Edit this paragraph's introduction to Lu Xun

Lu Xun (1881.9.25 ~ 1936.10.19) was originally named Zhou Zhangshou, but later changed his name to Zhou Shuren. Chinese modern writer, thinker, revolutionist and educator. Known as the "Cultural and Educational Revolution". He was born on the third day of August in the seventh year of Guangxu (September 25, 1881) in Dongchangfangkou, Huiji County, Shaoxing Prefecture, Zhejiang Province (now Shaoxing City), and his ancestral home is Runan County, Henan Province. As a child, he enjoyed a life like a young master, but his family gradually declined and he became poor. In his youth, he was influenced by Darwin's theory of evolution and Tolstoy's philanthropic thoughts. In 1898, Lu Xun changed his name from Zhou Zhangshou to Zhou Shuren. In 1902, he went to Japan to study at public expense. He originally studied medicine at Sendai Medical College, and his ideal was to use his own hands to treat diseases and save people. Later, due to the war, he became a writer and engaged in literary and artistic work, hoping to change the national spirit (see the preface to "The Scream"). From 1905 to 1907, he participated in the activities of the revolutionary party and published papers such as "On the Power of Moro Poetry" and "On Cultural Partiality". During this period, he returned to China and married his wife Zhu An at the order of his mother. In 1909, together with his brother Zhou Zuoren, he co-translated "Collection of Foreign Novels" to introduce foreign literature. In the same year, he returned to China and taught in Guangzhou and Shaoxing. In 1918, he published the vernacular novel "Diary of a Madman" under the pen name "Lu Xun". In 1927, he married Ms. Xu Guangping and gave birth to a boy named Zhou Haiying. Died of illness in Shanghai on October 19, 1936. His works are included in "The Complete Works of Lu Xun", his works and "Collected Letters of Lu Xun", and he has reprinted various ancient books compiled by Lu Xun. Later, "The Complete Works of Lu Xun" (*** Volume 16) was published in 1981. In 2005, "The Complete Works of Lu Xun" (***18 volumes) was published. His works are mainly novels and essays. Among the novels, "Blessing", "The True Story of Ah Q", and "Diary of a Madman" are relatively well-known. Dozens of Lu Xun's novels, essays, poems, and essays have been selected into Chinese textbooks for middle and primary schools. His novels "Blessing", "The True Story of Ah Q", and "Medicine" have been adapted into movies. Lu Xun museums and memorial halls have been established in Beijing, Shanghai, Shaoxing, Guangzhou, Xiamen and other places. At the same time, his works have been translated into more than 50 languages ????such as English, Japanese, Russian, Spanish, French, German, and Arabic, and have been published all over the world. A wide range of readers.

Edit this paragraph's lawsuit between Lu Xun and Zhang Shizhao

In August 1925, the student movement at Beijing Women's Normal University was in full swing... Because Lu Xun supported the revolution and had a firm stand, he was elected as a member of the school maintenance committee. This matter was about to come out, which angered the Beiyang warlord government. After intensive planning, Zhang Shizhao, the "chief of justice and chief of education", came forward and petitioned Duan Qirui, the interim executive government, to remove Lu Xun from his position as "Ministry of Education Minister" on August 12. "Position. ...On August 22, Lu Xun, as a "plaintiff" with justice in mind and truth in hand, submitted an "indictment" to the "Pingzhengyuan" which was specialized in dealing with violations of laws and disciplines by government officials at that time, accusing Zhang Shizhao of abusing his power. Violated the Civil Service Punishment Regulations and the Civil Service Protection Draft Act.

......

Zhang Shizhao's reply was weak and full of loopholes. Lu Xun seized on the flaws and mercilessly refuted it. He sharply pointed out in the "Mutual Defense Letter":

1. Zhang Shizhao falsely accused Shuren (as Lu Xun claimed) of "colluding with the school's teachers, troublemakers and a few bad students", but he "didn't say at all what kind of troublemakers and bad students he colluded with" or "what he advocated". This is purely " "False words" and "no factual evidence at all"!

2. ...

After Lu Xun and Zhang Shizhao argued with each other, the Pingzhengyuan made a ruling in accordance with the law. The "Judgment" stated: Zhang Shizhao failed to provide the specific facts of Lu Xun's rebellion against the Ministry of Education; even if Lu Xun's rebellion against the Ministry of Education was confirmed, Zhang Shizhao should also prosecute according to law, and should not ignore legal procedures and petition for removal from office first - therefore, Zhang Shizhao acted without authorization Lu Xun's removal from office is illegal and should be cancelled.

In their eyes, all Chinese people are "imbecile". Lu Xun's anatomy score was 59 points, 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 destiny of the Chinese nation in the world, 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.

While studying in Japan, Lu Xun initially formed his world view and outlook on life. However, Lu Xun’s thoughts and feelings were not only incomprehensible to most Chinese at the time, but also difficult to understand among students studying in Japan. got a wide response. 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 in Hangzhou Zhejiang Normal School (now Hangzhou Senior High School) and Shaoxing Prefecture Middle School. This period was a period of extremely depressed thought for Lu Xun. The Revolution of 1911 in 1911 also made him feel temporarily inspired, but then the historical tragedies such as Yuan Shikai's proclaiming himself emperor and Zhang Xun's restoration continued to be staged. The Revolution of 1911 did not change the reality of China's stagnation and backwardness, social confusion, and national disaster. The misfortunes in his personal marriage life made Lu Xun feel depressed and depressed. After the May 4th Movement, his long-suppressed thoughts and feelings erupted violently through his literary works like lava. 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 "Diary of a Madman" in the magazine "New Youth". This was the first time he published an article under the pen name "Lu Xun", "Diary of a Madman" " is also China's earliest modern vernacular novel. 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 child!".

After "Diary of a Madman", Lu Xun published many short stories in succession, which were later compiled into two short story collections "Scream" and "Wandering", published in 1923 and 1926 respectively.

Lu Xun’s novels are not numerous in number, but they are of great significance. Lu Xun focused his attention on the lowest level of society and described 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 most of my materials from the unfortunate people in a sick society, which means to expose the suffering of the disease and attract attention to cure it." ("Nanqianbei Diaoji·How do I start a novel") 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-in-law Xianglin, and Ai Gu. 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 this kind of society a normal society? Is this kind of interpersonal relationship a reasonable interpersonal relationship? What makes us most sad is that they live in a loveless world and are deeply tortured by life, but they have nothing to do with each other. They also lack sincere sympathy and adopt an attitude of indifferent spectatorship or even appreciation for the tragic fate of their own kind, and vent their resentment accumulated 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. 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 and be self-reliant, autonomous, and self-reliant.

Lu Xun had a deep hatred for the powerful and 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 are powerful, but they have no sincere concern for the fate of others and no enthusiasm for the progress of society. They only care about their own power and status. They are selfish, hypocritical, and callous, hindering the progress and improvement of society. 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. When reading Lu Xun's novels, I always feel a "joy of discovery". The picture is an ordinary picture, and 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 be aware of the psychological activities of the characters that we usually can't notice. 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. The primary and secondary school students in the north are not familiar enough with the local customs and customs such as Lu Town and other Jiangnan water towns and Sanwei Bookstores described in the story. They have not had more personal experience of life. Lu Xun's novels are as a whole Entering the world of our senses, it is impossible for us to feel how rich the connotations are hidden in the characters and pictures we feel. As our social experience increases and our life experiences deepen, these characters and pictures The connotation will continue to emerge from it. 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 essays "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 "Bloomies Plucked 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 "zawen" was "a dagger and a spear", and this style of writing showed its uniqueness. Unique artistic charm and huge ideological 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. When modern Chinese intellectuals want to create new culture and new ideas that are suitable for China's modern development, they encounter people from various classes, various characters, from various angles, and in various ways. slander and attack. 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", "Refeng", "Huagai Collection", "Huagai Collection Sequel", "Sanxian Collection", "Erxin Collection", "Nanqianbei Diao Collection", "Pseudo Free Book", "Quasi Fengyue" during his lifetime. "Talk", "Lace Literature", "Qie Jie Ting's Essays", "Qie Jie Ting's Essays in Two Collections", "The Final Collection of Qie Jie Ting's Essays" and other 15 collections of essays. In these 15 collections of essays, Lu Xun extended his writing to various cultural phenomena and various characters from different walks of life. Among them were ruthless revelations, angry accusations, sharp criticisms, and spicy stories. There is sarcasm, witty humor, detailed analysis, decisive judgments, passionate expressions, painful cries, kind encouragement, warm praises, the writing is galloping, the words are brilliant, the forms are diverse and changeable. . It freely and boldly expresses the emotions and emotional experiences of modern people, opening 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 the cultural history of China, 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 have also become 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 had his own brand-new creations in various types of creations, including short stories, essays, prose poems, historical novels, and essays. 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 the 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.

Before his death, he made his last words: "First, do not accept any money for funerals, except for friends. Second, quickly restrain, bury, and pull down. Third, do not do anything to commemorate 4. Forget about me and take care of your own life. If not, you are really stupid. 5. If your child grows up and has no talent, he can find some small things to make a living, but he must not become a short-term writer or artist. 6. Don’t take things that others promise you seriously. 7. Don’t get close to those who harm others but oppose revenge and advocate tolerance. Shakespeare said: “A person’s last words are like deepness. Lu Xun's music has the power to attract attention naturally."

Lu Xun wrote nearly 10 million words in his lifetime, including ***16 collections of essays.