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近年随笔写作的勃郁繁盛,构成了文坛一道迷人的风景。三四十年代冶古典小品与西洋随笔于一炉的这一文体样式,像一条湮没于地下的河,历经半个世纪之久方陡然涌出地面,洋洋汤汤,蔚为大观。在众多随笔写作者之中,伍立杨的文章,如临风玉树,琼枝瑶花,逼人眼目,又如明珠结胎,冰壶秋月,别辟一境,赢得许多方家与读者的清赏。他三年出了三本集子:《时间深处的孤灯》(1994,国际文化出版公司),《梦痕烟雨》(1995,四川人民出版社),《浮世逸草》(1996,中央编译出版社),量大而品高,质实而腴润,其学识之浩博,情感之沉郁,思想之奇崛,文字之俏丽,趣味之浓酽,兼之调和鼎鼐,兼容并包,在文
The burgeoning essay writing in recent years has formed a fascinating landscape of the literary world. In the 1930s and 1940s, the style of classical Chinese essays and Western essays in a furnace was like a river buried in the ground. After half a century, the style of the style suddenly surged out of the ground and the soup of the ocean became a spectacle. Among the many essayists, Wu Liyang’s articles, such as Lin Feng Yushu, Qiongzhi Yaohua, compelling people’s eyes, but also the Pearl knot tire, curling the moon, do not afford to cut a border, won many Fang Fang and readers of the Qing reward. He has three books in three editions: “The Light of the Dead” (1994, International Culture Publishing Company), “Dream Trace” (1995, Sichuan People’s Publishing House), “Floating Grass” (1996, Central Compilation Press), the amount of large and high quality, smooth and moist, the vastness of his knowledge, emotional depression, the rise of ideas, pretty words, the concentration of fun, and reconcile the tripod, compatibility and package, in the text