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偶读我国现代文学的史料,看到一则颇发人深思的文坛轶事.鲁迅先生早期以周(辶卓)为笔名发表在《小说月报》(1913年4月)的文言小说《怀旧》,受到编辑恽铁樵先生的赞赏,并加评语云:“曾见青年人才能握管,便讲词章,卒致满纸饾订,无有是处,极宜以此等文字药之.”这条批语,不仅是经验之读,而且对教和学两个方面,都不啻为一个深刻的道理.笔耕之道,有大体之法可循,却没有固定的程式可套.因为循大体之法,可以通变,不必依样画葫芦;套固定程式,势在拘泥,一定囫囵吞枣.元代是戏曲创作的鼎盛时期,有位叫乔吉的批评家提出写作作戏曲的门径,说“作乐府亦有法,曰凤头、猪肚、豹尾是也.”(见《陶宗仪·
I even read the historical materials of modern Chinese literature, to see a rather thought-provoking literary anecdote.Lu Xun early Zhou (辶 Zhuo) as a pseudonym published in the “Novel Monthly” (April 1913) of the novel “nostalgia ”, Edited by Mr. Tie Qiao’s admiration, and add the comments cloud: “ young people who have been able to grip the control, they say the chapter, dash full of paper set, there is no place, it is appropriate to use these words medicine. ” “This remark is not only an experience reading, but also a profound principle in both teaching and learning. There are general principles to follow, but there is no fixed procedure to set. In the Yuan Dynasty, the heyday of drama creation, a critic named Qiao Ji put forward the writing and writing as the path of drama, saying ”There is also law for the Lok Fu, saying Crested, pig stomach, leopard tail is also.“ (See ”Tao Zongyi