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给学生讲解朱自清先生的散文名作《荷塘月色》时,对开头的“妻在屋里拍着闰儿,迷迷糊糊地哼着眠歌”以及结尾处的“妻已熟睡很久了”几句,总是淡淡略过,因为文章的重心并不在此。但“略过”多次之后,便慢慢地有些疑惑,这几句看似与题旨无关的话,有什么理由出现?作为以精谨著称的散文大家,佩弦先生为什么要设置这样一个似乎可有可无的首尾呼应结构?对这两句话语功能的探究,能否作为一枚更深入妥贴地启开全文题旨的宝钥?
When explaining to the students Mr. Zhu Ziqing’s essay “The Moon in the Lotus Pond,” he began to “hold his wife in the house and slap the sleepy song” and the “wife has been asleep for a long time” at the end. It’s always light, because the focus of the article is not here. However, after “slightly skipping” several times, it gradually puzzled that what seemed to be nothing to do with the subject matter, what reason was there? As a prose well-known prose, why did Mr. Peiji set up such a Is there an end-to-end echoing structure? Is it possible to explore the function of these two sentences as a key to open the subject of the full text more thoroughly?