Reflection on literary theory works

192 1 On the occasion of the 10th anniversary of the Revolution of 1911, Lu Xun published the novella The True Story of Ah Q in the Beijing Morning Post Supplement, which was signed by the Palestinians and serialized in stages, and was later included in the novel collection Scream. This novel shows us the true features of a deformed China society and a group of deformed China people during the Revolution of 1911.

The True Story of Ah Q is a masterpiece of Lu Xun's novels, which can be called a model for writers to describe history. Lu Xun, who studied western medicine, was good at analyzing the Revolution of 1911 artistically with a pen as a scalpel. Fiction is a true representation of history. This is Lu Xun's profound literary reflection on the Revolution of 1911, which provides us with guidance and directional cognition. Lu Xun described and summarized the social roots of the failure of the Revolution of 1911 with the persistence of revolutionaries and the compassion of writers.

At the same time, with the profound insight of thinkers and from the standpoint and angle of enlightenment, he paid close attention to this great social change and the predicament and outlet of humanistic spirit in the cultural transition period, and made in-depth thinking and unremitting exploration on the issue of transforming social nationalism. The Revolution of 1911 is not only the background of Ah Q's life, but also his life course and destiny.

As we all know, "Wei Zhuang" is the hometown of Luxun. Why did he take it as a social background? Because Lu Xun personally experienced the Revolution of 1911 in Shaoxing, his experience was extremely profound. For example, he once cut his braid and put on his military uniform, but he was regarded as a foreign devil who was "connected to the ocean", which led to "no braid disaster" The "fake foreign devil" in the novel seems to be a prototype. When the news of the recovery of Hangzhou came, Shaoxing was in chaos. "Those in the city fled to the countryside, and those in the countryside fled to the city." People are frightened, and this is what he witnessed.

For his hometown Shaoxing, a "land of thorns in central Vietnam", Lu Xun is particularly incredible: there are many famous heroes of 1911 in history, including Xu Xilin, Qiu Jin and Tao. Shaoxing is not only the base camp of Guangfu Association, but also the birthplace of Xinhai Revolution. On the other hand, it is extremely conservative and backward, full of ignorance and numbness such as Ah Q, Hua Laoshuan and Xianglinsao, which is simply humiliating. Such a strong contradiction and contrast deeply stimulated Lu Xun and made him unforgettable for a long time, which provided motivation and resources for writing a series of novels in the future. Shaoxing is a microcosm of old China, and Lu Xun's hometown complex is very complicated, which is a wonderful paradox.

Lu Xun's artistic expression of the Revolution of 1911 in his novels is consistent with his consistent position and attitude. As early as in the struggle between revolutionaries and royalists, he firmly supported revolutionary ideas and participated in the Guangfu Association. The news of Wuchang Uprising and recovering Hangzhou reached Shaoxing and was warmly welcomed by the masses. However, local officials fled in succession in the Qing Dynasty, and the new regime had not yet been established, resulting in a political vacuum and social disorder. When the situation changed suddenly, Lu Xun stepped forward and organized progressive teachers and students to patrol the streets, preparing to use force to deal with possible accidents, which played a very good role. After Wang Jinfa settled in Shaoxing and established a new military and political branch, Lu Xun became the principal of Shanhui Normal School.

Lu Xun was a witness of the Revolution of 1911 in Shaoxing, his hometown. He participated in the establishment of The More Daily, praising the Revolution of 1911, saying that "the first banner of justice was raised in Hubei, and all the things in ancient China were taken back, and most of them were returned to their original owners", and cheering that "the people are enthusiastic and full, laughing every day, singing the praises of beauty, and the great voice is ordinary. He also defined "speaking freely, from each according to his ability, promoting harmony, measuring political gains and losses, inspiring society and inspiring the spirit of courage and perseverance" as the purpose of running a newspaper. For the failure of the revolution, Lu Xun first saw the deterioration of the regime and the corruption of the upper ruling group, so his criticism was directed at Wang Jinfa and the speculators of the "Salt Reform".

When Lu Xun reflected on the Revolution of 1911, he paid special attention to the ideological revolution and was dissatisfied with the ignorance and numbness of the masses. The most important point is that they lack sensitivity and understanding to the vital issues of national politics, national rise and fall and regime change. Seeing that "the fox went to the hole and the peach puppet appeared", but the masses were at a loss and knew nothing, his heart was extremely painful and angry. Therefore, in The True Story of Ah Q, he pays special attention to the dynamics of reactionary forces such as general manager, Juren, Grandfather Zhao, scholar and fake foreign devil. At the same time, many aspects of the revolution have been directly described and reflected. The conflicts and summaries of "nun revolution", "no revolution" and "salt and reform" are extremely vivid typical events and plots extracted from life, from which people can see the true face of revolution.

The three elements of the novel are environment, plot and characters, so we might as well analyze it according to this idea.

Looking at the environment first, the rumored "revolution" and "revolutionary party entering the city" brought "great anxiety" to Wei Zhuang, so the whole village was "very shaken". The seventh chapter of The True Story of Ah Q, Revolution, played up this specific environmental atmosphere from the beginning. This was written by the so-called "Yang" in the novel to the Revolution of 1911.

The novel fully affirms the great historical role of the Revolution of 1911 and truly shows its great impact on feudal rule for thousands of years. Although the dragon card given to the emperor in the ancient temple was smashed by fake foreign devils and Zhao Xiucai, they took advantage of the wave of the Revolution of 1911. What is more substantial is the fear of the famous juren master in the city. As soon as the revolution came, he quickly transferred his property and fled to the countryside. People like Grandpa Zhao and Grandpa Qian, as representatives of local feudal forces, are even more uncharacteristic. When Ah Q was called "Old Q" by "Great-grandfather Zhao is afraid of weeping in the low wind", he was "as comfortable as drinking six In the snow waters" and "not to mention how fresh and happy he was", which was really enjoyable.

But a few days later, people in Wei Zhuang became "quieter and quieter" because "although the Revolutionary Party entered the city, it didn't make much difference". The "revolution" that Ah Q expected became Mr. Zhao's "salty and new". The result was a false alarm, so the situation went against the trend. This is the so-called "suppression" of the Revolution of 1911 in the novel.

Later, in the eighth chapter "No Revolution", Wei Zhuang said that "this night was as quiet as when Emperor Xi lived", as if nothing had happened. Wang Yangming's Biography said: "When the night is bright, it is Huang Xi's world to ignore, think and be unmoved. The early days were dominated by Yao and Shun. Before Japan and China, etiquette meetings and meteorological ranks were three generations (Xia, Shang and Zhou) world. " Obviously, the opposite meaning is used here, satirizing the enemy's "restoration" and everything has returned to the previous state. Lu Xun used the descriptive technique of "promoting first and then restraining" and adopted the circular structure of "night-day-night" in time. A vigorous revolution seems to be just a formality.

Looking at the plot again, the two-way plot clue is the organic series and intersection of contradictions and conflicts. Lu Xun vividly depicted a true historical picture of the old democratic revolution from a unique perspective with a more restrained brushwork. For example, on the one hand, Ah Q's yearning for "revolution" and on the other hand, Zhao Taimen's "non-revolution" are the life-and-death struggles of the opposing classes; On the one hand, it is the pursuit of "braiding", on the other hand, it is the ready-made hype of "braiding", which is a struggle between old and new ideas. The Revolution of 1911 is not only the background of Ah Q's life, but also his life course and fate. It is a great experience for a little person to be pushed to the forefront and become the meeting point and victim of a two-way conflict. In the novel, special attention is paid to the posturing of reactionary forces such as general manager, juren, grandfather Zhao, scholar and fake foreign devil. On the contrary, the person represented by Ah Q becomes a foil and looks very weak. Through many typical events and vivid plots, readers can see the true face of the Revolution of 1911.

In the contradiction and conflict of the novel, the dramatic symbol is "white helmet and white armor", which appears repeatedly as a fragment and cannot but arouse readers' attention and thinking. About the revolutionary party, the original legend is "all white helmets and white armor: wearing the element of worshipping the emperor." It can be seen that people's understanding of the Revolution of 1911 still can't get rid of the old routine of "opposing the Qing Dynasty and regaining sight". Aren't you sad? In Ah Q's thought, "white helmet and white armor" is inevitably regarded as the image of "revolution", which stubbornly and vividly occupies his brain and generates power from time to time. Finally, the Zhao family was robbed by robbers. He saw with his own eyes that "it seems that many people are wearing white helmets and white armor." Therefore, the Revolution of 1911 is always an unclear thing in people's minds. In Ah Q's view, this is the magic weapon of "rebellion" and "refuge" anyway.

Don't underestimate this ghostly "white helmet and white armor" thing, because it symbolizes the deep-rooted feudal consciousness and is not easy to change in life. Exactly: "thieves in the mountains are easy to break, but thieves in the heart are hard to get rid of" (Wang Yangming's words). Although the bourgeois old democratic revolutionaries and the feudal die-hards fought to the death, they looked pale and fragile in the power contrast. "White helmet and white armor" is a historical limitation of the Revolution of 1911. It can't "arouse millions of workers and peasants to work together" (in Mao Zedong). Lu Xun is most concerned about the consciousness of the masses and their attitude towards the revolution. He felt that he lacked the understanding and support of the masses and did not cause great changes in the countryside. This is the fundamental problem of the Revolution of 1911.

Saltiness and Reform seems humorous, but in fact it contains rich historical content and Lu Xun's profound thinking. With superb skills and outstanding talents, he endowed these four words with strong satire and criticism, which made people feel that the Revolution of 1911 was simply a historical farce, as ridiculous and sad as "Ah Q punched himself in the mouth", because Lu Xun infiltrated very painful feelings in his sharp pen.

The most important thing is the trajectory of characters' thoughts and personalities, which is used to shape the typical image of literature. Mr. Lu Xun's exquisite sketch art vividly painted the True Story of Ah Q, which is really vivid. First, Ah Q's life circle, let's take his "feet" as a cover. When the wind of the Revolution of 1911 came, Ah Q was "on cloud nine". He walked almost like flying, striding past Grandpa Zhao's house and striding into the seclusion towards the goal of "revolution", with great momentum, but even though he was "revolutionary", he still had to "make a living". Later, the situation changed suddenly, and Ah Q changed from "revolution" to "surrender". He timidly "skipped" into Qianfu, looking miserable and ill, and then "fled" out of the house after his hopes were shattered. He had to "swim" everywhere, drink on credit until the hotel closed, and then "stroll" back to Tugu Temple to sleep, with vivid steps. Tugu Temple is the starting point and end point of his daily life, and the comedy of the characters has a tragic ending. This is also a "social strange circle", how poor, how backward, how narrow and how boring it is, showing the ecology and current situation of farmers.

The second is the ideological circle of Ah Q, which combines "spontaneous resistance" and "spiritual victory method". What is "revolution" in his mind? It is nothing more than "what I want is what I like", but this idea can only be realized in his dream. In fact, Ah Q has no consciousness at all, but he has mental problems: one moment he is the "proud head", and his mind is full of pride, and no one is watching; For a time, I felt dejected, "turned my head", looked around in a hurry, and was infinitely disappointed. This reflects the general public's "psychological strange circle" towards the Revolution of 1911: longing-doubt-loss, and so on, thus showing the historical face that the revolution was divorced from the people and could not be deeply rooted in the hearts of the people. Happy and sad, Ah Q shouted "Another one in twenty years" in the execution ground, and finally satisfied his spiritual victory law. In such a strange circle, he must be self-enclosed and self-deceiving, which is a typical portrayal of the so-called "national character."

The third is Ah Q's destiny circle. The ending of the novel is that he drew a "circle" shaped like a noose for his life before execution, but unfortunately it is not round. This detail is really meaningful. A poor farmer who was deprived of everything finally lost his life in the Revolution of 1911 and became an "unjust fool". Class status and living conditions provide the necessary premise for Ah Q's "rebellion". Ah Q certainly has the requirement of reforming the status quo. "China is not revolutionary, and Ah Q won't do it. Since it is revolutionary, do it. " However, the Revolution of 1911 only changed the appearance, but did not change people's hearts. He is still so confused and ignorant that he doesn't know what is happening to himself and the world around him. What happened?

We think that this "circle" is "zero" and equals "nothing". This is Ah Q's "three noes" life: a homeless life, a soul without foundation and a tragic fate. Can you hear his last voice "help"? Just like Lu Xun's call for "save the children" after Diary of a Madman, it is fixed as an eternal historical echo.

Although the Revolution of 1911 changed dynasties, it could not escape the "historical cycle". For example, Lu Xun said: China has only two cycles: "One is the era when you want to be a slave; Second, temporarily stabilize the slave age. " Alas, the revolution can drive away the Manchu emperor, but it cannot drive away the "servility" of the nation. What a thought-provoking question.

After The True Story of Ah Q was published, some people wanted to adapt it into a movie, but Lu Xun disagreed. In his reply, he pointed out: "I pay attention to all kinds of comments about the original intention of The True Story of Ah Q, and I feel that not many people can understand it. After put on the screen, it will probably be a diaphragm, which makes people laugh and is quite boring. It is better not to do it. "

Now it seems that the word "diaphragm" is really important. The visionary Mr. Lu Xun has reached the crux of the problem: despite the vigorous revolution of 1911, the diaphragm between it and the people is objective, and the so-called diaphragm, the barrier of the soul, cannot be understood and communicated, which is exactly the crux of the problem diagnosed by Mr. Lu Xun after analyzing the revolution of 1911. This point is further illustrated in another novel of Lu Xun, Medicine.

Yuan Mei once wrote the ghost novel Zi Wuyu, including a story of Give Me Blood: "Steamed bread with human blood can cure dysentery. Yang, the jailer, took blood to serve his relatives. As soon as he got home, he put his hands around his throat and shouted, "Give me my blood!" " "Lu Xun transplanted it and wrote that Hua Laoshuan went to the execution ground to buy" human blood steamed bread "to cure his son's consumption. The revolutionary's blood turned out to be the medicine of the ignorant, but Xiao Shuan died. This absurd story is a profound historical tragedy.

Lu Xun said, "it is for the needs of reality that the dead in history is lifted." It has been a hundred years since the Revolution of 1911. Looking back on history and summing up experience and lessons, there is still something worth thinking about. The Revolution of 1911, advertised as anti-feudalism, just ignored the ideological mobilization of the revolution, made strategic mistakes, and ignored the people, especially the peasants, making the people not only indifferent to the revolution that overthrew the Manchu government, but also ignorant of the poison of its feudal thoughts, and even took the feudal ethical code system as the criterion in action. The harm of this "gap" will even develop into a "gap", which objectively seriously hinders the process of revolution.

The creative intention of The True Story of Ah Q is Lu Xun's in-depth and thorough reflection: The Revolution of 1911 did not bring good news to Ah Q, nor could it change their life and destiny, let alone influence and change the spirit of the countryside and farmers, and it had no substantive significance in transforming the "national character". Because of Lu Xun's life experience and ideological understanding, he is very familiar with the history of feudalism and too strong and stubborn tradition, so he has always been skeptical or even pessimistic about China's reform, improvement and revolution. In Lu Xun's view, China, a country with this tradition, can only produce a large number of stupid and chaotic people like Ah Q, which makes the "man-eating banquet last forever", and any enlightenment, reform and revolution are extremely difficult.

In the description of the relationship between Ah Q and the Revolution of 1911, Lu Xun objectively revealed the historical limitations of the Revolution of 1911, and at the same time expressed his disappointment with the Revolution of 1911, as well as his serious obsession with Ah Q and doubts about whether the people could be reformed. This is the "silent soul of china" written by Lu Xun. In a sense, the Revolution of 1911 and Ah Q are mutually causal. Lu Xun gained insight into the feelings of the world with the help of novels. The True Story of Ah Q contains rich and profound literary themes and ideological significance, which is always worth learning from later generations.

To commemorate the Revolution of 1911 today, we still need the way of thinking provided by Lu Xun. For the transformation of Ah Q's spirit and national character, we must not simply or unilaterally place our hopes on some kind of social reform. As the saying goes, reform must be carried out unremittingly, and it is also necessary to "fight hard"!

The relationship between the political party and the people determines the destiny of the country, which has been proved in the 90-year history of the China Production Party. It is gratifying to put "people's livelihood issues" in the first place now. Mr. Lu Xun once put forward the "separation" in social life, which is still a problem that we need to continue to explore today. He also warned that "humanity is the most lacking in China's national character", and we will always call for integrity, kindness and charity to make the people of the world harmonious: less distance, more closeness; Less indifference, more greetings; Less closed, more honest; Less fraud, more sincere love.

On the occasion of the 30th anniversary of Lu Xun's birth/kloc-0, Chinese people will always miss this "soul of china".

First of all, what is reflective literature?

Social conditions: political order; Social ideological emancipation movement

Writer's conditions: the return of "Rightist" writers; Young writers stand out.

Ideological conditions: literature is no longer satisfied with exposing scars, but tries to think deeply and integrally about history.

Reflection content: critically think about the historical, social and personal destiny from the early Republic of China to the Cultural Revolution. The objects reflected are: a wide range, the fate of cadres, Rightists, educated youth, rural areas, military camp life, businessmen and "spies" in the Cultural Revolution. Think about the tentacles and trace the deep historical reasons from left to extreme left.

The objects of reflection: comeback writers, educated youth writers and female writers, which can be compared with "scar literature".

Compared with scar literature, reflective literature is no longer satisfied with showing past suffering and trauma, but trying to pursue the historical motivation that caused this suffering; It is no longer limited to the historical reality of the ten years of the Cultural Revolution, but focuses on the historical stage of 1957 or even earlier. Re-exploring historical right and wrong, questioning the policies, routes and events that have always been considered correct in the past but proved wrong in practice, and expressing them fully and profoundly in an artistic way are the basic starting points for rethinking literature. In the early days of the rise of reflective literature, the historical truth of the anti-rightist expansion, the Great Leap Forward and the Cultural Revolution was constantly revealed in literature, which constituted the main theme of reflective literature. Almost all the reflective literary works in this period are tragic, in which writers pour out the sufferings of the people and focus on the bumpy course of the nation. RuZhiJuan's New Stories and Zhang Yigong's Prisoner Li Tongzhong are among them.

Next, I quote from the first floor.

The main writers who reflect on literature are Zhang Xianliang, Wang Meng, Ru Zhijuan, Shi Tiesheng and Wang Anyi.

(A) political reflection: Wang Meng's Butterfly, Ru Zhijuan's supernumerary story.

(B) Reflection on human nature: furong town by Gu Hua.

(C) National Reflection: Gao Xiaosheng's "Chen Huansheng Entering the City"

(d) Reflection on suffering: Zhang Xianliang's novels Spirit and Body, Revelation, Greening Trees and Half Men Are Women.

(5) Reflection on the real society:

The idealist's confusion of "people reach middle age";

The Pioneering Work of Military Literature in the New Period —— Anecdotes of the Western Front

(6) Life reflection

Educated youth novels: Shi Tiesheng's My Far Green Bay; The Terminal of this Train by Wang Anyi; Liang's this is a magical land and there is a snowstorm tonight.

(7) Cultural reflection

Zhang Wei's Ancient Boat, Chen's White Deer Plain, etc.

Reflective literature no longer focuses on intellectuals, educated youth and veteran cadres, but touches a wider range of people, a more basic level of survival and a more hidden soul. Zhou Keqin's "Xu Mao and His Daughters" (1979) and Gu Hua's "furong town" (198 1) not only reflect social, historical or political problems, but also reveal the mental trauma and mental pain suffered by ordinary farmers in China under the "Cultural Revolution" or ultra-left politics. "Xu Mao and His Daughters" reviews the tortuous and difficult living conditions of Xu Mao's family, a farmer from Huluba, a poor mountain village in Sichuan, and shows the realistic living conditions of ordinary farmers in the late Cultural Revolution. Xu Mao and his daughters are scarred in their hearts. Xu Mao has also changed from an activist of land reform to a selfish, withdrawn and indifferent person. Even his daughter's son-in-law can ignore the pain for fear of being implicated. His fourth daughter, Xu, is an ideal rural female image full of China's traditional virtues. She is not only kind and gentle, but also determined and rebellious, and dares to pursue ideals and happiness, which endows her writer with a beautiful imagination of women. Jin Dongshui in the novel is also a tough guy with excellent quality, perseverance and perseverance. They were all treated inhumanely in the Cultural Revolution, and their body and mind were destroyed, but their confidence in the people and the socialist cause never wavered. The novel focuses on their mental trauma and will to survive. They are all "persecuted" or "damaged", which is also the hope of the nation. Furong town is also an excellent reflective literary work. Gu Hua's expression of the fate of characters and the variation of human nature is more profound, even involving the inner pain and profound disaster brought by the left-leaning ideological trend to "political pioneer" Li Guoxiang and "sports root" Wang Qiu. Aren't they "victims" of the Cultural Revolution? Do they deserve sympathy for their mental trauma, and who will soothe their trauma? This is the value of furong town compared with the works of the same period.

The discovery of people in reflective literature is also reflected in the deliberate display of "humanitarianism", the exploration of the theme of marriage and love, and the praise of the value of human life. Chen Rong's novella Man to Middle Age (1980 65438+ 10) is called a humanitarian declaration. The novel focuses on the basic living state of "man" and discusses the value of man and the rights that "man" deserves. The author appeals to the society to pay attention to their living conditions through their living conditions, and points out that their living conditions and value realization are related to our country. In this way, the work has a strong sense of social responsibility and hardship, thus becoming the masterpiece of social problem novels at that time with its concern for mainstream ideology. However, unlike/kloc-0' s "new realistic novels" in the middle and late 1980s, the "people" that Chen Rong pays attention to here has its specific social status, that is, the protagonist represents the whole middle-aged intellectual class.

In the early 1980s, establishing the status of love and calling for freedom of marriage choice were important themes in literature. Zhang Xian's short stories "The Corner Forgotten by Love", "The Life of Lu Yao" and "The Old Well of Zheng Yi" almost all describe love on the moral level of eulogizing "goodness" or attacking "evil". Jason's Love Can't Be Forgotten repeatedly questioned and thought about "love" itself. The Corner Forgotten by Love, through the love experiences of an ordinary peasant woman and her two daughters in a remote mountain village in different historical periods, reveals how the feudal consciousness continued to devour young lives, distort normal human nature and suppress beautiful feelings by virtue of the poverty of material life, spiritual life and abnormal political life at the turn of the sixties and seventies. The novel is obviously full of the call for free love and the eager desire for marriage autonomy. Ling Hua was shocked when her mother heard her second daughter, Huang Mei, shouting "What did you buy your daughter as". Isn't that what she told her mother during the land reform? More than 20 years later, my daughter also made such a cry. She doesn't understand "what's wrong with this" and "what's wrong with me". This woman who once fought bravely for love and happiness has now become a defender of arranged marriage. Ling Hua's sense of pain and tragedy far exceeds the previous works that simply describe the scars of the Cultural Revolution. Although the solution of the problem is pinned on the Third Plenary Session of the Eleventh Central Committee and the Party's policy of enriching the people, Ling Hua's tragic consciousness and the love tragedy of his eldest daughter Cunni make the novel radiate eternal human light. Cunni and Bao Xiao, two unmarried men and women, combined because of the need of life instinct and the bud of youth, and then produced sincere love in the productive and labor life of * * *. However, sexual behavior without marriage guarantee is not accepted by rural ethics. After being arrested, Cooney committed suicide in shame, and Bao Xiao was charged with rape. From then on, Huangmei stopped talking to men and didn't want to look at young men. When love came, she felt inexplicable humiliation and humiliation. The social problems raised in the novel have not been completely solved so far, and the solutions proposed by the author are facing new challenges today with the increasing degree of modernization. Can freedom of love and marriage really come with the party's policy of enriching the people and solving the problem of food and clothing? Gao Jialin's choice of love in life is universal in real life, and it became more and more intense in 2 1 century. 1980 or so, this difficult problem is still discussed at the level of love, but now marriage seems to have lost its basic guarantee, so prenuptial agreement has become the choice of fashionistas. In the past 30 years, people's moral concepts have changed greatly. We are not sure whether Gao Jialin and Liu Qiaozhen will be happy together, but is Gao Jialin's love choice really right? This torture of human nature is still roasting people's restless hearts. In The Old Well, Sun Wangquan's love choice is less personal and more obligatory. The author ranks love after affection and responsibility, which is not only the aftertaste of the Cultural Revolution, but also the brand of China traditional culture. Zhao Qiaoying is also more modern and independent. She and her lover were married in "Fight to the Death". After both marriage and romance (elopement) were desperate, she chose to leave. The author wrote about the conflict between two values in that era. Maybe we don't have to worry about what to do after Zhao Qiaoying leaves, but what about love? The resistance of love in these works mostly comes from the outside world. Of course, Gao Jialin's choice also has the deep reasons of his personal humanity, such as liking the new and hating the old, advocating vanity and hierarchy.

Love Can't Be Forgotten is narrated by Zhang Jie in the first person, which is more suitable for expressing the emotional waves in women's hearts. This story is interwoven with the narrative of "I" and the diary of my mother Yu Zhong. From a personal point of view, from the personal experience and appearance to show the tragedy of marriage, calling for the position of love. Yu Zhong has been waiting for a love of Paula pattern all her life. Her daughter doesn't want a marriage without love, but hopes that the single life can be recognized by the society. This is a very important message, which means that in addition to the universal affirmation of love, the writer's personality is awakening, and the pursuit of individual survival value and emotional requirements means that literature in the new period is approaching life itself step by step from obscurity and chaos. Although this novel has not involved human instinct-sex, perhaps in the author's view, Yu Zhong's biggest problem is love, marriage and sex will automatically solve with the realization of love, and the contradiction between sex and love has not yet entered the performance space of literature at that time.