The Relationship Between The Sentimental Style In Yu Da-fu's Creativity And European Literature

Mr. Yu Da-fu, a very important author in the history of modern Chinese literature. Not only his creativity profited deeply from nourishment of foreign literature especially European literature; but also his sentiment is of great relationship with European literature. The sentiment in Yu Da-fu's productions is obvious, which is an attractive and of characteristic style. Although his sentiment is attributed to many factors, European literature made greatest influence to him.For the sake of illuminating the complicated meaning of Yu Da-fu's productions veritably and deeply, analyzing the complexity of his creativity, scrutinizing his productions bearing praise or blame, and reproducing history character of new literature exploiter, it is indispensable to research the relation between European literature and Yu Da-fu, and the effect to him from sentiment. This article puts Yu Da-fu under the background of the boundary of oriental and western cultures, and makes comprehensive research in the relationship between the sentimental style in his creativity and European literature. Through focusing in the factual affiliations and homologous characters with over ten European authors, this article exposed the trace and figure of external effect and adjustment in his creativity.There are many European authors who presented great influence to Yu Da-fu's sentiment. This article chooses the most prevailing authors as object from France, Britain, Germany, and Russia, including Jean-Jacques Rousseau, the Sentimentalism in Britain, William Wordsworth, Thomas Hardy, "The Yellow Book" Writers & Ernest Dowson, Johann Wolfgang von Goethe, the Romanticism in Germany, Theodor Storm, Rudolph lindau, Ivan Sergeyevich Turgenev. In order to expound content arising and influence from European literature, this article demonstrates Yu Da-fu's preference to them, the factual relationship between Yu Da-fu and their productions, the choosing and accepting for their creativity style, the representation of sentiment in his creativity, and the guidance to his aesthetics and creativity from European authors and creations. Meanwhile, it is indicated that Yu Da-fu's sentiment is not simply duplication of European literature, but had its unique characters. At the end of the paper, it is emphasized that the sentiment of Yu Da-fu is not his personal emotion, but reaches a higher lever than some European authors which is correlated tightly with the nation and the times.