汪曾祺在《蒲桥集》自序中说,中国是个散文大国,历史悠久。在列举了中国历史的散文经典之后,他说,对于一个国家的文学,“散文如同布帛麦菽,是不可须臾离开的”。但是,“二三十年来的散文的一个特点,是过分重视抒情。似乎散文可以分为两大类:抒情散文和非抒情散文。即使是非抒情散文中,也多少要有点抒情成分,似乎非如此不足以称散文。……因为强调抒情,反而把散文的范围弄得狭窄了。过度抒情,不知节制,容易流于感伤主义”。1 Wang Zengqi said in the book “Pu Bridge Collection” that China is a prosperous country with a long history. After enumerating classic Chinese prose classics, he said that for a country’s literature, “prose is like a cloth, a buck, and it is not necessary to leave.” However, one of the characteristics of prose writing in the past two decades is the excessive emphasis on public opinion. It seems that prose can be divided into two major categories: lyrical prose and non-lyrhythical prose. Even non-lyrical prose is somewhat plausible, and seems to be It is not enough to weigh prose.... Because of emphasizing public sentiment, it narrows the scope of prose. Excessive sentimentality, lack of restraint, easily flows into sentimentalism.” 1