小说塑造人物形象的几种方法
Several methods for shaping character images in novels

第一种写意手法
The first freehand brushwork technique
孙犁创作的小说尤其是短篇作品，有一种独特的艺术风格，既不追求情节的离奇曲折，也不在人物形象的塑造上刻意雕镂，而是运用类似中国写意画的技法，只求神似，不求形肖。体现于在《荷花淀》中便是用写意的手法。
Sun Li's novels, especially short stories, have a unique artistic style that neither pursues bizarre and intricate plots nor deliberately carves character images. Instead, they use techniques similar to Chinese freehand painting, only seeking resemblance in spirit and not in form. Reflected in 'Lotus Pond' is the use of freehand brushwork.
一、写意不纠结于人物外貌、场景细节的精确刻画，而是抓住最能体现对象本质特征的 “神” 来落笔描写。孙犁就是在平凡的日常生活，自然自在地展现人物的精神面貌，发掘人物的情操美。
1、 Freehand brushwork does not focus on the precise depiction of characters' appearance or scene details, but rather captures the "god" that best reflects the essential characteristics of the object to write about. Sun Li naturally and freely portrays the spiritual outlook of characters and explores their emotional beauty in ordinary daily life.
本文的主要人物是水生嫂等几位青年妇女，她们是那么平凡，作家的笔又是那么漫不经意，没有描写她们的相貌，甚至连名字都没有介绍。勤劳、淳朴是她们的本质。她们编席子，操持家务，眷恋自己的家，挚爱自己的丈夫。同时，她们识大体，明大义。长期残酷的斗争，使她们懂得怎样恨敌人，懂得只有打跑了敌人才有好日子。民族解放的使命感，就这样自然而然地统一在她们追求美好生活的朴素愿望上；而崇高的民族气节，则与她们对丈夫的爱情水乳交融。
The main characters of this article are several young women, including Shui Sheng Sao. They are so ordinary, and the author's pen is so casual, without describing their appearance or even introducing their names. Diligence and simplicity are their essence. They weave mats, manage household chores, cherish their own homes, and love their husbands deeply. At the same time, they have a broad understanding and a clear sense of righteousness. The long-term brutal struggle taught them how to hate the enemy and how to have a good life only by defeating them. The sense of mission for national liberation is naturally unified in their simple desire to pursue a better life; And the noble national integrity blends seamlessly with their love for their husbands.
二、对情节的关键节点不做详尽叙述，而是用暗示性的描写让读者自行领悟，用暗示代替直白，用留白暗示情节。
2、 We do not provide detailed descriptions of key plot points, but instead use suggestive descriptions for readers to understand on their own, using hints instead of straightforwardness, and using blank spaces to imply the plot.
文中其他地方对她们的描写，比如记住丈夫的嘱托，成立自己的队伍，参加战斗等，也是以一种轻松自如的语言展示出来的，似乎是一种水到渠成、自然而然的事情。而实际上，这种自然而然，体现的也是党的领导、教育(直接的或间接的)使她们走向成长，走进了人民战争的伟大事业。这实际上也是孙犁作品所要反映的那个伟大时代的风貌。
The description of them in other parts of the text, such as remembering their husband's instructions, forming their own team, participating in battles, etc., is also presented in a relaxed and natural language, seemingly a natural and effortless thing. In fact, this naturally reflects the leadership and education (directly or indirectly) of the Party, which has enabled them to grow and enter the great cause of the people's war. This is actually the style of the great era that Sun Li's works aim to reflect.
第二种用对话展示人物的内心
The second way is to showcase the character's inner thoughts through dialogue
用简单朴素的对话，展示人物丰富的内心世界，是作品的另一特色。《荷花淀》“话别”一场，水生没话找话，水生嫂则察言观色，三言两语间便可见出，一个憨厚淳朴，一个机敏多情。当水生告诉妻子说他是第一个报名去参加地区队时，作者用“你总是很积极的”“你明白家里的难处就好了”几句话，传达出水生嫂极为复杂的情感。她爱丈夫，爱自己的家，因而更恨敌人，丈夫报名去参加战斗，她没有理由也决不会阻拦，而且为自己的丈夫感到自豪。但是她自己面临的巨大压力也是让她颇感沉重的。有了丈夫的体谅，千斤的重担她也决心扛起来。没有山盟海誓，没有豪言壮语，一位女性对丈夫的痴情，对祖国的热爱，这两种伟大的情感，就这么自然而然地统一在最朴素的语言中。文中多处运用这样的对话描写来展示人物细腻的心理，这往往比作者直接的叙述和议论更加有力量。
Another feature of the work is the use of simple and plain dialogue to showcase the rich inner world of the characters. In "Lotus Pond," there is a farewell scene where Shui Sheng has nothing to say, while Shui Sheng's sister-in-law observes her words and expressions. In just a few words, it is evident that one is simple and honest, while the other is quick witted and passionate. When Shuisheng told his wife that he was the first to sign up for the regional team, the author conveyed Shuisheng's extremely complex emotions with phrases such as "you are always very proactive" and "as long as you understand the difficulties at home". She loves her husband and her own home, so she hates enemies even more. When her husband signs up to participate in battle, she has no reason or will stop him, and she is proud of her husband. But the enormous pressure she faced herself also made her feel quite heavy. With her husband's understanding, she was determined to shoulder the heavy burden. Without vows or grandiose words, a woman's infatuation with her husband and love for her country - these two great emotions are naturally unified in the simplest language. The use of such dialogue descriptions in the text to showcase the delicate psychology of characters is often more powerful than the author's direct narration and discussion.
第三种用生动传神的细节
The third method is to use vivid and expressive details
细节描写绘形传神，体现了人物的特征。比如《荷花淀》“话别”时，“女人的手指震动了一下，想是叫苇眉子划破了手”，这一细节，足以让人透视到人物内心复杂而激动的情感活动。手指的“震动”实际上就是心灵“震动”的反映，通过这个“震动”，读者可以体会到水生嫂的震惊、不舍、依恋……但是“她把一个手指放在嘴里吮了一下”，用这个动作迅速平复了自己的情绪，表现了她的深明大义和坚强勇敢。
The detailed description vividly portrays the characteristics of the characters. For example, in the movie "Lotus Pond", when saying goodbye, "the woman's fingers trembled, thinking it was a reed eyebrow that cut her hand", this detail is enough to reveal the complex and exciting emotional activities in the characters' hearts. The 'vibration' of the fingers is actually a reflection of the 'vibration' of the soul. Through this' vibration ', readers can experience the shock, reluctance, and attachment of Shui Sheng Sao... However,' she put a finger in her mouth and sucked it ', quickly calming her emotions with this action, demonstrating her deep understanding of righteousness and strong courage.
《党费》中写“我”第二次来到黄新家，从破门口看到她家的情形时，有很感人的细节描写：有气无力的孩子倚在妈妈身上，妈妈正忙着装咸菜，轻易见不着油盐的小孩受不了饥饿的折磨，忍不住用指头蘸盐水，放在口里吮着，并抓了一根腌豆角往口里填，黄新“瞅了瞅孩子，又瞅了瞅箩筐里的菜”，然后夺过那根菜，孩子哇地哭了。天下哪有不疼爱孩子的母亲呢？黄新“瞅了瞅孩子”这个动作，体现出一种微妙而复杂的情感————孩子多么可怜，瘦骨嶙峋，正需要营养，正让人心疼；但是“又瞅了瞅箩筐里的菜”——同志们在山上很艰苦，正等着这些给养，好去打败敌人。于是，她狠心地夺过了菜。这个看似没有人情味的动作，饱含的却是对党和人民深深的爱，是一种大爱。通过这个细节，黄新这个人物的形象立体鲜明起来，也为她在后文选择为革命献身作了不可缺少的铺垫。黄新牺牲前，“我”要跑，她却命令“我”躲在阁楼上，把孩子托付给“我”，总之，她决计承担一切后果，也要换同志的安全。然后，叮嘱“我”撤退的路线，嘱托“我”把咸菜带走，把孩子带上山，特别是那个嘱托孩子、一语双关的细节———“孩子，好好地听妈妈的话啊”，感人肺腑，一个细心又温情、果敢又刚强、慈爱又忠诚的母亲、革命者的形象跃然纸上。
In "Party Fees," it is written that when "I" visited Huang Xin's house for the second time and saw her situation from the broken door, there were touching details: a weak child leaned against his mother, who was busy dressing pickles. The child, who couldn't easily see oil and salt, couldn't bear the torment of hunger and couldn't help but dip his finger in salt water, suck it in his mouth, and grab a pickled bean to fill his mouth. Huang Xin "looked at the child, then looked at the vegetables in the basket," and then snatched the vegetable. The child cried loudly. Is there a mother in the world who doesn't love her children? Huang Xin's action of "looking at the child" reflects a subtle and complex emotion - how pitiful the child is, skinny and in need of nutrition, which is heartbreaking; But 'looking at the vegetables in the basket again' - comrades are facing great hardships on the mountain, waiting for these supplies to defeat the enemy. So she cruelly snatched the food. This seemingly emotionless action is full of deep love for the Party and the people, a great love. Through this detail, the image of Huang Xin becomes three-dimensional and vivid, which also lays an indispensable foundation for her to choose to dedicate herself to the revolution in the following text. Before Huang Xin sacrificed herself, "I" wanted to run, but she ordered "me" to hide in the attic and entrusted the child to "me". In short, she was determined to bear all the consequences and ensure the safety of her comrades. Then, I was instructed on the route to retreat, instructed to take the pickles away, and took the child up the mountain, especially the pun on the detail of "child, listen carefully to your mother's words", which touched people's hearts. The image of a careful, warm, brave, strong, loving, and loyal mother and revolutionary came to life on paper.
《林教头风雪山神庙》中的细节描写颇为传神，对情节的关联与照应，对人物心理的表现与揭示，都起了重要作用。
The detailed descriptions in "Lin Jiaotou's Snowy Mountain Temple" are quite vivid, playing an important role in the connection and reflection of the plot, as well as the expression and revelation of the characters' psychology.
林冲到草料场后，“仰面看那草屋时，四下里崩坏了，又被朔风吹撼，摇振得动”。这一细节描写，为后来草屋被雪压塌埋下了伏笔。林冲出去沽酒前，“将火炭盖了”，“把草厅门拽上”，“把两扇草场门反拽上锁了”，表现了他谨小慎微、尽职尽责的性格特点。小说中对火的描写，也是前后相映，别具匠心：先写老军向火，再写林冲生火、盖火，最后写草场起火。金圣叹评点道：“题是火烧草料场，读者读至老军向火，犹不以为意也，及读至此处生些焰火，未有不动心，以为必是因此失火者，而孰知作者却是故意于前边布此疑影，却又随手即用将火盆盖了一句结之，令后失火全不关此，妙绝之文也。”
After Lin Chong arrived at the hay field, he looked up at the thatched hut and saw that it had collapsed in all directions. It was also shaken by the strong wind and shook so much. This detailed description laid the foundation for the later collapse of the thatched hut due to snow. Before Lin Chong went out to buy wine, he "covered the charcoal", "pulled up the grass hall door", and "locked the two grass field doors backwards", showing his cautious and responsible personality traits. The description of fire in the novel is also complementary and ingenious: first, it depicts the old army facing the fire, then it depicts Lin Chong lighting and covering the fire, and finally it depicts the grassland catching fire. Jin Shengtan commented, "The title is about setting fire to a grass field. When the reader reads about the old army facing the fire, they still don't care, and when they read about some fireworks here, they are not unmoved, thinking that it must be because of the fire. However, they did not know that the author deliberately placed this suspicious image in front of them, but casually covered the brazier with a sentence to end it, making the subsequent fire completely irrelevant. This is a wonderful article
第四种用白描手法
The fourth method is to use white line drawing technique
用白描手法塑造人物形象，不重形似而重神似，通过简练精到的描述来揭示其思想性格。比如描写二诸葛，紧扣他的特征，用精当的细节来表现。二诸葛一亮相就给大家表演了“不宜栽种”的闹剧，让人初步领教了他的迷信、迂腐；当小二黑和小芹被绑到区上后，他焦急万分，但还是不忘他的“神课”，求神问卜，埋头看卦，直到后边继续闹出“恩典恩典”的笑话，让人对他的守旧、迷信、顽固、怯懦啼笑皆非。
Using white line drawing techniques to shape character images, emphasizing resemblance rather than resemblance, and revealing their thoughts and personalities through concise and precise descriptions. For example, describing Er Zhuge, closely following his characteristics, and using precise details to express. As soon as Er Zhuge appeared, he performed a farce of "not suitable for planting" for everyone, which gave people a preliminary understanding of his superstition and conservatism; When Xiao Erhei and Xiao Qin were tied up in the district, he was extremely anxious, but he still didn't forget his "divine lesson", asking for divine divination, burying his head in divination, until he continued to make jokes about "grace and grace" later on, making people laugh and laugh at his conservatism, superstition, stubbornness, and cowardice.
用粗线条勾勒人物的大概，然后择其醒目处描绘，突出人物性格中最鲜明的方面。而对主人公小二黑和小芹的美，并不直接进行细笔描绘，而是多用烘托的手法，通过旁人的语言和动作来表现，写得含蓄而传神。
Use bold lines to outline the general outline of the character, then select prominent areas to highlight the most distinct aspects of the character's personality. However, the beauty of the protagonists Xiao Erhei and Xiao Qin is not directly depicted with fine strokes, but is often expressed through the language and actions of others, with subtle and vivid writing.
第五种通过典型环境塑造人物形象
The fifth method is to shape character images through typical environments
典型人物生活在典型环境之中，典型环境是人物生活、斗争、成长的场所，离开了典型环境，人物就像离开水的鱼，没有生存能力。在《党费》中，作者这样展示环境：黑沉沉的，无声无息，“活像个乱葬岗子”，阴森可怖。这时，作者描写“白鬼”在有气无力地喊叫，打破了寂静，反而加重了环境的狰狞和阴沉。这种对一个村庄的描写，也是当时血雨腥风的社会现实的写照，用以突出革命斗争的艰苦卓绝。作者还通过“我”的眼睛，描述了黄新的家：一间泥糊的窝棚，北墙根是个稻草铺成的地铺，上面一堆烂棉套子，墙角是个黑乎乎的砂罐，阁楼上堆着一些破烂家具和甘蔗梢————简陋杂乱，根本不像一个家。作者把人物置于这样恶劣的环境中，反衬出她不顾自己，一切为了党和人民的革命事业的革命斗志和坦荡襟怀，突出她为了“把红旗再打起来”而作出牺牲的崇高品质。
A typical character lives in a typical environment, which is the place where the character lives, struggles, and grows. Without the typical environment, the character is like a fish out of water, without survival ability. In 'Party Fees', the author portrays the environment as dark and silent,' like a mass grave ', eerie and terrifying. At this moment, the author describes the "white ghost" shouting weakly, breaking the silence and exacerbating the ferocity and gloom of the environment. This description of a village is also a portrayal of the bloody social reality of that time, used to highlight the arduous struggle of the revolution. The author also described Huang Xin's home through the eyes of "me": a mud hut, a straw floor at the base of the north wall, a pile of rotten cotton covers on top, a black sand jar in the corner, and some broken furniture and sugarcane shoots piled up in the attic - simple and messy, not like a home at all. The author places the character in such a harsh environment, highlighting her revolutionary fighting spirit and open mindedness for the revolutionary cause of the Party and the people, regardless of herself, and highlighting her noble qualities of sacrifice for "raising the red flag again".
第六种肖像描写
The sixth type of portrait description
《祝福》的人物肖像描写是传神之处。小说三次为祥林嫂“画像”：第一次来鲁镇时“头上扎着白头绳，乌裙，蓝夹袄，月白背心”，“脸色青黄，但两颊却还是红的”；第二次来鲁镇时“两颊上已经消失了血色，顺着眼，眼角上带些泪痕，眼光也没有先前那样精神了”；临死前是“脸上瘦削不堪，黄中带黑”，“只有那眼珠间或一轮，还可以表示她是一个活物”。这些描写，准确捕捉了人物的精神面貌，形象地展示了其人生轨迹和悲惨命运。
The portrayal of characters in 'Blessings' is vivid. The novel depicts Xianglin's sister-in-law three times: on her first visit to Luzhen, she had a white hair rope tied around her head, a black skirt, a blue jacket, and a moon white vest. Her face was pale yellow, but her cheeks were still red; When I came to Luzhen for the second time, the blood had already disappeared from my cheeks, and I followed my eyes. There were some tears at the corners of my eyes, and my gaze was not as spirited as before; Before her death, she had a thin and emaciated face, with a hint of yellow and black. Only her eyeballs occasionally rolled around, indicating that she was a living being. These descriptions accurately capture the characters' spiritual outlook and vividly depict their life trajectories and tragic fates.
《祝福》中的人物语言都具有鲜明的个性特征，贴合人物性格特点。鲁四老爷“谬种”的詈骂，见出他对祥林嫂之死的冷酷无情；他的“可恶”“然而”之类的口头语，则表现出一贯的顽固和刻薄。柳妈“祥林嫂，你实在不合算”的一番高论，诡秘无端，煞有介事，见出她的迷信、冷漠而又自以为是。特别是祥林嫂“我真傻”一段的独白式呓语，在小说中反复重现，表现了她受到生活重创后难以自救的精神状态，对人物形象的塑造和小说主题的深化，都起了重要的作用。
The language of the characters in 'Blessings' has distinct personality traits that are in line with their personality traits. The curses of Master Lu Si, known as the 'absurd seed', reveal his cold and ruthless attitude towards the death of Sister Xianglin; His verbal expressions such as' hateful 'and' however 'demonstrate his consistent stubbornness and harshness. Liu Mama's high opinion of 'Sister Xianglin, you're really not worth it' is mysterious, groundless, and serious, revealing her superstition, indifference, and self righteousness. In particular, the monologue style murmurs of Xianglin's wife, "I'm so stupid," are repeatedly reproduced in the novel, depicting her mental state of being unable to save herself after being hit hard by life. They play an important role in shaping the character image and deepening the theme of the novel.
第七种心理与情感的流动
The seventh type of psychological and emotional flow
《变形记》就是通过描写格里高尔变成甲虫后的心理与情感流动的过程，来表现人物的。主人公变成甲虫后的内心感受和心理活动是小说的主体。小说用内心独白、回忆、联想、幻想等手法，去表现人物的心理活动。他不断地回忆、联想过去和今后的事情，不时由于恐惧焦虑、痛苦和绝望而产生幻想、幻觉，并且在自由联想中经常出现时空倒错、逻辑混乱、思维跳跃等，这种写法，表现出明显的现代小说特征。
The Metamorphoses "portrays the characters by depicting the psychological and emotional flow of Gregor after he transforms into a beetle. The protagonist's inner feelings and psychological activities after turning into a beetle are the main focus of the novel. Novels use techniques such as inner monologue, reminiscence, association, and fantasy to depict the psychological activities of characters. He constantly reminisces and associates with the past and future, occasionally experiencing fantasies and hallucinations due to fear, anxiety, pain, and despair. In his free association, he often experiences temporal and spatial errors, logical confusion, and mental jumps. This writing style shows obvious characteristics of modern novels.