Keywords: Lu Xun's novel characters, fighters of national sexual struggle
First, the classification of characters in Lu Xun's novels.
Many scholars think that Diary of a Madman is a very famous work, but it is not a good novel. One of the judgments is that this novel has the shadow of Nikolai Gogol's works of the same name and is not mature enough. It seems to me that there is a factor in this view. Nikolai Gogol's problem will be discussed later. As for whether the novel is mature or not, it depends on what standards are used to measure it. If we use the yardstick of modernism or postmodernism, this novel seems to be not elegant enough. But this scale is not unique. Good works need good characters to support them, especially realistic works. In Diary of a Madman, "Madman" is not a vivid image, but the most important characters are the observation objects of "Madman": Zhao Guiweng, Chen Laowu, Zhao's dog and my eldest brother. At the same time, these objects are also observing the "madman", and they have formed a mutual relationship.
The first kind of characters are the images of revolutionaries. Yu Xia in medicine is the most typical. But it seems that Lu Xun is hesitant about revolutionaries like Xia, because he can feel the blood of these revolutionaries, but he can't see the return of their efforts. Revolutionaries often get no understanding and sympathy, and may be forgotten in oblivion. It is very sad to see this in reality, so Lu Xun said, "... but since you are crying, of course you have to listen to the will, so medicine often uses a curved pen to add a wreath to her grave." In Tomorrow, I not only told my sister-in-law that I didn't see my son's dream, because the Lord at that time didn't advocate negativity. "Lu Xun's sentence implies a fact: what people saw at that time was a negative result. But because Lu Xun's wish is "in my own mind, I think I am no longer an urgent person who can't talk, but I can't forget my loneliness and sadness that day, so sometimes I can't help but shout a few times to comfort the brave man who runs in loneliness and let him not be afraid of his predecessors." Here, even if there is no hope for the time being, Lu Xun is "knowing that he can't do it." "We can see that Lu Xun was not an optimist by nature. Lu Xun said: "Hope, hope, use this shield of hope to resist the empty night, although it is still empty night behind the shield." "However, this is the case, which has exhausted my youth one after another." At the same time, he quoted a poem by the Hungarian poet Petofi to deepen the impression that despair is futile, just like hope. Because of this, Lu Xun placed a wreath of hope in front of Xia's grave, which is also a kind of self-encouragement. In Diary of a Madman and The Ever-burning Lamp, Lu Xun also gave them great courage. The "madman" bluntly attacked the whole "feudal" history of cannibalism, and he dared to swallow mountains and rivers; The "He" in "The Ever-burning Lamp" will blow to the ever-burning lamp of "Ji Guang Tun", and at the risk of being removed by Fang Tou and Kuoting, it also shows considerable perseverance and determination. In the eyes of the old guard, they are just standard "lunatics". The so-called "madman" is a mental patient. We know that in the long history of civilization, "mental illness" has been widely used as a rather powerful political means. For example, it is a very good means to accuse political opponents of being "mental patients" and send them to "mental hospitals" to destroy them physically and mentally. Just like dealing with infectious diseases now, isolate and surgically remove the rotten parts of the body. For ordinary people, although political means cannot be sacrificed, the "madman" can be eliminated in an isolated way. Of course, all these means, whether political leaders or ordinary people, are strongly violent. "Crazy people" and "people who want to blow the ever-burning lamps" were finally locked in the house and lost their freedom of action. Only when they progress, go crazy and return to an orderly society can they be released. For Yu Xia's way, of course, the body is eliminated. The classic dialogue in Medicine: "Aunt is so poor-crazy, crazy." Grey beard suddenly realized, "I'm crazy." People in their twenties also suddenly realized. This understanding is expressed very accurately. Revolutionaries act to save these people, but in turn they are regarded as crazy. This is Lu Xun's profound analysis and understanding of the social situation in that period. This is what makes him feel particularly sad and distressed. Lu Xun has long felt: "An ignorant and weak national, no matter how healthy and strong, can only be meaningless propaganda materials and spectators, and there is no need to think that he died unfortunately." We saw that "Brother Yi is a good fist, and these two moves must be enough for him." The hunchback in the corner suddenly became happy. Ah Yi's body in this room must be very beautiful. The executioner "Uncle Kang" is a "juryman, wearing a dark black shirt with loose buttons and a wide dark black belt around his waist." In good health. However, in good health, they are the right people to bury revolutionaries like Yu Xia. This dislocation of the role of "revolutionary madman" has profound significance in Lu Xun's novels. Another example is Lu in Eating Out, Wei in loneliness, Juansheng and Zijun in mourning, the madman in The Ever-burning Lamp, Me in A Little Thing and the literary youth in Happy Family. They have modern consciousness, progressive ideas and reform requirements, and a glorious history of fighting for their own ideals, but almost all the resistance ended in failure. This kind of image is not only numerous, but also the image of modern intellectuals that Lu Xun values most. Lu Xun hopes to see that their tragedy is not only the tragedy of the times and society, but also the result of their lack of "resilience" spirit and struggle strategy.
The second category is people who are suffering and ignorant. Xianglinsao in Blessing, Hua Laoshuan in Medicine, and Shan Sisao in Tomorrow. Their fate is tragic and they will never think of how to change her. Xianglinsao's way is to donate the threshold, Hua Laoshuan is begging for blood steamed bread, and Shan Sisi is looking forward to tomorrow; Kong Yiji in Kong Yiji and Chen Shicheng in White Light. Deeply poisoned by the feudal imperial examination system, they are bent on seeking fame and are full of the sour smell of old-fashioned literati. The author has both criticism and sympathy for them. Siming in soap, advanced in gaoli. Their souls are completely decadent and seemingly hypocritical, but in fact they are full of thieves and prostitutes, or guardians of feudal morality and hypocrisy, or uneducated literati garbage and literati scum. The author just criticized them without sympathy.