This book consists of eleven chapters:
The first chapter is about the birth of "I" (during which several characters are mainly introduced: my sister's mother-in-law, my sister's father-in-law, my brother-in-law and my aunt-one of the fragments selected in the text textbook is taken from this chapter);
The second chapter introduces the family situation, origin and some folk customs of the imperial city (mother, father, sister, second sister and aunt) in the late Qing Dynasty, and introduces the folk customs of the imperial city in the late Qing Dynasty-the mother is worried about the birth of her old son.
In the third chapter, my uncle's second brother Fu Hai and my aunt came to congratulate me. Fu Haicong clearly planned the "three washes" ceremony for "me" to get rid of a heart disease of "my mother" (Fu Hai, my aunt, my uncle and other figures appeared-the source of the second fragment selected in the text textbook);
The fourth chapter describes the folk custom of the imperial city in the late Qing dynasty-the "washing three" ceremony of "I" was a complete success, and the economy was "smooth" (from this came the "Little Six" white grandmother, especially the old);
The fifth chapter describes how my family spent the New Year.
The sixth chapter describes the joy of "I" at the full moon: I got congratulations and gifts from my uncle Ding Luding unexpectedly; There are also celebrations from friends of ethnic minorities (very popular and blessed; It also introduces the friendship between Wang Zhanggui and Uncle Ding, paving the way for Uncle Wen Ding to settle foreign devils.
The seventh chapter writes that Wang Zhanggui's son fought against foreign devils in Shandong and fled to Beijing, which was secretly supported by Fuhai (leading to the social background at that time and the cowardice and incompetence of the Qing Dynasty);
In the eighth chapter, Wang Zhanggui made many bosses but was bullied by many second boys who worshiped foreign things and admired foreign things, which led to the foreign devil cow priest;
The ninth chapter writes that Wang Zhanggui turned to his second brother Fuhai to solve the bullying and extortion of his eldest brother, and his second brother turned to the official standard-bearer, his father and my sister's father-in-law, who was really incompetent and had no intention of participating in the solution.
Chapter 10: Fu Hai's second brother asked his uncle to come forward to settle the foreign devil Niu Mu and discuss countermeasures with him.
Chapter 1 1: Pastor Niu came to the dinner at the invitation of Uncle Ding, but before the dinner started, he was embarrassed and speechless. According to Lao She's wife, the unfinished chapter of Under the Red Flag is probably a combination of Lao She's tragic family history (when he was two years old, his father was burned to death by incendiary bombs in Eight-Nation Alliance, and there were no bones in the tomb, only his father's pair of cloth socks) and his desire to write a novel about the content of the Boxer Rebellion.
Second, solve the problem: under the Zhenghongqi-Zhenghongqi is one of the Eight Banners of the Qing Dynasty. The Eight Banners is an army organization of Manchu in Qing Dynasty, with the flag color as the number, including yellow flag, yellow flag, white flag, red flag and blue flag. All Manchu members belong to every flag. Members of the Eight Banners are collectively referred to as "standard bearers"
Third, appreciate
Lao She's pursuit in this work is to express social customs and historical changes with autobiography as a clue. In particular, different from his previous writing, he performed well in this work about his national history-the living habits of flag bearers in the late Qing Dynasty. Therefore, autobiography provides a good perspective for observing, entering history and examining national customs.
On the one hand, Lao She returned to the perspective he had created to examine the national character. On the other hand, on the premise of not violating the common name of the times, he took what he saw and heard about national customs and their changes as the narrative center, and maintained a familiar introspection attitude towards the history of his nation. This attitude is similar to Teahouse, which adopts the narrative strategy of integrating major historical events and thoughts into people's daily life description, thus moving from the resonance of the times to the poetic description of national folk customs.
The language art of this novel is also very commendable. Lao She integrated rational thinking into the description of the image, forming an implicit satirical style, which is especially suitable for the novel to express the national customs and reflect on the national character.
The description of Fuhai's behavior and movements in Under the Red Flag embodies the vivid characteristics of Lao She's novel language.