suǒ wèi yuān yāng hú dié pài， shì qīng mò mín chū chū xiàn de yī gè de wén xué liú pài。 zhè yī liú pài céng guǎng shòu dà zhòng dú zhě huān yíng， yě céng guǎng shòu xīn wén xué jiè de pī pàn， qí yǐng xiǎng fēi cháng guǎng yuǎn， shèn zhì yú dào liǎo jīn tiān， hái yòu rén zài pī píng suǒ wèi “ mèi sú、 dī jí wén huà ” shí réng jiāng tā ná chū lái zuò wéi dài míng cí。
zhè yī liú pài de zuò zhě qún xiān hòu duō dá liǎng bǎi yú rén， fēn sàn zài jiāng sū、 zhè jiāng、 ān huī、 jiāng xī yī dài， hòu lái jí zhōng dào shàng hǎi、 tiān jīn、 běi jīng jǐ gè dà chéng shì。 kāi shǐ méi yòu gù dìng de zǔ zhì， hòu lái chéng lì liǎo qīng shè yǔ xīng shè。 bāo tiān xiào wéi zhè yī pài de zhù chí zhě， zhòng yào de dài biǎo rén wù yòu xú zhěn yà、 zhāng hèn shuǐ、 wú shuāng rè、 wú ruò méi、 chéng xiǎo qīng、 sūn yù shēng、 lǐ hán qiū、 xǔ xiào tiān、 qín shòu 'ōu、 féng yù qí děng。 zhè xiē zuò jiā、 xiě shǒu suǒ chuàng zuò de zuò pǐn tí cái guǎng fàn， bāo kuò“ xiāng yuè xiāng liàn， fēn chāi bù kāi， liǔ yīn huā xià， xiàng yī duì hú dié， yī shuāng yuān yāng yī yàng” de cái zǐ jiā rén liàn 'ài xiǎo shuō， tiě mǎ jīn gē de wǔ xiá xiǎo shuō， pū shuò mí lí de zhēn tàn xiǎo shuō， jiē mì liè qí de shè huì xiǎo shuō …… dōushì tā men de ná shǒu de tí cái。“ yuān yāng hú dié” shì yǐ xíng xiàng huà de míng chēng lái zhǐ wèi mín chū de cái zǐ jiā rén de yán qíng xiǎo shuō pài bié， dàn shì yóu yú zhè yī liú pài de zuò jiā bù jǐn jǐn shì xiě cái zǐ jiā rén de liàn qíng xiǎo shuō， yīn cǐ yòng yuān yāng hú dié pài mìng míng yǐ wú fǎ gài kuò zhòng duō tí cái de tè sè， yú shì， yòu rén qǔ gāi pài zuì yòu dài biǎo xìng de kān wù《 lǐ bài liù》 míng zhī， qǔ qí xiū yú、 xiāo xián gōng néng 'ér chēng wéi《 lǐ bài liù》 pài。
zài zhōng guó xiàn dài wén xué fā zhǎn guò chéng zhōng， yǒng xiàn guò xǔ duō wén xué liú pài， yuān yāng hú dié pài shì qí zhōng zhòng yào 'ér qiě tè shū de yī gè pài bié。 shuō qí zhòng yào， shì yīn wéi zài“ wǔ sì” qián hòu de wén xué gé mìng de shí dài dà cháo liú zhōng， tā men shì shǔ yú zhòng jì chéng hé duō bǎo shǒu de yī gè wén xué liú pài， lǚ zāo xīn wén xué jiè de pī pàn。 zài xīn wén xué yíng lěi yǔ gāi pài de lùn zhēng hé jiāo fēng zhōng， shǐ xīn wén xué zài wén tán zhōng kuò dà liǎo zì jǐ de yǐng xiǎng， rì yì zhuó zhuàng chéngzhǎng。 tán jí xīn wén xué yùn dòng jiù bù kě bì miǎn dì qiān shè dào gāi pài bié。 shuō qí tè shū， shì yīn wéi yóu yú shòu dào xīn wén xué gè pài de de zhǐ zé， shǐ qí zhōng de yòu xiē zuò zhě cháng qī yǐ lái bù yuán chéng rèn zì jǐ shì lì shǔ yú gāi liú pài de chéng yuán， tū chū de lì zǐ shì qí dài biǎo zuò jiā zhī yī de bāo tiān xiào fǒu rèn zì jǐ shì yuān yāng hú dié pài。 tā céng shuō：“ jìn jīn yòu xǔ duō píng lùn zhōng guó wén xué shǐ shí de shū shàng， dū shì wǒ wéi yuān yāng hú dié pài…… wǒ suǒ bù liǎo jiě zhě， bù zhī nǎ jǐ bù wǒ suǒ xiě de xiǎo shuō shì shǔ yuān yāng hú dié pài。”。 gāi pài yòu de zuò zhě zhǐ chéng rèn zì jǐ shì《 lǐ bài liù》 pài， ér fǒu rèn zì jǐ shì yuān yāng hú dié pài， tā men tōng cháng suǒ chí de yī gè lǐ yóu shì， yuān yāng hú dié pài shì jǐn xiàn yú xú zhěn yà， lǐ dìng yí děng shǎo shù jǐ wèi zuò zhě， zhǐ yòu mín chū nà xiē xiě sì liù pián lì tǐ yán qíng xiǎo shuō de cái shì míng shí xiāng fú hé de yuān yāng hú dié pài。
yuān yāng hú dié pài xiǎo shuō céng shì xīn wén huà yùn dòng qián wén xué jiè zuì zǒu qiào de tōng sú dú wù zhī yī。 dài biǎo zuò zhī yī xú zhěn yà de《 yù lí hún》， céng chuàng xià liǎo zài bǎn sān shí 'èr cì， xiāo liàng shù shí wàn de jì lù。 zhù míng zuò jiā zhāng hèn shuǐ de《 dí xiào yīn yuán》 yě céng xiān hòu shí shù cì zài bǎn， qí wǔ dà zuò jiā“ zhāng hèn shuǐ、 bāo tiān xiào、 zhōu shòu juān、 lǐ hán qiū， yán dú hè” de zuò pǐn zài bào zhǐ lián zài shí， céng chū xiàn shì mín pái duì děng hòu bào zhǐ fā xíng de chǎng miàn。
dàn wǔ sì xīn wén huà yùn dòng、 lǔ xùn xiān shēng lǐng dǎo xià de zuǒ yì wén lián děng xīn wén huà zhèn yíng，“ zài pī pàn fù gǔ lùn diào de tóng shí， xīn wén xué zhèn yíng bù duàn dì tóng yuān yāng hú dié pài zhǎn kāi dǒu zhēng”。 tā men rèn wéi yuān yāng hú dié pài“ wén xué” zī shēng yú bàn zhí mín dì de“ shí lǐ yáng chǎng”， fēng xíng yú xīn hài gé mìng shī bài hòu de jǐ nián jiān， shì zài rén mín kāi shǐ jué xǐng de dào lù shàng de má zuì yào hé mí huò tānɡ。 suī rán yòu shǎo shù zuò pǐn zài mǒu zhǒng chéng dù shàng bào lù liǎo shè huì hēi 'àn、 jiā tíng zhuān zhì hé jūn fá hèngbào děng děng， dàn qí zǒng de qīng xiàng què bù wài hū“ sà liù yuān yāng tóng mìng niǎo， yī shuāng hú dié kě lián chóng”， zhèng rú lǔ xùn shuō de shì“ xīn de cái zǐ + jiā rén”，“ xiāng yuè xiāng liàn， fēn chāi bù kāi， liǔ yìn huā xià， xiàng yī duì hú dié， yī shuāng yuān yāng yī yàng”。 biāo bǎng qù wèi zhù yì， dà dū nèi róng yōng sú， sī xiǎng kōng xū，“ yán 'ài qíng bù chū cái zǐ jiā rén tōu xiāng qiè yù de jiù tào， yán zhèng zhì yán shè huì， bù wài kǎi tàn rén xīn rì fēi shì dào lún yí de lǎo diào”。
rán 'ér， zài yuè dú yuān yāng hú dié pài zuò jiā de yī xiē zuò pǐn hòu， wǒ men què kě yǐ gǎn jué dào， zhè yī lèi zuò jiā de suǒ wèi mí mí zhī zuò， bìng fēi quándōu zhǐ shì dān chún de“ yǐ miáo xiě ‘ cái zǐ jiā rén ’ wéi zhù， zhù yào biǎo xiàn jiù zhōng guó bàn fēng jiàn bàn zhí mín dì de luò hòu sī xiǎng yì shí， biǎo xiàn liǎo bìng tài shè huì zhōng xiǎo shì mín jiē céng de yì shù qù wèi。” tā men zhōng bù shǎo， bǐ rú zhāng hèn shuǐ de《 tí xiào yīn yuán》， bǐ rú bāo tiān xiào de《 cāng zhōu dào zhōng》 děng， huò duō huò shǎo de pēng jī liǎo dāng shí shè huì de hēi 'àn miàn， fěng cì liǎo dāng shí shè huì de zhǒng zhǒng bì duān， jiè cái zǐ jiā rén huò qī wǎn huò bēi liáng de liàn 'ài gù shì， gē sòng huò zàn yáng liǎo kàng rì qīng nián， fǎn yìng liǎo duì dāng shí shè huì nán nǚ bù píng děng、 pín fù bù jūn yún、 děng zhǒng zhǒng chǒu 'è， zài dāng shí lái shuō， yǔ qí tóng shí dài de yī xiē jí duān xuān yáng fēng jiàn fù bì、 mí xìn xié shuō de wén xué zuò pǐn xiāng bǐ， shì jù yòu yī dìng jìn bù yì yì de。
nà me， wèishénme cháng shí jiān yǐ lái， duì yú zhè yī“ liú pài”， cún zài zhè yàng nà yàng zhòng duō de pī pàn ní？
yào xiǎng chóngxīn píng jià“ yuān yāng hú dié pài” bìng kěn dìng qí zhèng què dì wèi， wǒ men shǒu xiān yòu bì yào liǎo jiě yī xià yǔ yuān yāng hú dié pài xiāng guān de yī xiē lì shǐ bèi jǐng。
1906 nián， dāng shí zhōng guó zuì dà de tōng shāng kǒu 'àn shàng hǎi chū bǎn de bào kān dá dào 66 jiā zhī duō， cǐ shí quán guó chū bǎn de bào kān zǒng shù dá dào 239 zhǒng。 zhè xiē bào kān zài fā biǎo zhèng lùn xīn wén de tóng shí， yě fā biǎo shī gē hé yú lè xìng zhì de wén zhāng， hòu lái zhè xiē nèi róng yǎn biàn chéng liǎo“ fù kān”， fù kān de fā zhǎn dǎo zhì wén xué kān wù de chū xiàn hé dān dú chū bǎn。 qí zhōng， liáng qǐ chāo chuàng bàn de《 xīn xiǎo shuō》 (1902)、 lǐ jiā bǎo zhù biān de《 xiù xiàng xiǎo shuō》 (1903)、 wú wò yáo、 zhōu guì shēng biān ji de《 yuè yuè xiǎo shuō》 (1906)、 wú mó xī biān ji de《 xiǎo shuō lín》 (1907) shì cǐ shí sì dà wén xué kān wù。 zhè xiē yǐ lài tōng shāng kǒu 'àn、 xiàn dài dū shì hé yìn shuà chū bǎn gōng yè jí dà zhòng chuán méi tǐ zhì 'ér chū xiàn dedōu shì wén xué kān wù， yī fāng miàn yīn shì yìng liǎo dū shì shì mín dà zhòng de“ xiāo xián”、“ yú lè” yào qiú cóng 'ér jiàn lì qǐ shì chǎng hé dú zhě qún， yī fāng miàn yòu wéi nà xiē yóu yú zhǒng zhǒng yuán yīn 'ér tuō lí liǎo chuán tǒng de“ xué yōu 'ér shì” de rén shēng shì yè gé shì de zhī shí fènzǐ， cóng chuán tǒng wén rén xiàng xiàn dài zhí yè zuò jiā de zhuǎn biàn tí gōng liǎo wù zhì tiáo jiàn， shǐ yǐ kào bào kān zá zhì、 dú zhě shì chǎng hé gǎo chóu móu shēng de“ zuò jiā” zhè yī zhí yè dé dào què lì， yī pī zhí yè zuò jiā yóu cǐ zài qīng mò zhú jiàn chū xiàn。《 wǎn qīng xiǎo shuō shǐ》 zhōng lùn jí wǎn qīng xiǎo shuō de fán róng shí zhǐ chū：“ dì yī， dāng rán shì yóu yú yìn shuà yè de fā dá， méi yòu qián cǐ nà yàng kè shū de kùn nán： yóu yú xīn wén shì yè de fā dá， zài yìng yòng shàng xū yào duō liàng chǎn shēng。” xīn hài gé mìng yǐ hòu bào kān zá zhì dà zēng， jù tǒng jì， jǐn 1911 nián， bào kān zá zhì jiù dá 500 zhǒng， cóng wǎn qīng dào 1917 nián wén xué gé mìng zhī qián， dān shì yǐ xiǎo shuō mìng míng de wén xué zá zhì jiù yǐ jìn 30 zhǒng zhè zhòng duō de bào kān zá zhì yǐ jí xiāng yìng de yìn shuà chū bǎn tǐ zhì de chǎn shēng yǔ xíng chéng， běn shēn jiù shì shè huì xiàn dài huà de chǎn wù， tā men yòu gòng tóng gòu chéng liǎo wén huà、 wén xué de shēng chǎn xiāo fèi tǐ zhì、 gōng zhòng chuán méi tǐ zhì hé“ wén huà gōng gòng kōng jiān”。
zài xīn hài gé mìng hòu chū xiàn de yuān yāng hú dié pài xiǎo shuō， zhèng shì yǐ lài zhè zhǒng tǐ zhì huà de bào kān zá zhì ( wén huà chǎn yè hé wén huà gōng gòng kōng jiān ) hé mǎn zú dū shì shì mín wén huà xiāo fèi xū yào 'ér dà xíng qí dào de， yuān yāng hú dié pài xiǎo shuō de páozhì zhě yě yīn cǐ chéng wéi yǐ lài bào kān zá zhì、 chuán méi tǐ zhì hé gǎo fèi móu shēng de zhuān yè huà、 zhí yè huà zuò jiā。（ bù guò， jìn guǎn qīng mò mín chū de zhè xiē wén rén zài zhōng guó shè huì de xiàn dài huà lì shǐ biàn qiān zhōng yǐ zhuǎn biàn wéi zhí yè zuò jiā， dàn shì tā men zì jǐ hái méi yòu zì jué yì shí dào zhè zhǒng shēn fèn juésè de xiàn dài xìng biàn huà， yě méi yòu jiāng wén xué zhí yè huà、 zuò jiā zhí yè huà zuò wéi míng què de mù biāo gōng rán tí chū hé shēn míng）。
yuān yāng hú dié pài zhōng jiào zhù míng de zuò zhě zhāng hèn shuǐ、 yán dú hè、 zhōu shòu juān、 xú zhěn yà、 bāo tiān xiào、 chén dié xiān děng。 tā men dà dū shì jì biān ji yòu chuàng zuò， yòu de hái jiān fān yì。 zuì chū de yuān yāng hú dié pài wén xué zhù zhāng shì qù wèi dì yī， zhù yào miáo xiě hūn yīn wèn tí， yòu de zuò pǐn fǎn yìng liǎo yī dìng de shè huì nèi róng， yòu yī dìng de jī jí yì yì。 yuān yāng hú dié pài yǐ wén xué de yú lè xìng、 xiāo qiǎn xìng、 qù wèi xìng wéi biāo zhì， céng yī dù hōng dòng wén tán。
duì yú mǒu xiē pī pàn yuān yāng hú dié pài de jié lùn， guī nà qǐ lái， dà zhì yòu xià liè sān diǎn： yī、 zài sī xiǎng qīng xiàng shàng， rèn wéi gāi pài dài biǎo liǎo fēng jiàn jiē jí（ huò rì chuí sǐ de dì zhù jiē jí） hé mǎi bàn shì lì zài wén xué shàng de yào qiú， shì yí lǎo yí shǎo de wén xué liú pài， huò chēng shì“ yī bān nì liú“； èr、 rèn dìng zhè shì shí lǐ yáng chǎng de chǎn wù， shì zhí mín dì zū jiè de jī xíng tāi 'ér， sān、 zhè yī liú pài shǔ bāng xián、 xiāo qiǎn wén xué， shì yóu xì de xiāo qiǎn de jīn qián zhù yì wén xué guān niàn de pài shēng wù。 yǐ shàng de zhè xiē lùn diǎn shì yòu míng xiǎn piān pō de， yǔ dà liàng zuò pǐn duì zhào，“ dìng lùn” yǔ kè guān cún zài de shí jì xiāng qù shèn yuǎn。
ér xiàn shí zhōng， yòu xiē pī pàn wǎng wǎng shì duì mǒu zhǒng xiàn chéng de lùn diǎn de zhuǎn niǎn chuán chāo。 chuán chāo dé duō liǎo， mǒu xiē xiàn chéng de lùn diǎn jiù chéng wéi“ zhòng kǒu yī cí” de dìng lùn。 yú shì zhè yī dìng lùn yòu wéi rén men suǒ“ xí xiāng yán yòng”， rú cǐ xún huán wǎng fù， dǔ xìn mí jiān。 dàn shì yuè duì gāi liú pài liǎo jiě shēn rù， jiù huì bù kě bì miǎn de duì suǒ chí de guò qù de“ pī pàn dìng lùn” chǎn shēng yīngyǒu de、 bì yào de yí dòu。
qí shí， duì yú yuān yāng hú dié pài de zhèng què jiě shì， yīngdāng shì： qīng mò mín chū dà dū huì xīng jiàn guò chéng zhōng chū xiàn de yī gè chéng xí zhōng guó gǔ dài xiǎo shuō chuán tǒng de tōng sú wén xué liú pài。 zhè yī liú pài yī zhí dé bù dào xīn wén xué jiè gè pài bié de chéng rèn， shì yòu qí hěn fù zá de lì shǐ bèi jǐng de： shí dài cháo liú de jī dàng， wén xué guān niàn de yǎn jìn， dú zhě xīn tài de biàn yì děng duō fāng miàn de yuán yīn， zài jiā shàng qí běn shēn de xiān tiān de quē xiàn， dū jué dìng liǎo tā bì rán yào jīng lì yī duàn shòu yā yì de lì chéng。 gāi pài yǔ“ xīn pài” wén xué zhī jiān de lùn zhēng， shuō dào běn zhì shàng， yě jiù shì“ tōng sú” wén xué yǔ“ yán sù” wén xué，“ píng mín” wén xué hé“ gé mìng” wén xué zhī jiān de máo dùn de chǎn wù。
yuān yāng hú dié pài de dài biǎo zuò jiā zhī yī bāo tiān xiào céng tán jí tā de chuàng zuò zōng zhǐ shì：“ tí chàng xīn zhèng zhì， bǎo shǒu jiù dào dé”。 zhè shí gè zì shì jí níng liàn gài kuò dì dài biǎo liǎo zhè yī liú pài dà duō shù zuò zhě qún de sī xiǎng shí kuàng。 zhè yǔ“ wǔ sì” qián hòu xīng qǐ de xīn wén xué yùn dòng zhōng de jí lì tí chàng kē xué， fǎn fēng jiàn de zōng zhǐ shì xiāng wéi bèi de。 zài xíng shì shàng， yuān yāng hú dié pài zé yǐ cháng piān zhāng huí tǐ xiǎo shuō wéi qí tè sè， ér duǎn piān zuì kě dú de shǒu tuī chuán qí gù shì， yě jí tā men réng rán chéng xí de gǔ dài bái huà xiǎo shuō de chuán tǒng。 ér xīn wén xué zài chū chuàng jiē duàn jiù zhù dòng bìng qì zhāng kǒu tǐ， ér zhòng diǎn zhì lì yú duǎn piān xiǎo shuō de chuàng xīn shàng。 zhè yàng、 zài“ wǔ sì” jiē kāi xīn mín zhù zhù yì gé mìng xù mù shí， zài xīn wén xué zhèn yíng yǎn lǐ， tā men hái“ tuō zhe yī tiáo wú xíng de jiù mín zhù zhù yì de biàn zǐ”， ér tā men zài zuò pǐn zhōng de mǒu xiē chuán tǒng yì shí， bì rán yǔ xīn wén xué yíng lěi xíng chéng yī duì máo dùn。 yóu yú nèi róng hé xíng shì shàng de fēn dào yáng biāo，“ wǔ sì” qián hòu xīn wén xué jiè duì gāi pài de zhù dòng chū jī shì wú kě bì miǎn de， jì shì lì shǐ de bì rán， yě shì chuàng xīn de bì xū。 zài lì shǐ fā zhǎn de jìn chéng miàn qián， wǒ men wán quán kě yǐ lǐ jiě zhè chǎng pī pàn de bì yào xìng hé bì rán xìng。
zài wǔ sì shí qī duì yuān yāng hú dié pài de lìng yī yán zhòng pī píng shì pēng jī tā de yóu xì xiāo qiǎn de jīn qián zhù yì de wén xué guān niàn。 zhè shì yòu guān wén xué gōng néng fāng miàn de yuán zé fēn qí。 xué gōng néng yīnggāi shì duō fāng miàn de。 tā yīnggāi yòu zhàn dǒu gōng néng、 jiào yù gōng néng、 rèn shí gōng néng、 shěn měi gōng néng、 yú lè gōng néng…… děng děng。
měi dāng yíng lái lì shǐ biàn gé de cháo xī huò gé mìng dà bō xí lái de qián yè， wén yì de zhàn dǒu gōng néng hé jiào yù gōng néng zǒng shì huì bèi qiáng diào dào jí duān zhòng yào de dì bù。 zài jìn dài wén xué zhōng liáng qǐ chāo jiù shì gǔ chuī zhè fāng miàn de gōng néng de dài biǎo rén wù。 tā shuō：“ yù xīn yī guó zhī mín， bù kě bù xiān xīn yī guó zhī xiǎo shuō。 gù yù xīn dào dé， bì xīn xiǎo shuō； yù xīn zōng jiào， bì xīn xiǎo shuō： yù xīn zhèng zhì， bì xīn xiǎo shuō； yù xīn fēng sú， bì xīn xiǎo shuō； yù xīn xué yì， bì xīn xiǎo shuō； nǎi zhì yù xīn rén xīn， yù xīn rén gé， bì xīn xiǎo shuō。 hé yǐ gù？ xiǎo shuō yòu bù kě sī yì zhī lì zhī pèi rén dào gù。”
liáng qǐ chāo jiāng xiǎo shuō tí gāo dào“ dà dào zhōng de dà dào” de gāo dù， xiǎo shuō jiù chéng liǎo“ dà” shuō， chéng wéi jiù guó jiù mín de líng yào。 dàn zài zhōng guó wén xué chuán tǒng zhōng， xiǎo shuō yī zhí bèi shì wéi“ xiǎo dào zhōng de xiǎo shuō”。 xīn wén xué zuò jiā zhū zì qīng shì kàn dào liǎo zhè yī diǎn de：“ zài zhōng guó wén xué de chuán tǒng lǐ， xiǎo shuō hé cí qū（ bāo kuò xìqǔ） gèng shì xiǎo dào zhōng de xiǎo shuō， jiù yīn wéi shì xiāo qiǎn de， bù yán sù。 bù yán sù yě jiù shì bù zhèng jīng； xiǎo shuō tōng cháng chēng wéi“ xián shū”， bù shì zhèng jīng shū…… yuān yāng hú dié pài de xiǎo shuō yì zài gōng rén men chá yú jiǔ hòu xiāo qiǎn， dǎo shì zhōng guó xiǎo shuō de zhèng zōng。 zhōng guó xiǎo shuō yī xiàng yǐ“ zhì guài”、“ chuán qí” wéi zhù，“ guài” hé“ qí” dōubù shì zhèng jīng de dōng xī。 míng cháo rén biān de xiǎo shuō zǒng jí suǒ wèi“ sān yán 'èr pāi”……“ pāi 'àn jīng qí》 zhòng zài“ qí“ hěn xiǎn rán。“ sān yán”…… suī rán zhòng zài“ quàn sú”， dàn shì hái shì xiān dé shǐ rén men“ jīng qí”， cái néng shōu dào“ quàn sú” de xiào guǒ……《 jīn gǔ qí guān》， hái shì guī dào“ qí” shàng。 zhè gè“ qí” zhèng shì gōng rén men chá yú jiǔ hòu xiāo qiǎn de。”
yuān yāng hú dié pài de chéng yuán shì zhè yī chuán tǒng gōng néng guān de zì jué shì xí zhě。 yáo hè chú zài《 xiǎo shuō xué gài lùn》 zhōng yǐn jīng jù diǎn tā shuō：“ yǐ liú xiàng《 qī lüè》 jí《 hàn shū · yì wén zhì》， xiǎo shuō chū yú‘ jiē tán xiàng yǔ， dào tīng tú shuō’， zé qí suǒ zài， dāng rán duō shǔ‘ xián tán qí shì’； yòu guān《 qī lüè》 jí《 suí shū · jīng jí zhì》 suǒ lù， zé‘ fán gè zhù yì shù lì shuō shāo píng cháng 'ér fàn wéi lüè xiǎo qiǎo zhě， jiē kě guī yú xiǎo shuō’。‘ qí suǒ bāo jǔ、 wú fēi xiǎo dào’。”
zhè zhǒng wén xué de gōng néng guān yǔ dāng shí tí chàng xuè hé lèi de wén xué qiě jù yòu lì shǐ shǐ mìng gǎn de gé mìng zuò jiā jiù gòu chéng liǎo chōng tū。 yóu shěn yàn bīng hé zhōu zuò rén fā qǐ de wén xué yán jiū huì duì“ jiāng wén yì dāng zuò gāo xīng shí de yóu xì huò shī yì shí de xiāo qiǎn” de wén xué guān jí zài zhè zhǒng wén xué guān yǐn dǎo xià chǎn shēng de wén xué xiàn xiàng tí chū liǎo pī píng。 rú guǒ jiāng zhè zhǒng pī píng jìn xíng“ yǔ jìng hái yuán” de huà， nà zhǒng bèi shì zuò yóu xì huò xiāo qiǎn de wén xué， wú yí zhǐ de shì qīng mò mín chū yǐ lái de suǒ wèi“ hēi mù wén xué”、“ xiá xié xiǎo shuō”， zhǐ de jiù shì“ yuān yāng hú dié pài” děng yǐ lài bào kān zá zhì hé dú zhě shì chǎng de dà zhòng tōng sú wén xué。 shěn yàn bīng hé zhōu zuò rén， cǐ qián cǐ hòu fā biǎo liǎo hěn duō pī píng“ lǐ bài liù pài”、“ yuān yāng hú dié pài” děng yóu xì xiāo qiǎn wén xué de yán cí wén zhāng。
ér qiě bù jǐn shì wén xué yán jiū huì zhū rén， zài“ wǔ sì” lì shǐ wén huà yǔ jìng zhōng， xīn wén huà zhèn yíng zhōng de jīhū suǒ yòu rén dū bǎ yuān hú pài wén xué dāng zuò fēng jiàn jiù wén xué de yú niè、 dāng zuò jiàn lì xīn wén xué de zhàng 'ài hé duì lì wù 'ér tòng jiā pī pàn yǔ fǒu dìng。 xīn wén xué zuò jiā rèn wéi yuān yāng hú dié pài wén xué bù jǐn shì chuàng jiàn xīn wén xué de bàn jiǎo shí， ér qiě tā men de xiāo xián yóu xì guān niàn hé qīng xiàng gèng dà yòu hài yú guó mín xìng de gǎi zào hé chóngjiàn、 yòu hài yú rén shēng shè huì de gǎi liáng hé gēngxīn、 yòu hài yú zhōng guó cóng“ biān yuán” chóngfǎn“ zhōng xīn” de nǔ lì、 yòu hài yú xiàn dài mín zú guó jiā de shí xiàn， yī jù huà， yòu hài yú zhōng guó xiàn dài huà lì shǐ mù biāo hé“ qiáng guó mèng” de shí xiàn。 yīn cǐ， chū yú zhè zhǒng yǐ mín zú guó jiā wéi zhōng jí guān huái de qǐ méng wén xué guān de lì chǎng hé zhuī qiú， wén xué yán jiū huì yǐ jí xīn wén xué zhèn yíng duì yuān yāng hú dié pài děng yóu xì xiāo xián lèi dedōu shì tōng sú wén xué fā chū liǎo jī liè de pī pàn zhī shēng， ér qiě，“ wǔ sì” yǐ hòu xīn wén xué duì dū shì tōng sú wén xué de qīng miè hé pī pàn yǐ rán méi yòu zhōng jié， duì wǔ xiá yǐngpiān《 huǒ shāo hóng lián sì》 wéi dài biǎo de wǔ xiá xiǎo shuō、 zhēn tàn yán qíng xiǎo shuō yǐ jí suǒ wèi de“ xiǎo shì mín wén yì”， bāo kuò lǔ xùn hé máo dùn zài nèi de xīn wén xué zuò jiā yědōu yú yǐ liǎo tòng jī。
xīn wén xué zhèn yíng duì shàng shù dedōu shì tōng sú wén xué de pī pàn， cóng qí qǐ méng wén xué guān hé wéi xīn wén xué de chuàng lì yǔ fā zhǎn kāipì dào lù、 kāi tuò kōng jiān de jiǎo dù lái kàn， yòu qí lì shǐ de hé lǐ xìng yǔ bì yào xìng。 tā men zhī duì yuān hú pài děng dū shì tōng sú wén xué de pī pàn qīng lǐ， shì yīn wéi tā men rèn wéi cǐ lèi wén xué gēn běn shàng bù lì yú shèn zhì shì fáng 'ài zhe zhōng guó chéng wéi xiàn dài mín zú guó jiā， fáng 'ài zhe zhōng guó zǒu xiàng jìn bù， suǒ yǐ， bì yù pī pàn zhī chǎn chú zhī， tā men shì wèile zhè yī gēn běn de xiàn dài xìng shǐ mìng 'ér jìn xíng liǎo duì“ jiù shì jiè” de pī pàn hé qīng lǐ。 zài zhè xiē zhuī qiú zhōng guó wén xué xiàn dài huà de xiān qū zhě kàn lái， nà xiē yǐ yóu xì xiāo qiǎn yú lè xiāo fèi wéi mù de de wén xué， jìn guǎn bǐ xīn wén xué dàn shēng dé zǎo huò yǔ xīn wén xué tóng shí cún zài， dàn tā men què bù jù yòu sī háo de xiàn dài xìng， ér shì lì shǐ hé shí dài de lā jī。 gé mìng zuò jiā de shǐ mìng zài yú yòng tā men de xiǎo shuō qǐ fā hé péi yǎng yī dài mín zú jīng yīng。 yīn cǐ， yóu xì yǔ xiāo qiǎn gōng néng zài xiàn dài wén xué de lì shǐ jiē duàn zhōng cháng bèi shì wéi wán wù sàng zhì de fǎn miàn xiào yìng 'ér yī zài jiā yǐ fǒu dìng。
dàn“ yú lè” jì rán shì wén xué běn shēn de gōng néng zhī yī， rén men jiù zhǐ néng zài mǒu yī tè dìng shí qī duì tā jiā yǐ fǒu dìng 'ér qù yuē shù tā， yǐ biàn tū chū qí tā de gōng néng， què wú fǎ chè dǐ bō duó zhè zhǒng gōng néng de běn shēn。 jí shǐ zài tè bié xū yào fā huī wén xué de zhàn dǒu gōng néng de suì yuè lǐ， dū shì zhōng de bié yī céng cì de dú zhě， réng rán tíng liú zài jiāng xiǎo shuō kàn chéng“ xiǎo dào zhōng de xiǎo dào” de tī jiē shàng， nà jiù shì yī bān yì yì shàng de dà zhòng， huò chēng“ sú zhòng” yě kě yǐ。 shǒu xiān zài“ sú zhòng” kàn lái， xiǎo shuō fā huī yóu xì yǔ xiāo qiǎn xiào yìng shì tā men tiáojié shēng huó de yī zhǒng xū yào。 suí zhe xīn xīng dà dū shì de chéng xíng hé gōng yè jī qì chǐ lún de zhuànsù yuè lái yuè kuài， dū shì tōng sú xiǎo shuō de xū qiú liàng yě jī shēng。 shēng huó jié zòu pín shuài de kōng qián zēng sù， rén men jué dé nǎo lì hé jīn ròu de xián bēng dé tài jǐn， gōng yú huò yè wǎn xū yào sōng chí yī xià bèi jī xiè jiǎo dé tài jǐn de shén jīng。 zhè jiù xū yào yú xiū， ér dú xiǎo shuō jiù shì yú lè hé tiáojié de fāng fǎ zhī yī。 qí cì， dāng sì zhōu shēng huó xiàng wàn huā tǒng bān biàn yì de huán jìng lǐ， tè bié shì xiàng shàng hǎi zhè yàng xīn xīng de dà dū shì， guāng guài lù lí， wǔ guāng shí sè， tóng miǎn dān yuè， wú qí bù yòu。 yī bān de“ sú zhòng” yě xī wàng tōng guò dū shì tōng sú wén xué qù liǎo jiě sì zhōu de huán jìng， yǐ zēng qiáng shì yìng xìng， bù zhì máng máng rán dì diē rén shēng huó xiàn bǐng。 dì sān， zhè xiē“ sú zhòng” yī bān dū quē fá xīn xīng yì shí， dàn shì tā men yě zài tōng sú wén xué zhōng jiē shòu mǒu zhǒng jiào yù， jí zài chá yú jiǔ hòu yuè dú tōng sú wén xué， zài pāi 'àn jīng qí zhōng shòu dào qián yí mò huà de jiào huì yǔ chéng jiè。 yīn cǐ， zài jìn xiàn dài wén xué gé mìng zhōng， zhè yī liú pài bù shì miàn xiàng mín zú jīng yīng， ér shì zhù yào miàn xiàng yī bān yì yì shàng de dà zhòng， yīn 'ér kě yǐ chēng tā shì yī zhǒng shì mín wén yì，“ píng mín” wén xué。
dàn shì tā yě bìng fēi yǔ zhī shí fènzǐ dú zhě wú yuán， zài zhī shí fènzǐ jiē céng zhōng， bǐ jiào míng xiǎn fēn chéng liǎng zhǒng lèi xíng： yī zhǒng shì xǐ 'ài xīn wén yì de dú zhě， tā men cháng wéi wén xué gōng néng guān de máo dùn 'ér pái chì tōng sú wén xué： lìng yī zhǒng píng rì duì xīn jiù liǎng pài de xiǎo shuō bù shè liè lì lǎn， yòu wǎng wǎng wéi tōng sú wén xué de qù wèi xìng hé kě dú xìng suǒ xī yǐn， wéi qí yǐn rén rù shèng de gù shì qíng jié、 jǐn zhāng jīng xiǎn de xuán niàn suǒ láo láo kòng zhì， zài fù yòu jīng lì de yōu xiù tōng sú wén xué zuò pǐn miàn qián， tā men yě shǒu bù shì juàn， fèi qǐn wàng shí。 dàn wèn tí shì tā men bìng bù zài gōng kāi chǎng hé zhōng zàn yáng huò jiè shào tōng sú wén xué， wéi qí zhì zào liáng xìng píng jià de yú lùn。 sì hū bèi tōng sú wén xué suǒ xī yǐn shì yòu shī shēn fèn de yī zhǒng biǎo xiàn， yīn wéi bù fēn zhī shí fènzǐ yī zhí shì tōng sú wén xué shì dī jí qù wèi de tóng yì cí。 zhè jiù gòu chéng liǎo yī zhǒng biǎo lǐ bù yī de máo dùn：“ àn lǐ dú dé jīn jīn yòu wèi， míng lǐ què bù yuàn jīn jīn lè dào”，“ gǎn qíng shàng bèi tā dǎ dòng guò， lǐ zhì shàng rèn dìng tā dī rén yī děng”。 zhè zhǒng wēi miào de xīn tài shì yī zhǒng“ yóu bào pí pá bàn zhē miàn” de xīn lǐ fēn liè zhèng。
bù lùn shì yī bān“ sú zhòng” huò shì bù fēn zhī shí fènzǐ， bèi tōng sú wén xué suǒ xī yǐn de cí lì jiē lái zì qù wèi xìng， ér qù wèi xìng zhèng shì dá dào yóu xì、 xiāo qiǎn mù de de bì bèi yào sù， yě shì yú lè gōng néng de líng hún。 qù wèi xìng hái shì tōng sú wén xué jìn xíng“ quàn sú” hé“ jiào huà” de méi jiè hé qiáo liáng。 dàn shì qù wèi xìng yī dù bèi xīn wén xué jiā kàn chéng shì“ wán wù sàng zhì”、” zuì shēng mèng sǐ” de má zuì jì， yǐ zhì zhū zì qīng yě fā shēng zhè yàng de gǎn kěn：“ dàn shì zhèng jīng zuò pǐn ruò shì yī wèi jiǎng jiū zhèng jīng， zhǐ gù rén mín xìng， bù guǎn yì shù xìng， sǐ bǎn bǎn de cháng miàn kǒng jiào rén qīn jìn bù dé， dú zhě kǒng pà gèng huì duǒ xiàng nà xiē kān wù lǐ qù。” lǔ xùn yě céng shuō：“ shuō dào‘ qù wèi’ nà shì xiàn zài què yǐ suàn yī zhǒng zuì míng liǎo， dàn wú lùn rén lèi dǐ yě bà， jiē jí dǐ yě bà， wǒ hái xī wàng zǒng yòu yī rì chí jìn， jiǎng wén yì bù bì dìng yào‘ méi qù wèi’。” tóng shí lǔ xùn hái shuō：“ zài shí jì shàng， bēi fèn zhě hé láo zuò zhě， shì shí shí xū yào xiū xī hé gāo xīng de。” zhè zhèng shuō míng liǎo qù wèi xìng hé yú lè gōng néng shì wú zuì de。 ér tōng sú wén xué shì zhuóyǎn yú kě dú xìng、 qíng jié xìng。 jiǎng jiū qíng jié qū zhé， fēng kǒu lùzhuàn， diē dàng duō zī， gāo cháo dié qǐ。 zài zhōng guó de xiàn dài tōng sú xiǎo shuō dú zhě zhōng chū xiàn guò“《 tí xiào yīn yuán》、《 jīn fěn shì jiā》 mí” jiù shì cóng yòu qù wèi 'ér zhú jiàn jìn rù táo zuì de jìng jiè， yǐ zhì dá dào liǎo xiāo qiǎn yú lè de xiào guǒ。 zhè yǔ wǒ men qī shí， bā shí nián dài de“ wǔ xiá” xiǎo shuō mí，“ jīn yōng” mí；“ gǔ lóng” mí； yǐ jí“ yán qíng” xiǎo shuō“ qióng yáo” mí děng hěn shì xiāng sì。 zhè yě shuō míng tōng sú wén xué shì yòu qí cún zài de wàng shèng lì de！
jù shuō， zài měi guó， guò qù xǔ duō xué zhě duì tōng sú wén huà yě chí fǒu dìng tài dù， rèn wéi tā men jǐn shì yōng sú wén xué hé wén xué lā jī 'ér yǐ。 dàn shì zài 'èr cì shì jiè dà zhàn zhī hòu，“ měi guó xué” xīng qǐ。 xué zhě duì tōng sú wén huà kāi shǐ cóng qīng shì zhuǎn wéi zhòng shì， cóng zhù guān zhuǎn wéi kè guān， cóng piàn miàn zhuǎn wéi quán miàn。 tā men rèn shí dào， tōng sú wén yì néng lì shǐ dì fǎn yìng mǒu yī shí jiān cháng liàn zhōng dú zhě xīn tài hé jià zhí guān de biàn huà。“ zhè xiē chàng xiāo shū shì yī zhǒng yòu yòng de gōng jù， wǒ men néng gòu tòu guò tā men， kàn dào rèn hé tè dìng shí jiànrén men pǔ biàn guān xīn de shì qíng hé mǒu duàn shí jiān nèi rén men de sī xiǎng biàn huà。” rì běn de wěi qí xiù shù zài tā de《 dà zhòng wén xué de lì shǐ》 yī shū zhōng xiě dào：“ shuō qǐ dà zhòng wén xué， yī bān shì zhǐ néng gòu dà liàng shēng chǎn、 dà liàng chuán bō、 dà liàng xiāo fèi de shāng yè xìng wén xué。 jiù nèi róng 'ér yán， shì wéi dà zhòng yú lè de wén xué， dàn bù zhǐ shì dān chún de yòu qù， yě qǐ zhe tōng guò jù tǐ huà de fāng shì gěi dà zhòng tí gōng qí suǒ bù zhī dào de shì wù de zuò yòng…… yóu yú rì bào bǎi wàn shù de tū pò， xīn wén xì tǒng zhōu kān de chuàng kān…… běn lái yǔ xiǎo shuō wú yuán de jiē céng biàn chéng liǎo jiē shòu zhě， zhè jiù qī dài shì yìng bù jǐn běn lái rè zhōng wén xué、 hái yòu wèi jīng wén xué xùn liàn de dú zhě yào qiú de xiǎo shuō。…… dà zhòng wén xué shì yǔ dà zhòng yī qǐ chǎn shēng， ér yòu shì dà zhòng yì shí de fǎn yìng。” zhè wèi yán jiū rì běn tōng sú wén xué pō yòu jiàn shù de xué zhě de yī xí huà， duì wǒ men hěn yòu cān kǎo jià zhí。
yuān yāng hú dié pài de xīng qǐ kě wèi shēng bù féng shí， wǔ sì shí qī， zài zhōng guó xiǎo shuō cóng chuán tǒng xíng gǎi dào zhuǎn guǐ wéi xiàn dài xíng de guò chéng zhōng， kāi shǐ zǒng yào yǔ mín zú jiù xíng shì chéng jué liè de tài shì， yǐ qī fú hé shì jiè cháo liú de xīn xíng shì。 zhè jiù huì yòu yī fān dà gé mìng、 dà jù biàn， duì nèi róng zhōng de chuán tǒng yì shí hé xíng shì zhōng de chuán tǒng kuàng jià， zǒng yào yòu yī fān dà gé xīn hé dà tū pò。 zhè jiù bì rán huì yǔ réng rán jiān chí chéng xí zhōng guó chuán tǒng de wén xué liú pài chǎn shēng dà pèng zhuàng。 xīn xīng yì shí hé gé xīn xíng shì zǒng yào zài dà bó zhàn zhōng zhēng dé zì jǐ de wén tán lǐng tǔ， fǒu zé tā nán yú yòu lì zhuī zhī dì。 duì chuán tǒng de jīng shén chǎn pǐn， zǒng yào yòu rén lái xiàng tā jìn xíng dà dǎn de tiǎo zhàn， duì shì xí wén tán de quán wēi zǒng yào yòu rén qù hàn dòng tā de gēn jī， rán hòu cái huì yòu chuàng xīn de jí dà de zì yóu。 wén xué yán jiū huì zài xuān yán zhōng xuān gào：“ jiāng wén yì dāng zuò gāo xīng shí de yóu xì huò shī yì shí de xiāo qiǎn de shí hòu， xiàn zài yǐ jīng guò qù liǎo。 wǒ men xiāng xìn wén xué shì yī zhǒng gōng zuò， ér qiě yòu shì yú rén shēng hěn qièyào de yī zhǒng gōng zuò： zhì wén xué de rén yě dāng yǐ zhè shì wèitā zhōng shēn de shì yè， zhèng tóng láo nóng yī yàng。” zhè duàn huà de zhǐ xiàng dāng rán shì yǐ yuān yāng hú dié pài wéi fǒu dìng mù biāo de。 suǒ yǐ yuān yāng hú dié pài shǒu dāng qí chōng， qí shí shì zuò liǎo gé mìng wén xué de fǎn miàn jiào cái。
kè guān shàng shuō zhè gè jì chéng zhōng guó gǔ diǎn xiǎo shuō chuán tǒng gé xīn fā zhǎn yì shí bù qiáng dedōu shì tōng sú wén xué liú pài， zài xiàn dài wén xué de fā zhǎn lì shǐ shàng， suī yòu qí jú xiàn xìng， què yě zuò guò yī dìng de gòng xiàn。 qí zhōng de hěn duō wén xué zuò pǐn shì fēi cháng bù cuò de， yǔ xīn wén xué de mǒu xiē tóng lèi tí cái xiāng bǐ， yě shì háo bù xùn sè de。“ hēi mù xiá xié” yuān yāng hú dié pài wén xué， zài gēn běn shàng shì zhōng guó shè huì xiàn dài huà hé wén xué xiàn dài huà zhuī qiú de chǎn wù， tā men běn shēn jiù shì xiàn dài xìng shì wù。
qí shí， yuān yāng hú dié pài dāng chū wèn shì zhī shí， shèn zhì biāo bǎng de shì“ xīn xiǎo shuō”， zhí jiē chéng jì wǎn qīng“ xīn xiǎo shuō” ér lái， jiē shòu liǎo xī fāng xiǎo shuō de yǐng xiǎng， wéi zhōng guó xiǎo shuō de fā zhǎn， zuò chū guò zhòng yào de gòng xiàn： zhōng guó dì yī běn zhèng miàn miáo xiě hé shàng liàn 'ài de xiǎo shuō， shì bèi zhōu zuò rén chēng wéi yuān yāng hú dié pài de zǔ shī sū màn shū xiě de《 duàn hóng líng yàn jì》。 zhōng guó dì yī běn gē sòng guǎ fù liàn 'ài de xiǎo shuō， shì yuān yāng hú dié pài de dài biǎo zuò《 yù lí hún》。 zhōng guó dì yī běn cháng piān rì jì tǐ xiǎo shuō， shì《 yù lí hún》 zuò zhě xú zhěn yà xiě de《 xuě hóng lèi shǐ》。 zhōng guó dì yī piān shū xìn tǐ xiǎo shuō， shì yuān yāng hú dié pài zhù jiāng bāo tiān xiào de《 míng hóng》。 wú lùn zài nèi róng hái shì zài xíng shì shàng， yuān yāng hú dié pài dōuyòu suǒ chuàng xīn。 zài mín chū de wén tán shàng， wú lùn cóng dà liàng yùn yòng wén yán chuàng zuò hái shì cóng nèi róng yǔ xíng shì de chuàng xīn lái kàn， yuān yāng hú dié pài dū dài biǎo liǎo dāng shí zhōng guó wén xué de shuǐ píng。 tā tóng shí chuàng zuò chún wén xué yǔ tōng sú wén xué。 wǔ sì xīn wén xué de jué qǐ， yī zhǒng gēngxīn de chún wén xué wèn shì， bī zhe yuān yāng hú dié pài wán quán zǒu xiàng tōng sú wén xué。 kàng jù zhè yī zhuǎn huà de xú zhěn yà、 lǐ dìng yí、 wú shuāng rè děng rén xiān hòu lí kāi liǎo zuò jiā duì wǔ， shùn yìng zhè yī zhuǎn huà de bāo tiān xiào、 zhōu shòu juān děng zé zhàn jù liǎo tōng sú wén tán。 cóng chún wén xué yǔ tōng sú wén xué de shuāng qī， zhuǎn huà wéi wán quán de tōng sú wén xué， jué dìng liǎo tōng sú wén xué jiē shòu chún wén xué de yǐng xiǎng， biǎo xiàn wéi chún wén xué duì tōng sú wén xué de shèn tòu。 lì rú zhōng guó de tōng sú xiǎo shuō， běn lái shì piān zhòng yú gù shì qíng jié de， zhè shí dà liàng yùn yòng xīn lǐ miáo xiě、 qíng jǐng miáo xiě， yě zhù zhòng zhǎn shì rén wù de nèi xīn shì jiè。 cóng 'èr shí nián dài dào sì shí nián dài， kě yǐ kàn dào tōng sú xiǎo shuō cóng chuán tǒng de“ zhāng huí tǐ” biàn wéi xiàn dài xiǎo shuō， qí jiān chōng mǎn liǎo chún wén xué duì tōng sú wén xué de shèn tòu。 fā zhǎn dào qióng yáo、 jīn yōng de xiǎo shuō， zhǐ shì zài tí cái shàng yán xí liǎo chuán tǒng de“ yán qíng”、“ wǔ xiá”， xiǎo shuō de sī xiǎng qíng gǎn， xíng shì nèi róng yǔ chuán tǒng tōng sú xiǎo shuō xiāng bǐ， yǐ jīng wán quán xiàn dài huà liǎo。 dāng dài xiǎo shuō， chún wén xué yǔ tōng sú wén xué de jiè xiàn yuè lái yuè bù míng lǎng： yī xiē bèi shì wéi shì chún wén xué de zuò pǐn， àn xī fāng biāo zhǔn yīngdāng suàn tōng sú xiǎo shuō； yī xiē cóng lái bèi shì wéi tōng sú xiǎo shuō de， rú jīn yōng de zuò pǐn， bèi yī xiē dà xué jiǎng tán rèn wéi shì chún wén xué。 yě xǔ， zhè běn shēn jiù kě yǐ zhèng míng chún wén xué yǔ tōng sú wén xué zhī jiān de chā jù yǐ jīng suō xiǎo dào hé děng dì bù。
suī rán 'àn zhào wǔ sì xīn wén xué de biāo zhǔn， zhè xiē chuàng xīn hái bù gòu， zuò jiā bù gǎn dǎ dǎo fēng jiàn lǐ jiào， bù gǎn ràng liàn 'ài de hé shàng、 guǎ fù yǔ liàn rén jié hūn， ér qiě pō yòu mèi sú de qīng xiàng， dàn shì， wén xué shǐ de píng jià， bì jìng shì gēn jù tā bǐ qián rén duō tí gōng liǎo shénme。 yīn cǐ， xīn wén xué yòu lǐ yóu pī pàn yuān yāng hú dié pài， rú jīn de wén xué shǐ jiā què bù néng fǒu rèn yuān yāng hú dié pài zuò chū de gòng xiàn。 duì yuān yāng hú dié pài， guò qù yòu ruò gànbù gōng yǔn huò wù jiě xìng de píng jià yǐ zhì dìng lùn， shì piān pō de， shì yǐ“ gé mìng wén xué” de míng yì duì qí quán miàn de fǒu dìng， shì yī zhǒng bù kē xué de xué shù fēn wéi xià de chǎn wù。 wǒ men jīn tiān duì dài zhè yī liú pài， yīngdāng zhèng què rèn shí qí lì shǐ yǔ dì wèi， kěn dìng qí lì shǐ yì yì。 kè guān de qù kàn dài tā， kè guān de qù kàn dài zhōng guó jìn dài de wén xué shǐ。
The so-called Butterfly, is the emergence of a Late Qing Dynasty literary genre. The school has been welcomed by the general reader, have widely affected by the new literary criticism, its impact is far-reaching, even to this day, also criticized the so-called "vulgar, vulgar culture" will he come up with as a synonym.
The authors of this genre have as many as two hundred people, scattered in Jiangsu, Zhejiang, Anhui, Jiangxi area, was concentrated in Shanghai, Tianjin, Beijing, several big cities. There is no fixed organization began, and later established the Youth Club and Star Club. Package-day laugh as the host of this school, there are important representatives Xu Zhenya, Zhang Henshui, Wu dual heat, Strips, Xiaoqing, Sun Sheng, Li Han Qiu, Xu Xiaotian, Qin thin in Europe, Feng Yuqi so. These writers, writers have created works of wide range of topics, including "gracious in love with is not split open, Liu Yin spend the next, like a pair of butterflies, a pair of mandarin ducks as" the Romantic love stories, martial arts novels of iron Majin Ge , confusing the detective novel, revealers of secrets novelty of the social novel ... ... are they good at the subject. "Butterfly" is the name to refer to visualize and Beauty in the romantic novels that the Republic of China faction, but because the writers of this genre romance of Beauty and not just write novels, it can not be summarized with the Butterfly has many names subject characteristics, then, was sent to take the most representative publication "Saturday" name of the stops off entertainment, leisure functions known as "Saturday" faction.
In the development of modern Chinese literature, the emergence of many literary genres, Butterfly is one of the important and special one faction. That its important, because "54" before and after the revolution of the times literary trend, they are more conservative heavy inheritance and a literary school, repeated the new literary criticism. In the new camp and the camp literary debate and confrontation in the new literature in the literary world to expand their influence in the increasingly grow. On the new literary movement will inevitably involve the factions. That their special, because due to the new literature of the accused parties, to which some of the original a long time does not admit that he is a member belonging to the genre, highlighting the example of one of its representative writers deny packet-day laugh is the Butterfly. He said: "Today there are many comments in recent historical books on Chinese literature, are regarded as the Butterfly ... ... I do not know who I am, I do not know which of several novels written by me is Butterfly.". Some of the school admitted only that he is "Saturday" school, but denied that he was Butterfly, they are usually held one of the reasons is that Butterfly is limited Xu Zhenya, Li Ding Yi and a few some of the only people Parallelism who was 46 in early body of Name of Love Stories is consistent with the Butterfly.
Butterfly novel was a literary culture before exercise one of the most popular books in fashion. One representative Xu Zhenya's "Jade Pear", has _set_ a 30 second edition, sold hundreds of thousands of records. Profound and famous writer, "tick laugh cause" also has scores of print, its five authors, "Zhang Henshui, including day to laugh, Zhou Shoujuan, Li Han Qiu, Yan Duhe" series in the works in the newspaper, there have been people waiting in line newspaper published scene.
Why, then, a long time for this "genre", the existence of such criticism, as many do?
To re-evaluation of "Butterfly" and confirmed its correct position, we first need to know some history and background related to Butterfly.
1906, Shanghai was China's largest trading ports to 66 newspapers published in as many newspapers and periodicals published in the country at this time the total number of 239. these newspapers in his Political News also published articles in the nature of poetry and entertainment, the evolution of these elements later became the "Supplements" supplement led to the development of the emergence of literary magazines and a separate publication. Among them, Liang founded the "New Fiction" (1902), Li Jiabao editor of the "Portrait Novel" (1903), Wu Yao, Gui-Sheng editor of "Monthly Fiction" (1906), Miss Moses, editor of "novel forest" (1907 ) is now four literary publications. These rely on the treaty ports, urban and modern printing and publishing industry and mass media institutions and the emergence of urban literature publications, on the one hand to adapt to the city because of the public, "leisure", "Entertainment" Request to establish a market and audience, on the other hand for those who for various reasons, from the traditional "school excellence and official" cause of the format of the intellectual life, from traditional to modern professional writers scholars provided the material conditions change, so rely on newspapers and magazines, the reader market and the remuneration Mousheng's " writer, "the profession has been established, a group of professional writers gradually emerged in the late result. "History of Late Qing Fiction," addressed the prosperity of the late Qing fiction, said: "First, of course, because of advances in the printing industry, there is no book before this, as difficult moment: As the news industry developed, the applications need many produce. "Revolution greatly increased after the newspapers and magazines, according to statistics, only in 1911, reached 500 newspapers and magazines, from the late Qing Dynasty to the literary revolution of 1917 before the single is a novel named literary magazine on the nearly 30 species of this large number of newspapers printing and publishing magazines and the corresponding system of production and the formation itself is a product of modern society, which they constitute the cultural and literary production and consumption systems, the public media system and the "culture of public space."
After the 1911 Revolution the traditional literary fiction, is dependent on this system of newspapers and magazines (cultural industries and cultural public space) and to meet the needs of urban public culture, popular consumption, the Butterfly has cooked up the novel has also become dependent on newspapers and magazines, the media system and royalties to earn a living in professional, professional writers. (However, although the Late Qing Dynasty, these scholars in modern Chinese society has been transformed into historical changes in the professional writers, but they themselves do not consciously aware of this status change in the role of modernity, nor the professional literature, professional writers of clear objectives as proposed and stated publicly).
Butterfly of the more famous Zhang Henshui, Yan Duhe, Zhou Shoujuan, Xu Zhenya, including days of laughter, Chen Xian and other butterflies. Both of them are creative editing it, in some cases and translator. Butterfly original literary ideas is the first taste, the main description of marital problems, some works reflect a degree of social content, has some positive significance. Butterfly with literary entertainment, recreation, fun for the signs, once literary sensation.
Butterfly certain critical conclusions, summed up, there are the following three points: First, the ideological tendencies, that the representatives of the feudal class (or the day dying landlord class) and comprador forces in the literature requirements, is Yilaoyishao literary genre, or a "general counter-current"; two, that this is miles foreign market the product of the colonial _set_tlements of the abnormal fetus, three, this school is Bangxian, recreation literature, is the game's entertainment money Doctrine Literary Concept derivatives. These arguments are more obviously biased, and a large number of works were "conclusive" and far from objective reality exists.
But in reality, there often is a ready-made criticism of the arguments of Zhuanzhan private copies. Much more private copies of some ready-made argument on a "unanimous" conclusion. So the conclusion then was that people "follow the learning phase", so the cycle, believe in solid. But the more in-depth understanding of the genre, it will inevitably hold the past against the "critical findings" should produce the necessary suspicion.
In fact, the correct interpretation for the Butterfly, should be: Late Qing Dynasty city occurred during the construction of an inherited tradition of the popular ancient Chinese literary genre fiction. This school has not recognized the new literary factions, there is a very complicated historical background: the surging trend of the times, the evolution of literary ideas, mind readers, and many other reasons for the variation, together with its own congenital defects, have decided it must go through a process repressed. The School and the "new style" debate between literature, said in essence, that is "popular" literature and "serious" literature, "civilian" literature and "revolutionary" product of the contradiction between the literature.
Butterfly of the representative writer of the package-day laugh talked about his creation is: "to promote a new system, the conservative old morality." Those words are generally very concisely represent the majority of the authors of this genre ideas live. This "54" before and after the rise of a new literary movement in the efforts to promote science, anti-feudal is contrary to the purposes. Formally, Butterfly Zeyi long chapter in the fictions of its character, and the most readable of the devaluation of short tales, but also that they still inherited the ancient tradition of vernacular fiction. The new literature in the initial stage of the initiative to abandon the body of Chapter I, and focus efforts on short stories of innovation. In this way, "54" kick off the new democratic revolution, the camp in the eyes of the new literature, they also "dragging an invisible old pigtail democracy" while they work in some traditional sense, inevitable and the formation of a new literary camp a contradiction. As the content and form of parting ways, "54" before and after the literary world of the camp to take the initiative is inevitable, is a historical necessity, but also the necessary innovation. In the process of historical development before we can fully understand the necessity and inevitability of this criticism.
Period in the 54 Butterfly Another serious criticism of the criticism it is the game of literary entertainment of the Marxist concept of money. This is the literary function of the difference of principle. School function should be multifaceted. It should have a combat function, educational function, cognitive function, aesthetic function, entertainment ... ... and so on.
When the historical changes ushered in the revolutionary tide or large wave hit the night before, literary functions and educational functions of the fighting will always be stressed to the point of extreme importance. Liang in modern literature is the advocacy function of this representative. He said: "For the new one people, not without first new country of the novel. Guyu new ethics will be a new novel; For the new religion, will be the new novel: For a new politics, will be the new novel; For new customs, will be the new novel ; For new talents, will be the new novel; even want new people, want a new character, will be the new novel. Why is that? the power of fiction has dominated humanity so incredible. "
Butterfly members are conscious of this traditional concept of hereditary those functions. Hok Yao child in "Introduction to Fiction," in the quote the classics, he said: "according to Liu Xiang" seven strategic "and" Han Dynasty History ", the novel for 'Street on Gossip, hearsay', then it contains, of course, mostly 'chat wonders '; another view of the "seven strategic" and "Sui Shu Jing Ji Zhi" was recorded, then the' where all the arts and wrote a little ordinary but who are slightly small, may apply attributed fiction '.' it bag held nothing but path '. "
And not only will Morohito literature, in the "54" historical and cultural context, culture camp, almost all regarded as Mandarin Duck and Butterfly School Literature Literature in the old feudal remnants, as new obstacles and opposition literature material from a crushing criticism and negative. Butterfly Literature New Literature that is not only a stumbling block to create a new literature, and their concept of leisure games and more harmful to the tendency of the transformation and reconstruction of national character, detrimental to the social life improved and updated, harmful to China from the "edge "return" center "of the effort, detrimental to the realization of the modern nation-state, word, harmful to the history of China's modernization goals and" dream of a powerful "implementation. Therefore, for this to the nation-state as the ultimate concern of the Enlightenment view of the position and the pursuit of literature, literary studies, and new literature will camp on the Butterfly and other popular games leisure class city issued a fierce criticism of literary voice, and, "54" after the new literature on urban contempt and criticism of popular literature is still no end to the martial arts film "Burning the Red Lotus Temple" as the representative of the novels, detective romance novels and so-called "citizen art", including Lu Xun and Mao Dun, including The New Writers also be a blow.
But "entertainment" since it is one of the functions of literature itself, one can only in a specific period of time constraints it away to deny it in order to highlight other features, but can not be completely deprived of this function itself. Even in the particular function to play the battle of literature the years, the city's other one-level reader, still remains at the novel as "the trail of the trail," the ladder on that general sense of the public, or "laity" will do. First of all, the "vulgar masses" seems to play a game and entertainment novel effect is a kind of life they need adjusting. With the new metropolis of molding and industrial machinery gear speed faster and faster, the demand for popular fiction urban surge. Unprecedented growth pace of life frequency, people feel that mental and muscles of the string stretched too tight, night after work, or need to relax by the neural machinery twisted too tightly. This requires entertainment break, and reading novels is one way of entertainment and regulation. Second, when the variation around life like a kaleidoscope-like environment, in particular the emerging metropolis such as Shanghai, bizarre, colorful, Hitomi Mian worry more, full of wonders. General "popular masses" and hope that through popular literature to understand the surrounding urban environment, to enhance adaptability, not quite knowing what to or living Xianbing. Third, these "popular masses" generally lack the emerging awareness, but they also receive some education in the popular literature, that Chayu drink read popular literature, in the end of surprises in the teachings and discipline are subtle. Therefore, the revolution in modern literature, this genre is not for the national elite, but mainly for the general sense of the public, and can say he is a public art, "civilian" literature.
Whether general "laity" or part of the intellectuals, was attracted by the magnetic popular literature are from interesting, but it is interesting to the game, an essential element of entertainment purposes, but also the soul of entertainment. Interesting or popular literature to "persuade vulgar" and "enlightenment" of the media and bridges. But the interesting new writers, once as "Wanwusangzhi," "tragic death" of narcotic drugs, which also occurred in such a sense of Ziqing bite: "But if the blind serious attention to serious work, only to the people, regardless of artistic, Si Banban long teach people not close to face, I am afraid the reader to those publications will go hide. "Lu Xun once said:" Speaking of 'fun' it is indeed now considered a kind of charges, but both matter whether the end of mankind, matter whether the end of class, I also hope there will one day Rescinding the Prohibition, art is not bound to say 'no fun'. "Lu Xun also said:" In fact, the anger and the laborers, are always needed rest and happy. "This illustrates the interesting and entertainment is innocent. The popular literature is to focus on the readability of the plot. Stress plot twists and turns, peaks I Road, and turn, the ups and variety, one climax after another. In modern China, readers of popular novels appeared, "" Sadness and Happiness Marriage "," Noble Family "fans" is interesting from a gradually into the enchanted realm, which reached the entertainment effect. This is our seventies and eighties of the "martial arts" fan fiction "Jin" fan; "Gu" fans; and "Romance" novel "Qiong Yao" fan so it is similar. This also explains the existence of popular literature is the strong force!
It is said that in the United States, as many scholars have held a negative attitude toward popular culture, that they only just vulgar literature and literary garbage. But after World War II, "American School" rise. Scholars of popular culture began to neglect to attention, from the subjective to the objective, from partial to full. They recognized, popular art can reflect a long history of the chain mentality and values of the change in the reader. "These best-selling book is a useful tool, we can, through them, see any particular time and matters of general interest within a certain period of time to change people's thinking." Hideki Ozaki of Japan in his "Popular Literature History "writes:" Speaking of popular literature, generally refers to mass production and mass dissemination of a lot of consumption of commercial literature. the content, is the literary entertainment for the public, but not simply interesting, also plays the way through the concrete to the public to provide the things they do not know the role of ... ... As the number of daily breakthrough in millions, news system, the imperative for weekly ... ... originally missed the class and the novel became a receiver, which look have been keen to adapt not only literature, but also the training of readers without a literary novel. ... ... Mass production together with the public literature, but is a reflection of the public consciousness. "The many achievements of Japanese popular literature scholar remarks , a good reference for us.
The rise can be described as untimely Butterfly, 54 days of the Chinese novel diversion from traditional to modern transition process, beginning always with the national trend to break the old forms were, in order to meet the global trend of new forms. This will open up a revolution, big drastic changes in the traditional sense of the content and form of the traditional framework, there must be some great innovation and breakthrough. This will inevitably and still insists that inherited the traditional Chinese literary genres have a big impact. New forms of consciousness and innovation always win in the big Bozhan in his literary territory, or it difficult to have almost deprived of accommodation. The spirit of the traditional product, it is always someone to carry out bold challenge to the authority of the hereditary literature always someone to shake its foundation, and will have great creative freedom. Literature declared in the declaration: "the art of the game as happy or frustrated when the pastime when the time has now passed. We believe that a work of literature, and also in the very life of a work proposal of Re : governance literature to this issue when people in his life-long career, working with farmers as workers. "is of course point to this passage Butterfly negative goals. Butterfly bear the brunt of it, actually made a negative example of revolutionary literature.
Objectively, the inheritance of traditional Chinese classical novel a strong sense of innovation in the development of urban popular literary genre of modern literature in the history of development, despite its limitations, it also made some contribution. Many of these literary works are very good, and the new literature than some similar themes, but also no less. "Inside Story courtesan" Butterfly literature, is essentially modern Chinese society, the pursuit of modernization and product literature, which itself is a modern thing.
In fact, the Butterfly had the time came, and even advertised the "new novel", a direct inheritance of the late Qing "new novel" came to accept the Western Novel, for the development of Chinese fiction, and have made important contributions: China The first description of a monk in love fiction front, known as the Butterfly was the patron god of ren shu book, "Wild Goose in mind." Widow praises China's first love in this novel, is the Butterfly's masterpiece "Jade Pear." China's first full-length novel diary is "Jade Pear" by Xu Zhenya book, "Tears of the history of snow-hung." China's first novels, is the Butterfly Lord Bao Tien laugh, "Ming-hung." Both in content and in form, Butterfly has the innovation. In the Republic of China's literary world, from the extensive use of classical Chinese art or the content and form of innovation from the point of view, Butterfly represents the level of Chinese literature at the time. It also created pure literature and popular literature. 54 The rise of new literature, an update of pure literature appeared, forcing the Butterfly entirely to popular literature. To resist this transformation Xu Zhenya, Li Ding Yi, Wu, who has dual heat left the writer team, adapt to this transformation pack day to laugh, Zhou Shoujuan popular literature such as the occupied. From a purely literary and popular literature of the two-habitat, into a complete popular literature, popular literature to accept the decision of the impact of pure literature, the performance of pure literature on the infiltration of popular literature. Such as China's popular novel, originally emphasis on the story, then make extensive use of psychological description, scene description, also pay attention to the inner world of characters displayed. From the 20's to 40's, popular fiction can be seen from the traditional "Chapters" to the modern novel, which is fraught with pure literature on the infiltration of popular literature. Developed to Qiong Yao, Jin Yong's novels, only in subject matter followed the traditional "Romance" "martial arts", the novel thinking and feeling, form and content, compared with the traditional popular fiction, has been completely modernized. Contemporary fiction, pure literature and popular literature is increasingly clear boundaries: some are seen as works of pure literature, according to Western standards should be considered popular fiction; something that has never been as popular fiction, such as Jin Yong's works, by some University of forum that is pure literature. Perhaps this in itself evidence of pure literature and popular literature, the gap between what has been narrowed to the point.
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