有点污的短篇小说

㈠ 求劳伦斯的短篇小说《马贩子的女儿》全文，中英不限

The Horse Dealer's Daughter

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贩马者的女儿

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，玛贝尔，你怎么打算？”乔的问话愚蠢又刻薄。他感觉良好，等不及回答，他就转过脸去，吐掉了舌尖上的一丝烟叶。他对一切都无所谓，什么都不必担心。

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.

兄弟三个和妹妹围坐在黯淡凄凉的早餐桌前，扯着些没有边际的话题。早晨的邮件将这个家庭的命运推向了边缘，再也没有希望了。阴沉的饭厅以及笨重的桃花心木家具，似乎在等待着死神的降临。

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.

遗憾的是，家庭会议毫无结果。一种挫败的生疏的气氛萦绕在这三个男人间，他们懒散的围坐在餐桌周围，吃烟，心不在焉的想着各自的处境。屋子里的姑娘她相当瘦小，脸色阴郁，已是27岁的成年女子。她独自一人，过着与她兄弟们完全全不同的生活，她本有着姣好的容貌，但由于她脸上一成不变的表情令人望而生畏，“斗牛犬”，正如她兄弟们叫她的那样。

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.

远远的，外面传来模糊的沉重的马蹄声，男人们瘫坐的椅子里往外张望。越过将狭长的草坪从大路分开的冬青灌木丛，可以看见一大群夏尔马摇晃着走出马厩，这是最后一次训练了，这也是最后一批经手的马匹了。三个年轻人带着挑剔冷漠的表情望着这一切，生活的崩塌令他们不知所措，陷进失败的沼泽的感觉没有留给他们选择的自由。

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，兄弟三个关系不错，手足之情牢不可破。乔，年龄最大，红脸膛，33岁的他高大魁梧，帅气，热烈奔放，易激动。他肥厚的手指拧着他那黑漆漆的髭须，淡蓝色的眼睛显得焦躁不安。当他露齿而笑时显出他性感的一面，但他的举止风度却令人不敢恭维。现在，他为某种幻灭感所携裹，正凝望着马队，他目光呆滞，无能为力。

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.

大队的役马过去了。四个一组，从头到尾被栓在一起，在一条从大路岔开去的小路前，它们停下来无所顾忌地踢踏着脚下细黑的污泥，剧烈地摇晃着它们巨大浑圆的臀部，当它们被赶往拐角处的小路时，又疾走几步。每一次一动都显得困难重重，试图使这些马匹顺从的努力看起来也愚不可及。走在前面的马夫转过头来，猛扯缰绳。不一会功夫，马队上了小路，从视线中消失了，突然，最后一匹马的尾巴翘地老高，僵直紧绷，与那些摇晃着它们那巨大浑圆的臀部的昏昏欲睡的挡在树篱后的马队形成了鲜明的对比。

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.

乔无助地，目光呆滞地凝望着。他想象着自己的身体就如同那些马匹一样，他觉得自己已经完了。值得庆幸的是，他和一个跟他一般年龄的姑娘订了婚，姑娘的父亲是附近一个农庄的管理者，也许能给他一个工作。他将结婚，受人奴役。人生结束了，从此将过着与受人支配的动物并无二致的生活。

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.

他不安地转向一边，可是马匹退却的脚步声仍萦绕于耳际，挥之不去。然后，带着笨拙有焦躁不安的心情，他伸手去拿碟子里小片的咸猪肉皮，同时发出一声虚弱的哨音，猛地扔给了靠在壁炉挡板边的小猎狗。他注视着小猎狗吞下猪肉皮，直至这小家伙抬头看他的眼睛。这时，他脸上浮现出一丝笑意，然后以高昂却笨拙的声音说：

“没有了，是吧，你这小----”

小猎狗闷闷地微微摇了摇尾巴，然后垂下狗屁股，将身子蜷成一团，重又躺下了。
The Horse Dealer's Daughter(two)(2008-09-09 17:41:54)标签：杂谈

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.

餐桌周围也是一片无助的沉默。乔瘫坐在椅子上，在家庭会议结束之前，他不想离开。第二个兄弟佛瑞德.亨利，他身材挺拔，手足匀称，机灵敏捷。望着马队走过，他显得更加镇静自若。如果他是个动物，像乔一样，他也是个动物的领导者，而不是被领导的动物。他熟悉每一匹马的习性，并能恰当合理控制自己的脾性。然而他也不是生活角逐中的胜利者，推了推唇上的棕色胡子，不无恼火地看了他妹妹一眼。她坐在那里，面无表情，令人难以捉摸。

'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.

“你将去和露西暂住一起，是吧？”他问到，但却没有得到回答。

“我觉得你什么都做不了。”佛瑞德.亨利不肯善罢甘休。

“去做女佣得了。”乔横插一杠。

“我是她啊，干脆做个看护得了。”马尔科姆也不甘寂寞，一副不通世故，洋洋得意的嘴脸。他是这个家里最小的一个，只有22岁。

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.

但玛贝尔对他置若罔闻。他们在她周围喋喋不休了这么多年，她压根儿就没当回事儿。

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.'

半小时过去了，壁炉台上的大理石锺轻轻地响了起来，炉前小地毯上的小猎狗不安的站了起来，张望着餐桌周围的所有人。但他们仍坐在那里，进行着那毫无进展的家庭会议。

“噢，好吧，”乔突然说道，a propos of nothing “我活动活动。”

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?'

他向后推了推椅子，为了舒活筋骨，他以马步的姿势叉开两膝迅速蹲了下去，然后朝着壁炉走去。但他没有离开这间屋子，他很想知道其他人会做些什么或者说些什么。他开始装他的烟斗，低头看着那条狗，以一种高昂却又装模作样的声音问到：

“跟我？还是跟他们？必须马上作出决定，听到没有？”
The Horse Dealer's Daughter(three)(2008-09-09 17:49:04)标签：杂谈

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。乔伸长下巴，用手盖住了他的烟斗，狠狠的吸了一口，一直盯着小狗那迷离恍惚的眼神，他在烟雾中完全迷失了。小猎狗抬头望着他，眼神里满是令人神伤的疑惑。乔站在那里，伸长的两膝像极了马的姿势。

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

“你收到露西的信了吗？”佛瑞德.亨利问他妹妹。

'Last week,' came the neutral reply.

“上周收到的。”淡淡的回答。

'And what does she say?'

“她怎么说？”

There was no answer.

没有回答。

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

“她邀请你跟她一起住？”佛瑞德.亨利打破砂锅问到底。

'She says I can if I like.'

“只要我愿意。”

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

“那么，这样最好了。告诉他你星期一就去。”

This was received in silence.

没有声息。

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

“你就这种态度？”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.

仍然没有回答。屋子里安静极了，充满了徒劳无益和愤怒。马尔科姆在那里傻笑。

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

“从现在到下周三你必须作出决定。”乔大声说到，“否则，自己露宿街头。”

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

霎时，玛贝尔脸色阴沉，但她仍无动于衷。

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

“杰克.菲尔古森来了。”马尔科姆叫了起来，他的望着窗外游移不定。

'Where?' exclaimed Joe, loudly.

“在哪？”乔大声问道。

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

'Just gone past.'

“刚刚过去。”

'Coming in?'

“进来了？”

Malcolm craned his neck to see the gate.

马尔科姆伸长脖子望着门口。

'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.'

又没有声息了。玛贝尔坐在餐桌最前方，像个被审判者。不一会儿功夫，口哨声在厨房那边响起，小猎狗跳起来尖声狂吠。乔打开门叫道：

“进来吧。”

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.

不一会儿一个年轻人进来了，厚厚的大衣将他包裹的严严实实，一条紫色羊毛披肩，一顶软尼斜纹便帽罩在他头上。他中等身材，相当长的面孔，苍白的脸色，眼神看起来疲惫不堪。

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

“你好，杰克。”马尔科姆和乔打了招呼。佛瑞德.亨利只是淡淡叫了声“杰克”。

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

“怎么样？”很明显，杰克在问佛瑞德.亨利。

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

“老样子，下周三我们就要滚蛋了。感冒了？”

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

“嗯，糟透了。”

'Why don't you stop in?'

“怎么不呆在家里?”

'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.

“家里？我的碰碰运气，总得自食其力啊!”这个年轻人声音沙哑，有点苏格兰口音。

'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?'

“优胜劣汰，是吧？”乔有点不着边际，“一个医生感冒了，到处传染嘶哑的嗓音，这对病人来说可不大好，对吧？”

The young doctor looked at him slowly.

年轻医生慢慢转向他。

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

“关你什么事？”医生语带讽刺。

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

“当然不。狗咬吕洞宾，不识好人心，我可不想这样，为何？”

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

“我还以为你高尚无比呢，却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.

“该死，不，我可从来不是冷漠医生的病人，恐怕永远不会。”乔反唇相讥。

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.

这是玛贝尔站了起来，他们似乎到现在才意识到她的存在。她开始收拾桌上的餐具。年轻医生看着她，但并没有和她说话，他从来没有和她说过话。她端着托盘离开了房间，脸上的表情一如既往。

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

“你们什么时候离开，所有人？”医生问道。

㈡ 百万英镑的故事发生在什么时期

《百万英镑》的故事发生在18世纪中期，那时候的美国发生了南北战争，开始了重建时期，逐步废除奴隶制，南部进行民主重建，制订了民主的进步法令。

小说《百万英镑》中的那个年轻人，恰是马克·吐温的真实写照，他在美国内华达州“淘金热”股票泡沫中的经历，堪称屡战屡败，屡炒屡输，最终只能“不做那没影儿的发财梦，死心塌地奔自己的前程”。

作品主题思想

作者用漫画笔法勾勒了不同人物在“百万英镑”面前的种种丑态，幽默滑稽，就如同一幅世态讽刺画，生动的表现了小市民的见闻，令人忍俊不禁。

这部小说有一个很明显的主题即对拜金主义的批判，此外作者还揭露了当时存在于英国社会中的种种滑稽荒诞的现象。有评论者认为《百万英镑》不过两万来字，但作者将上至王公贵族、下至平民百姓，在金钱面前的丑态刻画得惟妙惟肖；把金钱对资本主义社会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内容，总结人物特点

孔乙己是鲁迅小说《孔乙己》中的主角，一个没有考上秀才的读书人孔乙己，他丧失了做人的尊严，沦落为小酒店里人们嘲笑的对象，从而暴露了当时的社会问题。

孔乙己迫于生活的压力一步一步堕落为社会垃圾。如果不制定科举制度，那么孔乙己就不会是这样的情况，可是这些都是无法改变的事实。每天都有很多人为生活所逼，失去了生活的信心，成为行尸走肉，变得非常懒惰。

孔乙己那可怜又可笑的个性特征及悲惨结局，既是旧中国广大下层知识分子认为只有科举一条出路的悲惨命运的生动写照，又是中国封建儒家独尊下科举制度“吃人”本质的具体表现。

㈣ 看完这篇有一丢丢污的小短文，有没有让你想起童年

我的童年生活

我的童年都是和爸爸妈妈生活的，爷爷奶奶在农村，不和我们住一起。每逢周末，爸爸妈妈都会尽量抽出一些时间，带我去看望在乡下的爷爷奶奶，帮他们干一些力所能及的农活。
今天是星期六，我又如期来到奶奶家，到了那里以后，我就和爷爷去地里干活了。爷爷用铁钯钯刚刚犁好的地，我就捡丢在地里的玉米秸，虽然地不多，可我和爷爷却干了小半天。吃完午饭，我又帮奶奶包玉米，将玉米摆到事先搭好的粮食架上，将玉米皮收到一起，累得我满头大汗。
每次从奶奶家回来，我都有不同的收获。就像今天，虽然很累，可我知道了玉米从种到收要经历种玉米、管理生长的玉米，到成熟后又要掰玉米、割玉米秸、包玉米皮、储存、晾干、打成粒、粉成玉米面或糁子，才能被我们食用。所以我们不仅要热爱劳动，更要珍惜劳动果实、爱惜粮食。
这就是我的童年生活的一个小片段。

㈤ 鲁迅《故事新编•铸剑》是根据刘义庆《世说新语》里面的故事改写的吗

鲁迅先生的《故事新编•铸剑》即是基于《搜神记》的故事讲述。

短篇小说《铸剑》诞生于1926年10月，是鲁迅供职于厦门大学期间在集美楼上应《莽原》杂志约稿而创作的。创作完成后，先刊登于《莽原》杂志，后于1936年编入《故事新编》。
最早读这篇小说是在小学三年级，看的是不知从哪里来的一本破破烂烂的缺页的线装的繁体的鲁迅作品集。那时对这篇小说感兴趣的原因是因为她是“故事”而且是“新编”的，所以尽管字都认不全，还是囫囵吞枣地看了很多遍。这种断断续续的阅读给我脑子里留下了一种奇异的印象：一个由嘶啦啦腾起的白气纯青的透明的剑寡言少语的黑衣人和上下翻腾的人头拼凑起的光怪陆离的印象。可能因为故事开始于一个漆黑的晚上和那个黑衣人的缘故，整个故事给我留下的是黑漆漆的感觉。到现在为止，这篇小说在我的印象里还是黑漆漆的。那么，她这种黑色的调子究竟是源于黑色场景的渲染还是来自作者自觉或不自觉的心理表达呢？
黑色的时代背景

《铸剑》写于1926 年，此前，鲁迅在北平经历了“女师大风潮”和“三•一八惨案”，离京南下，在厦门大学开始创作在中山大学完成创作。作者在小说中表现的复仇精神，和现实斗争是紧紧联系着的。在女师大事件、五卅惨案、三•一八惨案中，鲁迅耳闻目睹了北洋军阀和帝国主义的凶残和暴虐，激起了极大的愤怒，他认为应该“抽刃而起，以血偿血”。现实的严酷也促进了鲁迅思想的发展，在坚持文化战斗的同时，他深深认识到暴力革命的必要性。鲁迅在给许广平的通信里面就曾经说过：“改革最快的还是火与剑。”《铸剑》这篇小说就是在这样一种环境下创作的。
鲁迅之所以没有用杂文的形式直接表示对黑暗时代的控诉，一个可能是此类文章已经写过了（《纪念刘和珍君》）；更有一个可能是阴差阳错：鲁迅在《故事新编》的序言里说：直到926年的秋天，一个人住在厦门的石屋里，对着大海，翻着古书，四近无生人气，心里空洞洞的。而北平的未名社，却不绝的来信，催促杂志的文章。这时我不愿意想到目前，于是回忆在心里出土了。可见，《铸剑》的诞生有其偶然性的一面：杂志催稿的时候，恰好“翻着古书”，于是这篇古今交织的散发着奇异色彩的小说就诞生了。
鲁迅说不愿意想到目前，估计是被黑暗的气氛搞得喘不过气来，借由一堆故纸逃避一会儿，轻松一下，但其实心里还是想着目前------这又是回避不了的。只好借古说今了，可是今令人绝望，绝望得让人想笑，冷笑，鲁迅于是换了种说法，天马行空起来，油滑起来，荒诞起来，用浓重的墨色在稿纸上肆意涂抹起来------爱懂不懂，管他妈的——从这个角度来说，创作这篇以复仇为主题的旷世奇文又是必然的。
黑色的死亡气息

美术家陈丹青在《鲁迅与死亡》这篇演讲里拟定了一份鲁迅身边的死亡名单：
鲁迅的父亲（不到四十岁，死于病）
范爱农（三十多岁，死于溺水）
陶元庆（三十六岁，死于急病）
陈师曾（四十七岁，死于急病）
刘和珍（二十出头，死于枪杀）
韦素园（三十岁，死于肺病）
萧红（三十岁出头，死于肺病）
柔石（不到三十岁，死于死刑）
瞿秋白（三十六岁，死于死刑）
杨杏佛（四十岁左右，死于谋杀）
以上都是鲁迅生前所经历的亲友的死亡，这些死亡要么是暴病而亡，要么是死于枪杀，总之都属于非正常死亡。不知道冥冥之中是否真有定数，如毕加索死前所说：我的死将如海难，周围的小船为之沉没。一个大人物的命运，决定着他身边人的命运的起伏。毕加索死后，他的一个儿子造车祸而自杀，一个情人死于疯人院，最后一位夫人不久也举枪自杀。
鲁迅在去世的那年，写过一篇文章《死》，一个多月后，他真的就死了。这篇文章中鲁迅写了自己的遗嘱，遗嘱的最后一句是：
让他们怨恨去，我也一个都不宽恕。
被死亡气息包围着的鲁迅，从不避讳谈死，死亡是黑色的，是没有一丝光亮的黑色，永恒的黑暗，鲁迅知道那里是永恒的归宿，黑暗而温暖，所以他摆出一副与人世间诀绝的态度说，我一个都不宽恕。
鲁迅式的报仇

鲁迅曾引用明朝人的话说，我的故乡不是藏污纳垢之地，而是报仇雪耻之乡。
鲁迅的话没有错，浙江这个地方，是报仇雪耻之乡：越王勾践卧薪尝胆；明未清初反抗异族毁家纾难；清末民初光复会群雄视死如归慷慨悲歌。都给鲁迅留下了刻骨的印象。
像光复会坚持由鼓吹而趋向力行，开始武装革命一样，鲁迅也逐渐意识到：改革最快的还是火与剑。
被剖肝挖心的徐锡麟，被闹市砍头的秋瑾，都走进了鲁迅的作品。
但国人的麻木和看客的不仁使鲁迅感到绝望。于是鲁迅在《铸剑》里化作那个孤独的黑衣人，沉默寡言，独来独往，他为复仇而生，也必将为复仇而死，为复仇，黑衣人是不择手段的，哪怕是两命抵一命。但不择手段不等于不讲策略地蛮干胡来：黑衣人用变戏法的方式，把王从宝座上诱下来，心甘情愿地一步步走向死亡。
黑衣人将王的脑袋砍落在沸水之中，让眉间尺亲手报自己的杀父之仇，毕竟，眉间尺为报此仇已经抛弃了自己的身躯。
这是他应该得到的。
眉间尺名字的由来源于他的长相——眉间广尺，我认为这活脱是一幅痴呆相。眉间尺难道不是一个痴呆的人吗？他十六岁的时候，母亲告诉他到了该报父仇的时候了，他背起那把宝剑就出门了；树林里黑衣人说要他的宝剑和脑袋，他一剑削去自己的头颅，用两只手——手抓住自己的头颅，一手手握宝剑——把它们一起交给黑衣人，并没有说半句多余的话。
当眉间尺和王的脑袋在沸水里互相撕咬逐渐落于下风时，黑衣人将自己的脑袋砍入水中，与眉间尺的头一起齐心协力把王的头咬得一动不动了。
我们看到的正是鲁迅的复仇方式，没有任何宽恕和妥协，要把仇人赶尽杀绝，哪怕追到天涯海角，追到阴曹地府，也要一雪前耻。
我们不要指责鲁迅的偏激，以鲁迅为代表的“五四”以来的知识分子群体固然有偏执的一面，但这种偏执正是他们对黑暗时代的一种矫枉过正。陈独秀说过“矫枉必须过正”。另一方面，这种复仇方式其实也是中国的传统，那种“时日何丧，予及汝偕亡”的复仇的传统。

《铸剑》中的美学

从美学的角度看，诸如战争革命这类人类的暴力行为属于壮美。美学作为一种理论体系源自西方，西方美学里面有暴力美学这个概念。
中国人的观念里，暴力不是个好玩意儿，似乎跟美扯不上关系。但其实中国人早就开始欣赏暴力美。《水浒传》里武松杀嫂，多么残忍多么美；我们小时候看《地道战》《地雷战》之类的军教片，感受到的也是暴力美。
暴力美做为一种观念进入中国，还是跟电影这种文艺形式有关。比如香港导演吴宇森的枪战片的一些场景：教堂白鸽鲜血死亡和子弹。被解读为暴力美学。吴宇森在好莱坞的成功，关键的因素就是他电影中的暴力美被西方观众所认可。
台湾学者蒋勋说：美学的本质或许是孤独。用这个观点来立论的话，暴力美的本质也是孤独。
《铸剑》里的人物都是孤独的。王是孤独的：虽富拥天下，群臣美女围绕却仍然高兴不起来。眉间尺是孤独的：十六岁前活在母亲的谎言中，一旦知道了真相，却要义无反顾地去报仇。黑衣人更是孤独的，他那身装束就不像是在人堆里混的。眉间尺的母亲也是孤独的，十六年含辛茹苦把儿子养大，只为长大后报仇。
《铸剑》这篇小说给我们的心理传递了一种侵略性或是残酷性的力量，这种力量经由鲁迅的如椽大笔被无限放大，我们并不清楚这种力量有多大，甚至连其中的有些意义也变得含混不清。但我们却可以从阅读中感受到舒缓释放感觉到异样的快乐，这就是“暴力”与“美学”的结合。
我们为什么会欣赏暴力呢？因为人类从野蛮到文明的演进过程中暴力从一种生存能力蜕变为内心的欲望；我们为什么会欣赏美呢？因为美是孤独的，我们也是孤独的，我们与美是心心相印的。
我们还会孤独下去，因此《铸剑》给我们带来的这种美是永恒的。