In portraying the character of Ah Q — a simple, ignorant farmer troubled by the feudal system — Ye employed the pipa and sanxian to emphasize the most ironic aspect of his character: his self-satisfied spiritual triumph. Though he is at the bottom of society, an eternal loser suffering frequent hurt, setbacks, and humiliation, Ah Q glosses over his fate with an admirable attitude.

"In pipa playing, decorative notes — such as sliding the strings, or rapidly alternating between adjacent notes — are commonly used to add emotional depth and display technical prowess," says Jiang. "However, when playing in this symphony, particularly when portraying Ah Q, Ye asked me to avoid using decorative notes. He was right. It allows us to vividly portray Ah Q, who is comedic in form but tragic at core."

Actor-director Pu, himself 71, adds: "We've known Lu Xun's work since we were young, as it was in our school textbooks. His impact on Chinese literature is immeasurable. Through his experience and reflection, the now nearly 70-year-old Ye has gained a deeper understanding of the writer's work — its philosophical and emotional layers."

In Symphony No. 5 Lu Xun, Ye included a movement inspired by Wild Grass, and invited Pu to narrate. The passage reflects on Lu Xun's struggles to find hope amid despair, at a time when China's future was uncertain.

In the closing movement, Ye portrays the romance between Lu Xun and his wife, Xu Guangping, through a piece titled The Family Letters.