The Youth of Searching for Truth On September 25, 1881 (the third day of August in the seventh year of the reign of Emperor Guangxu of the Qing Dynasty), Lu Xun was born in a feudal family in Shaoxing County, Zhejiang Province that was gradually declining. His grandfather Zhou Jiefu was an official in Beijing. His father, Zhou Boyi, was a scholar. Mother Lu Rui studied by herself to the extent that she could read. Lu Xun received a traditional feudal cultural education since childhood, but he had a wide range of reading interests. He had read many unofficial histories and miscellaneous notes, especially those rich in democratic ideas and patriotic spirit. He was also deeply interested in folk art.
In 1893, Lu Xun’s grandfather was arrested and imprisoned, and his family suffered discrimination and bullying from relatives and friends. Soon his father became seriously ill again and died in 1896. Lu Xun was the eldest son of the Zhou family. When his family fell from a well-off society into poverty, he suffered from the cold eyes of the world, which made him "see the true face of the world." And because his mother was from the countryside, he had the opportunity to get in touch with rural society and get close to peasant children, from which he learned about the plight of peasants being oppressed and their hard-working and simple character. These experiences had a profound impact on his later ideological development and novel creation.
After the Sino-Japanese War, the "New Deal" of Westernization went bankrupt and the bourgeois reformist movement emerged. Lu Xun was dissatisfied with the traditional feudal "righteous way" and determined to "take a different path and escape to a different place". In May 1898, he went to Nanjing to apply for the Jiangnan Naval Academy. In February of the following year, it was transferred to the Mining and Railway School attached to Jiangnan Lu Normal University. Because the general office (principal) is a reformist figure, reading new books is very popular in Mining Road School. Lu Xun often read "Compilation of Translation Studies" and also read some translations of modern science, sociology and literature from Western Europe. Among them, the one that had the greatest impact on him was Huxley's "On the Evolution of Heaven" translated by Yan Fu. He received the enlightenment of the theory of evolution from it. Later, he studied other works on the theory of evolution. For a long time in the future, he used it as the main ideological tool and weapon to observe social phenomena and carry out anti-feudal struggle. During the four years in Nanjing, China experienced shocking changes. The Reform Movement of 1898 completely failed, the Boxer Rebellion was suppressed, and the Eight-Power Allied Forces ravaged the country. This prompted Lu Xun to search more urgently for fresh knowledge and the truth to save the country.
In January 1902, Lu Xun graduated from Mining Road School. Xuan went to Japan to study. In April of the same year, he went to Tokyo to study in the Jiangnan class of general subjects at Hongwen College. At that time, the Chinese bourgeois revolutionaries were carrying out anti-Qing activities in Tokyo, and the overseas students were divided into two groups: the anti-Qing faction and the royalist faction. Lu Xun often participated in anti-Qing rallies, read a large number of modern science, philosophy and literature books after school, and began to consider the issue of transforming national character. He resolutely cut off his braid, which symbolized the rule of the Qing Dynasty, and wrote a poem on the photo of the cut hair: "I recommend Xuanyuan with my blood", expressing his determination to devote himself to the liberation of the people of the motherland. During this period, he published the novel "The Soul of Sparta" adapted from foreign works, the essays "A Brief Introduction to Chinese Geology" and "Shuo", and co-edited with friends the monograph "China Minerals" on China's geology and mineral distribution. ", and also translated the science fiction novels "Journey to the Moon" and "Journey to the Underground", which further demonstrated the young Lu Xun's enthusiasm for science and his strong patriotism.
After graduating from Hongwen College, Lu Xun entered Sendai Medical College in September 1904. He determined to study medicine because he hoped to use new medicine to "promote the Chinese people's belief in the Reform." He studied diligently and received the enthusiastic care and help of his teacher Fujino Yankuro. Soon, he saw on a slide about the Russo-Japanese War that a Chinese who worked as a detective for the Russian army was caught and beheaded by the Japanese army, while the Chinese who were watching were indifferent. This made Lu Xun feel bitterly: Medicine is not important. If the mind is not aware, even if the body is strong, it will not help. At that time, he believed that the most important thing was to change people's spirit, and literature and art were good at changing people's spirit, so he decided to abandon medicine and pursue literature, and returned to Tokyo in the spring of 1906.
In Tokyo at that time, the revolutionaries represented by Sun Yat-sen and Zhang Binglin were engaged in a sharp struggle with the royalists such as Kang Youwei and Liang Qichao. Lu Xun studied under Zhang Taiyan, had close contacts with Tao Chengzhang and other revolutionary factions, and became a member of the Guangfuhui, an anti-Qing revolutionary organization. In 1907, he planned to launch the literary and artistic publication "New Life", but failed. Lu Xun felt lonely because of this, but he was not discouraged.
He published "The History of Man" and "History of Science" to introduce Darwin's theory of biological evolution and the evolution of Western scientific trends; he also published "On Cultural Partiality" and "Moro's Theory of Poetry" to analyze the development of Western capitalist culture. The historical characteristics and existing biases of it emphasize the need to compete with "other countries". "The first thing is to establish people, and then everything will be done after people are established." , advocated the fighting spirit of "resistance in intention, action in action", and therefore vigorously introduced the rebellious "Moro" school of poetry headed by Byron. Lu Xun also translated and published the "Collection of Foreign Novels" together with Zhou Zuoren, introducing the realistic short stories of the oppressed nations of Eastern Europe and Russia. During his seven years in Japan, Lu Xun extensively dabbled in foreign natural sciences, social theories, literature, art and philosophy, began to form early social and literary thoughts, became an anti-imperialist and anti-feudal revolutionary democrat, and determined to use literature as his own The independence and freedom of the motherland and the weapon to fight for the people's ideological emancipation.
In August 1909, Lu Xun left Japan and returned to China. He first taught at the Hangzhou Normal School and then at the Shaoxing Fu Middle School. In October 1911, the Revolution of 1911 broke out, and Lu Xun welcomed it with enthusiasm. After the liberation of Shaoxing, Lu Xun became the principal of Shaoxing Normal School. In the winter of that year, he wrote the short story "Nostalgia" in classical Chinese.
In January 1912, the Provisional Government of the Republic of China was established in Nanjing. At the invitation of Cai Yuanpei, the Director-General of Education, Lu Xun went to Nanjing in February to work in the Ministry of Education. In May, he moved to Beijing with the government and served as section chief and official in the Ministry of Education, in charge of libraries, museums and art education.
The Revolution of 1911 failed to complete the task of anti-imperialism and anti-feudalism. The achievements of the revolution were usurped by Yuan Shikai, and then came the restoration of the imperial system and other tragedies. Warlords are fighting in a melee, and the country's situation is deteriorating day by day. Lu Xun was deeply disappointed with the state affairs, so he compiled and collated ancient books in his spare time. He also read Buddhist scriptures, copied ancient steles, and collected epigraphy and stone rubbings. In the historical gap when the revolutionary nature of the old democratic revolution had died out and the revolutionary nature of the new democratic revolution had not yet matured, Lu Xun experienced profound ideological contradictions and pains and continued to explore new paths for society and revolution with determination. Raising the cultural banner of anti-imperialism and anti-feudalism. In 1917, the victory of the Russian October Socialist Revolution brought Marxism-Leninism to China. In 1919, the May Fourth Movement broke out in Beijing, and the revolution entered the new-democratic period. Inspired by the trend of the new era, Lu Xun devoted himself to the "May 4th" new literature movement with the desire to destroy the feudal "iron house" and awaken the sleeping people, and soon became the great standard-bearer of the new cultural army led by the proletariat. .
In early 1918, Lu Xun participated in the editing work of "New Youth" edited by Chen Duxiu, and was at the forefront of the great struggle at that time to vigorously advocate democracy and science and oppose the old ethics and old literature. In May of the same year, he published his first vernacular novel "Diary of a Madman" in this journal. It describes the psychological activities of a mental patient suffering from persecution mania, and combines a sober description of social life with the unique inner feelings of a madman. The various depictions are mixed together, exposing the "disadvantages of the family system and ethics" of feudalism, and pointing out that the history of Chinese society is a history of human cannibalism. This was the first "cry" to completely oppose feudalism and a new beginning in the history of Lu Xun's war. Then, Lu Xun also published more than a dozen novels such as "Kong Yiji", "Medicine", "Hometown", "The True Story of Ah Q", etc., and later compiled it into his first collection of short stories "The Scream", which was published in August 1923. Published (see the color pictures "Scream", the first edition of "Wandering", the illustrations of Lu Xun's novel "Kong Yiji" by Cheng Shifa, and the illustrations of Lu Xun's novel "Medicine" by Gu Bingxin). "The Scream" reflects Chinese society from before and after the Revolution of 1911 to before and after the May 4th Movement, especially the face of ancient rural areas and towns that were gradually bankrupt under the oppression of imperialism and feudalism. It has created images of declining intellectuals, urban poor, rickshaw pullers, and oppressed farmers. It stirs the hearts of young readers with its "profound expression and unique format" and "shows the achievements of the literary revolution." Lu Xun is an outstanding representative who selected the outstanding elements of Chinese cultural heritage and adopted foreign good practices to integrate and develop them to create modern novels, and became the great founder of modern Chinese literature.
"Kong Yiji" describes a scholar who failed to become a scholar, critically reveals the character's tragic character, and expresses the author's strong criticism of the cultural and educational system that caused this character.
"Medicine" describes the sacrifice of the revolutionary Xia Yu and the ignorance shown by the teahouse owners Hua Laoshuan and his wife in order to cure their son's disease, and is connected through the "medicine" - steamed buns dipped in the blood of the revolutionaries. The work profoundly reveals the gap between revolutionaries and the masses, and reveals the tragedy of the old bourgeois democratic revolution. Finally, the wreath on Xia Yu's grave implies that there are successors to the revolution, adding an optimistic tone to the work. "A Little Thing" contrastively describes the behavior and character of working people and intellectuals through an accident that "I" encountered while riding a rickshaw, touching on the important idea that intellectuals should learn from working people. Playing an important role in "The Scream" are works depicting rural life and images of farmers. "Hometown" uses "my" experiences and memories of returning to my hometown to describe the desolate and desolate life picture of the rapid bankruptcy of the rural areas of old China. Runtu was once a young hero full of vitality, but under the heavy oppression of soldiers, bandits, officials, and gentry, he soon became a mentally numb person. With grief and indignation, the author made a heavy accusation against the social forces that caused this tragic scene. At the same time, he hoped that the persecuted people could wake up and open up their own life path: "There is no road on earth, but there are too many people walking on it. It became a road."
"The True Story of Ah Q" is a masterpiece of Lu Xun's novels. It is set in Weichuang, a rural area before and after the Revolution of 1911, and portrays the image of Ah Q, a poor farmer who was deeply poisoned by his spirit. Ah Q suffered severe exploitation and oppression, but he was "always superior" mentally. He boasts about the past, fantasizes about the future, comforts himself, belittles himself, and can never face the harsh reality. Moreover, he had acquired the cunning of a deadbeat. The novel focuses on Ah Q's performance and fate during the Revolution of 1911. He originally thought that revolution was "rebellion" and hated it deeply. However, the panic of the feudal rulers when the revolution came made him happy and demanded revolution. However, this revolution ignored the power of farmers and instead colluded with the feudal class. Everything in Weichuang remained the same, except Ah Q who was captured and shot. This ending is a thorough criticism of the Revolution of 1911 and its leaders. The novel creates an immortal model of Ah Q, reflects the historical lessons of the Revolution of 1911, and thus raises serious issues that inspire farmers' democratic consciousness. Since the peasant issue was the basic issue of China's democratic revolution, Lu Xun's profound reflection on the peasant issue had great practical significance at that time. The Revolution of 1911 did not bring real changes to the countryside, and the problem of farmers’ enlightenment education has yet to be solved. This is also truly reflected in "The Storm". In addition, "Social Opera" also reflects the lives of farmers, which describes the beautiful childhood that has passed away and praises the farmers' simple and honest souls.
When Lu Xun described the misfortunes of the oppressed people, he often expected them to rise up to fight. At the same time, he used great anger to expose the cruel rule of the feudal class and feudal ideas, showing that the author started from the oppressed people. A revolutionary democratic writer who stood up in China. The profundity of his reflection on peasant issues and the thoroughness of his anti-feudalism have never been achieved by Chinese literary works in the past.
Lu Xun was also the pioneer of modern Chinese essays. During the May Fourth Movement, he wrote many miscellaneous thoughts and essays, most of which were published in "New Youth" and later included in "Refeng" and "Grave". These works are sharp, vivid, and feature extensive social criticism. Some severely criticized the feudal patriarchal ideas and the concept of temperance; "Some were criticized for supporting the si, sitting quietly, and boxing; some were criticized for the so-called 'preserving the national essence'; some were criticized for the pride of experience of the old bureaucrats at that time; Some of them were inspired by the caricatures of the Shanghai Times" ("Refeng·Inscription"). They always put the survival and development of the Chinese people in opposition to the old culture and old morality promoted by the conservatives; sometimes they use the development of life to demonstrate the need for social reform, and resolutely stand on the side of new things to oppose everything The old feudal things, and believed that enlightening the people's consciousness can achieve the purpose of reforming society. The eclectic form of these essays, the writing style that combines passion with coldness, the style that reveals the philosophy of life by criticizing current affairs and whipping customs, and combining poetry and political commentary, was later called "Lu Xun style" ". Lu Xun's essays created a new trend of modern essays and influenced generations of essay writers. Illustrations for "The True Story of Ah Q" by Zhao Yannian
Lu Xun is a sober realist. He boldly faced up to various contradictions in reality, and his novels and essays reflected the extremely profound and broad real historical content.
He knows much more about everything about old China, the traditional forces and traditional thoughts that have existed for thousands of years than many of his contemporaries, and he has a deeper understanding of it. He comes from the old camp, stands on the standpoint of an uncompromising revolutionary, and can strike back with a fatal blow to the old things. He is a great writer who has exposed the old forces and old ideas most profoundly and fought most resolutely. His outstanding contributions in the history of Chinese revolution and thought were fully demonstrated from the "May 4th" Cultural Revolution. He exposed everything about the old society in order to attract attention and promote social reform. He consciously "obeyed the general's orders", and his works fully reflected the requirements of the new-democratic revolution that was completely anti-imperialist and anti-feudal led by the proletariat, and played a huge combat role at that time.
From the autumn of 1920 to the summer of 1926, Lu Xun successively taught at Peking University, Beijing Women's Normal University and other schools, dedicated to systematic research and teaching on the history of Chinese novels. Later, he compiled the lecture notes into "A Brief History of Chinese Novels" and published it. It breaks the unprecedented situation of Chinese novels and is a groundbreaking academic work. Lu Xun was also engaged in translation and introduction work, publishing translations of Russian and Japanese literary creations and literary theories. He also supported young people's literary and artistic activities and helped them study and fight, thus becoming a beloved mentor of progressive young people.
The May Fourth New Cultural United Front gradually split after the founding of the Communist Party of China in 1921. At this time, the center of the revolution moved to the south, and the cultural world in Beijing seemed lonely and desolate. Lu Xun once again felt that he had "become a wandering warrior, unable to form a formation." He was hesitantly exploring, but still continued to fight. Illustrations for "Sadness of Death" by Zhang Shouyi
From 1924 to 1925, Lu Xun continued to write 11 short stories, including "Blessings" and "Sadness of Death", and compiled it into his second collection of stories "Wandering", which continued to reflect the Revolution of 1911 before and after the first civil revolutionary war. "Blessing" describes a kind-hearted and peaceful working woman Xiang Lin's sister-in-law. She works in the house of Mr. Lu Si after being newly widowed, hoping to exchange her honest labor for a minimum living. But soon she was forced to marry into the mountains by her husband's family. When she appeared in the Lu family for the second time, it was after her second husband died of illness and her son was snatched away by a wolf. Because she remarried and became a widow again, Mr. Lu Si regarded her as an unlucky thing and forbade her from offering sacrifices. Liu Ma also threatened her with being tortured by saws in the underworld, asking her to go to the Earth Temple to make a donation as a substitute for atonement. She endured and struggled silently and donated the threshold, but the master still did not allow her to arrange the sacrifices. From then on, she lost her soul and soon became a beggar. With fear and doubts about the underworld, she died on the street during the year-end "blessing". Sister Xianglin is the most tragic example of the Chinese people. She suffered extremely deep mental trauma. Through her life, the novel exposes the extreme barbarism and cruelty of feudalism, showing that the social environment has forced the oppressed people to a desperate situation. Ai Gu, a rural woman in "Divorce", is bold and aggressive. Her husband wants to leave her, and she has been in trouble for three whole years. However, they placed their illusions on the seven wealthy gentry who came to mediate. The novel focuses on describing the scene where Aigu meets the seven adults. From the reaction caused by the seven adults' pretentiousness and mystique in Aigu's heart, the novel depicts Aigu's profound mental weakness and the resulting failure. This once again reveals the seriousness of the ideological rule of feudalism and shows that the oppressed people must overcome their own weaknesses under enlightenment education in order to move towards a more determined and lasting struggle.
In the context of the fragmentation of the new cultural ranks, it is a very important topic to explore the status and role of intellectuals in the democratic revolution, as well as their life paths. Lu Xun's "Hesitation" collection focuses on describing the pain and struggle of intellectuals, reflecting the bankruptcy of their personal struggles. Lu Weifu in "At the Restaurant" originally had ideals and achievements, but after several twists and turns, he became a "perfunctory and vague" character, consuming his energy on meaningless things and unable to extricate himself. Lost all ability to make decisions and will to fight. Wei Lianshu in "The Lonely", a character who once held the title of New Party, was hit hard by the dark society. He was threatened by rumors and unemployment, and was almost starving and begging. In the end, he compromised and practiced "everything he hated and opposed before" and treated it with a resentful and cynical attitude. Finally, he died lonely and deeply traumatized. These two novels reflect the contradiction between the innovative forces and the traditional forces, and are filled with the heavy historical atmosphere of the ebbing tide of the revolution. The author describes the characters' experiences and pain with great passion, while also criticizing the weaknesses of their characters.
Zijun and Juansheng in "Sorrowful Death" are young intellectuals who emerged after the May 4th Movement. They demand individual liberation and freedom of marriage, and bravely break out of their old families. But when they established a new family, Zijun thought that his goal had been achieved and indulged in the trivial matters of small family life. Once the blow of unemployment hits, Zijun is at a loss, while Juansheng is eager to save himself. So the love finally broke down and they had to break up. Zijun returned to the environment of her father's majesty and the cold eyes of others, and died soon after. Juansheng fell into regret and sorrow. He was wandering and exploring, but where was the new way out? He was still confused. This love tragedy shows that freedom of marriage and liberation of personality cannot be solved alone without social liberation.
Compared with "The Scream", "Wandering" reveals more of the author's melancholy and hesitant mood at that time, but his analysis and criticism of society are equally sober and profound. In terms of artistic skills, , his mastery of the novel's artistic form and his depiction of characters are more mature than before, and his expression is more profound.
Lu Xun was good at "mixing all kinds of people" to create typical images, and he used "the finishing touch" and line drawing techniques to portray them. His artistic language is very concise and his dialogues are short and expressive. His descriptions are true and simple, without resorting to twists and turns and bizarre plots, but using approachable life scenes to show the characters' personalities. Lu Xun's novels display a cold and profound style, which is a peak of Chinese realist literature.
Lu Xun’s novels brought about profound changes in Chinese literature. He was the first writer in the history of Chinese literature to reflect the class interests and demands of the oppressed peasants. He first demanded the fundamental overthrow of the rule of feudalism in China. He first proposed to inspire the revolutionary nature of the peasants and other oppressed masses and improve their democracy. The issue of ideological consciousness. This is of great significance in the democratic revolution where the peasant issue is the basic issue. Another great achievement that Lu Xun achieved in his creation was to use the reality of life to profoundly express that intellectuals were the first to awaken in the Chinese democratic revolution, and at the same time, it also reflected their individualism and the weakness of their resistance. These great achievements were not achieved by other writers of the same period.
Around 1925, bourgeois right-wing intellectuals such as Hu Shi became increasingly conservative politically, but Lu Xun continued to fight in the cultural field. He joined the Yusi Society, organized and led the Mangyuan Society and the Weiming Society. He supported the "Morning News Supplement" and "Beijing News Supplement", and edited the "Mangyuan" weekly magazine. In the struggle of Beijing Women's Normal University students against President Yang Yinyu, he stood on the side of progressive students, denounced the crimes of the "Jiayin faction" in suppressing students and the rhetoric of retroism, and exposed the bullying and slander of the "Modern Commentators" Chen Yuan and others . During the May 30th Movement and the "March 18th" tragedy, he mourned the victims, summed up the lessons of the struggle, and raised serious protests against imperialism, feudal warlords and their thugs. He pointed out: "Blood debts must be repaid in kind. The longer the arrears are, the greater the interest will be paid." He called on young people to become true warriors and engage in a long-lasting and uncompromising struggle with the enemy. The essays of this period have shifted from broad social criticism to fierce political struggle. "On Fairplay Should Slow Down" is a combat statement against bourgeois liberalism and the traditional doctrine of moderation. He puts forward the idea of ??"beating the dog in the water", which is of great practical significance. This shows that Lu Xun's thorough revolutionary spirit of tenacious fighting has reached a mature stage and fully reflects the requirements of the new democratic revolution led by the proletariat. Essays from this period are collected in the second half of "Huagai Collection", "Huagai Collection" and "Grave".
Due to the changes in the revolutionary situation, Lu Xun felt that his original ideological weapons could no longer meet the needs of the development of the situation. He continued to accept the ideas of social revolution theory from the real struggle, which further intensified the contradiction between the old and new ideas in his world view. contradiction. He did not hide his ideological contradictions, but dissected himself more ruthlessly. The first collection of prose poems in modern literature, "Wild Grass", as well as some letters and essays written at that time, prominently reflect his efforts to dissect himself.
"Weeds" was written from 1924 to 1926, and contains 23 works. They sharply expose the darkness of society at that time, and at the same time reflect the author's inner contradictions in pursuing a new revolutionary path but failing to find it, and the revolutionary spirit of advancing in exploration. The ideas of the works are peculiar and novel, and the forms are diverse, including symbolism and essay-like satire. The author's thoughts are mainly expressed through the images of poetry, with profound meaning and rich emotions.
However, due to the "difficult to express directly" relationship with the environment, the meaning of some works is more obscure.
In order to avoid being wanted and persecuted by the Beiyang warlord government, and out of his yearning for the revolutionary struggle in the south, as well as for personal life reasons, Lu Xun went south in August 1926 and served as a professor at Xiamen University, opening " Courses such as "History of Chinese Literature" were later compiled into "Outline of the History of Chinese Literature" and published. He also wrote 5 articles "Revisiting Old Things", and later combined the 5 articles he had written before, compiled into a collection of essays "Morning Blossoms Picked Up at Dusk" and published it. With friendly writing styles and melancholy emotions, these works narrate fragments of the author's experiences from childhood to youth, and outline the social outlook of ancient China sideways. While reminiscing about the past and reminiscing about nannies, fathers, teachers and friends, there is a clear love and hate, a flash of anti-feudal anger, and an insinuation of the "modern criticism school" of decent people. "Written Behind the Grave", which he wrote in Xiamen, carefully summarized and dissected the past struggle experience and ideological development, and for the first time made the conclusion that "the world is caused by fools, and smart people must not support world" famous statement. This shows that after many years of practical struggle, Lu Xun was brewing an ideological leap: he clearly criticized the idealist view of history and stepped onto the threshold of historical materialism.
Destroying the idea of ??evolution and transforming into a class theorist. On the recommendation of the Communist Party of China, Lu Xun arrived in Guangzhou in January 1927 and served as professor and academic director of Sun Yat-sen University. Since then, he has had close contact with communists and revolutionary youth, and has a clear understanding of the path of the Chinese revolution. He said: "China's current social situation is nothing short of an on-the-ground revolutionary war. A poem can't scare Sun Chuanfang away, but a cannon can blast Sun Chuanfang away." ("Ji Ji·Literature in the Revolutionary Era") April 10 , amidst the celebrations of the revolutionary army's victorious march, he wrote "Celebrating the Victory of Shanghai and Nanjing", quoting Lenin's famous sayings as the basis for his argument, asking people to learn lessons and refrain from "intoxicating with triumphal songs even if they win a small victory". " to prevent the enemy from "taking advantage of the opportunity". He advocated "continuous attack" and carry the revolution to the end. Two days later, Chiang Kai-shek launched a counterrevolutionary coup in Shanghai. On April 15, the Kuomintang reactionaries in Guangzhou also massacred communists and revolutionary masses. Lu Xun convened an emergency meeting of the directors of Sun Yat-sen University and urged the rescue of the arrested students, but the result was ineffective. He angrily resigned from all positions at CUHK. During the White Terror, he continued to write and fight in Guangzhou. These articles are collected in "The Collection".
The fierce and cruel class struggle profoundly educated Lu Xun. In the past, he thought that those who oppressed and killed young people were probably old people, but now he knows otherwise. He "witnessed that the same young people were divided into two camps, either writing letters to inform others, or assisting officials in arresting people" ("San Xian Ji·Preface"). The theory of evolution he believed in in the past was completely "bombed", and from then on he began to transform into a class theorist. In the hazy white terror, he fearlessly stood in the ranks of the proletariat.
In October 1927, Lu Xun arrived in Shanghai from Guangzhou. He lived with Xu Guangping and began his glorious fighting life for the next 10 years here. "At this time, there were two types of counter-revolutionary 'encirclement and suppression': military 'encirclement and suppression' and cultural 'encirclement and suppression'. There were also two types of revolutionary intensification: the in-depth rural revolution and the in-depth cultural revolution." "But Lu Xun, who was a communist, was During this 'encirclement and suppression' campaign, he became a great figure in China's cultural revolution." (Mao Zedong's "On New Democracy")
Not long after arriving in Shanghai, Lu Xun took over the editing of "Yu Si". He published a semi-monthly magazine and co-edited the monthly magazine "Runliu" with Yu Dafu. He also participated in the Revolutionary Mutual Aid Association and got in touch with the Communist Party of China. In 1928, initiated by the Creation Society and the Sun Society, Lu Xun held a debate on proletarian revolutionary literature with them. In order to clarify the problem correctly, Lu Xun translated and studied Marxist literary theory. In connection with the reality of the Chinese revolution and literary and artistic movements, he published many insightful opinions and made correct criticisms of the "Left" errors of the Creation Society and others, which was conducive to the healthy development of the proletarian literary and artistic movement. In 1929, Lu Xun edited the "Scientific Theory of Art Series" and successively translated and published Plekhanov's "On Art", Lunakarski's "Literature and Criticism" and some famous Soviet treatises. In the process of conscientiously studying revolutionary doctrines, he realized that "only the emerging proletariat will have a future." During this period, he, Rou Shi and others organized the Chaohua Society to introduce Eastern and Northern European literature, import the emerging woodcut art, and successively published Chaohua Weekly and Yiyuan Chaohua. In September 1929, his son Hai Ying was born in Shanghai.
The essays from the past two years are collected in "San Xian Ji". This collection reflects his ideological changes in debates and studying Marxism, and shows his gradual mastery of new ideological weapons.
Since his youth, Lu Xun has been concerned about the liberation of the nation and the interests of the people. In order to transform old China, he constantly looked for weapons and paths of reform. First, I observed the world from the perspective of biological evolution, and later I found the truth of Marxism. He initially focused on the transformation of the "national spirit", and later focused on the reform of the economic and political systems. From a revolutionary democrat to a communist, from an enlightenmentist to a proletarian revolutionary, this is the path of Lu Xun's ideological development. Lu Xun's fighting path reflects the direction of China's cultural revolution. Lu Xun accepted Marxism with his rich struggle experience and painful lessons; once he accepted it, he became a firm Marxist. Regarding Marxism, he never simply repeated or interpreted what others said, but was good at using his own life experiences and feelings, his rich struggle experience and extensive historical knowledge to confirm and elucidate it. Marxism truly became his soul and flesh and blood.
From January 1930, Lu Xun edited "Grudge Monthly" (later a publication of the Left Federation). In February 1930, he joined and launched the "China Freedom Movement Grand Alliance" led by the party. He was immediately "wanted" by the Zhejiang Provincial Party Headquarters of the Kuomintang on the charge of "degenerate literati". Lu Xun was not afraid of this. In March, the Chinese Left-wing Writers Alliance was established in Shanghai. Lu Xun was one of the founders and participated in the leadership work. He eliminated differences with writers such as Creation Society and Sun Society and united to fight. At the founding conference of the Left Federation, he delivered a speech entitled "Opinions on the Left-wing Writers' Alliance", combining Marxism-Leninism with the reality of China's literary and artistic revolution, and correctly put forward the requirements for revolutionary writers and the direction of the work of the Left Federation. Thus it became the guiding document of China’s revolutionary literary and artistic movement. Before and after the founding of the Left-wing League, Lu Xun united many revolutionary writers to wage a resolute struggle against the "nationalist literature" fostered by the bourgeois cultural society Crescent Society and the Kuomintang reactionaries. He criticized the theory of human nature, clarified the principle of class nature of literature, exposed the nature of "executioners and slaves" who "shed tears to maintain public order", and insisted on a thorough criticism of the corpse-exposed literature produced by gangster politics under the imperialist colonial policy. .
In February 1931, Rou Shi and Yin Fu, members of the Left Alliance and members of the Communist Party, were hunted and killed by the Kuomintang. Lu Xun was also in danger of being hunted by the Kuomintang. He was forced to leave home to take refuge, but he still did not forget to fight. He published an article in "The Outpost", a secret publication of the Left Federation, to commemorate the war dead, and wrote "The Current Situation of the Literary and Art Circles in Dark China", which he commissioned his American friend Smedley to translate into English and send abroad to accuse the Kuomintang of its bloody crimes. . Two years later, he wrote "For the Memory of Forgotten", once again mourning his deceased friends and accusing the reactionaries.
Before and after the founding of the Left Alliance, Lu Xun consciously stood and fought under the banner of the Communist Party of China. The traces of personal struggle have been eliminated, and the long-standing contradiction of "hoping for the rise of a new society, but not knowing what this 'new' should be" ("Qiejieting Essays: Answers to International Literary Society Questions") has been resolved and replaced. After arduous search, his essays revealed the content of heroic struggle to defend his ideals: he defended proletarian literature, defended the people's revolutionary cause, defended communist theory and its great practice; and based on this thought, he formed a A calm and easy fighting style. In his articles on literary and artistic issues, class theory has become the cornerstone of his theory; he clearly declared that literature should be "one wing of the proletarian liberation struggle". On issues such as the relationship between literature and society, thought and art, writers and revolution, he He made a scientific discussion, and the writer's worldview was the center of his discussion. He was not only the leader and standard-bearer of the Left Alliance, but also a critical friend of revolutionary writers. His achievements and contributions in Marxist literary theory overcame some of the influence of the "Left" line within the Communist Party of China on literature and art, and guided the direction of the left-wing literary and art movement.
Unprecedented National Hero On September 18, 1931, Japanese invaders attacked Shenyang. Three northeastern provinces fell one after another, and the national crisis became increasingly serious. Lu Xun wrote many essays, sharply exposing the crimes of imperialist aggression and the reactionary policies of the Kuomintang. In order to make the propaganda reach the masses, he also edited the popular small newspaper "Cross Street" on current affairs and literature. The articles from 1930 to 1931 are collected in "Two Hearts Collection".
This collection is the work of Lu Xun's Marxist worldview entering a mature period. Lu Xun self-evaluated his essays, saying "Two Hearts Collection" was more sharp. and those included in previous essays