Chapter 20 Laijin Yuxuan

"Laijin Yuxuan" is located in the southwest corner of Central Park and is a famous tea house in Peking. There are five main halls, corridors on all sides, a very unique two-story building, surrounded by rockery on the left and right, jagged rocks, several ancient cypresses, several repairing bamboo poles, and a stone bridge, forming the artistic conception of pine wind and bright moon. On the lintel of the hall, the plaque of "Laijin Yuxuan" was written by Xu Shichang, the president of the Beiyang government.Gold couplets on both sides: "Three pieces of Lu Yu's scriptures, seven degrees of Lu Tong bowl".

"Laijin Yuxuan" comes from the preface to a poem by the great poet Du Fu.Du Zimei was appreciated by Tang Xuanzong for a time, and he had great hope of becoming a high-ranking official. People scrambled to associate with him, and there was a lot of people for a while. Later, the news of Du Fu becoming an official fell silent, and people stopped interacting with him.Du Fu was living in Chang'an at that time, poor and sick, and a poor family. Only a friend surnamed Wei went to see him in the rain. Du Fu was very moved, so he wrote a poem to express his feelings for the vicissitudes of life.The preface of the poem reads: "In autumn, Du Zi was sick and traveled to Chang'an. It rained a lot of raw fish, moss and couch, and there were always guests in carriages and horses. The old rain often came and the rain did not come today."

That poem is rarely remembered, but the preface is widely circulated.Later, Xin Qiji wrote in a poem: "The old rains often come, but if the rain doesn't come today, who will keep the beautiful women?" The environment here is quiet and elegant, so it is chosen as a good place for gatherings by cultural people in Peiping.Xu Zhimo was also a frequent visitor here during his lifetime. In September 1936, Xiao Qian, who was organizing the Shanghai edition of "Ta Kung Pao" in Shanghai, returned to Beiping. In order to commemorate the 10th anniversary of the "Ta Kung Pao·Literary Supplement", he held a nationwide call for essays and invited some well-known writers in the literary world to serve as The judges are sometimes Sheng Tao, Ba Jin, Yang Zhensheng, Zhu Ziqing, Zhu Guangqian, Jin Yi, Li Jianwu, Lin Huiyin, Shen Congwen, Ling Shuhua.These judges are mainly writers from Beijing and Shanghai, who usually rely on Xiao Qian to write letters to coordinate opinions.

At this time, Lin Huiyin's "Selected Novels from Ta Kung Pao Literature and Art Series" has reached the final approval stage.This selection of novels was edited by Lin Huiyin under the entrustment of Xiao Qian.After Xiao Qian came to "Ta Kung Pao", Lin Huiyin has always been his enthusiastic supporter. Every month when Xiao Qian returned to Beiping, he always held a tea party at "Laijin Yuxuan", inviting ten or twenty friends, chatting, Tasting tea, talking about literature, and talking about life, many of Xiao Qian's manuscripts were obtained at such tea parties.Lin Huiyin must come to every invitation, and every time he arrives, he will have a grand discussion, which shocks everyone, and becomes a prominent figure at the tea party.Xiao Qian had long admired Lin Huiyin's art appreciation ability, and entrusted this matter to her this spring.

It was also at this gathering that Xiao Qian and Lin Huiyin agreed on the title and preface of the book.Among the 30 selected works, there are "Beautiful Dream" by Jian Xianai, "Silkworm", "Beside the Road" and "Little Jiang" by Xiao Qian, "A Little Memory" by Song Hanchi, and "Refuge in Refuge" by Zu Wen. ", Li Tongyu's "Revenge", Shen Congwen's, "January 8, 1934", "A Friend Wearing an Otterskin Hat", "The Man Who Crossed the Ridge", Zhensheng's "Revenge", Lu Fen's " Shadows, Shu Wen's "Sorrow of Xiao Huan", Yang Baoqin's, Sha Ting's "Covenant", Qian Yu's "Enjoy Blessings", Xu Zhuanpeng's "Unemployed", Lao She's "Stories Heard", Han Gu "Wu Sisao" by Li Jianwu, "The Bookworm" by Li Jianwu, "The Road" by Ji Kang, "This Year" by Juan Wen, "The Post Road" by Li Huiying, "Ask Forgiveness" by Cheng Wanfu, "Boring" by Ling Shuhua, Zhang Tianyi "Good deeds" by Wei Shen, "Dawn" by Wei Shen, "The Meat Smoke Boat" by Liu Zuchun and "Zero Chapters of Shadows" by Lin Huiyin.

Some of these are well-known writers, such as Shen Congwen, Yang Zhensheng, Li Jianwu, Ling Shuhua, Lao She, Zhang Tianyi, Sha Ting; In the preface she wrote, she not only outlined her views on the selected works, but also directly expounded her literary views: In these works, there seems to be a biased tendency in the choice of subject matter: that is, it tends to describe the life of rural or less educated people, or laborers.This tendency is not accidental. To put it better, our era has strong sympathy and concern for them—farmers and laborers; to put it worse, it is a phenomenon of blindly following the trend of the times.But it's fairest to say that both of the above reasons have something to do with it.It has become a trend to describe the labor society with a rural color, and it has also achieved some success in the literary and art circles.Beginning writers, or writers with weak personalities, are prone to unconsciously and imitate all kinds of already-established styles in writing.Especially in our era, young writers are very sad that they have material enjoyment and are superior to the general less educated people, so they naturally want to know the poverty of the countryside and become interested in the remote hinterland. Life does not write.Taking a single article as an example, many of them are well written, and some are particularly wonderfully written.However, judging from the overall experiment in the creation world, this tendency shows weakness and lack of creative power.And writing for the motive of conscience, the artistic content of that work will be questioned.We hope that the anthology can reveal this lack of creativity or artistic impureness at this point, and stimulate writers to have more personality and enthusiasm to describe this multi-faceted and intricate life, not sticking to any angle.

The most important part of the work is honesty.The importance of honesty lies in the freshness of the subject matter, the integrity of the structure, and the fluentness of the writing.That is to say, the work must be honest to the author's objective understanding and subjective experience of life.Even if the scenes of the novel are entirely fictitious, the emotions in the content must rely on the realistic and experienced emotions, and the sad "plot" must not be supported by emptiness and falsehood!The so-called honesty does not mean that the author must actually go through the life mentioned in the work, but that all the life mentioned in the work is indeed the author's very clear mind and emotional experience. situation or personality.Many people deliberately choose some special romantic life that they are not familiar with as the subject matter because they feel guilty that their lifestyle is not new, and then extort their limited imagination to exaggerate the emotions they do not have, so as to deceive readers. sympathy.This kind of creation is a waste of words to exaggerate false scenes and sentimentality. Those serious readers who want to enrich life and understand life from literature and art will naturally feel very impatient and disappointed.

Therefore, in addition to the technical knowledge of using words, an author must be able to stand on the ground of life, between the subjective and the objective, between the feeling and the understanding, with more than enough advances and retreats in reason, overflowing with emotions, and intertwined and supplemented by memory and fantasy. , to the extent that true is false, and false is true, his works are full of vigor and sincerity.Only then will his works be full and great, unaffected by subject matter or words, but enduring and universally moving. After the selection of this novel was published by Shanghai Liangyou Book Company, it was welcomed by readers and sold out quickly.This collection not only reflects her artistic vision, but also fully demonstrates her editorial talent and art.

Beginning in 1937, in order to revive the literary activities after Xu Zhimo’s death, writers of the Peking School were led by Hu Shi and Yang Zhensheng to organize a “Literary Magazine”, with Zhu Guangqian as the editor-in-chief. , Yang Zhensheng, Shen Congwen, Zhou Zuoren, Yu Pingbo, Zhu Ziqing and other eight people.Hu Shi approached Wang Yunwu and handed over the newly born magazine to the Commercial Press for publication. "Literature Magazine" advocates the freedom and independence of literature and art, and proposes that the path of Chinese new culture should be wider and more colorful, and it should not be narrowed too early to allow only one path.Zhu Guangqian's opening speech summed up his basic attitude towards the cultural and ideological movement in eight words: free development and free discussion.He opposed both the overthrow of Marx and the overthrow of Confucius.Oppose the empty talk of a "united front" and advocate free thought.

At that time, besides Beijing School writers, Wen Yiduo, Feng Zhi, Li Guangtian and others also often published their works in journals. Lin Huiyin's four-act play "Mei Zhen and Them" was serialized in the first volume one to three issues of "Literary Magazine". Due to the outbreak of the Anti-Japanese War, the publication was closed, and the script was only carried to the third act. After the Anti-Japanese War, the first issue of the second volume of the reissue issue was published on June 1, 1947, and the sixth issue of the third volume was published in 1948, and then the publication was discontinued. A total of 22 issues were published before and after.Many of Lin Huiyin's poems were also published in "Literary Magazine".

"Literary Magazine" published many poems and novels that exposed reality and were full of political color, such as Xu Ying's reportage and Mu Dan's poem "Hungry China", and also supported many new writers, such as Wang Zengqi, Li Ying, Biji elementary school. The fifth issue of the third volume in October 1948 is a special commemoration of Mr. Zhu Ziqing. It has increased the length and organized nearly two-thirds of the articles about Mr. Zhu Ziqing to commemorate this intellectual who would rather die than surrender before dawn. Lin Huiyin participated in the "Ta Kung Pao" literary award activity and after several twists and turns, the award results were announced in May 1937: Lu Fen's "The Valley" won the Novel Award, Cao Yu won the Drama Award, and He Qifang's "Painting Dreams" won the Prose Award. Cao Yu starred in Molière's "The Miser" in Tianjin, and Lin Huiyin was in charge of all the set drawing and stage design.The stage design she learned in Pennsylvania has come in handy. In frequent literary activities, Lin Huiyin's creation also reached a climax.During this period, her main poems include: "The Day After the Rain", "Autumn, This Autumn", "Memory", "New Year's Pass", "You are April in the World", "Diao Wei De", "Inspiration", "On the Tower", "Deep Smile",,, "The Courtyard of Tranquility", "Inscription on the Bodhi Leaf", "Twilight Over Mount Tai", "Day Dream", "August Sorrow", "Passing the Willow", " Meditation", "Fantasy", "You Are Here", "Walking on September 18", "Before the Vine Flowers", "On the Journey", "Sitting", "The Faith in the Red Leaves", "Walking Alone in October" ", "Time", "Ancient City Spring Scenery", "Before and After", "Going to Spring" and so on. At the same time, he also published many essays, novels and scripts. His important works include "Beyond the Window", "In Commemoration of the Fourth Anniversary of Zhimo's Death", "Spider Silk and Plum Blossoms", "What's Going on", "Embarrassment", "The Bell Green", "Ji Gong", "Wen Zhen", "Xiu Xiu", "Ninety-nine Degrees", "Mei Zhen and Them", etc. She also collaborated with Liang Sicheng to design several illustrations for Ta Kung Pao Literary Supplement.One of the illustrations called "The Horn" was made in Beidaihe in the hot summer.Lin Huiyin said in the attached letter: "Now the pattern is drawn, and nine out of ten are Sicheng's handwriting. In terms of material selection and layout, we take turns to discuss the draft. It is ashamed to say that we have made three small things. A genius is considered a success. Fortunately, the taste is good, and it is Han Ke, the highest attainment of purely Chinese creative art, and it is a bit auspicious for the future of creation." Xiao Qian was very happy to receive the illustration, and added a special comment when using it, saying that this "beautiful pattern", "magnificent and elegant", is the "wonderful horn" of this supplement! During this period, her poetic style turned to be clear and bright: Who is smiling so sweetly and deeply, Round like that?A string of pearls, Size shines and bursts with innocence! Floating at the bottom of the clear spring, flooding to the surface of the water, brilliant, dispersion! Who has a good smile and a flower blooms? It's so light, it doesn't warn anyone. The fine fragrance unintentionally, with the wind passing by, Brush on the short wall, Sisi in front of the setting sun hanging Nostalgia. Who laughed so that the hundred-story tower towered, Let unknown birds hover?who is it Laughing into the rotation of thousands of wind chimes, From the eaves of each layer of glazed shake up Sky? This poem titled "Deep Smile" shows Lin Huiyin's overall aesthetic pursuit in a period of time, which is fresh, delicate and pure, as if every sentence has a high degree of transparency, and at the same time pays attention to the beauty of rhythm and architecture. Beauty, music beauty. And her "In Front of the Vine Flowers - Living Alone in Jingxinzhai": Wisteria blooms Gently smell the fragrance, Nobody knows…… Wisteria blooms Gently smell the fragrance, Nobody knows. No matter the building, the curved corridor is silent, In the blue sky white clouds go, The pool is full of veins; Duckweed scattered on the water, Reflections hang under the water. Wisteria blooms, Nobody knows! In the blue sky white clouds go, Small courtyard, Inadvertently, I walked to the front of the flower. Light fragrance, the wind blows Playboy, The wind blows past me,-- Looking at the speechless, purple dot. With unique imagery and a new aesthetic perspective, like a craftsman building a clock tower with colored tiles, she uses language to create an all-American artistic structure, as if shining the bright spring sunshine behind her heart. The rationality and elegance of classicism, the enthusiasm and clarity of romanticism, and the implicitness and secrecy of symbolism, the unity of these three in her poems, as well as the unity of opposites between the classicism style of expressing affection and modernism's imagery and expression, together constitute the artistic style of this period. Her debut novel "Embarrassment" shows her extraordinary artistic viewpoint.This novel of more than 12,000 words describes the double embarrassment brought about by economic distress and mental depression in real life of Wei Shan, an intellectual who has just entered middle age. Wei Shan, a professor, felt extremely bored during the school summer vacation. At his friend Shao Lang’s house, he was with several of Shao Lang’s sons and daughters. Roughly pushes the other edge.He felt that he was becoming a desolate figure.At the beginning of this novel, Weishan falls into such a situation: It may be depraved to take doing things as a pastime, which is unique to middle-aged people. "But", Wei Shan struck a match fiercely, "So what if you are middle-aged?" He lit his cigarette again and took a few puffs.During the summer vacation, I had a hard time finding my friends, and they all ran away. Many of them returned to the south, and a few young ones, needless to say, were extremely busy.Of course, I couldn't get rid of the busyness of women, and some rushed to Beidaihe as far away as possible.There are only Shaolang and Lao Jin who will never move, and that is because they have a good house, a wife, and children, and they really live an old-fashioned middle-aged life. No one is like Wei Shan. The four are not the same. In front of the growing children, Wei Shan seemed to have drawn a boundary between them, clearly dividing them into two groups, placing himself on the side of the seniors.He envies that many people are just blindly old-fashioned, or blindly young. Although he has drawn boundaries, he still feels different, and he feels "embarrassed—very embarrassed" everywhere. In this novel, Lin Huiyin first mentioned the concept of "generation gap". An invisible chasm. Lin Huiyin wrote Weishan's ubiquitous "embarrassment" with delicate psychological description techniques: ——He was very unhappy, straightened up and walked briskly to the side path, expressing his impatience.An impatient face suits him best, once he loses the "impatient" expression, he seems to have lost a good friend, and he feels uncomfortable, you understand?He walked around to the back and looked at the White Tower from the other side. It was very comfortable, always standing with an impatient face—or was it sitting? ——It doesn’t understand young, old, these boring sun and moon, it just stands still, with its own lake water under its feet, pavilions, pines and cypresses, willows, people, - old and small - busy with their replacement dispute! "If you want to live, don't even think about it", Wei Shan had to comfort himself like this.Weishan felt that there was a deep gap between himself and the whole world. "A bridge can be built, but a deep ditch is still a deep ditch. No matter how many bridges you build, the ditch will not disappear." This is a tragedy of a generation. Got this early on: Wei Shan said in his heart: "That's right, go out, go out, future, future, young! Ridiculously young! They just want to go out and fly! Fly! Why don't you feel that you are outdated, old, boring, boring!" He couldn't tell Sad to say old, he is not old, but young? !He looked at the cigarette and said nothing.Zhi watched him silent and dared not speak again. In the end, Shaolang’s daughter, Zhi, asked Weishan to write a letter of introduction to her classmate in the United States. Shaolang asked, “Are you still communicating with Bidi? And Lei Yinna?” Rarely…” Weishan Shan felt extremely embarrassed again. It seemed that even the colorful life in the past was separated by this invisible gap, and she didn't even have the right to look back at life. The embarrassment of life is the projection of embarrassment in psychological state.The theme of this novel is profound because she has written about the embarrassment of existence of a whole generation. There are social, historical, moral and conceptual factors in it, but the most essential thing is the invisible and intangible way. , but the gap is ubiquitous. This novel was published in the ninth issue of the third volume of the "New Moon" monthly magazine. "Ninety-Nine Degrees" is an important work of Lin Huiyin. After the publication of the first issue of "Xuewen" magazine edited by Ye Gongchao, it immediately aroused great repercussions and the attention of contemporary writers. The novel is full of allegories and symbols.Mr. Li Jianwu had a unique insight as early as 1935, and gave Lin Huiyin's novel "Ninety-Nine Degrees" a high evaluation.He said: "A work must be self-supporting either because of the material, or because of the technique, or both. A basic starting point is the author's different views on life. Due to the different views, a work can be extremely Full of tradition, it can also be extremely modern." In our past production of short stories, there were all those with greater temperament and more factual materials, but there was only this one, which was the most modern; only this one contained the An individual and special point of view, regards life as a piece of wood that cannot be embraced, and "Ninety-Nine Degrees" is just a cross-section of life.In such a city of Beiping, the author reveals the day in every form before our eyes. There is no organization, but there is organization; there is no order, but there is order; Reveal ingenuity. ... A woman's delicate and subtle emotions, a scene that gently bounces and resonates here, but slides away gently like sparkling water waves. " As Mr. Li Jianwu said, "Ninety-Nine Degrees" presents a cross-section of the life of the citizen class from multiple angles with a panoramic genre painting of ordinary life in Kyoto. The whole novel is full of the word "hot". The rich celebrate their birthdays, celebrate their birthdays, and marry their wives.On the other hand, the porters and rickshaw drivers who live in the lower class are busy running for their lives, everything is chaotic and disorderly, as if the world is a steaming pot of boiling water, and all the faces live here Blurred in the steam. This family is busy celebrating birthdays: There were seven or eight round tabletops under the wedding shed, and the square stools were stacked on one side; a few servants held feather dusters, and it took half a morning to arrange five tables.There are so many children, the young master Sun, the grand nephew, and the few brought by the aunts and wives are all naughty enough.Li Gui lined up a few trains here, and the boys over there took away the row of trains for fun.The weather is so hot that there are bound to be many flies, and no one dares to put snacks and dried fruits on the table first.The ice melted quickly, and the ice water under the basket melted all over the floor!The soda bottles filled the corridor of the wing room, and the fifth young lady saw it and yelled, they wanted to freeze it all. That family is busy getting married: There was a colorful hanging at the entrance of Xiyan Hall, and a few members of the band were wearing red uniforms, sitting at the entrance and drinking tea—they put the big bronze drum aside, and the brass horn was sandwiched between their knees.Yang San knew which family was hosting the wedding.Anyway, there are two days of good days in a week, just in this Xiyan Hall, which week does not have a fancy carriage with fancy brides in it?Today's floats are still parked aside... The uproarious excitement has indeed reached ninety-nine degrees. Life is like a drama, which always begins with the sound of gongs and drums.However: At this moment, those three stupid porters were squatting under the shade of locust trees in the outer courtyard, wiping their heads with dark towels, waiting for the price of their sweating.One poked his head into the inner courtyard, peeking at the gorgeous scene in the courtyard. They are the most enthusiastic participants in life, but also the most helpless bystanders.There is not a single cold word in the whole novel, even the ice cubes of the ice dishes are so "hot" that they are about to melt, but every stroke reveals a threatening chill: The interlude of seventy years has already been rolled up in the chapters of history, and no one dares to say how much it can be revealed in today's courtyard.The fact is that today, there will be many well-dressed men and women celebrating women who can maintain such a long life, and for this celebration, the life span of many creatures has been cut off in the restaurant, and their muscles are used to supplement this. The guts of the celebrants. What was behind the hustle and bustle of that wedding? There seems to be no relationship between theory and reality; it doesn't matter what the theory says about the marriage, Ah Shu can't remember much of it today.In fact, as long as she nods her head once, let a strange person with a different surname and sex sit in her home, or even next to her, and have a meal, the process of father and mother two or three years--it may have been the same. Five or six years—the coming problems were suddenly solved, and they felt that they were solved in a very civilized manner. She didn't have the courage to say anything, she cried for a while, and her mother shed tears, and then her mother said: "Ah Shu, you have lost weight these days, don't cry, a mother is just a heart." ... Now bow, bow and bid farewell to happiness, it is too late and there is no other way. This is such a thought-provoking cold landscape of life. Lin Huiyin overlooks life with the care of philosophy, and compares the zero degree of life with ninety-nine degrees, just like flipping through "Feng Yue Jian", the other side of a beautiful woman is a skeleton. This is the real harshness of life. Lively, beautiful, strong, all disillusioned behind the scenes of death, time moves forward likewise, measuring the reality of death. The mercury in the cold and heat meter has passed to the black line of ninety-nine degrees, and the excitement of this life has reached its peak. However, in this chaos, no one will notice that the little girl sitting outside the door of the wedding shed is growling with hunger. Most of the things her eyes came into contact with in the morning are delicious food, but she is still hungry , sitting on the threshold of the old lady waiting to be called; no one noticed that the porter who brought the banquet to the birthday party was caught by cholera, and he ran all over the city but couldn't find a grain of heat medicine, so he had to die helplessly. The ending of the novel is quite meaningful: By this time, the newspaper office was getting busier, and typesetting workers were sweating and busy in the machine room.The editor sits at the desk to review the news.The news of this city is delivered from all the districts; the editor briefly looked at the scene where Zhang Zhai’s famous actor sent a play, thinking that after eating ice cream with his wife in the market, they met the street shelf, and watched the news about the fight , so it was natural to write "Yang San, the driver of the Luzhai house in Santiao Hutong, Xisi Pailou..." The news described the struggle between Yang San and Kang very beautifully, until "the dispute became a lawsuit". Looking at some odds and ends, he couldn't help noticing the section where the porter was killed by cholera for several hours, and felt that it was not wise to eat ice cream during the day. This is indeed an incisive and reasonable "hot and cold golden needle", which accurately pinpoints the pain points of society. Under the boiling oil pan, there was a piece of solid ice that would not melt for thousands of years.The world is hot and cold, isn't it just a novelist's pen and ink?What this novel really gives readers is the background on the back of the paper. "Ji Gong" describes a little man with a humble status but a noble soul.Jigong is originally the author's "son brought by his great-grandmother", so his position in the family is awkward, between a diner and a servant. However, Jigong is a very smart person. He likes to play with small machines, and his room The place is like a mysterious workshop, he can repair watches, and the watch repairers who claim to be in Shanghai are no better than him. He can take pictures, which was really amazing at the time, so he always won the favor of many women.Another time: My grandfather, who likes weapons and martial arts, took many so-called "foreign guns" to Jigong and asked him to wipe them with oil.The two sat on the porch and chatted, and the children surrounded them.Ji opened a bottle of olive oil, pulled some rags, and played with those foreign guns that we thought were quite mysterious, while talking about foreign ships, foreign guns, and other things done by foreigners. All Ji Gong knew was specific knowledge. He held the gun in his hand, opened it here, moved it there, and gave speeches like gesticulating and talking about the ingenuity of the machine, from guns to cannons, from cannons to ships, from ships to trains, a one piece.The grandfather was surprised. The old man who had already believed in the restoration heard Ji Gong's many words, and he respected Ji Gong, and nodded there with a smile and concentrated attention.The older children also opened their eyes wide, which was unheard of; my deepest impression was that grandfather was very happy with Ji Gong. But Jigong left in the end, it was because of a woman, and he went to that woman's house to be his son-in-law. Of course, it would be detrimental to everyone's dignity, so: Suddenly and abruptly he decided on the marriage, and without my grandmother's consent, he chose the auspicious date and prepared to marry.The grandmother was so angry that she kept silent, but retreated into the woman's tears, sobbing all her disappointment with this brother.When the family saw that my uncle went to other provinces to marry in a very unseemly manner, and brought a few things with him, naturally many expressed sympathy with his grandmother.But Ji Gong finally left that romantic building and went to find another life for him. Since Ji Gong's behavior was a betrayal of his relatives, many people in the old family could not tolerate this kind of lack of self-esteem.His post-marriage actions, other than bringing the bride to pay homage to his grandmother, no one has ever heard of other things being mentioned!It seems that not long after that, he also went to Shanghai, and he had something to do with the steamer.Once I boldly asked my grandfather, he didn't seem to have much interest in whether Ji Gong worked on the steamer, and he completely forgot a very harmonious conversation between them.Before grandma was alive, Ji Gong also had letters, but after her death, they disappeared completely, and there was no communication. This is a high-pitched song of soul freedom. With a unique artistic perspective, Lin Huiyin reveals the most essential living situation of life: that is, the publicity of the will to life and the soul's longing for freedom.He doesn't need other people's gift of life to him, he has to struggle and pursue it with his own life. This is a compliment and a call to authenticity. Therefore, this novel of less than 5,000 words has rich artistic content and a strong humanistic color. The period of "Laijin Yuxuan" was the most glorious period of Lin Huiyin's creative life as a writer and poet.Her artistic style has been established, and her works have emerged and become more and more perfect. Although this period was short, the works she left behind are an important wealth in the history of modern Chinese literature.