毫无疑问,文学总是同某种社会生活或现实状况密切联系的,总是要深深扎根于现实土壤之中。我们可以追忆一下20世纪的中国文学史,会不自觉地发现,以生活为本源决定了现实主义艺术生命的生生不息。现实主义创作原则不是僵化保守、凝固不变的程式,它总要随着现实的发展而不断地发展的(1)。正是鲁迅的《呐喊》和《彷徨》、茅盾的《子夜》、巴金的《家》、曹禺的《雷雨》、钱钟书的《围城》、沈从文的《边城》、张 There is no doubt that literature is always closely related to a certain social life or reality and is always deeply rooted in the real soil. We can recall the history of Chinese literature in the 20th century. We will unconsciously find that life-based decides the life and development of realist art. The principle of creation of realism is not a rigid, immutable program. It always needs continuous development with the development of reality (1). It is Lu Xun’s “Shout” and “Imitation”, Mao Dun’s “Midnight”, Ba Jin’s “Home”, Cao Yu’s “Thunderstorm”, Qian Zhongshu’s “Besieged City”, Shen Congwen’s “Border Town”