NEW LITERARY MOVEMENT Its Tendency and Future: Fading Vogue of the Unintelligible (III)新文学运动的发展趋势与未来：正在消逝的晦涩时尚（下）

A great writer

伟大的作家

Before entering into discussion of the third school of thought， it will do well to give a brief mention of Lu Sin， the greatest of the new writers. In his works， we find an apt representation of future of pei hua both in literary style and in thought. He， though being also influenced much by western literature， writes in a style that is easy， elegant， natural， and forceful—a style which is accepted by the majority to be the model. He has written numerous stories that have to do with the rural life in the interior， including the famous “True Story of Ah Q，” and many volumes of collected essays which lead the thought of the younger generation. His sympathy is with the proletarian. His piercing satire and stinging irony， his attack on the corruption and degeneration of the “feudal” society are much dreaded. He is now the most influential writer of the “Leftist School.”

在讨论第三个思想流派之前，我们不妨先简要介绍最伟大的新派作家——鲁迅。鲁迅的作品无论在文体上还是在思想上都恰如其分地展现了白话文的未来。鲁迅虽然也深受西方文学的影响，但其写作风格轻松、优雅、自然、有力，被大多数人奉为典范。鲁迅写下了许多有关内地农村生活的故事，其中包括著名的《阿Q正传》，以及多卷引导年轻一代思想的杂文集。鲁迅同情无产阶级。他尖锐辛辣的讽刺笔触以及对“封建”社会腐败堕落的抨击，令人心生畏惧。可以说，鲁迅现在是“左派”中最具影响力的作家。

The Leftist School is the third and， in recent years， the most influential one. The swing to the Left was not much in force until 1928 when the Nationalist Revolution stirred up a revolutionary zeal in the literary world. Since that year， the cry of “proletarian literature” and “revolutionary literature” has nearly drowned the voice of other schools. It is true， as some critics observe， that the works produced by that school of writers are not quite as proletarian as they claim to be， and that those of a special group who styled themselves “Revolutionary Literati” have merely ornamented their rather commonplace writings with certain slogans. Nevertheless， the influence of the Left Wing writers， in spite of the severe censorship of the government and bitter criticism of the so-called “bourgeois authors，” continues to grow. The self-styled “Revolutionary Literati，” we know， fell not long after their rise. But this by no means implies that the Left Wing is weakened. In fact， the two have little to do with each other though they are often mistaken as one.

左派是第三个思想流派，也是近年来最有影响力的。直到1928年国民革命在文坛激起革命热情，左倾倾向才越来越明显。从那一年起，“无产阶级文学”“革命文学”的呼声几乎淹没了其他流派的声音。诚然，正如一些评论家所指出的那样，左派作家的作品并不像作家本人所声称的那样具有无产阶级性质，那些自称“革命文人”的特殊群体只不过是用某些口号来装饰他们相当普通的作品。然而，尽管受到政府的严格审查和所谓“资产阶级作家”的严厉批评，左派作家的影响力仍在不断增长。我们知道，自封的“革命文人”在崛起后不久就垮台了，但这绝不意味着左派作家的势力有所减弱。事实上，左派作家与“革命文人”之间基本没什么关联，但却经常被误认为是一个阵营的。

Besides these three schools， a new school has begun to attract public attention. This school may be called the “Humourists.” Since the birth of the New Literary Movement， there have been incessant “pen wars” which give rise to satirical writings. But not until very recently did the Humourists grow to the size of a school. Last year witnessed the publication of a magazine exclusively devoted to satirical articles. It has proved to be a success. There is possibility that similar periodicals will appear in a short time.

除了这三种流派，另一种新流派也开始引起公众的关注。这一派可称为“幽默派”。新文学运动诞生以来，“笔战”不断，讽刺文学随之兴起。但直到最近，幽默派才发展成一种流派的规模。去年出版了一本专门刊载讽刺文章的杂志。事实证明，这本杂志是成功的。类似的杂志有可能在短时间内出现。

Future of the movement

新文学运动的未来

Having briefly discussed the tend-ency of the New Literary Movement， the present writer ventures to forecast what its future will be. There are several points which may throw some light on the forecast. In the first place， language is essentially a medium of expression. Therefore， in order to be able to give full expression to a world that is progressing by leaps and bounds， language must needs be adequately enriched. The Chinese language， both classical and vernacular， is an old language. It is still nearly the same language that was used long ago. It is inconceivable how a language that is so remote from the present age can ever do justice to it without reinforcement and adaptation. Of course， few Chinese would be so ridiculous as to cry “Back to Han or Tang.” But， there are some who obstinately maintain that we must not change， that we must ignore the foreigner and his works and return to the way of our grandfathers. But everyone knows that it is impossible. Consequently， it is equally impossible to resist the change. Then， it logically follows that pei hua must adjust and readjust itself considerably before it is fit for use.

在简要讨论了新文学运动的走向之后，在此我还想斗胆预测新文学运动的未来发展。对此，以下几点或许能带来一些启示。第一，语言本质上是一种表达媒介。因此，为了能够充分表达这个日新月异的世界，必须充分地丰富语言。汉语，包括文言和白话，是古老的语言。今天的汉语与很久以前使用的汉语差不多。很难想象，一种距离当今时代如此遥远的语言，如果不经过强化和改变，如何能够准确地表达这个世界。当然，很少有中国人会荒唐到喊出“回汉返唐”的口号。但是，也有人固执地认为我们不可以改变，甚至必须无视外国人和外来作品，回到我们祖辈的路子上来。但谁都知道，这是行不通的。因此，抵制汉语改革同样是不可能的。那么，从逻辑上讲，白话在适用前，必须反复对自身进行大调整。

In the second place， pei hua will continue to be influenced by western literature. With the various parts of the world brought closer together by modern means of communication， the East and West will mutually influence each other whether willingly or not. Pei hua， being still a suckling， will not grow into a vital language without imbibing the necessary nourishment both from native and foreign sources. But， it must not swallow anything that may cause indigestion.