狄更斯是19世纪英国现实主义文学的主要代表

狄更斯是19世纪英国现实主义文学的主要代表。

艺术上以妙趣横生的幽默、细致入微的心理分析，以及现实主义描写与浪漫主义Dickens is a 19th century United Kingdom main representative of realism. On the arts to psychological analysis of the witty humor, nuanced and realistic combination of description and romantic atmosphere is famous. 。

《我们共同的朋友》是又一部广泛深入社会的批判小说，其中所包含的人性探索和生活哲理也更见深刻，作品运用的象征主义和侦探小说手法更增添其艺术魅力。

. . Our mutual friend is also a part of the extensive social criticism novels, which included exploration of human nature, and philosophy of life is more profound, works using symbolism and detective novel technique of adding to their charm. Charles Dickens' last 狄更斯最后一部完整的长篇小说是《我们共同的朋友》（1865 ），小说围绕已故的垃圾承包商老哈蒙的遗产继承问题展开情节，又把人性与金钱关系作为主题。

书中出现了一个塑造得很出色的次要人物，自私狭隘、贪财爱势的资产者波德史奈普，以后人们便把这种精神气质称为“波德史奈普主义”。

Finally a complete novel of Dickens is the our mutual friend 1865, novels around late old waste contractor Harmon's plot of the inheritance issue, humanity and money as the main theme again. In the book there was a minor figure in shap狄更斯创作的后期（1848——1861 ），也是他创作的繁荣时期。

他对生活的认识不断深化，从对个别坏人的谴责扩展到对整个社会的罪恶、陋习的批判。

他愤慨地说：“我们的政府、贵族统治和我们的趋炎附势、结交权贵之风将致英国于死命”。

他在生活中看到越来越浓重的阴影、痛苦、压抑和愤懑的情绪逐渐替代了原先的轻松幽默感。

他依然倚重小人物温情和道德的感化力量去与社会罪恶抗衡。

在现实主义小说艺术上，这时期作品也达到很高的成就。

Dickens later in the creation of 1848--1861, boom of his creation. His life's understanding is deepening, extends from individual condemnation of bad guys to criticism of the evils of society as a whole, bad habits. He said with indignation : " our Government, aristocratic domination and we cater to those in power, with her powerful wind induced by the United Kingdom at all ". See more and deep shadows in his life, suffering, depression and anger the mood gradually replaced the original easy sense of humor. He continued to rely heavily on probation of little people of warmth and moral strength to contend and social evils. On the realistic art, works of this period reached a high level of achievement.狄更斯告诉我们，在金钱决定地位的世界，绅士和淑女的称谓并非上流社会的专利，两个真正相爱的人在一起时，金钱以及身份的制约肯定第一个被抛到九霄云外Dickens tells us that in a world of money decided to position, gentleman and Lady titles is not upper - class society of patents, two real people together in love, money, and identity co Regardless of the depth of thought from the perspective of art and reflect life, this book is an excellent work, have a certain status in the literaturust first be forget completely全书故事紧张，情节复杂，人物线索很多，从英国国会的议员，直写到下层社会的贫民。

除约翰与贝拉这一双情人之外，还穿插了一个更加动人的恋爱故事，它发生在船家女丽齐和贵族出身的律师尤金之间。

Story book tensions, complex plot, the
characters leads many from the United Kingdom members of Parliament, direct writing to a poor underclass. Other than John and Bella a pair of lovers, profile of a love story - fied, it occurred in the ship owners beforehead female liqi and between noble's lawyer Eugene.
无论从艺术角度和反映生活的思想深度来说，本书都是一部优秀的作品，在文学史上有一定的地位。

Regardless of the depth of thought from the perspective of art and reflect life, this book is an excellent work, in literary history has a certain status维多利亚后期的英国上流社会，虚伪的道德观已经被冲击的千疮百孔，而那些惺惺作态的上流人士们，却依然不肯放弃这种“美德”，在狄更斯、王尔德、高尔斯华绥这些作家的笔下，这些人可笑嘴脸被一一展现到读者面前。

. Late Victoria of United Kingdom society, hypocritical morality has been hit with problems, and those posturing the classes were, but still refuses to give up the " virtues ", written by Charles Dickens, Oscar Wilde, gaoersihua sui these writers, these people are funny colours are one by one before the show to the reader.我们共同的朋友》是又一部广泛深入社会的批判小说，其中所包含的人性探索和生活哲理也更见深刻，作品运用的象征主义和侦探小说手法更增添其艺术魅力Our mutual friend is a in-depth criticism of the social novel, which included exploration of human nature, and philosophy of life is more profound, works using symbolism and detective novel technique of adding to their charm；《我们共同的朋友》是后期作品，它的基调是凝重的，讽刺是辛辣的，但仍带有明显的幽默风格。

实际上，狄更斯作为社会批判家的力量和作为幽默家的魅力来自于同一源泉，那就是他对各种各样的“丑行”所具有的敏锐的透视力，以及他能通过虚构形式将其非常逼真地再现出来的创造力。

The our mutual friend was later works, its tone is dignified, the irony is spicy, but with obvious humor style. In fact, Dickens as a force for social criticism and as a humorist's charm comes from the same source, that is he on a variety of " scandal " of the keen。