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《孔乙己》选自鲁迅作品集《呐喊》。在他的笔下不仅孔乙己可以在其他作品中找到影子,就连咸亨酒店里的长衫和短衫饮酒者也都可以找到足迹。在封建礼教的桎梏下,鲁迅笔下的人物不再是个体,孔乙己是阿Q,也是狂人“我”。作品中人物影子的重叠相通只为了唤醒麻木的民众,乞求他们能救救孩子,救救没有吃过人的孩子……鲁迅每部作品中都有两群人,一群是束缚在封建礼教困厄之境中的代表者;另一群则是只管嬉笑怒骂的可悲看客,作品《孔乙己》也不是例外。
“Kong Yiji” is selected from the work of Lu Xun, “Cry.” In his writing, not only Kong Yi-ji can find the shadow in other works, even the gown and blouse drinkers in the Xianheng Hotel can also find their footsteps. Under the guise of feudal ethics, Lu Xun’s characters are no longer individuals, Kong Yi-ji is Ah Q, is also a madman “I ”. The overlaying figures and shades in the works only serve to awaken the numb people and beg them to save their children and help their children who have never eaten ... In each of Lu Xun’s works, there are two groups of people who are trapped in the distress of feudal ethics The representatives of the territory; the other group is just a tragic guest of ridicule, works “Kong Yiji” is no exception.