英文摘要 |
In Chinese literary history, Mandarin Duck and Butterfly fiction (Yuan-yang Hu-die Pai fiction), because of their old-style language (the antithesis of four-word and six-word clauses or sentences) and conservative plots when compared with late Qing and May Fourth fictions, are hard to evaluate. In this paper, I try to contextualize Yu Li Hun in the discoursive field of Min-qüan Bao. The discussion mainly focuses on two contexts: journals’ serials and Chinese novel history. Via journals’ serial contexts, we noticed first that Xu Zhen-ia was a journalist and the creation of Yu Li Hun was to fulfill his obligation. Second, three tragic novels of love entitled Yun Yu Yuan , Yu Li Hun , and Nie Yuan Jing were almost published serially at the same time. How to explain the phenomenon of those tragic novels appeared together? Third, the editors’ discourses were full of sentimental feeling, we could link them up to the drive of crying mentioned in Laocan Iuji’s foreword by Liu Ei. Finally, how to explain the meanings of those tragic novels of love under early Republic’s corrupt political environment? Although new country has been built, all neglected matters were yet to dealt with. Moreover, there were bad President and bad government disturbing the polity. It seems that those tragic novels of love can not simply regard as Mandarin Duck and Butterfly fictions. The drive of crying combined with the practices of re-reading Honglo Meng, let the repressed feelings relieved thoroughly like a flood overflowing the field. |