Fu In Chinese Classical Novels. On The Image

In ancient Chinese novels, especially in the vernacular novels, there is a kind of special figures such as Li Kui, Cheng Yaojin, Niu Gao, Jiao Tinggui etc. They appear in different novels and have their own characteristics, but they have many things in common. For instance, all of them are clumsy, simple and honest and their kung fu is unskilled. Importantly, they have luck which average people cannot get. Therefore, they are called"Fu-jiang".The figure"Fu-jiang"is a rising research subject. By far, the domestic research about it is far from thorough in spite of the significant research findings. And the scholars hold various opinions about the nominatum and category of the conception"Fu-jiang". Moreover, the research lack of system aticness and comprehensiveness decides the broad prospect about the subject. In fact, the figure"Fu-jiang"mirrors the images of legitimate heroes and the figure system constituted by such figures pictures a new image for the ancient novels. The molding of the figure is very helpful to promote the development of plot. In addition, it embodies profound esthetics significance and manifests the effort of the ancient novel putting into the comedy esthetic category.This thesis is divided into five chapters. The first chapter is introduction. It mainly introduces the research conditions home and abroad and the significance and purpose of the thesis. Only a few of scholars devoted to the research about the figure in China, and Luo Shuhua from Fudan University is one of them. The research findings fail to form a critical elaboration system. That is why the author selects the subject. Specifically, based in the previous achievements, the author intends to elaborate the figure in a detailed and systematical way.The second chapter is the general description about the figure. There are two sections. The first section states the accurate conception of"Fu-jiang", which serves to basis of the following elaboration. Critical comparison and summarization about several definitions are attributed to the formation of the conception. The second section mainly discusses the changes of"Fu-jiang"in novels. The earliest"Fu-jiang"is not the same as the one we refer to now. They are high-ranking military officers with brilliant battle achievements such as Cao Ren and Zhao Yun. The figures we refer to are ugly, unskilled and honest with good luck. The archetypes of such figures can be found as signs of characters in Chinese history. After long-time changes, the figures shift to ones in literary term.The third chapter reveals the characteristics of"Fu-jiang". It includes four sections. The first section portrays their appearance characteristics. Their ugly appearance vividly conveys their status. In the second chapter, their characters are described. Most of them are simple, honest, innocent and frank with a little wit. Their rebelling and unorthodox traits are stated in the third section. Compared with the orthodox heroes, they oppose the feudal morality. The forth section is about the comical and legendary characteristics of the figures. They have astonishing good luck. They often accomplish battle achievements in a muddleheaded way, which the orthodox heroes cannot do. And their behaviors often raise a laugh from others. That is true for their appearance and stupidness.The forth chapter is the causes of formation of"Fu-jiang". It is composed of five sections. Each of section talks about a cause respectively. Firstly, the figure is popular to people with view of its appetency. Secondly, its rebelling trait echoes people's rebelling subconsciousness. Thirdly, The formation of the figure depends on the promotion of the mainstream of thought and the fiction theory at that time. In the late of Ming Dynasty, the philosophy of the mind, especially, the one of childish mind was prevailing. The childish mind is innocent mind to some degree. The native and simple characters of the figures represent the king of mind. What is more, the critiques were various at that time. Such fiction theories as Jin Shengtan's"indirect description"contribute to the figure's formation. Fourthly, the traditional culture influences its formation."Fu-jiang"originates from the traditional humorous culture in China. Finally, by acceptant aesthetics, the works"Fu-jiang"appears are mainly vernacular novels or story-telling copies, which cater for the readers with little education. The features of"Fu-jiang"are attractive to theses readers. Therefore, the formation of the figure is not accidental.The author devotes the fifth chapter to the literary value and significance of"Fu-jiang". The chapter is divided into three sections. The first section talks about the indispensable roles the figures plays in promoting the development of plot. Their actions can push the climax and increase the vividness of the plot or raise the readers'interest. The second section is applied to explain its set-off effect. It not only can set off orthodox heroes but also influences a lot on itself. The third section claims that the figure's aesthetic meaning is significant. Although the conception of"comedic trait"is not proposed by Chinese scholar, the molding of"Fu-jiang"manifests well this kind of trait.In brief, Fu-jiang was locally borned and brought up in the traditional literature soil, is the literature own and novel develops the certain degree product in particular. The legend, the comedy characteristic and so on rebel of Fu-jiang, all has in the Chinese history of literature its deep soil and the remote origin; Fu-jiang not only has same or the similar general character, moreover became a kind of special character type in the ancient times novel character system by its bright characteristic, and it had the literature value and esthetics significance which could not be substituted.