Lu Xun’s introduction and his three famous sayings

Lu Xun

Lu Xun (1881-1936) was a native of Shaoxing, Zhejiang, and his ancestral home was Runan County, Henan Province. A great modern Chinese writer, thinker and revolutionist. Lu Xun's original name was Zhou Zhangshou, but he later changed his name to Zhou Shuren, with the courtesy name Zhangshou and the nickname Yucai; "Lu Xun" was a pen name he used after joining the May 4th Movement. Because of his growing influence, people used to call him Lu Xun.

Life

Lu Xun was born on September 25, 1881 in a feudal literati family in Duchangfangkou, Shaoxing. He was enlightened at the age of 7 and studied at Sanwei Bookstore at the age of 12. He was diligent in learning and inquiring, and had a Ph.D. Wen Qiang remembered that he liked to read unofficial history notes and folk literature books after school, and developed a strong interest in the art of painting. Since then, he has laid a solid cultural foundation. He was not limited to the Four Books and Five Classics, but sought extracurricular readings from many sources, and worked hard to master historical and cultural knowledge.

Shaoxing’s long history and splendid culture, especially the moral articles of many Vietnamese and Chinese sages, had a great influence on Lu Xun’s thoughts. When Lu Xun was a boy, his grandfather was imprisoned due to a court case, his father died of illness, and his family fortunes declined. Lu Xun went from being the eldest grandson of a large family of feudal literati to a descendant of a poor family. A series of major changes that happened to his family made young Lu Xun suffer from the warmth and coldness of the world. He saw "the true face of the world" and realized the decadence and decline of feudal society. Lu Xun's mother Lu Rui, a farmer's daughter, had a noble character and had a great influence on Lu Xun.

In the spring of 1898, Lu Xun left his hometown, full of new hopes in life, and was admitted to the Jiangnan Naval Academy in Nanjing. The next year, because he was dissatisfied with the "smoky atmosphere" of the school, he changed his position to the mining railway affiliated to the Jiangnan Naval Academy. School. He had extensive exposure to Western natural sciences and social sciences, read "Current Affairs", and read "The Theory of Heavenly Evolution". He was deeply influenced by the reform trend of thought and the theory of evolution, and initially formed a society in which "the future will be better than the past, and the young will be better than the old." concept of development.

In 1902, Lu Xun graduated with honors and was sent to study in Japan. He first studied Japanese at Tokyo Kobun Gakuin, and then studied medicine at Sendai Medical College. Deeply influenced by the wave of bourgeois democratic revolution, he actively participated in the anti-Qing revolution. After school, he "went to guild halls, bookstores, rallies, and listened to lectures" and made the oath "I recommend Xuanyuan with my blood." . In 1906, in the face of facts, Lu Xun felt the ignorance of his compatriots at home and realized the importance of changing the national character. He resolutely gave up medicine and followed literature. He took a decisive step in his life and chose literature and art. The pen serves as a combat weapon to save the country and the people. He participated in the preparation of the literary magazine "New Life" and wrote important early papers such as "The History of Man", "History of Science and Education", "Cultural Partialism", and "The Power of Moro Poetry". Lu Xun believed that China’s serious problems lie in people, not in things; in spirit, not in matter; in individuality, not in “people”; to “establish a country”, one must first “establish people”, and the key to “establishing people” is It lies in the awakening of personality and the uplift of spirit.

On the eve of the Revolution of 1911, Lu Xun returned to his motherland. He first taught at the Zhejiang Normal School in Hangzhou as a chemistry and physiology teacher, and then returned to his hometown of Shaoxing as a supervisor and natural history teacher at Shaoxing Prefecture Middle School. Supervisor (principal) of Shanhui Junior Normal School. On the one hand, he taught and educated young people, and on the other hand, he actively participated in the Revolution of 1911. He led the literary group "Yue She" in his hometown and supported the establishment of "Yue Duo Daily". In early 1912, Lu Xun was invited by Cai Yuanpei, the Director-General of Education, to serve in the Ministry of Education of the Nanjing Provisional Government. Soon, he moved to Beijing with the Ministry of Education and served as the chief of the first section of the Department of Social Education. At the same time, he was employed by Peking University, Beijing Higher Normal School, and He serves as an off-campus part-time lecturer in some higher education institutions such as Beijing Women's Higher Normal School.

After the victory of the Russian October Revolution, Lu Xun was deeply inspired. Together with many advanced intellectuals at the time, such as Li Dazhao and Chen Duxiu, he wrote articles and launched magazines, which opened the prelude to the May Fourth Movement in China. He stood at the forefront of anti-imperialism and anti-feudalism, actively advocated new culture, new ideas, and new morals, and violently attacked the old culture, old ideas, and old morals that had existed for thousands of years. In 1918, he published the first vernacular novel "A Madman's Diary" in the history of modern Chinese literature. Through symbolic artistic techniques, the novel ruthlessly exposed the cannibalistic nature of China's thousands-year-old feudal society and strongly indicted feudal ethics and feudalism. The evils of the patriarchal system.

Since then, Lu Xun was "unstoppable" and with a completely uncompromising attitude, he created many novels such as "Kong Yiji", "Medicine", "The True Story of Ah Q" and a large number of essays, essays and comments, thus becoming one of the Five The pioneer of the Four Movements and the founder of modern Chinese literature.

In the summer of 1926, Lu Xun left Beijing, where the Beiyang warlords were entrenched, and went south to Xiamen, where he served as a professor in the Department of Chinese Literature at Xiamen University and concurrently as a professor at the Chinese Academy of Sciences. In early 1927, Lu Xun moved to Guangzhou, the then revolutionary center, and served as the dean of the Chinese Department of Sun Yat-sen University and concurrently as the dean of academic affairs. While engaged in education and literary creation, he entered new battles. In April of the same year, a counter-revolutionary coup occurred. Lu Xun withstood the bloody test and resigned angrily because he failed to rescue the students. Faced with the lessons of blood, Lu Xun's view of social development formed in his early years underwent profound changes. He severely dissected his own thoughts and corrected his past "bias" of only believing in the theory of evolution. From then on, the development of his thoughts entered a new starting point. In the mid-1920s, he participated in the founding of "Mang Yuan" weekly, "Yusi" weekly and the literary society Suomingsha. In early 1927, he went to Guangzhou Sun Yat-sen University as the director of the Literature Department and the dean of academic affairs. In August 1927, he went to Xiamen University as a professor.

In October 1927, Lu Xun arrived in Shanghai, where he settled down and concentrated on the revolutionary literary and artistic movement. In 1928, he and Yu Dafu founded the magazine "Benliu". In 1930, the Chinese Left-wing Writers Alliance was established. He was one of the founders and the main leader. He was the editor-in-chief of important literary journals such as "Grudge", "Qinshao", "Shiyu Street", and "Translation". He participated in and led many revolutionary societies such as the Chinese Left-wing Writers Alliance, the Chinese Freedom Movement Alliance, and the Chinese Civil Rights Protection Alliance. He edited many publications such as "Outpost", "Running", and "Grudge Monthly", uniting and leading the vast number of revolutionary and progressive literary and art workers to engage in tit-for-tat struggles against imperialism, feudalism, the Kuomintang government and its imperial literati. He persisted in fighting with resilience and wrote hundreds of essays. These essays, like daggers and spears, made special contributions in the counter-cultural "encirclement and suppression" campaign. He has close contacts with the Communists and firmly supports the anti-Japanese national united front policy of the Communist Party of China. He refers to himself as a "fire thief", is committed to cultural exchanges between China and foreign countries, and advocates the emerging woodcut movement. He cared about young people, cultivated young people, and devoted a lot of effort to the growth of young writers.

On October 19, 1936, Lu Xun passed away at his residence in Dalu Xincun, Shanghai, at the age of 55.

Lu Xun wrote a poem "Self-mockery", in which two lines are "A cold eyebrow is pointed at a thousand people, bowing one's head and willing to be a bully", which is a true portrayal of his life.

Lu Xun wrote more than 8 million words of translation in his life. Many of his works such as "The Scream", "Wandering", "Weeds", "Morning Blossoms Picked Up at Dusk" and so on have been republished and translated into English. , Russian, German, French, Japanese, Esperanto and other languages, and is well-known all over the world. "The Complete Works of Lu Xun" is a precious spiritual wealth he left to the Chinese people and people around the world.

Lu Xun’s life and creation

Lu Xun is a great modern Chinese writer and thinker. His original name was Zhou Shuren and his courtesy name was Hencai. "Lu Xun" was the pen name he started using when writing for New Youth in 1918. Lu Xun is a great modern Chinese writer and thinker. His original name was Zhou Shuren, and his courtesy name was Hencai. "Lu Xun" was the pen name he started using when writing for "New Youth" in 1918.

Lu Xun was born in 1881 in a bureaucratic landlord family in Shaoxing, Zhejiang. However, when he was 13 years old, his grandfather, who was an official in the capital, was imprisoned for some reason. When one becomes ill and eventually dies, the family's financial situation will decline rapidly. Family changes had a profound impact on the young Lu Xun. He is the eldest son of the family. He has a lonely mother and younger siblings. He has to bear the burden of life together with his mother. The innocent and lively childhood life was over, and he prematurely experienced the hardships of life and the warmth and coldness of the world. He often went to the drug store to pick up the medicine prescribed by the doctor for his father, and took the things to the pawn shop to sell them. In the past, when his family was well off, people around him looked at him as a little "gongzi" with envy. His words were kind and his eyes were gentle. But now that his family has become poor, the attitudes of the people around him have changed: his words are cold, his eyes are cold, and there is a look of disdain on his face.

This change in the attitude of the people around him left a deep impression on Lu Xun's mind and had a huge impact on his soul. It made him feel that in China at that time, there was a lack of sincere sympathy and love between people. . People look at people and things with a "snobbish eye": they have one attitude towards rich and powerful people, and another attitude towards people who have no money and power. Many years later, Lu Xun said very sadly: "Is there anyone who has fallen into poverty from a well-off family? I thought that along the way, I could probably see the true face of the world." (Preface to "The Scream")

The changes in his family and his life experience after the accident also made Lu Xun close to the lower class people since he was a boy. His maternal grandmother's family lived in a rural area, which gave him the opportunity to contact and understand the life of farmers. Especially around the time his grandfather was imprisoned, he had to take refuge with relatives in the countryside and lived in the countryside for a long time. There, he became friends with the children in the countryside, playing with them, boating with them, watching plays together, and sometimes going to their fields to "steal" beans and cook them. There is no mutual discrimination or hatred between them, but mutual care and friendship. Throughout his life, Lu Xun remembered and described his simple, natural, sincere and innocent relationship with rural children as the most beautiful relationship between people.

At that time, ordinary scholars took three paths: one was to study and become an official. If you pass the imperial examination, you can be promoted, you can make a fortune, your personal worth will be a hundred times greater, and your family will become the envy of the world. This is considered the "right path" for scholars. Those who are not officials can still serve as a "staff member" of a certain bureaucrat, making suggestions, working hard for the bureaucrat, and accepting gifts from the bureaucrat. Through the power of this bureaucracy, I also gained power. This was the second path often taken by scholars at that time. If the first two paths fail, you can still go into business. Although this is despised by the bureaucrats at the time, you can make a fortune and avoid being humiliated and harmed at the bottom of society. Lu Xun took another path that was most looked down upon by people at the time: entering a "foreign school". In China at that time, this was regarded by ordinary people as a despicable act of "selling one's soul to foreign devils". In 1898, 18-year-old Lu Xun left his hometown and entered the Nanjing Naval Academy with the purpose of going to a "different place" to find "different people" with the 8 silver dollars that his loving mother had managed to raise in various ways. Later he changed to Nanjing Road and Mine School. Both schools were established by the Westernizationists at that time in order to enrich the country and strengthen the army. They offered courses in mathematics, physics, chemistry and other natural science knowledge, which had never been seen in traditional Chinese education. In his spare time, Lu Xun also read works on foreign literature and social sciences, which greatly broadened his cultural horizons. In particular, Yan Fu's translation of "On the Evolution of Heaven" by British Huxley had a profound impact on Lu Xun. "Tianyan Lun" is a work that introduces Darwin's theory of evolution, which made Lu Xun realize that the real world is not harmonious and perfect, but full of fierce competition. If a person or a nation wants to survive and develop, it must have the spirit of self-reliance, independence, and self-improvement. We cannot be at the mercy of fate or bullied by the strong.

Lu Xun’s life and creations Lu Xun was a person with a strong thirst for knowledge. During his studies at Nanjing Road and Mine School, his academic performance was always excellent, which gave him the opportunity to study abroad at government expense after graduation. . In 1902, he traveled east to Japan and began tutoring Japanese at Tokyo Kobun Gakuin, and later entered Sendai Medical College. He chose to study medicine in order to treat patients like his father who had been harmed by quackery, and to improve the health of the Chinese people who were ridiculed as the "sick man of East Asia." It was through Western medicine that Japan realized the value and significance of Western science and technology. Lu Xun also wanted to enlighten the Chinese people through medicine. But his dream did not last long before it was shattered by the harsh reality. At that time, Japan was rapidly becoming stronger through the Meiji Restoration, but the power of Japanese militarism was also developing at the same time. In Japan, as a citizen of a weak country, Lu Xun was often discriminated against by the Japanese with militaristic tendencies. In their eyes, all Chinese people are "imbecile". Lu Xun scored 59 points in the anatomy class, and they suspected that Fujino Genkuro, the teacher in charge of the anatomy class, had leaked the test questions to him. This made Lu Xun deeply feel the sorrow of being a citizen of a weak country. Once, in a slideshow shown before class, Lu Xun saw a Chinese man being captured and beheaded by the Japanese army, while a group of Chinese people stood aside and watched the fun as if nothing had happened. Lu Xun was greatly stimulated. This made him realize that mental numbness is more terrible than physical weakness.

To change the tragic fate of the Chinese nation in a modern world with many powerful countries, the first thing is to change the spirit of the Chinese people, and the first thing that is good at changing the spirit of the Chinese people is literature and art. So Lu Xun abandoned medicine to pursue literature, left Sendai Medical College, returned to Tokyo, translated foreign literary works, organized literary magazines, published articles, and engaged in literary activities. At that time, what he discussed most with his friends was the issue of Chinese national character: What is ideal human nature? What is lacking most in Chinese national character? What is its root cause? Through this kind of thinking, Lu Xun put his personal life into perspective. The experience was linked to the fate of the entire Chinese nation, which laid the basic ideological foundation for his later career as a writer and thinker. At that time, he and his second brother Zhou Zuoren jointly translated two volumes of "Collection of Foreign Novels", and he personally published a series of works such as "Scientific History and Education", "Cultural Partialism", and "The Power of Moro Poetry". Important Papers. In these papers, he put forward the important idea that "building a country" must first "build people", and enthusiastically called for "spiritual warriors" whose "intentions are in resistance and their return is in actions."

While studying in Japan, Lu Xun gained a clearer understanding of the development of contemporary world culture, had more practical thinking about the future and destiny of the Chinese nation, and initially formed his independent world view and Outlook on life, however, Lu Xun was not a hero who "raised his arms and responded". Not only were his thoughts and feelings incomprehensible to most Chinese people at the time, but it was also difficult to get a wide response among students studying in Japan. The foreign novels he translated could only sell a few dozen copies, and the literary magazine he organized was not published due to lack of funds. The financial difficulties forced Lu Xun to return to China to seek employment. In 1909, he returned from Japan and worked as a teacher at the Hangzhou-Zhejiang Normal School and Shaoxing Fu Middle School. This period was a period of extremely depressed thought for Lu Xun. The Revolution of 1911 in 1911 also gave him a moment of excitement, but then came the continuous dramas of historical tragedies such as Yuan Shikai's proclaiming himself emperor and Zhang Xun's restoration. The Revolution of 1911 did not change the reality of China's stagnation and backwardness and its desire to be bullied by Western imperialism. historical destiny. The chaos of society, the disaster of the nation, and the misfortune of his personal marital life all made Lu Xun feel depressed and depressed. At this time, life is like a cup of bitter wine, which is drunk in the stomach and bitter in the heart. You want to spit it out, but you cannot bear it. But precisely because of this, when the May 4th New Culture Movement occurred, his long-repressed thoughts and feelings violently erupted like lava through literary works. At that time, he was already working in the Ministry of Education and moved to Beijing with the Ministry of Education.

In 1918, Lu Xun published his first vernacular novel "A Madman's Diary" in the magazine "New Youth". It was also China's earliest modern vernacular novel, marking that the development of Chinese novels had entered a new era. era. This novel embodies all of Lu Xun's painful life experiences from his childhood to that time and all his painful thoughts on the modern destiny of the Chinese nation. Through the mouth of a "madman", it denounced the thousands-year history of China's feudal autocracy as a history of "cannibalism" and issued a stern question to the stagnant and backward Chinese society: "This has always been the case, is it right?" and loudly shouted: "Save the children!" It can be said that Lu Xun's "Diary of a Madman" is a crusade against the traditional feudal autocratic culture and a manifesto calling for the reconstruction of a new modern Chinese culture. With the poignant voice of the insulted and harmed Chinese nation, it declared to the world the will and belief of the Chinese nation to rise again.

After "Diary of a Madman", Lu Xun couldn't stop publishing. He published many short stories in succession, which were later compiled into two short story collections "Scream" and "Wandering", which were published in 1923 and 1926 respectively. publishing.

Lu Xun’s novels are not numerous in number, but they are of great significance. Only with Lu Xun did Chinese novels focus on the broader subject area of ??the lowest class of society and describe the daily life and mental conditions of these people at the bottom. This is inseparable from Lu Xun's creative purpose. Lu Xun said: "I draw my materials mostly from the unfortunate people in the sick society, which means to expose the suffering and attract attention to cure." ("Nan Qian Bei Diao Ji·How do I start writing novels") This kind of expression of life The purpose of his creation is to improve life, so he mainly describes the most common tragic fates of the most ordinary people, such as Kong Yiji, Hua Laoshuan, Sister-in-law Shan, Ah Q, Chen Shicheng, Sister Xianglin, and Aigu.

These people live at the bottom of society and most need sympathy, compassion, care and love from the people around them. However, in the Chinese society at that time that lacked sincere love, what people gave them was insult, discrimination, indifference and callousness. Is such a society a normal society? Is this kind of interpersonal relationship a reasonable interpersonal relationship? What saddens us the most is that they live in a loveless world and are deeply tortured by life, but they also have deep feelings for each other. Lacking sincere sympathy, they adopt an attitude of indifferent spectatorship or even appreciation for the tragic fate of their own kind, and vent their pent-up resentment when they are oppressed and bullied by bullying those who are weaker than themselves. In "Kong Yiji", there is a blouse customer who maliciously mocks Kong Yiji; in "The True Story of Ah Q", others bully Ah Q, and Ah Q bullies a little nun who is weaker than him; in "Blessing", Lu The villagers in the town regarded the tragedy of Mrs. Xianglin as an interesting story... All of this made people feel a chill to the bones. What a cruel and ruthless world this is! What a twisted life this is! Lu Xun's attitude towards them was "sorry for their misfortune, angry for their inability to fight". Lu Xun loved them, but he hoped that they would wake up, hope that they could be self-reliant, self-reliant, self-reliant, stand upright as human beings, and strive for their own happy future.

In addition to the images of characters at the bottom of society, Lu Xun also created some images of newly awakened intellectuals. These intellectuals had demands for progress, good wishes to improve society, and sincere feelings and love for others and themselves, but the society at that time could not tolerate them. The "madman" curses the phenomenon of cannibalism and hopes that everyone can become a "non-cannibal" and a "real person". People around him will regard him as a madman and want to get rid of him ("Diary of a Madman") 》); , when he no longer cared about Chinese society, people around him came to curry favor with him ("The Lonely"). Lu Weifu in "At the Restaurant" and Zijun and Juansheng in "Sorrow" all pursued and struggled for society and themselves, but in the stagnant and backward Chinese society, they all experienced tragic fates. Lu Xun's sympathy for these intellectuals meant that he sympathized with Chinese society and cared about the fate of the Chinese nation, because in the society at that time, only these intellectuals were still struggling for social progress.

Lu Xun had a deep hatred for two types of people in society, namely the powerful and the hypocrites. Ding Juren in "Kong Yiji", Mr. Zhao in "The True Story of Ah Q", Mr. Lu Si in "Blessing", Guo Laowa in "The Everlasting Lamp", the Seven Masters in "Divorce", etc. are all Such images of powerful people. They were powerful in the Chinese society at that time, but they had no sincere concern for the fate of others and no enthusiasm for social progress. They only cared about their own power and status. They were selfish, hypocritical, and cold-hearted, which hindered the development of society. social progress and improvement. Si Ming in "Soap" and Master Gao in "Old Master Gao" are fake Taoists and hypocrites. They claim to care about social morality, but in fact they themselves have no moral conscience.

Lu Xun's novels describe the ordinary lives of ordinary people. There are no bizarre stories or fascinating plots, but they are full of infinite artistic charm. Where does this charm come from? It comes from his meticulous description of people and life and his penetrating portrayal of people's inner subtle psychology. This requires superb artistic skills. When reading Lu Xun's novels, I always feel a "joy of discovery". The picture is an ordinary picture, the characters are ordinary people, but in such an ordinary picture and ordinary characters, we can always notice characteristics that we usually don't notice, and become aware of the characters' psychology that we usually can't notice. Activity. It is precisely because of this meticulous description and profound psychological portrayal that the artistic charm of Lu Xun's novels becomes more and more mellow with time. In our youth, we are not deeply involved in the world and have no more personal experience of life. Lu Xun's novels enter our sensory world as a whole, but how rich connotations are hidden in the characters and pictures we feel? It is impossible for us to fully feel that as our social experience increases and our life experience deepens, the connotations of these characters and pictures will continue to emerge from them. In order to reveal the different meanings of different life scenes and the fate of different characters, the structure of Lu Xun's novels is changeable, with almost one article following the same style and one article following the other.

"Diary of a Madman" is different from "The True Story of Ah Q", "Kong Yiji" is different from "White Light", "Hometown" is different from "Blessing", "The Lonely" is different from "Sorrow". Not only are the structural styles different, but the tone and rhythm are also different. "Kong Yiji" is so simple and solemn, while "Sorrow" is so twists and turns and deeply affectionate. Lu Xun's novels are both novels and poems, with profound artistic conception, cold outside and hot inside. His skill in using national language has reached the level of perfection.

While writing "Scream" and "Wandering", Lu Xun also created a collection of prose "Picking Up Flowers in the Morning and Dusk" and a collection of prose poems "Wild Grass". The former was published in 1928 and the latter in 1927. If the novels in "The Scream" and "Wandering" are Lu Xun's grim portrayals of life in real society, intended to wake up the sleeping citizens, the prose in "Morning Blossoms Plucked at Dusk" are Lu Xun's warm memories, a tribute to the people who nourished him. The affectionate remembrance of life, people and things. His childhood nanny, his mother-in-law, Mr. Fujino, who showed him sincere care in a highly discriminated environment, and his old friend Fan Ainong, who had a bumpy life and was aloof and unruly, gave him unlimited fun in the "Baicao Garden", attracting his curiosity. Folk dramas and folk entertainment activities of the heart... All of these are things that reveal bright colors and warmth against the background of this sinister world. It is they who nourished Lu Xun's life. These proses combine lyricism, narration, and discussion. Sometimes they are like a calm harbor, sometimes they are like a rolling sea, sometimes they are like a rushing river, and sometimes they are like a meandering stream. They are in various shapes and forms, embodying Lu Xun's prose creation. artistic achievements. Different from the clear and meticulous prose in "Picking Up Flowers at Dusk", the prose poems in "Wild Grass" present a confusing, strange and beautiful artistic conception. They are like clouds of emotions, spinning and floating in the air, changing into various forms. an unexpected shape. Lu Xun's inner depression turned into a dream and an otherworldly imagination, making "Weeds" a strange flower in Chinese modernist literature. Lu Xun once said to others: "My philosophy is all in "Weeds"." Lu Xun's innermost emotional experience and most mysterious philosophical insights are conveyed through this unique artistic method. Lu Xun's artistic creativity is amazing.

His essays should be the first to most fully embody Lu Xun’s creative spirit and creativity. "Zawen" has been around since ancient times, and similar examples can be found in foreign prose. However, it was only in the history of modern Chinese culture and in the hands of Lu Xun that the style of "zawen" showed its unique artistic charm and huge ideas. potential. Lu Xun's essays can be said to be an "epic" of modern Chinese culture. They not only record Lu Xun's lifelong battle achievements, but also record the ideological and cultural history of China in Lu Xun's era. Ancient Chinese culture is not like Western culture. The Western Middle Ages were under the rule of a religious culture, Christian culture. As long as it breaks free from the shackles and imprisonment of this religious culture, Western modern culture will have the power to develop. Ancient Chinese culture is composed of various cultural synergies. In the process of development and evolution for thousands of years, various cultures have been mixed together. When modern Chinese intellectuals want to create products that adapt to China's modern development, When we study new culture and new ideas, we encounter slander and attacks from various classes, from various characters, from various angles, and in various ways. Lu Xun's essays were naturally formed in this ideological and cultural struggle with no fixed fronts and no fixed opponents. Since the May Fourth Movement, Lu Xun began to use essays to fight against various arguments against the new culture, but he was still unconscious at that time. Later, some people began to laugh at him for being an "essayist", and then he became more clearly aware of the power of "essays" and began to consciously engage in the creation of essays. Lu Xun said that essays are "the nerve of induction", which can "immediately react or fight against harmful things", thereby opening up a winding path for the development of new culture and new ideas in the thorny jungle of old culture and old ideas. The winding road enables it to exist, develop and grow.

Lu Xun wrote "Grave", "Hot Wind", "Huagai Collection", "Huagai Collection Sequel", "Sanxian Collection", "Erxin Collection", "Nanqianbei Diao Collection", "Pseudo Free Letter", "Quasi Feng Yue Tan", "Lace Literature" and "Qie" in his lifetime. "Jie Ting's Essays", "Qie Jie Ting's Essays in Two Collections", "Qie Jie Ting's Essays in the Final Collection" and other 15 collections of essays. In these 15 collections of essays, Lu Xun extended his brushwork to various cultural phenomena and different social classes. There are various characters, including ruthless revelations, angry accusations, sharp criticisms, bitter satires, witty humor, detailed analysis, decisive judgments, passionate expressions, and pain. There are kind encouragements and warm praises, the writing is galloping, the words are brilliant, and the forms are diverse and changeable. It completely breaks the shackles of the "gentle and honest" aesthetic style of ancient Chinese prose, expresses modern people's emotions and emotional experiences more freely and boldly, and opens up a broader path for the development of Chinese prose. The status of Lu Xun's essays in the history of modern Chinese literature cannot be denied.

In his later years, Lu Xun also completed a collection of novels "New Stories" (published in 1936). This collection of novels is based on ancient Chinese myths, legends and historical facts, but it does not stick to the original stories, but adds Lu Xun's own understanding and imagination. Some of them also adopt a writing technique that blends ancient and modern times, making the ancients Have a direct dialogue with modern people. The purpose of Lu Xun's doing this is to enable us to give a vivid and real look to ancient characters through our feelings and understanding of real characters, and also to have a deeper feel and understanding of some real characters through our feelings and understanding of ancient characters. Real face. Through the novels in "New Stories", Lu Xun actually reconstructed China's cultural history, revealed the basis for the existence and development of the Chinese nation, and also reshaped the images of historical figures sanctified by Chinese feudal literati. "Mending the Sky" can be considered the "Creation" of the Chinese nation. In Lu Xun's view, it is not the ancient sages, emperors and generals who truly embody the fundamental spirit of the Chinese nation, but Nuwa, who created the Chinese nation. She is the source and symbol of the vitality of the Chinese nation; "Flying to the Moon" is about the tragedy of ancient heroes. Yi shot down the Nine Suns and saved mankind. However, those selfish and narrow-minded people in the world do not want to inherit and carry forward his heroic spirit. They only want to Using him to achieve his own selfish and narrow purposes, he was plotted by his students and abandoned by his wife; "Forging Swords" expresses the theme of the oppressed's revenge on the oppressors; "Liquing Water" and "Fei Gong" praise In addition to those practical politicians and thinkers in ancient China, Yu and Mo Zhai are the backbone figures of the Chinese nation. Historical figures such as Confucius, Laozi, Zhuangzi, Boyi, and Shuqi also became somewhat ridiculous but still lovely living characters in Lu Xun's writings. Lu Xun's "New Stories" uses absurd techniques to express serious themes and creates a completely new way of writing historical novels.

Lu Xun's ideological and artistic creativity is astonishing. He has his own brand-new creations in short stories, essays, prose poems, historical novels, and essays. This makes him the greatest Chinese writer in the 20th century and a world-wide literary master. His life was a life of struggle for the survival and development of the Chinese nation. He used his pen to uphold social justice, resist power, protect young people, and cultivate new forces. In the early days, he enthusiastically supported the just struggle of young students, exposed the Duan Qirui government's criminal acts of suppressing the student movement and creating the "March 18th" massacre, and wrote a series of shocking articles such as "In Memory of Mr. Liu Hezhen"; Later, he opposed the Kuomintang government's bloody suppression of communists and progressive youths, joined the Left-wing Writers Alliance and the China Civil Rights Protection Alliance, and wrote a series of articles full of justice, courage and righteousness, such as "For the Memory of Forgotten". "Lu Xun has the hardest bones. He has no trace of servility or obsequiousness. This is the most precious character of colonial and semi-colonial people." (Mao Zedong: "On New Democracy")

1936 On October 19, Lu Xun died in Shanghai. Thousands of ordinary people came to see him off on their own initiative, and his coffin was covered with a flag with the words "National Soul" written on it.

Works

"The Scream" (short story collection) 1923, Xinchaoshe

"A Brief History of Chinese Novels" (volumes 1 and 2) 1923-1924, Xinchaoshe

"Hot Wind" (Collection of Essays), 1925, Beixin

"Wandering" (Collection of Short Stories), 1926, Beixin

"Collection of Huagai" (Collection of Essays), 1926, Beixin

"The Continuation of the Huagai Collection" (Collection of Essays), 1927, Beixin

"Grave" (Collection of Essays and Essays), 1927, Weiming Society

"Wild Grass" (Collection of Prose Poems) t927. Beixin

"Picking Up Flowers in the Morning and Dusk" (Collection of Prose) 1928, Weiming Society

"Collection of Ji Ji" (Collection of Essays) 1928, Beixin< /p>

"San Xian Ji" (Collection of Essays), 1932, Beixin