In our daily study and work life, everyone has tried to write a paper. Thesis is a tool to describe academic research results for academic exchange. What papers have you seen? The following are the tragic characters in Lu Xun's novels that I collected. Welcome to reading. I hope you will like it.
Lu Xun's novels occupy an important position in the history of China literature, and his tragedy theory is different from foreign tragedies with its unique charm, which has had a far-reaching impact on a number of domestic writers. Studying and summarizing Lu Xun's achievements and experiences in creating tragic images will help us to understand the profound ideological significance in Lu Xun's novels more thoroughly.
This paper mainly discusses the tragic characters in Lu Xun's novels, explores Lu Xun's tragic theory through the analysis of the characters, appreciates the aesthetic characteristics of the characters, and is familiar with Lu Xun's methods of shaping tragic characters.
Keywords: aesthetic characteristics of tragedy theory
introduce
Lu Xun's collection of novels "Scream" and "Wandering" is based on real life, with 25 novels and 17 describing the theme of tragedy. Diary of a Madman, The True Story of Ah Q, Blessing, Hometown and Regret for the Past are all excellent chapters. The protagonists, from "Madman" to "Ah Q", from "Sister Xianglin" to "Runtu", and "Zijun and Juansheng", are mostly based on the unfortunate people in the morbid society, reflecting their miserable lives and telling their unfortunate experiences, with the aim of "exposing their sufferings and attracting the attention of the rescuers".
First, Lu Xun's tragic theory
Someone once said that "there is no real tragedy in China", which has some truth. Throughout our ancient literature, works that can be called real tragedies are really rare; It is not appropriate to say that there is no real tragedy in China. When China society entered the modern era, a real tragedy began to appear in our literature, which is Lu Xun's novels.
Regarding tragedy, Lu Xun clearly put forward his classic proposition about tragedy-"Tragedy destroys valuable things in life for people to see" (1925 "Re-discussion on the collapse of Leifeng Tower"). Lu Xun believes that tragedy is sad because those valuable things in the tragic image are destroyed, which arouses people's sympathy, pity and even anger. The more vivid the life value expressed by tragic images, the more typical the destruction, and the more deeply rooted in people's hearts, people will cherish the life value more and despise the spiritual dross. The tragic characters created in Lu Xun's works are all based on the reality of life, and he digs and refines valuable things from people of different classes. Through the tragic experience of the characters, the old decadent social roots are exposed. "I hope to expose the roots of the old society, urge people to pay attention and try to cure them." This is the purpose of Lu Xun's portrayal of tragic characters.
Many of Lu Xun's novels describe the political consciousness of working people of different classes and praise the patriotic soldiers who died for their motherland. Even if some people's revolutionary enthusiasm is like a flash in the pan, Lu Xun spared no effort to give support.
A madman, an anti-feudal fighter in Lu Xun's works. This seemingly abnormal "madman" has a pair of extremely sharp "perspective eyes". He not only "saw through" the face of "cannibalism" in feudal society covered with the fig leaf of "benevolence and morality", but also saw the ugly essence of "cannibalism" in feudal system and ethics. He stripped off the disguise of "benevolence, righteousness and morality", accused him of committing brutal crimes of "changing children for food", "eating skin" and "cutting bones for relatives" and was determined to curse cannibals. This indomitable spirit of anti-feudal struggle is the most precious life value in the May 4th Movement. But as a result, such an advanced intellectual who ignored tradition and challenged authority was swallowed up and destroyed by feudal dark forces. Therefore, the madman's tragedy uncovered the ugly faces of feudal ethics and feudal families, and also accused the feudal forces of destroying not only a noble soul, but also the spirit of the times representing the pace of historical progress.
Ah Q, a backward peasant who shone with revolutionary light in the Revolution of 1911. Lu Xun affirmed his revolutionary enthusiasm in The True Story of Ah Q and showed the tragedy that his positive revolutionary life value was destroyed. When the news of the anti-feudal revolution of 1911 reached Wei Zhuang, Ah Q was fascinated and actively asked to take part in the revolution with childish and ridiculous purposes. Although he only subconsciously thinks that "revolution" should be related to his own immediate interests, his hatred of feudal exploitation and oppression is boiling, and his peasant-style utopian socialism is absurd but full of anti-feudal thoughts. However, as a result of the Revolution of 1911, the "fake foreign devils" prevailed, and Mr. Zhao "participated in the reform". They banned the revolution of Ah Q and massacred Ah Q. The tragedy of Ah Q deeply exposed the social and historical roots of the failure of the Revolution of 1911.
It is also one of the tragic themes of Lu Xun's novels that the life value of farmers and lower intellectuals is destroyed.
In feudal society, the legitimate demands of working people for the right to subsistence could not be met. The novels Blessing and Hometown are typical chapters to expose this dark reality. Xianglinsao in Blessing, a kind, persistent, hardworking and peaceful ordinary working woman, only wanted to win the right to exist by her own labor, but was destroyed by the oppression of feudal regime, clan power, husband power and theocracy. Another example is "moistening the soil" in "Hometown". The beautiful boy who is full of enthusiasm and hope for life is struggling under the heavy oppression of "many children, famine, heavy taxes, soldiers, bandits, officials and gentry", and when he meets again, he becomes a "puppet", sick, decadent, dull and numb. This tragic image shows the situation of farmers in rural life in the early 20th century, immersed in deep suffering, and digs out the root of the tragedy. But ... Lu Xun's tragic novels not only describe the social status of farmers who have no right to live, but also show their unremitting pursuit of the right to live; Not only accused their lives of being destroyed and destroyed, but also described how their spirit was destroyed and destroyed. Xianglinsao refused to remarry after her death and fled to Luzhen as a domestic worker. After being robbed, he rebelled against death, remarried, donated the threshold of "atonement", and finally even questioned the theory of ghosts in hell, which was the glorious flash of unyielding struggle in such tragic figures. However, the cruel feudal ethics finally completely destroyed her spirit, making her sad and timid at first, and then letting go of her sadness, just like woodcut. ...
Writing love tragedies, Lu Xun's novels are also excellent. He had a sharp eye, and saw through the social tragedy of young men and women's love life at a glance, and linked the struggle for freedom of marriage and love with the anti-feudal struggle. In Regret for the Past, Zijun and Juansheng are typical images of young intellectuals during the May 4th Movement. In the struggle against feudalism and personal liberation, they dared to despise feudal ethics, bravely rushed out of feudal families, and independently combined, regardless of all criticisms and strange eyes. But the next year, their cohabitation relationship collapsed. Zijun, who was burdened with emptiness, walked into the "grave without tombstones" with majestic and cold eyes, and Juansheng returned to "silence and emptiness" in the broken things of the hall. Mr. Lu Xun said in what happened after Nora left: "The social system has not changed and there is no economic right. Even if Nora goes to society because of her personality awakening, there are only two ways, either to fall or to come back. " Economy is the foundation, and its independence also determines that its resistance is not thorough, and Zijun's resistance is not thorough. Only by thoroughly eradicating the feudal political and economic system and freedom of marriage and love, the most valuable thing in life, can we obtain fertile soil for life.
To sum up, Lu Xun's novels explore the historical roots by describing the destruction of various life values in various fields, and dissect their living environment-"pathological society" through their unfortunate experiences, so that people can have a clear understanding of this evil abyss.
Second, the aesthetic characteristics
People are social people. People living in different societies and times have different social attributes. Lu Xun stood at the forefront of the times and captured the different attributes of people living in different social classes and different periods, and organically unified them on the characters. In this way, the shaped characters become artistic images with great aesthetic power.
For example, a madman, on the one hand, is a typical psychopath, and his thinking and language are deviant, which is ridiculous. On the other hand, however, just as anyone who resists tradition and existing social order in history is regarded as a "madman" without exception, his observations and conclusions are rich and profound. In fact, he is an awakened intellectual image who dares to challenge the tradition, and a symbol image of a sober anti-feudal Democrat who dares to challenge the realistic secular society. Lu Xun projected absurdity and sublimity on a madman, and created this tragic image with artistic brilliance.
The image of Kong Yiji can also be used as an example! In Kong Yiji, on the one hand, Lu Xun criticized Kong Yiji for being lazy and sour, on the other hand, he carefully portrayed Kong Yiji's pure and kind character, liked to play with children, taught hotel waiters to dip their nails in wine and give fennel beans to children ... However, these beautiful qualities of Kong Yiji were destroyed by cruel society! Yes, he shouldn't steal it, but in the final analysis, didn't the evil society poison him and devour him? The author expressed his affirmation and negation, sympathy and criticism of Kong Yiji, so the image of Kong Yiji also has profound aesthetic significance.
Lu Xun organically unified different personality qualities in an artistic image, which was full and profound. This is by no means spontaneous!
First of all, this is determined by social life itself. In a certain period of social life, there are various personality qualities. For example, among the backward farmers in China at that time, there was a "spiritual victory law", and of course there was a beautiful quality of demanding revolution. Lu Xun accurately and truly described the unity of various personality qualities of people in real life.
Secondly, this is also determined by Lu Xun's creative method. Writers can use different creative methods to create different tragic images. Lu Xun used realistic creative methods to create. He projected his profound observation and thinking on social history and real life into the artistic image, and created a lofty artistic image. Therefore, his tragic artistic image is always the unity of various personality qualities.
When we learn from Lu Xun's creative experience in creating tragic images, we must really go to life, truly grasp the different personality qualities of people from all walks of life in our time, and accurately summarize them as artistic models, so as to write profound and full works.
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