本文试图以茅盾的《春蚕》为例,探讨景物描写的作用。 《春蚕》开头的景物描写,作者泼墨如水,乍看似有头重脚轻之感,实则是作者景物描写的独到之处。画家作画,必须有一个立足点,把立足点选择在哪里,才能恰当的表现描绘的对象,产生最好的芝术效果,是很有讲究的。写文章,用语言文学描绘事物也是一样,也必须对立足点有所选择。 This article attempts to use Mao Dun’s “Spring Silkworm” as an example to discuss the role of scene description. The description of the scene at the beginning of the “Spring Silkworm” shows that the author splashed water like water, and it seems that there is a sense of top-heavy, but in fact it is the uniqueness of the author’s scene description. The painter has to have a foothold to choose where to base his footing in order to properly depict the objects depicted and produce the best results. Writing an article and depicting things in language and literature are also the same, and we must also have a choice of footholds.