Why Lu Xun Is the Most Successful in Portraying "Others" and Why?

Introduction

The true story of Ah Q is the most read piece of Chinese literature due to its great masterpiece in characterization and narrative. Lu Xun is the most successful in portraying "others" since growing up in difficult times the writer is influenced by the anti-feudal sentiments and anti-imperialist in his youth and decides to use literature as his tool for change. AQ has the confidence to remain spiritually strong even in danger, underestimates his enemy and overestimates his power. AQ was unable to let go of his blind courage even after he failed and instead he erroneously misapprehended things to feel in control (Lu, Xun 75). To heighten his sense of enlightenment, he smashed those around him, especially the small figures. Lu Xun portrayed AQ to aid in raising awareness of the individuals at that time that had an equal psychological state as AQ (Lu, Xun 76). AQ is both understandable and pathetic, and from him, one can feel the hard life of the people of low status and how they want a better life, but they cannot get it. These people were in most times under the governance of others, with little hope, they were the tragedy of that time.

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What difficulties do you sense the narrator encounters within those memorable narratives of "others?"

When sighted in the view of his long perplexity as a contemporary Chinese intellectual, the duty played out by the narrator in Lu Xun's fabrication becomes even more significant. "The true story of Ah Q," characterized as a third person narration is more ambiguous and more complex than often assumed. The dilemma of Lu Xun is reflected in the context of the narrator. The narrator encounters difficulties when he enters the soul of the protagonist. The omniscient narrator often appears as "I" and "we" and faces the readers directly. First, the narrator opens by saying "for several years now, I have meaning to write the true story of Ah Q (Lu, Xun 63)" he then introduces the characters surname, name and native place in a manner of the traditional Chinese fiction. Despite this, the reader still lacks some information about him. Nobody mentions his family background again, and the narrator stays confused about his family name. His native place and home are not also clear (Lu, Xun 63). In the traditional Chinese fiction, the omniscient narrator usually relates necessary information on the character in an authoritative manner.

The thinly ironic narration brings out the narrator's emotion and his sorrows between the lines. Because AQ is executed, everyone believes he was an evil man. The people in town are eager to witness the desperate struggle of a convict awaiting trial (Lu, Xun 110). All these people are ignorant, cold, detached, stupid, and enjoy suffering and destruction of life. They are "spectators of drama" who want to feel good while a man lays down his life.

Elaborate the various impediments to writing about others, in other words, limits of realism.

LimitsMany of Lu Xun's stories are unsatisfactory performances. Chinese and modern critics of Chinese literature accord to his short stories to be not according to the quality of the author's narrative imagination. Some lines offer accounts that do not achieve their full dramatic potential, while others are crowded with influences of plot lines that would appear melodramatic if they were not mediated by an ironic narration (Anderson 77). Another limitation is the fear of guilt of disseminating the spectacle of violence which the narrator must escape by ensuring that they disallow the unthinking transmission of the original message. There is a frequent expression of concern that readers will be infected by the same consciousness and inoperative social justice the narrator has felt alienated from.

Success

It is the moral introspection of Lu Xun that other critics and writers in China have responded to enthusiastically. Lu Xun' story, like other fictions of realist writers in the 1920s, highlights the interpreted procedures through which the content is evaluated. He brings forth these informative interests into his fiction through a broad array of formal stylistic innovations that confers an unprecedented degree of aesthetic self-consciousness to his fiction (Anderson 79). Another one of the successes in the work of Lu Xun is his ability to develop treatment of ritual victimization. Ah, Q's lack of position in the society is because individuals are powerful through family ties.

Works Cited

Anderson, Marston. The limits of realism: Chinese fiction in the revolutionary period. Univ of California Press, 1990.

Lu, Xun. The real story of Ah-Q and other tales of China: The complete fiction of Lu Xun. Penguin UK, 2009.