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orsomething,... She made out like she was concen-trating on her next move in the game andall. 2.以what从句先引出句子话题: What she'd do, when she'd get a king, she wouldn't move it. 长篇独白中的一些句于还有一个里安特点，即它们带有“句子后缀”，以下是一些例子: I pictured her holding a cigarette forme to smoke while I was bleeding and all. Any way, it was December and 'all,and it was cold as a witch's teat. I was too late to call up for a cab or anything. 纵观全书，这些俯拾即是的句子后缀的功能在于:舒缓节奏，形成霍尔顿独白的独特韵律。它们的功能在于描摹了霍尔顿的鲜明个性，同时构成了全书和谐流畅的口语文体。四、篇章的口语特色首先，通读全篇我们不难发现词语的重复是这一独白篇章重要的衔接手段.书面篇章一般要避免单纯重复而代之以同义词、近义词、释义的短语(paraphrase)等，该书中这种单纯的重复作为对书面语体的一种偏离，正体现了口头话语的特色。试看下例，短短一段话中，0pack”一词单纯重复了五次，只有一次用了派生词"packer0: Anyway, that's what I'd do. 5o I wentback to the room and turned on the light, to start packing and all. I already had a few things packed. Old Strandlater didn't even wake up. I lit a cigarette and got all dressed and then I packed these two Gladt ones I have. It only took me about two minutes. I'm a very rapid packer. One thing about packing depressed mea little. I had to pack these brand new icc skates... 与此相应的是松散的句子。在很多情况下，造成这种松散的原因是句间插人了霍尔顿解释性、补充性的话语，这就使叙述节奏减慢.如下例中若将划线部分略去，并不影响所叙述事件的完整，但由于这些部分的存在而形成的迂回舒缓的口语体风格就会受到破坏: The whole thing was sort of funny, ina way, if you thought about it, and all of a sudden I did something I shouldn't have. Ilaughed. And I have one of those very loud, stupid laughs. I mean if I ever sat be-hind myself in a movie or something, I'dprobably lean over and tell myself to pleaseshut up. I made old Sally mad than ever. 与这种句际的松散相对应，是句子中模糊性限定词和短语的运用，最常见的有 sort of, damn near等，在下例中，这种词和短语有七处之多，使篇章充满了事事不能确定的气氛，又使叙述非常口语化: It was pretty dark, and I stepped onsomebody's shoe on the floor and damnnear fell on my head. Ackley sort of sat upin bed and leaned on his arm. He had a lotof white stuff on his face, for his pimples.He looked sort of spooky in the dark.What the hellya doing, anyway? I said. 整个篇章最大的特点在于叙述者霍尔顿把读者拉了进去，他直呼读者为`you"，顿时造成了面对同情、理解他的听众侃侃而谈的效果，使独白不独，使篇章具备了口头话语的神貌。仅举一例: Anyway, it was the Saturday of the football game with Saxon Hall. The gamewith Saxon Hall was supposed to be a very big deal around Pency. It was the last game of the year. and you were supposed to commit suicide or something if old Pencey didn't win. I remember three o'clock that afternoon I was standing the hell up on topof Thomsan Hill, right next to this crazy cannon that was in the Revolutionary War and all. You could see the whole field from there, and you could see the two teams bashing each other all over the place. You couldn't see the grandstand too hot, but you could hear them all yelling, deep and terrific on Pencey side, because practicallythe whole school except me was there, and scrawny and faggy on the Saxon Hill side, because the visiting team hardly ever brought many people with them. 从以上分析可以看出，塞林格这部小说具有鲜明的日语特色，这一语言特色在塑造霍尔顿这一形象并揭示其性格方面的作用是其他表现手法所无法替代的。小而言之，分析这一特色可以使我们进一步认识到对于一部小说的成功，语言的魅力是不可或缺的;大而言之，口语体为什么会成为自传性、独白性小说塑造反叛社会角色的最佳选择，这部小说可以给我们提供答案.我们还看到，口语体文学作品在现代文学中作为一种反叛出现，其趋势不是全盘照搬日常话语，而只是选用日语中明快的、极富表现力的语言形式作为其独特表现.正如在小说中点缀几个口语词是远远不够的，将小说写成口头话语的原声记> 录也是不堪卒读的(.)，而塞林格的这部小说正是两者间折衷的一个成功的尝试。 NOTES 1 .Pobert F. Kierman (1983). American Writing Since 1945. 2.见书目中列出的Geismar, Long, Vinson, Westbrook等人著作的有关章节. 3.本文全部例子均引自Salinger, J. D. (1951). Cattier认the Rye, Penguin Books, reprinted in 1987. 4. Deborah Tannen (1982). Spoken