After Yang Xingfo was assassinated, the Kuomintang was afraid of the international influence of Lu Xun and Soong Ching Ling, but threatened to assassinate him.
1927 10 In October, Lu Xun came to Shanghai from Guangzhou, which was the center of the national workers' movement and cultural movement at that time. The "April 12th" tragedy accelerated polarization and revolutionary activities went underground. Behind the drunken dream, class struggle is going deep into all aspects in different ways, and it is getting worse. Under the leadership of the Party, Lu Xun, together with many revolutionary writers, waged a tit-for-tat struggle against the counter-revolutionary cultural "encirclement and suppression", and with his firmness, courage, tenacity and wisdom, he "became a great figure of China's cultural revolution" in this "encirclement and suppression" struggle (Note: On New Democracy, Selected Works of Mao Zedong, vol. 2, p. 663).
Lu Xun wrote mainly miscellaneous feelings during this period. Although this form of mixed feelings has been attacked by opponents more than once: gentlemen who call themselves "poets" despise it, "the third person who is obsessed with literature" scoffs at it, and "college students with no knowledge" scoffs at it, falsely calling it "opportunism" and contemptuously calling it "chicken and dog articles", Lu Xun still actively advocates it, insists on writing and is "optimistic" at/kl. Looking back on the beginning and end of his writing of this kind of articles in a summative sense, he said: "I wrote Random Thoughts on New Youth until I finished the last article in this collection. Eighteen years, there are about 800 thousand words of miscellaneous feelings alone. What I wrote in the last nine years is twice as much as that in the first nine years; In the last nine years, the number of words written in the last three years is equal to the first six years ... "The reason why miscellaneous feelings appear in Lu Xun's works in large numbers is mainly because of the changes in the political situation and the needs of revolutionary struggle. Qu Qiubai made such an analysis in 1933. He said, "Lu Xun's miscellaneous feelings are actually a kind of" social paper "-the battle of" Fu Litong "(foyle). If one thinks about this situation in the past twenty years, one can understand the reasons for this style. The rapid social struggle makes it impossible for writers to calmly integrate their thoughts and feelings into their creation, which is manifested in concrete images and typical examples; At the same time, cruel and violent pressure does not allow writers to speak in the usual form. The writer's humorous ability helps him to express his political position in the form of art, his profound observation of society and his warm sympathy for the people's struggle. " (Note: Introduction to Selected Works of Lu Xun's Miscellaneous Feelings) The miscellaneous feelings that lasted for 20 years faithfully recorded the writer's thoughts and "eyebrows of the times" (Note: Introduction to Luan Jieting's essays).
1927- 1929 wrote mixed feelings, which reflected the continuous progress and consolidation of Lu Xun's thought after the leap. Most of these mixed feelings are collected in Gang Ji and San Xian Ji. The part collected in The Collection of Justice written in Guangzhou is the inheritance of The Collection of Gai Hua, and it continues to wage a tenacious struggle against the bourgeois right wing in the cultural circle. Some came into contact with Hong Kong, a colonial society, and directly wrote about the oppression of imperialism and its cultural characteristics under its egg wings. There are even articles strongly condemning Chiang Kai-shek's counter-revolutionary crime of mutiny and massacre of the people. Although in the circumstances at that time, "a few distracting thoughts can kill you" (note: the answer just given to Mr. Heng), Lu Xun still revealed in articles such as "fierce" and "hateful crime" that this was an era when young people were particularly prone to die: "I always thought people were guilty, so I was shot or imprisoned. Now I know that many of them are considered' hateful' first and then commit crimes. " "Little Miscellaneous Feeling" sharply satirizes and sketches the reactionary face of Chiang Kai-shek, a political hooligan: "It is both a speech record and a speech record. But unfortunately, he did not explain why he was so different from the last one; Nor did he explain whether he really believed his words when he gave a speech. " From "Literature in the Revolutionary Era" to "Revolutionary Literature" essays, it marks the author's progress in understanding the relationship between literature and revolution, which became the starting point of new exploration in this period. Shortly after arriving in Shanghai, Lu Xun immediately countered Liang Shiqiu's proposition that people should be graded by wisdom and stupidity, and that literature should write eternal human nature. Judging from these articles, class theory began to become his theoretical basis. The words about 1928 revolutionary literature debate in Three Beds Collection contain a sober analysis of the revolutionary situation at that time and a comprehensive exposition of the relationship between literature and art and society, thought and art; The writer's world outlook has become the center of all disputes, which has to be said to have grasped the important key. From then on, Lu Xun began to study Marxist literary theory in a planned way. As he himself said later, "I have one thing to thank the creation society, because they' squeezed' me into reading several scientific literary theories, and I understand that the previous literary historians have said a lot of problems that are still entangled" (Note: Preface to Three Leisure Collections). He not only translated books in this field, but also wrote some mixed feelings about the results of his own thinking. Lu Xun clearly explained the relationship between class attribute and ideology, and clearly pointed out: "In my opinion, if people are dominated by the economy according to their own personality and feelings (which can also be said to be based on or dependent on economic organizations), then these must be classed. It is' full belt', not' only belt'. " (Note: "The Class Nature of Literature") He also believes that ideological transformation is possible and serious, so he said: "It is natural to go from this class to that class, but it is best to constantly talk about consciousness so that the public can see it clearly." (Note: Three Leisure Collections: An Overview of Modern New Literature) These opinions express the writer's clear understanding of some fundamental issues. Many articles in the Collection of Justice and Three Leisure Collections are noteworthy achievements of his conscious observation and analysis of social phenomena by using Marxist viewpoints.
Since 1993? As a mature Marxist thinker, Lu Xun appeared around the literary world. During this period, he consciously stood under the banner of the party and fought. The influence of the Party on him and the level of Marxism reached by his own thoughts make Lu Xun's Miscellaneous Feeling have a prominent revolutionary optimism. The traces of personal struggle have been eliminated. For a long time, the problem of "I hope to have a new society, but I don't know what this' new' is" has been solved. Instead of exploring and pursuing, defending ideals is the main content of his later miscellaneous feelings: defending proletarian literature, defending the people's revolutionary cause and defending capitalism; From the height of collectivism, establish a calm and generous fighting style. At first, this style was embodied in "Two Hearts" and "North-South Assembly". In the Opinions on the Left-wing Writers' League and a series of articles written by five writers of the Left-wing League after they were brutally killed, Lu Xun clearly declared his position that literature should be "a wing of the proletarian liberation struggle" and predicted the development and growth of literature through vivid facts. At that time, terror and darkness ruled China, and Lu Xun himself was wanted. Anything similar will kill the author. When he sent the current situation of literary and art circles in dark China to foreign journals for publication, people who cared about him advised him to consider his own safety. Lu Xun said without fear: "It doesn't matter! Someone should talk and someone should tell the truth. " (Note: According to agnes smedley, an American progressive writer, this is what Lu Xun said when he wrote The Present Situation of Literary and Art Circles in Dark China for New Popular. Smedley's original translation was published in the inaugural issue of Knife and Pen published by Jinhua in June 1 939+February1). "Listen to thunder in a quiet place" (note: this is the last sentence of Lu Xun's untitled poem 1934), which is a loud voice generated from his imprisoned life. In these articles, Lu Xun's interpretation of literature is entirely based on Marxist revolutionary principles, and is extended and supplemented by other articles in these two collections. He talks about creation, criticism and translation; On Jin Shengtan, Bernard Shaw and Russian and Soviet writers. Revealing objective laws from rich artistic phenomena proves the significance of theoretical guidance to literary activities. In the debate on "Crescent School", fascist "nationalist literature" and "the third kind of man", he exposed the hypocrisy of bourgeois so-called theory of human nature, "eternal theme", "national center" and "creative freedom" with a distinct class view, and eloquently pointed out the practical significance of some fundamental problems in literature; At the same time, starting from correctly handling the relationship between literature and politics, writers and revolution, he did his duty to some revolutionary writers in Radical Revolutionaries without Revolution, A Glimpse of Shanghai Literature and Art, and his speech at the inaugural meeting of the "Left-wing League". Judging from these scattered articles, Lu Xun's literary view is relatively systematic, and his achievements and contributions in Marxist literary theory mark the first appearance of the tall image of proletarian revolutionary writers in modern literature in China.
After Lu Xun mastered the Marxist world outlook, the change was naturally not limited to the artistic view. His ideological characteristics rooted in class theory on artistic issues are also fully reflected in other miscellaneous feelings. Compared with the social criticism and political struggle contained in the previous Miscellaneous Feeling, the various collections after Two Hearts have a more profound and comprehensive reflection on the dramatic life changes and major political events in the 1930s. 193 1 year "September 18th Incident", ethnic conflicts rose. China * * * production party issued many declarations, advocating unity against Japan. Chiang Kai-shek took no resistance to the outside world and continued to attack the revolutionary base areas at home. At present, there is a clear distinction between patriotism and unpatriotic, support and betrayal of national interests, and whether patriotism and support of national interests are thorough, which is enough to prove that ethnic contradictions are deeply related to class contradictions in the final analysis. At that time, the Nanjing regime was reorganized many times and came to power and stepped down. Among them, there are warlords who have been blessed again and politicians who have recently been favored. The society is full of "theatrical" propaganda, and all profit-making, counterfeiting, yellow songs and dances, and the American film "Two in-laws Visiting Africa" are also labeled as "patriotic". Lu Xun sharply criticized these ghosts in his own tabloid Crossroads. He said: "In this' national tragedy', it is like stirring a pond that has been stagnant for many years with a stick. All kinds of ancient and modern sinks float up and turn around on the water to show their existence. " (Note: "The Appearance of Two Hearts") In "It's Difficult to Know Difficulties", he summoned Chiang Kai-shek to Hu Shi to "ask for the overall situation" and compared it with the latter's "seeing Puyi" and called it "the emperor", suggesting that he would not hesitate to follow the door to take refuge; In "Not What I Want", public opinion thinks that Chen Youren and Fang Ze came to power successively, and the China issue is expected to be solved through their "friendship". It is pointed out that if you pin your diplomatic activities on "personal feelings" and engage in speculation, you will only get the humiliating consequences of "unfortunate frustration, not what you want." After Lu Xun's exposure and analysis, it is clear that these are only at the turning point of history, and it is the strength of the awakened people under the leadership of the advanced class that can really resist imperialism and patriotism. It is precisely because of this that Lu Xun gave active support to the patriotic movement of the masses-first of all, the patriotic movement of students-in a series of mixed emotions from the theory of "friends surprised"
From 1933 1 month, Lu Xun began to write articles under various pen names, namely Free Talk, a supplement to Shenbao, and successively collected pseudo-free books, quasi-romantic talks and lace literature (note: Lu Xun wrote 1933 instead of publishing it in Free Talk, which was included in "Free Talk" Some miscellaneous feelings in lace literature are published in Taibai, a semi-monthly magazine edited by Chen Wangdao, and Trend, a supplement of China Daily. China Daily is a newspaper after the reorganization of the Kuomintang. At that time, some revolutionary writers entered the editorial department, and Nie Gannu and Ye Zi were the editors of Trend. Pseudo-free books collect mixed feelings from 1933 1 month to mid-May, mainly focusing on short comments on current affairs. Lu Xun said in the Preface: "Some of these short comments are based on personal feelings and some are based on current events, but their meanings are very common and their speeches are often obscure. I know that "Free Talk" is not a fan magazine. "Freedom" is of course just an irony. I never want to gallop on it. " Because of the strictness of the network, pen and ink are often obscure. However, it has substance in words, though it twists and turns without losing its edge, which means the characteristics of pseudo-free books. Moreover, some articles are more profound and lively in order to safeguard the youth and pursue non-resistance. In Defending Escape, Defending Reality, and Defending Reservation, Lu Xun, like Miscellaneous Feeling and Highlights of Southern accent to the North in the same period, constantly supported patriotic actions and defended the struggle between the youth and the masses. Starting from the environment, position, responsibility and nature, he distinguished the boundaries between rulers and ruled, traitors and patriots. In fact, he made a profound class analysis of the fierce ethnic contradictions. In Lu Xun's view, young students are patriotic, and their "escape" is the result of the Kuomintang's suppression of patriotic movements. He said: "With liger-style education, they can provide education with their own minions like cattle and sheep, and they will also use a pair of poor horns in times of extreme crisis. However, what kind of education do we receive? If we can't even have a trumpet, it will be a disaster, and we will only run away like rabbits. " (Note: on "disaster relief" and "fleeing") In Lu Xun's view, ordinary people who account for more than 90% of the country's population are also patriotic. They seem to be "fragmented", which is the "governance achievement" of the rulers. He said: "Although people don't study, they may not know what they are interested in, but they will not unite. There used to be kneeling incense, rebellion and rebellion; Now there are also petitions and the like. " (Note: "Mobilization with Southern Accent in the North") He cited vivid examples from real life to defend the youth and the masses, explaining that only a very small number of people really betrayed the national interests, just representing the followers of the Kuomintang regime and its big bourgeoisie and big landlord group. Chiang Kai-shek has always pursued a reactionary policy of compromise with foreign countries, using troops at home and oppressing the people. This policy has been intensified under the new slogan since September 18. Most of the mixed feelings in pseudo-freedom books are aimed at some facts: first, it is the so-called non-resistance that embodies foreign compromise. Lu Xun thoroughly exposed the tricks that Chiang Kai-shek was playing, pointing out that Kuomintang soldiers "did not resist" when they were close to the front line, and "took the lead" when they were far away. The saying of "negative crossbow precursor" is "swear to kill the enemy and resist to the death", but this "oath" is nothing more than an incredible "oath", just like making up lies to kill devils, steal men and steal prostitutes. The theory of "non-resistance" is "luring the enemy deeper", but this "strategy" is just an excuse to retreat without fighting. Anyway, "Where the enemy wants to go deep" can be invited to go deep because of "strategic relationship" (note: see the chapters on watching the war, swearing and strategic relationship in the book "Pseudofreedom" respectively). Chiang Kai-shek, who did not resist at that time, had made friends with Stimson, who "refused to recognize" (note: "refused to recognize", which was put forward by Stimson, the then US Secretary of State, and was also called Stimsonism, that is, he did not sanction Japan and adopted an ostrich-like way of denying what Japan had done) and was determined to compromise. Everything is "predetermined". "It's like fighting with a white face on the stage. Who lost? These articles by Lu Xun became the predictions of Japanese imperialism going deep into North China. Secondly, it shows that the so-called "internal security" is used inside the army. Lu Xun profoundly exposed the essence of Chiang Kai-shek's willingness to be a running dog of imperialism against * * *. In the article "China People's Life Circle, Heaven and Earth, Articles and Topics", he pointed out that the Kuomintang's crying to the League of Nations was not "controlling foreign countries with foreign countries" as mentioned in Japanese newspapers, but "controlling China with Chinese countries" by imperialist "grandfathers" in the League of Nations, allowing China people to fight China. The plane dropped bombs in the frontier, the Japanese bombed into China, the plane dropped bombs in the hinterland, and the Kuomintang bombed the revolutionary base areas. However, because "blowing in is fast and blowing in is slow", the so-called "prosperity outside must be decided first" is just empty talk. Its practical significance is "not prosperous inside, not prosperous outside". To put it more clearly, it is "welcoming the outside and staying inside" to jointly crack down on the China * * production party. In this way, Chiang Kai-shek's idea that "you must be safe when you are busy outside" is not only the first step for Japanese to attack Japanese, but also the first step to realize the so-called "peace with China". Lu Xun's observation goes straight to the core of the problem, so he can have unexpected and convincing opinions. During this period, he and Qu Qiubai studied the speeches of Chiang Kai-shek's cultural spokesmen-from discouraged Wu Zhihui to rising Hu Shi. They used the same pen name * * *, Qu Qiubai wrote Poems on Wang Dao, Secrets of Selling Soul and Talented People in Daguan Garden (note: Wang Jingwei and Wu Zhihui are compared in the talented people in Daguan Garden), and Lu Xun himself wrote Where does the light come from, People's Words and The Boundary of Freedom of Speech. It is pointed out that the "cultural class leader" of Chiang Kai-shek's dynasty changed from a "party-state elder" to a "higher China man" because the former only worked for Chiang Kai-shek, but the situation required the latter to stand up and serve imperialism at the same time: "It used to be unilateral, but later it sold compound medicine. "Lu Xun's mixed feelings, like a dagger, stuck in the hearts of Hu Shi and Wu Zhihui, not only helped people recognize the face of reactionary literati, but also hinted at the evolution trend of Chiang family's collusion with imperialism from Japan to the United States in complex international relations.
The fourth counter-revolutionary military "encirclement and suppression" was completely crushed in March 1933, which greatly shocked reactionaries at home and abroad. In order to show his loyalty to his master, Chiang Kai-shek declared that he would "never speak out against Japan" before "destroying" the * * * production party, and prohibited newspapers from publishing anti-Japanese remarks. The Shenbao authorities were threatened, and Free Talk published a notice on May 25th, saying, "It's hard to talk these days, especially shaking your pen. This is not to say that "it never rains but it pours, to err is human". This is the real "there is a way in the world", and "Shu Ren" is correspondingly "beyond discussion". The editor hereby appeals to domestic writers to talk more about romantic affairs and less complaining, so as to give writers and editors a rest. ..... "The political situation directly affected the cultural struggle, which declared the end of the stage of" pseudo-freedom "and the beginning of the stage of" quasi-romanticism "in culture. But as Lu Xun said, "in fact, we can't restrict writers from one topic", and "people who talk about the situation can also talk about romantic affairs" (note: see the preface, poems and romance in the morning, respectively). Writing "Fengyun" from "Yue Feng" is the characteristic of many mixed feelings collected in "Talk about Quasi-Yue Feng". These mixed feelings are either based on historical examples or convincingly explained by foreign facts. In this society where "animals hunt, but people are hunted" (note: see preface, poem and Rosa, morning cool, respectively), the more brutal the killings, the poorer the rulers are. There is a new content in these mixed feelings, which is a direct challenge to fascism. After "September 18th", Chiang Kai-shek, while colluding with the United States, tried his best to follow Mussolini and Hitler's fascist terror rule in China. There is a Fuxing Society that imitates the "Black Shirt Party" (Note: Fuxing Society was founded in March 1932. The nature of this organization is exactly the same as the "black shirt party" in Italy and the "brown shirt team" in Germany. Because one of the secret service chiefs, Liu Jianqun, wrote a pamphlet and advocated the organization of the "Blue Shirt Club", which was called the "Blue Shirt Club". Some imitators in concentration camps are introspection institutes, some advocate "national standard culture" by imitating and banning "immoral thoughts", and some imitators ban newspapers, close bookstores, arrest writers and kill young people. After Hitler came to power in Germany, Chiang Kai-shek thought fascism would win in the world, held his head high and stepped up oppression. Lu Xun exposed this forged "world trend" and satirized those slavish "forced obedience". He also bluntly said, "As soon as Mr. Chitra came to power, he burned books and beat Jews. Even the yellow-faced cadres here are in high spirits, laughing at the oppressed and shooting sarcastic arrows at sarcastic words-do you understand the cold message and ask: Do you want to be free or not? If you are not free, give me death. Why don't you kill yourself now? " (Note: On the Similarities and Differences of Hua De's Burning Books) Lu Xun pointed out: It won't take long for the facts to be known. Hitler's "career" is hitting a wall, and life itself will mercilessly give the yellow-faced woman cadres a "heavy stab." Laughing and laughing in the shadow of the sword, treating cruel oppression with great contempt, sticking to the truth in times of crisis and being fearless are the best qualities of the colonial and semi-colonial people embodied in Lu Xun. Reflected in the form of miscellaneous feelings, it often constitutes the characteristics of this kind of serious and relaxed articles, which the author calls "quasi-romantic talk"
Quasi-Yue Feng Talk contains many miscellaneous feelings, which are criticisms of social phenomena and discourses on literary activities. These articles also talk about "romance" on the surface, but they are encouraging "Fengyun" in their bones. What they say is small, but what they see is big. In criticizing social phenomena, Lu Xun lashed out at the depraved habits of ordinary citizens, such as "skimming fat", helping leisure, winning lottery tickets, saving the Lunar New Year, saying sarcastic remarks and eating white rice, and criticized the poison of deep-rooted traditional thoughts in spiritual phenomena, revealing sharp social contradictions through life details, arousing people's thinking with vivid metaphors and inspiring people to resist unreasonable systems. In the discussion of literary activities, Lu Xun criticized the bourgeois literati's behaviors such as fighting, cursing, donating lessons, "echoing" literary giants, writing the secret history of the rich, and spreading the "dragon climbing" wonders, exposed the opportunistic reactionary propaganda of traitors and revolutionary hawkers, opposed the phenomenon of confusing right and wrong in the field of literature and art, and defended all necessary refutation and struggle. Judging from the content reflected by these mixed emotions, it is essentially a supplement and extension of fierce political struggle. What Lu Xun wrote was a hopeless society full of chaos, darkness, deception and plunder, which was the result of the long-term rule of the Kuomintang. The thorough exposure of society is precisely to shake the foundation of this regime. Lu Xun's miscellaneous feelings are eloquent, and every article is highly controversial. Although it is not aimed at an enemy, it is a debate about life and unreasonable social system, showing the characteristics of extensive ideological struggle. As for the argument about Zhuangzi and Selected Works caused by "attaching importance to the past" in Collected Works, its center is also opposing retrogression and dissatisfied with "standing on the quaint ground between heaven and earth", which contains the practical significance of eternal progress and continuous revolution.
Miscellaneous feelings compiled in Lace Literature are all short comments published in newspapers and periodicals, which is the further development of Lu Xun's social criticism. These mixed feelings involve a wider range of content. Besides women, children, superstition, suicide and other issues, I have insightful opinions on clothes, advertisements and even a few punctuation marks and a group of symbols. Lu Xun is good at discovering internal relations from everyday things, revealing its profound significance through dialectical discussion, and sometimes positive argument. For example, in the article "Beijing School" and "Shanghai School", according to the fact that "there are many officials in the capital and many merchants in the concession", it is pointed out that scholars "are close to officials for fame, and those who are close to businessmen are profitable", which explains the essence of the two schools of "Beijing School" and "Shanghai School" from the economic dependence and vividly draws the faces of intellectuals without special practice. "Irretrievable" is an academic loss, while "trying to make up" is a political persecution, which is an inseparable difference between ancient and modern "* *". In Destiny, Lu Xun explained that the ruling class wanted to help the poor with the "luck" theory of gifted students, but the result was still in vain. He said: "History just doesn't make money. Emperor Gaozu's father is not an emperor, and Li Bai's son is not a poet. "Without an objective basis, it is impossible for the poor to be content with their fate without starting a revolution. These miscellaneous feelings are written deeply, thoroughly, clearly and to the point, which Taoism has not done. Sometimes it is a thorn. For example, It's Time, which was supposed to oppose the retro movement, also lashed out at the children of the old family, pointing out that they would "retreat immediately" and return to the "big house" because of a little success or a little setback, "repair books, wipe old bottles, read genealogy, and even turn over dirty walls and empty drawers to make a fortune. Explaining the character of "children of the old family" from the environmental impact vividly depicts the boring psychology of the declining class. "The Decline of Western Dresses" mainly mocked the ignorance of conservative forces, and Lu Xun also mocked the habit of the ruling group to maintain the barbaric legal system by using physiological characteristics: "The neck is the thinnest, and beheading was invented; Knee joint can bend, invented kneeling posture; Ass is fleshy, not fatal, and spanking is invented. " The examples are popular and fully exposed. My Feeling mainly criticizes speculators for cheating and collecting money. Lu Xun also casually mocked the citizens who often used scientific inventions to maintain the backward atmosphere: "The horse will be at the table, electric lights will replace candles, and magnesium will shine on the Lama on the altar of Buddhist ceremonies. Isn't it often that civet cats change for princes, Yutangchun and Xie Yulu in Mao Mao? " Quotations are common and heavy. These complex feelings are well written, inflammatory, vivid, penetrating and not abrupt. In order to attack the reactionary rule of the Kuomintang more thoroughly, there are still many articles in Lace Literature that describe and dissect some people's spiritual emptiness and inferiority, so as to reveal the serious symptoms of a sick society. Lu Xun condemned the phenomenon that the team was booing and echoing the crowd: "If a person spits on the roadside and squats down to watch, he will soon be surrounded by a bunch of people; And if there is another person, shouting for no reason, pulling out and running, at the same time, everyone can escape. I really don't know if it is' hearing and seeing'. " (Note: See Lace Literature Thinking and Walking, After Reading, So Guangzhou, Friends, respectively. ) I didn't have a clear idea at first, but at last I couldn't figure it out. As the ideological brand of slave life, this is the spiritual resistance of social reform, and Lu Xun often burns it with the fire of irony. For example, there is such a person in life who is threatened by the other party and is under great pressure. Although he is "uncomfortable" in his heart, he dare not "go all out" Lu Xun sarcastically said: "They will spend a copper coin to buy a piece of red paper, write' Jiang Taigong is forgiving here' or' Taishan Shi Gandang', quietly stick it up and settle down." (Note: See Lace Literature Thinking and Walking, After Reading, So Guangzhou, Friends, respectively. For another example, there is such a person in life who knows that what is in front of him is a scam and has fallen into the trap, but instead of exposing it, he opposes it. Lu Xun said angrily, "A boring person is willing to be bored for entertainment." Because of this, ... exposure to the dark is not only disgusting to cheaters, but also disgusting to cheaters. (Note: See Lace Literature Thinking and Walking, Reading Thoughts, So Guangzhou, Friends, respectively. From these incisive analyses, we can see the depth of Lu Xun's exploration of social thought. Lace literature is not a direct political condemnation, but a deeper criticism of many decadent phenomena under the rule of the Kuomintang, which shows the face of a ruined society from the mental state. History contains rich lessons. Lu Xun's mixed feelings, because of their distinct love and hate and proper proportion, are not only a blow to old things, but also a promotion to new things. It's a fire, someone will be burned to death, or even burned to death; But some people feel warm and see the light from here. All "monuments of hatred against the destroyer" cannot be "great love for predecessors" at the same time. In Lu Xun's complex mood of criticizing negative things, people can still grasp the author's ideal between the lines: his positive demands, his implied life trend and historical process.
Sorry, these are all stolen. How on earth did you steal it? Anyway, it was written by someone else. I stopped by to send flowers to the Buddha. I hope it helps you.