导 语
同学们：
据鲁迅先生的朋友说，鲁迅先生对他的小说中的人物，最喜欢是孔乙己。
鲁迅先生为什么最喜欢孔乙己呢？他是以怎样的鬼斧神工之笔来塑造这个苦人儿的形象的呢？你们认真读课文以后，就能得到回答。有人说，古希腊的悲剧是命运的悲剧，莎士比亚的悲剧是主人公性格的悲剧，易卜生的悲剧是社会问题的悲剧，那么，鲁迅写孔乙己悲惨的一生，是命运的悲剧，性格的悲剧，还是社会问题的悲剧呢？我们学完课文以后，可以得到正确的答案。
孔 乙 己
相关作品
KUNG I-CHI

The wine shops in Luchen are not like those in other parts of China. They all have a right-angled counter facing the street, where hot water is kept ready for warming wine. When men come off work at midday and in the evening they buy a bowl of wine; it cost four coppers twenty years ago, but now it costs ten. Standing beside the counter, they drink it warm, and relax. Another copper will buy a plate of salted bamboo shoots or peas flavoured with aniseed, to go with the wine; while for a dozen coppers you can buy a meat dish. But most of these customers belong to the short-coated class, few of whom can afford this. Only those in long gowns enter the adjacent room to order wine and dishes, and sit and drink at leisure.
At the age of twelve I started work as a waiter in Prosperity Tavern, at the entrance to the town. The tavern keeper said I looked too foolish to serve the long-gowned customers, so I was given work in the outer room. Although the short-coated customers there were more easily pleased, there were quite a few trouble-makers among them too. They would insist on watching with their own eyes as the yellow wine was ladled from the keg, looking to see if there were any water at the bottom of the wine pot, and inspecting for themselves the immersion of the pot in hot water. Under such keen scrutiny, it was very difficult to dilute the wine. So after a few days my employer decided I was not suited for this work. Fortunately I had been recommended by someone influential, so he could not dismiss me, and I was transferred to the dull work of warming wine.
Thenceforward I stood all day behind the counter, fully engaged with my duties. Although I gave satisfaction at this work, I found it monotonous and futile. Our employer was a fierce-looking individual, and the customers were a morose lot, so that it was impossible to be gay. Only when Kung I-chi came to the tavern could I laugh a little. That is why I still remember him.
Kung was the only long-gowned customer to drink his wine standing. He was a big man, strangely pallid, with scars that often showed among the wrinkles of his face. He had a large, unkempt beard, streaked with white. Although he wore a long gown, it was dirty and tattered, and looked as if it had not been washed or mended for over ten years. He used so many archaisms in his speech, it was impossible to understand half he said. As his surname was Kung, he was nicknamed "Kung I-chi," the first three characters in a children's copybook. Whenever he came into the shop, everyone would look at him and chuckle. And someone would call out:
"Kung I-chi! There are some fresh scars on your face!"
Ignoring this remark, Kung would come to the counter to order two bowls of heated wine and a dish of peas flavoured with aniseed. For this he produced nine coppers. Someone else would call out, in deliberately loud tones:
"You must have been stealing again!"
"Why ruin a man's good name groundlessly?" he would ask, opening his eyes wide.
"Pooh, good name indeed! The day before yesterday I saw you with my own eyes being hung up and beaten for stealing books from the Ho family!"
Then Kung would flush, the veins on his forehead standing out as he remonstrated: "Taking a book can't be considered stealing, . Taking a book, the affair of a scholar, can't be considered stealing!" Then followed quotations from the classics, like "A gentleman keeps his integrity even in poverty," and a jumble of archaic expressions till everybody was roaring with laughter and the whole tavern was gay.
From gossip I heard, Kung I-chi had studied the classics but had never passed the official examination. With no way of making a living, he grew poorer and poorer, until be was practically reduced to beggary. Happily, he was a good calligrapher, and could get enough copying work to support himself. Unfortunately he had failings: he liked drinking and was lazy. So after a few days he would invariably disappear, taking books, paper, brushes and inkstone with him. After this had happened several times, nobody wanted to employ him as a copyist again. Then there was no alternative for him but to take to occasional pilfering. In our tavern his behaviour was exemplary. He never failed to pay up, although sometimes, when he had no ready money, his name would appear on the board where we listed debtors. However, in less than a month he would always settle, and his name would be wiped off the board again.
After drinking half a howl of wine, Kung would regain his composure. But then someone would ask:
"Kung I-chi, do you really know how to read?"
When Kung looked as if such a question were beneath contempt, they would continue: "How is it you never passed even the lowest official examination?"
At that Kung would look disconsolate and ill at ease. His face would turn pale and his lips move, but only to utter those unintelligible classical expressions. Then everybody would laugh heartily again, and the whole tavern would be merry.
At such times, I could join in the laughter without being scolded by my master. In fact he often put such questions to Kung himself, to evoke laughter. Knowing it was no use talking to them, Kung would chat to us children. Once he asked me:
"Have you had any schooling?"
When I nodded, he said, "Well then, I'll test you. How do you write the character hui in hui-xiang (aniseed--Translator) peas?"
I thought, "I'm not going to be tested by a beggar!" So I turned away and ignored him. After waiting for some time, he said very earnestly:
"You can't write it? I'll show you how. Mind you remember! You ought to remember such characters, because later when you have a shop of your own, you'll need them to make up your accounts."
It seemed to me I was still very far from owning a shop; besides, our employer never entered hui-xiang peas in the account book. Amused yet exasperated, I answered listlessly: "Who wants you as a teacher? Isn't it the character hui with the grass radical?"
Kung was delighted, and tapped two long fingernails on the counter. "Right, right!" he said, nodding. "Only there are four different ways of writing hui. Do you know them?" My patience exhausted, I scowled and made off. Kung I-chi had dipped his finger in wine, in order to trace the characters on the counter; but when he saw how indifferent I was, he sighed and looked most disappointed.
Sometimes children in the neighbourhood, hearing laughter, came to join in the fun, and surrounded Kung I-chi Then he would give them peas flavoured with aniseed, one apiece. After eating the peas, the children would still hang round, their eyes on the dish. Flustered, he would cover the dish with his hand and, bending forward from the waist, would say: "There isn't much. I haven't much as it is." Then straightening up to look at the peas again, he would shake his head. "Not much! Verily, not much, forsooth!" Then the children would scamper off, with shouts of laughter.
Kung I-chi was very good company, but we got along all right without him too.
One day, a few days before the Mid-Autumn Festival, the tavern keeper was laboriously making out his accounts. Taking down the board from the wall, he suddenly said: "Kung I-chi hasn't been in for a long time. He still owes nineteen coppers!" That made me realize how long it was since we had seen him.
"How could he come?" one of the customers said. "His legs were broken in that last beating."
"Ah!"
"He was stealing again. This time he was fool enough to steal from Mr. Ting, the provincial scholar! As if anybody could get away with that!"
"What then?"
"What then? First he had to write a confession, then he was beaten. The beating lasted nearly all night, until his legs were broken."
"And then?"
"Well, his legs were broken."
"Yes, but after that?"
"After? . Who knows? He may be dead."
The tavern keeper did not pursue his questions, but went on slowly making up his accounts.
After the Mid-Autumn Festival the wind grew colder every day, as winter came on. Even though I spent all my time by the stove, I had to wear my padded jacket. One afternoon, when the shop was empty, I was sitting with my eyes closed when I heard a voice:
"Warm a bowl of wine."
The voice was very low, yet familiar. But when I looked up, there was no one in sight. I stood up and looked towards the door, and there, facing the threshold, beneath the counter, sat Kung I-chi. His face was haggard and lean, and he looked in a terrible condition. He had on a ragged lined jacket, and was sitting cross-legged on a mat which was attached to his shoulders by a straw rope. When he saw me, he repeated:
"Warm a bowl of wine."
At this point my employer leaned over the counter and said: "Is that Kung I-chi? You still owe nineteen coppers!"
"That . I'll settle next time," replied Kung, looking up disconsolately. "Here's ready money; the wine must be good."
The tavern keeper, just as in the past, chuckled and said:
"Kung I-chi, you've been stealing again!"
But instead of protesting vigorously, the other simply said:
"You like your joke."
"Joke? If you didn't steal, why did they break your legs?"
"I fell," said Kung in a low voice. "I broke them in a fall." His eyes pleaded with the tavern keeper to let the matter drop. By now several people had gathered round, and they all laughed. I warmed the wine, carried it over, and set it on the threshold. He produced four coppers from his ragged coat pocket, and placed them in my hand. As he did so I saw that his hands were covered with mud--he must have crawled here on them. Presently he finished the wine and, amid the laughter and comments of the others, slowly dragged himself off by his hands.
A long time went by after that without our seeing Kung again. At the end of the year, when the tavern keeper took down the board, he said, "Kung I-chi still owes nineteen coppers!" At the Dragon Boat Festival the next year, he said the same thing again. But when the Mid-Autumn Festival came, he did not mention it. And another New Year came round without our seeing any more of him.
Nor have I ever seen him since--probably Kung I-chi is really dead.
______
[Note: classics] From The Analects of Confucius.
March 1919
鲁迅像册
鲁迅警语
<<三闲集.无声的中国>>
我于一八八一年生于浙江省绍兴府城里的一家姓周的家里。父亲是读书的；母亲姓鲁，乡下人，她以自修得到能够看书的学力。听人说，在我幼小时候，家里还有四五十亩水田，并不很愁生计。但到我十三岁时，我家忽而遭了一场很大的变故，几乎什么也没有了；我寄住在一个亲戚家里，有时还被称为乞食者。我于是决心回家，而我底父亲又生了重病，约有三年多，死去了。我渐至于连极少的学费也无法可想；我底母亲便给我筹办了一点旅费，教我去寻无需学费的学校去，因为我总不肯学做幕友或商人，——这是我乡衰落了的读书人家子弟所常走的两条路。
其时我是十八岁，便旅行到南京，考入水师学堂了，分在机关科。大约过了半年，我又走出，改进矿路学堂去学开矿，毕业之后，即被派往日本去留学。但待到在东京的豫备学校毕业，我已经决意要学医了。原因之一是因为我确知道了新的医学对于日本维新有很大的助力。我于是进了仙台(Sen-dai)医学专门学校，学了两年。这时正值俄日战争，我偶然在电影上看见一个中国人因做侦探而将被斩，因此又觉得在中国医好几个人也无用，还应该有较为广大的运动……先提倡新文艺。我便弃了学籍，再到东京，和几个朋友立了些小计划，但都陆续失败了。我又想往德国去，也失败了。终于，因为我底母亲和几个别的人很希望我有经济上的帮助，我便回到中国来；这时我是二十九岁。
我一回国，就在浙江杭州的两级师范学堂做化学和生理学教员，第二年就走出，到绍兴中学堂去做教务长，第三年又走出，没有地方可去，想在一个书店去做编译员，到底被拒绝了。但革命也就发生，绍兴光复后，我做了师范学校的校长。革命政府在南京成立，教育部长招我去做部员，移入北京；后来又兼做北京大学，师范大学，女子师范大学的国文系讲师。到一九二六年，有几个学者到段祺瑞〔2〕政府去告密，说我不好，要捕拿我，我便因了朋友林语堂〔3〕的帮助逃到厦门，去做厦门大学教授，十二月走出，到广东做了中山大学教授，四月辞职，九月出广东，一直住在上海。
我在留学时候，只在杂志上登过几篇不好的文章。初做小说是一九一八年，因为一个朋友钱玄同的劝告，做来登在《新青年》上的。这时才用“鲁迅”的笔名(Pen-name)；也常用别的名字做一点短论。现在汇印成书的有两本短篇小说集：《呐喊》，《彷徨》。一本论文，一本回忆记，一本散文诗，四本短评。别的，除翻译不计外，印成的又有一本《中国小说史略》，和一本编定的《唐宋传奇集》。
预习评测
一、为下列红色字注音并解词
1、阔绰
chuò
绰：宽绰，如绰绰有余
2、羼
chàn
混和，掺杂
3、绽出
zhàn
突露出来。比较“绽”“淀”字
4、间或
jiàn
偶然，有时候。
5、蘸
zhàn
在液体粉末或糊状物里沾一下就拿出来
6、打折
shé
打断
7、附和
hè
（言语动作）追随别人（多含贬义）。
8、不屑置辩
xiè
认为不值得争辩
9、颓唐
tuí
精神萎靡，不振作
10、戕害
qiāng
伤害。戕：杀害。
“鲁镇的酒店的格局，是和别处不同的：都是当街一个曲尺形的大柜台，柜里面预备着热水，可以随时酒。”
三个逗号一个冒号说明了句间关系的直接性，表意流畅，通达。而开头一句还另有作用——对后文具有渗透作用和铺垫作用。大柜台的“大”字，不仅写柜台宽，而且写高。这与后文的描写相合。“孩子吃完豆，仍然不散，眼睛都望着碟子。孔乙己着了慌……弯腰下去说道……直起身又看一看豆……”望，朝上看，“弯”，“直”写动态都是柜台高大所使然。
语句赏析
“靠柜外站着，热热的喝了休息；……慢慢地坐喝”
“靠柜外站着”喝，这是穷苦的劳动人民；另一种“穿
长衫的”主顾，“踱进店面隔壁的房子里”，要酒要菜，
慢慢地坐喝”。
这是悠闲阔绰的剥削阶级。这一长一短，一里一外，
一坐一站的鲜明对照，反映了社会阶级的对立，贫富
的悬殊。
语句赏析
“孔乙己是站着喝酒而穿长衫的唯一的人”
“站着喝酒”，说明孔乙己的地位同短衣帮一样，都是穷苦人；
而“穿长衫”又说明他同时又是不同于短衣帮的读书人；他明明
是处于社会最低层，任人嘲笑，任人鞭打的可怜的小人物，都
硬要摆出与众不同的架势。整天穿着那件又破又脏的长衫，
死抱着“万般皆下品，唯有读书高”的信条不放，梦寐以求的是
沿着科举的路爬上去，像丁举人那样飞黄腾达；而现实却使他
惨遭丁举人的残害，绝了一切生路，直到在人们的嘲笑中无声
无息地离开人世间。这里我们看到的是作者运用互相矛盾的词语构成警句，进而使
矛盾达到内在的高度统一，从而使人物形象得到深刻的表现。
语句赏析
“因为他姓孔，别人便从描红纸上的‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫做孔乙己。”
作者采用的是“引用”的修辞手法。是为塑造人物形象服务的。鲁迅说过，“创作难，就是给人起一个称号或浑名也不易”。这里“引用”描红纸上半懂不懂的话，给孔乙己起了个半懂不懂的绰号，概括和凝聚孔乙己这个人物的性格特征，这个绰号本身就是生动形象而高度凝炼的语言。
语句赏析
“便排出九文大钱”
孔乙己的这个付钱的动作和他那斯文、郑重、认真而又透出几分拘谨和朴实的性格特征跃然纸上，从中我们领悟到作者用词的准确而形象、语言凝炼而深刻。同时我们从孔乙己付钱的郑重、认真的神情中也感觉到这九文大钱来之不易！象孔乙己这种悲若无告的下层知识分子，他的灵魂深处本来是诚实与洁白的，偷窃并不是他的本性，但社会把他剥得一干二净，他是被逼无奈走上偶尔偷窃的路的，孔乙己在那种不正常的社会中不得不逆转自已灵魂的方向，演出灵魂的悲剧。
孔乙己的这个付钱动作，是他在无端受到别人诎笑，嘲弄而陷于窘迫的境地，他向酒店伙计要酒要茴香豆同时发生的，他面对短衣帮的嘲笑，他表面表现出不予理会而镇定的样子，实是用来掩饰他内心的痛苦和不安。他象是在告诉伙计，九文，一文不少！他是清白的不做假的。
语句赏析
“‘你怎么这样凭空污人清白……’‘什么清白’？我前天亲眼见你偷了何家的书，吊着打’。”
当酒客故意揭他偷东西时，孔乙己要竭力争辩。但话刚说出口，便被抢白打断了。所以，这句话里的省略号表示因被抢白而话未说完。
语句赏析
“店内外充满了快活的空气”
第四、六两段结句都是“店内外充满了快活的空气”，用的是反复修辞方法，它有力的渲染了哄笑的气氛，清晰的表现出人们麻木的嘴脸，强烈的透露出悲凉的意味，同时形成一种回环往复的节奏，文势跌岩有致。
语句赏析
“对呀对呀！……回字有四样写法，你知道？”
这里的省略号反映说话的断续，表示赞赏后在思索新的问题。
上文中的“窃书不能称偷……窃书！……读书人的事，能称偷么？”其中省略号的用法也属此类。即用以拨出他张口结舌，又要努力思索出辩词借以搪塞的心境。
语句赏析
“不多不多！多乎哉？不多也。”
很显然作者采用的是“引用”的修辞手法，是“暗引”。是为塑造人们形象服务的，作者曾深有感触地说：“创作难，就给人起一个称号或浑名也不易。”这里暗引自《论语·子罕》：“太宰问于子贡：“‘夫子圣者与？何其多能也？’……子闻之曰：‘……君子多乎哉？不多也。’”孔子的原意是说：“真正的君子会有这样多的技艺在身吗？我想是不多的。”这是孔子听到太宰（官名）赞美自己时自谦的话。孔乙己在“着了慌”的场合，急不择言，于是“半懂不懂”引用了孔子的话，但却不是指“技艺”，而是指“茴香豆”。这样一来，孔乙己的“迂腐无能”，便和盘托出了。
语句赏析
“孔乙己是这样的使人快活，可是没有他，别人也便这么过。”
这句话从内容上看，它概括了孔乙己一生的悲惨遭遇，深刻说明孔乙己在人们心目中毫无地位，是个可有可无、可笑可怜的多余的人——在人们的心目中孔乙己始终只是一个笑料，打断腿之前之后都一样。
这句话从结构上看，它承上启下。前一分句总结上文，和“只有孔乙己到店，才可以笑几声”，“店内外充满了快活的空气”相呼应。后一分句暗示了孔乙己无人关心，很自然的引起下文，把情节引向高潮。
语句赏析
“孔乙己”还欠十九个钱呢？
这一句在课文中反复出现四次，极其鲜明地刻画了掌柜自私冷漠的卑劣嘴脸，同时也暗示孔乙己穷得再也过不下去了。孔乙己已长久没有来，掌柜只是在中秋结帐时才想起孔乙己来，想起孔乙己只是因为他还欠十九个钱。第二次被打折了腿的孔己乙已经惨不忍睹，可是掌柜见了孔乙己，开口便是付帐，“你还欠十九个钱呢！”这一次反复更显出掌柜冷酷无情，篇末的两次反复，更是把掌柜的市侩嘴脸刻画得入木三分。这四次反复又让人想见孔乙己再没有钱路了。偷到丁举人家是在没办法的情况下冒着危险去的，结果被打折了腿，终于悲惨死去。从上可知反复修辞的表达效果是非常突出的。
语句赏析
“他打折了腿了”
这是明显的被动句式。谓语前省略了“被”字的被动句式
依照传统的用法，“被”字句主要是说明主语有所遭受，遭受自然不会是自愿的，因此这种“被”字句总是表示有损害或不愉快，不愿意一类的行为。例如：“刚才说的话被他听见了”，说话人一定是不愿意他听见的，跟“他听见了刚才说的话”意思是不相同的。因此“我写信”就不能改成“字被我写”因为“写”对于“字”即没什么损害，也无愉快或愿意与否。
但主语是受事的句子却不一定要用“被”字，尤其口语中“被”字常被省略的。例如：(1)“字写坏了”(2)“桌子放在门口”(3)“工作组老王调走了”等等“他打折了腿了”正属于这一类省略了“被”字的被动句式。
语句赏析
“中秋过后，秋风是一天凉比一天，看看将近初冬”
句中加黑的部分，通常的说法是“一天比一天凉”，“比”是介词，用以比较程度，兼表递进。
语句赏析
“跌断，跌，跌……”
句中的省略号表示说话人心情的矛盾。孔乙己死爱面子，想用“跌断”来掩饰。这个饰词连他自己也觉得难以启口，但又不得不说。
语句赏析
“他从破衣袋里摸出四文大钱……”
“摸出四文大钱”极其精当地写出了孔乙己穷困和买酒的窘态，我们不难想象，如果孔乙己袋中的钱多，一抓一把，何需下手去摸；退一步说，即使钱少，倘若孔乙己的手腕灵活，一掏就出，也不需手在袋里来回摸索。可是，此时的孔乙己已经是心残身废，瘦骨嶙峋，面如焦土，“已经不成样子”！用那只颤抖的手想从口袋里取出恐怕是仅有的四文大钱，必然是要“摸”一番的！这个“摸”字，不但揭示了人物的性格，也深刻预示了孔乙己悲惨的结局。
总之，这个“摸”字也和前文的“排”字一样，准确而形象，显示语言的凝炼深刻。
语句赏析
“我到现在终于没有见——大约孔乙己的确死了。”
作者善于运用相互矛盾的词语构成警句，进而使矛盾达到内在的高度统一，从而使人物形象或故事内容得到深刻的表现。
我到现在终于没有见——大约孔乙己的确死了。
这是《孔乙己》一文的结束语。“大约”是表或然判断的，“的确”是表实然判断的。一般说，这两类互相矛盾的词语是不能用在同一个句子中的。然而，我们在这篇小说结尾处读到这个句子，不仅不认为语法和逻辑上有问题，反而觉得别有一种味道，有言尽而意未尽的感觉。
这一句话的核心意思是“孔乙己的确死了”。“的确”是对“孔乙己死了”的肯定，而“大约”又是对“孔乙己的确死了”的揣测。从语法上分析，“的确”是对“死了”的修饰，作“死了”的状语，而“大约”是对“孔乙己的确死了”的修饰，是全句的状语。文中的“大约”表示一种推测。因为出入咸亨酒店的人谁也没有看见过孔乙己死了的现场。类似这一句的形式，在鲁迅别的作品里还可以找到。例如《阿Q正传》中，“似乎确凿打在自己头上”等等。这类句子是有一定规律的，一般后面的“的确”或“确凿”一类词，常是针对文中提及的一种说法或想法的肯定，而前面的“大约”“似乎”一类词，则常在婉转推测的语气中。
语句赏析
阅读理解
思考:
1 这篇小说写了哪些人物?
2 主要人物是谁?
归纳
1 这篇小说写了哪些人物?
答:人物有:短衣帮、穿长衫的、“我”、孔乙己、掌柜、丁举人、邻居小孩。
2 主要人物是谁?
答:主要人物是孔乙己.
读课文1~3节
1 中心意思是什么？
2 两种人物形象的鲜明对比，揭示了什么？
3 本段在文中的作用
鲁镇的酒店的格局，是和别处不同的：都是当街一个曲尺形的大柜台，柜里面预备着热水，可以随时温酒。做工的人，傍午傍晚散了工，每每花四文铜钱，买一碗酒，--这是二十多年前的事，现在每碗要涨到十文，--靠柜外站着，热热的喝了休息；倘肯多花一文，便可以买一碟盐煮笋，或者茴香豆，做下酒物了，如果出到十几文，那就能买一样荤菜，但这些顾客，多是短衣帮，大抵没有这样阔绰。只有穿长衫的，才踱进店面隔壁的房子里，要酒要菜，慢慢地坐喝。
我从十二岁起，便在镇口的咸亨酒店里当伙计，掌柜说，样子太傻，怕侍候不了长衫主顾，就在外面做点事罢。外面的短衣主顾，虽然容易说话，但唠唠叨叨缠夹不清的也很不少。他们往往要亲眼看着黄酒从坛子里舀出，看过壶子底里有水没有，又亲看将壶子放在热水里，然后放心：在这严重兼督下，羼水也很为难。所以过了几天，掌柜又说我干不了这事。幸亏荐头的情面大，辞退不得，便改为专管温酒的一种无聊职务了。
我从此便整天的站在柜台里，专管我的职务。虽然没有什么失职，但总觉得有些单调，有些无聊。掌柜是一副凶脸孔，主顾也没有好声气，教人活泼不得；只有孔乙己到店，才可以笑几声，所以至今还记得。
归纳
1介绍孔乙己活动的社会环境—鲁镇咸亨酒店.
2深刻揭示了顾客贫富的悬殊、阶级的对立.
3 交代人物活动的空间,为孔乙己的出场作铺垫,预示孔乙己悲剧命运的必然性.
（1）孔乙己是站着喝酒而穿长衫的唯一的人。他身材很高大；青白的脸色，皱纹间
时常夹些伤痕；一部乱蓬蓬的花白的胡子。穿的虽然是长衫，可是又脏又破，
似乎十多年没有补，也没有洗。他对人说话，总是满口之乎者也，教人半懂不懂的。
因为他姓孔，别人便从描红纸上的“上大人孔乙己”这半懂不懂的话里，替他取下一个
绰号，叫作孔乙己。
（2）他脸上黑而且瘦，已经不成样子；穿一件破夹袄，盘着两腿，下面垫一个蒲包，
用草绳在肩上挂住；见了我，又说道，“温一碗酒。”掌柜也伸出头去，一面说，“孔乙
己么？你还欠十九个钱呢！”孔乙己很颓唐的仰面答道，“这……下回还清罢。这一回
是现钱，就要好。”掌柜仍然同平常一样，笑着对他说，“孔乙己，你又偷了东西了！”
但他这回却不十分分辩，单说了一句“不要取笑！”“取笑？要是不偷，怎么会打断腿？”
孔乙己低声说道，“跌断，跌，跌……”他的眼神，很像恳求掌柜，不要再提。此时已经
聚集了几个人，便和掌柜都笑了。我温了酒，端出去，放在门槛上。他从破衣袋里摸
出四文大钱，放在我手里，见他满手是泥，原来他是用这手走来的。不一会，他喝完酒，
便又在旁人地说笑声中，坐着用这手慢慢走去了。
1、人们用“孔乙己”这一绰号代替他的名字，这一现象说明了什么？
2、当掌柜说孔乙己又偷了东西时，他这回为什么“不十分分辩”？
3、第二段中作者主要用了哪几种人物描写方法？
4、结合划线语句，简要分析孔乙己这一人物形象的社会意义。
（1）孔乙己是站着喝酒而穿长衫的唯一的人。他身材很高大；青白的脸色，皱纹间
时常夹些伤痕；一部乱蓬蓬的花白的胡子。穿的虽然是长衫，可是又脏又破，
似乎十多年没有补，也没有洗。他对人说话，总是满口之乎者也，教人半懂不懂的。
因为他姓孔，别人便从描红纸上的“上大人孔乙己”这半懂不懂的话里，替他取下一个
绰号，叫作孔乙己。
（2）他脸上黑而且瘦，已经不成样子；穿一件破夹袄，盘着两腿，下面垫一个蒲包，
用草绳在肩上挂住；见了我，又说道，“温一碗酒。”掌柜也伸出头去，一面说，“孔乙
己么？你还欠十九个钱呢！”孔乙己很颓唐的仰面答道，“这……下回还清罢。这一回
是现钱，就要好。”掌柜仍然同平常一样，笑着对他说，“孔乙己，你又偷了东西了！”
但他这回却不十分分辩，单说了一句“不要取笑！”“取笑？要是不偷，怎么会打断腿？”
孔乙己低声说道，“跌断，跌，跌……”他的眼神，很像恳求掌柜，不要再提。此时已经
聚集了几个人，便和掌柜都笑了。我温了酒，端出去，放在门槛上。他从破衣袋里摸
出四文大钱，放在我手里，见他满手是泥，原来他是用这手走来的。不一会，他喝完酒，
便又在旁人地说笑声中，坐着用这手慢慢走去了。
1、人们用“孔乙己”这一绰号代替他的名字，这一现象说明了什么？
答：说明孔乙己社会地位低下，不被人重视，是人们心目中的笑料。
（1）孔乙己是站着喝酒而穿长衫的唯一的人。他身材很高大；青白的脸色，皱纹间
时常夹些伤痕；一部乱蓬蓬的花白的胡子。穿的虽然是长衫，可是又脏又破，
似乎十多年没有补，也没有洗。他对人说话，总是满口之乎者也，教人半懂不懂的。
因为他姓孔，别人便从描红纸上的“上大人孔乙己”这半懂不懂的话里，替他取下一个
绰号，叫作孔乙己。
（2）他脸上黑而且瘦，已经不成样子；穿一件破夹袄，盘着两腿，下面垫一个蒲包，
用草绳在肩上挂住；见了我，又说道，“温一碗酒。”掌柜也伸出头去，一面说，“孔乙
己么？你还欠十九个钱呢！”孔乙己很颓唐的仰面答道，“这……下回还清罢。这一回
是现钱，就要好。”掌柜仍然同平常一样，笑着对他说，“孔乙己，你又偷了东西了！”
但他这回却不十分分辩，单说了一句“不要取笑！”“取笑？要是不偷，怎么会打断腿？”
孔乙己低声说道，“跌断，跌，跌……”他的眼神，很像恳求掌柜，不要再提。此时已经
聚集了几个人，便和掌柜都笑了。我温了酒，端出去，放在门槛上。他从破衣袋里摸
出四文大钱，放在我手里，见他满手是泥，原来他是用这手走来的。不一会，他喝完酒，
便又在旁人地说笑声中，坐着用这手慢慢走去了。
2、当掌柜说孔乙己又偷了东西时，他这回为什么“不十分分辩”？
答：孔乙己被打断了腿，身残气微，到了穷途末路，已无力分辩
（1）孔乙己是站着喝酒而穿长衫的唯一的人。他身材很高大；青白的脸色，皱纹间
时常夹些伤痕；一部乱蓬蓬的花白的胡子。穿的虽然是长衫，可是又脏又破，
似乎十多年没有补，也没有洗。他对人说话，总是满口之乎者也，教人半懂不懂的。
因为他姓孔，别人便从描红纸上的“上大人孔乙己”这半懂不懂的话里，替他取下一个
绰号，叫作孔乙己。
（2）他脸上黑而且瘦，已经不成样子；穿一件破夹袄，盘着两腿，下面垫一个蒲包，
用草绳在肩上挂住；见了我，又说道，“温一碗酒。”掌柜也伸出头去，一面说，“孔乙
己么？你还欠十九个钱呢！”孔乙己很颓唐的仰面答道，“这……下回还清罢。这一回
是现钱，就要好。”掌柜仍然同平常一样，笑着对他说，“孔乙己，你又偷了东西了！”
但他这回却不十分分辩，单说了一句“不要取笑！”“取笑？要是不偷，怎么会打断腿？”
孔乙己低声说道，“跌断，跌，跌……”他的眼神，很像恳求掌柜，不要再提。此时已经
聚集了几个人，便和掌柜都笑了。我温了酒，端出去，放在门槛上。他从破衣袋里摸
出四文大钱，放在我手里，见他满手是泥，原来他是用这手走来的。不一会，他喝完酒，
便又在旁人地说笑声中，坐着用这手慢慢走去了。
3、第二段中作者主要用了哪几种人物描写方法？
答：肖像描写 语言描写 动作描写
（1）孔乙己是站着喝酒而穿长衫的唯一的人。他身材很高大；青白的脸色，皱纹间
时常夹些伤痕；一部乱蓬蓬的花白的胡子。穿的虽然是长衫，可是又脏又破，
似乎十多年没有补，也没有洗。他对人说话，总是满口之乎者也，教人半懂不懂的。
因为他姓孔，别人便从描红纸上的“上大人孔乙己”这半懂不懂的话里，替他取下一个
绰号，叫作孔乙己。
（2）他脸上黑而且瘦，已经不成样子；穿一件破夹袄，盘着两腿，下面垫一个蒲包，
用草绳在肩上挂住；见了我，又说道，“温一碗酒。”掌柜也伸出头去，一面说，“孔乙
己么？你还欠十九个钱呢！”孔乙己很颓唐的仰面答道，“这……下回还清罢。这一回
是现钱，就要好。”掌柜仍然同平常一样，笑着对他说，“孔乙己，你又偷了东西了！”
但他这回却不十分分辩，单说了一句“不要取笑！”“取笑？要是不偷，怎么会打断腿？”
孔乙己低声说道，“跌断，跌，跌……”他的眼神，很像恳求掌柜，不要再提。此时已经
聚集了几个人，便和掌柜都笑了。我温了酒，端出去，放在门槛上。他从破衣袋里摸
出四文大钱，放在我手里，见他满手是泥，原来他是用这手走来的。不一会，他喝完酒，
便又在旁人地说笑声中，坐着用这手慢慢走去了。
4、结合划线语句，简要分析孔乙己这一人物形象的社会意义。
答：第一句写出了孔乙己穷困潦倒，却又不肯放下读书人的架子；第二句表现了人们的麻木，对不幸者的冷酷无情。孔乙己这一人物形象反映了封建文化和封建教育对读书人的毒害；揭示了在封建思想侵蚀下，当时社会的冷酷无情。表达准确、简洁
新编孔乙己
天太冷了，几乎把一切东西都冻得僵硬，风往北吹，伴着沙石狂飙着，太阳好像离我们那么远，为什么不多给我们一些光热呢？
孔乙己拖着那两只已被打断的腿，用双手撑着地向前艰难地移动着，他依然穿着那件破夹袄，当然已经不能遮住身体，他在寒冷和饥饿的折磨下几乎无法呼吸，嘴里好似不停地叨咕着：“冻死我也，冻死我也……”就是这样他不知不觉地已经到了菜市场。他看到那些做买卖的都在不停地吆喝着，又都在给那些有钱的长衫主顾低三下四地点头哈腰……在饥饿的驱使下，他拖着那两条被打断的腿，企盼能够得到一些食物。但是他还是放不下那读书人的架子，不肯说出那句：“给我点饭吃吧！”那买卖人见到这个臭乞丐，好似害怕妨碍他们的生意，连声骂道：“抽乞丐，离我们这远点，别妨碍我们的生意，否则就废了你。”就在这时从菜市口东面来了一队人马，后面有一座小轿子，见孔乙己坐在街当中，几个当差的过来，把孔乙己连打带骂的赶到了街边。这下可把轿子里的大老爷惊动了。那个大老爷从轿子里出来走到孔乙己跟前，提提嗓子喊道：“我范老爷如今乃是爱民如子的大好人，哎！当差的，拿几个馒头给这个乞丐。”孔乙己见几个干馒头扔了下来，为了保持读书人的架子并没有理睬。这个反老爷见到孔乙己不理他的馒头。话题一转，双眉倒竖，由刚才的心平气和突变晴天霹雳，把那尖嘴猴腮一噘便骂道：“呀哈！你这个臭乞丐，真不识抬举，你这个现世宝、癞蛤蟆，你在这真是影响市容……”就这样孔乙己又遭受了一次拳脚的洗礼。把那已经非常破烂的衣服打得更加破烂，使孔乙己的身上又多了几处伤口。可是在这拳打脚踢中似乎夹杂着一个声音：“非礼也……非礼也……”这个范老爷的所作所为好似会使每一个人快乐，在众人的围观下，孔乙己好像被人观赏演戏的猴子一样。
慢慢的人群散去了，也许是他们认为没有什么好戏可看了吧。
在孔乙己的面前忽然间伸出了一串糖葫芦，孔乙己大吃一惊，原来是一个小男孩，
身穿一件小棉袄，站在孔乙己的面前。“吃一颗冰糖葫芦吧！”那个小男孩说。孔乙
己看了看那个小孩儿，痛苦的脸显出欣慰的神情。那颗冰糖葫芦含在嘴里好像是一
颗炽热的火球温暖着孔乙己那冰冷的身躯，孔乙己没有想到居然还会有一个小孩儿
来可怜他。这颗糖葫芦让孔乙己感到了一丝甜意，一缕温情。“给你，都吃了吧！”小
男孩把一串糖葫芦递了过来，孔乙己分明听见了这一声清脆的声音“大伯。”几乎全身
的疼痛都消失了，口里回道：“足矣……足矣……”慢慢地闭上了双眼。
布置作业
一、朗读课文
理解小说中环境描写的作用。
二、
从孔乙己的外形、肖像、服饰、语言、
神情、动作等方面进行人物分析，理解
人物性格特征。
三、
任选一题目，写一则读后感。
A）《笑声中的悲剧》
——谈环境描写的作用
B） 《病态的社会，灰色的人生》
——谈孔乙己的性格及人生轨迹。
再 见