阿Q正傳
中文
阿Q正傳 · 中文, 《魯迅全集》第一卷(1938;1948 年重印)
LeerLu Xun · 1921
Un vagabundo de aldea sin un céntimo convierte cada paliza en una victoria privada, en la novela corta que dio al chino una palabra para el autoengaño.
Ah Q es un jornalero sin familia, sin tierra y sin un nombre seguro, que vive en la aldea de Weizhuang hacia la época de la revolución de 1911. El narrador de Lu Xun hace de biógrafo aplicado mientras el relato se ríe y luego deja de reír. Es corto, de lectura rápida y más afilado de lo que sugiere su fama de texto escolar.
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Leer · 中文
The True Story of Ah Q follows a farmhand in the village of Weizhuang, around the time of the 1911 Revolution. He has no family, no land and no fixed work, and the narrator admits at the outset that he cannot even verify the man’s name. Ah Q bullies anyone weaker, cowers before anyone stronger, and turns each humiliation into what Lu Xun calls a spiritual victory. The phrase “Ah Q mentality” is still used in Chinese for someone who denies reality in order to feel superior, and the character is easy to recognise in any office, family or country that cannot admit it has lost.
It was written in vernacular Chinese, in the years after the May Fourth movement had made that choice a statement. It ran in instalments in the supplement of the Beijing Morning News from 4 December 1921 to 12 February 1922, under the pseudonym Ba Ren, roughly “crude fellow”, and few readers knew who the author was. It was then collected in Call to Arms (1923), where it is the longest piece. Critics argued over it at once: Zhou Zuoren read it as plain satire, while Mao Dun doubted it was only that and saw in Ah Q a crystallisation of national traits. Julia Lovell’s Penguin translation (2009) is titled The Real Story of Ah-Q.
Notice the narrator. He opens like a conscientious chronicler, fussing over Ah Q’s surname and birthplace, and that pedantry is the joke. Watch how small the “victories” are, and how the same habit of mind belongs to the village’s respectable people as well. When the revolution arrives, it comes to Weizhuang as rumour, new vocabulary and a change of costume rather than a change of heart. The comedy is steady for most of the nine chapters; the last ones are much darker, and the ending is best met without warning. Vietnamese readers know the book as AQ chính truyện, and the idea of “phương pháp thắng lợi tinh thần” needs no explaining.
Introducción redactada para LitMundi con ayuda de IA y contrastada con las fuentes que se indican abajo.
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