His father died when he was ten. The "first teacher" of many Chinese writers and politicians was a widowed mother, and Mao Dun was raised by his mother. After graduating from Peking University's preparatory course, he was unable to go on to higher education and went to work for the Commercial Press in Shanghai, reforming the venerable Novel Monthly and becoming the chief critic of the Literary Research Society, which he did at that time. He participated in the Shanghai ****anitarian group, prepared for the establishment of the China ****anitarian Party, went down to Guangzhou to attend the Second Congress of the Kuomintang, and served as the secretary of the propaganda department of the Kuomintang Central Committee, whose acting minister was Mao Zedong. After the breakup of the Kuomintang ****cooperation, he took up the novelist's pen when he was exiled from Wuhan to Shanghai and Japan, where he began to write his debut novels, the Eclipse trilogy (Disillusionment, Shaken, and Pursuit) and Rainbow. This experience of political struggle in the upper echelons of society molded his ability to summarize the times and his vision of the whole society in literature, and the subjects of his early works were mostly taken from them. During the period of the Left League, he wrote the long novel Night Moon, the short story The Lin Family Shop, and the Rural Trilogy (Spring Silkworms, Autumn Harvest, and The Remains of Winter). During the war period, he moved around Hong Kong, Xinjiang, Yan'an, Chongqing, Guilin and other places, and published the long novels "Corrosion", "Frost Leaves are as Red as February Flowers", "Exercise", and the play "Before and After Ching Ming". The literary world celebrated his 50th birthday, and his reputation grew. After the founding of the People's Republic of China, he served as vice-chairman of the Federation of Literary and Art Circles, minister of culture, chairman of the Chinese Writers' Association, and vice-chairman of the National Committee of the Chinese People's Political Consultative Conference (CPPCC). During the "Cultural Revolution", he was criticized for being on the sidelines, and when he was a little more stable, he secretly wrote the "sequel" to "Frost Leaves Like February Flowers" and his memoirs, "The Path I Took". On March 27, 1981, Mao Dun passed away. [edit]Mao Dun's pen names </B> Mao Dun, Lang Lian, Xuan Zhu, Fang Bi, Zhi Jing, Pu Jung, Shaped Sky, and Criminal Wind are his commonly used pen names. Mao Dun and Pu Jiao are the most commonly used pen names.
The origin of "Mao Dun"
After the failure of the Revolution in 1927, Wang Jingwei in Wuhan and Chiang Kai-shek in Nanjing carried out the infamous Ning-Han merger and massacred the revolutionaries, and the situation in the country took a sharp turn for the worse. Shen Yanbing had to leave Wuhan due to his participation in revolutionary activities and ended up in Shanghai, where he lived in Jingyunli. Coincidentally, at this time, Lu Xun and Ye Shengtao also live here. Shen Yanbing inconvenient to go out, and no work, life problems, and then write a novel. But there are many newspapers do not publish his articles, so he wrote the article is very contradictory, so he signed the manuscript of the pen name is "contradictory". Later, he wrote a good novel manuscript to Ye Shengtao to see, Ye Shengtao looked very happy, decided to publish in the "Novel Monthly". However, Ye Shengtao thought that "contradiction" was a philosophical term, unlike a person's name, and "spear" is not like a family name, so he took the initiative to add a cursive character to the word "spear" and changed it to "Mao Dun". Shen Yanbing is also very satisfied with this change, and has been used as a pen name since then.
Mao Dun wrote this novel at that time, is the famous "Eclipse" trilogy: "disillusionment", "shaken" and "pursuit". [edit]Mao Dun's life </B>
On July 4, 1896 Mao Dun was born in Wuzhen, Tongxiang County, Zhejiang Province. His father, Shen Yongxi, was a scholar at the end of the Qing Dynasty who knew Chinese medicine and was a reformist with an enlightened mindset. He attached great importance to new learning, and in addition to natural sciences such as acoustics, optics, chemistry, electricity, and mathematics, he was also fond of spreading the progressive ideology of social science writings. His mother, Chen Aizhu, was a woman with a strong character who was literate, far-sighted and strong. Having lost his father at the age of 10, Mao Dun was taught literature, geography and history by his mother during his childhood. Mao Dun said, "My first enlightened teacher was my mother."
Maodun's enlightenment began early. He attended a family school and a private school before elementary school, and at the age of 8, he was enrolled in Wuzhen Lizhi Elementary School, and then transferred to Planting Materials Senior Elementary School, where he became the first class of students. Here, he not only read the textbooks of Chinese language, cultivation and arithmetic, but also became interested in painting. At that time, in the eyes of the old-fashioned people, novels and the like were known as "idle books" that promoted sex and theft and were not allowed to be read by children, but Mao Dun was allowed to do so by his Mingda's parents. Journey to the West, Romance of the Three Kingdoms, Water Margin, Liaozhai Zhiyi, and The History of Confucianism were the books he loved to read at this time. From the Maodun elementary school age of the surviving essay can be seen, at that time will flow out of the worry about the country and the people, to help the right to get rid of the evil thought.
Mao Dun's middle school years were spent in three middle schools in Zhejiang Province. 1909, he was admitted to the third middle school in Huzhou, Zhejiang Province, the second year of the insertion of the second year of study, and in the fall of 1911, he was transferred to the Jiaxing Middle School. Soon after, the Xinhai Revolution broke out, and Mao Dun enthusiastically greeted the revolution, working as a volunteer propagandist for it. At the school, Mao Dun and a few of his classmates mobilized to attack a school superintendent who was not popularly known and was removed from the school. He then transferred to Hangzhou Settlement Middle School, where he graduated. While there were certainly some masters and teachers who impressed and positively guided Mao Dun during his middle school years, the whole air of learning was stale. "Books are not to be read below Qin and Han, ekphrasis is the genuine essence of the article, and poems are to be learned from the Seven Sons of Jian'an; ...... the temperament is to be clear and sparse" (My Middle School Years and Beyond). All this had given Mao Dun a classical literary training, but in his recollections it was more mundane, gray, and stifling, and he spent almost all of his after-school time reading novels. Classical novels enlightened his literary mind, but also showed their mark on the tone of his compositions.
In 1913, Mao Dun was admitted to the first class of the preparatory course of Peking University. After graduating from the preparatory course, due to his family's financial difficulties, he began to work to earn a living, and in August 1916, he went to Shanghai to work at the Compilation and Compilation Institute of the Commercial Press. In August 1916, he went to work at the Shanghai Commercial Press as a compiler, and began to revise the English correspondence course papers in the English Department, and then collaborated with others in translating books. In this way, the first translation of Clothes, Food, and Housing (by Carpenter) was published. Soon after, he went to the Chinese Literature Department to write Chinese Fables, and was also involved in the editing of the Student Magazine; in early 1920, during the May Fourth Literary Revolution, Mao Dun began to preside over the editorial work of the "New Wave of Novels" column of the large-scale literary publication, Novel Monthly. He began to take charge of the editorial work of the "Novel New Wave Column" of the large literary publication Novel Monthly. At this time, Mao Dun wrote "Declaration of the New Wave of Novels", "The Equal Consideration of Old and New Literature", and "What is the Responsibility of Literary Scholars Now? and "What is the Responsibility of Literary Scholars Now?", revealing Mao Dun's early literary insights. In November of the same year, Mao Dun took over the editorship of Novel Monthly and revolutionized it completely; at the end of December, he contacted Zheng Zhenduo, Wang Tizhao, Ye Shaojun, Zhou Zuoren, and initiated the founding of the Literary Research Society in January 1921, which was mainly engaged in literary theories. At that time, Mao Dun was mainly engaged in the discussion of literary theories, literary criticism and translation of foreign literature. According to incomplete statistics, in 1921, Mao Dun published more than 130 translations. He devoted himself to literary revolution with great energy. Two years later, due to the dissatisfaction of the old-fashioned faction of the Commercial Press with the innovation of the Novel Monthly, Mao Dun resigned from his post as editor-in-chief of the journal and transferred to the Ministry of Nationalities and Literature.
At the same time, Mao Dun actively participated in social revolutionary activities, and at the beginning of 1921, he joined the Shanghai ****productivist group. In July of the same year, he became one of the earliest members of the Chinese ****anitarian party, and after 1922, he worked as a liaison with the Party Central Committee under the cover of the editorial work of the Novel Monthly. During this period, he also taught at the Party-run Commoner's Girls' School and Shanghai University, training cadres for the revolutionary cause. 1925 saw the outbreak of the May 30th Movement, and Mao Dun was directly involved in the mass revolutionary movement. In June, he and Zheng Zhenduo founded the Daily Justice, which was soon suspended, and in August, as a staff representative, he participated in a strike at the Commercial Press. After the Xishan Conference of the Kuomintang, Mao Dun and Yun Daiying were ordered by the Central Committee of the People's Republic of China (PRC) to organize the Shanghai branch of the leftist Kuomintang, and at the end of 1925, Mao Dun and Yun Daiying were elected representatives of the Shanghai branch of the leftist Kuomintang, and went to Guangzhou to attend the Second National Congress of the Kuomintang. After the meeting, he stayed in Guangzhou and worked as a secretary in the propaganda department of the KMT Central Committee, of which Mao Zedong was the acting minister, and returned to Shanghai in March 1926 after the "Zhongshan Ship Incident".
In October 1926, the Northern Expeditionary Army occupied Wuhan and established the National Government. Mao Dun went to Wuhan, first as an instructor at the Wuhan branch of the Central Military and Political School; in the spring of 1927, he became the editor-in-chief of Hankou's Republican Daily. From April to July, he wrote more than 30 editorials and reviews for the journal. In July, Wang Jingwei organized a "sub **** meeting", openly defected to the revolution, Maodun evacuated from Wuhan, ready to participate in the Nanchang Uprising, arrived in Jiujiang due to road blockage, back to Shanghai via Guling. At this time, and by the Kuomintang reactionaries wanted. From then on, he used Mao Dun as his pen name and began to create and other literary activities.
In September 1927, he published Disillusionment, and in June 1928, he completed the creation of Shaken and Pursued, a trilogy called Eclipse. In July of the same year, he left Shanghai and went to Japan, living first in Tokyo and then in Kyoto. During his stay in Japan, he wrote a long novel Rainbow (unfinished) and a number of short stories and prose poems; as well as Miscellaneous Mythological Discourses, General Theory of Western Literature, and ABC of Nordic Mythology, ABC of Chinese Mythological Studies, etc.; and essays such as From Guling to Tokyo, and Reading Ni Huanzhi.
In April 1930, Mao Dun returned to Shanghai from Japan. Soon after, he joined the Chinese Leftist Writers' Union and served as its executive secretary for a time. From then on, Mao Dun and Lu Xun were engaged in revolutionary literary and artistic activities and social struggles together. 1931, protesting against the bloody massacre policy of the Kuomintang reactionaries, Lu Xun and Mao Dun published "Declaration for the Massacre of a Large Number of Revolutionary Writers by the Kuomintang"; in February, 1932, they published "Shanghai Literary and Artistic Sector's Letter to the World" and "Declaration for the Massacre of the People by the Japanese Army's Attack on Shanghai"; in May, news came to Lu Xun and his friends of the killing of the revolutionary Japanese writer, Kobayashi Dokiji, and of the murder of the Japanese writer, Kobayashi Dokiji. In May, the news of the murder of the Japanese revolutionary writer Taki Kobayashi came to Lu Xun, Mao Dun and eight other writers initiated the "Fund-raising for the surviving family of Kobayashi who died horizontally"; in July, he called the Nanjing government to rescue the imprisoned Mr. and Mrs. Niu Lan of the International Federation of Trade Unions (IFTU).
In September 1934, Mao Dun assisted Lu Xun in founding the magazine "Translation", which opened up a new way for the translation of progressive literature.
In February 1936, after learning of the victory of the Red Army's Long March in Shaanxi Province, Lu Xun and Mao Dun sent a congratulatory telegram to the Central Committee of the People's Republic of China, saying: "In you, the future of mankind and of China rests. " In October of the same year, Mao Dun and many literary and art workers issued the "Declaration of Literary and Artistic Colleagues for Unity Against Insults and Freedom of Expression," calling for the establishment of an anti-Japanese national united front in the literary and artistic circles.
The period from 1927 to 1937 was a mature and fruitful one for Mao Dun. Completed during this period were the middle-grade novels The Road, Three Men in a Boat, and the full-length novel Ziyi (The Son and the Night). Zi Nian is a large-scale novel depicting the state of Chinese society. Its publication demonstrated the achievements of left-wing literature and was a milestone in the development of new literature since the May Fourth Movement. Qu Qiubai commented, "This is the first realistic and successful long novel in China" ("The Night of the Son" and the Year of National Goods). At the same time, he also completed the creation of excellent short stories, such as Lin Jia Pu Zi, Spring Silkworms, Autumn Harvest, and The Remains of the Winter; translated books such as Danchenko's Diploma and Gikhonov's War; and also wrote a large number of miscellaneous essays, short reviews of literature and art, and monographs of writers' studies in publications such as Declaration-Free Talk, Taibai, and Literature.
In 1937, at the beginning of the war, he took part in the work of Salvation Daily and edited Scream (later renamed Beacon). After the fall of Shanghai, Mao Dun moved around Changsha, Wuhan, Hong Kong and Guangzhou, etc. In March 1938, the All-China Association of Literary and Artistic Circles Against the Enemy was established in Hankou, and Mao Dun was elected as a member of the board of directors. in April, the Literary and Artistic Positions, which he edited, was launched in Guangzhou, and he also edited a supplement, Words and Forests, for the LIBERARY, which was resumed publication in Hong Kong. The long novel "The Story of the First Stage" (originally titled "Where are you running to?") was completed at this time. In December, at the invitation of Du Chongyuan, he went to Dihua (present-day Urumqi) in Xinjiang via Haiphong and Kunming.
In March 1939, he arrived in Xinjiang and taught at Xinjiang College. He taught at the Xinjiang College, and in April, when the Xinjiang Cultural Association was founded, Mao Dun was elected head of the committee. 1940, when the reactionary face of the ruler of Xinjiang, Sheng Shicai, became more and more obvious, Mao Dun was forced to leave Xinjiang at the end of April, and arrived in Yan'an at the end of May, via Lanzhou and Xi'an. During his stay in Yan'an, he lectured at the Luxun Academy of Arts and Letters and the Shaanxi-Gansu-Ningxia Border Region Cultural Association. He wrote many articles in Chinese Culture, Popular Literature and Art, etc. In October, he arrived at Chongqing from Yan'an and served as a standing committee member of the Cultural Working Committee chaired by Guo Moruo. At this time, he completed the creation of the excellent prose "Scenic Talk" and "Poplar Salute". 1941, after the "Anhui Incident", the political backlash in the Kuomintang-ruled area became more and more serious, and Mao Dun and a large number of progressive cultural figures left Chongqing for Hong Kong. In May, the weekly magazine Popular Life under the auspices of Zou Taofen was founded, with Mao Dun as its editorial board member; and in the magazine, Mao Dun serialized his novel Corrosion, another masterpiece of Mao Dun; in September, he edited the semimonthly Pen Talk, with seven installments; in December, the Pacific War broke out, and soon after, the Japanese army occupied Hong Kong; Mao Dun and others left Hong Kong and rolled to Guilin with the help of the Dongjiang guerrillas under the leadership of China's ****anufacturing party. During the nine months in Guilin, he wrote a long story "Frost Leaves Red Like February Flowers" and "Picking Up the Pieces After the Hijacking", etc. At the end of 1942, he went to Chongqing again, and from August 1943, his long story "Taking Up Positions" was published one after another (unfinished), and in 1945, he completed the creation of his first play "Before and After the Clearing of the Sky", which was staged in Chongqing in September. In June of that year, the progressive literary community held a celebration to commemorate the twenty-fifth anniversary of Mao Dun's creative activities, and launched the Mao Dun Literary Prize Essay Contest.
After winning the war, Mao Dun left Chongqing in March 1946 and traveled through Guangzhou and Hong Kong before arriving in Shanghai in May. He edited the magazine Wenlian; and participated in activities calling for peace and democracy. During his stay in Hong Kong, he delivered a series of speeches such as "We should take the peaceful and democratic route" and "Recognize the situation of the country", etc. In June, he appealed for peace together with the progressive cultural circles in Shanghai and published the "Petition to Chairman Chiang Marshall and all parties"; in July, after Li Gongpu and Wen Yiduo were killed by Kuomintang's secret service agents, Mao Dun and others called the International Society for the Protection of Human Rights and exposed the crimes of the Kuomintang; in October, Shen Junru, Mao Dun and others published the article "We ask the government to guarantee freedom of speech" and other articles. In October, Shen Junru, Mao Dun and others published articles such as "We demand the government to effectively safeguard the freedom of speech". In the same year, the translated Soviet novels "people are immortal", "the son of the regiment", "the Soviet patriotic war short story translation series" was published. At the end of the same year, Mr. and Mrs. Mao Dun were invited by the Soviet Union Foreign Culture Association to leave Shanghai to visit the Soviet Union, and their Diary of a Visit to the USSR was published in January 1947, and they returned from the USSR and arrived in Shanghai in April. In April, Mr. and Mrs. Dun returned from the Soviet Union and arrived in Shanghai. At this time, the Kuomintang reactionaries launched a civil war, more and more cruel implementation of fascist rule, Mao Dun was forced to go to Hong Kong in late 1947.
In May 1948, Mao Dun and others published the "Letter to the Domestic Cultural Sector", and in June of the same year, Mao Dun and Hong Kong patriots from all walks of life jointly responded to the call of the Central Committee of China to unite compatriots at home and abroad to facilitate the early convening of the New Political Consultative Conference. In September, he edited Wen Wei Po - Literary Weekly, which was re-issued in Hong Kong. In September, he edited Wen Wei Po - Literary Weekly, which resumed publication in Hong Kong. The long story "Exercise" was serialized in the magazine, and he also wrote some short stories and completed "Miscellany of Escape from Danger". At the end of the same year, at the invitation of the Chinese ****productivity party, Mr. and Mrs. Mao Dun left Hong Kong, through Dalian, Shenyang, in February 1949 arrived at the peaceful liberation of Peking, to participate in the preparatory work of the Chinese People's Political Consultative Conference. in July, Mao Dun attended the congress of the Chinese Literature and Art Workers, and made a report on "in the reactionary oppression and development of literature and art in the nationalized areas". At the meeting, was elected vice-chairman of the China Federation of Literary and Art Circles and chairman of the Chinese Literary Workers Association (later changed to the Chinese Writers Association).
After the founding of the People's Republic of China, Mao Dun assumed the post of Minister of Culture of the Central People's Government, edited the People's Literature magazine, and was elected as a delegate to the successive sessions of the National People's Congress, a member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference, and a vice-chairman of the fourth and fifth sessions of the National Committee. During the severe trials of the Cultural Revolution, Mao Dun always stood with the Party and the revolutionary people. After crushing Jiang Qing's counter-revolutionary group, he was elected Honorary Chairman of the All-China Federation of Literary and Artistic Workers and Chairman of the Chinese Writers' Association at the Fourth Congress of Chinese Literary and Artistic Workers. After the founding of the People's Republic of China, Mao Dun's writings included Drum Blow Collection, Drum Blow Sequel, Evening Readings, About History and Historical Drama, and Mao Dun's Poems (including the parts before the founding of the country). In his later years, he suffered from the pain of disease and decline, and remained committed to the writing of his memoirs.
Maodun's writings, printed by the People's Literature Publishing House and other publishers include Mao Dun's Collected Writings (10 volumes), Miscellany of Escape from Danger, Mao Dun on Creation, Mao Dun's Miscellaneous Essays on Literature and Art, Mao Dun's Literary and Artistic Criticisms, Mao Dun's Translated Selected Writings, Miscellaneous Discussions of World Literary Masterpieces, Mythological Studies, and his memoirs, "The Way I've Traveled," and his full-length book, "Exercise," etc. Since 1983, the People's Literature Publishing House has published a series of books on the history of Mao Dun. The People's Literature Publishing House has been publishing the 40-volume Mao Dun's Complete Works since 1983, which includes all of his literary works.
On March 27, 1981, Mao Dun died in Beijing. Before his death, he earnestly proposed to the Party: "It will be the greatest honor of my life if I am posthumously recognized as an honorable member of the Chinese ****production party." Based on Mao Dun's request and his lifetime performance, the Central Committee of the People's Republic of China (PRC) decided to restore his membership in the CPC, counting the years of his membership from 1921. He used his own savings to set up a literary prize (later named the "Mao Dun Literature Prize") to reward outstanding long novels. [edit]Main works </B>
Published in June 1933, Ziye shook China's literary world, and Qu Qiubai called it "the year of Ziye," reflecting its great influence. This long novel centered on the sharp contradiction between the national capitalist Wu Sunfu and the buyer Zhao Botao, and depicted the broad picture of the Chinese society in the early 1930s from all angles: workers' strikes, peasants' riots, the suppression and destruction of the people's revolutionary movement by the reactionary authorities, the activities of the imperialist brokers, the annexation of the small and medium-sized national industries, the thrilling fights in the public debt market, the acts of the landlords of all kinds, and the contradictions within the families of the capitalists. Through these colorful images of life, ...... artistically reproduces the storm clouds of the Second Domestic Revolutionary War, reflecting the deep development of the revolution and the social landscape of China where a prairie fire spreads. Mao Dun has established an indelible historical merit for the cause of the Chinese revolution with the creation of this long masterpiece "Ziyou".
The first edition of The Son and the Night was printed in 1933, causing a strong reaction. Qu Qiubai once wrote an article commenting, "This is the first realistic and successful full-length novel in China." "There is no doubt that the year 1933 will have to be recorded in the future history of literature as the year of the publication of Ziyou (子夜)." The development of the history of "Ziyou" and the Year of National Goods confirmed Qu Qiubai's prediction. For more than half a century, Ziyou has not only had a wide readership in China, but has also been translated into more than ten languages, including English, German, Russian and Japanese, and has had a wide international impact. The famous Japanese literary researcher Shinoda Ishi chose "Ziyou" when recommending ten masterpieces of twentieth-century world literature, believing it to be a masterpiece comparable to "Memories of Lost Years" by Proust and "One Hundred Years of Solitude" by García Márquez.
Maodun's novels are known for their panoramic view of social life. The stage of Night of the Son is set in Shanghai in the early 1930s. Instead of intercepting a certain alley or a certain street corner, the writer shows every aspect of the modern city from an overhead perspective: the luxurious living rooms of capitalists, the glamor of nightclubs, the intricate struggles in factories, the hoarse and violent mergers on the stock market, as well as the lofty talks of poets and professors, and the heartbreaking love affairs of wives and young ladies, all of them are combined into the plot of Zi Nian (The Night of the Son). At the same time, through some details, the writer side-stained the rural scene and the ongoing war in the Central Plains, which enlarged the life capacity of the work even more, thus realizing his set intention: "to depict Chinese social phenomena on a large scale," and "to make a comprehensive representation of the turbulent China of 1930. ." Of course, Mao Dun's "large-scale" and "comprehensive" depiction is not a random collage of life fragments. He carefully structured and meticulously laid out the history of the rise and fall of the main character Wu Sunfu's career and the development of his character, leading to other multiple clues, so that the whole piece not only shows colorful scenes, but also advances along the depths of a meaning, and ultimately, the tragedy of Wu Sunfu symbolically implies the writer's rational understanding of the nature of the Chinese society: "China has not gone towards the road of capitalist development, China is under the pressure of imperialism. road; China is more colonized under the oppression of imperialism." Mao Dun wrote the novel almost as if he were writing history. The plot of The Night of the Son is embedded in the real historical time and space from May to July 1930, and some of the scenes depicted in the novel are not the same as those in the novel. Some of the scenes depicted in the novel, such as the trading of public debts and the war between Chiang Feng and Yan, are well-documented and true historical facts. It is a bold and creative stylistic experiment to introduce this kind of non-fictional discourse into the novel, and to merge and reflect it with fictional discourse. The epic character of The Night of the Son is undoubtedly due to the skillful adaptation and combination of the two languages of poetry and history.
The overall layout of Night of the Son is epic in scope, but the details of the writing are extremely euphemistic and meticulous, analyzing the psychology of the characters down to their subtle fluttering ripples. As early as in the 1930s, Mr. Wu Mi had pointed out and praised this feature, saying that Zi Nian "has the beauty of a fire in full swing, with a sound and vigorous style, which is not controllable. The subtleties of the writing are so graceful and graceful that it is rare and precious." Maodun believes that Wu Mi's comments really appreciate "the author's craftsmanship".
Eclipse depicts the life experiences and ideological dynamics of certain petty-bourgeois intellectuals before and after the Revolution. Spring Silkworms, through the fact that the silkworms of farmer Lao Tongbao's family have a good harvest, while their lives become more difficult, clearly tells people that the real way out for farmers needs to be found outside of the harvest. Like "Ziyou", "The Lin Family Shop" and "Spring Silkworms" are also representative novels of social analysis. They have long been selected for inclusion in secondary school language textbooks and are model texts for young people to study. The Lin Family Shop and The Silkworms have also been made into movies, which have caused strong repercussions in both urban and rural areas of China. [edit]Significance of the novel </B>
Literary history has in recent years recognized Mao Dun as the altar master of China's social dissection school of fiction. This school originated from the 19th century French and Russian realist novels, and combined with the classical Chinese novels. We can see this clearly in the "sequel" to Frost Leaves Red Like February Flowers. This draft, written in the 70's and without any final touches, is more than obvious in its Balzac and Tolstoyan narrative, and its fine depiction of the environment and the characters' costumes, which reveals the interest of the old storytelling department. Mao Dun represented an entire generation of novels until the rise of the modernist vanguard novels of the 1980s, when a new generation of narratives more oriented toward the inner workings of the individual came into vogue. Not surprisingly, it is this role of "emerging" writer that Mao Dun has filled for most of this century. It is impossible to bypass Mao Dun, and it is equally impossible to attempt to elevate a great writer to the point of insurmountability. In addition, each generation's literary inheritance is "cumulative", and the next generation, if they only "bombard" the previous generation, adopting the "Q" approach of revolution, revolution, revolution, revolution, revolution, revolution, revolution, revolution, revolution, revolution, revolution, revolution, revolution and revolution. In the end, you will find that only a spike of rice left in the hands of the bear blind man chopped, we will always have to pay expensive "tuition" for the acquisition of modern knowledge of the ABC's. In fact, postmodernist works are similar to the works of the post modernists, but they are also similar to the works of the post modernists. In fact, postmodernist works and criticism have not swept away all the modernists! The modernists did not sweep away the realists as one might think. When we read the new works of some young writers today, while we feel their "allegorical" structure, we will feel that the basic elements of fiction, such as the story, the environment and the characters, are still alive and well, and that they will only be deformed, but will not disappear completely. The significance of Mao Dun's novels is here. [Edit Paragraph] Mao Dun's Former Residence Mao Dun's former residence is located in Yuan'en Temple Hutong, west of Jiaodaokou South Street in Dongcheng District. From December 1974 to March 1981, Mao Dun lived here. After Mao Dun's death, the residence was turned into a showroom. Covering an area of 800 square meters, with a building area of more than 500 square meters, it is a small courtyard with two entrances. Entering the door, there is Mao Dun bust alabaster statue, statue height 83 cm, placed on a black marble base. There are 15 houses in the front yard, and the west room was originally the parlor and library, the arrangement is maintained in its original state, and the indoor furnishings are the old things used by Mao Dun during his lifetime. In the showroom, there are objects and pictures of Mao Dun from his adolescence to his death, including manuscripts, first editions of works, letters, handwriting, and two volumes of elementary school essays (the earliest ink handwriting of Mao Dun left in the world). In the six rooms in the backyard, there is the black lacquer urn of Ms. Kong Dejian, Mao Dun's wife. Mao Dun (1896.7-1981.3), formerly known as Shen Dehong (沈德鸿), with the Chinese character Yanbing (雁冰), and originating from Wuzhen (乌镇), Tongxiang County (桐乡县), Zhejiang Province (浙江), began to engage in literary activities in 1916, and the People's Literature Publishing House (人民文学出版社), which published the 10-volume edition of the Complete Works of Mao Dun in 1958. Before his death, he was the vice-chairman of the Fifth National Committee of the Chinese People's Political Consultative Conference, honorary chairman of the China Federation of Literary and Art Circles, and chairman of the Chinese Writers' Association. Mao Dun donated 250,000 yuan of manuscript fees as a bonus for the establishment of the "Mao Dun Literature Prize".
People from all walks of life commemorate Mao Dun
How should writers commemorate Mr. Mao Dun in today's times?
Mr. Mao Dun's life was one of incessant writing, dedication and devotion to literature. In remembering Mr. Mao Dun's noble spirit and summing up his creative achievements, we want to draw nourishment and strength from our revolutionary predecessor, and better create and work hard for the development and prosperity of socialist literature.
We remember Mr. Mao Dun and use his spirit to inspire today's literary creation, and for today's literary creation team, there are multiple revelations: today, we still have to unswervingly follow the path of literature, and although all aspects of the situation have changed, and some writers have shifted their attention from literary creation to other fields, they still insist on launching better works through literary creation.
Classic Masterpieces
Long Novels:
The Son and the Night, The Eclipse Trilogy (including Disillusionment, Shaken, and Pursuit), Corrosion , Rainbow, Exercise, Frosty Leaves Like February Flowers, Sequel to Frosty Leaves Like February Flowers, and Polygamy
Short Stories:
Rewards, Creation
Short Stories:
The Rural Trilogy (including Spring Silkworms, Autumn Harvest, and The Remnant of Winter), The Story of Big Nose, The Lin Family Shop, Color Blindness, Poetry and Prose, Shijie, The Story of Hands, The Row of Water Algae, The Little Sorcerer, Smoke and Clouds, The Aspirant, and Suicide
Prose:
The Salute to the Poplars, Talk of Scenery, The Whistle that Sells Bean Curd The Impression of the National Games", "A Glimpse in the Car", "The Sound of Firecrackers", "Talking about the Moon", "Occasional Records in the Mist", "The Earth, Mountains, and Rivers" [Edit] Mao Dun Literature Prize </B>
First Mao Dun Literature Prize Awarded Titles (1982)
Xu Mao and His Daughters Zhou Keqin Garden of the Flowers Arts and Culture Publishing House
The Orient Wei Wei Wei Wei (The East) People's Literature Publishing House
General's Chant (Mo Yingfeng) People's Literature Publishing House
Li Zicheng (Volume 2) Yao Xueyin (China Youth Publishing House)
Furong Town (Gu Hua) People's Literature Publishing House
Spring in the Winter (Li Guowen) People's Literature Publishing House
Second Mao Dun Literature Award (1985)
Winners of Second Mao Dun Literature Prize (1982) 1985)
The Yellow River Flows East Li Jun Beijing Publishing House
Heavy Wings (Revised) Zhang Jie People's Literature Publishing House
The Bell and Drum Tower Liu Xinwu People's Literature Publishing House
Third Maodun Literature Prize Winners (1988)
The Ordinary World Lu Yao China Federation of Literature and Arts Publishing Co.
The Second Sun Liu Baiyu People's Literature Publishing House
Muslim's Funeral Huoda Beijing October Literature Publishing House
Honorable Mentions:
The Bathing of Blood in the Luo Xiao Xiao Xiao Ke PLA Literature and Art Publishing House
The Golden Mou is Missing Xu Xingye Strait Literature and Arts Publishing House
The Fourth Maodun Literature Prize Winners (1998)
War and Man (I, II, III) Wang Huo People's Literature Publishing House
White Deer Plain (Revised) Chen Zhongshi People's Literature Publishing House
White Gate Willow (I, II) Liu Sifen China Youth Publishing House
The Autumn of Commotion Liu Yumin People's Literature Publishing House
The Fifth Maodun Literary Award Winners (2000)
The Choice Zhang Ping
The Dust Settles A Lai
The Song of Long Hatred Wang Anyi
The Tea Man Trilogy (I and II) Wang Xufeng
The Sixth Maodun Literary Award Winners (2005)
Zhang Juzheng (Zhang Juzheng) published by Xiong Zhaozheng, Changjiang Literature and Art Publishing House
Without Words (Zhang Jie) published by Beijing October Literature and Art Publishing House
The Sky of History (Xu Guixiang) published by People's Literature Publishing House
Heroic Era (Liu Jianwei) published by People's Literature Publishing House
The Record of the Eastern Tibet (Zong Pu) published by People's Literature Publishing House
Seventh (2008, four long novels)
Qin Cavity
Jia Pingwa
The Right Bank of the Ergunar River
The Secret Calculation by Mai Jia
Lake and Mountain
Chou Daxin