Wei Lianzhen

The protagonist of "The Lonely", Wei Lianzhen is an intellectual who "learns new and takes a different path". Although the dark times have made his living space very narrow, although he has a sober and profound understanding of life, he is still actively exploring the meaning of life, for himself and his friends to tenaciously "live", and he also likes the landlord's children from the bottom of his heart. Although he is arrogant, he will also temporarily compromise with the environment, and when his grandmother dies, he agrees to the arrangement of the clan, and he weeps "like a wounded wolf", which is not only the externalization of his own pain, but also the outpouring of his grandmother's filial piety. He rebelled against feudal etiquette but retained its basic moral connotations. Although he was pessimistic and disappointed, he still struggled to "find his way" with hope.

However, the dark reality completely shattered his dreams. Because of the extreme "sense of difference", such as being clear and high, contempt for the world, love to talk, meddling, etc., it was finally not tolerated by the society, and in the gossip, the principal dismissed him and smashed his job. Then, the plot of the novel becomes very cruel, such a noble and arrogant man, in order to survive, has to start and vomit and finally beg everywhere to find a job, and the hard society cruelly deprives him of all hope step by step, and pushes him to a desperate situation step by step. And the children he pinned his hopes on were not trustworthy at all, and left him powerfully. My friends are gone. Wei Lianzhen's way of survival is gone. He became a desperate loner.

Zijun

The protagonist of "Death by Injury", Zijun is a new woman who has accepted the idea of personality emancipation during the "May Fourth" period. She pursues freedom of love and marital autonomy, and opposes the interference and restraint of feudal forces in her love and marriage. Therefore, he solemnly declared to Juan Sheng: "I am my own, and none of them interfere with my rights!" and did not hesitate to fall out with the old feudal family, ignoring the "old things", "little things" and the ridicule, obscenity and contempt of passers-by, "calmly as if entering a no-man's land", and fell in love freely with Juan Sheng and established a small family. But when she got Juan Sheng's love, she thought she had found happiness and achieved her life goal. As a result, he no longer reads, no longer thinks, and even the "occasional conflicts of discussion and misunderstanding of meaning" when he was in love in the past is gone, and he is content with the role of a little housewife, happy to cook, cook, feed chickens and dogs, take small family life as the whole meaning of his life, and even fight openly and secretly with the landlady for the sake of oily chickens; Forced to make a living, she slaughtered the chickens she raised and let go of the dogs she fed, and then she was bored and depressed by the loss of the chickens and dogs. Although she accepted the new ideas, she only accepted the idea of individual emancipation, and only in the sense of marital autonomy; at the same time, she "has not yet shaken off the shackles of the old ideas"—she takes for granted the feudal custom of "women ruling the country and serving her husbands", has no economic status in the family, and is still a man's accessory because she is supported by her husband.

Zhang Peijun

The protagonist of "Brothers", Zhang Peijun is a gray character, his care for his younger brother Zhang Jingfu, the brotherhood between brothers, has a good reputation in the workplace and the neighborhood, and the colleagues in the office also deliberately compared them with Qin Yitang's sons (the brothers of the Qin family are always concerned about money and things and fight for this), everyone praises the Zhang brothers as "no one has a little selfish mind", but when he determined that Zhang Jingfu had scarlet fever in traditional Chinese medicine, he immediately thought of Zhang Jingfu's predicament after his death. Therefore, evil thoughts abruptly arose, and the idea of killing Zhang Jingfu arose. It wasn't until Zhang Jingfu was determined that he only had measles that he breathed a sigh of relief.

Aigu

The protagonist of "Divorce", a rural woman. The biggest difference between Aigu and those ordinary rural women is that they dare to bravely resist the forces that infringe on them, and in the novel, Aigu's husband finds a widow, and the angry Aigu goes home in a rage. In Aigu's eyes, she was not afraid of those squires.

Aigu has a sense of resistance, but it is ignorant and spontaneous, and her spirit of resistance is largely dependent on her father and brother, Aigu does not have a complete autonomous personality to support him, on the contrary, she also fantasizes about making the father and son submit through pressure, which determines that her resistance is only a tragedy. But compared with other women, Aigu has obvious progressive significance, Aigu dares to despise those feudal forces, is a typical rural woman image who began to sprout self-consciousness in that era, she has a strong resistance to feudal morality and progressive significance, she launched an attack on husband and clan power, in order not to be casually suspended, she made trouble for three years, and insisted on fighting to the end "always make their family ruined", she dared to scold her father-in-law as an "old brute" and her husband as a "little brute" in the public , not to put the landlord in the countryside to comfort the old man, in the face of such a huge feudal pressure is really commendable.

Works Appreciation Editor

Theme idea

In "Hesitation", Lu Xun stood on the standpoint of revolutionary democracy: he put forward the themes of national transformation and complete national liberation, which ran through the major themes of opposing feudalism.

First of all, "Hesitation" fully expresses the tragic fate of the vast number of poor peasants in the countryside who suffered cruel economic exploitation and frustrated slavery under the long-term rule of the feudal system and feudal patriarchal forces. For example, the profundity of "Blessing" lies in the description of the horror that Xianglin's sister-in-law felt under the feudal theocracy.

Secondly, "Hesitation" shows Lu Xun's concern for the fate and road of the intellectual township. He focused on depicting and examining from the perspective of the important position and role of intellectuals in the Chinese revolution, so his analysis, sympathy, and criticism are the most pertinent and thought-provoking. In Lu Xun's pen, he mainly portrayed feudal defenders, such as Siming in "Soap" and Gao Erji in "Old Master Gao". This kind of character has a common characteristic, that is, he is full of benevolence and morality, and he is full of men and prostitutes. Through the analysis of their filthy psychology, the ugly face of their hypocrites is exposed. The third category is the image of intellectuals in the decadent Tang Dynasty. Such as Lu Weifu in "On the Restaurant", Wei Lianzhen in "The Lonely", Juan Sheng in "Sadness", etc. Lu Xun's excavation of such intellectual themes focuses on revealing their spiritual trauma and crisis. Under the pressure of the powerful feudal tradition, Lu Weifu flew like a fly in a small circle, and then came back to stop at the same place, wasting his life worthlessly in the depression of the Tang Dynasty; Wei Lianzhen, who had plucked the beard of the idol in those years, even "bowed to everything he hated and opposed, and rejected everything he admired and advocated before", so as to "take revenge"; although he was "victorious", he "really failed"; Juan Sheng and Zijun were "May Fourth." "The period is typical of the young men and women who bravely broke out of the old family, however, they broke out of the old family and did not change anything. If the whole society is not emancipated, their individuality will not be truly emancipated, and under the weight of society, their "blind love" will eventually "lose its attachment" and end in tragedy.

Artistic features

Plot structure

The structure of Lu Xun's novels is mostly single-line development, with few intricate structures, and often connects several pieces of life in life to form a polyphonic structure of "leaving, returning, and leaving". Novels such as "Blessing", "In the Restaurant" and "The Lonely" are all about other people's affairs, but in the process of talking, they are interspersed with "my" personal experiences from time to time. For example, "Blessing" has three descriptive viewpoints: "I", "Xianglin's sister-in-law" and "Luzhen". The relationship between "Xianglin's Sister-in-law" and "Lu Zhen" is intended to express the theme of "cannibalism" in the novel, which is widely concerned by readers and can be known at a glance. The relationship between "I" and "Lu Zhen" implies the plot mode of "leaving and returning and leaving again and again", "Although it is a hometown, it has no home, so I have to live in the house of the fourth master of Lu." Such a narrative is clearly an expression of "leaving" and "returning". And "I" decided to leave Lu Town, because "I", as an intellectual, accidentally returned to my hometown and actually played the role of the soul interrogator of Xianglin's sister-in-law, although "I" was not the culprit, but it showed the shallowness and weakness of "me" in the depths of the soul, and all this is related to the traditional spirit of Luzhen. Therefore, the "re-departure" of "me" is an escape from the survival dilemma of my hometown.

At the beginning of "In the Restaurant", it is written: "I traveled from the north to the south, and made a detour to visit my hometown, and I went to S City. This is also the narrative of "leaving and returning". "The north is not my old hometown, but the south can only be regarded as a guest, no matter how the dry snow over there is flying, and what kind of attachment to the soft snow here has nothing to do with me. "The north is not my homeland, and the south can only be regarded as a guest, neither of which is the spiritual home of "my" soul, which is a sense of homelessness, which expresses the belief of intellectuals to break with traditional customs, and also implies the despair and desolation in Lu Xun's heart.

language

Language is the surface structure of a novel, and whether the language is refined or not is the standard for measuring a writer's ability to control language. Lu Xun's "Hesitation" has no lengthy description, and the language of the novel appears concise and concise. For example, the description of the two old women in "Divorce" is the same, "The two old women in the front cabin also hummed the Buddha horn in a low voice, they picked up the prayer beads, and they both looked at their aunts, and looked at each other, snorted, and nodded." In a few words, the two old women are not used to seeing their aunts but they are tacitly acquiescing to each other.

Lu Xun's novels rarely describe scenes, and even if they do, they are very economical, and he combines scenes with narrative. This can not only set off the character traits of the characters, but also be lyrical. For example, the description of Lu Zhen at the end of "Blessing" not only writes the lively atmosphere of the New Year in Lu Town, but also effectively sets off the tragedy of Xianglin's sister-in-law's life.

(Actually, I'm afraid of being scolded by the editor, but I really need to be full-time, but I really have something to do in the past two days, forgive me)