Қытайдың көрнекті жазушысы Юй Дафу өмірі мен шығармалары

Chinese writer and poet

Yu Wen, better known by his courtesy name Yu Dafu (December 7, 1896 – September 17, 1945) was a modern Chinese short story writer and poet. He was one of the new literary group initiators, and this new literary group was named the Creation Society. His literary masterpieces include Chenlun (沈淪, Sinking), Chunfeng chenzui de wanshang (春風沈醉的晚上, Intoxicating Spring Nights), Guoqu (過去, The Past), Chuben (出奔, Flight) and so on. Yu Dafu's literary works' writing style and main themes profoundly influenced a group of young writers and formed a spectacular romantic trend in Chinese literature in the 1920s and 1930s. He died in the Japanese occupied Dutch East Indies, likely executed.

Yu was born in Fuyang, Zhejiang province. His father died when he was three, leaving the family poverty stricken and destitute. He received a number of scholarships through the Chinese government and went on to receive a traditional Chinese education in Hangzhou. Chronologically he studied in Jiangxing Middle School (before he came to Hangzhou), Hangzhou Middle School, Hangchow Presbyterian College (育英学堂). In 1912, he entered Hangchow University (later its major part merged into Zhejiang University) preparatory through examination. He was there only for a short period before he was expelled for participation in a student strike. He then moved to Japan, where he studied economics at the Tokyo Imperial University between 1913 and 1922, where he met other Chinese intellectuals (namely, Guo Moruo, Zhang Ziping, and Tian Han). Together, in 1921 they founded the Chuangzao she (創造社, Creation Society), which promoted vernacular and modern literature. He published one of his earlier works, the short story Chenlun (沈淪, Sinking), his most famous, while still in Japan in 1921. "Sinking" reflects a problem, which is that both China and Japan were once powerful countries in Asia, but at that time, in contrast to Japan's successful national modernization, China has not successfully achieved national modernization. Yu Dafu was ashamed of this, and he used such a story to express a sense of national shame, but in fact, this story's background does not match the facts. Besides, his relationships with people around him are included in his works, such as his relationship with his mother and wife. It is precise because his works are derived from his own life that contemporary readers are very interested in his literary works. About Yu Dafu's sentimentalism:Yu Dafu's sentimentalism was born in the decadent social reality of the "May 4th Movement Era". "The decadent ethos once swept through the world under the banner of aestheticism, and caring about morality was seen as something incompatible with emancipating the mind and reflecting the truth, which was 'decadent art'." Yu Dafu had an emotional resonance with this. At this time, Yu Dafu's creations were filled with gloomy and depressing "end of the century emotions", but Yu Dafu's "end of the century emotions" were based on the premise of resisting negative reality. The story "Sinking" is considered one of the earliest psychological novels in modern Chinese novel history. At the same time, this story is viewed as a representative of romanticism, which satisfies one of the main literature characteristics during the May Fourth period.

Yu Dafu's work is considered by leading scholars to be iconoclastic and controversial. His heroes, which supposedly reflect the author No matter whether the Chinese literature text or the Western literature text is cited in the "Sinking" short story, the same theme is expressed: loneliness. Yu Dafu believes this is a kind of thoughts and feelings that are not understood by other people. The alleged 'decadence' of Yu Dafu's novels, whether in a pejorative or in an aesthetic sense (i. e.'Decadence' as an artistic movement) has been considered by some Chinese Marxist critics to be a sign of Yu Dafu's moral corruption, but Shih argues that Yu Dafu's writings constitute a serious minded critique of China's political plight and perceived social conformism. Indeed, concern for the person and the nation are intimately linked in his work, and the effeminate and ailing body serves as a metaphor for the weak and sickly nation.

Yu Dafu. A Portrait by Kong Kai Ming at Portrait Gallery of Chinese Writers (Hong Kong Baptist University Library).