Chapter 47 non-fiction

Before long, we see a stocky, wiry figure in a bowler hat and long wig.Armed with a servant who looked like a messenger, he also came out of Villequere's door.As he passed a guard, he unbuttoned his shoe, then stooped to fasten it.The people in the cab received him cheerfully.So all the passengers are here now?No.The coachman is still waiting. --Hey!This unfaithful maid had informed Gouvion in advance that members of the royal family would defect tonight; Gouvion couldn't believe his dim eyes, and immediately sent an express car to fetch Lafayette.Lafayette's carriage drove into the Fist of Fury at this moment with flickering lights.A lady wearing a wide-brimmed sun hat is supported by a servant who looks like a messenger.She stood aside to let the car pass by, and on a whim, touched the spokes of the car with the "magic wand".The so-called "magic wand" is actually a light magic needle, which was worn by fashionable people in the upper class at that time.The lights of Lafayette's carriage flashed: everything is quiet in the Prince's Palace; the guards are at their posts; the king and queen's bedrooms have been closed.Your perfidious maid must have been mistaken?Guvion, you have to use the vigilance of the hundred-eyed giant Argos to observe carefully, because treason did happen within the walls.

But where was the lady in the wide-brimmed hat poking the spokes with her "magic wand"?O reader, the lady who fiddles with the spokes is the Queen of France!She has safely passed through the inner arch and arrived at the Fist of Fury Gate, but has not yet entered the Staircase Avenue.The noise and the encounter had made her nervous.She was seated on the right, not the left; neither she nor her courier knew the way to Paris; in fact he was not her courier, but a loyal, stupid ex-noble bodyguard in disguise.In a hurry, they came to Yuhe Bridge and walked down Ferry Street sullenly; far away, the coachman was still waiting, waiting.His heart was beating wildly.However, the thoughts that are full of belly can only be hidden in the tight long coat, and cannot be exposed at all.

Midnight struck from the steeples of the city's churches; and thus the precious hour passed.Most people fell asleep.The coachman is still waiting, what kind of mood is that!A fellow driver came up to chat with him, and he also spoke to him happily in jargon. The coachman brothers just exchanged a small pinch of snuff. Neither party had any intention of drinking together, so they parted after saying good night. .Thank God, thank you gods!The queen wearing a wide-brimmed hat had to find out the way by herself, and finally escaped after untold hardships.The queen got into the carriage, and the bodyguards and messengers in disguise jumped into the carriage.Well, coachman, no, Count Faison, because the reader has recognized you—on your way!

Thomas Carlyle, The French Revolution (1837) Non-fiction was originally a neologism coined by Truman Capote to describe his work Carnage (- Nine Six Six).In 1959, four members of a typical midwestern family were brutally murdered by two psychopaths from the American lower class.Capote researched the family's family history and social background, interviewed two criminals on death row and witnessed their execution.He then wrote a report on the murder and its aftermath, combining all the facts obtained through careful investigation into a gripping story with a style and structure different from ordinary novels.It opened a precedent for non-fiction stories that can be said to be quite popular in recent years.Representative works of non-fiction stories include: Tom Wolfe's "Radical Fashion" and "Authentic", Norman Mailer's "Army of the Night" and "The Executioner's Song" and Thomas Kennelly's "Snyder". Le's Ark".It goes without saying that "non-fiction" is an inconsistent term.It is not surprising, then, that the attribution of such books is often a source of suspicion and debate.Are they historical works or news reports or products of the imagination?For example, "Schindler's Ark" was created based on the real and unusual experience of a German businessman.The German businessman used his position as an employer of forced labor in Nazi-occupied Poland to save Jewish lives.It was published as non-fiction in the US, but it won the Man Booker Prize for Fiction in the UK.

Tom Wolfe began his literary career as a journalist, interviewing and reporting on the grotesque manifestations of American popular culture.Later he enriched the content of the story to illustrate his theme.For example, the writing style of "Radical Fashion" is extremely humorous, almost mischievous.This book is about a fundraiser for the Black Panther Party hosted by trendy New York intellectuals.In the 1960s and 1970s, other writers were using the same method.Wolfe saw himself leading a new literary movement he called "New Journalism." "New News" is the name of a collection he edited in 1973. In the preface, he claimed that New News inherited the tradition of novels describing the reality of modern society.He believed that other novelists completely ignored social reality because they were too fascinated by myth, allegory, and parafictional techniques to notice what was going on around them (Wolf would later try to revive the panorama in The Campfire of Fame. social fiction, with moderate success.)

In non-fiction, new journalism, "non-fiction," and the like, the techniques of the novel create excitement, tension, and emotion that traditional reporting or historiography do not aspire to, but to the reader. For the most part, the assurance that the story is "true" adds to its appeal more than any novel.Although it is a popular form of storytelling today, in fact it has existed in different ways for a long time.The novel as a literary form evolved in part from early journalism, like the large print, loose-leaf anthologies (of current affairs, etc.), confessions of criminals, reports of disasters, wars, and special events.Although almost all of them contain fictional elements, they are all delivered as true stories to credulous readers eager to learn the details of events.Daniel Defoe began his fiction by imitating supposedly nonfiction tales in such works as The Haunting of Mrs. Weir and Chronicles of the Plague Year.Fiction and historiography interpenetrated and complemented each other until the emergence of a "scientific" approach to history in the late nineteenth century.Scott considered himself both a novelist and a historian.In The French Revolution, Carlyle is more a novelist than a modern historian.

In the preface to his anthology "The New News," Tom Wolfe outlines four techniques derived from fiction: (1) Telling the story through the plot rather than outlining it. (2) Prefer to use direct quotations rather than paraphrased quotations. (3) Describe events from the perspective of the participants rather than from an impersonal perspective. (4) Mixed use of details about people's appearance, clothing, property, body language, etc., which in realistic fiction are symbols of class, character, status, and social background.Carlyle employs all these techniques in The French Revolution and others that Wolfe does not mention, such as the use of the "historical present" tense and the involvement of the reader as the listener to create the illusion that It's as if we're witnessing or eavesdropping on some historical event.

The passage quoted in this article describes the escape from the Tuileries Palace in June 1792 by Louis XVI, Marie Antoinette and their children.They were held there partly as hostages by the National Assembly to prevent the neighboring monarchies from invading France.Count Fessen of Sweden planned the night escape.It is here that Carlyle extracts the greatest narrative interest.First (just before the quoted passage) he describes an ordinary cab (private hire carriage) parked in the Rue des Lacs near the Tuileries.From time to time unidentified and heavily wrapped persons slipped through the unguarded gates of the palace and were let into the car.One of them, we can guess, is the king in disguise.As he walks past a guard, he "unbuckles his shoe"—a suspense-enhancing device common in adventure stories.Carlyle adds a narrative element to the suspense: "So all his passengers are here at this time? No...".At the same time, suspicions were aroused within the court, jeopardizing the entire plan.Carlyle sums up the developments in a series of fast-paced narratives that condense time, bringing his account back to the present, "this moment" when Lafayette, commander of the National Guard, came to investigate.The last waiting passenger in the carriage is Marie Antoinette, her face hidden by a sombrero.She had no choice but to stand aside and let Lafayette's carriage drive through the gate.As if to illustrate her narrow escape, she touched the spokes of the wheel with a small "magic wand".These brooches, called "magic wands," were of the kind commonly worn by fashionable persons of the upper class at that time.Throughout, Carlyle uses clothing to allude to the characters' true identities and their efforts to conceal them.This is consistent with Wolf's point of view.

The queen and her bodyguards, ignorant of the capital's geography, quickly lost their way.This well-placed biting irony also heightens the suspense, as evidenced by the "pounding heart beating beneath the coachman's doublet".The reader may have guessed that this person was Count Faison himself.But Carlyle is in no rush to reveal his true identity, which adds yet more mystery to the narrative.Faison is the main perspective character in the second paragraph. "Thank God! Thank you gods!" was his exclamation or silent thought when Marie Antoinette finally appeared.The use of this narrative method is of course to make readers sympathize with the experience of the fleeing royal family members.Perhaps this scene does reveal Carlyle's inherent sympathy, though throughout the book he portrays the French Revolution as a retribution for the ancien régime itself.

Carlyle, like a historian, studies the literature of the French Revolution with great concentration, and then, like a didactic novelist, he synthesizes and expresses this large amount of historical data in dramatic form.No wonder Dickens was so obsessed with this book that he carried it with him wherever he went after the first edition.Dickens's and other panoramas of British society owe a great deal to this book.I have no way of knowing whether every detail in the excerpts of this article is based on literature.The gesture Marie Antoinette makes with her brooch is too specific for me to think Carlyle would risk making it up, though he gives no authoritative source.The idea of ​​having Earl Faison's coachman talking to Zhen Zhi's coachman was put to the test is even more suspicious, because it would be too easy to increase the suspense.Carlyle, perhaps anticipating this reaction, gave two sources for the fragment in footnotes.The popularity of this style of writing is like the old adage that reality is more wonderful than fiction.