Wu Weigong Li Shuping In the development of modern Chinese prose, the achievements of the "May 4th" period were the highest and the most influential, and Zhu Ziqing's prose creation was the greatest achievement and the highest achievement in this period; as a master of prose, Zhu Ziqing's name will always be associated with modern Chinese The history of prose written together. Lu Xun once said: "The success of prose and essays during the 'May 4th' period was almost higher than that of novels, dramas and poems." most prominent.Zhu Ziqing also spoke highly of the achievements of prose in "On Modern China's Essays". He said: "The most developed ones are essays. In the past three or four years, various publications have published a lot of prose, intentionally or unintentionally. There were more publications of this kind in 2010....Short prose, so it was very popular for a while." In the "Preface to "Back View", it also said: "As far as prose is concerned, the development in the past three to four years has been extremely splendid. In this "extremely prosperous" and "extremely gorgeous" prose garden, there are Zhou Zuoren's timelessness, Yu Pingbo's denseness, Xu Zhimo's gorgeousness, Bing Xin's elegance, and Mr. Zhu Ziqing's "sincere and quiet demeanor" "Standing in the forest of "May 4th" prose (Zhong Jingwen's "Liu Hua Ji", first published by Zhongzhong Book Company in 1929), his prose has added a magnificent color to modern Chinese prose with a unique artistic style of beauty, and has contributed to the establishment of China. The brand-new aesthetic features of modern prose have set up a "model of beautiful vernacular writing".

one Zhu Ziqing was born on November 22, 1898 in a small bureaucratic feudal family in Donghai County, Jiangsu Province. His original name was Zihua, and his nickname was Qiushi.At the age of six, he moved to Yangzhou with his family from Donghai. He grew up in Yangzhou, so he called himself "Yangzhou native". In 1916, he graduated from Jiangsu Provincial Eighth Middle School (later Yangzhou Middle School), and was admitted to the Peking University Preparatory Course, and then transferred to the Department of Philosophy. After graduating in 1920, he worked as a middle school Chinese teacher in Jiangsu and Zhejiang for five years. In 1925, Tsinghua University set up a university department. On the recommendation of Yu Pingbo, he served as a professor of Tsinghua University and the head of the Chinese Department. Since then, he has served Tsinghua University all his life. When the Anti-Japanese War broke out in 1937, he moved to Kunming with Tsinghua University and worked as a professor at Southwest Associated University. In 1946, he moved back to Beiping with Tsinghua University and remained a professor and head of the Chinese Department. He died on August 12, 1948.

Throughout Zhu Ziqing's life, we can see that he was not only a poet and essayist, but also a famous scholar and professor, and even a radical fighter for democracy. As a poet and essayist, Zhu Ziqing has made great contributions to modern Chinese literature. He has done many pioneering works: he co-founded the first "Poetry" magazine in the history of literature, and joined the ranks of creating new poems. He wrote the first long lyrical poem in the history of modern literature—"Destruction"; at the same time, he also compiled "Chinese New Literature Series·Poetry Collection" and wrote "Introduction" for it. Historic summary.In addition, for the first time, he offered a modern literature course in a university classroom - "Research on Chinese New Literature", and left a handout manuscript "Outline of Research on New Chinese Literature".Undoubtedly, he was one of the pioneers and entrepreneurs of the "May Fourth" new literature.Zhu Ziqing's greatest contribution to new literature is his prose essays, which have an extremely important position in the history of new literature.First of all, he is another outstanding short-form essayist after Bing Xin and others. With his "beautiful prose" writing achievements, he completely broke the superstition of the old school that vernacular cannot be "beautiful prose" and fulfilled the task of demonstrating against old literature. Secondly, on the basis of Chinese classical literature and under the background of the "May 4th" cultural exchange between China and the West, he created a prose system and style with Chinese national characteristics; thirdly, his prose has extremely high artistic value. ", "Moonlight in the Lotus Pond", and other famous works have always been regarded as models of beautiful vernacular Chinese, and have always been selected as Chinese textbooks in universities and middle schools. They provide valuable artistic experience for cultivating literary youth and flourishing prose creation.

As a scholar and professor, Zhu Ziqing has profound attainments and achievements in classical literature, Chinese education, linguistics, literature and art, aesthetics and other disciplines.His contributions are manifold, especially in classical literature research and Chinese education. "Classical Chang Tan" is a collection of essays on ancient books such as Zhu Ziqing's systematic review, "Spring and Autumn", "Chu Ci", "Historical Records", "Hanshu", etc. It is written in simple terms and is still an introductory guide for young people to study classical literature. "Shi Yan Zhi Bian" is his most powerful work. It makes a longitudinal and subtle investigation of the four aspects of poetic theory of "Poetry Yan Zhi", "Poetry Education", "Bi Xing" and "Zheng Bian", and clarifies their differences. The ins and outs and the evolution of historical relics have corrected the fallacy.He also successively made in-depth research on Nineteen Ancient Poems, Yuefu Poems, and Tang and Song Poems, and made serious chronological research on Li He and Tao Yuanming. "Problems in Tao Yuan's Chronicle", "Li He's Chronicle" and other works.He is rigorous in his studies, rich in materials and keen in thinking, and his writings on this topic are nearly a million words.Zhu Ziqing has always been concerned about Chinese education in middle schools and universities. He and Ye Shengtao jointly authored "Chinese Teaching", "Examples of Intensive Reading Guidance", "Examples of Skimming Reading Guidance" and other books.He edited a variety of textbooks and textbooks, and co-edited "Enlightened Advanced Chinese Textbook" with Ye Shengtao and Lu Shuxiang before his death.He is a rare Chinese educator, just as Ye Shengtao said: "He is a dedicated and competent Chinese teacher and literature teacher." (Ye Shengtao "Mr. Zhu Peixian")

As a fighter for democracy, Zhu Ziqing has been pursuing light and truth since his youth, shouting and singing for it, and searching up and down.But life inevitably brought him the anguish of the times and personal hesitation, so that he hid in his study for a long time.However, Zhu Ziqing is an upright intellectual after all. After all, he persistently seeks the truth and light for the phoenix nirvana of his troubled motherland. , he became a strong revolutionary-democratic fighter. In 1945, he returned to Chengdu and said to his wife Chen Zhuyin: "There will be no middle line in the future. We must see the line clearly and move forward bravely." A strong fighter in the ranks of the struggle. The two years after returning to Peiping in October 1946 were the darkest period before dawn, but the most glorious period in his life.When he was not teaching, he was more and more concerned about the fate of the motherland, looking forward to the birth of a new China, and bravely and resolutely devoted himself to the democratic struggle against hunger and persecution.Mao Zedong praised his righteous integrity in the article "Farewell, Leighton Stuart", "Zhu Ziqing is seriously ill, and he would rather starve to death than receive the "relief food" from the United States... We should write Wen Yiduo and Zhu Ziqing. The heroism of our nation."

To sum up, Zhu Ziqing's life was ordinary, but also epic. two Zhu Ziqing, who was involved in the field of prose with "The Voice of Songs", turned to prose creation after 1923, and has not stopped since then. Zhu Ziqing's early essays are collected in "Traces" and "Traces". Some of these essays are famous pieces of appeals and curses written in the way of narrative and discussion, such as "The Price of Life-Seventy Cents", "The Life in the Ship" Civilization", "Caucasian - God's Proud Son", "Ahe", "Sorrowful Weijie Three Monarchs", "Travel Miscellaneous Notes", etc.These essays are directly drawn from real life, attacking the dark society at that time from an angle.In "The Price of Life - Seventy Cents", I wrote about a five-year-old girl who was sold by her elder brother and sister-in-law for seventy cents, and told the story of "a lowly life". This is what the author saw with his own eyes in Wenzhou In one scene, the article imagines her fate of being slaughtered in the future. If she grows up, she will be sold to others as a concubine, or sold to a brothel and reduced to prostitution.The author asked angrily: "Whose crime is this? Whose responsibility is this?". "Ahe" tells the tragedy of an 18-year-old peasant girl, Ahe, who was forced to marry a vagrant in her thirties. She was so angry that she ran away from home to work as a maid, and was later robbed by a man. When she went back, her father was forced to exchange her with money, but her father had to sell her to a rich boss for 80 yuan.The author indignantly accuses the deformed society of the crime of being rich and unkind.In "Caucasian-God's Proud Son", it is written that he was accidentally insulted and provoked by "little Westerners" on the tram, and this sudden "attack" was associated with many "attacks". Thinking about the reason why he was so arrogant and arrogant with the eyes and expression of "little Westerner", he drew the image of an arrogant little Westerner, pointed out that the face of this "little Westerner" "printed a piece of China's diplomatic history", and shouted out The just demands of national equality.This has practical significance in stimulating national consciousness in the 1920s when imperialism was rampant and Beiyang warlords betrayed their country and sought glory.In "Sorrow for the Three Monarchs Wei Jie", he dedicated his deep condolences and respect to the victims of the "March 18" tragedy, Wei Jie Sanjun. is very obvious.

During this period, Zhu Ziqing’s creations were mainly narrative and lyrical prose, which either narrated personal experiences and feelings, or described scenes and objects to express his feelings. The author chose a special back view to set off the "back view" of the father who saw his son off and struggled to buy oranges for his son. This "back view" was presented in the atmosphere of his grandmother's death, his father's unemployment, and his family's increasingly dilapidated circumstances. Conceived and portrayed.Thus, with the cold and bleak tone mixed with blood and tears, a tragic "back view" image is outlined in the heart of the lyrical protagonist.The narrative in the full text is implicit, embodying rich emotions in simple description and narration, expressing the thoughts and feelings of a hard-working intellectual who suffers from the coldness of the world in a turbulent era; It twists and turns reflects the reality that the Chinese people tend to be impoverished under the rule of imperialism and Beiyang warlords.The author's life feelings, written out the true feelings, wrote out the affection, so that this prose won the great popularity and great influence that a single prose had never had before. , , "Moonlight in the Lotus Pond" and other articles are famous articles that are good at describing scenery and expressing emotions.Judging from the content of the whole article, there are not only the recounting of the past events on the Qinhuai River, but also my own experience and feelings on the Qinhuai River; there are not only a description of the night scene of the Qinhuai River, but also a description of the behavior of singing girls on the river.From the point of view of expression techniques, there are delicate close-range depictions, sparse and distant outlines, static scenes and dynamic scenes, real scenes and virtual scenes, ups and downs, and various changes.The article captures the "shadow of lights" and makes meticulous depictions and renderings from various angles, vividly recreating the beauty of the Qinhuai River at that time.Another example is "The Moon is Misty, the Birds are Misty, and the Curtain is Rolling Begonia Red", which describes a painting, and the title of the text is also the title of the painting. The author has delicately described the position, color and shape of the image in the picture. The content of the picture is written, and it also conveys the artistic conception of "the moon is hazy, the bird is hazy".In the lyrical prose "Moonlight in the Lotus Pond", Zhu Ziqing first narrates his restless state of mind, and then describes a peaceful environment different from reality-the moonlight in the lotus pond. "The depiction of the lotus and the cold and lonely bright moon symbolically expresses his feelings of cleanliness and yearning for a better new life.In short, this kind of scenery prose contains emotion in scenery, blending scenes and revealing a strong poetic and picturesque flavor.Moreover, whether it is narrative prose or scenery prose, the layout of the chapters is very precise, showing the beautiful and meticulous characteristics of his early prose.

Zhu Ziqing's early landscape prose was concise, clear, delicate and beautiful, and he was good at accurately and concretely expressing the characteristics of the objects he described with exquisite workmanship, and pursued realistic artistic effects, just as he said when discussing traditional Chinese artistic techniques Indeed, "'Realism' is equal to 'live' or 'resembling' as the saying goes, not only seems real, but also looks like real." It is very deep. In his works, whether it is the green of Meiyu Lake or the moonlight of Tsinghua Garden, they are all vivid and picturesque, making readers feel as if they are there.And the night scene of the Qinhuai River, the relics of the six dynasties, is even more real and specific, blending into the scene and extremely successful.

In "Moonlight in the Lotus Pond", Zhu Ziqing used the word "Xie" to describe the moonlight shining on the lotus and lotus leaves like flowing water; "Tiantian" is used to describe the bright green and lush leaves, and "tingting" is used to describe the upright state of lotus leaves, which vividly depicts the moonlight, green fog, and the dynamics and moods of lotus leaves.Zhu Ziqing pays great attention to the imagery of words and sentences, is good at grasping the characteristics of things, and uses novel metaphors to arouse readers' associations.It is a short piece famous for describing the intoxicating green. The two paragraphs in the middle describe Meiyu Lake and its green color. The author follows the travel trace, first writing about rocks, waterfalls and Meiyu Pavilion, and writing along the way in a well-organized manner.The author sits on the Plum Rain Pavilion and has a panoramic view of the scenery: the clouds are flowing above the head, the grass is full of green, the waterfall rushes down, hits the rock, and the flying flowers fall like broken jade, just like blossoming white plum blossoms, and like little poplar flowers , such a scene of tranquility and contemplation is depicted without carving or embellishment.Then he wrote the "Green Wave" of Meiyu Lake. Zhu Ziqing did not use adjectives such as "green" and "green as emerald". Instead, he used a series of fresh metaphors to arouse people's beautiful associations.He said that the green waves of Meiyu Lake are "like a young woman dragging her skirt", "like a beating heart of a virgin in first love", "like the most tender skin", "like a moist jasper", and after describing it from a comparative perspective To write "the green poplars in Beijing's Shichahai Buddha Land" is too light, the "big grass leaves" "near the Hupao Temple in Hangzhou" are too thick, "the waves of the West Lake are too bright, and the Qinhuai River is too dark."In this way, through the shade of color and the light and shade of light, the thick, flat, clear and soft specific scene of the "green wave" of Meiyu Lake is conveyed to readers.In the novel, Zhu Ziqing highlighted the fineness and thinness of the Baishui Waterfall. He wrote that there was only a "shadow" like flying smoke left in the waterfall, which was like a "curling" and "soft arc". Like the "rubber belt" being contended for by "the slender hands of the breeze" and "the unknowable skillful hands".Through the lightness of "shadow", the softness of "soft arc" and "rubber belt", it precisely describes the shape of Baishuiji Waterfall in the breeze, making readers feel its thinness and thinness.Zhu Ziqing believes that prose writing should be realistic, and writers must observe deeply and strive to innovate.He said that the writer "does not let go of every word and action, every grain of sand and stone", "just like a microscope, so that many new and different flavors can be discerned" ("Shan Ye Dian Shi").He also said: "Life is like a kaleidoscope, with infinite changes due to different times and places. We must understand, feel and participate in many aspects to be interesting." He has carefully observed and experienced the scenes he wrote. He made the sound of cicadas on a moonlit night mentioned in "Moonlight in the Lotus Pond" after several observations and deliberations. It is because of this that he can accurately grasp the specific characteristics of the described objects. , and even subtle changes, and then express it with visual language.Among the hundreds of gardens of "May 4th" prose, Mr. Zhu's prose is unique. His lyrical prose depicting scenery shows a high artistic achievement, showing that "the old literature thinks it is good, and the vernacular is not impossible." ", fulfilled the "historical task of demonstrating against old literature" (Lu Xun's "Nanqiangbeibeijiu·The Crisis of Essays"), and contributed to modern prose aesthetics.

The failure of the Northern Expedition in 1927 and the "April 12" coup turned China into a "dark China".Zhu Ziqing fell into great pain, confusion and depression, and finally walked from the "cross streets" of wandering and fighting into the "ivory tower" of classical literature research.The creation of prose has also changed from gorgeous to simple, and from expressiveness of the scene to the "road of memory" - the memory of the past.The creation at this time is just like what Zhu Ziqing himself said, "Everything as big as a sesame seed is written out solemnly".He said: "Following the guidance of the old man of time, we go to find our lost self step by step; this is the 'Road of Memories'. Because the taste gradually evaporates, but the sweetness still remains"... In the collection of essays "You and Me" published in 1936, there are memories of childhood marriages, "To the Dead Wife" in mourning for his ex-wife, and narration In the past winter, I sat around with my father and brothers and ate "white water tofu", went to the West Lake with Mr. S on a moonlit night, and spent the winter with innocent children. Concentrated ones, "Huaiwei Holding Qingjun" and so on, the content focuses on the love between children and friends, and although these essays are written about the "trifles around me" in the personal life circle, because Zhu Ziqing used the thread of spirit to hold the already The passing time, so the writing is full of affection and soul-stirring.He said in the article "Remembrance" Postscript: "The dream that flies away is the life that flies away, so it often leaves 12 points of regret in people's hearts." The changes in the current situation have weakened his revolutionary consciousness. The enthusiasm of the past has diminished, and what has been brought to him is pain. In addition to the decline of his family, the death of his wife and the burden of many children, all these have given him too much tribulation and hardship. Reminiscing has thus become a path for him to escape pain and troubles.He walked out of the real dream, picked up the beautiful petals in the old dream, and weaved his "dream" country and "love" country.From these works, we can glimpse a broad "love" heart: love father, love children, love wife, love friends.Because Zhu Ziqing could not see holy and beautiful things in the dark reality, his mind became lonely and desolate, and he built a "love" heaven by reminiscing about the past to soothe his lonely and desolate heart.He felt the loss and destruction of beauty, and deeply lamented how sweet, warm and precious the lost "love" was.In Zhu Ziqing's "love" country and "dream" country, we can see the profound influence of Confucianism's "neutralism" thought: because of love for children, they blame themselves for their roughness to them;

"To a Dead Wife" loves his wife and regrets that he has not fulfilled his husband's responsibilities; "Plum Blossom" Postscript, because of his endless love, regrets his laziness and fails to revise his poem manuscript for publication as soon as possible... …Under the warm veil of love, the writer's philosophical awareness of self-cultivation is contained: Zhongzheng is peaceful, strict with self-denial, and lenient to others. In August 1931, Zhu Ziqing went to Europe for a study tour, which lasted for a year.After traveling in several countries in Europe, he wrote essays one after another, published them in the magazine "Middle School Students", and later compiled them into "Miscellaneous Notes on Traveling to Europe" and "Miscellaneous Notes from London".These two prose collections are the same as "You and Me", because Zhu Ziqing's creation during this period no longer responds to the situation of the times, so he can calmly plan again and again in terms of skills, and carefully consider every word and sentence in language, so as to make the art of prose perfect.As Yu Dafu pointed out: "Among the prose writers of the Literary Research Association, except for Ms. Bing Xin, the beauty of the prose must be counted on him." In these two travel notes, he tried his best to avoid the appearance of "I" in his works, neither writing " Trivial things around me", and do not write romantic exoticism, but objectively describe the places of interest in European countries, and carefully introduce the history, culture and art of the West. The writer intends to write these travel notes for middle school students. As a model of moral writing for them, I am extraordinarily rigorous, whether it is painting scenes or lyrical freehand brushwork, whether it is structure planning or writing skills, all of these are bleakly managed and painstakingly poetic.They are indeed exemplary works in modern travel notes, especially in terms of language. The author refines expressive artistic language on the basis of spoken Chinese, the smooth and free melody, the relaxed and lively rhythm, and the careful choice of words. And the flexible and changeable sentence patterns are very exquisite.As Ye Shengtao said: "If modern college students teach modern national literature courses, or if someone compiles the history of modern national literature, Mr. Zhu should be the first to be mentioned when it comes to the perfection of style and the full writing of spoken language." (Ye Shengtao "" Mr. Zhu Peixian") Therefore, Zhu Ziqing has made arduous efforts in the exploration of prose art, and has reached a new height in the history of modern Chinese literature in terms of stylistic innovation and language creation.However, these travel notes are consistent with the author's detached and low-minded thoughts, and obviously lack the luster of the times. After the outbreak of the Anti-Japanese War, the artillery fire of the invaders made it impossible to place a peaceful desk in North China, and also made his study lose its peace.He was no longer silent in front of the invaders. After 1937, he went south with the school. During this period, with a heavy heart and ardent expectations, he wrote many essays. Many chapters in the book "Chinese Movies and Others", "Mengzi Miscellaneous Notes", "Preface to Southwest Collection", "This Day" and so on were written during this period.The prose collection "Chinese Shadow and Others" is divided into two series, among which "Chinese Shadow Series" discusses the meaning of Chinese, and "A Corner of Life Series" discusses life fragments.Zhu Ziqing's prose in this period did not use a lot of rhetorical techniques such as metaphors and parallelism as before, but directly expressed his own opinions with concise brushwork.On the one hand, he looks at life with a cold eye, and writes about his life by discussing daily language and human conditions; , The dead China that was a big basin of loose sand is now a living China with flesh and blood.”In "On Bombing", he shouted for the rebirth of the nation and the country: "Our nation, our country, like the phoenix of Nirvana, has been reborn from the fire!" During the upsurge, his thinking changed, especially the murder of Li Gongpu and Wen Yiduo, which further educated Zhu Ziqing as a scholar, and his attitude became more radical, so the tone of his creation obviously changed.During this period, Zhu Ziqing's prose has shifted from lyricism to reasoning, which are mainly collected in two volumes "Standards and Measures" and "On Appreciation of Elegant and Popular People".Radical in thinking, sharp-edged, brilliant, and his ideological characteristics are to work hard and consciously stand on the standpoint of the people to point things out and make comments. "On Eating" fully affirmed the farmers' righteous actions of "eating big households", and praised their political consciousness against hunger and oppression and their collective consciousness of daring to resist.The article talks about the past and the present, intervening in politics between the lines, and the whole article is full of bright political colors. "Come Back Miscellaneous Notes" commented on the reality of Beiping under the rule of the Kuomintang, and analyzed the daily life from the four aspects of "existence", "leisure", "miscellaneous" and "chaos". Rising like a tide, and the whole of Beiping seems to be swaying in the tide", the nature of social turmoil, thus fiercely criticizing the dark social system that is about to perish in the democratic movement.In "The Great Loss of Chinese Academics—Mr. Wen Yiduo" and other articles, he affirmed Wen Yiduo's contribution to the democratic movement, exposed the cruelty and despicability of the Kuomintang reactionaries, and expressed his determination to continue the struggle.Zhu Ziqing has praised many times: "Lu Xun's 'miscellaneous feelings' are also poems" (Zhu Ziqing's "Mr. Lu Xun's Miscellaneous Feelings"), and he is just imitating Lu Xun intentionally, and also "denies, hopes, and fights" in his essays . (Ibid.) In some miscellaneous essays, intellectuals are dissected vividly, such as "On the Acidity of Scholars" criticizing the "sour smell" of intellectuals. He said that since "I am among the people", I cannot In order to be "pretentious", intellectuals must correctly "see themselves clearly", and they must abandon the style of posturing and self-esteem of intellectuals.This actually includes Zhu Ziqing's denial and criticism of the "old self", and his denial of his ultra-stable cultural psychology that is accustomed to restraint, peace, uprightness, contemplation, and introversion. In his brave self-denial, he Closely close to the people, to achieve a break with the old philosophy, old ideas, and old consciousness, and replace it with a brand-new revolutionary ideology, so as to reaffirm ourselves. In general, Mr. Zhu Ziqing's prose creations, from the delicate and timeless in the early stage to the simple and thick in the middle stage, to the radical and profound in the later stage, all show his unique artistic style and aesthetic taste, and all of them are closely connected with the times, just like his old My friend Yang Zhensheng said: "His prose has indeed opened up a flat road for us. This road will always lead me from near to far, and from low self-esteem to high." ("Wen Xun" September 1948, volume 3 Expect) three Yang Zhensheng said in "Mr. Zhu Ziqing and Modern Prose": "Modern prose texts have already torn off the mask of dignity and morality, removed their wigs, and unloaded their soap robes. , A total game. In a word, it is no longer pretentious, to be a tool for preachers and reasoners, but just a language symbol for everyone to express their feelings..." He also said: "Zhu Ziqing's prose has achieved it, not only , and well done, so his prose was already leading the literary world in the early days of the New Culture Movement." Yang Zhensheng said that Mr. Zhu was "leading the literary world" because his prose had the ability to "declare emotion". "Expressing the meaning" is the aesthetic symbol.Just as Mr. Zhu himself said in the "Preface to "Back View": "I don't have any fixed opinions. I just write whatever I feel at the time. I just want to express myself and do my best. .” "Intent to express oneself" is the first aesthetic principle of prose creation put forward in the history of modern Chinese prose.Zhu Ziqing put forward this aesthetic proposition, which is not only a gift of the times, but also has a historical and realistic background, and it is also a creative practice rooted in his aesthetic experience and ideals.For thousands of years, ancient Chinese prose has been flaunted and implemented based on the prose concept of "Writing to convey Tao".The so-called "Tao" is to promote the feudal ethics and moral concepts with Confucianism as the core.Reason restricts, binds, and kills the writer's thoughts, feelings, and spiritual individuals. Although there are many lyrical sketches in ancient prose, they appear under the condition of being distorted and suppressed.As for publicly proposing the creative idea of ​​"expressing the soul alone", it is regarded as deviant. The shackles of "Zai Dao" reduced prose to the mode of "eight-legged prose".Therefore, negating the concept of "Writing to convey Tao" and establishing the concept of prose based on the writer's personality is the necessity of the "May 4th" ideological revolution and cultural revolution, and it is also the necessity of the prose revolution at the beginning of the new culture.Summarizing the "May 4th" Cultural Revolution, Zhu Ziqing said: "The New Culture Movement accepted the influence of the West. In addition to liberating the style of writing and replacing ancient Chinese with vernacular, what they fought for was the idea of ​​literature, that is, the status of literature. They wanted to overthrow the The "Tao" makes literature independent, so it ruthlessly strikes at the theory of "Writing to convey Tao"." ("On Seriousness") After "Literature Independence", novel prose liberated the author's personality, vividly and vividly It shows the author's stylistic awareness and makes it have the institutional characteristics and aesthetic value of "intending to express oneself".Undoubtedly, Zhu Ziqing's prose aesthetic principle of "intending to express himself" is a rebellion against traditional cultural concepts and a positive contribution to modern prose aesthetics.Since then, the concept of modern prose based on the author's personality has been established in the history of modern prose, and a kind of lyrical prose has been born out of the mother body of generalized prose, revealing the aesthetic value of modern prose to express the author's personality and spiritual world. It establishes the position of the writer's subjectivity in literary creation, rebuilds the concept of subjectivity in today's entire literary creation project, calls for the consciousness of "humanity", and has the function of enlightening the future.The reason why Zhu Ziqing was able to put forward the proposition of "intending to express himself" first is because he has had a deeper experience than others from writing his first prose "Singing" to the publication of his collection. Let's examine his early and middle period (1920s and 1930s) prose, it is not difficult to find his "intended to express himself" track, and then he can faithfully understand that his aesthetic ideal is the sublimation and summary of his aesthetic experience.In his prose, he vividly expresses his disposition, temperament, inspiration, emotion, hobbies, habits, self-cultivation, life experience and philosophy of life, and vividly expresses all his thoughts, feelings and personality. It perfectly reproduces a personality life with flesh and blood.Zhu Ziqing's proses contain unique tastes and show a long-lasting artistic life, and the main reason is here. First of all, Zhu Ziqing's entire thoughts, feelings and personality show a strong sense of self-esteem of a Chinese intellectual. After the "May 4th Movement" receded, Zhu Ziqing shook his original belief in building "brightness", resulting in loneliness and hesitation, and his first psychological crisis, which gave birth to his "momentaryism" philosophy.In order to get rid of his own loneliness and hesitation, so as not to sink himself into decadence, he tries to look at life with a positive attitude, so that every moment in his life "has independent meaning and value".He said: "I feel empty because of melancholy, and I can't bear it when there is still life left! I can't bear this emptiness, so I feel that it is not possible to float, and only by turning can I feel more at ease-it can calm my emotions. So. There was a turning point in my life...and it determined my Momentism." ("Our July") is very clear that Zhu Ziqing's "momentism" is actually to calm down the personal psychological crisis and seek personal peace. The enrichment of the meaning of life and the realization of self-value are actually his painful sense of self-esteem.After his ideals were disillusioned, self-esteem, self-respect, self-improvement, and self-love were his personal strong spiritual needs during this period.He used the traditional concept of integrity of Chinese intellectuals to restrain and standardize his thoughts and behaviors, so as to achieve self-purification and self-esteem of his personality.Therefore, a strong sense of self-esteem pervades some of his prose. The prose with the same title written by Yu Pingbo and Pan Qinhuaihe is the "modern regret" in his heart when he stole a moment of peace.Qinhuai singing girls came to tangle with them. Regarding this, Yu Pingbo followed the logic of "I love all women because I have a wife" and took a sympathetic and detached attitude, so he was "comfortable" afterwards; Zhu Ziqing was very serious and cautious. He sympathizes with their misfortune and self-esteem, and is oppressed by the "moral law" in his heart. He rejects their temptation and singing, and falls into the "battle" between reason and emotion. Distressed, "the restless heart became more active in the quiet".The sense of self-esteem runs through the whole text, and constitutes the reserved and sincere personality in this travel note. Zhu Ziqing's self-esteem is often expressed in the self-dissection to describe "the struggle in thought and emotion", so he is true and sincere, without pretense or pretense.He dared to affirm the positive things in his thoughts, and dared to deny the negative things in his thoughts. In the affirmation and negation, he confessed his multi-sided soul. The noise and turmoil of the failure of the Great Revolution in 1927 made Zhu Ziqing's soul tremble and tremble.In the article "Where to Go", Zhu Ziqing frankly dissected the second psychological crisis of his life and the timidity of his soul.Between revolution and counter-revolution, he made the choice of hiding in a pavilion and studying the third path of Chinese studies.Facing the dark world and bloody depression after the counter-revolutionary mutiny, corresponding to his despair, his sense of self-esteem was aroused, specifically turning to the dissection and examination of his inner world.More consideration should be given to "the way of a scholar or a scholar to conduct oneself in the world" (), that is, integrity and sentiment, and to pursue self-improvement as a personality ideal.Therefore, some of Zhu Ziqing’s proses in this period are intended to express the ideal “self” of personality. Even in proses such as “Moonlight in the Lotus Pond”, they also tactfully express the meaning of self-cleaning without bowing to evil forces. thread.Zhu Ziqing pityed himself with the lotus that "comes out of the mud but is not stained, and is clean and not demonic". He used it as an image of personality and thought, and endowed it with its own feelings and spirituality. Therefore, the image of lotus in his works is pure, sacred, Solemn and elegant.To become a realm of the most true and the most benevolent is the personality beauty and ideal with self-esteem consciousness created and pursued by Zhu Ziqing for a long time after the failure of the Great Revolution. Secondly, while Zhu Ziqing strengthened his sense of self-esteem, he also strengthened his sense of fraternity.Self-esteem is loving oneself, fraternity is loving others.从“五四”退潮到大革命失败，他的心一直受磨受难，感到在大时代里，自己是“一张枯叶，一张烂纸”，是“寻常人所难堪”的“苦在话外”。唯其一直处于心理失衡的状态，所以就需要用爱的琼浆玉液来滋润一颗寂寞、枯竭的心，用爱和泪广施于人，以排解自己的内心痛苦，以求得心理平衡。因此，他在他的散文天地里筑起了一个“爱”的天国。一方面，从人性、伦理、道德上，抒写自己博爱意识。这一组散文多写于大革命失败的前前后后，如、、《给亡妇》、《冬天》、《哀韦杰三君》、《我所见到的叶圣陶》、《怀魏握青君》等多表现父子、夫妻、师生、朋友间的感情。朱自清从作为儿子、 丈夫、父亲、老师、朋友所应有的伦理、道德及仁爱之心出发，检点自己在人伦关系中的生活细节，对自己的粗疏、随便、懈怠，表示深深的自责和无尽的悔恨。愈是自责自悔，愈是表示修善补过，便愈是宛然托出一颗诚挚、广博的爱心。是朱自清收到父亲那封“……惟膀子疼痛利害，举箸投笔，诸多不便，大约大去之期不远矣”的信后萌动创作契机，文章通过当年父亲为自己买桔子的背影的忆念，倾吐了今天儿子对父亲的感恩图报之情。作者不是正面地、直接地评说这种感情，而是自审那时自己对父亲送行过程中不敬的思绪，——总觉得父亲与搬行李的脚夫讲价时“说话不漂亮”；他又是叮咛又是嘱咐茶房， “心里暗笑他的迂”等等，现在回想起来，“那时真太聪明了”，自责自悔是出于作者为人的人性、伦理、道德，更是出于自己对父亲的一片挚爱深情。灵魂的自尊更加反衬出对父亲的情之切切，爱之深深，反衬出远在他乡的儿子对父亲健康状况的忧愁，以及自己不能守在老人身边尽孝的痛苦。另一方面，用悲剧心理观照和描写人生，伴随着他“爱”的饮泣，使散文散发着人道主义的温馨气息。如哀伤沦落风尘的歌妓；《执政府大屠杀记》哀痛被无辜杀害的爱国学生和民众；《生命的价格——七毛钱》忧思五岁小女孩将一生失去“生命的自由”；《阿河》哀惜一位被社会遗弃而被卖来卖去的青年女子…… 自尊和博爱，是朱自清早期散文的两种主要形态，也是他思想、感情、人格的具体表现。他怀着悲剧性的心理为现代散文美学弹奏着美丽的心曲，淋漓尽致地披露了他的主观深层世界，裸露地再现他全部的生命空间，从而为现代散文提供了崭新的审美内容。由此可以得出结论，朱自清用自己的散文创作实践在散文美学范畴提出了“意在表现自己”的命题， 这是他对现代散文的突出贡献。 杨振声在《朱自清先生与现代散文》中又说“自新文学运动以来，一般最大的缺陷是对于文学所用的语言缺乏研究和努力”，但是朱自清先生“他在这方面的成就很可观”。朱先生的“可观”的成就，突出地体现在“谈话风”的艺术语言的建树方面，这是朱自清散文创作的一种自觉的审美追求，也是朱自清对现代散文美学的又一大贡献。 “五四”文学革命的初期，白话文虽然短短几个月内取代了文言文，获得了独立的地位，但是新文学语言作为一个全新的艺术建构工程，其任务却非短期内就能完成的，甚至“五四”以后很长一段时期，尽管作家们都采用白话来写作新文学作品了，但很少有人用“真正的口语”来创作。当时的作家所使用的白话：一是半文半白的白话，即指含有大量文言成分的白话；一是所谓欧化的白话，那是在外来文化影响下发生的，加之有些人积极提倡的所谓“欧化的白话文”、“欧化国语文学”（傅斯年《怎样做白话文》）。因此正如杨振声说的，尽管“大家改用语体文了”，但却“不文不白”，“不南不北”，“不中不西”， “马马虎虎把语言这一关混过去了”。“混是混过去了，应用也勉强可以，可是缺乏了一件东西，那便是语言的灵魂。怎么说，它也不够生动，没有个性，又不贴近日常生活。这也就说明了新文学为什么打不进民间去。”杨振声是一语道出了这种语体的致命弱点：那就是“打不进民间去”。而这个致命的弱点也就势必导致新文学与人民大众的隔膜，使新文学的读者群和影响的范围都相对地缩小了。 与一般作家不同，朱自清是一个对汉语颇有研究的作家，对口语体语言的研究，是他语言研究中的一个很重要的内容。在记述口语体语言形成与发展的历史时，他曾提出了一个重要的论点，说：“用口语为的是求真化俗，化俗就是争取群众。”“所谓求真的'真'，一面是如实和直接的意思，在另一面这'真'又是自然的意思，自然才亲切，才让人容易懂， 也就是更能收到化俗的效果，更能获得广大的群众。”基于对口语体语言的研究，基于对“求真化俗”审美目标的追求，朱自清创作伊始，便注重北平的方言，以北平话做底子，从口语中提取有效的表现成分，一步一个脚印地向着文学语言的口语化迈进，并逐步形成了一种堪称典范的独具个性的白话文学语言—“谈话风”的艺术语言。这种语言“念起来上口，有现代口语的韵味，叫人觉得那是现代人口里的话，不是不尴不尬的'白话文'”（叶圣陶《朱佩弦先生》），虽说仍系知识分子化的口语，却亲切自然，鲜活上口，幽默风趣， 雅俗共赏，这就使得他的散文比起当时一般作家的作品来，拥有更多的读者，缩小了新文学与人民大众之间的距离，而这正是朱自清高出于一般作家的地方，也是他为现代文学，尤其是为现代散文语言的建设所作的开拓性贡献。 Four 应浙江文艺出版社之约，我们接受了编辑《朱自清散文全编》的任务。在编辑之前，我们反复讨论酝酿，取得的共识是：朱自清一生所写的散文数量很多，在一书中做到“全编” 实属不易。但如不包括书评、序跋、杂文等，单就人们所称的“美文”这狭义散文而言，做到“全编”则是可行的。我们的指导思想是就狭义散文而言编出一本真正《朱自清散文全编》。我们在编辑过程中，一是做到无一遗漏，这是指不仅收集全了任何集子中朱自清的散文，而且，我们还尽最大努力发掘、查找一些散佚不见的散文，如本书中的《南行通信》和《南行杂记》两篇，是原来刊登在一九三○年七、九月间的《骆驼草》杂志上的，由于一直没有被收入朱自清散文的集子，因此，随着时间的流逝，已有被湮没的危险，这次我们从浩如烟海的旧杂志中把它们发掘了出来。二是对朱自清的一些广义的散文，如杂文、序跋、书评等，原则上不收，但也并非一概不收，而是作比较严格的取舍，酌情收入一些能反映朱自清重要思想、观点和生活的代表文章，让读者能通过这些文章更全面、立体地了解朱自清。 三是全书仍按朱自清生前编定的散文集编排，以时间先后为序，一些散见于集外的散文另编于后，这样，更有利于了解到朱自清散文的原貌。 最后，值得一提的是在本书编辑过程中，得到了朱乔森先生的大力支持，他为本书提供了不少有用的资料。江苏省社科院文学所姜建先生也为本书的编辑提出了不少有益的建议。 应该说，这部书的出版，是大家共同努力的结果。尚感不安的是，不知我们的编辑思想是否合理？一些文章的取舍是否公允？所有这些，我们真诚地期待着广大读者的批评指正。 １９＃５年７月于南京