为什么魔戒如此受欢迎？

Joshua Engel
I have to admit, I've never been entirely sure why people are so enamored of The Lord of the Rings. I know why I am, but it's not at all for its nature as an action-adventure story.
If you watch the LotR movies, that's what you'd think they were about. The battle and action sequences get a lot more screen time than they do in the books. That's partly the nature of the medium, but I think that's what a lot of people see in the books as well, and I just don't.
Here's the way I'd put it: the amazing thing about The Lord of the Rings is what Tolkien called "secondary creation". It's the idea that the writer isn't just making up a story and asking you to suspend your belief in the real world so that you can tolerate the fact that it's not real. Rather, Tolkien wants to create a world so rich and deep that you don't have to suspend disbelief. You instead come to a secondary belief in his secondary creation.
Tolkien's world is self-complete in a way no author before or since has ever been. LotR is only the tip, a little piece of that world that pokes up to where you can see it. Even if you never read another word of Tolkien outside of the pieces published in his lifetime (LotR and The Hobbit), you can feel that the rest of the other world is out there. There are passing, unexplained references to Turin and the Silmarils and literally thousands of other names dropped in such a way as to make you realize that there's a fully-worked out story behind it.

我必须承认，我从来不确定人们为什么如此喜欢魔戒。我喜欢它，并不是因为它是一个动作冒险故事。
如果你看魔戒的电影，你会认为它们是关于动作冒险的。战斗和动作序列在屏幕上的时间比书中多得多。这在一定程度上是因为媒体本质不同导致的，有可能很多人在书中看到的也是动作冒险，但是，我喜欢的不是。
我想这么说：魔戒的神奇之处在于托尔金所说的“二度创作”。这种想法是，作者不仅仅是在编造一个故事，并要求你暂停对现实世界的信仰，这样你就可以容忍它不是真实的事实。相反，托尔金想要创造一个如此丰富和深刻的世界，以至于你不会怀疑。相反，你对他的第二次创造产生了第二个信仰。
托尔金的世界是会自我完善的，这是以前或以后任何一位作家都没有过的。魔戒只是这个世界的一小部分，你可以看到它。即使你从未读过托尔金一生中出版的作品（洛特和霍比特人）之外的其他文字，你也能感觉到另一个世界就在那里。这里有一些对都灵和锡尔马里尔的过去时的、无法解释的引用，还有成千上万的其他名字，它们让你意识到背后有一个完整的故事。

Reading LotR isn't about actually knowing all of those back stories. It's about knowing that they exist, and that there are even more stories behind them, some of which were little more than notes jotted onto scraps of paper. Tolkien created and revised his world obsessively, and that's what makes it so riveting.
Flipping through LotR the other day I noticed that just the index of the list of songs and poems goes on for several pages. These are poems and songs in dozens of styles and even languages: Hobbit doggerel, poems in both Quenya and Sindarin, fragments of epic verse, different styles of Mannish poetry in Rohan and Gondor... on and on and on. It feels like what it's supposed to be: hundreds of authors contributing separately over thousands of years. But it isn't: it's the secondary creation of one man who created thousands of characters to populate his world.

阅读魔戒并不需要真正了解所有这些背景故事。我们知道背景故事的存在，以及它们背后有更多的故事，其中一些只是写在纸片上的笔记。托尔金痴迷地创造和修改他的世界，这就是为什么它如此引人入胜的原因。
前几天翻阅魔戒时，我注意到只是歌曲和诗歌列表的索引就持续了好几页。这些诗和歌有几十种风格，甚至是语言：霍比特人打油诗，昆雅和辛达林的诗，史诗的片段，罗汉和刚铎不同风格的曼尼什诗……一首又一首。感觉就像它应该是这样产生的：数百名作者在数千年的时间里分别投稿。但事实并非如此：这是一个人的二度创作，他创造了数千个角色来填充他的世界。
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And then there's the languages. This is the crown jewel. Tolkien created two separate but related Elvish languages, and it can be said that he wrote the whole world in order to give these languages a place to be. Languages need stories; they need myths. The stories are part of the language as much as the words are.
Language is history: nobody knew that better than Tolkien. He was an expert in the history of English, and spoke several English ancestors fluently. The only Gothic poetry in the entire world was written by Tolkien. The language of the Rohirrim is based on Old English, and even if you don't know that, you can feel it. (Actually the culture is more Gothic than Old English, though few outside philological circles would know that.)
Tolkien's secondary creation is so deep that you crave to know more. You can look in the Appendices, and if you like them, undergo the Mount Everest that is The Silmarillion. But even if you don't, even if they were never published, they are the reason that The Lord of the Rings is so utterly brilliant. You can spend a lifetime reading his back stories. It's as though he managed to genuinely fill a world, all by himself.

还有语言。这是王冠上的宝石。有人说，精灵语言和托尔金语言可以在一个独立的地方被创造出来，但托尔金语言和托尔金语言可以相互关联。语言需要故事，他们需要神话。故事和文字一样都是语言的一部分。
语言就是历史：没有人比托尔金更清楚这一点。他是英语史专家，能流利地说几位英国祖先的英语。全世界唯一的哥特式诗歌是托尔金写的。罗赫林人的语言是以古英语为基础的，即使你不知道，你也能感觉到。（事实上，这种文化比古英语更哥特式，尽管很少有语言学界以外的人知道这一点。）
托尔金的二度创作是如此深刻，以至于你渴望了解更多。你可以查看附录，如果你喜欢的话，可以体验一下珠穆朗玛峰，也就是西里马利昂峰。但即使你没有，即使它们从未出版过，它们也是《魔戒》如此辉煌的原因。你可以花一生的时间读他的故事。就好像他真的成功地填满了一个世界，全靠他自己。
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Elijah Kourt
What makes the Lord of the Rings so epic and beautiful, in my opinion, is not the creation itself, but rather the mastery of its creator.
The trilogy, as it is often pointed out, is nothing but a small fraction of the whole story. It is the tip of an endless iceberg in a bottomless sea of creativity; the creativity of just one man.
I think many would agree that John Ronald Reuel Tolkien can be rightfully considered as the closest thing to a literary God any author has ever been, and the fact that there are people - known as Tolkien scholars - who spend years, even decades of their lives to study him and his work, already gives an idea of his singular, remarkable uniqueness.
I am sure that even the best of them - even Christopher Tolkien, his own son - are not aware of the full, true scale of his legendarium. How could they be? In fact, I believe even John Tolkien himself lost the end of it at some point when his story grew so big and intricate, so far-reaching in time, in space, and in detail, that it gained a life of its own.

在我看来，让《魔戒》如此史诗般美丽的不是造物本身，而是造物主的掌控。
正如人们经常指出的那样，三部曲只是整个故事的一小部分。它是无底洞创意海洋中无尽冰山的一角；仅靠一个人的创造力。
我想很多人都会同意，约翰·罗纳德·鲁厄尔·托尔金可以被合理地认为是所有作家中有史以来最接近文学之神的人，而事实上，有一些人——被称为托尔金学者——花费数年甚至数十年的生命来研究他和他的作品，已经让人对他的独特性产生了看法。
我相信，即使是他们中最优秀的人——甚至是他的亲生儿子克里斯托弗·托尔金——也不知道他的传奇故事的完整、真实的规模。怎么可能呢？事实上，我相信，当约翰·托尔金的故事变得如此宏大和复杂，在时间、空间和细节上如此深远，以至于它获得了自己的生命时，就连他自己也失去了对故事的掌控。

And that, in my opinion, is the greatest thing about the Lord of the Rings: not the books themselves, but the endless content about the content in them. That is how Tolkien, better than any other writer I have heard of, succeeded in creating a world so masterfully crafted that it continues to live today, long after he is gone, and which will likely never die.
You know how I felt when I had the opportunity to visit his grave in Oxford?
It was made of earth and stone, unpretentious, humble; an ordinary grave like any other. And yet I felt what I imagine a Christian feels at Temple Mount, or a Muslim at the Kaaba. I felt like a pilgrim who had reached the end of his journey: the final resting place of J.R.R. Tolkien - a great man in our Universe, the Creator of another.

在我看来，这是《魔戒》最伟大的一点：不是书本身，而是关于书中内容的无穷无尽。这就是托尔金，比我听说过的任何其他作家都要好，成功地创造了一个如此精巧的世界，以至于在他去世很久之后，魔戒的世界仍然存在，而且可能永远不会消亡。
你知道我有机会去牛津拜访他的坟墓时的感受吗？
它是用泥土和石头做成的，朴实无华，谦逊，像其他坟墓一样的普通坟墓。然而，我感觉到了我想象中的基督徒在圣殿山的感觉，或者穆斯林在卡巴的感觉。我感觉自己就像一个朝圣者，已经到达了旅程的终点：J.R.R.托尔金的最后安息之地——我们宇宙中的伟人，另一个宇宙的创造者。

Gage Colao
Because LOTR is First and Last, Alpha and Omega, it sits upon the Iron Throne and scoffs at the futile attempts of other Fantasy novels to claim said throne. It is a paragon of its kind, a Lord of Lords, a Lion above Lambs.
Ok but seriously, besides it wonderful themes of overcoming adversity, the bonds of friendship, and perseverance; the Lord of the Rings is the bible from which all fantasy there after was inspired by. It may not be the first work of fantasy but it is the most well known. Written by an Oxford Don who was friends with other legends of literature like C.S. Lewis (the guy who wrote the Chronicles of Narnia). Lord of the Rings took Tolkien 40 years of his life to accomplish and he believed what he was writing was lost alternate history, not fantasy. He thought of himself as a chronicler of a world not a story.
That is why Lord of the Rings is so popular. As well as being the most interesting book of its time because it was ahead of its time.

因为魔戒是第一个也是最后一个，他从开始到现在，一直坐在钢铁王座上，嘲笑其他幻想小说徒劳地试图夺回王座。它是同类中的典范，是上议院的领主，是羔羊群中的狮子。
好吧，但说真的，除此之外，它还包含克服逆境、友谊纽带和毅力等美妙主题，《魔戒》是一本圣经，此后所有的幻想都源于它。这可能不是幻想的第一部作品，但它是最有名的。作者是牛津大学的一位老头子，他与其他文学传奇人物如C.S.刘易斯（写纳尼亚编年史的人）是朋友。《指环王》花了托尔金40年的时间才完成，他相信自己所写的是失落的历史，而不是幻想。他认为自己是一个世界的编年史家，而不是一个故事。
这就是《魔戒》如此受欢迎的原因。而且是当时最有趣的书，因为它走在了时代的前面。
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Theo Giannop
Because Lord of the Rings is love, Lord of the Rings is life. I’m guessing you’re talking about the movies, so I’ll answer to that.
The LOTR movies were the first giant attempt at creating fantasy movies that would actually be good. Before that, we had Excalibur, and nothing else. It transfered epic battles of a grand scale on the big screen with great success. It made us care enough to pick up Tolkien’s books and read them. It made us fall in love with fictional places and characters. And so much more than that.
If you’re talking about the books, it’s because of the storytelling, the huge world they establish, the heroes who might fall but will certainly get back up until they succeed or die trying. The heroes who out of pride charge into Balrogs, or the High King of the Noldor who fought Morgoth one on one. The fact that when I read “Children of Hurin” I cried because Turin never got a break but he still tried.
The fact that I rooted for Sauron because he was powerful and seemed like a badass, but the books changed my mind.

因为魔戒是爱，是生命。我猜你说的是电影，所以我来回答。
魔戒电影是第一部试图创作出真正优秀的奇幻电影的巨大尝试。在那之前，我们有亚瑟王的神剑，除此之外没有别的。它在大银幕上成功地传递了大规模的史诗般的战斗。这让我们非常关心托尔金的书并阅读它们。它让我们爱上了虚构的地方和人物。远不止这些。
如果你说的是书，那是因为故事情节，它们建立的巨大世界，那些可能会倒下但肯定会站起来直到成功或死亡的英雄。出于骄傲而冲向巴尔罗格的英雄们，或是一对一与魔哥特作战的诺尔多王们。事实上，当我读到《胡林的孩子们》时，我哭了，因为都灵从来没有休息过，他一直在努力。
事实上，我支持索伦是因为他很强大，看起来像个坏蛋，但这些书改变了我的想法。

Neeraj Khandelwal
If you are talking about movies then I think I can answer I have spent more than 2 days(4 times, every time at one go) of my life watching LOTR.
What is great, well everything is great about it. Its an epic, its like the mythological stories we hear from our grand parents or read it from millennium old text books. After which we feel that wish I would have been the part of it or this character. You feel like WOW, that was it. That is what I was waiting for. Not a second of the movie you will regret. It actually feels like our history (if you believe in conspiracy theories you would certainly do). Its just not a movie its an experience.
Story - What to say about it. Its not about only about the powerful wizards or disciplined and supernatural elves or mighty humans. It is also about hobbits, small creatures, gollum, trees, nature. It about our hunger for power whilst we know the chances are high that it will corrupt us. Its about friendship, loyalty, determination and courage of every one who is part of it. Its about the truth of war, what is it actually like. The story attracts you and you wish to be part of it.

如果你说的是电影，那么我想我可以回答。我花了超过2天（看了4次）的时间看魔戒。
为什么伟大，它的一切都是伟大的。这是一部史诗，就像我们从祖父母那里听到的神话故事，或者从千年前的教科书中读到的故事。在那之后，我们觉得我希望自己能成为其中的一部分，或者成为某个角色。你觉得哇，就是这样。这就是我一直在等待的。这部电影的每一秒你都不会后悔。它实际上感觉像是我们的历史（如果你相信阴谋论，你肯定会相信）。这不是一部电影，而是一种体验。
故事：该说些什么呢。这不仅仅是关于强大的巫师、训练有素的超自然精灵或强大的人类。它还讲述了霍比特人、小动物、咕噜、树木和自然。这是关于我们对权力的渴望，而我们知道权力很可能会腐蚀我们。它关乎每一个参与其中的人的友谊、忠诚、决心和勇气。这是关于战争的真相，战争到底是什么样子的。这个故事吸引着你，你希望成为其中的一部分。
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Characters - Characters are like that you want to be one of them either the Gandalf or Aragon or Legolas or Gimli or Samwise or Merry or Pippin or Frodo. We all want tho be like them in our dreams. You will fell in love with them by the end of it. The intensity of their personality will pull you towards them, you get attached to them. You feel sad when they feel sad, you get goosebumps when something exciting happens.
Music - Oh My God! It gets stuck on your mind. You hymn it everytime you are alone (at least I do). Music is so intense that grips you, it makes you feel its all happening around you, you feel it, you feel what is happening before your eyes.
Location/Sets - The locations where shooting was done, WOW. I want to go those places, they look so peaceful and beautiful. Even the sets are beautiful.
Lastly I could only imagine how its reader's feel. And it must be like 10x of this experience and feeling. I am not a passionate reader, but I will someday. I think everybody should watch it at least once. I made my friends do and they liked it a lot.

角色：角色就像你想成为甘道夫、阿拉贡、莱格拉斯、吉姆利、桑怀斯、梅里、皮平或佛罗多中的一员。我们都想在梦中像他们一样。最后你会爱上他们的。他们强烈的个性会把你拉向他们，你会依恋他们。当他们感到悲伤时，你会感到悲伤，当令人兴奋的事情发生时，你会感到浑身战栗。
音乐：天哪！它会一直萦绕在你的脑海里。每当你独自一人时，你都会赞美它（至少我是这样）。音乐是如此的强烈，它抓住了你，它让你感觉到周围发生的一切，你感觉到它，你感觉到眼前发生的一切。
地点/布景：拍摄地点，哇。我想去那些地方，它们看起来如此宁静美丽。连布景都很美。
最后，我只能想象小说读者的感受。这一定是这种体验和感觉的10倍。我不是一个热情的读者，但总有一天我会的。我认为每个人都应该至少看一次。我让我的朋友们这么做，他们非常喜欢。

Ray Tsai
Since there are some great answers that go into some detail, I'll make mine short.
What is so great about the Lord of the Rings is that it introduced a whole genre that is now popularized in many other books, movies, games, animations known as Fantasy. The use of Elves, Dwarves, Orcs, and goblins made popular something that was myth and fairy tales previously into cohesive races with distinct characteristics that are commonly copied in other fantasy worlds. Almost every MMO/RPG in the last 30 years use the same concepts as LoTR as the base, most without even realizing it.
In many ways I see the LoTR book series as the godfather of Fantasy as we know it today. The movies breathed a new life and direction into it, but it kept the essence of the books and added more action and visuals.

因为有一些很好的答案涉及到一些细节，所以我将把我的答案缩短。
《魔戒》的伟大之处在于，它引入了一个完整的流派，现在在许多其他书籍、电影、游戏和动画中被称为奇幻。精灵、矮人、兽人和地精的使用，使一些以前是神话和童话的东西变得流行起来，成为具有鲜明特征的有凝聚力的种族，这些特征通常在其他幻想世界中被复制。在过去30年里，几乎每一个MMO/RPG都使用与魔戒相同的概念作为基础，大多数人甚至没有意识到这一点。
在很多方面，我认为魔戒系列书是我们今天所知道的幻想的教父。电影为它注入了新的活力和方向，但它保留了书的精髓，并增加了更多的动作和视觉效果。

Aditya Kulkarni
Imagine writing an epic fantasy series of about 1170 odd pages. You may ask me what is so extraordinary in that? Anyone can write them in today's world. But do you know how JRR Tolkien wrote the entire saga? He first wrote the entire series in the form of a manuscxt in pencil! Yes in pencil! This was the initial draft and he later overwrote it with pen. The Hobbit was published in 1937 and the LOTR in 1950's. There weren't many books as today in fantasy genre. JRR Tolkien probably started the whole trend of fantasy novels.
The theme was so wonderful. Even the smallest beings could completely change the world. Tolkien himself created the Elvish language, his son Christopher personally hand drew all the maps that appear in the books as well as the movies. Nearly all famous fantasy novels of today have been inspired by LOTR to some extent. George RR Martin has openly admired LOTR and in one of his interviews, he claimed that the ending to his A Song of Ice and Fire would similar to how LOTR ended. Tolkien has kept it simple yet effective. Anyone can read LOTR with joy and it can be easily understood by people of all ages.

想象一下，写一部大约1170多页的史诗奇幻系列。你可能会问我，这其中有什么特别之处？在当今世界，任何人都可以写。但你知道托尔金是如何写下整个故事的吗？他首先以铅笔手稿的形式写下了整个系列！是的，用铅笔！这是初稿，后来他用钢笔重写了。《霍比特人》出版于1937年，《洛特人》出版于1950年代。如今，幻想类书籍并不多。托尔金可能开创了幻想小说的潮流。
主题太棒了。即使是最小的生物也能彻底改变世界。托尔金自己创造了精灵语言，他的儿子克里斯托弗亲自绘制了书籍和电影中出现的所有地图。今天几乎所有著名的奇幻小说都在一定程度上受到了魔戒的启发。乔治·马丁公开赞赏魔戒，在他的一次采访中，他声称他的《冰与火之歌》的结局与魔戒的结局相似。托尔金保持了它的简单而有效。任何人都可以愉快地阅读魔戒，而且它很容易被各个年龄段的人理解。

If Tolkien gave us LOTR, Peter Jackson further improvised and gave us the movies, which are just incomparable! The direction was outstanding, the cast was terrific, and the cinematography was mind blowing. It was as though the actors were made for the part. Ian McKellen had never read LOTR but it was Jackson's passion that made him sign as Gandalf. Christopher Lee was just amazing as Saruman! It seems that he read LOTR at least once every year till his death in 2015. He was the only actor from the franchise to have personally met JRR Tolkien. Viggo Mortensen, Elijah Wood, Orlando Bloom, John Rhys-Davies, Sean Bean, Sean Astin, Billy Boyd, Dominic Monaghan, Liv Tyler, Cate Blanchett, Andy Serkis, Ian Holm, and many others gave terrific performances. The Return of the King won 11 Oscars! Other fantasy movies struggle to even win one!
Some fans didn't like the Peter Jackson film series but I loved them! Harry Potter books were amazing but the movies weren't that good but LOTR books and movies are in the league of their own. Both are just epic and can't be compared! One can enjoy both equally. The Sunday Times has perfectly quoted on the legacy of LOTR "The English-speaking world is divided into those who have read The Hobbit and The Lord of The Rings and those who are going to read them"
I'm glad that I belong to the first category! One ring to rule them all!

如果说托尔金给了我们魔戒，那么彼得·杰克逊就是进一步即兴创作，给我们带来无与伦比的电影！导演非常出色，演员阵容非常棒，电影摄影也令人惊叹。演员们似乎是为这个角色而生的。伊恩·麦凯伦从未读过《魔戒》，但正是杰克逊的热情让他签下了甘道夫的角色。克里斯托弗·李和萨鲁曼一样棒极了！他似乎每年至少读一次魔戒，直到2015年去世。他是该系列中唯一一位亲自见过托尔金的演员。Viggo Mortensen、Elijah Wood、Orlando Bloom、John Rhys Davies、Sean Bean、Sean Astin、Billy Boyd、Dominic Monaghan、Liv Tyler、Cate Blanchett、Andy Serkis、Ian Holm和其他许多人都进行了精彩的表演。《国王归来》获得了11项奥斯卡奖！其他奇幻电影甚至很难赢得一项！
有些影迷不喜欢彼得·杰克逊的系列电影，但我喜欢他们！哈利·波特的书很精彩，但电影并没有那么好，但魔戒的书和电影不一样。魔戒的书和电影两者都是史诗，无与伦比！一个人可以同时享受两者。《星期日泰晤士报》完美地说明了魔戒的后遗症：“英语世界分为读过《霍比特人》和《魔戒》的人和将要读它们的人。”
我很高兴我属于第一类！一枚戒指统治了他们所有人！

Jonathan Avidan
I'll keep it short and sweet (well... as short as I'm nerdily capable of):
It's extremely exotic for western readers while still being built on western principles. When published, most English readers were familiar with the High Heroic style, Arthurian quests, faerie style worldbuilding and plotlines, but it was remarkably exotic for American readers who were the first fans. Modern British readers, and anybody else for that matter, find it equally exotic. Compare: how exotic Westerners were to British audiences in the 1950's.
I've always found that the gradual transition of theme and styling from a rustic, childlike environment which is Hobbiton to the epic style of the majority of the series to be both incredibly alluring to the reader and also extremely effective as the background for the plot archtype of 'a hero is found in an unlikely small village and discovers he must leave it to save the world' - most modern fantasy novels do this in poor taste (I believe), beginning the high style very early and 'lower' the setting using 'rustic language', which rings badly with modern ears. Examples: Wheel of Time novels, Eragon novels. Contrary example: the first Harry Potter novel does not change style but rather the main character's world view in order to achieve this (one of the hallmarks of genius that cemented Harry Potter as a modern classic).

我会让它简短而甜蜜（好吧……尽我所能地简短）：
1、对于西方读者来说，这本书极具异国情调，但它仍然建立在西方原则的基础上。出版时，大多数英国读者都熟悉这本书的豪迈风格、亚瑟王的任务、幻想式的世界建构和情节，但对于做为第一批粉丝的美国读者来说，这本书非常具有异国情调。现代英国读者，以及其他任何与此相关的人，都觉得它同样具有异国情调。比较：20世纪50年代，西方对英国观众来说有多么异国情调。
2、我总是发现主题和风格从乡村风格逐渐过渡，儿童般的环境，这是霍比特对该系列大多数史诗风格的描述，对读者具有难以置信的吸引力，并且作为“一个英雄在一个不太可能的小村庄里被发现，然后他必须离开去拯救世界”这一情节原型的背景非常有效——大多数现代幻想小说都是以低级趣味（我认为），很早就开始高级风格，并使用“乡村语言”来“降低”背景，这对现代人的耳朵来说很糟糕。例子：时间之轮小说，埃拉贡小说。相反的例子：第一部哈利·波特小说并没有为了实现这一点而改变风格，而是改变了主人公的世界观（使哈利·波特成为现代经典的天才标志之一）。

My personal favourite, and it applies to many other opuses as well: vertical/horizontal depth theory. The story has an amazing, almost unique and greatly established philosophical, philological and mythological background (world legends and religion creating a coherent internal belief system and philosophy thus rendering anything impossible in our world completely plausible in story world): vertical depth and a huge, widespread story taking place in an even wider world where many plotlines are hidden from view but can be fully imagined in response to the main story: horizontal depth. Other examples, less spectacularly comprehensive on the 'vertical' side, are Harry Potter novels, A Song of Ice and Fire novels, "Jonathan Strange and Mr. Norrell" by Susanna Clarke and surprisingly, the original Star Wars trilogy.
I will also shortly state the obvious: a strong plotline, character coherence and development, relatable themes and relationships, epic drama heightening underlying themes.
I will also note that I believe the novel is incompatible with modern audiences' preference for visceral, tangible drama. I don't blame people who state they cannot read it due to its writing style of seemingly endless scenic descxtions with the actual action almost 'snuck in'. They are correct. For heroic melodrama where lengthy descxtions are only of meals you have modern television (especially crime shows and their recent decade long dominance), detective novels and of course, the Hollywood gossip mill.

3、我个人的最爱，它也适用于许多其他作品：垂直/水平深度理论。这个故事有一个惊人的，几乎是独特的，非常确定的哲学，语言学和神话背景（世界传说和宗教创造了一个连贯的内部信仰体系和哲学，从而使任何在我们的世界不可能的事情在这个异世界变成了可能），这是垂直深度。巨大的，广泛的故事发生在一个更广阔的世界里，许多情节线隐藏在视线之外，但完全可以想象，以回应主要故事，这是水平深度。其他的例子，在“垂直”方面不那么全面，比如哈利波特小说、冰与火之歌小说、苏珊娜·克拉克的《乔纳森·斯特兰奇与诺雷尔先生》，以及令人惊讶的《星球大战》三部曲原著。
我也将很快陈述显而易见的：一个强有力的故事情节，人物的连贯性和发展，相关的主题和关系，史诗般的戏剧强化了潜在的主题。
我还将指出，我认为这部小说与现代观众对发自内心的、有形的戏剧的偏好不符。我不责怪那些说他们看不懂的人，因为它的写作风格似乎是无穷无尽的风景描述，而实际行动几乎是“悄悄前进”。他们是对的。对于英雄情节剧来说，描述是冗长的，你有现代电视（尤其是犯罪类节目及其近十年来的主导地位）、侦探小说，当然还有好莱坞八卦工厂。