In literary theory, the word "tension" originated from Allen, a British and American new critical theorist. Retreat. 1937, Deter pointed out in the article "On the Tension of Poetry": "In order to describe this achievement (referring to the judgment standard that is at the core of poetry value evaluation-citation note), I put forward the word tension. I don't take this noun as a general metaphor, but as a concrete noun, which is formed by removing the prefix from the extension and strength of logical terms. When I say poetry, I mean its tension, that is, all the extended and inclusive organic whole we can find in poetry. " (1) Dette creatively put forward this term and called it "the same characteristics of poetry" and "single nature". Subsequently, "tension" gradually attracted the attention of literary theorists, and like the theorist Van Gogh, it was applied to the study of all levels of literature, including language, structure, role, plot and so on? Connor said in 1943 that there is tension between the rhythm of poetry and the rhythm of prose; Between the formal and informal rhythm; Between individual and general, concrete and abstract.

Between; Metaphor, even the simplest metaphor between the two creations; Between the two components of irony; Between prose style and poetry style. " (2) In recent years, the word "tension" has appeared frequently in China literary circles, but there are few monographs on its basic nature, principles and significance. In my opinion, this is a very important theoretical category, with rich theoretical connotation and important theoretical value, which is worth further discussion.

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First of all, what is nervousness?

Actually, the word "tension" was first seen in physics. From the physical point of view, the pulling force is the mutual pulling force generated in an object when it is pulled in two opposite directions and perpendicular to the contact surface of the two parts. For example, there is tension in the rope for hanging heavy objects or pulling carts, and what we usually call the surface tension of water, etc. Physical tension has two characteristics: first, it is generated in static or relatively static things, such as the hanging rope is static and the pulling rope is relatively static; Secondly, it is an interactive force, not a one-way force. For example, the pulling force of the rope pulling the cart has two directions: forward and backward. If the rope comes off the hook, it will lose its backward direction and be pulled forward quickly. At this point, the rope is moving and its internal tension no longer exists.

Literary tension and physical tension have similar characteristics: the equilibrium state includes the unbalanced state and the dynamic sense of "immobility"; The combination and interaction of many factors, especially contradictory factors. We can roughly define literary tension as: in the whole process of literary activities, when at least two seemingly incompatible literary elements form a new unity, all parties do not eliminate the antagonistic relationship, but compete, impact, compare and contrast with each other in the antagonistic state, so that readers' thinking moves back and forth constantly in each pole, and a three-dimensional sense is generated under the influence of multiple concepts. In short, literary tension has the following four characteristics:

First, ambiguity. Literary tension pursues the fullness of the text, which is based on the fuzziness of the text, that is, it strives to accommodate multiple meanings in the limited text space. According to Chomsky's theory of language structure (deep and surface), the deep structure of literary language is much richer than that of everyday language, which greatly expands the internal meaning field of surface structure. This subtle relationship makes literature form a unique language information system, which makes it possible for literary language to be liberated from the practical and narrow understanding of word meanings in dictionary definitions. Through limited means-limited language, limited vocabulary and limited combination principle, in excellent literary works, this ambiguity is sometimes manifested as multidimensional meaning. Analyze the theme of Ulysses like Joyce: it is not only an epic of Jews and Irish, but also a diagram of human organs; It is not only his autobiography, but also a symbol of eternal men and women; It is not only a description of the growth process of art and artists, but also a description of the relationship between father and son; It is not only a modern version of the experience of the ancient Greek hero Oedipus, but also the gospel of the Bible. Polysemy is also reflected in the progressive meaning, pointing to profound philosophical implications. For example, contemporary Hu's "Set sail" has six levels: describing the labor process of fishermen setting sail before fishing boats go out to sea; With the arrival of spring flood, the life tide of fishermen is surging; The whole country "woke up from hibernation" and set sail; The history of blood and tears of generations of fishermen's families struggling with the sea; The indomitable and indomitable history of blood and tears of the whole nation has been passed down from generation to generation; Life is short, and only by pursuing it forever can we raise the sail of life. (3) "Poetry has two meanings and is better than the best". In Qing Dynasty, Yuan Mei expressed his demand for ambiguity in excellent texts. The multi-level and multi-dimensional meaning makes the conflicts in the whole text space diversified and enriched, and accumulates a lot of literary tension.

Second, emotional fullness. In fact, the emotion of the text is full of emotion, which is the author's deep affection for various factors in the form and content of the text, and the author has cast this deep affection in the text. A bitter tear and full of absurd words, A Dream of Red Mansions contains Cao Xueqin's disgust and nostalgia for the whole social system at that time, his pursuit and detachment from life, and even his observation and interpretation of every character. Something' s mist, written by American writer Heller, juxtaposes pain and laughter, absurd facts with disproportionate calm response, cruelty and gentleness in a gloomy tone, and achieves the tension effect of diverse combinations of emotions. The more levels and densities of the emotional structure, the richer the emotional bearing of the text; At the same time, the richer the combination of opposing emotions, the higher the oscillation frequency from balance to imbalance, and the more prominent the tension effect.

The fuzziness of words and the fullness of emotions often correspond, and they promote each other. It is often that you have me and I have you. * * * Co-planting is based on the author's perception, understanding and experience accumulation. A meaningful text is often an emotional one at the same time. Polysemy and emotional fullness can be regarded as a treasure trove of resources to create literary tension, and a text without rich stylistic style can not be said to have tension at all.

Third, it contains contradictions and conflicts. * * * The contradictory factors can be said to be the direct driving force of literary tension. Where there are opposing and interrelated forces, impulses or meanings, there is tension. This is just as Li, a contemporary Chinese poetry theorist, pointed out: the smoothness, uprightness and laxity of prose culture cannot constitute tension, but on the basis of the unity of contradictions and opposites, a harmonious new order should be composed of disharmonious elements, and a sum of differences should be sought in the direction of opposing forces. For example, Du Fu's quatrains: "Two orioles sing green willows, and a row of egrets rise to the sky. The window contains Xiling Snow, at the entrance of Wu Dong Wan Li Boarding ",that is, the delicate and meticulous fine pen is in harmony with the broad and vigorous thick pen. Another example is China's ancient prose theory, that is, under certain circumstances, people often show abnormal mentality, words and deeds, and this abnormal mentality and words and deeds are logical. For example, Du Fu's poem "Shu Huai": "It's been October since I sent the book". If the cloud "doesn't see the news", it is very common, but it is thrilling to be followed by "anti-terrorism news", which is an extremely harmonious tension effect. Similarly, in A Dream of Red Mansions, Lin Daiyu, who used the tears of this life to repay the feelings of previous lives, often cried at ordinary times. When her time is running out, she always smiles or laughs without saying a word, which is the amazing use of abnormal harmony. In fact, there are two kinds of emotional opposition and transformation. Shu Huai's poem is "hope" and "fear" for letters from home; In A Dream of Red Mansions, it is Dai Yu's superficial "laughter" and heartbreaking "sadness", which produce tension effect in the opposition between anti-logic and logic, anti-reason and reason. The juxtaposition of contradictory factors is the driving force of tension, because it is the two sides of contradiction that produce opposing forces, and the dynamic balance of tension effect is formed in a unity.

Fourth, the sense of movement of the bow. Emotional catharsis and the display of multiple meanings cannot form literary tension. Body tension is in a static or relatively static state. Similarly, literary tension should also include the unbalanced state in the balanced state, and the display of the unbalanced state can only be the resolution of tension. To form literary tension, we must first be able to accommodate the "big" with multiple meanings and full emotions into the "small" of literary images. A fragment from the poem "Tea Mountain" by Spanish poet Aarti: "In the glass of the dining table,/a small garden has been opened,/which is a green friendship with glass injected in spring." The size of the garden and the breadth of friendship are all poured into a small teacup. The vastness and remoteness of "a hundred mountains without birds and a thousand paths without footprints" (Jiang Xue by Liu Zongyuan) and the secluded lofty feelings and loneliness of "a boat with a leaf and a bamboo cloak" are finally condensed in the thin fishing line of "an old man fishing in the cold river-snow". Secondly, the expression of emotion and meaning should be implicit and enlightening. Shu Ting's poem "Missing", "A colorful wall chart without lines/a pure but unsolvable algebra/a dulcimer, a string of rosary beads and rain picked under the eaves/a pair of paddles that can't reach the other shore//Buds generally wait silently/Sunset generally goes away/Maybe there is an ocean hidden/But only two tears flow out", the poet suffers in the emotional whirlpool. On the one hand, the acquisition of the sense of action of preparing to bow requires the accumulation of emotions. For example, Lu Xun said, "I don't think poetry should be written when feelings are strong, otherwise the sharpness will be too exposed, which will stifle the beauty of poetry." ⑤ This is what Dai Wangshu called "emotional countercurrent" ("Poetry"). On the other hand, the author needs a strong ability to control emotions and words, not only to let go, but also to converge. Only by letting go can we achieve strength and tension. The sense of movement of literary tension, like Miron's sculpture "The Discus Thrower", captures the instantaneous action of the discus thrower swinging and bending in the opposite direction before struggling to throw it, making the whole human body gather great strength like a compressed spring and a full bow; Like a galloping horse suddenly flying over a cliff, Xiao Long's empty valley echoed.

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The overall tension effect of each excellent text is a balanced body, which brings together the literary tension at all levels.

Literature is the art of language, and language tension plays an important role in the tension system of literature. It comes from the impact of polysemy and ambiguity directly promoted by language on the limited and simple language shell. In the literary context, powerful metaphors are often tied together in completely different contexts, resulting in a large number of residual meanings and intermediate meanings. Paradox is to make two aspects of contradiction appear at the same time or successively, which confuses people: "I use this weed to testify to friends and enemies, people and beasts, people who love and don't love, in the time of light and darkness, life and death, past and future" (Lu Xun's Weeds? Inscription). Always expressing, but eager to deny the former with an opposite expression, which constitutes the tension between words, sentences and paragraphs. Opposing forces are brought into the same context, which leads to endless conflicts and creates a whirlpool of paradoxes that cannot be solved logically. Destroy the normal grammatical norms and break the normal inertia of thinking, and also cause language tension with the help of different grammatical structures. For example, if relevant components are omitted, Silent \ Hard Heart in Rock \ Lonely Thinking \ Dark Lips Open \ Silent Shout to the Sun (Yang Lian's Wild Goose Pagoda). Expect readers to weld sentences. In the re-creation of welding, thinking expands the broad sense of language and forms a huge tension effect. It can also be said that the hidden logical relationship is the charm of poetry. China's ancient literary theory emphasizes the dialectics of industry and stupidity, relaxation and singular participation, which is also full of language tension. This juxtaposes languages with different textures, formal and informal, logical and illogical, concise and repetitive, concrete and abstract, and so on. , which enriches the charm of language and increases the capacity of language. The cause of literary language tension lies in the contradictory combination of its own signifier and signified, and whether the limited signifier can arouse and accommodate the infinite signified depends on the context formed by the language combination. The fixed and stylized language order is often ossified. For example, the metaphor that bipolar relations tend to be fixed is considered as the metaphor of "death". "Poets are most afraid of sameness, but great talents are more than sameness. If you change your mind, it is not surprising that a talented person can do it, but the same is different. This is a great skill and really detached. " (17) Creating a unique new language order and creating extraordinary literary tension with plain language is a very high creative realm.

Literary tension can also be generated from images, artistic conception, narration, roles and so on.

In the combination of images, "image" is the outsourcing sensibility, and "meaning" is the internal rationality. This tension occurs in the confrontation between the diversity and multidirectional of "meaning" and concrete "image": the power of "meaning" spreading outward interacts with the power of "image" shrinking inward, making the text round. Excellent images always contain infinite meaning, and no individual can fully guess the "mystery" of images. Therefore, between the impulse to solve and the infinity of images, there is a struggle between conquest and anti-conquest: the appreciator is excited by some understanding, and the images constantly send out new aesthetic information, which makes people puzzled. "Thinking, thinking, feeling", finally can only sigh "what a pity", no longer talk about poverty. The next chapter "). Homogeneous single images are connected together, and the resultant force of meaning will promote the homogeneous meaning in each image, so that the proud content is far from the sum of single images; When heterogeneous images are juxtaposed, the tension of images comes from the collision between images.

Artistic conception is a harmonious body of dialectical unity between the real world and the virtual world. The real world is the scene, shape and environment described by reality, while the virtual world is the imaginary space induced and developed by the real world. Virtual reality comes from the real world, but in the tense artistic conception, it always requires large and rich, which has a great influence on the real world. In the book The Birth of China's Artistic Conception, Mr. Zong Baihua described the profundity and vastness of the virtual realm incisively and vividly.

Narrative tension is first manifested as the tension of time and space. Literary time and space can greatly expand or contract the real time and space, and can make the narrative infinitely extended. For example, Marquez's "One Hundred Years of Solitude" condensed the ups and downs of Colombian rural areas in the life experience of a Buendia family in Macondo town for six generations, and finally put the symbolic meaning of the work into the changes in Latin America. You can also get the tension effect by blurring physical time and space, so that the narrative can point to every day of every ordinary person's life and run through his life. Coincidence in narrative is an effective means to gather tension in all aspects. In A Dream of Red Mansions, Lin Daiyu's fragrance and the gift of Xue Baochai are coincidentally arranged together, and the aggregation of sadness and joy greatly increases the power of expressing cruelty. Coincidence, great contrast and conflict make the work more penetrating. In addition, the arrangement control of narrative rhythm relaxation is also an effective way to form tension.

There are two ways to form the role tension: one is the combination of contradictory factors within the role, such as Lin Xingzhai's analysis. There are ten contradictory aspects in Ah Q's character, such as simplicity, ignorance, smoothness, scoundrel, truthfulness, willfulness, seriousness, self-esteem, inferiority, inferiority, and so on. "Loyalist wit, wit, loyal minister also; Honest people make their hearts very sincere "(comment on Mao Zonggang's Romance of the Three Kingdoms, 50th comment), polarization and melting are unified, and in the multiple confrontation and reconciliation of personality, the characters' inner spirit is full. The second is the tension between roles, that is, the two sides of the conflict are organically integrated with the purpose or other * * * factors, and the contradictory body does not break due to contradictions, thus achieving dynamic balance.

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Literary tension makes the text space muddy and thick. Literary tension is produced in literary creation, and acceptance is the achievement of literary tension. What effect does literary tension have on the mind of the recipient? What is the psychological process of the receiver? On the basis of the above analysis, we can summarize it into two stages: surprise-depression and hint-release.

Once the text enters the receiver's field of vision, it becomes a special aesthetic object in aesthetic experience. The initial stage of aesthetic experience lies in the achievement of aesthetic attention, that is, "listening with ears" (Zhuangzi). "First of all, he realized that there was an emotion, but he didn't realize what it was. All he realized was some kind of anxiety or excitement. His feelings continue to develop in him, but he knows nothing about its nature. " (27) This is an essential preparation for the connoisseur to enter the aesthetic "emptiness and quietness" of "regardless of his ambition, but concentrating on his spirit". Literary tension has a strong stimulating effect, and the tension of various literary factors constitutes a strong impact on the audience's acceptance habits. The conciseness of language and narrative emphasizes writing "whole" with "incompleteness", and the principle is "meaning more periods, words only have fewer periods" (Li Yu), which increases the information content of the text itself in a compressed way. "In the process of language use, each language often contains some basic information, and the intensity of this information to the recipient is always inversely proportional to the number of symbols." (28) In China's theory of ancient prose, the emphasis on "refining words" and using allusions is also aimed at making the words themselves strongly irritating and endowing the limited signifier with infinite signified. In addition, there is a freshness in the spirit of literary tension, which endows the text with "new excitement". For example, the rebellion against conventional language norms and the creation of unexpected coincidences are all aimed at arousing the receiver's completely novel feelings and generating the perception of personality. The expression of literary tension is to arouse the reader's sense of "surprise" and keep the reader in a state of concentration.

In the face of literary works full of tension, this "surprise" is accompanied by the frustration of readers' reading habits, that is, emotional depression. Every reader has his own independent reading experience, and "surprise" is because the information provided by the text breaks through his reading experience, and the strong stimulation and new stimulation of literary tension are providing this breakthrough information. Emotional depression will strengthen readers' reading expectation, and the intentional breakthrough of depression will activate readers' imagination. In excellent works, this kind of repression effect is indispensable, otherwise it will not form the pleasure of emotional catharsis: depression is an emotional dam, in which blocked emotions accumulate and brew, which provides the possibility for torrent rushing. It is in this sense that there will be Cass Vito's assertion: "Appreciating art means appreciating the overcoming of difficulties."

"Don't listen to your ears, listen to your heart, don't listen to your heart, listen to your heart." ("Zhuangzi? Human world) ears, sensory experience; Heart, emotional experience; Through these two steps, the whole body and soul can be induced, which coincides with the three levels of aesthetic experience. The stimulation and depression of a character connoisseur is only the sensory experience of eyes and ears. The process of entering intonation-release is the emotional experience of heart, and then the aesthetic experience of qi is achieved, that is, from "responding to the eye" to "understanding" to "relaxing the heart" (Zong Bing), from "pleasing the eye" to "pleasing the heart" and then to "pleasing the mind". The French stereoscopic futurism school once devoted itself to the creation of "picture poems", drawing flowers, hearts, water waves and pigeons with poems, trying to achieve not only readable but also considerable results. However, it is difficult to become a successful literary work because it provides less information about "pleasing the heart and pleasing the mind" and only has a sense of eyes and ears. The tension of literary tension should be a kind of tension that breaks through the sensory limitations of "eyes and ears" and is full of "meaning", which provides the possibility of emotional and spiritual power going back and forth. The metaphor of "distance" and heterogeneity between the two poles is "infinite radiation and expansion of meaning", and the sliding degree between signifier and signified sometimes reaches the extreme in this context. The reference of vehicle and metaphor meet and stimulate each other, adding a lot of other meanings and impacting the shell of language. The phenomenon of "wordless words" in paradox is precisely the blockage of seemingly multiple meanings, but in fact it is "inexpressible" and expresses its extended meaning. There is great emphasis on "blank" in literary tension, the essence of which is to increase the uncertainty of the text and stimulate the appreciator to fill the blank with his own imagination. The image of "image" should be full of readers' meaning, and the richness and complexity of the meaning behind condensation should be appreciated by readers. Questions such as "Why is there such a coincidence" are all put forward and answered by readers themselves. This is the process of emotional intonation, further accumulating and brewing the complex emotional quality aroused by readers' works. Constantly stimulate all kinds of emotions, the purpose is not to accumulate emotions; On the other hand, the accumulation of emotion will also destroy the aestheticization of emotion, because the accumulation of emotion alone cannot form aesthetic pleasure. In fact, the law of forgetting is dominant in emotions: "Our emotional mind can be compared to a big car. As the saying goes, if something falls from this big car, it will never be found again. ..... If the emotions we experience can be preserved and moved in the unconscious field and continuously transferred to consciousness (just like thoughts), then our spiritual life will be a mixture of heaven and hell, and even the strongest physique can't stand the constant gathering of happiness, sadness, annoyance, love, envy, jealousy, regret, conscience condemnation, fear and hope. No, once the emotion is experienced, it will disappear and will not enter the unconscious field. Emotion is mainly a conscious psychological process. Emotion is not so much the power to accumulate the mind as the power to consume it. Emotional life is emotional consumption. " (29) The formation of aesthetic pleasure lies in a large amount of catharsis after emotional stimulation, and as we have analyzed various literary tensions, under the intense psychological pressure, the nervous mind is in an excited state, thus stimulating a large number of emotions; The direction of tension is ultimately outward, and the existence of tension is actually to expand the space of literature itself and provide a smooth channel for emotional venting.

The beauty contained in literary tension is not the kind of "simple beauty" or "smooth beauty", but the beauty that ordinary people can immediately reflect their likes and dislikes by intuition, and it is the beauty that makes ordinary people feel happy. It belongs to the "three-dimensional beauty" defined by the western aesthetician Bao Sangkui. It is this "firmness" of beauty that makes the tense text feel dumbfounded, absurd and even unacceptable for a time, but its fuzziness and other characteristics determine that this beauty has greater expressive power; This expressive force brings people's mind to the free realm of aesthetic transcendence. The superficial meaning of aesthetic transcendence is the transcendence of things, the transcendence of natural environment and social environment, which comes down to the transcendence of natural physical time and space. The diverse and heterogeneous combination of literary tension gives people a sense of freedom in material form, which breaks through the aggregation of classes and the logic of time in normal life; The direction of dynamic balance is outward radiation, "one harvest" points to "all harvest", and individual points to general. The essence of the "three-dimensional beauty" of this literary tension lies in the transcendence of people themselves. As Lipps pointed out, "Aesthetics is not an appreciation of an object, but an appreciation of a self." It is people's own direct sense of value. "(30) The tension of literature has greatly stimulated the imagination of literature, and the powerful stimulus has prompted the appreciator to" devour "all contradictory objects, that is," when we put two completely different things together in a sudden and amazing way, the most important thing is to consciously combine them. Because of the lack of a clear intermediate link, we must put a relationship in reading, which is the main source of poetry strength. "In this process of overcoming difficulties, I have opened up my own spiritual space. The text with great tension gives the reader a sense of openness, that is, after experiencing the process of surprise-repression, suggestion-release, the reader's imagination is enough to accommodate more existence, from a "weak reader" (in Aristotle's words) to become strong, and in this open experience, he can see his own value and realize the value of human beings. Aesthetic transcendence is based on transcending things, turning inward, embracing all life and devoting to the development of one's own life, so that the life buried by dust can be transformed, surpassed, promoted and expanded from bottom to top, and run towards the realm of life-the realm of freedom.

This kind of beauty has the following characteristics: miscellaneous, diverse and heterogeneous combination; Tension requires readers to concentrate great energy to understand it; Broad, it is difficult to grasp its entire scope. Therefore, the beauty of Jian 'ou is often difficult to be accepted by people. Appreciating this beauty requires artistic talent or study and training. Some people are naturally sensitive to art, but the way for more people to acquire literary literacy lies in learning and training, one of which is familiarity with literary inertia. Literary inertia is a conventional literary rule and feature formed in the long history of literary production and consumption. The whole process of literary activities is carried out in literary inertia. It is difficult for a person who is not accustomed to literary inertia to accept a text full of literary tension, let alone read it. In his eyes, a wonderful poem is equivalent to nonsense, so to some extent, the premise of entering the literary tension field lies in literary accomplishment. From this point of view, the value of a literary work cannot be evaluated by mass voting, because the result of this way is that the evaluation of professional literary critics with literary literacy, which accounts for a very small share of the masses, is easily ignored. Besides, without the theory of defamiliarization and Saussure's linguistic theory, it is hard to imagine that Eliot's The Waste Land can be highly praised. Therefore, many writers and poets claim that their works were written to readers many years later, which is not entirely conceited, so it is necessary to analyze and identify them.

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Literary tension has great aesthetic value. Reviewing the history of Chinese and foreign literature from the perspective of literary tension, we will find that the failure of many unsuccessful literary works lies in the lack of literary tension. This can be divided into two situations, one is completely unintentional pursuit of tension effect, and the other is excessive pursuit of tension effect.

In the first case, the most common thing is to move daily life as it is at the level of language and content, and give up artistic processing. Xie Mian, a contemporary poetess, once compared two poems in The Poet's Creation. One is a letter from a soldier's wife to her husband: "Comrade XXX, the father of the child:/The willow trees are green in front of the door,/Winter is warm and spring is coming,/I wish you good health ahead. //... Moreover, our house is more beautiful,/We have got two acres of good water,/The farming in the village is particularly good,/The dam is neatly repaired. " The other is Hikmet's letter: "The autumn night is gloomy and starless,/My mind is full of your words,/Words are endless, like time, like material/words are bright, like starlight shining on our heads." (32) The latter is quite poetic: on the whole, it creates an artistic conception of pregnancy; "Like time, like matter", its language gives full play to the characteristics of polysemy. Although the previous poem is a branch, it is really a letter in life, not a poem as a literary work: on the linguistic level, words have no meaning extension, and the signified and the signified bridge seamlessly; On the content level, there is no image or artistic conception, the narrative is redundant, and there is no effort to create a new language order and extraordinary situation, which is the lack of tension. Erase the difference between literature and daily life, or think that turning life into words is literature, or be keen on telling everything with literature. This theory can be seen in western naturalistic literature and China's literature in the seventeen years after the founding of the People's Republic of China, but it is an indisputable fact that there are few literary masterpieces. This literary concept is related to the literary tradition that life is higher than art and art is an imitation of life. This tradition continued from Plato's imitation of literature to Chernyshevski's life above art. This literary concept is also based on a biased understanding of realism theory, that is, realism is regarded as a mechanical imitation and a transfer imitation of reality, which is particularly prominent in the seventeen-year literature. This literary concept has a long history and will die in one way or another from time to time. For example, in the so-called "new realism" novels that are all the rage in China's contemporary literary world, we also see its shadow. As some researchers have pointed out: "The misunderstanding of the so-called' neo-realism' novel creation is that the novel is not or basically not treated as a work of art ... (Its shortcomings) are reflected in the following aspects: First, in the novel language, some people have pointed out that its narrative language is' too straight, too full and too revealing', and we think it can be added that the result of being too straight, too full and too revealing is bound to be too straight. Second, the dull and mechanical narrative method is a "follow-up" method, without cutting, careful structure and details, such as a running account. The final result is' its artistic charm can be doubted'. (33)

It is also an unintentional move in the pursuit of literary tension to regard literary works as a tool to "speak Tao", "express ambition" or explain a certain philosophical thought, which weakens the literariness of works. The literary quality of Du Fu's Three Officials, Three Farewells and Bai Juyi's satirical poems is not high, which is directly related to the poet's literary concepts such as "following the gentleman, then making the vulgar pure" and "combining songs with poems". Similarly, the slogan poems in the war and the works praising virtue in the seventeen-year literature are rarely excellent because of the lack of tension. In the west, although Sartre's works have won wide acclaim in academic circles, he is worthy of being a master of existentialism. But in the eyes of many researchers, he is far less than Camus of France. This is precisely because many of Sartre's novels and plays are illustrations of existential philosophical theory, and have not left a suitable position for tension.

The shift of daily life is to position literature as a communication of "things", and it is also a dislocation to position literature as a waiter of "Tao" or "reason". Literature is not a daily speech, nor a profound academic paper. Both of them have replaced the concept of literature intentionally or unintentionally, ignoring the concept of literature.