How to evaluate Cao Yu, the founder of modern drama in China?

As the founder of China's modern drama, Cao Yu is well deserved. His classic works are nothing more than those four plays, Thunderstorm, Sunrise, Yuan Ye and Beijingers. However, it is more convincing to evaluate the modernization of Cao Yu's plays from a historical perspective. I mainly talk about the deepening of modernity in Cao Yu's plays from the female images in these four plays.

The modernity of Cao Yu's drama is a longitudinal and in-depth process. Thunderstorm is undoubtedly Cao Yu's most successful and influential work, because he has integrated many modern drama expressions, especially the modernity of characters. Take Fan Yi as an example. She is full of talents and ideas possessed by modern women, but she is incestuous and rebellious. But on the whole, the success of Thunderstorm lies in its excellent drama, and everything is too dramatic.

In Sunrise, taking Chen Bailu as an example, she is a social butterfly, but she is more rebellious, rebellious and independent than Fan Yi. In vilen, although she is a traditional female image, her spiritual core is completely modern, she pursues freedom and dares to fight. At this stage, the modernity of Cao Yu's plays turned to the inside without the help of modern shell.

As for The Last Yuan Ye, this work has reached the most natural and mature artistic expression of modernity in plot and narrative, which means that Cao Yu's drama has reached a level from creation to maturity. From the time background and academic background at that time, Cao Yu made great achievements as soon as he made a move, but he was at least qualified to be the founder of modern drama in China.