Crazy And Break Out

The "contradictory" around 1928 have been a focal point of the study to Mao Dun, and people are trying to explain the essence of the "contradictory" in order to get closer to Mao Dun as a famous writer. This paper introduces the psychology of existential theory, and attempts to explain the writing psychology of Mao Dun around 1928.We may discover that Mao Dun around 1928 was in the condition "mad with enthusiasm", and his novels writing in this time reflected the entire developing process of the writing psychology of this kind: From catharsis in eruption under heavy pressure, to loneliness in depression when persisting on verge, to discomposure when breaking through the puzzles. In fact, Mao Dun was in the experience "mad with enthusiasm" this time, because he was in face of the condition of several puzzles: the political puzzle of pursuing or retreating, the cultural puzzle d in choosing the revolutionary spirit or the illuminative one, as well as self-conflict between the desire and the will. And then, the composition of novels has become Mao Dun's method to maintain "the heart - body separation", for devoting himself to constructing the unreal world of the novels, reducing his pain and hurts on his heart, and neglecting temporarily "the body" in all sorts of dangers.The success of the novels, "Eclipse", "Rainbow" and so on, brought the new hope to Mao Dun, and he thought it possible to participate in politics by the novels, which was an effective and safe way. Mao Dun considered the political significance in consciousness in the next composition of novels. Through the composition of "Midnight", Mao Dun created the novel pattern of "sociological anatomy" successfully, by absorbing character of time in the pattern of "the revolutionary novels" which attached importance to the rational and the political idea, and also by absorbing the artistic merit of his earlier writing under the condition "mad with enthusiasm" which attached importance to sensory and individual experiences. However, this kind of novel pattern often was following by the phenomenon of "the subject first", reflecting the paradox of the composition of novels in the process of Mao Dun breaking through.