Romanticism Towards Revolution Study On The Creative Society Novels

Unlike the traditional exploration into the writing of the Creative Society from a school perspective, this thesis, taking a community perspective, tries to analyze and clarify the development of the writing of the Creative Society and the internal relation between the May Fourth new literature and the revolutionary literature from the three main themes, namely sex, marriage, and revolution, so as to study the underlying reasons in modern Chinese literature's revolutionary trend in the1920s.The writing of the Creative Society made great strides in sex-themed novels. In his Chenlun (Sinking), Yu Dafu started this trend by creating a "new" person disentangling from the emotional conflict between his identification with his nation and his pursuit of love and sex, which fully displayed the sex needs of an individual subject. Ye Lingfeng expanded the perspective of the sex-themed writing by making manifest the female sexual awareness and self-enhancement. After the rise of revolutionary ideological trend, Yu Dafu attempted to express the theme of revolution through homosexual materials, in which the attitude towards sex was equivalent to the youths' attitude towards revolution. A strong repression of the sex theme also indicated the plight of writing on this topic.Writers of the Creative Society did not simply criticize Chinese old-style marriage. In his writing, Yu Dafu indicated the helplessness of the youth facing marriage through the description of the intellectuals' resistance to the old-style marriage and the stable structure of the old-style marriage under life stress. Yan Liangcai, a later stage writer emphasizing on old-style marriage, tried to represent the marriage dilemma of rural youth, the dying of rural society and the cyclical old-style marriage pattern. Guo Moruo also attempted to explore the marriage predicament of men from a scientific perspective, which was a noticeable innovation then but unfortunately lack of scientific approaches. Zhang Ziping's love stories shared internal relation with Zhang Jingsheng's new love view. The latter insisted that love should be conditional, comparable and transferable and couples could even be a type of friends. In his writing, the youth pursuit of love was brought into full play in love triangle or even more complicated forms. Later, Jiang Guangci approached revolutionary literature through his own "revolution plus love" mode, while Ye Lingfeng moved to modern urban literature by insisting on love stories.Writers of the Creative Society greatly sympathized with the common laborers and shared intrinsic bond with them. Yu Dafu made the rickshaw puller his counterpart in Baodian(Mourning for the Rickshaw Puller), reviewing his own life by exploring the plight in which the rickshaw puller lived and discovering the importance of the rickshaw to the puller, which could be supported by a social survey. Female revolutionists, originally female intellectuals who bore close relation with independent individual subject, should not be labeled as a masculinized image. Therefore, in their writings, Hua Han and Jiang Guangci revealed the multiple meanings of the female revolutionists'treatment of their bodies as revolutionary tools. Jiang Guangci's writing inherited the romantic lyric tradition of the Creative Society and pushed the revolutionary literature to its climax. In Paoxiaoledetudi (Roaring Land), Jiang unfolded the identity dilemma of intellectuals facing revolution, with love running through the whole revolution process, displaying the maximum limit of his "revolution plus love" writing mode.