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thetruefactis,theliterarylanguageirelyunsuitabletodiscussoarrate
sketchesofthreeorfourhundredhebarestbeggarsoutlineoffacts.
drunk.afterhegetsdruires,andself.his
iss,ohefeelingofbeinglostiof
aboveall,goodprosestbefaliar,chattyandalittlepersonal,andtheese
facts,hereasonersofnovelshadtoresorttotheveacular
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orlessashethought,andtin&prieuxstyleofing.butafterthat
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essays,
liatisdaintyprose,butnotgoodprose,agtoour
ed.
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apoa14080b.c.,thegreateststerof
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biographyofssliilythreehundredayfivetenina
verylittle.hedoesnotoneyorfa.helikestoreadbooks,hout
definition.itisanabsoluteproofthatthelanguagewasdead,
iiest,andthenarrationthebarest梬hato
upposeonepelledtoreadonlyproseofthistype,
proseedhinese
eseprose,stillkeptahhthelanguageofhisday,anddaredto
oftenusehielfandindicateshisaitioninlife,andfetsallabout
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suustforevergropeang
fheretheterizationisthevaguest,thefactsarethe
froacket
offlaxclothintatters,andhisricebopty.buthedoesnotcare.he
language.illore
thisleadstoareiortantionoftheiialofese
inrporateerscholarsas”vulgar,”andhis
givinganiraitofhisloverlihsiang,andthenfindsthathoudidhis
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happyastetabouthisfood.heloves,beingpoor,otalways
ellectual
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onehouchaog,
provideit.hisfriendsaiveskisaskhio
literarylanguagehadetoybeseeninthefollorwuliufive
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literaryartnsistedinnpersonalfront.