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面书号 2025-01-04 11:11 7
在纷繁复杂的生活画卷中，艺术如同细水长流，以其独特的魅力，缓缓开启人生下半场的优雅篇章。
Amidst the intricate tapestry of life, art flows like a gentle stream, slowly unfolding the graceful chapters of the second half of life with its unique charm.
1. 在周作人的文章中，就隐藏有这么一种苦味，他是以一种苦闷的态度去描写人生，写出那清贫寒素的生活之美。这是与佛教“苦谛”对他的影响分不开的。虽然他没有直接谈到佛教文化的消极体验给他带来的苦质情绪，但给人的直观印象是明显的，那便是他喜欢用苦来命名他的文集、居室等。在其自名为“苦雨斋”的住所里创作出《苦茶随笔》、《苦竹杂记》、《苦口甘口》还有文章《苦雨》等。每一个苦字的出现都蘸满了苦质成分的汁液。既是一种内心的感受，又是一种灰暗的价值评判，因此形成了他特有的清冷苦涩的风格。
1. In Zhou Zuoren's articles, there is hidden a kind of bitterness. He describes life with a melancholic attitude, writing about the beauty of a simple and poor life. This is inseparable from the influence of the Buddhist doctrine of "Dukkha." Although he did not directly talk about the negative experiences of Buddhist culture that brought him a sense of bitterness, the intuitive impression is obvious. That is, he likes to use the word "bitter" to name his collections, residences, etc. In his own named residence "Bitter Rain Studio," he created works such as "Random Thoughts on Bitter Tea," "Miscellaneous Notes on Bitter Bamboo," "Bitter Yet Sweet," and articles like "Bitter Rain." The appearance of each "bitter" word is filled with the juice of bitterness. It is both an inner feeling and a dark value judgment, thus forming his unique style of cool and bitter.
2. 有想法是人之常情，但想法发展到极端，就成为执念，贻害不浅。
2. It is natural for people to have ideas, but when ideas develop to an extreme, they become obsessions, which can cause considerable harm.
3. 还有《笑傲江湖》里的岳不群，本以“君子剑”名扬武林，执掌华山。内有贤妻娇女，生活幸福。外有同行认可，事业兴旺。然而，他心中潜藏的，是成为武林第一人的愿望。为此，他欺骗孤儿林平之，窃取辟邪剑谱，自宫学艺，逼死妻子，驱逐大弟子令狐冲，成为毫无下限的卑劣小人。
3. There is also Yue Buqun from "The Smiling, Proud Wanderer," who was originally renowned in the martial arts world for his "gentleman's sword" and was in charge of Mount Hua. Internally, he had a wise wife and a beautiful daughter, leading a happy life. Externally, he received recognition from his peers and his career was flourishing. However, deep in his heart, he harbored the desire to become the number one person in the martial arts world. For this reason, he deceived the orphan Lin Pingzhi, stole the Xieye Sword Manual, castrated himself to learn the art, killed his wife, and expelled his senior disciple Linghu Chong, becoming a despicable and shameless person with no moral底线.
4. 所谓浮躁凌厉的风格特色在周作人“关于人事的评论”中显得很明显。这类注重了议论、批评的杂感，触及现实，针砭时政，战斗的锋芒包藏在“湛然和蔼”的平淡叙述中。这又是他与别人的不同之处。在当时的文艺界中，很多人以满腔热情、激愤之词，写出了慷慨激昂的话语，用尖锐之词控诉一切不合理的事物。而周作人却没有因为所要表达事物的不同而改变其一贯的习文风格。依旧是那样的温文尔雅，但却在字里行间、行文之处来评时政，发感慨。我们且看他是如何展现的：
4. The characteristic style of impetuosity and sharpness is particularly evident in Zhou Zuoren's "Comments on Personnel." This type of essay, which focuses on argumentation and criticism, touches upon reality and criticizes contemporary politics, hides the sharpness of battle within the plain and gentle narration. This is another difference between him and others. In the literary and artistic circles of that time, many people wrote passionate and emotional words, expressing their grievances with resolute and ardent language, and accusing all unreasonable things with sharp words. However, Zhou Zuoren did not change his consistent style of writing because of the difference in the things he wanted to express. He was still erudite and courteous, but he expressed his views on contemporary politics and shared his sentiments through the words and sentences of his writing. Let's see how he displayed this:
5. 古人说：“天下本无事，庸人自扰之。”如果能够清空心灵，放下杂念，万般烦恼都会烟消云散。
5. As the ancients said, "There is originally nothing in the world, but the unenlightened people make trouble for themselves." If one can empty one's mind and let go of distracting thoughts, all kinds of troubles will vanish like smoke.
6. 这些议论性的散文于平淡叙述中别有一种战斗力量，虽不能以寸铁杀人，却于凌厉之中显示出强烈的社会意识、盎然的战斗意气。
6. These argumentative prose pieces possess a unique combat power amidst their plain narration, though they cannot kill with a mere blade, they display a strong social consciousness and a vigorous fighting spirit in their sharpness.
7. 结 论
7. Conclusion
8. 对于封建传统思想的批判，写的淋漓酣畅又亦庄亦谐。在《祖先崇拜》这篇一千来字的短文里，周作人以进化论为思想武器，对于“在自然律上，明明是倒行逆施的封建伦理观念”进行了理直气壮的批判。但他的批判、反抗又自与别人不同，于挑战、评判的态度中又见中庸与平和。对于封建礼教宣扬的那一套虚伪的所谓“风纪教化”，周作人也毫不客气地加以嘲讽。如当时上海的湘沪警察厅明令禁止携带十岁上下的女孩进浴堂，理由是“有关风纪”。周作人在《风纪之柔脆》一文中写到：
8. The criticism of feudal traditional ideas is written with eloquence and humor, both solemn and light-hearted. In the short essay "Ancestor Worship," which is about a thousand words, Zhou Zuoren, using evolutionary theory as his ideological weapon, dares to make a resolute criticism of "the feudal ethical concept that is obviously retrograde according to the laws of nature." However, his criticism and resistance are different from others, and amidst the attitude of challenge and judgment, one can also see moderation and peace. Zhou Zuoren also does not hesitate to mock the false so-called "morality education" propagated by the feudal rituals. For example, at that time, the Xiang-Hong Police Bureau in Shanghai issued an explicit order to ban the carrying of girls aged ten or above into bathhouses, with the excuse that it "is related to public morality." In the article "The Fragility of Morality," Zhou Zuoren wrote:
9. 佛说，人生八苦，其中二苦，就是求不得，放不下。也就是说，执念太深，是我们走得不顺利的重要原因。人生在世，尽其当然，顺其自然。减少自己的执念，才能活得更从容，更自在。
9. The Buddha said that there are eight sufferings in life, and two of them are the inability to attain what one seeks and the inability to let go. In other words, having deep attachments is an important reason why we may not move smoothly in life. In this world, we should do our best and follow the natural course. By reducing our attachments, we can live more calmly and comfortably.
10. 《天龙八部》里的游坦之，以赤诚之心爱上阿紫，本是一件好事。可他执念太深，让这种爱走到了极端。为了赢得这份卑微到尘埃里的爱情，他甘愿接受凌辱，毁容，挖瞎自己的双眼，最终也是自蹈悲剧，让人扼腕。
10. In "The Heaven Sword and Dragon Saber," you see, Yu Tanzhi fell in love with A Zhi with a sincere heart, which was originally a good thing. However, his obsession was so deep that it drove this love to the extreme. In order to win this love that was humble to the point of dust, he was willing to endure humiliation, disfigurement, and even gouge out his own eyes. In the end, he walked into his own tragedy, leaving people to clasp their hands in regret.
11. 初探其散文风格，总是疑惑在他的散文中何以会有两种截然不同的风格统一在一起。二者是怎样的辩证关系。后对其文化心态及受儒家文化的影响、当时的社会背景等因素的探究，了解了他所走的人生道路。他的文艺思想中有“绅士气”与“流氓气”两种思想，形成了平和与浮躁两种不同的风格。但在其它综述中，对其作品与外国文学，特别是古希腊文学，日本文学的关系上介绍甚少，外国文学对他的文艺思想，文学写作的影响也只是作了概述，没有详写专论。
11. When initially exploring his prose style, one is always puzzled as to how two entirely different styles can be unified in his prose. What is the dialectical relationship between the two? Through the exploration of his cultural mindset, the influence of Confucian culture, the social background at the time, and other factors, one comes to understand the path of life he has taken. His literary and artistic thoughts contain both "gentlemanly" and "ruffian" elements, which give rise to two different styles: one peaceful and the other restless. However, in other comprehensive reviews, there is little introduction to the relationship between his works and foreign literature, especially Greek literature and Japanese literature. The influence of foreign literature on his literary and artistic thoughts and literary writing is only briefly summarized, without a detailed monograph.
12. 谋士很失望，他对别人说，项羽不过是一只戴着帽子的猴子，徒有其表。项羽听到他的话，勃然大怒，就杀了他。
12. The advisor was very disappointed, and he said to others, "Xiang Yu is no more than a monkey wearing a hat, all show and no substance." Upon hearing his words, Xiang Yu flew into a rage and killed him.
13. “苦”在佛教中被列为“四谛”之首,称为“苦谛”,是佛教的精义所在。
13. "Suffering" is listed as the first of the "Four Noble Truths" in Buddhism, known as the "Suffering Truth," and is the essence of Buddhist teachings.
14. 一位发小一直立志成为一名作家，可人到中年，依然毫无建树，原因是他想干的事太多，心太散。他一度热爱诗词，几年后又觉得写诗没前途，转战散文。散文还没写出名堂，又羡慕小说的阅读量。就是写小说，也是在各种各样的主题之间反复切换，没有定性。
14. A childhood friend has always aspired to become a writer, but by the time he reached middle age, he had achieved nothing significant. The reason was that he had too many things he wanted to do and his mind was scattered. He once loved poetry, but a few years later, he felt that poetry had no future and switched to prose. Before he could make a name for himself in prose, he became envious of the reading volume of novels. Even when writing novels, he would repeatedly switch between various themes, never settling on a fixed direction.
15. 有水平的人，会推掉无关紧要的事，拒绝没有意义的事，凝聚心神，专注做好最主要的事。
15. People of caliber will dismiss trivial matters, reject things without meaning, focus their minds, and concentrate on doing the most important things well.
16. 熟悉周作人散文的人都会发现他散文中有一种题材最引人注目，那就是“风”和“雨”的意象，感受着“雨天”的阴沉，风雨之苦寂，这些“水”的哲学让周作人思考忧虑了一生，他的不少散文就是这种思考与忧虑的结晶，而且水的外在声、色与内在性格、气质也深刻影响了周作人其人、其文。而其散文思想的澄明，色彩、气味的清淡，情感的温润，无不联系着“水”。在某种程度上，周作人的散文已经与“水”融为一体。在他的《雨天的书》里，这带着“水气”的文章显现了作者本人的超脱和冲淡。朱光潜评价为：“在当时的散文作家中，除周作人很难找得第二个人能够作得如此清淡的小品文字。”并把这种隽冷冲和的风韵归结为三个特点：清、冷、简洁。其中“冷”是他最显著的特点。文章的冷正是作者心情之冷、人生态度上的冷的写照，这是与周作人的文化心态分不开的。在他的思想中，有着对各种“热”的否定，否定当时的热血与热情，预示了他日后的隐士之路。
16. Those familiar with Zhou Zuoren's prose will find that there is a theme that stands out in his essays, that is, the imagery of "wind" and "rain." They sense the gloom of "rainy days," the loneliness of the storm, and these "water" philosophies have caused Zhou Zuoren to ponder and worry throughout his life. Many of his essays are the crystallization of such thoughts and worries, and the external sounds, colors, and the inner character and temperament of water have profoundly influenced Zhou Zuoren both as a person and as a writer. The clarity of his prose thoughts, the lightness of colors and smells, and the warmth of his emotions are all closely related to "water." To some extent, Zhou Zuoren's prose has merged with "water." In his book "Books on Rainy Days," the articles with a "water-like" quality reveal the author's transcendence and tranquility. Zhu Guangqian evaluates it as: "Among contemporary prose writers, it is difficult to find a second person who can write such light-hearted essays." He attributes this elegant, cool, and tranquil style to three characteristics: clarity, coolness, and simplicity. Among them, "coolness" is his most distinctive feature. The coolness of the article is a reflection of the author's cold mood and cold attitude towards life, which is inseparable from Zhou Zuoren's cultural mindset. In his thoughts, there is a negation of various "heats," a negation of the enthusiasm and passion of the time, foreshadowing his future path as a recluse.
17. 周作人，在“五四”时期曾经是中国新青年心目中一个辉煌的名字。即使后来的逐渐暗淡也并没有淹没他在现代散文创建上的巨大功绩。通过他与鲁迅在“杂文小品”上的大胆尝试与辛勤实践，使这种古已有之的文体焕发出青春的活力；而对美文的倡导与创作，又给新文学开辟出了一块新土地。他的文笔朴素流畅、舒徐自如中略带幽默和轻松，读后给人一种亲切而自然的感觉。
17. Zhou Zuoren, during the May Fourth period, was a brilliant name in the hearts of the new youth of China. Even though his fame gradually dimmed later, it did not overshadow his great contributions to the creation of modern prose. Through his bold attempts and diligent practice with Lu Xun in the genre of "prose and sketches," he revitalized this ancient style with youthful vitality; and through his advocacy and creation of beautiful prose, he opened up a new territory for new literature. His writing style is simple and fluent, with a touch of humor and ease, giving readers a sense of familiarity and naturalness after reading.
18. 其次是腴润的特色。以极短之文达到极淡之美的风格使他创作了许多出色的作品。
18. Next is the characteristic of richness and luster. The style of achieving extreme delicacy with very concise writing has led him to create many outstanding works.
19. 我同意刘绪源的说法。我的观点也是如此：周作人的散文以笔记体为最佳，其次抄书体，再次情志体。早期的情志体，或平淡清雅如《乌篷船》，或凌厉辛辣如《诅咒》，个性文采都比较显露，因此易于吸引读者，但总体说来略嫌浮躁；中期的抄书体就沉静老练多了，如《谈笔记》、《读禁书》、《<五老小简>》等，都是极好的文章，其所知所见既博，摘选引录便特别精到，文字风格自然熨贴，又有高明的思想见地穿插其间，这些都是一般作家所不能比拟的，如果说《乌篷船》的行文尚可学，《谈笔记》便真是不可学了，但也有缺点，那就是引述太多，篇幅过长，行文失之枝蔓，凝练含蓄不足；这些毛病到了晚期的笔记体中就都不见了，笔记体篇幅很短，一般只有三五百字，语言是浅近的文言，形式上接近古人的笔记，但从内涵上说，远非简单的古今新旧中外东西所能牢笼，往往是寥寥数语，就蕴藏着惊人的内涵，如《药味集》和《书房一角》中的某些文章，是真正做到了“枯涩苍老，炉火纯青”。
19. I agree with Liu Xuyuan's statement. My perspective is similar as well: Zhou Zuoren's prose is at its best in the style of notebook entries, followed by the style of copying books, and then the style of emotions and aspirations. The early works in the style of emotions and aspirations, whether plain and elegant like "The Black篷Boat," or sharp and acerbic like "Curse," both show their individual literary style, which makes them easy to attract readers. However, overall, they are somewhat restless. The middle-period works in the style of copying books are much more tranquil and skilled, such as "On Notebooks," "Reading Banned Books," and "
20. 生活中有些人，不能给自己准确定位，一山望着一山高。什么都干，什么都干不好，心神动荡不安，人生一片狼藉。
20. There are some people in life who cannot accurately position themselves, always seeing the next mountain higher. They try their hand at everything but fail at all, causing their minds to be restless and turbulent, and their lives to be in disarray.
21. 很多学者都曾以科学的态度评价过周作人，谈他的人生态度、文学造诣与历史功绩。谁都不能否认他在新文化运动中作出的多方面贡献，而更值得人称赞的便是他在散文创作上的突出成就。他的小品文创作近千篇，这在我国现代散文作家中，堪称稀有。这使得人们提起他的名字，便和“小品文”联系在一起，深植于读者心中。
21. Many scholars have evaluated Zhou Zuoren with a scientific attitude, discussing his life philosophy, literary achievements, and historical contributions. No one can deny the multifaceted contributions he made to the New Culture Movement, and what is even more praiseworthy is his outstanding achievements in prose writing. He has written nearly a thousand essays, which are rare among modern Chinese prose writers. This has led to the association of his name with "essay writing," deeply rooted in the hearts of readers.
22. 然而这种平淡不等于枯槁，相反地倒是要腴润，用腴润的笔将并不腴润的事物写得丰满起来。首先，在内容方面，他在作品中融进了胸襟气度的宽厚，融进了对生活的广泛兴趣和广博知识。在《雨天的书·鸟声》中即使干枯的鸟声也写得很有情致。如：
22. However, this plainness does not equate to wither, on the contrary, it is about being plump and full, using a plump pen to write about things that are not plump. Firstly, in terms of content, he infused his works with a generous breadth of mind, a wide range of interests in life, and extensive knowledge. In "The Book of Rainy Days: Bird Sounds", even the withered bird sounds are written with a certain charm. For example:
23. 其散文取材随便，想写什么就写什么，写苍蝇虱子、品茶饮酒、谈狐说鬼、评古籍、玩古董等，内容驳杂，以其趣味性和知识性来吸引人。而且写法随便，想怎么写就怎么写，不娇揉、不造作，没有感情与笔墨的夸张，意蕴深远，需要读者细细品味。《吃茶》、《谈酒》、《乌篷船》、《故乡的野菜》等名篇所写都是平平常常的事，平平常常的生活，虽无多大的思想意义，然其中另有一番情趣和哲理，所谓“醉翁之意不在酒，在于山水之间也”。他所看中的是通过平凡的事物的描写来抒写自己的情怀，这是周作人的生活艺术在他的言志小品中的表现。这种将雅趣与野趣融合，提炼而成的闲适冲淡的艺术趣味，是周作人散文的个性和灵魂。一切都贯注着周作人的艺术趣味，一切都因艺术的精炼而冲淡平和，连“杞天之忧”也只是淡淡的忧思，连写初恋也只是淡淡的相思。这就是周作人独立于人生的“人生艺术”，一种有着鲜明风格、自我表现的言志的艺术。而在这类散文中，也展现了作者学识之丰富。试想，如果没有一定的文化底蕴，没有接触到广泛的生活，怎能写出如此生趣盎然的作品。虽然后期的散文有“掉书袋”之嫌，但足可见作者的渊博学识。
23. His prose is casual in choice of topics, writing whatever comes to mind, ranging from flies and lice, to tea-tasting and wine-drinking, discussing fox spirits and ghosts, appraising ancient books, and playing with antiques. The content is eclectic, attracting readers with its playfulness and knowledgeability. Moreover, his writing style is also casual, choosing how to write as it pleases, without pretense or exaggeration of emotions or words, with profound meaning that requires careful appreciation. Masterpieces like "Eating Tea," "Talking About Wine," "The Black篷Boat," and "Wild Vegetables of the Homeland" all describe ordinary matters and everyday life, which, while lacking in profound ideological significance, possess a unique charm and philosophy. As the saying goes, "The old man's intention is not in the wine, but in the scenery between mountains and rivers." What he values is expressing his feelings through the description of ordinary things, which is the manifestation of Zhou Zuoren's life art in his essays. This blending of refined and rustic interests into a leisurely and tranquil artistic charm is the personality and soul of Zhou Zuoren's prose. Everything is imbued with Zhou Zuoren's artistic taste, everything is refined and peaceful due to artistic refinement, even the worry of "杞人忧天" is a light concern, and writing about first love is just a light longing. This is Zhou Zuoren's independent "life art" in the world, an art with a distinct style and self-expression. In these essays, the richness of the author's knowledge is also evident. Imagine, without a certain cultural foundation and a wide range of life experiences, how could one write such vivid works. Although his later prose may be accused of "showing off knowledge," it is enough to see the author's extensive knowledge.
24. 慧律禅师说：“寡言养气，寡事养神，寡思养精，寡念养性。”
24. Hui Lu Chan said, "By speaking less, one cultivates one's qi; by engaging in fewer affairs, one nurtures one's spirit; by thinking less, one refines one's essence; by having fewer desires, one nourishes one's nature."
25. 首先是简素的特色。美文这种极具艺术性的散文小品，被周作人概括为“真实简明”的。“真实”便是说真话，说自己的话；“简明”则是对文字的要求。既名为小品，篇章必然大多短小简洁，在《知堂说》这篇“小品”中，全文连标点符号在内还不到一百四十字。文字不事藻饰，却确有他一向追慕的含蓄耐读的“简单味”，简素与平淡显得十分和谐。而周作人自己也曾说，他欣赏日本人“在生活上的爱好天然，崇尚简素”。这八个字也正是他自己在文学艺术上的理想。这里又有许多内容，如不求华绮，不施脂粉，本色天然．又如不夸张，不作态，不哗众取宠。又如不谈深奥理论，只说平常道理，而有平易宽阔气象。又如不求细纹密理，不用细针密线，只求大裁大剪，粗枝大叶，却又疏劲有致。凡此都是周作人主张的天然简素之美。他又把这一切概括之曰：“写文章没有别的诀窍，只有一个字曰简单。”
25. First and foremost is the characteristic of simplicity. The exquisite prose and essay pieces known as "meiwen" (beautiful writing), as summarized by Zhou Zuoren, are characterized by "authenticity and clarity." "Authenticity" means speaking the truth and saying one's own words; "clarity" is a requirement for the text. As it is called a "short piece," the articles must be short and concise. In the "Zhi Tang Shuo" (Know-the-Hall Talk) piece, the entire text, including punctuation, is less than one hundred and forty characters. The text is not ornate, yet it truly possesses the reserved and readable "simple taste" that he has always admired, and simplicity and plainness appear very harmonious. Zhou Zuoren himself has also said that he appreciates the Japanese "love for nature in life and the admiration for simplicity." These eight characters are also his own ideal in literature and art. There are many other contents, such as not seeking elegance, not applying makeup, being natural in one's true colors. Not exaggerating, not acting, not trying to please the crowd. Not discussing profound theories, but only speaking common sense, with an easy and broad demeanor. Not seeking intricate patterns, not using fine needles and threads, but only seeking large cuts and rough strokes, yet still having a sparse and purposeful charm. All of these are the natural and simple beauty advocated by Zhou Zuoren. He also summarized all of this by saying, "There is no other secret to writing than one word: simplicity."
26. 只有小部分人坚持认为没有倒退，这些人多是周作人研究界的专家学者，如舒芜、钱理群、刘绪源、黄开发等。刘绪源在《解读周作人》中明确指出周作人的文章是中期胜于早期，晚期又胜于中期，他说：“《药味集》与《书房一角》，在他的整个创作生涯中，可说是艺术上最为成熟的两本书了。”
26. Only a small portion of people insist that there was no regression, and these people are mostly experts and scholars in the Zhou Zuoren research field, such as Shu Hu, Qian Lique, Liu Xuyuan, and Huang Kaifa, etc. Liu Xuyuan explicitly pointed out in "Interpreting Zhou Zuoren" that Zhou Zuoren's writings were superior in the middle period compared to the early period, and in the late period compared to the middle period. He said, "The books 'Collection of Medicinal Flavors' and 'A Corner of the Study' can be said to be the two most mature books in terms of art in his entire career of creation."
27. 不少人认为，周作人的散文艺术之所以难以企及，就在于他做到了平淡，平淡是散文艺术的极境。
27. Many people believe that the reason Zhou Zuoren's prose art is difficult to match lies in his ability to achieve simplicity, as simplicity is the ultimate state of prose art.
28. 周作人前期的散文的确跳动着鲜活泼辣的节奏，但纵观全体呈现更多的是以冲淡为特色的抒情、叙述的散文小品。而当人们提及周作人时，首先想到的也是这种展现他闲适怀抱的“平和”的写作特色。他的文笔不是鲁迅那样的犀利，而是把一种迥异的风格特色呈现在读者面前。若从单纯的艺术审美角度来审视，这些散文确实达到了炉火纯青的境界，甚至可以说达到了中国现代闲适文的极至。其中，无论是从自身态度上，还是从取材上，亦或是多种写作手法上都展现了他的独有的风格，引领着当时文艺界一股清新的写作特色。
28. Zhou Zuoren's early prose indeed pulsates with a vibrant and spicy rhythm, but when looking at the whole body of work, what stands out more is the lyrical and narrative style of prose essays characterized by a mildness. When people mention Zhou Zuoren, the first thing that comes to mind is also this "harmony" writing style that showcases his leisurely demeanor. His writing style is not as sharp as that of Lu Xun, but rather presents a completely different style to the readers. If we examine these essays from a purely artistic aesthetic perspective, they indeed reach a peak of refinement, even reaching the pinnacle of modern Chinese leisure writing. Among them, whether from his own attitude, the subject matter, or the various writing techniques, they all demonstrate his unique style, leading a fresh writing characteristic in the literary and artistic circles of that time.
29. 关于初恋的回忆，通常总是浓的，而周作人回忆的初恋却要说：“自己的情绪大约只是淡淡的一种恋慕。”如此极力淡化感情，是根于他整个的人生审美标准。此种审美标准，表现在文学艺术上，就是爱好天然、崇尚简素。
29. When it comes to memories of first love, they are usually intense. However, Zhou Zuoren's recollection of his first love would be described as: "My own emotions were probably just a faint kind of admiration." Such a deliberate downplaying of emotions is rooted in his entire life's aesthetic standards. This aesthetic standard, when manifested in literature and art, is an appreciation for the natural, and a veneration of simplicity.
30. 人生下半场，要懂得用“寡”的态度，提升生命品质，净化自己的灵魂。毕竟，中年人压力很大，要给自己卸掉那些不必要的负重。
30. In the latter half of life, one should learn to adopt a "spare" attitude to enhance the quality of life and purify one's soul. After all, middle-aged people face great pressure, and it's important to lighten the unnecessary burdens upon oneself.
31. 细数年华二十年，就这样蹉跎而过。
31. Counting the years, twenty years have passed by in this way.
32. 项羽进入咸阳后，一位谋士谏言说，关中要害之地，定都于此，可以威震天下。
32. After Xiang Yu entered Xianyang, a counselor advised, "The central and vital region of Guanzhong, if the capital is established here, can awe the whole world."
33. 另外，我觉得特别应看到的一点是：笔记体和抄书体在散文文体创新上的重大意义。前面说了，不必问“怎么走才能通向最好”，从无路的地方寻出路来，才是大本事。周作人就是这么一个寻路人，很多人写散文是用自己的语言说别人的话，他的抄书体却是用别人的语言说自己的话，至于笔记以之融贯古今、凝涩简朴，则更是前所未有的创格。
33. Additionally, I think it is particularly important to recognize the significant role of the note-taking style and the copywriting style in the innovation of prose literature. As mentioned earlier, it is not necessary to ask "how to reach the best way," but to find a way out from nowhere is truly a great skill. Zhou Zuoren is just such a guide, and many people write prose by expressing others' words with their own language, but his copywriting style is to express his own thoughts with others' language. As for the note-taking style, which integrates the ancient and modern, and is concise and simple, it represents an unprecedented style of creation.
34. 然而，不可否认的是，周作人后期在政治上产生了一定的消极的态度。因而有些人便把他后期散文所表现的闲适的美也归结为一种消极性，认为他在中国最危急最黑暗的时代，用一种闲适的美来陶铸青年的灵魂，来消磨其斗志。这种在二三十年代相当流行的评论是把他在艺术上对“平和冲淡”的追求和他在政治上的脱离现实斗争直接联系起来。到了今天，读者的看法自然会随着时间的改变，历史的前进而有所不同。这种表现性灵、情趣的闲适小品文，出于抒情言志的需求，用最平淡的讲话来包藏深刻的意味。在生活的艺术下展示悠然的心情，体现了周作人其独有的风度与幽闲的怀抱。
34. However, it is undeniable that Zhou Zuoren developed a certain negative attitude towards politics in his later years. Therefore, some people attribute the leisurely beauty expressed in his later prose to a form of negativity, believing that during China's most critical and darkest era, he used a leisurely beauty to shape the souls of the youth and to dissipate their fighting spirit. This kind of commentary, which was quite popular in the 1920s and 1930s, directly linked his pursuit of "serene and moderate" artistry in his later works with his detachment from the realistic political struggles. Today, readers' views naturally change with time and the progress of history. This kind of leisurely essay that expresses one's temperament and taste is written to meet the needs of lyricism and expression, using the most plain language to convey profound meanings. It showcases a relaxed mood under the art of life, reflecting Zhou Zuoren's unique demeanor and the serene bosom he possessed.
35. 其实，大部分人之所以不能认可周作人中后期的散文，主要在于他们心中已形成一种或几种固定的套路——散文就该这么写，创新意识的缺乏使他们难以认识到周作人复杂多变的散文文体所暗示的——散文也能这么写。事实上，平淡也好，华丽也罢；情志也好，抄书也罢；长篇大论也好，短小精悍也罢，只要写得好，都行。中国历来散文最发达，因此在这方面传统的包袱也最重，难于创新，近年较有新意的散文形式不多见，“文化大散文”和“哲理散文”算是新近出现的，但一味追求“大”，不免流于空，哲理谈多了，也没什么意思，总体来说并不景气，所以，周作人那种在文学上不肯降心随俗的个性与巨大的创造力，就更显得弥足珍贵了。
35. In fact, the main reason why most people cannot appreciate Zhou Zuoren's prose from the middle and later periods is that they have already formed one or several fixed patterns in their minds——that's how prose should be written. The lack of innovative awareness makes it difficult for them to recognize the implications of Zhou Zuoren's complex and ever-changing prose style——prose can also be written like this. In reality, whether it's plain or ornate; whether it expresses emotions or copies books; whether it's lengthy or concise and to the point, as long as it's well-written, it's all right. Chinese prose has been the most developed historically, which also means the traditional burden in this area is the heaviest, making innovation difficult. In recent years, there haven't been many new and interesting forms of prose. "Cultural prose" and "philosophical prose" are relatively new, but an excessive pursuit of the "big" tends to become hollow. Talking too much about philosophy also loses its appeal. Overall, the situation is not very promising. Therefore, Zhou Zuoren's personality, which refuses to compromise with the mainstream in literature and his immense creativity, becomes even more valuable.
36. 作为一个思想家型的文学家，他所创作的艺术作品往往包含着文化、社会历史审美等多种价值涵量。而对于形成周作人散文艺术特色的决定性因素，就是他的审美观。他作为京派重要代表人所追求的京派文学的审美理想，就是崇尚和谐、崇尚节制。他的全部散文创作体现着一个鲜明而矛盾的审美意识和审美理想追求。他向往冲淡闲适，爱好天然，崇尚简素，不喜欢强烈的感情，不喜欢夸张，尤其憎恶作态，喜欢平易宽阔，不喜欢艰深狭窄。在这些趣味里包含着好些东西，如雅朴、涩、重厚、清朗、诙谐、委婉、腴润等。然将这一切统驭起来的就是他的中庸思想，也正是这种思想让他的两种似乎矛盾的特色统一起来。而他又多次声明自己的中庸主义并不是中国儒家的中庸主义。他心目中最高的美是古希腊的均衡节制之美，认为它是调和了智慧与美的艺术。他用“中庸”这个中国哲学范畴来表达之。在散文艺术上，毕生追求这种中庸之美。而在真正选择人生道路时，他又何尝不是追求这种中庸之美。他胸中自有强烈的愤慨，却从不以激进的方式表达之。当真正需要拿起武器针锋相对地指向敌人时，他又显得退缩了，回归到田园生活中。他自己认为“文学不是实录，而是一个梦”。周作人正是带着这种佛教、儒家思想相互渗透的人生哲学去完成他的隐逸之梦。同时，在他所描写的田园风光中体现的形式感和美感，为更多没有名士气而又闪避现实的新进作者所亲近。上文所列出的周作人散文中种种艺术特色，各种意匠经营，全都可以统一在这极复杂又极深刻的中庸之美的追求里面。他的一切成功，都是中庸之美得以实现的成功，并且对中国新文学的发展一直起着巨大的影响。
36. As a literary figure with a thinker's mindset, the artistic works he created often contain multiple layers of cultural, social-historical, and aesthetic values. The decisive factor in forming Zhou Zuoren's unique style of prose is his aesthetic perspective. As an important representative of the Beijing School, he pursued the aesthetic ideals of Beijing literature, which were the admiration for harmony and moderation. His entire body of prose reflects a distinct and contradictory pursuit of aesthetic consciousness and ideals. He aspired for simplicity and leisure, loved nature, esteemed simplicity, disliked intense emotions, exaggerated expressions, and especially disliked affectation. These tastes encompass a variety of qualities such as elegance, simplicity, richness, clarity, humor, subtlety, and suppleness. However, what unifies all these elements is his philosophy of moderation, which also serves to harmonize his seemingly contradictory characteristics. He has repeatedly declared that his philosophy of moderation is not the same as the Confucian concept of the middle path. In his view, the highest form of beauty is the balanced and moderate beauty of ancient Greece, which he believes to be the art of harmonizing wisdom and beauty. He uses the Chinese philosophical category of "moderation" to express this. In the art of prose, he pursued this beauty of moderation throughout his life. And in his true choice of life path, he also sought this beauty of moderation. He harbored strong resentment within, yet never expressed it in an aggressive manner. When it was truly necessary to take up arms and confront enemies head-on, he seemed to retreat, returning to a life of seclusion in the countryside. He himself believed that "literature is not a record but a dream." Zhou Zuoren was just such a Buddhist and Confucian philosophy that permeated his life philosophy to complete his dream of seclusion. At the same time, the sense of form and aesthetic beauty he portrayed in the rural scenery was beloved by many new writers who had no sense of scholar-official demeanor but were avoiding reality. The various artistic characteristics and intentions listed in Zhou Zuoren's prose can all be unified in the pursuit of this extremely complex and profound beauty of moderation. All of his successes are the realization of the beauty of moderation, and they have always had a tremendous impact on the development of Chinese new literature.
37. 大部分人认为是倒退了，这是一般大众和学术界的非专业人士的看法，比如，一般的现代散文选本，都是只选周作人早期的文章，至多加一两篇中期的抄书体，晚期的笔记体就基本没有可能了。再如俞元桂的那本《中国现代散文史》中，称周作人后期文章“从思想情趣到文字作风都士大夫化了”，这是只看到了其外在的“旧”，而没有看到内在的融贯，可以说是一种很大的误读和歪曲。较内行点的倪墨炎（写过一本周作人的传记）也持这个观点，所以黄开发说他写的传记“作者与传主的精神世界之间存在一定程度上的疏离”。
37. Most people consider this a step backward, which is the view of non-specialists in the general public and the academic community, for example, most modern prose anthologies only select Zhou Zuoren's early articles, at most adding one or two middle-period copybook-style articles, and it is basically impossible to include his late notebook-style writings. For instance, in Yu Yuangui's book "A History of Modern Chinese Prose," it is said that Zhou Zuoren's later articles "have become scholarly and bureaucratic in both thought, taste, and writing style," which is a misunderstanding and distortion as it only sees the outer "oldness" without recognizing the internal coherence. This can be said to be a significant misinterpretation. Qí Mòyàn, who is more knowledgeable (and has written a biography of Zhou Zuoren), also holds this view, which is why Huang Kaifā said that there is a certain degree of estrangement between the author and the subject in his biography.
38. 周作人的散文创作，大体有“人事的评论”和以抒情、记叙为主的“美文”这两类。相应地，也就出现了“浮躁凌厉”和“平和冲淡”两种不同的艺术风格。每种风格又各有自身的特点，显示了他深湛的艺术造诣。
38. Zhou Zuoren's prose writings are generally divided into two categories: "comments on human affairs" and "beautiful essays" mainly focusing on expression and narration. Correspondingly, there have emerged two different artistic styles: "restless and fierce" and "peaceful and moderate." Each style has its own characteristics, showcasing his profound artistic accomplishment.
39. 于丹说：“人生上半场，要做加法。而下半场，要做减法。”
39. Yu Dan said, "In the first half of life, one should do addition. In the second half, one should do subtraction."
40. 俄国作家契诃夫的《小公务员之死》，讲述了一名公务员在剧场看戏时，不小心打了一个喷嚏，把口水溅到了前排将军的脸上。公务员十分惶恐，立即向将军道歉，将军也大度地原谅了他。
40. "The Death of a Little Official," a story by the Russian writer Anton Chekhov, tells about a government employee who, while watching a play at the theater, accidentally sneezed and splashed saliva on the face of a general sitting in front of him. The official was extremely anxious and immediately apologized to the general, who generously forgave him.
41. 《人生海海》说：“如果被执念束缚，痛苦就成了烙印在身上的诅咒。”放下执念，做自己力所能及的事，守住人品、原则和底线，不让自己行差踏错，才能活得从容不迫，轻松洒脱。
41. "Life, the Sea and the Sea" says: "If bound by obsession, pain becomes a curse branded on one's body." Let go of obsession, do what you can, hold on to your character, principles, and bottom line, and do not let yourself step over the line, only then can you live with composure and ease.
42. 再次是诙谐的特色。助成平淡腴润之美的,还有诙谐趣味,周作人早期的散文常常能将战斗性和谐趣统一。他写到一个抽鸦片的人,“穷得可以,只剩下一顶瓜皮帽前边还烧成一个大窟窿，乃是沉醉时把头屈下去在灯上烧的，可见其陶然之状态了。”这种诙谐使人微笑,也使人想哭。有时他出诸反语,正话反说,因此有相当浓郁的幽默味。诙谐幽默的字里行间，读者感觉到作者的智慧与技巧，体会到周作人笔下一股时隐时显、时浓时淡的苦涩味。这又正是真率自然的周作人自我心境的流露。
42. Once again, it is the humorous characteristic. The humorous趣味also contributes to the beauty of simplicity and richness. Zhou Zuoren's early prose often unified combativeness and humor. He wrote about a man smoking opium, "He was so poor that he had nothing but a gourd hat in front of which a big hole had been burned, a result of him bowing his head down to the lamp while drunk, which showed his state of intoxication." This humor made people smile and also want to cry. Sometimes he used irony, saying the opposite of what he meant, which resulted in a rather strong sense of humor. The humor and wit in the text made readers feel the author's intelligence and skill, and sensed a taste of bitterness that sometimes appeared and sometimes faded, sometimes strong and sometimes faint, in Zhou Zuoren's writing. This was a true and natural expression of Zhou Zuoren's own emotional state.
43. 周作人以他真诚、随意的态度形成了朴实自然的作风。前期的小品文无论从取材、立意，以至行文各方面，都体现了从自己的真情实感出发，任意而谈、信笔而写的特点，只用平白无华的语言来造成幽隽淡远的意态。
43. Zhou Zuoren formed a plain and natural style with his sincere and casual attitude. The early essays, in terms of their subject matter, theme, and writing style, all reflected the characteristic of speaking freely and writing at will from his true feelings and emotions, using plain and simple language to create a subtle, elegant, and distant atmosphere.
44. 人生下半场，寡言、寡事、寡思、寡念，给心灵减负，给生活减压，让自己气定神闲，轻装上阵，简单幸福。
44. In the second half of life, be laconic, do less, think less, and have fewer thoughts. Lighten the burden of the soul, reduce the pressure of life, and let yourself be calm and composed, ready to face challenges with ease, leading a simple and happy life.
45. 寡言，不要让嘴巴漏掉福气。寡事，不要让无关紧要的繁杂事扰乱心神，聚精会神把最重要的事做到极致。寡思，不要让过多的思虑消耗精力，折磨心灵。寡念，放下心中的执念，不剑走偏锋，还生命以自由，给人生以正道。
45. Speak sparingly, do not let your mouth lose the blessings. Engage in fewer matters, do not let trivial and distracting things disturb your mind, and concentrate on doing the most important things to the utmost. Think less, do not let excessive thinking consume your energy and torment your soul. Let go of your stubbornness, do not take a wrong path, give life freedom, and provide life with the right path.
46. 人到中年，自己在社会坐标中的定位基本清晰，事业的天花板触目可及，体力和精力开始滑坡。让生命感到幸福的，不再是外在物质和虚荣的堆垒，而是心灵真正的喜悦。
46. At middle age, one's position in the social coordinate is basically clear, the ceiling of one's career is within sight, and both physical strength and vitality begin to decline. What brings happiness to life is no longer the accumulation of external material possessions and vanity, but the true joy of the soul.
47. 想太多，是人生最大的内耗。该来的，总会来。不该来的，终不来。世间万物都有自身的发展轨迹，那些纷纭的思虑和杂想，唯一的结果就是损耗自己的精气，起不到任何有益的作用。
47. Overthinking is the greatest internal waste in life. What is meant to come will eventually arrive. What is not meant to come will never come. All things in the world have their own development trajectory. The only result of all those scattered thoughts and杂想is to deplete one's vital energy and spirit, and they serve no beneficial purpose.
48. 黄开发在《人在旅途》里将周作人的散文划分成了三大类：情志体、抄书体、笔记体。其相对应的时期是早、中、晚期，解放后的《木片集》、《鲁迅的故家》、《知堂回想录》等不算进去。情志体如《雨天的书》，抄书体如《夜读抄》，笔记体如《书房一角》，都有其代表性的集子。问题的关键是，从情志体，到抄书体，再到笔记体，是进步了，还是倒退了？
48. Huang Kaifa divides Zhou Zuoren's prose into three categories in "People on the Road": the Sentiment and Will Form, the Copying Books Form, and the Note-taking Form. The corresponding periods are the early, middle, and late stages, and collections like "Wood Chips" after liberation, "The Ancestral Home of Lu Xun," and "Recollections of Zhitang" are not included. The Sentiment and Will Form, such as "Books on a Rainy Day," the Copying Books Form, such as "Notes from Night Reading," and the Note-taking Form, such as "A Corner of the Study," all have their representative collections. The key question is, from the Sentiment and Will Form to the Copying Books Form, and then to the Note-taking Form, is it progress or regression?
49. 在对愚昧落后的国民性鞭挞中，由于自身的“绅士气”作怪，使他对中国国民怀有很深的偏见。因而缺乏像鲁迅那样改造国民性的热情。尤其是后期对社会现实产生了一定的悲观情绪，因此这即便是周作人所着力的一方面，但却始终未写出一篇好文章来。
49. In the scolding of the ignorant and backward national character, his own "gentlemanly" nature led him to hold a deep prejudice against the Chinese people. Therefore, he lacked the passion for transforming the national character like Lu Xun. Especially in the later period, he developed a certain sense of pessimism towards social reality, so even though this was an aspect that Zhou Zuoren focused on, he was never able to write a good article about it.
50. 我们都学过猴子掰包谷的故事，什么都想要，什么都要做，结果往往一事无成，徒留遗憾。专注于一件事，把所有的精力、智慧和力量集中于一点，精准发力，坚持不懈，才能给自己的人生破局。
50. We have all learned the story of the monkey picking corn, wanting everything and trying to do everything, only to end up with nothing and only leaving behind regrets. To break through in life, one must focus on one thing, concentrating all one's energy, wisdom, and strength on a single point, delivering precise efforts, and persisting without giving up.
51. 《鬼谷子》说：“言多必有数短之处。”
51. Guiguzi says, "When there are many words, there must be some shortcomings."
52. 在讽刺军阀暴政的文章中，他所借鉴的是日本现代散文家户川秋骨的“幽默与讽刺”的写法，让被讽刺的人看了不舒服，却又挑不出刺儿来。属于非常含蓄的写法。因而他自己把这种讽刺的辛辣感比喻为芥末而不是辣椒，也就是说他的文笔称不上是鲁迅那样的“匕首”和“投枪”，但却显示了他人道主义者的正义感。一般情况下周作人都是温文尔雅、娓娓道来，充满着一种素朴清淡、别致优雅的风采，但对于国民党政府对外一味妥协退让，对内加紧复古倒退的言行，周作人则显示了他个性中不可忽视的一面：尖锐泼辣。尤其对于礼教和妇女问题，周作人总是一改往日的淡然之态而变得格外敏感和激烈。
52. In his articles satirizing the dictatorial rule of warlords, he adopted the style of humor and satire from the Japanese modern prose writer Togawa Akihiko, which made the person being satirized feel uncomfortable but unable to find any fault. This is a very implicit writing style. Therefore, he himself likened the pungency of this satire to wasabi rather than chili, meaning that his writing is not like Lu Xun's "dagger" and "spear," but it does show his sense of justice as a humanist. Generally speaking, Zhou Zuoren is gentle and elegant, speaking smoothly, exuding a simple, light, and unique elegance. However, in the face of the Kuomintang government's unyielding compromise and retreat in foreign affairs and its accelerated retrogression in domestic policies, Zhou Zuoren showed an aspect of his personality that should not be overlooked: sharp and incisive. Especially on issues of propriety and women, Zhou Zuoren always becomes particularly sensitive and passionate, deviating from his usual indifferent attitude.
53. 再次，做到了平淡就一定好吗？未必。比如，《木片集》里的一些文章，的确平淡，但由于政治因素的影响，思想上很放不开，不能再像以前那样旁征博引了，语言也刻意地往通俗浅白的风格上靠，所以其艺术水平比之先前的《药味集》、《书房一角》反而大为下降。我觉得，散文，即使单从审美的角度考虑，其影响因素也是多方面的，很多时候，思想也是一种美，深度也是一种美，而美又何尝不是另一种形式的思想和深度？仅仅把握住一种抽象的气质，或平淡或沉郁，远远不够。周作人的散文之所以高于林语堂、梁实秋、丰子恺等人，从大的方面说，主要有两点，一是如黄开发所说，在于其貌似的“平淡”与实质的“不能平淡”之间产生的艺术张力；二是文体与风格的复杂多变，早期、中期、晚期，各有一番天地，甚至同时期的文章之间也存在很大差异，而林、梁诸人则都不免失之单一，先人论文时所谓名家只有一种味道，而大家却是多种味道的杂糅，用到周作人这个散文大家身上很有道理，杜甫之高于其他诗人处，不也是“集大成”么。另外，还有一些行文上的细节，如雅、拙、朴、涩、重厚、清朗、通达、中庸、有别择等，在境界上，与梁实秋的精巧、林语堂的轻滑，也有高下之别。
53. Again, is it necessarily good to achieve simplicity? Not necessarily. For instance, some articles in "The Collection of Wood Chips" are indeed simple, but due to the influence of political factors, their thoughts are constrained and they can no longer引用 as extensively as before. The language is also deliberately leaning towards通俗and plain styles, so their artistic level is greatly reduced compared to the earlier "The Collection of Medicine" and "A Corner of the Study Room." I think that prose, even if considered solely from an aesthetic perspective, is influenced by many factors. Many times, thought itself is a form of beauty, and depth is also a form of beauty. And isn't beauty also another form of thought and depth? Merely holding onto one abstract quality, whether it's simplicity or melancholy, is far from enough. The reason why Zhou Zuoren's prose is superior to that of Lin Yutang, Liang Shiqiu, Feng Zikai, and others, from a broader perspective, mainly lies in two points: First, as Huang Kaifa pointed out, it lies in the artistic tension between the seemingly "simple" appearance and the actual "impossibility of simplicity." Second, the complexity and variability of style and genre, with distinct characteristics in the early, middle, and late periods, and even significant differences among articles from the same period. In contrast, Lin and Liang, among others, tend to be monotonous. The so-called "masterpieces" of early scholars were often described as having only one taste, whereas a "master" is a blend of multiple tastes. This is very fitting for Zhou Zuoren, the master of prose, as Du Fu's superiority to other poets is also attributed to his "collective accomplishment." Additionally, there are some stylistic details such as elegance, simplicity, straightforwardness, awkwardness, weightiness, clarity, accessibility, moderation, and discrimination, which, in terms of artistic conception, also show differences in comparison to Liang Shiqiu's ingenuity and Lin Yutang's lightness.
54. 话太多，就难免有偏颇之处，伤害于人，会损耗自己的福气。守住嘴，就是守住福气。
54. Saying too much can easily lead to bias, which may hurt others and consume one's own good fortune. Keeping one's mouth shut is to preserve one's good fortune.
55. 其实将军早已忘记这件事情，一切都因为他自己思虑过度，徒自担心，最后在惶恐的煎熬中死去了。
55. In fact, the general had long forgotten about this matter. Everything was because of his own excessive worry and concern, leading to his eventual death in the turmoil of fear and distress.
56. 作为五四时期一个很有影响的散文作家,周作人以其独特的风格特色感染了许多读者。本篇论文就是针对其散文的“浮躁凌厉”和“平和冲淡”两个特点进行详细的阐述。他前期杂文主要体现出了第一个特点。美文首创之后，他文笔的特点逐渐侧重平和冲淡，并以此为基础与简素、腴润、诙谐、辛辣等多种特色相交织，形成了一种清新的写作特色。
56. As a highly influential prose writer during the May Fourth period, Zhou Zuoren infected many readers with his unique style characteristics. This paper aims to provide a detailed explanation of the two characteristics of his prose: "restlessness and violence" and "serenity and moderation." His early essays mainly reflected the first characteristic. After the creation of his beautiful prose, his writing style gradually shifted towards serenity and moderation, and based on this, he intertwined it with various features such as simplicity, richness, humor, and sharpness, forming a refreshing writing style.
57. 周作人这种评论的笔触同时涉及了十分广泛的社会现象。触到了社会的各个阴暗角落，触到了“病态社会”的种种痼疾。如把妇女从礼教的束缚和大男子的威压中解放出来这一思想，周作人作了不懈的努力。他指出几千年的封建道德所养成的女性观是个极严重的问题，势力很大。到了宋元以后更加重了对妇女的束缚。他在《旧女性观》一文里列举了种种封建社会对女性的污蔑不实之词，并加以精辟的点评。对一些率先觉醒，大胆追求自由、解放，进行女权运动的一些知识女性表现出极大的肯定和赞赏。周作人当时的艺术触角对现实的感应还是相当灵敏的，正因为他敏感地接受了生活的刺激，使得平凡的意思发起酵来，才能将人们习以为常的社会见闻，升华为艺术创作。所创作出的檄文，态度鲜明，说理透彻，在当时的最负盛名的《每周评论》、《新青年》发表后，影响很大，被认为是体现了“五四”文学批判精神的典范之作。
57. Zhou Zuoren's comments touched on a wide range of social phenomena at the same time, touching on every dark corner of society and the various chronic diseases of the "sick society." For example, the idea of liberating women from the束缚 of Confucian propriety and the oppression of overbearing men was a persistent effort made by Zhou Zuoren. He pointed out that the female perspective cultivated by thousands of years of feudal morality is a very serious problem with great influence. It became even more oppressive to women after the Song and Yuan dynasties. In his article "The Old Perspective of Women," he listed various defamatory and false words against women in the feudal society and made incisive comments. He expressed great affirmation and admiration for some enlightened and bold women intellectuals who were the pioneers in pursuing freedom and liberation and engaging in the women's rights movement. Zhou Zuoren's artistic sensibility at the time was still quite sensitive to reality. It was precisely because he sensitively accepted the stimulation of life that ordinary meanings could ferment, allowing people's accustomed social observations to be elevated to artistic creation. The proclamations he created were clear in attitude, thorough in reasoning. After being published in the most famous magazines of the time, such as "Weekly Review" and "New Youth," they had a significant impact and were considered as exemplary works that embodied the critical spirit of the May Fourth Movement in literature.
