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<br>　　山東省萊西市第一中學(xué)<br>　　【摘要】由于事件本身的曲折、生活的偶然巧合、人物感情的起伏以及人們認(rèn)識(shí)的深化，記敘類的文章肯定是曲折變化的。在寫作中必須注意這些，才能寫出符合真實(shí)生活并且富于變化的文章。<br>　　【關(guān)鍵詞】記敘類文章曲折變化事件生活感情<br>　　古人云：“凡作人貴直，而作詩(shī)文貴曲�！碧貏e是記敘類的文章，“文似看山不喜平”，不論是鴻篇巨制，還是短篇佳作，都要講究曲折變化，正所謂“大起大落，大開大合，用之長(zhǎng)篇，比如黃河之百里一曲，千里一曲一直也；然即短至絕句，亦未嘗無(wú)尺水興波之法”。這是因?yàn)槲恼率强陀^事物的反映，而客觀事物是曲折復(fù)雜、變化無(wú)窮的，我們必須反復(fù)研究，才能恰當(dāng)?shù)胤从呈挛锏谋緛?lái)面貌。這也是作文章的起碼知識(shí)。一般而言，記敘類文章曲折變化的表現(xiàn)大體有四方面，這是在寫作運(yùn)思時(shí)應(yīng)予以把握的。<br>　　一、事件本身的曲折<br>　　唯物辯證法認(rèn)為，客觀事物充滿矛盾，由于矛盾運(yùn)動(dòng)推動(dòng)事物向前發(fā)展，其中有量的變化，也有質(zhì)的飛躍，還有矛盾的轉(zhuǎn)化，等等，這一切便構(gòu)成了事物的發(fā)展變化，而其發(fā)展又是螺旋式地曲折上升的。所以事物發(fā)展變化是存在于客觀事物中的普遍規(guī)律，揭示事物發(fā)展的曲折變化是對(duì)文章運(yùn)思的必然要求。<br>　　例如，語(yǔ)文課本中的名篇《我的叔叔于勒》《最后一片常春藤葉》《麥琪的禮物》《項(xiàng)鏈》等，都反映了事物發(fā)展的曲折變化。故事本來(lái)順著一個(gè)方向發(fā)展，讀者的注意力和情感愿望都被吸引到這種可能性上，層層推向高潮，但是達(dá)到頂點(diǎn)時(shí)，發(fā)展的方向突然變化，另一種結(jié)局突然揭曉，將讀者對(duì)事件意義的理解推向一個(gè)新的高度，令讀者不勝驚愕，感情驟然跌落，從而更深層次地理解了當(dāng)時(shí)那些人物和那個(gè)社會(huì)。<br>　　二、生活的偶然巧合<br>　　生活中存在許多偶然巧合的事情，這也反映出曲折離奇的生活形態(tài)。被認(rèn)為必然的東西，是由純粹的偶然性構(gòu)成的；而所謂偶然的東西，是一種有必然性隱藏在里面的形式。古人所說(shuō)的“無(wú)巧不成書”就是這種必然的反映。如果把必然的規(guī)律，即由事物本質(zhì)所規(guī)定的聯(lián)系或趨勢(shì)比作線，那么偶然的現(xiàn)象，即事物之間非本質(zhì)的聯(lián)系或可此可彼的趨勢(shì)，可當(dāng)作幾條線交叉而構(gòu)成的點(diǎn)。巧，就出現(xiàn)在這一點(diǎn)上。這一點(diǎn)上的偶然，既是必然的表現(xiàn)，透過(guò)這一點(diǎn)，可以溯源找見一定的規(guī)律的線；又是必然的補(bǔ)充，偶然事件能夠或阻滯必然發(fā)展的進(jìn)程，使之具有生動(dòng)的形態(tài)和曲折的內(nèi)容。巧，就表現(xiàn)在那生動(dòng)的形態(tài)上、曲折的內(nèi)容中。所以，巴爾扎克曾說(shuō)：“偶然是世界上最偉大的小說(shuō)家。若想文思不竭，只要研究偶然就行�！逼鋵�(shí)，不僅小說(shuō)創(chuàng)作要研究偶然巧合，其他記敘類文章也同樣需要研究偶然巧合，只是反映的形式不完全相同而已。<br>　　當(dāng)然，設(shè)置巧合也是非常有技巧的。首先要合乎生活的真實(shí)，其次要巧得合理，合乎情節(jié)的邏輯性，再次要巧得新奇。例如，歐·亨利的著名小說(shuō)《警察與贊美詩(shī)》便是個(gè)典范。作者巧妙地運(yùn)用了事物發(fā)展過(guò)程中的巧合，使故事波瀾起伏。蘇比曾幾次惹是生非，想進(jìn)監(jiān)獄安身，可他總是因?yàn)榍珊希煸撟ニ臅r(shí)候不抓。這一系列與情理相悖的現(xiàn)象無(wú)不使人啞然失笑，同時(shí)這種巧合巧得新，巧得奇，巧得令人絕倒，又巧得使人心酸落淚。<br>　　三、人物感情的起伏<br>　　文章反映曲折復(fù)雜的客觀事物，不是機(jī)械地照相，而是要通過(guò)作者主觀的思想感情的作用而得到反映。所謂“登山則情滿于山，觀海則意溢于海�！边@就是說(shuō)，人們的思想感情是伴隨客觀事物的復(fù)雜變化而變化的。俗話說(shuō)的“情隨事遷”說(shuō)的也是這個(gè)道理。<br>　　有人曾說(shuō)：“我想作家的心境譬如一灣清澄的海水，沒有風(fēng)的時(shí)候，便靜止著如像一張明鏡，宇宙萬(wàn)物的印象都涵映在里面；一有風(fēng)的時(shí)候，便要翻波涌浪起來(lái)，宇宙萬(wàn)物的印象都活動(dòng)著在里面。這風(fēng)便是所謂的情感，這起了的波浪便是情感的變化。”這一說(shuō)法更進(jìn)一步揭示了心靈這面鏡子是感情的鏡子，它是隨著外界事物的影響而波浪起伏的。因此，這也是造成文章曲折變化的一個(gè)重要因素。<br>　　例如，吳敬梓在《儒林外史》中描寫“范進(jìn)中舉”片段時(shí)，著意刻畫了胡屠夫在范進(jìn)中舉前后截然不同的情感變化，使得人物的性格栩栩如生。胡屠戶情感的變化，正是他心理變化的反映，他的心理變化使他的前倨后恭、嫌貧愛富、趨炎附勢(shì)、嗜錢如命、庸俗自私的典型市儈的性格特征躍然紙上。讀者就是通過(guò)這些令人忍俊不禁的丑態(tài)的描繪看到了人物的變化，看到了人物的可笑，也看到了封建社會(huì)的世態(tài)炎涼和封建科舉制度對(duì)人性的摧殘。<br>　　四、人們認(rèn)識(shí)的深化<br>　　從人們認(rèn)識(shí)事物的過(guò)程來(lái)說(shuō)，也不是徑進(jìn)直遂的，常常走著“之”字形道路。無(wú)論是作者還是文章中的人物，都是這樣。這是因?yàn)閺氖赂鞣N活動(dòng)的現(xiàn)實(shí)中的人們，常常受著許多的限制，不但常常受著科學(xué)條件和技術(shù)條件的限制，而且也受著客觀事物過(guò)程的發(fā)展及其表現(xiàn)程度的限制。在這種情形之下，由于實(shí)踐中發(fā)現(xiàn)前所未料的情況，因而部分地改變思想、理論、計(jì)劃、方案的事是常有的，全部地改變的事也是有的。也就是說(shuō)，原定的思想、理論、計(jì)劃、方案，部分地或全部地不合于實(shí)際，部分錯(cuò)了或全部錯(cuò)了的事，都是有的。許多時(shí)候須反復(fù)失敗過(guò)多次，才能糾正錯(cuò)誤的認(rèn)識(shí)，才能達(dá)到和客觀過(guò)程的規(guī)律性相符合的境地。由此看來(lái)，只有經(jīng)過(guò)認(rèn)識(shí)的曲折過(guò)程，才能使認(rèn)識(shí)逐步深化。因此，認(rèn)識(shí)的曲折深化也是造成文章曲折變化的一個(gè)重要因素。<br>　　綜上所述，事件本身的曲折、生活的偶然巧合、人物感情的起伏、人們認(rèn)識(shí)的深化，是造成文章曲折變化的四個(gè)重要因素。認(rèn)識(shí)到這一點(diǎn)，在寫作加以注意，可以把文章寫得更好。<p 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