《呐喊》、《彷徨》塑造了一系列女性形象，深刻反映了鲁迅先生对女性问题的关注和他的妇女观。
A series of female images portrayed in Outcry and Wandering reflects Lu Xun's concern over woman and his viewpoint of woman.
根据作品表达主题意向的不同，鲁迅《呐喊》、《彷徨》涉及死亡叙事的作品大致可分三类：1。文化本质象征型；
According to the different topics connected with death in Crying Out and Wandering, there are three main categories 1. Symbolization of culture nature.
鲁迅先生完成了《呐喊》、《彷徨》两部现代题材小说创作之后，在继续开掘国民性负面因素的同时，企冀用历史小说的形式描绘“中国人的脊梁”式人物。
After completing his two novels "Cry" and "Hesitation" based on modern themes, Luxun attempted to depict the Chinese ridge beam characters as he continued to excavate the negative national factors.
鲁迅小说集《呐喊》《彷徨》渗透着深沉的人生悲凉和孤寂的况味。
Cryout and Hesitation, Lu Xun's short story collections, deeply infiltrated the sadness of human life and lonely flavour.
在鲁迅的乡土文本中，“黑屋子”、“月光”、“高墙”、“路”、“荒原”、“呐喊”等词语反复出现。
In Lu Xun's local texts, the words black house, moonlight, high wall, road, wasteland and shout loudly appear over and over.
鲁迅小说集《呐喊》和《彷徨》中的月亮意象，表现出对传统的连接与承续、创变与超越。
In his novel collections Call to Arms and Wandering, Lu Xun expresses not only its inheritance of the tradition but also the innovation and surpassing of tradition.
对“梦’与“境遇”及其关系的思考，是鲁迅前期思想的核心内涵，它构成了《呐喊》、《彷徨》创作的一条中心线索。
The consideration of dreams and circumstances and the relations between them is the core connotation of Luxun s prophase thought and makes up a central inditement clue.
鲁迅的小说《呐喊》和《彷徨》中描写了形形色色妁笑，这些笑可以分成“否定的笑”和“肯定的笑”。
Lu Xun portrays laugh of every shape and description in his fiction collections-WHOOP and PACE BACK and FORTH.
鲁迅的小说《呐喊》和《彷徨》中描写了形形色色妁笑，这些笑可以分成“否定的笑”和“肯定的笑”。
Lu Xun portrays laugh of every shape and description in his fiction collections-WHOOP and PACE BACK and FORTH.
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