| Wang Zengqi was a writer who lived in modern and contemporary era, as Mr. Qian Liqun said Wang was a novelist who was difficult to classify. What was his special character? And what significance he had in the up-to-date literature history? The researchers have done large amount of idiographic well-knit work and already made great achievements. However their researchful objects were mainly concentrated on his writings made in 1980s after he rewrote, so they do little research on the writings definitized in 1940s and the ones changed greatly in style in 1990s. But the reviewers has made final conclusion on his novels: the traditional writer and the inheritor of Beijing junta, who shirked politics, kept far away from initiation, fell over himself for the homeland, ignored tragedies and had harmonious styles, of course there are a lot of mistakes in it. And therefore they ignored that in the desultory course of modern and up-to-date literature, Wang Zengqi was a necessary joint, and his writings' modem characters had great effects on the pinnacle of modern novels which came in the late 1980s. So in this article, I try to sum up the whole course of Wang Zengqi's fiction creation which spaned more than half century, and give a pertinent conclusion on his status in the up-to-date literature history, so as to fill up some vacancies in the research of Wang Zengqi.In this article I try to use the bran-new idea of value and historic ideas, from the whole cultural background of the 20th century, from the art origin, style and thinking sense, combine my research on the Wang Zengqi himself, and put the stress on how the western literature affected Wang, from his theory precursor to his pioneer consciousness of creation, from his traditional literature's inheriting and transferring, from the style trial of self-consciousness to the influence on the literature in the new era, blending the tragical thinking form of the Chinese and the western aesthetic spirits, there concealed another enlightenment in his literator standpoint----the five aspects in the inheriting and development in the spirit of "The Enlightenment of the Literature" are my cut-in point, from which I review Wang Zengqi's novels in many visual angles and [administrative levels, try to grasp the great effect of the eastern and western culture on Wang's creation as well as his rebuilding on the modern consciousness. That is to say,how did he seek the inner joint in the aspect of west and the east, modem and classicality, the whole world and the nationality, and through this joint the literature practice and the creations of the novels are linked up. And this is my article's deploitation as well as the innovation.This article is divided into five chapters.The first chapter mainly discusses the great effects of the foreign modernism literature. The writing style of Wang Zengqi was formed in 1940s, when the acute collisions and confluent cultural background took place in foreign and the nation literature. Wang was a modem writer with strong traditional cultural tinge, at the same time he was also a writer with modem consciousness. Wang Zengqi was influenced by the "modem" consciousness much earlier than any other modem writers. He was a typical combination between China and western countries, and also a writer between modernism and classicalism. His modem consciousness broke out in the Southwest United University, Bian Zhilin's translations and the opening ideas of the style have great effects on Wang's ideas of the modem novel's exploration. Whether in the theme's exploration, innovation of the writing methods, or language ideas and types of literature characters, there contains a clear modem character, and it arose a potential effect on the modern novel peak after 1980s in China in his writings, which also has a guide role on the novels of Junta of Looking for the Root and Avant-courier.The second chapter mainly discusses Wang's inheriting the traditional culture and his modem transformation. Modem times in "Modernism" is not only a time noun, and it is not a completely opposite relationship with classicality. The modem characters of the contemporary era's Chinese literature also show the brilliant and splendent traditions with thousands years' history and the inner spirit and the wisdom in literature, and they also explain and transfer the modem characters deeply. As far as the relations between the traditional literature and the Chinese literature are concerned, the literature in late Ming Dynasty is much closer and straightforward to it. Wang's achievements lie in that he was good at absorbing the literature prime of the literature in late Ming Dynasty. Wang Zengqi inherited and absorbed the humanism of the late Ming Dynasty, combined the essays of Gui Youguang with the art spirits of Anton Chekhov, and succeeded in transforming the tradition. Wang Zengqi self-consciously restored the rupture between the literature of the contemporary era and traditional literature, presented an esthetics character, and absorbed the western modem humanism and the art tact, which was putinto his creations and showed the shape of a special type of novels. As a meaningful text and choice, it will certain show the degree of the rebuilding. In Wang Zengqi's creations after 1980s, it included at least two "traditions": one is the ancient Chinese tradition, the other is the modern Chinese tradition, the later one was regarded as "modern lyric novels" or "literature tradition in 1940s" by Huang Ziping, however, he did not outspread and explain it. So I shall continue to expatiate Wang's inheriting of the modern lyric novels.The third chapter mainly discusses Wang Zengqi's self-consciously practice on the avant-courier style. It can be said that Wang is the most self-conscious writer to the novel's style in the new era, "Perhaps I am w style writer," as for the style and the content "I am one of the early writer who realize the consistency of the two." In the early 1940s when he first involved in the literary world he began the pursuing. Here the form is the content, which is a part of life and also the form of his personality realization, that is, "the meaningful form". This kind of art idea is the subversion of the concept that form is the means of representing content and sutra literature in a long time, and it affirmed the independency and self-sufficiency of the form. In fact it corresponds to the western form school naturally. It clearly proved that in the 1940s there existed some leading current in Wang Zengqi's literature ideas, which resonated with the whole western modern literature in some extent. The pleasant surprise that he brought in the new era was also his art pattern's delicacy and original creation to the great extent. The narrative form of Wang Zengqi's novels fluctuated the popular ideas and pattern in the narrative structure, narrative angle of view and narrative language. Wang Zengqi's exploration lied mainly in the language of the novels. Wang Zengqi paid more attention to the novels' language, and he said directly, "Writing novels equates writing language." The achievements and ideas in his novels language would have a deep effect on the renovation and development of the novels' idea in the new era.The forth chapter mainly discusses the tragical thinking pattern of Wang's novels under the influence of the Chinese and western culture. As one of the most important writers in Chinese modern times and the contemporary era literature, Wang Zengqi have a clear, sufficient and profound understanding in the tragedy character. However, for a long time, scholars and readers both generally think that Wang Zengqi had no relations with profundity and tragedy. It is clear that this doesn't agree with Wang Zengqi's reallife and his writings' inner connotation, which reflects the academe's misunderstanding to Wang Zengqi's estrangement and misreading. So in this article I try to break through the old pattern in some extent by means of new practice. Though Wang's writings have a loose link with politics, yet his feelings were closely linked with the social background. It is not the fact that he was not able to envisage the real society and escape the real frightfulness, as some essayists said. Instead, Wang Zengqi took an active part in shouldering the writer's duty, in his novels he showed great pity on the people in the real society and encouraged them. He was not only a custom painter or a writer of garden eclogue, but also a tragedy writer, which became clearer in his old age. Especially after 1992, his novels were all the more purposely to show a kind of pain, struggle and the doleful life experience—"the tragedy of directly facing the life". Only by connecting his "eclogue" and "metaphorical tragedy" does a full and real Wang Zengqi unfold. In the Chinese cultural and aesthetic tradition, the tragical spirits was always dun, but Wang Zengqi learned a lot from Shen Congwen, and had a special cognitive point of view and disposal methods. He always wrote the heartquake facts and his great inner pain and sorrow in a diluent and calm style, so as to show the deep accusing on the black reality of the society. In the tragical aesthetic character, the tragical conflicts in Wang Zengqi's novels had a special aesthetic diathesis of the western tragedies, however, after his novels were permeated by neutral cultural spirits, the tragical thinking showed a beamed choice in rebuilding his novels' scenarios: the antinomy and equipoise of the tragical conflicts. Wang Zengqi's choices on the tragical ideas were just a creative road of absorbing widely and exploring excessively. There were both characters of the didacticism and the humanitarianism in Wang's tragical consciousness. Wang Zengqi's thoughts inherited and developed the spirits of the May Four Movement in the other aspect.The fifth chapter mainly discusses the folk consciousness of Wang's novels. Folk consciousness was regarded as a topic antetype, and ran through the important writings of Wang Zengqi. It was the folk decision of the cultural consciousness and aesthetic choice that determined his novels' inner spirits and art character. And it also determined his special meaning in the literature history of the contemporary era. The commentary world generally think that Wang Zengqi's creations not only kept a distance from the politics, but also from the elite consciousness of the intellectuals, which is a unilateralidea. Wang Zengqi did not give up his personal integrity as an intellectual owing to his folk presence, Wang Zengqi kept a folk value standpoint, from "the folk real society" he found the "folk" aesthetic meaning, and "explain the life problems of today in the folk value choice". The folk in his writings was a folk of intellectuals. In his novels, folk was not only pointed to the society that based on country traditional natural economy, folk was an ideal, which showed a new narrative standpoint, and its meaning was pointed to a cultural conformation and space of the non-power, in which included the writer's value choice, writing standpoint and aesthetic style. He never ignored the initiation, but he inherited the "literature enlightenment" in the new cultural tradition of the May Four Movement, in order to build the form of aesthetic feeling and aesthetic spirits, illume the readers' sensitivity and rediscovery to the beauty, and at last improve and renovate the peoples' aesthetic diathesis. Wang's enlightenment thoughts not only related with the western humanism but were also deeply connected with the "democratic ideas" of the Chinese folk culture. Wang Zengqi tried to keep the balance between the traditional bookman's sentiment and the folk consciousness. Actually Wang Zengqi's tradition and his folk character were a unitive entirety. So strictly speaking, Wang Zengqi was not a rural writer.This article primarily probes into the academic problem in the way of infective research and parallel research, synchronously in the way of the aid of the formalism and accepting the aesthetics. At the same time, if we want to understand and judge a write, we should not only study and read his writings, but also comprehend the writer himself, his life road and his temperament and character, which was called "knowing a man and realizing the world" by Lun Xun. In this article, while I analyze Wang's tragical consciousness, the folk standpoint and visual angle of his childhood, I have also studied the writer himself and his writings, which made my analysis better hit the point and have more persuasion.
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