. The creation of Scream and Wandering is influenced by the western modern novel art, so it shows more abandonment of the ancient literary form of legend in the form of expression. New Stories is influenced by the study of Lu Xun's novel history, so it can better reflect the influence of Tang legends on Lu Xun's novel creation. Finally, through the discussion of scholar Lu Xun's academic research on legend, this paper expounds Lu Xun's views and comments on legend. Lu Xun put forward his own views on the emergence of legends, the development and evolution of Tang legends and their influence. And regarded the legend of the Tang Dynasty as the beginning of China's novels. Began to study legends. He studied legends with traditional textual research methods, which laid a solid foundation for his argument. When evaluating legendary works, Lu Xun's actual creative experience makes him very different from ordinary scholars and researchers in that kind of rigid record and arrangement. Lu Xun's local literature works profoundly reflect the oppressed and devastated living conditions of farmers and show their tragic fate. In his works, through sketches and typical examples, many ignorant, simple and kind farmers' images have been created. Lu Xun wrote about their economic and spiritual oppression and destruction, and expressed deep sympathy at the same time. Every character deeply laid the brand of life at that time. The darkness of society and the numbness and ignorance of their own thoughts made them have the inevitable tragic color of that era. The cold and numb air makes this tragic atmosphere more dignified. Indeed, as Lu Xun said, "The masses, especially those in China, will always be spectators of the drama. When Ah Q went to the gift-giving ceremony, the tragedy of the characters was added with a comedy color, which made them more cold and a sense of desolation came into being. The fate of characters in Lu Xun's works is often the fusion of "fate tragedy" and "character tragedy". On them, the author gave them more merciless whipping and ridicule, and their endings were tragic. Ah Q's method of spiritual victory lies in his failure to face up to himself. Self-esteem and conceit, self-deception and masturbation, inferiority and inferiority eroded his mind, and finally this "national character" came to an incomplete end in the happy reunion. Under the oppression of society and life, the honest leap soil has also become miserable. The author organically combines the fate of the characters with various factors at that time, showing the author's love and hate.

Lu Xun used various techniques to express the tragic fate of the characters. By describing the rural environment, rural costumes and some household appliances are used to express the fate of the characters, and dialects and dialects full of local flavor are added to the article, which reflects the strong local color. The portrayal of various rural environments shows the tragic colors of characters in different environments, which makes the characters vivid and makes the works more local. All these have played a role in exposing the darkness and pointing out the disadvantages of the times, embodying the author's idea of transforming "national character" and exposing the evil nature of semi-feudal and semi-colonial society.

The typical environment in the works plays an important role in shaping the fate, personality and psychology of the characters. Mao Dun once said to local literature: "As for local literature, I think that only the description of special local conditions and customs is like looking at a foreign picture. Although it can surprise us, it only gives us curiosity. Therefore, in addition to special customs, there should be a general struggle against the fate of our opponents. " Lu Xun's local works realize the perfect combination of environment and characters' fate. His novels pay special attention to the outline of the environment, sometimes with thick ink and sometimes with light ink. By depicting the natural scenery with local flavor, he puts the characters in the social life environment, thus highlighting their personality and psychology and expressing their fate and development.

"Generally speaking, Ding Fan's History of China Local Novels (revised in 2007, changed to China Local Novels published by Peking University Publishing House) can be divided into three parts: first, the first chapter is the introduction; The first, second and fourth chapters outline the development of China's local novels and interpret the works of specific representative writers; First, chapter five to chapter seven summarize the overall aesthetic characteristics, cultural connotation and artistic skills of local novels.

In the introduction, Ding Fan pointed out: local novels have the characteristics of world literature motif, which is reflected in the literary development of many countries. China's local novels never stopped from the beginning of the 20th century to the 1980s; The concept of China's local novels, from Zhou Zuoren's first proposal to embody regional characteristics, folk customs and anthropological figures, to Mao Dun's emphasis on embodying outlook on life and world, that is, China's local novels are based on "exotic colors and local customs paintings", further emphasizing the ideological criticism of literary works; Since the new period, it is wrong for some people to define local novels with "local consciousness", because the theme of local novels must be villages or towns, and the aesthetic basis of local novels cannot be changed. Due to different descriptions and ideas, local novels can be divided into three categories (local culture novels, local characters novels and local spirit novels). The development of industrial civilization urges writers to flee from the countryside, and writers' attachment to the countryside and criticism of industrial civilization urge writers to return to the countryside spiritually, thus creating rich and colorful local literature works.

In the second chapter "The Occurrence and Development of Local Novels", Ding Fan thinks that Lu Xun created two forms of local novels, namely "active critical consciousness full of rational light" and "passive critical consciousness full of emotion". , Tai Jingnong, Jane, Peng, Xu Jie, revolutionary local novelists (Jiang Guangci, Yang Hansheng, Ding Linghe), social analysis local novelists (Mao Dun, Wu Zuxiang, Sha Ting and Ai Wu), July local novelists (Qiu Dongping and Lu Ling) and Northeast writers (Xiao Hong and Xiao Jun) mainly inherited the first form. Of course, there are also two forms of intersection in their works, but generally they prefer one form. Although these writers show the above two forms in the thought of local novels, they are basically consistent in aesthetic basis and artistic expression. They no longer only use the reproduction technique of objectively describing reality, but use the expression techniques such as symbol and psychological description. In the third chapter, "Tone sandhi of local novels", Ding Fan pointed out that local novels began to tone sandhi when they developed to Zhao Shuli and Sun Li, that is, political intervention gradually made local novels lose their original aesthetic foundation and become the mouthpiece of politics. This tone sandhi developed to the extreme in Haoran, who brought local novels into a dead end. In the fourth chapter, "Evolution and Evolution of Local Novels", Ding Fan thinks that after entering the new period, the local literature works of Wang Zengqi and Gao Xiaosheng have the color of Shen Congwen's pastoral local thoughts and Lu Xun's criticism of local thoughts. However, the rise of "root-seeking literature" and the antinomy of "root-seeking literature" itself deconstruct the ideological content of local literature, and urge the writers to deconstruct the literary genre with their own unique creative characteristics. The rise of "new realistic novels" has contributed to the evolution of the theme of local novels, that is, the pursuit of life consciousness. The change of literary spirit in the new period and the concept of new realistic novels have promoted the change of artistic expression of local novels, that is, absorbing various modern literary expressions on the basis of original aesthetics.

In the fifth chapter, "Tragedy and Comedy Aesthetic Features of Rural Novels", Ding Fan thinks that the tragic consciousness in Lu Xun's rural novels is the combination of Schopenhauer's and Nietzsche's tragic philosophy, which forms a higher level of compassion for rural society. However, Lu Xun's successors-Wang Luyan, Tai Jingnong, Peng, Xu Jie, etc. -Only from the standpoint of humanitarianism can we see the countryside, so they are not more profound than Lu Xun. Later, Shen Congwen, the master of local literature, integrated modern people into that mysterious and primitive atmosphere, and showed a deeper sense of tragedy in the faint joy with the extraordinary spirit of Dionysus. The tragedy of local literature realized that Zhao Shuli's period began to gradually turn to the comedy consciousness of the opposition between beauty and ugliness, and with the deepening of literature politicization, the aesthetics of local literature was replaced by the "sublime" aesthetic feeling. It was not until the aesthetic characteristics of local literature in the new period began to return to the tragic consciousness of the May 4th Movement. Ding Fan pointed out in the sixth chapter "The Conflict between Static Traditional Culture and Dynamic Modern Culture" that local literature has profound cultural connotations. In the seventh chapter, "The Evolution of Creative Perspectives and Formal Skills of Local Novels", Ding Fan believes that from the beginning to the 1980s, China's modern local novels were developed around two main lines: realism and romanticism. Of course, it does not rule out the use of modernist expressions. Polyphony is an artistic technique used by many local novelists since the new period. In fact, the novels of Lu Xun, Mao Dun and others already contain the meaning of polyphony.

The first two parts of Ding Fan's A Brief History of Chinese Novels are very innovative and profound, and many of his expositions have been generally accepted. However, in the third part, the summary of the overall artistic characteristics of local literature is slightly insufficient, mainly because it is difficult to unify the artistry of literature, and it is difficult for Ding Fan to grasp the literature that was going on at that time when writing (the revised edition in 2007 supplemented and improved this). "

The difference between Lu Xun's local novels and Shen Congwen's local novels lies in that it reflects Hung Chiu's ideal personality and literati's pastoral feelings, reveals the farmers' morbidness with an enterprising social critical spirit, attracts the attention of healing, and describes the human nature in a comfortable state with the extraordinary essence held by China traditional literati. But as a writer who pays attention to reality, he has a strong sense of tragedy.