Yu Dafu (1896 ~ 1945) is a modern novelist and essayist. Formerly known as Yu Wen, he was born in Fuyang, Zhejiang. 1896 65438+Born on February 7th. Father Yu Shixian used to be a teacher and a Chinese medicine practitioner, and later worked as a clerk in Fuyang County. Yu Dafu lost his father at the age of 3 and his family was poor. At the age of 7, he began to receive enlightenment education in his hometown, and then went to Jiaxing and Hangzhou to study. 19 13 went to Japan to study with his eldest brother Yu Hua, 1922 graduated from the Economics Department of Imperial University of Tokyo. Yu Dafu loved reading novels and operas since he was a teenager, and he had a strong interest in China's classical poems and novels and operas. During his study in Japan, he dabbled extensively in foreign literature and was deeply influenced by various social thoughts and literary works in modern Europe and Japan, which prompted him to embark on the road of literary creation. 192 1 year initiated the establishment of a creative society with Guo Moruo, Cheng and others, and at the same time created the earliest vernacular short story collection of new literature, Sinking. 1923 completed the second novel collection, Dill Collection. The publication of these two novels shocked the domestic literary world. During this period, he participated in the editing of Creative Quarterly, Creative Weekly and Creative Day, and taught in Anqing College of Political Science and Law and Peking University successively. 1925, went to Wuchang Normal University to teach liberal arts. 1926 In March, Guo Moruo went to teach at Sun Yat-sen University in Guangzhou. 65438+ In February of the same year, he returned to Shanghai to edit the bimonthly Flood and Creation Monthly, and presided over the publishing department of Creation Society. At this time, Yu Dafu's thoughts were more radical. 1927 to 65438+ 10, published the article "Guangzhou Affairs" in the bimonthly "Flood" to expose the defeat of the Guangzhou government. In March, he published the article On the Way to Change Direction, thinking that the first revolutionary civil war was "the liberation movement demanded by all the people in China" and "the realization of Marx's theory of class struggle", keenly feeling the crisis of betraying the revolution hidden in the revolutionary camp, and pointing out that "it is the greatest danger to destroy our revolutionary movement" and "the heroism left over from the feudal era". Yu Dafu left the creative society in August 1927 because of the publication of the article "Guangzhou", which caused different opinions within the creative society and disputes arising from the rectification of the publishing department of the creative society. In the autumn of the same year, he participated in the editing work of the revolutionary political publication People. 1June, 928, Yu Dafu and Lu Xun co-edited Running Monthly, edited Popular Literature and Art, and co-edited Hundred Flowers with Qian Xing □, and published literature bimonthly for China Revolutionary Relief Society. 1930 February, China Freedom Movement League was established, and Yu Dafu was one of the founders. In March, he joined the League of Chinese Left-wing Writers; At the beginning of 1933, he joined the civil rights protection alliance hosted by Soong Ching Ling and Cai Yuanpei. Under the white terror of Chiang Kai-shek's government, his family moved from Shanghai to Hangzhou in April of the same year, and lived a secluded life, and was once depressed politically. 1February, 936, served as the director of the Fujian Provincial Senate and Bulletin Office. With the upsurge of the anti-Japanese national salvation movement, Yu Dafu rallied and rejoined the tide of the times. 1in the winter of 936, at the invitation of Japanese societies and schools, he went to Tokyo to give lectures, trying to convince Japanese people in the ruling and opposition circles of their plans to invade China. And made a special trip to visit Guo Moruo who fled to Japan for nearly 10 years. 1937 After the outbreak of War of Resistance against Japanese Aggression, Yu Dafu went to Wuhan to participate in the anti-Japanese propaganda work in the Third Hall of the Political Department of the Military Commission of the National Government. At the end of 1938, due to the gradual reversal of domestic political atmosphere and family changes, he lived in Nanyang, served as the editor of Singapore's Sin Chew Daily Supplement and Overseas Chinese Weekly successively, and persisted in the anti-Japanese war propaganda work overseas. 194 1 After the outbreak of the Pacific War in February, he participated in the anti-Japanese work of overseas Chinese cultural circles. After the Japanese army approached Singapore, it retreated to the Dutch island of Sherbanjean, and then moved to Baye, Sumatra, to live in seclusion under the guise of running a winery. Soon after, he was intimidated by the Japanese army occupying Indonesia and worked as an interpreter in the Japanese gendarmerie in Bukit Dinyi for about 7 or 8 months. During this period, he secretly helped and rescued many Indonesians and overseas Chinese, and learned about many secret crimes committed by the Japanese gendarmerie. 1945 After Japan announced its surrender, it was secretly killed by the Japanese gendarmerie in the wilderness of a suburb of Bukit Din in September 17. Yu Dafu made indelible contributions to the development of new literature and the cause of national liberation all his life. The early works reflect the humiliating life of Japanese students studying in China in a foreign land, and the situation of being discriminated by society and displaced for their own livelihood after returning home, and profoundly describe the depressed psychology of young people ruled by warlords at that time who could not find a way out in the dark reality. After the publication of novels such as Sinking, Long Night, Dill Journey and Picking up Stones, they aroused strong repercussions among young readers. Although these works are full of sentimental feelings and descriptions of abnormal psychology, they were considered to have a tendency of "decadence" at that time, but in general, they have anti-imperialist and anti-feudal characteristics of the times and reflect a certain historical truth. Influenced by Rousseau, herzen, Turgenev, Dostoevsky and Japanese writers Kasai Shanzang, Junichiro Tanizaki and Haruko Sato, he advocated that "literary works are autobiographies of writers" and paid attention to expressing his sincere feelings from the subjective inner world. He poured out his rebellion against the old society and reflected the depressed psychology of adolescence, full of bold self-exposure techniques and strong lyrical colors, which made him an outstanding representative of the romantic tendency of the early creative society and was imitated by some later writers. It is because of his influence that an artistic school of writing novels with lyrical style was formed in the development of new literature in the 1920s. During the period from 1923 to 1927, he also wrote some novels that he thought were "somewhat socialist", such as A Night Intoxicated by Spring Breeze, Thin Drink and A Light Snow Morning. However, during the most active period of participating in progressive literary activities, he still wrote short stories and stories describing morbid psychology in 1927, such as Past and LostSheep. 1932 "She is a weak woman" (later renamed "Give her a break") was published. The novel reflects the split and experience of three female intellectuals during the period of 193 1 from the May 4th Movement to the first revolutionary civil war, and then to the two wars launched by the Japanese in Shanghai to accuse Japan of invading China. At the end of the same year, the novel Chi Guihua, which has the most artistic characteristics in his later creation, was published. After that, except for the last realistic novel "Running Out" with the background of the first revolutionary civil war, which was published in 1935, he mainly wrote essays such as travel notes, essays, such as "Spring Day on the Fishing Platform", "Moving House" and "Lonely Spring Tide", and so on, with a leisurely style to express his feelings of worrying about the country. His prose, like novels, shows frankness, ups and downs, like flowing water, and has great artistic charm. In his later years, he mainly wrote old-fashioned poems to express his patriotic feelings, among which "Destroying Family Poems" and "Miscellaneous Poems" have been read by literary circles at home and abroad. Among the writers of new literature, he is famous for being good at writing old-style poems. Yu Dafu writes like a person. His romantic and sentimental novels, essays and poems not only reflect his bumpy life path and tortuous creative process, but also show a complex and unusual modern writer's distinctive creative personality and unique artistic style since the May 4th Movement. In his works, he dissects himself, dissects himself and whips himself in a simple lyrical way, which makes these works full of strong artistic appeal to readers. Guo Moruo once pointed out: "His bold self-exposure is a hypocritical storm of lightning strikes against the literati hidden in millions of years' armor, which shocked some hypocrites and fake talents. Why? It is precisely because of this explicit truth that they feel the difficulty of fraud. " I also agree-Li's "Du Fu is a decadent Mohist school and an essential Qing sect" summarizes Yu Dafu's personality characteristics and ideological quality as "modesty and self-grazing" (on Yu Dafu, talk about Yu Dafu again). Yu Dafu is brilliant and has a strong poetic temperament. Although he is a master of the May 4th New Literature and belongs to radical democracy ideologically, he was influenced by European literature at the end of 19 in his literary creation. I have never completely got rid of the conservative traditional literati in China, and I have also been deeply influenced by the "wandering around the world" attitude of ancient China literati such as Ruan Ji and Liu Ling. Therefore, his life and creation contain profound contradictions. All his works reflect the arduous ideological course of a talented progressive intellectual under the long-term and complicated China Revolution and the specific historical conditions of stumbling, as well as the general depressive psychology of a generation of intellectuals and their strong voice for the liberation of human nature. Hu Yuzhi once commented on him: "He is great because he is a talented poet, humanist and true patriot." (Yu Dafu's exile and disappearance) Starting from 1928, Yu Dafu edited and published The Complete Works of Da Fu. The complete works include cold grey set, chicken ribs set, past events set, strange zero set, broom set, Wei fern set, broken line set, plus 8 volumes of confessions set. There are also nine diaries, LostSheep, She is a Weak Woman, Selected Works of Duff, Short Essays Translated by Duff, Grass in vain (prose fragments translated by a good Japanese mage), Everywhere, Diary of Duff, Travel Notes of Duff and Random Books. After the founding of the People's Republic of China, he and his eldest brother Yu Hua (killed by the Japanese puppet army during the Japanese occupation of Shanghai) were recognized by the people's government as "martyrs who sacrificed for the cause of national liberation" and built pavilions in their hometown to commemorate them. Since 198 1, Guangzhou Huacheng Publishing House and Hong Kong Branch of Life, Reading and Knowledge Joint Publishing House have jointly edited and published the collected works of Yu Dafu, and Zhejiang People's Publishing House has published most of his unpublished poems at home and abroad. 1982, Tianjin People's Publishing House published two volumes of research materials on Yu Dafu. In Japan, Yu Dafu's information monograph Yu Dafu's Collection (Volume I and Volume II) was published.