Plots in novels sometimes also develop with the feature of music。 Jean-Christophe (Romain Rolland, 2012) is the most typical one。 The order of the novel is not decided by outer and logical aspects but by inner and artistic ones, so as to combine both the atmosphere and tune。 In other words, the novel develops as the protagonist changes his moods and emotions with the rising and falling of music and tune。 And Christophe’s relationship with families, friends and lovers all can be regarded as musical works, with each has its overture, climax, coda respectively。 The overture leads readers into the inner world of Christophe; the development and the climax unfold Christophe’s strong emotions and the coda sees Christophe regain his calmness。 For example, in his relationship with families, the novel starts with Christophe’s reaction to deaths of his family members。 The death of his father is a blow to Christophe who abandons himself to old memories and thinks a lot about life and death after the event。 And therefore when his mother and his cousin die, Christophe remains calm because he is no longer fear of death or is numb-- the more family members who he deeply loves die, the easier he is to cope with death, which can be revealed through music and tune。

In music, harmony produces a pleasant sound when played together。 Harmony is what pursuits in music, especially in symphony and chorus。 So it does in novels。 The theme of peace among nations, the harmoniousness between human and the nature and the freedom of life are commonly seen in novels at home and abroad。 Still take great writer Romain Rolland as an example。 As a humanist, Romain Rolland hopes that politically peace can be achieved among French and Germany。 And he put the wish into his novel, Jean-Christophe。 Apart from carefully arranging the Germany-born musician Jean Christophe to choose Paris, France as his second homeland, the writer also uses music to echo the theme of political peace between the two nations。 One feature of the musical pieces composed by Jean Christophe, is that the work is usually a combination of German philosophy, Italian allegro (a piece of music to be played in a fast and lively manner) and French multi-tone concord。 Harmony reached in Christophe’s works is what Romain Rolland hopes to see in the real political world-- the rebuilding friendship between France and Germany。 In this way, it can be concluded that the writer’s vision or the theme of the novel is expressed through the harmony in music。 The Smiling, Proud Wanderer (Jin Yong, 2013) is another typical example。 The Chinese title of the novel, Xiao Ao Jiang Hu (Jin Yong, 2013) literally means to live a carefree life in a mundane world of strife, indicating the theme-- to live harmoniously with the nature and to live freely。 One way to reveal the theme is through Linghu Chong’s craziness about guqin, a traditional Chinese stringed instrument。 Guqin, in Chinese culture, has its special meaning。 Playing guqin is not only performing an art, but more importantly it is building up one’s soul。 Through the comforting and harmonious melodies of guqin, Linghu Chong finds an entrance leading to his ideal society where one lives in freedom and in seclusion in the nature。 And through the character Linghu Chong, Jin Yong actually depicts modern people who are pressured with heavy and unavoidable burdens but still long for ideal life。 And therefore the theme of living freely and living harmoniously with the nature is expressed in the novel with soothing comforting and harmonious melodies of guqin played by Linghu Chong。 This also makes The Smiling, Proud Wanderer outstanding from Jin Yong’s other Wuxia novels。文献综述

1。2。3。 Music and Forms of Novels

Music at the same time influences novels in a deeper way。 The influence can be seen from the language and structure adopted in novels。

When one appreciates or comments on a novel, the beauty of the language must be considered。 Chinese famous linguist Wang Li mentions in his article that the beauty of language shall be credited to its neat, cadence and reverberation (《略论语言形式美》, 1962: 1)。 These features are also possessed by music。 Therefore, the beauty of language in its form can also be regarded as the beauty in music。 Languages differ in literature styles。 Most researches about music and language focus on classical poetry, but it does not mean that language in novels does not have its musical beauty。 In novels, musical beauty is reflected in the rhythm, length, pitch of languages as well as in texture, balance and harmony of languages。 Through these persities, characters’ psychology is unfolded completely。 In this way, it can be inferred that music is the bridge of language and psychology。 Many writers actually realize the importance of music in expressing one’s inner thoughts (乔雪, 《文学与音乐关系研究》, 2007: 35): Russian writer Leo Tolstoy believes that only music can recall memories; Indian writer Rabindranath Tagore regards music as a language to express one’s moods and feelings; French writer Jean-Jacques Rousseau calls music the flow of emotions。 One of the reasons why these writers are great is that they apply music features into the language in their novels to reveal characters’ psychology。 Anna Karenina in Anna Karenina (Leo Tolstoy, 2014), Nikhil in The Home and The World (Tagore, 2014) and Saint-Preux in Julie, or the New Heloise by Rousseau (Hephaestus Books, 2011) all have their distinct personalities and rich emotions and therefore these characters produce much sensation among readers。 These results can not be fully achieved without the musical language。