1. The pioneering nature of Yu Hua's early works is full of pioneering consciousness. The violent and absurd "zero emotion" narrative describes people's violent impulse and irrational desire to the point of a hero's cone. The greedy, bloody, selfish, obscene and unique death narrative of human nature constructed the "real world" of his early works. The extreme application of violence in 1. 1 One of the most prominent components in Yu Hua's early works is violence. This factor is rooted in all his early works and is also reflected in every character. In Going Out at Eighteen, "I" was violently attacked by a group of robbers. "At this time, a fist hit me on the nose and beat me a few meters away. So there were countless fists to meet me, and I was beaten almost everywhere at the same time. " [1] "I" was actually attacked by thieves' violence, and the positive human nature was oppressed by the evil thoughts of human nature, and violence fully demonstrated the profound inferiority of this human nature. Violence in One Reality is like a storm beating every character. No matter Pippi, a four-year-old child, or the characters in other novels, they are all executors of violence. Pippi's playing with her cousin's life is unconscious violence, and grandma only cares about herself. Even when she saw a pool of blood at the door and a yellow thing was her grandson, she ignored the cold violence of turning away, the conspiracy violence of Xiao Shan and their respective wives for revenge, and the deliberate torture and killing of Xiao Shan. Xiaoshan's wife pretends to be Xiaoshan's wife and wants to dismember Xiaoshan. Relatives are completely strangers in their eyes, without human kindness, only extreme violence full of revenge. Yu Hua weaves "the proof of evil human nature" through violence and conformity, which endows the works of the pioneer period with strong artistic tension. 1.2 The absurd infinite expansion is a dagger, which shaped Yu Hua's works in the pioneer period, and stabbed the characters in the novel with holes and blood everywhere. In 1986, the madman's imagination and self-abuse convey the existing human nature and the meaning of survival, which has long been worn out. People no longer live for the sake of life, but become the source of evil for rats crossing the street, even their wives and daughters avoid it. "The madman is still jumping around and calling' Sister'. The mother and daughter are still walking and don't look back. They walked gracefully. " [2] In Yu Hua's early works, relatives did not present China's traditional etiquette orientation, but expressed the unreliability of family ties through absurd descriptions, and the value of family ties always succumbed to their own selfishness and greed. This is vividly shown in a kind of reality, 1986, and Shouting in the drizzle. Absurd writers show the contradiction between cause and result, the split between desire and reality, the opposition between purpose and means, the dislocation between phenomenon and essence, the conflict between subject and object, and the alienation between individual and class in a highly concentrated form. [3] It is through a series of absurd brushstrokes that Yu Hua shows the contradiction between individuals and society and shows a world of irrational desires. 2. The transition between Yu Hua's later works and the avant-garde period 2. 1 From violence and blood to seriousness and nobility Zhang Yongqing said that violence and death are the most common and prominent. In the past literary descriptions, violence was generally related to the wicked. But in Yu Hua's avant-garde works, violence has always been expressed in the most intuitive way, using ordinary phenomena. [4] Yu Hua's works in the 1980s all contain these heavy loads. The theme of Yu Hua's works in the 1990s is quite different from that in the 1980s. "With the passage of time, my inner anger gradually subsided, and I began to realize that the truth pursued by real writers is a truth that excludes morality. The writer's mission is not to vent, not to blame or expose, but to show nobility to people. The nobleness mentioned here is not pure beauty, but detachment after understanding everything, treating good and evil equally, and looking at the world with sympathy. " [5] Yu Hua's works in the 1990s are more about simple and subtle things in society, showing a kind of goodness and beauty that human nature should have. This is particularly evident in the story of Xu Sanguan selling blood. Xu Sanguan knows that Le Yi is not his own son, but he can still show human care for him. When he refused to call back his soul, Xu managed to clean up his happy life. Although the cuckold husband always wears on Xu Sanguan's head, he never falls when he is down and out. All these show the noble and beautiful qualities that human nature should have. 2.2 From the evil of human nature to the good of human nature, in the pioneer period, most of Yu Hua's works reflected the inferiority of human nature, mocking and joking the world without cause and effect through absurd and violent writing. The works in the 1990s reflect a warm humanity. Living and Xu Sanguan's Selling Blood are full of warm humanitarian feelings, reflecting the most basic, intuitive and primitive desire of human nature-"living". 3. Yu Hua's later works inherited the avant-garde period. The difference between Yu Hua's works before and after will make readers feel that there is no connection between his work styles. In fact, in Yu Hua's later works, the narrative technique of the pioneer period is also deeply involved, which embodies the inheritance of the previous creation at a deeper level. 3. 1 The extension of violence is vividly displayed in Yu Hua's early works. Although many researchers believe that Yu Hua's later works reflect more warm humanitarian feelings, Yu Hua still insists on using violence in his later works. In Brothers, Song Fanping was beaten by a man wearing a red armband in order to pick up Li Lan. "Six men with red armbands waved sticks and chased him like six wild animals until they caught up with the ticket window." [6] "He fell on his dislocated left arm and forgot to block the stick with his arm. The disorderly stick instantly hit him on the head, and Fan Song fell flat on the foundation, and six sticks hit him wildly until the stick was interrupted. Then there are six red armbands of twelve feet. Their feet step by step, kicking and kicking. After more than ten minutes, Song Fanping, who was lying at the foot of the wall, did not move. " [7] Six people wearing red armbands, wearing fake leather clothes, hunted down an ordinary person and even put him to death. On the surface, they convey the demand of upholding justice, but in fact, they are the vent of abnormal personal desires. Violence still permeates Yu Hua's works after 1990s. Although there is no powerful description, it still exists silently and infinitely, and its impact is still amazing. 3.2 Absurdity inherits absurdity, just like Xu Sanguan needs to eat pig liver and warm rice wine every time he sells blood, which has become a habit in Yu Hua's works. It can be said that absurdity has always existed in Yu Hua's works. Sun shouted and raped the wife of his daughter-in-law Sun Guangping in the drizzle. Xu Sanguan raped Lin Fenfang in order to "revenge" Xu Yulan's cuckold husband. In Brothers, Li Guangtou and his sister-in-law are upside down and infatuated. The loyalty of love, the care of family, is like a thin piece of paper, shattered by an absurd flood. Fu Guicheng in "To Be Alive" is suffering infinitely, and life has never brought him any happiness. The only cry in his heart is to live. Xu Sanguan in The Story of Xu Sanguan Selling Blood can only make a basic living by selling his own blood as capital. In order to promote the product, brother Song Gang went against the law of body function to get breast enhancement. Life will always give ordinary people the heaviest suffering. It is unreasonable to work hard to survive. Can only rely on selling their only function to maintain the possibility of survival. The absurdity is still inherited in Yu Hua's later works, and he stabbed several times behind his seemingly gentle articles. 3.3 Continuation of villainy Yu Hua witnessed the blood in the hospital and the extreme cold and sadness in the mortuary in his childhood, and formed a dark character, which made him abuse crazy brushstrokes to express his dissatisfaction with the world and hatred for human nature. In the post-90s works, due to the warmth of emotion, his works are slightly mild, but the evil of human nature still moistens the characters. Li Guangtou of Brothers held a beauty contest and slept all over the contestants. The vulgar and lewd bad taste casts a fig leaf over Li Guangtou, who has a successful career. The love movement between Lin Hong and Li Guangtou shows that women are unwilling to be lonely and pursue novelty. The evil of human nature is still unique in Yu Hua's works in the 1990s, and his style remains the same. 4. Conclusion Although the content of Yu Hua's later works is far from the pioneer period, his unique violence and absurdity continued in every work in the 1990s, which is different from the stormy nature description in the 1980s. Violence, absurdity and evil human nature in post-90 s works are more like an undercurrent, which silently becomes a source of supply for his works. (Source: On the Inheritance of Yu Hua's Later Novel Creation to the Pioneer Period)