双城记读后感600字怎么写？( 三 )

The more lifele of the characters we are supposed to like--the Manettes, Darnay, Lorry-- play their parts in the idyllic fashion Dickens and like-minded readers want, a fashion made inflexible by circumstances and purposes."Circumstances and purposes" refers in large part to Dickens\\' state of mind and objective.Dickens\\' intrusive, unusually editorial point of view, with references to "I" and deviations from narration for monologue, reveals the novel\\'s slavery to the teachings of his morals--or perhaps his own slavery to the morals of his time and Protestantism.Therefore, can Lucie be any different from the supportive, wholly feminine wife and mother she is? Not if Dickens\\' is to stick to his obligation, or perhaps obstinate purpose, of moral teachings.
With that aside, what is to be said of Dickens\\' teaching, his presentation of love and hate? They both have one thing in common: the characters representing each are unmistakable at a mile away.The moment Lucie Manette is put before the reader\\'s eyes, her tumbling blond locks, her bright blue eyes, her seventeen-year-old, slight, pretty (but not sexy!) figure and all, he knows that, not only will she not be a villainous, unlikable character, but she will be the epitome of the good, beautiful woman (and later housewife), the one Dickens thought every women should be.At this young woman\\'s introduction with Mr.Lorry, she curtseys to him, and Dickens wastes
no time in pointing out that "young ladies made curtseys in those days".The introductory scene climaxes at fair Lucie\\'s fainting, one that, to some, puts her unflawed position into question, although to Dickens, it reinforces it.
At the other side of this moral lecture are the Defarges.Call Dickens a master for embodying qualities, but here are another flawle pair--flawlely evil, and sentenced to evil from the moment we see Madame Defarge\\'s "watchful eye that seldom seemed to look at anything, a large hand heavily ringed, a steady face, strong features, and great composure of manner", a stark contrast to the slight, fainting figure of Mada-- or rather, Mi Manette.To further turn us against good old Madame Defarge, Dickens has her using a toothpick publicly in her opening scene, an activity dainty Mi Manette wouldn\\'t dream of.Finally, we mustn\\'t forget the setting.Lucie may have been born in France, but she defected to England, and traveled from London to meet Mr.Lorry.Madame Defarge was a Frenchwoman, born and living amongst peasants who drank wine scooped off of mud.She probably was not taught Dickens\\' (and his primary English audience\\'s) Protestant morals in her Catholic nation, and certainly did not manifest them.
In arguably the book\\'s first touching scene (some say it\\'s the one where Carton is on his way to the guillotine), Lucie goes through much trouble to coax her father from his insanity, laying her head on his shoulder, and trusting a man she had never met.When Madame Defarge sought vengeance for the cruel injustice committed against her kin, she looked to destroy not only the innocent descendent of the culprit, but his family-- an old man, a young woman, and a little girl.These two characters\\' love and hate are unconditional and total.Did this have to be so? Could not Madame Defarge have showed one bit of femininity, of human kindne? Could Lucie not have stolen a contemptuous glance at her persecutors? Not with Dickens at the helm.Lucie and Defarge are created with a conviction, and once Dickens\\' plot was laid, the blinders he put on his characters allowed only one route.Perhaps it was a primitive style, but modern characters are painted more realistically, with human weaknees and more variability.Did it have to be so? Could Dickens have captured more readers, especially in the long run, if he had pursued more varying actions in his characters, as well as more humanne and believability? Does this point to Dickens as a flawed writer, with little imagination and ability?