茅盾的文学创作追求客观效果:他煞费苦心把作者自身排除在叙述之外,其小说没有痕迹地显示出故事由哪一个具体的人在叙述。而作者的用意正是使读者无所不见,身临其境,在读者与小说所描述的故事之间,没有任何直接的中介,读者作为正在发生着的各种事件的目击者而参与故事中的种种活动。这种方法,主要体现在茅盾战前的创作中(《子夜》是他战前创作的一个高峰)。他这种方法的特点可以说明于下:他始终不懈地把欧洲现实主义最杰出的长篇小说所使 Mao Dun’s literary pursuit of the objective effect: He painstakingly excluded the author from the narrative, the novel has no trace of the story shows a specific person in narration. The author’s intention is to make the reader omnipotent and immersive. There is no direct intermediary between the reader and the story described in the novel. The reader participates in the story as an eyewitness to various ongoing events A variety of activities. This method is mainly reflected in the pre-war Mao Dun’s creation (“Midnight” is a crest of his pre-war creation). The characteristics of this method can be described in the following: He has always relentlessly put the most outstanding European realism novel made