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在巴金的早期叙述中,场景意味着作者可控的布置,风景意味着人物无意的发现。人物眼见之景,与作者布置的场景之间可能会存在偏差甚至裂缝,而风景却不会,因为风景本身就是人物的所见。就发生而言,场景往往肇始于主义的指使和分派,风景则往往为主义隐退之际的孤独之人所发现。就状态而言,场景的设置是直截的、明确的,提供了敞开式的都市想象,如都市街头、暗夜雨电;而风景的呈现是冲突的、灰暗的,提供了遮掩式的都市想象,如深宅大院、病室寒居。就效果而言,遮掩式比敞开式的都市想象更富魅力,体现了巴金“欲说还休”的美学诉求。风景的明灭,关乎作品价值的高下,似乎也暗示了巴金命运的浮沉。
In Ba Jin’s early narrative, the scene means that the author controls the layout, the scenery means that people unintentionally found. People see the scenery, the layout with the author may exist between the deviation or even cracks, but the scenery does not, because the scenery itself is the character of the see. In the case of occurrence, the scenes often originate from the gestures and assignments of the doctrine, and the landscapes are often found by the lonely people upon the retreat of the doctrine. In terms of the state, the setting of the scene is straightforward and definite, providing an open-ended urban imagination such as an urban street with dark rain; and the landscape is clashing and gloomy, providing a veiled urban imagination, Such as deep house compound, ward cold. In terms of effect, the cover type is more attractive than the open urban imagination, embodying the aesthetic appeal of Ba Jin ’s “to say goodbye”. The Ming and Qing dynasties, the height of the work value, seems to imply the fate of Ba Jin’s fate.