(1) adopts a typical method. The typical here has two meanings: one is the basic technique of shaping characters. Lu Xun said in How Do I Start a Novel: "What I see and hear probably has some truth, but I will never completely use this fact, just take one end of it, transform it, or expand it until I can almost fully express my meaning. The model of the character is the same. No one is committed to this. It is often that Zhejiang has a mouth, Beijing has a face, and Shanxi has clothes. " The author says that the image of Ah Q in this work adopts the technique of "all kinds of people are confused and combined into one", which combines the outstanding characteristics of many different characters and then combines them to create a brand-new image. Second, adopt the basic creative methods of realistic literature. The image of Ah Q portrayed in the works is symbolic, because he is both an individual of Ah Q and a condensate of "national character". The environment in which he lived is also very historical, from which we can get a glimpse of China's historical situation and humanity before and after the Revolution of 1911.
(2) The structure of narrative style. It inherits the narrative style of China's traditional novels, such as Water Margin, but it also adds the deep perspective of modern psychoanalysis on human spirit. The preface, winning brief account, continuing winning brief account and livelihood problems in the works are parallel arrangement and accumulation of many stories/deeds, and there is no effective time connection between them, so they are all spatial narratives. Only "revolution" and "non-revolution", especially when the ending is "happy", will enter a time stream and form a time narrative.
(3) Sharp humor and satire. In terms of criticism and satire, the novel has not only two parts, but also comments in many other places. These comments are critical and ironic, and they are the main part of highlighting the theme and portraying the characters. For example, the discussion and application of the title of the novel, Ah Q's personality and native place at the beginning of the novel satirizes the Confucian theory of "correcting the name", satirizes the rich and powerful people in the old society, and satirizes those who indulge in history and textual research. On the other hand, it also describes the social environment and social status of Ah Q's life, which is closely related to characterization.
(4) The artistic features of the novel language are first manifested in the personality of the characters' dialogue. Sometimes, although it is a few simple sentences, it can accurately express the identity of the characters and highlight their mental outlook. Secondly, the novel uses many old sayings, such as "Who expected Boya to be so open", which is not only concise, but also adds humor and irony to the article. Third, language contains a sense of humor, which is easy to use irony and likes exaggeration, such as Old Q; Fourth, a large number of spoken languages are used, such as "My son beat Lao Zi"; Finally, the language of the novel is accurate, vivid and expressive.
(5) Deconstructing game imitation.
In this work, Lu Xun's preferred object of subversion is the "historical biography" style in feudal traditional literature. In China's traditional literature, there are many kinds of "biographies", such as biographies, autobiographies, biographies, biographies, biographies and so on. These so-called biographies are not only graded, such as the style of emperors and ministers, but also have a strong sense of consanguinity, such as genealogy, which is devoted to describing family behavior and serving future generations. What's more, although China historians all admire the virtue of "straightness", these "genealogies of emperors and generals" are full of false words of praising virtues and whitewashing masters. In addition, in feudal society, written language was monopolized by landlords and intellectuals, and ordinary citizens could not enter the "biography". For example, Ah Q was not only deprived of the right to be surnamed Zhao, but also didn't know his name. Heidegger said that language is the home of habitation. People who have not mastered the language and have not been written in the language of history are of course lost in the time and space of history. Therefore, Lu Xun said that the history of China is "the genealogy of emperors and princes". Mr. Lu Xun's "biography" of a peasant tramp with no name but only a code name is obviously "following the rules". Although the "true story" of the novel is taken from the sentence "a novelist who is hungry for learning calls it" gossip to get down to business ",the name is literally mixed with the calligraphy" true story "written by the ancients, and it does have the meaning of historical biography. Its semantics actually implies that all "transmission" of traditional culture is "distorted transmission". Writing a biography for such a tragic little person as Ah Q embodies the human characteristics of Mr. Lu Xun's writing. Lu Xun not only wrote The True Story of Little Man Ah Q, but also his creative attitude was "disrespectful". In the past, every narrative of China's historical biography was told to the master with a respectful attitude, so the narrative tone of the language was dull and dull. Especially those so-called "heirlooms" show the paranoid personality of ancestor worship and blood family system. Mr. Lu Xun used the material shell of historical biography to write Ah Q in a humorous and witty sarcastic tone, and put the biographical subject in the position of the dissected object, thus adjusting the position of the creative subject and the image subject, making them not only equal, but even looking down from a higher angle, dispelling the worship consciousness of historical biography, thus giving the writer a broader swimming space. Both positive and negative tones are suitable, which breaks the rigid text shell of traditional historical biography and makes it a lively and agile style. In this way, the scope of application of historical biography has also been broadened, not only for emperors and generals, but also for traffickers and pawn. In the imitation of Lu Xun, this kind of blood style level was thus deconstructed.
Lu Xun's parody of China's traditional culture is comprehensive. In The True Story of Ah Q, Lu Xun also imitated the traditional chapter structure and the form of happy reunion. Zhanghui novel is the most popular literary narrative form in modern China. It absorbs the poetic features of China's intellectual culture and pursues a balanced confrontation. In modern times, this style of chapter and sentence has been widely adopted by Yuanyang Butterfly School novels, which has become a form that hinders the spread of new culture. Lu Xun tells the story of Ah Q's life in the form of chapters. Lu Xun's imitation of Zhang Huidi and his disassembly in imitation not only achieved the purpose of communication, but also disintegrated it in use. China's traditional literature is conservative and likes to create a happy ending of good and evil, and likes to let the weak get the joy of anesthesia in "all happy"; Culturally, people like to flatter others, and they like to use "nine" to symbolize longevity. The comedy happy ending of China's traditional novels is a symbol of China people's "perfect" psychology and a typical embodiment of spiritual victory. In art, it formed the tragic spirit that China literature lacked for a long time. Lu Xun's imitation of this point made the reader tied up and beheaded Ah Q in the opposite ending, in the huge gap between sadness and joy, in the actual sadness and narrative schadenfreude, and designed Ah Q into a circle-the details he regretted were not drawn; Especially at the end, he deliberately wrote the tragic ending as a comedy, so that readers can see how pitiful and pathetic it is to have such a "happy ending" and such a "nine".
In addition, there are ingenious plot structure and wonderful details. The exaggerated plot when Ah Q was arrested, the courtship details between Ah Q and Wu Ma, the struggle between Ah Q and idlers, and Ah Q's "happy ending" are all extremely readable and unique.
In a word, The True Story of Ah Q is famous for its profound ideological content and high artistic achievements. This is a work with world influence, and both the famous French writer romain rolland and the Russian writer Gorky have given lofty comments.