以“蚯蚓”作为对象,可能是想表明,要放慢节奏、放慢速度,让成长慢起来,再清晰一些。这种隐形的构想反而让那些细微的碎片无限连缀,文章的气息显得如此丰沛,一方面摄取了生命的内部的万千景象,另一方面也加强了我们的阅读节奏。简单的叙述人称的变换,如切身的感知,极为清楚地传达一切不可知的片段。而最后,梅乔松却指认了自我的身份,从叙述的本源回到了精神的另一种镜像之中。 To use “” as a target, you may want to show that you should slow down the pace, slow down, slow down your growth, and make it clearer. This kind of invisible idea allows the subtle fragments to be infinitely concatenated, and the scent of the article appears to be so abundant. On the one hand, it takes in the thousands of scenes of life inside, and on the other hand it also strengthens our reading rhythm. Simply narrating the transformation of the person, such as the perception of the body, very clearly conveys all the unknowable fragments. In the end, Meijosong identified himself as an identity and returned from the origin of the narrative to another image of the spirit.