Lu Xun's Novels Criticize Traditional Culture

Lu Xun lived in the darkness of old China, and he insisted on writing literature and novels in a society where he could hit the wall at any time. The modern novels of our country were created and matured in his hands, and the thoughts and arts of his novels were very different from those of the previous ones. His novels not only expressed his hatred for the sick society, but also whipped the various ugly phenomena in the society at that time, and more importantly, he wanted to awaken hundreds of millions of oppressed people to rise up in revolt.

His ideological and cultural construction opened another direction of new culture for the Chinese nation. Ideologically, the reader sees the tragedy inherent in the drama of the novel. Though his thought goes from evolutionary theory to class theory, his thought has an inner unity.

His novels mainly take the unfortunate people in the sick society as the object of description and discussion, in order to reveal the pain of the people in the social life from the ordinary social phenomenon, to reach the attention of people from all walks of life and call on everyone to **** together to cure this sickness.

In order to break the "concealment and deception", he observes the psychiatric sufferings of the intellectuals and peasants in the morbid society from a unique perspective, so that the readers and his fictional characters, together with himself, can face up to the human heart and human nature's vileness, as well as bear the torture of the inner spirit, and thus undergo the spiritual changes in the soul stirring, and finally cause the readers to have a thought*** with the novel. The novel is a thought-provoking ****ing with the readers.

The first short vernacular novel in Chinese history, "The Diary of a Madman," makes clear the content of cannibalism and the surface of benevolence, righteousness and morality, and exposes the slippery tricks of those who wear rituals and teach cannibalism. Its ideas are melancholic and deep. The novel exposes the phenomenon of "cannibalism" in the society and the family, thus attacking the essence of "cannibalism" in the feudal family system and rites. This novel reflects the general tendency of his novels to be completely anti-feudal.

The Diary of a Madman shows a strong spirit of rebellion and revolution while realizing the "cannibalism" of ritualism. In the face of thousands of years of traditional thinking, the madman boldly put forward the question of "has it ever been so right", which embodies the spirit of the May 4th era of bold skepticism and denial of everything. Maniac also warned cannibals face to face: "Know that no cannibal will be allowed to live in this world". He longed for the emergence of a more "superior" human being who would no longer eat people, which embodied the hazy ideal of wanting to change the old world and create a new one. The madman also expects the future to focus on the next generation, and cries out, "Save the children! This is a call to fight against feudalism, showing society a way to change society.

Then again, "Q" has a wide range of social significance, from the image of a backward, uneducated peasant with mental illness, we see, first, fear of the strong and bully the weak cowardice and snobbery, by the strong this abuse do not dare to resist, but turn to bully the weak. Secondly, the revolution in front of them is understood in terms of traditional concepts, thus producing a synthetic product of feudal traditional concepts and the narrow conservative consciousness of small producers. Third, to relieve the troubles shown by boasting about the past; to cover up the position of the losers they are in by belittling themselves. Thus, they are frustrated in reality, but always superior in spirit.

Although AQ is a fictional character but he has the characteristics of most people at that time **** have, he profoundly reveals the pathology of the society at that time, so as to attract the attention of healing. At the same time also clearly demonstrated its novel from the external comedy see the internal tragedy.

The artistry of Lu Xun's novels can also be said to be unique, as he broke through traditional writing techniques and boldly adopted a combination of realism, symbolism, and romanticism, thus creating a unique artistic effect. He put the characterization in the first place, and a new form, so it can be called the creation of the form of pioneers.

The reason why Diary of a Madman is called the first vernacular novel, do you know? It is because it breaks the traditional Chinese novel's structure of a complete story with a beginning, an end, and an interlocking plot. Instead, Diary of a Madman is a multi-layered unfolding of the feudal system and rituals to complete the critique of feudal society.

First of all, the surroundings: people's watching and commenting on the madman constitute a space full of killing. Secondly, the work through the association of the maniac in the environment expanded to the whole society's phenomena, such as wolf village tenants sued the shortage of digging up people's hearts and livers fried to eat, with steamed bread dipped in blood to eat and eat XuXiLin and so on to constitute a cannibalism of the social network. In this way, layer by layer, the feudal rites and rituals of cannibalism have been exposed and criticized.

In the "Diary of a Madman" through the real-life madman's mental illness of the evocative description, he has not reached the creative intent, so the work in order to expose the family system and the ills of the rite system, and through the symbolism of the physical cannibalism to expose the rites of cannibalism, which is both image and a profound exposure of the "cannibalism" nature. This is both figurative and profoundly exposing the nature of "cannibalism".

Lu Xun's novels in the art form of the selection of materials do not pursue the plot bizarre and twists and turns, but pay attention to the plot of the profound implications. Strictly based on the expression of the theme and the need to shape the character to set and refine the plot, so that it shows the rigorous, condensed, embedded characteristics of the deep. He took the method of "drinking all kinds of people into one" to concentrate and summarize the original form of life, so that the characters have a wide range of typicality. For example, in "Blessing", he draws the characteristics of a character through the window of his heart by "drawing eyes"; sometimes he also adopts the technique of directly revealing the secrets of the character's heart; in "Kong Yi Ji", he adopts the mode of "looking and being looked at", and so on. In Kong Yi Ji, a triple mode of "seeing and being seen" is adopted, and so on. Thus, the work's revelation of the reasons for the formation of the character's personality, the social significance and the significance of the times are strengthened.

Throughout the work, there is a concern for the peasants and intellectuals living under the pressure of feudalism, who are "saddened by their misfortunes" and "angry at their indisputability". The artistic skills of "Wandering" are "well rounded" - the deep and wide historical picture; the narration of the fate of the characters is permeated with feelings; the white description means of "drawing eyes" and "hooking souls"; the white description means of "painting eyes" and "hooking souls"; and the white description means of "painting eyes" and "hooking souls". The white description of "drawing eyes" and "outlining souls"; the full-bodied characters have typical meanings. The two artists, Qiu Sha and Wang Weijun, have devoted their lives to "revealing Lu Xun's system of thought" with their brushes, exploring persistently, conceptualizing painstakingly, creating boldly, and recreating Lu Xun's world with "accuracy of understanding, profoundness of expression, and artistic excellence".

Na Shout** is a collection of fourteen short novels, including Diary of a Madman, Kong Yijie, Hometown, and The True Story of A Q. Its artistic features are fourfold:

One is the reflection of truth. Lu Xun once sharply criticized the arts of concealment and deception, advocated the principle of realistic creation, and advocated that literary creation should be "realistically depicted" and that "there should be truth, no whitewashing, less artifice, and no frippery". It was written about common things that could be found everywhere, as simple and real as daily life. The image of Leato was touching because it was a realistic reflection of the life of the peasants in old China. In terms of subject matter, the work is about the changes of ordinary people in the past and present, not a major subject. In terms of style, it seems to be a prose of life. Stylistically, it seems to be an essay on life's little moments rather than a carefully constructed novel. However, the writer's passionate heart and deep thoughts are truly reflected in this plain and simple description.

The second is the technique of white description. Lu Xun's descriptive technique has the artistic power of revealing the depth of the human soul, which is also an important reason for the outstanding achievements of his realistic novels. The scenes of life, the watery countryside, the folklore, the townscape, the speech, the behavior and the gestures of the people in his works are as real, natural and simple as life itself, not contaminated with artifacts, but they have a strong inner power that y penetrates into the soul of the people. Yet, it has a great inner strength, reflecting y the complex mental activities of human beings. It is precisely because Lu Xun was good at discovering and dared to write that his novels have a great shocking power to the heart. It is precisely because Lu Xun was good at exploring and dared to write that his novels are so shocking to the heart. Lu Xun was "a realist in the high sense of revealing the spirit to man".

Thirdly, there are details. Lu Xun was also skillful in using the method of "painting the dragon's eyes" to describe human figures, and in using characteristic details to portray the character of human beings. For example, The True Story of Ah Q uses a series of details such as Ah Q's saying that "his son is beating up his old man" after being beaten up, or saying that he is "a worm or a worm" after being beaten up, etc., to vividly represent the character traits of this character in terms of his self-deception and contempt for others. In "The Medicine", Xia Yu is struck on the mouth by the jailer but says that the assailant is "pitiable", highlighting the righteous character of the revolutionary. "The artistic technique of 'painting the dragon and dotting the eyes' makes the human figures vivid and vivid, making them unforgettable.

Fourth, the creation of character. Another artistic feature of Lu Xun's novels is that he writes tragedy in the tone of comedy, creating a tragic character rich in comedy, and achieving a high degree of harmony between comedy and tragedy. Lu Xun said, "Tragedy destroys the valuable things in life, while comedy destroys the valuable things in life. Comedy tears down the worthlessness of life for people to see. "A Q's Qism is a worthless thing, and tearing it apart by means of comedy can arouse people's introspection. It can arouse people's introspection. Q's character is a mixture of comedy and tragedy. Comedy and tragedy, which were originally not in harmony, were united by his lack of realization. The work achieves comedic effect and makes people laugh, but the readers feel sad while laughing, and the mockery contains tears. However, while laughing, the readers feel sad, with tears in their eyes in mockery, angry and anxious at the stupidity and insensitivity of the main character, as well as saddened and upset by his sufferings, and the comedy contains the essence of tragedy in its appearance. The comedy contains the essence of tragedy and reveals the seriousness of the socialist theme.

"Q" has a wide social significance. From the image of a backward and unaware peasant with mental pathology, we can see, firstly, the cowardice and snobbery of fearing the strong and bullying the weak, not daring to fight back when being insulted by the strong, but bullying the weak instead. Secondly, the revolution in front of them is understood in terms of traditional concepts, thus producing a synthetic product of feudal traditional concepts and the narrow conservative consciousness of small producers. Third, to relieve the troubles shown by boasting about the past; to cover up the position of the losers they are in by belittling themselves. Thus, in reality frustrated, but in the spirit of eternal superiority.