An analysis of Lu Xun’s work “Cousin” No. 9
Lu Xun (1881 – 1936) was a famous Chinese writer, born in a declining mandarin family. From a young age, he left his family, determined to find a new way of life. He in turn studied navigation, geology, and then medicine. But in the end, he decided to switch to literary activities, because he thought that literature was a powerful weapon to “transform the spirit” of the people who were in a state of “foolishness” and “cowardice”.
He left behind a massive and varied literary career. The Hometown is an excellent short story that vividly depicts the miserable life as well as the mental state of the Chinese peasants under the semi-feudal and semi-colonial regimes from the perspective and contemplation of the characters. I”.
Lu Xun’s hometown carries a dreary sadness. Sadness from the scenery to the people. Twenty years apart, I have to travel two thousand miles to visit my old village in the middle of a cold winter day. On the way back to the village, the sky became more and more gloomy, “my” heart fluttered, and the images of the old village still remained in the memory.
Looking through the slits of the boat’s hood appeared before my eyes “me” far and near, a few desolate, desolate hamlets, lying dormant under the golden sky. Looking at the scene that “me” heart shrinks. The image of the old village in “me” memory is not exactly like this – the old village is more beautiful than that. I wondered: “It’s just that my mood has changed, because on this visit, my heart is not happy”, returning to sell the house and hand it over to the new owner. returned to say goodbye to the dear old home, where the whole extended family “we” lived together forever. And also to say goodbye to the village, where each other’s umbilical cords were buried, to bring “the whole family to a foreign land where I do business and live”.
Arriving home in the early morning, I looked on the tiled roof, a few dry thatched stalks fluttering in the wind “clear enough that the house cannot change owners”. My mother was very happy to see me, but her face still had a hidden sadness. Maybe she’s sad because our family’s situation is declining, sad because the village is lonely, dreary, and maybe also sad because she has to sell her house… Mother “me” is still the same as before, considerate, caring, consider “me” as a child. She also reminded “me” to visit neighbors and relatives and also mentioned Mr. Nhuan Tho. And she told him when “I” came back.
Referring to Nhuan Tho, the memory of “I” suddenly appeared a strange, fairy-tale scene: “A full moon hung in the dark blue sky, under a sandy beach beside the sea, planted with all the trees. watermelon, a bowl of green. In the middle of the melon field, a boy about eleven or twelve, with a silver necklace around his neck, a trident in his hand, was trying to stab a catfish. Although it has been more than twenty years of separation, “I” still clearly remembers the first day Nhuan Tho came home – He was born in a leap month, with five elements missing in the earth, so his father named him Nhuan Tho.
Now he had “a round face, a honey-colored skin, a little sheep-fur hat on his head, trying to wear a shiny silver ring.” He found everyone shy, just not shy with “me” alone. He told the province he could see things he had never seen before. Just as “I” had never heard of stories about snares of field sparrows, crested squirrels, maggots, and green-backed sparrows; Never knew the shells, which are “devil face”, “Buddhist hand” oysters. And don’t know what the cat is, just imagine it as a puppy but more fierce.
Nhuan Tho learned many new things, because while Nhuan Tho lived on the coast, “my friends” as well as “me” just looked at the square piece of sky on the four walls that covered the floor. How many years have passed, now that “me” mother mentions Nhuan Tho, the memory of “me” suddenly brightens up, “I” feels like I have found my beautiful hometown somewhere. Childhood is associated with the homeland, every person is born with a homeland to love and remember even if it is just a small countryside, a dear street corner… The image of childhood Nhuan Tho is the image of the homeland in which “me” also has a piece of life.
The image of Nhuan Tho in the present is the pain, the dreary decay of a human being, the sadness of my homeland after more than twenty years of separation of my character. Currently, Nhuan Tho’s skin becomes “dark yellow”, with more “deep” wrinkles, “red rimmed” eyelids. Wearing a “tattered” fleece hat, wearing a “thin-sticky” cotton shirt, “shrinking with flu”, holding a paper wrapper and a long cigarette pipe.
The hand is no longer the pink, nimble, stout, tough hand as before, but “both rough and heavy, cracked like pine bark”. Time and poverty and hardship have changed the spiritual appearance of people. Meeting “me” again, Nhuan Tho’s face was “both joyful and sad”, lips moved, speechless. Then, with a respectful posture, say hello: “Mr.
It was a very unexpected thing, “I” was dumbfounded, because in my heart “I” was preparing for a meeting of the once friendly love that flowed out like flowing water, what they yearned for in their hearts. and save what’s in the past to make a journey for the future. But then everything was re-selected, perhaps the hierarchical order and feudal rites created “a rather thick wall separating” between the two friends. One day, “I” asked his family, “You just shook his head”. The deep wrinkles on his face “absolutely do not move”, he looks like a lifeless “stone statue”.
Nhuan Tho suffered because “many children, lost seasons, heavy taxes, soldiers, thieves, mandarins, nobles” tormented his body, making him “dumb, dull”. Song Nhuan Tho also suffered from mental burden, because of superstition, because of the old concept of caste. Nhuan Tho is the embodiment of the sufferings and tragedies of the Chinese people under the corrupt feudal system, the image of a shabby, ruined village.
Thereby, the author strongly condemned the crimes of the contemporary regime, thereby raising the issue of people’s right to life and happiness on the way forward. This was mentioned in the magazine article Why I write novels, Lu Xun made it clear that he often chose unfortunate people as his subject. With such a choice, in contemporary historical conditions, it is possible to do a double job: both to expose the cancer of the “sick society”, and to “remove the disease” of the laborers themselves. “Make people pay attention to find a cure”, (quoted from Teacher’s Book – Literature 9, volume 1 – Education Publishing House).
The decline in mental appearance must also be mentioned about the character of aunt Hai Duong – “the lady of Tay Thi tofu”, in the past “with lipstick”, so many people were captivated by her beauty. Today, “two protruding fists, thin lips” have prying words; infamous actions, sometimes taking socks, sometimes taking the “killing sentence”… Aunt Hai Duong is also the embodiment of the impoverishment of the contemporary peasant class.
And Thuy Sinh is the image of Nhuan Tho more than twenty years ago, the only difference is that of Nhuan Tho in the past: “trying to wear a silver ring”, Thuy Sinh in the present: “not wearing a silver necklace”; Nhuan Tho in the past: “round face”, Thuy Sinh in the present: “yellowish, thin…”
With the artistic method of recollection and comparison, Lu Xun reflected the decline in all aspects of Chinese society in the early twentieth century, at the same time pointed out the causes and condemned the feudal forces that created the So the sad situation on each human’s fate from the shabby countryside, the typical thing is the character Nhuan Tho.
And it must be added that, in the spiritual life, the personality of the workers at that time was also too heavy on feudal rites, and the outdated hierarchies were also the cause of pushing them into the deadlocked path. wandering, unable to find the way as Lu Xun chose from his childhood.
During the days in the countryside, “I” couldn’t help but feel sorry and worried because I had to witness the destruction of the homeland and the impoverishment of the people there. Because of poverty and hardship, people in the countryside have partly changed, that is greed, pettiness, even infamous actions like Aunt Hai Duong. In fact, they are people who also deserve to be shared and sympathized, especially Nhuan Tho.
Near evening, “my family” got off the boat to leave the countryside and return to a new place. In the sunset, the mountains, the two banks of the river “dark”, one after another running backwards, the old house is getting further away, the scenery of the old village also fades. I sat in the boat compartment feeling “extremely lonely, stuffy”. “I” thought: “Even though Nhuan Tu and I are so far apart, our children and grandchildren are still close. Isn’t Hoang’s grandson dreaming about Thuy Sinh? I wish they wouldn’t be like us, never have to fight each other…
But I also don’t want them to have to work hard and run around because of their closeness like me.,,, they need to live a new life, a life that we have never lived.” Those are the desires, worries and hopes that she will be renewed.
At the end of the work, the image of the road appearing will be renewed and “me” thinking: “If you call it hope, you can’t say what is real and what is not. Just like the roads on the ground; In fact, on the ground, there is no road. People go into the road forever, the only”. The image of the “road” is a signal that shows the belief in social change, finding a new path for the Chinese people. In the early years of the XNUMXth century, the path of creative, inquisitive learning. new one. And it can also be the way to Marxism-Leninism, the way of revolution.
The short story of the homeland has an end-to-end structure that corresponds to the emotional development and thinking of my character. From my faint sadness on the way home and ending with hope on the way out. That is the artistic intention that Lu Xun wants to express his love for the homeland of the character who calls himself “I” in a realistic, vivid and reasonable manner.
Ancient Home is a short story with a memoir. Recounting the last trip home of the character “I”, the vibes of “I” before the change of the aunt, especially Nhuan Tho, Lu Xun criticized the feudal society and feudal etiquette. , and at the same time set out the path of the Chinese gradually in the early years of the twentieth century for everyone to ponder.
The story has the main mode of narrative expression, but it has a vivid combination with descriptive, expressive and argumentative elements to give the story a rich color reality and the author’s attitudes and thoughts before. the reality of the motherland.
An analysis of Lu Xun’s work “Cousin” No. 7
The Hometown is one of Lu Xun’s best short stories written on rural themes. Every word and every sentence is full of deep, deep love. Through childhood memories, the author expresses sadness at the changes of people and countryside – and also shows faith in a bright tomorrow. Reviving before the eyes of the character “I” is the image of the past and present homeland.
Back home, my heart “me” is emotional. Usually, everyone is happy when they return to their hometown, but with “me”, it’s different.Looking at their hometown, their heart will shrink, “I” wonder: “Is this a dear old village?”, going back to my hometown to sell my house, Allotted land, faced with poverty, the sadness increased. Homeland in many pages is often associated with ancestors. Lu Xun went in a different direction – he focused on expressing his childhood memories. That was the friendship with Nhuan Tho. .
Thanks to you, I know many strange things, Nhuan Tho showed me how to make bird traps, identify shellfish and the work of a melon farmer. Nhuan Tho opens in “me” a beautiful countryside scene like a fairy “the full moon hangs above the blue sky, below is a sandy beach… a bowl of green …”. Talking about the countryside, first of all, it is about the people. That’s dear mother. “I” just entered the house, my mother ran out.
I’m happy, but there’s still a sadness in my mother’s heart – sad about the home scene, because of the memory of the deceased, especially about to go away. However, the mother is still kind, taking care of “me”, kindly instructing “me” to visit neighbors. Thanks to my mother, “I” remembers Nhuan Tho and gets to see old friends again. Seeing people living in people, her mother was warm and friendly, sympathizing with the life situation of a poor farmer with six children. Kindness, love is the highlight of a mother.
Homeland is also childhood friendship. Nhuan Tho and “I” only met in January, but for the rest of their lives, “I” could never be forgotten. After 30 years, the image of Nhuan Tho at the age of ten still clearly shows “a round face, honey skin, a pair of tiny fleece hats, a shiny silver necklace around her neck”. Nhuan Tho is shy with everyone – except “me”. The two children are honest with each other, Nhuan Tu confesses things he has never seen.
As for me, bird traps, melon soup, seashells, and snail shells are more attractive than fairy tales. Through the character Nhuan The, Lu Xun affirmed: Without childhood, there is no homeland. Friendship makes country love not fade. Mother mentioned Nhuan Tho, “I can find out where my hometown is beautiful”. Nhuan Nhi in her childhood is the image of her hometown with a beautiful past. It is part of “Old Home”. In contrast, the current Nhuan Tho is the pain of the homeland.
Time ravages people, ravages the homeland that is already poor. The old society destroyed both the appearance and the soul of man. From a strong and resilient place like a fairy prodigy, Nhuan Tho became a person with the flu, rough, heavy, cracked hands like pine bark. Meeting “me” again, Nhuan Tho was both happy and sad, moving her lips forever before she could say two words “Bam Grandpa”. Feudal rites “dead” childhood friendships, creating a wall between them in a thousand ways. Nhuan Tho turned into an emotionless, soulless stone statue.
Along with Nhuan Tho is Ms. Hai Duong – Tay Thi tofu. In the past, this character used to captivate many people… But now he is shameless and ugly – Sometimes he tugs at the back of his pants with a pair of socks, sometimes he rewards himself by grabbing the murderous crane, then run variable…
The image of Hoang and Thuy Sinh makes me worry, I don’t know what will happen to the two children’s friends? Through the trip back to his hometown, before the transformation of Nhuan Tho and the place where the umbilical cord was buried, the author condemned the feudal system; thereby raising the issue of the right to life and happiness on the way to the future.
The image of the road that appears at the end of the story leaves a lot of impressions. There is no road on the ground. That truth is so simple! Yet, no one spoke out. Do not know the way of livelihood, the road of gratitude, the path of suffering, happiness … formed since when? In Co Huong, there are nine times the image of the road appears.
It is the way of life that brings “me” back to my homeland, to face reality, to return to the past with beautiful and peaceful memories; that is the way of livelihood of the poor, ignorant rural people like Nhuan Tho; that is my livelihood, my career path… But at the end of the work, from the real path, the way of existence, the way of life, the author aspires to the path of tomorrow for the younger generation.
Thus, “the way” is not only the actual space but also the mental space, the generalized space. The road is a bridge between the past and the present, between people and people, between the old and the new, between evil and good; there is a path of suffering, there is a way of happiness, the future, the path of aspiration. The space of the “road” in the writer’s mind expands to infinity.
Lu Xun often said: “One has the right to be sad, but not to be pessimistic”. The homeland is a testament to the healthy, optimistic soul filled with deep faith and hope of the thinker and writer Lu Xun, the outstanding son of the Chinese nation.
Through the narration of “me”‘s last homecoming, through the “me” vibes before the terrible change of the village, especially that of Nhuan Tho, the author condemns the crimes of the regime. feudal colonization and from there to question the path of the people and the whole society for everyone to think about. Reading the work, we appreciate the passionate love of the homeland and the anxiety about the way to liberate the workers of the author Lu Xun.
An analysis of Lu Xun’s work “Cousin” No. 5
Reading Ancient Homes, we come across a sad melody, a deep and penetrating sadness from reality with deep lyrical content. A story that doesn’t seem to have a plot – just like a sketchy pen, but has the power to settle at a deep emotional level. The theme of the work is spreading out, raising gradually from the floating ore seams, from the vertical and horizontal veins. The topic is the homeland, of course there must be an image of the homeland itself, but the lingering impression of the story is the joys and sorrows of the writer’s thousand-year-old land, and then the lingering concerns: how to change it.
1. The image of a desolate and desolate homeland.
The first sign of decay that “shrinks my heart” is the “desolate, desolate hamlets lying dormant under the yellow sky” that the author (my character) observed in the riverside. It is not the image of the homeland that the writer has been looking forward to and thrilled with after more than twenty years. Homeland in reality is far from the homeland that “I” have in my heart, in my memory. Today’s is not like yesterday “My old village is more beautiful than that!”.
So is the first feeling when returning to this village is a misconception, a subjective feeling because “my heart is not happy”, or the dreary is not as bad as I thought? The lonely scene when stepping foot to the gate of the house sows more cold, sadness about the desolation, the desert. The houses and neighborhoods must have been warm and crowded twenty years ago, but now many families have moved and are now empty.
Many other families have passed away, the “me” family is also about to leave. Looking at the dry thatched stalks fluttering on the tiled roof of my house is like a house that has been derelict for a long time, so “I can’t control it”, that is of course, no different from the previous houses. The furniture in “me”‘s house is almost forgotten and nothing much. However, knowing the news, neighbors and clans came to “enquire” many.
The motive is not entirely pure, shown in the bustling atmosphere that cannot distinguish people right away, crooks because there are many guests, including people who come to give their feet, people who come to get things, also who put his feet up and took things.” So when the family’s boat “I” left the wharf to hit the road, all the furniture in the house “damaged, big and small, good and bad” was taken away “clean as sweeping”.
The cause of poverty is none other than crop failure, taxes… A family like Nhuan Tho’s family has many children, even though the youngest child can work, he has “helped” and still has not enough to eat because of the accident. because of the harassment of the embezzlement apparatus “everywhere asks for money, there are no rules”.
Perhaps the most change, is the deformation in people themselves. A Nhuan Tho today is completely different from the Nhuan Tho of the past. Where is the face that used to be round and round, “with honey skin, with a tiny fleece hat on his head, with a shiny silver necklace around his neck”. Instead of a radiant face, eager for life that day was something really withered, “You are twice as tall as before, your face is round, the skin of the former honey cake has changed to brown gold”, the top hat The head is torn, the cotton shirt worn in the cold season is “thin”.
Especially, the two hands that used to be ruddy, agile, and fat are now only two hands “both rough and heavy, cracked like pine bark”. If it is only a trace of old age, something emotionless, why is Nhuan Tho’s face when he meets the person he himself longs for and waits for “both joyful and sad”. Something presses that poor but honest man down to the black mud, turning his cheerful face into a “dumb” face if it is not due to many evils: many children, lost seasons, taxes. heavyweights, soldiers, thieves, mandarins, exiles.
Talking about these evils and oppressive forces through one of its victims, how strong and fierce is the denunciation of the realist pen? The character of aunt Hai Duong, “Tay Thi tofu” is probably representative of the majority of people who show signs of vulture. Appearing to be angry at the rich but stingy “me” for refusing to give away “spoiled furniture”, she turned on her heel and walked out, and “handily snatched my mother’s stockings from the waistband of her pants, straight out”.
Or another time she “stands next to the pile of ashes, taking out more than ten pieces, both bowls and plates” and then pours it on Nhuan Tho with a sneaky intention to bury it. The youngest child now, the fifth child of Nhuan Tho, is not like his father twenty years ago, or just a sad version because his face is exactly like him “only yellow and thin. a little more, and she didn’t wear a silver necklace.”
It is clear that by contrasting observation, the change is highlighted, especially by the method of describing less and evoking more, sketching the outside but saying a lot of profound things inside or typicalizing a truth. content, a character personality.
2. The writer’s infinite sadness
When observing and describing scenes and people where umbilical cords are buried, the writer does not have an indifferent look from outsiders. Because of that scene, that person was very dear and close to the writer. Is it possible that the writer is “insensitive”, indifferent? But anyway, the details sketched above are still extraterrestrial, for the writer, it is still just the object, the outside. As for the writer’s infinite sadness, it dives into the depths, into the second layer of visible reality. Here, the means of expression are fully promoted and proved to be extremely effective.
First of all, it is the feeling of the bondage, stagnation, and stagnation of a village in particular, and also of China in general. A family like Nhuan Tho’s family counts for three generations: from Father Nhuan Tho to Thuy Sinh (Son of Nhuan Tho) before and after, it can’t “grow a bubbly nose” even though a century has passed. He is a person “in the month”, the father is the one who is called by the owner to take care of the altar (during the New Year’s anniversary), and the son knows where to drift when the fulcrum is the family, a large family working. not enough to live on. If from the point of view “son than father, the family is blessed”, then Nhuan Tho’s family is really “unlucky”.
A Thuy Sinh now is not equal to its father twenty years ago? An aunt Hai Duong is also much different from before. The kindness and kindness of the girl selling tofu in the past has been replaced by something that is not so lovely: conceit, conceit, flattery, mischievous greed, a compa pose. instead of the name “mama compa”…
Along with the invisible bondage of society, these poor victims also tied themselves with a chain of birth. That is guilt, misconceptions about my identity. This makes the writer most surprised and painful. Because it is an incurable mental illness of the oppressors of their own making. It is widespread and becomes a kind of “nationality” that holds back stupid people in a dark closed space.
The love between Nhuan Tho and the character “I” was close, sincere and open when they were two children. With the character “I” after twenty years, it seems that it is still complete and fresh like that. Because the memory between them is almost like a paradise on earth. At that time, when Nhuan Tho “went to the province”, for the first time he saw “things he had never seen before”.
As for the coastal waters of Nhuan Tho, the character “I” jumps and jumps like a sparrow in a cage. In the snow season, we go to trap birds, in the watermelon season, we go to watch wild boars, porcupines, and hedgehogs. Going to the sea to pick up red and blue seashells… the feeling of the character “toi”, just like Nhuan Tho is “I never knew that there were such new things in this world”. With the character “me”, these new discoveries are not only a festival, a joy, it is also a pride compared to friends in the province because “they are like me, just looking at a square piece of sky on four pictures. The high wall just covers the yard!”.
In that innocent childhood world, they were once friends and brothers, even though the two families were not in the same living situation. There is nothing to divide the rural guys from the city. The tears at parting were very sincere and divided equally between two innocent children. It is priceless. With the character “I”, it is the bright area of the homeland, the soul of the homeland. Twenty years of separation, childhood has passed but there is something that cannot be passed, the memory of “me” is like “lighting up” when the mother mentions “there is Mr. Nhuan Tho to play” after many changes. why move far away.
As for Nhuan Tho, when she met “me” again, why was her face “both cheerful and sad”? Excited for joy, those are innocent feelings that have not been lost. “I” go far away, he often comes to visit. Receiving the news that “I” had returned, he rushed to meet, and even gave a gift, even though a gift from the countryside was just a package of well-dried green beans. Such love is real. But the obvious is gone. Nhuan Tho has known to control the exuberance expressed in very moderate behavior.
He created a kind of barrier. Instead of the casual way of saying brothers and sisters, there was another attitude: a “respectful” posture, a “clear” greeting as if he had told himself, had carefully practiced so that there was not a single drop. clumsy, awkward: “Mr. That strange way of sending a message was surprising because the first time “I” heard it in the family of friends and relatives. It drains away in separation.
“I’m like a fool” is exactly that. The pain of “I” is unspeakable because it is too great a pain beyond the imagination of the narrator. What’s more, something is even greater, like a destiny: those who stay are still people, and those who are lowly are still people. This calm world has no place for a change of status. Contrary to nature, the invisible law still blatantly exists, existing in human consciousness, including people who are oppressed and suffering.
The intimate relationship had become distant, “I” could not say anything more because of the suffocating atmosphere. The conversation between the guest and the master should be fragmented “all unimportant things”, because it is lifeless and bland. Telling about Nhuan Tho’s own sadness, but the wrinkles on his face did not move like he was the narrator and the content of the story belonged to someone only.
That face “as if it were a stone statue” was so flat and indifferent to make permanent the pain that we experienced, no longer knowing what innocent joy is.
3. A road is forming ahead
Thus the road behind is clear: a very narrow but also very long road spanning many centuries. The question is whether to continue stepping on the footsteps of others or change it, open a new path. The image of the old road as if formed by itself: that mental road parallels the real road, whose process is so easy to see: from the city back to the ticket, then from there again, back in the night. and leave in the sunset.
Two moments in time mark a bleak path. Is it true that leaving the homeland is also parting with the past, a sad past? The sentence suddenly becomes multi-meaningful. That is “the green mountains on both sides of the river darken, continuing to run to the rear” that has the meaning of separation, separation without “nostalgia” of compassion. In that context, a new feeling, not unrelated to the breakup, came “I just felt around me were four invisible walls, but very high, making me extremely lonely and suffocating. “.
However, although the past can be forgotten, Hoang’s question is still there, “but Thuy Sinh invited me to his house to play!”. The relationship between “I” and Nhuan Tho is supposed to belong to the past, what about the friendship of the two children, meaning a next generation? “I wish they wouldn’t be like us, never have to fight each other…”.
In the future, their fate will never be like ours, or run around like me, or “wretchedly stupid” like Nhuan Tho, nor like those who are “merciless but miserable because of misery” how many others?” Our lives, our times, the times of the past are not worthy of man. The writer thinks of another life, a new life that “we have never lived”, that is, a society that must change completely in terms of abundance and especially a new relationship between people.
But one’s hope has three, seven paths. Here is a kind of fork again, there is hope for the ticket behind, there is hope for the forward direction. In Nhuan Tho there is the first dream. It was as natural as an inertia, a habit when he asked his “me” family for an incense burner and a pair of candles. No matter how miserable life was, he couldn’t give up his habit of “worshipping wooden statues”, voluntarily returning to the past that was worth a hundred times of cursing.
But even in the second hope, the hope of a society in which people are liberated and free may not be vain, and after all, it is also a kind of soulless “wooden statue”, new type of inanimate “the wooden statue I made by hand”. Going back to the past is too simple because of closeness, and betting your life forward seems to be too “far” close to nothingness like looking at an illusion. The image of the road and the attitude of choosing the way to the end of the story are really determined.
Turning dreams into determination when the writer gives himself a definition of the future, also about a new road: “Actually, there is no way on the ground. People walk forever, it becomes a road”. Putting the above thought here in the twenties of the last century, we realize a prophetic premonition, a bold and courageous way of finding the way of Lu Xun.
The method of reasoning with many thinking operations such as comparison, exclusion, negation to find the truth is consistent with the monologue voice here. The human value of the ancient homeland is therefore not only in sympathy (with the sufferings of human life – such as the Nhuan Tho human life) but also, and precisely, eradication. Criticizing a dying society or aspire to design a new model, a good society for people, the writer’s pen “in hot outside cold” has a profound pervasive power.
An analysis of Lu Xun’s work “Cousin” No. 8
In Chinese works, we cannot fail to mention great writers such as Du Fu, Li Bai, and Bai Juyi, and it would be a big mistake to forget the name Lu Xun. He is a great writer, has new ideas, transcends the times and presents a very civilized view in the period when China is entering the war. Among his short stories, my favorite is the story “Cousin”.
The story recounts the author’s return to his hometown after more than twenty years of separation. Nowadays, people and landscapes have changed a lot. The look of decay is very clearly shown through the movements, language and appearance of people who have been deeply attached to his childhood. Among them is Nhuan Tho – a childhood friend of his. This is one of the things that makes him feel the most pain because of the change in the way of thinking and in the personality of an old friend.
Nhuan Tho is described in the author’s memory as a smart, healthy and handsome boy. Although Nhuan Tho is a poor boy, it is a son who is spoiled by his parents, so he has a very chubby and lovely face. The details that describe the boy’s physical features are a furry hat with a glittering silver necklace around his neck making him easy to raise. That day, looking at the boy’s appearance and actions, everyone commented that he would be a person with a good future.
At that time, Nhuan Tho was a very quick and intelligent boy. The boy is the son of a farmer who came to be a resident, but he quickly adapted to life here. It was thanks to him that the author was less lonely when he was a child and had more people by his side to keep him company. In the boy’s heart, no one can replace Nhuan Tu’s position.
Nhuan Tho can know a lot of things that the boy who grew up in the city like the author cannot know all: how to catch sparrows, how to distinguish shells… that’s why when parting, who The most memorable author is Nhuan Tho. But fate always thinks that: Nhuan Tho in the future will be a great man with temperament, generosity, hard work to raise the whole family. Just like the image of him when holding a trident to look after the melon field for the author’s family.
But many years later, when they meet again, Nhuan Tho has changed and is no longer the boy she used to be. instead, he was two or three times taller than before, his eyes were no longer black, intelligent eyes, but rather dull red eyes. The skin, which was once plump, has turned yellow and has many wrinkles. The image of a smart and agile boy is no longer there, replaced by an image of a quiet, slow and somewhat inferior saint.
That surprised the author. Now, Nhuan Tho is just a human being like many others, taken by fate, always bowing to all the storms of life. perhaps because he was so deeply ingrained in the ideas of class division that when he met the author, the first words the author heard were the two words “sir”.
It can be said that it is painful and sad for that great change. Obviously in those years Nhuan Tho was still a carefree boy with plans and dreams for the future, but now, he no longer retains anything from his agility or smart at a young age. The author was extremely surprised and asked about it, only to find out that Nhuan Tho is also just one of the victims of the regime and of reality.
A series of difficulties have come to Nhuan Tho’s family: high taxes, floods so crops are lost, … a long time living in anxiety, gradually they have formed the personality and outlook of the family. Nhuan Tho about life.
Nhuan Tu knew how to surrender to fate. He was no longer like the enthusiastic boy who cried every day when he had to leave his childhood best friend, but he always had to live with his head bowed, always afraid for his life and his wife and children. Since then, his inherent self-confident personality has also disappeared.
Through the work, we have realized that in life there is not only one but many people who encounter situations like Nhuan Tho. He is the epitome of society’s victims. CircuTaxances make him no longer able to do what he wants, no longer keep his inherent precious qualities.
Everything about him has faded so that now, even talking with his childhood friend, he must first think and consider the issue of social status, also I no longer admit that I used to live freely and freely as before.
It can be said that the work has also criticized the current regime for changing the nature of a person – how scary that is.
An analysis of Lu Xun’s work “Cousin” No. 10
Chinese literature is rich and diverse in both genres and authors. One of the famous authors of literature cannot fail to mention Lu Xun. Lu Xun was originally a famous Chinese writer. Not only that, Lu Xun was also a staunch communist who soon had progressive literary ideas.
Lu Xun’s research work and literary works are enormous, including the short story of Co Huong, which has created a great resonance. “Co Xiang” is taken from the short story “Screaming” in 1923. This is a short story of Lu Xun’s sense of reality and responsible desire for a more beautiful China.
Writing on the topic of homeland is very interested by many literary authors in the world. But to express deeply and full of humanistic and meaningful messages is really rare. However, Lu Xun has been spectacularly successful in presenting this subject area. The short story “Co Huong” is a touching story about the homeland and the reprehensible changes in the old China.
Back to the place called “burying the belly button” after decades of separation. Lu Xun was really shocked about the scenery and people of my character’s hometown. The scene of the present really surprised my character: “the sky is getting darker”, “seeing far and near a few desolate and desolate hamlets, lying dormant under the yellow sky”. Oh my God! Where is this, is it the homeland that in the author’s eyes was a very beautiful place in the past.
Old homeland with many childhood memories. Those were the days when “my teacher was still alive”, the scene of the affluent family… that year it was my family’s turn to take care of the death anniversary. Anniversary in January. The offerings are many, the sacrifices are very luxurious, the people who come to the ceremony are very crowded… The homeland in memory is always touching. Lu Xun talked about the image of his hometown in the present and in the past, when he was on the way back, when he met old friends and old people. There are joys and sorrows, 30 years have passed, but can never forget the homeland and childhood.
Returning to his homeland, witness firsthand the scene of wild ruins after thirty years. But it is painful to see that the image of an old friend has changed a lot now. Nhuan Tho from twenty years ago: “Bright silver necklace around his neck”, “round face”, “honey skin”, “tiny fleece hat on his head” A bright boy with good looks , maybe the son of a well-to-do family.
With the combination of descriptive art, Lu Xun has clarified the character’s appearance in the most realistic and natural way. But today, twenty years later, how is that friend of my character? Nhuan Tho of twenty years later: skin “yellow”, “more deep wrinkles”, “red eyelids puffed up”, “wearing a thin cotton shirt, the body shrunk with flu…. “. A person with a hard and very poor appearance, pitiful.
Seeing that suffering, we feel sorry for the character in the first story, but we must condemn the corrupt system of ancient Chinese society to ten. The image of Nhuan Tho in the present day is the image of a country, a shabby, desolate countryside, impoverished, oppressed and exploited farmers to the bone: “lost crops, heavy taxes, soldiers. men, thieves, mandarins, nobles …”, “everywhere asks for money, there are no rules”.
When it comes to the people of the homeland, it is impossible not to mention her “Tay Thi tofu”. Shows a very beautiful appearance. Always “rubbing powder, two rights are not high, lips are not thin”. It was a once-beautiful girl that excited the whole village guy that day. But today, the character I met the person I once admired? It’s the old, ugly, and greedy woman.
Or guarding Lu Xun’s house to steal groceries. Not only the appearance, but also the personality and beauty of the soul. That society has transformed people without even being human. With the successful and skillful use of the contrast between the past and the present, the story becomes real and very attractive.
Facing that amazing change, the author could not help but be surprised. A feeling of sadness and confusion that is difficult to describe in words. The days in the countryside made Lu Xun “sad”, the beautiful images in my character’s memory became “suddenly faded, making me even more confused”. Everything that was beautiful went away one by one, leaving here a desolate, poor place. A Vietnamese poet once wrote that:
“If anyone does not remember homeland
That a person will not be large”
But why at that time did my character choose to gradually forget the present homeland? Perhaps, that character has felt all the suffering and poverty that everyone there is suffering. The author hopes in the younger generation like Hoang or Thuy Sinh, who are aware and hope to help China develop more and more in the future. Will put an end to the oppressive and exploitative regime that oppresses poor people by relying on power. Find a new and brighter direction for the people here.
With the use of descriptive art, evocative images and details, attractive expressions, etc., Lu Xun’s short story “Co Huong” becomes extremely special. The story is a touching story about the last trip back to the hometown of the character “me”, the vibrations of “me” before the special change of the village. Thereby, author Lu Xun criticized the feudal society and feudal rites, thereby specializing the issue of the path of the peasants and the whole society for everyone to ponder.
An analysis of Lu Xun’s work “Cousin” No. 6
Away from home for decades away
Forever in my memory my beloved countryside
Green field with buffalo back, starling birds perched
Listen to the motherland calling us back.
That is the mood of a person after so many years away from home, each image, each childhood memory will probably never be forgotten. And with the same mood, that person also entered literary works. One of the literary works that left a deep impression on me is Lu Xun’s Gu Huong. And in the story, perhaps the image of the ‘road’ mentioned by the author leaves the reader with the most emotions, sadness, and thoughts contained in his heart.
A short story about a trip to the old hometown of the character “I” after more than 20 years of separation with extremely unique space and time. This may be the last time he returns to his hometown. This time, my character returned to take my family to another place to settle down. On the boat in a sunset, the sky is as yellow as chicken fat. The road home this time was not as expected, the sparse, desolate villages along with the silent and desolate space made the “me” mood even sadder. Going home to meet my mother, meeting the people who were once a part of “me” childhood.
Was told by her mother about “Ran Tho” her age friend. In the past, Nhuan Tho was a sly, smart child, but now seeing him again, he is a sick man with dark skin, a family of many children. “I” feel sad for him. As for aunt Hai Duong, formerly known as Tay Thi tofu, beans sold very expensively thanks to her. She said “when you were little, I held you all the time, but you don’t remember me?” Perhaps because she changed so much, those beautiful memories were overwhelmed. In the past, it was like that, but now it’s the exact opposite: sour, sharp, rude, cunning, etc., every time I see something strange in my house, I find a way to ask for it.
Feudal society has pushed the poor peasants into the dead end. They are pitiful people, pushed to the bottom by society, to the very end, but they are not brave enough to find a new path to liberation, to change their fate. Now, “I” have to take “my” family to another place, so that Hoang and Thuy Sinh don’t live a life like “I” used to live here.
Also on the boat, the river and the sunset opened a new journey, to start a new, better life. Hoang and Thuy Sinh have asked about returning to this place but somehow “I” no longer have any attachment, want to leave and will not return. The homeland “I” was born in, the people here change, everything changes in a negative direction. “I” thought again, “Actually, there is no road on the ground, people go forever and it becomes that road”.
Perhaps in order for a society to develop, there must be a person who stands up, opens the way first, goes first to be able to change. The path of revolution, the path of ideals, the path of patriotic roads. If you are the Vietnamese people, when you read the work “Co Huong”, you will learn more and more lessons.
Uncle Ho opened a new path for the nation, bringing Marxism-Leninism to all generations, so what should Vietnamese people do now? To continue with what Uncle did. Perhaps from now on, I have to determine my own path and try to follow that goal. And the path that the author mentions at the end of the article is also the path of faith and hope, not only made by one person, but also by a whole nation and a generation contributing to the construction.
Everything comes from the bottom of his heart to love his homeland. The image of a childhood village will never fade away. A person who always wishes others to be warm and happy. There are far, near, painful, and difficult paths, but if we go bravely, all roads will become good and happy.
An analysis of Lu Xun’s work “Cousin” No. 2
Writer Lu Xun is known as a famous revolutionary writer of China. Referring to him, it is impossible not to mention the short story “Cousin”. The work of the homeland is a success of his, it gives readers a very gentle sentiment and is imbued with feelings of love for the homeland. The work is like a movie that has recorded for us extremely sweet memories of people in their homeland with sadness and hope.
The short story “Co Huong” has characters like me, my mother, grandson Hoang, Nhuan Tho, Thuy Sinh, and Hai Duong. They are the people of their homeland and it is they who have evoked many happy and sad memories with their homeland – which gives them many memories as well as beautiful memories.
During the period of 20 years of separation, the character “I” now returns to visit his hometown, the character has to go through 2000 miles with bone-chilling cold that makes my character’s heart feel unbelievably anxious. The cold winds seem to be so cool and have blown back, making many memories reverberate in the character’s heart. The trip home this time also seems to be special because the work comes back to sell as well as deliver to the new owner. Come back to say goodbye to the very dear home and stick with the character’s childhood memories after 20 years of separation.
Indeed, every time we talk about our homeland, we often talk about our ancestors, the homeland is also a place to show respect and support for our grandparents. However, in the work we do not see it mentioned. Here, the author Lu Xun also seems to be touched only by his childhood memories of about thirty years ago.
We can see that there is a beautiful friendship with Nhuan Tho, the son of a family who works for the house of the character “me”. It is also because of the character Nhuan Tho that my character knows many strange things. Because also thanks to Nhuan Tho, I still seem to feel the beauty of my homeland, with many beautiful fairy scenes in the world.
It can be said that the old homeland with many childhood memories, then the same day that “my” teacher still had a luxurious and affluent home. Especially on the anniversary of the death anniversary, the food and drinks are presented luxuriously. The image of the homeland in everyone’s memory is always so beautiful and so dear. When writer Lu Xun talked about his present hometown and past hometown while he returned to meet old friends. All seem to have joys and sorrows, all rushing back and making the author impossible to forget.
The author’s mother is also old and the author is now an adult again, having worked far away for 20 years, only to return to her hometown to visit her mother. When we met again, my mother seemed very happy, her face seemed to contain so many sad expressions. Surely the mother is also sad because the situation at home is like a decline and has to follow her son to a new land, away from the beloved homeland that has been attached for so many years. When the author mentioned Nhuan Tho, the mother also seemed to have lamented the scene of his house. When my mother also discussed with the author when moving house, what can be taken away, if not, I give it to Nhuan Tho.
The character Nhuan Tho is childhood friendship. We can see the image of Tho when he was 10 years old with a round face, with honey skin, a tiny sheep-fur hat on his head and a shiny silver necklace on his neck. Most importantly, Nhuan Tho also taught me many strange games and the love of the homeland in my heart.
Indeed, without childhood, there is no homeland, we seem to realize that childhood friendship has made love for the homeland forever fresh. It can be affirmed that childhood is the image of the homeland, which is a new moon in the blue sky of childhood.
Building the image of the character Nhuan Tho in the present is the pain, the sadness of the homeland. Especially after 30 years of separation, seeing Nhuan Tho again seems to have changed a lot. The water of Leap is yellow, the wrinkles on the face are deep. His eyes were red, his head was wearing a ragged fleece hat, then Nhuan Tho was like wearing a thin cotton shirt in the cold weather. When he met his old friend Nhuan Tho at this time, he was both excited and sad, moving his lips without saying a word to show respect.
The current Nhuan Tho is built up as the image of a country, a desolate countryside and this is also an impoverished farmer oppressed to the bone. Just through the image of Nhuan Tho, author Lu Xun also seems to have condemned the crimes of the feudal system against the people, thereby setting out the right to life as well as the right to happiness of the people on the way.
Talking about the homeland in the homeland, it is really impossible not to mention the image of Hai Duong, or also the character of Tay Thi tofu in the past, famous for her talent, now has become a brazen brat.
The work “Old Mother” by writer Lu Xun containing the beautiful image of my hometown in my childhood suddenly rushed back. And that homeland is more and more developed as well as to compete with the powers of the five continents. In the future, even if we go far on the road, the image of our homeland will forever exist and captivate us to hold our footsteps back.
An analysis of Lu Xun’s work “Cousin” No. 1
The image of the homeland has been imprinted in the works of many artists, including Lu Xun. Mentioning him is referring to a famous writer who has made many contributions to the literary treasure of China in particular and the world in general. The typical works of Lu Xun must be mentioned: “The main story of AQ”, “Medicine”, “Diary of a madman”,… and it would be a big omission if we do not mention the short story “Old Motherland”. “.
This short story was written by Lu Xun in 1923, in the volume “Screaming”. The title “Old hometown” means the old hometown, the place where I was born and raised but I am no longer there. The story is about the character “I” returning to his hometown after more than twenty years away from home. The landscape of the village becomes desolate and desolate, not a village so beautiful that there is no language image that can be described as in the character’s memory. “I” returned to my hometown this time with the aim of bringing my family to a foreign land to do business and live. Carrying sadness and grief, the “I” character left with the wish that the life of his village would be better.
At the beginning of the work, the image of the homeland appears with the gloom, the hamlet, the desolate and dreary landscape “laying dormant under the yellow sky”. Witnessing that scene, the character “I” couldn’t hold back his emotions, “heartbreak”. In the character’s memory, the old village was inherently more beautiful and not as bleak and gloomy as reality. The homeland in the memory of the character “me” is the days “my teacher is still alive, the house is still rich, I am a decent boy” and the memories of childhood are so memorable.
The image of people in the village is gradually revealed through the author’s ingenious depiction. When the mother saw her son coming back, she “ran out to meet her” with a very happy face but “still hidden a secret sadness”. That mother has been attached to her homeland for many years, now she has to leave it, so in her heart is also attached and missed. During the days in the countryside, my character also met some other people such as Nhuan Tho, sister Hai Duong, grandson Hoang, etc.
Hearing that the character “I” had returned to his hometown, Nhuan Tho came to play. In the memory of “me”, Nhuan Tho was a boy of about ten years old, “with a round face, honey-colored skin, a tiny sheep-fur hat on his head, and a shiny silver necklace around his neck”. He was a strong, alert boy who knew many strange things that could not be told. The character “I” and Nhuan Tho have a master-servant relationship because in the past, Nhuan Tho’s father and son went to live in the “me” house. The two became close and became friends. This is an equal, close relationship.
But in the past, Nhuan Tho was handsome and smart, but the person he is now is completely opposite. Nhuan Tho is “twice as tall as before, the skin is dark yellow, and there are more deep wrinkles”, “the red eyelids are puffy”. He was wearing “a tattered fur hat, a thin cotton shirt, hunched over, holding a paper wrapper and a long cigarette”. The “pinky, nimble, fat, tough” hands in front of the rope are no longer there, but instead are the hands “both rough and heavy, cracked like pine bark”.
The difficult and hard life made Nhuan Tho become like that. When he saw his old childhood friend, Nhuan Tho was “both joyful and sad, lips moving but unable to speak” and then he took a “respectful” greeting. That gesture and gesture partly revealed his inferiority complex. The situation of “many children, lost seasons, heavy taxes, soldiers, robbers, mandarins, and martyrs made him become stupid and dull”.
The change in the person of Nhuan Tho makes the character “I” very sad and pitiful. Such change in Nhuan Tho is also due to the economic decline, the harshness of the Chinese feudal society and the backward lifestyle of the peasants who did not know how to stand up and fight for themselves.
In that village, there is not only Nhuan Tho but also Hai Duong, who is known as “Tay Thi tofu”. In the past, she was beautiful, beautiful, and young, but now she is a woman in her 50s and under, “two protruding legs, thin lips, hands on hips, no belt tied, legs standing sideways. , like a compass in a drawing suit, with two tiny legs.” Her sarcastic words revealed a sour, stony personality.
By contrast, Lu Xun clearly depicts the change in appearance and personality of these two characters. Thereby, he also recreated the decline in aspects of social life, the decline, and the negative changes in the lifestyle of working people.
The beautiful homeland of the character “I” only remains in the memory, so when he leaves, this character “does not have any attachment”. The character “me” only feels around “four invisible walls, but very high, making me extremely lonely and stuffy”. Suffocated by the landscape of the village squalid, negative and the negative change of people. They become destitute, poor, stupid, snobbish and self-interested. Some people come to give their feet, but there are also people who come to get things.
They took all the furniture in the old house, “damaged, big or small, good or bad, they were all clean as snow”. Lying listening to the water lapping against the side of the boat, the character “I” wishes that Thuy Sinh and Hoang would not be separated like me and Nhuan Tho. At the same time, “I also don’t want them to have to work hard and run around because of their closeness like me, I don’t want them to be miserable and stupid like Nhuan Tho, and I don’t want them to be miserable and cruel like Nhuan Tho. how many others?” Children have to live a new and better life.
The author closed “City” with the image of a road rich in symbolic meaning. This is not only a daily path but also a path leading people to a brighter and happier life in the future. The character “I” affirmed: “Actually, there is no road on the ground, if people walk forever, it becomes a road”. The road is not available in nature but man-made.
“I” always have faith in a new path that will help people have a freer, fuller and fuller life. The strong love of the motherland of the character “I” is expressed through the belief in the change of the village and people in a positive direction. That is also the humanitarian thought that Lu Xun confided in his work.
The story has flexibly used artistic techniques such as present, recollection, contrast and interlacing to create a closely linked storyline. With the art of depicting subtle psychological developments, the writer has portrayed the characters clearly, vividly and truthfully. The use of symbolic images and modes of narrative, descriptive, expressive, and argumentative expression have contributed significantly to the success of the work.
Through this short story, readers can see the voice denouncing and criticizing the old feudal society, and he also raises the question of the path of the working peasant and the whole society. He used the powerful weapon of words to “change the spirit” of the people who were in a state of “foolishness” and cowardice.
An analysis of Lu Xun’s work “Cousin” No. 3
Lu Xun (1881 – 1936) was a famous Chinese realist and thinker in the early twentieth century. The writing career that he left behind is very rich and varied, including 17 volumes of vaudeville and two excellent collections of short stories, Scream (1923) and Bang Hoang (1926). One of the most representative works of the Screaming series is the short story Gu Huong.
Through the retelling of his last trip to his hometown and his reflections and feelings about the change of scenery and people in his homeland, the author privately criticized the corrupt feudal system, refers to the way to liberate farmers from the invisible but harsh constraints of contemporary society.
After twenty years of living away from home, the author returned to his old hometown in the middle of a cold winter. Sitting on the boat, seeing the desolate riverside scenery, his heart swelled with indescribable sadness. This is the time when he returned to his hometown to work with his relatives to solve the house sale and take the family to another place to do business.
When he got there, he was greeted by his old mother. Everyone is busy packing. Hearing his mother mention Nhuan Tho, the author immediately recalled the fairy memories of his childhood. Nhuan Tho is the son of a hired worker for the author’s family more than two decades ago. At that time, Nhuan Tu was only ten years old. Every time he followed his father to the old man’s house, Nhuan Tho often told his “warm boy” how to trap sparrows, how to catch fish or steal melons and many other things, making the “warm boy” fascinated and admired.
The author reunites with some old neighbors, including Nhuan Tho. The hard life has made Nhuan Tho into a completely different person. The figure was emaciated, pathetic, bewildered, stupid. There is no trace of the old Nhuan Tho left. A few days later, the author’s whole family left the country. When the boat was far from the village, the author was still full of thoughts about the scenery and people in the ancient homeland. He tried to find out the cause of that sad change and prayed that Nhuan Tho’s descendants would find a new way of life so that they would no longer have to suffer like their fathers. The plot can be divided into three parts:
Part one: From the beginning to… working for a living: The author is on his way home. Part two: Tu Tinh dreams the next morning… to… take it away as clean as a sweep: The author’s days in the countryside. The rest: The author and his family on the way out of the country. The story is told in the first person. The main character is me. Past and present are intertwined. The art of depiction is both realistic and lyrical.
The rich lyrical quality of the work is reflected in the character’s mood development. From faint sadness to grief (on the way home). From grief to pessimism (days in the countryside). Finally, rekindled hope (on the way out of the country). However, even sadness, grief or hope are all expressions of deep affection for the homeland. The beauty of the work is that it shows that state of mind vividly, honestly and reasonably.
At the beginning of the essay, the author confided his feelings during the trip back home: I don’t mind the cold weather, returning to visit the old village, two thousand miles away from which I have parted for more than twenty years. This trip is so important and meaningful that the author cannot help but return, even though it has to go through two thousand miles, in the cold winter weather.
The homeland is the old homeland, what is dearly and sacredly attached to each person. After twenty years of wandering in a foreign land, the author has just returned to his hometown, but this time to welcome the whole family to the place where he is doing business and living. Coming back is not to reunite but to say goodbye, maybe forever, leaving behind all the graves of ancestors, grandparents, leaving behind the land of umbilical cords and burying each other, .. So the author’s mood burdened with a sadness and that sadness spreads to the whole scene:
It’s mid-winter. Closer to the village, the sky is even more gloomy. The cold wind blew into the cabin. Looking through the slits in the roof of the boat, far and near, a few desolate, desolate villages and hamlets could be seen, lying dormant under the yellow sky. I can’t help it, my heart shrinks.
Over a long period of time, so many things change stars. The writer wistfully asked himself: Ah, is this really the old village that I have kept in memory for twenty years? The countryside scene, which was desolate and desolate, now appears in the eyes of the expatriates for a long time, even more dreary and gloomy. The author does not believe in his memories and thinks that because his mood is sad, he looks at the new scene like that:
The image of the old village in my memory doesn’t quite look like this. My old village is more beautiful than that. But if you have to remember how beautiful it is, say where it is beautiful, there is really no language image to describe it. It’s a bit like it, too. I thought to myself: My old village must have been just like that, although not more advanced than before, but because the lights were off, it was as dreary as I imagined. It’s just that my mood has changed, because on this visit, my heart is not happy. Returning to his hometown on this trip, the intention was to say goodbye to it for the last time.
The old house where our extended family lived forever, which we had agreed to sell to people, this year, had to be handed over to them. Therefore, I need to go back before Tet, say goodbye to my beloved home and say goodbye to my dear old village, and bring my family to the foreign land where I do business and live.
The passage reflects the sad change in the direction of the homeland and the indescribable wistful emotions in the character’s mood. Setting foot on the shore, the author found that the scene in the village was similar to the riverside scene: Early the next morning, I arrived at the gate of the house. On the tiled roof, a few dry thatched stalks flutter in the wind, it is clear enough that the house cannot change owners. The other families have probably moved out already, making the scene even more lonesome.
Arriving home, after discussing the house cleaning, the mother said that Nhuan Tho always mentioned her son when he came to visit and was looking forward to meeting him one day. I texted him to let him know when you’ll be back. Maybe he’s coming too. Listening to her mother speak, suddenly in the writer’s memory, the image of the village with the scenes and people of the past – appeared clearly in every detail:
At that time, in my memory suddenly appeared a strange, fairy-tale scene: A golden full moon hanging in the dark blue sky, under a sandy beach by the sea, planted with watermelons and bowls. a bluish tint. In the middle of the melon field, a boy about eleven or twelve years old, wearing a silver necklace around his neck, holding a trident in his hand, was trying to stab a catfish. The animal suddenly turned around, slipped through the baby’s crotch, and ran away.
The author remembers the image of a small friend twenty years ago. Starting with the scene Nhuan Thu appeared on the big anniversary of the author’s family. It was a beautiful, healthy boy, with a round honey face, honey skin, a tiny fleece hat on his head, a shiny silver necklace around his neck, followed by memories of his lovely friend. childhood.
Nhuan Tho often tells stories of seven birds: My village is full of sandy soil. Whenever it snows, I sweep an open area, use a short stick to prop up a large pot, sprinkle some rice, see the birds come down to eat, and stand by the side. The far distance tugged on the rope tied to the stick, and the bird was caught in the mouth. Everything is available: copper sparrow, hello crest, “powder”, green-backed sparrow. From trapping birds to inviting “warm boys” to go to the beach: In the summer, I come down to your house to play. During the day, we go to the sea to collect seashells, red yes, blue yes, everything. There are “devil face” oysters, “buddhist hand” oysters.
Then the story about the strange son in a fairy tale: In my village, a thirsty passerby picked up a melon to eat, not close to stealing. The soup is wild boar, porcupine, tra. Hey there! Moonlight. There is a rustling sound. Tra is eating melons Ị So holding the trident gently forward…
At that time, in the eyes of the “warm boy” of the host’s son, Nhuan Tho was a small hero, an experienced person: God! Nhuan Tho must know a lot of strange things, unspeakable! Those things, my friends so far, no one knows. They didn’t know it because while Nhuan Tho lived by the sea, she, like me, only looked at a square piece of sky on the four high walls surrounding the yard!
The childhood friendship between the author and Nhuan Tho is pure and loving. But unfortunately, January is over. Nhuan Tu must return to his hometown. My heart ached, I cried loudly. He hid in the kitchen, also crying but refused to come back. But then his father took him too. Then he asked his father to bring me a beautiful shell and feathers. I strained my neck a few times to send him some presents. But since then we haven’t seen each other.
The author has compared the beautiful image of the past with the image of Nhuan Tho in the present to highlight the theme of the work. After twenty years of separation, now two people meet again: The person entering is Nhuan Tho. Although I immediately recognized it as the Nhuan Tho, it was not the Nhuan Tho in my memory. He’s twice as tall as before, his face is round, his previously brown skin has changed to dark, and he has more deep wrinkles.
His eyes were the same as his bangs in the past, his red eyelids rimmed with dreams. I am not surprised, in the sea, the wind blows all day, so everyone is like that. He was wearing a tattered fleece, a thin cotton shirt, crouched, holding a paper wrapper and a long cigarette. This hand is also not the one I remember, rosy, agile, fat, hard, but at the same time rough and heavy, cracked like pine bark…
Nhuan Tu stopped, his face was both happy and sad, his lips moved, but he couldn’t speak. Then suddenly he took a respectful posture, greeted very clearly: Bump! Then, he crept out a package of paper and stammered: – There is nothing on winter days, only a few green beans from the house to dry, please…
The author’s realistic depiction is sharp. He portrayed vividly the portrait of a poor farmer full of inferiority complex. Thereby, we can imagine the miserable and miserable life of Nhuan Tho in particular and farmers in general at that time. The once healthy, lovely little friend is now a ragged farmer, his face is yellow and gray because of poverty. In the past, Nhuan Tho was a boy with a round face, honey skin, a sheepskin hat on his head and a shiny silver necklace around his neck, loved by his father.
In terms of form, Nhuan Tho has now completely changed, but at the bottom of her heart, Nhuan Tho still maintains a deep friendship with the “boss” of the past. Hearing that “the owner” had returned, Nhuan Tho came right away and even though he was very poor, he did not forget to bring some “homegrown” gifts to “the owner”. That is what makes the changes in the relationship between the two now irrational.
The two main artistic methods used by the author in the story, recollection and contrast, are skillfully combined to highlight the change of people and scenes. At the same time, the author poses to the reader the question why there is such a drastic change?
Through the story, the author wants to talk about the poverty of the oppressive and corrupt nomadic peasants in the countryside, but what he is most interested in is the change in their morale in a bad way. through the character of aunt Hai Duong, of the guests who use the excuse to see them off to get their belongings, especially through the character of Nhuan Tho. In all the changes, what makes the author surprised, painful to the point of “stunning” is the relationship between Nhuan Tho and himself.
By contrast and contrast, the author has reflected the situation of deterioration in all aspects of Chinese feudal society in the early twentieth century. He analyzed the causes and condemned the corrupt forces that pushed society into a sad situation. Besides, Lu Xun also pointed out the negative aspects that lie in the soul and personality of employees.
Farmers like Nhuan Tho not only suffered because of their large number of children, lost seasons, heavy taxes, soldiers, thieves, mandarins, and loons, but also suffered much more because of the old conceptions of caste, by the oppression and oppression of the ruling class, due to superstition… Nhuan Tho asked for the altar of the old owner’s family to make her life less miserable: When Nhuan Tho asked for an incense burner and a pair of candles , I chuckled, thinking that he never forgot to worship wooden statues.
To highlight that drastic change, the author not only compares the personality of each character in the past with the present, but also contrasts this character with that of the other, especially the comparison between Nhuan Tho and the present day. with Thuy Sinh, his son now. The boy Nhuan Tho more than twenty years ago was rosy, healthy, with a silver necklace around his neck. As for Thuy Sinh now, she is sick and yellow, she doesn’t wear a silver necklace…
The image of the homeland in the work not only means the place where each other is buried, but also a miniature picture of society. The changes Lu Xun described in Gu Xiang are typical of modern Chinese society. Therefore, by describing the specific change of a village, Lu Xun posed the extremely urgent problem of building a good new life:
I was dreaming, when in front of my eyes appeared a scene of sand dunes, blue, next to the beach, in the dark blue sky hanging a golden full moon. I thought to myself: Called hope, it is impossible to say what is real and what is not. Just like the roads on the ground; In fact, on the ground, there is no road. People go into the road forever, the only.
There is no road on the ground. The road is created by people trampling the grass where there is no road, it is the discovery of thorns and thorns… In life, no matter how many hardships and obstacles we face, we need to be steadfast, steadfast and steadfast. to pave the way to a bright future. That is the passionate message that writer Lu Xun wants to send to all of us.
An analysis of Lu Xun’s work “Cousin” No. 4
Lu Xun (1881-1936) was a famous Chinese revolutionary writer. The story “Cousin” is a beautiful and touching short story. It bears the mark of a full love of the homeland. It realistically and touchingly captures childhood memories. Reflecting the fate of the people of the homeland with so much sadness and hope.
Characters like me, my mother, grandson Hoang, Nhuan Tho, Thuy Sinh, and Hai Duong are the people of the homeland, evoking sadness and joy about the place where vegetables are buried deep and deeply grateful. After twenty years of separation, “I” returned to visit my hometown. Had to cross 2000 miles in the middle of a cold winter. The “me” heart recovers circus. A cold wind blew into the cabin. Near to the village, the sky is overcast, the hamlet is fading away, fading away, faintly desolate, deserted … “I” will return to my hometown to be happy, why is it sad? “I” wondered if this was the dear old village in memory?
This trip home is very special to sell and deliver the house to the new owner. Back to say goodbye to the old house where our whole extended family lived together forever. Why can’t I be sad because after twenty years away, this time I come back to say goodbye to my beloved home and say goodbye to my dear old village and bring my family to a foreign land where I am doing business and living.
Talking about homeland is often referring to ancestors and grandparents, the place to show parental respect for grandparents. But in “Cousin” is not mentioned. Here the author only touches on childhood memories about thirty years ago. A beautiful friendship with Nhuan Tho, the son of a family that works for the “me” house. Thanks to Nhuan Tho, “I” learned many strange things. Thanks to Nhuan Tho, “I” feel the beauty of the homeland.
Old homeland with many childhood memories. The day when the “I” teacher still had a luxurious home. On the anniversary of the death of the ancestors, the food and drinks are presented luxuriously. The homeland in each person’s memory is always beautiful and touching. Lu Xun talked about his present hometown and his past hometown on the way back, when he met old friends. There are both joys and sorrows, more than 30 years have passed, it is impossible to forget the homeland and childhood.
Mother is old. “I” has grown up, has been working far away for 20 years, and now I have returned to my hometown to visit my mother. Seeing “me” again, my mother was happy, but her face was filled with sadness. The mother must be sad because of the people who have passed away, sad because of the decline of the house, having to sell the house with her son to a new land far from her beloved homeland. Referring to Nhuan Tho, my mother lamented the scene of his house. Mother discussed with “I” who moved the house, what can be taken away, if not, I will give it to Nhuan Tho.
If anyone doesn’t love their mother and doesn’t love their homeland, how can they know that their mother is their motherland, and their homeland is their mother? The love of incense is always associated with the gentle mother we love. Nhuan Tho is childhood friendship. The image shows 10 plump faces, honey skin, tiny fleece hats on her head, and shiny silver necklaces around her neck. And he taught me many strange tricks and love for the homeland in my heart.
Without childhood, there is no homeland. Childhood friendship has made love for the homeland forever fresh. The image of Nhuan Tho in childhood is the image of the homeland as “the new moon in the blue sky of childhood”. Nhuan Tho is a small part of the homeland is the love of the homeland.
The image of Nhuan Tho in the present is the pain and sadness of the homeland. After 30 years of separation, seeing Nhuan Tho again has changed so much. Pale yellow skin, deep wrinkles on the face. The eyes are red. On his head, he wore a ragged fleece hat and a thin cotton shirt in the cold weather. Meeting his old friend Nhuan Tho was both joyful and sad, moving his lips without saying a word before he spoke respectfully for two hours. Bump him! Rituals and feudal hierarchies have created a great wall of separation between the couple.
The current image of Nhuan Tho is the image of a country, a shabby, desolate region, impoverished farmers are oppressed to the bone. Through the image of Nhuan Tho, the author has condemned the crimes of the feudal system against the people, thereby setting out the people’s right to life and happiness on the way.
Talking about the homeland in the homeland, it is impossible not to mention the image of Ms. Hai Duong, Ms. Tay Thi, who used to be famous for her makeup and talent, has now become a brazen brat. Reading Lu Xun’s “Old Motherland” the image of my beautiful hometown in my childhood suddenly came flooding back. It is an increasingly developed and civilized homeland to rival the powers of the five continents.
Reading and re-reading “Old Mother” I am still only impressed with the saying: : Just like the roads on the ground; In fact, on the ground, there is no way. People go into the road forever, the only”. Whether we go far or near, no matter how far we go to another land, our homeland is still the most beautiful, the homeland is the faithful person still standing there waiting for us.