这篇散文写得很开、很散,行文并不怎么紧凑。对往事的回忆,一桩桩,一件件,无不细细道来,除了榕树在文中屡现外,从结构框架上来讲,似乎没有什么清晰、明确的脉络可寻觅。可是读起来,却又不觉拖沓、散碎,相反,文中那浓郁的情感却一直紧紧扣住你的心弦,看起来散碎无定的片段,却似有机地结合在某一看不见的轨迹上一样。 (一) 文章的开卷,写作者在悠然自得中触景生情,勾起了对故乡榕树的回忆。对故乡榕树的回忆,这一部分包含五个小的叙述片段,这些小片段自成序列,互相之间基本上没有必然的联系,独立性很强。第一序列讲的是用青青的秧苗、燃烧着的火红的杜鹃、飘着芬芳的小白花搭起的梦幻,孩子们划着驼背榕树,把它当成一条船,载着童年的梦,划 This essay is very open and scattered, and it is not very compact. Memories of past events, piles, and pieces are all carefully detailed. In addition to the repeated appearance of eucalyptus in the text, from the structural framework, it seems that there is no clear and clear context to be found. But when you read it, but you don’t feel it dragged and scattered, on the contrary, the rich emotion in the text has been tightly gripping your heartstrings. It seems that fragments are fragmented, but they seem to be organically combined in some invisible The same as on the trajectory. (1) The essay is written and the writer writes up memories of his hometown banyan tree in a leisurely manner. For the memories of the hometown of eucalyptus, this section contains five small narration fragments. These small fragments are self-contained sequences. There is basically no necessary connection between them, and the independence is very strong. The first series talks about the dreams of green seedlings, burning red rhododendrons, and fragrant little white flowers. The children hunched and banished the trees and used them as a boat carrying the dream of childhood.