文学中的博弈是一个文学术语，指的是故事的一部分，为戏剧的发展奠定了基础：它介绍了故事开头的主题，场景，人物和环境。要识别博览会，请在前几个段落（或多个页面）中找到作者在行动发生之前描述设置和情绪的描述。在灰姑娘的故事中，博览会就是这样的：曾几何时，在远方的土地上，一个年轻的女孩生来就是非常爱的父母。幸福的父母给孩子起名叫艾拉。可悲的是，艾拉的母亲在孩子很小的时候就去世了。多年来，艾拉的父亲确信年轻美丽的艾拉在她的生活中需要一位母亲。有一天，艾拉的父亲在她的生活中介绍了一个新女人，艾拉的父亲解释说，这个陌生的女人要成为她的继母。对于艾拉来说，这个女人似乎冷漠无情。看看这是如何为即将到来的行动奠定基础的？你只知道艾拉的幸福生活即将变得更糟。上面的示例仅显示了为故事提供背景信息的一种方法。作者可以通过其他方式向您提供信息，而无需直接说明情况。一种方法是通过主角的想法。例子：年轻的汉塞尔摇了摇他右手抓着的篮子。它几乎是空的。当面包屑用完时，他不确定自己会做什么，但他确信他不想让他的小妹妹格莱特惊恐。他低头看着她无辜的脸，想知道他们邪恶的母亲是如何如此残忍。她怎么能把他们赶出家门？他们可以在这片黑暗的森林中生存多久？在上面的例子中，我们理解故事的背景，因为主角正在思考它们。我们还可以从两个角色之间的对话中得出背景信息：“你需要穿上我给你的最好的红色斗篷，”母亲对女儿说。 “并且要非常小心，因为你想要去祖母家。不要偏离森林小路，也不要跟任何陌生人说话。一定要留意那只大坏狼！” “奶奶病了吗？”小女孩问道。 “亲爱的，她看到你漂亮的脸，吃掉你篮子里的零食，她会好多了。” “我不害怕，妈妈，”小女孩回答道。 “我已多次走过这条路。狼不会吓到我。”我们可以通过目睹母子之间的对话来获取有关这个故事中人物的大量信息。我们还可以预测某些事情即将发生 – 并且某些东西最有可能涉及那只大恶狼！虽然博览会通常出现在书的开头，但可能有例外。例如，在某些书籍中，您可能会发现博览会通过角色经历的闪回来进行。
Exposition in literature is a literary term that refers to the part of a story that sets the stage for the drama to follow: it introduces the theme, setting, characters, and circumstances at the story’s beginnings. To identify the exposition, find in the first few paragraph (or pages) where the author gives a description of the setting and the mood before the action takes place. In the story of Cinderella, the exposition goes something like this: Once upon a time, in a land far away, a young girl was born to very loving parents. The happy parents named the child Ella. Sadly, Ella’s mother died when the child was very young. Over the years, Ella’s father became convinced that the young and beautiful Ella needed a mother figure in her life. One day, Ella’s father introduced a new woman into her life, and Ella’s father explained that this strange woman was to become her stepmother. To Ella, the woman seemed cold and uncaring. See how this sets the stage for the action to come? You just know that Ella’s happy life is about to change for the worse. The example above shows only one way to provide background information for a story. There are other ways for authors to give you information without stating the situation outright. One way to do this is through the thoughts of the main character. Example: Young Hansel shook the basket he clutched in his right hand. It was almost empty. He wasn’t sure what he would do when the bread crumbs ran out, but he was certain that he did not want to alarm his little sister, Gretel. He glanced down at her innocent face and wondered how their wicked mother could be so cruel. How could she kick them out of their home? How long could they possible survive in this dark forest? In the example above, we understand the background of the story because the main character is thinking about them. We can also derive background information from a conversation that takes place between two characters: “You will need to wear the best red cloak I gave you,” the mother said to her daughter. “And be very careful as you want to grandmother’s house. Don’t veer off the forest path, and don’t talk to any strangers. And be sure to look out for the big bad wolf!” “Is grandmother very sick?” the young girl asked. “She will be much better after she sees your beautiful face and eats the treats in your basket, my dear.” “I am not afraid, Mother,” the young girl answered. “I have walked the path many times. The wolf does not frighten me.” We can pick up a lot of information about the characters in this story, just by witnessing the conversation between mother and child. We can also predict that something is about to occur — and that something will most likely involve that big bad wolf! While the exposition usually appears at the beginning of a book, there can be exceptions. In some books, for example, you may find that exposition takes place through flashbacks that are experienced by a character.