Mao Dun also created a series of characters with distinctive personalities in Midnight, and their respective ideological outlook and mental state were deeply branded by the times and classes. Tu Yuewei is Wu Sunfu's effective eagle dog. Just as the author deliberately exaggerated Wu Sunfu's talent and courage, he also exaggerated Tu's "alertness, calmness and courage" with a lot of pen and ink. Wu Sun-fu can't change his fate of failure, and Tu Wei-yueh's intrigues can't destroy the avalanche of the workers' movement. Yue is a comprador financial capitalist supported by American imperialism and a unique product of semi-colonialism. With the strength of Chiang Kai-shek's fascist regime, it has the advantage of overwhelming Wu Sunfu politically and economically. He not only manipulated the bond speculation market in Shanghai, but also seized the throat of the national industry. He is cunning, cruel, fierce, playing with women, dissolute and shameless. Although the work does not fully reveal the political and social relations of this character, it vividly depicts and exposes his rogue nature from a few pages of description. Feng Yunqing fled to Shanghai as a "field-eating mound" under the storm of agrarian revolution. He traded the blood and sweat of farmers for a "public house" life in the metropolis, while speculating in the public debt market. Through an ugly drama in which he used his daughter as a "honey trap", the work sharply exposed the shameless spirit of the feudal landlord class, and on the other hand highlighted Zhao's despicable image. Although Feng Yunqing's activities occupy a small space, they are an indispensable part of the book. In addition, so-called "professors" and "poets" like Li Yuting and Fan Bowen who betray themselves and live on the capitalist's purse have also written their own characteristics. The author once said that he intended to "link the New Scholar of 1993 to the overall structure of the present book". Although this plan was not fully realized, Li Yuting, Fan Bowen and other figures somewhat showed the decadent and empty mental outlook of some bourgeois intellectuals at that time.

Mao Dun is particularly good at depicting the psychological state of characters. He did not make a static and isolated analysis and description of them, but made a detailed and profound description of them in the torrent of the times and in the sharp contradictions and conflicts. He made Wu Sun-fu fight on several fronts at the same time, making him feel excited, worried, resolute and impatient in the ups and downs of victory and defeat. In this way, Wu Sunfu's mental state and mental outlook are completely exposed to the readers. Du Zhuzhai's mercenary character is particularly obvious in the decisive battle stage of the bond market. At the height of the infighting between Wu and Zhao, the hearts of our powerful people were exposed. Mao Dun also used the description of natural scenery in many places to render the atmosphere and set off the changes of the characters' emotions, thus vividly expressing the characters' personalities. He never writes about scenery for the sake of it. He writes about scenery, so he writes about people. Sometimes it's because of feelings, sometimes it's because of scenery, and the scene is mixed, which is irrelevant.

The language of Midnight is concise, delicate and vivid. It has no over-Europeanized language, and occasionally uses ancient idioms, which is just right and interesting. The characters' language and the narrator's language can have different characteristics with the development of stories and characters' personalities, so that readers can feel at home when they hear their voices and see their people.

The artistic structure of Midnight is grand and precise. Chapter 19 * * *, Chapter 1 and Chapter 2 of the book explain the characters and reveal clues; Since then, chapter 17 has all kinds of clues, is orderly, has its own description focus, and obeys the center of the book. The fourth chapter describes the peasant uprising in Shuangqiao Town. Although this clue has not been further developed, which makes people feel a little divorced from the whole book, it reflects the face of rural areas in China in the 1930s, shows Wu Sunfu's close relationship with rural feudal economy and his irreconcilable attitude towards peasant uprisings, and is still an important part of the whole book. This article comes from the secretary channel component of the civil service examination network. The main thread running through the book is the contradiction and struggle between Wu Sunfu and Zhao, but at the same time it is either true or false, showing the vigorous development of revolutionary forces in various places. Finally, it shows the growing strength of the Red Army of Workers and Peasants, and points out the real way out for China by comparing the fate of Wu Sunfu's failure.

The success of Midnight is by no means accidental. Like all successful writers in the history of literature, Mao Dun paid special attention to the study of people and the relationship between people. He has rich social experience, and tries to analyze various phenomena from the perspective of Marxism, reveal their great significance and form the theme of his works. The birth and production of Midnight is just like this. Mao Dun has a special liking for China's classical novels "The Water Margin" and "The Scholars", and he has widely read the works of famous foreign writers. He can absorb excellent literary heritages at home and abroad by chewing and digesting, and "digest the essence of old works of art and create new techniques". This is also the key to the success of Midnight. This article comes from the official examination network-secretary channel.

The description of the mass movement of workers and peasants in Midnight is not a successful place. Especially describing the workers' strike struggle, the shortcomings are more obvious. The author used a lot of space to describe this struggle, on the one hand, he wanted to show the contradiction between the national capitalist Wu Sunfu and the working class, on the other hand, he wanted to criticize the wrong leadership of "Left" adventurism at that time through this description. However, because the positive image is too thin to express the spirit of revolutionary heroic struggle, the author's creative attempt has not been successfully realized. The author later pointed out the reason for this shortcoming: "This novel is written from three aspects: comprador financial capitalist, reactionary industrial capitalist, revolutionary activist and worker. Of the three, the first two directly observe people and their affairs, while the latter only relies on' second-hand' materials, that is, people and their affairs and even the dictation of a third party. The source of this theme makes the part describing comprador financial capitalists and reactionary industrial capitalists more vivid and true, while the part describing revolutionary activists and workers is much worse. "

The appearance of "Midnight" is the time when the proletarian revolutionary literature movement in China is advancing in the "encirclement and suppression" of counter-revolutionary culture. It shows the fighting achievements of the left-wing literary camp and proves that proletarian literature is an invincible and most promising creative force.