The first 23 articles in Weeds were written in the dark Beijing under the rule of Duan Qirui at that time. Under that white terror, Mr. Lu Xun began to cut newspaper clippings, sort out his works and published this collection of poems. One of the biggest characteristics of Weeds that distinguishes it from other works of Lu Xun is its profound philosophy, which is deep and shallow.
Reading Weeds through, there is a theme that dominates the book, and three of them have great influence. The first is the philosophy of tenacious fighting, the second is the philosophy of resisting despair, and the third is the philosophy of revenge against numbness. These philosophies of life experience constitute the rich and profound spiritual world of Lu Xun, an enlightenment thinker who fought alone in Weeds. Therefore, some people say, do you want to approach the deep world of Lu Xun? Then you don't have to read anything else. Compared with reading novels and essays and reading Weeds several times, you can better understand the deepest things in Lu Xun's spiritual world. Weeds is a window to see Lu Xun.
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Hello friends and welcome to the Literature Museum. Today's "Listening to a Lecture in a Literature Museum", the speaker I invited for you is a professor and doctoral supervisor of the Chinese Department of Peking University. Mr. Sun Yushi, a famous scholar and expert who studies Lu Xun, especially his Wild Grass, is welcome. Then Weeds is one of the earliest collections of prose poems in the history of modern literature in China, with unique form and profound thoughts. Because many thoughts in the environment at that time could only be expressed by symbolic images and forms. Many expressions and ideas are very secretive because they are difficult to say directly. Today, we invite Mr. Sun to interpret the ideology and art of Lu Xun's Wild Grass. Today, the topic of Teacher Sun's speech is "Lu Xun <: Weeds > Life philosophy and symbolic art, welcome.
Today's topic is About <; Weeds > Life philosophy and symbolic art, divided into three questions to talk to you. Mainly interspersed with the reading of some works. The first question is about the emergence of Weeds, which is very simple. The second is the philosophy of life in Weeds. The third is the symbolic art of Weeds.
Everyone who comes into contact with Lu Xun's works knows that Weeds is the thinnest work among Lu Xun's works and the thinnest collection of prose poems. But it is a very heavy gift from Mr. Lu Xun to new literature. A very thin work, but its weight is very heavy. Weeds, from beginning to end, has been regarded as the most beautiful work of Lu Xun's creation by academic circles and critics until today. It is the most beautifully written works. Compared with those narrative works such as Scream and Wandering, which are stories, it has a kind of profundity. It is deep and mysterious; In addition, it has a permanent, permanent value. In recent years, there have been many arguments about Lu Xun, and there are many kinds of arguments. Evaluation of Lu Xun's novels, whether Lu Xun is a great writer and thinker. All kinds of comments, the previous paragraph is called "approaching Lu Xun", re-evaluated. But no one said Weeds was a bad work. Everything else can be controversial, and essays can be controversial; Novels can be controversial. However, "Weeds" is generally acknowledged to be a very beautiful and charming work, and it is difficult to decipher, that is, it is difficult to read such a work.
As for this thin little book, since it came into being in the 2th century, there have been some initial sporadic criticisms. Until the 198s, some systematic research and criticism of academic works always seemed to have such a feeling. Said a lot about it, that is, everyone said a lot. I have made two books myself, Weeds itself is a thin one, but I wrote a book for it <: Weeds > Research ". A 1982 book <: Weeds > Research ". A lecture in Japan this year is called "<: Weeds > The reality and philosophy, the whole research results together, a lot of comments in academic circles. Whether it is specialized or comprehensive research, there is a feeling that countless people have spoken and feel that they have not finished speaking. This is a unique phenomenon in the works of modern literature. There are some works! It's hard to understand. Some images and some languages are still controversial. For example, in Autumn Night, a crow flew away with a "wow", so what does this "crow" symbolize? Is the representative of evil forces? Or the image of Lu Xun's own fighter? A very opposing understanding, but it is difficult to get a unified opinion. So this book is often called a mystery, a beautiful mystery. You can even say jokingly that "Wild Grass" belongs to this century, which is a century-long conjecture of our present literature. Let's guess. I haven't finished guessing, and I can always guess. So a ***24 articles, written for almost two years. Then the place is different. The first 23 articles were written in the dark Beijing under the rule of Duan Qirui at that time. When the Inscription was written, it was already a time of white terror in Guangzhou. Gunfire, slaughter and bloodshed outside, Lu Xun sorted out his works in white terror. Feeling that I had nothing to do, I cut out the newspaper, sorted out my things and published this book. Although the writing time is different, the environment is different. But in general, thoughts are something he wants to express, and the general expression method is the same. In July, 1927, Beixin Bookstore published a thin booklet, which was reprinted later. Perhaps the novels and other works in Lu Xun's works are reprinted the most.
Lu Xun once gave many explanations about Weeds, including a passage that said, "Later, the new youth groups dispersed, some rose, some retired, and some moved forward. I have experienced once again that in the same war, in a fighting camp, partners will change like this. Moreover, he became a "writer" and still walked around in the desert. However, there is no escape from writing in a loose publication, which is called talking casually. With a little feeling, write a short article, and exaggerate it to say that it is prose poetry. In the future, it will be printed into a book "Weeds", and short stories will be made after getting more tidy materials, just because it has become a wanderer, and the cloth will not be formed. Therefore, the technology is better than before, and the thinking seems to be unrestrained, but the fighting spirit is much colder. Where are the new comrades? So I printed 11 works of this period called "Wandering", and I don't want to do this anymore. " The state of mind when writing Wandering and Weeds is like this, which is a kind of loneliness, loneliness and fighting during the ebb tide of the May 4th Movement. Therefore, in Weeds, although it is a small feeling, it implies the pain and meditation of an enlightenment thinker walking around in the desert alone. It is a kind of crystallization of inner feelings' philosophization, that is, to artistically and philosophize one's inner feelings. During the May 4th Movement, there were two kinds of beautiful essays, one was narrative, and scenery writing, narrative and lyricism were called gossip prose. And "Wild Grass" is a monologue, that is, an inner monologue, a monologue-style prose, talking to yourself. In 1919, Lu Xun had a whole set of prose poems called "Talking to Himself", and there were 89 pieces of them. It was discovered in the newspaper in the early 198s. Then this kind of prose is later called monolingual prose. Lu Xun raised this philosophical beauty during the May 4th Movement to an unprecedented height through Weeds. It is more difficult to make a value judgment than Scream and Hesitation. But at one point, it is deeper, more mysterious and more beautiful. It provides readers with a larger space for their imagination. After you read it, you will not be finished if you understand a story, but if you understand its theme, you will be finished if you understand its thoughts and emotions. Instead, you will have a lot to offer your imagination. Everyone here has read a little, and there is an article called "Dead Fire". Lu Xun has a series of articles in "Weeds" that begin with such lyrical methods.
I dream about myself; I dreamed of what I was doing; I dreamed that I was dreaming; I dreamed that I was in the house. His article is "I dreamed that I was running among icebergs, which was a tall iceberg." On the iceberg, the sky is filled with frozen clouds, and the pieces are like fish scales. The foothills are in the ice forest, and the leaves are like loose shirts. Everything is cold, everything is white.
but I suddenly fell into the ice valley.
the upper and lower sides are all cold and white. And all the blue and white ice, but there are countless red shadows, tangled like coral nets. I looked down at my feet and there was a flame. This is a dead fire. It has a hot shape, but it does not shake, and all the ice is frozen like coral branches; There is also solidified black smoke at the tip, which is suspected to have come out of the fire house, so it is scorched. In this way, it is reflected on the four walls of the ice and reflects each other, turning into countless shadows, making this ice valley red coral. Ha ha! When I was young, I loved to watch the waves stirred by the clippers and the flames sprayed by the furnace. Not only love to see, but also want to see clearly. Unfortunately, they are always changing and never amorphous. Although I stare and stare, I never leave any definite signs. The flame of death has got you first now! I picked up the dead fire and was about to take a closer look. The cold air had made my fingers anxious. However, I still endured it and stuffed him into the middle of my pocket. Ice valley all around, cried the completely blue and white. I was thinking about the way out of the ice valley.
a wisp of black smoke spurted from my body, rising like an iron snake. Around the ice valley, there was a red flame flowing like a fire, which surrounded me. I looked down and saw that the dead fire had burned through my clothes and flowed on the ice. "Alas, my friend! You used your warmth to wake me up. " He said. I quickly greeted him and asked his name. "I was abandoned in the ice valley," he said irrelevantly. "Those who abandoned me have already perished and disappeared. I'm freezing to death, too. If you don't warm me up and make me burn again, I will soon perish. "
"Your waking up makes me happy. I'm thinking of a way out of the ice valley! I am willing to take you, so that you will never freeze and burn forever. " "alas! Then I will burn it out! " "You burn out, make me sorry. I'll leave you here. " "alas! Then I will freeze out! " "So, what should we do?" "But what about yourself?" He asked instead. "I told you: I want to get out of this ice valley ..." "Then I might as well burn it out!"
He suddenly jumped up like a red comet, and I both went out of the ice valley. A big stone car suddenly came, and I finally ran over and died under the wheel, but before I could see it, I fell into the ice valley.
"ha ha! You will never meet a dead fire again! " I said with a smug smile, as if I were willing to do so.
This is the middle of Weeds, not the longest or the shortest article. It is a typical illustration of what kind of work Weeds is. First, it's beautiful. It's not the same as remembering a scenery and a story. It's about one's own inner emotions and some philosophical thoughts. In fact, it talks about a kind of enthusiasm and a symbol that has been frozen out. Does it symbolize a kind of spirit of people of that era? A revolutionary's fighting mood or the soul of a generation of pursuers? It's hard to determine it, but it's an image opposite to the dark forces and the cart after all. It froze to death and wanted to save him. It wanted to save him with its life. Finally, the dead fire jumped up, and after bringing him up, he ran over and died, and the dead fire was also mutually assured destruction. But just before his death, he saw the cart fall into the ice valley and was glad for the destruction of a dark and decadent force. It is such an emotion and such a thinking that he casts him in a world of beautiful images.
A few days ago, there was an article in Beijing Evening News about my thoughts on the present situation of China's new poetry. There is a quote from a professor in Shanghai, Professor Wang Xiaoming, who said, "People's spiritual life has become more and more vulgar since the 199s." This article of mine is about how new poetry can be involved in the promotion of national spirit. The imbalance between our material development and spiritual poverty is becoming more and more serious, and the improvement of national quality has become the most acute topic. More than twenty years ago, when I came back from giving lectures outside, people asked me what that country was like. How far is it from us? I said that we can always catch up with some in material, production and science and technology in thirty or twenty years. But in terms of national quality, it will take at least 5 years or even hundreds of years. If we don't catch up, it's hard to say that we can catch up. Now it seems that we have a lot of things they have, and we have things they don't have. We can catch up in twenty or thirty years, but it is not so easy to improve the quality and spirit of a nation. Wang Xiaoming's article says, "Since 199s, people's spiritual life has become more and more vulgar. Apart from money and fashion, I have no interest in anything else. I don't read poetry, I'm not used to meditation, and I don't read those profound things. If something is a little abstract, he can't understand it, and even when he meets something wonderful head-on, he doesn't feel anything. Such a spiritual and living state is very common in today's society. " I think it's good to ask this question. Professor Yuan Ming, a professor at Peking University, said that we are now faced with the problem of raising the national spirit, and the understanding of this kind of works is also an improvement of our appreciation ability. This is the first question about Weeds, so I'll stop here briefly.
second question, let me talk about the philosophy of life in Weeds. In the past, my teacher of modern literature was called Zhangchuandao, a student of Lu Xun, one of his closest friends and the founder of Yusi magazine. He once told me that he often went to Lu Xun's home to pick up the manuscript of Weeds, and fortunately he was the first reader of each article of Weeds. However, many articles in Weeds are beautiful to read, but most of them are incomprehensible. The acceptance of this kind of work reveals a message: One of the biggest characteristics that distinguishes Wild Grass from Lu Xun's other creations is that it hides that profound philosophy. Let's watch The True Story of Ah Q and Blessing. The image of Ah Q and Sister Xianglin can be understood in general. Of course, it takes a lot of work to analyze it deeply. But the general story, the general plot and the general main idea can be grasped. But if I give you something called Weeds, such as Dead Fire, you may not know what it means at first. That kind of hidden profound philosophy and symbolic communication, today I talk about these two issues are the key to reading Weeds. Let's talk about philosophy first.
This philosophy is sometimes shallow and sometimes deep. For example, in 1919, there was a National Bulletin written by Sun Fuyuan, a student and friend of Lu Xun. Lu Xun published eight or nine articles called "Talking to Himself" in a row there, and one of them was about "Crab" with the title "Crab". An old crab is going to shell. It is crawling around on the beach and meets another crab and says, What are you doing? It says I want to shell. It says I can help you. It said no, you go to my nest and I'll help you shell. It said I wouldn't go. It said what are you afraid of? It says it's you it's afraid of. It's probably such a small story, and there are some languages in the middle. This is.