Lu Xun And The Theme Of Fool In Humorous Cultural Tradition Of China

In the humorous style and comic atmosphere of Lu Xun's works, the laughter caused by fools and fools is obviously of great significance.

This, of course, is related to the criticism of the central theme of Lu Xun's creation -- ignorance of the national spirit, but it must also be pointed out that many of the foolish figures in Lu Xun's works are potentially subtle related to the fool's theme in Chinese humorous cultural tradition, which can be said that the "fool's smile" in Lu Xun's works is deeply rooted in the depth of Chinese humorous cultural tradition and has deep internal relations with our tradition.

In the humorous cultural tradition of China, fools and related things occupy a very important position.

In the works of pre Qin philosophers, he can see these wise men's narration and sarcasm about fools and follies of reality or fiction.

Fable, such as cutting the boat and seeking sword, buying the right person, waiting for others to wait, and so on, are the allegorical stories with the theme of fools and follies.

Sages use these stories to remind people of their limitations and limitations in intelligence and thinking.

From this perspective, these fools and follies and deeds are not the object of ridicule and satire, but the symbols of stupidity and ignorance of human beings. They are like a distorted mirror, showing another exaggeration but not necessarily false appearance of people.

Therefore, it is better to say that these fable fools are laughed at than those who are laughing. They are disguised as masquerade, mask, and a mask for the wise to imitate the stupidity and ignorance of human beings.

Chuang-tzu is a typical example of this.

"Fable nineteen" of Chuang-tzu is mostly "the theory of absurdity, absurd words, the words of endless precipice". It is "the world is cloudy, not the Zhuang language."

And the secular. "

In Chuang-tzu's sword, Chuang-tzu's story of King Zhao is typical of a disguised speech.

This wisdom contained in the fool's image (mask) is abstracted from a broader and deeper cultural whole - the daily wisdom of survival of the general public, and will inevitably be reintegrated into people's culture and survival wisdom, and further enhance and strengthen the latter.

If the story of fools in the fables is written in disguised speeches, then the records of haiku's comic advice can be seen as a realistic version of this kind of disguised speech.

The records in the historical records and the biography of the legend are quite typical: the eight year of the king of Wei, Gazi of Chu Da FA.

Qi Wang made Chun Yu Zhao Zhao rescue troops, Jin Jin Jin, ten horses and horses.

Chun Chun Chun Yu laughs at the sky and crowns.

Wang Yue: "Sir, is it rare?"

He said, "why dare!"

Wang Yue: "does laughter mean anything?"

He said, "today's ministers come from the East, see the road near the field, hold a hoof hoof and wine, and say," Ou is full of bonnets, full of pollution, full of grain and cooked.

If a minister sees his supporters narrow and desires, he laughs. "

So the king of Qi is worth ten gold, one hundred and four.

Let's go to Zhao.

Zhao Wang and its elite soldiers one hundred thousand, leather car thousand ride.

Chu heard of it, night led soldiers away.

The way of admonishing the fool's fables is almost the same as the disguised performance of the fables written in the prose.

The difference is that Chun Yu Yu's speech is more realistic in the face of the potential pressure of the authorities, so he presents a fool's image (also a fool's mirror) to the other side and presents himself with a humble mask.

And the gifted in the same mission simply put on the mask of a fool for himself, and directly reflected the stupidity of those in power by himself as a mirror.

He said, "good.

Among the animals, the Kou came from the east to make the elk touch.

The first emperor stopped by reason.

I want to paint the city.

He said, "good.

Although the Lord is silent, he will be invited.

Although the city of lacquer is worried about the people, it is very good.

Lacquer city is gone, Kou can't go up.

That is to say, it is easy to paint the ear and to care for the shade. "

Then he laughed and ended up laughing.

These records reflect the so-called "good advice" tradition.

As Feng Yuanjun said, "hide the truth in the funny comedy, so that the listener will not feel unpleasant and willing to accept it."

In the Han Dynasty, Liu Xiang also strongly advocated the so-called "satire and admonition" in the "say court".

It is better to die than to die.

If you don't need it, you will not be able to do so.

A wise man is a ruler. When he is in power, he will adjust his urgency.

You don't dare to danger you, and you don't want to be in danger.

Therefore, in the country and the country is not in danger, in the body and body is not perilous. "

This kind of discourse reveals the wisdom contained in this comic way of admonition, intentionally or unintentionally, a wisdom which is skillful in resisting and resisting the ruling power.

However, he is disguised as a fool who intentionally or unintentionally identifies himself with all kinds of strange thoughts and thoughts of the cruel and violent monarch, but reveals his absurdity at the same time.

It is through such a pretending to pretend to be stupid, or to make stupid remarks, to downgrade himself to the same standard as a stupid person, but thus make his stupid speech a mirror, exposing the other's stupidity, and even making the powerful hand have to admit his stupidity.

As Bakhtin thought, "stupidity, this is the opposite wisdom, the opposite truth.

This is the opposite and bottom of the official rule of truth. "

However, unlike Bakhtin's "ignorance is first manifested as a lack of understanding and deviation from the rules and procedures of the official world", the so-called feigning ignorance is deliberately showing a kind of understanding and identification of the "rules of the official world" - or, more accurately, over understanding and identification, and from this understanding and identification skillfully to the contrary.

It can be said that feigning attitude is actually a mixture of sages and fools, witty humor with a fool's mask.

In the later cultural history, we see that this feigning fool has formed an unbroken humorous tradition. In people's daily laughter and conversation, the stories of fools and fools and wise men are handed down from generation to generation.

For example, in the Qing Dynasty, Li Yu recorded a story about Dongfang Shuo, the most famous comic and wise man in ancient China. When he was "Han Wudi", he had a good person.

Dongfang Shuo laughs and plays with disrespect.

The emperor is responsible, Shuo said: "the minister is not laughing. His majesty is laughing at Peng Zuer.

One inch of a person is 100 years old, and Peng is eight hundred.

If you have eight inches in your face, you will be smiling for a long time.

These two things are wonderful and humorous. Isn't it a wonderful comic?

It is like the smile of the retreats in the Qing Dynasty. It is said that there are those who tell the famine, and the officials ask the wheat harvest several times, and say, "three points."

Asked a number of cotton, said: "two points."

Asked rice again, "two points."

Official anger said, "is there seven years old?"

To say, "a hundred years old, we have not seen such a famine."

The official asked, "over 70 years in a year, the eldest son is more than 40, and the next son is more than thirty.

Set the whole room roaring with laughter.

These stories have a common characteristic. They all identify themselves with the foolish foolishness of those in power.

These humorous stories obviously have far-reaching influence. At least, from Li Yu's point of view, the humorous and interesting interest reflected in these humorous stories must be closely related to the laughter and joking of Chinese traditional operas.

For example, it is said that there is a plot in the drama "Song Dai Xiao" written by Xu Wenchang, a writer deeply influenced by folk culture, that the state official forbids the people to light the lamp, and discusses the advantages of the forbidden lantern with the surnamed Wei.

(Wei) why?

(state) there are three advantages in not lighting the lamp. There are three pests.

(Wei) would like to hear the good news.

(state) Mian Yan is late, there is a long time, a harm is also; lamp Zhang oil fee, money is not used, two harm is also; defense is changed, more trouble, three harm also.

If one does not, then it will be better to sleep, and the cost of fuel candles is not to be lost. It is not the three way to say "no".

(Wei) is really good for the good, but for the living.

(state) Yes, yes.

(singing) really should spread the rule of virtue, and do not waste the body.

(BAI) Wei Zhai, you used to be a good man. You will be half as good as you are today.

(Wei) thanks a lot for your old parents. Let's hope that the lights will be banned.

(singing) why not firefly?

(Wei) summer can be, winter night (state singing) snow window screens.

(Wei) spring and autumn?

(state singing) also goes to study with the moon.

(Wei) the moon is obscure (state). You read it all year round, and you have no use for this day.

(singing) right is more valuable than anything.

(all) the ancients also need to steal away the light.

(state singing) on stealing the light, we should go to gouge.

(Wei) old parents, there is also a ban.

(state) ho ban?

(Wei) and ban Yue Ming.

(state) yes.

(singing) he was asked to enter the people's home.

(Wei) is so, the students dare not read with the moon, fear and accomplice......

In the face of the state officials who had been forced to argue, the scholar began to adopt the strategy of foolishness and foolishly. He foolishly expressed his high opinion of the forbidden lantern, which was advocated by the state officials, and even overstated this false logic. He proposed that he should build a memorial tablet for the state officials, and then he would talk with each other about the alternative to the forbidden lights. At last, he even suggested that the state officials "ban the Moonlight" along with the state officials' ideas, and put the logic of the other side into a ridiculous situation.

Then he attacked the shield with his son's spear, and put forward "dare not read with the moon".

Of course, this is no longer a ridiculous admonition. This feigning fool has become a teasing and a kind of being played and played by the rulers to those in power.

It is in this hypocritical flattery that the person in power is ridiculed and ridiculed by the characters in the play.

Lu Xun has obviously inherited this kind of humorous strategy. In some of his works, he often used his pretending narrative attitude. For example, the opening of "the true story of ah Q." he said he wanted to make a pass for Ah Q, but his tone was serious and serious. But from the second paragraph, he began to discuss the biography, but his tone gradually became humorous and funny, and this funny effect came from the narrator's serious discussion of some silly questions: "there are many kinds of names."

Unfortunately, they are different.

"Biography", this piece is not in line with many rich people in "official history"; "autobiography", I am not ah q.

Where is the "biography"?

If you use "internal biography", ah q is no longer a celestial being.

"Ah biography", ah q did not have a big president to declare the "biography" of the National History Museum.

Next is the "family tradition". I do not know if I am the same as Ah Q, nor have I been invited by his descendants.

This paragraph can be described as "equally harmonious", and some of them are called "I am not an Ah Q" or "Ah Q is no longer a celestial being".

When he came to the following paragraph, especially when he said he did not know how to write the name of Ah Q, it was even more obvious that he said silly things in a serious and solemn manner. I thought, ah Quei, ah GUI or AI GUI?

If he had a birthday Pavilion, or had a birthday in August, it must have been ah Kui; and he had neither the number nor the number, but no one knew him, and had never heard of his birthday essay.

If he had a brother or his brother called A Fu, it must be A Gui; and he was just a person: writing A Gui, there is no evidence.

The remaining words of Quei are more remote.

Previously, I also asked Mr. Zhao's son, Mr. Mao Cai, who was so ignorant of such a public character. But it was concluded that Chen Duxiu had run the "New Youth" to promote the foreign characters, so the national essence was destroyed.

My last resort was to ask a fellow countryman to check the files of Ah Q's offense. After eight months, he replied that there was no one in the file that was similar to the voice of Quei.

I didn't know whether it was true or not, but there was no other way.

For fear that the phonetic alphabet is not yet available, we must use the word "foreign word".