abstract

Sun Li treasures his anti-Japanese novels. Although there was a novel Zhai Yun in his later years, his psychological transformation was still in the "extreme of truth, goodness and beauty" recorded in Anti-Japanese Novels. Sun Li's anti-Japanese novels have "three noes". First, he wrote little about the national inferiority of the northern people during the Anti-Japanese War; Second, there is no direct relationship with the face-to-face enemies, that is, Japanese soldiers and ordinary Japanese or Japanese culture; Third, do not describe the war scene and the inherent cruelty of war positively. By analyzing the reasons and significance of Sun Li's anti-Japanese novels, we can get a glimpse of the characteristics of Sun Li's anti-Japanese novels, and also clarify the essence of the romantic tradition of revolutionary literature prevailing in the1940s, and further describe the special moral pedigree of mainland literature in the1940s.

Keywords Sun Li; Anti-Japanese novels; Three noes; Docile virtue; Revolutionary literature

Although Yi Shu's Ruben (1965- 1994) and Ten Kinds of Robbery in a Farming Hall (1977- 1995) are highly praised in the literary world, Sun Li himself seems to attach more importance to novels. In his later years, he used The Story of the Wind and the Novel of Zhai Yun to feed people, thinking that his whole life was written in these two novels.

Sun Li's early novels (from the second half of the forties to the middle of the fifties) are set in War of Resistance against Japanese Aggression, and almost every novel is about China's soldiers and civilians in the Central Hebei Plain and War of Resistance against Japanese Aggression in the Shanxi-Chahar-Hebei Border Region (mainly in the Xishan area of Shanxi). 1945 After War of Resistance against Japanese Aggression, Sun Li returned to his hometown from Yan 'an to participate in the "land reform" in the liberated areas of North China. The bonfire of the civil war did not hit Jizhong, and Sun Li did not experience the "war of liberation". After that, his novel continued to write War of Resistance against Japanese Aggression. This situation continued until the novel The Story of the Storm and the novella The Prequel to Tiemu in the 1950s, so he called his creation in this period "Anti-Japanese Novel" and made a clear position in his later years: "My creation, starting from War of Resistance against Japanese Aggression, is my personal struggle against this great era and the sacred war. It also reflects my thoughts, my feelings, my progress, my joys and sorrows, and my favorite anti-Japanese novels.

In Sun Li's later works, there is only a thin book, Zhai Yun's Novels, which is mainly a set of notebook memories about the Cultural Revolution. Among them, there are many insights and fears about the ugliness of human nature, as well as sighs about the short life and the poverty and illness, which almost swept away the optimistic love and softness of the anti-Japanese novels. However, Sun Li, who writes Zhai Yun's novels, likes "anti-Japanese novels" best, which shows that despite their great differences, they still have some fundamental identity values that always attract Sun Li. Perhaps this is why he paid more attention to novels in his later years.

So what are the identity values of "anti-Japanese novels" and "Zhai Yun novels"?

Let's talk about "anti-Japanese novels" first.

Since 1945 Yan 'an Liberation Daily supplement published Killing the Building, Lotus Lake, Village War, Wheat Harvest and Luhuadang, Sun Li has been deeply eulogizing the beauty of human feelings and humanity in the war with his experience of participating in the Anti-Japanese War in Central Hebei. He splashed ink on the new farmers who accepted revolutionary ideas, supported the * * * production party and were full of confidence in the future, especially those rural women who had both revolutionary enthusiasm and good humanity. Under the depressing and rough background, his works have a feminine and charming beauty.

However, whether Sun Li's autobiographical and lyrical novels "truly recorded" the "sacred war" of the northern people against Japanese aggression has long been questioned. Sun Li said: "Seeing the perfection of truth, goodness and beauty, I wrote some works;" I don't want to write when I see the worst. The first half of this passage is about "anti-Japanese novels", and the second half is about why he experienced the "Cultural Revolution" but didn't write more works about it. "Anti-Japanese novels" describe the extremes of truth, goodness and beauty in the war years and try to avoid the extremes of evil, which is due to Sun Li's personality, but it is not lacking in authenticity. "The extreme of truth, goodness and beauty" not only exists objectively, but also conforms to people's true wishes. If truth is the "extreme of truth, goodness and beauty" that really exists and conforms to people's real wishes, it is very full in Sun Li's works. The question is, is "truth" limited to "the extreme of truth, goodness and beauty" in cruel War of Resistance against Japanese Aggression and equally cruel domestic contradictions? People's attitude towards Sun Li's anti-Japanese novels is not so much "doubt" as "dissatisfaction", that is, they are dissatisfied that he only writes "the extreme of truth, goodness and beauty" but not "the extreme of evil", and ultimately they cannot achieve comprehensive and profound truth.

Sun Li's anti-Japanese novels are not as grand and spectacular as Tolstoy's War and Peace, nor as bloody and ugly as the heroic legend of the Soviet writer Babel's Cavalry, and even fail to reach the level of Xiao Hong's Life and Death in the 1930s and Ma Bole in the 1940s. Xiao Hong's long articles before were praised by Lu Xun as showing "the northern people's fortitude to life and their struggle to death", and many female writers "deviant writing". The latter article sticks to Lu Xun's tradition more consciously. Even though China's soldiers and civilians fought bloody battles and suffered heavy losses in the early days of the Anti-Japanese War, they refused to give up the position of "national criticism". Sun Li's anti-Japanese novels also write "the strength of the northern people's life and the struggle of death", but the writing is gentle and even charming, and there are few "deviant writing methods". It is even more unique to put forward a typical "Ma Bole" style of irony from the people. Xiao Hong's hometown Hulan River is also dominated by national criticism, full of filth, confusion, ignorance and cruelty, which is different from Sun Li's infinite love and appreciation of Jizhong Plain.

Sun Li's persistent view of subjective truth in anti-Japanese novels (which is his value ideal in his later years) will lead to at least three unavoidable problems.

First, why didn't the "anti-Japanese novels" show the uncompromising national criticism made by Xiao Hong or Lu Ling, young writers of Hu Feng School in the early 1940s, based on their positive grasp of the internal contradictions of the Chinese nation and their ruthless exposure of the "spiritual slavery trauma" of farmers, intellectuals and government officials for thousands of years? Were the farmers in the north really so simple and lovely during the Anti-Japanese War? Did the author beautify the people in the war because of political propaganda?

Sun Li describes "northerners" during the Anti-Japanese War, and mainly selects the bottom people who are full of enthusiasm for the war, support the * * * production party, have confidence in the justice of the war and the prospect of inevitable victory, give everything selflessly, and support and care for each other. With all the above excellent qualities, young, lively and healthy, gentle and affectionate peasant girls and young women, especially occupy a decisive position. They enthusiastically supported and actively participated in War of Resistance against Japanese Aggression, and they loved frontline soldiers. In Sun Li's view, they represent the "extreme of truth, goodness and beauty" in the war years. The "political correctness" of the times and the eternal noble feelings of mankind (especially the love of young men and women and the beauty of women's youth) are the key points of Sun Li's description of "northerners" in the war years, the only source of beauty left in this desolate land of China, and the only source that can inspire and inspire people to love life, land and country besides the "sadness of northerners" recited by poet Ai Qing. Sun Li has repeatedly praised the outstanding representatives of "northerners" for their beauty of humanity and human feelings, and he won't realize that there will be any special "beautification" here.

What is worth asking is really not Sun Li's "beautification", but Sun Li's "choice". In other words, he chose the excellent quality of the outstanding representatives of "northerners" as the object of eulogizing, but seldom noticed that "northerners" as a collective concept inevitably contained perhaps huge defects.

During this period, Sun Li did not write the "dark side" of "northerners" at all. In the short story Zhong (1946), he wrote an old nun who was romantic and heartless, a landlord Lin Degui who committed adultery with the old nun and tried to take possession of the little nun, and a traitor of unknown origin. If these people belong to a very small number of "northerners" just because of their status, then the "Little Five" in Glory (1948) is universal. She was born in a poor peasant family, but she was too poor to love wealth and farming. She only wanted immediate interests, did not understand, support or refuse to wait for her fiance to go out to fight against Japan, and regarded the "glory" of defending the country in everyone's eyes as worthless. Although these "idle people" and "backward elements" are on the edge and background of Sun Li's novel world, they are eroding the light like shadows, and Sun Li has not eliminated them from the "northerners". Later, the number of "idle people" and "laggards" in Fengyun Biography and Tiemu Prequel gradually increased to a certain extent.

If Sun Li describes a very small number of bad guys and a large number of "idle people" and "backward elements" who occupy the background, and he classifies them as "scum" in strict accordance with the political standards of the war years, then he still fails to touch the shortcomings of "northerners", then the confused idea of writing "anti-Japanese village chief" in the novel Zhong is different in nature. Daqiu, who works in the landlord Lin Degui's shop, has an affair with Hui Xiu, a little nun in the village. Later, the old nun died and the enemy drove away. Daqiu and Huixiu became a loving couple. This is the end of the story. But before that, Daegu had been afraid to disclose her love affair with Huixiu, and she got pregnant overnight. Daegu never appeared again, and did not give any help to Huixiu, who was sad and desperate. Huixiu was born in pain and humiliation under the scolding and ridicule of Lin Degui and the old nun, and endured great grief to bury her illegitimate child with Daegu. Daqiu clearly knows these things, but he can't bear to visit them. At that time, the Japanese did not "mop up", and anti-Japanese activist Daegu had no reason to hide himself.

The Anti-Japanese War improved the ideological consciousness and moral level of farmers in the north, which is a narrative mode shared by many revolutionary writers, including Sun Li. However, the Anti-Japanese War did not erase the historical grievances in Daegu's heart at once. On the contrary, he couldn't bear to visit the helpless lover who was giving birth, on the grounds that since he joined the anti-Japanese war organization and was valued by comrades and leaders, he must "respect himself" and "be positive, brave and everything". If a little nun is afraid to disclose her affairs just because she is a monk, it is still "old morality"; From War of Resistance against Japanese Aggression led by the Communist Party of China (CPC), we have learned the principles of "being positive", "being correct", "being brave" and "not being a little sorry for our superiors", which can't be said to be confusing.

Hui Xiu later covered the "anti-Japanese village head" under the Japanese bayonet. It is probably this kind of "positive", "correct" and "brave" performance that makes Daqiu feel that she has changed her image in front of the villagers, which is why she was "proposed". The organization agreed, and the whole village agreed. "In the end, Daegu accepted Huixiu, which he had abandoned for a long time, mainly because of his own political correctness and recognition by the" organization "and" the whole village ",not because of their love. Personal feelings were suppressed, misinterpreted, and later made public and recognized in the collective will. This is similar to the description in Glory that Xiumei, who is active in thinking, respects the old and loves the young, replaces the backward Xiaowu and gloriously becomes the original wife of the anti-Japanese hero. The narrative mode of "arranged marriage" in China's ancient opera novels is looming.

Among the characters portrayed in Sun Li's "Anti-Japanese Novels", there are not many positive characters with subtle defects like Daqiu. Sun Li is more like in Blue Star (1940), focusing on ordinary farmers in the north. They are plain and unpretentious, and how to glow with amazing and beautiful humanity in the test of war, or like the natives in Glory, Watering the Garden (1948) and Lurking (). As for female images, the most dominant ones are enterprising young women, such as "Shallow Flowers" in Lotus Lake, "Charge" (1946) and "Director" in Zang (1949) and "Glory". They are the essence of "northerners" described by Sun Li. The aquatic sister-in-law in Lotus Lake and the Charge (1946) and Xiumei in Glory are the representatives of this group of female images. In the shadow of these positive figures, some subtle shortcomings of the scum or advanced figures of the above-mentioned "northerners" are nothing at all.

Sun Li 1944 officially entered the literary world after arriving in Yan 'an. At this time, Yan' an has just finished the "inventory" and "rectification". Sun Li, as an intellectual who came to Yan 'an from the anti-Japanese base areas behind enemy lines after the "inventory" and "rectification", did not experience the harsh baptism within the revolution and had little ideological burden, but Yan 'an literary world was in a recession after the 1944 "inventory" and "rectification". Wang Shiwei, who was arrested because of his essays such as Wild Lily, was accused of being a Kuomintang spy and a Trotskyite, is still being held in a border prison. Many writers who have been criticized and helped from the garret as small intellectuals have put down their pens and gone to the grassroots and the front line, hoping to find a new way to combine with workers, peasants and soldiers through self-transformation. Since 1944, Zhao Shuli has published several works, such as The Marriage of Little Erhei, Li Youcai Banhua and The Changes of Li Jiazhuang, but they have not been widely recognized. In this political climate, Sun Li, a graduate student of Lu Xun Art College who started his writing career with literary theory in central Hebei, could not be completely divorced from the forbidden area of Yan 'an caves. He wrote the beautiful lyrical work Lotus Lake, which almost washed away the dust, because he was treated like a VIP in Yan 'an, because at the age of 3/kloc-0, he missed his wife who was far away from home, because he especially loved beauty and worshipped beautiful young women, because he was on the Loess Plateau and missed the mountains and rivers in the central Hebei Plain-but political factors were also very important, only his way of responding to politics was quite special.

Under the shadow of the thought of "national resistance", war is the biggest and most detached politics: the national liberation war against foreign aggression transcends the complicated contradictions among the people. Sun Li's choice of War of Resistance against Japanese Aggression, behind enemy lines in North China, as the theme of his novel is conducive to his putting aside complicated political issues at home and within the Party and concentrating on the beautiful human nature in the wartime. Good human nature can indeed become spiritual nourishment for revolutionary fighters who have left their homes, and can serve politics from another angle. What's more, the beautiful, gentle, youthful and enterprising young men and women in Sun Li's works are all "workers, peasants and soldiers", which makes Sun Li's creation gain another kind of "political correctness" besides the Anti-Japanese War, so he has become one of the few writers who came out of the anti-Japanese base areas and liberated areas behind enemy lines and can stick to his own style of writing without external influence.

The beauty of human feelings and humanity, especially the beauty of women's youth, has been strengthened under the interaction of subjective "choice" and objective "discipline". I'm afraid it can't be said that Sun Li's "choice" is to "beautify" "northerners" for political propaganda, although it does play a role in beautifying propaganda objectively. Since the May 4th New Literature was initiated, it was Sun Li who used such an expression to praise his nation's human feelings and humanity and achieved such a successful state. That is to say, Sun Li, who appeared after the Anti-Japanese War, and revolutionary writers who took a similar path with Sun Li really refreshed China's new literature in the spiritual pedigree. Before Sun Li, the literary ideal was to confront challenges with social criticism and civilization criticism, and to shape rebels and traitors who rebelled against national culture. After Sun Li, the ideal of literature is to clearly explore and praise the virtue of obedience that is completely convinced and happily in line with the overall interests of the nation-state.

Secondly, why didn't Sun Li's "anti-Japanese novels" describe the Japanese who started the war positively? Is it not conducive to understanding the war itself to dilute the image of the enemy in the war and push the enemy to the end of the field of vision?

Japanese (especially Japanese soldiers) are really rare in Sun Li's novels. Even if there is, it's vague. Zhong only vaguely mentioned "one traitor and two demons" and ordered Hui Xiu to come out for trial, without describing their images in detail. Later, the "devil" was simply replaced by a more abstract "enemy" and was quickly driven away by the "youth guerrillas" who jumped out of the crowd (another novel, Tibet, is exactly the same in dealing with the "devil"). In Lotus Lake, the "devil" sat on a big ship and was sunk by guerrillas with grenades. Their faces are unclear, they have no verbal actions, and they are on the edge of the narrator's vision. In Luhuadang (1945), a group of "devils" who took a bath were tricked into the water covered with hooks by brave old boatmen, and their lower bodies were hooked and could not move, leaving them to beat their heads with bamboo poles, "like beating stubborn old corn". Comparing the head of a Japanese aggressor who just wounded a girl in China to a "stubborn old corn" is neither hateful nor ugly. In the monument, people can see the "enemy" who drove the Eighth Route Army soldiers off the glacier from a distance across a river, which is just a vague shadow. In Hao Erliang's and Wu Zhaoer's works, which reflect the guerrilla fighters' escaping from the Japanese "mopping-up" and "mopping-up", "devils" and "enemies" did not appear at all, but only appeared in our intelligence, or their positions were inferred through the alarm sound of sentries. They are always left behind by the guerrillas of the Eighth Route Army.

There are two reasons for this. First of all, Sun Li mainly showed the good sentiments of China soldiers and civilians who were brave in dedication, strong and unyielding, supporting each other and full of winning beliefs during the Anti-Japanese War. This kind of creative intention can be realized without directly describing the image of the Japanese army. Secondly, Sun Li took part in the Anti-Japanese War in Jizhong and initially joined the Lv Zhengcao army. Lu once served as Zhang Xueliang's adjutant and secretary. After the Xi incident, he secretly joined the * * * production party. 1937 After the outbreak of the Anti-Japanese War, he led the 69 1 regiment of the former Northeast Army to withdraw south with the 53rd Kuomintang Army in accordance with the instructions of the Northern Bureau. He left the main force halfway, gave up the designation and changed his name to "People's Self-Defense Force" and the place led by the * * * Production Party. Sun Li, a civilian of the People's Self-Defense Force, is unfit to be a war reporter because of his weak body. He has only done propaganda and document editing in the army, and he has never met actual combat or Japanese. Plus, he doesn't know Japanese, and he hasn't studied Japanese culture (I'm afraid he's not interested), so even if he wants to describe Japanese soldiers positively, there is no condition. Sun Li didn't mean to belittle the image of Japanese soldiers, but there was no need to write subjectively and objectively.

At that time, most writers who reflected the Anti-Japanese War rarely described Japanese soldiers positively, and Sun Li was no exception. But this does not mean that Sun Li completely ignored the existence of Japanese soldiers. He often exaggerates the tense atmosphere of confrontation between the enemy and ourselves, and repeatedly describes the profound disasters brought by the Japanese invaders to the people in the north, as well as the scenes of China soldiers recovering in the absence of medical care and medicine in the rear. These contents are enough for any reader who has no war experience to feel the ferocity of the enemy of the Chinese nation.

Nevertheless, an image of enemy soldiers with obvious colonial ambitions, including this ordinary citizen who claims to be the colonial sovereign state and his "dominant culture", does not exist at all in Sun Li's novels, and it is still worth our deep thinking.

Modern literature in China, even the "anti-Japanese novels" with the theme of resisting aggression by revolutionary writer Sun Li, is obviously different from the colonial resistance literature in the world at that time and the later "post-colonial literature". China's modern literature and revolutionary literature do not belong to the world's colonial resistance literature. Since 1950s, China's modern literature and revolutionary literature have not merged into a worldwide "post-colonial literature". In Sun Li's "anti-Japanese novels", we can't see the universal human hatred based on cultural conflicts between different nationalities in colonial writers' anti-Japanese literature or post-colonial literature. On the contrary, in Sun Li's anti-Japanese novels, what we see more is the psychological construction of ordinary people in China to safeguard national sovereignty and disdain to know foreign enemies, and the writer's sincere appreciation and admiration for this psychological construction.

Third, if you don't describe the enemy positively and pay attention to the beauty of your own army and people, it is inevitable that you can't describe the war or battle scene positively and concretely. Will this at least cover up the cruelty of the war itself and beautify the war to some extent? Especially when the writer represents the victims of the war, will this writing style that fails to fully express the cruelty of the war and blindly pursues beauty put the cart before the horse?

Sun Li's "anti-Japanese novels" don't often write large-scale war scenes. Small-scale battles also avoid describing bloody massacres. No matter the destruction of the enemy or our sacrifice, we always treat it lightly with extremely frugal pen and ink, and the battle scene is always in the future. What happened to Zhong Huixiu, who refused to submit, was that "the devil put a bayonet on her arm and she fell down, bleeding on the ground". In Hiding, the devil punished the villagers who refused to hand over the anti-Japanese leaders by "watching people kneeling there, holding heavy things, shaking their arms and sweating on their faces". They walk around, smoke and observe carefully. "In short, there are no bloody, cruel and crazy scenes in the war.

When it comes to the plot of our soldiers and civilians' sacrifice, Sun Li tries to avoid direct and detailed description, and often explains the past by indirect means in a few words. For example, "Little Victory" is about the failure of the First Cavalry Force of the Eighth Route Army in North China:

"Director Yang died in this battle. The shells bombed the soil and buried the horse. Xiaojin was injured, put his hand over the director's body, took a gun with bullets, broke out at night, and vomited blood after running for a few steps. "

Completely unpretentious.

Perhaps Sun Li's most cruel novel Monument, in which eighteen guerrilla fighters of the Eighth Route Army were driven into a glacier by the "enemy". The full text is as follows:

"They came out in the fire, their bodies were as hot as fire, and their hearts and lungs were about to explode. They jumped into the frozen river and slapped the ice in front of them with gun butts, trying to jump into the middle of the river quickly. However, there was numbness in the legs, and when the heart contracted, it lost consciousness and sank. "

I didn't write that the Eighth Route Army soldiers fell in the bullets of three enemies, nor did I write that they continued to be strafed by the enemy in the glacier, only that the cold river made them sink. Sun Li prefers to emphasize that it is not the enemy's ruthless bullets that eventually lead to their death, but the rivers in their hometown, which is obviously to reduce the sadness and despair aroused by the sacrifice scene.

As for the battle that ended in our victory without the sacrifice of our personnel, Sun Li's pen is more relaxed and lively (or "beautiful"). "Wu Zhaoer" wrote a beautiful mountain girl who broke through for the guerrillas alone and "intercepted" the Japanese army. It was a bit legendary in itself, and the specific battle scene was beautiful:

"She jumped forward on the rock tip. The red cotton-padded jacket turned inside was constantly blown by the wind, like sparks scattered from her and fell behind her. "

"We got together and ran down from the back of the mountain. We jumped into the rushing river at the foot of the mountain without taking off our shoes and socks, and we heard the sound of Wu Zhaoer's Grenade exploding in front of the mountain."

It is better to appreciate the performance of female beauty with war than to describe the battle with war. Such scenes may not be uncommon in folklore and rap literature about Mulan, Yang Jiajiang and Fan Lihua.

The most famous is "Lotus Lake", which wrote that the newly established guerrillas successfully ambushed a Japanese ship, and the whole battle took only two short sentences:

"Gunfire is still ringing, after three or five rows of shots, they threw grenades and rushed out of the Lotus Lake.

The Grenade sank the enemy's big ship, and everything sank. "

Before and after this, the laughter of young wives and their behind-the-scenes conversation to save their husbands far exceeded the sound of bullets, which is the real main content of the novel narrative.

It was Memorial (1947) who deliberately handled the fierce battle scenes with ease and even went to extremes. This novel is about "I" leading a group of Eighth Route Army soldiers (not renamed as "People's Liberation Army" at that time) to resist the attack of "Returning Home Corps" on the roof of a military family. While shooting, "I" talked and laughed calmly with the girl "Duckling" and her mother who were hiding in the house until we got the upper hand and prepared to "charge". This is indeed as Mao Dun said, "Describe the changing situation with a calm attitude of talking and laughing."

However, Sun Li's "anti-Japanese novels" did not completely avoid cruelty. What he described as "cruelty" was not a specific battle, nor was it bloodshed and death between the enemy and ourselves, but the extreme poverty and suffering suffered by the "northern people" in the war imposed on China by the Japanese. The cruelty on the battlefield is transferred to the hardships of people's daily life, which is reflected in daily poverty, sadness, desolation and fear. The shocking power of these contents, even Sun Li's aesthetic writing, has never diminished. The daily poverty, sadness, desolation and fear of "northerners" are the background of Sun Li's novels, and he needs to find better comfort and encouragement in this bleak background. His task is not to repeat the "cruelty" generally seen by China readers at that time on paper, but to overcome the "cruelty" with the tenacity, optimism, selflessness and beauty of "northerners".

Sun Li has all the materials to show the cruelty in the war, but he restrained his pen and ink and left more space to show what he wanted to show. Moderate performance makes readers more imaginative and suggestive, so he is not worried that such restrained descriptions will dilute the "cruelty" of war. Only some contemporary writers who have never experienced the sufferings of war and don't know what "cruelty" is will exaggerate "cruelty" for fear that readers will see that he can't write "cruelty" In this respect, there is a difference between Sun Li's "hint" and some writers' deliberate exaggeration of the "cruelty" of war. However, if Sun Li's "Anti-Japanese Novels" are compared with the local literature of most writers in China in the 1920s and 1930s, the difference is still huge. The main difference is that the writers in the 1920s and 1930s mainly focused on the decay and extinction of the countryside, so the tone was bleak, while the countryside written by Sun Li was bright and clear as a whole because of the injection of new social ideals and new human values associated with it.

From the analysis of the above three aspects, we can probably see that Sun Li's "anti-Japanese novels" are neither a simple subordinate to the intellectual enlightenment literature tradition since the May 4th Movement nor a simple continuation of the "revolutionary literature" in the 1930s. He grew up in the revolutionary literature team led by the legitimate political parties of sovereign countries in the 1960s+0940s. His Anti-Japanese Novel is a fresh and beautiful romantic lyric poem about China and War of Resistance against Japanese Aggression. Without describing the "dark side" and "enemy" of the northern people and the tragic and cruel war scenes, this "three noes" shows a quality that China's modern revolutionary literature has not been fully explained so far: its aesthetic tone is not increasingly tense and sad, and its main mission is not to resist foreign aggression, nor to liquidate (enlighten) the people. The keynote and theme of post-modern revolutionary literature in the 1940s, represented by Sun Li's anti-Japanese novels, is the persistent pursuit of new human beauty and humanity beauty, the recognition of pliant virtue with optimistic ideals and clear and enthusiastic writing style, and the pursuit of natural humanity beauty and the integration of "political consciousness" to meet the needs of the revolution, thus constructing a special aesthetic/historical principle in China's modern revolutionary literature to soothe and inspire rural young revolutionaries who are eager to establish a new nation-state. .......