贾平凹以艺术的形式回答了这个问题。
《高兴》，贾平凹。
贾平凹的《秦腔》正表达了这种无望的精神回乡。
Jia's Shaanxi Opera expresses a hopeless spiritual return to the hometown.
1990年代以来，贾平凹主要致力于长篇小说的创作。
但贾平凹的的悲剧观与中国传统的悲剧观又有着本质的不同。
But the tragedy of Jia Pingwa's tragic view of the traditional Chinese view of another are essentially different.
关注农村现实、刻画农民形象一直是贾平凹文学创作的重心。
Concerned about the rural reality, depicts the image of the peasants has been the focus of Jia Ping-wa literature.
一文章中，贾平凹与一位钓者的对话说，“那你在水里钓什么呢？”
An article, anglers with a dialogue Jia said, "What do you do fishing in the water?"
具体上写实，总体上象征，是贾平凹新作《秦腔》采用的重要艺术手法。
Concrete realism and overall symbol is the important artistic technique of "Qin Qiang", Jia (Pingao's) new work.
贾平凹的《废都》描绘了转型期传统士大夫式人文知识分子的道德沉沦。
Jia Pingwa's "Deserted City" describes the intellectuals, who are just like the traditional Confucians, lost their conscience in transformation period.
面对城与乡的抉择，贾平凹所渴望的是一种能够使两者和谐共处的文明形态。
City and Township in the face of choice, Jia Pingwa yearn for is a way to make the two forms of civilization harmony and coexistence.
贾平凹小说的传统底蕴首先表现在他小说的语言、行文、结构、风格等外在形式上。
Jia's novel's traditional base show first in form such as style, writing style, structure and the language.
贾平凹在长篇新作《秦腔》中的清风街为我们提供了西部农村社会现实的一个范本。
The village Qingfengjie in JIAa Ping-wa's "The Voice of Qin" is a model of the countryside social reality in west China.
贾平凹在其多篇小说中使用了相同或相近的细节描写，从而构成了重复叙述的艺术特点。
Jia Pingwa used same or close detail depiction in many of his novels, constituting the art characteristics of repeated description.
贾平凹散文创作中的“月”意象，是他追求、探索的美学象征，也是他主体精神的象征。
This paper mainly analyzes "the Moon" within Jia Pingwa's prose writing. "The Moon" is the esthetics symbol that he pursues and explores, and also is the symbol of his principal spirit.
小说的叙事方式是传统的，而内容则体现了贾平凹先锋性的方面：放弃经验，演绎观念。
The narrative mode of this novel is traditional, but the contents reflected Jiapingwa's advanced trait: abandoning experience, deducing idea.
贾平凹一直以平民作家自居。平民视角是他自觉的选择，而文人情怀也在小说中一贯流露。
Standing on the side of civilian all along, Jia Pingwa chooses consciously civilian Perspective and treats life from eyes of civilian and radiates the sentiment of a literator throughout his works.
贾平凹的《秦腔》是难以让人一口气读完的一部书，但这并不影响人们对它的喜爱和称道。
Jia Pingwa's Qin qiang is a book that makes it hard for the reader to finish it at once, but this does not influence the love and praise of the readers for it.
陕西民歌作为地域文化和民间文化的重要组成部分，与本土作家贾平凹的小说创作密不可分。
As an important part of zone culture and civilian culture, Shaanxi folk songs have relation to the literature activity of Jia Pingwa in some degree.
农民和知识分子是中国文化的二元，农民作家身份的自我认同，使贾平凹的创作陷入两难境地。
As farmer and intellectual are two important elements in Chinese culture. The self-confirmation of his identity as a rural writer drives the composition into a dilemma for Jia Pingwa.
同样的情形也发生在了著名小说家贾平凹身上，他1993年的新书《废都》发行一个月后也被禁了。
The same thing happened to renowned novelist Jia Pingwa's 1993 new book Fei Du (The Abandoned Capital), banned a month after its publication.
本文以贾平凹自90年代以来在创作上审美视角的转变着手，分析其创作由审美向审丑转变的原因。
The article analyzes the reasons for the change in Jia Pingao's literary creation from aesthetic appreciation to ugly appreciation by tracing his literary career back to the 1990s.
贾平凹是当代有重要影响的乡土文学作家，浓厚的乡土情结已成为贯穿其小说创作的一条重要精神线索。
Jia Pingwa is an influential country writer in the contemporary era, with strong country complex as an important spiritual thread in all of his novels.
贾平凹作品中的神秘色彩和幽默艺术，增强了作品的可读性、象征性，使作品的主题思想更加博大精深。
The mysterious color and humorous art in Jia Pingwas works enhances the readability symbolic of his works and makes it more significant.
文章从三个方面探讨了童年情结在贾平凹的散文创作中的体现，从而阐释了童年情结对其散文创作的重要影响。
The thesis is mainly shown in the three aspects that the influence of childhood complex on the creation is quite far reaching.
阿吉是贾平凹的同名中篇小说中的主人公，其性格特征与鲁迅笔下的阿q颇多相似之处，可以说是一个阿q式的人物。
An JI is the hero of JIA Ping-wa's novelette of the same name who is quite similar in personality to Ah q, the leading character in LU Xun's Literary work "the True Story of Ah q".
沈从文与贾平凹都对文学的审美价值有着自觉的追求，他们的乡土散文用艺术的笔法为读者构建了文学中美化的乡土世界。
Both writers, in a self-conscious quest of aesthetic values in literature, employ unique artistic methods in constructing for readers an idealized countryside.
沈从文与贾平凹都对文学的审美价值有着自觉的追求，他们的乡土散文用艺术的笔法为读者构建了文学中美化的乡土世界。
Both writers, in a self-conscious quest of aesthetic values in literature, employ unique artistic methods in constructing for readers an idealized countryside.
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