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处在青春意识觉醒与成熟期的作家,往往对生命的精神状态表现出强烈的执著,但由于社会造成的异己力量的强大,使作家对生活本身的发展进程失去信心,所以“青春期时代”的作家往往着力表现分裂的人格在心灵深处投下的硕大阴影,荣格把它称之为“尴尬年龄”时期作家的主观视野,这种视野模糊和罩住了广大的世界,于是主题学便在这个意义上反映作家主体在特定情怀中的个性意识。《蚀》三部曲和《野蔷薇》不仅表现了茅盾早期的独特思考,而且预示和展现了作家三十年代小说创作审美要求上的最初主
Writers who are awakening and maturing in their youth tend to show a strong attachment to the mental state of life. However, due to the power of the alien force caused by society, writers lose their confidence in the development of life itself. Therefore, “Writers tend to focus on the huge shadow cast by the split personality in the depths of the soul. Jung calls it the subjective vision of writers in the period of” embarrassed age. "Such a vision is blurred and covers the vast world, so In this sense, the thematic studies reflect the writer’s individual consciousness in the specific feelings. Erosion Trilogy and Wild Rose not only show Mao Dun’s unique thinking in the early stage, but also herald and show the author’s primary aesthetic requirements in the 1930s