语言表述的佳妙与句际关系的科学而又富有艺术意味的安排是有着一定的因果关系的。大凡大作家对语言的调遣与组合都有一定的灵性,从而使得作品中的文学语言不是一种一般性的“语言”(Language),而是一种“言语”(ParoL),是言语文体的一种以个性方式存在的活动,具有高度的情境性、意向性、暗示性。这实在是一个深邃的话题。我们这篇小文拟从这个层面,切取鲁迅作品句际关系这个视角谈点认识。一、因果关系提示读者作出更为深入的理解。例如: “我这回在鲁镇所见的人们中,改变之大,可以说无过于她的了:五年前的花白的头发,即今已经全白,全不象四十上下的人;脸上瘦削不堪,黄中带黑,而且消尽了先前悲哀的神色,仿佛是木刻 The scientific and artistic arrangement of the relationship between the wonderful expression of the language and the sentence has a certain causal relationship. Most large writers have a certain degree of spirituality in the assignment and combination of languages, so that the literary language in the works is not a general “language” but a “paroL”. An activity that exists in a personalized manner, with a high degree of contextual, intentional, and suggestive. This is really a profound topic. This small article of ours is intended to capture the understanding of the syntactic relationship between Lu Xun’s works from this perspective. First, causality prompts readers to make a deeper understanding. For example: “The people I’ve seen in Lu’s town this time have changed so much that it’s no better than her: the grey hair five years ago is now completely white, and it’s not like people up and down. He was lean and emaciated, with yellow in the black, and he had consumed his previous sad look as if it were a woodcut.