Cross talk, skits, storytelling, fast-paced storytelling, Errenzhuan, Suzhou Pingtan... These forms of folk art are deeply loved by the people, to the extent that many people can recite a few classic songs and even sing or hum a section. Literature, as a profound record of human thoughts and emotions, depicts all things in the world through language and words. It is an aesthetic way for people to understand the world and master life, and everyone has encountered, tasted, and enriched it. Quyi and literature have been intertwined since their inception, and even today, with the continuous iteration and updating of technology, they still inspire people on the direction of their spiritual world. Quyi and literature complement each other, adding luster to the brilliant Chinese civilization. Countless immortal literary works have created one literary peak after another for the magnificent 5000 year Chinese civilization. These brilliant literary masterpieces are intricately linked to Quyi. The Book of Songs, which is mostly collected from folk poetry, can be described as "reciting three hundred poems, string poems three hundred, singing poems three hundred, dancing poems three hundred", containing many elements of storytelling and storytelling. The Chu Ci, which inherits folk songs from above and folk songs from below, has the characteristics of "reciting without singing" and longer length, exploring the storytelling of folk art. The Yuefu folk songs of the Han Dynasty and even the Southern and Northern Dynasties had strong narrative elements and were performed with music, possessing the artistic characteristics of quyi. The poetry and art of the Tang Dynasty flourished, forming a literary style of writing facts and stories, and using simple and plain language. In addition, legendary novels developed significantly during this period, and it is not surprising that forms of folk art such as storytelling, variation of prose, preaching, origin, storytelling, ci, and miscellaneous fu also flourished. In the Song and Yuan dynasties, the urban class was fully developed, and rap artists became a special group among the citizens. Novels, history telling, storytelling, lyrics, singing, Zhugong tunes, drum lyrics, and other genres were closely related to Song lyrics and Yuan songs, and even had a mutual use of lyrics, melodies, and ci plaques. The four classical masterpieces representing the highest level of Ming and Qing novels, among which "Water Margin", "Romance of the Three Kingdoms", and "Journey to the West" are all compiled on the basis of folk storytelling. The "Gesar King," "Manas," and "Jangar," known as the three major national epics of China, have been sung by rap artists to this day. It can be said that Quyi and literature are intertwined and inseparable. However, the relationship between Quyi and literature is by no means the one that comes first, nor should it be explained as the parent relationship between who produces whom. For example, "The Annals of the Three Kingdoms" came first, followed by "The Romance of the Three Kingdoms" by Luo Guanzhong, and then countless quyi artists re created according to "The Romance of the Three Kingdoms" to form their own works in such Quyi forms as storytelling, Pingtan, Kuaibanshu, Henan Zhuizi, etc. Therefore, Quyi and literature are inherently intertwined and mutually generated. Mr. Lu Xun pointed out in his book "The Historical Changes of Chinese Fiction": "These oral traditions are called legends by modern people. If they evolve further, then the main matter will be attributed to history, and the anecdotes will become novels." This is essentially a wonderful argument for the interrelationship between folk art and literature. When people appreciate Quyi works, they often find distinct literary elements such as poetry praises, rhetorical rhythms, and character descriptions. For example, listeners who have heard Mr. Yuan Kuocheng's commentary on "Romance of the Three Kingdoms" are all impressed by its strong literary quality. It can be said that every sentence is carefully crafted and the comments are precise, which is equivalent to reading the original work. In fact, from a literary perspective, Quyi also belongs to folk oral literature. Folk oral literature is a literary form that uses spoken language that the audience can understand as a carrier and can be adjusted and transformed according to different objects and occasions. As a performing art form, Quyi is a standing literature that must be clearly understood by the audience. It is important to avoid being obscure and difficult to understand, so emphasis is placed on pronouncing words and sounds, following the lines of speech, using subtle and witty language to attract and attract audiences. Literature is inseparable from Quyi. Quben and lyrics themselves belong to literature, and the highest national Quyi professional award, the Peony Award, is an important literary award. Quyi is ubiquitous in literature, as it is embodied in the "Hundred Plays and Scattered Music". Its presence can be seen in books, history, literature, poetry, songs, essays, jokes, and novels. Quyi and literature jointly construct the prosperous scene of Chinese culture. Quyi and literature complement each other, liberating and developing the function of human language. The term "Quyi" first appeared in the "Book of Rites: Prince Wen" where "Quyi is all sworn" refers to small skills such as medical divination. In July 1949, the first National Congress of Literary and Artistic Workers of China stripped away the acrobatic elements from the old society's "what kind of acrobatics" and used new ancient words to collectively refer to all forms of Chinese rap art as "quyi". Quyi "has been officially named as a form of literature and art. The reason why Quyi originated very early is closely related to its material carrier, which is the function of human language. It is precisely because language has developed to a certain extent that rap art has emerged. The essential pursuit of Quyi is to maximize the function of human language. Through the development and training of their own language skills and abilities, whether it is the "speaking, learning, teasing, singing" of cross-talk or the "speaking, expressing, evaluating, and promoting" of storytelling, people aim to continuously improve the functions of oral language expression, pleasing to the ear, and heartfelt. By analogy, dance is the maximization of human ability to control body movements and convey information through body control, music is the maximization of human sensitivity and grasp of sound and rhythm, art is the maximization of human sensitivity and grasp of color, line, shape, and so on. The essential pursuit of literature is also the maximization of the function of human language. However, literature does not develop and use oral language like traditional Chinese opera, but rather develops and showcases the ability of humans to use language symbols and create new language symbols. Whether it is the display of human essential power or the development of human self functions, this exploration of the essence of Quyi and literature may seem too abstract, but it is a systematic understanding that determines the future development trend of Quyi and literature, and should not be underestimated. Therefore, from the day of their birth, the two naturally nourish and learn from each other, using each other's characteristics and giving each other their strengths. The close cooperation between writers and quyi artists is a well-known story. A group of writers such as Lao She, Ding Ling, Wang Yaping, and Xi Rong participated in the establishment of the preparatory committee of the National Quyi Improvement Association, which was the predecessor of the "Chinese Quyi Artists Association". Lao She also created many cross-talk and drum lyrics works. Zhao Shuli, who wrote "Li Youcai's Board Talk", was the second chairman of the China Quyi Association. Jia Pingwa wrote the traditional Chinese tune "Car Brake" for Quyi artists. Jiang Kun and Liang Zuo collaborated to create a number of popular cross-talk works such as "Tiger Mouth Fantasy", "Elevator Adventure", and "Urgent". Quyi and literature grow together in the sun, stimulating the vitality of mass artistic innovation and creation. The rapid technological changes profoundly change the production and consumption of artistic creation, and new types and business forms of artistic creation emerge one after another. The era of artistic creation from relying solely on professional talents to "everyone can have artistic creation" is quietly approaching. Especially with the rapid development of the Internet and artificial intelligence, the threshold for literary and artistic creation is lower, the efficiency is higher, and the output is growing exponentially. People use video editing software to create short videos based on their own footage, or express their thoughts, comments, and create barrage comments after appreciating literary works. They can also form teams to edit, direct, and perform short skits that are loved by the public. Some even use artificial intelligence to produce massive amounts of articles and short videos. The phenomenon of everyone spontaneously and actively participating, no longer limited by occupation or profession, fully utilizing new media, new technologies, and new platforms to carry out literary and artistic creation practices, is called "new mass literature". The popular literature and art we used to talk about mainly aimed at serving the general public as the audience of literature and art. And in the new popular literature and art, people have transformed from the audience of creation to the subject of creation. This is because in the past, people's education level was not high, and literature and art mainly played a role in popularization. Nowadays, material conditions have greatly improved, technological progress has created more possibilities, and people's knowledge and cultural level have significantly improved. They are no longer satisfied with passive acceptance, but are more willing to express their hearts, emotions, and thoughts through works, practice their essential power, and pursue their freedom and comprehensive development. In the new wave of popular literature and art, Quyi and literature should be integrated and coexisted, standing at the forefront of the trend. Coming from the folk and serving the public is a fine tradition of Chinese folk art and literature. Quyi has a distinct collective nature. For example, the traditional cross-talk "Eight Fan Screen" has its own understanding and innovation when performed by different regions and artists, constantly incorporating new elements in the inheritance process, ultimately forming a rich and diverse collection of versions. Although literature emphasizes personalized creation, folk literature also has collective characteristics similar to folk art, many of which are the crystallization of the wisdom of ordinary people's daily production and life. All of this indicates that Quyi and literature never reject the creations of the general public, but rather benefit from the profound nourishment of people's lives. In fact, many characteristics of new popular literature and art are particularly evident in Quyi and literature. The talk show, which is very popular among young people nowadays, centers around the audience, communicates directly with them, and pursues humor and wit. It is a typical example of the art of "speaking" and belongs to the new style of Quyi. Most of the performers in talk shows come from screenwriting backgrounds or work in other industries, rather than being trained professionals in traditional Chinese opera. They are truly created by the general public. In other words, talk shows are a form of folk art that has already opened up its entry barriers to the public. The same is true of literature. Works such as "I Deliver Express in Beijing", "My Mother Does Cleaning", "I Drive a Taxi in Shanghai", and "In the Vegetable Market, On Earth" are all written down by people from all walks of life, and shared on the Internet. They are warmly sought after by the market. This enlightens us that literary and artistic creators can only warmly embrace the people, and all literary and artistic styles can only gain new vitality by walking in the same direction in the process of new popular literature and art. Someone once interviewed Mr. Tian Lianyuan about whether the rise of new media would lead to the extinction of storytelling art. He firmly replied, "As long as people continue to speak, it will not perish, because it is the art of speaking, and it will only get better and better." This answer is so simple and profound. Nowadays, Internet listening has huge traffic, and countless people can customize on-demand storytelling anytime and anywhere. We have reason to believe that as long as human rap and language functions exist, Quyi and literature will exist, and Quyi artists and writers will not be replaced. (New Society)