在“五四”作家中,郁达夫是一位文人气质情趣比较浓厚的作家。他的小说没有直接的社会功利性和鲜明的政治色彩,即使在政治斗争非常激烈的30年代,他也一再宣称自己是一个“writer”(作家),而不是一个“fighter”(战士)。他以独立的个人姿态出现于新文学的文坛上,虽然带有浓厚的为世人所诟病的浪漫才子气和颓废、感伤色彩,但他仍不失为一个真正的人。他的文学成就也正在于他以惊世骇俗的“自我暴露”,打开了在封建文化的重重禁锢围困之下的“人的文学”的一条血路,其筚路蓝缕之功是不可磨灭的。 郁达夫的人生观和艺术观的形成,具有多方面的原因,既有他先天的禀性和才具,又与他所处的西风东渐的20世纪初中国文化背景有密切关系。郁达夫中学没有毕业,就负笈东瀛,在日本几乎度过了他整个的青年时代。他在日本所接受的西方近代文化,特别是世纪末哲学、文 In the “May Fourth” writers, Yu Dafu is a literary writer with strong temperament. His novel has no direct social utilitarian and distinct political overtones. Even in the 1930s when the political struggle was very intense, he repeatedly declared himself as a “writer” rather than as a “fighter.” He appeared in the literary world of new literature with his own independent attitude. He is still a true man with a strong sense of romance and decadent and sentimental, which is criticized by the world. His literary achievement is also due to his “self-disclosure” in shocking horror, which opened up a bloodline of “human literature” under the siege of feudal culture. The achievements of his blueprint were indelible. Yu Dafu’s outlook on life and the formation of the concept of art have many reasons. They are both inherently innate in nature and talent, and are closely related to the Chinese cultural background of the early 20th century at the westward eastward where he lived. Yu Dafu secondary school did not graduate, it is negative 笈 Japan, Japan almost spent his entire youth. The Western modern culture he accepted in Japan, especially the philosophy and literature of the end of the century