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纵观叶兆言的创作历程,不得不承认,叶兆言是一个多产多变的作家。从传统的现实主义到先锋写作,从新写实小说到现代主义或后现代主义小说,新时期小说的每一个转折点,叶兆言几乎都留下自己探索的脚印。他自由地穿梭于大雅与大俗之间:古色古香的“夜泊秦淮”系列、长篇小说《花影》《花煞》等堪称大雅,而《走进夜晚》《古老话题》《绿色酒店》等则是“准侦探”的俗小说。评论家费振中曾在《1985-1990:作为技术小说家的叶兆言》中以图书分类学的方式对叶氏作品进行研究,发现竟可分出五类之多,可见其涉笔之丰富。本文着重讨论的仅限于叶兆言描写民国至解放前历史的小说作品。
Throughout the history of Ye Zhaoyan’s creation, I have to admit that Ye Zhaoyan is a prolific writer. From traditional realism to avant-garde writing, from the new realistic novels to the modernist or postmodern novels, at every turning point of the novels in the new era, Ye Zhaoyan almost always leaves the footprints of his exploration. He is free to travel between Taiga and the vulgar customs: the quaint Night of Qinhuai series, the novel Hua Ying and Hua Sha, “And so is ” quasi-Detective "vulgar novels. The critic Fei Zhenzhong studied the works of Yip in his book Taxonomy of Things in 1985-1990: Ye Zhaoyan as a Technological Novelist, and found that there were as many as five categories, showing the richness of his pen. This article focuses on Ye Zhaoyan’s description of novels from Republic of China to the pre-liberation history.