The Relationship Between The Ideology And Artistry Of Lu Xun’s Novels And Shaoxing Dramas

Lu Xun and Shaoxing dramas have a long-lasting relationship. Shaoxing dramas, an essential part of Lu Xun’s folk memory, left a deep impression on Lu Xun during his adolescence. Until the last years of his life, Lu Xun was still immersed in his childhood memories of Mu-lian Drama. Having been influenced by dramas since his childhood, Lu Xun not only highly-praised Shaoxing dramas in his essay and prose, but also adopted the essence of folk dramas in his novels. Therefore, Lu Xun’s novels display a distinct characteristic of local culture. Based on Lu Xun’s novels, this paper focuses on the relationship between Lu Xun and Shaoxing dramas. Through the cross-arts perspective, the paper elaborates ideology and artistry of Lu Xun’s novels as well as its adoption, development and recreation of Shaoxing dramas.The paper consists of five parts. The introduction introduces related domestic and foreign researches, highlighting the thesis’research significance and value. The main body is composed of four chapters:Chapter one presents an overview of Shaoxing dramas and its relationship with Lu Xun’s work. Then through the comparison between Lu Xun’s works and Shaoxing dramas, the paper discusses the similarity between Lu Xun’s work and Shaoxing dramas as well as the development and recreation of Shaoxing dramas in Lu Xun’s work. Degree of Lu Xun acceptance of Shaoxing dramas and his thinking style are also elaborated in the paper. Chapter two explores the revelry hue of Lu Xun’s novels and Shaoxing dramas from the spiritual level. He integrated the carnival spirit from Shaoxing dramas into his novels. On the one hand, he observed the world by means of carnival thinking; on the other hand, during the process of novel creation, he used language tactics to incorporate heterogeneity and carnival colors into his work. Chapter three mainly focuses on characters in Lu Xun’s novels and Shaoxing dramas. Zijun, a represented female character, displays female crane shadow; Ah Q reflects the distortion of human nature and abnormality through singing Shaoxing drama; the living philosophy in Onlookers and Everything is Drama originated from Lu Xun’s thoughts on Shaoxing dramas- "stage is a small world, world is a large play". In terms of character creation, Lu Xun adopted the method of "describing a person through his voice" from Shaoxing dramas, adding the musical beauty into his novels. Chapter four analyzes the artistry of Lu Xun’s novels and Shaoxing dramas from the narrative perspective. In terms of narrative scope, Lu Xun and Mu-lian Drama not only have similar regional culture selection but also similar aesthetic preferences. Both of them focus on the construction of subject spirit space, creating a hard and firm "iron house" featured by enclosure and suffocation; for the content of narrative, Lu Xun’s novels narrative style benefited from "Second-Buffoon" of Shaoxing Opera and Mu-lian Drama’s inserting artistic techniques, thus extending the novels’ narrative connotation.With the comparative study of Shaoxing dramas and Lu Xun’s novels, this paper broadens the across-art study of Lu Xun’s novels. Shaoxing dramas brought dramatic aesthetic effects to Lu Xun’s novels, exploring the theme and implication of the novels. However, Lu Xun’s acceptance of Shaoxing dramas is recreation. He incorporates modernity into his creation during the process of applying life experience into art. It criticizes the backward factors in dramas, makes use of its merits and creates arts to culture national character, thus forming the distinctively aesthetic style of Lu Xun’s novels.