苏轼的散文,正如明代王圣俞在选辑《苏长公小品》时所说的:“文至东坡真是不须作文,只随事记录便是文。”他不着意猎奇,不故弄玄虚。他的文章以描写、叙述和议论交错运用为特点,自然朴实,明白如活,但却情真意挚,感人肺腑。这在他的《喜雨亭记》中便可见一斑。作者在这篇不足四百字的短文里,通过对喜雨亭命名的由来的叙述,说明“古者有喜,则以名物,示不忘也”,从中流露出对人民生活的关切之情。全文紧扣“雨”、“喜”、“亭”,或叙述,或议论,或写实,或虚拟,“行于所当行,止于所不可不止,文理自然,姿态横生”(苏轼《答谢民师书》),情韵深致,气势畅达,充分体现了苏文纵横恣肆、气象阔大的艺术风格。 Su Shi’s prose, just as the Ming Dynasty Wang Sheng Yu in the series, “Su Changgong Pieces,” said: “Wen Dongpo really do not need essay, only incidental record is the text.” He did not mean novelty, do not get rid of mystery. His essay features delineation, narration and argumentative use, natural and simple, understand as live, but sincere, touching. This is evident in his book, Happy Yiting. In this short essay of less than four hundred words, the author, through the narration of the origin of Xi Yunting, shows that “the ancient people are famous, they show their names and do not forget to show it,” revealing their concern for people’s lives. The full text of the “rain”, “hi”, “kiosk”, or narrative, or argumentative, or realistic, or virtual, “the line should be done, stop in the indefinite, liberal arts and natural, attitude” (Su Shi, Shushi "), deep feeling, full of momentum, fully embodies the unconventional Su Wen, meteorological broad artistic style.