英文翻译The short story differs from the novel in the dimension

英文翻译
The short story differs from the novel in the dimension that Aristotle called “magnitude,” and this limitation of lengh imposes differences both in the effects that the story can achieve and the choice, elaboration, and management of the elements to achieve those effects. Edgar Allan Poe, who is sometimes called the originator of the short story as an established genre, was at any rate its first critical theorise. He defined what he called “the prose tale” as a narrative which can be read at one sitting of from half an hour to two hours. And is limited to “ a certain unique or single effect” to which every detail is subordinate (Review of Nathaniel Hawthorne’s Twice Told Tales, 1842). Poe’s comment applies to many short stories. And points to the economy of management which the tightness of the form always imposes in some degree. We can say that, by and large, the short story writer introduces a very limited number of persons, cannot afford the space for leisurely analysis and sustained development of character, and cannot undertake to develop as dense and detailed a social milieu as does the novelist. The author often begins the story close to, or even on the verge of, the climas, minimizes both prior ex-position and the details of the setting, keeps the complications down, and clears up the denouement quickly-sometimes in a few sentences. (see plot.) The central incident is often selected to manifest as much as possible of the protagonist’s life and character, and the details are devised to carry maximum import for the development of the plot. This sparseness in the narrative often gives the artistry in a good short story higher visibility than the artistry in the more capacious and loosely structured novel.

这个短篇故事不同于小说的维度,亚里士多德称为“级”,而且这一限制强加差异性的分割效果,这个故事可以实现与选择、精化和管理的元素来实现这些效果.埃德加·爱伦·坡有时被称为河流的短篇故事作为一个公认的类别,是无论如何它的第一个关键提出.他定义了他所谓的“散文的故事”作为叙事可以阅读起来的半个小时到两个小时.,仅限于“某种独特或单一效应”,每一个细节是下属(审查纳撒尼尔·霍桑的故事,1842年的两次).爱伦·坡的评论也适用于许多短篇故事.并指出经济管理的供应紧张形式总是伴随着在某种程度上.我们可以这样说,总的来说,短篇小说作家介绍一个非常有限的人,无法承受在悠闲的空间分析和持续发展的个性,以及不能进行开发的密度和详细的一个社会环境作为小说家会.作者经常故事开始于接近,甚至濒临,climas,最大限度地减少两ex-position之前和细节的设置,使并发症下来,并且清除收场很快用几句话.(见阴谋.)中央事件是被选来显化尽可能的主人公的生活和性格,而细节是设计来携带最大进口发展的情节.这稀疏叙事中经常给艺术性在好的短篇故事比具有较高的知名度和结构松散的小说更宽敞.