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    <TD></TD></TABLE>

    of

    highflooricalprose,excellentintheirvirtuosity;

    therearealsonysalesofpoeticprose,heircadenceofvowelsare

    enentlysingableinfact,theregularheratschoolsorin

    privatethereisreallynoappropriatehistypeofreading

    inenglish;thesocalled¡±singing¡±istoreadthelinesaloudhakindofregulated

    andexaggeratedintonation,notacrdingtoanyparticulartune,butfolloore

    orlessthetonalvaluesofthevoeilartothe

    readingofthe¡±lesson¡±bythedeanofanepispalianchurch,buththesyllablesa

    greatdealredra

    thistypeofpoeticproseisespeciallybadintheeuphuisticpositionsofthefifth

    andsixthcenturies,lyoutofthefu,orhighflownprose,used

    inierialeulogies,asunnaturalasanyurtpoetryandasawkwardasarussian

    balletsucheuphuisticprose,runninginparallelnstructionsofalteatesentences

    offourandsixsyllableshencecalledthessulinor¡±foursixstyle,¡±alsocalledpieni

    or¡±parallelstyle¡±—waspossibleonlyinadeadandhighlyartificiallanguage,entirely

    cutapartfrohelivingrealitiesoftheagebutneithereuphuisticprose,norpoetic

    prose,norhighfloaybecalledgoodprose

    onlybyaeanprosehesweep

    andrhythfagoodchatbythefireside,suchasusedbythegreatstorytellerslikedefoeorsorbosisclearthatsuchproseispossibleonlyinaliving,

    andnotinanartificial,languageextrelygoodprosethereisinthenonclassical

    literatureofnovelsteninthespokenlanguage,butlassical

    ings

    theuseoftheliterarylanguage,akesthisalst

    iossiblefirst,goodprosestbeabletoreflecttheprosaicfactsoflife,andfor

    thistasktheoldliterarylanguageusthavethe

    shofcanvasforfulldisplayofitspoheclassicaltradition

    aleenoofbelievedinncentration,selection,

    sublitionandreorganizationgoodprosestnotbedainty,andtheaif

    ovealonghnaturalbig

    strides,andovedaboutonboundfeet,epwasan

    artisticgesturegoodproserequiresperhapstentothirtythousandwordsfora

    fulllengthportraitofaaliel

    bradfordsportraits,andselvesto

    betustnothavetoo

    ructions,andtheeuphuisticproseinctlytoo

    ed

    aboveall,goodprosestbefaliar,chattyandalittlepersonal,andthechinese

    literaryartnsistedinnpersonalfront

    onehouchaochung,

    givinganintiteportraitofhisloverlihsiangchiin,andthenfindsthathoudidhis

    biographyofssliinexactlythreehundredandseventyfivetenina

    nnerasifheotheroo

    suustforevergropeang

    sketchesofthreeorfourhundredhebarestbeggarsoutlineoffacts

    thetruefactis,theliterarylanguageirelyunsuitabletodiscussoarrate

    facts,hereasonersofnovelshadtoresorttotheveacular

    languagetheanded

    apoachien14080bc,thegreateststerof

    chineseprose,stillkeptaclosetouchhthelanguageofhisday,anddaredto

    inrporateerscholarsas¡±vulgar,¡±andhis

    languagestillretainedavirilityuntchedbyanylatererintheclassical

    languageillore

    orlessashethought,andtin&pr£cieuxstyleofingbutafterthat

    goodprosebepossiblethetersenessandrefinenthe

    literarylanguagehadetoybeseeninthefollorwuliufive

    self,in

    exactlyonehundredandtodel:

    ,e,too,areunknohetitleheisquietandtalks

    verylittlehedoesnotoneyorfahelikestoreadbooks,hout

    tryingtoknoeaningesapassage,heisso

    happyastoforgetabouthisfoodheloves,beingpoor,cannotalways

    provideithisfriendsandrelativesknoetisaskhio

    eoverforadrinkhealakesuphisndtobe

    drunkafterhegetsdrunk,heretires,anddoesnotndselfhis

    froacket

    offlaxclothintatters,andhisriceboptybuthedoesnotcarehe

    oftenusehielfandindicateshisaitioninlife,andforgetsallabout

    thehat

    liatisdaintyprose,butnotgoodprose,acrdingtoour

    definitionitisanabsoluteproofthatthelanguagewasdead,

    upposeonepelledtoreadonlyproseofthistype,

    fherethecharacterizationisthevaguest,thefactsarethe

    iiest,andthenarrationthebarest—whato

    nesintellectualntent

    thisleadstoareiortantnsiderationoftheintdlectialntentofchinese

    proseedhinese

    librariesndbookstoresaboundthesealingthelargestlivisioninchinese

    inesitsntents,oneiasthefeelingofbeinglostinadesertof

    essays,

    ...  </P></TD>