文学写作是充分个人化的精神价值创造活动。它只诉说而不表演。作家创作的致命伤是矫情(装腔作势),因此,惟有摆脱“三腔”(学生腔、教化腔、文艺腔)的幼稚病和套式,才能呈现人性与生活的真实。“心灵”、“想象力”、“审美形式”乃是文学的三个基本要素。文学心灵不同于其他精神领域所界定的心灵,它以既同情“好人”亦同情“坏人”的“大悲悯”为特点,并以此确立高于道德境界的宇宙境界(审美境界);文学想象力作为实现“超越”的心理机制,它与认知力对应。因此,文学创作便产生“重想象”与“重认知”的分野。中国现代文学的根本弱点是缺乏想象力。审美形式包括审美范畴、审美趣味、审美方程式与审美文学样式。尽管诗歌、散文、小说等文学样式不断翻新,但各自都有最后的类型边界。 Literary writing is a fully personal spiritual value creation activity. It only tells but does not perform. The deadly wounds created by writers are hypocritical (pretentious). Therefore, only by getting rid of the infantile diseases and nests in “three chambers” (students’ chambers, enlightenment chambers and literary chambers) can they show the truth of human nature and life. “Soul ”, “imagination ”, “aesthetic form ” is the three basic elements of literature. The literary mind is different from the mind defined by other spiritual domains. It features “compassion” that sympathizes with “bad man ” while sympathizing with “good man ” and establishes the universal realm above the moral realm Aesthetic realm); as a psychological mechanism to realize “transcendence”, literary imagination corresponds to cognition. Therefore, literary creation produces the distinction between “heavy imagination” and “rediscovery”. The fundamental weakness of Chinese modern literature is its lack of imagination. Aesthetic forms include aesthetic category, aesthetic taste, aesthetic formula and aesthetic style. Although literary styles such as poetry, prose and fiction are constantly refurbished, they each have a final type of border.