狄更斯与老舍笔下儿童形象的比较
狄更斯与老舍对功利主义批判的比较
老张：老张的哲学是“钱本位而三位一体”的。 “营商，为钱；当兵，
为钱；办学堂，也为钱！同时教书营商又当兵，则财通四海利达三江矣！ 此之谓‘三位一体’；此之谓‘钱本位而三位一体’。” 用钱买妾， “‘以人易钱’不过是经济上的通融！那么，有人给老张一千元，当然 把李静再卖出去！”
《艰难时世》中的露依莎和《老张的哲学》中李静， 这两个年轻美好的女子，都是“功利主义”为主导价值 观下的牺牲品。通过描写这两位美丽女子最后的人生悲 剧，也可以看到作者对于“功利主义”这种迫害人性的 价值判断的批判，及其震动人心。 露依莎——“从你们两人的年龄来说，是有些不相称，但 是从你们的财产和地位来说没什么不相称的。” 李静——嫁汉“本在穿衣吃饭” 感情没有价值的原则，功利主义对人性的摧残，两 部小说主题一脉相承。
耶利米· 边沁于1781年最先使用“功利主义”一词。他认 为道德就是追求快乐，而快乐的根源则在于利益的满足，利 益和功利是人们行为的唯一目的和标准，是人类幸福的基础， 凡是能满足个人利益和使个人快乐的就是合理的，否则就是 不合理的，从而得出资产阶级的个人利益是唯一的道德标准。
狄更斯“看到了维多利亚时代文明的残酷无情乃是一种 残酷哲学培育的结果；这种哲学放肆地表达了一种没有人性 的精神”。 ——利维斯· F· R：伟大的传统
——老舍《谈读书》 “我刚读了Nicholas Nickleby (《尼考拉斯· 尼柯尔贝》)和 Pickwick Papers(《匹克威克外传》)等杂乱无章的作品, 更足以 使我大胆放野；写就好, 管它什么。这就决定了那想起便使我害 羞的《老张的哲学》的形式。”
“我拿起笔来, 因为我读了几篇小说。……《老张的哲学》便是 在这种情形下写出来的。无可避免的，它必是乱七八糟，因为它 的范本，那时节我所读过的几篇小说，就不是什么高明的作品。” ——曾广灿、吴怀斌编：《老舍研究资料》(上)
狄更斯与老舍对功利主义批判的比较
研究展望
未来研究可以进一步探讨狄更斯 和老舍作品中的文化背景、社会 历史背景以及个人经历对他们批
判功利主义的影响。
比较研究可以扩展到其他文学作 品，以更全面地了解不同文化和 社会背景下对功利主义的批判。
跨学科的研究方法可以用于深入 分析文学作品中的社会问题、道
德哲学和人性探索等方面。
对现实的启示
批判效果的比较
狄更斯
他的批判深刻而有力，引起了人们对功利主 义的警觉和反思。他的作品在当时社会产生 了广泛影响，推动了社会思想的进步。
老舍
通过幽默讽刺的手法，让人们更容易接受和 反思功利主义的危害。他的作品在文化层面 产生了深远影响，为后来的文化思想变革奠 定了基础。
PART 05
结论
REPORTING
道德与人性的探讨
狄更斯的批判不仅限于功利主义，还 深入到道德和人性的层面，揭示了功 利主义对个体和社会道德的冲击。
狄更斯批判的影响和价值
对当时社会的影响
狄更斯的批判作品引发了人们对功利主义的反思，促使社会关注底层民众的权益 。
对后世的影响
狄更斯的批判思想对后来的文学家和思想家产生了深远影响，为批判现实主义文 学的发展奠定了基础。
价值
老舍的作品不仅具有文学价值，更具有社会价值和历史价值，为后人提供了宝贵的思想资源，有助于我们更好地 认识和理解功利主义。
PART 04
狄更斯与老舍批判功利主 义的比较
REPORTING
WENKU DESIGN
批判角度的比较
狄更斯
从社会道德层面出发，批判功利主义导致的道德沦丧和人性扭曲。他关注贫富差距、阶级矛盾等社会 问题，揭示功利主义对个体和社会的负面影响。
老舍
更注重从文化、教育和家庭等角度批判功利主义。他揭示功利主义价值观对传统文化的冲击，批判教 育体制的功利化倾向，以及家庭关系的异化等现象。
狄更斯小说中儿童形象分析
狄更斯小说中的儿童形象分析摘要出生于1812年的查尔斯·狄更斯，是英国19世纪杰出的小说家。
在狄更斯的创作中，他倾注了极大的精力创造儿童形象，并取得了独创性的成就。
他所创造的儿童形象大致可分为尝尽人生磨难的儿童、悲惨命运的儿童以及理想化的儿童三类。
狄更斯对儿童充满了同情与关注，是想呼吁社会关心儿童的成长和需要，旨在引导社会向着美好的方面发展。
关键词：狄更斯小说儿童形象命运中图分类号：i106文献标识码：a查尔斯·狄更斯一生描绘了九十多个儿童形象，儿童形象在他的创作中取得了独创性的成就。
如《奥立弗·退斯特》中的小蒙克斯、诺亚·克雷、南茜；《尼古拉斯·尼克尔贝》中的小瓦克福·斯奎尔斯；《老古玩店》中的耐儿、小雅各；《马丁·朱述尔维特》中的苏菲亚；《大卫·科波菲尔》中的小大卫、汤米·特拉德尔斯；《荒凉山庄》中的小埃丝特·萨默森、《双城记》中的小露西、小查尔斯；《艾德温·德鲁德疑案》中的小罗莎·布德等。
这些儿童形象大致归为饱经人生磨难的儿童、悲惨命运的儿童、理想化的儿童三类。
一饱经人生磨难的儿童形象这类儿童形象包括大卫·科波菲尔、弗洛伦丝、匹普与保罗等。
狄更斯通过对自身一些相似经历的描写，深刻体现了他对孤苦儿童的倾心的关爱与怜惜。
狄更斯在三十八岁的时候创作了《大卫·科波菲尔》，由于童年做童工的可怕经历，狄更斯以一种近乎宗教的畏惧心来看待自己的童年，他把这些回想描写出来仿佛是一种解脱。
在他的小说《大卫·科波菲尔》中，儿童大卫·科波菲尔是个遗腹子，但由于母亲与佣人佩戈蒂对他的关爱，他在孩提时代是非常幸福的，但自母亲与吝啬、残忍的摩德斯通先生再婚后，小大卫就不得不跟快乐再见了，他的家庭从此失去了祥和与幸福。
他清楚地记得这种悲惨生活开始的时间：“灰蒙蒙的下午，天气寒冷，预示着大雨即将到来”。
狄更斯作品中的儿童形象特色
狄更斯作品中的儿童形象特色摘要狄更斯长于用儿童视角去观察生活或表现理想。
本文对狄更斯的《老古玩店》《董贝父子》中的儿童形象进行了分析，狄更斯在儿童文学中，写出了人物行为的心理依据和审美特征。
关键词狄更斯；《老古玩店》；《董贝父子》；儿童形象狄更斯是公认的维多利亚时代最伟大的作家，他真实生动描绘了十九世纪初叶的英国社会生活。
他所刻画的儿童形象很大程度上反映了狄更斯自己的童年生活和自己所处的那个时代。
他的作品增加了儿童素材，运用儿童视角去观察生活、表现理想，这也使他成为那个时代最具影响力的良知代言人。
在刻画的立场上，贯穿于他的儿童作品的基调是他对儿童充满同情，这一点在他的作品中随处可见。
《老古玩店》的前三章是以“我”的口吻叙述的，虽然小说中的“我”不完全等同如狄更斯本人，但毕竟烙上了作者本人的思想印记。
“我”第一次见到耐儿的外祖父是这样说的“想到孩子们差不多还在吃奶的时期就开始学习生活的方法，我心里就感到难过。
这样不只扼杀了他们的信心和纯朴——上帝赐给他们的两种优良平品德——并且是在他们还没有能够分享我们的享受之前，就要求他们分担我们的忧患了。
”作者认为童年应该是无忧无虑的，看到耐尔小小年纪便懂事稳重，心里是隐隐作痛的。
他在作品中很少指责儿童，相反对他们是满怀关怀和赞扬，儿童是青春纯洁的象征。
“看到室内的鲜花，绿枝掩盖着爱鸟的小笼，清爽和青春的气味好像悉索地流过沉闷的老屋，回旋在女孩子的头顶上，真使你感到愉快。
”一、外形的美丽与本真的率性狄更斯笔下的儿童，女孩形象多半是美丽的。
比如说《老古玩店》中的耐尔，在蜡像馆工作的时候，作者有一段对她的外貌描写。
“女孩子长得很美，配上她那种温柔和怯生生的态度，在这样的一个乡僻的地方很能引动视听。
一般成人开始对这个明眸皓齿的女郎感到兴趣，一二十个男孩子简直拼命地爱上了她，经常把包好了的花生和苹果，用正楷写上姓名，留在蜡像馆门口。
”大有“行者见罗敷，下担捋髭须。
少年见罗敷，脱帽著悄头。
成人世界的舞者――狄更斯笔下的儿童形象-最新年精选文档
成人世界的舞者――狄更斯笔下的儿童形象-最新年精选文档成人世界的舞者――狄更斯笔下的儿童形象查尔斯?狄更斯是英国维多利亚时代最伟大的文学家，他的伟大之处不仅仅在于他给世人留下了许多传世佳作，更重要的是他的作品中透露出来的人道主义思想，即以“仁”和“爱”为核心的“圣诞精神”。
他所宣扬的人道主义思想在他笔下的儿童形象上得以充分体现。
狄更斯在他的作品中塑造的儿童形象多达上百个，其中，有一闪而过的配角，更有令人难忘的儿童主人公，这些儿童主人公大部分都是贫苦儿童。
他们就像一个个舞者，在成人的世界里舞蹈。
对他们来说，“世界的残酷的现实以及它的许多最坏的不幸――饥渴、寒冷和贫困――从他的理性的黎明时代起他就痛切地感到了：虽然具有儿童时代的‘形体’，却没有儿童时代的轻快的心，欢畅的笑和发亮的眼睛。
”正是这些儿童的不幸遭遇、早熟畸形的性格和心灵的创伤，构成了狄更斯笔下儿童世界的惨淡色调。
从出身遭遇、个性特征和形象意义的种种不同，我们可以把狄更斯笔下的儿童群象划分为以下四类。
一、流浪的舞者――家庭与社会的弃儿作为家庭的弃儿，《雾都孤儿》中的奥列佛颇具代表性。
奥列佛是一个私生子，母亲刚刚生下他便撒手而去，他又成了孤儿，只好在暗无天日的济贫院当童工。
他是不幸婚姻的产物，但他又渴望家庭的温暖和精神上的安慰。
在奥列佛的身上，我们还可以看到一定的反抗精神，他的行动多少从侧面触及了新贫民法的虚伪性，反映了当时的儿童要求起码的生存权利的愿望。
所以他得到了圆满的结局，在作者的安排下，他历尽艰险，最终得其所求。
这样的“大团圆”结局，证明了狄更斯始终坚信“善”能冲破重重厄运，最终战胜“恶”，这不能不说是其人道主义思想的反映。
其实，绝大多数弃儿都没有奥列佛式的福分，他们得靠自己的挣扎和奋斗才能得以生存。
行文间，作者常常运用幽默、诙谐的笔调，流露出对他们的同情。
靠扫垃圾为生的“可怜的乔”便是社会弃儿的典型。
这个孤苦伶仃，孑然一身的孩子无意之中被卷入贵族家庭的隐私，遭到警察的驱赶，甚至贫民窟都不容他栖身。
狄更斯小说中的儿童形象浅析_张冬平
外国文学研究2013·3狄更斯小说中的儿童形象浅析张冬平19世纪英国小说家查尔斯·狄更斯一生中为世人留下大量的长、中短篇小说，其中大部分长篇小说都被列入世界名著之列。
狄更斯以敏锐的目光透视了英国由封建社会向资本主义社会过渡时期的社会生活的各个方面，并对当时社会做了批判性的深入分析，展示了维多利亚时期英国社会的广阔画面，描绘了那个时代众多普通人的生活。
狄更斯在小说中生动而鲜明地刻画了形形色色、栩栩如生的人物，不难发现儿童是他着力塑造的一类人物形象：有童年时代经历了各式各样考验的奥列弗·退斯特，不幸早逝的小耐儿，艰苦生活、积极进取的大卫·科波菲尔等等。
狄更斯对儿童形象的塑造几乎贯穿了他的整个文学生涯，并把主人公的童年作为主要的描写对象。
狄更斯笔下的儿童都是在黑暗、残酷的社会苦苦的挣扎，虽然他们没有儿童时代应该有的轻松的身心、快乐的笑容，却没有失去儿童独有的纯洁、善良的心灵，这在《奥列弗·退斯特》中表现得尤为突出。
奥列弗·退斯特是一个如同天使般纯洁、善良的小男孩儿，他在社会最底层的救贫院中生活，没受过良好的教育与管教，又不幸身陷贼窟，但仍能保持着一颗天使般的心，丝毫没有给他纯洁、善良的心灵蒙上灰尘。
刚逃离棺材铺的奥列弗还没踏上伦敦的街道就被掳进贼窟，在贼头费金的引诱下，被迫行窃，后被布朗罗先生救下，并给了他无微不至的照顾，这使奥列弗有了向善之心。
在帮布朗罗先生送东西时被费金带走后，奥列弗对费金说的话让人记忆深刻：“那位善良的老先生，我发烧，险些死去了，他将我领到家中，细心地照顾我，请求你们，将书给他送回去，把书和钱都给他送过去，你们让我一生待在这里都行，求你们将东西还给他。
他会认为是我盗的……”这些话让读者看到了奥列弗的善良、知恩图报的心和他极力想维护自己的尊严。
奥列弗是善良的，却不幸落入贼帮，但是他却没有被贼们“污染”，依旧是保持着他的善良纯洁，他宁愿死也不愿做贼。
浅析狄更斯批判现实主义在其儿童形象创作中的_省略__特威斯特_皮普三个儿童形象为
处于中上阶层富人对社会财富的聚敛和占有是资本主义制度的标 志之一。为了维护自身的利益，资产阶级把财富和经济上的成功作为划 分道德好坏的标准，标榜自己是优秀的、高级的阶层，而出身贫苦的劳 动阶层生来就是罪恶的、邪恶的、不道德的，不应该享受优越的生活，必 须在艰苦的生活条件下进行劳动来避免堕落，提高自身社会地位。这种 社会观念经过中上阶层的合理化渗透到了社会生活中成为当时的一种 社会意识，而涉世未深的儿童是最容易被这种社会意识影响的群体。所 以读者在狄更斯的《奥利弗·特威斯特》中看到了对贫济院生活的描写， 贫济院的生活正式对这种社会观念真实写照。也是这种社会观念在《远 大前程》中对小皮普的成长产生了巨大的影响，使小皮普不再满足于把 自己的一生都贡献给铁匠事业，而是认为取得财富，提高社会地位才是 所要追求的人生目标。当然这种认知在皮普经历了一系列的事情后终 于认清真爱、忠诚、良知等人性中的美德比社会地位的提高、财富的获 得和进入上等阶层更为重要。
查尔斯·狄更斯是 １９ 世纪英国著名的小说家，同时也是英国批判 现实主义的代表。狄更斯的现实主义的创作特征不仅体现在故事情节 的巧妙安排，也体现在对人物的刻画中，尤其是对来自于生活在社会底 层的工人阶级人物的描写。通过这些创作狄更斯揭露了当时的社会现 实，对资本主义存在缺陷进行了深刻的批判。
一、狄更斯作品的社会背景和其批判现实主义 １．狄更斯作品的社会背景 狄更斯所处的时代被认为是英国历史上发展最繁盛的时代之一， 随着资本主义工业的发展和对外殖民地的扩张，英国达到了一个前所 未有的发展高峰，被誉为“世界工厂”。但是大量的社会财富只掌握在少 数的贵族和资产阶级手中，穷人、工人阶级仍然生活在贫困之中。来自 于这些家庭的妇女和儿童都被迫外出工作，而他们的工作坏境极其恶 劣。 ２．狄更斯批判现实主义 批判现实主义盛行于 １９ 世纪四、五十年代并广泛应用于小说创 作。小说创作者用这种艺术形式刻画出当时社会处于统治地位的资产 阶级和处于社会底层的工人阶级的生活状态，从而揭露并批判资本主 义社会存在的问题。出身于社会下层家庭的狄更斯，对于现实社会中劳 动人民的疾苦，有着深刻的了解。正是基于这样的了解，狄更斯在他的 作品中为读者展现了一个真实的资本主义社会。在他的小说中不论是 故事情节或人物形象都取材于现实生活，通过对社会各阶层的生活状 态的描写，颂扬了人性中的真、善、美，并对资本主义社会的黑暗和不公 进行了尖锐的批判。在狄更斯的笔下，来自于贫困的劳动阶层的儿童是 狄更斯特别关注的群体，他们没有力量和能力与社会的不公进行斗争， 保护自己，争取自己的权利，可以说他们是社会中最弱势的群体，而儿 童形象又往往是真、善、美的集中体现。狄更斯通过对这些命运悲惨的 儿童的描写更有力的对资本主义社会的黑暗进行了揭露和批判。在所 有的儿童形象的塑造中，大卫、奥利弗·特威斯特、皮普这三个儿童角色 无疑是非常成功的。 二、三个儿童形象的艺术特征 １．细致的心理活动描写 在塑造这三个儿童形象时，狄更斯运用了大量的心理描写片段，如 在《远大前程中》当皮普因在沼泽地中遇到逃犯，受到恐吓威胁而做恶 梦时，作者写道：“那天夜里，只要我一闭上眼，就好像置身于汹涌澎湃 的波涛上，蒙蒙眬眬地正向着监狱船漂荡而去：当我经过那个绞刑架 时，一个阴森森幽灵般的海盗正手持喊话筒对我喊话，叫我快漂向海 岸，上绞架去受刑，不要延误时机”。同样在《大卫·科波菲尔》中作者描 写大卫在车站等待有人接他去学校时的焦急心情，书中写到：“…一串 万分恐怖的焦虑从我心头掠过。假设没人来接我，他们会让我在这里呆 多久呢？…假设这一切并没有什么弄错的，默德斯通先生制定了这计划 来除掉我，我该怎么办？…”通过这样的心理描写，读者们很清楚地了解 到小大卫内心的焦急、孤独和一种被抛弃的感觉。 狄更斯对儿童心理活动的描写不只是对儿童心理的呈现，而是通 过儿童的心理状态折射出现实社会的黑暗。这种心理描写与社会内容 的融合，使狄更斯对儿童心理的描写更具特色。 ２．第一人称的使用，使讲述者与角色合二为一 在创作小大卫和小皮普时，狄更斯使用了第一人称的叙事手法，使 故事的主人公以讲述者的身份出现在小说里，小说的主人公即讲述者 的“我”，一方面作为角色参与到故事情节的发展当中，另一方面作为讲 述着又对角色的行为和其他人物和事件进行评价和批判。在多数情况 下讲述者的评价和批判出现在人物的心理活动描写中，如在《大卫·科 波菲尔》中大卫回忆到他的继父威胁他如果不听话就要打他时，书中写 到“：…当时只要有一句和善的话，我一生都会变得好些，或许会被早就 成另一种人。…一句保证这就是我家的话，便会使我打心眼里孝顺他， …”通过角色与讲述者两重身份之间的不断转换，狄更斯巧妙地把自身
狄更斯作品中儿童形象分析
摘要查尔斯·狄更斯（1812－1870）是十九世纪英国最杰出的小说家之一，也是第一位倾注了极大精力创造儿童形象的大作家，他塑造的许多儿童形象在世界文坛上有着不可超越的重要意义。
本文通过分析他的三部代表作品《雾都孤儿》、《大卫·科波菲尔》、《远大前程》中的儿童形象，探讨这些形象与作者的密切关系。
首先这类儿童形象的塑造都与狄更斯的个人经历特别是童年经历或所处的社会背景有关；其次，通过这些儿童形象的塑造，狄更斯在反映其童年经历的同时，也记录了社会的黑暗，并且展示了他对资产阶级黑暗性不断觉醒的过程。
本论文试图从比较分析的角度，从三部作品中抽取有代表性的章节进行研究，分析他个人经历与三位主人公的联系，体现出他对笔下儿童的深切情感，并得出狄更斯在塑造儿童形象方面的共性。
关键词：狄更斯；儿童形象；分析；共同特征ABSTRACTCharles Dickens(1812-1870)is one of the most outstanding English writers in the nineteenth century. He is also the first writer who devoted himself to the creation of children‘ imagines. The images of children created by Charles Dickens play a very important role in the world literature. By comparison, this paper discusses the relationship between the author and these images. Firstl y, the creation of these children‘s images has a close connection with Dickens‘ personal experience and social background; secondly, by the creation of these images he reveals the darkness of society, and shows his growing awareness of the darkness of the capitalism. Through the analysis, this paper draws the common features in Charles‘ creation of children‘s imagines. And through the research of the representative chapters, the deep emotions between Dickens and his children can be vividly shown.Keywords：Dickens; Children‘s images; Analysis; Common FeaturesContents1. Introduction (1)1.1The introduction of the author (1)1.2The introduction of children‘s images (1)2. Analysis of the three main children’s images in Dickens’ novels (3)2.1Oliver Twist: Dickens‘ own want in his childhood (3)2.2David Copperfield: Dickens‘ own sufferings in his childhood (5)2.3Great Expectations: Dickens‘ growing awareness of c apitalism‘s darkness (7)3. The comparison of three children’s images in three novels (10)3.1 The similarities of the three children (10)3.1.1 The circumstances (10)3.1.2 The tragedy childhood (10)3.2 The relationship between Dickens and the three children (11)3.2.1 The similar childhood experiences (11)3.2.2 The sympathy for the children and the criticism for social evils (11)3.2.3 The common styles in children‘s images figuring (12)4. Conclusion (13)Acknowledgements (14)References (15)1. Introduction1.1 The Introduction of the AuthorCharles Dickens(1812-1870)is one of the most outstanding English writers in the nineteenth century. He was born in Portsmouth, England on 7th, February, 1812, but he spent most of his childhood in London and Kent where he based many of his novels. When he was nine，he went to school but had to leave when he was 12 because his dad was put in prison for being in debt. When he was 15，he left school and went to work as a legal clerk in a solicitor's office. In 1836 he decided to write his own stories under the name of Boy. They were called the“Pickwick Papers”[1]which were like comics for adults. Charles continued to use his books to tell about the bad conditions that the working classes and poor people had to live with. As well as writing he took an interest in the theatre and in 1847 became manager of a touring theatre company. Charles Dickens wrote many famous novels all his life, he is probably the most popular author in England.1.2 The Introduction of Children‘s Images in His NovelsCharles Dickens‘ work s enjoy great popularity among people and can stand the test of time. Even in 21st century, his works are still widely read, continuously translated into many languages and adapted into films and TV series. Dickens‘ vivid description creates many lifelike characters, which impress the readers deeply in their memory after reading.Among children‘s images created by Charles Dickens, deserted children play the most significant roles. It is important to point out that the creation of the deserted children has a close rel ationship with both Dickens‘personal experience and social background, especially his childhood experience. His fiction attracts many readers. These children were described so vividly that as if they were really alive in the world.―Dickens appeals to the common experience of the reader.‖ [2]So the reader is easily able to identify the different images in his different novels. For example, of all his works, David Copperfield is considered to be his most autobiographical. In this novel, Charles creates an orphan just like him, and through this character, he describes the memory about his own childhood and expresses the sympathy for the poor people. And in Great Expectations he really puts his own heart and soul into his characters by weaving his own experiences into his works.Philip Collins writes ―Great Expectations,indeed, though overtly autobiographical than David Copperfield, is a more searching and self-critical account of Dickens' own inner impulses.‖[3]It is almost as if there is a real possibility that Pip, or someone like him, actually existed. Another example is in Oliver Twist. Oliver is a kind of children that orphans or half-orphans who are deserted, or simply neglected. He lacks warm family love when he is very young. All of the deserted children in the novels have a miserable childhood and long for care and love from adults. As Charles‘ own childhood experience is miserable, he can contribute to his views on social reform, and his compassion for the lower class, especially the children.2.Analysis of the ThreeMain Children’s Images in Dickens’ Novels2.1Oliver Twist: Dickens‘ Own Want in His Childhood“Please, sir, I want some more.”The master was a fat healthy man; but he turned very pale. He gazed in stupefied astonishment on the small rebel for some seconds, and then clung for support to the copper. The assistants were paralyzed with wonder; the boys with fear.“What!” said the master at length, in a faint voice.“Please, sir, ”replied Oliver,“I want some more.”The master aimed a blow at Oliver’s head with the ladle, pinioned him in his arms, and shrieked aloud for the beadle.The Board were sitting in solemn conclave, when Mr. Bumble rushed into the room in great excitement, and addressing the gentleman in the high chair, said: “Mr. Limpkins, I beg your pardon, sir! Oliver Twist has asked for more!” There was a general start. Horror was depicted on every countenance.“For more! ”said Mr.Limpkins .“Compose yourself,Bumble, and answer me distinctly. Do I understand that he asked for more, after he had eaten the supper allotted by the dietary?”“He did,sir,”replied Bumble. “That boy will be hung,”said the gentleman in the white waistcoat. “I know that boy will be hung.” [4]In this scene, a hungry boy is asking for more claims universal admiration. The poor boy‘s image is vividly appearing on the paper. And this situation evokes in the readers a strong sense of sympathy towards the boy and a strong sense of horror against the system. This is one of Charles‘ famous novels which is entitled Oliver Twist.Oliver Twist, published in 1838, is one of Charles Dickens's best-known and well-loved works. After it was published, it was popular among England. ―Dickens used the characters and situations in the book to make a pointed social commentary, attacking the hypocrisy and flaws of institutions, including his society‘s government,its laws and criminal system, and its methods of dealing with poor people.” [5]Interestingly, he did not suggest any solutions; he only pointed out the suffering which caused by these systems and their deep injustice. Dickens basically believed that most people were born good but that their good impulses could be distorted by social evils.The scene of Oliver‘s asking for more is Dickens‘ recall of his chil d labor‘s life. As the author of the novel, he knew clearly about the cold impersonality of the workhouse system. His childhood suffering dominates the whole style of his writing and the whole view to society later. ―Dickens used his artistic talents to sp eak for the silence, to fight for the oppressed, and to champion those defeated.‖[6]Meanwhile he showed his great sympathy for the miseries and hardships suffered by the working class people. According to Doris Alexander, Dickens―knew that early circumsta nces shape character and that character, in turn, shapes reactions to later circumstances.‖[7]And in many ways, that character successfully drew attention and sympathy from their readers. In Dickens‘ works he gave children a voice that they desperately needed, yet never had before. Maybe some readers will wonder why Dickens always makes the world weigh so heavy on the little shoulders of his characters. The main reason is that he wanted to protest against the injustices toward children that he saw in his own childhood. He used his own experience to illustrate what these children needed and what they were missing. His childhood‘s recall has totally reflected in Oliver Twist.Oliver Twist is also Dickens‘first novel that focused on a child hero, whose experiences expressed Dickens‘ psychological want in childhood. Throughout the novel, Dickens used Oliver‘s character to challenge the Victorian age‘s evil. He was tortured and mistreated in the workhouse at his early age, later was thrown together with the band of thieves, he suffered a lot of pain but his kind nature remained unchanged. Dickens tried to create a child who did not present a complex picture between good and evil—instead, he was goodness all the time. What carried Oliver through life and away from the poverty was his good nature. Dickens himself had to work in the workhouse as young as Oliver. As a deserted child, Dickens hungered for love and help from adults. So in Oliver Twist, Dickens created several kinds encounters to offer help which freed Oliver from sufferings and dangers to a penniless and hopeless child. From these images, we may see Dickens himself as a lonely and deserted child who is eagerly expecting kind encounter with good-hearted men by whom he will be offered help. So these happy encounters are author‘s psychological want in his childhood.In the novel Oliver understood the life forms well, and this helped him fit the society better. He began his life misery enough—orphaned, underfed, unloved, beaten, apprenticed, fed the scraps the dog scorns, and made to sleep in the shop with the coffins at night. We are impressed deeply by the description of workhouse and undertaker‘s shop through Oliver‘s view .In his eyes the world was cruel and awful. ―Dickens draws strictly from hisobservat ion from Oliver‘s view, giving us the very truth in despite of sentiment.‖[8]Passing from the shadow of the workhouse to that of criminal London, we can feel that London is a place of squalid mystery and terror, of the grimly grotesque, of labyrinthine obscurity and lurid fascination. He taught people a certain way of regarding the huge city, the dirty streets, accurately described and named; the bare, filthy rooms inhabited by Fagin and Sikes and the rest of them; the hideous public-house to which thieves resort. Through the directly touch with the huge city, we have a very scared impression, for instance, what the working class people eat and drink, and can smell the dish of sheep's head, flank with porter, which Nancy sets before her brutal companion. ―In Dickens‘s case, he managed to use this gruel story as a means to shift his long stored tensions into the image of Oliver Twist, producing thus a metaphoric account that could function quite like a dream.‖ [9]2.2David Copperfield: Dickens‘ Own Sufferings in His Childhood“The room was as neat as Janet or my aunt. As I laid down my pen, a moment since, to think of it, the air from the sea came blowing in again, mixed with the perfume of the flowers; and I saw the old-fashioned furniture brightly rubbed and polished, my aunt's inviolable chair and table by the round green fan in the bow-window, the drug get-covered carpet, the cat, the kettle-holder, the two canaries, the old china, the punch-bowl full of dried rose leaves, the tall press guarding all sorts of bottles and pots, and, wonderfully out of keeping with the rest, my stained and dusty self upon the sofa, taking note of everything, Janet had gone away to get the bath ready, when my aunt ,to my great alarm, became in one moment rigid with indignation, and had hardly voice to cry out, "Janet!Donkiesr!"Upon which, Janet came running up the stairs as if the house were in flames, darted out on a little piece of green in front, and warned off two saddle-donkeys, lady-ridden, that had presumed to set hoof upon it; while my aunt, rushing out of the house, seized the bridle of a third animal laden with a bestriding child, turned him, led him forth from those sacred precincts, and boxed the cars pf the unlucky urchin in attendance who had dared to profane that hallo wed gr ound.” [10]David Copperfield is the most unique book among all Dickens‘ works for its deeply personal tone; it is an autobiography of the author himself and also a history of Dickens‘emotional life. This novel was created in 1849-1850, midway in his career, just before the writing of the ―dark‖novels. In this story, Dickens describes a very lovely boy namedDavid Copperfield. ―I am within three pages of the shore,and am strangely divided, as usual in such cases, between sorrow and joy. Oh, my dear Forster, if I were to say half what ‗Copperfield‘ makes me feel to-night, how strangely, even to you; I should be turned inside out! I seem to be sending some part of myself into the Shadowy World.‖ [11]Charles Dickens wrote in a letter just before he finished the final chapter of David Copperfield. And he became intensely involved in this character while he was writing. And in 1869, the year before he died, Dickens wrote that Copperfield was still his ―favorite child.‖[12] David Copperf ield‘s whole life can be divided into three stages. In the first stage he had a miserable childhood. He was born at Blunder stone, six months after his father‘s death. David spent his happy early days with his mother, Clara Copperfield, a gentle but weak woman, and Peggotty, the combination servant and nurse. When his mother married again, to a Mr. Murdstone, his miserable life had begun. He was imaginative and sensitive, suffering more from psychic anguish than from physical abuse. David flourished and expanded under affection, but shriveled and contracted deprived of it. And in the second stage, David was packed off to Salem House School near London. This institution was run by the ferocious Mr. Creakle, a sadist. But the worst thing is his mother and her newborn baby died and loyal Peggotty was dismissed by his stepfather, David was really lonely and deserted. He was sent to the warehouse in London, which followed, was worse. No one loved him and no one cared for him. There, half-starved, the 10-year old David labored beside slum urchins. Finally he couldn‘t stand the torture and decided to run away from the warehouse. He made his way on foot to Dover where Aunt Betsey Trotwood, his only living relative. Fortunately, his aunt took him in and sent him to Canterbury to attend a school. The next is the third stage, David experiences and comforted for his happy new start. David survived his ordeal with the moral support of several adults: the Micawbers, Aunt Betsey, and Dr. Strong, who educated him. He discovered enormous reserves of strength within, a dogged perseverance which enabled him to master the difficult art of shorthand reporting. This trait stood him in good stead when he became a writer, and was the key to his later success.Dickens figures this character very well. That is all due to his childhood sufferings. Dickens was brought up by middle-class parents. But then he was abandoned as worthless. The few shillings a week he earned barely served for his keep, so that his sacrifice seemed gratuitous, a means of getting him out of the way. The blacking factory left him with a lifelong insatiable need for recognition and approval; a degree of emotional reserve; and an obsession with cleanliness and order which he himself admitted was ―almost adisorder‖.[13]He was haunted by the experience for the rest of his life. ―Even now, famous and caressed and happy, I often forget in my dreams that I have a dear wife and children; even that I am a man; and wander desolately back to that time of my life.‖[14]The Christmas before his death, playing a ―memory game‖with his family, Dickens wrote down,―Warren‘s Blacking,30, Strand‖[15],which meant nothing to his children until his biography was published after his death.Dickens also conveys his view of education in David Copperfield. David was first educated informally at home. He learnt the ―alphabet at his mother‘s knee‖[16] and read to Peggotty from the Crocodile book, developing his imagination–―we went into the water…and put sharp pieces of timber down their throats‖[17]Dickens clearly approves of this education, so in the novel David said in retrospect that memories of this time ―recall no feeling of disgust or reluctance‖[18]Dickens contrasts the misery of David‘s education after his mother‘s remarriage; ―David w as betrayed by his own nervousness in front of the dominating Murdstones, upsetting his mother and lowering his self-esteem–he seemed to be more stupid.‖[19]This negative effect again showed Dickens‘ encouragement of a very different form of education. David was not ―stupid‖ and it was only the strict and stifling circumstances that made him feel this way. If the Murdstones were more liberal and generous in their education, the results would be totally different. Dickens‘views on education are conveyed bes t through the contrast between Betsey Trotwood‘s firmness and Mr. Murdstone. ―David never to be mean in anything, never to be false and never to be cruel.‖[20]His epic journey showed the consequences of these educational methods; David was literally escaping the moral, physical and financial imprisonment of the factory, and got the freedom to explore and develop his interests at last.2.3Great Expectations: Dickens‘Growing Awareness of C apitalism‘sDarkness“My sister,Mrs. Joe Gargery, was more than twenty years older than I, and had established a great reputation with herself and the neighbors because she had brought me up“ by hand.” Having at that time to find out for myself what the expression meant, and knowing her to have a hard and heavy hand, and to be much in the habit of laying it upon her husband as well as upon me, I supposed that Joe Gargery and I were both brought up by hand.It is a most miserable thing to feel ashamed of home. There may be black ingratitudein the thing, and the punishment may be retributive and well deserved; but, that it is a miserable thing, I can testify. Home had never been a very pleasant place to me, because of my sister's temper. But, Joe had sanctified it, and I had believed in it. I had believed in the best parlors as a most elegant saloon; I had believed in the front door, as a mysterious portal of the Temple of State whose solemn opening was attended with a sacrifice of roast fowls; I had believed in the kitchen as a chaste though not magnificent apartment; I had believed in the forge as the glowing road to manhood and independence. Within a single year, all this was changed. Now, it was all coarse and common, and I would not have had Miss Havisham and Estella sees it on any account.” [21]Great Expectations first appeared in Charles Dickens‘weekly journal ―All the Year Round” in 1861,and then came out in book form in 1862.One of the most important and common tools that authors use to illustrate the themes of their works is a character that undergoes several major changes throughout the story. As a book which was written in the afternoon of Dickens's life and fame, the great difference between Great Expectations and his earlier novels is the introduction of dramatic psychological transformations. He introduces the readers to many intriguing and memorable characters including Miss Havesham, Mr.Jaggers, and the benevolent convict, Abel Magwitch.In common sense, the children's world should be filled with tender care and happiness; it should be a worry-free world.In Great Expectations, however,Pip's world could not be described as such.He was an orphan living in the changing moods, cruelty and violence of his sister and Uncle Pumblechook. Such living conditions resulted in a timid and sensitive Pip. Joe was the only one who took care of Pip. He treated Pip as his dear friend and gave Pip sincerity and comfort. He led Pip to realize there was happiness and warmth in life even though his influence was too weak to combat Mrs. Joe and Uncle Pumblechook. But the false values about money and social status penetrated into Pip's world, Pip could not resist it and therefore lost balance in mind. So his simple dream changed. He vainly expected to be a gentleman, to marry Estella. Subjected to such wrong ideas, Pip lived in the gap between reality and dream.Although in such terrible circumstances, Pip's still have industrious, kind, simple element in his mind, this is mainly due to Joe. Joe was Pip's comfort and source of happiness. Joe represented the virtues of the working class. In bringing Pip up, Joe's attitude was quite different from others. He sincerely did all he could for Pip. He was Pip's fellow-sufferer. He never looked down and maltreated Pip, but protected Pip from Mrs.Joe's bullying. Pip was deeply moved by such sincere care; and therefore Pip had gratitude for Joe. The most important thing he told Pip was to be honest:"There's one thing you may be sure of, Pip," said Joe, after some rumination, "namely, that lies is lies. However they come, they didn't need to come, and they come from the father of lies, and work round to the same. Don't you tell no more of them, Pip. That ain't the way to get out of being common, old chap. And as to being common, I don't make it out at all clear. You are on common in some things. You're on common small .Likewise you're on common scholar. [22]But when Pip met Estella, he was strong attracted by her. He longed for Estella but was laughed at by this beautiful proud girl. From then on, Pip felt ashamed of his hands, of his boots, of his social status and friends. He fell into false values. His ambition to be a gentleman resulted from his hopeless love for Estella. The worship of money and was like poison. Pip was trapped in his dreams. ―It is reasonable to believe, in this case, that Great Expectation is a novel focusing on the sense of disillusionment of one‘s ideal, dream and aspiration. This echoes, however, the author‘s own traumatic experience of being disillusioned on a personal basis and eventually on a social level. His pursuit for his own identity in the society is a disillusionment that results in his constant anxiety and frustration, which underlies the motives for Great Expectation.‖[23]Dickens and Pip have three similarities at least: the first one is the miserable childhood; the second one is the way to fulfill the dream. As for Pip, his life changed because of a mysterious benefactor. How Dickens ended his days in the blacking factory? After his father John Dickens inherited a fortune from a Scotch cousin, he was released from prison. As he had promised, Dickens was sent to school. So to speak, Dickens began his way to be a gentleman. The last but not the least one is the growing awareness of the influence of capitalism. Pip began his adventure as a gentleman when he left the forge of Joe and lived in the circle of gentlemen in London. In the Victorian Age, London was not as good as Pip imagined. Here, Pip lost his good nature for a time and felt proud of being a dandy. He turned into a selfish, blinkered, frivolous one. He fell even deep into the illusions that Miss Havisham was his benefactor and he would marry Estella under the authority of Miss Havisham. The suddenly coming-back of Magwitch broke his illusions into pieces and made him realize his misdoings. He decided to get rid of illusions and his gentleman life.The novel charts the career of Philip Pip, from blacksmith‘s boy to polished gentleman, driven by his hope of winning the hand of his first love, Estella.He haschanged from an innately jolly and optimistic man into one who is disillusioned and pessimistic.Dickens shows his philosophic idea clearly through this novel and figure out a classic child‘s image.3.The Comparison of The ThreeChildren’s Images in Three Novels3.1 The Similarities of the Three ChildrenIn these three famous novels, Dickens created three vivid children‘s images. They are all orphans or half-orphans, have a tragedy childhood, all of them are tinged with a tone of autobiography. And comparing these children‘s images, we may find out that the circumstance and the tragedy childhood are the most similar things.3.1.1 The circumstancesFrom the three novels, it‘s evident that the three boys are boxed up by the dark and hopeless society. They lost their parents, not treated well by their keepers. However, the important plot shared by the three novels is that all the boys undergo a dramatic change of life by receiving unexpected sponsorship from either their relatives or people around them. Oliver Twist was helped by Mr. Brownlow, who turned out to be a friend of his father‘s and one who eventually got back for Twist the legacy that belonged to him. David sought help from Aunt Betsey, with whose money he received decent education until he could live on his own. Pip, on the other hand, received unexpected legacy from an anonymous ―gentleman‖, who turned out to be the criminal he once helped. They go through a lot of hardships during their life. Fortunately, despite all the hardships and torture they experience, the deserted children keep their good nature all their lives.3.1.2 The tragedy childhoodOliver Twist, David Copperfield and Pip are all orphaned children, brought up by either their relatives or governmental institutions. Twist was fatherless and his mother died after giving birth to him. David was also fatherless. He was brought up by his mother until his mother sent him away for her re-marriage. Pip was parentless; he was, from thebeginning of the story, an orphaned child living with his sister and her husband. When they grow up, all of them experience lonely and hard trips to find new hopes in life. In Oliver Twi st, Twist escaped from the Sowerberry‘s house to London due to the mistreatment he received from a charity boy Noah Claypole, who goads him to rebellion. In David Copperfield, young David made his way on foot to Dover where Aunt Betsey Trotwood, his only living relative resides. In Great Expectations, however, Pip went to London in a buoyant manner due to his inheritance of a large amount of money from an anonymous benefactor. Although the trips are not entirely of the same desperation, they have reviewed, in the same manner, about the sorrow at departure, the sense of extreme loneliness, as well as the feeling of abandonment.3.2 The Relationship Between Dickens and Three BoysThe creation of deserted children has a close relationship with Dickens‘personal background especially his childhood experience. The important reason of these novels can be so famous that they are vividly in the book, as if they are alive in the world .They can exist in readers mind so long, one hand is due to Dickens‘genius description, the other hand is that what these boys suffer in the book is also the memory of Dickens himself. 3.2.1 The similar childhood experiencesIn Dickens‘s novels, the boys are usually abandoned, this is all based upon his traumatic experience. The fact that the author could not retreat to his traumatic stage of life in reality causes him to find ways to regress to his traumatic childhood. The regressive impulses find a nice outlet in his novels. There, Dickens speak out lavishly his sorrow and agonies through the agent of his boy protagonists like a child who cried over and over again at his wound, knowing that he would feel much better after so doing.That is perhaps what Dickens personally experienced in his childhood and this impression obviously leaves a permanent imprint on his mind. ―The long repressed loneliness and senses of abandonment find their way in his fiction. They are stirred alive from the unconscious level, heading for the conscious, during which the author reconciles himself to his traumatic experience and receives his salvation.‖[24]The significance of creating a necessary detail depicting the loneliness of the protagonists is more emotional than practical. Through the process of writing, Dickens relived his own dark experience and began his painful process to accept them as part of his life.Dickens‘s own drastic change in life—when he felt desperate about his own prospect, when he was plagued by the menial toil at the blacking house, his father received an。
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1．选题的目的和意义2．研究现状不同文化背景，不同创作风格，共同的人道主义悲悯，使狄更斯和老舍塑造出两位迥异中不伐相似的儿童形象，呈现了文学创作与借鉴的广阔天地。
长期以来，人们将狄更斯的《》与老舍的《》被视为在人文主义照耀下的描写儿童形象的双壁。
这两位作家生活在不同的社会背景下，有着不同的生活经历，他们笔下的儿童，既有相似的出身，又有不同的结局。
他们同时闪烁着人文主义的光芒，却用不同的手法刻画出了不同的人物效果，很值得人们研究。
作品所展示的绘声绘色、丰富多彩的生活画面，具有鲜明深刻的时代特点。
本文立足于研究狄更斯和老舍笔下不同的人物形象。
他们受不同的社会现实，以及生活经历影响，运用不同的描写手法，不同的表现形式，呈献给读者不同的两个儿童形象。
他们不同的写作手法，值得我们学生引以为鉴，有利于我们赏析作品，同时为我们的写作做了铺垫。
二、研究方案1．研究的基本内容研究的基本内容:本文立足于欧美文学中的哥特传统研究《呼啸山庄》的创作源泉, 指出艾米莉•勃朗特在主题、人物形象、环境刻画、意象及情节构造等方面都借鉴了哥特传统, 同时凭借其超乎寻常的想象力, 将现实与超现实融为一体, 给陈旧的形式注入了激烈情感、心理深度和新鲜活力, 达到了哥特形式与激情内容的完美统一, 使《呼啸山庄》既超越了哥特体裁的“黑色浪漫主义”, 又超越了维多利亚时代的“现实主义”, 从而展现出独具一格、经久不衰的艺术魅力。
Research Objectives:I write this thesis in order to make English learners have a better understanding of the cultural meaning of color words and enhance communication skills, avoid conflict in Western culture.四、预计的研究难点（课题研究过程中可能遇到的理论难题或技术难点）六、进度计划（根据研究内容及研究目标所预计的进度安排）1. Nov.16th —Nov.22nd , 2008 Subject selecting & topic narrowing2. Nov.23rd —Dec.20th , 2008 Data gathering3. Dec.21st —Jan.10th , 2009 Opening report & detailed outline4. Jan.11th —Feb.8th, 2009 Literature review5. Feb.9th —Mar.14th, 2009 First draft6. Mar.15th —Apr.10th, 2009 Second draft7. Apr.11th —Apr.20th, 2009 Final version8. Apr.27th —May 14th, 2009 Printing9. May 17th —May 25th, 2009 Thesis debate二)时间和相应的内容安排2006.2.15---3.10 资料与数据收集，整理与分析2006.3.13---3.19 完成翻译和开题报告2006.3.21---3.29 完成读书笔记2006.3.31---4.15 完成论文初稿，并请老师修改2006.4.17---4.27 完成论文二稿2006.4.29---5.30 定稿及写实习心得2006年6月答辩四、论文的创新点2．拟采用的研究方法主要有资料查找、理论探讨研究、阅读法3.研究所需条件和可能存在的问题研究所需条件：纸张、打印设备、图书馆、互联网上获取国内外文献资料；可能存在的问题：(1)文献不足;(2) 由于个人的观点和能力，使对研究对象分析不够全面和深入。
狄更斯与老舍笔下儿童形象的比较The comparison of children’s image betwween Dickens and Lao She文学史上，以儿童为主角，通过儿童视觉看世界的作者，屡见不鲜。
但是在，在文学界里，具有明显借鉴与再创造特点的儿童艺术的应推狄更斯的《大卫科波菲尔》和老舍的《牛天赐传》。
在他们笔下，我们看到，社会想张无情地大网笼罩在一些儿童头上，使其身心受到极大的伤害。
打他们共同的特点是，边吃社会的黑暗，赞美儿童的美。
鲁迅先生说：“看人因作者而不同。
”不同文化背景下，生活现象不同侧面的再作家头脑中反应，因而笔下出现相似却不同的人物形象。
牛天赐身上突出着在封建桎梏下的儿童扭曲的心灵，和具有的小知识分子爱慕虚荣又缺乏胆略的悲剧性格。
而大卫身上则体现了资本主义锁链中，身心俱受凌辱的悲苦境遇，又孤舟奋进的生活的抗争。
一．不同的社会背景下的不同人物性格狄更斯是英国19世纪中叶拼盘现实主义的作家，他一生遵循的诺言是：“只要我还有思想和把它说出来的能力，我就要坚持攻击残暴与压迫”狄更斯坚持“批露出并不诱人的和令人反感的真实来冲淡那包围着实际存在的东西的假光彩。
”大卫身上体现着狄更斯的世界观，人生观和伦理道德观念。
大卫是一个具有19世纪维多利亚王朝时代英国社会浓郁气息的人物形象，他性格中表现出远比牛天赐复杂得多的因素，通向摆脱社会枷锁束缚的道路更曲折。
大卫出身中产阶级，是遗腹子，童年时代失去母亲，遭到凶狠继父嫌弃，饱尝生活艰辛，为了摆脱屈辱生活，十岁那年，长途跋涉，风餐露宿，勇敢地只身投奔唯一的亲人——特落伍小姐。
从此自强不息，顽强奋斗，终于在家庭和事业中获得美满结局。
大卫是一个从不自满骄淫的青年，他身上集中体现了仁爱正直，务实进取的精神。
这是一个追求幸福和出路的西方小知识分子的典型，是资本主义社会一类青年的缩影。
狄更斯通过一个孤儿的不幸中遭遇，描绘了一幅19世纪中叶英国广阔而五光十色的社会画面，揭示出统治当年社会的真实力量实际是金钱。
作家笔下，那个是社会只要有钱就可以得到上流社会承认和中产阶级，小资产阶级的膜拜，社会冷酷的压迫与残暴使得家庭不富裕的孩子或非亲生的孩子的生存受尽凌辱，而宗教和道德则体现为冷冰冰的伪善，作者体现了对弱小者的伟大同情，描绘出当时英国社会的特性。
老舍笔下的牛天赐是个弃婴，“不光彩的出身于半殖民地半封建社会注定一生不幸。
在金钱至上的环境里，他虽然被一对善良的孤寡夫妇收养，可自小生活在小市民庸俗畏缩，尔虞我诈的污浊气氛中深受旁人白眼与嘲讽，心灵受到极大创伤，形成啊q性格。
牛天赐常处于迷茫而又自我悲哀的境地，总耽于不切实际的幻想，缺少行动热情和能力。
仰慕养父相继去世，家道中落，非正统的出生瞬间就与资产有了瓜葛，这使牛天赐深刻体验到了世态炎凉与人情冷暖。
牛天赐机型性格的形成是腐朽社会制度和迂腐教育制度的必然产物，老舍为其成长抹上了一层极浓的悲剧色彩。
老舍试图从广阔的人市民生活背景，从中国古老历史传统，从特定政治经济条件上搜索城市小知识分子软弱妥协性格形成的土壤，于是在自己所塑造的艺术形象中倾注了对孩子“最有同情心的”一贯思想。
他描写牛天赐被母亲封建意识所扭曲的外形——腿细而拐，磕膝拧着，脚尖彼此拌蒜，脑勺平扁，脸色黄白，细脖像颗葱”。
描写了他被封建教育扭曲的心理：胆小惧事，怕苦怕死又耽于幻想。
牛天赐形象是那个时代的缩影，反映出封建社会中哪一类儿童的不幸命运。
二．不同人物形象反应作者不同经历与社会文化观念出生于海军小职员家庭，10岁时全家被迫迁入负债者监狱，11岁就承担起繁重的家务劳动。
曾在皮鞋作坊当学徒，16岁时在律师事务所当缮写员，后担任报社采访记者。
他只上过几年学，全靠刻苦自学和艰辛劳动成为知名作家。
他生活在英国由半封建社会向工业资本主义社会的过渡时期。
其作品广泛而深刻地描写这时期社会生活的各个方面，鲜明而生动地刻画了各阶层的代表人物形象，并从人道主义出发对各种丑恶的社会现象及其代表人物进行揭露批判，对劳动人民的苦难及其反抗斗争给以同情和支持。
老舍，1899年2月3日出生于北京一个贫民家庭。
父亲是名守卫皇城的护军，1900年在抗击八国联军入侵的巷战中阵亡。
从此，全家依靠母亲给人缝洗衣服和充当杂役的微薄收入为生。
老舍在大杂院里度过艰难的幼年和少年时代。
大杂院的日常生活，使他从小就熟悉车夫、手工业工人、小商贩、下等艺人、娼妓等挣扎在社会底层的城市贫民，深知他们的喜怒哀乐。
大杂院的艺术熏陶，使他从小就喜爱流传于市井巷里的传统艺术（如曲艺、戏剧），为它们的魅力所吸引。
他从这样的环境中，接受了与现代中国大多数作家不同的生活教育和艺术启蒙。
这些，都对他有极大的影响并在他的创作中留下鲜明的印记。
如果说狄更斯是同情并努力反映贫困儿童的不幸生活，从二姐楼资本主义的罪孽。
那么，一个多世纪后的老舍，有感于社会制度对儿童身心的摧残从而用犀利的笔对市民阶层，市民性格做了艺术的表现，从而挖掘儿童悲惨命运的社会原因。
牛天赐和大卫都是作者在人道主义的思想下塑造的人物形象，他们有着鲜明的个性特点和不同的特殊经历，分别代表了不同的社会制度下相同出身的不同命运。
两位作者用饱蘸感情的笔墨描绘了一个充满物欲的社会。
牛天赐被歧视，尤其是在家庭破产后的孤独，是作家对封建制制度下的金钱至上观念的愤怒控诉。
而大卫备受其辱，礼金坎坷的经历更是对经前万能社会的抨击。
当金钱主宰着认得命运，无情的毁灭者认得感情和人际间应有的友好关系时，也将儿童美好的心灵玷污了。
因此，不把那些散发着铜臭的人际关系除去，孩子们就没有幸福可言。
作家的没好人道主义理想，自觉与不自觉的用艺术形式启迪人们这一良知。
三．异曲同工的现实主义创作狄更斯是19世纪英国批判现实主义大师，老舍是现代杰出的现实主义作家。
《大卫》《牛》中共同流淌着一股爱的深情，在这申请中有愤恨悲哀，更有希冀，幽默中饱含深意，微笑中饱含辛酸。
但是两位作家表现人声主题的手法却是不同的。
狄更斯善于对人物进行直接心理刻画和灵魂剖析，描写童年大卫认为自己的继父的多余的人得一段心理活动非常感人：在吃饭时候，总觉得有一把刀子和叉子是多余的，那就是我的：有一个肚子是多余的，那就是我的，有一个碟子和椅子是多余的，那就是我的，有一个人是多余的，那就是我。
像我这样在缄默与不安中吃的是怎样的饭呀！文字生动体现出一个受虐孩子的抑郁心理。
狄更斯常通过任人物的言谈举止及情节发展体现人物性格，最出色的就是被洗衣婆的描写，贝西姨婆极富个性，她是硬邦邦的走路，永远按自己的生活方式讲话，不让任何人插言，一系列语言行为的展示，将贝西乖张又仁慈的性格展现出来。
而老舍继承了传统文学夹叙夹议的写作手法，同时在借鉴外国文学创作手法中加入新意境，于娓娓叙述中掺入风趣俏皮的议论。
小说中一串串白描速写中勾勒出鲜明人物轮廓。
两位作者都对小人物不幸遭遇感到同情，都采用第一人称写法，富于儿童蕴含深意的眼光，让读者既看到孩子的外贸，有感受到孩子的内心。