我更关注的是莫言小说语言的修辞手法。这些修辞方式的使用有时错综复杂,有时又简单化一,有时看似有章可循,有时又完全跳出框外。但不管怎样,作者总是试图用最直接、最简单、最本原的话语来表达某种深刻的思想。高尔基说过:“真正的语言艺术总是朴素的,很生动,几乎是可以感触到的。”a可以说,莫言所采用的语言的确是朴素生动几乎可以感触而且有力量的。莫言小说除了构思和题材选择等差异之外,在修辞手法上体现出一些相似的特征,姑且称之 I am more concerned about the rhetoric of Mo Yan’s fictional language. The use of these rhetorical methods is sometimes complicated, sometimes simplistic, sometimes seemingly rule-based, and sometimes completely out of the box. But in any case, the author always tries to express some deep thought in the most direct, simplest and most primitive discourse. Gorky said: “The real language of art is always simple, very vivid and almost palpable.” A It can be said that the language used by Mo Yan is indeed almost vivid and powerful. Apart from the differences between the ideas and theme choices, Mo Yan’s novels show some similar features in rhetorical devices, tentatively called