当人们要讲述别人的生活或者谈论别人的事情时，常常使用第三人称进行记叙，其中代词 “he”, “she”, “it”, 以及 “they” 用来说明故事的主人公是谁。上次我们读的一篇小寓言就用了第三人称，以后我们还会看一些这一类的文章。但是今天，我们先来看怎样用第一人称写记叙文。

如果一篇文章以第一人称的叙述来展开，那么，讲故事的人，也就是记叙者，参与了所描写的事件，并从自己的角度来回忆。这样写的目的是揭示作者自己生活或性格中的某一个重要方面，所以一般又把它们叫做“自我的反省”或者“自传”。

The Last Fiesta

Zero hour drew near, and I was escorted to the ringside. There was no turning back now. But I bid myself take courage. Had I not been told that every man in the village would be there? If anything went wrong I would have plenty of support. So I took off my jacket, made a few preliminary passes, ducked into the ring, and waited. Then the church clock struck twelve, and a great cry went up. At the far end of the ring, where the bullpens were, I saw a couple of men fumble with a padlock, then skip for shelter. The next moment, a young bull came rocketing forth, small and black as a meteor, his sharp heels kicking up high in the air, his stiff gold tail like sparks behind him.

Slowly, holding my jacket like a shield, I stepped forward to meet him. I was warm with cognac and felt no fear. Then the bull turned in a flurry of sand, pulled up, and looked at me. It was only then that I realized that I was alone in the ring. The boys of the village, on whom I had built my pride, not one was there, all were behind the rails waiting and watching, and here I was, alone. The watching bull had lowered his head right down. His two red eyes smoked with moving fires, his tail switched slowly, his black horns stroked the air. Keep still, I said, and move your jacket thus; for bulls are simpletons, they never charge the man, only the moving cape.

Suddenly I felt the glamour of being there, with the encircling crowd, electric and still, and we drawing their eyes like two poles in a magnetic field. So I stood my ground and moved the jacket slowly, inviting the bull to charge. He watched me slyly, lowered his head still further, blew with his rosy nostrils in the sand and pawed the ground delicately with his hoof. Then, in a rush, he made up his mind. With a snort of pleasurable anger he charged me across the ring, jaunty as a tug in bucking water. Nearer and nearer he came, kicking up the sand like spray. I kept my feet together and moved the jacket slowly to the right. Then something terrible went wrong. For at the last moment, instead of following the cape, he turned sharply, rolling his eyes, and caught me head on with his hard, black skull.

I remember being conscious of no pain at all, only of the high, excited screams of the women and of a sense of utter surprise and let-down. This was not at all what was supposed to have happened. Somebody wasn't playing the game. Instinctively, I grasped his horns, like the handlebars of a bicycle, and hung there grimly, while he carried me across the ring, bounced me a couple of times on his cranium, and then dropped me in a heap on the sand.
He left me where I fell and trotted arrogantly away. So I picked myself up, retrieved my tattered jacket, and turned to face him again. The sun shone blue on his steaming flanks. I heard the dry, excited chatter of the crowd. I heard the cries of my two companions urging me to get out of it quick. But I could not; there were faces to be saved. Besides I was feeling cross; that first toss had been a mistake, a miscalculation, but it would not happen again.

So I stamped my foot and shouted (though not very loud) and the bull turned and looked at me again, rather disdainfully, and flicked his tail, and did nothing. This was even more embarrassing. So, croaking, I raised my voice, and began to jump up and down; and at last the beast obliged. It was all over very quickly. He came at me head down, very fast; I made great play with my cape; but this time, with impudent humour, he ignored it altogether, caught me fair and square between the horns and tossed me right across the ring. Fortunately he was a pacific bull, content to teach his own wry lessons in his own way, so again he turned aside and let me lie.

By that time there was nothing I wanted to do so much as crawl away and hide. But having picked myself up, and regained my breath and examined my battered bones, I saw that the bull was now busy entertaining the crowd by chasing two men who had at last come to my aid. So I allowed myself one final gesture. Sidling up behind him, while he was friskily engaged with the other two, I tried to slap him on the rump. But he saw me coming and turned on me with a roar. I had had enough. I turned and fled. I felt his hot breath on my heels; I readied myself for his tearing horns. I ran without once looking back, and dived over the barrier at last—to find a small boy, chewing nuts, who remarked: “You needn't have run so hard you know. He hasn't been chasing you, he's gone home.”

Laurie Lee，英国作家，其最为著名的代表作是Cider with Rosie, 这是一部自传体乡村生活故事集。除此之外，他的重要作品还有As I Worked Out Midsummer Morning, 也是自传体形式。本文选自他的The Listener。

在这段简短的记叙中，作者向我们讲述了他自己的斗牛经历，使他的读者也能再次体验原汁原味的斗志昂扬。这一切，都是作者在描写自己的心理感受时取得的效果。

斗牛无疑既让人屏息凝气，又让人群情激昂。

在第一段中，斗牛尚未开始，作者细细地描写自己所见所感所为，营造出一种紧张气氛。他先想到决战时刻来临没有后路可退，再联想前来助威的朋友，稍稍镇定下来之后正在开始作准备动作，而一头小公牛就带着“嚣张”的气焰来了。这是记叙的开端，既交待了事件，地点，又以引人入胜的笔法为下文发展作好了铺垫。
接下来的四段中，斗牛的场景再现在我们面前。整个斗牛事件共有两轮，因此这一段文章也分为了两个部分。第二、三、四和五段刻画第一个回合，第六段记录第二次进攻。

两段记叙方式有惊人的相似：都是“我”先精心策划好战略战术，然后因为小公牛不讲游戏规则而造成我的失算。但是，一前一后两个回合，花费的笔墨多少显然有不同。在写第一个回合时，作者对敌我双方的一招一式都有细致的刻画，其中还穿插了“我”对周围人们反应的感受。特别是当“我”败下阵来之后，牛的神气、我自己狼狈的样子和不肯罢休的心理。这种不肯罢休直接造成我企图发起第二次进攻。而第二个回合速战速决，所以写得也比较简单，但是由于我的再次失算，场面也还算的精彩。

而全文的结尾耐人寻味。连续两次失败之后，“我”终于锐气大减，生怕再受到重创，落荒而逃。而紧张的神经居然绷得不是地方，一个小孩子，嚼着栗子，说: “You needn't have run so hard you know. He hasn't been chasing you, he's gone home.” 轻轻一笔，以贯穿全文的幽默笔调结束。

一篇很简短的记叙文也要求有一个完整的框架，包括开端、发展、结束。注意，在描写各种动作时，用特定的动词。
以A Night of Excitement 为题，仿照本文写一篇记叙文。