(1) "I"

"I" is a rich boy, and I am usually bound by feudal education in the city. Compared with double happiness and Afa, it is inevitable that there are some shortcomings. They will only study hard, not work, and they will "cry" if they don't see the play. But I'm still a child. Naive in heart, extremely disgusted with feudal education, taking pleasure in "avoiding reading poetry books", so I yearn for rural life more.

(2) Double happiness

Double happiness is the cleverest of his friends. He is a small leader. He is both cautious and clever. When "I" can't see the play and feel like crying, Shuangxi can immediately come up with a "good idea" and give the reason that "my grandmother and mother believe it". The steel-toed old man didn't turn his head at night, and I was disappointed. Shuangxi comforted "me" with "who wants to show his skill to the white land", which shows his kindness and thoughtfulness.

He dares to take responsibility. When Lao Dan kept singing, everyone was tired of going back. It was he who suggested going home again. On the way back, everyone stole Afa's beans. Shuangxi advised everyone to "steal more, if Afa's mother knew, she would cry and scold", which shows that he cares about the good qualities of others.

(3) Children's Day grandfather

Father June 1 is a representative of simple villagers. Father-in-law June 1 blamed the children for stealing his beans, saying that he refused to pick them properly and stepped on a lot. When he heard that picking beans was for a treat, he immediately said, "This is what he should do." He is not a stingy person. Later, he personally delivered beans, which shows his warm and hospitable personality. "I" praised him, "I am grateful", which embodies the true nature of honest and kind farmers.

2. Location: Shaoxing Village, Beijing

3, the plot:

Based on the author's life experience as a teenager, this novel narrates "I"' s three theatre experiences in the past 20 years in the first person: twice in Beijing after the Revolution of 1911 and once in Shaoxing, Zhejiang.

The first part of the novel shows the ugly, filthy and suffocating social scene and vulgar, indifferent and selfish human relations by describing "I" watching Peking Opera in the metropolis. City theaters are noisy and crowded; Famous actors have been putting on airs for a long time, which is disappointing; The fat gentleman is arrogant, vulgar and panting, which makes me miserable. "I have never waited so patiently for anything, but the panting of Mr. Fat around me, the beating of Miles on this stage, the swaying of red and green, and twelve o'clock suddenly made me realize that this place is not suitable for life."

In this passage, the author summarizes the contents and inner feelings described in the first part, and finally further emphasizes the farewell to the urban Peking Opera stage: from then on, "it doesn't matter, the spirit is already in the south of the sky and the north of the earth." Therefore, the perspective of the novel description is my disgust and dissatisfaction with the scene atmosphere and interpersonal relationship in the urban theater, with the focus on my spiritual feelings and aesthetic evaluation: this kind of environmental atmosphere and interpersonal relationship is not suitable for my survival.

The second part of the novel describes completely different environmental atmosphere and interpersonal relationships. There is a beautiful natural environment, a beautiful life interest, a beautiful interpersonal relationship and a beautiful human relationship. Rural life is full of infinite vitality and interest. Digging earthworms to catch shrimp, having a full meal, sailing on a charming moonlit night, and the children cooking and eating arhat beans together make me extremely happy and relaxed.

Here, the description of scenery and characters also embodies the psychological feeling and aesthetic pursuit of "I": longing for warm, friendly, simple and gentle interpersonal relationships, and experiencing the human touch and beauty of integrity, selflessness, beauty and harmony. Truth and falsehood, beauty and ugliness, good and evil exist in comparison and develop in struggle. The author criticized the urban theater, praised the rural social drama, and expressed his pursuit of truth, goodness and beauty and his hatred of falsehood, ugliness and ugliness.

Extended data:

1, writing background:

Social drama was written in June1922+1October 65438. The work was written when I was watching a drama in Beijing, saying it was "twenty years from the bottom". Twenty years after the publication of the work is about ten years before the Revolution of 1911. At that time, the Chinese nation was in dire straits, such as the Sino-Japanese War of 1894 (1894), the Reform Movement of 1898 (1898) and Eight-Nation Alliance's invasion of China (1900) ... The reactionary rulers of the Qing Dynasty were "measuring China's material resources to win the favor of the country" and colluding with imperialism to step up slavery.

Lu Xun 1902 studied in Japan with the idea of saving the country and the people, and 1909 to191taught in Hangzhou and Shaoxing. The Revolution of 1911 led by the bourgeoisie overthrew the autocratic Qing Dynasty and established the provisional government of the Republic of China in June 5438+09 12. Lu Xun was very excited about this, warmly welcomed and supported it, and went to Nanjing as a member of the Ministry of Education at the invitation of Cai Yuanpei, then director of the General Administration of Education, and then moved to Beijing with the Ministry of Education.

Since then, Yuan Shikai has proclaimed himself emperor, and zhang xun restoration ... He said, "It seems that I am suspicious when I look at it, so I am disappointed and depressed." Finally, he realized that after the Revolution of 1911, the social situation in China "changed a lot, but the goods remained the same" and nothing changed.

The October Revolution gave a strong shock to Lu Xun, who was meditating and exploring, and made him see the "dawn of the new century" and the hope of the people's revolution. The outbreak of the May 4th patriotic movement made Lu Xun's revolutionary spirit more exciting, so he mercilessly exposed the feudal system and the cannibalism of Confucius and Mencius, and issued a call to "save the children" and overthrow the feudal "iron house". From then on, he threw daggers and machine guns at the enemy with a thorough anti-feudal thought, showing a clear revolutionary stand. The novel Social Drama was published under such circumstances.

2. Introduction to the author:

Lu Xun (188 1~ 1936) is the founder of modern literature in China. Formerly known as Zhou Shuren, the word Yushan and Yuting, later renamed Yucai, a native of Shaoxing, Zhejiang. 19 18 in may, the diary of a madman, the first vernacular novel in the history of China literature, was first published under the pseudonym of Lu Xun.

His works are mainly novels and essays, and his representative works are: collection of novels "Scream", "Wandering" and "New Stories"; Prose collection "Morning Flowers Picking Up in the Evening"; Literary treatise A Brief History of China's Novels; A collection of prose poems "Weeds"; There are 18 essays such as grave, hot wind collection and Gai Hua collection. President Mao Zedong commented that he was a great proletarian writer, thinker and revolutionary, and the main commander of China's cultural revolution, also known as "soul of china".

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