“Yu Dafu were perhaps second only to Lu Xun as innovative stylists.” His collection of works, “Chen Lun” published at 1921, includes “Sinking," “Moving South” and “Silver-gray Death," was the first vernacular fiction collection in modern Chinese Literature. Typically, “Sinking” is considered as his magnum opus. Within this short fiction, not only he has introduced autobiographical lyric style to modern Chinese literary creations, but also Yu Dafu's psychological terminologies in the story are widely spread and used by other scholars. Moreover, his voice of sexual liberation criticizes hypocritical moral standards from feudal society, and it greatly affected academic’s attitudes towards sexual relate topic. The success of “Sinking” could not be achieved without influence from Japanese literatures on Yu Dafu. There
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Typically, Lu Xun was the first person who stood up for the “Sinking” and defended it as “masterpiece”. For instance, the main character throughout whole in the story was referred as pronoun “he”. At end of the story, Yu Dafu writes, “Such were his despondent, self-pitying thoughts as he walked back and forth along the shore.” It conveys that reader does not even able to name the protagonist even after his suicide. How tragic the narrator is! Dying without his name and with anxiety. “He” could be Yu Dafu himself, an oversea student with sexual frustrations and inferior feeling. On other hand, “He” could be every one; anyone who undergoes adulthood and seeks for sense of belonging. Since then, this style of writing soon innovated into a literature trend; many other novelists started to follow Yu Dafu’s style and created lyrical press, and their theses were to reveal depressions from themselves in straightforward
Typically, Lu Xun was the first person who stood up for the “Sinking” and defended it as “masterpiece”. For instance, the main character throughout whole in the story was referred as pronoun “he”. At end of the story, Yu Dafu writes, “Such were his despondent, self-pitying thoughts as he walked back and forth along the shore.” It conveys that reader does not even able to name the protagonist even after his suicide. How tragic the narrator is! Dying without his name and with anxiety. “He” could be Yu Dafu himself, an oversea student with sexual frustrations and inferior feeling. On other hand, “He” could be every one; anyone who undergoes adulthood and seeks for sense of belonging. Since then, this style of writing soon innovated into a literature trend; many other novelists started to follow Yu Dafu’s style and created lyrical press, and their theses were to reveal depressions from themselves in straightforward