奇幻而魔魅的恶作剧声音,充斥于布尔加科夫的小说与剧作中。作为制造视噪的大师,果戈理用破折号戳碎读者的欣赏镜面,至布尔加科夫这里已臻达极致,比如《魔障》。破折号传呈出人物的声音与意识,避免了直接引语对话所带来的时序平板与场景停滞,而更带有飞矢裂帛破石的动量感。这动感生成了边走边说、手舞足蹈的戏剧性,抑或梦游者式的自言自语。果戈理古怪的彼得堡与布尔加科夫荒诞的莫斯科街头,因这种同质化语言而一并 Fantasy and magic charm of prank, full of Bulgakov’s novels and plays. As a master of visual noise creation, Gogol pokes readers’ appreciation of the mirror with dash to the extreme of Bulgakov here, such as “magic barrier.” The dash shows the voice and consciousness of the characters and avoids the timing plate and scene stagnation brought by the direct quotation dialogue, but also feels the sense of momentum of flying sapphire. This dynamic generates a dramatic, or sleepy, self-talk of walking and dancing. Gogol’s peculiar Petersburg and Bulgakov absurd Moscow streets, because of this homogeneous language and