The protagonist of "A Little Thing", "I", was an intellectual with progressive tendencies during the May Fourth period. Although he cannot be judged a revolutionary, he does have many characteristics that embody the ideological sentiments of revolutionary democrats: he cares about the future of the motherland and the fate of the nation, hates the reactionary rule of the Beiyang warlords, and especially dislikes the decadent way of Confucius and Mencius. However, he also has certain weaknesses, and he still lacks a deep understanding and correct judgment of the working people. However, what the coachman did shocked him greatly, and in the process of self-examination, self-examination, and self-soul torture, he discovered the "smallness" of "me" as an intellectual.

"The Story of Hair" tells the story of a series of encounters after the protagonist Mr. N cuts off his braids. Mr. N is a conscious and idealistic person, because he found it inconvenient to cut off his braids, but was despised and disgusted by the people around him, so he deeply felt that China's old-fashioned and stubborn "When the whip of creation does not reach the backbone of China, China will always be such a China, and will never change a single hair by itself." ”

"Turmoil" writes about the turmoil of the emperor's thoughts on the people in the village after the emperor was changed in the court. It reveals the rural people, that is, the Chinese under the destruction of feudal ideology, who are content with the status quo, do not care about the world, have no idea of saving their own destiny, and have no understanding of the value of people.

"Hometown" depicts what Lu Xun saw and heard when he braved the cold and returned to his hometown after seven or eight years of absence, profoundly exposing the damage caused by the feudal hierarchy to people's hearts. The growing bankruptcy of rural China in the twenties of the twentieth century was vividly reflected in this initial impression. But what impressed "me" the most was the "estrangement" between people generated in this life background, the alienation of the soul, and the destruction of the soul.

"The True Story of Ah Q", Ah Q, whose name and place of origin are unknown, lives by working part-time jobs. Ah Q has self-esteem and inferiority, and he does not worship the respected Mr. Zhao and Mr. Qian, either thinking that he was "wide before", or thinking that "his son will be much wider", he can always win spiritually. He was beaten by Wang Hu and beaten by a "fake foreign devil", and he forgot about "his son beating Lao Tzu"; But this aroused his desire, although he strictly adhered to the "great defense of men and women", but he couldn't suppress his natural instinct, so he shouted to Wu's mother, "I'm sleepy with you", and was beaten by Xiucai's big bamboo bar, Ah Q's love dream was broken, and then his livelihood became a problem, so he decided to go to the city. When he returned, he was in awe of the villagers, but after listening to the details, they "stayed away" from him. When he learned that the revolutionary party had entered the village, he was "deeply disgusted", but when he saw that the people in the village were afraid of them, he was a little fascinated, but Ah Q never understood the revolution until he was arrested and killed. The regret before death is that the circle of the drawing is not round. The novel profoundly expresses the inferiority of the Chinese people formed under the suffocation of feudal culture, and Ah Q is a concentrated expression of this weakness of the national character. The "Spiritual Victory Method" is the main feature of Ah Q.

Fang Xuanxuan, the protagonist of "Dragon Boat Festival", is a small official and a teacher, and he also woke up in his early years, but later became depressed. He is strict with others, lenient with himself, seriously regresses in his thinking, and likes the "spiritual victory method" of "almost speaking".

"White Light" is a novel about the declining old-style intellectuals. The protagonist Chen Shicheng participated in the imperial examination, took the exam sixteen times, returned to the list, and did not catch a showman, and finally became insane, and finally committed suicide by throwing himself into the lake, ending his life. Through the description of this character, Lu Xun exposed the essence of the feudal imperial examination system and feudal education, and completely denied the character itself.

"The Rabbit and the Cat" depicts a housewife third wife who buys a pair of white rabbits for her children in the summer, and the novel revolves around the appearance and disappearance of rabbits, expressing the author's sympathy for the weak and hatred for bullying the weak at will.

"The Comedy of the Duck" is based on the life of Lu Xun and the blind Russian poet Ai Luo Xianke when they lived together, showing the deep friendship between the two, which is also the lyricism of love.

"I" watched the play three times in "Social Drama". At the beginning, nearly one-third of the space was devoted to writing about "I" watching Peking Opera twice in Beijing, and then more than two-thirds of the time was devoted to writing that "I" went to Zhaozhuang to watch a social drama in my hometown when I was a child. I watched Peking Opera twice, and I was in a very bad mood, but watching social opera was full of fun and unforgettable. The three scenes take place in two locations: urban and rural. Interestingly, the three scenes are boring, I didn't see anything in the three scenes, and the "I" who watched the play quit halfway three times, but the author's mood is diametrically opposite. In the two theater viewing narratives in Beijing, a heavy sense of depression is revealed. The emotional tone of the whole novel is the opposition between the city and the countryside, showing the author's heartfelt yearning for rural life and deep feelings for farmers.

Creative background editing

At the beginning of the 20th century, China was under aggression by world powers, and its people were living in hardship. The revolutionaries led by SZS gradually established a political line to completely overthrow the rule of the Qing Dynasty, and the young Lu Xun was committed to constructing his own ideological enlightenment program. The Xinhai Revolution led by SZS was deeply rooted in the hearts of the people, and the young Lu Xun also realized the importance of the revolution, and responded to the revolution in his own language and expression, followed by the May Fourth New Culture Movement.

The Xinhai Revolution of 1911 overthrew the autocratic rule of the Qing government. The provisional government of the Republic of China was established in Nanjing, and Lu Xun was invited to serve in the Ministry of Education in Nanjing, and soon moved to Beijing with the government. However, the Xinhai Revolution did not complete the task of anti-imperialist and anti-feudal, and the warlords of various factions stole the fruits of the revolution. Lu Xun hoped to contribute to the innovation of education, but there was nothing to do, and his heart was extremely lonely and depressed.

In September 1915, the "Youth Magazine" (i.e., "New Youth") was launched, marking the beginning of the New Culture Movement. At that time, Qian Xuantong, the editor of "New Youth", came to ask Lu Xun for a manuscript. Lu Xun saw the "dawn of the new century" from the October Revolution in Russia in 1917, and the victory of the October Revolution in Russia brought Marxism-Leninism to China, and Lu Xun was greatly encouraged. Lu Xun believed that as long as the "shouting" was raised, there would be "hope" to wake up the "sleeping" people, and there would be hope for destroying the dark "iron house" that kept the "sleeping" people in the dark. Lu Xun agreed to Qian Xuantong's invitation to start writing articles, and Lu Xun respected and appreciated the editors of "New Youth", but also felt that they "may feel lonely", so he wanted to "shout" and "chat to comfort the warriors who are galloping in loneliness, so that he will not be afraid of the front." In May 1918, Lu Xun published his first vernacular novel "Diary of a Madman" in "New Youth", and then wrote more than a dozen short stories in a row, and in 1923, Lu Xun compiled 15 novels written from 1918 to 1922 into "The Scream", of which "Buzhou Mountain" was later included in the "New Story Edition". The author Lu Xun once said: "Since it is a shout, of course you must listen to the general's orders." Therefore, "The Scream" is a work that listens to the orders of the precursors of the revolution, that is, the "literature of obedience" that obeys the anti-imperialist, anti-feudal, and new democratic revolutions of the "May Fourth".

Next, let's take a look at the characters.

madman

The "madman" in "Diary of a Madman" - the first to awaken the rebel, the image of the innovator. "Madman" is actually a symbolic symbol of cultural character, which is an artistic image with the characteristics of "double imagery" created by the author Lu Xun using a special artistic method of double construction. The "madman" in "Diary of a Madman", on the one hand, does have physical and psychological pathologies, and is a psychopath who has been persecuted and mad. On the other hand, the "madman" is also a powerful anti-feudal "spiritual warrior" and a sober person who is awake. The two levels of artistic images are kinked with each other, interdependent, and infiltrated each other at the core point of "cannibalism", forming an artistic superimposition, unifying "madness" and "sobriety".

Kong Yiji

Kong Yiji in "Kong Yiji" - the image of the martyr of the feudal imperial examination system. Kong Yiji was a kind and sincere intellectual, but he was poisoned by feudal ideas. He fell down the ladder of the imperial examination, disdained to be in the company of laborers, became "the only person who stood and drank in a long robe", stole because he was poor, broke his leg for stealing, and finally was tragically swallowed up by the dark society. Kong Yiji was corrupted by feudal consciousness, completely lost his self-consciousness, and had no consciousness. Although the author Lu Xun had infinite sympathy and pity, he had to be whipped as a martyr of the feudal imperial examination system.

Ah Q

Ah Q in "The True Story of Ah Q" - a typical representative of the inferior nature of the Chinese people, his character is full of contradictions. Lu Xun later said: Ah Q "has the simplicity of a peasant, stupid, but also very tainted with the cunning of a loafer." On the one hand, he was a very good peasant who had been exploited for his labor, simple, stupid, who had long been influenced and poisoned by feudalism, who maintained some ideas that were in line with the "biblical wisdom", and did not change the narrow-minded and conservative characteristics of the small producers. On the other hand, Ah Q is a bankrupt farmer who has lost his land, wanders around, is forced to be a thief, and is tainted with the cunning of some loafers. Some of the characteristics of Ah Q's personality are not found in ordinary peasants in China's ordinary feudal villages, that is, they look down on people in the city and look down on people in the countryside; from self-esteem and arrogance to self-contempt and self-contempt, and from self-contempt and self-contempt to self-esteem and arrogance, which is a typical character in such a typical environment as a semi-feudal and semi-colonial society. The "Spiritual Victory Method" that appeared on Ah Q is his most typical character.

Seven pounds

The seven catties in "The Storm" are typical of backward peasants who have no democratic consciousness. He is a well-known local "appearance" who has seen the world, and is even respected by everyone and has "considerable treatment". However, his frustration after hearing the news of the emperor's sitting in the dragon court, his forbearance when he scolded his wife, and his inner depression when he was angry with his daughter, actually showed that he was a numb, timid, ignorant and vulgar person.

Leap soil

The leap earth in "Hometown" is a typical image of a peasant crushed by the misery of life and the strict feudal hierarchy. With the help of three contrasts, the author depicts the different images of the leap soil in two different periods before and after through the descriptions of portraits, clothing, psychology, demeanor, language, and movements, showing the misfortune and misfortune of the Chinese peasants. Juvenile Runland: Healthy, lively, innocent, brave, witty, carefree, intelligent, and full of vitality. Thirty years later, the earth became sluggish, numb, silent, sluggish, prematurely senile, and inferior.

(That's all for these chapters, it won't be so watery in the future.) ）