There is no way to escape the arrow, and the wind and rain are as black as home;

I sent a message to Han Xing, and I want to recommend Xuanyuan with my blood.

This poem was written in 1903. This poem was written by Lu Xun to Xu Shoushang. Xu Shoushang said with nostalgia: "1903 He was 23 years old, and he gave me a portrait with a title in Tokyo."

Ggv 10 has no intention of escaping the arrow. GV, also called Fu Ling, refers to the heart. "Zhuangzi Geng Sang Chu": "Don't stay in the gv 10." Guo Xiang's Note: "Lingtai people have a heart." Lu Xun wrote in "On Moro Poetry" a few years later that there is a saying "infinite heat, surging into our station"; The article also mentioned the spirit house many times. The arrow of God, the arrow of love in Roman mythology. Xu Shoushang said in the Postscript of Lu Xun's Old Style Poems: "The first sentence of God's Arrow borrows the story of love of God in Roman mythology, that is, foreign allusions." In Roman mythology, there was a boy with wings, which was Cupid. At the same time, his arrow hit the heart of a male anonymous, and both men and women will be combined. But his archery is a bit messy, sometimes the two sides are not suitable, so he also shoots, making people fall in love even if they are not suitable. Lu Xun wrote a vernacular poem "Love God" during the May Fourth Movement. The poem said that "Love God" shot an arrow and was shot in the chest. He asked him, "Who should I love?" He replied: "if you love someone, you will love him desperately;" If you don't love anyone, you can die for yourself. " In other words, he means "archery for archery's sake", and he doesn't care whether the men and women he shoots casually are suitable. This is a bit like the "old man under the moon" in China mythology. Under the unreasonable marriage system, people mention him not so much at the moment of happiness in love, but often at the moment of dissatisfaction in marriage, that is, when love is helpless. Lu Xun wrote Cupid to expose the irrationality of feudal marriage. Isn't the first sentence of this poem "There is no way to escape from the arrow of God" exactly what it means to be shot in the chest by an arrow? 1903 In the summer, Lu Xun returned to China for the summer vacation, and his mother asked him to agree to the marriage with Zhu Jiajian mentioned as early as when he was studying in Nanjing. Lu Xun didn't want to go against the wishes of his young widowed mother, so he agreed. It is estimated that after Lu Xun returned to Japan on vacation, his mother went through the engagement formalities. In feudal society, engagement is almost as important as marriage, and once things are settled, they cannot be changed. Therefore, the summer vacation of 1903 is a critical moment for Lu Xun's unfortunate marriage, and 1906 is just for "getting married". Lu Xun was very dissatisfied with this marriage, so he had the poem "There is no way to escape the arrow".

The storm is as dark as a rock. Hometown refers to old country and hometown. Darkness, darkness. The motherland and hometown are in the darkness of the storm. In the natural environment, it is stormy and dark, and people sometimes describe it as "stormy". Disk, a flat stone, is a heavy pressure of wind and rain. Lu Xun wrote to Xu Shoushang in June 19 10, 65438+February 2 1, saying, "It's raining and snowing in my hometown, and it's getting warmer recently, but I don't want to die if it's stormy." This natural scene has always been used as a metaphor in poetry and is associated with political repression and oppression. For example, there is a poem in the "Chivalrous Journey" written by Guan Xiu at the end of the Tang Dynasty, "The wind and rain at dusk are as black as a rock"; Gong Zizhen, a poet in A Qing, wrote in "Julia Crying in Dongting": "Dark clouds and geese are like falling rocks". In Lu Xun 1908' s On the Sound of Breaking Evil, there are also words like "Dark clouds are like a rock" to describe the darkness and oppression of the rule at that time. This "storm" of course refers to the political storm. The plundering and decadent feudal rule of the invaders put the people under heavy pressure and plunged the motherland into darkness. This poem expresses the poet's deep feelings about it. Dark rule means dark material rule and spiritual rule, which leads to people's poverty, backwardness and ignorance. Feudal marriage is one of the manifestations of dark material rule and spiritual rule, and it is also a shadow hanging over people's lives.

Send a message to Han Xing. In the long dark night, the cold star in the sky is the only flasher, which gives hope to those who pursue light. "Send a message to a cold star" is probably what the poet means in this poem. "Nine Debates on Chu Ci": "May the messenger be a meteor, and it will be difficult for Qiang people; The pawn covered this cloud, and the sky was dark and the desert was vast. " Wang Yi's "Songs of the South" thinks that the sentence of "meteor" means "loyalty and virtue" and that "meteor" means "monarch". Wang Fuzhi's Interpretation of Songs of the South holds that "meteor" refers to "villain"; "Its treachery flashed by", but it "showed off like a meteor". Lu Xun's "cold star" in this poem is neither a gentleman nor a villain. He just adopted the grammar of nine arguments. So, who is the "cold star" in Lu Xun's poems? I thought it meant the people, the people. "I don't value it", and the words "Li Sao" are written: "I don't value my feelings, but I trust it and get angry." Wang Yi thinks: "Spring, vanilla, is a metaphor for Jun", and Zhu also thinks: "This is also a moral to Jun", but in Chu Ci, spring is not just used to refer to Jun. In Li Sao, there is a saying: "It becomes tasteless and hairy." Orchid, bitter orange, whole herb and hui herb are all herbs, but some are not fragrant and some are evil. Hair, evil grass. This means that some virtuous ministers have gone bad. It can be seen that the "power" in the Songs of the South can be used to refer to both the monarch and the minister. In this poem by Lu Xun, "power" refers to the people and the people. "Han Xing" and "power" both refer to citizens and people. The moral of "I'm worried" is that I put my hopes on the people, but the people haven't awakened, and they can't understand my hopes. Some researchers say: Lu Xun refers to his mother here as "all", but does not pay attention to "all", so he has to send a message to the cold star in the sky. I don't think there is much contradiction between this statement and my understanding. Mother can't understand Lu Xun's desire for freedom and autonomy in marriage, because she is also a backward, ignorant and unawakened member. There is no need to oppose and separate mothers from people.

"Compatriots are not awake" is also the common understanding and anxiety of many revolutionaries at that time. Zou Rong shouted loudly in Revolutionary Army: "The revolution must first go to the root of slavery?" What Qiu Jin never forgets in "Despair to Xu Xiaoshu" is: "The drunken dream of hurting compatriots is still faint. Who is sad for Lu Chen of the motherland?" The same is true of Lu Xun's thought.

I am determined to dedicate my life to my motherland. This is the conclusion of this poem. This became the poet's oath. This oath is closely related to the revolutionary trend of thought at that time.

1903 was a year of surging revolutionary movements among Japanese students studying in China and southeast provinces. Revolutionaries from Hubei and Hunan established revolutionary organizations in Changsha after the growing revolutionary movement of 1903. Revolutionaries in Zhejiang and southern Jiangsu, in the constant revolutionary struggle, established the Military National Education Association in Shanghai on 1903. On this basis, 1904 established the revolutionary organization Guangfu Association. Small revolutionary groups have also been established in other provinces. The purpose of these revolutionary organizations is almost to oppose feudal autocratic rule and Qing dynasty rule, and to combine democratic revolution with national revolution. "Revitalizing the Han nationality and expelling the Manchu Tatars" has become the slogan of many revolutionaries. The ancestors of the Han nationality were the Yellow Emperor, that is, Xuanyuan, so the Yellow Emperor and Xuanyuan also became the objects of great praise. During this period, newspapers and books were also published to publicize the revolution. For example, Zou Rong's Revolutionary Army, published in May 1903, begins with the following words: "How magnificent is the revolution? Emperor, revolution? " The revolution is: "Sweep away all kinds of autocratic regimes for thousands of years, remove all kinds of servility for thousands of years, eliminate 5 million Manchu species with strange hair and horns, wash away the shame of 260 years of cruelty and cruelty, and return Chinese mainland to a pure land?" The main body of the revolution is "my emperor and Han nationality" and "Xuanyuan descendants". When wuyue, a member of the Guangfu Association, died because of the bombing of the Qing minister, Qiu Jin wrote the poem "Hanging Wu Martyr" and said, "If you are worthy of Xuanyuan Sun?" Qiu Jin also wrote in "Bao Dao Ge": "Recalling the name of my ancestor Xuanyuan, the origin is based on Kunlun, the Yellow River and the Yangtze River open, and the sword sets the Central Plains." At that time, the revolutionaries also published the booklet "The Soul of the Yellow Emperor", and Zhang Taiyan also proposed to abolish the year of the Qing Emperor and change it to the year of the Yellow Emperor (taking the year of the birth of the Yellow Emperor as the first year). In the poems of revolutionaries at that time, we can find many examples of praising the Yellow Emperor Xuanyuan and opposing the Manchu rule.

Revolutionary organizations at that time, both Huaxing Society and Guangfu Society, advocated assassination and riots in their revolutionary way. This reflects the immaturity of the primary stage of China's democratic revolution. Cai Yuanpei was born in a scholarly family. He is a scholar of the Qing Dynasty, a famous academician, and can be said to be a scholar. However, as the leader of the Guangfu Association, he also advocated: "There are only two roads to revolution: one is riots and the other is assassination." The Guangfu Association contacted mainland societies for riots and assassinations. Thus, in the Guangfu Association, there were bomb explosions in wuyue, assassinations in Anqing, assassinations in Xu Xilin, and bloodshed in Shaoxing uprising in Qiu Jin. Dedication to the revolution was the general ideological preparation of revolutionaries at that time.

I recommend Xuanyuan with blood? This is indeed a revolutionary oath, with obvious color of the Guangfu Association. It shines with the light of thought that was at the forefront of the times, and at the same time, like everything else, it is deeply branded by the times.

Some people may say: according to your interpretation, there are four sentences in the whole poem. The second, third and fourth sentences are about the motherland, people and dedication to the revolution, while the first sentence begins with personal marriage. As far as the whole poem is concerned, is this harmonious? I think it's very harmonious. Marriage is a personal event, and the second and third poems just tell the social reasons for the unfortunate marriage: dark rule and people's ignorance. From my personal experience, I felt that the rule of darkness was going to be overthrown and the people were going to realize it, so I made a poem with great commitment. Many revolutionaries suffered misfortune in their lives, which encouraged them to join the revolution. Lu Xun also told Xu Shoushang and others that marriage is unfortunate, but with her mother's company, she can participate in revolutionary activities without hindrance.

Xu Shoushang was the first recipient of this poem. His understanding of this poem has always been valued by commentators. In his Homesickness, written in February 1936, he said: "The first sentence says that studying in a foreign country is deeply exciting, the second sentence says that looking at the old country from a distance is precarious, and the third sentence says that compatriots are not awake and feel lonely, and finally express their arms directly. This is the motto of lifelong practice." 1944 in "Postscript of Lu Xun's Poems in the Old Style", Xu Shoushang said: "The first sentence of God's Arrow borrows the story of love of God in Roman mythology, that is, exotic allusions. The first part is about the deep stimulation of studying in a foreign country, the feeling of looking at the old country from afar, and the feeling of compatriots living in a drunken dream. The last sentence is to express their arms directly, which is their vows of lifelong practice. " Judging from these two paragraphs, Xu Shoushang's understanding of the first sentence is rather vague. What is the stimulus of studying abroad? What is the relationship between the first sentence "the arrow of God" and "borrowing the story of God in Roman mythology" and "the exciting depth of studying abroad"? He didn't even say it. My interpretation of the portrait on my topic is not contradictory to Xu Shoushang's understanding of the first sentence, but my understanding of the second, third and fourth sentences is basically the same.

laugh at oneself

What do you want to send, canopy? You dare not turn over, you have already met.

A broken hat covered the face of the bustling city, and the ship was leaking.

Bow your head a thousand fingers, bow your head and be a willing ox.

Hide in the small building into a unified ⑤, regardless of winter Xia Chunqiu ⑤.

Precautions:

(1) Lu Xun's Diary 1932 10 June 12: "In the afternoon, there was a banner for Liu Yazi's book, and the cloud said,' What do you want? ".Damien duff, idle people pumping oil, stealing half a couplet, always please eat. 1On October 5th, Yu Dafu hosted a banquet for his younger brother Yu Hua in Jufeng Garden and invited Lu Xun to accompany him. Idle people, (preface to three idle episodes) said: "I will print the materials collected when compiling a brief history of Chinese novels into notes on old stories to preserve the power of young people to censor, and Cheng refers to idle people in the name of the proletariat." As for "leisure", I named my prose collection "Three Leisure Collections" and called myself "Idle People". Oil painting is my humble name, a doggerel. There are three ways to steal half couplet: First, Comrade Guo Moruo thinks that borrowing Qian Ji's "full-fed sweet cow" is not half couplet but half sentence, see Note 4. Second, borrow the poem "An old hat covers a busy city" written by Yao Wan, a poet from Nanshe. 3. Comrade Xiong Rong offered Lu Xun a dinner party that day. Yu Dafu joked, "Have you worked hard these days?" Lu Xun answered him with a pair of "cross-browed" couplets he thought of the day before. Duff joked: "It seems that your Gai Huayun or Han lost?" Lu Xun said, "Well, to tell you this, I got half a couplet and I can compose a small poem." The so-called stealing semi-couplet refers to the first sentence ("Another Interpretation of Stealing semi-couplet", People's Daily1962 February 22). Press, say it's a half sentence rather than a half couplet; Second, this poem can't be found in Nanshe Poetry Collection; The three statements are relatively consistent. In the poems contained in the diary, "broken" means "old" and "leakage" means "broken". Later, when Lu Xun wrote a fan for Yong Cheng in the Japanese Isaiah skirt, he also made a "look" at the "right" in this poem.

2 Gai Hua: Lu Xun's "The Collection of Gai Hua Ji Ming": "I have never learned fortune telling in my life, but I heard the old man say that people sometimes have to pay Gai Hua Yun. ..... This kind of luck is good luck for monks: there is a canopy at the top, which is naturally a symbol of becoming a Buddha and creating ancestors. But laity can't. The canopy is on the floor and will be covered, so we have to hit a nail. " Gai Hua covered her head with clouds like flowers. "Notes on Ancient and Modern Times": "Gai Hua, what the Yellow Emperor did; In the field of Zhuolu, there are often five-color clouds, golden branches and jade leaves, which end in the emperor and have the image of flowers, so it is also a canopy. " This refers to the car cover made by the Yellow Emperor in imitation of clouds and gas.

(3) Missing sentence: Woods Bingzhi; "If you are on a leaky boat," Bi Zhuo said in Biography of the Book of Jin Bi Zhuo, "If you drink hundreds of boats, … you will spend your life on a floating wine boat."

④ Cattle: Comrade Guo Moruo mentioned in "The Qualitative Change of Cattle" that a famous article quoted in Volume I of Hong's "Beijiang Poetry Talk" wrote: "When the wine is full, become a butterfly will turn; when the rice is full, it will turn." It is pointed out that "but this allusion, once in the hands of Lu Xun, has completely changed its quality." Here, it is really decadent and magical. "(People's Daily 1962 65438+ 10/6)" Zuo Zhuan mourns for six years ":"The steamed stuffed bun said,' Have you forgotten that you are a sweet cow and have a broken tooth?' "Qi Jinggong loves his children, pretending to be a cow with a rope in his mouth and letting them ride. The child fell and pulled out his tooth.

⑤ Unification: That is to say, I hide in a small building and have a unified world.

Never mind winter Xia Chunqiu: No matter how the climate outside changes. Lu Xun is often oppressed by white terror, so he is compared to making friends with China.

The metaphor is "I dare not turn it over, I have already met it." In order to avoid the pursuit and persecution of reactionaries, they covered their faces with broken hats when crossing the downtown area. In this way, the situation is still very dangerous, just like a leaking ship carrying wine floating in the current, and it will sink if it is not careful. In such a dangerous environment, Lu Xun adopted a firm and uncompromising fighting attitude. Chairman Mao's Speech at the Yan 'an Forum on Literature and Art said: "Two poems by Mr. Lu Xun,' Look at a thousand fingers coldly, bow your head and be a willing ox', should be our motto. The "thousand commandments" here refer to the enemy, and we will never give in to any vicious enemy. The obedient sons here are the proletariat and the masses. All * * * party member, all revolutionaries and all revolutionary literary and art workers should follow the example of Lu Xun and be the' cows' of the proletariat and the people, and do their best until they die. " Chairman Mao spoke highly of this spirit. Being persecuted by reactionaries, Lu Xun often hides, so "hiding in a small building" is realistic, but it is not limited to realism. At that time, the reactionaries lost a large area of land in the northeast. 1932 During the December 8th Incident, the National Government avoided the enemy.

He threatened to move the capital to Luoyang and didn't move back to Nanjing until June 65438+February this year. When the author wrote this poem, he didn't move back, so he satirized that it only knew how to avoid it, no matter how endangered the motherland was.

In this poem, "punching eyebrows" became a famous saying, and "punching eyebrows" and "bowing their heads" vividly described two completely different attitudes of revolutionary soldiers towards the enemy and the people. These two sentences are not only meaningful but also vivid. Comrade Guo Moruo praised this couplet in the preface to Lu Xun's Poems: "Although there are only fourteen words, they clearly stipulate each other's power of life and death with love and hate; Show the spirit of unity and struggle. This is really unprecedented, and there is no one after it. " The origin of "a thousand fingers" comes from Wang Jiachuan in the Han Dynasty: "There is a saying that' a thousand fingers die without illness'." "The' thousand people' here, that is, the' thousand people', refers to the masses. However, Lu Xun said in "To Li" on February 4, 193 1, "Fortunately, there is nothing to do today, so you can let go of your thoughts. However, after three complaints, the virtuous mother became suspicious. As thousands of people have pointed out, they died without illness. Born in this life, I don't know what I will hear in the future. " Lu Xun gave a new meaning here. This "condemned prisoner" refers not to the masses, but to the enemy, and to all kinds of enemies. This is the same as "Little Amy" in the untitled "Picking Xiangling". "Little Amy" refers to a large number of enemies, which is the same as the "Thousand Commandments". Therefore, cold's criticism of "a thousand fingers" is not the only finger that cold accuses the masses, but the guidance of cold to many enemies. Chairman Mao's statement that "a thousand fingers here are the enemy" is very correct.

There are still some differences in the interpretation of self-mockery, which can be discussed.

Interpretation of the title of "Self-mockery": First, it says: "As for the word" self-mockery "written by Lu Xun, it is just a kind of music. In fact, Mr. Lu Xun does not need to laugh at himself. " Since there is no need to laugh at yourself, why "laugh at yourself"? Does it mean that there is no "self-mockery" when you say "Qubi"? This problem is not clear. The second is to say: "This poem is called self-mockery, but it is actually a mockery of the enemy." That's mocking the enemy, not self-mockery. If you really don't laugh at yourself, why write "laugh at yourself"? Third, "self-mockery is self-mockery. What does Lu Xun laugh at himself for? Laughing at one's own experience and one's own situation means laughing at the persecution of the enemy. " "It's self-mockery, and the object of every poem is always yourself." Laughing at yourself is laughing at the enemy? Every poem is a mockery of itself. Is "coldly looking at a thousand fingers" also a mockery of yourself?

How do you explain "self-mockery"? The topic of "self-mockery" has its origin. There is a theory in the Selected Works, including Dong Fangshuo's Difficult to Answer a Guest, Yang Xiong's All Tides and Ban Gu's Answer a Guest Play. These three topics all have paragraphs and scenes, and the first one is Jie Chao. These three articles are all explaining the ridicule of the guests, not "self-mockery", but different from "self-mockery". However, in the biography of Han Dong Fang Shuo, I said, "Because it is difficult to set up a guest, I masturbate with my job." It was Dong Fangshuo who assumed that the guest was mocking himself, not the guest, but he was mocking himself, and then he answered himself. Yang Xiong's Xiechao, Ban Gu's Answering the Guest Play and Han Yu's Yi Jie Xue are all the same. It is assumed that a person will ridicule himself, but he is actually mocking himself and then answering himself. Therefore, Dong Fangshuo and other three articles are called "hypothesis" in Selected Works, which shows that the self-deprecating guest is assumed by the author, that is, the author laughs at himself. This kind of article is divided into two parts, one is mocking yourself and the other is answering. In fact, it is self-mockery and self-justification, but it is a guest ridicule and self-justification in form.

Lu Xun's "self-mockery" is a change from this kind of "self-mockery" articles, and it is called "self-mockery" without formal self-explanation. In fact, the past "self-mockery" is divided into two parts, and so is Lu Xun's "self-mockery". In the past, it was assumed that the guests asked themselves questions to ridicule themselves. Lu Xun's Self-mockery also asked questions to ridicule himself, such as "What do you want from the canopy", which is actually a question. What else do you want from the canopy? Previous articles about "making fun of others" all have their own opinions, such as "bad lips and bad teeth" written by Dongfang Shuo, "the rise and fall of official career" written by Yang Xiong, "the balance of body" written by Ban Gu, "putting an end to the past is easy to blame" written by Han Yu, and "fighting for death is useless". Lu Xun also had similar "self-mockery", such as "dare not turn over when meeting", which is similar to being afraid of meeting the "balance gate" and "complaining about others"; Writing your own description is the same as writing your own "rotten lips and teeth" and "clumsy teeth" This is the self-deprecating part.

In the past, the part of "relieving tide" often occupied its own position, such as "being loyal to the son with planning" as mentioned by Dongfang Shuo, "laughing at the phoenix with a owl today" as mentioned by Yang Xiong, "harmonious wall" and "lasting forever" as mentioned by Ban Gu. Lu Xun also made a mockery, that is, "bow down and be a willing ox", and its profound significance has been expounded by Chairman Mao, which naturally goes far beyond the predecessors. Therefore, there is a self-deprecating part in "Self-mockery", unlike the explanation quoted above, which thinks that "self-mockery" is a tune and a "mockery of the enemy". How can it be a "curveball" to say that you are lucky and dare not turn over and cover your face with a broken hat? How can it be a mockery of the enemy? Isn't the delivery of China cover the delivery of China cover? How can you mock the enemy when you say you are lucky? "Self-mockery" has a self-explanation part, and not every sentence is self-mockery.

Of course, Lu Xun's "self-mockery" is very different from his predecessors' "laughter" in form and content. The predecessors laughed at themselves, but Lu Xun only called it "self-mockery", which is a different proposition. The predecessors used the teasing of guests to express their grievances, and used self-explanation to occupy their own identity, mainly laughing at themselves, and did not dare to touch the feudal rulers for their grievances and beautify them. Lu Xun's Self-mockery is a revolutionary poem, which dares to stab the Kuomintang reactionaries directly, showing his contempt for the enemy and his determination to fight for the revolutionary cause to the end. So what's the point of comparing it with the previous "laughing back to laughing"? This just shows the development of Lu Xun's creation, just like Lu Xun's "I am lovelorn" has inheritance and development. Pointing this out will help us understand the topic of "self-mockery" and make it more in line with the reality of poetry.

Secondly, the explanation of the last couplet "hiding in a small building into a unified whole, giving consideration to Xia Chunqiu in winter". One said, "The last two sentences are ironic to those who only care about their own comfort and don't ask politics." Second, irony 1932 The Kuomintang reactionaries moved to Luoyang during the December 28th Incident, and did not move back to Nanjing until June 5438+02. The author wrote this poem. Hiding in the Small Building once again expresses Lu Xun's thought of "fighting in the trenches". The' small building' is the fortification of the bunker and the trench at the front. Hiding in the small building, taking the opportunity to attack, is to better preserve themselves, attack the enemy and destroy the enemy. "Fourth, to say' to be unified' means to be unified by yourself and to be tit-for-tat with the Chiang family dynasty. Although the' small building' is small, as an outpost of the struggle against the enemy, it is linked to the entire proletarian revolutionary struggle. "

Let's take a look at the previous "Laugh and Laugh", and what is said in the later part. Dong Fangshuo said, "When you don't need it, you don't have an apprentice, but you live alone"; What Yang Xiong said is "a house that is lonely and defends morality"; Ban Gu said, "Think carefully what you want and keep your destiny." . Are satisfied with loneliness and self-control, rather than satirizing others. It is not appropriate for people who are sarcastic but don't ask politics. It is mainly the enemy who should be satirized, but for those who don't ask politics, it is an education problem, not irony. Lu Xun's Hiding in a Small Building is content with loneliness, but there are similarities in form. Of course, their spirits are totally different. The former is to retreat, and the latter is to fight.

How to fight "hiding in a small building"? Is it a trench war with a small building as the trench? We only know that when the enemy enters the city for street fighting, they hide in the small building and attack the enemy under the cover of the small building. Lu Xun opposed cultural "encirclement and suppression". How can he regard this small building as a trench? To oppose cultural "encirclement and suppression", we must take newspapers and periodicals as the fighting position to attack the enemy. If you leave the fighting position of newspapers and periodicals, how can you attack the enemy even if you hide in a small building? Lu Xun's trench warfare is to confuse the enemy with various pseudonyms when he writes about the war, and to blind the enemy's eyes with various ingenious artistic techniques when he writes about the war, so as to cover himself and attack the enemy, instead of "hiding in a small building" to save himself and attack the enemy. Third, I'm afraid it's not realistic. The fourth theory holds that "hiding in a small building" means holding one's ground, and "unification" is linked to the whole revolutionary struggle of the proletariat. However, the original sentence said that "hiding in a small building" has become unity, that is, hiding in a small building has become unity, not based on a small building and then linked with a revolutionary base area. Just because hiding in a small building has become a unified country, it corresponds to "caring about winter Xia Chunqiu". No matter what the external political climate is, we should care! Which means it doesn't matter. If this small building is linked with the whole proletarian revolutionary struggle, we must pay close attention to the external political climate. How can you ignore it? So the four theories can't help asking too many questions.

So what exactly do these two sentences mean? Under the persecution of reactionaries, Lu Xun often fled, so hiding in a small building became my unified country, no matter what changes in the political climate outside him. This is "self-mockery", but it is not limited to self-mockery. It is also an irony that Kuomintang reactionaries only know how to avoid it, no matter how endangered the motherland is. These two sentences are both "self-mockery" and a fierce attack on the enemy, which shows that "self-mockery" is a revolutionary battle. These two sentences have a strong cooperation with the couplets of "looking at each other coldly"