中外文学史上存在这样一个现象:任何一部优秀的文学作品,在其被阅读的过程中,总是有着多种多样的理解和丰富多彩的阐释。从李商隐的《锦瑟》到曹雪芹的《红楼梦》,从古希腊悲剧《俄狄浦斯王》到莎士比亚的举世巨著《哈姆莱特》,不同的读者往往都有自己的理解与阐释。正是基于这样的事实,新课改倡导对文本的多元解读。但多元解读不是一味放任的没有边际的解读,而是应该有一个界限——对作品多元解读的前提条件是必须在文本中找到根据,在文本的框架内 There is such a phenomenon in the history of Chinese and foreign literature that any excellent literary work always has a great variety of understandings and colorful explanations as it is being read. From Li Shangyin’s “Jinser” to Cao Xueqin’s “Dream of Red Mansions”, from the ancient Greek tragedy “Oedipus the King” to Shakespeare’s world-famous masterpiece “Hamlet”, different readers often have their own understanding and interpretation. It is based on the fact that the new curriculum reform advocates a multi-pronged interpretation of the text. However, pluralistic interpretation is not blindly indissolubly interpreted without any marginalization. Rather there should be a boundary - a prerequisite for a pluralistic interpretation of a work is that it must be found in the text, within the framework of the text