Paper, from which aspects should the tragic consciousness of Lu Xun's novels be discussed?

China traditional culture is less tragic and more reunion, which is one of the psychological characteristics of traditional culture. Lu Xun represents the needs of the times, shouting from the dull iron house of history, shouting from the depths of the lonely historical wasteland, and exposing the dark world with fierce flames in a special format. There are both courage and sadness in Lu Xun's cry, which not only profoundly reflects that era, but also shows Lu Xun's own mentality: in the long night, he kept searching, lonely and sad, cold and depressed. Lu Xun's novel creation is to expose and express valuable and worthless things in society and life in a cold background. In the deep expression, Lu Xun critically inherited the realistic tradition of China's classical literature and developed the tragedy theory.

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"A real warrior dares to face up to the bleak life and dripping blood", the rebellious spirit of Lu Xun's rebellious cry and the "clearest realism" spirit honed by a long and painful life are generate in aesthetic creation. He thinks that "China people always have to hide their deception because they dare not face up to life", (1) "China literati, too, close their eyes and talk about self-deception. The method is: "hide and lie." (2) Lu Xun called this kind of "hidden" literature "reunion" literature. Lu Xun believes that this kind of "happy ending" literature is not only mainly manifested in the description of love and marriage, but also in a wider range. For example, make up for defects, cover up social contradictions and whitewash reality. Therefore, when Lu Xun "boldly examines life and writes about his own flesh and blood", he is no longer limited to the issue of marriage and love, but goes straight to the national character in the traditional culture as an oriental thinker. Therefore, looking at life boldly and exposing it mercilessly is the most important ideological basis for the formation of aesthetic feeling and tragic consciousness in Lu Xun's aesthetic creation. The formation of this tragic consciousness not only has its own deepest life feeling, but also has the ideological influence of contemporary people.

The emergence and development of Lu Xun's tragic consciousness is also inseparable from his rebellious inheritance of the realistic tradition of China's classical novels. He likes the legendary stories of Tang Dynasty and edits them into a collection. Before and after the Revolution of 1911, he sorted out China's classical novels and made great contributions in the academic field. At the same time, he also clearly saw the disadvantages of "happy reunion" in China's classical novels.

Another feature of the emergence and development of Lu Xun's tragic consciousness is the influence of loneliness and sadness on the flow of aesthetic emotion. Mr. Lu Xun once said: "Laughter is lost in China at present" (To Zengtian), claiming that "I don't like humor" and that "this is something that only people who love round tables can do". (3) Lu Xun's satirical ability is outstanding, but he doesn't want to be a comedian and rarely writes comedies in the pure sense. Therefore, although The True Story of Ah Q is only a "joke", Lu Xun himself declared that "it is not for the purpose of being funny or sad." Who can laugh when people see Ah Q being tied to the execution ground and beheaded as a meaningless victim? Kong Yiji, Ah Q and Sister Xianglin are all tragedies in laughter. From Lu Xun's own exposition of how to start a novel and how to talk about his creative feelings, we can see the development track of Lu Xun's tragic consciousness, that is, to completely abandon the old tradition of "happy reunion", learn from the unfortunate in the morbid society, and take the distortion of human nature and the transformation and innovation of national character as the tragic theme.

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When evaluating the characters in Nikolai Gogol's Dead Soul, Lu Xun once had a wonderful exposition: "Like silent words, these tragedies are very common or almost nothing, and it is not easy to delve into them unless the poet draws their images. However, few people have perished from the special tragedies of heroes, and many tragedies are extremely common or almost absent. " (4) This can be regarded as the first confession of Lu Xun's tragic consciousness.

After the Revolution of 1911, China is still like a silent and lonely night, still like an ancient town with stagnant water, still "chilly in spring" and "the black face of thousands of families". No one thought that earth-shattering things would happen here, but Lu Xun disturbed this "not so" life with shouts. He made people see that "Kong Yiji disappeared in people's indifferent secular eyes; Sister Xianglin is not yet forty, but she is completely white-haired. How much mental torture did feudal ethics make her suffer before her death? The feudal hierarchy is a sad and heavy barrier ... it is these ordinary things that almost approach a life without things. After Mr. Lu Xun's summary and refinement, it deeply shocked people's hearts: If Sister Shan still lives in that spinning wheel and ditty, will her "tomorrow" fate be better? Kong Yiji has disappeared from the bleak autumn wind. Will the laughter of Xianheng Hotel be gone? After a storm, the ship was respected and treated with considerable respect. How sad it is that the farmers' calm mentality on the mud by the river makes people feel ... It turns out that these things are not ordinary, and the weakness of human nature or the fate of these tragedies requires people to go to the existing society and "the sum of all social relations" to find the reasons. Lu Xun's writing about little people and their sufferings was influenced by the creation of Nikolai Nikolai Gogol and Chekhov. Very common. It's not surprising to people. Now, from Ah Q and Wei, they see their own weaknesses, the real source of tragedy, the inner throb, fear and excitement. From scratch, seeing the big from the small is the first important feature and expression of Lu Xun's tragic consciousness in his creative personality.

If the tragedy of Kong Yiji Xianglinsao's single four-sister-in-law Hua Laoshuan is a kind of "ordinary tragedy", a kind of tragedy that he can't live for survival and wants to be a slave, then the life tragedy of the madman Shi Juansheng and Mr. Lu is a kind of "spiritual tragedy". Juansheng's "Madman" and so on are all intellectuals who received old-fashioned education and woke up under the influence of the new trend of thought at that time. Awakening without a way out is the most painful thing in life. "Madman" uses a diary, written by Juan Sheng, and reveals his pain most truly. Juansheng wrote at the beginning of Notes: "If I can, I will write down my regrets and sadness, for Zijun and for myself." The madman reflected on himself in his diary. "Only then do I know that I have been dizzy for more than 30 years." Whether it's Juan Sheng's inner monologue or Mr. N's long memory of "I can forget" whether others like it or not, whether it's the madman's self-reflection of "I didn't accidentally eat a few pieces of my sister's meat" or "I" in "A Little Thing", can I still evaluate the coachman? Inner tremor is a kind of remorse after waking up, and it is a deep sense of remorse. Through these remorse consciousness, we can see that the dawn of modern culture in the new century has been shaking in the minds of these first awakened intellectuals, but what wraps their hearts is a thick layer of authoritarian darkness. "The night in early spring is still so long", which has caused "the tragic conflict between the inevitable requirement of history and the fact that this requirement cannot be realized". This conflict in real life, the inner pain of China intellectuals, through Lu Xun's aesthetic creation, is a tragedy of spiritual pain, which suddenly jumps out of the paper, buries the past, opens up a new road, and the inner voice of a brave man who really wants to move forward angrily shakes Lu Xun's heart. Lu Xun "listen to thunder". He made people really realize the pain of life from these ordinary tragedies and spiritual tragedies, and really inspired the power to find the way of hope.

Lu Xun, a radical democrat, lived in stormy old China, like a lonely hometown, and felt the "cold" threat of social life everywhere. The family has fallen, from "a well-off family, falling like a sleepy head" to experiencing the indifference of the world; Seeing that China people appreciate the numbness of their compatriots; Recall that the forerunner "spent all his life in the ridicule and abuse of society ..." Lu Xun "mostly felt the darkness" (The Book of Two Places). This kind of "loneliness" and "sadness" that I don't want to cherish cast a heavy shadow on Lu Xun and his heart. This shadow has long occupied and haunted Lu Xun's feelings. On the one hand, it is a profound understanding of life and society, and it is an awakening to rise up and resist. On the other hand, it breathes thick darkness. To criticize the fiery feelings of the old world, we can only run between the earth like fire. This feeling of external cold and internal heat has played a great role in the process of aesthetic feeling, which has covered Lu Xun's novels with a layer of cool color and gloomy temperament. The cold and gloomy aesthetic style of Lu Xun's novels is the personalized expression of Lu Xun's cold and gloomy psychological quality and characteristics. On the aesthetic object chosen by Lu Xun, the fate of characters, the relationship between characters, natural scenery and the use of colors all have a "cold" subjective tone.

The scenery in Lu Xun's works often reveals a cold chill. When "I" returned to my hometown, "the weather was obscure again, and the cold wind blew into the cabin. Looking out from the gap, there were several desolate villages lying far and near, with no vitality. My heart can't stand sadness. " Did you see the coldness in sadness, or did Xiao Suo cause the sadness of the soul? It should be said that both are unified. Looking at the end of medicine, a kind of "antlers' coldness" makes people fear the darkness of "dead silence". As a microcosm of the society at that time, Luzhen was completely enveloped in a cold atmosphere. The "I" in Xianheng Hotel not only feels that the autumn wind is getting colder every day, but also feels the cold relationship between people. The description of cold scenery is an "intentional imagination" of cold and gloomy emotional flow in aesthetic creation. The gloomy chill in the second half of autumn in Medicine, the desolation in the middle of winter in Hometown and the flying snowflakes in Luzhen in Blessing are all natural scenes in autumn and winter. However, after these natural scenes became the aesthetic objects of the author, after the filtering and screening of subjective feelings, these memory representations were decomposed and synthesized, reappeared in the works, and naturally combined with the fate of tragic characters. In Lu Xun's works, the scenery description is mostly autumn and winter scenery, mostly shrouded in sunset glow. The story background is deliberately arranged in this way, which shows from one side that Lu Xun was breathing thick darkness at that time and was "thinking too dark" Lu Xun used the word "I" in Lonely Man to reflect his own mentality from Wei. "Lian Hao, I felt very sad at that time, but I forced a smile and said,' I thought you were asking for too much trouble. You think the world is too bad ... ""He smiled coldly. " Wei's Loneliness is exactly the inner coldness that Lu Xun experienced in his aesthetic creation.

Lu Xun's cold, lonely and sad heart shows both pain and anger when facing negative things, so "grief and indignation" becomes the tragic tone of Lu Xun's tragic works. Anger is a concrete manifestation of "heat". In Tomorrow, Lu Xun's "Don't tell Sister-in-law that she didn't see her son's dream" not only broke her dream of "reunion", but also showed her anger at the "dark night" that was still busy. Another example is the emotional experience of "I" on the way back from the funeral for Wei. I think of Wei's lonely resistance to the dark reality and his courage to challenge a life that has never been like this. It "vaguely resembles" a wolf howling in the middle of the night. Although I was lonely and sad, I disturbed this "extremely quiet night" and expressed "I". So "my heart is relaxed, I walk calmly on the wet stone road, in the moonlight."

Aesthetic sympathy is different from moral sympathy. When Lu Xun criticized the morbid society and exposed the suffering, he deeply concealed his grief and indignation and tried his best to show a cold heart. Sister Xianglin died tragically in people's blessing firecrackers. "I am lazy and comfortable in this noisy hug." I sympathize with and understand Wei Julian. After his death, "my heart will be relaxed." Ah Q has gradually died, and Lu Xun actually gave him a happy ending. In order to write about the misfortunes of the bottom people, they show a cold heart instead. The opposite writing has produced complementary artistic effects, and the "cold" aesthetic sympathy has produced a stronger sense of pity and excitement. Chekhov once said in "Letter to Avilova": "When describing evil people and poor people and hoping to arouse readers' pity, you should try your best to be cold-hearted, which will give others a kind of pain similar to the background, and that kind of pain will be exposed more clearly in this background." Lu Xun's tragic consciousness of "heat in cold" is very profound in his aesthetic creation and "quite excites the hearts of some young readers". (5) "In recent years, Scream has been read by many people. It was unexpected and unexpected. " (6) The tragic tone of coldness, grief and indignation in Lu Xun's works is not immutable. Loneliness and sadness are the collision and intersection of pioneer Lu Xun's awareness of the sadness of the old world and his desire to break through the darkness. However, when Lu Xun mastered the dialectical method of history, from evolution to class theory, when he saw the backbone of the nation and the great strength of the people from the "underground", his loneliness disappeared and his grief and indignation became warm and firm. From the nightmare memory in Scream and Wandering to the praise of Dayu Mozi in New Hometown, it reflects the track of Lu Xun's spiritual transformation. Along this track, we can see that Lu Xun has a lonely heart, a burning feeling of grief and depression, a will to fight stubbornly in deep depression, and a persistent pursuit of the ideal of a new life in the future in pain and cold. This is the second important manifestation and feature of Lu Xun's tragic consciousness.

Chernyshevski believes that a thing is much bigger than everything compared with it, and this is sublime. Lu Xun's sense of sublimity in his tragic consciousness is similar to that of a car. Lu Xun attached great importance to the sublime, and his interest in beauty was not great, which was related to his views on the society at that time.

In order to make one thing bigger than others, Lu Xun "does not describe romantic feelings" in his aesthetic creation, which makes the existing things in sharp contrast and thus produces a sense of loftiness, which is the third manifestation and feature of Lu Xun's tragic consciousness.

Lu Xun said that he "doesn't write romantic stories", but "Moon" appears in many works (including Moonlight). What do you think of this? Diary of a Madman begins: "Tonight, the moonlight is really good". The tragic story of these two China families happened in mid-autumn, when the moon went down and the sun didn't come out, leaving only a blue sky. Chen Shicheng's action at the climax of abnormal psychology development was completely "like a white round fan" in the moonlight. On the night of Wei's burial, "the thick clouds have dispersed, holding a full moon and sprinkling cool brilliance." Here, "moonlight" is a symbolic image and a symbol of darkness. Only the moon can know the darkness, and only the moon can reflect the darkness. In his artistic conception, Lu Xun used "white" to set off black, counted black with "white" and wrote black with "white". A small piece of cold Bai Yue is in sharp contrast with the thick darkness, and the boundless darkness devours everything, giving readers a "cold" threat. The fear generated by the aesthetic photos of this unknown power, this tragic fear, is also a sense of loftiness.

In Lu Xun's eyes, the "moonlight" in reality is clear, white and cold, and the ideal "moonlight" is golden, soft and warm. The only moon left in the darkness is the sustenance of Lu Xun's pursuit of light. When "I" left my hometown, "I was in the dim light, a piece of green sand on the beach spread out before my eyes, and a golden full moon hung in the deep blue sky."

Under this golden full moon, "I" have a firm belief in hope, just like the right path. "The moonlight is exceptionally bright" in "Social Drama" is a true description, and it is not the ideal light of Lu Xun's pursuit of a new life that makes the moonlight "exceptionally bright". The purpose of comparing examples is to show that in Lu Xun's tragic works, the description of "romance" is only to form a kind of loftiness, and this loftiness is not all fear, but also surprise and praise for the pursuit of ideals.

Lu Xun said that he didn't describe "romance", which showed that he was not interested in beauty (or elegance), but he still used contrasting artistic conception in aesthetic objectivity without "romance" background and formed various lofty feelings. For example, the "I" and the rickshaw driver in A Little Thing have different attitudes. "I suddenly have an abnormal feeling at this moment. I feel that his dusty back is suddenly tall and bigger ..." Through the comparison of "size", I feel that the sandwich martial arts for many years is useless, but it is a small thing that has caused my inner vibration.

To sum up, the sense of tragedy in Scream and Wandering is strong, while the sense of sublimity in New Story leaves people with surprise and praise instead of pity and fear. The change of Lu Xun's aesthetic feeling and the sublime tragic consciousness in aesthetic creation at least show that Lu Xun's transformation of "national character" is full of confidence and strength in overthrowing autocratic rule and enlightening national spirit.

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In the May 4th literary revolution, Lu Xun's works "expressed profundity and special format, which quite excited the hearts of some young readers" and produced strong social effects. At the same time, Lu Xun enriched and developed China's tragic theory of modern literature with his own works. Lu Xun's tragic consciousness is rooted in the most sober realism. Out of the need to criticize and reform the national character, he "destroyed the valuable things in life for people to see" and "tore up the worthless things for people to see". Lu Xun's tragic theory has played an important guiding role in the development of modern literature in China.

The tragic consciousness in Lu Xun's creative personality and its performance in his works have its unique and distinctive characteristics. To sum up, it reveals social contradictions in Almost Nothing, exposes the depravity of the upper class and the misfortune of the lower class, and achieves the tragic effect of seeing the big from the small and turning a blind eye; The keynote of Lu Xun's tragic consciousness is grief and indignation, but he deeply hides this grief and indignation in "mourning for his misfortune and angering him for not arguing", which makes the cold heart the background of readers' pain and compassion. This cold and gloomy emotional flow forms a compulsion and produces a strong sense of tragedy and loftiness.

Lu Xun's spiritual heritage has eternal vitality, and Lu Xun's tragic consciousness in his creative personality has rich connotations. Lu Xun inherited and developed the tragedy theory in the process of transforming the national character. Today, it is of practical significance to study Lu Xun's tragedy theory in order to improve people's ideological and cultural quality, cultivate modern civilization consciousness, change backward customs and habits, and complete such a historical task.

This is someone else's, dear. You can learn from it.