长篇写世界,中篇写艺术,短篇的结构更有弹性更有不确定性。文学的最大特性就是不确定性,给心灵的内在需求以形式,把复杂多变的情感结构成文字,应该是一种弹性结构,开放型结构,应变能力很强的随意形结构,这就是莫泊桑与契诃夫的区别,前者以故事结构,后者以人物结构。契诃夫把这种开放性的弹性结构带进戏剧,创造出一种不同于莎剧的新剧种,强调的就是对人类内在情感的表达,某个场景某个瞬间,某种情感,甚至一段独白都包含着人的全部生活和情感,有一种发展意识,言已尽而意无穷。卡夫卡把人类情感的神秘性复杂性多样性不可捉摸性提升到哲学高度。卡夫卡这种封闭式结构犹如铁环,内部极具张力,人类坠入地狱后的呐喊与哀号,与开放性结构所呈现的淡淡的忧伤同样震撼人心。卡夫卡的无限性多元文化背景更能印证文学的不确定性,即曹雪芹所谓“无立足境”。 Long wrote the world, medium art, short structure more flexible and more uncertain. The most important characteristic of literature is the uncertainty, the intrinsic demand for the soul in the form, the complicated and changeable emotional structure into words, it should be a flexible structure, open structure, adaptable random structure, which is Maupassant The difference between Chekhov, the former structure of the story, the latter structure of the characters. Chekhov brings this open and flexible structure into play and creates a new kind of drama that is different from Shakespeare. Emphasis is placed on the expression of human inner feelings, a certain moment of a scene, an emotion, and even A monologue contains all the people’s life and emotions, there is a sense of development, the words have done very much. Kafka elevates the unobtrusive nature of the mysterious complexity of human emotions to a philosophical level. The enclosed structure of Kafka is like an iron ring, with a very internal tension. The screams and wailing signals of human beings after falling into hell are just as shocking as the light sadness presented by the open structure. The unlimited multicultural background of Kafka can confirm the uncertainty of literature, that is, Cao Xueqin’s so-called “no standing position.”