Shen Dehong, also known as Mao Dun, was a Chinese writer, journalist, and cultural critic who lived from July 4, 1896, to March 27, 1981. He is most famous for his realist novels, such as Midnight, which describes life in the busy and diverse city of Shanghai. Mao Dun was one of the founders of the Chinese Communist Party and took part in important cultural movements in China during the 1920s and 1930s. He worked as the editor-in-chief of Fiction Monthly and helped lead the League of Left-Wing Writers. He was close friends with another Chinese writer, Lu Xun. From 1949 to 1965, Mao Dun served as the first Minister of Culture in the People's Republic of China.

In addition to novels, Mao Dun wrote essays, plays, short stories, and novellas. He also translated works from Western literature, which he studied at Peking University. Although he was not the first person in China to translate the works of Scottish writer Walter Scott, Mao Dun is credited with making Scott’s stories widely known in China through his "Critical Biography."

Mao Dun chose the pen name "Mao Dun" (Chinese: 矛盾) to represent the struggle between different ideas in China during the 1920s. The name means "contradiction," with "Mao" meaning "spears" and "Dun" meaning "shields." His friend Ye Shengtao later changed the first character from 矛 to 茅, which means "thatch."

Early life

Mao Dun's father, Shen Yongxi (Chinese: 沈永錫), taught him and created the school subjects he studied. However, Shen Yongxi passed away when Mao Dun was ten years old. After his father's death, Mao Dun's mother, Chen Aizhu (Chinese: 陳愛珠), took over teaching him. In his personal writings, Mao Dun wrote, "my first instructor is my mother." By learning from both of his parents, Mao Dun developed a strong interest in writing and reading during his childhood.

While in primary school, Mao Dun began improving his writing skills. During one test, the examiner wrote on his paper, "A 12-year-old child can write this well—no one in the motherland could do this." Other similar comments from teachers showed that Mao Dun was already a talented writer at a young age.

During his time in secondary school in Hangzhou, Mao Dun spent much of his time reading and practicing writing. He studied books such as Wen Xuan, Shishuo Xinyu, and many classic novels. These works greatly influenced the way he wrote.

In 1913, Mao Dun joined a three-year preparatory school at Peking University. There, he studied both Chinese and Western literature. However, due to financial problems, he had to leave the school in the summer of 1916 before finishing his studies. After leaving school, he quickly married Kong Dezhi (孔德沚), the daughter of the Kong family.

The fifteen years of education Mao Dun received, including training in Chinese and English and knowledge of both Chinese and Western literature, helped prepare him for a successful career in Chinese journalism and literature.

Journalistic career

After graduating, Mao Dun quickly began his first job in the English editing and translation departments of the Commercial Press Shanghai branch. At 21 years old, he was asked to work as an assistant editor for Xuesheng Zazhi (Students' Magazine), which was published by the Commercial Press. This magazine shared many articles about new ideas that were becoming popular in China at that time.

In addition to editing, Mao Dun started writing about his thoughts on society and offering criticism. He was influenced by a famous magazine called New Youth. In 1917 and 1918, he wrote two articles for Xuesheng Zazhi: Students and Society and The Students of 1918. These pieces helped young educated Chinese people think more deeply about political issues.

Mao Dun also wrote stories for children during his early career. By the age of 24, he was well-known as a novelist. In 1920, he joined a group of young writers who took over the magazine Fiction Monthly. They published works by famous Western authors like Tolstoy, Chekhov, Balzac, Flaubert, Zola, Byron, Keats, and Shaw. They also shared new ideas about literature. Even though Mao Dun wrote in a style called naturalism, he admired Tolstoy for his artistic skill.

In 1920, Mao Dun was asked to create a new section in Fiction Monthly called The Fiction-New-Waves. That same year, he became the chief editor of the magazine. He made major changes to it to support the May Fourth Movement. His friends in Beijing helped by sending their writing, translating Western works, and sharing new ideas about literature. This led to the formation of a group called the Literary Study Group. The updated Fiction Monthly became very successful, selling 10,000 copies each month. It also introduced a new realistic style of writing called "Literature for Life." During this time, Mao Dun became a key leader of the movement in southern China.

Later, there was disagreement at the Commercial Press between people who wanted changes and those who wanted to keep things the same. In 1923, Mao Dun left his position as chief editor of Fiction Monthly. However, in 1927, he became the main writer for the newspaper Minguo yuebao. He wrote over 30 articles criticizing Chiang Kai-shek and supporting revolutions.

Political life

Mao Dun was influenced by the October Revolution in Russia and became involved in the May Fourth Movement in China. In 1920, he joined the Shanghai Communist Team and helped create the Chinese Communist Party (CCP) in 1921. At first, he worked as a communication person for the party and wrote articles for the party magazine The Communist Party.

During this time, the CCP worked together with the Kuomintang in the First United Front. Mao Dun took part in Chiang Kai-shek’s Northern Expedition to help reunite the country. However, he left when Chiang’s Kuomintang ended its partnership with the Communists in 1927. In July 1928, he went to Japan to seek safety. When he returned to China in 1930, he joined the League of Left-Wing Writers. Later, when China fought against Japan, he helped resist the Japanese attack in 1937. In 1949, the communist government took control, and Mao Dun worked as Mao Zedong’s assistant and Culture Minister until 1965.

Literary career

Mao Dun was a well-known writer who made many important contributions to Chinese literature. His first major contribution was his work with Fiction Monthly, a magazine that became a place where new ideas in writing were shared. Many famous writers, including Lu Xun, Xu Dishan, Bing Xin, and Ye Shengtao, had their stories published in this magazine. Mao Dun supported movements that encouraged new ways of thinking and writing. He believed that Chinese literature should be recognized worldwide.

His experiences with political conflicts helped shape his later writing. He helped start the League of Left-Wing Writers in 1930. He worked with Lu Xun to support social and literary changes. His most productive writing years were from 1927 to 1937.

Mao Dun’s first novel, Shi (also called The Eclipse), was published in three parts: Disillusions (1927), Wavering (1928), and Pursuits (1928). The story follows young people trying to understand the changes in society during a time of political excitement. His next major work, Rainbow (1929), had many characters and complex storylines. In 1933, he wrote Midnight, a popular novel that was translated into French and English. It showed the business world in Shanghai and praised the lives of workers and the idea of revolution. He also wrote a trilogy called Shuangye Hongsi Eryuehua (1942), which was left unfinished.

The League of Left-Wing Writers ended in a disagreement in 1936. After the Sino-Japanese War began in 1937, Mao Dun traveled to Wuhan and started a literary magazine. He edited Literary Front and the literary section of Libao in Hong Kong. He also taught.

In 1940, Mao Dun and his family moved to Yan’an, where he wrote essays praising the Communist Party’s efforts to improve the region’s culture and economy. After 1943, he wrote fewer major works but continued writing articles. In 1946, he visited the Soviet Union.

When the People’s Republic of China was formed in 1949, Mao Dun worked in several committees and held positions such as Secretary and Minister of Culture until 1965. He started the magazine Chinese Literature, which became popular among Western readers. He was removed from his position in 1964 due to political changes. He survived the Cultural Revolution and was later restored to his reputation. In the 1970s, he edited a children’s magazine and wrote his memoirs, which were published in a journal called Historical Materials on New Literature. He died on March 27, 1981, before finishing his memoirs. His legacy continues today because he used his money to create the Mao Dun Literature Scholarship, which supports writers.

Mao Dun’s achievements were celebrated on his 50th birthday, which also marked 25 years of his writing career. Over 500 guests attended, including friends from Russia and the United States. An essay by Wong Roufei, on behalf of the Chinese Communist Party, honored him. He was twice elected as chairman and once as vice-chairman of the China Literary Arts Representative Assembly. His work was highly respected. Despite illness in his later years, he continued writing his memoirs, The Road I Walked.

Mao Dun also influenced Chinese literature through the Mao Dun Literature Prize, which was created to encourage outstanding novels and promote communist literature. This award is one of the most respected in China. Many famous writers, such as Wei Wei and Zhou Keqin, have received it.

Marriage and personal life

Mao Dun had a traditional Chinese marriage arranged by his family. When he was five years old, his family arranged his marriage to the Kong family. He married the daughter of the Kong family after finishing university. After their marriage, the Kong family daughter was renamed Kong Dezhi. She helped Mao Dun with his work in writing and politics during their marriage. However, Mao Dun had a romantic relationship with Qin Dejun that lasted two years while he was married. This relationship is believed to have influenced his novel Rainbow. In the end, Mao Dun ended the relationship and returned to his family.

List of works

Mao Dun wrote more than 100 works during his lifetime, such as short stories, novels, and theories. Some of his most well-known works include:

• Wild Rose (《野薔薇》, Ye Qiangwei, 1929)
• The Smoke and Cloud Collection (《煙雲集》, Yanyunji, 1937)
• Disillusions (《幻滅》, Huanmie, 1927)
• Wavering (《動搖》, Dongyao, 1927)
• Pursuits (《追求》, Zhuiqiu, 1928)
• Three People Walking (《三人行》, Sanrenxing, 1931)
• The Shop of the Lin Family (《林家铺子》, Linjia Puzi, 1932)
• Spring Silkworms (《春蚕》, Chuncan, 1932)
• Autumn Harvest (《秋收》, QiuShou)
• Rainbow (《虹》, Hong, 1930)
• Midnight: A Romance of China (《子夜》, Ziye, 1933)
• Giving to the Poet Festival (《獻給詩人節》, Xian Gei Shi Ren Jie, 1946)
• The Recent Works of Mao Dun (《茅盾近作》, Mao Dun Jin Zuo, 1980)
• Mao Dun's Comment on Creativity (《茅盾論創作》, Mao Dun Lun Chuang Zuo, 1980)
• Travelling Diary of USSR (《蘇聯見聞錄》, Su Lian Jian Wen Lu, 1948)
• Talks on USSR (《雜談蘇聯》, Ji Tan Su Lian, 1949)
• Front and Rear Pure Brightness (《清明前後》, Qianming Qianhou, 1945)
• Modern Drama Russian Question (話劇《俄羅斯問題》, 1946)
• Novelette Group's Son (中篇小說《團的兒子》, 1946)
• Works of Mao Dun (《茅盾全集》, Mao Dun Quanji, volumes 1–15, 1984–1987)
• Introduction to the Books of Mao Dun (《茅盾書簡》, Mao Dun Shujian, first edition, collection of letters, 1984; later renamed 《茅盾書信集》, Mao Dun Shuxinji, 1988).

Transition of female characters

The 1930s marks an important change in how female characters are shown in Mao Dun's stories. During the 1920s and early 1930s, when Mao Dun was first writing, the female characters in his works often had the identity of "New Woman." Examples include Mrs. Gui and Qionghua in Wild Rose (1929), and Ms. Mei in Rainbow (1930).

However, in the 1930s, the "New Woman" characters in Mao Dun's stories began to be replaced by women who lived in traditional Chinese families. Some female characters even stopped having their own names. For example, in one of Mao Dun's short stories from the 1930s, Shui zaoxing, the only female character is not given a name. Instead, she is referred to only as "Xiusheng's wife" in the story.