On the morning of May 20, 1927, Charles A. Lindbergh Jr. took off from a muddy airfield in New York and headed for Paris. During the first fourteen hours of flying, he had had some anxious moments. Sleet had gathered on the wings of the plane and the fog was so thick that he could hardly see the tips of the wings. However, he had come across equally dangerous flying conditions before. Of course, now that he was over the ocean, his parachute（降落伞）was useless. He had only one choice: he had to go on.

    Although he had waited a long time to make this trip, he did not feel strange or nervous. He was accustomed to flying alone, and he had flown this route in his imagination many times. The idea of flying across the Atlantic had occurred to him one night when he had been carrying the mail between St. Louis and Chicago. That night, he told himself that a solo non-stop flight between New York and Paris was possible. He knew that airplanes capable of making the long flight over the ocean could be built. A man of skill and endurance could make his dream come true.

    As he was recalling that night, he reduced the altitude of the plane. Close to the surface of the ocean, he found that the ice on the wings began to melt and the fog disappeared. For the time being, at least, he was safe. The steady sound of the motor seemed like music in his ears. He had perfect confidence in his plane because he knew that there was not a more dependable plane than his. The Ryan Aircraft Company had constructed the plane to meet his special needs. He had worked with the chief engineer of the company, Donald Hall, to produce the airplane as rapidly as possible. Although Hall had worked with the basic design of the Ryan airplane, he had had to make many modifications. As a result, it was a very special airplane. He had named it “The Spirit of St. Louis,” in honour of the St. Louis businessmen whose financial backing had made the trip possible. Besides their money, he had invested all of his own savings, which came to two thousand dollars, in the venture.

    At 12:10 on the afternoon of May 21, Lindbergh caught sight of the coast of Ireland. Now that the flight was almost over, he began to relax a little. Finally, after thirty-four hours in the air without sleep, he arrived at Le Bourget Field, in Paris.

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    人愉快时面呈笑容，哀痛时放出悲声，这种内心情感也能在中国书法里表现出来，别的民族写字还没有能达到这种境地的。唐代韩愈说张旭善草书，“有动于心，必于草书焉发之”，“观于物，见……天地事物之变，可喜可愕，一寓于书”。张旭的书法不但抒写自己的情感，也表现出自然界各种变动的形象，但这些形象是通过他的情感所体会的，因而能形成情景交融的意境。

    汉字的起始是象形的，书法家可以用字的结构来表达物象的结构和生气勃勃的动作，使写的字成为一种表现生命的艺术。元代赵子昂写“子”字时，先习画鸟飞之形，从中吸取对生命形象的构思，使“子”字有着鸟飞形象的暗示，成为一个表现生命的单位。书法家要想使字表现生命，就要用他所具有的方法和工具在字里表现出生命体的骨、筋、肉、血的感觉来。许慎说：“书者，如也。”书的任务是如，写出来的字要“如”我们心中对于物象的把握和理解。但这里并不是完全像绘画那样直接模示客观形体，而是通过较抽象的点、线、笔画来表现的。

    中国人写的字，能够成为艺术品，使用毛笔是另一个重要原因。毛笔铺毫抽锋，极富弹性，所以巨细收纵，变化无穷，这是欧洲人用管笔、钢笔、铅笔及油画笔所不能比的。正是这个特殊的工具使中国人的书法有可能成为一种世界独特的艺术。中国书法用笔有中锋、侧锋，方笔、圆笔，轻重、疾徐等各种区别，皆是运用单纯的点画而成其变化，来表现丰富的内心情感和世界诸形相；就像音乐运用少数的乐音，依据和声、节奏与旋律的规律，构成千万乐曲一样。唐朝张彦远在《历代名画记》里说张芝学习草书之法，“一笔而成，气脉通连，隔行不断”。石涛《画语录》也说，“人能以一画具体而微，意明笔透”，“一画之法立而万物著矣”。但这里所说的一笔、一画，并不真是一条不断的线纹，而是如郭若虚所言，“自始及终，连绵相属，气脉不断”。中国书画家正是运用这一笔的点画，构成万千的艺术形象，创造中国特有的书画艺术。

    中国书法从一笔入手，但一笔不能摄万象，须要变动而成八法，才能尽笔画的“势”，以反映物象里的“势”。这“永字八法”由“永”字的笔画而来，为侧(点)、勒(横)、努(直竖)、超(钩)、策(提)、掠(长撇)、啄(短撇)、磔(捺)。这些笔画，悬腕中锋，运全身之力以赴之，笔迹落纸，反映着生命的运动，显示着力量。点，不称点而称为侧，是说它的“势”，左顾右瞰，欹侧不平。卫夫人说“点如高峰坠石，磕磕然实如崩也"，一点之力真是石破天惊。横画称为“勒”，是说它的势，牵缰勒马，跃然纸上。书法的“美”就是势、是力、是虎虎有生气的节奏，它倾向于壮美。

    字由点画连贯穿插而成，点画的空白处也是字的组成部分，和笔画具同等的艺术价值。所以大书法家邓石如曾说书法要“计白当黑”，无笔墨处也是妙境!虚实相生，才完成一个艺术品。中国书法艺术里这种空间美，在篆、隶、真、草、飞白里有不同的表现，尚待我们钻研。

(摘编自宗白华《中国书法里的美学思想》)

下面是《2015年中国青年生活形态调查报告》中有关“创业”的调查数据，请简要说明表格的主要内容。要求语意简明，句子通顺，不出现具体数字，不超过80个字。

中国青年对“创业”的态度占比（%）