Lu Xun discussed the diversity and uniqueness of aesthetic acceptance of novel art in his works such as A Brief History of China's Novels and Historical Changes of China's Novels. At the same time, he also made a profound understanding and analysis of the misunderstanding in the process of artistic aesthetic acceptance of China's novels. The so-called misunderstanding of aesthetic acceptance of novel art refers to the phenomenon that some thoughts, feelings and behaviors of the receiver are caused by novel art, but they deviate from the aesthetic essence of novel art. Lu Xun believes that there have been some important aesthetic acceptance phenomena in the development of China's novel art, such as "fake novels to slander", "sneaking into books to pretend to be roles", "random modification" and sequels, and he has made a profound understanding and analysis of these phenomena, which are essentially from the following.

1. "false novel slander": the vulgarization and instrumental understanding of the aesthetic essence of novel art by the accepting subject.

Lu Xun believes that in the development of China's novel art, there has been a long-standing phenomenon of using novel art as a means of personal attack. "The origin of fake novels is quite ancient", "1"(P45), and it has reached its peak. In his view, Niu Senru's Mystery Records in the Tang Dynasty "the strangest thing is that self-invited fake novels exclude people", 66666666666 However, many works vilify and accuse "1"(P103), which is more prevalent in the late Qing Dynasty. "There are still many people who pretend to pick out social ugliness and write such novels ... and even ugly enemies are tantamount to slandering books; In other words, if you have abusive desires but have no talent to express them, you will degenerate into a "shady novel"1(P 215). From this point of view, the phenomenon of "false novels slandering" has existed for a long time in the aesthetic creation and development of China's novel art, which is essentially a vulgar and instrumental understanding of the aesthetic essence of novel art. Fiction art is regarded as a way for the subject to vent or vent the unpleasant emotions caused by daily life contradictions, or a means to achieve some direct real life purpose, rather than an aesthetic expression of life.

This phenomenon has a direct impact on Lu Xun's own novel creation. "For example, when I wrote" There are no mountains around ",my original intention was to start and create in a descriptive way, or even decline. Halfway to the newspaper, I saw an article that Taoist critics attacked love poems, which made me very dissatisfied. So a villain ran between Nu Wa's legs in the novel, "2" (P 518), which was essentially a direct interference from real life in the creative process of novel art, thus changing the original creative intention. Fiction art unconsciously acts as a means of direct intervention in real life here, from which we can also see that a long-standing tradition once influenced Lu Xun.

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Refer to <1> Lu Xun's Leisure: A Brief History of Chinese Novels, Shanghai Ancient Books Publishing House, 1998.

[2] edited by Wu Zimin, Xu Naixiang and Ma Liangchun. Lu Xun's Literature and Art (Volume II), People's Literature Publishing House, 1980.

[3] edited by Wu Zimin, Xu Naixiang and Ma Liangchun. Lu Xun's Literature and Art (Volume I), People's Literature Publishing House, 1980.

This paper briefly introduces Lu Xun's works, such as A Brief History of Chinese Novels and Historical Changes of China's Novels, and holds that there have been some aesthetic acceptance misunderstandings in the development of China's novel art, such as "fake novels to slander", "self-hidden books", "random changes" and sequels, and makes a profound analysis of the causes and significance of these phenomena.