Lu Xun is a famous writer and thinker in the history of modern literature in China. The female images in his works are mainly divided into two categories: rural women and intellectual women, which truly reproduce the tragic situation of women in the old society and their struggle with fate. Sister-in-law Shansi in Tomorrow and Sister-in-law Xianglin in Blessing are both mothers devastated by feudal ethics. They were extremely obedient under the constraints of feudal theocracy and feudal ethics, and they died in pain. Even when they die, they don't understand the source of their tragic fate. Sister-in-law Sans is a lonely professional woman. Widowed, she relies on a spinning wheel and lives alone with her three-year-old son Bao Er. Unfortunately, however, Bao Er was seriously ill, and neither the divine intervention nor the unilateral intervention could make him better, so Sister-in-law Shan had to look forward to seeing He Xiaoxian tomorrow. But after nightfall, it is not dawn, but greater misfortune. She was not only insulted by the blue-skinned bachelor and the red-nosed old arch, but also failed to cure her son's illness. She lost her only hope and was heavily in debt. At the end of the novel, she stays alone in a broken house, feeling that the house is too quiet, too big and too empty. She just wants to have a dream and see her Bao Er. Night and day alternate in silence, but the lonely and painful single fourth sister-in-law has no tomorrow. Her unfortunate experience truly reflects the tragic fate of working women under the oppression of feudal system and ethics. The social environment in which Sisao Shan lives is hopeless and suffocating, and she can only suffer in despair. The first prerequisite for women's liberation is that all women return to public jobs. Sister-in-law Shansi, who is deeply poisoned by feudal ethics and superstition, has a kind of servility in her heart. What we see in her is the submission to fate. For all the blows and misfortunes she has suffered, she just wants to paralyze herself through "tomorrow" and seek relief, even without the courage to struggle. The tragedy of this working woman, at that time, perhaps people have long been accustomed to it. This is also the shadow condensed by the tragedy of catastrophic times. Sister Xianglin was an industrious, kind, backward and miserable rural woman in China in the old society, who was trampled, fooled and abandoned. When Sister Xianglin's first husband died, she fled to Master Lu's house to work. But soon, she was taken back by her strict mother-in-law and sold to He Laoliu in the ravine. At first, Sister Xianglin disagreed, but because Lao Liu was honest, motivated and able to work, the husband and wife got along very well. However, the good times did not last long. He Laoliu died of illness, and his son was taken away by the wolf. My uncle came to take over the house and drove it away. Sister Xianglin returned to Luzhen in desperation. But people who are considered unclean, even if they spend all their savings to donate, are still unclean in everyone's eyes. Xianglinsao finally despaired, became a beggar, and died tragically in the noisy "blessing" sound of Luzhen. After all, Sister Xianglin is just a person who wants to be a slave but can't. She is a typical figure created by Lu Xun according to some real life prototypes. One is a single mother, a widow but a cohabiting man; The second is a woman looking at Wu Shishan's grave. Her son was peeling beans at the door and was pulled by Ma Xiong to eat them. Third, Sister Bao, who came from the mountain to rob relatives, escaped and was picked up in the water. The image of Sister Xianglin is more concentrated and generalized than the prototype, which is a typical embodiment of the tragic fate of poor working women in old China. The rope of feudal "four powers" is like a chain of thousands of pounds, which tightly binds and hurts Xianglinsao: the husband wants her to keep the festival, the clan rights prevent her from keeping it, and the political power and theocracy punish her for not keeping it. This is a powerful accusation that feudal ethics encroached on people's spirit and body. Lu Xun created two images of Sister-in-law Xianglin and Sister-in-law Shansi. As the standard women in feudal society, they abide by "three obedience and four virtues" and have no intention of resisting. After losing their marriage, they feel that they have lost everything, they automatically lose their self-awareness, and they take all the oppression and pain they have suffered for granted, even for granted. Lu Xun endowed Ai Gu in Divorce and Zi Jun in Mourning for the Past with democratic and progressive ideas, and they made much progress than San Gu Liu Po and Xianglinsao. They know how to fight, but they still unconsciously obey the feudal ideas in their hearts, which is also the root of their tragic fate. Ai Gu is the most rebellious woman in Lu Xun's novels. After she got married, there was no shortage of gifts, but her husband married a little widow and abandoned her. Since then, a divorce story has been told and there was a fight, but it never ended. Celebrate the old master's wedding in the New Year, and invite seven people from the city. Aunt Ai and her father went to Pangzhuang to negotiate. In front of the seven people, Aigu was confident at first, but after listening to the advice of the seven people, she stopped working hard. When her husband cut in line behind seven people, she flew into a rage, but then the sound of seven people asking for snuff scared her into submission. In this way, the divorce case that lasted for three years finally came to an end. In the confrontation with the representative figure of the feudal forces, the seven chivalrous men, Ai Gu still appeared immature and powerless. Her thoughts did not get rid of the shackles of feudal rule. Her husband married a little widow, and she should have filed for divorce, but she didn't, but the man filed for divorce and she refused. Because she was married in the Ming Dynasty, her husband wanted to abandon her to find another lover, which was not in line with feudal ethics. Therefore, she tried her best to safeguard her legal wife's status, so the purpose of her struggle was to safeguard feudal ethics. Therefore, although Aigu has the conditions to become a strong one, he can't get rid of the consciousness of the weak. She has become accustomed to the secular concept that women are dominated and has become dependent on the ruling class until she blindly follows. From Ai Gu's final compromise, we can finally see how deeply feudal ethics bound people's thoughts. Regret for the Past is the only novel about love in Lu Xun's novels. Zijun is Nora from China. She is naive, quiet, delicate and full of ideals. She received a good education, and the times broadened her horizons and changed her mind. She resolutely broke through the barriers of feudal ethics and married Juansheng, a small civil servant. She is always fearless in the face of social ridicule and contempt. And all this is based on the longing and fantasy of love. When Juansheng was suspended, his financial resources were cut off, and his life was in trouble, Juansheng abandoned Zijun, who had to return to his hated hometown and died of depression. In fact, Yuanzijun is very brave in the struggle of pursuing marital autonomy and opposing feudal ethics and feudal forces. When her behavior was strongly opposed and obstructed by her family, she firmly chose to resist. However, Zijun was educated by feudal orthodoxy after all. When she combined with Juansheng, she stopped and became vulgar and timid. She didn't continue to study and pursue, but gave full play to her talent and ability to become a self-reliant woman, but she was willing to stay at home and be a good wife and mother. When she found that Juansheng began to neglect her, she was afraid to ask, for she was afraid that Juansheng would abandon her. Worry finally became a reality, but at this time she also accepted it and returned to her original grave. It can be seen that her thoughts have a strong feudal color. Although her resistance was firm, it was not thorough. Zijun's love tragedy profoundly reveals the limitations of personality liberation. In fact, as a woman, only by achieving economic independence can we truly achieve personality independence. If economic independence cannot be achieved, women's liberation is like a castle in the air, which will collapse sooner or later. As the saying goes, "people eat and listen to people." Mr. Lu Xun once said that if all women don't get the same economic rights as men, I think all good names are empty words. Yes, women should not be content with their present temporary posts, but should constantly strive to emancipate their minds and strive for economic independence. When you liberate society, you liberate yourself. Engels put it well: "The first prerequisite for women's liberation is that all women return to public labor."