Ah Q

Ah Q is depicted as a destitute, nameless vagrant in his late twenties, wandering the village of Wei. He subsists on various odd jobs, despite his lean frame and a conspicuous bald spot from scabies, which makes him a frequent target of ridicule. Ah Q's life in the countryside remains relatively quiet until a scandal involving his proposition to Wu Ma leads to social ostracization. This incident forces him to seek livelihood in the city. Upon his return, he is wrongly accused of theft and executed. Ah Q represents the Chinese Everyman, symbolizing the common people of pre-revolution China. His character is a critique of societal flaws, such as the failure to acknowledge defeat and the propensity for rationalizing failures as moral victories. Lu Hsun uses Ah Q’s character to reflect on China’s self-delusion and the dangerous complacency of its people.

Lu Hsun universalizes Ah Q by omitting a surname and specific origins, making him a stand-in for societal outcasts. Ah Q embodies outdated prejudices, including misogyny, viewing women as inferior. His misunderstandings of the revolution highlight his ignorance, seeing it merely as a means to settle old scores. His behavior, such as teasing a nun to amuse onlookers, betrays a lack of awareness of his actions' consequences. Despite his frequent humiliations, Ah Q retreats into a world of self-deception, where he imagines moral victories, satirically presented by the narrator as evidence of China’s perceived moral superiority.

Mr. Chao (Chao T’ai-yeh)

Mr. Chao, a middle-aged, slightly educated squire, symbolizes the entrenched ruling class. His treatment of Ah Q ranges from employing him for menial tasks to displaying greed and unkindness. As revolution looms, Mr. Chao safeguards funds for Pai Chü-jen, a gesture marred by accusations of theft. Despite his adherence to Confucian ideals and proverbs, his actions reveal a man driven by self-interest, intent on maintaining the status quo. The revolution, to him, necessitates caution rather than genuine change. This hypocrisy is underscored by his willingness to bargain for stolen goods, preserving his advantage.

Ch’ien Shao-yeh (Imitation Foreign Devil)

Known as the Imitation Foreign Devil, Ch’ien Shao-yeh is a gentry scion with Western education, having studied in Japan. His return to Wei, with a false queue to cover his hair loss, marks him as different. Supporting the revolution, he shows disdain for tradition yet fails to envision meaningful reform. His revolutionary acts are superficial—aligning with Chao Mao-ts’ai to loot a Buddhist temple. Ch’ien’s rejection of Ah Q’s revolutionary aspirations underscores his elitism. Despite his foreign education, he mirrors the same self-serving motivations as the older generation, using the revolution as a means to display newfound influence.

Chao Mao-ts’ai

The son of Chao T’ai-yeh, Chao Mao-ts’ai embodies the continuation of familial legacy, ready to follow in his father’s footsteps. He rebuffs Ah Q violently when the latter proposes to Wu Ma. As a revolutionary, he collaborates with Ch’ien Shao-yeh in theft, an act reflecting the superficial understanding of the movement’s objectives. His character illustrates the younger generation’s complicity in maintaining societal hierarchies, lacking innovative ideas for true reform.

Wu Ma (Amah Wu)

Wu Ma, also translated as Amah Wu, is the Chao family’s maidservant. Her violent reaction to Ah Q’s advances is a testament to her determination to preserve her chastity as a widow, demonstrated by her attempted suicide. Her presence at Ah Q’s execution highlights her significance in his downfall. Wu Ma’s role is crucial in awakening Ah Q's fleeting sexual consciousness, serving as a catalyst for his social isolation.

Hsiao Niku

Hsiao Niku, a docile nun at the local Buddhist temple, becomes an unwitting victim of Ah...