Preface to "Book of Clothes and Rice" My prose writing was first inspired by Liang Shiqiu. When it comes to leisure, elegance, transparency and beauty of writing, Liang Shiqiu deserves to be at the top of the list among the May Fourth writers. "Yashe Xiaopin" has a leisurely spirit, leisure is a leisurely feeling, Qi is a charm, and the four words "qiyunxianqing" are basically Liang Shiqiu's writing style. Of course, Zhou Zuoren's articles are also charming and leisurely, but they are more difficult and even have a slight bitter taste. Liang Shiqiu is full of leisure and leisure, while Zhou Zuoren is full of bitterness. There are several birds crouching under the wings of the Chinese article, an ink bird, a bronze bird, a print bird, and a plum crane bird. It’s not that there are no other birds, but they are not under the wings of Chinese articles. They are walking on the grass. They are the birds of Ukiyo-e, the birds of oil paintings, the birds of churches, the birds of castles... Wang Li’s prose is exactly the bird of bronzes. , its ancient meaning has the beauty of the wood grain of old furniture. Now when I look back at the book "Dragon Chong Bing Diao Zhai Zuo Yu", I can't say how good it is, but after all, it is the product of Chinese articles, and I still feel close to it. As a contemporary writer, I have a great fondness for Jin Yong. His novels not only have the excitement of gratification, but also the leisurely and gradual advancement of the narrative, which can be extended to prose essays, which can give the article more reading fulcrums. Jin Yong's writing is neither shy nor angry, neither urgent nor slow, and exudes the gentleness and simplicity of Chinese classical culture in his bones. When reading Jin Yong, if you select some chapters, you may feel that they are bland. If you read a hundred pages, you will realize the beauty of great tools and the inefficiency of great ingenuity. I like Jin Yong's "Dragon" the best. "Dragon" is good because it has countless foreshadowings and the characters are numerous and not chaotic. It is like a big tree with side branches, but the main trunk stands firmly, one tree supports the sky. But the flowers are like stars, one flower is a world, the branches and leaves are spread out, and there are countless mechanisms. Among recent people, I have great respect for Qian Zhongshu and Sun Li. Qian Zhongshu's works are not numerous, but they are full of wisdom and look at life with a wise eye. Although "Written on the Edge of Life" has become a cultural landmark, "Talk about Art" is a collection of the most important works of Chinese classical poetry. The essence of language. Reading Sun Li, even in summer, one feels like one is in autumn when the moon and stars are sparse or in winter when the ground is covered with frost. Time is stable, and this stability is the return to nature after tempering. Entering Sun Li's words, it is like walking in the morning in Shangshan Mountain, surrounded by roosters, and in the field next to the Maodian, an old man is walking alone on the Banqiao, the moonlight is pale, and the frost is slightly cold. Sun Li is a good reader of books and has first-class knowledge. "Ten Kinds of After the Gengtang Tribulation" connects the Tao, not only the Tao of articles, but also the Tao of deep human nature. If Sun Li were absent, I don’t know how much the contemporary prose would be dimmed, even though there is still Wang Zengqi. There are many people who have cleaned up their articles and written with subtle and swaying words. Wang Zengqi is the first to recommend him. One line and two lines are full of affection. One page and two pages are still full of affection. Ten pages and eight pages are still full of affection. The affection is like old wine, and the lingering taste is , is the green color moistened by the drizzle in spring. Lin Yutang's essays about people, narratives and scenes are wonderful, relaxed and yet heavy; Yu Dafu is unrestrained, unscrupulous and unrestrained, pure human nature; Fei Ming's writing is unique and diluted; their articles are all Attracted me. Fei Ming's sense of language is very good. His articles are good because of their strangeness, but it is a pity that their literary style is not flat. In my opinion, when writing prose, the words should be novel and the style should be simple. The writing can be strange and special, but the writing style must be flat. Only flat can go far and deep, avoid falling into the devil's obstacle and enter the great realm. From the age of 20 to now, I have always liked the works of the people of the Republic of China. I regard that generation of writers as my masters. The old-fashioned flavor between the lines of the "May Fourth" writers and the style of writing that still retains the lingering charm of ancient prose can satisfy my taste and temperament. I think the quality of the "May Fourth" prose is precisely due to the immature language and a touch of classical Chinese in the vernacular. Today, this style of writing can be said to reject rough delicacy and resist impetuous elegance. Among the "May Fourth" sages, Lu Xun was my favorite. If the writings of Bing Xin, Xu Zhimo, Liang Yuchun and others are as bright as spring flowers, Lu Xun's writings are as solemn as autumn colors. Lu Xun's articles, as he gets older, become more and more aware of the profound meaning behind them. They are profound and profound. No one can compare with the "May Fourth" writers. Lu Xun's works are characterized by melancholy and generosity, and vastness and variety as the weft. They are also inspired by his outstanding personality and unworldly talents. Coupled with the shadow cast by reality, the words have a cold meaning that is unmatched by others. "Weeds" and "Bloomies Picked at Morning and Dusk" are two wonderful flowers in modern prose. One grows on a sunny hillside, and the other is hidden in the crevices of rocks in the shade. Of course, I also read the works of friends around me. They are like the fox fairy in "Strange Stories from a Chinese Studio", the heroes in "Water Margin", and the eminent monks in "Wu Deng Hui Yuan"; they are like the counselors written by Luo Guanzhong, Liu Jingting's mouth The idlers, Wu Chengen’s fictitious spirits; they are like the generals of the Sui and Tang Dynasties, the knights who laugh proudly, and the sisters in the Grand View Garden; they let me breathe the breath of contemporary people and touch the heartbeat of contemporary people; I compare them with Li Yu To read side by side, I read Li Yu side by side with San Yuan, and I read San Yuan side by side with Zhang Dai. When I read Li Yu for the first time, I felt that the article could be so arbitrary. He was well-founded when he spoke freely, and his mind wandered for nine days when he cited scriptures. Arranged marriages, beating up mandarin ducks and matchmakers under the moon, Li Weng has done it all, one shoulder is casual, the other is serious, many norms are broken, many norms are included. Reading Li Yu taught me how to liberate literary styles, and reading San Yuan taught me how to liberate literary styles. During the Ming and Qing Dynasties, there were as many essayists as there were sands in the sand, and in my opinion, the only one who stood out among the peaks was Zhang Dai. Zhang Dai's composition is sparse and dim, filled with the fragrance of grass in the fields in May.
For example, "Watching the Snow at the Pavilion in the Heart of the Lake" is elegant and concise, with recent words and far-reaching meanings. It can almost be used as a short essay with eight-character mantras. It has ink techniques, compositions, and brushwork. There is no trace of the technique. The antelope hangs its horns, and it is viewed as such. People in the Ming and Qing Dynasties wrote with a cold and elegant gaze, deliberately resisting the hustle and bustle and worldliness. Although there is no burning appearance, there is a calmness. Also because they express too much otherworldliness, many works lack the texture of life. Reading short stories from the Ming and Qing dynasties, I finally learned about the importance of spirituality, which means that words must be vivid. It also made me understand that there are many ways to write prose. By reading ancient Chinese prose from the Tang and Song Dynasties, I gradually came to understand the richness of taste, and learned that knowledge and insights are more important than talent. If the sketches of the Qing Dynasty are like a middle-aged man looking at the moon in front of the court, then the prose of the Tang and Song Dynasties is like an old Confucian scholar talking about Taoism. Any writer who travels and studies between the Ming and Qing Dynasties and the Tang and Song Dynasties will have the charm of the wind-swaying branches and the ancient roots of the roots. Reading articles from the Tang and Song dynasties makes you gain energy, spirituality, satisfaction, and taste, but more importantly, you gain the method—the method of writing. There is no circle without rules. Han Yu's compositions are mostly criticized by others, but the rules he wrote are an inexhaustible treasury that can be squandered by future generations for hundreds of thousands of years. People from the Six Dynasties, Wei and Jin were more chic and energetic than the people of the Tang, Song, Ming and Qing dynasties, although there was a lot of helplessness and even deliberate pretense. But the Six Dynasties articles are the return to truth after the Great Dao. They are interesting and exude the personality of the characters. Zhou Zuoren said that "people in the Six Dynasties wrote randomly" and gave the sentence "one inch to two inches of fish, three poles and two poles of bamboo" as an example. I have read "Xiaoyuan Fu" many times, and the more I read, the more I feel that "one inch to two inches of fish" , three poles and two poles" is Yu Xin's careful arrangement. However, even if the Six Dynasties articles were careless about words, they still had a casual approach, which made me very emotional. True temperament has a high realm, and a high realm can lead to great articles. When the realm is high, even if it is a few words, it will be as vast as the waves of the river, such as the miscellaneous posts of the two kings. The ancients said that words should be concise and concise. If the words are simple, they will be distant, if they are far, they will be quiet, and if they are quiet, they will be elegant. I believe this after reading the miscellaneous posts of Wang Xizhi and his son. Those miscellaneous posts are small in the true sense, no more than a few hundred words long and only ten sentences short. They are known for their elegance and meaning. They taught me the importance of leaving blank space and remembering the importance of moderation when I am addicted to layout. I also read Han Fu. The creations of Jia Yi, Mei Cheng, Sima Xiangru, and Yang Xiong are so beautiful that they inherit the poetry of the Chu Dynasty and inspire the sketches of the Ming and Qing Dynasties. Han Fu is characterized by its "combination of prose and rhyme, and its focus on narration." Although it is no longer valued by today's people, its purity, refinement and wantonness will be difficult to match in future generations. Zhuangzi uses gods as horses, which is of course superb, and he can be called the founder of prose. "Han Feizi" is also an expert and can be said to be the originator of essays. The eloquent teachings of "The Analects of Confucius" are unparalleled. "Mozi" has a heavy sword without an edge, which makes people feel the majesty of Mount Tai. Mozi cannot be learned, cannot be learned. I once took a pen name of "Huai Mo". When faced with "Mo Zi", I could only think about the past. The writings of people in the pre-Qin Dynasty were full of domineering, superior to everything or beyond everything. Unfortunately, the time is far away. When reading it today, the writing is inevitably difficult and it is difficult to understand the subtleties of the writing. It is only in recent years that I have been exposed to a large number of pre-Qin articles. Those words are like the inscriptions carved on the side of the bronze tripod, filled with the mystery of oracle bone inscriptions. They can no longer be evaluated in terms of elegance and antiquity. It is said that when Cangjie created the characters, the earth trembled and ghosts wandering at night cried in the darkness. Chinese is the most beautiful language in my heart. It is Qu Yuan’s language, Sima Qian’s language, San Cao’s language, Li Du’s language, Lu You’s language, Su Dongpo’s language, and Cao Xueqin’s language. She has a broad mind and warm love. The elegant gesture conveys everything from the pages. Chinese characters can really write beautiful artistic conceptions, "In the past, when I left, the willows clung to me; now I come to think about it, the rain and snow are falling", "The water is so sluggish, the mountains and islands stand tall", "The horses on the ancient road of Chang'an are slow, and the tall willows are full of cicadas" "Hiss", it all makes me happy. Fascination with the Chinese tradition is a wish and a feeling. Chinese adds tranquility and depth to my daily life. Being in retreat in a Chinese-speaking world is beautiful and attractive. I hope that the pen in my hand can slowly reach the core of the Chinese language, step on the steps of the May Fourth Movement, gently push open the door of the Ming and Qing Dynasties, then enter the courtyard of the Tang and Song Dynasties, pass through the corridors of the Six Dynasties, Wei and Jin, and come to the back of the Qin and Han Dynasties. Room, I hope I can enter the palace of the pre-Qin Dynasty in this life. The mist is like a gauze in front of me, the stars are twinkling above my head, the sea is vast behind me, and the brightness of the moon is shining with the waves. The ancient ancestors slept, and the wooden house shaded by pine branches and torches flickered on and off. Under the huge silence, the night sky was like a wash, and there was only the sound of brush strokes, drawing: Yu controlled the water, Chile Song, Wenfan Jian Youdang, Land hazards, historical records of generations, Bai Gong's ode to history, Pei Jin Gong's misfortune, yellow paper removal, Tang people's heavy service seal... February 12, 2012, Anqing, Hupanshe.