"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 Torrent Trilogy" mainly describes the youth's revolution against the family from the perspective of the fierce conflict between the "May 4th" new cultural trend and the feudal family system, and accuses the sins of the feudal family. The novel exposes the stubbornness and tyranny of patriarchal family rulers and the inherent contradictions of "primogeniture" in many aspects, reveals the hypocrisy and loss of ethics and morals of the fathers in feudal families, and praises the children's characters who are stirred by new cultural ideas. The rebellious action shows the tragic fate of young women, as well as their awakening and resistance. The Torrent Trilogy occupies a prominent position among modern long-form novels about the decline of extended families.
The novel contains many characters with distinctive personalities such as Mrs. Gao, Keming, Ke'an, Keding, Zhou Botao, Juexin, Juemin, Qin, Mei, Ruijue, Mingfeng, Shuying, Shuhua, etc. . Among them, Juehui is a childish and bold traitor to the feudal patriarchal ethical culture, and a new example of a rebellious son in a large family cultivated by the "May Fourth" cultural trend. Juexin is the most successfully written character in the trilogy. He is a typical "eldest son" in the process of the collapse of a large patriarchal family. He has a complex personality, wandering and struggling in the vortex of multiple personnel conflicts and spiritual conflicts, and carries extremely profound cultural connotations of the times and history. Mrs. Gao is the feudal authoritarian patriarch in the process of decline of the extended family. His authority was challenged by both "prodigal sons" and "rebels". He died in inner conflict and pain, symbolizing the inevitable demise of a system. These are all different from similar characters in modern literature (such as Zeng Hao, Jiang Jiesan, etc.).
The "Riptide Trilogy" matures the "trilogy" form of modern novels that began with Guo Moruo's "The Drifting Trilogy" and contributes to the development of modern novel forms. "Home" uses a lyrical style and uses various artistic techniques such as psychological analysis and inner monologue to successfully describe the complexity of the characters' personalities, and expands the concept of "knowing the ugliness when you love it, and the goodness when you hate it" created by the characters in modern novels. aesthetic thoughts. In "Spring" and "Autumn", the description of ordinary and trivial family life gradually replaced the simple and straightforward expression of emotions, which heralded the change of Ba Jin's artistic style.
Ba Jin’s works have inspired the hearts of generations. His works are clear about love and hate, and can always give readers a kind of spiritual inspiration and the power of struggle, accompanying readers to destroy the old world and catalyze the emergence of new ones. For a century, Ba Jin has always lived in a spiritual space that advocates ideals, pursues light, and firmly believes that the future will be better than the present. This gives Ba Jin's creations a distinct noble character. He always describes the power of faith in his works, calls for spring, sings of ideals, and praises the future. Images that are full of light and heat and can bring people confidence and strength appear repeatedly in his works, such as the sun, starlight, bright lamps, and holy fires. In Ba Jin's writings, the heroes' ideological realm is noble and their love is noble. He always conveys a beautiful message that unreasonable systems and evil forces will eventually withdraw from the stage of history. Many readers chose to fight and struggle after reading Ba Jin's works, and thus began their unremitting pursuit. Many of the progressive young people who went to Yan'an that year took the revolutionary road because they read Ba Jin's works.
In his youth, Ba Jin (19 years old in 1923) and his third brother broke away from the suffocating feudal family and took a boat to Shanghai and Nanjing to study. Four years later, the depressed Ba Jin embarked on a journey to study in France in pursuit of a bright future. In France, Ba Jin, who originally wanted to study economics, was deeply fascinated by the works of literary masters such as Tolstoy, Balzac, Chekhov, and Zola. The profound power of literature to penetrate the soul gave Ba Jin some comfort. However, this could not erase the trauma and pain in Ba Jin's heart. As Ba Jin said: "I think of the love and hate, sorrow and joy, hope and struggle in the past. I think of everything in the past. My heart feels like being cut by a knife, and the unquenchable flame suddenly burns. . In order to comfort this lonely young heart, I began to write down what I got from life." So Ba Jin's first novel "Destruction" was born. Du Daxin, the protagonist of "Destruction", is a young man full of contradictions and with a melancholic and morbid character. Through the creation of this character, Ba Jin "truly exposed the soul of a young intellectual who wanted to revolution but had not found the right path." Ba Jin's name also became well-known with the publication of "Destruction". The success of "Destruction" enabled Ba Jin to embark on the path of a professional writer.
After middle age, Ba Jin’s strong passion and desire for an ideal world made him the best symbol of the youthful spirit of the May Fourth Movement. Whether it is "The Torrent Trilogy", "The Love Trilogy" or "Cold Night", all of them have stirred the hearts of several generations with their sincere and strong emotional color, and have had a significant social impact. In these works, He is good at pouring out his emotional torrent in eloquent narratives and sincere and simple descriptions, and touches people's hearts with his delicate and unique artistic charm. He is also good at capturing typical events, creating typical environments, and creating characters with eccentric personalities. For example, the character Juexin in "Home" is a typical example. Ba Jin said more than once: "Juexin is my eldest brother.
"Juexin has a weak character and is submissive. He is a transitional figure in the transitional era between the old and the new. He is the successor of the third generation of the Gao family. He does not forget his status as the eldest grandson and his responsibility to honor his ancestors. In running the family and carrying on the business, He acted as the defender of the feudal patriarchal system and ethics, but he was also a victim of the feudal system. His future for further education was ruined just because of Mrs. Gao's desire to have a great-grandson; Friction ruined his marriage with Mei Fen. The outbreak of the "May 4th" movement and the impact of new ideological trends awakened his "human" consciousness. He was deeply dissatisfied with the corruption of the feudal family and his humiliating life, but He could not find his place in the old and new order. On the one hand, he maintained the old family, but on the other hand, he was dissatisfied with the old family, and did not even regret its collapse. On the one hand, he was harmed by feudal ethics, and on the other hand, he helped feudal parents. Doing harmful things. He has become a person with two personalities: in the old family, he is a young man full of arrogance; when he is with his two brothers, he is a new young man.
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□ (1) "Break into" the literary world
□ (2) Give your heart to readers
□ (3) Friendship is an ever-lasting light
□ (4) Life lies in dedication
□ (5) The best patients to cooperate with treatment
□ Approach the old man Ba ??Jin
□ The past is heavy The source of mentioning
□Ba Jin’s Autobiography: Fifty Years of Literary Life
□Century Ba Jin and the “Harvest” of the Four Seasons
□The image of a master in the history of literature in the past century
Section 2 "The Torrent Trilogy"
The "Turrent Trilogy" is Ba Jin's representative work, especially its first "Home", which has an eternal Artistic value.
Ba Jin claimed in "Preface to Torrent", "What I want to show readers here is a picture describing the past ten years. Naturally, there is only a part of life here. , but you can already see how the torrent of life organized by love and hate, joy and suffering is turbulent." The work writes about such a torrent of life: on the one hand, with the feudal clan system With the collapse of the system, the dying feudal ruling power is devouring young lives crazily. On the other hand, the young generation deeply attracted by the revolutionary trend has begun a tragic process of awakening, struggle and struggle.
"Riptide Three". The content reflected in "Part 1" spans from 1919 to 1924, which is a turbulent and turbulent era when Chinese history is at a turning point. The background is Chengdu, Sichuan, which was still a relatively isolated hinterland at that time. "Family" focuses on the typical form of the feudal extended family system. Under the rule of Mrs. Gao, the family was full of hypocrisy and sin, and various contradictions grew and gradually intensified. Against this background, the work describes the love story of the three Gao brothers. Among them, Gao Juehui and the maid Mingfeng constitute the first tragic incident; Gao Juexin, Qian Meifen and Ruijue constitute the other two tragic incidents. Although the causes of these tragic events are different, they are the same on one basic point: they all had irreconcilable conflicts with feudal ethics and feudal autocracy in pursuit of happy love, which led to their Their tragic fate, especially their misfortunes are directly and indirectly related to Mrs. Gao. The story of Mingfeng plays an important role in the whole book. Her death intensified the conflicts within the family and directly awakened its first rebel-Gao Juehui. Mingfeng's death and Juehui's rebellion marked the turning point of the family's prosperity and decline. With the direct influence and help of Juehui, Gao Juemin rose up to resist the marriage and won, thus further exposing the weak nature of feudal autocracy. With the death of the family's supreme "monarch" - Mrs. Gao, all kinds of rotten things became clear and public, and all kinds of contradictions and conflicts that were originally hidden broke out. Therefore, on the one hand, there is the corroding of the Gao family like moths, and on the other hand, there is the blatant resistance to the Gao family's ruling principles represented by Juehui and Juemin. They are all accelerating at the same time, and constitute two pillars. The pliers tearing in opposite directions tore apart the tender emotional veil of the Gao family. The huge success of "Home" effectively fulfilled the author's original writing intention. “I want to resist this fate”, “What I hate is not the individual, but the system”, “I want to call out my J’accuse (I accuse) to a dying system”! [1]
The second part of the trilogy, "Spring", mainly describes the story of Shuying's resistance to marriage and the corresponding tragic incident of Hui's cousin. It also writes about love, but it is significantly different from what is described in "Home". "Spring" is not presented as the pursuit of a beautiful marriage and the contradiction that this pursuit is actually impossible to realize, but as the destruction of women by the unreasonable and ugly marriage system and the accusation and criticism of the feudal autocratic marriage system. .
Shuying, like Hui, was ordered by her parents and boss to marry a notorious man she had never met. Hui, who did not dare to resist, fell ill and died, while Shuying was influenced by the times and new trends of thought. With the help of Juemin and Juehui, he escaped from the prison of the feudal family. Here, "Spring" actually expresses 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 team of rebels has expanded. The ruler of the old family also passed to the second generation Keming. But the ruling power has been greatly weakened.
The last part of the trilogy, "Autumn", shows the ending of the old family falling apart and the "tree falling and the hozen scattered". This is mainly shown through the description of the accelerated moral corruption of the second and third generations of the Gao family and the fact that the entire Gao family has no successors. The work naturally focuses on the fate of the third generation and describes the Zhou Dynasty. The tragedy of Mei and Gao Shuzhen and the fall of Jueying and Juequn. Here, it focuses on criticizing the sins of authoritarianism and feudal ethics that corrode and destroy young people. With the death of Keming, the second-generation head of the family, no one can be found to bear the burden of the entire family, because even the eldest son, Sun Juexin, has rebelled. The theme of "Autumn" can be said to focus on revealing the collapse of the spiritual pillar of feudal despotism.
Among the many character groups created in "The Torrent Trilogy", Gao Juehui is undoubtedly the most important one. He is the epitome of a newcomer. He started from his simple love for workers and hatred of the feudal system, then moved to bourgeois reformism and democracy, and finally moved towards social struggle. Through this ideological development process, the author shows the ideological process that China's advanced intellectuals have experienced together in the past hundred years.
This image is vivid and realistic, and his strengths and weaknesses are unique to the advanced youth of that era. He is patriotic and pursues science and democracy, so he does not believe in God and opposes authoritarianism. He usually does not ride in a sedan chair, and is able to fall in love with the maid Mingfeng. In the final analysis, it is due to the guidance of the democratic spirit. However, he is not a hero who has completely established a proletarian world view and completely betrayed the landlord class. There is still something less exploitative class in his thinking. For example, his love for Mingfeng is far less firm and loyal than Mingfeng's love for him. He had always been hesitant on this issue. Finally, at the critical moment, he forgot about his previous promise, and instead decided to "give up the girl" in pain. This description was completely in line with the historical conditions at that time. Because the environment Juehui lives in is only an environment where a democratic concept of love can be formed, but not an environment where this concept of love can be implemented. Although Juehui's concept of love has completely gotten rid of the taste of the feudal class and has begun to put Mingfeng's value, that is, the value of human beings, at the center, it is actually impossible for him to transcend that class barrier. His mood before he finally ran away from home was also very real. Although he and Mrs. Gao were from different ideological camps, they were, after all, the relationship between grandfather and grandson. His reluctance to part with him reflected his human side.
Juehui’s role in the work is: first, he reveals the theme. This image shows that revolution is the only way out, and escaping from family and liberating one's personality is only the first step. In this regard, Ba Jin obviously surpassed the ideological level of ordinary writers of the same period. Secondly, as the first gravedigger of the Gao family, Juehui will continue to exert a huge influence on the family in "Spring" and "Autumn", which makes him become the turbulent "torrent" within the Gao Mansion. the driving force.
In short, Jue Hui was a Chinese who was first awakened by the May 4th Movement under the impact of new trends of thought in the early 20th century. He was a bold and brave rebellion against feudalism, and he was also passionate and immature. Revolutionary.
"The Torrent Trilogy" also created a sick soul under the weight of authoritarianism-Gao Juexin. He is an important central character throughout the book. The typical significance of Juexin is that his weak and wavering character was entirely caused by feudal despotism and the feudal family system. His tragedy concentratedly reflected the harm of this system to healthy human nature. Juexin was originally a "good-looking", "intelligent and eager to learn" young man. He had progressive thoughts, a kind-hearted, upright and loyal heart. It should be said that he had a bright future. But in fact, his future was ruined because of his father's words and because of a ridiculous lottery when choosing a mate. His ingenuity is used as a host or helper in weddings, funerals, accompanying guests, and celebrations, and he must follow the will of his elders and do everything he opposes. That he will become like this is completely determined by the family system. Juexin is the eldest grandson of the eldest family member, also known as the "grandson of responsibility". He should bear the main responsibility for the future of the big family. This kind of family structure determines the need to maintain this system and guarantee this family mechanism everywhere. In this way, there was a sharp conflict between reality and ideals, which resulted in the duality of Juexin's character. The work accuses this extended family system precisely through the splitting of Jue Xin’s personality.
Juexin also shows the cowardly and contented national character of our nation under the weight of feudal absolutism. Lu Xun had an incisive discussion on the reasons for the generation of this kind of character. He believed that the root cause lay in the poison of the feudal hierarchy and traditional feudal thought. The combination of the two became a powerful political force and a power of ideological dominance.
Juexin was in an environment where there were Feng Leshan, Mrs. Gao, and elders such as Keming, Ke'an, and Keding. They were like tall pyramids, pressing heavily on his head, making him unable to move. In addition, there is an invisible executioner around Juexin, which is the feudal concept. This is another obstacle that Juexin cannot overcome. Precisely because he was always afraid of others gossiping, always thinking about "glorifying the ancestors", worried about the Gao family's fall from his hands, afraid of being accused of being unfilial, and so on, he always volunteered to put his head in the noose every time. Jue Xin's mentality of giving in in everything was formed in this environment.
As one of the most unique artistic images in "The Torrent Trilogy", Ba Jin paid great attention to exploring the complexity of his heart in his portrayal: From the surface, Juexin is just a waver. He is a character who actually experiences a fierce conflict between old and new concepts in his heart. Ba Jin wrote this conflict as the painful struggle of the national accumulation psychology under the impact of Western democratic ideas, thus reflecting the depth of history. In order to describe the character's psychological activities well, the author also asked Jue Xin to talk about his inner emotions in large sections, and used many humane details and memories to strongly highlight the character's state of mind. Ba Jin also paid great attention to expressing Jue Xin's human beauty. The love description of him and Rui Jue's mutual support in misfortune constitutes an extremely touching chapter in the work. In short, as a representative of the wavering type in the history of new literature and a representative of China's "superfluous people", Juexin's artistic charm cannot be underestimated.
"The Torrent Trilogy" not only reaches a considerable height in thought, but also achieves a high degree of achievement in art. The work depicts many characters around the rise and fall of the Gao family. Their tragic fate deeply shocks the readers. The artistic features of the work can be summarized into four points:
1. "Family is society "Principle of plot typification. Marx believed that the "modern family" "contains in miniature all antagonisms." [2] This view is consistent with Kropotkin's. Ba Jin accepted this view and wrote about the Gao family as a representative or "microcosm" of the entire society, which reflected the entire social dynamics of old China in the late 19th and early 20th centuries. , reflecting the essential laws of the times. In the Gao Mansion, the intricate confrontations that took place between masters and servants, between the old and new generations, between patriarchal rule and women’s resistance, between old and new ideas, and the contradictory relationships within the masters were all the sharp contradictions in society at that time. The epitome of the Gao family, the pyramid-shaped power structure embodies the laws of feudal despotism in Chinese society for thousands of years. In this way, the work reaches a high degree of typification.
2. Character creation methods that focus on exploring the beauty of human feelings. There are more than 60 characters described in "The Torrent Trilogy" with names and surnames alone. They have distinct personalities and different appearances. Ba Jin's creation of these characters is not like Mao Dun's emphasis on multi-faceted expressions when writing people, nor like Lao She's emphasis on shaping people both physically and spiritually, but rather on depicting the characters' inner beauty of soul, humanity, and conveying emotions. The characters in Ba Jin's works are relatively simple, but this is simplicity in richness, a simplicity that is highly unified in appearance and heart. Taking three women, Mingfeng, Ruijue and Mei, as an example, the work connects them all with "plum blossoms" - Mingfeng picks plum blossoms in the plum garden, Ruijue loves to draw plum blossoms, and Mei's cousin is named after plum blossoms. It reflects their plum blossom character of "pure in nature and pure in nature". At the same time, it focuses on showing their inner activities - Mingfeng is a long inner confession, Ruijue is through a diary, and Mei is a long inner talk. These psychological activities have one thing in common, that is, they think of things even in the most difficult times. Thinking of others, thus expressing the word "love" that Ba Jin has longed for throughout his life. This makes the images of these three women extremely touching.
3. The structural characteristics of using events as the main clue and scenes to connect the story. The student unrest, Chinese New Year, warlords' melee, and the death of Mingfeng in "Home"...the death of Haier, Hui's wedding, and Shuying's departure in "Spring"...the wedding of Mei, Hui's burial, and the fire in "Autumn", The separation, these large and small events are connected together to form the knot in the network, and various characters are brought together through the description of the scene, and then pushed to the next event. The scenes before and after often echo each other, forming the completeness of the work.
4. Descriptions of genre paintings with the author’s strong moral judgment. The descriptions of the New Year's Eve dinner and the fireworks are extremely wonderful, but the writer's purpose is to reveal the class antagonism 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 Torrent Trilogy" occupies an extremely important position in the history of modern literature.
First of all, "The Riptide Trilogy" is a novel that reflects the May 4th Movement. The May Fourth Movement was a great event in China's modern history, but it is a pity that literary works have not been able to describe it. Although "The Riptide Trilogy" does not directly describe the May Fourth Movement, which is only the background of the work, it fully expresses the spirit of the "May Fourth" era and reflects the rise and pursuit of the young people of that generation. New ideas were born on our land. Therefore, "The Torrent Trilogy" has become an outstanding illustration of social life in the "May Fourth" era in modern Chinese literature.
Secondly, "The Torrent Trilogy" is a novel among modern Chinese literary works that describes the rise and fall of the feudal family and focuses on criticizing the feudal autocracy system.
The attack on feudal despotism and the feudal family system began with Lu Xun. This theme has attracted the attention of progressive writers since the birth of modern Chinese novels. However, after Lu Xun, only Ba Jin's "The Torrent Trilogy" truly promoted this theme and achieved significant development. This work comprehensively and profoundly reveals the characteristics, shortcomings and evils of feudal despotism, and points out its inevitable demise. "The Torrent Trilogy" has become a monument in the history of modern Chinese literature that criticized this evil system.
Thirdly, "The Torrent Trilogy" played a significant role in the development of the genre of modern Chinese novels. After the May 4th Movement, Chinese new literature accepted Western influence, and various literary styles underwent tremendous changes. The art form of novels is no exception. After abandoning the content and form of the old traditional Chinese novels, it must work hard to create new content and new forms that adapt to new concepts. This creation generally proceeds along several lines. The first is to mainly study the artistic forms and techniques of Western novels, and appropriately absorb the traditional expression techniques of our country; the second is to mainly study the Chinese folk oral literature, supplemented by the expression techniques of Western novels; the third is to basically adopt the traditional Zhanghui style of our country. forms to express 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 approaches: Mao Dun absorbed more realism and naturalistic creative methods from European literature, while Ba Jin absorbed more French bourgeois humanism and Russian Revolutionary democracy has great enthusiasm for criticizing the old system. Therefore, Mao Dun's works often focus on objective description, while Ba Jin's works often focus on emotional expression. "The Torrent Trilogy" is the concentrated expression of Ba Jin's artistic style and characteristics. Its advent not only marks the maturity of modern Chinese novels, but also further promotes the perfection of the form of Chinese novels.
In October of this year, news hot topics appeared frequently. The death of Balao is undoubtedly another eye-catching news among many hot topics. Reading media reports, words of praise such as "great", "monument" and "master" pop into readers' eyes again and again. However, the author also noticed that there are some thought-provoking phenomena on how to understand Ba Jin:
In online messages,
Some netizens have objections to Ba Jin’s "greatness" , but was immediately rebutted by many netizens, but most of the rebutters did not tell what made Ba Jin so great.
In a survey conducted by a certain website on "What do you think Ba Jin's greatest contribution was?", as many as 74% of the people in the "Have you read Ba Jin's works" item said " "Have read some", those who have read a lot and those who have not read accounted for only 16% and 4% respectively; in the "Your Favorite Ba Jin Works" project, as many as 78% of people chose "The Torrent Trilogy" ("The Torrent Trilogy") "Home", "Spring", "Autumn"); in the item "What do you think of Ba Jin's works still influence Chinese society?", although the choices are more evenly divided, "pursuit of freedom" still accounts for nearly 55%; In the item "What do you think is Ba Jin's greatest contribution in his life?", "telling the truth" accounted for 44.26%, "enabling thousands of young people to embark on the road of progress" accounted for 41.86%, and "writing great literary works" accounted for 44.26%. 40.74%.
Although in relevant media reports, descriptions of Ba Jin are mostly limited to simple aspects such as his writing achievements and life history. Ba Jin’s life is comprehensively and systematically introduced from different perspectives such as history, culture, and society. There are still very few reports, but as long as you carefully read the scattered texts in different reporting forms, in addition to his life-long writings and the huge influence of his works, Balao's noble characters such as benevolence, loyalty, justice, self-discipline, and humanitarianism are undoubtedly revealed. This makes Balao worthy of the evaluation of "greatness".
I think the debate on the Internet about whether Balao is "great" is due to the cognitive confusion about Chinese culture and a generation of cultural celebrities. As a phenomenon, this has a certain causal connection with the conclusions of online surveys - among today's Chinese readers, most people have only "read some" of Ba Jin's works, and most of what they have read is "Jia Jia". "", "Spring", "Autumn" and other early works, this inevitably resulted in the understanding of Ba Jin being limited to his works, and the understanding of his works was limited to historical concepts such as "pursuit of freedom". This has led to a relatively one-sided evaluation of Ba Jin's greatest contribution in his life.
Whether Ba Jin is great or not cannot be defined casually by anyone, nor can it be fully revealed by his works. Ten years of turmoil formed a cultural era, and Ba Jin was almost ignored by a generation; the development of the market economy objectively left people with no time to care about other things, and they had less and less time to study. For the vast majority of Chinese people, Ba Jin is still synonymous with "Home," "Spring" and "Autumn", and Ba Jin still remains in history, which is obviously not commensurate with the impact that his great works and great life should have.
Calm down and evaluate this century old man historically and objectively. From his vast works and life details, he can abstract the spiritual and cultural connotations that are scarce in today's society. It should be sacred to the media and other cultural and educational practitioners. Responsibilities
Ba Jinliu
For a real artist, the most important thing is not how much or what he writes, but the quality of the artistic images he writes. How long can vitality withstand the severe test of time? No matter how sensational a work is, if it cannot transcend the historical era in which it was produced, it will inevitably give people the feeling that life is short. Although the eternity of art has been questioned by contemporary Western literary theory, the symbol of great art transcends historical contexts. After the author's body has turned into smoke, the events in the work have become provisions in history textbooks. Sometimes, the characters in the works can move readers from generation to generation. Such works are immortal literary classics. The secret of this eternal appeal lies in the increasing interpretability of the image.
Ba Jin was 27 years old when he wrote "Home". The characters in the book are as young as his readers. Now more than seventy years have passed, and feudal ethics are still destroying young people in the process of collapse. On the whole, such tragedies of human life and youth are undoubtedly becoming a thing of the past, but the portraits of the characters in his "Home", "Spring" and "Autumn" retain fresh life.
A childish and bold traitor like Juehui, although originally aimed at the old ethics, his famous saying "Bold, bold, bold" originally came from Dandong, France, as early as the 1940s. There is an interpretation beyond the historical context. Zou Difan wrote in his collection of poems "Crossover" that he moved toward revolution after reading "Home". If the artistic interpretability of the image Juehui left to future generations is relatively simple, then the interpretability provided by Juexin is quite rich and flexible. There are inexhaustible and diverse contradictions in him: the ideal pursuit of the May Fourth Movement and the heavy pressure of the feudal patriarchal system; the disgust for family sins and the responsibility of the heir of the eldest great-grandson; sympathy for the brothers' rebellion and the approval of the destruction of relatives , and so on. His workism, the decadence of non-resistance and moral self-fulfillment are intertwined. This resulted in his multiple personalities: an awakener, a victim, a martyr, an accomplice, and a self-destructor. His richness may be more diverse than that of Zhou Puyuan and Wu Sunpu, outstanding examples in the history of modern literature. It is this that leaves room for constant reading and refreshing in different historical contexts. This diversity comes to life in the grouping of several series of characters. From a positive perspective, in addition to Juehui, there is also Juemin. From a negative perspective, there are mentally decadent elders who put pressure on him. Also worth mentioning are the group portraits of women, including Mingfeng, Ruijue, Cousin Mei, Shuying and Cuihuan. All these images are full and full because of their close connection with Juexin's spirit. In the diverse human relationships of such a big family, Ba Jin's emotions and talents can often be brought into full play.
When Ba Jin completely left the background of his big family and wrote about social activities entirely, his writing power lost its unique charm. Even in the Anti-Japanese War trilogy "Fire", he had to admit that it was a failed propaganda work. However, it was this Ba Jin who, after 1949, when Mao Dun, Qian Zhongshu, Shen Congwen, and Zhang Ailing all had to remain silent because they could not adapt to the new historical situation, he quickly sang an ode to heroism and led the people to With a distinctive propaganda color, it includes "Comrade Huang Wenyuan" based on Huang Jiguang and "Reunion" adapted into the movie "Heroic Sons and Daughters". This is because he originally had a heroic enthusiasm in his early days, which is very obvious in his earliest work "Destruction", but it was a lonely hero. In the new historical era, he gave up his individual heroic personality and identified with the collective hero. He put all the passion he had accumulated since his youth into action. He is sincere, however, as you can imagine, it is definitely not easy.
Among the accomplished writers from the Kuomintang-controlled areas, he was the earliest and most prolific. In this regard, he is almost in contrast to Mao Dun, who has long accepted communism but remains silent in creation. His enthusiasm even made him an active social mobility person. His emotional investment in the new era and new discourse mechanism is astonishing, and is more in place than the active Lao She, who never learned to write new styles, especially heroes in war.
Comparing his reportage about the Korean War "The Nameless Highlands Got a Name" with Ba Jin's works on the theme of the Korean War