| Mao Dun,as one of the great masters of Chinese literature in the 20 th century,has made great achievements.Among his frutiful literary achievements,the creation of novel is the most remarkable,which not only provides a lot of typical characters for modern Chinese literature,but also forms the "Mao Dun tradition" which has a profound influence on later writers.For a long time,Mao Dun’s novels have been fully explained and studied,but his novels during the War of Resistance Against Japan have a significant "unfinished" phenomenon,which has not attracted the attention of academic circles.This article believes that this "unfinished" phenomenon is not only a manifestation of Mao Dun’s artistic dilemma,but also the crux of his life dilemma,so it is of great significance to explain and study this phenomenon.This article systematically analyzes this "unfinished" phenomenon by close reading of the text,and explores the reasons for Mao Dun’s unfinishedness from multiple perspectives such as Mao Dun’s personal experience,identity and role,and time background,trying to re-understand and re-evaluate Mao Dun’s novel creation.The introduction first points out the "unfinished" phenomenon in Mao Dun’s novels that deserves attention.Secondly,it sorts out and summarizes the current research situation,which has been ignored by the academic circles for a long time and has not been thoroughly studied systematically.Finally,the research methods and ideas of this article are explained.Chapter one concretely analyzes the phenomenon of "unfinished" from the two levels of creation plan and novel text.The plan is mainly manifested in the shelving of the epic multi-volume creation outline,and the strange cycle of creation of motif,character image,and important plot.The textual aspect is reflected in the ambiguity of the character and the disappearance of fate,the blankness and sudden stop of the storyline,the disorder and dissociation of the scene.Chapter two analyzes the concrete performance of "unfinished" from Mao Dun’s creative posture.Mao Dun’s creative focus,way of speaking,and style of works adjusted with the changes of his position and circumstances.Therefore,his creative activities showed two "unfinished" forms of interruption of writing and rewriting of previous works."Story of the First Stage" is characterized by an obvious rush due to the "presence" of history.The excessively high anti-Japanese passion made Mao Dun lose his calm view of history,and the novel was left with intractable doubts.As a result,Mao Dun ended the serialization of the work when he chose to go to Xinjiang,making it an unfinished work."Frosty Leaves Are Red Like February Flowers" is Mao Dun’s literary choice after reviewing the situation.The misplacement of the time background and Mao Dun’s own ambiguous and contradictory emotional attitude towards traditional civilization have triggered controversy over the theme of "Frost Leaves Red Like February Flowers".Mao Dun’s "dilemma" after his trip to Chongqing made it difficult to write the following revolutionary story."Exercise" is Mao Dun’s selfimprovement work from the standpoint of the people.It mainly rewrites and replaces "Get to Post" in terms of characters and themes.The conflict between artistic personality,literary ideas and mainstream ideology was an important factor in Mao Dun’s inability to continue writing.Therefore,"Training" became a meaningful "fragment".Chapter Three analyzes the unfinished reasons from the conflict of Mao Dun’s multiple identities.The dual identities of writer and revolutionist made Mao Dun always wandering between aesthetics and politics.The environment of the AntiJapanese War inspired Mao Dun’s enthusiasm for social transformation and formed his pursuit of utilitarianism more than aesthetics.However,the neglect of aesthetics and the lack of emotional experience made the suspension of Mao Dun’s creation inevitable.Mao Dun,struggling between the requirements of reality and the principles of art,is unable to balance the relationship between fiction and reality.His works therefore present many obvious "blanks" and difficult "breaks".The conflict between pettybourgeois intellectuals and proletarian revolutionaries made Mao Dun struggle with self-persistence and seeking collective recognition,leaving irreparable "cracks" in his novels.The two types of figures,intellectuals and women of the era,carry Mao Dun’s thinking about the destiny of the nation and the individual.However,Mao Dun was unable to reconcile the relationship between personal desires and collective regulations,resulting in a void in the character’s spiritual outlook and a suspension of destiny.The conclusion rethinks the "unfinished" phenomenon. |
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