There was a "splendid" and "redundant gallery" in the Russian literary world in the19th century. There are many typical examples with a certain cultural height in this gallery. They are yevgeny onegin of Pushkin; Bi Qiao Lin in lermontov's Contemporary Heroes; Luo Ting in Turgenev's Luo Ting; Oblov in Goncharov's Oblov, etc. In the depths of these people's souls, half of them contain advanced democratic revolutionary consciousness, flashing the ideological light of striving for the progress of the motherland, and generating the active pursuit of truth and lofty life goals; The other half is eroded by the negative thoughts of western egoism and skepticism. In the rebellion between emotion and reason, they formed double contradictory personalities and complex life forms: the awakening of personality consciousness made them germinate to find ways of spiritual liberation, while the weak personality made them unable to find a new life orientation, wandering, lonely and depressed. They are dissatisfied with the current situation of Russian society and cynical, but they are unwilling to stand on the side of the people and have no spiritual sustenance. On the one hand, they feel that there is no place in the vulgar upper class, but on the other hand, they are also tired of life outside the upper class. So in the end, although I don't want to sink, I can't go beyond the shackles and fetters of society. They can only be elves who deny and doubt, and they are a group of "lost people" who strive to realize themselves and eventually become "redundant people" because they can't realize their self-worth in life. The concept of "superfluous man" appeared in a translation of the eighth chapter of Pushkin's poetic novel yevgeni onegin. When writing about onegin, there are two sentences: Someone is far away from them, standing alone like a superfluous thing. Later, Russian critic herzen defined "redundant people" and said, "They are full of noble wishes, but their wings are broken and they run wherever they see: they want to hide and avoid life, which is redundant and useless." Literature reflects the lives of young people and forms many traditional themes, among which "redundant people" is an important group. Compared with the types of creation heroes, dream seekers and destroyers, the theme of "superfluous people" is more continuous, complex and universal.

1. Looking back on the present situation of the image of "superfluous man" in modern times, China's research on the image of "superfluous man" began with the image of "superfluous man" in Russia, and then he discussed the typical examples of "superfluous man" in world literature, and a new proposition emerged in the comparative study from narrow sense to broad sense, namely "the worldwide literary phenomenon of superfluous man". (1) Understanding of Russian "redundant people" Our understanding of Russian "redundant people" is mainly divided into two stages. The first stage is the research before 1980s. China critics have almost always been confined to the stage of understanding that "superfluous people" are special products of Russian literature, and generally use this rigid conclusion. The understanding of this image in each historical period is based on the needs of the times and is a "perceptual" understanding. Before the turmoil, our introduction, translation and research on Russian literature were often "for my needs", "for my urgent needs" and "for the suffering people to ignite and serve us to solve urgent practical struggles". This is a period of "all-round affirmation". We pay full attention to the positive aspects of the awakening and struggle of the "redundant people", but consciously or unconsciously ignore their negative aspects. During the ultra-left period, Russian literature research was frozen, and "redundant people" really became redundant and disappeared. Generally speaking, at this stage, our understanding of the image of "redundant people" is basically in a decentralized primary understanding stage, and the "redundant people" are mostly popularized from the perspective of introduction. The second stage is 20 years since the end of the 20th century, and this stage has entered into rational thinking. A large number of research papers on "redundant people" have gradually made new explorations in breadth and depth, which are mainly summarized as the following aspects: First, re-examine the typical non-redundant people familiar to readers and look for "new" redundant people. Not satisfied with the existing conclusions, dare to explore and discover. An article points out that "tatyana, like onegin, only awakens and has no real resistance", and thinks that tatyana also has the color of "superfluous person". Second, we may question or re-evaluate the image of "redundant people" that was originally identified. Thirdly, it explores the emergence, development and progressive significance of Russian "redundant people" as a whole. In Liu Yading's monograph "Outline of Russian Literature in the19th Century", it is pointed out that the appearance of Russian "redundant people" is actually "the result of the impact of foreign culture on ancient Russia, and the first recipient of foreign culture is young aristocrats, who can't stop the impact after the impact." At the same time, the influence of Russian "redundant people" in this peak period also awakened the awakening of a generation of young people and the creation of a generation of writers in China. (2) The initial networking of the phenomenon of "redundant people" takes Russian "redundant people" as the stable meridian, and we break the national boundaries, and horizontal "networking" appears in the study of "redundant people". Critics first turned their attention to the "weirdos" and "loners" in China's modern literature. For example, a comparative study of Turgenev and Yu Dafu's "redundant people", as well as the "redundant people" in Russian literature and the "lonely people" in modern China literature. At the same time, he turned his attention to China's ancient literary works, such as Jia Baoyu's image of "superfluous man" in Russian literature and the comparison between Jia Baoyu and onegin. Secondly, critics found the brothers of Russian "superfluous people" in Japanese and French literature. The image of Guangyuan in the Japanese classic Tale of Genji is regarded as a typical tragic "superfluous person" in the world literature gallery. After discussing the similarities of "redundant people" between Japan and Russia, some of them also expounded the differences of "redundant people" between Japan and Russia from the aspects of values, ethics, way of thinking and national psychology. In addition, France's Children of the Century and Lonely Man are linked together, which inspires us to trace the marriage of Chinese and French literature. There are also special articles on the similarities and differences between Chinese and Japanese "redundant people". Taking Japanese "private novels" as the breakthrough point, this paper expounds the influence on China's "strange people". (3) The emergence of a new proposition-"the worldwide literary phenomenon of redundant people" has followed the historical track of continuous development for more than 200 years and gained the track of "the evolution of redundant people". From the appearance of Victor at the end of 18 to the spread of "century disease" in the second century at the beginning of 19, almost at the same time, "Byronic heroes" and Hallor shook Europe; By 19, in the 1920s and 1950s, Russian "superfluous people" had been among the world literature with a strong lineup and neat ranks. 19 At the end of the 20th century, Japanese fugitives appeared, and China's "loners" and "strange people" followed. By the middle of the 20th century, although the American "reflective hero" came late, it was linked with the French "outsider", the British "cynic" and the German "new Witt" and came out hand in hand to form the contemporary "redundant person". This networking has truly realized Goethe's earliest dream of "world literature". It is not an isolated study to re-examine the phenomenon of "redundant people" from the overall situation of the development of "world literature" and the reality of national literature itself, which is conducive to promoting the development of national literature and world literature. After all-round investigation and multi-angle scanning, the critical definition qualitatively and quantitatively endows the phenomenon of "redundant people" in the world with a crisscross historical development model. Draw a simple picture: (America) Anti-hero (20th century) (China) Lonely Person (early 20th century) (Japan) Fugitive Person (early 20th century) (Russia) Redundant Person (65438+the first half of the 9th century) (Britain) (Germany). (Mid-20th century) (1early 9th century) (late 65438+early 08th century) (mid-20th century) (in Germany) The icon "New Witt" (mid-20th century) basically shows the respective surname codes of similar "redundant people" types in the same and different historical stages in the world's literature. The proper name of each code contains almost a group series. At the same time, the international arrangement in the picture overcomes the self-sufficiency and exclusiveness of local literature, and embodies a new situation of mutual blending, understanding and creation.

Second, my opinion on the image research of The Redundant Man (1) The characteristics of The Redundant Man are multifaceted and mixed with complex colors, reflecting a complicated life. They are "ideologues" and "poor disabled people" in action. They are the most vivid and melancholy "spiritual aristocrats" in the spiritual world. To sum up in one sentence, the psychological feature of "redundant people" is the disharmony between consciousness and will. The "giant" in consciousness and the "dwarf" in will are also the spiritual course and tragedy of "redundant people". They have the courage to uproot the old roots from the disgusting environment, but they can't find suitable soil to take root in the new roots and become rootless duckweeds, strangers, outsiders, fugitives and invisible people. (2) Typical analysis of national "redundant people" ① Reflection and exploration-The spiritual exploration of Russian "redundant people" has the oriental sense of hardship and the overall characteristics of the nation, and realizes personal value in the rise and fall of the nation. This makes Russia's "redundant people" shine with some kind of light, which is particularly touching, more vital and infectious. Perhaps this is one of the important reasons why Russian "superfluous people" gain immortal value in writers' works. Russian "redundant people" came into being from the land of flesh and blood where the old Russian culture collided with the new European culture. This is a general answer produced by "redundant people". Russia is rich in "redundant people", especially from the aristocratic class, which is closely related to the special historical position of the Russian aristocratic class. In addition, in these masterpieces reflecting traditional themes, we can clearly see the kinship between the writer's own spirit and psychology and the hero he created. Therefore, the images of aristocratic youth in these "traditional themes" are the rebirth of the writer's spirit in a sense. (2) Oriental Hermit-Japanese "fugitive" Both the protagonist in Futabatei Shimei's Floating Clouds and a series of Japanese-style "redundant people" images created in Natsume Sasaki's works all show the characteristics of "hermit". They are "introverted", stiff, heavy and slow, far from the unrestrained free and easy, open-minded and adventurous spirit of "redundant people" in Europe and Russia, but they have stronger endurance and endurance. First of all, the strong and deep-rooted old ideas hindered the germination of the new trend of thought of "redundant people"; Secondly, the spirit of Confucianism, Buddhism and Taoism in East Asian culture and the traditional spirit of "harmony" in Japan have close constraints on its "hermit" spirit. Japanese "fugitive" is the earliest image of "redundant person" in oriental literature, which has opened up a realistic road for young and short-lived modern Japanese literature. At the same time, it also brought the birth of China's "zero surplus" to the spring breeze. ③ China's "Zero Surplus" has the greatest sense of social and national responsibility, from Yu Dafu's autobiography "Sinking" to Lu Xun's lonely Wei, from Sha Fei written by Ding Ling to Zhou Ruoshui in Ba Jin's love trilogy, from Qi Ruixuan written by Lao She to Fang Hung-chien in Qian Zhongshu's Fortress Besieged, and China's "Zero Surplus" swarmed in. In the inevitable social transformation, the ancient feudal kingdom began the transformation of the whole nation and moved towards the historical transformation track of modern society, which is the cultural background of the emergence of a large number of "surplus laborers" in China. At the same time, the acceleration of cultural exchanges between the East and the West in the 20th century has become an accelerant for China's "surplus labor". The connection between China's awakened intellectual youth and modern western consciousness during the May 4th Movement determined the richness and profundity of China's spirit, the concentration of China's thoughts and his strong emotion. (3) The great charm of the image of "superfluous man" first comes from the rich social connotation contained in the image itself, which is determined by the lofty tragic character of "superfluous man". People are the sum of social relations, and any social person must be at a certain point in the social relations network. For "redundant people", they are just at the most sensitive point of the social relationship network, so their personality tragedy has become a historical necessity. Moreover, compared with ordinary images, they reflect the opposition and conflict between the two poles of social relations more strongly and profoundly, or they are the products of sharp opposition and fierce conflict between the two poles of social relations. Secondly, "redundant people" all have personality defects, thus forming their tragic personality characteristics. In the conflict between spirit and flesh, reason and emotion, they often fall into intense introspection and repentance. Thereby producing profound "endogenous" depression. It is in this complex personality that the true beauty of the characters is truly reflected, and at the same time, it also produces complex aesthetic effects, which enables readers to obtain a complex and profound aesthetic feeling that blends sadness and joy and is lofty and funny. This is the aesthetic reason why the image of redundant people has strong appeal. Read "The Redundant Man" and walk into their world. You can find your own shadow in them, instantly discover "self", generate a buzz and bring thinking.

Bibliography: 1. An outline of "superfluous man"--a discussion on a world literary phenomenon. Author Zhang Wei. Oriental publishing house, 1998. 2. Basic principles of comparative literature. Fang editor. Suzhou University Press, 2002. 3. A comparative study of cross-century writers in the East and the West. Editor Zhang. Beijing.