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本文认为：在中国传统的杂文学体系中，文学的属性与本质特征缺乏严格的规定性。尤其是古代散文中的“古文”文体，其在广泛作为表情达意的语言载体时，情感的与非情感的因素，审美的与非审美的文字，交合杂糅，难以厘定。作为中唐以来古文运动的承继者与殿军，桐城派在与义理之学、考据之学。经世之学的辩诘争讼中，其对古文写作中艺术性原则的注重，对古文表情达意过程中艺术与情感构成的强调，体现出由于自身生存需要和艺术直感所激发的文体自觉。这种由依附经学转而让古文回到古文自身的文体自觉，充满着与杂文学体系剥离的痛苦，但却与五四时期受到西方学术思想影响而被国人所普遍接受的文学重在表现人的情感和想像的观念不约而同，不期而遇。
This article argues that in the traditional Chinese system of essays, there is a lack of strictness in the nature and essence of literature. Especially in the ancient prose, the “classical prose” style, which is widely used as the language carrier of expression, is difficult to be determined by the combination of emotional and non-emotional factors, aesthetic and non-aesthetic texts. As the successor to the Norse Movement since the Middle Tang Dynasty and the Dian Army, Tongcheng school and the theory of righteousness, textual research. In the debate and quarrel of the Book of World Studying, his emphasis on the artistic principle of ancient prose writing and the emphasis on the composition of art and emotion in the expression of ancient prose reflects the self-consciousness of the style inspired by his own survival needs and artistic sense of straightness. This kind of stylistic self-awareness, which is dependent on learning and turning ancient Chinese back into ancient Chinese, is full of pains of stripping off from miscellaneous literary system. However, it is mainly reflected in the literature accepted by Chinese people during the May 4th Movement which was influenced by Western academic thoughts The concept of emotion and imagination coincide, by chance.