Looking back at the development of chinese essays, we will find that the chinese essays have evolved from the beginning of spring and autumn to the end of the day. They are self-contained in relatively closed speech spaces, where self-embedding, self-development, and little touch and kiss with the world's essays. It is not literature, but history and philosophy. That is to say, the genes of the chinese essay are immersed in historical blood and contain the essence of philosophy. The initial essay, which did not relate to the parents' shortness or even the verb, considered it as "the dog's not going to be able to sit on the table" and was too stingy to use the word, which was delivered to the poetry. – the message on top of the list is a matter of concern for the welfare of the society, of the history of history, of reason and of the ancient times. In other words, it does not exist as a purely literary sample, nor is it intended to be an aesthetic, but rather a “intoxicated man's intention not to drink”, with the mission of taking over the great events of society, to show interest to those who live in the temple, and to speak out for themselves. Most of the pronunciations at that time, apart from the historical writings such as the escalade of chasima, are short, small, ink-like, words that can be understood, and do not drag mud with water. By the time of tang song, the essays were coming closer to life's pyrotechnics, and it was only then that the focus of the lenses and pens were reaching people's lives and hearts, but the rhetoric was still strong, the narrative was still a tool, the purpose of which was explained. The pronunciation of the “four fours” period, although inherited from the ancient profane tradition, is, by its appearance, a brand-new face of mixed blood. The “four four” essays have emerged with the emergence of a new cultural movement, with its manipulators, the lower part of the ribas rare and almost all of them masters. The scribes, who belong to the swift class, came out of open doors and world literature, and they were like hungry children, greedy and insatiable to eat all the time, compatible between china and the outside, with a bowl of water, a plate of salad, a left hand with a hole in it, and a right hand with rousseau's “social contract”. Compatible hearts, high-profile visions, and the learning of ancient western obscurities, provide them with a rich walloon. Their literature tends to be westernized: they use long sentences, they learn so well, they talk about narcissism and they don't forget foreign words in oil and salt sauce. Even now, when people talk about the literature of the “four fours” period, it is not without respect for the reasons that, apart from the depth of knowledge and the abundance of knowledge among the “four fours” writers, i think that the main reason is not how their writings are born, how well they are made, but how the spirit of their work is more in tune with the trend of historical civilization and how spiritually and ethically they are modern, which makes it easier to trigger deep human identity and emotional resonance. The value orientation of its “four fours” writer found it consistent with the western renaissance period, i. E. To discover the beauty of the human body, to respect the price of life, to call for the liberation of the personality and to advocate for spiritual freedom... I don't know. Since 2000 years ago, chinese literature, though not lacking a time of purple red, has been, as a whole, dull, ludicrous, quiet, open-water, and again, 2,000 years later, in the “54s.” unfortunately, this period is as short as a dream。
China's first pronunciation appeared in the southern songro scripture, the "turkage of the rock": "the valley is full of poetry, and the pronunciation is rather tedious." but the pronunciation is not written. The text is presented in a written form and has benefited from the prevalence of “pivotism” during the “four fours”. For literary categories, the ancient chinese use the “diverse”, i. E. Hymns and non-hymns. The essay is an unhymn and is naturally classified as a non-hymn. And the “quadrant” of literature, i. E. Novels, essays, poetry and dramas, are the “four fours” pioneers, holding out steaks from the oven of western literature, rather than noodles from their own pots。
It is undoubtedly a cross-cutting step forward to strip the essays from the plethora of non-hymns. The difference between essays and novels is mainly reflected in the fact that they are thin and honest, that they are not made up in two, that they are not exaggerated, that they are far from fiction, and that they are rejected as false; and that the dichotomy between essays and history is that they do not look up, they do not do so on the face, but that they are short, friendly, casual, alive and even naughty。
In my view, china’s contemporary essays do not need to be too much of a trickle-up, as long as they flow alongside the three rivers: a return to “5-4” on spiritual blood; a convergence with the ancients on the greatness of the territory and the beauty of the script; and a reclusion from western scripts。
The body is right, the body is right, the body is wrong. The fact is that the western probate, which is so random, as to 350 words, as long as hundreds of thousands of words, chooses its style only on the basis of its simplicity or complexity, without taking into account other factors — the short and the short of words — which are superfluous; and the long and long。
A good essay can also achieve the greatness of a writer — whether it is great or not, of course, not in terms of the choice and length of the body, but depends on what is written and how well it is written。
