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"Diary of a Madman", through the narrative of the madman, reveals that the history of civilization in Chinese society for thousands of years is essentially a history of cannibalism; and the essence of the so-called "benevolent morality" is to eat people.
The "Madman" in Diary of a Madman – the first image of a rebel and innovator to awaken. "Madman" is actually a symbolic cultural character symbol, which is an artistic image with the characteristics of "double imagery" shaped by the author Lu Xun using a special artistic method of double-layer construction.
The "madman" in "Diary of a Madman", on the one hand, does have a physical and psychological pathology, and is a psychopath who is persecuted and mad. On the other hand, the "madman" is also an anti-feudal "spiritual warrior" who is in the limelight, and a sober person who everyone is drunk and awake.
The two levels of artistic images are twisted with each other on the core point of "cannibalism", interdependence, and mutual penetration, forming an artistic superposition, unifying "sick madness" and "sobriety".
Kong Yiji in "Kong Yiji" - the image of a martyr in the feudal system. Kong Yiji was a kind and sincere intellectual, but he was poisoned by feudal ideas. He fell from the ladder of the imperial examination, disdained to be with the laborers, and became the "only one who stood and drank in a long robe", stealing because he was poor, breaking his leg by stealing, and finally being tragically engulfed by the dark society.
Kong Yiji was corrupted by feudal consciousness, completely lost his self-consciousness, and had no consciousness. Not thinking of cheering up, but still stuck in the narcissistic feeling brought about by old knowledge, he stuck to the point of being hopeless, and although Lu Xun placed infinite sympathy and pity on him, he had to be severely whipped as a martyr of the feudal system.
Ah Q in "The True Biography of Ah Q" - a typical representative of the inferiority of the Chinese people, his character is full of contradictions.
Lu Xun later said that Ah Q "has a peasant-style simplicity, stupidity, but also very much the cunning of some wanderers." From self-esteem and arrogance to self-contempt and self-contempt, and from self-contempt to self-esteem, this is a typical character in such a typical environment as a semi-feudal and semi-colonial society, and the "spiritual victory method" that appears on Ah Q is his most typical character:
On the one hand, he was a very good peasant who had been exploited for labor, simple, stupid, long under the influence and poison of feudalism, maintaining some "biblical" ideas, and did not change the narrow and old-fashioned characteristics of small producers.
● On the other hand, Ah Q is also a bankrupt peasant who has lost his land, wandering everywhere, forced to be a thief, and tainted with the cunning of some wanderers. Some of the characteristics of Ah Q's personality are not found by ordinary peasants in the general feudal countryside of China, that is, they look down on the people in the city and look down on the people in the countryside.
The LeapIng Earth in Hometown – the typical image of a peasant crushed by the reality of suffering life and the strict feudal hierarchy. With the help of three contrasts, through the description of portraits, clothing, psychology, demeanor, language, action, etc., the author portrays different images of the leaping soil in the two different periods before and after, showing the unfortunate misfortunes of the Chinese peasants.
● Juvenile Leaping Earth: Healthy, lively, naïve, brave, witty, carefree, clever, and full of vitality.
Thirty years later, the middle-aged leap soil became sluggish, numb, silent, dull, premature, and inferior.
Hua Laotuo in "Medicine" - the image of the ignorant and backward people in China who lived for a long time under the "foolish people policy" of feudal rulers in the early 20th century. He was industrious, kind, frugal, had a very difficult life, had a low status, and was covered with "a quilt full of nails", "two eye sockets, both around a black line" and "smiled and giggled" at the guests.
In order to treat his son's illness. He was ignorant, ignorant, and insensitive, convinced that human blood steamed buns could cure diseases, felt "happy" and "happy" to be able to buy this "medicine", and only cared about his son's tuberculosis.
The image of being completely indifferent to the sacrifice of the revolutionary and respectful of the executioner makes one sympathize with his situation and tragic plight and lament his ignorance and backwardness, thus giving a clearer understanding of the evil of the feudal ruling class in fooling the people.
1. Accuse the feudal tradition of trampling on life, and profoundly expose the "cannibalistic" nature of the feudal system and feudal etiquette
The author Lu Xun clearly stated in "Scream and Self-Introduction" that he "must obey the order" when writing, showing more passionate anger and passion, cheerful irony and ridicule, and trying to leave a glimmer of hope for those who are moving forward in dark tones.
The theme of "Scream" is mainly aimed at the "Iron House" style of ancient China that has been extended to the modern world. The profoundness of the "feudal tradition of cannibalism" in "Diary of a Madman" lies in the severe criticism of the evil of traditional feudalism rising to the height of harming the fundamental values of mankind.
The two main themes of the New Culture Movement, the Enlightenment and salvation, are both intrinsically linked, as well as contradictory and conflicting with each other. So, the focus of Diary of a Madman is on the enlightenment connected by value rationality.
It can be said that the extremely profound exposure and criticism of the feudal system and feudal etiquette is the most distinctive ideological theme of "The Scream". This theme runs through almost all works in The Scream.
After "Diary of a Madman", the author also revealed the depth of this cannibalistic essence to the people, such as Hua Lao in "Medicine", Yan Tu in "Hometown", Kong Yiji in "Kong Yiji", and Shan Si sister-in-law in "Tomorrow".
When describing a series of tragedies caused by the oppression and enslavement of the people by feudal forces and feudal etiquette, the novel not only exposes the people's material "sickness" caused by the feudal system and feudal society, but also attaches more importance to exposing people's spiritual "sickness" in order to wake up the "unfortunate people" to break the feudal ideological and moral confinement.
2. Describe the fate of intellectuals struggling under fierce social contradictions
In the fierce struggle for social contradictions, the intellectual class that accepts a certain democratic idea is in a moment of struggle and confusion about the fate of the country, which is a very difficult situation for the literati.
In his creation, Lu Xun focused on dissecting their souls and expressing their ideological contradictions and bitterness, such as Xia Yu in "Medicine", "I" in "A Small Thing", and Mr. N in "The Story of Hair".
As for the old intellectuals enslaved by the feudal system and feudal etiquette, Lu Xun focused on their distorted human nature and despicable souls to achieve anti-feudal goals, such as Kong Yiji in "Kong Yiji", Chen Shicheng in "White Light", and Fang Xuanqiu in "Dragon Boat Festival".
The fundamental reason for Mr. Lu Xun's torture of the souls of intellectuals is that he soberly realizes that intellectuals should shoulder heavy responsibilities in the great cause of national rejuvenation, so he also hopes that they will not become the spiritual slaves of the feudal system or act as accomplices of the reactionary ruling class.
3. Deeply analyze the aspects of the national spirit that urgently need to be transformed, and reflect the rural life and the spiritual outlook of the peasants in the context of the Xinhai Revolution
Transforming the "national spirit" is the goal of Lu Xun's lifelong struggle, but the reality makes Mr. Lu Xun feel helpless and sad, and for the people, on the one hand, he "mourns his misfortune", on the other hand, he "angers them".
The method of spiritual victory in Ah Q is a national weakness that is prevalent in all strata of the nation: the pathological psychology of seeking spiritual self-satisfaction.
Rural life and peasant images also occupy a prominent place in "Scream", especially in the context of the Xinhai Revolution. The Xinhai Revolution did not bring real changes to the countryside, so Mr. Lu Xun's pen has no shortage of nuanced portrayals of this group of people.
1. The way the characters are created reflects diversity
First of all, the author is good at using the typical method of "mixing all kinds of people and synthesizing one" to create a typical image. The author Lu Xun said that the characters he wrote were all a patchwork of characters, and the deeds he wrote were more or less for reasons that he had seen or heard, but he never used all these facts, but only took one end, transformed them, or sprouted them until they were enough to fully express their own meaning.
The typical method not only shows the commonality of the characters, that is, the artistic summary of the ideological personality of a type of person, but also highlights the distinctive personality characteristics of the characters, making them "familiar strangers".
2. Use the techniques of "drawing eyes" and white painting to portray characters
The use of "painting eyes" and white painting techniques focuses on grasping the various detailed characteristics that can best express the personality characteristics of the characters, so as to receive the expression effect of seeing the small and the large.
For example, in "Kong Yiji", "Kong Yiji is the only person who stands and drinks and wears a long shirt", a sentence reveals Kong Yiji's pedantic character characteristics. In just a few words, you can write about kong Yiji's shame and self-concealment after stealing the book.
The techniques of "painting the eyes" and white painting make the description precise and subtle, and the text is condensed and meaningful.
3. Draw on Western expression methods to excavate the complex inner world of the characters to portray the characters
By describing the inner feelings, hallucinations, subconscious, etc. of the characters, the soul of the characters is profoundly revealed. Typical examples such as "Diary of a Madman" are almost stream-of-consciousness inner solitudes throughout, but at the same time invert the chronological order, but delicately and profoundly write the psychological changes of the characters.
In general, "Scream" is mainly based on realism in terms of artistic expression, but the author's strong feelings can also be felt in the objective narrative. It can be said that while adhering to the realist method, the author dares to boldly use the romantic method and the symbolist method as a supplement to the realist method, which not only enriches the connotation of the novel expression art, but also expands the capacity of the novel to express life and ideological content.
4. Diversity in the structure and style of the work
In 1923, Mao Dun commented on more than a dozen novels in "The Scream": "Almost one has a new form. Most of his novels take cross-sections of life, interspersed with one or more life scenes and fragments. However, in the narrative mode, there are first-person and third-person; in the order of writing, there are mainly sequential and flashbacks; in the writing clues, there are single-line developments and double-line interweaving. In terms of novel style, it is more diverse. ”
5. The Scream has a unique style, a model of comedy and tragedy
"Scream" truly achieves life-oriented, people-oriented, and naturally presents the literary concept of creation. The "black humor" in American literature and the "tearful smile" created by the Russian novelist Chekhov are all classics in the history of world literature in which tragicomedy styles blend.
The blending of tragicomedy styles created by Lu Xun in "The Scream" is no less than that, which not only opens up a new and unique stylistic realm for national literature, but also integrates national traditional literature, blending water and milk, without trace, natural and implicit.
It is also worth mentioning that Lu Xun's novel language in the early days of the use of vernacular literature provides a particularly good model for the creation of others: concise and vivid, humorous and expressive, but simple and unpretentious, and the surrounding environment and character identity are very harmonious, which undoubtedly enhances the artistic expression and appeal of the novel.
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