On the Female Images in Lu Xun's Novels

Tomorrow is one of Scream and the first novel written by Mr. Wang to describe rural women. The story is that the protagonist's sister-in-law Sans is a poor widow whose husband has passed away. On weekdays, she only relies on her own hands to spin cotton yarn day and night to support her and her three-year-old son Bao Er. She can say that there is no luxury in life, and the only hope is to raise Bao Er and live a long life. Especially Bao Er stared at a pair of little black eyes and thought for a while and said, "Mom! Dad sells wonton, and when I grow up, I also sell wonton and sell it for a lot of money-I'll give it to you. " How the child's childlike desire and true love for his mother warmed the poor mother's heart! This also brings a lot of strength to Sister Sans! At that time, even the spun cotton yarn seemed to be interesting and full of life. It is this ordinary and tiny hope that supports this widowed woman's tragic heart and gives her the courage to struggle for survival ... Mr. Wang, with his profound artistic brushwork, portrayed the suffering image of working women in China through "Sister-in-law Mountain Temple". She breathes under the cruel pressure, but she can still endure the suffering of life silently for a little warmth on earth. Only to find that so little comfort is gone. Illness and quack took Bao Er's life, which was tantamount to taking the widow's last hope. Sister-in-law Shan is so simple, kind and quiet. Bao Er is so cute, energetic and filial. There is no "extra" requirement in their mother and son's life. She just works all day for the minimum living conditions. They have been exploited, don't know what real happiness is, and can only "warm up" each other through mother-child affection.

Sister-in-law Shansi is a widow. She has no complaints about society. I think under the influence of the so-called oriental civilization, she should have been numb and lost her "loveless sadness" Because in China's old adage, it has long been stipulated that a dead husband can't remarry and can only keep a festival. So there are so many archways in Huizhou. The miserable life gave her a faint hope, just struggling, struggling to raise children. When this faint hope is also disillusioned, Sister Sans, whose husband died and her children died, can only pin her "loveless sorrow" on Bao Er's sleeping soul. Mr. Lu Xun described the living environment of Sister Shan in this way: "Inside the door are Wang Jiuma's green skin and Ah Wu, and outside the door are Xianheng's shopkeeper and red-nosed old arch." They all gathered around the poor widow, but who really gave her any sympathy and warmth except burning paper money to buy a coffin and swallowing a little savings of the widow as usual? It can be said that the living environment of Mrs. Shan Sisao is suffocating. As Mr. Wang said in the preface to Scream, "All stupid and weak citizens, no matter how healthy and strong, can only be meaningless propaganda materials and spectators, and there is no need to think that they died unfortunately." This also reflects a creative mode of Lu Xun's novels-the mode of watching and being watched. Why did the feudal patriarchal clan system last so long? I think that ignorance, indifference and indifference between people have become an important pillar for the feudal ruling class to maintain the patriarchal clan system.

The unfortunate experience of Sister-in-law Sans truly summarizes the tragic fate of working women under the oppression of feudal patriarchal clan system and ethical code. Mr. Wang borrowed such an ordinary story, that is, the small tragedy of the ordinary life of the working people in old China, in order to reveal the tragic life of that whole era to the world. His thoughts are concrete and profound: the dark patriarchal clan system and the feudal old ethics trampled on millions of working people in slavery, and even the basic and reasonable desire for life of Sister-in-law Sansi was brutally deprived. Imagine what kind of "tomorrow" will be waiting for Sister Sans? Mr. Wang once said: "Since you are crying, you have to listen to the will, so I often don't care about using a crooked nose to put a wreath on my son's grave in medicine." Tomorrow, I won't tell Sansao that she didn't realize her son's dream because the Lord didn't advocate negativity at that time. " If it is stated that Sister Sans didn't see her son's dream on a quiet night, it will add a sense of sadness, but it will make the novel more profound. However, Mr. Wang didn't do this, which was the result of his taking Qian's advice and using "pen removal". Because money didn't advocate negativity at that time, Mr. Lu Xun did not hesitate to break his original ideas in order to make his works "show some bright colors" when he revised his novels. This also reflects Mr. Wang's philosophy of "love", because in that society-thick darkness. Waiting for this poor widow will only be heavier, more endless pain and sorrow, longer and darker ruthless years. This ordinary tragedy is also the epitome of the tragedy of that troubled era. Therefore, the image of Sisao in Tomorrow can be summarized as reflecting the characteristics of her husband's "love" for women. That is love-caring for everyone who is alive.