The Narrative Art Of Yu Dafu

This thesis gives an overall narrative analysis of Yu Dafu's novels from theperspective of narrative time, narrative angle and narrative model. And through theanalysis it is hoped to make a better understanding of Yu Dafu and further master hisspecific artistic novel world.The first part is the narrative time of Yu Dafu's novels. In Yu's novels, time isendowed with deep meaning and his specific aesthetic pursuance and life philosophyare included in it. (1) Behind being free and undisciplined. Yu uses diverse forms ofnarrative time in his novels, including relation in the chronicle order, flashback andboth of them. But behind being free and undisciplined, there is a trace that can befound, and the special understanding of time and life can also be discovered. (2)Comparing the past with the present. Yu has a preference for flashback., and attachesimportance to the comparison between the past and the present. Though theprotagonist gains nothing in the past and results in nihility, they have made efforts,striven and been filled with enthusiasm;however, they loafs and have no desire tostruggle. Facing the restless time, they cannot regain the glorious past, and besides,they can see a bright future. Life becomes a static state in fact, and is likely to bedestroyed at any time. There is a striking difference between the past and the present.The great contrast between the past and the present constitute a kind of aesthetictension. (3) Dense and relaxed time rhythm. Yu focuses much attention on thenarrative rhythm. The rhythm is mainly reflected in the interspersion of quite a fewmethods, and the description of scenery and psychology can embody the change ofrhythm best. These contents slow down the speed of narration, and contribute to theatmosphere and emotions, especially the complicated internal feelings of thecharacters.The second part is the narrative angle of Yu Dafu' novels. Yu has made boldexploration in the inspect of narrative angle and at the same time, he did not stop theattempts and creation of the new narrative angle, which further promoted themodernization of novels in our country. (1) The concentrated restrictive narrationwithin the first person. This kind of narration features the co-existence & identity ofthe three main bodies of creation, narration and object, and takes on the characteristicof trinity, tells one's story by his own tone, and creates the characters similar to one.For example The Niaoluo Travel, The Blue Smoke, The Bewildered Lamb etc. In Yu'novels, there is a type of first person narration which shirks the narrativeresponsibility of authenticity, for example The Red Bayberry Alcohol with thecontrast model of "I"& "He" and The bewildered Lamp with the model of obtainingarticles. (2) The concentrated restrictive narration within the third person. Behindthese third persons, the prototype of "I" can be perceived which reflects "my"personal experience and the subjective emotion in The Sink. The author' figure can beseen clearly. However the narrative angle of "he" is conductive to the inspection &comprehension of characters more objectively and simultaneously. It gets rid of theinequality between the narrator & the reader, thus, putting reader in a pure objectiveposition to treat the story & figures in the novel. (3) The two special narrative ways ofinternal concentrated restrictive narration: the character monologue;the presentationof feeling & imagination.The third part is the mood transformation narration model. Yu' novels arecreative in the structure, not constrained by the conventional ideals, and merges thepoem and the essay into the novel by starting with subjective mood with anextraordinary artistic courage, and forms a kind of natural and smooth structure ofexpressing feelings by taking the feeling of the hero or heroin as the main line,therefore creating a new theme. (1) The structural pattern characteristics of Yu Dafu'novels: his novel puts emphasis on the mood instead of the plot by organizing thenovel with the flowing mood and narrating his own story with a main-body discourse,especially to narrate his own interior world. The interior feeling is the main body inYu' novel, and Yu chooses "the person" as the entrance to feeling to show thedepression in life, the constraints in sex, helplessness in death, such as the novel"Morning of Little Snow", "The Past" and "The Blood and Tears" etc. (2) a fewmethods of expressing feelings: introducing the poems into the novel, putting feelinginto the natural scenery, emphasizing the beauty of creative concept. (3) Analyzingthe causes of emphasizing mood instead of plot in Yu' novel structure. Themelancholy individuality disposition, the influence from the foreign artisticmovement, the special artistic view of emphasizing the truth, the beauty and the tastesand the general mood at that age;heritance of the traditional literature and the purseof transforming the aesthetic judgment of Chinese readers are combined to form thespecial mood transformation narrative structure in Yu'novels.(4) Outstandingcontribution: Yu' novel makes up for the deficiency in the "May Fourth" works, mostof which are in the narrative languages of enlighteners, with a kind of vocabulary ofawakened enlighteners, thus creating a kind of psychology pattern of the mood noveland also deepening the artistic transformation of Chinese novels towards the interior.