Hemingway's humanitarian thought in his creation, and aims to analyze the humanitarian thought in American literature.Jainy Osben believes that symbolism is well used in Hemingway's A Farewell to Arms. Symbolism is generally used to replace certain events, but also to express people's feelings. Its repeated use in the article runs through the whole article, and at the critical moment, it can let readers appreciate what is happening at this moment. Through rain, river, Catherine's hair, mountains and plains, the author analyzes the setting and significance of symbols in the novel. Based on the ethical environment of the novel, Mooney Susan combs the two ethical lines of war and love one by one. Through the psychological changes of Henry, the protagonist, from taking part in the war to abandoning the war and fleeing the battlefield, it shows the destruction of war to the ethical order. At the same time, it shows the process of reestablishing the ethical order by the power of love according to the continuous development of Henry and Catherine's love story, It reveals the destructive power of war and the weakness and helplessness of love in the war environment. G. Sujithra believes that the bleakness of A Farewell to Arms is reflected in all aspects, whether it is narrative style, scenery description, character description, war and death description, or love and sex description. Everything is calm and objective, without heat and temperature, showing a kind of deep desolation. Of course, there are many reasons for this, which are not only related to the author's early war experience, but also related to the author's mood when writing, and also related to the author's artistic pursuit. Desolation is closer to the actual situation of the text and the author's writing than the labels of "lost generation" and "Nihilism", which contains profound aesthetic connotation.
1.1.2.Domestic Research
Li believes that the hero of Hemingway's novels has always been tough and unyielding, and Henry and Catherine are the same in A Farewell to Arms. They showed a "elegant style under heavy pressure" when facing bad luck and difficulties. Henry and Catherine fight the reality dilemma with their own strength. Their characters change with the change of war environment, from full expectation to clear understanding of war and finally become confused. Zhao Chunxia focuses on the analysis of the unique language characteristics and artistic expression embodied in A Farewell to Arms. He thinks that the language of the novel has the characteristics of implicit euphemism, vivid image and concise features. The novel uses symbolic techniques in art, flexible use of the first person, and use two methods of comparison to perform. Sun Yongjie believes that a farewell to arms is Hemingway's best novel to show his view of war. Hemingway, who was only 19 years old at that time, took part in the war in the first World War and was injured in the front line. He witnessed the cruelty and ruthlessness of the war with his own eyes, so he had his aversion to war and strongly opposed it.
Based on Hemingway's view of opposing war and taking A Farewell to Arms as an example, the author analyzes Hemingway's view of war in A Farewell to Arms from the background of the times and Hemingway's experience at that time. Shangjie thinks that the academic circles agree that Hemingway has created many "tough man" images, but there are different opinions on the female images in his works. Based on the text, the author digs deeply and interprets comprehensively, and thinks that Hemingway has a strong female consciousness, which truly and vividly records the mental state and living conditions of women at that time. In A Farewell to Arms, Hemingway creates a perfect woman of all men's hearts - Catherine, who is beautiful, gentle and brave, just like an angel. But such a woman in the real world is not exist, far higher than the reality. This paper will discuss her imperfection and the reasons for the formation of such a female image in Hemingway's novel.
1.2 Research value
Hemingway's skillful use of modern narrative art enables him to vividly express the vision he wants to achieve in his literary creation. As a writer with strong personal consciousness, Hemingway has a clear sense of the narrative strategy and the effect he wants to achieve in his works. However, researchers pay more attention to the thoughts and characters in his works than to his narrative art. In this study, the author focuses on the narrative strategies used by the writer in A Farewell to Arms, analyzes the works from the perspectives of narrative structure, Narrative Perspective, narrative time and narrative voice, and attempts to make a deep analysis of the subtle narrative techniques in A Farewell to Arms. This study makes up for the deficiency of the narrative study of Hemingway's works, increases the width and depth of the study of Hemingway's novels, and hopes to make the study of Hemingway more comprehensive.
1.3. Literature Method
The author has targeted on Hemingway's A Farewell to Arms and the research papers of narratology at home and abroad to search, carefully read the relevant literature, understand Hemingway's A Farewell to Arms in the characteristics and value of narratology, provide a theoretical basis for research, clear research ideas.
2. The Role of Narrative Strategy in Literary Analysis
Narratology, as a theory, is widely used in many art fields. It is also used in the evaluation of literary works, and its literary charm is elaborated through the use of different narrative strategies.
2.1 Narratology and Narrative Strategy
Narratology is the representation of events in specific time and space through language or other media. Art works reproduce events through language, words, sound, images and other means, so that readers can receive information in "things" and obtain spiritual and emotional experience. In the process of its development, narratology has also absorbed the research results of related disciplines and various literary criticism trends, such as modern linguistics, Russian formalism and structuralism.
Narratology is an all embracing subject. Its development has also absorbed the views of some novel theorists and formed a series of theories. Such as James and Lubbock's research on novel form, especially on "observation point". In addition, there are Forster's story, plot and character theory. Narratology not only fully absorbs the richness of novel theory, but also absorbs the innovation and perfection of novel creation itself.Since the 20th century, Joyce, Proust, Faulkner and other modern novelists have made great contributions to the innovation of the language form of novels. In the 1950s, the new fiction school, which rose in the French literary world, has made a lot of explorations and attempts to the expression form of novels. On the basis of absorbing and summarizing these literary theories and narratives, narratology has formed a systematic theory of literary analysis, which plays a guiding role in the analysis of literary works.
2.2The Role of Narrative Strategy in Literary Works
Narrative strategy is a variety of narrative techniques adopted by writers in literary works, including narrative perspective, narrative order, narrative rhythm, etc. Narrative strategy plays an important role in promoting the narrative effect, theme expression and artistic effect of literary works.Different narrative strategies have different characteristics and play different roles in the development of literary works.
2.2.1 Narrative Order
Time is one of the indispensable factors in narrative. According to the needs of the plot, the arrangement of time sequence can be in the following ways: chronological narrative, backward narration, narration interposed, supplementary narration and pre narration.
Chronological narrative is a way to narrate the content of events according to the sequence of time and plot development. In some narrative works, such as novels and stories, which pay attention to plot, the use of chronological narrative mainly takes into account the plot factors. Chronological narration is the main and common narrative method in literary works. Even some works which use backward narration and narration interposed still keep the whole framework of chronological narration. Its advantage is that it is easy to explain the whole story clearly, and make the full text clear and orderly. But if it is not used properly, it is also easy to make the mistakes of being straightforward and keeping a running account. In order to overcome this shortcoming, the writer first pays attention to the choice of materials and the details of narration. Secondly, the writer should pay attention to the rhythm of narration, and speed up the rhythm of some parts so as not to make people feel sluggish and boring; The detailed part is specific and meticulous, which makes necessary description, presentation and rendering, and strives to be vivid and attractive.
Narration interposed is a way of narration in which the content related to a certain character or plot is partially inserted in the middle of the chronological narrative. At the beginning of the narration interposed, the chronological narration is suspended temporarily; At the end of the narration interposed, return to the chronological narrative. Appropriate narration interposed can make the structure of the article have twists and turns, the center is more distinct and prominent, save pen and ink, so it is widely used in narrative works. From the content of narration , there are three kinds of narration interposed. The first is to explain the origin of the person or thing: to make a brief introduction of the person's origin, identity, character and behavior, to explain the cause and process of the plot, so as to eliminate the readers' doubts. To explain clearly the origin of the person or thing is mainly to make the reader not feel abrupt and puzzled about the person or thing concerned. The second is to review the past events related to the chronological narration in order to supplement, contrast the main facts in the chronological narration. The third kind of narration interposed is to make a brief description of the individual things in the chronological narrative, but still in the style of narration.
Pre narration is to narrate the events that will happen later in advance. This way of narration refers to the ending of the event or the most important and prominent segment to the front of the article according to the needs of expression.It not only enhances the suspense of the work, but also helps to create some mysterious atmosphere. It makes a hint of what will happen in the future to stimulate readers' interest and expectation.
2.2.2.Narrative Perspective
Narrative perspective refers to "the referential relationship between the narrator and the narrative object, that is, the first person, the second person or the third person".
In literary works, the first person narrates as "I", which can be the author himself or the characters in the works. The first person is often used to narrate the personal experience of the storyteller, to enhance the credibility and lyricism of the story. The first person can make readers feel real and kind.In the first person narrative, the narrator is dramatized and has the same limitations as other characters in promoting the plot. This kind of narrator is usually non omniscient. In narrative literature, the second person is relatively rare. This narrative angle can make the works more direct, natural, kind and vivid. But some people think that there is no second person form in literary works. Even if it is the second person, it needs the first person narrative form of "I" to narrate with "you", so fundamentally speaking, it is still the first person.
2.2.3.Narrative Sound and Distance
The distance of narration is the distance between the narrative subjects (implied author, narrator and character), and it is carefully created by the author by using various narrative techniques in the novel creation. Its effective control is the necessary premise for the formation of aesthetic distance of readers.Narrative voice is the voice of the narrator. The narrator is not the real author. He may be the implied author or the protagonist of the story.
2.2.4.Narrative Structure
Narrative structure is a kind of frame structure, which refers to the organization, arrangement and construction of the content of a work. In the novel, the writer combines people, events and scenes according to certain relations and time-space order to form a narrative whole. Narrative structure is divided into chain structure, parallel structure and radiation structure. In traditional narrative works, the plot structure occupies the dominant position, and the most typical structure is dramatic conflict, which is prelude - beginning - Development - climax - ending - ending.
3. The Narrative Strategy of A Farewell to Arms
As a master of narration, Hemingway's novels have made great achievements in narration. In this chapter, the author will analyze it from the perspectives of narrative order, narrative perspective, narrative voice and distance, and narrative structure.
3.1 Narrative Order in Novel
In the novel A Farewell to Arms, Hemingway mainly uses the chronological narrative, as well as the way of narration interposed and pre narration. The organic integration of a variety of narrative time sequence makes the work varied in structure and avoids the rigidity of plain narration. The following is a detailed analysis of the three narrative methods in A Farewell to Arms.
3.1.1 Chronological Narrative
In A Farewell to Arms, Hemingway mainly uses chronological narration. The author first describes that during the first World War, American young Henry joined the Italian army to resist the Austrian army; Henry was injured and hospitalized. He fell in love with Catherine, a British nurse; Then he wrote that Henry returned to the battlefield after he was wounded and cared about the army's escape on the way of rout and retreat; Finally, Henry and Catherine finally reunite and flee to Switzerland together, but Catherine dies of dystocia. It can be seen that the contents of A Farewell to Arms are basically written according to the stages of occurrence, development, climax and ending. Although there are not necessarily obvious time signs between the parts, the process is still clear.
3.1.2 Narration Interposed
In A Farewell to Arms, Hemingway uses the narration interposed in order to better express and contrast the theme. In Chapter 30, the Italian defense line is broken, Henry's ambulance team retreats with the army, and there is chaos on the way. Henry's comrades Aimo was also shot dead by a timid Italian soldier. Tired and scared, Henry and his two other comrades found an abandoned farmhouse. As they lay resting on a pile of hay in the barn, Henry recalled the good times of his youth. Here, Hemingway interrupts the chronological narration temporarily and inserts the protagonist Henry's recollection of the past. There are both similarities and sharp contrasts between the past and the protagonist's current scene. When he was young, Henry and his comrades were lying on the hay in the barn chatting and playing happily. At this time, Henry and his comrades in arms were lying on the hay in the barn to escape. The purpose of this narration interposed is to highlight Henry's weariness of war and lay the groundwork for his later escape. After the brief narration interposed, the novel goes back to the narration chronological. Hemingway went on to describe Henry's complicated ideological struggle: in such a war, he could not retreat, if he did not move forward, he would never return to Milan. Due to the proper use of narration interposed, the content of the novel is enriched and expanded, and the writing is coherent.
3.1.3 Pre Narration
In Chapter 8 of A Farewell to Arms, Henry hears that there will be an attack in the evening, so he asks the driver to pause when the motorcade heading for the front line passes through a British hospital. He hurried into the hospital to see Catherine and told her he was going to a "show" so she didn't have to worry. Before leaving, Catherine gave him a Saint Antoine badge to protect him. Back in the car, Henry hangs the statue around his neck. The novel says, "the statue is hanging outside my uniform. I untie the collar of my uniform, untie the collar of my shirt, and tuck it in my shirt Then I completely forgot it. Then I got hurt and it was lost. It was probably taken away at a dressing station. "（35) Hemingway arranged the narration of the lost statue in Chapter 8, but the statue was taken away from the dressing station because of Henry's injury, which actually happened in Chapter 10. Hemingway skillfully used Pre narration to foretell a series of unfortunate experiences of Henry and the tragedy of losing his wife and children. In Chapter 19, Hemingway also uses pre narration. When Henry and Katherine are talking in the hospital late into the night, it's raining outside. Katherine admits that the rain scares her. Henry asked, "Why are you afraid of rain?" Catherine replied, "I'm afraid of the rain, because sometimes I see myself dying in the rain. And sometimes I see you die in the rain(82) Katherine's worry at this time really came true later, because the couple finally failed to escape the bad luck. In Chapter 30, the ending of the novel is that Catherine dies in childbirth on a rainy day, while the hero Henry "leaves the hospital and walks back to the hotel in the rain."(191) Hemingway narrates the events that will happen later in the gentle part of the plot. In fact, Hemingway also predicts the fate of the main characters in the novel, so as to make the hidden crisis in the calm and tense the loose plot line. Pre narration not only enhances the flexibility of narration, but also makes the structure of the work tight. The narrator can be more free to break the order of the development of things, and avoid rigid and stereotyped. Hemingway creates a kind of "fatalistic arrangement" with simple pre narration, which makes the characters fall into some mysterious power, thus making the works shrouded in a mysterious atmosphere.
3.2.Narrative Perspective in Novel
In A Farewell to Arms, Hemingway mainly uses the first person and the second person, which is divided into two parts.
3.2.1 The First Person
On the one hand, the use of the first person makes the readers in a similar position in understanding the plot; on the other hand, it makes the readers seem to be directly involved in the arrangement of the plot, which makes the story more credible.There is no doubt that the narrator of A Farewell to Arms is the first person protagonist "I". Although the reader sees the plural "we" at the beginning of the narrative, the narrator of the novel is "I". This only shows that the narrative involves a group of people, including the narrator, and the narrator has identified with other characters before the readers begin to listen although "I" didn't appear for the first time until the second paragraph of Chapter 2, it is an omniscient narrator and the only source of information for readers.
3.2.2 The Second Person
Hemingway does use the second person perspective in some plots, which is characterized by the fact that the protagonist is called "you" in the non quoted narration. To define it, it is necessary to distinguish between quoted narration and non quoted narration, as well as the different reference of "you" in the novel. The following groups of sentences are neither from direct speech nor from indirect speech:
(1) I could not tell it, as I cannot tell it now. But if you have had it you know. (3)
(2) When I was awake after the operation, I had not been away. You do not go away. They only choke you. It' s not like dying might as well have been drunk except that when you throw up nothing comes but bile and you do not feel better afterwards. ( 17)
(3) You could not go back. If you did not go forward what happened? You never got back to Milan . And if you got back to Milan what happened? (30)
The first group of sentences is undoubtedly the narrator's direct narration to the reader at the narrative time, which is intended to discuss a common experience. This kind of direct discourse to readers can be easily separated from the text, and its formal sign is that the predicate tense changes from the past tense to the present tense. "You" here refers to the reader, so the appearance of "you" does not indicate the change of personal perspective. Victorian writers often use this discourse to emphasize the moral preaching function of literature. Narrators often intervene in the dramatic plot at the right time and call "you" my dear reader. At the same time, they directly make subjective judgment on the plot, or remind readers to stay away from the plot for the time being, so as to make calm and objective judgment. The difference is that Hemingway's direct narration does not have the function of moral preaching. He always adheres to his "iceberg" theory. In the second group, the narrator also gives up the past tense temporarily, but these sentences are not so much the narrator's narration as the narrator's inner monologue. The dramatic narrator has a fresh memory of the painful experience, and directly expresses the impression that flashed through his mind at that time. If placed in quotation marks, it is equivalent to the original sentence in semantics. Therefore, the author thinks that these sentences are direct speech from the wounded narrator, and the appearance of personal pronoun "you" does not indicate the temporary change of personal perspective. In the third group of examples, the narrator still uses the past tense, mixing his meditation at the time of the story with the narration of these real events at the time of the story. On the one hand, the narrator tries to make the reader feel as if he is in the scene; on the other hand, he makes the reader aware of the distance between the narrative time and the story time. In other words, these sentences are the mixture of self narration and inner monologue of experiencing self, which can be defined as a kind of discourse between direct speech and non speech narration. Here, there is no corresponding conversion of personal pronouns. Therefore, these examples do not show that the narrator has changed his personal perspective. On the contrary, they prove that the author has "subjectively intervened" and pieced together the two discourses at different times, so as to achieve the narrative tense that makes the narrator feel like he is in the scene. If one person pronoun "I" is used to replace "you" in any sentence, the whole narrative will not change in any way except for the dramatic effect of the narrative receiver. These sentences describe the narrator's personal experience, so the appearance of "you" really marks the narrator's temporary change of personal perspective, and the expression effect is similar to Hemingway's second person perspective replacing the third person perspective in the Snow of Kilimanjaro.
It can be seen that Hemingway actually adopts a compound personal perspective with the first person perspective as the main and the second person perspective as the auxiliary. In order to improve the expression effect, the narrative mode of the novel will not be consistent. The author can change the perspective according to the performance effect of the events or characters. Dickens uses omniscient perspective in Chapter one of Bleak Villa, non omniscient perspective in chapter two, and non omniscient perspective in chapter three. In fact, Hemingway also adopts a compound perspective in his other novel some and none and several short stories, but the change of narrative mode is far less frequent and dazzling than that of modernist writers.
3.3 Narrative Sound and Distance in Novel
Hemingway skillfully uses the change effect of sound in the information transmission of the story plot, which shortens the distance between the creator and the narrator, and at the same time uses the complexity of sound transmission to make a certain distance between them. That is to say, in the artistic treatment of information transmission in A Farewell to Arms, Hemingway draws the distance between his creative intention and Henry, the protagonist of the story, and uses narrative method to express Henry's changes, so as to make the readers know the foreshadowing of the story and the development and changes of subsequent events. It can be seen that this way of narration plays a role in guiding the reader's thinking. The voice of the narrator is contained in the voice of the implied author, so the transmission of information is complicated A Farewell to Arms Hemingway cleverly shortens the distance between himself and Henry, and uses narration to show Henry's change. In the novel, Henry always speaks from the time of action, and his psychological changes are synchronized with the action. He unconsciously records his own experience and his belief judgment. In this way, the readers sympathize with him at the beginning. At the same time, due to the limitation of narrative perspective, the readers participate in a lot of reasoning, which makes the readers deeply understand the cruelty of war and the destruction of human nature, thus strengthening Hemingway's Anti War theme. In dealing with the distance, Hemingway will keep the distance between himself and the narrator, and at the same time deal with the distance between the reader and the narrator as well as his own thought expression. In this way, it can play a certain traction role for the reader's thinking, and make the reader's understanding of the plot limited in the scope of the creator's thinking, and can not deeply understand the intention, just follow the writer's ideas. This kind of artistic treatment of distance will produce a kind of cognition in the reader's mind, that is, the experience or thought of the creator is the main embodiment of the plot, so as to shorten the distance from the creator and gradually integrate themselves into the plot, so as to enhance the appeal of the novel.
3.4 Narrative Structure in Novel
An important structural pattern of the novel is that it is formally divided into five parts: "the first part" introduces the protagonist, the background of the story and the conflicts, the second part is about the romance of the hero in the rear hospital, the third part narrates the defeat of the Italian army and the hero's escape, the fourth part describes the hero's absconding and his short and peaceful life in Switzerland "the fifth part" is naturally the tragic ending of the story: the protagonist walks alone in the rain with a wound that is hard to heal. The structure of this five act drama is very similar to Shakespeare's five act tragedy: the first part is a very low-key narration of the theme of the work; In "the second part", the contradiction intensifies gradually ,the third part is the climax of the war theme; In the fourth part, the contradiction is gradually dispelled, the fifth part ends with the tragedy of the protagonist. Moreover, each chapter of the novel is composed of a series of scenes, and each scene can be divided into several segments similar to the dialogue between stage description and drama. It can be said that the novel is a copy of classical drama in form and structure. In this novel, Hemingway sets the crisis in the middle of the text and arranges the contradiction resolution at the end of the text; In this way, the chapters of the novel are always divided when the plot is relaxed, which makes the structure of the whole novel have obvious regularity.
Conclusion
A Farewell to Arms is Hemingway's novel, which reflects the irreparable trauma of the young people's body and mind caused by the war. The superb narrative art brings people a strong artistic feeling. As a master of modern narrative art, the narrative strategy in his novels is rarely involved by researchers, which is a pity. From the perspectives of narrative sequence, narrative perspective, narrative voice and distance, and narrative structure, the author discusses the narrative strategy of A Farewell to Arms in Detail, so as to show Hemingway's outstanding narrative art characteristics and its great influence on European and American literature and even the world literature.
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