中国古代小品文研究
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摘要
中国文学源远流长,绵延几千年,有着非常光辉灿烂的成就,屹立于世界文学之林。在这条有着悠久历史文化传统的文学长河中,除汇聚了诸如唐诗、宋词等大的文学支流外,小品文犹如一条涓涓不息的小流,不时激起几朵愉快的浪花。小品文的加入,为这条蕴藏着人性光华的长河注入了无限生机与活力。尽管小品文的发展经历了无数坎坷和波折,但其以自身所独有的风神,冲破了许多质疑的目光和层层阻拦,顽强地“存活”了下来,为中国文学的发展和繁荣做出了自己应有的贡献。小品文以其简洁含蓄、直凑单微的品性,取材于日常生活,更为亲切随意地表达着人们日常生活中的情感,以小见大、由近而远地揭示着现实生活中蕴含的深刻哲理。
多年来,学界对小品文这种散发着清新空气的文学样式始终缺乏全面认识和深入研究,致使对小品文的概念、文体、地位等这些基本问题的认识历来是“仁者见仁,智者见智”,纷争不已,至今尚无定论。即使偶有问津者,也在有意无意地绕道而行,将目光聚集于对晚明小品文的研究和探讨中。对古代小品文的研究,始终缺乏以一种历史的、发展的眼光对它的发展历程、文体特征和独特品性进行全面、深入的探究。
正基于此,本文将对古代小品文进行一次全面的关照和研究。通过对古代小品文萌芽、自觉、定型、鼎盛到衰微这五个阶段的认识,简要梳理出古代小品文的发展历史。在此基础上,用历史的、发展的眼光对古代小品文的概念、特点、分类以及它和古代散文、古代小说的关系等方面进行深入系统的分析论述,旨在推动小品文的研究向更深、更广的层次迈进。本研究共分为四个部分展开论述。
绪论部分主要说明选研古代小品文的背景、意义和研究的内容以及研究的方式。总的看来,从20世纪90年代以来,通过学者们的努力,小品文研究已经逐步引起了学术界的重视。随着对其研究的不断推进,对于小品文的研究范围也越来越宽广,研究思路也越来越活泛,研究深度也越来越深入。但是,还存在着明显的问题。针对古代小品文的研究现状,本研究主要是从古代小品文的发展历程、古代小品文与其他文体的关系、古代小品文的分类、古代小品文的特点等几个方面展开论述。
第一章的主要内容是古代小品文的发展简史。在这一章里,笔者以小品文的发展历史为脉络,对每一时期古代小品文的特点进行了分析和论述。
先秦两汉时期,是古代小品文的产生和萌芽阶段,此时的小品文以一种简短的文字段落的形式出现。其特点是,在形式上尚未独立成篇,只是散见在诸子散文和历史散文之中;这些小品文段落,文辞简约,意旨却大,内容包括对于重大人事的讽刺劝诫、表达作者强烈的感情色彩、抒发作家远大的志向、提出严肃的人生哲理等;体裁较为单一,寓言占绝对优势;语言生动精练,简明流畅,而又含蓄蕴藉。
魏晋南北朝时期,文学进入了一个自觉的时代,小品文同样迈向了自觉,独立成篇、结构短小的小品文大量涌现,有的描写秀美山水,有的抒写个人情怀,有的抒发离愁别绪,有的描写人间真情。这些小品文的共同特征是情感真挚,语言清新,耐人寻味。
唐宋时期,唐诗、宋词的创作达到了巅峰,抒写了我国文学史上最辉煌的篇章。但是,小品文的创作同样不容小觑。这一时期,小品文的创作已经臻于成熟,小品文的创作不仅在数量上突飞猛进,而且其创作手法也日益完善。
到了明代,小品文的创作达到鼎盛,给小品文带来了一股清新的空气和更加鲜明的特点。这一时期,创作者的群体空前壮大,作品数量浩如烟海,佳作层出不穷。与之相应的带动了小品文理论的探究,反过来这些理论对小品文的创作又具有重要指导意义。同时,小品文的创作也加入了许多新的元素,内容更加丰富。作家彰显个性,抒发情感更为真挚和强烈。
到了清代,小说以其强大的力量独占文学创作的鳌头,使得刚刚注入新鲜血液的小品文几近夭折。这一时期的小品文,创作人数和作品数量锐减,呈现出颓势。
第二章主要阐述古代小品文的文体特征。古代小品文的文体特征可以归纳为两点:多样性和特殊性。小品文从最初的文字片断到最后的定性和命名,其间经历了漫长的发展过程,在不同阶段,小品文以不尽相同的姿态存在于各种文体之中。到晚明时期,众体兼备,最终促成了小品文的鼎盛和繁荣。本章着重从古代小品文的体例来对其进行分类,将古代小品文分为寓言、笔记、游记、清言、序跋、传记、尺牍、碑铭、祭文等九类。古代小品文的特殊性体现在它的依附性与独立性上。小品文发源于先秦,零零散散地出现于诸子散文和历史散文当中,就决定了它对散文的依附关系;小品文各体兼陈,又决定了它对古代小说、诗歌也有一定的依附性。但是,古代小品文在漫长的发展过程中坚持了下来,并且取得辉煌,则又与自身具有的独立性是分不开的。
第三章主要从形制、内容两个方面探讨了古代小品文的文本特征。古代小品文在形制上的特点是短小灵活,自幼随意。小品文在内容上包罗万象,涉及面广。通过归纳和概括,大致包含节令民俗、奇人异事、饮食起居用度、文人雅趣等方面的内容。
第四章在上述论断的基础上,从抒情性与哲理性相结合、知识性与趣味性相结合、传统性与风格化相结合、形象性与隐喻性相结合四个方面,对古代小品文的审美特征作了深入探讨。
研究发现,自然界的一切事物以及人们日常的社会生活,都可能进入作家的视野,激起不同创作者不同的心灵感触,由此构成了古代小品文抒情性的审美特征。小品文的抒情性具有极强的个人色彩,能够超越时空,任意驰骋,自由挥洒作者情怀。古代小品文的抒情性往往与哲理性结合在一起,所以,优秀的小品文除了以情感打动人之外,往往还闪烁着智慧的火花。
小品文的触角可以延伸到社会生活的各个方面,其中包括政治、经济、文化、历史、自然风光、风土民情等方面内容,给人们提供了丰富的知识,也有助于人们更好地认识社会、推动社会的发展。小品文具有知识性,但它不是板着面孔在说教,而是充满了趣味性,往往是通过生动具体的形象展示在读者面前。
小品文历经中国几千年传统文化的浸渍,在长期依附古代散文的发展过程中,积极汲取传统文化的营养,最终发展成熟为一种具有独特个性的文学样式。小品文之所以能够坎坷绵延两千多年,一方面是由于它能扎根于民族文化的沃土之中汲取营养,另一方面还在于它从诞生之日起,始终想挣脱散文对它的羁绊,以一种特有的品性树立自己独具的风格。
文学具有审美意识形态,古代小品文也是如此。古代小品文具有形象性,它能够将高深玄奥的思想用审美的方式形象地表达出来,使抽象深刻的思想和道理变得浅显易懂。古代小品文,在表达情绪、发表见解和揭露社会现实时,常常借助于现实生活中一定的客观形象,巧妙地借助象征和比喻的手法,使之人格化,真实地表现了文人的精神苦闷和焦灼,表达了他们对于现实生活的关切和对于不合理现象的批评。
With a long and glorious history for thousands of years, Chinese literature outstands from the literary world brilliantly. Despite the fact that Tang and Song poems occupy a major part in Chinese literature, essays can't be placed out of such long literary history. They are formed into an unceasing stream, out of which water sprays from time to time. So, boundless vigor and vitality has ever been converged into Chinese literature. In their own development they experienced countless twists and turns, broke through blockings, "survived" from doubts and made great contributions to Chinese literature prosperity. Essays are concise, subtle and direct for they contain daily life events and, thanks to these little events, express human's emotions cordially and reveal profound philosophical ideas.
Over the years academic research on essays doesn't reach a full understanding and also lack of in-depth studies. Researchers haven't achieved an agreement on such basic problems as the conceptualizations of essays, their styles and status. It goes as the saying "different people look at a thing in different way". Few involve these problems but take a detour, intentionally or unintentionally, to focus on the late Ming Dynasty essays. As far as research on ancient essays is concerned, little is related on a comprehensive and in-depth exploration of their historical developments, styles and uniqueness.
Therefore this paper involves a comprehensive understanding of ancient essays, especially for pre-Qing Dynasty ones. They develop through four stages: infancy, consciousness, maturity, prosperity and declining. On the basis of this division, a profound and systematic study is carried out to illustrate such problems as the conceptualizations of essays, features, classifications and their relations with ancient prose and novels. This study consists of four parts as follows, which will lay a foundation for further study.
A brief introduction is mainly related to research background, significance, content and approach. Generally speaking, since 1920's, through years of hard working, great attention has been aroused in academic research on ancient essays. And as time goes, the scope of study has been and, will be, broadened increasingly. However, as some obvious problems still exist, this study involves the historical developments of ancient essays, classifications, features and their relations with other stylistic literary works.
Chapter one contains a brief historical development of ancient essays. An historical outline is carried out to discuss the unique features of ancient essays in each development.
The period of Qin and Han Dynasties is regarded as the infancy of ancient essays. The essays in this period present in brief paragraph clips, without being formed into independent pieces, which can only be read in historical prose and prose of various scholars. These clips are simple, brief but meaningful. For example, they are closely related to a quality of ironies, a vigor of the authors' emotions and ambitions, and a host of serious life philosophy. With a simple style, fables can be viewed as a major role occupied. Also, words are concise and fluent, vivid and implicit.
The period of Wei, Jin, Southern and Northern Dynasties is considered as a conscious era for Chinese literature, and also for ancient essays. In this era a number of independent pieces presents with simple structures. Some describe beautiful landscapes, others express human emotions. Some illustrate there really is good in the world, others say there really is departure with a feeling of sadness. With fresh and intriguing words, these essays mainly stress on sincere human emotions.
Ancient essays reach the period of maturity in Tang and Song Dynasties just as Tang and Song poems do. They can't be neglected despite the fact Tang and Song poems occupy a major part in this period, for an increasing number of ancient essays present more complete creative approaches.
Then, Ancient essays come to a period of prosperity in Ming Dynasty. They are unprecedented, flouring and fresh. In this period more writers are involved in, presenting a great number of outstanding works. Besides, theoretical research is also carried out in guidance of such creation. In turn, with a lot of new elements the essays in this period are colorful and diverse; writers also create their own uniqueness and more sincere emotions.
However, the number of essays in Qing Dynasty decline rapidly even though they develop very well before, for literary creation is largely taken up by novels. So, at that time ancient essays show a decline in the number of creators and in the pieces of works as well.
Chapter two is focused on the stylistic features of the ancient essays: diversity and uniqueness. It takes a long history for ancient essays to develop from clips to pieces and to obtain qualitative recognition and formal naming. In different periods they present themselves in different styles. And in Late Ming Dynasty they eventually come to a period of prosperity due to the fact that all the styles can be viewed and researched. This chapter highlights these essays' styles: bibliographies, travelogues, fables, prefaces and postscripts, letters, notes, inscriptions, mourning elegiac addresses, and proverbial style of Qing essays. They are unique for their dependence and independence as well. One the one hand, they are originated in the Pre-Qin; they are dependent on historical prose and prose of various scholars. Also, they are dependent on ancient novels and poetry, for they present themselves in different styles. On the other hand, ancient essays are attributed to an independent item, because they have their own identity even though they have experience downs and ups in development.
Chapter three is involved in discussing language features of ancient essays in two aspects: form and content. In form they are brief but meaningful. In content they are closely related to a large scope of life events such as folk festivals, magnificent events, outstanding figures, and intellectuals' humor including their proper diet and living habits.
Chapter four comes to a conclusion. It contains aesthetic features of ancient essays in four sets of convergence: lyrical and philosophical, knowledgeable and humorous, traditional and stylistic, full of images and metaphors.
It can be seen that creators can draw a lot from men and from the infinite. Essays are then seen to present lyrical aesthetics, without time and space limited, once creators have response to the emotional objects. They can express their personal emotions artificially. Therefore, lyrics are viewed in convergence of philosophy. When essays are appreciated, there really is a vigor of emotions and a quality of wisdom.
It is also seen that there is a wide scope of social events in ancient essays, such as politics, economics, culture, and history, folk and natural sceneries. Readers can obtain a wealth of knowledge and understand social developments as well. Therefore, knowledge is viewed in convergence of humor. When essays are appreciated, readers can feel interesting and humorous for there really is a quality of imagination.
Ancient essays are nourishing from a long history of Chinese traditional culture and from ancient prose for years. Certainly they can come to a period of maturity and present themselves in unique style. There are two reasons why they can last for two thousands of years. One is that they are rooted in the fertile soil of national culture. The other is that they are seen, in their infancy, to attempt to break away from the fetters of prose and to establish their own identity.
After a study of ancient essays in different periods, it can be found that a quality of imagination presents in ancient essays. In narration they contain a host of humorous, ironic and dramatic programs, from which readers can understand social life better and also feel funny, annoyed and thought- provoking as well. In performance they are attached to the combination of narrative, descriptive and argumentative techniques. Objects, natural sceneries are described in response to human emotions, and they are in perfect harmony with each other. In word diction they are seen concise and direct. Both similes and metaphors are made full use of to illustrate hidden ideas. Thus, from these three aspects the unique aesthetics are noticeable in ancient essays.
多年来,学界对小品文这种散发着清新空气的文学样式始终缺乏全面认识和深入研究,致使对小品文的概念、文体、地位等这些基本问题的认识历来是“仁者见仁,智者见智”,纷争不已,至今尚无定论。即使偶有问津者,也在有意无意地绕道而行,将目光聚集于对晚明小品文的研究和探讨中。对古代小品文的研究,始终缺乏以一种历史的、发展的眼光对它的发展历程、文体特征和独特品性进行全面、深入的探究。
正基于此,本文将对古代小品文进行一次全面的关照和研究。通过对古代小品文萌芽、自觉、定型、鼎盛到衰微这五个阶段的认识,简要梳理出古代小品文的发展历史。在此基础上,用历史的、发展的眼光对古代小品文的概念、特点、分类以及它和古代散文、古代小说的关系等方面进行深入系统的分析论述,旨在推动小品文的研究向更深、更广的层次迈进。本研究共分为四个部分展开论述。
绪论部分主要说明选研古代小品文的背景、意义和研究的内容以及研究的方式。总的看来,从20世纪90年代以来,通过学者们的努力,小品文研究已经逐步引起了学术界的重视。随着对其研究的不断推进,对于小品文的研究范围也越来越宽广,研究思路也越来越活泛,研究深度也越来越深入。但是,还存在着明显的问题。针对古代小品文的研究现状,本研究主要是从古代小品文的发展历程、古代小品文与其他文体的关系、古代小品文的分类、古代小品文的特点等几个方面展开论述。
第一章的主要内容是古代小品文的发展简史。在这一章里,笔者以小品文的发展历史为脉络,对每一时期古代小品文的特点进行了分析和论述。
先秦两汉时期,是古代小品文的产生和萌芽阶段,此时的小品文以一种简短的文字段落的形式出现。其特点是,在形式上尚未独立成篇,只是散见在诸子散文和历史散文之中;这些小品文段落,文辞简约,意旨却大,内容包括对于重大人事的讽刺劝诫、表达作者强烈的感情色彩、抒发作家远大的志向、提出严肃的人生哲理等;体裁较为单一,寓言占绝对优势;语言生动精练,简明流畅,而又含蓄蕴藉。
魏晋南北朝时期,文学进入了一个自觉的时代,小品文同样迈向了自觉,独立成篇、结构短小的小品文大量涌现,有的描写秀美山水,有的抒写个人情怀,有的抒发离愁别绪,有的描写人间真情。这些小品文的共同特征是情感真挚,语言清新,耐人寻味。
唐宋时期,唐诗、宋词的创作达到了巅峰,抒写了我国文学史上最辉煌的篇章。但是,小品文的创作同样不容小觑。这一时期,小品文的创作已经臻于成熟,小品文的创作不仅在数量上突飞猛进,而且其创作手法也日益完善。
到了明代,小品文的创作达到鼎盛,给小品文带来了一股清新的空气和更加鲜明的特点。这一时期,创作者的群体空前壮大,作品数量浩如烟海,佳作层出不穷。与之相应的带动了小品文理论的探究,反过来这些理论对小品文的创作又具有重要指导意义。同时,小品文的创作也加入了许多新的元素,内容更加丰富。作家彰显个性,抒发情感更为真挚和强烈。
到了清代,小说以其强大的力量独占文学创作的鳌头,使得刚刚注入新鲜血液的小品文几近夭折。这一时期的小品文,创作人数和作品数量锐减,呈现出颓势。
第二章主要阐述古代小品文的文体特征。古代小品文的文体特征可以归纳为两点:多样性和特殊性。小品文从最初的文字片断到最后的定性和命名,其间经历了漫长的发展过程,在不同阶段,小品文以不尽相同的姿态存在于各种文体之中。到晚明时期,众体兼备,最终促成了小品文的鼎盛和繁荣。本章着重从古代小品文的体例来对其进行分类,将古代小品文分为寓言、笔记、游记、清言、序跋、传记、尺牍、碑铭、祭文等九类。古代小品文的特殊性体现在它的依附性与独立性上。小品文发源于先秦,零零散散地出现于诸子散文和历史散文当中,就决定了它对散文的依附关系;小品文各体兼陈,又决定了它对古代小说、诗歌也有一定的依附性。但是,古代小品文在漫长的发展过程中坚持了下来,并且取得辉煌,则又与自身具有的独立性是分不开的。
第三章主要从形制、内容两个方面探讨了古代小品文的文本特征。古代小品文在形制上的特点是短小灵活,自幼随意。小品文在内容上包罗万象,涉及面广。通过归纳和概括,大致包含节令民俗、奇人异事、饮食起居用度、文人雅趣等方面的内容。
第四章在上述论断的基础上,从抒情性与哲理性相结合、知识性与趣味性相结合、传统性与风格化相结合、形象性与隐喻性相结合四个方面,对古代小品文的审美特征作了深入探讨。
研究发现,自然界的一切事物以及人们日常的社会生活,都可能进入作家的视野,激起不同创作者不同的心灵感触,由此构成了古代小品文抒情性的审美特征。小品文的抒情性具有极强的个人色彩,能够超越时空,任意驰骋,自由挥洒作者情怀。古代小品文的抒情性往往与哲理性结合在一起,所以,优秀的小品文除了以情感打动人之外,往往还闪烁着智慧的火花。
小品文的触角可以延伸到社会生活的各个方面,其中包括政治、经济、文化、历史、自然风光、风土民情等方面内容,给人们提供了丰富的知识,也有助于人们更好地认识社会、推动社会的发展。小品文具有知识性,但它不是板着面孔在说教,而是充满了趣味性,往往是通过生动具体的形象展示在读者面前。
小品文历经中国几千年传统文化的浸渍,在长期依附古代散文的发展过程中,积极汲取传统文化的营养,最终发展成熟为一种具有独特个性的文学样式。小品文之所以能够坎坷绵延两千多年,一方面是由于它能扎根于民族文化的沃土之中汲取营养,另一方面还在于它从诞生之日起,始终想挣脱散文对它的羁绊,以一种特有的品性树立自己独具的风格。
文学具有审美意识形态,古代小品文也是如此。古代小品文具有形象性,它能够将高深玄奥的思想用审美的方式形象地表达出来,使抽象深刻的思想和道理变得浅显易懂。古代小品文,在表达情绪、发表见解和揭露社会现实时,常常借助于现实生活中一定的客观形象,巧妙地借助象征和比喻的手法,使之人格化,真实地表现了文人的精神苦闷和焦灼,表达了他们对于现实生活的关切和对于不合理现象的批评。
With a long and glorious history for thousands of years, Chinese literature outstands from the literary world brilliantly. Despite the fact that Tang and Song poems occupy a major part in Chinese literature, essays can't be placed out of such long literary history. They are formed into an unceasing stream, out of which water sprays from time to time. So, boundless vigor and vitality has ever been converged into Chinese literature. In their own development they experienced countless twists and turns, broke through blockings, "survived" from doubts and made great contributions to Chinese literature prosperity. Essays are concise, subtle and direct for they contain daily life events and, thanks to these little events, express human's emotions cordially and reveal profound philosophical ideas.
Over the years academic research on essays doesn't reach a full understanding and also lack of in-depth studies. Researchers haven't achieved an agreement on such basic problems as the conceptualizations of essays, their styles and status. It goes as the saying "different people look at a thing in different way". Few involve these problems but take a detour, intentionally or unintentionally, to focus on the late Ming Dynasty essays. As far as research on ancient essays is concerned, little is related on a comprehensive and in-depth exploration of their historical developments, styles and uniqueness.
Therefore this paper involves a comprehensive understanding of ancient essays, especially for pre-Qing Dynasty ones. They develop through four stages: infancy, consciousness, maturity, prosperity and declining. On the basis of this division, a profound and systematic study is carried out to illustrate such problems as the conceptualizations of essays, features, classifications and their relations with ancient prose and novels. This study consists of four parts as follows, which will lay a foundation for further study.
A brief introduction is mainly related to research background, significance, content and approach. Generally speaking, since 1920's, through years of hard working, great attention has been aroused in academic research on ancient essays. And as time goes, the scope of study has been and, will be, broadened increasingly. However, as some obvious problems still exist, this study involves the historical developments of ancient essays, classifications, features and their relations with other stylistic literary works.
Chapter one contains a brief historical development of ancient essays. An historical outline is carried out to discuss the unique features of ancient essays in each development.
The period of Qin and Han Dynasties is regarded as the infancy of ancient essays. The essays in this period present in brief paragraph clips, without being formed into independent pieces, which can only be read in historical prose and prose of various scholars. These clips are simple, brief but meaningful. For example, they are closely related to a quality of ironies, a vigor of the authors' emotions and ambitions, and a host of serious life philosophy. With a simple style, fables can be viewed as a major role occupied. Also, words are concise and fluent, vivid and implicit.
The period of Wei, Jin, Southern and Northern Dynasties is considered as a conscious era for Chinese literature, and also for ancient essays. In this era a number of independent pieces presents with simple structures. Some describe beautiful landscapes, others express human emotions. Some illustrate there really is good in the world, others say there really is departure with a feeling of sadness. With fresh and intriguing words, these essays mainly stress on sincere human emotions.
Ancient essays reach the period of maturity in Tang and Song Dynasties just as Tang and Song poems do. They can't be neglected despite the fact Tang and Song poems occupy a major part in this period, for an increasing number of ancient essays present more complete creative approaches.
Then, Ancient essays come to a period of prosperity in Ming Dynasty. They are unprecedented, flouring and fresh. In this period more writers are involved in, presenting a great number of outstanding works. Besides, theoretical research is also carried out in guidance of such creation. In turn, with a lot of new elements the essays in this period are colorful and diverse; writers also create their own uniqueness and more sincere emotions.
However, the number of essays in Qing Dynasty decline rapidly even though they develop very well before, for literary creation is largely taken up by novels. So, at that time ancient essays show a decline in the number of creators and in the pieces of works as well.
Chapter two is focused on the stylistic features of the ancient essays: diversity and uniqueness. It takes a long history for ancient essays to develop from clips to pieces and to obtain qualitative recognition and formal naming. In different periods they present themselves in different styles. And in Late Ming Dynasty they eventually come to a period of prosperity due to the fact that all the styles can be viewed and researched. This chapter highlights these essays' styles: bibliographies, travelogues, fables, prefaces and postscripts, letters, notes, inscriptions, mourning elegiac addresses, and proverbial style of Qing essays. They are unique for their dependence and independence as well. One the one hand, they are originated in the Pre-Qin; they are dependent on historical prose and prose of various scholars. Also, they are dependent on ancient novels and poetry, for they present themselves in different styles. On the other hand, ancient essays are attributed to an independent item, because they have their own identity even though they have experience downs and ups in development.
Chapter three is involved in discussing language features of ancient essays in two aspects: form and content. In form they are brief but meaningful. In content they are closely related to a large scope of life events such as folk festivals, magnificent events, outstanding figures, and intellectuals' humor including their proper diet and living habits.
Chapter four comes to a conclusion. It contains aesthetic features of ancient essays in four sets of convergence: lyrical and philosophical, knowledgeable and humorous, traditional and stylistic, full of images and metaphors.
It can be seen that creators can draw a lot from men and from the infinite. Essays are then seen to present lyrical aesthetics, without time and space limited, once creators have response to the emotional objects. They can express their personal emotions artificially. Therefore, lyrics are viewed in convergence of philosophy. When essays are appreciated, there really is a vigor of emotions and a quality of wisdom.
It is also seen that there is a wide scope of social events in ancient essays, such as politics, economics, culture, and history, folk and natural sceneries. Readers can obtain a wealth of knowledge and understand social developments as well. Therefore, knowledge is viewed in convergence of humor. When essays are appreciated, readers can feel interesting and humorous for there really is a quality of imagination.
Ancient essays are nourishing from a long history of Chinese traditional culture and from ancient prose for years. Certainly they can come to a period of maturity and present themselves in unique style. There are two reasons why they can last for two thousands of years. One is that they are rooted in the fertile soil of national culture. The other is that they are seen, in their infancy, to attempt to break away from the fetters of prose and to establish their own identity.
After a study of ancient essays in different periods, it can be found that a quality of imagination presents in ancient essays. In narration they contain a host of humorous, ironic and dramatic programs, from which readers can understand social life better and also feel funny, annoyed and thought- provoking as well. In performance they are attached to the combination of narrative, descriptive and argumentative techniques. Objects, natural sceneries are described in response to human emotions, and they are in perfect harmony with each other. In word diction they are seen concise and direct. Both similes and metaphors are made full use of to illustrate hidden ideas. Thus, from these three aspects the unique aesthetics are noticeable in ancient essays.
引文
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