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Appreciation of Liang Bin's Mobile Phone Photography Works

Preface to Two Novels of China's New Literature Series

one

Anyone who cares about China's modern literature knows that "New Youth" [2] is the initiator of advocating "literary improvement", and later went further and called for "literary revolution". But when 19 15 was published in Shanghai in mid-September, it was all in classical Chinese. Su's novels [3], Chen Tuo's novels [4] and Liu Bannong's novels [5] are all in classical Chinese. By the next year, Hu Shi's "My humble opinion on literary improvement" was published, and only Hu Shi's poems and novels were in vernacular Chinese. Later, the number of vernacular writers gradually increased, but because New Youth was actually an argumentative publication, its creation was not so heavy, and only vernacular poems flourished. As for operas and novels, most of them are translated.

Lu Xun published his short stories here. 19 18 Since May, Diary of a Madman, Kong Yiji, Medicine, etc. Appearing in succession, we can see the achievements of the "literary revolution", and it was considered as "profound expression and special format" at that time, which quite attracted some young readers. However, this excitement is because it has always ignored the introduction of continental European literature. 1834, Nikolai EnGogoll of Russia wrote Diary of a Madman. [7] 1883, Nietzsche [8] also said through Zarathustra-Tra: "You have changed from insects to people, and many of you are insects. You used to be a monkey, but now people, especially monkeys, are better than that one. Moreover, this bundle of "medicine" also clearly retains the indifference of Antell (L Andreev) [9]. However, the later Diary of a Madman is intended to expose the evils of family system and ethics, but it is deeper and wider than Nikolai Nikolai Gogol's worries, and it is not as slim as Nietzsche's Superman. Since then, although he has escaped from the influence of foreign writers, his skills are slightly mature and his descriptions are slightly profound, such as Soap and Divorce. , but on the one hand, it also reduces the enthusiasm and is not noticed by readers.

Since the New Youth, no novel writers have been trained. More in Trendy [10]. From the publication of this novel in 19 19/month to the disappearance of key overseas students in the following year, the authors were Wang Jingxi, Luo Jialun, Yang Zhensheng, Yu Pingbo and Ye respectively. Nature is technically naive, often retaining the writing and intonation of old novels; And straightforward, a thousand miles away; Or too coincidentally, in an instant, on a person, all the embarrassing misfortunes will converge. However, there is a trend of common progress, but at this time, no one thinks that novels are refined literature and do nothing except art. Every time they write an article, they are "doing something" and using the equipment to transform society, although they have not set the ultimate goal.

The Gardener by Yu Pingbo [1 1] thinks that people should give up affectation and let nature take its course, while the works by Luo Lun Jia [12] are about the pain of freedom of marriage. Although a little superficial, it was the general will of many smart young people at that time. Ibsen [13] is lucky to import Nora and ghosts at this time, but I haven't thought of public enemies and the pillars of society. Yang Zhensheng [14] made great efforts to describe people's sufferings; Pan Jingxi [15] and pretended to smile, telling the secrets of good students and the disasters of suffering people. However, because he is an upper-class intellectual, pen and ink can not help but stretch between describing trivial matters around him and Wang's life. Later, Ou Yangyuqian [16] devoted himself to the script; Ye Shao Jun [17] has made greater progress. Wang Jingxi once again published his creation in Modern Review [18], and chose a book "Snowy Night" in 1925, but it seems that he finally didn't consciously, or forgot his previous struggle, and thought that his work was not a "criticism of the meaning of life". There are clouds in the sequence-

"When I wrote these novels, I tried to faithfully describe several life experiences I saw. I just want to be faithful to my description without any criticism. Although when a person narrates a fact, his description will inevitably be influenced by his outlook on life, I always try to keep an objective attitude as far as possible.

"Because of this objective attitude, my short stories won't have any significance of criticizing life. I only write out a few experiences I have seen for readers to see. I don't ask what readers think of these experiences after reading these novels. "

Yang Zhensheng's writing style is more vigorous and powerful than that of the fisherman, but it is exactly the same as that of Wang Jingxi, a former comrade-in-arms: he "should be faithful to the subjective" and artificially create an ideal figure. And I'm afraid it's not enough to rely on my own ideals. I consulted a few friends and edited it several times. This is the only way to complete a novella Yu Jun [19], and the preface says-

"If someone asks if Yu Jun is true, my answer is that no novelist is telling the truth. Historians tell the truth, novelists tell lies.

Historians use memory, novelists use imagination. Historians should adopt a scientific attitude and be faithful to objectivity; Novelists should be faithful to the subjective when they adopt an artistic attitude. In short, novelists, like artists, want to make nature artistic, that is, to make up for the defects of nature with their own ideals and will. "

He first decided to "make nature artistic", and the only way was to "tell lies". "A novelist is a liar". Therefore, according to this law and drawing on the opinions of others, Yu Jun was created, but this is certain: she is just a puppet, and her birth is also death. We will never see this writer's creation again.

two

With the May 4th Incident, Peking University, the camp of this movement, gained a good reputation, but at the same time, it was in jeopardy. Finally, the editorial center of "New Youth" had to return to Shanghai [20], while the elites of the trendy school generally went to Europe and America to study. The magazine "New Tide" also ended up with an unpublished "Introduction to Famous Works", although it boasted [21]; In terms of domestic members, there are 10000 words and deeds of Mr. Min [22] and 7000 words and deeds of Didi [23]. When the creation fails, the literature created for life naturally fails.

However, there are still a group of people in Shanghai who literature for life, but there are also a group of people who literature for literature [24]. Here is the Misha Society [25]. It was published in March 1923, and the declaration written by Hu Shanyuan [26] (Qu) told us that "we are the gods of literature and art; We don't know where we come from or where we come from:

…………

All we do is follow our inspiration! [27] In the second issue published in April, it was clearly indicated on the first page that this is "a monthly literary work with no purpose, no artistic concept, no discussion and criticism", that is, a publication of an exquisite literary and art group. But in fact, I accidentally had an imaginary enemy. Chen Dezheng [28]' s "Editor's Note" said: "Recently, literary works have also been commercialized, and so-called literary researchers and so-called literati are inevitably peddled! This is something we abhor. ...... "This is a movement against the troops that monopolize the literary world" [29]. At this time, anyone who wants to be different always pretends to hate vulgarity.

It is true that all works are devoted to beauty, and they should dance "Hui Xiang" and sing "Up and Down". However, the scope of their feelings is quite narrow, and they can't help chewing the bits and pieces of emotions around them and regard them as the world. In this publication, the authors of novels are Hu Shanyuan, Tang, Zhao Jingying, Fang and Cao Guixin [30]; Qian Jianchun and Fang [3 1] can only be regarded as sketch authors. Among them, Hu Shanyuan is the most prominent. His article "Sleep" is a declaration of practice, covering the whole group. However, in Under the Cherry Blossoms (the first issue), just like too much sleep on one side, it shows that side is nervous about the disease. Inspiration should also reveal its purpose. Although Zhao Jing-Yun's May is simple and seemingly incapable of doing nothing, it powerfully describes the tragic and short life of a "girl" that even sensitive authors have forgotten.

1924 The Asakusa Society [32], which originated in Shanghai in mid-1924, is actually a group of writers who "art for art's sake", but each issue of their quarterly shows their efforts: outward and inward, digging their souls, seeing their eyes and mouthpieces, gazing at the world and singing truth and beauty to lonely people. , Kong Xiangming, Hu,,, Lin Ruqi, Xu Dange, Gu? , Sand, Yashi, Chen Xianghe, Chen Huimo and Ms. Zhu Ying are all novelists; Even Feng Zhi [33], the most outstanding lyric poet in China, has published his famous works. The following year, the Central Committee moved to Beijing, and the members seemed to be separated. Asakusa Quarterly has been changed into a weekly magazine named Zhong Zhong [34], with fewer leaves, but the momentum has not diminished slightly. The eyebrows in the first issue led to the firm sentence of G Gissing [35]-"I want you to confirm with me ... I want to work until I die."

The mood of young intellectuals who woke up at that time was generally warm but sad. Even if we find a little light, we can see the endless darkness around us more clearly. The intake of exotic nutrition was arranged by fruit juice [37]: Oscar Wilde [38]], Nietzsche (FRNIETZ-SCHE), Baudelaire (39) and Antell -EV at the end of the century. "Sink your own boat" [40] had to survive in a desperate situation. In addition, many works are often "spring is not my spring, autumn is not my autumn" [4 1], full of sadness, but singing a heartbreaking song that I don't want to make clear. Although Feng Zhi's paintings are poetic, Sha Zi's cover story cannot be concealed. All this seems to be mostly because the author is in Shu, and the early suffering in Shu can be imagined. However, this group of authors has never been complacent. Chen [43] said in the "Proem" of his collection of novels "Fireside"-"But I don't want this; Life has just begun, and there are still many beasts of fate waiting for me. But don't be afraid of this.

Although people don't have to worship the sun, why are they too timid to avoid the night? What, a bald pen can't write on scraps of paper? A few years later, I recall me at this time, that is, I can still miss myself regardless of others. If it is convenient to remember, I should remember. ……"

Naturally, this is still a sad word of helpless masturbation, but in fact, Shenzhong society is indeed the most tenacious, honest and struggling group in China. It seems that it really wants to work until the day it dies, as Gissing said. Such as "heavy bell" caster, even if he is dead, he should knock out the big bell with his own feet underwater [44]. However, they can't, they are alive, times have changed, and everything is wrong; They are going to sing, but some of the listeners are asleep, some are dying, some are scattered, and there is only a piece of white land left in front of them, so they have to put down their clothes sadly and lonely in the dusty hole.

Later, Feng Wenbing [45], who is famous for Fei Ming, was also the author of Asakusa, but he didn't show his specialty. Only in the story of bamboo forest published in 1925, did I see those works that were faded, but as the author said, they can still "sort out my sadness". Unfortunately, the author cherishes his limited "sadness" too much and soon doesn't want to shine as before, so from the perspective of honest readers, he only sees his low intention and self-pity.

Feng [46] has a collection of short stories "Juanshi", which is the grass name of "worrying about the heart and not dying". /kloc-since 0/923, it has been published in Shanghai Creation Society under the pseudonym of "Ms. Gan". Among them, Travel is a famous article that refines the essence of isolation and after isolation (and is included in Jun Shi). Although it is too reasonable, it does not harm its essence. I really want to hold his hand, but I dare not. I only dare to drop all the lights in the car when they shake occasionally, for fear of attracting the attention of passengers. However, we are very proud of ourselves. It is impolite for us to pretend to be the most distinguished people in the car. "This passage is really a true portrayal of the young people who will fight resolutely against tradition after the May 4th Movement, but they dare not fight resolutely against tradition, so they have to revive their" sentimental feelings ". And "art for art's sake", or bragging about its decadence, or? Being talented is completely different. However, it can also restore peace. Lu Kanru [47] said in the postscript of the second edition of Volume History: "Be willing to teach Shen and take the meaning of Zhuangzi. Now the author's thought has changed, so it was changed to Yuan Jun when reprinting. ..... Just because the author is lazy, let me say it. " It is true that three years later, "Spring Scar" [48] is only a fragment of prose, and then the study of literary history. This reminds me of the Hungarian poet Petg Fisá ndor's poem about Mrs. BSz's photo scar? My bulging man is very happy, I hope not, because he is a distressed nightingale, and now he is silent in happiness. Be hard on him and let him often sing sweet songs. "

I'm not saying that suffering is the origin of art. For the sake of art, writers should be trapped in suffering forever. However, when Peter fought against the Philippines, this statement was somewhat reasonable; In China ten years ago, there was some truth in this statement.

three

In this place of Beijing, although Beijing is the birthplace of the May 4th Movement, since the supporters of new youth and trendy people disappeared, during the three years from 1920 to 2002, the lonely and desolate ancient battlefield scene was remarkable. The Morning Post Supplement [50] and the Beijing Daily Supplement [5 1] emerged, but they all paid little attention to literary creation. On the one hand, they only introduced a limited number of writers: Jane, Xu, Li, Huang and Shang Yue.

Jane's work [52] is simple, as he said in the collection of novels "Morning Fog"-

"... I'm in my twenties. I came to Beijing from Guizhou and have been wandering in the sand for almost seven years. Can't say that time is not long, I don't know how to get along. The days passed in such a hurry, and the shadow of my childhood became more and more blurred and lighter, like a fog, and I only felt empty and lonely. What else have you done in recent years besides a few new poems and specious novels scribbled in the past two years? Every memory will inevitably hit my heart a little sadly. So now I have decided to print this collection of novels … to commemorate my long-lost lovely childhood. ..... If people who are childlike are willing to resolutely patronize, or find a little childish taste in the middle? ……"

It is true that although simple, or "naive" as the author said, a few decorations are enough to write his inner sadness. The scope of his description is relatively narrow, a few ordinary people, some trivial things, but taking Water Burial as an example, it shows us the coldness of rural customs in Far Away Guizhou and the greatness of maternal love revealed in this coldness-Guizhou is far away, but everyone's situation is the same.

At this time-1924-occasional published works include Pei Wenzhong [53] and Li Jianwu [54]. The former is probably not a person who always pays attention to creation, but The Sound of an Army Horse records the true feelings of young people studying abroad who are in shock for their hometown and parents under fire. The latter's "The Legend of the Final Mountain" is gorgeous, although today, ten years later, you can still see the body and soul hidden in the beautiful clothes passed down from mouth to mouth.

Jane Xian 'ai describes Guizhou, and Pei Wenzhong cares about Guan Yu. Anyone who writes thoughts with a pen in Beijing, whether claiming to be subjective or objective, is often local literature. From Beijing's point of view, he is the author of overseas Chinese literature. But this is not what brandeis [55] called "diaspora literature". Overseas Chinese are only the author himself, not the article written by this author. Therefore, only when homesickness looms, it is difficult to broaden the reader's mind and dazzle his eyes with exotic feelings. Xu [56] named his first short story collection "Hometown", that is, unconsciously, he recruited himself as the author of local literature. However, before he began to write local literature, he was exiled from his hometown, and life forced him to a different place. He wants to recall "father's garden", and it is a garden that no longer exists, because it is more obvious to recall what no longer exists in his hometown. Although the grand occasion at that time was photographed and now hangs in my father's room, it has been a long time. At that time, photography in the countryside was very naive, but now it is confusing. The portrait of Fang Jie hanging next to it is not clear, but her father's words engraved on it are very clear:' Sex is stubborn, but when it comes to suffering, I can't stand it alone! '

"…………"

"I think my father's garden can be planted with all kinds of flowers again. At that time, the grand occasion can never be restored, because there is no sister Fang. "

Helpless grief is inevitable, but the author still can't give up. Without law, he can find clothes that are calm and humorous, and make him sad and indignant. Wrap it up and say "see through" And use this method to describe all kinds of characters, especially young people. Because of deliberate calmness, it is also engraved deeply, and it is inevitable to smile with doubts. "Although you have a heart, you don't complain about drifting tiles" [57], calmly and calmly; The calmness and humor wrapped in anger are unpleasant to those who are observed and described. They don't admit that he is a lifeless and opinionated mirror. So he is often ranked among satirists, especially making ladies frown.

This calmness and humor, if developed, is actually dangerous to the author himself. He can also write lively folk life, such as "The Story of the Stone", but it is a pity that there are very few.

[58] Looking at the theme and writing of some parts, it seems that he is a writer of local literature, but his mood is quite different from that of Xu. What worries Xu is that he lost his "father's garden" on the ground, but what worries him is that he left the free paradise in heaven. He heard the "autumn rain resentment" saying-"The ground is too small, the ground is too dirty, it is black everywhere, and it is annoying everywhere.

Everyone only knows how to love money, but not freedom and beauty. There is no love between you humans, only hate. You humans sleep like pigs at night and tear like dogs during the day. ...

"This world, I will get used to it? Why shouldn't I cry?

In the savage world, let the wild animals live, but I don't, we don't ... Well, I'm going to leave this world and go underground now ... "This is similar to the sadness of B·R·Epomehk (59), but very different. That's an underground groundhog. It wants to love human beings, but it can't. This is the autumn rain in space, but he can't escape from this world. He has to give his heart back to his mother before he can become a "person" and make her laugh. Autumn rain, unintentional "people" and human society will not have feelings. To say calm, this is the real calm; Only in this way can the struggle theory of "Niu Ke" and the non-resistance of "Toles Shaw" be erased together; Together with Dawuwen's theory of evolution, it mocked Kruppetkin's theory of mutual assistance. They scoff at tyranny and inequality, but they scoff at freedom. Authors often want to write with humor, but because they are too calm, they often become cold words and lose the humor of the world.

However, the "human" heart is inexhaustible. Although the article "Pomelo" was dissatisfied with the author in Hunan [6 1], it still showed resentment against the ground under the clothes of the world. Among Wang Luyan's works, I think it is the most enthusiastic. The Hunan writer I'm talking about is Li (62), who left his hometown at an early age. The works lack the local flavor, but they glow with the sensitivity and enthusiasm of Chu people. Early in the morning, in "Social Problems", he threw an Assenberg javelin at Ibsen's first-class liberator. But it can also describe the "slight impression" of childhood exquisitely and brightly. Until 1926, he complained about his dissatisfaction. In the preface to the second edition of Fire, he said, "People living in Beijing, if they have souls, may not have dyed their souls all gray. Naturally, Fire was written under such circumstances. When I came to Shanghai last spring, my mood changed completely. I only have the idea of giving it up. ……"

He judged that his previous life was gray and regarded his early works as children's horses. Sure enough, in the following Breaking the Bases, there are indeed some subtle sketches with ridicule, but they have the characteristics of a good story writer: sometimes, such as China's Ray Fang Shan [64], the owner is magnificent; Sometimes, for example, the police call of Hsien Kie-Wicz [65] in Poland did not end in disappointment. It is rich and colorful, and always makes readers finish the book happily. But its loss, that is, in the bizarre decoration, is sometimes buried forever. If it appears, it will be seen again.

Compared with the daily supplement, Modern Review pays more attention to literature and art, but most of the authors are veterans of the trendy society and the creative society. Ling Shuhua's novels [67] originated from this kind of periodical. She is just different from Feng's boldness and boldness, and she is generally very cautious. Is it enough to describe the attractive women in the old family? Even if there are occasional affairs, it is to be blown away by the wind of literature and wine, and finally get back together. This is good, so that we can see people who are different from those described by Feng, [68] and Wang Jingzhi [69], that is, a corner of the world, the soul of an aristocratic family.

four

1925 10, the Mangyuan Society suddenly appeared in Beijing [70]. In fact, it was just a group that was dissatisfied with the editors of the Supplement of Beijing Daily. It founded the weekly Mangyuan, but it was still attached to Beijing Daily for a quick chat. Gao Changhong [7 1] runs the best, and the key novelists are Huang, Shang Yue and Xiang Peiliang. Lu Xun was promoted to editor. However, there is a lot of unity. As far as novels are concerned, there are Wen Bing, Yuan Jun, Ji Ye, Jingnong, Xiaomi and Qing Yu. On 1 1 month, Beijing Daily stopped its supplement, so it was changed to bimonthly, published by Weiming Society. The new work released at that time was Wei's [72] work, which described the dead atmosphere in the countryside: leaving dusk in the town.

But not long after, there was a conflict within this wilderness society, and Changhong waited for the first time, so a hurricane society was established in Shanghai. The so-called "hurricane movement", the manuscript is actually hidden in Changhong's pocket, and it is often necessary to take the opportunity to go out and print several issues of the weekly magazine first; The Manifesto was published in the Beijing Daily Supplement in March of 1925, but it hasn't called itself "Superman" yet, and it still carries a voice that is not complacent-"On a dark night, everything is asleep and dead, without a sound, a movement, a silent and boring long night!

"In this way, hundreds of years have passed, the morning light has not come, and the night has not stopped.

"Dead, all the people, all asleep.

"So several people woke up from the darkness and called to each other:"-the time has come, and expectations have been enough.

"-yes, we have to get up. We call on all those who are uneasy about expectations to get up.

"-if the morning doesn't come at last, get up, too. We will light a lamp to light up our gloomy future.

"-weakness is not enough, and hope is not enough when you are asleep. We should be strong, push down obstacles or be overwhelmed by obstacles. We are not afraid or shy.

"This call, though weak, listen, from the east, from the west, from the south, from the north, faintly came a strong answer, a stronger answer than us.

"A drop of water can be used as the initial flow of a river, the fluttering of a leaf can predict future storms, and a small origin can produce great results. To this end, our weekly magazine is called The Knockout. "

However, it is becoming more and more obvious that he thinks he has "surpassed". However, the epigram-like articles sampled by quasi-Ni can't solve each other, which finally makes it difficult for the weekly magazine to exist. What can be remembered is still Huang He and Shang Yue in the novel-in fact, they are just an author of Xiang Peiliang.

Huang [73] printed his collection of short stories into a book called Thorns, and when he met the readers for the second time, he renamed it Peng Qi. He was the first to understand Xiao Chang's proposition that literature should not be like cream, but like thorns, and that writers should not be depressed, but should be energetic; In Literature of Thorns (No.28 of Mangyuan Weekly), he explained that "literature is by no means boring", "writers are not necessarily a privileged special nation" and "Jiao Ren who cries all day", he said-

"I thought China's modern works should be like a thorn. Because in a desert, the eager flowers will gradually disappear, and society will produce thorns. His leaves are prickly and his stems are prickly, so his roots are prickly. Please don't contradict me with plant physiology. The conception, structure, sentences and words of a work should all show the stinginess we often feel. Real writers ... should stand up first, so that we can stand up. He wants to enrich his strength and let people know how to enrich and show his strength. The success of a work must at least keep the reader reading, and there is no time to distinguish the beauty and evil of the text. Bad feelings are not good, and good feelings are also failures. -If you want to follow, you can't. How to grasp the depth of his illness, just poke him with interest. The general arrangement structure, if ordinary, will make him run to the side, and we should oppose it.

"The desert is full of thorns, and China people will lead an extraordinary life!" This is what I believe. "

Peng Qi's works really run counter to his ideas. He used fluent and humorous words to expose, portray and satirize all kinds of characters, especially intellectuals. He either plays the fool and says what young people think, or runs into the rich man's house with a Chongqing leg [74]. But perhaps because of the efforts to be vivid and fluent, the criticism can't go deep, and the special device with funny ending often destroys the power of the whole article. Satire can die of its own intentional ridicule. Soon he said, "I wrote the word" Thorn Literature "because I appreciate the whip of the overlord every day, and I can't fully understand the meaning of flowers because of my own" unborn ". This is a big wandering. Since then, I have never seen his "thorn literature".

Shang Yue [75]' s creation is also to ridicule, but also to expose and struggle. The name of the novel collection "Axe Back" is the self-mentioned outline. His creative attitude is more serious than Peng Qi's, and his materials are more extensive, and he always describes Xinyang people in Henan who are not open to the atmosphere. Unfortunately, due to the limitation of talent, the axe back is too light and too small, so that the effectiveness of his public and private attacks is largely due to poor equipment and means.

When Xiang Peiliang [76] published his first collection of novels, The Ambiguity of Dreams, he said at the beginning-

"As time went by, my heart heard a slight footstep. I moved this to the paper very awkwardly. This is the source of my brochure! "

Indeed, the author told us the footsteps of time he heard in his mind, some borrowed the innocent love and hate of childhood, and some borrowed the lonely breath and sight when he was imprisoned. However, he is not "clumsy", but he is not artificial, just like an acquaintance, talking and talking, which makes us feel a kind of color of life in the listening that we don't care much about. However, the author's heart is warm, and if it is not warm, he can't speak so calmly. Therefore, although he occasionally rested in the past "lost childlike innocence", his ultimate love was to find a stronger "empty rebel" behind the strong hatred, which led us to the powerful "I left the crossroads" [77]. The following paragraph is the self-reported disgust of the unknown rebel-"Why did I run out of Beijing? I can't say more about this either. To sum up: I am tired of this ancient and hypocritical city. Having lived here for four years, I have deeply hated this ancient and hypocritical city. In this, I only see those humble minions who worship, fight the arch, want the emperor and compliment the ruling! Despicable, cowardly, cunning and agile escape, these are the stunts of minions! The deep disgust in the mouth is like raw fishy fish in the mouth; I needed to vomit, so I left with my cane. "

I hear Nietzsche's voice here, which is the drum of the March of Hurricane Club. Nietzsche taught people to prepare for the emergence of "Superman". If it doesn't appear, the preparation is empty. But Nietzsche had his own way of ending: madness and death. Otherwise, you must be content with emptiness or resist it. Even if there is no "last person" in loneliness [78], it just despises all authority and shrinks to Nihi-list. Bazarov believes in science; He died for medical skill, once despised science itself rather than its authority, and became a disciple of Sanin)〔79〕], so he had to do everything in the name of unbelief. However, it seems that Fan Fenghui only ended in "nihilistic resistance" and soon dispersed. Now, all that is left is this loud battle cry for Pei Liang, which shows the future of semi-Suihuilov [80] hatred. The unnamed society [8 1] is the opposite. Wei Suyuan [82], the host, is a person who prefers to treat exotic flowers and exotic trees as unknown soil species, and the center of his career is mostly in the translation of foreign literature. When Mangyuan took over, in terms of novels, besides Wei, there was also Li [83], who created with a keen sense, sometimes deep and sometimes thin, and really counted the veins of every leaf several times, but it was often not wide, which was also unsatisfactory for lonely diggers. Tai Jingnong [84] is a person who doesn't want to write novels first, but later doesn't want to write novels, but for