It is particularly noteworthy that Lin's metafiction also embodies the inheritance of traditional chivalrous novels. "The narrative mode of chivalrous novels has different forms in the induction of different theorists, but in any form, there will be no shortage of the basic elements of blood debt and gratitude and resentment." Whether it is traditional or modern classic chivalrous novels, the protagonist's "blood debt" of killing his father or son is often the starting point of the story. Most of them embarked on a long road of revenge with great hatred, and finally ended the story with a revenge ending. At the beginning of the story of fighting bandits, Lin Yuan tells the story of Shao Jianbo leading a small team to urgently reinforce the station attacked by bandits. When Shao Jianbo and his party arrived at Shan Lan Station, they saw the horror that "six men and three women, including their sisters, were all cut open by bayonets, and their intestines fell to the ground without an ear, leaving only traces of being cut off by bayonets". At this time, Shao Jianbo, "Suddenly my eyes can't see anything, and I am blind; The head is blown up, groggy and unconscious, and it will fall down. " In the ear, "all the voices seem to say:' Xiao Bo! Stop crying! Kill the enemy! Revenge! "However, as far as the whole story of Lin Yuan is concerned, it is a revolutionary task based on revolutionary morality entrusted by the party. The "blood debt" narrative at the beginning obviously has the individual ethical color of the protagonist's revenge story in traditional chivalrous novels. " Blood Debt not only brings readers into the cultural atmosphere of traditional chivalrous novels they are familiar with, but also leads readers and the protagonist into a journey of justice and revenge. Moreover, "from now on, all the stories of beating bandits can be regarded as the display of this logic." All the main positive characters in the novel-whether Yang Zirong's squad soldiers or ordinary people-have the painful experience of their loved ones being killed, which becomes their most internal impulse and also the motive and direction of narrative. Through this narrative strategy, Lin Yuan described the political mission as a moral story of China. "Revolution" has put on the cloak of "tradition". " (1) The story mode of this traditional chivalrous novel expressing the content of modern revolution is enough to show the profound degree of the author's influence by the discourse of traditional novels.
However, critics at that time pointed out that the author could not properly combine personal hatred with class hatred, and was not good at expressing the consistency of flesh-and-blood feelings and revolutionary feelings, but unconsciously highlighted the pain Shao Jianbo felt because his sister was killed, which relatively diluted Shao Jianbo's class hatred and revolutionary indignation, and even made people easy. Obviously, critics examine Shao Jianbo's feelings with the class, revolutionary and people-oriented values of revolutionary image, thus criticizing his personal feelings that do not meet this value standard.
(2) Heroic images in traditional novels have a profound influence on the image-building of revolutionary heroes. Although the hero image in Lin Yuan is dominant in value, the hero image in traditional novels has broken free from its bondage and participated in the shaping of revolutionary hero image. In traditional the legend of heroes, heroes can be roughly divided into two types, namely, careless types, such as Zhang Fei, Song Wu and Li Kui JY; And the type of elegance and intelligence, while the latter is represented by Zhuge Liang and Zhou Yu. Most rebellious heroes are rough in appearance, strong in martial arts, straightforward and reckless in character, honest and honest, and dare to do things. Whenever they see a bumpy road, they draw their swords to help each other. Smart heroes, however, are handsome in appearance and natural and unrestrained in behavior, and win by intelligence, not by martial arts. In Lin's heroic spectrum, soldiers such as Yuan and Liu Xuncang belong to the former category. In Liu Xuncang's efforts to capture Diao Zhanyi alive, attack the tiger's den and capture Aunt Xu alive, the writer highlights his bravery. Sun Da with long legs has excellent endurance and can travel hundreds of miles a day. Luan is an expert in mountain climbing. He can climb mountains and mountains, and excels in nature. In this heroic style, we can easily find some shadows of Liangshan heroes in Water Margin. "In the scout' tank' Liu Xuncang, you can experience the scene of trying to shake the mountain; From "Long Legs" Sun Da, I can't help thinking of Dai Zhong, a "Shen Xing Pacific Insurance", who walks hundreds of miles every day. From Gaobo to' Xiao Liguang' Huarong Road with both wisdom and courage. " ①