Main Contents and Evaluation of Ba Jin's Works

The torrent trilogy includes three consecutive novels: Home, Spring and Autumn. Among them, Home has the highest artistic achievement and is Ba Jin's masterpiece.

The Riptide Trilogy mainly describes the revolution of the youth to the family from the perspective of the violent conflict between the May 4th new cultural trend of thought and the feudal family system, and accuses the feudal family of its sins. The novel reveals the stubbornness and autocracy of the patriarchal clan rulers and the internal contradiction of the "eldest son inheritance system" in many aspects, and reveals the hypocrisy and decay of the father's ethics in feudal families; It eulogizes the rebellious behavior of the younger generation inspired by the new cultural trend of thought, and shows the tragic fate of young women and their awakening and struggle. The torrent trilogy occupies a prominent position in modern novels about the decline of extended families.

Many characters with distinct personalities have been created in the novel, such as Gao Laoye, Ke Ming, Ke An,,, Juexin, Juemin, Qin, Mei, Rui Jue, Shu Ying,. Among them, Chueh-hui is a naive and bold rebel of feudal patriarchal ethics culture and a new model of rebellious sons of big families cultivated by the May 4th cultural trend of thought. Juexin is the most successful character in the trilogy. He is a typical "eldest son" in the process of the collapse of patriarchal clan system, with complex personality, wandering in the whirlpool of multiple personnel contradictions and spiritual conflicts, bearing extremely profound historical and cultural connotations. Grandfather Gao is a feudal autocratic parent, in the process of the decline of his extended family. His authority is challenged by both "black sheep" and "rebel". His death in the pain of inner contradiction symbolizes the inevitable demise of a system. These are different from similar figures in modern literature (such as Ceng Hao and Jie Jiang).

Riptide trilogy has matured the trilogy form of modern novel from Guo Moruo's wandering trilogy and made contributions to the development of modern novel form. Home, with lyrical style, psychological analysis, inner monologue and other artistic techniques, has successfully written the complexity of characters, and expanded the aesthetic thought of "knowing ugliness because of love and knowing goodness because of hatred" in the characterization of modern novels. In "Spring" and "Autumn", the ordinary and trivial description of family daily life gradually replaced the simple and straightforward emotional expression, indicating the change of Ba Jin's artistic style.

Ba Jin's works have excited the hearts of generations. His works are clear about love and hate, which can always give readers a kind of spiritual inspiration and struggle strength, accompany readers to destroy the old world and catalyze new buds. For a century, Ba Jin has always lived in the spiritual space of advocating ideals, pursuing light and firmly believing that the future will win in the present. This makes Ba Jin's creation have a distinctive aristocratic character. He always narrates the power of faith in his works, calling for spring, eulogizing ideals and the future. In his works, there are always images full of light and heat, such as the sun, starlight, bright lamp and flame, which can bring people confidence and strength. In Ba Jin's works, the hero's ideological realm is noble, and so is their love. He is always sending a beautiful message that unreasonable systems and evil forces will eventually withdraw from the historical stage. It is after reading Ba Jin's works that many readers choose to fight and struggle, thus starting their unremitting pursuit. Many progressive young people who went to Yan 'an in those days embarked on the revolutionary road because they read Ba Jin's works.

In his youth, Ba Jin (1923, Ba Jin 19 years old) broke through the suffocating feudal family with his third brother and took a boat to Shanghai and Nanjing to study. Four years later, depressed Ba Jin embarked on the journey of studying in France and pursuing a better future. In France, Ba Jin, who wants to study economics, is deeply fascinated by the works of literary masters such as Tolstoy, Balzac, Chekhov and Zola. The deep power of literature penetrating the soul gives Ba Jin some comfort, however, it can't erase the trauma and pain in Ba Jin's heart. As Ba Jin said, "I think of love and hate, sadness and joy, hope and struggle in the past. I think of everything in the past. My heart was cut like a knife, and the flame that could not be extinguished suddenly burned again. In order to comfort this lonely young heart, I began to write down some things I got from life. " So Ba Jin's first novel, Death, was born. Du Daxin, the hero of Death, is a young man full of contradictions and has a melancholy and morbid personality. Through the portrayal of this character, Ba Jin "truly exposed the soul of a small intellectual who wanted revolution but didn't find the right way." The name Ba Jin is also well known with the publication of Death. The success of Death made Ba Jin embark on the road of professional writer.

After middle age, Ba Jin's strong passion and yearning for the ideal world made him the best symbol of the youth spirit of the May 4th Movement. Whether it is the torrent trilogy, the love trilogy or the cold night, he has stirred the hearts of generations with sincere and strong emotional colors, which has had a huge social impact. In these works, he is good at pouring his feelings into beautiful narration and sincere and simple description, and is close to people's hearts with delicate and unique artistic charm. He is also good at capturing typical events, creating a typical environment and shaping characters with different personalities. For example, the character Chueh-hsin in Home is a typical example. Ba Jin said more than once: "Chueh-hsin is my big brother." Chueh-hsin is a transitional figure in the new and old times, with a weak personality. He is the third generation of Gaos thought. He never forgets the status of his eldest son and the responsibility of honoring his ancestors. In managing the family, he acted as a defender of the feudal patriarchal clan system and ethics. But he was also a victim of the feudal system. Just because Mr. Gao wanted to have a great-grandson, his future for further study was ruined. Just because their mother had a friction at the poker table, their marriage with Muffin was ruined. The outbreak of the May 4th Movement and the impact of new thoughts awakened his consciousness of "human". He was deeply dissatisfied with the corruption and humiliating life of feudal families, but he could not find his place in the old and new order. He was dissatisfied with the old family while maintaining it, and he didn't even regret its collapse. On the one hand, he was hurt by feudal ethics, on the other hand, he helped feudal parents to do harmful things. He became a man of dual character: in the old family, he was a young master full of despair; When he was with his two brothers, he was a new youth.

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□ (1) "Break into" the literary world

□ (2) Give your heart to the reader.

Friendship is an ever-burning lamp.

□ (4) Life lies in dedication.

□ (5) The best patient to cooperate with treatment

□ Approaching Ba Jin's old man

-mention the past, tell the source.

Ba Jin's autobiography: fifty years of literary life

-Century Ba Jin and Four Seasons "Harvest"

The image of a master in a century-long literature.

Section 2 "Riptide Trilogy"

The Riptide Trilogy is Ba Jin's masterpiece, especially his first home, which has eternal artistic value.

Ba Jin claimed in the preface of Riptide, "What I want to show readers here is a picture depicting the past ten years. Naturally, this is only a part of life, but we can already see how the torrent of life organized by love and hate, joy and pain is surging. " What the works describe is such a torrent of life: on the one hand, with the collapse of the feudal patriarchal clan system, the dying feudal ruling forces devoured young lives crazily; on the other hand, the younger generation attracted by the revolutionary trend began a tragic course of awakening, struggling and struggling.

The Riptide Trilogy reflects the content from 65,438+0,965,438+09 to 65,438+0,924, which is a turbulent period at a turning point in the history of China, with the background of Chengdu, Sichuan, where China was still very closed. Home, the first part of the trilogy, shows the typical form of the feudal extended family system. Under the rule of Mr. Gao, this family is full of hypocrisy and sin, and various contradictions lurk and gradually intensify. In this context, the work describes the love story of senior three brothers. Among them, Gao Juehui and her maid Feng Ming constituted the first tragic event. Gao Juexin, Qian Meifen and Jui-chueh constitute two other tragic events. Although the causes of these tragic events are different, they are similar in one basic point: they all had irreconcilable contradictions with feudal ethics and feudal autocracy in pursuit of happy love, which led to their tragic fate. In particular, their misfortune is directly and indirectly related to Gao's father. The story of Ming Feng occupies an important position in the whole book. Her death intensified the contradictions within the family and directly awakened her first rebel, Gao Juehui. Ming-feng's death and Chueh-hui's rebellion marked the turning point of the family's prosperity and decline. Under the direct influence of Chueh-hui, Gao Chueh-min rose up against marriage and won, thus further exposing the weak nature of feudal absolutism. With the death of Grandpa Gao, the supreme "monarch" of the whole family, all kinds of decadent things became obvious, and all kinds of contradictions and conflicts that had been hidden before broke out. Therefore, on the one hand, it is a moth-to-fire corrosion of Gaos thought, on the other hand, it is a blatant resistance to the ruling principle of Gaos thought represented by Chueh-hui and Chueh-min. Both accelerated at the same time, forming two pliers that tore in opposite directions, tearing the sentimental veil of Gaos thought to pieces. The great success of Home effectively realized the author's original intention of writing. "I want to resist this fate", "I hate not the individual, but the system", "I want to shout out my complaint to a dying system"! [ 1]

Spring is the second part of the trilogy, which mainly tells the story of Shuying's resistance to marriage and the tragic incident of cousin Hui. It is also about love, but it is significantly different from that described in Home. Spring is not a contradiction between the pursuit of a beautiful marriage and the impossibility of this pursuit, but an unreasonable and ugly marriage system that destroys women and accuses and criticizes the feudal autocratic marriage system. Like Hui, Shu Ying was ordered by her parents and superiors to marry a notorious man she had never met. Hui, who didn't dare to resist, died of illness. Under the influence of the times and new trends of thought, Shuying escaped from the cage of feudal families with the help of Chueh-min and Chueh-hui. Here, Spring actually shows the theme of women's liberation under the autocratic system. At the same time, on the other hand, it also allows readers to see that the ranks of rebels have expanded. The ruler of the old family also moved to the second generation of Keming. But the ruling power has been greatly weakened.

Autumn, the last part of the trilogy, shows the end of the disintegration of the old family. This is mainly manifested in the description of the accelerated moral corruption of the second and third generations of the Gaos, and the fact that the whole Gaos has no successors. The works naturally focus on the fate of the third generation, and describe the tragedies of Zhou Mei and Gao Shuzhen, as well as the fall of the British and the group. Here, I emphatically criticized the crime of despotism and feudal ethics corrupting and destroying teenagers. With the death of the second generation of parents, Keming, the burden of the whole extended family can no longer be borne by anyone, because Sun Jue, the magnanimous eldest son, rose up and rebelled. The theme of Autumn reveals the collapse of the spiritual pillar of feudal absolutism.

Gao Juehui is undoubtedly the most meaningful one among the many groups of characters portrayed in Riptide Trilogy. He is a typical newcomer. He started from simple love for workers and hatred for feudal system, to bourgeois reformism and democracy, and finally to social struggle. Through this ideological development process, the author shows the ideological course experienced by advanced intellectuals in China in the past century.

This image is vivid, and his advantages and disadvantages are unique to the advanced young people of that era. He loves his country and pursues scientific democracy, so he doesn't believe in God and opposes absolutism. He doesn't usually sit in a sedan chair, but he can fall in love with the servant girl Ming-feng. In the final analysis, it is guided by the spirit of democracy. However, he is not a hero who completely established the proletarian world outlook and completely betrayed the landlord class. There is still something less exploitative in his mind. For example, his love for Mingfeng is far less firm and faithful than Mingfeng's love for him. He has been hesitating on this issue. Finally, at the critical moment, he just forgot his previous promise and decided to "give up that girl." Such a description fully conforms to the historical conditions at that time. Because Chueh-hui's environment is only an environment that allows him to form a love view with democratic thoughts, not an environment that allows him to practice this love view. Although Chueh-hui's concept of love has completely got rid of the interests of the feudal class and began to focus on Ming-feng's value, that is, human value, it is actually impossible for him to cross the barriers of that class. His mood before he finally ran away from home was also very real. Although he and Mr. Gao belong to different camps ideologically, they are three generations after all, and his reluctance just shows his human nature.

Chueh-hui's role in his works lies in: first, he reveals the theme. This image shows that only revolution is the only way out, and escaping from family and liberating personality is only the first step. In this respect, Ba Jin obviously surpassed the ideological level of ordinary writers in the same period. Secondly, Chueh-hui, as the first grave digger in the Gaos, continued to exert a great influence on the family in the spring and autumn, making him the driving force of the turbulent flood in the Gaos.

In a word, Chueh-hui was awakened for the first time under the impact of the May 4th new trend of thought in China in the early 20th century. He is a bold and brave feudal rebel, a passionate and immature revolutionary.

The torrent trilogy also created a morbid soul under the oppression of absolutism-Gao Juexin. He is the center of the whole book. The typical significance of Chueh-hsin is that his weak and vacillating character is entirely caused by feudal absolutism and feudal family system, and his tragedy reflects the harm this system has done to healthy human nature. Chueh-hsin used to be a "comely-looking" and "smart and studious" young man, with progressive ideas, good heart and honesty, which should be said to be very promising. But in fact, he ruined his future because of his father's words and an absurd lottery when choosing a spouse. His intelligence is used to be the host or helper of weddings, funerals, accompanying guests, and celebrations of three relatives and six relatives. Anything he opposes, he will do according to the will of his elders. What he has become is entirely determined by the family system. Chueh-hsin is the eldest son, that is, the "heir", and the main responsibility for the future of the extended family should be borne by him. This family structure determines that Chueh-hsin should maintain this system and ensure this family mechanism everywhere. In this way, there is a sharp conflict between reality and ideal, which leads to the duality of Chueh-hsin's personality. It is through Chueh-hsin's split personality that the work accuses this extended family system.

Chueh-hsin also showed the cowardice of our nation under the oppression of feudal absolutism. Lu Xun had an incisive exposition on the reasons for the formation of this character. He believes that the fundamental reason lies in the poison of feudal hierarchy and feudal traditional thought, which together become a powerful political force and the power of ideological rule. In Chueh-hsin's environment, there are Feng Leshan, Mr. Gao, Ke Ming, Ke An and other elders, who press heavily on his head like a high pyramid, making him motionless. In addition, there is an invisible hand around Chueh-hsin, that is, feudal concept, which is another obstacle that Chueh-hsin can't overcome. It is precisely because he is afraid of others gossiping everywhere, always thinking about "glorifying ancestors", afraid that Gao's family will fall from his hand, afraid of being accused of unfilial, etc., so he always puts his head into the noose on his own initiative every time. Chueh-hsin's psychology of accommodating everything is formed in this environment.

As one of the most unique artistic images in Riptide Trilogy, Ba Jin pays great attention to excavating his inner complexity: on the surface, Chueh-hsin is just a vacillating figure, but in fact, he is experiencing a fierce conflict between old and new ideas. Ba Jin described this conflict as a painful struggle of national accumulation psychology under the impact of western democratic thoughts, thus reflecting the depth of history. In order to write the psychological activities of the characters well, the author also asked Chueh-hsin to pour out his inner feelings in large sections and recall them with many humanized details, which strongly set off the emotions of the characters. Ba Jin also attaches great importance to expressing Chueh-hsin's human beauty, and the love description of his mutual affection with Jui-chueh in misfortune constitutes an extremely touching chapter in his works. In a word, as a vacillating representative in the history of new literature and a representative of China's "superfluous man", the artistic charm of Chueh-hsin cannot be underestimated.

The torrent trilogy not only reached a considerable height in thought, but also made great achievements in art. The work depicts many characters around the history of the rise and fall of the Gao family, and their tragic fate gives readers a strong spiritual shock. The artistic features of the works can be summarized as four points:

First, the plot typification principle of "Home is Society". Marx believes that "modern family" "contains the epitome of all confrontation". [2] This view is consistent with Kropotkin's. Ba Jin accepted this view and wrote the Gaos as the representative or "microcosm" of the whole society, which reflected the whole social dynamics of old China from the end of 65438 to the beginning of the 20th century and the essential laws of the times. The complex confrontation between master and servant, between old and new generations, between husband's power rule and women's resistance struggle, between old and new ideas, and between master and servant's internal contradictions is the epitome of all kinds of sharp contradictions in society at that time. The pyramid-shaped power structure of the Gao family embodies the law of feudal absolutism in China society for thousands of years. In this way, the work has reached a high degree of typicality.

Second, pay attention to exploring the description method of human beauty. There are more than 60 characters described in the torrent trilogy, all of whom have names. They have distinct personalities and different faces. Ba Jin's depiction of these characters is not like Mao Dun's depiction of people in many aspects, nor does he pay attention to shaping people's both form and spirit like Lao She's, but pays attention to depicting the inner beauty and human beauty of the characters and expressing feelings. The characters in Ba Jin's works are simple in character, but rich in simplicity, with a high degree of unity in appearance and heart. Take, Jui-chueh and Mei as examples, their works have made them have an indissoluble bond with plum blossoms-Feng Ming picked plums in Meiyuan, Jui-chueh loved painting plums, and his cousin named Mei after Mei, thus showing their plum blossom character of "purity and cleanliness". At the same time, it focuses on their inner activities-Ming Feng is a long confession, Jui-chueh is a diary, and Mei is a long confession. These psychological activities have one thing in common, that is, they think of others and each other in the most difficult time, thus expressing the word "love" that Ba Jin has been seeking all his life. This makes the images of these three women extremely touching.

Third, the structural characteristics of the story are based on events and scenes. Domestic student movement, China New Year, warlord scuffle, Feng Ming's death ... Haier's death in spring, Hui's wedding, Shuying's departure ... Mei's wedding in autumn, Hui's burial until the fire and separation, these large and small events are connected to form a net knot, which brings all kinds of characters together through the description of the scene and then pushes them to the next event. Foreground and background often echo each other, forming the integrity of the work.

Fourthly, the description of genre painting has the writer's strong moral judgment. The description of eating New Year's Eve and setting off fireworks is extremely wonderful, but the writer's purpose is to reveal the class opposition behind these genre paintings, so the writer's purpose in writing it is to deny these genre paintings. This is completely different from Shen Congwen's style.

The Riptide Trilogy occupies an extremely important position in the history of modern literature.

First of all, The Riptide Trilogy is a novel reflecting the May 4th Movement. The May 4th Movement is an important event in China's modern history, but it is a pity that literary works failed to describe it. Although the Riptide Trilogy does not directly describe the May 4th Movement, it is only the background of the work, but it fully expresses the spirit of the May 4th Movement, reflects the rise and pursuit of that generation of young people, and shows the birth of new ideas in our country. Therefore, The Riptide Trilogy has become an outstanding work in China's modern literature to express the social life in the May 4th era.

Secondly, The Riptide Trilogy is a novel in China's modern literary works that describes the history of the rise and fall of feudal families and focuses on attacking feudal autocracy. The attack on feudal absolutism and feudal family system began with Lu Xun, and this theme has attracted the attention of progressive writers since the birth of China's modern novels. But after Lu Xun, only Ba Jin's Riptide Trilogy really pushed this theme forward and made great progress. This book comprehensively and profoundly reveals the characteristics, disadvantages and evils of feudal absolutism, and points out its inevitable fate. The Riptide Trilogy has become a monument to attack this evil system in the history of modern literature in China.

Thirdly, The Riptide Trilogy plays an important role in the development of China's modern novel genre. After the May 4th Movement, China's new literature was influenced by the West, and great changes have taken place in various styles. Novels are no exception. After abandoning the contents and forms of China's old traditional novels, it must strive to create new contents and forms to adapt to new ideas. This kind of creation usually goes along several routes. First, learn the artistic forms and techniques of western novels and absorb the traditional forms of expression in China appropriately; The other is to learn Chinese folk oral literature, supplemented by the expression of western novels; Third, we basically use the traditional Chinese quotation to express the new social life. The first category is represented by Mao Dun and Ba Jin, the second category is represented by Lao She, and the third category is represented by popular novel writers such as Zhang Henshui. In the first category, Mao Dun and Ba Jin represent two different paths: Mao Dun absorbed the realism and naturalism of European literature, and Ba Jin absorbed the great enthusiasm of French bourgeois humanism and Russian revolutionary democracy to criticize the old system. Therefore, Mao Dun's works often focus on objective description, while Ba Jin's works often focus on emotional expression. The Riptide Trilogy is a concentrated expression of Ba Jin's artistic style and characteristics. Its appearance not only marks the maturity of China's modern novels, but also further promotes the perfection of China's novels.

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We should get rid of the limitations and one-sided evaluation of Ba Jin by netizens.

Homepage published on 2005-10-2415: 36: 00.

This year's 10 month, news hotspots frequently occur. The death of Ba Lao is undoubtedly a striking news among many hot spots. When reading media reports, praise words such as "greatness", "monument" and "master" come into readers' sight again and again. However, the author also noticed that there are some thought-provoking phenomena on how to know Ba Jin:

In the online message,

Some netizens disapproved of Ba Jin's "greatness", but they were immediately refuted by many netizens, but most of the refuters did not say where Ba Jin was really great.

In a survey of "What do you think is the greatest contribution of Ba Jin's life" conducted by a website, in the item of "Have you read Ba Jin's works", as many as 74% said "I have read some", while those who have read a lot and those who have not read only account for 16% and 4% respectively. In the "Your Favorite Works of Ba Jin" project, as many as 78% people chose "Riptide Trilogy" (Home, Spring and Autumn); In the project "What do you think of Ba Jin's works still affects China society", although the choice is relatively average, "pursuing freedom" still accounts for nearly 55%; In the project "What do you think is the greatest contribution of Ba Jin in his life?" 44.26% told the truth, 465,438+0.86% made thousands of young people in Qian Qian embark on the road of progress, and 40.74% wrote great literary works.

Although in the reports of relevant media, the description of Ba Jin mostly stays at the simple level of his writing achievements and life course, and there are few reports that comprehensively and systematically introduce Ba Jin from different angles such as history, culture and society, as long as we carefully read the scattered words in different reporting forms, apart from the great influence of his writings and works, there is no doubt about Ba Lao's noble qualities such as kindness, loyalty, justice, self-discipline and humanitarianism. All this makes Ba Lao worthy of the "great" evaluation.

I think the online debate about whether Ba Lao is "great" is a cognitive confusion about China culture and a generation of cultural celebrities. As a phenomenon, this has a causal relationship with the online survey conclusion-in today's China readers, most people only "read some" works of Ba Jin, and most of them are early works such as Home and Spring and Autumn Annals, which inevitably forms that the cognition of Ba Jin is limited to his works and the cognition of his works is limited to "pursuing freedom".

Whether Ba Jin is great or not is not defined casually by anyone, nor can it be seen completely through his works. Ten years of turmoil formed a cultural dating, and Ba Jin was almost ignored by a generation. With the development of market economy, people have no time to look after them objectively and spend less and less time on reading. For the vast majority of people in China, Ba Jin is also synonymous with "home", "spring" and "autumn", and Ba Jin also stays in history, which is obviously not commensurate with his great works and great life. It is the sacred duty of the media and other cultural and educational practitioners to calm down and objectively evaluate this century-old man and abstract the spiritual and cultural connotation that is extremely scarce in today's society from his voluminous works and life details.

Ba Jin left it.

For a real artist, the most important thing is not how much and what he wrote, but how long the vitality of his artistic image can withstand the severe test. No matter what sensation a work causes, if it can't span the historical era that produced it, it will always give people the feeling that life is too short. Contemporary western literary theory questions the eternity of art, but the symbol of great art transcends the historical context. When the author's body has turned into smoke, the events in his works have become articles in history textbooks, but the characters in his works can touch readers from generation to generation. Such works are immortal literary classics. The mystery of this eternal attraction lies in the increasing interpretability of images.

When he wrote Home, Ba Jin was 27 years old, and the characters in the book were as young as his readers. Now more than 70 years have passed, and the feudal ethics is still destroying the lives and youth of young people in the process of collapse. Generally speaking, such a tragedy is undoubtedly becoming a thing of the past, but the characters in His Family's Spring and Autumn Annals are still alive.

A naive and bold traitor like Chueh-hui, although initially targeting at the old ethics, his famous saying "bold, bold, bold" originally came from Dandong, France, and was interpreted as transcending the historical context as early as the 1940s. Zou Difan wrote in his poetry collection "Crossing" that reading "Home" leads to revolution. If the artistic interpretability of Chueh-hui's image for future generations is relatively simple, then the interpretability provided by Chueh-hsin is quite rich and flexible. There are endless and diverse contradictions in him: the ideal pursuit of the May 4th Movement and the heavy pressure of feudal patriarchal clan system; The aversion to family sins and the responsibility of having the eldest son, daughter and great-grandson heirs; Compassion for brothers to resist, sympathy for destroying relatives and so on. His bow, unrelenting corruption and moral self-realization are intertwined. This leads to his multiple personalities: awakening, victim, martyr, accomplice and self-destructor. His richness may be more diverse than outstanding models and Wu in the history of modern literature. It is this that leaves room for continuous reading and innovation in different historical contexts. This diversity has gained vitality in several series of characters. On the positive side, besides Chueh-hui, there are also Chueh-min. On the negative side, they are pressured by their elders. There are also female group images worth mentioning, such as, Jui-chueh, Cousin Mei, Shuying and Cui Huan. All these images are enriched because they are closely related to Chueh-hsin's spirit. In such a big family with diverse human relations, Ba Jin's emotions and talents can often be fully brought into play.

When Ba Jin completely divorced from his extended family background and wrote about social activities, his brushwork lost its unique charm. Even the trilogy "Fire" of the Anti-Japanese War, he could not but admit the failure of propaganda work. However, it was this Ba Jin who, after 1949, when Mao Dun, Qian Zhongshu, Shen Congwen, Zhang Ailing and others had to be silent because they could not adapt to the new historical situation, quickly sang a heroic ode with bright propaganda, including Comrade Huang adapted from Huang Jiguang and Reunion adapted into the movie Heroes and Children. This is because he had a heroic enthusiasm in his early days, which was obvious in his earliest work Death, but he was a lonely hero. In the new historical era, he gave up his personal heroic personality and recognized the collective hero. He gambled on the enthusiasm he had accumulated since he was a teenager. He is sincere, but, as you can imagine, it is definitely not easy.

Among the outstanding writers in the Kuomintang-controlled areas, he was the earliest and the most prolific. In this respect, he almost formed a sharp contrast with Mao Dun, who accepted productism for a long time, but remained silent in his creation. His enthusiasm even made him an active social mobility. His emotional investment in the new era and new discourse mechanism is amazing, which is more in place than Lao She, who has never learned to write new styles, especially war heroes. Compared with Ba Jin's works describing the Korean War, his reportage Unknown Heights is very rough.