“白話文學”並不一定是最道地的口語文學，對中國許多方言區的人來講，最 道地的口語是他們的方言。而所謂的“白話文”則是以北京話為基礎所發展出來的普通話的 書寫語言對許多方言區的人來話，這種語言並不是他們從小講的口語，而是在受教育過程中 學得的。 　只有讓普通話和方言之間維持“互相交往”的關係，讓普通話不斷的去吸取方言的特殊 語法、詞彙和語氣，普通話才能生生不息，永遠保持活力。從這種普通話發展出來的白話文 學也才能永久維持生機，而不會成為書面的死文字。中國現代白話文學的發展過程，特別是 趙樹理影響下的小說傳統足以證明迄這一點。 　從這方面來看，台灣文學存在看兩個重大問題:一、台灣最重要的兩種方言－－閩南話 和客家話－－由於政治原因 ，長期受到壓制；而講不同方言的外省族群，由於人數不多， 居住環境也不夠集中，自己的方言也不能發展；這就使得台灣的普通話（國語）欠缺方言這 一“源頭活水”，而流於貧瘠。二、作為普通話學習典範的中國現代白話文學作品，也由於 政治關係，長期以來絕大部份禁止閱讀；由於缺乏優秀的範本，從教育過程中學習得來的普 通話與白話文也就問題重重。

　　　　　The vernacular literature is not necessarily the most colloquial form; for most of the people of China's dialect regions, that language is the local dialect. The so-called vernacular literature is, in principle, the written form of the standard language developed out of the Beijing speech form and is acquired in the process of getting an education. Only insofar as Standard Chinese and the dialects maintain an interplay can the standard form adopt the grammatical particularities, vocabulary and flavor of the dialects. This is a source of strength and life for the language, a point attested to by the novelistic tradition developed in vernacular literature influenced by Zhao Shuli. In this context, two major problems confronting Taiwan Literature are addressed. The largest dialects on Taiwan were long suppressed on politioal grounds and the speakers of the mainland dialects were too few and too widely disperssd. As a result, neither group of dialects developed, and standard Chinese has been impoverished. Second, the long-term classroom prohibition of excellent vernacular writing models from the mainland retarded literary development.