At its core, prose is about having something to say.

When a person speaks, it is most important to be insightful and weighty. For example, saying around the bend and telling the truth in a measured way is the way of speaking. Standing and talking, sitting and talking, bending over and speaking into the horn is the posture of speaking, compared to drawing hand gestures. It is said in the bungalow, on the roof of the building, in the potential water, standing on the branch, in the temple, and in the high hall, which is the position of the speaker. Among the many factors in literature, form and gesture are two concepts, and position and insight have weight and cannot be confused. The position was absolute, and it was called a stand. The emperor is extremely ninety-five, and there are 10,000 sentences in one sentence, but his dynasty is over, and there are few people who can remember one or two sentences in 10,000 sentences. Li Yu, who wrote "Poppy Beauty", did not absolutize his position, but the emperor was too much of a second sword, and his poems and lyrics were soft, and he wrote himself as a "petty bourgeoisie" with the highest position in the ages.

The artistic technique is the technique, the way of writing, the back jump, the prone position, and the straight stride style in the high jump competition, but no matter what form is used, the last thing that is counted in the score is the height of the jump. When a player wins a world championship and his way of jumping is new and original, people will compete to imitate and study. If the height of the jump is average, no matter how innovative the way of jumping is in the category of self-entertainment. Another example is the drama actor who appears on the stage, no matter how heavy the makeup is light, no matter how much the sleeves and steps are watered, the posture and steps of the stage, and the one who wins the full house is still the work in the throat.

In front of my house is Gaoxin 4th Road, 300 meters to the north, and then a cross, is the free and open Fengqing Park. At the heart of the park is a plaza where more than a dozen elderly people write calligraphy every morning. The pen is a large brush, as thick as a small mop, and the paper is a square brick laid on the ground, one grid after another. There was no ink, and each old man had a plastic bucket at his feet, and the bucket was filled with water. The "calligrapher" dipped his brush in water and wrote in regular script one by one. Although the name is called the square, the place is limited, and each person is confined to a small area. A Tang poem has seven words, and when the last word is written, the first word has been dried, the handwriting has disappeared, and then it is started all over again. And so on and so forth, and so on, and so on, and it ended in one morning.

These old people are practicing calligraphy, body, and spirit. The work they do can be summed up in one word, understatement.

In the past 30 years of the new period of literature, we have remembered novelists and their novels, and poets and their poems. The exception seems to be the essayist, and we can name many essayists but not many of them at the same time. So many prose writers are "laboring", but the handwriting dries a little faster. "Spicy hand article" is a couplet of an old couplet, spicy hands are not only spicy, but also spicy eyes and spicy hearts, referring to insightful and weighty.

Prose should not be dipped in water, but dipped in ink, the thicker the better.