Reasons for recommending Lu Xun's Scream

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--a banner of China's anti-feudal ideological revolution.

I. Introduction to the author

Lu Xun (188 1 ~ 1936), a great writer, thinker and revolutionary, was the founder of modern literature in China. Last name is Zhou, real name is Zhang Shou, word, last name. "Lu Xun" was the pseudonym used when Diary of a Madman was published. People from Shaoxing, Zhejiang. Born in a dilapidated feudal scholar-bureaucrat family. Father Zhou Boyi is a scholar with reform ideas. Mother Lu Rui, a rural person, gained the ability of reading by self-study, and her personality influenced Lu Xun's life. Lu Xun lived in his grandmother's house when he was young; When I was six or seven, I went to a private school. At that time, besides reading the Four Books and Five Classics, I also read unofficial history and notes, and I liked folk woodcuts, painting art and social drama. When his grandfather was imprisoned at the age of thirteen, he took refuge in the countryside and contacted the rural society, which gave him the initial anti-feudal thought. This period of life directly influenced his later creation. From 65438 to 0898, he studied at Nanjing Naval Academy, and in the second year, he transferred to the Railway Mining School affiliated to Lushi College in Jiangnan, where he was exposed to "science" and "democracy" and Darwin's theory of evolution, which became his main ideological weapon against imperialism and feudalism in his early days.

In order to seek the truth of saving the country, 1902 went to Japan to study in April and began to study at Hongwen College in Tokyo. At this time, he wrote a famous poem entitled "Portrait of Self-Title" and made up his mind to devote himself to the motherland and people. In Tokyo, he actively participated in the "Paiman Movement" and published some works with fighting spirit and scientific value. From 65438 to 0904, I went to Sendai Medical College to study medicine, but later I felt that "it is not important to study medicine. All stupid and weak citizens ... the first thing to do is to change their spirit". Literature and art are sharp tools to heal and change people's spirit, so I gave up medicine and went to literature. 1906 went to Tokyo again and started literary activities. He translated and introduced the literary works of Russia, Eastern Europe and other oppressed nationalities, and wrote papers such as Human History, Teaching of History of Science, Theory of Cultural Deviation and Theory of Moro Poetry. 1909 preface to the collection of foreign novels.

Lu Xun returned to China on August 1909, taught in Hangzhou and Shaoxing successively, and compiled ancient novels after school. Later, he wrote the classical Chinese novel Nostalgia, which showed his satirical ability. 19 12 Member of the Ministry of Education of Nanjing Provisional Government. After arriving in Beijing, he served as the first section chief of the Social Education Department, and was later promoted to the official section. 19 17 resigned because Yuan Shikai proclaimed himself emperor and zhang xun restoration, and made new explorations in anguish. 19 18 1 Join the reorganized editorial department of New Youth. The first epoch-making vernacular novel Diary of a Madman was published in May. This novel profoundly reveals the historical essence of cannibalism in China society. It is the first declaration of the new culture camp on the feudal society and the way of Confucius and Mencius, the first clarion call of the May 4th ideological revolution and the cultural revolution, and the first masterpiece of China's new literature. Later, he wrote fourteen novels, including The True Story of Ah Q, an outstanding masterpiece in the history of China's new literature, which was published as Scream in 1923, laying the foundation for China's modern literature and revolutionary realism. The Scream reflects the broad picture of China society from the Revolution of 1911 to the May 4th Movement, portrays the psychological characteristics of people of different classes in ancient villages and towns that gradually went bankrupt under the oppression of imperialism and feudalism, shapes immortal farmers' models, and also shapes the images of intellectuals and urban poor who have no way out, which embodies the uncompromising anti-imperialist and anti-feudal spirit in the May 4th Movement.

1920, while writing, he taught and studied classical literature in Peking University and Beijing Normal University, compiled A Brief History of Chinese Novels, and copied old novels and legends of Tang and Song Dynasties. In the ebb tide of the May 4th Movement, he hesitated in pain, but with tenacious fighting spirit, he persisted in the struggle with Xue Heng School, Jiayin School and Modern Criticism School. After 1925, he supported and led the Silk Society, the Unnamed Society, and the Mangyuan Society, published Silk and Unnamed, edited Mangyuan, edited Unnamed Series, Wuhe Series and Unnamed New Collection, and verbally attacked Li Shangyin's various reactionary thoughts. At the same time, actively guide and encourage young people to resist reactionary rule and become young leaders. Became a young leader because of supporting the struggle of Beijing Women's Normal University. She was dismissed for supporting the struggle of Beijing Normal University. The works of this period include a collection of short stories "Wandering", a collection of prose poems "Weeds" and a large number of essays.

1In August, 926, he was oppressed by feudal warlords and politicians and went to Xiamen University as a professor of liberal arts. He wrote five articles in the Outline of the History of China Literature and the Collection of Excellent Prose, with beautiful writing style and gloomy feelings, describing his fragmentary experiences and sketching China society from the side. 1927 1 went to Guangzhou, the revolutionary center at that time, and served as the provost and head of the literature department of Sun Yat-sen University.

At the end of 1927, he arrived in Shanghai and began the most brilliant battle course in his life. The experience and lessons of blood and life made him gradually move from the evolution theory of "new conquering the old" and "young conquering the old" to the class theory. He participated in the leadership of the "Left League" and led the left-wing literary and art team to counter the cultural "encirclement and suppression" of the Kuomintang reactionaries in a difficult environment and became the leader of the left-wing literary and art movement. At the same time, he also participated in China Freedom Movement League, China Civil Rights Protection League and Abnormal Anti-war League successively, and actively participated in various social activities and revolutionary literature movements against fascist tyranny. After the establishment of the Left League, Lu Xun also waged a tit-for-tat struggle with nationalist literature, freemen, the third kind of people and the Analects of Confucius. His struggle effectively promoted the proletarian revolutionary literature movement and cooperated with the China Revolution. During this period, there appeared some essays, such as Hot Wind, Grave, Collected Works of Gai Hua, Collected Works of Gai Hua, Diverting from South to North, Pseudo-Free Books, Quasi-romance and Lace Literature. It involves all aspects of society and shows distinct positions and feelings of love and hate in colorful forms. After 1934, with ancient history and myths as the theme, I wrote five novels, together with the previous ones, as "new stories". 1935, the Red Army won the victory in War of Resistance against Japanese Aggression and arrived in northern Shaanxi. He and Mao Dun jointly sent congratulatory messages to the Central Committee of the Communist Party of China, Mao Zedong and Zhu Defa: "The future of mankind and China depends on you", and wrote a poem "Listen to the pheasant crow, and the stars will wither". Prose of this period are collected in three parts: Idle Collection, Erxin Collection, Qiejieting Prose Collection, Qiejieting Prose Collection II and Qiejieting Prose Collection Final Edition. Lu Xun devoted most of his life to the creation of essays, with nearly 700 essays,1300,000 words. His prose is a combination of poetry and political theory, a combination of the excellent tradition of ancient Chinese prose and the spirit of the times, a dagger and spear in the struggle against the enemy, and a model of the perfect combination of high ideology and artistry. 193610 June19, this great cultural giant died in Shanghai due to overwork. The Complete Works of Lu Xun consists of 20 volumes, nearly10 million words, including all his works. His works have enriched the treasure house of world literature, and have been translated into more than 50 languages, such as English, Japanese, Russian, Spanish, French, German, Arabic and Esperanto, and are widely circulated in many countries. Lu Xun is one of the most accomplished writers in the world literary world.

Second, the work summary

The failure of the Revolution of 1911 left a deep impression on Lu Xun, prompting him to think more deeply and carefully about China's national character. He deeply felt that China's social thoughts were outdated and backward, but the outbreak of the May 4th New Culture Movement brought him hope. Lu Xun was inspired by a new generation of intellectuals' conscious rebellion against feudal traditions. 19 18, his first modern vernacular novel, Diary of a Madman, was published in New Youth under the pseudonym of "Lu Xun", exposing the drawbacks of China's feudal system. After that, he entered the harvest period of thought and creation, and published many novels such as Kong Yiji. 1923 Lu Xun compiled five short stories written by 19 18 to 1922 as "Scream", and one of them was collected in "New Stories".

Diary of a Madman is one of Scream. This novel tells the story of a madman in the first person. He is afraid of all eyes and always feels that people want to hurt him and eat him. The doctor treated him and let him "rest". He thought it was to fatten him up and eat more meat. He remembered that his eldest brother had told him that "eating is easy" and "sleeping with skin and eating meat", and then remembered that his eldest brother advised his mother not to cry when his "sister" died, so he thought that his sister had been eaten by his eldest brother. The more a "madman" resists "cannibalism", the more he is regarded as a "madman". When he was completely disappointed with the transformation of the surrounding environment, he also "recovered" and went to a certain place to be an alternate officer. The "madman" in the novel is actually an awakened intellectual image. He is surrounded by people whose souls have been eroded by feudal ethics. What he fears and resists is the feudal tradition of cannibalism.

Tomorrow, my sister-in-law's three-year-old son, Bao Er, is ill. Sister-in-law Shansi sought medical treatment for him everywhere, hoping to cure Bao Er's illness tomorrow, but when tomorrow came, the disease mercilessly took Bao Er's life. What day is tomorrow? Whether it is hope or despair, Sister Sans doesn't know, but the loneliness and pain after losing Bao Er are real.

The Story of Hair tells a series of experiences of Mr. N, the leading actor, after he cut off his braid. Mr. n is a man with consciousness and ideals. He cut off his braid because he felt inconvenient, but he was despised and disgusted by people around him. Therefore, he deeply felt China's conservatism and stubbornness-"When the whip of creation does not reach behind China, China will always be the same China, and he will never change a hair on himself!"

Qi Jin, the hero of the storm, lives in the countryside, makes a living by punting, and often travels back and forth between Luzhen and the city, so he knows these current events. Seven Jin was braided during the Revolution of 1911. However, the "emperor sitting in the dragon's court" (that is, restoration) is going to braid again. Zhao's previous hair was also put down. He also went to Qijin's house and asked sternly, "What about Qijin's braid?" Seven catties sister-in-law didn't scold him kindly. At that time, Qi Jin's family gathered a large audience. But after more than ten days, the emperor didn't sit in the massage parlor, lived in peace with seven pounds, and Zhao's braid was on top again. In this way, a storm about braids passed, and Qijin regained the respect of the village, and the scene in the village remained the same. People live the same life as their predecessors, with little change.

The True Story of Ah Q is a famous piece in Scream. Ah Q, whose name and birthplace are unknown, works as a short-term worker for a living. Ah Q has both self-esteem and inferiority complex. He has no respect for Grandpa Zhao and Grandpa Qian, who are respected by the residents. He either wants to "have money in the past" or "his son will have a lot of money" He can always win spiritually. Beaten by Wang Hu, beaten by a "fake foreign devil", thinking that "my son beat Lao Tzu" would be forgotten, and even worse, molesting a little nun. However, this aroused his desire. Although he strictly abides by the "great defense for men and women", he can't resist his natural instinct. He shouted "I'm sleepy with you" to Wu Ma and was beaten by the scholar. Ah Q's love dream was broken, and then his livelihood became a problem, so he decided to go to town. After coming back, he was in awe of the villagers for a while, but after people inquired about the details, they "stayed away from him". I know that it is "hateful" for the revolutionary party to enter the village, but when Juren and the villagers are afraid of them, they are fascinated. However, Ah Q didn't understand the revolution until he was caught and killed. Before he died, he regretted that the gambling circle was not round. The novel profoundly shows the inferiority of China citizens caused by the suffocation of feudal culture, and Ah Q is the concentrated expression of this national weakness. "Spiritual Victory Method" is the main feature of Ah Q.

Kong Yiji is Lu Xun's second novel attacking feudal system and feudal culture after Diary of a Madman, which tells the tragic experience of a scholar who failed to be admitted to a scholar. Kong Yiji, the hero, is a kind-hearted man, but under the influence of the imperial examination system, he can do nothing but say "What's wrong with him", and he is down and out, which makes people laugh at him. Forced by life, he occasionally did some petty theft, and finally his leg was broken and he died silently under the torture of life. Through the vivid description of characters' personalities and experiences, the novel exposes the decay of the feudal imperial examination system and lashes the damage of feudal education to intellectuals' hearts. The novel tells a heavy and bitter story in a relaxed and humorous style, which has a strong artistic appeal and is a rare masterpiece in new literature.

Medicine shows an important and thought-provoking theme in modern history. The work describes the story of Hua Laoshuan treating his son with the blood of Yu Xia, a revolutionary who was killed by the ruler, dipped in "human blood steamed bread". A revolutionary sacrificed generously for the liberation of the people, but his blood was regarded as a panacea for treating diseases by the people. This strong contrast strongly reveals the serious gap between the old democratic revolution and the people, and reveals the numbness and ignorance caused by long-term feudal rule. The author praised Yu Xia's revolutionary spirit and integrity, and deplored the backwardness and ignorance of the people.

Besides the above works, the short stories in Scream include A Little Thing, Hometown, Dragon Boat Festival, White Light, Rabbit and Cat, Duck's Comedy and Social Drama. Among them, the Dragon Boat Festival created a cowardly, selfish and escapist intellectual image-Fang Xuanzhuo; "White Light" tells the story of Chen Shicheng, a degenerate intellectual, who listened to the rumors of his ancestors, failed to dig money in the yard and finally fell into the lake and died. In Rabbit and Cat, the author saw the fragility of life and the insignificance of life in real life from the fact that the rabbit was killed by a black cat. The Comedy of Ducks tells the story of B·R·Epomehk, a blind Russian poet, raising ducks to get rid of loneliness.

Third, ideological content.

Lu Xun named the collection of novels "Scream", which has its meaning. In the preface of the book, he said, "In my own mind, I thought I was no longer an eager mute, but maybe I still can't forget the loneliness and sadness of that day, so sometimes I can't help shouting a few times to comfort the brave man running in loneliness and make him not afraid of his predecessors."

What does "my own loneliness and sadness" mean here? We know that the first diary of a madman in Scream was published in 19 18, when Lu Xun was 38 years old. In the past 38 years, his childhood has experienced drastic changes in his family. His grandfather was arrested and his father died, which made him feel the warmth and coldness of the world. It also experienced the disillusionment of Qiang Bing's dream, salvation dream and reform dream in youth, including great disappointment with Jiangnan Naval Academy and Mine Road School affiliated to Jiangnan Lushi Academy, and strong stimulation in Sendai Medical College. When people reached middle age, they experienced the Revolution of 1911. Yuan Shikai proclaimed himself emperor and zhang xun restoration. These are probably enough to make him deeply feel the power of the old dark forces, the stupidity of the broad masses of the people, and the loneliness and pain of a few awakened people. In the preface, he sighed: "What a sad thing it is to shout among strangers alone, but strangers don't respond, agree or object, as if they are in an endless wasteland and are at a loss." So I feel lonely about my feelings. " This can be compared with his early poem "The Portrait of the Self-Title". "Lingtai has no plan to escape the arrow, and the wind and rain are like a rock; I sent a message to Hanxing Village, and I recommended Xuanyuan with my blood, so we can refer to each other. This is the writing motivation of Scream, and it is also the basis for Scream to become a mirror of the anti-feudal ideological revolution.

In Scream, feudal order, feudal ethics and superstition are everywhere "cannibalism". Kong Yiji, Hua Laoshuan's family, Shan Sisi's mother and son, seven Jin's couple, Runtu, Ah Q ... were "eaten" one after another, from mental distortion to physical death. In other words, exposing "cannibalism" and attacking "cannibalism" are the most prominent themes in Scream and essays written at the same time. Diary of a Madman clearly shows the amazing discovery that Lu Xun was proud of at that time: "China people still eat people".

Old China was devastated, and there were many ways for ordinary people to die. "Hometown" mentioned that "many children, famine, exorbitant taxes, soldiers, bandits, officials and gentry all made him look like a puppet" when introducing the soil improvement. None of these seven can be dismantled. However, even in my hometown, these seven things are only mentioned briefly. Lu Xun's exposure and criticism of man is a corrosion of feudal thought, as are other articles in Scream. This can only be explained by Lu Xun's view that the harm of "soft knife" was far greater than that of "hard knife". Lu Xun paid attention to the change of "national character" all his life, but there were serious defects and weaknesses in "national character". Although Lu Xun was not a Marxist at that time, he could see problems dialectically and from the perspective of class theory. For a long time, he believed that feudal thoughts, feudal morals and feudal superstitions were not only adhered to and propagated by the "upper class", but also deeply rooted in the hearts of the "lower class", which led to the backwardness of the masses' thoughts, ignorance of their spirits and extinction of their individuality. Lu Xun deeply felt the seriousness of these defects and weaknesses in "inferior people" He probably thought that inferior people were bound, poisoned and unconscious by the "old law" Its seriousness is far greater than the people at higher levels' persistence and maintenance of the "old law". If this problem is not solved, all reforms can only be changed. In the early 1930s, Lu Xun answered Si Nuo's question: "Are there as many Ah Q in China as before?" Worse. Q is running this country now. Referring to the description of Ah Q's "revolutionary" ideal in The True Story of Ah Q, Lu Xun was right.

Lu Xun wants to change people's spirit with literature and art, so he can't ignore the national character; Lu Xun wants to write about life in his eyes, and the society in Wei Zhaung and Luzhen is the epitome of life in his eyes. Lu Xun wants to write the soul of China people now, and Ah Q is the carrier of this soul; Lu Xun wants to use his creation to expose the pain and attract the attention of healing. In the view of Lu Xun at that time, in an absolutely broken iron room without windows, many comatose people had to suffocate and die without feeling the sadness of death. This is exactly the pain he wanted to expose at that time. He thought the most important thing was to attract people's attention.

However, it is not easy to change the national character, but it is by no means easy to stand out from the crowd, so almost all the articles in Scream are full of strong tragic meaning. The farmer's children's double happiness and Afa in "Social Drama" do bring some fresh breath, but so does the boy's leap soil. Will he become one puppet after another when he grows up? Even in the comedy of rabbits and cats and ducks, we can see the tragedy of rabbits and tadpoles. Even though Lu Xun respected the "general" and didn't like the negative attitude, he put a wreath in front of the tomb, not to mention that Mrs. Shan didn't dream of her son in the end, and even placed hope on the future with emotion at the end of Hometown, the tragic atmosphere that runs through all the articles in Scream is hard to dilute and offset after all.

In anti-feudal thoughts, Lu Xun coldly saw that feudal thoughts mainly depended on spiritual strength and the feelings of cool thin. What makes people feel cold about Kong Yiji is not Ding's beating on Kong Yiji, but everyone in Xianheng Hotel's indifference to Kong Yiji. In the medical field, what is frustrating is not Yu Xia's death penalty, but the public's indifference to Xia's death. Here, there is no banner of fighting and justice, but more of an idle blow. The stray bullets in the language and the criticism under the smiling face are all carried out within the scope recognized by the feudal ethical code system. Kong Yiji was hanged for stealing books, and they came to ask with a smile. Mr. n cut his braid, and they shouted "fake foreign devil" after him; A man and a woman were talking together, and Ah Q threw a stone. Hua Laoshuan's jokes about Yu Xia ... These are not enough to cause physical harm, but they can make people feel shocked. The cold here is inherent. In a word, coldness is the concrete feature of realism authenticity in Lu Xun's novels, and it is the need to truly reflect China's feudal traditional thought and traditional moral cannibalism.

In a word, Scream is a mirror of the anti-feudal ideological revolution in China's modern literature.

Fourth, artistic features.

The artistic features of The Scream are first manifested in its unique perspective and novel mode.

When observing and expressing the hero of his novels, Lu Xun has his own unique perspective: as he said in his self-report, he always pays attention to the spiritual "suffering" of people (intellectuals and farmers) in the "sick society". Therefore, in "Medicine", he only used a "quilt full of patches" to imply the economic difficulties of Hua Laoshuan's family and described their mental ignorance in a positive way; In "Hometown", the most shocking thing is not the poverty of the leap soil, but the numbness of the mind shown by his "grandfather"; In Tomorrow, the misfortune of the good fourth sister-in-law is not only the death of the widow, but also her loneliness and emptiness. Lu Xun's aim is to break the "concealment and deception" and force readers and characters in his novels, together with the writer himself, to face up to the meanness of human heart and humanity, to bear mental torture and to experience spiritual changes in the agitation of the soul. In this way, his novels are essentially a great torture to the souls of modern China people (first of all, farmers and intellectuals). Lu Xun called it "high realism", which actually showed the modernity of his novels most profoundly.

From the narrative point of view, Lu Xun often takes "I" as the narrative point of view, which shows the superb art of material composition. For example, the "I" in "Social Drama" is a simple and lively image of a child who came from tuas to study. He didn't want to read Rank Rank Drinks the Nanshan Mountain, and he was extremely disgusted with the content of feudal education. He loves rural life and calls Pingqiao Village "the promised land". He has gained good feelings in activities such as digging earthworms and catching shrimps, herding cattle and watching movies with his partners. The "I" in Kong Yiji is an honest little guy infected by the indifference of the world. He has been working for the shopkeeper since he was twelve years old. Because he is "too stupid", he won't do anything to satisfy the shopkeeper. "The shopkeeper looks fierce." However, he was infected by the "indifference and numbness" of this world. Kong Yiji taught him to read, and he first despised it and then disdained it; He was indifferent to the horror of Kong Yiji walking with his hands behind his back; Kong Yiji's life and death, but also indifferent. The "I" in A Little Thing and Hometown became the images of intellectuals in different historical periods.

In the narrative mode, Scream and Wandering have evolved into two novel plot and structure modes: watching/being watched, leaving-returning-leaving again. Take Eating Out as an example. Under the pressure of the strong feudal tradition, "I" flew in a small circle like a rope, and then came back to stay in the same place, killing my life in the depression, just in line with the model of "leaving-returning-leaving again". "I" have a period of freedom, which is particularly striking: "The north is not my hometown, and the south can only be regarded as a guest. It doesn't matter to me how dry snow flies there and how soft snow is attached here. " What is shown here is a deeper sense of homelessness and a sense of wandering without attachments. It not only shows the relationship between modern intellectuals in China and "native China", but also reveals the confusion of people's choice between "flying far away, flying high into the sky" and "staying on the earth", and the related living conditions of "rushing back", "restlessness and tranquility", "upheaval and stability" and "innovation and conservatism". Behind this lies Lu Xun's inner despair and desolation.

The artistic features of Scream are also reflected in the "special format" of Lu Xun's novels. Lu Xun is a pioneer in creating new forms.

In the 1920s, Shen Yanbing (Mao Dun) made an important comment on Lu Xun's novels: "In the new literary world in China, Lu Xun is often the pioneer of creating' new forms'; Almost one of the more than ten novels of Scream has new forms, and these new forms have a great influence on young authors, and most people will inevitably follow suit. " Today, people are also paying attention to and emphasizing the experimental nature of Lu Xun's novels. Lu Xun did consciously learn from western novel forms, and established a new form of China's modern novels through his own transformation, development and personal independent creation. One of the important reasons why his Diary of a Madman is called the first modern vernacular novel is that it breaks the complete story structure of China's traditional novels with interlocking endings and unfolding plots in turn, and organizes the novel according to the psychological activity flow of a madman with 13 untitled diaries of "incoherence" and "occasional contact". In artistic expression, the writer does not describe the hero's psychological state from the standpoint of a third party, but directly reveals his psychology through his free association and fantasy; Different from traditional novels, there is a clear line between the author's narrative (introduction of characters, layout of plots, description of environment, etc.). ) and the author's psychological description of the characters, but all the narrative descriptions in the works have the emotional color of the protagonist and are infiltrated into the protagonist's conscious activities. Diary of a Madman is a particularly creative attempt. The novel Diary Style adopts the vernacular style, but it carefully designs a "small preface" in the classical style, thus forming two opposing narrators ("I" and "Yu"), with double narration and double viewpoints. The language carrier of vernacular shows a "crazy (abnormal) world", but the protagonist shows madness and sobriety, showing resistance to the old order everywhere; The carrier of classical Chinese shows a "normal world", and the protagonist finally becomes an alternate (official). In this way, the novel text is divided, and the opposing factors mock, subvert and dissolve each other, forming an ironic structure.

Lu Xun is a master of language, and he pursues a subtle, simple and concise language style. He summed up his experience like this: "I try to avoid nagging about writing." As long as I can convey my meaning to others, I would rather have nothing to set off. " "To paint a person's characteristics very frugally, it is best to paint his eyes." People often refer to the "magical picture" in "Hometown"; "There is a golden full moon hanging in the dark blue sky, and there are endless green watermelons on the beach below." It's like drawing a big color block with sparse brushstrokes, which is simple and thick, and also achieves a strong effect. For example, the action description of Uncle Kang in Medicine and the psychological activity description of Ah Q in The True Story of Ah Q all have strong artistic appeal. Some works are lyrical, such as Hometown, Social Drama and Storm, which make the works poetic and picturesque. Some works use a cold style, such as Diary of a Madman and Medicine, which makes the ideas expressed in the works more impactful. Some works use humorous style, such as Kong Yiji, The True Story of Ah Q, etc., and express the tragic content with comedy color, which makes the works have intriguing characteristics. Some works, such as Dragon Boat Festival and White Light, combine ridicule and satire to enhance the critical effect of the works. The language art of Lu Xun's novels gives readers a wide range of artistic enjoyment, which makes people often read and innovate.