记得老舍先生曾经勉励年青剧作家要写写诗。我想,这不仅仅是为了增强语言的文采,“不学诗,无以言”(《论语》),更重要的是,戏剧的重要情境应有诗情的意境,戏剧的整体构思要具有诗思的建构。李渔说:“编戏有如缝衣,其初则以完全者剪碎,其后又以剪碎者凑成。”怎样“凑成”?“凑成”什么样的?借用阿·托尔斯泰的话说,作家要用“自己身上的火焰使它变得光彩夺目” I remember Mr. Lao She had encouraged young dramatists to write poetry. I think this is not only to enhance the literary grace of the language, “not to learn poetry, without words” (“The Analects of Confucius”), more importantly, the important context of drama should have the mood of poetry, the overall concept of drama To have a poetic construction. Li Yu said: “The play is like sewing, the beginning of the complete cut, and then cut to make up. ” “”? To borrow the words of A. Tolstoy, writers should use “the flame of their own to make it dazzling”