The development of contemporary prose in Taiwan Province Province is generally synchronized with the development of the whole literature, that is, it presents a "bamboo-like" change every ten years. The first period is from 1950 to 1960. This period is the period of anti-stereotyped writing literature. Literature is strictly ruled by politics, so it has no choice but to shout "counter-offensive and rejuvenating the country" and "anti-Russian" to serve Kuomintang politics. As a department of literature, prose is no exception. However, compared with poems and novels, prose shows some differences. In the early 1950s, prose writers in Taiwan Province Province were mostly intellectual women who followed their husbands from the mainland to Taiwan or went to Taiwan in a daze. These people probably include: Xu Zhongpei, Zhang Xiuya, Pan, Zhong Meiyin, Wang,, Liu Fang, Guo Jinxiu, Qiu Qiqi, Freud Dan, Lin, Qi Bangyuan, Ye Zang. These people stay away from politics. Most of them are female students from well-educated families, or female students who have graduated from college. They have been cultivated by culture for a long time, with slender figure and gentle personality. Their lives are limited to boudoir, study and kitchen, and many of them are sentimental and imaginative. With such a group of people as the basic team of prose creation in Taiwan Province Province in the 1950s, their prose works will naturally not be the same as those of poetry and novel creation teams dominated by male writers who are quite close to politics and military affairs. Take Zhang Xiuya, Xu Zhongpei and Pan, the top ten essayists in Taiwan Province, for example, their works all belong to literary lyric prose. The male essayists in Taiwan Province during this period were Liu Xinhuang, Liang Shiqiu, Tian Ge Chuan, Xuan, Si Guo, Wang Shuchuan, Yin Xueman, Wiki, Zhou Zizi, Ye Rongzhong, Zhang Tuowu, Bai Yang, Yin, Ying Weiwei, Xia Tiejian, Guo Sifen, Zhou Bonai, Yang, Sima Qingshan and Sun Ling. Most of these writers went to Taiwan with the Kuomintang, and they were closely related to politics, and most of them did not focus on prose creation, so their prose works were not as high as those of female writers as a whole.

The second period of Taiwan Province's contemporary prose is 1960 to 1970. This is the crazy westernization period of social economy and culture in Taiwan Province Province. In literature, modernism replaced the anti-stereotyped writing literature. The overall trend of Taiwan Province provincial literature has shifted, and the writers' group has also undergone considerable changes. During this period, in addition to the above-mentioned old writers who continued to create, the creative lineup of prose was greatly expanded. Umbilical prose team of a group of new intellectuals. For example: Yu Guangzhong, Zhang Jian, Zhang Xiaofeng, Xu Daran, Bai Xin, Wang Shangyi, Yu Fang, Li Ao, Lu Lin footballer, Lin Zhonglong, Ya Wei, Chen Kehuan, Han Jue, Ma, Liu Jingjuan, Yin Di, Guo Feng, Yang Mu, Guan Guan Guan, Zhang Mo, Luo Fu, Lin Wenyue, Li Qiao, Xie Shuang. Great changes have taken place in the theme of prose during this period. With the opening up of Taiwan Province Province, tourism prose has gradually become the main part of prose in Taiwan Province Province.

The third period of Taiwan Province prose is 197 1 year to 1980. This is the period when Taiwan Province provincial literature returns to mother literature and local culture. It is a period of fierce opposition to westernization, worship of foreign things and flattery, calling for the return of the soul of national literature and the rise of local literature. Prose in this period naturally returned to the country and nation. However, compared with poems and novels, Taiwan Province's prose has not been seriously polluted by westernization, because western prose is extremely weak and has no power to influence Taiwan Province's prose, so it is a relatively pure China literature pure land in Taiwan Province's literature. During this period, the prose writers in Taiwan Province Province have made great progress. Only women writers are like: Jane, Jane Wan, San Mao, Xi Murong, Ai Ya, Yuan Chiung chiung, Xin Dai, Zeng Xinyi, Tu Jingcha, Ma, Ying Pingshu, Yi Yi, Jian Jinghui, Zheng, Yu, Liao Huiying, Su Weizhen, Xing Linzi and Lin Ling. Cao Youfang and others. Male essayists in this period, such as Lin Qingxuan, Gu, Gu, bai ling, Mo Yu, Su Shaolian, Xiangyang, Yang, Song Zelai, Zheng Jiongming, Wang and Ling, showed new vitality in Taiwan Province's prose creation.

From 1980s to 1990s, the literature in Taiwan Province Province was diversified, and the prose team in Taiwan Province Province added fresh blood. Such as, Chen,,, Pinglu, A Sheng, Lin Yaode, Yang Ping, Du, Fang Hezhen, Xu Xiuzhi, Liu Kexiang, Yu, Lin, etc. With their trendy breath and youthful vitality, they broke through the land of prose in Taiwan Province Province, adding a piece of dew seedlings against the sunrise to the prose in Taiwan Province Province.

From the simple outline and representation of the development of Taiwan Province's contemporary prose, we can clearly see that it has the following characteristics with regularity.

First, it inherited the tradition of China's new literature and prose since the May 4th Movement, and was nurtured, enlightened and nourished by this tradition. It can be said that without the rich tradition of China's May 4th new literature and prose, there would probably be no colorful contemporary Taiwan Province prose. Apart from the fact that contemporary prose in Taiwan Province Province obviously developed from the tradition of new prose in 1930s and 1940s, another fact that cannot be ignored is that many older writers in contemporary prose in Taiwan Province Province are themselves members of China's new prose in 1930s and 1940s, such as Liang Shiqiu, Hu, Tai Jingnong and so on. Chuan, Xie Bingying, Zhang Ailing, Zhang Xiuya, Lin, Xu Zhongpei, Xuan Jian, etc. These writers are all directly related to the new prose in the 1930s and 1940s, and they are living bridges connecting the prose of different generations with the prose on both sides of the Taiwan Strait.

Second, prose is basically short, mostly lyrical real-life works. Therefore, the subject matter is very wide, the field is very wide, and the style is also straightforward for people. Although there are schools, unlike in the field of poetry and novels, there is a clear gap between modernism and nativism, and even a clear and sharp opposition. Basically, writers live in peace, even help each other, develop together and improve together. Between schools, writers and writers, there are few things that turn against each other and fight endlessly.

Third, in connection with the above, the prose world is different from the world of poetry and novels. It is basically a garden of free practice, without clubs, salons and portals. It is also very rare for a community to have signs such as poems and novels; Portals and publications; See each other. Prose writers are mostly independent freelancers, and their positions of growth and development are mainly various newspaper columns. There seems to be no specialized prose publication in Taiwan Province Province.

Fourth, it is also related to the above points. Prose is basically a pastime, a pastime, an easy job after a meal. Few people regard it as a profession and a serious and heavy art category. So there are professional poets and novelists, but few professional essayists.

It is precisely because of the above factors that prose is a state of existence, which is neither strongly advocated nor deliberately suppressed. Therefore, in the history of prose, unlike novels and poems, there have been dull, brilliant, lonely and surging; Spring has blossomed everywhere, and winter has withered and depressed. Prose, on the other hand, seems to have no spring, summer, autumn and winter, no high season and low season, no rain or shine. It has been flowing on the calm river, but in the 1980s and 1990s, it suddenly became a wave. Whether in Taiwan Province or Chinese mainland, it is suddenly favored by readers, showing a booming trend of production and sales. Even more than the novels that have always fascinated readers, it caused a sensation inside and outside the literary world.

The 1990s are a brand-new time and space. The trend of great opening, great reform and great change all over the world has pushed people's ideas to a pragmatic, fast and effective state. Therefore, the novel's long story narration, characterization and fictional artistic methods, as well as the implicit style and symbolism of poetry are not suitable for modern life. The former requires a long reading process, while the latter requires careful experience of kung fu, which is contrary to the modern fast and effective life rhythm and habits. Compared with novels and poems, prose is short in length, clear in narrative, practical in value, light and agile, and more suitable for modern people's living habits and efficiency rhythm. As far as literature itself is concerned, the aesthetics of prose is direct, while that of novels and poems is indirect. They have a gap in concept, and there is a gap in time and space in acceptance and communication. Different literary genres lead to differences in reception and perception, and the existence of such differences will be tested by the choice of the recipients. The current popularity of prose just shows that it has defeated poetry and novels in the directness and rapidity of acceptance and perception. However, the phenomenon of this kind of prose in poetry and novels is conditional, not unconditional, relative and not absolute. In some places, or in some people, there may be exceptions because of different situations. When the superior conditions of prose disappear due to some factors, prose may re-enter the historical state of no smoke without fire.

Introduction of Taiwan Province's Prose Writers

In 1960s and 1970s, the development of Taiwan Province's prose was more distinctive. The slogan of "returning home" and the two debates between modernism and nativism not only enriched novel creation, but also brought prosperity to prose creation. The prose creation here got rid of the single mode of prose creation in the mid-1950s and 1960s, dared to face the reality, expressed the contradiction between reality and society, and overcame the two extremes of early prose creation. The scope of subject matter has been continuously broadened, with profound thoughts, especially Yu Guangzhong, Zhang Xiaofeng, Yang Mu and Xu Daran, who are good at prose creation. Yu Guangzhong is committed to breaking the traditional prose creation mode, integrating Chinese and western techniques and exploring new modern prose. Facing the harsh life, Zhang Xiaofeng expressed her creation with her profound thoughts, delicate emotions, clear metaphors and symbols. Together, she constructed the main framework of prose in 1960s and 1970s, and the prose gained new form and content between modernism and realism.

Yu Guangzhong is a wizard who writes poetry with his right hand and prose with his left. Because of his extensive knowledge of Chinese and western cultures, his prose presents a unique style in his long-term creative practice. 1963 published a collection of essays, The Muse of the Left Hand. He created the atmosphere of prose with the imagery and artistic conception of poetry, emphasized the grafting of prose with novels, movies, paintings and poems, and was extremely accomplished in prose creation and theoretical achievements. Yu Guangzhong, influenced by western modernist literary thoughts in his early days, advocated the complete westernization and modernization of prose writing skills. However, he soon returned to the prodigal son, and combined "nation" with "world" in his prose creation skills, which provided a useful reference for the development of prose in Taiwan Province Province.

The theme of Yu Guangzhong's prose works is homesickness and homesickness that he sings repeatedly in his poems. Love for the old country. Yu Guangzhong's prose touches readers' heartstrings with his unique experience, strong homesickness and faint homesickness, and expresses strong national consciousness and patriotic feelings. In Listening to the Cold Rain, he wrote: "For twenty-five years, I have not received the blessing of my hometown Bai Yu. Maybe a little frost is a disguised form of self-compensation. How many rainy seasons can a hero endure? How thick is the moss in his heart? The rainy lane of Xiamen street has been walking for 20 years like a memory. A tileless apartment is waiting for him at the bottom of the lane, and a lamp is in the rain window upstairs, waiting for him to go back. Through meditation after dinner, I sort out the memories deep in my hair. The past is across the sea, and the old house is gone. " Poetic language and deep feelings flow into readers' hearts together, which is really charming.

Yu Guangzhong's prose has opened up the field of modern new prose. He advocates using the art of modern poetry to open up the emotional world of new prose. He believes that modern novels, movies, music, painting, photography and other arts can be used to enrich the emotional world of prose writers. In Listening to the Cold Rain, the author connects the feelings of different senses with the help of synaesthesia, making the image stand out in the wonderful association. The pervasive cold rain in the author's pen, coupled with emotion, is "listening, cold rain, watching, cold rain." Smell the cold rain. Licking the cold rain. "Synaesthesia produces a hazy new feeling. In this "cold rain", readers and authors are bathed in the artistic conception of "even their thoughts are wet" Yu Guangzhong's prose not only pays attention to grasping the external characteristics and material environment of characters, but also emphasizes the representation of people's spiritual world, the expression of self-emotion, and the display of people's instantaneous subjective feelings and psychology. In Yi Hexi and Expressway Association, he strongly expressed his self-emotion by using the technique of stream of consciousness. The free association of modernist art, symbolic implication and other modern techniques, the interweaving of reality and illusion, the conception method of traditional prose, the blending of scenes, the combination of narrative, lyricism and discussion give people a refreshing feeling, which constitutes the unique artistic style of Yu Guangzhong's prose.

Zhang Xiaofeng was born in Tongshan, Jiangsu. 194 1 was born in Jinhua and went to Taiwan Province province at the age of eight. Graduated from Chinese Department of Soochow University. Since 19 60, she has published more than 20 works, including prose collection The End of Carpet, For You, Yingying, Nostalgia Stone, Black Veil, Xiao Feng's Prose Collection, Wu Lingren's Plays, etc. , prose collection "sense of security", "non-non-non-fiction collection", "wailing wall collection" and so on.

Zhang Xiaofeng's early prose is mainly lyrical, emphasizing the spirit of benevolence and advocating humanitarianism, and advocates that people should care about each other, tolerate and understand each other, and sympathize with the sufferings of others. This kind of prose style is similar to Bing Xin's prose. Zhang Xiaofeng also called for "love" in her prose, and got the nickname "love marathon runner". In "Mother's Feather", the author artistically sums up two miles on the road of women's life: the girl and the mother extend in the great maternal love "flame" from generation to generation. In praise of maternal love, Zhang Xiaofeng's prose is full of women's unique maternal feelings. She regards love for human beings and love between people as the center of her creation, and eulogizes some compassionate and caring ordinary people in her works. Zhang Xiaofeng not only praised the maternal love, friendship and affection of human beings, but also eulogized the loving, beautiful nature and sincere life. I like it as an ode to life. Every scene and emotion in her life touched the strings of her life and opened her sentimental heart. She likes the sunshine in winter, the evening star in summer and the reeds in autumn. She likes cordial greetings in the morning, yellow thread-bound books, and putting letters in small boxes to properly preserve her care and friendship. In all kinds of likes, readers touch the author's love for nature, traditional belief, cherish and expect friendship and love.

In addition to expressing her feelings, Zhang Xiaofeng also tried to convey her profound thoughts on life with profound thoughts. Since the middle and late 1970s, she has frequently published short and sharp essays in newspapers and periodicals, attacking all kinds of shortcomings at present with rich associations, clever contrast and bitter satire, which has turned her creation from advocating abstract humanity and love to facing the cruel life. There is love in the world, but there is also hate in the world. The realistic attitude of "facing life" makes her prose more profound and broad. For example, in the excellent essay "New Lights and Old Lights" which won the "Reportage Literature Award", the author described the complex psychological reaction caused by the demolition of an ancient house against the background of the general trend of Taiwan Province Province's transformation into a commercial society, and expressed the author's deep thinking on modernity and tradition. The antique forest cabin has become a symbol of China tradition. Its demolition actually reflected that Taiwan Province Province was in a state of confrontation between tradition and modernity at that time. However, the panic, confusion, even doubt, fear and confusion brought by the "economic take-off" in this article forced readers to ask themselves with doubts: "Do we really want that new lamp?" Zhang Xiaofeng excavated profound themes with cultural significance in his life.

Li Ao, Jilin Fuyu people. Born in 1935. I spent my youth in Beiping and engaged in literary creation very early. After entering Taiwan Province, I went to middle school, that is, I wrote five volumes of Li Ao Huiji and Li Ao's Poems. He published many literary papers during his college years, and continued to publish a large number of papers and essays after graduation, which caused quite a controversy and was called "Fenqing". 1965, his editor-in-chief, satellites, was seized for publishing articles criticizing the Kuomintang. The following year, ten books of Li Ao's Farewell to Literature were published. 1967, charged with "obstruction of official duties" and sealed for three years. 197 1 year, he was arrested and imprisoned, 1977. 1979 returned to the literary world, and published six volumes of Tradition under Monologue, Li Ao Wencun and Complete Works of Li Ao. 198 1 was arrested and imprisoned again, and released the following year, publishing Li Ao's love poems, Li Ao's love letters and Li Ao's love stories. 1983 published seven or eight volumes such as The Complete Works of Li Ao. 1987 was selected as one of the top ten writers in Taiwan Province Province by Taiwan Province Scholar Magazine. Li Ao is a controversial writer with a proud personality, a sense of justice and bohemian. However, his achievements are remarkable and he enjoys a good reputation at home and abroad. His works have been discussed or sealed several times. As far as his essays are concerned, he tries to inherit and carry forward the excellent fighting style of Lu Xun's essays, which is a unique landscape in China's contemporary literature.

Li Ao's essays show distinctive artistic features, that is, he is good at "choosing styles", straightforward in writing, criticizing the shortcomings of the times, blending Zhuang with harmony, and turning vulgarity into elegance. When Li Ao's essays deal with the facts that need to be criticized or the people who have been stabbed, they often find out clearly and expose their ugliness. In the extremely sharp conflict between subject and object, he makes sense and makes sense. He took the writing style of May 4th essay "fighting for one's life by hand" to a new brilliant road. This has been Li Ao's consistent fighting style since the 1960s. Whether exposing the tyranny of the authorities, attacking the abuses of society, or lashing out at the backward traditional culture and criticizing the family ties in the accumulation of national culture, he can be well-founded, seize the typical and representative, and make a big attack.

Li Ao's essays are good at using straight pen, which is inseparable from his bold and maverick character. His writing is sharp and bold, never beating around the bush, turning around and looking around. But straight, straight, bold, often focused on the enemy, merciless, and then quickly eliminated. This makes his essays full of courage, frankness and sharp momentum. In his view, "straight pen" means straight pen, straight to the point, not ashamed, but justified, based on a large number of factual materials. Li Ao's essays are full of satire and humor. Although he is "outspoken", he often successfully uses irony and humor, skillfully uses language conditions, and uncompromisingly denies ugliness in talking and laughing. This artistic feature of Li Ao is full of folklore. In order to achieve this special artistic effect, his essays often use rhetorical devices such as exaggeration, irony and metaphor to convey the spirit. Therefore, his language often adopts the vernacular that the middle and lower classes are willing to accept, which makes his articles popular, smooth, natural and vivid, and at the same time makes uncompromising ridicule, sarcasm, banter and satire on his opponents, which has a strong comedy color.

China's vernacular prose was born at the beginning of this century on the basis of inheriting and absorbing the aura and essence of China's classical prose for thousands of years and under the encouragement and promotion of the May 4th new trend of thought. It is like a garden, with the cultivation of many talented predecessors, it has produced flowers with different shapes and colorful colors. It laid a solid foundation for the development of China's new prose, opened up various channels and created various styles. The styles and channels of these essays continued from the beginning of this century to the 1990s. From the mainland to Taiwan Province Province, from Taiwan Province Province to overseas. Although, the original river has become a fast-flowing river; Although the original style has developed into many schools of writers; Although the themes and themes of today's works are extremely rich, tracing back to the source, the prose of Chinese in Taiwan Province, Hongkong and overseas still comes down in one continuous line with the May 4th and 1930s. The artistic origin is the same, and the literary inheritance is constant. According to the research and demonstration of Taiwan Province essayists Yang Mu and Fengyi Li, the inheritance and development of Taiwan Province's contemporary prose and mainland's modern prose have the following aspects: The first category is essays, whose founder is Zhou Zuoren. This kind of sketch "inherits the legacy of the late Ming Dynasty and shows its mellow side in plain". In this kind of works, Zhou Zuoren also recorded his life experience in Japan, which added passion to his works. The successors of this kind of prose in Taiwan Province are Liang Shiqiu, Siguo, Zhuang Yin, Yan Yuanshu and Liang Xuan. The second category is narrative prose. With Xia Gaizun as the forerunner, his Winter in Baima Lake is the foundation work. This kind of prose is fresh and transparent, without affectation, affectation and affectation. Taiwan Province's successors include, Lin, Lin, Xu Daran and Cong Linghe. The third category is fable, and Xu Dishan is the pioneer. This kind of prose is mostly written by literati, and it is "learned and immersed" and "full of charm". Taiwan Province's successors are: Wang Dingjun, Sima Zhongyuan, Wang Shangyi, Lin Biao, Luo Qing, etc. The fourth category is lyric prose, with Xu Zhimo as the source. This kind of prose is chic and romantic, full of emotion, vigorous and elegant, and free to rotate. The successors of Taiwan Province's prose are: Zhang Xiuya, Hu Pinqing, Chen,,, Ji Ji and Du Ye. The fifth category is discussion prose, which was initiated by Lin Yutang. This kind of prose "discusses the approachable theory, making something out of nothing, indexing circumstantial evidence, paying attention to the rendering of wisdom and the development of humorous life if it happens". The successors of Taiwan Province Province are Qiu, Zhou, Zhou and Xia Qing. The sixth kind of prose is reasoning prose, with Hu Shi as the source. This kind of prose has a strong debate and thorough reasoning, which has created a modern academic prose style. The successors of this kind of prose in Taiwan Province Province are mostly academic writers. The seventh category is essays, with Lu Xun as the founder. This kind of prose is vigorous and profound, and its offensive is fierce. In Taiwan Province Province, its successors include Bai Yang, Ying Buwei, Li Ao and many columns in newspapers and periodicals. From the above situation, we can see that the contemporary prose in Taiwan Province Province has followed the trend along the spirit and way of prose since the May 4th Movement in mainland China. We can not only see the blood passed down by our ancestors from the blood flow of various essayists' works, but also see their development and innovation in the prose of the motherland. Especially in the choice of prose theme, the richness of connotation, the expression of theme and the use of language, all kinds of contemporary prose in Taiwan Province Province have made great development and transcendence. Li Xinjue, a critic of prose theory in Taiwan Province Province, said in the article "Selected Preface of Modern Prose in Chong Guo": Contemporary Prose in Taiwan Province Province "in the sense of literary inheritance, this period is still the continuation and expansion of the 1930s and 1940s, especially the previous generation of prose."

Another source of contemporary prose in Taiwan Province Province is the Taiwanese New Literature Movement which originated in the May 4th Movement, and the new prose tradition in the Japanese occupation period, a wing of Taiwan Province literature. During the Japanese occupation of Taiwan Province Province, in the battle with the blood and fire of Japanese imperialism, some excellent and combative essayists were trained. They combined the fighting spirit with heroism, blood and tears and wrote many famous prose chapters. For example, Jiang Weishui, an outstanding patriotic soldier, and his prison diary; For example, Wu Xinrong's touching story "The Dead Wife", for example, Huang Deshi's work "The Duff Fragment" recording Yu Dafu's visit to Taiwan, and so on. During the Japanese occupation period, some Japanese writers waved daggers and threw guns at the invaders; Some are accusations against the blood of Japanese imperialism, and some are records of suffering life; Have a plenty of desire for ideals and wishes. They are * * * the same characters, bone marrow in the throat, emotional, sincere and touching, targeted. In the method of literary creation, they followed the tradition of realism. This prose tradition in Taiwan Province Province during the Japanese occupation period inherited the spirit of the classical prose of the motherland and the May 4th New Prose. This tradition is mostly inherited by local writers in Taiwan Province's contemporary prose. For example:,, Xu Daran, Yang, Li Minyong, Hong Suli, Lin Shuangbu, etc. During the Japanese occupation, the prose tradition of Taiwan Province Province was also an integral part of the prose tradition of the motherland. Combined with the mainland prose experience and spirit brought by mainland prose writers who went to Taiwan in 1949, it watered the prose garden in Taiwan Province Province; It promotes the healthy, vigorous development and maturity of Taiwan Province's contemporary prose.