"Child-orientation" Or "Adult’s Sorrow"

Ye Shengtao’s fairy tales had drawn much attention from researchers in the beginning of the creation. However, in the past one hundred years, Ye Shengtao’s fairy tales went through the process from being highly regarded to be snubbed, as the change of era and literary environment. And the emphasis of evaluation is also different. In the process of his fairy tales’acceptance and research, researchers always focus their attention on its realistic characteristics, that is, the "adult’s sorrow", although their study is based on different exploratory angles, and the depth and breadth is also different. As for the exploration of his fairy tales’ artistic characteristics, most of the researchers discussed its poetic language, the artistic expression of fantasy and exaggeration, and so on, whose discussion is always scattered and superficial. The writer try to do deeper and more comprehensive study on Ye Shengtao’s fairy tales, which is on the basis of the understanding and retrospection of its research status. The second chapter of this article will explore the artistry of Ye Shengtao’s fairy tales, including fairy tales’aesthetic style, story model, structure and language style, and so on. In addition to this, the author will explore the pedagogical meaning of Ye Shengtao’s fairy tales. The exploration of the artistry will differ from the previous impressionistic comment. The author will explore it in reference to fairy tale, the special literature classification. From the start of the creation, Ye Shengtao tried to write some fairy tales with poetic intonation which are closing to children’s emotion. However, the subsequent creation is infused with "adult’s sorrow" unconsciously."Adult’s sorrow" is always attracting researcher’s attention, the third chapter of this article will also explore it. In the basis of previous research, the writer try to do deeper study. Ye Shengtao expressed his attention on social problems and the solution with "adult’s sorrow".