"Family" And "Country": On "Change" And "Invariance" In Sun Li’s Creation

Sun Li’s representative works,such as Lotus Lake and Luhuadang,are full of poetry and "beauty" and are considered by some scholars to be "superfluous" in revolutionary literature.The research upsurge caused by Sun Li’s death has focused on the text and genre,believing that his literary change was caused by the "Cultural Revolution",and believing that his preference for traditional culture and reading ancient books was mainly to escape from current affairs and politics,and that he had a strong tendency of recluse and a helpless feeling that he could not cope with reality.In fact,Sun Li’s "cultural change" began to take place at the end of the counter-Japanese War.After the War of Resistance Against Japan,with the changes of the social era and the revolution,Sun Li’s writing also took on new changes and continued to broaden and deepen.Therefore,this paper regards Sun Li’s creation after the counter-Japanese War as a whole and his creation in his later years,and systematically discusses the change and invariability of Sun Li’s creation.Sun Li’s literary style changed from the romantic lyric to face up to the reality and criticize the ugliness,which began when the counter-Japanese War ended and the land reform was carried out in the liberated areas.But what has not changed is his passion for "family" and "country",and his concern for current politics.Under Sun Li’s pen,the situation changed with the Chinese revolution,with the isomorphism of "home" and "country" as well as the conflict of "home" and "country".How Sun Li deals with the relationship between "home" and "country" is a topic worth thinking about and exploring.After the War of Resistance Against Japanese Aggression,the land reform movement in central Hebei began.In this social movement,Sun Li was not only a worker of land reform,but also an object of land reform.Due to his father’s years of business and accumulation of family property,his family was classified as "rich peasants",which caused him great psychological trauma and realistic impact,which was often reflected in his works in the 1950 s.The change of national ideology caused the shock of the local family,and he could not deal with the contradiction between "home" and "country",which led to many contradictions and conflicts in the text,and even the situation of "not finishing".Sun Li began to raise realistic problems and make realistic criticism in his works.This period was the beginning of his "literary change".Sun Li’s works in his later years took traditional culture as the medium,which not only wrote the reality,but also used the counter-Japanese War to alert the society.Among them,the topic of "homology-country isomorphism" and "Domestic heterogeneity" has existed since ancient times.From this perspective,Sun Li showed his exploration and thinking of social reality.The trauma of the "Cultural Revolution" did not overwhelm Sun Li,but gradually showed his vitality.He immersed himself in ancient books and expressed his concern for social reality through his "book clothes and prose".He praised "soldier" Lu Xun,and put into action.When Western cultural thoughts were prevalent,Sun Li returned to the counter-Japanese War,constantly recalled the people and events in the revolutionary movement,and demonstrated his own choice through the conflicts between "home" and "country".He takes the running of his family in the rear of the battlefield as the main line,to convey his guilt and repentance to his family,and also to show that he has no regrets for going to the front.In a word,the change of Sun Li’s "style" is obvious,from the beautiful lyricism to the criticism of ugliness.From the end of the counter-Japanese War,when the land reform was carried out in the liberated areas,to the return of the "new period",Sun Li has been paying attention to,reflecting and intervening in the reality in his own way.In his writing,what has not changed from beginning to end is the affection for "home" and "country",and the concern for the political background.