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　　外國文學里有一種所謂論文，其中大約可以分作兩類。一批評的，是學術性的。二記述的，是藝術性的，又稱作美文。這里邊又可以分出敘事與抒情，但也很多兩者夾雜的。這種美文似乎在英語國民里最為發(fā)達，如中國所熟知的愛迭生，闌姆，歐文，霍桑諸人都做有很好的美文，近時高爾斯威西，吉欣，契斯透頓也是美文的好手。讀好的論文，如讀散文詩，因為他實在是詩與散文中間的橋。中國古文里的序，記與說等，也可以說是美文的一類。但在現(xiàn)代的國語文學里，還不曾見有這類文章，治新文學的人為什么不去試試呢？我以為文章的外形與內(nèi)容，的確有點關系，有許多思想，既不能作為小說，又不適于做詩，（此只就體裁上說，若論性質(zhì)則美文也是小說，小說也就是詩，《新青年》上庫普林作的《晚間的來客》，可為一例，）便可以用論文式去表他。他的條件，同一切文學作品一樣，只是真實簡明便好。

　　In foreign literature there is the so-called lunwen (treatises), which is roughly divided into two groups: the reflecting ones, piping (critical), are scientific articles. The others are jishu (descriptive) and yishuxing (artistic), they are also called meiwen (aesthetic essay). Within these texts, one can distinguish between xushi (narrative) and shuqing (lyric). But there are also many mixed texts. It seems to me, that in the field of the aesthetic essay, English literature has achieved the greatest success. For example, Joseph Addison, Charles Lamb, Robert Owen, and Nathaniel Hawthorne are all well known for their aesthetic essays. In addition, the younger generation including John Gabsworthy, George Robert Gissing, and Gilbert Keith Chesterton is elegant in writing aesthetic essays.

　　我們可以看了外國的模范做去，但是須用自己的文句與思想，不可去模仿他們?！冻繄蟆飞系睦寺?，以前有幾篇倒有點相近，但是后來（恕我直說）落了窠臼，用上多少自然現(xiàn)象的字面，衰弱的感傷的口氣，不大有生命了。我希望大家卷土重來，給新文學開辟出一塊新的土地來，豈不好么？

　　Reading a good treatise is just as enjoyable as reading a sanwenshi (prose-poem), because the latter accurately acts as a bridge between poetry and prose. In the three genres of pre-modern literature xu (foreword), ji (record), and shuo (explanations) one can also see forms of the aesthetic essay. But in modern literature so far aesthetical wenzhang (essay) have yet to appear. Why don't the people that shape the New Literature try to write it? In my opinion, there is a relationship between an essay's form and its content. Many ideas, that cannot be expressed in either a poem or story, can still be expressed in a treatise. Here, the word "treatise" refers to its literary form. Because of its essence, the aesthetic essay belongs to the story, and the story is nothing else but a poem. An example for this is "The guest in the evening" by Alexander Kiprin, which appeared in the New Youth. As in other works of literature, truth, simplicity and clarity are the prerequisites. We can imitate the foreign form of aesthetic essays, but we can never copy them, because we have to express our own thoughts in our own sentences. Articles similar to these were published in the rubric "On romanticism" of the Morning Post some time ago. But later (please excuse my openness) they returned to the restrictions of the old norms again. However natural they might have appeared upon a first glance, they did not show any strong vitality with their weakened, sad and sentimental styles. I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn't that be wonderful?