莫闻默默退到一边,恨自己此刻长了嘴。
雅利奇望(🗒)着镜中(🧑)的自己,抬手抚上耳边坠得生疼的耳饰,她的话语掷地有声。
“这院子,之前没这么大吧?”他?问。
十万钱,他们万万凑不(🗺)起来。
半晌,才冷冷地对狗说:“滚回来。”
2)我最欣赏他对于《鼻子》和《醋(🔴)栗》的解析。他没有局限在小说服务现实的浅层上,而是触(👐)及了更有趣的话题。《鼻子》种我最欣(💥)赏的是这一段话:The Nose” might be thought of as a pile of ceramic shards, all imprinted with the same pattern, lying in a certain arrangement on the floor that makes us think: “vase, broken.” But when we try to reassemble it, the pieces don’t fit, because it was never a coherent vase to begin with. The potter didn’t make a vase and break it; he made a bunch of shards and laid them out in a shattered-vase arrangement. But the higher-order reason is this: we come to feel that the story’s strange logic is not the result of error, is not perverse or facile or random, but is the universe’s true logic—that it is the way things actually work, if only we could see it all clearly. 而在《醋栗》中,他(🔫)的理解更加精彩。从这篇短文入手(🤰),他引导读者去思考人生的意义以及‘快乐’在人生意义(🎞)🀄️的地位。他把整个作品宛如油画分析一样一(🐸)步步拆开,无论是天气环境描述,人物(🎇)活动对(🤰)于情节的烘托,人物本身(🦐)的符号作用,在他得描述下,我明白了为什么这是一部精妙的佳作。
(😛)“有么?”柳云诗疑惑。
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