罗曼加里的小说《天根》通过讲述上世纪五十年代发生在法属赤道非洲的猎象与反猎象的故事,试图唤起人们对生态的关注和保护。《天根》的成功既源于它深刻的思想内涵,更源于它别具一格的叙事形式。小说采用对话为主要叙事方式,并以其产生的内在动力将读者引入人物的不同维度。同时,这种特定的叙事策略也展现出作者、文本现象以及读者反应三者构建的复合关系。作者以不同的对话方式塑造人物,推动故事情节的发展,使小说的内容与形式相得益彰。本文试从聚焦式对话、剪接式对话和独白式对话等三个方面分析《天根》的对话叙事策略,以揭示小说深刻的思想内涵和独特的艺术魅力。 Roman Gary’s novel Tiangen attempts to arouse people’s concern for and protection of ecology by telling stories of hunting and anti-hunting in the fifties of the French Equatorial Fifties in the 1950s. The success of “Tiangen” stems not only from its profound ideological content but also from its unique narrative form. The novel adopts dialogue as the main narrative method, and introduces the reader into the different dimensions of the character with the intrinsic motivation it generates. At the same time, this particular narrative strategy also shows the complex relationship between the author, the text phenomenon and the reaction of the readers. The author shapes the characters through different ways of dialogue, promotes the development of the storyline, and makes the content and form of the novel complement each other. This article attempts to analyze the tactics of “Tengen”’s dialogue narration from three aspects: focused dialogue, alternative dialogue and dialogue to reveal the profound ideological connotation and unique artistic charm of the novel.