First, from the viewpoint of literature, we can say that they come down in one continuous line from Lu Xun's viewpoint of "for life" and "improving this life". Holding a pen is to "persuade people" (Zhao Shuli's words) to persuade people to make revolution, and writing has a clear revolutionary purpose. They think it is very important to hold a pen, a gun and a hoe, and they also work for the revolution; There is only a difference in division of labor between them, and there is no difference between high and low. In their view, working for the revolution and writing for the revolution are the same thing. Therefore, they don't despise or escape the tedious administrative work, but take certain administrative tasks as the main way to get familiar with people, collect materials and grasp the theme. As a result, the writers who formed the "yam egg" school have the same 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 "Shanyaodan" school have always maintained the unique style of rural grassroots cadres and even farmers. This is reflected in the works, and the writer's kind, simple and funny tone of telling stories has attracted the whole body and mind of rural readers, such as brothers and intimate friends. The creative method of the Second Mountain Medicine Egg School, like many revolutionary writers in China, naturally adopts the revolutionary realism method. However, realism, which is also a revolution, is different not only from society and times, but also from environment and people. Shanxi writers, represented by Zhao Shuli, adopt revolutionary realism in their creative methods, which is characterized by emphasizing firmly grasping the problems that need to be solved in the revolutionary process, that is, the contradictions in real life, giving prompt and timely responses and helping the problems to be solved as soon as possible. This is what Zhao Shuli called "problem novel". In socialist construction, Jinsheng's father, son, brothers and sisters are smart and capable socialist leaders. In Ma Feng's works, a series of new socialist figures such as Tian Chunsheng, Han Meimei, Director Tian and other ordinary members and grassroots leading cadres have been created. However, closely related to this achievement, the writers of "Shanyaodan" school also clearly and deeply felt and understood that the feudal thoughts spread by China's long-term feudal system still poisoned the peasants, and the backward consciousness such as selfishness generated by individual backward small-scale peasant economy still bound the peasants and became the ideological source of problems in various revolutions and construction in rural areas. The problem of Jiazhong lies in educating farmers "(in Lenin's language). We don't need to mention any figures such as San Xian Gu, Er Kong Ming, Xiao Leg Pain, Lai Sister-in-law, Tian Papaya, San Nian Zao Zhi, etc. The writers of" Shanyaodan "school have worked hard to realize this theme and created a considerable number of artistic images of farmers with unique personalities in the process of transformation, many of which can be said to be old and young in Shanxi. This is the artistic achievement of the "yam egg" school and the most glorious appearance of their realism characteristics. Thirdly, the themes they created are all rural areas, but because they have different angles of material selection from other writers, they show their characteristics. There are few legendary heroes in their works. They pay attention to reflecting the great changes of the times from ordinary people and ordinary scenes; Love to describe the earth-shaking struggle in the countryside. Therefore, from the new-democratic revolution to the socialist revolution and construction, they worked hard in close coordination with the party's line and policies, often focusing on the family and love disputes of ordinary farmers, and on the contradictions and conflicts between people in general work and daily labor scenes. They pay great attention to the life exploration of ordinary farmers and explore their inner activities and changes. By depicting the description of "people have changed" (Ma Feng language) with great interest in life, they profoundly show the pace of the giants of the times. The fourth is about the characteristics of art forms. This, everyone generally recognizes the nationalization and popularization of the "yam egg" school. Indeed, Zhao Shuli loved and mastered many kinds of folk arts since he was a young man, and he was an excellent folk artist before he became a writer. Ma Feng, Xi Rong, Hu Zheng and other comrades have also worked hard to learn from folk art. They have collected a large number of folk stories and repeatedly studied the superb artistic techniques of the masses to tell stories, portray characters and express their feelings; Zhao Shuli once said that he inherited nothing from the tradition of national art. This can also be said to be a summary of the experience of the "Yam Egg" school. In addition to Biography of luliang heroes, we can see the imitation of Zhang Hui's novel form. Their short stories, that is, they can't see the traces of imitation, are obviously the narrative form of Han nationality in China, but they are completely different from the old form, which makes people feel very fresh. This reason lies in them; First, we should not apply the national form, but absorb the essence that can be used for us; Second, more importantly, they also pay attention to absorbing nutrition from foreign progressive literature. Zhao Shuli was also a foreign student. He was guided by Lu Xun, Chekhov and Mo Bosang's works and embarked on the literary road. In his youth, he wrote Europeanized and lyrical novels. Other writers had similar experiences when they first set foot on the path of literature. Shu is an early novel with Chekhov's characteristics. Hu Zheng's first novel, Monument, is like a translated novel in terms of language and structure. Ma Liao, Xi Rong and Sun Qian all wrote similar works. It is precisely because of this that they form representative works of style, all of which are national; The traditional light of folk art, and organically combined with foreign excellent artistic techniques, is fresh and original. Take "Registration", for example, using the structure of folk stories, right? But when Xiaofei picked up an arhat money dropped from Yan Yan's pocket from the ground, it reminded her of the past twenty years ago, and then she told the story of her arhat money. This is unclear. Did you use the flashback technique commonly used in foreign novels? Interactive Appraisal begins with a letter, Exercise begins with a fast-paced poster, and Hands that Can't Be Trapped only describes one pair of old Chen Bingzheng's hands. These are all mixed with foreign methods. Ma Feng's epistolary Han Meimei, several first-person novels, the cross-sectional writing of Marriage and the adoption of foreign artistic techniques are more obvious. However, this has not diluted, on the contrary, it has enriched their nationalization and popularity, because the writers of the Shanyao Egg School are considering the tastes of their readers-farmers every word they write. The spiritual food they cook must make the farmers taste delicious and delicious, and it is still full of fragrance after eating. Therefore, they don't want farmers to eat old rice, and they don't 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 on this basis, without destroying the tastes of farmers, they incorporate foreign artistic techniques and make constant innovations. The use of the fifth language. The language used by the "Shanyaodan" school is the language of Shanxi farmers, thus forming a completely different language feature from the writers who created in the mass languages of other regions. However, this alone can not fully explain the literary and linguistic characteristics of the "yam egg" school. When talking about Zhao Shuli's language, Sun Qian once said that he "never used a Shanxi dialect, but he maintained a very strong local color; He didn't use dirty, dirty and swearing words, but he described the exploiters, oppressors and defenders of old morality vividly and vividly. Zhao Shuli's language is catchy, understood by everyone, humorous, accurate and vivid. This language is pure gold, diamonds, sparkling and clanging ... ",he compared reading Zhao Shuli's works to eating home food after a long separation. The food was very simple, but it was very palatable, and it was very satisfying. After putting down his job, the aftertaste was still in his mouth. One of the characteristics of Baiyangdian school is that it poetically depicts rural life in Hebei, and in the meticulous painting of landscape painting, genre painting and wind painting, it is dyed with strong "local color" and "exotic atmosphere" in Hebei. Secondly, in the real-time political ideological discourse, the humanity and human feelings with permanent charm are infused and publicized. Its inner spiritual implication is not only the inheritance of traditional virtues, but also the humanitarian spirit in the modern sense. This makes the "Baiyangdian School" local novels show the complexity of ideological implication in simplicity and lightness, and implies the inharmonious internal cracks and conflicts in harmony. Third, he advocates female beauty and is good at shaping young women. The female images and their cultural personality have both traditional goodness and specific color of the times. The external appearance and internal complex emotions of female images set off each other and bring out the best in each other, which is the ideal host or symbol of the author. Fourth, it is realistic, but the artistic texture is romantic, with a cordial and romantic atmosphere. Fifth, inheriting the tradition of local lyric novels of Fei Ming and Shen Congwen, taking poetry as novels and prose as novels, creating fresh and beautiful artistic conception in poetic and prose novels, forming the unique beautiful and graceful artistic style of "Baiyangdian" school. This aesthetic form has always been on the edge of mainstream discourse in the era when its genre is active; However, in the era when its genre was silent, it gained lasting artistic charm and influence.