有點污的短篇小說

㈠ 求勞倫斯的短篇小說《馬販子的女兒》全文，中英不限

The Horse Dealer's Daughter

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販馬者的女兒

By DH Lawrence

'Well, Mabel, and what are you going to do with yourself?' asked Joe, with foolish flippancy. He felt quite safe himself. Without listening for an answer, he turned aside, worked a grain of tobacco to the tip of his tongue, and spat it out. He did not care about anything, since he felt safe himself.

「好啦，瑪貝爾，你怎麼打算？」喬的問話愚蠢又刻薄。他感覺良好，等不及回答，他就轉過臉去，吐掉了舌尖上的一絲煙葉。他對一切都無所謂，什麼都不必擔心。

The three brothers and the sister sat round the desolate breakfast table, attempting some sort of desultory consultation. The morning's post had given the final tap to the family fortunes, and all was over. The dreary dining-room itself, with its heavy mahogany furniture, looked as if it were waiting to be done away with.

兄弟三個和妹妹圍坐在黯淡凄涼的早餐桌前，扯著些沒有邊際的話題。早晨的郵件將這個家庭的命運推向了邊緣，再也沒有希望了。陰沉的飯廳以及笨重的桃花心木傢具，似乎在等待著死神的降臨。

But the consultation amounted to nothing. There was a strange air of ineffectuality about the three men, as they sprawled at table, smoking and reflecting vaguely on their own condition. The girl was alone, a rather short, sullen-looking young woman of twenty-seven. She did not share the same life as her brothers. She would have been good-looking, save for the impassive fixity of her face, 'bull-dog', as her brothers called it.

遺憾的是，家庭會議毫無結果。一種挫敗的生疏的氣氛縈繞在這三個男人間，他們懶散的圍坐在餐桌周圍，吃煙，心不在焉的想著各自的處境。屋子裡的姑娘她相當瘦小，臉色陰郁，已是27歲的成年女子。她獨自一人，過著與她兄弟們完全全不同的生活，她本有著姣好的容貌，但由於她臉上一成不變的表情令人望而生畏，「鬥牛犬」，正如她兄弟們叫她的那樣。

There was a confused tramping of horses' feet outside. The three men all sprawled round in their chairs to watch. Beyond the dark holly-bushes that separated the strip of lawn from the highroad, they could see a cavalcade of shire horses swinging out of their own yard, being taken for exercise. This was the last time. These were the last horses that would go through their hands. The young men watched with critical, callous look. They were all frightened at the collapse of their lives, and the sense of disaster in which they were involved left them no inner freedom.

遠遠的，外面傳來模糊的沉重的馬蹄聲，男人們癱坐的椅子里往外張望。越過將狹長的草坪從大路分開的冬青灌木叢，可以看見一大群夏爾馬搖晃著走出馬廄，這是最後一次訓練了，這也是最後一批經手的馬匹了。三個年輕人帶著挑剔冷漠的表情望著這一切，生活的崩塌令他們不知所措，陷進失敗的沼澤的感覺沒有留給他們選擇的自由。

Yet they were three fine, well-set fellows enough. Joe, the eldest, was a man of thirty-three, broad and handsome in a hot, flushed way. His face was red, he twisted his black moustache over a thick finger, his eyes were shallow and restless. He had a sensual way of uncovering his teeth when he laughed, and his bearing was stupid. Now he watched the horses with a glazed look of helplessness in his eyes, a certain stupor of downfall.

但是，兄弟三個關系不錯，手足之情牢不可破。喬，年齡最大，紅臉膛，33歲的他高大魁梧，帥氣，熱烈奔放，易激動。他肥厚的手指擰著他那黑漆漆的髭須，淡藍色的眼睛顯得焦躁不安。當他露齒而笑時顯出他性感的一面，但他的舉止風度卻令人不敢恭維。現在，他為某種幻滅感所攜裹，正凝望著馬隊，他目光呆滯，無能為力。

The great draught-horses swung past. They were tied head to tail, four of them, and they heaved along to where a lane branched off from the highroad, planting their great hoofs floutingly in the fine black mud, swinging their great rounded haunches sumptuously, and trotting a few sudden steps as they were led into the lane, round the corner. Every movement showed a massive, slumbrous strength, and a stupidity which held them in subjection. The groom at the head looked back, jerking the leading rope. And the cavalcade moved out of sight up the lane, the tail of the last horse, bobbed up tight and stiff, held out taut from the swinging great haunches as they rocked behind the hedges in a motionlike sleep.

大隊的役馬過去了。四個一組，從頭到尾被栓在一起，在一條從大路岔開去的小路前，它們停下來無所顧忌地踢踏著腳下細黑的污泥，劇烈地搖晃著它們巨大渾圓的臀部，當它們被趕往拐角處的小路時，又疾走幾步。每一次一動都顯得困難重重，試圖使這些馬匹順從的努力看起來也愚不可及。走在前面的馬夫轉過頭來，猛扯韁繩。不一會功夫，馬隊上了小路，從視線中消失了，突然，最後一匹馬的尾巴翹地老高，僵直緊綳，與那些搖晃著它們那巨大渾圓的臀部的昏昏欲睡的擋在樹籬後的馬隊形成了鮮明的對比。

Joe watched with glazed hopeless eyes. The horses were almost like his own body to him. He felt he was done for now. Luckily he was engaged to a woman as old as himself, and therefore her father, who was steward of a neighbouring estate, would provide him with a job. He would marry and go into harness. His life was over, he would be a subject animal now.

喬無助地，目光呆滯地凝望著。他想像著自己的身體就如同那些馬匹一樣，他覺得自己已經完了。值得慶幸的是，他和一個跟他一般年齡的姑娘訂了婚，姑娘的父親是附近一個農庄的管理者，也許能給他一個工作。他將結婚，受人奴役。人生結束了，從此將過著與受人支配的動物並無二致的生活。

He turned uneasily aside, the retreating steps of the horses echoing in his ears. Then, with foolish restlessness, he reached for the scraps of bacon-rind from the plates, and making a faint whistling sound, flung them to the terrier that lay against the fender. He watched the dog swallow them, and waited till the creature looked into his eyes. Then a faint grin came on his face, and in a high, foolish voice he said:

'You won't get much more bacon, shall you, you little b----?'

The dog faintly and dismally wagged its tail, then lowered his haunches, circled round, and lay down again.

他不安地轉向一邊，可是馬匹退卻的腳步聲仍縈繞於耳際，揮之不去。然後，帶著笨拙有焦躁不安的心情，他伸手去拿碟子里小片的咸豬肉皮，同時發出一聲虛弱的哨音，猛地扔給了靠在壁爐擋板邊的小獵狗。他注視著小獵狗吞下豬肉皮，直至這小傢伙抬頭看他的眼睛。這時，他臉上浮現出一絲笑意，然後以高昂卻笨拙的聲音說：

「沒有了，是吧，你這小----」

小獵狗悶悶地微微搖了搖尾巴，然後垂下狗屁股，將身子蜷成一團，重又躺下了。
The Horse Dealer's Daughter(two)(2008-09-09 17:41:54)標簽：雜談

There was another helpless silence at the table. Joe sprawled uneasily in his seat, not willing to go till the family conclave was dissolved. Fred Henry, the second brother, was erect, clean-limbed, alert. He had watched the passing of the horses with more sang-froid. If he was an animal, like Joe, he was an animal which controls, not one which is controlled. He was master of any horse, and he carried himself with a well-tempered air of mastery. But he was not master of the situations of life. He pushed his coarse brown moustache upwards, off his lip, and glanced irritably at his sister, who sat impassive and inscrutable.

餐桌周圍也是一片無助的沉默。喬癱坐在椅子上，在家庭會議結束之前，他不想離開。第二個兄弟佛瑞德.亨利，他身材挺拔，手足勻稱，機靈敏捷。望著馬隊走過，他顯得更加鎮靜自若。如果他是個動物，像喬一樣，他也是個動物的領導者，而不是被領導的動物。他熟悉每一匹馬的習性，並能恰當合理控制自己的脾性。然而他也不是生活角逐中的勝利者，推了推唇上的棕色鬍子，不無惱火地看了他妹妹一眼。她坐在那裡，面無表情，令人難以捉摸。

'You'll go and stop with Lucy for a bit, shan't you?' he asked. The girl did not answer.

'I don't see what else you can do,' persisted Fred Henry.

'Go as a skivvy,' Joe interpolated laconically.

The girl did not move a muscle.

'If I was her, I should go in for training for a nurse,' said Malcolm, the youngest of them all. He was the baby of the family, a young man of twenty-two, with a fresh, jaunty museau.

「你將去和露西暫住一起，是吧？」他問到，但卻沒有得到回答。

「我覺得你什麼都做不了。」佛瑞德.亨利不肯善罷甘休。

「去做女傭得了。」喬橫插一杠。

「我是她啊，乾脆做個看護得了。」馬爾科姆也不甘寂寞，一副不通世故，洋洋得意的嘴臉。他是這個家裡最小的一個，只有22歲。

But Mabel did not take any notice of him. They had talked at her and round her for so many years, that she hardly heard them at all.

但瑪貝爾對他置若罔聞。他們在她周圍喋喋不休了這么多年，她壓根兒就沒當回事兒。

The marble clock on the mantel-piece softly chimed the half-hour, the dog rose uneasily from the hearthrug and looked at the party at the breakfast table. But still they sat on in ineffectual conclave.

'Oh, all right,' said Joe suddenly, a propos of nothing. 'I'll get a move on.'

半小時過去了，壁爐台上的大理石鍾輕輕地響了起來，爐前小地毯上的小獵狗不安的站了起來，張望著餐桌周圍的所有人。但他們仍坐在那裡，進行著那毫無進展的家庭會議。

「噢，好吧，」喬突然說道，a propos of nothing 「我活動活動。」

He pushed back his chair, straddled his knees with a downward jerk, to get them free, in horsy fashion, and went to the fire. Still he did not go out of the room; he was curious to know what the others would do or say. He began to charge his pipe, looking down at the dog and saying, in a high, affected voice:

'Going wi' me? Going wi' me are ter? Tha'rt goin' further than tha counts on just now, dost hear?'

他向後推了推椅子，為了舒活筋骨，他以馬步的姿勢叉開兩膝迅速蹲了下去，然後朝著壁爐走去。但他沒有離開這間屋子，他很想知道其他人會做些什麼或者說些什麼。他開始裝他的煙斗，低頭看著那條狗，以一種高昂卻又裝模作樣的聲音問到：

「跟我？還是跟他們？必須馬上作出決定，聽到沒有？」
The Horse Dealer's Daughter(three)(2008-09-09 17:49:04)標簽：雜談

The dog faintly wagged its tail, the man stuck out his jaw and covered his pipe with his hands, and puffed intently, losing himself in the tobacco, looking down all the while at the dog with an absent brown eye. The dog looked up at him in mournful distrust. Joe stood with his knees stuck out, in real horsy fashion.

小狗微微晃了晃尾巴。喬伸長下巴，用手蓋住了他的煙斗，狠狠的吸了一口，一直盯著小狗那迷離恍惚的眼神，他在煙霧中完全迷失了。小獵狗抬頭望著他，眼神里滿是令人神傷的疑惑。喬站在那裡，伸長的兩膝像極了馬的姿勢。

'Have you had a letter from Lucy?' Fred Henry asked of his sister.

「你收到露西的信了嗎？」佛瑞德.亨利問他妹妹。

'Last week,' came the neutral reply.

「上周收到的。」淡淡的回答。

'And what does she say?'

「她怎麼說？」

There was no answer.

沒有回答。

'Does she ask you to go and stop there?' persisted Fred Henry.

「她邀請你跟她一起住？」佛瑞德.亨利打破砂鍋問到底。

'She says I can if I like.'

「只要我願意。」

'Well, then, you'd better. Tell her you'll come on Monday.'

「那麼，這樣最好了。告訴他你星期一就去。」

This was received in silence.

沒有聲息。

'That's what you'll do then, is it?' said Fred Henry, in some exasperation.

「你就這種態度？」佛瑞德.亨利有些火了。

But she made no answer. There was a silence of futility and irritation in the room. Malcolm grinned fatuously.

仍然沒有回答。屋子裡安靜極了，充滿了徒勞無益和憤怒。馬爾科姆在那裡傻笑。

'You'll have to make up your mind between now and next Wednesday,' said Joe loudly, 'or else find yourself lodgings on the kerbstone.'

「從現在到下周三你必須作出決定。」喬大聲說到，「否則，自己露宿街頭。」

The face of the young woman darkened, but she sat on immutable.

霎時，瑪貝爾臉色陰沉，但她仍無動於衷。

'Here's Jack Fergusson!' exclaimed Malcolm, who was looking aimlessly out of the window.

「傑克.菲爾古森來了。」馬爾科姆叫了起來，他的望著窗外游移不定。

'Where?' exclaimed Joe, loudly.

「在哪？」喬大聲問道。

The Horse Dealer's Daughter(four)(2008-09-09 17:51:32)標簽：雜談

'Just gone past.'

「剛剛過去。」

'Coming in?'

「進來了？」

Malcolm craned his neck to see the gate.

馬爾科姆伸長脖子望著門口。

'Yes,' he said.

「嗯。」他答道。

There was a silence. Mabel sat on like one condemned, at the head of the table. Then a whistle was heard from the kitchen. The dog got up and barked sharply. Joe opened the door and shouted:

'Come on.'

又沒有聲息了。瑪貝爾坐在餐桌最前方，像個被審判者。不一會兒功夫，口哨聲在廚房那邊響起，小獵狗跳起來尖聲狂吠。喬打開門叫道：

「進來吧。」

After a moment a young man entered. He was muffled up in overcoat and a purple woollen scarf, and his tweed cap, which he did not remove, was pulled down on his head. He was of medium height, his face was rather long and pale, his eyes looked tired.

不一會兒一個年輕人進來了，厚厚的大衣將他包裹的嚴嚴實實，一條紫色羊毛披肩，一頂軟尼斜紋便帽罩在他頭上。他中等身材，相當長的面孔，蒼白的臉色，眼神看起來疲憊不堪。

'Hello, Jack! Well, Jack!' exclaimed Malcolm and Joe. Fred Henry merely said, 'Jack.'

「你好，傑克。」馬爾科姆和喬打了招呼。佛瑞德.亨利只是淡淡叫了聲「傑克」。

'What's doing?' asked the newcomer, evidently addressing Fred Henry.

「怎麼樣？」很明顯，傑克在問佛瑞德.亨利。

'Same. We've got to be out by Wednesday.--Got a cold?'

「老樣子，下周三我們就要滾蛋了。感冒了？」

'I have--got it bad, too.'

「嗯，糟透了。」

'Why don't you stop in?'

「怎麼不呆在家裡?」

'Me stop in? When I can't stand on my legs, perhaps I shall have a chance.' The young man spoke huskily. He had a slight Scotch accent.

「家裡？我的碰碰運氣，總得自食其力啊!」這個年輕人聲音沙啞，有點蘇格蘭口音。

'It's a knock-out, isn't it,' said Joe, boisterously, 'if a doctor goes round croaking with a cold. Looks bad for the patients, doesn't it?'

「優勝劣汰，是吧？」喬有點不著邊際，「一個醫生感冒了，到處傳染嘶啞的嗓音，這對病人來說可不大好，對吧？」

The young doctor looked at him slowly.

年輕醫生慢慢轉向他。

'Anything the matter with you, then?' he asked sarcastically.

「關你什麼事？」醫生語帶諷刺。

'Not as I know of. Damn your eyes, I hope not. Why?'

「當然不。狗咬呂洞賓，不識好人心，我可不想這樣，為何？」

'I thought you were very concerned about the patients, wondered if you might be one yourself.'

「我還以為你高尚無比呢，卻不知你只在乎你自己。」

'Damn it, no, I've never been patient to no flaming doctor, and hope I never shall be,' returned Joe.

「該死，不，我可從來不是冷漠醫生的病人，恐怕永遠不會。」喬反唇相譏。

At this point Mabel rose from the table, and they all seemed to become aware of her existence. She began putting the dishes together. The young doctor looked at her, but did not address her. He had not greeted her. She went out of the room with the tray, her face impassive and unchanged.

這是瑪貝爾站了起來，他們似乎到現在才意識到她的存在。她開始收拾桌上的餐具。年輕醫生看著她，但並沒有和她說話，他從來沒有和她說過話。她端著托盤離開了房間，臉上的表情一如既往。

'When are you off then, all of you?' asked the doctor.

「你們什麼時候離開，所有人？」醫生問道。

㈡ 百萬英鎊的故事發生在什麼時期

《百萬英鎊》的故事發生在18世紀中期，那時候的美國發生了南北戰爭，開始了重建時期，逐步廢除奴隸制，南部進行民主重建，制訂了民主的進步法令。

小說《百萬英鎊》中的那個年輕人，恰是馬克·吐溫的真實寫照，他在美國內華達州「淘金熱」股票泡沫中的經歷，堪稱屢戰屢敗，屢炒屢輸，最終只能「不做那沒影兒的發財夢，死心塌地奔自己的前程」。

作品主題思想

作者用漫畫筆法勾勒了不同人物在「百萬英鎊」面前的種種丑態，幽默滑稽，就如同一幅世態諷刺畫，生動的表現了小市民的見聞，令人忍俊不禁。

這部小說有一個很明顯的主題即對拜金主義的批判，此外作者還揭露了當時存在於英國社會中的種種滑稽荒誕的現象。有評論者認為《百萬英鎊》不過兩萬來字，但作者將上至王公貴族、下至平民百姓，在金錢面前的丑態刻畫得惟妙惟肖；把金錢對資本主義社會的污染乃至人性的歪曲勾勒得入木三分。

㈢ 孔乙己故事梗概及主要內容，總結人物特點

孔乙己是魯迅小說《孔乙己》中的主角，一個沒有考上秀才的讀書人孔乙己，他喪失了做人的尊嚴，淪落為小酒店裡人們嘲笑的對象，從而暴露了當時的社會問題。

孔乙己迫於生活的壓力一步一步墮落為社會垃圾。如果不制定科舉制度，那麼孔乙己就不會是這樣的情況，可是這些都是無法改變的事實。每天都有很多人為生活所逼，失去了生活的信心，成為行屍走肉，變得非常懶惰。

孔乙己那可憐又可笑的個性特徵及悲慘結局，既是舊中國廣大下層知識分子認為只有科舉一條出路的悲慘命運的生動寫照，又是中國封建儒家獨尊下科舉制度「吃人」本質的具體表現。

㈣ 看完這篇有一丟丟污的小短文，有沒有讓你想起童年

我的童年生活

我的童年都是和爸爸媽媽生活的，爺爺奶奶在農村，不和我們住一起。每逢周末，爸爸媽媽都會盡量抽出一些時間，帶我去看望在鄉下的爺爺奶奶，幫他們干一些力所能及的農活。
今天是星期六，我又如期來到奶奶家，到了那裡以後，我就和爺爺去地里幹活了。爺爺用鐵鈀鈀剛剛犁好的地，我就撿丟在地里的玉米秸，雖然地不多，可我和爺爺卻幹了小半天。吃完午飯，我又幫奶奶包玉米，將玉米擺到事先搭好的糧食架上，將玉米皮收到一起，累得我滿頭大汗。
每次從奶奶家回來，我都有不同的收獲。就像今天，雖然很累，可我知道了玉米從種到收要經歷種玉米、管理生長的玉米，到成熟後又要掰玉米、割玉米秸、包玉米皮、儲存、晾乾、打成粒、粉成玉米面或糝子，才能被我們食用。所以我們不僅要熱愛勞動，更要珍惜勞動果實、愛惜糧食。
這就是我的童年生活的一個小片段。

㈤ 魯迅《故事新編•鑄劍》是根據劉義慶《世說新語》裡面的故事改寫的嗎

魯迅先生的《故事新編•鑄劍》即是基於《搜神記》的故事講述。

短篇小說《鑄劍》誕生於1926年10月，是魯迅供職於廈門大學期間在集美樓上應《莽原》雜志約稿而創作的。創作完成後，先刊登於《莽原》雜志，後於1936年編入《故事新編》。
最早讀這篇小說是在小學三年級，看的是不知從哪裡來的一本破破爛爛的缺頁的線裝的繁體的魯迅作品集。那時對這篇小說感興趣的原因是因為她是「故事」而且是「新編」的，所以盡管字都認不全，還是囫圇吞棗地看了很多遍。這種斷斷續續的閱讀給我腦子里留下了一種奇異的印象：一個由嘶啦啦騰起的白氣純青的透明的劍寡言少語的黑衣人和上下翻騰的人頭拼湊起的光怪陸離的印象。可能因為故事開始於一個漆黑的晚上和那個黑衣人的緣故，整個故事給我留下的是黑漆漆的感覺。到現在為止，這篇小說在我的印象里還是黑漆漆的。那麼，她這種黑色的調子究竟是源於黑色場景的渲染還是來自作者自覺或不自覺的心理表達呢？
黑色的時代背景

《鑄劍》寫於1926 年，此前，魯迅在北平經歷了「女師大風潮」和「三•一八慘案」，離京南下，在廈門大學開始創作在中山大學完成創作。作者在小說中表現的復仇精神，和現實斗爭是緊緊聯系著的。在女師大事件、五卅慘案、三•一八慘案中，魯迅耳聞目睹了北洋軍閥和帝國主義的兇殘和暴虐，激起了極大的憤怒，他認為應該「抽刃而起，以血償血」。現實的嚴酷也促進了魯迅思想的發展，在堅持文化戰斗的同時，他深深認識到暴力革命的必要性。魯迅在給許廣平的通信裡面就曾經說過：「改革最快的還是火與劍。」《鑄劍》這篇小說就是在這樣一種環境下創作的。
魯迅之所以沒有用雜文的形式直接表示對黑暗時代的控訴，一個可能是此類文章已經寫過了（《紀念劉和珍君》）；更有一個可能是陰差陽錯：魯迅在《故事新編》的序言里說：直到926年的秋天，一個人住在廈門的石屋裡，對著大海，翻著古書，四近無生人氣，心裡空洞洞的。而北平的未名社，卻不絕的來信，催促雜志的文章。這時我不願意想到目前，於是回憶在心裡出土了。可見，《鑄劍》的誕生有其偶然性的一面：雜志催稿的時候，恰好「翻著古書」，於是這篇古今交織的散發著奇異色彩的小說就誕生了。
魯迅說不願意想到目前，估計是被黑暗的氣氛搞得喘不過氣來，藉由一堆故紙逃避一會兒，輕松一下，但其實心裡還是想著目前------這又是迴避不了的。只好借古說今了，可是今令人絕望，絕望得讓人想笑，冷笑，魯迅於是換了種說法，天馬行空起來，油滑起來，荒誕起來，用濃重的墨色在稿紙上肆意塗抹起來------愛懂不懂，管他媽的——從這個角度來說，創作這篇以復仇為主題的曠世奇文又是必然的。
黑色的死亡氣息

美術家陳丹青在《魯迅與死亡》這篇演講里擬定了一份魯迅身邊的死亡名單：
魯迅的父親（不到四十歲，死於病）
范愛農（三十多歲，死於溺水）
陶元慶（三十六歲，死於急病）
陳師曾（四十七歲，死於急病）
劉和珍（二十齣頭，死於槍殺）
韋素園（三十歲，死於肺病）
蕭紅（三十歲出頭，死於肺病）
柔石（不到三十歲，死於死刑）
瞿秋白（三十六歲，死於死刑）
楊杏佛（四十歲左右，死於謀殺）
以上都是魯迅生前所經歷的親友的死亡，這些死亡要麼是暴病而亡，要麼是死於槍殺，總之都屬於非正常死亡。不知道冥冥之中是否真有定數，如畢加索死前所說：我的死將如海難，周圍的小船為之沉沒。一個大人物的命運，決定著他身邊人的命運的起伏。畢加索死後，他的一個兒子造車禍而自殺，一個情人死於瘋人院，最後一位夫人不久也舉槍自殺。
魯迅在去世的那年，寫過一篇文章《死》，一個多月後，他真的就死了。這篇文章中魯迅寫了自己的遺囑，遺囑的最後一句是：
讓他們怨恨去，我也一個都不寬恕。
被死亡氣息包圍著的魯迅，從不避諱談死，死亡是黑色的，是沒有一絲光亮的黑色，永恆的黑暗，魯迅知道那裡是永恆的歸宿，黑暗而溫暖，所以他擺出一副與人世間訣絕的態度說，我一個都不寬恕。
魯迅式的報仇

魯迅曾引用明朝人的話說，我的故鄉不是藏污納垢之地，而是報仇雪恥之鄉。
魯迅的話沒有錯，浙江這個地方，是報仇雪恥之鄉：越王勾踐卧薪嘗膽；明未清初反抗異族毀家紓難；清末民初光復會群雄視死如歸慷慨悲歌。都給魯迅留下了刻骨的印象。
像光復會堅持由鼓吹而趨向力行，開始武裝革命一樣，魯迅也逐漸意識到：改革最快的還是火與劍。
被剖肝挖心的徐錫麟，被鬧市砍頭的秋瑾，都走進了魯迅的作品。
但國人的麻木和看客的不仁使魯迅感到絕望。於是魯迅在《鑄劍》里化作那個孤獨的黑衣人，沉默寡言，獨來獨往，他為復仇而生，也必將為復仇而死，為復仇，黑衣人是不擇手段的，哪怕是兩命抵一命。但不擇手段不等於不講策略地蠻干胡來：黑衣人用變戲法的方式，把王從寶座上誘下來，心甘情願地一步步走向死亡。
黑衣人將王的腦袋砍落在沸水之中，讓眉間尺親手報自己的殺父之仇，畢竟，眉間尺為報此仇已經拋棄了自己的身軀。
這是他應該得到的。
眉間尺名字的由來源於他的長相——眉間廣尺，我認為這活脫是一幅痴呆相。眉間尺難道不是一個痴呆的人嗎？他十六歲的時候，母親告訴他到了該報父仇的時候了，他背起那把寶劍就出門了；樹林里黑衣人說要他的寶劍和腦袋，他一劍削去自己的頭顱，用兩只手——手抓住自己的頭顱，一手手握寶劍——把它們一起交給黑衣人，並沒有說半句多餘的話。
當眉間尺和王的腦袋在沸水裡互相撕咬逐漸落於下風時，黑衣人將自己的腦袋砍入水中，與眉間尺的頭一起齊心協力把王的頭咬得一動不動了。
我們看到的正是魯迅的復仇方式，沒有任何寬恕和妥協，要把仇人趕盡殺絕，哪怕追到天涯海角，追到陰曹地府，也要一雪前恥。
我們不要指責魯迅的偏激，以魯迅為代表的「五四」以來的知識分子群體固然有偏執的一面，但這種偏執正是他們對黑暗時代的一種矯枉過正。陳獨秀說過「矯枉必須過正」。另一方面，這種復仇方式其實也是中國的傳統，那種「時日何喪，予及汝偕亡」的復仇的傳統。

《鑄劍》中的美學

從美學的角度看，諸如戰爭革命這類人類的暴力行為屬於壯美。美學作為一種理論體系源自西方，西方美學裡面有暴力美學這個概念。
中國人的觀念里，暴力不是個好玩意兒，似乎跟美扯不上關系。但其實中國人早就開始欣賞暴力美。《水滸傳》里武松殺嫂，多麼殘忍多麼美；我們小時候看《地道戰》《地雷戰》之類的軍教片，感受到的也是暴力美。
暴力美做為一種觀念進入中國，還是跟電影這種文藝形式有關。比如香港導演吳宇森的槍戰片的一些場景：教堂白鴿鮮血死亡和子彈。被解讀為暴力美學。吳宇森在好萊塢的成功，關鍵的因素就是他電影中的暴力美被西方觀眾所認可。
台灣學者蔣勛說：美學的本質或許是孤獨。用這個觀點來立論的話，暴力美的本質也是孤獨。
《鑄劍》里的人物都是孤獨的。王是孤獨的：雖富擁天下，群臣美女圍繞卻仍然高興不起來。眉間尺是孤獨的：十六歲前活在母親的謊言中，一旦知道了真相，卻要義無反顧地去報仇。黑衣人更是孤獨的，他那身裝束就不像是在人堆里混的。眉間尺的母親也是孤獨的，十六年含辛茹苦把兒子養大，只為長大後報仇。
《鑄劍》這篇小說給我們的心理傳遞了一種侵略性或是殘酷性的力量，這種力量經由魯迅的如椽大筆被無限放大，我們並不清楚這種力量有多大，甚至連其中的有些意義也變得含混不清。但我們卻可以從閱讀中感受到舒緩釋放感覺到異樣的快樂，這就是「暴力」與「美學」的結合。
我們為什麼會欣賞暴力呢？因為人類從野蠻到文明的演進過程中暴力從一種生存能力蛻變為內心的慾望；我們為什麼會欣賞美呢？因為美是孤獨的，我們也是孤獨的，我們與美是心心相印的。
我們還會孤獨下去，因此《鑄劍》給我們帶來的這種美是永恆的。