Chinese fiction Essay Essay

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“No Longer Human” is a Nipponese novel written by Osamu Dazai. It is considered as Dazai’s chef-d’oeuvre and categorized as the second-best merchandising novel in Japan. whereas “To Live” was written by Yu Hua is a Chinese fiction. “No Longer Human” is describe as a labour of fiction. the novel is recited in the first individual and have several elements which laid down an autobiographical beginning. such as self-destruction. a repeating subject in the author’s life whereas. the narrative of “To Live” started some clip in the 1940s.

The chief character of this sotry is Xu Fugui who is a local rich man’s boy and accustomed gambler. who lose his household belongings to the slippery Longer. driving his male parent to his grave in the procedure. His attitude besides causes his enduring married woman Jiazhen to go forth him with their girl. Fengxia and their unborn boy. Youqing. the same thing with Oba Yozo in “No Longer Human” .

The fresh “No Longer Human” covers the portraiture of the life of Oba Yozo. who is a problem psyche non capable of uncovering his true ego to others and who is alternatively forced to continue an feeling of worthless jocundity. This narrative tells the emotional and interesting narrative of a immature adult male who is caught between the decomposition of the traditions of a northern Nipponese blue household and the impact of Western thoughts.

The novel is made up of three chapters which narrate the life of Oba Yozo from early childhood to late adolescence. In the first chapter of the novel. it deals on how the overcome by an utmost feeling of disaffection and happening it about impossible to socialise with those who besiege him. Oba Yozo can but fall back to buffoonery in order to determine an interpersonal relationships and tantrum into topographic point in a vain attempt to ignore the ferocious sexual maltreatment he was subjected to by a twosome of retainers during his childhood.

In the 2nd chapter. Oba Yozo becomes more and more troubled over the possible perviousness of his cheerful feeling. which. together with the force per unit areas of academic life. leads him into a violent rhythm of imbibing. smoke and prostitution. stoping in a one-night base with a married adult female with whom he planned to perpetrate dual self-destruction. Though he survived. the adult female passed off. go forthing him with nil but an intolerable feeling of guilt. In the this chapter. several old ages subsequently. Oba Yozo is dropped out from High School and commits into a relationship with a destructive adult female. who instantly betrays him with another adult male.

Oba Yozo is one time once more driven to the border of perpetrating self-destruction. but was non able to make so because he becomes an alcoholic and a morphine nut. The narrative comes to a stopping point with Oba Yozo’s parturiency in a mental establishment where he eventually assumes he is no longer human. neither happy nor unhappy. but simply a adult male of surpluss. The narrative of “To Live” is slightly similar to the novel “No Longer Human” in a sense that both the chief characters of the novels were engaged into alcohol addiction. drug dependence and losss of their households.

However. in the novel of “No Longer Human” the chief character’s narrative ended upon his parturiency in a mental insitution. while in the narrative of “To Live” the chief character after he loses his full household luck. finally reunites with his married woman and kids. but is forced to get down a shadow marionette company with spouse Chunsheng to back up his household. The narrative of “To Live” during the Chinese Civil War is in full swing. and both Fugui and Chunsheng are forcibly enlisted into the Kuomintang forces during a public presentation.

After a heavy conflict. Fugui and Chunsheng are captured by the communist side. where they rapidly become entertainers for the military personnels. Finally Fugui is able to return place. and one time at that place. finds out that Fengxia has become deaf-and-dumb persons due to a febrility. The narrative of “To Live” gives accent to the extremum of the Great Leap Forward. During this period the local town head enlists Fugui and Jiazhen to donate all bit Fe in their ownership to the national thrust to bring forth steel and do arms for emancipating Taiwan.

As an entertainer. Fugui performs for the full town. which has been devoted wholly over to bring forthing steel. They enter this work with great passion. and the film devotes some clip to portraying the family’s integrity and felicity. For illustration. the immature male child Youqing defends his sisters from toughs picking on her for her mutism. Aside from the Great Leap Forward period. the novel besides give attending to the period of Cultural Revolution. The small town head advises Fugui’s household to fire their shadow marionette play props. which have been deemed every bit counter-revolutionary as they are traditional cultural elements.

Besides. Fugui’s girl is now grown up. Her household arranges for her to run into Wan Erxi. who is a local leader of the Red Guards. a worker with a wage. and besides a kindhearted and caring adult male. but feeble in one leg. They fall in love and marry. During Fengxia’s childbearing. her parents and hubby accompany her to the county infirmary. where they find out that nurses are in charge as all physicians have been sent to make difficult labour for being “reactionary academic authorities” .

The nurses assure the household that they have nil to fear. but the household is disbelieving. and manages to recover a physician from parturiency to supervise the birth. under the stalking-horse of doing the physician “see his radical mistakes” . As the physician has non eaten for several yearss. the household purchases for him seven steamed buttockss. However. the immature adult female begins to shed blood. and the nurses terror. acknowledging that they are lone pupils and do non cognize what to make. The frenetic household and nurses seek the advice of the physician. but it is found out that he has overeaten and is semiconscious.

The household is incapacitated. and Jiazhen can merely keep the manus of her girl as she slowly dies. The narrative ends several old ages subsequently. with the household now dwelling of Fugui. Jiazhen. their son-in-law Erxi. and grandson Mantou. The household visits the Gravess of Youqing and Fengxia. where Jiazhen. as per tradition. leaves dumplings for her boy. Erxi buys for his boy a box full of immature biddies. which they decide to maintain in the marionette play prop thorax. now empty of its contents.

“To Live” such is non the same as “No Longer Human” because as you can see the character of the fresh “No Longer Human” is more on of being useless to the household and to the society because Oba Yozo merely ended up in parturiency because his adult female had another adult male. Another differentiation between the two narratives was that the character of “To Live” realized and did something good for himself and for his household. whereas in the novel “No Longer Human” the chief character shows no alterations in his life. “No Longer Human” on the other manus is fundamentally autobiographical. founded on events from Dazai’s ain life.

He was a literary stone star. but a profoundly unhappy cat. trying suicide several times before eventually wining. There is in fact a memorial at the topographic point where he killed himself that is. along with his kept woman. The book is uncommon from what we think of as autobiography. in that the ground for authorship is non so much to state a narrative – there is no existent employment. get downing. in-between. and terminal in the traditional sense. but instead. the text is a kind of joging geographic expedition of the ego. There is no forced signifier. alternatively. an attempt to make a straightforward relation between writer and reader. to explicate a precise point of position.

The book itself is really absorbing. It makes the reader want to larn Nipponese. for novices. because no affair how talented the transcriber. there is no acquiring throughout the fact that the grammatical construction of Nipponese is wholly different from that of English in that it is wholly possible. and even ordinary. to compose a sentence in Nipponese with no topic. Clearly. the full book is written in this signifier. which would be peculiarly appropriate to the work itself. The book is the related narrative of a really unhappy cat who is basically chronicling his downward spiral.

However it is difficult to state if it is truly a downward spiral. that is. though he does place a minute at which he came to an terminal to be human. it is non wholly clear that he was of all time truly human. through his ain definition. to get down with. One inquiry is what it means. in his eyes. to be human. . Oba Yozo’s character is ramping against reason. and the manner. in which it dehumanizes people. so in a sense. though he calls himself a mouse. etc. he could be seen as claiming that he is truly the lone homo.

Dazai’s character. Oba Yozo in the novel. sees himself as inhuman. chiefly. it seems. because he lacks certain cardinal human character. He maintains for case. that he has in no manner felt hungering. On the other manus. there is besides a certain issue of domination at drama like ; he is non capable to state no to anyone. to decline permission for anything. In this sense. one could state that he is wholly determined by the outside universe. Notwithstanding the fact that he has an interior life. he maintains it hidden from the outside universe.

As a affair of fact. his behaviour is wholly. he claims. an act. he “plays the clown” for the pleasance of others. worsening to allow his ain emotions reveal. The chief characters of the novel have a clear similarity to notes from deeply unhappy work forces who are convinced of their ain singularity. but there are decidedly differences the manner they choses to stop up their narratives. Mentions: Dazai. Osamu. No Longer Human. New York: New Directions. 1973. Yu Hua. To Populate: A Novel. ( 1993 ) . Trans. Michael Berry. New York: Anchor-Random House. 2003.

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