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1940年代是中国小说物象艺术走向多元与成熟的时期。张爱玲得中外文学之精髓,将物象与心理分析相融合,有力地推进了小说的现代化;钱钟书学贯中西,纵横捭阖,在拓展小说取象范围、以物象丰富作品内蕴、提升小说语言品质方面贡献独特;赵树理虽然也借物象刻画性格、以物象为细节性道具组织故事,但为了照顾其小说拟想读者的审美习惯,却力避物象的意象化,显示出与中国文学诗骚传统的疏离。他们特色鲜明,差异明显,而又以其差异构成互补,共同呈现出1940年代小说物象在中西文化交融背景下多元、成熟的样貌。
The 1940s is a period of pluralism and maturity of Chinese fictional object art. Zhang Ailing obtained the essence of both Chinese and foreign literature, fused the object and the psychology analysis, and effectively promoted the modernization of the novel. Qian Zhongshu learned both from China and the West and expanded his fictional scope to enrich the connotation of the imagery and enhance the language quality of the novel Although Zhao Shuli also portrays his character through objects and objects, he organizes stories with objects as detail props. However, in order to take care of the aesthetic habits of his novels, he avoids the visualization of objects and shows the alienation from the tradition of Chinese literary poem. Their distinctive features, obvious differences, but their differences complement each other, showing a common 1940 novel in the context of the fusion of Chinese and Western cultures under the background of multiple, mature look.