Yam Egg School

A contemporary literary school represented by Zhao Shuli.

Main writers include Ma Feng, Xirong, Shu Wei, Sun Qian, Hu Zheng, etc.

They are all writers born and raised in rural Shanxi and have a relatively deep understanding of rural life

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Basics. After the mid-1950s, they consciously cultivated and formed schools with similar styles with Zhao Shuli as the center. His representative works include "Three Mile Bay", "Registration",

"Exercise", "Uncle Zhao the Breeder", "Know Three Years Early", "Sister Lai",

" Song boss enters the city" and so on. They adhere to the creative method of revolutionary realism, are loyal to the real life in rural areas full of sharp and complex contradictions, are loyal to their own true feelings, and pay attention to the complexity and complexity of the characters. Diversity. The

new lives and new characters they write are not elevated and idealized that are divorced from the reality of life, but

simple, solid, real and credible. It has successfully created many backward characters or "middle characters", such as the flesh-and-blood images of Pain in the Calf, Hungry People, Zhao Mandun, Sister Lai, etc. The Yam Egg School inherits and develops the tradition of my country's classical novels and rap literature. It focuses on narrating stories. The description of characters and situations is integrated into the narrative and the structure is smooth. , with clear layers, the character's personality is mainly displayed through language

and actions. He is good at selecting and using detailed descriptions with rich connotations. The language is simple and concise, and the works are easy to understand. It has strong national style and local color. Before the "Gang of Four" was crushed, the Yam Egg Sect was hit by left-leaning trends many times and failed to fully develop. After the "Gang of Four" was crushed, another group of young writers in Shanxi made conscious efforts to maintain and develop this genre.

A brief discussion of the "Yam Egg" school

Social life is rich and colorful. As literature and art that reflect social life, it should also be colorful, colorful, and have its own characteristics. Therefore, the emergence of different genres in the garden of literature and art is a gratifying and prosperous sight with regularity; but what makes us feel regretful is that for many years, people have not dared to talk about genres, and writers are even less willing to be ignored. As a genre, there is no mention of systematic analysis and research on the genre. After overthrowing the "Gang of Four" and setting things right at the Third Plenary Session of the Party Central Committee and emancipating the mind, the literary and art circles put the discussion of literary schools on the agenda in order to further prosper our literature and art. situation. At this time, the literary school known as the "Yam Egg" school, represented by Zhao Shuli, received attention from the literary and art theoretical circles across the country. In Shanxi, the discussion was quite heated, and a mass discussion was launched in Shanxi Daily. discuss. This indeed played a very good role in further systematically summarizing and developing this genre. Here I would like to share some views on the occurrence and formation of "Yam Egg Pie", its artistic features, its flaws and future.

Zhao Shuli (1906-1970), people's artist and novelist. A native of Qinshui, Shanxi, he was born into a poor peasant family and suffered oppression and exploitation by landlords. He loved folk art since childhood. In 1925, he entered Shanxi Provincial Changzhi Fourth Normal School to study. In 1926, he was expelled for participating in the student unrest and was arrested and imprisoned the following year. After being released from prison, he worked as a rural primary school teacher and lived in the countryside for a long time. Began publishing works in 1932. When the Anti-Japanese War began in 1937, he participated in the revolution and joined the Communist Party of China in the same year. He has successively served as district mayor, supplement editor of "Yellow River Daily", and supplement editor of "Chinese". The 1940s was the golden period of his creation. The creation and publication of "Xiao Erhei's Marriage" (1943), "Li Youcai's Banal Talk" (1943), and "The Changes of Lijiazhuang" (1946) established his importance in the history of new literature. status. After the liberation of the country in 1949, he devoted himself to the research of popular literature and art, and edited "Rap and Sing" and "Quyi". He attended the first, second and third National People's Congress, the first and second Literary Congress, the Eighth Party Congress, and served as a member of the China Federation of Literary and Art Circles, a director of the Chinese Writers Association, and the chairman of the Chinese Folk Art Workers Association.

In 1955, he published the excellent novel "Three Mile Bay", which was my country's first work that profoundly reflected the agricultural cooperativeization. Others such as "Exercise", "The Unable to Hold Hand", "Lingquan Cave", etc. are all Influential works. The artistic achievement of Zhao Shuli's novels lies in the creation of a novel and lively popular style that is loved by the common people. His works can be said to be the embodiment of the national spirit. The characters he describes are authentic Chinese farmers, and the things he writes have the style and characteristics of Chinese rural areas. The language is the real language of the masses and full of humor. Zhao Shuli's creative path for the people has had a profound influence in the field of modern and contemporary literature in my country, forming a literary school commonly known as the "Yam Egg School", whose main members include Ma Feng, Xirong, Sun Qian, Shu Wei , Hu Zheng. Many of Zhao Shuli's works have been translated into English, French, Russian and other literatures and have become valuable assets of the world library. In 1970, Zhao Shuli was persecuted to death by the "Gang of Four" counterrevolutionary group. He was only 64 years old.

The emergence and formation of the "Yam Egg" school

China's new literature started from the "May 4th Movement". Vernacular Chinese replaced the classical Chinese in the authentic position of literature, that is, it began to have a literary orientation. The glorious history of the broad masses of the people. With the development of the people's anti-imperialist and anti-feudal anti-imperialist movement under the leadership of the proletariat, in the 1930s the "Left-Left Alliance" took up the topic of popularizing literature and entered a new stage. However, due to the immature historical conditions at that time, writers were still isolated from the revolutionary life circle of workers and peasants, and popularization failed to provide a practical solution. When the Anti-Japanese War broke out, revolutionary intellectuals and writers living in the cities rushed to the anti-Japanese front line. They fought and lived with hundreds of millions of workers, peasants and soldiers, and were closely connected with each other, life and death, and revolution. In this way, it will be possible to fulfill the popularization requirements that revolution and history have put forward for literature. It was during such a historical period that Comrade Mao Zedong promptly summarized the experience from the May Fourth Movement to the Leftist League and the Soviet Area literary and artistic movement, and delivered his "Speech at the Yan'an Forum on Literature and Art" to promote revolutionary writers to become more conscious Take the road of popularization, write about workers, peasants and soldiers and create for workers, peasants and soldiers. It produced the opera "The White-Haired Girl", the long poem "Wang Gui and Li Xiangxiang", the prose "Lotus Lake", the novels "Higher than the Great", "Grain Planting", etc., inheriting and carrying forward the tradition of the "May Fourth" literary revolution , and opened up a new era for Chinese new literature. Among them, Zhao Shuli's works, such as "Xiao Erhei's Marriage", "Li Youcai's Banal Talk", "The Changes of Lijiazhuang", etc., are directly based on the struggle life in the Taihang Anti-Japanese Base Area, and use fresh and simple national forms to make them lively and lively. The mass language, healthy, optimistic and witty humor style depicts the new era, the new people's life and struggle style, and creates a new popular form. It not only wins the love of the vast number of workers, peasants and soldiers in the base area, but also is favored by the Chinese people. Famous old writers Guo Moruo, Mao Dun, Zhu Ziqing and others expressed heartfelt praise. Zhao Shuli is a product of the times. As a representative of literary creation of this era, it is natural for him to be known as a "people's writer". Some comrades say that Zhao Shuli was "blown" to be a writer by some leaders. This view should be said to be baseless. Zhao Shuli's appearance pointed out the creative path for some young intellectuals who were born and raised in the Taihang base area and loved literature and art. Many of them used local materials and wrote many earthy poems in their hometown languages. Popular works. But it has not yet formed a genre. In 1945, Comrades Ma Feng and Xirong wrote "The Biography of the Heroes of Luliang". These two young writers who lived and fought in the Luliang Border Area, under the spiritual guidance of Comrade Mao Zedong's "Speeches", penetrated into the lives of farmers through them. After personal experience, I embarked on the same creative path as Zhao Shuli, and at that time, no one regarded him as a sect. This faction was formed after the founding of the People's Republic of China, especially in the late 1950s. They returned to Shanxi from Beijing and other places one after another. Using "Spark" (a publication of the Shanxi Provincial Federation of Literary and Art Circles) as their base, Zhao Shuli published "Exercise and Exercise", Ma Feng wrote "Uncle Zhao the Breeder", "The Ancient Road", "Han Meimei", "Know Three Years Early", Xirong wrote "Song Boss Enters the City" and "Sister Lai", and Shu Wei wrote "Old Changgong", "A Good Man's Field of Papaya", Sun Qian published "The Story of Scars", and Hu Zheng wrote "Two Qiao Wives", "March Ancient Temple Fair" and other short stories, all of which are based on rural areas and are full of Shanxi The local tunes are regarded as the "Spark School" or "Shanxi School" by the literary and art circles, and are also jokingly called the "Yam Egg School", officially forming an independent school.

At this time, in addition to these old "yam eggs", a group of small "yam eggs" emerged in Shanxi: Han Wenzhou, Li Yimin, Song Guisheng, Cao Zhang, Yang Maolin, etc. Their creative paths and styles are closer to the old "yam eggs". Yam eggs". Since then, this school has not flowed down the stream. It has continued to develop unimpeded by Yang, and has often been criticized for being inferior, outdated, etc. This is also secondary. It is mainly due to the ultra-left trend of thought coming from above, which has been criticized several times. The main writers and works of this genre were openly or secretly criticized, and they went through several ups and downs. During the Cultural Revolution, they were almost completely destroyed. Several major writers were branded as "black standard-bearers who wrote about middle-aged characters" and so-called literary and artistic black-line figures, and were tortured for a long time. Zhao Shuli even died tragically at the hands of the "Gang of Four". However, the thought-provoking fact is: not only were the roots and species of "Yam Eggs" not eradicated, but a new batch of vibrant new "Yam Eggs" appeared. The outstanding ones include Chengyi, Zhang Shishan, Han Shishan, Ma Li, Pan Baoan, Tian Dongzhao and others. Among the 1980 National Outstanding Short Story Award-winning works, five authors were from Beijing, the most; in terms of province, Shanxi had the most three authors. Among these three people, it goes without saying that Ma Feng, the young author Zhang Shishan is also a "yam egg". His award-winning work "Han Baoshan" is even more "yam egg" than Ma Feng. Zhao Shuli's taste is very strong . What is interesting is that in addition to Shanxi producing "yam eggs", Hebei also produces them. There are two young authors in Hebei: Jia Dashan and Zhao Xin, who claim to be the "yam egg" school, and their works do have the "vinegar smell" of orchid stock, which is like "yam egg".

What does this mean? It shows the vitality of the "yam egg" pie. It does not grow because of people's "blowing", nor does it wither because of people's suppression. Its roots and shoots are deeply rooted in the development of history and the revolutionary requirements of observing reality. It has an endless supply of nutrients and is full of vitality. The power of life.

Characteristics of the "Yam Egg" school

First of all, let's talk about the "Yam Egg" school's views on literature. They are in the same line as Lu Xun's "for life" and "improving this life." ” point of view, holding a pen is to “persuad people” (Zhao Shuli’s words), to persuade people to revolution, and writing has a clear revolutionary purpose. They believe that holding a pen, holding a gun, and holding a hoe are all important, and they are both working for the revolution; they only have each other. There is no distinction between superiority and inferiority in the division of labor. In their view, working for the revolution and writing for the revolution are the same thing. Therefore, they do not despise or avoid tedious administrative work, but instead take on certain administrative tasks. It is regarded as the main way to get familiar with characters, collect materials, and refine themes. Therefore, the writers of the "Yam Egg" school have a unique style, that is, wherever they go and work, they are not guests, but always ". "Masters of life". In terms of life style, the writers of the "Yam Egg" school have always maintained the unique style of rural grassroots cadres and even farmers. This is reflected in the works, the writers' cordial, simple and humorous way of telling stories The tone makes the majority of rural readers feel like brothers and close friends, and they are attracted to them both physically and mentally. I think this is a characteristic of the "Yam Egg" school.

Secondly, the creative method of the "Yam Egg" school is naturally the same as that of many revolutionary writers in China. However, the same revolutionary realism differs not only due to society and era, but also due to environment and circumstances. It varies from person to person. Shanxi writers represented by Zhao Shuli adopt revolutionary realism in their creative methods, which is characterized by their emphasis on firmly grasping the revolutionary process, that is, the issues that need to be solved urgently in various tasks ( contradictions in real life), provide prompt and timely responses to help solve problems as soon as possible. This is what Zhao Shuli calls "problem novels". In the construction of socialism, Jin Sheng, his son and his brothers are all smart and capable socialist leaders. People; in Ma Feng's works, he also created a series of new socialist figures such as Tian Chunsheng, Han Meimei, Director Tian and other ordinary members and grassroots leading cadres. However, the image of "yam eggs" is closely linked to this achievement. The writers of the "School" also clearly and deeply felt and understood that the feudal ideas spread by China's long-term feudal system still poisoned the majority of farmers, and the selfishness and other backward consciousness generated by the individual backward small-peasant economy still constrained the majority of farmers. It has become the ideological source of problems in various revolutions and constructions in rural areas.

The problem with heavy armor is to educate the peasants" (Lenin's words). We don't need to cite figures such as Sanxiangu, Er Kongming, Calf Pain, Sister Lai, Tian Papagua, Three Years Ago, etc. The writers of the "Yam Egg" school They have worked hard on the theme of realistic observation and created a considerable number of artistic images of farmers with unique personalities who are in the process of transformation. Many of these images can be said to be known to all ages in Shanxi and have become household names. Mirrors of people. This is the artistic achievement of the "Yam Egg" school and the most dazzling appearance of their realism characteristics.

Thirdly, the subjects of their creations are all rural, but because of the They have a different perspective in selecting materials than other writers, which shows their characteristics. There are few legendary heroes in their works. They focus on reflecting the great changes of the times from ordinary people and ordinary scenes; they also reflect the great changes in the countryside. They love to describe the earth-shaking struggles from the side. Therefore, from the new democratic revolution to the socialist revolution and construction, they work closely with the party's line and policies and write hard, often focusing on the families and love disputes of ordinary farmers. They paid great attention to the conflicts between people in ordinary work and daily labor scenes, and explored the inner activities and changes of ordinary farmers. The description of life style profoundly shows the progress of the giants of the times.

Fourthly, regarding the characteristics of the art form, everyone generally recognizes the nationalization and popularization of the "Yam Egg" school. Zhao Shuli has loved and mastered various folk arts since his youth. Before he became a writer, he could be said to be an outstanding folk artist. Comrades such as Ma Feng, Xirong, and Hu Zheng also studied folk arts. They have collected a large number of folk tales and repeatedly studied various superb artistic techniques of telling stories, depicting characters, and expressing emotions. Zhao Shuli once said that he inherited nothing from the tradition of national art. Inheritance. This can also be said to be a summary of the experience of the "Yam Egg" faction. Except for "The Legend of Luliang Heroes", we can see imitation in the form of chapter novels, and there is no imitation in the short stories they created. The traces of the narrative form are obviously the Chinese Han nationality's narrative form, but it is completely different from the old form, which makes people feel very fresh. This is because of them; first, they do not apply the national form, but absorb it for me. secondly, and more importantly, they also paid attention to absorbing nutrients from foreign progressive literature. Zhao Shuli was also a foreign student. He was originally guided on the path of literature by the works of Lu Xun, Chekhov and Maupassant. In his youth, he wrote novels that were European and full of lyrical poetry. Other writers had similar experiences when they first embarked on the path of literature. The early novels were quite characteristic of Chekhov. The first novel "Stele" is similar to a translated novel in terms of language and structure. Ma Liao, Xirong, and Sun Qian have all written similar works. It is precisely because of this that they have formed representative works that embody the nation. The traditional light of folk art is organically combined with excellent foreign artistic techniques, so it is fresh and original. For example, take "Registration" as an example. It uses the structure of a folk tale, right? But when Xiao Fei'e picked up an Arhat coin that fell from Yanyan's pocket from the ground, it suddenly reminded her of the past twenty years ago. , and then recounted the story of her Arhat Money. Is it unclear whether the flashback technique commonly used in foreign novels is used? "Interaction Appraisal" begins with a letter, "Exercise" begins with an allegro-style big-character poster, and "The Unable to Hold Hands" only writes about Chen Bingzheng An old man's hands. These are all blended with foreign techniques. Ma Feng's epistolary "Han Meimei", several first-person novels, and the cross-sectional writing style of "Marriage" are more obvious in their adoption of foreign artistic techniques. However, this has not diluted, on the contrary, it has enriched their national and mass colors. The reason is that the writers of the "Yam Egg" school consider the taste of their readers, the farmers, every word they write. . The spiritual meals they cook must make the farmers taste delicious and leave a lingering aroma in their mouths after eating. Therefore, they firstly do not want the farmers to eat old food, and secondly do not want them to eat Western food that they are not used to. They always adapt to the needs of the content, constantly absorb the traditional artistic elites of the nation and the people, and based on this, Without destroying the taste of farmers, we can incorporate foreign artistic techniques and carry out continuous innovation.

What are the traditional characteristics of our nation’s (including folk) art? In terms of art form, it can be summed up in one point: strong mobility.

It requires the characters in the story to strengthen their actions without interrupting the story; it requires integrating scenery into the narrative, drawing character portraits through the eyes of another character, and requiring that the character's movements of hands and feet have psychological basis, so that the psychological description is reflected in the action. The works of the "yam egg" school, such as the author's separation from the static psychological portrayal of characters' actions, strongly demonstrate this feature. The advantage brought by this feature is: the heavy use of line drawing can create a complete expression with just a few strokes, which is in line with the artistic principle of "one is equivalent to ten". How can we say that such a work is a low-level work that lacks artistry?

Fifth, the use of language. The language used by the "Yam Egg" school is the language of farmers in Shanxi, thus forming completely different language characteristics from writers who write in the languages ??of the masses in other areas. However, this alone cannot fully explain the literary language characteristics of the "Yam Egg" school.

Comrade Sun Qian said. When talking about the language of Zhao Shuli, he once said that he “did not use a Shanxi dialect, but he maintained a very strong local color; he did not use dirty words, obscene words or curse words, but he used those exploiters, The oppressors and defenders of the old morals are vividly and vividly portrayed. Zhao Shuli's language is easy to understand, humorous, accurate and vivid. This language is pure gold and diamond. Sparkling, clanging..." He compared reading Zhao Shuli's works to returning home after a long absence and eating hometown food. The food is very simple, but very delicious and satiates the craving. When you put down the rice bowl, the aftertaste is still in your mouth. Comrade Sun Qian's words summarized Zhao Shuli very accurately, and also summarized the unique characteristics of the writers of the "Yam Egg School" in using the language of the Shanxi masses:

1. Earthy yet remote. Shanxi Province is one of the provinces with complex dialects in the country. If farmers from Wenshui, Xiaoyi, where Ma Feng and Sun Qian were born, and farmers from Qinshui, Zhao Shuli's hometown, sit together and both speak authentic hometown dialects, they will really talk to each other like foreigners, and no one will understand who is speaking. What. However, the works they wrote in the language of the people in Shanxi can be understood not only by farmers in Shanxi, but also by farmers in many other provinces. This is precisely because they pay great attention to the selection of mass languages ????in Shanxi based on the language norms of the entire nation, and strive to avoid the intolerance of local languages. The terms "sister-in-law" and "sister-in-law" are spoken by farmers at least in North China and Northeast China, right? Ma Feng changed it to the more formal "wife sister," ('wife sister') in "Village Feud" . None of the words "Zha", "Shen", "What to do" and "What to do" that farmers in Shanxi often say are not found in Zhao Shuli's works. He replaced them with "mandarin": "how", "what", "what to do" Something like that. So, how do they express the local flavor of the people's language in Shanxi? One is to choose Shanxi dialect that can be understood by people from other provinces. For example, Zhao Shuli used "the guests of Shiziwa" in "Li Youcai's Banhua", which is authentic Shanxi. Well, no, many counties in Shanxi call them "guest" or "guest". Some call them "qi", and some call them "adults" and "guests". The Shangdang area is called "ke", which has many meanings. In " In "Ban Hua", it refers to "relatives". This title is unique to the Shangdang area. Since it is basically consistent with the national title law, readers from this province and other provinces can understand it immediately and will not feel the difference. Their language is rustic but more important, but more importantly, they are good at mastering and using the way of speaking that can express the temperament and psychological habits of farmers in Shanxi. To illustrate the problem, let me give an example from their works. Ma Feng once said that at a meeting, he was sitting at the same table as Lao She and Zhao Shuli, and he asked these two mass language masters: " Can you two exchange languages ??and write?" Zhao Shuli said, "I don't have the ability. "Then Lao She said: "Then both of us will be ruined!" (To this effect) I will not discuss the content of their conversation here, but only the difference in the way they speak. Lao Zhao and Lao She mean the same thing; it is impossible. But Lao Zhao's words were about whether he could answer directly, so he seemed straightforward and simple; Lao She avoided direct answers and just assumed the results of inferences, which was imaginative, so they did not use Shanxi dialect. Or Beijing's unique dialect, which clearly and simply exudes the local flavor inherent in the people's language in Shanxi and Beijing in two simple sentences.

People often say that they need to be familiar with the language of the masses, thinking that they just need to memorize some dialects, idioms, etc. In fact, they will never become familiar with it. To be truly familiar with it, you have to be like Lao She and Zhao Shuli, who are very familiar with the expressions and expressions they use to express their feelings. With just one mouthful and a stroke of pen, everyone can understand and understand the local accent. Most of the writers of the "Yam Egg" school have such profound skills in Shanxi's popular language, so what they write is authentic Shanxi's popular language, with a strong local flavor but no complicated and confusing remote dialects.

2. Common but not vulgar. Literature is a language art, and the "Yam Egg" school naturally requires language to attract and move people when creating their works, which means that it must have artistic expression. Therefore, they have lived among the peasant masses for a long time, and they always pay attention to absorbing the beautiful language that is spoken by the masses. "Look at those sayings that are clever and should be learned. Those are tacky, slippery, naughty people like those that serious people hate, and cannot be learned." (Zhao Shuli said) They continue to explore and refine art from the treasures of the masses' language. language. There are a wide variety of curse words in various Shanxi dialect areas, and there are many tacky and glib expressions, such as idioms, etc., which writers of the "yam egg" school generally discard. Their language is full of humor and irony, but it is all upright and reflects the optimistic character of the masses. There is no boring gags or foul-mouthed remarks. They use the purified and healthy artistic language of the masses in Shanxi, giving full play to the characteristics of image beauty, flexibility and music beauty of the masses' language, forming a form of simplicity with literary talent, sincerity with wit, solemn yet humorous, serious yet serious The artistic language style of the "Yam Egg" school, which often displays humor and ironic edge, is common but not vulgar. It is no exaggeration to say that the "Yam Egg" school has made admirable contributions to enriching the literary and artistic language of the Han nation.

The above aspects are inseparably and organically unified, forming the artistic characteristics of the "Yam Egg" school as a genre. If as a symbol of the school the focus is on the form of expression, especially language, then we can more generally say that the artistic characteristics of the "Yam Egg" school are that it skillfully uses the pure artistic language of Shanxi farmers and is good at speaking. The story is told in a simple yet funny comedy style.

Defects and Development Prospects

Like any literary school and writers with their own styles, in addition to the artistic flaws of each writer, the "Yam Egg" school also has its own shortcomings. ***Same defects. For example, the description of life is not broad enough, and it does not reflect the fierce contradictions and struggles of the times in a direct and powerful manner; including Zhao Shuli, there are also cases where emphasis is placed on things rather than people, and the narrative is occasionally delayed in order to take care of the story; or the emphasis is on solving problems to suit current tasks. , I started writing in a hurry when I had not yet refined my own theme from my feelings in life, and as a result, I wrote some works with insufficient content and lack of personality in the characters. However, can it be said from this that this genre has "lost the objective conditions for development" and "is heading towards decline or mutation"?

The times are advancing, and farmers have changed from life to thought and cultural level. It is improving; literature and art, as a mirror of the social life of the times, cannot remain unchanged. Zhao Shuli's works in the 1940s are different from those in the 1950s and 1960s in terms of content and form. Compared with Zhao Shuli, Ma Feng paid more attention to discovering and shaping the image of new people emerging in the new revolutionary stage, and the structure was also different. More Western European techniques have been incorporated, which has led to the development of the "yam egg" pie. What about Ma Feng himself? He is still developing. For example, in "Trail of Tears", due to the different modeling methods used in movies and novels, the style has changed accordingly. It is even more difficult for a writer who has always been good at writing comedy to write tragedy, which has to affect part of the weakening of the inherent style. However, in terms of structure, the story is complete, does not have abrupt ruptures, goes forward or backward, maintains sequential development, pays attention to the arrangement of "buttons", creates suspense, attracts the audience, etc., and still does not lose the "yam egg" flavor. Especially in terms of character modeling, the public security chief’s humor and joyful optimism, the loyalty of the old poor peasants, the accountant’s wit and humor, Zhu Keshi’s political sensitivity to see into all complex things, and his fearless heroic spirit who dares to take risks for the party and the people are also evident. Harmoniously unified in his friendly and humorous style that is simple and easy to make jokes with comrades, this is a tragedy that we are familiar with in the new situation of Lao Yang and Director Tian, ??but still has their inherent style: Colors of comedy. "Trail of Tears" is still "Yam Eggs".

It is natural to say that it is a mutation. The biological world is always in the midst of species variation, but the problem is that mutation does not mean that it is all degeneration. On the contrary, most of the mutations are better than the original species due to hybrid advantages. The entire biological world is The history of evolution fully illustrates this truth. Gradually absorbing the advantages of different schools and even foreign progressive literature has promoted the continuous development of "yam eggs", and new varieties often appear, such as the new small "yam eggs" Chengyi, Han Shishan, Zhang Shishan, etc., which clearly show this This is a gratifying trend and is in line with the law of evolution. This by no means means the "withering" of "yam eggs", but it fully illustrates the strong vitality and vitality of "yam eggs", because although it is a variant, it is a more delicious "yam egg". After all, it is not an old white potato or a ground potato. Gourd!

Nowadays, there are more literate people in rural areas, including middle school students and intellectuals. The writers of the "Yam Egg" school also understand this much better than we do, and they understand it deeply, so in their works There have long been images of various rural intellectual youths that are familiar to the majority of readers. Due to the increase in educated youth, have our 800 million farmers changed the psychological habits, aesthetic tastes and language methods formed historically? At this point, we should be more modest and respect the new and old writers of the "Yam Egg" school They have been with farmers for a long time and write for them. They know much more and understand better than we do. If we extrapolate from the general historical laws of various human nations, it is probably impossible that the psychological habits and aesthetic tastes, especially the way of language, formed by a nation or a region over a long period of time will undergo fundamental changes in just a few decades. Then, 800 million farmers require literature to express them and provide them with literary works that they like to hear and see. Facts have proved that the "yam egg pie" that is welcomed by the broad masses of farmers (and not just the farmers) cannot stop its development. footsteps.