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在《剪掉散文的辫子》一文中,我指出当时(60年代初期)积习已久而迄今仍流行的三种病态散文:伪学者的散文(又分西而不化的洋学者文体与文白夹缠的国学者文体)、花花公子的散文、浣衣妇的散文;并且鼓吹兼顾弹性、密度、质料的现代散文。 所谓弹性,不但是指句法的长短相济、正反互补,节奏的可快可慢,音调的可重可轻,也指语言的兼容并铸。口语的自然生动当为白话文的基调,如能佐以文言的严整简洁,英文的主客井然,虽长不乱,甚
In the article titled “Braids Cutting Off Essays,” I pointed out three types of morbid essays that were still popular in the early 1960’s (Pokfulam: Pseudo-scholar’s essay The entangled national scholars style), Playboy’s essay, Hanyi women’s essay; and advocate both flexibility, density, texture of the modern prose. The so-called flexibility, not only refers to the length of the syntax, complementarity, rhythm can be fast or slow, the tone can be re-light, but also refers to the language compatible and cast. The natural and vivid colloquial as the keynote of vernacular, if accompanied by the strict and concise classical Chinese, English subjective and objective, although long chaos, very