英語文學(xué)寫作

the term 'literary writing' calls to mind works by writers such as shakespeare, milton, or wordsworth; definitive examples of all that the term implies. we instinctively associate the term with characteristics such as artistic merit, creative genius, and the expression of mankind's noblest qualities. in this essay i will explore some of the characteristics of this kind of writing.

literary works are primarily distinguishable from other pieces of writing by their creative, or artistic intent.

a piece of literature differs from a specialized treatises on astronomy, political economy, philosophy, or even history, in part because it appeals, not to a particular class of readers only, but to men and women; and in part because, while the object of the treatise is simply to impart knowledge, one ideal end of the piece of literature, whether it also imparts knowledge or not, is to yield aesthetic satisfaction by the manner of which it handles its theme.

the writer of this passage emphasises the distinction between writing of didactic purpose and literary writing which has that other, aesthetic, dimension. in fundamental terms literature is 'an expression of life through the medium of language' , but language used more profoundly than when used simply to convey information.

the following two extracts, for example, both describing one partner's response to marital problems, are different in both their form and their intent:

many critics date the crumbling of their marriage back to that unfortunate episode, but david was delighted when he heard that lynne had produced a daughter from her marriage to an american doctor.

andher writing hand stopped. she sat still for a moment; then she slowly turned in her chair and rested her elbow on its curved back. her face, disfigured by her emotion, was not a pretty sight as she stared at my legs and said . .

the first piece, from a newspaper, gives a typical tabloid account of a broken marriage. it plainly states the position of the two parties involved, (but with an attitude akin to 'gossip'). the tone of the second piece is less factual and more descriptive. here the writer is sets out to depict a particular scene, that of a woman distressed by the discovery of some unsavoury information concerning her husband, and employs such devices as the use of emotive words, such as 'disfigured', the gradual increase of dramatic tension, 'slowly turned in her chair', and then in the last line a humorous deflation of this tension, 'her face . . . was not a pretty sight'. the author shows a mixture of intentions here, the structure and the use of language showing a different approach and purpose to the first piece's straightforward account of the everyday world. in contrast to such a plain factual account -

literature is a vital record of what men have seen in life; what they have experienced of it, what they have thought and felt about those aspects of it which have the most immediate and enduring interest for all of us.

so literary writing, having creative and artistic intent, is more carefully structured and uses words for the rhetorical effect of their flow, their sound, and their emotive and descriptive qualities. literary writers can also employ tone, rhyme, rhythm, irony, dialogue and its variations such as dialects and slang, and a host of other devices in the construction of a particular prose work, poem, or play.

all fiction is a kind of magic and trickery, a confidence trick, trying to make people believe something is true that isn't. and the novelist, in a particular, is trying to convince the reader that he is seeing society as a whole.

literary writing is, in essence, a 'response', a subjective personal view which the writer expresses through his themes, ideas, thoughts, reminiscences, using his armoury of words to try to evoke, or provoke, a response in his reader.

. . . it is not only a question of the artist looking into himself but also the of his looking into others with the experience he has of himself. he writes with sympathy because he feels that the other man is like him.

in welsh hill country, r. s. thomas conveys his response to a landscape:

too far for you to see

the fluke and the foot-rot and the fat maggot

gnawing the skin from the small bones,

the sheep are grazing at bwlch-y-fedwen,

arranged romantically in the usual manner

on a bleak background of bald stone.

here the powerful evocation of desolation, of the stark brutality, even indifference, of the countryside is captured by thomas through a pointed use of language which also conveys his grim mood.

in contrast, keat's to autumn conveys a soft, sensuous depiction of this season which captured his imagination:

season of mists and mellow fruitfulness

close bosom-friend of the maturing sun;

conspiring with him how to load and bless

with fruit the vines that round the thatch-eaves run;

both these extracts show a creative, imaginative response to a particular scene, and show contrasting ways in which a poet can use diction to capture his mood and provoke a reaction in the reader. devices such as rhyme, rhythm, alliteration, and assonance combine to form a structure of mood, a structure recognisably literary.

. . . apart from the precise mixture of certainty and hesitation in the poet's mind, one of the sovereign gestures of art is to make the ideal real, and to project a dim impersonal awareness onto a structure of definite invention.

literature is a process of communication, it 'helps us to understand life'.

perhaps we should also consider the motivation of the writer as a factor which distinguishes literary from other forms of writing. the writer's motivation is the energy that pulls together the strands of his creativity in the shaping of the finished work.

ernest hemingway gives his reasons for writing:

from things that had happened and from things as they exist and from all things that you know and all those you cannot know, you make something through your invention that is not a representation but a whole new thing truer than anything true and alive, and if you make it well enough, you give it immortality. that is why you write and for no other reason that you know of.

georges simenon puts forward the idea of therapeutic value, a search for self:

i think that if a man has the urge to be an artist, it is because he needs to find himself. every writer has to find himself through his characters, through all his writing.

philip larkin gives his reasons for writing poems as a need 'to preserve things i have seen/thought/felt (if i may so indicate a composite and complex experience) both for myself and for others'. here, in the whitsun weddings, his motive was to capture his response to a view seen from a train:

as if out on the end of an event

waving goodbye

to something that survived it. struck, i leant

more promptly out next time, more curiously,

and saw it all again in different terms:

the fathers with broad belts under their suits

and seamy foreheads; mothers loud and fat;

an uncle shouting smut; and then the perms,

the main impetus behind edward thomas's no one so much as you, is to describe his experience of love:

no one so much as you

loves this my clay,

or would lament as you

its dying day

while the motive behind andrew young's, on the prospect of death, is self-evident.

if it should come to this

you cannot wake me with a kiss

think i but sleep too late

or once again keep a cold angry state

personal motivation is an essential characteristic of literary writing. it is the engine behind creativity, and the last two extracts provide examples of some of the great themes which occur again and again, not only in literary writing, but in all the arts; love, death, war, and peace. such themes, it seems, provide perennial inspiration for artists.

so perhaps an inventory of literary writers' motives should include the overflowing of their passions, their desire for self-expression, an abiding fascination with humanity in all its variety, the need to come to grips with relationships as they really are in the world as it really is, the striving after an ideal world which can exist only in the imagination, and, perhaps at the heart of it all, the need to form, shape, things of beauty.

the artist needs to resolve conflicts within himself, to reach an understanding, to search for some credible meaning of to life, to death, to everything. he is always reaching, fumbling toward some sort of truth; an artistic creative truth, a truth that resides in the individual artist and needs to be grasped, made real, made understandable.

perhaps in some cases the artist's motivation could be seen as a need to create other worlds, in the way that milton and tolkien created other worlds, in order that they can project real conflicts onto another plane.

the many different genres of the novel constitute a particular challenge to the concept of 'literary writing'. detective novels, and science fiction novels, for example, are creative, imaginative, depictions of life. we might question their seriousness as literature, or whether they can achieve the high ideals of art, but then we might equally well question the meaning of 'seriousness', and 'the high ideals of art'. popular novels may not deal with life's great conflicts, or search for truth and beauty, and they may deal with the seamier side of life, or escape into the fantastic, but can they still be considered 'literature'? do they still make an important contribution to our understanding of the world, as 'real' literature does?

obviously 'literary' works such as tolstoy's war and peace and proust's remembrance of things past take as a nucleus an event, an aspect of life and construct a world around that core. they are works about real people, engaged in the real business of living. they convey knowledge, understanding, experience and are hence considered important. yet they have in common with the detective and science fiction novel that they are books, consisting of words that have been used to express something, words that may or may not be read, and may or may not succeed in conveying an understanding of the world they depict.

in my view it comes down to subjective value judgements. i believe literature is a 'broad church' which ought to be able to deal with any subject, and that ultimately it is individual readers, or readers en masse, who decide on the value of any particular work and on whether or not it deserves a place in the annals of literary history.

writers aim to show us 'the world', but no single writer can do this, and 'literature' should encompass numerous different kinds of writer because each is trying to show us something which cannot be shown as a whole. each, whether a tolstoy or a raymond chandler, can only give us his own small fragment of understanding. ultimately it is those works which endure that should be considered 'literature', those which have succeeded in holding firm a fragment of life, to be seen, to be read, to be understood.

perhaps we should let a writer have the last word on summing up the writers' art:

the aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed, so that a hundred years later, when a stranger looks at it, it moves again since it is life. since man is mortal, the only immortality possible for him is to leave something behind him that is immortal since it will always move. this is the artist's way of scribbling 'kilroy was here' on the wall of the final and irrevocable oblivion through which he must someday pass.

in conclusion, literary writing does embody certain distinguishing characteristics. it is a self-conscious, imaginative mode of writing which uses words not just to convey information, but as an art form. ultimately it is a response to life.

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高中語文寫作勵志素材推薦

“創(chuàng)意來自于生活”，我想，這句話在高中語文寫作中同樣適用，你所采用的勵志素材可以涵蓋各種階層，這讓你的作文更加獨特。下面是第一范文網(wǎng)小編為您帶來的高中語文寫作勵志素材推薦，你的靈感是否有被激發(fā)呢?

高中語文寫作勵志素材推薦(一)

在大城市里，搞廢一個人的方式特別簡單，給你一個安靜狹小的空間，給你一根網(wǎng)線，最好再加一個外賣電話。好了，你開始廢了。

以自己為圓心，自己的手為半徑，開始畫個圓。你會發(fā)現(xiàn)所有需要的東西，都在這個圓圈里。

這個圈，叫做舒適圈。

這一個月我一直在全國各地出差，回到北京，見到一個許久沒見的朋友，一起去ktv唱歌，他剛剛被公司解雇。我問他，一個月沒見，最近忙啥呢。

他說，沒忙啥，呆著呢。

我問他，啥叫呆著。

他撓了撓頭，說，我也不知道，就覺得時間好快，這一個月啥也沒干就過去了。

旁邊的朋友在創(chuàng)業(yè)，整天焦頭爛額，于是問，啥意思，還能有這種狀態(tài)，一個月不知道做了什么?我要給你點一首歌《時間都去哪了》……

他說，滾。

我說，其實我特別能理解你，你這個月是不是覺得自己過得特別無憂無慮，恨不得連電話都想丟了。

他說，電話還是得要的，不過確實電話每次響起還是有點緊張，總覺得自己安穩(wěn)的小世界要被打破啦。

我點點頭，想起了《肖申克救贖》里的一句話：這些墻挺有意思，一開始你抵觸它，然后你習(xí)慣它，最后你不得不依賴它，這就是institutionalization(體制化)。

人有一種習(xí)慣，就是總喜歡在舒適熟悉的環(huán)境呆著，這種“舒適區(qū)”一旦被建立，就會變得無比依賴，慢慢地愛上了周圍的墻，戀上了這舒適的小屋，從而不愿意飛出去看看，怕看到外面熙熙攘攘的世界。

其實舒適區(qū)本身沒問題，就像家一樣，溫暖舒服，每個人都有。但如果家的力量太強(qiáng)而放棄了去外面看看的夢想，是挺可惜的。我們都有過想出去看看然后被爸媽叫停的時刻，但大多數(shù)堅持出遠(yuǎn)門的孩子，也沒有忘記過回家的路，回家后，不過眼界開了，知道世界變大了，明白自己渺小了而已，最重要的是，他們開始著手下一次旅行的計劃了。

看，他們的舒適區(qū)，就這么變大了。

我想起另一個朋友，畢業(yè)去了一家國企上班，每天朝九晚四，日子像上了發(fā)條一樣，有規(guī)律無意義，只有周末，才像被賦予了靈魂一樣，穿著打扮逛街約會去了。

我跟她聊過舒適區(qū)，她告訴我，我這才不是舒適區(qū)，我可是每天都要按時工作的，而且我從來不遲到不早退，很規(guī)律很努力的。

我說，那工作一年了，感覺到自己有什么變化嗎?

她想了想，說，你別說，好像還真沒有。

其實，舒適區(qū)分為兩種，一種是成天無所事事，另一種更可怕，因為很難意識到，就是無意義有規(guī)律的循環(huán)。而后者，更是許多人的生活狀態(tài)：看起來很努力，看起來很累很忙，不過是重復(fù)無意義的循環(huán)著，這樣的生活，過著過著只會覺得舒服，卻沒有本質(zhì)的變化。

我曾經(jīng)見到一個在醫(yī)院門口收費的哥們，每天擺著一副臭臉，誰也不能多問他一個問題，否則他會大發(fā)雷霆。可是他一下班，臉上就露出了笑容。后來，我明白了，只有下班后，他才走出了自己的舒適區(qū)，開始了多姿多彩的生活。

所以，只有一個人舒適區(qū)被打破，才能見到突破和卓越，從而帶來持久的幸福。

我曾經(jīng)寫過一篇文章《沒有功勞，也就沒有苦勞》，說這個時代的高手不再是默默無聞埋頭努力的人，而是那些不可替代有創(chuàng)造力的人，所以，那些總是在舒適區(qū)中溫水煮青蛙的人，終究會被這個時代淘汰，不過是時間問題。

其實，每個人心里都有墻，甚至每個人都有屬于自己的圍城，就像每個遠(yuǎn)行的人，也都記得回家的路。不過，人的區(qū)別不過是圍城的大小而已。

人應(yīng)該要有一顆愿意挑戰(zhàn)的心，有一個喜歡探索的心態(tài)，學(xué)著做一些沒做過的事，嘗試見一些沒見過的人，試著在生活中埋一些彩蛋。

我特別怕自己在年輕的日子里，把日子過成發(fā)條，只剩下滴答滴答。于是，從開始工作第一天起，就沒有坐過班，即使是現(xiàn)在創(chuàng)業(yè)，董事會非要求坐班，我也斷然拒絕。甚至有一段時間鬧得很僵，他們問我為什么這么不愿意全心投入這份工作?

我跟他們說，不去坐班不是不全力投入，相反，很多人每天坐八小時一周坐五天，也就干了十個小時的活，搞得自己也郁悶。而我給我自己安排時間，是主動的，工作十個小時，效率可能是二十個小時的。

后來，我拿實際行動證明了自己不坐班效率反而更高，我能用大把屬于自己的時間做許多事情，跨了幾個領(lǐng)域，這些領(lǐng)域能互相協(xié)作，而且都做得不錯。

其實，我還有個原因不愿意坐班，就是我特別了解自己的惰性，一旦我的日子變得循規(guī)蹈矩每天都有固定的方式方法，慢慢地就失去這么強(qiáng)的創(chuàng)造力和闖勁兒。我怕自己習(xí)慣了一種生活模式，換了環(huán)境就不適應(yīng)了。

不過是想趁著年輕，趁著還沒定型，多去看看這個世界是什么樣的，想讓自己更強(qiáng)大點，強(qiáng)大到能在任何一個環(huán)境都能活得下來。

至于舒適區(qū)，等我老了，拼不動了再回去過吧。

我其實不贊同年輕人剛畢業(yè)就走進(jìn)寫字樓的一個辦公室參與寫字樓政治，我希望他們能多出去看看，哪怕這個業(yè)務(wù)很累很忙需要顛沛流離居無定所，也最好不要在剛畢業(yè)就用青春年華在辦公室建造起了一個舒適區(qū)，然后讓這個舒適區(qū)一點點的殘害著本應(yīng)躁動的青春。

關(guān)于走出舒適區(qū)，并不是盲目的辭職，相反，你應(yīng)該有一份保底活下來的工作，除此之外，一定要給自己生活中埋下一些彩蛋：去吃一次沒吃過的超辣雞翅;去表白一個只見過一次的姑娘;去看一本一直想看的書;和閨蜜去一個不是旅游景點的地方;去毫無保留的爛醉一次;去看一場能喚起回憶的演唱會。

寫到這里，我忽然想到電影《七號房間的禮物》那只被監(jiān)獄防護(hù)網(wǎng)攔住的氣球，和那對父親和女兒渴望自由的眼神。這世界上還有這么多人奮力去追求著自由，而我們已經(jīng)有了這么自由的軀體，為何不去努力拆掉思維里的墻，自由地飛出去看看這世界的模樣。

所以，別讓舒適區(qū)毀掉青春，相反，應(yīng)該趁著青春，去圍墻的外面看看，你要相信，固步自封的人，舒適區(qū)會越來越小，終有一天，會發(fā)現(xiàn)世界早無安腳之處。真正的強(qiáng)者，他們在年輕的時候，經(jīng)歷了滄桑，化解了迷茫，學(xué)會了堅強(qiáng)，懂得了療傷，他們在哪里都能活，哪里都是舒適區(qū)，哪里都是自己的天堂。

愿年輕的我們，都是后者，能不顧一切的闖蕩。

高中語文寫作勵志素材推薦(二)

如果我成長起來，我將會是什么樣?

這是巧某天問我的一個問題，我告訴她：如果你堅持做好一件事五年以上，無論這件事是什么，只要你肯堅持，那你就是成長，但這僅僅只是成長!

成長并不代表優(yōu)秀，優(yōu)秀也并不代表成功!

我有這樣一個習(xí)慣，當(dāng)我看到某一位作者的文章寫的十分用心的時候，這個用心也與他的文筆無關(guān)，因為寫的很真，我都會在百度上找這位作者最初的文章!

幾乎每個人的經(jīng)歷都是一樣，大家都是普通人，并不是含著金鑰匙出身，有的甚至做過地痞流氓，甚至犯罪，但最后大家都選擇用文字將自己的經(jīng)歷記錄下來!

如果說一個人成長起來，那真的很簡單，我在20xx年剛畢業(yè)的時候，給自己總結(jié)了這樣一句話，如果明年你的工資比現(xiàn)在多了一些，那算不上成長!

這跟年齡是一個道理，今年你20歲，明年你肯定會21歲，你的工資也是如此，基本上沒有人會選擇更低的工資去工作!

我們都有過學(xué)生時代，每個人身邊都有一兩個朋友，我們或多或少都不會感到孤獨，但隨著大學(xué)畢業(yè)，大家都變了!

或許說到獨自努力很不符合現(xiàn)在提倡的團(tuán)隊合作，但我不得不說這樣一句話：如果你自己都不優(yōu)秀，那你連團(tuán)隊的門檻都進(jìn)不去!

一個優(yōu)秀的團(tuán)隊，必然里面都是優(yōu)秀的人才，而不是一個雜亂的團(tuán)隊，去打造一個優(yōu)秀的人才，然后組成一個優(yōu)秀的團(tuán)隊，優(yōu)秀的團(tuán)隊前提是自己也足夠優(yōu)秀，而自己的優(yōu)秀并不是別人能給你的!

我今天沒有提到案例，因為很多案例都有些虛構(gòu)的成分在里面，但事實就是如此，否則大家也不會聽到：越孤獨的人越優(yōu)秀這樣的話了!

我記得我跟許多讀者都說過這樣一句話，尤其是還在讀書的同學(xué)，千萬不要小看那些不合群的人，或許有一天，他們會成為其他人嘴里的名人紅人，而當(dāng)初他們還跟你是同學(xué)!

在心理學(xué)上分為，岸邊，淺水區(qū)，深水區(qū)，大多數(shù)的人在岸邊選擇的是安逸，安逸帶來的不會是優(yōu)秀，正如大家都在游戲，你也去優(yōu)秀一樣，你認(rèn)為你能優(yōu)秀起來嗎?

很多人在網(wǎng)上找優(yōu)秀的方法，如果真正能讓你優(yōu)秀的方法，我想自由一個，那就是堅持去做好一件事，并且自己去做，要清楚你名字的優(yōu)秀，永遠(yuǎn)團(tuán)隊中的你優(yōu)秀要更光榮!

其實我們并不需要強(qiáng)迫自己去做什么，也不是那些逼自己一把(當(dāng)然現(xiàn)在很多人慣性的認(rèn)為加班都是在逼自己)，你自己都不知道自己有多優(yōu)秀，更不是那些將來的你會一定會感謝現(xiàn)在拼命的自己，這些都是以后的話，以后的事與我們無關(guān)，我們更關(guān)心的是現(xiàn)在的事!

你胖是因為你懶的減肥，是因為你嘴饞，是因為當(dāng)別人吃飯的時候你要吃，當(dāng)別人不吃的時候你還是要吃，如果你真的想瘦，那也只能靠自己;你弱是因為你懶的學(xué)習(xí)，是因為你貪圖安逸，是因為當(dāng)別人在努力的時候你選擇嘲諷，當(dāng)別人不努力的時候你還是選擇譏笑，如果你真的想強(qiáng)，那也只能靠自己!

那些優(yōu)秀的人或許就在你身邊，或許是你的同學(xué)，是你的同桌，甚至可能就是你，而優(yōu)秀的人往往都在獨自努力!

高中語文寫作勵志素材推薦(三)

1

半夜有讀者跟我留言，說自己正在在讀大學(xué)。但面臨兩個問題，一個是準(zhǔn)備面臨20xx年的專升本，問我到底有沒有必要;一個是自己不太喜歡身邊人的圈子，不喜歡過著整天電視劇和游戲的日子，希望認(rèn)識一些優(yōu)秀的人。

我今天不說專升本的學(xué)歷問題，前面說過很多了，各有各的追求，并沒有完全的好壞之分，只不過昨天說的更加直接一點。

如果一個人有能力，有思想，知道自己該干什么，能干什么，干的了什么，其實學(xué)歷并沒有那么重要。相反，如果一個專科生，只是單方面的想提升一下學(xué)歷，我更加覺得那是一種虛榮心的表現(xiàn)，認(rèn)為學(xué)歷高一點(本高專)會更加有優(yōu)勢。

今天主要說一下第二個問題，如果你自認(rèn)是一名奮斗青年，但身邊卻都是一些平凡的人，他們看著電視，打著游戲，逛著淘寶，過著優(yōu)哉游哉的生活，但你卻想逃離他們，進(jìn)入優(yōu)秀的人際圈之前，我更希望你看懂我下面這句話。

平凡的人想要上進(jìn)，于是他們就會想要認(rèn)識更加優(yōu)秀的人，希望通過進(jìn)入優(yōu)秀人的圈子來提升自己，這個思想是沒錯的，人人都會有這樣的思想，用通俗的話說就是：這樣的人用磚頭一拍也是一群，并不止你一個。

但我想請問一下，你平凡所以你想認(rèn)識比你優(yōu)秀的人，那比你優(yōu)秀的人想認(rèn)識什么樣的人呢?

答案自然是：更加優(yōu)秀的人。

如果你想要認(rèn)識更加優(yōu)秀的人，那么我更加希望你先學(xué)會孤獨，孤獨使人成長這句話是非常對的。

其實相比認(rèn)識一些優(yōu)秀的人，作用真心并不大。你或許會覺得，加入那些優(yōu)秀人的圈子里，那些優(yōu)秀的人會無形的影響你，改變你，最后成就你。

但容我直白一點，你自己不優(yōu)秀，認(rèn)識馬云，也是白搭。

2

科比曾說過：你知道洛杉磯每天凌晨四點的樣子嗎?

這句話是一句十足的雞湯，雖然是雞湯，但并沒有毒，因為它造就了科比。

但我們更加應(yīng)該看到這句話背后的意思，我每天一個人在洛杉磯凌晨四點的時候依然在練球。

這是一種孤獨，更是一種優(yōu)秀的必經(jīng)之路。

你想要認(rèn)識優(yōu)秀的人，但你是迷茫的，你只是單方面的想通過認(rèn)識優(yōu)秀的人來幫助自己，換句話說從對方那里得到點什么。

優(yōu)秀的人想要認(rèn)識更優(yōu)秀的人，但他們是清晰的。他們清楚只有提升自己，才能和更優(yōu)秀的人對的上話。

我身邊沒有高學(xué)歷的人，大多數(shù)都是大專生，也有沒有上過大學(xué)的。但我身邊創(chuàng)業(yè)者很多，雖然參差不齊，但自然也有比我還要努力的。

我身邊有這樣一位創(chuàng)業(yè)者，和我一樣也是93年的，因為同齡，又志同道合所以聊的也多。

他做著網(wǎng)賺，各種白帽與黑帽的seo(網(wǎng)絡(luò)優(yōu)化)，站群技術(shù)，各種軟件并用，在三四線城市幫企業(yè)做營銷。

他學(xué)歷低，沒什么文化，之前曾在工廠上班，做著流水線的工作。看到這里你是不是又看不下去了?認(rèn)為學(xué)歷低的人能有什么值得學(xué)歷的地方?

但人家依然開著自己的公司，現(xiàn)在每月收入都有好幾萬，雖然不多，但總比某些名牌畢業(yè)的大學(xué)生要強(qiáng)的多。

他曾跟我說過這樣一句話，為了改變我自己和認(rèn)識更多優(yōu)秀的人，我三年來，從工廠到離職，到學(xué)習(xí)網(wǎng)絡(luò)技術(shù)，再到后來的工作室，現(xiàn)在的公司，我只學(xué)會兩個字就是：孤獨。

我很清楚這兩個字的真正含義，沒有人的優(yōu)秀是別人能給的，那些教你優(yōu)秀的人教給你的只是方法或者說技巧，而實現(xiàn)卻要靠自己，自己一個人的時候那就是孤獨的。

3

想要優(yōu)秀的人很多，想要孤獨的人卻很少。

但我只能對你說抱歉，魚和熊掌真心不能兼得。想要優(yōu)秀的人，就必須學(xué)會孤獨的成長。

大學(xué)生是最迷茫也是最困惑的時候，正如一開始的那位讀者說自己身邊的人，自己身邊的同學(xué)過著打游戲，看電視的生活，不是自己想要的。

但我可以肯定，現(xiàn)在的她也是過著這樣的生活，她的朋友或許也和她想的一樣，她的朋友其實也不愿意過著這樣的生活，也想進(jìn)入更加優(yōu)秀的圈子。

這就好比，我想要掙大錢，可我身邊都是一群打工仔，于是我也只能過著打工仔的生活。

那我能怪我身邊只是一群打工仔嗎?

這種說法其實是說不過去的，因為自己正身在其中。

有些路別人教不來，你也學(xué)不會。記得網(wǎng)絡(luò)上有這樣一句話：牛逼的人總是相似的，苦逼的人各有各的苦逼。

而這個相似之處就是，大家都經(jīng)歷了一段叫做孤獨的過程。

4

人之所以優(yōu)秀是因為他有過人之處，比如：程序員，作家，演講家等等。

程序員的代碼是一個字母一個字母敲出來的，作家的作品是一個字一個字碼出來的，演講家的帶動是一篇一篇文章練出來的。

這些都是他們自己一個人孤獨背后的成果。

許多人生活都是很糾結(jié)的，因為他們搞不懂什么叫有得必有失，換句話說就是想要的太多。

又想要自己成為和別人不一樣的人，又不是被人說閑話，說自己不合群這些話。

想要優(yōu)秀就必須懂得什么叫孤獨。

打籃球的人非常多，科比卻只有一個，除了所謂的天賦之外，更多的是一個凌晨四點獨自練球的付出。

沒人生下來就比你優(yōu)秀，你可能會說，那些富二代不是一生下來就比我優(yōu)秀嗎?

這個問題，我想你去問你爸媽更合適。

5

我曾寫過一篇《獨自努力，你將會優(yōu)秀的很可怕》，雖然看上去也是一篇雞湯文，但事實就是如此。

你想要優(yōu)秀，就試著去逃離現(xiàn)在的圈子，然后默默的獨自努力，而不是一心想著進(jìn)入優(yōu)秀的圈子。

每個人有上進(jìn)心，每個人人都希望進(jìn)入更加優(yōu)秀的圈子，一個平凡的你都有，更何況比你還要優(yōu)秀的人呢?

大家都是普通人，你不比別人笨，別人也不見的就比你聰明。你之所以不優(yōu)秀，最大的原因只可能是你沒有經(jīng)歷過什么叫孤獨。

ps：孤獨是獨自努力，不是你宅在家里打游戲。