Brief Introduction of Mao Dun (Shen Dehong)
The "first teachers" of many writers and politicians in China are widowed mothers, and Mao Dun was brought up by his stepmother. At the age of seven, Mao Dun went to school with his father, and his stepmother personally guided him to learn new things. When he was 8 years old, his father was seriously ill. He entered Wuzhen Lizhi Primary School and then transferred to Youcai Senior Primary School.
President Mao Zedong and Zhou Yang, Mao Dun and Guo Moruo
His thoughts of caring for the country and the people, strengthening the body resistance and eliminating evil spirits can be seen in his posthumous works. 13 years old, with the help of his mother, he boarded the train in Huzhou, ended his childhood and began his middle school life. 16 years old, scholar, familiar with traditional Chinese medicine, open-minded reformist, quite successful in resuming studies. After completing the preparatory course in Peking University, he was unable to pursue further studies. He joined the Shanghai Commercial Press, reformed the old-fashioned Novel Monthly, became the chief critic and one of the founders of the Literature Research Association. Actively carrying out the revolutionary literature movement has made pioneering contributions to the study of Lu Xun and his works. His knowledge and talent were discovered by the general manager and the director of the editorial department, and he was transferred to the Chinese Department to help Mr. Sun Lao cooperate in translation. Mao Dun finished translating a book popular with young people in one month, named Clothes, and then translated Food and Accommodation, and later helped him compile a fairy tale magazine. This is the first stop of Mao Dun's literary creation. 19 18 wrote the fairy tale "Looking for Happiness", and the fairy tale works also include "Dahuai". At this time, he took part in the Shanghai * * * production team to build the China * * * production party, went to Guangzhou to attend the second Kuomintang Congress, and served as the Minister of Propaganda Department of the Kuomintang Central Committee. The Acting Minister of Propaganda Department is Mao Zedong. After the cooperation between the two countries broke down, he went into exile in Shanghai and Japan from Wuhan, and began to write his first novels Eclipse (Disillusionment, Shake and Pursuit) and Rainbow, so he picked up a novelist's pen. This experience of upper-level political struggle has created his summary of the times and the whole social vision of literature, and the theme of his early works is also taken from this. During the Left-wing League period, he wrote a novel Midnight, a short story Creation, Lin Jiabao and a rural trilogy (Spring Silkworm, Autumn Harvest and Can Winter). During the Anti-Japanese War, he traveled to Hong Kong, Xinjiang, Yan 'an, Chongqing, Guilin and other places, and published novels such as Corrosion, Frosty Leaves as Red as February Flowers, Exercise and Before and After Tomb-Sweeping Day. He also wrote essays such as Praise of Poplar, Talk about Mountains and Rivers, and Gentleman in the Woods to express his complex feelings by symbolic means. The literary and art circles celebrated his fiftieth birthday, and his reputation grew bigger and bigger. After the founding of People's Republic of China (PRC), he served as vice chairman of the Federation of Literary and Art Circles, minister of culture, chairman of writers' association and vice chairman of China People's Political Consultative Conference. It is difficult for him to create it at once.
Mao Dun's pen name
Mao Dun, Lang Xianfeng, Zhu Xuan, Fang Bi, Zhi Jing, Bu Lao, Xing Tian and Xing Feng are all his pen names, and there are dozens of them. However, Mao Dunhe is not always his most commonly used pen name.
Mao Dun's Life
1On July 4th, 896, Mao Dun was born in Wuzhen, Tongxiang County, Zhejiang Province. His father Yongxi Shen was a scholar in the late Qing Dynasty. He is proficient in Chinese medicine. He is an open-minded reformer and attaches great importance to new learning. In addition to natural sciences such as sound, light, chemistry, electricity and mathematics, he also likes to spread social science works with progressive ideas. My mother, Chen Aizhu, is a liberal arts, visionary and strong-willed woman. Mao Dun 10 lost his father. As a child, he accepted the knowledge of literature, history and geography taught by his mother. Mao Dun said, "My first teacher is my mother".
Mao Dun's enlightenment education began earlier. I studied at home and in a private school before elementary school. At the age of 8, he entered Wuzhen Lizhi Primary School and later transferred to Zhicai Senior Primary School, becoming the first student of the school. Here, he not only read textbooks on Chinese, self-cultivation and arithmetic, but also became interested in painting. At that time, in the eyes of ordinary conservatives, children were forbidden to read novels and other "casual books", but Mao Dun got the permission of informed parents. The Journey to the West's Romance of the Three Kingdoms, The Water Margin, Strange Tales from a Lonely Studio and The Scholars are all his favorite books at this time. From Mao Dun's essays in primary school, we can see that at that time, he showed the thought of worrying about the country and the people, strengthening the body and eliminating evil. Mao Dun spent his middle school days in three middle schools in Zhejiang. 1909 was admitted to Huzhou No.3 Middle School in Zhejiang Province, 19 1 transferred to Jiaxing Middle School in autumn. Soon, the Revolution of 1911 broke out, and Mao Dun warmly welcomed the revolution and became a voluntary propagandist of the revolution. At school, Mao Dun and several classmates attacked an unpopular academic supervisor and were expelled from the school. So I transferred to Hangzhou Anding Middle School and graduated there. In middle school life, although some teachers left a deep impression and positive guidance on Mao Dun, the whole learning atmosphere is outdated. "If you don't read books below the Qin and Han Dynasties, parallel prose is the authentic article, and poetry should learn the seven sons of Jian 'an; ..... tolerance to Tsinghua shukuang ("my middle school and later"). All this once gave Mao Dun the accomplishment of classical literature, but in his memory, it was more ordinary, gray and suffocating. He spends almost all his spare time reading novels. Classical novels inspired his literary thinking, and at the same time, they also showed their marks on his creative style. 19 13, Mao dun was admitted to the first class of Peking university preparatory school. After graduating from preparatory school, I started to work to make a living because of my family's financial difficulties. 1965438+In August 2006, I went to work in the Compilation Institute of Shanghai Commercial Press. I began to revise English correspondence papers of the English Department, and then cooperated with others to translate books. In this way, the original text of "basic necessities of life" was translated. Soon, he went to the Chinese Department to write Fables of China, and also participated in the editing of Student Magazine. 1at the beginning of 920, when the May 4th literary revolution was in full swing, Mao Dun began to be responsible for the editing of the new trend column of Fiction Monthly. At this time, he successively wrote the Declaration of Novel Tide, Discussion on New and Old Literature and What is the responsibility of a writer now? And so on, revealing Mao Dun's early literary view. In June of the same year 165438+ 10, Mao Dun took over and completely innovated Novel Monthly; At the end of February, 65438+ contacted Zheng Zhenduo, Ye and Zhou Zuoren. , and initiated the establishment of the Literature Research Association in June, 192 1. At that time, Mao Dun was mainly engaged in the discussion of literary theory, literary criticism and translation of foreign literature. According to incomplete statistics, in the year of 192 1, Mao Dun published about 130 translations. He devoted himself to the literary revolution with abundant energy. Two years later, due to the dissatisfaction of the old school of the Commercial Press with the innovation of Novel Monthly, Mao Dun resigned as the editor-in-chief of the magazine and transferred to the Chinese Department. At the same time, Mao Dun took an active part in social revolutionary activities. 192 1 At the beginning of the year, Mao Dun joined the Shanghai * * * production team. In July of the same year, China * * * Production Party was founded, and he became one of the earliest party member of China * * * Production Party. After 1922, under the cover of the editor of Novel Monthly, he became a liaison in the Central Committee of the Communist Party of China. During this period, he also taught in the party-run civilian girls' school and Shanghai University to train cadres for the revolutionary cause. 1925 May 10, Shen Yanbing published a long article "On Proletarian Art" in the first issue of Literature Weekly 127. The issues of Literature Weekly 173, 175 and 196 published in June17 and June 196 will continue to be published. This is the slogan of revolutionary literature put forward by Shen Yanbing in 1924. The article is divided into five parts. The first section discusses the formation of proletarian art; The second section discusses the conditions for the emergence of proletarian art; The third section discusses the category of proletarian art; The fourth section discusses the literary phenomenon of the Soviet Union and the content of proletarian art; The fifth section discusses the formation of proletarian art. The May 30th Movement broke out in 1925, and Mao Dun directly devoted himself to the mass revolutionary movement. In June, and Zheng Zhenduo founded the Axiom Daily, which was forced to close soon. In August, as a staff representative, I participated in the strike struggle of the Commercial Press. After the Kuomintang held the Xishan Conference, Mao Dun and Hui established the Kuomintang Shanghai Party Department in Shanghai at the behest of the Central Committee. 1At the end of 925, Mao Dun and Yun were elected as representatives of the Shanghai Party Department of the left-wing Kuomintang and went to Guangzhou to attend the Second National Congress of the Kuomintang. After the meeting, I stayed in Guangzhou as a secretary in the Propaganda Department of the Kuomintang Central Committee and a contemporary minister in Mao Zedong. 1In March, 926, Mao Dun returned to Shanghai after the "Zhongshan Ship Incident". In June 5438, the Northern Expeditionary Army occupied Wuhan and established the National Government. When Mao Dun arrived in Wuhan, he first worked as an instructor at Wuhan Branch of the Central Military and Political School. /kloc-in the spring of 0/927, he became the editor-in-chief of the Republic of China Daily in Hankou. From April to July, he wrote more than 30 editorials and comments for the magazine. In July, Wang Jingwei organized a * * * meeting and openly rebelled. Mao Dun left Wuhan to prepare for the Nanchang Uprising. After arriving in Jiujiang, he returned to Shanghai via Guling because the road was blocked. At this time, he was wanted by the Kuomintang reactionaries. Since then, he started writing and other literary activities under the pseudonym of Mao Dun. 1September, 927, published "Disillusionment",1June, 928, successively completed the creation of "Shake and Pursuit"-the trilogy of solar eclipse. In July of the same year, he left Shanghai for Japan, first living in Tokyo and then moving to Kyoto. During his stay in Japan, he wrote the novel Rainbow (unfinished) and some short stories and prose poems. And other works such as Miscellaneous Myths, General Theory of Western Literature, Nordic Myth ABC, and China Myth Research ABC; From Guling to Tokyo, I read papers by Ni Huanzhi and others. 1930 In April, Mao Dun returned to Shanghai from Japan. Soon, he joined the Chinese Left-wing Writers' Union and once served as the executive secretary of the "Left-wing Union". Since then, Mao Dun and Lu Xun have been together, engaged in revolutionary literary and artistic activities and social struggles. 193 1 year, in order to protest against the bloody massacre policy of the Kuomintang reactionaries, Lu Xun and Mao Dun published the Declaration on Slaughtering a Large Number of Revolutionary Writers for the Kuomintang. 1February, 932, published the Book of Shanghai Literary and Art Circles and the Declaration of the Japanese Army Attacking Shanghai and Slaughtering People to the world. In May, the news of the murder of Japanese revolutionary writer Kobayashi Takiji came, and eight writers, including Lu Xun and Mao Dun, initiated "fundraising for Kobayashi's survivors who died suddenly"; In July, he called the Nanjing government to ask for the rescue of the imprisoned Niulan couple from the International Federation of Trade Unions. 1September, 934, Mao Dun helped Lu Xun to establish Translation magazine, which opened up a new way to improve literary translation. 1936 In February, after learning that the Red Army had successfully arrived in northern Shaanxi, Lu Xun and Mao Dun sent a congratulatory message to the Central Committee: "The future of mankind and China depends on you." In the same year, in June 5438+10, Mao Dun and many literary and art workers published the Declaration on Freedom of Speech in Literary and Art Circles and Freedom of Speech for Unity, calling for the establishment of an anti-Japanese national united front in the literary and art circles. 1937, ten years, is the mature and fruitful stage of Mao Dun's creation. During this period, I finished the novella Road, Three Sides and the novel Midnight. Midnight is a novel that describes the social features of China on a large scale. Its publication shows the achievements of left-wing literature and is a milestone in the historical development of new literature since the May 4th Movement. Qu Qiubai commented, "This is China's first successful realistic novel" (Midnight and the Year of Chinese Goods). At the same time, he also completed the creation of excellent short stories such as Lin Jiapu, Spring Silkworm, Autumn Harvest and Can Winter. Translated the Diploma by Dan Qin Ke and the War by tikhonov; In addition, he has published a large number of essays, short literary comments and monographs on writers' studies in such publications as Shen Bao Free Talk, Taibai and Literature. 1937 at the beginning of the Anti-Japanese War, he joined the work of Wang Jiu Daily and edited Scream (later renamed Beacon). After the fall of Shanghai, Mao Dun moved to Changsha, Wuhan, Hong Kong and Guangzhou. 1938 In March, the All-China Anti-Enemy Association of Literary and Art Circles was established in Hankou, and Mao Dun was elected as a director. In April, Literary Position, edited by him, was founded in Guangzhou. At the same time, Lin Yan, a supplement edited by Li Bao, was reissued in Hong Kong. The novel The Story of the First Stage (formerly known as Where Are You Running? "), is completed at this time. In February 65438, at the invitation of Du Zhongyuan, he went to Dihua (now Urumqi) in Xinjiang via Haiphong and Kunming. 1939 arrived in Xinjiang in March. Teaching in Xinjiang University. In April, Xinjiang Cultural Association was established, and Mao Dun was elected chairman. In A.D. 1940, Sheng Cai, the ruler of Xinjiang, became more and more reactionary. Mao Dun was forced to leave Xinjiang at the end of April, passing through Lanzhou and Xi 'an, and arrived in Yan 'an at the end of May. During his stay in Yan 'an, he gave lectures at Lu Xun College of Literature and Art and the Shaanxi-Gansu-Ningxia Border Region Cultural Association. He has published many articles in magazines such as China Culture and Popular Literature. From June+10 in 5438, he arrived in Chongqing from Yan 'an and served as the Standing Committee of the Cultural Work Committee chaired by Guo Moruo. At this time, the creation of excellent prose "Landscape Talk" and "Praise of Poplar" was completed one after another. 194 1 After the "Southern Anhui Incident", the political countercurrent in the Kuomintang-controlled areas became increasingly serious, and a large number of progressive cultural figures such as Mao Dun left Chongqing for Hong Kong. In May, the magazine "Popular Life" hosted by Zou Taofen was founded, with Mao Dun as the editorial board member; And serialized the novel "Corrosion" in this magazine, which is another masterpiece of Mao Dun. Editor-in-chief of "Bi Tan" in September, 7 issues. In February 65438, the Pacific War broke out, and soon the Japanese army occupied Hong Kong. With the help of Dongjiang guerrillas led by China Production Party, Mao Dun and others left Hong Kong for Guilin. During my nine months in Guilin, I wrote such long works as Frost Leaves as Red as February Flowers and The Remains of Robbery. 1942 End the trip to Chongqing. Since August 1943, the long "Going to the Post" has been published one after another (unfinished); 1945 The creation of the first drama "Before and After Qingming Festival" was completed, and it was staged in Chongqing in September. In June this year, the progressive literary and art circles held a celebration to commemorate the 25th anniversary of Mao Dun's creative activities, and launched an essay for Mao Dun's literary prize. 1946 In March, after the victory of the Anti-Japanese War, Mao Dun left Chongqing, passing through Guangzhou and Hong Kong, and arrived in Shanghai in May. Editor-in-chief of Literary Federation magazine; Participate in activities calling for peace and fighting for democracy. During his stay in Hong Kong, he delivered speeches such as "taking a peaceful and democratic route" and "recognizing the national conditions clearly". In June, he and the progressives in Shanghai's cultural circles called for peace and published a letter to President Jiang, Marshall and all political parties. In July, after Li Gongpu and Wen Yiduo were killed by Kuomintang agents, Mao Dun and others called on the International Association for the Protection of Human Rights to expose the crimes of the Kuomintang. On June+10, 5438, Shen Junru and Mao Dun published articles such as "We ask the government to effectively guarantee freedom of speech". In the same year, the translated collection of Soviet novels "People Immortal", "The Son of the Communist Youth League" and the translated collection of Soviet short stories about the Great Patriotic War were published. At the end of the same year, Mao Dun and his wife left Shanghai for a visit to the Soviet Union at the invitation of the Soviet Foreign Cultural Association.
Mao Dun's Russian Anthology (20 pieces) 1947 65438+ 10, Diary of Yousu has been published one after another. In April, he returned to Shanghai from the Soviet Union. During this visit, I wrote two books, What I saw and heard about the Soviet Union and Talking about the Soviet Union. At this time, the Kuomintang reactionaries launched a civil war and practiced fascist rule more cruelly. Mao Dun was forced to go to Hong Kong again at the end of 1947. 1948 in may, Mao dun and others published a letter to colleagues in domestic culture. In June of the same year, Mao Dun and patriots from all walks of life in Hong Kong jointly responded to the "May 1" call of the Central Committee, calling on compatriots at home and abroad to unite and promote the early convening of a new political consultative conference. In July, he participated in the editing of Novel Monthly, and in September, he was appointed as the editor-in-chief of Wen Wei Po Literature Weekly, which was reissued in Hong Kong. The novel Exercise is serialized in this magazine. Besides writing some short stories, I also finished the Miscellaneous Stories of Escaping from Danger. At the end of the same year, at the invitation of China's * * * production party, Mao Dun and his wife left Hong Kong, passed through Dalian and Shenyang, and arrived in Beiping after the peaceful liberation of/kloc-0 in February, 949, to participate in the preparations for the China People's Political Consultative Conference. In July, Mao Dun attended the Congress of Literary and Art Workers in China, and made a report on "Literature and Art in Kuomintang-controlled Areas Struggling under the Repression of Reactionaries" at the meeting. At the meeting, he was elected as the vice chairman of the China Federation of Literary and Art Circles and the chairman of the Chinese Writers Association (later renamed the Chinese Writers Association). After the founding of People's Republic of China (PRC), Mao Dun served as the Minister of Culture of the Central People's Government, the editor-in-chief of People's Literature magazine, and was elected as a deputy to the previous National People's Congress, a member of the Standing Committee of Chinese People's Political Consultative Conference, and a vice-chairman of the fourth and fifth National Committees. In the severe test of the "Cultural Revolution", Mao Dun always stood on the side of the Party and the revolutionary people. After smashing Jiang Qing's counter-revolutionary group, he was elected honorary chairman of the All-China Federation of Literary and Art Circles and chairman of the Chinese Writers' Association at the Fourth Congress of Literary and Art Workers in China. After the founding of the People's Republic of China, Mao Dun's works include Advocacy Collection, Advocacy Continuation, Reading Couples at Night, About History and Historical Drama and Mao Dun's Poems (including the part before the founding of the People's Republic of China). In his later years, he was ill and still devoted to writing his memoirs. Mao Dun's works published by People's Literature Publishing House and other publishing houses include: Collected Works of Mao Dun 10, Miscellaneous Stories of Escaping from Danger, On Mao Dun's Creation, Miscellaneous Literary Essays of Mao Dun, Selected Translations of Mao Dun, Miscellaneous Stories of World Literary Masterpieces, Mythological Studies, Memoirs, The Road I Walked, and Long Stories. The 40-volume Complete Works of Mao Dun published by People's Literature Publishing House since 1983 contains all his literary works. 1981March 14, Shen Yanbing expressed his heart at the last moment of his life. He was introduced to the Party by Li, and should be party member, the earliest producer of the Party. Because of the war, he lost contact with the Party, hoping to admit that he is party member after his death. On August 3 1 this year, the Central Committee of the Communist Party of China made a decision on resuming his party membership, clearly pointing out: "192 1 year, Shen Yanbing joined the Shanghai * * * production group and the China * * * production party, and was the earliest party member of the China * * * production party." This correct conclusion is also an affirmation of Li's contribution to the revolution. 1981On March 27th, Mao Dun died in Beijing. Before he died, he earnestly proposed to the party: "If Meng Zhui thinks China is glorious and produces a party member, it will be the greatest honor in my life." According to Mao Dun's request and his life's performance, the Central Committee of the Communist Party of China decided to resume his qualification as party member of China * * * Producer Party, with a party age of 192 1 year. He used his savings to set up a literary prize (later named "Mao Dun Literature Award") to reward outstanding novel creation. The work "Gentleman in the Woods" was selected into the second volume of the sixth grade of People's Education Publishing House, and the significance of editing this novel.
In recent years, the academic circles recognized Mao Dun as the pioneer of China's social analysis novels. This genre originated from French-Russian realistic novels in the19th century and was combined with China's classical world novels. We can see it clearly from the sequel to Frost Leaves as Red as February Flowers. This draft, written in the 1970s without final revision, is obviously full of Balzac and Tolstoy-style narratives, fine environment and descriptions of characters and costumes, revealing the pen interest of the old narrative system. Mao Dun represented a whole generation of novels. Until the rise of modernist avant-garde novels in the 1980s, a new generation of more personalized narratives swept the world. It is not surprising that Mao Dun played the role of this "emerging" writer for most of this century. It is impossible to bypass Mao Dun, and it is also impossible to try to raise a great writer to an insurmountable height. In addition, the literary inheritance of each generation is "accumulation". If the next generation only bombs the previous generation and adopts the revolutionary, revolutionary and revolutionary "A Q" method, you will finally find that Xiong Xiazi has only cut one ear of corn, and we will always pay the expensive "tuition" for ABC to acquire modern knowledge. In fact, the works and comments of postmodernism have not swept away everything of modernism! Modern party realism is not what people think. Today, when we read some young writers' new works, we will feel their "fable" structure, and at the same time feel that the basic elements of the novel, such as story, environment and characters, are still alive, and they will only be deformed and will not disappear completely. This is the significance of Mao Dun's novels. Lin Jiapu was at 1932 when Japanese imperialism bombed Shanghai. The compilation office of the Commercial Press and the Hanfen Building were destroyed by gunfire. Contradictions accompanied my mother to live in her hometown for some time. What I saw, heard and felt were all sad pictures of the 1930s. I deeply felt that the "1.28" war was like a bomb, which suddenly awakened the depressed and silent people. When I returned to Shanghai, it coincided with the submission of Shen Bao to Mao Dun, and Mao Dun immediately thought of writing a novel reflecting the life of small-town businessmen. Mao Dun found that businessmen in his hometown are thrifty, timid, cautious, law-abiding, lack of decision-making, and have the personality of doing business. This is the * * * nature of small shopkeepers. After writing, Mao Dun put forward the word "bankruptcy" and gave it to the editor. The editor-in-chief read it all night and found it a rare good novel. The social life shown in the works is rich and complex, the story clues are clear and full of personality, and the image of boss Lin has local characteristics, vivid language and full of personality. But look at the topic. I feel something is wrong. I suggest modifying the topic. After discussing with Mao Dun, I will use the topic of "Lin's shop". Due to the death of his grandmother, Mao Dun returned to his hometown, became more familiar with the situation in his hometown and deepened his feelings for the harvest. Mao Dun decided to write a novel on this theme. After the novel was written, it was Mao Dun's short masterpiece "Spring Silkworm". Through the changes of farmers' family environment, the novel profoundly reflects the miserable life of farmers in old China under the joint exploitation of imperialism, Kuomintang reactionaries, feudal landlords and usurers. The whole novel takes sericulture as a clue, and the novel structure is ingenious and dense. The language is exquisite and beautiful, just like a custom map of spring silkworm in Jiangnan. Once the novel was published, it immediately attracted wide acclaim. Zhu Ziqing affirmed Mao Dun's creative technique; "Our modern novels should be based on such materials and have a way out"; Some readers also think: "The author started from the side everywhere, infiltrated the imperialist economic aggression into the countryside with strong foil, and exposed as much as possible the cruel scene of rural areas after military disasters, exorbitant taxes and other exploitation in recent years. "In Shanghai, I reported the hardships of my hometown and countryside, and with my own understanding and grasp of my hometown, Mao Dun followed the plot in Spring Silkworm and wrote 1933' s Autumn Harvest in April, in which I wrote that the rice harvest in old Bao Tong was heavily in debt, farmers were desperate and spontaneously ate a lot; In June, he wrote "Can Winter", describing the bankruptcy of the rural economy, the spontaneous struggle of farmers against rent beyond the suppression of force, and the peasant struggle broke out. These three novels are collectively called "rural trilogy". Edit this paragraph to evaluate Mao Dun.
A positive view
Mao Dun is a typical representative writer of "Social Analysis School", and his revolutionary realism has made outstanding contributions to the development of China's new literature. Most researchers spoke highly of the fine tradition of "social analysis school" represented by Mao Dun, and opposed to easily denying Mao Dun's contribution and position in the history of literature. (1) Zhang Guangnian: Mao Dun embodies "the perfect combination of a writer and a revolutionary" and is a rare "person who combines two qualities". Mao Dun's research on social history led to Mao Dun's research on subject and individual. (2) Yan Jiayan's History of China Novel Schools: It fully affirmed the significance of Mao Dun's novels in the history of literature from the perspective of ideological schools, profoundly summarized the creative style of "social analysis school" with the temperament of "novelist and sociologist", and affirmed this valuable experience and fine tradition in the development of new literature. (3) On the multiple motivations of Jiang Wen's creation of Midnight: From the perspective of literary genesis, this paper makes a deep psychological analysis of the writer's creative motivation, and draws the conclusion that Mao Dun has four complexes: participation complex, monument complex, local complex and prototype complex. He opposes the simplistic tendency of using "political diagrams" and "current affairs propositions" to explain the creative motivation of Midnight. (4) Zhongtian Sun's Rational Spirit and Mao Dun's Novels: spoke highly of the rational tendency of Mao Dun's novels. Mao Dun's works not only pay attention to the mental state of the characters, but also pay attention to their social relations and interpersonal relationships. Everything is turbulent in the strange circle of people and history. Times and history are no longer simple external space environment, but have become "big roles" of works. That is, the joys and sorrows of the characters, the gains and losses of success or failure, and every rhythm of life is subject to the environment and controlled by this ubiquitous "giant hand". This is the grand and rigorous artistic structure produced by rational spirit.
negative view
Mao Dun has a "dual personality", and his soul is a combination of politicians and writers. Social Analysis, written by him, puts the theme in the first place, blindly pursues the clarity of political inclination and reflects the integrity of life, and its works are more ideological than artistic. Therefore, many people have questioned Mao Dun's classic status for more than half a century. (1) Modern literature classic: Lundy's symptomatic analysis: Midnight is a social document piled up with abstract ideas and materials, and its long description of social life is completely subordinate to the writer's first theme. This description, which conforms to the real political struggle and has a strong direction, is far from reflecting the reality. It is a complicated and daunting "advanced social document" with poor readability and lack of artistic charm. Lack of subjective experience, lack of transcendence consciousness of time and space, too eager for quick success, no profound philosophical connotation as lasting enlightenment, and lack of perspective on human nature, life and universal consciousness. (2) Wang Xiaoming's On Mao Dun's Novel Creation: Mao Dun's creation declined. The trilogy Eclipse is inspired by "emotional memory of the past" and has a "unique artistic style". Midnight and Lin Jiapu "are always conceived from abstract cases of judging current events" and "have clear social and political themes". Mao Dun changes with the trend of the times. He had a strong utilitarian desire from the first time he advocated "for life" literature, and his political enthusiasm lasted for more than ten years until the 1930 s, which covered up and suppressed the full play of his artistic quality. (3) Qiu: The greatest feature of Mao Dun's novels is "modernity and socialization", but there are also thought-provoking contradictions. Conscious rational thinking not only helps to organize the theme and give play to imagination, but also hinders imagination and makes the subject lost. The network structure type of Mao Dun's novels is a higher art form in the development of Chinese and foreign novels, but it is also one of the reasons why many of Mao Dun's works are difficult to complete. Some of Mao Dun's works are plain in style, showing the defect of simply pursuing artistic breadth.
Classic masterpiece
Novel: The trilogy sequel Midnight and Eclipse (including disillusionment, vacillation, pursuit, erosion, rainbow, exercise, frosty leaves are as red as February flowers, frosty leaves are as red as February flowers and polygon relations). Short Stories: Reward, Creation, Rural Trilogy (including Spring Silkworm, Autumn Harvest and Residual Winter), Story of Big Nose, Lin Jiapu, Color Blindness, Poetry and Prose, Shijie, Story of Hands, Flourishing Algae, Little Witch, Cloud. Prose: praising poplars, talking about scenery, selling beancurd whistles, rayon, impressions of the National Games, a glimpse in the car, firecrackers, talking about the moon, accidentally recorded in fog, mountains and rivers on the earth, dusk, fog and skylight, etc.